Cleveland’s Classic Companyat the Hanna Theatrepresents

April 10–26, 2015

Great Lakes TheaterPhoto: Roger Mastroianni

1260 Euclid Ave., Cleveland, OH 44115 216-615-7500www.wyndhamcleveland.com

PHOTO: JULIE HAHN/SUGARBUSH DESIGN

Be the Star of the ShowIn the glamour of Downtown Cleveland’s Theater District allow Wyndham’s service professionals to host your Wedding Reception, Rehearsal Dinner, and Wedding Brunch. Contact Beth Blankenship, our wedding specialist at 216-615-3325 or bblankenship@wyndham.com

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weLcome To Great Lakes Theater at Playhouse Square

About Great Lakes Theater ...................................................................................................................4Trustees ................................................................................................................................................5Donors ...................................................................................................................................................6The Tempest........................................................................................................................................13The Cast .............................................................................................................................................14Spotlight: An Insider’s Guide to The Tempest .....................................................................................15A Welcome Message from the Producing Artistic Director .................................................................29Who’s Who: The Artistic Company ......................................................................................................31Staff: Great Lakes Theater ................................................................................................................38April/May at Playhouse Square ...........................................................................................................39

A not-for-profit performing arts center that presents and produces a wide variety of performing arts, advances arts education and creates a destination that is a superior location for entertainment, business and housing, thereby strengthening the economic vitality of the region.

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AbouT Great Lakes Theater

The mission of Great Lakes Theater, through its main

stage productions and its edu-cation programs, is to bring the pleasure, power and relevance of classic theater to the widest possible audience.

Since the company’s incep-tion in 1962, programming has been rooted in Shakespeare, but Great Lakes commitment to great plays spans the breadth of all cultures, forms of theater and time periods –– including the 20th century –– and pro-vides for the occasional mount-ing of new works that comple-ment the classical repertoire.

Classic theater holds the capacity to illuminate truth and enduring values, celebrate and challenge human nature and actions, revel in eloquent language, preserve the traditions of diverse cultures and generate communal spirit. On its main stage and through its education pro-grams, GLT seeks to create visceral, immediate experiences for participants, asserting theater’s historic role as a vehicle for advancing the com-mon good and helping people make the joyful and meaningful connections between classic plays and their own lives.

The company’s commitment to classic theater is magnified in the educational programs that surround its productions. Since its inception, GLT has had a strong presence in area schools, bring-ing students to the theater for matinee perfor-mances and sending specially trained actor-teach-ers to the schools for weeklong residencies devel-oped to explore classic drama from a theatrical point of view. GLT is equally dedicated to enhanc-ing the theater experience for adult audiences through Surround, a series of community pro-grams that explore the themes of a main stage production. To this end, Great Lakes Theater regularly serves as the catalyst for community events and programs in the arts and humanities that illuminate the plays on its stage.

Great Lakes Theater is one of only a handful of American theaters that have stayed the course as a

classic theater. As Great Lakes moves into a new era with a permanent home in the Hanna Theatre, the company reaffirms its belief in the power of partnership, its determination to make this com-munity a better place in which to live, and its commitment to ensure the legacy of classic the-ater in Cleveland.

Great Lakes Theater’s fall 2014 production of Les Misérables. (Photo by Roger Mastroianni)

Great Lakes Theater’s fall 2014 production of The Merry Wives of Windsor. (Photo by Roger Mastroianni)

1501 Euclid Ave., Suite 300Cleveland, OH 44115P: (216) 241-5490F: (216) 241-6315W: www.greatlakestheater.org

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TrusTees Great Lakes Theater

ChairThomas G. Stafford*†

PresidentSamuel Hartwell*

SecretarySusan Hastings*

TreasurerWalter Avdey*

TrusteesMichelle ArendtDalia BakerViia R. BeechlerDavid L. BialoskyKim F. Bixenstine*Mitchell G. Blair*Todd M. BurgerWilliam Caster*Beverly J. CoenGail L. CudakCarolyn Dickson†Leslie Dickson

William B. Doggett†Carol Dolan*Edward DonnellyTimothy J. Downing*Dr. Howard EpsteinNatalie Epstein*†Dianne V. FoleyRudolph H. Garfield †Stephen H. GariepyHenry G. GrendellElizabeth A. GroveDiane HuppWilliam W. Jacobs*†Faisal A. Kahn John E. Katzenmeyer†Denise Horstman KeenJonathan LeikenWilliam E. MacDonald III†Ellen Stirn Mavec†Mary J. MayerJohn E. McGrathLeslie H. MoellerDanielle M. MorrisJanet E. Neary*†Robert D. Neary†

Pamela G. Noble*Laura PasseralloMichael J. Peterman†Thomas A. Piraino Jr.Timothy K. Pistell†David P. Porter†Georgianna T. Roberts†Rudolph K. SchmellerJohn D. Schubert†Peter Shimrak†Laura Siegal†Mark C. Siegel*Sally J. Staley*Diana W. StrombergGerald F. UngerDonna WalshThomas D. WarrenNancy WellenerKevin M. WhiteJulie Sabroff WilloughbyPatrick ZohnRebecca A. Zuti

* Executive Committee† Life Trustee

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Donors Great Lakes Theater

The trustees, staff and artistic company of Great Lakes Theater express our deepest gratitude to the hundreds of supporters of “Cleveland’s Classic Company.” The donors listed below made generous gifts between July 1, 2013 and June 30, 2014. “I can no other answer make but thanks.” Twelfth Night, Act III, Scene iii

Make a Contribution

Great Lakes Theater served over 100,000 students and adults last year through its Hanna and Ohio Theatre mainstage productions and education programs throughout northeast Ohio. This would not have been possible without the annual support of hundreds of the generous donors listed below. Please join the Great Lakes Theater family by making a tax-deductible contribution to support Cleveland’s Classic Company. Visit the “Support Us” section of our website (www.GreatLakesTheater.org) or call us at (216) 453-4442 to learn more about our membership and donation programs.

The Cleveland Foundation*** Cuyahoga Arts and Culture**

Company Sponsors$100,000 and above

The George Gund Foundation***The John P. Murphy Foundation*

The David & Inez Myers Foundation***

Ohio Arts Council***The Kelvin & Eleanor Smith Foundation***

Lead Sponsors$50,000 to $99,999

The GAR Foundation***The Martha Holden Jennings Foundation***

The Kulas Foundation***The Reinberger Foundation

Shakespeare for a New Generation – National Endowment for the Arts

The Sherwick Fund

Sponsors$25,000 to $49,999

Sponsors

*3 – 5 consecutive years as an Annual Fund donor **6 – 9 consecutive years as an Annual Fund donor***10 or more consecutive years as an Annual Fund donor

The Business Alliance of Great Lakes Theater

THE LEGACY SOCIETY

LEAVE A LEGACY!

Great Lakes Theater’s Legacy Society honors individuals, families, foundations and other generous donors that make gifts to Great Lakes Theater’s Endowment Fund

or have made a provision for Great Lakes Theater through their estate plans.

Please consider becoming a member of the growing list of generous Great Lakes Theater Legacy Society supporters and help ensure that classic theater endures for

future generations in northeast Ohio by designating Great Lakes Theater a benefi ciary in your will, trust, or other estate plans.

“Evermore thanks.” Richard II, Act II, Scene ii

*Deceased: The legacy of these generous donors lives on for future generations.

For more information regarding planned gifts, please contact Don Bernardo, Great Lakes Theater’s Director of Development,

(216) 453-1068 | dbernardo@greatlakestheater.org.

Marilyn* and Paul* BrentlingerWillard and Donna Carmel

Mary* and Leigh CarterNatalie and Morton Epstein

Edward S. GodleskiSamuel S. Hartwell

Kate LunsfordMary Anne* and Jack McGrath

Janet and Bob Neary

James A. Nelson*Donald and Anne Palmer

Lynn and Tim PistellProfessor Alan Miles Ruben and

Judge Betty Willis RubenGeorge* and Marjorie* SpringerThomas G. and Ruth M. Staff ord

Arthur L. ThomasAudrey* and Dick Watts

Season Sponsors: Season Media Sponsors:

THE LEGACY SOCIETY

LEAVE A LEGACY!

Great Lakes Theater’s Legacy Society honors individuals, families, foundations and other generous donors that make gifts to Great Lakes Theater’s Endowment Fund

or have made a provision for Great Lakes Theater through their estate plans.

Please consider becoming a member of the growing list of generous Great Lakes Theater Legacy Society supporters and help ensure that classic theater endures for

future generations in northeast Ohio by designating Great Lakes Theater a benefi ciary in your will, trust, or other estate plans.

“Evermore thanks.” Richard II, Act II, Scene ii

*Deceased: The legacy of these generous donors lives on for future generations.

For more information regarding planned gifts, please contact Don Bernardo, Great Lakes Theater’s Director of Development,

(216) 453-1068 | dbernardo@greatlakestheater.org.

Marilyn* and Paul* BrentlingerWillard and Donna Carmel

Mary* and Leigh CarterNatalie and Morton Epstein

Edward S. GodleskiSamuel S. Hartwell

Kate LunsfordMary Anne* and Jack McGrath

Janet and Bob Neary

James A. Nelson*Donald and Anne Palmer

Lynn and Tim PistellProfessor Alan Miles Ruben and

Judge Betty Willis RubenGeorge* and Marjorie* SpringerThomas G. and Ruth M. Staff ord

Arthur L. ThomasAudrey* and Dick Watts

Chuck & Maureen AdlerMary ArchambaultJerry & Kathy BerkshireElizabeth BishopCarol BrennemanMr. James BrownMs. Brenda CappsMr. & Mrs. Laurence Channing

Tom & Anita CookMs. Marilyn Dewees

Pete & Margaret DobbinsMr. William DolanMr. & Mrs. L. William ErbMary Ann & Joseph FischerJeffrey FordEdward S. GodleskiMs. Margaret KaczmarekRuben KasapBill & Susan KirchnerMs. Theresa KuehnThomas & Anne LaMotte

Dr. Roseanne LechnerHoward S. LevinMr. & Mrs. John S. LupoDavid & Leslee MiraldiDale Sr., Dale Jr., & Gayle Montgomery

Fulton & Thea O’DonoghueThomas J. PajkMr. William PlesecMs. Mary L. PollakDonna & James Reid

Keith & Margaret RobinsonMr. & Mrs. John SouthworthJan & Bill SternMs. Elizabeth SwensonMr. & Mrs. William W. TaftArthur L. ThomasMr. & Mrs. George ThomasMs. Adele VigueraMr. Michael WagnerRoger & Nancy WelchansAnn Wisnieski

Avon Circle $10,000 to $24,999The Abington Foundation*The Community Foundation of Lorain County***

Eaton Corporation**Jack & Mary Ann Katzenmeyer***Janet & Bob Neary***The Nord Family Foundation***Nordson Corporation Foundation**Mr. & Mrs. Timothy Pistell***Mrs. James O. Roberts***John & Barbara Schubert***The Shubert Foundation***Squire Sanders, LLPThomas G. & Ruth M. Stafford***

Stratford Circle ($5,000 to $9,999)Bridgewater Associates, Inc.**The Eva L. & Joseph M. Bruening Foundation***

Bill & Judie Caster*Cleveland Indians Baseball Company

Carol Dolan & Greggory Hill**Larry & Eva Haas Dolan*Mr. & Mrs. Morton G. EpsteinErnst & Young, LLP***The Harry K. & Emma R. Fox Foundation***

The Giant Eagle Foundation*Paul R. & Denise Horstman Keen**

Mr. & Mrs. Leslie H. Moeller**David P. Porter & Margaret K. Poutasse***

Mr. & Mrs. Ronald Ratner*Kim Sherwin**The J.M. Smucker CompanyUniversity HospitalsJohn & Catherine Van Hulle*Mr. & Mrs. Paul L. Wellener IV***The Thomas H. White Foundation, a KeyBank Trust**

Globe Circle ($2,500 to $4,999)Chuck & Bonnie Abbey*Walt & Laura Avdey**Dalia & Robert Baker***Robyn & David Barrie***William & Viia BeechlerMitch & Liz Blair***Glenn & Jenny Brown***Mr. & Mrs. Homer D. W. Chisholm***

The George W. Codrington Charitable Foundation***

Gail Cudak & Thomas Young***Edward Donnelly & Mary Kay DeGrandis

Barry & Suzanne Doggett***Richard & Evelyn Dolejs*Charles, Lidia & Alexa Fee**Dianne V. FoleySteve Gariepy & Nancy Sin***Henry G. GrendellElizabeth Grove & Rich Bedell Hahn Loeser & Parks, LLPMr. & Mrs. Samuel Hartwell***Susan C. & Jeffery A. Hastings**William W. Jacobs***The Laub Foundation***

The Victor C. Laughlin, M.D. Memorial Foundation Trust***

The Lubrizol Foundation***Mr. & Mrs. Donald J. Mayer***Donald W. Morrison***Nicholas & Sue Peay***Mr. & Mrs. Michael J. Peterman***

Thomas A. Piraino & Barbara C. McWilliams*

Prof. Alan Miles Ruben & Judge Betty Willis Ruben

Mr. & Mrs. Robert C. Ruhl***Dr. & Mrs. Gerard Seltzer*Sally J. Staley**Diana & Eugene Stromberg***Paul & Pamela Teel*Donna & Richard Walsh***Lori & John Wheeler

Folio Circle ($1,000 to $2,499)Michelle R. Arendt***John & Laura Bertsch*David & Carolyn Bialosky*Kim & Bart Bixenstine*H.F. & J.C. Burkhardt***Calfee, Halter & Griswold, LLP**Marilyn A. CallalyJack & Janice Campbell***Mr. & Mrs. Frank Cercone***Beverly J. Coen*Carolyn & Charles Dickson***Ms. Leslie C. Dickson*Mr. Edward S. GodleskiDavid Goodman & Barbara Hawley

Ms. Roe Green

Ms. Evalyn GreeneThe Gries Family Foundation***William R. Gustaferro***John & Virginia Hansen***Hyster-Yale Materials Handling, Inc.***

Kenneth Karosy**Donna M. & Alex I. KolerCharlotte R. KramerJohn & Joann LaneMr. Jonathan Leiken & Ms. Erika Friedman

Mr. & Mrs. William E. MacDonald, IIIJack McGrath***The Mersol Family***Mr. & Mrs. William Mitchell***Mr. & Mrs. John C. Morley***Mr. & Mrs. William Osborne, Jr.***Dr. & Mrs. Donald Palmer***Laura PasseralloDr. Scott & Mrs. Judy Pendergast***

Mary PerkinsMr. & Mrs. John S. Piety***Dr. & Mrs. Bradford J. Richmond*Linda Schlageter***Mr. & Mrs. Rudolph K. SchmellerMr. & Mrs. Mark Siegel**Donald A. & Catherine C. Sinko**Brit & Kate Stenson***Cynthia R. StillingsTarget*Mr. Robert A. Tschannen***Ulmer & Berne, LLP**Gerald F. Unger***Raymond VoelkerMary C. Warren**Mr. & Mrs. Thomas D. Warren**Mr. & Mrs. Kevin M. White*Patrick M. Zohn***

Shakespeare Society Individual donors of $1,000 and above are members of Great Lakes Theater’s “Shakespeare Society” and are entitled to certain benefits, including invitations to special Society events and activities. For more information, contact Don Bernardo at (216) 453-1068.

Thank you and welcome! The following individuals are our newest donor/members, or returned as active donors to Great Lakes Theater during the period from October 10, 2014 thru February 20, 2015. We greatly appreciate the support of all of our members.

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Sustainers ($500 to $999)Fred & Mary Behm**Jeffrey Boecker & Susan IlerBette Bonder & Patrick Bray*Mr. Jonathan M. Boylan & Mrs. Marianne Ludwig**

Beverly & Bruce CameronChristopher & Nancy Coburn**Eleanor DavidsonRichard Furnstahl & Teresa Stankiewicz

Mr. & Mrs. Rudolph H. Garfield, Jr.***

Janet & Patricia Glaeser***Gary & Joanna Graeff***Mrs. Robin H. HatchMr. Herbert J. Hoppe, Jr.***Robert & Linda Jenkins**Stewart & Donna KohlThe Rosa & Samuel Lobe Memorial Fund of the Jewish Federation***

Ken & Mary Loparo***Mr. & Mrs. Thomas M. Lynch***Lynda & Charlie Mayer**Francis & Viola McDowell**Mr. & Mrs. Douglas McGregorHelen & Harry MercerThe Music & Drama Club*Mr. & Mrs. Patrick W. O’ Connor**John & Norine Prim***Mr. John RampeNaomi G. & Edwin Z. Singer Family Fund, a supporting foun-dation of the Jewish Federation of Cleveland*

Lloyd Snyder & Margaret TerryKathleen Turner***Margaret & Loyal WilsonThe Women’s Committee of Great Lakes Theater Festival***

Brian Wynne & Patrick Cozzens*Donald & Dorothy Zito

Patrons ($250 to $499)Nancy L. Adams**Lori AdlerThomas & Joann Adler**John & Winnie AwarskiRandy & Pam BallardMr. & Mrs. Benham S. Bates***Gary & Kay Bluhm**Susan Bobey*Mr. & Mrs. Roger A. BoehnleinJulia & Ben BrouhardAudrey DeClement***Prof. & Mrs. George W. Dent*Bob & Ginny EckardtDr. & Mrs. Michael Eppig***Jeanne S. Epstein**James Eschmeyer***Jon & Mary Fancher**Ann & Harry FarmerMary Ann & Joseph FischerLainie Hadden***Mr. & Mrs. Maurice Heller

Tom & Luz Higgason**Kathy & Jamie Hogg**Amy & Jeff JohnsonMr. & Mrs. Douglas JahnBernie & Nancy Karr***Mr. Karl KellerMs. Joylen J. KentMr. & Mrs. Donald Kimmel**Charles King & Catherine KeatingBob & Nanci Kirkpatrick**James KoehlerRonald G. Kollar**Dr. & Mrs. Eric KonickiChris & Laura Larson**Stephen & Lillian LevineMs. Beth LiffEva & Rudolf LinnebachMorton & Lola Litt***Thomas & Sheryl Love**Mr. David McKissockRita C. McLaughlinJean McQuillan & Richard Christ***

John J. MeiburgerMary & Steve Mitchell***Brian & Cindy Murphy**Deborah L. Neale***Mr. & Mrs. Wilmer M. Piper***Maria PoulosThomas & Helen Rathburn*Dr. Edward J. Rockwood***Mrs. Sharon M. Rogers**Michael RussellBob & Kathy RutterOtmar & Rota Sackerlotzky***Dr. Howard SimonFrances Stewart & David Mook*Dr. & Mrs. Lynn A. Smith**Karl & Carol Theil*Frank & Vicki Titas*

The Edward & Katherine Thomas Family

Robert & Marti Vagi***Mr. & Mrs. James D. VailCarol Lee Vella***Christine & Daniel VentoNancy-Anne WargoDr. & Mrs. Gregory A. Watts*Mr. John Wiedemann & Ms. Pamela Schnellinger

Mr. Lee C. ZeiszlerMs. Margaret E. Zellmer

Associates ($125 to $249)Donna Beletic*Mr. James J. Benedict, Jr.*Mr. Joseph M. BennettJohn & Jeannene Bertosa*Roger Bielefeld**Bernice A. Bolek***Mr. & Mrs. Charles P. Bolton***Mr. D. Stephen Botorff & Ms. Patricia J. Moyer**

Ms. Robin Herrington Bowen***Joanne R. Bratush**Richard & Mary Ann BrockettV. Elizabeth Brown*Mike & Carole BrownMrs. Nancy H. Burcham***Larry & Andi Carlini**Tim & Cindy CarrMr. & Mrs. Robert B. CharlickJohn & Donna Clifford***Rollin & Anne Conway*Stan & Lisa Corwin*David & Gayle Cratty**Lowell & Carole Davis***Mr. Alex Derkaschenko**

Daniel & Joyce DyerMr. & Mrs. Robert Eikenburg***Janice EvansGene & Patricia EwaldFriends of Nordonia Hills LibrarySusan L. Fike***Mary Eileen Fogarty***David V. Foos**Mrs. Barbara J. Garris*Gary & Katie GeoffrionLarry & Jean GilbertThomas Gilbride**Hazel Haffner***Tom & Kirsten Hagesfeld**Marian Hancy*Michael & Suzanne Harris*James G. HayesCurt & Karen Henkle**Clyde A. Horn***Ron & Joanne Hulec***Mr. Richard HydeJames & Gale JacobsohnMr. & Mrs. Robert L. Janson*Mr. & Mrs. Ronald KahnMarilyn & Howard Karfeld***Lauren Kawentel**Ms. Judith A. KishDavid & Sue Klepac**Mr. Thomas KnoxJacob Kronenberg & Barbara Belovich**

Charles KrugerEleanor & Stephen Kushnick***Fred & Joann LaffertyMr.& Mrs. Brian LawlerGregory LeachMs. Carla Licastro*Mr. & Mrs. Devere E. Logan*Anne R. & Kenneth E. Love*Brian & Renee Lowery*

Audiences and ArtistsDid you know that ticket revenue covers only half of the cost of creating a Great Lakes Theater production? Generous donors ensure that our productions of timeless classics, “re-imagined” for contemporary audiences, are of the highest quality. Thanks to donors like you, we’ve connected over four million people to the classics over the last five decades!

Learn more about how you can play a part at GreatLakesTheater.org.

Donors support

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Mr. & Mrs. Robert E. McDonald***

Richard & Karen Middaugh*Ms. Jennifer A. MillerAmanda MockbeeToni & Linda Moore**Roy & Cindy Moore**Tom & Mary NeffMs. Karen Nemec*Ms. Brenda NortonLou M. Papes*Zachary & Deborah Paris**Peggy & Michael Partington**Mr. & Mrs. Robert J. PatalonFrank RauscheReinhold & Ginny Roedig***Ms. Lori Riga & Mr. Jeff SaksMrs. Kathy SalemMr. & Mrs. James A. SaksJim & Joan Schaefer*Dr. Dave & Faye SholitonDina & Richard Schoonmaker***Donna Schuerger**John & Susan SiegfriedMr. & Mrs. Thomas Slavin**David & Rita Smith***William E. Spatz*Susan St. John*Kathlyn & Harry Stenzel***Anita K. StollAlbert StrattonMr. & Mrs. Timothy L. Sullivan**Mr. Joseph E. TalabaElizabeth Twohig**James L. Wagner*Mrs. Betty S. Weiss*Gordon & Virginia WepferMs. Jennifer B. Schwartz WrightDr. C. Russell & Cynthia ZachemArthur & Deborah Zinn**Ms. Rebecca A. Zuti & Mr. Anthony D. DeCello*

Friends ($75 to $124)Joel & Teresa Andreani*Dr. & Mrs. Robert C. BahlerLynne M. Bajec*Carol BarnakTom & Dorothy Bier***Mr. & Mrs. David R. BlackmanDr. & Mrs. Dieter F. Bloser***Ms. Dorothy F. BorerMr. Stanley C. Brandt & Ms. Mary K. Whitmer***

Ms. Megan CasserlieMr. & Mrs. Richard L. ChernusMarcia G. Christian**Kathleen M. Cooper**Doug & Mary Court**Samuel Cowling**Ronald & Patricia CramerShirley B. Dawson*Chris & Mary Ann Deibel***Carolyn J. Buller & Bill Doll***

Barbara J. Burke*Daniel DivisDonna Douglas***Judith DarusRita & Dennis Dura**The Eldridge Family***Deena & Richard Epstein***Howard P. Erlichman*Mr. & Mrs. Frank L. Field***Mr. & Mrs. Lou Galizio***Katherine A. GanzDeborah A. Geier***Greg & Gail Gibson***Dr. & Mrs. Norman W. Goldston***

Ilona K. Gram*Mr. & Mrs. Richard S. Gray*John GreeneJean E. Gubbins*Lee & Peter HaasIris & Tom Harvie***Jean HellerMs. Eleanor W. HelperFrank & Gerry Hoffert*Mark & Lynn HofflundDr. Randal N. HuffMr. & Mrs. Joseph C. Kelley***Michael & Lynn Kleinman*Mr. & Mrs. Mark D. Kozel***Mr. & Mrs. Robert LarsonFrederick C. LuckayJennifer & Peter MeckesRev. Edward E. Mehok***Mrs. Ruth P. MennellChristine Myers-JohnstonSusan Janney*Mr. Gilbert P. Kenehan*Samuel C. KennellStuart & Anne KleinMary Jo KlementsMr. & Mrs. Gregory G. KruszkaPat Murphy & Mike Kupiec*Mr. & Mrs. Stephen LaceyLauri LaribeeGregory & Vickie Leyes*Ronald & Elizabeth Manolio***Ms. Linda McGinty*Nan Miller**Ms. Cheryl A. MoskwaKen Noetzel*Joan M. Oravec***Mr. & Mrs. James M. PetrasJames & Susan PrinceMr. & Mrs. Harold I. Pittaway IIIAndrew & Brenda PongraczMr. & Mrs. Louis Pongracz*Larry & Susan Rakow*Judy & Clifford Reeves**The Reinker Family***Mr. & Mrs. Gerald P. RencehausenMs. Jacqueline Y. Rhodes*Barbara S. RobinsonMr. Mark J. Salling & Ms. Cindie Carroll Pankhurst***

Diane Savage

Mrs. Lois SchneiderMr. & Mrs. Tom Schock*Doris A. Schultz**Steve & Kathy Schultz*Donna Sheridan**Patricia J. Shook**Mary Slak**Marg Slesnick**Alma L. SmithMr. Joseph A. SopkoRex & Judy StanforthDarwin L. Steele***Ms. Lillian StewartMs. Rochelle R. StraffonDan & Robin SullivanDalma & Lajos Takacs***Mr. & Mrs. Edward J. TatmanJohn & Emily Hartwell TaylorAnne Unverzagt & Richard Goddard**

Carol A. Vidoli***Natalie VloedmanDrs. Jay & Kathleen Ward***Sharon & Yoash Wiener***Mrs. Barbara S. Walker*Robert & Emily WilliamsJeanne WojciechowiczJames & Sandra Wood*Mr. A. Paul ZieglerRuth & Sidney Zilber***

*3 – 5 consecutive years as an Annual Fund donor

**6 – 9 consecutive years as an Annual Fund donor

***10 or more consecutive years as an Annual Fund donor

Matinee IdolsDonors who underwrote tickets to 2014-2015 Student Matinees so more students can attend.

Steve AdlerAkzoNobel Packaging CoatingsMary ArchambaultWalt & Laura AvdeyCarol BarnakDavid & Carolyn BialoskyJack & Janice CampbellMr. & Mrs. Frank CerconeMr. & Mrs. Richard L. ChernusKaren, Ken, & Zoe ConleyMr. & Mrs. John FerchillMr. Gerald FreedmanMr. & Mrs. Rudolph H. Garfield, Jr.Lawrence & Linda HatchJack & Mary Ann KatzenmeyerBob & Nanci KirkpatrickMr. & Mrs. John S. PietyMrs. Nancy B. PottorffMrs. James O. RobertsJohn & Barbara SchubertLaura & Alvin Siegal

Thomas G. & Ruth M. StaffordSally J. StaleyBrit & Kate StensonLinda M. Kane & Gary StewartJohn & Dianne Young

Matching Gift CorporationsAT&T FoundationEaton CorporationFirstEnergy FoundationFM Global Charitable Contributions

IBM CorporationKey FoundationThe Lubrizol FoundationNordson Corporation FoundationPerkins Charitable FoundationPNC FoundationRockwell Automation

Gifts were received in honor of:Dr. Howard EpsteinMr. & Mrs. Morton G. EpsteinChris FornadelSamuel HartwellSally J. Staley

Gifts were received in memory of:Jack L. BrownCorning ChisholmMarie Strawbridge

The Women’s CommitteeFormed in 1961, the committee is Great Lakes Theater’s longest standing volunteer support group. Members act as hosts for our actors, provide support in our administrative office and at events, and cheer us on through-out the season. If you would like to become a member, call Joanne Hulec at (216) 252-8717 for more information.

OfficersBarbara Cercone, PresidentJanice Campbell, Vice ChairViola McDowell, Recording Secretary

Bernice Bolek, Corresponding Secretary

Nanci Kirkpatrick, Treasurer

Every effort is made to ensure that our Donor records are current and correct. Please call the Development Office (216.453.4442) with questions or to report updates and revisions.

2015-16 SEASONSubscribe today!

216.400.7096 clevelandplayhouse.com

Ken Ludwig’s

A Comedy of Tenors sept 5 – oct 3, 2015

A producer attempts to stage the concert of the century in this laugh-out-loud farce set amidst the glitz and glamour of 1930s Paris.

The CruCibLeoct 10 – nov 8, 2015

Rumors of witchcraft fuel deep-seeded jealousies, lust and greed in Arthur Miller’s controversial American classic.

Special Non-Subscription Holiday Engagement

A ChrisTmAs sTorynov 27 – dec 23, 2015

The record-breaking show returns to the CPH stage in all its pink-bunny-suit, glowing-leg-lamp triple-dog-daring glory.

LiTTLe shop of horrorsJan 9 – feb 7, 2016

A ‘peculiar’ plant may be the ticket to fame and fortune for a nerdy floral clerk in this gleefully twisted, screamingly funny musical.

The mounTAinTopJan 23 – feb 14, 2016

On the eve of the fateful day in Memphis, Dr. Martin Luther King, Jr. is challenged by an extraordinary maid in this surprising and poetic portrait of the man behind the myth.

LunA GALefeb 27 – mar 20, 2016

A seasoned social worker wrestles with the question of what is right during a custody battle that is proving to be her toughest case yet.

mr. WoLfApr 2 – 24, 2016

A family is desperate to heal each other and rebuild their world after their missing child is found in this hauntingly beautiful and mysterious tale.

Special Non-Subscription Engagement

sTeeL mAGnoLiAsmay 21 – Aug 21, 2016

At a beauty shop in 1980s Louisiana, six southern spitfires face a life-changing event with heart and humor.

After much anticipation, Cph is announcing our 100th season.

The shows you will see on Cph stages this year will appeal to your head, heart, spirit, social consciousness and civic pride. We will introduce you to artists with Cleveland roots and welcome back some of your favorite performers, giving them the opportunity to imagine something new and transformative, all while we build our shows right here at Cph. Comprised of world premieres, the best of contemporary plays and American classics, this season speaks with a diversity of voices that reflect the conversations occurring in our city.

Together, we’ve already made one century of Cleveland history, and we thank you for your support as we embark on the second.

LAURA KEPLEY | Artistic director

Centennial Season Sponsor

216.640.8869 / GreatLakesTheater.org

2015 2016SEASON

Sit in our best seats & SAVE BIG.subscribe!

Cleveland’s Classic Companyat the Hanna Theatrepresents...

A Tony Award-Winning Musical for the Whole Family

the secret gardenSeptember 25 - October 31, 2015 / Hanna TheatreBook & lyrics by Marsha Norman / Music by Lucy Simon / Based on the novel by Frances Hodgson Burnett

Shakespeare’s Towering Tragedy

king learOctober 2 - November 1, 2015 / Hanna TheatreBy William Shakespeare

Northeast Ohio’s Favorite Holiday Tradition

a christmas carolNovember 28 - December 23, 2015 / Ohio TheatreBy Charles Dickens / Adapted and Directed by Gerald Freedman

An Agatha Christie Murder Mystery Classic

and then there were noneFebruary 26 - March 20, 2016 / Hanna TheatreBy Agatha Christie

A Hilarious Labor of Love and Laughter

April 8 - 24, 2016 / Hanna Theatrelove’s labour’s lostBy William Shakespeare

The World’s Longest Running Musical

May 13 - 29, 2016 / Hanna Theatrethe fantasticksBook & lyrics by Tom Jones / Music by Harvey Schmidt

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Hanna TheatreApril 10–26, 2015

J. Todd Adams*Aled Davies*

Jonathan Dyrud* Tom Ford*

Andrew Miller

Dougfred Miller*Ryan David O’Byrne*

Xavier ReminickPatrick Riley*

David Anthony Smith*Nick Steen*M.A. Taylor*

Dustin Tucker*Katie Willmorth

Company

Charles FeeProducing Artistic Director

By William SHakeSpeare Directed by DreW Barr

With generous support provided by

John and Barbara Schubert

Presents

Scenic DesignerRussell Metheny

Costume DesignerKim Krumm Sorenson

Lighting DesignerRick Martin

Sound Designer Matt Tierney

Fight Choreographer Dusten Welch

Dance ChoreographerSara Whale

Production Stage ManagerTim Kinzel*

There will be one fifteen-minute intermission.

Special Student matinee Series support was generously provided by akzoNobel packaging Coatings.

The Student Subscription program was generously sponsored by eaton Corporation.

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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The cAsT The Tempest

Dramatis Personae

(In order of appearance)Boatswain ....................................................................................................................................M.A. Taylor *Alonso, King of Naples ........................................................................................................Dougfred Miller *Antonio, Prospero’s brother, the usurping Duke of Milan ................................................. Jonathan Dyrud *Gonzalo, an honest councilor .....................................................................................................Aled Davies *Sebastian, Alonso’s brother ........................................................................................................... Nick Steen *Miranda, daughter to Prospero ...........................................................................................Katie WillmorthProspero, the right Duke of Milan ..............................................................................................D.A. Smith *Ariel, a spirit ................................................................................................................ Ryan David O’Byrne *Caliban, a savage ................................................................................................................... .J. Todd Adams *Ferdinand, son to the King of Naples. ...................................................................................... Patrick Riley *Trinculo, a cook ...................................................................................................................... Dustin Tucker *Stephano, a butler .........................................................................................................................Tom Ford *Ensemble .......................... J. Todd Adams*, Aled Davies*, Jonathan Dyrud*, Tom Ford*, Andrew Miller,

Dougfred Miller*, Ryan David O’Byrne*, Xavier Reminick, Patrick Riley*, Nick Steen*, M.A. Taylor*, Dustin Tucker*, Katie Wilmorth

* Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

The Scenes of the Play:

Scene 1: On a ship at sea. Scene 2: The island. Before Prospero’s cell.

Scene 3: Another part of the island.Scene 4: Another part of the island.

Scene 5: Another part of the island.Scene 6: Another part of the island.Scene 7: Another part of the island.

Scene 8: Another part of the island.

Scene 9: Another part of the island. Near Prospero’s cell.

Generous support for Spotlight was provided by Donald F. and Anne T. Palmer

spotlightan insider’s guide to

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From as far back as Aristotle to the forefront of modern neuroscience, we have linked our fundamental conception of humanity

to the notion of consciousness—the spark of awareness that makes us us. Consciousness fuels our innate curiosity about the world, as well as provides the window through which we perceive that world. It establishes both the “I” and the “eye” of the beholder. In The Tempest’s spare and tanta-lizing allusiveness, Shakespeare delves deeper into the thrilling mystery of life than in any of his earlier plays. Written at a time when new learning was remapping the frontiers of human knowl-edge, The Tempest explores a paradox of human consciousness: awareness of one’s self in the world can prevent one from feeling connected to the world.

Albert Einstein once wrote:A human being is a part of the whole, called by us “Universe,” a part limited in time and space. He experiences himself, his thoughts and feel-ings as something separated from the rest—a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us.

Prospero, who has devoted his life to knowing all there is to know about the universe, must con-front the extent to which he does not know himself and can never fully know others. In recognizing the limits of his comprehensive power, Prospero learns how to broaden the scope of his empathic ability and prepares for a journey that will enable him to rectify the mis-deeds of his selfish past. Yet, as its title implies, The Tempest is ultimately concerned with much more than one man’s evolution.

Shakespeare, whom Ben Jonson called “the Soul of the age” —an age that considered the soul to be the seat of both thought and feeling—at once celebrates the awesome curiosity and capacity of the human mind and exposes the fears, anxieties and selfserving impulses that threaten to over-whelm it. That which makes us human, as Shakespeare shows us time and time again, is our

struggle to reconcile the enormity of our dreams with the exquisite vulnerability of our brief lives.

The characters in The Tempest confront physical and emotional landscapes that force them to question fundamental truths about who they think themselves to be. Fatigued and isolated, having been traumatically ripped from their everyday world, Prospero’s prisoners stumble through dizzying states of consciousness, uncer-tain whether they can trust what they see, hear or feel. Haunted by memories of their past and tempted by visions of an imagined future, the people of The Tempest struggle to comprehend the insistent present at work in Prospero’s plan.

The island, with its mysterious sights and sounds, becomes a physical manifestation of the human mind—a lens that both reveals and obscures. In Shakespeare’s day, magicians gazed for hours by candlelight into obsidian mirrors. This occult art, called “scrying,” transported its practitioners into the supernatural realm. The terra incognita of Shakespeare’s The Tempest facilitates a similar magic, bestowing upon its audience the power to participate in both sides of the act of knowing. Our need to understand leads us to identify with both the ruler and the subject; we are both the observer and the observed.

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As he reveals the extent to which human beings are enslaved by their senses, Shakespeare offers glimpses of the transformative power of percep-tion: how the unknown can be turned into monster or god and how brief moments contain lifetimes of experience. We wonder at what it is to wonder and marvel at our capacity for the marvelous. We appreciate, in the midst of our tempestuous lives, how rare and precious are those moments when we can truly see, can truly touch, can truly feel the humanity of those around us.

There’s something resonantly modern in Shakespeare’s exploration of human conscious-ness. Writing twenty years before Rene Descartes shook the philosophical world with his founda-tional assertion, “I think therefore I am,” and three hundred years before Albert Einstein for-mulated his theories of relativity, Shakespeare dramatized the power of the mind both to imprison and to liberate. Like his contemporary, John Donne, Shakespeare reminds us that “No man is an island;” The Tempest dares us to open our hearts and minds fully enough to drown with all the world in the deluge of our senses.

From the DirectorDrew Barr

K ing Alonso of Naples and his entou-rage sail home for Italy after attend-ing his daughter Claribel’s wedding

in Tunis, Africa. They encounter a violent tempest. As their ship splits, everyone jumps overboard. The King and his party are washed ashore on a strange island inhabited by the magician Prospero, who has deliber-ately conjured up the storm. Prospero is, in fact, the rightful Duke of Milan. Twelve years previously, his brother, Antonio, conspired with King Alonso to seize the dukedom. Prospero’s sole friend at court, Gonzalo, pro-vided supplies, including some treasured books, for his enforced flight.

Prospero’s spirit-servant, Ariel, assures him the ship is intact, its crew and passengers safe, with Ferdinand, Alonso’s son and heir, separated from the others. The prince is brought to Miranda, Prospero’s daughter, and they fall in love. Prospero must act quickly to take full advantage of his favorable circumstances. He enforces hard labor on Ferdinand to test him, and, with Ariel’s help, spell-binds the court into deep slumber. But, Antonio and Alonso’s brother, Sebastian, do not succumb and they plot to murder the sleeping King and Gonzalo. Ariel foils their plan at the last moment. Meanwhile, two other survivors, Trinculo and Stephano, fall

in with Caliban, who lived alone on the island before Prospero and Miranda’s arrival. Caliban believes he is the island’s rightful ruler, having inherited it from his mother, the witch Sycorax. He offers to make Stephano his king, if Stephano will kill Prospero. Prospero presents Alonso and his guilty courtiers with a banquet of delights which turns terrifying with the arrival of Ariel in the form of a vengeful harpy. Alonso, believing that his crime against the exiled duke has resulted in the death of Ferdinand, is deeply traumatized.

Prospero rewards the constancy of the lovers with a celebratory betrothal masque. At its climax, suddenly recalling Caliban’s conspiracy, he transforms the spirit-actors into dogs who hound the miscreants. The sense of danger narrowly averted and the power of human compassion evoked by Ariel prompt Prospero to renounce his magic. He brings everyone together, thanks to Gonzalo for his fidelity, and confronts his enemies. Ferdinand is reunited with his grateful father, who breaks the pact with Antonio and oblig-es him to restore the dukedom to Prospero. Caliban regrets his misplaced confidence in Stephano. As the royal and ducal groups prepare to return to Italy, Ariel is given his freedom and Caliban regains the island.

Summary

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From as far back as Aristotle to the forefront of modern neuroscience, we have linked our fundamental conception of humanity

to the notion of consciousness—the spark of awareness that makes us us. Consciousness fuels our innate curiosity about the world, as well as provides the window through which we perceive that world. It establishes both the “I” and the “eye” of the beholder. In The Tempest’s spare and tanta-lizing allusiveness, Shakespeare delves deeper into the thrilling mystery of life than in any of his earlier plays. Written at a time when new learning was remapping the frontiers of human knowl-edge, The Tempest explores a paradox of human consciousness: awareness of one’s self in the world can prevent one from feeling connected to the world.

Albert Einstein once wrote:A human being is a part of the whole, called by us “Universe,” a part limited in time and space. He experiences himself, his thoughts and feel-ings as something separated from the rest—a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us.

Prospero, who has devoted his life to knowing all there is to know about the universe, must con-front the extent to which he does not know himself and can never fully know others. In recognizing the limits of his comprehensive power, Prospero learns how to broaden the scope of his empathic ability and prepares for a journey that will enable him to rectify the mis-deeds of his selfish past. Yet, as its title implies, The Tempest is ultimately concerned with much more than one man’s evolution.

Shakespeare, whom Ben Jonson called “the Soul of the age” —an age that considered the soul to be the seat of both thought and feeling—at once celebrates the awesome curiosity and capacity of the human mind and exposes the fears, anxieties and selfserving impulses that threaten to over-whelm it. That which makes us human, as Shakespeare shows us time and time again, is our

struggle to reconcile the enormity of our dreams with the exquisite vulnerability of our brief lives.

The characters in The Tempest confront physical and emotional landscapes that force them to question fundamental truths about who they think themselves to be. Fatigued and isolated, having been traumatically ripped from their everyday world, Prospero’s prisoners stumble through dizzying states of consciousness, uncer-tain whether they can trust what they see, hear or feel. Haunted by memories of their past and tempted by visions of an imagined future, the people of The Tempest struggle to comprehend the insistent present at work in Prospero’s plan.

The island, with its mysterious sights and sounds, becomes a physical manifestation of the human mind—a lens that both reveals and obscures. In Shakespeare’s day, magicians gazed for hours by candlelight into obsidian mirrors. This occult art, called “scrying,” transported its practitioners into the supernatural realm. The terra incognita of Shakespeare’s The Tempest facilitates a similar magic, bestowing upon its audience the power to participate in both sides of the act of knowing. Our need to understand leads us to identify with both the ruler and the subject; we are both the observer and the observed.

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As he reveals the extent to which human beings are enslaved by their senses, Shakespeare offers glimpses of the transformative power of percep-tion: how the unknown can be turned into monster or god and how brief moments contain lifetimes of experience. We wonder at what it is to wonder and marvel at our capacity for the marvelous. We appreciate, in the midst of our tempestuous lives, how rare and precious are those moments when we can truly see, can truly touch, can truly feel the humanity of those around us.

There’s something resonantly modern in Shakespeare’s exploration of human conscious-ness. Writing twenty years before Rene Descartes shook the philosophical world with his founda-tional assertion, “I think therefore I am,” and three hundred years before Albert Einstein for-mulated his theories of relativity, Shakespeare dramatized the power of the mind both to imprison and to liberate. Like his contemporary, John Donne, Shakespeare reminds us that “No man is an island;” The Tempest dares us to open our hearts and minds fully enough to drown with all the world in the deluge of our senses.

From the DirectorDrew Barr

K ing Alonso of Naples and his entou-rage sail home for Italy after attend-ing his daughter Claribel’s wedding

in Tunis, Africa. They encounter a violent tempest. As their ship splits, everyone jumps overboard. The King and his party are washed ashore on a strange island inhabited by the magician Prospero, who has deliber-ately conjured up the storm. Prospero is, in fact, the rightful Duke of Milan. Twelve years previously, his brother, Antonio, conspired with King Alonso to seize the dukedom. Prospero’s sole friend at court, Gonzalo, pro-vided supplies, including some treasured books, for his enforced flight.

Prospero’s spirit-servant, Ariel, assures him the ship is intact, its crew and passengers safe, with Ferdinand, Alonso’s son and heir, separated from the others. The prince is brought to Miranda, Prospero’s daughter, and they fall in love. Prospero must act quickly to take full advantage of his favorable circumstances. He enforces hard labor on Ferdinand to test him, and, with Ariel’s help, spell-binds the court into deep slumber. But, Antonio and Alonso’s brother, Sebastian, do not succumb and they plot to murder the sleeping King and Gonzalo. Ariel foils their plan at the last moment. Meanwhile, two other survivors, Trinculo and Stephano, fall

in with Caliban, who lived alone on the island before Prospero and Miranda’s arrival. Caliban believes he is the island’s rightful ruler, having inherited it from his mother, the witch Sycorax. He offers to make Stephano his king, if Stephano will kill Prospero. Prospero presents Alonso and his guilty courtiers with a banquet of delights which turns terrifying with the arrival of Ariel in the form of a vengeful harpy. Alonso, believing that his crime against the exiled duke has resulted in the death of Ferdinand, is deeply traumatized.

Prospero rewards the constancy of the lovers with a celebratory betrothal masque. At its climax, suddenly recalling Caliban’s conspiracy, he transforms the spirit-actors into dogs who hound the miscreants. The sense of danger narrowly averted and the power of human compassion evoked by Ariel prompt Prospero to renounce his magic. He brings everyone together, thanks to Gonzalo for his fidelity, and confronts his enemies. Ferdinand is reunited with his grateful father, who breaks the pact with Antonio and oblig-es him to restore the dukedom to Prospero. Caliban regrets his misplaced confidence in Stephano. As the royal and ducal groups prepare to return to Italy, Ariel is given his freedom and Caliban regains the island.

Summary

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newly popular “romance” style that was marked by exotic settings, wondrous events, and a some-times unsettling mix of tragedy and comedy. Another strand of influence on this group of late plays was the court masque. King James and his wife Anne frequently commissioned such artists as designer and architect Inigo Jones, lutenist and composer Robert Johnson, and writer Ben Jonson to create elaborate spectacles for court involving costumes, scenery, music, dance, poet-ry, and mythological characters.

Such influences can readily be seen in The Tempest. It’s set on a remote island, peopled by spirits and ruled by a magician. The masque composer Robert Johnson created musical set-tings for at least two of the songs called for in the text. Costumed dances are also described in the First Folio text, which includes an unusual num-ber of stage directions for specific props and actions. Witness this note at the beginning of Act 3, Scene 3: “Enter PROSPERO above, invis-ible. Enter several strange Shapes, bringing in a banquet; they dance about it with gentle actions of salutation; and, inviting the King, & c. to eat, they depart.” Another notation follows, mid-scene: “Enter ARIEL, like a harpy; claps his wings upon the table; and, with a quaint device, the banquet vanishes.”

Detail of costume designs by Inigo Jones for the The Masque of Augures written by Ben Jonson in 1622.

A conjectural reconstruction of the interior of Blackfriars Theatre, the indoor space that The King’s Men started using in 1609 during winter months and where The Tempest may have been performed.

This is what many of us think we know about William Shakespeare’s The Tempest: that it was the playwright’s last

play and represents his “farewell to theater.” That take on The Tempest first gained traction in the mid-19th century but evidence has since emerged that Shakespeare kept writing for the stage after he penned it. Also the place of The Tempest in Shakespeare’s biography does not account fully for the power and fascination that the play still holds today.

Here are a few facts: The Tempest was not published during Shakespeare’s lifetime and only appeared in print in the First Folio of col-lected works released by members of the play-wright’s theater company in 1623. Most scholars agree that the setting and plot of The Tempest were in part inspired by news of early encoun-ters between English settlers and Native Americans and, more specifically, of a shipwreck in Bermuda, in July 1609, of a supply ship headed for the recently established English colo-ny of Jamestown in Virginia. News of the ship-wreck began to reach England about September 1610. The window for the play’s composition was narrow. Records indicate that The Tempest was performed at the court of King James on November 1, 1611, and was reprised at court again before the marriage of James’s daughter Elizabeth in February 1613.

Many commentators have assumed that Shakespeare left London after he wrote The Tempest, in late 1610 or early 1611, to retire to his home in Stratford-on-Avon, where he died in 1616. However, scholars also increasingly agree that Shakespeare probably collaborated with the younger writer John Fletcher on two or three plays—Henry VIII, Two Noble Kinsmen, and the lost Cardenio—between 1612 and 1614. And in 1613, Shakespeare became part-owner of a house in Blackfriars, a London district where his company operated a theater. Perhaps Shakespeare’s “farewell to the theater” was not as definitive and dramatic as the farewell to magic delivered in the play by his character Prospero.

By 1611, when The Tempest was performed at court, Shakespeare and his company had estab-lished themselves as London’s leading theater practitioners. Performing in the 1590s as the Lord Chamberlain’s Men, the company was prosperous enough to build an outdoor theater, The Globe, in 1599. They weathered the uncer-tainty surrounding Queen Elizabeth’s death and the succession of James I in 1603, and they quickly won a patent from James to bear the name “The King’s Men.” They had the where-withal to renovate a second theater space in the Blackfriars district and started performing there indoors during the winter months in 1609. In the 18th century, the poet John Dryden passed along the oral tradition that The Tempest had been presented at the Blackfriars Theatre.

And yet by 1611 Shakespeare may also have been feeling the pressure of changing tastes. The plays that he wrote between about 1607 and 1611— Pericles, Prince of Tyre, The Winter’s Tale, Cymbeline, and The Tempest— were all in the

The marriage celebration of Elizabeth, the daughter of James I, and Frederick V, future King of Bohemia, provided the occasion for an early performance of The Tempest in 1613.

Playnotes

Inigo Jones, the English designer and architect who was first employed by Queen Anne, the wife of James I, to design sets and costumes for masque entertainments at court.

Date of Play

1589 First play begunhenry vi, part 1

1611the tempest

last play completed 1614 the two noble kinsman

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newly popular “romance” style that was marked by exotic settings, wondrous events, and a some-times unsettling mix of tragedy and comedy. Another strand of influence on this group of late plays was the court masque. King James and his wife Anne frequently commissioned such artists as designer and architect Inigo Jones, lutenist and composer Robert Johnson, and writer Ben Jonson to create elaborate spectacles for court involving costumes, scenery, music, dance, poet-ry, and mythological characters.

Such influences can readily be seen in The Tempest. It’s set on a remote island, peopled by spirits and ruled by a magician. The masque composer Robert Johnson created musical set-tings for at least two of the songs called for in the text. Costumed dances are also described in the First Folio text, which includes an unusual num-ber of stage directions for specific props and actions. Witness this note at the beginning of Act 3, Scene 3: “Enter PROSPERO above, invis-ible. Enter several strange Shapes, bringing in a banquet; they dance about it with gentle actions of salutation; and, inviting the King, & c. to eat, they depart.” Another notation follows, mid-scene: “Enter ARIEL, like a harpy; claps his wings upon the table; and, with a quaint device, the banquet vanishes.”

Detail of costume designs by Inigo Jones for the The Masque of Augures written by Ben Jonson in 1622.

A conjectural reconstruction of the interior of Blackfriars Theatre, the indoor space that The King’s Men started using in 1609 during winter months and where The Tempest may have been performed.

This is what many of us think we know about William Shakespeare’s The Tempest: that it was the playwright’s last

play and represents his “farewell to theater.” That take on The Tempest first gained traction in the mid-19th century but evidence has since emerged that Shakespeare kept writing for the stage after he penned it. Also the place of The Tempest in Shakespeare’s biography does not account fully for the power and fascination that the play still holds today.

Here are a few facts: The Tempest was not published during Shakespeare’s lifetime and only appeared in print in the First Folio of col-lected works released by members of the play-wright’s theater company in 1623. Most scholars agree that the setting and plot of The Tempest were in part inspired by news of early encoun-ters between English settlers and Native Americans and, more specifically, of a shipwreck in Bermuda, in July 1609, of a supply ship headed for the recently established English colo-ny of Jamestown in Virginia. News of the ship-wreck began to reach England about September 1610. The window for the play’s composition was narrow. Records indicate that The Tempest was performed at the court of King James on November 1, 1611, and was reprised at court again before the marriage of James’s daughter Elizabeth in February 1613.

Many commentators have assumed that Shakespeare left London after he wrote The Tempest, in late 1610 or early 1611, to retire to his home in Stratford-on-Avon, where he died in 1616. However, scholars also increasingly agree that Shakespeare probably collaborated with the younger writer John Fletcher on two or three plays—Henry VIII, Two Noble Kinsmen, and the lost Cardenio—between 1612 and 1614. And in 1613, Shakespeare became part-owner of a house in Blackfriars, a London district where his company operated a theater. Perhaps Shakespeare’s “farewell to the theater” was not as definitive and dramatic as the farewell to magic delivered in the play by his character Prospero.

By 1611, when The Tempest was performed at court, Shakespeare and his company had estab-lished themselves as London’s leading theater practitioners. Performing in the 1590s as the Lord Chamberlain’s Men, the company was prosperous enough to build an outdoor theater, The Globe, in 1599. They weathered the uncer-tainty surrounding Queen Elizabeth’s death and the succession of James I in 1603, and they quickly won a patent from James to bear the name “The King’s Men.” They had the where-withal to renovate a second theater space in the Blackfriars district and started performing there indoors during the winter months in 1609. In the 18th century, the poet John Dryden passed along the oral tradition that The Tempest had been presented at the Blackfriars Theatre.

And yet by 1611 Shakespeare may also have been feeling the pressure of changing tastes. The plays that he wrote between about 1607 and 1611— Pericles, Prince of Tyre, The Winter’s Tale, Cymbeline, and The Tempest— were all in the

The marriage celebration of Elizabeth, the daughter of James I, and Frederick V, future King of Bohemia, provided the occasion for an early performance of The Tempest in 1613.

Playnotes

Inigo Jones, the English designer and architect who was first employed by Queen Anne, the wife of James I, to design sets and costumes for masque entertainments at court.

Date of Play

1589 First play begunhenry vi, part 1

1611the tempest

last play completed 1614 the two noble kinsman

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Did Shakespeare enthusiastically embrace the possibilities of the masque-infused romance? The Bloomsbury writer Lytton Strachey claimed that by the time the playwright produced Cymbeline, he “was getting bored himself.” We’ll never know. But what is known is that the play-wright seems to have begun, in those last years, to work more frequently with collaborators. Individual, original authorship was not as strong and stable a concept in Shakespeare’s day as it is in ours. Earlier in his career, Shakespeare often reworked older plays. Meeting the constant demand for new work, writers in those days often operated more interchangeably—as the writing team for a television series might today. For whatever combination of reasons,

Shakespeare does seem to have begun stepping back. In addition to the collaborations with the up-and-coming John Fletcher that have already been mentioned, Shakespeare may have worked with others on Pericles, Prince of Tyre, which, like the Fletcher collaborations, was not included in the First Folio collection, and on Cymbeline.

But while critical reception has not been kind to some of the late romance plays, The Tempest represents Shakespeare operating at full strength. Unlike his more customary practice, Shakespeare does not seem to have relied on a specific source for its plot. The story touches on many themes that Shakespeare examined from different direc-tions throughout his writing career: the nature of kingship and just governance, the tension

between nature and nurture, the relationship between a father and a precious daughter, the consequences of such irrational emotions as jealousy and the desire for revenge.

Some of these issues were topical in a particu-lar way in Shakespeare’s day. Several observers have seen in Prospero a portrait of an older contemporary of the playwright’s, a learned man named John Dee. A mathematician, phi-losopher, mystical humanist, occultist, astrolo-ger, and alchemist, Dee had advised Queen

Elizabeth but did not find favor with King James and died in about 1609. Dee studied and pub-lished treatises about navigation, championing British exploration of the New World and the creation of a far-flung British Empire founded on naval power. Amassing one of the country’s largest private libraries, he also plumbed math-ematics, ancient philosophical texts, and the rituals involved in transforming base metals into gold and divining mystical secrets by gazing into mirrored surfaces in order to seek a basis for a unified world religion that would heal the split between the Catholic and Anglican Churches.

The Tempest seems to be grappling in a pro-found and moving way with some of the same questions that absorbed John Dee and like scholars—questions that still speak to us today: How does one govern oneself? Shakespeare’s contemporaries found the answer in Plato’s tri-partite division of the soul into Reason, Spirit, and Appetite—which may be personified in The Tempest by Prospero, Ariel, and Caliban and which found another expression, centuries later, in Sigmund Freud’s superego, ego and id. Does kingship itself confer a fitness to govern others? The play explores the question from several angles—from Prospero’s own controlling and indifferent style of governing to the drunken scheming of the fools Stephano and Trinculo to become “lords” of the island. Why has gover-nance, throughout human history, resorted to subjugating “the other”—the Calibans we encounter—as less than human?

Such topics were certainly on Shakespeare’s mind when he wrote The Tempest. In the character Gonzalo’s description of an ideal state, there are echoes of observations about the New World and the nature of its people that are contained in the essay “Of Cannibals” by French humanist Michel De Montaign, which was translated into English in 1603. In an age of exploration, in the court of a king who placed a high value on the trappings of absolute monarchy, proper governance of self, state, and others posed important questions.

Playnotes continued

John Dee studied navigation and promoted explo-ration of the New World. In the frontispiece to his 1577 treatise, the figure of Britannia begs Queen Elizabeth to permit British navigators to embark on voyages of discovery. New World encounters of the early 17th century are thought to have influenced the setting and plot of The Tempest.

Portrait of John Dee, the Elizabethan mathematician, philosopher, and occultist who may have been one of Shakespeare’s inspirations for the character of Prospero

length of Play

0 lines

2,275 linesthe tempest

longest play 4,024 lines hamlet

shortest play 1,786 lines The Comedy of Errors

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Did Shakespeare enthusiastically embrace the possibilities of the masque-infused romance? The Bloomsbury writer Lytton Strachey claimed that by the time the playwright produced Cymbeline, he “was getting bored himself.” We’ll never know. But what is known is that the play-wright seems to have begun, in those last years, to work more frequently with collaborators. Individual, original authorship was not as strong and stable a concept in Shakespeare’s day as it is in ours. Earlier in his career, Shakespeare often reworked older plays. Meeting the constant demand for new work, writers in those days often operated more interchangeably—as the writing team for a television series might today. For whatever combination of reasons,

Shakespeare does seem to have begun stepping back. In addition to the collaborations with the up-and-coming John Fletcher that have already been mentioned, Shakespeare may have worked with others on Pericles, Prince of Tyre, which, like the Fletcher collaborations, was not included in the First Folio collection, and on Cymbeline.

But while critical reception has not been kind to some of the late romance plays, The Tempest represents Shakespeare operating at full strength. Unlike his more customary practice, Shakespeare does not seem to have relied on a specific source for its plot. The story touches on many themes that Shakespeare examined from different direc-tions throughout his writing career: the nature of kingship and just governance, the tension

between nature and nurture, the relationship between a father and a precious daughter, the consequences of such irrational emotions as jealousy and the desire for revenge.

Some of these issues were topical in a particu-lar way in Shakespeare’s day. Several observers have seen in Prospero a portrait of an older contemporary of the playwright’s, a learned man named John Dee. A mathematician, phi-losopher, mystical humanist, occultist, astrolo-ger, and alchemist, Dee had advised Queen

Elizabeth but did not find favor with King James and died in about 1609. Dee studied and pub-lished treatises about navigation, championing British exploration of the New World and the creation of a far-flung British Empire founded on naval power. Amassing one of the country’s largest private libraries, he also plumbed math-ematics, ancient philosophical texts, and the rituals involved in transforming base metals into gold and divining mystical secrets by gazing into mirrored surfaces in order to seek a basis for a unified world religion that would heal the split between the Catholic and Anglican Churches.

The Tempest seems to be grappling in a pro-found and moving way with some of the same questions that absorbed John Dee and like scholars—questions that still speak to us today: How does one govern oneself? Shakespeare’s contemporaries found the answer in Plato’s tri-partite division of the soul into Reason, Spirit, and Appetite—which may be personified in The Tempest by Prospero, Ariel, and Caliban and which found another expression, centuries later, in Sigmund Freud’s superego, ego and id. Does kingship itself confer a fitness to govern others? The play explores the question from several angles—from Prospero’s own controlling and indifferent style of governing to the drunken scheming of the fools Stephano and Trinculo to become “lords” of the island. Why has gover-nance, throughout human history, resorted to subjugating “the other”—the Calibans we encounter—as less than human?

Such topics were certainly on Shakespeare’s mind when he wrote The Tempest. In the character Gonzalo’s description of an ideal state, there are echoes of observations about the New World and the nature of its people that are contained in the essay “Of Cannibals” by French humanist Michel De Montaign, which was translated into English in 1603. In an age of exploration, in the court of a king who placed a high value on the trappings of absolute monarchy, proper governance of self, state, and others posed important questions.

Playnotes continued

John Dee studied navigation and promoted explo-ration of the New World. In the frontispiece to his 1577 treatise, the figure of Britannia begs Queen Elizabeth to permit British navigators to embark on voyages of discovery. New World encounters of the early 17th century are thought to have influenced the setting and plot of The Tempest.

Portrait of John Dee, the Elizabethan mathematician, philosopher, and occultist who may have been one of Shakespeare’s inspirations for the character of Prospero

length of Play

0 lines

2,275 linesthe tempest

longest play 4,024 lines hamlet

shortest play 1,786 lines The Comedy of Errors

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The Tempest encompasses a multitude of themes, experiences, and settings—music and dance, magic, thoughts about governance and kingship, a relationship between a father and a daugh-ter, young lovers. Throughout the years, theater practitioners have focused on aspects of

Shakespeare’s play that suited their own times and purposes.

The Tempest was “revived” after the theaters were allowed to reopen when King Charles II was restored to the English throne in 1660. It may have seemed safe in those dangerous times to focus on and amplify the play’s love story and its comic subplot. Taking The Tempest up after the Restoration, when women were also allowed on stage, Sir William Davenant and the poet John Dryden added another pair of lovers, including sisters for Miranda and Caliban. Displaying the free hand that they used on many of Shakespeare’s plays, Davenant and Dryden used less than a third of Shakespeare’s own text.

The musicality of The Tempest inspired an operatic treat-ment of Davenant and Dryden’s adaptation, which was developed by Thomas Shadwell in 1674. Shadwell’s opera was popular enough to inspire a farcical parody that included a riot in a brothel and was titled The Mock Tempest, or the Enchanted Castle.

The 19th century witnessed the gradual re-introduction of more of Shakespeare’s own text, as happened with many of his other plays as well. Not unexpectedly, spectacle was a prominent feature of most 19th century productions of The Tempest. Charles Kean employed 140 stage hands to execute such stage effects as Ariel descending on a fire ball in a show that lasted five hours.

As the 19th century progressed, interest grew in the char-acter of Caliban as a noble savage and rebellious anti-hero—along the lines of the darkly charismatic heroes of the poet Lord Byron. Such actor-managers as Beerbohm Tree preferred to play Caliban rather than Prospero.

In 1956, French psychoanalyst Octave Mannoni pub-lished a provocative treatise entitled Prospero and Caliban: The Psychology of Colonization, prompting “post-colonial” explorations of the relationship in the play between oppressor and oppressed. In the 1960s, such prominent black actors as Earle Hyman and James Earl Jones took on the role of Caliban. In 1976, the year of the United States bicentennial, Great Lakes artistic director Vincent Dowling envisioned The Tempest as a “New World” encounter in this vein.

The late 20th century witnessed a variety of approach-es. Some directors focused on the play’s historical con-text. A 1973 production at Britain’s National Theatre featured John Gielgud as Prospero, dressed to resemble the occultist John Dee. Others brought Shakespeare’s biography to the fore; in a 1997 production at Great Lakes Theater, guest directed by Dennis Rosa, Prospero was clothed to resemble iconic representations of the playwright himself.

Many contemporary directors have plumbed the play’s psychological depths. The tender and bittersweet relation-ship between father and daughter infused Great Lakes Theater’s 2007 production, directed by Andrew May.

The adaptation of The Tempest by Davenant and Dryden in 1667 brought both the love plot and the comic subplot of Caliban, Stephano and Trinculo to the fore. Their adaptation held sway for another century. Johann Heinrich Ramberg, a German-born painter and engraver who worked in England, contributed this illustration of the Davenant and Dryden text to John Boydell’s Shakespeare Gallery, a multivolume illustrated edition of Shakespeare plays that was released between 1791 and 1803.

Charles Kean’s elaborate production of The Tempest in 1857 included a full-scale ship and water on stage.

Prospero and Miranda share a moment of easy familiarity in Great Lakes Theater’s 2007 production, directed by Andrew May.

Some of the 19th century actor-managers preferred the role of Caliban. A contemporary illustration captures actor Beerbohm Tree’s rendition of Caliban in a 1904-1905 production at His Majesty’s Theatre in London.

Great Lakes Theater’s 1976 production of the play, directed by artistic director Vincent Dowling, also approached the play from the perspective of New World encounters.

Presenting Prospero in the likeness of Shakespeare emphasized the sense of Shakespeare’s “farewell to the theater” in Great Lakes Theater’s 1997 production, directed by Dennis Rosa.

John Gielgud’s Prospero

The Tempest Through the Ages

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The Tempest encompasses a multitude of themes, experiences, and settings—music and dance, magic, thoughts about governance and kingship, a relationship between a father and a daugh-ter, young lovers. Throughout the years, theater practitioners have focused on aspects of

Shakespeare’s play that suited their own times and purposes.

The Tempest was “revived” after the theaters were allowed to reopen when King Charles II was restored to the English throne in 1660. It may have seemed safe in those dangerous times to focus on and amplify the play’s love story and its comic subplot. Taking The Tempest up after the Restoration, when women were also allowed on stage, Sir William Davenant and the poet John Dryden added another pair of lovers, including sisters for Miranda and Caliban. Displaying the free hand that they used on many of Shakespeare’s plays, Davenant and Dryden used less than a third of Shakespeare’s own text.

The musicality of The Tempest inspired an operatic treat-ment of Davenant and Dryden’s adaptation, which was developed by Thomas Shadwell in 1674. Shadwell’s opera was popular enough to inspire a farcical parody that included a riot in a brothel and was titled The Mock Tempest, or the Enchanted Castle.

The 19th century witnessed the gradual re-introduction of more of Shakespeare’s own text, as happened with many of his other plays as well. Not unexpectedly, spectacle was a prominent feature of most 19th century productions of The Tempest. Charles Kean employed 140 stage hands to execute such stage effects as Ariel descending on a fire ball in a show that lasted five hours.

As the 19th century progressed, interest grew in the char-acter of Caliban as a noble savage and rebellious anti-hero—along the lines of the darkly charismatic heroes of the poet Lord Byron. Such actor-managers as Beerbohm Tree preferred to play Caliban rather than Prospero.

In 1956, French psychoanalyst Octave Mannoni pub-lished a provocative treatise entitled Prospero and Caliban: The Psychology of Colonization, prompting “post-colonial” explorations of the relationship in the play between oppressor and oppressed. In the 1960s, such prominent black actors as Earle Hyman and James Earl Jones took on the role of Caliban. In 1976, the year of the United States bicentennial, Great Lakes artistic director Vincent Dowling envisioned The Tempest as a “New World” encounter in this vein.

The late 20th century witnessed a variety of approach-es. Some directors focused on the play’s historical con-text. A 1973 production at Britain’s National Theatre featured John Gielgud as Prospero, dressed to resemble the occultist John Dee. Others brought Shakespeare’s biography to the fore; in a 1997 production at Great Lakes Theater, guest directed by Dennis Rosa, Prospero was clothed to resemble iconic representations of the playwright himself.

Many contemporary directors have plumbed the play’s psychological depths. The tender and bittersweet relation-ship between father and daughter infused Great Lakes Theater’s 2007 production, directed by Andrew May.

The adaptation of The Tempest by Davenant and Dryden in 1667 brought both the love plot and the comic subplot of Caliban, Stephano and Trinculo to the fore. Their adaptation held sway for another century. Johann Heinrich Ramberg, a German-born painter and engraver who worked in England, contributed this illustration of the Davenant and Dryden text to John Boydell’s Shakespeare Gallery, a multivolume illustrated edition of Shakespeare plays that was released between 1791 and 1803.

Charles Kean’s elaborate production of The Tempest in 1857 included a full-scale ship and water on stage.

Prospero and Miranda share a moment of easy familiarity in Great Lakes Theater’s 2007 production, directed by Andrew May.

Some of the 19th century actor-managers preferred the role of Caliban. A contemporary illustration captures actor Beerbohm Tree’s rendition of Caliban in a 1904-1905 production at His Majesty’s Theatre in London.

Great Lakes Theater’s 1976 production of the play, directed by artistic director Vincent Dowling, also approached the play from the perspective of New World encounters.

Presenting Prospero in the likeness of Shakespeare emphasized the sense of Shakespeare’s “farewell to the theater” in Great Lakes Theater’s 1997 production, directed by Dennis Rosa.

John Gielgud’s Prospero

The Tempest Through the Ages

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The dynamics of power that drive Shakespeare’s play—at once political, sexual, and psychological—are at the

heart of the current Great Lakes Theater pro-duction of The Tempest, directed by long-time guest director Drew Barr. So many questions arise: How to embody Prospero’s sometimes capricious cruelty and his all-consuming need for control and revenge? Is he best likened to a modern-day terrorist bent on vengeance or to a Renaissance scholar trapped in his own self-absorption? How to reveal the humanity of the slave Caliban when no one in the play wants to see him as a human person?

Like all producers of Shakespeare’s play, director Barr and his design team have had to grapple with how to represent the various worlds that collide in The Tempest. There are the original inhabitants of the island—Caliban and Ariel; the Europeans in exile—Prospero and Miranda; the shipwrecked courtiers; the spirits who perform the play’s masque enter-tainments; and even the mariners on the boat.

Each group has its own separate and isolated experiences, and yet the play moves forward by gradually drawing them together. Unlike the protagonists of Shakespeare’s other plays, Prospero orchestrates the movements of the other characters while only interacting with them sparingly himself. He engages most close-ly with Ariel—the private instrument of his machinations. As a result, Prospero’s physical relationship with the action of the play becomes an interesting challenge.

Things also have to be embodied on stage that are difficult to carry off—storms, islands, spirits. If not depicted literally, how can the psy-chology of a storm, the trajectory from madness to peace, be tracked? If the setting is an island of the mind, how can the desperate sense of con-finement be communicated? Until the storm, Miranda had only a slave or her own father to choose as a potential mate. What are the visual signals that the tensions among the three of them have neared the breaking point?

Drew Barr had not worked on The Tempest

Prospero Caliban

From inspiration to design

Trinculo

Ceres Juno

Costume Design by Kim Krumm Sorenson

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The dynamics of power that drive Shakespeare’s play—at once political, sexual, and psychological—are at the

heart of the current Great Lakes Theater pro-duction of The Tempest, directed by long-time guest director Drew Barr. So many questions arise: How to embody Prospero’s sometimes capricious cruelty and his all-consuming need for control and revenge? Is he best likened to a modern-day terrorist bent on vengeance or to a Renaissance scholar trapped in his own self-absorption? How to reveal the humanity of the slave Caliban when no one in the play wants to see him as a human person?

Like all producers of Shakespeare’s play, director Barr and his design team have had to grapple with how to represent the various worlds that collide in The Tempest. There are the original inhabitants of the island—Caliban and Ariel; the Europeans in exile—Prospero and Miranda; the shipwrecked courtiers; the spirits who perform the play’s masque enter-tainments; and even the mariners on the boat.

Each group has its own separate and isolated experiences, and yet the play moves forward by gradually drawing them together. Unlike the protagonists of Shakespeare’s other plays, Prospero orchestrates the movements of the other characters while only interacting with them sparingly himself. He engages most close-ly with Ariel—the private instrument of his machinations. As a result, Prospero’s physical relationship with the action of the play becomes an interesting challenge.

Things also have to be embodied on stage that are difficult to carry off—storms, islands, spirits. If not depicted literally, how can the psy-chology of a storm, the trajectory from madness to peace, be tracked? If the setting is an island of the mind, how can the desperate sense of con-finement be communicated? Until the storm, Miranda had only a slave or her own father to choose as a potential mate. What are the visual signals that the tensions among the three of them have neared the breaking point?

Drew Barr had not worked on The Tempest

Prospero Caliban

From inspiration to design

Trinculo

Ceres Juno

Costume Design by Kim Krumm Sorenson

Ariel25

before taking on this assignment, either as an actor or a director. He thought he knew the play as “an island fantasy,” but the more he read and re-read it, the more he realized “how dark it was psychologically, how rich and scary.” From read-ing the play itself, Barr dove into reading about the play and its historical context and then kept reading. Finding out about the mathematician John Dee led on the one hand to reading about Athanasius Kircher, a 17th century German Jesuit who aspired to know everything, and on the other hand to delving into astrology. He also sought out images that resonated with his emerging ideas about the play. Curious about shipwrecks, for instance, he clicked on videos of the recent sinking of the ferry Costa Concordia in the Mediterranean.

Design collaborators have been crucial to Barr’s process. Fortunately, he and his design team—set designer Russell Metheny, costume designer Kim Krumm Sorenson, and lighting designer Rick Martin—have worked together at Great Lakes Theater and elsewhere for more than a decade. Their knowledge of each other, of the Hanna Theatre, and of the technical crews enables them to push the possible. They start by sharing images with each other—from all sorts of disparate places. “We let it grow,” confides Sorenson. “We don’t lock in too early.”

A photo of the scenic model depicting the storm in GLT’s production of The Tempest. Scenic design by Russell Metheny.

From inspiration to design

before taking on this assignment, either as an actor or a director. He thought he knew the play as “an island fantasy,” but the more he read and re-read it, the more he realized “how dark it was psychologically, how rich and scary.” From read-ing the play itself, Barr dove into reading the play and its historical context and then kept reading. Finding out about the mathematician John Dee led on the one hand to reading about Athanasius Kircher, a 17th century German Jesuit who aspired to know everything, and on the other hand to delving into astrology. He also sought out images that resonated with his emerging ideas about the play. Curious about shipwrecks, for instance, he clicked on videos of the recent sinking of the ferry Costa Concordia in the Mediterranean.

Design collaborators have been crucial to Barr’s process. Fortunately, he and his design team—set designer Russell Metheny, costume designer Kim Krumm Sorenson, and lighting designer Rick Martin—have worked together at Great Lakes Theater and elsewhere for more than a decade. Their knowledge of each other, of the Hanna Theatre, and of the technical crews enables them to push the possible. They start by sharing images with each other—from all sorts of disparate places. “We let it grow,” confides

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The mirror and LED light installations of contemporary artist Yayoi Kusama were among the images that inspired thinking about how mirrors might function in the world of the play.

The organic shapes and textures of Nick Cave’s eco-inspired “Soundsuits” offered ways of thinking about the play’s Masque performers.

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Rembrandt’s paintings of Dutch merchants who profited from the “Age of Discovery,” the polished obsidian Aztec mirror that John Dee acquired, dramatic tableaus from designer Thom Browne’s fashion shows, organic “wear-able” art by Nick Cave, art installations of mir-rors and lights by Yayoi Kusama, photographs of homeless people, images of scarring and tat-toos—all became part of the mix and enabled the collaborators to start honing in on the images that “stuck” and inspired the world and the look of the play.

And of such stuff, “dreams are made on”—to borrow Prospero’s words about the power of magic. In the end, says Russell Metheny, “Making scenery is not about making scen-ery. You rely on the story, the director, and the actors. You create a space where it can work, a space full of air that can instigate invention.” Actors and air—these are the essential ingredients of Prospero’s revels and of all theater: “These our actors,/ As I fore-told you, were all spirits and/ Are melted into air, into thin air.”

Above: Detail of the mirror box; Below: Models of the mirror box open and closed.

Scenic Design by Russell Metheny

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before taking on this assignment, either as an actor or a director. He thought he knew the play as “an island fantasy,” but the more he read and re-read it, the more he realized “how dark it was psychologically, how rich and scary.” From read-ing the play itself, Barr dove into reading about the play and its historical context and then kept reading. Finding out about the mathematician John Dee led on the one hand to reading about Athanasius Kircher, a 17th century German Jesuit who aspired to know everything, and on the other hand to delving into astrology. He also sought out images that resonated with his emerging ideas about the play. Curious about shipwrecks, for instance, he clicked on videos of the recent sinking of the ferry Costa Concordia in the Mediterranean.

Design collaborators have been crucial to Barr’s process. Fortunately, he and his design team—set designer Russell Metheny, costume designer Kim Krumm Sorenson, and lighting designer Rick Martin—have worked together at Great Lakes Theater and elsewhere for more than a decade. Their knowledge of each other, of the Hanna Theatre, and of the technical crews enables them to push the possible. They start by sharing images with each other—from all sorts of disparate places. “We let it grow,” confides Sorenson. “We don’t lock in too early.”

A photo of the scenic model depicting the storm in GLT’s production of The Tempest. Scenic design by Russell Metheny.

From inspiration to design

before taking on this assignment, either as an actor or a director. He thought he knew the play as “an island fantasy,” but the more he read and re-read it, the more he realized “how dark it was psychologically, how rich and scary.” From read-ing the play itself, Barr dove into reading the play and its historical context and then kept reading. Finding out about the mathematician John Dee led on the one hand to reading about Athanasius Kircher, a 17th century German Jesuit who aspired to know everything, and on the other hand to delving into astrology. He also sought out images that resonated with his emerging ideas about the play. Curious about shipwrecks, for instance, he clicked on videos of the recent sinking of the ferry Costa Concordia in the Mediterranean.

Design collaborators have been crucial to Barr’s process. Fortunately, he and his design team—set designer Russell Metheny, costume designer Kim Krumm Sorenson, and lighting designer Rick Martin—have worked together at Great Lakes Theater and elsewhere for more than a decade. Their knowledge of each other, of the Hanna Theatre, and of the technical crews enables them to push the possible. They start by sharing images with each other—from all sorts of disparate places. “We let it grow,” confides

Spo

tli

gh

t o

n t

he

te

mp

est

The mirror and LED light installations of contemporary artist Yayoi Kusama were among the images that inspired thinking about how mirrors might function in the world of the play.

The organic shapes and textures of Nick Cave’s eco-inspired “Soundsuits” offered ways of thinking about the play’s Masque performers.

Spo

tlig

ht

on th

e te

mp

est

Rembrandt’s paintings of Dutch merchants who profited from the “Age of Discovery,” the polished obsidian Aztec mirror that John Dee acquired, dramatic tableaus from designer Thom Browne’s fashion shows, organic “wear-able” art by Nick Cave, art installations of mir-rors and lights by Yayoi Kusama, photographs of homeless people, images of scarring and tat-toos—all became part of the mix and enabled the collaborators to start honing in on the images that “stuck” and inspired the world and the look of the play.

And of such stuff, “dreams are made on”—to borrow Prospero’s words about the power of magic. In the end, says Russell Metheny, “Making scenery is not about making scen-ery. You rely on the story, the director, and the actors. You create a space where it can work, a space full of air that can instigate invention.” Actors and air—these are the essential ingredients of Prospero’s revels and of all theater: “These our actors,/ As I fore-told you, were all spirits and/ Are melted into air, into thin air.”

Above: Detail of the mirror box; Below: Models of the mirror box open and closed.

Scenic Design by Russell Metheny

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Learn More and Explore

Experience EnhancementSalon Thursdays

Grab a beverage and enjoy a 30 minute pre-show discussion with a GLT artist an hour before the curtain.

Nightcap SaturdaysStick around after the evening performance to mingle in the Hanna’s lounge – open ninety minutes following the show.

Director’s NightEnjoy a pre-show discussion with our Artistic Director and the director of the show an hour before curtain.

PlaynotesListen in on a pre-show introduction to the content of the show before Saturday matinees at 12:30 p.m.

sights and soundsGreatLakesTheater.orgVisit our website for the latest production related audio and visual content in the Sights and Sounds section of our show page

Special ThanksMargaret Lynch, Writer/Researcher

Stacy Mallardi-Stajcar, Casual Images Graphic Design

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weLcome Producing Artistic Director

Dear Friends,

On behalf of our artists, staff and Board of Trustees, welcome to Great Lakes Theater’s 53rd season! Our mission, “to bring the pleasure, power

and relevance of classic theater to the widest possible audience,” guides our mainstage productions, as well as our educational programming. We believe that theater holds the capacity to illuminate truth and enduring values, cele-brate and challenge human nature and actions, and provide our student audi-ences a glimpse of a broader world and the wellspring of learning made pos-sible through the arts.

Continuing our record-breaking season of Les Misérables, The Merry Wives of Windsor, A Christmas Carol and Dial “M” for Murder, we are thrilled to share the final production of the year, Shakespeare’s late romance, The Tempest. I am overjoyed to welcome Drew Barr back to Cleveland as director of The Bard’s late masterpiece. Drew spent the last two years directing The National Theater of London’s award-winning production of War Horse in Australia and Holland, so we consider this a homecoming for him!

We offer special thanks to our great friends, John and Barbara Schubert, for their continued support of Great Lakes Theater as Production Sponsors of The Tempest. As you read through your program and look around the theater tonight, you will see the names of many other friends, partners, corporations and foundations whose support makes all of this possible. We invite you to utilize the enclosed brochure and join the Great Lakes Theater family as a member, supporting the work we create on the Parker Hannifin Stage at the Hanna Theatre and in schools throughout our region.

We extend our deepest gratitude to each and every one of our supporters — with particular recognition to our partners of over 30 years at Playhouse Square — and the tireless efforts of our extraordinary artists, talented administrative staff, dedicated board of trustees and the tremendous generosity of this community!

I hope to see you in our audience next season!

Charles Fee, Producing Artistic Director

Stay Connected with Great Lakes Theater

facebook.com/gltfcleveland

twitter.com/gltfcleveland

youtube.com/gltfcleveland

greatlakestheater.org/blog

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camp THEATER ! 

JUNE 8-12 and JUNE 15-19, 2015

FULL- and HALF-DAY camps available!

at Berea-Midpark High School

Register online at:  GreatLakesTheater.org/educa�on 

216.453.4443  korian@greatlakestheater.org 

Introduce  Your  Children  to the Magic  of  Theater!  

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who’s who The Artistic Company

COMPANY

J. Todd Adams*Caliban/Ensemble, The Tempest; Father/Bob Cratchit/Ensemble, A Christmas Carol Four seasons at Great Lakes TheaterPreviously for Great Lakes

Theater: Much Ado About Nothing (Benedick), Romeo and Juliet (Mercutio), Richard III (Clarence/Catesby), As You Like It (Oliver), The Imaginary Invalid (Bonnefoi) and The Winter’s Tale (Cleomenes). Regional: As You Like It, Richard III, Much Ado About Nothing, Romeo and Juliet, The Imaginary Invalid and The Winter’s Tale at Idaho Shakespeare Festival; The Crucible (Reverend John Hale) at Pioneer Theatre Company; Sherlock Holmes: The Final Adventure (Sherlock Holmes) at the Utah Shakespeare Festival; Romeo and Juliet (Mercutio) at the Denver Center; Henry IV pt. 1 (Hotspur), The Three Musketeers (Aramis), Love’s Labour’s Lost (Costard) and A Midsummer Night’s Dream (Puck) at Shakespeare Santa Cruz; The Importance of Being Earnest (Jack) and The Real Thing (Billy) at PCPA; Drawer Boy, Lonesome West, Entertaining Mister Sloane and Cyrano de Bergerac (South Coast Repertory); Gross Indecency (Mark Taper Forum); King Lear (San Diego Repertory). Film/Television: Gilmore Girls, The West Wing, Flyboys and Warriors of Virtue. Mr. Adams holds an MFA from the American Conservatory Theater.

Aled Davies*Gonzalo/Ensemble, The Tempest; Inspector Hubbard, Dial “M” for Murder; Scrooge/Samuels, A Christmas Carol; Mr. John Falstaff, The Merry Wives of Windsor

Fourteen seasons at Great Lakes TheaterPreviously for GLT: Scrooge/Samuels in A Christmas Carol, Old Adam/Corin in As You Like It, Porter Milgrim in Deathtrap, Arvide Abernathy in Guys and Dolls, Dr. Bradman in Blithe Spirit, Camillo in The Winter’s Tale, Monsieur Diafoirus in The Imaginary Invalid, Capulet in Romeo and Juliet, Major Metcalf in The Mousetrap, Vincentio in The

Taming of the Shrew, Duke of Milan in The Two Gentlemen of Verona, Brabantio in Othello, The Earl of Caversham in An Ideal Husband, Sheriff Reynolds in Bat Boy: The Musical, Oberon/Theseus in A Midsummer Night’s Dream, Your Chairman in The Mystery of Edwin Drood, Sea Captain/Priest in Twelfth Night, Solinus/Dr. Pinch in The Comedy of Errors, Dorn in The Seagull, Duncan/Old Siward in Macbeth, Deputy Governor Danforth in The Crucible, King of France in All’s Well That Ends Well, Mr. Witherspoon in Arsenic and Old Lace, Escalus in Measure for Measure, Prospero in The Tempest, David Bliss in Hay Fever, Senex in A Funny Thing Happened on the Way to the Forum, Boyet in Love’s Labour’s Lost, Lady Bracknell in The Importance of Being Earnest, Julius Caesar in Julius Caesar, Claudius in Hamlet, Cleante in Tartuffe, Leonato in Much Ado About Nothing, Buckingham in Richard III and Topper in A Christmas Carol. Aled has been a proud and appreciative member of Actors’ Equity Association since 1984.

Jonathan Dyrud*Antonio/Ensemble, The Tempest; Tony Wendice, Dial “M” for Murder First season at Great Lakes TheaterJonathan is thrilled to be a part of

the Great Lakes/ISF family this season. In his two years in New York City, he performed as Proteus in The Two Gentlemen of Verona, Ciaus Lucius in Cymbeline (Hip to Hip Theater Company), Grumio in The Taming of the Shrew (Pulse Ensemble Theater) and Huck in the world pre-miere of Minstrel Show (The Weasel Festival). His previous regional credits include four seasons at the Oregon Shakespeare Festival, where he per-formed as Medvedenko in The Seagull, Froth and Friar Peter in Measure for Measure, Ensemble in To Kill a Mockingbird on the main stages, and Solomon in Speech and Debate, C.B. in Dog Sees God and Marcus Gee in Yellowface as part of their Midnight Project series. His film credits include Bartender in My Crazy Love (Oxygen Network) Captain in So SOHA, Pale Interviewee in Redheads Anonymous, and he just wrapped filming on his first indepen-dent film in December as Verder in Big House. Visit him at www.jonathandyrud@squarespace.com

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Tom Ford*Stephano/Ensemble, The Tempest; Dr. Caius, Merry Wives of Windsor; Farmer/Thénardier/Loud Hailer, Les MisérablesNine seasons at Great Lakes Theater

Great Lakes Theater: Sidney Bruhl in Deathtrap, Dr. Caius in The Merry Wives of Windsor, Thénardier in Les Misérables, Sweeney in Sweeney Todd, Hastings/Tyrrel in Richard III, Argan in The Imaginary Invalid, Autolycus in The Winter’s Tale, Mr. Paravicini in The Mousetrap, the Baker in Into the Woods, Ross in Macbeth, Pseudolus in A Funny Thing Happened on the Way to the Forum, the King of Navarre in Love’s Labour’s Lost, Casca in Julius Caesar, Bob Cratchit in A Christmas Carol, Nicola in Arms and the Man and Peter Quince in A Midsummer Night’s Dream. Idaho Shakespeare Festival: Sweeney Todd, Richard III, The Imaginary Invalid, The Winter’s Tale, The Mousetrap, Into the Woods, Macbeth, A Funny Thing Happened on the Way to the Forum, Friar Laurence in Romeo and Juliet, Love’s Labour’s Lost, Gremio in The Taming of the Shrew, Ford in The Merry Wives of Windsor, Touchstone in As You Like It, Julius Caesar, the title role in You’re A Good Man, Charlie Brown and Hucklebee in The Fantasticks. Boise Contemporary Theater: This Wonderful Life, Truman Capote in Tru, I Am My Own Wife (co-produced with ISF). Portland Stage Company: Greater Tuna, The Snow Queen, Schott in Bach at Leipzig, The Mystery of Irma Vep, I Am My Own Wife, Billy in Iron Kisses, Kipps in The Woman in Black, Scrooge in A Christmas Carol, Max in Lend Me a Tenor, Mr. Manningham in Gaslight and Yvan in Art. Broadway: Alan Ayckbourn and Andrew Lloyd Webber’s By Jeeves at the Helen Hayes Theater. New London Barn Playhouse: Sheridan Whiteside in The Man Who Came to Dinner, The Man in the Chair in The Drowsy Chaperone, Pseudolus in A Funny Thing Happened on the Way to the Forum, Elwood P. Dowd in Harvey, Major General Stanley in The Pirates of Penzance, Edna Turnblad in Hairspray, Sipos in She Loves Me and Max in The Producers. Other performances: Dromio of Ephesus in The Comedy of Errors at Pittsburgh Public Theater, Puck in A Midsummer Night’s Dream at Lincoln Center Director’s Lab, Once Around the City at New York Stage and Film, Rutherford and Son at the Mint Theater, Salvador Dali in Hysteria at Florida

Studio Theater, Johnny in Maurice Sendak’s pro-duction of Really Rosie and Hysterium in A Funny Thing Happened on the Way to the Forum at McCarter Theater. TomFordActor.com

Andrew MillerEnsemble, The TempestThree seasons at Great Lakes TheaterAndrew is thrilled to be rejoining Great Lakes Theater after 10 long years away! Previous credits with

GLT: Strato in Julius Caesar and Ensemble in The Merry Wives of Windsor. Other credits: Male 1, Teacher from the Black Lagoon and Other Storybooks (TheatreWorks USA); Marcellus, The Music Man; Milt Fields, Laughter on the 23rd Floor, Hysterium, A Funny Thing Happened on the Way to the Forum (New London Barn Playhouse); Grumio, The Taming of the Shrew (Ithaca Shakespeare Company). “Thanks to my family for their love and support — and for letting me move back in for a bit!” Andrew is a proud graduate of Ithaca College.

Dougfred Miller*Alonso/Ensemble, The Tempest; Captain Lesgate, Dial “M” for MurderTen seasons at Great Lakes TheaterReturning from his multifarious

performance as no fewer than four characters in Dial “M” for Murder (Lesgate, O’Brien, Pendleton and Williams), Dougfred was last seen by Cleveland audiences as the Dukes in As You Like It. Previous appearances for Great Lakes Theater include the title role in Macbeth, Bob Cratchit in A Christmas Carol, Jonathan in Arsenic and Old Lace, Cassius in Julius Caesar, Jaques in As You Like It, Jack in The Importance of Being Earnest and a widely acclaimed Dogberry in Much Ado About Nothing. In several seasons with the Idaho Shakespeare Festival, his roles include Holofernes in Love’s Labor’s Lost, Malvolio in Twelfth Night, Horatio in Hamlet, Don Pedro in Much Ado About Nothing, several Dukes, an Emperor in Amadeus, and Prince Hal in Henry IV, Part 1 and Part 2. He has played Moriarty in Sherlock Holmes and the Case of the Christmas Carol at the Alabama Shakespeare Festival, Versati in The Underpants at Milwaukee Repertory Theatre, Jim Tyrone in A Moon for the Misbegotten at the Coach House

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Theatre, King Arthur in Spamalot at the Beck Center (opposite his real-life Lady of the Lake, Jessica Cope), Lysander in a Vietnamese/English production of A Midsummer Night’s Dream with the Central Dramatic Theatre Company in Hanoi, Scrooge in A Christmas Carol at Portland Center Stage, Richard in Richard III and Benedick in Much Ado About Nothing at Tygres Heart Shakespeare Company, and Prospero in The Tempest and the Duke in Measure for Measure with the Texas Shakespeare Festival. Doug is a graduate of the PTTP at the University of Delaware, and a proud member of Actors’ Equity Association.

Ryan David O’Byrne*Ariel/Ensemble, The TempestTwo seasons at Great Lakes TheaterRyan is so thrilled to be return-ing to Great Lakes Theater. Regional: Great Lakes Theater,

Idaho Shakespeare Festival, Lake Tahoe Shakespeare Festival and Peterborough Players. New York: MoMA PS1, Joe’s Pub, La MaMa Experimental Theatre Club (SQUIRTS: New Voices in Queer Performance), Culture Project, Baryshnikov Arts Center and Judson Memorial Church. Ryan has premiered solo performance/dance works at Dixon Place, Brooklyn Arts Exchange, Culturefix, Danspace Project, REDCAT (Los Angeles) and with AUNTS. Juilliard, 2011. RyanDavidOByrne2014.weebly.com

Xavier Reminick Ensemble, The TempestGreat Lakes Theater debutXavier is thrilled and honored to be making his Great Lakes debut! A Cleveland native, Xavier began performing at Near West

Theatre, Cleveland Shakespeare Festival, and as a participant in ESU Shakespeare competitions before pursuing an acting degree in NYC. Notable NYC credits include the world premieres of the one-man-show (Mary)Todd by Dennis Bush (winner of three Fresh Fruit Festival awards including Best Actor), The Lost (Or, How To: Just Be) (winner of four Planet Connections Festivity awards), Franklin Stein, as well as productions at the renowned La MaMa, E.T.C. Pace University, BFA Acting. Love to his family, Rebeca, and his hallowed hometown.

Patrick Riley*Ferdinand/Ensemble, The TempestGreat Lakes Theater debutPatrick is very excited to make his Great Lakes debut! Recent acting credits include George in Our

Town (La Jolla Playhouse WoW Festival), Howie in Speech and Debate (American Theatre Co.), Richard in Ah, Wilderness! (Arena Stage), Ferdinand in The Tempest (Hartford Stage, directed by Darko Tresnjak), Here’s Hoover! (La Jolla Playhouse, directed by Alex Timbers). Other credits include The Tempest, Twelfth Night, As You Like It (Shakespeare Santa Cruz), Measure for Measure (A Noise Within), The Seagull, Camino Real, The Misanthrope, As You Like It (UCSD). TV credits include Chicago Fire, Torchwood, 90210, Pretty/Tough. Patrick is a founding member of the award-winning fringe company Lonesome No More! Theatre in Los Angeles, CA, where he directed and produced works such as Spring Awakening, Woyzeck and No Exit. He is also a certified yoga instructor and the drummer of a super cool band. He received his MFA from University of California, San Diego. Endless love and gratitude to Dana and Mom and Dad.ThePatrickRiley.com

David Anthony Smith*Prospero, The TempestTwelve seasons at Great Lakes TheaterIn 12 seasons at Great Lakes Theater, audiences have seen him as Iago in Othello, Jaques in

As You Like It, Duke of Buckingham in Richard III, Muggeridge/The Ghost of Christmas Present/Debtor/Ensemble in A Christmas Carol, Viscount Goring in An Ideal Husband, Bottom in A Midsummer Night’s Dream, Malvolio in Twelfth Night, Macduff in Macbeth, Benedick in Much Ado About Nothing, Sergius in Arms and the Man, Algernon in The Importance of Being Earnest, Marc Antony in Julius Caesar and Berowne in Love’s Labour’s Lost. He has performed at the Tony-Award-winning Old Globe Theater in San Diego, South Coast Repertory, 14 seasons with the Idaho Shakespeare Festival (title role in Henry V), Laguna Playhouse, Sierra Rep, Madison Rep and the Shakespeare festivals of Utah, Colorado, Garden Grove, Rhode Island and Nevada. Forever and a day — Natalia.

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Nick Steen*Sebastian /Ensemble, The Tempest; Max Halliday, Dial “M” for Murder Two seasons at Great Lakes Theater Other regional credits include

American Conservatory Theater (Orestes in Elektra and Topper in A Christmas Carol) and Shakespeare Santa Cruz (Antonio in Twelfth Night). Other roles include Torvald in A Doll’s House, Harry Bagely and Martin in Cloud 9, Lord Byron in Block Eight on the Camino Real, Beau in The Traveling Companion, Moe in The American Clock, Cassio in Othello and Horace in Courtship. Nick received his BFA from the University of Evansville and his MFA from American Conservatory Theater. Follow his journey at www.NickSteen.com!

M. A. Taylor*Boatswain/Ensemble, The Tempest; Mr. Hugh Evans, Merry Wives of Windsor; Babet/Lesgles, Les MisérablesTwelve seasons at Great Lakes Theater

Mark Anthony (aka M.A.) is pleased to return to the Magnificent Hanna Theater. Previously at Great Lakes Theater he was Hugh Evans, Merry Wives of Windsor; Legles/Babet, Les Miserables; Le Beau/Oliver Martext, As You Like It; Charity Man/Old Joe, A Christmas Carol; Beadle, Sweeney Todd; Lord Rivers, Richard III; Verges, Much Ado About Nothing; Guy, The Imaginary Invalid; Peter, Romeo and Juliet; Grumio, The Taming of the Shrew; Speed, The Two Gentlemen of Verona; Actor 3, The Complete Works of William Shakespeare (Abridged); and Flute/Fairy, A Midsummer Night’s Dream. Also among his credits: Candy in Of Mice and Men (directed by Adrian Hall) for PTTP/Rep, Dracula for Boise Contemporary Theater in the title role, Launce, Two Gentlemen of Verona; Gravedigger/Player King, Hamlet at Pennsylvania Shakespeare Festival. He holds an MFA from the University of Delaware’s Professional Theatre Training Program (PTTP). He wishes to thank his Families (both genetic & professional) for All their Support and patience, and the Loyal Audiences of Great Lakes Theater. Lastly, for the Tribe, in the words of the late great Ernie Banks: “Let’s play Two!!”

Dustin Tucker*Trinculo/Ensemble, The Tempest; Muggeridge/Christmas Present/Debtor/Ensemble, A Christmas CarolTwo seasons at Great Lakes Theater

Broadway: The Rainmaker (Roundabout Theatre). Off-Broadway credits include SoHo Rep, Manhattan Ensemble Theater, Primary Stages, Culture Project and HERE. For Great Lakes Theater, he played Touchstone in last season’s production of As You Like It (BroadwayWorld Cleveland, Best Actor) and the Ghost of Christmas Present in A Christmas Carol. Mr. Tucker currently resides in Portland, Maine, where he is an affiliate artist with Portland Stage Company and has appeared in Fully Committed, Bach at Leipzig, The 39 Steps, Peer Gynt, Vigil and six seasons of The Santaland Diaries (BroadwayWorld Maine, Best Actor), as well as Greater Tuna with his Tempest compatriot and dear friend, Tom Ford. His other regional credits include Williamstown, Idaho Shakespeare Festival, Lake Tahoe Shakespeare Festival, Sierra Rep and Festival Stage of Winston-Salem. A proud and blessed member of Actors’ Equity Association. Much love to Peter. www.dustintucker.com.

Katie WillmorthMiranda /Ensemble, The TempestGreat Lakes Theater debutKatie is making her GLT debut! Favorite credits: Belle in A Christmas Carol: A Radio Play at

The Pearl Theater; Calpurnia in Julius Caesar (Smith Street Stage); Essie in The Devil’s Disciple (Shakespeare Theatre of NJ); Mrs. Marchmont in An Ideal Husband (Idaho Shakespeare Festival); Rosalind in As You Like It, Chris in Dancing at Lughnasa, various roles in The Caucasian Chalk Circle (dir. John Gould Rubin) all at Stella Adler Studio. Katie graduated from NYU, training at The Stella Adler Studio of Acting in NYC and the Royal Academy of Dramatic Arts in London. Thanks to my family and friends, whose love and support is a true testament to how beauteous mankind is!

UNDerSTUDIeS

Aled Davies*, Andrew Miller, Callee Miles, Dougfred Miller*, Roderick O’Toole, Xavier Reminick, Nick Steen*, M.A. Taylor*

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DIreCTOrS

Drew BarrDirector, The TempestNine seasons at Great Lakes TheaterDrew returns to Cleveland for his ninth season with GLT, where he has previously directed The Mousetrap, The Seagull, The Crucible, Arsenic and Old Lace, Love’s Labour’s Lost, You Can’t Take It With You, The Taming of the Shrew, Tartuffe and Much Ado About Nothing. Most recently, Drew directed the Dutch language premiere of War Horse at Amsterdam’s Royal Carré Theatre, after previously directing the Australian premiere and serving as the Resident Director of War Horse at Lincoln Center Theater. Other New York credits include revivals of Frank Marcus’ The Killing of Sister George and Brian Friel’s Lovers for The Actors Company Theatre and the off-Broadway premieres of Karl Gajdusek’s Greedy; Barbara Blumenthal Ehrlich’s Hitting the Wall; Adam Bock’s The Typographer’s Dream; and Steve Murray’s This Passion Thing. Regionally, at North Carolina’s PlayMakers Repertory Company, Drew staged productions of Doubt, Frozen, Copenhagen, The Subject was Roses, Dinner with Friends, Sideman, W;t and the musical Violet. For Portland Stage Company in Maine, his productions include Two Rooms, I Am My Own Wife, The Woman in Black, Lend Me a Tenor, The Misanthrope and W;t. His productions for the Idaho Shakespeare Festival include The Woman in Black; The Spitfire Grill; The Fantasticks; You’re A Good Man, Charlie Brown; and I Am My Own Wife (co-production with Boise Contemporary Theater, where he also directed Tru, At Home at the Zoo, Souvenir and This Wonderful Life). He directed Thornton Wilder’s The Skin of Our Teeth at Perseverance Theater in Alaska, as well as productions for the Juilliard School’s Drama Division, the Graduate Acting Program at NYU’s Tisch School of the Arts, the Conservatory of Theatre Arts at SUNY Purchase, the University of Washington’s School of Drama and the University of Delaware’s Professional Theater Training Program. Drew received his BA from Stanford University and his MFA from the Graduate Acting Program of New York University’s Tisch School of the Arts. He is a member of SDC and AEA.

Charles FeeProducing Artistic Director; Director, Dial “M” for MurderThirteen seasons at Great Lakes TheaterDirecting credits at GLT: Dial “M” for Murder, Deathtrap, Blithe Spirit, Romeo and Juliet, The Two Gentlemen of Verona, A Midsummer Night’s Dream, Twelfth Night, The Comedy of Errors, Macbeth, All’s Well That Ends Well, Hamlet, Hay Fever, The Importance of Being Earnest, Arms and the Man and The Complete Works of William Shakespeare (Abridged). Charles holds a unique position in the American theater as producing artistic director of three independently operated, professional theater companies: Great Lakes Theater in Cleveland, Ohio (since 2002), Idaho Shakespeare Festival in Boise, Idaho (since 1991) and Lake Tahoe Shakespeare Festival in Lake Tahoe, Nevada (since 2010). His appointments have resulted in a dynamic and groundbreaking producing model for the companies, in which more than 50 plays have been shared since 2002.

In 2009, Charles was honored to receive recog-nition for his leadership by the Cleveland Arts Prize as a recipient of the Martha Joseph Award. Other awards include The Mayor’s and Governor’s awards for Excellence in the Arts, in Boise, Idaho. From 1988 to 1992, he held the position of artistic director at the Sierra Repertory Theatre in California. He has also worked with The Old Globe, La Jolla Playhouse, the Milwaukee and Missouri repertory theaters, Actor’s Theatre of Phoenix and the Los Angeles Shakespeare Festival. In addition to his work with the companies in Ohio, Idaho and Nevada, Charles is active within the community. He has served as a member of the strategic planning committee for the Morrison Center, as producer of the FUNDSY Award Gala (’96, ’98 and 2000), and as producer of the 1996 Idaho Governor’s Awards in the Arts. Charles has served on the board of the Boise Metro Chamber of Commerce and as a member of the Downtown Rotary Club. He received his B.A. from the University of the Pacific and Master of Fine Arts from the University of California, San Diego.

Along with his wife, Lidia, and 19-year-old daughter, Alexa, Charles resides in Boise, Cleveland and Lake Tahoe — a feat that is only possible because of the incredible love and sup-port of his family, and the generous communities he serves!

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DeSIGNerS

Rick MartinLighting Designer, The Tempest and Dial “M” for MurderThirteen seasons at Great Lakes Theater Many productions with GLT and ISF. Other the-ater: US premiere of Kurt Weil’s Marie Galante (Opèra Français de NY); Hekabe, The Illiad and The Rage of Achilles with Music-Theatre Group (New York and Santa Fe); and The Bitter Tears of Petra van Kant (Henry Miller Theatre, New York). Opera: Le Diable dans le beffroi, La Chute de la Maison Usher (Opéra national de Paris – scenery and lighting); Castor et Pollux, Pellèas et Mèllisande and To Be Sung (Opéra Français de NY); Dialogues des Carmèlites, Cenerentola (Opéra de Toulon); and Romèo et Juliette (Spoleto Festival USA). Concerts: Harawi (Opèra Comique, Paris – scen-ery and lighting), Le martyre de Saint Sèbastien (Citè de la Musique, Paris and Arsenal, Metz), Orchestre national de Lyon and the Orchestre de Champs Élysées (Lyon, Poitiers, Buenos Aires, Montevideo, São Paulo). Coming up: Cenerentola (Bilbao, Spain).

Russell MethenyScenic Designer, The Tempest and Dial “M” for MurderTen seasons at Great Lakes TheaterFor Great Lakes Theater, Russell has designed Dial “M” for Murder, Deathtrap, As You Like It, Blithe Spirit, The Mousetrap, The Two Gentlemen of Verona, Othello, The Seagull, The Comedy of Errors, Measure For Measure, The Tempest, Julius Caesar, Arsenic and Old Lace, Love’s Labour’s Lost and The Merry Wives of Windsor. For Idaho Shakespeare Festival, he has designed The 39 Steps, The Two Gentlemen of Verona, The Woman In Black, Othello, A Tuna Christmas, The Seagull, The Comedy of Errors, Greater Tuna, Measure for Measure, Arsenic and Old Lace, The Tempest, Love’s Labor’s Lost, King Lear and Julius Caesar. Recent productions include The Matchmaker, Both Your Houses, Philadelphia, Here I Come, The Game’s Afoot, Kurt Vonnegut One Acts, A Little Night Music, 4000 Miles, 1776, The House That Jack Built, Jekyll and Hyde, My Fair Lady, Betrayal, Twelve Angry Men and Superior Donuts. Regionally, Russell has also designed for ACT San Francisco, Asolo Theatre, Maltz Jupiter Theatre, The Old Globe, Pasadena Playhouse, Missouri Rep, Indiana Rep, Syracuse Stage, Geva Theatre,

Weston Playhouse, The Studio Theatre (D.C.), Portland Stage, Philadelphia Theatre Co., Goodspeed Musicals and Geffen Playhouse. Upcoming productions: The Tempest for Great Lakes and Idaho Shakespeare Festival. Mr. Metheny has received three Helen Hayes awards for outstanding scenic design.

Kim Krumm SorensonCostume Designer, The Tempest and Dial “M” for MurderEleven seasons at Great Lakes TheaterKim is pleased to be spending her 11th season with Great Lakes Theater, where she most recent-ly designed Dial “M” for Murder. Past designs include Blithe Spirit, The Mousetrap, Othello, The Seagull, The Crucible, Love’s Labor’s Lost, Measure for Measure, The Taming of the Shrew, Julius Caesar, The Importance of Being Earnest, Much Ado About Nothing and Tartuffe. She is a frequent designer for the Idaho Shakespeare Festival, as well as The Juilliard School, where she designs both theater and opera. Her work has also been seen at Delaware Theatre Company, TACT, Playmakers Repertory Company, Hartford Stage Company, Guthrie Theatre, Intiman Theatre, George Street Playhouse, Coconut Grove Playhouse, Walnut Street Theatre, The Acting Company, Indiana Repertory Theater and Portland Stage Company. Kim holds an MFA from Southern Methodist University and is a member of USA 829. She lives in New York with her husband, Scott, and their two beautiful daughters, Carly and Gemma.

Matt TierneySound Designer, The TempestGreat Lakes Theater debutNew York credits include the Broadway produc-tion of Machinal (2014 Tony Award nomination, Drama Desk Award; Roundabout Theatre Company); Our Lady of Kibeho (Signature Theatre); Pocatello, The (curious case of the) Watson Intelligence, Detroit (2013 Lortel nomina-tion), Kin,This (Playwrights Horizons); A Midsummer Night’s Dream directed by Julie Taymor (Theatre for a New Audience); Generations, An Octoroon, Uncle Vanya, The Ugly One, A Public Reading Of An Unproduced Screenplay About The Death Of Walt Disney, Blasted (Hewes Award), all at Soho Rep; Arguendo (The Public Theater); Luck of the Irish (LCT3);

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A gala benefi t to support

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Elevator Repair Service’s The Sound and the Fury (April Seventh, 1928) (2009 Lortel nomination) and The Select (The Sun Also Rises) (2012 Lortel, OBIE Awards); The Wooster Group’s Hamlet (2008 Lortel nomination), Who’s Your Dada?!, and The Emperor Jones; and Young Jean Lee’s Lear, The Shipment, and Church. Other credits include Manhattan Theatre Club, Shakespeare Theatre Company, McCarter Theatre Center, American Repertory Theater, Alley Theatre, Woolly Mammoth Theatre Company, Long Wharf Theatre, Center Theatre Group and Yale Repertory Theatre.

Dusten WelchFight Choreographer, The TempestGreat Lakes Theater debutDusten is a fight choreographer, educator and director based out of Cleveland, OH. His work for Great Lakes includes acting with the Outreach Tour: The Dark Side of Twilight, understudying for A Midsummer Night’s Dream, and serving as an Actor Teacher with the Education Residency Program. Previous work includes fight choreog-raphy for Romeo and Juliet and Henry IV Part One for Baldwin Wallace University, A Master with Two Servants for Ashland University, Titus: A Grand and Gory Rock Musical for Cleveland Public Theatre and Voodoo Macbeth for Ensemble Theatre. His fight choreography has been recog-nized and awarded by the Kennedy Center American College Theater Festival. Dusten earned his BA from Ashland University, and is an

Advanced Actor Combatant with the Society of American Fight Directors. He is the Administrative Director and resident fight choreographer for the Academy for the Performing Arts, and teaches stage combat for Baldwin Wallace University.

STAGe MANAGeMeNT

Tim Kinzel*Stage Manager, The Tempest, Dial “M” for Murder, A Christmas Carol and The Merry Wives of WindsorSix seasons at Great Lakes TheaterPrevious stage management credits for Great Lakes Theater include Dial “M” for Murder, A Midsummer Night’s Dream, An Ideal Husband, The Complete Works of William Shakespeare (Abridged), The Mystery of Edwin Drood, The Taming of the Shrew, Romeo & Juliet, Imaginary Invalid, Blithe Spirit, Much Ado About Nothing, Richard III, A Christmas Carol, Deathtrap, As You Like It, Merry Wives of Windsor. Tim has multiple stage management credits from the following companies: Lake Tahoe Shakespeare Festival, Idaho Shakespeare Festival, Playwrights Horizon, Cherry Lane Theater NYC and Houston’s Stages Repertory Theatre. He also holds multiple pro-duction assistant and intern credits with Alley Theater, Houston Grand Opera and Stages Repertory Theater. Diehard Cleveland sports fan. Love to his family, friends and Cleveland who have supported him and the arts over the years. Cavs! Roll Tribe!

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Charles Fee, Producing Artistic DirectorBob Taylor, executive Director

2014–15 ArTISTIC COMPANYLes Misèrables, The Merry Wives of Windsor, A Christmas Carol, Dial “M” For Murder, The Tempest

DIreCTOrS

Drew Barr, Sara Bruner, Victoria Bussert, Charles Fee, Joel Mercier, Matthew Webb, Tracy Young

DeSIGNerS

Joe Court, Gregory Daniels, Mary Jo Dondlinger, John Ezell, Gene Emerson Friedman, Esther M. Haberlen, Jeff Herrmann, Alex Jaeger, Stan Kozak, Lucy Mackinnon, Tom Mardikes, Rick Martin, Ken Merckx, Russell Metheny, Michael Mueller, Helene Peterson, Katie Proulx, James Scott, Mary Schilling-Martin, David Shimotakahara, Kim Krumm Sorenson, Cynthia Stillings, Matt Tierney, Robert Waldman, Dusten Welch, Amanda Werre, Sarah Whale, Brandon Wolcott

ACTOrS

J. Todd Adams*, Kyle Jean Baptiste, Pedar Benson Bate*, Laura Welsh Berg*, Lynn Robert Berg*, Stephen Mitchell Brown*, Nicolas Bustamante, Robyn Cohen*, Lexi Cowan, Aled Davies*, Brandyn Day, Owen Desberg, Jodi Dominick*, Jonathan Dyrud*, Clare Howes Eisentrout*, Cole Emerine, Tom Ford*, Colin Frothingham, Keri René Fuller, Ian Gould*, Kayleigh Hahn, Leah Jennings*, Kameryn McKay Jones, Patrick John Kiernan, Mia Knight, Quinn Mattfeld*, Ian McLaughlin, Andrew Miller, Dougfred Miller*, Betsy Mugavero*, Cara Myers, Lisa Nazelli, Cameron Nelson, Carly Marie Nelson, Ryan David O’Byrne* Tracee Patterson*, Fabio Polanco*, Katie Proulx, Xavier Reminick, Patrick Riley*, Mickey Ryan, Kayla Ann Slater, David Anthony Smith*, Nick Steen*,Brian Sutherland*, Alex Syiek*, M.A. Taylor*, Karen Thorla, Dustin Tucker*, Malik Victorian, Madison Wayt, Katie Willmorth, Colin Wheeler, Sam Wolf*, Chase Christopher Zadd, Calista Zajac *Members of Actors’ Equity Association

MANAGeMeNT TeAM

Director of Development...............................................Don BernardoProduction Manager .....................................Christopher D. FlinchumDirector of Educational Services .......................Kelly Schaffer FlorianDirector of Marketing & Strategic Advancement .......Todd KrispinskyDirector of Educational Programming .............................Lisa Ortenzi

ArTISTIC

Artistic Associate ............................................................. Sara BrunerArtistic Associate .................................................................. Tom Ford

eDUCATION

Education Outreach Associate ...................................... David HansenActor-Teachers School Residency Program ........................Luke Brett,

Chennelle Bryant-Harris, Chelsea Cannon, Katelyn Cornelius, Khaki Hermann, Tim Keo, Shaun O’Neill, Michael Silverstein

ADMINISTrATION

Audience Engagement Manager .................................. Chris FornadelDonor Relations Associate ........................................... Rebecca FrickAssistant Production Manager ................................... Corrie PurdumFinance Associate ..................................................... Stephanie ReedMarketing Intern .................................................................Dan EbertTrinity High School Intern ......................................... Chloe OppermanOffice Volunteers ....... Janice Campbell, Barb Cercone, Janet Glaeser

PrODUCTION

Technical Director ............................................................Mark CytronAssistant Technical Director ................................ William LangenhopMaster Carpenter ............................................................Lindsay LoarCarpenter/Welder ....................................................Richard HaberlenCarpenters ......................Casey Burke-Ruhl, Paul Miller, Gary ZsigraiProperties Master ............................................................Terry MartinProps Carpenter ........................................................Rachel BertrandProps Assistant .................................................... Alexandra HaubrichCostume Shop Manager ....................................... Esther M. HaberlenAssistant Shop Manager...................................................... Leah LoarDraper ............................................................................Grace KeenanWardrobe Supervisor .......................................... Colleen McLaughlinFirst Hand .....................................Christine Krysa, Christina SpencerDesign Assistant ............................................................... Zach HickleStitchers................................................... Zach Hickle, Miranda MartiWardrobe Crew .......................................Tamara French, Zach HickleCostume Intern ...................................................Nicholas Lynch-VorisWig Design ........................................................ Mary Schilling-MartinMaster Electrician ......................................................... Tammy TaylorCharge Scenic Artist .........................................................Ruth LohseScenic Artist ............................................................Justine SchneiderPaint Intern .............................................................. Mikhayla WilkinsAudio Visual Coordinator .............................................Brian ChismarProduction Stage Manager ...............................................Tim Kinzel*Production Associate ............................................... Jessica B. LucasProduction Assistant .........................................................Amy EssickRun Crew ....................................................Ralph Melari, Gary ZsigraiHanna Theatre Crew .................................. Thomas Boddy, Chris Guy,

Shaun Milligan, Robert Prah

SPeCIAl ThANkS:

Mark Liderbach and Arrow Video, Mike Vendeland and Ideastream

Great Lakes Theater is a member of the League of Resident Theaters (LORT) and operates under agreements with LORT, Actors’ Equity Association, American Federation of Musicians, the International Alliance of Theatrical Stage Employees, the Society of Stage Directors and Choreographers, and the United Scenic Artists, which are unions representing professional actors, stage managers, musicians, stage-hands, directors, choreographers, and designers, respectively, in the United States.

sTAff Great Lakes Theater

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Playbill Editor: Linda Feagler

For advertising information, please contact Matthew Kraniske: 216-377-3681

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APrIL/mAY at Playhouse Square OUTCALT THE HELEN CONNOR US BANK

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Vanya and Sonia and Masha and SpikeFlanagan’s Wake

Vanya and Sonia and Masha and SpikeFlanagan’s Wake

Vanya and Sonia and Masha and Spike

Kinky Boots Vanya and Sonia and Masha and Spike

Kinky Boots Vanya and Sonia and Masha and Spike

Kinky Boots Vanya and Sonia and Masha and Spike

Kinky Boots Vanya and Sonia and Masha and SpikeThe TempestLisa LampanelliFlanagan’s Wake

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Fair on the Square Vanya and Sonia and Masha and Spike

Vanya and Sonia and Masha and SpikeThe Tempest

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Vanya/SpikeThe TempestTale of a West Texas Marsupial GirlDisney’s Beauty and the BeastFlanagan’s Wake

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Flanagan’s WakeFairfieldFrankie Valli & The Four SeasonsStanding in the Need

Flanagan’s WakeFairfieldOliver Dragojevic3 Acts, 2 Dancers, 1 Radio HostCle Jazz Orchestra

FairfieldRAIN - A Tribute to the Beatles

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FairfieldTimber!ManxmouseThe Star KeeperRobin HoodKAPUT

FairfieldManxmouseThe Star KeeperRobin HoodKAPUT

Fairfield Fairfield FairfieldWelcome to Night Vale

FairfieldI Love Lucy

FairfieldI Love Lucy

FairfieldI Love Lucy

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New shows are announced every week. Sign up for the Playhouse Square newsletter at playhousesquare.org to get advance notices by email!

M AY

A P R I L

ALLEN ALLEN COMPLEX ALLEN COMPLEX HANNA KENNEDY’S OHIO PALACE STATE PLAZA

Kinky Boots Vanya and Sonia and Masha and SpikeThe TempestW. Tx Marsupial GirlThe Screwtape Letters

Vanya and Sonia and Masha and SpikeThe TempestW. Tx Marsupial GirlDisney’s Beauty and the BeastJay Leno

Fairfield

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Legacy William* Family is a top priority for us. Which is why we want to know

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our children and our grandchildren. Our FirstMerit Client Advisor

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needs so we can focus on what’s important. We have peace of mind

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Non-deposit trust products are not insured by the FDIC; are not deposits or obligations of FirstMerit Bank, N.A, or any of its affiliates; are not guaranteed by FirstMerit Bank, N.A or any of its affiliates; and are subject to investment risk, including possible loss of principal invested.

TO L E A R N MOR E A B O U TF I R S T M E R I T P R I VA T E B A N K , C ON T A C T : Tom Anderson, Senior Vice President, at 216-694-5678 or tom.anderson@firstmerit.com.