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 2020 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.

It is required
You do awake your faith.   —Paulina

Leontes and Polixenes have known each other since boyhood, but Leontes can’t seem to shake the sudden suspicion that Polixenes has gotten a bit too involved with Hermione, Leontes’ pregnant wife. Suspicion leads to accusations, imprisonment, a trial, a prophecy, a banishment, and great losses on all sides (including a shockingly ursine death). 16 years later, we find our heroes asking whether faith can restore what doubt destroyed, and if what was lost can ever be found.


The Winter’s Tale

by William Shakespeare

Directed by: Amalia Oswald
Assistant Directors: TBD
Dramaturg: TBD
Stage manager: TBD
Click to read the full text

A father cruel and a stepdame false,
A foolish suitor to a wedded lady
That hath her husband banished.     —Imogen

The King of Britain is in a pickle. His daughter, Imogen, has eloped with Posthumus Leonatus, the sweet son of a dead courtier, instead of her stepbrother Cloten (as the Queen wished her to do). Worse than that, she’s not even sorry. Posthumus is banished for his impertinence and Imogen sent to her room indefinitely. Cloten tries to woo her while Posthumus encounters suspicions abroad that make him turn a violent eye towards home. Meanwhile, the Romans are coming to collect their overdue taxes and the Gods are meddling with a shepherd and his two sons — who may be more than they appear to be. Cross-dressing, headless bodies, and Gods descending on Eagles follow.


Cymbeline

by William Shakespeare

Directed by: Emily Macleod
Assistant Directors: TBD
Dramaturg: TBD
Stage Manager:TBD
Click to read the full text

Shall I go home again to be torn in pieces with bears? No, not I, I will go home and put on a clean shirt, and then go drown myself.  —Mouse

Princess Amadine is both extraordinarily beautiful and beset with suitors: her betrothed, Segasto, is son to the King; her admirer, Mucedorus, is the Prince of Valencia. After the three have a run-in with a bear in the woods, Amadine’s affections seem to be leaning towards the disguised Mucedorus (who slayed the bear and rescued her) rather than the cowardly Segasto (who ran away — leaving Amadine behind — at the first sign of ursine appearance). Determined to foil their love story, Segasto hires an assassin to take care of Mucedorus once and for all. Wild men, hermits, multiple cases of mistaken identity, and a clown named Mouse steer this wild ride towards its ultimately happy — and bear-free — ending.


Mucedorus

by Anonymous

Director: Dave Quay
Assistant Directors: TBA
Dramaturg: TBA
STage Manager: TBA
Click to read the full text

Cowards die many times before their deaths;
The valiant never taste of death but once.
Of all the wonders that I yet have heard,
It seems to me most strange that men should fear,
Seeing that death, a necessary end,
Will come when it will come.  —Julius Caesar

Julius Caesar is so popular that the people – including military juggernaut and popular party-boy Mark Antony – want to crown him as their King. Cassius, Brutus, and a number of other Roman senators don’t think crowning a King is the best way to preserve Rome’s democracy – no matter how great that King may be. They conspire to put a stop to it, come hell or high treason. Struggles and stabbing follow as the characters grapple with the timeless questions we still ask today: what makes a good leader, and how best to go about choosing one? Is personal evil for the greater good ever justified? When should you stick to your principles, and when are you obligated to abandon them? And which is deadlier: words or swords?


Julius Caesar

by William Shakespeare

Directed by: Jack Read
Assistant Directors: TBD
Dramaturg: TBD
Stage Manager: TBD
Click to read the full text

The web of our life is of a mingled yarn, good and ill together.  –Lord

Helena is a smart cookie. Her father was a famous doctor before he died, and she learned enough from him during his lifetime to offer her medical services to the ailing King. In recompense, he offers her the choice of any eligible bachelor in the kingdom. Helena knows exactly who to choose: Bertram, son to the Countess Rosillion, who raised Helena after her father’s death. Bertram is… less than thrilled with Helena’s choice. He marries her, as ordered, and then immediately abandons his wife and ships out with the troops. Helena, determined to make the boy hers and refusing to heed any advice of the “he’s just not that into you…” variety, hatches a plan that takes her through the Alps and into another woman’s bed. Tricks aplenty ensue, but don’t worry — all’s well that ends well, right?


All’s Well that Ends Well

by William Shakespeare

Director: Lauren Carlton
Assistant Directors: TBD
Dramaturg: TBD
STAGE MANAGER: TBD
Click to read the full text

If all my royal kindred
Lay in my way unto this marriage,
I’d make them my low footsteps; and even now,
Even in this hate, as men in some great battles,
By apprehending danger, have achieved
Almost impossible actions (I have heard soldiers say so)
So I, through frights, and threatenings, will assay
This dangerous venture.  –The Duchess

The Duchess, a widow, is in love with Antonio. Who cares if he’s just a steward? Certainly neither Ferdinand nor the Cardinal, the Duchess’s brothers, have any problem with the idea of their sister re-marrying somebody way below their social status! Or, wait, yes they do. They forbid the Duchess from marrying Antonio (or, indeed, anyone else) but she marries him in secret and has a bunch of children by him anyway. Secrets of such magnitude can’t stay secret for long, and as the night follows the day so death and destruction follow the Duchess in Webster’s wild Jacobean horror story — along with double-dealing villains, poisoned Bibles, and a dash of lycanthropy for good measure.


The Duchess of Malfi

by John Webster

Directed by: MATT MINNICINO
Assistant Directors: TBA
Dramaturg: TBA
STage Manager: TBA
Click to read the full text