The University Classic Players

in

Directed and designed by Jeffrey Stegall

Lighting design by Richard Streeter
CAST OF CHARACTERS
IN SICILIA
Archidamus, a Bohemian lord. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Hudson
Camillo, a Sicilian lord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brad Payne
Polixenes, King of Bohemia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . William Burkholder
Leontes, King of Sicilia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Burke
Hermione, Queen to Leontes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erin Naler
Mamillius, their son. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Isaac Talbert
Ladies of Sicilia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alyssa McNeel, Lindsay Morgan
A lord of Sicilia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Bean
Antigonus, a Sicilian lord. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Layton Talbert
Paulina, Antigonus’ wife. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jean Cook
Her steward. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Hudson
A jailer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chuck Woodruff
Emilia, Hermione’s waiting-woman. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carmen Scott
Attendants. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Katrina Case, Christi Woodruff
Cleomenes, a Sicilian lord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Timothy Miles
Dion, a Sicilian lord. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew Townsend
Gentlemen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jonathan Kappel, Jeremy Woodruff
Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Hudson
IN BOHEMIA
A Mariner. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Jacala
Old shepherd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chuck Binns
Clown, his son. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alex Warren
Autolycus, a rogue. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Josh Kopp
Florizel, son to King Polixenes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Benjamyn Toler
Perdita. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marjorie Peters
Dorcas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hannah Summer
Mopsa. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joanie Joy Pegram
Old shepherd’s servant girl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrea McNeel
Shepherds and Shepherdesses. . . . . . . . . . David Bean, Paul Jacala, Joanne Kappel
Timothy Miles, Mary Ann Perez, Andrew Townsend, Chuck Woodruff
Shepherd children. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chandler Cook, Kendall Cook
Cole Stegall, Ashlyn Stephens, Bennett Stephens, Blake Stephens

PRODUCTION Staff
Producer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Darren Lawson
Assistant Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rachel Fisher
Assistant to the Directors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rebecca Bartle
Dramaturg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Janie McCauley
Music Designers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sharon Gerber, Paul Overly
Original Stage Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nancy Estelle
Stage Movement Coach. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rachel Fisher
Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rodney McCarty
Assistant to the Production Manager. . . . . . . . . . . . . . . . . . . . . . . . . . Sandy Jaworski
Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Max Miller
Production Assistants. . . . . . . . . . . . . . . . . . . . . . . . . . . . Dale Burden, Micha Moyer
Gayland Slick, Randall Snively
Prop Master. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dave Vierow
Set Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jason Waggoner, Harrell Whittington
Costume/Makeup/Hair Manager Supervisor. . . . . . . . . . . . . . . . . . . . . . Dan Sandy
Costume Construction. . . . . . . . . . . . . . . Pam Adams, Barb Filipsic, Cynthia Long
Joyce Parsons, Valli Rassi, Becky Sandy, Kimberly Schmidt
Wig Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rose Marie Blumer
Hairstylists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alicia Carr, Elizabeth Sowers
Front of House Mixers. . . . . . . . . . . . . . . . . . . . . . Jonathan Baker, Mark Cronemeyer
Sound Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bob Johansen
The story
Leontes, King of Sicilia, attempts to convince Polixenes, King of Bohemia, to
lengthen his nine-month visit. However, it is Hermione, Leontes’ queen, who at
last persuades Polixenes to stay. Suspicious of Hermione’s seeming power over
Polixenes, Leontes imagines that Hermione and Polixenes are guilty of adultery
and that the unborn child she carries is illegitimate. Leontes orders Camillo to
murder Polixenes. Unable to bring himself to commit the crime, Camillo flees
with Polixenes to Bohemia.
Angered by their desertion, Leontes imprisons Hermione and after a baby girl
is born, orders that the child be taken from Sicilia and left to die. He then
summons a trial for his queen, who calls upon the oracle of Apollo to judge
her. The oracle declares Hermione and Polixenes blameless and Leontes a
jealous tyrant; further, it states that Leontes will die heirless unless the baby is
found. Soon after the reading of the oracle, news is brought of the death of
Leontes and Hermione’s son, Mamillius. Hearing this, the grief-stricken
Hermione collapses, and Leontes is overcome with remorse.

Brought up by a kindly old shepherd in Bohemia, the abandoned princess,

Perdita, at the age of sixteen has fallen in love with Florizel, son of King
Polixenes. Because Polixenes becomes angry at discovering his son's love for an
ordinary shepherdess, Perdita and Florizel flee to Sicilia. Guided by Camillo,
they seek refuge at the court of Leontes, where Perdita's true parentage is
revealed.

About THE ORACLE

Throughout her humiliating public trial, Hermione remains steadfast and
courageous, the polar opposite of Leontes. The ordeal suggests, however, that
human virtue is not sufficient to resolve all of mankind's dilemmas. Only
divine benevolence can deliver us from the trials of this life. The virtuous
Hermione, believing that divine powers will eventually reveal truth and expose
falsehood, commits her case to the god of light and truth, Apollo. Her faith
and virtue are vindicated, but not before her infant daughter has been cast off
to die and her young son has died of anxiety. The revelation of truth from the
deity himself through the oracle comes in time, however, to deliver the queen
from condemnation as a traitor and adulteress.
Shakespeare captures a universal quality about human pride in Leontes'
response to the oracle. At first he is so consumed with a desire to uphold his
own viewpoint that he dismisses truth as falsehood, even when Apollo himself
confirms that truth. Because Leontes contradicts the voice of heaven, his
innocent son is smitten by death.
About the Oracle (Cont.)
Shakespeare's use of the oracle in The Winter's Tale does not imply that the
playwright himself believed in ancient Greek mythology. Instead, he employs
the oracle because it is a dramatic means of representing divine intervention in
human affairs and because he worked under the constraints of a 1606 law
prohibiting the naming of a member of the Trinity in a stage play. After that
date the playwright set many of his plays in the classical era of pagan deities.
Nonetheless, a sense of a Christian Providence broods over Shakespeare’s late
plays. In the case of The Winter’s Tale, the gods not only reveal innocence but
also manifest grace toward the penitent Leontes, who finally recovers much of
what he has lost and enjoys a forgiveness and reconciliation that he has neither
deserved nor hoped for.
Music Credits:
Almande Gervaise by Mince Pye La Rosette by Mince Pye
[Link]/mincepye [Link]/mincepye
©1997, 2000 There’s Been A Publishing, ASCAP ©1997, 2000 There’s Been A Publishing, ASCAP
Used with permission. Used with permission.

Brian Boru's March by Mince Pye Medieval Drum Dance by Mince Pye
[Link]/mincepye [Link]/mincepye
©1997, 2000 There’s Been A Publishing, ASCAP ©1997, 2000 There’s Been A Publishing, ASCAP
Used with permission. Used with permission.

The Famous Salterello by Mince Pye Players Entrance by Mince Pye

[Link]/mincepye [Link]/mincepye
©1997, 2000 There’s Been A Publishing, ASCAP ©1997, 2000 There’s Been A Publishing, ASCAP
Used with permission. Used with permission.

Jack O' Hazeldean by Mince Pye Ronde Iv by Mince Pye

[Link]/mincepye [Link]/mincepye
©1997, 2000 There’s Been A Publishing, ASCAP ©1997, 2000 There’s Been A Publishing, ASCAP
Used with permission. Used with permission.

Knocknagow Jig by Mince Pye Toaccata from the recording Monteverdi L’Orfeo
[Link]/mincepye (John Eliot Gardiner)
©1997, 2000 There’s Been A Publishing, ASCAP Used by permission of Universal Music Enterprises.
Used with permission.

La Basse Dance by Mince Pye

[Link]/mincepye
©1997, 2000 There’s Been A Publishing, ASCAP
Used with permission.

RODEHEAVER AUDITORIUM
May 5 & 6, 2010, 8 p.m.
May 7, 2010, 2 p.m.
Chimes will sound and lobby lights will flash three minutes before the end of intermission.
After the houselights are dimmed following intermission, no one will be readmitted to his seat.

Cameras and recording equipment are not permitted in the auditorium during any performance.
We request that signal watches and personal communication devices be turned off during
the program.

Tickets for this production have been sponsored by

PP 003 (7603) 4/10