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What we are looking for in our 2 acting companies:
1. MASTER COMPANY: New Hampshire’s only professional outdoor classical summer repertory company, our aim is to put the “shake” back in Shakespeare! In the time-honored tradition of actor-led companies that was the norm in Shakespeare’s age through the 1960's, our Artistic Director and Executive Manager (both actors) gather around them multi-talented performers to form a 6-8 person Non-Equity “lean, mean Shakespeare machine” that not only encourages audience participation, but provokes it! We cast the right actor for the role, regardless of age, gender or "type". This isn’t tv, film or even "realistic" theatre: Men play women, women play men, "children" may actually be older than their "parents"! If you’re a stickler for "realism" we’re not the Company for you! If you’re a "think outside the box" actor, then you are for us! We need more than just actors. We need entertainers who feel at home in front of any audience, anywhere, anytime. You will star in our evening Main Stage shows, Family Show matinees and teach a class—you'll do it all! It takes a very special person to "get" what we do. A summer with us should be seen as a challenge on par with joining the Peace Corps or Outward Bound (without the infectious diseases, freeze-dried food or ropes courses).
IN THEIR WORDS....MASTER COMPANY ACTORS SPEAK THE SPEECH!
"Thank you for this amazing opportunity. I have been able to grow in ways this summer that I never expected to...It's been a real joy working with you and to have had a small part in something that will one day be very big" Dan Lendzian, Master Company 2007 (Dan is currently enjoying his first outing with the Shakespeare Theatre of New Jersey, touring regionally in "A Midsummer Night's Dream")
"Thank you for the opportunity to be here and work with you. I had an amazing time, personally and professionally!" Alanna Romansky, Master Company 2006 (After her summer with us, Alanna catapulted into the indy film world, starring in actor Blair Underwood's "A Bridge to Nowhere" --with Ving Rhames and Danny Masterson--as well as being on the start-up team of the award-winning Bang and Clatter Theatres in Akron and Cleveland, Ohio)
"I am so thrilled to be here in this beautiful place, saying these beautiful words and meeting amazing people!" Jeremiah Maestes, Master Company 2007
"I am blessed to be playing these roles, with this company of actors and in this perfect setting". Todd Quick, Master Company 2007 (Todd went on to work with The Theatre at Monmouth and is currently starring as "Macbeth" in Shakespearience's national tour)
"Being a part of a brand new professional theatre company is a really exciting experience. I feel like I'm watching something wonderful being birthed. The community is thrilled to have us here, very appreciative of the out-of-town talent, and has been incredibly supportive of us...I am housed in a mansion and have the entire top floor to myself (the nicest summer-stock housing I have ever seen!) Above all, the level of talent brought together is exceptional, setting a very high standard for future productions in the region. I hope to have the opportunity to return next year (and beyond) to watch this company develop into a mature, established fixture on the national theatre scene." Megan Kilian, Master Company 2006 (After her summer with us Megan recieved her MFA from The New School, got her Equity card in various NYC off-Broadway shows and is currently working in the San Francisco theatre scene)
"While not without it's labor pains, this summer has shown that this place is going to be really big.Thank you for letting me be a part of something so special" Mikki Lipsey, Master Company 2006 (After her time with us, Mikki went on to Edinburgh's Fringe Festival with the acclaimed American Repertory Theatre--for which she received her Equity card-- and is currently working in the Portland, Oregon theatre scene)
2. APPRENTICE COMPANY: "THE APPRENTICE: SHAKESPEARE, MISSION RESPONSIBLE"
The Apprentice Company is, first and foremost, an acting company that offers principal Main Stage roles with a professional theatre. It is an intense “immersion” into the professional theatre world as well as a breeding ground for future Master Company employment. Every company has an “entry level”--the place for newcomers long on talent (but short on age, maturity level, wisdom, training and/or experience) to garner the opportunity to learn on the job. This is our "entry level". We offer “experiential learning” that is a complement to university and other theatrical training as we lead participants down a road to personal growth and artistic maturity. Guided by mentors from within the professional acting company and featuring workshops with some of the leading professionals from the US and the UK, participants learn to solve problems creatively, make decisions under pressure and develop an “inner compass” crucial to the collaborative process that is theatre. As well, they learn our patented techniques to “shortcut” their way into performance--an invaluable tool as the average rehearsal period at all levels of theatre continues to shrink.
We believe that the performance of Shakespeare is a skill not unlike learning to sing or dance: It takes years of practice and training and is a life-long pursuit. And, just like voice and dance, it is best learned through performance--you have to take the skills learned in class and put them to use on stage, honing them in front of an audience. With our Apprentice Company, you will be acting several times a week in a variety of principal roles and circumstances, while also being supported by weekly workshops with some of the top professionals working in theatre, tv and film. By dedicating yourself to the craft of Shakespearean acting, you add a powerful string to your bow--opening up entire worlds of future employment that can last a lifetime. Shakespeare wrote for actors "from the cradle to the grave", affording a staggering array of roles for actors of any age and promising life-long careers for those who have the skills.
The hard fact of show business is that in order to get professional roles, you have to have had professional roles. Our Apprentice Company insures that you will come away from your summer with us not only with the professional roles that will garner you auditions, but with the acting skills necessary to get the job. You'll come in to your summer with us as a "green recruit" and come out "a lean, mean Shakespeare machine"! And, unlike other apprentice programs where you pay thousands of dollars to have the majority of your time spent in backstage and technical areas, "The Apprentice: Shakespeare, Mission Responsible" Program affords you Main Stage principal roles in both your own Apprentice Main Stage productions as well as in a "mixed" production with the Master Company--the world premiere of best selling author John Reed's first play, "ALL THE WORLD'S A GRAVE", which will be workshopped and have its' preview in New Hampshire prior to our taking it to New York for its' world premiere run August 28th-31st. Our innovative “Boot Camp” approach promises that we will strip you down and rebuild you from the ground up. You’ll be challenged in ways you never imagined, nudged out of your comfort zone and pushed to the max!! No Hand-holding. No Nonsense. No Holds Bard!
We promise laughs, tears, personal and professional growth and... The toughest job you’ll ever love!
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PLEASE GO TO OUR SEPARATE PAGE MARKED "APPRENTICES" FOR SEASON INFO & REQUIREMENTS).
ALUMNI: After a summer with us, our 2006 apprentices have gone on to work with The Great Lakes Shakespeare Festival, regional theatres in Rhode Island, New Hampshire, off-Broadway, Fringe and French Festivals in NYC as well as MFA programs in programs such as theatre and
costume design. Our Master Company alumni have gone on to work in television and feature films, as well as with these regional companies: Shakespeare Festival of New Jersey, The Maryland Shakespeare Festival, San Diego's Diversionary Theatre and national tours with Shakespearience.
Actor/Teachers: Our Master Company actors will conduct workshops for kids in our 2 week youth acting camps (more info about the camps, below).
Schedule: In general, most work weeks include six days of performance and/or rehearsal and one day off (although, due to weather considerations, it usually works out that during rehearsals there are only half days off and then during performance most people get at least 2 days off) so it averages out! Some work days will be incredibly short, some incredibly long. The rehearsal process is usually 2 to 3.5 weeks per season...and in that time we have 2-3 Main Stage shows, 4 half hour Town Square Family Matinee shows and the Strolling Player Improv troupe to get off the ground!! It's a "whirligig of the mind" (body and spirit)!! Once we get into performance, you will find that you have a surprising amount of free time to enjoy the beauteous Waterville Valley Resort and Plymouth University-area surroundings. Most days are spent touring the area, hiking, swimming, boating, biking until your call time at the theatre. We try to have all of our performances clustered around a Thurs-Sunday schedule. In past all actors have found time to make several trips to NYC, Boston, Portsmouth, NH, Montreal and Burlington, Vt. To check out the area, go to www.visitwatervillevalley.com
Work Load: To give you some idea, here is our tentative schedule for 2008: July 1st: One Master Company SCS team arrives and rehearses to open Fri July 4th/Sat July 5th. Thurs July 3rd: Apprentices arrive, orientation. Fri July 4th: Entire Master Company arrival, orientation, tour and dinner. Sat/Sun July 5th-6th: Bard Bootcamp Intensive week-end (Master and Apprentice) July 7th-19th: Rehearsal period: Mon-Friday, Week One: AM--SCS & Green Show rehearsals, fight and dance calls, PM: "Taming of the Shrew". Saturday is spent in running, fixing and freezing the TOS blocking, also open SCS Team 2 this week Fri/Sat. Week Two: M-F--same but with "Tamer Tamed" in pm. Saturday: Run, fix, freeze "Tamer Tamed". Week Three: Dress all shows, Strolling Players begin, open Thursday 24th with preview of TOS, Season Open Friday TOS, Saturday open TT (then begin alternating perf rep). Week Four: AM & PM: Tues-Sat "Bionic Bard" rehearsals, Sun 8/27 Open "Bionic Bard". Week Five: Tuesday Apprentices have Strolling Players. Wednesdays August 6, 13, 20 are Apprentice Training Days where guest teachers come in to work with students in one Am and one PM session. As well, they have separate one-on-one meetings with both their Team Leader and the Artistic Director. Thursday Apprentices have SP and everyone has shows that night. Friday Apprentices have SP, Master Company has SCS and everyone has PM show. Sat. the same. Sunday everyone has Bionic Bard in AM. Weeks 6 &7: Monday, Tues, Thurs, Friday: Main Stage 8-12 noon, various teachers, various classes for Youth Theatre camp. Tues: Apprentices SP, Wed: Apprentice Training, Thurs-Sun same as week's prior. Sunday August 24th: Both companies and all staff strike theatre space. Week 8 NYC!!!: Mon Aug 25th: Everyone moves to NYC. Tues-Wed 8/26-27-Everyone helps set up NYC space and has rehearsals in afternoon and PM. Tues-Sat AM: Apprentice Intensive, PM: SP, 
rehearsals and performances, Thurs-Sun: PM: Apprentices: SP, Everyone has performances, after Sun perf strike NYC space. Mon 9/1: Those not living in NYC go home. SUMMER SEASON OVER!!
Ability to perform outdoors: We perform and rehearse on our unsheltered outdoor stage, 9 hours (or more) often during daylight. It can be hot, buggy, windy, muggy with (sometimes) intermittent rain showers. We have an indoor theatre as a back up space in case of truly inclement weather, but we "go" as much as possible outdoors. We need actors with strong voices to carry over the wind and who won’t wilt in the sun/heat. As well, we need disciplined actors who can focus and not let airplanes, passing cars, barking dogs, music or yelling children distract them during rehearsal and performance.
Physical Fitness: We utilize the entire outdoor ampitheatre. That means actors have exits at one end and a very quick entrance at a completely opposite end—even from the woods! There is a lot of running around, climbing, jumping, hand-to-hand, pratfalls and sword play. Backstage there can be some lugging, moving and carrying of large items.
Throwing away the "4th wall": We perform in an interactive style—addressing the audience directly. As well, our audiences address us—they are encouraged to shout "huzzah" when they are happy, "boo" when they are not (all in good fun) and answer a question if asked. Our Family Shows are interactive in that we get audience members on stage acting with us. Our Strolling Players Improv Troupe is just that—a band of costumed actors who roam the Town Squares of local communities doing impromptu performances for the general public
Ability to perform on a rustic stage: Simple sets. Low, platform stage. No run crew. Little or no set pieces or props. No curtain or wings. Nothing elaborate to hide behind or distract from the power of the words
Verbal agility: The biggest direction you’ll get is "PUTP, PUTP"! It means "Pick Up The Pace". Performed as Shakespeare intended, using his text as "clues" and his punctuation as a key to where (and how) to breathe. Our 2007 "Romeo and Juliet" truly was "two hours traffic on the stage" (actually it was more like 1 and 1/2 hours!).
Okay with abridged shows, early curtain: For reasons having to do with wooing our audiences in our early years, we abridge the shows to run in under two hours with a 15 minute intermission. We don’t do it because we think we know better than Will, we do it because we want our audiences to stay to watch the whole show! As well, we have an early curtain, 6:30 pm, in order to better replicate authentic Renaissance conditions and to take advantage of as much natural daylight as possible.
Children and Dogs: We have children in at least one Main Stage show. Little eyes (and ears!) are everywhere. Actors who have scenes with the kids are asked to watch them backstage as well as watch out for and mentor them. We usually have at least one dog in one show and the actor who performs with it also watches out for it backstage. If you have an aversion to children or dogs, we may not be the place for you!
Diversity: Actors who can play/write/sing music a capella (unplugged/unaccompanied), who are tumblers, dancers, gymnasts, teachers, comedians, improv experts, who can sew their own hem, watch out for their props and perform some backstage tasks. We will use every part of your skills, talent and training. Have an unusual stage-worthy skill? Bring it on! We will (probably) find a place for it somewhere!!
Drivers: There is some driving. As well, rehearsals and housing are spread out over a 20 mile radius from the theatre. We need people who have cars, valid licenses and insurance. At least 50% of the Company must have cars and those who do must agree to transport their colleagues who don't. (It works out great every summer).
Well-equipped actors: Actors are expected to provide their own make-up (including special character pieces like aging make-up or mustaches/beards) and rehearsal shoes. For rehearsals, women (or men playing women) must have floor length rehearsal skirts and boned corsets. Actors are encouraged to bring any footwear, wigs and Renaissance clothing items/weapons they have that may help the production (but don't worry--we do provide great costumes--check out our pics to see for yourself).
Good Attitude:We are a "lean, mean, Shakespearean machine" in every sense of the word. It is important that morale be kept up. Your personalities count more than your acting ability! One minute you’re mopping up the dressing room, the next starring in "Romeo and Juliet"! Everyone does everything.
Education Work: The first week-end is devoted to "Bard Bootcamp": Team and Trust Exercises as well as those that get everyone on the same page as to how we at SITV approach character, text and scansion. There’ll also be an orientation, presentations from directors as per their "vision" for the shows and one-on-one meetings with the directors as per character work. Since our rehearsal time is so limited, the majority of rehearsals are blocking rehearsals. Actors are expected to take the blocking and do character work around it, on their own. The Bootcamp gives us all a chance to "play". In our Company, "the text is all" and we want everyone pulling in the same direction and speaking the same language from the get-go.
Production Work: All company members will also be assigned production duties that will, at times, be more important than the acting work. Duties include assisting the Company Manager, setting up the theatre for performance, helping to set the lighting, working on costumes and props, teaching at our youth camps, etc. Everyone participates in strike.
Punctuality: Our motto: If you are not fifteen minutes early, then you are late. It takes time to prepare for a Shakespearean rehearsal (voice and physical warm up, getting into rehearsal clothes, weapons adjusted, etc) and we need the Company ready to take the stage exactly on time.
Respect, Maturity and Trust: In our humble way, we strive to emulate the great "Actor/Producer" companies of past eras (Shakespeare, Burbage, Olivier, Kean, Bernhardt et. al.), therefore, the Artistic Director, director and other Company personnel are a part of the acting ensemble. Your "bosses" will have major roles in each of the productions, working alongside you as part of the ensemble--even as your romantic foil. We need actors with enough confidence, maturity and experience to trust, embrace and have fun with that. Many renowned companies (the Globe and RSC in England and Shakespeare & Co. in the U.S) practice this regularly to great effect. Shakespeare himself appeared in most of his plays. However it is our policy that no-one appears on our stage that did not audition. The Artistic Director and staff conduct the auditions and make recommendations about the Company. However, final selection of the Company and individual role assignments are then made by an independent panel of theatre and Shakespearean experts who view the videotaped auditions of the selected Company and use a 30 point scale to choose the Company/roles--scoring closest to 30 points and a strong audition are two of our biggest casting criteria. Some of the things included in the "30 points" are being a non-smoker, British training/experience, minimum 25 years old, at least 2 years of professional Shakespeare experience, having a car, having other skills we have use for that summer, etc.
Understudies: We perform "without a net" and have no understudies. Therefore, the only excuse for a missed rehearsal is a death in the family. The only excuse for a missed performance is your own death. There are (possible) legal ramifications for actors that leave the Company after going to contract. So think carefully before you sign on the dotted line.
Smoking: For many reasons that have to do with insurance, housing and rehearsal/performance site regulations, we are a very unaccommodating place for smokers. If you are a smoker, there are extremely limited opportunities to smoke--for site regulations and health reasons (your Artistic Director is so allergic to cigarette smoke that it cannot be on your clothes or hair and every summer there are kids and other actors with allergies and asthma in the cast) you will be unable to smoke during rehearsals or performances. All of our housing is non-smoking and most of the public restaurants and bars in the area are also non-smoking. And because we work with kids who look up to the actors, it is our policy to not have them see you smoke. Fore-warned is fore-armed: Every year those who are smokers have a very tough time of it and if you are a smoker, we are probably not the place for you.
Creative process: Our truncated rehearsal time leaves very little room for exploration of the text while we are in NH. In 2007, "Romeo and Juliet" ran, full length, on the 3rd day of rehearsal. How we were able to accomplish that was because the actors arrived "performance ready" off-book and the director (who has a strong film/tv "time is money" background) had everything paper-blocked and a very strong vision of the show. But more importantly, many hours were devoted to in-depth text, scansion and character analysis between the actors and director prior to arrival in NH. By the time we went to rehearsal, each actor had several phone consults with the director and had been sent many pages of notes on the director's vision and choices for the shows, their characters and recommendations for other resources they could use in their research and preparation.We revel in, celebrate and relish our actor's talents and skill and that is why we expend so much time, thought and preparation in our casting process. All good directors know that "casting is all": If you cast the right actors, there is very little "work" that needs to be done. We spend an average of 10 hours a person in our casting process, with 30-50% of that in direct contact with the actor. We cast "true to type"--and by that we don't mean we trade in the usual Hollywood cliches. Our Artistic Director has a degree in Jungian (archetype) psychology, where she sees the person inside the outward persona--allowing for some very non-traditional casting choices. In past, a summer with us has helped many "character actors" find their inner "leading man/woman" (and vice-versa). If you are cast with us, be prepared to have one role that will make sense to you and be "a walk in the park" and one that will seem "off the wall" and scare the s--t out of you. The director pays a lot of attention to potential Company members and incorporates their speech patterns, interesting "tics", sensibility and persona into their vision for the show. We go into auditions with a strong vision but let the actors who are cast inform and change it, so that by the time we go into rehearsals, the vision (and the blocking that comes from it) have each person's unique sensibilities woven into the very fabric of the show...making it very easy for actors to "slip into" the show.
That said, we have found that some actors "get" what we are about, surrender to our unique "non process" process, embrace and revel in it while others struggle. Less experienced actors (those closest to their university days) or those coming from huge, long-established and well-endowed companies tend to have the most difficult time during NH rehearsals while those who are older, have worked in a diversity of fields, or have dance, musical theatre, tv or British stage experience have the best time. If you are a "method" actor, an actor who feels "it's called 'play' for a reason" or whose vision of "creative process" includes lengthy table work, large amounts of time devoted to exploring the "beats" and "finding your way" in rehearsal or who doesn't like to work from the outside in, then we are NOT the Company for you!!! However, if you want to learn a different way of working, a way that helps you quickly "drop into" the immediate performance of a piece, want to add "another string to your bow" and think you might want to work in tv or film, then we ARE the company for you!!
FAQ About What We Offer:
Paid? Yes. Weekly pay for Master Company actors is $175-225 for their 7 weeks in NH. This year, in response to actor's laments that their excellent work with us always remains unseen by the "powers that be" in NYC, we are taking our shows on the road to showcase them in NYC Mon Aug 25-Sunday 31st!!! For that week only, we will be paying $75 to Master Company actors. Additionally, we offer actor incentives through-out the season; profit participation, "hell week" and end-of-season bonuses. While they are box office dependent (and therefore not guaranteed) last year all of our actors made between $50-$800 additional in bonuses. As well, unlike other theatres that do not pay until the second week of performance (meaning 4-5 unpaid weeks) we pay every week-- from Week One
EMC? No. We are proudly a 100% non-Equity company and happy to offer the many, many excellent non-union artists out there a chance to showcase their myriad talents as well as a place to grow and flourish in their craft.
Housing Provided? Yes--FOR BOTH APPRENTICE & MASTER: In NH: Furnished housing and basic utilities (water/heat/electric) in 3 towns within a 20 mile radius area surrounding the theatre. Most housing is with host families-organizations. Actors can expect to have room mates. All residences have access to shared living, bath and kitchen facilities within the residence. We have a limited number of places within walking distance of the theatre, as well as a select few for those with pet allergies. Some (especially the hypo-allergenic) will require a car. We tend to favor actors with cars. In NYC: For those who live there, no housing provided (and be prepared for us to ask that you please host some of your non-NYC resident Company members). For those who do not, we will find you housing. (We will tend to favor NYC actors or those with friends/family in NYC with whom they can stay.)
Health Insurance? No. Since our paid actors are subcontractors, we do not offer health, workman’s comp or unemployment insurance. (We tend to favor actors with health insurance.) Nor do we offer that to our Apprentice Company--all of whom must have proof of insurance to qualify for the program.
Meals? No. But we do host Company BBQ’s, parties and dinners. Although they are under no obligation to do so, host families have been known to be quite giving to their actors. As well, in NH, we are able to offer 50% discounts off most Valley restaurants and shops. Many actors took advantage of that last year to great effect.
Roles? If you want to act your tush off and play a variety of roles in different venues, then you’ll be in heaven: Everyone in the Company has performance opportunities. Master Company actors perform in Main Stage productions ("The Taming of the Shrew", "The Tamer Tamed" and "All The World's A Grave"), and the Sugar-Coated Shakespeare Family Interactive Matinees. Apprentices appear in the Main Stage Green Shows ("The Fooling of a Sly, "Couldabeen Hamlet") the world premiere of "All the World's A Grave" and have principal roles in the Town Square Sunday Family Matinee: "Bionic Bard". As well, they perform in our "viewer’s choice", highly-popular traveling Strolling Players Improv Troupe Tues-Saturdays at various venues in the area.
Teaching credentials? Yes. Workshop teaching experience Our Master actors conduct workshops with kids ages 7-16 and the Apprentices either teach or serve as TA's. As well, the kids are a part of one Main Stage show. ALL of our actors are expected to be positive role models and mentors to the young thespians among us all summer
Anything else? Yes. Quality of life, resort setting: You get to live in a gorgeous summer resort area with biking, downhill mountain biking, hiking, swimming, tennis and golf (literally) right outside your door. People pay thousands of dollars to vacation here and you not only get to be here, but get paid for it as well—and get paid to do what you love most. In past, we've been able to get free passes to the multi-million dollar sports and health complex (2 pools, steam rooms, weight machines, indor tennis and raquetball, classes, etc) and the actors have LOVED using those all summer .
Summer Season 2008
MAIN STAGE--“The Taming of the Shrew”
(“The thrilla in the villa”!)
Even during the Bard’s time, this comic masterpiece was controversial for its' portrayal of women, yet its’ brilliant writing and knowing insights into the human heart makes it one of his most popular and identifiable comedies. Summer 2008, it will take our stage by storm in a vibrant, raucous and decidedly FEMINIST take on the most popular of Shakespeare's plays featuring Kate, his most beloved of all heroines, in the most passionate, physical and well-matched romantic pairing ever seen on stage. With “shrew” Kate and “tamer” Petruchio, it’s the “battle of the sexes” like you’ve never seen before, comically shaped around a modern-day boxing theme. Shown in alternating repertory July 24th- August 23rd, 2008. Curtain is at 6:00pm (sharp) with a 30 minute pre-show performance, “The Fooling of a Sly”. Tickets $10-$20, includes both shows. PG Rated
MAIN STAGE--“The Tamer Tamed” (NEW ENGLAND PREMIERE)
(“Payback’s a witch and her name is Maria”)
The shoe’s on the other foot--and it's a stiletto! Watch the men get tamed in this hysterically funny, witty and estrogen-empowered re-telling of the famous Greek play "Lysistrata" as we follow the story of (now widowed) Petruchio’s marriage to Maria, who decides to give him his own back by rallying all of the women in town to refuse marital relations with their husbands until she tames Petruchio! Written by Shakespeare’s protégé John Fletcher approximately 20 years after "Shrew" as an "answer to" (rather than a sequel) Shakespeare's comic masterpiece, it interweaves characters from the original with a brand new cast of witty, insightful characters in comedically-rich and romantic situations. Shown in alternating repertory July 24th- August 23rd, 2008. Curtain is at 6:00pm (sharp) with a 30 minute pre-show performance, “Couldabeen Hamlet”. Tickets $10-$20, includes both shows. PG Rated
MAIN STAGE--“All The World’s A Grave”--WORLD PREMIERE
(“After a 400 year wait, it’s Shakespeare’s New Play!”)
By best-selling author John Reed
“All The World’s A Grave” follows the story of Hamlet, prince of Bohemia, at war to win the hand of Juliet, whose father is Lear, King of Aquitaine. Aided by his friends Iago and Romeo, they are victorious. His new bride at his side, Hamlet returns home to discover that his father is dead and his new stepfather is his uncle, Macbeth. Interweaving characters, speeches and plot points from Macbeth, King Lear, Othello, Henry V, Romeo and Juliet and (of course) Hamlet, it is a witty and stunning new take on the old plays that promises “this ain’t your Momma’s Shakespeare!” Preview Performance Thursday, August 21st at 6:30pm. Tickets $10-$20. PG rated
TOWN SQUARE FREE FAMILY MATINEES--“Sugar-Coated Shakespeare”
(The sugar-coated learning experience with the Bard at the center)
2 person teams of our professional Main Stage actors perform songs, monologues, scenes and poems from classical literature and Shakespeare interwoven in a tapestry of fun, participation and learning. New for 2008, four different shows in alternation: “Shakespeare and Spice” (a celebration of girls hosted by Snow White and Goldilocks), “Shock, Shiver and Shake-speare” (goblins, ghost and ghouls, hosted by the Wolf Man and Hansel and Gretel’s Witch), “Best Barddies” (a celebration of friendship hosted by Peter Pan and Tinkerbelle) and “Hard Bard” (starring Cleopatra and Hamlet in some of literature’s toughest works). Shown in revolving repertory in 2 different Town Square locations—the Rey Center on Fridays & Center Tent on Saturdays, both at 3:30pm, July 4th-August 23rd. (Thanks to the WV Foundation, ALL PERFORMANCES ARE FREE AND RAIN OR SHINE) G Rated
TOWN SQUARE FREE FAMILY MATINEES --“Bionic Bard”
("We can rebuild it, we can make it better than it was before")
Families can join in the fun at “Bionic Bard”, a hilarious sketch comedy improv show that puts the audience in the spotlight with re-vamped versions of the Bard’s faves intercut with games, quizzes and skits. 11am, Sundays, Town Square Center Tent. (Thanks to the WV Foundation, ALL PERFORMANCES ARE FREE AND RAIN OR SHINE) G Rated
STROLLING PLAYERS IMPROV TROUPE
(Featuring "Shakespeare on Demand")
Our most popular offering, it is a roving band of costumed performers who wander the streets of local communities, offering passersby random "on demand" scenes, monologues, sonnets and songs.
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