CHAPTER 36ATheater, Part 1

All photos in this chapter are © by Joe Konz 

Garfield Shakespeare Company has produced plays in Garfield Park since 2008. It is still in operation, and as of 2020, it has outlasted the first wave of Shakespearean theater in the park, which ran from 1981-93. For all but the last two of those years, the troupe operated under the name Indianapolis Shakespeare Festival. 

In this chapter, you'll find a selection of photos taken at each of 13 Garfield Shakespeare Company productions I photo-archived for the all-volunteer theater troupe, beginning with Macbeth, a Colonial Tragedy in autumn 2010 through Romeo and Juliet in summer 2016. They are presented below in chronological order.

Macbeth: A Colonial Tragedy, autumn 2010

William Shakespeare

This production was significant in that Artistic Director Joe Cook elected to bring in an "outsider," Thomas Cardwell, to direct, and Cardwell elected to transform the storyline from Shakespeare's original 11-century Scotland to pre-Revolutionary War in the American colonies. 

This was the only instance in which Eric MacDonald, who played the title character, appeared in a GSC production.

Banquo, Macbeth’s best friend, played by Charles DeGiovanna above and far left in photo below, was killed at Macbeth’s direction. But Banquo later appears as a ghost at a dinner visible only to Macbeth (far right below, played by Eric MacDonald). 

Above: In an early scene in the drama, King Duncan, played by Stephen Scull, chats with Lady Macbeth. Later in the drama, Duncan is slain by Macbeth. 

Above: The three witches, or "three weird sisters" as Macbeth refers to them in the play, doing a dance while concocting a brew. 

Above: Lady Macbeth, played by Meagan Matlock, and Macbeth.

Above: Macbeth in a tortuous fit of guilt following the late-night slaying of King Duncan.

Above: Macbeth and his friend Banquo in a scene after Macbeth had killed King Duncan. Not long afterward, Banquo also would be slain, at Macbeth's direction, although Banquo's son Fleance -- also an assassination target -- would escape, allowing the possible fulfillment of the witches' prophecy that a long line of Banquo's lineage would ascend the throne.

Above: Macbeth has a disturbing vision in which he sees a procession of kings from the lineage of onetime friend Banquo, a vision prophesied by the three witches.

Above: Lady Macduff, played by Melissa Mowat, shortly before she and her child are killed, also at the direction of Macbeth, who is trying to heed the witches' prediction to beware of the exiled Macduff.

 

Props played key roles in GSC productions. Above, near the end of the show, Macduff (played by Nick Henry) holds the head of the recently beheaded title character.

Pygmalion, spring 2011

George Bernard Shaw

Pygmalion marked GSC's first venture outside of Shakespeare. One of my lasting memories of that production was the number of times Artistic Director Joe Cook repeated a factoid that the play's author, George Bernard Shaw, detested the name "George" and never used it personally or professionally. So Joe made a point to make all oral and printed references to Shaw (for publicity and in the printed programs given to audience members on show nights) as Bernard Shaw.

Departing from Shakespeare was kind of bold for the all-volunteer troupe, given that there were royalties to be reckoned with (negotiated and paid) for the revenue-strapped theater troupe if a play it chose to perform were not old enough to be in the public realm like Shakespearean works. In the time I photographed GSC productions, there would be four more non-Shakespearean plays on the annual production calendars.

Shaw's play dates to 1913 and has been adapted multiple times over the years, most significantly with the 1938 film version Pygmalion. It was first adapted for the stage as a musical by Lerner and Loewe in 1956 under the title My Fair Lady, and then brought to the silver screen under the same title in 1964. 

The production tells the story of a professor who makes a bet that he can transform a working-class woman into a lady by teaching her to speak and act like a member of the upper class. The motion pictured starred Rex Harrison and Audrey Hepburn in the lead roles. Harrison reprised his stage musical role as Professor Henry Higgins, while Hepburn played Eliza Doolittle, the working-class woman, taking over the stage role that had been handled by Julie Andrews.

In the GSC production, a married couple -- Kyle Eglen and Maria Souza Eglen -- handled the Higgins and Doolittle roles. They appear in the first photo below. 

I was very conscious about exploring low angles and facial expressions (including those of a listener or bystander) when shooting this dress rehearsal. Hopefully you’ll see that in this selection of shots from the play.

The Tragedy of Hamlet, Prince of Denmark, autumn 2011

William Shakespeare

GSC's Joe Cook liked long, involved titles, hence the mouthful you read above instead of the simple Hamlet, by which almost everybody knows this play. While all the actors in primary roles turned in very good performances, I was particularly struck by Nan Macy's turn at King Claudius. That's her in a soul-searching soliloquy in the first photo below. 

 

Title character Hamlet (above right and below, played by Peter Lindbloom) eyes the skull of jester Yorick, handed to him by a gravedigger (played by Tony Van Pelt), who was preparing a final resting place for Ophelia, daughter of Polonius and sister of Laertes. Ophelia had drowned after falling into a stream from a tree she had climbed. She'd climbed the tree while experiencing incoherence associated with mental illness.

Claudius (Macy) and Queen Gertrude, played by Denise Rohn (above), and Lindbloom's Hamlet (below) in the throes of his "to be or not to be" soliloquoy.

 

Above: Tempiellen Knutson as Ophelia.

Above: GSC Artistic Director Joe Cook played the faceless ghost, who identifies himself as Hamlet's father and tells Hamlet (Lindbloom in the background) that Claudius was responsible for his death.

Above and below: Susan M. Gaertner as Polonius, and again below, with daughter Ophelia.

Above and below: Maureen O'Leary (above right) participates in one of the lighter scenes with female-role-playing Greg Frisby, who seems to be perplexed by his purposely exaggerated wardrobe dysfunction. Below, O'Leary plays the sleeping victim of an ear-poisoning in a scene that re-enacts Hamlet's father's death as alleged by the ghost. Hamlet deliberately included the scene in a play, The Murder of Gonzago, performed by a visiting troupe for the king and his court so Hamlet could observe Claudius' reaction. Claudius stormed out of the performance after the scene, confirming to Hamlet that the ghost was correct.

Hamlet is considered a Shakespearean tragedy for a reason: There is a lot of death therein, some intended, some unnecessary. But a lot of that tragedy occurs in a short amount of time at the end of the play. It begins after King Claudius arranges for a fencing match (first photo below) between Laertes (played by Brad Elliott) and Hamlet and witnessed by Horatio (background left, played by J.D. Bonitz), Claudius and Queen Gertrude.

Claudius equips Laertes with a sword treated with a poisoned tip that Laertes agrees to use on Hamlet to avenge the deaths of his father and sister. As a backup to the poisoned-tip sword, Claudius has a lethal beverage prepared and placed at the ready to give to Hamlet if the sword doesn’t work. Not knowing of the plot, Queen Gertrude drinks from the poisoned cup and slumps to the floor (below) during the fencing match, which gets the attention of everyone present. 

The combatants pause to grasp what happened to Gertrude, and in that interim, Hamlet figures out that the beverage was intended for him. When the match resumes, Hamlet is pierced by Laertes' sword, and soon afterward, the combatants engage in a face to face scuffle, during which possession of the swords is inadvertently switched. When they get back to the fencing match, the wounded Hamlet pierces Laertes with the still-poisoned-tip sword.

 

As both combatants lay mortally wounded, Laertes confirms to Hamlet that Claudius hatched the plot and asks for forgiveness, after which Hamlet finds the energy to rise and use the poisoned-tip sword on Claudius. Hamlet returns to Laertes to make amends (above) and apologizes for his part in the deaths of Polonius and Ophelia. Hamlet then returns to the mortally wounded king (first photo below), and to ensure that Claudius pays for his treachery with death, he forces Claudius to swallow from the cup containing the poisoned beverage.

Above: When Horatio sees Hamlet dying, he attempts to drink from the poisoned cup, too, so he can join his good friend in death. But Hamlet manages to take the cup away and tells Horatio he needs to stay alive so there is someone he can trust who can deal with repairing Hamlet’s reputation. Horatio complies.

The Taming of the Shrew, spring 2012

William Shakespeare

This was one of two GSC productions (that I'm aware of) in which a significant role was played by two performers because the person originally cast had prior commitments on the second weekend of the show dates. 

Tempiellen Knutsen was cast as Bianca in this production (she had also had the role of Ophelia in 2011's Hamlet) but performed only in the first weekend’s shows. Those shows were staged at The Sanctuary, a then-new event-hosting facility owned by her father on North Pennsylvania Street in downtown Indianapolis.

GSC returned to the Garfield Park Arts Center for the second weekend of shows. Taking Tempiellen's place as Bianca was Elysia Rohn. Elysia and her mother, Denise, were in the casts of early GSC productions. That's Elysia in the last photo in this section, appearing with Susan Yeaw as Katharina, the lead female role. 

In the male lead role of Petruchio was Todd Crickmore, who appears with Yeaw in the first photo below in an early scene in which Katharina uses her hands to mock Petruchio as he pontificates. By play's end, Katharina has a change of heart and falls in love with him.

Above and below: Susan M. Gaertner played male roles in two GSC productions -- this one and in 2011's Hamlet, where she was cast as Polonius and delighted the audiences with her performances. 

Above: Katharina at the height of her shrewness, as described by Yeaw herself.

Katharina and Petrucio in another scene (above), and Tempiellen Knutsen as Bianca (below). 

Above: Garfield Shakespeare Company veterans Mark Fasbinder and his daughter, Elizabeth, also were in the cast. Below: J.D. Bonitz, in a moment of shock in the play, would later appear in GSC productions of A Midsummer Night's Dream, The Tempest and Romeo and Juliet in my time photo-archiving GSC productions. 

Above: Katharina with the second Bianca, Elysia Rohn, in a rehearsal at the Garfield Park Arts Center, where the second weekend of shows was held. 

A Midsummer Night's Dream, autumn 2012

William Shakespeare

Midsummer is a vivid production for me because of my son Ben’s role as King Theseus in the production.

This play was the first time I really noticed the wonderful costuming work of GSC’s Bradley Jones. In the photos below, pay close attention especially to the makeup and costuming for the characters Oberon, Titania, Puck and Fairy No. 1. 

Above, Susan Yeaw as Titania with Stephen Foxworthy as Oberon.

Above: J.D. Bonitz was delightful as the mischief fairy Puck. 

Above: Ben Konz as King Theseus with Lexie Brown (center) as Queen Hippolyta and Christy Walker as Hermia. 

Above, Yeaw and Todd Crickmore (who had appeared together as Katharina and Petruchio in the spring production of The Taming of the Shrew) as Tatiana and Nick Bottom. Below, Bonitz with Gabby Sandefer as Fairy No. 1.   

Above: I loved the spot lighting in this brief scene featuring Sandefer, the No. 1 fairy. 

Above: Cody Blackford plays Snug, a member of the Rude Mechanicals, the troupe that performs Pyramus and Thisbe, a play within the Midsummer play. He gets a challenging role in the interior play -- the lion. It's challenging because Snug is a meek individual and slow to grasp things. The above photo of him is one of my favorites because it catches Snug struggling with the simple task of trying to figure out how to exit the stage during an early scene. 

Above and below are the play's two young romantic couples. Demetrius and Helena (above) were portrayed by Elliott Spencer and Ashley Chase, while Hermia and Lysander (below) were played by Christy Walker and Andy Sturm. The couples become victims of Puck's romance-altering magic drops. Puck and Oberon (Bonitz and Foxworthy) are in the second photo below.     

Above: Sha Rebekah Collier (as Robin Starveling) uses a lantern to execute her role as Moonshine for the Rude Mechanicals.  

In Midsummer's play within a play, Pyramus and Thisbe, which was staged for the benefit of King Theseus and his court, Rock Blackwell (as Francis Flute, second from left above) reacts in hysterical disbelief when he learns from Chris Burton (left, as Peter Quince) that Thisbe, the role for which Flute has been cast, is … a lovely maiden. Fellow cast members in the background enjoy Flute's dramatic response. Flute does come to embrace the challenge of playing a woman (see photos below) and acquits himself as Thisbe just fine. 

GSC Artistic Director Joe Cook pulled off a visual home run with the decision (above) to use Tony Van Pelt (center, as Tom Snout) to literally play a wall separating Pyramus (left, who is Nick Bottom played by Todd Crickmore) and Flute's Thisbe, played by Rock Blackwell. And Van Pelt uses the circle of a digital OK sign to represent a hole in the wall through which Pyramus and Thisbe communicate. Below, another view of Blackwell's Thisbe. 

If you've ever seen a production of Midsummer, you know that there are lot of fairies in the cast. Above and the first three photos below are among my best shots of the fairy scenes in GSC's turn at the Shakespeare classic. And you get points if you spot Puck or Oberon lurking in the background. 

 

The Matchmaker, spring 2013

Thornton Wilder

This romantic comedy was GSC's second non-Shakespearean production, a 1954 rewrite of Thornton Wilder's 1938 one-act play The Merchant of Yonkers. 

The play follows the misadventures that ensue when a wealthy merchant, Horace Vandergelden, turns to his late wife's matchmaking friend, Dolly Levi, for help trying to woo milliner Irene Molloy. Trouble is ... Dolly wants to use her skills to snag Horace for herself instead! 

The play evolved into the 1964 major motion picture Hello, Dolly! starring Barbra Streisand and Walter Matthau. 

Above, Laura Kelley as matchmaker Dolly Levi and Jonathan Kratzner as the wealthy merchant and widower Horace Vandergelder.

Above: Kate Schneider plays Irene Molloy, a milliner, the early object of Vandergelder's romantic interest. But Dolly (below) works diligently in her inimitably sly manner to make Vandergelder see a more obvious alternative right in front of him. 

Above: Molloy dancing with her hat shop assistant, Minnie Fay, played by Monica Verdouw.

Above is Barnaby Tucker (played by Justin Monts), a clerk for Vandergelder. Below, Tucker, fellow clerk Cornelius Hackl (played by Mike Merrick) and Molloy try to conceal themselves while eavesdropping on lead characters Vandergelder and Levi, who are dining at the same restaurant that Turner, Hackl and Molloy had come to dine.     

Above, Malachi Stack, still another Vandergelder clerk played by Chris Burton, is in the throes of an anguishing soliloquy analyzing the proper course to take after finding a dropped billfold. Below, Hackl and Molloy in discussion. 

Vandergelder and Levi at dinner (above) and below, clerks Hackl and Tucker (the latter dressed as a woman) during a chat with Flora Van Heusen (played by Georgeanne Baker), another of Vandergelder's late wife's friends. 

Ermengarde, Vandergelden's niece (played by Laura Madden) and artist Ambrose Kemper (played by Robert Routier). 

The Tempest, autumn 2013

William Shakespeare

GPC's production of The Tempest, believed to be the last play Shakespeare wrote entirely on his own, was riddled with casting problems for GSC. Several weeks into practices, Cook abandoned his role as director to take over the role of Gonzalo when the man originally cast in the role withdrew, and he took his son (who had a bit role) along with him. Assistant director Chris Burton took over as director.   

The real issue, which threatened to cancel the production, came much later into rehearsals when the man cast in the lead role of Prospero also abandoned. Not wanting to also abandon the production, Cook persuaded Eduardo Torres, a member of the faculty in the Metropolitan School District of Decatur Township, to take the role. 

Torres crammed as many of the lines as he could in the short time he had to work with, but Torres had not mastered them all when opening night arrived. So Cook devised a scheme to attach a copy of the play's manuscript to a rope around the waist of Torres' costume, which enabled Torres to glance at his upcoming lines during any down time he had on stage. It was awkward and unfortunate, but it worked. The show went on.  

Above: Island spirit Ariel (left, played by J.D. Bonitz) and Eduardo Torres as Prospero. Below, Prospero (Torres) converses with his daughter, Miranda, played by Stefanie Maier.  

Above and below: The costuming of repulsive island beast Caliban, played by Mike Merrick, had to be among GSC Assistant Artistic Director Bradley Jones' crowning achievements with the troupe.

Artistic Director Joe Cook in his role of Gonzalo (above) and again below, with the queen (center, played by Mary Dando) and queen's lady (Jean Long).

Above: The invisible spirit Ariel with the queen’s son Ferdinand played by Peter Catlin. 

The Tempest opens with the majority of the cast on a ship caught in a torrential storm on the open sea. Cook devised a makeshift visual, with the help of Bonitz showing the rocky movements of a model ship (above photo) and Heather Bartram and Jay Brubaker (photo below) pulling on ropes attached to moving ribbons, to convey the idea of the ship's swaying back and forth on the water before wrecking on an island.

Elsewhere on the stage during the rocky ride on the sea, the ship's boatswain, Nicholas Roberts (above right), fights to keep the ship afloat while getting second opinions on how to navigate from Prospero's brother, Antonio (left, played by Sam Fogleman) and Sebastian, the queen's brother, played by Carey Shea. 

Above: Stefano, a butler in the queen's court played by Jay Brubaker, confers with island beast Caliban. Below, a frisky moment between Stefano and Trincula (played by Heather Bartram), a fellow member of the queen's court.

Above: Antonio and Sebastian in conversation.

Above: The marriage ceremony of Miranda and Ferdinand. 

Island spirits played by Sam Brandys (left) and Monica Verdouw gave the production's sparse musical score a stamp of credibility with their flute playing.  

Antigone, spring 2014

Jean Anouilh play inspired from Greek mythology and a play of the same name by Socrates 

After the Garfield Shakespeare Company decided to make 2014 a full season of contemporary, non-Shakespearean productions, Cook handed off directing duties of this  spring production to Chris Burton.

In Sophocles’ version of the play in ancient Greece, the focus falls on Creon, the new ruler of Thebes, and the loss of so much family in the tragedy. French dramatist Jean Anouilh advanced the story to 1940s Nazi-occupied France, and the emphasis turned to Antigone, Creon's niece, and her moral and political resolve. Anouilh enhanced the second-half scene involving niece and uncle and turned it into a powerful exchange, one that left both Nazis and the French resistance debating whether Anouilh meant to favor one side or the other, something Anouilh would never set straight entirely. 

Burton’s approach to depict all characters in the play as stone figures coming to life to tell the story by painting streaks of silver speckle on their faces certainly was a step out of the box of comfort for GSC. And as tedious of a process the face makeup applications were before each show, the cast seemed excited about trying something new.

GSC first-timers Caleb “Kabs” Slocum as Creon (above and first two photos below) and Kerry Laine Stauffer (above) as Antigone, Creon's niece. 

Antigone (above) with palace guards and GSC veterans Jay Brubaker (left) and Guy Grubbs, and with her uncle (below) and fiance Haemon played by Spencer Elliott (two photos below). 

Above: The role of narrator and Greek chorus was played by another GSC veteran, Robert Routier.  

Above: Antigone, in a soliloquy during which she comes to terms with what lies ahead for her. 

Ashley Chase Elliott (left), as Antigone's sister, Ismene, with Megan Slocum, as Antigone’s nurse. 

Above: GSC veteran Elizabeth Fasbinder, at her own choosing, takes bit roles in the productions for which she auditions. But that ordinarily makes it difficult for me to put her into any of a play's key photos. In Antigone, she played Page, Creon's attendant, and I found this interesting framing opportunity to include her.  

 

Above: Haemon, Creon’s son, learns his fiancee Antigone’s fate in a conversation with his father. 

Camelot, summer 2014

Alan Jay Lerner, librettist and lyricist, and Frederick Loewe, composer

Music for the GSC production by Symphonic Youth Orchestra of Greater Indianapolis

Shawn Goodman, conductor; Linda Parr, musical director 

This had to be Garfield Shakespeare Company’s most ambitious production in its modest history while I was doing photo archiving for the troupe. It had never attempted a musical before — or since. It also was the troupe’s third non-Shakespearean endeavor. And it completed what would be a first-ever full season of contemporary and non-Shakespearean shows. 

Jay Brubaker and married couple Joshua and Desiree Law were cast in the lead characters of King Arthur, Guenevere and Sir Lancelot. The Laws’ children, Evan and Destiny, also were in the cast, as was Brubaker’s daughter, Eirene. In the photo below are (from left), Joshua, Desiree and Jay.

GSC veteran Guy Grubbs has dual roles in Camelot. Above, he plays Merlyn, Arthur's longtime magician, alongside Nimue, his daughter (played by Kassy Cayer). Below, he is Pellinore, king of Listenoise and a guest of Arthur and Guenevere. He is present for the knighting of Lancelot. 

 

Above and below: There were several scenes, such as these, where the musical shifted into song and dance. 

The Merry Wives of Windsor, spring 2015

William Shakespeare

Above: Cast members (from left) Andy Sturm as Abraham Slender, Philip Schoppenhorst as Sir Hugh Evans and David Santangelo as Justice Shallow. 

Above: Schoppenhorst, Chris Burton (as Sir John Falstaff), Robert Routier (as Pistol) and Bill Baker as Corporal Nym.

 

Above: Sturm with Precious Highbaugh (as Peter Simple). 

Above: Kassy Cayer as Mistress Meg Page. 

Above: Peggy Herrod (as Mistress Quickly) with Peter Simple.

Above: Dustin Miller (as George Page) with Justice Shallow.

Above: Lexi Brown as Robin the Page.

Above: Mistress Quickly confers with Master Fenton, played by Kevin Schmidlin.

Above: Falstaff tries to secretly eavesdrop on a conversation between Mistresses Meg Page and Alice Ford (played by Monica Verdouw), unaware that the women know he is there. Later, after being exposed as the lecher that he is, he gets his just due from the wives/fairies. 

Othello, summer 2015

William Shakespeare

This production was notable for the fact that after its regularly scheduled run at MacAllister Amphitheater ended, GCS took its cast and re-presented the show a month later as one of three theater company entries on the program for the debut of the annual Indy Bard Fest. The program for the festival's first year, which covered a two-week period, was staged at Carmel Theatre Company, 15 First Ave. N.E., in the north suburb of Carmel. 

Also participating were Casey Ross Productions, which presented Timon of Athens, and First Folio Productions, which presented As You Like It. I guess I kind of made my mark on that launch season of Indy Bard Fest, in that I handled the photo archiving of all three plays presented at the festival.

GSC participated in a few more Indy Bard Fests, but according to the last I heard, it no longer participates. 

Above: William Baker, who portrays Brabantio, a dissolute senator and the father of Desdemona.

Jay Brubaker (left) played Iago, Othello's trusted but manipulative and vengeful ensign, and Andy Sturm portrayed Rodrigo, a rich Venitian who pays Iago to help him win the heart of Desdemona. 

  

Above: Tyler Gordon (right) played the title character, a Moorish army general; Kate Ghormley played his wife, Desdemona. 

 

Above: Othello strangles his wife, at the urging of Iago, to help Othello preserve his own life.

The Importance of Being Earnest, spring 2016

Oscar Wilde

This is the fourth contemporary, non-Shakespearean drama GSC undertook in my years photographing the troupe's productions in Indianapolis. 

The Oscar Wilde comedy dates to 1895, and GSC was gifted with the return of some of its finest performers from previous shows -- among them Spencer Elliott, Ashley Chase Elliott, Christy Walker, William Baker, Kate Ghormley, John Garlick and David Santangelo. 

Above: Elliott (left) and Santangelo (seated) are longtime friends Jack Worthing and Algernon Montcrieff in the story. Mike Harold plays Montcrieff's manservant. Below: Ghormley played Lady Bracknell, Montcrieff's aunt and a social snob.

 

Above: Ashely Chase Elliott, as Gwendolyn Fairfax, Lady Bracknell's daughter and object of the affection of Worthing (Spencer Elliott). 

Walker plays Miss Prism, the governess and tutor of Cecily Cardew, Jack Worthing's 18-year-old ward and adopted daughter of his father. 

Cecily Cardew (center), played by GSC newcomer Bita Eisenhut, is flanked by Ms. Fairfax (left) and Lady Bracknell.

 

Miss Prism takes a liking to Rev. Canon Chasuble (played by Garlick), who is summoned to christen Jack and Algernon.  

Romeo and Juliet, summer 2016

William Shakespeare

This show was the swan song for Artistic Director Joe Cook and Assistant Artistic Director Bradley A. Jones. It also was the last troupe production I photographed. 

J.D. Bonitz returned to play the lead and title character. Also back were Andy Sturm, William Baker, Bita Eisenhut Paige, Zoe Cunningham (who had been in the cast of Camelot), Guy Grubbs (who had been in Antigone and Camelot) and Peggy Herrod, who had appeared in the cast of The Merry Wives of Windsor. 

Because of prior commitments, Eisenhut Paige shared the role of Juliet with understudy Sabrina Duprey. The former played the role the first weekend of shows, and Duprey handled the remainder. When she wasn't Juliet, Duprey had a non-speaking role in the play's dance formal ball dance scene, as shown in the first photo below. With her in that photo is first-time GSC performer Knicholas Grimes as County Paris.

On April 1, 2018, less than two years after he left GSC, Joe Cook died of cancer. 

J.D. Bonitz (as Romeo) with Juliet (played by Sabrina Duprey) in the background above and together below.

Above: Juliet's nurse (played by Peggy Herrod) breaks into a high-step.

 

Above: County Paris, who had just discovered Juliet's body, briefly hides behind a bed as Romeo enters the room. 

Romeo with Juliet (played by Eisenhut-Paige) above, and Juliet rationalizing her plan to drink a lethal fluid (below). 

Above: Lady and Lord Capulet, played by Erin Hamilton and Bill Baker, are overcome by grief upon learning of the death of their daughter, Juliet.

Above: Mourning the loss of Romeo and Juliet. 

Next up, Chapter 36B: Theater, Part 2: The day he popped the question on stage

Previously in the Garfield Park in Pictures series:

Introduction

Chapter 1: “America, We Remember”

Chapter 2: The Garfield Park Arts Center

Chapter 3: Bean Creek and Pleasant Run

Chapter 4: New Bean Creek pedestrian bridge

Chapter 5: Blake’s Garden

Chapter 6: Burrello Family Center and James Garfield statue

Chapter 7: Conservatory Crossing yuletide decorations

Chapter 8: Conservatory proper

Chapter 9: Conservatory permanent tropical plants and rainforest exhibit

Chapter 10: Garfield Park Farmers Market

Chapter 11: Fire Station 29

Chapter 12: Fireworks

Chapter 13: Four Seasons: Autumn

Chapter 14: Four Seasons: Spring

Chapter 15: Four Seasons: Summer

Chapter 16: Four Seasons: Winter

Chapter 17: The Golden Hour

Chapter 18: Interurban shelter

Chapter 19: Library branch and tennis courts

Chapter 20: MacAllister Amphitheater

Chapter 21: Motion picture and video shorts

Chapter 22: Music in the park

Chapter 23: The Pagoda

Chapter 24: The Pavilion

Chapter 25: Railroad tracks

Chapter 26: Sledding 

Chapter 27: Special Events: 2022 Indy Irish Festival

Chapter 28: Special Events: 2010 Mexican Bicentennial and Revolution Centennial Observance

Chapter 29: Special Events: 2010 Native American Heritage Days

Chapter 30: Special Events: 2007 Reptile Show

Chapter 31: Special Events: 2009 Sand Sculptures

Chapter 32: Statues, monuments and memorials

Chapter 33: Stone bridges

Chapter 34: Sunken Garden

Chapter 35: Sunken Garden Fountains