2016/17 Season
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Artistic Director's Welcome DIANE PAULUS The Terrie and Bradley Bloom Artistic Director American Repertory Theater
WELCOME TO THE NIGHT OF THE IGUANA The Night of the Iguana has a rich history. Feverishly poetic, the play is often seen as a bridge between Tennessee Williams' more naturalistic early works and his restless, experimental later writing. Seventeen years after the premiere of The Glass Menagerie, The Night of the Iguana opened on Broadway in 1961 starring Bette Davis as Maxine Faulk and Patrick O'Neal as Reverend T. Lawrence Shannon. John Huston's 1964 film quickly followed, featuring Richard Burton and Ava Gardner. The play was last revived on Broadway in 1996, starring Cherry Jones as Hannah Jelkes. A tremendous team of artists has come together to create the next incarnation of this classic drama. Director Michael Wilson (The Trip to Bountiful, The Best Man, former artistic director of Hartford Stage) is one of the American theater's foremost interpreters of Williams' work. He is joined on the creative team by Tony and Emmy Award-winning set designer Derek McLane, who got his start as a Harvard undergraduate working with the A.R.T. (where he has since designed more than a dozen productions). We are also thrilled to welcome back Catherine Zuber, a six-time Tony Award winner who has created the costumes for more than forty A.R.T. productions. Tony Award-winning lighting designer David Lander makes his A.R.T. debut with this production, and Drama Desk and Obie Award-winning composer and sound designer John Gromada returns after his recent work on Trans Scripts, Part I: The Women. It is also my great pleasure to welcome this cast to the A.R.T. It is an honor to have American theater icon James Earl Jones making his A.R.T. debut in this production alongside Elizabeth Ashley, Dana Delany, Bill Heck, Amanda Plummer, and a remarkable ensemble of performers. The Night of the Iguana begins just weeks after the A.R.T.'s production of The Glass Menagerie, directed by John Tiffany, opened on London's West End, following its 2013 run here, a celebrated run on Broadway, and an acclaimed tour to the Edinburgh International Festival in 2016.
Cover Artwork: Shannon Reed.
Please join me in celebrating the A.R.T.'s continued engagement with the works of Tennessee Williams.
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Lady Rizo
Great theater lives here. OBERON PRESENTS A Ride on the Irish Cream February 28 - March 4, 2017
This coming-of-age musical explores the relationship between a girl and her family's pontoon boat.
One Child Born: The Music of Laura Nyro March 14 - 18, 2017
This acclaimed one-woman show celebrates the music and creative force of the late singer-songwriter and Rock and Roll Hall-of-Famer whose pop masterpieces topped the charts in the ‘60s and ‘70s.
ONTHEFLOOR April 27 & 28, 2017
The Dance Cartel takes Cambridge by storm in this whirlwind of electrifying movement.
CURATED SERIES GLOWBERON: March 9, 2017
In 2010 she won her first Grammy for a duet with acclaimed cellist Yo-Yo Ma. Her distinctive, electric performance stylings take over OBERON for an unforgettable evening. THE MINI SERIES: March 7 - 19, 2017
temping
Designed for an audience of one, temping, the strange and comic tale of an employee’s inner life, is performed through a Windows PC, desk phone, a laser printer, and the Microsoft Office Suite. THE MINI SERIES: April 4 - 15, 2017
Violet
A musical ride on a moving bus for 25 people, Violet tells the story of a young woman who travels cross-country to seek treatment for a disfiguring scar.
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Lady Rizo
TICKETS FROM $25
American Repertory Theater presents
by TENNESSEE WILLIAMS Scenic Design DEREK MCLANE
Costume Design CATHERINE ZUBER
Lighting Design DAVID LANDER
Hair & Wig Design TOM WATSON Casting TELSEY + COMPANY KARYN CASL, CSA
Composition/ Sound Design JOHN GROMADA
Dramaturgy CHRISTOPHER BAKER Associate Director JONATHON MUSSER
Production Stage Manager ROBERT BENNETT*
Directed by MICHAEL WILSON First performance at the Loeb Drama Center on February 18, 2017. The Night of the Iguana is presented by special arrangement with The University of the South, Sewanee, Tennessee. PRODUCTION SPONSORS The Linda Hammett Ory & Andrew Ory Charitable Trust A.R.T. SEASON SUPPORT
The A.R.T. 2016/17 Season is supported in part by the Massachusetts Cultural Council, which receives support from the Commonwealth of Massachusetts and the National Endowment for the Arts. The A.R.T. 2016/17 Season is dedicated in loving memory to Christopher Eschenbach.
DIRECT FROM BUENOS AIRES A PASSIONATE COMING OF AGE STORY
May 12 - June 18, 2017 Book by John Weidman | Music by Gustavo Santaolalla | Choreographed by Julio Zurita Directed and co-choreographed by Sergio Trujillo
Arrabal follows one woman’s quest to understand the violence that took her father and disrupted a nation. Told through tango and the propulsive music of the band Bajofondo, the show features an ensemble and band direct from Buenos Aires, Argentina. Directed and co-choreographed by Sergio Trujillo (choreography, Invisible Thread, Memphis, Jersey Boys, On Your Feet!, Next To Normal) with music by Academy Award winner Gustavo Santaolalla (Brokeback Mountain, Babel, The Motorcycle Diaries) and book by Tony Award nominee John Weidman (Contact, Assassins) Arrabal invites audiences into the underground world of Buenos Aires’ tango clubs for a dance between the present and the past.
ON SALE NOW TO SUBSCRIBERS & MEMBERS ON SALE FOR SINGLE TICKETS MARCH 22 4
AmericanRepertoryTheater.org
CAST
(in order of appearance)
Pancho................................................................................................KIKO MACAN Maxine Faulk...............................................................................DANA DELANY* Pedro................................................................................................MIKE TURNER* Reverend T. Lawrence Shannon....................................................BILL HECK* Hank............................................................................................MATT MORRISON Herr Fahrenkopf..................................................................RICHMOND HOXIE* Frau Fahrenkopf.............................................................STACIA FERNANDEZ* Hilde, their daughter....................................................HANNAH SHARAFIAN Wolfgang, her husband.................................................................BEN WINTER Judith Fellowes................................................................ELIZABETH ASHLEY* Hannah Jelkes...................................................................AMANDA PLUMMER* Charlotte Goodall..........................................................SUSANNAH PERKINS* Nonno (Jonathan Coffin).............................................JAMES EARL JONES* Jake Latta.....................................................................................REMO AIRALDI* UNDERSTUDIES Understudies never substitute for listed players unless a specific announcement for the appearance is made at the time of the performance. For Pancho/Pedro: FRANKIE DiCIACCIO For Maxine Faulk: STACIA FERNANDEZ* For Reverend T. Lawrence Shannon: MATT MORRISON/RYAN CUPELLO For Hank/Jake Latta: SASHA HIRSCH For Hilde: CHARLOTTE STOIBER For Judith Fellowes: ZONIA EDWARD For Hannah Jelkes: HANNAH SHARAFIAN/CLAIRE FREDERIKSEN For Charlotte Goodall: MARÍA VICTORIA MARTÍNEZ
ADDITIONAL STAFF Assistant Stage Manager...................................................................................TAYLOR BRENNAN* Voice and Dialect............................................................................................................ERIKA BAILEY Fight Director.....................................................................................................................MARK OLSEN Associate Scenic Designer................................................................................ERICA HEMMINGER Assistant Costume Designer.....................................................................PATRICK BEVILACQUA Assistant Lighting Designer............................................................................................ALI WITTEN Associate Sound Designer................................................................................................MATT OTTO Associate Hair & Wig Designer, Makeup Designer..................................THOMAS KURZMAN A.R.T. Institute Production Dramaturg..........................................................ANNABETH LUCAS Production Assistant............................................................................................MARIAN JACKSON Assistants to Elizabeth Ashley....................................................................................MAURA NEFF, GREG TEIG VON HOFFMAN Assistant to James Earl Jones.......................................................................FLYNN EARL JONES Additional costumes provided by Helen Uffner Vintage Clothing LLC.
SPECIAL THANKS Jeff Cowie, Mel Kenyon, Charlotte Stoiber.
This play runs approximately 2 hours and 35 minutes, including one 15-minute intermission. Setting: The Costa Verde Hotel, on the Pacific Coast of Mexico. September, 1940.
(*) Member of Actors' Equity Association
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Tennessee Williams Thomas Lanier Williams—“Tennessee”—was born in Columbus, Mississippi in 1911. His father was a traveling shoe salesman, his mother the daughter of an Episcopal clergyman. The young Tom lived his first years in the rectory of his grandfather’s parish. His family moved to St. Louis when he was twelve, and though Williams attended the University of Missouri, money was short and he had to drop out. After working in a shoe warehouse for two years until falling ill, he moved in with his grandparents in Memphis, where he wrote his first play, Cairo! Shanghai! Bombay! Short stories began to earn Williams money, and he eventually went back to study at Washington University and then the University of Iowa, earning a degree in 1938. A playwriting contest sponsored by the Group Theatre brought Williams one hundred dollars and the attention of legendary agent Audrey Wood. Williams moved to New Orleans and began writing as “Tennessee.” In the summer of 1940, Williams’ affair with dancer Kip Kiernan ended, and an anticipated production of his play The Battle of Angels stalled. “I am running away,” the discouraged Williams wrote to producer Lawrence Langer, “to Mexico.” It was there, short on cash at the Costa Verde Hotel, that Williams began the story “The Night of the Iguana.” In December, the Theatre Guild staged The Battle of Angels in Boston. Though a spectacular failure, it was the promise of important works yet to come. While on contract to MGM, Tennessee fulfilled that promise by writing The Glass Menagerie, for which he won the New York Drama Critics' Circle Award in 1945. In 1948 he won the Pulitzer Prize for A Streetcar Named Desire. The success of Streetcar was followed by Summer and Smoke (1948), the novel The Roman Spring of Mrs. Stone (1950), and the Tony Award-winning The Rose Tattoo (1951). In 1952 he expanded a short play into the full-length fantasy Camino Real. His second Pulitzer Prize came in 1955 for Cat on a Hot Tin Roof. Williams became known for the creation of sensitive or artistic outcasts, the “fugitive kind”—characters to be found at the centers of Orpheus Descending (his 1957 reworking of Battle of Angels), Suddenly Last Summer (1958), and Sweet Bird of Youth (1959). In 1959, Williams returned to the story he began in Mexico. While the short story was eventually published in 1948, Williams continued to develop it dramatically, first as the short play Quebrada (the site of the famous cliff divers in Acapulco), then as a ninety-minute one-act for the Two Worlds Festival in Spoleto. The next year, a full-length The Night of the Iguana (subtitled Southern Cross) was performed in a three-act version at Coconut Grove Playhouse in Miami. After an eight week out-of-town tour—Rochester, Detroit, and Chicago—it opened on Broadway on December 28, 1961 with Margaret Leighton, Patrick O’Neal, Alan Webb, Patricia Roe and, as the Costa Verde’s patrona, Bette Davis. The Night of the Iguana won the New York Critics' Circle Award, but afterwards Williams’ critical reception—especially on Broadway—began to cool, as his works over the next two decades became more experimental in form. Elected to the Academy of Arts and Letters and honored by President Carter at the Kennedy Center, Williams took on the role of theatrical elder statesmen. He oversaw successful revivals of his works (including the famed 1974 Broadway revival of Cat on a Hot Tin Roof starring Elizabeth Ashley) and broke sales records with his autobiographical Memoirs, while premiering new plays such as The Red Devil Battery Sign, The Milk Train Doesn’t Stop Here Anymore, and Clothes for a Summer Hotel. In April 1982, A House Not Meant to Stand, based in part on his own family, premiered in Chicago. The following February, Tennessee Williams died, leaving behind more than seventy plays, three novels, eight collections of short stories and poetry, and a legacy that remains unique in the American theater. 6
Photos: The Library of Congress; Friedman-Abeles © The New York Public Library for the Performing Arts. Roundabout Theatre Company Archives.
by Dramaturg Christopher Baker
After a tumultuous rehearsal process, The Night of the Iguana premiered on Broadway in 1961 featuring a cast including (above, L-R) Patrick O'Neal (Shannon), Alan Webb (Nonno),Margaret Leighton (Hannah), and Bette Davis (Maxine). Roundabout Theatre Company's 1996 Broadway revival, directed by Robert Falls, featured Cherry Jones (below, L, as Hannah) and Lawrence McCauley (R, as Nonno). 7
Love’s an old remembered song a drunken fiddler plays, stumbling crazily along crooked alleyways When his heart is mad with music He will play the same refrain five times over, blindly grinning in the bitter teeth of rain Harlots sometimes give him silver when they wish a special tune but the virginal draw curtains to exclude him as the moon Children think him mad but follow on his trail, not knowing why, spot against a darkling sky Still upon some distant hill where rain is wild and thunder claps the drunken fiddler plays and plays and plays until the last string snaps! —Tennessee Williams The first stanza appears as one of Nonno's poems in early versions of The Night of the Iguana.
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A digital rendering of Derek McLane's set design for The Night of the Iguana.
til his form becomes a lonely
A Summer of Discovery by Tennessee Williams In Acapulco, I spent the first few days in a fantastic hotel near the central plaza. All the rooms opened onto a large patio-garden containing parrots, monkeys and the proprietor of the hotel, who was so fat that he could hardly squeeze into a room at the place. Much of his time was devoted to cosmetic treatments which were administered in the patio. Every morning a very lively young barber would arrive to touch up the proprietor’s hair with henna and give him a marcel wave and a cold cream facial. Since the dyed, waved hair was quite long and the proprietor spoke in a falsetto voice and was always clad in a bright silk kimono, I wasn’t quite sure of his sex till I heard him addressed as Señor something or other by one of his employees. The steaming hot squalor of that place quickly drove me to look for other accommodations, nearer the beaches. And that’s how I discovered the background for my new play, The Night of the Iguana. I found a frame hotel called the Costa Verde on the hill over the still water beach called Caleta and stayed there from late August to late September. It was a desperate period in my life, but it’s during such times that we are most alive and they are the times that we remember most vividly, and a writer draws out of vivid and desperate intervals in his life the most necessary impulse or drive toward his work, which is the transmutation of experience into some significant piece of creation, just as an oyster transforms or covers over, the irritating grain of sand in his shell to a pearl, white or black, of lesser or greater value. [...] What was important to me was the dreamworld of a new play. I have a theory that an artist will never die or go mad while he is engaged in a piece of work that is very important to him. All the cells of his body, 9
all of his vital organs, as well as the brain cells in which volition is seated, seem to combine their forces to keep him alive and in control of his faculties. He may act crazily but he isn’t crazy; he may show any symptom of mortality but he isn’t dying. As the world of reality in which I was caught began to dim out, as the work on the play continued, so did the death wish and the symptoms of it. And I remember this summer as the one when I got along best with people and when they seemed to like me, and I would attribute this condition to the fact that I expected to be dead before the summer was over and that there was consequently no reason for me to worry about what people thought of me. When you stop worrying what people think of you, you suddenly find yourself thinking of them, not yourself, and then, for the time that this condition remains, you have a sort of crazy charm for chance acquaintances such as the ones that were staying with me that crazy summer of 1940, at the Costa Verde in Acapulco. By the middle of September the bleeding lungs had stopped bleeding, and the death wish had gone, and has never come back to me since. The only mementos of the summer are the scar on the X-ray plate, a story called “The Night of the Iguana,” and now this play which has very little relation to the story except the same title and a bit of the same symbolism. But in both the short story and the play, written many years later, there is an incident of the capture of the iguana, which is a type of lizard, and its tying up under the verandah floor of the Costa Verde, which no longer exists in the new Acapulco. Some critics resent my symbols, but let me ask, what would I do without them? Without my symbols I might still be employed by the International Shoe Co. St. Louis. [...] Our gloom was not relieved by the presence of a party of German Nazis who were ecstatic over the early successes of the Luftwaffe over the R.A.F. When they were not gamboling euphorically on the beach, they were listening to the radio reports on the battle for Britain and their imminent conquest of it, and the entire democratic world. My writer friend began to deliver a pitch for suicide as the only decent and dignified way out for either of us. I disagreed with him, but very mildly. Then one day the manager of the hotel told me that my credit had run out. I would have to leave the next morning, so that night my friend and I had more than our usual quota of rum-cocos, a drink that is prepared in a coconut shell by chopping off one end of it with a machete and mixing the juice of the nut with variable quantities of rum, a bit of lemon juice, a bit of sugar, and some cracked ice. You stick straws in the lopped-off end of the coconut and it’s a long dreamy drink, the most delectable summer night’s drink I’ve every enjoyed, and that night we lay in our hammocks and had rum-cocos until the stars of the Southern Cross, which was visible in the sky from our veranda, began to flit crazily about like fireflies in a bottle. [...] The Night of the Iguana is rooted in the atmosphere and experiences of the summer of 1940, which I remember more vividly, on the emotional level, than any summer that I have gone through before or after—since it was then, that summer, that I not only discovered that it was life that I truly longed for, but that all which is most valuable in life is escaping from the narrow cubicle of one’s self to a sort of verandah between the sky and the still water beach (allegorically speaking) and to a hammock beside another beleaguered being, someone else who is in exile from the place and time of his heart’s fulfillment. A play that is more of a dramatic poem than a play is bound to rest on metaphorical ways of expression. Symbols and their meaning must be arrived at through a period of time which is often a long one, requiring much patience, but if you wait out this period of time, if you permit it to clear as naturally as a sky after a storm, it will reward you, finally, with a puzzle which is still puzzling but which, whether you fathom it or not, still has the beautifully disturbing sense of truth, as much of that ambiguous quality as we are permitted to know in all our seasons and travels and places of short stay on this risky planet. At one point in the composition of this work it had an alternative title, Two Acts of Grace, a title which referred to a pair of desperate people who had the humble nobility of each putting the other’s desperation, during the course of a night, above his concern for his own. Being an unregenerate romanticist, even now, I can still think of nothing that gives more meaning to living. Williams’ essay appeared in the New York Herald Tribune in 1961, just prior to the Broadway opening of The Night of the Iguana. 10
"Tennessee excelled in creating the claustrophobic locale; the Wingfields' cramped St. Louis apartment in Menagerie or the French Quarter apartment of Streetcar. In The Night of the Iguana, the hill on which the hotel is located evokes mythological and Biblical mountains on which enlightenment may come or where sacrifices are made. [...] It would be difficult to over-emphasize the abiding influence of his Southern Protestant upbringing, with its emphasis on reading the sonorous prose and poetry of the King James Bible and singing equally literary hymns, on Tom Williams the boy, and on the playwright he became. This religious influence was a fact that he continued to assert unabashedly in a world in which less and less credence was given to belief by the literary and theatrical circles in which he moved. But he was a Southerner, and from the Deep South at that, where, Alfred Kazin observed, Protestants 'did not deal in pale abstract words only on Sunday but in the reality of the deity and man’s relation to Him.' [...] Nowhere is the religious component of the playwright’s life more evident than in The Night of the Iguana." —Kenneth Holditch, “Acts of Grace”
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Cast REMO AIRALDI Jake Latta A.R.T.: The Lily’s Revenge, Cabaret, Paradise Lost, Endgame, The Seagull, Oliver Twist, Island of Slaves, The Onion Cellar, The Communist Dracula Pageant, Cardenio, Julius Caesar, Amerika, The Miser, Henry IV and V, The Birthday Party, A Midsummer Night’s Dream, La Dispute, Uncle Vanya, Enrico IV, The Winter’s Tale, The Wild Duck, Buried Child, Tartuffe, Six Characters in Search of an Author, Waiting for Godot. Regional: Twelfth Night, Two Gentlemen of Verona, Love’s Labour’s Lost, Commonwealth Shakespeare Company; Sweeney Todd, My Fair Lady, Lyric Stage Company; Boston Playwrights’ Theatre; The Poets’ Theater; Israeli Stage; Central Square Theater; New Repertory Theater; Hartford Stage. ELIZABETH ASHLEY Judith Fellowes A.R.T.: Hartford Stage's The Glass Menagerie (2001). Broadway includes: August: Osage County; Dividing the Estate; Gore Vidal’s The Best Man; Agnes of God; Barefoot in the Park (Tony Award nomination); Take Her, She’s Mine (Tony Award and Theatre World Award). Nine plays by Tennessee Williams, including Cat on a Hot Tin Roof (Tony Award nomination). TV/Film includes: The Carpetbaggers, Ship of Fools (Golden Globe nomination), Happiness (Independent Spirit Award), Evening Shade (Emmy Award nomination), Treme, Saturday Night Live, and multiple appearances on The Tonight Show starring Johnny Carson. Recording: Lou Reed’s The Raven, John Lahr’s biography of Williams, Mad Pilgrimage of the Flesh (Narrator, AudioFile Earphones Award). Author: Actress: Postcards From the Road. DANA DELANY Maxine Faulk A.R.T.: Debut. Broadway: A Life, Translations. OffBroadway: Blood Moon, Dinner With Friends. Regional: Much Ado About Nothing, Old Globe; Things We Said Today, EST; The Parisian Woman, South Coast Repertory. TV/Film: "China Beach" (Colleen McMurphy, Emmy Awards), "Hand of God" (Crystal Harris), "Body of Proof" (Dr. Megan Hunt), "Desperate Housewives" (Katherine Mayfair), "Pasadena," "Kidnapped," "Wild Palms," "Family Law" (Emmy Award nomination), "Une Chance de Trop," Light Sleeper, Housesitter, Tombstone, Fly Away Home, Moon Over Parador, Batman: Mask of the Phantasm. 12
STACIA FERNANDEZ Frau Fahrenkopf A.R.T.: Debut. Broadway: Mamma Mia!, The Drowsy Chaperone, The Adventures of Tom Sawyer, Swing!, The Scarlet Pimpernel, Disney’s Beauty and the Beast. Touring: Disney’s Beauty and the Beast, Jerome Robbins’ Broadway, The Heartstrings. Regional: The Bandstand, Paper Mill Playhouse; Next to Normal, Florida Studio Theater; Guys and Dolls, Portland Center Stage; A Girl Called Dusty, Provincetown Repertory Theatre; The Prince and the Pauper, 5th Avenue Theatre. TV/ Film: “Middle (St)age,” “Homeland,” Frozen Short, Enchanted, Captain America. BILL HECK Reverend T. Lawrence Shannon A.R.T.: Debut. Broadway: Cabaret, Roundabout; Brooklyn Boy, MTC. New York: Troilus & Cressida, Merchant of Venice, Much Ado About Nothing, Winter’s Tale, Public Theater; Water by the Spoonful, Second Stage; Night is a Room, Angels in America, The Orphans’ Home Cycle (Drama Desk, Outer Critics Circle Award nominations, Theatre World Award, Clarence Derwent Award), Signature; Pig Farm, Roundabout; Chopin’s Preludes, SLANT. Regional: Hartford Stage, CTG, Yale Rep, Berkeley Rep, Circle X. TV/Film: “Sleepy Hollow,” “The Americans,” “The Leftovers,” “Mercy Street,” “The Closer,” others; After Adderall, Happy Baby, The Amazing Spiderman 2, Pit Stop, Nonames. BFA, University of Evansville; MFA, NYU Graduate Acting. RICHMOND HOXIE Herr Fahrenkopf A.R.T.: Debut. Broadway: I’m Not Rappaport. National Tour: Butley. Off-Broadway: The Film Society, Existence, Lenin’s Embalmers, Rain, Landscape With Waitress, The Dining Room, Justice, To Gillian on Her 37th Birthday, The Slab Boys, Vienna Lusthaus: Re-Visited, Angel Street, Waiting for Godot. Regional: Ether Dome, Huntington Theatre Company; All the Way, Arena Stage; George Street Playhouse; Hartford Stage; Repertory Theater of St. Louis; You Never Can Tell, Yale Rep; Baltimore Center Stage; Seattle Rep; La Jolla Playhouse; Bay Street. TV/Film: Still of the Night, J.F.K., For Love or Money, My Own Love Song, “Boardwalk Empire,” “Law and Order: C.I.,” “Law and Order: SVU,” “China Beach,” “L.A. Law,” "Shades of Blue."
JAMES EARL JONES Nonno (Jonathan Coffin) A.R.T.: Debut. Broadway: The Great White Hope (Tony Award), Fences (Tony Award), On Golden Pond, Cat on a Hot Tin Roof, Driving Miss Daisy, The Best Man, You Can’t Take It With You, The Gin Game. Among his numerous and distinguished awards, he has received the National Medal of Arts, The John F. Kennedy Center Honor, and most recently in 2011, The Board of Governors of the Academy of Motion Picture Arts and Sciences presented him with an honorary Oscar. His voice is known by people of all ages and walks of life, from Star Wars fans who have long recognized him as the voice of Darth Vader, to children for whom he is Mufasa from Disney’s The Lion King.
AMANDA PLUMMER Hannah Jelkes A.R.T.: Debut. Broadway: Agnes of God (Tony Award, Drama Desk Award), A Taste of Honey (Tony Award and Drama Desk Award nominations, Theatre World Award, Drama Desk Award), Pygmalion (Tony Award nomination), The Glass Menagerie. Off-Broadway: The Two Character Play, A Lie of the Mind, Killer Joe. Film: Pulp Fiction (Honey Bunny), The Fisher King (Lydia), Butterfly Kiss (Eunice), Daniel (Susan), Abigail Harm (Abigail). TV: She has garnered three Emmy Awards as well as Golden Globe and BATFA nominations. Awards: Anti-Defamation League Award, Oldenburg Film Festival Lifetime Achievement Award, among others.
KIKO MACAN Pancho A.R.T.: Debut. Kiko came to the US, originally from Spain and Croatia, when he was 16 and graduated from Boston University with a BA in Business last May. He is a student of Scott Fielding at Michael Chekhov Actors Studio Boston.
HANNAH SHARAFIAN Hilde A.R.T. Institute: Middletown; Christmas at the Ivanovs’, Moscow Art Theater School American Studio. OBERON: Our Carnal Hearts, BardCore. Hannah is a second-year student at the A.R.T. Institute for Advanced Theater Training at Harvard University.
MATT MORRISON Hank A.R.T. Institute: James and the Giant Peach; Middletown; A Dream Play, Harvard Theater, Dance & Media; Christmas at the Ivanovs’, Moscow Art Theater School American Studio. BA, St. Lawrence University, 2014. Matt is a secondyear student in the A.R.T. Institute for Advanced Theater Training at Harvard University. SUSANNAH PERKINS Charlotte Goodall A.R.T.: Debut. New York: The Wolves, Playwrights Realm/New York Stage and Film; Every Angel Is Brutal, Clubbed Thumb Summerworks. BFA, NYU Tisch School for the Arts.
MIKE TURNER Pedro A.R.T.: Debut. New York: Heads, Acorn Theater; The 24 Hour Plays: Nationals. Regional: Orpheus in the Berkshires; Have you Been There?, Williamstown Theatre Festival; Red Light Winter, International ITSelF Festival. BFA, NYU Tisch School for the Arts. BEN WINTER Wolfgang A.R.T. Institute: Christmas at the Ivanovs’, Moscow Art Theatre School American Studio. Regional: Moliere, RIC; Mary Poppins, New Bedford Festival Theatre. Ben is a second-year student at the A.R.T. Institute for Advanced Theater Training at Harvard University.
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Creative Team TENNESSEE WILLIAMS Playwright 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. MICHAEL WILSON Director A.R.T.: Hartford Stage’s The Glass Menagerie (2001, Elliot Norton Award, Outstanding Visiting Production). Wilson directed the 2013 Broadway revival, as well as the 2014 Emmy Award-nominated Lifetime/Ostar Productions film of Horton Foote’s The Trip to Bountiful, for which he received a 2014 Directors Guild of America nomination for Best Director. He is the recipient of Drama Desk and Outer Critics Circle Awards for his acclaimed staging of the nine-hour epic The Orphans’ Home Cycle. Also on Broadway, he has directed Gore Vidal’s The Best Man (with James Earl Jones and Elizabeth Ashley), Enchanted April, and Old Acquaintance. Internationally, Wilson directed Tony Kushner’s Angels in America for the 1995 Venice Biennale. Other credits include the LA premiere of the musical Grey Gardens, Center Theatre Group. Wilson was the Artistic Director of Hartford Stage from 1998–2011, where he commissioned and developed numerous new works, including the 2012 Pulitzer Prizewinning Water By the Spoonful and Eve Ensler’s Necessary Targets; he also produced and directed a ten-year retrospective of the Tennessee Williams canon.
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DEREK MCLANE Scenic Design A.R.T.: More than a dozen sets, including The Naked Eye, Waiting for Godot, A Touch of the Poet, What the Butler Saw, Heartbreak House, and more. Broadway includes: Beautiful, Gigi, Anything Goes (Tony Award nomination), Ragtime (Tony Award nomination), 33 Variations (Tony Award), The Pajama Game (Tony Award nomination), China Doll, The Price, Noises Off, Fully Committed. TV: the 2013-2016 Academy Awards (Emmy Award for the 86th Academy Awards and two Art Directors Guild Awards for the 86th and 87th Academy Awards); The Sound of Music Live!, Peter Pan Live!, The WIZ Live!, Hairspray Live!, NBC. CATHERINE ZUBER Costume Design A.R.T.: More than forty productions, including Richard II, The Doctor’s Dilemma, Three Farces and a Funeral, Antigone, Loot, and more. Broadway includes: Fiddler on the Roof, The King and I (Tony Award, Outer Critics Circle Award), The Bridges of Madison County, Macbeth, Outside Mullingar, Golden Boy (Tony Award nomination), The Big Knife, Enemy of the People, How to Succeed in Business Without Really Trying (Tony Award nomination), Born Yesterday (Tony Award nomination), Women on the Verge of a Nervous Breakdown, The Royal Family (Tony Award), South Pacific (Tony Award), The Coast of Utopia (Tony Award), The Light in the Piazza (Tony Award), Seascape (Tony Award nomination), Awake and Sing! (Tony Award). TV: Peter Pan Live!, The Sound of Music Live!, NBC. Awards: 2012 Olivier Award nomination, 2003 and 2004 Henry Hewes Award for Outstanding Costume Design, 2004 Ovation Award, 1997 and 2005 Obie Award for Sustained Achievement. Zuber was inducted into the Theater Hall of Fame in 2016. DAVID LANDER Lighting Design A.R.T.: Debut. Broadway: The Winslow Boy, The Heiress (with Jessica Chastain), Master Class (with Tyne Daly), Bengal Tiger at the Baghdad Zoo, 33 Variations, I Am My Own Wife, A Man for All Seasons. Off-Broadway: The Library (with Chlöe Moretz), Too Much Sun (with Linda Lavin), Fran’s Bed (with Mia Farrow), King Lear (with Kevin Klein), Macbeth (with Liev Schreiber), Modern Orthodox (with Molly Ringwald and Jason Biggs), among others. Regional: Alley Theatre, Goodman Theatre, Huntington Theatre Company, La Jolla Playhouse, Mark Taper Forum, Old Globe, among others. Awards: two Tony Award nominations, six Drama Desk nominations, and one Drama Desk Award, among others.
JOHN GROMADA Composition/Sound Design A.R.T.: Trans Scripts, Part I: The Women; Tea at Five; Hartford Stage’s The Glass Menagerie. Broadway (Composer and/or Sound Design): more than 35 productions, including The Elephant Man, The Trip to Bountiful (Tony Award nomination), The Best Man (Drama Desk Award), Clybourne Park, Seminar, Man and Boy, Road to Mecca, The Columnist, Next Fall, A Bronx Tale, Prelude to a Kiss, Proof, Sight Unseen, Rabbit Hole, Twelve Angry Men, A Few Good Men. New York: Old Hats; Incident at Vichy; Dada Woof Papa Hot; Ripcord; My Name Is Asher Lev; Measure for Measure, The Public's Delacorte Theater; The Orphans’ Home Cycle (Drama Desk and Henry Hewes Awards); The Screwtape Letters; Shipwrecked!... (Lucille Lortel Award); The Skriker (Drama Desk Award); Machinal (Obie Award). His regional theater credits number more than 300 productions at major regional theaters. Television credits include a score for the Emmy Award-nominated film version of The Trip to Bountiful. johngromada.com. TOM WATSON Hair & Wig Design A.R.T.: Debut. Watson is head of the Wig and Makeup Department at the Metropolitan Opera. Broadway: over 80 productions, including Wicked; Rock of Ages; How to Succeed..; The Addams Family; Annie; Act One; You Can’t Take it With You; The King & I, LCT, Tour; The Sound of Music, National Tour; Dames at Sea; Therese Raquin; Fiddler on the Roof; Bright Star; Long Day’s Journey into Night; Falsettos. Upcoming: Napoli, Brooklyn; Champion, WNO; The Little Foxes, MTC. CHRISTOPHER BAKER Dramaturg A.R.T.: Platonov, Mastergate, Twelfth Night, The Miser, In Twilight. Dramaturg: Over 80 productions, including 10 Williams productions with director Michael Wilson. Off-Broadway: The Roads to Home, The Orphans’ Home Cycle. Playwright: Pride and Prejudice, Lincoln (wokshop), Center Stage; Calliope Jam, Alley Theatre. Books: Shakespeare in an Hour, Molière in an Hour, contributor to The Production Notebooks and African American Connecticut Explored. For 14 years at Hartford Stage, he served in various capacities, including Associate Artistic Director and Associate Producer and is currently an Assistant Professor at the University of Massachusetts. Education: Northwestern and A.R.T./MXAT Institute for Advanced Theater Training.
JONATHON MUSSER Associate Director A.R.T Debut. Previously with Michael Wilson: The Roads to Home, Primary Stages; The City of Conversation, The Wallis; Incident At Vichy, Signature; The Old Friends (world premiere), The Alley; New York Story (radio). Regional: Intimate Apparel, Nora, Westport Playhouse; The Grapes of Wrath, Philadelphia Here I Come, Asolo Rep. Recently directed: We Should Have Seen The Lights Already, Teatro Unteatru (Romania). JKMusser.com. ROBERT BENNETT Production Stage Manager A.R.T.: Debut. Broadway & Tours: Nicholas Nickelby, The Trip to Bountiful, Time Stands Still, Bent, I Love My Wife, Danching at Lughnasa, I Remember Mama, Nick & Nora, Awake and Sing!, American Buffalo, Desire Under the Elms, The Coast of Utopia, Grey Gardens, La Cage aux Folles, Sugar Babies, Evita, Grease, Shenandoah, Guys and Dolls. Off-Broadway: Incident at Vichy. Peter Brook’s The Cherry Orchard, BAM, Russia, Japan. Artistic Associate, National Music Theater Conference; General Manager, BAM; VP, Stage Operations, Radio City Music Hall. TAYLOR BRENNAN Assistant Stage Manager A.R.T.: Stage Manager: Notes from the Field: Doing Time in Education; O.P.C.; The Shape She Makes; The Donkey Show. Assistant Stage Manager: Fingersmith, RoosevElvis; Kansas City Choir Boy; The Heart of Robin Hood; All the Way; The Glass Menagerie; The Lily’s Revenge; Once. Production Associate: Prometheus Bound; The Blue Flower; Cabaret. Production Coordinator: Hansel and Gretel; Nutcracker Turbo: And Other Love Stories; Bob: A Life in Five Acts; As You Like It; The Snow Queen. Education: BFA (Summa Cum Laude) from Boston University. ERIKA BAILEY Voice and Dialect A.R.T.: Trans Scripts, Part I: The Women, Fingersmith, Waitress, In the Body of the World, O.P.C. Broadway: Mary Stuart. Boston area: New Electric Ballroom, Gloucester Stage Company; Absurd Person Singular, Nora Theatre Company. Regional: Arms and the Man, Guthrie Theatre; A Christmas Carol, McCarter Theatre; The Foreigner, Cabaret, Bus Stop, To Kill a Mockingbird, A Christmas Carol, Kansas City Repertory Theatre. A.R.T. Institute Head of Voice & Speech: vocal production, dialects, Shakespeare; heads MFA program in voice pedagogy. MA in Voice Studies from the Royal Central School of Speech and Drama.
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Creative Team MARK OLSEN Fight Director A.R.T.: Debut. A nationally recognized authority on stage combat and movement, Mark’s work has been seen on Broadway, OffBroadway, and at Signature, Hartford Stage Company, Long Wharf Theater, New York Shakespeare Festival, Alley Theatre, Houston Grand Opera, and many others. Formerly Head of Graduate Acting at Penn State School of Theater, he teaches Movement at The Juilliard School and is the Chair of the Musical Theatre Department at the New York Film Academy.
TELSEY + COMPANY Casting A.R.T.: Fingersmith, Waitress, Finding Neverland, All the Way, The Heart of Robin Hood, The Gershwins' Porgy and Bess. Broadway/Tours: Anastasia, Charlie and the Chocolate Factory, Hello, Dolly!, War Paint, Present Laughter, Come from Away, Paramour, Waitress, On Your Feet!, Hamilton, Kinky Boots, Wicked, Something Rotten!, The King and I, An American in Paris, The Sound of Music. Off-Broadway: Sweeney Todd, Atlantic, Classic Stage, MCC, Second Stage, Signature. Regional: Center Theatre Group, La Jolla, McCarter, New York Stage and Film, Paper Mill, Williamstown. Film: Miss Sloane, Into the Woods, Margin Call, Rachel Getting Married, Across the Universe, Camp, Pieces of April. TV: “One Day at a Time,” “Time After Time,” “Hairspray Live!,” “Conviction,” “This Is Us,” “Grease Live!,” “Masters of Sex,” “Smash,” “The Big C,” commercials. telseyandco.com.
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.
United Scenic Artists represents the designers and scenic painters for the American Theatre.
The Director and Choreographer are members of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.
Partial support for open captioning provided by Theatre Development Fund.
The American Repertory Theater is a proud partner of PoNY 2.0, providing an artistic home for PoNY Playwrights of New York.
Photo: Marcus Stern
The American Repertory Theater is a member of ArtsBoston, StageSource, and Theatre Communications Group.
TELSEY + COMPANY: Bernard Telsey CSA, William Cantler CSA, David Vaccari CSA, Bethany Knox CSA, Craig Burns CSA, Tiffany Little Canfield CSA, Rachel Hoffman CSA, Justin Huff CSA, Abbie Brady-Dalton CSA, Cesar A. Rocha CSA, Karyn Casl CSA, Kristina Bramhall, Adam Caldwell CSA, Josh Einsohn CSA, Conrad Woolfe CSA, Rachel Nadler, Rachel Minow, Rikki Gimelstob, Rachel Dill, Ryan Bernard Tymensky, Rebecca Scholl, Scott Galina, Madison Sylvester, Lauren Harris, Laura Wade, Ally Kiley, Rose Bochner, Jaime Jaget, Kristian Charbonier
SHAKESPEARE & DISCO COLLIDE 16
Bringing you the ultimate disco experience every Saturday night! Directed by Diane Paulus | Inspired by A Midsummer Night's Dream
Tennessee Lives in Sewanee
Charles Martin and Randall Kenan
Tony Earley and Alice McDermott
Dan O’Brien and Paula Vogel
Wyatt Prunty and Daniel Anderson
Tennessee Williams gave his literary estate to the University of the South, strengthening a distinguished community of writers committed to developing new talent. Learn more about our nationally recognized literary tradition, writers’ conference, and programs at sewanee.edu/letters.
Photo by Karl Bissinger/Karl Bissinger Papers, University of Delaware Library, Courtesy of David Fechheimer.
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ONE CHILD BORN THE MUSIC OF
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AFTER A SOLD-OUT RUN IN 2015, ONE CHILD BORN RETURNS TO OBERON
MARCH 14-18 TICKETS FROM $25
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A.R.T. BOARDS
About the A.R.T.
BOARD OF TRUSTEES Steve Johnson, Chair Amy Brakeman Laurie Burt Paul Buttenwieser RoAnn Costin Mike Dreese Zita Ezpeleta Michael Feinstein Provost Alan M. Garber Henry Louis Gates, Jr. Catherine Gellert Rebecca Grafstein Lori Gross Ann Gund Sarah Hancock Jonathan Hulbert Alan K. Jones Robin Kelsey Herman "Dutch" Leonard Serena Lese Dennis Masel Thomas B. McGrath Rebecca Milikowsky Ward Mooney Bob Murchison Dan Nova Andrew Ory Diane Paulus Diane Quinn Mike Sheehan Sid Yog
BOARD OF ADVISORS Ann Gund, Co-Chair Karen Mueller, Co-Chair Paolo Abelli Frances Shtull Adams Yuriko Jane Anton Robert Bowie, Jr. Philip Burling* Greg Carr Antonia Handler Chayes* Lucy Chung Lizabeth Cohen Lisa Coleman Kathleen Connor Rohit Deshpande Susan Edgman-Levitan Shanti Fry Erin Gilligan Jonathan Glazer Candy Kosow Gold Rachael Goldfarb Barbara Wallace Grossman Peggy Hanratty Marcia Head James Higgins Horace H. Irvine II Brenda Jarrell Emma Torres Johnson Jerry Jordan Dean Huntington Lambert G. Barrie Landry Ursula Liff Tim McCarthy Travis McCready James Nuzzo Irv Plotkin Martin Puchner Ellen Gordon Reeves Pat Romeo-Gilbert Linda U. Sanger Maggie Seelig Dina Selkoe John A. Shane Michael Shinagel Lisbeth Tarlow Sarasina Tuchen Susan Ware Michael Yogman Stephen H. Zinner, M.D. *Emeriti
FOUNDING DIRECTOR Robert Brustein
The American Repertory Theater (A.R.T.) at Harvard University is a leading force in the American theater, producing groundbreaking work in Cambridge and beyond. The A.R.T. was founded in 1980 by Robert Brustein, who served as Artistic Director until 2002, when he was succeeded by Robert Woodruff. Diane Paulus began her tenure as Artistic Director in 2008. Under the leadership of Paulus and Executive Director Diane Quinn, the A.R.T. seeks to expand the boundaries of theater by programming events that immerse audiences in transformative theatrical experiences. Throughout its history, the A.R.T. has been honored with many distinguished awards, including the Tony Award for Best New Play for All the Way (2014); consecutive Tony Awards for Best Revival of a Musical for Pippin (2013) and The Gershwins’ Porgy and Bess (2012), both of which Paulus directed; a Pulitzer Prize; a Jujamcyn Prize for outstanding contribution to the development of creative talent; the Tony Award for Best Regional Theater; and numerous Elliot Norton and IRNE Awards. The A.R.T. collaborates with artists around the world to develop and create work in new ways. It is currently engaged in a number of multi-year projects, including a new collaboration with Harvard's Center for the Environment that will result in the development of new work over several years. Under Paulus’s leadership, the A.R.T.’s club theater, OBERON, has been an incubator for local and emerging artists and has attracted national attention for its innovative programming and business models. As the professional theater on the campus of Harvard University, the A.R.T. catalyzes discourse, interdisciplinary collaboration, and creative exchange among a wide range of academic departments, institutions, students, and faculty members, acting as a conduit between its community of artists and the university. The A.R.T. plays a central role in Harvard's newly launched undergraduate Theater, Dance, and Media concentration, teaching courses in directing, dramatic literature, acting, voice, design, and dramaturgy. The A.R.T. Institute for Advanced Theater Training, which is run in partnership with the Moscow Art Theatre School, offers graduate training in acting, dramaturgy, and voice. Dedicated to making great theater accessible, the A.R.T. actively engages more than 5,000 community members and local students annually in project-based partnerships, workshops, conversations with artists, and other enrichment activities both at the theater and across the Greater Boston area. Through all of these initiatives, the A.R.T. is dedicated to producing world-class performances in which the audience is central to the theatrical experience.
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John Tiffany’s I Speak, Therefore I Am. Photo: Marcus Stern
A.R.T./MXAT Institute for Advanced Theater Training at Harvard University Masters/Certificate Program Acting • Voice • Dramaturgy A two-year professional training program fully integrated with the work of the American Repertory Theater, based in Cambridge, MA with a residency at the Moscow Art Theater School in Moscow, Russia.
LEARN MORE: AmericanRepertoryTheater.org/Institute
HARVARD DIVISION OF
CONTINUING EDUCATION
YOU BELONG HERE Whether you want to develop specialized skills, prepare for a new career, or explore a personal passion, we can help you achieve your goals. HARVARD EXTENSION SCHOOL • Courses • Degrees • Graduate certificates • Premedical program HARVARD SUMMER SCHOOL • Courses • Programs for high school students • Study abroad programs PROFESSIONAL DEVELOPMENT PROGRAMS • Intensive noncredit programs for mid-level managers HARVARD INSTITUTE FOR LEARNING IN RETIREMENT • Noncredit peer-led study for retired professionals
LEARN MORE: dce.harvard.edu/art
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Donors
The American Repertory Theater is deeply grateful for the generous support of individuals, foundations, corporations, and government agencies whose contributions make its work possible. The following gifts were received between July 1, 2015 and October 31, 2016.
VISIONARY Barr-Klarman Arts Capacity Building Initiative Amy & Ed Brakeman* Doris Duke Charitable Foundation
$100,000 and above Sarah Hancock* President and Fellows of Harvard College The Johnson Family*
BENEFACTOR The Bank of America Charitable Foundation, Inc. Katie and Paul Buttenwieser* RoAnn Costin*‡ The Dana Foundation Laura and Michael Dreese* E.H.A. Foundation
$50,000 - $99,999 Ann and Graham Gund* The Hershey Family Foundation Alan Jones and Ashley Garrett*† Massachusetts Cultural Council Thomas B. McGrath and Sandy Medallis* National Endowment for the Arts
Poss Family Foundation Dr. Linda U. Sanger* Maureen and Mike Sheehan* The Harold and Mimi Steinberg Charitable Trust Sid Yog*
Catherine Gellert*† Rebecca and Laurence Grafstein*† Grayson Family Foundation Marcia Head* John W. Henry Family Foundation Hill Holliday Jeanne and Dennis Masel*† Lucy and Ward Mooney*‡
Newbury Comics Inc. The Pemberton Family Foundation Starcom & Digitas LBi Lisbeth Tarlow and Stephen Kay* Theatre Forward Donald and Susan Ware*
Investment Technology Group Horace H. Irvine II Allison Johnson Jerry Jordan Judith and Douglas Krupp Lizbeth and George Krupp G. Barrie Landry Serena and Bill Lese, in memory of Melva Bucksbaum† Liberty Mutual Cary Lynch Sally McNagny and Robert Green Hee-Jung and John Moon† Karen and Gary Mueller Octagon Marjorie and Robert Ory Diane Paulus and Randy Weiner Cokie and Lee Perry Julia Pershan and Jonathan Cohen† Janet and Irv Plotkin Stan Ponte and John Metzner†
The Office of the Provost at Harvard University Rafanelli Events Patricia Romeo-Gilbert and Paul Gilbert‡ Valerie Beth Schwartz Foundation Silver Mountain Foundation for the Arts Delia and Robin Thompson Sarasina and Mike Tuchen Weber Shandwick The Xander Group Inc.
Susan Edgman-Levitan and Richard Levitan Shanti Fry and Jeffrey Zinsmeyer Jody and Thomas Gill Erin Gilligan and Hoil Kim Lawrence Golub‡ Lindsay and Garth Greimann Barbara and Steve Grossman Peggy Hanratty
Pamela Haran and David S. Godkin Kathy and Ernie Herrman Perry Hewitt and Robert B. Hudson Heather and James Higgins† Madeline Jacquet Janice and Ralph James Landry Family Foundation ^ Lars Charitable Foundation Lori Lesser‡
LEADER Anonymous Amy and David Abrams* Laurie Burt* The Gregory C. Carr Foundation Zita Ezpeleta and Kewsong Lee*† Michael Feinstein and Denise Waldron* Fresh Sound Foundation
$25,000 - $49,999
PRODUCER Yuriko Jane Anton and Philip Anton Jill and John Avery John Bailey Brigham and Women's Hospital Amanda Brown and Justin Chang† Hilary and Philip Burling Chung Family Foundation‡ Barbara and Rodgin Cohen† Alexi and Steve Conine Karen and Brian Conway Crystal Financial CVS Health Dewey Square Group, LLC The Elphaba Fund EY Drew Faust Lori Finkel and Andrew Cogan† Jonathan Glazer and Hadley Leach Candy Kosow Gold and Martin Waters‡ Rachael Goldfarb
$10,000 - $24,999
PARTNER Anonymous (3) Paolo Abelli Frances Shtull Adams The Boston Foundation Cambridge Community Foundation Chet and Carol Cekala Bernard Chiu Kathy Connor Debbie DeCotis
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Alison and Bob Murchison* The Linda Hammett Ory & Andrew Ory Charitable Trust RN Family Foundation† The Shubert Foundation
$5,000 - $9,999
PARTNER (cont'd) Tristin and Martin Mannion Annette and Dan Nova Janny and Dave Offensend Diane Quinn and Keith Freiter
$5,000 - $9,999 Rosse Family Charitable Foundation Maggie and Jonathan Seelig The Shane Foundation John Travis
Rick and Martha Wagner Davin T. and David P. Wedel Mary and Ted Wendell Stephen H. Zinner, M.D. and S. Wade Taylor, PhD
Andrew Dominus and Stephanie Altman Dominus‡ Amy Edmondson and George Daley Lori E. Gross and Robert Douglas Campbell Corinne Grousbeck Jeanne Hagerty Melinda Hall and Larry Pratt Melissa Kaish and Jonathan Dorfman‡ Kay and David Kane Jerome P. Kassirer, M.D. and Sheridan Kassirer Jane L. Katz Alvin and Barbara Krakow Barbara H. Landreth, M.D.‡ John D.C. Little Larry Lucchino Anne Mitchell Diana Nelson and John C. Atwater Nitin Nohria
Mercedes Nugent-Head and James C. Marlas‡ William O. Nutting and Veronica Zoani Quinterno Mary-Kathleen O'Connell and Jeffrey Bernfeld ^ Panta Rhea Foundation Ellen Gordon Reeves† Amy Russo Allison K. Ryder and David B. Jones Janice Saragoni Nichole Bookwalter Savenor and Alan Savenor Kristine Shadek Deborah Sinay and Charles J. Kravetz Dr. Deborah Tolman and Luis Ubinas WBUR Fran and Barry Weissler‡ Dyann and Peter Wirth
Sylvia Gerson‡ Kathryn Keohane Glassberg‡ Mark Glasser David Golan and Laura Green Lisa Katz Golod Stacey and Mike Grealish Marjorie and Nicholas Greville Joseph Hammer Phyllis Harrington Nikola and David Hennes‡ Linda A. Hill and Dr. Roger E. Breitbart Megan and David Hinckley Alice Hoffman Peter Hornstra Jen Horton and Dave Regan Maisie and James Houghton Hunt Alternatives Brenda Jarrell Karen Johansen and Gardner Hendrie Alexandra Juckno Janet and Howard Kagan‡ Jane Katims and Dan Perlman Priscilla Kauff‡ Stephen Kidder Joseph Kittredge Mr. Kevin Klett Lawrence Kotin Ann and Ted Kurland Laurie Laba Hunt and Kelly Lambert William Leblanc Stacey Schneer Lee Lori Leif Herman "Dutch" Leonard and Kathryn Angell Karen and Nathaniel Levy Harriet and Alan Lewis Amy Lieberman Mr. and Mrs. Hambleton Lord Kathleen Malley
Barbara Manocherian‡ Wendy Mariner and Toby Nagurney Professor Timothy McCarthy and CJ Crowder Kelly and Steven Migliero Barbara Millen and Markley Boyer Deborah and Timothy Moore Nadine and Peter Mowschenson Newton at Home Kate Olmsted and John Grossman Tracy Palandjian Julianne Pemberton Susan Pett Dr. Vibha Pinglé and Ashutosh Varshney Fern Portnoy and Roger Goldman Heidi Pribell Suzanne Priebatsch Karen Foote Richards Jill Richardson and Peter Chinetti Helen Riess, M.D. and Norman Nishioka, M.D. Andrée Robert and Thomas M. Burger Judi and Bill Rosensweig Linda Sallop and Michael Fenlon Barbara Schapiro Susan and Robert Schechter Lisa Schmid and Joel Alvord Molly Schoeck and Guy MacDonald Stephanie and Jeff Schwartz Lori and Jon Shaer Christine and Richard Shea Harry Sherr Michael Shinagel and Marjorie North The Sholley Foundation, in honor of Jeremy Geidt Stacie Simon and Hal Tepfer Cory Sinclair Somerled Charitable Foundation Lisa Stern and Jim Brochin‡
SPONSOR Anonymous (3) Alexander, Aronson, Finning & Co., CPAs Dianne Anderson The Beker Foundation Barbara E. Bierer, M.D. and Steven E. Hyman, M.D.* Willa and Taylor Bodman Diane Borger Denise Casper Lynne and John Chuang Clarke and Ethel D. Coggeshall Lizabeth Cohen and Herrick Chapman Beth and Richard Compson Christopher Connolly and Marjorie Liner Anne and Christopher Connor Jonathan Davis Rohit Deshpande Nat Dodge
$2,500 - $4,999
PATRON Anonymous (3) Naomi Aberly The Acorn Foundation/Barbara and Theodore Alfond Mary Akerson and Steven Cohen Muffy and Paul Antico Bruce Auerbach James Basker Barbara and George Beal Carol Beggy Janet L. Berkeley and Robert Duboff Lisa Bevilaqua Kathryn Biberstein Linda Cabot Black Marc D. Blakeman Barbara and William Boger Garen Bohlin Boston Capital Corporation Robert R. Bowie jr. Brown Advisory Charitable Foundation, Inc. ^ Charity Brown Cindy and Scott Burns Jonathan Bush Betsy Cabot The Edmund and Betsy Cabot Charitable Foundation Katherine Chapman Charles Cherington Eleanor and Brian Chu Jason Cole Brit d'Arbeloff Lynn Dale and Frank Wisneski Robert J. Davis Mark Diker and Deborah Colson‡ Nancy Donahoe and John Cohen Alexandra Drane and Antonio Bertone Mary and Juan Enriquez Deborah and Ronald Feinstein Donald Fulton
$1,000 - $2,499
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PATRON (cont'd) Leslie Anne Sullivan Robert Svikhart Linda Swartz‡ Deborah Sweet and Steven Lazar Sarah Thomas
$1,000 - $2,499 Dune Thorne and Neville McCaghren ^ The Joseph W. and Faith K. Tiberio Charitable Foundation Mindee Wasserman Dr. Norman Weeks
CONTRIBUTOR Anonymous (5) Tina Aronson and Koby Rotstein Evelyn Barnes and Mary Carter William M. Bazzy Leonard and Jane Bernstein Joy and Steven Bunson Suzanne and Jeff Bloomberg Kathleen Brochin‡ Dorothea and Sheldon Buckler Lauren Budding Cris and Paul Carter Antonia H. Chayes Eversource Energy Foundation Andrew Farkas‡ Sandi Farkas‡ Anna May and Timothy Feige‡ Scott D. Feinstein Dr. Alan Garber and Dr. Anne Yahanda Leigh Gilmore and Thomas Pounds Givenik Helen Glikman and Dan Bartley Professors Mary Jo and Byron Good Phil Gormley and Erica Bisguier
$500 - $999 Drs. Shelly Greenfield and Allan Brandt Lisa Gruenberg and Martin Carmichael ^ Dena and Felda Hardymon Joan and George Hornig‡ Brent Jones Belinda Juran and Evan Schapiro Joseph Kahan Jim Keegan Jason Kemper and Thor Perplies‡ Lisabeth Kundert Christine Letts Susan and Steven Levkoff Stephen Martyak and Ryan Means The Max Productions Anita Meiklejohn and Vincent Piccirilli Patricia E. Cleary Miller Ph.D Susan and Ed Novick‡ Dr. Shara Oken Deval and Diane Patrick Ted Patton Sally C. Reid and John D. Sigel Christine and Don Rothman Adina Schecter‡
Wendy Shattuck and Sam Plimpton Steven Showalter and Jeffrey Davis George Sing‡ Ildiko Sragli and Barry Appelman‡ Stavis Charitable Foundation Beth and Anthony Terrana Melinda B. Thaler‡ Sally Thurston‡ Jane and William Vaughn III Vitality Personal Fitness Inc. Susan Olsen Walton and Richard Walton Jonice Webb and Seth Davis Ruth and Bill Weinstein Lally Weymouth‡ Ms. Kelsey Wirth and Dr. Samuel Myers Marla and Ron Wolf‡ Michael Yogman and Elizabeth Ascher Carolyn Zern
Johanna and Andrew Herwitz William S. Hildreth Diane and James Hirshberg Hoban Family James Hoben Amy and Paul Holt Caroline and Fred Hoppin Jonathan Hulbert and Sonia Hofkosh Sarah Jaffe and Richard Eisert‡ Cyndi Jones and Steve Birnbaum Louisa Kasdon Lynn Kodama Deborah and Jonathan Kolb Steven Lampert and Anita Feins Katie Lapp Lisa and Bill Laskin Ms. Susan B. Lelyveld Liberty Mutual, Give with Liberty Program Jonathan Litt Barbara A. Manzolillo W. Kathy Martin and David L. Johnson Dr. Lindsay McNair Cordelia and Carl Menges‡ Sharon Miller Jessica Morrison Aileen Murphy Evelyn and Mac Musser Professor Suzanne P. Ogden and Peter Rogers Karen Page Carol Paik and Daniel Slifkin‡ Drs. Hilda and Max Perlitsh Sarah Piper‡ Tom Quintal and Naomi Kaufman Gerald Riffelmacher
Carol and Jim Rosen Kathryn and David Rosenberg Pamela Schwartz Shipyard Brewing Company Janet and Gil Slovin Mason and Jeannie Smith Ray Smith Frederick and Ruth Stavis Karen and Steve Stulck Lynn and George Vos William Waters Amanda and Ryan West Sharon Goddard White and David White San San Wong Lisa and Clark Wright Jeffrey Zapfe Nikki Zapol William Zinn
SUPPORTER Anonymous (2) Shari Malyn Abbott and Jon Abbott Jennifer Aronson Albert Bangert Sue and Henry Bass Mrs. Nicolette Beerel and Dr. Gustav H. Beerel, PhD Andrea L. Benoit and Michael Parsons Barbara Berke Susana and Clark Bernard Breen Family Southie Bundy and Richard Hermon-Taylor Ilene Bunis Jonathan and Julie Carroll Donna Case James Clarkeson Ellen Clegg Mr. Stephen Columbia Rina Spence Countryman Nancy Dellarocco Jane and Stephen Deutsch Dino DiPalma Elizabeth Fennell Anna Fitzloff Barbara and Kurt Fretthold Constance and Michael Fulenwider Howard Gardner, M.D. Kathleen and Robert Garner Laurie and Jeffrey Goldbarg, M.D. Jody Gorton‡ Mark Granovsky Ilene Greenberg and Michael Maynard Natalie Greene Patricia and Robert Harrington
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Robert Windsor Brenda and Barry Winston Claudia and Charlie Wu Fancy and Jeff Zilberfarb
$250 - $499
*Donors who provide annual operating support of $25,000 or more are members of the Artistic Director's Circle ^ Donors who have given in memory of Bryan Bernfeld † A.R.T. N.Y.C. Leadership Circle Members. The A.R.T. N.Y.C. Leadership Circle includes New York-based donors of $10,000 and above, and all New Yorkbased Trustees and Advisors. ‡ A.R.T. N.Y.C. Supporters
IN-KIND SUPPORTERS The A.R.T. thanks the following individual and corporate supporters for their invaluable in-kind donations. JetBlue (Official Airline Sponsor) jetblue.com
Aesop Beat Brasserie Boch Center Amy and Ed Brakeman Cambridge 1. The Catered Affair The Charles Hotel Davis Center For Russian And Eurasian Studies Laura and Michael Dreese
Ilex Designs/ Andrew Anderson (Floral Sponsor) ilexflowers.com
The Urban Grape/ Hadley and T.J. Douglas (Wine Sponsor) theurbangrape.com
Peterson Party Center (Party Rental Sponsor) Petersonpartycenter.com
Epstein Joslin Architects Google Grafton Street The Graphic Group Grendel's Den Harvest Henrietta's Table Alan Jones and Ashley Garrett Alison and Bob Murchison
Noir Bar Mary-Kathleen O'Connell and Jeffrey Bernfeld Parsnip Rialto Restaurant Shipyard Brewing Company The Sinclair Toscano Fran and Barry Weissler As of January 2017
THEATRE FORWARD Theatre Forward is a not-for-profit organization that advances the American theater and its communities by providing funding and other resources to the country’s leading nonprofit theaters. The following foundations, individuals and corporations support these theatres through their contributions of $2,500 and above to Theatre Forward. Buford Alexander and Pamela Farr *◊ American Express * AT&T ◊ Mitchell J. Auslander *◊ Bank of America * Bloomberg BNY Mellon Steven & Joy Bunson *◊ Cisco Systems, Inc. * Citi DeWitt Stern * Disney/ABC Television Group * Paula Dominick *◊ Dorfman and Kaish Family Foundation, Inc. ◊ Dorsey & Whitney Foundation Dramatists Play Service, Inc. * Kevin & Anne Driscoll John R. Dutt *◊ Epiq Systems * The Estée Lauder Companies Inc. EY * Bruce R. and Tracey Ewing *◊ Jessica Farr * Alan & Jennifer Freedman *◊ Goldman, Sachs & Co. Mason and Kim Granger *◊ Brian J. Harkins *◊
Gregory S. Hurst *◊ Howard and Janet Kagan ◊ Karen A. & Kevin W. Kennedy Foundation Joseph F. Kirk *◊ Anthony and Diane Lembke, in honor of Brian J. Harkins, board member. Marsh & McLennan Companies, Inc. John R. Mathena *◊ Jonathan Maurer and Gretchen Shugart *◊ Dina Merril & Ted Hartley * MetLife Morgan Stanley National Endowment for the Arts ◊ Newmark Holdings * Lisa Orberg ◊ Frank & Bonnie Orlowski *◊ Pfizer, Inc. Presidio * Thomas C. Quick * RBC Wealth Management ◊ The Schloss Family Foundation ◊ Sills Cummis & Gross P.C. * Daniel A. Simkowitz *◊ George S. Smith, Jr. *◊ Southwest Airlines ◊† S&P Global
TD Charitable Foundation ◊ Theatermania.com/ Gretchen Shugart *◊ John Thomopoulos *◊ Evelyn Mack Truitt * Leslie C. & Regina Quick Charitable Trust James S. & Lynne Turley *◊ UBS Wells Fargo *◊ Willkie Farr & Gallagher LLP * Isabelle Winkles *◊ *Theatre Forward/DeWitt Stern Fund for New American Theatre ◊ Educating through Theatre Support †Includes In-kind support As of July 2016 Theatre Forward supporters are former supporters of National Corporate Theatre Fund and Impact Creativity.
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Photo: Gretjen Helene Photography. Teens in Proclamation 4: Borders/Boundaries, an afterschool playmaking intensive for Bostonarea high schoolers led by A.R.T.'s Education & Community Programs.
Education & Community Programs A.R.T. Education & Community programs offer in-depth access to A.R.T. artists and productions for everyone in our community. Education Experience A.R.T. Education Experiences spark meaningful discourse, in-school and out. In addition to fostering creativity, collaboration, and intellectual curiosity in our community, we support teachers with free artsintegrated teaching tools and affordable tickets to world-class theater at the A.R.T. Community Connections A.R.T. partners with Boston-area non-profit organizations, bringing high-quality arts experiences to underserved families and individuals. Community Connections pair subsidized tickets to A.R.T. performances with enrichment programming ranging from private artist talks to in-depth workshops.
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A.R.T. Kids Company Children ages 5 - 10 join us on Saturday mornings to learn the fundamentals of theater in the fall and spring by creating re-imaginings of classic and contemporary tales, live! Proclamation An ensemble of local high school juniors and seniors team up with A.R.T. artists and Harvard scholars for an eight-week afterschool play-making intensive. The result is a vivid, provocative, extremely fresh performance work. This season, Proclamation 4: Borders/ Boundaries explored the visible and invisible borders we encounter on a daily basis, performed at OBERON and the ICA Boston. To learn more about A.R.T. Education & Community Programs, visit: americanrepertorytheater.org/education
American Repertory Theater Staff THE TERRIE AND BRADLEY BLOOM ARTISTIC DIRECTOR
DIANE PAULUS
EXECUTIVE DIRECTOR
DIANE QUINN
Producer Director of Artistic Programs/Dramaturg Line Producer Resident Director Artistic Associate Company Manager/Fellow Artistic Fellow Special Assistant Artistic Assistant
Diane Borger Ryan McKittrick Mark Lunsford Allegra Libonati Shira Milikowsky Ryan Sweeney Kimiko Matsuda-Lawrence Brídín Clements Anna Kelsey
INSTITUTE
Director Administrative Director Associate Director Co-head of Dramaturgy Co-head of Dramaturgy Resident Literary Advisor Head of Voice & Speech Institute Fellow Student Financial Aid Administrator
Scott Zigler Julia Smeliansky Marcus Stern Anatoly Smeliansky Ryan McKittrick Arthur Holmberg Erika Bailey Katy Poludniak Katie Kelsall
OBERON
Venue Manager Production Manager Interim Programming Manager Assistant Venue Manager House Technician Assistant Sound Supervisor Theatrical Audio Technician House Sound Engineer Programming Intern House Lighting Programmer
Deputy Director of Development Grants Manager Development Officers Development Information and Database Specialist Development Fellow
Leo X. Crowley Skip Curtiss Emma Watt Megan Minger Justin Paice Alex Giorgetti Katrina Sistare Michael Policare Emily Bergquist Sean Pieroth
Jessica Morrison Meghan Coleman Christine Noah, Jonathan Remmers Darnell Graham Caroline Hertz
MARKETING AND COMMUNICATIONS
Director of Marketing and Communications Anna Fitzloff Assistant Director of Marketing and Communications Grace Geller Senior Graphic Designer Joel Zayac Education and Community Programs Manager Brenna Nicely Education and Community Programs Fellow Daniel Begin Publications and Artistic Programs Fellow Robert Duffley Interim Public Relations Associate Nicole Banks Videographer Johnathan Carr Marketing Interns Maggie Hirst, Kelly Myslinski, Zack Reiser
PATRON SERVICES
Director of Patron Services/ System Administrator Ticket Services Manager Assistant Ticket Services Manager Audience Services Manager Ticket Services Representative Weekend Shift Supervisor Ticket Services Staff Front of House Manager Duty House Managers Volunteer Usher Coordinator
As of February 2017
General Manager Associate General Manager
Steven Showalter Teresa Gozzo
FINANCE
ARTISTIC
DEVELOPMENT
GENERAL MANAGEMENT
Derek Mueller Alicia Curtis Emma Putnam Stephen Wuycheck Cassandra Long Heather Conroe Taylor Hughes, Danni Long, Jessica Mullen, Tani Nakamoto, Kathleen Sansone Matt Spano Heather Conroe, Marissa Friedman, Anna Kelsey, Stephanie Pando Barbara Lindstrom
Director of Finance Senior Financial Accountant Payroll Coordinator Financial Associate Accounting Assistant
Kathryn Rosenberg Rebecca Wrigley David Jewett Toufiq Aitelfqih Yvette Layne
PRODUCTION
Associate Production Manager Production Supervisor, Pedagogical Programs Interim IATT Production Management Fellow Costume/Props Stock Manager
COSTUMES
Costume Shop Manager Assistant Costume Shop Manager Head Draper Crafts Artisan Wardrobe Supervisor Wardrobe Dresser & Wig Runner
Jeannette Hawley Carson M. Eddy Caitlin Menotti Jeffrey Scott Burrows Alma Reyes Emily Damron
LIGHTS
Lighting and Projections Supervisor Assistant Lighting Supervisor Light Board Programmer/Operator Lighting Design Fellow
Matthew Adelman Alex Brandt Jeremy Goldenberg Ali Witten
PROPERTIES
Properties Manager Assistant Properties Manager Props Carpenter
SCENERY
Technical Director Assistant Technical Director Scene Shop Supervisor Scenic Charge Artist Master Carpenter Scenic Carpenters Scenic Painter
Jeremie Lozier Kathryn Nakaji Bryant Cyr Suzanne O. Kadiff
Cynthia Lee-Sullivan Rebecca Helgeson Nicholas Menge Stephen Setterlun Kristin Knutson David Schultz Jerry Vogt Peter Doucette Dan Lincoln, York-Andreas Paris Heather Morris
SOUND
Sound Manager Assistant Sound Manager Front of House Mixer Deck Sound/A2
Sam Lerner Bryan Atterberry Michelle Reiss Alex Hug, Beatriz Piper
STAGE OPERATIONS
Asst. Stage Operations Supervisor Stage Operations Stage Operations—Props
THEATER AND FACILITIES Theater and Facilities Manager
Steven Manifold Keelia Liptak Ricky Roman
Tracy Keene
LOEB RECEPTION DESK Main Receptionists Receptionists
Sarah Leon, Maria Medeiros Jack Holder, Barbara Lindstrom, Sean O'Leary, Alison Schaefer, Matt Spano
FOR THE NIGHT OF THE IGUANA Electricians
Sean Baird, Kevin Barnett, Austin Boyle, Matt Breton, Kyle Brown, Harrison Burke, Evey Connerty-Marin, Matt Cost, Cassandra Donatelli, Kevin Fulton, Chris Gilmore, Katie Graves, Alisa Hartle, Michael Jarvis, Nate Jewett, RJ Lamura, Daryl Laurenza, Taylor Ness, Brittney Page, JP Pizzuti, Brian Shaw, Brittany Trymbulak, Ali Witten, Yasmin Yacoby Stitchers Tyler Kinney, Sarah Marhamo, Draper Jennifer Ainsley Bennett ASL Coach Michael Krajnak Open Captioning c2 Primary Audio Describer Alice Austin Secondary Audio Describer Jan Stankus
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PLEASE NOTE: The photographing or sound recording of any performance or the possession of any device for such photgraphing or recording inside this theater, without the written permission of the management, is prohibited by law. Violators may be punished by ejection, and violations may render the offender liable for monetary damages.
Notes
ALL ADMISSIONS INTO THE THEATER, ONCE THE PERFORMANCE HAS BEGUN, WILL BE AT THE DISCRETION OF MANAGEMENT.
Post-performance discussions follow select matinees, visit our website for specific dates and times. LARGE PRINT
OC
EMERGENCIES: In case of emergency, contact the House Manager or nearest usher.
SF
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 tele coil, this theater is also equipped with an induction loop. Please set your device to the "t" setting. A.R.T. offers Open Captioning, Audio Description, ASL interpreted, & Sensory Friendly programming at designated performances throughout the year. email: ticketservices@amrep.org/call: 617.547.8300
Publisher Jeff Lawrence Sales Jesse Weiss For program advertising opportunities please contact: sales@digboston.com
FRONT LOBBY
Nearest exit route Fire extinguishers
Designated Meeting Site Cross Brattle St. to Radcliffe Yard
FIRE NOTICE: Please take a moment to locate the nearest emergency exit. In the event of a fire or other emergency, remain calm and listen for directions from management and/or via our public address system.
FROM OUR WINGS TO YOURS. JetBlue is proud to be the Official Airline of the American Repertory Theater.
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Building Community One Home at a Time Supporting: The Mt. Auburn Hospital, US Fund for UNICEF, The Guidance Center, Huntington Theatre Company, and Cambridge Community Foundation