Has bloodshed come to Illyria? Toby and Maria tricked Malvolio into some very bad behavior with who knows what very bad results to come. Andrew, seeing that Olivia only had eyes for Cesario, also let Toby and Maria trick him into challenging Cesario to a fight. But, of course, Cesario is really Viola, who is no fighter, unlike her brother’s friend Antonio. Toby would have Andrew think otherwise...

Olivia awaits another visit from Viola, Maria and Toby await Malvolio’s wrongheaded appearance before Olivia, we await news of Viola’s brother Sebastian and his friend Antonio, and Sir Andrew, well, he’s still Sir Andrew...

In Illyria, matters of the heart heat up as the midsummer sun beats down. Olivia has declared her love to Cesario, who we know is Viola in disguise, but still Viola must find her, again, to beg for Orsino. But even before that, Maria’s plan unfolds as Malvolio finds and unfolds a mysterious letter...

How complicated life is in Illyria! Viola, still disguised, loves Orsino, but he loves Olivia. Uncle Toby’s friend Andrew wants Olivia to love him, while her old friend Feste simply wants her to be happy again. And while we know what Olivia wants, Malvolio apparently wants no one to be happy ever, and so we return to Olivia’s tennis court, where a ring lies in the grass...

“Alison Carey and Lezlie Cross explain how Shakespeare was able to avoid getting his nose slit, why it’s important for each of us to make our own iteration, and the myriad worlds within the words of TWELFTH NIGHT!”

Viola, now disguised as the young man Cesario, and in love with Duke Orsino, is off to bring words of love from Orsino to Olivia. But before Viola arrives, someone else rings the doorbell at Olivia’s mansion…

A shipwrecked young woman grieves over the loss of her twin brother and strikes out on her own in a foreign land governed by a love-lorn Duke pining for the affection of a beautiful Countess mourning the death of her brother.

“Twelfth Night” translator Alison Carey and Dramaturg Lezlie Cross take us on a tour of the play’s history, the challenges of making outdated comedy sound contemporary, and how a “Cock-and-feel” gave rise to a “Tromboner”.

Philippa Kelly talks about the impact of women on King Lear

Dramaturge for King Lear Philippa Kelly talks with Executive Producer Michael Goodfriend about the connection that jazz has to this adaptation, and looks back on the period in Shakespeare's life when this was written.

Actor Aldo Billingslea discusses when he almost lost interest in Shakespeare entirely, and what rekindled his love for it

Main character Deirdre Gardner assembles a studio audience for a pivotal music event

Director Eric Ting return for part two of his interview with Senior Producer Miriam Laube

Director Eric Ting talks with Senior Producer Miriam Laube about his path from puppetry to the collaborative art form of theater, and the enduring power of great plays.

King Lear Voice & Text Coach Rebecca Clark Carey in conversation with Actors Gina Daniels and Amy Waschke

Lindsay Jones on King Lear's Sound Design and Composition

The tragic conclusion of the epic series, in which Edmund confronts his mysterious challenger, Goneril and Regan meet their fate, Lear mourns for all that has been lost and a new generation struggles to comprehend the destruction of a neighborhood that will never be the same.

Lear and Cordelia are reunited, Albany challenges Edmund’s authority and Edgar prepares to face his brother at last.

Regan tries to keep Oswald from Edmund in order to thwart Goneril; Edgar leads his father to what he thinks will be his death in order to give him renewed life; Lear spouts reason in madness, and Oswald succumbs to his own treacherous devices.

Cornwall pays the ultimate price for his vengeance on Gloucester, who eventually finds his way into the arms of “Poor Tom” (Edgar), while his treacherous brother Edmund finds his way into the arms of Goneril.