Thursday, May 27, 2010


This amusing peek at Phil de Semlyen's 05/21/10 Empire States article "Bard Target: a visit to Roland Emmerich's Anonymous" quotes Mark Rylance saying Oxford had "a mind like a creamy pumpkin the size of the universe".

Thursday, May 20, 2010

Folger Consort to appear with David Daniels in D.C.

What could be better -- Shakespeare and music -- consider this offering from the Folger in Washington, D.C. Countertenor David Daniels has sung Handel's Messiah in Ann Arbor and is a former U of M student. FYI, a "consort" is an instrumental group.

TYBALT: Mercutio, thou consort'st with Romeo,-- MERCUTIO: Consort! what, dost thou make us minstrels? an thou make minstrels of us, look to hear nothing but discords: here's my fiddlestick; here's that shall make you dance. 'Zounds, consort! R&J III, 1

Folger Consort: Tempest
Shipwrecks, spells, and the sea form an enchanting mix in Shakespeare's The Tempest. Derek Jacobi, Richard Clifford and countertenor David Daniels join Folger Consort for staged readings from Shakespeare's play interspersed with musical selections by Matthew Locke, Handel, and others.

David Daniels has been praised by The Chicago Tribune as "today's gold standard among countertenors".

Thurs, Jun 10, 8pm
At the Lutheran Church of the Reformation
212 East Capitol Street, NE
Washington, DC

Fri, Jun 11, 8pm
At The Music Center at Strathmore
5301 Tuckerman Lane
North Bethesda, MD 
Buy Tickets: Tempest
Buy Tickets: Tempest at Strathmore
Learn More: David Daniels

Sunday, May 16, 2010

10 years of SOS The Oxfordian journal articles now online

SOS First Vice-president Richard Joyrich reports that dozens of complete articles from ten volumes of the Shakespeare Oxford Society's annual journal, The Oxfordian, are now available online at the Shakespeare Oxford Society website. At least six articles from each journal edited by Stephanie Hopkins Hughes are downloadable in PDF format from the site. It's impossible to choose highlights from such a wealth of topics, but here is a sampling:
. . . and onward through articles by Richard Whalen, Roger Stritmatter, Ruth Loyd Miller, and many other authorship luminaries, right up to "My Other Car is a Shakespeare" by Ward Elliot and Robert Valenza in Volume 10, 2007. The SOS plans to make articles from The Oxfordian Volume 11, 2009 created under the editorship of Michael Egan available next year.

Hunter's invitation to May 19 Oberon meeting

Your Michigan Shakespeare Festival Presentation Committee has been meeting to put together two great presentations this year at the invitation of Robert Duha, managing director of the festival.  We think we have done that.  Be sure to be at our regular meeting Wednesday evening to help us review and sharpen the message which we will be delivering to the audiences of Romeo and Juliet, 6:30 Saturday evening July 24 and Comedy of Errors, 6:30 Saturday evening July 31.
Also, Richard Joyrich will be presenting his long awaited summary of this year's Concordia Conference in Portland, OR, which was held in April.  Be there for Richard's take on groundbreaking scholarship presented at the conference and on other fun stuff.
Plus we need to finalize plans for Stratford and Interlochen, as those events are fast approaching.
Looking forward to seeing you at the Farmington Library as always for an enjoyable two hours of our favorite topic, the true Shakespeare.
Yours with all devotion,
Tom Hunter, Oberon Chair

Winnepeg Free Press reviewer Michael Dudley says orthodox Shakespearean scholarship is "anemic"

The Winnepeg Free Press published Michael Dudley's review of James Shapiro's Contested Will: Who Wrote Shakespeare?, "Out, damned skeptics, author fills in blanks with Stratfordian doctrine", on May 15, 2010. Dudley -- a senior research associate at the Institute of Urban Studies at the University of Winnepeg -- is a long-time Shakespeare authorship skeptic who finds Shapiro's arguments for the traditional Stratfordian candidate to be "time-worn, weak and . . . fallacious".

Dudley demolishes the key issue of Stratfordian attribution with one ultra-clear sentence:
. . .  Shapiro, nevertheless, devotes the final chapter to setting out his case for Stratfordian orthodoxy, which, like most conventional biographies of "the Bard," consists primarily of conflating all contemporary references to a writer named Shakespeare with the man from Stratford, and filling in the blanks with conjecture.
And a scathing analysis:
It is difficult to imagine another field of study in which such circular logic would be taken seriously. That Shapiro is gaining considerable accolades for this book is itself an indication of the anemic state of orthodox Shakespearean scholarship.

Saturday, May 15, 2010

Kositsky reports on Niederkorn's Shapiro review

Oberon Canadian correspondent and Shakespeare authorship expert Lynne Kositsky sends us this update on former New York Times editor William S. Niederkorn's review of James Shapiro's Contested Will: Who Wrote Shakespeare?, "Absolute Will" in the April 2010 edition of The Brooklyn Rail: Critical Perspectives on Arts, Politics and Culture.

Kositsky says:
The truth is getting out! William Niederkorn's review of Shapiro's
book has received another, and bigger, boost. It has been posted by
Critical Mass, the Blog of the National Book Critics Circle Board of
Directors, as an NBCC Featured Review: William S. Niederkorn on Contested Will by James Shapiro.

This news has been picked up and relayed by a number of other book
news observers. Here are the ones I've noticed so far:,+Government+Officials,+Strategists/U.S.+Representatives/John+Hall/0ekE6Lk1tDcdA/1

Please note there is a place to post comments on the Critical Mass
blog where you can show your support!

Saturday, May 8, 2010

Kirwin reviews Leahy's Shakespeare and his Authors

University of Warwick doctoral researcher Peter Kirwan posted a commentary about a new book edited by William LeahyShakespeare and his Authors: Critical Perspectives on the Authorship Questionon his Shakespeare Apocrapha blog dated April 1, 2010.

Before offering his insights on Leahy’s collection of essays, Kirwan made this statement of his viewpoint regarding two key issues in the Shakespeare authorship scrum:
1) That academic institutions - and English Literature departments in particular - are deliberately and systematically dedicated to the silencing (as opposed to answering) of anti-Stratfordians, or in fact anyone who expresses doubt. This is something I'm very happy to concede. The book collates some shockingly extreme and offensive language applied to anti-Stratfordians that compares them to Holocaust deniers or Creationists. The violence of the academy towards anti-Stratfordians, to my mind, is ill-judged, unprofessional and very troublesome. There is nothing morally wrong in questioning Shakespearean authorship. Universities try to shout down authorship questioners rather than answer them; not only is this poor academic practice, but it also fosters a martyr-like atmosphere of persecution that turns anti-Stratfordians into righteous underdogs. James Shapiro's new book, which came out after this volume, is hopefully a step towards the informed counter-argument rather than the tyrannous subjugation. I say all this because I am a member of an English Literature department in a Russell Group University, and thus am speaking from an establishment position; however, I do not accept that that necessarily means I have a priori views from which I cannot be persuaded.
2) That there is an intrinsic problem with Shakespearean biography, as exemplified primarily by Stephen Greenblatt and Jonathan Bate, the latter of whom is of course my supervisor. I have no innate felt need to defend Shakespearean biographers, however, and several of the essays (on both sides of the debate) identify real and genuine problems with Shakespearean biography: it is almost entirely the domain of English Lit. academics, it is necessarily largely speculative (though rooted in much stronger evidence than several of the writers here would care to admit) and it can be extremely repetitive. It also inevitably puts a lot of importance on the Man From Stratford, which provokes the anti-Stratfordian counter-arguments. Even in the poorest essays here, there are strong arguments about orthodox biography showing them to be, in large part, often no less rooted in fiction and personal opinion than those of the anti-Stratfordians, and that's an important contribution made by the volume.
Kirwan’s complete review may be viewed at “Review: Shakespeare and his authors”.

Shakespeare and his Authors editor William Leahy is Head of the School of Arts and founder of the masters program in Shakespeare authorship studies at Brunel University, UK. His book was published in April by Continuum Books. According to the publishers website: “This collection brings together leading literary and cultural critics to explore the Authorship question as a social, cultural and even theological phenomenon and consider it in all its rich diversity and significance.” The contents include:
  • On not knowing Shakespeare (and on Shakespeare not knowing): Romanticism, the authorship question, and English Literature, Andrew Bennett (University of Bristol, UK) 
  • Malfolio: foul papers on the Shakespeare authorship question, Willy Maley (University of Glasgow, UK) 
  • The authorship question: an historian’s perspective, William D. Rubinstein (University of Aberystwyth, UK) 
  • The distraction of ‘Freud’: Literature, Psychoanalysis and the Bacon–Shakespeare controversy, Nicholas Royle (University of Sussex, UK) 
  • No biography: Shakespeare, author, Sean Gaston (Brunel University, UK) 
  • Shakespearean selves, Graham Holderness (University of Hertfordshire, UK) 
  • Shakinomics; or, the Shakespeare authorship question and the undermining of traditional authority, William Leahy (Brunel University, UK) 
  • Fighting over Shakespeare’s authorship: identity, power and academic Debate, Sandra G. L. Schruijer (Utrecht University, The Netherlands) 
  • Mark Rylance (Former Artistic Director, Globe Theatre, London), Interviewed by William Leahy (Brunel University, UK) 
  • Dominic Dromgoole (Artistic Director, Globe Theatre, London), Interviewed by William Leahy (Brunel University, UK) 


Thursday, May 6, 2010

Who is this baby?

Georgetown University psychiatry professor Richard M. Waugaman, MD, says eighteenth century deification of Shakespeare is partially responsible for twenty-first century resistance to authorship inquiry.

In his article coauthored with Roger Stritmatter, “Who was ‘William Shakespeare’?”, in the current issue of the Scandinavian Psychoanalytic Review (Vol. 32, nr. 2 – 2009, pp 105-115) Waugaman says:
Anyone who questions the traditional belief about Shakespeare’s authorship often encounters an unusual degree of opposition, which sometimes has the intensity of a religious war. This is not accidental. It is as though people’s faith is being questioned. We believe that there are, in fact, covert religious undertones to these reactions. Before 1769, there was relatively little interest in biographical facts about Shakespeare. But in that year, the great Shakespeare actor David Garrick organized a “Jubilee” in Stratford. This event put Stratford on the map as a tourist attraction and secular “pilgrimage” site, and it helped set in motion a sort of deification of Shakespeare that is truly a form of “bardolatry.” We can understand these developments better by looking at the broader intellectual context of 1769. By then, the deistic, agnostic, and atheistic trends of the Enlightenment were undermining traditional religious faith among the intelligentsia. We believe that this intellectual environment created a void, which the apotheosis of Shakespeare helped to fill. This might help explain the peculiar fury one sees if one questions the authorship of the man from Stratford. It is as though admirers of Shakespeare’s works are being accused of worshiping a false god.
Waugaman points to the 1789 painting by George Romney “The Infant Shakespeare attended by Nature and the Passions” (shown above in a copperplate engraving by Benjamin Smith) to illustrate “ . . . the use of religious iconography to convey widespread idealization of Shakespeare as a Christ-like figure.”

Waugaman also addresses the issue of dismay over Sigmund Freud’s shameful support of alternative Shakespeare authorship:
Freud was one of the first prominent intellectuals to endorse de Vere’s authorship. His endorsement was regarded by his followers as an embarrassing error. With the exception of A Bronson Feldman . . . Freud’s opinion was either ignored or “analyzed” by psychoanalytic critics. . . . We view these attempts to “analyze” Freud as reflecting efforts to discredit his conclusions, due to a curious antipathy toward questioning Shakespeare of Stratford’s authorship.
Waugaman refutes James Shapiro’s contention that biography has no impact on artistic endeavor that Shapiro discusses in his new book on the authorship controversy, Contested Will: Who Wrote Shakespeare? In the section of Waugaman’s article subtitled “The Psychoanalytic Study of Creativity and the Authorship Question” Waugaman says:
It may come as a surprise to psychoanalysts to learn just how much current literary theory minimizes the signifcance of an understanding of the psychologyand life experiences of the author. For several years, the predominant view has instead been that studies of the text itself should be paramount, and it is often not considered legitimate or relevant to introduce data, much less psychological speculations, about the influence of the author’s psychology on their literary creations.Freud touched on this problem when he accepted the Goethe Prize. He interwove his comments on de Vere with his defense of a psychoanalytic study of Goethe. He acknowledged that some would object that such psychoanalytic studies would “degrade” a great man. He met this objection with the claim that only a psychoanalytic study of great writers can “throw any light on the riddle of the miraculous gift that makes an artist” or “help us comprehend any better the value … of his works” (Freud, 1930, p. 211). We strongly agree with Freud that advances in our understanding of literary genius, and creativity in general, will be promoted by once more legitimizing the study of connections between the artist’s life and work. One constant in psychoanalytic studies of artistic creativity is deep interest in the psychology of the creative artist. Psychoanalysts take it for granted that their  special insights will illuminate personality, emotional conflicts, and salient life experiences of the creative artist. The authorship question has a special but often overlooked relevance to this investigation.
Waugaman also discusses:
  • Edward de Vere as foremost authorship candidate
  • why the Stratfordian attribution is inadequate
  • the psychology of secrecy as it pertains to pseudonymous writers, and
  • the psychology of creativity and the artistic imagination.
The Waugaman/Stritmatter article may be accessed from the Scandinavian Psychoanalytic Review site at: or may be ordered from the journal at University Press of Southern Denmark, Campusvej 55, DK-5230 Odense M, Denmark, e-mail:

Waugaman will furnish a PDF file of this article to interested readers. Contact him at:

Richard M. Waugaman is one of 12 editors of the new journal of authorship studies, 
Brief Chronicles, as announced by Roger Stritmatter on his website, Shake-speare’s Bible. Waugaman has published extensively on the topic of Shakespeare. When asked how his article ended up in a Scandinavian psychiatry journal, Waugaman said:
It was a fascinating experience. From what I've seen, they do mostly publish Scandinavian psychoanalysts. But a month after I sent them our article, the editor wrote that he and the first peer reviewer liked it so much they planned to publish it in their next issue, before even hearing from the second reviewer. There is clearly a different attitude toward the authorship question in those parts. I chose that journal because it's included in "PEP-Web" a database of English language psychoanalytic journals, to which most analysts (I would guess) now subscribe. After a three-year embargo, the full text then becomes available to all subscribers, whether or not they subcribe to that journal. Naturally, it will show up on PEP-Web literature searches (which are freely available to everyone). It may go without saying that this journal wasn't the first stop our article made. It's been around. A colleague who has an outstanding international reputation opined to me that "it would be of no psychoanalytic interest whatsoever even if it were proven conclusively that de Vere wrote Shakespeare's works. I told him his idea (not him, mind you) was insane.

Selected bibliography of publications on the topic of Shakespeare:  
“Unconscious Communication and Literature,”  Psychiatry, 66: 214-221 (2003).
Unconscious Communication in Shakespeare: ‘Et tu, Brute?’ Echoes ‘Eloi, Eloi, Lama Sabbachthani?’”  Psychiatry, 70:52-58 (2007).
“A Wanderlust Poem, Newly Attributed to Edward de Vere,” Shakespeare Matters7(1):21-23 (2007).
“A Snail Poem, Newly Attributed to Edward de Vere,” Shakespeare Matters 7(2):6-11(2008).
“The Pseudonymous Author of Shakespeare’s Works”, on-line Princeton Alumni Weekly (March 19, 2008).
“A Psychoanalytic Study of Edward de Vere’s The Tempest". J. Amer. Academy of Psychoanalysis (2009).
The Psychology of Shakespearean Biography.” Brief Chronicles: The Interdisciplinary Journal of the Shakespeare Fellowship, Vol. 1 (2009).
"The Sternhold and Hopkins Whole Book of the Psalms is a Major Source for the Works of Shakespeare". Notes & Queries,. Dec. 2009 (see also

“Echoes of the ‘Lamed’ Section of Psalm 119 in Shakespeare’s Sonnets.” Shakespeare Matters 8:1-8 (2009).
“Shakespeare’s Sonnet 6 and the First Marked Passage in de Vere’s Bible.” Shakespeare Matters (in press).
 “The Bisexuality of Shakespeare’s Sonnets and Implications for De Vere’s Authorship.” The Psychoanalytic Review (in press).

“Shakespeare’s Sonnet 80, Marlowe, and Hero and LeanderShakespeare Matters(in press).

“Shakespeare’s Bible: A Personal Odyssey.” Academy Forum (in press).
The Source for Remembrance of Things Past in Shakespeare’s Sonnet 30.” Shakespeare Matters (in press).
“Samuel Clemens and Mark Twain: Pseudonym as Act of Reparation.” The Psychoanalytic Review (in press).

“Echoes of the Whole Book of Psalms in Shakespeare’s 1 Henry VI, Richard II, and Edward III.” Notes & Queries (in press).

Submitted articles
“A New Biblical Source for the Works of Shakespeare: The Sternhold and 
Hopkins Psalms.” Renaissance Studies (revised draft under 

“The Arte of English Poesie: The Case for Edward de Vere’s Authorship.” 
Brief Chronicles.

Book reviews and book essays

Psycho-analysis 88: 267-271 (2007).

Shakespeare by Another Name, by Mark Anderson.  Psychoanalytic
 Quarterly 76: 1395-1403 (2007).  reprinted in Shakespeare 
Matters (2008).

Anonymity: A Secret History of English Literature, by John Mullan. 
Shakespeare Matters 7(3): 10-14 (Spring, 2008).

Shakespeare the Thinker, by A.D. Nuttall.  Shakespeare Matters 7(4): 8-
11 (Fall, 2008). 
The Mind According to Shakespeare: Psychoanalysis in the Bard’s W
ritings, by Marvin B. Krims.  Psychoanalytic Quarterly 77: 1298-
1305 (2008).

The Anonymous Renaissance, by Marcy North.  Shakespeare Matters 
8(3):20-26 (2009).

The Muse as Therapist: A New Poetic Paradigm for Psychotherapy, by 
Heward Wilkinson.  Brief Chronicles: The Interdisciplinary Journal of 
the Shakespeare Fellowship. 1:274-278 (2009).

Hamlet Himself, by Bronson Feldman. Brief Chronicles (in press).
Contested Will: Who Wrote Shakespeare? by James Shapiro.
Psychoanalytic Quarterly (in preparation).

Wednesday, May 5, 2010

MSF expands high school monologue contest

Michigan Shakespeare Festival High School Monologue Contest

JACKSON, Mich., May 4, 2010 – The Michigan Shakespeare Festival announced today it is expanding its annual High School Shakespeare Monologue Contest. With the support of Dawn Foods Foundation, Michigan Automotive Compressor, Inc., and Whole Foods Market, the festival will provide rigorous performance and competition opportunities along with cash prizes.

Regional competitions will be held May 15 in Ann Arbor, sponsored by Whole Foods Market and Jackson, sponsored by Dawn Foods Foundation. The top four contestants from each site advancing to the state finals, sponsored by Michigan Automotive Compressor, Inc., on July 31, 2010.

“I am extremely pleased that this year we are able to expand the scope of the monologue contest,” managing director, Robert Duha said. “As with our recent High School tour of Romeo & Juliet and our summer children’s production, we hope to create lifelong lovers of theatre through our educational outreach efforts.”

Regional participants will perform a memorized monologue from a Shakespeare play of less than two minutes before a panel of judges. In addition to advancing to the state finals, the top two finishers in each region will also receive a $200 award, four tickets to the Michigan Shakespeare Festival’s 2010 season, and recognition in the season program. The winner of the state competition will receive a $350 award.

Students can download an application form and find a list of rules and guidelines Entry deadline is May 10, 2010.

Regional locations (both scheduled for 10:30 am May 15, 2010)
Ann Arbor: Whole Foods Market, 3135 Washtenaw Ave., Ann Arbor MI, 48104
Jackson: The Shakespeare Room, Jackson High School, 244 Wildwood Ave. Jackson, MI 49201

State finals (scheduled for Saturday, July 31, 2010)
Jackson: The Michael Baughman Theatre, on the campus of the Jackson Community College

The Michigan Shakespeare Festival is a non-profit professional theater festival founded in 1995. Since its inception the Festival has entertained more than 40,000 people of all ages. In 2003, the Festival’s quality and reputation as a regional classical theatre earned it the designation as “The Official Shakespeare Festival of the State of Michigan” from the Governor and the State Senate. The Festival is dedicated to the production of Shakespeare’s plays and other classical works.

MI Shakespeare Festival presents R&J and COE

News from Robert Duha, Managing Director of the Michigan Shakespeare Festival:  
Jackson, Mich. (April 9, 2010) – The Michigan Shakespeare Festival enters its 16th season in mid-July with an abundance of frivolity, fun and fancy that promises to keep audiences glued to their seats from the opening line to the final curtain. The 2010 season runs for four weeks beginning July 15 through August 8.

In her first year as artistic director, Janice Blixt takes a bold, fresh approach to two of Shakespeare’s most well-known and frequently performed plays, Romeo and Juliet and The Comedy of Errors. An accomplished Shakespearean actor, director and teacher of classical theatre, Blixt noted, “The best productions of Shakespeare are the ones that demand their audiences live the journey with them.” With that in mind, theatergoers can expect a memorable ride at this summer’s festival.

The 2010 season opens at 7:30 p.m. on July 15 in the Michael Baughman Theatre on the campus of Jackson Community College with a preview performance of Romeo and Juliet followed by a preview performance of The Comedy of Errors at 2 p.m. on July 17.  

Romeo and Juliet has been produced continuously for 400 years because Shakespeare’s characters speak to universal truths: love, hate, humiliation, exaltation, honor, betrayal, greed, generosity, failure and success,” said Blixt, the play’s director.

 “There’s also humor. We’re taking a softer, gentler approach to Romeo and Juliet. The scenery and costumes are post-Edwardian 1910. The play is about young people falling in love and guys hanging out, and some of the typical things they do and say. I’m really excited as we’re not altering much yet we’re presenting the show in a fresh way that will invigorate audiences and give them a new sense of appreciation for Shakespeare.”

Audiences can expect the same high-energy performance and good time when The Comedy of Errors takes the stage under the direction of Kevin Theis, a professional actor, director and playwright. “The production is zany, funny and whacky,” Blixt said. “With its brightly colored sets and cartoonish costumes, the production will be fast, funny and fun.”

Two special features give audiences opportunities to ask questions and provide feedback. At Bard Talks, professors from area universities share Shakespeare history and highlights of his plays with audience members before designated Shakespeare performances. At Talk Backs, audience members meet with the play’s directors and actors after designated performances to debrief and offer feedback.

Based on the Pulitzer Prize-winning play by Alfred Uhry, Driving Miss Daisy rounds out the season with Sunday matinees at 3 p.m. for three consecutive weeks beginning July 25. Most of the all-star cast from last season’s award-winning professional theatre production in mid-Michigan will reprise their stellar performances at this year’s Michigan Shakespeare Festival.

The festival features professional and experienced actors from throughout the United States, with a generous number from Southeast Michigan, including Washtenaw County. Many cast members also are successful producers, directors, stage managers and choreographers. Their broad-based knowledge of theatre arts enhances every production they touch.

New this year is cash prizes for the High School Monologue Contest held in May in which students in grades 9 through 12 can win cash prizes. Each participant must read a two-minute monologue of their choosing from a Shakespeare play. Theatre and media professionals will select state finalists, who will compete at the festival on July 31 for a grand prize of $350.

Also, the Michigan Shakespeare Festival cast will be performing “Snow White and the Seven Dwarfs” throughout June at libraries, recreation centers, and the University of Michigan’s C.S. Mott Children’s Hospital. The actors will engage the children in audience participation activities that promise to be entertaining and memorable. The program is designed for children ages 4 through 7, but those younger and older will enjoy this classic play.
The Michigan Shakespeare Festival is a nonprofit professional theatre founded in 1995. Since its inception, the festival has entertained more than 40,000 people of all ages. In 2003, the festival’s quality and reputation as a regional classical theatre earned it the designation as “The Official Shakespeare Festival of the State of Michigan from Gov. Jennifer Granholm and the State Senate.

To learn more about The Michigan Shakespeare Festival or to reserve tickets, call (517) 998-3673 or visit

Preview and opening dates and times are:

Romeo and Juliet, Thursday, July 15, 7:30 p.m. (preview)
Romeo and Juliet, Friday, July 16, 7:30 p.m. (preview)
The Comedy of Errors, Saturday, July 17, 2 p.m. (preview)
Romeo and Juliet, Saturday, July 17, 7:30 p.m. (opening)
The Comedy of Errors, Sunday, July 18, 4 p.m. (preview)

The Comedy of Errors, Thursday, July 22, 7:30 p.m. (opening)
The Comedy of Errors, Friday, July 23, 7:30 p.m.
The Comedy of Errors, Saturday, July 24, 2 p.m.
Romeo and Juliet, Saturday, July 24, 7:30 p.m.
Driving Miss Daisy, Sunday, July 25, 3 p.m.

The Comedy of Errors, Thursday, July 29, 7:30 p.m.
Romeo and Juliet, Friday, July 30, 7:30 p.m.
Romeo and Juliet, Saturday, July 31, 2 p.m.
The Comedy of Errors, Saturday, July 31, 7:30 p.m.
Driving Miss Daisy, Sunday, August 1, 3 p.m.

The Comedy of Errors, Friday, August 6, 7:30 p.m.
The Comedy of Errors, Saturday, August 7, 2 p.m.
Romeo and Juliet, Saturday, August 7, 7:30 p.m.
Driving Miss Daisy, Sunday, August 8, 3 p.m.
Romeo and Juliet, Sunday, August 8, 7:30 p.m.