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Shakespeare’s Globe include Antony and Cleopatra (1999), Hamlet (2000) and Troilus and Cressida (2005). His posts include associate director at Ipswich Theatre (1974-77); staff director at the National Theatre (1977-81); and director of platforms at the National Theatre (1981-84). His theater direction includes: The Fawn, She Stoops to Conquer (National Theatre), Macbeth, The Cherry Orchard, King Lear, Richard III, Hamlet, Skylight and Vincent in Brixton (Shochiku Company, Japan). In 2000, the Association of Major Theatres of Japan recognized Giles for services to the Japanese Theatre. In recent years, Giles has directed The Tempest, Henry V and The Comedy of Errors at the Blackfriars Theatre in Virginia. Peter Bray (Rosencrantz / Marcellus / Prince Fortinbras / Osric) trained at Central School of Speech and Drama. His previous work for Shakespeare’s Globe includes A Midsummer Night’s Dream. His theater credits include: The Boy from Centreville (Pleasance, Edinburgh Festival); Shooting Rats (Oval House Theatre); Moshing Lying Down (U.K. Tour); After Violence (Raynes Park Festival); Stories Project 2 (Southwark Playhouse); Blowing (fanSHEN Theatre Company); A Midsummer Night’s Dream (The Lord Chamberlain’s Men); Lion Boy workshop (Complicite); and The Heart of Robin Hood (Royal Shakespeare Company). Bill Buckhurst’s (director) directing credits include A Midsummer Night’s Dream, Macbeth, Romeo and Juliet (Shakespeare’s Globe/UAE tour, Playing Shakespeare); Barbarians, Tinderbox (Tooting Arts Club); Hamlet, Much Ado About Nothing, A Midsummer Night’s Dream (Stafford Festival Shakespeare); Riff Raff (Arcola); The Vegemite Tales (West End/Riverside Studios); Normal (The Union); Penetrator, The Night Before Christmas (Theatre503). As assistant director, his credits include Get Santa! and Aunt Dan and Lemon (Royal Court). As an actor, his theater credits include seasons at the Royal Shakespeare Company, Royal Court, Shakespeare’s Globe, Propeller, Chichester, Northampton and Oxford Stage Company. His film and television credits include Skyfall, World War Z, New Tricks, Spooks, Collision, Murphy’s Law, EastEnders, Coronation Street, Holby, Bad Girls and As If. Ng Choon Ping (assistant text work) was trained at York University and the Central School of Speech and Drama. His credits for Shakespeare’s Globe include Henry V, The Taming of the Shrew, Richard III and Twelfth Night. He specializes in theater direction and actor training. He directed in Singapore for six years before coming to the U.K. and is experienced in Shakespeare, Greek and East Asian Classics. In 2011, he completed the King’s Head trainee director program in London, debuting with Pure O, a dark piece of comic new writing about Obsessive Compulsive Disorder. Alison Convey’s (assistant director) credits as assistant director include The Madness of George III, Kean (Apollo Theatre and U.K. tour) and Arsenic and Old Lace (Salisbury Playhouse). Her credits as director include Three Loops of the Moon (Chichester Festival Theatre—rehearsed reading); Sweet Engineering of the Lucid Mind (Hen and Chickens Theatre and Old Red Lion Theatre—winner of Off Cut Festival 2010 Best Director Award); Playbites, One Flew Over the Cuckoo’s Nest (Oxford Playhouse); Amadeus (The North Wall); Pygmalion (Old Fire Station); The Country Wife (Brasenose Arts Festival) and The Sound of Music (Shimla, India). 6 | Mondavi Center Presents Program issue 3: nov 2012 Dominic Dromgoole was appointed artistic director of Shakespeare’s Globe in 2006. Since 2006 the Globe has increased its diet of new work, has begun a small scale touring operation, which now travels all over the U.K. and Europe, has done two large scale tours of North America and its first across England, has initiated winter performances and has filmed many of its productions for distribution in cinemas and on DVD. During his time at Shakespeare’s Globe, Dromgoole has directed Shakespeare’s Henry V (2012), Hamlet (2011), Henry IV Parts 1 and 2 (2010), Love’s Labour’s Lost (2007 and 2009), Romeo and Juliet (2009), King Lear (2008), Coriolanus and Antony and Cleopatra (both 2006) as well as Trevor Griffiths’ new play A New World (2009). He was artistic director of the Oxford Stage Company, 1999-2005 and the Bush Theatre 1990-96, and Director of New Plays for the Peter Hall Company in 1996/7. In addition, Dromgoole has directed at the Tricycle Theatre, in the West-End and in America and Romania. He has written two books The Full Room (Methuen 2001) and Will and Me (Penguin 2006), has had a column in the New Statesman and The Guardian, and has written extensively for many journals, most often the Sunday Times. Jonathan Fensom’s (set and costume designer) theater credits include Henry V, The Globe Mysteries, Much Ado About Nothing, Hamlet, Henry IV Parts 1 and 2, King Lear, Love’s Labour’s Lost (Shakespeare’s Globe); Goat (Traverse Theatre); Six Degrees of Separation, National Anthems (Old Vic); Brighton Beach Memoirs (Watford); Philadelphia, Here I Come! (Gaiety Theatre Dublin); A Midsummer Night’s Dream (Canada); Rain Man, Some Girls, Twelfth Night, Smaller, Blackbird (West End); Swan Lake (San Francisco Ballet); Journey’s End (West End and Broadway); The American Plan, Pygmalion (New York); The Homecoming, Big White Fog (Almeida Theatre); Happy Now?, The Mentalists, Burn, Citizenship, Chatroom (National Theatre); In the Club, Born Bad, In Arabia We’d All Be Kings, Abigail’s Party, What the Butler Saw (Hampstead Theatre); Duck, Talking to Terrorists, The Sugar Syndrome (Royal Court); Kindertransport, Breakfast with Emma (Shared Experience); The Tempest (Tron Theatre); Crown Matrimonial (Guildford, Tour); The Faith Healer (The Gate, Dublin and Broadway); God of Hell (Donmar); M.A.D., Little Baby Nothing (Bush Theatre); Be My Baby (Soho Theatre); Candide, Charley’s Aunt (Oxford Playhouse); Small Family Business, Little Shop of Horrors (West Yorkshire Playhouse); My Night With Reg, Dealer’s Choice (Birmingham Repertory); After the Dance, Hay Fever (Oxford Stage Company); So Long Life (Theatre Royal Bath) and Wozzeck (Birmingham Opera and European tour). He was associate designer on Disney’s The Lion King, which premiered at the New Amsterdam Theatre on Broadway and has subsequently opened worldwide. His set design for Journey’s End was nominated for a Tony Award in 2007. Miranda Foster (Gertrude / Second Player / Player Queen / Second Gravedigger) trained at Webber Douglas. Her previous credits at Shakespeare’s Globe include The God of Soho, Romeo and Juliet and The Bible. Her other theater credits include The Talented Mr. Ripley (Royal and Derngate, Northampton); Madagascar (Theatre503); Shraddha (Soho Theatre); Greenwash, The Marrying of Ann Leete, King Cromwell, Summer Again (Orange Tree Theatre); Born in the Gardens (Rose Theatre Kingston and Bath Theatre Royal); Shadow Language (Theatre503); Festen (U.K. Tour); The Memory of Water (Watford Palace Theatre); The Lucky Ones (Hampstead Theatre); Pera Palas (The Gate and National Theatre); Love You Too (Bush Theatre); The People Downstairs (Young Vic); Hamlet, As
You Like It (AFTLS U.S. tour); Blithe Spirit (Royal Exchange); Our Country’s Good, A Doll’s House (Leicester Haymarket); The Cherry Orchard (Aldwych); Gilgamesh, Schism in England, King Lear, Antony and Cleopatra, Neaptide, The Women, The Futurists, Pravda, The Government Inspector, Animal Farm, The Spanish Tragedy, Strider: The Story of a Horse and The Fawn (National Theatre). Her television credits include The Trial of Gemma Lang, Rosemary and Thyme, Dream Team, Where the Heart Is, The Bill, The Knock, Sharman, The Turnaround, Doctors, Holby, Brotherly Love, Casualty, Thin Ice, The Contractor, Cockles and The Merry Wives of Windsor. Her film credits include Beggar’s Belief. Tom Lawrence (Horatio / Reynaldo / Captain) trained at Exeter University and RADA. His previous work for Shakespeare’s Globe includes Hamlet. His theater credits include Summer and Smoke (Apollo Theatre and Nottingham Playhouse); When We Are Married (West Yorkshire Playhouse); Oliver Twist (Library Theatre, Manchester); Death in Venice (Snape Maltings and Bregenz Festspielhaus); House and Garden (Salisbury Playhouse); Biloxi Blues (Vanburgh Theatre) and Forest Sale (Royal Opera House, Deloitte Ignite). Lawrence is a founder member of Punchdrunk, with which he has co-devised and performed in several site-specific productions, including the South Bank Show Best Theatre Award-nominated The Masque of the Red Death and Woyzeck, The House of Oedipus, The Cherry Orchard, The Black Diamond and The Firebird Ball. His film credits include Age of Heroes, Christ’s Dog, Isaac and Jack and Jill. His television credits include Prefaces to Shakespeare: Hamlet, Silent Witness, Inspector Lynley, Doctors, The Rating Game and Ingham Investigates. His radio credits include Night of the Hunter (Sony Award Winner), To Sicken and So Die, Made in China, Dixon of Dock Green, Like An Angel and numerous readings for Poetry Please. He has made many recordings, including readings of All Quiet on the Western Front, Wild Abandon and The Collected Works of John Betjeman. Glynn MacDonald (Globe associate—movement) trained in the Alexander Technique at the Constructive Teaching Centre in 1972. She has worked with the Actors’ Centre and the Field Day Theatre Company in Ireland, Dramaten in Stockholm, Norskspillersforbund in Norway, Holback Engstheatre in Denmark, Bremen Opera Company in Germany and in Poland, Switzerland, Japan, Australia and the U.S. Since 1997, she has been resident director of movement at Shakespeare’s Globe on all theater productions. In 2002, she directed Transforming September 11th at the Linbury Studio, Royal Opera House for Peace Direct. She works for Globe Education, giving movement workshops for schools, undergraduates and Continuing Professional Development for teachers. For the last six years, she has worked on Playing Shakespeare with Deutsche Bank, Globe Education’s flagship project, which 16,000 students attend annually. She heads the Movement Department for the Conservatory Training Program for Rutgers University at Shakespeare’s Globe. She also works on the Jette Parker Young Artists program at the Royal Opera House. Kevin McCurdy (fight director) trained at the Welsh College of Music and Drama, where he is a resident teacher. His previous credits at Shakespeare’s Globe include Hamlet, As You Like It, We the People, The Frontline, Helen, Troilus and Cressida and Macbeth. His other theater credits include A Midsummer Night’s Dream, Romeo and Juliet, The Three Musketeers, Bloody Mary and The Virgin Queen, The Caucasian Chalk Circle, Of Mice and Men, Twelfth Night, Sleeping Beauty, Dick Whittington, A View From the Bridge, The Bystanders, The Pirates of Penzance, Phaedra, Taboo, Things We Do For Love, Maid Marian and Her Merry Men, The Mikado, Badfinger, Closer, Woyzeck, Il Trovatore, Die Fledermaus, Oliver!, Botticelli’s Bonfire, House and Garden, Jack and the Beanstalk, Quadrophenia, Killer Joe, Beauty and the Beast, Women Beware Women, Cyrano de Bergerac, Richard III and Treasure Island. His television credits include The Chosen, Belonging, The Bench, The Story of Tracey Beaker, Hearts of Gold, Carrie’s War, Young Dracula, Doctor Who Christmas Special, Pobol Y Cwm, Y Pris, Alys and Gwaith Cartref. His feature film credits include The Big I Am, Season of the Witch and John Carter of Mars. Martin McKellan’s (voice & dialect) previous work for Shakespeare’s Globe includes Henry V, The God of Soho, Hamlet, As You Like It, Doctor Faustus and Anne Boleyn. His recent theater credits include The Madness of George III, Our Private Life (Royal Court); The History Boys (National Tour); When We are Married (Garrick Theatre); Joseph K (Gate); Enjoy (Gielgud Theatre and National Tour); The Rocky Horror Show (National Tour); Timings (King’s Head); Sisters and Alice (Sheffield Crucible) and Breed (Theatre503). His other theater credits include Alphabetical Order (Hampstead Theatre); The History Boys (West Yorkshire Playhouse and National Tour); Lord Arthur Savile’s Crime (National Tour); The Lord of the Rings (Theatre Royal, Drury Lane); This Much is True (Theatre503); Riflemind (Trafalgar Studios); The Laramie Project (Sound Theatre); Single Spies (National Tour); A Model Girl (Greenwich Theatre); My Matisse (Jermyn St Theatre); Rocky Horror Show (Comedy Theatre); Our House (National Tour); Christine (New End Theatre); The Arab Israeli Cookbook (Tricycle Theatre); A Small Family Business (Watford Palace); Candida (Oxford Stage Company); The Importance of Being Earnest (National Tour) and You Might As Well Laugh (New End Theatre). Carlyss Peer (Ophelia / Voltemand) trained at RADA. Her previous work for Shakespeare’s Globe includes A Midsummer Night’s Dream (Playing Shakespeare with Deutsche Bank). Her other theater credits include The Rivals (Peter Hall Company U.K. Tour and Theatre Royal Haymarket); Les Liaisons Dangereuses (Salisbury Playhouse), and her credits with the National Youth Theatre include The Master and Margarita (Lyric Hammersmith); Cell Sell (Soho Theatre). Her television credits include Eternal Law, Doctors, Silent Witness, Missing and Holby City. Matthew Romain (Laertes / Bernardo / Guildenstern / Lucianus) trained at Bristol Old Vic Theatre School. His theater credits include The Recruiting Officer (Donmar Warehouse); Privates on Parade, See How They Run, Trelawny of the ‘Wells’, My Fair Lady (Pitlochry Festival Theatre); Onassis (Novello Theatre/Derby Theatre); Alma Mater (Augustine’s, Edinburgh) and The Shape of Things (Arts Theatre). Paul Russell’s (lighting designer and production manager) theater lighting credits include Liberty (Shakespeare’s Globe/Lifeblood Productions), Love’s Labour’s Lost (Shakespeare’s Globe on tour Korea), Hard Times (The Watermill directed by Guy Retallack); Trainspotting, Backstroke in a Crowded Pool, Cardboys, One Flea Spare (Bush Theatre); My Mother Said I Never Should (Tour and Young Vic); Peribanez (Arts Theatre Cambridge); Closer (Royal National Theatre/Tour); Not a Game For Boys, Herons, Mother Teresa is Dead (Royal Court Theatre); Exquisite Sister, Four Nights in Knaresborough (West Yorkshire Playhouse); Romeo and Juliet (Young Vic Theatre); M. Butterfly (Singapore Repertory Theatre). MondaviArts.org | 7
Page 1 and 2: Issue 3: nov 2012 shakespeare’s g
Page 3 and 4: AnnIversAry 2012—13 season sponso
Page 5 and 6: Photo: Lynn Goldsmith RObeRt aNd Ma
Page 7: cAst lIst Michael Benz, Hamlet Pete
Page 11 and 12: Christopher Saul (Polonius / Franci
Page 13 and 14: A Crossings Series Event Saturday,
Page 15 and 16: ETHEL has initiated innovative coll
Page 17 and 18: A Debut Series Event Sunday, Novemb
Page 19 and 20: committee to relieve him of his pos
Page 21 and 22: Stephen waarts, age 16, started his
Page 23 and 24: King’s first big break came in 19
Page 25 and 26: Photo by Randi Beach A Western Heal
Page 27 and 28: Symphony No. 4 in B flat-Major, Op.
Page 29 and 30: VIOLIN Katherine Kyme, concertmaste
Page 31 and 32: ProgrAm gloria (World Premiere: Oct
Page 33 and 34: About dance theatre of harlem Dance
Page 35 and 36: Jenelle Figgins (dancer) began her
Page 37 and 38: Stephanie Williams (dancer) was bor
Page 39 and 40: A Wells Fargo Concert Series Event
Page 41 and 42: program notes Rondo for Violin and
Page 43 and 44: sam haywood (piano), a British pian
Page 45 and 46: Ballet folklórico de méxico de am
Page 47 and 48: Jalisco The state of Jalisco is the
Page 49 and 50: A Just Added Event Friday, November
Page 51 and 52: jojga hip hop foundation samples po
Page 53 and 54: ProgrAm notes I grew up in the nort
Page 55 and 56: DireCtors CirCle $1,250- $3,249 Ezr
Page 57 and 58: globe education Academy for teacher
Page 59:
We’ve lifted health care to an ar
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