7,200+ lines to memorize during
120+ hours of rehearsal for
6 shows (and 2 showcases) – that’s
4 productions in
3 weeks for
2 sessions, all adding up to
1 unforgettable summer

Each show page contains a general (and flippant) description of the play, bolstered by a note straight from each director. The show pages in this section include  full-length online editions of the six shows comprising the 2019 ASCTC summer season. (The scripts that we use at camp will be cut to a one-hour performance length.)

Campers should read all of the plays in their session before arriving for orientation, and we highly recommend campers bring a hard-copy of Shakespeare’s Complete Works (any edition will do – we recommend the Arden) to camp to use for classes, workshops, and general reference.

Did I love til now? Forswear it, sight.
For I never saw true beauty til this night.

Is there anything more rash than young love? Shakespeare’s timeless classic about the perils of puberty follows teenage lovers Romeo and Juliet through their tumultuous, ill-fated relationship: from meeting to matrimony to mortally wounded in just three days. Forbidden from each other’s arms by their feuding families, the desperate lovers defy mounting odds — death threats, marriage proposals, meddling friars, Tybalt (it’s all fun and games until somebody gets killed) — in order to be together, only to be felled at the last by a mixup at the post office. Their love may have been brief and stupid, their deaths senseless and sad, but their story lives forever in the hearts and minds of every hormonal human that has ever said, “I love you.”


Romeo & Juliet

by William Shakespeare

Directed by: MIRIAM DONALD BURROWS
Assistant Directors: AUSTIN HARLESON, AMALIA OSWALD
Dramaturg: JOE MARSH
Stage manager: Margot Flanders
Click to read the full text

Who will believe thee, Isabel?
My unsoiled name, the austereness of my life,
My vouch against you, and my place in the State
Will so your accusation overweigh,
That you shall stifle in your own report,
And smell of calumny.

The Duke of Vienna is displeased with the crime rates (particularly of the fornication variety) in his city, but he doesn’t want to crack the whip of the law himself. Enter Angelo, the deputy, who’s already foaming at the mouth to enforce the city’s arcane sex-prohibiting laws when the Duke puts him in charge and slips off to take a monastic vacation (aka, disguise himself as a friar to spy on Angelo). Angelo wastes no time in making an example of Claudio, who’s gotten his girlfriend pregnant before he can afford to marry her (though he totally intends to!) and so winds up on Angelo’s death row. Desperate, Claudio sends word to his sister Isabella — she’s got a great head for ecclesiastical arguments, and Claudio thinks Angelo will listen to her. It probably doesn’t hurt that she’s about to be initiated into a convent as a nun. She goes to Angelo to plead Claudio’s case, and ends up provoking the Puritan’s lust instead. After talking with her, Angelo decides to “give his sensual race the reign”: he tells Isabella he will free Claudio if she has sex with him. What’s an almost-nun to do? Turn to bed tricks, head tricks, and divine intervention.


Measure for Measure

by William Shakespeare

Directed by: Emily Macleod
Assistant Directors: Taylor Lamb, Molly Harper
Dramaturg: Grace Wallis
Stage Manager: Maddie Miller
Click to read the full text

For this is infallible: that love conquereth all things but itself, and ladies all hearts but their own.

Every year, Neptune demands a sacrifice: the fairest virgin daughter in the village must be brought forth and left out for a vicious monster to devour. This year, the village fathers are taking no chances; they dress their daughters up as boys and send them into the woods to hide. But the woods have their own dangers, and the disguised girls find themselves wrestling with a pair of warring goddesses, prankish Cupid, and their own unexpected affections. Meanwhile, a displeased Neptune takes offense at the scant offering from the village, and a group of apprentices hunt for a suitable teacher in this play about family, duty, tradition, and love — love above all.


Gallathea

by John Lyly

Director: Mary Finch
Assistant Directors: Lauren Carlton, Cortland Nesley
Dramaturg: Jules Talbot
STage Manager: Spencer Cohen
Click to read the full text

Now is the winter of our discontent
Made glorious summer by this son of York
And all the clouds that loured upon our house
In the deep bosom of the ocean buried…

It all comes down to this. The War of the Roses has raged and raged for more than a generation. Yorks and Lancasters have been mowing each other down faster than their revenges can take root, and finally — finally! — the Yorks emerge victorious. Edward Plantagenet, eldest son of the late Duke of York, becomes King Edward IV, and his younger brother Richard can finally put down his weapons and rest his weary hump and withered arm in a peaceful England made glorious summer by the sunny son of York.

Or not.

The final chapter in Shakespeare’s epic history cycle follows the last leg of misshapen Dick’s journey to the crown he swore would one day be his, no matter how many of his own family members stand in the way.


Richard III

by William Shakespeare

Directed by: Matt Minnicino
Assistant Directors: Amalia Oswald, Lauren Carlton
Dramaturg: Spencer Cohen
Stage Manager: Grace Wallis
Click to read the full text

My tongue will tell the anger of my heart
Or else my heart, concealing it, will break
And rather than it shall, I will be free
To the uttermost, as I please, in words.

Everybody wants to marry Bianca. And can you blame them, really? She seems super great. (Spoiler alert: maybe she is and maybe she isn’t.) Nobody wants to marry Bianca’s older sister, Katherine. And can you blame them, really? She seems super awful. (Spoiler alert: maybe she is and maybe she isn’t.) This is a problem for the girls’ father, Baptista, who decides to kill two birds with one stone (or sell two daughters with one pricetag) by forbidding Bianca to marry before Katherine does. Bianca’s desperate suitors team up to find a match for Katherine the Catch, which is how we get Petruchio. Several weddings later, we’re left asking the questions: do any of these people really love (or even know) each other? And what does it mean really love (or even know) yourself?


THE TAMING OF THE SHREW

by William Shakespeare

Director: Kim Newton
Assistant Directors: Taylor Lamb, Austin Harleson
Dramaturg: Margot Flanders
STAGE MANAGER: Jules Talbot
Click to read the full text

Sh’ has a bold spirit that mingles with mankind,
But nothing else comes near it: and oftentimes
Through her apparel somewhat shames her birth,
But she is loose in nothing but in mirth.

Sebastian wants to marry Mary Fitzallard — by all accounts a nice girl, and yet Sebastian’s father, Sir Alexander, thinks her dowry is too skimpy and forbids the nuptial. Instead of running away together or killing themselves, the young lovers hatch a similarly sensible plan: Sebastian will pretend his affections have deserted Mary in favor of the infamous Roaring Girl herself, Moll Cutpurse. Their reasoning is that Sir Alexander will not only relent but actively beg Sebastian to revert to his original choice once presented with this new, outlandish option. Moll Cutpurse?! But… she’s a cutpurse! And what’s worse, she wears pants occasionally! Moll is all too willing to help the young lovers and unravel a few more plots in the town market while she’s at it in this play about city life, marital strife, and the perils of judging a book by its cover.


The Roaring Girl

by Thomas Dekker and Thomas Middleton

Directed by: Stephanie Ann Foster
Assistant Directors: Molly Harper, Cortland Nesley
Dramaturg: Maddie Miller
STage Manager: Joe Marsh
Click to read the full text