The Black Clown Program by American Repertory Theater

THE BLACK CLOWN

2018/19 Season

A.R.T. Artistic Director’s Welcome @americanrep #BlackClownART

WELCOME TO THE BLACK CLOWN Davóne Tines and Michael Schachter began adapting Langston Hughes’ 1931 dramatic monologue shortly after graduating from Harvard in 2009. Years later, when Davóne was performing in A.R.T.’s world-premiere opera Crossing, he sang a few excerpts from an early draft of The Black Clown for us, and we knew immediately that this was a project we wanted to commit to and develop. Langston Hughes drew deeply on the traditions of African American music and language to craft a new idiom of American verse. Engaging the rich legacies of vaudeville, gospel, opera, jazz, and spirituals, this production combines dance, song, and visual imagery to bring Hughes’ poem to life on stage. The creative team is led by Director Zack Winokur, who returns to A.R.T. following last year’s Run AMOC! Festival, and also includes Choreographer Chanel DaSilva, Music Director Jaret Landon, Scenic and Costume Designer Carlos Soto, Lighting Designer John Torres, and Tony Award-winning Sound Designer Kai Harada, who all are making their A.R.T. debuts with this production.

Cover Photo: Carl Van Vechten © The Van Vechten Trust

The Black Clown launches our 2018/19 Season—my tenth as Artistic Director of the A.R.T.—and I can think of no better way to celebrate this anniversary than with this commitment to daring new work. None of our productions would be possible without our audiences’ curiosity, compassion, and engagement, so I thank you for being here today, and I hope you will join us for the rest of the season.

DIANE PAULUS Terrie and Bradley Bloom Artistic Director American Repertory Theater

Barber Shop Chronicles

See more from A.R.T. A.R.T. 2018/19 Season EXTRAORDINARY

ENDLINGS

NOV. 16 - 30, 2018 Directed by Diane Paulus

FEB. 26 - MAR. 17, 2019 Written by Celine Song Directed by Sammi Cannold

BARBER SHOP CHRONICLES

WE LIVE IN CAIRO

A CELEBRATION OF MUSICAL THEATER AT A.R.T.

DEC. 5, 2018 - JAN. 5, 2019 Written by Inua Ellams Directed by Bijan Sheibani A Fuel, National Theatre, and West Yorkshire Playhouse co-production

WORLD PREMIERE PLAY

WORLD PREMIERE MUSICAL

MAY. 14 - JUN. 16, 2019 Book, Music & Lyrics by Daniel Lazour and Patrick Lazour Directed by Taibi Magar

OTHELLO

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Photo: Marc Brenner

JAN. 13 - FEB. 9, 2019 Written by William Shakespeare Directed by Bill Rauch An Oregon Shakespeare Festival Production

American Repertory Theater presents

Adapted from LANGSTON HUGHES’ poem by DAVÓNE TINES & MICHAEL SCHACHTER Music by MICHAEL SCHACHTER Scenic & Costume Design CARLOS SOTO

Lighting Design JOHN TORRES

Orchestrations & Arrangements MICHAEL SCHACHTER Hair and Wig Design RACHEL PADULA-SHUFELT

Sound Design KAI HARADA Additional Arrangements for the A.R.T. premiere JARET LANDON

Casting STEWART/WHITLEY

Production Stage Manager TAYLOR BRENNAN*

Music Director JARET LANDON Choreography CHANEL DaSILVA Directed by ZACK WINOKUR First performance at the Loeb Drama Center on August 31, 2018. Created with the kind cooperation of the Estate of Langston Hughes. PRODUCTION SPONSORS Production Support of The Black Clown is provided by Alison and Bob Murchison. The Artistic Residency of Davóne Tines is generously supported by Katie and Paul Buttenwieser. Additional Production Support is provided by the National Endowment for the Arts and The Hutchins Center for African & African American Research. CORPORATE EDUCATION SPONSOR

A.R.T. SEASON SUPPORT

The A.R.T. 2018/19 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.

Sara Porkalob returns!

Don’t miss what’s next. A.R.T. Breakout BORROWED CASH: THE BUSTED TOUR SEP. 13 - 23, 2018

Written & performed by Daniel Jenkins and Melissa van der Schyff Featuring the songs of Randy Newman and Lucinda Williams

MISS YOU LIKE HELL JAN. 11 - 27, 2019

Presented in collaboration with Company One Theatre Book & Lyrics by Quiara Alegría Hudes Music & Lyrics by Erin McKeown

JUSTICE & CHRYSANTHEMUM

DRAGON CYCLE

MAR. 20 - APR. 6, 2019

Created & performed by Sara Porkalob

CLAIRVOYANCE APR. 24 - 28, 2019

Created and performed by Diana Oh

BLACK LIGHT May 15 - 19, 2019

Created by Daniel Alexander Jones Original Songs by Jomama Jones, Laura Jean Anderson, Bobby Halvorson, Dylan Meek, and Josh Quat

FEB. 8 & 9, 2019

Live @ OBERON

Afterglow @ OBERON

CAMINO 84

TORI SCOTT

SAMORA PINDERHUGHES

TAJA LINDLEY

SEP. 7, 2018

OCT. 6 & 7, 2018

BILLY DEAN THOMAS NOV. 2, 2018

OCT. 11, 2018

NOV. 15, 2018

Full listing is available online!

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AmericanRepertoryTheater.org 6

Photo: Robert Wade/Courtesy of Intiman Theatre (Seattle, Washington).

Created & performed by Justice Ameer and Chrysanthemum Tran

MUSIC YOU LAUGH I AM THE FOOL STRIKE UP THE MUSIC THREE HUNDRED YEARS A SLAVE UNDER THE WHIP NOBODY KNOWS FREEDOM! BLACK IN A WHITE WORLD SOMETIMES I FEEL LIKE A MOTHERLESS CHILD YET CLINGING TO THE LADDER DAY AFTER DAY N*GGER LAUGH AT ME BUT NO! SUFFER AND STRUGGLE SAY TO ALL FOEMEN CRY TO THE WORLD

This show runs approximately 70 minutes with no intermission. Please Note: This production contains racial slurs and stylized representations of violence— particularly related to slavery—as well as haze and bright lights.

CAST The Black Clown........................................................................DAVÓNE TINES* Ensemble....................................SUMAYYA ALI*, MALCOLM ARMWOOD*, DANIEL BELLOMY*, DAWN BLESS*, LaVON FISHER-WILSON*, LINDSEY HAILES*, EVAN TYRONE MARTIN*, JHARDON DISHON MILTON*, BRANDON MICHAEL NASE*, AMBER PICKENS*, JAMAR WILLIAMS*, HAILEE KALEEM WRIGHT* SWINGS EMMANUEL HENREID, ASHLEY LaLONDE DANCE CAPTAIN AMBER PICKENS* ASSISTANT STAGE MANAGER MARIO WOLFE*

ORCHESTRA Music Director/Keyboard: JARET LANDON Trumpet 1: DAVE ADEWUMI Trumpet 2: JOHN MOORE, JR. Trombone: ROBYN SMITH Reed 1: RAJIV HALIM Reed 2: ISAIAH JOHNSON Reed 3: JASON MARSHALL Banjo/Guitar: THOMAS FLIPPIN Drums: MARIO LAYNE FABRIZIO Bass/Tuba: KATE FOSS Associate Music Director: JOELLE LAMARRE Rehearsal Accompanist: BRIAN GE Music Contractor: JASON FISHER Music Preparation by JAWLINE MUSIC PREPARATION / JESSE WIENER & CYNTHIA MENG, Copyists Music Assistant: GARRETT SCHUMANN

(*) Member of Actors’ Equity Association

ADDITIONAL STAFF Assistant Lighting Designer...........................................................................................KAT C. ZHOU Associate Sound Designer............................................................................MICHAEL EISENBERG Assistant Hair and Wig Designer.............................................................................AMBER VONER Voice & Speech.................................................................................................................ERIKA BAILEY Scenic Associate.........................................................................................................MARIE DE TESTA Additional lighting provided by Christie Lites. Additional sound equipment provided by Sound Associates, Shure.

CASTING STEWART/WHITLEY Duncan Stewart, CSA; Benton Whitley, CSA; Paul Hardt; Christine McKenna, CSA; Allie Carieri

A.R.T. SUMMER INTERNSHIP PROGRAM Ian Askew, Harvard University ’19, Artistic^ Rhea Bennett, Harvard University ’20, Marketing^ Emily Clark, Providence College ’19, Development Sherry Gao, Harvard University ’19, Artistic^ Julia Kirwin, Lesley University ’19, Graphic Design Ryan Kapur, Harvard University ’20, Artistic^ Hannah Kleinman, University of Kentucky ’21, Education Gregory Lipson, Harvard University ’20, Artistic^ Aubriana Mency, Hampshire College ’20, Education Devonne Pitts, Harvard University ’21, Artistic^ Abigail Sage, Harvard University ’21, Artistic^ ^With support from the Harvard University Office of Career Services

SPECIAL THANKS Bethany Allen, Michael Awkward, Emily Bergquist, Lucy Caplan, Ed and Betsy Cohen, Gina De, Ben Escabedo, Henry Louis Gates, Jr., Anthony Hoang, Jenn Liang-Chaboud, Kimiko Matsuda-Lawrence, Timothy Patrick McCarthy, Marta Miller, Anita Patterson, Scott Poulson-Bryant, Greg Reif, John Stauffer, Tazewell Thompson, Abby Wolf, Jonathan L. Walton, Diane Wondisford Malik Akil, Phillip Attmore, Olutayo Bosede, Dana Marie Ingraham, Leroy Church, Cicily Daniels, Benjamin Mapp, India McGee, Stephanie Holmes, Jaret Williams, Nathan Patten Mary Schneider Enriquez and the Harvard Art Museums Art Study Center Matthew Wittmann and the Harvard Theatre Collection at Houghton Library Dana Knox and Andrew Gitchel, Farkas Hall Jill Johson and the Harvard Dance Center Farai Williams and Olawumi Akinwumi, Hibernian Hall Beinecke Library at Yale University Institute for the Humanities, University of Michigan University of Michigan School of Music, Theatre & Dance

A MULTITUDE OF VOICES An interview with Davóne Tines and Michael Schachter Davóne Tines is an internationally acclaimed bass-baritone who originated the role of Freddie Stowers in Crossing, which premiered in the A.R.T.’s 2014/15 Season and was featured in the Brooklyn Academy of Music’s 2017 Next Wave Festival. Michael Schachter is a composer, pianist, and scholar whose music has been commissioned and performed by ensembles around the country. In this interview, A.R.T. Director of Artistic Programs & Dramaturg Ryan McKittrick talks with them about adapting Langston Hughes’ poem “The Black Clown.” Langston Hughes published “The Black Clown” in 1931. What drew you to the poem, and how does it speak to you today?

How did you two start working together on this project? DT: I was singing for the choir of The National Shrine in Washington, DC. It’s a Catholic church with a professional choir, and they sing a lot of beautiful, old liturgical music. It was not the most inspiring job in terms of personal connection. So I sent Mike a note saying I really want to sing something that I feel deeply connected to. Where did you first encounter the poem? Michael Schachter: Davóne and I had been talking about Hughes years earlier when we were undergraduates together at Harvard, and when I got his email from church I flipped through a collection of Hughes’ poems that my then-girlfriend, now-wife had given me. I was struck by two things about “The Black Clown.” The first was its immediacy—it seemed as if it had been written yesterday. The word choices, the issues Hughes writes about, the false promise of what freedom means to marginalized Others in this country seemed just as palpable in 2010 as they did in 1931—and I would argue even more palpable in 2018. And the second thing that struck me was the form of the poem, which partly came out of Hughes’ frequenting the speakeasies in Harlem at the time and seeing spoken word performances. 10

Photo: Courtesy of the University of Michigan School of Music, Theatre & Dance

Davóne Tines: When I first read “The Black Clown” it was like receiving a revelation that gave name to the experience of my existence as a Black man in America that I had never been able to articulate. I identified with this clown whose forced role represents a wholesale relegation of Black existence to something less than human, a farce of a being, a fool only playing at being real. Hughes names this existence, then situates it within the larger context of history to show that the oppression of the present is inextricably linked to the failures of the past. Hughes’ clown is able to transcend his oppression by calling on the strength and spirit of his entire ancestry. He connects to a greater mandate from all of time and the universe that humanity is inexorably his to claim. This was a story I knew I needed to live and relive and share.

Michael Schachter (L) and Davóne Tines (R) in a developmental workshop for The Black Clown.

Mike, what musical traditions have you drawn from and been inspired by in composing the score? MS: The blues is a major influence. “Three Hundred Years” is set as a work song, and “Say to All Foemen,” which is an exuberant, uplifting number towards the end, is set as a gospel number. Other songs come from New Orleans second line, the spiritual tradition, and Black choral traditions from the late-nineteenth into much of the twentieth century. Early on in the development of this piece you were thinking about the presence of a chorus, and one of the central elements of this production is a twelve-member ensemble. Why was the idea of a chorus important to you, and what role does the ensemble play in the show? MS: In the poem Hughes fleshes out his character by connecting his feeling of himself with the experiences of a multitude. So we thought that it was crucial to animate that in the show with the interplay of one voice and many voices. And sonically it just enriches the experience. DT: The “Black experience” is very complex because it’s the meeting point of a multitude of things. It’s not one idea; it’s not one way of being or having been present in this country; and it can’t be explained or expressed as a monolith. We have other people in the show to reveal different facets of what it is to exist in this context. Langston Hughes was deeply a people person and interacted with a multitude of the movers, shakers, and makers of his day, especially in Harlem. His work catalogues the brilliance and complex humanity of the people around him. So the character of the Black Clown, in bringing this poem to life, activates a symbolic multitude of voices of people who have traveled these paths and are also on this journey along with him in order to further explicate it. An extended version of this interview is available in the A.R.T. Guide, available for free in the Loeb Drama Center’s lobby and online.

THE BLACK CLOWN by Langston Hughes Please Note: This work contains the use of a racial slur.

A dramatic monologue to be spoken by a pure-blooded Negro in the white suit and hat of a clown, to the music of a piano, or an orchestra.

THE MOOD

THE POEM

A gay and low-down blues. Comic entrance like the clowns in the circus. Humorous defiance. Melancholy jazz. Then defiance again followed by loud joy. A burst of music. Strutting and dancing. Then sudden sadness again. Back bent as in the fields. The slow step. The bowed head. “Nobody knows de trouble I’ve had.” Flinching under the whip. The spiritual syncopated. Determined to laugh. A bugle call. Gay, martial music. Walking proudly, almost prancing. But gradually subdued to a slow, heavy pace. “Sometimes I feel like a motherless chile.” Turning futilely

You laugh Because I’m poor and black and funny— Not the same as you— Because my mind is dull And dice instead of books will do For me to play with When the day is through. I am the fool of the whole world. Laugh and push me down. Only in song and laughter I rise again—a black clown. Strike up the music. Let it be gay. Only in joy Can a clown have his day. Three hundred years In the cotton and the cane, Plowing and reaping With no gain— Empty handed as I began. A slave—under the whip, Beaten and sore. God! Give me laughter That I can stand more. God! Give me the spotted Garments of a clown So that the pain and the shame Will not pull me down. Freedom! Abe Lincoln done set me free— One little moment To dance with glee. Then sadness again— No land, no house, no job, No place to go. Black—in a white world Where cold winds blow. The long struggle for life: No schools, no work—

Not wanted here; not needed there— Black—you can die. Nobody will care— Yet clinging to the ladder, Round by round, Trying to climb up, Forever pushed down. Day after day White spit in my face— Worker and clown am I For the “civilized” race. Nigger! Nigger! Nigger! Scorn crushing me down. Laugh at me! Laugh at me! Just a black clown! Laugh at me then, All the world round— From Africa to Georgia I’m only a clown! But no! Not forever Like this will I be: Here are my hands That can really make me free! Suffer and struggle. Work, pray, and fight. Smash my way through To Manhood’s true right. Say to all foemen: You can’t keep me down! Tear off the garments That make me a clown! Rise from the bottom, Out of the slime! Look at the stars yonder Calling through time! Cry to the world That all might understand: I was once a black clown But now— I’m a man!

Langston Hughes, “The Black Clown.” In, The Negro Mother, and Other Dramatic Recitations. New York: Golden Stair Press, 1931.

from one side to the other. But now a harsh and bitter note creeps into the music. Over-burdened. Backing away angrily. Frantic with humiliation and helplessness. The music is like a mournful tom-tom in the dark! But out of sadness it rises to defiance and determination. A hymn of faith echoes the fighting “Marseillaise.” Tearing off his clown’s suit, throwing down the hat of a fool, and standing forth, straight and strong, in the clothes of a modern man, he proclaims himself.

Cast SUMAYYA ALI Ensemble A.R.T.: Natasha, Pierre & The Great Comet of 1812. Opera: Harriet Tubman: When I Crossed That Line (Harriet Tubman), American Opera Projects. Broadway: Natasha, Pierre & The Great Comet of 1812; The Gershwins’ 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). Education/ Training: BA, Spelman College; MM, New England Conservatory. @sumayyasings (Instagram, Twitter) MALCOLM ARMWOOD Ensemble A.R.T.: Debut. National Tour: Motown the Musical, Smokey Joe’s Cafe. Regional: Grease (Teen Angel), NC Theatre; Smokey Joe’s Cafe (Adrian), Gateway Playhouse, Theatre By the Sea; Show Boat, Ragtime, Westchester Broadway Theatre; Hairspray; Kiss Me Kate; Big River. Education/Training: BFA, Musical Theater, East Carolina University. DANIEL BELLOMY Ensemble A.R.T.: Debut. Film/TV: Trudie Styler’s Freak Show, IFC; The Real MVP, Lifetime; “The Deuce,” “Mrs. Fletcher” (coming fall 2018), HBO. Education/ Training: Carnegie Mellon School of Drama.

DAWN BLESS Ensemble A.R.T.: Debut. Regional: Gypsy (Mazeppa/ Rose u/s), Dreamgirls, Porchlight Music Theatre; A New Attitude: Tribute To Patti LaBelle (Patti LaBelle), Black Ensemble Theater; #DATEME, Second City; The Black Nativity, Congo Square Theatre; Madagascar, Chicago Shakespeare Theater; Smokey Joe’s Cafe, Theo Ubique; Seussical, West Virginia Public Theatre. Workshop: Crowns. LaVON FISHERWILSON Ensemble A.R.T.: Debut. Broadway: Disney’s Newsies, Lysistrata Jones, Chicago the Musical, The Color Purple. Off-Broadway: Chix 6, La MaMa. Film/TV: Teen Beach Movie; “Team Toon”; “Divorce,” HBO; “Quantico.” Education/Training: BFA, Musical Theater, Millikin University; MFA, Theater, University of Florida. @lavonfisherwilson (Instagram), @lavonfwilson (Twitter). LINDSEY HAILES Ensemble A.R.T.: Debut. OffBroadway: The Lucky Ones, The Connelly Theater. National Tours: Dirty Dancing: The Classic Story on Stage; The Wizard of Oz. Regional: The Wiz, Musical Theatre Kansas City.

EMMANUEL HENREID Swing A.R.T.: Debut. Opera & Contemporary: Show Boat, Carmen, Faust, The Big Night, La Traviata, Pirates of Penzance, Portland Opera Company. Educational: Hairspray (Seaweed), Portland Community. National Tours: Lyle Lovett (Soloist/BGV). Soloist/Vocal Coach: Gospel Christmas (con. George Manahan), Oregon Symphony. Creates dance, music, and art curriculum for the city of Portland, Oregon. Opera Training in Ukraine and Moldova. ASHLEY LaLONDE Swing A.R.T.: Burn All Night (Kayla), Arrabal (Newscaster). OBERON Presents: Violet (Lula Buffington). Harvard: Into the Woods (The Witch), The Laramie Project (Mercedes), 35mm: A Musical Exhibition (Voice 1). Workshops: Teeth, Camp 2, Dora the Explorer LIVE!. Concerts: Carnegie Hall, Lincoln Center, 54 Below, Don’t Tell Mama. Film/TV: No More, America. Education: Undergraduate student at Harvard College ’20, AB in Sociology; Secondary in Theater, Dance & Media; Citation in Spanish. EVAN TYRONE MARTIN Ensemble A.R.T.: Debut. Regional: Oklahoma! (Ali Hakim), Marriott Theatre; Hair (Hud Johnson), Mercury Theater; Jesus Christ Superstar (Jesus, BTAA Nomination), Rent (Collins), Paramount Theatre; Pippin (Leading Player), Arkansas Shakespeare Theatre; Dreamgirls (Curtis, BTAA nomination), Far From Heaven (Raymond, Jeff Award nomination), Side Show (Jake, Jeff Award nomination), Porchlight Music Theatre; The Little Mermaid (King Triton), Paramount Theatre, Arkansas Rep. Concert: Unforgettable: Falling in Love with Nat King Cole, An Unforgettable Nat King Cole Christmas (on National Tour winter ’18), Artists Lounge Live. (JW/RM/KE)

JHARDON DISHON MILTON Ensemble A.R.T.: Debut. Broadway: A Bronx Tale (Webster swing). OffBroadway: If Sand Were Stone, Theatre Row. Regional: Trevor the Musical (Jack), Writers Theatre; Saturday Night Fever (Monty), Bye Bye Birdie, Drury Lane Oakbrook; Little Shop of Horrors (Seymour), Tantrum Theater; La Cage aux Folles, Madagascar (Marty u/s), Marriott Theatre; Cabaret, Theatre at the Center; Men of Soul (Jeff Award Nomination), Black Ensemble Theater. Education/Training: BFA, Musical Theater, Viterbo University. BRANDON MICHAEL NASE Ensemble A.R.T.: Debut. Regional: Ragtime (Coalhouse), Tulane Summer Lyric Theatre; Evita, Asolo Rep; Les Misérables, Dallas Theater Center; Joseph..., 3D Theatricals. Workshops: Frozen (Olaf); Shout Sister Shout!; Beatsville. Concerts: Showboat: In Concert, Bucks County Playhouse. Education/Training: BM, Music Education, University of North Texas; MM, Musical Theatre/Vocal Performance, NYU. AMBER PICKENS Ensemble/Dance Captain A.R.T.: Debut. Broadway: Cirque du Soleil’s Paramour. OffBroadway: Don’t Bother Me, I Can’t Cope, New York City Center. Regional: The Wiz, The Muny. Workshops: Pal Joey; The Wiz. Educational: L’Histoire de Babar, Julliard 2018 Community Engagement. Dance: Chase Brock Experience 10th Anniversary, Clurman Theatre; Keigwin + Company, The Joyce Theater. TV/Film/Digital: “The Marvelous Mrs. Maisel,” “Kickback & Chat with Amber Pickens,” “Modern Love.” Fashion: Desigual, NYFW; Christian Dior, Vogue Paris. Education/Training: BFA, Dance, The Juilliard School. 15

Cast DAVÓNE TINES Adaptor/ The Black Clown See Creative Team bios.

JAMAR WILLIAMS Ensemble A.R.T.: Burn All Night, Witness Uganda. OffBroadway: The Hairy Ape, Park Avenue Armory; The Death of The Last Black Man in the Whole Entire World, Signature Theater; Invisible Thread, 2econd Stage; Broken Window Theory, Nuyorican Poets Cafe. Regional: Passing Strange, Wilma Theatre; Cardboard Piano, Humana Festival; Hairspray, The Piano Lesson, Santa Rosa Rep. Workshops/ Readings: New musical by Jeanine Tesori and David Lindsay-Abaire, Sundance Theatre Lab 2017; Secret Soldiers (Marsha

Norman/Zoe Sarnak), Williamstown Theatre Festival; Fire in Dreamland, Public Theater; Directors Lab 2016, Lincoln Center; Kill Floor, LCT3; Choir Boys, MTC. Tours: Theatreworks USA. Education/ Training: University of North Carolina School of the Arts. I dedicate my work to the eternal memory of my Dad; thank you for guiding me. HAILEE KALEEM WRIGHT Ensemble A.R.T.: Debut. Regional: Hairspray, Jersey Shore Productions. International: RENT, Sekaikan Theater (Japan); R&B The Mix, Universal Monsters Live, Universal Studios Japan; Elyria, Land of Make Believe, Celebrity Cruise Line. TV/Film: “True Life,” MTV; “Don’t Forget the Lyrics.” Training: Mary Rodgers (Voice), Jen Waldman Studio (Acting). All my love to my Mother and Joey. @sapphire_hart.

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Orchestra JARET LANDON Music Director/Keyboard/ Additional Arrangements for the A.R.T. premiere See Creative Team bios. DAVE ADEWUMI Trumpet 1 A.R.T.: Debut. International Appearances: Bern Jazz Festival, International Jazz Day (Adelaide), Festival of New Trumpet. Paul and Daisy Soros Fellowship for New Americans winner. Education: Pursuing MM, Jazz Performance, The Juilliard School under the Artistic Leadership of Wynton Marsalis. davidadewumimusic.com JOHN MOORE, JR. Trumpet 2 Trumpet player, educator, arranger, and composer. Performances with Orbert Davis, Talib Kweli, Michelle Williams, and Fantasia. John hit the ground running touring the world and has since played in most musical situations imaginable including small group jazz, big band, salsa, pit orchestra. Education/Training: Northern Illinois University. Teaching: Devoted to music education both in the classroom and privately. ROBYN SMITH Trombone A.R.T.: Debut. Member: New England Conservatory’s Philharmonia, Wind Ensemble, New Music Ensemble; Boston Philharmonic Youth Orchestra. Performances: Pokorny Seminar; Michael Mulcahy Seminar; Southeastern Trombone Symposium. Awards: 2018 ITF Robert Marstellar Solo Trombone Competition, Winner; 2017 International Trombone Association’s Trombone Quartet Competition (with quartet Boston Based), Winner. Education/ Training: Pursuing BM, New England Conservatory ’19 with Toby Oft; Colin Williams (NY Philharmonic); Nathan Zgonc (Atlanta Symphony).

RAJIV HALIM Reed 1 A.R.T.: Debut. Saxophonist, composer, and educator. Performances and/ or recordings with Jennifer Hudson, Chance the Rapper, Martha Reeves, The Four Tops, and others. International performances in Canada, Poland, Belize, Taiwan. Album: Foundation. Endorsing artist: JodyJazz Saxophone Mouthpieces. rajivhalim.com ISAIAH JOHNSON Reed 2 Isaiah Johnson is a native of Brooklyn, New York. He started playing clarinet at the age of 11 and decided that he wanted to be a woodwind specialist at the age of 19 and would go on to play several flutes, clarinets, saxophones, and oboe. He moved to Boston to attend the New England Conservatory as a graduate student and is very much enjoying the city of Boston. JASON MARSHALL Reed 3 A.R.T.: Debut. Performances with Thad Wilson Jazz Orchestra; Roy Gaines; Roy Hargrove, RH Factor and the Roy Hargrove Big Band. Album (Bandleader): Overt Negritude. Training: Hamiett Bluiett, Ronnie Cuber, Gary Smulyan (baritone saxophone); Bruce Williams, Mark Gross, Steve Wilson, Vincent Herring (alto saxophone); Greg Tardy, Wayne Escoffrey, Paul Carr, Lorenz Wheatley (tenor saxophone). Teaching: Conducts numerous demonstrations, clinics, and workshops internationally.

Orchestra THOMAS FLIPPIN Banjo/Guitar A.R.T.: Debut. Opera: Voodoo, Harlem Opera Theater, Morningside Opera, Harlem Chamber Players. Collaborations with Alicia Hall Moran, Jason Moran. Performances: Brooklyn’s National Sawdust; Beijing’s Peking University; Art Institute of Chicago; C-SPAN’s “Book TV”; Charleston’s Colour of Music Festival; Blue Note Jazz Festival; Ray Lustig’s Figments (premiere). Album: Night Triptych, Duo Noire guitar ensemble’s Women of Guitar Commissioning Project. Education: Yale School of Music, University of Chicago. Faculty: Concordia College Conservatory, Diller-Quaile School of Music. thomasflippin.com

KATE FOSS Bass/Tuba A.R.T.: Jagged Little Pill (bass alternate). Theater: North Shore Music Theater, Lyric Stage Co., Emerson College, Theatre by the Sea, Trinity Rep. Orchestra Performance: Plymouth Philharmonic (principal bass), Boston Lyric Opera, Emmanuel Music, Boston Modern Orchestra Project, Sound Icon, Symphony Nova, Odyssey Opera, A Far Cry, Pro Arte Chamber Orchestra, New Bedford Symphony, Indian Hill Symphony Orchestra, Discovery Ensemble. Education: MM, Classical Performance, New England Conservatory; BS, Physics, University of Wisconsin-Milwaukee.

MARIO LAYNE FABRIZIO Drums A.R.T.: Debut. Drummer, percussionist, and composer. Performances with Claudio Roditi, Arturo O’Farrill, Oran Etkin, Jason Palmer. US and International tours (Asia, Europe, Central America). Mario integrates visual art, literature, comedy, and film into his work and does not discriminate by genre or medium. He believes in music as a means of propagating community, connecting people, and stimulating the brain and the heart. Education: New England Conservatory (studied with Billy Hart, Cecil McBee, Jason Moran).

The Black Clown ensemble in a rehearsal.

THE BLACK CLOWN: A HISTORY OF DEVELOPMENT The A.R.T. produces boundary-breaking theater through an ongoing process of research, development, and experimentation. A.R.T. world-premiere productions evolve through readings, workshops, and creative conversations with partners at Harvard and beyond. The Black Clown, one of the world premieres in the 2018/19 Season, was developed at the A.R.T. between 2015 and 2018. The project began with an idea in 2010, when Davóne Tines and Michael Schachter started working on an adaptation of Langston Hughes’ poem, “The Black Clown.” In 2015, while he was playing the role of Freddie Stowers in the A.R.T.’s world-premiere production of the opera Crossing, Tines performed songs from an early draft of The Black Clown, and the A.R.T. committed to developing the show.

This year, the A.R.T. held a two-week developmental workshop at the Loeb Drama Center with Director Zack Winokur. Rehearsals for the project began in Cambridge in July with Winokur, Choreographer Chanel DaSilva, and Music Director Jaret Landon. Scholars from the Harvard and Boston communities visited the rehearsal room as the project developed, and the creative team and cast visited the Harvard Art Museums and the Harvard Theatre Collection as part of their research for the show. Other A.R.T. World Premieres this season: Endlings, We Live in Cairo, Dragon Mama, Clairvoyance

Photo: Maggie Hall

Over the next three years, the project continued to grow through a series of workshops and convenings. In May 2016, Tines and Schachter participated in a roundtable discussion at the A.R.T. with scholars from Harvard and beyond, engaging in a dialogue about Langston Hughes’ life, the Harlem Renaissance, and the poem’s contemporary relevance. In September 2017, the University of Michigan’s School of Music, Theatre & Dance, where Schachter is a Ph.D. candidate in Music Theory and Composition, hosted a developmental workshop of the vocal score in Ann Arbor.

Creative Team DAVÓNE TINES Adaptor/The Black Clown A.R.T.: Crossing, Run AMOC! Festival. Deemed a “…singer of immense power and fervor…” by the LA Times and a “... charismatic, full-voiced bass-baritone...” by the New York Times, Davóne Tines commands a broad spectrum of opera and concert performance as a singer and creator. Highlights from last season include performances with the San Francisco Opera, San Francisco Symphony, Finnish National Opera, Opéra National de Paris, Orchestre National de France, BAM, Ojai Music Festival, London Symphony, and LA Philharmonic in collaborations with Kaija Saariaho, John Adams, Matt Aucoin, Caroline Shaw, and Peter Sellars. Upcoming engagements include the Teatro Real, Lincoln Center, San Francisco Symphony, Berlin Radio Orchestra, the Metropolitan Museum of Art, Dutch National Opera, and LA Philharmonic. Davóne is a founding core member of the American Modern Opera Company (AMOC) and the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts. Education/Training: AB, Harvard University (’09); Master of Music, The Juilliard School. MICHAEL SCHACHTER Adaptor/Music/ Orchestrations & Arrangements A.R.T.: Run AMOC! Festival. A Boston native and 2009 graduate of Harvard College, Michael Schachter is a composer, pianist, and scholar. In recent years, Michael’s music has been featured by ensembles such as the Minnesota Orchestra, the Knoxville Symphony, the Naples Philharmonic, the Ann Arbor Symphony, the Cabrillo Festival Orchestra, Alarm Will Sound, the 21st Century Consort (the resident new music ensemble of the Smithsonian institution), and the New York Virtuoso Singers, in venues ranging from Carnegie Hall to the San Francisco Center for New Music. Additional highlights from current and future seasons include Were You There, a multimedia theater piece in collaboration with the American Modern Opera Company, as well as a violin concerto for the Knoxville Symphony Orchestra. His scholarly work on jazz, South Indian classical music, and music

philosophy has been presented at national conferences and published in journals such as Music & Literature and Music Theory Online. He recently completed a term as the Mary F. Croushore Graduate Fellow at the University of Michigan Institute for the Humanities in Ann Arbor, where he lives with his wife, Allie, and his turbo-charged tots, Ronan and Elliott. ZACK WINOKUR Director A.R.T.: Run AMOC! Festival. Work this season includes a new production of Monteverdi’s L’incoronazione di Poppea at the Cincinnati Opera, Gluck’s Orfeo ed Eurydice and Matthew Aucoin’s Orphic Moment at Lincoln Center’s Rose Theater, Monteverdi’s Il Ballo delle Ingrate with William Christie at Juilliard, Sondheim’s A Little Night Music at the Royal Theatre Carré in Amsterdam, Tyshawn Sorrey’s Perle Noir, starring Julia Bullock with text by Claudia Rankine, and Henze’s El Cimarrón, both at the Metropolitan Museum of Art. His production of Cavalli’s La Calisto was hailed in Opera News as “one of the most elegant and imaginative shows seen in New York this season.” He co-directs and founded, with Matthew Aucoin, the American Modern Opera Company (AMOC). His productions have also been seen at the Aix-enProvence Festival (Svadba), the Dutch National Opera (The New Prince—world premiere), La Monnaie (Les Mamelles de Tirésias), the Royal Opera House (Most of the Boys—world premiere, They Shoot Horses Don’t They), as well as on film in collaboration with the Academy Award-nominated director Mike Figgis, in nightclubs, and in the Supreme Court for a surprise birthday performance for Justice Ruth Bader Ginsburg. CHANEL DaSILVA Choreography A.R.T.: Debut. Co-Founder & Artistic Director, MOVE(NYC); Founding member, Trey McIntyre Project (TMP), repetiteur of Trey McIntyre’s works. Performances: works by Ohad Naharin, Doug Varone, Jose Limon, Jessica Lang, Alvin Ailey, Robert Battle, Camille Brown, Lar Lubovitch (member, Lar Lubovitch Dance Company), Brooklyn Academy of Music’s DanceMotion USA (Asia Tour, TMP).

Creative Team Choreography: commissions for Harvard Dance Project, Ariel Rivka Dance, Gibney Dance Company, Idaho Dance Theater. Chanel was featured on the cover of Dance Magazine and in the PBS Documentary “American Talent.” Teaching: master workshops and seminars at The Juilliard School, LaGuardia Arts High School, Ballet Hispanico, New Orleans Ballet Association; Dance Faculty, LaGuardia Arts High School. Awards: Level 1 YoungArts Award; Presidential Scholar in the Arts; Princess Grace Award. Education/Training: Creative Outlet Dance Theater of Brooklyn; LaGuardia High School for the Performing Arts; The Ailey School; Springboard Danse Montreal; BFA Dance, The Juilliard School (Martha Hill Award). movenyc.nyc JARET LANDON Music Director/Additional Arrangements for the A.R.T. premiere A.R.T.: Debut. Landon is a film composer and vocal arranger for theater, television, and film. Recent theater credits include: Crowns, McCarter Theatre Center, Long Wharf Theatre; The Christians, Steppenwolf Theatre, Baltimore Center Stage; Born for This: The BeBe Winans Story, Los Angeles, CA; Music Director: Tyler the Creator, NPR Tiny Desk Concert. Landon is currently building an Arts Center in his hometown of Fort Meade, FL to honor his mother who passed away in 2017 after a valiant battle with cancer. Love and Light to all! @jaretlandon CARLOS SOTO Scenic & Costume Design A.R.T.: Debut. A director, designer, and performer based in New York City, Soto has presented works at Columbia University, The Guggenheim Museum, Kampnagel Hamburg, Pace Gallery, Palais de Tokyo, and Performa 09 and has been artist-in-residence at Lower Manhattan Cultural Council, New York Live Arts, The Watermill Center and Willem de Kooning Studio. Performances: Shara Nova (My Brightest Diamond) & Andrew Ondrejcak’s You Us We All, BAM Next Wave; Fifty Shades of Greige, Nowness. Design: Lucinda Childs: A Portrait (1963–2016), Royce Hall/UCLA, The Joyce Theater; Sulayman al Bassam’s The Petrol Station, ArtsEmerson, Kennedy Center. With 22

Robert Wilson: Adam’s Passion, Einstein on the Beach, Garrincha, The Life and Death of Marina Abramovic, and Oedipus Rex. With Solange (as Associate Director and Costume Designer): Cosmic Journey/ Orion’s Rise tour, Hollywood Bowl, Radio City; Scales, Chinati Foundation; Metatronia (Metatron’s Cube), Hammer Museum. Upcoming (October 2018): MileLong Opera (collaboration with Anne Carson, Claudia Rankine, David Lang, Ragnar Kjartarsson, and Diller & Scofidio), The High Line. JOHN TORRES Lighting Design A.R.T.: Debut. John’s work includes designs for dance, theatre, music, fashion, and print. With Robert Wilson: EDDA, Det Norske Teatret Oslo, Cheek to Cheek Live! With Tony Bennett and Lady Gaga (PBS Great Performances). Opera: La Traviata, Orfeo et Euryidice, Opera Orchestre National Montpellier; Tristan and Isolde, La Monnaie / de Munt (Brussels, upcoming in 2019). Theater (recent): Twelfth Night, Shakespeare in the Park, Delacorte Theatre. Music: Taylor Mac: A 24 Decade History of Popular Music, Solange Knowles // Cosmic Journey. Dance: Toss and Rogues (with choreographer Trisha Brown), Theatre National de Chaillot/ Paris; Available Light (with choreographer Lucinda Childs), Walt Disney Concert Hall/Los Angeles. Fashion: Givenchy S/S 2015, New York, Yeezy 3 by Kanye West, Madison Square Garden. With director Steven Klein: music videos “Chun Li” (Nicki Minaj) and “Wolves” (Kanye West). nytelytedesign.com KAI HARADA Sound Design A.R.T.: Debut. Broadway: Head Over Heels, The Band’s Visit (Tony and Drama Desk Awards), Amélie, Sunday in the Park with George, Allegiance, Gigi, Fun Home, On the Town, First Date, Follies (Tony and Drama Desk nominations), Million Dollar Quartet. Regional: Soft Power, Center Theatre Group; Candide, LA Opera; Chess, Little Dancer, Kennedy Center. International: Zorro, Moscow, Atlanta; Hinterm Horizont, Berlin. Opera: Sweeney Todd, Man of La Mancha, Portland Opera. Audio Consultant for Hedwig and the Angry Inch. Education: Yale University.

RACHEL PADULA-SHUFELT Wig and Hair Design A.R.T.: Charlotte’s Web (Costume Design), Trans Scripts, Part I: The Women; Fingersmith; In the Body of the World; Natasha, Pierre & The Great Comet of 1812; Waitress; Crossing, The Heart of Robin Hood; All the Way; The Glass Menagerie; Pippin; Marie Antoinette; The Blue Flower; Cabaret; Death and the Powers; Best of Both Worlds; Donnie Darko; Julius Caesar; Copenhagen; The Communist Dracula Pageant. Broadway: Waitress, The Glass Menagerie. Regional: The Colored Museum, Huntington Theatre Company. STEWART/WHITLEY Casting Duncan Stewart CSA/Benton Whitley CSA. A.R.T.: Natasha, Pierre & The Great Comet of 1812; The Tempest, Pippin. Broadway/ NY: The Great Comet, West Side Story at Carnegie Hall, 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: Finding Neverland, The Sound of Music, The Bodyguard, Shrek, Once, Duck Commander Musical, Flashdance, Anything Goes, Bullets Over Broadway, Elf, We Will Rock You. Upcoming: Hadestown, Paradise Square, August Rush. Regional: The Goodspeed, The Alley Theatre, Bay Street Theater, Asolo Rep, Seattle’s 5th Avenue, Pasadena Playhouse, Philadelphia Theatre Company, Royal Caribbean. Artios Award Winning. Members of the Casting Society of America. JOELLE LAMARRE Associate Music Director A.R.T.: Debut. Opera (Soprano): The Violet Hour, The Life of Leontyne Price (playwright/performer), South Shore Opera Company of Chicago; Show Boat (Lady on the Levee), Porgy and Bess (Lily), Lyric Opera of Chicago; Afterword, the AACM (as) Opera (by George Lewis). Regional: Beauty and the Beast (Madame de la Grande Bouche), Chicago Shakespeare Theater; Porgy and Bess (Lily), The Court Theatre; The Nativity (Aunt Elizabeth), Goodman Theatre/Congo Square Theatre. International: Universal Studios Japan.

Educational: Dead Man Walking (Sister Rose), Northwestern. Performance Art: Manifestos 2 (by Charles Gaines), RedCAT Museum. Other: Teaching Assistant, Goodman Theater/Disney Musicals. Education/Training: MA, Northwestern University. TAYLOR BRENNAN Production Stage Manager A.R.T.: Stage Manager: HEAR WORD!, Burn All Night, Notes from the Field: Doing Time in Education, 1984, O.P.C., The Shape She Makes, The Donkey Show. Assistant Stage Manager: Jagged Little Pill; Bedlam’s Sense & Sensibility; The Night of the Iguana; Fingersmith; RoosevElvis; Kansas City Choir Boy; Natasha, Pierre & The Great Comet of 1812; The Heart of Robin Hood; All the Way; The Glass Menagerie; The Lily’s Revenge; Once. Production Associate: Prometheus Bound; The Blue Flower; Cabaret. Education/Training: Graduate of Boston University College of Fine Arts (Summa cum laude). MARIO WOLFE Assistant Stage Manager A.R.T.: Debut. Off-Broadway: The Peculiar Patriot, National Black Theatre. New York: In the Red and Brown Water, Richard II, Juilliard; The Country Doctor, Zoo City. Regional: Born for This: A New Musical, ArtsEmerson; Ah, Wilderness!, Objects in the Mirror, Gloria, Wonderful Town, Goodman Theatre; Grand Concourse, The Qualms, Steppenwolf Theatre. Education/ Training: The Theatre School at DePaul University, The Juilliard School.

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 Director of this production is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union. United Scenic Artists represents the designers and scenic painters for the American Theatre.

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

The American Repertory Theater is a member of ArtsBoston, StageSource, and Theatre Communications Group.

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A.R.T. BOARDS BOARD OF TRUSTEES Andrew Ory, Chair

Diane Borger Laurie Burt Paul Buttenwieser RoAnn Costin Michael Feinstein Provost Alan M. Garber Henry Louis Gates, Jr. Catherine Gellert Rebecca Grafstein Lori Gross Ann Gund Sarah Hancock Jonathan Hulbert Steve Johnson Alan K. Jones Jerry Jordan Robin Kelsey Herman “Dutch” Leonard Serena Lese Dennis Masel Thomas B. McGrath Ward Mooney Bob Murchison Dan Nova Diane Paulus Mike Sheehan Fay Shutzer Sid Yog

BOARD OF ADVISORS Ann Gund, Co-Chair Karen Mueller, Co-Chair Paolo Abelli Frances Shtull Adams Amy Brakeman Philip Burling* Greg Carr Antonia Handler Chayes* Lucy Chung Lizabeth Cohen Lisa Coleman Kathleen Connor Ophelia Dahl Rohit Deshpande Susan Edgman-Levitan Shanti Fry Erin Gilligan Jonathan Glazer Candy Kosow Gold Rachael Goldfarb Robert Green Barbara Wallace Grossman Peggy Hanratty Marcia Head James Higgins Linda A. Hill Horace H. Irvine II Brenda Jarrell Emma Torres Johnson Jason Kemper Dean Huntington Lambert Ursula Liff Timothy Patrick McCarthy Irv Plotkin Martin Puchner Ellen Gordon Reeves Pat Romeo-Gilbert Linda U. Sanger Molly Schoeck Maggie Seelig Dina Selkoe John A. Shane Michael Shinagel Lisbeth Tarlow Sarasina Tuchen Susan Ware Michael Yogman Stephen H. Zinner, M.D. *Emeriti

FOUNDING DIRECTOR Robert Brustein

As of August 2018

About the A.R.T. 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 Producer Diane Borger, the A.R.T. seeks to expand the boundaries of theater by developing and programming work that immerses 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 Regional Theater Tony Award; 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 collaboration with Harvard’s Center for the Environment. Under Paulus’ 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. has trained generations of theater artists through its Institute for Advanced Theater Training, and also plays a central role in Harvard’s undergraduate concentration in Theater, Dance & Media. 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.

Audience members join the cast of The Black Clown in song at an Engagement event at Hibernian Hall.

A.R.T. Membership Your support is vital. Members of the A.R.T. at every level sustain the momentum of our theater. Gifts to the A.R.T. support a significant portion of the theaterâ&#x20AC;&#x2122;s operating expenses, fund Education and Engagement programs that help us reach thousands of students each year, and allow the commissioning and development of risk-taking new work. Become an A.R.T. Member today to make a lasting impact and take advantage of these exciting new Member benefits: Discounted Parking Unlimited discounted parking at University Place Garage when you visit Harvard Square (subject to availability) begins at the Member Level ($50+).

Technical Rehearsal Come behind-the-scenes to see the physical production elements come to life with a visit to a technical rehearsal. Invitations begin at the Contributor Level ($500+).

Closing Weekend Toast Celebrate each groundbreaking production at a champagne toast with the cast and creative team during the closing weekend. Invitations begin at the Supporter Level ($250+).

Sitzprobe Rehearsal Observe the intricate process of the cast and musicians coming together for the very first time. Invitations begin at the Partner Level ($5,000+).

To learn more about becoming an A.R.T. Member please contact Sean Cummings, Assistant Director, Membership & Donor Relations, at sean_cummings@harvard.edu or 617.496.2000 x 8826.

AmericanRepertoryTheater.org/membership

A.R.T. 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, 2017 and June 30, 2018.

VISIONARY Barr-Klarman Arts Capacity Building Initiative Betsy and Edward Cohen* Doris Duke Charitable Foundation Sarah Hancock*

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

The Linda Hammett Ory & Andrew Ory Charitable Trust Matias Rojas* The Shubert Foundation

Fresh Sound Foundation Ann and Graham Gund* Joseph Hammer The Hershey Family Foundation Allison Johnson* Landry Family Foundation Serena and Bill Lese*† Massachusetts Cultural Council

Thomas B. McGrath and Sandy Medallis* National Endowment for the Arts Rowland Foundation, Inc. Maureen and Mike Sheehan* Fay and William Shutzer*†

Marcia Head* Barbara and Amos Hostetter* JetBlue Airways Elizabeth B. Johnson* Alan Jones and Ashley Garrett*† Jerry Jordan* Jeanne and Dennis Masel*† Lucy and Ward Mooney* Annette and Dan Nova* The Pemberton Family Foundation

Janet and Irv Plotkin* Lisbeth Tarlow and Stephen Kay* Theatre Forward Virginia B. Toulmin Foundation Sid Yog*

BENEFACTOR Amy and David Abrams* The Bank of America Charitable Foundation, Inc. Amy Brakeman* Katie and Paul Buttenwieser* RoAnn Costin* The Dana Foundation Edgerton Foundation E.H.A. Foundation

$50,000 - $99,999

LEADER Anonymous (1) Amy and David Abrams* The Gregory C. Carr Foundation Chung Family Foundation Karen and Brian Conway* Laura and Michael Dreese* Michael Feinstein and Denise Waldron* Catherine Gellert*† Rebecca and Laurence Grafstein*†

$25,000 - $49,999

PRODUCER Anonymous (2) Jill and John Avery Anita and Joshua Bekenstein Hilary and Philip Burling Laurie Burt* Barbara and Rodgin Cohen† Beth and Richard Compson Drew Faust Harvard University Center for the Environment Jonathan Glazer and Hadley Leach† Candy Kosow Gold and Martin Waters Lawrence Golub† Grayson Family Foundation Priscilla and Richard Hunt Hutchins Center

$10,000 - $24,999 Brenda Jarrell Joseph and Margaret Koerner Judith and Douglas Krupp Liberty Mutual Joyce Linde Lars Charitable Foundation Sally McNagny and Robert Green Hee-Jung and John Moon† John and Carol Moriarty Karen and Gary Mueller Marjorie and Robert Ory Diane Paulus and Randy Weiner Cokie and Lee Perry Stan Ponte and John Metzner† The Office of the Provost at Harvard University Karen Foote Richards Cynthia and Andrew Richards†

Patricia Romeo-Gilbert and Paul Gilbert* Valerie Beth Schwartz Foundation The Harold and Mimi Steinberg Charitable Trust Delia and Robin Thompson Sarasina and Mike Tuchen Donald and Susan Ware

PARTNER Paolo Abelli Frances Shtull Adams Joel and Lisa Alvord ArtsBoston, Inc. Kathryn Biberstein Lisa and Thomas Blumenthal Willa and Taylor Bodman Kate and Charles Brizius Denise Casper Chet and Carol Cekala Katherine Chapman Kate and Gerald Chertavian Kathy Connor Lynn Dale and Frank Wisneski Diana and Joe DiMenna‡ Abigail E. Disney and Pierre Hauser‡ Susan Edgman-Levitan and Richard Levitan EY Deborah and Ronald Feinstein Fiduciary Trust

$5,000 - $9,999 Shanti Fry and Jeffrey Zinsmeyer Jody and Thomas Gill Erin Gilligan and Hoil Kim Rachael Goldfarb Peggy Hanratty Pamela Haran and David S. Godkin Catherine Hayden and David Thurston John W. Henry Family Foundation Ernest and Kathleen Herrman Heather and James Higgins† Linda A. Hill and Dr. Roger E. Breitbart William and Leslie Lee Lori Lesser‡ John D.C. Little The Elphaba Fund Mahindra Humanities Center Tristin and Martin Mannion Kyra and Coco Montagu Janny and Dave Offensend Susan W. Paine

Amy and Andy Palmer Erica and Ted Pappendick D. Randy Peeler Julia Pershan and Jonathan Cohen‡ Diane Quinn and Keith Freiter Bryan Rafanelli and Mark Walsh Cynthia and John S. Reed Rosse Family Charitable Foundation Molly Schoeck and Guy MacDonald Seelig Family The Shane Foundation Wendy Shattuck and Sam Plimpton Luis Ubiñas and Deborah Tolman ‡ Paul and Jennifer Walsh Fran and Barry Weissler‡ Dyann and Peter Wirth Michael Yogman and Elizabeth Ascher Candace Young Stephen H. Zinner, M.D. and S. Wade Taylor, PhD

Jeanne Hagerty Michael Harper Alice Hoffman Polly Hoppin and Bob Thomas Peter Hornstra Tracey and Jonathan Hurd Janice and Ralph James Karen Johansen and Gardner Hendrie David L. Johnson and W. Kathy Martin Melissa Kaish and Jonathan Dorfman‡ Jill E. Karp and Mr. Stephen R. Karp Jason Kemper and Thor Perplies† Mary Ford Kingsley and Gordon Kingsley Christine Kondoleon and Frederic Wittman Deborah Krieg Lisa and Tim LaLonde‡ Herman “Dutch” Leonard and Kathryn Angell Christine and David Letts Felicia and Robert Lipson‡

Nancy and Richard Lubin Jo Frances and John Meyer Anne Mitchell Evelyn and Maclyn Musser Diana Nelson and John C. Atwater New England Foundation for the Arts, Inc. Wayne Olson Ellen Gordon Reeves† James Rhee and Margaret Smith Linda Sallop and Michael Fenlon Barbara Schapiro Susan and Bob Schechter Lori and Jon Shaer Harry Sherr and Cynthia Strauss Stacie Simon and Hal Tepfer Karen Szydlik John Travis Deborah Sinay and Charles J. Kravetz Davin T. and David P. Wedel Dr. Norman Weeks Judith Wolfberg Andrew Youniss

SPONSOR Anonymous (3) The Beker Foundation Joshua Boger Diane Borger Monica Chandra and Nitin Nohria John F. Cogan Clarke and Ethel D. Coggeshall Lizabeth Cohen and Herrick Chapman Susan Cohen Rohit Deshpande Darin and Gennette Detwiler Mark Diker and Deborah Colson‡ Andrew Dominus and Stephanie Altman Dominus‡ Cheryl Donohue and Michael Slater Nancy Donahoe and John Cohen Tara and Mike Edelman Amy Edmondson and George Daley Steve and Nancy Fischman Mark Glasser and Frank McWeeny Lindsay and Garth Greimann Lori E. Gross and Robert Douglas Campbell Barbara and Steve Grossman

$2,500 - $4,999

PATRON

Anonymous (7) Naomi Aberly and Larry Lebowitz Mary Akerson and Steven Cohen Richard Baiano and Craig Tevolitz Evelyn Barnes and Mary Carter James Basker and Angela Vallot‡ George and Barbara Beal Carol Beggy Emelia Benjamin Dr. Susan E. Bennett and Dr. Gerald B. Pier Susana and Clark Bernard Barbara and William Boger Garen Bohlin & Diana Sorensen Afshan Bokhari The Boston Foundation Robert Bowie, Jr. Elizabeth Washburn Cabot Sara and Tim Cabot Ronald Casty Shannon Chandley and Tom Silvia Tamar Climan

$1,000 - $2,499 Dr. Lisa Coleman† Olive Darragh Paula L. and Anthony M. Demarco Leigh Denny Zach Durant-Emmons Mary and Juan Enriquez Daniel Geffken David Golan and Laura Green Paul Goldenheim Phil Gormley and Erica Bisguier Paul Grabscheid and Sheila Bloom Marjorie and Nicholas Greville Katherine Gross Agnes Gund ‡ Melinda Hall and Larry Pratt Phyllis Harrington Beth Heard-Laffey Georgene and Dudley Herschbach Jim and Michele Hoben Maisie and James Houghton Institute of Contemporary Art / Boston

Jerome Robbins Foundation Lucinda Jewell Sue Graham and Eric Johnston Alexandra Juckno Belinda Juran and Evan Schapiro Marjie and Robert Kargman Robin E. Kelsey and Sara St. Antoine Josh Krugman Barbara H. Landreth, M.D.‡ William Leblanc Barbara Fish Lee Stacey Schneer Lee E. Cecile Lemley Sarah Lewis‡ Mr. and Mrs. Hambleton Lord Kathleen Malley Greta and Tony Mansour‡ David Margolin and Nancy Bernhard David Margolis

PATRON (cont’d) James C. Marlas and Marie Nugent-Head Marlas‡ James Moses and Philip Lovejoy Onnie Mayshak Alison McArdle Jenny Toolin McAuliffe Betsy McCarthy Daniel McCarthy Anne Merrifield and Wayne Davis Dale and Bob Mnookin Joan Nordell Laura and Russ O’Haver Susan Olsen and Richard Walton Virginia Osborne‡ Drew and Emily Pluhar Lia and William Poorvu Ellen M. Poss Helene and Dave Power Ms. Nancy Raphael Jack and Jane Reardon

$1,000 - $2,499 William Reardon Leslie Riedel and Scott Friend Helen Riess, M.D. and Norman Nishioka, M.D. Brett Robbins and Renata Ferrari Carolyn G. Robins Michael Rodriguez and Matthew Martin Gabriela and Bob Romanow Rob Rudnick and Connie Everson Amy Russo Allison K. Ryder and David B. Jones Janice Saragoni Claire Saxe Fred Schernecker Mark and Marie Schwartz Michael Shinagel and Marjorie North Rachael Solem Somerled Charitable Foundation

CONTRIBUTOR Anonymous (5) Pamela and Robert W. Adams Helle Mathiason Alpert Dianne Anderson Elissa Arons Donna and Albert Bangert Beth Barmakian Jonae Barnes and Tony Ursillo William M. Bazzy Lorri Berenberg and Rob Wilstein Leonard and Jane Bernstein Karyn Blaser‡ Margie and Michael Bogdanow John and Dorothy Bowe Dorothea and Sheldon Buckler Thomas M. Burger and Andrée Robert Alice Cort Laura Crary Peter Crosby Susan M. Deutsch Susan Erickson Eversource Energy Foundation Scott D. Feinstein Anna Fitzloff Judy and Henry Frechette Dr. Alan Garber and Dr. Anne Yahanda Robert and Kathleen Garner Susan Galer Joe Genovese

Vivian and Lionel Spiro State Street Foundation Matching Gift Program Beth and Michael Stonebraker Deborah Sweet and Steven Lazar Beth Terrana Melinda B. Thaler‡ Anya and Corey Thomas The Joseph W. and Faith K. Tiberio Charitable Foundation Jane and William Vaughn III Mindee Wasserman, Esq. Jim and Roselee Wayman Ruth and Bill Weinstein Susan and Stephen Weiss Mark Weld Mary and Ted Wendell Katharine Weymouth Alfred Wojciechowski and Tammerah Martin

$500 - $999 Leigh Gilmore and Thomas Pounds Wendy and Clark Grew Dena and Felda Hardymon Professor Jay Harris Tamara Hermann Robert W. Hopkins Caroline and Fred Hoppin Jane Katims and Dan Perlman The Dr. Cyrus Katzen Foundation, Inc. Priscilla Kauff‡ Jeff and Lisa Kerrigan Jeannine and Michael Kerwin Laurie Laba and Neale Eckstein Abigail Lash and Austin Shapard Ivana Magovcevic-Liebisch and Lars Liebisch Angela Lifsey Charles Lord Noreen and Ted Major Barbara Manocherian‡ Wendy Mariner and Toby Nagurney Beth and Carmine Martignetti Anita Meiklejohn and Vincent Piccirilli Sharon Miller Professor Suzanne P. Ogden and Peter Rogers Stacy Osur and Keith Gilbert Donald and Laurie Peck

Susan Pett Suzanne Priebatsch Tom Quintal and Naomi Kaufman Sally C. Reid and John D. Sigel Jane Brooks Robbins Judi and Bill Rosensweig Karen Ruben Dr. Linda U. Sanger* Steven Showalter and Jeffrey Davis Drs. Margaret J. and Michael P. Simon Ray Smith‡ Kim and Timothy Speedy‡ Stefura Associates Ellen Lande and Detlev Suderow Leslie and Dan Sullivan Mary Tavares-Sutula Sara and Jim Taylor Eric and Sarah Ward Jonice Webb and Seth Davis Lisa Weissmann and Debra Shapiro Tricia Thornton and Bryce Wells Jo Wellins Kelsey Wirth and Dr. Samuel Myers Jane Wolfson Lisa and Clark Wright Munirih and Krishna Yeshwant Carolyn Zern

SUPPORTER Anonymous (3) Laura S. Althoff Lay-Hong Ang Betsey Ansin Kalliope Badavas Lella R. Baker Michele and James Banker Richard Bankhead and Kemper Thompson Maureen F. Basse, in memory of Kevin Cole Costin Thomas Bator Benevity Community Impact Fund Andrea L. Benoit and Michael Parsons Peter Bien Catherine Bird T. Christopher Donnelly and Carolyn Bitetti Jeanne Blasberg Lisa Bloch Patricia Bresky Peter Bryant Catherine Stanger and Alan Budney Margaret Burchenal Stacy Burns Marie and Peter Butler James Carroll Donna Case‡ Veronica Castellucci Antonia H. Chayes Yen-Kuei Chuang Arlene and Steven Cohen Kathy Cormier The Cranton Family Jo Ann David-Kasdan and Menachem Kasdan Linda and Rad Decker Nancy Dellarocco David desJardins Patrick and Nancy Dignan Charlotte Dixon Ronald M. Druker Julia Fair Brad Feldman Carolyn Fine Michael Flier and David Trueblood Meri Fox Diane Garthwaite Matthew and Sarah Gates Claudine Gay Givenik LLC Patricia Glazer and Bob Egan‡ Laurie and Jeffrey Goldbarg, M.D.

$250 - $499 Mary-Jo Delvecchio Good and Byron J. Good Amy J. Gould Mark Granovsky Ilene Greenberg and Michael Maynard Allan M. Brandt & Shelly F Greenfield Jay Hanflig Robert Harrington Melinda Harrison John and Marija Hauser Joan and Robert Herold Sharlyn Heslam Mr. Brian and Dr. Robin Hicks Megan and David Hinckley Jonathan Hulbert and Sonia Hofkosh Dale Holman James Houghton Laurie and Joe Hutcheson Raymond Jacques Sarah Jaffe and Richard Eisert‡ Mattias Jansson Denise Jarvinen Sarah Kagan‡ Kasey Kaufman Tracy Keene and Tim Longman Thomas Keirstead Ethan and Matt Kernkraut Jennifer Kiddie Sol Kim Bentley Lynn Kodama Joyce Kressler Steven Lampert and Anita Feins Stephen R. Langlois and Sally L. Marrer Lisa and Bill Laskin Kim Leonard Vanessa Liu‡ Diane Masters James Mattimore Michelene McClennen Lloyd Minor Dorian Mintzer, in memory of Edward Siegle Alisa Morgan Professor Marcyliena Morgan Sandra Moose and Eric Birch Aileen Murphy Theodora and Marc Najarian Newton at Home Scott J. Nathan Raymond Nied Dr. Shara Oken Katharine Olmsted

Usha Pasi Robert Paster Susan Payne Drs. Hilda and Max Perlitsh Barbara and Stuart Pizer Peter Romano Daniel Romanow and B. Andrew Zelermyer Dr. Leah Rosenberg and Getzel Rosenberg Davis Professor Christopher Roussin Susan Ryan Victoria Sandin Diane DeBono Schafer Adina Schecter‡ Robert Schultz Darcy Sidwell Sandy Soolman Rina Spence Countryman Kathy Spiegelman Professor Robert Stavins Jessica and Colin Stokes Karen and Steve Stulck Tavneet Suri Victoria and Matt Sutton Jake Tedaldi Gillien Todd and Kingsley Taft Lynn and George Vos‡ William Waters Richard Watts Dorothy and Steve Weber Lally Weymouth‡ Sharon Goddard White and David White Deborah Whitehill and Howard Zaharoff Grant F. Winthrop Paula and Simon Young Jeffrey Zapfe William Zinn Janet Zwanziger *Donors who provide annual operating support of $25,000 or more are members of the Artistic Director’s Circle † 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 Ilex Designs/ Andrew Anderson (Floral Sponsor) ilexflowers.com

Aesop Beat Brasserie Boch Center Cambridge, 1. The Catered Affair The Charles Hotel Michael Feinstein and Denise Waldron

JetBlue (Official Airline Sponsor) jetblue.com

Meyer Sound (Loeb Sound System Sponsor) meyersound.com

Erin Gilligan and Hoil Kim Candy Kosow Gold and Martin Waters Google Grafton Street The Graphic Group Harvest

PEAK Event Services (Party Rental Sponsor) peakeventservices.com

Henrietta’s Table Karen and Gary Mueller Noir Bar Diane Paulus and Randy Weiner The Regattabar The Sinclair Toscano

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. Aetna Buford Alexander and Pamela Farr  American Express AT&T ◊ AudienceView The Augustine Foundation ◊ Mitchell J. Auslander  Joe Baio and Anne Griffin* Bank of America  Sheri and Les Biller Foundation Bloomberg Philanthropies BNY Mellon Steven & Joy Bunson  Citi  Sue Ann Collins* DELL Paula A. Dominick  Dorsey & Whitney Foundation Dramatists Play Service, Inc. Kevin & Anne Driscoll* John R. Dutt * The Estée Lauder Companies Inc. EY Bruce R. and Tracey Ewing  Jessica Farr Lucy Fato and Matt Detmer* Foresight Theatrical Alan & Jennifer Freedman* Steven & Donna Gartner* Glen Gillen and Michael Lawrence Goldman, Sachs & Co. Richard K. Greene  Nancy Hancock Griffith* The Hearst Foundations ◊ Joyce & Gregory Hurst  Jujamcyn Rob Kauffman*

Mary Kitchen and Jon Orszag* KLDiscovery Anthony and Diane Lembke* Westlake Reed Leskosky ◊ Marsh & McLennan Companies, Inc. Jonathan Maurer and Gretchen Shugart  Meltwater MetLife Morgan Stanley Louise Moriarty & Patrick Stack* The Music Man Foundation ◊ Lisa Orberg ◊ Frank & Bonnie Orlowski  Robin and Bob Paulson Charitable Fund Pfizer, Inc. Presidio Leslie C. Quick, Jr. and Regina A. Quick Charitable Trust Foundation Thomas C. Quick  RBC Wealth Management Sarah Robertson Patti & Rusty Rueff Foundation  The Schloss Family Foundation ◊ Elliott Sernel & Larry Falconio* Stephanie Scott  Daniel A. Simkowitz & Mari Nakachi  George S. Smith, Jr.* Southwest Airlines ◊† S&P Global TD Charitable Foundation ◊ Ten Chimneys Foundation Theatermania John Thomopoulos  Evelyn Mack Truitt* James S. & Lynne P. Turley ◊

Ubiñas Family Charitable Trust UBS Michael A. Wall* Wells Fargo ◊ Willkie Farr & Gallagher Isabelle Winkles  Mary Beth Winslow & Bill Darby* Terrence P. Yanni  *Theatre Forward/DeWitt Stern Fund for New American Theatre ◊ Educating through Theatre Support Advancing Strong Theatre Support



†Includes In-kind support As of July 2018 Theatre Forward supporters are former supporters of National Corporate Theatre Fund and Impact Creativity.

Photo: The ensemble of Proclamation 5, Gretjen Helene Photography.

Education and Engagement We believe that a great arts experience doesnâ&#x20AC;&#x2122;t begin or end at the theater door. 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 throughout the Greater Boston area. Through affordable tickets to A.R.T. productions, theater skill-building workshops and classes, project-based partnerships, public dialogue, and more, the A.R.T. is deepening connections to live theater for audiences of all ages in our community.

For Our Community Our goal is to make world-class theater accessible to everyone in our community.

For Teachers & Schools The A.R.T. Education Experience engages students by connecting our productions with classroom curriculum and studentsâ&#x20AC;&#x2122; lives.

For Kids & Families A.R.T. provides fun-filled creative adventures for children and families, including A.R.T. Kids Company.

For Teens A.R.T. develops programs like Proclamation for teens to connect to their creativity, power, and each other through mentorship, theater skillbuilding, and self-expression.

To learn more about A.R.T. Education & Engagement Programs, visit:

AmericanRepertoryTheater.org/education-engagement

American Repertory Theater Staff TERRIE AND BRADLEY BLOOM ARTISTIC DIRECTOR EXECUTIVE PRODUCER

DIANE PAULUS DIANE BORGER

MANAGING DIRECTOR CHIEF DEVELOPMENT OFFICER DIRECTOR OF PRODUCTION

ANNA FITZLOFF* NOREEN MAJOR RICK NOBLE*

Director of Artistic Programs/Dramaturg Editor and Assistant Dramaturg Executive Assistant to the Artistic Director Aministrative Director, Institute for Advanced Theater Training Associate Director, Institute for Advanced Theater Training Head of Voice & Speech, Institute for Advanced Theater Training Dramaturgy Apprentice Artistic Producer Assistant Producers Company Manager Assistant Company Manager OBERON Production Manager OBERON Venue Manager OBERON Assistant Venue Manager OBERON Assistant Lighting Supervisor OBERON Assistant Sound Supervisor OBERON Theatrical Audio Technician OBERON House Lighting Programmer OBERON House Sound Engineer

General Manager Theater and Facilities Manager Database Administrator Loeb Receptionists Receptionists Cleaning Supervisor Cleaning Crew Chief Cleaning Team Senior Financial Accountant Financial Associate Payroll Coordinator Accounting Assistant Head of Patron Services Ticket Services Manager Assistant Ticket Services Manager Ticket Services Representative Ticket Services Staff

Front of House Manager Duty House Managers Volunteer Usher Coordinator

Marcus Stern Erika Bailey Elizabeth Amos

Mark Lunsford* Sophie Ancival, Emma Watt Ryan Sweeney Alta Lewis Millard Skip Curtiss Leo X. Crowley Megan Minger Justin Paice Alex Giorgetti Katrina Sistare Sean Pieroth Michael Policare

Director of Marketing and Communications Marketing and Communications Manager Senior Graphic Designer Digital Graphics and Design Fellow Marketing and Communications Fellow Public Relations Director Social Media Assistant Videographer Education and Engagement Director Education and Engagement Fellow Community Programs Assistant Director, Individual Giving Grants Manager Assistant Director, Events & Partnerships Assistant Director, Membership & Donor Relations Development Information and Database Specialist Development Fellow

Ryan McKittrick Robert Duffley Mary McGowan Julia Smeliansky

Grace Geller Samantha Burns Joel Zayac David Libbey* Stacey Schutzman* Rebecca Curtiss Mark Mauriello Johnathan Carr Brenna Nicely* James Montaño* Destiny Polk Eric Bailey Meghan Coleman Christine Noah Sean Cummings Darnell Graham* Michael Winn

Steven Showalter Tracy Keene Alicia Curtis Sarah Leon, Maria Medeiros Alyssa Cordeiro, Jack Holder, Barbara Lindstrom, Sean O’Leary, Alison Schaefer, Matt Spano Anthony Sousa Hugo Lopez Felipe Barahona, Anna Canazalez, Santos Ruiz Lopez, Marvin Ventura Rebecca Ferber Toufiq Aitelfqih* David Jewett Yvette Layne* Stephen Wuycheck Emma Putnam Heather Conroe Cassandra Long Rachael Cohen, Kaylah Dixon, Jesse Friedman, Danni Long, Tani Nakamoto, Christian Peña, Emma Quinn, Sean Watkins Matt Spano Heather Conroe, Marissa Friedman, Stephanie Pando, Courteney Smith Barbara Lindstrom

*Members of the A.R.T. Diversity & Belonging Task Force. The Task Force is a staff-led initiative serving as a catalyst for improved diversity and belonging among A.R.T. staff, students, volunteers, artists, audience, and board members at the A.R.T.

Associate Production Manager Production Supervisor, Pedagogical Programs Costume/Props Stock Manager

Jeremie Lozier Kat Nakaji* Suzanne O. Kadiff

Technical Director Stephen Setterlun Assistant Technical Director Kristin Knutson David Schultz Scene Shop Supervisor Jerry Vogt Scenic Charge Artist Master Carpenter Peter Doucette Scenic Carpenters Bill Hawkins, Dan Lincoln, York-Andreas Paris, Ray Reyes, Nick Tosches Heather Morris Scenic Painter Purchaser Brian Melcher Stage Operations Supervisor Assistant Stage Operations Supervisor Costume Shop Manager Assistant Costume Shop Manager Head Draper Crafts Artisan Wardrobe Supervisor Wig Runner Sound Manager Assistant Sound Manager Front of House Mixer Lighting and Projections Supervisor Assistant Lighting Supervisor Lighting and Projections Programmer and Operator Properties Manager Properties Carpenter Assistant Properties Manager

Miguel Ferreira Steven Manifold Carson Eddy Alma Reyes Caitlin Menotti Jeffrey Scott Burrows Alycia Marucci Emily Damron Sam Lerner Bryan Atterberry Michelle Reiss Matthew Adelman Alex Brandt Sumner Ellsworth Cynthia Lee-Sullivan Nicholas Menge Mariya Sudarski

FOR THE BLACK CLOWN Scenic Carpenters David Adriance, Garrett Bachant, Peter Birren, Kyle Blanchette, Shannan Burrows, Frank Butkus, Justin Cagle, Dean Covert, Thomas Eckenfels, James Goslin, Michael Greene, Jesse Hoyer, Kyle Joyce, Allen Karel, Ivan Korn, Aurelia Lyman, Dawn Morningstar, Alexander Platt, Rachel Shainwald, LeeAnna Studt, Brian Sullivan, Conor Thompson Brian Choinsky Assistant Wardrobe Supervisor Draper Carmel Dundon Tailor Edward Dawson Stitchers Nicole Angell, Priscilla Carrion, Chelsea Kerl, Susana Monchousky, Vinnie Louck, Sally Perry Nora Gallant Green Costumes Intern Spot Op Aaron Cohen Electricians Kevin Barnett, Yonina Brenner, Matthew Breton, Aliza Burr, Evey Connerty-Marin, Matt Cost, Christopher Gilmore, Oliver Halperin, Rebecca Marsh, Bill O’Donnell, Brian Shaw, Hannah Solomon Maya Krantz Lighting Intern A2/Deck Sound Terrence Dowdye Sound Intern Joseph Haggerty Sound Load-In Crew Elizabeth Cahill, Alison Schaefer Properties Craftspeople Andrew Deshazo, Stacey Horne-Harper, Madison Young Stage Crew Bradley Costa, Andrea Dudziak, Errick Jersey, Lukas Theodossiou David Chu/C2 Captioning Audio Description Paris Alston, Gamalia Pharms, Janet Stankus

As of August 2018

PLEASE NOTE: The photographing or sound recording of any performance or the possession of any device for such photographing 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.

LARGE PRINT

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.

All venues are fully accessible. A wheelchairaccessible bathroom is located to the left as you face the box office in the front lobby (ushers or reception desk personnel will direct you). Assistive listening devices are available for all A.R.T. performances.

WEST LOBBY

The theater is equipped with an infrared amplification system for the hard of hearing; headsets are available at the reception desk. For patrons with a telecoil, this theater is also equipped with an induction loop. Please set your device to the â&#x20AC;&#x153;tâ&#x20AC;? setting. A.R.T. offers Open Captioning, Audio Description, ASL interpretation, and Sensory Friendly programming at designated performances throughout the year. Email: ticketservices@amrep.org/Call: 617.547.8300 Visit: americanrepertorytheater.org/access

Publisher/Sales John Loftus 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.

FROM OUR WINGS TO YOURS. JetBlue is proud to be the Official Airline of the American Repertory Theater.

H A RVA R D S Q U A R E

Coming Soon

Building Community One Home at a Time

G a il R ob e rts & E d Fe i j o

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