William Shakespeare’s Troilus & Cressida



  • Achilles – Bryan Metrish
  • Aeneas – Ari Pollack
  • Ajax – Cricket
  • Agamemnon/Andromache – Isabella Virrueta
  • Cassandra/Diomedes – Daisy Forrester
  • Cressida – Michael Fleischman
  • Hector – Greg Hudson
  • Helen – Alex Roller
  • Musician – Jonas Mirbeth
  • Nestor/Priam – Gilman Halsted
  • Pandarus – Alex Hancock
  • Paris/Patroclus – Grant Gigot
  • Thersites – Ross Shenker
  • Troilus – Scout Slava-Ross
  • Ulysses – Jason Compton

Director – Ely Phan

Designer – Aliza Feder

Production Manager – David Simmons

Musical arrangements – Ross Shenker & Jonas Mirbeth

Poster and Logo Design – Zoe Feder

Video and Web Design – Nick Barovic-Hancock

Special thanks to Marie Schulte for photography and costumes and Trevor Rees for fight choreography

Review from the Isthmus

Director’s Note

Since the earliest days of its printing history, Troilus and Cressida has been described as a tragedy, a comedy and a history. All be forewarned, ye who enter here, that this is a very confusing play. But not for its chimeric nature or winding plot structure. For a modern audience, the confusion lies in what the play both suggests and refuses to discuss about the nature of war, and about the roles of sex and gender in times of conflict. Our Trojan War is a war of performance (or a performance of war) and we have chosen to set the story in a circus-like arena, where every Greek and every Trojan performs the behaviors, gendered or otherwise, ascribed to them by what is essentially a culture of violence. All individuals are capable of performing acts of violence, regardless of their mental or biological composition. As always, we hope to leave you with more questions than answers about what kind of society thrives on the performance of such brutality–between competitors, between lovers, and across all walks of life. Welcome, honored guests, to Troy.

Troilus & Cressida – 2014
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