MKE REP - In the Next Room

Shakespeare's timeless tragedy in a stunning new light.

One of Shakespeare’s most tragic heroes squares off against literature’s greatest villain in a visceral, sexy, hard-driving story of intrigue, betrayal and vengeance.

Photo: Brian Ach, Desi Todd Edward Iv

Supported in part by

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1 – In the Next Room

Patty and Jay Baker Theater Complex Stiemke Studio Mark Clements Artistic Director

Dawn Helsing Wolters Managing Director Produced in association with Actors Theatre of Louisville

By Sarah Ruhl

Directed by Laura Gordon Scenic and Properties Designer

Costume Designer

Lighting Designer Original Music and Sound Design

Properties Director

Wig Designer Dramaturg

Casting Director

Chicago Casting Director

Directing Assistant

Assistant Dramaturg

Associate Lighting Designer

Assistant Costume Designer

Stage Manager

Assistant Stage Manager

Assistant Director

Philip Witcomb Lorraine Venberg Brian J. Lilienthal Barry G. Funderburg Mark Walston Heather Fleming Sarah Lunnie Sandy Ernst Claire Simon Lillian Meredith Molly Clasen Rachel Szymanski Danny Chihuahua Laura F. Wendt* David Hartig Joshua Baggett

Melissa Nyari Vartanian Craig Gottschalk Tyler Smith James Guy Jim Medved Holly Payne

Production Manager Lighting & Sound Director Technical Director Properties Director Charge Scenic Artist Costume Director

Original Broadway Production by Lincoln Center Theater New York City, 2009 In The Next Room or the vibrator play was originally commissioned and produced by Berkeley Repertory Theatre, Berkeley, CA Tony Taccone, Artistic Director/Susan Medak, Managing Director In the Next Room or the vibrator play is presented by special arrangement with SAMUEL FRENCH, INC. In the Next Room or the vibrator play was developed at New Dramatists.

In the Next Room – 2

C A S T L I S T ( i n a l p h a b e t i c a l o r d e r) Elizabeth.............................................................................. Tyla Abercrumbie* Sabrina Daldry..................................................................... Cassandra Bissell* Leo Irving............................................................................Matthew Brumlow* Dr. Givings ................................................................................. Grant Goodman* Annie........................................................................................ Jenny McKnight* Mr. Daldry................................................................................ Jonathan Smoots* Catherine Givings............................................................Cora Vander Broek* Place: A prosperous spa town outside of New York City, perhaps Saratoga Springs.

Time: The dawn of the age of electricity and after the Civil War; circa 1880s.

There will be one intermission for this production. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

3 – In the Next Room

P L AY W R I G H T ’ S N O T E S IN HER OWN WORDS PLAYWRIGHT SARAH RUHL REFLECTS ON IN THE NEXT ROOM I have always wanted to write a costume drama. With corsets, bustles and gloves. After spending a good part of my youth reading Jane Austen and Charlotte Brontë sick in bed while other kids in my alley were playing ghost in the graveyard, I’ve always had a strange affinity for the 19th century. But I’ve also always been fascinated by what the 19th century novel did not dare show, what it pointedly left out. In the 19th century novel, no one has sex, no one goes to the bathroom, and certainly, no one uses a vibrator. But I was amazed to find, after reading Rachel Maines’ revelatory book, The Technology of Orgasm, that many women (and a few men) were treated with electric Sarah Ruhl vibratory massage to ameliorate the symptoms of hysteria.

What perhaps stunned me even more was that gynecologists and psychiatrists had used the “manual treatment” before this remarkable new invention came out, at the dawn of electricity.

The play In the Next Room takes this historical fact as a leaping off point – that many women (and a few men) were treated for hysteria with vibrators at the turn of the century – and moves into other terrain. Though the vibrator may have been the play’s starting point, ultimately I’m more interested in the relationships that expand around the device, and the whole notion of compartmentalization, of what goes on “in the next room” – literally, in the room next to the living room where the vibrations take place, but also in the next room of other people’s minds, and bodies. To what extent does marriage imply a “next room”? Or the relations between employers and employees – particularly, the very intimate and difficult relationship of a mother and her wet nurse, who, tragically, lost her own child and is now nursing another’s? To what extent was there a mind/body split in the 19th century? And are we now really any better off? Now that pornography has gone mainstream, are our bodies and minds any more integrated, in any more radically intimate way? The emotional and bodily restraint that so inhibited our forebears, and that we shrugged off in the last century, is now perhaps somewhat desirable, in the age of no privacy. Perhaps restraint will be the new daring mode, now that so many sexual barriers have been broken down. After being numb to billboards in which everything from jeans to pharmaceutical drugs are sold with sex, I sometimes long for a time when an ankle was breathtaking, a well-turned calf, or the touch of a hand across a teapot. But isn’t it still true that the shared look, the glance across the lit room, is sometimes a more terrifying and thrilling intimacy than anything that goes on in the dark? (Depending on who the company is . . . ) People coming to the play expecting a sexual spectacle might be either disappointed or relieved, depending on their predilections. Much of the action happens under a clean white sheet. In that sense, the play is very innocent. As I wrote the play and immersed myself in 19th century personages, I was interested in their radical or willful innocence about sexuality. Innocence on the part of both the doctors and the patients. Vibrators were advertised right alongside electric kettles and irons in publications like the Ladies’ Home Journal. Henry James himself was said to have gotten the treatment; one vibrator designed especially for men was called the Chattanooga. The shudder that was produced by the vibrator was called a paroxysm, not an orgasm. Whereas the Greeks and the Chinese and even the Elizabethans seem to know a great deal about how to give women orgasms, after Queen Victoria took the throne, there seemed to be a collective cultural amnesia about such things for a hundred years. In the privacy of their own bedrooms, couples may have been even more inventive than we are today, without being inundated by images of what sexuality was supposed to have been. But other couples seem to have been under a dark shroud of silence.

Ultimately it is the silence between people, and how they manage to shatter it, that draws me to these characters. And I think as sophisticated as we moderns are, we certainly understand silence between people – and the comedy (or tragedy) that results when two people in adjacent rooms are unable or unwilling to speak.

Sarah Ruhl This essay, reprinted with permission, first appeared on Broadway.com.

In the Next Room – 4

Female Hysteria The medical disorder of Female Hysteria ran rampant throughout the Victorian era, but was discussed much earlier. In Greek, the word ὑστέρα (“hystera”) translates to the English word “hysteria”. Hystera literally translated means “uterus” and the term is often credited to Hippocrates (the father of medicine). He claimed it was a disease in which the womb would travel around the body because it became light and dry due to a lack of bodily fluids.

In the mid 1800’s, Jean-Martin Charcot (the father of neurology), determined that it must be a hereditary neurological disorder, which could be treated with hypnotism. Charcot’s student, Sigmund Freud (the father of psychoanalysis), then decided that it must be a psychological disorder, due to the fact that it could be cured with hypnotism, a psychological state and not a neurological one.

The common symptoms of hysteria included faintness, nervousness, insomnia, fluid retention, heaviness in the abdomen, muscle spasms, shortness of breath, irritability and a loss of appetite for food; and at one point a Victorian physician catalogued 75 pages of possible symptoms.

Throughout the history of hysteria, many believed hysterical paroxysm (orgasm), to be the best treatment. In medical treatments, hysterical paroxysm would be induced by massage, originally by hand, and then with hydrotherapy and eventually with the electromechanical invention of the vibrator.

“Mrs. Daldry, we are going to produce in you what is called a paroxysm.

The congestion in your womb is causing your hysterical symptoms and if we can release some of that congestion and invite the juices downward your health will be restored.” –Dr. Givings (from In the Next Room or the vibrator play)

Jenny McKnight, Grant Goodman and Cassandra Bissell. Photo by Alan Simons.

CAST BIOGR A PHIES Tyla Abercrumbie, Elizabeth Tyla Abercrumbie is happy to be returning to Milwaukee Rep, where she was last seen in Intimate Apparel. Regional theater credits include: August Wilson Theatre (King Hedley); TimeLine Theatre (In Darfur); Goodman Theatre (Magnolia); Court Theatre (Piano Lesson and Flyin’ West); Chicago Shakespeare Theater (Short Shakespeare and Romeo and Juliet); Portland Theatre Company (Piano Lesson); Pittsburgh Public Theater (Radio Golf); St. Louis Black Repertory Theatre (Jitney); Studio Arena (A Raisin in the Sun); Victory Gardens Theater (Ariadne’s Thread) and Onyx Theatre (Four Queens No Trump and Asylum (aka) life, which she wrote and also performed). Film and television credits include: Detroit 187, Chicago Code, The Beast, ER, The Tracey Morgan Show, Solomon’s Song, Family Practice, Mary and Jo, The Poker House and Stay With Me. Cassandra Bissell, Sabrina Daldry Cassandra Bissell returns to Milwaukee Repertory Theater, having previously appeared in last season’s My Name is Asher Lev. Regional theater credits include: Memory House (Actors Theatre of Louisville); Hamlet and Arcadia (Court Theatre) and Pride and Prejudice and Noises Off (Cleveland Play House).

Other theater credits include: Romeo and Juliet, The Tempest, Macbeth, Richard II and King John (Chicago Shakespeare Theater); Mary’s Wedding (Rivendell Theatre Ensemble – Joseph Jefferson nomination: Best Actress in a Principal Role); Memory House (Victory Gardens); In the Blood and Measure for Measure (Next Theatre Company); The Berlin Circle (Steppenwolf Theatre Company); Crumbs from the Table of Joy (Renaissance Theatreworks); Othello (Shakespeare on the Green) and Proof, Doubt, The Lady’s Not for Burning, A Man for All Seasons, Red Herring and Around the World in 80 Days (Peninsula Players). Bissell holds a BA in Gender Studies from the University of Chicago.

Matthew Brumlow, Leo Irving Matthew is thrilled to be back at Milwaukee Rep after having played Hank Williams, Sr., in last year’s critically acclaimed Nobody Lonesome for Me, directed by Sandy Ernst.

Matthew is an ensemble member of Chicago’s American Blues Theater Company where he has 14 production credits including A View from the Bridge, The Hairy Ape, True West and Oklahoma! A two-time Equity Jeff Award nominee in Chicago, Matthew has performed with Court Theatre, Writers’ Theatre, Chicago Shakespeare Theater, Timeline Theatre Company, Northlight Theatre, Apple Tree Theatre, About Face Theatre and many others. Regional credits include: Actors Theatre of Louisville, Long Wharf Theatre, Kansas City Repertory Theatre, American Heartland Theatre (KC), Notre Dame Shakespeare Festival, Montana Shakespeare in the Parks, Peninsula Players’ recent production of A Few Good Men (Kaffee), Montana Repertory Theatre’s national tour of A Streetcar Named Desire (Stanley), and Indiana Repertory Theatre’s The 39 Steps, A Christmas Carol and the title role in Hamlet.

Matthew is represented by Chicago’s Big Mouth Talent, and you can catch him in the Indie Feature Films Endings and Where We Started.

Grant Goodman, Dr. Givings Grant Goodman returns to Milwaukee Repertory Theater this season after appearing as Alfred Lunt in Ten Chimneys. Other Rep credits include Fred in A Christmas Carol and Mr. Darcy in Pride and Prejudice. He most recently appeared Off-Broadway as Bolingbroke in Richard II at New York City Center with The Pearl Theatre. Regional credits include: Yale Repertory Theatre, Shakespeare Theatre Company (Washington, D.C.), Chicago Shakespeare Theater, The Old Globe, Utah Shakespeare Festival, Northlight Theatre, Court Theatre, PlayMakers Repertory Company, Indiana Repertory In the Next Room – 6

CAST BIOGR A PHIES Theatre, Syracuse Stage, Shakespeare Theatre of New Jersey and Milwaukee Repertory Theater, among others.

National tours include The Merchant of Venice with F. Murray Abraham (Theatre for a New Audience). OffBroadway credits: Antony & Cleopatra and The Merchant of Venice (Theatre for a New Audience), King Lear and The Iliad (Lincoln Center) and Pericles (Red Bull Theater). Film and television credits include As the World Turns and Sex and the City. Grant is a graduate of New York University’s Tisch School of the Arts.

Jenny McKnight, Annie Jenny McKnight is very happy to return to Milwaukee Repertory Theater, where she most recently appeared in Ten Chimneys, as well as last season’s Speaking in Tongues and All My Sons (2002/03). Chicago credits include: Talking Pictures and The Actor at Goodman Theatre; Pride and Prejudice at Northlight Theatre; Old Times at Remy Bumppo Theatre; Frozen, The Laramie Project and The Incident at Next Theatre; Ariadne’s Thread at Victory Gardens; Three Tall Women at Apple Tree Theatre; multiple shows with Eclipse Theatre where she was a company member, as well as work with Steppenwolf Theatre Company, Redmoon Theater, Chicago Dramatists and several others.

Regionally, Jenny has appeared in Crime and Punishment, Pride and Prejudice, Painting Churches and The Turn of the Screw at Indiana Repertory Theatre, Liliom at Kansas City Repertory Theatre and Dusk Rings a Bell at Mosaic Theatre.

Jenny is a graduate of The University of Alabama.

Jonathan Smoots, Mr. Daldry Jonathan Smoots returns to The Rep after just appearing as the Ghost of Christmas Present, Mr. Twyce and Mr. Scadger in the annual production of A Christmas Carol at the historic Pabst Theater. A Chicago native, Smoots has lived in Milwaukee since 1987.

He earned his BA at the University of Illinois-Chicago and his MA at Northwestern University. Regional 7 – In the Next Room

theater: Milwaukee Repertory Theater: Mr. Lockhart (The Seafarer), Torvald (A Doll’s House), Sir Robert Chiltern (An Ideal Husband), Pato (The Beauty Queen of Leenane) and Jonathan Brewster (Arsenic and Lace); American Players Theatre (23 seasons): past roles include Macbeth, Theseus/ Oberon (Midsummer Night’s Dream), Malvolio and Earl of Gloucester (King Lear), Falstaff (The Merry Wives of Windsor), Angelo (Measure for Measure), Friar Lawrence, Bottom, Cymbeline, Tarleton (Misalliance), Undershaft (Major Barbara), General Burgoyne (The Devil’s Disciple) and Sir Harcourt Courtly (London Assurance).

Smoots has taught, directed and been a guest artist at numerous universities as well as directed scores of professional productions.

Cora Vander Broek, Catherine Givings Cora Vander Broek is thrilled to be working at Milwaukee Rep for the first time.

A Chicago actor, her recent credits include the Midwest Premiere of J. T. Rogers’ Madagascar (Next Theatre); The DNA Trail (Silk Road Theatre with Goodman Theatre); All My Sons (TimeLine Theatre); Dr. Jekyll & Mr. Hyde (Northlight Theatre) and Dead End (Griffin Theatre). Cora also understudied and performed the lead role in Sarah Ruhl’s Dead Man’s Cell Phone at Steppenwolf Theatre Company. Regional credits include: Doubt and A Christmas Carol (Indiana Repertory Theatre); The Merry Wives of Windsor and Heartbreak House (Montana Shakespeare in the Parks) and In the Next Room or the vibrator play (Actors Theatre of Louisville). Cora has received an After Dark Award (Actress in a Principal Role), a Jeff Citation Nomination (Actress in a Supporting Role) and has been featured in the Chicago Tribune as “One of the Top Five Actors to Watch Now.” Her writing has also been featured in Chicago with Serendipity Theatre’s 2ndStory series.

Cora will next play the lead in the film Doug and Amy and she can also be seen playing across from her husband in the Indie Feature Film Where We Started.

Cora is a graduate of “The School at Steppenwolf.” She is a proud member of AEA and is represented by Chicago’s Big Mouth Talent.

C R E AT I V E T E A M B I O G R A P H I E S Sarah Ruhl, Playwright Sarah has written numerous award-winning plays including Eurydice, which made its West Coast premiere at Berkeley Repertory Theatre in 2005, and In the Next Room or the vibrator play, which was commissioned by Berkeley Rep, premiered there in 2009 and earned a Tony nomination for Best Play when it reached Broadway. Sarah’s other scripts include The Clean House, Dead Man’s Cell Phone, Demeter in the City, Late: a cowboy song, Melancholy Play, Orlando, Passion Play: a cycle andDevelopment Stage Consultants, Kiss. She is the winner of At Organization Inc. (ODC), we employ a total performance system to help our clients to maximizeFellowship, individual, a prestigious MacArthur team, and as organizational performance. well as a Fourth Forum Freedom Award, a Helen Hayes Award, the Our approach consistently yields favorable results. By maximizing the Helen Merrill Award, theimplemented, PEN/ performance of people, work processes are efficiently customer Laura satisfaction Pels is enhanced, and a favorable is offered Award, the return Susan Smith to the bottom line.

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Brookfield, WI 53005 Her scripts have also been produced internationally and translated into Arabic, German, Korean, Norwegian, Polish, Russian and Spanish. A member of New Dramatists and 13P, Sarah received her MFA from Brown University, where she studied with renowned playwright Paula Vogel. ®

credits include: The Winter’s Tale (Utah Shakespeare Festival); Speaking in Tongues, Laurel & Hardy, Almost, Maine, Edward Albee’s Seascape, Half Life and I Have Before Me a Remarkable Document Given to Me by a Young Lady from Rwanda (Milwaukee Rep); Old Times (American Players Theatre); Well (Milwaukee Chamber Theatre); Skin Tight, Memory House and Full Gallop (Renaissance Theaterworks) and Twelfth Night (Optimist Theatre). Laura has been a member of The Rep’s Resident Acting Company since 1993, performing in many productions including Death of a Salesman, The Lady with All the Answers, Pride and Prejudice, Enchanted April, Doubt, The Crucible, The Beauty Queen of Leenane, Mary Stuart and Copenhagen. She will be performing in the play Honour for Renaissance Theaterworks this spring, and directing The Royal Family for American Players Theatre this summer.

She is a member of the Society of Stage Directors and Choreographers, and was a recipient of a 2010 LuntFontanne Fellowship.

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C R E AT I V E T E A M B I O G R A P H I E S Philip Witcomb, Scenic and Properties Designer Philip is delighted to join Milwaukee Repertory Theater in this coproduction with Actors Theatre of Louisville, which marks his U.S. design debut since relocating from the U.K. Past productions include: Much Ado About Nothing and The Tempest at Regents Park Open Air Theatre in London; The White Devil at The Menier Chocolate Factory in London (nominated for Best Production – Whatsonstage Theatre Awards); Love in a Maze at The Watermill Theatre (nominated for Best Design – TMA Theatre Awards); Beauty and the Beast (nominated for Best Production – C.A.T.S Awards); Death in Venice (selected as ‘10 Best in Theatre’ in 2002 by Time Out New York) at The Citizens Theatre Glasgow and Cinderella at Dundee Rep (nominated for Best Design and Best Production).

Philip was a Linbury Prize finalist, the United Kingdom’s most prestigious award for stage design. www.philipwitcomb.com.

Lorraine Venberg, Costume Designer At Actors Theatre of Louisville, Lorraine Venberg has designed A Devil at Noon, BOB and Elemeno Pea (2011 Humana Festival premieres), Ma Rainey’s Black Bottom, The Cherry Sisters Revisited, Crime and Punishment, A Christmas Story, A Midsummer Night’s Dream, Match Games, A Raisin in the Sun, Glengarry Glen Ross, This Beautiful City, The Clean House, The Tempest, Spunk, The Underpants, Dracula, Hedwig and the Angry Inch, Nine Parts of Desire, Mary’s Wedding, The Chosen, Gem of the Ocean, Intimate Apparel, The Crucible, Twelfth Night, Love, Janis, Fences, Pure Confidence and Memory House. Other credits include: The Studio Theatre, Arizona Theatre Company, Cincinnati Playhouse, Victory Gardens, Kansas City Repertory Theatre, Cleveland’s Playhouse Square Theater, Arden Theatre Company, Berkshire Theatre Festival, Pittsburgh Public Theater, City Theatre, Dinner With Friends, Cyrano de Bergerac, Inventing Van Gogh, Blackbird, Red Herring, Side Man, The Pavilion, The Mystery of Irma Vep, Compleat Female Stage Beauty and Woody Guthrie’s American Song and Slavs! She is a Member United Scenic Artists 829.

9 – In the Next Room

Brian J. Lilienthal, Lighting Designer At Actors Theatre of Louisville, Brian has designed more than 40 productions including The Elaborate Entrance of Chad Deity, Shipwrecked!

An Entertainment, Rock & Roll: The Reunion Tour, Glengarry Glen Ross, Pride and Prejudice, 43 Plays for 43 Presidents, Hedwig and the Angry Inch, The Clean House, Spunk and The Chosen. Other credits include: Trinity Repertory Company, Arden Theatre Company, Merrimack Repertory Theatre, Cleveland Play House, Milwaukee Repertory Theater, Arizona Theatre Company, Cherry Lane Theatre, Capital Repertory Theatre, Perishable Theatre, Sledgehammer Theatre, The Evidence Room, La Mama E.T.C., InterAct Theatre, New Paradise Laboratories Theatre Inc. and the National Playwrights Conference at The Eugene O’Neill Theater Center (resident designer). Opera credits include Bard Summerscape, Long Beach Opera, Portland Opera Repertory Theatre and Boston Academy of Music.

Lilienthal holds an MFA from California Institute of the Arts and received a 2005 L.A. Ovation Award.

Barry G. Funderburg, Original Music and Sound Design Mr. Funderburg is excited to return to The Rep and to be working again with Laura Gordon. Memorable Rep productions include Speaking in Tongues, The 39 Steps, Pride and Prejudice, Armadale, Mary Stuart, Work Song and Angels in America: Millennium Approaches. Off-Broadway, Barry recently designed the critically acclaimed New York premiere of Wittenberg at The Pearl Theatre Company. Other regional theater credits include Fake, Carter’s Way and Mother Courage and Her Children at the Steppenwolf Theatre Company, and productions at Utah Shakespeare Festival, Actors Theatre of Louisville, Kansas City Repertory Theatre, Arizona Theatre Company, City Theatre (Pittsburgh), CenterStage (Baltimore), Alabama Shakespeare Festival, Peninsula Players, American Players Theatre, L.A. Theatre Works and Indiana Repertory Theater. Chicago credits include Next Theatre, Theatre at the Center and Lookingglass Theatre.

Barry has received four Chicago Equity Jeff Award nominations, the 1996 and 2008 Jeff Awards for Sound Design

C R E AT I V E T E A M B I O G R A P H I E S and an MFA in sound design from Purdue University.

Mark Walston, Properties Director Mark Walston is in his 18th season at Actors Theatre of Louisville. Over the past 14 years, Walston has been props master for over 100 productions, including Sense and Sensibility, The Kite Runner, Pride and Prejudice, Hedwig and the Angry Inch, Italian American Reconciliation, My Fair Lady, The Crucible, The Glass Menagerie, After Ashley, The Drawer Boy, OmniumGatherum, The Importance of Being Earnest, Floyd Collins, Full Gallop and Angels in America. Walston’s additional credits include Worcester Foothills Theatre, the Boston premiere of Pump Boys and Dinettes at the Charles Playhouse, Maine State Music Theatre, Music Theatre North and the national tour of Mame as dresser to Patrice Munsel. A native of Grosse Pointe, MI, Walston is a graduate of Wagner College in Staten Island, NY. Heather Fleming, Wig Designer Heather has designed wigs and makeup for more than 100 productions. Since 2008, Fleming has been the wig master/designer at Actors Theatre of Louisville, creating wigs and makeup for shows such as Sense and Sensibility, Sirens, Dracula, Pride and Prejudice, A Christmas Carol and Greater Tuna. Prior to Actors Theatre, Fleming was the wig designer for four seasons at the Barter Theatre. Her recent designs include the world premiere of Charles Smith’s The Gospel According to Jame at Indiana Repertory Theatre and Victory Gardens, Dracula for Indiana Repertory Theatre, Amadeus for Round House Theatre and Clarence Brown Theatre, The Last Night of the Ballyhoo for Hope Summer Repertory Theatre, Emerald and Love Song of the Dead Fishermen for Nimbus Theatre and Timon of Athens for Walden Theatre.

Fleming holds an MFA from the University of Illinois.

Sarah Lunnie, Dramaturg Sarah Lunnie is the literary manager at Actors Theatre of Louisville. Now in her fourth season, she dramaturged the Humana Festival premieres of The End and BOB (2011), Phoenix, Lobster Boy, …Cop Show Parody and Let Bygones

Be (2010), Under Construction (2009), and many productions in the Mainstage and A/I Company seasons, including In the Next Room or the vibrator play, Sense and Sensibility, Barefoot in the Park, A Midsummer Night’s Dream, Pride & Prejudice, 3:59am: a drag race for two actors and The Courtship of Anna Nicole Smith, among others.

Sarah collaborated with The Mad Ones on the creation of Samuel & Alasdair: A Personal History of the Robot War (New Ohio Theatre; The Brick; Ars Nova).

She is an associate artist with The Mad Ones and a founding member of the Telephonic Literary Union.

Sandy Ernst, Casting Director/ Associate Artistic Director Sandy made her first casting trip to NYC with American Players Theatre founders Randall Duk Kim and Annie Occhiogrosso exactly 30 years ago, and continued casting with APT as both a member of the directing staff and the Production Stage Manager for the next 15 years. She has served as Milwaukee Rep’s Casting Director for over a decade, seeing up to a thousand auditions each season.

Sandy made her first foray into film as Casting Director for the independent feature film Baraboo and as Casting Consultant on Waterwalk.

Claire Simon C.S.A., Chicago Casting A casting director since 1996, Claire Simon casts primarily film, television and theater, as well as commercials.

Her current projects include casting the first season of FOX’s Chicago Code and ABC’s Detroit 1-8-7, as well as the feature film Contagion, directed

by Steven Soderbergh. Most recently she cast the first season of A&E’s The Beast, the features Eagle Eye and The Informant and the pilot and first season of 20th Century FOX’s Prison Break, for which she won the Artios Award for Outstanding Achievement for Dramatic Casting. In addition, she’s also done casting for the Guthrie Theater, Missouri Repertory Theatre, Indiana Repertory Theatre, Madison Repertory Theatre, Milwaukee Repertory Theater, Kansas City Rep, Osolo Repertory Theatre, Clarence Brown Theater, The Repertory Theatre of St. Louis and Cleveland Play House, as well as hundreds of commercials.

Prior to casting, Simon was a talent agent for five years.

In the Next Room – 10

BIOGR A PHIES Mark Clements, Artistic Director Mark Clements began his tenure as The Rep’s Artistic Director with the 2010/11 season. He is an award-winning international theater director whose work has appeared in over 100 major theaters throughout Europe and the United States. Recent productions include: Next to Normal, Death of a Salesman, Bombshells and Cabaret at The Rep; Oliver!, Born Yesterday, Great Expectations and Les Miserables (2008 Barrymore Award – Best Production of a Musical) and Of Mice and Men (2007 Barrymore Award – Best Director and Best Production of a Play), all for Walnut Street Theatre, Philadelphia; The Milliner (Off-Broadway, World Premiere), CSC, New York; My Fair Lady, Copenhagen; The Browning Version (Barclays/TMA Regional Theatre Award) at Derby Playhouse and Blunt Speaking (World Premiere), Chichester Festival Theatre U.K. and Lucille Lortel Theatre, New York both starring Corin Redgrave.

Other productions include: Speaking in Tongues (U.S. Premiere) with Kevin Anderson and Karen Allen (SDC’s Joe Calloway Award, Best Director Nomination), Roundabout Theatre Company; Speaking in Tongues (European Premiere; Barclays/TMA Best Director Nomination), Hampstead Theatre, London; Creator/Director – Soul Train (Laurence Olivier Award Nomination), West End and three U.K. national tours; and the U.K. national tours of The Glass Menagerie, The Gingerbread Lady and Love & Marriage,

all for Bath Theatre Royal productions.

Mark served as an Associate Artistic Director for Moving Theatre Company, the production company founded

by Vanessa and Corin Redgrave. He has also been Associate Director for New End Theatre and New Players Theatre, both in London, Royal Theatre in Northampton and Torch Theatre in Wales. Additionally, Mark served as Artistic Director of the award-winning Derby Playhouse in the U.K. from 1992 to 2002, where he produced over 100 productions, directed 47, including nine transfers to London’s West End and many U.K. national tours and international collaborations with leading companies in Europe and the U.S. He serves on the National Advisory Board for the Lunt-Fontanne Fellowship Program at Ten Chimneys.

Dawn Helsing Wolters, Managing Director Dawn Helsing Wolters joined Milwaukee Repertory Theater as Managing Director in 2009. She currently serves as President of the Milwaukee Arts Partners consortium, the Bridge Committee for the Sharon Lynne Wilson Center for the Arts, the National Advisory Board for the LuntFontanne Fellowship Program at Ten Chimneys and the Advisory Board for the Chicago-based Stillpoint Theater Collective in addition to being a new member of the Rotary Club of Milwaukee. Dawn came to Milwaukee from Chicago, where she was Executive Director of Court

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BIOGR A PHIES Theatre from 2005 to 2009. While in Chicago, Dawn served on the board of The League of Chicago Theatres, chairing its Nominating Committee and consulting in leadership development, capacity building and fundraising.

She also served on the Chicago 2016 Olympic Arts and Culture Advisory Group. As a founding board member of the Hyde Park Cultural Alliance, she helped lead the group’s transition to an independent not-for-profit organization, chairing its Governance Committee. Dawn served as Director of Development at Center Stage in Baltimore, and held marketing and public relations positions at Center Stage and Arena Stage in Washington, D.C. While completing her MFA in Theatre Management at Yale School of Drama, she was Associate Managing Director of Yale Repertory Theatre and Managing Director of the Summer Cabaret. Dawn has served in an advisory capacity for the National Endowment for the Arts, the Massachusetts Cultural Commission, and The University of Chicago’s Graham School of General Studies and for Goucher College’s graduate Arts Administration program and been a guest lecturer and panelist at colleges and universities.

Laura F. Wendt, Stage Manager Laura is excited to spend her sixth season here at Milwaukee Repertory Theater.

She is a Wisconsin native and graduate from the University of Wisconsin-Whitewater.

Other regional theater credits include: Riverside Theatre Shakespeare Festival, American Players Theatre and Nebraska Shakespearean Festival.

Special thanks to Matt for everything.

Thank you for being a part of our season. Enjoy!

David Hartig, Assistant Stage Manager David is thrilled to be back at Milwaukee Rep for his second season.

Previous Rep shows include A Christmas Carol, Bomb-itty of Errors, Rep Lab, Bombshells, My Name is Asher Lev and Cabaret. He has also worked with American Players Theatre, Peninsula Players and is a graduate of the Theater Program at The University of Wisconsin-La Crosse.

Thank you for coming out to support the arts!

Joshua Baggett, Assistant Director Artistic Intern Ensemble Member.

Josh joins The Rep after recently graduating with a Bachelor’s Degree from the University of Central Florida. This season he has served as the Assistant Director for Next to Normal, Lombardi and Ten Chimneys. Practically being a Sarah Ruhl groupie, he couldn’t be more thrilled to have been a part of In The Next Room. Selected directing credits include: Land of the Dead (Rep Lab), Corpus Christi (Orlando Fringe Festival), Waiting for Godot, and Tick, Tick, BOOM (Relevant Theatrics) and Alice in Wonderland (The Sands Theatre Center).

Understudies Dr. Givings, F. Tyler Burnet; Mr. Daldry/ Leo Irvings, John Mark Jernigan; Catherine Givings, Elizabeth Telford; Sabrina Daldry, Jenna K. Vik; Elizabeth, N’Tasha Anders; Annie, Eva Balistrieri Special Thanks Laura Stuart and The Tool Shed The Museum of Sex for the Vintage Vibrator Display in the Lobby

In the Next Room – 12

THE SHOW MUST GO ON. TIME. In and Out Without a Doubt at Kil@wat

Catching a show? Enjoy an electric dinner prepared lightning fast at Kil@wat, located across the street from the Marcus Center for the Performing Arts and conveniently close to The Pabst Theater and Milwaukee Repertory Theater.

A sit-down dinner with time left to find your seats? Now that’s an opening act.

kilawatcuisine.com 13 – In the Next Room | 414.291.4793 | intercontinental milwaukee

BOA R D OF T RUST E ES OFFICERS

TRUSTEES

President Judy Hansen

Eliza Audley Judy Berdan Wendy Blumenthal Randy Bryant Michelle Crockett Norman Dyer Patrick Gallagher Connie Gavin John N. Greene Stephen Isaacson Kristine Lueders Robert H. Manegold Michael McNeely Wally Morics Abigail Nash Lisa Quezada Catherine Robinson Micky Sadoff Joseph A. Schlidt Tom Scrivner Michael F. Smith Patrick Smith Sean Torinus Stephen VanderBloemen Karin Werner Stacy Williams Kristie Zahn

Vice President, Audience Development Joseph A. Rock Vice President, Trustees Susan Esslinger Vice President, Development James Braza Vice President, Personnel Dwight L. Morgan Vice President, Strategic Planning/ Immediate Past-President John Kordsmeier Secretary Pete Hotz Treasurer Kathleen A. Gray At Large Jane A. Chernof

FR IENDS OF THE R EP OFFICERS President Judy Berdan Vice President of Fundraising Cathy Jakicic Vice President of External Services Jim Gehrke Vice President of Internal Services Jim Mergener Secretary Dan Roskom

Treasurer Diane Dalton Immediate Past-President Lisa Gehrke DIRECTORS AT LARGE Eunice Beckendorf Susan Esslinger Don Fraker Amy Gehrke Connie Kordsmeier Sue McComb Brittany Roskom Cindy Wiktorek

In the Next Room – 14

T H E R E P | PAT R O N S E R V I C E S Contact Info Ticket Office Phone Number: Fax Number: Mailing Address:

E-mail:

414-224-9490 414-225-5490 Milwaukee Repertory Theater Patty & Jay Baker Theater Complex 108 E. Wells Street; Milwaukee, WI 53202 tickets@MilwaukeeRep.com

Hours of Operation: Monday – Sunday Noon to 6 pm On days with performances the Ticket Office will remain open until show time.

Administrative Office Phone Number: 414-224-1761 Fax Number: 414-224-9097 Mailing Address: Milwaukee Repertory Theater

Patty & Jay Baker Theater Complex

108 E. Wells Street; Milwaukee, WI 53202 Hours of Operation: Monday – Friday 8:30 am to 5:30 pm Emergency Phone Number If you anticipate the need to be reached during a performance, leave your name and seat location with your contact information, along with instructions, to direct emergency phone calls to the House Manager at 414-290-5379 or 414-224-1761, ext. 379.

SERV ICES Access

CC

Captioned Theater

Deaf or Hard of Hearing Services: The Quadracci Powerhouse (QP) and the Stiemke Studio are equipped with an infrared listening system which ensures clarity of sound from any seat in the house.

Performances are offered in American Sign Language for a Thursday evening of all QP productions and one Sunday matinee for all Stiemke Studio productions. We also offer a Captioned Theater performance during the last Sunday matinee performance of all QP productions. Please call The Rep Ticket Office at 414-224-9490 for more information. Script synopses are available upon request for QP and Stiemke Studio productions by calling 414-224-1761.

Blind or Low Vision Services: Large print programs are available in the Quadracci Powerhouse and Stiemke Studio from any usher. Every Rep production has one audio-described performance. Using an earpiece attached to a small hand-held receiver, patrons hear a live, real-time description of the action on stage. Call the Ticket Office for more information. A descriptive tape is available for each QP and Stiemke production by calling 414-224-1761.

Wheelchairs All Rep stages are fully accessible. Please contact the Ticket Office at 414-224-9490.

15 – In the Next Room

Late Arrivals Out of courtesy to the actors and audience, patrons arriving after the performance has started will be seated at the discretion of House Management.

Parking Milwaukee Center offers onsite parking with indoor access to The Rep operated

by InterPark. Enter from Kilbourn Avenue or Water Street.

Parking Passes You may purchase parking passes to the Milwaukee Center’s garage for $7.00 in the Quadracci Powerhouse, Stiemke Studio, Stackner Cabaret theater lobbies and The Rep’s Ticket Office. during Rep performance times. SAVE TIME AND MONEY! Policy on Children Children under age five are not admitted in the theater.

Recording Equipment and Cameras The use of recording equipment and cameras in the theater is strictly forbidden.

Smoke-Free Sunday Matinee One Sunday matinee in the Quadracci Powerhouse and Stiemke Studio will eliminate onstage smoking if used for that production. Please refer to The Rep’s Patron Guide for performance dates or call the Ticket Office at 414-224-9490.

(All onstage smoking is tobacco free and complies with Wisconsin state law.)

THE REP EXPERIENCE Concessions Enjoy a drink or dessert in the Quadracci Powerhouse or Stiemke Studio lobby prior to the performance or at intermission. Please remember that food and drink (except bottled water) are not allowed in the theater.

Rep In Depth Get an insider’s look at the play from a member of the cast or artistic team with a discussion that begins 45 minutes prior to every performance in the Quadracci Powerhouse and Stiemke Studio.

Gift Shop Located in the Quadracci Powerhouse is The Rep’s new Gift Shop, which offers showspecific merchandise and Rep logo products, as well as books and scripts of current and past productions. You can also purchase parking passes and Rep Gift Certificates.

Rep Talkbacks After select performances, engage in a deeper conversation with members of the cast, artistic team and occasional special guests. Get talkback schedules by calling the Ticket Office at 414-224-9490 or online at www.MilwaukeeRep.com.

Cellular Phones/Electronic Paging Devices

Please remember to turn off your cell phones and electronic paging devices. In case of emergency, these items may be left with the House Manager. Also, as a courtesy to your fellow theatergoers and the actors on stage, please refrain from text messaging during the performance. Thank you!

T H E R E P ’ S S TA C K N E R C A B A R E T Avoid a last minute rush and enjoy a delicious pre-show dinner at The Rep’s Stackner Cabaret. Offering an affordable full range of entrées, light fare, drinks and desserts from our kitchen, the Stackner Cabaret features a full-service bar and is open for cocktails, desserts and light bites after the show as well. Open to the public and patrons attending productions in any of our three venues. For dinner reservations, call 414-224-9490. To view the menu and other information, visit www.MilwaukeeRep.com.

w w w. o u t p o s t . c o o p 414.961.2597 open daily

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In the Next Room – 16

The Rep’s 2012 Save the Date for The Rep’s 2012 Gala - Saturday, May 12 as we gather for a bright, enchanting Night of Stars! This year’s Gala will feature a glitzy cocktail hour, star-filled entertainment, stunning auctions and dinner and dancing!

For more info, please contact Becca at 414-290-5347 development@milwaukeerep.com.

Now in its 48th season, Actors Theatre of Louisville, the State Theatre of Kentucky, has emerged as one of America’s most consistently innovative professional theatre companies.

For more than 35 years, it has been a major force in revitalizing American playwriting. Its annual Humana Festival of New American Plays is recognized as the premier event of its kind and draws producers, journalists, critics, playwrights and theatre lovers from around the world for a marathon of new works. More than 350 plays from Actors Theatre have been published, making them available to producers and readers, and creating a significant addition to the nation’s dramatic literature. Actors Theatre’s programming includes a broad range of classical and contemporary work, presenting more than 500 performances each season. The company performs annually to nearly 200,000 people and is the recipient of the most prestigious awards bestowed on a regional theatre: a special Tony Award for Distinguished Achievement, the James N. Vaughan Memorial Award for Exceptional Achievement and Contribution to the Development of Professional Theatre and the Margo Jones Award for the Encouragement of New Plays. Actors Theatre’s international appearances include performances in 29 cities in 15 foreign countries. Currently, there are 40 books of plays and criticism from Actors Theatre in publication and circulation.

17 – In the Next Room

Let your soul take flight.

Official Airline of the Milwaukee Repertory Theater.

In the Next Room – 18

T H E S TA F F ARTISTIC DIRECTOR Mark Clements

ARTISTIC

Associate Artistic Director............... Sandy Ernst Associate Artistic Director..........Brent Hazelton Artistic Associate....................Michael M. Kroeker

EDUCATION

Education Director........................Jenny Kostreva Education Coordinator................Leda Hoffmann Education Assistant...................... Neal Easterling Teaching Artists.........Marcy Kearns, Cheryl Ann Lisowski, Shannon Sloan-Spice Big Read Project Coordinator...........................................Laura Webb Big Read Project Intern.................. Eric Scherrer Education Intern................................. Jordan Hunt

RESIDENT ACTING COMPANY Jonathan Gillard Daly, Lee E. Ernst, Laura Gordon, Gerard Neugent, James Pickering, Deborah Staples

ARTISTIC APPRENTICES/INTERNS

Acting Interns.............N’Tasha Charmel Anders, Eva Balistrieri, F. Tyler Burnet, Cody Craven, Nathaniel French, Melissa Graves, John Mark Jernigan, Joseph Kemper, Eric C. Lynch, Elizabeth Telford, Jenna K. Vik Acting Apprentice.......Alexander Pawlowski IV Directing Interns.......................... Joshua Baggett, JC Clementz Literary Intern...................................... Adam Seidel

PRODUCTION

Production Manager..... Melissa Nyari Vartanian Assistant Production Manager........................................... Liza Tognazzini Production Purchaser........................Peter Koenig Assistant Stagehand............ Samantha Donnelly

Costumes

Costume Director.................................. Holly Payne Costume Shop Assistant...................... Amy Horst Senior Draper..................................Alex B. Tecoma Draper...................................................April McKinnis First Hand...................... Rey Dobeck, Jef Ouwens Associate First Hand...................... Jessica Jaeger Stitchers...................... Jade Jablonski, Carol Ross Crafts Artisan/Milliner............... Kate McLaughlin Show Assistant/Shopper............ Jenny Thurnau Wig & Make-up Supervisor... Lara Leigh Dalbey Head Wardrobe.............................. Jennifer Vinent Wardrobe/Stitcher...................... Abbey Peterson, Jaime Schnittke Intern.............................................. Nicole Thompson Haircut by............................................Kevin McElroy, Robert Laurence Hair Studio

Lighting & Sound

Lighting & Sound Director....... Craig Gottschalk Assistant Sound Supervisor................. Erin Paige

19 – In the Next Room

Assistant Lighting Design Intern................................ Tylar Talkington Electrics Interns........Casey Miller, Drew Ogden

Props

Properties Director................................James Guy Assistant Props Director/ Props Craft Artisan...........................Anna Warren Props Artisan.......................................... Sarah Heck Soft Props Artisan..............Margaret Hasek-Guy Props Carpenter/Artisan............... Erik Lindquist Prop Painter/Graphic Artist.........Jill Lynn Lyons

Scenic

Technical Director.................................. Tyler Smith Assistant Technical Director..............Natalie Bell Charge Scenic Artist........................... Jim Medved Scenic Artists........................ Susannah M. Barnes, Shannon Mann Scenic Artist Intern....................... Erin Wegleitner

Stage Management

Production Stage Manager........ Briana J. Fahey Stage Managers..........Richelle Harrington Calin, Sarah Deming-Henes, Sarah Hoffmann, Rebecca Lindsey, Kristy Matero, Becky Merold, Mark S. Sahba, Laura F. Wendt Stage Management Apprentice............................................David Hartig Stage Management Interns................Hannah Brown, Jason Simpson

Resident Stagehands & Carpenters Bill Burgardt, Glenn Dassow, Sam Garst, Rick Grilli, Dave Hicks, John Nusslock, Robert Schultz, Jim Zinky

MANAGING DIRECTOR Dawn Helsing Wolters

ADMINISTRATION

General Manager..................... Timothy O’Connell Company Manager.................... Dawn Marie Ross Administrative Assistant.............................. Erin Burgess-Ellingen Receptionists.....................Andrea Roades-Bruss, Michael Evans, Nathaniel French, Grace Hern, Katherine Ketter, Samantha Martinson, Maria Roades, Jenna K. Vik, Alicia Wahl

DEVELOPMENT

Development Director....................Tamara Hauck Institutional Giving Manager.................................................... Nina Jones Individual Giving Manager.............. Anne Cauley Events Manager......................Rebecca Kitelinger Development Assistant.................Casey Harding Interns....... Sarah Kordsmeier, Dan Gorchynsky

FINANCE

Finance Director......................... Leslie Fillingham Payroll/Benefits Specialist............. Judi Schauer Finance and Production Accountant..................... Lisa Krakau Accounting Assistant........................Marie Holtyn

T H E S TA F F (c o n t .)

HOUSEKEEPING

Housekeeping Supervisor...............Bruce Meilick Housekeeping Staff............................Regail Blade, Kaye Johnyakin, Dennis Reed, Rosie L. Williams

MAINTENANCE

Chief Building Engineer............ Mark A. Uhrman Lead Engineer....................................... James Ross Engineer..................................................... Todd Ross Part-time Engineer.........................Brittany Scites

MARKETING

Marketing Director.................................Lisa Fulton Patron Relations Manager...................................... Christine Yündem Marketing Manager..........................Ryan Odorizzi Marketing Coordinator...................Kaitlin Schlick Graphic Designer........................... Megan Gadient Photographer.............................. Michael Brosilow Videographer...........................The Stage Channel

Public Relations

Public Relations Director.............Cindy E. Moran PR Interns............ Doug Clemons, Jessica Wolfe

Gift Shop

Staff..............................Lisa Rowe, Erin Wegleitner

House Management

Ticket Office

Ticket Operations Manager...................................... Michelle J. Usadel Assistant Ticket Office Manager.........................James Thibodeau Ticket Office Staff................Beata Chrzanoswka, Carla Crump, David Dziatkiewicz, Alisha Hall, Caleen Kennedy, Jaime Lacy, Lori Locke, Johnell Major-Wesley, Kelly Peterson, Michelle Russell, Britt Wegner, Theodore Woo

STACKNER CABARET

Manager................................................ Kristen Olsen Chef......................................................Steven Schnur Cabaret Staff.......................... Kathleen Borchardt, Lara Leigh Dalbey, Terese Dick, Matthew Flannery, Caitlin Hagness, Tanya Haynes, Tim Gould, Alex Herrmann, Mariel Hildenbrand, Katrina Nipko, Beth Ormsby, Michael Passow, James Passow, Jeanne Pfannenstiel, Marna Riordan, Claire Rydzik, Rachel Sanders, Micheal Shorty, Stephan Shanklin, Rachel Stenman, Jane Stratton, Megan Watson, Charles Wallace, Jenni Watson,Rebecca Witt, Greta Wohlrabe

House Operations Manager.......Jared Holloway Stiemke House Manager............. Jonathan Koller Assistant House Managers.............Molly Corkins Carynne Dati, Dan Gorchynsky, Evan Koepnick, Andrew Peck, Jake Zappa

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DONORS

Milwaukee Repertory Theater is supported in part by:

The Rep would like to thank all of the organizations and individuals listed below who generously contributed to The Rep between February 8, 2011 and February 8, 2012.

CORPORATION, FOUNDATION AND GOVERNMENT AGENCY DONORS $50,000+ The Lynde and Harry Bradley Foundation Greater Milwaukee Foundation The Richard and Ethel Herzfeld Foundation MillerCoors The Shubert Foundation United Performing Arts Fund (UPAF) $25,000 – $49,999 CAMPAC (Milwaukee County) The Friends of The Rep The Faye McBeath Foundation National Endowment for the Arts Northwestern Mutual Foundation $10,000 – $24,999 Helen Bader Foundation, Inc. Robert W. Baird & Co. Patty and Jay Baker Foundation Briggs & Stratton Corporation Foundation Mae E. Demmer Charitable Trust Elizabeth Elser Doolittle Charitable Trusts Harley-Davidson Foundation The Charles E. Kubly Foundation MPS Foundation Rockwell Automation Rogers Memorial Hospital Wisconsin Arts Board

21 – In the Next Room

$1,000 – $9,999 Associated Bank Aurora Health Care Badger Meter Bell Ambulance Cleary Gull Davis & Kuelthau DeWitt Ross & Stevens S.C. Law Firm Fiduciary Management, Inc. Foley & Lardner LLP The Gardner Foundation Godfrey & Kahn Greater Milwaukee Foundation: Margaret Heminway Wells Fund Hays Companies of Wisconsin, LLC High Point Fund: Supporting African American Performing Arts Frieda & William Hunt Memorial Trust Johnson Controls Foundation KPMG LLP The Sheldon and Marianne Lubar Fund of the Lubar Family Foundation M&I/BMO Harris Marcus Hotels & Resorts Milwaukee Arts Board Charles D. Ortgiesen Foundation Park Bank Foundation Quarles & Brady Serigraph Inc Target The VanderBloemen Group LLC We Energies Whyte Hirschboeck Dudek S.C. INDIVIDUAL DONORS VISIONARY ($10,000+) Julia and Bladen Burns

Einhorn Family Foundation Jim and Pati Ericson George and Audrey Grove Judy Hansen John and Constance Kordsmeier Patricia Lindner Robert H. and Carol O. Manegold Sally S. Manegold Gordana and Milan Racic Kathleen H. Seidel David and Julia Uihlein BENEFACTOR ($5,000 – $9,999) Jacqueline Herd-Barber and Michael Barber Ruth DeYoung Kohler Keyes Family David and Camille Kundert Catherine and Buddy Robinson Teddy and Karin Werner Rick Zehetner PRODUCER ($2,500 – $4,999) Kathe and Bill Biersach Wendy and Warren Blumenthal James and Mary Braza Robert and Carolyn Burrell Jane and Stephen Chernof Larry and Patty Compton Robert L. Corcoran Kay and John Crichton Susan and Gee Esslinger Kirt and Dixie Fiegel Kathleen Gray and Ronald R. Hofer Peter and Linda Hotz Henry and Margery Howard Jeffrey and Jacqueline Jahnke Judy and Gary Jorgensen Judith Keyes Franklin Loo and Sally Long Kristine and Wayne Lueders

DONORS Paul McElwee and Gayle Rosemann A & V Meinerz Foundation Geraldine Mesching Anthony and Donna Meyer Dwight and Marleen Morgan Greg and Rhonda Oberland Ruth Olsen Anthony Petullo Jay and Anne Schamberg Thomas and Meredith Scrivner Michael F. Smith Mike and Peg Uihlein Robert and Malissa Welke Stacy and Blair Williams Kristine and David Zahn DIRECTOR ($1,500 – $2,499) Dr. and Mrs. R. H. Aster Eliza and Tim Audley Isabel L. Bader Mark and Gerry Biehl Karen and Bill Boyd Lisa and Tom Braun Cheryl and Mark Brickman Randy Bryant and Cecilia Gore Elaine Burke Mr. and Mrs. Norman Dyer Patrick and Molly Gallagher Connie Gavin and Bob Rothaker John and Tameica Greene Thomas and Lawrine Handrich Norma and Bill Harrington Susan and John Harrits Carla and Robert Hay Dawn Helsing Wolters and Tony Wolters Dr. and Mrs. Burton Hoffman Stephen and Roberta Isaacson Maja Jurisic and Don Fraker Charles and Mary Kamps Robert and Gail Korb Phoebe R. and John D. Lewis Foundation Susan and Robert Lueger

Michael and Sandra McNeely Vivian Moller Robert and Dianne Morris George and Julie Mosher Abigail and David Nash Paul and Lynn Rix Joseph A. and Sarah Rock Micky and Ron Sadoff Joe and Katy Schlidt Patrick Smith Nita Soref Wilfred Wollner Clare and Judy Zempel PRODUCTION MANAGER ($1,000 – $1,499) Anonymous Fran and Lowell Adams Helen and Bruce Ambuel Daniel and Amy Argall Janet Balding John and Carol Bannen Dr. and Mrs. R. P. Barthel Randal and Mary Lynn Brotherhood Dr. and Mrs. Bruce M. Camitta Juan Manuel Carrasquillo Jim Cauley and Brenda Andrews Mark Clements Cherchian Family Foundation George and Sandra Dionisopoulos Aly El-Ghatit Dwight and Lin Ellis/ Crysdahl Foundation Byron and Suzanne Foster Richard S. and Ann L. Gallagher Lloyd and Mary Ann Gerlach Franklyn and M. Anne Gimbel Stephen and Bernadine Graff Greater Milwaukee Foundation: Donald and Barbara Abert Fund (JM)

Anthony and Andrea Bryant Family Fund R. Christie Hanna Edward Hashek and John Jors Kenton and Janet Howenstine Janet and Graham Hume Aaron and Christy Jagdfeld Otho Kile Jr. Charitable Trust Pam Kriger Steven Kuhnmuench Dr. Paul W. Loewenstein and Ms. Jody Kaufman Loewenstein Thomas and Debra Longtin Vince and Jan Martin Mary E. McAndrews Daniel and Constance McCarty Hazelyn McComas Patti and Jack McKeithan Richard and Maribeth Meeusen Jim and Sally Mergener Cathy and Wally Morics David Olson and Claire Fritsche Bruce and Peppy O’Neill Dr. David Paris Bob and Mary Lou Parrish Elaine N. Peterson Karen Plunkett and Thomas Muenster Susan Riedel Cornelia Riedl James and Lys Reiskytl June Schloerb Patrick Schmidt and Dewey Caton John Shannon and Jan Serr Bonnie and Bill Stafford Frank and Elsa Sterner James and Elaine Sweet Maureen Swokowski and Hillerian Hess Stephen and Christine VanderBloemen Thomas Warden Sargit Warriner Dr. and Mrs. Paul Weisman Donald and Kate Wilson Bettie Zillman

Please play a role this season and support The Rep’s important artistic and education programming. For more information, visit http://www.milwaukeerep.com/tickets/support/.

In the Next Room – 22

April 5 – 29, 2012 255 S. Water St. www.nextact.org Box Office 414-278-0765 Sponsored by Skip and Ildy Poliner 23 – In the Next Room