Join Philippa in Ashland this summer!

Join Resident Dramaturg Philippa Kelly and Cal Shakes Managing Director Susie Falk for an intimate and immersive theater trip to visit the renowned Oregon Shakespeare Festival.

Features of the Tour include:

  • Choice of a 2-Night/3-Play or 3-Night/4-Play package
  • Accommodations at the elegant and centrally located Ashland Springs Hotel
  • Great seats to sold-out performances
  • Informal discussions with Philippa to share impressions after each play
  • Official OSF backstage tour
  • Guest appearances by Oregon Shakespeare Festival company members
  • Welcome reception & supper on Friday evening before the show
  • Saturday night gourmet dinner at Amuse, one of Ashland’s best rated restaurants
  • Daily breakfast at Ashland Springs

Play selection for our 3-Play Package:

  • Julius Caesar, directed by Cal Shakes favorite Shana Cooper
  • The Odyssey, directed by Mary Zimmerman
  • UniSon, a world-premiere musical based on the poetry of August Wilson, directed by Robert O’Hara

4-Play package will also include a choice of either:

  • Hannah and the Dread Gazebo, a World Premiere by Jiehae Park directed by Chay Yew OR
  • Shakespeare in Love, a U.S. Premiere based on the screenplay by Marc Norman & Tom Stoppard, adapted for the stage by Lee Hall and directed by Christopher Liam Moore

Preliminary Itinerary (final details subject to change):

Friday, September 8
3:00pm Guests arrive and check in to Ashland Springs Hotel*
6:00pm Welcome Reception & Light Supper at the Ashland Springs Hotel
8:00pm Julius Caesar (Angus Bowmer Theatre)
Post-Show Meet Philippa on the Hotel’s Mezzanine for informal discussion

Saturday, September 9
6:30-10:00am Morning Deluxe Continental Breakfast available
FREE TIME
1:30pm UniSon (Angus Bowmer Theatre)
6:00pm Dinner at Amuse 8:00PM The Odyssey (Allen Elizabethan Theatre)
Post-Show Meet Philippa on the Hotel’s Mezzanine for informal discussion

Sunday, September 10
6:30-10:00am Morning Deluxe Continental Breakfast available
Check out by 11:00am
10:00am Backstage Tour**
1:30pm Shakespeare in Love (Angus Bowmer Theatre)** OR
Hannah and the Dread Gazebo (Thomas Theatre)**
5:30pm Sunday Supper with Philippa**

Monday, September 11
6:30-10:00am Morning Deluxe Continental Breakfast available
Check out by 11:00am**

  • 2-Night/3-Play Package: $1,400 per person double occupancy
  • 3-Night/4-Play Package: $1,750 per person double occupancy
  • Single Supplement: $100/night per person
  • Prices include a $600 tax-deductible contribution to Cal Shakes

This is a very special event, and space is limited. So reserve your spot now!

For questions or to make your reservation, contact Shanti Peterson, Donor Stewardship & Events Coordinator, at 510.899.4907 or speterson@calshakes.org.

* Transportation to and from Ashland is the responsibility of each guest. All local activities on the Tour are easily walkable. If you are interested in carpooling, we would be happy to connect you with other Tour participants in advance.

** Applies only to guests who purchase 3-Night/4-Play Package

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Guiding Star Award Recipient Bill Rauch: Keynote Address

The following is the text of Oregon Shakespeare Festival Artistic Director Bill Rauch’s acceptance speech, given at our Inaugural Guiding Star Awards Gala, on March 4, 2017.

~~~~~~~

Thank you, Eric, for that beautiful introduction. I am so grateful to you and Susie and everyone from Cal Shakes for this honor. It’s a special treat to be here tonight along with my colleagues who are the recipients of the first-ever Luminary Awards.

I want to acknowledge my colleague Alison Carey, who is here tonight. When the two of us co-founded Cornerstone Theater Company over 30 years ago, we had a hunch that we wanted to test: we would make better art and become better artists ourselves if we created our work in collaboration with communities. We spent our first five years adapting some of the greatest hits of the Western dramatic canon including several Shakespeare plays to the realities of isolated low-income rural communities across the United States, involving 20 to 50 first-time actors onstage alongside our small ensemble. We then moved to Los Angeles to begin to build bridges within and between diverse urban communities. This work was life-changing for all of us, and completely made me the artist and arts leader that I became.

After 20 years as Cornerstone’s artistic director, I realized that I wanted to contribute to an institution that worked on a larger scale for a larger audience, but that once again had classics and new work and an acting company at the heart of the work. I was blessed to find all that I was looking for when I was appointed the fifth artistic director of the Oregon Shakespeare Festival.

This is my tenth anniversary season as the Festival’s artistic director. As we’ve tried to shift our large-scale classical theater into being more inclusive, more equitable and more dynamic, we’ve tried many experiments. We’ve built on OSF’s long-held tradition of casting diverse actors (in fact, our acting company is currently 62% actors of color), experimenting with culturally-specific approaches to Shakespeare texts including a largely Latino Measure for Measure, a Comedy of Errors set in the Harlem Renaissance, a Trolius and Cressida with production parallels to the Iraq War, and a Winter’s Tale set in Dynastic China as well as a mythical U.S. West Coast. We have expanded our very definition of the classical canon to include Sanskrit, Nigerian, Japanese, Chinese, Mexican and Korean dramatic and literary traditions. Inspired by the scale and scope of Shakespeare’s history plays and the number of plays in the canon, we’re commissioning 37 new American plays about moments of change in United States history; in less than a decade, that cycle called American Revolutions has yielded a greater bounty of influential new plays than we ever dreamed possible.

We’ve also tried to take the time to reflect on why we’re doing what we’re doing and to write it down. We’ve created a values statement for our repertory acting company. When some of our colleagues sensed that our executive director and I were not on the same page about OSF audiences, we challenged ourselves to create an Audience Development Manifesto, spelling out the four pillars of new audiences that we wanted to reach to strengthen and build on our core audience.

And a few years ago, with the help of a lot of my smart colleagues—including our extraordinary Repertory Producer Mica Cole, who’s also here tonight– I wrote a set of guiding principles for how we approach our namesake playwright at the Oregon Shakespeare Festival. I wanted every artist working at our theater to be able to see spelled out clearly in black and white what the assumptions are that we make about Shakespeare, and to understand our ‘house style’ when it comes to producing his work.

Shakespeare’s uncanny ability to capture the human experience with his characters, themes and especially his language may mean that he belongs to all ages and cultures, but the fact is, we are producing him in the United States in the 21st century. We need to be rigorous in our efforts to make connections between the plays of this radically populist author and the messy experiment that is our American democracy. And how do we reconcile the paradox that Shakespeare is often used as an elitist tool to make others feel intellectually inadequate, that the Shakespeare industry has been used too often to uphold the white supremacy that continues to hold back our country from achieving its full potential, with the equally true phenomenon that no writer in the English language has ever more fully explored the breadth of society and the complexity of the human heart, that in fact a spirit of aesthetic and spiritual and even political revolution seethes under the very words of his plays?

Dr. King talked about “the fierce urgency of now.” Whatever your political point of view, I imagine that most if not all of you will agree with me that we live in a moment of increased polarization, often destructive rhetoric and with desperately high stakes for the future of our democracy and even our planet. WWWSD: What would William Shakespeare do, right now? The good news is that we don’t need to waste a moment mourning his death four hundred and one years ago. William Shakespeare is right here with us, at the institutions that Eric and I are lucky enough to lead and that you are lucky enough to support.

I understand that Cal Shakes is in the midst of a strategic planning process to further refine your mission and vision. My brilliant husband Chris, who is here tonight and to whom I owe most everything good in my life, has directed two shows at your fine institution. I have long enjoyed conversations with Jon Moscone and now Eric, admiring your past and current artistic leaders as profound thinkers and innovative artists. From all these experiences, I know that OSF and Cal Shakes share an ever-growing understanding that social impact must be on equal footing with artistic excellence. Our fears may sometimes make us want to artificially separate them, but if my 30-plus year career has taught me nothing else, it is that social relevance and artistic achievement are inextricably tied, are two sides of the same coin.

In fact, as you endeavor to weave more inclusive voices from your communities into the very fabric of your art-making, you are pulling off what my teenage son the soccer player would call a hat trick: you are simultaneously being more responsible stewards of a literary legacy that is now in its fifth century, you are protecting the foundations of our own country’s democratic traditions that are approaching the 250 year old mark, and you are actively strengthening the foundation of the future for all our children and grandchildren and great-grandchildren who will see the triumphs and disasters of their times accurately reflected in the glorious words of William Shakespeare. Both our organizations’ shared commitment to education is especially vital when it comes to those future generations.

It’s pretty darned exciting, when you think about it, what we all get to do together as lovers of the classical canon and believers in the potential of our own society. I’m a lucky guy that I get to be on this journey with all of you in this room, and I feel humbled that you’ve honored me tonight for merely walking down that path alongside so many of you.

As Eric and I can both attest, what we do as leaders of non-profit classic theaters is often really hard. An acknowledgment like this award will help my heart on the most challenging days to come. For that and for so many others reasons, I thank you.

 

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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.

ENTERTAINMENT

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.

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Cal Shakes in Ashland with Philippa Kelly

Please join us for Cal Shakes in Ashland with Philippa Kelly, a three-day, Ashland 2014_4two-night theater adventure in Ashland, Oregon, from October 2–4, 2015. Immerse yourself in theater during a weekend at the renowned Oregon Shakespeare Festival in the company of Cal Shakes Resident Dramaturg Philippa Kelly.

We’ll stay at the elegant Ashland Springs Hotel; see three Oregon Shakespeare Festival productions (Much Ado About Nothing, Antony and Cleopatra, and Sweat); dine together at a top-flight local restaurant; and enjoy surprise guest appearances by Oregon Shakespeare Festival company members.

Philippa—an accomplished scholar and beloved Cal Shakes Grove Talk Speaker—will give us unparalleled entrée into the fascinating world of these productions. You’ll gain indelible memories in the good company of an intimate group of your fellow Cal Shakes supporters while simultaneously benefiting California Shakespeare Theater’s work on stage, in classrooms, and throughout communities.

Reservations are filling fast for this exceptional experience so please reply soon to secure your space. Contact Special Events Manager Zoe Westbrook at 510.809.3297 or ashlandtour@calshakes.org no later than Monday, May 15.

2014 Ashland guests; photo by Cal Shakes.
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Off to Ashland! A Weekend of Theater and Discussion in Oregon

This October 3-5, 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 Special Events Manager Shelly Jackson at 510.809.3297 or ashlandtour@calshakes.org no later than Monday, May 12.

The Tempest

Dennis Arndt in The Tempest. Photo courtesy of Oregon Shakespeare Festival.

Why perform a play at this time, in this space, and for this audience?  What kind of play are we watching? These are some of the questions that a dramaturg asks, either when beginning work with a cast and crew or when leading a tour like the one we’ll be taking to Ashland this October. We’ll be seeing The Tempest, Shakespeare’s late work that explores revenge, relinquishment, aging, deep love, and indeed, the surrender that comes with such love. What do we know about Shakespeare’s life at the time when he was writing The Tempest? He wrote the play at the age of 47, yet themes of mortality had underscored his writing from quite early in his career, as with Sonnet 73: “That time of year thou may’st in me behold/ When yellow leaves, or none, or few, do hang/ Upon those boughs which shake against the cold…”

Water by the Spoonful

Daniel José Molina in Water by the Spoonful. Photo courtesy of Oregon Shakespeare Festival.

We’ll also see Water By the Spoonful, whose plot pivots on a returning Iraq War veteran working in a sandwich shop in his hometown of Philadelphia. Haunted by his memories, and of one in particular, this literally crippled man interacts with various characters who have, each in a different way, been crippled within the alienating modern world. I’ve recently done a lot of research on the experience of war veterans—both in reading and by interview—and I look forward to integrating some of this knowledge into our pre-show session on Water by the Spoonful.

Kenajuan Bentley and Jack Willis in The Great Society.

Kenajuan Bentley and Jack Willis in The Great Society. Photo courtesy of Oregon Shakespeare Festival.

The third play we’ll see is The Great Society, the sequel to Robert Schenkkan’s remarkable play All the Way, which blew me away when I saw it in 2012. This new play is again about Lyndon Johnson, looking at the period from 1965 to 1968 when LBJ struggled to fight a “war on poverty” as the Vietnam War escalated out of control.

I love leading these tours because they challenge me to enrich the experience of play-going for all of us who meet up there in Oregon’s beautiful theater town, surrounded by lush walking trails. In addition, I bring in guest artists and dramaturges to chat with you over dinner—many of the OSF staff members have become my friends since I worked there last year, and they bring an intimate (and often humorous) knowledge to our table. I want to share it all with you.

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

WHEN: Friday, October 3 through Sunday, October 5, 2014

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.

ENTERTAINMENT

FRIDAY EVENING: The Tempest, Shakespeare’s classic tale as reimagined by Berkeley Rep Artistic Director Tony Taccone. In Shakespeare’s romance, sorcery and love transmute vengeance into humility and humanity, making it possible for all to return to a world made new by the power of forgiveness.

SATURDAY MATINEE: Water by the Spoonful, directed by Shishir Kurup. In this fearless, groundbreaking Pulitzer Prize–winner, worlds virtual and real unfold onstage, challenging our notions of family, forgiveness, community, and courage. A janitor. A software mogul. A college grad. An IRS paper-pusher. Although they live thousands of miles apart, these four people share a secret: They’re recovering addicts who’ve found a safe haven in an online chat room. There, with liberal doses of jokes and bullying, they help each other navigate the broken terrain of their lives. But when an Iraq War vet’s tragedy spills over into their cyberhome, everything changes.

SATURDAY EVENING: The Great Society, directed by Bill Rauch (OSF’s Artistic Director), the tumultuous beginning of Lyndon Johnson’s presidency that Robert Schenkkan presented in All the Way (2012) continues in part two, The Great Society. This world premiere is an unflinching examination of the morality of power.

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: $1,200 per person double occupancy, or $1,350 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 Special Events Manager Shelly Jackson at 510.809.3297 or ashlandtour@calshakes.org no later than Monday, May 12.

2013 Ashland trip participants

2013 Ashland trip participants.

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