O.P.C. Program by American Repertory Theater

Welcome to the American Repertory Theater I am delighted you have joined us for the world premiere of O.P.C., a new play by author, activist, and playwright Eve Ensler. Eve has DIANE PAULUS, collaborated with director Pesha Rudnick ARTISTIC DIRECTOR and a dedicated design team and cast to show us once again how activism and the arts can work together. Throughout her career, Eve has addressed some of the most challenging issues of our time with unflinching candor, heart and humor. She ignites discourse and empowers us to take action. Her landmark play, The Vagina Monologues, reshaped the landscape of feminist dialogue and launched V-Day, a global activist movement that works to end violence against women. Leveraging the strength of V-Dayâ&#x20AC;&#x2122;s activist network, Eve's ONE BILLION RISING campaign calls on women and men from around the world to demand justice and promote gender equality. O.P.C. asks us to think critically about our own impact on the environment. Working with Eve and producing O.P.C. has inspired all of us at the A.R.T. to make "eco-theater." Read on in this program to find out more about the ways in which we have embraced a culture of re-use and sustainability in the creation of this production. As Artistic Director of the A.R.T., I am committed to extending your theatrical experience beyond the stage. Throughout the run of O.P.C., we will be hosting a series of special events and post-performance dialogues with artists, activists and scholars â&#x20AC;&#x201D; including experts from the Center for the Environment at Harvard and our other University partners. Please visit our website for the complete list of these events. Thank you for joining us for O.P.C.! 2

American Repertory Theater

EVE ENSLER Scenic Design

BRETT J. BANAKIS

Costume Design Lighting Design

ESOSA

BRADLEY KING

Sound Design

JANE SHAW

Movement

Projection Design

JILL JOHNSON

SHAWN SAGADY Casting

Production Stage Manager

STEPHEN KOPEL, C.S.A.

TAYLOR ADAMIK*

Directed by

PESHA RUDNICK First performance at the Loeb Drama Center on November 28, 2014. This work is supported, in part, by The Robert Brustein Endowment for New Work. Production Support Amy and Ed Brakeman A.R.T. Season Support The Harold and Mimi Steinberg Charitable Trust 3

CAST

(In order of appearance)

Romi �� OLIVIA THIRLBY* Smith �� KATE MULLIGAN* Bruce ��MICHAEL T. WEISS* Mrs. M and others �� NANCY LINEHAN CHARLES* Sister Ro and others �� LIZ MIKEL* Prakash and others �� BABAK TAFTI* Kansas �� NICOLE LOWRANCE* Damien �� PETER PORTE* UNDERSTUDIES For Romi: NATALIE BATTISTONE; For Bruce: COREY SULLIVAN^; For Kansas: KRISTEN WETHERINGTON^; For Damien: KEVIN WADE; For Mrs. M, Sister Ro, Prakash, and others: AHMAD MAKSOUD (*) Members of Actors' Equity Association (^) Appears Courtesy of Actors' Equity ADDITIONAL STAFF Assistant Stage Manager �� Stephanie M. Holmes* Assistant Director �� Annabel Reader Dramaturg �� Robert Duffley Voice Coach �� Erika Bailey Assistant Set Designers ��Rebecca Phillips, Mia Cook Scenery Studio Assistant �� Rachel Vaught Assistant Costume Designer �� Adrienne Nussey Production Assistants ��Cate Agis, Nina Goodheart, Megan Jones Managing Director, Eve Ensler + Lotus Productions... Tony Montenieri 4

ADDITIONAL STAFF (CONTINUED) ASL Coach �� Michael Krajnak Access Services Consultant �� Mary Beth Peters Carpenters................................................. Thomas Eckenfels, Bill Hawkins, Derek Jay, David Jewitt, Dan Lincoln, Jimmy Lynch, Marty Lynch, Brian Melcher, Dane Palmer, Andy Remillard, Ray Reyes, Nick Tosches Scenic Painters................................Elizabeth Johnson, Richard Ouellette Carpentry Intern �� Mehran Jahedi Wig and Makeup Stylist �� Amber Voner Stitchers.............................................. Sally Ravitz, Michelle Johnson Ross, Carol Schaberg Props Carpenter �� Christine Goldman Props Artisans.................................................. Brendan Conroy, Lisa Guild, Susanna Labowitz Props Free Shopper �� Amy James First Hand �� Chelsea Kerl Crafts....................................................................... Jen Bennett, Jackie Olivia Sound Crew......................................................... Kevin Corzett, Dylan Foley, Chris "Thunda" Kurtz, Michael Policare, Nell Robinson Additional Lighting Equipment provided by Christie Lites Television Equipment provided by Robert Massey, Pulse Media Additional Sound Support: Sound Associates, d&b audiotechnik SPECIAL THANKS David Binder; Carole Black; Jennifer Buffett; Myunghee Cho; Liz Perlman and Costume Works; Global Green USA; Johann Hari; Jared J. Janas; Rachael Kadish and Maximus Thaler; Naomi Klein; George Lane; James Lecesne; Joe Machota; Pat Mitchell; New York Stage and Film; Matt Plaks; Nancy Rose; Scott Seydel; David Stone; Steven Stone; UCLA School of Theater, Film and Television; Susan Celia Swan, Cecile Lipworth, and the V-DAY team; Monique Wilson. 5

The A.R.T. would like to thank these generous local supporters who donated materials for the creation of our production. Aeronaut Brewery ............................................... Kegs, Wood, Wood Spool Barismo Coffee Company ..................................Coffee Sacks, Packaging Boston Transportation Department, Paul F. McColgan Sr., Director of Operations, Mike Devine ................................................................................... Road Signs Cambridge Gypsum Recycling ............................ Gypsum Board, Pallets Collins Overhead Door, Everett........................... Overhead Garage Door The Fawcett Family ...................................... Salvaged Building Materials: Doors, Exit Stairs, Signs Goldsmith Mannequins, Derek Johnson.............................................................................. Mannequins Harvard University Dining Services �� Produce Boxes Harvard Recycling and Waste Services, Rob Gogan, Kieran Clyne ..................................... Pallets, Bins, Hangers Hillside Gardens, Belmont ��Pallets Ice River Springs .......................................................................................Bottles Mint Julep...............................................Dress Forms for Lobby Installation Pemberton Farms ..................................................................... Produce Boxes Republic Services ............................................................................. Dumpsters Star Market, Beacon St, Somerville �� Produce Boxes Star Market, Mt Auburn St, Cambridge �� Produce Boxes Stop & Shop, Arlington........................................................... Produce Boxes Stop & Shop #2411, Somerville, Lisa Mason and Laura Saulmier ��Produce Boxes, Day Old Bagels James & Rosemary Streicher �� Vinyl Records The Team at Taza Chocolate �� Packaging, Labels, Pallets, Samples USA Demolition....................................................Corrugated Plastic Sheets Whole Foods Market, Arlington �� Produce Boxes Whole Foods Market, Fresh Pond, Davouce Michel..................................................................... Produce Boxes

O.P.C.: MAKING MAGIC OUT OF WASTE By Robert Duffley

What is garbage? In O.P.C., this question is a rallying cry. The play centers on, and stages, a shift in perspective: are we really so sure that our garbage has no value? These questions have deeply informed not only the content of O.P.C., but also its construction. Incorporating recycled, found, and trashed materials, O.P.C.'s production design has turned this ethics of reappraisal into an aesthetics of rediscovery. Early in the play, Romi, the main character, urges that “We need to see it, and know it, and touch our garbage.” The A.R.T. has taken this statement as an artistic challenge. Inspired by O.P.C.'s insistence that much of our trash still has value when we toss it, the production strives to find, and show off, the creative potential latent in the materials we so casually throw away. Brett Banakis, the set designer, began his process with an unusual question: “What can we find?” Rather than pre-ordering wood and other supplies, O.P.C.'s scenic artists took their inspiration, and their raw materials, from local waste. The upstage wall is composed entirely of cardboard grocery boxes and wooden shipping palettes; water bottles adorn the ceiling of the theater. All these objects were either found, donated by local businesses, or given to the theater by the Harvard Recycling Center. Banakis's set design emphasizes the sheer mass of these materials. Towering above the stage, these boxes and bottles represent a constant presence in US production, distribution, consumption, and garbage. Almost 40% of hardwood harvested in the US goes to the production of pallets, which transport goods from factory to store. Approximately 200 million pallets end up in US landfills each year — half of them after being used only once. A 2010 study found that only 29% of single-use water bottles are recycled — meaning that 7

over 50 million bottles end up in the trash each day. If not recycled, each bottle takes at least 450 years to decompose. Rather than simply exposing audiences to this massive waste, this production experiments with these materials as the source of an alternative, bold style. Many costumes in the show, in the tradition of â&#x20AC;&#x153;High Trashion,â&#x20AC;? showcase the glittering potential of traditionally overlooked materials. Costume designer Emilio Sosa and A.R.T. Costume Shop Manager Jeanette Hawley have found inspiration (and alternative fabrics) in candy wrappers, plastic straws, newspaper, and other unconventional materials. The style of these materials is balanced by their surprising utility. As production artists have been busy discovering, plastic garbage bags can be crocheted, and candy wrappers can be quilted. The wood from discarded shipping pallets makes sturdy sets. The incorporation of these materials into this show's design hints toward a distant, but exciting possibility: theater as a reinvigorator of the discarded, as well as a display of the dismissed. In the play, Romi is the leader of this garbage revolution. As a Freegan, Romi lives on materials cast off by stores and other individuals. As a Maker, she celebrates the artistic possibilities in found materials. In creating Romi's world, production artists have transformed shopping carts, street signs, burrito-bowl tin foil, cutup magazines, and much more into both functional and decorative pieces. The idea of finding value in trash is not new, even if theater is just catching on to its creative potential. In 2011, the US sold $10.8 billion worth of metal and scrap paper to China. And bottled water sales totals topped $11.8 billion in 2012. Concerned with our country's massive waste, this play tries to look at trash from a new perspective: instead of the finger-wagging of apocalyptic news reports, Eve Ensler is urging to see in trash a source of potential, 8

joy, and, ultimately, sustenance (both creative and physical). Like Eve Ensler's legendary The Vagina Monologues, O.P.C. refuses to separate comedy from conscience. Romi's trepidation, and her mother's ambition, are comic reflections of forces deeply responsible for shaping the rapidly-approaching future. Like Ensler's other dramatic work, O.P.C. ultimately views the theater as a means of waking people up, and activating their own sense of agency. Prompted by these aims, the A.R.T. has partnered for this production with community leaders in a reinvestigation of garbage in the larger Boston area. The lobby experience showcases the work of local groups turning trash into art and activism, while a series of post-performance talkbacks will give audiences a chance to dialogue with these local activists, as well as with environmental thinkers from the Harvard community. Additionally, a series of “Really Free Weekend” events will give audiences a chance to practice these techniques themselves — check the theater's website for skill shares, trashion shows, and other opportunities. Investigating, and proudly sharing, the creative potential in “garbage,” this play offers a possibility to turn the discarded into something discovered. Robert Duffley is a second-year dramaturgy student at the A.R.T./ Moscow Art Theater School Institute for Advanced Theater Training at Harvard University.

#OPCPlay @americanrep

TALKING TRASH AT A.R.T. By Robert Duffley

A comic collision between radical environmentalism and mainstream liberalism, Eve Ensler’s new play O.P.C. (“obsessive political correctness”) asks important questions about what we throw away and why. In the play’s debate about where our food comes from — and where it goes when we don’t finish it — global politics meet advocacy efforts with close ties to Cambridge. According to a 2012 report by the Natural Resources Defense Council, an international research and lobbying group, forty percent of food in the United States goes uneaten. “This not only means that Americans are throwing out the equivalent of $165 billion each year,” the report states, “but also that the uneaten food ends up rotting in landfills as the single largest component of U.S. municipal solid waste, where it accounts for a large portion of U.S. methane emissions.” The NRDC estimates that reducing food waste by just 15% would be enough to feed more than 25 million Americans. Enter Romi Weil, one of O.P.C.’s dueling protagonists, and a proud freegan. Freeganism, one of the topics at play in O.P.C., is a real movement that takes the NRDC statistics as a call for radical action. Combining “free” and “vegan,” freegans eschew capitalism as an irredeemable producer of environmental destruction. The group’s most ardent members renounce currency entirely and live off food unwanted by restaurants, supermarkets, and individuals — often edible, but unsaleable because of imperfections or sell-by dates. Most of the press around freegans has centered on the fact that, often, this food comes from dumpsters. Freegan.info, the online hub of the grassroots movement, describes this practice as “urban foraging.” For freegans, urban foraging, or dumpster diving, 10

Food and Agriculture Organization, 2011

is the ultimate condemnation of global capitalism: proving through their own lives that we throw away enough to live on when an estimated one in six Americans lacks a secure supply of food.

“Despite our society’s stereotypes about garbage,” freegan. info claims, “the goods recovered by freegans are safe, useable, clean, and in perfect or near-perfect condition, a symptom of a throwaway culture that encourages us to constantly replace our older goods with newer ones.” The website organizes “trash tours” in major metropolitan areas, which introduce converts to the city’s most bounteous waste sites. According to a New York Times profile of the movement, these sites frequently include bakeries and supermarkets which, as common practice, keep goods in-store for much shorter periods than their actual shelf life. In O.P.C., Smith Weil (Romi’s mother and a Senatorial candidate) has a hard time deciding whether to be disgusted, frustrated, or sympathetic to her daughter’s lifestyle. Criticisms of freeganism have centered on the idea that, as scavengers in today’s urbanized economy, freegans are directly dependent on the system they revile. In a 2013 article about freeganism, NRDC project scientist Dana Gunders argues that the problem is more one of logistics than stereotypical cold, capitalist ideologies. Though stores and restaurants might like to donate their extra food, they don’t have the resources to coordinate the processing and delivery of perishable goods already beyond legal saleability. Gunders praises groups that focus their energies on bridging this organizational 11

gap. Food Not Bombs (founded in Cambridge), partners with local stores to collect and distribute surplus food for free vegan meals in public places. Smith Weil is reluctant to take any food Romi offers her (bruschetta is one of her daughter’s favorite freegan recipes), but as a progressive politician, she is at the same time interested in getting her country thinking about its food waste. Juxtaposing these two perspectives, O.P.C. asks if the freegans are right and it’s time for a more earth-conscious paradigm, or if there’s still time for existing institutions to make a difference. The play comes at a timely moment in America’s national debate, but also as, on a local level, Cambridge has started to seriously consider these issues. Just this April, the city launched a pilot program for curbside composting. With 800 participating households in North Cambridge, the year-long pilot will test an organic waste removal program under consideration for the entire city. Participating residents sort their trash into three bins (a green organic waste one, in addition to the usual two), and the organic waste is taken to composting facilities outside the city, rather than landfills. The initiative comes as one considered route to the city’s goal of reducing waste by 30% of 2008 levels by 2020, and 80% by 2050. Should Cambridge implement the program, it will join Seattle, San Francisco, and Nantucket as a local government implementing environmental strategies long practiced on an individual basis. According to a 2010 article in the Boston Globe, Nantucket’s mandatory composting program has allowed the island to send only 8% of its waste to landfills, keeping more than 60 thousand tons of methane out of the atmosphere. Hoping to help lead the next generation of thought about these issues, Harvard recently announced the introduction of a new secondary field in Energy and Environment. A coordinated effort 12

between Harvard’s Environmental Science and Public Policy Program and the Harvard University Center for the Environment, the program will allow undergraduate students to explore issues surrounding energy and the environment from the perspective of their primary discipline. Thinking about the environment from its own vantage point, A.R.T. has combined its production of O.P.C. with several off-stage initiatives. An art installation in the Loeb Drama Center’s public spaces engages with themes of environment and sustainability. A.R.T. is also curating a speaker series investigating the issues and questions at the core of the play. Engaging experts from Harvard and beyond, these post-performance events will actively involve audiences in discussions about some of the play’s central questions. Are we as a society doing enough about food waste? And if not, as recent figures indicate with alarming surety, how much do we need to change?

Photo: Married To Potatoes

Robert Duffley is a second-year dramaturgy student at the A.R.T./ Moscow Art Theater School Institute for Advanced Theater Training at Harvard University.

CAST NANCY LINEHAN CHARLES

Venice, All’s Well That Ends Well, Don Juan, Theatre for a New Audience; Columbinus, NYTW. Regional: Oleanna / Speed the Plow (in rep), Actors Theatre Company; Beyond Therapy, Westport Playhouse; Curse of the Starving Class, ACT; The Learned Ladies of Park Avenue, Hartford Stage; Romeo and Juliet, Folger Theatre; Hamlet, The Little Foxes, Shakespeare Theatre Company. She is a graduate of The Juilliard School.

Mrs. M and others A.R.T. Debut. Regional: Wit, Geffen Playhouse, Alliance Theatre; Toys in the Attic (L.A. Drama Critics Circle Award, Ovation Award), Colony Theatre; The Visit (L.A.D.C.C Award), Mrs. Warren’s Profession (L.A.D.C.C. Award), Pacific Resident Theatre; The Tempest, Merchant of Venice, L.A. Women’s Shakespeare Company. Artistic Director: Salty Shakespeare LIZ MIKEL (flash-mob, L.A. Weekly’s “The Sister Ro and others Best of L.A.”). Film/TV: Lords of A.R.T.: Debut. Salem, Minority Report, Charlie Broadway: Lysistrata Wilson’s War, The Stepfather, Jones (Hetaira). “Getting On,” “Growing Up and Down,” “Longmire,” “NCIS: L.A.,” Regional: V to the Tenth (tenth anniversary performance of The “West Wing,” “Seinfeld.” Vagina Monologues), Louisiana Superdome; SPUNK, Xanadu, Black Pearl Sings, WaterTower NICOLE Theatre; Ain't Misbehavin, Cape LOWRANCE Playhouse; Seussical, Muny Kansas Theatre; Acting Company A.R.T.: Debut. Member, Dallas Theater Center. Broadway: Who's TV/Film: “Friday Night Lights” Afraid of Virginia Woolf (u/s), Dividing the Estate. International: (Corrina Williams), Welcome Home Roscoe Jenkins, The The Merchant of Venice, RSC. Secret Off-Broadway: Middle of the Life of Walter Mitty, Get On Up. Night, Keen Company; Peter and the Starcatcher, New World Stages; The Merchant of 14

CAST KATE MULLIGAN

Restless," "Cold Case," "CSI: Miami," "Medium," "Funny or Smith A.R.T.: Debut. Oregon Die." Training: NYU Tisch, Royal Shakespeare Festival: Academy of Dramatic Arts. The Cocoanuts; A Streetcar Named Desire; Animal BABAK TAFTI Crackers; August: Osage County; Prakash and others Cat on a Hot Tin Roof; All’s Well A.R.T.: Debut. OffThat Ends Well; Welcome Home, Broadway: The Jenny Sutter, Lincoln Center. North Pool, Vineyard Other credits: Embedded, Public Theater; The Further Adventures Theatre; The In-Between, Noor Theatre. Regional: Scorched, of Hedda Gabler, Habeas Corpus, South Coast Repertory; A.C.T.; Blood and Gifts, La Jolla Playhouse; The North Pool, Much Living Out, Mark Taper Forum; Ado About Nothing, Barrington Medea/Macbeth/Cinderella, Yale Rep. TV: "It’s Always Sunny Stage Company. TV: “Blue Bloods,” “Nurse Jackie,” “Orange in Philadelphia," "Desperate Is the New Black.” M.F.A. from Housewives," "Judging Amy," the Yale School of Drama. "ER," "NYPD Blue," "The Practice," "Seinfeld."

OLIVIA THIRLBY

PETER PORTE

Romi A.R.T.: Debut. OffDamien Broadway: Farragut A.R.T.: Debut. North, Atlantic, National Tour: Geffen Playhouse; Lonely, I'm Mamma Mia! (Sky). Regional: A Pretty Filthy Evening, Not, Second Stage. TV/Film includes: Juno, Dredd, Being Kirk Douglas Theatre; For the Record, DBA; Scituate, Odyssey; Flynn, Snow Angels, Red Knot, United 93, The Wackness, Troilus and Cressida, Soho Rep; Margaret, 5 to 7, Just Before I Titanic, Forestburgh Playhouse. TV: "MOM," "NCIS: Los Angeles," Go, "Bored to Death," "Good "Baby Daddy," "Devious Maids," Vibes." Training: American Globe Theatre, Royal Academy of "The New Normal," "Parks and Dramatic Arts. Recreation," "The Young & The 15

CAST MICHAEL T. WEISS

Bruce A.R.T.: Debut. Broadway: Impressionism. Off-Broadway: The Elaborate Entrance of Chad Deity (OBIE Award Best Play, Lucille Lortel Award Best Play), Second Stage; Scarcity (Drama Desk nomination), Atlantic; A Perfect Future, Cherry Lane. Regional: Burn This (Pale), Les

Liaisons Dangereuses (Valmont), Huntington Theatre Company; Of Equal Measure, Center Theatre Group. Film/TV: Sex and the City 2; Jeffrey; Freeway (Sundance Film Festival); Freeway 2; Bones; Iowa (Tribeca Film Festival, Best Actor Award, Midwest Film Festival); Disney's Tarzan and Jane; Until the Night; Marmalade; "The Pretender" (Jarod); and numerous series leads and guest star roles.

The American Repertory Theater operates under an agreement between The League of Resident Theatres and Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States. 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. 16

CREATIVE TEAM EVE ENSLER

Writer A.R.T.: Debut. Eve Ensler is the Tony Award-winning playwright, activist and author of the OBIE award-winning play The Vagina Monologues that has been published in 48 languages and performed in over 140 countries. Plays include Necessary Targets, The Treatment, The Good Body, and Emotional Creature. Her books include Insecure At Last: A Political Memoir; A Memory, a Monologue, a Rant and a Prayer, New York Times bestseller I Am An Emotional Creature, and her latest critically acclaimed memoir In the Body of the World. She is also the founder of V-Day, the global activist movement to end violence against women and girls that grew out of The Vagina Monologues and has raised over 100 million dollars towards ending violence, and founder of the One Billion Rising campaign, where people danced and rose for freedom and justice in over 207 countries. The campaign is in its third year - One Billion Revolution. Join us.

PESHA RUDNICK

Director A.R.T.: Debut. Pesha Rudnick is the co-founder and Artistic Director of LOCAL Theater Company in Boulder, Colorado where she pursues the company's mission to discover and develop new American plays. She has directed over twenty new works and runs an annual new play festival involving artists from around the country. Directing credits from LOCAL include the world premiere of Elijah: An Adventure. Ms. Rudnick has recently collaborated with Eve Ensler as Associate Director of the world premiere of Ensler’s play Emotional Creature at Berkeley Repertory Theatre and Pershing Square Signature Center. Additional credits include: 26 Miles, Curious Theatre Company; The Hairy Ape, Tartuffe, Hangar Theatre; The House on Mango Street, Kennedy Center; American Night, OSF (Assistant Director). Rudnick is a member of Lincoln Center’s Director’s Lab in New York City, and a Drama League Directing Fellow.

CREATIVE TEAM BRETT J. BANAKIS

Set Designer A.R.T: Debut. Off-Broadway: Big Love, Signature; What's It All About?, NYTW; Titus Andronicus, Public Theater; Winter's Tale, Pearl Theatre; Tamar and the River, Prospect Theater. Regional: As You Like It, Two River Theater. Associate Set Designer: The Ambassador, BAM Next Wave; Dr. Zhivago, The Last Ship, If/Then, Hands on a Hardbody, Bengal Tiger at the Baghdad Zoo, Broadway; Rigoletto, MetOpera. Education: NYU, UCLA.

Guthrie Theater; Ruined, Senor Discretion Himself (Helen Hayes Award nominee), Arena Stage; Twist, Alliance; Once On This Island, Centerstage. esosadesign.com

BRADLEY KING

Lighting Designer A.R.T.: Debut. Recent New York work: Natasha, Pierre, and the Great Comet of 1812 (Hewes, Lortel Nominations), Jacuzzi, Ars Nova; A Sucker Emcee, Ninth and Joanie, Labyrinth Theater Company; And I and Silence, Signature; Salome of the Moon, Waterwell; And Baby Makes 7, New Ohio; Women or Nothing, ESOSA Atlantic; Be a Good Little Widow, Costume Design Wild Project; Lawnpeople, A.R.T.: Witness Uganda, Cherry Lane. Regional: Berkeley The Gershwins’ Porgy and Rep, La Jolla Playhouse, Bess, Best of Both Worlds. McCarter Theatre, Penobscot Broadway: Motown, The Theater, Virginia Stage, Yale Rep, Gershwins’ Porgy and Bess Williamstown Theatre Festival. (Tony nomination), Topdog/ Underdog. Off-Broadway: Water Opera: Bard Summerscape, Boston Early Music Festival, by the Spoonful, By the Way, Kentucky Opera, NYCO, Opera Meet Vera Stark (Lucille Lortel Omaha, Vancouver Opera, and NAACP Theater Awards), Virginia Opera. Proud new papa Second Stage; The Capeman, to Emeline. bradleykingld.com Juan and John, Father Comes Home from the Wars, Romeo and Juliet, Public Theater; The Misanthrope, All That I Will Ever Be, NYTW. Regional: Othello, 18

CREATIVE TEAM JANE SHAW

Sound Designer A.R.T.: Debut. Off-Broadway: The Killer, Tamburlaine, Theatre for a New Audience; Red Dog Howls, NYTW; London Wall, Mint; The Rivals, Pearl; Grounded, Page 73; Jackie, Women's Project. Regional: Hamlet, Hartford Stage; The Little Foxes, Cleveland Play House; 4000 Miles, Asolo Rep; All in the Timing, Dorset Theater Festival. Recipient: NEA/TCG Career Development Program; Henry Award, Denver Center; Premios ACE 2012 Award; Bessie Award (with Big Dance Theater). Graduate: Harvard College, Yale School of Drama.

Playhouse; Cowboy Vs. Samurai, Mo’ollelo.

JILL JOHNSON

Movement A.R.T.: Debut. Director of Dance, Senior Lecturer, Harvard University. Protégé and former principal dancer for William Forsythe; stages Forsythe's work with dance companies worldwide, including: The Paris Opera Ballet, Netherlands Dance Theater, Boston Ballet, Batsheva Dance Company, La Scala, and American Ballet Theatre. Recent choreographic work includes: The Copier, Cedar Lake Contemporary Ballet; Folding Articulation, Princeton University; RE:RE:RE:, Paper Wing, SEESAW, LOOK UP, for SHAWN SAGADY Harvard students; co-movement Projection Design director for Figure Studies film A.R.T.: All the Way. Broadway: exhibition and the Dries Van Leap of Faith, Memphis (2010 Noten retrospective exhibition Tony Award for Best Musical). at the Musee des Arts Decoratifs Off-Broadway: Stop. Reset., at the Louvre; A.R.T.’s new opera, Mound Builders, Emotional Creature, Signature; By The Way, Crossing. Meet Vera Stark, Second Stage; Father Comes Home From the Wars, Public Theater. National Tours: Memphis, Julius Caesar. Regional: The White Snake, Measure for Measure, American Night, OSF; Back Back Back, Old Globe; Carmen, La Jolla 19

CREATIVE TEAM STEPHEN KOPEL

Casting A.R.T.: Witness Uganda, The Glass Menagerie, Once, Ajax, The Blue Flower, Johnny Baseball, Best of Both Worlds. Broadway credits include: Violet, Beautiful – the Carole King Musical, The Winslow Boy, The Glass Menagerie, Mystery of Edwin Drood, Harvey, Don’t Dress For Dinner, Once, Road to Mecca, On A Clear Day…, Anything Goes, The People In The Picture, Brief Encounter, Scottsboro Boys, Sondheim On Sondheim, Hedda Gabler. OffBroadway: Encores! Off-Center, Indian Ink, The Common Pursuit, The Milktrain Doesn’t Stop Here Anymore, The Tin Pan Alley Rag, At Least It’s Pink. Stephen also serves as casting director for Roundabout Theatre Company.

TAYLOR ADAMIK

Production Stage Manager A.R.T.: Stage Manager: The Shape She Makes, The Donkey Show. Assistant Stage Manager: The Tempest, The Heart of Robin Hood, All the Way, The Glass Menagerie, The Lily’s Revenge, Once. Production Associate: Prometheus Bound, The Blue Flower, Cabaret.

Production Coordinator: Hansel and Gretel, Nutcracker Turbo: And Other Love Stories, Bob: A Life in Five Acts, As You Like It, The Snow Queen. Graduate of Boston University, Summa Cum Laude, College of Fine Arts.

STEPHANIE M. HOLMES

Assistant Stage Manager A.R.T.: Witness Uganda (Asst. Stage Manager), The Wedding Band (Stage Manager). Broadway: Rodgers and Hammerstein’s Cinderella (Production Asst./Sub. ASM). Off-Broadway: One Night Only (Stage Manager), American Theatre of Actors. Regional: Welcome to Jesus (Stage Manager), Hartford Stage; Dreamgirls (Asst. Stage Manager), Ivoryton Playhouse; The Dining Room (Production Asst.), Westport Country Playhouse. 2011/12 Season Production Assistant, Two River Theater Company. Stage Management B.F.A. from Syracuse University.

CREATIVE TEAM ANNABEL READER

Assistant Director A.R.T.: Debut. Mixed media artist. Costume designer: The Catamounts, Hannah Kahn Dance Company, 3rd Law Dance/ Theatre, Theatre Aspen, Evolving Doors Dance, Naropa University. Wardrobe Supervisor: Theatre Aspen. Dresser/stitcher: Opera Colorado. Owner: EyeSoar Performance/stilt dance. Performer: EyeSoar Performance (NZ/USA), Borrillo Entertainment (US), Evolving Doors Dance (US), Empress Stilt Dance (NZ/ HK/AUS), Lord of the Rings Peter Jackson (NZ), Footnote Dance (NZ), Spinal Chord (UK). Training: Bachelor of Performing and Screen Arts (Contemporary Dance) (Unitec/NZ), Cert Pacific Cultural Performing Arts (Whitirea/NZ).

ERIKA BAILEY

Voice Coach A.R.T.: Debut. Broadway: Mary Stuart. Off-Broadway: Lucky Duck, New Victory Theater. Regional: Arms and the Man, Guthrie Theatre; Christmas Carol, McCarter Theatre; The Foreigner, Cabaret, Bus Stop, To Kill a Mockingbird, Christmas Carol, Kansas City Repertory Theatre. A.R.T. Institute Head of Voice & Speech: vocal production, dialects, Shakespeare; heads M.F.A. program in voice pedagogy. MA in Voice Studies from the Royal Central School of Speech and Drama.

The A.R.T. at Harvard University is a leading force in the American theater, producing groundbreaking work in Cambridge and beyond. The A.R.T. was founded in 1980 by Robert Brustein, who served as Artistic Director until 2002, when he was succeeded by Robert Woodruff. Diane Paulus began her tenure as Artistic Director in 2008. Under her leadership, the A.R.T. seeks to expand the boundaries of theater by programming events that immerse audiences in transformative theatrical experiences. Throughout its history, the A.R.T. has been honored with many distinguished awards, including the Tony Award for Best New Play for All the Way (2014); consecutive Tony Awards for Best Revival of a Musical for Pippin (2013) and The Gershwins’ Porgy and Bess (2012), both of which Paulus directed; a Pulitzer Prize; 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 the Civil War Project, an initiative that will culminate in the staging of new work in the 2014/15 Season. Under Paulus’s leadership, the A.R.T.’s club theater, OBERON, has been an incubator for local and emerging artists and has attracted national attention for its innovative programming and business models. As the professional theater on the campus of Harvard University, the A.R.T. catalyzes discourse, interdisciplinary collaboration, and creative exchange among a wide range of academic departments, institutions, students, and faculty members, acting as a conduit between its community of artists and the university. A.R.T. artists also teach undergraduate 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 Theater School, offers graduate-level training in acting, dramaturgy, and voice. 22

Dedicated to making great theater accessible, the A.R.T. actively engages more than 4,000 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.

BOARD OF TRUSTEES

BOARD OF ADVISORS

Steve Johnson, Chair Amy Brakeman Laurie Burt Paul Buttenwieser Kevin Cole Costin RoAnn Costin Mike Dreese Zita Ezpeleta Michael Feinstein Provost Alan M. Garber Rebecca Grafstein Lori Gross Ann Gund Sarah Hancock Jonathan Hulbert Alan K. Jones Fumi Matsumoto Thomas B. McGrath Rebecca Milikowsky Ward Mooney Robert Murchison Andrew Ory Diane Paulus Mike Sheehan Diana Sorensen

Founding Director Robert Brustein

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

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, 2013 and October 31, 2014.

Donors VISIONARY

$100,000 and above

Barr-Klarman Arts Capacity Building Initiative The Blanche and Irving Laurie Foundation Betsy and Edward Cohen* Doris Duke Charitable Foundation Sarah Hancock* The President and Fellows of Harvard College

Rosemarie and Steve Johnson* Janet and Howard Kagan* Alison and Bob Murchison* The Linda Hammett Ory and Andrew Ory Charitable Trust* RN Family Foundation The Shubert Foundation

BENEFACTOR American Academy of Arts and Letters The Bank of America Charitable Foundation, Inc. Amy and Ed Brakeman* Katie and Paul Buttenwieser* RoAnn Costin*

$50,000-$99,999 The Dana Foundation Laura and Michael Dreese* Edgerton Foundation E.H.A. Foundation Ann and Graham Gund* The Hershey Family Foundation

LEADER The Gregory C. Carr Foundation Zita Ezpeleta and Kewsong Lee* Michael Feinstein and Denise Waldron* Rebecca and Laurence Grafstein* Llura and Gordon Gund*

$25,000-$49,999 Ambassador Swanee Hunt, Chair/Hunt Alternatives Fund* Tom McGrath and Sandy Medallis* Lucy and Ward Mooney* National Corporate Theatre Fund

PRODUCER Amy and David Abrams Yuriko Jane Anton and Philip Anton Hilary and Philip Burling Laurie Burt Cambridge Trust Company Kate and Gerald Chertavian Bernard Chiu Chung Family Foundation Kevin Cole Costin Drew Faust Fresh Sound Foundation

Newbury Comics Inc. Maureen and Mike Sheehan* The Harold and Mimi Steinberg Charitable Trust

$10,000-$24,999 Jody and Thomas Gill Marcia Head Barbara and Amos Hostetter Deborah and Glenn Hutchins Horace H. Irvine II Mary Ford Kingsley and Gordon Kingsley Judith and Douglas Krupp Mass Humanities Fumi and Kako Matsumoto Stacey and Eric Mindich Diane Paulus and Randy Weiner

PARTNER Anonymous (4) Frances Shtull Adams Erika and Colin Angle Jill Avery Patricia Beilman and David Poor Christopher Connolly and Marjorie Liner Kathy Connor Pamela and Robert Cutler Gerald Flaxer Charitable Foundation Erin Gilligan and Hoil Kim Candy Gold and Martin Waters Rachael Goldfarb Peggy Hanratty and Geoffrey Peters The Office of the Provost at Harvard University

Alan Jones and Ashley Garrett* Massachusetts Cultural Council National Endowment for the Arts Lisbeth Tarlow and Stephen Kay* Donald and Susan Ware*

Julia Pershan and Jonathan Cohen Janet and Irv Plotkin Stan Ponte and John Metzner Patricia Romeo-Gilbert and Paul Gilbert Valerie Beth Schwartz Foundation State Street Corporation Ted Trimpa Trust for Mutual Understanding The Xander Group Inc.

$5,000-$9,999 The DuBose & Dorothy Heyward Memorial Fund Heather and James Higgins Barbara Jordan and Robert Pemberton Noriko and Michael Keirnan Jessica and Ethan Lasser Gregory Maguire and Andy Newman Sally McNagny and Robert Green Hee-Jung and John Moon Karen and Gary Mueller Cokie and Lee Perry Marean and Thomas Pompidou Heather Randall Ellen Gordon Reeves Rosse Family Charitable Foundation

Maggie and Jonathan Seelig The Shane Foundation Wendy Shattuck and Sam Plimpton Melinda B. Thaler Sarasina and Mike Tuchen Mary and Edward Wendell Stephen H. Zinner, M.D. and S. Wade Taylor, PhD

SPONSOR Anonymous (2) Sharmy and David Altshuler Peter Antoszyk Barbara and George Beal Barbara E. Bierer, M.D. and Steven E. Hyman, M.D.* Linda Cabot Black Garen Bohlin Joy and Steven Bunson Lynne and John Chuang Clarke and Ethel D. Coggeshall Barbara and Rodgin Cohen Charles Collins Rohit Deshpande Susan Edgman-Levitan and Richard Levitan Shanti Fry and Jeffrey Zinsmeyer Catherine Gellert

$2,500-$4,999 Jody Gorton Roger Greene Marjorie and Nicholas Greville Barbara Wallace Grossman and Steve Grossman Pamela Haran and David S. Godkin Phyllis Harrington Catherine Hayden and David Thurston The Roy A. Hunt Foundation Yuko and William Hunt Melissa Kaish and Jonathan Dorfman Susan B. Kaplan & Nancy and Mark Belsky Jerome P. Kassirer, MD and Sheridan Kassirer Barbara H. Landreth, M.D. Lori Lesser Monique Sullivan Lowitt and Ian Lowitt

PATRON Anonymous (3) Shari Malyn Abbott and Jon Abbott Diana and Richard Beattie Ann Beha and Robert Radloff Nancy Bernhard and David Margolin Linda Cabot Black Foundation Terrie and Bradley Bloom Barbara and William Boger Diane Borger Melinda Brown Elaine and Eric Bucher Dorothea and Sheldon Buckler Betsy Cabot The Edmund and Betsy Cabot Charitable Foundation Kay Calvert and Jim Manzi Diane Cataldo Charles Cherington Frances Cohen Lizabeth Cohen and Herrick Eaton Chapman Beth and Richard Compson Alexi Conine Elizabeth Creighton Lynn Dale and Frank Wisneski Tina and Philip DeNormandie Lisa and Robert Duffy Emma Dunch and Elizabeth Scott Ellie Kai Inc. Mary and Juan Enriquez Newell Flather Nancy and Richard Friedman Linda and Michael Frieze Verna C. Gibbs, M.D. Silvia Gosnell Perrin and Bruns Grayson Carol and Joseph Green Renee Greene Lori E. Gross and Robert Douglas Campbell

Kathy Metcalfe and Langdon Wheeler Shelly and Ofer Nemirovsky Mercedes Nugent-Head and James C. Marlas Madeline Osit and Dan Maude Marsha and Justin Perreault Timothy Phillips Bryan Rafanelli Dr. Linda U. Sanger Nichole Bookwalter Savenor and Alan Savenor Laurie M. Scott John Travis Deb Tolman and Luis Ubinas Brad Voigt and William Burton Ashley and Alexander von Perfall Joanne and Daniel Weil Ann Wozencraft and Craig Willey

$1,000-$2,499 Agnes Gund Melinda Hall and Larry Pratt Joseph Hammer Phyllis Hammer Linda A. Hill and Dr. Roger E. Breitbart Megan and David Hinckley Alice Hoffman and Thomas Martin Maisie and James Houghton Karen Johansen and Gardner Hendrie Kay Kane Marjie and Robert Kargman Priscilla Kauff Rona and Robert Kiley Jeremy Kindall and Brenda Sullivan Nancy P. King Lawrence Kotin Laurie Laba Dean Huntington Lambert Lars Foundation The Ronald and Jo Carole Lauder Foundation Stacey Schneer Lee Joyce Linde John D.C. Little Guy MacDonald Celine and Alastair Mactaggart Macy's Inc. Marcia Marcus Erica and Bob Mason Anita Meiklejohn and Vincent Piccirilli Steven and Kelly Migliero Alan Muraoka Diana Nelson and John C. Atwater New Vernon Capital Jeryl and Stephen Oristaglio Susan Paine Eunice Panetta D. Randy Peeler Patricia and Finley Perry Gerald Pier

Jennifer and Thomas Pincince Dr. Vibha PinglĂŠ and Ashutosh Varshney Amy and Jonathan Poorvu Lia and William Poorvu Fern Portnoy and Roger Goldman Suzanne Priebatsch Nancy Rappaport and Colin Flavin Liz Reynolds and Max Senter Karen Foote Richards AndrĂŠe Robert and Thomas M. Burger Ron Rodericks Gabriela and Bob Romanow Beatrice Roy William Russo Molly Schoeck NoraLee and Jon Sedmak Richard and Christine Shea Michael Shinagel and Marjorie North The Sholley Foundation, in honor of Jeremy Geidt Somerled Charitable Foundation Susan Stafford Deborah Sweet and Steven Lazar Beth and Anthony Terrana Delia and Robin Thompson Janet Tiampo and David Parker The Joseph W. and Faith K. Tiberio Charitable Foundation Mindee Wasserman Ruth and Bill Weinstein Ann Marie Wilkins Francis H. Williams Fancy and Jeff Zilberfarb

CONTRIBUTOR Anonymous Dianne Anderson Evelyn Barnes James Basker William M. Bazzy Carol Beggy Jane and Leonard Bernstein Robert Bowie jr. Cris and Paul Carter Carol and Chet Cekala Jim Chervenak Cynthia and Anthony Clayton Milton Cooper Suzanne and Dan Crowley Ted and Joan† Cutler Brit d'Arbeloff Milo Fay Karen Freidus Leigh Gilmore and Thomas Pounds Mark Glasser Ms. Laura Green and Dr. David Golan Beth Golden Professors Mary Jo and Byron Good Joy Greenway

$500-$999 Lindsay and Garth Greimann Dena and Felda Hardymon Kathryn Herring and Ronald Heifetz Joan and George Hornig The Isabella Stewart Gardner Museum Paula Johnson and Robert Sands Jane Katims and Dan Perlman Linda Katzen Swartz Paul Keenan Dr. and Mrs. Gilbert Kliman Denise and Ari Korn Jeffrey LaHoste Mrs. Barbara Silber Lamont and Mr. Thomas Stilwell Lamont II Liberty Mutual, Give with Liberty Program Hambleton Lord Barbara Manocherian Patricia Cleary Miller Sandra Moose and Eric Birch NSTAR Foundation Randall Perkins Sally C. Reid and John D. Sigel Dr. Helen Riess Malcolm Rogers

SUPPORTER Anonymous (4) Kenneth Abbott The Acorn Foundation/Barbara and Theodore Alfond Alka and Ravin Agrawal Elizabeth Ascher and Michael Yogman Sybilla and Alexandre Balkanski Beth Barrett Jamie Barth Pamela Bell Susana and Clark Bernard Andrea Buchbinder Richard Carson Betsy Ellis Chung and Peter Chung Dr. Lisa Coleman Kathy Cormier Glorianna Davenport Jane Mendelsohn Davis and Nick Davis Mark Diker Julie Farkas and Seth Goldman Judith and Warren Feder Anita Feins and Steven Lampert Timothy Finn Anna Fitzloff and Elissa Best Herbert Fox and Janet Zinner Robin Freeman Constance and Michael Fulenwider Howard Gardner, M.D. Kathleen and Robert Garner Laurie and Jeffrey Goldbarg, M.D. Drs. Susan Graham and Michael Harrison Mark Granovsky Patricia and Homer Hagedorn Robert Harrington Marija and John Hauser Rita and Gus Hauser Deborah L. Hicks

Adina Schecter Stephanie and Fred Shuman Dr. Mark Slovenkai Mason and Jeannie Smith Rose Styron Tavneet Suri Nikola Swartz and David Hennes Claire and Paul Traub Lynn and George Vos Richard and Martha Wagner Dyann and Peter Wirth Ms. Kelsey Wirth and Dr. Samuel Myers Paula Young

$250-$499 Dr. James Hirshberg Caroline and Fred Hoppin Belinda Juran and Evan Schapiro Ms. Bambi Kapp and Dr. Randall Berliner Carol Kelly Lynn Kodama Deborah and Jonathan Kolb Katherine N. Lapp Lisa and Bill Laskin Mary Beth and Greg Lesher Peter Lichtenthal Megan Linehan Barbara A. Manzolillo Wendy Mariner and Toby Nagurney James D. Marver Ellen and Matt Masseur Jenifer Wells Megalli and Mark Megalli Donna Friedman Meir and Gadi Meir Sharon Miller Morgan Stanley Global Wealth Management Evelyn and Mac Musser Carol and Davis Noble Joan and Roderick Nordell Professor Suzanne P. Ogden and Peter Rogers Jaclyn and Terence Paré William Peake Drs. Hilda and Max Perlitsh Sarah Piper Rose Polidoro C. Taylor Poor Tom Quintal Carolyn G. Robins Abram Rosenfeld Beth Sackler Sarah and Gregory Sands

Nina Schwalbe and Sally Girvin James Scopa Christine and Michael Sigman Ildiko Sragli and Barry Appelman Nancy and Edward Stavis Jean and Michael Strunsky Stephen Stulck Leslie Sullivan Kathryn Taylor and Tom Steyer Hal Tepfer Mr. and Mrs. Theodore H. Teplow Gloria and Arnold Tofias Diana Walsh and Kent Walker Fran and Barry Weissler Sharon Goddard White and David White Kathy Williams and Douglas Carlston Grace Kyung-Sun Won and Richard Holden Carolyn Zern William Zinn Gail and Hayward Zwerling * Donors who provide annual operating support of $25,000 or more are members of the Artistic Director’s Circle. † in memoriam

A.R.T. NYC DONORS A.R.T. NYC is a group of curious, committed, and engaged individuals that provide generous annual support to the American Repertory Theater. The following gifts of $250 and above were received between July 1, 2013 and October 31, 2014.

PRODUCER $10,000 and above Betsy and Edward Cohen, Kevin Cole Costin, Zita Ezpeleta and Kewsong Lee, Rebecca Gold and Nathan Milikowsky, Rebecca and Laurence Grafstein, Deborah and Glenn Hutchins, Alan Jones and Ashley Garrett, Janet and Howard Kagan, Stacey and Eric Mindich, Julia Pershan and Jonathan Cohen, Stan Ponte and John Metzner PARTNER $5,000-$9,999 Anonymous (2), The DuBose & Dorothy Heyward Memorial Fund, Heather and James Higgins, Hee-Jung and John Moon, Marean and Thomas Pompidou, Heather Randall, Ellen Gordon Reeves, Melinda B. Thaler SPONSOR $2,500-$4,999 Anonymous, Joy and Steven Bunson, Barbara and Rodgin Cohen, Jody Gorton, Melissa Kaish and Jonathan Dorfman, Barbara H. Landreth, M.D., Lori Lesser, Monique Sullivan Lowitt and Ian Lowitt, Mercedes Nugent-Head and James C. Marlas, Dr. Linda U. Sanger, Deb Tolman and Luis Ubinas, Ashley and Alexander von Perfall, Ann Wozencraft and Craig Willey MEMBER $250-$2,499 Anonymous, Kenneth Abbott, James Basker, Diana and Richard Beattie, Pamela Bell, Robert Bowie jr., Milton Cooper, Jane Mendelsohn Davis and Nick Davis, Mark Diker, Emma Dunch and Elizabeth Scott, Judith and Warren Feder, Catherine Gellert, Beth Golden, Rita and Gus Hauser, Joan and George Hornig, Rosemarie and Steve Johnson, Ms. Bambi Kapp and Dr. Randall Berliner, Priscilla Kauff, Peter Lichtenthal, Ellen and Matt Masseur, Jenifer Wells Megalli and Mark Megalli, Lucy and Ward Mooney, Alison and Bob Murchison, New Vernon Capital, Jaclyn and Terence Paré, Sarah Piper, Rose Polidoro, Beth Sackler, Adina Schecter, Nina Schwalbe and Sally Girvin, Stephanie and Fred Shuman, Ildiko Sragli and Barry Appelman, Nikola Swartz and David Hennes, Claire and Paul Traub, Ruth and Bill Weinstein, Fran and Barry Weissler

IN-KIND SEASON SUPPORTERS The A.R.T. thanks the following individual and corporate supporters for their invaluable in-kind donations.

Southwest Airlines (Official Airline Sponsor) southwest.com Allagash Brewing Company, Inc. Be Our Guest, Inc. Richard Cacciagrani Betsy and Edward Cohen Dig Publishing/Dig Boston Donna DePrisco Google

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

Peterson Party Center, Inc. (Party Rental Sponsor) petersonpartycenter.com

Grafton Street Grendel's Den Megan and David Hinckley MAX Ultimate Food/Dan Mathieu and Neal Balkowitsch Tom McGrath and Sandy Medallis Alison and Bob Murchison

The Urban Grape/T.J. and Hadley Douglas (Wine Sponsor) theurbangrape.com National Corporate Theatre Fund Linda Hammett and Andy Ory Rialto Restaurant Sandrine's Bistro David Taylor Tory Row and Cambridge 1. Upstairs on the Square

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 theaters through their contributions of $2,500 and above to National Corporate Theatre Fund. Buford Alexander and Pamela Farr* • American Express* • Helen Ashley* • Mitchell J. Auslander** • Bank of America* • Bloomberg • BNY Mellon • Steven Bunson** • Christopher Campbell/Palace Production Center† • Cisco Systems, Inc.* • Citi • CMT/ABC**† • Dantchik Family • Elwood B. Davis* • Paula Dominick** • Dorfman and Kaish Family Foundation, Inc.** • Dorsey & Whitney Foundation • Dramatists Play Service, Inc.* • John R. Dutt** • Edgerton Foundation* • Epiq Systems* • Ernst & Young • Ernst & Young Fund for Impact Creativity** • Bruce R. and Tracey Ewing** • Jessica Farr* • Richard Fitzburgh • Ford Foundation • Alan & Jennifer Freedman** • Priscilla and Keith Geeslin* • Ruth E. Gitlin* • Goldman, Sachs & Co. • Mason and Kim Granger* • The Hearst Foundations** • Colleen Hempleman* • Gregory S. Hurst • Howard and Janet Kagan* • Joseph F. Kirk** • Michael Lawrence and Dr. Glen Gillen* • LG&E and KU Energy* • Adrian Liddard* • Marsh & McLennan Companies • John R. Mathena • The Maurer Family Foundation** • Jonathan Maurer and Gretchen Shugart** • McGraw Hill Financial • MetLife • John G. Miller • Morgan Stanley • Theodore Nixon* • Ogilvy & Mather† • Lisa Orberg** • Frank Orlowski** • Edison Peres • Pfizer, Inc. • Thomas C. Quick • RBC Wealth Management** • Roe Green Foundation* • The Schloss Family Foundation** • Seyfarth Shaw LLP* • Sills Cummis & Gross * • Skadden, Arps, Slate, Meagher & Flom* • George S. Smith, Jr.** • Southwest Airlines**† • Ann Steck* • Stoddard Family Foundation* • Karen and Stewart Tanz* • Theatermania.com/Gretchen Shugart • John Thomopoulos** • Douglas and Janet True* • Evelyn Mack Truitt • James S. Turley* • The James S. and Lynne P. Turley Ernst & Young Fund for Impact Creativity** • UBS • Pamela J. Wagner* • Michael A. Wall • Wells Fargo** • White & Case LLP* • Willkie Farr & Gallagher • Isabelle Winkles* *NCTF/Edgerton Foundation Fund for New American Theatre **Impact Creativity †Includes In-kind Support

As of September 2014

A.R.T. Staff

Ticket Services Staff

Taylor Hughes, Natalie Lurowist, Nickolas Mellace, Jessica Mullen, Tani Nakamoto, Emma Putnam Duty House Managers Stephanie Holmes, Megan Nussle, Adam Quinn, Eleanor Regan, Courtney Smith, Matthew Spano Volunteer Usher Coordinator Barbara Lindstrom

ARTISTIC Artistic Director Producer General Manager Director of Artistic Programs/Dramaturg Director of Special Projects Assistant Producer Special Assistant to the Artistic Director Resident Director Artistic Associate Company Manager/Hasty Pudding Institute Producing Fellow Artistic Intern INSTITUTE Director Administrative Director Associate Director Co-head of Dramaturgy Co-head of Dramaturgy Resident Literary Advisor Institute Associate Technical Director Student Financial Aid Administrator OBERON Associate Producer Venue Manager Programming Manager Production Manager House Technician Sound Console Operator

Diane Paulus Diane Borger Steven Showalter Ryan McKittrick Ariane Barbanell Mark Lunsford Julia Kraus Allegra Libonati Shira Milikowsky

THEATER AND FACILITIES Theater and Facilities Manager Receptionists FINANCE Controller Senior Financial Analyst Senior Finance Accountant Financial Administrator Payroll Administrator

Ben Nelson Nina Goodheart Scott Zigler Julia Smeliansky Marcus Stern Anatoly Smeliansky Ryan McKittrick Arthur Holmberg Josh Glenn-Kayden Skip Curtiss Janie Rangel

PRODUCTION Production Manager Associate Production Managers HRDC Associate COSTUMES Costume Shop Manager Assistant Costume Shop Manager Head Draper Crafts Artisan Wardrobe Supervisor Wig Runner Costume/Props Stock Manager

Ariane Barbanell Leo X. Crowley James Wetzel Skip Curtiss Justin Paice Alex Giorgetti

EXTERNAL AFFAIRS DEVELOPMENT Director of Development Megan Hinckley Deputy Director of Development Jessica Morrison Grants Manager Meghan Coleman Development Officers Lily Lewis-McNeil, Lindsay Soson Development Information Coordinator Brendyn Schneider Development Associate Yuvika Tolani

PATRON SERVICES Director of Patron Services/ System Administrator Ticket Services Manager Audience Services Manager Ticket Services Representatives Weekend Shift Supervisor

Jeannette Hawley Ameera Ali Caitlin Menotti Jeffrey Scott Burrows Alma Reyes Emily Damron Suzanne Kadiff

PROPERTIES Props Manager Assistant Props Master

Cynthia Lee-Sullivan Rebecca Helgeson

SOUND Sound Supervisor Production Sound Sound Console Operator STAGE Stage Supervisor Stage Production Assistants

Patricia Quinlan Skip Curtiss, Jeremie Lozier Kathryn Nakaji

Matthew Adelman Wen-Ling Liao Jeremy Goldenberg

Scenic Painter

Derek Mueller Alicia Curtis Stephen Wuycheck Karen Snyder, Cassandra Long Heather Conroe

Ann Kellegher Kathryn Rosenberg John Josti Stacie Hurst Paul Ravelo

LIGHTS Lighting Supervisor Assistant Lighting Design Light Board Operator

SCENERY Technical Director Associate Technical Director Assistant Technical Director Scene Shop Supervisor Scenic Charge Artist Master Carpenter Scenic Carpenters

MARKETING AND COMMUNICATIONS Director of Marketing and Communications Anna Fitzloff Director of Press and Public Relations Katalin Mitchell Marketing and Communications Manager Grace Geller Graphic Designer Joel Zayac Education and Community Programs Manager Brendan Shea Education and Community Programs Associate Georgia Young Videographer Johnathan Carr Social and Digital Media Assistant Mark Mauriello Marketing Interns Jen Epervary, David Imani, Shannon Reed

Tracy Keene Sarah Leon, Maria Medeiros

Stephen Setterlun Chris Swetcky Kristin Knutson David Schultz Jerry Vogt Peter Doucette Garrett McEntee, York-Andreas Paris Heather Morris Sam Lerner Brian Walters Katrina Sistare Henning Malm Ryan Fitzgerald, Keelia Liptak, Matthew Sebastian

Our friends are your friends. Restaurant Partners Cambridge, 1.

Noir Bar

Grafton St.

Rialto

27 Church St. cambridge1.us

1 Bennett St. noir-bar.com

1 Bennett St. 1230 Massachusetts Ave. graftonstreetcambridge.com rialto-restaurant.com

Hotel Partner

Grendel’s Den

Sandrine’s

The Charles Hotel

Harvest

The Sinclair

52 Church St. sinclaircambridge.com

Parking Partners

Toscano

Discounted parking is available locally.

89 Winthrop St. grendelsden.com

44 Brattle St. harvestcambridge.com

Henrietta’s Table 1 Bennett St. henriettastable.com

8 Holyoke St. sandrines.com

52 Brattle St. toscanoboston.com

1 Bennett St. charleshotel.com

Photo: Marcus Stern

For current promotions and discounts: americanrepertorytheater.org/discounts

SHAKESPEARE & DISCO COLLIDE Bringing you the ultimate disco experience every Saturday night! Directed by Diane Paulus | 29 Inspired by A Midsummer Night's Dream

WEST LOBBY

FRONT LOBBY

Designated Meeting Site

Nearest exit route Fire extinguishers

Cross Brattle St. to Radcliffe Yard

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

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

LARGE PRINT

A.R.T. is committed to accessibility for all patrons. All venues are wheelchair accessible, assistive listening devices and large print programs are available at the reception desk. We offer ASL Interpretation and Audio Description at designated performances. Visit americanrepertorytheater.org/access or contact ticketservices@amrep.org for more information. 30