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| "The Tragedy of Julius Caesar," directed by Shana Cooper | |
| Posted by: Official_Press_Release 03:31 pm EST 02/15/19 | |
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| THEATRE FOR A NEW AUDIENCE ANNOUNCES SEVENTEEN-MEMBER CAST AND CREATIVE TEAM FOR THE TRAGEDY OF JULIUS CAESAR By William Shakespeare Directed by Shana Cooper March 17–April 28, 2019 Shana Cooper First Directed an Earlier Incarnation of This Production at Oregon Shakespeare Festival That Premiered February 2017. For Her Off-Broadway Debut with Theatre for a New Audiences, She Reimagines the Production. Eight of the Original OSF Company Will Join Nine New Cast Members. Theatre for a New Audience (Jeffrey Horowitz, Founding Artistic Director; Robert Buckholz, Chairman of the Board; Dorothy S. Ryan, Managing Director) announces the seventeen-member cast and the creative team for its production of William Shakespeare’s The Tragedy of Julius Caesar, directed by Shana Cooper in her Off-Broadway debut. The production will playon the Samuel H. Scripps Mainstage at TFANA’s home, Polonsky Shakespeare Center (262 Ashland Place, Brooklyn), March 17–April 28, 2019. Cooper first staged an earlier incarnation of this production of Julius Caesar that premiered in February 2017 at the Oregon Shakespeare Festival (Bill Rauch, Artistic Director; Cynthia Rider, Executive Director). She reimagines it for TFANA witheight of the original OSF company joining nine new actors. Shakespeare’s primary source for Julius Caesar was Plutarch. Rome, a Republic, is led by a Senate of elected officials. Julius Caesar, a brilliant Roman military leader who commands his own army, conquers Gaul and expands Rome’s domain to Britain. But, when the Senate, fearful of Caesar’s increasingly imperial power, demands he give up his forces and return to Rome, Caesar illegally marches his army across the Rubicon River into Roman territory. Civil war erupts between Julius Caesar and Pompey. When Shakespeare’s play begins, Julius Caesar (Rocco Sisto, three-time OBIE Award-winner) has just defeated and killed Pompey. At the festival of Lupercalia, the citizens celebrate Caesar’s victories and the end of civil war. Caesar is offered a crown which would make him a king with unrivaled political power for life. Cassius (Matthew Amendt), a Senator, persuades the conflicted Brutus (Brandon J. Dirden, OBIE, Theatre World and Audelco Awards)—a Senator and close friend of Caesar’s—to join a group of Conspirators to kill Caesar to save Rome and its Republican traditions. Despite supernatural omens and warnings by Calpurnia, Caesar’s wife, (Tiffany Rachelle Stewart) and the Soothsayer (Michelle Hurst), Caesar goes to the Senate where the conspirators assassinate him crying “Liberty! Freedom! Tyranny is dead!” Shakespeare presents multiple perspectives on whether the Conspirators were right to assassinate Caesar and were patriotic defenders of the Roman Republic and liberty or criminals. The word honor and its variants occur forty-one times in the play and its meaning often changes. Rather than saving the Republic, the assassination plunges Rome into another civil war. Mark Antony (Jordan Barbour), a politician and general loyal to Caesar, joins forces with Octavius Caesar (Benjamin Bonenfant) and Lepidus (Liam Craig) and conquers the Conspirators. Portia, Brutus wife (Merritt Janson) commits suicide and Brutus and Cassius also take their lives. The Roman Republic is replaced by the Roman Empire and power is consolidated under Mark Antony, Octavius Caesar and Lepidus. Shana Cooper’s production is not set in one historic moment. She observes, “In Julius Caesar, the world is on fire—there are natural disasters happening at the beginning of the play that culminate in Caesar’s assassination—and Shakespeare mirrors human actions with supernatural events as if to say, ‘This has happened before, and it will happen again… a cycle that plays out again and again.’ Initially, the violence in the play is a choice and then it becomes like a disease; a contagion; and then a conflagration. The vocabulary for this production is a theatrical language that mirrors this timelessness and moves from the realistic to the poetic.” Ms. Cooper also explores gender in the play and says, “Men have the political power, but women such as Portia and Calphurnia, wives to Brutus and Caesar, are central to the story. I want to bring out the importance of women in the play by casting the roles of the Soothsayer; Cicero and Artemidorous—characters who warn of the dangers of violence and are usually played by men—with women.” TFANA Artistic Director Jeffrey Horowitz says, “The play’s title in the First Folio is The Tragedy of Julius Caesar. But who is the tragic character? Caesar, Brutus or, perhaps, the Republic of Rome? When we begin performances at TFANA in March 2019, the American elections of 2020 won’t be far away.TFANA is thrilled to be working on this play with Shana in partnership with OSF at this time.” Oregon Shakespeare Festival Artistic Director Bill Rausch says, "It is a huge honor for the Oregon Shakespeare Festival to be in partnership with Theatre for A New Audience on The Tragedy of Julius Caesar. An earlier incarnation of this production thrilled our audiences in Ashland for 120 performances. On behalf of our entire company, I couldn't be happier that New York audiences will get to experience the mesmerizing energy and insights of Shana Cooper's vision with some of the original actors as well as many exceptional artists who are new to the cast." The cast features Matthew Amendt (Bernhardt/Hamlet on Broadway, TFANA’s Much Ado About Nothing and Tamburlaine the Great)as Cassius; Jordan Barbour (Julius Caesar, Beauty and the Beast,and The Wiz at OSF, New York Theatre Workshop’s Vertebrae)as Mark Antony; Mark Bedard (The Cocoanuts at The Guthrie and OSF, Primary Stages’ Pride & Prejudice;TV: “The Good Fight,” “The Knick”) as Trebonius/Plebian/Ensemble; Benjamin Bonenfant (Julius Caesar, The Odyssey, Great Expectations at OSF) as Octavius Caesar; Liam Craig (The Killer at TFANA, Keen Company’s Later Life, Hudson Valley Shakespeare Festival’s Rip Van Winkle) as Caius Ligarius/Lepidus/Plebeian/Ensemble; Ted Deasy (Julius Caesar, Twelfth Night, The Taming of the Shrew at OSF)as Metellus Cimber; Brandon J. Dirden (Jitney and All The Way on Broadway; TV: “The Americans,” “The Get Down”)as Marcus Brutus; Emily Dorsch (Black Pearl Sings at Geva Theatre Center; TV: “Boardwalk Empire,” “Madam Secretary”)as Cicero/Plebeian/Ensemble; Michelle Hurst (“Orange Is the New Black,” “Broad City,” Frances Ha)as Soothsayer; Merritt Janson (Notes From Underground, Tamburlaine the Great, and Measure for Measure at TFANA) as Portia; Armando McClain (Julius Caesar, Romeo and Juliet, Much Ado About Nothing at OSF)as Cinna; Galen Molk (Julius Caesar, The Odyssey at OSF) as Cinna, the Poet/Servant/Others; Barret O’Brien (Julius Caesar, Twelfth Night at OSF, Crane Story at Cherry Lane Theatre) as Decius Brutus; Julian Remulla (Julius Caesar, Romeo and Juliet, Hamlet at OSF) as Lucius; Juliana Sass as Artemidorous; Rocco Sisto (The King and I, To Be or Not to Be, Amadeus, Seminar on Broadway) as Julius Caesar; Stephen M. Spencer (Julius Caesar, Othello, Love’s Labor’s Lost at OSF) as Caska; and Tiffany Rachelle Stewart (The Curious Incident of the Dog in the Night-Time on Broadway, MTC’s Sugar in Our Wounds) as Calphurnia. The creative team includes Sibyl Wickersheimer (Scenic Designer), Raquel Barreto (Costume Designer), Christopher Akerlind (Lighting Designer), Paul James Prendergast (Composer & Sound Designer), Erika Chong Shuch (Choreographer), Alison Bomber (Voice & Text Coach), Jack Doulin (Casting Director), Jonathan Kalb (Dramaturg), U. Jonathan Toppo (Fight Director), Andrew Diaz (Properties Supervisor), and Shane Schnetzler (Stage Manager). About Shana Cooper Shana Cooper (Director). Shana is an assistant professor at Northwestern University in the Directing M.F.A. program in Chicago as well as a company member at Woolly Mammoth Theatre Company in Washington D.C. where directing credits include The Nether and HIR by Taylor Mac. Other directing credits include The Unfortunates (A.C.T., SF); American Night, Romeo and Juliet (Yale Repertory Theatre); Straight White Men (Studio Theater); The Unfortunates (World Premiere Musical), Julius Caesar, Love’s Labor’s Lost (Oregon Shakespeare Festival); Venus In Fur (Seattle Rep, Arizona Theatre Company), The Taming of the Shrew, Romeo and Juliet, A Midsummer Night’s Dream (California Shakespeare Theater); A Midsummer Night’s Dream (Playmakers Rep); Camino Real (New York University MFA Program); Three Sisters (The Studio/New York); The Whale Play, Twelfth Night Parking Lot Project (New Theater House). Shana was the Associate Artistic Director of the California Shakespeare Theater (2000-2004), and a Cofounder of New Theater House with Yale School of Drama alumni (2008-present). Awards include: 2014 Leadership U Grant – Funded by The Melon Foundation and Administered by TCG, 2010 Princess Grace Award, Julian Milton Kaufman Memorial Prize in Directing (Yale School of Drama), Drama League Directing Fellow, TCG Observership Grant, OSF Phil Killian Directing Fellow, G. Herbert Smith Presidential Scholarship. MFA, Yale School of Drama. www.shanacooper.com About the Cast Matthew Amendt (Cassius)Broadway: Bernhardt/Hamlet. Off-Broadway: Coriolanus, 'Tis Pity She's A Whore (Red Bull), Tamburlaine the Great, Much Ado About Nothing (TFANA), Henry V in the title role (The Acting Company); The Subject Was Roses, The Misanthrope (Pearl). Regional: Guthrie, La Jolla, Shakespeare Theatre Co., Seattle Rep., Pittsburgh Public, HVSF, Westport, and others. Awards: Presidential Scholar, Ivey Award, Emery Battis Award for Acting, Best Production Leading Man 2018 Pittsburgh Post-Gazette: Hamlet. Upcoming: thecomedianstragedy.com Mark Bedard (Trebonius/Plebian/Ensemble). Off-Broadway: Pride & Prejudice (Primary Stages); Midsummer Night’s Dream (Pearl Theater); Fashions for Men (Mint Theater). Guthrie/OSF: The Cocoanuts (his own adaptation); Oregon Shakespeare: seven seasons. Hudson Valley Shakespeare: four seasons. Other regional: Roe (Arena Stage, Berkeley Rep); Forum (Geva Theatre); Cymbeline (Shakespeare Theatre Company); Boeing Boeing (Seattle Repertory); Waiting for Godot (Marin Theatre); Love’s Labour’s Lost (Shakespeare and Company). TV/Film: “The Good Fight,” “Instinct,” ‘The Knick.”Education: UC Irvine. Website: markbedard.com Benjamin Bonenfant (Octavius) is deeply grateful to revisit this production with Shana and the ensemble. Recently, Robin Hood (Heart of Robin Hood) and Aumerle (Richard II) at Hudson Valley Shakespeare Festival. Oregon Shakespeare Festival (2 seasons): Great Expectations, Hamlet, Julius Caesar, and Mary Zimmerman’s Odyssey. Regional: Denver Center, Colorado Shakespeare Festival (5 seasons), Arvada Center, Boulder Ensemble, Curious, Fine Arts Center, and TheatreWorks. BA, University of Colorado at Colorado Springs. Liam Craig (Caius Ligarius / Lepidus)was last seen at TFANA in Servant of Two Masters. Broadway: Boeing Boeing (u/s, appeared). Off-Broadway: Later Life (Keen Company), The Internationalist (Vineyard Theatre), Aunt Dan and Lemon (New Group), Two Noble Kinsmen (Public Theater). Regional: Henry V, Seder (Hartford Stage), Book of Will (Denver Center), Long Day’s Journey Into Night (Weston Playhouse), The Tempest; Accidental Death of an Anarchist; A Doctor in Spite of Himself (Berkeley Rep). TV: “Mozart in the Jungle”, “Law & Order: SVU.” Film: The Royal Tenenbaums. MFA: NYU. Ted Deasy (Metellus Cimber). National Tour of The 39 Steps, Days to Come (The Mint), 10 seasons as a company member with Oregon Shakespeare Festival, and regional credits includingDallas Summer Musicals, Cincinnati Playhouse, Actor’s Theatre of Louisville, Milwaukee Rep, Utah Shakespeare Festival, Repertory Theatre of St Louis, California Shakespeare, American Players Theatre, Syracuse Stage, Berkeley Rep, Yale Rep, Geva Theatre, and Indiana Rep. Television and film credits include “To the Flame” and “Prophet of Evil”. Brandon J. Dirden (Marcus Brutus)TFANA debut. BROADWAY: Jitney, All The Way, Clybourne Park, Enron, Prelude to a Kiss. OFF-BROADWAY: The Piano Lesson (AUDELCO, Obie, Theatre World Award), Detroit ‘67, Peter and the Starcatcher. TELEVISION: The Americans (4 seasons), The Get Down, The Good Wife, Public Morals, Manifest. TRAINING: B.A.- Morehouse College, MFA-University of Illinois at Urbana-Champaign. Core member of Fair Wage On Stage. Proud member of Actors Equity Association. For C&C. Emily Dorsch (Cicero). Broadway: In the Next Room (Lincoln Center), A Man for All Seasons (Roundabout). Off-Broadway/National Tour: Love, Loss and What I Wore. Regional: Black Pearl Sings (Kitchen & Geva Theatres), In the Next Room (Repertory Theatre of St. Louis), Bossa Nova (Yale Rep), The Miracle Worker (Paper Mill Playhouse). TV: Chicago PD, The Defenders, House of Cards, Boardwalk Empire, Law & Order: SVU. Film: The Humbling. M.F.A., Yale School of Drama. Michelle Hurst (Soothsayer) THEATRE: The Williamstown Theatre Festival, Long Wharf Theatre, NYSF/The Public Theater, Soho Rep, Nuyorican Poets Cafe, Downtown Arts Center (Lexington, KY); 651 ARTS, The Irondale Ensemble Project (Brooklyn, NY); The Kitchen Theatre (Ithaca, NY); The Painted Bride Theatre (Philadelphia, PA). FILM: Jean of the Joneses, Airheads, Sherrybaby, The Night We Never Met, Smoke; Baby, Won't You Please Come Home. TELEVISION: BBC1's Last Tango in Halifax, Broad City,” “The Good Wife,” “Blue Bloods,” “Law & Order” (multiple episodes), “Sex and the City,” “Orange is the New Black.” Merritt Janson (Portia) TFANA: Notes from Underground (dir. Robert Woodruff), Tamburlaine the Great (dir. Michael Boyd) and Measure for Measure (dir. Simon Godwin). Off-Broadway: A Midsummer Night’s Dream (The Public), Coriolanus (Red Bull Theater), and originating roles in the works of Robert O’Hara (Built), Jonathan Franzen (House for Sale, dir. Daniel Fish) and Robert Brustein (The Last Will, dir. Austin Pendleton). Regional: A.R.T., Yale Rep, La Jolla Playhouse, Shakespeare Theater DC, Westport, Two River, Shakespeare & Co, Theatre de la Jeune Lune and The Wilma, among others. Film/TV: Otto + Anna, Mail Order Wife, “Billions,” “Elementary,” “Madam Secretary,” “Quantico.” Armando McClain (Cinna).Regional: Sense & Sensibility, Romeo and Juliet, Julius Caesar, The Odyssey, The River Bride, Much Ado About Nothing, The Sign in Sidney Brustein’s Window (Oregon Shakespeare Festival), Othello (Arabian Shakespeare Festival), The Taming of the Shrew, Macbeth (Livermore Shakespeare Festival), You Know When the Men Are Gone (Word for Word), Richard the First Trilogy (Central Works), Good Goods (Crowded Fire), The Night is a Child (Pasadena Playhouse). Galen Molk (Cinna, the Poet/Servant/Others). Galen is thrilled to be part of this company for his Off-Broadway debut. Regional: Julius Caesar, Mary Zimmerman's The Odyssey (Oregon Shakespeare Festival), An Act of God, Footlight Frenzy (Millbrook Playhouse). New York: meg jo beth amy & louisa (Tier 5/Dixon Place), King John (John Cullum Theatre), Every Seven Minutes (The Navigators), Against the Wall (Playwrights Downtown). TV pilots: “Eighty-12,”“American Vigilante.” www.galenmolk.com @galenmolk Barrett O’Brien (Decius Brutus) is an actor and author from New Orleans. Past collaborations include Playwright’s Realm, Clubbed Thumb, HERE, Yale Rep, Long Wharf, Southern Rep, Montana Rep, OSF, Man in the Moon (London), Broffabrik (Bonn), Theatre du Marais (Paris), Contemporary Theatre (Budapest). He’s the founder of Finding our Tails, education workshops that embolden youth to discover their story through theater. His books The Full Bent and Greater Wilder are available at www.barretorien.com. Julian Remulla (Lucius). Benvolio in Romeo and Juliet; Jonathan Handle in The Way the Mountain Moved; Lucius, Plebeian in Julius Caesar; Baker, Chorus in Disney's Beauty and the Beast; Nol, Proteus in Shakespeare in Love; Francisco, Player in Hamlet; Dion, Ensemble in The Winter’s Tale; Ventidius’ Messenger, Caphis, Musician in Timon of Athens (Oregon Shakespeare Festival); Vivaldi in Appoggiatura (Denver Center Theatre Company); Rama in Prince Rama and the Monkey King (Boxtales Theatre Company). Juliana Sass (Artemidorous)is delighted to be making her TFANA debut! Theater: Little Murders, The Man Who. Film/TV: Liberté: A Call to Spy (upcoming), Radium Girls, The Sisterhood of Night, "Alan Alda & The Actor Within You" (HBO), “Ivy” (webseries). Training: BADA, Atlantic Acting School, BA in Comparative Literature from Harvard. www.julianasass.com Rocco Sisto (Julius Caesar).TFANA: Measure for Measure, Souls of Naples. BROADWAY: Amadeus, The King And I, Comedy of Errors, To Be or Not to Be, Seminar- standby for Alan Rickman. OFF-BROADWAY: Enrico IV, Mary Shelley’s Frankenstein, The Light Years among many others. TELEVISION: “The Blacklist,” “Madame Secretary,” “Bluebloods,” “Law & Order(s)”, “The Sopranos,” “Star Trek T.N.G.,’ “CSI,” etc. FILM: Donnie Brasco, Frequency, Eraser, Lorenzo’s Oil, Possession, The American Astronaut. 3 OBIE awards for Quills, The Winter’s Tale, and sustained excellence. Stephen Michael Spencer (Caska/Fight Captain). Regional: Oregon Shakespeare Festival: Sweat (Arena Stage), The Winter’s Tale, Hamlet, Timon of Athens, Julius Caesar, Off The Rails, Loves Labors Lost and Othello (the A.R.T); Cleveland Play House: Yentl, Carol for Cleveland, In Arabia We'd All Be Kings, The Misanthrope, Twelfth Night; Triad Stage: Tartuffe; Chautauqua Theatre Company: As You Like It, Clybourne Park, Comedy of Errors. International: The Heart of Robin Hood with Mirvish Productions. Training: B.F.A. UNC at Greensboro, M.F.A. Case Western Reserve University/Cleveland PlayHouse. www.stephenmichaelspencer.com Tiffany Rachelle Stewart (Calphurnia).Broadway: The Curious Incident of the Dog in the Night-Time. Off-Broadway: Sugar in Our Wounds (Manhattan Theatre Club), Pericles (Public Theater), The Vagina Monologues (Cherry Lane). Regional: Animal Farm (Baltimore Center Stage/Milwaukee Rep), The House That Will Not Stand (Berkeley Rep/Yale Rep), Vera Stark (The Alliance), Love's Labour's Lost, The African Co. Presents Richard III (Oregon Shakes), The Conference of the Birds (Folger Shakespeare Theatre). TV/Film: "Black Rose," "All My Children," “Royal Pains," Hotel Pennsylvania. MFA, Yale School of Drama. About the Creative Team Christopher Akerlind (Lighting Designer). Over 600 productions at theater, opera, and dance companies in the US and around the world. For TFANA: Waste, King John, Don Juan, Cymbeline, Pericles, The Ohio State Murders, Orpheus X. Recently: Merrily We Roll Along (Laura Pels/Roundabout), Katya Kabanova (Scottish Opera), Roberto Devereux (San Francisco Opera), Time and the Conways (Broadway/Roundabout). Allison Bomber (Voice & Text Coach) spent seven years with the Royal Shakespeare Company, five of those as Senior Text & Voice Coach. Productions included Michael Boyd’s award-winning Histories Cycle and many others. Now freelance, she continues to work with the RSC, and other work includes King Charles III for the Almeida, London and Broadway; Tamburlaine, Measure for Measure and The Winter's Tale for TFANA; and collaborations with Polish company, Pieśń Kozła (Song of the Goat). Alison is an RSC Associate Artist. Paul James Prendergast (Composer & Sound Designer). TFANA Debut. Broadway: All the Way. Regional (select): Oregon Shakespeare Festival (25 productions), Arena, La Jolla Playhouse, Guthrie, Taper, American Conservatory, American Repertory, Seattle Rep, Berkeley Rep, South Coast Rep, Long Wharf, Geffen, Hartford Stage, Alley. Extensive theme park, museum and dance credits. Awards: Grammy and Drama Desk nominations, Broadway World, Ovation, Gregory, Footlight, Gypsy. Paul’s work as a singer/songwriter has appeared in films, on recordings, and in music venues nationwide. Shane Schnetzler (Stage Manager).TFANA: The Emperor, He Brought Her Heart Back in a Box, The Two Gentlemen of Verona, Tamburlaine, Cymbeline. Off-Broadway: Noura, This Flat Earth, The Profane, Rancho Viejo, Familiar (Playwrights Horizons); Napoli, Brooklyn, Look Back in Anger (Roundabout); The Taming of the Shrew, King Lear, The Comedy of Errors (NYSF); Detroit ’67 (Public); Night is a Room, The Liquid Plain, The Old Friends (Signature); Red Dog Howls (NYTW); Uncle Vanya (Soho Rep); The Scottsboro Boys (Vineyard). Erika Chong Shuch (Choreographer).Erika Chong Shuch choreographs for companies such as Oregon Shakespeare Festival, Folger Theater, Hudson Valley Shakespeare, Kennedy Center, American Conservatory Theater, Playmakers Rep, California Shakespeare Festival, Magic Theatre, Arena Stage, Kansas City Rep and Pittsburgh Public. As a performance maker, Erika’s recent work includes For You (a Creative Capital Project), a series of intimate performances for audiences of 12, and TheaterTheater, a participatory morality play exploring the hidden forces underlying everyday ethical choices. www.erikachongshuch.org. U. Jonathan Toppo (Fight Director).Broadway -Studio 54. NYC -Sweat. The Public Theatre. NYC - Sweat (Drama Desk Award for Outstanding Fight Choreography). The Guthrie Theatre. Minneapolis MN - West Side Story. Berkeley Repertory. Berkeley CA- Angels in America. Dallas Theatre Center Sweat. Portland Center Stage. Portland OR – Mojada. Portland Opera, Portland OR – The Pirates of Penzance. Resident Fight Director - Oregon Shakespeare Festival (2008-present). Instructor Dueling Arts International. https://www.ujonathantoppo.com. Sibyl Wickersheimer (Scenic Designer).Regional: Center Theatre Group, Steppenwolf Theatre Company, Oregon Shakespeare Festival, American Conservatory Theater, Woolly Mammoth Theatre Company, Seattle Repertory Theatre, Arizona Theatre Company, Lookingglass Theatre Company, Portland Center Stage, Berkeley Repertory Theatre, South Coast Repertory, Geffen Playhouse, Utah Musical Theatre. International: The Actors’ Gang’s 1984, directed by Tim Robbins, and The Trial of the Catonsville Nine directed by Jon Kellam. Opera:Figaro 90210 (LA Opera), Crescent City, a hyperopera (INDUSTRY LA). MISC:Eric Idle’s What About Dick? (Orpheum Theatre); Encounters Stage for Natural History Museum of Los Angeles County; Toy Story, the musical, (Disney Creative Entertainment). Art exhibitions: RAID Projects, Hi-Lite, Weekend, The New Chinatown Barber Shop, Gallery 825, Shoshana Wayne Gallery, Andrew Shire Gallery, Hatch Gallery, Latch, Pacific Asia Museum. Sibyl is also an Associate Professor of Set Design at USC in the School of Dramatic Arts. Performance Schedule, Ticketing, and Other Information Performances of The Tragedy of Julius Caesar will take place March 17, 19-24, 26-31, April 2, 3, 5-7, 9, 12-14, 16, 19-21, 23-28 at 7:30pm; March 27 at 7:00pm, and matinee performances will take place March 30-31, April 6-7, 13-14, 20-21, 27-28 at 2pm. The Tragedy of Julius Caesar opens Thursday, March 28 at 7:30pm. Members of the press are welcome March 26 at 7:30pm, March 27 at 7:00pm, and March 28 at 7:30pm. There will be free post-performance conversations (TFANA Talks) following the 2pm performances on Saturday, April 6 (moderated by Tanya Pollard) and Saturday, April 13 (moderated by Gail Paster). Theatre for a New Audience is committed to economically accessible tickets and offers tickets at a range of prices for The Tragedy of Julius Caesar. $20 New Deal: all performances. Age 30 and under or full-time students of any age. May be purchased online, over the phone, or at the box office, in advance or day-of, with valid ID(s) proving eligibility required at pickup. Use code NEWDEAL. $20 Brooklyn Pass: all performances. Members of local Brooklyn non-profit organizations through Brooklyn Pass program. $29 TDF: selected performances. $60: all performances with a TFANA subscription. Special Discounts: TFANA offers special discounts available by joining TFANA mailing list at www.tfana.org. $90-$100: all performances. $115 Premium Seats: all performances. Tickets are on sale to the public at www.tfana.org, 866.811.4111, and Polonsky Shakespeare Center box office. Polonsky Shakespeare Center is located at 262 Ashland Place, Brooklyn. About Theatre for a New Audience Founded in 1979 by Jeffrey Horowitz, Theatre for a New Audience (TFANA) is a modern classic theatre. It produces Shakespeare alongside other authors such as Harley Granville Barker, Samuel Beckett, Edward Bond, Branden Jacobs-Jenkins, Adrienne Kennedy, Richard Maxwell, Richard Nelson, and Wallace Shawn. TFANA has played Off- and on Broadway and toured nationally and internationally. In 2001, Theatre for a New Audience became the first American theatre invited to bring a production of Shakespeare to the Royal Shakespeare Company (RSC), Stratford-upon-Avon. Cymbeline, directed by Bartlett Sher, premiered at the RSC; in 2007, TFANA was invited to return to the RSC with The Merchant of Venice, directed by Darko Tresnjak and featuring F. Murray Abraham. In 2011, Mr. Abraham reprised his role as Shylock for a national tour. After 34 years of being itinerant and playing mostly in Manhattan, Theatre for a New Audience moved to Brooklyn and opened its first permanent home, Polonsky Shakespeare Center, in October 2013. Built by The City of New York in partnership with Theatre for a New Audience, and located in the Brooklyn Cultural District, Polonsky Shakespeare Center was designed by Hugh Hardy and H3 Hardy Collaboration Architecture with theatre consultants Akustiks, Milton Glaser, Jean-Guy Lecat, and Theatre Projects. Housed inside the building are the Samuel H. Scripps Mainstage (299 seats)—the first stage built for Shakespeare and classical drama in New York City since Lincoln Center's 1965 Vivian Beaumont—and the Theodore C. Rogers Studio (50 seats). TFANA’s productions have been honored with Tony, Obie, Drama Desk, Drama League, Callaway, Lortel and Audelco awards and nominations and reach an audience diverse in age, economics and cultural background. Theatre for a New Audience created and runs the largest in-depth program in the New York City Public Schools to introduce students to Shakespeare and has served over 130,000 students since the program began in 1984. TFANA’s New Deal ticket program is one of the lowest reserved ticket prices for youth in the city: $20 for any show, any time for those 30 years old and under or for full-time students of any age. Funding Credits Principal support for Theatre for a New Audience's season and programs is provided by The Andrew W. Mellon Foundation, The SHS Foundation, The Shubert Foundation, Inc., and The Winston Foundation. Bloomberg Philanthropies is the Lead Season Sponsor of the 2018-2019 Season. Theatre for a New Audience's season and programs are also made possible, in part, with public funds from the National Endowment for the Humanities, and the New York City Department of Cultural Affairs in partnership with the City Council. This production of The Tragedy of Julius Caesar is sponsored by Deloitte. Theatre for a New Audience’s production of The Tragedy of Julius Caesar is part of Shakespeare for a New Generation, a national initiative sponsored by the National Endowment for the Arts in cooperation with Arts Midwest. Endowment funds for the production are provided by The Howard Gilman Foundation Fund for Classic Drama. |
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