Welcome to Hamlet Isn’t Dead’s
Macbeth
In lieu of a traditional plot summary, please enjoy this parody of Mack the Knife, written by our very own Dan Dobro. A performance of the song will be featured during intermission.
Macbeth the Knife
Well, those witches on the heath, folks
They prophesize through the night.
And ambition hath Macbeth, folks,
But he keeps it out of sight.
Til he stabs Duncan, to their death, folks
And all at once feels full of dread.
But she screws that courage, Lady Macbeth, folks
And they pin it, on the guards instead.
Thane of Glamis, thane of Cawdor,
And now it looks like he’s the king.
It’s the perfect crime that he’s committed.
Who would ever ‘spect a thing?
Well, there’s Malcolm, and then Banquo,
Pesky Fleance, and the Macduffs,
And he’s got ghosts now, sitting at his table,
Turns out after all, things might be looking rough.
Now did you hear ‘bout lady Macbeth?
(Jumped out the window, uh huh)
Cuz she couldn’t clean those spotted hands
And now young Malcolm is close to fightin’
And Macduff is drawing battle plans.
Cuz her wife and kid well, they were offed, folks
All for Macky’s superstitious pride.
He might get cut down, by Macduff, folks
That’s the price you pay for regicide.
When Birnam wood comes, to Dunsinane, folks,
There’ll be battle, for the crown.
If you’re woman-born, you better watch out
Now that Macky’s back in town.
Land Acknowledgement
This is not the first story to be told on this soil, nor will it be the last. The land on which we perform this play is the ancestral home of the Munsee Lenape, a subtribe of the Lenape people. What is now known as “New York City” was a thriving center of trade and art long before European colonizers arrived. Not only must we acknowledge that the Munsee Lenape are the rightful stewards of this land, but we must recognize that their absence is due to the actions of our European ancestors, and by white supremacist systems still in place today.
Director’s Note
It was a cold January evening when David called me. I was sitting at a chess table in the park, slicing bagels and chipping away at a frozen block of butter for my mutual aid group’s weekly food distro. I had only just begun to consider the possibility of directing Macbeth for the next season, but when my numb fingers clumsily answered the phone I was suddenly asked to do it in just a few months. My brain short-circuited in the way it does when my Plans are altered unexpectedly, but I remember saying “yes.” I also remember thinking “Oh my god what have I done?” EVERYONE knows the story of Macbeth, a classic tale of a sensitive murder boy who is capable of cutting people in half but incapable of saying no to his wife. I would wager that most of you reading this have seen multiple adaptations of Shakespeare’s beloved tragedy. Hell, maybe you saw the Broadway production or the Joel Coen film which both came out this year. How on Earth do I find something new to say?
In a daze, I finished dressing the bagels and began to hand them out. Other volunteers brought steaming trays of pasta, hand warmers, toiletries, clothes. The beauty of mutual aid is that no one is in charge; we trust in our community to provide everything we need. “Maybe,” I thought, “Macbeth isn’t just about that sensitive murder boy. Maybe it’s about the people he abandons in his quest for power.” Why does Macbeth kill Duncan? Why does he then continue killing, losing his humanity, his remorse, and the people who love him? Was this his fate all along? For me, the answer is even simpler. When power is hoarded, corruption is inevitable. And the collateral damage to the community is immeasurable. That's a much more important story for me to tell than any self-indulgent character study.
The play is full of life at its start, bustling with music, laughter, and camaraderie. By the end, there is a disjointedness, the sound is emptier. The characters are either dead, deserted, or left to pick up the pieces. As an audience, I charge you to think about what’s next. Is Malcolm fated to repeat the past? Or can she unite Scotland again?
We began the rehearsal process by identifying a set of community agreements and values that were important to the cast and crew as a collective. The group craved a compassionate, flexible, and patient space to take risks and explore the story as we crafted it. And so in our first weekend, we played games, explored rhythm and movement, and sang together. The apparition scene you will see at the top of Act 2 was devised by the entire cast, largely during this period of playful exploration. It was important to me that because of the communal focus of this production, the creative process would also be immensely collaborative. We built this production together, but more than that, we built a community. I could not be more grateful. Every single artist involved in this show put in so much love, trust, and bravery, and I hope they are as proud of themselves as I am. Thank you, thank you, thank you.
Music Director’s Note
Our Macbeth explores that familiar feeling of wandering into a pub and having the most revelrous celebration of all time. You don’t know a soul. You probably won’t see them again unless the stars align. But you’ll never forget it. There’s a spirit of togetherness that can only be indulged with another song, another pint, and another slap on the back.
My goal has been to create that sensation and what it feels to be without it. Val’s exploration of community and the way it can collapse with the selfishness of the few is seen in the instruments and songs. As the story progresses, the fewer instruments you’ll hear; and the more melancholic the music will be.
Folk punk music is a freedom. Lyrics aren’t permanent because they have 12 variations. Harmonies and extra voices are more than welcome. And there is only one rule: the only thing you can do wrong is to do nothing at all. It’s a contribution and an evolution at the same time.
Our Hidiots and first-timers will see folks they haven’t seen sing since pre-pandemic; for others, this is their first time singing in a show. Nevertheless, this cast leapt into the spirit of folk immediately and welcomed the challenge. Should you feel the urge - and if I’ve done my job correctly, you will - please sing with us. There’s nothing catchier than these choruses and nothing more beautiful than singing with not just the cast, but the audience as well.
Get the lyrics wrong. Scatter the notes. There’s nothing more important than joining in, and we so hope that you do.
Special Thanks
El Barrio’s Artspace, The Shakespeare Forum, Molloy Studios, The Center at West Park, all of our amazing donors past, present, and future.
Full Crew:
Director -- Valerie Peter Chong
Stage Manager -- Sophia Carlin
Assistant Director -- David Andrew Laws
Musical Director -- Maureen Fenninger*
Assistant Musical Director -- Duke Norsworthy
Fight Choreographer -- Dan Dobro
Marketing Coordinator -- James Rightmyer Jr
Full Cast:
Daniel Cabrera as Macbeth
Samantha Ipema as Lady Macbeth
Elizabeth Anne Rimar* as Banquo
Dom Martello as Duncan
Vaughn Broderick as Malcolm
Colleen Wood as Macduff
Stephanie LaVardera* as Lady Macduff
Chloé Bell as Macduff’s Daughter
Roy Koshy as Lennox
David Anthony Hentz* as Ross
Maureen Fenninger* as Weird Sister/Witch
Jillian Cicalese as Weird Sister/Witch
Duke Norsworthy as Weird Brother/Witch
Michael Luca as Porter
Ashley Burton as Doctor
Azumi Tsutsui as Murderer
*Equity Member appearing with permission of Actors’ Equity Association without benefit of an Equity contract in this Off-Off Broadway production
Cast & Crew Bios
Maureen Fenninger (Witch, Music Director) enjoys mustard on her hotdogs and going Strüm Strüm on the guitar. When she’s not playing a multitude of instruments, she’s improvising with the Bits Before Crits gang and hosting virtual horse races, space animal launches, and of course, trivia. In the words of the Executive Director for Hamlet Isn’t Dead: “Mo is special.” Yes. Yes she is.
VENMO: Maureen-Fenninger
Duke Norsworthy (Witch, Assistant Music Director) hath ascended. He play drum AND mandolin good. Go Boom Strüm.
VENMO: @Duke-Norsworthy
David Anthony Hentz (Ross, Fight Captain) Get your squad, grab some libations, and enjoy; The Famous “Hentz-Hence” Audience Game!! Throughout the play:
Every time “hence” is said = THREE SIPS.
Every time “hence” is part of another word (i.e. “henceforth”) = TWO SIPS.
Every time you hear something that sounds like “ence” (i.e “whence”) = ONE SIP.
Shakespeare enjoyed his plays this way, and you should too.
Follow me @dave_anthony_hentz for more! www.david-hentz.com
VENMO: @David-Hentz
Jillian Cicalese (Witch) Jillian Cicalese is an actor and teaching artist based in NYC. She earned her Masters of Fine Arts in Acting from the FSU Asolo Conservatory for Actor Training. Most recently, she debuted off-Broadway as psychic-medium Sara Marshall in Spit ‘n Vigor Theatre Company’s production of “Ectoplasm” by Sara Fellini at The Player’s Theatre. As a teaching artist, she offers group workshops and private coaching, which include monologue coaching, ensemble building, and Shakespeare workshops! She is excited to share this piece with you all and thanks you for supporting the arts! To keep up with her work, visit jilliancicalese.com and follow her on Instagram @jmcicalese.
VENMO: @jmcicalese
Elizabeth Anne Rimar (Banquo) is an actor, voice-over artist and nerd from Jersey City. Favorite credits include Orlando (Stonington Opera House), The Life & Adventures of Nicholas Nickleby (Lyric Stage Company), and Pericles (Actors’ Shakespeare Project). They are a featured voice actor on the radio drama podcasts, Dark Valley and Desperate Nightmares from Christ the King Missouri (available on itunes). They graduated from Boston University’s College of Fine Arts and have also trained with Shakespeare & Company. You can find them online at elizabethannerimar.com.
VENMO: @ecallahan84
Azumi Tsutsui (Murderer, Mellophone) is from Osaka, Japan. She speaks with a pretty thick Kasai accent. Her favorite English phrase is "Cattle mutilation." She doesn't play any video games, but oddly knows a lot about games. Her favorite is "Panel de Pon." She recently did the voice of "Metanoid" which was on adult swim. Check it out. https://youtu.be/p0zQ_IHW8ZI
VENMO: @Azumi-Tsutsui
Vaughn Broderick (Malcolm) is many things. She’s the life of the party, a dog mom, a terrible speler, a great hugger, an avid quoter of School of Rock, and an AMC stubs member. She believes she would be killed in the marble game in the squid games, that ice cream is perfect for any meal, that All Too Well 10 Minute Taylor’s Version is a perfectly acceptable karaoke song and that you’re going to love Malcolm tonight just as much as she loves you. Please considering visiting vaughnbroderick.com if you want to stay up to date on everything cool happening in her life and please considering venmoing her to help her send her dog through business school.
VENMO: @Vaughn-Broderick
Stephanie LaVardera (Lady Macduff, u/s Lady Macbeth) has graduated to Mama MacDuff, after having previously played Baby MacDuff, one of the witches, Fleance, Young Siward, and the Cream Faced Loon (in one production...) Other favorite roles include Olivia in Twelfth Night (HID), Juliet in Romeo and Juliet (The Folger Shakespeare Theatre/Chesapeake Shakespeare Co.), Julie in Pizza Man (Art of Warr/13th Street Rep), and Hermia & Bottom in A Midsummer Night's Dream (New York Shakespeare Exchange). Stephanie is a teaching artist on the faculty of the Waterwell Drama Program at the Professional Performing Arts School. MFA: the Shakespeare Theatre Company's Academy for Classical Acting/GWU. Read plays and drink tea with her: @stephlavardera (www.stephanielavardera.com)
VENMO: @Stephanie-LaVardera
Ashley Dawn Burton (Doctor, u/s Macduff) the First of Her Name, The Unbothered, Queen of Nature Hikes and the Shakespeare Nerds, Queen of being Late With A Coffee, Khaleesi of the Sketch & Improv Scene, Director of Films, Player in the Hamlet Isn't Dead Resident Acting Company, Protector of her Cat, Breaker of Glass Ceilings, and Mother of Dragons. (@assleydawn & www.ashleydawnburton.com)
VENMO: @AshleyDBurton
Chloé Bell (she/her/hers) (Young Macduff) originally from Louisville, KY, received her BFA from The University of MN / Guthrie Actor Training Program. She packed up a car on December 31st 2019, to move to New York, and what a ride it's been. She's so grateful to be with team HID and working with this crew for Macbeth. Some of her most recent work here in New York has been Captain Placeholder... with Greenhouse Ensemble, Voyeur, The Windows of Toulouse Lautrec with Bated Breath Theatre Company and On Every Link a Heart Does Dangle: or Owed with The Lark Theatre. You can keep up to date with her and her work at chloebellactor.com. She'd like to extend a special thank you to her unmatchable and supportive friends and boyfriend, Andrew.
VENMO: @Chloe-Bell-2
Dan Dobro (Fight Director) has been thrilled to consult on the violence of this rockin’ play with this artistic community he loves. An Advanced Actor-Combatant with the SAFD, this is his first time choreographing fights for a full production. Special thanks to Greg Pragel for choosing to renew in quarterstaff when he did, Special thanks to Val and Mo for going along with the idea that this Celtic folk-punk production needed a parody of Mac the Knife, and a special thanks for the support of/apology to Simone, for the fact that I was here in tech instead of celebrating your Masters’ commencement. I love you!
VENMO: @Dan-Dobro
Roy Koshy (Lennox) hasn't finished his bio yet. Go ahead and read everyone else's and then circle back here afterwards.
VENMO: @Roy-Koshy
Dom Martello (King Duncan) Actor, writer, gender consultant and dramaturg. Recent credits include: 7 Nights in Heaven (feature film), Much Ado About nothing (Black Box Players), Miss Electricity (Syracuse Stage), and that one better help commercial that plays a lot. Syracuse University BFA Acting Alumni. @dom_Martello (IG)
Sophia Carlin (she/they) (Stage Manager, Lighting Designer) is a gifted parasailer, taxidermist, and liar. She has been called many things: a library ghost, incredibly talented, and humble. But with all of these titles, there is only one descriptor that fits her perfectly...Sophia Carlin is a firm believer in Christopher Walken's obvious involvement in Natalie Wood's murder. Enjoy the show!
Mike Luca (Porter, u/s Macbeth) A longtime HID veteran, he finally gets to combine his three favorite pastimes: acting, Shakespeare, and drinking. He’s recently taken up with As You Will Shakespearean improv to round out his Shakesperience. Some favorite roles include The Wall in HIDsummer; Sebastian in Twelfth NigHIDt; and the Mozerella family in his short movie, Death Did Us Part. MichaelLuca.com. Instagram: mike_lucaa.
VENMO: @Michael-Luca-2
Daniel Cabrera (Macbeth) is hailed as one of the finest actors of his generation on stage, screen and television. C was recently seen as James Bond for the fifth and final time in No Time To Die, after previously starring as ‘Bond’ in Spectre, Quantum of Solace, Casino Royale (for which he was BAFTA nominated) and the critically acclaimed box office smash Skyfall. C's standout performance in Rian Johnson’s Knives Out earned him a Golden Globe nomination, and he will be reprising his role in the upcoming sequel. Other notable film credits include Munich, Layer Cake, Road To Perdition and The Girl with the Dragon Tattoo, amongst others. For more on Daniel C. visit his website at danielcabreraactor.com or his ig @theactordan.
VENMO: @Daniel_Cabrera
Samantha Ipema (Lady Macbeth) is an actor/writer based in New York and is thrilled to be sharing the stage with her fellow HIDiots once again. She’s clearly the meanest of the bunch since her time with them has only consisted of playing villains. She promises she’s a nice person in “real life”. If you want to know other stuff about Sam, go to samanthaipema.com and give her a shout.
VENMO: @samanthaipema
Colleen Wood (Macduff) (she/her) is absolutely convinced that this church is haunted and that door was opened and closed by a ghost NOT because it was weighted. She also just found out from Sophia that Christopher Walken was on the boat??? Because Colleen is in fact a very serious actor, she recently finished Fiasco Theater’s 9 Week Conservatory and you can check out all the other serious actor things she’s been getting up to at her website colleenwood.com and on her instagram @colleenwoodo.
VENMO: @colleenwood630
Actors' Equity Association (AEA), founded in 1913, represents more than 50,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org
