Richard II - EncoreArtsSeattle.com

Transcription

Jan. 8–Feb. 2, 2014
By William Shakespeare | Directed by Rosa Joshi
Much Ado About Nothing
Richard II
Oct. 23–Nov. 17, 2013
Jan. 8–Feb. 2, 2014
at Center Theatre at Seattle Center
The Importance of
Being Earnest
Mar. 19–Apr. 13, 2014
www.seattleshakespeare.org
King Lear
Apr. 24–May 11, 2014
at Cornish Playhouse at Seattle Center
UW MEDICINE
|
S TOR I E S
AN INJURY.
A PARTNERSHIP.
ANOTHER SUMMIT.
I
WAS IN REMOTE Patagonia, about to make the
climb of my life, but an injured disc in my back
was flaring up again. I needed help. Dr. Krabak
consulted by email, helping me find safe medications
to get the pain under control. Even in that remote part
of the world, he was there for me.
When I injured my back about five years ago, Dr. Krabak
(UW Physician, UW Medical Center) is the reason it
didn’t end my career. As a professional climber, there’s
rarely a time when I can rest and let myself heal. And
because I’m always traveling, regular appointments are
nearly impossible. Dr. Krabak understands athletes like
me. So he works around my unmanageable schedule
and puts his experience to work finding safe and
effective ways for me to manage the pain and still
pursue my passion.
I think of him as my partner as much as my doctor. He’s
there for me when I need him, to keep me climbing for
as long as I can.
READ KATE’S ENTIRE STORY AT
uwmedicine.org/stories
U W M E D I C I N E . ORG
E N C O R E A RT S N E W S January-February 2014
Volume 10, No. 4
F RO M C I T Y A RT S M AG A Z I N E
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I Think We’re
Alone Now
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Events Coordinator
www.cityartsonline.com
Paul Heppner
President
“Audiences squeeze in to get a glimpse of Anna
Goren performing in the tiny upstairs bathroom. She
uses a loop pedal, her rich voice, poetry and ukelele to
represent the feeling of being alone in a bathroom during the hours when everyone else is asleep. In Heart
Content, this room represents an escape from the
elaborate architecture of the rest of the home and
reminds the audience of cycles, daily routines and the
beauty of a woman’s voice in the shower.”
Mike Hathaway
Vice President
Erin Johnston
Communications Manager
Genay Genereux
Accounting
Encore Arts Programs is published monthly by Encore Media
Group to serve musical and theatrical events in Western
Washington and the San Francisco Bay Area. All rights reserved.
©2014 Encore Media Group. Reproduction
without written permission is prohibited.
—Elana Jacobs, artistic director of CabinFever, a company
that weaves dance, music, art and theatre into site-specific
performances. CabinFever performed Heart Content in
November at the historic Stimson-Green Mansion on First Hill.
MIGUEL EDWARDS
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CONTENTS
Jan. 8–Feb. 2, 2014
Richard II
By William Shakespeare
Directed by Rosa Joshi
Much Ado About Nothing
Oct. 23–Nov. 17, 2013
Richard II
Jan. 8–Feb. 2, 2014
The Importance of
Being Earnest
Mar. 19–Apr. 13, 2014
A1
King Lear
Apr. 24–May 11, 2014
at Cornish Playhouse at Seattle Center
ES044 covers.indd 1
12/19/13 3:32 PM
E N C O R E A RT S N E W S THINK BIG
Waterfront Gets $1 Million for Art
Amid the chaos, construction and traffic
brought on by Seattle’s massive Waterfront
redesign, it’s hard to imagine the far-off
finished product as a thing of beauty.
But buried within this Herculean civic
undertaking that both replaces the Elliott
Bay Seawall and demolishes the Alaskan
Way Viaduct, a thing of beauty already
awaits: $1 million set aside for public art.
“We’re putting it out there to the world and
waiting to see what comes back,” says Randy
Engstrom, director of the Office of Arts &
Cultural Affairs. In October, Engstrom’s
office officially requested proposals for the
Public Piers project, a slice of the overall
redesign that will place a “major integrated
artwork” on Union Street Pier or Pier 62/63.
“We want to really challenge the arts
community to come up with something
great,” Engstrom says.
A “major integrated artwork” is a
nebulous concept. What could it look
like? Engstrom points to the colossal
redevelopment of Chicago’s Millennium
4 ENCORE STAGES
F RO M C I T Y A RT S M A G A Z I N E
Park as an example—not just as an aesthetic
success, but also as an economic engine.
“It took Chicago from being number 38
in tourist visits to number one the year it
opened,” he says. “And Cloud Gate [aka the
Bean] saw three million visitors in its first
six months. The art in that park defines the
park. We hope the call at Pier 62/63 produces
that sort of visionary hallmark.”
The deadline to submit proposals was
Dec. 19, when a panel of artists, peers and
community members started the selection
process. In February 2014, the chosen artist
(or team) will begin collaborating with
James Corner Field Operations, the design
firm spearheading the overall waterfront
redesign.
Local news outlets have reported public
dismay at the art project’s million-dollar
price tag, but Engstom explains that the
numbers can be misleading. “It’s not like we
write an artist a million-dollar check and
then the next day a piece of art shows up,”
he says. “Really, only about 15 to 20 percent
of that budget is going to the artists’ design
fees.” The rest of it, he says, is for things like
fabrication, engineering and installation,
which create jobs in the local economy.
More importantly, Engstrom explains,
the Public Piers money was earmarked
by Seattle’s percentage-for-art program, a
40-year-old city ordinance which dictates
that one percent of the city’s Capital
Improvement Program funds goes to public
art. Seattle was one of the first cities to adopt
such a program, and has since funded more
than 380 permanent works, including Isamu
Noguchi’s invitingly clamber-able Black
Sun in Volunteer Park, Richard Beyer’s oftdecorated People Waiting for the Interurban
in Fremont and Jack Mackie’s Dancers’
Series: Steps, which trips up and down
Broadway on Capitol Hill. The winner of the
Public Piers project will be a major addition
to that list of active, engaging works, and
Engstrom is a ready evangelist. “We have a
really vibrant creative and cultural sector in
Puget Sound, which makes this a great place
to live,” he says. “Public art is a big part of
that.” GEMMA WILSON
EXQUISITE CORPSE CINEMA
Six Directors Join Cinematic Forces
MARCH 5 – 22, 2014
AW
By WENDY WASSERSTEIN
Directed by PEGGY GANNON
206-938-0339 www.ArtsWest.org
4711 CALIFORNIA AVE. SW, SEATTLE, WA 98116
SEASON
SPONSORS
PERSONAL SAFETY NETS©
www.personalsafetynets.com
PROGRAM
SPONSOR
Haegue Yang. Towers on String —Variant Dispersed [installation view]. 2012–2013. Aluminum Venetian blinds, aluminum hanging
structure, powder-coating, and steel wire. Courtesy of the artist and Greene Naftali, New York. Photo credit: R.J. Sánchez.
Film narratives often slide from the ridiculous
to the sublime, but it takes a special kind of
storytelling to make a movie about grifters, yoga
devotees, drug dealers, gruesome murders, a
Dougie dance session, a tender love story and the
musical stylings of BOTH Warren G and Kenny G.
In the case of Every Day Is a Journey, it also took
six directors and a lot of goodwill.
“We called in a lot of favors,” says Justin Freet,
the mastermind behind the “synergistic cinema”
concept of EDIAJ and the director of its first
episode, “The Inner Octopus.” Freet conceived of
the project as an audience-builder for the Seattle
film festival Rawstock, which he co-founded
with Dylan Noebels and Will Russell in 2005. In
2011, when Rawstock had a contract with ACT
Theatre, they’d pre-scheduled six screenings and
needed an audience.
“I was thinking, how are we going to get
people to come to six of these events?” says Freet.
“We have great short films from all over, but we
needed a real hook.” He started toying with the
idea of telling a serialized story in six episodes,
and airing a new one at each screening. “I
wanted people to say, in two months I have to
come back and see what happens next.”
Freet began calling filmmaker friends with
Rawstock connections: Nik Perleros, W.T.
Russell, Christian Palmer, Jason Reid and Ian
Connors. “I thought it would be really cool if I
jumpstarted it and then said, guys, you can do
whatever you want,” he says. “You have to take
up the story threads from the previous episodes
and see what happens.” Would it be a train
wreck or would it somehow fall into place?
Ultimately, it was a little bit of both. Freet
introduced a set of characters and a simple
story of low-level con men, and the snowballing
began. Episode two took an absurdist left turn,
episode three killed off a main character, episode
four opened the tap wide on a heartbreaking
love story. Episode five went scorched-earth on
the whole story, and episode six was left to pick
up the pieces and make audiences care again.
A full-length film was never anyone’s endgame,
but it turns out that, viewed as a whole, EDIAJ is
bizarre and completely unpredictable.
Because of the project’s nonexistent budget,
cast and crew did double duty. Russell also plays
yoga teacher cliché Sullivan Burke; Freet ended
up playing a hitman named Freakshow after
an actor flaked on him. Local actors like Susan
Perleros, Dylan Noebels and John Hildenbiddle
contributed their talents, but the performance
by Nate Quiroga (formerly of local rap group Mad
Rad, now part of indie rock band Iska Dhaaf)
became the heartbeat of the film.
Due to issues with music rights (and the
headache of negotiating with a massive creative
team), EDIAJ could never be released for profit.
Beginning in December, the episodes were
released on YouTube for free, concluding with
the entire 99-minute film. Each episode is a
stand-alone piece, but there’s something special
about watching this cinematic chimera in its
entirety. A Rawstock audience member put
it best, Freet says: “It’s like watching a living
movie.” GEMMA WILSON
Haegue Yang: Anachronistic Layers of Dispersion
Artist lecture: Thursday, February 6 at the Henry
Exhibition on view through February 9
H
enry Art GAllery
henryart.org
Winter Creature
Acting in a feature film reaffirmed Tomo Nakayama’s
commitment to music. Now he’s steering away from
the chamber-pop grandeur of his beloved band Grand
Hallway and toward a closer connection to
his songs and his audience.
BY JONATHAN ZWICKEL
6 ENCORE STAGES
PHOTO BY STEVE KORN
E N C O R E A RT S N E W S You can’t manufacture intimacy like the
interior of a parked car on a cold, wet
November night. Outside, traffic streams
by on Leary Avenue in a murmuring swish,
taillights haloed through the rain-blurred
windshield. Inside is a cocoon of upholstery
and body heat.
Tomo Nakayama sits in the driver’s seat,
tented by a dark wool coat. He plugs his
iPhone into the stereo and without fanfare
plays a song he recently recorded, an
un-mastered, unreleased cover of a deep cut
by the Rolling Stones called “I Am Waiting.”
The music is sparse, hypnotic, languid—
acoustic guitars pulsed by thigh slaps and
sleigh bells. It sounds like an ancient English
ballad, earthy and sober but incantatory,
almost mystical. Tomo (always Tomo,
because Nakayama is too formal and too
foreboding for this 5-foot-3-inch 33-year-old)
leads with a hushed vocal melody.
Like a winter storm, fears will pierce your
bones
You will find out, you will find out
A meric an Conser vator y Theater • Berkeley
Reper tor y Theatre • Broadway San Jose
• California Shakespeare Theater• San Francisco
Ballet • San Francisco Opera • SFJAZZ • Stanford
BIR
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Live• TheatreWorks • Weill Hall at Sonoma State
Reach a
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audience
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Paramount & Moore Theatres • Seattle Children’s
Theatre • Seattle Men’s Chorus • Seattle Opera
• Seattle Repertory Theatre •Seattle Shakespeare
Company • Seattle Symphony • Seattle
Women’s Chorus • Tacoma City Ballet • Tacoma
Philharmonic • Taproot Theatre • UW World
Series at Meany Hall • Village Theatre Issaquah
& Everett • American Conservatory Theater•
Berkeley Repertory Theatre• Broadway San Jose•
California Shakespeare Theater• San Francisco
Ballet • San Francisco Opera • SFJAZZ • Stanford
put your business here
Live • TheatreWorks • Weill Hall at Sonoma State
University • 5th Avenue Theatre • ACT Theatre
• Book-It Repertory Theatre • Broadway Center
www.encoremediagroup.com
Midway he harmonizes with another
voice. This is Jesse Sykes, the husky-throated
singer he sought out specifically for this
song, which will be included in an upcoming
compilation of covers of songs from Wes
Anderson films. Their voices rise together,
toward an unseen light. A single guitar chord
hovers in the air as the song ends.
“It was in Rushmore,” Tomo says. “That
chorus, so foreboding. It sounds almost like
an apocalyptic warning. I’ve always loved
it.”
We’re parked a block from the Ballard
cafe where he works mornings as a barista.
After two hours of conversation over coffee
inside—talking about Tomo’s Japanese mom
and Vietnamese dad, his early childhood in
Japan and teenage years in Ballard, his belief
that honest moments can’t be packaged and
resold—we’d retreated to the car for its stereo.
I’m betting Tomo prefers to hear his music
like this, sitting beside an attentive audience
of one.
Solo Tomo is a new thing. After a decade
of playing music in big bands, he’s lately
finding strength in smallness, distilling
his talents, finding his essence. Over the
past year, Tomo toured the East Coast solo,
appeared in a feature film and released a
successful single as part of that film. All
along, he’s been pressing against his own
preconceptions and self-imposed limitations.
Now he finds himself on the verge of a
musical awakening.
Tomo has led Grand Hallway since 2005
8 ENCORE STAGES
EAP House Ad Reach 1_6V 3.19.13.indd 1
3/20/13 3:00 PM
as a vehicle for his prolific songwriting
and expansive compositions. Abetted by
a slew of stellar musicians that swelled
to nine members and sometimes more for
recording, Grand Hallway erupted with
dramatic, warm-hearted songs. Most were
mini-orchestral odes to love and family and
the Pacific Northwest. The band has released
a handful of albums, gaining an ardent
following locally and in Europe.
The most recent, 2011’s Winter Creatures,
features Tomo on vocals, guitar, piano, bass,
drums, pump organ, mandolin, vibraphone,
Mellotron, synth, tack piano, timpani,
harmonium, glockenspiel and percussion.
The album manages an evocative
simultaneity: It’s crystalline as snow and
cozy as a blanket, a dual aesthetic that
infuses all of his work.
“There’s a particular feeling you get
in winter,” Tomo says. “It reminds me of
Christmas or being home with the family and
everything is white and quiet outside, really
still and cold, but then you go inside and sit
by the fire and hang out with your family. It’s
intimacy versus the harshness and starkness
outside.”
“He’s a self-assembled
human cathedral.
He’s transcendent
on his own.”
In addition to his work with Grand
Hallway, Tomo also played keys and
percussion with the Maldives for a few
years—the sole Asian-American surrounded
by a burly cadre of bearded white guys. But
the constant big-band collectivism of both
groups wore on his creativity. Consensus was
fun but he ached for individual expression.
“Whenever I write a song, I hear all these
different parts in my head, and then I’d want
to fill up the spaces with the parts I was
hearing. But now I feel it’s almost better to
leave it up to the listener to fill in those gaps.
Let the silence be the orchestra.”
Over the last two years, Tomo has
performed mostly by himself, just
fingerpicked acoustic guitar and voice and
11/25/13
PM to the
a piano if one’s around.
He’s 4:01
taken
Fremont Abbey, with its seated shows and
focus on acoustic performances, over the
Tractor, his former venue of choice, which
now seems too distracted.
continued on page 9
Welcome
from the
Education Director
Big, Scary Shakespeare
Hi. I’m Michelle Burce, Seattle Shakespeare Company’s Education Director. Welcome to
Richard II.
One of the deep personal pleasures I get from my job is seeing the impact
Shakespeare’s plays can make in the lives of young people. You may not know it, but
beyond just the productions you see on our stage, we have year-round educational
programming happening in the theater, in classrooms, and across the state.
Last year I worked with a 4th grade class putting on their own production of Macbeth.
There were generally two types of students — the ones who were excited and
wanted lots of lines and the ones who were scared and didn’t feel like they would ever
understand Shakespeare. This second group included kids who were struggling with
dyslexia, had been diagnosed with ADD, or just had lower reading abilities.
One student in particular approached me after the first week of rehearsals to ask about
cutting some of his lines. He was playing Macbeth in a long scene and felt as though
he would never be able to memorize his lines, especially his monologue. He said he just
didn’t understand Shakespeare and would rather play a smaller part so he didn’t have to
say as much. We worked together on his scene, and, over the course of a few weeks, he
transformed. Each day, he ran up to me at the beginning of class to recite the lines he
had memorized the night before, getting further and further into his speeches. Prouder
each day of the amount he had worked, his confidence in himself grew.
By the time we performed, he had learned his whole scene — and not just the words,
but the intent and meaning behind those words. He played Macbeth well and was so
proud of his performance that he introduced me to his parents, who had helped him
learn his speeches, line by line, every night at home. He didn’t resemble that student I
had met five weeks prior who had wanted a smaller part with fewer lines.
By going out into the schools we are able to introduce students of all ages and abilities
to Shakespeare in a way that they can understand and connect to, in the hopes that it
will get easier each time. And as students learn the material, their mastery of “big scary
Shakespeare” gives them confidence in themselves and helps them to feel successful.
I encourage you to check out our Education programs display in the lobby during the
run of Richard II. The students in these programs may be future Shakespearean actors
or audience members, but, more importantly, they will be growing up knowing these
stories — having Juliet’s love, Prospero’s forgiveness, Benedick’s ability to change, and,
yes, even Macbeth’s misguided ambition — as part of their shared humanity.
Next On Stage:
By Oscar Wilde
Directed by Victor Pappas
Mar. 19-Apr. 13, 2014
Center Theatre at Seattle Center
Oscar Wilde’s outlandish
masterpiece is one of the
cleverest comedies in the English
language. Dapper Jack Worthing
and Algernon, his compatriot
in cavorting, have fallen for two
ladies who have their hearts
set on marrying a man named
Ernest. In order to pursue the
romance, both men concoct
an elaborate deception which
leads to an even more outlandish
surprise when the formidable
Lady Bracknell starts sleuthing
about for the far-fetched truth.
ConneCt with us
News:
Facebook:
www.facebook.com/seattleshakespeare
Twitter:
@seattleshakes
Michelle Burce,
Education Director
Store:
www.store.seattleshakespeare.org
Email:
[email protected]
encore artsprograms.com A-1
Cast
In Alphabetical Order
Duke of Aumerle
David Brown King
Thomas Mowbray / Welsh Captain /
Abbott / Keeper
Mike Dooly
Henry Bolingbroke
David Foubert*
Earl of Northumberland
Reginald André Jackson*
Duke of York
Peter A. Jacobs*
Queen
Brenda Joyner
Scroop
Robert Keene
John of Gaunt / Gardener / Groom
Dan Kremer*
Bishop of Carlisle / Lord Marshal
Martyn G. Krouse
Bagot
Jason Marr
Green / Gardener’s Man / Servant /
Murderer
Victor Matlock
design team
Scenic Designer
Carol Wolfe Clay
Harmony Arnold
Costume Designer
Jocelyne Fowler
Seattle University
Lighting Designer
Geoff Korf
Sound Designer
Dominic CodyKramers
produCtion sponsors
Voice and Text Coach
Lisa Norman
produCtion staff
Assistant Stage Manager
Miranda C. Pratt*
Assistant Director
Antoinette Bianco
Costume Design Assistant
Michael Notestine
Props Artisan
Kathleen Le Coze
King Richard
George Mount*
Master Electrician
Devon Bright
Bushy / Guard / Murderer
Jay Myers
Key Electrician / Board Operator
Trevor Cushman
Lord Ross
Brandon J. Simmons
Sound Board Operator
Sarah Anthony
Duchess of Gloucester / Queen’s
Attendant / Duchess of York
Kate Wisniewski
Wardrobe Head
Anna Bowen
A-2 SEATTLE SHAKESPEARE COMPANY
University of Puget Sound
Fight Choreographer
Gordon Carpenter
Technical Director
Seattle Scenic Studios
Victoria Thompson
Patrick O’Neil
Properties Designer
Robin Macartney
Lord Willoughby
Alex Matthews
Stage Manager
speCial thanks
* Member of Actors’ Equity Association, the Union
of Professional Actors and Stage Managers in the
United States.
Seasonal support provided by ArtsFund
Actors’ Equity Association (AEA),
founded in 1913, represents more
than 45-thousand actors and stage
managers in the United States.
Equity seeks to advance, promote
and foster the art of live theatre as
an essential component of our society. Equity negotiates wages and working conditions, providing a wide
range of benefits, including health and pension plans.
AEA is a member of the AFL-CIO, and is affiliated with
FIA, an international organization of performing arts
unions. The Equity emblem is our mark of excellence.
www.actorsequity.org
The taking of pictures or the making
of recordings of any kind during the
performance is strictly prohibited.
Director’s Note
In this Program:
Richard II Synopsis
A summary of the plot of Richard II.
Page A-8
Richard II Part One?
November 28, 2013
What historic events set the stage
for the opening scene of Richard
II? Learn about an Elizabethan play
which tells that story.
Page A-8
Some thoughts in the days before I begin rehearsal.
Between the Lines
Preparing to work on this gorgeously written, moving play, I’ve been thinking a lot
about identity. As I read the play, there’s a moment that keeps resonating for me: it’s
in Act II, scene 4 when Richard has returned to England confident that he can easily
extinguish Bolingbroke’s uprising and is about to learn from his follower, Scroop, that
he has been abandoned by his last remaining allies. In a moment when he senses his
imminent downfall, he urges Scroop to let him have it straight:
“ Mine ear is open and my heart prepar’d.
The worst is worldly loss thou canst unfold.
Say, is my kingdom lost? Why, ‘twas my care
And what loss is it to be rid of care?”
A look at how our state-wide
outreach program is showing, rather
than telling, Shakespeare’s stories.
Page A-9
This English
Shakespeare enthusiasts love the
language in Richard II. Learn how
English came about and how events
of Richard II shaped its story.
Page A-10 and A-11
Act II, 4 ln. 93-96
The last sentence always hits me deeply: “Why ‘twas my care/And what loss is it to be rid
of care?” I think how human Richard is in this moment: tempted by the urge to let go of
his burdens, his ‘cares’, it feels like he’s almost wishing for the very thing that will destroy
him. Richard II is the story of the downfall of a king. And it’s also about a man facing
the loss of who he is — everything that defines him, his title, his ‘cares’, his identity, and
ultimately his being. In the process he fights ferociously for something he’s not even sure
he wants, and, ultimately, when he loses it all, he’s left to face what, if anything, gives his
life meaning. We all juggle multiple identities, playing different roles that define us and
give our lives purpose. But when I am no longer a mother, a wife, a daughter, a sister, an
artist, a teacher, a woman . . . who am I, and what’s my purpose?
In the end, metaphysical questions and beautiful poetry aside, I’m also thinking a
lot about what a very basic human story this is — of loss, ambition, betrayal, family,
and power. Kings and lords are fathers, sons, and cousins. Queens and Duchesses are
mothers and wives.
The artistic process in theatre is endlessly fascinating to me because it is shaped both
by individual identity and collective imagination. So this is a glimpse of me alone with
the text, in my own mind, searching my own soul for connections. By the time you
read this, these thoughts will have been transformed, shifted, refigured by many other
thoughts and voices, to forge a new identity in the performance tonight. I can’t wait to
see where we end up
Rosa Joshi,
Director
Opinions? Thoughts? Feedback?
Share your experience of Richard II with us and others on our website.
We’d love to hear what you think of the show.
We’re collecting comments at www.seattleshakespeare.org/opinion-richard-ii/
For Everyone’s Enjoyment:
While in the Lobby: Show-themed
cocktails, wine and beer are available
at our lobby bar before the show
and at intermission. Coffee, tea,
assorted soft drinks, candy and baked
goods are also available before the
performance and at intermission.
Please Note:
• Cell phones are disruptive to
actors and audience. Please turn
them off before the performance
and after intermission.
• If you have candies or lozenges
with wrappers, please unwrap
them before the performance.
• Sound and video recordings
are prohibited during the
performance.
• Because of the nature of our
productions and the intimacy of
our theatre, we recommend that
you not bring children under 12.
Please, NO babes in arms.
Safety
• Exits — to ensure your safety in
case of fire or other emergency,
please familiarize yourself with the
exit route nearest your seat.
David Brown King
Mike Dooly
Cast Bios:
David Brown King
Duke of Aumerle
David is excited to be appear in his
second show with Seattle Shakespeare
Company having previously appeared in
As You Like It. His other work includes The
Totally True Almost Accurate Adventures of
Pinocchio (Balagan Theater) and 14/48: The
World’s Quickest Theatre Festival. You can
also check out David’s film credits at IMDB.
He hopes you enjoy the show.
Mike Dooly
Thomas Mowbray / Welsh Captain / Abbot /
Keeper
Most recently seen as the Tiger in
Washington Ensemble Theatre’s production
of Bengal Tiger at the Baghdad Zoo (directed
by Michael Place), Mike’s previous roles
include George in The Language Archive
(directed by Shana Bestock) and Jake in
The Understudy (directed by Kelly Kitchens)
at Seattle Public Theater; Stefano in The
Tempest (directed by Kelly Kitchens),
Costard in Love’s Labour’s Lost (directed
by John Kretzu), Pompey in Antony and
Cleopatra (directed by John Langs),
Polixenes in The Winter’s Tale (directed
by Mary Machala), Tullus Aufidious in
Coriolanus (directed by David Quicksall),
Theseus in A Midsummer Night’s Dream
(directed by Sheila Daniels), and Horatio
in Hamlet (directed by John Langs) at
Seattle Shakespeare Company; Mark in
The Art of Racing in the Rain (directed by
Carol Roscoe) and Jo Gargery in Great
Expectations (directed by Kevin McKeon)
at Book-It Repertory Theatre; and Iago in
Othello (directed by Ryan Higgins), Larry in
Closer (directed by Lisa Confehr), and Lee
in True West (directed by Tim Hyland and
Shawn Belyea) at Balagan Theatre. Mike
loves Seattle, loves theatre, and most of all,
loves you, for your continued support in
making Seattle the new theatre capital of
the world. Let everybody know!
David Foubert
Reginald André
Jackson
David Foubert
Henry Bolingbroke
David received his BA from Central
Washington University then traveled
to the University of Delaware to get his
MFA in acting. After graduation in 1999,
he toured the country five times with
three different companies, including New
York’s The Acting Company. He became
a long time company member of the
Shakespeare Theatre of New Jersey and
the North Carolina Shakespeare Festivals.
His most recent roles include Hayden in
A Little Red Marker at the Eclectic Theater
and Petruchio in The Taming of the Shrew
with Island Stage Left at Friday Harbor.
David is overjoyed to make his Seattle
Shakespeare Company debut with such
a great role.
Reginald André Jackson
Earl of Northumberland
Reggie is happy to return for his 15th
production with Seattle Shakespeare
Company, which does not include
three tours with Wooden O, where he
had luck enough to assay the titular
characters of Othello and Macbeth. This
is his first Seattle stage appearance since
returning from Washington D.C.’s famous
Shakespeare Theatre Company. There
he played Aufidius in Coriolanus, and
originated a role in Wallenstein for Artistic
Director Michael Kahn. Local theatres he
has worked for include Seattle Repertory
Theatre, ACT Theatre, Intiman Theatre,
Book-It Repertory Theatre, Seattle Children’s
Theatre and numerous others. Reggie’s
adaptations of two Christopher Paul Curtis
novels are published through Dramatic
Publishing, with Bud, Not Buddy winning
the 2010 American Alliance for Theatre &
Education Distinguished Play Award.
Peter A. Jacobs
Duke of York
Peter was previously seen at Seattle
Shakespeare Company in Much Ado
About Nothing, Coriolanus, and The
Peter A. Jacobs
Brenda Joyner
School For Scandal and has performed
at theaters such as Book-It Repertory
Theatre (The Adventures of Huckleberry
Finn: Uncensored, The Art of Racing in the
Rain), ACT Theatre, Seattle Children’s
Theatre, Seattle Repertory Theatre, San
Diego Repertory, Berkeley Repertory,
Arizona Theatre Company, and American
Conservatory Theatre, among others.
He was in the acting company of the
California Shakespeare Festival for six
seasons. Movie credits include: A Bit
of Bad Luck, Safety Not Guaranteed;
Prefontaine; The Dead Pool; True Believer.
TV credits include: Grimm; Leverage; Eyes
of Terror; Midnight Caller; Firestorm; and
Unsolved Mysteries.
Brenda Joyner
Queen
Brenda last appeared with Seattle
Shakespeare Company earlier this season
as Hero in Much Ado About Nothing.
Other Seattle Shakespeare Company
productions include The Taming of the
Shrew, Hamlet, Twelfth Night, and three
summers touring the parks with Wooden
O. Seattle credits include: The Understudy
(Seattle Public Theater); The Glass
Menagerie (Seattle Repertory Theatre);
Titus Andronicus (upstart crow collective);
The Bells (Strawberry Theatre Workshop);
On The Nature of Dust (New Century
Theatre Company). She is a company
member of New Century Theatre
Company and can next be seen in their
world-premiere production of Tails of
Wasps by Stephanie Timm. Originally
from Alaska, Brenda made Seattle her
home after graduating from Western
Washington University.
Robert Keene
Scroop
This is Robert’s second production with
Seattle Shakespeare Company; his first
appearance was as Cornelius in Hamlet,
directed by John Langs. He is a recent
graduate of Seattle University with a BA
Robert Keene
Dan Kremer
in Theatre with Departmental Honors
and Creative Writing. While at Seattle
University he played roles such as
Hamlet in Hamlet, Torvald in Nora, and
The Student in Ghost Sonata. He also cowrote, produced, and acted in an original
production titled Control and You. Outside
of Seattle University he has performed
with Freehold Theatre in King Lear and as a
member of Turbo Turkey Sketch Comedy.
Dan Kremer
John of Gaunt / Gardener / Groom
Nationally, Dan has worked with
The Shakespeare Theatre Company,
Washington D.C.: Julius Caesar, Julius
Caesar; Capulet, Romeo and Juliet;
Enobarbus, Antony and Cleopatra. With
the Utah Shakespeare Festival: Titus, Titus
Andronicus; Lear, King Lear; Vandergelder,
The Matchmaker; Morrie, Tuesdays with
Morrie. With the Pearl Theatre, New
York: Gaunt, Richard II. Among more
than forty productions with Oregon
Shakespeare Festival: Undershaft, Major
Barbara; Prospero, The Tempest; Jacques,
As You Like It, LeRoux, Pravda; Elomire, La
Bête; and the premieres of Emma’s Child
and The Majestic Kid. Locally, Dan has
appeared with ACT Theatre: Danforth,
The Crucible; Village Theatre: C.S. Lewis,
Shadowlands; Seattle Repertory Theatre:
Summerhays, Misalliance; Owen, Light Up
the Sky; Pickering, Pygmalion; and Seattle
Shakespeare Company: Lepidus, Antony
and Cleopatra; Brutus, Julius Caesar.
Martyn G. Krouse
Bishop of Carlisle / Lord Marshal
Martyn makes his Seattle Shakespeare
Company debut in Richard II. He previously
appeared on this stage in productions of
Dogg’s Hamlet, Cahoot’s Macbeth, and The
Foreigner with Sound Theatre Company.
Among other acclaimed roles, he
performed as Tom in Fat Pig and Walter in
The Woodsman. Martyn is also a voiceover
artist and film actor and has appeared on
the NBC network television show Grimm.
Martyn G. Krouse
Jason Marr
Jason Marr
Bagot
Jason is pleased as punch to join Seattle
Shakespeare Company again. Past shows
with the company include Antony and
Cleopatra and Hamlet, both directed by
John Langs. Other stage roles: Henry V in
Henry V (Harlequin Productions); Tranio
in The Taming of the Shrew (Island Stage
Left); Fabian in Twelfth Night (Shakespeare
Santa Cruz); Oliver in The Pitmen Painters
(ACT Theatre). He has also performed
with Book-It Repertory Theatre, Seattle
Public Theater, Washington Ensemble
Theatre, ArtsWest, Theater Schmeater,
GreenStage, Taproot Theatre, 14/48:
The World’s Quickest Theatre Festival,
and The Shakespeare Theatre Company
in Washington, DC. Jason has a BFA in
Acting and Directing from The University
of North Carolina at Greensboro and
an MFA from the Shakespeare Theatre
Company’s Academy for Classical Acting
at George Washington University.
Victor Matlock
Alex Matthews
has appeared in several of Satori’s shows
including Artifacts of Consequence, Winky,
and reWilding. He appeared as Danny
in the Washington Ensemble Theatre’s
production of Stuck. He played Willem
in New Century Theatre Company’s
production of Franz Kafka’s The Trial.
Recently, he was able to help lead a Satori
Group of new plays where he directed
a reading of Return to Albert Joseph by
Spike Friedman. Formerly, he played
Eros in Seattle Shakespeare Company’s
production of Antony and Cleopatra. He
is honored to be a part of Richard II and
working with such talented artists.
George Mount
King Richard
Victor is ecstatic to make his professional
debut with this amazing group of artists at
Seattle Shakespeare Company! In his final
year at Cornish College of the Arts, Victor
has studied theatre, focuses on acting,
musical theatre, playwriting and directing.
Favorite roles at Cornish include Jamie
in The Last Five Years, directed by Sara L.
Porkalob; Joe in Balm in Gilead, directed
by Jane Jones; and Phillip Bax/Bazzard in
The Mystery of Edwin Drood, directed by
Richard Gray and Kathryn Van Meter. He
thanks parents, papa and grandma, his
four brothers and sister, and everyone
at Cornish for their unwavering support!
Cheers!
For Seattle Shakespeare Company, George
directed Much Ado About Nothing, As
You Like It, and The Tempest. With Seattle
Shakespeare Company he has appeared
in Love’s Labour’s Lost, A Doll’s House,
The Comedy of Errors, The Taming of the
Shrew, King Lear, Richard III, and Macbeth.
As director of Seattle Shakespeare
Company’s regional touring program,
George directed productions of Hamlet,
Macbeth,A Midsummer Night’s Dream,
Othello, and Romeo and Juliet. George is
the founding Artistic Director of Wooden
O. Acting roles with Wooden O include:
Malvolio, Iago, Richard III, Shylock, Hamlet,
Cassius, Benedick, Caliban, Romeo,
and Feste. George directed Wooden O
productions of Henry V, The Comedy of
Errors, Romeo and Juliet, Julius Caesar, The
Two Gentlemen of Verona, The Tempest, All’s
Well That Ends Well, A Midsummer Night’s
Dream, and Much Ado About Nothing.
Other credits include work at ACT Theatre,
Book-It Repertory Theatre, Seattle Public
Theater, SecondStory Repertory Theatre,
Village Theatre, Boomer Classics, Theater
Schmeater, and Annex Theatre.
Alex Matthews
Jay Myers
Victor Matlock
Green / Gardener’s Man / Servant / Murderer
Lord Willoughby
Alex is a proud founding member of local
theater ensemble, The Satori Group. He
Bushy / Guard / Murderer
Richard II marks Jay’s third appearance
amongst Seattle Shakespeare Company’s
both on the stage at Seattle Shakespeare
Company and elsewhere. Last seen as
Steve in Balygan Theater’s production of
August: Osage County.
Carol Wolfe Clay
Scenic Designer
George Mount
Jay Myers
ranks. He played Claudio in Much Ado
About Nothing this fall and Dumaine in
last spring’s Love’s Labour’s Lost. Recently,
he performed in Arts on the Waterfront’s
Waiting for Godot as Vladimir and
Washington Ensemble Theatre’s Tall Skinny
Cruel Cruel Boys. Jay holds a BA in Drama
and Psychology from the University of
Washington, where he performed in
various productions including Macbeth,
Romeo and Juliet, Eurydice, The 25th Annual
Putnam County Spelling Bee, and Rough
Magic, among others.
Brandon J. Simmons
Kate Wisniewski
Cambridge, MA. She is a founding member
of upstart crow collective, an all-female
Shakespeare collective, and appeared
in their productions of King John and
Titus Andronicus, both directed by Rosa
Joshi. Kate is a graduate of the American
Repertory Theatre Institute at Harvard. She
is an adjunct faculty member in the Seattle
University Fine Arts Department in Theatre,
and is a Certified Fitzmaurice Voicework
instructor. Her voice over work can be heard
regionally and nationally in video games
and commercials.
Brandon J. Simmons
Lord Ross
Brandon is a theater artist and musician
based in Seattle. He is pleased to return to
Seattle Shakespeare Company, where he
has appeared in numerous productions,
including Jon Kretzu’s Love’s Labour’s Lost
and The Threepenny Opera. Also: Sextet
(Washington Ensemble Theatre); Bluenose
and Pharaoh Serket (Seattle Children’s
Theatre); Bud, Not Buddy (Book-It Repertory
Theatre); Private Lives (SecondStory
Repertory Theatre), Girls & Gods (Printer’s
Devil); Angels in America (ReAct); Irma Vep
(CenterStage); Camino Real (theater simple);
and numerous appearances with 14/48: The
World’s Quickest Theatre Festival (Three Card
Monty, One World). Brandon is a founding
member of The Seagull Project, which will
travel to Tashkent, Uzbekistan, in April to
perform their acclaimed production of The
Seagull at the renowned Ilkhom Theatre.
They will present Chekhov’s The Three Sisters
at ACT Theatre in January 2015.
Kate Wisniewski
Duchess of Gloucester / Queen’s
Attendant / Duchess of York
An actor, teacher and voice over artist,
Kate has appeared on Seattle area stages
for Intiman Theatre, ACT Theatre, Book-It
Repertory Theatre, Empty Space Theatre,
Tacoma Actors Guild, New Century Theatre,
Seattle Shakespeare Company/Wooden
O, New City Theatre, and regionally at
The American Repertory Theatre in
Production Bios:
Antoinette Bianco
Assistant Director
Antoinette is a director and theatre artist,
and recent graduate of Seattle University.
Most recently she worked with The Satori
Group in development of the new play
Returning to Albert Joseph. She attended
the first annual “New Play Directing
Intensive” at The Kennedy Center, and
collaborated with Kyle Loven on the
premier of his newest piece, Moonshow
143. Last year, Antoinette directed Far
Away by Caryl Churchill and Rain by Garry
Williams. Antoinette has assisted Andrew
Russell, Rosa Joshi, and Susanna Gellert.
She has designed for 14/48: The World’s
Quickest Theatre Festival, designed props
for upstart crow collective’s production of
Titus Andronicus with Carol Wolfe Clay, and
will be designing the set for The Collision
Project’s inaugural production of Marisol.
Gordon Carpentar
Carol is happy to be back at Seattle
Shakespeare Company where she
previously designed Coriolanus, January
2012, and Cymbeline, January 2011
(Seattle Times Scenic Design Footlight
Award.) Most recently, Carol designed
Danny, King of the Basement for Seattle
Children’s Theatre. Other designs include
Titus Andronicus for upstart crow; Border
Songs for Book-It Repertory Theatre;
Galileo for Strawberry Theatre Workshop;
Ubu, Vera Wilde, Adam Baum, Under the
Gaslight, Empress of Eden, What the Butler
Saw, and Accidental Death of an Anarchist
for Empty Space Theatre; and Big Boss for
New City Theatre. Carol received a 2011
Seattle CityArtist award for little world, a
collaboration with playwright Ki Gottberg.
She has an MFA from UC-Davis and is a
Professor of Theatre at Seattle University.
Dominic CodyKramers
Sound Designer
Dominic is a Seattle-based theatre sound
designer and educator. He is a full-time
faculty Instructor at Seattle University
where he designs sound for all Seattle
University theatre productions, mentors
sonically-creative students in their music
and theatre endeavors and manages the
Digital Music Lab and Recording Studio.
Dominic’s sound designs have been
heard locally at ACT Theatre, Seattle
Repertory Theatre, West of Lenin, upstart
crow collective, Strawberry Theatre
Workshop, Madcap Melodrama, and the
Flying Karamazov Brothers. West Coast
credits include designs for Universal
Studios Hollywood Theme Park, PCPA
TheatreFest, Pasadena Playhouse, San
Luis Obispo Little Theatre, Santa Clarita
Rep, Hudson Theatre, and Oregon
Cabaret Theatre. Dominic earned an MFA
from California Institute of the Arts and a
BA from UNC-Asheville, his hometown.
Fight Choreographer
Jocelyne Fowler
Gordon Carpenter has staged fights for a
number of Seattle Shakespeare Company
productions, including last seasons The
Taming of the Shrew. In addition he has
staged fights for Coriolanus, Hamlet,
Twelfth Night, Henry IV, Macbeth, Romeo
and Juliet, and others. He has also been
an actor in Seattle for a number of years
Jocelyne Fowler has designed for BookIt Repertory Theatre (Anna Karenina,
Hotel on the Corner of Bitter and Sweet),
Wooden O (Henry V and The Tempest),
Seattle Musical Theatre (Legally Blonde),
Youth Theatre Northwest (Shrek: The
Musical, Little Women, and The Sound
Costume Designer
of Music), Harlequin Productions
(Jesus Christ Superstar), and other local
theatres. Upcoming work can be seen in
Frankenstein at Book-It Repertorty Theatre,
Spring Awakening at Youth Theatre
Northwest, and Young Frankenstein at
Seattle Musical Theatre.
Rosa Joshi
Director
Rosa is thrilled to be directing for
the first time at Seattle Shakespeare
Company. Past Shakespeare productions
include: all-female productions of Titus
Andronicus and King John (upstart crow
collective); Twelfth Night (Centerstage);
Much Ado About Nothing; Twelfth Night
(New City Theatre); Hamlet, A Midsummer
Night’s Dream, and The Tempest (Seattle
University). Besides Shakespeare Rosa
loves working on modern classics
(everything from Ibsen to Bertolt Brecht
to Caryl Churchill) and new plays. Rosa
has been directing and teaching in Seattle
since 1994, working at various theatres
including Strawberry Theatre Workshop,
New City Theatre and Northwest Asian
American Theatre. Currently on the faculty
at Seattle University, she has also directed
at Cornish College for the Arts and taught
at Hong Kong University and Hong Kong
Academy of the Performing Arts. She
is proud to be a co-founder of upstart
crow collective, a Seattle-based theatre
collective dedicated to producing classical
plays with all-female casts.
Geoff Korf
Lighting Designer
Geoff has designed lighting for about 300
productions over the past 30 years. His
work has been seen on Broadway, Seattle
Repertory Theatre, ACT Theatre, Intiman
Theatre, Seattle Children’s Theatre, Theatre
Oregon Shakespeare Festival, The Mark
Taper Forum, La Jolla Playhouse, South
Coast Repertory, The Old Globe, Actors
Theatre of Louisville, Trinity Repertory,
The Guthrie Theatre, The Goodman, Long
Beach Opera, and San Francisco Opera.
Geoff is a member of the Ensemble of
Cornerstone Theater in Los Angeles, and
an affiliate artist of New Century Theatre.
He also serves as the Head of Design
at the University of Washington. He is a
graduate of California State University,
Chico and the Yale School of Drama.
Robin Macartney
Properties Designer
Robin is excited to be designing for
Seattle Shakespeare Company for the
first time. When not working at the
Theatre Off Jackson, she can be found
at the University of Puget Sound where
she is the Theatre Department’s scene
shop supervisor. Professional credits
include technical work with Pork Filled
Productions, Live Girls!, Annex Theatre,
14/48: The World’s Quickest Theatre
Festival, Macha Monkey, Printer’s Devil
Theatre, Tongue In Chic Productions, and
the AIE Summer Theatre Program.
Lisa Norman
Voice and Text Director
Lisa last worked with Rosa Joshi as text
coach for upstart crow collective’s 2012
production of Titus Andronicus. She has
coached for Intiman Theatre, Strawberry
Theatre Workshop, Village Theatre, and
others. Ms. Norman holds an MFA degree
from the University of Tennessee. She
furthered her classical studies with
training at London’s Royal Academy
of Dramatic Art and with Cicely Berry
(former Royal Shakespeare Company
Voice/Text Director). She is an Associate
Professor of Theater (Acting) at Cornish
College of the Arts.
Miranda C. Pratt
Assistant Stage Manager
In addition to stage managing, Miranda
is proud to have the title of Production
Manager at Seattle Shakespeare Company.
Miranda’s Seattle stage management
credits include Seattle Shakespeare
Company (The Taming of the Shrew, Love’s
Labour’s Lost, A Midsummer Night’s Dream,
The Merry Wives of Windsor, The Threepenny
Opera, and Electra), Wooden O (The
Tempest, Twelfth Night, and The Taming of
the Shrew), Book-It Repertory Theatre (She’s
Come Undone and Hotel on the Corner
of Bitter and Sweet), Seattle Repertory
Theatre (Dancing at Lughnasa), 14/48: The
World’s Quickest Theatre Festival, Theater
Schmeater, Paradise Theatre School,
and Balagan Theatre. Prior to moving
to Seattle, she worked at the La Jolla
Playhouse (Aaron Sorkin’s The Farnsworth
Invention — workshop production) and
the Repertory Theater of St. Louis (Bad
Dates, Completely Hollywood Abridged).
Miranda has a BFA in Stage Management
from Webster University’s Conservatory of
Theater Arts in St. Louis, MO.
Seattle Scenic Studios
Technical Direction
Seattle Scenic Studios’ mission is to
serve the region’s non-profit arts and
cultural organizations and introduce,
inspire, and train the next generation
of technical theatre artists. Their clients
include Seattle Public Theater, ReAct,
Youth Theatre Northwest, Wing Luke
Asian Museum, Eastside Musical Theatre,
Centerstage, Spectrum Dance Theater,
Studio East, Bainbridge KidiMu, Tacoma
Children’s Museum, The Bruce Lee Exhibit
for Inter*Im, and Bellevue Opera, to
name a few. Seattle Scenic’s education
program currently works with the Bush
School, Roosevelt HS, Bothell HS, Kamiak
HS, and Islander MS. Their education and
production programs are supported in
generous part by 4Culture and Seattle
Office of Arts and Cultural Affairs.
Victoria Thompson
Stage Manager
Victoria is thrilled to be working on Richard
II. Her other Seattle Shakespeare Company
credits include The Tempest and Twelfth
Night, or What You Will with Wooden O;
and Romeo and Juliet, Othello, A Midsummer
Night’s Dream, Hamlet, and Julius Caesar
with the educational touring program.
She is also the Production Stage Manager
for Book-It Repertory Theatre where she
has worked on numerous productions
including The Cider House Rules, Parts I and II;
Adventures of Huckleberry Finn: Uncensored,
and She’s Come Undone.
Leadership Bios:
John Bradshaw
Managing Director
Now in his eleventh season with Seattle
Shakespeare Company, John is a graduate
of the University of Washington and
has spent nearly his entire career as
part of the Seattle theatre community.
Prior to joining Seattle Shakespeare
Company, he was Managing Director at
The Empty Space Theatre and Director
of Endowment and Planned Giving for
Seattle Repertory Theatre. John served
as General Manager and Development
Director during construction and initial
operations at Kirkland Performance Center.
At Seattle Children’s Theatre, he was part
of the development staff during the
capital campaign to build the Charlotte
Martin Theatre. Prior to going into
administration, John served as an AEA
stage manager at several professional
theatres in Seattle. John is on the
Honorary Advisory Board for the School
of Drama at the University of Washington.
George Mount
Artistic Director
See cast biographies.
Shakes Shop:
Richard II
Synopsis
Richard II is a grandson of the previous king, Edward III. Henry Bolingbroke appears before
his royal cousin to press charges against Thomas Mowbray, who he accuses of murdering
their uncle, the Duke of Gloucester. Richard agrees to combat in the lists between the two
adversaries, but just as the contest is about to begin he suprisingly banishes them both.
Valentine’s Day Cards:
Check out our stock of
Shakespeare Velentine’s Day
cards in the lobby. Whether
you are looking for sonnets or
sarcasm this year, we’ve got
your covered.
From his deathbed, John of Gaunt, Bolingbroke’s father, admonishes the king for his extravagant
behavior and poor governance. As soon as the old man dies, Richard seizes his estates and
uses the money for a war with Ireland. This rast act prompts Henry to return to England on the
pretense of reclaiming his father’s estates. he brings with him a substatial army and garners the
support of the Earl of Northumberland. The Duke of York, uncle to both Richard and Henry and
regent of England during Richard’s absence in Ireland, reluctantly joins Henry’s side. When the
king returns, he finds that his favorites, Bushy, Bagot, and Green, have been executed and his
armies have defected to Bolingbroke. He takes refuge in Flint Castle and sinks into depression.
Henry confronts Richard and demands the restitution of his inheritance. Richard is escorted
to London as a virtual prisoner, where he is forced by Northumberland to sign a confession
of his crimes against the state. In a dramatic gesture, Richard also offers to resign his crown.
Bolingbroke accepts the resignation and is crowned King Henry IV.
A plot is uncovered to murder the new king, and Aumerle, the son of the Duke of York, is at
the center of it. The duke loyally informs against his son. At the pleadings of the Duchess of
York, Henry pardons Aumerle, who joins his father in support of the new sovereign.
Richard is imprisoned in Pomfret Castle, where he is murdered by Sir Pierce of Exton. Henry
is overcome with guilr for Richard’s death and vows to do penance by making a pilgrimage
to the Holy Land.
From Shakespeare Genealogies by Vanessa James
Richard II
Part One?
Only at Seattle Shakes:
Did you know that Seattle
Shakespeare Company
creates a unique study guide
to accompany each of our
productions? These resource
materials for teachers are
now available for everyone to
download at our online store!
Find more great Shakespeare
iterms in our lobby during
intermission and online at
The events in the early scenes of Richard II can be a bit confusing if you don’t know some
of the back history for the characters and why the disagreement between Bolingbroke and
Mowbray has been brought before the king.
The Elizabethan play Thomas of Woodstock is sometimes referred to as Richard II Part One.
It’s by an unknown author and tells the backstory to Shakespeare’s play with events that
led up to the murder of Richard’s uncle the Duke of Gloucester, brother to John of Gaunt
and the Duke of York. The play contains many of the same characters as Richard II and sets
up the king as having had a hand in his own uncle’s death.
The tension of the opening scene of Richard II stems from Bolingbroke (Richard’s cousin)
accusing Mowbray (no relation to Richard) of treason, specifically claiming that he was
responsible for the murder of his and Richard’s uncle Thomas, the Duke of Gloucester. But,
there is a widespread rumor that Richard ordered the murder himself, and Mowbray knows
it but isn’t saying anything.
Why does it matter? Richard, an only child put on the throne at the age of 10, has been advised
by his uncles the Duke of York and John of Gaunt. The murder of the Duke of Gloucester sets
everything else in motion, but the secrecy around the death divides the family.
Between the Lines
There’s something going on in between the lines of text when a play is acted out on
stage. Something important. If it weren’t important, you would be curled up at home
reading Shakespeare, and this theatre would be empty. You already understand the
value of that intangible, unscripted element.
Teens across the Washington State read Shakespeare every year. Often, there’s
something missing — a bridge that makes these great stories accessible — because
what goes on in between the lines doesn’t exist on the page.
There are no tears on a page, no ringing of swords and flushed faces, no unspoken
gestures of comfort, no laughter. The text is like a stained glass window, masterfully
composed to be played upon by the light of human action.
Every March, as students read Shakespeare in books across Washington, our touring
cast of six actors packs into the company van with the costumes, sets, and props for
two distinct productions. In the following three months they will perform for more than
14,000 students in farmlands east of the Cascades, port towns on the coast, suburbs
on the Eastside of Lake Washington, islands in the San Juans — the rich scope of our
landscapes and the communities they contain.
Does seeing live theatre help students better understand their curriculum? Yes. Teachers
write to us after performances remarking on the invigorated interest and confidence
of their students. Students share feedback as well and, in their words, we know that
something more than comprehension is going on:
“I thought you guys were amazing and you really
got me listening when I hadn’t cared at all.”
“I’d never seen Romeo and Juliet
acted out before, and never seen a
professtional play. I loved it.”
“I love it. I wish I
could watch it again.”
“Seeing it live is different. It’s way
more exciting than I thought.”
“I think that Shakespeare understood the mind,
particularly those of teenagers.”
“I felt like I was living
their story.”
Seeing Shakespeare performed, students realize how these stories resonate and relate
with their lives. They are compelled and moved by the action in front of them. For many
students, our touring productions are their first experience of live theatre. While they’ve
seen encapsulated acting in movies and television, they’ve never seen the magic of
a story — populated with loveable, laughable, and hateable characters — manifest
before their eyes. At post-play talkbacks (pictured above), students are brimming with
questions for the cast about their acting process, memorization, and whether Romeo
and Juliet are a real life couple, if people ever get hurt in the fights, the list goes on. It is a
completely new form of storytelling, and they are enthralled.
These students have realized that Shakespeare — with all its lofty and intimidating
stigma — is actually for them.
Touring Production
Don’t miss two special
opportunities to see our touring
production that will perform
for students and community
members across Washington.
After the high-ranking general
Othello bypasses Iago for
a promotion, the cunning
manipulator enacts his revenge. By
playing on the Moor’s insecurities,
Iago paints a false vision of Othello’s
faithful wife, Desdemona, which
leads to a murderous fit of jealousy.
Dinner Drama
Thursday, March 13
6:00 p.m.
The Hall at Fauntleroy,
West Seattle
Join us for an evening of
dinner and theatre at The Hall
at Fauntleroy in West Seattle.
Caterered by Tuxedos and
Tennis Shoes.
Dinner and Show: $65
Show Only: $30
On the Stage
Sunday, March 30
2:00 p.m.
Center Theatre, Seattle Center
Tickets: $20
Tickets available at
c. 450
Colonization of Britain begins by the Angles,
Frisii, Jutes, and Saxons. These populations
dominate the area of modern England and
their Western Germanic languages replaces
the preexisting Celtic language group.
Celtic survives in the languages of Wales,
Cornwall, and Brittany — the word “Welsh”
itself is derived from the Anglo-Saxon
word for “foreigner.”
Old English: c. 737
c. 700
Richard II is a play of rich language and poetic love of country,
but there is another love in Richard II and every Shakespeare
play — a love of the English language itself.
Nū wē sculan herian
heofonrīces Weard,
Metodes mihte
and his mōdgethonc,
weorc Wuldorfæder
Languages are shaped by compromises between the influence of
politics and trade against the continuance of place and population.
Just as you carry testament to thousands of lives in your unique
DNA, the language you speak is a living history. Even Richard II
contains a significant moment in the story of English.
Now we must praise
Kingdom of Heaven’s warden
powerful Creator
and his purpose
Wonderful Father’s work
After the end of Roman occupation in 410, Britain was invaded and
colonized by several West Germanic peoples, including the Angles
and Saxons. Isolated from continental Europe, their various dialects
eventually merged into the earliest form of English.
The earliest examples written in English
are recorded by Christian monks, though
Latin continues as the primary language of
scholarship and legal record.
Old English: c. 890
Ōhthere saede his hlāforde, Ælfrēde cyninge, thæt
hē ealra Northmonna northmest būde.
Ohthere said to his lord, King Alfred,
that he of all Norsemen lived north-most.
865
This
English
Danish colonization begins throughout
the British Isles. Within a decade, half of the
Anglo-Saxon kingdoms are conquered.
The Christian religion had accompanied the Roman Empire’s
expansion and continued to spread after its collapse. The clergy
brought written Latin to illiterate regions, but also transcribed the
earliest records of local languages, including English. During this
process the meaning of some Anglo-Saxon words were deliberately
altered to reflect Christian concepts. The word blēdsian, to consecrate
with blood, was given the meaning of the Latin word benediction
and became blessed. Similarly, the word godspell, meaning simply
good news, was given the meaning of the Latin evangelium and
became gospel. Latin became the language of academics and legal
record, while Old English continued to be spoken by the general
population. Latin’s early association with scholarship is evident today
in the specialized lexicons of science and law.
Beginning in 865, Britain experienced another mass invasion by the
Danish who, within a decade, took over the north and east AngloSaxon kingdoms. Old English was closely related to Old Norse, which
facilitated easy linguistic influence in areas of Danish colonization.
Many English words beginning with th or sk were adopted during
this period, such as thrift, thrust, sky, skirt as well as the third person
plural pronouns they, them, their. In many cases, rather than replacing
English words, Norse words were simply added, such as craft/skill,
frighten/scare, wrath/anger, hide/skin. The words taken from Old Norse
during this period belongs to everyday vocabulary.
In the independent Anglo-Saxon kingdoms of the west and south,
King Alfred commissioned written records to be translated from
Latin to English — politicizing an English speaking identity for the
first time. Anglo-Saxon struggles to repel Scandinavian colonies
and waves of new invasions continued until the Norman conquest.
1066
1100
England is conquered by the Normans,
who establish a successful monarchy.
French based Anglo-Norman is
established as the primary language of
the upper class and legal system.
In 1066, England was invaded by William the Conqueror. This new
invasion came from Normandy, a Scandinavian colony in Northern
France. The Normans had been swift to adopt the form of early
French spoken in their new lands, convert to the Christian religion,
marry into French nobility, and take on local customs.
England was eventually unified under Norman rule and William
(the great, great, great, great, great, great, great grandfather of
Richard II) established a ruling class with close ties to France.
Anglo-Norman, then other French dialects, became the official
1100
language of the aristocracy, government, and legal records.
Unlike Old Norse, the majority of words taken from French reveal
its use by the elite and governing class. The contrast of class is
clearly demonstrated in the English agricultural vocabulary for
livestock and the French gastronomical vocabulary for meat, such
as pig/pork, oxen/beef, calf/veal, sheep/mutton. After three hundred
years as the official language of judicial and legal proceedings,
words of French origin still dominate the English lexicon for these
fields, such as justice, court, attorney, mayor, government, nation,
parliament, council, diplomacy, treaty, alliance.
c. 1200
Middle English: c. 1200
This isah Arthur athelest king,
isah hē ānne hǽþene erl hālden him tōgǽnes,
mid sefen hundred cnihtes al garwe tō fihten.
This saw Arthur, noble king,
He saw a heathen earl approach him together
With seven hundred knights all prepared ro fight
In 1362, the language of the ruling class finally conceded to the
language of the general population with the Pleading in English
Act. Since the Norman invasion, all legal proceedings had been
conducted in French and were unintelligible to the very citizens
whose fates were being determined. The new law decreed
that all legal proceedings would be conducted in English and
recorded in Latin.
Following the events of the Peasant’s Revolt in 1381, a teenage
Richard II addressed the crowd in English — the first time in
record that an English king had done so since 1066. This uneasy
acknowledgement of the population’s ability to threaten the
monarchy contrasts with the deliberate political use of the English
language by Bolingbroke and Henry V.
When Bolingbroke accepted the crown and throne of England —
a pivotal moment in Richard II — he made his speech not in the
French of the nobility or the Latin of official government record,
but in the people’s English. This new fashion, set by the king, took
hold and English resurged as the language of all classes.
Inheriting the throne from his father, Henry V changed the official
language of government records to English and commissioned
a distillation of discordant regional dialects into a standardized
English. In 1476, this emerging form of standardized English
gained unprecedented influence as the printing press arrived in
England and literacy rates soared.
By 1590, after a century of linguistic stability with significant
invasions, Modern English was coming into its own. It is at this time
that the plays of William Shakespeare were penned. Shakespeare’s
influence on the English language has been significant. He
debuted roughly 1,700 new words in his plays — cobbling words
from existing roots or converting nouns to verbs or verbs to
adjectives. Current English is saturated with phrases like wild goose
chase, break the ice, or laughing stock taken directly from his scripts.
Perhaps the most far reaching influence of Shakespeare on
the English language comes from the popularity of his work in
the following centuries. Shakespeare’s grammatical structure,
stylistic devices, and phrases were thoroughly studied by authors,
playwrights, and academics from a broad range of disciplines
between the European Enlightenment and the Victorian Era.
The minds that would inform and solidify Modern English were
steeped in Shakespeare.
Brut by Layamon is the first book written
in English since the Norman invasion.
Middle English: 1368
There was a king / That highte Seys, and
hadde a wyf, / The beste that mighte bere lyf
There was a king who was named Ceyx,
and he had a wife, the best that could live
1399
c. 1413
1476
Henry IV becomes the first king since 1066
to use English as his primary language.
Henry V makes English the official
language of government documents.
The printing press arrives in England.
Middle English: 1485
Hit befel in the dayes of Vther pendragon
when he was kynge of all Englond.
It befell in the days of Uther Pendragon,
when he was king of all England.
c. 1590
William Shakespeare begins producing
plays in London.
Early Modern English: 1595
Nor I nor any man that but man is
with nothing shall be pleased, till he be eased
with being nothing
1755
A Dictionary of the English Language by Samuel
Johnson is published, strongly cementing both
the spelling and meaning of words.
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Anonymous (2)
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Join us for the liveliest auction in town
— Bill’s Birthday Bash! This spring,
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Shakespeare-inspired variety show with
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make the classics accessible to all . . .
come Bash with us!
www.billsbash.org
Gerald Anderson
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Anonymous (9)
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This listing includes
combined donations
of $100 or more made
between June 11, 2012
and December 11, 2013.
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Contact Us:
Ticket office: (206) 733-8222
Administrative offices: (206) 733-8228
Fax: (206) 733-8202
Seattle Shakespeare Company
PO Box 19595
Seattle, WA 98109
Ticket Office Hours
Phil Miller, Immediate Past President
recommended by:
Jeff Fickes,
Communications Director
I’m always looking for ways to
occupy myself during my bus
commute. I was delighted to
stumble upon this wonderful
program from the British
Museum and the BBC.
They have put together a podcast
and book called Shakespeare’s
Restless World that explores
Shakespeare’s time period through a
selection of 20 everyday objects. For
me, listening to these brief podcasts
(they’re about 15 minutes each)
opens up what it must have been
like to live and create at that time.
There were so many new discoveries
in science and technology, and
Shakespeare, with his brilliant mind,
filters the new wonders of his world
into his plays in both subtle and
overt ways. It’s a fascinating listen,
and I just wish someone would
bring the collection of artifacts to
Seattle so we could all have a look at
Shakespeare’s world.
— Jeff Fickes
Find this product and other staff
choices in the lobby or at
Board Officers
Emily Evans, President
Sarah Alsdorf, Vice President / President-Elect
Roberta Greenwood, Vice President
David C. Allais, Treasurer
Susan H. Petitpas, Secretary
Tuesday–Friday: 1 p.m.–6 p.m. (and
one hour before curtain)
Saturday and Sunday: One hour
before curtain
Podcast and Book:
Shakespeare’s Restless World
by Neil MacGregor
Board of Directors
Staff:
Leadership
John Bradshaw, Managing Director
George Mount, Artistic Director
Artistic
Amy Thone, Casting Director
Hannah Mootz, Casting Associate
Sheila Daniels, Associate Artist
John Langs, Associate Artist
Box Office
Lorri McGinnis, Box Office Manager
Tom Dewey, Box Office Associate
Hannah Mootz, Box Office Associate
Thea Roe, Box Office Associate
Lucinda Stroud, Box Office Associate
Commications
Jeff Fickes, Communications Director
Thea Roe, Graphic Designer
Development
Lauren Domino, Development Director
Jeffrey Azevedo, Development Assistant /
IT Assistant
Education
Michelle Burce, Education Director
Casey Brown, Education Associate
Board Members
Shawn Aebi
Jeannie Buckley Blank
Marisa Bocci
Barbara Hebenton Fielden
Lynne Graybeal
David Haggerty
Steve Kelley
Nancy Miller Juhos
Richard Monroe
Nicole E. Dacquisto Rothrock
Renee Roub
Chuck Schafer
Suzanne Skinner
Laura Stusser-McNeil
Dan Tierney
Jay Weinland
Susan K. Wilder
Jeanne C. Wintz, Ph.D.
Advisory Board
Kenneth Alhadeff
John Bodoia
Paula Butzi
Mary E. Dickinson, CPA
Dan Drais
Donald Frothingham
Slade Gorton
Stellman Keehnel
Sarah Merner
Jane Mills
Meg Pageler Mourning
James F. Tune
Doug Walker
Pat Walker
Steven Wells
Front of House
Courtney Meaker, Lead House Manager
Operations
Lisa Dart-Nakon, Office Manager /
Volunteer Coordinator
Production
Miranda C. Pratt, Production Manager
Jocelyne Fowler, Costume Shop Manager
Marleigh Driscoll, Properties Shop Manager
Facilities Partners:
E N C O R E A RT S N E W S Winter Creature
continued from page 8
About that voice. Tomo’s speaking voice
is West coast low-key, distinctly uninflected
and matter-of-fact. It’s the kind of voice that
can describe a musical experience as “pretty
magical” without the slightest twinge of
twee. His singing voice, on the other hand…
Without exaggeration, misconception or
cliché, Tomo’s singing voice is angelic. It’s
boyish in tone, or perhaps womanish, tender,
beautiful, clear and strong. All of those
things, but the word that feels most apropos
is pure.
“I’d always been drawn to female voices
more than male voices for some reason, and
I just found that my range was more in that
kind of register,” he says. “So I’d always sing
along to Whitney Houston, and that wasn’t
weird to me. I guess I never thought I was
unique because I’ve only ever done it the way
I know how. It has to do with being OK with
having an androgynous voice. I feel like it’s
all leading to the same source or the same
place where music comes from.”
On its own, Tomo’s singing is magnetic.
Paired with his diminutive appearance, it’s
arresting. That dissonance drew screenwriter
and film director Lynn Shelton to Tomo
when she first heard him perform at the
Abbey two years ago. She’d known Tomo as
a mysterious character in the Maldives but
had never seen him perform on his own.
That night he sang Judy Garland’s “The Man
that Got Away” and it was, Shelton says, “a
visceral, transcendent human experience.”
That voice in that space is gonna go in one
of my movies, she decided. And so Tomo
ended up with a major role in Shelton’s
Touchy Feely, which toured the festival
circuit before getting its theatrical release
this past summer. (It came out on DVD in
December.) He plays Henry, an aspiring
musician and part-time barista.
“The role wouldn’t exist without Tomo,”
Shelton says by phone. “I didn’t write the role
and then look for someone to fill it, I wrote
the role for him and because of him.”
Shelton introduces Henry as a shy
and earnest guy then builds the story to
his performance at Fremont Abbey. In a
beautiful synthesis of music and narrative,
Henry/Tomo plays a song called “Horses,”
which Tomo wrote specifically for the film.
It’s a transformative climax that commingles
several storylines, characters struggling to
find love and meaning, as Tomo sings with
almost religious gravity.
F RO M C I T Y A RT S M A G A Z I N E
Is it a blessing or a curse to be found, to be
found?
Is it a burden or a gift to be bound, to be
bound?
“There are all these different characters
going through their different journeys and
this song had to envelop them all and find a
common thread,” Shelton says. “It’s kind of
a miracle.”
Jesse Sykes uses similarly reverent
language after meeting Tomo for the first
time to record “I Am Waiting.” She normally
turns down requests for vocal contributions,
she says, but Tomo’s demo version was too
powerful to pass up.
Without
exaggeration,
misconception or
cliché, Tomo’s singing
voice is angelic.
“He’s a self-assembled human cathedral,”
Sykes says. “He doesn’t need the bells and
whistles. He’s one of the lucky ones in that
he doesn’t need a band to communicate. He’s
transcendent on his own. Some people have
a little more ghost in them, that juju that
can’t be put into words.”
Tomo says he’s been listening to a lot of
electronic artists and gravitating toward
stripped-down vocal stylists like Arthur
Russell and Bill Callahan. He’s seeking
economy, drilling down to the core of his
songs rather than building grandeur around
them: a minimalist approach to maximizing
impact. In December he played St. Mark’s
Cathedral, Seattle’s grandest intimate venue.
Though Tomo says he enjoyed acting, the
most important result of Touchy Feely was
that it reaffirmed his commitment to music.
It made clear his course. It gave him courage.
For his next album, he’ll abandon the name
Grand Hallway in favor of something else.
Maybe a pseudonym, maybe his own name.
The idea is to denote this new attention to
closeness and connection.
“The name Grand Hallway lends itself
to expectations of a big experience,” Tomo
says. “The intent of the name was kind of
reflecting how people come in and out of
your life, and we experience these fleeting
moments of beauty, but then you have to
go on your way. The hallway is not a place
where you live. You just pass through.” n
Handcrafting artisan
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E N C O R E A RT S N E W S A WORLD PREMIERE BY SAMUEL D. HUNTER
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10 ENCORE STAGES
SRT 120413 wilderness 1_3s.pdf
Alisa Furoyama and
Forrest Eckley ready
Glasswing for opening.
More in Store
Glasswing’s urban
surplus is true to
the Northwest.
BY JONATHAN ZWICKEL
IN THE WORLD of independent retail, simply
selling stuff is no longer a viable business
model. The retail space that thrives isn’t
filled with things to buy; it’s a repository
for experiences, real or potential. It’s a
platform for artisans and entrepreneurs. It
builds community. It offers story as much as
substance.
Eye-roll worthy perhaps, but this new
retail paradigm is an earnest approach to
conscientious consumption. It’s as much
a marketing tack as it is an ideal—but that
doesn’t eradicate its altruism.
“People need a compelling reason to go
buy something from a store, otherwise you
should just go online,” says Forest Eckley,
co-owner of Glasswing, a new retail venture
which opened in the former Sonic Boom
space in Capitol Hill’s Melrose Market last
month. Eckley hopes that Glasswing’s mix of
clothing, housewares and furniture—plus a
space available for rotating guest designers
and hosted events—will offer that elusive mix
of hard goods and intangible experience.
Glasswing has existed for a few years as
an occasional pop-up shop around Seattle,
a fashion blog and more recently, an online
store, but this is its first full-time, brickand-mortar home. The brand specializes in
high-end clothing for men and women that
adheres to an au courant urban-woodsman
aesthetic: Rugged sweaters, heavy overcoats
and sturdy work shirts refined for active city
MIGUEL EDWARDS
to
at Meany Hall on the UW Campus
Asia’s most acclaimed
dance company performs
Songs of the Wanderers,
a work inspired by
Siddhartha’s quest for
enlightenment and brought
to life on an astonishing set
of 3-1/2 tons of shimmering
golden grains of rice.
MARCH 6-8
206-543-4880 • UWWORLDSERIES.ORG
A
A New
New Orleans
Orleans French
French Quarter
Quarter Dining
Dining Experience
Experience
UWWS 112513 ES044 1_3s.pdf
toulouse
toulouse
Br Br
oa oa
d d
ve ve
tA tA
lio lio
El El
ay ay
W W
n n
ka ka
as as
Al Al
Denny
Denny
Downtown
Downtown
Seattle
Seattle
99
99
4th4th
1525 MELROSE AVE.
Mercer
Mercer
Seattle Center
Seattle Center
Pike
Pike
I5
I5
Pinoneer Square
Pinoneer Square
Toulouse Petit
Kitchen & Lounge
90
90
Kitchen & Lounge
Fifth
Fifth Most
Most P
Popular
opular Restaurant
Restaurant in
in the
the Nation
Nation
Tenth
Tenth Most
Most P
Popular
opular in
in the
the W
World
orld
–– Trip
Trip Advisor's
Advisor's 2012
2012 Traveler's
Traveler's Choice
Choice Award
Award
Breakfast
Breakfast
glasswingshop.com
Lake Union
Lake Union
Queen Anne
Queen Anne
Queen
Queen
Anne
Anne
AveAve
dwellers. Some items are made by American
heritage brands like Gant and Filson; others
are designed in-house by Eckley and his
partners Sean Frazier and Alisa Furoyama.
Pairing expensive clothes alongside
practical, outdoorsy items like hatchets,
wool blankets and pewter flasks epitomizes
Glasswing’s modern-surplus retail approach.
In the field or in your apartment, these items
look good and function well. This style is
popular from Portland to Brooklyn, but it
resonates deepest in Seattle, where real
wilderness exists mere minutes from city
streets.
Clothing, plants and home goods occupy
the front third of Glasswing’s storefront. Set in
the middle is furniture by Brackish, another
one of Eckley’s endeavors. Using reclaimed
wood and metal, he and his Brackish design
partner Andy Whitcomb design couches,
dining tables, bar carts and garment racks.
All feature hard angles, heavy materials
and muted colors in a hyper-masculine,
minimalist style; all are hand-built by Seattle
craftsmen. The Brackish showroom area
plays a dual role: It allows customers to check
out the furniture and provides a lounge area
inside the store.
“I wanna give people a reason to feel like
they can hang out without having to buy a
$4,000 dining table or $200 dress,” Eckley
says. “They can just come in and hang out in
this cool environment. We’ll have plenty of
furniture for people to have meetings or read
or just decompress on their way up the hill
from downtown.”
Meeting and collaboration space occupies
the back third of the space, where Eckley says
he’s renting four or five desks to freelance
photographers and designers. This area
adjoins an area available to rotating pop-up
shops that are scheduled throughout the
coming year. The first will be Scout, a Seattle
retailer and pioneer of urban-woodsman chic,
and Ty Ziskis, a musician-about-town who
imports vintage workwear from the UK.
The back wall of Glasswing is made of
floor-to-ceiling windows that yield gorgeous
natural light. The ceiling is beautifully
textured unfinished wood bracketed by
heavy, wooden beams. Eckley calls the raw,
unadorned style of the 100-year-old building
“a dream interior.”
“At heart we’re a retail shop, but in order
to be a retail shop worth visiting, we have to
do something different,” Eckley says. “To get
a really cool space we have to have multiple
income streams so we’re not just relying on
designing and buying and selling clothes.
Those two elements lead to
a dynamic
ad proofs.indd 1
space that’s fun and interesting and never
stagnant.” n
Lunch
Lunch
Happy
Happy Hour
Hour
601 Queen Anne Ave North, Seattle
601 Queen Anne Ave North, Seattle
|
|
Dinner
Dinner
toulousepetit.com
toulousepetit.com
|
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Late
Late Night
Night
206.432.9069
206.432.9069
E N C O R E A RT S N E W S F RO M C I T Y A RT S M AG A Z I N E
baby 111313 black 1_3v.pdf
Cory Clark bundles up to sell soda at a chilly Ballard Farmer’s Market.
Fizzy Logic
Soda Jerk microbrewery takes soda
from uninspired to urbane.
Even straight out of a charmless industrial
refrigerator, lemon lavender soda is delicious.
Cory Clark, owner and founder of Soda Jerk
Sodas, has tapped a small keg of the bright
pink beverage so that I can taste his most
popular flavor—the only one he always has on
tap at his Ballard Farmer’s Market stand, for
sale by the glass or the growler. “My customers
get upset if I don’t have it,” he says.
Before I take a foamy sip, I smell why this
is such a popular drink. The scent of lavender
thumps me in the nose, thick, floral and
herbal, immediately balanced by the bright
tang of lemon. Refreshing, complex and
sophisticated, it’s a strange soda sensation for
someone with an unhealthy love of Coke Zero.
The other two flavors in the fridge, cranberry
tangerine and apple pie, are also impressive,
the first quietly sweet and brilliantly red, the
second of a dusky, spiced essence, still light
and fruity but with a velvety finish akin to
high-end cream soda.
Clark is a tall, affable man, wearing a
turquoise Soda Jerk T-shirt, chin-length hair
peeking out from under a baseball cap. We’re
chatting in the shared kitchen space on lower
Queen Anne where he concocts his soda
flavors—28 recipes and counting.
Soda Jerk began when the in-home
seltzer-maker SodaStream hit the market;
Clark was less than impressed with the
12 ENCORE STAGES
sticky, sickly-sweet syrups provided for
making homemade sodas. In mid-2012, he
experimented with fresh ingredients and soon
had five flavors of soda syrup: Ginger ale,
hibiscus spice, honey lemon, tonic water and
watermelon basil. Syrup was fine, but when
Clark started making fresh sodas, he knew he
was onto something.
“In order to make a syrup you have to
cook it, and that’s going to change the flavor
profile,” he says. “Cooked watermelon juice
tastes much different than if it’s fresh.” Syrups
also require more sugar than fresh sodas
(he uses organic cane sugar, nothing highfructose about it) and they have to be bottled,
labeled and shelf-stable.
“I’m more agile with the sodas,” he says.
“I can easily do a new flavor if I want to, even
based on something at the farmer’s market. If
I see someone has pears, I can work with fresh
pears.” Leaving room for spontaneity has led
to soda flavors like pink grapefruit tarragon,
apple ginger, elderflower, caramelized pear,
plum five-spice, elderberry black peppercorn
and vanilla hazelnut. Clark hit Seattle farmer’s
markets with fresh sodas in August 2012 and
he hasn’t looked back.
Soda Jerk might be heir apparent to a
distinctly Seattle line of envelope-pushing
sodas. Jones Soda, which debuted in 1996,
touted cane sugar and environmental
MIGUEL EDWARDS
BY GEMMA WILSON
responsibility, but the lurid colors and
traditional-plus flavors (not to mention an
energy drink called “WhoopAss”) make it very
much a brand of the ’90s. Founded in ’06, DRY
Soda was a mid-aughts evolution of the idea:
a lower-sugar, adult soft drink, with thenunusual flavors like rhubarb, vanilla bean and
juniper berry. Now Soda Jerk is tapping into a
new culinary zeitgeist: farm-to-bottle.
Clark’s enterprising spirit makes up for
his lack of professional food experience. He
grew up in “a family of do-it-yourselfers” near
Buffalo, New York. “We built the house I has
growing up in,” he says. “From age seven I
was nailing things, laying bricks. We built it
around us.” He studied fashion design and
marketing at the University of North Carolina,
then landed in Dallas, where he became a
cosmetic chemist, creating all the products
for the two stores (“A lot like Lush”) and spa
he owned. His outdoorsy nature, and his now
ex-wife, a Seattle native, ultimately drew him
to the Northwest.
For now, Soda Jerk is a one-man operation.
“I’ll do everything myself until I can’t,”
he says. But Clark thinks big. “I have too
many ideas sometimes. And it takes focus to
make sure one thing succeeds before adding
something new.”
Clark’s “too many ideas” do yield gold—like
a MacGyver-ed rocking chair that lets him
shake and carbonate six five-gallon kegs at
once. He’s also Kickstarting funds for a tiny
soda truck, which would allow him to double
his business, and he’s started to make chewy
candies with some of the same flavor combos
I smell why this is
such a popular drink.
The scent of lavender
thumps me in the
nose, thick, floral and
herbal, immediately
balanced by the
bright tang of lemon.
as his sodas. Top-secret projects include
creating an undisclosed “salty snack” for the
soda truck and partnering with a purveyor of
frozen treats.
Down the line, Clark’s master plan involves
UV pasteurization so he can wholesale to
bars and restaurants. Creative sodas offer a
great alternative to alcoholic beverages—and
they also go great with booze. Clark’s favorite
flavor, lime cilantro jalapeño, is tailor-made
for cocktails: Just add tequila. Whatever your
poison, Clark has something to suit it. And if
he doesn’t, he just hasn’t thought of it yet. n
ad proofs.indd
Soda Jerk Soda is available at Seattle
farmer’s1
markets. For current market schedule and
flavors, visit https://www.facebook.com/
SodaJerkSoda.
See the complete ECA 2013–2014 Season at www.ec4arts.org!
PSBC 110413 hug 1_3s.pdf
KURT ELLING
Thursday | March 20
$32, $37 & $42, $15 youth/student
Sponsored by
Carl Zapora & Cheryl Foster, Jean Hernandez,
and Irwin Zucker, age 11
BODYVOX
Saturday | May 3
$27, $32 & $37, $15 youth/student
Sponsored by
Bob & Sylvana Rinehart, Sound Health Physicians,
and Barclay Shelton Dance Centre
CHANTICLEER
Thursday, May 8, 7:30 pm
$27, $32 & $37, $15 youth/student
Sponsored by
Stephen Clifton & Ed Dorame, Rock & Maggie Peterson, Thomas & Julene Tomberg,
and Erin Eddins, CFP/StanCorp Investment Advisors
10% discount for Seniors 62+ & Military on events presented by ECA!
ec4arts.org | 425.275.9595
410FOURTHAVENUENORTH
EDMONDSWA98020
2013–2014 SEASON
presented by
ECA
E N C O R E A RT S N E W S Pop Royalty
Celene Ramadan gives
glamor to comedy.
BY AMANDA MANITACH
WHO Celene Ramadan, the 33-year-old vintage-pop
teen-dream siren and comedienne better known as
Prom Queen. (She actually never went to prom).
Raised bi-coastal, Ramadan has called Seattle home
for 10 years.
FUNNY GIRL Ramadan’s Egyptian father sang and
played drums in a rock band in Alexandria. Thanks
to him, she grew up obsessed with the Beatles and
learned to play drums, oboe, guitar and piano at a
young age. A natural thespian and comic on stage,
Ramadan was so shy that she refused to sing in front
of people and shut herself in the basement to practice
and play. After some serious soul-searching in college, she realized she couldn’t live without performing.
She canvased the school with gig posters and forced
herself to get in front of a crowd.
A HUNDRED HATS Sultry chanteuse isn’t Ramadan’s
only colorful day job. She’s made a living delivering
singing telegrams; impersonating celebrities like Cher,
Britney, Celine Dion, Katy Perry and Marilyn Monroe;
and popping out of birthday cakes. She also produces
videos and makes custom music for iPhone apps,
ringtones, video games and commercials. In her other
music project, Leeni, she makes chiptune music with a
Nintendo Gameboy.
IT-LIST A self-described Priscilla Presley prom-punk
palm reader, Ramadan cites style idols that are as
blown-out and out-of-this-world as the queen herself:
Debbie Harry, Brigitte Bardot, Françoise Hardy, David
Lynch, David Bowie, Trish Keenan (RIP), Björk and
Beyoncé.
NEXT UP Ramadan recently successfully funded a
LAUREN MAX
Kickstarter campaign to realize her next Prom Queen
project: an album released on DVD made entirely
of music videos. She raised $12K for the album-film
hybrid, called Midnight Veil, and is currently shooting
and editing around Seattle and beyond.
14 ENCORE STAGES

Richard II - EncoreArtsSeattle.com

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