The Stanford Shakespeare Company

What fun

Dedicated to the performance of free, innovative, and high-quality Shakespeare at Stanford and in the Bay Area.

Announcing our 2019-2020 season

The comedy of errors
February 2020

Directed by diego dew ('20)

Twenty-five years before our story begins, Egeon of Syracuse and his wife are spending time abroad when she gives birth to twin boys. At the same time, a poor woman staying in the same inn also gives birth to twin boys and sells them to Egeon to be servants to his newborns. On their way home, a deadly storm ravages the ship carrying Egeon and his family. The ship is destroyed and Egeon, who is taking care of one of his sons and one of the servants, is separated from his wife and the other two children. In anguish for his family, Egeon names his son and his servant after their lost siblings, Antipholus and Dromio. 

In the present-day, Egeon is sentenced to death for sneaking into the Italian city of Ephesus. Begging for his life, Egeon tells the Duke of Ephesus that he has come in search of his long-lost son and his son’s servant. Meanwhile, Antipholus and Dromio of Syracuse have also snuck into Ephesus in search of their long-lost siblings. Unbeknownst to Antipholus of Syracuse, his twin brother, Antipholus of Ephesus, survived the shipwreck and is a wealthy denizen of the city. Antipholus of Ephesus lives with his servant, Dromio of Ephesus. The plot revolves around the farcical mix-ups that occur when all the twins converge in Ephesus.

king lear
May 2020

Directed by addi garner (‘22)
Produced by Abla ghaleb (‘21)

Lear, King of Britain, intends to divide his land between his three children depending on who can say they love him most. When his youngest daughter, Cordelia, chooses to remain silent rather than flatter him, Lear disowns her. The land is divided between Lear’s two eldest children, Goneril and Regan, who quickly turn on their now powerless parent, driving him away into the wilderness.

Meanwhile, Edmund, the “illegitimate” child of the Earl of Gloucester, schemes to take the inheritance of his “legitimate” sister, Edgar. Edmund tricks Gloucester into declaring Edgar an outlaw, and Edgar flees into the wilderness in disguise.

As Edmund, Goneril, and Regan’s lust for power spirals out of control, violence and terror run wild. Madness, death, and alienation take hold of those in the wilderness, as the world of the play proves indifferent to human ideals of power and justice. Those who still struggle to bring about justice are forced to reckon with their own shortcomings, their violent potential, and their greatest fears.

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