Glass Menagerie Program by American Repertory Theater

Artistic Director’s Welcome Diane Paulus, Artistic Director

THE GLASS MENAGERIE Welcome to the A.R.T.! I’m delighted you’ve joined us here for this revival of The Glass Menagerie, the first time in our 32-year history that the A.R.T. has produced a play by the famed American playwright, Tennessee Williams. This production’s director, John Tiffany, first came to the A.R.T. two years ago, when he was in Cambridge as a 2010-2011 Fellow at the Radcliffe Institute for Advanced Study at Harvard University, our neighbors here on Brattle Street. We developed the new musical he was directing, Once, which went on to Broadway where it received eight Tony Awards, including Best Musical and Best Direction of a Musical. When we asked John what he might want to direct on our Loeb mainstage, he didn’t skip a beat: The Glass Menagerie, his favorite play, with Cherry Jones in the iconic role of Amanda Wingfield. What a thrill to for us to welcome back Cherry to the A.R.T., where she has performed in countless memorable productions over the years. Joining Cherry onstage are the exceptional Zachary Quinto, Celia Keenan-Bolger, and Brian J. Smith. It’s my pleasure to welcome each of them in their A.R.T. debuts. When, as a young writer, Tennessee Williams wrote The Glass Menagerie, he was drawing from his deepest, most personal life experiences. He was also establishing himself as one of the great voices of the American stage. Almost seventy years after its premiere in 1944, the play still reverberates for a contemporary audience through its raw emotional power and singular stage poetry.

Photo: Dario Acosta Cover photos: Jimmy Ryan Photography

Welcome to the theatrical world of Tennessee Williams, and, as always, thank you for joining the experience at the A.R.T.!

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AMERICAN REPERTORY THEATER PRESENTS

Tennessee Williams SET & COSTUME DESIGN BOB CROWLEY

LIGHTING DESIGN NATASHA KATZ

SOUND DESIGN CLIVE GOODWIN

Casting Jim Carnahan Casting Jim Carnahan, Stephen Kopel Music Nico Muhly

DIALECT PRODUCTION COACH STAGE MANAGER NANCY HOUFEK CHRIS DE CAMILLIS* MOVEMENT STEVEN HOGGETT DIRECTOR

JOHN TIFFANY First performance at the Loeb Drama Center on February 2, 2013

PRODUCTION SUPPORT Paul & Katie Buttenwieser

Ann & graham Gund

Ward & LUCY Mooney

Don & Susan Ware

SEASON SUPPORT

THE GLASS MENAGERIE is presented by special arrangement with Samuel French, Inc. on behalf of the University of the South, Sewanee, Tennessee

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Cast (in order of appearance) Tom Zachary Quinto* Amanda Cherry Jones* Laura Celia Keenan-Bolger* The Gentleman Caller

Brian J. Smith*

Understudies Understudies never substitute for listed players unless a specific announcement for the appearance is made at the time of the performance. Tom—Dara Yazdani; Laura—Samantha Eggers^; The Gentleman Caller—David Abrams (*) Members of Actors’ Equity Association (^) Appears Courtesy of Actors’ Equity

ADDITIONAL STAFF Assistant Director Benjamin Shaw Assistant Stage Manager

Taylor Adamik*

Associate Set Designer

Bryan Johnson

Assistant Costume Designer

Ameera Ali

Assistant Sound Designer

Erik Skovgaard

Dramaturgy Alexandra Juckno Assistant Dialect Coach

Ron Carlos

Stage Management Intern

Madeleine Bersin

Harvard Office of Career Services Art Fellows

Krithika Varagur, Matthew Walker

SPECIAL THANKS Tom Erhardt, Mel Kenyon, and all at Casarotto Ramsey John Martello and The Players Club, NYC Pedram Naseri New York Theatre Workshop Mary Haegert, Micah Hoggatt, and Dale Stinchcomb from the Harvard Theatre Collection Mary-Catherine Deibel and Deborah Hughes

The A.R.T. thanks

for their support of The Glass Menagerie opening night

Photo: Time Life Pictures - Getty Images

Excerpt from Tennessee Williams’s Production Notes to The Glass Menagerie, 1944 Being a “memory play,” The Glass Menagerie can be presented with unusual freedom of convention. Because of its considerably delicate or tenuous material, atmospheric touches and subtleties of direction play a particularly important part.

Expressionism and all other unconventional techniques in drama have only one valid aim, and that is a closer approach to truth. When a play employs unconventional techniques, it is not, or certainly shouldn’t be, trying to escape its responsibility of dealing

From Tom to Tennessee

Photo: Special Collections, Butler Library, Columbia University

By Alexandra Juckno

On the frigid December night that The Glass Menagerie premiered in Chicago, the woman who created Amanda Wingfield, Laurette Taylor, came face to face with the woman who had inspired this mother of all American stage mothers. “Well, Ms. Williams,” asked Taylor, “how did you like yourself?” Edwina Dakin Williams, ever the Southern belle, politely changed the subject, “Oh, Laurette, you were wonderful.” tennessee Williams (Right) If this freezing Chicago night catapulted with mother and sister Amanda Wingfield to the pantheon of great roles for actresses, it also made a star of Tennessee Williams. Though the name Tennessee suggests otherwise, Thomas Lanier Williams III spent most of his childhood in Mississippi, where he was born, and in St. Louis, the city he claimed to hate. Young Tom began writing on the typewriter Edwina Williams bought for her “writin’ son” when he was twelve. By then, his Gulf Coast upbringing had already supplied him with many of the people, places, and events that would populate the mythological South of his later plays. Tom Williams encountered the first backlash against the romantic South when his father Cornelius moved the family to St. Louis in the brutally hot summer of 1918. The Williams family would move around nine times during Tom’s adolescence, complicating his and elder sister Rose’s adjustment. Poetry served as a refuge for Tom, but Rose, though vivacious and pretty, struggled to adjust and became withdrawn, often fighting with her parents. When Tom enrolled at the University of Missouri in 1929, Rose was left alone. The beginning of 1932 found Tom trapped in the Celotex interior of International Shoe Company, where his father worked. Upset over his son’s poor grades, Cornelius secured him a job as a clerk, forcing Tom out of college. Tom chafed at the job but ultimately found release in 1935 after heart palpitations caused a nervous breakdown. This incident inaugurated a lifelong fear of dying continued>

with reality, or interpreting experience, but is actually or should be attempting to find a closer approach, a more penetrating and vivid expression of things as they are. The straight realistic play with its genuine Frigidaire and authentic icecubes, its characters who speak exactly as its audience speaks, corresponds to the academic landscape and has the same virtue of a photographic likeness. Everyone should know nowadays the unimportance of the photographic in art: that truth, life, or reality is an organic thing which

the poetic imagination can represent or suggest, in essence, only through transformation, through changing into other forms than those which we merely present in appearance. These remarks are not meant as a preface only to this particular play. They have to do with a conception of a new, plastic theatre which must take the place of the exhausted theatre of realistic conventions if the theatre is to resume vitality as a part of our culture.

This article is excerpted from the A.R.T. Guide. To read the full article, please visit americanrepertorytheater.org or pick up a copy of the Guide in our lobby. Alexandra Juckno is a first-year dramaturgy student at the A.R.T./Moscow Art Theater School Institute for Advanced Theater Training at Harvard University.

Photo: Dakin Williams Family Collection, Collinsville, IL

and madness that Williams would see reflected in Rose. After a disappointing social debut, she had begun experiencing unexplained stomach pains. While Tom recovered in Memphis, Rose began seeing a therapist, who diagnosed her pains as stemming from a fear of sex. Edwina Williams orchestrated a parade of gentleman callers to solve the problem through socially acceptable means. Tom returned to St. Louis and began writing “social plays” for The Mummers, a St. Louis theater troupe. His friendships with the young literati of St. Louis strained his relationship with his sister. Ignored by the brother who had formerly been her most loving companion, Rose slipped further into her delusions and was admitted to a sanitarium in 1937. While completing his degree at the University of Iowa in 1938, Tom wrote Not About Nightingales, concerning a war-torn family crushed by poverty, and Me, Vashya! where a heroine is driven mad by her blood-thirsty arms dealer husband. Both deal with the major social problems of the day—The Depression and looming war—and show a young playwright struggling to depict the private tragedy of a family unfolding against a larger social tragedy. En route to New Orleans post-university, Tom mailed several plays to the Group Theatre’s new play contest. He knocked three years off his age to qualify for entry and impulsively signed the works “Tennessee.” The plays won him $100 and the patronage of Audrey Wood, a powerful New York agent. The next five years in Tennessee Williams’s life are a restless whirl of travelling and writing, but distance could not free Tennessee from his family. In Rose, Williams saw a mind ravaged by what he called “blue devils,” which had also turned his father into a drunk and threatened to destroy his own mind. Writing became his salvation. Without it, Williams feared his Rose and Tom in front mind would fail as had his sister’s. of their St. Louis home In January of 1943, Edwina broke the news that Rose had undergone a lobotomy to pacify her delusions. A distraught Tennessee turned to writing to combat his grief. The short story Portrait of A Girl in Glass, in which Laura is the central character and has no physical defects, gave way to the Amanda-centric Daughter of the American Revolution, whose central character hawks magazine subscriptions to genteel Christian ladies. These embryonic drafts led to The Gentleman Caller, a film treatment Williams crafted for MGM. He turned it into a play when the studio dismissed it: The Glass Menagerie began rehearsals in Chicago in December 1944. The play became a smash hit when it opened on Broadway in March 1945. From the life and memory of Tom Williams, Tennessee Williams created one of the most enduring portraits of a family ever staged. While Tom Wingfield runs from his memories, the playwright used his own past to create something never before seen on the American stage—a lyricism born of truth in the pleasant disguise of illusion.

A Tennessee Williams Timeline 1907 Edwina Dakin marries Cornelius Coffin Williams.

November 19, 1909 Rose Williams born in Columbus, Mississippi.

March 26, 1911

tom and rose as children

Thomas (later “Tennessee”) Lanier Williams III born in Columbus, Mississippi. His family always called him Tom, even after he found fame as Tennessee.

Summer, 1916 Five-year-old Tom almost dies from diphtheria. Doctors credit his mother’s nine-day vigil with saving his life.

Summer, 1918 The Williams family moves to St. Louis.

Photo: [HTC Ms Thr 553, Harvard Theatre Collection, Harvard University]

1919 Younger brother Walter Dakin Williams born in St. Louis. Called Dakin by his family. 1920 Tom spends the summer in Clarksville, Mississippi with his grandparents Reverend Walter Dakin and Rosina “Grand” Dakin. 1923 Edwina buys 12-year-old Tom a typewriter.

1925 Hoping to improve her daughter’s depressed disposition, Edwina sends Rose Williams to a finishing school in Vicksburg, Mississippi.

1926 The Williams family moves to

1927 Rose Williams returns to St. Louis for a disappointing social debut. Tom begins sending poems and essays to magazine contests and wins several small prizes. 1928 Tom accompanies Reverend Dakin on a summer trip to Europe and experiences his first “psychotic” crisis in a cathedral, feeling overwhelmed by the thought of dying. Rose Williams begins experiencing inexplicable stomach pains.

1929 The stock market crashes and America enters The Great Depression. Tom enrolls at the University of Missouri and writes his first play called Beauty is the Word.

1932-1935 Forced to quit school by his father because of his grades, Tom works for three years in the shoe warehouse managed by Cornelius. He is released from the job after suffering a nervous breakdown and is sent to Mississippi to recover at his grandparents’ house. There, a local theater troupe stages his comedy Cairo! Shanghai! Bombay!

1934 Rose Williams begins seeing a psychiatrist, who diagnoses her physical problems as stemming from a “fear of sex.” 1936-1937 Tom enrolls at Washington University. There he begins writing plays for St. Louis drama troupe The Mummers, earning favorable reviews from newspaperman William Inge, who would later credit Williams with inspiring him to write his own plays.

an apartment on Enright Avenue in St. Louis, the model for the Wingfield apartment.

1937 The Spanish city of Guernica is bombed by the German Luftwafte, killing an estimated 400 civilians. Rose Williams is admitted to a sanitarium and diagnosed with schizophrenia. She begins undergoing insulin shock treatment.

1951 The Rose Tattoo premieres on Broadway. 1953 Camino Real premieres but is a critical failure. 1955 Williams wins a second Pulitzer for Cat on A Hot Tin Roof.

1938 Tom graduates from the University of Iowa’s prestigious playwriting program.

1957 Cornelius Williams dies. Tennessee Williams enters analysis, where his doctor encourages him to recognize submerged 1939 Tom visits Rose tom accepting drama love for his father and in the sanitarium and critics’ circle award, 1945 hatred for his mother. He is afterward estranged writes Suddenly Last Summer. Orpheus from her until 1943. He mails in several Descending, a reworked draft of Battle one-acts to the Group Theatre’s contest of Angels, premieres on Broadway but for new playwrights, changing his is still only a modest hit, though it runs birth year to 1914 and signing the plays for seven years in Russia. “Tennessee.” Williams lives for months in the French Quarter of New Orleans. 1959 Sweet Bird of Youth premieres on 1940 Williams has a brief affair in Provincetown, Massachusetts with dancer Kip Kiernan. Battle of Angels premieres in Boston late in the year but is a flop. 1943 Rose Williams undergoes a prefrontal lobotomy to cure her schizophrenia. Tennessee goes to work for MGM and begins writing The Glass Menagerie in earnest.

December 26, 1944 The Glass Menagerie opens in Chicago.

March 31, 1945 The Glass Menagerie opens on Broadway and runs for 563 performances. Laurette Taylor wins a Tony Award for her performance as Amanda.

1947 Edwina Williams separates from Photo: World Wide Photos

Cornelius Williams.

1948 Williams wins the Pulitzer Prize for A Streetcar Named Desire. Summer and Smoke premieres on Broadway. The Glass Menagerie opens in London, starring Helen Hayes.

Broadway starring Geraldine Page and Paul Newman, who would later direct John Malkovich and Joanne Woodward in a film of The Glass Menagerie.

1963 Tennessee Williams’s long-time lover Frank Merlo dies of cancer. Tennessee is plunged into a sevenyear depression, increasing his drug and alcohol use. He is in and out of care facilities under the control of his brother Dakin.

1979 Edwina Dakin Williams dies. 1982 A House Not Meant to Stand opens in Chicago. It is Williams’s last produced new play before his death. 1983 Tennessee Williams dies by suffocation from swallowing the cap of a medicine bottle. Though the playwright had requested that his body be thrown in the ocean as near to Hart Crane’s suicide site as possible, Dakin Williams has his brother buried in St. Louis.

Photo: Matthew Gregory Hollis

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On Tennessee Williams and The Glass Menagerie “I, like almost everyone of my generation, went into the theater because of my exposure to Tennessee. In high school, we did those ridiculous, old-fashioned comedies, and then I got to play Tom in The Glass Menagerie, and it was then I fell in love with theater.” - Lanford Wilson, in a 1983 The New York Times feature on Tennessee’s legacy, by Michiko Kakutani “The overarching dramatic problem in The Glass Menagerie, the conflict that generates the play’s quietly unbearable pressure, is the desperate necessity for Tom’s psychic survival that he betray, through abandonment, his mother and his sister. He’s caught in ‘a trap,’ he tells us at the beginning of the play, and to escape he must ‘act without pity.’ After the betrayal, abandonment, and liberation, and after a time in exile, adrift, lonely (despite the ‘companions’ he meets along the way), Tom, or rather the playwright for whom he is nakedly the surrogate, will write The Glass Menagerie.” - Tony Kushner in his introduction to The Glass Menagerie “Tennessee Williams had a profound effect on the American theater and on American playwrights and actors. He wrote with deep sympathy and expansive humor about outcasts in our society. Though his images were often violent, he was a poet of the human heart.” - Mel Gussow in Tennessee Williams’s The New York Times obituary, February 1983 “Too many theatrical bubbles are burst in the blowing, but The Glass Menagerie holds in its shadowed fragility the stamina of success. This brand new play, which turned the Civic Theater into a place of steadily increasing enchantment last night, is still fluid with change, but it is vividly written, and in the main superbly acted. Paradoxically, it is a dream in the dusk and a tough little play that knows people and how they tick. Etched in the shadows of a man’s memory, it comes alive in theater terms of words, motion, lighting, and music. If it is your play, as it is mine, it reaches out tentacles, first tentative, then gripping, and you are caught in its spell.” - Claudia Cassidy, Chicago Tribune, December 27, 1944 “Tennessee Williams saved my life. Yes, [he] was my childhood friend. I yearned for a bad influence and boy, was Tennessee one in the best sense of the word: joyous, alarming, sexually confusing and dangerously funny. There was another world that Tennessee Williams knew about, a universe filled with special people who didn’t want to be a part of this dreary conformist life that I was told I had to join.” - John Waters, introducing Williams’s Memoirs

“The Glass Menagerie in one stroke lifted lyricism to its highest level in our theater’s history. The words and their liberation, the joy of the writer in writing them, the radiant eloquence of its composition … unashamed word-joy. Tennessee had printed a license to speak at full throat … it seemed possible now to infiltrate it with a kind of superconsciousness … to lift the experience into emergency speech of an unashamedly open kind rather than to proceed by the crabbed dramatic hints and pretexts of ‘the natural.” - Arthur Miller, reflecting on Tennessee’s importance in his autobiography, Timebends “Williams’ view of life is always abnormal, heightened and spotlighted, and slashed with bogey shadows. The marvel is that he makes it touch ours, thereby achieving the miracle of communication between human beings which he has always held to be impossible.” - Kenneth Tynan, 1956, reprinted in Curtains, a collection of Tynan’s work “Although Mr. Williams has written some overwhelming dramas since 1945, he has not written anything so delicate and perceptive. The Glass Menagerie inhabits a half-world between comedy and tragedy where some wounding and amusing things occur.” - Brooks Atkinson reviewing the first Broadway revival (1956) of The Glass Menagerie for The New York Times “Edwina Dakin was a woman of remarkable strengths and complexity. Like her son, she had the artist’s talent for observation, and both her secret diary and her correspondence reveal a southern lady gifted in reporting with a controlled sensitivity, often misunderstood as insensitivity. She was, in fact, an ace reporter. She had not just a gift of gab, but, along with Tom, a literary talent of her own. At the same time she could be kind, she could also be cruel, generous and stinting, affectionate and distant, trusting and possessive. She has been blamed for just about everything, from her daughter’s lobotomy to her son’s homosexuality. But as much as she lent herself to caricature, she was finally a heroic figure of a woman, her every trait and facet of character embedded in the persona she called her ‘alias,’ Amanda Wingfield.” - Lyle Leverich, in Tom, his 1995 biography of Tennessee Williams “Tennessee’s intention, avowed in his notebooks, his letters and essays, and manifest in his plays, stories and poems, was to bring the power of intense fragility center stage in the American theater, to give it representation, to parse its essence and proclaim it as an essential component energy in the dynamics of human life.” - Tony Kushner in his introduction to The Glass Menagerie

All program notes compiled by Alexandra Juckno. Alexandra is a first-year dramaturgy student at the A.R.T./Moscow Art Theater School Institute for Advanced Theater Training at Harvard University.

Cast Cherry Jones Amanda A.R.T.: Cherry was a founding member of the A.R.T. and has appeared multiple times on its stage, including: King Lear, Twelfth Night (with Diane Lane), Three Sisters, As You Like It, The Serpent Woman, Life is a Dream, The Caucasian Chalk Circle, Major Barbara, Love’s Labors Lost, Lysistrata. Broadway and OffBroadway: Doubt (Tony Award, Drama Desk Award), The Heiress (Tony Award, Drama Desk Award), Pride’s Crossing (Drama Desk Award), Lincoln Center Theater; Angels in America; Imaginary Friends; Moon for the Misbegotten (Tony Award nomination); The Night of the Iguana; Our Country’s Good (Tony Award nomination); Faith Healer; Mrs. Warren’s Profession; The Baltimore Waltz (OBIE Award). Television: “24” (Emmy Award for role as President

Allison Taylor), “What Makes a Family,” and most recently as Dr. Judith Evans in “Awake.” Film: Ocean’s Twelve, Cradle Will Rock, The Horse Whisperer, The Perfect Storm, Erin Brockovich, Signs, The Village, Mother and Child, Swimmers, Terrence Malick’s upcoming film Knight of Cups.

Celia KeenanBolger Laura A.R.T.: Debut. Broadway: Peter and the Starcatcher (Tony Award nomination, Drama Desk nomination, Drama League nomination), The 25th Annual Putnam County Spelling Bee (Tony Award nomination, Drama Desk Award for Best Ensemble, Theatre World Award), Les Misérables (Drama Desk nomination). Off-Broadway: Peter and the Starcatcher, New York Theatre Workshop; Merrily We Roll Along, Juno, City Center Encores!; A Small Fire, Saved, Playwrights Horizons; Bachelorette, Little

Creative Team Tennessee Williams Writer

Tennessee Williams was born in 1911 in Columbus, Mississippi, where his grandfather was the Episcopal clergyman. When his father, a travelling salesman, moved with his family to St. Louis some years later, both he and his sister found it impossible to settle down to city life. He entered college during The Depression and left after a couple of years to take a clerical job in a shoe company. He stayed there for two years, spending the evenings writing. He entered the University of Iowa in

1938 and completed his course, at the same time holding a large number of part-time jobs of great diversity. He received a Rockefeller Fellowship in 1940 for his play Battle of Angels, and he won the Pulitzer Prize in 1948 and 1955. His many plays include Summer and Smoke, The Rose Tattoo, Camino Real, Cat On A Hot Tin Roof, Baby Doll, The Glass Menagerie, Orpheus Descending, Something Unspoken, Suddenly Last Summer, Period of Adjustment, The Night of the Iguana, The Milk Train Doesn’t Stop Here Anymore, and Small Craft Warnings.

Tennessee Williams died in 1983.

Fish, Second Stage. Regional: Sweeney Todd, Kennedy Center Sondheim Celebration; Our Town, Intiman Theatre; The Light in the Piazza, Goodman Theatre. Television/Film: “Law & Order,” “Heartland,” “The Education Of Max Bickford,” Mariachi Gringo. Celia is a graduate of the University of Michigan Musical Theatre Department.

Zachary Quinto Tom A.R.T.: Debut. Theater: Angels In America, Signature Theatre Company (Theatre World Award, Drama Desk nomination); Side Man, Gross Indecency, City Theatre Company; Intelligent Design of Jenny Chow, Old Globe; Endgame, Odyssey Theatre Company, Los Angeles, The Bear, Tintreach Company, Galway, Ireland. Television: “American Horror Story,” “American Horror Story: Asylum,” “Heroes,” “24,” “Six Feet Under.” Film: Spock in “Star Trek” and the upcoming “Star Trek

John Tiffany Director A.R.T.: Once. A.R.T. Institute: I Speak, Therefore I Am. Broadway: Once (Tony and Outer Circle Critics’ Awards). As Associate Director of the National Theatre of Scotland: Black Watch (Olivier Award, Critics’ Circle Award, Scotsman Fringe First, Herald Angel, Critics’ Award for Theatre in Scotland), Macbeth, Enquirer, Peter Pan, The House of Bernarda Alba, Transform Caithness: Hunter, Be Near Me, Nobody Will Ever Forgive Us, The Bacchae, Elizabeth Gordon Quinn, Home: Glasgow. Other work includes: Jerusalem, West Yorkshire Playhouse; Las Chicas del

Into Darkness” both directed by J.J. Abrams, produced and starred in “Margin Call.” B.F.A.: Carnegie Mellon School of Drama.

Brian J. Smith The Gentleman Caller A.R.T.: Debut. Broadway: The Columnist; Come Back, Little Sheba, Manhattan Theatre Club. OffBroadway: Good Boys and True, Second Stage; Three Changes, Playwrights Horizons. Television/Film: “Stargate Universe” (Lt. Scott), “Red Faction: Origins,” “Defiance,” SyFy Network; “Agatha Christie’s Poirot: Murder on the Orient Express”; “Gossip Girl”; “The Good Wife”; “Person of Interest”; “Law and Order”; “Warehouse 13”; “Coma”; Hate Crime (Trey); “Person of Interest”; “Defiance”; The War Boys; Red Hook. B.F.A. Juilliard.

Tres y Media Floppies, Granero Theatre, Mexico City and Edinburgh Festival Fringe; If Destroyed True, Mercury Fur, The Straits, Paines Plough; Gagarin Way, Abandonment, Among Unbroken Hearts, Perfect Days, Passing Places, Traverse, Edinburgh. In 2010/11 John was a Radcliffe Institute fellow at Harvard University. John Tiffany studied Classics and Theatre Studies at the University of Glasgow. From 1997 to 2001 he was Literary Director at the Traverse Theatre, Edinburgh, and was Associate Director at Paines Plough Theatre Company from 2001 to 2005. John was appointed Associate Director for the new National Theatre of Scotland in 2005. continued>

Creative Team Steven Hoggett Movement A.R.T.: Once. Choreography credits on Broadway: Once (Lortel Award for Outstanding Choreography), Peter and the Starcatcher (Lortel Award for Outstanding Choreography), American Idiot. As Co-Artistic Director of Frantic Assembly, credits include: Little Dogs, National Theatre Wales; Lovesong; Beautiful Burnout; Stockholm; Othello (TMA award Best Director). Other credits: Curious Incident of the Dog in the Night Time, Dido Queen of Carthage, The Hothouse, Market Boy, Royal National Theatre; Black Watch (Olivier Award for Best Theatre Choreographer), Hunter, 365, The Bacchae, Wolves In the Walls, National Theatre of Scotland; Rigoletto, Met Opera; Dr Dee, Royal Opera House & Manchester International Festival; Dalston Songs, ROH2, for the Helen Chadwick Company; Frankenstein, Derngate Theatre. Steven has also provided choreography for Prada, Radio One, Selfridges and the award-winning ‘Harmonious Dance’ TV Commercial for Orange as well as music promos for artists including Goldfrapp, Calvin Harris, Wiley, Bat for Lashes, and Franz Ferdinand. With Scott Graham, Steven co-wrote The Frantic Assembly Book of Devising Theatre (Routledge).

Bob Crowley Set and Costume Design A.R.T.: Once. Broadway: Once (Tony Award), The History Boys (Tony Award), Mary Poppins (Tony Award), Aida (Tony Award), Tarzan (which he also directed), The Year of Magical Thinking, The Coast of Utopia (Tony Award), Carousel (Tony Award). Numerous credits for National Theatre, including: People; Juno & the Paycock, Fram (which he

also co-directed with Tony Harrison), The History Boys, His Girl Friday, Mourning Becomes Electra. More than twenty-five productions with the Royal Shakespeare Company, including: Les Liaisons Dangereuses, The Plantagenets (Olivier Award). Other theater includes: Into the Woods, Orpheus Descending, Donmar Warehouse; The Seagull, Public Theatre. Opera/dance: Alice’s Adventures in Wonderland, Royal Opera House, National Ballet of Canada; Don Carlos, The Met. Film: Othello; Tales of Hollywood; Suddenly Last Summer, BBC; The Crucible (costume design). He is the recipient of the Royal Designer for Industry Award and Robert L. B. Tobin Award for Lifetime Achievement in Theatrical Design at the TDF/Irene Sharaff Awards in New York.

Natasha Katz Lighting Design A.R.T: Once, Hedda Gabler, King Lear, Mastergate, The Servant of Two Masters. Recent Broadway: Once (Tony Award), Sister Act, Follies, The Addams Family, The Little Mermaid, The Coast of Utopia: Salvage (Tony Award), A Chorus Line (revival), Spelling Bee, Tarzan, Aida (Tony Award), Beauty and the Beast. Other designs: Alice’s Adventure’s in Wonderland, Royal Opera House, National Ballet of Canada; Cinderella, The Dutch National Ballet; Buried Child, National Theatre, London; Cyrano, The Met; Carnival of the Animals, NYCB; Don Quixote, ABT; EFX, Las Vegas; concert acts for Shirley MacLaine, Ann-Margret, and Tommy Tune. Extensive work Off-Broadway and for American regional theaters.

Clive Goodwin Sound Design A.R.T.: Pippin, The Lily’s Revenge,

Creative Team As You Like It, Once, Prometheus Bound, The Blue Flower (IRNE and Elliot Norton Award), Cabaret, Alice vs. Wonderland, Paradise Lost. Sound Design credits: Broadway: Once (Tony Award, Drama Desk Award nomination). New York: Soul Doctor, Once (Lucille Lortel Award nomination), New York Theatre Workshop. London: BBC: “Dancing With The Stars,” “Later with Jools Holland,” “The Sound of Musicals,” “Friday Night with Jonathan Ross.” ITV: “Parkinson.” Music: Radiohead, Jamiroquai, Paolo Nutini, Orbital, Sparks, The Waterboys, Glastonbury Festival, London Philharmonic Orchestra, London Symphony Orchestra, BBC Symphony Orchestra, Royal College of Music. Woodhouse Players: The Dresser, Wyrd Sisters, Dracula—The Vampire Strikes Back. He has worked on numerous shows including work at: Brooklyn Academy of Music, Hollywood Bowl, Madison Square Garden, Royal Festival Hall, Avignon Festival.

Jim Carnahan, CSA Casting A.R.T.: Once. Director of Artistic Development for Roundabout Theatre Company. Shows cast for Roundabout include: Picnic, The Mystery of Edwin Drood, Cyrano, If There Is I Haven’t Found It Yet, Harvey, Anything Goes, Sunday in the Park…,110 in the Shade, Pajama Game, 12 Angry Men, Assassins, Nine, Big River, Cabaret. Other Broadway: Matilda, Once, Peter and the Starcatcher, Mountaintop, Jerusalem, Scottsboro Boys, American Idiot, Spring Awakening, Boeing-Boeing, Pillowman, Democracy, Fiddler, Millie. Film: Home At The End Of The World, Flicka. TV: Glee (Emmy nom).

Stephen Kopel, CSA Casting A.R.T.: Once, Ajax, The Blue Flower, Johnny Baseball, Best of Both Worlds. Casting director for Roundabout Theatre Company and Jim Carnahan Casting. Broadway credits include: The Mystery of Edwin Drood, Once, Anything Goes, Harvey, Don’t Dress for Dinner, On A Clear Day, Scottsboro Boys, Sondheim on Sondheim, Brief Encounter, Hedda Gabler. Off-Broadway: Common Pursuit, Milktrain Doesn’t Stop Here, Tin Pan Alley Rag. Regional credits include productions for The Guthrie, Chicago Shakespeare, Ford’s Theatre, Hartford Stage, Marriott Lincolnshire, North Carolina Theatre, Denver Center Theatre, and Bay Street Theatre.

Nico Muhly Music A.R.T.: Debut. Nico Muhly has composed a wide scope of work for ensembles, soloists, and organizations including the American Symphony Orchestra, Boston Pops, Carnegie Hall, Chicago Symphony, countertenor Iestyn Davies, violinist Hilary Hahn, choreographer Benjamin Millepied, New York City Ballet, New York Philharmonic, Paris Opéra Ballet, soprano Jessica Rivera, and designer/ illustrator Maira Kalman. Among Muhly’s most frequent collaborators are his colleagues at Bedroom Community, an artist-run label headed by Icelandic musician Valgeir Sigurðsson. Bedroom Community was inaugurated in 2007 with the release of Muhly’s first album, Speaks Volumes. In spring 2012, Bedroom Community released Muhly’s three-part Drones & Music, in collaboration with pianist Bruce Brubaker, violinist Pekka Kuusisto, and violist Nadia Sirota. Muhly graduated

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Creative Team from Columbia University with a degree in English Literature. He has a Masters in Music from the Juilliard School, where he studied under Christopher Rouse and John Corigliano. nicomuhly.com. Nico Muhly’s music © St Rose Music (ASCAP)

Nancy Houfek Dialect Coach A.R.T.: Resident vocal coach since 1997 working with directors Andrei Serban, David Mamet, Scott Zigler, Marcus Stern, János Szász, Robert Woodruff, Diane Paulus, John Tiffany, among others. Regional theater coaching: A.C.T., Guthrie. Institute faculty member (vocal production, dialects, Shakespeare text); heads M.F.A. program in voice pedagogy. Presents workshops nationally on public speaking, storytelling, negotiation and leadership. Published in Voice & Speech Training in the New Millennium: Conversations with Master Teachers, Voice & Speech Journal, New England Theater Journal. Bok Center filmed her work with Harvard faculty: “The Act of Teaching.” B.A. Stanford, M.F.A. American Conservatory Theater, Master Teacher of Fitzmaurice Voicework.

Ivanov, The Merchant of Venice. New York: Lincoln Center Theater; Lucille Lortel Theatre; New York Theatre Workshop; Vineyard Theatre; Theatre for a New Audience; W.P.A. Regional: Berkeley Repertory Theatre, The Guthrie Theater, Berkshire Theatre Festival (three seasons), George Street Playhouse, Shakespeare & Company, San Antonio Festival, Old Globe Theatre in San Diego, The Acting Company (five seasons). Chris is in his fourteenth year at the A.R.T. as Resident Stage Manager and his twelfth as Artistic Coordinator.

Taylor Adamik Assistant Stage Manager A.R.T.: Stage Manager: The Donkey Show. Assistant Stage Manager: The Lily’s Revenge, Once. Production Associate: Prometheus Bound, The Blue Flower, Cabaret. Production Coordinator: Hansel and Gretel, Nutcracker Turbo: And Other Love Stories, Bob: A Life in Five Acts, As You Like It, The Snow Queen. Graduate of Boston University, Summa Cum Laude, College of Fine Arts.

Chris De Camillis

Benjamin Shaw

Production Stage Manager A.R.T.: Thirty-five productions including Wild Swans, Johnny Baseball, The Seagull, Oliver Twist, Wings of Desire, Island of Slaves, Romeo and Juliet, Three Sisters, Desire Under the Elms, Dido, Queen of Carthage, Oedipus, A Midsummer Night’s Dream, Lady with a Lapdog, Uncle Vanya, Lysistrata, Marat/Sade, Richard II, Mother Courage and Her Children, The Winter’s Tale, Full Circle,

Assistant Director A.R.T.: Debut. Broadway: End of the Rainbow. Recent credits: Aida, Theatre Latte Da; Bunnicula, TheatreWorksUSA; End of the Rainbow, Guthrie Theatre; Jeffrey Hatcher’s Turn of the Screw, Merchant’s House Museum (NYC’s oldest preserved home), Two Turns Theatre Company. Benjamin spent three years as the Executive Assistant to the president at Disney Theatrical. B.A. from Muhlenberg College. Originally from Pittsburgh.

Creative Team Bryan Johnson Associate Set Designer A.R.T.: Debut. Associate to Bob Crowley: Disney’s Alladin (for 2014), Mary Poppins. Other shows as associate include: La Cage Aux Folles (2010 Tony

Award-winning revival); Priscilla, Queen of the Desert. Original Set Designer: Bat Boy, the Musical (Drama Desk nomination). Television Set Designer: “Person of Interest,” CBS; “All My Children” (2000 Emmy Award), ABC.

Actors’ Equity Association (AEA), founded in 1913, represents more than 49,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www. actorsequity.org The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists Local USA-829 IATSE. The 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 Theater Communications Group.

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A.R.T. Boards

About the A.R.T.

Board of Trustees Donald Ware, Chair Laurie Burt Paul Buttenwieser Kevin Cole Costin Mike Dreese Michael Feinstein Provost Alan M. Garber Lori Gross Ann Gund Sarah Hancock Steve Johnson Fumi Matsumoto Tom McGrath Rebecca Milikowsky Ward Mooney Bob Murchison Diane Paulus James Rhee Dina Selkoe Diana Sorensen Lisbeth Tarlow

Board of Advisors Kathleen Connor, Co-Chair Rachael Goldfarb, Co-Chair Frances Shtull Adams Joseph Auerbach* Philip Burling* Greg Carr Antonia Handler Chayes* Bernard Chiu Lizabeth Cohen Rohit Deshpande Susan Edgman-Levitan Jill Fopiano Erin Gilligan Candy Gold Barbara Wallace Grossman Horace H. Irvine II Dan Mathieu Travis McCready Ellen Gordon Reeves Linda U. Sanger Maggie Seelig John A. Shane Michael Shinagel Sarasina Tuchen Alfred Wojciechowski Yuriko Jane Young *Emeriti

The American Repertory Theater (A.R.T.) at Harvard University is dedicated to expanding the boundaries of theater. Winner of the 2012 Tony Award for Best Musical Revival for its production of The Gershwins’ Porgy and Bess, the A.R.T. 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. In 2008, Diane Paulus became the A.R.T.’s Artistic Director. The A.R.T. is the recipient of numerous other awards including the Tony Award for Outstanding Regional Theater, the Pulitzer Prize, and many Elliot Norton and IRNE Awards. Its recent premiere production of Death and the Powers: The Robots’ Opera was a 2012 Pulitzer Prize nominee. During its 32-year history, the A.R.T. has welcomed many major American and international theater artists, presenting a diverse repertoire that includes premieres of American plays, bold reinterpretations of classical texts, and provocative new music theater productions. The A.R.T. has performed throughout the U.S. and worldwide in 21 cities in 16 countries on four continents. The A.R.T. is also a training ground for young artists. The Theater’s artistic staff teaches undergraduate classes in acting, directing, dramatic literature, dramaturgy, voice, and design at Harvard University. In 1987, the A.R.T. founded the Institute for Advanced Theater Training at Harvard University. A two-year, five-semester M.F.A. graduate program that operates in conjunction with the Moscow Art Theater School, the Institute provides world-class professional training in acting, dramaturgy, and voice. Since becoming Artistic Director, Diane Paulus has enhanced the A.R.T.’s core mission to expand the boundaries of theater by continuing to transform the ways in which work is developed, programmed, produced, and contextualized, always including the audience as a partner. Productions such as Sleep No More, The Donkey Show, Gatz, The Blue Flower, Prometheus Bound, The Gershwins’ Porgy and Bess, Wild Swans and Pippin have engaged audiences in unique theatrical experiences. The A.R.T.’s club theater, OBERON, which Paulus calls a second stage for the 21st century, has become an incubator for local and emerging artists, and has also attracted national attention for its innovative programming model.

Founding Director Robert Brustein

A 25

A.R.T./MXAT Institute for Advanced Theater Training at Harvard University Scott Zigler, Director Julia Smeliansky, Administrative Director Marcus Stern, Associate Director Nancy Houfek, Head of Voice and Speech Andrei Droznin, Head of Movement Anatoly Smeliansky, Co-Head of Dramaturgy Ryan McKittrick, Co-Head of Dramaturgy

American Repertory Theater Diane Paulus, Artistic Director/CEO

Moscow Art Theater School Anatoly Smeliansky, Head

Faculty Donna Ames Robert Brustein Thomas Derrah Andrei Droznin Jane Guyer Fujita Tatyana Gassel Jeremy Geidt David Hammond Adrienne Hawkins Arthur Holmberg Nancy Houfek Robert Lada Jodi Leigh Allen Will LeBow Ryan McKittrick Robert Najarian Marin Orlosky Diane Paulus Brendan Shea Anatoly Smeliansky Julia Smeliansky Marcus Stern Tommy Thompson Robert Walsh Sam Weisman Marina Van Winkle Scott Zigler

The Institute for Advanced Theater Training at Harvard University was established in 1987 by the American Repertory Theater (A.R.T.) as a training ground for the professional American theater. Its programs are fully integrated with the activities of the A.R.T. In the summer of 1998, the Institute commenced a historic joint program with the Moscow Art Theater (MXAT) School. Students engage with two invaluable resources: the work of the A.R.T. and that of the MXAT, as well as their affiliated schools. Together, this exclusive partnership offers students opportunities for training and growth unmatched by any program in the country. The core program features a rigorous two-year, five semester period of training in acting, dramaturgy, or voice pedagogy, during which students work closely with the professionals at the A.R.T. and the MXAT as well as with the best master teachers from the United States and Russia. At the end of the program, students receive a Certificate of Achievement from Harvard University and an M.F.A. Degree from the faculty of the Moscow Art Theater School. Further information about this program can be obtained by calling the Institute for a free catalog at 617.495.2668 or going to our website at harvardtheatertraining.org.

Singing Criticism and Dramaturgy Acting Movement Voice Russian Language and Culture Acting Acting, Shakespeare Social Dance Theater History, Dramaturgy Voice and Speech Alexander Technique Coordinator of Movement Training Voice-over Dramaturgy, Dramatic Literature Combat Movement Theater Practice Adaptation Theater History, Dramaturgy History of Set Design, Translation Acting Alexander Technique Combat Director of Professional Development Ballet Acting, Dramaturgy

Acting David Abrams Elizabeth Bates Martha Boles Kristen Alyson Browne Billy Calder Erin Callahan Benjamin Crockett Lauren Doucette Samantha Eggers Eduardo FernandezBaumann Marisa Fratto Ashruf Ghanimah Elijah Guo Mario Haynes Megan Hopp Amen Igbinosun Dramaturgy Marissa Friedman Leslie GehringÂ Morgan Goldstein Voice Ronald Carlos

Samara Kelly Rushi Kota Laura Kruegel Pedram Naseri Justin Packard Jamie Perkins Sarah Beth Roberts Adeola Role Henry Austin Shikongo Marissa Stewart Rebecca Strimaitis Robert Torres Katherine Vos AlecÂ Wilson Jing Xu Dara Yazdani

Alexandra Juckno Fiona Kyle Kenneth Molloy Liana Stillman Ashleigh Reade

A 27

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, 2011 and January 11, 2013. To make a donation or to learn more about the A.R.T.’s giving programs, please contact the Development Department at 617.496.2000 x8847

Visionary Anonymous Barr Foundation The Dana Foundation Ira and Leonore Gershwin Philanthropic Fund

$100,000 and above Sarah Hancock* The President and Fellows of Harvard College RN Family Foundation The Shubert Foundation

Benefactor E.H.A. Foundation The Hershey Family Foundation HILT – Hauser Grant Program Massachusetts Cultural Council

$50,000-$99,999 National Corporate Theatre Fund Newbury Comics The Harold and Mimi Steinberg Charitable Trust

Lisbeth Tarlow and Stephen Kay* Susan and Don Ware*

Edgerton Foundation Ann and Graham Gund* DuBose and Dorothy Heyward Memorial Fund Karmaloop

Lizbeth and George Krupp* The Andrew W. Mellon Foundation Lucy and Ward K. Mooney Alison and Bob Murchison National Endowment for the Arts

LEADER Anonymous Bank of America Katie and Paul Buttenwieser* The Gregory C. Carr Foundation Laura and Michael Dreese*

$25,000-$49,999

Producer Admirals Bank Hilary and Philip Burling Laurie Burt Bernard Chiu Kevin Cole Costin RoAnn Costin and James Bailey Ted and Joan† Cutler Sandi and Andrew Farkas

Bernadette Feeney Michael Feinstein and Denise Waldron Frances Gershwin Godowsky Trust Marcia Head Horace Irvine Rosemarie and Steve Johnson Judith and Douglas Krupp

Partner Anonymous Frances Shtull Adams The John W. Alden Trust Lisa and Joel Alvord Cambridge Trust Company Chung Family Foundation Randi and Joel Cutler Ashley Garrett and Alan Jones Andrea and Marc George Gershwin

Erin Gilligan and Hoil Kim Candy Kosow Gold and Martin Waters Rachael Goldfarb John Hancock Financial Gregory Maguire Shelly and Ofer Nemirovsky Bessie Pappas Charitable Foundation, Inc. Diane Paulus and Randy Weiner

Sponsor Anonymous Enid Beal Nancy and David Berman Ethel D. and Clarke Coggeshall Jill Fopiano and Paul Brickman Ruth and Mark Golub Barbara Wallace Grossman and Steve Grossman Roy A. Hunt Foundation Lawrence Kotin

Donors

Barbara H. Landreth, M.D. Lori E. Lesser Wladzia and Paul McCarthy Melinda and David Milberg David G. Mugar Jeryl and Stephen Oristaglio Melissa Posen and Lawrence Hirschhorn Ellen Gordon Reeves

$10,000-$24,999 Kako and Fumi Matsumoto Julia Pershan and Jonathan Cohen Valerie Beth Schwartz Foundation James Rhee and Margaret Smith Dina and Greg Selkoe Trust for Mutual Understanding Welch & Forbes

$5,000-$9,999 Cokie and Lee Perry Janet and Irv Plotkin The Shane Foundation Sarasina and Mike Tuchen Fran and Barry Weissler Mary and Ted Wendell Yuriko Jane Young

$2,500-$4,999 Patricia Romeo-Gilbert and Paul Gilbert Nichole Bookwalter Savenor and Alan Savenor Christine and Rick Shea Rachel Solem S. Wade Taylor, Ph.D. and Stephen Zinner, M.D. Lynn and George Vos Zipcar

Patron Anonymous Philip Anton Sheldon Appel Jan Bergstrom and Walter Fey Barbara E. Bierer and Steven E. Hyman, M.D. Linda Cabot Black Foundation Bill Brett Dorothea and Sheldon Buckler, M.D. Chic to Chic Lynne and John Chuang Lizabeth Cohen and Herrick Chapman Maura Connolly and John Egan Nick Corley Margaret and Gardner Dozier Eastern Bank Susan Edgman-Levitan and Richard Levitan Julie Farkas and Seth Goldman Kiki and David Gindler Marjorie and Nicholas Greville

Joan and Charles Gross Lori E. Gross and Robert Douglas Campbell Joseph W. Hammer Lisa Saunders Hartstein and David Hartstein Jen Horton and Dave Regan Hunt Alternatives Fund Karen Johansen and Gardner Hendrie Kay Kane Sheridan and Jerome Kassirer John D. C. Little Barbara Manocherian Marie and James Marlas Erica and Bob Mason Karen and Gary Mueller Alan Muraoka Jean and David Nathan Emily and Dan O’Neil Janine and Robert Penfield Patricia and Finley Perry

$1,000-$2,499 Professor Gerald Pier Lia and William Poorvu Larry Pratt Helen Riess, M.D. and Norman Nishioka, M.D. Mr. and Mrs. Andres Rodriguez Adina Schecter Stacey Schneer Lee Wendy Shattuck and Sam Plimpton Michael Shinagel and Marjorie North John Snow, Inc. Somerled Charitable Foundation Brenda Sullivan and Jeremy Kindall Deborah Sweet Janet Tiampo and David Parker The Joseph W. and Faith K. Tiberio Charitable Foundation Paul Traub John Travis Susan Whitehead Francis H. Williams

Contributor Anonymous Nancy Wang Adams Marta Bach Chris and Jim Barker Evelyn Barnes William M. Bazzy Nina and Nessan Bermingham Jane and Leonard Bernstein Diane Borger Helen and Joe Bouscaren Ronnie Bretholtz Dina Catani and Ned Gray Antonia H. Chayes Eleanor and Brian Chu Elizabeth Coxe and David Forney Tracy Elstein Alan Garber and Anne Yahanda Howard Gardner, M.D.

$500-$999

Grayson Family Foundation/ ABS Ventures Ms. Laura Green and Dr. David Golan Professors Mary Jo and Byron Good Lindsay and Garth Greimann Dena and Felda Hardymon Hurlbut Family Charitable Lead Trust Melissa Kaish and Jonathan Dorfman Susan Kaplan Jane Katims and Dan Perlman Katherine N. Lapp Liberty Mutual, Give with Liberty Program Anita Meiklejohn and Vincent Piccirilli Jane Minasian and J. Grant Monahon Evelyn Musser Brigette and Suok Noh NSTAR Foundation Jennifer and Thomas Pincince

Fern Portnoy and Roger Goldman Sally C. Reid and John D. Sigel The Reiss Family Foundation Patti and Charles Ribakoff Jane Brooks Robbins Joan Arbetter Rosenberg Lori and Steven Sater Marsha and Paul Shorthose Mark Slovenkai Jeannie and Mason Smith Lisa Sotto and Bruce Saber W Boston Hotel Ryan West Dyann and Peter Wirth Ms. Kelsey Wirth and Dr. Samuel Myers William Zinn

Georgia Levenson Keohane and Nat Keohane CC King and Tom Tarpey Lynn Kodama Steven Lampert Lisa and Bill Laskin Mary and Paul Lee Mary Beth and Greg Lesher Ann Marie Lipinski Jennifer and Nick Littlefield Cynthia Livingston Barbara A. Manzolillo Jenifer Wells Megalli Mary Milton Kyra Montagu Faith Moore Ruth Moorman and Sheldon Simon Yvette Morrill Susan Napier and Stephen Coit Joan and Roderick Nordell Tris Oakley and Robert Stringer Professor Suzanne P. Ogden and Peter Rogers Caren Pasquale Drs. Hilda and Max Perlitsh

Kathryn and Richard Pershan Michael Ress Marita Rivero Andree Robert and Thomas M. Burger Bonnie Rosse Janice Saragoni and Ben Bradlee Belinda and Evan Schapiro Edward Silbert Diana Sorensen Spencer Foundation Michele Steckler Stephen Stulck M. K. Terrell Nicholas Warren Mindee Wasserman Sam Weisman and Constance McCashin Weisman Alfred Wojciechowski and Tammerah Martin Antoinette and Michael Yacobian

Supporter Anonymous (2) Barbara Addison and Stephen Gill Janet and Godfrey Amphlett Richard Beaty Phillip Boykin Dennis Carboni Tatiana and Brian Cavanaugh Della Cushing Anna C. Fitzloff Sherri Floros Mr. and Mrs. Michael Frieze Kathleen and Robert Garner Mark Glasser Laurie and Jeffrey Goldbarg, M.D. Alicia and Martin Gordon Silvia Gosnell Mr. and Mrs. Homer Hagedorn Robert Harrington Megan and Dave Hinckley Jonathan Hulbert and Sonia Hofkosh Sarah Jaffe and Richard Eisert Jerry Jordan Julie Joyal and Paul Reville Tracy Keene and Tim Longman

$250-$499

* Donors who provide annual operating support of $25,000 or more are members of the Artistic Director’s Circle. † in memoriam

continued >

See creatures in glass.

Blaschka glass octopus from Mollusks

Harvard Museum of Natural History 7-minute walk from Harvard Square www.hmnh.harvard.edu

A.R.T. NYC Donors Donors to A.R.T. NYC provide generous annual support to the American Repertory Theater and are invited to special events in NYC. The following gifts were received between July 1, 2011 and January 11, 2013. PRODUCER $10,000 and above Kevin Cole Costin, Sandi and Andrew Farkas, Rebecca Gold and Nathan Milikowsky, Julia Pershan and Jonathan Cohen PARTNER $5,000-$9,999 Ashley Garrett and Alan Jones, Andrea and Marc George Gershwin, Fran and Barry Weissler SPONSOR $2,500-$4,999 Ruth and Mark Golub, Barbara H. Landreth, M.D., Lori E. Lesser, Melinda and David Milberg, Melissa Posen and Larry Hirschhorn, Ellen Gordon Reeves, Lynn and George Vos MEMBER $250-$2,499 Anonymous, Tracy Elstein, Sarah Jaffe and Richard Eisert, Melissa Kaish and Jonathan Dorfman, Georgia Levenson Keohane and Nat Keohane, Madeleine and Steven Kessler, Marie and James Marlas, Jenifer Wells Megalli, Mary Milton, Brigette and Suok Noh, Caren Pasquale, The Reiss Family Foundation, Michael Ress, Adina Schecter

In-Kind Supporters The A.R.T. thanks the following individual and corporate supporters for their invaluable in-kind donations. As of January 11, 2013.

Be Our Guest (2012/13 Party Rental Sponsor) beourguestpartyrental.com

Ilex Designs/ Andrew Anderson (2012/13 Season Floral Sponsor) ilexflowers.com

MAX Ultimate Food/ Dan Mathieu and Neal Balkowitsch (2012/13 Season Catering Sponsor) maxultimatefood.com

The Urban Grape/ T.J. and Hadley Douglas (2012/13 Season Wine Sponsor) theurbangrape.com

90+ Cellars Boston Beer Company Cambridge, 1. The Catered Affair The Charles Hotel Event Illuminations/ Derek Wiles

Nathan D. Fowler Google Grafton Street Grendel’s Den Henrietta’s Table Hotel Veritas

The Kendall Hotel Latitude Beverage Company OM Rutland Nurseries/ Sean Green Sandrine’s Bistro

The D.L. Saunders Companies Lise Simring Tory Row Trader Joe’s UpStairs on the Square Zipcar

National Corporate Theatre Fund National Corporate Theatre Fund is a not-for-profit corporation created to increase and strengthen support from the business community for this country’s most distinguished professional theatres. The following foundations, individuals and corporations support these theatres through their contributions of $2,500 or more to National Corporate Theatre Fund. Acquis Consulting Group† • American Airlines† • American Express Foundation • AOL† • Mitchell J. Auslander** • Bank of America • Bingham McCutchen* • Bloomberg • BNY Mellon • Broadway Across America* • James E. Buckley* • Steven Bunson • Christopher Campbell/Palace Production Center† • Christ Economos** • Cisco Systems, Inc.* • Citi • Clear Channel Outdoor**† • Cleveland Clinic* • CMT/ABC**† • Columbia Records* • Dantchik Family* • Datacert, Inc.* • Paula Dominick** • Dorsey & Whitney Foundation • Dramatists Play Service, Inc. * • John R. Dutt • Epiq Systems* • Ernst & Young • Bruce R. and Tracey Ewing** • Pamela Farr • Richard Fitzburgh • Steve & Donna Gartner** • Goldman, Sachs & Co. • Nancy Hancock Griffith* • Kathleen Hancock* • Mariska Hargitay** • Gregory S. Hurst • Joseph F. Kirk** • Michael Lawrence and Dr. Glen Gillen* • Marsh & McLennan Companies • John R. Mathena • Jonathan Maurer and Gretchen Shugart** • The McGraw-Hill Companies • MetLife • John G. Miller • Morgan Stanley • Theodore Nixon** • Ogilvy & Mather† • Frank Orlowski • Edison Peres • Pfizer, Inc. • Planet Data* • Thomas Quick • RBC Wealth Management • RVM INC. * • The Ralph and Luci Schey Foundation** • Seyfarth Shaw LLP* • Sharp Electronics† • Skadden, Arps, Slate, Meagher & Flom LLC* • George S. Smith, Jr. • TD Bank • Theatermania.com/Gretchen Shugart* • John Thomopoulos** • TrialGraphix* • Evelyn Mack Truitt* • James S. Turley • The James S. and Lynne P. Turley Ernst & Young Fund for Impact Creativity** • UBS • Vernalis Systems† • Michael A. Wall* • Wells Fargo** • Wilkins Management* • Willkie Farr & Gallagher LLP* • Isabelle Winkles** *Fund for New American Theatre **Impact Creativity †Includes In-kind Support As of January 2013

Our friends are your friends. Meet our local partners. Hotel Partners

Restaurant Partners

Spa Partner

The Charles Hotel

Cambridge, 1.

Corbu

The Kendall Hotel

Grafton St.

1 Bennett St. charleshotel.com

350 Main St. kendallhotel.com

The Hotel Veritas 1 Remington St. thehotelveritas.com

27 Church St. cambridge1.us

5 Bennett St. corbuspa.com

1230 Massachusetts Ave. graftonstreetcambridge.com

Grendel’s Den 89 Winthrop St. grendelsden.com

Henrietta’s Table 1 Bennett St. henriettastable.com

Sandrine’s 8 Holyoke St. sandrines.com

Tory Row 3 Brattle St. toryrow.us

UpStairs On The Square

91 Winthrop St. upstairsonthesquare.com

For current promotions and discounts: americanrepertorytheater.org/discounts

AMERICAN REPERTORY THEATER STAFF

THEATER AND FACILITIES Theater and Facilities Manager Tracy Keene Front of House Manager Stephen Wuycheck Receptionists Sarah Leon, Maria Medeiros Volunteer Usher Coordinator Barbara Lindstrom Duty House Managers Anna Kelsey, Nick Mansur, Heather Quick, Adam Quinn, Eleanor Regan, Courtney Smith, Matthew Spano, Ben Tyson, Matt Wood

ARTISTIC Artistic Director/CEO Producer/Interim Managing Director Artistic Coordinator Director of Special Projects Director of Artistic Programs/Dramaturg Special Assistant to Artistic Director/CEO Company Manager Artistic Associate Artistic Associate Dramaturgy Intern

Diane Paulus Diane Borger Chris De Camillis Ariane Barbanell Ryan McKittrick Lauren Antler Mark Lunsford Allegra Libonati Shira Milikowsky Josh Glenn-Kayden

INSTITUTE Director Administrative Director Associate Director Co-head of Dramaturgy Co-head of Dramaturgy Resident Literary Advisor Head of Voice and Speech Institute Program Assistant Production Management Associate Technical Director

Scott Zigler Julia Smeliansky Marcus Stern Anatoly Smeliansky Ryan McKittrick Arthur Holmberg Nancy Houfek Chelsea Keating Charles Hubbard Skip Curtiss

OBERON Producer Associate Producer Production Manager Programming Manager House Technician Sound Console Operator

Randy Weiner Ariane Barbanell Skip Curtiss James Wetzel Justin Paice Aaron Mack

EXTERNAL AFFAIRS DEVELOPMENT Director of Development Deputy Director of Development Grants Manager Special Events and Corporate Partnerships Officer Development Info. Coordinator Development Associate

Megan Hinckley Jessica Morrison Meghan Coleman Emily Oâ&#x20AC;&#x2122;Neil Brendyn Schneider Lily Lewis-McNeil

MARKETING Director of Marketing and Communications Anna Fitzloff Director of Press and Public Relations Katalin Mitchell Marketing and Communications Manager Jared Fine Graphic Designer Joel Zayac Education and Community Programs Associate Brendan Shea Education and Community Programs Assistant Georgia Young Marketing and Communications Associate Grace Geller Donkey Show VIP Coordinator Julia Sommer Marketing Interns Mark Mauriello, Wairimu Mwaura TICKET SERVICES Director of Ticketing and CRM Integration CRM Integration and Group Sales Coordinator Ticket Services Representatives

Derek Mueller Alicia Curtis Karen Snyder, Cassandra Long Weekend Shift Supervisor Heather Conroe Ticket Services Staff Michelle Hong, Natalie Lurowist, Amelia Mason, Tani Nakamoto, Emma Putnam

FINANCE Comptroller Senior Finance Accountant Financial Administrator Payroll Administrator Financial Assistant Student Financial Aid Administrator Financial Analyst

Barbara Addison John Josti Stacie Hurst Floyd Patterson Nira Tejada Janie Rangel Ann Kellegher

PRODUCTION Production Manager Associate Production Manager Loeb Technical Director

Patricia Quinlan Skip Curtiss J. Michael Griggs

COSTUMES Costume Shop Manager Acting Costume Shop Manager Draper Wardrobe Supervisor Costume Rentals Supervisor Crafts Artisan

Jeannette Hawley Mary R. Hurd Caitlin Menotti Stephen Drueke Suzanne Kadiff Jeffrey Scott Burrows

LIGHTS Master Electrician Light Board Operator Assistant Lighting Designer

Derek L. Wiles Matthew Houstle Porsche McGovern

PROPERTIES Props Manager Assistant Props Master Props Carpenter

Cynthia Lee-Sullivan Rebecca Helgeson Stacey Horne-Harper

SCENERY Technical Director Stephen Setterlun Assistant Technical Director Chris Swetcky Scenic Charge Artist Jerry Vogt Master Carpenter Peter Doucette Scenic Carpenters York-Andreas Paris, Kristin Knutson, Garret McEntee SOUND Resident Sound Designer/Engineer Sound Console Operator Theatrical Audio Technician STAGE Stage Supervisor Assistant Stage Supervisor Production Assistants

Clive Goodwin Brian Walters Katrina Sistare

Jeremie Lozier Christopher Eschenbach Kevin Klein, Matthew Sebastian

For The Glass Menagerie First Hand Michelle Johnson Stitchers Jennifer Nieling, Sally Ravitz Wig Designer Rachel Padula Shufelt Buyer Ryan Anderson Props Crafts Rebecca David Props Carpenter William Hawkins Props Intern Irene Yee Buyer Research Nick Shelton Carpenters Evan DelGaudio, George Kane, Dan Lincoln, Matthew Meeds, Kyle Moore, Jon Seiler Carpenter Intern Vinca Merriman Scenic Painters Brian Crete, Heather Morris Scenic Paint Intern Richard Oullette

SYMPHONY NO. 7

BEETHOVEN

PHOTO: LAUREN MANNING

IN PARIS

HAYDN

FEB 22, 2013 AT 8PM FEB 24, 2013 AT 3PM SYMPHONY HALL

MAR 15, 2013 AT 8PM MAR 17, 2013 AT 3PM SYMPHONY HALL

Harry Christophers, conductor

Richard Egarr, conductor

Aisslinn Nosky, violin Period Instrument Orchestra

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Harry Christophers brings Haydn to life in a program that showcases one of his Paris Symphonies. H&H’s fiery and expressive Concertmaster Aisslinn Nosky returns to the spotlight with Haydn’s Violin Concerto No. 4.

Eric Hoeprich, clarinet Period Instrument Orchestra

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After conducting H&H in sold-out performances of Beethoven’s Fifth Symphony in 2011, Richard Egarr takes Symphony Hall by storm with Beethoven’s masterful Symphony No. 7. Renowned as one of the finest period clarinetists in the world, H&H principal Eric Hoeprich brings Mozart’s playful clarinet concerto to life.

HANDELANDHAYDN.ORG 617 266 3605

notes + MASTHEAD

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A.R.T.â&#x20AC;&#x2122;s Education and Community Connections programming reaches over 4,000 students and community members each year. With your help, we can reach even more! Make a gift today. americanrepertorytheater.org/community