The Plough and the Stars by American Repertory Theater

ABBEY THEATRE ON TOUR

THE PLOUGH AND THE STARS SEAN Oâ&#x20AC;&#x2122;CASEY

2016/17 Season

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

WELCOME TO THE PLOUGH AND THE STARS With its unflinching portrayal of the 1916 Easter Rising, The Plough and the Stars was met with riots at its 1926 premiere. A century after the Rising sparked Ireland's modern independence movement, the Abbey Theatre has revived this controversial classic. This production marks the first performance of Sean O'Casey's work at the A.R.T. Through dramas including The Shadow of a Gunman, Juno and the Paycock, and The Silver Tassie, O'Casey immortalized the voices of Dublin's everyday citizens and their struggles in famine and war. Ireland's national theater, the Abbey Theatre launched its first U.S. tour in Boston in 1911. Just over a century later, we are honored to welcome The Plough and the Stars to the A.R.T. A world-class team of artists has brought this production to contemporary life, including Olivier Award-winning director Sean Holmes, who is also the Artistic Director of London's Lyric Hammersmith theater. These guests join a roster of recent international visiting productions, including last season's 1984, staged by the U.K.'s Headlong Theatre, and the U.S. premiere of Hear Word: Naija Woman Talk True, featuring an ensemble from Lagos, Nigeria. Thank you for joining me in welcoming these special guests to our theater.

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Obehi Janice in Company One Theatre’s We’re Gonna Die. Playing October 4 - 8, 2016, at OBERON

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American Repertory Theater presents

The Abbey Theatre in association with Cusack Projects Limited production of

By SEAN O'CASEY Set Design JON BAUSOR

Costume Design CATHERINE FAY

Lighting Design PAUL KEOGAN

Music & Sound Design PHILIP STEWART

Stage Manager DIARMUID O'QUIGLEY

Voice Director ANDREA AINSWORTH

Casting Director KELLY PHELAN

Hair & Make-Up VAL SHERLOCK

Directed by SEAN HOLMES First performance at the Loeb Drama Center on September 24, 2016. First performance at the Abbey Theatre on March 9, 2016. The Plough and the Stars premiered at the Abbey Theatre in 1926.

This show runs approximately 2 hours and 35 minutes, incuding one intermission. The show includes loud gun ďŹ re, sound effects, and music. PRODUCTION SUPPORT McCann FitzGerald Boston Friends of the Abbey Theatre This performance is supported by Culture Ireland as part of the Ireland 2016 Centenary Programme.

A.R.T. SEASON SUPPORT

The A.R.T. 2016/17 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. The A.R.T. 2016/17 Season is dedicated in loving memory to Christopher Eschenbach.

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

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CAST

(in alphabetical order)

Jack Clitheroe ��IAN-LLOYD ANDERSON Nora Clitheroe ��KATE STANLEY BRENNAN Sergeant Tinley ��TONY CLAY Lieut. Langon ��LLOYD COONEY Bessie Burgess ��HILDA FAY Fluther Good ��DAVID GANLY Mollser �� RACHEL GLEESON Peter Flynn �� JAMES HAYES Capt. Brennan ��LIAM HESLIN A Bar-tender ��GER KELLY Mrs. Gogan �� JANET MORAN The Young Covey....................................................................CIARÁN O'BRIEN Corporal Stoddart.................................................................NIMA TALEGHANI Rosie Redmond �� NYREE YERGAINHARSIAN

ADDITIONAL STAFF Deputy Stage Manager.................................................................ORLA BURKE Assistant Stage Manager...................................................AUDREY ROONEY Production Stage Manager.................................................KATIE AILINGER* Production Associate Director............................................RONAN PHELAN Assistant Set Designer.....................................................REBECCA BROWER Set Construction.......................................................................................TPS LTD. Scenic Finishing.................................................................................LIZ BARKER Tower Construction..................................................CAPITAL SCENERY LTD. Relight Designer..........................................................................DAVID SEXTON Stage Technician �� LARRY JONES Sound Technician �� DEREK CONAGHY Lighting Technician ��EOIN STAPLETON Rigger............................................................................................................STU COX Wardrobe Supervisor.........................................................HELEN CONNOLLY Production Manager...................................................................LOUIS BAXTER Tour Manager ��AISLING ORMONDE (*) Member of Actors' Equity Association

ORDER OF SCENES ACT I The living room of the Clitheroe flat in a Dublin tenement ACT II A public house, outside of which a meeting is being held ACT III The street outside the Clitheroe tenement ACT IV The attic room of Bessie Burgess Acts I and II, November 1915. Acts III and IV, Easter Week 1916. A few days elapse between Acts III and IV.

A NOTE ON

The Plough and the Stars by Catherine McKenna On Easter Monday (April 24), 1916, some 1,400 revolutionaries, drawn from the ranks of two nationalist militias, the Irish Citizen Army and the Irish Volunteers, seized possession of about ten strategic sites in Dublin, most prominently the General Post Office, and proclaimed the establishment of an Irish Republic. The Easter Rising was widely recognized, even by some of the participants, as more of a symbolic gesture, the ignition of a spark, than the beginning of an actual war of independence. So few could hardly hope to throw off British control of Ireland, which was ruled from Westminster through a viceregal administration. Although Britain’s military forces, including some 200,000 Irishmen, were fully engaged in fighting the First World War on the continent, Britain found men and resources for suppression of the Rising in Ireland. Troops, heavy artillery, and a gunboat were turned on the rebels, and within a week, the Rising ended in the unconditional surrender of the revolutionaries. By that time, nearly 500 were dead, more than half of them Dublin civilians; swaths of the city were in ruins, burned to the ground or turned to rubble by artillery; and hundreds of businesses had been destroyed by looting. When Sean O’Casey’s The Plough and the Stars opened at the Abbey Theatre in Dublin on February 8, 1926, the Easter Rising was ten years in the past. It had concluded with the execution of fifteen of the leaders and the internment of thousands accused of participating. The brutal suppression of an unpopular armed rebellion had resulted in the explosion of nationalist sentiment among the Irish people, most of whom had wanted nothing more than some degree of self-government, or Home Rule, when the Rising began. After the end of the World War, a real War of Independence had broken out in Ireland. When that war concluded with a treaty establishing a Free State in twenty-six of Ireland’s thirty-two counties, civil war ensued between those nationalists willing to accept this level of autonomy and those determined to fight on until the entire island of Ireland was independent. Between the War of Independence and the Civil War, Ireland had been in turmoil from 1919 to 1923. The first half of The Plough and the Stars is set six months before the Rising, and the second during Easter Week 1916. O’Casey looks back at the moment when armed revolution began and reflects on the costs of that doomed, destructive “blood sacrifice." Characters like Peter Flynn, the Covey, Mrs. Gogan, Bessie Burgess and Fluther Good are colorful and comic in their language and their relationships, but lurking within their dialogue are many of the challenges that the fledgling Free State was facing by 1926—the loss of some 35,000 Irishmen serving in the British Army in World War I, the emotional and social scars of the lacerating Civil War, the religiosity that would resist science and cede considerable power to the Church, class divisions that would endure despite the overthrow of an English ruling class, sectarian antagonism, unbalanced gender relations, and grinding poverty. The main events take place at the edge of the stage: in Act II we hear the voice of a “man” addressing a crowd outside the pub in which the scene is set, assuring them that “bloodshed is a cleansing and sanctifying thing, and the nation 6

"The Easter Rising was widely recognized, even by some of the participants, as more of a symbolic gesture, the ignition of a spark, than the beginning of an actial war of independence."

Photo: Lloyd Cooney in The Plough and the Stars; Ros Kavanagh.

that regards it as the final horror has lost its manhood.” This unidentified figure speaks the ideas of Patrick Pearse, who wrote the Proclamation of the Irish Republic that he and six other leaders of the Rising signed, and who read it out at the door of the General Post Office shortly after noon on Easter Monday. At the end of the act, we hear the same man speaking the actual words that Pearse famously spoke at the graveside of Jeremiah O’Donovan Rossa in August 1915: “They think they have pacified Ireland; think they have foreseen everything; but the fools, the fools, the fools!—they have left us our Fenian dead, and while Ireland holds these graves, Ireland unfree shall never be at peace.” The world of national politics and high rhetoric is nearly offstage in The Plough and the Stars, however. O’Casey focuses instead on a Dublin tenement and its residents. These people have different relationships to the events going on around them—some are enthusiastic, some hostile—and are affected by them in very different ways. It is a world that O’Casey knew well, having been raised in just such a Dublin tenement. Whereas most of the early productions at the Abbey Theatre involved traditional Irish legend and folklore or the lives of country people, O’Casey trained his eye on the lives and language of contemporary urban dwellers. Indeed, we catch a glimpse of O’Casey himself, perhaps, in the play, in the figure of the Covey, an ardent socialist for whom the international plight of the working class is of far greater consequence than the aspirations of Ireland to nationhood. The 1926 production of The Plough and the Stars provoked protest in Dublin from people who objected strenuously to O’Casey’s cynical view of the Rising and his antiheroic representation of its participants. So it is highly appropriate that the Abbey Theatre has chosen this play for a new production in 2016, the centenary of the Easter Rising. The commemoration of the Rising has been a time of reflection on all that has followed on from it—not only the War of Independence, partition, the Civil War, and the establishment of the Free State and later the Republic, but also the decades of economic hardship and mass emigration, the violence of thirty years of Troubles, membership in the European Union, the Celtic Tiger, and its collapse. The questions still resonate: what did the blood sacrifice achieve? Was the violence necessary? In the words of W.B. Yeats in his poem “Easter 1916,” “Was it needless death after all?” Dr. Catherine McKenna is the Margaret Brooks Robinson Professor of Celtic Languages and Literatures and Department Chair of the Harvard Department of Celtic Languages and Literatures. This article was originally published in the A.R.T. Guide, available for free in the A.R.T. lobbies and online.

BACKGROUND (1541-1916) English monarchs had ruled Ireland since 1541, when Henry VIII was crowned King of Ireland. (Prior to that, Ireland had been a papal property of the English crown.) In 1800, The Acts of Union abolished the Irish Parliament and created the United Kingdom of Great Britain and Ireland. Over the 19th century, competing nationalist and Home Rule movements sought a return of self-government through social, legal, and revolutionary means. In 1914, the Home Rule Act restored self-government to Ireland; however, as World War I broke out, its implementation was continually postponed. (In that conflict, more than 200,000 Irishmen fought in the British Army.) Against the chaotic backdrop of the conflict, nationalist groups collaborated to plan an armed insurrection against British rule.

AFTERMATH

April 23, 1916: The Rising has initially been planned for this day; however, two days prior, British troops seize a German ship carrying arms destined for the Irish Volunteer forces. In response to the loss of these much-needed munitions, Volunteer leader Eoin MacNeill attempts to call off the Rising. As would-be fighters continue to arrive in Dublin despite MacNeill’s warnings, however, Patrick Pearse and other leaders decide to postpone the Rising to the following day and proceed.

THE EASTER RISING

After the executions, resentment towards British rule grows. Martial law is enforced until November of 1916, and a broad nationalist coalition forms under the banner of Sinn Féin, formalized in October 1917. Fueled by outrage at an attempted forced conscription by the increasingly troopstrapped British Army, Sinn Féin sweeps parliamentary elections in 1918. They form the Dáil Éireann, a revolutionary parliament, and adopt the Irish Declaration of Independence on January 21, 1919. The Irish Republican Army, led by Michael Collins, mounts the guerilla War for Independence. After two years of fighting and over 2,000 fatalities, the Anglo-Irish Treaty is signed, granting independence to 26 of Ireland’s 32 counties.

EASTER SUNDAY

A TIMELINE

MAY 1916 After courts-martial conducted in secret and without defense counsel, Patrick Pearse and 14 other leaders of the Rising (including all seven signatories of the Proclamation) are executed by firing squad at Kilmainham Gaol. (James Connolly is shot while tied to a chair, unable to stand due to a shattered ankle.)

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MONDAY April 24, 1916: The Rising begins in Dublin. Forces from the Irish Citizen Army and the Irish Volunteers occupy key locations around the city. They establish strongholds at the General Post Office (GPO), St. Stephen’s Green, City Hall, Boland’s Mills, Four Courts, and other central landmarks. Patrick Pearse reads the Proclamation of the Irish Republic and raises the Irish tricolor above the GPO.

TUESDAY April 25, 1916: Initially taken by surprise, British authorities declare martial law and mount a military response to the Rising. British troops establish a cordon around the city center and mass in Dublin Castle. A firefight drives Irish Volunteers from St. Stephen’s Green. Pearse calls upon citizens to support the Rising with his Manifesto to the Citizens of Dublin. A mob begins to loot several prominent Dublin shops.

WEDNESDAY April 26, 1916: British military response intensifies. General Maxwell departs London under command to restore order by any means necessary. Gunships and field artillery shell remaining Volunteer strongholds, including the GPO. In an encounter known as the Battle of Mount Street Bridge, Irish Volunteers inflict heavy casualties on the British. James Connolly’s Irish Citizen Army fly their flag, the “Starry Plough,” over the Imperial Hotel.

THURSDAY April 27, 1916: Irish Volunteers make strong showings at several locations, but more British troops arrive and begin inflicting heavy casualties, including civilian deaths and extensive destruction of buildings. Pearse announces (fictitiously) that the Provinces have risen in support of the Rising in order to rally the troops still stationed in the GPO.

FRIDAY

SATURDAY April 29, 1916: Pearse accepts unconditional surrender. After 485 fatalities (a majority of them civilian), over 2,500 wounded, and over 1,500 prisoners taken to British internment camps, the Rising concludes.

April 28, 1916: British forces now reach around 18,000, greatly outnumbering the approximately 1,600 Irish Volunteers. When a fire caused by shelling starts to spread, Pearse orders the evacuation of the GPO. Tunneling through the walls of adjacent buildings, the Volunteers begin a bloody final retreat.

Timeline prepared by Kevin Lombard and Robert Duffley. Sources: The City and the Rising (Dublin City Council, 2016), “Neighbours across the sea: A brief history of Anglo-Irish relations” (BBC, 2014), “The Executed Leaders of the 1916 Rising” (Department of the Taoiseach, 2013), “1916 Necrology 485” (Glasnevin Trust, 2015). Photo: Dublin Bread Company after the Easter Rising, 1916; National Library of Ireland on the Commons.

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Photo: Ros Kavanagh

Micaela Spina and Juan Cupini in Arrabal. Playing May 12 - June 18, 2017

Cast IAN-LLOYD ANDERSON Jack Clitheroe A.R.T.: Debut. The Abbey Theatre: Our Few and Evil Days, Sive, The Risen People, Major Barbara, Shibari, Alice in Funderland, Macbeth, The Rivals, The Resistable Rise of Arturo Ui. Other theater includes: Every Doris Has His Day, Big Ole Piece of Cake, The Bruising of the Clouds, Fishamble: The New Play Company; Richard III, Fast and Loose Theatre Company; Dublin Oldschool (Best Performer at the Dublin Fringe Festival 2015), End Time, Project Arts Centre; Ride On, Observe the Sons of Ulster Marching Towards the Somme, Livin’ Dred Theatre Company; The Field, Verdant Theatre Company; Danti Dan, Galloglass Theatre Company; The Colleen Bawn, Bedrock Productions, Project Arts Centre; Bad Sunday, TILT Theatre Company; Ferry Tales, 50 Ways to Leave Dun Laoghaire, BDNC, Carpet Theatre Company. Film/ TV include: “The Clinic,” “Raw,” “Love/ Hate,” RTÉ; "The Wild Colonial Boy," TG4; Dorothy Mills, Mars Distribution; Shadow Dancer, BBC Films and Element Pictures; Standby, Black Sheep Productions; Scratch, Warrior Films; Leave, 925 Productions; “Game of Thrones,” HBO; They Shoot People, Mark Noonan. KATE STANLEY BRENNAN Nora Clitheroe A.R.T.: Debut. The Abbey Theatre: Hedda Gabler, The Risen People, The Plough and the Stars, Terminus, The Playboy of the Western World, The Resistible Rise of Arturo Ui, Saved. Other theater includes: The Night Alive, Lyric Theatre, Belfast and the Gaiety Theatre; Witness, Project Arts Centre, The Everyman; Wuthering Heights, Salome, Gate Theatre; A New Day, Bewley’s Café Theatre; Best Man, The Everyman / Project Arts Centre; Tiny Plays For Ireland, Fishamble: The New Play Company; The Making Of ‘Tis Pity She’s A Whore, Siren Productions; The Last Days of Judas Iscariot (Irish Times Theatre Award Best Supporting Actress 2010 nomination), Making Strange 12

Theatre Company; Love and Money (Irish Times Theatre Award Best Actress 2009 nomination), Hatch Theatre Company; Caligula, CHRG; Translations, Ouroboros Theatre Ireland; Macbeth, Second Age Theatre Company; Mother Goose, Gaiety Theatre; Foxfinder, Theatre 503; Feel Sad About Japan, Southwark Playhouse, Nabakov; Yerma, West Yorkshire Playhouse; The Sanctuary Lamp, Arcola Theatre London; Sonnets For An Old Century, X-Bel-Air Theatre. Film/TV include: Fading Away, Filmbase; Inspector Jury, IJ Prods; Thanks for Nothing, Redomlette; Chasing The Green, Big Apple Productions; Doll House, Visit Films, Factory Productions; Dublin In Pieces, I-Wire Films; “Raw,” “Fair City,” T.X, RTÉ; “The Tudors,” HBO; Speed Dating, System 48 Ltd. In 2014, Kate released an EP called Miss Kate & the Higher State. TONY CLAY Sergeant Tinley A.R.T.: Debut. The Abbey Theatre: Debut. Other theater includes: Lines, The Yard Theatre; Albion, Bush Theatre; Fifteen Minutes with You, Wimbledon College of Art; The Wonderful World of Dissocia, A Midsummer Night’s Dream, Earthquakes in London, Promise, All My Sons, Ivanov, Someone Who’ll Watch Over Me, Arts Ed; The Machine Wreckers, Miskin Theatre. Film/TV include: The Second Coming, Film 4; An Ordinary Life, Good Guy Productions, “Foyles War,” ITV. LLOYD COONEY Lieut. Langon A.R.T.: Debut. The Abbey Theatre: The Shadow of a Gunman, The Waste Ground Party, Twelfth Night, The Risen People. Other theater includes: The Windstealers, Eccles Theatre Group; Angel Meadow, Thirteen, Living the Lockout, The Boys of Foley Street, ANU Productions; Romeo and Juliet, Devise and Conquer; Delta Phase, Polish Theatre Ireland. Radio/ TV include: The Commitments and The Guts, BBC Radio; “Charlie,” Touchpaper TV/ Element Films.

HILDA FAY Bessie Burgess A.R.T.: Debut. The Abbey Theatre: Tina’s Idea of Fun, Oedipus, The Risen People, Perve, Little Gem, The Playboy of the Western World. Other theater includes: The Threepenny Opera, Gate Theatre; Little Gem (Best Ensemble Dublin Fringe 2008, Best of Edinburgh Award in Edinburgh Festival Fringe 2009), Gúna Nua, tour to Project Arts Centre, Civic Theatre, Olympia Theatre, Flea Theater, and Traverse Theatre, Edinburgh; The Vagina Monologues, Tivoli Theatre, National Tour; The Woman Who Walked into Doors, Olympia Theatre, The Helix; Green and Fontamara, Vesuvius; Diptych, Louise Lowe, National Tour; Kiss ‘n’ Tell, Andrews Lane Theatre; Girls Night the Musical, National Tour; Alice Devine, Viking Theatre; Aladdin, Sleeping Beauty, Sinbad, Cinderella, Gaiety Theatre; An Feilican Fan, Crypt; Trojan Woman, Plush; Macbeth, Mill Theatre. Film/TV include: “Finbar’s Class,” “Proof,” “The Clinic,” “Fair City,” RTÉ; Ordinary Decent Criminal, Bórd Scannán na hÉireann; Saltwater, Treasure Films; Though the Sky Falls, Irish Screen; Prosperity, Element Pictures; On the Street Where You Live, Shemalir Films; Whistleblower (IFTA nomination for Best Supporting Actress), Saffron Pictures/ RTÉ, Dry Christmas, National Film School at IADT. Radio includes: Elvis is Dead, Tricks of the Trade, Garden of Eden, Serenity, 2.45am, RTÉ. DAVID GANLY Fluther Good A.R.T.: Debut. The Abbey Theatre: The Shadow of a Gunman; Drum Belly; The Cavalcaders; Observe the Sons of Ulster Marching Towards the Somme; Philadelphia, Here I Come!. Broadway: The Lonesome West, Druid, Royal Court, Sydney. Other theater includes: The Merchant of Venice, Lyric Theatre, Belfast; The Threepenny Opera, The Weir, Gate Theatre; The Risen People, The Snow Queen, Gaiety Theatre; Grease, The Sound of Music, The Wizard of Oz, Olympia Theatre; The Plough and the

Stars, Second Age Theatre Company; Extremities, Andrew’s Lane Theatre; Carousel, Tivoli Theatre; Shoot the Crow, Summerhouse, Druid; F!, Dublin Theatre Festival; Amphibians, YMCA, Wexford; Uncle Vanya, The Wizard of Oz, West Yorkshire Playhouse; Shakespeare in Love, Noel Coward Theatre, London; Cinderella, Lyric Hammersmith; Macbeth, Crucible Theatre, Sheffield; Of Mice and Men, The Watermill, Newbury; The Wizard Of Oz, London Palladium; The Beauty Queen of Leenane (Off West End Best Actor nomination); Bedtime Story and The End of the Beginning, Young Vic; Chicago, Cambridge Theatre, Istanbul, China; The Field, The Cavalcaders and John Bull’s Other Island, Tricycle Theatre; Translations, National Theatre; Hamlet, The Weir, Waiting for Godot, Theatre Royal, Northampton; Americans, The Contractor, The Quare Fellow, Oxford Stage Company; The Full Monty, Prince of Wales Theatre; Russian Tales, The Cavalcaders, Meridian Theatre Company; The Talented Mr Ripley, Watford Theatre, Dancing at Lughnasa, Salisbury Playhouse. Film/TV include: “Charlie,” RTÉ; Sunset Song, Sell-Out Pictures; Body of Lies, Warner Bros. Pictures; Hippie Hippie Shake, Studio Canal; Dorothy Mills, Fidélite Prouctions; Widow’s Peak, British Screen Productions; “Holby City,” “Doctors,” BBC. RACHEL GLEESON Mollser A.R.T.: Debut. The Abbey Theatre: Oedipus. Other theater includes: Pride and Prejudice, My Cousin Rachel, The Threepenny Opera, A Christmas Carol, Gate Theatre; Anna Bella Eema, Project Arts Centre; ShellShock, Cavan Town Hall Theatre; The Life and Sort of Death of Eric Argyle, Soho Theatre; This Is It, This Is The Day, Heroin(e) for Breakfast, Smock Alley Theatre; Moment, Tall Tales Theatre Company, Irish Tour; Fiddler on the Roof, West Side Story, Gaiety Theatre; The Wizard of Oz, Oliver, Annie, The King and I, The National Concert Hall. Film/TV include: What Richard Did, Element Pictures, "Stardust," RTÉ. Training: Samuel Beckett Centre, Trinity College Dublin. 13

Cast JAMES HAYES Peter Flynn A.R.T.: Debut. The Abbey Theatre: An Ideal Husband, Hinterland, coproduced with Out of Joint and the National Theatre, London. Off-Broadway: All That Fall, The Arts Theatre/Jermyn Street Theatre, 59E59. Other theater includes: Kiss Me Kate, Opera North; Antony and Cleopatra, The Globe; ‘Tis Pity She’s a Whore, West Yorkshire Playhouse; The Price, Lyceum, Edinburgh; Observe the Sons of Ulster Marching Towards the Somme, Hampstead Theatre; Loot, Tricycle Theatre; Written on the Heart, Royal Shakespeare Company, Stratford and Duchess Theatre; Antony and Cleopatra; Julius Caesar; The Tempest; A New Way to Please You; Thomas More; Sejanus; Richard III; Measure for Measure; The Winter’s Tale; The Lion, the Witch, and the Wardrobe; The Cherry Orchard; Woyzeck; Faust; The Taming of the Shrew; The Hostage; The Venetian Twins; Elgar’s Rondo; The Tempest; Royal Shakespeare Company; Philadelphia, Here I Come!; The Man Who Had All the Luck; Donmar Warehouse; Of Mice and Men, The Crucible, Belonging, Birmingham Rep; The Rivals, Bristol Old Vic; Hamlet, The Antipodes, Shakespeare’s Globe; Tear from a Glass Eye, Gate Theatre; Lenny, Queen’s Theatre; The Winter’s Tale, Macbeth, English Shakespeare Company; The Captain of Kopenick, Liola, Women Beware Women, Saint Joan, The Relapse, Mappa Mundi, Othello, A View from the Bridge, A Chorus of Disapproval, The Oresteia, The Fawn, Coriolanus, Electra, As I Lay Dying, The Spanish Tragedy, Amadeus, Strider, The Romans in Britain, Galileo, Grand Manoeuvres, The Misanthrope, The Front Page, Macbeth, The Good Natured Man, National Theatre, London. Film/TV include: Give or Take; The Eagle; “Hunted,” “The Café,” “Moving Wallpaper,” “Charles I,” Promoted to Glory, “Playing the Field,” “The Jury,” “Waking the Dead,” A Question of Guilt, The Winter’s Tale, Jacob, The Oresteia, Leprechauns, “Parnell,” “A Touch of Frost,” “The Bill,” “The Piglet Files,” “The March,” Wild Justice, “Bergerac,” 14

“Howard’s Way,” “Emmerdale,” “The Professionals,” “Colditz,” “A Bunch of Fives,” On the Shelf, Hold the Dream, “You’re on Your Own,” Red Roses for Me, “Tiptoe Through the Tulips.” LIAM HESLIN Capt. Brennan A.R.T.: Debut. The Abbey Theatre: Debut. Other theater includes: East of Berlin, Project Arts Centre; King Lear, Second Age Theatre Company; A Boy Called Nedd, Bitter Like a Lemon and Theatre Upstairs; PALS: The Irish at Gallipoli, ANU Productions; Borstal Boy, Rigoletto, Samson et Delila, Gaiety Theatre; The Clearing, Into the Woods, The Night Season, Mary Stuart, Scenes from the Big Picture, Poor Little Boy With No Arms, The Rover, The Suppliants, Love’s Labour’s Lost, The Lir Academy; Iphigenia in Aulis, Classic Stage Ireland; Doughnuts, Light Signals, Team Theatre. Film/TV include: Kaleidoscope, The Lir Academy; “Fair City,” RTÉ. Liam trained at The Lir Academy. GER KELLY A Bar-tender A.R.T.: Debut. The Abbey Theatre: Oedipus, Twelfth Night, The Comedy of Errors, The Playboy of the Western World, The Big House. Other theater includes: Confusion Boats, Wedding Day at Cro-Magnons, Bedrock Productions; Alone it Stands, Verdent Productions; The Last Days of Judas Iscariot, Dublin Fringe Festival; A Midsummer Night’s Dream, Phaedra’s Love, Loose Canon; History, Heroin, The Family, THEATREclub; Richard III, Chapel Royal, Dublin Castle; The Silver Tassie, Druid; Twelfth Night, Grand Pavilion Bray; The Government Inspector, Bruiser tour; 1984, Love’s Labour’s Lost, Black Snow, The Hostage, The Tempest, Summerfolk, Samuel Beckett Theatre. Film/TV include: “Love/Hate,” “Trivia,” Sin é, Redline.

JANET MORAN Mrs. Gogan A.R.T.: Debut. The Abbey Theatre: She Stoops to Conquer; Shibari; Juno and the Paycock, co-production with National Theatre, UK; Translations; No Romance; The Recruiting Officer; The Cherry Orchard; She Stoops to Conquer; Communion (Irish Times/ESB Theatre Award nomination for Best Supporting Actress); Barbaric Comedies; The Well of the Saints; The Hostage. Other theater includes: Spinning and Swing (Co-writer), Fishamble: The New Play Company; Desire Under the Elms, Freefall, Everyday, Dublin by Lamplight, Car Show, The Corn Exchange; The Bridge Below the Town, Livin’ Dred; Pineapple, Xaviers, Calipo Theatre Company; Unravelling the Ribbon, Gúna Nua; Translations, Ouroborus Theatre Company; Metamorphosis/Platonov, The Rep Experiment; Submarine Man, Upstate; King Ubu, Galway Arts Festival/ Fineswine; The Crock of Gold, Emma, Storytellers; All’s Well That Ends Well, Classic Stage Ireland; Dancing at Lughnasa, An Grianán Theatre; Royal Supreme, Theatre Royal Plymouth; Guess Who’s Coming to Dinner, Calypso; Dead Funny, Rough Magic Theatre Company; Playing From the Heart, The Ark; Her Big Chance, Bewley’s Café Theatre; Stella by Starlight, Gate Theatre; Othello, Romeo and Juliet, Second Age; The Stomping Ground, Red Kettle. Film/ TV include: Volkswagen Joe, Ripple world; Minim Rest, No Return Films; Breakfast on Pluto, Pluto Films; The Butcher Boy, Butcher Boy Productions; Moll Flanders, Moll Flanders Productions; Nothing Personal, Little Bird; “Quirke,” BBC; “Love/Hate,” Octagon Films; "Love is the Drug," West St Television; “Brigid and Eamon,” “The Clinic,” RTÉ; “Career Opportunities,” RTÉ/BBC, “Trivia,” (Outstanding Actress in a TV Comedy Series nomination, Monte Carlo Television Awards).

CIARÁN O’BRIEN The Young Covey A.R.T.: Debut. The Abbey Theatre: Drum Belly, The Government Inspector, Curse of the Starving Class, Perve, Arrah-na-Pogue, The Plough and the Stars, The Comedy of Errors, The Resistible Rise of Arturo Ui, Saved, Julius Caesar, The Importance of Being Earnest. Other theater includes: The Playboy of the Western World, Orson’s Shadow, Southwark Playhouse; Of Mice and Men, Birmingham Rep; Translations, UK Tour; Elevator, THISISPOPBABY; The Great Goat Bubble, Fishamble: The New Play Company; Travesties, Rough Magic; Durang Durang, Project Arts Centre; Between Foxrock and a Hard Place, Landmark Productions; The Shawshank Redemption, Gaiety Theatre, Cork Opera House, Derry Millennium Forum; Philadelphia, Here I Come!, Gaiety Theatre; Observe The Sons of Ulster Marching Towards the Somme, Livin’ Dred / Nomad; This is Our Youth, Bedrock Productions; Peter Pan, Pavilion Theatre; The Magic Tee, Granary Theatre, Edinburgh Fringe, Belltable Theatre, Dublin Fringe; Lil’ Red and Sk8er Jack, Civic Theatre; Fewer Emergencies, Randolph SD | The Company; How Many Miles to Babylon?, Second Age; Myrmidons, Ouroboros; Seven Deadly Teens, Dublin Fringe Festival; Oliver Twist, Gate Theatre. Film/ TV include: Pursuit, AGM Prods; “Misfits,” Channel 4; “Ripper Street,” BBC; “The Last Security Man,” RTÉ Storyland; “The Tudors,” Showtime Networks; “Fair City,” “Custer’s Last Stand Up,” RTÉ; Detained, Monster Animations; “Prince William,” Fox Television Studios; Incredible Story Studio, Minds Eye Entertainment; The Boy from Mercury, Blue Rose Films. Training: Samuel Beckett Centre, Trinity College Dublin.

Cast NIMA TALEGHANI Corporal Stoddart A.R.T.: Debut. The Abbey Theatre: Debut. Other theater includes: Mercury Fur, Middle Child / Hull Truck Theatre Company; The White Whale, Slung Low; Dangerous Liaisons, Whole Hog Theatre; A Clockwork Orange, Fourth Monkey Theatre; Road, Pornography, Warwick University Drama Society. Rehearsed readings: North Country, Arcola Theatre; 360 Degrees of Hope, Dep Arts/Slung Low. Film/ TV include: 90 Minutes, El Capitan; “Casualty,” BBC.

NYREE YERGAINHARSIAN Rosie Redmond A.R.T.: Debut. The Abbey Theatre: The Government Inspector; As You Are Now So Once Were We, The Company Theatre Company. Other theater includes: The Good Father, Axis Theatre; The Rest is Action, Fringe Fest at Project Arts Centre; Politik, Dublin Theatre Festival at Samuel Beckett Theatre; Hipsters We Met and Liked, Fringe Fest at Samuel Beckett Theatre; Who is Fergus Kilpatrick?, The Company; Phaedra’s Love, Loose Canon Theatre Company; Wedding Day at Cro Magnon’s, Bedrock Productions; Top Girls, Galloglass Theatre Company; A Midsummer Night’s Dream, Public Shakespeare Company; Sexual Perversity in Chicago, The Sugar Club; Almost Legal, The New Theatre. Film/ TV include: Dublin in Pieces, I-Wire Films; “Fair City” and “Pure Mule,” RTÉ. Training: Samuel Beckett Centre, Trinity College Dublin and Goldsmiths University London. She is a founding member of The Company Theatre Company, with whom she regularly performs as well as producing their work.

SHAKESPEARE & DISCO COLLIDE EVERY SATURDAY 16

Bringing you the ultimate disco experience every Saturday night! Directed by Diane Paulus | Inspired by A Midsummer Night's Dream

Creative Team SEAN O'CASEY Playwright John Casey was born in Dublin in 1880. In 1906 he learned Irish and changed his name to Sean Ó Cathasaigh, later to be known as Sean O’Casey. He played in Boucicault’s The Shaughraun in 1895 in the Mechanics Theatre, later rebuilt as the Abbey Theatre. He worked as a laborer on the Great Northern Railway of Ireland. During the famous Lockout and the General Strike led by Jim Larkin, he was secretary to the Women and Children’s Relief Fund. The Story of the Irish Citizen Army was published in 1919. In 1924 he gave up his laboring job to earn his living from writing alone. His plays The Shadow of a Gunman (1923), Juno and the Paycock (1924), and The Plough and the Stars (1926) all opened at the Abbey Theatre. The Silver Tassie was rejected by the Abbey Theatre in 1928 and opened in London in 1929. He began his six volume autobiography in 1931. Within the Gates opened in London and in New York (1934), The Star Turns Red opened in London in 1940, Red Roses For Me opened in Dublin (1943), Purple Dust opened in Liverpool (1945), Oak Leaves and Lavender opened in London (1947),Cock-a-Doodle Dandy opened in Newcastle-on-Tyne (1949) and Bedtime Story opened in New York (1952). The Bishop’s Bonfire, starring Cyril Cusack and directed by Tyrone Guthrie, opened in Dublin’s Gaiety Theatre (1955). His last play, The Drums of Father Ned, which had been scheduled for the 1958 Dublin Theatre Festival, was disapproved of by the Archbishop of Dublin. This led to the playwright banning his own work from professional productions in Ireland. This ban was lifted in 1964 and the Abbey Theatre presented Juno and the Paycock and The Plough and the Stars at the World Theatre Festival in London, held to mark the 400th anniversary of Shakespeare’s birth. Sean O’Casey died in 1964. SEAN HOLMES Director A.R.T.: Debut. Sean directed Drum Belly at the Abbey Theatre in 2013. He is Artistic Director of the Lyric Hammersmith where he has worked on A Midsummer Night’s Dream, Herons, Bugsy Malone, Secret Theatre Shows 1, 2, 3, 5 and 7, Cinderella, Desire Under

the Elms, Morning, Have I None, Saved, Blasted (Olivier Award 2011, Outstanding Achievement in an Affiliate Theatre), A Thousand Stars Explode in the Sky, Ghost Stories (also Duke of York’s/ Liverpool Playhouse/Panasonic Theatre, Toronto/Arts Theatre), Three Sisters and Comedians. Sean was an Associate Director of the Oxford Stage Company from 2001 to 2006 and has worked for the National Theatre, London and Royal Shakespeare Company as well as the Royal Court, Donmar Warehouse, Tricycle and Chichester Festival Theatre. JON BAUSOR Set Design A.R.T.: Debut. The Abbey Theatre: Big Love, Romeo and Juliet, Terminus, Julius Caesar. He has designed extensively in dance, opera, and theatre for companies worldwide including The Royal Opera House, National Theatre, London, National Theatre of Scotland, Young Vic, Theatre de Complicité, and both Finnish and Norwegian National Ballets. He is an associate artist of the RSC where he has designed productions including Hamlet, King Lear, The Winter’s Tale, Harold Pinter’s the Homecoming and the entire 2012 What Country Friends Is This? season. Other theatre designs include: The James Plays, National Theatre/National Theatre of Scotland/World tour; Bugsy Malone, Lyric, Hammersmith; KURSK, Sound and Fury/Young Vic/Sydney; Ghost Stories, West End/Toronto/Moscow; Lord of the Flies, To Kill a Mockingbird, Regent’s Park Open Air Theatre; MAMETZ (Winner, best design National Theatre awards and Wales Theatre awards), National Theatre of Wales; The Believers, Frantic Assembly; hang, You for me for you, Royal Court; I am Yusuf, Shebbahurr, Palestine/Young Vic; Water, Filter/Lyric/ BAM; Lionboy, Complicité. Jon studied at Oxford University before training on the Motley theatre design course. He designed the opening ceremony of the 2012 Paralympic Games in London and the kinetic sculpture to light the flame for the 2014 Paralympic Winter Games in Sochi. 17

Creative Team CATHERINE FAY Costume Design A.R.T.: Debut. Abbey Theatre: Oedipus, Bastard Amber, Liz Roche Dance Company; Our Few and Evil Days (Irish Times Theatre Award nomination), Aristocrats, Quietly, The Government Inspector, Macbeth, The Playboy of the Western World, Saved, Doubt, Doldrum Bay, Henry IV Part I (Irish Times/ESB Theatre Award nomination), On Such As We, Chair, Operating Theatre. Recent work includes: Romeo and Juliet, The Threepenny Opera, Gate Theatre. Neither Either, Body and Forgetting and Fast Portraits, Liz Roche Company. Breaking Dad (Irish Times Theatre Award nomination), Landmark Productions; O Go My Man, Buddleia, Lir Academy; Sour Angelica, R.I.A.M, Tundra, DOGS (Winner Best Production and Best Design for ABSOLUT Fringe Festival 2012), Emma Martin Dance; Ice Child, Barnstorm Theatre Company; Carmen, Opera Theatre Company. Other work includes: Romeo and Juliet, Corcadorca and Cork Opera House; she designed much of Bedrock’s back catalogue including Wedding Day at the Cro Magnon’s, Roberto Zucco, Quay West, Night Just before the Forest, Wideboy Gospel and Massacre @ Paris. Catherine is a graduate of the National College of Art and Design, Dublin. PAUL KEOGAN Lighting Design A.R.T.: Debut. The Abbey Theatre: Cyprus Avenue, Shibboleth, Our Few and Evil Days, Heartbreak House, The Risen People, Drum Belly, No Escape. Paul studied Drama at Trinity College Dublin and Glasgow University. PHILIP STEWART Music and Sound Design A.R.T.: Debut. The Abbey Theatre: Hedda Gabler, Our Few and Evil Days, Heartbreak House, The Risen People, Major Barbara, Quietly (also Edinburgh Festival Fringe 2013), The House, Pygmalion, Macbeth, Ages of the Moon, Lay Me Down Softly, Terminus, A Number, The Big House. Philip has contributed music to a broad spectrum of genres including theatre, dance, documentaries and short films. He 18

has been nominated twice for an Irish Times Theatre Award. Philip studied composition at Trinity College Dublin under Donnacha Dennehy and Roger Doyle. RONAN PHELAN Production Associate Director A.R.T.: Debut. Ronan is a freelance theatre director and an Associate Director with Rough Magic Theatre Company. He is a former Resident Assistant Director at the Abbey Theatre, during which time he assisted Wayne Jordan, Annabelle Comyn, Conall Morrison, Caitriona McLaughlin, Selina Cartmell and Gavin Quinn. Previous directing credits include: Assassins, Rough Magic SEEDS; LAMBO, Clear_the_ Air, Underscore_Productions; To SPACE, Niamh Shaw; BROADENING, Glassdoll Productions; Pocket Music, (Winner, Little Gem Award), Show in a Bag, Dublin Fringe 2011; Durang Durang, Brazen Tales Theatre Company. Radio productions include LAMBO, RTÉ Drama On One (Winner, PPI Radio Awards Best Drama 2014). Ronan is a former participant of the Rough Magic SEEDS programme and is a graduate of the DIT Conservatory of Music and Drama. KATIE AILINGER Production Stage Manager A.R.T.: In the Body of the World, Nice Fish, The Tempest, The Lily’s Revenge, The Donkey Show, Woody Sez, Futurity: A Musical By The Lisps, Ajax. OffBroadway: Nixon’s Nixon, Fresh Play Festival, MCC Theater; Trial by Water, I Land, Ma-Yi Theatre. Boston area: Choice, The Second Girl, Cry of the Reed, Streamers, Huntington Theatre Company; A Delicate Balance, The Secret Rapture, Trinity Rep; Other Desert Cities, RED, The Divine Sister, The Great American Trailer Park Musical, SpeakEasy Stage Company; God’s Ear, Pericles, Henry VIII, Actors’ Shakespeare Project. Graduate of the University of Southern California with a BFA in Stage Management and a proud member of Actors’ Equity Association.

CUSACK PROJECTS LIMITED Pádraig Cusack is Director of Cusack Projects Limited, a company dedicated to international theatre producing working with a number of companies including the Abbey Theatre, the National Theatre of Great Britain, Canadian Stage, London’s Royal Court, Corn Exchange, TheEmergencyRoom and Wales Millennium Centre. Recent projects in the US include: Not I/ Footfalls/Rockaby, BAM; riverrun, BAM; One Man, Two Guvnors with James Corden, Broadway; John Gabriel Borkman (with Alan Rickman), BAM; The Pitmen Painters, MTC/Broadway; Phèdre (with Helen Mirren), STC, Washington DC; Waves, Lincoln Center; Happy Days (with Fiona Shaw), BAM; The History Boys, Broadway. THE ABBEY THEATRE The Abbey Theatre is Ireland’s national theatre. It was founded by W.B. Yeats and Lady Augusta Gregory. Since it first opened its doors in 1904 the theatre has played a vital and often controversial role in the literary, social and cultural life of Ireland. In 1905, the Abbey Theatre first toured internationally and continues to be an ambassador for Irish arts and culture worldwide. The Abbey Theatre produces an annual programme of diverse, engaging, innovative Irish and international theatre and invests in and promotes new Irish writers and artists. We do this by placing the writer and theatre-maker at the heart of all that we do, commissioning and producing exciting new work and creating discourse and debate on the political, cultural and social issues of the day. Our aim is to present great theatre in a national context so that the stories told on stage have a resonance with artists and audiences alike.

Over the years, the Abbey Theatre has nurtured and premiered the work of major playwrights such as J.M. Synge and Sean O’Casey as well as contemporary classics from Sebastian Barry, Marina Carr, Bernard Farrell, Brian Friel, Thomas Kilroy, Frank McGuinness, Tom MacIntyre, Tom Murphy, Owen McCafferty, Mark O’Rowe and Billy Roche. We support a new generation of Irish writers at the Abbey Theatre including Richard Dormer, Gary Duggan, Shaun Dunne, Stacey Gregg, David Ireland, Jimmy McAleavey, Owen McCafferty, Elaine Murphy, Nancy Harris, Michael West and Carmel Winters. None of this can happen without our audiences and our supporters. Annie Horniman provided crucial financial support to the Abbey in its first years. Many others have followed her lead by investing in and supporting our work. Special thanks to our 2016 Season partners and funders, and to Loretta Brennan Glucksman, Honorary Chair of our North American touring in 2016. We also gratefully acknowledge the financial support of the Arts Council of Ireland. For more information visit abbeytheatre.ie.

Partial support for open captioning provided by Theatre Development Fund. The American Repertory Theater is a proud partner of PoNY 2.0, providing an artistic home for PoNY Playwrights of New York. The American Repertory Theater is a member of ArtsBoston, StageSource, and Theatre Communications Group.

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A.R.T. BOARDS

About the A.R.T.

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 Robin Kelsey Herman "Dutch" Leonard Dennis Masel Thomas B. McGrath Rebecca Milikowsky Ward Mooney Bob Murchison Andrew Ory Diane Paulus Diane Quinn Mike Sheehan Sid Yog

BOARD OF ADVISORS Karen Mueller, Co-Chair Ann Gund, Co-Chair Paolo Abelli Frances Shtull Adams Yuriko Jane Anton Robert Bowie, Jr. Philip Burling* Greg Carr Antonia Handler Chayes* Lucy Chung Lizabeth Cohen Lisa Coleman 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 Brenda Jarrell Emma Johnson Jerry Jordan Dean Huntington Lambert Ursula Liff Tim 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 American Repertory Theater (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 the leadership of Paulus and Executive Director Diane Quinn, 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; 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. The 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 and the Moscow Art Theatre 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.

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, 2015 and June 30, 2016.

VISIONARY Barr-Klarman Arts Capacity Building Initiative Doris Duke Charitable Foundation Sarah Hancock*

$100,000 and above President and Fellows of Harvard College The Johnson Family* ‡ Alison and Bob Murchison*‡

BENEFACTOR The Bank of America Charitable Foundation, Inc. Amy & Ed Brakeman*‡ Katie and Paul Buttenwieser* RoAnn Costin* The Dana Foundation Laura and Michael Dreese*

$50,000 - $99,999 E.H.A. Foundation Ann and Graham Gund* The Hershey Family Foundation Alan Jones and Ashley Garrett*† Massachusetts Cultural Council Thomas B. McGrath and Sandy Medallis*

National Endowment for the Arts Dr. Linda U. Sanger* Maureen and Mike Sheehan* The Harold and Mimi Steinberg Charitable Trust Sid Yog*

Marcia Head* John W. Henry Family Foundation Hill Holliday Barbara and Amos Hostetter* Jeanne and Dennis Masel*† Lucy and Ward Mooney*‡ National Corporate Theatre Fund Newbury Comics Inc. The Pemberton Family Foundation

Starcom & Digitas LBI Lisbeth Tarlow and Stephen Kay*

Candy Kosow Gold and Martin Waters ‡ Grayson Family Foundation Investment Technology Group Horace H. Irvine II Jerry Jordan Judith and Douglas Krupp Lizbeth and George Krupp G. Barrie Landry Serena and Bill Lese, in memory of Melva Bucksbaum† Liberty Mutual Cary Lynch Sally McNagny and Robert Green Hee-Jung and John Moon† Octagon Marjorie and Robert Ory Diane Paulus and Randy Weiner Cokie and Lee Perry

Julia Pershan and Jonathan Cohen† Janet and Irv Plotkin Stan Ponte and John Metzner† The Office of the Provost at Harvard University Rafanelli Events Patricia Romeo-Gilbert and Paul Gilbert Valerie Beth Schwartz Foundation Delia and Robin Thompson Sarasina and Mike Tuchen Donald and Susan Ware Weber Shandwick The Xander Group Inc.

Susan Edgman-Levitan and Richard Levitan Gerald Flaxer Charitable Foundation Shanti Fry and Jeffrey Zinsmeyer Jody and Thomas Gill Erin Gilligan and Hoil Kim Rachael Goldfarb Lawrence Golub‡

Lindsay and Garth Greimann Barbara and Steve Grossman Peggy Hanratty Pamela Haran and David S. Godkin Kathy and Ernie Herrman Perry Hewitt and Robert B. Hudson Heather and James Higgins†

LEADER Amy and David Abrams* Laurie Burt*‡ The Gregory C. Carr Foundation Zita Ezpeleta and Kewsong Lee*† Michael Feinstein and Denise Waldron*‡ Fresh Sound Foundation Catherine Gellert*† Rebecca and Laurence Grafstein*†

$25,000 - $49,999

PRODUCER Yuriko Jane Anton and Philip Anton Jill and John Avery Robert Bailey Brigham and Women's Hospital Amanda Brown and Justin Chang† Hilary and Philip Burling Chung Family Foundation‡ Barbara and Rodgin Cohen† Alexi and Steve Conine Karen and Brian Conway Crystal Financial CVS Health Dewey Square Group, LLC The Elphaba Fund EY Drew Faust Lori Finkel and Andrew Cogan† Jonathan Glazer and Hadley Leach

$10,000 - $24,999

PARTNER

Anonymous (2) Paolo Abelli Frances Shtull Adams The Boston Foundation Chet and Carol Cekala Bernard Chiu Kathy Connor Debbie DeCotis

The Linda Hammett Ory & Andrew Ory Charitable Trust RN Family Foundation† The Shubert Foundation

$5,000 - $9,999

PARTNER (cont'd) Madeline Jacquet Janice and Ralph James Landry Family Foundation ^ Lars Charitable Foundation Lori Lesser‡ Tristin and Martin Mannion Karen and Gary Mueller

$5,000 - $9,999 Annette and Dan Nova Janny and Dave Offensend Diane Quinn and Keith Freiter Rosse Family Charitable Foundation Maggie and Jonathan Seelig The Shane Foundation

John Travis Rick and Martha Wagner Davin T. and David P. Wedel Mary and Ted Wendell Stephen H. Zinner, M.D. and S. Wade Taylor, PhD

Nat Dodge Andrew Dominus and Stephanie Altman Dominus‡ Amy Edmondson and George Daley Lori E. Gross and Robert Douglas Campbell Corinne Grousbeck Jeanne Hagerty Melinda Hall and Larry Pratt Allison Johnson Melissa Kaish and Jonathan Dorfman‡ Kay and David Kane Jerome P. Kassirer, M.D. and Sheridan Kassirer Barbara H. Landreth, M.D.‡ John D.C. Little Larry Lucchino Anne Mitchell

Diana Nelson and John C. Atwater Nitin Nohria Mercedes Nugent-Head and James C. Marlas‡ William O. Nutting and Veronica Zoani Quinterno Mary-Kathleen O'Connell and Jeffrey Bernfeld ^ Ellen Gordon Reeves† Amy Russo Allison K. Ryder and David B. Jones Janice Saragoni Nichole Bookwalter Savenor and Alan Savenor Kristine Shadek Deborah Sinay and Charles J. Kravetz Fran and Barry Weissler‡ Dyann and Peter Wirth

SPONSOR Anonymous (2) Alexander, Aronson, Finning & Co., CPAs Dianne Anderson The Beker Foundation Barbara E. Bierer, M.D. and Steven E. Hyman, M.D.* Willa and Taylor Bodman Diane Borger Denise Casper Katherine Chapman Lynne and John Chuang Clarke and Ethel D. Coggeshall Lizabeth Cohen and Herrick Chapman Beth and Richard Compson Christopher Connolly and Marjorie Liner Anne and Christopher Connor Jonathan Davis Rohit Deshpande

$2,500 - $4,999

PATRON Anonymous (2) Naomi Aberly The Acorn Foundation/ Barbara and Theodore Alfond Mary Akerson and Steven Cohen Muffy and Paul Antico Bruce Auerbach James Basker Barbara and George Beal Carol Beggy Janet L. Berkeley and Robert Duboff Lisa Bevilaqua Linda Cabot Black Marc D. Blakeman Barbara and William Boger Garen Bohlin Boston Capital Corporation Robert R. Bowie jr. Brown Advisory Charitable Foundation, Inc. ^ Charity Brown Cindy and Scott Burns Jonathan Bush Betsy Cabot The Edmund and Betsy Cabot Charitable Foundation Eleanor and Brian Chu Jason Cole Brit d'Arbeloff Lynn Dale and Frank Wisneski Robert J. Davis Mark Diker and Deborah Colson‡ Nancy Donahoe and John Cohen Alexandra Drane and Antonio Bertone Mary and Juan Enriquez Deborah and Ronald Feinstein Donald Fulton Sylvia Gerson‡

$1,000 - $2,499 Kathryn Keohane Glassberg‡ Mark Glasser David Golan and Laura Green Lisa Katz Golod Stacey and Mike Grealish Marjorie and Nicholas Greville Joseph Hammer Phyllis Harrington Nikola and David Hennes‡ Linda A. Hill and Dr. Roger E. Breitbart Megan and David Hinckley Alice Hoffman Peter Hornstra Jen Horton and Dave Regan Maisie and James Houghton Hunt Alternatives Brenda Jarrell Karen Johansen and Gardner Hendrie Alexandra Juckno Janet and Howard Kagan‡ Priscilla Kauff‡ Stephen Kidder Joseph Kittredge Mr. Kevin Klett Lawrence Kotin Ann and Ted Kurland Laurie Laba Hunt and Kelly Lambert William Leblanc Stacey Schneer Lee Lori Leif Herman "Dutch" Leonard and Kathryn Angell Karen and Nathaniel Levy Harriet and Alan Lewis Amy Lieberman Mr. and Mrs. Hambleton Lord Kathleen Malley

Barbara Manocherian‡ Wendy Mariner and Toby Nagurney Professor Timothy McCarthy and CJ Crowder Kelly and Steven Migliero Barbara Millen and Markley Boyer Deborah and Timothy Moore Nadine and Peter Mowschenson Kate Olmsted and John Grossman Tracy Palandjian Julianne Pemberton Susan Pett Dr. Vibha Pinglé and Ashutosh Varshney Fern Portnoy and Roger Goldman Suzanne Priebatsch Karen Foote Richards Jill Richardson and Peter Chinetti Helen Riess, M.D. and Norman Nishioka, M.D. Andrée Robert and Thomas M. Burger Judi and Bill Rosensweig Linda Sallop and Michael Fenlon Barbara Schapiro Susan and Robert Schechter Lisa Schmid and Joel Alvord Molly Schoeck and Guy MacDonald Stephanie and Jeff Schwartz Lori and Jon Shaer Christine and Richard Shea Harry Sherr Michael Shinagel and Marjorie North

PATRON (cont'd) The Sholley Foundation, in honor of Jeremy Geidt Stacie Simon and Hal Tepfer Cory Sinclair Somerled Charitable Foundation Leslie Anne Sullivan Robert Svikhart Linda Swartz‡

Deborah Sweet and Steven Lazar Dune Thorne and Neville McCaghren ^ The Joseph W. and Faith K. Tiberio Charitable Foundation Mindee Wasserman Dr. Norman Weeks

Robert Windsor Brenda and Barry Winston Claudia and Charlie Wu Fancy and Jeff Zilberfarb

Professors Mary Jo and Byron Good Phil Gormley and Erica Bisguier Shelly F. Greenfield and Allan M. Brandt Lisa Gruenberg and Martin Carmichael^ Dena and Felda Hardymon Joan and George Hornig‡ Brent Jones Belinda Juran and Evan Schapiro Jane Katims and Dan Perlman Lisabeth Kundert Christine Letts Susan and Steven Levkoff Stephen Martyak and Ryan Means The Max Productions Anita Meiklejohn and Vincent Piccirilli Patricia E. Cleary Miller Ph.D Newton at Home Susan and Ed Novick‡ Deval and Diane Patrick

Ted Patton Sally C. Reid and John D. Sigel Christine and Don Rothman Adina Schecter‡ Wendy Shattuck and Sam Plimpton Steven Showalter and Jeffrey Davis George Sing‡ Ildiko Sragli and Barry Appelman‡ Stavis Charitable Foundation Lisa Stern and Jim Brochin‡ Beth and Anthony Terrana Melinda B. Thaler‡ Vitality Personal Fitness Inc. Susan Olsen Walton and Richard Walton Jonice Webb and Seth Davis Ruth and Bill Weinstein Ms. Kelsey Wirth and Dr. Samuel Myers Carolyn Zern

CONTRIBUTOR Anonymous (4) Tina Aronson and Koby Rotstein Elizabeth Ascher and Michael Yogman Evelyn Barnes and Mary Carter William M. Bazzy Leonard and Jane Bernstein Ms. Kathryn Biberstein Suzanne and Jeff Bloomberg Kathleen Brochin‡ Dorothea and Sheldon Buckler Lauren Budding Cris and Paul Carter Antonia H. Chayes Eversource Energy Foundation Sandi Farkas‡ Anna May and Timothy Feige ‡ Scott D. Feinstein Dr. Alan Garber and Dr. Anne Yahanda Leigh Gilmore and Thomas Pounds Givenik Helen Glikman and Dan Bartley

$500 - $999

SUPPORTER Anonymous (2) Shari Malyn Abbott and Jon Abbott Jennifer Aronson Albert Bangert Sue and Henry Bass Mrs. Nicolette Beerel and Dr. Gustav H. Beerel, PhD Barbara Berke Susana and Clark Bernard Breen Family Southie Bundy and Richard Hermon-Taylor Ilene Bunis Jonathan and Julie Carroll James Clarkeson Ellen Clegg Mr. Stephen Columbia Rina Spence Countryman Nancy Dellarocco Jane and Stephen Deutsch Dino DiPalma Elizabeth Fennell Anna Fitzloff Barbara and Kurt Fretthold Constance and Michael Fulenwider Howard Gardner, M.D. Kathleen and Robert Garner Laurie and Jeffrey Goldbarg, M.D. Jody Gorton‡ Mark Granovsky Ilene Greenberg and Michael Maynard Natalie Greene Patricia and Robert Harrington William S. Hildreth Diane and James Hirshberg 24 Hoban Family

$1,000 - $2,499

$250 - $499 James Hoben Amy and Paul Holt Jonathan Hulbert and Sonia Hofkosh Sarah Jaffe and Richard Eisert‡ Cyndi Jones and Steve Birnbaum Louisa Kasdon Lynn Kodama Deborah and Jonathan Kolb Steven Lampert and Anita Feins Katie Lapp Lisa and Bill Laskin Ms. Susan B. Lelyveld Liberty Mutual, Give with Liberty Program Jonathan Litt Barbara A. Manzolillo W. Kathy Martin and David L. Johnson Dr. Lindsay McNair Cordelia and Carl Menges‡ Sharon Miller Jessica Morrison Evelyn and Mac Musser Professor Suzanne P. Ogden and Peter Rogers Karen Page Carol Paik and Daniel Slifkin‡ Drs. Hilda and Max Perlitsh Sarah Piper‡ Tom Quintal and Naomi Kaufman Gerald Riffelmacher Carol and Jim Rosen Kathryn and David Rosenberg Pamela Schwartz Janet and Gil Slovin Mason and Jeannie Smith Frederick and Ruth Stavis Karen and Steve Stulck

Jane and William Vaughn III William Waters Ryan and Amanda West Sharon Goddard White and David White San San Wong Lisa and Clark Wright Jeffrey Zapfe Nikki Zapol 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. Leadership Circle Members. The A.R.T. N.Y.C. Leadership Circle includes New York-based donors of $10,000 and above, and all New Yorkbased Trustees and Advisors. ‡ A.R.T. N.Y.C. Supporters

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

Beat Brasserie Amy and Ed Brakeman Cambridge 1. The Catered Affair The Charles Hotel Citi Performing Arts Center Davis Center For Russian and Eurasian Studies Laura and Michael Dreese

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

DigBoston (Publishing Partner) digboston.com

Google Grafton Street The Graphic Group Grendel's Den Harvest Henrietta's Table Alan Jones and Ashley Garrett Alison and Bob Murchison Noir Bar

Peterson Party Center (Party Rental Sponsor) Petersonpartycenter.com

Mary-Kathleen O'Connell and Jeffrey Bernfeld Parsnip Rialto Restaurant Shipyard Brewing Company The Sinclair Southwest Airlines Toscano Fran and Barry Weissler

THEATRE FORWARD Theatre Forward is a not-for-profit organization that advances the American theater and its communities by providing funding and other resources to the country’s leading nonprofit theaters. The following foundations, individuals and corporations support these theatres through their contributions of $2,500 and above to Theatre Forward. Buford Alexander and Pamela Farr *◊ American Express * Mitchell J. Auslander *◊ Bank of America * Bloomberg BNY Mellon Steven & Joy Bunson *◊ Cisco Systems, Inc. * Citi DeWitt Stern * Disney/ABC Television Group * Paula Dominick *◊ Dorfman and Kaish Family Foundation, Inc. ◊ Dorsey & Whitney Foundation Dramatists Play Service, Inc. * John R. Dutt *◊ Epiq Systems * The Estée Lauder Companies Inc. EY * Bruce R. and Tracey Ewing *◊ Jessica Farr *◊ Alan & Jennifer Freedman *◊ Goldman, Sachs & Co. Mason and Kim Granger *◊ Brian J. Harkins *◊ Gregory S. Hurst *◊ Howard and Janet Kagan ◊

Karen A. & Kevin W. Kennedy Foundation Joseph F. Kirk *◊ Marsh & McLennan Companies, Inc. John R. Mathena *◊ Jonathan Maurer and Gretchen Shugart *◊ Dina Merril & Ted Hartley * MetLife Morgan Stanley National Endowment for the Arts ◊ Newmark Holdings * Ogilvy & Mather † Lisa Orberg ◊ Frank & Bonnie Orlowski *◊ Pfizer, Inc. Presidio * Pryor Cashman LLP * PURE Insurance * Thomas C. Quick ◊ RBC Wealth Management ◊ The Schloss Family Foundation ◊ Sills Cummis & Gross P.C. * Daniel A. Simkowitz *◊ George S. Smith, Jr. *◊ Southwest Airlines ◊† S&P Global

TD Charitable Foundation ◊ Theatermania.com/ Gretchen Shugart *◊ John Thomopoulos *◊ Evelyn Mack Truitt * Leslie C. & Regina Quick Charitable Trust James S. & Lynne Turley *◊ UBS Wells Fargo *◊ 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 July 2016 Theatre Forward supporters are former supporters of National Corporate Theatre Fund and Impact Creativity.

Image: Johnathan Carr. Students in Proclamation 3: World Sick, an afterschool playmaking intensive for Bostonarea high school students led by the A.R.T.'s Education & Community Programs department.

Education & Community Programs A.R.T. Education & Community programs offer in-depth access to A.R.T. artists and productions for everyone in our community. Education Experience A.R.T. Experiences spark meaningful discourse, in-school and out. In addition to fostering creativity, collaboration, and intellectual curiosity in our community, we support teachers with free arts-integrated teaching tools and affordable 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 pair subsidized tickets to A.R.T. performances with enrichment programming ranging from private artist talks to in-depth 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 Program Each year, A.R.T. and Boston Public Schools students from writing center 826 Boston write scripts, design sets and costumes, and perform plays on a professional stage, inspired by the A.R.T. season. A.R.T. Kids Company Children ages 5 - 10 join us on Saturday mornings to learn the fundamentals of theater in the fall and spring 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 playmaking intensive. The result is a vivid, provocative, extremely fresh performance work on one of the A.R.T.'s stages. This season, Proclamation 4: Borders/Boundaries will explore the visible and invisible borders we encounter on a daily basis, playing at OBERON on November 16, 2016.

nt.

American Repertory Theater Staff THE TERRIE AND BRADLEY BLOOM ARTISTIC DIRECTOR

DIANE PAULUS

EXECUTIVE DIRECTOR

DIANE QUINN

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

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

INSTITUTE

Director Administrative Director Associate Director Co-head of Dramaturgy Co-head of Dramaturgy Resident Literary Advisor Head of Voice & Speech

Associate Producer Venue Manager Production Manager Programming Associate Assistant Venue Manager House Technician Sound Supervisors House Sound Engineer House Lighting Programmer

Scott Zigler Julia Smeliansky Marcus Stern Anatoly Smeliansky Ryan McKittrick Arthur Holmberg Erika Bailey

Ariane Barbanell Leo X. Crowley Skip Curtiss Emma Watt Megan Minger Justin Paice Alex Giorgetti, Katrina Sistare Michael Policare Violet Gayzagian

EXTERNAL AFFAIRS DEVELOPMENT

Director of Development Deputy Director of Development Grants Manager Development Officer Development Information and Database Specialist Development Associate

Darnell Graham Jonathan Remmers

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 Education and Community Programs Manager Brenna Nicely Education and Community Programs Associate Daniel Begin Publications and Artistic Programs Associate Robert Duffley Marketing and Communications Associate Nicole Banks Videographer Johnathan Carr Marketing Interns Zack Reiser, Lilly Strieder Graphic Design Interns Yoshitaka Koishikawa, Courtney Russo

PATRON SERVICES

Derek Mueller Alicia Curtis Stephen Wuycheck Cassandra Long Heather Conroe Stacy Friedman, Taylor Hughes, Nickolas Mellace, Jessica Mullen, Tani Nakamoto, Emma Putnam, Kathleen Sansone Front of House Manager Matt Spano Duty House Managers Heather Conroe, Marissa Friedman, Anna Kelsey, Courteney Smith Volunteer Usher Coordinator Barbara Lindstrom

As of September 2016

Steven Showalter Teresa Gozzo

Director of Finance Senior Financial Accountant Financial Associate Payroll Coordintor Accounting Assistant

Kathryn Rosenberg Rebecca Wrigley Toufiq Aitelfqih Will Moy Yvette Layne

PRODUCTION

Associate Production Managers Skip Curtiss, Jeremie Lozier Production Supervisor, Pedagogical Programs Kathryn Nakaji Technical Associate, Pedagogical Programs Jessice Pizzuti

COSTUMES

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

Jeannette Hawley Carson Eddy Caitlin Menotti Jeffrey Scott Burrows Alma Reyes Burgos Emily Damron Suzanne O. Kadiff

LIGHTS

Lighting Supervisor Assistant Lighting Supervisor Light Board Programmer/Operator Lighting Design Fellow

Matthew Adelman Alex Brandt Jeremy Goldenberg Ali Witten

PROPERTIES

Props Master Assistant Props Master Props Carpenter

SCENERY Megan Hinckley Jessica Morrison Meghan Coleman Christine Noah

MARKETING AND COMMUNICATIONS

Director of Patron Services/ System Administrator Ticket Services Manager Audience Services Manager Ticket Services Representative Weekend Shift Supervisor Ticket Services Staff

General Manager Associate General Manager

FINANCE

ARTISTIC

OBERON

GENERAL MANAGEMENT

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

SOUND

Cynthia Lee-Sullivan Rebecca Helgeson Nicholas Menge Stephen Setterlun Kristin Knutson David Schultz Jerry Vogt Peter Doucette Dan Lincoln, York-Andreas Paris Heather Morris David Jewett

Sound Supervisor Front of House Mixer/Sound Board Operator Theatrical Audio Technician

STAGE

Automation Programmer/Operator Fly and Stage Hand

THEATER AND FACILITIES Theater and Facilities Manager

LOEB RECEPTION DESK Main Receptionists Receptionists

Sam Lerner Michelle Reiss Bryan Atterberry

Keelia Liptak Ricky Roman

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

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.

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

ALL ADMISSIONS INTO THE THEATER, ONCE THE PERFORMANCE HAS BEGUN, WILL BE AT THE DISCRETION OF MANAGEMENT.

EMERGENCIES: In case of emergency, contact the House Manager or nearest usher.

SF OC

LARGE PRINT

All venues are fully accessible. Assistive listening devices are available for all A.R.T. performances. WEST LOBBY

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 Jesse Weiss

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

FRONT LOBBY

Nearest exit route Fire extinguishers

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.

Designated Meeting Site Cross Brattle St. to Radcliffe Yard

C A M B R I D G E , MA $4,875,000

gail@gailroberts.com / www.gailroberts.com / 617 245-4044

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

LIZA VOLL PHOTOGRAPHY

A BLAZING RETELLING OF THE OEDIPUS STORY— MARK-ANTHONY TURNAGE’S CULT CLASSIC #GREEKBLO

TURNAGE

NOV 16-20 | EMERSON/PARAMOUNT CENTER

TICKETS START AT $25 BLO.ORG | 617.542.6772 BOXOFFICE@BLO.ORG