Based on a story by William Shakespeare - Adapted & Directed by Sara Fay Goldman

Approximate Run Time: 2 hours 20 minutes




Catherine Miller


Colin Trevor


Emilie Landmann

The Stage Manager:

Eva Andrews


Jacquelle Davis


Kaia Maarja Hillier


Kelsea Vierra


Christopher Sly:

Mickey Jordan


Steven Grawrock


Yolanda Porter



There will be one 15 minute intermission


Director and Adapter: 

Sara Fay Goldman

Costume Designer: 

Hannah Edelson

Fight and Intimacy Choreographer: 

Kristen Mun 

Props Designer and Aesthetic Consult:

Nicki D'Amico

Set Consultant: 

Winston Bischof

Original Music by

Chris Beatty &

Sara Fay Goldman

Production Stage Manager:

Chris Beatty

Rehearsal Stage Manager: 

Corey McCarey






S’been a year, huh?


I know – too soon. Alisa approached me with a similar question about 8 months ago: Is there an adaptation of Shrew in light of the women’s movement?


Her timing was brazen – three days after Weinstein was fired from the Weinstein Company; four days before Alyssa Milano quoted Tarana Burke’s campaign on Twitter, something was happening that was worth investing in with a team of professionals. I’m still discovering my gratitude for this impetus, because, talk about too soon – The wound was still raw and unnamed, and given my background, I may not have gotten there myself, or dared to so quickly. I was trained in a very conservative theatre tradition of professional protocols which values the ability to create personal boundaries and emotionally separate from our work.


A few days later the Me Too campaign went viral and we coined Time’s Up – and both were even winceier for me to say out loud back in the Fall than they are today. Citing such a brand name for what is a very real need for justice, and for the purpose of marketing; it felt like I was commercializing a trusted secret. But now, 8 months later, I’m almost able to cite said movement without insisting on using my own euphemism of choice (today, the women’s movement of many names). What is it about sticking your neck out and asking to be seen and respected that makes us clam up?


At this unprocessed, emotional moment in history, this play contains more questions than answers, but we are very lucky to have a space to ask them together. I refer to my roller coaster of emotions in service to this play in order to highlight how bravely Shakespeare publicly and professionally exposed a history of silenced women, perhaps taking a risk that his female contemporaries didn’t have access to. So I think we should ask Kate what she thinks.



‘Cat’ is a recent graduate of Portland State University (BA, Theater Arts) and a freelance theater artist in Portland, having worn a variety different hats around town including stage hand, board operator, electrician, dresser, assistant stage manager, house manager, director, and actor.  This is their debut production with Experience Theatre Project.  Cat wants to thank director Sara Fay Goldman for inviting them along for this wild ride!


Catherine Miller

Colin Trevor was most recently seen as John in Baby with the Bathwater with Missing Link Theatre Company. Favorite roles include Mitch in Streetcar Named Desire (Twilight Theatre Company), The Fire Captain & The Professor in The Bald Soprano/The Lesson (Reed College), and Cassius in Julius Caesar (Reed College). He is currently involved with Salt and Sage Productions, workshopping The Lover’s Project, a repertory staging of three of Shakespeare’s plays about lovers in times of war. He completed the Moscow Art Theatre Semester through the National Theatre Institute, and was a member of the inaugural class of Portland’s Institute for Contemporary Performance. SHREW is Colin’s debut with Experience Theatre Project. Much thanks and love to Tish and my wonderful parents, who never miss a show.


Colin Trevor

Emilie is excited to play multiple roles and music in this Shrew adaptation, after playing multiple roles and music in Portland Actor Ensembles' production of Taming of the Shrew in 2015.  She is a company member at Theatre Vertigo, where she will be directing A Map of Virtue this Fall. She has worked on stage and off with: Action/Adventure, Portland Actors Ensemble, Nutz-n-Boltz, Profile Theatre, Post5, and Portland Playhouse. She also wrote the book to the new musical, Matthew McConaughey vs the Devil: An American Myth; which was an official selection of the 2017 New York Musical Festival Next Link Project, and was nominated for an Award of Excellence for Best Book and Best Musical.  BA: Western Washington University


Emilie Landmann

This is Eva Andrews’ first production with Experience Theatre Project. She most recently appeared in Love Stinks, a cabaret with Torchsong Entertainment and played Feste in Twelfth Night with Rose City Shakespeare Company. She was in the Fertile Ground Festival 2018 reading of That Midsummer at Twilight Theater Company and also played Marvel Ann in their production of Psycho Beach Party. Eva has played ensemble parts in Broken Planetarium’s Frankenstein: A Cabaret, Lenore Rises with Whisper Skin/Broken Planetarium and was in Lysistrata with Rose City Shakespeare Company. Eva is excited to be a part of this unique and dynamic production of Taming and the Shrew with such an awesome cast and crew!

The Stage Manager

Eva Andrews

Jacquelle is a current Theatre Vertigo company member, Pulp Stage volunteer and a No Filter Improv Troupe member. Past credits Jane Fonda in That Pretty Pretty; or, The Rape Play (defunkt Theatre) and Lorelai in An Interlude in Birdsong (Rutabaga Story Co.). Jacquelle has had just the most fun stomping and romping around as Grumio. She would like to give a special shout out to Sara Fay for allowing her to go full throttle. Thank you for your trust and patience! A warm hug to the bestie Kaia for unending support through this emotional and close-to-home production. And a final thank you to all her castmates - you are all Amazing!! 


Jacquelle Davis

Kaia is a current Theatre Vertigo company member, a Board and Company member of the Pulp Stage, and a No Filter Improv Troupe member. Past credits include: Jessica in A Maze (Theatre Vertigo); Larissa/Hebe in The Alien Chicken Remembers Galatea (Mofsec-Performed in the 2017 Fringe Festival), Nora in Assistance (Theatre Vertigo); and April in the Best of Everything (Bag &Baggage). Kaia has had the time of her life fighting the patriarchy and realizing that time is up and it is time to make some change. Much love to Sara Fay, her partner in crime Jacquelle, this amazing ensemble, and the Wayward squad- Sandi, Joel, Kathleen, Tom W, Jessie, Sarah Jane, and Izzie for fighting for what is right-this one is for you guys!


Kaia Maarja Hillier

Kelsea Vierra Ashenbrenner (Wingman/Tranio) is excited to be working with Experience Theatre Project this summer! She has a Bachelor’s degree in Theatre from Oregon State University and is an alumni of the Shakespeare and Co. actor training program. Wine and outdoor summer Shakespeare are two of her favorite things! New to the Portland theatre scene, she’s previously been involved in shows with OPS Fest and Oregon Contemporary Theatre. She’s a cat mom of two, but her favorite job is being auntie to all of her nieces and nephews. She’d like to thank God for the opportunities along with her husband, Stuart, and her family for their love and support. Follow her blog on her website at 


Kelsea Vierra Ashenbrenner

Mickey Jordan is a native Oregonian, grew up in Portland, and has been performing in town for the last five years or so.  In that time he’s worked with the Jewish Theatre Collaborative, Profile Theatre, Shaking the Tree, and Defunkt, among others.  Most recently he appeared as Andrey in Northwest Classical Theatre Collaborative’s production of Anton Chekhov’s Three Sisters.  Mickey knows that lumber sports isn’t likely to be the smoothest road to fame and riches, but he can’t help but fantasize about a career in professional log rolling from time to time.  That or space travel.

Christopher Sly

Mickey Jordan

Steven Grawrock grew up in Beaverton and is excited to be doing more theatre here. He was most recently seen as Gloucester in Oregon Adventure Theatre's King Lear and before that, he was right here with Experience Theatre Project playing Flute in A Midsummer Night's Dream. Before coming to Portland he'd also been Patsy in Spamalot, William in As You Like It and Guildernstern in Hamlet. He went to school at the Royal Conservatoire of Scotland for his Master's degree in acting. Some of his other favorite roles include Banquo, Dr. Treves, and Fluellen. He has a smokin hot wife he’d like to thank for her support. 


Steven Grawrock

Yolanda Porter is a graduate of Portland Actors Conservatory. She has participated in productions like “All My Sons”, “Marisol”, and “Opción Multiple” as well as in dozens of commercials, both print and on camera. She’s the mother of a first grader, enjoys extreme sports, avid traveler, and a skilled pastry chef. 


Yolanda Porter




Sara Fay Goldman has been helping make theatre in Portland for the past decade. She moved from the East armed with a degree in Theatre from Barnard College and a plan and has since relaxed a bit about both of those things. She is incredibly grateful to experience firsthand the way people have come together at this pivotal if painful moment in time. She’s also humbled by this cast and design team and hopes that with their efforts, you leave today a bit more prepared for what the year has to offer. During this run she will also be touring as part of the cast of Portland Actors Ensemble’s late summer show directed by Sam Dinkowitz, The Complete Works of William Shakespeare (Abridged) – an old favorite and a major influence on the production you’re about to see.Huge thanks to her parents, Daniel, Noble, Corey, Winston, Erik, Rusty, Sam, and especially Christopher for making it happen. But this one is going out to all the ladies.



This is Hannah’s first show with Experience Theatre Project, and what a show it is! You might have seen her work as a costumer in The Doctor & The Devil (Fertile Ground), the Deception Unit (PETE), and A Christmas Carol (Portland Playhouse). Onstage, she’s done work with Voice for Voiceless (The Christians, Twelve Angry Jurors), Corrib Theatre (Belfast Girls), and the Nesting Series among others. She hopes you enjoy the colors and textures of the world of Shrew!



Winston Bischof is very excited to be working on this production of The Taming And The Shrew. He graduated from Southern Oregon University and was an acting intern at the Oregon Shakespeare Festival in 2011. He then moved to Portland and worked as a theater artist in various capacities. Winston was an integral part of the Post5 Theater production team as well as an acting company member. He worked as the technical director for Theatre Vertigo in 2012, and designed and produced theatrical scenery for various companies and educational programs as a freelance Technical Director. Winston is currently the Project Manager for SQFT Studios, a local construction company building ADU's and home studios. In his free time, Winston enjoys attending Ballet class at NW Dance Project and BodyVox. Part of Winston's draw to this project is his passion for both Shakespeare and clown; this project has taken the two and mashed them together. Enjoy! 


Kristen Mun has worked as a fight choreographer for over half a dozen theatre companies in the Portland area and has trained in theatrical combat for over 10 years. Outside of Portland she has worked at Utah Shakespeare Festival, Idaho Repertory Theatre, and was the assistant fight choreographer at the Oregon Shakespeare Festival for 2 seasons (09-10). 



Nicki is thrilled to be working with Experience Theater Project and the wonderful creative team of this whole new Shrew! How fortunate she has been to design props for memorable shows like Luna Gale, at CoHo, 1776 at Lakewood Center, and Davita's Harp, for Jewish Theater Collaborative. A native New Yorker Nicki has lived in Portland for 11 years and loves it. She holds a degree in Drama Studies from SUNY Purchase.



This play is an adaptation of Shakespeare's, set in the very real here and now - on an estate just outside of town in a small city's theater community, only 7 or 8 months into 2018. (Been a bit of a year, no?) 

To help you enjoy the show, you may want to familiarize yourself with the 16th century comedy.


Shakespeare's Shrew is set in a fictional version of Padua, a merchant town about 25 miles from Venice (the major port on the Italian coast) and run by the rich and powerful (and male) heads of households. An acting company is asked to perform for a Trustee, who offers the company money in exchange for a complete performance of "that play." The company agrees, but the Trustee has even more ideas to make the play more exciting.  

The following is a summary of Shakespeare's The Taming Of The Shrew.  Bear in mind that the play you are seeing keeps the "play within the play" idea alive, and the company of actors often switch roles, sometimes by demand of the Trustee, other times because the material, uhm, calls for it. 

And now... the summary of Shakespeare's Taming of the Shrew

The play begins with a drunken tinker named Christopher Sly in front of The Elephant Alehouse. He is found by a local lord who decides to play a prank on him. The lord has his men take Sly to his manor, dress him in his finery, and treat him as a lord. When Sly recovers, the men tell him that he is a lord and that he only believes himself to be a tinker because he has been insane for the past several years. Waking in the lord’s bed, Sly at first refuses to accept the men’s story, but when he hears of his “wife,” a pageboy dressed in women’s clothing, he readily agrees that he is the lord they purport him to be. Sly wants to be left alone with his wife, but the servants tell him that a troupe of actors has arrived to present a play for him. The play that Sly watches makes up the main story of The Taming of the Shrew.

In the Italian city of Padua, a rich young man named Lucentio arrives with his servants, Tranio and Biondello, to attend the local university. Lucentio is excited to begin his studies, but his priorities change when he sees Bianca, a beautiful, mild young woman with whom Lucentio instantly falls in love. There are two problems: first, Bianca already has two suitors, Gremio and Hortensio; second, Bianca’s father, a wealthy old man named Baptista Minola, has declared that no one may court Bianca until first her older sister, the vicious, ill-tempered Katherine, is married. Lucentio decides to overcome this problem by disguising himself as Bianca’s Latin tutor to gain an excuse to be in her company. Hortensio disguises himself as her music teacher for the same reason. While Lucentio pretends to be Bianca’s tutor, Tranio dresses up as Lucentio and begins to confer with Baptista about the possibility of marrying his daughter.

The Katherine problem is solved for Bianca’s suitors when Hortensio’s friend Petruchio, a brash young man from Verona, arrives in Padua to find a wife. He intends to marry a rich woman, and does not care what she is like as long as she will bring him a fortune. He agrees to marry Katherine sight unseen. The next day, he goes to Baptista’s house to meet her, and they have a tremendous duel of words. As Katherine insults Petruchio repeatedly, Petruchio tells her that he will marry her whether she agrees or not. He tells Baptista, falsely, that Katherine has consented to marry him on Sunday. Hearing this claim, Katherine is strangely silent, and the wedding is set.

On Sunday, Petruchio is late to his own wedding, leaving Katherine to fear she will become an old maid. When Petruchio arrives, he is dressed in a ridiculous outfit and rides on a broken-down horse. After the wedding, Petruchio forces Katherine to leave for his country house before the feast, telling all in earshot that she is now his property and that he may do with her as he pleases. Once they reach his country house, Petruchio continues the process of “taming” Katherine by keeping her from eating or sleeping for several days—he pretends that he loves her so much he cannot allow her to eat his inferior food or to sleep in his poorly made bed.

In Padua, Lucentio wins Bianca’s heart by wooing her with a Latin translation that declares his love. Hortensio makes the same attempt with a music lesson, but Bianca loves Lucentio, and Hortensio resolves to marry a wealthy widow. Tranio secures Baptista’s approval for Lucentio to marry Bianca by proposing a huge sum of money to lavish on her. Baptista agrees but says that he must have this sum confirmed by Lucentio’s father before the marriage can take place. Tranio and Lucentio, still in their respective disguises, feel there is nothing left to do but find an old man to play the role of Lucentio’s father. Tranio enlists the help of an old pedant, or schoolmaster, but as the pedant speaks to Baptista, Lucentio and Bianca decide to circumvent the complex situation by eloping.

Katherine and Petruchio soon return to Padua to visit Baptista. On the way, Petruchio forces Katherine to say that the sun is the moon and that an old man is really a beautiful young maiden. Since Katherine’s willfulness is dissipating, she agrees that all is as her husband says. On the road, the couple meets Lucentio’s father, Vincentio, who is on his way to Padua to see his son. In Padua, Vincentio is shocked to find Tranio masquerading as Lucentio. At last, Bianca and Lucentio arrive to spread the news of their marriage. Both Vincentio and Baptista finally agree to the marriage.

At the banquet following Hortensio’s wedding to the widow, the other characters are shocked to see that Katherine seems to have been “tamed." When the three new husbands stage a contest to see which of their wives will obey first when summoned, everyone expects Lucentio to win. Bianca, however, sends a message back refusing to obey, while Katherine comes immediately. The others acknowledge that Petruchio has won an astonishing victory, and the happy Katherine and Petruchio leave the banquet to go to bed.



Experience Theatre Project appreciates all of its supporters and volunteers that make this production possible!  Shout out to ETP board members Gustavo Ramirez and Leia Young for helping with the set-up and offering to pitch in whenever needed. To Casey Campbell for taking such awesome photos of our past shows, this show, and future events. Thank you to SQFT Studios for donating the use of its wood shop to build the set. Big thanks to Lewis & Clark, Jenny Ampersand & Third Rail, Rusty Tennant, Megan Murphy Ruckman, Jake Merriman, and extra kudos to SM Corey McCarey for being a hero.

We are in awe that the the City of Beaverton has granted our company funds to host the very first Shakespeare Festival on the westside. We are calling it The Westside Shakespeare Festival, and will take place on July 5, 6, and 7, 2019 at the Beaverton Library South Lawn. We hope you will join us for this event which will invite you to experience the world of the Bard, including performances by local students and professional actors, a kids craft tent, food vendors, arts booths, a beer and wine tent, and much more! 

Be sure to follow Experience Theatre Project on Facebook, Twitter and Instagram, and sign up for our email list HERE to get updates on our future projects. 

Proud recipient of an operating grant from the Oregon Arts Commission and a project grant from RACC and the Cultural Coalition of Washington County

Experience Theatre Project

A 501c3  Non-Profit Professional Theater Corporation

Mailing Address: 6107 SW Murray Blvd. #320

Beaverton, Oregon 97008

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