2015 Twilight Tragedie By William Shakespeare

Directed by Matt Pavik

Portland Actors Ensemble P.O. Box 8671 Portland, OR. 97207

The mission of PAE is to bring financially-

accessible, classical theatre to area audienc-

es in a variety of environments. Our mission

has led to this, our 46th consecutive sum-

mer of free Shakespeare-in-the-Parks, mak-

ing PAE one of the oldest theatres in the

city. PAE is run by an all-volunteer board,

and is 501(c)3, so donations are tax-

deductible. See portlandactors.com for more

information. Our productions are supported

primarily through generous audience dona-

tions. This production is also made possible

in part by Gevurtz/Menashe, Umpqua Bank,

and the Clark Foundation.

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S y n o p s i s “The Tragedy of Macbeth” opens with the appearance of witches who decide their

next meeting will be with Macbeth, the Thane of Glamis. A soldier reports to Scotland’s King

Duncan that Macbeth and Banquo have defeated the forces of Norway and Ireland. Macbeth is

praised for his bravery. Macbeth and Banquo encounter the witches, who prophesy that Macbeth

will be made Thane of Cawdor, and eventually the King of Scotland. They also predict that Ban-

quo will father a line of kings. When the first prophecy is fulfilled by Duncan naming Macbeth

the Thane of Cawdor, he begins to harbor ambitions of becoming king.

Duncan declares that he will spend the night at Macbeth’s castle, Inverness. He also

names his son Malcolm as heir to his throne.

Lady Macbeth suffers none of her husband’s uncertainty and wishes him to murder

Duncan to obtain the crown; she successfully persuades him to kill the king that very night. They

plan to get Duncan’s chamberlains drunk so that they will pass out and not remember the even-

ing; the next morning they will be blamed for the murder.

Macbeth stabs the sleeping Duncan despite his doubts and a number of supernatural

portents, including a hallucination of a bloody dagger. He is so shaken that Lady Macbeth has to

take charge. She frames the sleeping servants for the murder. Macbeth murders the chamberlains,

professing rage at their murder of their king, and assumes the crown. Early the next morning,

Lennox and Macduff, the Thane of Fife, arrive; Macduff discovers Duncan’s body. Duncan’s

sons Malcolm and Donalbain flee fearing that Duncan’s killer desires their deaths as well. Fearful

of the witches’ prophesy that Banquo’s heirs will seize the throne, Macbeth attempts to have Ban-

quo and his son Fleance killed. Banquo is ambushed; Fleance escapes.

At Macbeth’s feast that night, Banquo’s ghost, seen only by Macbeth, enters and sits at

Macbeth’s place. The guests panic at the sight of Macbeth raging at an empty chair until Lady

Macbeth tells them that he is afflicted with a harmless malady, but that they must leave.

Once more, Macbeth visits the witches. They tell Macbeth to “beware Macduff;” that

no one born of a woman shall be able to harm him and that he will be safe until “Great Birnam

Wood shall come to Dunsinane.” When he learns that Macduff has fled, he orders that Macduff’s

castle be seized and that Lady Macduff and her children be murdered.

When Macduff learns of the executions, he is stricken with grief and vows revenge. He

joins Malcolm, who has raised an army in England; they ride to Scotland to challenge Macbeth’s

forces. The invasion has the support of the Scottish nobles, who are appalled and frightened by

Macbeth’s tyrannical behavior.

Lady Macbeth, meanwhile, becomes wracked with guilt over the crimes she and her

husband have committed. A doctor and gentlewoman marvel at her descent into madness. Mac-

beth receives news that she has killed herself. Though he reflects on the brevity and meaningless-

ness of life, he nevertheless fortifies Dunsinane where he awaits the English, certain that the

witches’ prophecies guarantee his invincibility.

Macbeth is struck with doubts, though, when he learns that the English army is advanc-

ing on Dunsinane shielded with boughs cut from Birnam Wood. The battle culminates in Mac-

duff’s confrontation with Macbeth, who boasts that he has no reason to fear Macduff, for he can-

not be killed by any man born of woman. Macduff declares that was “from his mother’s womb

untimely ripp’d.” Though Macbeth realizes that he is doomed, he continues to fight until Macduff

kills and beheads him. Malcolm, now the King, declares his benevolent intentions for Scotland.

Performance Information The show runs ~2:15 with one 15-minute intermission.

Portable restrooms are to the SW of the performance space.

Please pack out everything you have brought.

Pets are not allowed in Lone Fir Cemetery.

Please do not sit on headstones.

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CAST Macbeth Michael Godsey Lady Macbeth, Hecate Cecily Overman Witch 1, Murderer 1, Zoe Randol Witch 2, Murderer 2, Chelsea Turner Witch 3, Murderer 3, Caitlin Nolan Duncan, Porter, etc. Matthew Faranda Malcolm Andy Haftkowycz Lennox/Angus Sean Franson Ross, Caithness James Luster Banquo, Siward Murren Kennedy Donalbain, Menteith Penuel Corbin Macduff, Captain Tom Mounsey

Creative Team Director Matt Pavik Stage Manager Laura Fraley Costume Designer DeeDee Remington Violence Designer Kristen Mun Photographer Gary Norman

Don’t miss our upcoming

The Taming of the Shrew

Or this from OPS Fest

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M e e t t h e A r t i s t s Penuel Corbin (Donalbain, Monteith) Pen recently returned from CA, where he per-formed with Mendocino Theater. Portland credits include A Midsummer Night’s Dream with Post5, Anna Karenina with Portland Center Stage, and Is He Dead? with Beaverton Civic Theater. Pen would like to give special thanks to Matt Pavik for taking a chance, his friends and family for support, and all the residents of Lone Fir Cemetery

Matthew Faranda (Duncan, Porter) Matthew began acting professionally at 15 in the Philadelphia area. Here he has been seen with Broadway Rose and Staged!. He earned degrees in musicology and European history from Ithaca College and studied medieval music history at Oxford University. He is revising his original series, “The Zoas,” a cabaret-style musical theater piece that asks big questions about freedom, the nature of reality, and just what is the life cycle of the taco. (www.thezoas.com)

Sean Franson (Lennox/Angus) Sean graduated from Portland State two years ago with a Master's Degree in Performance. His past productions include Epiphany Theatre Company's The Pillowman (Katurian), and The Skinny Improv's Death of a Salesman (Happy Loman), and PSU’s Othello (Roderigo). He lives in Portland with his wife Gayle.

Michael Godsey (Macbeth) Michael is Artistic Director of PAE and has appeared as Bottom in last summer’s A Midsummer Night’s Dream, and Brutus in Julius Caesar, among others. He has also appeared in outdoor performances with Post5 and Willamette Shakespeare. Dr. Godsey is a structural biochemist as a professor at Con-cordia University, and thanks his wife Heather for her love, support, and patience.

Andy Haftkowycz (Malcolm) Andy is excited to make his PAE debut in his favorite play of all time, and his goal in life is to play every part, (2 down, 36 to go!). Local cred-its include Fred in A Christmas Carol, and How to End Poverty at Portland Playhouse. Andy holds a BFA from Ohio University, and as a native Clevelander, his favorite sports team is the Cleveland Browns, yes, the Cleveland Browns, and LeBron too. Andy thanks all at once, and each one of you for coming to see the show.

Murren Kennedy (Banquo, Siward) Murren is thrilled to be making his PAE debut, combining two things he loves: Shakespeare and being outside. Originally from Seattle, he worked with Seattle Public Theatre and their off-shoot company the Bathhouse Ensemble. Murren is a recent graduate of Portland Actors Conservatory, where he played Romeo in Romeo & Juliet, and Davis in Really Really. He would like to thank his partner Jessa for sticking with him through the maelstrom of life.

James Luster (Ross, Caithness) James is pleased as pie to be making his debut with PAE in Macbeth. He is currently a company member at Action/Adventure Theater after performing with them in Disassembly, Mars One, Fall of the Band 2 and How to Stop Dying. He’s also worked with Oregon Children’s Theater and Traveling Lantern Theater Company as well as other sketch and improv groups around town.

Tom Mounsey (Macduff, Captain) graduated from the Portland Actors Conservatory in 2008, and became a member of Theatre Vertigo in 2012. He has worked with com-panies such as Northwest Classical Theatre Company, Willamette Shakespeare, Quin-tessence Language and Imagination Theatre, defunkt theatre, Post5 Theatre, and Ac-tion/Adventure Theatre. Tom is thrilled to be working with PAE for his second time!

Caitlin Nolan (Witch 3, Murderer 3 etc) Caitlin’s recent theatrical credits include

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School for Scandal (Scuttlemagoon Players), The Snow Queen: A Folk Opera (The Bro-ken Planetarium), and Frankenstein: The Little Monster (JANE a theatre company). She has appeared with Circle Theatre Project, and Northwest Classical Theatre.

Cecily Overman (Lady Macbeth, Hecate) Cecily is excited to be making her PAE de-but. She most recently played with the bard as Antipholus in Six on Shakespeare's Comedy of Errors. Over the last 15 years she has had the pleasure of working with the-atres including (but not limited to) Oregon Children's Theatre, Portland Center Stage, Profile Theatre, Northwest Classical, Theatre Vertigo and Stark Raving Theatre. Thanks so much to Matt for this opportunity and the wonderful cast for this incredible ride!

Zoe Randol (Witch, Murderer) Portland credits include Soul Harmony and It’s A Won-derful Life (Stumptown Stages) and Lakewood Theatre’s upcoming Anything Goes. LA credits include: Over the Hedge (Dreamworks) and Lincoln Heights (ABC Family) and performances at the Walt Disney Concert Hall. Zoe is a graduate of Whitman College (Theatre and English Lit.). She thanks her parents and husband for love and support.

Chelsea Turner (Witch 2, Murderer 2, etc) Since moving to Portland recently, she worked on Br'er Rose, a re-imagining of Sleeping Beauty. She graduated Emerson Col-lege (Theater and Writing), where she collaborated on an adaptation of Anthony Lukas' Common Ground which chronicled three families during the Boston bus crisis. Other credits include Cinna/Trebonius in Julius Caesar and Elizabeth Proctor in The Crucible.

Kristen Mun (Violence Designer) Kristen has been fight choreographer for many local theatre companies including Third Rail, Action Adventure, Profile Theatre, Post5, Mil-agro, Staged!, Idaho Repertory Theatre, and Southern Oregon University. She has won drammies for her work on Danny in the Deep Blue Sea, Oedipus El Rey, and Henry IV Part 1. She was assistant fight choreographer at Oregon Shakespeare Festival and is an officer and recognized fight instructor with Dueling Arts International.

DeeDee Remington (Costume Design) DeeDee is happy to be working with PAE again, and especially Matt Pavik, after over 30 years of costuming with almost every theater company in the Portland area, two Drammy Awards, and a host of other thea-ter awards. She continually has other creative projects including writing The Little Red Toby Stories, based on her work with shelter cats. She also co-founded and runs The Delicious Mickey Grrrl Fund, which helps orphan and feral cats and kittens live a life with dignity. She'd like to thank Broadside for being a source of creativity in her life.

Matt Pavik (Director) Matt has been a working theatre artist in Portland since 2009. He directed Romeo & Juliet for Willamette Shakespeare in 2013, and shows for Lights Up! and Stages of Life. As an actor, Matt’s had the good fortune to perform with Artists Rep, Portland Opera, Profile Theatre, Lakewood, and Clackamas Rep, and is becoming a familiar face in children’s theater with OCT and Broadway Rose. Matt holds Theatre Arts degrees from PSU and Mt Hood CC. He thanks his lovely lady, Anna, for putting theater at the heart of their life together. Check out what’s next at mattpavik.com.

Laura Fraley (Stage Manager) Laura is thrilled to be working on her 1st show with PAE! She is a company member at Action/Adventure Theater, where she primarily works as a stage manager and props designer.

M e e t t h e A r t i s t s ( c o n t i n u e d )

6/17/2015

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Please Support Free Shakespeare

Free Shakespeare-in-the-Parks is possible only by the generous support of you, the audience.

Cash or check by visiting Boxy near the front of the stage or to PO Box 8671, Portland, OR 97207. Credit or debit card donations. A house manager will gladly assist you. Online via Credit Card (show confirmation to receive your T-shirt) PayPal to “portlandactors@gmail.com” Year-round support: www.portlandactors.com/support-free-shakespeare.

At PAE, we believe that everyone deserves great the-atre and your donations make it possible. If you can donate generously tonight, it will have real impact in providing thea-tre for everyone. If you are not able to donate today, no prob-lem; please enjoy the show and spread the word.

Good Will for All!

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donation

A note from the Director Macbeth Just saying the name invokes pictures. Kilts. Blood. Ghosts.

Witches. Murder. But for me it has some other connotations – Family. Honor. Love.

Loyalty. At this point, I know many of you might be thinking “What kind of weird concept

Shakespeare have we gotten ourselves into here?” But I promise you – all of these ide-as are here in the text. It is Lady Macbeth’s Love of her husband that puts them on this road. It is Macduff’s Honor that pushes him to support Malcolm as the rightful king. It is Seyton’s Loyalty that keeps him tending Lady Macbeth during her breakdown. All of these noble ideas are here, and in many ways drive the story more than the supernatu-ral and horror elements.

I have always had a hard time reconciling myself to this play being a tragedy. Often by the end I am thinking “Thank goodness – someone finally killed the jerk.” I was hop-ing with this production to see a more personal tragedy – a multiple family tragedy of misplaced love and ambition. Of men that try to live good lives in spite of temptation, some of whom make poor choices and suffer dire consequences.

Of course – the other thing with Macbeth is that it is a BIG SHOW with a capital B. 29 different characters have speaking lines. There should also be a chorus of non-speaking musicians, pageboys, attendants, etc., etc. Needless to say, I have streamlined this as much as I could without losing the integrity of the story. Most actors play 2 or 3 char-acters, and hopefully the double casting will add a layer of enjoyment instead of confu-sion.

Please, enjoy the show and take from it the things that will make you happy or make you think or give you release. This show is our gift. We hope you like it.

Matt Pavik

A limited edi-

tion shirt is

Our gift for a

≥$20 donation While supplies last

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How you can help accessible theatre :

Donate to Boxy, via PayPal (to portlandac-tors@gmail.com), by credit card (online, or see a house manager).

Tell your friends.

Update Facebook status about the show & like us! face-book.com/PortlandActorsEnsemble

Tweet about the show. @portlandactors #MacFir

Volunteer to usher or use your other skills: volunteers@portlandactors.com.

Purchase official PAE gear: Part of each sale goes to support PAE programs.(www.cafepress.com/portlandactors)

Do you have energy and skills to be a PAE board member? Write to info@portlandactors.com for more in-formation. Then help shape the future of Portland’s original Shakespeare-in-the-Parks. We are looking especially for the-atre lovers with skills in accounting, PR, grant writing, marketing, and other business skills and connections.

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We heartily thank the following for help and support: City of Sandy, Marylhurst University, Anna Johnson, DeeDee Remington, Chris Becker, Heather Godsey , Kate Karman, Phyllis Cole, Melisa McDonald, Metro, Sherry Ostendorf, Katie Murphy, Ben Verdoorn, Friends of Lone Fir, William Kuhn, Concordia University, Lupine DeSnyder, and so many other people.

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