“Shakespeare’s second great tetralogy of plays – Richard II, Henry IV, Parts 1 and 2 and Henry V – are really the ‘birth-of-a-nation’ plays,” explains director Bill Alexander. “They are the plays that look at the whole issue of what nation means, what leadership means and what monarchy means – it being the only really acknowledged and accepted form of government then. The problem being, who decides who’s going to be king? Is it God or is it man? At the heart of the history plays there is that dilemma.”

THE DIRECTOR

Director Bill Alexander began his career at Bristol Old Vic, where he directed everything from the classics to innovative drama, including Shakespeare’s Twelfth Night, Harold Pinter’s Old Times and Peter Handke’s The Ride Across the Lake. In 1977, he joined the Royal Shakespeare Company with a special assignment for new plays, during which he directed James Robson’s Factory Birds, Stephen Poliakoff’s Shout Across the River, Howard Barker’s The Hang of the Gaol, Nigel Baldwin’s Men’s Beano and Barrie Keefe’s Bastard Angel. In 1984, Alexander became associate director of the RSC, and his many productions since then include Molière’s Tartuffe with Antony Sher, the highly acclaimed Richard III and, most recently, A Midsummer Night’s Dream with Janet McTeer and Peter Postlethwaite, The Merry Wives of Windsor with Nicky Henson and Lindsay Duncan (which won him the Olivier Award for Best Director), The Merchant of Venice with Antony Sher, Much Ado About Nothing with Roger Allam and Susan Fleetwood, and The Taming of the Shrew with Amanda Harris and Anton Lesser. This fall, Alexander directed an acclaimed production of Titus Adronicus for the RSC. The Daily Telegraph called it a “gripping production” while The Guardian proclaimed, “Bill Alexander's new production has a fine, somber, subfusc dignity.”

In November 1992, Alexander became artistic director of the Birmingham Repertory Theatre, where he directed productions of both classics and new work. Other theatre work includes productions at Nottingham Playhouse, the Royal Court, the Victory Theatre in New York and the Lyric Theatre in Belfast, Ireland.

THE CAST

Called by Stephen Sondheim “one of Britain’s five best actors,” Keith Baxter returns to The Shakespeare Theatre to play King Henry. Baxter last appeared behind the scenes at The Shakespeare Theatre, directing the season’s opening production of The Rivals. Before that production, Baxter directed the Theatre’s production of The Country Wife and appeared on stage as Antonio in The Merchant of Venice and as the Duke in Measure for Measure with Kelly McGillis.

As an actor, Baxter has a rich history with the Henry IV plays. He played Prince Hal in a stage production directed by Orson Welles, who also played Falstaff, and went on to revise the role for Welles’ film version of the same production, titled Chimes At Midnight. As an actor on Broadway, Baxter won a Theatre World Award for Most Promising Young Actor in his first New York appearance as young King Henry VIII in A Man For All Seasons. He also starred on Broadway in The Affair, Avanti, A Meeting By The River, Romantic Comedy and Sleuth (Outer Circle Critics Award, Drama Desk Award). In 2001, the New York Post called him “the always-brilliant Keith Baxter” after his performance in The Woman in Black. His classical roles include Hamlet, Macbeth, Benedick and Marc Antony (with Dame Maggie Smith), and he appeared opposite Joan Collins as Elyot in Noel Coward’s Private Lives. His other films include Peeping Tom, The Barretts of Wimpole Street, La Regenta, Ash Wednesday (with Elizabeth Taylor), Merlin, Golden Rendezvous and Berlin Blues.

Company member Ted van Griethuysen returns to play the old, ribald knight Sir John Falstaff. Van Griethuysen most recently appeared as Franklin Manders in The Shakespeare Theatre’s production of Henrik Ibsen’s Ghosts. Other Shakespeare Theatre credits include The Silent Woman, Don Carlos, Richard II, Timon of Athens, The Country Wife, Coriolanus, King Lear, King John and Twelfth Night, among many others. During the summer of 2002, he traveled to London to play the title role in Brecht’s The Life of Galileo, produced by the Word of Mouth theatre company. The Studio Theatre recently remounted the production with van Griethuysen reprising his role. Van Griethuysen’s Broadway credits include roles in Romulus, Inadmissible Evidence and Galileo. He also has appeared Off-Broadway at the New York Shakespeare Festival, Eastside Playhouse, Opposites Company, Roundabout Theatre and La MaMa, and in regional productions at the Folger Theatre, Studio Theatre, American Shakespeare Festival, Syracuse Stage, Long Wharf Theatre, Hartford Stage Company and Williamstown Theatre Festival.

Christopher Kelly makes his Shakespeare Theatre debut as Prince Hal. Kelly recently played the role of Ishmael in a new adaptation of Moby Dick at the Ohio Theatre in New York. His other regional credits include Hamlet, Much Ado About Nothing, The Cripple of Inishmaan, The Three Sisters, Scapin, The Show-Off and Pierre with the Denver Center Theatre Company and performances at Cincinnati Playhouse, Fulton Opera House, Intiman Theatre and Actors’ Theatre of Louisville.

Andrew Long returns to play the young rebel Hotspur, son of the Earl of Northumberland. Long last appeared with The Shakespeare Theatre as Claudius in the Free For All production of Hamlet at Carter Barron Amphitheatre. Other Shakespeare Theatre credits include The Duchess of Malfi, Don Carlos, Richard II, Coriolanus, A Midsummer Night’s Dream, King Lear, The Merchant of Venice, The Trojan Women, King John, Romeo and Juliet, The Two Gentlemen of Verona and Henry V, among others. Long has appeared at such regional theatres as the Guthrie Theater, Repertory Theater of St. Louis, Arena Stage, Pioneer Theater, Round House Theatre, Oregon Shakespeare Festival, Alabama Shakespeare Festival, Illinois Shakespeare Festival and Shakespeare Theatre of New Jersey.

Nancy Robinette, who last appeared as Mrs. Malaprop in The Rivals, returns to play Mistress Quickly, hostess of the tavern Falstaff frequents. Robinette’s other Shakespeare Theatre credits include Mistress Otter in The Silent Woman, Birdie Hubbard in The Little Foxes and Aunt Nonny in Sweet Bird of Youth. Last season, Robinette also appeared as Woman in the Studio Theatre’s production of The Play About the Baby and as Donna in Donna Q at Signature Theatre. Off-Broadway she appeared in New York Theatre Workshop’s Finally Flannery and Trestle at Pope Lick Creek, and Roundabout Theatre Company’s Give Me Your Answer, Do!. Her regional credits include productions with Williamstown Theatre Festival, Woolly Mammoth (Company Member), Arena Stage, Signature Theatre and Round House Theatre.

Company member Edward Gero, now in his 20th season with the Theatre, returns to play Thomas Percy, the Earl of Westmoreland. Gero has appeared in more than 50 Shakespeare Theatre productions including A Midsummer Night’s Dream, The Rivals, Richard III, Hamlet, Don Carlos, The Merry Wives of Windsor, King John, All’s Well That Ends Well, Peer Gynt, Antony and Cleopatra, Henry VI, Henry IV, Richard II and Macbeth. Gero’s New York credits include productions with CSC Repertory Ltd., South Street Theatre, New Dramatists and SoHo Repertory Theatre. He has appeared in regional productions with Round House Theatre, Studio Theatre, Olney Theatre, Arena Stage and Barter Theatre.

Company member Floyd King returns to play Owen Glendower, leader of the Welsh rebels. King last appeared as Sir Lucius O’Trigger in The Rivals. His numerous other roles at the Theatre include parts in Richard II, The Silent Woman, Hamlet, The Two Gentlemen of Verona, Don Carlos, Camino Real, The Country Wife, Coriolanus, A Midsummer Night’s Dream, King Lear and Twelfth Night, among many others. King recently appeared in the Signature Theatre’s production of A Funny Thing Happened on the Way to the Forum as Pseudolus. King also has appeared in regional productions at the Folger Theatre, Woolly Mammoth, Studio Theatre, Olney Theatre Center, Alley Theatre, Pittsburgh Public Theater and Alliance Theatre Company.

Gregg Almquist returns to play Henry Percy, the Earl of Northumberland and Hotspur’s father. Almquist last appeared at the Theatre as Sir John Daw in last season’s production of The Silent Woman. Almquist appeared on Broadway in I’m Not Rappaport and Richard III, and Off-Broadway in The Doctor’s Dilemma, The Algerian Romance and King Lear. He has performed in regional productions with the Guthrie Theater, Mark Taper Forum, Yale Repertory Theater, Meadowbrook, Pittsburgh Public Theater, Portland Stage and Denver Center.

Elisabeth Adwin makes her Shakespeare Theatre debut as Lady Percy, Hotspur’s wife and Mortimer’s sister. Adwin has appeared across the country in regional productions at Geva Theatre Center, Utah Shakespearean Festival, Intiman Theatre, Madison Repertory Theatre, Ensemble Theatre Company, Portland Center Stage, Portland Repertory Theatre, Huntington Theatre, New Repertory Theatre and Nora Theatre. At the Edinburgh Festival, she played Rachel in the British premiere of Reckless.

Ryan Artzberger returns to play Gadshill and Archibald, the Earl of Douglas. In addition to his performance in this season’s production of A Midsummer Night’s Dream, Artzberger also appeared in the Theatre’s productions of As You Like It and Henry VI, Parts 1, 2 and 3. His regional credits include performances at Shakespeare Santa Cruz, Shakespeare Theatre of New Jersey, Indiana Repertory Theatre and Denver Center.

Edwina Findley returns to play Lady Mortimer, Glendower’s daughter and Mortimer’s wife. Findley last appeared as Dorcas in the Theatre’s production of The Winter’s Tale. Findley has performed with the Franklin State Company, Marymount Manhattan Theatre, Atlantic Theatre Company and in numerous musical concerts at the Kennedy Center and throughout Europe and the Caribbean.

Kenneth Lee makes his Shakespeare Theatre debut as John of Lancaster, King Henry’s younger son. Lee has directed, written and performed both in the United States and internationally. Most recently, he appeared in the Shakespeare Theatre of New Jersey’s production of Pericles directed by Gabrielle Barr and won an Off-Off-Broadway Review Award for founding his theatre company, Method2Madness.

Marty Lodge returns to the Theatre for the first time since Richard II to play Sir Richard Vernon, an English knight. Lodge also appeared in the Theatre’s productions of Camino Real and Mother Courage and Her Children. His regional credits include productions with Round House Theatre, Arena Stage, American Repertory Theatre, Woolly Mammoth and Studio Theatre.

Anthony Marble makes his Shakespeare Theatre debut as Edmund Mortimer, the Earl of March. Marble has appeared in regional productions with Colorado Shakespeare Festival, Northern Stage, Main Street Theatre and Swine Palace Theatre.

Raphael Nash Thompson returns to the Theatre as the Earl of Westmoreland. Thompson has appeared in the Theatre’s productions of Comedy of Errors, Twelfth Night, The Tempest and Othello. In addition to performing with regional theatres across the country, Thompson has appeared in the films Searching For Bobby Fischer, Kiss of Death and Clockers.

Hugh Nees, who last appeared in the Theatre’s production of The Silent Woman, returns to play Bardolph, one of Prince Hal’s tavern friends. Nees made his Shakespeare Theatre debut in the 1992 production of Much Ado About Nothing. His regional credits include productions with Arena Stage, Studio Theatre, Round House Theatre and Source Theatre.

Richard Pelzman returns to play Sir Walter Blunt. Pelzman has appeared in Shakespeare Theatre productions of King Lear, Fuente Ovejuna and Othello. Pelzman’s acting career ranges from musicals to the classics. In Washington, he has appeared at Ford’s Theatre, Arena Stage, the Kennedy Center and Signature Theatre. His regional credits include performances with Utah Shakespearean Festival, LA Theatre Works and the Guthrie Theater. He also has appeared in the films For Richer Or Poorer, Serial Mom, Assault at West Point and Red Dragon.

Lawrence Redmond returns for the first time since Camino Real to play the Chamberlain and Richard Scroop. Redmond has performed at the Theatre in Mother Courage and Her Children, As You Like It and The Beggar’s Opera. He performed in the national tour of Guys and Dolls and has appeared in regional productions at such theatres as Arena Stage, Studio Theatre, Signature Theatre, Folger Theatre and Center Stage.

A graduate of the Academy for Classical Acting, Todd Scofield makes his Shakespeare Theatre debut as Sir Michael, Ostler and Vitner. He played Benvolio, Dromio of Ephesus, Speed, Hortensio and Don Armado at the North Carolina Shakespeare Festival. He has appeared in regional productions with PlayMakers Repertory, Charlotte Repertory, Burning Coal, Barter Theatre and Man Bites Dog Theatre.

The play also features Cecil Baldwin, Jonathan Brathwaite, Christopher Browne, Chris Cantrell, Ravi Jain, Celia Madeoy, Caleb Mayo and Timothy Sekk.

THE DESIGNERS

To create the two worlds of court and tavern in Henry IV, Alexander has assembled a team of expert designers. Set and costume designer Ruari Murchison has created simple, striking designs to move the play’s action quickly from scene to scene. Murchison has designed numerous productions for the Royal National Theatre, Royal Shakespeare Company, Lyric Theatre, Birmingham Repertory, Stratford Festival in Canada, Royal Court, Soho Theatre, Young Vic, Nottingham Playhouse and Old Vic. His opera and ballet credits include productions for Birmingham Royal Ballet, Stuttgart Ballet and the Royal Opera House. Associate Costume Designer Yvonne Milnes has designed costumes with strong shapes and colors, using elements from the Middle Ages and the 1590s to delineate between court and tavern. Milnes has designed for numerous theatres in England, including Arts Theatre, The Playhouse Theatre, Prince Edward Theatre, Century Theatre and New Vic Theatre Company. She also designed costumes for the national tour and film of La Boheme as well as for the national tour of Eugene Onegin. Tim Mitchell joins the production team as lighting designer. Mitchell’s most recent work includes all four of the Royal Shakespeare Company’s mainstage productions for this season: The Taming of the Shrew, Measure for Measure, Richard III and Titus Andronicus. Mitchell also has designed for numerous productions on London’s West End and for the Royal National Theatre, Birmingham Repertory, Donmar Warehouse, numerous British playhouses and various opera and ballet companies. Composer Adam Wernick’s melodies have been heard in such Shakespeare Theatre productions as The Winter’s Tale, Hamlet, Hedda Gabler, Camino Real, The Merchant of Venice and King John, among others. Fight Choreographer Rick Sordelet returns for the first time since Hamlet at Carter Barron. Sordelet’s other Shakespeare Theatre credits include Henry VI, Parts 1, 2 and 3, Peer Gynt, As You Like It and Othello. The design team also includes Associate Lighting Designer Charlie Morrison, Sound Designer Martin Desjardins and Voice and Text Coach Ellen O’Brien.

THE PRODUCTION SPONSOR

The Shakespeare Theatre announces with pleasure that The E. H. Corrigan Foundation, Laredo, Texas is generously sponsoring Henry IV, Part I. In 1993, Mr. E.H. Corrigan attended a performance of Richard II with his nephews George and Patrick Wenning and his niece Anita Rothwell, all of Bethesda, at the newly opened Shakespeare Theatre on Seventh Street NW.

“Richard Thomas played Richard,” Corrigan recalled. “The production was impressive, and the new theatre was a joyous and festive setting – ideal for Shakespeare.”

During the intermission, there was conversation in the lobby that speculated on continuing the history cycle with Henry IV. Enthusiasts of Shakespeare’s historical chronicles, all four stepped forward to commit themselves to the production.
The family has underwritten each succeeding chapter in the Henry histories cycle – Henry IV, Henry V and Henry VI. Corrigan has found the productions to be consistently “clear, accessible and lucid.”

Although Corrigan resides in Texas, he has strong ties to Washington, D.C. As an alumnus of Georgetown University, he spent formative years here and dates his interest in the classics to that time. “Faculty members and classmates were music- and literature-oriented. Among other topics, an interest in Shakespeare was stimulated.”

Frequent trips to the Folger Shakespeare Library deepened this interest. Annual visits to see Shakespeare plays at the Stratford Festival in Stratford, Ontario, followed.

“Our friends in Texas and Bethesda have helped make possible a number of ambitious productions,” said Artistic Director Michael Kahn. “Their support of our history plays has helped bring the full epic narrative to Washington audiences. All of us are deeply grateful for this enthusiastic and generous support.”

THE MEDIA PARTNER

The Shakespeare Theatre is pleased to announce that Express, a new free publication of The Washington Post, is media partner for Henry IV, Part 1. This is the first time that Express has partnered with the Theatre.
Express launched August 4, 2003 and is the Washington, D.C. area’s free daily newspaper, created especially for local residents on the go. Its colorful convenient tabloid format features the latest news from around the country, around the world and around the region, plus local entertainment recommendations and helpful consumer features covering a broad range of subject matter, from health and personal finance to careers, travel, personal technology and automobiles.

Monday through Friday, Express contains a considerable amount of local entertainment coverage. The Thursday edition features “Weekend Pass,” an expanded guide containing recommendations on how to make the most of the upcoming weekend. From movies and concerts to theatrical performances, art galleries, literature and ballet, Express is committed to uncovering the best arts and leisure activities that the D.C. metropolitan area has to offer.

Express is available free each weekday morning from street distributors and news racks at Metrorail stations, college campuses and other busy urban locations throughout the Washington area. Express prints more than 125,000 copies currently and will increase that amount to 150,000 during the first quarter of 2004. Express Publications Company, LLC, is a subsidiary of The Washington Post Company.

SPECIAL PERFORMANCES AND EVENTS

• On Sunday, January 25 at 1 p.m., The Shakespeare Theatre continues Windows, a lively discussion and introduction to Henry IV, Part 1 with local scholars and members of the artistic staff. All are welcome. Call 202.547.1122 and press 4 to reserve a space.
• Following the evening performance of Henry IV, Part 1 on Wednesday, January 28, all are welcome for a post-show discussion with members of the cast. Those attending the evening’s performance are guaranteed seats. Limited additional seating is available on a first-come basis. Call 202.547.1122 for the approximate start time. No reservations required.
• The Shakespeare Theatre will sponsor two discussions as part of Classics in Context, part of the new Access to Classics Initiative, made possible by a generous grant from the American Express Company. These lively discussions feature scholars and artists discussing their connection to the Henry IV plays. On Saturday, May 8 following the 2 p.m. matinee, the Theatre will sponsor “The Divine Right of Kings and Sons.” On Saturday, May 15 following the 2 p.m. matinee, the Theatre will sponsor “Historical Legacy and Fiction.” Call 202.547.1122 and press 4 to reserve a space.
• There will be audio-described performances of Henry IV, Part 1 on Saturday, February 7 at 2 p.m. and Thursday, February 19 at 8 p.m. Sign-interpreted performances are on Tuesday, February 24 at 7:30 p.m. and Saturday, February 28 at 2 p.m.

FACT SHEET: Henry IV, Part 1 by William Shakespeare
Directed by Bill Alexander

The Shakespeare Theatre continues its 2003-04 season with William Shakespeare’s Henry IV, Part 1, a play ripe with rebellion and struggles for the crown, but also about the relationships between parents and their children … about a young man’s coming of age. Bill Alexander, who last directed Troilus and Cressida at the Theatre in 1992, returns to direct a cast featuring Keith Baxter as King Henry, Christopher Kelly as Prince Hal, Andrew Long as Hotspur, Nancy Robinette as Mistress Quickly and Shakespeare Theatre company member Ted van Griethuysen as Falstaff.

DATES: January 20 to March 13, 2004
Revolving Repertory (with Henry IV, Part 2): May 5 to May 16, 2004
Press Night: Sunday, January 25, 2004
Opening Night: Monday, January 26, 2004

LOCATION: The Shakespeare Theatre, 450 7th St. NW, between D and E streets, just off Pennsylvania Avenue, between the Capitol and the White House.

TIMES: Tuesdays and Wednesdays at 7:30 p.m. (except January 27, March 9 and March 10); Thursdays, Fridays and Saturdays at 8 p.m.; Sundays at 7:30 p.m. (except March 7); matinees on Saturdays and Sundays at 2 p.m. (except January 25 and March 13); matinee at noon on Wednesday, March 3.

REVOLVING REPERTORY TIMES: 2 p.m. on Wednesday, May 5, Saturday, May 8, Sunday, May 9, Wednesday, May 12, Saturday, May 15 and Sunday, May 16; 8 p.m. on Thursday, May 6 and Thursday, May 13.

TICKETS: $16-$66 with discounts available for groups, senior citizens and students.

ACCESSIBILITY: The Theatre is accessible to persons with disabilities, offering wheelchair accessible seating and rest rooms, audio enhancement at every performance, and Braille and large print programs.
• On Sunday, January 25 at 1 p.m., The Shakespeare Theatre continues Windows, a lively discussion and introduction to Henry IV, Part 1 with local scholars and members of the artistic staff. All are welcome. Call 202.547.1122 and press 4 to reserve a space.
• Following the evening performance of Henry IV, Part 1 on Wednesday, January 28, all are welcome for a post-show discussion with members of the cast. Those attending the evening’s performance are guaranteed seats. Limited additional seating is available on a first-come basis. Call 202.547.1122 for the approximate start time. No reservations required.
• The Shakespeare Theatre will sponsor two discussions as part of Classics in Context, part of the new Access to Classics Initiative, made possible by a generous grant from the American Express Company. These lively discussions feature scholars and artists discussing their connection to the Henry IV plays. On Saturday, May 8 following the 2 p.m. matinee, the Theatre will sponsor “The Divine Right of Kings and Sons.” On Saturday, May 15 following the 2 p.m. matinee, the Theatre will sponsor “Historical Legacy and Fiction.” Call 202.547.1122 and press 4 to reserve a space.
• There will be audio-described performances of Henry IV, Part 1 on Saturday, February 7 at 2 p.m. and Thursday, February 19 at 8 p.m. Sign-interpreted performances are on Tuesday, February 24 at 7:30 p.m. and Saturday, February 28 at 2 p.m.

PARKING: Paid parking is available in the PMI parking garage on D Street, between Eighth and Ninth streets, and the Colonial Parking garage in the Lansburgh building (enter on Eighth Street between D and E streets).
METRO: Archives-Navy Memorial station (Yellow and Green Lines) is one and one-half blocks south of the Theatre. Gallery Place station (Red, Yellow and Green Lines) is one block north of the Theatre at the MCI Center. For further information, call Metro at 202.637.7000.

Box Office: 202.547.1122 (voice)
TTY: 202.638.3863
Toll Free: 877.487.8849
www.shakespearetheatre.org

For Immediate Release: Press Contact: Liza Holtmeier
February 18, 2004 202.608.6302
lizah@shakespearedc.org

THE SHAKESPEARE THEATRE’S 2003-2004 SEASON CONTINUES WITH
Henry IV, Part 2
BY WILLIAM SHAKESPEARE
Directed by Bill Alexander

Production to Play in Revolving Repertory with Henry IV, Part 1

WASHINGTON, D.C. – Following its “compelling and provocative” production of Henry IV, Part 1 (The Washingtonian magazine), The Shakespeare Theatre continues the epic tale of King Henry and his son with Henry IV, Part 2 from March 16 to May 2, 2004. With Part 2, Shakespeare resumes his exploration of tavern and court, following Prince Hal as he ascends the throne. Amid the political rebellions and power struggles, Shakespeare takes an intimate look at a changing civilization, where characters contemplate old age, loss and the quest for atonement. The production will be followed by two weeks of both Part 1 and Part 2 running in revolving repertory from May 5 to May 16, 2004.

Bill Alexander, honorary associate director for the Royal Shakespeare Company, returns to direct a cast that includes Keith Baxter as King Henry, Christopher Kelly as Prince Hal, Nancy Robinette as Mistress Quickly, Naomi Jacobson as Doll Tearsheet and Shakespeare Theatre company member Ted van Griethuysen as Falstaff.

Robins, Kaplan, Miller & Ciresi L.L.P. is the production sponsor, while media partner NewsChannel 8 provides promotional support throughout the run. Additional support is provided by the National Endowment for the Arts.

In Henry IV, Part 2, the Earl of Northumberland, upon hearing the news of his son Hotspur’s death, joins forces with those of the Archbishop of York and prepares to advance against the King’s army. As the King’s health deteriorates, young Prince Hal distances himself from his old friend Falstaff and accepts the burdens and duties of his royal position.

“I see Henry IV, Part 2 in two ways,” explains director Bill Alexander. “On a simple narrative level, Part 1 is an incomplete telling of the story, which Part 2 completes. But there’s also a reflection of several of the themes going on in Part 2 that are begun in Part 1. Constantly you find in Part 2 that you’re coming across ideas and images that are a different take on the ideas and images of Part 1.

“Part 2 has a different flavor and a different ambience and a different purpose from Part 1. I remember talking about this a lot in the old days – when I first did Henry IV, Part 1 and Part 2 for the Royal Shakespeare Company – that many people think Part 2 is a deeper and more highly textured play. Sometimes it’s talked of as an almost proto-Chekhovian piece, something that takes the development of Shakespeare’s naturalism to a further point.”

THE DIRECTOR

Director Bill Alexander made his Shakespeare Theatre debut with Troilus and Cressida in 1992, a production The Washington Post called “brilliant … disciplined … cumulative in its power.” Alexander began his career at Bristol Old Vic, where he directed everything from the classics to innovative drama, including Shakespeare’s Twelfth Night, Harold Pinter’s Old Times and Peter Handke’s The Ride Across the Lake. In 1977, he joined the Royal Shakespeare Company with a special assignment for new plays, during which he directed James Robson’s Factory Birds, Stephen Poliakoff’s Shout Across the River, Howard Barker’s The Hang of the Gaol, Nigel Baldwin’s Men’s Beano and Barrie Keefe’s Bastard Angel. In 1984, Alexander became associate director of the RSC, and his many productions since then include Molière’s Tartuffe with Antony Sher, the highly acclaimed Richard III and, most recently, A Midsummer Night’s Dream with Janet McTeer and Peter Postlethwaite, The Merry Wives of Windsor with Nicky Henson and Lindsay Duncan (which won him the Olivier Award for Best Director), The Merchant of Venice with Antony Sher, Much Ado About Nothing with Roger Allam and Susan Fleetwood, and The Taming of the Shrew with Amanda Harris and Anton Lesser. Last fall, Alexander directed an acclaimed production of Titus Adronicus for the RSC. The Daily Telegraph called it a “gripping production” while The Guardian proclaimed, “Bill Alexander's new production has a fine, somber, subfusc dignity.”

In November 1992, Alexander became artistic director of the Birmingham Repertory Theatre, where he directed productions of both classics and new work. Other theatre work includes productions at Nottingham Playhouse, the Royal Court, the Victory Theatre in New York and the Lyric Theatre in Belfast, Ireland.

THE CAST

Called by Stephen Sondheim “one of Britain’s five best actors,” Keith Baxter returns to The Shakespeare Theatre to play King Henry. Earlier this season, Baxter appeared behind the scenes at The Shakespeare Theatre, directing the season’s opening production of The Rivals. Before that production, Baxter directed the Theatre’s production of The Country Wife and appeared on stage as Antonio in The Merchant of Venice and as the Duke in Measure for Measure with Kelly McGillis.

As an actor, Baxter has a rich history with the Henry IV plays. He played Prince Hal in a stage production directed by Orson Welles, who also played Falstaff, and went on to reprise the role for Welles’ film version of the same production, titled Chimes At Midnight. As an actor on Broadway, Baxter won a Theatre World Award for Most Promising Young Actor in his first New York appearance as young King Henry VIII in A Man For All Seasons. He also starred on Broadway in The Affair, Avanti, A Meeting By The River, Romantic Comedy and Sleuth (Outer Circle Critics Award, Drama Desk Award). In 2001, the New York Post called him “the always-brilliant Keith Baxter” after his performance in The Woman in Black. His classical roles include Hamlet, Macbeth, Benedick and Marc Antony (with Dame Maggie Smith), and he appeared opposite Joan Collins as Elyot in Noel Coward’s Private Lives. His other films include Peeping Tom, The Barretts of Wimpole Street, La Regenta, Ash Wednesday (with Elizabeth Taylor), Merlin, Golden Rendezvous and Berlin Blues.

Company member Ted van Griethuysen plays the old, ribald knight Sir John Falstaff. Van Griethuysen most recently appeared as Franklin Manders in The Shakespeare Theatre’s production of Henrik Ibsen’s Ghosts. Other Shakespeare Theatre credits include The Silent Woman, Don Carlos, Richard II, Timon of Athens, The Country Wife, Coriolanus, King Lear, King John and Twelfth Night, among many others. During the summer of 2002, he traveled to London to play the title role in Brecht’s The Life of Galileo, produced by the Word of Mouth theatre company. The Studio Theatre recently remounted the production with van Griethuysen reprising his role. Van Griethuysen’s Broadway credits include roles in Romulus, Inadmissible Evidence and Galileo. He also has appeared Off-Broadway at the New York Shakespeare Festival, Eastside Playhouse, Opposites Company, Roundabout Theatre and La MaMa, and in regional productions at the Folger Theatre, Studio Theatre, American Shakespeare Festival, Syracuse Stage, Long Wharf Theatre, Hartford Stage Company and Williamstown Theatre Festival.

After making his Shakespeare Theatre debut in Henry IV, Part 1, Christopher Kelly returns to again play Prince Hal for Part 2. Kelly recently played the role of Ishmael in a new adaptation of Moby Dick at the Ohio Theatre in New York. His other regional credits include Hamlet, Much Ado About Nothing, The Cripple of Inishmaan, The Three Sisters, Scapin, The Show-Off and Pierre with the Denver Center Theatre Company and performances at Cincinnati Playhouse, Fulton Opera House, Intiman Theatre and Actors’ Theatre of Louisville.

Company member Edward Gero, now in his 20th season with the Theatre, plays the Lord Chief Justice. Gero played the part of Thomas Percy, the Earl of Worcester, in Henry IV, Part 1. Gero has appeared in more than 50 Shakespeare Theatre productions including A Midsummer Night’s Dream, The Rivals, Richard III, Hamlet, Don Carlos, The Merry Wives of Windsor, King John, All’s Well That Ends Well, Peer Gynt, Antony and Cleopatra, Henry VI, Henry IV, Richard II and Macbeth. Gero’s New York credits include productions with CSC Repertory Ltd., South Street Theatre, New Dramatists and SoHo Repertory Theatre. He has appeared in regional productions with Round House Theatre, Studio Theatre, Olney Theatre, Arena Stage and Barter Theatre.

Company member Floyd King plays Shallow, a country justice. King played the part of Owen Glendower, leader of the Welsh rebels, in Henry IV, Part 1. His numerous other roles at the Theatre include parts in The Rivals, Richard II, The Silent Woman, Hamlet, The Two Gentlemen of Verona, Don Carlos, Camino Real, The Country Wife, Coriolanus, A Midsummer Night’s Dream, King Lear and Twelfth Night, among many others. King recently appeared in Signature Theatre’s production of A Funny Thing Happened on the Way to the Forum as Pseudolus. King also has appeared in regional productions at the Folger Theatre, Woolly Mammoth, Studio Theatre, Olney Theatre Center, Alley Theatre, Pittsburgh Public Theater and Alliance Theatre Company.

Emery Battis, resident company member for 16 years, returns to play Silence, another country justice. Battis most recently appeared at The Shakespeare Theatre as Thomas in The Rivals. Battis has played more than 400 roles in plays from Aeschylus to Mamet and Miller, including 90 roles in the Shakespearean canon. He has portrayed parent or paramour to Colleen Dewhurst, Olympia Dukakis, Kim Hunter, Lynn Redgrave, Blythe Danner and Gwyneth Paltrow, among many others. His most recent Shakespeare Theatre role was in the Free For All production of Hamlet. He has performed in New York productions of Misalliance and The National Health. His regional credits include productions with the Guthrie Theater, Long Wharf Theatre, McCarter Theatre, Center Stage, Great Lakes Theater Festival and Williamstown Theatre Festival. In 2002, he received the Helen Hayes Award for distinguished Lifetime Achievement in the Theatre.

Andrew Long returns to play Pistol, the quick-tempered ensign serving under Falstaff. Long last appeared at the Theatre as Hotspur in Henry IV, Part 1. Other Shakespeare Theatre credits include Hamlet at Carter Barron, The Duchess of Malfi, Don Carlos, Richard II, Coriolanus, A Midsummer Night’s Dream, King Lear, The Merchant of Venice, The Trojan Women, King John, Romeo and Juliet, The Two Gentlemen of Verona and Henry V, among others. Long has appeared at such regional theatres as the Guthrie Theater, Repertory Theater of St. Louis, Arena Stage, Pioneer Theater, Round House Theatre, Oregon Shakespeare Festival, Alabama Shakespeare Festival, Illinois Shakespeare Festival and Shakespeare Theatre of New Jersey.

Nancy Robinette plays Mistress Quickly, hostess of the tavern Falstaff frequents. Robinette’s other Shakespeare Theatre credits include Mrs. Malaprop in The Rivals, Mistress Otter in The Silent Woman, Birdie Hubbard in The Little Foxes and Aunt Nonny in Sweet Bird of Youth. Last season, Robinette also appeared as Woman in the Studio Theatre’s production of The Play About the Baby and as Donna in Donna Q at Signature Theatre. Off-Broadway she appeared in New York Theatre Workshop’s Finally Flannery and Trestle at Pope Lick Creek, and Roundabout Theatre Company’s Give Me Your Answer, Do!. Her regional credits include productions with Williamstown Theatre Festival, Woolly Mammoth (Company Member), Arena Stage, Signature Theatre and Round House Theatre.

Naomi Jacobson returns to the Theatre as Doll Tearsheet, a prostitute in Eastcheap. Jacobson last appeared at the Theatre as Madame Haughty in The Silent Woman. Jacobson’s roles at the Theatre include Lucetta in The Two Gentlemen of Verona, the Duchess of Olivarez in Don Carlos and Prudence Duvernoy in Camino Real. Jacobson has appeared off-Broadway in Scenes from an Execution and in regional productions at Arena Stage, Woolly Mammoth Theatre, Round House Theatre, Signature Theatre, Milwaukee Repertory, Delaware Theatre Company and Berkshire Theatre Festival.

Gregg Almquist plays Henry Percy, the Earl of Northumberland. Almquist last appeared at the Theatre as Sir John Daw in last season’s production of The Silent Woman. Almquist appeared on Broadway in I’m Not Rappaport and Richard III, and Off-Broadway in The Doctor’s Dilemma, The Algerian Romance and King Lear. He has performed in regional productions with the Guthrie Theater, Mark Taper Forum, Yale Repertory Theater, Meadowbrook, Pittsburgh Public Theater, Portland Stage and Denver Center.

Elisabeth Adwin plays Lady Percy, the widow of Hotspur. Adwin has appeared across the country in regional productions at Geva Theatre Center, Utah Shakespearean Festival, Intiman Theatre, Madison Repertory Theatre, Ensemble Theatre Company, Portland Center Stage, Portland Repertory Theatre, Huntington Theatre, New Repertory Theatre and Nora Theatre. At the Edinburgh Festival, she played Rachel in the British premiere of Reckless.

Ryan Artzberger returns to play Lord Bardolph, Mouldy (a country soldier) and one of the beadles. Artzberger played both the Earl of Douglas and Gadshill in Henry IV, Part 1. Artzberger also has appeared in the Theatre’s productions of A Midsummer Night’s Dream, As You Like It and Henry VI, Parts 1, 2 and 3. His regional credits include performances at Shakespeare Santa Cruz, Shakespeare Theatre of New Jersey, Indiana Repertory Theatre and Denver Center.

Kenneth Lee made his Shakespeare Theatre debut with Henry IV, Part 1 and will again play Prince John of Lancaster, King Henry’s younger son, for Part 2. Lee has directed, written and performed both in the United States and internationally. Most recently, he appeared in the Shakespeare Theatre of New Jersey’s production of Pericles directed by Gabrielle Barr and won an Off-Off-Broadway Review Award for founding his theatre company, Method2Madness.

Marty Lodge returns to play Sir John Coleville and Davy (a servant to Shallow). Lodge played Sir Richard Vernon in Henry IV, Part 1. Lodge also appeared in the Theatre’s productions of Camino Real and Mother Courage and Her Children. His regional credits include productions with Round House Theatre, Arena Stage, American Repertory Theatre, Woolly Mammoth and Studio Theatre.

After making his Shakespeare Theatre debut as Edmund Mortimer in Henry IV, Part 1, Anthony Marble returns to play Lord Hastings, one of the Archbishop’s co-conspirators. Marble has appeared in regional productions with Colorado Shakespeare Festival, Northern Stage, Main Street Theatre and Swine Palace Theatre.

Raphael Nash Thompson plays the Earl of Westmorland. Thompson has appeared in the Theatre’s productions of Comedy of Errors, Twelfth Night, The Tempest and Othello. In addition to performing with regional theatres across the country, Thompson has appeared in the films Searching For Bobby Fischer, Kiss of Death and Clockers.

Hugh Nees returns to play Bardolph, one of Prince Hal’s tavern friends. Nees appeared in last season’s production of The Silent Woman and made his Shakespeare Theatre debut in the 1992 production of Much Ado About Nothing. His regional credits include productions with Arena Stage, Studio Theatre, Round House Theatre and Source Theatre.

Richard Pelzman plays Morton (retainer of Northumberland) and the Earl of Warwick (an ally and advisor to King Henry IV). Pelzman played the part of Sir Walter Blount in Henry IV, Part 1. Pelzman has appeared in Shakespeare Theatre productions of King Lear, Fuente Ovejuna and Othello. Pelzman’s acting career ranges from musicals to the classics. In Washington, he has appeared at Ford’s Theatre, Arena Stage, the Kennedy Center and Signature Theatre. His regional credits include performances with Utah Shakespearean Festival, LA Theatre Works and the Guthrie Theater. He also has appeared in the films For Richer Or Poorer, Serial Mom, Assault at West Point and Red Dragon.

Lawrence Redmond plays Richard Scroop, the Archbishop of York. Redmond has performed at the Theatre in Camino Real, Mother Courage and Her Children, As You Like It and The Beggar’s Opera. He performed in the national tour of Guys and Dolls and has appeared in regional productions at such theatres as Arena Stage, Studio Theatre, Signature Theatre, Folger Theatre and Center Stage.

A graduate of the Academy for Classical Acting, Todd Scofield made his Shakespeare Theatre debut as Sir Michael, Ostler and Vitner in Henry IV, Part 1. In Part 2, Scofield will play Bullcalf and one of the beadles. Scofield played Benvolio, Dromio of Ephesus, Speed, Hortensio and Don Armado at the North Carolina Shakespeare Festival. He has appeared in regional productions with PlayMakers Repertory, Charlotte Repertory, Burning Coal, Barter Theatre and Man Bites Dog Theatre.

The play also features Cecil Baldwin, Jonathan Brathwaite, Christopher Browne, Chris Cantrell, Ravi Jain, Celia Madeoy, Caleb Mayo, Timothy Sekk and Brandon Thane Wilson.

THE DESIGNERS

To create the two worlds of court and tavern in Henry IV, Alexander has assembled a team of expert designers. Set and costume designer Ruari Murchison has created simple, striking designs to move the play’s action quickly from scene to scene. Murchison has designed numerous productions for the Royal National Theatre, Royal Shakespeare Company, Lyric Theatre, Birmingham Repertory, Stratford Festival in Canada, Royal Court, Soho Theatre, Young Vic, Nottingham Playhouse and Old Vic. His opera and ballet credits include productions for Birmingham Royal Ballet, Stuttgart Ballet and the Royal Opera House. Associate Costume Designer Yvonne Milnes has designed costumes with strong shapes and colors, using elements from the Middle Ages and the 1590s to delineate between court and tavern. Milnes has designed for numerous theatres in England, including Arts Theatre, The Playhouse Theatre, Prince Edward Theatre, Century Theatre and New Vic Theatre Company. She also designed costumes for the national tour and film of La Boheme as well as for the national tour of Eugene Onegin. Tim Mitchell joins the production team as lighting designer. Mitchell’s most recent work includes all four of the Royal Shakespeare Company’s mainstage productions for this season: The Taming of the Shrew, Measure for Measure, Richard III and Titus Andronicus. Mitchell also has designed for numerous productions on London’s West End and for the Royal National Theatre, Birmingham Repertory, Donmar Warehouse, numerous British playhouses and various opera and ballet companies. Composer Adam Wernick’s melodies have been heard in such Shakespeare Theatre productions as The Winter’s Tale, Hamlet, Hedda Gabler, Camino Real, The Merchant of Venice and King John, among others. Fight Choreographer Rick Sordelet returns for the first time since Hamlet at Carter Barron. Sordelet’s other Shakespeare Theatre credits include Henry VI, Parts 1, 2 and 3, Peer Gynt, As You Like It and Othello.

The design team also includes Associate Lighting Designer Charlie Morrison, Sound Designer Martin Desjardins and Voice and Text Coach Ellen O’Brien.

THE PRODUCTION SPONSOR

The Washington, D.C. office of Robins, Kaplan, Miller & Ciresi L.L.P., an innovative national law firm, is the exclusive underwriter for the Theatre’s production of Henry IV, Part 2. The Shakespeare Theatre is delighted by this continued partnership with the firm.

Robins, Kaplan, Miller & Ciresi L.L.P. is based in Minneapolis and has offices in Atlanta, Boston, Los Angeles, Naples and Washington, D.C. The firm is nationally recognized for its litigation practice in the areas of intellectual property litigation, business, insurance, mass tort, personal injury and medical malpractice. The Washington, D.C. office focuses its efforts on project finance and real estate development, elder neglect and nursing home malpractice, health care litigation, international trade, transportation, regulatory law and intellectual property litigation. Robins, Kaplan, Miller & Ciresi L.L.P. was named the 2003 IP Litigation Department of the Year by The American Lawyer and IP Law & Business.

Robins, Kaplan, Miller & Ciresi’s attorneys and staff are also deeply involved in the communities in which they practice. The firm makes contributions to community organizations to have an immediate impact or to solve an immediate problem. Attorneys in the Washington, D.C. office have also been active in addressing adverse nursing home conditions, as well as working pro bono with local organizations, including an academic enrichment program for students from underserved or disadvantaged communities in the Washington, D.C. metropolitan area.

THE MEDIA PARTNER

The Shakespeare Theatre is pleased to welcome a new media partner, NewsChannel 8, for Henry IV, Part 2. Media partners provide vital promotional support to the Theatre’s efforts in promoting its productions and expanding its audience.
Twenty-four-hour local news was a largely untested concept when Allbritton Communications Company conceived and launched NewsChannel 8 in October of 1991. Today Washington’s only 24-hour local news channel has a well-deserved reputation for award-winning, reliable, in-depth coverage of the events and issues that shape our communities.

NewsChannel 8 routinely shines during large-scale local news events. With the ability to adjust programming on a moments notice, NewsChannel 8 offers viewers complete telecasts of critical press conferences and breaking news events, and excels at severe weather coverage. However, it is the daily delivery of news, weather and traffic to more than 1.1 million households in the Washington region, including 15,000 Capitol Hill offices, that draws loyal viewers.

In September 2002, NewsChannel 8 joined sister station WJLA-TV/ABC 7, Allbritton’s flagship ABC affiliate, in what is arguably the most technologically advanced local television facility in the country. The combined Rosslyn, Virginia, newsroom operation represents the Washington, D.C. market’s largest electronic newsgathering team, producing two separate and distinct news products every day.

SPECIAL PERFORMANCES AND EVENTS

• On Sunday, March 21 at 1 p.m., The Shakespeare Theatre continues Windows, a lively discussion and introduction to Henry IV, Part 2 with local scholars and members of the artistic staff. All are welcome. Call 202.547.1122 and press 4 to reserve a space.
• Following the evening performance of Henry IV, Part 2 on Wednesday, March 24, all are welcome for a post-show discussion with members of the cast. Those attending the evening’s performance are guaranteed seats. Limited additional seating is available on a first-come basis. Call 202.547.1122 for the approximate start time. No reservations required.
• The Shakespeare Theatre will sponsor two discussions as part of Classics in Context, part of the new Access to Classics Initiative, made possible by a generous grant from the American Express Company. These lively discussions feature scholars and artists discussing their connection to the Henry IV plays. On Saturday, May 8 following the 2 p.m. matinee, the Theatre will sponsor “The Divine Right of Kings and Sons.” On Saturday, May 15 following the 2 p.m. matinee, the Theatre will sponsor “Historical Legacy and Fiction.” Call 202.547.1122 and press 4 to reserve a space.
• There will be audio-described performances of Henry IV, Part 2 on Thursday, April 15 at 8 p.m and Saturday, April 17 at 2 p.m. Sign-interpreted performances are on Tuesday, April 20 at 7:30 p.m and Saturday, April 24 at 2 p.m.

FACT SHEET: Henry IV, Part 2 by William Shakespeare
Directed by Bill Alexander

Following its “compelling and provocative” production of Henry IV, Part 1 (The Washingtonian magazine), The Shakespeare Theatre presents Henry IV, Part 2 from March 16 to May 2, 2004. Shakespeare continues his exploration of tavern and court, following Prince Hal as he ascends the throne. Amid the political rebellions and power struggles, Shakespeare takes an intimate look at a changing civilization, where characters contemplate old age, loss and the quest for atonement. Bill Alexander directs a cast that includes Keith Baxter as King Henry, Christopher Kelly as Prince Hal, Nancy Robinette as Mistress Quickly, Naomi Jacobson as Doll Tearsheet and Shakespeare Theatre company member Ted van Griethuysen as Falstaff.

DATES: March 16 to May 2, 2004
Revolving Repertory (with Henry IV, Part 2): May 5 to May 16, 2004
Press Night: Sunday, March 21, 2004
Opening Night: Monday, March 22, 2004

LOCATION: The Shakespeare Theatre, 450 7th St. NW, between D and E streets, just off Pennsylvania Avenue, between the Capitol and the White House.

TIMES: Tuesdays and Wednesdays at 7:30 p.m. (except March 23); Thursdays, Fridays and Saturdays at 8 p.m.; Sundays at 7:30 p.m.; matinees on Saturdays and Sundays at 2 p.m. (except March 21); matinee at noon on Wednesday, April 7.

REVOLVING REPERTORY TIMES: 7:30 p.m. on Wednesday, May 5, Sunday, May 9, Wednesday, May 12 and Sunday, May 16; 8 p.m. on Friday, May 7, Saturday, May 8, Friday, May 14 and Saturday, May 15.

TICKETS: $16-$66 with discounts available for groups, senior citizens and students.

ACCESSIBILITY: The Theatre is accessible to persons with disabilities, offering wheelchair accessible seating and rest rooms, audio enhancement at every performance, and Braille and large print programs.

• On Sunday, March 21 at 1 p.m., The Shakespeare Theatre continues Windows, a lively discussion and introduction to Henry IV, Part 2 with local scholars and members of the artistic staff. All are welcome. Call 202.547.1122 and press 4 to reserve a space.
• Following the evening performance of Henry IV, Part 2 on Wednesday, March 24, all are welcome for a post-show discussion with members of the cast. Those attending the evening’s performance are guaranteed seats. Limited additional seating is available on a first-come basis. Call 202.547.1122 for the approximate start time. No reservations required.
• The Shakespeare Theatre will sponsor two discussions as part of Classics in Context, part of the new Access to Classics Initiative, made possible by a generous grant from the American Express Company. These lively discussions feature scholars and artists discussing their connection to the Henry IV plays. On Saturday, May 8 following the 2 p.m. matinee, the Theatre will sponsor “The Divine Right of Kings and Sons.” On Saturday, May 15 following the 2 p.m. matinee, the Theatre will sponsor “Historical Legacy and Fiction.” Call 202.547.1122 and press 4 to reserve a space.
• There will be audio-described performances of Henry IV, Part 2 on Thursday, April 15 at 8 p.m and Saturday, April 17 at 2 p.m. Sign-interpreted performances are on Tuesday, April 20 at 7:30 p.m and Saturday, April 24 at 2 p.m.

PARKING: Paid parking is available in the PMI parking garage on D Street, between Eighth and Ninth streets, and the Colonial Parking garage in the Lansburgh building (enter on Eighth Street between D and E streets).
METRO: Archives-Navy Memorial station (Yellow and Green Lines) is one and one-half blocks south of the Theatre. Gallery Place station (Red, Yellow and Green Lines) is one block north of the Theatre at the MCI Center.For further information, call Metro at 202.637.7000.

Box Office: 202. 547.1122 (voice)
TTY: 202.638.3863
Toll Free: 877.487.8849
www.shakespearetheatre.org