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 2018 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 Norton Third Edition) to camp to use for classes, workshops, and general reference.

Pop quiz! What’s the full line beginning Hamlet’s famous “to be or not to be” soliloquy?

a. “To be or not to be: that is the question”
b. “To be or not to be, I there’s the point”

The Hamlet you know and love has a fraternal twin who rarely gets invited to family gatherings. We call him the First Quarto, and he’s coming to camp to drive home the point that the text is a lie and nothing is real. The First Quarto is an alternate text of Hamlet, written by Shakespeare whenever he wrote Hamlet, that tells the story of Prince Hamlet and Ophelia and Gertard(?) and Corambis(??) in a totally different way.

Hamlet (First Quarto) 

by William Shakespeare

Directed by: Emily MacLeod
Assistant Directors: Austin Harleson, Olivia Pedigo
Production Intern: Ronee Goldman

(click to read the full text)

When life at court gets tough, run away to the woods. That seems to be the rule of thumb for the characters of As You Like It, all of whom end up in the Forest of Arden for one reason or another, where things seem to stop making sense. Time slows down, poems appear on trees, nobody’s gender makes sense, and everyone gets married in the end. How? I don’t know. It’s a mystery. A mystery featuring Shakespeare’s largest female role — the robustly loquacious Rosalind — a lion, a snake, a palm tree, Hymen, and a deus ex Jacques de Boys. What’s not to like?

As You Like It

by William Shakespeare

Directed by: Patrick Midgley
Assistant Directors: Charlotte La Nasa, Jessica Andrews
Production Intern: Brigid Bakin

(click to read the full text)

Like all the other excellent swimmers competing in the 2008 Olympics who would have had a shot at a gold (or two) were it not for the fact that Michael Phelps also competed that year, Ben Jonson is the playwright we would remember if he hadn’t had the misfortune of being completely overshadowed by William Shakespeare (and/or Christopher Marlowe, if he had lived past 1593.) This could have been the American Jonson Center, and the AJC Theatre Camp… a near miss that would most definitely have irked the competitive, combative Jonson.

However, Jonson has Shakespeare beat in at least one area. He mastered a genre in which his frenemy never showed much interest: the city comedy, where the degenerate and cunning main character(s) play tricks on the various flamboyant characters of London, often with the help of a trusty (or not so trusty) sidekick. In Volpone, the Fox fleeces everybody — greedy lawyers, jealous husbands and lustful young men, betrayed sons — setting them all against each other with the help of his partner Mosca. Devious shenanigans and mischievous escapades follow. When the dust settles, whose loyalties will be called into question?


by Ben Jonson

Director: Mary Finch
Assistant Directors: Miranda McPherson, Chase O’Neill
Production Intern: Abe Joyner-Meyers

Click here to read the full text.

Shakespeare’s Pericles is a man who achieves everything only to suddenly and irretrievably lose it all. This epic story of love and loss spans continents, decades, and the spectrum of human suffering in its journey towards resolution. Also pirates. And incest. And maybe being buried alive? In a coffin? At sea? I don’t know friends, things get weird.


by William Shakespeare

Directed by: Marshall B Garrett
Assistant Directors: Oliva Pedigo, Amanda Rogus
Production Intern: Abe Joyner-Meyers

(Click here to read the full text)

A shipwrecked Viola washes up on the shore of Illyria with nothing but the clothes on her back. Assuming her twin brother Sebastian to have drowned, Viola disguises herself as a boy and assumes the name Cesario in order to strike out on her own as a page to the Count Orsino. Orsino, sick in love with the aloof Olivia, grows fond of Cesario and sends him to woo Olivia on his behalf. Olivia in turn grows rather too fond of Cesario (who is actually Viola) whose feelings towards Orsino are likewise growing fonder. Add in some mistaken identities, a singing fool, a drunken uncle, and a dour butler with dreams of grandeur et voila! Hilarity ensues.

Twelfth Night

by William Shakespeare

Director: Emily Heugatter
Assistant Directors: Alex Stroud, Riley Turner
Production Intern: Georgia Fowler

Click here to read the full text.

When there’s nothing left to learn, sell your soul to the devil. Spend a few decades playing pointless pranks on people and occasionally lamenting your idiotic decision to forego everlasting bliss in heaven in favor of worldly pleasures. Ignore angels when they remind you periodically that you can still repent and reverse said idiotic decision. Play some more pranks. Get dragged down to hell. Wrap it up with some relentlessly regular iambic pentameter and you’ve got Christopher Marlowe’s cautionary tale of what happens when a person decides to say “f&@! this, I’ma sell my soul to the devil,” also known as The Tragical History of Dr. Faustus.

Dr. Faustus

by Christopher Marlowe

Assistant Directors: victoria Martin, Daniel Casker
Production Intern: Gil Mitchell

Click here to read the full text.