ACCESSIBILITY WITH ARTISTRY.
Play On Shakespeare would not be possible without the 1,000+ artists, including playwrights, dramaturgs, theatre professionals and actors who’ve made it possible to understand and enjoy Shakespeare’s genius without the barriers of language. We’ve collaborated with 36 playwrights and 38 dramaturgs, each with their own distinct insights, passion, expertise, and craftsmanship.
Learn more about our artists and their unique voice in creating their translations.
Virginia Grise is a recipient of the Whiting Writers’ Award, the Yale Drama Award, the Princess Grace Award in Theatre Directing, and is an alum of the Women’s Project Theatre Lab. Her published work includes Your Healing is Killing Me (Plays Inverse Press), blu (Yale University Press), The Panza Monologues co-written with Irma Mayorga (University of Texas Press), and an edited volume of Zapatista communiqués titled Conversations with Don Durito (Autonomedia Press). She earned her MFA from the California Institute of the Arts and currently lives and writes in the Bronx.
Christopher Chen is an Obie Award-winning playwright whose work has been performed across the United States and abroad. His plays include Caught (Obie Award for Playwriting, Barrymore Award, Drama League Nomination), The Hundred Flowers Project (Glickman Award, Rella Lossy Award, James Tait Black Award shortlist), Into The Numbers (Belarus Free Theater International Contest of Modern Drama- 2nd Place), The Late Wedding, Mutt, Passage and You Mean To Do Me Harm. Chris is the recipient of the Lanford Wilson Award, the Sundance Institute/Time Warner Fellowship, the Paula Vogel Playwriting Award, and he is the inaugural recipient of the Ollie Award. Current commissions include Audible, LCT3, Manhattan Theatre Club, Playwrights Horizons, the Royal Shakespeare Company and The Wilma. A San Francisco native, Chris is a graduate of U.C. Berkeley, and holds an M.F.A. in playwriting from S.F. State.
In September of 2018 David assumed the role of Artistic Director of South Coast Repertory after a two-year tenure as Artistic Director of the Arizona Theatre Company. Previous to Arizona, he served almost seven seasons as Artistic Director of the The Utah Shakespeare Festival. In Utah he acted and directed over 50 productions in a relationship spanning 20 seasons. As Artistic Director, he helped usher in a 40 million dollar expansion of facilities including two new theatres, a new rehearsal hall, costume shop and administrative offices. His tenure is marked by a significant re-brand of the organization and several key initiatives including the launch of WORDS (cubed) new play program, which will feature the World Premiere of Neil Labute’s How to Fight Loneliness (Ivers returns to direct in August). In addition, Ivers spent 10 years as a resident artist building over 40 productions as actor/director with the acclaimed Denver Center Theatre Company.
In his earlier career David was the Associate Artistic Director of Portland Repertory theatre and appeared in productions at some of our countries top regional theatres; Including Portland Center Stage, The Oregon, Alabama and Idaho Shakespeare Festivals and others. In the last several seasons his Directing work has been seen at The Arizona Theatre Company (Outside Mullingar, The Music Man) The Guthrie Theatre (The Cocoanuts, Blithe Spirit), Berkeley Repertory Theatre (Hand to God, One Man Two Guvnors), The Oregon Shakespeare Festival (The Coconuts, Taming of the Shrew), South Coast Repertory Theatre, Pioneer Theatre Company and others. In addition, Ivers has taught at several colleges and universities and gave his first TEDx talk in 2015. His passion for parenting, writing, community, architecture and all things relating to “structure” continue to ignite him.
Christina Anderson’s plays include The Ripple The Wave That Carried Me Home, How to Catch Creation, pen/man/ship, The Ashes Under Gait City, Man in Love, Blacktop Sky, Hollow Roots, and Drip. Her work has appeared at The Public Theatre, Yale Repertory Theatre, Penumbra Theatre Company, Playwrights Horizons, and other theaters in the United States and Canada. Awards and honors: Inaugural Harper Lee Award for Playwriting, two PONY nominations, three Susan Smith Blackburn nominations, and Woursell Prize Finalist. Christina obtained her B.A. from Brown University and an M.F.A. from the Yale School of Drama’s Playwriting Program. She’s a resident playwright at New Dramatists, Epic Theatre Ensemble, and a DNAWORKS Ensemble member. Currently, she’s an Assistant Professor of Playwriting at SUNY Purchase.
Sean San José is a Writer, Director, Performer and Co-Founder of Campo Santo, a new performances company for people of color in San Francisco. Founded in 1996, Campo Santo is an award-winning group committed to developing new Performance and to nurturing people of color centered new audiences and has premiered more than 75 new pieces. For 15 years he was the Program Director of Performance for Intersection for the Arts, San Francisco’s oldest alternative arts space. He co-created Alma Delfina Group-Teatro Contra el SIDA and Pieces of the Quilt, a collection of 50+ short plays on AIDS. He teaches in the Theatre, Dance, Performance Studies Department at University of California at Berkeley. His writing commissions and productions include: Play On! for Oregon Shakespeare Festival, American Conservatory, Ictus Productions, Kronos Quartet, and others. San José has created original theatrical works from the prose writings of Jimmy Santiago Baca, Junot Diaz, Dave Eggers, Jessica Hagedorn Denis Johnson, Luís Saguar, Vendela Vida and more.
Sean San José
Andrea Thome is a Chilean/Costa Rican-American playwright who grew up navigating the multiple landscapes and languages that inhabit her plays. Her play Pinkolandia received a rolling world premiere at INTAR Theater (NYC), Austin’s Salvage Vanguard Theater, Two River Theater (NJ), and 16th Street Theater (Chicago). It was awarded the Lark/Mellon Foundation’s Launching New Plays Fellowship, and was translated into Russian and presented at Moscow’s Meyerhold Center. Other current plays in progress include Purgatorio (developed through SPACE on Ryder Farm and Keen Company), and an untitled play about an 11th-century astronomer from Muslim Spain, commissioned by Ensemble Studio Theatre/The Sloan Foundation.
Andrea’s playwriting often experiments with the nature of theatrical collaboration. She was recently commissioned by En Garde Arts to write Undocumented, created from her interviews and ongoing conversations with undocumented immigrants. Collaborating with composer Sinuhé Padilla-Isunza and director José Zayas, they shared a developmental reading at Joe’s Pub (at the Public Theater) in November 2017, and are in the process of developing a full-length version in conversation with both theaters and community organizations. For the Public Theater, Andrea created Troy in collaboration with director Laurie Woolery and Public Works’ ACTivate Ensemble. This year and a half-long process, in which the community ensemble helped generate and also performed the material, culminated in a full production at the Public in June 2016. She has also been developing a unique collaborative process with director Lisa Rothe, composer Amir Khosrowpour and a collaborating ensemble of performers and storytellers to create a multidisciplinary, musical piece, The Necklace of the Dove. Weaving together stories about love from a medieval Muslim Spanish book and a modern immigrant community in Queens, the piece has been developed through Mabou Mines’ Resident Artist Program, Fulcrum Theater, The Lark and New Georges’ Audrey Residency.
Andrea’s other plays include Undone (Whitman Award; developed at Queens College, Victory Gardens, Lark), Worm Girl (Cherry Red Productions), various short plays and many collaborative projects. Her play translations (including Guillermo Calderón’s Neva) have been produced by the Public Theater, CTG, La Jolla Playhouse and others. She co-created and has directed the Lark’s México-US Playwright Exchange Program since 2006, which brings together Mexican and US playwrights to create theatrical translations of new Mexican plays and build lasting collaborative relationships and dialogue. Andrea co-founded fulana, an all-Latina satire collective that creates cutting-edge political & cultural parodies online and beyond (www.fulana.org), and she spent 5 formative years in San Francisco, where her Red Rocket Theater Company created and produced an original play each month, and where she worked with artists including Latina Theatre Lab, Campo Santo, Guillermo Gómez-Peña and Brava.
She has received fellowships and residencies from NYFA, MacDowell Colony (awarded Thornton Wilder fellowship), New Voices/New York, the Camargo Foundation, Blue Mountain Center, SPACE on Ryder Farm’s Working Farm group, the City of Oakland, New York University (MFA Fellow), Women’s Project Lab, and Keen Company. Andrea was a New Dramatists resident playwright from 2009-2016. http://newdramatists.org/andrea-thome
Octavio Solis is a playwright, director and fiction writer whose works have been produced in theatres across the country, including the Center Group Theatre in Los Angeles, South Coast Repertory, the Magic Theatre in San Francisco, the Oregon Shakespeare Festival and the Dallas Theater Center. His fiction and short plays have appeared in the Louisville Review, Zyzzyva, Catamaran literary Reader, the Chicago Quarterly Review and Huizache.
Recent NY credits include An Iliad, written with Denis O’Hare (NYTW- 2012 Obie Award, Lortel Award, Drama Desk nominations); Shipwreckedby Donald Margulies and Motherhood Outloud by 15 writers (Primary Stages); The Trestle at Pope Lick Creek by Naomi Wallace, Slavs! (Thinking About the Longstanding Problems of Virtue and Happiness) by Tony Kushner, Traps by Caryl Churchill, The Waves adapted from Virginia Woolf by Peterson and David Bucknam (Drama Desk nominations) and Light Shining in Buckinghamshire by Caryl Churchill (Obie Award for Directing), all at New York Theatre Workshop; The Fourth Sister by Janusz Glowacki and The Batting Cage by Joan Ackerman (Vineyard Theatre); The Poor Itchby John Belluso, The Square by 16 writers, and Tongue of a Bird (The Public); Collected Stories by Donald Margulies (MTC); Birdy adapted from the William Wharton novel by Naomi Wallace (Women’s Project); The Chemistry of Change by Marlane Meyer (Playwrights Horizons/WPP); The Model Apartment by Donald Margulies (Primary Stages); and Sueno by Jose Rivera (MCC). Lisa has directed regionally at the Mark Taper Forum (where she was Resident Director for 10 years), La Jolla Playhouse (Associate Director for 3 years), Guthrie, Berkeley Rep, Seattle Rep, Arena Stage, McCarter, Actors’ Theater of Louisville, Hartford Stage, Long Wharf, Yale Rep, Baltimore Center Stage, Huntington, Dallas Theater Center, Oregon Shakespeare Festival and California Shakespeare Theater. She is a Usual Suspect at NYTW, a member of Ensemble Studio Theater, and on the executive board of SDC.
Yvette Nolan (Algonquin) is a playwright, director, and dramaturg. Plays include BLADE, Annie Mae’s Movement, The Birds (a modern adaptation of Aristophanes’ comedy), The Unplugging, Gabriel Dumont’s Wild West Show (co-writer), the libretto Shanawdithit. Directing credits include Bearing (w. Michael Greyeyes, Signal Theatre at Luminato), The Piano Teacher by Dorothy Dittrich (Arts Club), In Care by Kenneth T Williams (Gordon Tootoosis Nikaniwan Theatre), Thicker Than Water by Heather Morrison (Sum Theatre), Nôhkom by Michael Greyeyes, Bearing(Signal), Salt Baby by Falen Johnson (Globe), Map of the Land, Map of the Stars (w. Michelle Olson), Café Daughter by Kenneth T Williams, Justice by Leonard Linklater (Gwaandak), Death of a Chief, A Very Polite Genocide by Melanie J. Murray, Marie Clements’ Tombs of the Vanishing Indian and The Unnatural and Accidental Women (Native Earth), The Ecstasy of Rita Joe(Western Canada Theatre/National Arts Centre), The Only Good Indian… , The Triple Truth (Turtle Gals). As a dramaturg, she works across Turtle Island on projects including Queen Seraphina and the Land of Vertebraat and Ultrasound by Adam Pottle, Many Fires by Charlie Peters, Ecstasy (film) by Cara Mumford, Little Badger and the Fire Spirit by Maria Campbell, Confluence by Raven Spirit Dance, A History of Breathing by Daniel Macdonald, The Glooskape Chronicles by Donna Loring. From 2003-2011, she served as Artistic Director of Native Earth Performing Arts. Her book Medicine Shows about Indigenous theatre in Canada was published by Playwrights Canada Press in 2015, and Performing Indigeneity, which she co-edited with Ric Knowles, in 2016. She is an Artistic Associate of Signal Theatre.
Lloyd Suh is the author of The Chinese Lady, Charles Francis Chan Jr.’s Exotic Oriental Murder Mystery, Franklinland, The Wong Kids in the Secret of the Space Chupacabra Go!, Jesus in India, Great Wall Story, American Hwangap, and others, produced with Ma-Yi, Ensemble Studio Theatre, Magic Theatre, NAATCO, Children’s Theatre Company, ArtsEmerson, Milwaukee Rep, Denver Center, the Guthrie with Mu Performing Arts, Jackalope, and others, including internationally at the Cultural Center of the Philippines and with PCPA in Seoul, Korea. He has received support from the NEA Arena Stage New Play Development program, the Andrew W. Mellon Launching New Plays Into the Repertoire initiative via the Lark, NYFA, NYSCA, Jerome, TCG, Dramatists Guild, and the Helen Merrill Award from the New York Community Trust. His plays have been published by DPS, Samuel French, Smith & Kraus, Duke University Press, and American Theater magazine. He is an alum of Youngblood and the Soho Rep Writer/Director Lab, and from 2005-2010 served as Artistic Director of Second Generation and Co-Director of the Ma-Yi Writers Lab. He is currently a Resident Playwright at New Dramatists, serves on the Dramatists Guild Council, and has since 2011 served as Director of Artistic Programs at The Lark.
Douglas Langworthy is a dramaturg, translator and adapter. Most recently, he was the Literary Director at the Denver Center Theatre Company where he participated in the development of many plays and musicals, including the world premieres of Lauren Gunderson’s The Book of Will, Karen Zacarías’ Just Like Us, Octavio Solis’ Lydia, Michael Mitnick’s Ed, Downloaded, Lloyd Suh’s Great Wall Story and Jeffrey Haddow and Neal Hampton’s Sense and Sensibility: The Musical. Prior to Denver, Douglas served as Dramaturg and Director of Play Development at McCarter Theatre in Princeton, NJ for two years and Director of Literary Development and Dramaturgy at the Oregon Shakespeare Festival (OSF) for seven. While at OSF, he developed a new adaptation of Dumas’ The Three Musketeers with Linda Alper and Penny Metropulos and a new translation of Brecht’s The Good Person of Szechuan, both for the 1999 season. In 2007 he again collaborated with Metropulos and Alper to write lyrics and book for the new musical Tracy’s Tiger, based on the novella by William Saroyan, with music by Sterling Tinsley. Douglas has translated over 15 plays from the German, including The Prince of Homburg and Penthesilea by Heinrich von Kleist, Spring Awakening by Frank Wedekind, and Medea by Hanns Henny Jahnn. He received a National Theatre Translation Fund Award for his translation of Amphitryon. He was also the dramaturg for Target Margin Theater in New York, which produced his translation of Goethe’s Faust and with which he also co-wrote the opera The Sandman, with text adapted from E.T.A. Hoffmann.
Douglas P. Langworthy
Caridad Svich received a 2012 OBIE Award for Lifetime Achievement in the theatre, a 2012 Edgerton Foundation New Play Award and NNPN rolling world premiere for Guapa, and the 2011 American Theatre Critics Association Primus Prize for her play The House of the Spirits, based Isabel Allende’s novel. She has won the National Latino Playwriting Award (sponsored by Arizona Theatre Company) twice, including in the year 2013 for her play Spark. She has been short-listed for the PEN Award in Drama four times, including in the year 2012 for her play Magnificent Waste. In 2018-2019, her play RED BIKE receives an NNPN rolling world premiere at theatres across the US.
Her works in English and Spanish have been seen at venues across the US and abroad, among them Arena Stage’s Kogod Cradle Series, San Diego Repertory Theatre, Gala Hispanic Theatre, Denver Center Theatre, 59E59, The Women’s Project, Halcyon Theatre, Woodshed Collective @ McCarren Park Pool, Repertorio Espanol, Ensemble Studio Theatre, Lighthouse Poole UK, Teatro Mori (Chile), Artheater-Cologne (Germany), Ilkhom Theater (Uzbekistan), Teatro Espressivo (Costa Rica), Welsh Fargo Stage (Wales), Homotopia Festival UK, SummerWorks festival in Toronto, CEAD Festival in Montreal and Edinburgh Fringe Festival/UK.. She is currently under commission from American Conservatory Theatre, Cleveland Opera Theater, and the University of Alabama-Birmingham, and she is a 2017-2018 visiting research fellow at the Royal Central School of Speech and Drama in London.
Key works in her repertoire include 12 Ophelias, Iphigenia Crash Land Falls on the Neon Shell That Was Once Her Heart, The Booth Variations, Alchemy of Desire/Dead-Man’s Blues, Any Place But Here, Archipelago, The Way of Water and In the Time of the Butterflies (based on Julia Alvarez’ novel). She has radically reconfigured works from Wedekind, Euripides, Sophocles, and Shakespeare and adapted works by Mario Vargas Llosa and Gabriel Garcia Marquez. Her plays have been directed by Annie Castledine, Maria Irene Fornes, Lisa Peterson, Neel Keller, William Carden, Nick Philippou, Annie Dorsen, Katie Pearl, Stephen Wrentmore, Daniella Topol, Jose Zayas, and David Lozano, among many others. In her theatre work she has collaborated with composers Adam Sultan, Graham Reynolds, O-Lan Jones, Michael Roth, the Jones Street Boys, Jane Shaw, Mike Croswell, and Tom Hagerman of the Grammy-winning band DeVotchKa.
Her work has also intersected with communities of multiple diversities with works responding to the Deepwater Horizon disaster in the US Gulf region, veterans and their families, survivors of trauma and those committed to artistic expression of precarity, advocacy for US Latin@ writing voices, and engagement with representations of the “fragile shores” in our lives. She is co-organizer and curator of After Orlando theatre action in response to the 2016 Pulse nightclub massacre with Missing Bolts Productions at DR2 Theatre in New York City, Finborough Theatre in London and over sixty venues across the US; and Climate Change Theatre Action with The Arctic Cycle and Theatre Without Borders. She has also published over twenty titles with NoPassport Press by authors as diverse as Todd London, John Jesurun, David Greenspan, Carson Kreitzer, Rinde Eckert, Lenora Champagne and Octavio Solis.
Her works are published by TCG, Smith & Kraus, Playscripts, Broadway Play Publishing and more. Four collections of her works for live performance are published as follows: The Hour of All Things and other plays (Intellect, 2017), JARMAN (all this maddening beauty) and other plays (Intellect UK, 2016); Instructions for Breathing and other plays (Seagull Books UK, 2014); Blasted Heavens (Eyecorner Press, Denmark, 2012). She has edited several books on theatre including Audience Revolution: Dispatches from the Field (TCG, 2016), Innovation in Five Acts (TCG, 2015), Out of Silence: Censorship in Theatre & Performance and Trans-Global Readings: Crossing Theatrical Boundaries and Theatre in Crisis? (the latter two for Manchester University Press, UK). She is co-author of Fifty Playwrights on Their Craft, which is published by Methuen Bloomsbury Drama in 2017.
She sustains a parallel career as a theatrical translator, chiefly of the dramatic work of Federico Garcia Lorca as well as works by Calderon de la Barca, Lope de Vega, Julio Cortazar, Victor Rascon Banda, Antonio Buero Vallejo and contemporary works from Mexico, Cuba and Spain. She is associate editor of Contemporary Theatre Review for Routledge, UK, contributing editor of TheatreForum, and drama editor of Asymptote literary translation journal. She is alumna playwright of New Dramatists, and affiliated artist with the Lark and New Georges, and lifetime member of Ensemble Studio Theatre. She has received fellowships from Harvard/Radcliffe, NEA/TCG, PEW Charitable Trust, and California Arts Council. As an arts journalist, she has written for American Theatre, Howlround, PAJ, The Dramatist, and Hotreview. She holds an MFA in Theatre-Playwriting from UCSD, and she also trained for four consecutive years with Maria Irene Fornes in INTAR’s legendary HPRL Lab. She teaches creative writing and playwriting at Rutgers University-New Brunswick and Primary Stages’ Einhorn School of Performing Arts. She has taught playwriting at Bard, Barnard, Bennington, Denison, Ohio State, ScriptWorks, and Yale School of Drama. caridadsvich.com
In Three Seasons at OSF: Quiara Hudes’ The Happiest Song Plays Last, Water by the Spoonful Director, Medea songs Composer and Lyricist, Medea/Macbeth/Cinderella (OSF); Ayad Akhtar’s Disgraced (Playmaker’s Rep), Aditi Kapil’s Brahman(i)(Quantum Theatre) Director.
Other Theatres: Regional: James McManus’ Love on San Pedro, Sarah Ruhl’s Demeter in the City, Tracy Young’s Candude, Sigrid Gilmer’s SEED, Everyman in the Mall (co-directed with Bill Rauch) (Cornerstone Theater Company. CTC) Director.
Composer/lyricist: The Good Person of New Haven (Long Wharf Theatre); Medea/Macbeth/Cinderella (Yale Repertory Theatre); The Two Noble Brothers(The Public Theater); As You Like It (Pasadena Playhouse); Touch the Water (Actor/Composer), Los Vecinos (Band Leader/Composer), Birthday of the Century (Actor/Composer), Central Avenue Chalk Circle (Actor/Composer), Making Paradise (Lyricist only), An Antigone Story(Writer/Director/Composer) CTC.
Other credits: Ghurba (Harmony Gold Theatre), Bliss Point (The Odyssey Theatre), On Caring for the Beast (Currican Theatre, NYC, CTC, L.A.); Merchant on Venice (Lark Theatre, NYC, Small Theatre Premiere, Silk Road Rising, The Cockpit Theatre London); Writer/Director.
Resident composer/lyricist for Cornerstone Theater Company since 1994. Film/TV Actor: True Blood, NCIS, Bones, Lost, Heroes, Sleeper Cell, NYPD Blue, Monk, Alias, The West Wing, Coneheads… Awards: TIME/A.S.K. Award (one of only six nationwide awardees), Princess Grace Award, Kennedy Center Award, TCG/Alan Schneider Directing Award finalist, two time Herb Alpert Award nominee, L.A. Weekly Award, LA Stage Alliance Ovation Award nominee, Garland Awards, Drama-Logue Awards. Education: MFA, University of California, San Diego.
Brighde Mullins’s plays include Rare Bird; Those Who Can, Do; Monkey in the Middle; Fire Eater; Topographical Eden and Pathological Venus. Her awards include a Guggenheim, a United States Artists Fellowship and a Whiting. She has held residencies at Lincoln Center, New York Stage and Film, Mabou Mines, and is a Usual Suspect at NYTW. She teaches at U.S.C. and lives in Los Angeles.
Marcus Gardley is a proud Oakland-born playwright-poet whom the New Yorker calls “the heir to Garcia Lorca, Pirandello and Tennessee Williams.” His play, X OR THE NATION V. BETTY SHABAZZ was a New York Times Critic Pic and was remounted off-Broadway in the Spring of 2018. His play THE HOUSE THAT WILL STAND opened off-Broadway in the summer of 2018 to rave reviews and a sold-out extension with 8 AUDELCO nominations, winning 4 including Best Play. It is now being adapted into a motion picture written by Gardley. He is the recipient of the 2019 Doris Duke Artist Award and the 2019 San Francisco Library Laureate Award. Gardley received the 2018 Guiding Light Award presented by Cal Shakes and won the 2017 Special Citation Theater Award for his play black odyssey, which swept the Theater Bay Area Awards garnering 6 other prizes including Best Production and a special playwrighting award. He is the 2015 Glickman Award for THE HOUSE THAT WILL NOT STAND and the 2013 USA James Baldwin Fellow. He was the 2011 PEN Laura Pels award winner for Mid- Career Playwright. His work has been produced across the country with several productions in England and France. Upcoming productions include: a musical called PARADISE SQUARE with choreography by Bill T. Jones and directed by Moises Kaufman slated for Broadway. Currently, Gardley is writing a biopic about Marvin Gaye produced by Dr. Dre, and a film adaptation of 12 Angry Men and developing a TV series with OWN and HBO as well as F/X and a TV series with Michael B. Jordan about Mansa Musa.
Josh Wilder is a playwright from Philadelphia. His work has been developed, commissioned, and produced at various regional theaters and festivals across the country including The Fire This Time Festival, New York Theatre Workshop, True Colors Theatre Company, The Kennedy Center, Oregon Shakespeare Festival, 2015 O’Neill National Playwrights Conference, PlayPenn, Milwaukee Rep, Company One, and InterAct Theatre Company. Past awards include the Holland New Voices Award, The Lorraine Hansberry Award, The Rosa Parks Award, and The ASCAP Cole Porter Prize. Josh is a former Jerome Fellow and the first national recipient of the Jerome Many Voices Fellowship at The Playwrights’ Center. He has been in residence at The Royal Court Theatre ; Sundance at UCross; and served as Co-Artistic Director at The Yale Cabaret for its 50th season. MFA: Yale School of Drama. Member of The Dramatist Guild.
Migdalia Cruz is a Bronx-born, award-winning playwright, lyricist, translator, and librettist of more than 60 works including: El Grito Del Bronx, Salt, Miriam’s Flowers, & Frida, produced in venues such as BAM, Latino Chicago Theater Company, Mabou Mines, National Theater of Greece, Houston Grand Opera, Ateneo Puertorriqueño, & Teatro Vista—last seen at CSC with Another Part of the House—her adaptation of Garcia-Lorca’s La Casa de Bernarda Alba. An alumna of New Dramatists, she was named the 2013 Helen Merrill Distinguished Playwright, and was awarded a 2016 NYFA Grant for Playwriting. Migdalia was nurtured by Sundance, the Lark, & by Maria Irene Fornés at INTAR. Recently, Migdalia taught the Fornés Playwriting Workshop at Notre Dame/2016-2018, at Princeton/Spring 2018, and as a guest artist at Brown, UMass/Amherst & Yale, and will teach at CalArts, January 2020.
Her translations of Macbeth & Richard III, for OSF’s Play On! have been inspiring journeys, from the Isle of Iona to Leicester’s Cathedral, with U.K. actress/dramaturg, Ishia Bennison, and dramaturg/producer Lue Douthit. www.migdaliacruz.com
ADITI BRENNAN KAPIL is a television and theatre writer, actress, and director. She is of Bulgarian and Indian descent, and was raised in Sweden prior to moving to Minneapolis, and more recently Los Angeles. Current projects include Season 2 of American Gods on Starz, a new play titled 1933 commissioned by La Jolla Playhouse, two commissions (a translation of Shakespeare’sMeasure for Measure, and an American Revolutions piece tentatively titled Pax Americana) with Oregon Shakespeare Festival, and an as yet Untitled commission with Audible. Most recently, in the 2016/2017 season, Kapil premiered SouthCoast Repertory (SCR) commissioned play Orange at Mixed Blood Theatre and at SCR, and Yale Rep commissioned play Imogen Says Nothing at Yale Repertory Theatre. She is a Resident Playwright at New Dramatists.
Aditi’s first play Love Person, a four-part love story in Sanskrit, ASL and English, was developed during a Many Voices residency at the Playwrights’ Center, work-shopped at the Lark Play Development Center, and selected for the National New Play Network (NNPN) conference 2006. Love Person was produced in a NNPN rolling world premiere at Mixed Blood Theatre (MN), Marin Theater (CA), and Phoenix Theatre (IN), in the 2007/08 season. In 2008/09 it was produced at Live Girls! Theatre in Seattle, Alley Repertory Theatre in Boise, and Victory Gardens Theatre in Chicago. Love Person received the Stavis Playwriting Award in 2009.
Her play Agnes Under The Big Top, a tall tale was selected as a 2009 Distinguished New Play Development Project by the NEA New Play Development Program hosted by Arena Stage, and was developed by the Lark Play Development Center (NYC), Mixed Blood Theatre (MN), InterAct Theatre (PA), the Playwrights’ Center (MN), and the Rhodope International Theater Laboratory (Bulgaria). Agnes Under the Big Top premiered at Mixed Blood Theatre and Long Wharf Theatre (CT) in 2011, and Borderlands Theater (AZ) in 2012 in a NNPN rolling world premiere.
Her Displaced Hindu Gods Trilogy (Brahman/i, a one-hijra stand-up comedy show; The Chronicles of Kalki; and Shiv), based loosely on the Hindu trinity of Brahma, Vishnu, and Shiva, premiered in repertory at Mixed Blood Theatre in October 2013, and have since been produced across the US and in the UK. Brahman/i and The Chronicles of Kalki received an unprecedented double nomination for the James Tait Black Prize, University of Edinburgh, UK.
Aditi Brennan Kapil
Elise Thoron’s music theater pieces have been produced in the United States, Europe, Japan, Cuba: Green Violin, music by Frank London of the Grammy award winning Klezmatics, (Nine Contemporary Jewish Plays); Prozak and the Platypus, music by Jill Sobule (also CD/graphic novella); Charlotte: Life? Or Theater? based on paintings by Charlotte Salomon, music by Gary Fagin. Recycling: washi tales with distinguished Japanese paper artist Kyoko Ibe and traditional Japanese musicians. Her Afro-Cuban Yiddish opera Hatuey: Memory of Fire with composer Frank London had its North American premiere at Peak Performances (2018), after a first Spanish language production at Opera de la Calle in Havana (2017), and will next be seen in Miami. For over twenty years, Elise created cross-cultural exchanges with Russian and American theater artists; she adapted and directed The Great Gatsby in Russian at a The Pushkin Theater in Moscow, where it played for over nine years. As Associate Artistic Director at American Place Theatre, Elise developed and directed many new plays, and co-founded Literature to Life, a highly successful theater literacy program now in its third decade nationwide. For Lit to Life she has adapted Diaz’sThe Brief Wondrous Life of Oscar Wao, Baldwin’s If Beale Street Could Talk, Lowry’s The Giver, Cisneros’ The House on Mango Street, and developed County of Kings with Tony award winning spoken-word poet, Lemon Andersen, which went on to the Public Theater and venues around the world. Her translations of Russian plays are produced and published in the United States and Canada. www.elisethoron.com
Dipika Guha was born in India and raised in tea drinking countries around the world. Her plays include Yoga Play (South Coast Rep, Gateway, Moxie Theatre & SF Playhouse), The Art of Gaman (Theatre 503 London, Relentless Award semifinalist) and Unreliable (Kansas City Rep). Recent works includes Azaan, a play for for Oregon Symphony Orchestra, In Braunau for Playwrights Horizons Theatre School and contributions to You Across From Me (Humana, Actors Theatre of Louisville). Dipika’s commissions include South Coast Rep, Manhattan Theatre Club and Barrington Stage. She is a proud alumnus of Ars Nova Playgroup, Soho Rep’s Writer/Director Lab, the Women’s Project Lab, Dramatists Guild Fellows Program, the Ma Yi Writers Lab and currently the Geffen Playwrights Lab. She was a Hodder Fellow at Princeton University, a recipient of the Shakespeare’s Sister Playwriting Fellowship and is a current Venturous Fellow at the Lark Play Development Center. Dipika read English at University College London, won a Frank Knox Fellowship from Harvard University and has an M.F.A in Playwriting from the Yale School of Drama under Paula Vogel. Most recently she wrote forSneaky Pete at Amazon and Rainy Day People at AMC.
Jeffrey Whitty is a screenwriter, playwright, poet and performer. This year he received Best Adapted Screenplay honors for CAN YOU EVER FORGIVE ME? (Fox Searchlight Pictures) by the Writers Guild of America, the Independent Spirit Awards, the Satellite Press Association and several more as well as Academy Award and BAFTA nominations. Musicals: the authentic pre-Broadway HEAD OVER HEELS (Oregon Shakespeare Festival, 2015), AVENUE Q (Tony Award Best Book, Best Musical), TALES OF THE CITY (Best Book, Bay Area Theater Critics), BRING IT ON (Best Musical Tony Nom) with Lin-Manuel Miranda and Amanda Green. Plays: THE FURTHER ADVENTURES OF HEDDA GABLER, THE HIDING PLACE, THE PLANK PROJECT. Upcoming: FALLEN WOMAN, a true-crime playsical about his first cousin twice-removed (a famous burlesque dancer in the 1930’s), BAD FAIRY (a series for televison), and several projects soon to be announced. MFA NYU Graduate Acting/Tisch.
Ranjit Bolt was educated at The Perse School, Cambridge, and at Balliol College, University of Oxford. He workedas an investment analyst and adviser for eight years, before concentrating on theatre translation from the end of 1990. His acclaimed translations for the theatre include works by Molière, Seneca, Sophocles, Corneille, Beaumarchais, Brecht, Goldoni, and Zorilla. He was awarded an OBE for his services to literature in 2003.
Ellen McLaughlin is an award-winning playwright and actor. Her plays include Tongue of a Bird, A Narrow Bed, Iphigenia and Other Daughters, Trojan Women, Infinity’s House, Helen, The Persians, Oedipus, Ajax in Iraq, Kissing the Floor, Septimus and Clarissa, Pericles and Penelope. Her work has been performed in New York Off-Broadway and regionally as well as overseas. Producers include The Public Theater, National Actors’ Theater, Classic Stage Co., New York Theater Workshop, The Guthrie, The Intiman, The Mark Taper Forum, Oregon Shakespeare Festival, Actors’ Theater of Louisville, and The Almeida Theater in London. Among her honors are the Susan Smith Blackburn Prize and the Lila Wallace Reader’s Digest Writer’s Award. Her Trojan Women was nominated for a 2017 Drama Desk Award for Best Adaptation.
She has taught playwrighting at Barnard College since 1995. Other teaching posts include Princeton University and Yale School of Drama.
As an actor, she is most well known for having originated the part of the Angel in Tony Kushner’s Angels in America, appearing in all workshops and productions of the play through its Broadway original run.
Mfoniso Udofia is a first-generation Nigerian-American storyteller and educator, attended Wellesley College and obtained her MFA in Acting from the American Conservatory Theater. During her stay in the Bay, she co-pioneered a youth initiative, The Nia Project, providing artistic outlets for youth residing in Bayview / Huntspoint. In January 2016 Playwrights Realm produced the world premiere of Sojourners, the origin story of the Ufot Family Cycle. In Spring 2016, The Magic Theater in San Francisco produced the west coast premiere of Sojourners and the world premiere of the third installation in the Ufot Family Cycle, runboyun, in repertory. New York Theatre Workshop produced the New York City return of Sojourners in Spring 2017, which ran in repertory with the world premiere of Her Portmanteau, which was previously developed in 2015 at the National Black Theatre. She’s the recipient of the 2017 Helen Merrill Playwright Award and the 2017-2018 McKnight National Residency and Commission at The Playwrights’ Center in Minneapolis. Her Ufot Cycle play, Her Portmanteau, will be produced [Spring 2018] by Pasadena’s Boston Court Performing Arts Center. Mfoniso is also currently at work on a commission from the Oregon Shakespeare Festival, translating Shakespeare’s Othello, through their Play On! program. Mfoniso’s plays have been developed at and/or presented/produced by The New York Theatre Workshop, The Playwrights Realm, The Magic Theatre, Dr. Barbara Ann Teer’s National Black Theatre, Hedgebrook, Sundance Theatre Lab, NNPN, Space on Ryder Farm, NNPN New Play Showcase, Makehouse, Soul Productions, terraNOVA, I73, The New Black Fest, Rising Circle’s INKTank, At Hand Theatre Company, The Standard Collective, American Slavery Project, Liberation Theatre Company, and more. Mfoniso was a finalist for the 2015 PoNY Prize, the Eugene O’Neill NPC, Bay Area Playwrights Festival, Many Voices Fellowship, Page73 Development Programs, Jerome Fellowship, New York Theatre Workshop’s 20/50 Fellowship, and Lark Playwrights’ Week. Follow her at @mfudofia or visit www.mfonisoudofia.com.
Naomi Iizuka’s plays include 36 VIEWS, POLAROID STORIES, ANON(YMOUS), LANGUAGE OF ANGELS, ALOHA, SAY THE PRETTY GIRLS, TATTOO GIRL, SKIN, AT THE VANISHING POINT, CONCERNING STRANGE DEVICES FROM THE DISTANT WEST, LAST FIREFLY, CITIZEN 13559, and WAR OF THE WORLDS (a collaboration with Anne Bogart and SITI Company.) Her plays have been produced at theatres across the country including Berkeley Rep, the Goodman Theatre, Actors’ Theatre of Louisville, the Guthrie Theater, Cornerstone Theater Company, Children’s Theater Company, Seattle Children’s Theatre Company, the Kennedy Center for Performing Arts, the Huntington Theatre Company, Portland Center Stage, the Public Theater, Dallas Theater Center, and Soho Rep. Iizuka’s plays have been published by Overlook Press, Playscripts, Smith and Kraus, Dramatic Publishing, and TCG. lizuka is an alumna of New Dramatists and the recipient of a PEN/Laura Pels Award, an Alpert Award, a Joyce Foundation Award, a Whiting Writers’ Award, a Stavis Award from the National Theatre Conference, a PEN Center USA West Award for Drama, a Hodder Fellowship, and a Jerome Fellowship. Her play GOOD KIDS was commissioned by the Big Ten Consortium’s New Play Initiative and has been produced at universities nationwide. Recent projects include an adaptation of SLEEP by Haruki Murakami which premiered at the 2017 BAM Next Wave Festival and WHAT HAPPENS NEXT, a play written in collaboration with US Marine Corps combat veterans and their families, and produced by La Jolla Playhouse and Cornerstone Theater Company in 2018. Iizuka was the Berlind Playwright-in-Residence at Princeton University this past academic year and heads the MFA Playwriting program at the University of California, San Diego.
Hansol Jung is a playwright from South Korea. Productions include Wild Goose Dreams (Co-production: The Public Theater and La Jolla Playhouse), Wolf Play (NNPN Rolling Premiere: Artists Rep Portland, Mixed Blood, Company One), Cardboard Piano (Humana Festival at Actors Theater of Louisville),Among the Dead (Ma-Yi Theatre Company), and No More Sad Things (co-world premiere at Sideshow Theatre, and Boise Contemporary Theatre). Commissioning institutions include The Public Theater, La Jolla Playhouse, Seattle Repertory Theatre, National Theatre in UK, Playwrights Horizons, Kennedy Center, Artists Repertory Theater, the Virginia B. Toulmin Foundation grant with Ma-Yi Theatre and a translation of Romeo and Juliet for Play On! at Oregon Shakespeare Festival. Her work has been developed at The Public Theater, Royal Court, New York Theatre Workshop, Victory Gardens, Berkeley Repertory’s Ground Floor, Sundance Theatre Lab, O’Neill Theater Center’s New Play Conference, Lark Play Development Center, Salt Lake Acting Company, Boston Court Theatre, Bushwick Starr, Ma-Yi Theater Company, Asia Society New York, and Seven Devils Playwright Conference. She is the recipient of the Hodder Fellowship at Lewis Center for the Arts, Whiting Award, Helen Merrill Award, Page 73 Playwright Fellowship, Rita Goldberg Playwrights’ Workshop Fellowship at the Lark, 2050 Fellowship at New York Theater Workshop, MacDowell Colony Artist Residency, and International Playwrights Residency at Royal Court. She has translated over thirty English musicals into Korean, including Evita, Dracula, Spamalot, and The 25th Annual Putnam County Spelling Bee, while working on several award winning musical theatre productions as director, lyricist and translator in Seoul, South Korea. Hansol holds a Playwriting MFA from Yale School of Drama, and is a proud member of the Ma-Yi Theatre Writers Lab, NYTW’s Usual Suspects, and The New Class of Kilroys.
Amy Freed is the author of Shrew! ,The Monster Builder, Restoration Comedy, The Beard of Avon, Freedomland, Safe in Hell, The Psychic Life of Savages, You, Nero and other plays. Her work has been produced at South Coast Repertory Theater, Seattle Repertory, American Conservatory Theater, Yale Rep, California Shakespeare Theater, Berkeley Rep, the Goodman, Playwrights’ Horizons, New York Theater Workshop, Woolly Mammoth, Arena Stage and other theaters. Playwriting awards include Charles MacArthur Award, Joseph Kesselring Prize, LA and Bay Area Critics’ Circle Awards, Pulitzer Prize Finalist (Freedomland). She currently serves as Artist-in-Residence at Stanford University in the Theater and Performance Studies Department.
Kenneth Cavander began his theatre career in England at London’s Royal Court Theatre, as Assistant to Director George Devine on Chekhov’s Platonov, starring Rex Harrison. Subsequently he worked at the Royal Shakespeare Company, translating and co-adapting with John Barton a three-evening cycle of plays based on ten Greek tragedies, The Greeks. Meanwhile, starting as assistant to film director Carol Reed, and later in the story department of the Rank Organization, he began writing for BBC television. Among his assignments was an adaptation of E.M. Forster’s science fiction story, The Machine Stops., recently reissued in DVD by the British Film Institute as part of the celebrated series Out of the Unknown. More recently, his television drama, Beyond Narnia, was aired on the BBC in 2007, and his film biography, Florence Nightingale, received a BAFTA nomination in 2009. His U.S. television work has ranged from The File on Jill Hatch, a three-part co- production of Channel Thirteen and the BBC, to movies of the week for CBS and NBC. Among his television documentaries are the award-winning, Beyond Hate, with Bill Moyers, and a one-hour special on Robert Motherwell for the long-running series, American Masters. Continuing his work in theatre in the U.S., his plays and adaptations have been represented on and off Broadway, and in many regional theatres. He was a founding director of the Williamstown Theatre Second Company, where he wrote and directed several productions, including the musical Boccaccio (with composer Richard Peaslee), later produced at Washington’s Arena Stage, and on Broadway. He also developed the original workshop version of the Tony-winning Broadway musical, Jelly’s Last Jam. Returning to the Arena Stage, his adaptation of six classical dramas, telling the story of King Agamemnon and his daughters, opened the 2001-2002 season there. His one-act opera for family audiences, Sir Gawain and the Green Knight, also with music by Richard Peaslee, originally produced at Lincoln Center, had a successful revival later off-Broadway in New York. His reworking of the many legends surrounding the mythical character of Oedipus, The Curse of Oedipus, received a 2015 Los Angeles Drama Critics Cicle nomination for writing. He has completed two projects for the Oregon Shakespeare Festival’s PLAYON versions of Shakespeare plays, Timon of Athens (2014), and The Tempest (2017), both produced by the Alabama Shakespeare Festival.
Lillian Groag works in the theatre as an actress, playwright and director. Her acting credits include Broadway, Off Broadway, Mark Taper Forum, and regional theatres throughout the country. She has directed at the Oregon Shakespeare Festival, the Old Globe Theatre, Actors Theatre of Louisville, Mark Taper Forum’s Taper Too, New York City Opera, Chicago Opera Theatre, Boston Lyric Opera, Florida Grand Opera, Center Stage, The People’s Light and Theatre Company, Berkeley Repertory, Milwaukee Repertory, Missouri Repertory, Seattle Repertory, Glimmerglass Opera, Asolo Repertory Theatre, San Jose Repertory, A.C.T. in San Francisco, The Juilliard School of Music, Florentine Opera, Kentucky Opera, Arizona Opera, the Sundance Institute Playwrights’ Lab, the Virginia Opera, Opera San Jose and the Company of Angels. Her plays The Ladies Of The Camellias, The White Rose (AT&T award for New American Plays), The Magic Fire (Kennedy Center Fund for New American Plays), Menocchio and Midons have been produced variously by the Old Globe Theatre, Oregon Shakespeare Festival, The Kennedy Center, The Guthrie Theater, Berkeley Repertory Theatre, Yale Repertory, Denver Center, The Shaw Festival, Alabama Shakespeare Festival, the Northlight Theatre, the WPA Theatre, Seattle Repertory, the Asolo Theatre, The Wilma Theatre, The People’s Light and Theatre Company, and The Shaw Festival. Abroad: Mexico City, Junges Theatre in Bonn, Landesbuhne Sachsen-Anhalt in Eisleben, Shauspielhaus in Wuppertal, Hessisches Landestheater in Marburg, Shauspielhaus in Stuttgart, Teatro Stabile di Bolzano, (National Tour) in Italy, and Tokyo. She has done translations and adaptations of Lorca, Feydeau, Musset, Marivaux and Molnàr, produced at the Guthrie, the Mark Taper Forum Taper II, and Missouri Rep (now Kansas City Rep). She is an Associate Artist of the Old Globe Theatre. The Ladies Of The Camellias, Blood Wedding, The White Rose and The Magic Fire have been published by Dramatists Play Service. Up coming: A Nervous Splendour, adaptation, from Frederic Morton’s book, Flypaper, new play. Master’s and PhD degrees from Northwestern University in Romance Languages and Literature, Theatre Thesis, and an Honorary PhD from Lake Forest College.
Alison Carey is director of American Revolutions: the United States History Cycle, the Oregon Shakespeare Festival’s multi-decade program of commissioning and developing 37 new plays about moments of change in United States history. Carey is co-founder of and former resident playwright of Cornerstone Theater Company, which creates work with and for communities, sometimes through adaptations of Shakespeare and other older works. Her work has been produced at venues nationwide, including the Oregon Shakespeare Festival, Arena Stage, the Public Theater, the Mark Taper Forum, the shuttered mother plant of Bethlehem Steel, and a dirt-floor cattle sale barn.
Amelia Roper is writing new plays for Yale Repertory Theater, Marin Theatre Company, Colt Coeur in NYC and The Rose in Omaha. Her plays have been developed at Berkeley Rep. Ground Floor, the Old Vic in London, Soho Rep. Writer/Director Lab, Black Swan Lab at OSF, Kennedy Center in DC, Playwrights Realm in NYC, New Group NYC, Melbourne Theatre Company, RADA in London and The MacDowell Colony.
Her plays have been produced by the Humana Festival of New American Plays at the Actors Theatre of Louisville (2014), Crowded Fire in SF (2014), the Moscow Playwright and Director Center in Moscow in Russian translation (2011), Taffety Punk in DC (2017), Square Product (2017), Prelude Festival NYC (2014) and in Australia by St Martins (2008), Melbourne Arts Centre (2009) and Kings Cross Theatre in Sydney (2017).
Her play Lottie in the Late Afternoon is on the Kilroy’s List and an excerpt is published in the new “The Kilroys’ List: 97 Monologues and Scenes by Female and Trans* Playwrights”. Other published plays include two shorts in the “2014 Humana Festival of New Plays”, Camberwell House about murderous old ladies is published by the Dramatists Play Service, Big Sky Town about the space race and She Rode Horses Like the Stock Exchangeabout the Global Financial Crisis will be published late 2017. New plays include Zürich about American national identity and off shore tax evasion, Everything is Nice about ignoring climate change and A Duck on a Bike about art and personal tragedy. New stage adaptations include the modernist novel Two Serious Ladies by Jane Bowles for Yale Rep. and Alice in Wonderland for Marin Theatre Company.
Amelia is a recipient of the American National Theatre Conference’s Paul Green Award, an Australia Council ArtStart grant and JUMP mentorship with mentor Will Eno, two Ian Potter Awards and the Dame Joan Sutherland Grant from the American Australian Association. Amelia has an MFA in playwriting from the Yale School of Drama, where she studied under Paula Vogel, Doug Wright, Lynn Nottage and Sarah Ruhl. An Australian citizen, she now lives in Los Angeles, USA.
Tim’s plays include Joyful Noise (Lamb’s Theatre), Treasure, and Lightning Rod (Fulton Theatre), March Tale (Seven Angels Theatre), Utah (Tuacahn Theatre), Hancock County (Westminster College) and Virtue (Plan-B Theatre). His plays are published by Samuel French, Signature Books, Zarahemla Books, and Leicester Bay Books. Prose includes the novel and radio series, The Christmas Chronicles (Random House and Public Radio affiliates) and the non- fiction Messiah: the Little-known Story of Handel’s Beloved Oratorio (Silverleaf Press) Other writing has appeared in Sunstone Magazine, The National Biography of American Theatre, and the poetry journal A Time for Singing. His screenplay, A More Perfect Union (PBS), garnered a Freedoms Foundation Valley Forge George Washington Honor Medal. Other writing awards include the Hopwood Award for Drama and the Christopher Brian Wolk Award for Playwriting Excellence. He has been a writer-in-residence at Cornell College, Penn State University, and the Philadelphia Alumni Writers House at Franklin & Marshall College. Tim heads the University of Utah Department of Theatre’s playwriting and Theatre, Fine Arts, and Humanities in London Learning Abroad programs. His Play on! contribution is The Two Noble Kinsmen, produced by the University of Utah Department of Theatre with Oregon Shakespeare Festival’s support in 2017.
Tracy Young is a theatre director and playwright. Tracy developed several original plays with The Actors’ Gang in Los Angeles, including the musicals Hysteria (Ovation Award), Euphoria (Ovation and LA Weekly Awards) and A Fairy Tale (Garland and GLAAD Image Awards), as well as Dreamplay, a meditation on Carl Jung’s theories of collective unconscious. She created several adaptations of classic plays and novels, including the critically acclaimed Candude, or The Optimistic Civil Servant (from Voltaire’s Candide for Cornerstone Theatre Company), The Servant of Two Masters and The Imaginary Invalid for the Oregon Shakespeare Festival (with co-adaptor Oded Gross), and most recently a theatrical adaptation of Madeleine L’Engle’s A Wrinkle In Time. Her most challenging and joyful work to date is Medea/Macbeth/Cinderella (with co-adaptor Bill Rauch), a simultaneous telling of Euripides’ Medea, Shakespeare’s Macbeth and Rodgers and Hammerstein’s Cinderella. Earlier forays into Shakespearean translation include productions of The Taming of the Shrew and The Merry Wives of Windsor at Idaho Shakespeare Festival.