johnny baseball - American Repertory Theater

SEASON
09
10
DEMAND
MMER 2010 BY POPULAR
EXTENDED THROUGH SU
D SATURDAY NIGHT
SEE IT EVERY FRIDAY AN
DON’T MISS THE WORLD PREMIERE OF
JOHNNY
BASEBALL
The new musical about the Red Sox
MAY 14 – JUNE 27, 2010
ALSO UPCOMING:
EMERGING AMERICA FESTIVAL MAY 14 - 16
The A.R.T. joins forces with the Huntington Theatre Company and the
Institute of Contemporary Art to create a landmark festival of theater
devoted to presenting the new American voices of tomorrow.
FROM THE A.R.T./MXAT INSTITUTE:
THE SKIN OF OUR TEETH
March 19 - 26 at OBERON
A HISTORY OF THE AMERICAN FILM
May 21 - 29 at the Loeb Experimental Theater
INTRODUCTION
"It is my hope, that when people see Paradise Lost, they're going to be
glad they're alive. And I hope that after they've seen it, they'll turn to the
strangers sitting next to them and say 'hello.'" — Clifford Odets
It is with this shared hope that I am honored to present to you Paradise
Lost. This production marks the first time that the A.R.T. is presenting
the work of Clifford Odets, one of America's greatest 20th century
playwrights.
Paradise Lost was Clifford Odets's self-professed favorite play. It was
premiered by the Group Theatre in 1935, and the play remains one of the
most powerful and emotionally-rich portraits of an American family living
together through the devastation of the world they knew. I am thrilled to
bring you a new vision of this profound drama, directed by the innovative
and celebrated Daniel Fish.
Paradise Lost is the second show of our festival “America: Boom, Bust,
and Baseball”. After starting our journey in the boom of the 20s, we now
bring you the bust of the Great Depression. In May, our world premiere of
Johnny Baseball will pack a thoughtful commentary on American social
history into a fun and spirited musical that will bring cheers and tears to
baseball fans everywhere.
I look forward to experiencing these theatrical explorations of the everchanging face of the American dream with you.
Now welcome to the world of Paradise Lost
Diane Paulus
Artistic Director/CEO AMERICAN REPERTORY THEATER
presents
PARADISE LOST
BY CLIFFORD ODETS
DIRECTED BY DANIEL FISH
SCENIC DESIGN
Andrew Lieberman
COSTUME DESIGN
Kaye Voyce
LIGHTING DESIGN
Scott Zielinski
SOUND DESIGN
Clive Goodwin
VIDEO DESIGN
Joshua Thorson
STAGE MANAGER
Katherine Shea*
VOICE AND SPEECH
DRAMATURGY
Nancy Houfek
Whitney Eggers
NEW YORK CASTING DIRECTOR
Laura Stancyzk, CSA
AMERICA: BOOM, BUST, AND BASEBALL
FESTIVAL SPONSORS
Don and Susan Ware
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First performance February 27, 2010
Loeb Drama Center
Diane Paulus dedicates her inaugural 2009/10 season to the memory of Gerald
Schoenfeld, a great champion of the American theater, and a great friend of the A.R.T.
is being made possible through a generous
grant from The Andrew W. Mellon Foundation.
The A.R.T. wishes to thank its institutional partners, whose
support helps to make the theater’s programs possible:
CAST
PROGRAM NOTES
LEO GORDON
CLARA, his wife
BEN, their son
JULIE, their younger son
PEARL, their daughter
GUS MICHAELS, a family friend
LIBBY MICHAELS, his daughter
SAM KATZ, Leo’s partner
BERTHA, his wife
KEWPIE
MR. PIKE, the furnace man
MR. MAY
FELIX
PHIL FOLEY
NEWSPAPER MAN
SCHNABEL, ROGO, LUCY, MILTON,
HOMELESS MEN, DETECTIVES
David Chandler*
Sally Wingert*
Hale Appleman*
T. Ryder Smith*
Therese Plaehn
Thomas Derrah*
Merritt Janson*
Jonathan Epstein*
Adrianne Krstansky*
Karl Bury*
Michael Rudko*
T. Ryder Smith*
Cameron Oro
Remo Airaldi*
Anthony Gaskins
REVOLUTIONARY FORCE
By Whitney Eggers
“We are living in a time when new art works should shoot bullets,” wrote
Clifford Odets. As a member of the young generation of the 1930’s, Odets felt a
profound anger toward the economic and spiritual torpor of the Great Depression,
and an inner fire that burned for revolution. “I believe in the vast potentialities
of mankind,” he once wrote to critic John Mason Brown. “But I see everywhere a
wide disparity between what they can be and what they are. This is what I want
to say in writing. I want to say the genius of the human race is mongrelized, I want
to find out how mankind can be helped out of the animal kingdom into the clear
sweet air.” Odets’s fervor spills out in the seething, passionate language of his
early writing, from his most famous works, Waiting for Lefty and Awake and Sing!
to his favorite piece, Paradise Lost.
Before joining the Group Theatre in 1931, Odets struggled for years as a stock
actor. Constantly tottering on the edge of starvation, he developed an acute
Ensemble
affinity with the poor and the disenfranchised, and felt drawn toward the seedier,
more impoverished hangouts of New York City. Harold Clurman, co-founder of
ASSISTANT DIRECTOR
ASSISTANT STAGE MANAGER
ASSISTANT DRAMATURG
PRODUCTION ASSISTANTS
Allison Kline
Amanda Robbins-Butcher*
Sara Bookin-Weiner
Samson Quaintance
Jessica Stansfield
the Group, wrote, “Odets seemed to share a peculiar sense of gloomy fatality,
one might almost say an appetite for the broken and rundown, together with
a bursting love for the beauty immanent in people, a burning belief in the day
when this beauty would actually shape the external world.” As this love and belief
fought for creative expression, it ignited a passion in Odets to respond to the
SPECIAL THANKS: Rensselaer Polytechnic Institute Department of the
Arts; Tom Kane; Roy and Anita Rubin; Michael Mulvena, Brian Kenny, and
everyone at PODS (Portable On Demand Storage) for their generous help
in making this production possible.
PLACE: An American city; the Gordon Home.
*Members of Actors’ Equity Association, the Union of Professional
Actors and Stage Managers in the United States. Actors’ Equity
Association (AEA), founded in 1913, represents more than 45,000 actors
and stage managers in the United States. Equity seeks to advance,
promote, and foster the art of live theatre as an essential component of
our society. Equity negotiates wages and working conditions, providing
a wide range of benefits, including health and pension plans. AEA is
a member of the AFL-CIO and is affiliated with FIA, an international
organization of performing arts unions. The Equity emblem is our mark
of excellence. www.actorsequity.org
The scenic, costume, lighting and
sound designers in LORT Theatres
are represented by United Scenic Artists Local USA-829 IATSE.
The Group Theatre company at Brookfield Center.
PROGRAM NOTES
PROGRAM NOTES
Initially, Odets found his own answer in the ideals of communism. Surrounded
by the detritus of the economic collapse and the powerlessness of the individual,
Odets saw hope and redemption in the community of man promised by Marxism.
As one who felt himself on the fringes of society, “he wanted comradeship,”
Harold Clurman reported. “He wanted to belong to the largest possible group
of humble, struggling men prepared to make a great common effort to build a
better world. Without this, life for him would be lonely and hopeless.” In October
of 1934, Odets became a member of the Communist Party, writing later that “in a
capitalist society, criminals, artists and revolutionists are brothers under the skin.
Dorothea Lange, Six Texans,
Ex-Tenant Farmers, Now
on Relief, Unable to Vote
Because of Poll Tax (Land of
the Free)
For related reasons they are all men of opposition.” His membership, however,
would last only eight months before he began to feel pressure to toe the party
line in his writing, a creative stricture he would feel again in various ways in the
Group Theatre and in Hollywood, leading him to write in a journal entry, “Taming
crisis swallowing his generation—a passion that this country first witnessed in 1935
you, they are all busy taming you! Tame the wild beast, the primitive, the savage!”
with his explosive play Waiting for Lefty.
Nevertheless, his commitment to radical change never wavered, and as critic John
In this one-act about a taxi cab strike, Odets gave dramatic structure to the
Gassner wrote, “No one gave himself to radical thought stemming from Marxist
lives of the ordinary American struggling for survival, making heroes of the lower
dialectics as wholeheartedly in the theater as did Odets, just as no one succeeded
classes and giving voice to their daily battles: “My God, Joe,” says Edna, “the
in investing cold theory with so much palpitating and tormented flesh.”
world is supposed to be for all of us.” Lefty catapulted Odets onto the national
For Clifford Odets, the connection between performance and audience, art
scene, and was quickly joined by Till the Day I Die, one of the first anti-Nazi plays
and reality, was intensely personal, always geared toward the desire to be useful.
in the American theater, and Awake and Sing!, a play about a lower middle-class
Toward the end of his life, Odets confessed, “Always I am very thankful that I
family enmeshed in what one character calls “a struggle for life amidst petty
am an artist, that I write about life, that I reach people with what I write.... For
conditions,” fighting “so life won’t be printed on dollar bills.” In December of
myself a life is useless unless there is a
1935, Odets presented Paradise Lost, his fourth Broadway premiere of that year.
‘what for’ not connected with the self
This unheard-of accomplishment made him a household name, landing him on
and self-interests. I would be a very
the cover of Time magazine. With his picture captioned, “Down with the general
sick and unhappy man if I were not
fraud!” the feature praised his “rich, compassionate, angry feeling for people, his
a writer. Nothing else can satisfy this
tremendous dramatic punch, his dialogue, bracing as ozone,” saying, “[i]n every
hunger to be useful, to be used for a
Odets play, regardless of its theme…at least once or twice during the evening
common good.” Odets’s passion helped
every spectator feels that a fire hose has been turned on his body, that a fist has
shape the American artistic landscape,
connected with his chin.”
giving it unprecedented purpose. “The
For Paradise Lost, Odets drew upon his childhood as a son of first-generation
function of an artist in any medium,”
Eastern European immigrants. “Almost all of that play,” he said, “came out of my
he said, “should be to tell the truth
experiences as a boy in the Bronx. I saw people evicted, I saw block parties, I knew
completely, from top to bottom. Truth is
a girl who stayed at the piano all day, a boy who drowned, boys who went bad
a revolutionary force."
and got in trouble with the police. As a matter of fact, two of the boys I graduated
with ended up in the electric chair and another boy became a labor racketeer. Not
too much of that play was invented; it was felt, remembered, celebrated.” Odets
Whitney Eggers is a second-year
shaped his own experience into the members of the Gordon household who,
dramaturgy student at the A.R.T./MXAT
like so many Americans, yearn to match their reality to their dreams, but cannot
Institute for Advanced Theater Training
answer Leo Gordon’s looming question, “What is to be done?”
at Harvard University.
Robert Lewis, Morris Carnovsky, and Luther
Adler in the Group Theatre premiere of
Paradise Lost (1935) on Broadway.
PROGRAM NOTES
PROGRAM NOTES
ON CLIFFORD ODETS
Compiled by Rachel Hutt
TIMELINE
1906
Clifford Odets is born in Philadelphia.
1912
His family moves to the Bronx, where he spends his youth.
1923
Odets drops out of high school to pursue acting.
1931
The Group Theatre is formed by Harold Clurman, Cheryl Crawford, and
Lee Strasberg. Odets begins as a company actor playing secondary
roles and then starts to write plays. The Group Theatre is at first
reluctant to stage his work, but eventually becomes one of the main
producers of his plays.
were watching an onion peeled away
1934
Odets joins the American Communist Party.
layer by layer. And all around him, you
1935
The Group Theatre premieres Paradise Lost on Broadway. Directed by
Harold Clurman. Original cast included: Stella Adler, Elia Kazan, Luther
Adler, Sanford Meisner, and Robert Lewis.
1935
–1940
The Group Theatre produces a number of Clifford Odets’s plays
including: Waiting for Lefty (1935), Awake and Sing! (1935), Till the
Day I Die (1935), Golden Boy (1937), Rocket to the Moon (1938), and
Night Music (1940).
1936
Odets writes The General Died at Dawn, his first screenplay.
1937
Odets marries Luise Rainer, who won consecutive Academy Awards
as “Best Actress” for The Great Ziegfeld (1936) and The Good Earth
(1937).
1941
Divorces Luise Rainer; The Group Theatre disbands.
1941
Odets writes Clash by Night, his first post-Group Theatre play.
1943
Marries actress Bette Grayson.
1944
Odets writes and directs None But the Lonely Heart, a film staring Cary
Grant and Ethel Barrymore.
1946
Harold Clurman directs Odets’s film Deadline at Dawn.
1950
Odets writes The Country Girl, a play which was adapted into a 1954
film starring Grace Kelly. Kelly won an Oscar for her performance.
1951
Odets divorces Bette Grayson.
1952
Odets is called before the House Committee on Un-American
Activities. He confirms names and disavows his communist affiliations.
1954
Odets writes The Flowering Peach, a play that would become the basis
for the 1970 musical Two by Two.
1957
Writes The Sweet Smell of Success, the film that inspired the 2002
musical of the same name.
1959
Clifford Odets writes and directs The Story on Page One, a film starring
Rita Hayworth and Sanford Meisner.
1961
Writes Wild in the Country, a film starring Elvis Presley.
1963
Odets dies of cancer.
“Clifford Odets taught me a great
deal about identity, because his
characters are so vividly examined
and understood and loved by their
creator—intensely realized.... His
characters unfold before you as if you
suddenly see that there are still other
layers (home, country, family, society)
that have also outfitted him and layers
that must either be shed or used as
protection from the onslaughts that life
inevitably and without mercy presents
to us.” — Tennessee Williams as quoted
in “America’s Fervent Playwright” by
Marian Seldes, Lincoln Center Theater
Review, Issue 42, Spring 2006
“Odets’s work…is profoundly of the
lower middle class with all its vacillation,
Portrait of Odets taken in 1935 after he burst
out on the Broadway scene.
dual allegiance, fears, groping, self-distrust, dejection, spurts of energy, hosannas,
vows of conversion, and prayers of release.” — Harold Clurman, The Fervent Years
“He tried to clarify the meaning of life right to the end, and that’s the meaning
of his life and death. He was a wild man and a noble man.”
— Marlon Brando as quoted in Clifford Odets: An American Playwright by
Margaret Brenman-Gibson
“I’d like to write a really good play sometime. Like O’Neill, Odets, Chekhov,
something the way it really is, capture the action of the way things really go on.”
— David Mamet as quoted in “Mamet’s Plays Shed Masculinity Myth” by C. Gerald
Fraser, New York Times, July 5, 1976
“The Group Theatre has produced the finest revolutionary playwright in
America.” — Luther Adler, referring to Clifford Odets in The Fervent Years by
Harold Clurman
Rachel Hutt is a first-year dramaturgy student at the A.R.T./MXAT Institute for
Advanced Theater Training at Harvard University.
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COMPANY
REMO AIRALDI — Phil Foley
A.R.T.: Sixty productions, including Romance (The
Defendant), Endgame (Nagg), The Seagull (Shamrayev),
The Communist Dracula Pageant, When It’s Hot, It’s
Cole, Cardenio, Julius Caesar, Donnie Darko, A Marvelous
Party!, Oliver Twist (also at Theatre for a New Audience,
Berkeley Repertory Theatre), The Onion Cellar, Island of
Slaves, Romeo and Juliet (Peter), No Exit (Valet), Amerika
(Captain, Green, Head Porter), Dido, Queen of Carthage (Nurse), The Provok’d
Wife (Constable), The Miser (Master Jacques), The Birthday Party (McCann),
A Midsummer Night’s Dream (Francis Flute), Pericles (Fisherman), La Dispute
(Mesrou), Uncle Vanya (Telegin), Marat/Sade (Cucurucu), Enrico IV (Bertoldo),
The Winter’s Tale (Clown), The Wild Duck (Molvik), Buried Child (Father Dewis),
Tartuffe (Monsieur Loyal), Henry IV and V (Mistress Quickly), Waiting for Godot
(Pozzo), Shlemiel the First (Mottel/Moishe Pippik/Chaim Rascal), The King Stag
(Cigolotti), Six Characters in Search of an Author (Emilio Paz). Other: Camino
Real and Eight by Tenn (Hartford Stage), productions at La Jolla Playhouse,
Geffen Playhouse, American Conservatory Theater, Walnut Street Theatre, Prince
Music Theater, Serious Fun Festival, Moscow Art Theatre, Taipei International Arts
Festival, Commonwealth Shakespeare Company.
HALE APPLEMAN — Ben
A.R.T.: Debut. Other: David Rabe’s Streamers, Roundabout,
Huntington Theater; Unrequited, Public Theater; The Art
of Coarse Acting, 100 Saints You Should Know, Twelfth
Night, Chautauqua Theater Company; A Seagull in
the Hamptons, Stonybrook Theater Conference. Film:
Beautiful Ohio, Teeth, Pedro. Training: CMU, Actor’s Center,
SITI Company, Graduate of the HS of the Performing Arts.
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REPERTORY
THEATER.ORG
KARL BURY — Kewpie
A.R.T.: Debut. Broadway: Match. Regional: Awake and
Sing! (Moe), Pittsburgh Public Theatre; Invisible Friends
(Chuck), Seattle Children’s Theatre; The Rose Tattoo
(Alvaro), Hudson Theatre; Awake and Sing! (Ralph),
Odyssey Theatre, among others. Film: The Majestic,
Duplicity, Starting Out in the Evening, Sugar, Pride and
Glory. Television: Two seasons on Brotherhood (Alex
Byrne), Showtime; The Sopranos, Law and Order: CI, The Practice, Judging Amy,
among others. MFA, Univ. of Washington under Jack Clay.
COMPANY
COMPANY
DAVID CHANDLER — Leo Gordon
A.R.T.: Debut. Broadway: Lost in Yonkers, Death of a
Salesman, The American Clock. Off-Broadway: Underneath
the Lintel, Soho Playhouse; Private Jokes, Public Places,
LaMama; The Swan, New York Shakespeare Festival; Slavs!,
New York Theatre Workshop; Black Sea Follies and Doris
to Darlene, Playwrights Horizons; The Grey Zone, MCC;
Cellini, Second Stage; Regional: Guthrie, Long Wharf,
McCarter Theatre, Yale Repertory Theatre, Williamstown Theatre Festival, Berkeley
Repertory Theatre, Wilma Theater, among others. Abroad: A Question of Mercy,
Bush Theatre, London. Film: The Grey Zone, Hide and Seek, Death of a Salesman,
The Undeserved. Television: Seinfeld, Third Rock From the Sun, Law and Order.
Faust (title role), West End, London; On and Off-Broadway; dozens of regional
theaters across America. Principal actor, teacher, and director with Shakespeare
& Company for many years, where his roles included Benedick, Puck, Bottom,
Dogberry, Feste, Richard III, Iago, Macbeth, Lear, and scores of others. Guest
lecturer on Shakespeare and the Sonnets at universities and theater companies
across the country. Recipient of two Elliot Norton Awards for Outstanding Actor.
THOMAS DERRAH — Gus Michaels
A.R.T.: One hundred and sixteen productions, including
Romance (The Prosecutor), Endgame (Clov), The Seagull
(Dorn), The Communist Dracula Pageant (Nicolae
Ceausescu), Julius Caesar (title role; also on tour six
cities in France), Oliver Twist (also at Theatre for a New
Audience, Berkeley Repertory Theatre), Olly’s Prison
(Barry), The Birthday Party (Stanley), Highway Ulysses (Ulysses), Uncle Vanya
(Vanya), Marat/Sade (Marquis de Sade), Richard II (Richard), Mother Courage
(Chaplain). Broadway: Jackie: An American Life (23 roles). Off-Broadway: Johan
Padan and the Discovery of the Americas (Johan), Big Time (Ted). Tours with the
Company across the U.S., with residencies in New York, Chicago, San Francisco,
and Los Angeles, and throughout Europe, Canada, Israel, Taiwan, Japan, and
Moscow. Other: I Am My Own Wife, Boston Theatre Works; Approaching Moomtaj,
New Repertory Theatre; Twelfth Night and The Tempest, Commonwealth
Shakespeare Co.; London’s Battersea Arts Center; Our Town (Dr. Gibbs, directed
by José Quintero), Houston’s Alley Theatre; among many others. Awards: 1994
Elliot Norton Prize for Sustained Excellence, 2000 and 2004 IRNE Awards for Best
Actor, 1997 Los Angeles DramaLogue Award (for title role of Shlemiel the First).
Television: Julie Taymor’s film Fool’s Fire (PBS American Playhouse), Unsolved
Mysteries, Del and Alex (Alex, A&E Network). Film: Mystic River (directed by Clint
Eastwood), The Pink Panther II. Training: Yale School of Drama.
JONATHAN EPSTEIN — Sam Katz
A.R.T: Picasso at the Lapin Agile (Picasso), Merchant of
Venice (Antonio), Phaedra (Theseus). Most recent Boston
appearance: Dirty Dancing (Max Kellerman), pre-Broadway
National Tour. Other: The Caretaker (Davies), One Flew
Over the Cuckoo’s Nest (McMurphy), Educating Rita
(Frank), Amadeus (Salieri), Via Dolorosa (David Hare), Rat
in the Skull (Nelson), Berkshire Theatre Festival; Goethe’s
MERRITT JANSON — Libby Michaels
A.R.T.: Britannicus (Junia), The Onion Cellar (Bear Girl/
Mute Girl). Other: Twelfth Night (Viola) and Othello
(Desdemona), Shakespeare & Company; Notes From
Underground (Liza), Yale Repertory Theatre; Baal (Sophie
Barger), The Riverside Theatre; Eurydice (Title), Wilma
Theater; The Deception (Chevalier), La Jolla Playhouse
and Theatre de la Jeune Lune; The English Channel (Emilia), Vineyard Playhouse
and C. Walsh Theatre. Film: Mail Order Wife (Best American Film, Santa Barbara
International Film Festival); Otto and Anna. Training: MFA from the A.R.T./MXAT
Institute for Advanced Theater Training at Harvard University.
ANTHONY GASKINS — Newspaperman, Ensemble
A.R.T.: Debut. Second year actor at the A.R.T./MXAT
Institute for Advanced Theater Training at Harvard
University. Institute credits: Hamletmachine (Hamlet),
The Winter’s Tale (Leontes), The Little Tragedies
(Don Juan).
ADRIANNE KRSTANSKY — Bertha
A.R.T.: Britannicus (Albina), Ubu Rock (Queen Rosamund).
Other: 2.5 Minute Ride, New Repertory Theatre; November,
Lyric Stage Company; Gary, Boston Playwrights Theater;
Well, New Century Theater; Laundry and Bourbon, Young
Vic, London; Luck, Pluck and Virtue, Atlantic Theater and
La Jolla Playhouse; A Clockwork Orange and Twelfth
Night, Steppenwolf Theatre; Closer, Wellfleet Harbor Actors Theatre; Frozen, New
Repertory Theatre; Bug, Boston Theatre Works; Danny and the Deep Blue Sea,
Vineyard Playhouse; among others. Film: The Company Men. She teaches acting at
Brandeis University.
COMPANY
COMPANY
CAMERON J. ORO — Felix
A.R.T.: The Donkey Show. New York: 365 Days/365 Plays,
The Public Theater; The Joy of Lex, HERE Arts Center;
Fay Lindsay-Jones Story, 2006 New York Fringe Festival;
RPG, Manhattan Repertory Theater; Full Length Play,
Gene Frankel Theater. Proud member of The Stolen
Chair Theatre Company in NYC (www.stolenchair.org);
six productions with Stolen Chair: The Accidental Patriot (New York Innovative
Theatre Award for Best Actor); Stage Kiss (New York Innovative Theatre Award
nominee for Best Actor); Kill Me Like You Mean It; Kinderspiel; Commedia
dell’Artemisia; The Man Who Laughs. Film: Overnight Book (Official Selection:
OUTFest 2009, Frameline 2008, NewFest 2008, Chicago Reeling Festival 2008).
BFA in Drama, NYU; current student at the A.R.T./MXAT Institute for Advanced
Theater Training at Harvard University.
on nothing), DR2; Anne Washburn’s Apparition (Connolly) and I Have Loved
Strangers (Clubbed Thumb), Romulus Linney’s Ambrosio, Signature Theatre Co.;
Glen Berger’s The Wooden Breeks, MCC and Underneath the Lintel (Drama Desk
nomination, Outstanding Solo Performance), Soho Playhouse; Israel Horowitz’s
3-actor, 40-character Lebensraum (Drama Desk Award, Outstanding Ensemble
Cast); work with Target Margin, Arden Party, The Foundry, among others.
Regional: world premieres of Doug Wright/August Strindberg’s Creditors, La Jolla
Playhouse; Charles Mee’s Big Love, Actors Theatre of Louisville; Jeffrey Hatcher’s
Compleat Female Stage Beauty, CATF; Tanya Barfield’s Of Equal Measure, Center
Theatre Group LA; Sarah Ruhl’s Passion Play, Goodman Theatre; and John Strand’s
Lincolnesque (Craig Noel award, Outstanding Lead Performance), The Old Globe.
Film: Brainscan, Horrible Child, and the upcoming Happy Tears and MindFlux.
Television: Nurse Jackie, Conviction, Law & Order.
THERESE PLAEHN — Pearl
A.R.T.: Debut. Second year actor at the A.R.T./MXAT
Institute for Advanced Theater Training at Harvard
University. Institute credits: The Little Tragedies (Mary),
The Winter’s Tale (Autolycus), Hamletmachine (Mom). B.A.
in English, Providence College.
MICHAEL RUDKO — Mr. Pike
A.R.T.: Hedda Gabler, Hamlet, The Seagull (1991-92
Season). Germany: We Are Not These Hands, Dusseldorfer
Schauspielhaus. London: True West, Donmar Warehouse;
Antony and Cleopatra, Julius Caesar, Shakespeare’s Globe.
Broadway: Mary Stuart, Gore Vidal’s The Best Man, Timon
of Athens, Serious Money. Off-Broadway: King Lear,
Serious Money, The Public Theater; Titus Andronicus,
As You Like It, Henry V, Love’s Labour’s Lost, Theatre for a New Audience.
Regional: Tartuffe, McCarter/Yale Repertory Theatre; iWitness, Mark Taper Forum;
The Taming of the Shrew, The Woman in Black, The Investigation, Baltimore
Centerstage; Twelfth Night, The Tempest, Lorenzaccio, The Shakespeare Theatre;
The Faith Healer, Old Globe; Night and Day, Wilma Theater; Proof, Arena Stage.
T. RYDER SMITH — Julie/Mr. May
A.R.T.: Debut. Broadway: Equus (opposite Daniel Radcliffe
and Richard Griffiths). New York: Sarah Ruhl’s Dead Man’s
Cell Phone, David Greenspan’s She Stoops to Comedy,
Playwrights Horizons; Richard Foreman’s The Gods
Are Pounding My Head and King Cowboy Rufus Rules
the Universe, Ontological; Will Eno’s Thom Pain (based
SALLY WINGERT — Clara Gordon
A.R.T.: Debut. Regional: Guthrie Theater; over eighty
productions since 1985 including Faith Healer (Grace),
Third (Laurie Jameson), Happy Days (Winnie). Other:
Spinning Into Butter, Sweet Nothing in My Ear, Winter,
Mixed Blood Theater; Entertaining Mr. Sloane, The Jungle
Theater; Ragtime (mother), Twelfth Night (Duke, Maria),
Ten Thousand Things; Woman Before a Glass (Ivey Award), 2.5 Minute Ride,
Minnesota Jewish Theater; Tartuffe (Dorine), McCarter Theater, Yale Repertory
Theatre; Private Eyes (Lisa), Arizona Theater Company. Films: Fargo, North
Country, The Straight Story, Factotum.
CREATIVE STAFF
CREATIVE STAFF
DANIEL FISH — Director
Recent: Der Menschenfeind, Staatstheater-Braunscwheig; Kock Fight Club, Richard
B. Fisher Center/Bard College; The Elliot Smith Project, Bard Summerscape;
Rocket to the Moon, Long Wharf Theater, Bard Summerscape. He has directed
plays by Shakespeare, Goldoni, Chekhov, Ibsen, Oscar Wilde, Rodgers and
Hammerstein, Joe Orton, Charles L. Mee, David Rabe, David Mamet, Sarah Ruhl,
Roland Schimmelpfennig, and Sheila Callaghan. In New York City, his work has
been produced by Signature Theatre, Classic Stage Company, The Juilliard School,
HERE, and The Zipper, which his production of True Love opened in 2001. He
has also created work for Düsseldorfer Schauspielhaus, The Royal Shakespeare
Company, The Richard B. Fisher Center for the Performing Arts at Bard College,
Yale Repertory Theatre, McCarter Theatre, The Shakespeare Theatre/Washington
DC, Baltimore Center Stage, German Theater Abroad, and California Shakespeare
Theater, among others. Daniel Fish has taught directing at The Yale School
of Drama, Princeton University, University of California at San Diego, and at
Bard College. He is a graduate of Northwestern University's Department of
Performance Studies.
SCOTT ZIELINSKI — Lighting Designer
A.R.T.: Endgame, Julius Caesar, Donnie Darko, Oliver Twist, Three Sisters,
Dido Queen of Carthage, Peter Pan and Wendy, Woyzeck, Black Snow. New
York: Topdog/Underdog (Broadway), Classic Stage Company, Joseph Papp
Public Theater, Lincoln Center Festival, Manhattan Theater Club, New York
Theater Workshop, Playwrights Horizons, Signature Theater, Theater for a New
Audience, among others. International: Productions in Adelaide, Amsterdam,
Berlin, Edinburgh, Fukuoka, Goteborg, Hamburg, Hong Kong, Istanbul, Linz,
London, Luang Prabang, Lyon, Orleans, Oslo, Ottawa, Paris, Reykjavik, Rotterdam,
Singapore, Stockholm, Stuttgart, Tokyo, Toronto, Vienna, Vilnius, and Zurich.
Dance: American Dance Festival, Joyce Theater, Kennedy Center (all with Twyla
Tharp), American Ballet Theatre, Boston Ballet, Centre National de la Danse,
Houston Ballet, Kansas City Ballet, National Ballet of Canada, San Francisco Ballet.
Opera: Arizona Opera, Brooklyn Academy of Music, English National Opera,
Gotham Opera, Houston Grand Opera, Lithuanian National Opera, Minnesota
Opera, Nederlandse Opera, New York City Opera, Opera Colorado, Pittsburgh
Opera, San Francisco Opera, Spoleto Festival USA, Toronto Opera. Upcoming:
The White Snake for New Vision Festival (Hong Kong), Sydney Festival, Lincoln
Center Festival, and Edinburgh Festival, The Magic Flute for Canadian Opera
Company (Toronto), and Achterbahn, a new Judith Weir opera for Bregenz
Festival (Austria) and the Royal Opera House (London).
ANDREW LIEBERMAN — Scenic Designer
Opera: English National Opera, Deutsche Oper Berlin, New York City Opera,
Montreal Opera, Glimmerglass Opera, Spoleto Festival USA, Long Beach Opera,
Portland Opera, Boston Lyric Opera, Cincinnati Opera, Wolf Trap Opera, Gotham
Opera, Opera Theater of St. Louis, Austin Lyric Opera. Theater: The Curtis
Institute, The Royal Shakespeare Company, Second Stage, The Public Theater,
Bard Summerscape, The Children’s Theater Company, Baltimore’s Centerstage,
McCarter Theater, La Jolla Playhouse, Denver Center, Huntington Theater, Long
Wharf Theater, Portland Center Stage, Santa Fe Stages, Actor’s Theater of
Louisville, Indiana Repertory, Syracuse Stage, The Juilliard School, Shakespeare
Santa Cruz, Wilma Theater, and California Shakespeare, among others. Previous
productions with director Daniel Fish: Love’s Labor’s Lost, Measure for Measure,
Merchant of Venice, Poor Beck, Rocket to the Moon, and Speed the Plow. Awards:
Part of the creative team responsible for Partenope at English National Opera,
winner of the 2009 Lawrence Olivier Award for Best New Opera Production.
Princess Grace, USA Award winner. Full-time faculty member at NYU’s Tisch
School of the Arts. Upcoming: L’etoile, New York City Opera; The Aliens,
Rattlestick; The Cocktail Party, TACT; Othello, Shakespeare on the Sound.
KAYE VOYCE — Costume Designer
A.R.T.: Britannicus. International: Der Menschenfeind, Staatstheater Braunschweig;
The Frame, Theater Bonn; Show Boat, Staatstheater Bern; Poor Beck, Royal
Shakespeare Company; and Henry 4 part 1, Hebbel Theater, Berlin. Broadway:
Shining City. Other: The Bacchae, The Public Theatre at the Delacorte; Tartuffe,
McCarter and Yale Repertory Theatre; The Consul, Glimmerglass Opera; Louise,
Spoleto Festival USA; and Orphee, Portland Opera and Glimmerglass Opera.
CLIVE GOODWIN — Sound Designer
A.R.T.: Resident Sound Designer. Television: London: Dancing With The Stars,
Later with Jools Holland, The Sound of Musicals, Friday Night with Jonathan Ross,
BBC; Parkinson, ITV. Music: Radiohead, Jamiroquai, Paolo Nutini, Orbital, Sparks,
The Waterboys, Glastonbury Festival, London Philharmonic Orchestra, London
Symphony Orchestra, BBC Symphony Orchestra, Royal College of Music. Theater:
The Dresser, Wyrd Sisters, Dracula - The Vampire Strikes Back, Woodhouse
Players. Shows at Brooklyn Academy of Music, Hollywood Bowl, Madison Square
Garden, Royal Festival Hall, Avignon Festival.
JOSHUA THORSON — Video Designer
Exhibited at venues such as the Rotterdam International Film Festival, Museum
of Modern Art, the Centre Pompidou, The New Museum, among others. Theater:
Kock Fight Club, Fisher Center at Bard College; Paradise Park, Signature Theater,
both with director Daniel Fish in 2008, and will design video for a forthcoming
performance of new work by Kyle DeCamp at EMPAC in Troy, NY. He has edited
several seminal dance performance films for the Merce Cunningham Dance
Company with Charles Atlas, and has curated several video programs. B.A.
Cultural Studies and Film Studies, University of Minnesota; MFA at Bard College in
Film/Video; Ph.D. in progress at Rensselaer Polytechnic Institute in Electronic Art.
CREATIVE STAFF
CREATIVE STAFF
KATHERINE SHEA — Stage Manager
A.R.T.: Stage Manager: Best of Both Worlds, Romance, Endgame, The Communist
Dracula Pageant, When It’s Hot, It’s Cole, Donnie Darko. Assistant Stage
Manager: The Seagull, Oliver Twist, The Onion Cellar. Production Associate:
Island of Slaves, Desire Under the Elms. A.R.T. Institute: Stage Manager: The
Front Page, Arabian Night, Zoya, Mayhem, A Bright Room Called Day, The Island
of Anyplace, The Bacchae, Spring Awakening, Donnie Darko. Gloucester Stage
Company: Production Stage Manager: The Woman in Black. Lyric Stage Company:
Production Stage Manager: Kiss Me Kate, Three Tall Women, Adrift in Macao.
Actors’ Shakespeare Project: Stage Manager: King John.
Swimming with Watermelons, Vineyard Theater and Music-Theatre Group; Eli’s
Comin’, Obie Award, Vineyard Theater; Brutal Imagination, Vineyard Theater; The
Golden Mickeys, Disney Creative Entertainment; The Karaoke Show, Jordan Roth
Productions; Running Man, Pulitzer Prize Finalist, Music-Theatre Group. Opera:
Don Giovanni, Le nozze di Figaro, Turn Of The Screw, Cosi fan tutte, Il ritorno
d’Ulisse in patria, L’incoronazione di Poppea, and Orfeo, all with Chicago Opera
Theater. Upcoming: Johnny Baseball, A.R.T.
NANCY HOUFEK — Voice and Speech
A.R.T.: Resident vocal coach since 1997. Has coached shows directed by Francois
Rochaix, Andrei Serban, Andrei Belgrader, David Mamet, David Wheeler, Scott
Zigler, Marcus Stern, Liz Diamond, Karin Coonrod, Robert Woodruff, and others. Previous coaching credits include the American Conservatory Theatre and the
Guthrie Theatre, with directors including Allan Fletcher, Ed Hastings, Bill Ball,
Bennie Sato Ambush, and Bill T. Jones. At the A.R.T. Institute teaches voice,
speech, dialects, and Shakespeare text, and administers the M.F.A. program in
voice training. At Harvard, she has presented workshops on public speaking for
the Derek Bok Center for Teaching and Learning (who have made a film of her
work with Harvard faculty called “The Act of Teaching”), the Radcliffe Fellows,
Harvard Medical School, and the Kennedy School of Government. Has received
several teaching commendations at Harvard for her undergraduate class, and has
garnered both a Bay Area Theatre Critics Award and a Los Angeles Dramalogue
for her previous performance work. Graduate of Stanford University, M.F.A. from
the American Conservatory Theatre.
AMANDA ROBBINS-BUTCHER — Assistant Stage Manager
A.R.T: Assistant Stage Manager: Best of Both Worlds, Romance, Endgame.
Production Associate: The Communist Dracula Pageant, No Man’s Land, Wings of
Desire. A.R.T. Institute: Stage Manager: Pinter One Acts (The Room & Celebration),
Lacy Project, The Discreet Charm of Monsieur Jourdain, Expats, Gray City, Betty’s
Summer Vacation, Phoenician Women, Kate Crackernuts, The Island of Anyplace,
Melancholy Play. B.A. from St. Olaf College, Northfield, MN.
DIANE PAULUS — Artistic Director
Artistic Director of the A.R.T. A.R.T.: Best of Both Worlds, The Donkey Show, six
years Off-Broadway, tours to London, Edinburgh, Madrid, Evian, France. Other:
Il mondo della luna, Hayden Planetarium at the Museum of Natural History,
Gotham Chamber Opera; HAIR, Al Hirschfield Theater, Tony Award, Best Revival
of a Musical, Tony Award Nomination, Best Direction of a Musical; Lost Highway,
Young Vic/English National Opera; Kiss Me Kate, Glimmerglass Opera; Another
Country, Columbia Stages; Turandot: Rumble for the Ring, Bay Street Theater;
TUFTS UNIVERSITY
ART GALLERY
envision
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curated exhibitions mfa thesis exhibitions
special events group tours free parking
Medford, MA
artgallery.tufts.edu
free and open to the
public year round
ABOUT THE A.R.T.
If you were moved by
Paradise Lost...
DEVO - MAKE GREAT STORIES HAPPEN
A HISTORY OF THE AMERICAN REPERTORY THEATER
Diane Paulus Artistic Director/CEO
The American Repertory Theater (A.R.T.) is one of the country’s most
celebrated resident theaters and the winner of numerous awards—including
the Tony Award, the Pulitzer Prize, and numerous local Elliot Norton and
I.R.N.E. Awards. In 2002 the A.R.T. was the recipient of the National Theatre
Conference’s Outstanding Achievement Award, and in May of 2003 it was
named one of the top three theaters in the country by Time magazine. Founded by Robert Brustein in 1980, during its 30-year history the A.R.T. has
welcomed major American and international theater artists, presenting a
diverse repertoire that includes new American plays, bold reinterpretations of
classical texts, and provocative new music theater productions. The A.R.T. has
performed throughout the U.S. and worldwide in 21 cities in 16 countries on
four continents. It has presented over 200 productions, over half of which were
premieres of new plays, translations, and adaptations. The A.R.T. is also a training ground for young artists. The theater’s artistic
staff teaches undergraduate classes in acting, directing, dramatic literature,
dramaturgy, design, and playwriting at Harvard University, and in 1987
the A.R.T. founded the Institute for Advanced Theater Training at Harvard
University. In conjunction with the Moscow Art Theater School, the Institute
provides world-class graduate level training in acting, dramaturgy, and voice. Last fall the A.R.T. welcomed its new Artistic Director, Diane Paulus. Under
her leadership, the Theater has developed a new initiative, EXPERIENCE THE
A.R.T., that seeks to revolutionize the theater experience through a sustained
commitment to empowering the audience. This initiative recognizes that
theater is not just a play on the stage, but also a social occasion for people
to come together and experience community. This audience-driven vision
speaks directly to the A.R.T.’s core mission—“to expand the boundaries of
theater.” By expanding its focus to include the audience’s total theater
experience, the A.R.T. seeks to give audiences a voice, a sense of ownership,
and a feeling of importance in the theatrical event.
A.R.T. 2009/10 Board of Trustees
Don Ware, Chairman of the Board
Philip Burling
Paul Buttenwieser
Michael Feinstein
Lori Gross
Ann Gund
Sarah Hancock
Provost Steven Hyman
Jonathan Hulbert,
Ex-Officio
Fumi Matsumoto
Rebecca Milikowsky
Ward Mooney
Jackie O’Neill
Diane Paulus
Diana Sorensen
Lisbeth Tarlow
A.R.T. 2009/10 Board of Advisors
Kathy Connor Co-Chair
Barbara Wallace Grossman Co-Chair
Joseph Auerbach*
Page Bingham
William H. Boardman, Jr.
Robert Brustein
Greg Carr
Caroline Chang
Antonia Handler Chayes*
Clarke Coggeshall
Kathleen Connor
Robert Davoli
Joseph W. Hammer
Horace H. Irvine, II
Michael E. Jacobson
Glenn KnicKrehm
Barbara Lemperly
Grant
Dan Mathieu
Eileen McDonagh
Michael Roitman
Linda U. Sanger
John A. Shane
Michael Shinagel
Sam Weisman
*emeriti
...then support great theater by
making a donation today.
Give to the A.R.T.’s 09/10 Annual Fund.
Contact Sue Beebee at 617.496.2000 x 8842
or donate now at americanrepertorytheater.org/support
DONORS
DONORS
The American Repertory Theater is deeply grateful for the generous support
of the individuals, foundations, corporations, and government agencies whose
contributions to our Annual Fund and pARTy make our work possible. The list
below reflects gifts between January 1, 2009 and January 31, 2010.
Jackie O’Neill*
Robert J. Orchard
Office of the Provost, Harvard
University*
Anthony Pangaro
The Bessie E. Pappas Charitable
Foundation, Inc.
Polaris Capital Management, Inc.*
Ricochet Group, LLC.*/Ric Wanetik
Alan Savenor
Cathleen Douglas Stone and James
Stone*
Tony Shalhoub and Brooke Adams
$100,000 AND ABOVE
Anonymous
The Andrew W. Mellon Foundation
The Carr Foundation
Doris Duke Charitable Foundation
The President and Fellows of Harvard
College
The Shubert Foundation, Inc.
$75,000 - $99,999
Anonymous
$50,000 - $74,999
Anonymous
Edgerton Foundation New American
Plays Award
The Harold and Mimi Steinberg
Charitable Trust
Hershey Family Foundation
Massachusetts Cultural Council
Theatre Communications Group
Don and Susan Ware*
Ted and Mary Wendell*
$25,000–$49,999
Anonymous
Boston Metro +
Phil and Hilary Burling*
Paul and Katie Buttenwieser*
Robert E. Davoli and Eileen L.
McDonagh*
The E.H.A. Foundation, Inc.
Ann and Graham Gund*
Sarah Hancock*
Horace Irvine*
Dan Mathieu/Neal Balkowitsch/MAX
Ultimate Food+*
Rebecca and Nathan Milikowsky*
Minelli, Inc.
Multi-Arts Production Fund
National Corporate Theatre Fund
Lisbeth Tarlow and Stephen Kay*
National Endowment for the Arts
Theatre Communications Group
Trust for Mutual Understanding
$10,000–$24,999
Anonymous*
Bank of America Philanthropic
Management
Page Bingham and Jim Anathan*
The Boston Foundation
Boston Investor Services*
The British Council
Ted and Joan Cutler
Étant Donnés
Michael G. Feinstein and Denise
Waldron*
Google, Inc.+
Merrill and Charles Gottesman
Barbara W. Hostetter
The Roy A. Hunt Foundation
Michael and Wanda Jacobson*
The Robert & Myra Kraft Family
Foundation, Inc.
Kako and Fumi Matsumoto*
Ward and Lucy Mooney
Office of the Provost, Harvard
University*
Cokie and Lee Perry
Beth Pollock*
Michael Roitman and Emily Karstetter
Ed Schein
Shiseido
The Wallace Foundation
$5,000–$9,999
Anonymous*
Joel and Lisa Alvord
Howard and Leslie Appleby
Boston Beer Company+
Clarke and Ethel D. Coggeshall
Event Illuminations+
Genevieve C. Fisher°
Patricia Romeo-Gilbert and Paul B.
Gilbert
Barbara Lemperly Grant and Frederic
D. Grant*
Joseph W. Hammer
Nancy P. King
Glenn A. KnicKrehm
The Lawrence & Lillian Solomon Fund,
Inc.
Audrey Love Charitable Foundation
Dr. Henry and Mrs. Carole Mankin
Carl Martignetti
$1,000–$4,999
Anonymous
Elizabeth M. Adams
Sheldon Appel
Sharyn Bahn
Barbara Lee Family Foundation
Enid Beal
John A. Boyd
Linda Cabot Black
Dr. Jeffrey Borenstein and Lilly Pelzman
Martha Bradford and Alfred Ajami
Ronnie Bretholtz
Sara and Tim Cabot*
Caroline Chang
Stanley and Peggy Charren
Antonia H. Chayes
Stephen Coit
Kathleen Connor
Jane and Marvin Corlette
Corning Incorporated Foundation
Crystal Capital*
Jean-Francois Ducrest
Draper Laboratory
Alan and Suzanne Dworsky*
Philip and Debbie Edmundson
Rachael and Andrew Goldfarb*
Merle and Marshall Goldman
Hannelore and Jeremy Grantham
Nicholas Greville
Lori E. Gross
Steve and Barbara Wallace Grossman
Jonathan Harris
Jerry and Margaretta Hausman
The Harvard Coop
Priscilla and Richard Hunt
Nancy P. King
Douglas and Judith Krupp
Jim and Lisa La Torre
Stacey Lee
Mary Pfeifer Lentz and Tom Lentz*
John D.C. Little
Lars Foundation
Gregory Maguire
Esther Maletz-Stone
James C. Marlas
Judy and Paul Marshall
Wladzia and Paul McCarthy
Robert and Jane Morse
Bob and Alison Murchison
The Netherland-America Foundation,
Inc.
Robert and Janine Penfield
Finley and Patricia Perry
Lawrence Pratt
Leslie and David Puth
Jan Saragoni
The Shane Foundation
Laura Pels Foundation
The Ramsey McCluskey Family
Foundation
Andres Rodriguez
Henry and Nitza Rosovsky*
Linda Sanger
Kay and Jack Shelemay
Michael Shinagel and Marjorie North
Dr. Clive Standley
The Abbot and Dorothy H. Stevens
Foundation
Caroline Taggart and Robert Sachs
The Sholley Foundation
Marshall Sirvetz
Deborah Sweet
May K. Takayanagi
Julie Taymor
TheatricalProjections.com
Wagamama Inc.
William Weber
John Weltman
Vita Weir and Edward Brice
Francis H. Williams
Alfred Wojciechowski
Judith and Stephen Wolfberg
Zipcar+
$500 - $999
Anonymous
Virgil J. Aiello
Reed Augliere
Sarah Baker and Tim Albright
William M. Bazzy
Daniel Berman
Leonard and Jane Bernstein
DONORS
Robert and Maria Bradley
Jean and Arthur Brooks Jr.’s kids
Deborah Carroll
Nader Darehshori
Erica DeRosa
Helen Glikman
Norman Goldberg
James Gray
Gretjen Helene Photography+
Lenore and Eric Gustafson
Helen Glikman
Dena and Felda Hardymon
Judith Kidd
Gillian and Bill Kohli
Dudley H. Ladd
Melody Libonati
Nick Littlefield
Esther Maletz-Stone
Carolyn Meade
Michael and Annette Miller
Patricia Cleary Miller Ph.D.
Carol and Steve Pieper
Wendy Shattuck and Samuel Plimpton
Suzanne Priebatsch
Natalie Reed
Sally C. Reid and John D. Sigel
Kim and Fernando Salazar
Valya and Robert Shapiro
Jacqueline A. Simon
Robert Skenderian
Thomas Tarpey
Ruth and Harry Wechsler
Peter and Dyann Wirth
Linda Chin Workman
IBM Corporation
Somerled Charitable Foundation
Hurlbut Family Charitable Lead Trust
$250–$499
Anonymous
Rena and Walter Abelmann
Janet and Arthur Banks
Sue Beebee and Joe Gagné
Helene B. Black Charitable Foundation
Joseph Blatt and Leda Zimmerman
John A. Boyd
Thomas B. Bracken
Arthur H. Brooks
Jacqueline Brown
Fred and Edith Byron
Ronni and Ronald Casty
Corporate Ink Public Relations
Richard and Dorothy Cole
DONORS
Liz Coxe and Dave Forney
Pamela Coravos and Garrett Stuck
Frederica Cushman
Beatrice and Anirudh Dhebar
Linda and William Faiella
Ken and Linda Felter
Charles Flowers
Robert and Kathleen Garner
GE Foundation
Arthur and Younghee Geltzer
David Golan and Laura Green
Dr. Jeffrey and Laurie Goldbarg
Randy and Stephen Goldberger
Richard Greene
Dianne Haas
Janice Harvey
John R. Hauser
Roger and Jane Haynes
Dr. Earl Hellerstein
Stefaan Heyvaert
Jeanne and Allen Krieger
Mark Krueger
Bill and Lisa Laskin
Greg and Mary Beth Lesher
Drs. Mortimer and Charlotte Litt
Stephen and Jane Lorch
Lorraine Lyman
Mark J. Natale
Shelley and Ofer Nemiorvsky
Roderick and Joan Nordell
Abigail Norman
Carmel and Peter O’Reilly
Joan H. Parker and Robert Parker
Mark and Pauline Peters
Joseph Raposo
Katharine and William Reardon
Diane Remin
Suzanne Ogden and Peter Rogers
Judy and David Rosenthal
Christopher Schalick
Wendell Sykes
M.K Terrell
Arnold and Gloria Tofias
John Travis
Mark Thurber and Susan Galli
Donna Wainwright
Elizabeth West
Mary Winslow
William Zinn and Nancy Bridges
+ denotes gift-in-kind
* includes gala sponsorship
° denotes individual is deceased
2009 pARTy Contributors
The A.R.T. is deeply grateful for the
following contributors for their kind
donations to our 2009 pARTy raffle and
auctions.
A member of A.R.T.’s Artistic
Committee
A. Quinn Hair Studio
Alan Savenor
American Repertory Theater
Barbara Lynch Gruppo
Bauer Wine & Spirits
Boston Public Library
Boston Red Sox
Cabot Design Ltd.
Carlos Falchi
Casablanca Restaurant
Child’s Gallery
Claire Messud
Commonwealth Shakespeare Company
Craigie on Main
Darwin’s Ltd.
DeLuca’s Markets
Diane Paulus
DreamWorks
Galatea Fine Jewelry
Galt MacDermot
Green Street Studios/Paula Spina
Hallie’s Garden
Harvard Book Store
Iggy’s Bread of the World
James Joseph Salon
James Wood
Jessica Kagan Cushman Studio
Le Pli Day Spa
Little Lettice/Sara Cabot
Loro Piana
Margaret Lampert Photography
Mary Pfeifer Lentz
Michael McDonald
Rialto Restaurant
Rocca Kitchen and Bar
Savenor’s Market
Sissy Yates Designs
SkinCare Physicians/Dr. Jeffrey Dover
Sofra Bakery
Sorellina
Suzanne Shepard
Tess & Carlos
The Harvard Art Museum
The Penninsula New York
The Public Theater
The Sherry-Netherland
Tremont 647/Andy Husbands
UpStairs on the Square
Victoria Munroe Fine Art
Yuriko and Brace Young
Anonymous
CORPORATE PARTNERS
The A.R.T. would like to thank the
following Corporate Partners for their
support during the current season.
Corporate partners provide invaluable
in-kind and monetary support for
the programs of the A.R.T. For more
information please call Joan Moynagh,
Director of Institutional Giving and
Strategic Partnerships @ 617-4962000x8842.
Boston Beer Company
The Bay State Banner
The Boston Globe
The Boston Phoenix
Google, Inc.
The Harvard Coop
The Harvest Restaurant
MAX Ultimate Food
Minelli, Inc.
METRO
Newbury Comics
Sandrine’s Restaurant
Shiseido
TheatricalProjections.com
Wagamama Inc.
Zipcar
DONORS
NATIONAL CORPORATE THEATRE FUND
National Corporate Theatre Fund is a not-for-profit corporation created to
increase and strengthen support from the business community for ten of this
country’s most distinguished professional theaters. The following foundations,
individuals and corporations support these theaters through their contributions
to NCTF.
THEATRE EXECUTIVES ($50,000+)
Bank of America†
Citi††
Ernst & Young
Ovation TV*
USA Today*
BENEFACTORS ($25,000+)
Goldman, Sachs & Co.
Pfizer, Inc.
PACESETTERS ($15,000 $24,999)
Bloomberg
Steven Bunson
Cisco Systems, Inc. †
JPMorgan Chase Foundation††
KPMG
MetLife
Morgan Stanley
James S. Turley
UBS
DONORS ($10,000 $14,999)
BNY Mellon Wealth Management
Christopher Campbell/Palace
Production Center†
Credit Suisse
Dorsey & Whitney Foundation
McCarter & English LLP†
The McGraw-Hill Companies«
Ogilvy & Mather*
Paul, Weiss, Rifkind, Wharton &
Garrison LLP†
RBC Wealth Management
Willkie Farr & Gallagher LLP†
SUPPORTERS ($5,000 $9,999)
Bingham McCutchen
John Breglio†
Dramatists Play Service, Inc. †
Bruce R. Ewing
Richard Fitzburgh
Marsh & McLennan Companies
John G. Miller
New York State Council on the Arts**
Frank Orlowski
Thomas Quick
Samuel French, Inc.†*
Sharp Electronics*
Skadden, Arps, Slate, Meagher & Flom
LLC†
George Smith
Theatermania.com/Gretchen Shugart
†NCTF/John Breglio Fund for New
American Theatre
††NCTF Fund for Theatre Education
* Includes in-kind support
**Save My Seat Off-Broadway
it’s time to
FOR DETAILS AND INVITATION CONTACT
JULIA PROPP AT 617.496.2000 X8832
Othello
March 10th - April 4th
Villa Victoria Center for the Arts
85 W. Newton Street | South End
866-811-4111
www.actorsshakespeareproject.org
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STAFF
INSTITUTE
Artistic Director/CEO Diane Paulus
ARTISTIC
Producer Diane Borger
Artistic Coordinator Chris De Camillis
Director of Special Projects Ariane Barbanell
Dramaturg Ryan McKittrick
Assistant to Artistic Director/CEO Lauren Antler
Artistic Fellow Allegra Libonati
Producing Fellow Allison Kline
Artistic/Producing Fellow Mikhael Tara Garver
Artistic Interns Eve Bryggman, Rheeqrhreeq
Chainey, Vanda Gyuris, Emily Hyman, Megan
Savage
Dramaturgy Intern Jenna Embrey
INSTITUTE
Director Scott Zigler
Administrative Director Julia Smelianksy
Associate Director Marcus Stern
Co-head of Dramaturgy Anatoly Smeliansky
Co-head of Dramaturgy Ryan McKittrick
Resident Literary Advisor Arthur Holmberg
Head of Voice and Speech Nancy Houfek
Institute Intern Chelsea Keating
EXTERNAL AFFAIRS
DEVELOPMENT
Director of Development Erica DeRosa
Assistant Director of Development Sue Beebee
Director of Institutional Giving and Strategic
Partnerships Joan Moynagh
Development Officer Julia Propp
Development Intern Jessica Klement
MARKETING
Director of Press and Public Relations
Katalin Mitchell
Audience Development Manager Kerry Israel
Communications Manager Amanda Gutowski
Marketing Associate Jared Fine
Design Associate LeeAnn Suen
Advertising Consultant Blitz Media
Creative Consultant Minelli, Inc.
Marketing Intern Emily Hecht
Public Relations Intern Christine Miller
BOX OFFICE
Box Office Managers Derek Mueller, Ryan Walsh
Box Office Management Associate Alicia Curtis
Box Office Representative Karen Snyder
FINANCE AND ADMINISTRATION
Director of Finance and Administration
Tiffani Gavin
Comptroller Nancy M. Simons
Assistant General Manager Steven Leon
Assistant Comptroller Angela Paquin
Financial Administrator Stacie Hurst
Company/Front of House Manager Tracy Keene
Company/Front of House Mgmt. Associate
Rachel Cardillo
Receptionists Sarah Leon, Maria Medeiros
House Managers Gretjen Hargesheimer,
Michael Haviland, Heather Quick, Matthew
Spano, Cheryl Turski, Matt Wood
Volunteer Usher Coordinator Barbara Lindstrom
PRODUCTION
Production Manager Patricia Quinlan
Associate Production Managers
Christopher Viklund, Skip Curtiss
Loeb Technical Director J. Michael Griggs
COSTUMES
Costume Shop Manager Jeannette Hawley
Assistant Costume Shop Manager Hilary Gately
Draper Carmel Dundon
Stitcher Tova Moreno
Crafts Artisan David Israel Reynoso
Wardrobe Supervisor Stephen Drueke
Costume/Props Stock Manager
Suzanne Kadiff
LIGHTS
Master Electrician Derek L. Wiles
Lighting Assistant Kenneth Helvig
Light Board Operator
David Oppenheimer
PROPERTIES
Properties Manager Cynthia Lee-Sullivan
Assistant Properties Manager Tricia Green
Properties Carpenter Stacey Horne
SCENERY
Technical Director Stephen Setterlun
Assistant Technical Directors
Emily W. Leue, Nick Fouch
Scene Shop Supervisor David Buckler
Scenic Charge Artist Gerard P. Vogt
Master Carpenter Peter Doucette
Carpenters York-Andreas Paris, Jason Bryant
Carpentry Interns Ben Clark, Sarah Pierce
Paint Intern Tacy Flaherty
Technical Intern Rena Luczkiewicz
Technical Direction Intern Katie Wilson
SOUND
Sound Designer/Engineer Clive Goodwin
Production Sound Engineer Katrina McGuire
STAGE
Stage Supervisor Jeremie Lozier
Assistant Stage Supervisor
Christopher Eschenbach
Production Assistants
Kevin Klein, Matthew Sebastian
STAGE MANAGEMENT
Resident Stage Manager Chris De Camillis
Stage Manager Katherine Shea
Assistant Stage Manager
Amanda Robbins-Butcher
Institute Stage Manager Elizabeth Bouchard
OBERON
Producer Randy Weiner
Venue Manager Ariane Barbanell
Bar Director Erin Wood
Program Associate Daniel Pecci
Administrative Associate James Wetzel
House Technician Garrett Herzig
A.R.T./MXAT INSTITUTE FOR ADVANCED THEATER TRAINING
Scott Zigler, Director
Julia Smeliansky, Administrative Director
Marcus Stern, Associate Director
Nancy Houfek, Head of Voice and Speech
Andrei Droznin, Head of Movement
Anatoly Smeliansky, Co-Head Dramaturgy
Ryan McKittrick, Co-Head Dramaturgy
AMERICAN REPERTORY THEATER
Diane Paulus, Artistic Director/CEO
MOSCOW ART THEATER SCHOOL
Anatoly Smeliansky, Head
The Institute for Advanced Theater Training at Harvard was established in 1987 by the
American Repertory Theater (A.R.T.) as a training ground for the American theater. Its
programs are fully integrated with the activities of the A.R.T. In the summer of 1998 the
Institute commenced a historic joint program with the Moscow Art Theater (MXAT) School.
Students engage with two invaluable resources: the work of the A.R.T. and that of the
MXAT, as well as their affiliated schools. Together, this exclusive partnership offers students
opportunities for training and growth unmatched by any program in the country.
The core program features a rigorous two-year, five-semester period of training in acting,
dramaturgy, and special studies, during which students work closely with the professionals
at the A.R.T. and the MXAT as well as with the best master teachers from the United States
and Russia. At the end of the program, students receive a Certificate of Achievement from
the faculty of the American Repertory Theater and an M.F.A. Degree from the faculty of the
Moscow Art Theatre School.
Further information about this new program can be obtained by calling the Institute for a
free catalog at (617) 496-2000 or going to our web site at www.americanrepertorytheater.org.
Faculty
Elizabeth Bergmann
Robert Brustein
Erin Cooney
Thomas Derrah
Holly Derr
Elena Doujnikova
Andrei Droznin
Tatyana Gassel
Jeremy Geidt
Arthur Holmberg
Nancy Houfek
Roman Kozak
Alla Kruglova
Will LeBow
Ryan McKittrick
Pamela Murray
Robert Narajan
Diane Paulus
Robert Scanlan
Andrei Shchukin
Anatoly Smeliansky
Julia Smeliansky
Marcus Stern
Jim True-Frost
Cheryl Turski
Tommy Thompson
Catherine Ulissey
Robert Walsh
Sam Weisman
Scott Zigler
Staff
Christopher Viklund
Skip Curtiss Angela Paquin Movement
Criticism and Dramaturgy
Yoga
Acting
Viewpoints
Movement
Movement
Russian Language & Culture
Acting
Theater History, Dramaturgy
Voice and Speech
Acting and Directing
Movement
Acting
Dramaturgy
Singing
Combat
Acting, Dramaturgy
Dramatic Literature
Movement
Theater History, Dramaturgy
History of Set Design
Acting
Acting for the Cinema
Dance
Alexander Technique
Ballet
Stage Combat
Professional Development
Acting, Dramaturgy
Production Manager
Technical Director
Financial Aid
Acting
Jason Beaubien
Renee-Marie Brewster
Megan Brotherton
Zach Bubolo
Nick Crandall
Jared Eaton
Tim Eliot
Annika Franklin
Steven Good
Heather Gordon
Kelly Green
Christian Grunnah
Angela Gulner
Michala Hansen
Susannah Hoffman
Faith Imafidon
Sarah Jadin
Ian Kerch
Derek Lettman
Jordan Lievers
Scott Lyman
Jacob Martin
Cameron Oro
Laura Elizabeth Parker
Therese Plaehn
Richard Scott
Charles Settles Jr.
Vincent Selhorst-Jones
Jennifer Soo
Christopher Staley
Ed Walsh
Erikka Walsh
Rebecca Whitehurst
Dramaturgy
Sara Bookin-Weiner
Whitney Eggers
Laura Henry
Beck Holden
Rachel Hutt
Joe Pindelski
Brendan Shea
Paul Stacey
Voice
Jane Guyer
May Nazareno
ARTifacts
NOW PLAYING AT OBERON
THE DONKEY SHOW
Now booking through summer 2010.
Party to the 70s hits you know by
heart as this disco adaptation of A
Midsummer Night’s Dream unfolds
around you as a nightclub fantasy. See
it every Friday and Saturday night!
JOHNNY BASEBALL
WORLD PREMIERE OF THE NEW
MUSICAL ABOUT THE RED SOX
Starts May 14.
An exhilarating new musical that
explores the source of the infamous
Curse and the secret to its end
by blending fiction, fact, and the
mystical power of the game.
PRE- AND POST-PERFORMANCE
DISCUSSIONS (LOEB STAGE
ONLY)
Post-performance discussions
follow all Saturday matinees.
Pre-performance discussions are
held 90 minutes before curtain
for these 7:30PM performances:
Paradise Lost: Mar. 4, 10, 14
DISCOUNT PARKING
• LOEB STAGE Have your ticket stub
stamped at the reception desk
when you attend a performance
and receive discounts at the
University Place Garage or The
Charles Hotel Garage.
• OBERON Discount parking is
available at the Harvard University
lot at 1033 Mass. Ave. (entrance
on Ellery Street.) For more
information, visit the website at:
cluboberon.com/directions.html
CURTAIN TIMES
@ LOEB DRAMA CENTER
Tue/Wed/Thu/Sun evenings7:30 pm
Friday/Saturday evenings 8:00 pm
Saturday/Sunday matinees2:00 pm
@ OBERON
Performances generally begin at
8:00 pm. Saturday evenings begin
at 8:00 pm and 10:30 pm. Check
cluboberon.com for details on
specific performances.
BOX OFFICE HOURS
•L
OEB DRAMA CENTER
Tuesday–Sunday Noon–5 pm
Monday
Closed
Performance days Open to curtain
•O
BERON
Box office opens one hour before
curtain.
EXCHANGES
•S
eason ticket holders can change
to any other performance free of
charge.
•S
ingle ticket buyers may exchange
for a transaction fee of $10.
LEARN MORE
Visit website for background
information, including in-depth
interviews, program notes, and
more. Sign up for our e-newsletter to
receive special online discounts, event
information, commentary, and more.
americanrepertorytheater.org
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www.twitter.com/americanrep
American Repertory Theater | americanrepertorytheater.org
Box office: 617.547.8300 | 64 Brattle Street, Cambridge, MA 02138