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By William Shakespeare
Directed by Allegra Libonati
“Cowards die many times before their deaths;
The valiant never taste of death but once.”
Though Caesar is beloved by the people of Rome, after his latest military triumph, senators Brutus and Cassius sense a dictator in the making. But the honorable Brutus faces a wrenching decision: stage a coup for the sake of country, or stay loyal to Caesar. The Globe’s intimate arena stage gives you an up-close seat for Shakespeare’s masterful tale of cunning diplomacy, fast-shifting alliances, and the unpredictable consequences of betrayal. The classical actors of tomorrow, now training in The Old Globe and University of San Diego Shiley Graduate Theatre Program, expertly perform one of the world’s great plays.
A joint venture of the Globe and USD, the Shiley Graduate Theatre Program nationally recruits seven students each year to participate in an intensive two-year course of graduate study in classical theatre. Private funding for the Master of Fine Arts in Theatre program has been contributed through a generous endowment established by Donald and Darlene Shiley. Additional support for the program is provided by the Dorothy Brown Endowment Fund and the Louis Yager Cantwell Foundation.
Running time: 2 hours, 30 minutes, which includes one 15-minute intermission.
Allegra Libonati (Director) is a director for theatre and opera. She has served as Resident Director at American Repertory Theater for nine seasons, where her credits include The Pirate Princess, The Light Princess, Hansel and Gretel, and The Snow Queen (as director); Sleep No More (artistic associate); the workshop of Pippin, The Tempest, In the Body of the World,and Prometheus Bound (associate director); Crossing (assistant director); and The Donkey Show (Resident Director). Her Broadway credits include the Tony Award–winning revival of Hair (assistant director), and her opera credits include Stravinsky’s The Rake’s Progress (Boston Lyric Opera) and Verdi’s Falstaff (Opera Omaha). She has directed Romeo and Juliet (Commonwealth Shakespeare Company on Boston Common), King Lear (Wayne State University), and Detroit and Henry IV, Parts I and II (Resonance Theatre Ensemble). She has directed outdoor musicals and Shakespeare productions for 13 seasons at Summer Theatre of New Canaan, including Legally Blonde (12 BroadwayWorld Award nominations), Hairspray (nine BroadwayWorld nominations), South Pacific, My Fair Lady, Carousel, Twelfth Night, The Taming of the Shrew, A Midsummer Night’s Dream, and H4, an original adaptation of Henry IV, Parts I and II). Internationally she directed a new immersive adventure show, Peter Pan’s Neverland, in Beijing, China. Ms. Libonati guest teaches musical theatre at Harvard University and is a MIT Director’s Fellow. She is a member of Tut’Zanni Theatre Company and a graduate of New York University and Carnegie Mellon University.
Anna Lineham Robinson (Scenic Design) is a scenic and media designer originally from Wellington, New Zealand with an M.F.A. in Scenic Design from UC San Diego, where she studied under Tony Award nominee Robert Brill. Her selected design credits include A Raisin in the Sun, Vieux Carré, Strange Men, and (w)holeness (UC San Diego), and her selected assistant scenic design credits include Summer: The Donna Summer Musical (Broadway, La Jolla Playhouse), Ain’t Too Proud—The Life and Times of The Temptations (pre-Broadway tour, Ahmanson Theatre, The Kennedy Center, Berkeley Repertory Theatre), and Vietgone (East West Players). annarobinson.design.
Elisa Benzoni (Costume Design) previously designed Romeo and Juliet, The Two Gentlemen of Verona, Reckless, Much Ado About Nothing, Measure for Measure, and Pericles, Prince of Tyre for The Old Globe and University of San Diego Shiley Graduate Theatre Program. She is Resident Costume Designer at North Coast Repertory Theatre, where she has designed Craig Noel Award–nominated productions. Her other selected credits include Constellations (The Old Globe), Sex with Strangers (Geffen Playhouse), The Who and The What, Our Town, Tall Girls, Brahman/i, and Sam Bendrix at the Bon Soir (La Jolla Playhouse), Men on Boats, Awake and Sing!, Sylvia, and Much Ado About Nothing (New Village Arts), and Snakeskin, Lifeblood Harmony, Chagall, and A Man Found Wanting (Malashock Dance). Ms. Benzoni’s assistant costume credits include Les Dialogues des Carmélites (Teatro Petruzzelli in Bari, Italy), Paradise Found (Menier Chocolate Factory in London), Milk Like Sugar (La Jolla Playhouse), and As You Like It and A Midsummer Night’s Dream (The Old Globe). She holds a M.F.A. in Costume Design from UC San Diego. elisabenzoni.com.
Brandon H. Rosen (Lighting Design) is originally from San Antonio, Texas. His selected lighting design credits include The Bitter Game (The Public Theater’s Under the Radar Festival/La Jolla Playhouse), Machinalia (JACK), and What of the Night? and Waiting for Godot (UC San Diego). His selected assistant lighting design credits include The Heart of Rock & Roll, October Sky, and A Thousand Splendid Suns (The Old Globe), Escape to Margaritaville (La Jolla Playhouse), and The Originalist (Arena Stage). He holds an M.F.A. from UC San Diego. brandonhrosen.com.
Kevin Anthenill (Sound Design and Original Music) previously designed The Old Globe and University of San Diego Graduate Theatre Program’s Much Ado About Nothing, Measure for Measure, Twelfth Night, and The Winter’s Tale. His other recent design credits include All’s Well That Ends Well (The Old Globe), The Suppliant Women (Getty Villa Theater Lab), Soul Doctor (international tour), 100 Aprils (Rogue Machine Theatre), Sex with Strangers, Disgraced, Rapture, Blister, Burn, My Mañana Comes, Violet, Everybody’s Talkin’: The Music of Harry Nilsson, Honky, Steal Heaven, Red, and Uncanny Valley (San Diego Repertory Theatre), Hairspray, The Full Monty, Miracle on 34th Street, Billy Elliot: The Musical, Pump up the Volume: A 90’s Palooza!, Damn Yankees, First Date, 9 to 5, Irving Berlin’s White Christmas, The Producers, 42nd Street, Ragtime, La Cage Aux Folles, Singin’ in the Rain, and West Side Story (San Diego Musical Theatre), and The Effect of Gamma Rays on Man-in-the-Moon Marigolds, Bad Jews, and When the Rain Stops Falling (Cygnet Theatre Company).
Jan Gist (Voice and Speech Coach) has served as voice and speech coach for The Old Globe on 89 Equity and 44 M.F.A. productions. Her prior credits include Alabama Shakespeare Festival for 140 productions, Oregon Shakespeare Festival, Utah Shakespeare Festival, Shakespeare Theatre Company, American Shakespeare Center, Arena Stage, American Players Theatre, Milwaukee Repertory Theater, PlayMakers Repertory Company, San Diego Repertory Theatre, and North Coast Repertory Theatre. Ms. Gist is an originating and published member of Voice and Speech Trainers Association. She has lead workshops at Moscow Art Theatre, London’s Central School of Speech and Drama, and numerous international conferences. Her publications include original poems in VASTA journals, exercises in The Complete Voice and Speech Workout, and dialect contributions in More Stage Dialects, and she is interviewed in Voice and Speech Training in the New Millennium—Conversations with Master Teachers.
George Yé (Fight Choreographer) has nearly a hundred credits as a fight director working in theatre and film. His favorites include The Comedy of Errors, Twelfth Night, In Your Arms, Double Indemnity, Rosencrantz and Guildenstern Are Dead, Allegiance, August: Osage County, God of Carnage, The Whipping Man, and Dancing in the Dark (The Old Globe and Globe for All), Up Here, Ether Dome, Kingdom City, Peter and the Starcatchers, Hands on a Hardbody (La Jolla Playhouse), Vietgone, Into the Beautiful North, Oedipus El Rey, and Clybourne Park (San Diego Repertory Theatre), True West and Shakespeare’s R&J (Cygnet Theatre Company), The Boy Who Danced on Air (Diversionary Theatre), Lord of the Flies and Guadalupe in the Guest Room (New Village Arts), and the Sarcinian duel in the film The King’s Guard with Ron Perlman. Mr. Yé is Chair of the Dramatic Arts Department at San Diego Mesa College, home of Mesa College Theatre Company, and a member of Actors’ Equity Association and the Society of American Fight Directors.
Abraham Stoll (Dramaturg) is a professor in the English Department at University of San Diego and is affiliated faculty in The Old Globe and University of San Diego Shiley Graduate Theatre Program. He specializes in the Renaissance and early modern periods. His new book, Conscience in Early Modern English Literature (Cambridge University Press, 2017), examines the poetry, theology, and politics of conscience in the 16th and 17th centuries. He is currently editing a new edition of Paradise Lost for Broadview Press.
Nicole Ries (Production Stage Manager) has spent the last seven years as resident Production Stage Manager for The Old Globe and University of San Diego Shiley Graduate Theatre Program, where her previous productions include Romeo and Juliet; The Two Gentlemen of Verona; Pericles, Prince of Tyre; Antigone; Much Ado About Nothing; Measure for Measure; Twelfth Night; Ajax; Cloud 9; Three Sisters; Trelawny of the “Wells”; Clybourne Park; Reckless; Acquainted with the Night;and The Maderati. Her other regional credits include the Broadway San Diego High School Musical Theatre Awards (2015–2018, Broadway/San Diego), Voyeurs de Venus, Jade Heart, Coming Attractions, and A Man, His Wife and His Hat (MOXIE Theatre), ManTrap (Diversionary Theatre), Little Shop of Horrors and A Behanding in Spokane (Cygnet Theatre Company), and Into the Woods, Tom and Huck and Jim, Paradise Hotel, and Little Women: The Musical (San Diego State University). Ms. Ries is currently MOXIE Theatre’s Production Manager, and she also worked with San Diego Repertory Theatre as Company Manager/Assistant Production Manager (2003–2009) and Starlight Musical Theatre as General Manager (2010–2011). Ms. Ries holds a B.A. in Theatre Arts with an emphasis in Arts Management from San Diego State University.