Thursday, February 22, 2018

MADNESS in GREAT ONES: 2018 Season Perspective

The Object of Art: Artistic Director Vincent Carlson-Brown gives an inside look at the 2018 season, an introspective focus on the themes of madness and greatness in this year's productions:

"Madness in Great Ones"

For the Greeks and Romans of antiquity, madness was seen in the outsider individuals, the "other," the outcasts of society. The lunatics, however, of those civilizations were not completely ostracized, but rather revered. The mad ones had access to the gods; they were regarded as priests; they were conduits to a very specific spirituality. These "others" were believed to have the sight towards and perception of another reality. So in turn, they had special wisdom about and insight into the current state of life. They had a prescient knowledge of the future, and these individuals were eagerly sought out in order to decipher signs and omens. Madness, in this time, was not merely an infliction, but a touch of divinity, and those who spoke incomprehensibly or acted inconsequentially had access to a unique power that was not normative.

For those in Shakespeare's time, madness was viewed as an unbalance of feelings, an extreme of passions. The Elizabethans believed the emotions and personalities of a person were controlled by four humors. These humors were connected to an element within the body, and these elements created different dispositions. An excess of black bile would present a melancholic humor or feeling. Phlegm would exhibit phlegmatic or stubborn traits. Too much hot and moist blood would give the person a sanguine personality. And yellow bile would reveal itself in a choleric disposition. The excess of these fluids would cause an unbalance within the body and in turn lead to an extreme emotion. So "lunacy" or mental anguish and instability could actually be traced back to a flush of yellow bile which would lead to a choleric temperament. And what caused an excess of yellow bile? Eating too much red meat. The cholera would cause anger and rash feelings. This distemper ("dis-temper" - as in "not tempered, not balanced") taken to the extremes would cause madness. The Elizabethans thought that madness/mental instability came from a prolonged state of anger/madness; from existing in an excessive duration of extreme passion.

For the Victorians, madness was an abnormal oddity that required medical attention. The desire to cure these afflictions often superceded rational thought and reasonable action. The scientific community had acquired the ability to label patterns of behavior as specific diseases. Once a disease had a name, a cure could be sought. (It is interesting that the Victorian "disease" came from the Elizabethan "dis-ease" [uneasiness]) The Victorian cures for these behaviors were often more horrific than the symptoms they sought to eliminate. One might question the effectiveness of lobotomies and electro-shock, and doubt that the survivors of these procedures remained alive in any meaningful way.

For us, in the contemporary world, our own awareness of mental health and how we treat and support individuals that are affected is still in process. The relationship between chemical and emotional and mental and circumstantial states is in a period of inspection and discovery. What we do believe now is that modern madness is a real and substantial mental health issue that requires attention; medically, socially, culturally. And it must be stated that the term itself, madness, has become taboo. We can certainly explore the history of madness and what different societal and scientific constructs teach us about ourselves and how we deal with each other. And we can look to examples in literature, in Shakespeare's plays, for the presentations of mad and great characters. We should, without fear, pandering, or equivocation, share these stories on the stage, and discuss them in the bar after, or in the classroom or the kitchen. What is it that we see, in delight and terror? What are these stories and these moments, these characters and these behaviors able to teach us about the human condition?

Shakespeare's plays, comedy, history, and tragedy, are full of characters who come into contact with bouts of madness. Hamlet famously puts on an "antic disposition" in order to flush out a confession from his murderous father-uncle. Both the audience off the stage as well as those on it (his fellow characters) bear witness to the extent to which Hamlet dives down into (pretend) lunacy. Hamlet himself questions his own mental state periodically throughout the play in soliloquies and dialogue alike. "What a rogue and peasant slave am I!" (II.2) "I am but mad north-northwest." (II.2)  Does the act of putting on madness inevitably lead one to the very thing itself? We are left to wonder if Hamlet's playacting has gotten the better of him as we yearn to decipher the truth in his double-speak. Certainly his behavior catches the attention of its intended, as the new King Claudius intimates to his closest court advisor, "Madness in great ones must not unwatched go." (III.1)

What is meant by "great ones"? Large in space? How a character commands attention or fills up a room? Great in personality? A charming or mysterious attractor? A leader, either by example or by appointment? Great as in extreme? Large feelings and large passions? Great words and ideas expressed? I would say yes to all of the above. Certainly Hamlet exhibits these qualities, as does King Lear, another famous character who flirts with insanity. King Lear and the topic of madness has been inspected in detail both on stage and on the page; in epic performance and critical discussion; in theatres and in scholarly journals. Perhaps King Lear's saddest tragedy is his self-recognition as it arrives too late. He confesses to his Fool, "O, Let me not be mad, not mad, sweet heaven! I would not be mad." (I.5) King Lear's fight with his impending madness is indeed a great battle, as the tempest-tossed storm scene in the real world creates a metaphor for the storm in Lear's own mind. Hamlet is great in many ways, so too is King Lear. But in what other of Shakespeare's characters can we find threats of madness? Who else is as great as the Danish Prince or the Mad King of Albion? How do we define madness and greatness as we explore our own human condition? For Nebraska Shakespeare's 2018 season, I wanted to explore these ideas in every offering. I wanted to tie our performance slate together with a unifying theme, so that we may reveal "Madness in Great Ones."

Harold Bloom, in his book, The Invention of the Human, describes Shakespearean greatness by the acts and spirits of the characters. Great characters are seen by the "excess [that] marks them. [Their] souls cannot be extinguished." For Shakespeare on the Silver Screen, I wanted to show a great and expressive character, an individual whose largest passion drives an inextinguishable soul. Ralph Fiennes' film, Coriolanus, puts Shakespeare's great Roman warrior front and center, into a contemporary war-torn military state. Coriolanus was born and bred a great soldier, but his struggle comes when his family and government attempt to force him into public service as a politician. This does not go well for the man whose great authority in arms does not translate to the floors of civil debate. A great character, an excess tour-de-force, who wrestles with his duty and the maddening confrontation of assumed political ambition. "This Coriolanus is grown from man to dragon. He has wings; he's more than a creeping thing." (V.4) Coriolanus is a tragic epic, a fit story to be told with the greatness of cinematic scale. It is especially timely and relevant for today's political minefield. 

On The Silver Screen
Aksarben Cinema
February 21 & 28
Our second showing for Shakespeare on the Silver Screen is the Royal Shakespeare Company's filmed staged production of Love's Labour's Won. This production is an alternate title to Much Ado About Nothing, and plays into the questions and curiosity surrounding the lost sequel to Shakespeare's poetic comedy Love's Labour's Lost. Filmed as a two-part production, the same cast and production team took on both plays, Lost and Won, in an attempt to show the similarities in theme and character arc between Shakespeare's dynamic battle(s) of wits. Berowne becomes Benedick in the second part, and Princess Katharine is Beatrice. This casting trajectory certainly gives additional weight and greater impact to the shared history of the pair of reluctant lovers. And the title/authorship debate is a unique angle in which to tackle the tale of Shakespeare's dueling linguists. This film serves as a preview for our production On the Green. February 28th, 2018: Aksarben Cinema, 6pm. A discussion with myself and D. Scott Glasser, Artistic Director of the UNO Theatre Department will follow each film showing.
Edward III
Corkscrew Blackstone
April 22 | 3 PM

In April, the Director's Reading Series will feature the lesser-known history play, Edward III. Shakespeare was believed to have doctored at least a handful of scenes for this play, writing alongside fellow Elizabethan playwrights, a practice that was actually typical of the time. This story kicks off the multi-play history cycles which Shakespeare alone details in his Hollow Crown and War of Roses plays. From Richard II (grandson of Edward III), through Falstaff and Henry IV, heroic Henry V, to Margaret, Henry VI, and concluding with the famous hunchback Richard III, the dynastic cycle of family wars and grabs for the throne points to its origins in Edward III. Rarely produced because of questionable authorship, the play explores the first steps of English nationalism against the French on a great and vast scale, while allowing a peek into the troubling individual expressions of the mad and salacious King Edward III as he attempts to woo the wife of his closest ally, the noble Earl of Salisbury. A staged reading with Nebraska Shakespeare actors will feature a discussion on Shakespeare authorship and potential conceptual treatment following the play.

King John
June 28-30, July 1, 6, 8 | 8 PM
The Bastard from Shakespeare's history, King John, issues a challenge, "Be great in act as you have been in thought." (V.1) For our 32nd season of Shakespeare on the Green, we feature characters who boldly answer that call. In King John, the Bastard himself is emblematic of this choice. Near the beginning of the play, Philip Faulconbridge is the son of a lowly landowner. But questionable parentage takes him to court to find out that he is actually the bastard child of the great Richard Lionheart, King of England. Here, he is presented with a choice: stay a farmer's son and receive land and money accordingly, or acknowledge your hereditary rights and become the noble progeny of a mighty king, albeit a bastard. Philip does not hesitate in becoming The Bastard, and proudly wears that title for the remainder of the play, his former name and position forgotten and dismissed. In this, the Bastard chooses greatness. His act was given opportunity to match his thought, and he seized upon it. He willingly accepted his place as a mythic character over being merely respectable. The Bastard exemplifies greatness in diverse ways, as if fulfilling the role call of Malvolio's quote from Twelfth Night. "Some are born great (he is the the son of a King), some achieve greatness (he avenges his father's death triumphantly on the battlefield), and some have greatness thrust upon them (he alone is left to carry the English standard into war after King John's untimely death at the hands of peach-poisoning monks)." (II.5) The Bastard thinks and acts with supreme greatness. He is Shakespeare's literary forerunner to Iago and Macbeth, the template for the bastard in King Lear, Edmund. The Bastard carries weight in the play; his word is impact; his actions are gravitational pulls. He is supremely self-aware and gleefully points out the irony of such a corrupt and fragile state as England. "Mad world! Mad kings! Mad composition!" (II.1) For the world of King John is indeed composed of intense, extreme, and prolonged passions. The play is a case study of unbalanced humors. King John himself sets the scene at the beginning of the play, mad-Hatter like, "Why, what a madcap hath God lent us here." Madness and greatness seem to chase each other around the castle in this play, jockeying for attention. Constance is grief personified as she teeters on the brink of madness, expressing hysterical rants about her beloved child, the dejected Prince Arthur. "Grief fills the room up of my absent child!" (III.4) At the climax of the story, the cult-Prophet Peter unveils a three-mooned prophecy that sets the stage for a final showdown between the overwhelmed English, the ambitious French, and an impious Cardinal, spokesperson of Pope (not-that) Innocent III. The play is high on furious family drama, theatrical spectacle, and stunning violent encounters that will help alleviate the stressful wait for the final season of Game of Thrones

Much Ado About Nothing
June 21-24, July 2, 5, 7
To balance the historical epic for Shakespeare On the Green, we present one of Shakespeare's finest, certainly his smartest comedy, Much Ado About Nothing. Beatrice and Benedick exemplify the entanglements of mad-love as they navigate not just their onstage encounters with tricks, allusions, and witticisms, but also their shared history off the stage, unseen. There is much more going on in this world than appears on the surface. Beatrice and Benedick "know each other of old." They have a past together, seemingly complicated, and their public boasts betray the pain below. While they push and pull and snarl and bite and dive and fly at each other's softest parts, the time turns and they scramble to catch up and play along. They are beguiled as much as they attempt to beguile, and their greatness is seen in their capacity to feel in such great extremes, with such range. Joy and delight spar with anger and betrayal, and expressions of love escape from inside accusations and threats of death. There is a bastard in this play too, John, who proliferates as much trouble as he can muster while young Hero and Claudio fall smitten at first sight. The zany Dogberry, his Barney-Fife lieutenant Verges, and their odd rabble of enforced underlings known as The Watch lead the twists of the second half of this play as it weaves its way from wily wordplay to tragic impact. It is not the identities as much as the truth that is mistaken in this play. And as all true Shakespeare comedies end, we wonder how many of the lovers will succumb to the madness that eagerly awaits, knocking on the threshold of communion, tugging at the heartstrings of connection.
Julius Caesar
Blue Barn Theatre | July

Juno's Swans, our all-female performance program continues in its third year with a production of Julius Caesar. Perhaps no other play in Shakespeare's canon features a character that is too great, too epic for its own story. Indeed, it is the central conflict between the Roman senators and the all-encompassing Emperor of the free world. What do we the people do if a single individual's rise appears to spell doom for the good of the republic. Are we loyal to the position and the process? Do we respect and heed the tyrant? What change can be affected if we are dissatisfied with the oppression of an idiosyncratic ideology that has grown too great for containment?And what consequences are faced if we "kill the snake in its nest" to prevent the portends of a dangerous future. As conspirators Brutus and Cassius seek to topple the proud and dominant Caesar, the supernatural omens stack parallel to the foreboding events, and what remains after assassination is a maddening sequence of events that demand an answer from the actions of the few for the professed good of the many.

A Midsummer Night's Dream
September and October
Our 13th annual Fall Tour will conclude the 2018 season by taking an abridged version of A Midsummer Night's Dream on the road in September and October to middles schools, high schools, and communities across Omaha, Lincoln, and the Greater Nebraska area. Our eight-person ensemble will explore the twisted nightmare of the forest, a depiction of magical haunts under a dark moon in this 75-minute adaptation. As a unique look into the great expressiveness of the four lovers, our production will feature gender-swapped characters. The boys will now be female: Lysandre and Demetria; the ladies are now male: Hermian and Helenus. Switching the gender of these four mad lovers allows us a chance to enjoy and unravel the complicated extremes of these transformative pursuits without being shackled to traditional and/or normative gender roles. We want to explore what the chased and the chaser, the desired and the disregarded feel and sound like in different bodies and with different voices. Our Midsummer will take place in Athens; a city that thrives in darkness and breeds fear. Escape into the Fairyland Forest, populated with hobgoblins and changeling children with upside down magic of their own, is the only chance of liberation. This production of A Midsummer Night's Dream presents the oddities and mischievous lore of a mad world, a world where we can find Madness in Great Ones.

Friday, February 9, 2018

Two great films coming this month!

Nebraska Shakespeare is teaming up with Aksarben Cinema for the return of SHAKESPEARE ON THE SILVER SCREEN:

for violence | 2h 3min | Tickets $10
Ralph Fienne's directorial debut. The citizens of Rome are hungry. Coriolanus, the hero of Rome, a great soldier and a man of inflexible self-belief despises the people. His extreme views ignite a mass riot. Rome is bloody. Manipulated and out-maneuvered by politicians and even his own mother Volumnia, Coriolanus is banished from Rome. He offers his life or his services to his sworn enemy Tullus Aufidius.

'StunningThis film is a triumph for Ralph Fiennes'
– Baz Bamigboye, Daily Mail

'Top Class PerformancesVanessa Redgrave is at her best'
– The Observer

A discussion will follow the film.

| 2h 28min | Free Admission

(Also known as Much Ado About Nothing) Autumn 1918. A group of soldiers return from the trenches. The world-weary Benedick and his friend Claudio find themselves reacquainted with Beatrice and Hero. Set amidst the brittle high spirits of a post-war house party, where youthful passions run riot, lovers are deceived and happiness is threatened – before peace ultimately wins out. The Royal Shakespeare Company's performance is perfect for the whole family.

'Terrific…continual comic verve'

– Daily Telegraph

'Christopher Luscombe's productions are sparklingly funny and giddily blissful'
– Times

'A marvel…immaculately co-ordinated'
– Daily Mail

A discussion will follow the film.

A portion of all proceeds and donations for Shakespeare On The Silver Screen support Nebraska Shakespeare's year-round programming. Shakespeare On The Silver Screen is made possible by underwriters Dr. Debra Reilly and Bob Culver

Monday, January 15, 2018

Announcing Nebraska Shakespeare’s 2018-19 Season of Plays and Events

Announcing Nebraska Shakespeare’s 2018-19 Season of Plays and Events:
Coriolanus by John Logan (screenplay), presented as part of Shakespeare On The Silver Screen.

Love's Labour's Won performed by the Royal Shakespeare Company, presented as part of Shakespeare On The Silver Screen

Edward III by William Shakespeare, presented as part of the Director’s Reading Series

Much Ado About Nothing by William Shakespeare, presented as part of Shakespeare On The Green

King John by William Shakespeare, presented as part of Shakespeare On The Green

Julius Caesar by William Shakespeare, presented as part of the all-female performance program, Juno’s Swans

A Midsummer Night’s Dream by William Shakespeare, traveling to schools and communities this fall as part of Shakespeare On Tour

War-wrought kings, banished heroes, mistaken identities, and magical mischief complete Nebraska Shakespeare’s 2018-19 season
Omaha, NE (January, 2018) – Nebraska Shakespeare has announced its 2018-19 season. Fulfilling the arts organization’s mission to create entertaining, challenging productions and immersive educational experiences, these selections embrace the mastery of Shakespeare’s works, while giving continued relevance to his words through engaging performance presented from multiple perspectives.

The upcoming season marks the company’s 32nd, and includes something for everyone, with boisterous comedies, suspenseful histories, and fantastical tales. “This year we are thrilled to explore and engage with A-list Hollywood actors in the Silver Screen viewing of Coriolanus; take an inside peek at a renowned English theatre company from Shakespeare's hometown, Stratford-upon-Avon, with the Royal Shakespeare Company's family-focused filmed-production of Love's Labour's Won; pick apart the argument of Shakespeare’s authorship with a reading of Edward III; and use the female experience and perspective to lay bare the politics and machinations of Juno's Swans all-female Julius Caesar,” said Artistic Director Vincent Carlson-Brown. “We will take a touring production of A Midsummer Night's Dream to Nebraska's high schools and rural communities and, of course, present our 32nd season of Shakespeare On The Green to thousands of individuals and families, admission-free with the delightful Much Ado About Nothing and the rarely-seen, exclusive King John.”

“Nebraska Shakespeare celebrates Shakespeare's work through live productions,” Mr. Carlson-Brown continued. “We are looking forward to sharing a wide array of works in many ways in 2018.”

The season kicks off on February 21, 2018, with a festival exploring films inspired by Shakespeare, and concludes in October with the educational touring production of A Midsummer Night’s Dream. 2018 sees the return of the flagship program Shakespeare On The Green, which will feature Much Ado About Nothing and King John, as well as the company’s newest hit-program, Juno’s Swans, which will partner with The Blue Barn Theatre to present an all-female Julius Caesar. The full season listing with dates is included below. Memberships are available now, offering reserved VIP seating and other great perks at this summer’s admission-free Shakespeare On The Green performances.


Coriolanus, directed by Ralph Fiennes. Screenplay by John Logan, play by William Shakespeare.
February 21, 2018, at Aksarben Cinema

Famine is causing discontent in Rome. Coriolanus, a great soldier and a man of inflexible self-belief, despises the people. His extreme views ignite a riot which leaves Rome bloody. Out-maneuvered by politicians and even his own mother, Coriolanus is banished. He allies with a sworn enemy to take his revenge on the city. Each screening for Shakespeare On The Silver Screen will include an interactive discussion following the film, led by Artistic Director, Vincent Carlson-Brown.

Love's Labour's Won, performed by the Royal Shakespeare Company. Play by William Shakespeare.
February 28, 2018, at Aksarben Cinema

Autumn 1918. A group of soldiers return from the trenches. The world-weary Benedick and his friend Claudio find themselves reacquainted with Beatrice and Hero. Set amidst the brittle high spirits of a post-war house party, where youthful passions run riot, lovers are deceived and happiness is threatened – before peace ultimately wins out.The Royal Shakespeare Company’s performance is perfect for the whole family. Each screening for Shakespeare On The Silver Screen will include an interactive discussion following the film, led by Artistic Director, Vincent Carlson-Brown.

Edward III, a reading directed by Vincent Carlson-Brown.
April 22, 2018, at Corkscrew Wine and Cheese – Blackstone

King Edward III – quick-tempered, arrogant and self-serving – attempts to steal the throne of France, as well as the beautiful wife of the Earl of Salisbury. A part of the Shakespeare Apocrypha, Edward III was published anonymously in 1596. A consensus is emerging that the play was written by a team of dramatists including Shakespeare early in his career – but exactly who wrote what is still open to debate. Join us as Artistic Director, Vincent Carlson-Brown, and a team of talented actors explore the text and discuss the debate in authorship.

Much Ado About Nothing, directed by Susan Baer Collins. Play by William Shakespeare.
June 21-24, July 2*, 5, 7, 2018, as part of Shakespeare On The Green

Benedick and his friend Claudio return from war and become reacquainted with Beatrice and Hero. As memories of conflict give way to a life of parties and masked balls, Claudio and Hero fall madly, deeply in love, while Benedick and Beatrice reignite a more combative courtship. Shakespeare’s popular comedy kicks off this summer’s Shakespeare On The Green.
*An after-dark performance of Much Ado About Nothing will be presented on July 2, 2018.

King John, directed by Vincent Carlson-Brown. Play by William Shakespeare.
June 28 – 30, July 1, 6, 8, 2018, as part of Shakespeare On The Green

Richard the Lionheart is dead. His brother, John, has become king of England. The French King wages war in support of Arthur’s (John’s nephew) claim to the throne. Meanwhile, another member of the royal bloodline is discovered – Richard Lionheart’s bastard son – who joins the fray. King John will run in repertory with Much Ado About Nothing to round out this year’s Shakespeare On The Green offerings.

Julius Caesar, directed by Sarah Carlson-Brown. Play by William Shakespeare.
July, 2018, at The Blue Barn Theatre.

Conspirators – some high-minded like the noble Brutus, others not – plot the assassination of the dictator Julius Caesar to save the Roman republic from tyranny. Juno’s Swans, Nebraska Shakespeare’s all-female performance company, will present the play through the feminine experience and outlook.

A Midsummer Night’s Dream, directed by Vincent Carlson-Brown. Play by William Shakespeare.
September and October, 2018, as part of Shakespeare On Tour

Four young lovers find themselves in an enchanted forest where hobgoblins and fairies rule. Oddities and mischievous love are presented through which gender-swapped lovers, Lysandre, Demetria, Helenus, and Hermian, must navigate, confronting heartbreak in every shadow to uncover true love that is precious, delicate, and rare. This fall, Shakespeare On Tour will travel to schools and communities throughout Nebraska to bring Shakespeare’s comedy to life for students and families that may not otherwise have the chance to experience the richness of his stories and language.

Tickets for Coriolanus are $10 and will be available in February.

Performances of Edward III, Love's Labour's Won, Julius Caesar, Much Ado About Nothing and King John are presented admission-free. $25 suggested donations to these events support Nebraska Shakespeare’s year-round performances and programming.

Membership Opportunities:

Green Level members receive ground seating for four people, front and center, at Shakespeare On The Green.

Bronze Level members receive VIP chair seating for four at Shakespeare On The Green and shuttle service to the park.

Silver Members receive all Bronze level perks, plus reserved parking for one vehicle at Shakespeare On The Green.

Gold Members receive all Silver level perks, plus two additional chairs and attendance at the Cast Welcome Event.

Platinum Members receive all Gold level perks, plus use of the Party Tent prior to a performance at Shakespeare On The Green (accommodates 30 guests).

Sponsor status for a Nebraska Shakespeare performance or event.

Additional information about the 2018-19 season and membership opportunities can be found at or by emailing

Under the leadership of Executive Director, Mary Ann Bamber; Artistic Director, Vincent Carlson-Brown; and the Board of Directors, Nebraska Shakespeare’s mission is to create entertaining, challenging productions as well as immersive educational experiences that connect our diverse community to Shakespeare's exploration of what it means to be human. On stage, in the classroom and through collaborative partnerships, we create, engage, and inspire. Now in its 32nd year, Nebraska Shakespeare serves 40,000 individuals annually through performances and educational forums.

Friday, January 12, 2018

Nebraska Shakespeare will Host an Audition Preparation Workshop

Having trouble with your monologues or want feedback? 

Join Nebraska Shakespeare for a free workshop to help you 
prepare for our 2018 season auditions.

The workshop will take place on February 3rd, 2018 in room 106 

of the University of Nebraska at Omaha's Community Engagement Center.

Drop by between 10:00 AM and 1:00 PM.  This workshop will provide monologue direction 
and guidance to prepare an actor for the Nebraska Shakespeare auditions taking place on 
Sunday, February 4th, and Monday, February 5th at Creighton's Lied Center.

For more information about the workshop, please contact Director of Education, 
Sarah Carlson-Brown, at

For questions about auditions, or to reserve an audition time, contact Director of Production, 
Wesley Houston, at or Click HERE for information 
about the roles and contracts available and what to prepare for an audition.

Sunday, August 20, 2017

Back By Popular Demand: JUNO'S SWANS: RICHARD 3

After Juno's Swans successful 2017 performance of Richard 3 to a packed house, excerpts of the performance and a discussion about performing Shakespeare through the female perspective will be featured at the Arts & Literary Festival this September alongside other Nebraska artists and authors.

Now in its seventh year, the Joslyn Castle Arts & Literary Festival returns this fall celebrating women of Nebraska. About the event from Joslyn Castle:
"For this festival, our primary goal is to create an awareness and appreciation for women artists who have, and still are, significantly contributing to the cultural fabric of Nebraska."
 The Arts & Literary Festival will be a week-long event, from September 21 - 27, and Juno's Swans will perform on September 23. Don't miss your final chance to see Juno's Swans in 2017.  Attendees can purchase tickets for an individual evening or for the full week's activities.  Details and pricing is available at

For more about Juno's Swans, check out or contact Director of Education, Sarah Carlson-Brown at

Don't forget to follow Nebraska Shakespeare on Facebook for up-to-date information on future performances, including the Juno's Swans performance of Julius Caesar in 2018!