WilmaBill - The Wilma Theater

2 0 1 4 / 2 0 1 5 S EAS ON
6
FROM THE
Artistic
Director
B LAN K A ZIZK A
Before I embarked on developing a concept for
my production, I needed to know who would be
playing Hamlet. I couldn’t imagine working on it
with someone I didn’t know. I needed an actor who
was willing to work in the physical way I approach
rehearsals—experimenting and improvising, without
fear. I made a list of actors I would like to see working
with me and Zainab Jah’s name kept rising to the top.
She is an actress who was raised and educated in
Sierra Leone and London, and now lives in Brooklyn.
Last year you might have seen her at the Wilma in The
Convert, playing Prudence. Because of her ability to
transform onstage, it became clear to me that Zainab
was going to be my Hamlet. I knew I wouldn’t even
attempt to direct the play without her.
Why is the ability to transform onstage so important
to me? I believe that this is one of the most important
skills for actors to master. In order to do so, they
need to lose their sense of ego, find humility, open
themselves to listening to others, and give up the
security of familiar and safe choices. Zainab embodies
the qualities I’m looking for in an actor exactly. In my
production, Hamlet is not going to change gender because he’s played by a woman;
rather, I expect that Zainab is going to transform into Hamlet.
Since Our Class, four years ago, the Wilma has regularly offered a series of
workshops led by master instructors including vocal teacher Jean-René Toussaint,
Ivana Jozic of Troubleyn Theatre, and the Greek director Theodoros Terzopoulos of
Attis Theatre. All these teachers take actors through rigorous training that focuses
on the imagination of the body rather than psychological acting. In order to explore
the art form of theater, I believe we have to continue to experiment and that these
experiments depend on having a company of actors. For Hamlet and Rosencrantz
and Guildenstern are Dead, we have created a company, as our own examination of
the possibilities for the Wilma’s future.
Enjoy Hamlet and please come back for Rosencrantz and Guildenstern are Dead.
FROM THE
Managing
Director
JA M ES H AS K I N S
In my former life as an actor, my first foray into a full
production of a play by Shakespeare was as Laertes
in a college production of Hamlet. I recall the first
read-through of the play just before winter break.
We had not yet spent any time with the script and
I had no clue what I was saying to Ophelia: “…your
chaste treasure open to his unmaster’d importunity.”
What? We were asked to memorize our roles during
winter break and be prepared to begin rehearsals
without our scripts. And this was to be a production
with very few cuts that ultimately ran more than
four hours. What had I gotten myself into?
A few years later, I was cast as Horatio in a touring
production with the National Shakespeare Company. We literally traveled all over the country with
performances in a turn-of-the-century vaudeville
house in Calumet, MI, and a replica of the Globe
Theatre in Odessa, TX. It was 1989, very shortly
after meeting my now husband while touring with
him in a production of Twelfth Night. We were
young, a bit scared, and living in a very uncertain
world still reeling from the AIDS epidemic. We very
much identified with Horatio’s line after seeing the ghost of King Hamlet, “Oh day
and night, but this is wondrous strange.” And then we considered Hamlet’s response, “And therefore as a stranger give it welcome.” Hamlet’s rejoinder became our
mantra, our touchstone, our reminder of how to attack any unfamiliar or overwhelming situation.
I no longer act, but I have since seen countless performances of the play. Unlike my
first dive into the script during my sophomore year of college, I now have a more
thorough understanding of the play than any other text in the English language. In
fact, I must temper myself so as not to drive Blanka to distraction with my opinions
about certain cuts or character interpretations. With each new production, there is
something previously unconsidered to be discovered. It’s just that kind of play.
I am thrilled to be with a company here at the Wilma that feels as passionately about
the play as I do. It’s infectious. I expect you’ll feel it too.
We all have Hamlet stories. What are yours?
Blanka Zizka
James Haskins
Season Sponsors
Honorary Producer
Production Sponsor
under the direction of
The Wilma Theater is grateful for significant support provided by:
Blanka Zizka
Artistic Director
James Haskins
Managing Director
presents
The Horace Goldsmith
Foundation
Wyncote Foundation
The Virginia and Harvey Kimmel Family Campaign to Build the
Audiences of Tomorrow provides positive early theater experiences for Philadelphia area students.
Opening Night Sponsors
Create a Legacy at
The Wilma Theater
featuring
Krista Apple-Hodge*, Ross Beschler*, Keith Conallen*, Sarah Gliko*,
Joe Guzmán*, Zainab Jah*, Jared McLenigan*, Brian Ratcliffe, Steven Rishard*,
Lindsay Smiling*, Ed Swidey*
Set Designer
Costume Designer
Matt Saunders
Vasilija Zivanic
Lighting Designer
Yi Zhao
Sound Designer
Zachary Beattie-Brown
Original Music and Sound
Alex Games and Emma Violet
Hair and Makeup Designer
David Bova
Lead Street Artist
CERA
Fight Director
Ian Rose
Script Editor and Dramaturg
Walter Bilderback
Production Manager
Clayton Tejada
Resident Stage Manager
Patreshettarlini Adams*
Director
Blanka Zizka
*Members of Actors Equity Association,
the Union of Professional Actors and
Stage Managers in the United States.
This theater operates under an agreement between the
League of Resident Theatres and Actors’ Equity Association,
the Union of Professional Actors and Stage Managers in the
United States.
The scenic, costume, lighting and sound
designers in LORT Theatres are
represented by United Scenic Artists,
Local USA-829 of the IATSE.
Who’s Who
Cast of Characters
Krista Apple-Hodge................................................................... Gertrude
Ross Beschler....................................................................Horatio/Player
Keith Conallen........................Bernardo/Osric/Rosencrantz/Pall Bearer
Sarah Gliko.....................................................Ophelia/Player/Fortinbras
Joe Guzmán..............................................................Polonius/Pall Bearer
Zainab Jah..................................................................................... Hamlet
Jered McLenigan...........Marcellus/Guildenstern/Pall Bearer/Attendant
Brian Ratcliffe.........................................................Laertes/Player Queen
Steven Rishard........................................................................... Claudius
Lindsay Smiling...Ghost/Player King/Norwegian Captain/Gravedigger
Ed Swidey...............Voltemand/First Player/Lucianus/Poisoner/Priest/
English Ambassador
There will be one fifteen-minute intermission.
The Wilma Theater is a member of the following organizations: Avenue of the Arts, Inc., Greater
Philadelphia Cultural Alliance, League of Resident Theatres, Midtown Village Merchants Association,
and Theatre Communications Group, Inc.
Please note
Photography or sound recording inside the theater, without the written permission of the management, is prohibited by law. Violators may be asked to leave the theater and may be liable for financial
charges.
Children Policy
Some subject matter may be deemed objectionable for children; therefore, children under 12 will not
be permitted in the theater.
Distracting Noise and Light
The noise of cellular phones and candy wrappers, and the light from electronic devices, are distracting
to both audiences and actors. Please turn off all cellular phones and electronic devices. Also, please
be sure that your watch alarm does not sound during the performance.
Smoking, eating, and drinking are prohibited inside the theater.
Blanka Zizka (FOUNDING ARTISTIC
DIRECTOR) has been Founding Artistic Director of
The Wilma Theater since 1981. In the fall of 2011, Blanka received the Zelda Fichandler Award from the Stage
Directors and Choreographers Foundation, which recognizes an outstanding director or choreographer transforming the regional arts landscape. For the past three
years, she has been developing practices and programs
for local theater artists to create working conditions that
support creativity through continuity and experimentation. She has organized nine compensated advanced
training workshops for dozens of Philadelphia artists
with the goal of creating an ensemble of actors surrounding the Wilma. Most recently, Blanka directed Paula Vogel’s World Premiere Don
Juan Comes Home from Iraq, Richard Bean’s Under the Whaleback, Tony Kushner’s Angels in America, Tadeusz Słobodzianek’s Our Class, Sarah Ruhl’s In the Next Room, and
Macbeth, which included an original score by Czech composer and percussionist Pavel
Fajt. Blanka has directed over 60 plays and musicals at the Wilma. Her recent favorite
productions are Wajdi Mouawad’s Scorched, Tom Stoppard’s The Invention of Love and
Rock ’n’ Roll, Sarah Ruhl’s Eurydice (which featured an original score by composer Toby
Twining, now available from Cantaloupe Records), Brecht’s The Life of Galileo, Athol
Fugard’s Coming Home and My Children! My Africa!, and Caryl Churchill’s Cloud 9. She
collaborated closely with Dael Orlandersmith on her plays Raw Boys and Yellowman,
which was co-produced by McCarter Theatre and the Wilma and also performed at ACT
Seattle, Long Wharf, and Manhattan Theatre Club. Blanka was also privileged to direct
Rosemary Harris and John Cullum in Ariel Dorfman’s The Other Side at MTC. For the
Academy of Vocal Arts, she directed the opera Kát’a Kabanová by Leoš Janácek. She
has collaborated with many playwrights including Paula Vogel, Richard Bean, Yussef El
Guindi, Doug Wright, Sarah Ruhl, Tom Stoppard, Linda Griffiths, Polly Pen, Dael Orlandersmith, Laurence Klavan, Lillian Groag, Jason Sherman, Amy Freed, Robert Sherwood,
and Chay Yew.
KRISTA APPLE-HODGE (GERTRUDE) Wilma credits in-
clude Rapture, Blister, Burn, Our Class, Macbeth, Leaving, and In the
Next Room, or the vibrator play (2011 Barrymore, Best Supporting
Actress). Also in Philadelphia: Walnut Street Theatre (Other Desert
Cities; Proof), Lantern Theater (Henry V), Arden, InterAct, PlayPenn,
Theatre Exile, and the Philadelphia Artists’ Collective/PAC (Mary
Stuart, Creditors), where she serves as Artistic Associate. Film/TV:
Law & Order; the_source. She is a current faculty member at University of the Arts, and a graduate of Temple University (MFA, Acting)
and Kenyon College (BA, English/Theatre). More at kristaapple.com.
ROSS BESCHLER (HORATIO/PLAYER) is very happy to
be back at the Wilma for this epic project. Ross has previously been
at the Wilma in Our Class, Under the Whaleback, and Bootycandy,
and was most recently seen at InterAct in The Dangerous House of
Pretty Mbane. Other shows include The Lady from the Sea and Hell
(EgoPo), Knives in Hens (Theatre Exile), Mary Stuart (PAC), Maple
& Vine (City Theatre), The Lonesome West (Lantern), Kate Crackernuts (The Flea) and End Days (People’s Light & Theatre). In New
York, Ross has been a frequent collaborator with Brooklyn-based
company Object Collection. MFA: Temple. Film: Flight of the Cardinal. Much love and thanks to fellow traveler BG, and gratitude to Fern and Edwin.
KEITH CONALLEN (Bernardo/Osric/
Rosencrantz/Pall Bearer) has been seen previously
at the Wilma in Don Juan Comes Back From Iraq (Don Juan); also Under The Whaleback, Curse of The Starving Class; Flashpoint Theatre
Co.: The Santaland Diaries, Slip/Shot, Run, Mourner, Run; Azuka: Kid
Simple, Long Christmas Ride Home; Theatre Exile: Gruesome Playground Injuries, Red Speedo; People’s Light and Theatre Co.: Ghosts;
Lantern Theater Co.: Taming of The Shrew; Maukingbird Theatre Co.:
The Misanthrope. Thanks to Blanka, Pat, and the cast & crew.
SARAH GLIKO (OPHELIA/PLAYER/Fortinbras)
is pleased to be a part of this company alongside so many friends,
including her new husband Jered! Favorite credits include: Don Juan
Comes Home From Iraq (Wilma Theater), Parade, Charlotte’s Web
(Arden Theatre Co.), My Dinner With Dito (Bearded Ladies Cabaret),
The Screwtape Letters, The Liar (Lantern Theater), Around the World
in 80 Days, Love Story, The Ugly One (Walnut St. Theatre), Pumpgirl
(Inis Nua Theatre), and John & Jen (Act II Playhouse). Special thanks
to Blanka, Jamie, Pat, Walter and Nell.
JOE GUZMÁN (POLONIUS/PALL BEARER) is happy
to return to the Wilma where he was previously seen in Arcadia,
The Ruling Class, On the Razzle and The Psychic Life of Savages.
Recent productions include Lantern Theater: Arcadia, Julius Caesar;
Passage Theatre: True Story (Barrymore Nomination – Supporting Actor in a Play); Bristol Riverside Theatre: Inherit The Wind;
Arden Theatre: Cinderella, Women In Jep; Montgomery Theater:
Any Wednesday, Half and Half; Theatre Horizon: How I Learned to
Drive; Folger Shakespeare Theatre: Othello; Pendragon Theatre: Les
Liaisons Dangereuses; People’s Light & Theatre: One Flew Over the
Cuckoo’s Nest, Tom Sawyer; Philadelphia Theatre Company: The Light in the Piazza. Joe
received a Barrymore Award for Supporting Actor in a Play for Lantern Theater’s Lovers
and Executioners.
ZAINAB JAH (HAMLET) is from from London, UK and Freetown, Sierra Leone. Theatre credits include Prudence (The Convert)
Josephine (Ruined), Williamstown Theatre Festival (A Doll’s House),
Yale Rep (Eclipsed, Trojan Women), Classical Theatre of Harlem, The
Public Theatre (In Darfur), Regan, (King Lear Classical Theatre of
Harlem), Beatrice, (Much Ado... ), Queen Isabella (Edward II), Macaria, (Peter Sellars’ Children Of Herakles), European Tour. Film and
TV credits include principal roles in ‘Dinner Rush’ with Danny Aiello,
Law & Order SVU. Awards: Los Angeles Stage Alliance Ovation
Award, Featured Actress (The Convert) San Francisco Bay Area Critics’ Circle – Outstanding Performance, Female Featured Role, (Ruined), San Diego Critics’
Circle Featured Actress Award (Ruined), Drama Desk Ensemble Award (Trojan Women)
JEred MCLENIGAN (Marcellus/
Guildenstern/Pall Bearer/Attendant) was
last seen at the Wilma in Stoppard’s Rock ‘N’ Roll and is so happy to
be back as a part of this company (alongside his wife Sarah!). He’s
worked locally with the Lantern, InterAct, Inis Nua, Theatre Exile,
Act II, Walnut Street, Delaware Theatre Company, 1812, Bristol Riverside and Iron Age Theatre, among others. Jered has received the Barrymore Award for Supporting Actor in a Play twice, most recently for
his Mark Antony in the Lantern’s Julius Caesar. Because of you, he’s
able to do this for a living. Thanks for choosing to be here with us!
BRIAN RATCLIFFE (Laertes/Player queen) is a
Philadelphia-based actor, musician, and teaching artist who originally hails from Salt Lake City, Utah. Brian graduated from Swarthmore College in 2011, where he studied Chemistry, Chinese, and
Theater. He is honored to return to the Wilma stage after appearing
in The Real Thing, Don Juan Comes Home From Iraq, and Under the
Whaleback. Recently, Brian has also worked with Theatre Exile (Red
Speedo), Team Sunshine Performance Corporation (The Sincerity Project, Henry IV), and the Philadelphia Artists’ Collective (Sea
Plays). Brian is a founding member of Murmuration Theater, and
is a keyboardist for ComedySportz Philadelphia. Up next: Rosencrantz & Guildenstern
Are Dead and Antigone, both here at the Wilma. Enormous gratitude to Blanka and this
incredible ensemble. For Rachel.
STEVEN RISHARD (CLAUDIUS) most recently played
Dan in Detroit at Philadelphia Theatre Company. New York credits
include Useless at IRT, Luz at La Mama, The Bacchae for Public Theater’s Shakespeare in the Park, A Heartbeat to Baghdad at The Flea
Theater, In the Penal Colony at Classic Stage Company. With Division 13 Productions; Act Without Words 1, Cascado, and Journeys
Among the Dead. Regional credits include Quartet at Court Theatre,
The Rainmaker at Triad Stage, and The Beautiful Dark at Premiere
Stages. TV credits: Law & Order, Law & Order: SVU, The Americans,
Kings, and Treme. Film: Shelter (6 Souls) and Hal Hartley’s latest film
Meanwhile.
LINDSAY SMILING(Ghost/Player King/
Norwegian Captain/Gravedigger) is thrilled to
be back on the Wilma stage where he appeared in Don Juan Comes
Home From Iraq, Macbeth, Jesus Hopped the ‘A’ Train, and Resurrection Blues. Recent stage credits include Great Expectations (Arden
Theatre Co.), The Learned Ladies (The Shakespeare Theatre of NJ),
North of the Boulevard (Theatre Exile) and Othello (Milwaukee Rep).
Mr. Smiling has performed Off-Broadway and at regional theaters
across the country including: Syracuse Stage, Walnut Street Theatre,
People’s Light and Theatre Co., Pittsburgh Public, Two River Theatre,
Victory Gardens, ACT, Dorset Theater Festival, Human Race Theatre, Pennsylvania Shakespeare Festival, Illinois Shakespeare Festival, Mixed Blood Theatre, Bristol Riverside Theatre, Brave New World Rep, Ensemble Studio Theatre, Lantern Theater Co, Tiny Dynamite
and Shakespeare on the Sound. For more info: lindsaysmiling.net.
ED SWIDEY (Voltemand/First Player/
Lucianus/Poisoner/Priest/English
Ambassador) is thrilled to be back at the Wilma, where he
previously played Roc in Under the Whaleback, Ellis in Curse of the
Starving Class, Wladek in Our Class, and Angus in Macbeth. Earlier
this season, Ed’s performance as Willy Loman in Death of a Salesman
was a hit to kick off EgoPo Classic Theatre’s American Giants Festival. Other recent shows: GINT and The Lady From The Sea (EgoPo),
Bathtub Moby Dick (Renegade Company), Aladdin: A Musical Panto
(People’s Light). Ed received his MFA in Acting from the University of Delaware. Many
thanks to Blanka for her continued faith, Pat for making every day joyful, and all the
Wilma family for their hard work and support. For Alfie, Winky, and Cindy most of all.
MATT SAUNDERS (SET DESIGNER) Recent Off Broadway work has included Good Person of
Szechwan at The Public Theater, The Tempest for The Public Theater at the Delacaorte, and As You Like
It for The Acting Company at The New Victory and Lincoln Center. Regionally, Mr Saunders has designed
at the Mark Taper Forum, Huntington Theatre Compay, Guthrie Theater, Berkeley Repertory Theatre,
Actor’s Theatre of Louisville, Children’s Theatre Company in Minneapolis, Spoleto Festival, Arden Theatre
Company, Pig Iron Theatre Company, Philadelphia Theater Company, and Yale Repertory Theatre. Hamlet
is Matt’s tenth show here at The Wilma Theater. Mr. Saunders holds an MFA from Yale School of Drama
(’12). He is a 2014 Pew Fellow in the Arts, as well as 2015 Hodder Fellow at Princeton University. Matt is the
Associate Artistic Director of the OBIE Award-Winning theatre company, New Paradise Laboratories; and
the Assistant Professor of Design in the Department of Theater at Swarthmore College. mattsaunders.net
VASILIJA ZIVANIC (COSTUME DESIGNER) Recipient of the Kahn Career Award for Exceptional Talent, Ms. Zivanic’s credentials include Don Juan Comes Home From Iraq by Paula Vogel and
Leaving by Václav Havel (The Wilma Theater), The Daughters of the Mood (Edinburgh Festival), Cosi Fan
Tutte (Huntington Theatre), Venus, Necessary Targets, Godspell, La Lorona (The Beckett Theatre, NYC),
and The Magic Flute; fabric painter for leading New York studio Parson Meares on Broadway including
The Lion King, Wicked, Spamalot, Dracula, and Disney’s Finding Nemo, Monsters, Inc., and Aladdin. Ms.
Zivanic works as a fashion designer and illustrator for various clients in the US and Europe. She is Professor at Parsons and FIT in NYC. Some of her work is published in The Big Book of Contemporary Illustration by M. Dawber and Fashion Drawing by M. Bryant.
YI ZHAO (LIGHTING DESIGNER) is a Beijing-born, Paris-raised and U.S.-educated artist currently based in Brooklyn, who designs lighting for theater, opera, dance and live music. He is pleased to
make his Wilma debut with Hamlet. Recent projects include Much Ado About Nothing at Oregon Shakespeare Festival, WAR at Yale Rep, Livin’ La Vida Imelda and Chairs and a Long Table with Ma-Yi Theater
Company, Becoming Cuba at Huntington Theatre Company, A Doctor in Spite of Himself at Yale Rep and
Berkeley Rep, Blown Youth with New Georges, Republic and Beckett Solos with Hoi Polloi, La Cenerentola
at Curtis Institute of Music, Paola Prestini’s Labyrinth Installation Concertos with Beth Morrison Projects,
The Garden with Nichole Canuso Dance Company, and many others. www.yi-zhao.com
Zachary Beattie-Brown (Sound Designer) is delighted to be a part of the design
team for Hamlet. A graduate of Point Park University, Zach has been working as a freelance engineer and
sound designer in Philadelphia for the past 6 years. He most recently designed Mickle Street at Walnut
Street Theatre where he also designed Dino; Around The World In 80 Days; Plaid Tidings; and Ethel!. He
has worked at 1812 Productions, Theatre Exile, and Arden Theatre among others. This is his second season working as sound engineer at the Wilma and he would like to thank his coworkers for their support.
He wouldn’t be where he is if it weren’t for his beautiful wife Mary, thanks for all of your love and support!
ALEX GAMES (ORIGINAL MUSIC AND SOUND) is an Irish musician and producer based
in New Jersey, USA. He makes music for theater and other media as well as releasing work with the duo
Games Violet. His music has been performed at concerts and music festivals in the US and internationally.
He is currently completing doctoral studies in Music Composition at Princeton University.
alxxgames.com
EMMA VIOLET (ORIGINAL MUSIC AND SOUND) is an Irish composer who writes music for
acoustic and electronic instruments. Her work has been performed by Crash Ensemble, PRISM Saxophone Quartet, and the RTÉ National Symphony Orchestra, and has been featured at festivals including
the International Young Composer’s Meeting, New Music Dublin, and Bang on a Can Summer Music Festival. In addition to concert music, Emma composes for theater, and is one half of the electronic duo Games
Violet. Emma lives in New Jersey, and is currently a doctoral fellow at Princeton University.
emmaviolet.net
CERA (LEAD STREET ARTIST) is a street artist currently based out of Philadelphia. He received
his BFA from the Milwaukee Institute of Art & Design in 2012 with an emphasis in printmaking. After
graduating, Cera pursued opportunities for working out east. He has exhibited work on and off the street
in Milwaukee, Chicago, New York, Philadelphia and Seoul. This is his first experience working as a part of
a set design team.
DAVE BOVA (Hair & Makeup Designer) Past productions at the Wilma include Don
Juan Comes Home From Iraq and Bootycandy. Makeup design: Violet, The Real Thing (Broadway). Hair/
Makeup Design: Little Miss Sunshine, Here Lies Love, Bootycandy, The Killer, My Name is Asher Lev, Good
Person of Szechwan, The Ohmies, Romeo and Juliet, Nothing But Trash (Off-Broadway). Marie Antoinette,
Last of the Boys, Lady Madeline (Steppenwolf Theatre) Two Gentlemen of Verona, The Merchant of Venice
(Shakespeare Theatre D.C.) Guys and Dolls, Taming of the Shrew, Midsummer Night’s Dream (Great Lakes
Theater Festival) Your Biggest Fan, Rich Girl, Our Town (George Street Playhouse). Central City Opera Company 2012/13/14 Seasons, Bard Summerscape 2014 Season, Sarasota Opera Fall 2014 Season.Chitty Chitty
Bang Bang (1st National Tour) Addam’s Family, Camelot, Rock of Ages, and Spamalot (Non-equity Tours).
Broadway Wig construction: Wicked, Memphis, The Miracle Worker, Jersey Boys, Guys and Dolls, Xanadu,
Addam’s Family, Spamalot, Rock of Ages, Jekyll and Hyde, and Cirque Du Soleil.
IAN ROSE (FIGHT DIRECTOR) has arranged fights for commercials, film and stage, and has
been staging fights in the New York and Philadelphia areas for over twenty-five years. One of only two in
the world to be counted a Fight Master in two professional fight direction organizations, Fight Directors
Canada and The Society of American Fight Directors. Ian’s work has been seen at the Riverside Shakespeare and Interborough Repertory Theatre in New York, The Whole Theatre in New Jersey, Bridewell Theatre in London, and MTM Studios in Rome. Ian has worked at The Pennsylvania Shakespeare Festival, The
Philadelphia Shakespeare Festival, Philadelphia Theatre Company and Novel Stages in Pennsylvania. Ian
has had the honour to have taught at seven Canadian National Workshops, and is one of the coordinators of
the Philadelphia Stage Combat Workshop. Ian was a Technical Advisor on the film A Winter’s Tale. He currently holds a 3rd degree black belt in Shotokan Karate and is an adjunct professor at Temple University.
PATRESHETTARLINI ADAMS (STAGE MANAGER/AEA) has been the Production Stage
Manager at the Wilma since the theater made its new home on the Avenue of the Arts in 1996. She has
captained all but three productions in her tenure here and is very happy and proud to be a part of the Philadelphia theater community. “Pat” is celebrating season #19 at the fabulous Wilma! Prior to her coming
home to Philly, Pat was stage manager at the Tony Award-winning Crossroads Theatre in New Brunswick,
NJ. In past years, Pat has worked the National Black Arts Festival in Atlanta, GA and the National Black
Theater Festival in Winston-Salem, NC. When not at the Wilma, she has found herself traveling the world
with critically-acclaimed dance company Noche Flamenca! Most recently, she is using all her free time to
spoil her grandsons, Isaiah and Elijah. God Is Good!
CLAYTON TEJADA (PRODUCTION MANAGER) is celebrating his tenth season at the Wilma,
his third as Production Manager after seven as Technical Director. Clayton started his professional career
as an Apprentice at Arden Theatre, and then worked there for several years as Stage Supervisor. Before
coming to the Wilma, he worked as a freelance Technical Director or Production Manager for 1812 Productions, Mum Puppettheatre, Lantern Theater, and Azuka Theatre. Clayton is a graduate of the Theater Arts
program at The University of Puget Sound. He is proud to make Philadelphia his professional and artistic
home. Thanks and love to his sweet Kate, and his boys Alex and Gabriel.
JEAN-RENÉ TOUSSAINT (STEMWORK INSTRUCTOR) is a French-born director, actor, and
voice teacher. He is the creator of a distinct school of vocal training for performing artists and therapists
– a technique he has dubbed Stemwerk in Dutch – and is the founder and head of a training center in
Rotterdam in the Netherlands and in Avanos-Cappadocie in Turkey. He has been professionally active in
theater since 1973, and has worked with major theatrical companies and artists such as the Living Theatre,
the Roy Hart Theatre, Robert Wilson, and the Polish Laboratory Theatre. His vocal theory and technique
are inspired by the work of Antonin Artaud, Jerzy Grotowski, and Roy Hart, which are all defining figures in
contemporary theater and, in the cases of Grotowski and Hart, of voice technique. Toussaint has traveled
through parts of Asia and India, studying diverse ancient vocal practices, from Afghan Sufi to Mongolian,
Tibetan, and Japanese vocal traditions.
WALTER BILDERBACK (SCRIPT EDITOR AND DRAMATURG) is pleased to be working
on Hamlet, his second Shakespeare collaboration with Blanka Zizka and an important step in the continuing development of a Wilma style of production. Throughout his career, Walter has been involved with
Shakespeare’s work as an actor, director, dramaturg, and adaptor, work which owes an enduring debt to
early encounters with Robert Slattery, Gayle Pearl, Nicholas Pennell, and John Hirsch.
JAMES HASKINS (MANAGING DIRECTOR)
is now in his ninth season in partnership with
Blanka Zizka, the Board of Directors, and staff to advance the mission of The Wilma Theater. James began
his work in theater administration at Circle Repertory Company, where he learned early on the value and
resonance of an artist-centered approach to running a theater company. He went on to work with a variety
of theaters in New York and Seattle as an actor, director, and administrator. Upon moving to Philadelphia,
James worked as Managing Director of InterAct Theatre Company and then Executive Director of the
Theatre Alliance of Greater Philadelphia before coming to the Wilma. As a theater artist, he is most proud
of his directorial and dramaturgical work on the plays of his married partner Michael Whistler. James
holds an MFA from the University of Washington and a BA from The College of Wooster (Ohio), where he
currently serves as President of his alumni class and as a member of the Alumni Board.
staff
ARTISTIC DIRECTOR
Blanka Zizka
MANAGING DIRECTOR
James Haskins
ARTISTIC
Dramaturg/Literary
Manager
Teaching Artists
Jesse Bernstein, Kate Czajkowski, Mike Dees, K.O. DelMarcelle
John Jarboe, Kevin Meehan, Janine Merolla, Tasha Milkman, Lee Minora, Brian Ratcliffe
David Stradley, Josh Totora
Digital Communications Manager
Aaqilah Lewis
Tori Mittelman
EDUCATION
Education Director
Anne K. Holmes
Education Assistant
Lizzy Pecora
Events and Development Associate Debby Lau
Development Intern
Liz Wiest
Marketing and
Community Relations
Manager Sara Madden
Alexa Smith
Alex Malevic
FRONT OF HOUSE
Box Office Manager
Literary Interns
Johnny Van Heest
Marketing Intern
Iain Campbell
Ethan M. Mimm
Artistic Assistant
Nell Bang-Jensen
Group Sales Manager
Walter Bilderback
Technical Director
Andrea Sotzing
Resident Stage
Manager
DEVELOPMENT and
MARKETING
Development Director
Office Manager
Administrative
Coordinator
James Specht
Assistant Box Office
Manager Catherine Perez
Box Office Staff
Richard Rubin Alexa Smith Thu-Han Troung
House Manager
Javier Mojica
BUSINESS
General Manager
Maggie Arbogast
Megan O’Donnell
Tessitura Consortium
Manager
Cassandra D. Greenberg
Tessitura Application
Systems Analyst
Patreshettarlini Adams
Facilities Manager
Kenneth Deprez
Sound Engineer &
Video Technician
Zachary Beattie-Brown
Catherine Lachance-
Duffy
Costume Supervisor
Tessitura Training &
Support Specialist
Production Fellow
Andy Wertner
PRODUCTION
Production Manager
Clayton Tejada
Assistant Production
Manager/Master
Electrician Becca Austin
Heather Felker
Stage Management
Fellow
Lisa Sullivan
Custodian
Fetteroff F. Colen
Ashley W. Mills
PRODUCTION CREW sPecial Thanks
Assistant Director - Jack Tamburri
Assistant Fight Director - Jacqueline Holloway
Fight Assistant - Lauren Williams
Contributing Street Artist - Juan Deminda
Street Art Crew - Katie Batten, Joe Messinio
Assistant Stage Manager - Lisa Sullivan
Assistant Set Designer - Colin McIlvaine
Assistant Lighting Designer - Peter Escalada-Mastick
Hair & Makeup Co-Designer - Catherine Lawless
Properties Master - Kimitha Anne Cashin
Light Board Programmer & Operator - Ashley W. Mills
Assistant Master Electrician - Ali Blair Barwick
Sound Operators - Zachary Beattie-Brown, Joe Samala
Costume Supervisor - Becca Austin
Dresser - Anya Loverdi
Running Crew - Heather Felker, Ben Henry, Meg Lydon
Carpenters - Ben Henry, Elliot Greer, Alyssa Cole,
Kyle Hanahan, Tyler Shipley, Ivan Dellinger, Swift Shuker, Tom ....
Ewing, Jamie Harris
Scenic Painter - Kristina Chadwick
Electricians - Ali Blair Barwick, Melanie Leeds, Lucas Nguyen, ......
Sydney Justice, Justin McClintock, Michael Hamlet,
Alyssa Cole, Stephanie di Bona, Melody Wong
Sound Technician - John Kolbinski, Joe Samala
Draper/Stitcher - Meredith Boring
Stitcher - Samia Meritt
Costume Construction - Colin Davis Jones Studio, Meredith Boring
Scenery Construction - The Scene Shop at ART, Cambridge MA
Holger Syme, Madeleine Charne, Anthony Howard, and
particularly Allen Kuharski, for sharing the TV film of
Andrei Wajda’s Hamlet IV with us. Krista Apple-Hodge,
Ross Beschler, Kirk Wendell Brown, Brandon Carter,
Keith Conallen, Kate Czajkowski, Melanye Finister,
Hannah Gold, Sarah Gliko, Joe Guzman, David Howey,
Zainab Jah, Sean Lally, Jered McLenigan, Kevin Meehan,
Brian Ratcliffe, Steven Rishard, Carl Roa, Lindsay Smiling, Ed Swidey and Jack Tamburri who participated in
Hamlet workshop last year with Jean-René Toussaint.
Arden Theater Company, Christ Church Neighborhood
House. Philadelphia Artists’ Collective. We put our energy into the arts.
Arts and culture organizations have an impact of more than $1 billion on our local economy.
Through PECO-sponsored programs we help people of all ages and backgrounds enjoy and
experience the arts throughout our region.
how to reach us
PECO proudly supports The Wilma Theater.
The Wilma Theater
265 South Broad Street
Philadelphia, PA 19107
Find out more at www.peco.com/community
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OPEN
STAG E S
by Walter Bilderback, Dramaturg
“Foul deeds will rise, / Though all the earth o’erwhelm them to
men’s eyes”
- Hamlet
Hamlet is most likely the best-known play in the world - it
is certainly one of the most performed, filmed, quoted, and
written about. Thinkers including Hegel, Marx, and Freud
have drawn upon it in developing their theories. The play’s
influence is so widespread some consider its title character,
along with his contemporaries Faust, Don Juan, and Don
Quixote, to have the status of a myth.
We know Shakespeare’s Hamlet was popular from the beginning, although
we’re uncertain just when Shakespeare wrote it. Most critics place its
composition between 1599 and 1602, based on internal evidence and its first
publication in 1603; the first recorded performance was on an English ship off
the coast of Africa in 1607. As usual with Shakespeare’s writing, little in the
story is original. Stories of a Danish prince with a similar name date back at
least to the 13th century. By the late 1580s or early 1590s the story had been
dramatized for the London stage in a version now lost (possibly even written by
Shakespeare).
Hamlet is almost always cut for
performance. What people read in school
runs about 4 1/2 hours uncut - and that
“complete” Hamlet is actually something
created by editors in the 18th century,
who saw the First Folio (1623) and what
we now call the Second Quarto (1604)
as imperfect representations of what
Shakespeare “really” meant to write, and
tried to create their ideal. Each version has
unique passages, and only around 200 lines
out of nearly 4,000 are identical in the two
versions. This has given editors 300 years
to put their own interpretation on the play,
hoping to channel Shakespeare’s intent.
Teresa Budzisz-Krzyzanowska in a production
directed by Andrei Wajda in Krakow in 1989, as
the Iron Curtain was falling. “Rather than play
the character,” Anthony Howard writes, “she
nakedly presented herself moving towards
identification with it.”
Meanwhile, actors, producers, and directors
have always cut and pasted for performance,
sometimes from personal vision or ideology,
sometimes to conform to the tastes and
prejudices of the time. Throughout the 19th century, for instance, Hamlet rarely
encountered Claudius at prayer: actors and audience in the age of melodrama
couldn’t abide the idea that a hero, even one pledged to revenge, would
consider stabbing someone, even the villain, in the back. Stabbing someone
through a tapestry was fine, however.
There’s also a third version of the play. In the early 19th century, scholars
discovered a version of Hamlet published a year before the Second Quarto. This
First Quarto is probably a pirated version of the play, about half the length of
the Second Quarto and First Folio, running about 2 1/2 hours, which we know
was the usual length of performance for London’s outdoor theaters, so it may
give important clues about how the play may have looked in performance in
Shakespeare’s time.
In recent decades, Shakespeare scholars have increasingly decided that these
different versions represent different stages of the play’s development. About
ten years ago, the Arden Shakespeare series made the decision to publish all
three versions of Hamlet separately (the First Quarto and First Folio in one
volume, the Second Quarto in another), to allow non-experts the chance to
compare them directly.
Angela Winkler played the role in a German production that toured internationally.
“She was mesmerizing. It proved that this is a role that transcends gender.”
– Michael Billington, The Guardian
Last spring, while we were casting Hamlet and Rosencrantz and Guildenstern
from a two-week workshop with actors, we took the opportunity to read the
First Quarto aloud. Although the language convinced us that we didn’t want to
do the First Quarto, Blanka Zizka and I felt that the First Quarto’s structure had
a very strong sense of narrative drive (partially because of where it places “To
be or not to be”) and showed a Hamlet who was definitely not “a man who can
not make up his mind” (as Laurence Olivier called him). We decided to start
by looking at the play through the First Quarto’s structure and the First Folio’s
language.
In cutting the play, we had to make some other decisions to start. An important
decision was that we wanted our Hamlet to be about Hamlet within his society.
Many productions, probably starting with Olivier’s “Freudian” version, focus
only on the family dynamics; others only on Hamlet’s personal subjectivity,
even to the point of eliminating everyone except the melancholy Dane. This
meant paying attention to Polonius, Laertes, Horatio, Rosencrantz and Guildenstern, Fortinbras, as well as the “Hamlet family,” and giving some priority to the
passages dealing with Danish society and politics (many of which also imagine
a degraded natural world).
Blanka and I spent three days on a retreat looking at the script and making a
first cutting. During this time we watched a film of the Polish director Andrei
Wajda’s remarkable Hamlet from 1989, featuring Teresa Budzisz-Kyryzanowska
in the title role. This production shared a great kinship with Blanka’s
Asta Nielsen was the first international superstar. She produced and starred in the first film
version of Hamlet, playing a woman raised secretly as a man. “Deconstructing gender, she made
Hamlet a Weimar fantasia on the nature of sexual identity.” – Anthony Howard, Women as Hamlet
A special exhibit will be on display in the lobby, looking at the history of women in the role of
Hamlet as well as themes and inspirations behind Blanka Zizka’s production.
“There is a wonderful expression in Persian, war nam nihadan, which means “to
murder somebody, bury his body, then grow flowers over the body to conceal it.”
In 2011, we witnessed (and participated in) a series of shattering events, from the
Arab Spring to the Occupy Wall Street movement, from the UK riots to Breivik’s
ideological madness. It was the year of dreaming dangerously, in both directions:
emancipatory dreams mobilizing protesters in New York, on Tahrir Square, in
London and Athens: and obscure destructive dreams propelling Breivik and racist
populists across Europe, from the Netherlands to Hungary.”
- Slavoj Zizek, The Year of Dreaming Dangerously
emerging ideas about the play, and had an impact on our treatment of what is
usually called Act 4 of the play. In November we had an opportunity to hear this
first pass read by the cast and then spend five days talking through the play
with our Hamlet, Zainab Jah, making further revisions. I think we have found a
political and psychological thriller at the heart of Hamlet (which we’ll of course
bring to life with the anti-psychological style Blanka is developing). I’m sure
more revisions will take place in rehearsals, especially as we discover what the
actors and the design bring to the world of the play. The result, I hope, will be
intellectually stimulating, emotionally gripping, and a great couple of hours in
the theater.
Zainab Jah in a stage combat workshop with the Hamlet cast.
Photo by Alexander Iziliaev
Find other exclusive content
at wilmatheater.org/bloG
A Special Note to Our Donors
This list acknowledges all donations of $150 or above from January 1, 2014 to
March 1, 2015. If your name has been omitted or misprinted, please accept
our apologies. If you have any questions about your support, wish to join the
Wilma as a contributor, or wish to notify us of changes to this list, please
contact Iain Campbell, Development Director, at 215-893-9456 x109.
FOUNDATION, GOVERNMENT, &
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INDIVIDUAL DONORS
The Premiere Circle is a group of our
community’s leaders who
demonstrate their love of living,
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$5,000 and above
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Development Fund+
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$1000 to $2,499
Anonymous (2)
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in memory of H. Craig Lewis
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Mr. and Mrs. Jeffrey M. Sparling
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of the Philadelphia Foundation
Blanka Zizka+
The Annual Fund are donors who
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rely on the support of these members
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A plus sign(+) denotes five year
consecutive donors.
$750 to $999
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$500 to $749
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In memory of Annie Richardson
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$150 to $249
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Officers
David U’Prichard, PhD, Chair
Kathryn Doyle, Vice Chair
David E. Loder, Vice Chair
Clare D’Agostino, Esq., Secretary
Thomas Mahoney, Treasurer
Board Members
Arjun Bedi
Daniel Berger, Esq.
Janice Giannini
Linda Glickstein
Jerry Goldberg
Jane Hollingsworth
Kenneth Klothen
Robert E. Linck
Sissie Lipton
James F. McGillin
Reginald J. Middleton
Marlene S. Molinoff
Donald F. Parman
Tim Sabol
Chair’s Council
Mark S. Dichter, Esq.
Peggy Greenawalt
Jeff Harbison
Lewis H. Johnston
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A.E. (Ted) Wolf
OPENING NIGHT DONORS
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Dr. Lawrence Spitz
Mark Steinberger and Ann Lebowitz+
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Maria Werner-Wasik, M.D.
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Starbucks Coffee Company
TRIA
“a dreamscape
of motion”
Resident
dance company
of the
Wilma theateR
the philadelphia inQUiReR
Ellen B. Solms
Mark Wennell
Florence Zeller
Ex-Officio
James Haskins
Blanka Zizka
Emeritus
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Jeanne P. Wrobleski, Esq.
SUMMER SERiES 2015
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JUL 8-12
Christine Cox Artistic Director & FounDer
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