For the last twelve weeks of 2023, six Washington, DC, arts institutions from the worlds of theater, music, and dance will explore Shakespeare’s works through seven unique productions under the umbrella of the Shakespeare Everywhere Festival thanks to the visionary generosity of Mrs. Jacqueline Badger Mars.
The festival will amplify the unique accessibility to work inspired by Shakespeare here in the nation’s capital and celebrate the exciting collaborations possible in our city’s robust artistic ecosystem.
The Shakespeare Everywhere Festival will run from October 7, 2023, until the end of the year and include Fat Ham by James Ijames at Studio Theatre, Romeo and Juliet directed by Simon Godwin at Washington National Opera, The Winter’s Tale directed by Tamila Woodard at The Folger Theater, The Promised End presented by IN Series, SUCH SWEET THUNDER presented by The Washington Ballet, and Macbeth In Stride and As You Like It presented by Shakespeare Theatre Company.
Shakespeare scholar and critic Marjorie Garber will join the festival as Scholar in Residence, hosted by IN Series with support from Humanities DC. Garber will present five lectures on Shakespeare topics related to the festival. The lectures will be free and open to the public and will take place at a variety of locations across the city including, but not limited to, Theater J and The Library of Congress.
Other events that celebrate the festival’s classical themes and sources will be hosted by the Library of Congress, The National Gallery of Art, Howard University, Millennium Stage at the Kennedy Center, Studio Acting Conservatory, Faction of Fools, and many more. More details and events to come. For up-to-date information and partner names, visit ShakespeareEverywhereDC.com.
The festival came about with guidance from STC Artistic Director Simon Godwin and WNO Artistic Director Francesca Zambello.
Said Simon Godwin: “The Shakespeare Everywhere Festival celebrates a dramatist who sought to unpack the human heart in the most profound way. The immense range of partners reflects the vast span of the plays themselves, which are specific yet open to endless interpretation. Uniting the past with the present, this uplifting gathering of artists and audiences will enshrine Washington’s place as a creative powerhouse in America and the world.”
Said Francesca Zambello: “I can think of no better anchor for a collaborative festival across art forms. Shakespeare’s plays contain multitudes: tragedy and comedy, nobles and commoners, sublime poetry and lewd puns. But the real reason Shakespeare has stood the test of time is his ability to speak to the human condition. Shakespeare brought history alive for his contemporaries, and those same dramas continue to resonate today. In a city passionately engaged by questions around how we best organize ourselves to provide for life, liberty, and happiness for all, I hope Shakespeare’s works will challenge us to learn from the past and inspire us to work for the future.”
CALENDAR OF EVENTS
Shakespeare Theatre Company
Macbeth In Stride
October 10-29 in the Klein Theatre
As You Like It
December 2-31 in Harman Hall
Washington Ballet
SUCH SWEET THUNDER
October 26-29 at the Warner Theatre
Studio Theatre
Fat Ham by James Ijames
October 25-December 3
Folger Theatre
The Winter’s Tale
October 24-December 3
IN Series
THE PROMISED END
November 18-December 10, The Source Theatre, Washington DC
December 15-17, Baltimore Theatre Project, Baltimore
Washington National Opera at the Kennedy Center
Gounod’s Romeo and Juliet
November 4-18
More Shakespeare Everywhere: Special events and engagements appearing at DC theaters, schools, and museums
Theater J
Shakespeare Everywhere Scholar in Residence Lecture
Shakespeare’s Timeliness
October 23
Millennium Stage
Performance, “The Beat and the Bard”
Directed by LeeAnét Noble and Travis Brown
December 6
IN Series and Humanities DC
Five lectures from Shakespeare Everywhere Scholar in Residence Marjorie Garber
October 23-25, November 15-16
Studio Acting Conservatory
Panel Discussion Series
Teaching With Shakespeare: Why and How, with Joy Zinoman
October 28
Try It In Translation
November 18
Howard University
Performance, “Black Nativity”
By Langston Hughes, directed by Eric Ruffin
November 2-5
The National Gallery of Art
Library Installation
Will’s World: European Literature in Shakespeare’s Time
November 25-December 29
Curator Discussions
Will’s World and Today’s Theatre
December 1, 8, 15, and 29
Folger Shakespeare Library
Panel Discussion
Shakespeare Everywhere? with Dr. Michael Witmore
December 9
Library of Congress
Live! At the Library
Shakespeare Concert
Washington National Opera Cafritz Young Singers
November 9
Shakespeare Everywhere Scholar in Residence Lecture
End Times: Closure and Disclosure in King Lear
November 16
Faction of Fools
Workshop: What’s the Scenario?
December 9
Capitol Hill Arts Workshop
PARTNER COMPANY BIOS IN ORDER OF OPENING
ABOUT SHAKESPEARE THEATRE COMPANY
Led by Artistic Director Simon Godwin and performing in downtown DC’s Harman Hall and Klein Theatre, the Tony Award-winning Shakespeare Theatre Company has dedicated itself to being the nation’s premier classical theater. Classical plays are realized best not by originalism but by walking the path Shakespeare himself followed, creating works that spoke to his own contemporary audience. STC tells vital stories in audacious forms, and tells stories that are Shakespearean in the deepest sense, even if (and especially when) they are not written by Shakespeare. By focusing on works with profound themes and complex characters, STC’s artistic mission is unique among regional theaters: to bring to vibrant life groundbreaking, thought-provoking, and eminently accessible theater.
ABOUT PHILADELPHIA THEATRE COMPANY (Co-presenters of Macbeth In Stride)
Philadelphia Theatre Company (PTC) is a leading regional theatre company that produces, develops, and presents entertaining and imaginative contemporary theatre focused on the American experience. PTC balances its Philadelphia roots with a national point of view that combines a taste for adventure with a dedication to new American plays and musicals. Philadelphia Theatre Company is dedicated to presenting the Philadelphia and world premieres of works by contemporary playwrights with an emphasis on American drama. PTC seeks to develop an audience of open-minded theatergoers across cultural, ethnic, and social lines by producing drama that is at once challenging, entertaining, and imaginatively staged.
ABOUT STUDIO THEATRE
Studio Theatre is a longstanding Washington cultural institution dedicated to the production of contemporary theater. Studio is a community of artists and audience members who believe in the power of theater to help us understand the world, engage with some of the most important ideas and issues of the day, and affirm our common humanity. Over 42 years and more than 350 productions, Studio has grown from a company that produced in a single rented theater to one that owns a multi-venue complex stretching half a city block, but has stayed committed to its core distinguishing characteristics: deliberately intimate spaces; excellence in acting and design; and seasons that feature many of the most significant playwrights of our time. Each season, Studio presents a diverse roster of thought-provoking contemporary plays, featuring local, national, and international artists. Studio also invests in the incubation and development of new work and nurtures the next generation of arts leaders. Studio’s community engagement efforts include access and affordability initiatives, a growing community partner program, free student matinees, and a commitment to opening up its building as a hub for its neighborhood and city. In all its work, Studio endeavors to make an essential contribution to the vitality of our nation’s capital.
ABOUT FOLGER THEATRE
The award-winning Folger Theatre in our nation’s capital bridges the arts and humanities through transformational performances and programming that speak inclusively to the human experience. Now under the leadership of Artistic Director Karen Ann Daniels, Folger Theatre continues its legacy through exciting interpretations and adaptations of Shakespeare and expands the classical canon through cultivating today’s artists and commissioning new work that is in dialogue with the concerns and issues of our time. Folger Theatre thrives both on its historical stage and in the community, engaging audiences wherever they happen to be.
Folger Shakespeare Library is the world’s largest Shakespeare collection, the ultimate resource for exploring Shakespeare and his world. The Folger welcomes millions of visitors online and in person. It provides unparalleled access to a huge array of resources, from original sources to modern interpretations. With the Folger, you can experience the power of performance, the wonder of exhibitions, and the excitement of path-breaking research. The Folger offers the opportunity to see and even work with early modern sources, driving discovery and transforming education for students of all ages.
ABOUT THE WASHINGTON BALLET
The Washington Ballet (TWB) is an ensemble of professional ballet dancers based in Washington, DC. Every year the professional and studio companies bring productions of the highest caliber to stages throughout the DMV area including Shakespeare Theatre Company’s Sidney Harman Hall, the John F. Kennedy Center for the Performing Arts, the Warner Theatre, and Town Hall Education Arts Recreation Campus (THEARC). Diversity in choreographers has been a fundamental tenet in the TWB artistic decisions to nurture and present choreographers with fresh interpretation of classical ballet repertoire while also presenting classical iconic choreographers and works.
ABOUT WASHINGTON NATIONAL OPERA
Washington National Opera (WNO) is one of the leading opera companies in the United States. Under the leadership of General Director Timothy O’Leary and world-renowned Artistic Director Francesca Zambello, the company presents a diverse repertory of grand opera across three main venues of the Kennedy Center. From classic operas to contemporary works, each season the WNO’s artistic output also includes commissioned American works and a variety of special concerts, youth operas, and events. Founded in 1956 and an artistic affiliate of the Kennedy Center since 2011, WNO has a storied legacy of more than 100 new productions, plus world premieres, international tours, live recordings, and radio broadcasts, digitally streamed content, as well as innovative education and community-engagement programs. WNO is committed to expanding opera’s reach and fostering a new generation of opera talent. Among the company’s most successful education and community engagement programs are the American Opera Initiative (AOI), The Cafritz Young Artist Program, The WNO Opera Institute, Opera in the Outfield, in-person and digital Look-In performances, the Student Dress Rehearsal Program, free pre-concert lectures and post- show Q&As after many shows, The WNO Young Associates program, and the Let’s Go There discussion series.
ABOUT IN SERIES
Founded in 1982 in Washington, DC, IN Series makes theater from music: transforming artists, audiences, and community by disrupting expectations, nourishing empathy, stimulating insight, and deepening the dialogue. IN Series envisions a thriving global community in which opera is a fully integrated and essential part of collective conversation. To make this vision real, IN Series engages communities directly in stories that are relevant and meaningful to them, using site-specific performances that take productions into non-traditional communities and partner with disciplines and artists outside of traditional opera. In 2019—announcing OPERA that speaks. THEATER that sings—IN Series made Baltimore a second home. In response to the global pandemic, IN Series established INVision: The Logan OPERAhouse Without Walls, an online streaming platform, free to a worldwide audience.
ABOUT BARD ON THE BEACH SHAKESPEARE FESTIVAL (Co-Presenters of As You Like It)
Bard on the Beach is Western Canada’s largest not-for-profit, professional Shakespeare Festival. Presented in Vancouver’s Sen̓ákw/Vanier Park against a spectacular backdrop of mountains, sea, and sky, the Festival offers Shakespeare plays, related dramas, and special events in two modern performance tents from June through September, with an average attendance of 100,000. The Festival is known for its signature blend of high-quality artistic programming and a welcoming, informal experience for local residents and visitors from around the world. Bard Education offers year-round opportunities to play and explore Shakespeare, through programs for youth, emerging theater artists, and the general community.
MEET THE ARTISTS
SHAKESPEARE THEATRE COMPANY MACBETH IN STRIDE
TYLER DOBROWSKY
Director, Macbeth In Stride
NEW YORK: Off-Broadway: The Public Theater. REGIONAL: American Repertory Theater, Asolo Repertory Theater, The Gamm Theater, Long Wharf Theater, PlayMakers Repertory Theater, Trinity Repertory Company. PERSONAL: Tyler is the Co-Artistic Director of Philadelphia Theatre Company | Previously Artistic Associate Director and Director of New Play Development at Trinity Repertory Company | Previously the Practitioner in Residence at the Swearer Center for Public Service at Brown University | Teaching: Brown University, New York University, Rhode Island College.
TAIBI MAGAR
Director, Macbeth In Stride
NEW YORK: Off-Broadway: Signature Theatre: Twilight: Los Angeles, 1992 (Lortel Award for Best Revival) | The Public Theater: Capsule | The Shed: Claudia Rankine’s Help | Atlantic Theatre Company: Blue Ridge, The Great Leap | Soho Repertory Theater: Is God Is | The Foundry: Master (NYT Critic’s Pick) | Ars Nova: Underground Railroad Game (NYT Critic’s Pick). INTERNATIONAL: Hamburg Festival, Edinburgh Festival, Malthouse Theatre (Melbourne), Soho Theatre (London). REGIONAL (selected): Woolly Mammoth Theatre, Alley Theatre, The Guthrie Theater, Seattle Repertory Theater. AWARDS: 2018 Obie Award, 2019 SDC Breakout, Lucille Lortell Nomination, 2022 Stephen Sondheim Fellowship, Oregon Shakespeare Festival Fellowship, The Public Theater Shakespeare Fellowship PERSONAL: Taibi is the Co-Artistic Director of Philadelphia Theatre Company. | Training: Brown University: MFA, Lincoln Center Directors Lab, NYTW Usual Suspect.
WHITNEY WHITE
Playwright/Performer, Macbeth In Stride
STC: The Amen Corner. NEW YORK: Off-Broadway: MCC Theater: soft | New York Theatre Workshop: On Sugarland, Semblance | WP Theater/Second Stage: Our Dear Dead Drug Lord | The Public Theater: What to Send Up When it Goes Down. REGIONAL: Steppenwolf Theatre Company: The Spectacularly Lamentable Trial of Mia Martha Washington, What is Left Burns | The Bushwick Starr: Definition | Long Wharf Theatre: An Illiad | The Movement Theatre Company/Woolly Mammoth Theatre Company/ American Repertory Theatre: What to Send Up When it Goes Down. OTHER: Finish the Fight by Ming Peiffer (The New York Times). AWARDS: Obie Award, Lily Award, Susan Stroman Directing Award, Jerome Fellowship. PERSONAL: she/her | Whitney was a staff writer on the Boots Riley series I’M A VIRGO for Amazon. | She is part of the Rolex Protegé and Mentorship Arts Initiative, and an Associate Artist at The Roundabout. | Her five-part cycle deconstructing Shakespeare’s women and ambition is currently in development with American Repertory Theater. | Training: Brown University: MFA, Northwestern University: BA.
STUDIO THEATRE FAT HAM
James Ijames (Playwright, Fat Ham) is a Pulitzer Prize-winning playwright, a director and educator. James’ plays have been produced by Flashpoint Theatre Company, Orbiter 3, Theatre Horizon, Wilma Theater, Theatre Exile, Azuka Theatre (Philadelphia, PA), The National Black Theatre, JACK, The Public Theater (NYC), Hudson Valley Shakespeare Theater, Steppenwolf Theatre, Definition Theatre, TimeLine Theatre (Chicago IL), Shotgun Players (Berkeley, CA), and have received development with PlayPenn New Play Conference, The Lark, Playwright’s Horizon, Clubbed Thumb, Villanova Theatre, Wilma Theater, Azuka Theatre and Victory Gardens Theater. James is the 2011 F. Otto Haas Award for an Emerging Artist recipient, and has received two Barrymore Awards for Outstanding Direction of a Play for The Brothers Size with Simpatico Theatre and Gem of the Ocean with Arden Theatre Company. James is a 2015 Pew Fellow for Playwriting, the 2015 winner of the Terrance McNally New Play Award for WHITE, the 2015 Kesselring Honorable Mention Prize winner for ….Miz Martha, a 2017 recipient of the Whiting Award, a 2019 Kesselring Prize recipient for Kill Move Paradise, recipient of a 2020 and 2022 Steinberg Prize and of the 2022 Pulitzer Prize in Drama. James was a founding member of Orbiter 3, Philadelphia’s first playwright-producing collective. He received a B.A. in Drama from Morehouse College in Atlanta, GA, and an M.F.A. in Acting from Temple University in Philadelphia, PA. James is an Associate Professor of Theatre at Villanova University. He resides in South Philadelphia.
Taylor Reynolds (Director, Fat Ham) is an OBIE-award-winning director based in New York, originally from Chicago. Selected directing credits: Clyde’s (Berkeley Rep/Huntington Theatre), La Race (Page 73/Working Theater), Tambo & Bones (Playwrights Horizons/CTG), Man Cave (Page 73), The Most Spectacularly Lamentable Trial of Miz Martha Washington (Hudson Valley Shakespeare Festival, New York Times Critic’s Pick), Richard & Jane & Dick & Sally (Baltimore Center Stage/Playwrights Realm), Plano (Clubbed Thumb, Drama Desk nomination for Best Director), and Think Before You Holla (creator/deviser). Taylor has also worked as a director and collaborator with companies including Keen Company, Ojai Playwrights Conference, MCC, New Georges, MTC, and The 24 Hour Plays. She is the 2021 LPTW Lucille Lortel Award recipient, a New Georges Affiliated Artist, 2017-2018 Clubbed Thumb Directing Fellow, and Lincoln Center Theater Directors Lab alum. BFA, Carnegie Mellon University. Member of SDC.
THE WASHINGTON BALLET SUCH SWEET THUNDER
Silas Farley (Choreographer) is the Dean of The Trudl Zipper Dance Institute at The Colburn School in Los Angeles, CA. He danced with New York City Ballet from 2012-2020. He has taught and choreographed for The School of American Ballet, The Peabody Conservatory, The Kennedy Center, Southern Methodist University, The Washington Ballet, New York City Ballet, American Ballet Theatre, and The Metropolitan Museum of Art. He was an inaugural Jerome Robbins Dance Division Research Fellow at The New York Public Library for the Performing Arts. He is writer and host of the NYCB podcast, Hear The Dance. He has written for Dance Magazine and Dance Index and lectured on ballet at The Museum of Modern Art. He serves as an Alumnus Trustee on the Board of Professional Children’s School and on the Board of The George Balanchine Foundation.
Brett Ishida (Choreographer) is the Artistic Director of ISHIDA based in Austin and Houston, Texas. Brett Ishida is Japanese American and grew up on a citrus farm in California’s Central Valley. Brett’s love for dance inspired her to move away from home at age fifteen when she received a full scholarship to the Kirov Academy and later to the School of American Ballet in NYC. She then danced with Boston Ballet, Oregon Ballet Theatre, where she first choreographed, and Les Grands Ballets Canadiens in Montréal where she toured around the world. At Les Grands Ballets, she collaborated in new creations with choreographers and performed principal and soloist roles in repertoire by Nacho Duato, William Forsythe, Jirí Kylián, and Ohad Naharin, among others. She later graduated from UCLA earning a BA in Literature with emphasis in Creative Writing (Poetry), and MA in Montessori Education. She felt by combining those two worlds from her past, she could be a new voice in contemporary dance and started ISHIDA in 2019. Brett Ishida’s work intertwines reflections of ancient timeless themes of Greek philosophy and poetry with subconscious memories that shape who we are and where we are going. Her company, ISHIDA, creates ‘memory houses’ for audiences where themes and characters build relationships and familiarity that might pull at our heartstrings in imitation of Life’s enigma.
Tamilla Woodard (Director, The Winter’s Tale, Folger Theatre at Folger Shakespeare Library) Yale Rep: the ripple, the wave that carried me home by Christine Anderson; WP Theater: The Kilbane’s Indy Rock musical Weightless (Lucille Lortel Award nomination for Outstanding Musical); Alliance Theatre: Working: A Musical (Alliance Theatre); Guthrie Theater: Lynn Nottage’s Sweat; WP Theater, Baltimore Center Stage, & Steppenwolf NOW: the world premiere of Where We Stand by Donnetta Lavinia Grays (Lucille Lortel Award nomination for Outstanding Solo Show); ACT: Top Girls. Tamilla has directed at theaters nationally and internationally, including at WP Theater, The Alliance, Baltimore Center Stage, American Conservatory Theater, Classical Theater of Harlem, The Bushnell Center for the Performing Arts with TheaterWorksUSA, and The Cleveland Public Theatre, among others. She is Chair of the Acting program at David Geffen School of Drama and a Resident Director at Yale Rep. She is the co-founder of the site-specific international partnership, PopUP Theatrics, proudly served as the co-Artistic Director of Working Theater in New York, and she was the Associate Director of the Tony Award-winning Hadestown on Broadway in its premiere season. Prior to joining Working Theater, Tamilla was the BOLD Associate Artistic Director at WP Theater. Tamilla was named one of 50 Women to Watch on Broadway, and is also a recipient of the Josephine Abady Award from the League of Professional Theatre Women and a proud board member of Society of Stage Directors and Choreographers. She received her MFA in Acting from David Geffen School of Drama.
WASHINGTON NATIONAL OPERA ROMEO AND JULIET
Simon Godwin (Director) is a celebrated director known for his “electrifying” and “elegantly appointed” (The New York Times) interpretations of Shakespearean works. In 2019 he joined Shakespeare Theatre Company as artistic director. His King Lear at the Company was praised by Peter Marks of The Washington Post as “One of the best versions of the tragedy I’ve ever seen. Maybe even the best.” Prior, he served as associate director of the National Theatre of London, the Royal Court Theatre, the Bristol Old Vic, and the Royal and Derngate Theatres (Northampton). Although Kennedy Center audiences saw Simon’s Hamlet with the Royal Shakespeare Company in 2016, Romeo and Juliet marks both his WNO and opera directorial debut.
Evan Rogister (Conductor) is Principal Conductor of Washington National Opera and the Kennedy Center Opera House Orchestra, where he made his debut in Elektra in 2022 and conducts Romeo and Juliet in 2023, the same year he made his Glyndebourne Festival debut, conducting the Orchestra of the Age of Enlightenment in a new production of Don Giovanni. Committed to fostering new work, Rogister leads performances of WNO’s American Opera Initiative in 2023, featuring three premieres by emerging composers and librettists. Other highlights include The Magic Flute at the Metropolitan Opera, Der Ring des Nibelungen at Göteborg Opera, Tannhäuser and Rienzi at Deutsche Oper Berlin, La bohème and Lohengrin at the Bolshoi Theatre, King Roger at Santa Fe Opera, A Streetcar Named Desire at Chicago Lyric Opera and L.A. Opera, among others. Rogister’s debut recording with Deutsche Grammophon, Follow, Poet, was released in January of 2015. The album features new works by the composer Mohammed Fairouz written for mezzo-soprano Kate Lindsey, with Rogister conducting the Ensemble LPR.
Adam Smith (Romeo) is the “tenor that the whole opera world is talking about” (Marie Claire). The British rising star makes his WNO debut as the romantic Romeo following major international engagements with Greek National Opera, Finnish National Opera, English National Opera, Opéra national de Bordeaux, and more.
Italian soprano Rosa Feola (Juliet) is an established star at acclaimed opera houses across Europe, with performances at Royal Opera House Covent Garden, Bayerische Staatsoper, Milan’s La Scala, and more. In recent seasons, she has won fans in the U.S. with appearances in Rigoletto at the Metropolitan Opera. The soprano brings her “wonderful immediacy” (The New York Times) now for her WNO debut.
IN SERIES THE PROMISED END
Nanna Ingvarsson (Performer) is so happy to be reprising this role and returning to IN Series. Nanna currently resides in Cleveland, OH, where she recently appeared as Dotty in Noises Off, Mrs. Alexander in The Curious Incident… (Beck Center), and Mildred in Walking to Buchenwald (Con-Con). Other DC credits include Scena: The Beckett Trio, Guilt, Fear Eats the Soul, Someone Is Going to Come, The Cripple of Inishmaan (HHA nomination), The Marriage of Maria Braun, Greek, Sink the Belgrano!, and The Maids. Forum: Love and Information, The Illusion, The Language Archive, One Flea Spare; Angels in America, and The Skriker; Factory 449: The Amish Project (HHA Outstanding Lead Actress); Studio: Terminus (HHA nomination); Theater J: Falling out of Time, The Seagull on 16th Street; Folger Theater: Richard III; RepStage: Boeing Boeing; WSC: Six Characters …; Lady Chatterley’s Lover, Hamlet, Uncle Vanya; Fool for Love; Solas Nua: Little Thing Big Thing, Woman and Scarecrow, Scenes from the Big Picture; Constellation: The Green Bird, Three Sisters; Marriage of Figaro; The Oresteia; Woolly Mammoth: The Rocky Horror Show (HHA, Outstanding Lead Actress in a Musical).
Steven Scott Mazzola (Director) In Series: L’Enfance Du Christ, Verdi: The Promised End, The Tender Land, La Sonnambula, Cole Porter Project (Co-Writer), La Clemenza di Tito, Jacques Brel – Songs From His World, American Century Theatre: Associate Artist/Director: Biography, The Country Girl, Serenading Louie, Seascape, Thicker than Water, Eccentricities of a Nightingale, Drama under the Influence: Celebrating Women Playwrights of the Prohibition Era, The Autumn Garden, Tea & Sympathy, A Flag is Born, The Second Man, Picnic, Hotel Universe; WSC Avant Bard: The Bacchae, The Royal Hunt of the Sun, In the Summerhouse; Adventure: The Lion, the Witch and the Wardrobe; Keegan: A Streetcar Named Desire (USA and Ireland productions); Cherry Red Productions: I Hate Anton Dudley; Little Theatre of Alexandria: Lady Windemere’s Fan, The Philadelphia Story; Gay Men’s Chorus of Washington: The Wizard of Oz; Imagination: The Village Fable; Madcap Players: L.A. 8 A.M. and Right is the Hand; NCDA: The Heidi Chronicles, Twelfth Night, Our Lady of Sandwich, North Shore Fish, Tantalus; Round House: The Lion, the Witch & the Wardrobe; Shakespeare: Assistant Director: Love’s Labor’s Lost at the Royal Shakespeare Company in Stratford, England; Re-Discovery Series: Tennessee Williams’ Escape; Source Festival: Catch, The Interrogation Room, Little Hero. Teaching: UMD – University College, NOVA Community College, Woolly Mammoth, and the Shakespeare Theatre Company.
Timothy Nelson (Adapter/Conceiver) was named Artistic Director of IN Series in the Spring of 2018. Having founded and led American Opera Theater, he went on to maintain a career as director, designer, and conductor in Europe and North America, serving as Artistic Director for the Netherlands Opera Studio and the Nieuwe Stemmen program of the Rotterdam Operadagen, and creating productions for London’s Barbican, English Touring Opera, the Nationale Reisopera, Academy of Ancient Music, Iford Arts Festival, Brooklyn Academy of Music, and others. He has been called by the New York Times “The Future of Opera.” Most recently he directed an acclaimed 2021 production of Cosi fan tutte with San Diego Opera. With IN Series he has created pioneering work that has propelled the company to regularly lead Best of… lists in media outlets of the nation’s capital. Over the course of the 2020-2021 season Nelson developed INvision, a virtual multi-venue performing arts center housing digital content created by numerous innovative opera and theater companies across America. His own work in this platform has included films of Gluck’s Orphee et Eurydice, Schumann’s Frauenliebe und Leben, and the recently released King Harald’s Saga by Judith Weir.
Marjorie Garber (Author Shakespeare After All, Festival Scholar in Residence) is the William R. Kenan, Jr., Professor of English and of Visual and Environmental Studies at Harvard University. She is the author of twenty single-authored books and the editor or co-editor of seven edited collections. Her newest book, Shakespeare in Bloomsbury, from Yale University Press (2023), is the untold story of Shakespeare’s profound influence on Virginia Woolf and the rest of the Bloomsbury Group.
SHAKESPEARE THEATRE COMPANY AS YOU LIKE IT
DARYL CLORAN
Adapter/Director/Conceiver, As You Like It
INTERNATIONAL: Co-Creator/Director: DRUM! | Canada: Arts Club, Theatre Calgary, National Arts Centre, Shaw Festival, Canadian Stage, Neptune Theatre. OTHER: Creator of the annual High-Wire Festival at Western Canada Theatre. PERSONAL: Daryl Cloran is the current Artistic Director of Citadel Theatre in Edmonton, Alberta, Canada. | Previously Artistic Director of Western Canada Theatre in Kamloops, BC, and Artistic Director of Theatrefront in Toronto.
