When Life Imitates Art—or the Other Way Around

by Philippa Kelly, Resident Dramaturg

In nineteenth century California, divorce was on the rise, available on the basis of any of six marital “conditions”: adultery, cruelty, abandonment, neglect, intemperance, or felony conviction. On the basis of information we can glean from George Bernard Shaw’s You Never Can Tell, at least four of these six requirements would have satisfied the courts in the case of the Crampton family. Yet Fergus Crampton and his wife have stayed married, though apart, for the past eighteen years. Why? A five-letter word: shame. It was shameful to have divorce proceedings begun against you, and Mr. Crampton has the dignity of family and reputation to uphold. So he has remained, married in name only, for the best part of two decades. And his wife has not even remained “married in name”. She has adopted, and published her treatises under, the name of ‘Mrs Lanfrey Clandon.”


(background, l-r) Michael Torres as Fergus Crampton, Elizabeth Carter as Mrs. Clandon, Lance Gardner as Philip, Khalia Davis as Dolly, (foreground, l-r) Sabina Varela Zuniga as Gloria, and Matthew Baldiga as Valentine in YOU NEVER CAN TELL.

Cal Shakes audiences, meet the messed up Crampton/Clandon family of George Bernard Shaw’s You Never Can Tell, one of his bizarrely named ‘pleasant plays’ because of its strong strain of farce. In many ways this dysfunctional family we meet in California is indeed Shaw’s family, imported over the Atlantic from Ireland and England. His Irish father was in his 50s when he married a woman he thought to be of means. But he was in for bitter disappointment – his wife brought in little money, precluding him from retirement and necessitating his acquisition of a second career (as a corn merchant) after being dismissed at his job as a civil servant. George Bernard Shaw (Bernard) was the last of their children. When he was fifteen his mother, who had fallen in love with her voice teacher, took off after him when he moved to London, taking her two daughters with her and leaving Bernard with her dissolute, depressive, alcoholic husband. Bernard left Dublin a year later to join his mother in London. There he would remain under the same roof, while continuing the distant relationship that he and his mother had shared since his infancy, for the next 26 years before his own marriage.

And the dysfunctional resemblance doesn’t stop there. Shaw, like his character Valentine in You Never Can Tell, met and came to love a strong, socialist (not socialite!), wealthy woman called Charlotte Payne Townshend: but he was loathe to marry her. Like Valentine, he was impecunious, and didn’t want to be seen as a fortune hunter.

Well, to see what happened to Shaw, come see You Never Can Tell. You’ll get a pretty good idea without ever having to consult Wikipedia…


Introducing Margaret of Anjou


Resident Dramaturg Philippa Kelly discusses her latest endeavor – working with Elizabeth Schafer to bring Margaret of Anjou, “a new play by Shakespeare, to life. Margaret of Anjou will be produced at SF Shakes this year.

anjouImagine Shakespeare as a young playwright in the early 1590s, trying to capture the attention and imagination of Queen Elizabeth I. How would he begin? It’s no secret that women were seen as physically and intellectually incapable of doing what men did – Elizabeth herself was aware of this when she gave her famous speech at the defeat of the Spanish Armada in 1588: ‘I know I have but the body of a weak and feeble woman. But I have the heart of a king, and a king of England, too…I myself will take up arms.” Astride her horse, flanked by lieutenants, Elizabeth was the new woman of England, the new woman of history.

Enter Margaret of Anjou, daughter of Rene, Duke of Anjou, and, we believe, Shakespeare’s special envoy to the imagination of Queen Elizabeth. Margaret was born on his stage in the wake of Elizabeth’s Armada speech. Women could be more than chattel – England had before its very eyes a queen who was multi-lingual, a beautiful writer, and an expert diplomat. A queen who’d most likely chosen not to marry because marriage would have compromised her power (and because her father provided a terrible marital role-model!) Now think of Margaret, Elizabeth’s real-life predecessor. Elizabeth hadn’t needed to be a wife in order to have access to power; and, had she been a mother, she might have suffered the heartache that befell Margaret as she lost both her husband and her only son to the forces ranged against her.

Elizabeth Schafer, author of Ms-Directing Shakespeare, theater historian, and Professor at Royal Holloway, London, has collaborated with Cal Shakes’ Philippa Kelly to pirate from Shakespeare’s four plays to give Margaret a singular textual life of her own. Professor R.S. White gave Margaret her world premiere when he invited Elizabeth and Philippa to launch a staged reading with Robert Conke’s Melbourne Acting Troupe, Nothing But the Roaring, in February 2016, sponsored by the Centre for the History of Emotions. Now we are partnering with SF Shakes’ Rebecca Ennals. Our mission: to bring Margaret across the Atlantic for a staged reading at SF Shakes in this important anniversary year. Our play, drawn from Shakespeare’s Henry VI tetralogy and Richard III, uses only Shakespeare’s words to shape Margaret’s journey. It’s being billed at the Caryl Churchill Theater in London this year as a ‘new’ play by Shakespeare and does something we think is important: it proves that Shakespeare wrote a female role that is an ‘Everest’ on par with King Lear.

Historically, Margaret, brought over to England dowryless to secure a relationship between the Duke of Anjou and England, was alluring and (initially) obedient, and it seems that her marriage to England’s Henry VI suited both herself and her husband. However, it took 10 years for her to conceive a child, and, once she did, Henry VI fell into one of what would be frequent bouts of insanity, with Margaret ruling in his place. It was Margaret who led the Lancastrian side in the Wars of the Roses, and her feats, in part, inspired the character of Cersei Lannister in today’s Game of Thrones.

Shakespeare adheres to the beginning of the historical Margaret’s story, but changes its course considerably. Shakespeare’s young Margaret is, like her original, an ingenue, bought and sold; but the playwright makes King Henry VI weak instead of mad. In real life, Margaret became intimate with the Duke of Suffolk (possibly as a retreat from her husband’s madness?) But in Shakespeare’s play Suffolk woos her on behalf of Henry VI at Tours, and the young, impressionable woman falls for Suffolk instead of her intended husband, while Suffolk encourages this love-interest so that he can use her as a puppet to rule the feeble Henry. What we see in our play, Margaret of Anjou, is the young Margaret, complying with her father’s cold sale of her as goods; the new Queen Margaret, intimate lover/conspirator with Suffolk behind her weak husband’s back; the mourning Margaret, grieving for the execution of her lover as traitor; the Amazonian Margaret leading her troops into battle; the monster taunting her defeated opponent, Richard, duke of York; and the raging crone, whose husband and son, prince regent, have been murdered.

Margaret, unlike her theatrical contemporary Katherina in The Taming of the Shrew, is never tamed. She looks forward to later formidable female parts like Lady Macbeth, Volumnia, and Paulina.

Please share this post and celebrate with us this year as, with Rebecca Ennals of SF Shakes, we make Margaret America’s Queen.


A Brief Timeline from Shakespeare’s Life #Shx400

This April 23 marks the 400th year of Shakespeare’s death, and theater lovers worldwide are celebrating four centuries of his legacy. Resident Dramaturg Philippa Kelly takes us through a very brief timeline and “fun facts” of Shakespeare’s life and works.

Visit http://www.stahome.org/2016/ or follow the #Legacy400 and #Shx400 hashtags to learn more!

1564: William Shakespeare, his parents’ third-born and first living child, is baptized. The date of William’s actual birth remains unknown due to the high infant mortality rates in England at the time – no child was registered as born until baptized. The date has been designated April 23 to create an attractive correlation with his death, known to be April 23, 52 years later.

Fun Fact: William’s father, John, was a whittawer (a maker, worker and seller of leather goods such as purses, belts and gloves) and a dealer in agricultural commodities. He was a solid, middle class citizen at the time of William’s birth, and a man on the rise.  He served in Stratford’s local government successively as a member of the Council (1557), constable (1558), chamberlain (1561), alderman (1565) and finally high bailiff (1568)–the equivalent of town mayor.  This allowed him to send his children to Stratford’s Grammar School. In about 1577 John Shakespeare’s fortunes began to decline for unknown reasons, and Shakespeare had to leave school at the age of 13.

Fun Fact: most households in Shakespeare’s time made their own beer and ale, and it was quite common to drink them with breakfast.

1582: Shakespeare marries Anne Hathaway, 8 years his senior. Shakespeare has been dating  (and some say betrothed to) another Anne: but the pregnancy gives Anne Hathaway precedence in the marriage stakes. Anne’s father, owner of a large, sprawling farm, is affluent enough to provide Anne with a dowry. Many believe that Anne is illiterate, as are most girls of her station: but it is unknown for sure. After their marriage, as is common at this time, Anne moves in with her new husband and his parents in their family home.

1583: Daughter Susannah is born.

1585: Twins, Hamnet and Judith, are born – named after William and Anne’s close friends, Hamnet and Judith Sadler.

Between 1587 and 1592 Shakespeare disappears from all known surviving records. This period is often referred to as the ‘lost years’. Did he leave his wife and three small children during this time? He may have worked as a schoolmaster. But if so, where? The answer is unknown. By 1592, he was living in London as an actor and a dramatist. His family remained in Stratford, living with his parents in John Shakespeare’s family home.

1596: Hamnet dies of the plague. Shakespeare does not return for the funeral. Why not? He may have been informed after the burial, since plague victims have to be buried as soon as possible for the sake of sanitation. We know that at the time it takes three days to get by horse and carriage from Stratford to London – stopping overnight in Oxford and going on to Uxbridge. But a letter (which cost 2 pence to send – a third of an actor’s daily wages) could even take only 2 days.

1597: Shakespeare, now wealthy because of the popularity of his plays in addition to royal patronage (his company, The Lord Chamberlain’s Men, is Queen Elizabeth’s favorite), buys the second largest house in Stratford, and settles his wife and two remaining children there before returning to London.

1598: Shakespeare writes Much Ado About Nothing, the first play of our 2016 season. “Nothing” is a play on “noting”, a word which in Shakespeare’s day means “to pay attention” (or notice) someone romantically. A woman’s genitals are at this time also referred to as “nothing” because, unlike a man’s, they are not evident (i.e. they are “nothing”) on the outside. So Shakespeare is basically punning on the idea of “Much Ado About Sex.”

1603: Shakespeare writes Othello, fourth up in our 2016 season. The term, “Moor” in Shakespeare’s London refers to everyone of a dark skin tone, and refers to most Africans. The first staging of Othello is performed before  King James 1 in the Banqueting House at Whitehall on the 1st of November 1604. Queen Anne, James’ wife, has a fascination with performing blackface. We might wonder how much of an influence her taste had on Shakespeare’s choice of material.

Fun Fact: Shakespeare offers wisdom for the ages. From cautionary examples of the wisdom of not promoting someone whose talents are superior to yours (Macbeth) to examples of how greatness is not enough (Coriolanus, Othello), to the terrible example offered by King Lear (don’t give your worldly goods to your children if you can’t trust them to take care of you as you see fit, not as they do), to the lessons of love in Romeo and Juliet (love doesn’t cure everything) and in Twelfth Night (don’t judge a book by its cover), Shakespeare offers remarkable insight into many of our life situations.


Seeing’s Believing!

Resident Dramaturg Philippa Kelly

Resident Dramaturg Philippa Kelly. Photo courtesy Philippa Kelly.

by Philippa Kelly

How can we know our minds when appearances keep on changing? And how can we judge appearances when our minds keep on changing?

How we speak is as unreliable as what and how we see. This is one of the great mysteries of living that Shakespeare addresses repeatedly in his plays, sometimes (as with Othello) with dark intensity, and at others (as with Much Ado) with somersaulting levels of hilarious confusion. In Much Ado, characters are forever mishearing each other from behind hedges, not to mention mistaking each other’s motives from under bedroom windows. And when the lower-class Dogberry and his associates try to inform Duke Leonato of a gulling trick that has awful consequences, Leonato dismisses them as mistaken, well-disposed fools. Not for the first time, Shakespeare shows those unversed in the niceties of language as nonetheless possessing a truth that their so-called “betters” fail to understand. This theme reverberates in the tale of the soldier Benedick and Leonatos’ niece Beatrice (surely Shakespeare’s most expert wordsmiths!), who nonetheless find the truth of their love when their friends use words to trick them. Yet, much as our ears and eyes might fool us, the paradox of living is that we have only these same ears and eyes to rely on.

“Give me the ocular truth,” we’ll hear Othello cry in the fourth play of our season, as he monsters his imagination with the very same Cassio on whose behalf Desdemona advocates so fervently: ‘if he be not one that truly loves you… I have no judgment in an honest face’. Desdemona’s pleas ring out with dramatic irony: she knows nothing of Othello’s fears that a two-faced Cassio has made him a cuckold. It’s the human mind, it seems, that shapes what we see and how we judge – and there’s a perilous [eye]rony in that.

Ask Philippa: Twelfth Night Edition

Resident Dramaturg Philippa Kelly

Resident Dramaturg Philippa Kelly. Photo courtesy Philippa Kelly.

Twelfth Night is Shakespeare’s last and darkest comedy, written in 1601. Director Christopher Liam Moore calls Twelfth Night his favorite Shakespeare play, treasuring its capacity to soar to the heights of mirth and delve to the darker parts of humanity. Set on the tiny island of Illyria, the play takes its characters on a huge emotional journey, in which they question who they are, mourn losses, entertain big dreams, and discover parts of themselves that they didn’t know where there.

I’d be delighted to answer any artistic or dramaturgy questions about what’s in store for this season’s production of Twelfth Night. Curious about cast, themes, creative choices, or anything else? Ask Philippa! Please leave your questions in the comments, and I’ll be sure to respond.


Dr. Philippa Kelly, Resident Dramaturg for the California Shakespeare Theater, is also a professor and author. Her 2010 book, The King and I, a meditation on Australian culture through the lens of King Lear, garnered international praise in its very personal examination of themes of abandonment, loss, and humor).

You can email Philippa at pkelly@calshakes.org, or post below to ask her a question.

Buy tickets for Twelfth Night, or subscribe to the 2015 Season, by clicking here; or, call the Box Office at 510.548.9666.


From Twelfth Night to Life Is a Dream: Fate Works in Mysterious Ways

Get Tangled Up In Love show art for Twelfth NightThe first two productions of our 2015 season—Shakespeare’s comedy Twelfth Night about falling in love with mistaken identities and Life Is a Dream, Pedro Calderón de la Barca’s 1635 drama, translated and adapted by the Pulitzer Prize-winning Nico Cruz, which examines the relationship between fate and reality—couldn’t seem farther apart at first read. But it turns out Olivia, Viola, Orsino, and Sebastian have more in common with King Basilio, Segismundo, and Rosauro then one might think. Here our Resident Dramaturg Philippa Kelly explains the link between these two wildly different productions.

The question: Where character comes from and where it can lead? is at the core of both Twelfth Night and Life Is a Dream. Twelfth Night’s characters have their dreams, but they end up with fates they never dreamed of. In Life Is a Dream, Calderon’s 17th century Spanish masterpiece, translated and adapted by Nilo Cruz, the question grabs us from the very start and chills us with its development. Does a person have any real power to change the fate that’s written for him or her? And if not, why not? Malvolio struggles with this idea in Twelfth Night and we’ll see in Life Is a Dream the vengeance that is wreaked by a son who is imprisoned for the first 20 years of his life. Was his father right to lock him up? Was he wrong to release him, given that he’s done exactly the monstrous deeds that were predicted at his birth? Or is his vengeance created by his father’s actions? (Who wouldn’t want to go on a rampage after being locked away since birth?) Do we have the power to change our fates and to change the way we adapt to experience? Come judge for yourselves.

Twelfth Night starts Previews on May 17 and runs through June 21. Life Is a Dream starts Previews on July 8 and runs through August 2. Click here to learn more and buy tickets. Hear more about the link between these two shows from Philippa herself at the Life Is a Dream Inside Scoop, June 22 at the Orinda Library. Reserve your spot here.



Happy 451st Birthday Shakespeare!

By Philippa Kelly, Resident Dramaturg

“With Shakespeare’s depth of humanity as our touchstone, we build character and community through authentic, inclusive and joyful theater experiences.” This is Cal Shakes’ mission, and today we celebrate the 451st birthday (399th death day) of our bard. William was born in 1564 to John Shakespeare (leather merchant turned prominent alderman and town bailiff – equivalent to town mayor) and Mary Arden (local heiress). No birth records exist for William, but the records of the local church in Stratford-Upon-Avon indicate that a “William Shakespeare” was baptized on April 26 of that year. From this we deduce that he was born on or about April 23: infant mortality at that time was very high (25% of children died before the age of 2, and, indeed, three of Shakespeare’s siblings died in early childhood), which meant that children were baptized a few days after their birth.

William was the third of eight children. The very sketchy records of his early life have caused endless speculation as to how he obtained the immense breadth of education demonstrated in his plays. Historians surmise that William was able to till his naturally gifted mind by virtue of being a public official’s child, entitled to attend the King’s New School in Stratford, which afforded a classical education. As was the case in all Elizabethan grammar schools, Latin was the primary language for learning. Although Shakespeare likely had some lessons in English, Latin composition and the study of Latin authors like Seneca, Cicero, Ovid, Virgil, and Horace would have been the focus of his literary training. (Just as an extra point of interest, during the years that Shakespeare attended the school, at least one and possibly three headmasters stepped down because of their devotion to the Catholic religion proscribed by Queen Elizabeth.) William’s father’s fortunes declined when young William was about 14, however, and he never got to go to university.

In 1582, when William was 18, Anne Hathaway, a 26 year-old woman of some family means, became pregnant with his child. They married late in that year, before the birth of their first daughter, Susannah. William soon deposited his wife and family in Stratford – including the couple’s twins, Hamnet and Judith, born in 1585 – and the playwright went to London to build his theater company and pursue his craft, returning to Stratford only when onslaughts of the plague forced the closure of the theaters in London. It was in these fallow years that he wrote most of his sonnets as well as his longer poems. Shakespeare’s son Hamnet died at the age of eleven, and, given that it took three days to get a message from Stratford to London, and the contagion of the plague so great that by the time Shakespeare received news of his death, his son had already been buried.  Judith and her father were not close, and Susannah remained William’s favored child until the end of his life.

Over a period of 18 years, Shakespeare wrote 37 plays (give or take two recently discovered and believed to be his and a couple of collaborations) and 154 sonnets. He stopped writing about three years before his death in 1616. Some scholars have speculated that this was because he had nothing left to say: however, I think this theory is highly unlikely when applied to a man of 47 who wrote a late play as gifted as The Tempest. It’s much more likely that he developed Scrivener’s Palsy, a degenerative disease that impeded his capacity to write. If you look at the range of his signatures, they markedly change as his physical state deteriorates. He could barely sign his final will, made in March 1616 (altered to convey his displeasure at his daughter Judith’s marriage to a man who had at the same time got another woman pregnant).

Shakespeare, registered as “Will Shakespeare gent”, was buried on 26 April 1616 at Holy Trinity Church, Stratford Upon Avon. His tombstone is inscribed with the unlikely quatrain said to have been prepared by him:

Good Friend for Jesus sake forbear

To dig the dust enclosed here.

Blest be the man that spares these stones,

And curst be he that moves my bones.


  • Vegetables discovered in Shakespeare’s day: cabbage and carrots
  • Households made their own beer and ale
  • Flush toilets were a long time coming: families deposited their waste matter in mounds outside the house.




Off to Ashland!

Antony and Cleopatra. Photo courtesy Oregon Shakespeare Festival

This October 2-4, Cal Shakes Resident Dramaturg Philippa Kelly will lead a trip to Ashland for the Oregon Shakespeare Festival. Attendees will stay at the Ashland Springs Hotel and attend three plays during their stay, while enjoying dinners, cocktails, and conversation with Philippa and other guests. Philippa will lead discussions on each play and give her own insight. If you are interested in attending or learning more, please call or email Interim Special Events Manager Zoe Westbrook at 510.809.3297 or ashlandtour@calshakes.org no later than Friday, May 15th.

This year’s fantasy weekend at the Oregon Shakespeare Festival will begin the moment we put our cases down in our beautiful rooms at the Ashland Springs Hotel, discovering, on our pillows, the little sachet of lavender and, on our bedside tables, the bar of chocolate especially wrapped with a picture of the hotel.  We’ll meet for drinks and dinner, joined (and for the whole weekend) by Director of Development Megan Barton, whose grace and charm help make the weekend perfect.

Our first play is Much Ado About Nothing, Shakespeare’s tempestuous romance as reimagined by director Lileana Blain-Cruz. Much Ado, written between 1588 and 1599 in the middle of Shakespeare’s career, features a plot that’s moved along largely by eavesdropping, mishearing and gossip. Shot through with the acerbic puns and jokes hurled back and forth by Beatrice and Benedick (a wittier, much more sophisticated version of the relationship between Kate and Petruchio written almost ten years before), the play is at once hilarious, unnerving in its twists and turns, and deeply moving. It’s intriguing to think that Shakespeare wrote Hamlet at the same time as Much Ado. In the notes I prepare for our group, I’ll speculate on the melange of themes that Shakespeare was able to calibrate in both comic and tragic contexts at the pinnacle of his career.

Saturday lunchtime we’ll see Sweat, the world premiere by Pulitzer Prize winner and Macarthur ‘genius’ grant winner Lynn Nottage. Sweat is part of the American Revolutions cycle, which sees 37 new works performed at OSF over a ten-year period, each of which addresses some pivotal moment in American history. Says Portland Theater Scene, ‘Dodging the artistic dead ends of whimsy, wackiness, “magical realism”, and manic profanity that entrance so many of her contemporaries in the American theatre, Nottage is the real deal and writes plays that matter. As good playwrights must be, she is an activist deeply engaged with the world. A new work by this talented Brooklynite is national news…’ Sweat follows a group of friends who work in a steel plant in 2000 Pennsylvania, when a horrific crime shocks two generations. After the play we’ll have legendary OSF actress K.T. Voght  join us for a talkback.

On Saturday evening we’ll have a delicious dinner, accompanied by an interview with dramaturg Lue Douthit (she is so good that she threatens to steal whatever show follows!) That evening we’ll see Antony and Cleopatra, part of a momentous trilogy of plays (the other two being Macbeth and King Lear) that were written in just over a year, circa 1604-5. Interestingly, all three of these plays stage a conflict between desire and duty in very different forms. We’ll see the struggle for Mark Antony, Roman warrior, as he falls under the spell of Cleopatra, queen of the Nile. Written when Shakespeare was in his forties, about 12 years after that other drama about doomed lovers, Romeo and Juliet, this play shows a Shakespeare in his middle years examining the passion between characters of his own age (not the children whose naïve, desperate love makes us gasp). Antony and Cleopatra risk more than the fates of two families  – they risk the fates of entire empires in their love. Afterwards I’ll go to the Mezzanine, where there’ll be cookies and tea and hot chocolate, awaiting anyone who wants to chat about the play. And those who want to carouse can go actor-spotting at Martinos, Ashland’s most famous bar.

Sunday morning we will have a post-breakfast chat with two of the actors from Antony and Cleopatra.

I can’t wait to join you all – it is such an honor for me to guide you through this trip.

If you’d like to experience this incredible theater adventure, email Zoe Westbrook (zwestbrook@calshakes.org) or call 510.809.3297.


Additional Details on the Ashland OSF Tour with Cal Shakes Resident Dramaturg Philippa Kelly:

WHEN: Friday, October 2 through Sunday, October 4, 2015

LODGING: The elegant Ashland Springs Hotel in the heart of downtown, just steps away from the Oregon Shakespeare Festival.

DINING: Your package includes Friday night cocktail reception and dinner, and Saturday night dinner at a restaurant in town; breakfasts included with your stay at the Ashland Springs Hotel.


FRIDAY EVENING: Much Ado About Nothing, Shakespeare’s tempestuous romance reimagined by director Lileana Blain-Cruz, is a cunning comedy of love, language, and wit, one of Shakespeare’s few comedies that manages to be both moving and frivolous at once-featuring an ensemble cast of scheming characters and a twist-ridden wedding plot.

SATURDAY MATINEE: Sweat, a powerful world permiere by acclaimed playwright Lynn Nottage (Ruined, Intimate Apparel) and directed by Kate Whoriskey, explores America’s Industrial decline at the turn of the millennium with a look inside a Pennsylvania town whose people struggle to reclaim what they’ve lost, find redemption, and redefine themselves in the new century.

SATURDAY EVENING: In Antony and Cleopatra, directed by OSF’s Artistic Director Bill Rauch, Shakespeare’s tragedy presents history as a breathtaking pageant full of passion, intrigue, exotic locales and the larger-than-life character that brought about the death of an Egyptian dynasty and the birth of the Roman Empire.

SUNDAY MORNING: We’ll come together to reflect on our experience of all three productions this weekend, facilitated by Philippa’s illuminating insights.

TRANSPORTATION: Transportation to and from Ashland is not provided. Short distances in Ashland (from hotel to restaurant, hotel to theater) are readily walkable by people in moderate health.

COST: $1,250 per person double occupancy, or $1,400 single occupancy (includes a $500 tax-deductible contribution to Cal Shakes). A deposit of $300/per person is required to confirm your reservation.

RSVP: Please call or email Interim Special Events Manager Zoe Westbrook at 510.809.3297 or ashlandtour@calshakes.org no later than Friday, May 15th.


Grove Speakers 2015

As the gateway to our theater, the Grove is a place we’re very proud of. This year Philippa Kellywe are mixing the familiar with the new—and yet the thing that everyone has in common is dramaturgy! Almost all of our speakers have served as dramaturgs in various theaters. A love of dramaturgy is what makes us all so interested in speaking in the Grove—the desire to share knowledge and to nurture conversations about the stage.

Returning this year are Philippa, Joanie, Cathleen, Robin, Ciara, Keith and Molly. New faces include Amelia Furlong, fresh from a degree in theater at Middlebury College, where she wrote her senior thesis on The Two Noble Kinsmen. This summer she is interning with Cal Shakes as well as speaking in our grove. Sonia Fernandez, dramaturg for Life is a Dream, recently completed her doctoral thesis on race and humor at UC San Diego. She has dramaturged at many theaters, including the Magic, Crowded Fire and Cutting Ball. Patrick Kenney, associate dramaturg for The Mystery of Irma Vep, is a student at UC Santa Cruz and has experience in acting, directing and dramaturgy. Laura Brueckner is a recent PhD graduate and a long-time expert in dramaturging new works. She is a writer for Theater Bay Area and works intensively with Crowded Fire Theater. Rebecca Ennals is Artistic Director for the San Francisco Shakespeare Festival. Julian Talamantez Brolaski is a poet, teacher, musician, and Medieval and Renaissance scholar, holding a PhD in English from UC Berkeley.

Pictured: Resident Dramaturg Philippa Kelly giving a Grove talk; photo by Jay Yamada


Artists Dish at Inside Scoops

Our popular Inside Scoops are back at the Orinda Library!Inside Scoop

Our Resident Dramaturg Philippa Kelly facilitates these lively discussions between directors, artists, and other key artisans from our main stage productions. As always, we’ll begin at 7pm, with complimentary sweet treats and Peet’s Coffee & Tea available beginning at 6:30pm. Did you know that seats will be reserved for our Support Cast Champion Donors ($250 and up)? To learn more about becoming a Champion, call Ian Larue Annual Fund Manager at 510.548.3422 ext. 107.Inside Scoops Dates and Production Discussion:

Monday, May 11—Twelfth Night, directed by Christopher Liam Moore
Monday, June 22—Life is a Dream, directed by Loretta Greco
Monday, July 27—The Mystery of Irma Vep, directed by Jonathan Moscone
Monday, August 31—King Lear, directed by Amanda Dehnert

(Artists to be announced.)

Pictured: Jonathan Moscone and Shana Cooper at an Inside Scoop, 2012. Photo by Jay Yamada.