babyֱ��app Shakespeare Festival

Making it so

Anonymous — Mon, 09 Oct 2023 22:03:23 +0000

Making it so Anonymous (not verified) Mon, 10/09/2023 - 16:03

Bradley Worrell

Patrick Stewart of Star Trek (and Shakespeare) fame shared his wit and wisdom Saturday with attendees at the Glenn Miller Ballroom on the CU Boulder campus as part of national book tour

Whether you knew it or not, Saturday was a special day in babyֱ��app. That’s because babyֱ��app Gov. Jared Polis issued an official proclamation naming Oct. 7 as “Patrick Stewart Day.”

The governor presented the citation to the actor of stage and screen fame on Saturday before a capacity crowd at the Glenn Miller Ballroom on the University of babyֱ��app Boulder campus, where Stewart was appearing as part of a national book tour to promote his new memoir, Making It So.

Polis told the audience he issued the proclamation because of Stewart’s accomplishments as an actor and philanthropist, as well as an advocate against domestic violence and for women’s rights and the LGBT community.

“When it comes to declaring a day in honor of a true icon and hero to many, we must ‘Make It So,’” declared the governor, who is widely known for his love of science fiction and fantasy books and movies. His proclamation drew cheers from the capacity audience.

At the conclusion of Patrick Stewart’s talk at the Glenn Miller Ballroom on Saturday, fans of Stewart’s posed for a picture in front of the stage holding free copies of his memoir provided by the Boulder Book Store.

Tim Orr, producing artistic director of the babyֱ��app Shakespeare Festival, led Stewart through a 45-plus-minute conversation touching on his upbringing in rural Yorkshire, England; how he got started in regional theater and his time performing as a member of the Royal Shakespeare Company; his success in TV and films; and his decision to write a memoir.

“I read your book and I loved it,” Orr said, then asked Stewart, 83, why he wrote it.

“COVID,” the actor deadpanned, to laughter from the audience. He explained that he had previously been asked to write his memoir but had always begged off, saying he was too busy with work.

Seated on a cushioned chair onstage with Orr, Stewart said his prior excuses about being too busy to write a memoir were only partially accurate. In truth, he left school at age 15 to become a full-time actor and said he wasn’t sure he was up to the challenge of writing a book.

Still, he said he always loved reading, and he dedicated his book to the memory of Ruth Wynn Owen and Cecil Dormand, whom he credited as being two inspirational teachers of English and of theater who helped start him on his professional journey.

Stewart’s role in regional theater paved the way for him to join the Royal Theater Company, where he studied and performed with such veterans of the stage as Judi Dench, Ben Kingsley and Ian McKellen.

Orr asked what it was like being a star in the company of such famed thespians, to which Stewart responded, “We didn’t see ourselves that way.”

In retrospect, being timid at that time is one of his deep regrets, Stewart said. If he could today give advice to his 40-year-old self, it would be to “be braver.” That’s also the advice he said he gives today to younger actors, telling them to “be fearless.”

Because of his timidness, Stewart said he didn’t get to know McKellen until much later, when they were in the first X-Men film together. On the studio set, they had adjacent trailers, and went on to become great friends. Stewart added that he considers his performances with McKellen in the plays No Man’s Land and Waiting for Godot personal highlights of his career.

Orr peppered Stewart with questions about Star Trek, including his first thoughts about the TV project (Stewart said he initially believed the show might end after just six months), about Star Trek creator Gene Roddenberry’s thoughts on casting him in the role as Capt. Jean-Luc Picard (Roddenberry was not a fan, initially, Stewart later learned), regarding famous admirers of the show (which included Frank Sinatra and a former U.S. joint chiefs of staff who asked for permission to sit in the captain’s chair on set), his interactions with his co-stars; and why, after seven seasons of Star Trek: The Next Generation and four movies, he was coaxed back into the captain’s chair in 2020 for the Picard TV series (because he came to believe there was still room to tell new stories about the famous starship captain).

As for his future, Stewart said he is still open to taking on roles, including in Shakespearean theater. That prompted Orr to say that he knew of a Shakespearian theater in babyֱ��app.

“Do you have a small theater?” Stewart asked.

“Four hundred seats,” Orr replied.

“Egggggh,” Stewart responded, to laughter. He said that these days he is primarily interested in performing in small, intimate venues.

Stewart’s visit to Boulder was part of a seven-city, cross-country book tour, with most stops in bigger cities, including New York, Philadelphia, San Francisco, Los Angeles and Washington, D.C.

So, why Boulder?

Stewart told the crowd that the decision was deliberate, because his wife, singer-songwriter Sunny Ozell, attended the University of babyֱ��app and had previously performed in the Glenn Miller Ballroom. She sang in various bands while in college.

“She was educated here in Boulder. And that is one of the reasons that we are here, because I know what a great impact it had upon her life and how much she loved this place, and the lasting relationships that it created,” he said.

Saturday’s event was sponsored by the Boulder Book Store and the Center of Student Involvement, part of CU student government. Students had the opportunity earlier in the week to sign up for free tickets.

While there were college-age men and women wearing CU attire in attendance, the biggest fans seated in the front rows tended to skew a bit older.

Kristol Cummings and her husband, Craig, drove six hours from Nebraska to attend the event, even though they didn’t have tickets. They said they felt extremely lucky to score additional tickets from people they met by chance in line.

Self-described Trekkies Liz Star, Alice Slaikeu and Stephanie Peterson came from even farther afield, flying from their hometown of Minneapolis to Denver on Thursday. On Friday, they each got matching Star Trek insignia arm tattoos, and on Saturday they arrived at the Glenn Miller Ballroom at 1:30 p.m. for the 6:30 p.m. event to be some of the first people in line for the general-seating event.

The only person to arrive earlier was Dan Valentine of Greeley, who showed up at 8:30 a.m. Valentine said it was an evening he will not soon forget after Stewart personally answered the question he submitted in writing in advance about what advice Stewart would give his younger self, while Valentine was sitting in the front row and was acknowledged by Stewart. Still, did he really need to arrive so early Saturday morning?

Said Valentine, “It was totally, totally worth it.”

Top image: Sarah Coulter/Paramount+

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Patrick Stewart of Star Trek (and Shakespeare) fame shared his wit and wisdom Saturday with attendees at the Glenn Miller Ballroom on the CU Boulder campus as part of national book tour.

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Reducing violence, with help from The Bard

Anonymous — Tue, 23 May 2023 16:55:16 +0000

Reducing violence, with help from The Bard Anonymous (not verified) Tue, 05/23/2023 - 10:55

Sarah Kuta

babyֱ��app Shakespeare Festival staffers share Shakespeare & Violence Prevention program with scholars and practitioners in England, including at Shakespeare’s Globe theatre

Scientists largely understand what contributes to violence in schools and communities—and how to stop it. But actually putting that research into practice can be challenging.

Live theater can help.

That was the message the babyֱ��app Shakespeare Festival’s Amanda Giguere and Heidi Schmidt shared with an array of Shakespeare scholars and practitioners during a weeklong outreach tour in England in early May.

During their trip across the pond—funded by grants from the Office for Outreach and Engagement and the Center for Humanities & the Arts—Giguere and Schmidt met with experts at Shakespeare's Globe, the Royal Shakespeare Company, the Shakespeare Institute and the Shakespeare Birthplace Trust.

They gave presentations on CU Boulder’s innovative Shakespeare & Violence Prevention program in hopes that other theater companies and related organizations might one day implement similar initiatives to help prevent bullying, mistreatment, self-harm and violence in schools.

Amanda Giguere (left) and Heidi Schmidt (right) outside Shakespeare’s Globe.

“We have the research, but the science alone is not enough,” says Giguere, the festival’s director of outreach. “We really need engaging, human-focused storytelling and art to solve the problem of violence.”

Becoming an ‘upstander’

Founded in 2011, the Shakespeare & Violence Prevention program aims to help students recognize harmful or potentially unsafe situations and take steps to intervene. This interdisciplinary initiative is a collaboration between the babyֱ��app Shakespeare Festival and the Center for the Study and Prevention of Violence.

Through the program, actors visit various babyֱ��app elementary, middle and high schools to perform abridged versions of Shakespeare plays. (During the most recent school year, they performed The Tempest and The Merchant of Venice, and next year they’ll be touring and presenting Romeo and Juliet and The Comedy of Errors.)

Afterward, the actors invite students to role-play moments of conflict or violence from the play and ask them to propose an alternative strategy to help reduce or prevent some of the harm.

“This is all rooted in the power and efficacy of the ‘upstander,’ also known as an ally or active bystander,” says Giguere. “It can be extremely effective when one person decides to take action if someone is being bullied or if they are aware of planned violence, rather than passively sitting by. Sometimes all it takes is one person to say, ‘Hey, that’s not cool,’ and usually the mistreatment stops right away.”

Giguere and Schmidt along with the staff of Globe Education.

To help conceptualize violence, researchers often use the metaphor of an iceberg. Although really big acts, such as school shootings, are the ones that make the news, they are just the tip of the iceberg, says Giguere. Those acts are typically rooted in a broader culture that tolerates and even perpetuates bullying, microaggressions and general mistreatment. The violence iceberg also includes self-harm and suicide.

In the long run, the program’s organizers hope that cultivating a robust community of upstanders among students will help reduce small acts of violence and, ultimately, will help foster more positive, supportive school climates. Together, those changes should, in turn, help prevent even larger, more devastating incidents in the future.

And just as rehearsing helps actors polish a performance, practicing can help students become more comfortable and familiar with an array of upstander strategies.

“We’re using Shakespeare’s plays to give the kids a fictional metaphor they can step into and practice their own upstander strategies,” says Giguere. “We practice so many things in this world that we want to get better at—we practice tying our shoes, we practice CPR, we practice active shooter drills. All of those things don’t come easily, and they take practice. The same goes for upstander behavior.”

Borrowing from The Bard

Shakespeare’s plays—particularly the tragedies and history plays—are brimming with conflict. And while the words may be more than 400 years old, the themes remain relevant today.

“Many of these stories are rooted in a lot of what still shapes violence today, which is deep pain, deep trauma, deep division, deep disconnection,” says Giguere. “As I’ve been investigating these plays over the years, I really do think Shakespeare was trying to figure out something about why humans are so violent with each other.”

His plays also contain multiple perspectives—sometimes even within the same character—which helps students think about the complexity and messiness of the human experience. People are not all bad or all good, but some mix of both.

Schmidt (left) and Giguere (right) seated inside Shakespeare’s Globe.

Role-playing also helps students develop empathy because it encourages them to step into a character’s shoes and consider the scene from their point of view, Giguere says. That’s a useful skill for responding calmly and compassionately during a heated moment, rather than reacting with additional anger or violence.

“Taking time to pause, take a breath, think about the world from another person’s perspective is one of the key building blocks of a safer community,” Giguere says.

The power of interdisciplinary collaboration

During the past 12 years, the program has reached 126,000 students across the Front Range, with a goal of spreading into other parts of the state in the near future. Collaborating with other university departments has been a major driver behind that success, says Giguere.

In addition to drawing on evidence-based research from the Center for the Study and Prevention of Violence, the program has collaborated with numerous other partners, including the Office of Institutional Equity and Compliance, the School of Education and the Department of Theatre & Dance.

As the program has demonstrated, bringing together experts from across campus—then sharing that combined knowledge with the public—can produce powerful results.

“Synthesis of knowledge across disciplines and fields is one way that such knowledge becomes more meaningful and more connected to social practice and everyday life,” says David Meens, director of the Office for Outreach and Engagement.

To learn more or support the Shakespeare & Violence Prevention program, follow this link.

babyֱ��app Shakespeare Festival staffers share Shakespeare & Violence Prevention program with scholars and practitioners in England, including at Shakespeare’s Globe theatre.

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The Bard in your backyard: Shakespeare covers babyֱ��app

Anonymous — Wed, 20 Feb 2019 17:40:54 +0000

The Bard in your backyard: Shakespeare covers babyֱ��app Anonymous (not verified) Wed, 02/20/2019 - 10:40

The babyֱ��app Shakespeare Festival plans to bring live Shakespeare to every county in the state by 2028, reaching an estimated 180,000 audience members.

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CSF stages fresh, funny ‘Rosencrantz & Guildenstern Are Dead’

Anonymous — Thu, 06 Jul 2017 18:16:25 +0000

CSF stages fresh, funny ‘Rosencrantz & Guildenstern Are Dead’ Anonymous (not verified) Thu, 07/06/2017 - 12:16

Tom Stoppard’s classic play turns ‘Hamlet’ inside out

The babyֱ��app Shakespeare Festival’s 60th season continues with “Rosencrantz & Guildenstern Are Dead,” a critically acclaimed 1966 play by Tom Stoppard. CSF’s producing artistic director Timothy Orr directs the production.

In this hilarious and mind-bending comedy by the Oscar-winning screenwriter of "Shakespeare in Love," "Hamlet" is brilliantly retold through the eyes of two minor characters. Rosencrantz and Guildenstern, two bewildered schoolmates sent to pull the Danish royal out of a descent into madness, grapple with fate, free will and the game of life.

In a unique twist, CSF will present “Rosencrantz & Guildenstern Are Dead” in repertory with “Hamlet” on the indoor University Theatre stage. The sets complement each other well, and the two plays share one cast, with each actor playing the same role in both productions.

Michael Bouchard.

“The feeling we're going for is that ‘Hamlet’ is happening just on the other side of the curtain, just around the corner,” Orr says. “I thought it would be a fascinating artistic journey not only for the actors but also for the audiences who will see both plays.”

The “Rosencrantz & Guildenstern” set, Orr explains, transports the audience to a backstage-like area where the title characters while away the hours flipping coins and playing cards as the events of Shakespeare’s “Hamlet” unfold in shadows behind a large cyclorama.

But for all its “Hamlet” references, Stoppard’s play is a very different animal. The language will feel more familiar to a contemporary audience, and the play is more comedy than tragedy. The pair of title characters, played by beloved babyֱ��app clowns Sean Scrutchins and Michael Bouchard, delivers an endless supply of intelligent banter and “Who’s on first?”-style routines reminiscent of Abbott and Costello or Martin and Lewis.

Sean Scrutchins.

“When you plop this humor into the context of something as heavy and serious as ‘Hamlet,’ it can be just ridiculous fun,” Orr says. “At the same time, it’s very chilling, since the title of the play gives away exactly what’s going to happen to the characters.”

Orr says designing this play alongside “Hamlet” director Carolyn Howarth was like “playing a game of three-dimensional chess.” They’ve both had to consider each other’s plays to make sure the two work together in repertory. Props must be strategically placed for the sake of continuity, and each cast member must treat every exit like an entrance to someplace else.

“We’re trying to put little Easter eggs into each other’s plays for audiences who will see both of them,” Orr says. “We want people to think, ‘If I could just lean over far enough, I could catch the other play.’”

While a fresh viewing of Shakespeare’s masterpiece heightens the humor in “Rosencrantz & Guildenstern,” Orr assures audiences that they need not know “Hamlet” or Shakespeare to enjoy the witty wordplay and hilarious misunderstandings in this production.

“At its heart,” he says, “it's a story about two ordinary guys trying their best to navigate through life, just like the rest of us.”

“Rosencrantz & Guildenstern Are Dead” opens Saturday, July 22, with an audience preview on Friday, July 21, and runs through Aug. 13. Tickets start at $20, and limited quantities remain. Buy them online at coloradoshakes.org, over the phone at 303-492-8008 or in person at the CU Presents box office, 972 Broadway, Boulder. The box office is open from 10 a.m. to 5 p.m. Monday through Friday and is located in the University Club building on the CU Boulder campus.

The babyֱ��app Shakespeare Festival’s 60th season continues with “Rosencrantz & Guildenstern Are Dead,” a critically-acclaimed 1966 play by Tom Stoppard. CSF’s producing artistic director Timothy Orr directs the production.

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Classicist tutors Julius Caesar actors on the potent rhetoric of Rome

Anonymous — Sun, 25 Jun 2017 17:16:59 +0000

Classicist tutors Julius Caesar actors on the potent rhetoric of Rome Anonymous (not verified) Sun, 06/25/2017 - 11:16

Clint Talbott

babyֱ��app Shakespeare Festival director sought help to facilitate ‘one of the most amazing forms of communications in theatre’

Tyler Lansford is transforming the death of Julius Caesar into new life for Roman rhetoric. Audiences attending this summer’s babyֱ��app Shakespeare Festival will see, hear and feel the resurrection.

Lansford, who teaches Latin and Greek literature in the University of babyֱ��app Boulder Department of Classics, is coaching Julius Caesar actors on rhetoric.

Tyler Lansford, left, works with Director Anthony Powell in the babyֱ��app Shakespeare Festival's 2017 production of Julius Caesar. At top of the page, Lansford discusses rhetorical devices with members of the cast. Photos by Heidi Schmidt.

Lansford and the Shakespeare festival have teamed up on the belief that helping actors more fully understand classic rhetoric might help them better convey the full meaning of the play and of its subject. So Lansford shows actors what rhetoric is—and is not.

And rhetoric is not a dirty word.

Classic rhetorical devices enrich masterpieces from the Iliad to the Gettysburg Address. Nonetheless, Lansford notes, “rhetoric has declined from a cornerstone of liberal education to a dismissive epithet for misleading or bombastic speech.”

Rhetoric is a rich and rewarding art, categorized like a science. But few playgoers have the background to catch, on the fly, “any but the most obvious instances of antithesis, anaphora or conduplicatio,” Lansford states.

Don’t be fazed by the Greek terminology. Anaphora, for instance, is the repetition of a word at the beginning of successive phrases, clauses or sentences. Brutus’ speech at Caesar’s funeral features this device:

“As Caesar loved me, I weep for him.
As he was fortunate, I rejoice at it.
As he was valiant, I honor him.
But, as he was ambitious, I slew him.”

That is just one of many rhetorical devices the play employs. And the primacy of rhetoric is why Anthony Powell, director of the CSF’s 2017 production of Julius Caesar, sought Lansford’s help.

Many actors, particularly younger actors, must perform the elegant rhetoric onstage, but can be “dazzled by the sheer profusion of ornamental flourishes with which virtually every line flashes and gleams,” Lansford states.

“We know that the principal method of publication in the ancient world was oral performance – everything from the Iliad and the Odyssey to Livy’s history of Rome was composed for the ear,” Lansford says. “The difficulty is that we don’t have any native speakers of ancient Greek or Latin, so our ability to re-create the performance aspect of classical literature is severely limited.”

The play demonstrates the power of rhetoric, which Cassius uses to persuade Brutus of the need to kill Caesar. Such rhetoric is “part of the action of the play, not just in the background of the language,” Lansford says.

I am excited by the idea of reviving that aspect of the classical tradition – even if indirectly – by helping actors realize the expressive potential of classical rhetoric in Shakespeare."

Powell first read Julius Caesar in high school, and understood it included grand rhetoric. He comprehended this more fully after reading Rome and Rhetoric: Shakespeare’s Julius Caesar, a 2011 book by Pulitzer-winning historian Garry Wills.

So how will a babyֱ��app Shakespeare Festival audience benefit from the actors’ coaching in rhetoric?

“When the actor is really operating on all cylinders and has a lot going on in their head, an audience won’t necessarily know what they’re seeing or what the actor is actually doing,” Powell observes. “But they know something is going on, and they lean forward in their seats.”

“It’s one of the most amazing forms of communications in theatre, to me.”

Lansford concurs, noting that trained actors like those in CSF will deliver lines expressively even without knowing all the components thrumming under Shakespeare’s hood. Still, when actors understand the “tricks and tropes” of the play, they gain the “tools to work with it in a more creative way, a more expressive way.”

Because Latin and ancient Greek are no longer spoken languages, “that glorious rhetoric produced by Cicero or Demosthenes remains inaccessible in a basic way. We will never hear a Greek or a Roman speech spoken again, and there are some remarkable reports of the effect that a speaker like Cicero could have on crowds, the electrifying effect he could have on crowds.”

“It’s almost as if he knew how to go straight for the central nervous system,” Lansford says, adding:

“I am excited by the idea of reviving that aspect of the classical tradition – even if indirectly – by helping actors realize the expressive potential of classical rhetoric in Shakespeare.”

And he observes: “I think rhetoric has fallen on hard times. It’s identified with deceptive speech, and that’s a sad comedown for a noble art.”

The babyֱ��app Shakespeare Festival’s 2017 production of Julius Caesar runs from July 7 through Aug. 12 at the Mary Ripon Theater on the CU Boulder campus. For tickets or information, click here.

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CSF’s ‘Julius Caesar’ is both timeless and timely

Anonymous — Tue, 20 Jun 2017 21:50:07 +0000

CSF’s ‘Julius Caesar’ is both timeless and timely Anonymous (not verified) Tue, 06/20/2017 - 15:50

Shakespeare’s political thriller ‘moves like a house on fire’

Yes, there will be togas. No, it won’t be boring.

The babyֱ��app Shakespeare Festival’s 60th season continues with an homage to the plays performed during its first-ever summer in 1958, including a production of “Julius Caesar” set in classical Rome. But while the setting evokes ancient history, Director Anthony Powell assures audiences that this play is anything but.

“I don’t think Shakespeare needs to be done in tights or togas, but it makes a strong statement about how timeless his themes are,” Powell says. “You can set it in Rome, you can set it on the moon. It doesn’t matter. As long as we do our job right, the audience will make connections between then and now.”

Robert Sicular performs in the title role of "Julius Caesar."

Seemingly benevolent leaders. Jealous critics. Powerful men who ignore bad omens. Lies, scheming and scandal. These are the themes in “Julius Caesar,” the spellbinding political thriller whose characters felt as real and relevant 400 years ago as they did a century ago, a generation ago—and today.

What makes the play so timeless isn’t just its political commentary. It’s also the characters—all of them complicated, heartbreaking and fallible.

“You think of it as a big epic play, but it’s really a chamber piece,” Powell says. “It’s an intimate drama about these very complex, very troubled people who see the writing on the wall and blithely walk into the fire anyway. We’ve all done that. I’m always leaping before I look, and it generally gets me in trouble.”

“Julius Caesar” grabbed hold of Powell in high school and never let go. He remembers feeling awestruck when his history teacher dropped the needle on an LP recording of the play with Peter Finch and Patrick Wymark.

“They talked so fast,” he says. “I don’t know if it was an artistic choice or it was just to save money, but it moved like a house on fire, just at a breakneck pace, and it got me hooked. I want this production to emphasize how quickly things get wildly out of control.”

Actor Robert Sicular has played Mark Antony and Marcus Brutus in other productions of “Julius Caesar,” but this will be his first turn as the title character. He’s done extensive research on Roman history over the years and can’t wait for this new challenge.

“This guy might be the most famous person who ever lived,” Sicular says. “Caesar made himself divine. He talked about himself in the third person, and he didn’t make comments so much as pronouncements. But Shakespeare has this uncanny way of finding the humanity in him.”

It’s a classic Shakespearean move to turn larger-than-life historical figures into jealous lovers, insecure leaders and conflicted mothers and fathers—people in whom we can see ourselves, togas or no togas.

“He wrote this thing 400 years ago about something that happened 2,000 years ago, but we’re still performing it,” Sicular says, “because the same stuff is still going on.”

“Julius Caesar” opens Saturday, July 8, with an audience preview on Friday, July 7, and runs through Aug. 12. Tickets start at $20. Buy them online at coloradoshakes.org, over the phone at 303-492-8008 or in person at the CU Presents box office, 972 Broadway, Boulder. The box office is open from 10 a.m. to 5 p.m. Monday through Friday and is located in the University Club building on the CU Boulder campus.

Yes, there will be togas. No, it won’t be boring. The babyֱ��app Shakespeare Festival’s 60th season continues with an homage to the plays performed during its first-ever summer in 1958, including a production of “Julius Caesar” set in classical Rome. But while the setting evokes ancient history, Director Anthony Powell assures audiences that this play is anything but.

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Bardfest shakes up a Shakespearean masterpiece

Anonymous — Wed, 14 Jun 2017 00:50:12 +0000

Bardfest shakes up a Shakespearean masterpiece Anonymous (not verified) Tue, 06/13/2017 - 18:50

The babyֱ��app Shakespeare Festival’s 60th season is all about revisiting the same plays staged in its very first summer: “The Taming of the Shrew,” “Hamlet” and “Julius Caesar.” But no one said a reboot had to be predictable.

This summer’s “Hamlet,” opening June 23 and running through Aug. 13, will be the ninth production in CSF history—but it’ll be the first to be staged indoors with a woman in the title role.

Why cast a woman as Hamlet? Director Carolyn Howarth prefers to ask, why not a woman?

“Women have been playing Hamlet for hundreds of years, so this isn’t anything new,” she says. “I’ve seen dozens of men play the role gorgeously and I will again. I just really felt like giving this character a slightly different perspective and seeing what new revelations that would bring.”

Lenne Klingaman (Hamlet) and Rodney Lizcano (Polonius) rehearse one of the great play's classic scenes. Photo by Jennifer Koskinen

Female Hamlets date back to the early 1700s, when Charlotte Charke made a name for herself wearing pants both on the stage and off. The Victorians, who saw Hamlet as passive, pensive and effeminate, fully embraced the idea. And in the 20th century, the likes of Sarah Bernhardt, Asta Nielsen and Frances de la Tour made headlines and big statements with their unique portrayals of the Danish prince.

CSF’s 21st-century contribution is Lenne Klingaman, who has been seen at the festival in “Measure for Measure” and “The Fantasticks.” Locals may also have seen her at the Denver Center in “Appoggiatura” and as Juliet in that other Shakespeare classic.

Howarth says she got the inspiration to cast a woman while watching the Olympic Games last summer.

“I was mesmerized by the fencers,” she says. “One day I turned on the TV after the fencing had started, and I didn’t know whether the fencers were men or women. They have such similar vocabularies of movement, and I thought that was really interesting.”

In Howarth’s mind, good fight skills are good fight skills—so she had no qualms casting two women to act out the iconic Hamlet-Laertes duel scene. She’s confident Klingaman, a taekwondo black belt, and Ava Kostia, an experienced fight specialist, can do the scene justice.

“Female actresses aren’t given that much opportunity to do fight scenes, even though they’re trained for it in school,” Howarth says. “This will be Lenne’s first opportunity to show off those skills in a major role.”

In many ways, Howarth’s production looks toward the past as much as it does the future. Shakespeare noted in the script that “Hamlet” takes place just before the holidays, so Howarth opted for a snow-covered set inspired by Denmark’s eerie Troll Forest. The costumes look sleek and Edwardian, as if in a nod to the era when Sarah Bernhardt committed Hamlet to film for the first time.

Genders, fights and costumes aside, Howarth believes the heart of “Hamlet” lies in its lead character’s relatability. Whether you’re a man or a woman, you’ve probably felt the love, grief, betrayal and blinding rage Hamlet feels at some point in your life.

“Like Hamlet, we’ve all been sad, we’ve all been confused, we’ve all made crude jokes, regardless of gender,” she says. “Ultimately, what I’ve discovered with this play is that people are people.”

“Hamlet” opens Saturday, June 24, with an audience preview on Friday, June 23, and runs through Aug. 13. Tickets start at $20. Buy them online at coloradoshakes.org, over the phone at 303-492-8008 or in person at the CU Presents box office, 972 Broadway, Boulder. The box office is open from 10 a.m. to 5 p.m. Monday through Friday and is located in the University Club building on the CU Boulder campus.

This summer’s “Hamlet,” opening June 23 and running through Aug. 13, will be the ninth production in CSF history—but it’ll be the first to be staged indoors with a woman in the title role.

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CSF’s 60th season opens with ‘The Taming of the Shrew’

Anonymous — Mon, 05 Jun 2017 21:50:29 +0000

CSF’s 60th season opens with ‘The Taming of the Shrew’ Anonymous (not verified) Mon, 06/05/2017 - 15:50

The babyֱ��app Shakespeare Festival is set to kick off its landmark 60th season in style with a swing-era production of “The Taming of the Shrew”—the same play that opened CSF’s very first festival in 1958.

CSF reimagines Shakespeare’s zany comedy by setting it in New York City just after World War II. Kate, a plucky pilot who’s just returned from the war, meets her stubborn match, Petruchio, on the vibrant streets of Little Italy. As the two duke it out in a battle of wits and dance the night away, they discover, against all odds, a mutual respect that’s almost like being in love.

“Shrew” director Christopher DuVal, a longtime fight director and Oregon Shakespeare Festival veteran, wanted to set the play in the 1940s to explore that era’s “radical break in gender roles.” During the war, women everywhere kept the economy running by stepping into men’s jobs … and when the war was over, many refused to return to their subservient lives.

“In our play, Kate was a Women Airforce Service Pilot within the war effort, and she has since come back home to find there are limited options,” DuVal says. “Her father expects her to settle down and get married, but Kate sees herself as a rightful and very deserving equal of men.”

DuVal emphasizes that CSF’s production isn’t about a man who tames a woman. It’s about two people who learn about themselves and about each other as they fall in love.

“Petruchio is as tamed by Kate as she is tamed by him,” DuVal says. “They find out that they complement each other deeper than they ever thought possible.”

Both of this production’s leads, Shelly Gaza and Scott Coopwood, have played Kate and Petruchio before in other parts of the country. Now that they’re a little bit older and a little bit wiser, they’re excited to bring more complexity and life experience to these characters.

In the 12 years since she last played Kate at the Utah Shakespeare Festival, Gaza says, “my concept of being a good partner and spouse has completely evolved. I think relationships are about give and take, and that’s true for Kate and Petruchio, too: The journey is not about taming Kate, it’s about Kate and Petruchio both learning to become good people for each other.”

Coopwood likes Petruchio’s wit, charm and bravado, and he’s excited to see how those characteristics look on an older, wiser protagonist—one who’s been hardened by years of searching for a soulmate.

“Kate and Petruchio challenge each other, and that’s what they’ve been lacking in other relationships,” he says. “They have to get over the thought that, ‘Well, this has never worked before.’ But they’re absolutely meant for each other and they do legitimately fall in love.”

While he loves the comic relief, Coopwood says he’s itching to delve into the play’s elements of romance and self-discovery—something he didn’t get to do the first time he played Petruchio a decade ago.

“I come across as a pretty intimidating person, but I have a gooey chocolate center,” he says. “Coming at it 10 years later, I want more of the heart.”

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Bard fest hosts reading of ‘translated’ ‘Henry VI’ plays

Anonymous — Mon, 31 Oct 2016 20:55:53 +0000

Bard fest hosts reading of ‘translated’ ‘Henry VI’ plays Anonymous (not verified) Mon, 10/31/2016 - 14:55

Clay Bonnyman Evans

‘Play On!’ project seeks to improve accessibility for the modern ear, and babyֱ��app Shakespeare Festival is on board: 'We’re not saying, ‘Yo, dude!’ or anything.'

In 2015, the oldest Shakespeare festival in the United States announced that it would commission 36 playwrights, including many women and writers of color, to “translate” 39 plays into “contemporary modern English.”

Intended to “bring fresh voices and perspective to the rigorous work of” translation, the Oregon Shakespeare Festival’s “Play On!” project sparked instant, heated controversy and debate among Shakespeare aficionados.

Geoffrey Kent leads a table reading of Douglas Langworthy's translation of Henry VI, Part 2. Photo by Jackson Xia for CU Presents.

“Some think it’s sacrilegious,” says Timothy Orr, producing artistic director at the babyֱ��app Shakespeare Festival, America’s second-oldest of its kind. “Others, like myself, have said, ‘Let’s not judge an artistic endeavor until it’s been attempted.’ If we held (Shakespeare) too holy and sacred, then we wouldn’t have ‘West Side Story.’”

According to the Oregon Shakespeare Festival, “Each playwright is being asked to put the same pressure and rigor of language as Shakespeare did on his, keeping in mind meter, rhythm, metaphor, image, rhyme, rhetoric and emotional content. Our hope is to have 39 unique side-by-side companion translations of Shakespeare’s plays that are both performable and extremely useful reference texts for both classrooms and productions.”

CSF got in on the act in late October when it hosted a table reading of babyֱ��app playwright Douglas Langworthy’s new “translation” of two plays, “Henry VI,” parts 2 and 3, directed by veteran festival actor and director Geoffrey Kent. The reading was held on the CU Boulder campus.

“Some think it’s sacrilegious. Others, like myself, have said, ‘Let’s not judge an artistic endeavor until it’s been attempted.’ If we held (Shakespeare) too holy and sacred, then we wouldn’t have ‘West Side Story.’”

Kent and Langworthy approached CSF to host the reading — entirely paid for by the Oregon Shakespeare Festival — after working together on the reading of the playwright’s translation of “Henry VI, Part 1” at the Denver Center for the Performing Arts earlier this year.

“Doug’s got a pretty light touch, so it still sounds like Shakespeare. We’re not saying, ‘Yo, dude!’ or anything,” Kent says. “I really think the goal is to create scripts that are a little less legwork for the actor and a little more accessible to the modern ear.”

Actor Kelsey Didion at a table reading of Douglas Langworthy's translation of Henry VI, Part 2. Jackson Xia for CU Presents.

“To be honest,” Orr says, “many Shakespeare productions today are making small nips and tucks to the script, to make it more accessible and understandable. Occasionally words are replaced to help with understanding.”

CSF’s reading featured 10 members of Equity, the professional actors’ union, including two CU Boulder theater professors, Chip Person and Kevin Rich, and four non-Equity actors. Two CU Boulder undergraduate theater majors, Kristopher Buxton and Hannelore Rolfing, rounded out the cast.

Participating in “Play On!” is just the latest Shakespearean accomplishment at CU Boulder. The reading coincided with the unveiling of the lineup for next summer’s 60^thseason, when CSF will become one of the few companies in North America to perform Shakespeare’s complete canon two times.

In addition, the festival was instrumental in bringing to CU a prestigious exhibit of Shakespeare’s First Folio this fall, and next year CU Boulder will launch its first Shakespeare studies degree program.

Rebounding after several years of financial challenges and deficit spending, CSF ticket sales have exceeded projections every year since 2011, including this season. Orr says the organization projects that it will finish in the black for a fourth consecutive season after its fiscal year ends on Dec. 31.

In 2015, the oldest Shakespeare festival in the United States announced that it would commission 36 playwrights to “translate” 39 plays into “contemporary modern English.” The Oregon Shakespeare Festival’s “Play On!” project sparked instant, heated controversy and debate among Shakespeare aficionados. Now, the babyֱ��app Shakespeare Festival has hosted a reading of two "translated" plays.

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babyֱ��app Shakespeare Festival announces its 60th season

Anonymous — Mon, 31 Oct 2016 20:53:52 +0000

babyֱ��app Shakespeare Festival announces its 60th season Anonymous (not verified) Mon, 10/31/2016 - 14:53

CSF nods to the past and looks toward the future June 11-Aug. 13, 2017

Next summer, the babyֱ��app Shakespeare Festival celebrates its 60th season with performances of the plays that started it all.

In a nod to the past, CSF’s Summer 2017 lineup will remount the plays audiences saw in its original 1958 season: The Taming of the Shrew, a laugh-out-loud audience favorite; Julius Caesar, a classic political thriller; and Hamlet, Shakespeare’s undisputed masterpiece.

The season also includes Tom Stoppard’s fresh, funny Rosencrantz and Guildenstern Are Dead, which retells Hamlet from the perspective of two minor characters, and two exclusive Original Practices performances of the rarely seen Henry VI, Part 3. At the end of the summer, CSF will have completed the Shakespeare canon for a second time.

“This particular season has been three years in the making,” says CSF Producing Artistic Director Timothy Orr. “Revisiting the original season of the babyֱ��app Shakespeare Festival is not only a great way to look back across 60 incredible years of Shakespeare in Boulder, but it’s also a fantastic way to embark on the next 60 years.”

The 2017 season opens Sunday, June 11 and runs through Aug. 13. Season tickets are available beginning Oct. 31, 2016 at 10 a.m. online at coloradoshakes.org, over the phone at 303-492-8008 and in person at the CU Presents box office, 972 Broadway, Boulder. The box office is open from 10 a.m. to 5 p.m. Monday through Friday and is located in the University Club building on the CU Boulder campus.

The 2017 season will feature several notable milestones:

Each cast member of Rosencrantz and Guildenstern are Dead and Hamlet will play the same role in both productions. Audiences who want to compare and contrast the two plays will have a few chances to see both productions in the same day on the indoor stage.
Next summer’s production of Hamlet will be CSF’s ninth since 1958, but it will be the first production mounted indoors on the University Theatre stage. Says Orr, “We want to see this piece done close, in an intimate space, as the riveting chamber piece it was intended to be.”
Henry VI, Part 3 was last produced at CSF in 1969. After the 2017 performance, CSF will have completed the 37-play canon of Shakespeare’s work for a second time.
Next summer features the CSF directing debuts of Christopher DuVal and Anthony Powell. DuVal is a 16-year veteran of the Oregon Shakespeare Festival, an experienced fight choreographer and an assistant professor at the University of Utah; Powell, a well-known babyֱ��app creative mind, is the artistic director of the Boulder-based Stories on Stage and has directed productions at the Denver Center for the Performing Arts.

babyֱ��app Shakespeare Festival 2017 Season

The Taming of the Shrew
Directed by Christopher DuVal
“Sit by my side, and let the world slip: we shall ne'er be younger.”
CSF kicks off its 60th season with a zany comedy set in swinging 1940s New York City. Enter Kate, a plucky pilot who’s just returned from the fray of World War II, and her stubborn match, Petruchio. On the vibrant streets of Little Italy, the two duke it out in a battle of wits, dance the night away and discover, against all odds, a mutual respect that’s almost like being in love.
June 11-Aug. 13 | Tickets start at $20

Hamlet
Directed by Carolyn Howarth
“This above all: to thine own self be true.”
Shakespeare’s masterpiece, often considered the greatest play in the English language, returns for CSF’s 60th season. When Hamlet’s world is ripped apart by his father’s sudden death and his mother’s hasty remarriage, the young prince’s mind wrestles with his heart in a tormented quest to uncover the truth. Staged for the first time inside the intimate University Theatre, this is Hamlet as you’ve never seen it before.
June 23-Aug. 13 | Tickets start at $20

Julius Caesar
Directed by Anthony Powell
“The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings…”
What makes a true leader? In the republic of ancient Rome, no one seems to know. As Rome’s leader basks in his victory and ignores a series of bad omens, jealous critics conspire to topple his regime—only to find later that their efforts were for naught. Lies, scheming and scandal meet in a spellbinding political thriller that seems all too familiar in today’s polarized times.
July 7-Aug. 12 | Tickets start at $20

Rosencrantz and Guildenstern Are Dead
By Tom Stoppard
Directed by Timothy Orr
“Look on every exit as being an entrance somewhere else.”
In this hilarious and mind-bending comedy by the Oscar-winning screenwriter of Shakespeare in Love, Hamlet is brilliantly retold through the eyes of two minor characters. Rosencrantz and Guildenstern, two bewildered schoolmates sent to pull Prince Hamlet out of his descent into madness, grapple with fate, free will and the game of life. CSF’s production brings its full Hamlet cast on stage to inhabit Stoppard’s ingenious parallel universe of wit and wisdom.
July 21-Aug. 13 | Tickets start at $20

Henry VI, Part 3
“Fearless minds climb soonest unto crowns.”
Summer 2017’s hottest ticket is Henry VI, Part 3, the latest of CSF’s widely hailed “Original Practices” productions in the iconic Mary Rippon Outdoor Theatre. With two performances of the final play in Shakespeare’s razor-sharp War of the Roses chronicle, which also inspired the hit series Game of Thrones, CSF is set to complete the Shakespeare canon for a second time. All previous “OP” shows sold out months in advance—don’t miss it!
Aug. 6 and 8 | Tickets start at $20

In a nod to the past, CSF’s Summer 2017 lineup will remount the plays audiences saw in its original 1958 season: The Taming of the Shrew, a laugh-out-loud audience favorite; Julius Caesar, a classic political thriller; and Hamlet, Shakespeare’s undisputed masterpiece.

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