2015|2016 SEASON

Issue 5

TABLE OF CONTENTS 1 Title page 3 Cast 6 About Headlong 8 About the Play Beginning at the End by Dominic Cavendish 10 The Orwellian World by Michael Shelden 14 The Consent of the Surveilled by Dr. Paolo Gerbaudo 19 Cast Biographies 22 Artistic Biographies 27 For STC 30 Faces and Voices by Chloe Lamford 32 Mapping the Play: The Glossary of Newspeak 40 Support 48 About STC 48 About ACA 50 Up Next: The Taming of the Shrew by Catherine Shook 52 STC Staff 53 Audience Services

Dear Friend, There is perhaps no work of 20th-century fiction that has been yoked to more contemporary political debates than George Orwell’s novel, 1984. As a testament to the work’s influence, the very number itself, the phrase “Big Brother is watching,” and even the adjective “Orwellian” have all entered our sociopolitical lingua franca. Timothy Garton Ash, writing in the New York Review of Books, calls the book “indispensable for understanding modern history.”

Recipient of the 2012 Regional Theatre Tony Award® Artistic Director Michael Kahn Executive Director Chris Jennings Presented in association with

It therefore gives me great pleasure to welcome you to tonight’s presentation of 1984. It was originally produced by Headlong, an English company known for reworking the classics, alongside the Nottingham Playhouse and the Almeida Theatre of London. As such, 1984 joins our growing list of international presentations, including last season’s Dunsinane presented by the National Theatre of Scotland. We continue to pride ourselves on presenting work of the highest international caliber to our D.C. audiences. For their adaptation, as Dominic Cavendish writes in this issue, Robert Icke and Duncan Macmillan ingeniously expand on the dramaturgical properties of Orwell’s own text. Not many of us know or remember that 1984 has an appendix, one which filters the events that happen to our protagonist, Winston Smith, through a later, unseen character’s eyes. In other words, the novel’s many gaps and seeming inconsistencies are there on purpose, evidence of a drama that we don’t get to read. This frames the narrative in a metatheatrical, almost Shakespearean manner. Like Bottom’s remembered dream or Prospero awaking from his staged pageants, one can never be sure if one is witnessing something that has been reported, dreamed, or invented. Most eerily, the last word in the appendix consists of a single number: “2050.” Orwell, then, was writing a book in 1948, dramatizing events in a fictional 1984, which are then being read from the vantage point of 2050. The drama extends offstage into our own minds and lives. This spring, our 2015–2016 season concludes with Ed Iskandar’s production of The Taming of the Shrew. Ed is a brilliant young director, and he brings his unique, alternative vision to one of Shakespeare’s most troubling plays. As always, we look forward to sharing these stories with you. See you at the theatre. Warm Regards,

Nineteen Eighty-Four by George Orwell (Copyright, 1949) by permission of Bill Hamilton as the Literary Executor of the Estate of the late Sonia Brownell Orwell

Directors and Adaptors Robert Icke Duncan Macmillan Designer Chloe Lamford Lighting Designer Natasha Chivers

Video Designer Tim Reid Casting Director Ginny Schiller CDG Associate Director Daniel Raggett

Sound Designer Tom Gibbons 1984 was originally produced by Headlong, Nottingham Playhouse, and Almeida Theatre. 1984 is supported by Dr. Paul and Mrs. Rose Carter and the British Council. Restaurant Partner: Jaleo

Michael Kahn

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CAST 1984 Parsons............................................................................................Simon Coates O'Brien..................................................................................................Tim Dutton Charrington.................................................................................Stephen Fewell Martin....................................................................... Christopher Patrick Nolan Syme.......................................................................................................Ben Porter Winston....................................................................................Matthew Spencer Mrs. Parsons...............................................................................Mandi Symonds Julia ....................................................................................................Hara Yannas Child......................................... Koral Kent, Anaïs Killian (alternate in role)

FOR THIS PRODUCTION Production Manager: Cath Bates Associate Video Designer: Ian Valkeith Re-Lighter: Marc Gough Re-Sounder: Matthew Russell Wardrobe Manager: Ryan Walklett Company Stage Manager: Andy Ralph Technical Stage Manager: Ben Marshall Deputy Stage Manager: Amy Griffin Props Runner: Matthew Sebastian

The Shakespeare Theatre Company operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, and employs members of the Stage Directors and Choreographers Society and United Scenic Artists. The Company is also a constituent of Theatre Communications Group (TCG), the national organization for not-forprofit professional theatre, and is a member of the Performing Arts Alliance, the D.C. Chamber of Commerce, Association of Performing Arts Presenters (APAP), American Alliance for Theatre and Education and DC Arts and Humanities Education Collaborative. Copyright laws prohibit the use of cameras and recording equipment in the theatre.

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STC BOARD OF TRUSTEES Michael R. Klein, Chair Robert E. Falb, Vice Chair John Hill, Treasurer Pauline A. Schneider, Secretary Michael Kahn, Artistic Director Trustees Nicholas W. Allard Ashley M. Allen Stephen E. Allis Anita M. Antenucci Jeffrey D. Bauman Landon Butler Dr. Paul Carter Peter Cherukuri Gloria Dittus Debbie Driesman Dr. Mark Epstein Stefanie Erkiletian Dr. Natwar Gandhi Miles Gilburne Barbara Harman John R. Hauge Stephen A. Hopkins Lawrence A. Hough W. Mike House Jerry J. Jasinowski Norman D. Jemal Scott Kaufmann Sudhakar Kesavan Kevin Kolevar Abbe David Lowell Gail MacKinnon Bernard F. McKay

Melissa A. Moss Stephen M. Ryan George Stamas Rob Wilder Tom Woteki Suzanne S. Youngkin Ex-Officio Trustee Chris Jennings, Executive Director Emeritus Trustees R. Robert Linowes*, Founding Chairman James B. Adler Heidi L. Berry* David A. Brody* Melvin S. Cohen* Ralph P. Davidson* James F. Fitzpatrick Dr. Sidney Harman* Lady Manning Kathleen Matthews William F. McSweeny V. Sue Molina Walter Pincus Eden Rafshoon Emily Malino Scheuer* Lady Sheinwald Mrs. Louis Sullivan Daniel W. Toohey Sarah Valente Lady Westmacott Lady Wright *Deceased

ASIDES Production Program and Publication of the SHAKESPEARE THEATRE COMPANY Editor Cassie Ash

Publisher Michael Porto

Creative Director S. Christian Taylor-Low

Graphic Designer Ruthie Rado

Contributing Editors Drew Lichtenberg Catherine Shook

Editorial Assistant Catherine Shook

Advisors Alan Paul Samantha K. Wyer

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ABOUT HEADLONG

Headlong: /hedl’ong/ noun 1. with head first, 2. starting boldly, 3. to approach with speed and vigour Headlong creates exhilarating contemporary theatre: a provocative mix of innovative new writing, reimagined classics and influential twentieth century plays that illuminate our world. Touring exceptional theatre around the UK lies at the heart of what we do; we also present work on major London stages and internationally. We encourage the best emerging artists and more established talent to do their most exciting work with us. We place digital innovation at the forefront of all our activities—building inventive online content to sit alongside our productions to enrich audiences’ understanding of our work.   Our productions have included 1984 (UK and international tour and West End), People, Places & Things (National Theatre and West End), The Nether (Royal Court and West End), Chimerica (Almeida and West End), The Effect (National Theatre and Broadway), American Psycho (Almeida and Broadway) and Enron (UK tour, West End and Broadway).  

 

“This touring production brims with Headlong’s trademark chutzpah” The Financial Times on Spring Awakening

“The indefatigably inventive Headlong” The Times on 1984

“A touring company of generous unpredictability”

Photo credit: Johan Persson, The Nether, David Beames and Amanda Hale

The Observer

Artistic Director Jeremy Herrin Executive Director Henny Finch Finance Manager Julie Renwick Administrative Producer Fran du Pille Associate Producer Liz Eddy Producing Assistant Alecia Marshall Administrator Martin Poile 6

Creative Associate Amy Hodge Associate Artist Sarah Grochala Marketing Consultant Kym Bartlett Press Agent Clióna Roberts Fundraising Consultant Kirstin Peltonen Production Manager Cath Bates

Visit our website www.headlong.co.uk for news of forthcoming projects, to join our mailing list, and to find out how you can support our work.   @HeadlongTheatre #1984Play 7

ABOUT THE PLAY

BEGINNING AT THE END How paying close attention to the appendix in Nineteen Eighty-Four led co-creators Duncan Macmillan and Robert Icke to rip up the theatrical rule book. By Dominic Cavendish It’s not enough that Winston Smith knows in his heart of hearts that the world he’s living in is monstrous—and that he hates it. He needs to write those thoughts down, give vent to his thought-crimes. But who is he writing for? Almost from the moment he puts forbidden pen to precious paper, he senses that his gesture of individualistic defiance, his lonely groping after some kind of sanity, is futile:  “In front of him there lay not death but annihilation. The diary would be reduced to ashes and himself to vapour. Only the Thought Police would read what he had written, before they wiped it out of existence and out of memory. How could you make appeal to the future when not a trace of you, not even an anonymous word scribbled on a piece of paper, could physically survive?” He doesn’t know it but his words do survive, after a fashion. Orwell is explicit that they do. Nineteen Eighty-Four doesn’t simply run in the “real-time” of Winston’s experience—the birth of his rebellion culminating in his inevitable destruction—it’s also a remembered time. As Duncan Macmillan and Robert Icke astutely observe, as soon as you grasp the importance of the appendix, you have to regard the novel in a different light. It’s not some disposable organ, it’s integral.  Though “The Principles of Newspeak” only runs to some 4,000 words, and has the sheen of something academic, arid and extraneous, it crucially reframes the action. In a sense it at once cancels out and future-proofs the “prophetic” aspect of the story by thrusting it into the past, making it a historical document.  Winston’s vantage-point is 1984, or thereabouts, whereas the anonymous author of the post-script could be writing at any point up to or beyond 2050, the moment Oldspeak was to have been superseded by Newspeak. The appendix yields fascinations about a totalitarian state’s control of language—and by extension thought. It also affords final flourishes of grim humour (“Ultimately it was hoped to make articulate speech issue from the larynx without involving the higher brain centres at all. The aim was frankly 8

admitted in the Newspeak word DUCKSPEAK, meaning “to quack like a duck””). Above all, though, its primary achievement is to reduce the reader’s ability to be certain about the narrative. Recalling his initial approach to the Orwell estate for the stage rights, Icke explains: “I remember saying quite forcefully at the start, ‘I think the appendix is the most important bit. I think it’s structurally the thing that defines the whole…I don’t know how you can adapt this novel if you don’t touch the appendix. I don’t know what it means.’” He continues: “It’s a book that’s about unreliability…and Orwell puts something at the end that a lot of people hilariously and ironically haven’t bothered to finish. One of the things the novel really thinks about is the status of the text, and what text means—and whether text can have any authority when it has been messed with. How you can trust words to deliver any information?”  Who is giving us Winston’s story, and why? As the director further elaborates: “From the moment you read, “It was a bright cold day in April,” you’re reading the book with somebody else, because that person has footnoted it and written you an appendix, so there’s another reader in your experience of the novel at all times.”  Does this sound like an over-complication? Worrying where the book stands in relation to the appendix actually consolidates our appreciation of its sophistication. Icke and Macmillan’s approach—which brings the act of reading centre-stage, so that the story is being pored over, anticipated, responded to and enacted—pulls off a theatrical correlative to double-think, a state of contrary interpretation. We are rendered as disorientated as the protagonist by the dream-like stage action. As Icke suggests: “This could be the future that Winston imagines when he starts to write the diary. It could be us thinking about Orwell. Or it could be the people who write the appendix… looking back at the primary text of Orwell’s novel or Winston’s diary.” The final word goes to Duncan Macmillan: “I think the over-riding thing was: how do we find a theatrical form for the prose form of what Orwell is doing?…How do we achieve double-think, how do we deliver the intellectual argument, and also can we take along a 15-year-old who has never read the book while satisfying the scholar who has read this book 100 times? And once you’ve seen it and go back to the book, is it all still there…?” He asserts with calm confidence: “I think we’ve ended up being incredibly faithful to the book.” Having seen their remarkable, risk-taking, mind-expanding version when it premiered in Nottingham last year, I’d double-vouch for that. Dominic Cavendish is deputy theatre critic for the Daily Telegraph and founding editor of theatrevoice.com. In 2009, to mark the 60th anniversary of Nineteen EightyFour’s publication, he created “Orwell: A Celebration” at Trafalgar Studios. Article provided by Headlong Theatre. 9

THE

ORWELLIAN WORLD By Michael Shelden

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t was George Orwell’s hope that his creation would blend into the cultural consciousness of society. He once remarked to a friend that a good song can take on a life of its own after the composer has come and gone. The words may change, the composer may be forgotten, and the tune may be adapted for different purposes, but it continues to live. “It struck me,”

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The cast of Headlong’s 1984, photo by Ben Gibb. Courtesy of Headlong.

he said, “that an idea is very like a tune in this way, that it goes through the ages remaining the same in itself but getting into such very different company.” Big Brother fits that scenario perfectly. Though the name is widely known, many are only dimly aware of its origin or have no clue at all. Some even think the name comes from the title of a popular television series about

spying on roommates. The original title of Orwell’s novel was “The Last Man in Europe.” The idea was that the battle against a regime infested with lies would never be lost if at least one brave soul refused to surrender the truth. The hero of the book, Winston Smith, is that last man. Watching his grim struggle allows us to wonder how long we might hold out

against such tyranny and to question why any society would have relinquished so much power in the first place. It was only as he was finishing the book that Orwell changed the title. In part he was playing a little digital game of his own, reversing the last two digits of 1948—when much of the book was written—to come up with “Nineteen Eighty-Four.” 11

There was never any intention to make the year essential to the story; he was even willing to let the American publishers use a different title, though it didn’t prove necessary. So when the real year arrived, the fuss made over it missed the point. For Orwell, 1984 was simply a date far removed from him when the world might come undone if it didn’t heed his warnings. It was a symbolic point in time that could stand as a historical warning long after its actual passing. Outwardly, there was little in the way that Orwell lived and worked to suggest that he was capable of projecting his imagination so far into the future. While he was writing the book, he lived on a sparsely populated island in the Scottish Hebrides that had few modern amenities. He liked to keep things basic, even to the point of rolling his own cigarettes. He ate simple food, drank strong tea, wore old jackets and shirts with frayed collars, and wrote in longhand or on a heavy Underwood typewriter. In some ways Orwell might just as well have been a Victorian rather than a modern man. With his pencil-thin moustache and stoic, unsmiling expression in photographs, he would not look out of place in the uniform of a late-Victorian army major. No color photographs of him survive, and, remarkably, no recordings of his voice. So how did a crusty Englishman who was born more than 100 years ago see so far into 12

the future? Was he blessed with a gift for prophecy? If anything, his genius was inspired by hindsight. As his old friend Cyril Connolly liked to joke, Orwell was a revolutionary in love with 1910. He was fascinated by anything obsolete or eccentric and was always keen to celebrate useless facts, trivial hobbies, and quaint pastimes. What he dreaded about the future was that an increasingly powerful political and social authority would stamp out not only the past but the pleasures that went with it—the odd, individual joys that make freedom worth having. He wanted the right to be obsolete; to smoke bad tobacco, read forgotten novels, walk instead of drive, and measure things in yards instead of meters. These are not irrelevant freedoms. When he chose to call his newspaper column of the early 1940s “As I Please,” he was making the point that the grand heroic notions of liberty begin with the right to make simple choices: defying the herd by insisting on individual preferences in even the smallest things. The Thought Police are so insidious because they work at such a basic level, banishing common ideas and phrases until they corrupt language and reason and exert control over the most elementary choices. Despots and party slogans come and go, but as long as intellectual freedom is preserved, the abuses of power politics can be checked. In Orwell’s world, the most sacred right is

the right to one’s own opinion. In the entire body of his work, nothing is more inspiring than this remark from his preface to Animal Farm: “If liberty means anything at all it means the right to tell people what they do not want to hear.” Never one to follow the crowd, he always made a point of thinking for himself and avoiding the easy ways of the latest fashion. He was never in tune with the spirit of his time. He made a point of seeking out unpopular causes and obscure ideas and scrupulously avoiding what he called “all the smelly little orthodoxies...contending for our souls.” As a result, he wasn’t easily fooled—as most of us are—by the passions and prejudices of the moment. His death at 46 from tuberculosis was almost like a disappearing act. He left behind mounds of documents written under his pseudonym of Orwell, but nothing that would bring to life the way Eric Arthur Blair

(his real name) spoke or walked or gestured or smiled. He specifically asked to be buried under his real name at an old English country churchyard in the small village of Sutton Courtenay. And there his body rests today in relative obscurity under a faded headstone with the simple words, “Here lies Eric Arthur Blair 1903–1950.” Few who pass that way stop to visit the grave of the most important British author since Charles Dickens. Three years after Eric Blair’s death, an early admirer—the English novelist James Hilton— remarked that he couldn’t “think of any writer of this century whose posthumous fame has expanded more than Orwell’s.” In our century that fame continues its remarkable expansion. For what the author created was not just a few books that would live on without him, but a whole range of ideas that mean even more today than they did in his time.

Excerpted from full article published in the e-book Guide to the Season Plays 2015–16 available for purchase for the Kindle or Nook. Michael Shelden is the author of five biographies, including the Pulitzer Prize finalist Orwell, which was also a New York Times Notable Book. His study of Mark Twain’s final years, Man in White, was chosen as one of the best books of 2010 by the Christian Science Monitor and the Library Journal. For 15 years, he was a features writer for the London Daily Telegraph, and for ten years he served as a fiction critic for the Baltimore Sun. His most recent book—Young Titan: The Making of Winston Churchill—was published in 2013 by Simon & Schuster, and film rights have been acquired by Carnival Films, the makers of Downton Abbey. His next book, The Darkest Voyage: The Mystery of Melville and Moby-Dick, will be published in 2016 by Harper Collins. 13

Digital illustration by Ruthie Rado.

The Consent of the

Surveilled By Dr. Paolo Gerbaudo

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fter the revelations made by the American information analyst Edward Snowden about the operations of the American National Security Agency (NSA), and of its UK equivalent Government Communication Headquarters (GCHQ), many have claimed that we live in a present that closely resembles the nightmare scenario of Nineteen Eighty-Four. Indeed the details about the Prism programme of collecting, storing and analysing information about millions of Internet users in their daily interactions with social networking sites such as Facebook and Twitter, and even online video games such as Angry Birds, casts an alarming picture of the degree of intrusion by state security agencies in our digital lives. Never has it been so clear that the extent to which those very digital services and tools we associate with our personal freedom and sociability are also a means through which our actions can be monitored, our behaviour scrutinised and sanctioned—the intensity

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and systematic character of which has no historical precedent. In the world of neoliberal capitalism, and a society dominated by gigantic corporations rather than by totalitarian governments, surveillance is not an operation forced upon us by a police state. Rather it is an activity, the success of which entails some degree of reluctant and unconscious cooperation on our part, a sort of halfhearted consent and indifference from those who are subject to surveillance. Naturally, none of us would wilfully accept having our personal details controlled by state authorities. But we frequently accept online consent forms that allow companies like Facebook and Google to store enormous amounts of information about our everyday interactions, allowing them to use the data to conduct sophisticated market research and wage-targeted advertising campaigns that aim at microniches of consumers. This is the ‘pact with the devil’ that we have struck with digital corporations. We have accepted the practice of giving away our personal data in exchange for free services, fully knowing (unless we were completely naïve) that these services would use our data to make money. What we did not realise was that this arrangement with corporations would also be one with the state security agencies, which want to use our data for very different reasons. In the past, surveillance agencies would have autonomously collected information about their suspects. Now, agencies such as the NSA and the GCHQ act as parasites on the information economy, capturing data collected by commercial enterprises for their own marketing purposes, and turning it into a means of surveillance. We are exposed to surveillance precisely by virtue of our choices— or better by virtue of our illusory choices, such as the acceptance 15

that we expressed when we press the “yes” button to accept a digital service’s terms and conditions. We have become the consenting surveilled, people who by accepting the system of Internet communication and its “free” economy, have ended up unwittingly accepting the surveillance of state security agencies. We are entangled in part because we desire to be exposed, because we want to share our lives with distant others, expressing our everyday activities, our successes and our disgraces, our happy moments and our sad times. When we post on Facebook, when we Tweet, when we comment on a YouTube video, we should never forget something that was very clear to Winston in front of his telescreen: the machine does not only transmit; it also receives. Or—to adapt this proposition to the case of social media— whatever we write, whatever we do, will not be seen just by its intended receivers, but also by other parasitical receivers, who want to know about what we do. If we are lucky, this is to sell us products and services; if we are unlucky, it could be to lock us in jail. Dr. Paolo Gerbaudo is a lecturer in Digital Culture and Society at King’s College London. Article provided by Headlong Theatre.

Tim Dutton as O’Brien in 1984. Photo by Manuel Harlan. Courtesy of Headlong.

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CAST BIOGRAPHIES SIMON COATES Parsons Theatre credits include: Romeo and Juliet, Headlong; Translations, Arcadia, Macbeth, A Midsummer Night’s Dream, Pygmalion, Murmuring Judges, Arturo Ui, Black Snow, National Theatre; Coriolanus, The Merry Wives of Windsor, Loveplay, Luminosity, The Taming of the Shrew, The Comedy of Errors, RSC; Plenty, Sheffield; The Prince of Homburg, Donmar Warehouse; As You Like It, Cheek by Jowl (Olivier Award nomination, New York Drama Desk Award nomination); Birmingham; Gate Theatre, Dublin; Hampstead; Bristol Old Vic; Chichester. TV/Film credits

include: Doctors, Holby City, EastEnders, Tinker Tailor Soldier Spy, Beginner’s Luck. TIM DUTTON O’Brien West End: Dangerous Corner, Insufficiency, A Handful of Dust, Love’s Labour’s Lost, Cider with Rosie, She’s in Your Hands, London Assurance, War and Pieces, The Lucky Ones, Victory. TV/Film credits include: Death in Paradise, DCI Banks, Midsomer Murders, New Tricks, A Risk Worth Taking, Bonkers, Outside the Rules, HMO, Ally McBeal, Thanks, The Infiltrator, Delight, The Rendezvous, No Snow, Detonator, Terminal, The Queen of Sheba’s Pearls, Tooth, The Bourne

Identity, Dead by Monday, Hard to Forget, Darkness Falls, St. Ives, Death on Everest, Tom and Viv. STEPHEN FEWELL Charrington West End: ENRON, Headlong, Royal Court; The Long and the Short and the Tall. Other theatre credits include: Romeo and Juliet, Paradise Lost, Headlong; The Iliad, The Odyssey, Almeida; Manchester Sound: The Massacre, Manchester Library Theatre; Breaking The Code, The Tempest, Barbican; Henry IV Parts I and II, Bristol Old Vic; The Lie, King’s Head. TV/Film credits include: The Courtroom (CH4), All Rise for Julian Clary (BBC), Sexdrive. Radio credits include: Frankenstein, Vienna, Wildthyme, Bernice Summerfield, Doctor Who. Training: Oxford University. Stephen chairs the JMK Trust for theatre directors; jmktrust.org. CHRISTOPHER PATRICK NOLAN Martin Broadway: The Seagull, Royal Court. West End: Macbeth, BAM; War Horse, National Theatre; Stones in His Pockets. Other theatre credits include: Blair’s Children, Cockpit; Faith and Cold Reading, Live Theatre; Scorched, Old Vic; Twelfth Night, Macbeth, Chichester Festival Theatre; AC/DC, Alice Trilogy, Royal Court; The Water Harvest, National Theatre; Molly Sweeney, Clwyd Theatr; The Changeling, Of Mice and Men, Southwark Playhouse; Cardenio, 20

Shakespeare’s Globe; Someone Who’ll Watch Over Me, Perth Rep. TV credits include: Humans, Macbeth, Titanic. BEN PORTER Syme West End: Woman in Black, Beckett, What the Butler Saw, Hampstead and West End. Other theatre credits include: An Enemy of the People, The Heiress, National Theatre; The Invention of Love, Hampstead, National Theatre; Time of My Life, Scarborough, 59E59, New York; Absurd Person Singular, Life of Riley, Scarborough, UK Tours; Orwell: A Celebration, Trafalgar Studios; The Tempest, Liverpool Playhouse; Edward II, Sheffield Crucible; Noises Off, Royal Lyceum Theatre; Disposing of the Body, Hampstead Theatre; Hamlet, Greenwich Theatre. TV/Film credits include: Manchild, Casualty, Covington Cross, Westbeach, School for Seduction, Young Blades. MATTHEW SPENCER Winston Theatre credits include: Romeo and Juliet, Headlong; Tartuffe, The Watermill Theatre, Newbury, Tour; Bent, Trafalgar Studios; The Life and Adventures of Nicholas Nickleby, Tour, Gielgud Theatre, Toronto; War Horse, New London Theatre; Hamlet, White Bear Theatre; This Happy Breed, Theatre Royal Bath; Atman, Finborough Theatre; The Busy Body, Southwark Playhouse;

Sleuth, The Watermill Theatre, Newbury; Macbeth, Orange Tree Theatre. TV/Film credits include: My Family, Alice, The Runner. Training: Guildhall School of Music and Drama. MANDI SYMONDS Mrs. Parsons West End: Carrie’s War, Sadler’s Wells, West End. Other theatre credits include: The Knitting Circle, Soho Theatre; Amazonia, Midnight Hour, Young Vic; Menopause The Musical, The George Bernard Shaw Theatre; Mary Poppins, Prince Edward Theatre; Thatcher’s Women, Paines Plough, Tricycle Theatre; The Miracle Plays, Oxford Stage Company; The Mystery Plays, Liverpool Playhouse, St. Bartholomew’s Church; Godspell, Barbican; Zipp, Duchess; Peer Gynt, National Theatre; Romeo and Juliet, Shakespeare in the Park; As You Like It, Wilbur Theatre Boston, U.S. Tour. TV/ Film credits include: Scrubbers (dir. Mai Zetterling) and the awardwinning Perfect Image. HARA YANNAS Julia Theatre credits include: The House of Bernarda Alba, Oresteia, Almeida; Mare Rider, Arcola, International Tour; Britannicus, Wilton’s Music Hall; Pericles, Regent’s Park Open Air Theatre; Uncle Vanya, Arcola, Belgrade Theatre Coventry; A Midsummer Night’s Dream, Shakespeare’s Globe; Tales of the Harrow Road, Soho Theatre; it felt

empty when the heart went at first but it is alright now..., Arcola, Clean Break. TV/ Film credits include: The Musketeers, Law and Order, The Smoke, The Bible, Holby City, Patient Zero. Training: LAMDA. KORAL KENT Child Theatre credits include: The Legend of Sleepy Hollow, Babes in Toyland, A Christmas Carol, Twin Beach Players. Television commercial credits include: Duke Healthcare, Children’s National Medical Center.  ANAÏS KILLIAN Child Theatre credits include: Animal (Little Girl), Studio Theatre; New Musical Workshop: Snow Child (Faina), Arena Stage. Other credits include: Strathmore Chorus, MCPS Honors Chorus. Training: Imagination Stage/ DansezDansez. Web: Eric Whitacre’s Virtual Choir.

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ARTISTIC BIOGRAPHIES ROBERT ICKE Adaptor/Director Robert is the associate director of the Almeida Theatre. Robert was associate director of Headlong from 2010–2013, artistic director of the Arden Theatre Company in Stockton-on-Tees from 2003–2007 and of the Swan Theatre Company in Cambridge from 2005–2008, where he was awarded the Susie GautierSmith Prize for his contribution to theatre. His production of 1984 (which he co-adapted and directed with Duncan Macmillan) won Best Director at the UK Theatre Awards and was nominated for an Olivier Award for Best New Play. Robert was selected as one of the Hospital Club’s 100 most influential people working across Britain’s creative industries in 2014. Other theatre credits include: Uncle Vanya, The Fever, Mr. Burns, Almeida; Oresteia, Almeida, West End; Boys, Romeo and Juliet, Headlong; The Alchemist, Liverpool Playhouse.

Worldwide; 2071 co-written with Chris Rapley, Royal Court, The Deutsches Schauspielhaus; Atmen, Schaubühne, Berlin; The Forbidden Zone, Salzburg Festival, Schaubühne, Berlin; Reise Durch Die Nacht adapt. Friederike Mayröcker created with Katie Mitchell and Lyndsey Turner, Schauspiel Köln, Theatertreffen, Berlin, Festival d’Avignon; Wunschloses Unglück adapt. Peter Handke, Burgtheater, Vienna; Monster, Royal Exchange/ Manchester International Festival. Awards include: Best New Play at the Off West End Awards, 2013 for Lungs; the Nestroy Preis for Best German Language Production, 2013. His work with director Katie Mitchell has been

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DUNCAN MACMILLAN Adaptor/Director Duncan is an award-winning playwright and director. Plays include: People, Places and Things, National Theatre, Headlong, West End; 1984, Headlong, Nottingham Playhouse, Almeida, West End, International Tours; Every Brilliant Thing, Paines Plough, Pentabus, Barrow Street, HBO, International Tours; Lungs, Studio Theatre, Paines Plough, Sheffield Theatres, Various Productions

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ALL THE WAY BY ROBERT SCHENKKAN DIRECTED BY KYLE DONNELLY

ORDER TODAY! 202-488-3300 WWW.ARENASTAGE.ORG

selected for Theatertreffen and Festival d’Avignon. Duncan was also the recipient of two awards in the inaugural Bruntwood Playwriting Competition, 2006. 1984 was nominated as Best New Play at the Olivier Awards, 2014 and won the UK Theatre Award for Best Director (Duncan Macmillan and Robert Icke). CHLOE LAMFORD Designer Theatre credits include: Boys, Headlong; Cannibals, The Royal Exchange Theatre, Manchester; Praxis Makes Perfect, National Theatre Wales; The Events, ATC/Young Vic; The History Boys, Crucible; Circle Mirror Transformation, Royal Court; Donmar Warehouse; Trafalgar Studio 2; Young Vic; National Theatre of Scotland; National Theatre Wales; Edinburgh Festival; Manchester Royal Exchange; Sky Arts Live Drama; Wilton’s Music Hall; Crucible, Sheffield/Bush; Gate; Linbury Studio, Royal Opera House and Tour; Clean Break; Soho; Birmingham Rep; Salisbury Playhouse; Sherman, Cardiff; Tricycle/Mercury, Colchester. Opera credits include: Malmo Opera House, English Touring Opera, Scottish Opera/RCS. She received the Arts Foundation Fellowship for Design for Performance, 2013. Winner of the 2007 Theatre Design Award from the TMA for Small Miracle (Mercury Theatre, Colchester). Training: Wimbledon School of Art.

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NATASHA CHIVERS Lighting Designer Broadway: Macbeth, National Theatre of Scotland, Broadway, Lincoln Center, Japan Tour. West End: Oresteia, Almeida, West End; 1984, Headlong, Almeida, West End, UK and International Tours; That Face, Royal Court, West End. Other theatre credits include: Who Cares, Fireworks, Adler & Gibb, The Mistress Contract, The Djinns of Eidgah, Royal Court; Green Snake, National Theatre of China; Praxis Makes Perfect, Neon Neon, National Theatre Wales; Statement of Regret, National Theatre. Dance credits include: Four Fridas, Run!, Renaissance, Greenwich and Docklands International Festivals; Mesmerix, Metheus, BalletBoyz: theTALENT, Linbury Studio; Motor Show, LIFT, Brighton Festival; Electric Hotel, Sadler’s Wells/Fuel; Electric Counterpoint, ROH; Broken, Scattered, Motionhouse; Encore, Sadler’s Wells/BalletBoyz. Awards: TMA Award Happy Days at Sheffield Crucible (Best Design); Olivier Award for Sunday in the Park with George (Best Lighting Design). TOM GIBBONS Sound Designer Broadway: A View from the Bridge, Young Vic, West End, Broadway. West End: Oresteia, Almeida, West End; 1984, Headlong, Almeida, West End, UK and International Tours. Other theatre credits include: People, Places and Things, National Theatre; Faustus, White Devil, As You Like It, RSC; Translations, ETT, Sheffield Crucible; Happy Days, A Season in the Congo, Disco Pigs, Young Vic;

Mr. Burns, Almeida; The Absence of War, Romeo and Juliet, Headlong; Lion Boy, Complicite; Henry IV, Julius Caesar, Donmar Warehouse, St. Ann’s Warehouse; Anna Karenina, Manchester Exchange; Breeders, St. James; Grounded, Gate Theatre; The Spire, Salisbury Playhouse; London, The Angry Brigade, Paines Plough, Bush; Roundabout Season, Shoreditch Town Hall, Paines Plough. TIM REID Video Designer Theatre credits include: Wild Swans, A.R.T./Young Vic; Oresteia, Almeida; Blood Wedding, Dundee Rep, Graeae, Derby Theatre; 1984 (Knight of Illumination Award nomination), Headlong, Nottingham Playhouse; Stemmer, Bergen National Opera; Scale, Scottish Dance Theatre; Letters Home: England in a Pink Blouse, Grid Iron, Edinburgh Book Festival; A Christmas Carol, Royal Lyceum Edinburgh; The History Boys, Love Your Soldiers, Sheffield Crucible; Quiz Show, Tree of Knowledge, Traverse Theatre; Carousel, Royal Conservatoire of Scotland; Ghost Patrol, Scottish Opera, Music Theatre Wales; Can We Talk About This?, DV8 Physical Theatre; Clockwork, Visible Fictions, Scottish Opera; Girl X, 99...100, Peter Pan, Miracle Man, Transform: Orkney, Transform: Dumfries, National Theatre of Scotland.

DANIEL RAGGETT Associate Director As Director: A Marked Man, HighTide; 24 Hour Plays: Old Vic New Voices 2012, Old Vic; The Seagull, Bloomsbury; Close, Arcola; August Town, RADA; Mr. Kolpert, C Soco Edinburgh Festival. As Associate Director: 1984, Almeida, West End, UK and International Tours; Bad Jews, Theatre Royal Bath, West End; The Iliad, The Odyssey, Almeida. As Resident/Staff Director: Three Days in the Country, A Small Family Business, National Theatre; The Nether, Headlong, West End. As Assistant Director: Romeo and Juliet, Headlong, UK tour; Noises Off, Old Vic, UK tour; Abigail’s Party, Theatre Royal Bath, UK tour; The Alchemist, Liverpool Playhouse; Children’s Children, Almeida; 24 Hour Musicals Celebrity Gala, Old Vic. Daniel is an Associate Artist of HighTide Festival Theatre.

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FOR SHAKESPEARE THEATRE COMPANY

FOLGER

THEATRE 2015/16 SEASON

“WICKEDLY FUNNY…AND WICKEDLY SMART” —NPR

APRIL 21–MAY 8, 2016 • 21 PERFORMANCES ONLY! INSPIRED BY SHAKESPEARE’S THE MERCHANT OF VENICE By AARON POSNER Directed by MICHAEL JOHN GARCÉS WORLD PREMIERE! • MAY 31–JULY 3, 2016

folger.edu/theatre | (202) 544-7077 16-FT-0108_STC_half.indd 1

2/16/16 1:21 PM

WILL ON THE HILL Monday, June 13, 2016 Join us for one of Washington’s most anticipated spring events—Will on the Hill! This Shakespeare Theatre Company annual benefit welcomes Senators, Representatives, and distinguished Washington influencers onto the stage to perform scenes from Shakespeare with a modern, Capitol twist. Infused with comedic references to contemporary politics, this distinctive and fun-filled evening is sure to leave you in stitches. Will on the Hill pays tribute to the vibrant and engaged dynamic of our city and raises indispensable funds for the Shakespeare Theatre Company’s artistic, education, and community engagement programs.

“Imagine a theatre full of really, “To play or not to play, really enthusiastic second-graders that is the question” who have been allowed to dress however they want and who spout jokes about cap and trade and the liberal media.” Washington Post Express

NBC Washington

LL I W ON ILL THEH

2016 LEAD SPONSOR

2016 MEDIA SPONSOR 2016 DIRECTOR SPONSORS

Nick and Maria Allard

2016 EXECUTIVE SPONSORS

Stephen and Lisa Ryan

Contact STC’s Corporate Giving Office at 202.547.3230 ext. 2331 or WillontheHill@ ShakespeareTheatre.org.

Michael Kahn Artistic Director STC: The Critic and The Real Inspector Hound, The Metromaniacs, Henry IV, Part 1 and 2, Wallenstein, The Government Inspector, Strange Interlude, The Heir Apparent, Old Times, All’s Well That Ends Well, The Liar, Richard II, The Alchemist, Design for Living, The Way of the World, Antony and Cleopatra (2008), Tamburlaine, Hamlet (2007), Richard III (2007), The Beaux’ Stratagem, Love’s Labor’s Lost, Othello, Lorenzaccio, Macbeth (2004), Cyrano, Five by Tenn (at the Kennedy Center), The Silent Woman, The Winter’s Tale (2002), The Duchess of Malfi, The Oedipus Plays, Hedda Gabler, Don Carlos, Timon of Athens, Camino Real, Coriolanus, King Lear (1999), The Merchant of Venice, King John, A Woman of No Importance, Sweet Bird of Youth, Peer Gynt, Mourning Becomes Electra, Henry VI, Volpone, Henry V, Henry IV, The Doctor’s Dilemma, Richard II, Much Ado About Nothing (also at McCarter Theatre Center), Mother Courage and Her Children, Hamlet, Measure for Measure, King Lear (1991), Richard III (1990), The Merry Wives of Windsor, Twelfth Night, As You Like It, Antony and Cleopatra (1988), Macbeth (1988), All’s Well That Ends Well, The Winter’s Tale (1987), Romeo and Juliet. NEW YORK: Broadway: Show Boat (Tony nomination), Cat on a Hot Tin Roof, Whodunnit, Night of the Tribades, Death of Bessie Smith, Here’s Where I Belong, Othello, Henry V; Off-Broadway: Manhattan Theatre Club: Five by Tenn, Sleep Deprivation Chamber, Funnyhouse of a Negro, The Rimers of Eldritch, Three by Thornton Wilder, A Month in the Country, Hedda Gabler, The Señorita from Tacna, Ten by Tennessee; New York Shakespeare Festival: Measure for Measure (Saturday Review Award). Artistic Director: The

Acting Company, 1978–1988. TEACHING: Richard Rodgers Director of Juilliard Drama Division July 1992–May 2006, faculty member 1967–; Shakespeare Theatre Company Academy for Classical Acting at The George Washington University. Previously: New York University; Circle in the Square Theatre School; Princeton University; British American Drama Academy; founder of Chautauqua Theatre Conservatory. REGIONAL: Arena Stage: A Touch of the Poet; Signature Theatre: Pride in the Falls of Autrey Mill, Otabenga; Guthrie Theater: The Duchess of Malfi; American Repertory Theatre: ‘Tis Pity She’s a Whore; American Shakespeare Theatre: Artistic Director for 10 years, more than 20 productions; McCarter Theatre Center: Artistic Director for five seasons, including Beyond the Horizon, filmed for PBS; Chautauqua Theatre: Artistic Director, including The Glass Menagerie with Tom Hulce; Goodman Theatre: Old Times (MacArthur Award), The Tooth of Crime (Jefferson nomination); Ford’s Theatre: Eleanor. OPERA: Roméo et Juliette for Dallas Opera; Vanessa for the New York City Opera (2007); Lysistrata or The Nude Goddess for Houston Grand Opera and New York City Opera; Vanessa for Washington Opera and Dallas Opera; Show Boat for Houston Grand Opera; Carmen for Houston and Washington Operas; Carousel for Miami Opera; Julius Caesar for San Francisco Spring Opera. INTERNATIONAL: Love’s Labor’s Lost at the Royal Shakespeare Company’s Complete Works Festival; The Oedipus Plays at the Athens Festival; Five by Tenn for The Acting Company’s tour of Eastern Europe; Show Boat for the National Cultural Center Opera House in Cairo; The White Devil for the Adelaide Festival. BOARD MEMBERSHIPS: Theatre Communications Group; New York State Council on the Arts; D.C. Commission on the

Photos of Rep. Mike Turner (R-OH), Rep. Ryan Zinke (R-MT), Reps. Joyce Beatty (D-OH), Gerry Connolly (D-VA) and Janice Hahn (D-CA), Rep. Ann Wagner (R-MO). by Kevin Allen. The Shakespeare Theatre Company is a 501(c)(3) non-profit organization. STC does not retain or employ registered lobbyists or foreign agents.

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Arts and Humanities; National Endowment for the Arts; Opera America’s 80s and Beyond. AWARDS: Commander of the British Empire (C.B.E.); Theater Hall of Fame; seven Helen Hayes Awards for Outstanding Director; 2011 CAGLCC Excellence in Business Award; 2010 WAPAVA Richard Bauer Award; 2007 Mayor’s Arts Award Special Recognition for Shakespeare in Washington; 2007 Stephen and Christine Schwarzman Award for Excellence in Theatre; 2007 Sir John Gielgud Award for Excellence in the Dramatic Arts; 2005 Person of the Year from the National Theatre Conference; 2004 Shakespeare Society Medal; 2002 William Shakespeare Award for Classical Theatre; 2002 Distinguished Washingtonian Award from The University Club; 2002 GLAAD Capitol Award; 1997 Mayor’s Arts Award for Excellence in an Artistic Discipline; 1996 Opera Music Theater International’s Bravo Award; 1990 First Annual Shakespeare’s Globe Award; 1989 Washingtonian Magazine Washingtonian of the Year; 1989 Washington Post Award for Distinguished Community Service; 1988 John Houseman Award. HONORARY DOCTORATES: University of South Carolina; Kean College; The Juilliard School; The American University. Chris Jennings Executive Director STC: Joined the Company in 2004. ADMINISTRATION: General Manager: Trinity Repertory Company (1999–2004), Theatre for a New Audience (1997–1999); Associate Managing Director: Yale Repertory Theatre; Assistant to the Executive Producer: Manhattan Theater Club; Founder/Producing Director: Texas Young Playwrights Festival; Manager: Dougherty Arts Center. MEMBERSHIPS: Currently serves on the Board of the Theatre Communications Group, D.C. Downtown BID, THE ARC, D.C. Arts Collaborative, the Penn Quarter Neighborhood Association, Theatre 28

Washington, and is a member of the League of Resident Theatres (served on AEA and SSDC Negotiating Committees); has served as a panelist for the NEA, D.C. Commission on the Arts and Humanities, Mid Atlantic Arts Foundation and Pew Theatre Initiative. AWARDS: Arts Administration Fellowship: National Endowment for the Arts. TRAINING: University of Miami: BFA in Theatre/Music; Yale School of Drama: MFA in Theatre Management. Alan Paul Associate Artistic Director STC: Kiss Me, Kate, Man of La Mancha, A Funny Thing Happened on the Way to the Forum (2014 Helen Hayes Award for Best Director of a Musical), The Boys from Syracuse, The Winter’s Tale (Free For All), Twelfth Night (Free For All), As You Like It (Associate Director), Henry IV, Parts 1 and 2 (Associate Director), numerous galas, readings, and special events; Assistant Director: 13 shows. THEATRE DIRECTING: Signature Theatre: I Am My Own Wife; Studio Theatre 2ndStage: Silence! The Musical, The Rocky Horror Show (co-director); Catholic University: Man of La Mancha; University of Maryland: The Matchmaker; Apex Theatre Company: Richard II; Northwestern University: Six Degrees of Separation; readings for Studio Theatre, Arena Stage, Woolly Mammoth Theatre Company, The National Academy of Sciences, The Phillips Collection, The Goethe Institut, Georgetown University. OPERA DIRECTING: Washington National Opera: Penny; Urban Arias: Blind Dates, Before Breakfast, The Filthy Habit, Photo-Op; The In Series: Dido and Aeneas, El Amor Brujo; Strathmore Concert Hall: Butterfly/Saigon, Blind Dates. Finalist for the 2013 European Opera Directing Prize (Vienna, Austria). Acting Instructor for the Domingo-Cafritz Young Artists Program at WNO.

Drew Lichtenberg Literary Manager STC: The Critic and The Real Inspector Hound, Kiss Me, Kate, Salomé, Tartuffe, Man of La Mancha, The Metromaniacs, The Tempest, As You Like It, Private Lives, Henry IV, Part 1 and 2, The Importance of Being Earnest, A Funny Thing Happened on the Way to the Forum, Measure for Measure, Coriolanus, Wallenstein, Hughie, A Midsummer Night’s Dream, The Government Inspector, The Merry Wives of Windsor, The Servant of Two Masters, Strange Interlude, The Two Gentlemen of Verona, Much Ado About Nothing, The Heir Apparent. REGIONAL: STC/McCarter Theatre Center: The Winter’s Tale; Center Stage: Caroline, or Change, Cyrano, Around the World in 80 Days; Yale Repertory Theatre: Lulu (dir. Mark Lamos); Williamstown Theatre Festival: The Front Page, The Physicists, The Corn Is Green; New York Shakespeare Festival: Macbeth (dir. Moisés Kaufman); OTHER: Yale School of Drama: Tarell McCraney’s In the Red and Brown Water (U.S. premiere); TEACHING: Catholic University of America; Eugene Lang College at the New School. TRAINING: Yale School of Drama: MFA in Dramaturgy & Dramatic Criticism.

Scansion. TRAINING: Yale University: MA, MPhil, PhD (English); Central School of Speech and Drama/The Open University (London): Advanced and Post-Graduate Diplomas in Voice Studies. TEACHING: Academy for Classical Acting; University of California, Santa Cruz; Guilford College; Kirkland College.

Carter C. Wooddell Resident Casting Director STC: The Critic and The Real Inspector Hound, Kiss Me, Kate, Salomé, A Midsummer Night’s Dream (Free For All), Tartuffe, Man of La Mancha, The Metromaniacs, The Tempest, As You Like It, The Winter’s Tale (Free For All), The Merry Wives of Windsor, Two Gentlemen of Verona, Much Ado About Nothing, The Merchant of Venice. Other Casting Experience (McCorkle Casting, Ltd.). NEW YORK: Broadway: Belasco Theatre: End of the Rainbow (dir: Terry Johnson), Booth Theatre: High (dir: Rob Ruggiero); Off-Broadway (partial): Barrow Street Theatre: Tribes (dir: David Cromer), Our Town (dir: David Cromer), The Acting Company, Marjorie S. Deane Little Theater: Freud’s Last Session (dir: Tyler Marchant), Cherry Lane Theatre: A Perfect Future (dir: Wilson Milam), SoHo Playhouse: The Irish Curse (dir: Matt Lenz), Beckett TheEllen O’Brien atre: An Error of the Moon (dir: Kim Weild); Head of Voice and Text NYC Other: Lincoln Center Institute: Hamlet, STC: More than 50 productions over 11 seasons. Fly, Sheila’s Day. NATIONAL TOURS: The ACADEMY FOR CLASSICAL ACTING: 22 Acting Company, Riverdance. REGIONAL: productions of Shakespeare and Jacobean plays. Alley Theatre, Center Stage, Barrington Stage REGIONAL: Ford’s Theatre, Arena Stage, Company, The Broad Stage, Contemporary Charlotte Repertory Company, Aurora/Magic American Theater Festival, Crossroads Theatre Theaters; People’s Light and Theatre Company; Company, George Street Playhouse, The Shakespeare Santa Cruz; North Carolina Guthrie Theater, Pittsburgh Public Theater, Shakespeare Festival. PUBLICATIONS: TheaterWorks Hartford. RADIO: BBC Radio: Articles in The Voice and Speech Review, The Piano Lesson (dir: Claire Grove). TELEShakespeare in the Twentieth Century, VISION: Sesame Workshop: The Electric Shakespearean Illuminations, Shakespeare Company, Pilot: 27 East. FILM: Columbia Survey, Shakespeare Quarterly, Shakespeare Pictures: Premium Rush (dir: David Koepp), and the Arts, The Voice and Speech Review: Choice Films: Junction (dir: Tony Glazer). Associate Editor for Heightened Text, Verse and 29

Charrington

FACES AND VOICES

O'Brien

By Chloe Lamford, Set and Costume Designer

Mrs. Parsons Julia

She’s almost a generic 20 th-century mother—her look has warmth and knitted textures.

We wanted Julia to feel slightly intimidating—harsh and unfeminine, yet very simple. She wears a red belt to reference the sash her character wears in the novel. 30

Article provided by Headlong Theatre.

The quintessential idea of an archaic feeling, he also has little details like spectacles, fingerless gloves, and a watch chain, and is very textured in terms of different wools and layers. A real mix of vintage styles, he feels somewhere between the ’60s and the ’80s. The more austere polo neck and slightly uncomfortable color palette felt right for this character.

Syme

We looked to historical figures, primarily the German communist politician Erich Honecker: his striking spectacles and neat suit were a real key towards finding the character. The suit, with its doublebreasted cut, is vintage.

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MAPPING THE PLAY

Glossary of Newspeak a

ANTI-SEX LEAGUE Juli Organisation advocating celibacy among Party members and the eradication of the orgasm. In Airstrip One, love and loyalty should exist only toward Big Brother and the Party. AIRSTRIP ONE A province of Oceania, known at one time as “England” or “Britain.”

BIG BROTHER The dictatorial leader of the Party, and its cofounder along with Goldstein (see Goldstein, Emmanuel). Life in Oceania is characterised by perpetual surveillance and constant reminders that “Big Brother is watching you.” THE BROTHERHOOD An underground network founded by Emmanuel Goldstein, an original member of the Inner Party. Goldstein turned on Big Brother and was one of the few to escape during the revolution (see also Resistance, Emmanuel Goldstein.) 32

f xample o

BLACKWHITE e ink doubleth The ability not only to believe that black is white, but to know that black is white and forget that one has ever believed the contrary. DOUBLEPLUS An example of how comparative and superlative meanings are communicated in Newspeak. “Plus” acts as an intensifier, and “double” even more so. In Newspeak, “better” becomes “plusgood” and even better is “doubleplusgood.”

DOUBLETHINK The ability to hold two contradictory beliefs in one’s mind simultaneously and accept both of them. FACECRIME Any improper expression that carries the suggestion of abnormality or of something hidden. A nervous tic or unconscious look of anxiety could be a punishable offence.

GOLDSTEIN’S BOOK Referred to simply as “The Book,” Emmanuel Goldstein’s record is a compendium of all the heresies, of which Goldstein was the author and which circulated clandestinely here and of there. Practice

ry and ectivism The Theo al Coll ic Oligarch

GOODTHINKER A person who adheres to the principles of Newspeak. INNER PARTY Oceania’s political class, who enjoy a higher quality of life than general Party members. They are dedicated entirely to Big Brother and the principles of Party rule.

Smith Winstond here employe

MINISTRY OF LOVE (ALSO MINILUV) Oceania’s interior ministry, enforcing loyalty and love of Big Brother through fear, oppression and thought modification. As its building has no windows, the interior lights are never turned off.

MINISTRY OF PEACE (ALSO MINIPAX) The defence arm of Oceania’s government, in charge of its military. MINISTRY OF PLENTY (ALSO MINIPLENTY) The management of Oceania’s economy lies with this arm of government, which oversees rationing and maintains a state of poverty, scarcity and financial shortage while convincing the population that they are living in perpetual prosperity. MINISTRY OF TRUTH (ALSO MINITRUE) The Party’s communication apparatus, by which historical records are amended in keeping with its approved version of events. NEWSPEAK The official language of Oceania. Designed to make thoughtcrime impossible, its vocabulary gets smaller every year, asserting that thoughtcrime—and therefore any crime— cannot be committed if the words to express it do not exist. Implementation of Newspeak is referred to as “The Project.” continued on page 36 33

Shakespeare Lives is a major programme of events and activities celebrating Shakespeare’s work on the occasion of the 400th anniversary of his death in 2016.

IN

OUR HEARTS MINDS AND THE WORDS WE SPEAK

Abbey Theatre The Plough and the Stars

Seán O’Casey’s classic in the repertoire of Irish drama comes to life once more in the Abbey Theatre’s production directed by Sean Holmes. May 18 & 19 | Eisenhower Theater

The British Council is working with partners including the GREAT Britain campaign and a host of leading theatres, educators and artists, to present a vibrant programme that will engage audiences globally and showcase the best of contemporary Britain.

Pan Pan Theatre All That Fall

Shakespeare Lives will include new theatre productions, screened plays, film adaptations, art exhibitions and more. Visit the website www.shakespearelives.org for information.

Audiences are immersed in an atmospheric chamber of multiple speakers and ambient lights in Samuel Beckett’s first radio play, directed by Gavin Quinn. May 19–21 | Terrace Gallery

HIGHLIGHTS Film Re-Interpretations Throughout the year we are commissioning some of the UK’s leading filmmakers, writers and musicians to create short films reimagining Shakespeare’s work, launching with SBTV’s Twelfth Night inspired rap and Laura Dockrill’s Romeo and Juliet. Play Your Part We’ve partnered with VSO to help use Shakespeare to support their life

changing work in education. Throughout the year we will be running digital campaigns asking people to play their part in giving children the education they deserve. Shakespeare On Film British Council is working with the British Film Institute to deliver the largest ever international touring programme of Shakespeare on Film, spearheaded by Sir Ian McKellen.

Theatre Lovett The Girl Who Forgot to Sing Badly All That Fall—Beckett Radio Play

A brave Irish lass crosses snow-capped mountains and treacherous seas to unleash her true voice in this one-man show from storyteller Louis Lovett. Age 7+ May 20–22 | Family Theater

Fishamble: The New Play Company Tiny Plays for Ireland and America The Plough and the Stars

SM

Through “tiny plays” submitted by citizens of Ireland and America, experience vivid and varied glimpses of contemporary Ireland as well as President Kennedy’s life and legacy. May 24 & 25 | Terrace Gallery

Olwen Fouéré’s riverrun

© 2016 United Airlines, Inc. All rights reserved.

Fiona Shaw, Artist-in-Residence

riverrun is Olwen Fouéré’s adaptation and performance of the voice of the river Liffey in James Joyce’s Finnegans Wake. May 25 & 26 | Family Theater

May 17–June 5, 2016, IRELAND 100: Celebrating a Century of Irish Arts & Culture will highlight the best artists from Ireland and the United States. This exciting three week celebration, curated by Alicia Adams, Vice President of International Programming and Dance, will include dozens of performances of theater, dance, and music plus literature panels, culinary demonstrations, outdoor activities, and more.

Proud to support the

Shakespeare Theatre Company.

Tickets and information at kennedy-center.org/Ireland100 The Presenting Underwriter of IRELAND 100 is the HRH Foundation, with major support provided by The American Ireland Fund, the Embassy of Ireland, and David and Alice Rubenstein.

MAPPING THE PLAY continued from page 33 OCEANIA One of three superstates over which Big Brother exercises totalitarian rule. Its neighbouring territories are Eurasia and Eastasia. OLDSPEAK The version of English preceding Newspeak. In Newspeak, words that represent politically incorrect ideas are eliminated. OLDTHINK Ideas and patterns of thought that are inconsistent with the Party’s principles. THE PARTY The general population of Oceania, comprising middle class bureaucrats and other government employees, comprising approximately 13% of population. There is a huge gap between the standard of living of Inner and Outer Party members. Outer Party members have very little possessions, and almost no access to basic consumer goods. All Outer Party members have a telescreen in every room of their apartment. 36

RESISTANCE The revolutionary group said to have been led by Emmanuel Goldstein in an uprising against the Party. Every ill of society is blamed on this group, which may or may not exist. ROOM 101 A room in the Ministry of Love where thought criminals are taken. SEXCRIME Having sex for enjoyment. In Oceania, the only approved purpose of sex is procreation for the Party.

bad

THOUGHTCRIME All crime begins as a thought, therefore all crime is thoughtcrime. A person who has committed thoughtcrime is a thought criminal, even before committing the act itself. Thoughtcrime is “the essential crime that contains all others in itself.”

UNGOOD The opposite of good.

THOUGHT POLICE Law enforcement department designed to detect mental political transgressions.

YOUTH LEAGUE Group for children in which membership is mandatory. Members’ primary task is to monitor the activities of their parents.

TWO MINUTES’ HATE A daily broadcast showing instances of thoughtcrime.

UNPERSON (ALSO UNWRITE) The process of altering and erasing records in order to eradicate someone from cultural memory. Once unpersoned, an individual’s previous existence can be denied.

TELESCREEN Two-way screens installed in the homes of all Party members to broadcast information and ensure constant surveillance. There is no way to control what is broadcast, only its volumes, and the screen cannot be turned off.

Article provided by Headlong Theatre. 37

Tired of Big Brother propaganda? Use to see the real world! O’BRIEN: I’ve been stood up! @Winston + @Julia were supposed to meet me at my apartment. Now at Cafe Aria scheming #thoughtcrimes

JULIA: Museum of American History— you’ve opened my eyes to a new world. I won’t let Big Brother suppress my love!

WINSTON: Great place to reflect. Notes to self: fight tyranny, propose to Julia, use MapHook more often!

Perugino View, Early Morning. Naumkeag, Stockbridge, Massachusetts. Landscape by Fletcher Steele. Photograph © Alan Ward.

Find cool places. See what’s trending. Pin your own story. 38

Tour America’s most significant landscape architecture through Ward’s striking images. Visit nbm.org for more information.

401 F Street NW

SUPPORT We gratefully acknowledge the following donors that currently support the work of the 2015–2016 Season. This list is current as of January 20, 2016. $100,000 and above

Anonymous Beech Street Foundation T The Erkiletian Family Foundation The Harman Family Foundation T The Honorable Jane Harman John and Meg HaugeT HRH Foundation

T

Michael R. Klein and Joan I. Fabry T BA The Robert P. and Arlene R. Kogod Family Foundation Share Fund Robert H. Smith Family Foundation Suzanne and Glenn Youngkin T

$50,000 to $99,999

Paul M. Angell Family Foundation Anita M. Antenucci T Afsaneh Beschloss The Morris and Gwendolyn Cafritz Foundation Dr. Paul and Mrs. Rose Carter T D.C. Commission on the Arts & Humanities Debbie Driesman and Frank F. Islam T BA

Dr. Mark Epstein and Amoretta Hoeber T Mr. and Mrs. Robert Falb T The Philip L. Graham Fund Pamela and Richard Hanlon Mr. and Mrs. Stephen A. Hopkins T National Capital Arts & Cultural Affairs Program/US Comm. of Fine Arts Alan and Marsha Paller The Shubert Foundation

$25,000 to $49,999

Anonymous (2) William S. Abell Foundation Anne and Ronald Abramson Nick and Marla Allard T BA Stephen E. Allis T Mr. and Mrs. Landon Butler T James A. Feldman and Natalie Wexler Nina Zolt and Miles Gilburne T Catherine Held Jerry and Isabel Jasinowski T Mr. Jerry Knoll Mr. and Mrs. Kevin Kolevar T Pamela Kopp Abbe David Lowell and Molly A. Meegan T BA Jacqueline B. Mars

Ann K. Morales National Endowment for the Arts Stephen and Lisa Ryan T BA Shakespeare for a New Generation Fredda Sparks and Kent Montavon George P. Stamas T Tom and Cathie Woteki T AMB

Turner & Goss

$15,000 to $24,999 Anonymous Altria Group, Inc. The Theodore H. Barth Foundation Peter A. Bieger British Council Brown-Forman Corporation The Carmen Group Computer and Communications Industry Association The Dallas Morse Coors Foundation for the Performing Arts

40

The Max and Victoria Dreyfus Foundation E. and B. Family Trust Patricia and Miguel Estrada Helen Clay Frick Foundation Sue and Leslie Goldman Hogan Lovells US LLP Mike and Gina House T BA Humana Inc Helen Kenney AMB The Jacob and Charlotte Lehrman Foundation

James J. Lynch Michael and Maureen McMurphy and the Patrick Michael McMurphy Memorial Foundation Toni A. Ritzenberg Vicki and Roger Sant 1616 Pauline A. Schneider T BA Solon E. Summerfield Foundation Visa Inc. WilmerHale Lynn and Jonathan Yarowsky

$10,000 to $14,999 Anonymous (2) Esthy and Jim Adler Aflac Sheila and Kenneth Berman BA Bill Bodie CBRE Group, Inc. Mr. Peter Cherukuri T CJM Foundation Clark Construction Group, LLC CLS Strategies Tom and Krista Di Iaconi BA Douglas Development Corporation Nina Laserson Dunn and Eric C. Rose BA Arthur and Shirley Fergenson ACA Gould Property Group David and Jean Grier Grossberg, Yochelson, Fox & Beyda, LLP Ms. Elaine Economides Joost 1616 Scott Kaufmann T David Lawson Eleanor Merrill Hazel C. Moore The Morningstar Foundation Melissa Moss T Tom Mounteer and Bobby Zeliger Michelle Newberry Nissan North America, Inc. Theodore B. Olson and Lady Booth Olson BA Porterfield, Lowenthal, Fettig & Sears, LLC Steve and Diane Rudis Judi Seiden AMB Victor Shargai and Craig Pascal The Honorable Robert E. Sharkey and Dr. Phoebe Sharkey AMB Doug and Gabriela Smith Clarice Smith Sovereign Strategy Limited Velasquez Group, LLC Vornado/Charles E. Smith LP Patricia and David Vos Foundation Vulcan Materials Company Foundation Carolyn L. Wheeler BA Mr. Derek Thomas and Mr. Ernesto Abrego TPG Capital Mark Tushnet and Elizabeth Alexander Mr. and Ms. Antoine Van Agtmael Marvin F. Weissberg Wells Fargo Philanthropy Alan and Irene Wurtzel Mike Wyckoff and Aida Gatell Chris and Carol Yoder Judy and Leo Zickler $5,000 to $9,999 Anonymous (5) Alston & Bird LLP Amazon Web Services Peter and Joan Andrews Bean, Kinney & Korman, P.C. BA Kyle and Alan Bell Barbara Bennett Don and Nancy Bliss Katherine B. and David G. Bradley Robert Crawford Carlson The Honorable Joan Churchill BA Christopher Clarke Richard H. Cleva and Madonna K. Starr Comcast NBCUniversal Jeffrey P. Cunard BA DAVIS Construction

Louis Delair, Jr. Beverly and Richard Dietz The Dimick Foundation DirecTV Craig Dunkerley and Patricia Haigh ACA EagleBank Ernst & Young LLP Marietta Ethier ExxonMobil Julie M. Feinsilver 1616 ACA Denise Ferguson First Potomac Realty Trust Anne and Burton Fishman BA Paige Franklin and David Pancost Geppetto Catering, Inc. Tim and Susan Gibson ACA AMB Scott and Lauren Gilbert BA Lee Goodwin and Linda Schwartzstein Donald H. Goodyear, Jr. Graham Holdings Mr. and Mrs. Woolf P. Gross Pamela and Corbin Gwaltney H&R Block Kevin T. Hennessy AMB BA Mr. and Mrs. Allan Holt The Mark & Carol Hyman Fund The International Union of Bricklayers and Allied Craftworkers K&L Gates LLP Daniel F. Katz BA Irene and Lou Katz David and Anne Kendall BA Barry Kropf Marcel C. LaFollette and Jeffrey K. Stine ACA Bill Lands and Norberta Schoene Wm Gary and Phoebe Mallard ACA Mars Foundation Hilary B. Miller and Dr. Katherine N. Bent Foundation BA Kristine Morris Rita Mullin National Cable & Telecommunications Association Oracle America Corporation Mr. and Mrs. Carl F. Pfeiffer William Pugh and Lisa Orange Reset Public Affairs The Nora Roberts Foundation Gerri and Murray Rottenberg 1616 Securities Industry and Financial Markets Association SIGAL Construction Corporation Software and Information Industry Association Southern Company William Stein and Victoria Griffiths BA Stoiber + Associates, Architects Story Partners T STUDIOS Architecture Terra Nova Title and Settlement Services, LLC Mr. Derek Thomas and Mr. Ernesto Abrego TPG Capital Mark Tushnet and Elizabeth Alexander Mr. and Ms. Antoine Van Agtmael Marvin F. Weissberg Wells Fargo Philanthropy Alan and Irene Wurtzel Mike Wyckoff and Aida Gatell Chris and Carol Yoder Judy and Leo Zickler

$2,500 to $4,999 Anonymous (5) Ernest and Dianne Abruzzo Miriam and Robert Adelstein AECOM Airlines for America Amanda K. Allexon BA Sunny and Bill Alsup Tony Anderson and Kevin Lorei Mr. Decker Anstrom and Ms. Sherron Hiemstra Stephen P. Anthony BA Celia and Keith Arnaud AT&T Services, Inc. Bank of America Drs. Hilda and William O. Bank Linna Barnes and Chris Mixter Brent J. Bennett Dr. and Mrs. James E. Bernhardt Bob, Kathy and Lauren Dr. Bill and Evelyn Braithwaite Mr. and Mrs. Jere Broh-Kahn ACA Claudyne Y. Brown BA The Family of Marion and Charles Bryce 1616 AMB Mr. and Mrs. I.T. Burden III Capitol Counsel LLC Dawn and James Causey Audrey Chang and Michael Vernick Ellen MacNeille Charles Charter Communications Monica Rose Chodur The Clearing House Linda and John Cogdill Mary Cole AMB Jeff and Jacky Copeland Cornerstone Government Affairs LLC Marshall B. Coyne Foundation Douglas W. Crandall The Charles Delmar Foundation Dorchester Towers and Dorchester Apts on Columbia Pike in Arlington Anita Dunn Edison Electric Institute Emily, Susannah and Michael Eig Helaine G. Elderkin BA Mr. James Ellzy and Mr. Franc O’Malley Raymond S. Eresman and Diana E. Garcia Michael Evans BA Rob and Anne Faris BA Mr. and Mrs. Ralph C. Ferrara Leo Fisher and Sue Duncan Barry and Marie Fleishman Forest City Washington Franklin Square Group Rhona Wolfe Friedman and Donald J. Friedman BA FTI Consulting Burton Gerber Carol and Ken Gideon BA Josh Goldfoot BA Alice and John Goodman John E. Graves RIA and Hanh Phan The Greczmiel Family Nicole Alfandre Halbreiner James T. and Vicky Sue Hatt Karen L. Hawkins BA Dr. and Mrs. Stephen Hersh Charlotte Hollister and Donald Clagett James and Marissa Huttinger Larry and Georganne John John Edward Johnson Jody Katz and Jeffrey Gibbs Michael and Michelle Keegan Joel and Mary Keiler

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Thomas and Bridget Kluwin Mary Hughes Knox David A. Lamdin AMB Richard Levi and Susan Perry Dr. Mark T. Lewellyn Marjorie and John Lewis Freddi Lipstein and Scott Berg 1616 ACA AMB LMO Advertising Longview Strategies, LLC. James and Barbara Loots BA Lorraine S. Dreyfuss Theatre Education Fund Nick and Alyssa Lovegrove Mr. and Mrs. Eric Luse Amanda Machen Heidi and Bill Maloni Drs. Daniel and Susan G. Mareck David and Martha Martin Linda Matthews MAXIMUS Foundation Mr. and Mrs. Gregory May Mary McCue ACA AMB The McGwin/Bent Family Thomas and Ingrid McPherson Foundation Brenda Metzger Rajesh, Radhika and Karan Murari National Association of Realtors National Multifamily Housing Council National Rural Electric Cooperative Association National Credit Union Foundation Navigators Global Madeline Nelson Louisa and William Newlin Melanie and Larry Nussdorf The OB-C Group, LLC James Oldham and Elizabeth Conahan BA Dr. and Mrs. Kenneth Oscar Mr. and Mrs. David Osnos Robert and Susan Pence BA Sydney M. Polakoff and Carolyn Goldman Lutz Alexander Prager QGA Public Affairs Rasky Baerlein Prism Robert and Nan Ratner Red Hat Molly and Joe Reynolds BA Steven and Beverly Schacht In Memory of Matteson Scott Shalom Baranes Associates Harriet and Howard Shapiro Linda and Stanley Sher Patricia and Terry Murphy Richard Simpson Martin Skea and Christopher Mondini The Smith-Free Group LLC Janet W. Solinger and Jacob K. Goldhaber Mark Sucher and Jane Lyons Peter Threadgill Kathy Truex Ralph C. Voltmer and Tracy A. Davis BA Dr. Arthur Weinstein Rob Wilder T Margot and Paul Zimmerman $1,500 to $2,499 Anonymous (11) The Ada Harris Maley Memorial Fund Gisela and Thomas Ahern

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Sanford K. Ain, Esq. BA Dean Amel and Terry Savela Patricia Arnold Keith and Sherry Babb Galen and Carolyn Barbour Josh and Vicky Bashof BA Ms. Deborah B. Baum BA Danielle L.C. Beach BA Judge James A. Belson Carol Benedict and Paul Ashin Mr. and Mrs. John H. Birdsall Dr. Donna W. Blake and Mr. Bruce E. Eckstein Cathleen E. Blanton Lisa and David Blatt BA Martha Blaxall and Joe Dickey Ronald Bottomly Michael A. Boyd Rita Braver and Robert Barnett BA Thomas C. Brennan Adrianne Brooks Howard M. Brown ACA Ms. Carol E. Bruce, Esq. BA Ms. Elizabeth Buchbinder Mr. Michael Butterfield and Ms. Hallee Morgan BA Capital Transaction Partners Sarah Cavitt Cheryl and Matthew Chalifoux Dr. and Mrs. Purnell Choppin Barry Coburn BA Barbara and John Cochran Mr. and Mrs. Anthony C. Collins Mr. and Mrs. Thomas B. Cormack Francis and Julia Creighton Ms. Suzanne Cremins BA Mr. and Mrs. Mark Darnell William and Sandra Davis Ms. D. Chris Downey Claudia H. Dulmage BA Becky and Alan Dye Fynnette Eaton and James E. Miller Donna Z. Eden Ms. Catherine B. Elwell Garrett Epps BA Diana Erbsen BA John Estes and Veronica Angulo BA Joelle Faucher and David Webber Mr. and Mrs. Alan M. Fern Mr. Joseph Z. Fleming BA Robert and Carole Fontenrose Julian W. Fore and Beverly A. Sauer Claire Frankel Brenda and David Friend Aaron and Susan Fuller Charles and Amy Gardner Dr. Laura J. George AMB Dr. Douglas E. Gill and Mrs. Karen S. Vartan Ruth Bader Ginsburg JoAnne Glisson Alisa M. Goldstein and Lee Blank Tom Goldstein BA Kevin Gowen and Robert Wilkinson Mr. and Mrs. David L. Gray Mr. Allen B. Green BA Linda Griggs and Bill Swedish Lisa Grosh and Donald Names BA Merle Haberman Frona Hall Kenneth G. Hance Barbara and Thomas Harr Robert and Margaret Hazen 1616 Andrea L. Heithoff Mr. Mark E. Herlihy and Ms. Ann M. Kappler Cheryl R. Hodge Fran and Bill Holmes

David H. Holtzman Ms. Ann Homan BA William L. Hopkins 1616 Maxine Isaacs Dr. Juel Janis Mr. Steven Janssen John, Pam and Kim Jaske Birdie Johnson BA Eric Kadel BA Michael Kades and Mary Giovagnoli BA Stephanie Kanwit Andrew Karron and Janet Storella BA Mr. Richard Kasten Candace and Hadrian Katz Elizabeth Keeley Joe and Joanne Kelly Thomas R. and Laurie S. Kelly Ms. Elizabeth L. Kendall, Esq. BA Frank Kendall and Beth Halpern BA Ms. Melinda Kimble Mr. Jeffrey D. Kirkwood Dana and Ray Koch Polly Kraft Sara Dunham Kraskin and Stephen Kraskin Mr. and Mrs. William Kristol Mr. Sanjiv Kumar and Ms. Mansoora Rashid L. L. Lanam Michael D. Lieberman and Lauren Sidner BA Steven Lieberman Jessie K. Liu BA David Lloyd Christopher and Lane MacAvoy Rev. Frederick MacIntyre and Mickey MacIntyre John and Connie McGuire BA Ms. Beverley McKee and Mr. William McKee Ms. Kristin Millay, Esq. BA Roger and Robin Millay Ben Miller Dr. Jeanne-Marie A. Miller Nancy and Herbert Milstein Ms. Sally F. Morell and Mr. Geoffrey C. Morell Dee Dodson Morris BA Michael Nannes and Nancy Everett BA Carl and Undine Nash BA Mr. and Mrs. Ralph Nash National Commercial Development Inc. Philip B. Nelson and Anne Parten Oliver Ocean BA Mr. and Mrs. Lawrence O’Connor Mrs. Jean Oliver Tim and Shana O’Toole Mr. and Mrs. Gerald W. Padwe Karishma and Jonathan Page Rodney and Deborah Page Barbara A. Patocka and Everett Mattlin Thomas Pauls and Eleanor Pelta Ms. Penelope Payne Robert and Lillian Philipson Foundation BA Sheldon Pratt ACA Bruce and Julie Press Ms. Elise Rabekoff and Mr. Christopher Gladstone Lloyd and Claudia Randolph 1616 BA Susan and Donald Rappaport Raymond James Financial, Inc. Steven and Anne Reed

Peter S. Reichertz Phillip Reiman and Leslie Binns Alberto J. Rivera BA Steve and Diane Rothman AMB Ron and Sharon Salluzzo Kimberly and Norman Sandridge BA Chad and Christina Sarchio BA Richard and Rochelle Schwab Mr. Richard E. Scott Elizabeth and Carl Seastrum Kannon and Victoria Shanmugam BA Dan Sherman Judith and Jerry Shulman Mark and Joan Siegel Mrs. Vivien K. Silber Patricia L. Sims, Esq. and David M. Sims, Esq. BA Ed and Andy Smith Paul Smith BA Richard and Sophia Smith BA Carl W. Stephens Lynne M. Stephens and Kenneth Larson Elizabeth and George Stevens Lawranne Stewart and Mark Kantor Susan and Brian Sullam Alice W. Thomas 1616 David Tone Truetheatergoer LLC Mr. Clifton Hyde Tucker, Jr. Alan Untereiner and Karen Donfried BA Tessa van der Willigen and Jonathan Walters Barbara Van Gelder and Oliver Patton BA John H. Vogel BA Mr. and Mrs. L. Von Hoffman Mr. Jeffrey Wall and Ms. Porter Wilkinson Thomas and Molly Ware AMB A. Shuanise Washington In Memory of Dorothy B. Watkiss BA In Memory of Mary Weathers Weinreich Family Sonia and Dale West Laura and Paul Weidenfeld BA Mr. Alan F. Wohlstetter Alexandra and Stephen Wrage BA Julian Yap BA The Honorable and Mrs. Dov S. Zakheim $1,000 to $1,499 Anonymous (7) Mr. and Mrs. Gregory Ballentine Mr. Joel Balsham Dan and Nancy Balz Mr. and Mrs. Albert H. Barclay, Jr. Barnett Sivon & Natter, PC Mr. Michael F. Barrett, Jr. and Ms. Danielle Beauchamp R. Joseph Barton and Tricia Placido Rhoda Baruch Nan Beckley The Dorothy G. Bender Foundation Ms. Mary Ellen Bergeron Elaine and Richard Binder James Blum Elizabeth Boyle The Honorable Susan G. Braden and Thomas M. Susman Jill and Jay Brannam Chris and James Bridgeman Roger and Nancy Brown Candice C. Bryant BuckleySandler LLP Jayne Bultena

Lora and Stan Burgess Capitol Hill Community Foundation ACA James M. Carr Rita A. Cavanagh and Gerald A. Kafka The Center Thomas and Robin Clarke William and Sara Coleman JoEllen and Michael Collins Caroline M. Devine Richard and Patricia Draper Susan and Dorsey Dunn Paul Ehrenreich Gary and Naomi Felsenfeld Fierce Government Relations Sandy and Jim Fitzpatrick Jeff Franzen Candida Fraze Moskovitz and Peter Moskovitz Ms. Elizabeth Galvin Angela and Dan Goelzer Grant Thornton LLP Newman T. Halvorson Hamilton Place Strategies Hines Interests Limited Partnership Fred Philip Hochberg Judy Honig and Stephen Robb Mr. and Mrs. Paul M. Honigberg Susan Immelt and Amelie Immelt International Brotherhood of Boilermakers Lorna Jaffe Jones Lang LaSalle David A. Klaus Ray Kogut Robert L. Larke Rob Layden and Nancy Chabot Lincoln Financial Group Nancy and Dan Longo Lucinda A. Low and Daniel B. Magraw Bruce and Virginia MacLaury Alice S. Mandanis Winton E. Matthews, Jr. Kathleen Matthews Catherine McClave Jon and Belinda McKenzie Susan Milligan and Philip McGuire Mr. Peter G. Mirijanian Jane and Paul Molloy Elizabeth and John Newhouse Mr. and Mrs. P. David Pappert James D. Parker The H.O. Peet Foundation In Memory of Margot Peet Foster Mark Perry and Adele Mouzon Julie Phillips Podesta Group Polinger Shanon & Luchs The John and Marcia Price Family Foundation Wendy and John Daniel Reaves William L. Ritchie, Jr. Mr. and Mrs. Bernie Robinson John Forest Roemer Steven M. Rosenberg and Stewart C. Low III Peter D. Rosenstein Nancy and Miles Rubin Mr. and Mrs. James P. Schaller Roy Schwartz In Memory of Betty F. Shepard Kelly S. Shoop Gary and Libby Stanley Robert and Virginia Stern Ann S. Stock Alan Asay and Mary Sturtevant

Judi and Richard Sugarman David and Sarah Tate United Airlines Allen Unsworth Carole and John Varela Thomas and Karen Vartanian John K. Vestal Washington Resource Associates Sally and Richard Watts Mr. and Mrs. Rosanne Weber Gerry Widdicombe Ms. Kelly Wilcox Dr. Frederick W. Wolff and Dr. Catherine Chura Deborah and David Yaffe $500 to $999 Anonymous (23) Mr. and Mrs. George T. Abed Actors’ Equity Foundation, Inc. Maqbool Aliani Tom and Kathy Altizer Eric Amick Wolfram Anders and Michele Manatt Jerome Andersen and June Hajjar Richard and Rosemarie Andreano Edward M. Andrews and John H. McCrary Cherrill Alfou Anson Mary Antoun Judy Areen and Richard Cooper Mrs. Martin Atlas Mr. Vince M. Auletta Kevin and Sheila Avruch Dr. Leonard Bachman Kathy and Bob Baer Beverly Baker Jonathan H. Barber Margaret and Gordon Bare Joan Barron and Paul Lang Dan and Linda Bartlett Rev. John P. Beal III Julianne Beall Bonnie Beavers and Peter Mathers Robert C. and Elissa B. Bernius Sue E. Berryman Mr. Bowen Billups Darwin Bingham Vaughn and Marian Bishop Ms. Anita Bizzotto William D. Blair Charitable Foundation Mary C. Blake Harriet and Bruce Blum Constance Bohon, M.D. Thomas Booth Dick and Sarah Bourne Dr. Ronald Brady Robert and Lucy Bremner Henry J. Brothers II Christopher Brown Dana E. Brown Perry L. Brown The Brueggeman Family Harold R. Bucholtz Michael L. Burke and Carl W. Smith Colonel and Mrs. Lance J. Burton Susan and Dixon Butler Cesar A. Caceres, MD Patty and Len Campbell Mr. Robert J. Campbell Peggy Canale Ann Cardoni Caroline Willis Book Appraisals Nicholas and Mary Jeanne Carrera Connie Carter T. Channon and C. Poppe

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Mr. Edward Chmielowski Tim and Glenda Christenson Ms. Janice L. Clark John Clark and Ana Steele Clark Matthew B. Coffey and Sharon West Coffey Tim Cole and Kathy Galloway Lillian H. Collins John and Sheila Compton Jack and Julia Corrado Ronald Costell, MD and Marsha E. Swiss Owen Costello and Erlin Webb Robert W. Cover Michael and Sue Crane Bill Cross and Dr. David McCall John and Valerie Cuddy Mr. and Mrs. Richard Daniels Mr. and Mrs. Scott W. Davis Matthew and Mike Dazé Tony and Nancy DeCrappeo Mary des Jardins Dr. Marjorie Deutsch and John Broadbent, JD Thomas and Carol Donlan Mr. David Dorsen and Mrs. Kenna Dorsen Mr. and Mrs. Alan and Susan Dranitzke Dr. Richard Drawbaugh and Suzanne Drawbaugh Jean and Paul Dudek Joy Dunkerley David Dunn Sayre Ellen Dykes Barbra Eaton and Ed Salners Stephen and Magda Eccles Stuart and Joanna Edwards Roberta Ellington Walt Ennaco and Ann Cataldo Ellen Epstein and Will Guthrie Colonel and Mrs. Charles F. Feldmayer Dorothy E. Fickenscher Louise A. Fishbein Ms. Christine Fisher and Mr. Oscar Goldfarb Anne and Al Fishman Donald and Cathy Fogel Rev. and Mrs. Frederick Foltz David Freeman Allan D. Friedman Jean Fruci Mr. and Mrs. Davis R. Gamble, Jr. Nancy Garruba and Chris Hornig Mr. and Mrs. Charles Gary Lewrene Glaser Amnon and Sue Golan Burton Goldberg Richard Goldie and Jacqueline Tibbetts Jinny and Mike Goldstein Karen and Hal Gordon Eloise Gore and Allen Hile Ms. Lynn M. Gowen Ms. Patricia D. Graham Mr. Robert Greenfield and Ms. Eileen Lawrence Mr. Bruce Gregory and Ms. Paula Causey Melanie Grishman and Herman Flax Judy and Sheldon Grosberg Margaret S. Grotte Bruce and Georgia Sue Guenther Tom Gusdorff and Ed Dennison Cliff Hackett Jack E. Hairston, Jr.

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Dr. Sara Hale Henry and Mr. Austin Henry Kathryn Halpern CDR Lars Hanson and RADM Rosanne Levitre Frank and Lisa Hatheway Doris Hausser Dr. and Mrs. James A. Heath Terry and Jenny Heiland-Luedtke Shawn C. Helm and J. Thomas Marchitto Margaret Hennessey Robert J. Herbert George Higgins Elizabeth Hilder and W. Randolph Smith Bernardo Hirschman Melissa Hodgman and Peter Strzok Stanley and Vicki Hodziewich Laura L. Hoffman and David E. Colin David Hofstad Ambassador Richard Holwill Silvia M. Hoop and Alfred Kammer Donald M. and Barbara S. Hoskins Mr. and Mrs. Timothy Howard Lois Howlin Ms. Margaret Huber Dave Hughes Stanley Alan Hurwitz Mr. Loring J. Ingraham and Ms. Dale Rubenstein Carol Ireland Mr. Eric R. Jablow Mr. Kurt Jaeger Katherine B. Jameson Elizabeth Janthey Mary Frances Jetton Cynthia and Jason Johnson Mr. and Mrs. Donald Johnson Catherine Jordan Terri and Phil Jordan Maryanne and David Kane Daniel Kaplan and Kay Richman Gift Fund Arthur Katz and Sima Osdoby 1616 Ashok and Stuti Kaveeshwar Msgr Francis Kazista Mark Kearney Kay Kendall and Jack Davies Sally and Joseph Keyes Dr. Paul Kimmel and Dr. Prudence Kline Robert L. Kimmins Sara Koury Howard Krauss Fred Krosner and Linda Rosenfeld Karen E. Krueger Frances and Emery Lee Mr. Nicholas R. Lefevre Dr. and Mrs. Stanley Legum Mr. and Mrs. Tracy Leigh Lisa and Chris Leinberger Ms. Lee Nelles Leonhardy Mrs. Sandra Levenbook Shirley J. and William S. Levine Charles S. Levy and Yvonne E.T.G.B. Zoomers Michael and Bianca Levy Marcia Litwack Mr. and Mrs. Joseph Livingston Shirley Loo 1616 Mr. and Mrs. Kenneth Lorber Mrs. Joan Lorr Janice Louise Lower and Paul R. Berger Linda L. Lum Julianna Mahley

David and Claire Maklan Tom and Joan Malarkey Dr. Jack Malgeri In Honor of Sidney Moore Margolis Dr. Alexander Sasha Mark, MD and Mrs. Thais Mark John and Liza Marshall Rita and Paul Marth Ms. Elizabeth A. McGrath David and Saran McMeans Susan McNabb and Brent Hillman Katy Mead Beverly Melani and Bruce Walker Henry Mendeloff Drs. Rolf and Lee Anna Mielzarek Iris and Larry Miller Daniel Mintz and Ellen Elow-Mintz Ms. Kate L. Moore Mr. and Mrs. Timothy P. Mulligan Linda S. Neighborgall Ms. Julie Neuber Jo-Ann Neuhaus Eugene Nojek Ms. Kathleen J. Norvell Ellen and Ross Notar Paul O’Brien and Susanne Owens Warren S. Oliveri, Jr. and McGennis Williams A. Orza Mr. and Mrs. Ernest T. Oskin Mr. and Mrs. Mack Ott Mary Ann Palka Julia Perlman Mark and Nina Perry Randolph Perry Gary and Trudy Peterson Mary Irene Pett Victoria Phipps Col. and Mrs. Scott Pinckney Elizabeth A. Piotrowski Ms. Lisa Poulin Mr. Michael Warren Proffitt Drs. Dena and Jerome Puskin Colonel Terry C. Quist Alice Rand The Honorable and Mrs. Joe R. Reeder John and Sue Renaud Sheldon and Barbara Repp Resch Family In Memory of Richard J. Ricard, Jr. Philip and Peggy Rodokanakis The Honorable John T. Rooney Eugene and Shirley Rosenfeld Lynn N. Rothberg Burton Rothleder Peggy and Bud Rubin Sandall Family Charles B. Saunders, Jr. Linda B. Schakel Jennifer M. Schlener Jonathon and Carla Schraub Eugene & Alice Schreiber Philanthropic Fund Jane G. Schubert and Robert W. Woolfolk Amy Schwartz and Eric Koenig Kathleen R. Scott Ellen Seidman and Walter Slocombe Phil Sharp Adele Z. Silver Donald M. Simonds Dr. Stephen R. Sleigh and Ms. Ann C. Greiner Dr. and Mrs. Delbert D. Smith Ms. Kitty Smith Nick and Robbie Snow

Mr. and Mrs. William Spellbring Cecile and James Srodes Dr. William and Vivienne R. Stark Mrs. Marjorie D. Starling Mr. and Mrs. Ronald W. Steele Carol Stein Mr. Edward Steinhouse Janice Sterling Dorothy and Donald Stone Maureen Sullivan Alice J. Sziede Harry and Carol Tabak Drs. Sheila and Steven Taube Charles E. Taylor John Taylor Jonathan Taylor and Dianne Shaughnessy Carol Thayer Grant P. and Sharon R. Thompson Larry and Cathy Thompson William J. Tito and Debra J. Duncan Maryellen Trautman and Darrell Lemke Lynn Trundle Michael Tubbs AL and Jacqueline Tucker Diana M.L. Tucker Jim and Cindy Tuite Jocelyn and David Turkel Dr. Kazuko Uchimura Drs. Stephen and Susan Ungar Marilyn and Roderick Uveges Dr. Richard Valachovic Joan and Lyman Van Nostrand Stephanie and Fernando van Reigersberg Mr. and Mrs. Dwight R. Vaughn Juan and Hardee Vegega-Mahoney William Von Alt II M.E. Wagner Robin and George H. Walker IV Libby and Herb Ware Robert Warren and Jane Grayson Mr. Robert Wein Ms. Judith Weintraub Jack and Ruth Ellen Wennersten Dr. Marjorie Williams ACA C. Lawrence Wiser George Wishon Neville Withington and Kerry Kingham Anita Woehler Harrold Wolcott Julie and David Zalkind Mr. Mark Ziomek and Mr. Gary Bowden $250 to $499 Anonymous (39) Jean Abinader Elias Aburdene and Annette Aburdene Donald Adams and Ellen Maland Jon and Kate Aikman Allison L. Aitken Ms. Emily L. Aitken Mr. and Mrs. Charles T. Alexander Mr. and Mrs. Theodore E. Allison Amb. and Mrs. Frank Almaguer Ruth and Sam Alward Gabriela Anaya and Bruce Tanzer Kirsten Anderson and Jeff Harris Nancy P. Anderson Ms. Jerrilyn Andrews and Mr. Donald Hesse Bob and Margie Armen Jean W. Arnold John Ausink

Dr. James Babcock and Mrs. Carol Ann Babcock Mary Anne and Charlie Bacas Jane H. Bachner Sheila Eddy Baker Dr. Sheryl D. Baldwin 1616 Joaquin and Maite Ballestero Douglas Balz and Jane Scholz Mr. and Mrs. Jim Barker Ed and Nacy Barsa Michaele and Phil Battles In Honor of Jeff Bauman Marion and Rand Beers Mrs. Anne Bellinger Joyce and Bob Bennett Mr. and Mrs. J. David Benson Marguerite Benson Gilbert R. Berglass Jane C. Bergner Sharon L. Bernier Pam and David Bernstein Claire and Tom Bettag Drs. Ernst and Nancy Scher Billig Elizabeth G. Blakeslee and Michael J. Blakeslee Mary Josie and Bruce Blanchard Carl Blaurock Mr. Robert L. Bleimann and Dr. May Chin John W. Blouch Donald J. and Carol L. Bobby Rick and Burma Bochner Kaye and Andrew Boesel Lisa and Richard Bohrer Mr. Douglas G. Bonner Lillibeth Boruchow, MD Jennifer Boulanger and Bruce Schillo Mrs. Mary Bowie Cindy and Dennis Brack Susan Bradshaw and Gerald Kauvar Liz and Cornelius Bronder Steve Broughman Jean and Barbara Broussard Betti Brown and Bob Ramsey Lorraine Brown Buckley/Palmore/Hind Family Jan Burchard Mr. Jeffrey Burton Kimberly Camp Kim and Glenn Campbell Louis Cannon Margaret Capron Patrick and Katharine Carney Ms. Barbara Carr Anna Uhl Chamot Ms. Tommie Champ Wallace Chandler Ms. Shu Hui Chen, PhD J. M. Rowe and Nancy J. Chesser Mr. Don Christensen Heidi Christensen Ricky and Joy Christie Elaine Church Ray Clark, Rhonda Starkey and Alex Mr. and Mrs. Robert L. Clark Anna Cochrane Philip Cohen William Conklin and Barbara Conklin Susan E. Connors Rachel Conway Jovana Cooke John F. Copes Andrea and Tim Corcoran Ms. Victoria Cordova William Coston William and Elise Couper

Edward E. Cragg Paul Crain Stephen T. Cramolini Marcia P. Crandall Alan T. Crane Katie Cranford Drs. Joanne and Frank Crantz D. Elizabeth Crompton Ms. Carolyn Crooks Joseph Cross Matt Crouch Isabelle D. Cummings Suzanne and Gregory Curt Dr. Dolores and Dr. Lawrence D’Angelo Mr. Gerald P. Dargis Paul J. and Faith B. Davis Deanna K. Dawson Beverly Dickerson Peter Dickinson Yin’ying Djuh Carol Doherty Ms. Margaret Dotseth Stephen Dove Deborah Downey Dr. and Mrs. John V. Dugan, Jr. Dutch and Brenda Dunham Dr. Sam Dunlap Mr. and Mrs. Grover L. Dunn Mark and Laura Duvall Mary and Bob Eccles Erica and Alan Edelman Dr. Stephen Ehrmann Gerry Elliott Sarah G. Epstein and Donald A. Collins Mr. William Erdmann Connie Ericson David and Marilyn Falksen William E. Faragher Marc and Anne Feinberg Scott Fine Tracy Fisher James and Isabelle Fitzwilliam Barbara Formoso V. Lee Fortna Thomas and Ilona Fox Elizabeth France Ms. Leslie A. Frantz Molly Frantz Jim Fraser Dr. Helene Freeman 1616 Friend Ted and Kathryn Frison Carol Galaty and Ken Shuck Robert Gallagher Ms. Nancy Stowe Galler Mary Alice Garber Carlos and Lucinda Garcia George Washington University Office of Alumni Relations Dennis Gerrity Gersony Family Anne-Marie Glynn Kathleen and Greg Gohn Ellen and Michael Gold David M. Goldberg Mrs. Lawrence Goldmuntz David Goldston Jeff and Carla Golimowski Chris Gottbrath Dr. and Mrs. John Grausz Eldon and Emily Greenberg The Greenspan/Doyle Family Susan and David Gries David Grover Gail J. Gulliksen Richard and Michelle Hamecs

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Tom Hamilton John Harman Valorie Harrison Peter D. and Florence R. Hart Ted and Mary Hartz Spedden and Linden Hause Judith A. Hautala Mr. and Mrs. Neil F. Hawks Joseph F. Heaps Constance and Richard Heitmeyer Alda Herold Dr. Roger E. Herst and Dr. Judith L. Bader Frederick S. Hird Amanda and Lawrence Hobart Dee Ann Holisky Andrew Hollinger and Niki Holmes Junann Holmes Charles Horn and Jane Luxton John K. Hoskinson and Ana I. Fàbregas Charlotte Hrncir Dr. and Mrs. Carl E. Hunt Paul and Susan Irwin Will, Amanda and Fran Irwin Edward and Victoria Jaycox Laura Jehl and Michael Cicero W. Luther Jett George and Ayah Johnson Linda Johnson Mr. and Mrs. James M. Johnstone Fred Jones Ms. Margaret Jones Mark Joseph Marvin and Madeleine Kalb Richard Kane Patricia Karp Nancy Kasler Jack and Colleen Katz Sheila Kautt Mr. and Mrs. Robert Keatley Mr. Thomas C. Keenan B. Keller John and Tommie Kelley Brian G. Kennedy Andrea and Joseph Kerr Don and Alison Kerr Janet Kim and Keely O’Malley Michael and Carolyn Kirby Susan and Bill Kirby Frank D. Kistler Stephen and Mary Sue Kitchen Marilyn (Mickey) Klein Dr. Randall Knack and Misty Knack Kathleen Knepper In Memory of Robert Knouss Tom and Kathy Knox Jeffrey and Barbara Kohler Mr. Michael W. Kolakowski Robert Kopp Mary and Nick Kotz Sally Weinbrom Kram Mark A. Kukuruga Ms. Beverly LaCross Margaret Lane Ms. Debbie Lansford L. L. Lawson John W. Layman Herman D. Levy Carol A. Lewis Craig and Stephanie Lewis Ms. Donna Lewis Meg Lewis Erik Lichtenberg and Carol Mermey Barbara Liggett and Augustine Matson Sandy Liotta Dr. Richard F. Little Mrs. Sandra Lotterman Anne and Walter Lukens

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Ms. Margot E. Machol and Mr. Mark C. Bisnow The Vincent A. Maffeo Family Steven and Janet Magel Ellie and Chris Maginniss Mr. and Mrs. Thomas Mahaffey Mr. Vaughn Carlton Maley, Jr. Robert and Ida May Mantel Daniel and Maeva Marcus Maury and Beverley Marks Mr. Thurgood Marshall, Jr. Donald Martin and Tammy Wiles Dr. and Mrs. Robert Martin Stephanie Martin Mr. Michael S. Maurer and Ms. Rachel L. Sher Mr. and Mrs. James W. McBride Matt and Peggy McCarty Anna Therese McGowan W. Bruce McPherson Mr. and Mrs. Daniel J. Meadows Michael and Kimberly Mehalick Corinne and John Metz John Meyer and Donna Dean Susan and Harry Meyers Lisa Mezzetti JoAnn and Skip Mican-Mahon M. Elaine Mielke Jack and Barbara Miller Nicole and Stephen Minnick Jay and Mary Minnix Bobbe and Herb Mintz Ryland and Mary L. Mitchell Les and Bonnie Miyaoka Ms. Jessine Monaghan Dr. Allen Mondzac Kathryn A. Morrical William Mullinix Mrs. Elisabeth Murawski Kevin Murphy and Susy Elder Murphy Ms. Viola S. Musher Mr. and Mrs. Robert W. Mustain, Jr. Donald and Lynne Myers Stanley and Marianne Myles 1616 Anne Mytych Dr. Valerie Neal Elizabeth Neblett Amy Nelson Winkle Nemeth D.W. and Martha Newman Melissa Nielson and Edward Yawn Alice L. Norris Geraldine Novak Paul and Beth Nyhus Edward and Susan Oldfield Fanchon A. Oleson Judy Olmer Jennifer Ormson Dr. Betty Ann Ottinger Patricia Overmeyer Ms. Ruth Oyen Thomas and Yates Palmer Susan Papp-Lippman In Memory of Michael E. Patten Donald D. Pealer Kevin and Sherry Pearson Mr. Donald R. Peebles Rick Peters Geraldine Fogel Pilzer Jim and Mims Placke Diane and Arnold Polinger Jessica Pollner Joseph and Claire-Lise Presel Maria Proestou and Savana Hadjipanteli Alfred S. Raider Andrea and Bo Razak Julie and Sam Rea Michael Rebain Mr. and Mrs. Thomas J. Reckford

Anne Reynolds & Daniel H. Burd Clark and Maggie Rheinstein Margaret Rice and Bill Sette Joan Rineberg David and Sandy Robinson Capt. and Mrs. Evan D. Robinson, USN (Ret.) Gail A. Robinson Dwight and Laurie Rodgers Bella Rosenberg Dr. and Mrs. Robert L. Rosenberg Loretta K. Rosenthal Paul and Katy Rosenzweig Sheila M. Ross Marilyn Rubin Ms. Amy G. Rudnick, Esq. Ms. Fath Ruffins Ms. Pamela Russ and Ms. Nancy Stutsman Lelia and Robert Russell Margaret L. Ryan Barbara Ryland Mr. and Mrs. Albert L. Salter Ms. Mary Sanders and Valerie Freeland Chris Savage and Lisa Hemmer Patricia Ann Scace James and Nancy Scheeler Christy Schmidt and Tony and Peter Bayne Steve and Rhonda Schonberg Geane and Richard Schubert Joyce and Richard Schwartz Don G. Scroggin and Julie L. Williams Joan Searby Dr. Barbara Searle Jeffrey and Patricia Sedgwick Seema Shah In Honor and Appreciation of the Staff of STC Patrick Shannon and Gita Maitra Desta Shaw Louise I. Shelley Mr. Andrew Shepherd John and Roma Sherman Dr. and Mrs. Thomas G. Sinderson Aimee Smart and Shefa Gordon Michael R. Smith and Holly A. Larisch Steve and Diane Sockwell Cathy and Bob Solomon Jim and Noelle Sottile Barbara Spangenberg George R. Sparling Mr. Richard E. Spear and Ms. Athena Tacha Arthur Spitzer and Elisabeth Boas John and Eleanor Spoor James and Sue Sprague Joseph Starnes and Jacqueline Bowie Helene and Michael Stein Russell B. Stevenson and Margaret R. Axtell S. and C. Stoiber Barbara Stout Will and Lois Stratton Mr. Carl A. Taylor Elizabeth A. Taylor 1616 Mr. and Mrs. Miller Taylor Jill and Scott Thompson Silvia B. Trumbower Mr. Glenn Tuttle Ms. Cori E. Uccello Mr. and Mrs. Stewart Umphrey Dr. Arina van Breda Eli and Zahava Velder James M. Verdier James Vollman Dr. and Mrs. A. Vourlekis

Martin and Susan Wald Thomas Walko Mr. Peter Q. Weeks - ElderCaring Thomas and Elizabeth Wehr Peggy and Ted Weidlein Don Weinstein and Fayonne Doughty Catherine and Ron Weinstock David Wentworth Karen M. Whaley and Jim Magner Michael Williams Ms. Beth Anne Wilson David and Myra Wilson Scott and Lucy Wilson Linda Winslow Ellis Wisner Betsy L. Wolf Kathryn Wood Mendelle P. Woodley Anne and Tom Wotring Irving and Carol Yoskowitz John and Bucci Zeugner Permanent support through the establishment of endowment funds The Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation Helen Harris Spalding and Herman Bernard Meyer Shakespeare Memorial Fund Gizella Moskovitz Fund

Additional Members of the Society of 1616 Anonymous Helen Alexander and Roland Weiss Mr. John Ball Lorraine E. Chickering Anne Coventry Donald Flanders Peter and Linda Parke Gallagher* In memory of Angelique Glass Ms. Claudia J. Greer Michael Kahn T Lt. Col. and Mrs. William K. Konze Dr. Richard M. Krause* Estate of Gwenneth Lavin* Mrs. R. Robert Linowes Dorothy and Bill McSweeny Marian Mlay Judith E. Moore Susana and Roberto Morassi* Mr. and Mrs. Richard J. Park Suzy Platt* Jennie Rose Henry J. Schalizki Anne and Daniel Toohey

Jaleo Knightsbridge, Inc. LaTasca Lavagna Luke’s Lobster MAC Cosmetics Metro Weekly Moet & Chandon Nando’s Peri Peri Old Town Shoe & Luggage Repair Oyamel Pitango Gelato Red Velvet Cupcakery Rosa Mexicano SEI TDF Teaism ThinkFoodGroup U Street Cleaners Washington Metropolitan Area Transit Authority The Washington Post Company West Wing Writers Group Zaytinya Zengo

In Kind Asia Nine Austin Grill Bakers & Baristas BridgeStreet Worldwide Carmine’s Cedar Restaurant China Chilcano Constellation Brands, Inc. Corner Bakery Cafe FUEL Pizza Gordon Biersch Brewery The Greene Turtle The Hill

Matching Gifts Bank of America Computer Associates International, Inc. ExxonMobil Foundation Freddie Mac Foundation IBM International Foundation International Monetary Fund Qualcomm T. Rowe Price Foundation, Inc. Verizon Foundation Wiley Rein L

OFFICIAL 2015–2016 SPONSORS Hotel

Airline

Make-Up

Costume & Garment Care

Members of the Society of 1616, the Theatre’s planned giving society ACA Supporters of the Academy for Classical Acting AMB Ambassadors of the Theatre, generous donors who help develop and enhance our patrons’ relationship with the Theatre. To join, please contact Eric C. Bailey at 202.547.3230 ext. 2312. 1616

Wine

BA

T *

Shoe Repair

Members of the Bard Association, dedicated supporters of the Theatre who are members of the legal community. To join, please contact Eric C. Bailey at 202.547.3230 ext. 2312 Members of the Board of Trustees Deceased

Every effort has been made to ensure that this list is accurate. If your name is misspelled or omitted, please accept our apologies and inform Member Services at 202.547.1122, option 7, or email [email protected].

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CREATIVE CONVERSATIONS

ABOUT STC STC is the recipient of the 2012 Regional Theatre Tony Award® as well as 84 Helen Hayes Awards and 342 nominations.

PRESENTING CLASSIC THEATRE The mission of the Shakespeare Theatre Company is to create, preserve, and promote classic theatre—ambitious, enduring plays with universal themes—for all audiences. PROMOTING ARTISTIC EXCELLENCE STC’s productions blend classical traditions and modern originality. Hallmarks include exquisite sets, elegant costumes, leading classical actors, and, above all, an uncompromising dedication to quality. FOSTERING ARTISTS AND AUDIENCES STC is a leader in arts education, with myriad user-friendly pathways that teach, stimulate and encourage learners of all ages. Meaningful school programs are available for middle and high school students and educators, and adult classes are held throughout the year. Michael Kahn leads the Academy for Classical

Acting, a one-year master’s program at The George Washington University. Beyond the classroom, educational opportunities like Creative Conversations are available to all in the community. SUPPORTING THE COMMUNITY STC has helped to revitalize both the Penn Quarter and Capitol Hill neighborhoods and to drive an artistic renaissance in Washington, D.C. Each season, programs such as Free For All and Happenings at the Harman present free performances to residents and visitors alike, allowing new audiences to engage with the performing arts. PLAYING A PART STC is profoundly grateful for the support of those who are passionately committed to classical theatre. This support has allowed STC to reach out and expand boundaries, to inform and inspire the community, and to challenge its audiences to think critically and creatively. Learn more at ShakespeareTheatre.org/Support or call 202.547.1122, option 7.

ABOUT ACA The Academy for Classical Acting (ACA), the Shakespeare Theatre Company’s premier MFA training program, is run jointly with The George Washington University. This year, 14 professional actors from all over the United States and abroad have joined the Shakespeare Theatre Company’s remarkable faculty to immerse themselves in a rigorous, one-year, conservatory-style training program especially dedicated to mastering the complexities of heightened text and classical acting. In the past 16 years, the ACA has trained 224 actors of all ages. Some go on to NYC and to Broadway, some return to their places of origin, such as San Francisco, Seattle, or Toronto, and many make new homes for themselves right here in Washington, D.C. On any given night, dozens of ACA graduates can be seen on stages throughout the D.C. metro area, and the ACA can boast several recipients of the coveted Helen Hayes Award. Already, at the

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beginning of STC’s 2015–2016 season, four ACA grads can be seen on our own stages. More are sure to return. We are searching for next year’s talented class. The audition team of ACA faculty is conducting auditions in New York, Washington, Chicago, and Seattle, looking for actors who already have professional experience and are looking to advance their skills when it comes to Shakespeare and classical theatre. The training is deep, and it’s broad, with classes in Acting, Alexander Technique, Movement, Voice & Speech, Stage Combat, Masks, Clown, and Text, to name a few. If you’re interested, or know someone who might be interested, in receiving training from some of the top professionals in the field, including Michael Kahn, please visit our site: ShakespeareTheatre.org/Academy. Applications are now being accepted!

March 11-April 10 Lansburgh Theatre

PAGE AND STAGE (FREE) Sunday, March 13, 5 p.m. Lansburgh Theatre Lobby BOOKENDS (FREE) Wednesday, March 16, 5:30 p.m. and post-show Lansburgh Theatre Lobby HAPPENINGS HAPPY HOUR (FREE) Thursday, March 24, 6 p.m. The Forum in Sidney Harman Hall REFLECTIONS (FREE) Saturday, April 2, 5 p.m. Lansburgh Theatre Lobby ASIDESLIVE: 1984 Sunday, April 3, 10 a.m.–1 p.m. The Forum in Sidney Harman Hall ASL-INTERPRETED CONVERSATION (FREE) Tuesday, April 5, 6:30 p.m. Lansburgh Theatre Lobby HAPPENINGS HAPPY HOUR (FREE) Thursday, April 7, 6 p.m. The Forum in Sidney Harman Hall

A B C L O

AUDIO-DESCRIBED BOOKENDS OPEN CAPTION ASIDESLIVE OPENING NIGHT

P R S Y

PAGE AND STAGE REFLECTONS SIGN-INTERPRETED YOUNG PROSE NIGHT

Open Caption performances made possible by a grant from

UP NEXT: THE TAMING OF THE SHREW

AN INTERVIEW WITH DIRECTOR ED SYLVANUS ISKANDAR by Catherine Shook What can our audiences expect to gain from the “immersive” theatre experiences you are known for creating? I create socially immersive experiences that flow seamlessly in and around the text, allowing each audience member to engage as fully as they want to. The actor-audience relationship is reimagined in the spirit of the groundlings, deepening our empathy for the human effort behind the art and returning the theatre to its primal roots of community. If we make society an integral part of the theatre, perhaps, the theatre will once again become integral to society. How will this version of The Taming of the Shrew be familiar, and how will it be unfamiliar to our audiences? We perceive Shrew as a play of outsized clowns and outlandish plots (perhaps from its heritage in commedia). The text of the play mainly concerns itself with the twists of its complicated story. Thus, the relationships that enjoy the most stage time are not the ones we expect, as there’s more time spent plotting than enjoying the fruits of one’s labor. That Tranio spends the whole play trying to secure Bianca’s hand for Lucentio is the substance of that plot (rather than its subsidiary). I’m interested in exploring the stories of those relationships. This familiar text is a 50

container for a multitude of unfamiliar stories, many of which are so directly suggested by the play itself that I still find myself looking at words I’ve studied for years anew. What are the main questions that you want to grapple with for this production of The Taming of the Shrew? While working in Tokyo, I noticed schoolgirls with bobbed wigs, short skirts, and Western make-up, performing their Neo-Goth Lolita act as counter-culture protest against the black-suited majority. The artifice of their uniform gave them the mask they needed to express their authenticity. I realized this was Kate, but she has played “The Shrew” for so long that not even she knows who Kate is. In a world that rewards us for playing the roles we’re assigned, what does it mean to be truly authentic? Shrew is one of the only Shakespeare plays that takes us beyond the wedding night. It was not until Shakespeare’s time that popular attitudes about marriage began to shift from a social, economic, and political alliance towards a “myth of love.” I realized quickly that Italy had branded itself as a place to find love, and its arts have been in the business of selling the myth for centuries. And so, at the center of my investigation is Authenticity and Love,

and how we commodify ourselves in pursuit of both. Why is the story of The Taming of the Shrew relevant to the modern world? The recent furor over all-white acting nominees for the Oscars confirms the biggest problem the entertainment industry faces today: the “(in)visibility of the Other.” The problem extends beyond race; we also promote and accept heteronormativity of gender roles and sexuality as neutral and universal. Our industry is uniquely equipped to engage this problem, as we set the trends for what is visible. You’ll experience a Shrew that fully engages with the Other: through race, gender, sexuality, and how we use them to sell ourselves to a society that prizes white homogeneity. A fitting act to follow the tragedies caused by Iago and Big Brother.

what it means to pursue authenticity, love, and marriage today. And what more depths I’m unable to plumb, I’ll look forward to experiencing The Public Theater’s all-female Shrew this coming summer in Central Park, directed by Phyllida Lloyd. It’s too big a play for one perspective: what a curiosity that the 400th anniversary of Shakespeare’s death has become the Year of the Shrew. Catherine Shook is the PR/Marketing Fellow at Shakespeare Theatre Company.

How does an all-male cast affect our understanding of The Taming of the Shrew? I am interested in Kate’s notorious last speech as something that may be sincere: not to sacrifice the dignity of the character or to defend her misogyny, but to examine a radical transformation (and self-reclamation) on its own terms. The words are meant, but they also indict the society that demands them. As in Shakespeare’s time, Kate, Bianca, and the Widow will all be women (portrayed by men) and as such, we will tell the story “straight.” This all-male reading gains us a queer resonance that directly addresses the radically shifting paradigm of

by WILLIAM SHAKESPEARE begins May 17 at Sidney Harman Hall. For tickets, visit ShakespeareTheatre.org or call 202.547.1122 51

SHAKESPEARE THEATRE COMPANY STAFF Artistic Director Michael Kahn Executive Director Chris Jennings Executive Assistant to the Artistic Director and Executive Director David Lloyd Olson ARTISTIC Associate Artistic Director Alan Paul Head of Voice and Text Ellen O’Brien Resident Casting Director Carter C. Wooddell Literary Manager Drew Lichtenberg Artistic Associate Craig Baldwin Artistic Fellow Ryan-Patrick McLaughlin Affiliated Artists Keith Baxter, Avery Brooks, Helen Carey, Veanne Cox, Aubrey Deeker, Colleen Delany, Franchelle Stewart Dorn, Cameron Folmar, Adam Green, Edward Gero, Philip Goodwin, Jane Greenwood, Michael Hayden, Simon Higlett, Christopher Innvar, Naomi Jacobson, Stacy Keach, Floyd King, Andrew Long, Ethan McSweeny, Jennifer Moeller, David Muse, Hugh Nees, James Noone, Patrick Page, Robert Perdziola, Nancy Robinette, David Sabin, Miriam Silverman, Derek Smith, Walt Spangler, Tom Story, Rebecca Taichman, Ted van Griethuysen, Craig Wallace, Adam Wernick, Gregory Wooddell

ADMINISTRATION Director of Administration James Roemer Associate Managing Director Anne S. Kohn Human Resources Manager Lindsey Morris Human Resources Coordinator Ryn Weil Accounting Manager Mary Margaret Finneran Staff Accountant Marco Dimuzio Company Manager Mackenzie Douglas Receptionist Ursula David Company Management Fellow Averill Corkin Director of Operations Timothy Fowler Operations/IT Assistant Sloane A.L. Spencer Theatre Building Engineer Dave F. Henderson Theatre Monitors Milton Garcia, Jeff Whitlow Facilities Custodian Jorge Ramos Lima Harman Custodians Dennis Fuller, Mirna Guzman, Lansburgh Custodians Zulma I. Bonilla, Izilma Membreno, David Guzman Director of Information Technology Brian McCloskey Systems Administrator Patrick Hayes Database Administrator Brian Grundstrom

DEVELOPMENT Chief Development Officer Ed Zakreski Major Gifts Officers Eric C. Bailey, Emily Wilson Special Events Manager Moriah Lemming Development Operations and Membership Manager Kristina Williams Development Operations Coordinator Sara Seidler Associate Director of Development Noreen Major Corporate Giving Manager Katie Burns-Yocum Director of Foundation and Government Relations Meghann Babo-Shroyer Institutional Fundraising Coordinator Michael Trottier Development Fellow Elena Robertson

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MARKETING AND COMMUNICATIONS Chief Marketing Officer Michael Porto Associate Marketing Director Austin Auclair Associate Director of Audience Development and Promotions Teddy Rodger Audience Services Director Joy Johnson Ticket Services Manager Tim Helmer Group Sales and Ticket Services Manager Paul Vintner Sales Associates Zindzi Ali, Evelyn Chester, Lauren Douglas, Christopher Hunt, Jessica Kaplan, Andre McBride, Izetta Mobley, Kristin Nam, Sarah Kate Patterson, Christopher Pearson, Carmelitta Riley, Marie Riley, Kieran Shaw, Crystal Stewart, Lauren Ward, Michael Wharton, Theatre Services Manager Dora Hoyt House Manager Robert Montenegro Lead House Managers Erica Brown, Jamel Levine , Marie Riley Assistant House Managers Melissa Adler, Kathryn Atkinson, Jeremy Blunt, Ron Hoekstra, Chris Hunt, Donald Jones, Susan Koenig, Molly Nevola, Carmelitta Riley, Shaun Russell, Bridget Sheaff, Christopher Schoen, Alex Zeese Retail and Concessions Manager Kristra Forney Concessions Associates Adrianne Glover, Amelia Brookins, Justin Lane, Aaron Lewis, Chris Pearson, Elena Robertson, Petrice Roman, Robert Russell, Christopher Schoen, Catherine Shook, Christine Strassner, Kara Tesch, Eric Woods Retail Associates Quintin Cary, Tiara Copeland, Kara Tesch Associate Director of Communications Laura Henry Buda Web and Media Programmer Brien Patterson Marketing and Communications Coordinator Kathryn Atkinson PR/Marketing Fellow Catherine Shook Visual Communications Manager S. Christian Taylor-Low Junior Graphic Designer Taylor Henry Graphics Fellow Ruthie Rado Photographers Kevin Allen, Margot Schulman, Scott Suchman

EDUCATION Director of Education Samantha K. Wyer Associate Director of Education Dat Ngo Audience Enrichment Manager Hannah Hessel Ratner School Programs Manager Vanessa Hope Training Programs Manager Brent Stansell Resident Teaching Artist Renea Brown Education Coordinator Jared Shortmeier Education Fellow Thanh Nguyen Affiliated Teaching Artists Kevin Alan Brown, Tonya Beckman, Robert Bowen Smith, Alina Collins Maldonado. Dan Crane, Katie deBuys, Michael Dove, Vince Eisenson, Randall Exton, Elizabeth Forte Alman, Jim Gagne, Brit Herring, Paul Hope, Naomi Jacobson, Mark Jaster, Joy Jones, Thomas Keegan, Josh Kelley, Manu Kumasi, Gregory Linington, Sabrina Mandell, Chelsea Mayo, Brenna McDonough, Kiernan McGowan, Stephen Michel, Alex Piper, Victoria Reinsel, Paul Reisman, Melissa Richardson, Stephen Spotswood, Latia Stokes, Rebecca Swislow, Khaleshia Thorpe-Price, Megan Thrift , Katie Tkel, Michele Vicino, Eva Wilhelm, Gregory Wooddell. Jaysen Wright

THE ACADEMY FOR CLASSICAL ACTING The Academy for Classical Acting Director Gary Logan ACA Program Coordinator Bekah Eichelberger Faculty Members Isabelle Anderson, Christopher Cherry, Dody DiSanto, Edward Gero, Leslie Jacobson, Lisae Jordan, Michael Kahn, Floyd King, Gary Logan, Ellen O’Brien, Roberta Stiehm, Brad Waller

PRODUCTION Director of Production Tom Haygood Associate Directors of Production Kimberly Lewis, Gordon Nimmo-Smith Production Administrator Emmy Landskroener Resident Production Stage Manager Joseph Smelser Stage Managers Cynthia Cahill, Laura Smith Assistant Stage Managers Elizabeth Clewley, Maria Tejada, Robyn M. Zalewski Production Assistant Rebecca Shipman Stage Management Fellows Eric Michael Batts, Micaela Cirimeli Costume Director Wendy Stark Prey Floor Manager Julie Rose Resident Design Assistant Lynda Myers Drapers Denise Aitchison, Randall Exton, Tonja Petersen First Hands Sara Cardwell, Jennifer Rankin, Sandra Thomas, Stitchers Kathryn Hansen, Michele Ordway, Donna Sachs

Lead Crafts Artisan Design Assistant/Crafts Artisan Wardrobe Supervisors

Joshua Kelley Kara Tesch Jeanette Lee Porter, Monica Speaker Wig Master Dori Beau Seigneur Costume Design Fellow Amelia Brookins Costume Production Fellows Natalie Flango, Mackenzie Malone Technical Director Mark Prey Assistant Technical Director Kelly Dunnavant Scene Shop Foreman Dave Stock Scene Shop Administrator Jessica Noones Carpenters Justin Carnes, John Cincioni, Jr., Carrie Cox Charge Scenic Artist Sally Glass Scenic Artist Jose Ortiz Scenic Painter Kelly Rice Interim Prop Shop Director Chris Young Assistant Prop Shop Director Kym Cruce Props Painter/Sculptor Eric Hammesfahr Soft Goods Artisan Rebecca Williams Master Electrician Sean R. McCarthy Assistant Master Electrician Lauren A. Hill Harman Electrician Brian Flory Lansburgh Electrician Samantha Brewer Audio/Video Supervisor Brian Burchett Assistant Audio/Video Supervisor Roc Lee Live Mix Engineer Ryan Gravett Lansburgh Board Operator Kurt Davis Stage Operations Supervisor Louie Baxter Assistant Stage Operations Supervisor Christopher Crawford Stage Carpenter Rachel Wolf Run Crew Craig Gatling, Jess Rich

AUDIENCE SERVICES Lansburgh Theatre 450 7th Street NW Sidney Harman Hall 610 F Street NW Ticket and Group Sales: Tickets: 202.547.1122 Toll-free: 877.487.8849 Group Sales: 202.547.3230 ext. 2810 Box Office fax: 202.608.6350 Bookings: 202.547.3230 ext. 2321 Box Office phone hours (both theatres): Daily: noon–6 p.m. (Box Office window open until curtain time) The Lansburgh Box Office is closed on the weekends if there is no performance at the Lansburgh Theatre. Concessions and Gift Shops: Food and beverages are available one hour before each performance. Pre-order before curtain for immediate pick-up at intermission. Lansburgh Theatre and Sidney Harman Hall gift shops are open before curtain, at intermission and for a short time after each performance. Connect with us: Facebook.com/ShakespeareinDC Twitter @ShakespeareinDC YouTube.com/ShakespeareTheatreCo Flickr.com/ShakespeareTheatreCompany Instagram @ShakespeareinDC Latecomers will be seated at management’s discretion.

Accessibility Our theatres are accessible to persons with disabilities. Please request special seating at time of ticket purchase and arrive 30 minutes before curtain for priority seating. Open-captioned performance of 1984 Thursday, March 24 at 8 p.m. Audio-described performance of 1984 Saturday, April 2 at 2 p.m. Sign-interpreted performance of 1984 Tuesday, April 5 at 7:30 p.m. An audio-enhancement system is available for all performances. Both headset receivers and neck loops (to use with hearing aids outfitted with a “T” switch) are available at the coat check on a firstcome basis. Program notes in Braille and large print are available at the coat check. Support for the Shakespeare Theatre Company’s Accessibility Program provided by

Support for open captioning provided by

The video and/or audio recording of this performance by any means whatsoever are strictly prohibited. As a courtesy, turn off pagers, telephones, watch alarms and all other electronic devices during the performance. Audience members may be reached during a performance by calling house management at 202.547.3230 ext. 2517. Specify seat location.

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Acting • Movement • Mask • Voice • Speech Text • Stage Combat • Alexander Technique Located in the heart of Washington, D.C., at The George Washington University

Deadline for Application Extended— Apply Now! TO APPLY

ShakespeareTheatre.org/Academy [email protected] Kelly Lynn Hogan and Rafael Untalan in The Maid’s Tragedy (ACA)

“If you can perform the classics, you can perform anything.” 4

Michael Kahn Artistic Director, STC