Our American Hamlet

March 23-April 2, 2017

Carling-Sorenson Theater, Babson College, Wellesley

By Jake Broder

Directed by Steven Maler

The time was 1866, less than a year after President Lincoln was assassinated by John Wilkes Booth. His brother Edwin Booth, one of the greatest Shakespearean actors of the 19th century, decided to perform Hamlet on Broadway, a role he had performed in the past to great acclaim. A huge crowd turned up for the performance — but it wasn’t clear whether they were there to see the actor perform or to exact their revenge.

Thursday, March 23 at 7:30pm
Friday, March 24 at 7:30pm
Saturday, March 25 at 7:30pm
Sunday, March 26 at 3pm
Wednesday, March 29 at 7:30pm
Thursday, March 30 at 7:30pm
Friday, March 31 at 7:30pm
Saturday, April 1  at 7:30pm
Sunday, April 2 at 3pm

Running Time: 90 minutes, no intermission

Cast

Kelby Akin
June Booth/ John Sleeper Clarke
Kelby Akin
June Booth/ John Sleeper Clarke

Kelby Akin returns to CSC for his fourth collaboration including staged productions and readings. Recent professional highlights from the Boston area include Death of a Salesman (Lyric Stage) for which he received an IRNE award for Best Supporting Actor. Kelby had the honor of playing Dic Donohue in the motion picture “Patriots Day” (CBS films). Kelby’s full acting resume can be found at browntrinity.com/alumni under MFA actors.

Jake Broder
Adam Badeau
Jake Broder
Adam Badeau

Jake Broder makes his CSC debut. Broadway/West End theatre credits include: Mozart in Amadeus (The Old Vic, Music Box), director: Sir Peter Hall, When Harry Met Sally (Theatre Royal Haymarket), Ophelia & Juliet in Complete Works of Shakespeare (Reduced Shakespeare Company). Off Broadway: Lord Buckley in His Royal Hipness Lord Buckley (59e59 Theatres). Regional includes: Ira Gershwin in Words By: Ira Gershwin (Colony Theatre), director: David Ellenstein. Jake co-wrote and originated the role of Louis in Louis & Keely Live at the Sahara (Geffen Playhouse), directed by Taylor Hackford, winning three Ovation Awards, LADCC, and LA Weekly awards for Best Actor and Best Production. Television Includes: a multi season recurring role on “Silicon Valley” (HBO), “How I Met Your Mother”(CBS), “Roman Mysteries” (BBC), “Strange” (BBC), “Line of Beauty” (BBC), “Broken News” (BBC), a recurring role on “The Eagle” (Denmark-Winner of a 33rd International Emmy). Film includes: “Bad Milo!,” Kevin Spacey’s “Beyond the Sea”, “In A Day” and “The Barn” (winner 2004 BIFA award), the upcoming thriller “Sleepwalker (2017)”. Writing includes the plays Louis and Keely: Live at the Sahara, His Royal Hipness Lord Buckley and the jazz musical Miravel at Sacred Fools (winner LADCC Best Score 2016). Produced screenplays include, “The Barn”, and “A Car Stopped.” Work in development: “Diz for Prez” and “Typewriter Days” for Revolution Studios. Training: Guildhall School of Music and Drama, London. In NY, Saxophone with Lee Konitz and New England Conservatory & Tufts University.

Lucy Davenport
Asia Booth/ Mary Devlin
Lucy Davenport
Asia Booth/ Mary Devlin

Lucy Davenport makes her CSC debut. Lucy trained at RADA and has since worked on both sides on the Atlantic. Theater includes Yes Prime Minster (Geffen Playhouse); Protection (Soho Theater, London), Orlando Furioso (The Globe, London) and lots of Shakespeare heroines. TV includes “NCIS”, “Doctor Who”. Film includes “Dinner for Schmucks”, “Gangster Squad”, Tim Burton’s “Alice in Wonderland” and Martin Scorsese’s “Gangs of New York”. Lucy is represented by Untitled Entertainment and the JKA Agency.

Jacob Fishel
Edwin Booth
Jacob Fishel
Edwin Booth

Jacob Fishel returns to CSC after performing in a staged reading of Fool for Love. Broadway: Fiddler on the Roof. Off-Broadway: The Common Pursuit (Roundabout Theatre Company), Titus Andronicus (The Public Theater), The Broken Heart, King Lear (TFANA), Women Beware Women (Red Bull Theater), Macbeth (NYSF). Regional: Sense and Sensibility (Folger Theater), Henry V, As You Like It (Two River Theater), The Real Thing (Intiman Theatre). Television:”Cold Case”, “Medium”, “Without a Trace”, “Numb3rs”. Film: “A Night Without Armor”, “Across the Sea”, “How I Got Lost”. Jacob is a graduate of The Juilliard School’s Drama Division where he received the John Houseman Prize for Excellence in Classical Theatre.

Joe Fria
John Wilkes Booth
Joe Fria
John Wilkes Booth

Joe Fria makes his CSC debut. Joe is excited to be back doing theater on the East Coast! He most recently finished shooting Marvel’s “Guardians of the Galaxy Vol.2” in Atlanta and the horror movie “The Belko Experiment” in Bogota, Colombia. TV credits include “Gilmore Girls”, “Baby Bob”, “Off Centre”, “Community”, and “Legends”. He has been working in Los Angeles theater for 19 years with widely respected 99 seat companies such as Circle X and Boston Court. He has also appeared on many of Southern California’s larger stages including South Coast Rep, Center Theatre Group, The Geffen, Pasadena Playhouse, The LA Philharmonic, and International City Theatre.

Maureen Keiller
Mary Ann Holmes/ Adelaide Delanoy
Maureen Keiller
Mary Ann Holmes/ Adelaide Delanoy

Maureen Keiller is happy to be be back at Commonwealth Shakespeare Company, having last appeared in their production of Our American Hamlet. Theatre credits: The Honey Trap, Faithless (Boston Playwrights), Oh God (Israeli Stage), Come Back Little Sheba (Huntington Theatre Company), Into The Woods, 33 Variations, Big River, The Life and Adventures of Nicholas Nickleby, Speech and Debate, Epic Proportions (Lyric Stage), The Whale, Nine, The Little Dog Laughed, Almost Maine, The Women (SpeakEasy Stage). Television and film: “Olive Kitteridge”, “Spotlight”, “Fever Pitch”, “My Best Friend’s Girl”, “Brotherhood”.  Maureen is an Elliot Norton Award winner for Outstanding Actress and a three-time IRNE winner for Best Supporting Actress.

Will Lyman
Junius Brutus Booth
Will Lyman
Junius Brutus Booth

Will Lyman-Boston Stages: King Lear, Ulysses on Bottles, Guess Who’s Coming to Dinner, Windowmen, Operation Epsilon, Long Day’s Journey Into Night, All My Sons, Exits and Entrances, The Oil Thief, Nicholas Nickleby, King of the Jews, Prospero, Brutus, Claudius. Off-Broadway: The Novelist, Passion of Dracula, Grinding Machine, The Dwarfs. Television: “Commander-in-Chief”, “Threat Matrix”, “Hull High”, “Crossbow”, “American Meltdown”, “Our Fathers”, soaps. Film: “Little Children”, “A Perfect Murder”, “The Siege”, “Mystic River”, “Welcome to the Dollhouse”, “What Doesn’t Kill You”Narrator: “Frontline”, “NOVA”, “American Experience” etc. Awards: Norton Outstanding Achievement (4 plays), Norton Sustained Excellence 2013, IRNE, NETC Award for Contribution to American Theatre, Howard Keel, Best of Boston, Imaginaire.

Creative Team

Steven Maler
Director

Steven Maler is the Founding Artistic Director of Commonwealth Shakespeare Company (CSC). At CSC he has been directing Free Shakespeare on the Boston Common productions since 1996, including Love’s Labour’s Lost, King Lear, Twelfth Night, The Two Gentlemen of Verona, Coriolanus, All’s Well That Ends Well, Othello, The Comedy of Errors, As You Like It, A Midsummer Night’s Dream, The Taming of the Shrew, Hamlet, Much Ado About Nothing, Macbeth, Henry V, The Tempest, Julius Caesar, and Romeo & Juliet.  In collaboration with Boston Landmarks Orchestra, he directed A Midsummer Night’s Dream, featuring the Overture and Incidental Music of Felix Mendelssohn, as well as concert stagings of The Boys from Syracuse and Kiss Me, Kate at Boston’s iconic Hatch Shell.

Other CSC works include the critically acclaimed production of Ariel Dorfman’s Death and the Maiden, the world premiere of Jake Broder’s Our American Hamlet, and the world premiere of Robert Brustein’s The Last Will.  He directed Peter Eötvös’s operatic treatment of Tony Kushner’s Angels in America (U.S. Premiere) and Thomas Adès’ Powder Her Face, The Turn of the Screw at New Repertory Theatre, Santaland Diaries and Chay Yew’s Porcelain at SpeakEasy Stage Company, Top Girls and Weldon Rising at Coyote Theatre,  and The L.A. Plays by Han Ong at A.R.T. His New York City credits include the New York Musical Theatre Festival production of Without You, written by and starring Anthony Rapp. The production has been seen in Boston, Edinburgh, Toronto, London and Seoul.

He received the Elliot Norton Award for Sustained Excellence as well as for Best Production, Twelfth Night; Outstanding Director, A Midsummer Night’s Dream; Best Production, Suburbia; Best Solo Performance, John Kuntz’s Starf***ers (which also won Best Solo Performance Award at New York International Fringe Festival).

His feature film “The Autumn Heart”, starring Tyne Daly and Ally Sheedy, was in the Dramatic Competition at the Sundance Film Festival.

Jake Broder
Playwrght
Jake Broder
Playwrght

Jake Broder makes his CSC debut. Broadway/West End theatre credits include: Mozart in Amadeus (The Old Vic, Music Box), director: Sir Peter Hall, When Harry Met Sally (Theatre Royal Haymarket), Ophelia & Juliet in Complete Works of Shakespeare (Reduced Shakespeare Company). Off Broadway: Lord Buckley in His Royal Hipness Lord Buckley (59e59 Theatres). Regional includes: Ira Gershwin in Words By: Ira Gershwin (Colony Theatre), director: David Ellenstein. Jake co-wrote and originated the role of Louis in Louis & Keely Live at the Sahara (Geffen Playhouse), directed by Taylor Hackford, winning three Ovation Awards, LADCC, and LA Weekly awards for Best Actor and Best Production. Television Includes: a multi season recurring role on “Silicon Valley” (HBO), “How I Met Your Mother”(CBS), “Roman Mysteries” (BBC), “Strange” (BBC), “Line of Beauty” (BBC), “Broken News” (BBC), a recurring role on “The Eagle” (Denmark-Winner of a 33rd International Emmy). Film includes: “Bad Milo!,” Kevin Spacey’s “Beyond the Sea”, “In A Day” and “The Barn” (winner 2004 BIFA award), the upcoming thriller “Sleepwalker (2017)”. Writing includes the plays Louis and Keely: Live at the Sahara, His Royal Hipness Lord Buckley and the jazz musical Miravel at Sacred Fools (winner LADCC Best Score 2016). Produced screenplays include, “The Barn”, and “A Car Stopped.” Work in development: “Diz for Prez” and “Typewriter Days” for Revolution Studios. Training: Guildhall School of Music and Drama, London. In NY, Saxophone with Lee Konitz and New England Conservatory & Tufts University.

Julia Noulin-Mérat
Scenic Design

Julia Noulin-Mérat In addition to her work as Associate Producer for Boston Lyric Opera, is Director of Design and Production for Guerilla Opera, and resident set designer for Attic Theater in New York. She has designed over 325 opera, theater, immersive shows, and television productions, including: a 50,000 square feet immersive show Peter Pan in Beijing; a 30,000 square feet immersive vaudeville dining experience in New York; Clemency, In the
Penal Colony and La Traviata at Boston Lyric Opera; Cosi Fan Tutte and Bluebeard’s Castle at Opera Omaha; Sumeida’s Song and 27 at Pittsburgh Opera; Giver of Light, Troubled Water, Pedr Solis, and No Exit at Guerilla Opera; L’Heure Espagnole and Scalia/Ginsburg at Castleton Festival; Transformations and Alcina at Boston Conservatory; These Seven Sicknesses, Restoration Comedy at The Flea Theater; November, The Rocky Horror Picture Show at the Hangar Theatre. Her television work includes “Guiding Light” and “Inside the Actor’s Studio.” Her studio has created environments for the New York Aquarium, the Bronx Zoo, The Intrepid, Grand Central and Times Square. She previously designed Our American Hamlet with Commonwealth Shakespeare Company. noulinmeratstudio.com

Nancy Leary
Costume Design
Nancy Leary
Costume Design

Nancy Leary returns to CSC. She is a Costume Designer who’s visionary work for opera and theater has spanned several decades and graced various stages in both the United States and Canada. From 2000 to the present Nancy has worked on operas including several new pieces for Boston Lyric Opera, Virginia Opera, The Pittsburgh Symphony, Opera Saratoga, Chautauqua Opera, Mobile Opera, Juilliard Opera, Opera Boston, New England Conservatory, Boston Conservatory and Boston Musica Viva. Theatre credits include Weston Playhouse, Shakespeare Theatre of New Jersey, Actor’s Shakespeare Project, Orlando Shakespeare Festival, New Repertory Theatre, Merrimack Repertory Theatre, Chamber Repertory Theatre, North Shore Music Theatre and Knife Edge Productions, New York. Upcoming productions include two new operas The Long Walk for Utah Opera, Burke and Hare for Boston Lyric Opera, and Samuel Barber’s Vanessa for Mannes Opera, New York. Nancy is also an Assistant Professor of Production and Design for Boston University School of Theatre.

Brian Lilienthal
Lighting Design
Brian Lilienthal
Lighting Design

Brian Lilienthal Commonwealth Shakespeare Company: Our American Hamlet. Regional: Over 250 productions at: Huntington Theatre, Arizona Theatre Co, Milwaukee Rep, Cleveland Playhouse, Pasadena Playhouse, South Coast Rep, Actors Theatre of Louisville (over 60 productions and 20 world premieres at the Humana Festival of New American Plays), Merrimack Rep, Arden Theatre, Trinity Rep, GEVA Theatre Center, Cincinnati Playhouse in the Park, among many. Opera: Long Beach Opera, Bard Summerscape, Portland Opera Repertory Theatre. Mr. Lilienthal has won the Los Angeles Ovation Award for lighting design, and has been nominated multiple times for Boston’s IRNE Award. He has spent 9 summers as the resident lighting designer for the National Playwrights Conference at the Eugene O’Neill Theatre Center. MFA: California Institute of the Arts. Mr. Lilienthal currently teaches lighting design at Tufts University, and is a member of the Patriots Program at Merrimack Rep in Lowell, MA. He lives in Somerville, MA, and is a drummer with a rockabilly/jump blues quartet that performs throughout the Boston Metro area. www.BrianJLilienthal.com

David Remedios
Sound Design
David Remedios
Sound Design

David Remedios CSC: Romeo and Juliet (2017); Our American Hamlet, Love’s Labour’s Lost, Twelfth Night (2014, IRNE nom.), The Last Will, Coriolanus, All’s Well That Ends Well, Othello. Recent: Knyum, The Royale, Women in Jeopardy!, The Making of a Great Moment, Merrimack Rep; The Curious Incident of the Dog in the Night-Time, The Scottsboro Boys (IRNE Award), SpeakEasy Stage; Wild Horses, The Niceties, Contemporary American Theater Festival; The Effect, Gloucester Stage; Faithful Cheaters, Trinity Rep; Finish Line, Boston Theater Company at Shubert Theatre. Other regional and local credits include Geva Theatre, 59E59, Huntington Theatre, Studio Theatre, Portland Stage, Theatre for a New Audience, American Repertory Theatre, Centerstage Baltimore, LaJolla Playhouse, Cincinnati Playhouse, among many others. International: prominent arts festivals in Bogotá, Paris, Hong Kong and Edinburgh. David is Assistant Professor and Program Head of Sound Design at Boston University. remediosssound.com.

Lisa Berg
Properties Design
Lisa Berg
Properties Design

Lisa Berg returns to Commonwealth Shakespeare Company after working on Our American Hamlet. New to Massachusetts, and a Michigan native., she has worked as Props Master for Boston Conservatory and Boston Lyric Opera. She had also worked with Stoneham Theatre, and Moonbox Productions.

Nile Hawver
Fight Director
Nile Hawver
Fight Director

Nile Hawver is so happy to put down his camera and pick up a sword as he returns to design some violence with CSC. Previous work with CSC includes fight direction for Romeo and Juliet in 2015, and playing Sebastian (Twelfth Night) on the Common in 2014. Theatre: Edward II (Actors’ Shakespeare Project); Greek, Carmen (Boston Lyric Opera); Finish Line, (Boston Theatre Company); Violet, Mothers and Sons, (Speakeasy Stage); Etherdome, (Huntington Theatre Company); The Edge of Peace, (Central Square Theater), Montana Shakespeare in the Parks, Illinois Shakespeare Festival, Shakespeare Theatre of New Jersey, Ocean State Theatre Company, and more. MFA: University of Illinois at Urbana-Champaign. www.nilehawver.com | www.nilescottshots.com

Jenna Worden
Stage Manager
Jenna Worden
Stage Manager

Jenna Worden is delighted to return to CSC after working on Richard III, Old Money, Death and the Maiden, and Our American Hamlet. She has worked extensively with Gloucester Stage Company, both as a stage manager and props master. Favorite GSC credits include The Agitators, To Kill a Mockingbird, The Totalitarians, and The Flick. In addition, Jenna has worked with WGBH (A Christmas Celtic Sojourn), Phoenix Theatre, and Childsplay AZ. She earned both her BA in Theatre Studies and BSEd in History from Northern Arizona University.Proud member of Actors’ Equity Association.

Rachel Corning
Assistant Stage Manager
Rachel Corning
Assistant Stage Manager

Rachel Corning returns to CSC after most recently stage managing their Apprentice Program production of Henry VI Pt. II  and the CSC2 production of Macbeth. Over her past two seasons with CSC, Rachel has also served as assistant stage manager on Old Money, Death and the Maiden, Beckett in Brief, and Our American Hamlet, as well as stage manager for the 2017 Apprentice production of Henry IV. Over the past year, outside of CSC, she has contributed to productions at North Shore Music Theatre (The Music Man, Young Frankenstein, Evita, 42nd Street, A Christmas Carol) and Gloucester Stage Company (The Agitators). Rachel is a graduate of Simmons University (Boston, MA) with a degree in Media Arts.

Leah Carnow
Assistant Director
Leah Carnow
Assistant Director

Leah Carnow is thrilled to be working with CSC again after performing onstage in The Boys From Syracuse. Leah served as the Assistant Director on Speakeasy Stage’s production of Bad Jews. Directing credits also include The Last Five Years and Elegies, both at Brandeis University. As an actress, regional credits include It’s A Wonderful Life (Wheelock Family Theatre), Ragtime (Fiddlehead Theatre Company), Tales of a Fourth Grade Lesbo (Flat Earth Theatre), Guys and Dolls (Longwood Players), Kiss Me Kate (Longwood Players), God Hates Musicals (Ministry of Theater), Travelogue (Open Theatre Project), and The Bacchae (Tubiforce). Leah also appears as Jenny in the webseries “Staying in Boston.” She received her B.A. in Theater Arts and Creative Writing from Brandeis University. When she is not making theater, Leah teaches yoga and meditation in the greater Boston area.

Carling-Sorenson Theater
19 College Drive Babson College
231 Forest Street
Babson Park (Wellesley), MA 02457

Driving Directions to Babson College/Sorenson Center for the Arts

From the east: Take the Massachusetts Turnpike to Exit 15 (Interstate 95/Route 128). After the tolls, follow signs to Route 95/128 South to Exit 21 (Route 16 Newton/Wellesley) …

From the west: Take the Massachusetts Turnpike to Exit 14 (Interstate 95/Route 128). After the tolls, follow signs to Route 95/128 South to Exit 21 (Route 16 Newton/Wellesley) … From the south: Follow Route 95/128 North to Exit 21 (Route 16 Newton/Wellesley) …

From the north: Follow Route 95/128 South to Exit 21 (Route 16 Newton/Wellesley) …

Then … At end of the off ramp, follow signs for Route 16 West (Washington Street). Continue on Route 16 West for 2 miles through Newton Lower Falls and Wellesley Hills. Turn left onto Forest Street and follow for 1 mile to Babson College; the main entrance is on the right. Turn left onto Map Hill Drive and park in the Trim Parking Lot. The theater is a short walk away, on College Drive.

Trim Parking Lot is the best place to park when attending events at the Sorenson Center for the Arts.  As you enter on Forest Street, make a left at the first stop sign unto Map Hill Drive.  On your right will be a smaller lot, Hollister Lot. If there is space available, patrons may park there.  However, Trim Parking Lot is preferred which will be on the left hand side after you pass the Hollister lot.  To walk to the theater, walk back towards the stop sign and make a left at the Hollister building.  Continue walking straight past Reynolds Campus Center and the Sorenson Center for the Arts will be the next building.

Handicap parking is available in the Hollister Lot, on Map Hill Drive.  We also recommend that patrons with mobility issues be dropped off in front of the theater before your party finds parking in Hollister or Trim lot for your convenience. 

From the Amtrak Terminal at South Station

You have two options:

1) Take the Framingham/Worcester Commuter rail to Wellesley Hills. From South Station, take the Framingham/Worcester commuter rail to Wellesley Hills. Depending on the time of day, regularly scheduled trains leave South Station at ½ to 2-hour intervals (Monday-Friday), and 1-to 3-hour intervals (Saturday and Sunday). The trip takes approximately 30 minutes. Purchase your ticket in the station. Then, call a taxi from Wellesley Hills. (See Area Taxis, below.)

2) Take the “T.” From South Station, take the MBTA subway Red Line inbound two stops to Park Street. Walk upstairs and take the Green Line outbound Riverside D train to Woodland, the next to last stop on the D line. Allow an hour for the trip. Then, take a taxi from Woodland to Babson. (See Area Taxis, below.)

For complete information about Massachusetts Bay Transportation Authority (MBTA) services, including specific maps, schedules, and fares for trains, buses, and subways, please visit the MBTA web site.

By Taxi

Veteran’s Taxi (781) 449-8294 Wellesley Transportation (781) 235-2200 The Babson campus is handicap accessible.

Reviews

This skin-rubbed-raw state is a vulnerability that can also increase receptivity in a good way. Given my interest in art that explores the liminality between the political and the personal, I was engaged by a new play, Our American… Read More

- Slow Muse, Deborah Barlow

The production boasts a series of fine performances, and its mixture of various theatrical devices proves transporting. But I found myself much more interested in Edwin’s story, with its details of the world of 19th-century American theater, than… Read More

- WBUR The ARTery, Jeremy D. Goodwin

Give me a good historical drama any day – I love it when a play grips us with great storytelling and teaches us something new. Such a play is “Our American Hamlet,” a new drama by Jake Broder… Read More

- Metrowest Daily News, Nancy Olesin

News

Edge Media: The Play Remains the Thing, Steven Maler on ‘Our American Hamlet’
Category: News
The Boston Globe: Shakespeare’s tragedy, and our own
Category: News
Wicked Local: Lincoln assassin’s brother was ‘like De Niro’
Category: News

What is the running time of the production?

90 minutes with no intermission

What ages is the production appropriate for?

Our American Hamlet is recommended for ages 14 and up.  If you have specific concerns about content, please contact the box office at 781-239-5880.

Are there accessible performances for patrons with disabilities?

Currently there are no accessible dates for this production.  CSC is committed to making theater available for all and we look forward to offering accessible performances in the near future,

Is there handicap seating available?

Yes, there are several locations in the theater to accommodate wheelchairs.  Call the box office at the Sorenson Center for the Arts to purchase these locations at 781-239-5880.

Are assisted listening devices available?

Yes, visit the box office for assisted listening devices.

When should I arrive?

The theater will open for seating roughly a half hour before curtain time.

We advise you give yourself plenty of time for parking and walking to the theater.

Where should I park?/How do I get to the theater after parking?

Trim Parking Lot is the best place to park when attending events at the Sorenson Center for the Arts.  As you enter on Forest Street, make a left at the first stop sign unto Map Hill Drive.  On your right will be a smaller lot, Hollister Lot. If there is space available, patrons may park there.  However, Trim Parking Lot is preferred which will be on the left hand side after you pass the Hollister lot.  To walk to the theater, walk back towards the stop sign and make a left at the Hollister building.  Continue walking straight past Reynolds Campus Center and the Sorenson Center for the Arts will be the next building.

Are concessions available?

Although there is no food or drink permitted in the theater, food and drink are available for purchase in the Reynolds Campus Center next to the Sorenson Center for the arts.

Are shows delayed or canceled for weather?

Audience and actor safety is our main concern.  In cases of heavy snow or extreme weather, we will cancel and try to reseat patrons into an alternative performance date.  Weather updates can be found on the homepage of our website, Facebook, Twitter, and Instagram.

If I miss the show, what are my options?

To reschedule, call the box office at the Sorenson Center for the Arts at 781-239-5880 at least one business day before your reservation.  We will make our best efforts to seat you in another performance.  Seating will be based on availability.  It is not our policy to refund tickets but we are happy to reseat you on another date.  If you miss a production altogether, we will reseat you in an alternative production of your choice based on availability.

Can I take photos or video?

The taking of photos or video is strictly prohibited.

How can I support Commonwealth Shakespeare Company?

to make a donation or call 617-426-0863.  Click on the Ways To Give tab on our website to learn more about upcoming fundraising events and ways to get involved.

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