Natasha, Pierre & The Great Comet of 1812 A.R.T. Program by American Repertory Theater

2015/16 Season

September 3, 2015– January 3, 2016 #CoritaKentPop harvardartmuseums.org/coritakent

Corita Kent and the Language of Pop is supported in part by an award from the National Endowment for the Arts and major corporate support from National Grid. Corita Kent, the juiciest tomato of all, 1964. Screenprint. Collection of Jason Simon, New York, TL41302. © Courtesy of the Corita Art Center, Immaculate Heart Community, Los Angeles. Photo © President and Fellows of Harvard College.

Artistic Director's Welcome DIANE PAULUS The Terrie and Bradley Bloom Artistic Director American Repertory Theater

Welcome to Natasha, Pierre & The Great Comet of 1812. I am thrilled that this electro-pop opera has arrived at the A.R.T. I first encountered this piece at Ars Nova, an 80-seat space in New York in 2012. I couldn’t stop thinking about it, and I knew that the genre-defying music and 360-degree staging were an absolute fit with our mission to expand the boundaries of theater. The creators of Comet have taken on the challenge of translating the intimate experience that is integral to their show into a large proscenium venue. If you’re reading this program in the theater, you’ve already seen that this production has utterly transformed the Loeb Drama Center. A.R.T. productions at OBERON and other locations around Boston, including The Donkey Show, Sleep No More, and The Lily’s Revenge have explored new relationships between performers and audience members. Now, due to the extraordinary work of set designer Mimi Lien (winner of a 2015 MacArthur Foundation Fellowship), we are able to experience immersive theater in the Loeb like never before. Writer and composer Dave Malloy has a prolific imagination, and a gift for adapting classic sources into transformative theater experiences, showcased in his past three A.R.T. productions: Ghost Quartet, Beowulf—A Thousand Years of Baggage, and Three Pianos. I am also thrilled to welcome back to the A.R.T. the dynamic director Rachel Chavkin (Three Pianos, Particularly in the Heartland, as well as this spring’s upcoming production of RoosevElvis). The unique experience of this show, with actor-musicians weaving through the audience, between banquettes and barstools, would also not be possible without the work of choreographer Sam Pinkleton, returning to A.R.T. after Kansas City Choir Boy at OBERON this past fall. So join me in raising a glass to these remarkable artists involved in this production at the A.R.T.!

#GreatCometART @americanrep

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American Repertory Theater presents

Book, Music, and Lyrics by DAVE MALLOY Adapted from War and Peace by LEO TOLSTOY

Scenic Design MIMI LIEN

Costume Design PALOMA YOUNG

Lighting Design BRADLEY KING

Sound Design MATT HUBBS

Wig & Makeup Design RACHEL PADULA SHUFELT

Orchestrations DAVE MALLOY

Music Supervision SONNY PALADINO

Music Direction OR MATIAS

Casting STEWART/WHITLEY

Production Stage Manager KARYN MEEK*

Choreography by SAM PINKLETON

Direction by RACHEL CHAVKIN The acclaimed production from

Originally commissioned, developed, and world premiere produced by Ars Nova

SEASON SUPPORT

The 2015/16 season is supported in part by the Massachusetts Cultural Council, which receives support from the Commonwealth of Massachusetts and the National Endowment for the Arts.

MUSICAL NUMBERS ACT I 1. Prologue ��Company 2. Pierre �� Aria & Chorus: Pierre, Company 3. Moscow �� Trio: Marya D, Natasha, Sonya 4. The Private and Intimate Life of the House ..................................... Duet: Bolkonsky, Mary 5. Natasha & Bolkonskys ��Trio: Natasha, Mary, Bolkonsky 6. No One Else �� Aria: Natasha 7. The Opera ��Company 8. Natasha & Anatole �� Duet: Natasha, Anatole 9. Natasha Lost �� Aria: Natasha 10. The Duel ��Quartet & Chorus: Anatole, Pierre, Dolokhov, Hélène, Company 11. Dust and Ashes �� Aria: Pierre, with Chorus 12. Sunday Morning �� Trio: Marya D, Natasha, Sonya 13. Charming �� Aria: Hélène, with Natasha 14. The Ball ��Duet: Natasha, Anatole

INTERMISSION

ACT II 15. Letters ��Company 16. Sonya & Natasha ��Duet: Sonya, Natasha 17. Sonya Alone �� Aria: Sonya 18. Preparations �� Duet: Dolokhov, Anatole, with Pierre 19. Balaga ��Trio & Chorus: Balaga, Anatole Dolokhov, Company 20. The Abduction ��Company 21. In My House �� Trio: Marya D, Natasha, Sonya 22. A Call to Pierre ��Duet: Marya D, Pierre, with Company 23. Find Anatole ��Aria: Pierre, with Anatole, Hélène, Natasha, Company 24. Pierre & Anatole �� Duet: Pierre, Anatole 25. Natasha Very Ill ��Aria: Sonya 26. Pierre & Andrey �� Duet: Andrey, Pierre 27. Pierre & Natasha ��Duet: Pierre, Natasha 28. The Great Comet of 1812 ........................................................ Aria & Chorus: Pierre, Company

The show runs approximately 2 hours and 25 minutes, including one 15-minute intermission. This production features the use of intense strobe lights.

SYNOPSIS PROLOGUE Moscow, 1812, just before Napoleon's invasion of Russia and the burning of the city: as the story begins ("Prologue") we meet Pierre, a wealthy aristocrat having an existential crisis, living a slothful life of wine, philosophy and inaction ("Pierre").

PART I Meanwhile, the young, newly-engaged Natasha Rostova and her cousin Sonya arrive in Moscow to stay the winter with Marya D, Natasha's godmother ("Moscow"), while Natasha waits for her fiancé, Andrey, to return from the war. Marya D tells Natasha that she must visit her future in-laws, a demented, miserly old prince and his spinster daughter ("The Private and Intimate Life of the House"), to win their affection and secure the marriage, which is critical to the Rostovs' status and fortune. However, Natasha's visit ends in disaster ("Natasha & Bolkonskys"), and she leaves missing Andrey more than ever ("No One Else").

PART II The next night, Natasha is introduced to decadent Moscow society at the opera ("The Opera"); there she meets Anatole, a young officer and notorious rogue ("Natasha & Anatole"); after their interaction Natasha feels confused and tries to remember her love for Andrey ("Natasha Lost").

PART III Anatole, his friend Dolokhov, and Pierre go out drinking; they are met by Hélène, Pierre's wife and Anatole's sister, who taunts Pierre. Anatole declares his intention to have Natasha, although he himself is already married. Pierre finds his wife's familiarity with Dolokhov offensive and challenges him to a duel, almost getting himself killed ("The Duel"). Afterward, Pierre reflects on his life ("Dust and Ashes"). Natasha and her family go to church ("Sunday Morning"); later, Hélène arrives and invites Natasha to the ball that night ("Charming"), where Anatole seduces Natasha ("The Ball").

INTERMISSION PART IV Natasha and Anatole make plans to elope, and Natasha breaks off her engagement to Andrey ("Letters"). Sonya finds out about the plan and realizes it will mean Natasha's ruin ("Sonya & Natasha"); she determines to stop her at any cost ("Sonya Alone"). That evening Anatole and Dolokhov plan for the elopement ("Preparations") and call on their trusted troika driver, Balaga, to take them to Natasha's house ("Balaga"). However, the abduction is thwarted in the last moment by Marya D ("The Abduction").

PART V After scolding a grief-stricken Natasha ("In My House"), Marya D sends for Pierre, asking him to help handle the crisis ("A Call To Pierre"). Pierre kicks Anatole out of Moscow ("Find Anatole"/"Pierre & Anatole"); Natasha poisons herself ("Natasha Very Ill"); Andrey returns. Pierre explains the scandal to him and asks him to be compassionate, but Andrey is unable to forgive ("Pierre & Andrey"). Finally, Pierre visits Natasha ("Pierre & Natasha"). After the meeting, Pierre experiences a moment of enlightenment while seeing The Great Comet of 1812 in the night sky ("The Great Comet of 1812").

A NOTE ON THE TRANSLATION

The primary source for the libretto is Aylmer and Louise Maude's 1922 translation of War and Peace; several other translations were also consulted, including those by Anthony Briggs, Richard Pevear & Larissa Volokhonsky, and Constance Garnett.

CAST

(in alphabetical order)

Sonya.......................................................................BRITTAIN ASHFORD* Mary/Maid Servant/Opera Singer.......................GELSEY BELL* Bolkonsky/Andrey............................................NICHOLAS BELTON* Natasha............................................................................DENÉE BENTON* Dolokhov................................................................................NICK CHOKSI* Hélène.....................................................................................LILLI COOPER* Marya D............................................................................GRACE MCLEAN* Balaga/Servant/Opera Singer..................................PAUL PINTO* Pierre............................................................SCOTT STANGLAND* Anatole...................................................................LUCAS STEELE* Ensemble................SUMAYYA ALI*, COURTNEY BASSETT*, JOSH CANFIELD*, KEN CLARK*, ERICA DORFLER*, DANIEL EMOND*, LULU FALL*, ASHLEY PÉREZ FLANAGAN*, NICK GASWIRTH*, AZUDI ONYEJEKWE*, PEARL RHEIN*, HEATH SAUNDERS*, KATRINA YAUKEY*, LAUREN ZAKRIN* DANCE CAPTAIN LAUREN ZAKRIN*

FIGHT CAPTAIN AZUDI ONYEJEKWE*

UNDERSTUDIES For Mary/Sonya: COURTNEY BASSETT*; ASHLEY PÉREZ FLANAGAN* For Anatole: JOSH CANFIELD* For Dolokhov/Bolkonsky/Andrey: KEN CLARK* For Marya D/Hélène: ERICA DORFLER*; LULU FALL* For Dolokhov: AZUDI ONYEJEKWE* For Pierre/Balaga: NICK GASWIRTH*; HEATH SAUNDERS* For Natasha: LAUREN ZAKRIN* For Ensemble: SASHA HIRSCH, LAUREN NOLL^, ALI STONER, KYLE VANZANDT, KATHERINE WRIGHT

BAND Piano/Conductor: OR MATIAS Keyboard/Accordion/Glockenspiel: MATT DOEBLER Clarinet/Bass Clarinet: RYAN YURÉ Oboe/English Horn: MIRI KUDO Viola: JASON FISHER

Cello 1: LOEWI LIN Cello 2: CHU-YUN LIN Double Bass: LIZZIE BURNS Guitar: BEN MONIZ Drums: NATE TUCKER

(*) Member of Actors' Equity Association (^) Appears Courtesy of Actors' Equity Association

FAMILY TREE

PIERRE

NATASHA m ot he

ried

G od

Mar

sin

Fr ie

u Co

Be Eng

age

n rie st F

MARYA D HÉLÈNE

SONYA

ANDREY

Father

Siblings

MARY

ANATOLE

Troika Driver

Friends

DOLOKHOV

Portraits: Paloma Young

BOLKONSKY

BALAGA

ADDITIONAL STAFF Assistant Stage Manager.........................................................Taylor Brennan* Assistant Director........................................................................Rachel Stevens Associate Choreographer................................................................Chloe Treat Fight Director....................................................................................Turner Smith Associate Scenic Designer.............................................................Noah Mease Assistant Scenic Designers..............................Jason Lajka, Brittany Vasta Associate Lighting Designer.........................................................Nick Solyom Associate Sound Designer.........................................................Nicholas Pope Associate Music Director..............................................................Matt Doebler Music Assistant......................................................................................Isaac Alter A.R.T. Institute Production Dramaturg.....................................Tessa Nelson Production Assistants.............................Catherine Agis, Emily Bergquist, Erich Riepen, Jake Stepansky Additional scenic elements provided by I. Weiss Theatrical Solutions, Lyman-Morse Boatbuilding Inc., Rose Brand, Steeldeck N.Y. Inc, Westlake Fabrications, Renato Custom Upholstery. Military Jackets constructed by Artur & Tailors, LTD., New York. Additional lighting and truss provided by Christie Lites. Additional equipment provided by Specialized Audio Video Inc., d&b audiotechnik. Lobby Installation constructed by BeNT Productions

SPECIAL THANKS Janet and Howard Kagan; Paula Marie Black President Lee Pelton and Emerson College; David Dower, Polly Carl, and all at ArtsEmerson Eliza Bent, Colin Bevderidge, Michael Eisenberg, Patrick Ostwald Andy Jones, Daniel Rakowski

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The Great Experiment A Note from Writer & Composer Dave Malloy I get asked about adaptation a lot; I never really made a conscious decision to become such a devout adapter, but when I look back over my work, I can't help but notice that almost all of it is adaptations of classic works. In fact my very first proper musical was an adaptation of three short stories by Nikolai Gogol ("The Nose," "Diary of a Madman," and "The Overcoat"—also starting a long fascination with all things Russian!). This was soon followed by other adaptations, from Clown Bible (which was exactly what it sounds like) to the rock infused Beowulf—A Thousand Years of Baggage, to Three Pianos, based on Schubert's "Winterreise." Other pieces have been adaptations of a more oblique sort, including Ghost Quartet (based on a number of horror and fantasy tales, from Edgar Allan Poe and the Brothers Grimm to The Sandman and The Twilight Zone), Preludes (based on many pieces of Rachmaninoff's) and Black Wizard / Blue Wizard (based in part on Dungeons & Dragons and other RPGs). And I'm currently working on adaptations of the Chuang Tzu, Moby-Dick, and Shakespeare's Henriad. Much of this probably comes from being an English Literature major in college (doubling with Music Composition), and just adoring the classics, particularly those passages that feel both startlingly contemporary and outlandishly bizarre. Sarah laughing in the Bible; Schubert's wanderer being haunted by barking dogs; Natasha seeing the moon while hearing Andrey's voice for the first time. There is something about these deep and universal emotions being expressed through imagery that the passage of time has rendered just ever so slightly arcane and surreal, that I find fascinating and profoundly moving. And of course there is also such rich opportunity for humor and illumination through anachronism, colliding time periods to both highlight the similarities and revel in the bizarre and subtle differences between the then and now. The great experiment of Natasha, Pierre & The Great Comet of 1812 specifically was to put a novel on stage; to not just tell the story, but to embrace the formal structure and language of the novel, melodicizing Tolstoy’s incredible narrative voice and rhetorical style. To that end, rhymes are few and far between (though they are employed, when the music seems to demand it), and the characters often narrate their actions, sometimes speaking about themselves in the third person. So much of the brilliance of Tolstoy comes from the vivid detailing of his characters’ rich inner lives: 12

every small social interaction is micro-processed, so that every glance, stare, kiss, blush, and whisper can encompass an entire world of human experience. Dramatizing these moments became a highly intuitive game of show vs. tell, of knowing when to delight in Tolstoy's text and when to let

"The great experiment of Natasha, Pierre & The Great Comet of 1812 specifically was to put a novel on stage..."

the music and staging do the work. Also there is Tolstoy's deep love for and celebration of humanity, and the vast range of human experiences, from the lowliest troika driver to the Tsar himself...capturing all of these people seemed an essential part of adapting War and Peace. By combining the melodrama of Natasha and Anatole with Pierre's spiritual search, the Bolkonskysâ&#x20AC;&#x2122; domestic nightmare, Balaga's supernatural exuberance and all the rest, a larger picture of what it is to be human is painted, with every outlook complimenting and influencing the others, both directly and metaphorically. The music does this too, combining everything from Russian classical to Detroit techno to tell all of these disparate stories as evocatively as possible. Above all, with Great Comet and all of my adaptations, the most important thing for me is to ensure that the text is being

honored faithfully; while I delight in anachronism and accenting some of the more endearing and quaint period elements of the text, in the end these tales are deserving of our most reverent attention. Too often for my tastes, adaptation can rely too heavily on trite ironic distance and parody; for me, the more rewarding choice is always to take these tales at face value, and work to unlock their secrets for contemporary audiences in ways that are joyful, surprising, and ultimately cathartic.

Creating the World of Great Comet A Note from Director Rachel Chavkin

Dave told us about this night he'd had in Moscow. There wasn't really a sign for the club, which was maybe down a back alley. Inside, there were shakers on the tables next to carafes of vodka and black bread to soak it up. A string trio was spread around the room. They played "Flight of the Bumblebee" and everyone shook their shakers and sang and shouted. Dave ended up seated next to the viola... I think my job is to create a world that breeds the action of the play. By "world" I mean the physical design, but I also mean the culture of performance that the text or score seems to demand. The physical production should feel like it has grown up from the pages of the play or libretto. At the outset of the process, my designers and I had as tools Dave's story of the club, Tolstoy himself, and the evolving score, which soared from classical arias to throbbing electronica. It seemed clear that we needed to create a world that combined both period and modern elements. Mimi Lien, our Scenic Designer, is profoundly dramaturgical. I've seen multiple productions she's done in which the play's central theme revealed itself through a pivotal revelation of space or scenic gesture, such as a massive wall falling and blowing hundreds of cotton balls violently in the audience's face in An Octoroon, or a claustrophobic apartment suddenly revealed as a ship at sea in The Whale, or a mountain of white slowly and inexorably rising during a hypnosis session in our last collaboration on Dave's Rachmaninoff-fantasia Preludes. In the spring of 2012 we did a two-week developmental workshop of Comet at the tiny but mighty Ars Nova, which had commissioned the work. I began to play with 360 degree staging, and it was a sight-line catastrophe. Mimi got the idea to construct a walkable bar around the space, allowing the action to unfold above and behind where the audience was sitting, as well as on the floor. For the fall 2012 premiere, Ars Nova was unrecognizableâ&#x20AC;&#x201D;even to those who had worked there previously. And the design just got larger and more lush when we transferred to a custom-built tent for an extended run: still a rectangular space with luscious curving bars and banquettes spread 14 14

everywhere. Seating got more comfortable, and the chandeliers more fancy, but at its core it was the same design. The Loeb has primarily fixed seating. We've long discussed what a "proscenium" version of the show would look like. Somewhere I have stashed multiple airplane napkins with drawings by Mimi of countless configurations for venues we'd considered prior to

"The physical production should feel like it has grown up from the pages of the play or libretto."

the tent. In envisioning the translation, we knew we had to maintain the intimacy of the original design. This intimacy is key to the vividness of the story, but also goes hand in hand with the one-on-one experience of reading Tolstoy's novel; moments of firstperson narration bubble up as seemingly private moments between actors and nearby audience members. The joy is that the company is performing cinematically and operatically at the same time. Expanding the production has also meant confronting what I've jokingly referred to as "good touch and bad touch representation." In the final number Pierre sings, "And I get into my sleigh." We couldn't fit a sleigh into Ars Nova, true. But apart from that, because Dave consistently had characters narrating their physical action, it

felt like we were relieved from actually having to stage that action in any literal way. It was like a green light on poeticism, and so through rehearsals we figured out which moments wanted to be fully realized, and which wanted to be sung but not done. As we've grown in terms of space and resources, we technically could have gotten a troika. But the playfulness of this kind of open-faced lyingâ&#x20AC;&#x201D;i.e. saying you're getting into your sleigh but actually just slowly ascending the stairsâ&#x20AC;&#x201D;feels kin to the reverence and irreverence with which Dave has met Tolstoy's story. Read more about Great Comet and the artists behind the production in A.R.T.'s Guide (available in the theater lobby and online).

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Photo: Sue Kessler

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Cast SUMAYYA ALI Ensemble A.R.T. Debut. Opera: Harriet Tubman: When I Crossed That Line (Harriet Tubman), American Opera Projects. Broadway: Porgy and Bess; Ragtime!. Off Broadway: Ragtime!, Lincoln Center; Lost in the Stars, Encores!. Regional: Master Class, Kennedy Center; Oklahoma!, Portland Center Stage. Film: Spike Lee’s Red Hook Summer (feature), Easter Mysteries (feature), Being Iman (lead). BA Spelman College; MM New England Conservatory. Sumayya is thrilled to be playing the violin in this production. BRITTAIN ASHFORD Sonya A.R.T./OBERON: Ghost Quartet. Off-Broadway: Natasha, Pierre & The Great Comet of 1812 (Sonya, Lucille Lortel nomination), Kazino, Ars Nova; Ghost Quartet, Bushwick Starr, The Heath, Curran: Under Construction. Brittain is a multi-instrumentalist, vocalist, and songwriter and fronts the Brooklynbased band Prairie Empire. The band is pleased to announce its forthcoming album, The Salt, available in 2016. prairieempire.org. COURTNEY BASSETT Ensemble (u/s Mary/Sonya) A.R.T.: Debut. OffBroadway: Bedbugs!!!. Regional: Pop! Who Shot Andy Warhol? (Edie), City Theatre PA; The Marvelous Wonderettes (Missy), Pittsburgh CLO; The Light in the Piazza (Clara), Evita (Evita), Pittsburgh Playhouse. Other favorites: Lead vocalist for New York City Ballet’s West Side Story Suite, Field Trip with science/art collaborative Superhero Clubhouse and Columbia University climatologists. Some of Courtney’s original music can be heard on End NF, a benefit album for children’s brain tumor research, released on iTunes this winter. Thank you beautiful Comet team, and 18 Boston family! courtneybassett.com

GELSEY BELL Mary/Maid Servant/ Opera Singer A.R.T./OBERON: Ghost Quartet. OffBroadway: Natasha, Pierre & The Great Comet of 1812, Kazino, Ars Nova; Ghost Quartet, Bushwick Starr, The Heath. Opera: thingNY’s This Takes Place Close By (also co-composer), Knockdown Center; Prisoner’s Song (also composer), Roulette; Event: Choreography by Merce Cunningham (also co-composer), The Joyce Theater; You are my heat and glare (also composer), New York Live Arts; Here Be Sirens, Dixon Place; Crash, the Whitney, Roulette; Varispeed’s Perfect Lives (also co-creator), various locations. Film: Matthew Barney’s The River of Fundament. gelseybell.com NICHOLAS BELTON Bolkonsky/Andrey A.R.T.: Debut. Broadway: Hair (Berger u/s). Tours: Wicked (Fiyero u/s), Evita (Che u/s), Hair. Off-Broadway: Natasha, Pierre & The Great Comet of 1812, Kazino; My Life With Albertine, Playwrights Horizons; See Rock City, Duke on 42nd; Normal, Transport Group. Regional: Turn of the Century, Goodman Theatre; Carousel, Long Wharf/Court Theatre; Idaho Shakespeare; Pittsburgh CLO. Nick is also a personal chef and food / travel blogger @ForageAndFree.com DENÉE BENTON Natasha A.R.T.: Debut. U.S. National Tour/West End: The Book of Mormon (Nabulungi). Regional: Annie (Star to Be), Sunset Boulevard, Fiddler on the Roof, Pittsburgh CLO. BFA Carnegie Mellon University. Thank you to the Comet team for the chance to be a part of this magical show. Gratitude is overflowing to God, Mommy, and Daddy for their boundless love and support.

JOSH CANFIELD Ensemble (u/s Anatole) A.R.T.: Debut. Broadway: Doctor Zhivago (Liberius). Off-Broadway: Natasha, Pierre & The Great Comet of 1812 (Anatole), Kazino. London: Sail Away (Barnaby), Sadlers Wells. Germany: Hair (Claude), The English Theatre of Frankfurt. Regional: Godspell (Jesus), Joseph and the Amazing Technicolor Dreamcoat (Joseph; Carbonell, Broadwayworld nominations), Actors’ Playhouse; Next Fall (Luke), Caldwell Theatre; The Wizard of Oz (Scarecrow), Lyceum Theatre. TV: CBS’ "Survivor: San Juan Del Sur."

KEN CLARK Ensemble (u/s Dolokhov/Bolkonsky/ Andrey) ART: Debut. OffBroadway: Natasha, Pierre & The Great Comet of 1812, Kazino; February House, Public Theater. First National Tour: La Cage aux Folles. Regional: Moonshine (Bucky Jr), Dallas Theater Center; Camelot (Arthur), Drury Lane Theater; Rent (Roger), Syracuse Stage; Urinetown (Bobby), Connecticut Rep; Sweeney Todd (Anthony), The Gateway. TV: "House of Cards." Love to Mom, Dad, Gramps, Granny. Stoop and Tara. Thanks to Team “En.” Miami Hurricane, class of 2010.

NICK CHOKSI Dolokhov A.R.T.: Debut. OffBroadway: Natasha, Pierre & The Great Comet of 1812, Ars Nova, Kazino; D Deb Debbie Deborah, Clubbed Thumb; Brooklynite!, Vineyard Theatre; Bunty Berman Presents, New Group (Lortel Nomination); Invasion!, The Flea; Annie Baker’s Practice, Atlantic; Rajiv Joseph’s Huck and Holden, Cherry Lane Theatre; Christopher Durang’s Triple Trouble with Love, 59E59 Theater; A Food Odyssey (also composer), Invisible Dog. Regional: Love’s Labor’s Lost, RSC/ Shakespeare Theater D.C.; Wind In The Willows, Two River Theater. Film/TV: The Passing Season (upcoming), Home, Violet & Daisy, “Happyish,” “Royal Pains,” “L&O:CI,” “The Sopranos,” “The Electric Company,” “One Life To Life” (recurring). Training: Juilliard. Band: Those Lost Boys. nickchoksi.com

LILLI COOPER Hélène A.R.T.: Debut. Broadway: Spring Awakening (Original Broadway Cast), Wicked (Elphaba; Broadway, Australia & Second National Tour). Theater: Noir, New York Stage and Film & NAMT; The Threepenny Opera, Atlantic; LMNOP, Goodspeed; Independents (NY Times’ Critic’s Pick). Lilli is the creator of Glamour.com’s web-series “It’s Not Okay, Cupid.” She is a proud LaGuardia Arts High School Graduate, and a Vassar alum. Lillicooper.com ERICA DORFLER Ensemble (u/s Marya D/Hélène) A.R.T.: Debut. Broadway: The Book of Mormon, Memphis, Baby It’s You!, Scandalous. Off-Broadway: Avenue Q, Forbidden Broadway, Silk Stockings. National Tours: Mamma Mia!, Rent. New York: Here’s Hoover, Abrons Arts Center; The Radio City Christmas Spectacular, Radio City Music Hall. Regional: Bull Durham, Alliance Theatre; The Motherline, Milagro Theatre. TV: “The Family,” “Comedians in Cars.” BFA University of Miami. Special thanks to The Mine. Love to my new husband, Brian, and my wonderful family. 19

Cast DANIEL EMOND Ensemble A.R.T.: Debut. Regional: Another Happy Ending (Lysander), Goodwill Theater; Poems, Prayers, and Promises (Dan), Florida Studio Theatre; The Underclassmen (Freddy), Daisies (Ashley and Allen), The Secret Theatre. Daniel plays in 3 bands, including the bluegrass outfit The Blue Eyed Bettys (performing in The Peppercorn Theatre Company's upcoming The Tourist Trap), the indie folk band Lion and Spaniel, as well as his solo act. Daniel is also musical supervisor for Oh Force! Theatre Co and a recent graduate of the University of North Carolina School of the Arts. Daniel is excited to be playing the clarinet in this production. Danielsswelltunes.com LULU FALL Ensemble (u/s Marya D, Hélène) A.R.T.: Debut. Broadway/National Tour: Hair (ensemble). Off-Broadway: Natasha, Pierre & The Great Comet of 1812 (Hélène u/s), Kazino; Pretty Filthy, Brown Sugar. New York: August Rush (ensemble; developmental lab); 15 Minutes (ensemble; workshop), NYSAF; Annie Golden Bounty Hunter (Janessa; workshop). Regional: Smokey Joe’s Café (Brenda), Capital Repertory Theatre, Albany; Crowns (Swing), Arena Stage; Passing Strange (ensemble), Studio Theatre. Featured music performances: Jazz Re:freshed (Performer), London; American Songbook Program (Performer), Smithsonian; Langnau Jazz Nights Festival (Performer), Switzerland. lulufall.com

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ASHLEY PÉREZ FLANAGAN Ensemble (u/s Mary, Sonya) A.R.T.: Prometheus Bound (Daughter of the Aether). New York: Orpheus and Eurydice are F***ing in Love (Eurydice), Ars Nova; In Love With Jobim (The Girl), York Theatre. Select New York Workshops: A Moment in

Time (Helen); Bull Durham; I’m Your Man; Flashdance; Beauty (Young Marguerite), Regina Spektor project. Regional: West Side Story (Rosalia, Maria u/s), Evita (Mistress), Once on This Island (Ti moune), Footloose (Rusty), The Sound of Music (Liesel u/s, performed). Concerts: Wunnerful Wunnerful!, Joe’s Pub & Ars Nova; Moondrunk, Joe’s Pub; Best Buddies Benefit, Carnegie Hall; American Songbook Series with Lea Delaria, Jazz at Lincoln Center. Ashley is a member of the indie folk trio Moondrunk (@moondrunkband). Endless love to my amazing family and friends. NICK GASWIRTH Ensemble (u/s Pierre/Balaga) A.R.T.: Debut. Broadway/Tour: A Christmas Story: The Musical. NY/Regional: Secondhand Lions, Seattle 5th Ave; I Am Harvey Milk, Lincoln Center; The Gig, NYMF; Yeast Nation, FringeNYC; James and the Giant Peach, Goodspeed; Minnie’s Boys, Knickerbocker Holiday, York Theatre; Lend Me a Tenor, Ocean State Theatre; The Full Monty, Westchester Broadway; Candide, …Frog and Toad, Arden Theatre Co. BFA in Musical Theatre, University of Michigan. nickgaswirth.com GRACE MCLEAN Marya D A.R.T.: Debut. OffBroadway: Natasha, Pierre & The Great Comet of 1812, Kazino; Brooklynite, Vineyard Theatre; Bedbugs!!!, Arclight; The World is Round, BAM; Sleep No More; Twelve Ophelias, Woodshed Collective. Regional: Pump Boys and Dinettes, Weston Playhouse; La MaMa Cantata, Spoleto, Italy; Zagreb, Croatia; Belgrade, Serbia; From The Fire (MTM Best New Musical), Edinburgh Fringe Festival 2011; The Last Goodbye, Williamstown Theater Festival. Grace McLean & Them Apples opened the 2015 Lincoln Center American Songbook season and in April 2015 traveled to Pakistan on a U.S. State Departmentsponsored tour. Original music available on iTunes. gracemclean.com

AZUDI ONYEJEKWE Ensemble (u/s Dolokhov)/ Fight Captain A.R.T.: Debut. Broadway: Violet (Original Cast, Flick standby—performed opposite Sutton Foster). Off-Broadway: Natasha, Pierre & The Great Comet of 1812, Kazino; Central Avenue Breakdown, NYMF. Select NY Workshops: We Foxes (dir. Leigh Silverman), Playwrights Horizons; Hadestown (dir. Rachel Chavkin), NYTW. Regional: Guthrie Theater, NJPAC, New Harmony Theatre, Cortland Repertory Theatre. Film: Hairbrained. BFA NYU Tisch. A foremost thanks to God, my family, the Comet team, my manager Tony, and Brisa. Always for my father. PAUL PINTO Balaga/Servant/ Opera Singer A.R.T.: Debut. Paul Pinto creates and produces experimental music and theatrical works, and is the founder and codirector of ensembles thingNY and Varispeed. Opera: ADDDDDDDDD; TIME; Patriots; This Takes Place Close By; Perfect Lives (praised in the Los Angeles Times; Wall Street Journal; Time Out New York, where Steve Smith named it on his “Best of 2011” List; and in the New York Times “Standout operas of recent decades”). He is currently working on his new operas Thomas Paine in Violence (HERE Arts Center, The Industry) and an untitled opera for Iktus Percussion about boxers.

PEARL RHEIN Ensemble A.R.T.: Debut. OffBroadway: Transport, The Irish Repertory Theatre; Volpone, Red Bull Theatre. Regional: Ah, Wilderness!, Arena Stage; Cowgirls!, The Alabama Shakespeare Festival, Horizon Theatre; The Road to Where, The Weston Playhouse; Memphis!, La Jolla Playhouse. 20132014 Singer-Songwriter in Residence, RedHouse Arts Center in Sycaruse, NY. BA in Theatre from Ball State University, MFA in Acting from UC San Diego. Pearl is thrilled to be playing the viola in this production. pearlrhein.com HEATH SAUNDERS Ensemble (u/s Pierre, Balaga) A.R.T.: Debut. New York: Lennon: Through a Glass Onion; I Am Harvey Milk, Avery Fisher Hall; Gentlemen Prefer Blondes, Encores!; Der Gelbe Stern, NYMF; Gods and Kings, The Other Mirror Theatre. Regional: The 12, Denver Center; Spamalot; Hairspray: In Concert; Pirates of Penzance; Saving Aimee; Rent, 5th Avenue Theatre; Les Miserables; Avenue Q, Balagan Theatre; James and the Giant Peach, Seattle Children’s Theatre. Workshops: The Battles; Nikola Tesla Drops the Beat. Love and gratitude to the family, batch, and, as always, my class. heathcliffsaunders.com @feeltheheath SCOTT STANGLAND Pierre A.R.T.: Debut. Select theater: Once, Broadway; The Wheel, Steppenwolf Theatre; Eastland, Lookingglass Theatre Company; A Christmas Carol, Goodman Theatre. Select TV/film: “Crisis,” “Chicago Fire,” NBC; “Gifted Hands: The Ben Carson Story,” TNT; Contagion, End of the Tour. Scott received his MFA from The Theatre Conservatory at Roosevelt University. As a musician, Scott also plays in the band Youth in a Roman Field. scottstangland.com 2121

Cast LUCAS STEELE Anatole A.R.T.: Oliver Twist. Broadway: The Threepenny Opera (with Cyndi Lauper and Alan Cumming). OffBroadway: has originated numerous roles including Anatole in Natasha, Pierre & The Great Comet of 1812 (Lucille Lortel Award, Best Featured Actor in a Musical), Ars Nova, Kazino; Myths and Hymns, Prospect Theater Co; The Kid, The New Group. Regional: Berkeley Rep, Rubicon Theatre Company, Walnut Street Theatre, Intiman Theatre. LucasSteele.com KATRINA YAUKEY Ensemble A.R.T.: The Heart of Robin Hood. Broadway: Cabaret (1998, 2014 Revivals), Warhorse, Billy Elliot, Company. National/International Tours: Billy Elliot, Sweeney Todd, Cabaret, Victor/ Victoria. Off-Broadway: Natasha, Pierre & The Great Comet of 1812 (Princess Mary); Public Theater; A.C.T.; The Cape Playhouse; Totem Pole Playhouse.

Studied Oboe Performance and Musical Theatre at Penn State University. Current student, Berklee College of Music in Music Production and Technology. Katrina is excited to be playing accordion and glockenspiel in this production. For Walter. katrinayaukey.com LAUREN ZAKRIN Ensemble (u/s Natasha)/ Dance Captain A.R.T.: Debut. Broadway: Rock of Ages (Sherrie). National Tours: Wicked (Glinda u/s), Grease (Sandy), Legally Blonde (Elle Woods u/s). Off-Broadway: Natasha, Pierre & The Great Comet of 1812 (Natasha u/s), Kazino. Vegas: Surf: The Musical (Brooke). Regional: MUNY’s Legally Blonde (Elle). Workshops/ Readings: Anne of Green Gables (Anne), Slaughterhouse Five, Flashdance, Catch Me If You Can. TV: MTV’s "Search for the Next Elle Woods" (finalist). Web Series: featured actress on The Kloons. @laurenzakrin laurenashleyzakrin.com

Band LIZZIE BURNS Double Bass A.R.T.: Debut. Member, Pianosofia Chamber Players, Symphony Nova fellow, Phoenix, Hub New Music. Performances with Boston Philharmonic, Calthupian Consort, Marsh Chapel Collegium, NEC Chamber Orchestra, NEC Contemporary Ensemble. Candidate for Masters of Music at Boston University 2016; Bachelor of Music 2014. Yellow Barn Artist in Residence 2015 & 2016, festival appearance 2014 & 2015. Principal teachers include Ed Barker, Don Palma, Linda McKnight, and Kurt Muroki. 22

MATT DOEBLER Keyboard/Accordion/Glockenspiel A.R.T.: Debut. Matt has played keyboards and conducted for Wicked and Book of Mormon on Broadway, as well as their respective national tours. He is delighted to reunite with the team of Natasha, Pierre & The Great Comet of 1812, having played the immensely successful Off-Broadway run. Recent Broadway shows also include Les Miserables, Gigi, Annie, and Leap of Faith. Off-Broadway: Heathers. BFA: Penn State School of Music (where he is currently on faculty). Thanks to Sonny, Or, Dave, Rachel, Karyn, and A.R.T. for this incredible opportunity. For Loco Kabuki.

JASON FISHER Viola A.R.T.: Crossing. Founding Member, A Far Cry. Carnegie Hall Fellow and Peabody Singapore Fellow. Tours of Europe, Asia, Kazakhstan and the Kyrgyz Republic. Performances with Pink Martini, Jake Shimabukuro, Itzhak Perlman, YoYo Ma, Renée Fleming, and Dame Kiri Te Kanawa. Concerts at Vienna Musikverein, Singapore Esplanade, and Carnegie Hall. Master of Music from Longy School of Music of Bard College; Bachelor of Music from Peabody Institute of the Johns Hopkins University. MIRI KUDO Oboe A.R.T.: Crossing. Performances with Boston Pops Orchestra, Boston Pops Esplanade Orchestra, A Far Cry, Orchestra of Indian Hill, Boston Musica Viva, Unitas Ensemble, Boston Civic Orchestra. Winner of the Boston Woodwind Society Oboe Merit Award Competition 2011, Longy School of Music Concerto Competition 2011. Holds Artist Diploma and Graduate Performance Diploma from Longy School of Music, studied with Keisuke Wakao. LOEWI LIN Cello 1 A.R.T.: Debut. Taiwanese-Canadian cellist Loewi Lin grew up in Taiwan and moved to Calgary when he was seven. Loewi started playing cello at age 11 but always wanted to be a doctor; as a high-school senior, he converted to music and has been a devout follower ever since. He now lives in Boston where he helped found the conductor-less chamber orchestra A Far Cry; the group is inresidence at the Isabella Stewart Gardner Museum, as well as the New England Conservatory. Loewi is also the principal cellist of the Boston Lyric Opera. Aside from cello, he enjoys the culinary arts, billiards and finding good eats. CHU-YUN LIN Cello 2 A.R.T.: Debut. Chu-Yun Lin has performed with Singapore Symphony Orchestra, Canton Symphony Orchestra and been awarded top prizes by the Osaka International Music Competition,

Taiwan National Music Competition, and Boston National Chamber Music Competition. Lin has premiered composer Adeline Wong's ‘Five Letters,’ been a Representative of Taiwanese Students, and performed for the previous president of Singapore. Graduate Diploma from New England Conservatory of Music, Master of Music from Cleveland Institute of Music, Bachelor of Music from National University of Singapore. BEN MONIZ Guitar A.R.T.: Debut. Bachelor of Arts from University of Massachusetts, Dartmouth, Jazz and Classical guitar, Founding member of the award winning Grace and the RSO, Freelance performer and educator on Acoustic guitar, Electric guitar, and Mandolin. NATE TUCKER Drums A.R.T.: The Tempest, Finding Neverland. Music Director for Mt. Auburn Cemetery's A Glimpse Beyond. Principal Percussionist for Juventas New Music Ensemble and Flamenco Boston. Resident composer for Boston Theater Company, Come On Over Ensemble Theater, Danza Organica, Peter DiMuro/Public Displays of Motion. Dance Accompanist for Boston Ballet and Boston Conservatory. New Album Off Grid available on iTunes. Percussion Performance degrees from The Boston Conservatory and University of North Carolina School of the Arts. RYAN YURÉ Clarinet/Bass Clarinet A.R.T.: Debut. Performances with Boston Symphony, Boston Pops, Boston Lyric Opera, Boston Ballet, Rhode Island Philharmonic, Portland Philharmonic, Rochester Philharmonic, Albany Symphony, New Hampshire Music Festival, and New World Symphony. Master of Music from New England Conservatory; Bachelor of Music from Boston Univeristy. Tanglewood Music Center 2008-2011. Aspen Music Festival 2006. 23

Creative Team DAVE MALLOY Composer/Writer Dave Malloy is a composer/writer/ performer/sound designer making his fourth appearance at A.R.T., following the Obie Award-winning Three Pianos, Beowulf—A Thousand Years of Baggage, and, most recently, Ghost Quartet. He has written the music for ten musicals, including Natasha, Pierre & The Great Comet of 1812 (Richard Rodgers Award, Obie Award, and 11 Lortel nominations). Other musicals include Preludes at LCT3, Black Wizard/Blue Wizard, Beardo, Sandwich, and Clown Bible. He has won a Jonathan Larson Grant, an ASCAP New Horizons Award, and a NEA/TCG Grant for Theatre Designers, has been a Guest Professor in devised music theater at Princeton and Vassar Universities, and is the composer for Banana Bag & Bodice. Future projects include adaptations of Moby-Dick and Shakespeare’s Henriad, commissioned by The Public and Berkeley Repertory Theater, and a piece on Taoism at ACT. RACHEL CHAVKIN Director Rachel Chavkin is an Obie Awardwinning director/dramaturg/writer, and the Artistic Director of Brooklynbased experimental ensemble the TEAM (theteamplays.org), now in its 10th year. A.R.T.: Three Pianos, Particularly in the Heartland. Selected projects: Anne Washburn’s trans adaptation of Euripedes’ Iphigenia in Aulis, Classic Stage Company; Dave Malloy’s Preludes (World Premiere), LCT3; The TEAM’s RoosevElvis, PS122’s COIL festival, and tours to the Royal Court, Walker Art Center, and A.R.T.; Bess Wohl’s Small Mouth Sounds (World Premiere), Ars Nova; Natasha, Pierre & The Great Comet of 1812 (World Premiere), Ars Nova, Kazino (New York Times, Time Out New York and New York Post Critics’ Picks); British artist Chris Thorpe’s Confirmation (World Premiere, 2014 Edinburgh Fringe First Award, American Theatre's Top 10 Shows at the Edinburgh Fringe), with Warwick Arts Centre and Battersea Arts Centre; Meg Miroshnik’s The Fairytale Lives of Russian Girls, Yale Rep; Marco Ramirez’s The Royale, The Old Globe 24 24

and upcoming at Lincoln Center; and multiple collaborations with Taylor Mac, including his extravaganza The Lily’s Revenge (World Premiere Act II), HERE. Doris Duke Impact Award nominee (2013 and 2014), Drama Desk and Lucille Lortel nominations (for Great Comet). NYTW Usual Suspect, Artistic Associate at London’s Gate Theatre, alum of Soho Rep’s Writer/Director Lab, Drama League Directors Project, Women’s Project Director’s Lab, and New Georges Affiliate Artist. She has also taught extensively at NYU, Pace, and other colleges. Proud member of SDC. SAM PINKLETON Choreography A.R.T./OBERON: Kansas City Choir Boy. Broadway: Machinal, The Heidi Chronicles. Recent: Amélie, Berkeley Rep; Significant Other, Roundabout; Heisenberg, MTC; Pretty Filthy, The Civilians; Natasha, Pierre & The Great Comet of 1812, Kazino; Mr. Burns, A PostElectric Play; Fly By Night; Stage Kiss; Playwrights Horizons; I Promised Myself to Live Faster, Pig Iron/Humana Festival; HAIR: Retrospection, Kansas City Rep; The Understudy, McCarter. Sam is an Associate Artist with The Civilians and Witness Relocation and is co-director of The Dance Cartel’s ONTHEFLOOR. Upcoming: Rimbaud in New York, BAM; The Good Swimmer, Prototype Festival. sampinkleton.com MIMI LIEN Set Design A.R.T.: Communist Dracula Pageant. Off-Broadway: Preludes, The Oldest Boy, Lincoln Center; John, Signature; An Octoroon, Soho Rep. Regional: Appropriate, Taper; Our Town, Actors Theatre of Louisville. Opera: The Long Walk, Opera Saratoga; Hansel and Gretel, Virginia Opera. Awards: Lucille Lortel Award, American Theatre Wing Hewes Design Award, Barrymore Award, Joan and Joseph F. Cullman Award, two Drama Desk nominations, Audelco Award nomination, Obie Award for sustained excellence, and 2015 recipient of a MacArthur Fellowship.

PALOMA YOUNG Costume Design A.R.T.: The Tempest. Broadway: Peter and the Starcatcher (Tony Award). Off-Broadway: Natasha, Pierre & The Great Comet of 1812 (Lucille Lortel Award), Kazino; The Patron Saint of Sea Monsters, Fly By Night, Playwrights Horizons; Wildflower, 2econd Stage; Recall, Colt Coeur; Brooklyn Babylon, BAM NextWave. Regional: The Bandstand, Paper Mill Playhouse; Troublemaker... and You, Nero, Berkeley Repertory Theatre; Hoover Comes Alive! and A Current Nobody, La Jolla Playhouse. Ms. Young has also worked at South Coast Repertory, The Old Globe, Oregon Shakespeare Festival, California Shakespeare Theatre, Hand2Mouth and Mixed Blood among others. MFA UCSD. BRADLEY KING Lighting Design A.R.T.: O.P.C. Previously with Rachel Chavkin: Dave Malloy's Preludes, LCT3, The Fairytale Lives of Russian Girls, Yale Rep; Natasha, Pierre & The Great Comet of 1812 (Hewes, Lortel Nominations); Uncle Vanya, Classic Stage Company. Off-Broadway: Empanada Loca, A Sucker Emcee, Labyrinth; Elijah Green, The Kitchen; A Winter's Tale, The Pearl, Jacuzzi, Ars Nova; And I and Silence, Signature; Women or Nothing, Atlantic; Be a Good Little Widow, Wild Project; Lawnpeople, Cherry Lane. Regional: Berkeley Rep, La Jolla Playhouse, McCarter Theatre, Penobscot Theater, The Old Globe, South Coast Rep, Virginia Stage, Yale Rep, Williamstown. Opera: Bard Summerscape, Boston Early Music Festival, Kentucky Opera, NYCO, Opera Omaha, Vancouver Opera, Virginia Opera. MFA, NYU. bradleykingld.com MATT HUBBS Sound Design A.R.T.: Marie Antoinette, Three Pianos. Sound Design credits: Preludes, LCT3; The Royale, Time and the Conways, Old Globe; Stage Kiss, 100 Saints You Should Know, Playwrights Horizons; Natasha, Pierre & The Great Comet of 1812, Kazino, Ars Nova; Marie Antoinette, Soho Rep, Yale Rep; How We Got

On, Death Tax, A Devil at Noon, Humana Festival of New American Plays; Three Pianos, NYTW; The Human Scale, Public Theater; Telephone, Foundry Theatre; Hammock, The Matter of Origins: Tea, Blueprints of Relentless Nature, 613 Radical Acts of Prayer, Liz Lerman Dance Exchange; the National Playwrights Conference, Eugene O’Neill Theater Center. A company member of the TEAM, he has designed The Holler Sessions, RoosevElvis, Mission Drift, Architecting, Particularly in the Heartland, and A Thousand Natural Shocks. BA in Philosophy as a University Scholar at Xavier University. RACHEL PADULA SHUFELT Wig & Makeup Design A.R.T.: Waitress, Crossing, The Heart of Robin Hood, Pippin, All the Way, The Glass Menagerie, Marie Antoinette, Best of Both Worlds, Cabaret, Death and the Powers, Donnie Darko, Julius Caesar, The Blue Flower, Copenhagen, The Communist Dracula Pageant. Broadway: The Glass Menagerie. Regional: The Colored Museum, Huntington Theatre Company. SONNY PALADINO Music Supervisor A.R.T.: Pippin (Associate Music Director). Broadway: The Last Ship (written by 16-time Grammy Award winner, Sting; Associate Music Director); Pippin; (Assistant Conductor/Keys): Jesus Christ Superstar; Billy Elliot; Grease; Priscilla, Queen of the Desert; Keyboards: Guys and Dolls; Mama Mia; Promises, Promises; Addams Family; Women on the Verge. Music Supervisor for Disney's High School Musical, Milan/Italy Tour. First National Tours: Disney's High School Musical, Dirty Rotten Scoundrels, Grease. Work with Alicia Keys, Ke$ha, Matthew Morrison. As composer: The Return of the Blue Cat (with poet F.D. Reeve). TV: The X-Factor (Australia), The Next Big Thing. Sonny is also the music director and arranger for The Doo Wop Project. BFA in Jazz Piano from CUNY City College. sonnypaladino.com

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Creative Team OR MATIAS Music Director/Conductor/Piano A.R.T.: Debut. Most recent productions: First Daughter Suite, Public Theater; Preludes (Rachmaninoff, Music Director), LCT3. As writer: music, lyrics, and book for The Wave—based on the 1967 experiment which turned an entire school into a proto-fascist movement. Original scores for Land of Broken Toys at Fringe NYC and “Israel Story” radio show. Education: Juilliard and NYU (Dean’s Award). For Mai, who makes us sing, laugh, and love more than we knew we could. ormatiasmusic.com STEWART/WHITLEY Casting Duncan Stewart CSA/Benton Whitley CSA. A.R.T.: The Tempest, Pippin. Broadway/NY: On The Town, Pippin, Chicago The Musical, La Cage Aux Folles, The Radio City Christmas Spectacular, The Band Wagon, Carnegie Hall Sings, Pageant. West End/UK: Thriller Live, Menier Chocolate Factory. Tours: Shrek, Once, Duck Commander Musical, Flashdance, Anything Goes, Bullets Over Broadway, Elf, We Will Rock You. Upcoming: West Side Story at Carnegie Hall, The Prince of Egypt, Waterfall, August Rush, Nerds. Regional: The Alley Theatre, Bay Street Theater, Seattle’s 5th Avenue, Pasadena Playhouse, Philadelphia Theatre Company, Royal Caribbean. Casting Associate: Andrea Zee CSA, Casting Assistant: Eric Byrd. Members of the Casting Society of America. stewartwhitley.com KARYN MEEK Production Stage Manager A.R.T.: Debut. Broadway: Elf, Fiddler on the Roof, RENT, Who’s Afraid of Virginia Woolf?. First National Tours: The Drowsy Chaperone, 9 to 5, La Cage Aux Folles. Off Broadway: Natasha, Pierre & The Great Comet of 1812, Kazino; Almost, Maine (World Premiere), Daryl Roth Theatre; Preludes (World Premiere), Lincoln Center; Summer of ’42, Variety Arts; Iphigenia in Aulis, Naked, Hurricane, The Misanthrope, Classic Stage Company; The Day Emily Married, Barefoot Boy With Shoes On, Primary 26

Stages; What Didn’t Happen, Playwrights Horizons; The Dying Gaul, Vineyard Theatre, and many others. Regional: Six seasons at Pittsburgh Civic Light Opera, as well as Dallas Summer Musicals, TUTS, TOTS, Pantages Theatre, Starlight Theatre, Missouri Rep. TAYLOR BRENNAN Assistant Stage Manager A.R.T.: Stage Manager: O.P.C., The Shape She Makes, The Donkey Show. Assistant Stage Manager: Kansas City Choir Boy, The Heart of Robin Hood, All the Way, The Glass Menagerie, The Lily’s Revenge, Once. Production Associate: Prometheus Bound, The Blue Flower, Cabaret. Production Coordinator: Hansel and Gretel, Nutcracker Turbo: And Other Love Stories, Bob: A Life in Five Acts, As You Like It, The Snow Queen. Graduate of Boston University, Summa Cum Laude, College of Fine Arts. RACHEL STEVENS Assistant Director A.R.T: Debut. Rachel was most recently assistant director on The Bandstand, (directed by Andy Blankenbeuhler, Papermill Playhouse; and on Preludes (directed by Rachel Chavkin), LCT3. She holds an MFA in Directing from The Actors Studio Drama School, (Pace University), and a BFA in Musical Theatre (Point Park University). She would like to thank the entire creative team, cast, and crew for this beautiful story. CHLOE TREAT Associate Choreographer A.R.T./OBERON: Kansas City Choir Boy. Off-Broadway: The Lightning Thief, Lortel; Heisenberg, MTC; The Elder (WaxWorkshop), Public Theater; Buyer and Cellar, Barrow Street. Regional: All's Well That Ends Well (choreographer), Shakespeare on the Sound; Amélie, Berkeley Rep; Dirty/Crusty, Page 7; The Fairy Tale Lives of Russian Girls, Yale Rep. Opera: Daphnis and Chloe (choreographer), Heartbeat Opera; Falstaff, Dell'Arte Opera Ensemble. BFA, NYU Tisch.

TURNER SMITH Fight Director A.R.T.: Debut. Turner Smith is a stunt performer and fight choreographer based in New York City. Stunt credits include Gotham, Boardwalk Empire, Blindspot, Marvel's Daredevil, Blacklist, and many others. Off- Broadway fight choreography credits include shows with Playwrights Horizons, Second Stage, and more. He is thrilled to be working with director Rachel Chavkin and the Great Comet team again, and to be working with A.R.T. for the first time. ARS NOVA Jason Eagan, Artistic DIrector Renee Blinkwolt, Managing DIrector is committed to developing and producing theater, comedy and music artists in the early stages of their professional careers. Our unique development programs are designed to support outside-thebox thinking and cross-pollination to encourage innovative work. Dubbed by the New York Times as a “fertile incubator of offbeat theater,” Ars Nova blurs genres and subverts the status quo. With our feverish bounty of programming, we are the stomping ground and launching pad for visionary, adventurous artists of all stripes. By providing a safe environment where risk-taking and collaboration are paramount, Ars Nova gives voice

to a new generation of artists and audiences, pushing the boundaries of live entertainment by nurturing creative ideas into smart, surprising new work. Ars Nova was honored with a 2015 OBIE Award and a 2015 Special Citation from the New York Drama Critics’ Circle for their sustained quality and commitment to the development and production of new work. Notable past productions include: New York Times Critics' Pick Futurity, by César Alvarez and The Lisps; the critically-acclaimed world premiere of Small Mouth Sounds by Bess Wohl; Time Out NY’s “Best of 2014,”Jacuzzi by The Debate Society; Drama Desk nominated Charlatan by Vinny DePonto and Josh Koenigsberg; the award-winning smashhit Natasha, Pierre & The Great Comet of 1812 by Dave Malloy (Lortel, Obie, and Richard Rodgers Awards; Off-Broadway transfer production); Jollyship the WhizBang by Nick Jones and Raja Azar; the world premiere of the 2009 season’s most-produced play boom by Peter Sinn Nachtrieb; Drama Desk and Outer Critic Circle nominated From Up Here by Liz Flahive; audience favorite Dixie’s Tupperware Party by Kris Andersson; and star-makers At Least It’s Pink by Bridget Everett and Kenny Mellman; and Freestyle Love Supreme by Anthony Veneziale and Lin-Manuel Miranda. ARSNOVANYC.COM

CASTING STEWART/WHITLEY Duncan Stewart, CSA; Benton Whitley, CSA; Andrea Zee, CSA; Eric Byrd The actors and stage managers employed in this production are members of Actors' Equity Association, the union of professional actors and stage managers in the United States.

The musicians employed in this production are members of the American Federation of Musicians.

United Scenic Artists represents the designers and scenic painters for the American Theatre.

The Director and Choreographer are members of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.

Partial support for open captioning provided by Theatre Development Fund.

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John Tiffany’s I Speak, Therefore I Am. Photo: Marcus Stern

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A.R.T./MXAT Institute for Advanced Theater Training at Harvard University Masters/Certificate Program Acting • Voice • Dramaturgy A two-year professional training program fully integrated with the work of the American Repertory Theater, based in Cambridge, MA with a residency at the Moscow Art Theater School in Moscow, Russia.

For information and application: harvardtheatertraining.org

About the A.R.T. A.R.T. BOARDS BOARD OF TRUSTEES Steve Johnson, Chair Amy Brakeman Laurie Burt Paul Buttenwieser RoAnn Costin Mike Dreese Zita Ezpeleta Michael Feinstein Provost Alan M. Garber Catherine Gellert Rebecca Grafstein Lori Gross Ann Gund Sarah Hancock Jonathan Hulbert Alan K. Jones Herman B. "Dutch" Leonard Dennis Masel Thomas B. McGrath Rebecca Milikowsky Ward Mooney Robert Murchison Andrew Ory Diane Paulus Diane Quinn Mike Sheehan Diana Sorensen Sid Yog

BOARD OF ADVISORS Ann Gund, Co-Chair Karen Mueller, Co-Chair Paolo Abelli Frances Shtull Adams Yuriko Jane Anton Robert Bowie, Jr. Philip Burling* Greg Carr Antonia Handler Chayes* Lizabeth Cohen Kathleen Connor Rohit Deshpande Susan Edgman-Levitan Jill Fopiano Shanti Fry Erin Gilligan Jonathan Glazer Candy Kosow Gold Rachael Goldfarb Barbara Wallace Grossman Peggy Hanratty Marcia Head James Higgins Horace H. Irvine II Emma Johnson Dean Huntington Lambert Timothy P. McCarthy Travis McCready Irv Plotkin Martin Puchner Ellen Gordon Reeves Pat Romeo-Gilbert Linda U. Sanger Maggie Seelig Dina Selkoe John A. Shane Michael Shinagel Lisbeth Tarlow Sarasina Tuchen Susan Ware Stephen H. Zinner, M.D. *Emeriti

FOUNDING DIRECTOR Robert Brustein

The A.R.T. at Harvard University is a leading force in the American theater, producing groundbreaking work in Cambridge and beyond. The A.R.T. was founded in 1980 by Robert Brustein, who served as Artistic Director until 2002, when he was succeeded by Robert Woodruff. Diane Paulus began her tenure as Artistic Director in 2008. Under her leadership, the A.R.T. seeks to expand the boundaries of theater by programming events that immerse audiences in transformative theatrical experiences. Throughout its history, the A.R.T. has been honored with many distinguished awards, including the Tony Award for Best New Play for All the Way (2014); consecutive Tony Awards for Best Revival of a Musical for Pippin (2013) and The Gershwins’ Porgy and Bess (2012), both of which Paulus directed; a Pulitzer Prize for Marsha Norman's 'Night, Mother (1983); a Jujamcyn Prize for outstanding contribution to the development of creative talent; the Tony Award for Best Regional Theater; and numerous Elliot Norton and IRNE Awards. The A.R.T. collaborates with artists around the world to develop and create work in new ways. It is currently engaged in a number of multi-year projects, including a new collaboration with Harvard's Center for the Environment that will result in the development of new work over several years. Under Paulus’s leadership, the A.R.T.’s club theater, OBERON, has been an incubator for local and emerging artists and has attracted national attention for its innovative programming and business models. As the professional theater on the campus of Harvard University, the A.R.T. catalyzes discourse, interdisciplinary collaboration, and creative exchange among a wide range of academic departments, institutions, students, and faculty members, acting as a conduit between its community of artists and the university. A.R.T. plays a central role in Harvard's newly launched undergraduate Theater, Dance, and Media concentration, teaching courses in directing, dramatic literature, acting, voice, design, and dramaturgy. The A.R.T. Institute for Advanced Theater Training, which is run in partnership with the Harvard Extension School, offers graduate training in acting, dramaturgy, and voice. Dedicated to making great theater accessible, the A.R.T. actively engages more than 5,000 community members and local students annually in project-based partnerships, workshops, conversations with artists, and other enrichment activities both at the theater and across the Greater Boston area. Through all of these initiatives, the A.R.T. is dedicated to producing world-class performances in which the audience is central to the theatrical experience.

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Donors

The American Repertory Theater is deeply grateful for the generous support of individuals, foundations, corporations, and government agencies whose contributions make its work possible. The following gifts were received between July 1, 2014 and October 30, 2015.

VISIONARY Barr-Klarman Arts Capacity Building Initiative Laura and Michael Dreese* Doris Duke Charitable Foundation Sarah Hancock*

$100,000 and above President and Fellows of Harvard College Rosemarie and Steve Johnson* Janet and Howard Kagan* Alison and Bob Murchison*

The Linda Hammett Ory and Andrew Ory Charitable Trust RN Family Foundation The Shubert Foundation

E.H.A. Foundation Zita Ezpeleta and Kewsong Lee* Alan Jones and Ashley Garrett Rebecca and Laurence Grafstein* The Hershey Family Foundation Alan Jones and Ashley Garrett*

Massachusetts Cultural Council Lucy and Ward Mooney* National Endowment for the Arts Maureen and Mike Sheehan* The Harold and Mimi Steinberg Charitable Trust

BENEFACTOR The Bank of America Charitable Foundation, Inc. Amy and Ed Brakeman* Katie and Paul Buttenwieser* Betsy and Edward Cohen* The Dana Foundation

$50,000-$99,999

LEADER Laurie Burt* The Gregory C. Carr Foundation RoAnn Costin Sandi and Andrew Farkas* Michael Feinstein and Denise Waldron*

$25,000-$49,000 Fresh Sound Foundation Ann and Graham Gund* Barbara and Amos Hostetter* Lizbeth and George Krupp* Jeanne and Dennis Masel* Newbury Comics Inc.

Lisbeth Tarlow and Stephen Kay* Theatre Forward

Horace H. Irvine II Barbara Jordan and Robert Pemberton Judith and Douglas Krupp Priscilla Lawrence and Patrick Melampy Serena and Bill Lese Tristin and Martin Mannion Mass Humanities Sally McNagny and Robert Green Sharon and Daniel Milikowsky Hee-Jung and John Moon Karen and Gary Mueller Marjorie and Robert Ory Stacy Osur and Keith Gilbert

Diane Paulus and Randy Weiner Cokie and Lee Perry Julia Pershan and Jonathan Cohen Janet and Irv Plotkin Stan Ponte and John Metzner Andrea and Ron Rodericks Patricia Romeo-Gilbert and Paul Gilbert Valerie Beth Schwartz Foundation State Street Corporation Melinda B. Thaler Charlotte and Herb Wagner Susan and Donald Ware Fran and Barry Weissler Nadine Wong and David Chang

Candy Kosow Gold and Martin Waters Rachael Goldfarb Lindsay and Garth Greimann Rosa Hallowell and Mark Stein Peggy Hanratty The Office of the Provost at Harvard University Heather and James Higgins Jonathan Hochwald Maisie and James Houghton Ambassador Swanee Hunt Karen Johansen and Gardner Hendrie Terry and Gene Kaufman Landry Family Foundation ^ Lars Foundation Lori Lesser

Fumi and Kako Matsumoto Carolyn and Phil Perelmuter Heather Randall Cynthia and John Reed Rosse Family Charitable Foundation Nichole Bookwalter Savenor and Alan Savenor Lisa Schmid and Joel Alvord Maggie and Jonathan Seelig The Shane Foundation John Travis Sarasina and Mike Tuchen Davin T. Wedel and David M. Paul Mary and Ted Wendell Stephen H. Zinner and S. Wade Taylor

PRODUCER Amy and David Abrams Yuriko Jane Anton and Philip Anton Jill and John Avery Robert Bailey Hilary and Philip Burling Chung Family Foundation Barbara and Rodgin Cohen The Elphaba Fund Drew Faust Catherine Gellert Jody and Thomas Gill Erin Gilligan and Hoil Kim Perrin and Bruns Grayson Marcia Head John W. Henry Family Foundation

$10,000-$24,999

PARTNER Anonymous (2) The Acorn Foundation/ Barbara and Theodore Alfond Frances Shtull Adams Peter Antoszyk Patricia Beilman and David Poor Robert Bowie jr. Kate and Gerald Chertavian Alexi and Steve Conine Christopher Connolly and Marjorie Liner Kathy Connor Karen Conway Susan Edgman-Levitan and Richard Levitan Gerald Flaxer Charitable Foundation Shanti Fry and Jeffrey Zinsmeyer

$5,000-$9,999

SPONSOR Anonymous (6) Dianne Anderson Barbara E. Bierer, M.D. and Steven E. Hyman, M.D.* Nancy and David Berman Diane Borger Joy and Steven Bunson Ronni and Ronald Casty Clarke and Ethel D. Coggeshall Beth and Richard Compson Lynn Dale and Frank Wisneski Walter Donovan Silvia Gosnell Barbara and Steve Grossman Pamela Haran and David S. Godkin Mady and Sandy Harman Phyllis Harrington Linda A. Hill and Dr. Roger E. Breitbart Peter Hornstra The Roy A. Hunt Foundation Susan Jacobs

$2,500-$4,999 Madeline Jacquet Debbie Jean and Darin Samaraweera Kay Kane Susan B. Kaplan Jerome P. Kassirer, MD and Sheridan Kassirer Barbara H. Landreth, M.D. G. Barrie Landry Susan and Steven Levkoff Joyce Linde Barbara Manocherian Professor Timothy McCarthy and CJ Crowder Kathy Metcalfe and Langdon Wheeler Emily Moskowitz Diana Nelson and John C. Atwater Mercedes Nugent-Head and James C. Marlas Mary-Kathleen O'Connell and Jeffrey Bernfeld

PATRON Anonymous (3) Mary Akerson and Steven Cohen Alexander, Aronson, Finning & Co., CPAs Barbara and George Beal Carol Beggy The Beker Foundation Janet L. Berkeley and Robert Duboff Nancy Bernhard and David Margolin Linda Cabot Black Barbara and William Boger Garen Bohlin Charity Brown Dorothea and Sheldon Buckler Jonathan Bush Betsy Cabot The Edmund and Betsy Cabot Charitable Foundation Diane Cataldo Carol and Chet Cekala Antonia H. Chayes Charles Cherington Jim Chervenak Lizabeth Cohen and Herrick Eaton Chapman Mr. and Mrs. Stewart L. Cohen Elizabeth Creighton Anthony Demarco Leigh Denny Nancy Donahoe and John Cohen Eastern Bank Amy Edmondson and George Daley Mary and Juan Enriquez Deborah and Ronald Feinstein Linda and Michael Frieze Kathleen Gaffney Mark Glasser Lisa Katz Golod Andy Grasier James Gray Marjorie and Nicholas Greville Lori E. Gross and Robert Douglas Campbell Jeanne Hagerty Melinda Hall and Larry Pratt Joseph Hammer Ms. Kathy Herrman

The Open Gate Inc. Madeline Osit and Dan Maude Gabrielle and Michael Palitz D. Randy Peeler Gerald Pier Amy and Jonathan Poorvu Ellen Gordon Reeves Jeffrey Richards Helen Riess, M.D. and Norman Nishioka, M.D. Susan and Glenn Rothman Molly Schoeck and Guy MacDonald Kristine Shadek Rachael Solem Deborah Sweet and Steven Lazar Jack Tantleff Delia and Robin Thompson Deb Tolman and Luis Ubinas Ruth and Bill Weinstein Dyann and Peter Wirth

$1,000-$2,499 Perry Hewitt Megan and David Hinckley Alice Hoffman Hunt Alternatives Hurlbut Family Charitable Lead Unitrust Allison Johnson Jerry Jordan Melissa Kaish and Jonathan Dorfman Rita J. and Stanley H. Kaplan Family Foundation, Inc. Stephanie and Rakesh Khurana Nancy P. King Lawrence Kotin Peri and Jim Kutchin Laurie Ann Laba and Neale I. Eckstein Dean Huntington Lambert Katherine N. Lapp Jeannie and Jonathan Lavine Stacey Schneer Lee Lori Leif Karen and Nathaniel Levy Harriet and Alan Lewis John D.C. Little Monique Sullivan Lowitt and Ian Lowitt Macy's Inc. Marcia Marcus Alice and Coleman Mark Jennifer Maseda Kelly and Steven Migliero Dr. Ann Moritz and David Arnold Jonathan Moses The Cozen O'Connor Foundation Inc. Kate Olmsted and John Grossman Eunice Panetta Alecia Parker Patricia and Finley Perry Dr. Vibha PinglĂŠ and Ashutosh Varshney Fern Portnoy and Roger Goldman Suzanne Priebatsch Sara Gold Rafel Jean Renfield-Miller and Doug Miller Karen Foote Richards

AndrĂŠe Robert and Thomas M. Burger Gabriela and Bob Romanow Carol and Jim Rosen Amy Russo Katie and Jim Ryan Allison K. Ryder and David B. Jones Linda Sallop and Michael Fenlon Cynthia Samuelson Janice Saragoni Claire and Edward Saxe Susan Schechter Christine and Richard Shea Michael Shinagel and Marjorie North The Sholley Foundation, in honor of Jeremy Geidt Deborah Sinay and Charles J. Kravetz Dr. Mark Slovenkai Somerled Charitable Foundation Megan and Soyoun Song Ildiko Sragli and Barry Appelman Susan Stafford Leslie Anne Sullivan Robert Svikhart Janet Tiampo and David Parker The Joseph W. and Faith K. Tiberio Charitable Foundation Brad Voigt and William Burton Mindee Wasserman Janet and Jim Wirtz Gwill York and Paul Maeder Jonathan Yorks Fancy and Jeff Zilberfarb

CONTRIBUTOR Anonymous (2) Tina Aronson and Koby Rotstein Jenny Lyn Bader Evelyn Barnes William M. Bazzy Kathleen Begala and Yves-AndrĂŠ Istel Lisa Bevilaqua Renee Brant Kathleen Brochin Andrew Burns Marla Capozzi and Tim Harned Andrew Cogan Elizabeth Colt and Peter Simonds Dino DiPalma Esta and Robert Epstein Eversource Energy Foundation Homa Farjadi and Mohsen Mostafavi Judith and Warren Feder Anna May and Timothy Feige Chris Flynn Brian Gerson Givenik Beth Golden Professors Mary Jo and Byron Good Grafton Street Ms. Laura Green and Dr. David Golan Drs. Shelly Greenfield and Allan Brandt

$500-$999 Lisa Gruenberg and Martin Carmichael ^ Dena and Felda Hardymon Harvard University Public Affairs and Communications Department Ruth and Stephen Hendel Nikola and David Hennes Vijay Iyer Dawn Jardini Belinda Juran and Evan Schapiro Rita J. and Stanley H. Kaplan Family Foundation, Inc. Marjie and Robert Kargman Jane Katims and Dan Perlman Priscilla Kauff Jim Keegan Lynn Kodama Liberty Mutual, Give with Liberty Program Mr. and Mrs. Hambleton Lord Scott Mauro Dr. Lindsay McNair Anita Meiklejohn and Vincent Piccirilli Cordelia and Carl Menges Patricia E. Cleary Miller Ph.D Sandra Moose and Eric Birch Mylar Productions LLC Newton at Home Sabrina and Robert Nicholson Susan Novick Susan Olsen Virginia Osborne

SUPPORTER Anonymous (4) Jennifer Aronson Elizabeth Ascher and Michael Yogman Sue and Henry Bass Mrs. Nicolette Beerel and Dr. Gustav H. Beerel, PhD Barbara Berke Margie and Michael Bogdanow Lisa Breen and Jack Welch Nancy Dellarocco Thomas Engelman Lisa Ennis Anita Feins and Steven Lampert Elizabeth Fennell Anna Fitzloff and Elissa Best Brenda and Harvey Freishtat Constance and Michael Fulenwider Alan Garber and Dr. Anne Yahanda Howard Gardner, M.D. Kathleen and Robert Garner Verna C. Gibbs, M.D. Laurie and Jeffrey Goldbarg, M.D. Mark Granovsky Liz Grinspoon Robert Harrington

Andrew Perlmutter Susan Pett Sarah Piper Jill Rachesky Sally C. Reid and John D. Sigel Carolyn G. Robins Ruthie Rohde and Sigmund Roos Deborah Ross Adina Schecter Deborah Sharpe Wendy Shattuck and Sam Plimpton Steven Showalter and Jeffrey Davis Mason and Jeannie Smith Nancy and Edward Stavis Lisa Stern David Stonestreet, in honor of Beth Pollock Tavneet Suri T&C Main Street Inc. Beth and Anthony Terrana Toscano Gloria and Arnold Tofias Ashley and Alexander von Perfall Kristen Wainwright and Richard Harriman Stacey Gillis Weber and Jeffrey Weber Bruce Whitacre Ms. Kelsey Wirth and Dr. Samuel Myers Joanne Wise Melissa and Jim Woodman

$250-$499 John Hart Sally and Mark Harty Marija and John Hauser Robert and Mary Higgins Diane and James Hirshberg Sonia Hofkosh and Jonathan Hulbert Amy and Paul Holt Caroline and Fred Hoppin Cyndi Jones and Steve Birnbaum Rona and Robert Kiley Claire Kohn Lisa and Bill Laskin Kenneth Livak Kathleen Malley Barbara A. Manzolillo James Mattimore Daniel McCarthy Sharon Miller Evelyn and Mac Musser Christian Nolen Professor Suzanne P. Ogden and Peter Rogers Carol Paik and Daniel Slifkin Drs. Hilda and Max Perlitsh Tom Quintal

Wendy Sarasohn Lisa Sotto and Bruce Saber Nina Schwalbe and Sally Girvin Pamela Schwartz Ellen and Mark Silverman Stephen Stulck Leslie Sullivan Tides Foundation Jane and William Vaughn III Ellen Weissberg and Lewis Gould Ryan West Sharon Goddard White and David White San San Wong Clark Wright Carolyn Zern William Zinn *Donors who provide annual operating support of $25,000 or more are members of the Artistic Director's Circle ^ Donors who have given in memory of Bryan Bernfeld

A.R.T. N.Y.C. DONORS A.R.T. N.Y.C. is a group of curious, committed, and engaged individuals who provide generous annual support to the American Repertory Theater. The following individuals supported with gifts of $250 and above. LEADERSHIP CIRCLE $10,000 and above

A.R.T. N.Y.C. Leardership Circle includes New York-based donors of $10,000 and above, and all New York-based Trustees and Advisors. Barbara and Rodgin Cohen, Zita Ezpeleta and Kewsong Lee, Sandi and Andrew Farkas, Catherine Gellert, Rebecca and Laurence Grafstein, Heather and James Higgins, Alan Jones and Ashley Garrett, Janet and Howard Kagan, Serena and Bill Lese, Jeanne and Dennis Masel, Rebecca Gold and Nathan Milikowsky, Hee-Jung and John Moon, Julia Pershan and Jonathan Cohen, Stan Ponte and John Metzner, Ellen Gordon Reeves, Melinda B. Thaler, Nadine Wong and David Chang

A.R.T. N.Y.C. SUPPORTER

Anonymous (2), Jenny Lyn Bader, Kathleen Begala and Yves-André Istel, Patricia Beilman and David Poor, Amy and Ed Brakeman, Kathleen Brochin, Joy and Steven Bunson, Andrew Cogan, Anna May and Timothy Feige, Michael Feinstein and Denise Waldron, Brian Gerson, Candy Kosow Gold and Martin Waters, Beth Golden, Andy Grasier, Nikola and David Hennes, Rosemarie and Steve Johnson, Melissa Kaish and Jonathan Dorfman, Priscilla Kauff, Barbara H. Landreth, M.D., Lori Lesser, Monique Sullivan Lowitt and Ian Lowitt, Cordelia and Carl Menges, Lucy and Ward Mooney, Jonathan Moses, Susan Novick, Mercedes Nugent-Head and James C. Marlas, Carol Paik and Daniel Slifkin, Sarah Piper, Jill Rachesky, Heather Randall, Deborah Ross, Adina Schecter, Lisa Sotto and Bruce Saber, Lisa Stern, Deb Tolman and Luis Ubinas, Ashley and Alexander von Perfall, Stacey Gillis Weber and Jeffrey Weber, Bruce Whitacre

IN-KIND SUPPORTERS The A.R.T. thanks the following individual and corporate supporters for their invaluable in-kind donations. Southwest Airlines (Official Airline Sponsor) southwest.com

Ilex Designs/ Andrew Anderson (Floral Sponsor) ilexflowers.com

Aesop Allagash Brewing Company, Inc. Beat Brasserie Be Our Guest Inc. Cambridge, 1. The Catered Affair The Charles Hotel Google Rebecca and Laurence Grafstein Grafton Street The Graphic Group

The Urban Grape/ Hadley and T.J. Douglas (Wine Sponsor) theurbangrape.com

DigBoston (Season Publication Partner) digboston.com

Grendel's Den Harvest Henrietta's Table Georgene and Dudley Herschbach Megan and David Hinckley Allan Jones and Ashley Garrett Alison and Bob Murchison Night Market Noir Bar Mary-Kathleen O'Connell and Jeffrey Bernfeld

Peterson Party Center (Party Rental Sponsor) Petersonpartycenter.com

Linda Hammett Ory and Andrew Ory Parsnip Regattabar Rialto The Sinclair Melinda B. Thaler Toscano United Staging and Rigging

THEATRE FORWARD Theatre Forward is a not-for-profit organization that advances the American theatre and its communities by providing funding and other resources to the country’s leading nonprofit theatres. The following foundations, individuals and corporations support these theatres through their contributions of $2,500 and above to Theatre Forward.

ACE Group* Allianz Global Corporate & Specialty* Buford Alexander and Pamela Farr*◊ American Express* AOL◊† Mitchell J. Auslander*◊ Bank of America* Bloomberg BNY Mellon Steven & Joy Bunson*◊ Christ & Anastasia Economos◊ Chubb Group of Insurance Companies* Cisco Systems, Inc.* Citi DeWitt Stern* Paula Dominick*◊ Dorfman and Kaish Family Foundation, Inc. ◊ Dorsey & Whitney Foundation Dramatists Play Service, Inc.* John R. Dutt*◊ Edgerton Foundation Irwin & Rosalyn Engelman* Epiq Systems* EY* Bruce R. and Tracey Ewing*◊ Jessica Farr*◊ Richard Fitzburgh*◊ Ford Foundation Alan & Jennifer Freedman*◊ Ruth E. Gitlin◊ Goldman, Sachs & Co.

Goodwin Proctor LLP* Mason and Kim Granger*◊ Ted Hartley & RKO Stage* Hanover Insurance Group* HCC Specialty Underwriters, Inc.* Colleen & Philip Hempleman ◊ Hiscox * Gregory S. Hurst*◊ Howard and Janet Kagan ◊ Joseph F. Kirk*◊ Adrian Liddard ◊ Susan & John Major Donor Advised Fund at the Rancho Sante Fe Foundation ◊ Marsh & McLennan Companies, Inc. John R. Mathena *◊ Jonathan Maurer and Gretchen Shugart*◊ McGraw Hill Financial MetLife Morgan Stanley National Endowment for the Arts ◊ Newmark Holdings* Ogilvy & Mather† OneBeacon Entertainment* Lisa Orberg ◊ Frank & Bonnie Orlowski*◊ Edison Peres*◊ Pfizer, Inc. Pryor Cashman LLP* PURE Insurance* Thomas C. Quick RBC Wealth Management ◊ The Schloss Family Foundation◊

Seyfarth Shaw LLP* Showtime Networks, Inc.* The Shubert Organization, Inc.* Sills Cummis & Gross P.C.* Daniel A. Simkowitz *◊ Skadden, Arps, Slate, Meagher & Flom* George S. Smith, Jr.*◊ Southwest Airlines ◊† TD Charitable Foundation◊ Theatermania.com/Gretchen Shugart *◊ John Thomopoulos*◊ Travelers Entertainment* Evelyn Mack Truitt* James S. & Lynne Turley*◊ UBS Michael A. Wall * Wells Fargo*◊ Lynne Wheeler ◊ Willkie Farr & Gallagher LLP* Isabelle Winkles*◊ *Theatre Forward/DeWitt Stern Fund for New American Theatre ◊ Educating through Theatre Support †Includes In-kind support As of September 2015 Theatre Forward supporters are former supporters of National Corporate Theatre Fund and Impact Creativity.

IDS

IGH

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DIS

SHAKESPEARE & DISCO COLLIDE EVERY SATURDAY AT OBERON Bringing you the ultimate disco experience every Saturday night! Directed by Diane Paulus | Inspired by A Midsummer Night's Dream

Education & Community Programs A.R.T. Education & Community programs offer a wide array of programming for everyone in our community, providing in-depth access to A.R.T. artists and productions. Education Experience A.R.T. engages students by connecting our productions with classroom curriculum and students’ lives. In addition to inspiring creativity, collaboration, and intellectual curiosity in our community, we support teachers with free artsintegrated teaching tools, free classroom visits, and subsidized tickets to world-class theater at the A.R.T. Community Connections A.R.T. partners with Boston-area non-profit organizations, bringing high-quality arts experiences to underserved families and individuals. Community Connections organizations work with A.R.T. to develop a custom-built arts partnership pairing subsidized tickets to A.R.T. performances with an array of enrichment programming ranging from private artist talks to creative workshops.

Neighborhood Podcast Play Series A.R.T. works with non-profit partners around the city to enliven and creatively engage with our public spaces through site-specific audio plays written by local children and teens, available on our website. WORDplay Summer Theater & Writing Camp Now in its third year, A.R.T. and 826 Boston partner for their annual camp for children ages 11-14. Twenty-five students participate in the free, five-week program to write scripts, design sets, costumes, and perform plays inspired by the A.R.T. season. A.R.T. Kids Company Children ages 5-10 join us on Saturday mornings every semester to learn the fundamentals of theater-making by creating weekly re-imaginings of classic and contemporary fairy tales, live! Proclamation An ensemble of local high school juniors and seniors team up with A.R.T. artists and Harvard scholars for an eight-week afterschool theatermaking intensive. The ensemble creates a vivid, provocative, extremely fresh, high-quality performance work. This season, Proclamation 3 explored topics of the environment and beyond.

Our Local Partners For current promotions & discounts, visit: americanrepertorytheater.org/discounts

Restaurant Partners Beat Brasserie 13 Brattle St. beatbrasserie.com

Henrietta’s Table 1 Bennett St. henriettastable.com

The Sinclair 52 Church St. sinclaircambridge.com

Cambridge, 1. 27 Church St. cambridge1.us

Night Market 75 Winthrop St. nightmkt.com

Toscano 52 Brattle St. toscanoboston.com

Grafton Street Noir Bar 1230 Massachusetts Ave. 1 Bennett St. graftonstreetcambridge.com noir-bar.com

Grendel’s Den 89 Winthrop St. grendelsden.com

Regattabar 1 Bennett St. regattabarjazz.com

Harvest 44 Brattle St. harvestcambridge.com

Rialto 1 Bennett St. rialto-restaurant.com

Hotel Partner The Charles Hotel 1 Bennett St. charleshotel.com

American Repertory Theater Staff THE TERRIE AND BRADLEY BLOOM ARTISTIC DIRECTOR

DIANE PAULUS

EXECUTIVE DIRECTOR

DIANE QUINN

ARTISTIC

Producer Director of Artistic Programs/Dramaturg Director of Special Projects Line Producer Resident Director Artistic Associate Company Manager Hasty Pudding Artistic Fellow

INSTITUTE

Director Administrative Director Associate Director Co-head of Dramaturgy Co-head of Dramaturgy Resident Literary Advisor Head of Voice & Speeach Institute Associate IATT Production Manager Associate IATT Stage Manager Technical Director

Diane Borger Ryan McKittrick Ariane Barbanell Mark Lunsford Allegra Libonati Shira Milikowsky Ryan Sweeney Sammi Cannold

Scott Zigler Julia Smeliansky Marcus Stern Anatoly Smeliansky Ryan McKittrick Arthur Holmberg Erika Bailey Sean Cummings Katherine Clanton Elizabeth Haroian Skip Curtiss

OBERON

Associate Producer Venue Manager Programming Manager Programming Associate Assistant Venue Manager Production Manager House Technician Sound Console Operator

Ariane Barbanell Leo X. Crowley Julia Kraus Emma Watt Megan Minger Skip Curtiss Justin Paice Alex Giorgetti

EXTERNAL AFFAIRS DEVELOPMENT

Director of Development Megan Hinckley Deputy Director of Development Jessica Morrison Grants Manager Meghan Coleman Development Officers Lily Lewis-McNeil, Lindsay Soson Development Information Coordinator Brendyn Schneider Development Associate Jonathan Remmers Development Intern Helen Schultz

MARKETING AND COMMUNICATIONS

Director of Marketing and Communications Anna Fitzloff Director of Press and Public Relations Katalin Mitchell Assistant Director of Marketing and Communications Grace Geller Senior Graphic Designer Joel Zayac Senior Education and Community Programs Manager Brendan Shea Education and Community Programs Associate Brenna Nicely Publications and Artistic Programs Associate Robert Duffley Videographer Johnathan Carr Marketing Interns Nicole Banks, Karlie Fitzgerald, Lena Voghel Education Intern Caraline Connor

PATRON SERVICES

Director of Patron Services/ System Administrator Ticket Services Manager Audience Services Manager Ticket Services Representatives Weekend Shift Supervisor Ticket Services Staff Front of House Manager Volunteer Usher Coordinator

As of November 2015

Derek Mueller Alicia Curtis Stephen Wuycheck Karen Snyder, Cassandra Long Heather Conroe Brittany Bonnell, Taylor Hughes, Nickolas Mellace,Jessica Mullen, Tani Nakamoto, Emma Putnam Matt Spano Barbara Lindstrom

GENERAL MANAGEMENT General Manager Associate General Manager

FINANCE

Director of Finance Senior Finance Accountant Financial Administrator Payroll Administrator Accounting Assistant

PRODUCTION

Production Manager Associate Production Managers HRDC Technical Supervisor

COSTUMES

Costume Shop Manager Assistant Costume Shop Manager Crafts Artisan Wardrobe Supervisor Wig Runner Costume/Props Stock Manager

LIGHTS

Lighting Supervisor Assistant Lighting Design Light Board Operator

PROPERTIES

Props Master Assistant Props Master Props Carpenter

SCENERY

Technical Director Assistant Technical Director Assistant Technical Director Scene Shop Supervisor Scenic Charge Artist Master Carpenter Scenic Carpenters Scenic Painter Purchaser

SOUND

Sound Supervisor Sound Board Operator Theatrical Audio Technician

STAGE

Stage Supervisor Assistant Stage Supervisor Props Runner Fly and Stage Hand

THEATER AND FACILITIES Theater and Facilities Manager

RECEPTION DESK Main Receptionists Receptionists

Steven Showalter Teresa Gozzo

Kathryn Rosenberg John Josti Stacie Hurst Paul Ravelo Toufiq Aitelfqih

Patricia Quinlan Skip Curtiss, Jeremie Lozier Kathryn Nakaji Jeannette Hawley Carson Eddy Jeffrey Scott Burrows Alma Reyes Burgos Emily Damron Suzanne O. Kadiff Matthew Adelman Sean Pieroth Jeremy Goldenberg Cynthia Lee-Sullivan Rebecca Helgeson Nicholas Menge Stephen Setterlun Mike Hamer Kristin Knutson David Schultz Jerry Vogt Peter Doucette Dan Lincoln, Garrett McEntee, York-Andreas Paris Heather Morris David Jewett Sam Lerner Brian Walters Katrina Sistare Henning Malm Christopher Eschenbach Matthew Sebastian Keelia Liptak

Tracy Keene Sarah Leon, Maria Medeiros Barbara Lindstrom, Sean O'Leary, Sarah Rodman, Matt Spano

FOR NATASHA, PIERRE & THE GREAT COMET OF 1812 Drapers Stitchers Dresser Interim Assistant Technical Director A2 A3/Instrument Technician Additional Sound Crew

Ellen Morey, Carmel Dundon Tyler Kinney, Robin Giragosian Brian Choinski Emily Leue Michelle Reiss Bryan "Bratterberry" Atterberry Harry Chaikin, Michael Policare Justin Vining Follow Spots Matt Breton, Leanne Corayer, Sumner Ellsworth, Katie Graves Master Electrician Alex Brandt Props Craftspeople Stacey Horne-Harper, Lisa Guild, Steven Manifold, Madelynne Hays, Leanne Corayer, Gregory Hanawalt, Aaron Cohen, Lauren McLean, Andrew DeShazo Scenic Painter Liz Goble, Cameron McEacheron Additional Carpenters Peter Birren, Thomas Eckenfels, Derek Jay, Emily Leue, Greg Miller, Alex Phillips, Alex Platt, Jonathan Proctor, Andy Remillard, Ray Reyes, Matthew Sebastian, Rachel Shainwald, Seth Shaw, Nick Tosches, Bryan Wheat Open Captioning c2 Primary Describer Alice Austin Secondary Describer Janet Stankus

Notes & Masthead

PLEASE NOTE: The photographing or sound recording of any performance or the possession of any device for such photgraphing or recording inside this theater, without the written permission of the management, is prohibited by law. Violators may be punished by ejection, and violations may render the offender liable for monetary damages. EMERGENCIES: In case of emergency, contact the House Manager or nearest usher.

Post-performance discussions follow select matinees, visit our website for specific dates and times. LARGE PRINT

SF OC

All venues are fully accessible.

WEST LOBBY

Assistive listening devices are available for all A.R.T. performances. Large Print and Braille programs are available at select performances. A.R.T. offers Open Captioning, Audio Description, ASL interpreted, & Sensory Friendly Programming at Designated performances throughout the year. email: ticketservices@amrep.org/call: 617.547.8300

PROGRAMS AND GUIDES BY DIGBOSTON

Publisher Design Sales

Jeff Lawrence Tak Toyoshima Nate Andrews, Jesse Weiss

For program advertising opportunities please contact: sales@digboston.com

FRONT LOBBY

Nearest exit route Fire extinguishers

Designated Meeting Site Cross Brattle St. to Radcliffe Yard

FIRE NOTICE: Please take a moment to locate the nearest emergency exit. In the event of a fire or other emergency, remain calm and listen for directions from management and/or via our public address system. ALL ADMISSIONS INTO THE THEATER, ONCE THE PERFORMANCE HAS BEGUN, WILL BE AT THE DISCRETION OF MANAGEMENT.

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Building Community One Home at a Time Supporting: The Mt. Auburn Hospital, US Fund for UNICEF, The Guidance Center, and Huntington Theatre Company