University Theatre-Eurydice

University Theatre Department of Theatre and Drama University of Wisconsin-Madison presents

EURYDICE

By Sarah Ruhl April 1-16, 2011 Hemsley Theatre Director – Molly Richards Choreographer- Lauren Collins Peterson Set Designer – Katy Lai Costume Designer – Emily N. Smith Lighting Designer – Jono de Leon Sound Designer- John Salutz Technical Director – Allyn Weber Stage Manager – Elizabeth Olufson Dramaturg – Sandy Peterson Produced through special arrangement with Samuel French, Inc. New York, New York

There will be a pre-performance talk on April 7 at 6:30 pm and a post-performance discussion on April 14.

This production is made possible with grant support from The College of Letters and Science Anonymous Fund.

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THE CAST Eurydice...................................................................................................................Morgan Boland Orpheus....................................................................................................................... Dylan Muzny Eurydice’s Father........................................................................................................... Pete Bissen The Nasty Interesting Man/The Child.............................................................. Jason Townes Big Stone................................................................................................................................ Ali Nied Little Stone................................................................................................................ Kuamojua Lee Loud Stone.............................................................................................................. Heidi Hansfield The Nasty Interesting Man/The Child Understudy*.................................... Ryan Williams *The role of the Nasty Interesting Man/The Child will be performed by Ryan Williams for the April 9th performance.

Setting: The Upperworld and the Underworld This production is performed without an intermission

F R O M T H E D I R E C TO R O F T H E AT R E P R O D U C T I O N Heaven? Hell? Nirvana? Elysium? Valhalla? Resurrection?

Reincarnation? What happens when a person dies? Where do we go when that event occurs? Our fifth production of the season should add some thought to those questions. Eurydice,

by Sarah Ruhl, is a modern re-telling of the Greek myth of Orpheus and Eurydice. This presentation represents the first major production of our MFA in directing student Molly Richards. Along with Molly other MFA design students offer their artistic contributions to the show - Katy Lai on sets, Emily N. Smith on costumes, Jono de Leon on lights, and Allyn Weber, who serves as the Technical Director for the show.

Undergraduate student John Salutz fills out the artistic team as sound designer.

Another aspect of productions at University Theatre are the contributions of students in our Theatre Research area who function as dramaturgs for the shows.

Take a good look at the notes about this production- this is one part of the job of a dramaturg. In rehearsals, they are invaluable to the director and cast as they will bring items of history and background to increase the knowledge and understanding of cast members. They also provide the text and photos used in our lobby displays. For this show Sandy Peterson is the dramaturg and Niccole Carner is the assistant dramaturg.

I invite you now to enter this most unusual play. It is thought-provoking and entertaining. Thanks for your support of University Theatre and the Department of Theatre and Drama.

With warm Aloha, David Furumoto Director of Theatre Production

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D I R E C TO R ’ S N O T E S From the moment I read Sarah Ruhl’s Eurydice I fell in love with it. It’s a beautifully poetic story about love and loss in its purest and deepest sense. True to life, Ruhl’s story is both humorous and painfully tragic. It’s about the choices that we make and how they affect ourselves and the people around us; like ripples in water. The story of Orpheus has been told many times and in many different ways over hundreds of years. In all that time, it is curious how very few of them give much thought to Eurydice. In Ruhl’s version, Eurydice is the focus. She gives Eurydice a voice and allows her to make her own choices. Suddenly this ancient tale has new depth and meaning.

Ruhl tells the story with such creativity and simplicity that it opens the door to our imagination. In fact, the only way to bring this story to life is to challenge the imagination and stretch it to great lengths. Anytime a play takes place in a world other than our own with invented characters, like talking stones, it demands a little magic. Somehow we must create something no one has ever seen before and yet has familiarity at the same time. It reminds me of some of the worlds and creatures Jim Henson is known for creating. What an amazing challenge! Designing something that doesn’t actually exist in our world is a huge undertaking. When suddenly common rules of time and space don’t apply, the question becomes where to begin. The only solution is to dive in head first.

The rehearsal process was equally as challenging. Once you put a chorus of stones on stage, we are not dealing with reality as we know it. Not to say that there are not real ideas and real emotions, but Ruhl simplifies them allowing us to get to the heart of it. What we end up with is something larger than life. Sarah Ruhl said in an interview with Paula Vogel in BOMB Magazine,“I don’t think that our emotions are easily bendable to dramaturgical reason. Emotions can come out of thin air in my work and it can be difficult for actors…” (Issue 99, article 2902) This style of acting requires the actors to take big risks, stretch their boundaries, and push the limits of their imagination. It takes a group of talented, brave and playful actors to take this on. The only way to go about it is to jump right in.

Tonight, I invite you to join us in this magical world; to leave reality behind and play with us. In that same interview by Vogel, Sarah Ruhl said, “Take people’s money away and give them back their imagination.” For the next hour and a half, that’s exactly what we intend to do!

Molly Richards R E - I M AG I N I N G E U R Y D I C E The story of Orpheus and Eurydice is 2,500 years old, and its exact origin is not entirely known. Despite the wide variety of interpretations, the core of the story is this: Orpheus, master musician, falls in love with Eurydice. On their wedding day, she dies and enters the Underworld. Orpheus ventures to Hades on a quest to bring Eurydice back, and makes a deal with the gods – she can follow him out of the Underworld, but only on one condition – that he not look back at her until they get to the surface of the earth. At some point in their journey, Orpheus turns around, and Eurydice dies a second, and permanent, death.

Perhaps the earliest mention of Orpheus is a fragment from the 6th Century poet Ibycus; however, the most influential stories of Orpheus and Eurydice can be found in Virgil’s poem The Georgics (written between 37 and 31 B.C.E.) and in Ovid’s Metamorphoses (written between 1 and 8 C.E.). In both texts, Eurydice plays a minor role. In Mary M. Innes’ translation of Metamorphoses, Eurydice follows University Theatre 3

R E - I M AG I N I N G E U R Y D I C E ( c o n t .)

Orpheus almost to the point of the surface of the earth: Here, anxious in case his wife’s strength be failing and eager to see her, the lover looked behind him, and straightaway Eurydice slipped back into the depths.

Orpheus stretched out his arms, straining to clasp her and be clasped; but the hapless man touched nothing but yielding air. Eurydice, dying now a second time, uttered no complaint against her husband. What was there to complain of, but that she had been loved? With a last farewell which scarcely reached his ears, she fell back again into the same place from which she had come. (226) In this version, Orpheus’ god-like music cannot save him from a very human mistake. Note the passivity of Eurydice in this passage – she makes no complaint, but knowing that she had been loved, slips silently back to the depths. It is Eurydice’s silence in the classical stories that has been taken up by poets, painters, musicians and playwrights, and re-imagined.

One re-imagining of the Orpheus and Eurydice journey belongs to Rainer Maria Rilke in his poem “Orpheus. Eurydice. Hermes” (1904). Rilke allows the focus of his poem to shift from Orpheus to Eurydice, and in doing so creates a space for Eurydice to be imagined as a being separate from her husband. Note Eurydice’s transformation in the following passage, as translated by Stephen Mitchell: She was deep within herself, like a woman heavy with child, and did not see the man in front or the path ascending steeply into life.

Deep within herself. Being dead filled her beyond fulfillment. Like a fruit suffused with its own mystery and sweetness, she was filled with her vast death, which was so new, she could not understand that it had happened. .....

She was no longer that woman with blue eyes who once had echoed through the poet’s songs, no longer the wide couch’s scent and island, and that man’s property no longer.

She was already loosened like long hair, poured out like fallen rain, shared like a limitless supply.

She was already root.

And when, abruptly, the god put out his hand to stop her, saying, with sorrow in his voice: He has turned around —, she could not understand, and softly answered Who? Rilke’s emphasis on Eurydice’s new individualism opened the door for numerous poets to take up Eurydice and her agency, including H.D.’s “Eurydice” (1916); Helen Gilbert’s “Eurydice” (1929); Rachel Blau DuPlessis’ “Eurydice” (1975); and Margaret Atwood’s cycle of Orpheus and Eurydice poems (1976 - 1986).

The story of Orpheus and Eurydice has been an incredibly popular plot in opera as well (not at all surprising, since Orpheus’ music is central to his life), with dozens 4 University Theatre

R E - I M AG I N I N G E U R Y D I C E ( c o n t .) of operas starting at the beginning of the 17th Century through today, including: Monteverdi’s L’Orfeo (1607); Gluck’s Orfeo ed Euridice (1762); Offenbach’s Orphée aux enfers (1858); and Phillip Glass’ Orphée (1993). In opera, Eurydice often becomes the dramatic ‘object’ which Orpheus’ beautiful music attempts to rescue.

Film versions of Orpheus and Eurydice include Jean Cocteau’s trilogy Blood of the Poet (1930), Orpheus (1949) and Testament of Orpheus (1959); and Marchel Camus’ Black Orpheus (1958). Cocteau sets his story in Paris, and his trilogy focuses on the artist (in this case Orpheus) and his struggle between life and death. Eurydice plays a relatively minor role, as part of a love triangle between Orpheus and the Princess of Death. Camus eschews the classical origins of the myth and places his Orpheus and Eurydice in modern Rio de Janeiro, where the story of the young couple plays out against Carnival.

Our lobby display highlights some of the visual re-imaginings of Orpheus and Eurydice. Here in the Hemsley Theatre, you are witnessing Sarah Ruhl’s own version of this story; by extension, you are participating in a tradition of re-imagining that is 2,500 years old, and still going strong.

Sandy Peterson, Dramaturg Works Cited: Ovid. Metamorphoses. Trans. Mary M. Innes. London and New York: Penguin Classics, 1955.

Rilke, Rainer Maria. Orpheus. Eurydice. Hermes. Trans. Stephen Mitchell.

20 February 2011 <http://www.stephenmitchellbooks.com/transAdapt/ poetryRilkeExcerpt.html>.

P R O D U C T I O N S TA F F Theatre Research Faculty Liaison.......................................................... Aparna Dharwadker Assistant Lighting Designer................................................................................Kelsey Warren Assistant Sound Designer...................................................................................... Anna Lehner Assistant Stage Managers............................................................Katie McBride, Erin Oakley Assistant Dramaturg..............................................................................................Niccole Carner Properties Master................................................................................................. Aaron Johnson Props Crew..................................................................................................................... Lisa Marten Carpentry Crew.......................................................................... Sean Douglas, Evan Mayhew,

Erik Munoz, Alejandro Ortiz, Ely Phan Scenic Artist.......................................................................................................... Ashley Luscietto Run Crew................................................................................................ Alicia Nied, Paul Timmel Costume Shop Crew..................................................... Ali Neid, Chris Neir, Hadeih Tazangi,

Mike Hennessy, Lynette, Davis, Chris Tiernan Wardrobe Mistress.................................................................................................... Alyssa Taylor Master Electrician.................................................................................................Dustin Moench Light Board Operator.....................................................................................................Neill Kresl Sound Board Operator............................................................................................. Paul Timmel Technical Shop Crews....................................................................................students in TH160

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WHO’S WHO Actors Pete Bissen (Father) has appeared in many University Theatre productions over the past 9 years. This one is equal parts “neat” and “terrifying to me.”

“Neat” because I get to play again and collaborate with a great and fun group of designers, crew and actors. Special thanks to Molly and Liz for what has to be an infinite amount of patience with me.

This production is also terrifying in that I am the father of two young daughters, Malia and Kiara, and I can’t even begin to imagine “giving them away” in marriage.

I’m so doomed. As always, special thanks to my wife Kathy for making all of this possible for me, and of course, to Malia and Kiara. Ironically, I actually wanted to be a musician when I was younger.

Morgan Boland (Eurydice) is a senior theatre major acting specialist planning to graduate in May. Favorite credits include Rose of Sharon in UT’s Grapes of Wrath, Crissy in UT’s Hair, and Kesa in UTA’s Bring Me To Light. She is also working on local independent films: Dead of the Night (Paige Marshall), and Main Street Meats (Cherry). A special thanks to my family for supporting me, the cast and crew for making my last semester amazing, and to Brianna, Jackie, and Suze for listening to all my monologues over the years!

Heidi Hansfield (Loud Stone) is happy to be making her talking rock debut. This is Heidi’s sixth UT show, having recently performed as Little Red in Into the Woods and Toinette in The Imaginary Invalid. She is very excited to be graduating in May! For this production, Heidi used method acting for this production by living amongst stones in a remote area for the last 5 months. She was a tad disappointed to find that the stones would not converse. Heidi would like to thank the amazing Molly and the cast and crew of Eurydice. Also thanks to her family, friends, and Piddles for all their support.

Kuamojua “Kuma” Lee (Little Stone) is a junior at UW with a double major in theatre and biology This will be his first University Theatre play, and he is very excited. He has been a stunt double for both Sandra Oh and Lucy Liu in Charlie’s Angels. In his free time, he enjoys running, playing Tetris on Facebook, and ordering things off the 6 University Theatre

internet. He would like to give shout-outs to his fellow OSGs, Magoosh, his fam bam, CST, and his parrot Mushu.

Dylan Muzny (Orpheus) is a senior Theatre and Medical Microbiology major from Boulder, Colorado. His recent roles include Thomas in The Imaginary Invalid, and the mysterious harmonica player in The Grapes of Wrath. In his spare time he is unconditionally happy and plays a lot of blues. He wishes to thank everyone in the theatre department for four wonderful years, and his parents and grandmother for making it all possible.

Ali Nied (Big Stone) is excited to end her final semester at Madison with the fab cast and crew of Eurydice. Previous UT credits include Narukami: The Thunder God. She wants to thank all of her supportive friends and her parents for coming out to see the show! She is taking any--any--suggestions on what she should do as a “real person” after graduation in May. Help!

Jason Townes (Nasty Interesting Man/ The Child) is new to the Madison theater community. Born and raised in Milwaukee, WI, he has been doing theater, film, and some modeling since 2007 and is very passionate about it.

Some of his theater work includes Sho’ Nuff Gospel Music, Sassy Mamas, and The Meeting, in which he portrayed Malcolm X. Jason has also worked on several short films and is currently working on his first full-length film called Dead Man’s Debt, shot here in Madison. He was an extra in a commercial and did a voice-over for MPS in 2009. Jason has received acting training from both Andre Lee Ellis and Maureen Cashin-Bolog, both in 2008. He aspires to work in theater and film fulltime, go back to school, and receive more training. He appreciates his family and friends for their love and support.

Ryan Williams (Understudy to Nasty Interesting Man/The Child) is über excited for his debut as an understudy. If you do not see Ryan on stage during tonight’s show, his attempt at pulling a Tonya Harding must have failed. If you do, however, Jason totally had an accident.

Play it cool. He would like to thank his friends and family for all their support!

I’ve loved my time working with UT in Madison and I will never forget it! Recent

W H O ’ S W H O ( c o n t .) productions include The Rocky Horror Show (Ensemble) The Grapes of Wrath (Al Joad), The Zen Substitute (Lord Ukyo), VIN (Joey), and HAIR! (Steve).

Artistic/Production Staff Sarah Ruhl (Playwright) is the author of numerous plays, including The Clean House (Pulitzer Prize finalist 2005; Susan Smith Blackburn Prize), Melancholy Play, Passion Play: A Cycle (Pen American Award, Fourth Freedom Forum Playwriting Award from the Kennedy Center), Eurydice, Late: A Cowboy Song, Orlando, Demeter in the City (NAACP Image Award nomination), Dead Man’s Cell Phone (Helen Hays Award for Best New Play), and most recently In the Next Room (or The Vibrator Play). Originally from Chicago, Ruhl earned an MFA in playwriting from Brown University in 2001 (under the mentorship of playwright Paula Vogel), and Eurydice was

produced as her thesis play. In the years since, she has been the recipient of a Helen Merrill Emerging Playwrights Award, Whiting Writers’ Award, and a MacArthur Fellowship (2006). Her plays have premiered at Lincoln Center Theatre, Playwrights Horizons, the Goodman Theatre, Arena Stage, Second Stage, Yale Repertory Theatre, Berkeley Repertory Theatre and Madison Repertory Theatre, among others. Ruhl’s Eurydice has a special connection with Madison, Wisconsin, as its world premiere was staged at the Madison Repertory Theatre in 2003, where it was directed by Richard Corley.

Molly Richards (Director) earned her BA in theatre from Baldwin Wallace College.

Currently she is a second year MFA directing student at the University of Wisconsin where she assistant directed Blood Wedding and Grapes of Wrath with Norma Saldivar, and Into The Woods with

MOONLIGHT and MAGNOLIAS Ron Hutchinson By

Apr. 28 - May 15 at Overture Center

Tickets $35/$25 students and seniors. To order, call (608) 258-4141 or visit overturecenter.com

Sponsored by:

forwardtheater.com University Theatre 7

W H O ’ S W H O ( c o n t .)

Pam Kriger. Locally she has directed The Wild Party for Music Theatre of Madison and Suessical for Children’s Theatre of Madison. She also recently directed Suessical and A, My Name is Alice in upstate New York at Stagedoor Manor.

She comes here from New York City where she specialized in developing new works at such theatres as Theatre Row Studio, The Duplex, The Barrow Group, Manhattan Repertory Theatre, The Gene Frankel Theatre, and Theatre for the New City’s Lower East Side Arts Festival. Regionally, Molly has worked at The Cleveland Playhouse, Great Lakes Theatre Festival, and recently got to direct at The Fine Arts Association in Ohio, on the same stage where she performed in her very first theatrical production at the age of 6. As a performer, Molly has toured the country with Chamber Theatre Productions and Arts Power. Her favorite company to perform with is Mercury Summer Stock, where she has spent 12 wonderful summers getting to play some of the best roles of her career.

here at the University of Wisconsin. She received her Bachelor’s in Biology at Texas A&M University, and then decided to pursue a career in theatre. Her favorite shows she has been involved in include: Emma, Inherit the Wind (Cleveland Play House), Bye Bye Birdie, Annie Get Your Gun (Porthouse Theatre), and Trojan Women (Texas A&M University). Emily would love to thank her family and friends for their constant support and encouragement and the cast and crew for all of their time and effort.

Lauren Collins Peterson (Choreographer) is a graduate of the UW-Madison in Political Science. Past UT choreography includes Valparaiso and The Grapes of Wrath. Other regional work includes The Wild Party (Music Theatre of Madison), Therapy: A Musical Review (UTA), The Vagina Monologues (UTA), The Rocky Horror Show (Middleton Players Theatre), and too many Blitzes to count (Mercury Players Theatre).

Lauren has worked with dancers, figure skaters, gymnasts, and actors of all ages.

John Salutz (Sound Designer) is a fourth year undergraduate student at UW-Madison, hoping to continue his education in graduate school. He has designed lighting and sound for several shows in Madison as well as elsewhere in Wisconsin, including University Theatre’s Valparaiso, Four Seasons Theatre’s Side

by Side by Sondheim, Forward Theatre’s Kiritsis, the Madison Theatre Guild’s Hot L Baltimore, which won the 2010 Bartell Theatre Award for Sound Design, and is currently working on Forward Theatre’s production of Moonlight and Magnolias.

He would like to thank Ann Archbold, Bethany Heili, Casey Martin, Chelsie McPhilimy, and Karen Yesterdale.

Katy Lai (Scenic Designer) is in her second year as a UW MFA student in scenic design. She designed Valparaiso and Lady from the Sea for UT last year.

She worked as the Scenic Artist for UT’s production of The 25th Annual Putnam County Spelling Bee. Before moving to Madison, she was the Production Director for ABA Productions Ltd in Hong Kong and also Set Designer for Around the World in 80 Days and Peter Pan the Asia Tour 2007-2008. She also worked in stage management, production management and in all other aspect of technical theater in Vancouver, Canada and Hong Kong.

Emily N. Smith (Costume Designer), a first year MFA costume designer, is excited to be working on her first show 8 University Theatre

Jono de Leon (Lighting Designer) is a second year graduate student, emphasizing in lighting design. Jono was born in Dallas, Texas, and completed his undergraduate education in Oklahoma.

He has designed for a wide variety of theatre genres including musicals, straight plays, and dance. His most recent designs include Yum Yum Room and a dance piece showcasing the talents of Ella Rosewood.

Jono would like to thank everyone who believed in his artistic merits and supported him throughout his career.

Allyn Weber (Technical Director) This is Allyn’s first show in a Technical Director capacity with University Theatre. A native of Potosi, WI, he comes to University of Wisconsin by way of Washington National Opera where he was the Properties Coordinator for the last four seasons.

Previous to this position he was the Studio Coordinator for WNO and had stints at Arena Stage (in Washington, D.C.), Attic Theatre (as an Assistant Technical Director), and with Platteville’s Heartland Festival as a technician and performer. He

W H O ’ S W H O ( c o n t .) would like to thank his loving wife, family, and his two dogs, Penny and Guinness, for their support.

Elizabeth Olufson (Stage Manager) is very excited to be working on University Theatre’s production of Eurydice. An avid collector and reader of old books, Liz is quite fond of this contemporary retelling of the classic Greek myth, and with graduation awaiting her in May, she is happy to be ending her college career by working with such a great group of artists.

She would like to thank Katie and Erin for being so wonderfully helpful, Team SMUT for all their guidance, and Conrad for the unwavering support.

Sandy Peterson (Dramaturg) is a second year PhD student in the Department of Theatre and Drama. Her area of specialization is 20th and 21st Century political theatre. Specific research interests include the relationship between gender and nationality in early 20th Century Irish theatre, and the current co-opting of traditionally Leftist political theatre strategies by Right-wing groups. Besides her academic pursuits, Sandy enjoys acting, directing and dramaturgy. She was recently seen in The Antagonists production of Elephant’s Graveyard as the Muddy Townsperson – a production for which she also served as dramaturg. Sandy hails from Wyoming, land of many guns, where she learned to say little and shoot straight.

U N I V E R S I T Y T H E AT R E S TA F F Director of University Theatre.......................................................................................David Furumoto General Manager.............................................................................................................. Michele Traband Production Manager............................................................................................................ David Stewart UT Technical Director............................................................................................................. Dan Lisowski Scene Studio Supervisor....................................................................................................Chuck Mitchell Costume Studio Supervisor........................................................................................................Jim Greco Electrics and Sound Studio Supervisor ...........................................................................Casey Martin UT Office Manager..............................................................................................................Cindy Schkirkie House Managers.........................................................................................Mary McAvoy, Carol Carlson,

Erin Hood, Liz Foster-Shaner PR/Marketing Assistant . ................................................................................................... Molly Richards Literary Manager................................................................................................................ Sandy Peterson Scene Shop Assistants.........................................................................Walter Claassen, Cynthia Dean,

Katy Lai, Michael Maloney, Cole Muth,

Allyn Weber, Jennifer Reider Lighting Assistants............................................................................................. Katie Kudrick, Erik Barry,

Jonathan de Leon, Brandi Mitchell Costume Assistants................................................... Katie Gray, Sarah Woodworth, Emily N. Smith

DEPARTMENT OF THEATRE AND DRAMA FACULTY, ACADEMIC AND CLASSIFIED STAFFS

Department Chair............................................................................................................ Ann M. Archbold Acting/Directing Faculty/Staff.....................................................Patricia Boyette, David Furumoto,

Norma Saldivar, Patrick Sims, Susan Sweeney Design/Technical Faculty/Staff........................................................ Ann M. Archbold, Gail Brassard,

Jim Greco, Dan Lisowski, Casey Martin,

Chuck Mitchell, David Stewart, Joe Varga Theatre Research Faculty/Staff................................................... Aparna Dharwadker, Kristin Hunt,

Michael Peterson, Mary Trotter,

Michael Vanden Heuvel, Manon van de Water Theatre for Youth Director.................................................................................... Manon van de Water Theatre for Cultural and Social Awareness Director......................................................Patrick Sims Department Administrator............................................................................................Melinda Menard Departmental Office Staff................................................ Terri Bonner, Jean Hauser, Brenda Weiss University Theatre 9

F R I E N D S O F U N I V E R S I T Y T H E AT R E The FRIENDS of UT is a group of individuals that serves as a support organization for UW Madisonâ&#x20AC;&#x2122;s University Theatre, providing members with opportunities to connect with and offer support for student actors, dramaturgs, directors, and designers involved in University Theatre productions. FRIENDS of UT plan and host receptions prior to productions, enjoy exceptional performances together, and work to encourage broader awareness and appreciation of the UW Department of Theatre and Drama throughout the community.

Funds raised by FRIENDS of UT will provide much needed production support, including technical enhancements such as state-of-the-art equipment upgrades, as well as special guest artist residencies that will support the training of our students.

In the past, Friends of UT have enjoyed invitations to a special post-performance reception with Olympia Dukakis as well as a pre-performance discussion with show directors. They sponsored a visit with Anthony Rapp (from the original Broadway cast of RENT). Funds raised were used to support a Suzuki acting workshop with Brandeis Professor Eric Hill and several guest sound designers.

This fall, the group enjoyed a day trip faculty and students to Ten Chimneys in Genesee Depot, WI. We are proud to share the names of the FRIENDS of UT with you throughout this season.

FRIEND ($50-$249) Roger & Elizabeth Gray Heather & Samuel Murn Jeanne Whitish Guy Plunkett III & Joanne Harper Plunkett Louis & Julie Swedarsky Hal & Shirley Winsborough Susan Cook & Roger Pierson Dr. Jay & Sabrina Gold Shawn & George Klasek Bonnie D. Lewis Eric Mueller & Torrie Kopp Mueller David & Jodie Rohrer Gerald & Vicki Stewart

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Bob and Sharon Stephenson Katherine & Bailey Walsh John & Nancy Webster William & Sharon Koenen Maureen Skelton Prof Barbara Buenger Peter & Donna Napoleone Norlin & Cynthia Benevenga David & Shirley Susan Laura & Barry Burden Joe & Jeanne Silverberg Tim & Rhonda Current A. Erick Weber

ANGEL ($250 and up) Shana Lewis & Robert Magasano Dennis Dorn Howard & Ellen Louise Schwartz Merry Anderson Tim & Pat Size Jon Sorenson CORPORATE ($250 and up) Lathrop and Clark

CONTRIBUTIONS TO THE DEPARTM ENT OF THE ATR E AN D DR A M A (from January 1 to December 31, 2010) $1,000+ Evjue Foundation Inc. Jonathan B. and Susan Lipp Timothy K. and Patricia B. Size $250-999 Russell Howes Patricia Kugler Whitely Robert D. Magasano and Shana R. Lewis $100-249 Patricia J. Boyette Daniel P. Boylen Barbara C. Buenger Dennis L. and Katherine A. Dorn Melissa J. Friesen Julie M. Johnson Eric D. Loring

John E. Reilly, Jr. David M. Shaw Susan R. Sweeney Joseph Varga Milan Zivanovic $1-99 Ann M. Archbold William P. and Martha K. Barlow Steven D. Burch Katherine M. Charron Peter M. Cole Chris M. and Joan M. Collins Pamela S. Decker-Nelson Mariam A. Duckwall David H. Fennema David J. Furumoto Roger E. and Elizabeth E. Gray John M. Gulley Jessica Holmes Virginia A. Hostetter

Tamara S. M. Kaplan Marna J. King Bonnie D. Lewis Kimberley B. Marra Charles W. Mc Graw Samuel and Heather L. Murn James W. Neely, Jr. Sue A. Nilsson Joohee Park Guy D., III and Joanne H. Plunkett Sybil C. Robinson Judith R. Shuler Robert and Joann Skloot Bob and Sharon Stephenson C. John and Barbara R. Tolch Michael J. and Tracy L. Vanden Heuvel Allen and Brenda Weiss Jeanne H. Whitish Mary T. Zellmer

H OW TO C O N T R I B U T E There are many ways to contribute to the Department of Theater and Drama, including: Gifts of appreciated securities, personal property, and real estate Deferred gifts such as bequests, trusts, and life income agreements Permanently endowed scholarships, fellowships, and professorships named for a relative or friend For more information about all giving opportunities, please call Jon E. Sorenson at the UW Foundation, (800) 443-6162 or (608) 262-7211.

Please make your check payable to University of Wisconsin Foundation and mail to University of Wisconsin Foundation, US Bank Lockbox, PO Box 78807, Milwaukee, WI 53278-0807. Indicate that your contribution should be credited to the Department of Theater and Drama.

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