Macbeth Study Guide | Stratford Festival Official Website

MACBETH

By William Shakespeare
Created in collaboration with Ex Machina
Directed by Robert Lepage

GRADE RECOMMENDATION

Grade 9+

CONTENT ADVISORY

Please see the show page for a detailed audience advisory or reach out to us directly for more information.

SYNOPSIS

Three witches deliver a prophecy of power to an ambitious leader. When the prophecies prove true and the bodies pile up, where lies the blame: in prophecy, fate or Macbeth's own secret desires? What guides Macbeth's bloody hand?

Six years in the making and helmed by visionary director Robert Lepage, this fast-past production set in the biker wars of the 1980s and '90s will grab you with its startling opening scene and keep you in its grip through the final moments. To which victor go the spoils?

CURRICULUM CONNECTIONS

Global Competencies: Critical Thinking and Problem Solving, Innovation and Creativity, Collaboration, Communication, Global Citizenship

Grade 9-12

The Arts
Canadian and World Studies
English
Health and Physical Education
Technological Education

Grade 11-12

Social Sciences and Humanities

Post-Secondary

Suitable for courses in disciplines such as Arts, Canadian Studies, Cultural Studies, Creative Writing, Drama, English, Fine Arts, Gender Studies, History, Human Rights, Psychology, Social Development Studies, Teacher Education and Theatre

THEMES

Ambition, Power and Status
Chaos and Order
Corruption and Lawlessness
Ethics, Morality and Justice
Gender and Masculinity
Guilt and Innocence
Outsiders and Belonging
Prophecy, Fate and Free Will
Public vs. Private
Sorcery and the Supernatural
Territory and Loyalty

DISCUSSION AND REFLECTION QUESTIONS

PRE-SHOW QUESTIONS

In your opinion, is ambition a positive attribute? Why or why not? What are the potential dangers of unchecked ambition? Explain your thinking.
What is the difference between justice and law? What might motivate someone to live outside the law? In so doing, how might they then define justice in their actions and choices?
Would you want to know your future? Why or why not? If you were told what your future would hold, how would you respond: by working to fulfill it or resisting it? Explain your thinking.
Do you believe guilt can ever be a positive force? Why or why not?
Do you think seeing violence in storytelling helps people understand human nature, or do you think it normalizes harmful behavior? Explain your thinking.
Think about a time when you had to hide your true thoughts or feelings in order to fit in or succeed. Do you believe this "strategic deception" is necessary in today's world? Why or why not?
Have you ever been told something about yourself—by a friend, family member, or even a personality test—that made you start to think and behave differently? Think about what changes you made and whether they had an impact on you and those around you.
Throughout history, people have turned to supernatural forces—omens, prophecies or dreams—to make sense of their lives. Why do you think this is? How might belief in fate or destiny affect a person's choices?
Macbeth is often called "The Scottish Play" or "Mackers" by theatre practitioners because of a long-standing belief that saying the name in a theatre brings bad luck. Why do you think people hold onto superstitions? What might that say about the ways in which we make sense of the world?
How do you think a person knows when they have "enough" power or success? Is there such a thing as enough? Are there inevitably negative consequences when someone becomes too powerful? Why or why not?
Do you believe that breaking the rules can ever be the right thing to do? What examples from history or current events can you think of where people challenged power structures?

POST-SHOW QUESTIONS

If you could ask Robert Lepage one question about his artistic vision for this production, what would it be?
In the first 10 minutes of the play, what were your first impressions of the environment created through the design and creative vision?
How did the production depict the supernatural elements of the play? What choices were made to represent the witches, ghosts or visions? How did these choices affect your interpretation of Macbeth's actions?
Consider the casting choices made for this production. How did they have shape your experience of the story?
In your opinion, at what point in the play did things begin to go wrong? Who, if anyone, is to blame? Support your answer using examples from the play.
Malcolm calls Macbeth a "dead butcher" and Lady Macbeth a "fiend-like queen." After watching the production, do you think this is a fair judgment?
What is the relationship between ambition and fear in Macbeth? Which characters were driven more by ambition, and which by fear? Did that change over the course of the play? If so, how?
Several characters in Macbeth experience profound guilt. How did guilt manifest differently for various characters? How did their individual responses to guilt shape their paths? If Macbeth had shared his true thoughts and emotions instead of hiding them, do you think his story would have ended differently? Why or why not?
Macbeth's status and reputation change throughout the play. How did his relationship with power evolve? How did this impact the way other characters responded to him?
Macbeth was written over 400 years ago, yet many of its themes still resonate. After seeing this production, can you think of any current events, leaders or societal issues that feel especially connected to Macbeth? What lessons do you think Macbeth offers about power and morality today? Explain your thinking with specific examples.
Are there any unintentional harms that might be caused through the production of this play? If so, what are they and what might be done to take care of the artists and audience members participating in the work?

MINDS ON

Objective: Students will explore the inner thoughts and psychological turmoil of Macbeth by engaging with the "Is this a dagger which I see before me" soliloquy (Act II, Scene i). Through breath, rhythm, and physicality, they will deepen their understanding of the text and develop an embodied connection to its meaning.

Materials:

Writing utensils and/or highlighters
Macbeth's soliloquy: Act II, Scene i (Study Guide, Page 6)
Facilitator copy of Macbeth's soliloquy: Act II, Scene i (Study Guide, Page 6)
Access to Alexander Schmidt's Shakespeare Lexicon and Quotation Dictionary (iOS app or physical copies)
Dictionaries (online or physical copies)
Open space

Directions:

Text Detectives in Small Groups

Divide the class into seven groups, assigning each group a different section of the soliloquy.
Within their groups, students will read their assigned section carefully and discuss its meaning.
- Using Shakespeare Lexicon and Quotation Dictionary, students will look up unfamiliar words. If a word is not found there, they will use dictionaries and context clues to determine its meaning
Have each group share their findings with the class to build a collective understanding of the entire soliloquy.

Choral Exploration of Language

Ask each student to select their favourite line from the soliloquy—one that resonates with them emotionally or that they find particularly powerful.
Then, invite students to choose a phrase or image (about 1-5 words) from their section that they find especially striking.
Encourage students to walk around the room, repeating their chosen phrase aloud several times, experimenting with tone, volume and pace.
Once they have internalized their phrase, invite them to stand in various positions around the room, extending one hand outstretched.
Walk through the space and tap students' outstretched hands at random. When tapped, students will speak their chosen phrase aloud.
Facilitate a brief discussion on how hearing the phrases in isolation affects their understanding of Macbeth's internal struggle.

A Chorus of Thoughts

Select one to four students to take on the role of Macbeth. If multiple students are chosen, divide the soliloquy into equal parts.
Ask the remaining students to form a chorus, moving in a circle around Macbeth while chanting their selected lines in varying rhythms, tones, and pitches.
Allow the chorus to establish its movement and vocalizations before Macbeth begins delivering the soliloquy.
As Macbeth speaks, the chorus should continue their movement and chanting, reinforcing the chaotic and haunting nature of his thoughts. Invite them to maintain awareness of volume balance so that Macbeth can still be heard clearly.
Guide the chorus to gradually fade out as the soliloquy concludes.

DEBRIEFING QUESTIONS:

What did it feel like to be inside the circle as Macbeth?
How did movement and vocal dynamics affect the meaning of the soliloquy?
Did this exercise help illuminate anything about Macbeth's psychological state? If so, what did it reveal?

POSSIBLE EXTENSIONS:

Embodying Imagery

While Macbeth is in the centre, invite half of the chorus to physicalize the images that Macbeth is speaking aloud. For example, chorus members may choose to embody the dagger, Macbeth attempting to clutch the dagger or the dripping blood.

Exploring Shakespeare's Rhythm and Meter

Invite students to analyze the soliloquy's rhythm and structure by scanning the text for its iambic pentameter and variations.

Provide a brief refresher on iambic pentameter (five metrical feet per line, alternating unstressed and stressed syllables).
Ask students to mark the stressed ( ´ ) and unstressed ( ˘ ) syllables in the soliloquy, identifying any deviations from strict iambic pentameter.
Discuss how Shakespeare's variations—such as trochees, spondees or pauses (caesurae)—reflect Macbeth's state of mind.
Have students perform lines aloud, experimenting with different emphases to explore how the meter reveals meaning.

About the Play

MACBETH

By William Shakespeare
Created in collaboration with Ex Machina
Directed by Robert Lepage

Download House Program

GRADE RECOMMENDATION

Grade 9+

CONTENT ADVISORY

Please see the show page for a detailed audience advisory or reach out to us directly for more information.

SYNOPSIS

Three witches deliver a prophecy of power to an ambitious leader. When the prophecies prove true and the bodies pile up, where lies the blame: in prophecy, fate or Macbeth's own secret desires? What guides Macbeth's bloody hand?

Six years in the making and helmed by visionary director Robert Lepage, this fast-past production set in the biker wars of the 1980s and '90s will grab you with its startling opening scene and keep you in its grip through the final moments. To which victor go the spoils?

CURRICULUM CONNECTIONS

Global Competencies: Critical Thinking and Problem Solving, Innovation and Creativity, Collaboration, Communication, Global Citizenship

Grade 9-12

The Arts
Canadian and World Studies
English
Health and Physical Education
Technological Education

Grade 11-12

Social Sciences and Humanities

Post-Secondary

Suitable for courses in disciplines such as Arts, Canadian Studies, Cultural Studies, Creative Writing, Drama, English, Fine Arts, Gender Studies, History, Human Rights, Psychology, Social Development Studies, Teacher Education and Theatre

THEMES

Ambition, Power and Status
Chaos and Order
Corruption and Lawlessness
Ethics, Morality and Justice
Gender and Masculinity
Guilt and Innocence
Outsiders and Belonging
Prophecy, Fate and Free Will
Public vs. Private
Sorcery and the Supernatural
Territory and Loyalty

Discussion Questions

DISCUSSION AND REFLECTION QUESTIONS

PRE-SHOW QUESTIONS

In your opinion, is ambition a positive attribute? Why or why not? What are the potential dangers of unchecked ambition? Explain your thinking.
What is the difference between justice and law? What might motivate someone to live outside the law? In so doing, how might they then define justice in their actions and choices?
Would you want to know your future? Why or why not? If you were told what your future would hold, how would you respond: by working to fulfill it or resisting it? Explain your thinking.
Do you believe guilt can ever be a positive force? Why or why not?
Do you think seeing violence in storytelling helps people understand human nature, or do you think it normalizes harmful behavior? Explain your thinking.
Think about a time when you had to hide your true thoughts or feelings in order to fit in or succeed. Do you believe this "strategic deception" is necessary in today's world? Why or why not?
Have you ever been told something about yourself—by a friend, family member, or even a personality test—that made you start to think and behave differently? Think about what changes you made and whether they had an impact on you and those around you.
Throughout history, people have turned to supernatural forces—omens, prophecies or dreams—to make sense of their lives. Why do you think this is? How might belief in fate or destiny affect a person's choices?
Macbeth is often called "The Scottish Play" or "Mackers" by theatre practitioners because of a long-standing belief that saying the name in a theatre brings bad luck. Why do you think people hold onto superstitions? What might that say about the ways in which we make sense of the world?
How do you think a person knows when they have "enough" power or success? Is there such a thing as enough? Are there inevitably negative consequences when someone becomes too powerful? Why or why not?
Do you believe that breaking the rules can ever be the right thing to do? What examples from history or current events can you think of where people challenged power structures?

POST-SHOW QUESTIONS

If you could ask Robert Lepage one question about his artistic vision for this production, what would it be?
In the first 10 minutes of the play, what were your first impressions of the environment created through the design and creative vision?
How did the production depict the supernatural elements of the play? What choices were made to represent the witches, ghosts or visions? How did these choices affect your interpretation of Macbeth's actions?
Consider the casting choices made for this production. How did they have shape your experience of the story?
In your opinion, at what point in the play did things begin to go wrong? Who, if anyone, is to blame? Support your answer using examples from the play.
Malcolm calls Macbeth a "dead butcher" and Lady Macbeth a "fiend-like queen." After watching the production, do you think this is a fair judgment?
What is the relationship between ambition and fear in Macbeth? Which characters were driven more by ambition, and which by fear? Did that change over the course of the play? If so, how?
Several characters in Macbeth experience profound guilt. How did guilt manifest differently for various characters? How did their individual responses to guilt shape their paths? If Macbeth had shared his true thoughts and emotions instead of hiding them, do you think his story would have ended differently? Why or why not?
Macbeth's status and reputation change throughout the play. How did his relationship with power evolve? How did this impact the way other characters responded to him?
Macbeth was written over 400 years ago, yet many of its themes still resonate. After seeing this production, can you think of any current events, leaders or societal issues that feel especially connected to Macbeth? What lessons do you think Macbeth offers about power and morality today? Explain your thinking with specific examples.
Are there any unintentional harms that might be caused through the production of this play? If so, what are they and what might be done to take care of the artists and audience members participating in the work?

Minds On

MINDS ON

Objective: Students will explore the inner thoughts and psychological turmoil of Macbeth by engaging with the "Is this a dagger which I see before me" soliloquy (Act II, Scene i). Through breath, rhythm, and physicality, they will deepen their understanding of the text and develop an embodied connection to its meaning.

Materials:

Writing utensils and/or highlighters
Macbeth's soliloquy: Act II, Scene i (Study Guide, Page 6)
Facilitator copy of Macbeth's soliloquy: Act II, Scene i (Study Guide, Page 6)
Access to Alexander Schmidt's Shakespeare Lexicon and Quotation Dictionary (iOS app or physical copies)
Dictionaries (online or physical copies)
Open space

Directions:

Text Detectives in Small Groups

Divide the class into seven groups, assigning each group a different section of the soliloquy.
Within their groups, students will read their assigned section carefully and discuss its meaning.
- Using Shakespeare Lexicon and Quotation Dictionary, students will look up unfamiliar words. If a word is not found there, they will use dictionaries and context clues to determine its meaning
Have each group share their findings with the class to build a collective understanding of the entire soliloquy.

Choral Exploration of Language

Ask each student to select their favourite line from the soliloquy—one that resonates with them emotionally or that they find particularly powerful.
Then, invite students to choose a phrase or image (about 1-5 words) from their section that they find especially striking.
Encourage students to walk around the room, repeating their chosen phrase aloud several times, experimenting with tone, volume and pace.
Once they have internalized their phrase, invite them to stand in various positions around the room, extending one hand outstretched.
Walk through the space and tap students' outstretched hands at random. When tapped, students will speak their chosen phrase aloud.
Facilitate a brief discussion on how hearing the phrases in isolation affects their understanding of Macbeth's internal struggle.

A Chorus of Thoughts

Select one to four students to take on the role of Macbeth. If multiple students are chosen, divide the soliloquy into equal parts.
Ask the remaining students to form a chorus, moving in a circle around Macbeth while chanting their selected lines in varying rhythms, tones, and pitches.
Allow the chorus to establish its movement and vocalizations before Macbeth begins delivering the soliloquy.
As Macbeth speaks, the chorus should continue their movement and chanting, reinforcing the chaotic and haunting nature of his thoughts. Invite them to maintain awareness of volume balance so that Macbeth can still be heard clearly.
Guide the chorus to gradually fade out as the soliloquy concludes.

DEBRIEFING QUESTIONS:

What did it feel like to be inside the circle as Macbeth?
How did movement and vocal dynamics affect the meaning of the soliloquy?
Did this exercise help illuminate anything about Macbeth's psychological state? If so, what did it reveal?

POSSIBLE EXTENSIONS:

Embodying Imagery

While Macbeth is in the centre, invite half of the chorus to physicalize the images that Macbeth is speaking aloud. For example, chorus members may choose to embody the dagger, Macbeth attempting to clutch the dagger or the dripping blood.

Exploring Shakespeare's Rhythm and Meter

Invite students to analyze the soliloquy's rhythm and structure by scanning the text for its iambic pentameter and variations.

Provide a brief refresher on iambic pentameter (five metrical feet per line, alternating unstressed and stressed syllables).
Ask students to mark the stressed ( ´ ) and unstressed ( ˘ ) syllables in the soliloquy, identifying any deviations from strict iambic pentameter.
Discuss how Shakespeare's variations—such as trochees, spondees or pauses (caesurae)—reflect Macbeth's state of mind.
Have students perform lines aloud, experimenting with different emphases to explore how the meter reveals meaning.

CONNECTION TO THE ARCHIVES

This is the Festival's second collaboration with director Robert Lepage and Ex Machina. Renowned for its fusion of intricate technological dimensions with traditional theatrical elements, the Festival first collaborated with Lepage and Ex Machina in 2018 for a groundbreaking production of Coriolanus which included text messaging, speeding cars and CGI-animation. What do you think this combination of traditional and modern storytelling techniques might have on the audience's experience of the show?

Coriolanus, 2018

Emilio Vieira and Farhang Ghajar as Soldiers in Coriolanus, 2018. Written by William Shakespeare. Created in collaboration with Ex Machina. Directed by Robert Lepage. Designed by Steve Blanchet. Costume design by Mara Gottler. Lighting design by Laurent Routhier. Sound design by Antoine Bédard. Photography by David Hou. Stratford Festival Archives, GPO.2018.003.0796b

The Stratford Festival's Archives maintains, conserves and protects records about the Festival and makes those materials available to people around the world. Their collection contains material ranging from 1952 right up to the present and includes administrative documents, production records, photographs, design artwork, scores, audio-visual recordings, promotional materials, costumes, props, set decorations and much more. These materials are collected and preserved with the aim of documenting the history of the Festival, preserving the page-to-stage process, and capturing the creative processes involved in numerous other activities that contribute to the Festival each season.

RESOURCES

Study Guide PDF

Stratford Public Library's 2025 Season Reading Lists

STUDY GUIDES

View all 2025 Shorts and Study Guides for selected 2025 plays along with those from previous seasons free of charge.

ADDITIONAL RESOURCES

Macbeth and Shakespeare

Acting Shakespeare's Language | Andy Hinds, Modern Oberon Plays

Animated Synopsis of Macbeth | Shakespeare's Globe

Approaching Shakespeare: Macbeth | Emma Smith, University of Oxford Podcasts

Macbeth: Stuff to Chew On | Shakespeare Anyone? Podcast

A Modern Perspective: Macbeth | Folger Shakespeare Library

Queer Nature, or the Weather in Macbeth | Christine Varnado, Queer Shakespeare: Desire and Sexuality

Scene-by-Scene Analysis of Macbeth | Conor Hanratty, The Hamlet Podcast

Shakespeare Lexicon and Quotation Dictionary App | Alexander Schmidt

Why should you read Macbeth? | Brendan Pelsue, TED-Ed YouTube

Québec Biker War

Gangs of Montreal: The biker war | The Dark North Podcast (Please note: in this podcast episode, there is mention of organized crime, gun violence, murder and substance use.)

Québec Biker War (1994-2002) | The Canadian Encyclopedia

Robert Lepage and Ex Machina

Playwright and Director Robert Lepage's Unique Creative Style | Banff Centre Talks YouTube

Robert Lepage | Canadian Theatre Encyclopedia

Robert Lepage | Juste entre toi et moi, Balado La Presse

Robert Lepage | Stage Advice with Jillian Keiley, National Arts Centre Podcasts

Robert Lepage: Master of the Impossible | The Gould Standard Podcast

Sorcery and the Supernatural

The curse of Macbeth: is it more than superstition? | Penguin Random House UK

The Witches in Macbeth | Melbourne Theatre Company Education

BOOKING INFORMATION: TICKETS, WORKSHOPS AND CHATS

STUDENT MATINÉES

You may book any available date, but selected student matinée performances for this show are at 12:30 p.m. or 2 p.m. on the following dates:

12:30 p.m.

Friday, October 10
Friday, October 24

2 p.m.

Friday, May 16
Tuesday, May 20
Thursday, May 22
Friday, June 20
Tuesday, June 24
Thursday, September 4
Thursday, September 18
Friday, September 19
Wednesday, October 1
Tuesday, October 14
Thursday, October 16
Wednesday, October 22
Wednesday, October 29
Friday, October 31

INTERACTIVE PRESHOWS

Led by artists appearing in the matinée, these high-energy sessions provide students the opportunity to explore key themes, questions and technical aspects of productions on the Festival's renowned stages. $4 per student (free for Teaching Stratford Program participants)

11 a.m.-noon on the following dates:

Tuesday, May 20
Thursday, May 22
Wednesday, October 1
Tuesday, October 14
Thursday, October 16
Wednesday, October 22

For more information, visit stratfordfestival.ca/InterACTives.

WORKSHOPS AND CHATS

Workshops and Chats (virtual, onsite or at your school/centre) can be booked by calling the Box Office at 1.800.567.1600 or by emailing educate@stratfordfestival.ca.

2025 SEASON SPONSOR

The 2025 Season is generously supported by Ophelia Lazaridis

PROUD SEASON PARTNERS

2019_BMO_White Canada-Life_White(1) RBC_White(1)

TOOLS FOR TEACHERS SPONSORED BY

Canada-Life_White(1)

Tools for Teachers includes InterACTive Preshows, Study Guides and Stratford Shorts.

Production Underwriter: The Fabio Mascarin Foundation and Laurie J. Scott

Production Co-Sponsors: Sylvia Soyka, Carol Stephenson, O.C. and Catherine Wilkes in memory of David

Support for education initiatives is generously provided by the Martin Family, the Estate of Noelle Saville and Laurie J. Scott

Connection to the Archives

CONNECTION TO THE ARCHIVES

This is the Festival's second collaboration with director Robert Lepage and Ex Machina. Renowned for its fusion of intricate technological dimensions with traditional theatrical elements, the Festival first collaborated with Lepage and Ex Machina in 2018 for a groundbreaking production of Coriolanus which included text messaging, speeding cars and CGI-animation. What do you think this combination of traditional and modern storytelling techniques might have on the audience's experience of the show?

Coriolanus, 2018

Emilio Vieira and Farhang Ghajar as Soldiers in Coriolanus, 2018. Written by William Shakespeare. Created in collaboration with Ex Machina. Directed by Robert Lepage. Designed by Steve Blanchet. Costume design by Mara Gottler. Lighting design by Laurent Routhier. Sound design by Antoine Bédard. Photography by David Hou. Stratford Festival Archives, GPO.2018.003.0796b

The Stratford Festival's Archives maintains, conserves and protects records about the Festival and makes those materials available to people around the world. Their collection contains material ranging from 1952 right up to the present and includes administrative documents, production records, photographs, design artwork, scores, audio-visual recordings, promotional materials, costumes, props, set decorations and much more. These materials are collected and preserved with the aim of documenting the history of the Festival, preserving the page-to-stage process, and capturing the creative processes involved in numerous other activities that contribute to the Festival each season.

Resources

RESOURCES

Study Guide PDF

Stratford Public Library's 2025 Season Reading Lists

STUDY GUIDES

View all 2025 Shorts and Study Guides for selected 2025 plays along with those from previous seasons free of charge.

ADDITIONAL RESOURCES

Macbeth and Shakespeare

Acting Shakespeare's Language | Andy Hinds, Modern Oberon Plays

Animated Synopsis of Macbeth | Shakespeare's Globe

Approaching Shakespeare: Macbeth | Emma Smith, University of Oxford Podcasts

Macbeth: Stuff to Chew On | Shakespeare Anyone? Podcast

A Modern Perspective: Macbeth | Folger Shakespeare Library

Queer Nature, or the Weather in Macbeth | Christine Varnado, Queer Shakespeare: Desire and Sexuality

Scene-by-Scene Analysis of Macbeth | Conor Hanratty, The Hamlet Podcast

Shakespeare Lexicon and Quotation Dictionary App | Alexander Schmidt

Why should you read Macbeth? | Brendan Pelsue, TED-Ed YouTube

Québec Biker War

Gangs of Montreal: The biker war | The Dark North Podcast (Please note: in this podcast episode, there is mention of organized crime, gun violence, murder and substance use.)

Québec Biker War (1994-2002) | The Canadian Encyclopedia

Robert Lepage and Ex Machina

Playwright and Director Robert Lepage's Unique Creative Style | Banff Centre Talks YouTube

Robert Lepage | Canadian Theatre Encyclopedia

Robert Lepage | Juste entre toi et moi, Balado La Presse

Robert Lepage | Stage Advice with Jillian Keiley, National Arts Centre Podcasts

Robert Lepage: Master of the Impossible | The Gould Standard Podcast

Sorcery and the Supernatural

The curse of Macbeth: is it more than superstition? | Penguin Random House UK

The Witches in Macbeth | Melbourne Theatre Company Education

BOOKING INFORMATION: TICKETS, WORKSHOPS AND CHATS

STUDENT MATINÉES

You may book any available date, but selected student matinée performances for this show are at 12:30 p.m. or 2 p.m. on the following dates:

12:30 p.m.

Friday, October 10
Friday, October 24

2 p.m.

Friday, May 16
Tuesday, May 20
Thursday, May 22
Friday, June 20
Tuesday, June 24
Thursday, September 4
Thursday, September 18
Friday, September 19
Wednesday, October 1
Tuesday, October 14
Thursday, October 16
Wednesday, October 22
Wednesday, October 29
Friday, October 31

INTERACTIVE PRESHOWS

Led by artists appearing in the matinée, these high-energy sessions provide students the opportunity to explore key themes, questions and technical aspects of productions on the Festival's renowned stages. $4 per student (free for Teaching Stratford Program participants)

11 a.m.-noon on the following dates:

Tuesday, May 20
Thursday, May 22
Wednesday, October 1
Tuesday, October 14
Thursday, October 16
Wednesday, October 22

For more information, visit stratfordfestival.ca/InterACTives.

WORKSHOPS AND CHATS

Workshops and Chats (virtual, onsite or at your school/centre) can be booked by calling the Box Office at 1.800.567.1600 or by emailing educate@stratfordfestival.ca.

Sponsorship

2025 SEASON SPONSOR

The 2025 Season is generously supported by Ophelia Lazaridis

PROUD SEASON PARTNERS

2019_BMO_White Canada-Life_White(1) RBC_White(1)

TOOLS FOR TEACHERS SPONSORED BY

Canada-Life_White(1)

Tools for Teachers includes InterACTive Preshows, Study Guides and Stratford Shorts.

Production Underwriter: The Fabio Mascarin Foundation and Laurie J. Scott

Production Co-Sponsors: Sylvia Soyka, Carol Stephenson, O.C. and Catherine Wilkes in memory of David

Support for education initiatives is generously provided by the Martin Family, the Estate of Noelle Saville and Laurie J. Scott