THE GLASS MENAGERIE by Tennessee Williams by 4th Wall Theatre Company

4TH WALL THEATRE COMPANY PRESENTS

THE

Glass MENAGERIE by

TENNESSEE WILLIAMS

Directed by

PHILIP LEHL

OCT 10 – NOV 2 Spring St. Studios • Studio 101 1824 Spring St., Houston, TX 77007

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We regret we cannot include everyone in the Houston theater community on this page. Please make sure to check all local listings for additional theater companies in Houston and what might be going on in your local area. We list productions running concurrently with our current production.

4TH WALL THEATRE COMPANY CONTRIBUTORS When we say we couldn’t do it without you, we mean it!

$100,000 and above

$15,000 and above Carolyn Keating

Ken Bohan

$10,000 and above

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in memory of Bob Casey, Jr.

Vicki Barosh Carol & Joel Bell Lynn Birdwell Shondra Boring Lynn Brown Annelise & James Eagleton Mary Laura Gibbs Brian Greenberg Carolie Martin Jacqueline Mcgregor The Mire Family Nancy Moore Brad Nyberg Howard Patton Deborah Quintero Jo-Ann Reilly

Linda & Renato Mello Wendell Mendell Silvia Molano Elizabeth Phillips Todd Postlethwaite Andrew Principe Stuart Purdy Don Quaintance Fairfax Randall Sandra Reid Irene Sasaki Julie Simmons John Siptak Karen Smith Sandra Stettler Eleanor Viebig

4TH WALL THEATRE COMPANY CONTRIBUTORS When we say we couldn’t do it without you, we mean it! $100 and above Marcia Wasson Paula Webb Greg Wehrer Sharon Williams Rochelle Yuga

Up to $100 Cherie Acosta Noah Alderfer Claire Auchter Sky Balboa Dorena & Nick Battaglino Kathy Benz Shikha Bharaktiyamurthy Richard Bonnin Douglas Bosse Zee Broussard Graham Bryant Judy Cenkus

Christine Conley Wesley Copeland Rutherford Cravens Susannah Crowell Roger Daily Jennifer Decker Mark Dostert Karen Estep Julie Falcon Julia Fitzgerald Elyse Freeman Michael Galko Paul Galvani Terry Gardner Michael Golden Mariah Goodie Tiffany Hamilton Mary Margaret Hansen Claire Hart-Palumbo Katie Jackman

Ann Jacobson Ronald Jarvis Greg Kay Martha Kirkwood Richard Kummins George Lancaster Nora Laos Connie Lewis Robert Lewis David Mailman Candice Meade Kate Moore Jane Mulholland Aric Nasr Terrylin Neale Emanuel Ozuna Vargas Alberta Rencher Rebecca Richards-Kortum Timothy Rizzo Kay Ross

James Salners Anne Schaeddel Alex Schroller Laura Sheehan Leslie Sinclair Febin Skaria Bennie & Elizabeth Slavik Leslie Taylor David Trump Eugene Viens Marilyn Waldman Christy Watkins Marcella Watkins Mark Watler Christopher Webb Peter Yenne Anonymous

Special Thanks to the following people and institutions for their direct involvement with our administration or artistic efforts during this production of The Glass Menagerie: Main Street Theater, TUTS, A.D. Players, The Alley, Stages Repertory Theatre Students of Dobie High School’s Production Internship: Angela Chapa, Antonio Aviles, Ayanna Pope, Brandon Lopez, Kari Leija

4th Wall Theatre Company is a 501(c)(3) not-for-profit organization founded in 2011 by Kim Tobin-Lehl and Philip Lehl. 4th Wall Theatre Company is proud to have been chosen as a Source Theatre for the Susan Smith Blackburn Prize.

Philip Lehl Co-Artistic Director Tim Richey Managing Director Catherine Dunaway Marketing & Development Manager Kalin Menzel Communications Coordinator

Board of Directors President: Secretary: Treasurer: Gary Chiles Patricia Larson Harriet Schubb Ken Bohan Howard M. Bookstaff Sharyn Feller Harris Michelle Mower Dan O’Brien

Advisory Board Holly Beretto Jennifer Decker Julie Herman Emma Jacobs Ruth McCleskey Michael Mullins Gabriella Nissen

Sponsors gain premium access to 4th Wall events and other perks. All sponsors will have their name featured in the show program, venue signage, and 4th Wall website, and are invited to a special VIP Rehearsal and the Opening Night Party. Additional perks at various sponsorship levels include tickets to give to friends, and even dinner with Artistic Directors Philip Lehl and Kim Tobin-Lehl!

$5,000 Actor Sponsorship $3,000 Stage Manager Sponsorship

SPECIAL THANKS

Kim Tobin-Lehl Co-Artistic Director

4th Wall’s mission has always been to improve the pay standard for Houston artists. A direct way to fund local creatives is to sponsor an individual artist contract. By making a gift at one of the tiers below, you will fund a position for one 4th Wall show and enjoy recognition and a variety of benefits.

SPONSORSHIP LEVELS

This list reflect donations given from September 1, 2018 to September 15, 2019. We sincerely apologize for any errors or omissions. Please call Tim Richey at 832-668-5903 to report any errors. Thanks to all of you; we truly couldn’t make theater without you.

Staff

INDIVIDUAL ARTIST SPONSORSHIP

John & Kelly Raley Jason Roberts Chip Schneider Dr. Robert Shimko Diane Tobin Nancy Wozny

$2,500 Director Sponsorship $1,500 Designer Sponsorship $1,000 Backstage Crew Sponsorship $500 House Manager Sponsorship We also have Corporate Sponsorship Packages that help underwrite our costs and bring your business into the spotlight. Opportunities include prominent logo placement, on-stage thanks, access to opening night parties, complimentary tickets, dinner with our artistic directors, and more. Single show sponsorships start as low as $1,000.

To learn more, contact Tim Richey at timr@4thwalltheatreco.com or 832.668.5903.

Thank you!

WHO’S WHO

4TH WALL Theatre Company

Houston Shakespeare Festival: Julius Caesar, Twelfth Nigh, Richard III and Henry V; Mildred’s Umbrella: Hunchback of Seville; Titan Theater: Richard III; University of Houston: Animal Farm, Dancing at Lughnasa, She Kills Monsters, Three Sisters, The Miser, and The Liar; WMU: Bengal Tiger at the Baghdad Zoo and Macbeth; and Cityscape Kalamazoo: Tony and Tina’s Wedding. She also acts as the production manager for Prohibition Theatre.

Kim Tobin-Lehl & Philip Lehl, Artistic Directors • Tim Richey, Managing Director

Shelby Marie Blocker (Properties Master) is delighted to return to 4th Wall, having previously been Props Master for Collected Stories. Since graduating with a BFA in Acting from the University of Houston, she has been working in the Houston theatrical community as a performer, props master, scenic designer, scenic painter, and theatrical educator. Shelby currently holds the position of Props Master at A.D. Players, and has additionally designed and painted sets as an independent contractor for a number of theater companies, including Mildred’s Umbrella, Classical Theatre Company, Catastrophic Theatre, Main Street Theater, Opera in the Heights, The Landing Theater Company, Queensbury Theatre, Dirt Dogs Theatre Co., and Rogue Productions. She worked with Main Street Theater for several years as a performance and stagecraft teacher and is currently working with Hope Stone’s theater outreach program. As a performer, Shelby has had the pleasure of working with Main Street Theater, Mildred’s Umbrella Theatre Company, The Landing Theatre, and Obsidian, in addition to regularly recording her voice with Sentai Filmworks.

By TENNESSEE WILLIAMS

PETER TON (Projection Designer) previously designed video for 4th Wall for Reckless. Directing/Assistant Directing credits include Alley Theatre: The Carpenter; Stages Repertory Theater: NSFW, My Mañana Comes, Straight White Men, Marie Antoinette; Mildred’s Umbrella: Pretty Little White Girls, The Bake Sale. Sound/Video Design credits include Stages: NSFW, Panto Star Force, Swimming While Drowning, We Are Proud to Present…. Alma en Venta, My Mañana Comes, Straight White Men, Miss Teen, The Elaborate Entrance of Chad Deity, Mack and Mabel; Main Street Theater: Schoolhouse Rock Live!, Daisy, Junie B. Jones is Not a Crook, The Wizard of Oz, Copenhagen, Bunnicula, Mockingbird, RFK, Red-Hot Patriot, Shrek, the Musical, Silent Sky; Horse Head Theatre Company: The Flick; The Sonic Life of a Giant Tortoise; Gravity Players: The Last Days of Judas Iscariot. Peter holds a BFA from Sam Houston State University, Theatre – Acting/Directing.

Presents

Directed by PHILIP LEHL

CAST Tom Wingfield . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joe Palmore* Amanda Wingfield .. . . . . . . . . . . . . . . . . . . . . . . . . . . . Kim Tobin-Lehl* Laura Wingfield .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Faith Fossett Gentleman Caller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Noah Alderfer

DESIGNERS/PRODUCTION CREW Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kalin Menzel* Set Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ryan McGettigan Lighting Design .. . . . . . . . . . . . . . . . . . . . . . . . . . Christina Giannelli Sound Design .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Leslie Meek Costume Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Leah Smith Properties Master .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Shelby Blocker Projection Designer .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Ton Set Construction .. . . . . . . . . . . . . . . . . . . . . . . . . . . . Santiago Sepeda Board Operator/Crew .. . . . . . . . . . . . . . . . . . . . . . . . . Steven Aguilar *Members of Actors’ Equity Association, the Union of Professional Stage Actors and Stage Managers

Setting: 1937, the Wingfield family’s apartment in St. Louis The Glass Menagerie runs approximately 2 hours, 20 minutes with one intermission The Glass Menagerie is presented by special arrangement with Samuel French, Inc. on behalf of the University of the South, Sewanee,Tennessee

This organization is funded in part by the City of Houston through the Houston Arts Alliance

open studios the 2nd saturday each month 2-5PM spring street studios • the silos at sawyer yards • winter street studios summer street studios • silver street studios • sabine street studios

Back Pew Brewing and Houston Winery are proud to be season sponsors of 4th Wall Theatre Company

This organization is funded in part by the State of Texas through the Texas Commission on the Arts

DIRECTOR’S NOTE

For some reason, there is a debate today about why a theater should produce The Glass Menagerie. People in the entertainment business seem to think that the play is overproduced. In Houston it has received two professional productions in the last nineteen years (at the Alley and the Landing Theatre), so that, as they say, answers that. More of a head-scratcher for me is the idea that the play has nothing to say to today’s theatregoers. I suppose that if plays exist in a vacuum, and are not dependent on any antecedent for their form, style, or content, that argument holds up (yeah, that’s me saying, “Hogwash”). Hamlet can’t exist without Oedipus Rex, Three Sisters cannot happen without Hamlet, there’s no A Streetcar Named Desire without Chekhov, and all the good plays nominated for Tonys stand on that ever-ascending ladder. So, revisiting any classic is to look in the mirror and ask: What did you give us? Who are we compared to you? And how are we doing these days? We have to do these plays; they are our DNA. They teach us what we must be and do as artists in order to make them work. The Glass Menagerie is my favorite Tennessee Williams play because of its blending of poetry as believable dialogue, incomparable plot development, indelible characterization, and balance of reality and theatricality. It is, as we say of only a few plays, tight. “The play is memory. Being a memory play…it is not realistic,” says Tom in his first speech of the play. But every time I’ve experienced The Glass Menagerie it has always hit me on both a theatrical level and on a human, emotional level. It’s totally theatrical and totally truthful. Many sections of the play will probably feel realistic, but that’s not what Williams is interested in. Or if he is, he’s interested in how that realism smacks up against what isn’t: how the contrast reveals the truth of humanity. And that artistry is really why I wanted to produce this play. I’m not suggesting, by the way, that you should like this production just because the play is a giant in the lineage of achievement and innovation in theater. Perhaps you will like it because it grapples with societal issues we still face today. Tom’s dilemma—to stay and support his mother and sister, or to leave and live his own life—is a dilemma of the patriarchy. The women of this family cannot support themselves. And Amanda’s actions and machinations are those of a woman trapped by circumstances of that same patriarchy in the midst of a terrible economy. You could tell me that there aren’t women in this same trap today right here in Houston, or in Beijing, or in Tegucigalpa, and I’d like to believe you, but I’m afraid the truth is otherwise. The Glass Menagerie is, above all, a compelling, entertaining story and should be able to be enjoyed on that level alone. But I guess it can’t hurt to look at where we are and try to remember from whence we came. Let us take you back to an alley in St. Louis in the 1930s…you won’t be disappointed. Philip Lehl, Director

WHO’S WHO Classical Theatre Company. Houston: Theatre Under the Stars, Stages Repertory Theatre, Queensbury Theatre, Unity Theatre, 4th Wall Theatre Company, A.D. Players, Classical Theatre Company, Main Street Theater. Awards for Best Scenic Design from Houston Press: Pride & Prejudice, Jesus Hopped the ‘A’ Train, (4th Wall Theatre Company); Violet, Elf: the Musical (Queensbury Theatre); Curse of the Starving Class (Catastrophic Theatre); Marie Antoinette (Stages Repertory Theatre) and from Broadway World Houston: Bonnie and Clyde (TUTS Underground). Regional Credits: Orlando Shakespeare Theater, Cape Rep, Abilene Shakespeare Festival, Legacy Theatre, Prague Shakespeare Company. Opera and Dance: Glimmerglass Festival, New Orleans Opera, Opera San Jose, Houston Grand Opera, Open Dance Project, and the Houston Ballet. www.RyanMcGettigan.com Christina Giannelli (Lighting Designer) is thrilled to back at 4th Wall where she previously designed lights for Jesus Hopped the ‘A’ Train, Pride & Prejudice, Lobby Hero and BEDLAM’s Saint Joan. She was the Resident Lighting Designer for Houston Grand Opera, Cleveland–San Jose Ballet, Texas Ballet Theater, Houston Ballet, and the Metropolitan Opera. Favorite recent projects in Houston include Swimming While Drowning, Replica, Veronica’s Room and End of the Rainbow at Stages Repertory Theatre, LMNOP, Bonnie and Clyde, Striking 12, and Sweet Potato Queens for TUTS Underground, Loving Clara for Mercury, on love for CORE, and Unlock’d, Elf, For Tonight, and Sideshow for Queensbury. For many years she produced Weekend of Texas Contemporary Dance and other dance events at Miller Outdoor Theatre. Ms. Giannelli has served on the Boards of Zocalo Artists Yard, Infernal Bridegroom Productions, and the DiverseWorks Artists Board. She is the founder of Dance Source Houston, a service organization that supports and promotes contemporary dance in Houston. She is also the proprietor of a guesthouse for visiting artists located in EaDo. Robert LESLIE Meek (Sound Designer) is very excited to be working with 4th Wall again, after previously designing sound for Collected Stories and Pride & Prejudice. He has directed and done sound design for The Tempest, Hamlet, Romeo and Juliet, The Haunting of Hill House, Veronica’s Room, Titus Andronicus, Christmas Carol, Macbeth (CCCT). He has also done sound design for Woyzeck at Rec Room, and has assistant directed for Landing Theatre Company for the world premiere of Small Jokes About Monsters, at 4th Wall Theatre Company for their production of Ho Ho Humbug 2.0, and at Classical Theatre Company on The Government Inspector. Robert holds a BFA in acting from the University of Houston. Leah Smith (Costume Designer) received her MFA in Costume Design from the University of Houston. Leah received her BFA from Western Michigan University. Previous costume design credits include 4th Wall Theatre Company: Disgraced, Much Ado About Nothing and True West;

Titanic, the Musical. Since arriving in Texas in 2001 he’s performed in over thirty productions with the Alley Theatre, including The Nether, Clybourne Park, The Pillowman, The Farnsworth Invention, Eurydice, The Crucible, The Exonerated, Our Lady of 121st Street, The Mousetrap, Hamlet and The Invention of Love. Other Houston appearances include Who Am I This Time?, Oh, the Humanity, Yankee Tavern, I Am My Own Wife, Mr. Marmalade, Lady, Souvenir, Amy’s View, The Pavilion, and Dirty Blonde with Stages Repertory Theatre; You Can’t Take It With You and 12 Angry Men with A.D. Players; Main Street Theatre’s Arcadia; Ghosts, The Tempest, Uncle Vanya, and The Merchant of Venice with Classical Theatre Company; as well as King John, Romeo and Juliet, Love’s Labours Lost, Julius Caesar, and Cymbeline with the Houston Shakespeare Festival. With TUTS, Philip has appeared in LMNOP, A Wonderful Life, The Sound of Music, and one memorable performance as Henry Higgins in My Fair Lady. Other productions include Our Town, Bat Boy, the Musical and Spring Awakening with Generations; Turn of the Screw at Unity Theatre; The Tempest at Episcopal High School; as well as On the Town, Fiorello, Assassins, and She Loves Me with Bayou City Concert Musicals. Other directing credits include Almost, Maine and Reckless (Brave Dog Theatre), Art (Generations), Ferdinand the Bull (Stages Repertory Theatre), and On the Town (co-director, Bayou City Concert Musicals). Philip has worked with numerous regional theatres around the country, including Repertory Theatre of St. Louis, Cleveland Play House, Indiana Repertory Theatre, Missouri Repertory Theatre, McCarter Theatre, Williamstown Theatre Festival, Portland Stage Company, The New Harmony Theatre and Weston Playhouse. Philip graduated from the Drama Division of the Juilliard School and Drake University, and trained with the National Theatre Institute and the Moscow Art Theatre School. KALIN MENZEL (Stage Manager) Recent credits include: 4th Wall Theatre Company: Collected Stories, The Pussy Grabber Plays Reading Series, Rapture, Blister, Burn, Pride and Prejudice, Jesus Hopped the ‘A’ Train (Stage Manager), Shakespeare in Vegas, Reckless (Stage Crew); Rogue Productions: I Love You Because (ASM); San Jacinto College South: Hurricane Jacinto, A Confusion of Human Beings (Stage Manager), Such Stuff (ASM); Other credits: Fiddler on the Roof (Properties Master), Beauty and the Beast (Sound Design), The Boys Next Door (Lighting Design), Alice in Wonderland, Hello, Dolly!, South Paciﬁc, and Charlie’s Aunt (Crew Head). Kalin is a proud member of the Actors’ Equity Association. www.kalinmenzel.com, @kalinmenzel

RYAN MCGETTIGAN (Set Designer) is a Houston-based scenic designer of theatre, opera, and dance working across the country and Europe. He is the resident designer at Cape Rep Theatre in Brewster, MA, as well as a company artist with Prague Shakespeare Company and the

ABOUT THE PLAYWRIGHT

WHO’S WHO

Tennessee williams was born on March 26, 1911, in Columbus, Mississippi. His childhood was pleasant and happy. But life changed for him when his family moved to St. Louis, Missouri. The carefree nature of his boyhood was stripped away in his new urban home, and as a result Williams turned inward and started to write. His parents’ marriage certainly didn’t help. Often strained, the Williams home could be a tense place to live. “It was just a wrong marriage,” Williams later wrote. The family situation, however, did offer fuel for the playwright’s art. His mother became the model for the foolish but strong Amanda Wingfield in The Glass Menagerie, while his father represented the aggressive, driving Big Daddy in Cat on a Hot Tin Roof. When he was 28, Williams moved to New Orleans, where he soaked up the city life that would inspire his work. On March 31, 1945, a play he’d been working for some years, The Glass Menagerie, opened on Broadway. Critics and audiences alike lauded the play, about a declassed Southern family living in a tenement, forever changing Williams’ life and fortunes. The characters and story mimic Williams’ own life more closely than any of his other works. Williams, whose real name was Thomas, closely resembles Tom; his sickly and mentally unstable older sister Rose provides the basis for the fragile Laura, whose nickname in the play is “Blue Roses.” Rose was left incapacitated by a botched lobotomy and institutionalized for the rest of her life. The post-war years were a difficult time for Williams. His work received poor reviews and increasingly the playwright turned to alcohol and drugs as coping mechanisms. He never fully escaped his demons. Surrounded by bottles of wine and pills, Williams died in a New York City hotel room on February 25, 1983. Williams left the bulk of his estate to ensure Rose’s continuing care.

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WHO’S WHO KIM TOBIN-LEHL (Amanda Wingfield) is Co-Founder and Co-Artistic Director of 4th Wall Theatre Company with her husband Philip Lehl. At 4th Wall, Kim has appeared in Collected Stories, Who’s Afraid Of Virginia Woolf, Shakespeare In Vegas, Small Mouth Sounds, Stage Kiss, The God Game, Ho Ho Humbug, Debt Collectors, All Girls, Body Awareness, God of Carnage, Macbeth, Reckless, Much Ado About Nothing, Faith Healer, and Dinner With Friends. Other professional credits in Houston include Almost, Maine with Brave Dog Theatre Company; Speech and Debate at Stages Repertory Theatre; and Proof at Texas Rep. While living in New York, Kim was an officer with the New Mercury Theatre Company, where, among other roles, she produced and starred as Sally in the 1995 revival of Sam Shepard’s A Lie of the Mind. Kim later became the Artistic Director of the Blue Sphere East theatre company (the New York sister company to the acclaimed Blue Sphere Alliance theatre company based in Los Angeles). Some of her favorite Off-Broadway and Off-Off-Broadway credits include: Talk to Me Like the Rain…, A Streetcar Named Desire, The Fifth of July, Fool for Love, Savage in Limbo, The Smell of the Crowd, Bed, Bawd & Beyond, Impassioned Embraces (Emotional Recall), Ctrl, Alt, Delete and Trust; the Barrow Group’s production Short Stuff Two, and their production of her original one woman show, Inside Out. Kim lived in LA studying with Sandy Marshall and Larry Moss. Some of her LA theatre credits: the world premiere of Children of Shame, The Interrogation, Masseur, as well as productions of Baby with the Bathwater, Check to Check, and The Foreigner. Kim has a long list of directing credits as well in Houston and New York City which include numerous award nominations and wins. Kim’s film credits include roles in The Big Lebowski, The Alarmist, and Sex Maniac, as well as the television series Sunset Beach. In addition to her extensive body of work and training history with iconic institutions and teachers, Kim is a highly sought-after acting and directing teacher herself, and her studio focuses on the Sanford Meisner approach to acting and offers an array of courses (from beginner to advanced levels). Kim is a proud member of Actors’ Equity Association and SAG-AFTRA. Joseph “Joe P” Palmore (Tom Wingfield) has had the creative pleasure of establishing himself as a leading Poet, Actor, Playwright, and Educator for over thirteen years. His performance credits include 4th Wall Theatre Company: Jesus Hopped the ‘A” Train and Lobby Hero; Houston Grand Opera: Turn and Burn and Marian’s Song; A.D. Players: Best of Enemies; Stages Repertory Theatre: The Ultimate Christmas Show, We Are Proud To Present…, The Whipping Man, and Stupid F*cking Bird; Alley Theatre: When We Left, Queen of Basel, and One Man Two Guvnors; Ensemble Theatre: Detroit ’67, Fly,

WHO’S WHO Jitney, Lotto: Experience the Dream, The Man Who Saved New Orleans, Livin’ Fat, Cuttin’ Up, Sanctified, Broke-ology, Ashes to Africa, The Ballad of Emmett Till. Production credits include Alley Theatre: The Mountaintop and SYNCing Ink; Houston Play on Purpose: In All Thy Getting. Joe P. founded ACTing Up Studios, and has collaborated with local organizations impacting the lives of youth and creating platforms for adult artists. He has written and directed many stage plays, including Love Pain Passion Progress: A Poe-A-Trical Life Story, Family, The Road To A Dream, Spoken Words, and ’Til We Rise Again: A Story About Emmett. Find out more of the great work Joe P. does by visiting www.actingupstudios.com. FAITH FOSSETT (Laura Wingfield) is pleased to make her 4th Wall Theatre debut. Houston credits include Classical Theatre Company: Fair Maid of the West; Landing Theatre Company: The Visit; and Obsidian Theatre: Saucy Jack and the Space Vixens. Regional: Alice’s Adventures in Wonderland (Quintessence Theatre Group), A Midsummer Night’s Dream, Romeo & Juliet (NE Shakespeare), The Sound of Music (Virginia Musical Theatre), A Christmas Carol (Virginia Stage Company). Music Director credits include Passing Strange, Saucy Jack and the Space Vixen (Obsidian Theatre), Rocky Horror Show, The Last Five Years. Film Scoring: Feartown, USA; The Slashening. Faith’s original electro synth pop musical PULSATE: A Vampire Musical, receives its world premiere in Houston this fall. www.pulsatemusical.com. She received her BFA from Nebraska Wesleyan University. www.faithfossett.com NOAH ALDERFER (Gentleman Caller) is excited to be making his 4th Wall debut. Texas credits include A.D. Players: Godspell, The Wind in the Willows; Main Street Theater: Mr. Popper’s Penguins; FMNT: Fat Pig; and Theatre Uncovered: Spring Awakening. Noah also performs regularly at ComedySportz Houston as a member of their pro team. He holds a BFA in Theatre Performance from Baylor University.

Philp Lehl (Director) is Co-Founder and Co-Artistic Director of 4th Wall Theatre Company, and is also an actor, director, and teacher. For 4th Wall Theatre/Stark Naked Theatre, he has acted in Pride & Prejudice, Shakespeare in Vegas, Disgraced, Much Ado About Nothing, True West, Who’s Afraid of Virginia Woolf?, Ho Ho Humbug, Stage Kiss, The God Game, Faith Healer, The Winter’s Tale, Macbeth, Dinner With Friends and Debt Collectors; and directed or co-directed Reckless, Much Ado About Nothing, The Winter’s Tale, A Midsummer Night’s Dream, Debt Collectors, and Body Awareness. Broadway performances include include Blood Brothers and The Kentucky Cycle. He appeared Off-Broadway in Hundreds of Hats, and was in the National Tour of