Welcome to our 35th Anniversary Season!

From ASC’s Board of Trustees

The Board of Trustees is delighted to join the talented artists and dedicated staff of the American Shakespeare Center in celebrating our 35th anniversary. The legacy shines brightly in the Blackfriars Playhouse and beyond, and the future is luminescent. We invite all of our friends, old and new, to visit us at the Playhouse during this special year.

From Brandon Carter, Artistic Director

Welcome to the 35th Season. 

Anniversaries give us the opportunity to share how our marriage to Shakespeare’s work is a priority to us. Celebrating gives us a chance to pull back from the daily grind and set an intention for the next step in the journey. Our intention during this 35th Anniversary season is to continue working towards a joy-filled and impactful future while remembering the precious times we’ve spent together in the Playhouse with Shakespeare and his contemporaries, old and new.

We all know that no marriage is merely filled with rose-colored memories. This is also a time for us to remember what we’ve been through together and remind ourselves that, along with the triumphs, the trials that make us stronger too. 

No anniversary is complete without a gift, right? Coincidentally, our 35th is shared with another special celebration—the 400th anniversary of the First Folio, the 1623 publication that saved Shakespeare’s plays for generations to enjoy. Our special gift is no coral or jade but better. To commemorate the 400th anniversary of the publication of the First Folio, ASC joins a year-long celebration with other theatres around the globe. The impact of this special volume has inspired us to produce the First Folio versions of all the Shakespeare titles in the 2023 Season. 

So this year, act like it’s your first date and you’re gunning for a second. Take the day off work. Make plans or reservations ahead of time. We challenge you to experience the thrill of how different the Folio versions are from everything you believe you know. Share your stories and your passion. Come one, come all, and join us in the celebration. We look forward to your return to the Blackfriars! Happy 35th!


ASC Mission

American Shakespeare Center illuminates the plays of Shakespeare and his contemporaries, classic and new, refreshing the individual, fostering civil discourse, and creating community in the Blackfriars Playhouse and beyond.

Learn More About ASC and Shakespeare’s original staging conditions


ASC History

We began in 1988 when Jim Warren and Ralph Alan Cohen formed the Shenandoah Shakespeare Express, a traveling troupe that used Shakespeare’s staging conditions to perform his plays. By 2000, we had performed in 47 states, one U.S. territory, and six foreign countries. Partnering with the City of Staunton and aided by private donors and generous help from Augusta County and the Commonwealth of Virginia, we built the world’s only re-creation of Shakespeare’s indoor playhouse in 2001. With one troupe at home and one on the road, we expanded our educational offerings and created America’s first MFA program in Shakespeare and Performance at Mary Baldwin University. We also established an international biennial conference for scholars, and we became the American Shakespeare Center. In 2009, to honor our achievement of turning Staunton into a world Shakespeare destination, the Commonwealth recognized us with the Governor’s Arts Award. By our 30th year, in 2018, we had played to nearly two million people, produced all 38 of Shakespeare’s plays (many of them more than twice), 36 plays by his contemporaries, and a grand total of 286 different productions in 5,506 performances.

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Please consider making a gift to honor the past 35 years and secure the next generation. Your gift will help us continue our legacy of engaging and exciting productions that showcase the power of connection and inspiration. Whether you can give a little or a lot, your contribution allows us to do what we do best: make Shakespeare accessible for all.

Blackfriars playhouse

Blackfriars Playhouse

The world’s only recreation of Shakespeare’s Indoor Theatre

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Cover photo: Aidan O’Reilly and Jess Kadish. Photo by Alaina Smith.

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* A member of Actors’ Equity Association, the union of
professional actors and stage managers in the United States.


  • A Lord and his friends find a drunken tinker, Christopher Sly, asleep on the ground and decide to play a trick on him.
  • The Lord tells Sly that he has had amnesia for fifteen years and that Sly is really a Lord.
  • Sly accepts his new nobility and all of the amenities that come with it.
  • Traveling players arrive to present a “pleasant comedy” set in Italy for the “Lord Christopher Sly.”
  • Lucentio and his servants, Tranio and Biondello, arrive in Padua to study.
  • Baptista, a merchant from Padua, decrees that no one can marry his “sacred and sweet” younger daughter, Bianca, until his elder daughter “of devilish spirit,” Kate, is wed.
  • Lucentio falls in love with Bianca, who is also being wooed by Hortensio and old Gremio.
  • To win Bianca, Lucentio disguises himself as a Latin teacher; Hortensio disguises himself as a music teacher.
  • Lucentio’s servant, Tranio, disguises himself as Lucentio to woo Bianca openly for his master.
  • Petruchio arrives in Padua to find a rich wife. Hearing of the shrewish Kate and her generous dowry, Petruchio vows to marry her.
  • Petruchio meets Kate, his equal at verbal sparring. After a playful exchange, Petruchio announces that they will be married on Sunday, with or without her consent.
  • Petruchio, dressed in ridiculous clothes, arrives late on the wedding day. After the ceremony, he refuses to stay for the wedding feast. Instead, he whisks Kate off to his home in Verona.
  • Tranio (disguised as Lucentio) outbids old Gremio for Bianca’s hand in marriage while the real Lucentio (still disguised) wins Bianca’s love.
  • Tranio finds an old man to impersonate Lucentio’s father, Vincentio; this imposter meets with Baptista and consents to the marriage of Lucentio and Bianca.
  • The real Vincentio shows up.
  • Chaos, perfect parings, and wagers ensue.

DR. Ralph Brief

1. When was the play first performed?
Probably 1592.

2. Where was the play first performed?
Probably at The Theatre, the open-air playhouse James Burbage built northeast of London Wall.

3. How does this play fit into Shakespeare’s career?
Shakespeare wrote his plays between 1590 and 1613. Shrew is an early comedy.

4. How is this play like Shakespeare’s other plays? Like his other early comedies, Two Gentlemen of Verona and The Comedy of Errors, The Taming of the Shrew borrows the physical farce and stock characters of the Italian commedia dell’arte. Like many of his mature works — comedies, tragedies, and histories —this play has a “rabbit or a duck?” aspect. Are we looking at a romantic comedy about two non-conformists or a celebration of male domination and abuse

5. How is this play unlike other Shakespeare plays? Shakespeare wrote fifteen comedies and romances (the others are histories or tragedies), and in all of them but Shrew the female leads school the men. In Shrew the male lead, Petruchio, schools the female lead, Kate. Percentage wise that makes Shakespeare’s leading men smarter than his leading women under 7% of the time.

6. What do scholars/critics think about this play?
The Editor of the Shakespeare Survey, Emma Smith, in her most recent book, This Is Shakespeare, brings us back to the “rabbit or the duck” riddle: Is the play about Petruchio using “unfunny torture…to bend Kate to his will”? Or is it about “a zany courtship showing their mutual determination not to yield as an underlying equality beneath their revolutionary union”?

7. How successful has the play been?
Enormously and consistently. A decade after Shakespeare wrote it, his colleague John Fletcher wrote a sequel (The Tamer Tamed), and there have been adaptations in every century since, including Cole Porter’s Kiss Me, Kate. 91 theatres staged the play in 2020, putting it in a tie with Julius Caesar for tenth most-produced Shakespeare play.

8. What scene(s) should I especially look for? In order of their appearance: (A) The opening scene of the play’s “Induction” contains many of its themes. (B) More “meet hoot” or “meet brute” than “meet cute,” the first exchange between Kate and Petruchio is the most famous and the most pivotal scene in the play. (C) The scene in which Petruchio arrives oddly “accoutered” for their wedding is only one of several that make costume central to the play.

9. What character should I especially look for? Grumio, Petruchio’s manservant, is a key to every scene he’s in and to our understanding of his master.

10. What is the language like?
Once we meet Kate, lively, snappy, snarky.

Ralph Alan Cohen, Co-Founder of ASC

* A member of Actors’ Equity Association, the union of
professional actors and stage managers in the United States.

  • The Duke of Vienna, claiming urgent business abroad, leaves control of the city to his deputy Angelo.
  • Angelo swiftly restores old laws against sexual depravity, closes the city’s brothels and arrests fornicators.
  • Claudio is immediately arrested and sentenced to death for apparent premarital acts with his pregnant fiancée, Juliet.
  • Claudio entreats his friend, Lucio, to find Isabella, Claudio’s sister, and ask her to plea to Angelo for Claudio’s life.
  • Though Isabella is about to become a nun, she agrees to petition Angelo.
  • The Duke, meanwhile, has disguised himself as a friar in order to observe Angelo’s management of the city.
  • Angelo, at first, refuses Isabella’s suit, but then agrees to stay Claudio’s execution – only if Isabella will consent to certain demands.
  • Isabella returns to Claudio to tell him of Angelo’s conditions; Claudio asks Isabella to save his life by giving in to Angelo’s requests.
  • The Duke – still disguised as a friar – decides to intervene.
  • Plots to rescue Isabella’s integrity, save Claudio’s head, and expose Angelo’s treachery ensue.

DR. Ralph Brief

1. When was the play first performed?

2. Where was the play first performed?
The only recorded production is the one presented to the newly crowned King James I at Whitehall Palace. Keep that in mind as you consider Duke Vincentio in this play.

3. How does this play fit into Shakespeare’s career?
Measure for Measure, listed among the Comedies in the First Folio, is part of Shakespeare’s “dark” period, which begins mid-career with Hamlet.

4. How is this play like Shakespeare’s other plays?
Like so many of his works, Measure is a genre-buster. One of the Two Gentleman of Verona, at the end of that early comedy, attempts to assault his best friend’s fiancée, and at Macbeth’s darkest moment a drunken porter barges into the middle of the play with a bagful of dirty jokes. Measure relentlessly stirs witty jokes and comic characters into a stew of “deep state” corruption and hypocrisy and is merely the most obvious of Shakespeare’s genre-busters.

5. How is this play unlike other Shakespeare plays?
Set primarily in a prison, Measure for Measure is the most claustrophobic of his plays and, concerning the seriousness of “me too” issues, the most modern play he ever wrote. And of all his plays, none makes us think more about why we admire or detest its characters or so closely juxtaposes sex and death as this one.

6. What do scholars/critics think about this play?
Samuel Taylor Coleridge calls it “a hateful work, although Shakespearian throughout.” Harold Bloom in Shakespeare: The Invention of the Human, says that Measure is one of his two favorite literary works of art because of its “high rancidity.” Emma Smith in This Is Shakespeare observes, “[t]he conventional ending of romantic comedy — marriage— here becomes the dramatic equivalent of the torturer’s rack.”

7. How successful has the play been?
The play’s interest in sex and its evident distrust of religion and authority made productions of it rare until the last century, but the rise of the women’s movement has changed its theatrical fortunes, and in terms of the frequency of productions among works of Shakespeare, it has moved up to the middle of the pack.

8. What scene should I especially look for?
My favorite is Act 4, scene 3, which begins when Pompey—once a pimp, now assistant executioner—alone on the stage, addresses the audience as “acquaintances.” In that same scene we get to see a hungover prisoner essentially flip off authority, both religious and political.

9. What characters should I especially look for?
Barnardine, an existential hero (see above), and Lucio, the wittiest scoundrel in the play.

10. What is the language like?
Roundabout and evasive when bureaucrats speak about policy. Full of euphemisms about having sex (prostitution is “the trade”; a bawdy house is where you go in search of “prunes).” Blunt about death.

Ralph Alan Cohen, Co-Founder of ASC


* A member of Actors’ Equity Association, the union of
professional actors and stage managers in the United States.

  • After a recent military victory, Don Pedro of Aragon and his troops arrive in Messina where they are welcomed by Leonato, the governor.
  • Beatrice (Leonato’s niece) and Benedick (Don Pedro’s friend) verbally spar with one another. Both adamantly swear they will never fall in love.
  • Claudio, another of Don Pedro’s contingent, tells Benedick that he is in love with Hero, Leonato’s daughter. Benedick shares this news with Don Pedro.
  • In an effort to help, Don Pedro plans to woo Hero on Claudio’s behalf and obtains Leonato’s consent for their marriage.
  • Leonato and his brother Antonio prepare for the evening’s festivities and mistakenly think Don Pedro plans to marry Hero himself.
  • Don Pedro’s bastard brother Don John rejects his sidekick Conrade’s advice to play nice and make up with his brother. Instead, he villainously opts to disrupt the lovers’ plans.
  • At the party, Don John convinces Claudio that Don Pedro has successfully wooed Hero for himself.
  • Don Pedro and Leonato undeceive Claudio and plan for the pair to wed. Don Pedro proposes a plot to make Beatrice and Benedick fall in love.
  • Don John devises another scheme against Claudio enlisting Borachio, another of his men, to make Claudio believe Hero has been unfaithful.
  • Arranging for Benedick to eavesdrop on them, Don Pedro, Claudio, and Leonato spin elaborate falsehoods alleging Beatrice’s love for Benedick.
  • Arranging for Beatrice to eavesdrop on them, Hero and Ursula (her gentlewoman) spin elaborate falsehoods alleging Benedick’s love for Beatrice.
  • Don John tells Claudio that Hero is unfaithful and promises to provide proof. Claudio vows to break off the wedding if the accusations are true.
  • Dogberry the Constable and his partner Verges prepare their watchmen for the night patrol.
  • Public shaming, love vows, murder plans, and redemption ensue.

DR. Ralph Brief

1. When was the play first performed?

A single edition of the play appeared in 1600; it was performed one or two years earlier.

2. Where was the play first performed?

To start with at James Burbage’s outdoor playhouse, The Theatre, north of London Wall, but soon after that at the newly constructed Globe.

3. How does this play fit into Shakespeare’s career?

Roughly in the middle; scholars group it as a “mature comedy” with The Merchant of Venice, As You Like It, and Twelfth Night.

4. How is this play like Shakespeare’s other plays?

In terms of gender relationships, the play seems to be a reworking of Shakespeare’s theme (Two Gentlemen of Verona, Love’s Labors Lost, Julius Caesar) that guys who hang out together are generally idiots and largely undeserving of the women they claim to love.

5. How is this play unlike other Shakespeare plays?

Owing in part to its language (see below) and in part to Beatrice’s views on marriage, men, and male privilege, Much Ado About Nothing feels as contemporary as any of Shakespeare’s plays.

6. What do scholars think about this play?

They admire it. Though, oddly, they have less to say about it than they do about the comedies they group with it. This relative quiet may be a subconscious response to the play’s message that much of what we have to say is nonsense, a message neatly summed up in the play’s title. Marjorie Garber calls it “Shakespeare’s great play about gossip” and a “forerunner of ‘screwball comedy.’”

7. Is there any controversy surrounding the work?


8. What characters should I especially look for?

Beatrice and Benedick, one of the great couples in literature, are among Shakespeare’s wittiest creations, and Beatrice is among his wisest. People who love words cannot resist the two of them nor the play’s hilarious foil to witty language, Dogberry, whose words are a very fantastical blanket.

9. What scenes should I especially look for?

For laughs: Act Two, scene three, called “the Gulling Scene,” is theatrical magic in which Benedick’s friends trick him into realizing he’s in love with Beatrice. For not laughs: The sudden descent into darkness of Act Four, scene one, has few parallels in comedy, and the duet at the end of the scene may be the stage’s most important exchange about romantic love.

10. What is the language like?

This play has more prose in it than all but one of Shakespeare’s plays (Merry Wives), and, rich and intricate as it is, that prose contributes to the sense that the play is so contemporary.

^ Member of the Stage Directors and Choreographers Society.

* A member of Actors’ Equity Association, the union of
professional actors and stage managers in the United States.

Shakespeares New Contemporaries Applications Open

It’s likely that you will hear this plea shouted out from the Blackfriars Playhouse stage during a rehearsal when an actor forgets his or her lines. You might even hear it in a show today. That’s not because our actors are lazy. It’s because learning their lines is the least of their troubles.

Born of an experiment to bring Shakespeare’s performance conditions into our rehearsal hall, The Actors’ Renaissance has become a hallmark of ASC’s unique blend of scholarship and practice. It’s our deepest dive into the Elizabethan era, and in doing it we continue to make discoveries about how things might have happened in the original Blackfriars Playhouse. For our 35th Anniversary Summer/Fall Seasons, Much Ado About Nothing will be produced in this signature style.

Here are the basics: A 12 to 15 member acting company composed entirely of Shakespeare veterans performs a play in rotating repertory with others, rehearsing it in 10 days or less, without a director. Decisions about setting, music, props, and costumes are made by the company collectively and individually, accessing our stock of clothes, swords, and furniture.

Nothing empowers the actors more than being given the reins. We’ve practiced this way for a dozen years now, and it has created some of our most memorable productions (for good and ill)!

So if you hear a prithee, consider yourself lucky. It’s all part of the magic of the Ren!



In the absence of copiers and printers, actors were provided scripts with only their lines, and with three or four words before each speech—their cues. They relied on listening to each other closely on stage to hear their cue.


Actors assembled the play and chose their own costumes from what was on-hand, often discarded clothing from their supporting patrons. Scenery? That’s taken care of by lines like, “This is the forest of Arden.”


The playwright fed off the actors’ questions, feedback, and performance to hone the text. This closeness between playwrights and actors may be why so many plays were written between 1580 and 1642 (when the Puritans—boo!—closed the theatres).


Our self-termed “Ren Run” approximates what might have happened in the early stages of Shakespeare’s short rehearsal process where actors run through the play, inventing and improvising as they go.

Jose Zayas director

THIS SEASON: Director of The Taming of the Shrew

José Zayas has directed over 100 productions in New York, regionally and internationally.

Recent credits include: The Queen of Basel (Studio Theatre), Exquisita Agonia (Repertorio Espanol), The Magnetic Fields: 50 Song Memoir (BAM, Mass MoCa, US and European Tour), A Nonesuch Celebration (BAM), Washed up on the Potomac (San Francisco Playhouse/Flea Theater), Undocumented (Joe’s Pub), La Valentia (Gala Theater), Ms Holmes and Ms Watson Apt 2B (KC Rep).

He has premiered works by Hilary Bettis, Nilo Cruz, Caridad Svich, Robert Askins, Thomas Bradshaw, Duncan Sheik, Steven Sater, Taylor Mac, Susan Kim, Andrea Thome, Lynn Rosen, Saviana Stanescu, Carlos Murillo, Rob Urbinati, Kristina Poe, Catherine Filloux, James Carter, Matt Barbot, and Jordi Galceran.

José is a Drama League Fellow as well as associated with Lincoln Center’s Director’s Lab, SoHo Rep Writers/Director’s Lab, NEA/TCG Career Development Program for Directors, Ensemble Studio Theatre member, Resident Director Repertorio Español 2009-2019, Lortel Nominating Committee, Two River Theater Crossing Borders Festival Curator. BA: Harvard University. MFA: Carnegie Mellon


Full Bio

THIS SEASON: Director of Measure for Measure

PREVIOUSLY WITH ASC: Director of The Comedy of Errors (2022), Twelfth Night (2022), Richard III (2018), Much Ado About Nothing (2017), The Fall of King Henry/Henry VI, Part 3 (2017), King Lear (2016), The Winter’s Tale (2015)

BIO: Jenny is a chicken-fried New Yorker, where her directing includes The Three Musketeers and Henry V off-Broadway with The Classical Theatre of Harlem. In Kaohsiung, Taiwan, Jenny founded a theatre company and collaborated with international artists for seven years. Taiwan directing includes Macbeth, Dangerous Liaisons/Weixian Guanxi, Romeo & Juliet, Into the Woods, and As You Like It! (a musical she co-wrote). Jenny is on the faculty of AMDA New York. A former SDC/ Kurt Weill Foundation Fellow, Jenny is a member of the Lincoln Center Theater Directors Lab, and the Stage Directors & Choreographers Society (SDC), a national theatrical labor union. Jenny is currently in process to complete certification as a Consent Forward Artist from IDC.

AWARDS: AUDELCO nominee for Best Director for The Three Musketeers. Jenny’s production of Much Ado About Nothing at HSRT won the 2022 BroadwayWorld Michigan Award for Best Play

EDUCATION: MFA, University of Delaware. BA, University of Virginia (wahoowa)



PRONOUNS: she/her

Full Bio

Member of Actors’ Equity Association (AEA).


Petruchio in The Taming of the Shrew, Lucio in Measure for Measure, Friar Francis in Much Ado About Nothing


41 roles in 22 productions including: Jaques in As You Like It, Bertram in All’s Well That Ends Well, Foresight in Love for Love, Don John/Verges in Much Ado About Nothing, Malcolm in Macbeth, Fred in A Christmas Carol, Claudio/Froth in Measure for Measure, Pharamond in Philaster, Horatio in Hamlet, Merrythought in The Knight of the Burning Pestle, Esculus/Barnardine in Measure for Measure, Trinculo in The Tempest, Franville in The Sea Voyage, Iarbus in Dido Queen of Carthage, Angelo in The Comedy of Errors, Gunwater in A Mad World, My Masters, Fabritio in Women Beware Women, Paris/Gregory in Romeo and Juliet, Horatio in Rosencrantz and Guildenstern Are Dead, Clarence/Ratcliffe in Richard III


Nick Bottom, A Midsummer Night’s Dream (Prague Shakespeare Company), Mysterious Man, Into the Woods (Arkansas Repertory Theatre), Richard in Richard III, Fool in King Lear, Caliban in The Tempest, Angelo in The Comedy of Errors, Third Fisherman/Cerimon in Pericles (Utah Shakespeare Festival), Feste in Twelfth Night (Arkansas Shakespeare Theatre), Romeo in Romeo and Juliet, Prince Hal in Henry IV. Macbeth in Macbeth (Renegade Players) Antonio Salieri in Amadeus (City Lights Theatre Company), Marcus Brutus in Julius Caesar, Jaques in As You Like It, Lucifer in Doctor Faustus (Sonoma Valley Shakespeare Company) Billy in The Cripple of Irishmaan. Bertolt Brecht in The Kurt Weill Cabaret, Marcellus in Fortinbras (Actor’s Theatre of Santa Rosa), Macbeth in Macbeth (Arkansas Studio Theatre) Valentine in The Two Gentlemen of Verona (CAPS Productions) Richard in Richard III (Marin Shakespeare Company) Hamlet in Hamlet, Feste in Twelfth Night, Grumio in The Taming of the Shrew, Prince Conti in La Bete, Leslie in The Hostage, Puck in A Midsummer Night’s Dream (Avalon Players)

O’Reilly served as the Artistic Director of the Renegade Players from 2007-2011 and the Sonoma Valley Shakespeare Company from 2012-2015.


Writer/Producer, Last Call (Manchester European Short Film Festival, London Independent Film Festival).


Nomination, Outstanding Performance by an Actor, Principal: Antonio Salieri in Amadeus, City Lights Theatre Company.


BA in Acting with Honors, Royal Academy of Dramatic Art (RADA), London, UK.






Full Bio

Alexis Baigue

THIS SEASON: Gremio and Haberdasher in The Taming of the Shrew; Barnardine, Friar Thomas, Justice, Gentleman, Officer in Measure for Measure; Margaret and George Seacoal in Much Ado About Nothing

PREVIOUSLY WITH ASC: Gonzalo, Nymph in The Tempest;  Escanes, Philemon, Pander, Lord, Sailor of Mytilene in Pericles; Gonzalo in Une Tempête; Jim Casy in The Grapes of Wrath; Iachimo in Imogen (aka Cymbeline); Francis Flute, First Fairy, and Peaseblossom in A Midsummer Night’s Dream (2019-2020 tour); Bob Cratchit in A Christmas Carol. 

OTHER THEATRE: Pinkalicious, Stupid Fucking Bird, Art Dog, How I Became a Pirate, Angels in America, Goodnight Desdemona (Good Morning Juliet), sixteen summers of Saturday’s Voyeur (Salt Lake Acting Company); A Midsummer Night’s Dream tour, Henry V, Much Ado about Nothing (Utah Shakespeare Festival); Oliver!, One Man, Two Guvnors (Pioneer Theatre Company); The Complete Works of William Shakespeare (abridged), The Three Musketeers, Romeo & Juliet, Henry IV Part One (Southwest Shakespeare Company); Dear World (Sundance Summer Theatre); Beyond Therapy, The Sex Habits of American Women (Pygmalion Productions); The Boys in the Band (Wasatch Theatre); Jacques Brel is Alive and Well and Living in Paris (Theatreworks West).

FILM/TELEVISION: 12 Dogs of Christmas: Great Puppy Rescue; Granite Flats.

EDUCATION: University of Utah: Actor Training Program

PRONOUNS: what you will

Full Bio

Member of Actors’ Equity Association (AEA).


Curtis/Widow in Taming of the Shrew, Escalus in Measure for Measure, Leonato in Much Ado About Nothing


Phyllis in Follies (Renaissance Theatre, Mansfield); Poet in An Iliad (CATCO Columbus); Maria Callas in Master Class (Milwaukee Chamber Theatre); Medea in Medea (Milwaukee Chamber Theatre); Kate Hepburn in Tea At Five (InTandem Theatre); Diana Vreeland in Full Gallop (Renaissance Theatreworks); Roxie in Chicago (Marriot Lincolnshire); Lady Bracknell in Importance of Being Earnest (Titan Theatre, NYC).


BFA from Wright State University, MFA from Illinois State University


Folger Shakespeare Library Artist in Residence/Research Fellowship, Joseph Jefferson Award, Best Actress in a Musical; Footlights Award, Best Supporting Actress in a Musical, Broadway World Award, Best Actress, 10 Chimneys/Lunt-Fontanne Estate Fellow, Hendrix-Murphy Directing Fellow, American Theatre and Drama Society Research Award.



Full Bio

Member of Actors’ Equity Association (AEA).




Hortensio in Taming of the Shrew, Claudio in Measure for Measure, Claudio in Much Ado About Nothing


Over 47 roles in 25 productions, including Prince Hal/King Henry in Henry IV Parts 1 and 2 and Henry V, Orlando in As You Like It, Menas in Antony and Cleopatra, Cassius in Julius Caesar, and Hugh Evans in Merry Wives of Windsor.


The Tempest, Macbeth, The First Noel, and The Three Musketeers (Classical Theatre of Harlem); The Brothers Size (Luna Stage); Blood at the Root (Market Theatre, Adelaide and Edinburgh Fringe, Kennedy Center, The Apollo, National Black Theatre) Shakespeare in Love and The Christians (Virginia Rep); Drunk Shakespeare & Black Angels Over Tuskegee (Off-Broadway).


The Pennsylvania State University, MFA in Acting


Hip Hop Theater Creator Award (Kennedy Center); Graham F. Smith Peace Foundation Award (Adelaide Fringe Festival); Holden Street Theatres Edinburgh Award (Edinburgh Festival Fringe)





Full Bio

Member of Actors’ Equity Association (AEA).

THIS SEASON: Bianca in Taming of the Shrew, Juliet/Froth in Measure For Measure, Beatrice in Much Ado About Nothing

PREVIOUSLY AT ASC: Belle and Belinda in A Christmas Carol, Ariel in The Tempest; Antiochus’s Daughter, Marina, Ensemble in Pericles; Ariel in Une Tempête; Benvolio in Romeo and Juliet; Angelo (u/s Adriana, Luciana) in Comedy of Errors.

OTHER THEATRE: Miranda in The Tempest (Firebrand Theatre Co), Juliet in the touring production of Romeo and Juliet, Luciana in Comedy or Errors, and Perdita in The Winter’s Tale (Arkansas Shakespeare Theatre); Ellison in Crying on Television and Emmy in A Doll’s House pt.2 (Nashville Repertory Theatre).

EDUCATION: University of Arkansas at Little Rock’s Theatre Arts and Dance program with a B.A in Theatre Arts

PRONOUNS: she/her

Full Bio 

Member of Actors’ Equity Association (AEA).

THIS SEASON: Tranio in Taming of the Shrew, Pompey in Measure for Measure, Borachio and Ursula in Much Ado About Nothing

PREVIOUSLY AT ASC: Mrs. Cratchit – A Christmas Carol, Stephano – The Tempest; Antiochus, Bolt, Ensemble – Pericles; Stephano – Une Tempête; Nurse, Lady Montague in Romeo and Juliet and Emilia, First Merchant, Second Merchant in The Comedy of Errors

OTHER THEATER: Recent credits include Medea in Mojada, Luis Alfaro’s adaptation of Euripides’ Greek Tragedy (Indianapolis Shakespeare Company); The River BrideHamletCymbeline, and Assistant Director of The Moors (American Players Theatre Company), Select credits: Illinois, St. Louis, and Arkansas Shakespeare Festivals.

TV/FILM: Law & Order: SVUEn Algun LugarMidwestern

AWARDS: Kate Neal Kinley Fellowship

EDUCATION: MFA, University of Illinois Urbana-Champaign

SOCIAL MEDIA: @theecruz
PRONOUNS: she/her/hers


THIS SEASON: Biondello in Taming of the Shrew, Isabella in Measure for Measure, Don John/Sexton in Much Ado About Nothing 

OTHER THEATRE: Belmira, River Bride (American Players Theatre); Jaquenetta, Love’s Labour’s Lost (American Players Theatre); Adalina, ¿Y tu abuela, Where is she? (Visión Latino); Chalie, Back in the Day (Urban Theater Company); Carmen, Sergio’s Museum (Theatre[502] ); Ariel, The Tempest (Warehouse Theatre Educational Tour); Yordanka, Erógenas (Teatro Fragmentario)

EDUCATION: MFA Theater, University of South Carolina, Professional Actor Training Program; BA Music, Northern Kentucky University

AWARDS: 2021 SNL/Second City Scholar; 2021 Kentucky Foundation for Women Grant Recipient

INSTAGRAM: @gabi1086

PRONOUNS: she/her

Gabriela dedicates her season with ASC to her invaluable acting coach, James Tompkins. With unwavering dedication and profound expertise, James has been instrumental in nurturing Gabriela’s passion for the craft ever since their serendipitous encounter. His selfless guidance and tireless support have paved the way for her growth and development as an actor. This dedication is a heartfelt tribute to the unwavering bond they share and a testament to James’ indelible impact on Gabriela’s artistic journey.

Member of Actors’ Equity Association (AEA).


THIS SEASON: Baptista and Peter in Taming of the Shrew, Duke Vincentio in Measure for Measure, Antonio and Verges in Much Ado About Nothing 

OTHER THEATRE (ACTING): Matt, Talley’s Folly (The Warehouse Theatre), Meadows in Hostages (Primary Stages NYC), Shylock in Merchant of Venice (ACTION! Theatre, LA), Richard III in Richard III (Houston Shakespeare Festival) King Lear in King Lear (Houston Shakespeare Festival).

OTHER THEATRE (DIRECTING): Arcadia (The Warehouse Theatre), Hamlet (TITAN Theatre NYC), Amadeus (Texas Shakespeare Festival), The Cherry Orchard (The Warehouse Theatre), Julius Caesar (Houston Shakespeare Festival)

EDUCATION: BA, Virginia Tech, MFA University of Washington PATP, SITI Company

AWARDS: University of Houston’s Teaching Excellence Award

PRONOUNS: he/him

Full Bio


THIS SEASON: Katherina in The Taming of the Shrew, Mariana/Officer in Measure for Measure, Don Pedro in Much Ado About Nothing

OTHER THEATRE: Viola, Twelfth Night (Montana Shakespeare in the Parks); Regan, King Lear (Montana Shakespeare in the Parks); Alabaster (16th Street Theatre); The Locusts (The Gift Theatre); I Now Pronounce (New Jewish Theatre); Twelfth NightHenry VTravestiesFailure: A Love StoryIago’s PlotMr. Burns: A Post-Electric PlayKingdom City (Illinois Theatre); My Father’s Keeper (Latinx Theatre Commons); La Fulana RespetuosaBlowout (Aguijón Theatre).

EDUCATION: MFA in Acting, University of Illinois at Urbana-Champaign; BA in Theatre and Performance Studies, The University of Chicago

AWARDS: Windy City Times LGBTQ 30 Under 30 (Chicago)

PRONOUNS: she/her


Full Bio


THIS SEASON: Vincentio in Taming of the Shrew, Mistress Overdone/Friar Peter in Measure for Measure, Conrade/Balthazar in Much Ado About Nothing

OTHER THEATRE: Duchess of York’s Voice/ASL Interpreter, Richard III (Shakespeare in the Park/The Public Theater); Ensemble, Hamlet (Shakespeare Theatre Company); Peter/Ensemble, Romeo and Juliet (Shakespeare Theatre Company); Giles, The Mousetrap (Judson Theatre Company); Horatio, Hamlet (Grassroots Shakespeare DC); Prep, columbinus (1st Stage); Romeo’s Shadow/Voice, Romeo and Juliet (Endangered Species Theatre Project); Pavel Vasilyevich/Shelestov, The Sneeze (Compass Rose Theater); Thomas, Venus in Fur (Compass Rose Theater); Perchik, Fiddler on the Roof (Compass Rose Theater); Mayor/Radio Man, Inherit the Wind (Compass Rose Theater); Ferdinand, The Tempest (Toms River Shakespeare Festival); Lysander, A Midsummer Night’s Dream (Toms River Shakespeare Festival); 2nd Gentleman/Abhorson/Friar Peter, Measure for Measure (Toms River Shakespeare Festival)

EDUCATION: Loyola University Maryland

PRONOUNS: he/him


Full Bio

Member of Actors’ Equity Association (AEA).

THIS SEASON: Grumio in Taming of the Shrew, Elbow in Measure for Measure, Hero in Much Ado About Nothing


Meg has been a resident company member with the American Shakespeare Center since 2018. She has previously performed in more than 26 productions and played more than 45 roles; some favorites including Juliet in Romeo and Juliet, Helena in All’s Well That Ends Well, Beatrice in Much Ado About Nothing, Katherine/Dauphin in Henry V, Meg Page in The Merry Wives of Windsor, Feste in Twelfth Night, and Anne Page in Anne Page Hates Fun.


Pistol/Alice in Henry V (Virginia Stage Company); Viola in Shakespeare in Love, Mabelu in The Old Man and The Old Moon, Clarice in West Side Story (Hope Repertory Theatre); Lady Macbeth, Lady Macduff, and Witch 3 in Macbeth, Queen Elizabeth in Richard III, Olivia in Twelfth Night, Margaret in Much Ado About Nothing (Houston Shakespeare Festival, Houston, TX); Tatyana in Enemies (Main Street Theater, Houston, TX); Performer in Rock Nativity (AD Players); Lysander, Flute, Mustardseed in A Midsummer Night’s Dream (Rec Room, Houston, TX).


MFA in Acting, University of Houston Professional Actor Training Program


Full Bio

Member of Actors’ Equity Association (AEA).

THIS SEASON: Lucentio in Taming of the Shrew, Provost in Measure for Measure, Benedick in Much Ado About Nothing

PREVIOUSLY WITH ASC: Christmas Present/Fezziwig in A Christmas Carol; Duncan, Porter, Old Man, Lord, Siward in Macbeth; Grey, French King, Gower, York in Henry V; Clown (Lavatch), Soldier in All’s Well That Ends Well, Cover/Swing in Twelfth Night; First Gentleman/Cover/Swing in Othello

OTHER THEATRE: Toby in Twelfth Night (Shakespeare in the ‘Burg); Falstaff in Henry IV, Parts 1 & 2 (Gallatin); Benedick in Much Ado About Nothing (Shakespeare-to-Go); Matt, Burns in Mr. Burns, a post-electric play (Gallatin); Josh in These and Those (New York Theatre Festival); Officer in Comedy of Errors (Smith Street Stage); Lucio, Froth, Barnadine in Measure for Measure (Smith Street Stage).

EDUCATION: BA in Individualized Study, Gallatin at New York University


Full Bio

Member of Actors’ Equity Association (AEA).


Christopher Sly in Taming of the Shrew, Angelo in Measure for Measure, Dogberry in Much Ado About Nothing


Edmund, King Lear (Utah Shakespeare Festival, Arkansas Shakespeare Theatre); Bertram, All’s Well That Ends Well (Utah Shakespeare Festival); Claudio, Much Ado About Nothing (Arkansas Shakespeare Theatre); Slender, Merry Wives of Windsor (Texas Shakespeare Festival); Mercutio, Romeo and Juliet (Queer Classics Theater); Algernon, The Importance of Being Earnest (Queer Classics Theater); Richard, Ah Wilderness! (Artist Repertory Theater); Boy, The Play About the Baby (Road Theater Company); Sam, A Delicate Ship (Road Theater Company); Truffaldino, Servant of Two Masters (Nomadic Theater Company)

MFA in Acting from the University of Houston
KCACTF—Irene Ryan Acting Competition Winner (2009 and 2010)
PRONOUNS: he/him

INSTAGRAM: @philiporazio

Full Bio


Swing in Taming of the Shrew, Measure for Measure, and Much Ado About Nothing


Nicodemus Nothing in Birth of Merlin (Treehouse Shakespeare Ensmble); Wendy in When Wendy Grew Up (GoodViews Theatre); Sonia in Vanya, Sonia Masha and Spike (Wayne Theatre); Ensemble in As You Like It (Four County Players); Luisa in The Fantasticks (Southern Virginia University)

BA in Theatre in Southern Virginia University; current MLITT/MFA student in the S&P Program at Mary Baldwin University
PRONOUNS: she/her

Swing in Taming of the Shrew, Measure for Measure, and Much Ado About Nothing


Lord Talbot in 1 Henry VI (MBU S&P); Antigonous/Shepard in The Winter’s Tale (MBU S&P); Duke Senior in As You Like It (Four County Players); Nick Bottom in A Midsummer Night’s Dream (Southern Virginia University); Caesar in Julius Caesar (Southern Virginia University)

BA in Theatre from Southern Virginia University; current S&P grad student at Mary Baldwin University
PRONOUNS: he/him

Swing in Taming of the Shrew, Measure for Measure, and Much Ado About Nothing


Janette Carter in Keep on the Sunny Side (Swift Creek Mill Theatre); Pistol/Sir Hugh Evans in The Merry Wives of Windsor (Richmond Shakes); Cupid/Haebe/others in Galatea (Treehouse Shakespeare Ensemble); Bel-Imperia in The Spanish Tragedy (MBU S&P); Gower in Pericles (MBU S&P); Lepido in Patient Grissel (MBU S&P)

MFA candidate in Shakespeare and Performance at Mary Baldwin University; MLitt in Shakespeare and Performance from MBU; BA in Theatre and Vocal Performance from Luther College
PRONOUNS: she/her

Swing in Taming of the Shrew, Measure for Measure, and Much Ado About Nothing


Viola in Twelfth Night, Pericles in Pericles (Mary Baldwin University); Kimber in Stick Fly (Hibernian Hall); Mercutio in Romeo and Juliet, Helena in A Midsummer Night’s Dream (Boston Theater Company); Stephano in The Tempest (Theatre in the Open)

BA from Boston University; current MFA candidate at Mary Baldwin University
PRONOUNS: she/her

Swing in Taming of the Shrew, Measure for Measure, and Much Ado About Nothing


Pete Sheldon is excited to be coming back as a swing for ASC’s Summer Season! His recent credits include Balthazar/Music Director for MBU’S 2023 Spanish Tragedy, being an understudy for ASC’S As You Like ItEurydice, and A Christmas Carol 2022, as well as Sir Andrew in MBU’s Twelfth Night. Thanks to friends, family, cast, and crew!

PRONOUNS: he/him

Member of Actors’ Equity Association (AEA).

THIS SEASON: Stage Manager

BIO: Jocelyn A. Thompson is proud to return to the Blackfriars for her first set of Shakespearean plays in rep, after making her debut last summer season as the first black stage manager in ASC history with Pass Over.Jocelyn has been lucky enough to serve as the production stage manager for Brava! for Women in the Arts and Cutting Ball Theater in San Francisco, California during her career. Regional work: The Color Purple (North Carolina Theatre), Born With Teeth (Guthrie Theatre), Edward Albee’s Seascape, Born With Teeth (Alley Theatre). Pelleas & Melisande, …And Jesus Moonwalks the Mississippi, Ubu Roi, The Chairs (Cutting Ball Theater), The Oldest Profession, Iph… (Brava! for Women in the Arts), Harry Thaw Hates Everybody (Shotgun Players). Jocelyn is a graduate of Howard University and a proud member of Actors’ Equity Association. Her work is dedicated to her two little black Queens in the making—heads high and elevated.

Full Bio

Member of Actors’ Equity Association (AEA).

THIS SEASON: Assistant Stage Manager

Madison Lindy has a double masters in Shakespeare and Performance. She worked with the ASC in multiple capacities for several years before joining them as the Assistant Stage Manager after finishing her second masters degree. When not at the Playhouse, she spends her time making art and walking the streets of Staunton with her beautiful dog, Benny.



Full Bio

THIS SEASON: Costume Designer for The Taming of the Shrew and Measure for Measure

EDUCATION: MFA from Florida State University

BIO: Her regional design credits include Cincinnati Shakespeare Company, Skylight Music Theatre, Children’s Theater of Madison, FirstStage, Forward Theater Co., Renaissance Theaterworks, Milwaukee Chamber Theatre, McLeod Summer Playhouse, Ivoryton Playhouse, Shakespeare Theatre of New Jersey, Barrington Stage Co, Two River Theatre Co., Seaside REP, Florida Studio Theatre, Asolo REP, Opera New Jersey, Ballet Nouveau Colorado. Previous faculty positions at UW-Stevens Point, Rutgers University, Princeton University, Western CT State University, North Park University. Website:


THIS SEASON: Music Director/Choreographer

PREVIOUSLY WITH ASC: Choreographer, 1st Fundraiser, Mrs. Fezziwig, Mrs. Fred, Little Cratchit – A Christmas Carol; Choreographer/Assistant Music Director; Boatswain, Adrian, Ceres, Ensemble – The Tempest; Lychorida, Bawd, Ensemble – Pericles; Assistant Choreographer/Assistant Music Director; Understudy in Twelfth Night and Thrive, Or What You Will; u/s for Lady Capulet in Romeo and Juliet and u/s for Dromio of Syracuse in The Comedy of Errors, Dance Captain (A Christmas Carol). Fundraiser, Mrs Fezziwig, Martha, Charwoman in A Christmas Carol; Angus, Lord, Murder, and understudy in Macbeth; Jamy, Grandpre, Attendant, and understudy in Henry V, understudy in All’s Well that Ends Well.

OTHER THEATRE: Gertrude in Hamlet; Regan in King Lear; Thaisa/Dionyza/Lysimachus in Pericles; Titania/Starveling in A Midsummer Night’s Dream; Clarinda in The Sea Voyage (Mary Baldwin University, MFA)

Full Bio


THIS SEASON: Intimacy Choreographer

PREVIOUSLY WITH ASC: First Witch in Macbeth, Mariana in All’s Well that Ends Well, Ensemble in Henry V, Tiny Tim, Beggar Boy, Fan in A Christmas Carol. Resident Intimacy Choreographer for A Christmas Carol, Romeo and Juliet, The Comedy of Errors, Twelfth Night, Thrive, Or What You Will, Pass Over, The Tempest, Pericles, Une Tempête, As You Like It, and Eurydice.

OTHER THEATRE: Natasia has been seen previously as Mistress Quickly with Richmond Shakespeare Festival and Ensemble Theatre of Cincinnati’s 2017-2018 season.

EDUCATION: Natasia recently graduated with her MFA from Mary Baldwin University with an MFA where she had the joy of performing the roles of Mercutio, Oberon, and King Lear.


Full Bio


THIS SEASON: Movement Coach/Physical Dramaturgy

BIO: Doreen joined the ASC as an actor and choreographer in 2002 with the first Resident Troupe and then served as Director of Youth Programs, where she ran summer camps and educational programming for several years. She famously descended from the “heavens” in a circus hoop as Puck in A Midsummer Night’s Dream and previous ASC roles include Calphurnia in Julius Caesar, Olivia in Twelfth Night, Queen Margaret in Richard III, Christmas Present/Martha/Movement in A Christmas Carol 2002, Goneril in King Lear, Boy / Circus Choreographer in The Knight of the Burning Pestle, Margaret / Dance Choreographer in Much Ado About Nothing, and Marianne in Tartuffe.

Doreen is Co-Program Director of the Shakespeare and Performance MLitt / MFA program at Mary Baldwin University, where she also manages the MFA company and oversees training.  As a director and movement practitioner, she enjoys both working in classical theatre and devising original work. Most recently, she directed Macbeth for Hoosier Shakespeare Festival, Romeo and Juliet for MBU’s undergrad drama department, co-directed Pericles for the MLitt program, and co-directed the devised show C.Q.D. with the MFA company Treehouse Shakespeare Ensemble, and directed Chapatti for the Virginia Theatre Festival. Doreen is also a founding member of the Performers Exchange Project, a company dedicated to developing and performing original works.

Thomas J Coppola


Member of Actors’ Equity Association (AEA).

THIS SEASON: Production Manager

ASC STAGE MANAGEMENT:  Acting as the Tour Manager from 2015-Covid, Thomas has been the resident SM for the last two years. Previously at the ASC: Production Manager: Twelfth Night, Thrive, Or What You Will. Stage Management: Shakespeare’s A Midsummer Night’s Dream, Winter’s Tale, Comedy of Errors (x2), Macbeth (x2), Taming of the ShrewRomeo & Juliet (x2), Two Gentlemen of Verona, Henry V (x2), Julius CaesarOthelloTwelfth Night, All’s Well That End’s Well. Additional ASC SM credits: Every Brilliant Thing, The Grapes of Wrath, Our Town, The Importance of Being Earnest, Antigone, Equivocation, Goodnight Desdemona, Arms and The Man, the World Premier of Emma Whipday’s Sense and Sensibility and seven productions of A Christmas Carol! Thomas is a graduate of the Massachusetts College of Liberal Arts. Love to M&D, & KRM. #BLM Proud Member of Actor’s Equity.

REGIONAL CREDITS: Cinderella, The Wizard of Oz (American Family Theatre, National Tour) The Fall of The House of Usher, The Most Dangerous Game (Chamber Theatre Productions, National Tour)Spamalot, Les Miserables, They’re Playing Our Song, Falsettos, and Next Thing You Know (Sharon Playhouse); CATS, Hairspray, Crazy For You, HAIR, Once on This Island, Sunset Boulevard (Cohoes Music Hall); Into The Woods, All Shook Up, Seussical, Laramie Project: Epilogue (Barrington Stage Company)





PREVIOUS ASC CREDITS: Technical Properties Director: The Complete Works of William Shakespeare (Abridged) [Revised] (Again) (2023), Eurydice (2023), As You Like It (2023)

OTHER CREDITS: Props Designer: Hotel Berry, Tantrum Theater. EVERYBODY, Ohio University. Prop Shop Manager: Ohio University (2022). Head of Drama and Theater Tech- Camp Fernwood (2022). Props Journeyperson: Maine State Music Theater (2018)

BIO: Duckery Bracey is a properties director, designer, and artisan from Delta, Pennsylvania. They specialize in carpentry, foam carving, 3D print designs, magic/stage illusions, and the occasional trip out to the curling rink and climbing wall. A special yeehaw to all my fellow prop pals out there.

EDUCATION: MFA in Props Technology, Ohio University (2023) BA in Theater, Washington and Lee University (2020)



THIS SEASON: Costume Shop Manager


Costume Shop Manager for The Complete Works of William Shakespeare (abridged) [revised] (again), As You Like It, Eurydice, and 2022’s A Christmas Carol; Cutter/Draper, Wardrobe Manager, and Assistant Costume Shop Manager for Une Tempête, The Tempest, Pericles, Pass Over, Thrive or What You Will, and Twelfth Night (2022).


Costume Designer for She Kills Monsters (John Tyler University) and Ripcord (CAT Theatre). Stitcher for The Wiz, The Addams Family Musical, A Funny Thing Happened on the Way to the Forum, Mary Poppins, The King and I, Monty Python’s Spamalot (Shenandoah Summer Music Theater). Assistant Costume Designer for The Music Man and The Man of La Mancha (Shenandoah Summer Music Theater).


MFA in Costume Technology from the University of North Carolina School of the Arts (2022), BFA in Technical Theatre from Longwood University (2015).


A resident of Virginia (and briefly North Carolina), Marie enjoys life as a cat mom, is an avid listener of Podcasts, and part-time archer with her LARP group.




Amy Wert is a new Wardrobe Manager at ASC, and enjoys working on all things costumes. Most recently she worked on West Side Story, Mamma Mía, and Blood Knot at the Flat Rock Playhouse in NC. She studied at both Anderson and Clemson University and graduated in 2020. Amy is also a swing dancing enthusiast and loves her cat, Theo. Follow along with my theatre and sewing pursuits @amys.clothesline on Instagram!

THIS SEASON: Wardrobe Supervisor / Stitcher

BIO: Tori Wright is a graduate of Longwood University, holding a BFA specializing in costume design. This is her seventh season with the American Shakespeare Center. Previous show credits include Henry V, Macbeth, Julius Caesar, Antony and Cleopatra, Romeo and Juliet, and The Tempest, as well as No Exit, Chicago, and A Masterpiece of Comic… Timing! When not in the costume shop, she creates artistic paper dolls, and enjoys gourmet coffee.

THIS SEASON: Props Artisan/Stage Management Fellow

PREVIOUS ASC CREDITS: Props Artisan for The Complete Works of William Shakespeare (abridged) [revised] (again)

OTHER CREDITS: Assistant Stage Manager, Squeakers (Ohio University) Prop Manager, The Secretaries (Ohio University) Assistant Prop Manager, Julius Caesar (Ohio University) Assistant Stage Manager, Hotel Berry (Tantrum Theater) Assistant Stage Manager, Natasha, Pierre And The Great Comet of 1812 (Tantrum Theater) Stage Manager, Men Are Trash And I’m A Raccoon (Vibrancy Theater)

EDUCATION: Conrad is currently a third-year student at Ohio University.


THIS SEASON: Props Artisan

BIO: Sam is excited to join the ASC’s technical team. He is a woodworker focused on carpentry, furniture making, and carving. In addition to his life in wood, Sam has also worked for the last decade as a touring singer-songwriter. He has released several solo albums, which you can find anywhere you listen to music.

THIS SEASON: Props Artisan

PREVIOUS ASC CREDITS: Props Artisan for Twelfth Night, Thrive or What You Will, Pass Over, The Tempest, Pericles, Une Tempête, A Christmas Carol 2022, As You Like It, Eurydice, and The Complete Works of William Shakespeare (abridged) [revised] (again) (2023)

BIO: A “storyteller of all-mediums”, Sarah White is a third year in Mary Baldwin University’s MFA Shakespeare & Performance program with a focus on acting (under the stage name Sarah Scarborough – catch her onstage with the MFA company, Meadowlark Shakespeare Players for their 2023-2024 season). She holds a BA in English and Theater Studies from Anderson University, and an MFA in Scenic Design at the University of Missouri-Kansas City. Her work as an Actor, Scenic Designer, Painter and/or Properties Artisan has been seen regionally throughout the U.S. at companies such as Duende Productions, Hollins University, Earlham College, Dragon Productions, Wisdom Tooth Theatre Project, The Coterie Theatre, Texas Shakespeare Festival, Crane River Theater Company, New Harmony Theater, The Berkshire Theatre Group, The Unicorn Theatre, Heart of America Shakespeare Festival, and The Lied Center for Performing Arts.


PRONOUNS: she/her

THIS SEASON: Stage Management Fellow

BIO: Beth Somerville is delighted to be working at the American Shakespeare Center this summer after graduating from Mary Baldwin’s Shakespeare & Performance program with her Master of Letters and Master of Fine Arts. She is a passionate theatre-maker and enjoys stage managing, directing, and acting. She would like to thank her many S&P teachers and mentors for their inspiring support and encouragement.

PRONOUNS: she/her




THIS SEASON: Wardrobe Assistant

ASC Board of Trustees & Advisors

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From our Enrichment Series to Special Events—there is something for everyone!

ASC Memberships are still available! Members receive:

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Join our stellar Programming team for a crash course in ASC’s approach to Shakespeare’s text with information & insights that will help you approach the play like an actor, deepening your understanding of the play and enriching your experience when you visit us to see the show.



Our AD of Education Programming, Aubrey Whitlock, will take you on a deep dive of our Summer Season—on your schedule! You’ll be able to watch this in-depth video at any time and discover tips and insights to enhance your experience as you watch the three Shakespeare titles of our Summer Season: The Taming of the ShrewMeasure for Measure, and Much Ado About Nothing.

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Playhouse Tours


In-Person Tours
  • LEARN about Shakespeare’s company and Playhouses.
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Tours are available at 10:00 AM and 2:00 PM Monday – Saturday. Advanced ticketing is required.

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35th Anniversary Virtual Tour

Celebrate 35 years of ASC by exploring behind the scenes at the beautiful Blackfriars Playhouse with a virtual Playhouse tour. Similar to our in-person tour, learn about our modern theater & its historical predecessor— with added locations inaccessible to the public!

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ASC GIft Shop

From T-Shirts to Cookie Cutters—the gift shop has something from everyone. Check out the new Actors’ Renaissance Summer inventory!

Shop from your seat, select pick up at checkout, and your order will be ready for you when you leave!

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A weekly series of lectures, panels, and workshops featuring a line up of scholars, industry experts, ASC familiar faces, and powerful partnerships. This event happens every Friday at 5:00 PM during our season. Visit the full schedule to see who we’ve got lined up for you to hear from!



Spend a weekend at the Blackfriars Playhouse where you will rediscover the joy and accessibility of teaching Shakespeare. Beginning Friday afternoon and ending Sunday, this weekend is curated with workshops, lectures, performances, and more with our team of Shakespeare performance and scholarship experts.


Spend Your Summer Performing Shakespeare in the world’s only re-creation of his indoor theatre- The Blackfriars Playhouse. Located in the beautiful Shenandoah Valley, this residential camp combines scholarship and performance for the Shakespearean summer of your dreams.

Learn More>>

JULY 24-31, 2023

Adult thespians of all experience levels are invited to spend a week strutting and fretting their hour upon the stage at the American Shakespeare Center’s No Kidding Shakespeare Camp. This weeklong program blends performance training with academic enrichment, giving participants a chance to hone their craft while learning about Shakespeare’s staging conditions in the world’s only recreation of his indoor theatre, the Blackfriars Playhouse. Led by our world-class Programming team, you will get a crash course in all the skills that ASC actors use in professional productions in a low-stakes, Renaissance-style (ensemble directed), week-long rehearsal process culminating in a staged reading performance of William Shakespeare’s Taming of the Shrew in the Blackfriars Playhouse at the end of the week. Perfect for both seasoned performers and enthusiastic amateurs.


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Donor Roll List pulled from May 1, 2022 to May 30, 2023

(Donors in bold have donated 5 consecutive years. Donors marked * are members of the Epizeuxis Society and have pledged ongoing monthly or quarterly gifts.)


NOBLES ($25,000- $49,999)

Paul G. Beers

Jim & Shirley Gillespie

Kimberly West


PATRONS  ($15,000- $24,999)

Pamela Friedman & Ronald Bailey* 

Aaron & Candice Hark

Lynne Puckett


AMBASSADORS ($10,000 – $14,999)

John C. Attig

Ralph & Judy Cohen

Danny & Leigh McDaniel

Seth & Sharon Stark

Myron “Buddy” Steves Jr. & Rowena Young / The Blue Bonnet Foundation


GALLANTS ($5,000 – $9,999)


Richard Clay

Clifford Garstang*

Davidson Perry-Miller

Robert & Sara Lee Menzer

Lyn & Thomas Olson

Lynn Rainville & Baron Schwartz 

Tiffany Stern

Donald Warmke / The Evergreen Fund


PLAYERS ($2,500 – $4,999)

Drs. Patrick & Allison Baroco*

Kara & Chris Burke

Harvey & Naomi Cohen

Sara Holmes

Bouvard Hosticka

Kerry Kisa

Dan Layman & Pamela Fox

Dr. Preston C. & Mrs. Jane Manning, Jr.

Richard McPherson 

OAL Foundation in memory of Kent Simons

P. William & Lisa Moore

Gene & Karen Van Slett

Martha Walker*

Tynisha D. Willingham*


JOURNEYMEN ($1,000 – $2,499)

Anonymous (4)

Peter Archey

Charlotte & Collins Beagle in memory of Eugene C. Beagle

Dr. Rudolph Bell

Carolyn Paxman Bentley

Laurie Berman

Mary Margaret Pipkin & Robert Boisture

Richard and Kathryn Bump

Rejena Carreras

Wendell & Ruth Cole

Rebecca Connelly

Mr. & Mrs. Edward J. Crawford, III

Debra Drummond-Berger in memory of Tom Berger*

English Speaking Union

Tom & Diane Fechtel

Martha Ferugson

The Fetzer Institute

Tracy Fisher*

Alexander & Joanne Gabbin

Dwight & Lindsey George*

Margaret & Richard Haupt

Rosanne Facciolo

Diane & John Kowal

Nancy & Rob Kyler

Dr. E. F. Charles & Mrs. Lorene N. LaBerge

Kelly Malone*

Heather & David Morgan

Craid & Libby Owens

Deborah Patton

John Smallwood & Mary Satterfield

Dr. Megan & Mr. Alex Schad

Craig & Evelyn Scott

Sandra & William Sibert

Amber Brister & Jim Simons

Richard B. Smith

Carl Steidtmann

Steve Urkowitz

Joy Varner & Chris Paddock

Kenneth Venable

Forrest Sloan & Jennifer Wayne

Diane & Kevin Wilshere

Cynthia Tyson/ The Robert Haywood Morrison Foundation

Find a full list of our supporters here.

Institutional Sponsors

Amazon Smile

Askin-Williams Charitable Fund

Bank of America Charitable Foundation

Caplin Foundation

Fidelity Charitable Gift Fund

Google, Inc.

Network for Good

Over the Line Fund

Robert Haywood Morrison Foundation

The Evergreen Fund

The Termineigh Foundation


The Phoenix Society welcomes all people who have generously included the ASC into their estate plans and/ or as a beneficiary trust, retirement plan, or life insurance policy.

Anonymous (4)

Paul G. Beers

Dr. Ralph Alan & Judy Cohen

Lawrence & Vicky C. Eicher

Dudley D. Flanders

Arthur & Mindy Kaufman

Stephen & Jo Anne Larson

Christopher & Betsy Little

Robert C. & Letty MacDonald

Lynne Turner & Robin Miller

Phil & Cheri Moran 

Ethel M. Smeak

Sidney Stark, Jr.

Lawrence Weiss

Frances I. Young in honor of Sister Francis, SSMN

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