#Madeleine Rose Maggio

[alexlacquemanne]

Juin MMXXIII

Films

Indiana Jones et le Royaume du crâne de cristal (Indiana Jones and the Kingdom of the Crystal Skull) (2008) de Steven Spielberg avec Harrison Ford, Shia LaBeouf, Karen Allen, Cate Blanchett, John Hurt, Ray Winstone et Jim Broadbent

La vie est belge (Brabançonne) (2014) de Vincent Bal avec Arthur Dupont, Amaryllis Uitterlinden, Jos Verbist, David Cantens, Koen Van Impe, Tom Audenaert, Ivan Pecnik et Veerle Eyckermans

La Nuit américaine (1973) de François Truffaut avec Jacqueline Bisset, Valentina Cortese, Dani, Alexandra Stewart, Jean-Pierre Aumont, Jean Champion, Jean-Pierre Léaud et François Truffaut

Le Trésor de la Sierra Madre (The Treasure of the Sierra Madre) (1948) de John Huston avec Humphrey Bogart, Tim Holt, Walter Huston, Alfonso Bedoya, Barton MacLane et Bruce Bennett

Adieu Gary (2008) de Nassim Amaouche avec Jean-Pierre Bacri, Dominique Reymond, Yasmine Belmadi, Mhamed Arezki, Sabrina Ouazani, Hab-Eddine Sebiane et Abdelhafid Metalsi

La ciociara (1960) de Vittorio De Sica avec Sophia Loren, Jean-Paul Belmondo, Carlo Ninchi, Andrea Checchi, Pupella Maggio, Renato Salvatori et Raf Vallone

La mort n'était pas au rendez-vous (Conflict) (1945) de Curtis Bernhardt avec Humphrey Bogart, Alexis Smith, Sydney Greenstreet, Rose Hobart, Charles Drake et Grant Mitchell

The Flash (2023) d'Andrés Muschietti avec Ezra Miller, Michael Keaton, Sasha Calle, Michael Shannon, Maribel Verdu, Ben Affleck, Ron Livingston, Jeremy Irons et Gal Gadot

En cas de malheur (1958) de Claude Autant-Lara avec Jean Gabin, Brigitte Bardot, Edwige Feuillère, Franco Interlenghi, Nicole Berger, Madeleine Barbulée, Annick Allières et Jacques Clancy

Fahrenheit 451 (1966) de François Truffaut avec Oskar Werner, Julie Christie, Cyril Cusack, Anton Diffring, Jeremy Spenser, Bee Duffell et Noel Davis

Dieu seul le sait (Heaven Knows, Mr. Allison) (1957) de John Huston avec Deborah Kerr et Robert Mitchum

Séries

James May : Notre Homme en Italie

Dieu se fait pardonner - Funeste asile - Matière noire - Du très très bon fromage - Du pesto ! - Adieu, Bim

Friends Saison 8, 9

Celui qui se faisait interviewer - Celui qui animait un jeu stupide - Celui qui passait un entretien d'embauche - Celui qui assistait à la première - Celui qui avait un bébé : 1re partie - Celui qui avait un bébé : 2e partie - Celui qui n'avait demandé personne en mariage - Celui qui acceptait sa mutation - Celui qui allait chez le pédiatre - Celui qui regardait des requins - Celui qui avait fumé - Celui qui était le plus drôle - Celui qui faisait rire sa fille - Celui qui était vexé - Celui qui n'osait pas dire la vérité - Celui qui passait Noël à Tulsa - Celui qui ne voulait plus de bébé - Celui qui défendait sa nounou - Celui qui se faisait épiler - Celui qui se faisait poser un lapin - Celui qui se faisait agresser - Celui qui prêtait de l'argent - Celui qui envoyait des e-mails - Celui qui voulait gagner à la loterie - Celui qui piquait dans les hôtels - Celui qui allait à une soirée privée - Celui qui faisait un test de fécondité - Celui qui avait besoin d'un donneur - Celui qui allait à la Barbade

Inspecteur Barnaby Saison 9

La Maison hantée - Lettres mortelles - La Course à l'héritage - L'Assassin de l'ombre - Quatre enterrements et un mariage - Ces dames de la campagne - Complément d'enquête

Coffre à Catch

#118 : Cody Rhodes : le futur American Nightmare à la ECW ! - #119 : En route vers Cyber Sunday 2008 ! - #120 : Evan Bourne brille presque autant que SilentStorm ! - #121 : D-Generation X invitée au Dirt Sheet !

Castle Saison 2

Tuez le messager - Les Dessous de la loi - Doubles vies - La cinquième balle

Affaires sensibles

Silvio Berlusconi et le scandale du Rubygate - Kadhafi à Paris, la folle visite d'un dictateur - Suzy et mon gros loup : le mystère AZF - Le cimentier Lafarge en Syrie - Waco : une secte dans l'enfer des flammes - Incendie du tunnel du Mont-Blanc : autopsie d’une catastrophe annoncée - Dropped : tournage mortel sur une téléréalité

Maîtres et valets Saison 1, 2

Nouveau départ - Ils ne passeront pas - Bouleversements - Un pays lointain dont on ne sait rien - Le Prix de l'amour - L'Idéal féminin - Indépendance et soumission - Dernière valse - Jours sombres

The Grand Tour Saison 5, 4, 3, 2, 1

Eurocrash - The Grand Tour présente… Lochdown - The Grand Tour présente… Carnage à Trois - Scotch Single Malt - Les garçons du Niagara - La Loi du plus fort - Opéra, art et donuts

Visitors Saison 1

Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6 - Episode 7 - Episode 8

Spectacles

Lalo Schifrin, Mission : Impossible (2023) par l'Orchestre Philharmonique de Radio France

Ce que femme veut (1981) de Etienne Ray et Alfred Savoir avec Catherine Allary, Georges Beller, Yolande Folliot, Patrick Burget, Raoul Delfosse et Sonia Sariel

Un couple magique (2023) de Laurent Ruquier avec Stéphane Plaza, Valérie Mairesse et Jeanfi Janssens

Dire Straits Live at Wembley Arena, London (1985)

Deep Purple au Hellfest (2017)

Drôle De Genre (2022) de Jade-Rose Parker avec Victoria Abril, Lionnel Astier, Axel Huet et Jade-Rose Parker

Livres

Le Géant Ferré : La huitième merveille du monde de Bertrand Hébert et Pat Laprade

Détective Conan : Tome 10 de Gôshô Aoyama

Détective Conan : Tome 11 de Gôshô Aoyama

Spirou et Fantasio, Tome 33 : Virus de Tome et Janry

Il était une fois.. l'Homme, Tome 4 : Rome de Jean-Charles Gaudin, Jean Barbaud, Minte et Afroula Hadjiyannakis

Hero Corp, Tome 1 : Les origines de Simon Astier et Marco Failla

[larryland]

REVIEW: "The Merry Wives of Windsor" at Shakespeare & Company

REVIEW: “The Merry Wives of Windsor” at Shakespeare & Company

[carmelitanoteresiano]

B. Teresa di Sant’Agostino e compagne (OCD), Vergini e Martiri (m)

Beate Teresa di S. Agostino e Compagne

17 luglio

Sono una comunità di sedici monache Carmelitane scalze del monastero dell’Incarnazione di Compiègne in Francia. Quando iniziò il Terrore durante la Rivoluzione Francese, esse si offrirono come vittime sacrificali per impetrare da Dio la pace per la Chiesa e per il loro paese.

Arrestate e imprigionate il 24 giugno 1794, continuarono a condividere la gioia e la fede con gli altri. Condannate a morte per la loro lealtà alla Chiesa, ai voti religiosi e alla devozione ai Sacri Cuori di Gesù e Maria, vennero ghigliottinate a Parigi il 17 luglio 1794 mentre cantavano inni e dopo aver rinnovato i loro voti nelle mani della priora, Teresa di S. Agostino. Furono beatificate da san Pio X il 13 maggio 1906.

Se non siete ben informati sui martiri carmelitani, le Beate Teresa si S. Agostino e Compagne († 1794), note anche come le Martiri di Compiègne, vengono commemorate oggi come vergini e martiri. La loro vicenda è stata narrata nell’opera di François Poulenc, “I dialoghi delle Carmelitane, per la quale Georges Bernanos preparò il libretto.

Nel 1790 un decreto della nuova Repubblica Francese soppresse tutte le comunità religiose, eccetto quelle impegnate nell’insegnamento e l’assistenza ai malati. Occorreva dimostrare al governo di essere utili e che si faceva qualcosa per il bene comune.

Nel luglio del 1794, sedici monache vennero arrestate con l’accusa di proseguire il loro modo di vivere illecito. Le monache erano “nemiche del popolo perché cospiravano contro il suo governo sovrano”. Il 17 luglio 1794, le monache furono portate sul luogo di esecuzione, mentre tutte cantavano la “Salve Regina” e il “Te Deum” e recitavano le preghiere per i moribondi.

Madre Teresa di S. Agostino e le sue compagne furono beatificate nel 1906, come prime martiri della Rivoluzione Francese. Si dice che abbiano detto: “Siamo vittime del tempo e ci offriamo in sacrificio per ottenere il ritorno di Dio”.

È importante ricordare i nomi delle martiri per non dimenticare la loro storia:

Madeleine-Claudine Ledoine (Madre Teresa di S. Agostino), priora, nata a Parigi, il 22 settembre 1752, aveva professato il 16 o il 17 maggio 1775;

Marie-Anne (o Antoinette) Brideau (Madre S. Luigi), sotto-priora, nata a Belfort, il 7 dicembre 1752, aveva professato il 3 settembre 1771;

Marie-Anne Piedcourt (Suor di Gesù Crocifisso), monaca corista, nata nel 1715, aveva professato nel 1737; salendo la scaletta disse: “Vi perdono di cuore come desidero che Dio mi perdoni”;

Anne-Marie-Madeleine Thouret (Suor Charlotte della Risurrezione), sacrestana, nata a Mouy, il 16 settembre 1715, aveva professato il 19 agosto 1740, per due volte sotto-priora nel 1764 e nel 1778;

Marie-Antoniette o Anne Hanisset (Suor Teresa del Sacro Cuore di Maria), nata a Reims nel 1740 o nel 1742, aveva professato nel 1764;

Marie-Francoise Gabrielle de Croissy (Madre Henriette di Gesù), nata a Parigi, il 19 giugno 1745, aveva professato il 22 febbraio 1764, priora dal 1779 al 1785;

Marie-Gabrielle Trezel (Suor Teresa di S. Ignazio), monaca corista, nata a Compiègne, il 4 aprile 1743, aveva professato il 12 dicembre 1771;

Rose-Chretien de la Neuville (Suor Julia Louisa di Gesù), vedova, monaca corista, nata a Loreau (o Evreux), nel 1741, aveva professato probabilmente nel 1777;

Anne Petras (Suor Marie Henrietta della Provvidenza), monaca corista, nata a Cajarc (Lot), il 17 giugno 1760, aveva professato il 22 ottobre 1786.

Riguardo Suor Eufrasia dell’Immacolata Concezione ci sono diverse versioni. Miss Willson dice che il suo nome era Marie Claude Cyprienne Brard, e che era nata il 12 maggio 1736; Pierre, che il suo nome era Catherine Charlotte Brard, nata il 7 settembre 1736. Era nata a Bourth e aveva professato nel 1757;

Marie-Genevieve Meunier (Suor Constance), novizia, nata il 28 maggio 1765, o 1766, a St. Denis, aveva ricevuto l’abito il 16 dicembre 1788. Salì la scaletta cantando “Laudate Dominum”.

In aggiunta alle precedenti, furono martirizzate altre tre suore converse e due suore esterne. Le converse sono:

Angelique Roussel (Sior Maria dello Spirito Santo), conversa, nata a Fresnes, il 4 agosto 1742, aveva professato il 14 maggio 1769;

Marie Dufour (Suor S. Marta), conversa, nata a Beaune, il 1 o il 2 ottobre 1742, era entrata in comunità nel 1772;

Julie o Juliette Verolot (Suor S. Francesco Saverio), conversa, nata a Laignes o a Lignieres, l’11 gennaio 1764, aveva professato il 12 gennaio 1789.

Le due suore esterne, che non erano propriamente carmelitane, ma solo servitrici del monastero erano Catherine e Teresa Soiron, nate rispettivamente il 2 febbraio 1742 e il 23 gennaio 1748 a Compiègne, erano state entrambe a servizio della comunità dal 1772.

Durante il processo di beatificazione furono riconosciuti i seguenti miracoli: la guarigione di Suor Clare di S. Giuseppe, conversa Carmelitana di New Orleans, in pericolo di morte a causa del cancro, nel giugno 1897; la guarigione dell’Abbé Roussarie, del seminario di Brive, sul punto di morire il 7 marzo 1897; la guarigione dalla tubercolosi e da un ascesso alla gamba destra di Suor St. Martha di S. Giuseppe, conversa carmelitana di Vans, il 1 dicembre 1897; la guarigione di Suor St. Michael, francescana di Montmorillon, il 9 aprile 1898.

[pangeanews]

“Tutti avevano visto degli angeli…”. Su Odilon-Jean Périer, il poeta che ha ispirato “Il cielo sopra Berlino” (ma che nessuno si azzarda a citare)

Infine apparvero gli Stranieri.

Se ne parlava appena, in modo vago. Tutti avevano visto degli angeli, ma nessuno credeva agli occhi del suo vicino.

Chi li aveva incontrati, guarito un giorno con l’altro, parlava di poesia, di amore, – di libertà. […]

I più forti o più saggi tra gli uomini, cui nulla era rivelato, per un po’ si fecero beffe di queste visioni. Ma presto toccati dalla grazia, li si vide darsi alla caccia, con gli occhi spalancati sul loro cielo vuoto, a cercare degli dèi con tutto il loro cuore.

Erano consumati dal desiderio, si mordevano i pugni di filosofi e si passavano una mano tremante sulle celebri teste calve.

Tutte le ragazze avevano già il loro angelo, amico intimo. Quei prìncipi volavano come in sogno, senza sforzo alcuno, con attitudine rispettosa. Abbracciando la loro graziosa preda, andavano a sedersi sugli alberi. Ogni ippocastano ospitava svariate coppie d’ali. Il movimento del vento tra le foglie si mescolava al rumore dei baci. I filosofi gironzolavano sotto quegli alberi.

Molti vi morirono, stecchiti come cicale, dopo una canzoncina. Perché la morte faceva di loro dei poeti, e infine si lamentavano quanto più melodiosamente possibile.

Appollaiati sui rami odorosi, gli angeli e le fanciulle, unendo le loro dita leggere, ascoltavano agonizzare sotto la loro ombra rinfrescante quei vecchi signori, non senza un’ammaliante malinconia.

***

Gli “Stranieri” di cui scrive Odilon-Jean Périer sono degli angeli discesi un bel giorno sulla città dello scrittore, Bruxelles, nei suoi parchi, nelle sue strade, sui tetti e nei bar – a osservare la vita quotidiana degli esseri umani – a contemplare da vicino le loro passioni e azioni – fino a voler diventare carnali come loro e viverle.

Una scena già vista da qualche parte? Forse sullo schermo cinematografico? Forse in un film di un regista tedesco? I due sceneggiatori de Il cielo sopra Berlino non ne hanno mai parlato ma forse le pagine de Il passaggio degli angeli ne sono davvero lo spunto, l’“ur-testo” del capolavoro girato pochi anni prima del Mauerfall.

Ora che l’austriaco Peter Handke, che scrisse a quattro mani il film di Wim Wenders, ha vinto il Premio Nobel, e che si celebrano i trent’anni dalla riunificazione della città tedesca e quindi delle due Germanie, è bene ricordare chi fu lo scrittore bruxellois.

Fumatore di pipa, amante delle parole e del design, a sua volta disegnatore, mai avvocato a dispetto della laurea in diritto, flâneur innamorato delle strade, dei parchi, degli alberi, della natura, del silenzio, della libertà, della bellezza, “Odilon-Jean Périer aveva il viso allungato, una fronte larga, i capelli tirati all’indietro. Portava degli occhiali tondi, delle giacche di tweed e dei fazzoletti chiari nel taschino. Amava il tennis, il golf e pure la boxe”, e sin da bambino aveva riempito i suoi quaderni di poesie, sempre in cerca della bellezza. Périer visse appena ventisette anni scarsi, e già in una poesia de Le Citadin faceva eco a un verso de La terra desolata di Eliot: “Non canterò troppo forte né troppo a lungo”.

Il frammento di traduzione de Il passaggio degli angeli e la cronologia biografica di Odilon-Jéan Périer sono qui riprodotti per gentile concessione de La Finestra Editrice di Lavis (Trento) che nel 2018 ha pubblicato l’unico romanzo dello scrittore vallone.

***

“Cronologia della vita e arte di Odilon-Jean Périer”

1901 – Jean Périer nasce il 9 marzo 1901 a Bruxelles da Jeanne Thys, figlia di un generale pioniere del Congo belga, e di Gaston-Frédéric Périer, amministratore di società.

1911 – Attorno ai dieci anni comincia a scrivere poesie. Nel corso dei suoi studi fonda numerose riviste (che avranno tutte la breve vita di un solo numero): La Lyre du potache, Hermès e Le Cénacle (il quale è anche il nome di un circolo letterario la cui sede è nella casa paterna al 50 di rue Defacqz). Da ragazzino s’inventerà anche un Gioco dei Paesi nel quale crea e distribuisce dei paesi simbolici di cui bisogna instaurare il governo e inventare la letteratura, viverne e scriverne la storia.

1912 – La madre, molto amata dal poeta, pubblica una raccolta di novelle, Pendant qu’on dort, dedicata ai suoi due figli, il minore dei quali, Gilbert, è nato un anno dopo Jean.

1918 – Fonda Le Cénacle e scrive, sulla falsariga di Jules Renard, un Petit Éssai de psychologie végétale, oltre a una raccolta di poemi in versi liberi che intitola La Route de sable.

1919 – S’iscrive alla facoltà di Diritto dell’Université Libre di Bruxelles, dove si laureerà senza mai praticare, e dà inizio a una collaborazione biennale con la rivista La Patrie belge, che pubblica tre sue opere, Ariane-des-eaux, Hermès-des-oliviers e Orphée-des-vignes.

1920 – Su ispirazione di autori come Apollinaire e Cendrars e del cubismo scrive il lungo poema Le combat de la neige et du poète e una raccolta di poesie, La Vertu par le chant.

1921 – Termina la sua collaborazione con La Patrie belge e inizia quella col Mercure de France e con Signaux de France et de Belgique. Nel corso degli anni collaborerà anche con La Reinaissance d’Occident e Le Disque vert, con Echantillons, gli Écrits du Nord e la Nouvelle Revue Française. In quel di Parigi ha modo di conoscere gli scrittori francesi Jacques Rivière, Jean Supervielle e Jean Paulhan. Comincia la composizione di un altro volume di poesie, Notre Mère la ville, edito l’anno seguente.

1922 – Durante il servizio militare nel campo di Berverloo, dove conosce Eric de Haulleville, è colpito da angina e reumatismi articolari, che segnano tutto il resto della sua vita.

1923 – Scrive una commedia, Le Grand homme et l’autre e inizia un periodo di tre anni nel corso del quale si divide tra Bruxelles, Le Zoute e Parigi, dove frequenta Pauhlan.

1924 – Dà alle stampe il poema Le Citadin, ou Éloge de Bruxelles una cui nota in apertura annuncia che l’autore rinnega ogni singola cosa che ha pubblicato precedentemente.

1925 – Crea un gioco di carte da lui disegnate, À tous hasards, e compone i nove poemi che costituiscono L’Amour en habit noir e che confluiranno poi nella raccolta Le Promeneur. Al teatro del Marais di Bruxelles viene messa in scena la seconda commedia del poeta, On s’amuse comme on peut, ou Les Indifférents.

1926 – Viaggio a Parigi e Roma. Il 2 settembre si sposa con Laure Féron. Viaggio di nozze in Italia. Pubblica con Gallimard il suo primo e unico romanzo, Le Passage des anges.

1927 – Pubblica con le edizioni della Nouvelle Revue Française la raccolta di poemi Le Promeneur, con un autoritratto di suo stesso pugno. Fonda con l’amico Robert De Geynst la rivista Livrets, sul cui primo numero scrivono: “Prendiamo partito per lo spirito di piacere e di scoperta, contro l’irrequietezza e la noia”. Su domanda dello stesso Gaston Gallimard propone una serie di opere, tra le quali La Maison de verre, la commedia Octave e una tragedia in alessandrini, Pierre, ou Les Bûchérons.

1928 – Comincia la collaborazione con la rivista Échantillons. Il 22 febbraio muore a causa di una pericardite reumatica, senza conoscere suo figlio Olivier, che nascerà solo qualche giorno piú tardi. Lo stesso giorno esce il Deuxième livret. Il 1° aprile sulle pagine della Nouvelle Revue Française viene pubblicata l’ultima poesia che l’autore ha portato a termine, La maison de verre. Il 15 maggio la rivista Variétés pubblica un frammento del prologo del dramma Vous êtes condamné à mort, ancora inedito.

1937 – Viene edito dalle Éditions des Artistes di Bruxelles il volume Les poèmes d’Odilon-Jean Périer, con sei litografie originali di Albert Crommelynck, nel quale è raccolta l’opera completa dello scrittore a esclusione de Le combat de la neige et du poète, che verrà reintegrata tre lustri dopo assieme a un poema inedito, Le corps fermé comme une jeune rose…, nella nuova edizione Gallimard.

1949 – Georges Vitaly mette in scena la commedia Les Indifférents presso il Théâtre Royal du Parc di Bruxelles in concomitanza con l’inaugurazione della fontana dedicata al poeta in fondo ad avenue Louise, al cui numero 268 egli visse dopo il matrimonio.

1957 – Esce la biografia di Périer, opera di Madeleine Defrenne ed edita dal Palais des Académies di Bruxelles.

1987 – Esce nelle sale il film Il cielo sopra Berlino, opera del cineasta tedesco Wim Wenders, sì ispirata ai versi di Reiner Maria Rilke, ma che richiama il tema de Le Passage des anges.

*Presentazione, traduzione e cronologia a cura di Marco Settimini

L'articolo “Tutti avevano visto degli angeli…”. Su Odilon-Jean Périer, il poeta che ha ispirato “Il cielo sopra Berlino” (ma che nessuno si azzarda a citare) proviene da Pangea.

from pangea.news https://ift.tt/33zMIiw

[larryland]

Shakespeare & Company Announces "Sense and Sensibility" for the Holidays

Shakespeare & Company Announces “Sense and Sensibility” for the Holidays

“To wish was to hope, and to hope was to expect” ― Jane Austen, Sense & Sensibility 

(Lenox, MA) – Shakespeare & Company proudly presents a costumed reading of Sense and Sensibility, written by Kate Hamillbased on the novel by Jane Austen. The lively reading is directed and staged by longtime Company member and Producing Associate Ariel Bock. This funny, warm-hearted classic tale will have a…

[larryland]

by Barbara Waldinger

Kevin G. Coleman, the Director of Education and founding member of Shakespeare & Company, and runner-up for the Tony Award for Excellence in Theatre Education (2016), believes that “The Merry Wives of Windsor is Shakespeare having fun.  Period.  No grand themes. No deep waters.”  And that’s what he provides in his direction of this farce, now playing at Shakespeare & Company’s outdoor Roman Garden Theatre.

This company has always set a premium on education, with its extensive outreach programs to teachers and students throughout the Northeast, including the annual Fall Festival of Shakespeare, which brings together ten high schools in nine-week workshops that culminate in a weekend of full productions (abbreviated) of several Shakespeare plays.  Over the summer the Riotous Youth programs of two-week sessions for students ages 7-15 offer an opportunity to perform on Friday afternoons, and school residencies of one day to ten weeks introduce students from elementary through high school to Shakespeare’s text, culminating in a community performance.  Their one month January intensive for actors is often the training ground for future company members.

In this way, Shakespeare & Company builds its own unique version of a repertory theatre, training future generations of actors who often return each season to perform in their productions.  In the present gender-crossing, age-crossing, exuberant production of The Merry Wives of Windsor, Coleman, a master teacher, has incorporated young people in combination with more experienced actors. The two youngest cast members are Tobias Goodman, 15 years old, and Mary Shalaby, a high school senior, who trained with the company in their schools, and are each admirably interpreting several distinct roles.

The convoluted plot, especially difficult to understand in the long first act, concerns itself with the comical, overweight Sir John Falstaff (Nigel Gore), a favorite character from the Henry IV plays.  It is said that Shakespeare wrote this in a hurry by royal command perhaps because Queen Elizabeth, according to an old tradition, expressed a wish to see Falstaff in love.  Here we find him wooing Mistress Ford (Jennie M. Jadow) and Mistress Page (MaConnia Chesser), the wives of the title.  Falstaff, driven by lust and greed (acquiring their husbands’ money), infuriates the jealous Master Ford (Martin Jason Asprey), and provides the wives, disgusted by his identical love letters to each of them, the opportunity for revenge.  Another plot involves the Welsh parson, Sir Hugh Evans (Bella Merlin), who is visited by Justice Shallow (Madeleine Rose Maggio) and his cousin Slender (Gregory Boover), both conned by Falstaff and consequently also seeking revenge.  Evans talks Slender into wooing the daughter of Mistress Page, Anne (Jordan Cobb), whose mother wants her to marry the French physician, Dr. Caius (an amusing Glenn Barrett), though she is in love with a gentleman named Fenton, played by the ubiquitous and endlessly inventive Boover.  Adding to the confusion is the doubling of cast members, despite the wonderful costumes (by Kiki Smith) that strive to distinguish the characters.

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Coleman, a brilliant actor whose clowning onstage has entertained generations of patrons, encourages every cast member to play his/her character to the hilt—no choice is too outlandish or too anachronistic  for these performers or designers, including rock music between scenes and hilarious sound effects (by Amy Altadonna).  The second act is a marvel of comic antics as easy to understand as the first act is dense.  Two towering performances are Nigel Gore’s Falstaff and Martin Jason Asprey’s Ford.  Their many years of experience is obvious:  between them they have been with Shakespeare & Company for thirty-eight seasons (12 for Gore and 26 for Asprey, son of Tina Packer, founding Artistic Director).  Their scenes together are priceless, as Ford pretends to be Master Brook (unknown to Falstaff), who claims that his love for Mistress Ford will be requited only if the gullible Falstaff, well paid for his trouble, can demonstrate, by sleeping with her, that she is willing to be unfaithful to her husband.  Repeatedly Ford shows up just as Falstaff is about to make his move, depriving him of his desired evidence while causing injury and humiliation for Falstaff as he attempts to escape detection.  Ford’s subsequent soliloquies about the misery of being married are comic gems.  In the end, predictably, everyone is revenged on poor Falstaff while true love wins out, amid joyful song and dance.

The Rose Garden is a perfect setting to enjoy this production on a beautiful summer afternoon, with minimal props, a few small trees, a bench, two archways and a couple of fences (by set designer Jim Youngerman).  Read the play or check out a plot summary in advance in order to fully appreciate the work of this lively company of players.

  THE MERRY WIVES OF WINDSOR runs from August 8—September 1.  Tickets may be purchased online at shakespeare.org or call 413-637-3353.

Shakespeare & Company presents THE MERRY WIVES OF WINDSOR by William Shakespeare.  Directed by Kevin G. Coleman.  Cast:  Martin Jason Asprey (Frank Ford), Steven Barkhimer (George Page), Glenn Barrett (Dr. Caius), Gregory Boover (Master Fenton/Abraham Slender), MaConnia Chesser (Meg Page), Jordan Cobb (Anne Page/Hostess), Tobias Goodman (Pistol/Simple/John), Nigel Gore (Sir John Falstaff), Cloteal L. Horne (Mistress Quickly), Jennie M. Jadow (Alice Ford), Madeleine Rose Maggio (Robert Shallow/Bardolph), Bella Merlin (Sir Hugh Evans), Mary  Shalaby (Nym/Rugby/Robin/Robert).  Set Designer:  Jim Youngerman; Costume Designer:  Kiki Smith; Sound Designer:  Amy Altadonna; Vocal Coach:  Gwendolyn Schwinke; Faerie Whisperer/Composer:  Kristin Wold; Fight Director:  Kevin G. Coleman; Stage Manager:  Diane Healy.

Running Time:  2 hours 20 minutes with a 15 minute intermission; Shakespeare & Company, Rose Garden Theatre, 70 Kemble Street, Lenox, MA., from August 8; closing September 1. https://www.shakespeare.org/

  REVIEW: “The Merry Wives of Windsor” at Shakespeare & Company by Barbara Waldinger Kevin G. Coleman, the Director of Education and founding member of Shakespeare & Company,

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Performances Run August 8 – September 1, 2019

“O powerful Love, that in some respects makes a beast a man, in some other a man a beast.” – Act V, Scene V

(Lenox, MA) – Shakespeare & Company presents William Shakespeare’s madcap comedy, The Merry Wives of Windsor directed by founding company member and Director of Education, Kevin G. Coleman, who was Runner-Up for the Tony Award for Excellence in Theatre Education in 2016. The Merry Wives of Windsor runs from August 8 to September 1 outdoors in the Roman Garden Theatre.

“The Merry Wives of Windsor is Shakespeare having fun. Period,” said Director Kevin G. Coleman. “No grand themes. No deep waters. No pushing the Renaissance envelope. When Shakespeare is having fun, it runs the gamut from groaningly predictable to surprisingly sophisticated with every stop in between. Shakespeare was masterful at pleasing his audience. Come enjoy the wisdom and wit of these women of Windsor. It’s all in fun.”

The play begins when Sir John Falstaff vastly underestimates the Merry Wives in the town of Windsor, as he hatches a frothy scheme to drain their bank accounts and drive their husbands insane with jealousy. Antics ensue as Falstaff continues to overestimate his own ability to dupe good people and pull off his scheme of deceit. With The Merry Wives of Windsor, Shakespeare once again proves that the best human foibles are the ones we can laugh at.

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The production is generously sponsored by The Dr. Gerald and Roberta Friedman Foundation, and will feature Martin Jason Asprey (Mr. Frank Ford), Steven Barkhimer (George Page), Gregory Boover (Master Fenton), MaConnia Chesser (Meg Page), Jordan Cobb (Anne Page), Tobias Goodman (Pistol/Simple), Nigel Gore (Sir John Falstaff), Cloteal L. Horne (Mistress Quickly), Jennie M. Jadow (Alice Ford), Madeleine Rose Maggio (Robert Shallow), Bella Merlin (Sir Hugh Evans), and Mary Shalaby (Nym/Rugby).

The creative team includes Kevin G. Coleman (Director), Raz Golden (Assistant Director), Diane Healy (Stage Manager), Kathleen Soltan (Assistant Stage Manager), Jim Youngerman (Set Designer), Kiki Smith (Costume Designer), Gwendolyn Schwinke (Voice Coach), Kristin Wold (Movement Director), and Shane Burgett (Associate Technical Director).

Tickets for The Merry Wives of Windsor are available online at shakespeare.org, or by calling Shakespeare & Company’s box office at (413) 637-3353. The show runs from August 8 to September 1. The Roman Garden Theatre is outdoors and wheelchair accessible. Shakespeare & Company is located at 70 Kemble St. in Lenox, Massachusetts. Join us for a free pre-show talk on August 13 at 3:45 pm for insight into the plot and characters of the play to enhance your experience. Additionally, join Director Kevin G. Coleman and cast members for a Director’s Panel on Saturday, August 3 at 11:00 am. Tickets for the Director’s Panel are $10 for adults and free for students, and can be purchased at shakespeare.org.

The Company’s 2019 Summer Season also includes Shakespeare’s Twelfth Night and The Taming of The Shrew, and a special workshop production of Coriolanus; plus Tony nominee The Children by Lucy Kirkwood, The Pulitzer Prize-winning Topdog/Underdog by Suzan-Lori Parks, and Tony Award nominee, Time Stands Still by Donald Margulies.

AT A GLANCE: PRODUCTION: The Merry Wives of Windsor PLAYWRIGHT: William Shakespeare DIRECTOR: Kevin G. Coleman ASSISTANT DIRECTOR: Raz Golden STAGE MANAGER: Diane Healy ASSISTANT STAGE MANAGER: Kathleen Soltan SET DESIGNER: Jim Youngerman COSTUME DESIGNER: Kiki Smith VOICE COACH: Gwendolyn Schwinke MOVEMENT DIRECTOR: Kristin Wold ASSOCIATE TECHNICAL DIRECTOR: Shane Burgett

CAST MEMBERS: MR. FRANK FORD: Martin Jason Asprey GEORGE PAGE: Steven Barkhimer MASTER FENTON: Gregory Boover MEG PAGE: MaConnia Chesser ANNE PAGE: Jordan Cobb PISTOL/SIMPLE: Tobias Goodman SIR JOHN FALSTAFF: Nigel Gore MISTRESS QUICKLY: Cloteal L. Horne ALICE FORD: Jennie M. Jadow ROBERT SHALLOW: Madeleine Rose Maggio SIR HUGH EVANS: Bella Merlin NYM/RUGBY: Mary Shalaby

SCHEDULE: AUGUST Thursday, August 8 – 5:00 pm (Preview) Friday, August 9 – 5:00 pm (Preview) Saturday, August 10 – 5:00 pm (Preview) Sunday, August 11 – 5:00 pm (Opening) Tuesday, August 13 – 5:00 pm Wednesday, August 14 – 5:00 pm (Press Night) Thursday, August 15 – 5:00 pm Friday, August 16 – 5:00 pm Saturday, August 17 – 5:00 pm Sunday, August 18 – 5:00 pm Tuesday, August 20 – 5:00 pm Wednesday, August 21 – 5:00 pm Thursday, August 22 – 5:00 pm Friday, August 23 – 5:00 pm Saturday, August 24 – 5:00 pm Sunday, August 25 – 5:00 pm Tuesday, August 27 – 5:00 pm Wednesday, August 28 – 5:00 pm Thursday, August 29 – 5:00 pm Friday, August 30 – 5:00 pm Saturday, August 31 – 5:00 pm

SEPTEMBER Sunday, September 1 – 5:00 pm (Closing)

Rain Policy From time to time weather may affect your enjoyment of the performance in The Roman Garden Theatre. Most often the show will go on and depending on the severity of the rain, will be performed as scheduled. If rain is heavy, performance in The Roman Garden Theatre will be moved to the Company’s tented Rose Theatre.

About William Shakespeare Shakespeare was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world’s pre-eminent dramatist. His works, including some collaborations, consist of about 37 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major language and are performed more often than those of any other playwright.

About Kevin G. Coleman Founding Member (Director of Education, Board of Trustees, Fight Director) Kevin is one of Shakespeare & Company’s artistic and administrative leaders. He works in the Performance and Training departments as an actor, teacher, and director, and oversees the mission of the Education department. Kevin teaches text analysis, stage combat, and clown, and has been a guest teacher or director at MIT, Harvard, L.S.U., Stanford, Shenandoah Shakespeare, Q.U.T.- Brisbane, Lincoln Center, the Folger Library, Shakespeare Festivals in both Stratfords, and the Mercury Theatre in Colchester, UK. Kevin is the Theatre Director at the Austen Riggs Center, where he has directed over 30 productions. In 2016, Kevin was Runner-Up for the Tony Award for Excellence in Theatre Education.

About Shakespeare & Company Located in the beautiful Berkshires of Western Massachusetts, Shakespeare & Company is one of the leading Shakespeare festivals of the world. Founded in 1978, the organization attracts over 40,000 patrons annually. The Company is also home to an internationally renowned Center for Actor Training and award-winning Education Program. More information is available at www.shakespeare.org.

Shakespeare & Company Presents “The Merry Wives of Windsor” Performances Run August 8 - September 1, 2019 "O powerful Love, that in some respects makes a beast a man, in some other a man a beast." 

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Shakespeare & Company Announces Berkshire Beneficiaries and Updated Casting for "Miss Bennet: Christmas at Pemberley"

Shakespeare & Company Announces Berkshire Beneficiaries and Updated Casting for “Miss Bennet: Christmas at Pemberley”

(Lenox, MA) –  In the spirit of the holidays, Shakespeare & Company announces four Berkshire beneficiaries for Miss Bennet: Christmas at Pemberley, written by Lauren Gunderson and Margot Melcon, directed by Producing Associate Ariel Bock. Post-show collections from each performance will benefit a different local organization, including The Elizabeth Freeman Center, Pittsfield Boys & Girls Club,…

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by Roseann Cane

During a talk-show interview some years back, Mel Brooks relayed an anecdote about a fight he had with his late wife, Anne Bancroft. The shouting escalated, and Brooks became so frustrated that he grabbed his wife by the shoulders. “How dare you put your hands on my instrument!” Bancroft exclaimed. Brooks paused, and then said, “Can ya play Melancholy Baby?”

Most actors are taught early on to regard their bodies as instruments, that an integral part of their skill set, in addition to the characterizations they create and the dialogue they speak, is the physiological component: breathing, voice, movement. One thing I always look forward to when I attend a Shakespeare & Company play is the troupe’s beautifully honed physicality, the seemingly bottomless well from which their actors of all ages draw their energy and stamina.

 And so it was with the company’s outdoor production of A Midsummer’s Night Dream, which just opened at The Dell at The Mount, Edith Wharton’s home in Lenox. Outdoor theater provides significant challenges to those who perform it. They are at the mercy of Mother Nature and modern technology alike, challenged by changes in weather, low-flying aircraft, unpredictable insects, and an audience less inclined to stay seated and quietly attentive than they would in a more formal indoor theater. I’m delighted to report that the cast and crew of A Midsummer’s Night Dream not only rose to the challenges, but, for the most part, embraced them.

I’ve seen so many productions of this play over the decades that I’ve lost count. Fairly or un-, it’s a little difficult to surprise me. But I knew I was in for something special from the moment my companion and I entered The Dell. Some of the actors casually milled about and greeted audience members as we searched for a spot to place our folding chairs. Because the grounds open 90 minutes before the show begins , the actors have ample time before they dress and prepare for the show, and I found it refreshing that they greeted and exchanged pleasantries with us.

Director Jonathan Croy was charming and low-key as he explained to the audience the fight call exercises the actors were doing. (Duels and other fights in plays are tightly choreographed by experts, and it is customary, and necessary, that the actors have a rehearsal, a “fight call,” before every show.) Another lovely touch, I thought; there’s no reason that people who are not theater professionals would otherwise know this, and I believe it strengthened the bond between audience and cast.

And oh, what a cast! A mix of Shakespeare & Company regulars and newcomers, many of these young actors had participated in the Company’s Northeast Regional Educational tour of the show, and they were engaging, hilarious, and acrobatic. With a few minor exceptions, they made themselves heard and seen despite the expansive outdoor wooded space, a whimpering baby, and the occasional low-flying aircraft. There was one unusually loud and extended flyover during which the actors continued speaking and they were impossible to hear, but I’m sure that the performers are unable to discern the differences between noise levels, so I think it only fair to chalk that up to the vagaries of outdoor theater.

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I was disappointed that I was unable to see a substantial amount of downstage action because of the location of my seat. There is a “blanket zone” (a designated place for those sitting on blankets rather than chairs) right before the stage, and I wonder how many people in rows above that zone missed out on the action, too. This is really my only quibble with the direction; Croy and Douglas Seldin kept the action going at a wonderfully zany pace, expertly weaving contemporary songs, acrobatics, and surprises that are thoroughly engaging. I loved the interactions between actors and audience throughout the play, and in the hope that you will go, I’ll withhold any description.

Thomas Randle is outstanding as a sharply drawn, wickedly funny Puck. He is certainly one of the most fully realized, devilish Pucks I’ve had the pleasure of seeing. Also delightful were Caroline Calkins as Hermia; Madeleine Rose Maggio as Helena; and as the motley group of actors, the Rude Mechanicals, who perform Pyramus and Thisby, Tim Dowd (Nick Bottom), Caitlin Craft (Snug), Rory Hammond (Peter Quince), Mairead Koehler (Tom Snout), Leon Schwendener (Francis Flute), and Dara Silverman (Robin Starveling).

The splendid faeries (David Bertoli as Oberon; Kate Kenney as Titiania; and some aforementioned actors who doubled as faeries, including Rory Hammond and Madeleine Rose Maggio) were a feast for the eyes in their jewel-toned costumes, designed by Govane Lohbauer. All of Lohbauer’s costumes, in fact, a potpourri of period mixes, mostly Edwardian, were stunning and eccentric in the best possible way.

Hats off to director Croy, who also designed sets and sound. While I found the music and sound effects well-chosen, their execution left something to be desired. The sound quality seemed a little ragged, and each time we heard music, it came to an abrupt stop, rather than fading out.

 This family-friendly show, abridged to 90 intermissionless minutes, would be a great introduction to Shakespeare for children. A talk-back with the cast follows the show, and the cast members were friendly and forthcoming. You may bring your own chairs or rent them. You may also bring a blanket to sit in the aforementioned Blanket Zone, which is available a bit later than the rest of the seating area, which opens 90 minutes before the show. Picnics are encouraged. In the event of rain, the company will stop the show and invite you back for no additional charge.

The Shakespeare and Company production of A Midsummer Night’s Dream by William Shakespeare, directed by Jonathan Croy, runs from July-August in The Dell at The Mount, 2 Plunkett Street in Lenox MA. Costume Design by Govane Lohbauer; Vocal Coaches Gwendolyn Schwinke & Ariel Bock; Stage Manager Cindy Wade; Wardrobe Elizabeth Bray CAST: David Bertoldi as Oberon, Caroline Calkins as Hermia, Tim Dowd as Bottom, Lori Evans as Egeus, Rory Hammond as Peter Quince/Cobweb, Luke Haskell as Lysander, Kate Kenney as Titania, Mairead Koehler as Snout, Caitlin Kraft as Hippolyta/Snug, Madeleine Rose Maggio as Hippolyta/Snug, Devante Owens as Theseus, Thomas Randle as Puck, Thomas Reynolds as Demetrius, Leon Schwendener as Flute, Dara Silverman as Philostrate/Starveling.

REVIEW: “A Midsummer Night’s Dream” in The Dell at The Mount by Roseann Cane During a talk-show interview some years back, Mel Brooks relayed an anecdote about a fight he had with his late wife, Anne Bancroft.

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Shakespeare & Company Presents "A Midsummer Night's Dream" at The Dell Outdoors at The Mount

Shakespeare & Company Presents “A Midsummer Night’s Dream” at The Dell Outdoors at The Mount

“The course of true love never did run smooth.” – Act 1, Scene 1 (Lenox, MA) – Shakespeare & Company presents William Shakespeare’s A Midsummer Night’s Dream, directed by Jonathan Croy and Douglas Seldin, and performed outside at The Dell at The Mount. This magical favorite, presented by Shakespeare & Company’s Northeast Regional Education Tour and Riotous Youth Faculty, runs from July 11 to…

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(Lenox, MA) – Shakespeare & Company is pleased to announce casting for its upcoming summer performance season, under the direction of Artistic Director Allyn Burrows and Managing Director Adam Davis. The Company’s 40th Anniversary Season includes a roster of audience favorite artists, critics’ top pick actors and a multitude of newcomers joining the Company. The season opens Memorial Day Weekend with Amy Herzog’s 4000 Miles.

The 2017 season includes three Shakespeare plays: Cymbeline, The Tempest, and A Midsummer Night’s Dream; plus two Edith Wharton comedies, Roman Fever and the newly adapted The Fullness of Life. Additional titles include the Obie Award winning 4000 Miles by Amy Herzog; New York Drama Critics Circle and the Outer Critics Circle Recipient, Intimate Apparel by Lynn Nottage; and Tony Award Winner, God of Carnage by Yasmina Reza. In celebration of the Company’s 40th Season the summer program will also include a special August event series, Storytellers and Songwriters.  Each event will explore various characters through solo performances by Company artists, interwoven with live music and original compositions from extraordinary musicians and songwriters.

In Intimate Apparel Pulitzer Prize-winning playwright Lynn Nottage explores the strength of the human spirit through the story of Esther, an African American seamstress in Manhattan in 1905. (Illustration Kevin Sprague.)

Dennis Krausnick’s delightful adaptations of short stories by Edith Wharton close the season at the Garden Theatre. Old Favorite Roman Fever is joined by a new piece, The Fullness of Life. (Illustration Kevin Sprague.)

Amy Herzog’s 4,000 Miles opens the season at the Bernstein Theatre. (Illustration Kevin Sprague.)

The season ends with the Tony and Olivier Award-winning New York smash hit God of Carnage, by Yasmina Reza, the author of ART. (Illustration Kevin Sprague.)

Nigel Gore is Prospero as The Tempest opens the new outdoor Garden Theatre. (Illustration Kevin Sprague.)

Under Jonathan Croy’s direction, A Midsummer Night’s Dream will be performed out of doors at The Dell at The Mount. (Illustration Kevin Sprague.)

Never before performed in full at Shakespeare & Company, Cymbeline will be directed by Founding Artistic Director Tina Packer. (Illustration Kevin Sprague.)

“We are entirely thrilled to have assembled this group of artists to fly this season of award winning playwrights and Shakespeare classics,” said Artistic Director Allyn Burrows. “With the stages reconfigured, musical artists added, and a new outdoor theatre to boot, we await your arrival for a true Berkshire theatre experience.”

A complete rundown of play titles, cast lists, press openings, and performance dates for each production is as follows:

Cymbeline by William Shakespeare Directed by Tina Packer Cast: Jason Asprey, Thomas Brazzle, Jonathan Epstein, Nigel Gore, Deaon Griffin-Pressley, Tamara Hickey, Ella Loudon, Josh Aaron McCabe, and Bella Merlin July 04 – August 6, 2017 Press Opening: Saturday July 8, 7:30pm in the Tina Packer Playhouse

The Tempest by William Shakespeare Directed by Allyn Burrows Cast: Jason Asprey, Thomas Brazzle, Nigel Gore, Deaon Griffin-Pressley, Tamara Hickey, Ella Loudon, Josh Aaron McCabe, Bella Merlin, and Mark Zeisler August 10 – September 03, 2017 Press Opening: Sunday, August 13, 5:30pm in the Roman Garden Theatre

4000 Miles by Amy Herzog Directed by Nicole Ricciardi Cast: Gregory Boover, Emma Geer, Zoë Laiz, and Annette Miller May 25 – July 16, 2017 Press Opening: Sunday, May 28, 3:00pm in the Elayne P. Bernstein Theatre

Intimate Apparel  by Lynn Nottage Directed by Daniela Varon Cast: MaConnia Chesser, Lee Edward Colston II,  Nehassaiu deGannes, Christianna Nelson, Tommy Schrider, and Whitney White June 20 – August 13, 2017 Press Opening:  Saturday, July 22, 7:30pm in the Elayne P. Bernstein Theatre

Edith Wharton Comedies: Roman Fever and The Fullness of Life by Edith Wharton adapted by Dennis Krausnick Directed by Normi Noel Cast: David Joseph, Corinna May, and Diane Prusha August 17 – September 10, 2017 Press Opening: Sunday, August 20, 3:00pm in the Elayne P. Bernstein Theatre

A Midsummer Night’s Dream by William Shakespeare Directed by Jonathan Croy Cast: David Bertoldi, Caroline Calkins, Tim Dowd, Lori Evans, Rory Hammond, Luke Haskell, Kate Kenney, Mairead Kohler, Caitlin Kraft, Madeleine Rose Maggio, Devante Owens, Thomas Randle, Thomas Reynolds, Leon Schwendener, and Dara Silverman July 11 – August 19, 2017 Press Opening: Thursday, July 13, 6pm performed at The Dell-Outdoors at the Mount

God of Carnage by Yasmina Reza translated by Christopher Hampton Directed by Regge Life Cast: Elizabeth Aspenlieder, Allyn Burrows, Jonathan Croy, and Kristin Wold September 14 – October 8, 2017 Press Opening: Saturday, September 16, 7:30pm in the Elayne P. Bernstein Theatre

Storytellers and Songwriters Weekends August 11 – 26, 2017

Via Dolorosa by David Hare featuring Jonathan Epstein, Friday, August 11, 8:30pm in the Tina Packer Playhouse

T.S. Eliot and His Love of Shakespeare by Joan Ackermann featuring Allyn Burrows with musical guest Michi Wiancko Saturday, August 12, 8:30pm in the Tina Packer Playhouse

Door of No Return written and performed by Nehassaiu deGannes Friday, August 18, 8:30pm in the Tina Packer Playhouse

In Light of Jane by Joan Ackermann featuring Tod Randolph with musical guest Kris Delmhorst Saturday, August 19, 8:30pm in the Tina Packer Playhouse

Bad Dates by Theresa Rebeck featuring Elizabeth Aspenlieder with Vikki True Sunday, August 20, 8:30pm in the Tina Packer Playhouse

Women of Will written and performed by Tina Packer with special guest Nigel Gore Friday, August 25, 8:30pm in the Tina Packer Playhouse

Travels with a Masked Man written and performed by John Hadden with musical guest Bobby Sweet Saturday, August 26, 8:30pm in the Tina Packer Playhouse

To learn more about the season, book press seats, order tickets or request a season brochure, visit www.shakespeare.org.

About Shakespeare & Company Located in the Berkshires of Western Massachusetts, Shakespeare & Company is one of the largest Shakespeare Festivals in the country. Founded in 1978, the organization attracts over 30,000 patrons annually. The Company is also home to Shakespeare & Company’s internationally renowned Center for Actor Training and nationally renowned and an award-winning Education Program. More information is available at www.shakespeare.org.

Shakespeare & Company Announces Casting for 40th Summer Performance Season (Lenox, MA) – Shakespeare & Company is pleased to announce casting for its upcoming summer performance season, under the direction of Artistic Director Allyn Burrows and Managing Director Adam Davis.