Robby Simms (Bernardo) is excited to make his Garfield Shakespeare Company debut. He was born in Chicago, IL, raised in Indianapolis, IN, and graduated from the College for Creative Studies in Detroit, MI with a BFA in film. Their work can be found on YouTube at Robby Simms FM. Off stage, you will most likely find them playing guitar, watching cult classic movies, or reading comic books. Robby would like to thank his incredible family and friends for all the love and support they have shown throughout the years.

What do you enjoy about the rehearsal process?

I love being able to try out different approaches for each scene. Getting to discuss why something either works or doesn’t work with the cast and crew is fun. You learn how everyone else views the story and the characters, and you get to combine all those ideas to craft one cohesive vision. Especially with Shakespeare, there are so many ways to interpret the text, and rehearsals give you the space to explore every avenue you want.

What are your thoughts on the Gothic approach to Hamlet?

Thematically, Hamlet deals with subject matter that is deeply gothic, so it makes perfect sense to push those elements to the forefront, both in atmosphere and aesthetic. Chris’s gothic adaptation strikes the perfect balance of tradition and modernity.

What is something you hope the audience takes away from the show?

That they had a good time!

What are your dream roles?

Mercutio, Puck, Caliban, Nestor, and Macbeth

What do you enjoy about the rehearsal process?

I’ve really enjoyed the collaborative nature of the rehearsal process.

What is your approach to inhabiting a character?

I like to start with moments my character learns something new. Starting there helps me identify moments of growth and help create a foundation in which I better understand the characters journey. 

What are your thoughts on the Gothic approach to Hamlet?

I love how it highlights the stakes and emphasizes the relationships between characters. It creates a heightened sense of vulnerability.

What is something you hope the audience takes away from the show?

I hope the audience sees themselves. At least a reflection of common emotions in uncommon situations.

What do you enjoy most about being on stage?

Who are we kidding? The attention! 

What are your dream roles?

Othello- Othello, Ebenezer Scrooge- A Christmas Carol, Tom Collins- Rent

What drew you to theatre?

My elementary school librarian- Mrs. Bloomfield- she inspired my love for storytelling.

Key is thrilled to be returning to the stage after a 7-year hiatus, and to be making their Garfield Shakespeare Company debut with their long-time favorite piece. Their previous roles include Miss Casewell in Agatha Christie’s The Mousetrap, and Main Cast in Greg Allan’s Too Much Light Makes the Baby Go Blind. Key studied Theatre at University of Indianapolis with a focus in directing and performance. In their free time, Key enjoys experimenting with different art forms, most currently chainmail and linocutting. They would like to thank their partner Jihae and their cats (Boba and Milk Tea) for their unending support.

What do you enjoy about the rehearsal process?

I love trying new things and making bold choices! They always say “give it 100%, we’ll tell you when you’re doing too much” and I always strive for that.

What are your thoughts on the Gothic approach to Hamlet?

The themes of death, grief, family, and mental illness within Hamlet lend themselves naturally to the macabre. The emphasis on these lends to a more nuanced and personal take to such a timeless approach.

What is something you hope the audience takes away from the show?

“You do surely bar the door upon your own liberty if you deny your griefs to your friends.”

What are your dream roles?

Quasimodo, Christopher Wren, eventually Hamlet himself.

What drew you to theatre?

The people! I’ve never met a group of people that make me feel more confident or bolstered my own passion the way thespians do!

As a recent transplant to Indianapolis, Will Wreggelsworth is elated to be making his Garfield Shakespeare Company debut. He was last on stage over 10 years ago, in a production of Bleacher Bums, a play set at Wrigley Field, shortly before the Cubs won the World Series. He's been told repeatedly) that correlation does not equal causation. He would like to thank his family and friends for their unending support, as well and the cast and crew for being so welcoming and making this journey one of his favorites in recent memory.

What do you enjoy about the rehearsal process?

The gradual increase in collaborative camaraderie as we all put more of ourselves into the story we are trying to tell. I enjoy the discussions over various viewpoints on a scene, a moment, and/or even just an action. Seeing on others and feeling in myself the thrill of a breakthrough or a discovery made. Finally, I love seeing the shape and form of our work take hold in the final days leading up to opening night.

What is something you hope the audience takes away from the show?

Hey, therapy could actually be kinda cool maybe.

What do you enjoy most about being on stage?

I love the sense of freedom that it brings. For a few hours, getting to step out of myself, let go of whatever I might be holding on to, and inhabit another world. Just playing and telling a story with other creatives. There is nothing like it.

What drew you to theatre?

The community. <3

Tess Smith is honored to once again join the Garfield Shakespeare Company stage. She has enjoyed previous roles with GSC such as Sir Andrew in Twelfth Night, Gwendolyn in The Importance of Being Earnest, Harker in Dracula, Richmond in Richard II, and Tybalt in Romeo and Juliet. A long time fan of gothic horror and Shakespeare, she has enjoyed getting to bring to life the much changéd Prince of Denmark, Hamlet, and his journey of grief and ruin. She would like to thank her friends and family for their endless encouragement of her pursuit of the arts, and show special gratitude to her partner Zack— thank you for your ever-endless support and the many delicious meals after late rehearsals. She could not have done it without you. She hopes audiences adore the show, and that each and every audience member might find something to carry away with them tonight; after all— ghosts are not the only thing that may haunt us long after their end. 

The rest is silence. 

What are your thoughts on the Gothic approach to Hamlet?

I LOVE this interpretation. I have often thought longingly what an adaptation of Hamlet produced by directors like Guillermo del Toro, Mike Flanagan, or Robert Eggers might look like. There is beauty, in the macabre, there is comfort in sorrow, and there is tragedy in fate. Gothic themes fit well into the story of Hamlet.

What is your approach to inhabiting a character?

For me, especially with Shakespeare, I find it very easy to fall into archetypal characterizing— each role can be connected to a stock character, which would have made casting much easier in the days of the bard. However, I think it becomes easy to create a flat interpretation with little depth. I begin by asking myself “At their heart, what does this character want? What emotions fuel them throughout the show? What does that look like, feel like, sound like?” For Hamlet, I knew I wanted to approach the character very differently than we have often seen him portrayed. My starting question became “What becomes of grief unaddressed, unsalved, and at what point does the dam of numbness break?”

What do you enjoy about the rehearsal process?

I love seeing the show grow from the first read through all the way through closing night. Watching actors try new things, take new risks, build their characters, and discover the heart of the production is something that I love to witness, and cherish the opportunity to be a part of.

What is something you hope the audience takes away from the show?

On one level, I hope audiences learn the thrill in leaving their preconceived notions of Shakespearean productions at the door— on the other, I hope the audience takes away that this is, at its heart, a story about grief, and what becomes of grief when left to fester. A joy shared is a joy doubled— a grief or burden shared is a load made lighter.

What do you enjoy most about being on stage?

I think a lot of neurodivergent people feel at home in the theater. However hard your day may have been, whether you’re dealing with something personal, you had a particularly hard day at work, or you had to mask all day—we can all come home to the theater. I could be crying, raving, or screaming on stage, and when the curtain falls, I still feel lighter, more joyful, and satisfied with the work I’ve done. I could spend all day masking, but the catharsis that comes from being on stage balances it out and brings me a kind of internal peace.

Siren Current has been acting on stage since they were 13 years old, but they have loved imaginary play for as long as they can remember. Some of his first memories are pretending to be mice, or pirates, or castaways with his siblings. Siren always feels most like themself when they’re on stage. This is Siren’s first show with Garfield Shakespeare Company. And, through this show, he has now fallen in love with the art of Shakespeare. When not on stage, you can find Siren playing Tchaikovsky on the piano, cuddling their cat named Checkers, and watching weird psychological horror films. Siren would like to thank their 13 year old self for being as brave as they possibly could be and taking that first step onto a stage to perform. He owes everything to that version of him.

What is something you hope the audience takes away from the show?

I hope the audience takes away the different ways humans and bodies process grief. Every character in this show is going through some sort of grief, and it is what drives all of their actions. Take note of the way the characters hold the grief in their bodies, the way they interact with the other characters. Think about how you might react if going through grief like this. 

What do you enjoy most about being on stage?

Feeling like myself. I’ve always felt the most comfortable and in my element when I’m on stage. Put me in front of two people and I’m terrified, get me on a stage in front of hundreds of people and I’m the most comfortable I’ve ever been. There’s something so calming about inhabiting the stage without having to think of how to act. Everything is already rehearsed and blocked and all I have to do it exist within those parameters. It feels so safe. 

What drew you to theatre?

I’ve loved playing pretend for as long as I can remember. When I discovered that there were other people like me, and that I could make people happy by performing for them, I was sold. Being able to be the weird person I’ve always been, but being loved for it this time, means the world to me. Theatre was my first home. 

Benjamin Mathis has acted with the Garfield Shakespeare Company for ten years and is excited to play a new role in his third production of Hamlet. His previous roles with the company include Duke Orsino (Twelfth Night), Mark Antony (Julius Caesar and Antony & Cleopatra), John of Gaunt (Richard II), Ned Poins (Henry IV, Part I & II), Duke Frederick (As You Like It), Will Dearth (Dear Brutus), Courtesan (The Comedy of Errors), King Alonso (The Tempest), Poseidon (Trojan Women), Antonio (Twelfth Night), and Gremio (understudy, The Taming of the Shrew). He also directed the GSC productions of A Midsummer Night's Dream and The Importance of Being Earnest. Benjamin deeply appreciates the support of his daughter and husband and their shared love of theatre.

After a recent move to Indy, Miranda Manier is thrilled to be continuing her lifelong love affair with Shakespeare alongside GSC. Favorite credits by ole Billy over the years include co-directing the immersive production of "HAUNTED: A Macbeth Experience" (Shades of Orange), as well as playing the infatuated Olivia in "Twelfth Night" (South Bend Civic Theatre) and the little-but-fierce Hermia in "A Midsummer Night's Dream" (SBCT). Forever thanks to her parents for their much-needed wisdom, and Audrey for her unending support.

Why do you think people should come see Hamlet: A Gothic Fantasia?

I can't think of a better way to spend a chilly October evening than taking in this iconic, spooky story about the ties that bind us-- and break us apart.

What do you enjoy about the rehearsal process?

Drawing from our fearless leader Chris' deep well of knowledge. Also, swords.

What drew you to performing in theatre?

I grew up in a family of actors-- my parents met in a production of Oliver! and my name came from The Tempest after my dad played Ariel. I never stood a chance. 

How long have you been performing on stage?

I stumbled onstage for the first time when I was 7, during Shakescenes at the Notre Dame Shakespeare Festival. I played a silent messenger in King John and made everyone laugh when I tapped the King (played by my pops) on the shoulder, only for him to turn around, see no one, then slowly look down to find tiny me impatiently holding up a letter. I've been hooked ever since.

Sabrina (Rosencrantz) is happy to be back onstage in this production of Hamlet. She has performed in over 60 shows across Indiana, previously working with Garfield Shakespeare Company as Viola (Twelfth Night), Juliet (Romeo & Juliet), and Helen of Troy (Trojan Women) among others. When not onstage she works as a pilot, and does other performing gigs in her spare time. Thanks to Chris for including her in this show and his vision, and to the cast & crew for making it such an enjoyable experience! 

What is your approach to inhabiting a character?

I have to make sense of them. Why are they saying these things, what do they want, what are they not saying? How other actors perform their characters & the director’s vision also helps. And purposeful or not, I find a little bit of me ends up in each character I play.

What are your thoughts on the Gothic approach to Hamlet?

It’s perfect! Hamlet has always been one of the more macabre Shakespeare works & I love that we embraced that fully. Plus, perfect for spooky season.

What do you enjoy most about being on stage?

Getting to live different lives and experience things I would never get to normally. And the friends made during the show!

What drew you to theatre?

As a kid I loved stories like Peter Pan & was sad I couldn’t actually go on adventures to Neverland. I decided the next best thing would be playing Wendy since she gets to go. My mom found a local show for me to audition for & I was instantly hooked.

Jo Bennett (They/Them) is an actor, burlesque artist, & VO artist from Indianapolis, IN. They graduated with honors from Butler University with B.A. in Theater. Jo was most recently seen as Petruchio in Garfield Shakespeare's Taming of the Shrew, Bessie in Westfield Playhouse's The Drowning Girls, Geoffrey in Southbank Theater Company's A Lion in Winter, Baloo in Cincinnati Children's Theater's The Jungle Book, & various supporting roles with Indianapolis Shakespeare Company/Indyshakes' Traveling Troupe and Indy BardFest. Jo dedicates this performance to their partners James Bennett & Cambria York. "Cherish forever what makes you unique, 'cuz you're really a yawn if it goes." - Bette Midler

Why do you think people should come see Hamlet: A Gothic Fantasia?

This interpretation of Hamlet, more so than any I've had the pleasure of working on (this will be my 3rd Hamlet to date), discards the idea that the written gender presentation of the character must dictate their whole identity. One of the coolest aspects of working with Garfield Shakespeare is that they are unabashedly a safe creative space for queer artists in Indy - and this show really lets fact come to the forefront.

What do you enjoy most about being on stage?

I used to enjoy the escape being in theater offered me because I really didn't like being who I was. I'm a late-bloomer - I came out as nonbinary/genderfluid at 30 in Indy, during a time where nobody really knew what that was or why I didn't absolutely jump at cis-femme roles anymore. Moreso than an escape, theater is Truth & Light for me. It is my history, my circle of friends & loves, my realm to be ageless, boundless, and it arms me against The Real World's woes. I could not live without it.

Do you have any dream roles?

Macbeth, Prospero (I've played once, but I'd play again in a heartbeat), and Hermes to name a few!

Do you have a favorite Shakespeare play?

The Tempest has to be my favorite - 2nd runner up going to Macbeth.

How long have you performed with Garfield Shakespeare Company?

This is my 2nd show with Garfield Shakes. My first show was Taming of the Shrew as Petruchio.

How long have you been performing on stage?

I have been onstage alongside my dear sweet brothers Noah & Jonah Winston since I was 7 years old. I entered a talent show at my elementary school with a costume cape and a Styrofoam skull I found in the garage and I performed what I knew of Hamlet's famous "To be or not to be" monologue. The skull was my scene partner and spoke a little, too.

Cambria York (she/they) is a multidisciplinary performing artist, folkways musician, voice actor, storyteller, writer, community organizer, and theatrical technician based out of Indianapolis, IN. She received a B.M. in Vocal Performance from the University of West Florida in her hometown, Pensacola, FL, with specialization in historically-informed performance and chamber music. She was most recently heard in the audiobook of Socialist Reconstruction: A Better Future for the United States published by 1804 Books, and seen in GSC’s Taming of the Shrew in the role of Hortensia. Cambria is a Journeyman of IATSE 30, where she specializes in theatrical lighting design, scenic carpentry, and audio engineering. Cambria dedicates this performance to her partners; Martin, Jo, and Scarlett.

Stephen Moore (he/him) is excited to be part of his first GSC production! Locally, he's worked with Noblesville Shakespeare in the Park and is a current company member with Candlelight Theatre at the Benjamin Harrison Presidential Site. Steve received his BFA (Directing) from Millikin University. He lives in Community Heights with his family.