University Theatre Department of Theatre and Drama University of Wisconsin-Madison presents
TI-JEAN AND HIS BROTHERS By Derek Walcott
October 27 – November 12, 2011
Hemsley Theatre Director – David Furumoto Choreographer – Chris Walker Set Designer – Niffer Pflager Costume Designer – Katy Lai Lighting Designer – Brandi Mitchell Sound Designer- Casey Martin Technical Director –Allyn Weber Stage Manager – Xingning Xu Dramaturg – Jessica M. Brown-Velez Produced through special arrangement with Samuel French, Inc. There will be a pre-performance chat with Professor Tejumola Olaniyan on Thursday, November 3 at 6:30 pm in the Mitchell Theatre lobby. There will be a post-performance discussion with the actors after the Thursday, November 10th performance. This production is made possible with grant support from The College of Letters and Science Anonymous Fund.
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THE CAST Ti-Jean.................................................................................................................... Yeng Kong Thao Gros Jean................................................................................................................. Alejandro Ortiz Mi Jean...........................................................................................................................Patrick Reed Bolom............................................................................................................... Stephanie Quinnell Frog..................................................................................................................... Michelle A. Langer Cricket...............................................................................................................................Aliza Feder Bird...............................................................................................................................Abby Taubner Firefly..................................................................................................................... Darcie Moloshok Werewolf...................................................................................................................Bryan Royston Diablesse........................................................................................................................Katie Cwirla Snake................................................................................................................................. Mia Imperl Mother...................................................................................................................Ginger Contreras Devil........................................................................................................................................Ely Phan Setting: The World of Caribbean Legend There will be no intermission. AC K N OW L E D G E M E N T S Electronic Theatre Controls, Middleton, WI Thank you to all who donated recycled materials for use in this production. D I R E C TO R ’ S N O T E Welcome to Ti-Jean and His Brothers. I have to let you know this about me: I love folk tales and stories about strange and weird happenings from around the world. Growing up in Hawaii there is a richness of these kind of stories from all the different groups of people who ended up coming to Hawaii to work at first in the vast sugar plantations and then the pineapple farms. Being the descendent of people who were brought in to do this kind of work, these stories resonate strongly with me. With Ti-jean I was immediately grabbed by the story being told in the play. Having never had the chance to visit the Caribbean I have been incredibly blessed to have Professor Chris Walker from the UW Dance Department working with me as our movement consultant and choreographer. Chris is someone who was born and raised in this part of the world so in our talks and collaboration the students and I have come to know so much more about area. There are so many similarities between Hawaii and the various islands that make up the many countries of the Caribbean that I found myself getting very homesick while directing the show and I feel such a bond with Chris’s stories of his childhood. This is a wonderful play based on a famous fable, but there is so much more going on. Like the proverbial onion there are so many layers to Walcott’s writing and I think our dramaturg’s notes will help guide you through that. In both Hawaii and the Caribbean the colonization by European and American interests have left large imprints on how these places have evolved, and native playwrights deal with these experiences in their works. I invite you though, to experience the play first as a wonderful story and let the other levels also work on your imagination. I thank my student designers for creating this world of fable and fantasy and my cast and stage crew for telling the story. So now Creek! Crack! Let the story commence. David Furumoto, Director 2 University Theatre
F R O G , T H E S TO R Y T E L L E R Ti-Jean and His Brothers begins with a convention of storytelling that takes many forms in different places around the world. Western culture might recognize it in “Once upon a time” or “Long ago and far away.” This particular play uses a convention common to many African and diasporic cultures: a call-and response exchange to indicate the beginning of a story. In Swahili, a storyteller says “Kitendawili” to indicate that s/he would like to tell a riddle; a willing audience member responds with “Tega!” In some Caribbean cultures, the storyteller says “Crik!” and the audience responds with “Crak!” Or, the storyteller says “Crik Crak!” and the audience responds likewise. Of course, in Walcott’s version, there is a slight twist as Frog delivers what Walcott himself termed a “terrible pun…embarrassing but nice: “Greek-Croak!” (Walcott 276). This simple opening convention establishes two important premises for Walcott and for the audience. First, that there exists in this play a storyteller – someone who is delivering the information to us. This further indicates that what is to come is nonrealistic and heightened, stylized. Second, since there is a storyteller, there must be a story of the kind storytellers know: a folktale. In its unconventional aspects – “Greek Croak” – the playwright simultaneously connects himself to the history of Western dramatic literature and performance (gesturing to Aristophanes’ The Frogs, of 405 BCE) and pokes fun at it. And, since the story is being told from Frog’s imagination, the production is free to explore the limits of that fantasy world in all its strange and wild and fun possibilities. By Jessica M. Brown-Velez, Dramaturg Works Cited Walcott, Derek. “Animals, Elemental Tales, and the Theater.” Monsters, Tricksters and Sacred Cows: Animal Tales and American Identities. A. James Arnold, Ed. Charlottesville, VA: University Press of Virginia, 1996.
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the song of lost children: Folktale form and Ti-Jean and His BrotherS
On first encounter, this play seems very familiar despite the newness of some of the language. Perhaps it is the structure: an introduction, then three similar events, and then a conclusion. Perhaps it is the characters: 3 brothers, like 3 little pigs or 3 bears or 3 little birds. Or, perhaps, it is the story itself: three brothers go out to make their fortune but only one succeeds. It seems clear that the reader or audience is meant to learn something from all this – all such stories have lessons of some kind-but what have we in the modern world to learn from such a tale? The play was written in 1957, 5 years before Trinidad and Tobago gained independence. In Walcott’s play, we can see him subverting the conservative conclusions of most such stories in favor of an argument for action and a claim that the nation, broken though it may have been by the ills of colonialism and neo-colonialism, has the desire, the will, and indeed the right to exist on its own. The nation must be allowed to live and to do so on its own terms and in its own way. These things Walcott wishes to teach us are embedded in that most traditional of forms, the folktale. With its familiar tropes of character, structure, and narrative, the tale provides a familiar and ready-made framework on which to overlay the argument; it also provides a delightfully pat structure which the author takes pleasure in subverting. In order to fully understand this subversion and the changes that Walcott makes, I’d “The Hero’s Journey, Joseph Campbell” like to focus here on analyzing the text first in light of what is not exceptional about it. I suggest that thinking about this play in its genre as a folktale can illuminate both the playwright’s argument and the way he skillfully constructs a familiar way for us to access it. I suggest that we may find meaning where the play departs from its roots. The structure of this story corresponds rather well with the Heroic Cycle, as theorized by Joseph Campbell. On Campbell’s view, the hero of a story sets out in order to make his fortune or become a man or achieve some rite of passage. In this case, we see three potential heroes doing so. For each character, the potential peril (as Campbell’s model also shows) lies in the portion of the story that is the initiation. After the hero (or false hero) has left home and crossed the threshold of adventure, nothing can be the same. The brothers leave the safety of home and of their ordinary lives; once they encounter the devil, the threshold has been crossed and they can no longer return to the ordinary, they must continue until they either succeed or fail. It is customary for the hero to undergo several (usually 3) challenges when in the period of initiation. In this case, the impossible tasks can only be completed by subverting the requirements. Ti-Jean succeeds and, in a way, returns from his adventure only because he has completely refused to play along with the given rules of the game. This extraordinary thinking allows Ti-Jean to succeed in his initiation – at least up to the point where the Devil must concede. And here is where the story departs from convention, and therefore the place where it makes new meaning. In the characters of the Old Man/Devil/Planter and the Bolom, Walcott creates disruption to the convention, even while using specific figures familiar to West Indian audiences. Herein lies the strange and brilliant twist that Walcott puts on a form so familiar, it almost seems to have been designed to lull the audience into complacency. The Old Man is a familiar character in Trinidadian folklore. Called Papa Bois (Father Woods) or Maître Bois (Master Woods), this figure is part man, part beast, with his left leg ending in a cloven hoof and responsibility for all the creatures of the forest. In general a peaceful figure, Papa Bois will not brook any disrespect of his charges or of his land. The name of Bolom is taken from St. Lucian folklore, though Trinidad has a 4 University Theatre
the song of lost children: Folktale form and Ti-Jean and His BrotherS
similar figure. This character is either an aborted fetus or a child who has died before it was baptized. Known to work on occasion for Papa Bois, Bolom often lures children away from their homes by pretending to be a baby lost in the woods. In this play, we see both of these characters performing their tasks as assigned by folklore, but we also see them acting rather differently. In his triple-guise, Papa Bois is no longer simply the forest guardian, but makes two other representations as well. Bolom, in working together with Papa Bois, is really working for the forces of evil and destruction. He delivers messages and does his dirty work, but he also possesses an innate sense of fairness and a desire to be born and grow and experience all that life has to offer, whether good or bad. In this we can see Bolom as representing the nation – the sad and underdeveloped, angry and sickened island, cut off from its convoluted past, stunted by its long colonial history. Never allowed to flourish on its own, this nameless Caribbean nation strives to succeed under the direction of the Devil colonizer, but cannot overcome its obstructed upbringing until the people of the nation – TiJean – cast out the Devil and demand, instead, that it be allowed to live. The clever trickster hero of the tale is the character with the most common sense – the one who refuses to accept the Devil’s orders as given, instead sabotaging the Devil’s very source of power. This character is the only one who has the ability to negotiate freedom – nay, to demand freedom – for his sick and weary baby brother nation. This play’s political ideas are embedded deeply within the structure and forms of an existing folktale and an enduring trope of initiation and rite-of passage. In combining these elements, Walcott makes a powerful statement about the vitality of the nascent nation, its culture, and its people. Jessica Brown-Velez, Dramaturg
P R O D U C T I O N S TA F F Vocal/Dialect Coaches..........................................................Liz Cassarino, Annelise Dickinson Assistant Stage Managers........................................................... Merle Hansen, Katie McBride Prop Master................................................................................................................. Aaron Johnson Wardrobe Supervisor...........................................................................................Shannon Higgins Costume Assistant...............................................................................................................Chris Nier Master Electrician............................................................................................................Paul Timmel Light Board Operator..................................................................................................Melanie Kulas Sound Board Operator................................................................................................. Erin Briddick Technical Shop Crews........................................................... Shannon Higgins, Katie Behrend, Hadieh Tazangi, Brinn Hill, Ashley Olson, Elissa Alster, Chris Nier TH 160 ...................................................................................Cyle Agee-Rodriguez, Greta Becker, Katie Busalacchi, Mel Capperino, Grant Dettmering, Aliza Feder, Kaitlee Fluegel, Brinn Hill, PeterHiller, Jami Klagos, Haley Kosup-Kennedy, Mary LaFore, Kuma Lee, Kenzie Luce, Cassy Marzette, Ashley McHose, Ross Morey, Allie Mott, Rita Moua, Whitney Nelson, Emilia Núñez, Alli Rekow, Rachel Rubenstein, Evelyn Sadowski,Jon Vanphravong, TH 161/361/363/561.....................................................Stephanie Vidalakis, Jennifer Current, Iliana Rother-Lynn, ulia St. Pierre, Caitlin Ross, Dijan Savic, Samantha Blank, Abby Gadbois, Hallier Batterman, Jennie Mintz
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WHO’S WHO Actors Ginger Contreras (Mother) Ginger double majors in Biological Anthropology, and Theatre and Drama, with certificates in Archeology and Classics. She is also a member of Phi Beta Kappa. At the moment, Ginger is writing her Honors Senior Thesis in Bioarcheology. Ginger would like to thank everyone involved in the shows production along with her acting instructors Patrick Sims, Susan Sweeney and Director David Furumoto. She is excited to be in her second UT production and hopes you enjoy the show! A special thanks to her mom for her never-ending support. . . even when Ginger wanted to be a mermaid. Katie Cwirla (Diablesse) is very pleased to make her UT debut with this production. Katie is a senior majoring in Legal Studies and Theatre-Acting Specialist, and getting a certificate in Criminal Justice. She would like to thank David for this incredible opportunity and the rest of the crew for all of their assistance in making this show come to life. Katie would also like to thank her parents and siblings for their never-ending love and support!
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Aliza Feder (Cricket) has thoroughly enjoyed prancing about in her first ever University Theatre production. She is a third year theater major and proud transfer student. Aliza last performed in the student written and produced 20th Annual Marcia Légère Play Festival. She doesn’t smush bugs anymore. She heartily thanks her friends, family, and teachers past and present. Enjoy the show! Mia Imperl (Snake) is thrilled to be in her first University Theatre show! Previous credits include Rosemary in The Giver, Toby in Gossamer, Tylwyth Teg in Sleeping Beauty, and Maxine in The Best Christmas Pageant Ever at First Stage Children’s Theater. She was also a member of First Stage Theater Academy’s Young Company and appeared as Witch 2 in Macbeth, Don John in Much Ado About Nothing, and Hermia in A Midsummer Night’s Dream with that company. In addition, she has been a part of Bunny Gumbo Theater’s Combat Boot camp as both an actor and a director. She would like to thank her family for their constant love and support!
B I O G R A P H I E S ( c o n t .) Michelle A. Langer (Frog) is a senior double majoring in Theatre-acting specialist and Journalism-reporting. You may have seen her in her last University Theatre production as the androgynous monk, White Cloud, in Narukami-The Thunder God, but you probably wouldn’t recognize her without the blue head. She would like to thank her family for continually supporting her. She would also like to thank David for another amazing and extremely rewarding opportunity. Darcie Moloshok (Firefly) is excited to make her UW debut. During undergraduate study she concentrated in theatre. Involvement in theatre for social change included roles in Line in the Sand and Tunnel of Oppression. Leading roles have included Spreading the News (Mrs. Tarpey), Lithuania (Mother), Lives of the Saints (Flo), and John Lennon and Me (Sally) at On Stage and Off and Sellersville Theatre, respectively. Darcie hopes to continue working towards integration of the arts in healthcare. She thanks her family and friends for their support, and past and present production staff for every opportunity afforded her. Alejandro Ortiz (Gros Jean) This is Alejandro’s first UT production and he is very excited to be performing. He first became involved with the theatre scene during his senior year of high school, something he regrets as it has become one of the most enjoyable things for him. He is a sophomore and will continue to get as much experience as he can while he is at UW Madison. Ely Phan (Devil) is tickled to, finally, after years of lollygagging on the periphery, be debuting in such style with the University Theatre. Previously, you may have spotted Ely gallivanting around town with Quick & Dead Productions in their homegrown crack at Picasso at the Lapin Agile or alongside the Antagonists in their production of Elephant’s Graveyard. It has been a pleasure to work with such a diverse group of individuals on a play of such epic proportions as the tale of Ti-Jean. Special thanks to David Furumoto for granting the opportunity; to BO Me for the love and support; and to Caelin for everything. Stephanie Quinnell (Bolom) is a senior at UW-Madison majoring in Theatre who is extremely thrilled to be part of her very first University Theatre production! She recently appeared in the Marcia Légère Play Festival’s Murder at Bates Manor (Alexandra Moore). She would like to thank her family and best
friends Brooke, Jordan, and Danielle for all the support; her boyfriend, Ryan, for many late nights running lines; and the entire cast and crew for such a wonderful experience! Enjoy the show – it’s a smash-bang fusion! Patrick Reed (Mi-Jean) has thoroughly enjoyed working on Ti-Jean and Brothers and is happy to add it to his collection of previous performances such as last year’s Rocky Horror Show. A senior at UW Madison, Patrick expects to graduate this December. Though not a theatre major, Patrick plans to keep the stage close to his heart as he pursues work internationally. Patrick would like to thank his family and friends for their support over the years. More specifically, Patrick thanks Dad for passing on his quirky humor and his Mom for putting up with Dad’s humor. I love you! Enjoy the show! Bryan Royston (Werewolf ) is a UW Madison grad returning to pursue classes in the Theatre and Drama department. He is wildly ecstatic to be in Ti-Jean and His Brothers, his first UT production, and his second foray into drama in the Hemsley Theatre, following The Antagonists’ Elephant’s Graveyard earlier this year, (trunks up!). Bryan would like to thank his family, (Mom, Dad, Emily, Janelle, Cody, Bailey and Ainslee, to name but a few), all his friends, IGP, IYP, LSP, David, Xing, his fellow cast-members and crew, the magnificent professors, TAs and classmates that have all helped him get this far, and last but not least – you! Enjoy. Abby Taubner (Bird) is a sophomore at UW Madison majoring in Theatre and also pursuing Business. Favorite previous roles include Victoria in CATS, Bebe in A Chorus Line, Wendy Jo in Footloose, and Alice in UT’s You Can’t Take It With You. Thank you to David for this opportunity, and the entire cast and crew for being awesome and rocking it out. A special thank you to Jon, her sorority sisters at Kappa Alpha Theta, her friends, and, most of all, her wonderful family for supporting her and cheering her on without fail. Yeng Kong Thao (Ti-Jean) has traveled to many places around the world and is happy to stop in the story of Ti-Jean and His Brothers. Super pumped to play the youngest brother of the three, he finds himself having to put off plans of climbing Mt. Everest for the third time and posing to get sculpted on Mount Rushmore. During his free time he likes to play hopscotch, hot lava monster, roller-blade and likes to go planking. He would like to thank his Ti-Jean and His Brothers 7
B I O G R A P H I E S ( c o n t .) friends, family, teachers and would like to give a shout out to his brothers of Chi Sigma Tau Fraternity. Artistic/Production Staff David Furumoto (Director) David was born and raised in Honolulu. Receiving both his BA and MFA in theatre at the University of Hawaii, his focus of study was on traditional Asian theatre with an emphasis on kabuki and kyogen. He was a recipient of the Crown Prince Akihito Scholarship which allowed him to study in Japan for one year-spending that time with individual teachers of kabuki, kyogen, and as a special foreign observer at the National Theatre of Japan Kabuki training program. David also received his professional Classical Japanese Dance name, Onoe Kikunobuhide, from the Onoe Kikunobu School of Japanese Dance. He has been a member of the faculty of the UW Theatre and Drama department since 2000. Recent directing projects have included [title of show], Narukami-The Thunder God, The Zen Substitute, Dragonwings, and According to Coyote. He is also a member of both Actors Equity Association and the Screen Actors Guild. An avid collector of ghost stories he is also a proud player of the Scottish bagpipes. Chris Walker (Choreographer) is an Assistant Professor of Dance, is the Artistic Director of the First Wave Hip Hop Theater Ensemble at UW-Madison and the cofounder and artistic director of NuMoRune Collaborative - an ensemble of dancers, choreographers, storytellers and musicians, who come together under a united artistic vision to create collaborative works. Walker has taken First Wave, which received the Governor’s Arts Award in 2010, on local, national and international tours, performing in New York, Mexico, Panama and the U.K. First Wave was selected to represent North America in the prestigious Contacting the World Theatre Festival 2010, in Manchester, U.K., an international theater project linking young people’s theater groups from around the world to create theater across the boundaries of geography and culture. Walker has received numerous awards including the New York Thayer Fellowship and the Hefty Faculty Support Award for his choreographic work, which has been presented nationally and internationally in the Caribbean, North and South America, South East Asia and Europe. Niffer Pflager (Scenic Designer) has been designing sets for the last ten years. She received her BA in Theatre at Minnesota 8 University Theatre
State University Moorhead in 2006, and is currently a second-year MFA Scene Design candidate at UW Madison. She is pleased to have Ti Jean as her first produced work at the University of Wisconsin and hopes you will come back to see her second, this spring, when she designs Pedro and the War Cantata. Katy Lai (Costume Designer) a third-year MFA student in scenic design, has enjoyed changing gears and providing the costume design for Ti Jean. She designed [title of show], Eurydice and Lady from the Sea for UT during the last two years. 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 the Peter Pan 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. Brandi Mitchell (Lighting Designer) is a third-year MFA student in the lighting design program at UW Madison. She completed her BFA at the University of Central Oklahoma and then started working for California Repertory as a lighting designer. Since arriving at UW-Madison, Brandi has been the lighting designer for the Year of the Arts architectural event lighting and for the staged reading of Carl Djerassi’s ‘Foreplay’. She also worked as the Makeup Supervisor on UW-Madison’s production of Rocky Horror Show. Brandi would like to thank Professor Ann Archbold for taking in a stray lighting grad when the program was already stocked up! Casey Martin (Sound Designer) has enjoyed a great run in Madison designing shows over the last five years for Children’s Theatre of Madison, University of Wisconsin, Four Seasons Theatre and many other local theatre groups. He currently serves as the Electrics & Sound Supervisor for the Department of Theatre and Drama at the University of Wisconsin-Madison, teaching classes in sound design for theatre, automated lighting and stage lighting technology. He is grateful to be collaborating with this group of amazing people (director, cast, crew and designers) and wishes to thank his family for all their support and David Furumoto for the opportunity to design Ti Jean and His Brothers. Allyn Weber (Technical Director) is secondyear MFA student in Technical Direction. Hailing from Potosi, Wisconsin, he comes
B I O G R A P H I E S ( c o n t .) to University Theatre via the Washington National Opera where he served as the Props Coordinator for 5 years. Recent shows that he has served as Technical Director on include Music Man and Grease for The Heartland Festival and Eurydice for University Theatre. He would like to thank his family, especially his wife Anne Marie for all of her support and to welcome his 3-month-old daughter Katelyn Marie into the world of theatre. Xingning Xu (Stage Manager) is a senior double majoring in Theatre & Drama and Economics. She is very excited to be stage managing for the first time in her life! Her previous stage management credits include UT’s The Rocky Horror Show (ASM), UT’s Valparaiso (ASM), and UTA’s Dog Sees God (ASM). Thanks to Merle and Katie for being such outstanding ASMs, Jennifer and Alex for helping and guiding her along the way, DStew for believing in her, team SMUT for being so supportive and awesome, and special thanks to Don for his support and love! Jessica M. Brown-Velez (Dramaturg) is a doctoral candidate in the Department of Theatre and Drama, now completing her dissertation on identity and nation in the works of exiled and diasporic Ugandan playwrights, directed by Prof. Aparna Dharwadker. She’s thrilled to be working on such an important play with such delightful collaborators and offers thanks for this opportunity. Other notable dramaturgy at UW has included Lorca’s Blood Wedding, directed by Norma Saldivar; Wertenbaker’s The Love
of the Nightingale, directed by Talish Barrow; and Across a Distance, directed by Kelly Bremner. Dedicated to Julie Vogt, in hopes of a speedy and complete recovery. Tejumola Olaniyan (pre-performance speaker) is the Louise Durham Mead Professor of English and African Languages, and Interim Director of the Institute for Research in the Humanities. He is founding Chair of the African Diaspora and the Atlantic World Research Circle (2003-2010), and currently co-directs the Music, Race, and Empire Research Circle. His research and teaching interests include Anglophone Literatures and Cultural Studies (Africa and Caribbean); African American Literature; Postcolonial Cultural Studies; Literary and Film Criticism and Theory; History, Theory, and Sociology of Drama; Popular Culture Studies; Modernity and Africa and the African Diaspora. He has published widely in these areas, including African Diaspora and the Disciplines (2010, co-edited with James H. Sweet); African Literature: An Anthology of Criticism and Theory (2007, co-edited with Ato Quayson); Arrest the Music!: Fela and His Rebel Art and Politics (2004, 2009; nominated for Best Research in World Music by the Association for Recorded Sound Collections in 2005); African Drama and Performance (2004, co-edited with John Conteh-Morgan); and Scars of Conquest/ Masks of Resistance: The Invention of Cultural Identities in African, African American and Caribbean Drama (1995). One of his current book projects, Political Cartooning in Africa, is forthcoming from Indiana University Press.
U N I V E R S I T Y T H E AT R E S TA F F Director of Theatre Production ...................................................................................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 Graphic Design Support...................................................................................................... Tim Hamilton Literary Manager.................................................................................................Megan Marsh-McGlone Scene Shop Assistants........................................................................................ Cynthia Dean, Katy Lai, Cole Muth, Allyn Weber, Niffer Pflager Lighting Assistants.................................................Erik S Barry, Jonathan de Leon, Brandi Mitchell Costume Assistants................................................................................. Katie Gray, Sarah Woodworth
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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, William Moser, David Stewart 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 Lecturers..........................................................................Maureen Janson, Roseann Sheridan Department Administrator.............................................................................Melinda Menard Departmental Office Staff..................................Terri Bonner, Jean Hauser, Brenda Weiss Undergraduate Advisor............................................................................................ Jim Stauffer 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 Madison’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. The group sponsored a day trip for FUT members and UT students to Ten Chimneys in Genesee Depot, WI. Recently, the group attended a performance of the play Ten Chimneys being produced by the Milwaukee Repertory Theatre. We are proud to share the names of the FRIENDS of UT with you throughout this season. If you would like to become a Friend of University Theatre, simply call the University Theatre office at 608-262-1582 or contribute online at utmadison.com FRIEND ($50-$249) Roger & Elizabeth Gray Heather & Samuel Murn Jeanne Whitish Ernest Peterson Guy Plunkett III & Joanne Harper Plunkett Louis & Julie Swedarsky Hal & Shirley Winsborough Bonnie D. Lewis Eric Mueller & Torrie Kopp Mueller Bob and Sharon Stephenson 10 University Theatre
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Robert D. Magasano and Shana R. Lewis Heather L. and Samuel Murn Nicholas L. Neds and Lindsey Hoel-Neds Guy D., III and Joanne H. Plunkett Kathryn M. Rohe Shirley J. and David J. Susan Louis H. and Julie S. Swedarsky Katherine C. and Bailey G. Walsh, Jr. Evelyn B. and Elwyn L. Weible William R. and Christine M. Wiegert
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All services performed by students under the supervision of licensed instructors.
Ti-Jean and His Brothers 11
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. F O R YO U R I N F O R M AT I O N Cameras and Recorders: No photographs or recordings may be made during the performance. Restrooms: Restrooms and drinking fountains for patron use are located in the lower level of the theatre lobby. Wheelchair accessible facilities are available on the lobby level. Please use lower level facilities unless special needs dictate otherwise. Emergency Calls: Doctors and parents are asked to leave the campus security phone number, 264-2677, with their service or sitter. Please inform the house manager of your seat location if the possibility of a call exists. In order not to disturb other patrons, please turn off all paging devices, electonic devices, cell phones and watch alarms. Latecomers: Performances begin promptly. Latecomers will be seated only at a suitable break, which in some cases may not be until intermission. Exchanges and Refunds: No refunds are given, but exchanges may be made up to 24 hours prior to the ticketed performance date when tickets are available. Patrons who cannot use their tickets are asked to contact the Vilas Hall Box Office 24 hours in advance of the performance. Postdated tickets have no value and cannot be exchanged. Unused tickets can be donated to the theatre for resale, the proceeds of which will go to improvements of the theatre. Ticketing: Any person entering the theatre must have a ticket. Babes in arms can not be admitted. UT discourages bringing small children to the theatre except when the production is specifically for young audiences. Accessibility: University Theatre can accommodate your special needs. Call 265-2787 for information regarding wheelchair accessibility and hearingassist systems. Parking: Parking passes are available for purchase by arts patrons in UW owned parking lots close to venues. Call Campus Arts Ticketing at 265-2787 for more information. 12 University Theatre