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Cynthia as Ophelia
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Tragedy
by William Shakespeare
Directed by Stan Barber
Fight Direction by David Dean Hastings
Trilogy Theatre, NYC

“Cynthia Enfield's performance of Ophelia
in HAMLET was among the finest performances that
I have ever had the good fortune to see. Haunting
and breathtaking, she astonished me and left me
in tears.”
—OWEN THOMPSON, Artistic
Director, Protean Theatre Co, NYC
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And let me speak to th’yet unknowing
world
How these things came about. So shall
you hear
Of carnal, bloody, and unnatural acts,
Of accidental judgments, casual slaughters,
Of deaths put on by cunning and forc’d
cause,
And, in this upshot, purposes mistook
Fall’n on th’inventors’
heads. All this can I
Truly deliver.
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—Horatio, HAMLET,
ACT V, SC. II
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Cynthia as Andromache
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Greek Tragedy
by Euripides
Directed by Johanna Johannson
The Trinity Players

“I've watched as Cynthia Enfield tore up the
classical stage with her portrayals of Andromache
in THE TROJAN WOMEN and of Lady M. in the Scottish
play [MACBETH]. Cynthia is an enormous talent.
She brings a great intelligence to her approach
to a role, showing us all aspects of the character:
cerebral, sensual, visceral, and romantic.”
—LEWIS CHAMBERS,
Agent, The Bethel Agency, NYC
The Trojan Women presents the tragic condition of
the Trojan Women when the men have been killed by
the Greeks and they are at the mercy of their captors.
One of these ill-fated women is Andromache. First,
she witnesses the brutal death of her husband. Then
she learns she is to be given, as a prize, to the
son of her husband's murderer, while her own son
is carried off to his death by order of the Greeks.
| Go now and die
by our cruel enemies hands.
There is nothing more that I can do. Your
father’s greatness flowered and
for that simple
fact they kill you. Helen you are not
Zeus’
daughter, but Greece’s curse and
with those
eyes you brought shame and ruin to all!
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| —Andromache,
THE TROJAN WOMEN |
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Cynthia as Juliet
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Tragedy by William Shakespeare
Directed by Stan Barber
Fight Direction by David Dean Hastings
Castle Shakespeare Repertory, NJ

“Cynthia Enfield has delighted me and my family with her performances for Castle Shakespeare Repertory Co. We very much enjoyed her Juliet and Ophelia. She must take great pleasure and satisfaction in her profession and the enjoyment she brings to it. We look forward to seeing her on stage in the future. Stan Barber is to be commended for the talent he has attracted, such as Cynthia's, to his theatre company.”
—CARL WRONKO, Theatergoer
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Two households both alike in dignity
(in fair Verona, where we lay our scene)
From ancient grudge break to new mutiny
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star cross’d lovers take their life,
Whose misadventur’d piteous overthrows
Doth with their death bury their parents strife.
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—Chorus, ROMEO AND JULIET, ACT I, SC I
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Cynthia as Lucinde
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Farce
by Moliere
Adapted by Owen Thompson
Directed by Owen Thompson
Protean Theatre Company
Phil Bosakowski Theatre, NYC

“Cynthia Enfield’s beautifully expressive face was worth a thousand words as the mostly mute Lucinde.”
—JULIE HALPERN, www.oobr.com
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In my play of 1667, “THE DOCTOR IN SPITE OF HIMSELF,” I decided that I’d had enough of the church for a while, and that I would turn my attentions toward a villain for whom everyone seems to hold a mutual sense of loathing: the Doctor. I have found the process of denigrating the medical profession to be utterly rewarding, and have begun work on yet another doctor-play which will be opening soon. In this instance, however, my character, whose name is Sganarelle!...is nothing but a peasant wood cutter who, amid a series of misunderstandings, finds himself being elevated to the role of doctor. He finds that he rather enjoys the process of dispensing medical advice at random, and giving impromptu examinations to nubile young ladies. His assignment, however, is to examine the daughter [Lucinde] of a nobleman, who is trying to marry the girl off to a rich gentleman, while the daughter has other ideas. As such, she has feigned a sudden inability to speak, and the rich fiancé refuses to marry her until she can speak again. Which always struck me as looking a gift horse in the mouth, as it were. A dumb wife seems to me a double blessing, and the more fool he who fails to recognize that fact.
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—Molière
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Cynthia as Desdemona
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Tragedy
by William Shakespeare
Directed by Melody Brooks
Fight Direction by David Dean Hastings
New Perspectives Theatre Company
Pelican Studio Theatre, NYC
| My mother had a
maid call’d Barbara
She was in love; and he she lov’d
prov’d mad,
And did forsake her: she had a song of Willow,
An old thing ‘twas, but it express’d
her fortune,
And she died singing it: that song to-night
Will not go from my mind; I have much to
do,
But to go hang my head all at one side,
And sing it like poor Barbara. |
| —Desdemona, OTHELLO,
Act IV, SC III |
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Cynthia as Lady Macbeth
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Tragedy
by William Shakespeare
Directed by Stan Barber
Fight Direction by James Karcher
Castle Shakespeare Repertory, NJ

“I've watched as Cynthia Enfield tore up the classical stage with her portrayals of Andromache in THE TROJAN WOMEN and of Lady M. in the Scottish play [MACBETH]. Cynthia is an enormous talent. She brings a great intelligence to her approach to a role, showing us all aspects of the character: cerebral, sensual, visceral, and romantic.”
—LEWIS CHAMBERS, Agent, The Bethel Agency, NYC
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Glamis thou art, and Cawder; and shalt be
What thou art promis’d.—Yet do I fear
thy nature:
It is too full o’th’milk of human
kindness,
To catch the nearest way. Thou wouldst be
great;
Art not without ambition, but without
The illness should arttend it:
Hie thee hither,
That I may pour my spirits in thine ear,
And chastise with the valour of my tongue
All that impedes thee from the golden round,
Which fate and metaphysical aid doth seem
To have thee crown’d withal.
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—Lady Macbeth, MACBETH, Act I, SC V
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Cynthia as Shakespeare's Leading Ladies
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A compilation of Tragedies, Comedies and History plays
by William Shakespeare
Conceived and Created by James Karcher with Cynthia
Enfield
Directed by James Karcher with Shellen Lubin
Fight Direction by James Karcher
Rogues Company, NYC
The Taming of the Shrew
Romeo and Juliet
A Midsummer Night’s Dream
Much Ado About Nothing
Hamlet Macbeth
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Cynthia as Phillippe
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Historical Drama
Created by Rod Kinter, and Joseph Travers
Written, Directed and Fights Choreographed by
John Bellomo, Rod Kinter, Ricki G. Ravitts,
Jim Robinson and Joseph Travers
Theater Ten Ten, NYC

This historically based drama chronicles famous duels from the first recorded duel until the last recorded duel. These fascinating real life stories span the 12th century through the 20th century and are supported by period costumes and weaponry and fight choreography by some of the Society of American Fight Director's most highly acclaimed fight directors.
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Cynthia as The Madman and Poe's Loves
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Horror
by Edgar Allan Poe
Adapted by Kathryn Schultz Miller, Robert Lanier,
Steven Berkoff and Stan Barber
Directed by Stan Barber
Commedia and Dance Choreography by Jacqueline
Testa-Jerndal
Castle Shakespeare Repertory, NJ
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How, then, am I mad? Hearken!
and observe how healthily—how calmly
I can tell you the whole story. It is impossible
to say how first the idea entered my brain;
but once conceived it haunted me day and night.
Object there was none. Passion there was none.
I loved the old man. He had never wronged me.
He had never given me insult. For his gold
I had no desire. I think it was his eye! yes,
it was this! One of his eyes resembled that of a
vulture—
a pale blue eye, with a film over it.
Whenever it fell upon me, my blood ran cold;
and so by degrees—very gradually—
I made up my mind to take the life of the old man,
and thus rid myself of the eye forever.
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—The Madman, THE TELL-TALE HEART
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Cynthia as Belle, Charwoman and Martha Cratchit
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Drama
by Charles Dickens
Adapted by Michael Paller
Directed by Eric Hafen
Park Performing Arts Center, NJ
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I have endeavoured in this Ghostly little book, to raise the Ghost of an Idea, which shall not put my readers out of humour with themselves, with each other, with the season, or with me. May it haunt their houses pleasantly, and no one wish to lay it.
Their faithful Friend and Servant,
C. D. [Charles Dickens]
December, 1843.
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Cynthia as Princess Alais
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Drama-Comedy
by James Goldman
Directed by Christopher LeCrenn
Rabbit in the Moon Theatre Company, NYC

“Cynthia Enfield as the Princess Alais is very good at scheming to feather her own nest, she gains our sympathy when she collapses, sobbing in Eleanor’s lap.”
—RUTH ROSS, Theater Review

It is Christmas of 1183, and Henry II of England and Eleanor of Aquitaine are, for once, together in the drafty castle at Chinon. For all their regal status, they are much like any long-estranged but inseparably married couple: Henry flaunts his new mistress [Princess Alais]; Eleanor plots against him with their sons. They will do anything they can to hurt each other. And they love each other to distraction.
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Cynthia as Maid Marian
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Environmental
Drama-Comedy
by Dan O’Driscoll
Directed by Dan O’Driscoll
Fight Direction by Dan O’Driscoll
New York Renaissance Faire, The Sterling Forest

Robin Hood is a courteous, pious and swashbuckling outlaw of the medieval era who robs from the rich to feed the poor. Robin Hood's partner and true love is Maid Marian. They, together with fellow outlawed yeoman, 'The Merry Men', fight against the injustices and tyranny of The Sheriff of Nottingham and Sir Guy of Gisborne.
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A bonny fine maid of noble degree,
With a hey down down a down
down
Maid Marian
calld by name,
Did live in the North, of excellent worth,
For she was a gallant
dame.
For favour and face, and beauty most rare
Queen Hellen shee did excell;
For Marian then was praisd of all men
That did in the country
dwell.
'Twas neither Rosamond nor Jane Shore,
Whose beauty was clear and
bright,
That could surpass this country lass,
Beloved of lord and
knight.
The Earl of Huntington, nobly born,
That came of noble blood,
To Marian went, with a good intent,
By the name of Robin Hood.
With kisses sweet their red lips meet,
For shee and the earl did
agree;
In every place, they kindly imbrace
With love and sweet unity.
Excerpt from
ROBIN HOOD AND MAID MARIAN, No. 150
by Francis J. Child, 1888
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© 2006. All rights reserved. Website created by 368 Design. ©
2011. All rights reserved. C. Enfield
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