Fall Rep 2011 Playbill (Cabaret & Taming of the Shrew) by Great Lakes Theater

Cleveland’s Classic Company at the Hanna Theatre presents

2010–11 SEASON

CABAR E T Sept. 23–Oct. 30, 2011

THE TAMING OF THE

shrew Sept. 30–Oct. 29, 2011

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ACROSS FROM PLAYHOUSESQUARE phone: 216.862.2889 AKRON phone: 330.475.1600

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About Great Lakes Theater ..................................................................................................................4 Trustees................................................................................................................................................5 Donor Spotlight ...................................................................................................................................6 Cabaret ................................................................................................................................................8 The Cast...............................................................................................................................................9 Overview: Scenes & Musical Numbers ..............................................................................................10 The Taming of the Shrew ...................................................................................................................12 The Cast.............................................................................................................................................13 Background: About the Plays.............................................................................................................14 Great Lakes Theater 50th Anniversary Spotlight...............................................................................17 A Message from the Producing Artistic Director................................................................................25 Who’s Who..........................................................................................................................................27 Staff ..................................................................................................................................................37 Guest Services ...................................................................................................................................38 September/October On Our Stages....................................................................................................39

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ABOUT

he mission of Great Lakes Theater, through its main stage productions and its education programs, is to bring the pleasure, power and relevance of classic theater to the widest possible audience. Since the company’s inception in 1962, programming has been rooted in Shakespeare, but Great Lakes commitment to great plays spans the breadth of all cultures, forms of theater and time periods –– including the 20th century –– and provides for the occasional mounting of new works that complement the classical repertoire. Classic theater holds the Great Lakes Theater’s 2010 Fall Repertory production of An Ideal Husband. capacity to illuminate truth and Photo by Roger Mastroianni enduring values, celebrate and challenge human nature and actions, revel in eloquent language, preserve the traditions of diverse cultures and generate communal spirit. On its main stage and through its education programs, the GLT seeks to create visceral, immediate experiences for participants, asserting theater’s historic role as a vehicle for advancing the common good and helping people make the joyful and meaningful connections between classic plays and their own lives. The company’s commitment to classic theater is magnified in the educational programs that surround its productions. Since its inception, GLT has had a strong presence in area schools, bringing stuGreat Lakes Theater’s 2011 production of The Two dents to the theater for matinee performances and Gentlemen of Verona. Photo by Roger Mastroianni sending specially trained actor-teachers to the schools for weeklong residencies developed to era with a permanent home in the Hanna explore classic drama from a theatrical point of view. Theatre, the company reaffirms its belief in the GLT is equally dedicated to enhancing the theater power of partnership, its determination to make experience for adult audiences through Surround, a this community a better place in which to live, series of community programs that explore the and its commitment to ensure the legacy of clasthemes of a main stage production. To this end, sic theater in Cleveland. Great Lakes Theater regularly serves as the catalyst 1501 Euclid Ave., Suite 300 for community events and programs in the arts and Cleveland, OH 44115 humanities that illuminate the plays on its stage. P: (216) 241-5490 Great Lakes Theater is one of only a handful of F: (216) 241-6315 American theaters that have stayed the course as a W: www.greatlakestheater.org classic theater. As Great Lakes moves into a new

Great Lakes Theater

TRUSTEES Chair Natalie Epstein*†

President Mitchell G. Blair*

Secretary Michelle Arendt*

Treasurer

Trustees

* Executive Committee † Life Trustee

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Thomas A. Aldrich Dalia Baker Robyn Barrie Mark H. Brandt William Caster Barbara Cercone Gail L. Cudak Carolyn Dickson† Leslie Dickson William B. Daggett† Carol Dolan* Timothy J. Downing* Helen W. France Rudolph H. Garfield † Stephen H. Gariepy Samuel Hartwell* Susan Hastings* William W. Jacobs*† John E. Katzenmeyer† Denise Horstman Keen Anthony C. LaPlaca Jonathan Leiken William E. MacDonald III†

Ellen Stirn Mavec† Mary J. Mayer John E. McGrath Gregory V. Mersol* Leslie H. Moeller Janet E. Neary*† Robert D. Neary† Pamela G. Noble* Michael J. Peterman† Tom Piraino Timothy K. Pistell† David P. Porter† Deborah Ratner Shawn M. Riley Georgianna T. Roberts† Yolanda Saunders-Polk John D. Schubert† Laura Siegel Mark C. Siegel* Peter Shimrak† Donald A. Sinko Thomas G. Stafford*† Sally J. Staley* Robert L. Stark Wendy E. Stark Kate Stenson Diana W. Stromberg Gerald F. Unger Donna Walsh Thomas D. Warren Audrey S. Watts† Paul L. Wellener IV G. Bretnell Williams Patrick Zohn

Great Lakes Theater

Walter Avdey*

Great Lakes Theater

KNOW WHAT YOU WANT Aging successfully means knowing what you want to do, and doing it. - Mike Clegg, communicator, mentor, volunteer, on successful aging

216.791.8000 / Read the interview at www.benrose.org

Thank You

DONOR SPOTLIGHT

All of us at Great Lakes Theater would like to express our deepest gratitude to our many supporters. The donors listed on the following pages made gifts to our Annual Membership Fund between July 1, 2010 and June 30, 2011.

Sponsors

The Cleveland Foundation

Company Sponsors $100,000 and above Cuyahoga Arts and Culture

The George Gund Foundation

Lead Sponsors $50,000 to $99,000 David & Inez Myers Foundation John P. Murphy Foundation

The Sherwick Fund The Kelvin & Eleanor Smith Foundation Sponsors $25,000 to $49,999 Kulas Foundation The Martha Holden Jennings Foundation

The Form Group The GAR Foundation Key Foundation

The Abington Foundation Mr. Paul S. Brentlinger The Eva L. and Joseph M. Bruening Foundation

Avon Circle $10,000 to $24,999 Community Foundation of Lorain County Eaton Corporation Mary Ann & Jack Katzenmeyer Mr. & Mrs. Robert D. Neary

Ohio Arts Council Parker Hannifin

The Nord Family Foundation Mr. & Mrs. Timothy Pistell Mrs. James O. Roberts The Shubert Foundation

Great Lakes Theater Business Alliance

Stratford Circle $5,000 to $9,999 Calfee, Halter & Griswold LLP Carol Dolan & Greggory Hill Mr. & Mrs. Morton G. Epstein Ferro Foundation Harry K. and Emma R. Fox Foundation Paul Keen & Denise Horstman David P. Porter & Margaret Poutasse Mr. & Mrs. Ronald Ratner Mr. & Mrs. Robert C. Ruhl John & Barbara Schubert Thomas G. & Ruth M. Stafford Paul & Pamela Teel The Thomas H. White Foundation, a KeyBank Trust Mr. & Mrs. G. Bretnell Williams

Globe Circle $2,500 to $4,999 Anonymous Walt & Laura Avdey Robert & Dalia Baker

Mitchell & Elizabeth Blair Jenny & Glenn Brown George W. Codrington Foundation Gail Cudak & Thomas Young Barry & Suzanne Doggett Dominion Foundation Steve Gariepy & Nancy Sin Mr. & Mrs. Samuel Hartwell Susan C. & Jeffery A. Hastings William W. Jacobs Mr. Anthony LaPlaca The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lubrizol Foundation Mr. & Mrs. Donald J. Mayer The Mersol Family Mr. & Mrs. Leslie H. Moeller The Nordson Corporation Foundation Mr. & Mrs. Michael J. Peterman Thomas A. Piraino & Barbara C. McWilliams Shawn M. Riley & Christine Sommer Riley

Linda Schlageter Donald & Catherine C. Sinko Sally J. Staley Brit & Kate Stenson Diana & Eugene Stromberg Donna & Richard Walsh Folio Circle $1,000 to $2,499 Bonnie & Chuck Abbey Actorsâ&#x20AC;&#x2122; Equity Foundation Michelle R. Arendt Kathleen L. Barber Robyn & David Barrie The Biel-Goebel Family Foundation Mark & Kathryn Brandt J.C. & H.F. Burkhardt Marilyn Callaly The Carmel Family Foundation Mr. & Mrs. Frank Cercone Corning Chisholm Mr. & Mrs. Homer D. W. Chisholm The Collacott Foundation Carolyn & Charles Dickson

Leslie C. Dickson Timothy J. Downing & Ken Press David Goodman & Barbara Hawley Gries Family Foundation John & Virginia Hansen Iris & Tom Harvie Mr. & Mrs. Michael Horvitz Norman & Nancy Hyams Lampl Family Foundation Jonathan Leiken & Erika Friedman Jack McGrath Mr. & Mrs. Douglas McGregor Mr. & Mrs. William Mitchell Mr. & Mrs. John C. Morley Donald W. Morrison NACCO Industries Inc. Mr. & Mrs. William Osborne Jr. Dr. & Mrs. Donald Palmer Dr. Scott & Mrs. Judy Pendergast John & Jean Piety Donna & James Reid Craig & Wendy Stark Mr. & Mrs. Walter Stuelpe Mr. & Mrs. Thomas D. Warren Mr. & Mrs. Paul L. Wellener IV Patrick M. Zohn

Sustainers $500 to $999 Maria Cashy Claudine Clinton & Pam Kilpatrick Gary & Katie Geoffrion William R. Gustaferro Mr. & Mrs. Kenneth G. Hahn Jr. Greg & Nancy Lentz Dr. Lawrence & Mary Lohman Sheryl & Thomas Love Stephen & Donna Miller John & Norine Prim Mr. & Mrs. Mark Siegel Naomi G. Singer Carol Lee Vella Women's Committee of Great Lakes Theater

Anonymous Bonnie & Chuck Abbey Jeanette S. Barclay Robyn & David Barrie Fred & Mary Behm John & Jeannene Bertosa Bernice A. Bolek Stanley Brandt & Mary Whitmer Richard & Mary Ann Brockett Marilyn Callaly Mr. & Mrs. Frank Cercone John & Donna Clifford Kathleen Cooper David & Gayle Cratty Marilyn P. Demeter Carol Dolan & Greggory Hill Dr. & Mrs. Michael Eppig Gene & Patricia Ewald Mr. & Mrs. David Forte Deborah A. Geier Janet & Patricia Glaeser Virginia T. Goetz Ms. Roe Green Brenda and Jonathan Henry Tom & Luz Higgason Clyde A. Horn Robert & Linda Jenkins Kenneth Karosy Lauren Kawentel Bob & Nanci Kirkpatrick Ronald Kollar Eleanor & Stephen Kushnick Sheryl & Thomas Love Mr. & Mrs. Donald J. Mayer Ms. Linda McGinty, Lois Weller, Cheryl Warner and Joan Riha Stephen & Donna Miller David & Leslee Miraldi Mr. & Mrs. Robert D. Neary Mr. & Mrs. Robert Oshinsky Lee & Maria Parks Mr. and Mrs. Petras Mr. and Mrs. John S. Piety Mr. and Mrs. Harry Pollock John & Norine Prim Larry & Susan Rakow Mr. & Mrs. Clifford A. Reeves Jr. Mario Sinicariello & Ellen Roberts Otmar & Rota Sackerlotzky Dina & Richard Schoonmaker Bryan Schwegler & Adam Nolley Mr. & Mrs. David K. Siegel Edward W. & Donna Rae Smith William E. Spatz Kathlyn & Harry Stenzel Dan and Robin Sullivan Mary E. Thomas Elizabeth Twohig Carol Lee Vella Dr. and Mrs. Leslie Webster Mr. & Mrs. John H. Weitz John & Dianne Young

Matinee Idols Bonnie & Chuck Abbey Carol Barnak Bernice A. Bolek Patrick Burke Mr. & Mrs. John D. Campbell Mr. & Mrs. Richard L. Chernus Carol Dolan & Greggory Hill Mr. & Mrs. Morton G. Epstein Steve Gariepy & Nancy Sin Goldman, Sachs & Co. Ms. Roe Green John & Virginia Hansen

Mr. & Mrs. Samuel Hartwell Ron & Joanne Hulec Linda M. Kane & Gary Stewart Bob & Nanci Kirkpatrick Anthony LaPlaca Sara MacKinlay The Mersol Family Paulina Q. Molina Michael O'Neil OM Group Mr. & Mrs. Timothy Pistell John & Barbara Schubert The J.M. Smucker Company Sally J. Staley Brit & Kate Stenson Martha C. Towns Mr. & Mrs. Edward Weintraub

Matching Gift Corporations Aetna Foundation, Inc. AT&T Corporation Eaton Corporation IBM Corporation Key Foundatiom Lubrizol Corporation Merrill Lynch Nordson Corporation Foundation PNC Foundation Progressive Insurance Foundation Rockwell Automation Trust Matching Program

Gifts were received in honor of: Corning Chisholm Natalie Epstein Chris Fornadel

Gifts were received in memory of: Marilyn E. Brentlinger D. Claudine Clinton Nina Giunta Jane Starkey

The Women’s Committee Formed in 1961, the committee is Great Lakes Theater’s longest standing volunteer support group. Members act as hosts for our actors, provide support in our administrative office, at events and cheer us on throughout the season. If you would like to become a member, call Joanne Hulec at (216) 252-8717 for more information.

greatlakestheater.org

Associates $100 to $249 Stanley & Hope Adelstein Anonymous Dr. & Mrs. Robert Bahler Janis Baker Christopher Beck Dr. & Mrs. David F. Bennhoff Elizabeth Billings Joanne R. Bratush Bette Bonder & Patrick Bray Elizabeth Breckenridge Cindy & Tim Carr Mary Louise Conlin David & Gayle Cratty Audrey De Clement Chris & Mary Ann Deibel Alexander Derkaschenko Mr. & Mrs. Robert Eikenburg Deena & Richard Epstein Mary Eileen Fogarty David V. Foos Joy M. Freda Georgia T. Garner Virginia T. Goetz Gary & Joanna Graeff Tom & Kirsten Hagesfeld M. Hurajt Amy & Jeff Johnson Maria Kaiser Mr. & Mrs. Joseph C. Kelley Mr. & Mrs. Donald Kimmel Bob & Nanci Kirkpatrick Andrea Knowlton Ken & Mary Loparo Rev. Edward E. Mehok Toni & Linda Moore Ronald & Betty Manolio Mr. & Mrs. Robert Oshinsky Lee & Maria Parks Brian Perry & Ka Pi Hoh

Friends $50 to $99 Anonymous (2) Daniel and Ellen Arbeznik Mr. & Mrs. Gary Arbeznik Jeanette S. Barclay Mr. & Mrs. David Blackman John Bolton Mr. & Mrs. Andre Buehler Mr. & Mrs. Robert Charlick Doug & Mary Court Samuel Cowling Ronald & Patricia Cramer Janice G. Downing Howard P. Erlichman Mr. Angel Flecha Mr. & Mrs. Robert W. Fouts Mr. & Ms. Ralph C. Frey Mr. & Mrs. Lou Galizio Thomas Gilbride Jeffrey P. Gluvna & Barbara A. Blake Dr. & Mrs. Norman W. Goldston John Greene Hazel Haffner Marian Hancy Barbara R. Hawkins Arlene & William Hazlett Linda A. Heath Curt & Karen Henkle Frank & Gerry Hoffert Lucia Jezior Ruth & Don Kalish Larry & Janet Kilgore Herschel & Maxine Koblenz Eleanor & Stephen Kushnick Ted & Mary Lomac Brian Lowery Dorothy Marsh Barbara Marzaloes Roy & Cindy Moore Diana Navarro Ken Noetzel Paul H. Pangrace The Reinker Family Carole & Charles B. Rosenblatt Donna Sheridan Patricia J. Shook Mary Slak Susan St. John Albert Stratton James Carlson & Linda Striefsky Kathleen Turner Dave Walters Ronald & Pearl Waxman Sharon & Yoash Wiener

Anniversary Angels

Great Lakes Theater

Patrons $250 to $499 Thomas W. & Joann Adler Fred & Mary Behm William & Zeda Blau Bernice A. Bolek Tom & Anita Cook James Eschmeyer Robin & Henry Hatch Mr. & Mrs. Herbert J. Hoppe, Jr. Ron & Joanne Hulec Chris & Laura Larson Gil & Carol Lowenthal Steven & Dolly Minter The Music and Drama Club Dr. & Mrs. Lynn A. Smith Dalma & Lajos Takacs Mr. & Mrs. Robert A. Tschannen

Norris & Yolanda Polk Ann Pinkerton Ranney Mr. & Mrs. Clifford A. Reeves Jr. Sue Reusser Dr. Edward J. Rockwood Reinhold & Ginny Roedig Mark J. Salling Dina & Richard Schoonmaker Donna & Raymond Schuerger Mr. & Mrs. David K. Siegel David & Rita Smith Mr. & Mrs. John Southworth William E. Spatz Kathlyn & Harry Stenzel Dan and Robin Sullivan Mr. & Mrs. Timothy L. Sullivan David M. Walker Stanley Brandt & Mary Whitmer Diana & Kenneth Wise Mr. & Mrs. James Xinakes Arthur & Deborah Zinn

Officers Barbara Cercone, President Janice Campbell, Vice Chair Viola McDowell, Recording Secretary Bernice Bolek, Corresponding Secretary Nanci Kirkpatrick, Treasurer

Every effort is made to ensure our Donor records are current and correct. Please contact the Development Office (216.453.1068) to report corrections or updates.

Hanna Theatre September 23 – October 30, 2011

Charles Fee Producing Artistic Director

with generous support from

Kulas Foundation presents

CABARET Book by

JOE MASTEROFF

Based on the play by John Van Druten and Stories by Christopher Isherwood Music by John Kander Lyrics by Fred Ebb Originally Co-directed and Choreographed by Rob Marshall Originally Directed by Sam Mendes

Directed By

Victoria Bussert Company Neil Brookshire* Sara M. Bruner* Phillip Michael Carroll* Jodi Dominick* Nika Ericson Danny Henning*

Jillian Kates* Andrea Leach Jim Lichtscheidl* Bailey Carter Moulse Shannon O’Boyle*

Music Director Matthew Webb

Choreographer Gregory Daniels

Costume Designer Charlotte Yetman

Lighting Designer Norman Coates

Stage Manager Corrie E. Purdum*

Eduardo Placer* Laura Perrotta* Maggie Roach Sara Whale Rod Wolfe John Woodson*

Scenic Designer Jeff Herrmann

Sound Designer Dan Jankura

Dialect Coach Eva Wielgat Barnes

Assistant Stage Manager Andrew Morton*

There will be one fifteen-minute intermission.

* Members of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Cabaret is presented by arrangement with Tams-Witmark Music Library, Inc., 560 Lexington Avenue, New York, New York 10022

THE CAST

Cabaret

Dramatis Personae

Great Lakes Theater

Master of Ceremonies.................................................................................................Eduardo Placer * Rosie..............................................................................................................................Andrea Leach Lulu ..........................................................................................................................Shannon O’Boyle * Frenchie........................................................................................................................Maggie Roach Texas ................................................................................................................................Jillian Kates * Fritzie..................................................................................................................Bailey Carter Moulse Helga.................................................................................................................................Sara Whale Bobby/Gorilla ..............................................................................................................Danny Henning * Victor/Max/Sailor..............................................................................................Phillip Michael Carroll * Sally Bowles ..................................................................................................................Jodi Dominick * Clifford Bradshaw.......................................................................................................Neil Brookshire * Ernst Ludwig .............................................................................................................Jim Lichtscheidl * Customs Official/Rudy ........................................................................................................Rod Wolfe Herr Schultz...................................................................................................................John Woodson * Fraulein Schneider .......................................................................................................Laura Perrotta * Fraulein Kost ...............................................................................................................Sara M. Bruner * Ensemble.........................................................................................................................Nika Ericson

Orchestra

Scene: Berlin Time: 1930

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Piano/Conductor.................................................................................Matthew Webb, Music Director Clarinet/Tenor Sax.......................................................................................... Bettyjeane Wischmeier Violin..................................................................................................................................Karen Dahl Bass ................................................................................................................................Tracy Rowell Percussion ...............................................................................................................Andrew Pongracz

There will be one fifteen-minute intermission. * Members of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

NIGHTCAP SATURDAYS

Stick around after Saturday (non-opening night) evening performances to enjoy entertainment provided by an eclectic array of local musicians and bands while you mingle with our atistic company in the Hanna’s bar and lounge.

OVERVIEW

Scenes & Musical Numbers

Act I Scene 1 - The Kit Kat Klub Scene 2 – A Railroad Carriage Scene 3 – A Room at Schneider’s Apartment Scene 4 - The Kit Kat Klub Scene 5 - The Kit Kat Klub / Dressing Room Scene 6 – Cliff’s Room Scene 7 - The Kit Kat Klub Scene 8 – Living Room at Schneider’s Apartment / The Kit Kat Klub Scene 9 – Cliff’s Room / The Kit Kat Klub Scene 10 - Living Room at Schneider’s Apartment

Act II Scene 1 - The Kit Kat Klub Scene 2 – Fruit Shop Scene 3 - The Kit Kat Klub Scene 4 – Cliff’s Room / The Kit Kat Klub Scene 5 - The Kit Kat Klub Scene 6 – Cliff’s Room Scene 7 – Railroad Compartment / The Kit Kat Klub

Musical Numbers Act I

Act II Entr'acte.............................................................................................................................................Company Kick Line Number ................................................................................................................The Kit Kat Girls Married (Reprise) ........................................................................................................................Herr Schultz If You Could See Her ...................................................................................................Master of Ceremonies What Would You Do? .......................................................................................................Fraulein Schneider I Don't Care Much.......................................................................................................Master of Ceremonies Cabaret...........................................................................................................................................Sally Bowles Finale..................................................................................................................................................Company

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Be the Star of the Show

Great Lakes Theater

Willkommen...........................................................................Master of Ceremonies and The Kit Kat Klub So What ..............................................................................................................................Fraulein Schneider Don't Tell Mama .....................................................................................Sally Bowles and The Kit Kat Girls Mein Herr ................................................................................................Sally Bowles and The Kit Kat Girls Perfectly Marvelous...............................................................................Clifford Bradshaw and Sally Bowles Two Ladies .....................................................................................Master of Ceremonies, Texas and Bobby It Couldn't Please Me More ......................................................................Fraulein Schneider, Herr Schultz Tomorrow Belongs To Me...........................................................................................Master of Ceremonies Maybe This Time..........................................................................................................................Sally Bowles Money......................................................................................Master of Ceremonies and The Kit Kat Girls Married.................................................................................................Fraulein Schneider and Herr Schultz Tomorrow Belongs To Me (Reprise).......................................Fraulein Kost, Ernst Ludwig and Company

PHOTO: JULIE HAHN/SUGARBUSH DESIGN

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Hanna Theatre September 30– October 29, 2011

Charles Fee Producing Artistic Director

presents

The Taming of the

Shrew

WILLIAM SHAKESPEARE Directed By

Tracy Young Company Kjerstine Rose Anderson* Neil Brookshire* Sara M. Bruner* Phillip Michael Carroll* Aled Davies* Jodi Dominick* Nika Ericson

Reggie Gowland* Danny Henning* Jillian Kates* Andrea Leach Jim Lichtscheidl* Bailey Carter Moulse

Additional Staging by Kjerstine Rose Anderson* Costume Designer Alex Jaeger

Lighting Designer Rick Martin

Shannon O’Boyle* Laura Perrotta* Eduardo Placer* Dudley Swetland* M.A. Taylor* Rod Wolfe John Woodson*

Scenic Designer Michael Locher Sound Designer Peter John Still

Stage Manager Tim Kinzel* There will be one fifteen-minute intermission. * Members of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The Taming of the Shrew

THE CAST Dramatis Personae

Time: Sometime in the 1980s There will be one fifteen-minute intermission.

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Scene: Los Angeles and environs

Great Lakes Theater

Surfer Dude/Grumio, Pertruchio’s personal servant ..........................................................M.A. Taylor * Curtis, Pertruchio’s chief servant at his country house/Coffee Vendor/Cop........Phillip Michael Carroll * Jogger/Servant Phillip/Bridesmaid................................................................................Andrea Leach The Widow ....................................................................................................................Laura Perrotta * Executive/Servant Nicholas/Bridesmaid ..................................................................Shannon O’Boyle * Tourist Dad/Vincentio, rich citizen of Portland and father of Lucentio............................Aled Davies * Tourist Mom/Servant Nathaniel/Bridesmaid....................................................................Jillian Kates * Tourist Kid/Servant Joseph/Bridesmaid .............................................................Bailey Carter Moulse Autograph Hound/Merchant .....................................................................................Dudley Swetland * Map Seller/Waiter/Servant Peter/Haberdasher................................................................Nika Ericson Lucentio, a gentleman of Portland and suitor to Bianca .........................................Reggie Gowland * Tranio, Servant to Lucentio .........................................................................................Neil Brookshire * Baptista Minola, a rich citizen of Hollywood ................................................................John Woodson * Hortensio, a gentleman of Hollywood and suitor to Bianca .......................................Eduardo Placer * Gremio, rich old citizen of Hollywood and suitor to Bianca ...............................................Rod Wolfe Bianca, younger daughter of Baptista .........................................................Kjerstine Rose Anderson * Katherine, elder daughter of Baptista ........................................................................Sara M. Bruner * Biondello, Servant to Lucentio ....................................................................................Danny Henning * Petruchio, a gentleman of Montana and suitor to Katherine ...................................Jim Lichtscheidl * Ivana/Tailor ...................................................................................................................Jodi Dominick *

* Members of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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BACKGROUND Cabaret Director’s Note here was a Cabaret and there was a Masterof-Ceremonies and there was a city called Berlin in a country called Germany and it was the end of the world ... and I was dancing with Sally Bowles and we were both fast asleep. ...” Perception can be a funny thing. We can literally decide what we actually want to see — and what we would prefer to ignore. Cabaret is told through the somewhat cloudy eyes of Clifford Bradshaw, an American writer visiting Berlin in 1930. Those opening lines are actually the last words spoken by Cliff in the musical Cabaret, as he finally opens his eyes to reality and begins to view the horror of the nightmare that has begun. The character of Cliff was based on novelist Christopher Isherwood, who wrote an autobiographical account of the time he spent in Germany from 1929 to 1933 entitled The Berlin Stories, which in turn inspired the John van Druten play, I Am a Camera, the basis for the musical, Cabaret. In the original 1967 version of Cabaret, Cliff sings the haunting ballad, “Why Should I Wake Up?” The song was cut from later versions of Cabaret, making Cliff’s role virtually non-singing. Yet the lyrics, by a masterful Fred Ebb, give us fascinating insight into the mind of our unreliable storyteller. “Why should I wake up, this dream is going so well. When you’re enchanted, why break the spell?” As Cliff immerses himself in the exciting, theatrical, if somewhat tawdry life of the Berlin Cabaret (a metaphor for Weimar Germany), he chooses not to see the changing atmosphere of oppression and prejudice emerging around him. Cliff fights to ignore the early warning signs of the Nazi Party, preferring to remain in a state of mental intoxication. “Drifting in this euphoric state, morning can wait, let it come late.” The questions have often been asked: How could the genocide of World War II have taken place in front of our eyes? Why did the world take so long to recognize the danger of Hitler’s rhetoric and respond to the atrocities being committed by the Nazis? Does history continue to repeat itself? “Why should I wake up? Why waste a drop of the wine? Don’t I adore you, and aren’t you mine?” The visual inspiration for our production of Cabaret comes from the daring painter Georg Grosz, an artist of the Weimar Republic. There is an exuberant, dangerous energy to his work. The vibrant colors leap off the canvas. Yet, within the tit-

“T

About the plays

illating scenes of the wild Berlin nightlife lie images of horrendous violence and murder. Life, as painted by Grosz, is lived on the brink in bold garish colors. The characters in his paintings and in the musical alike turn a blind eye to destruction — even selfdestruction — until it is too late. Cabaret gets at a truth that is often only realized in hindsight — the signs were all there if one wanted to see them. “Maybe I’ll someday be lonely again, but, why should I wake up, till then.” — Victoria Bussert, Director

SYNOPSIS: Cabaret Act One he action opens in the Kit Kat Klub, a decadent, seedy cabaret at the dawn of the 1930’s in Berlin. The Klub’s Master of Ceremonies, or Emcee, together with the cabaret girls, welcomes the audience to the club. The action cuts to a train station downtown, where Clifford Bradshaw, a young American writer coming to Berlin in the hopes of finding inspiration for his new novel, is arriving on the evening train. On the train he meets Ernst Ludwig, an attractive young Berliner who appears to be in the smuggling business. When Cliff inadvertently helps him, Ernst gratefully gives him the name of a likely rooming house in Berlin. Cliff arrives at the boardinghouse, run by Fräulein Schneider, and she rents the room to Cliff for half its usual price. Fräulein Schneider says that she has learned to take whatever life offers. Afterward, Cliff remembers that Ernst mentioned a cabaret — the Kit Kat Klub — and decides to visit it. At the Klub, the Emcee introduces a British singer, Sally Bowles, who performs for the cabaret’s audience. Afterward, she calls Cliff on the table-to-table phone and offers to buy him a drink. Their conversation is cut short by Max, the club’s owner, who watches Sally in a proprietary way. In Sally’s dressing room, Max fires Sally, telling her that the club needs a fresh new face. Cliff turns up at Sally’s door, and they briefly get to know each other before Sally heads back to the stage for her final performance. The next day, Cliff is giving Ernst English lessons when Sally arrives. She tells Cliff that Max has thrown her out and she has no place to live, asking him if she can live in his room. At first he resists, saying she would be “much too distracting,” but she convinces him (and Fräulein Schneider) to take her

räulein Schneider expresses her concerns about her union to Herr Schultz, who assures her that everything will be all right. Their conversation is interrupted by the crash of a brick being thrown through the window of Herr Schultz’s fruit shop. Back at the Kit Kat Klub, the Emcee performs an upbeat song-and-dance routine with a person in a gorilla suit and sings of how their love has been met with universal disapproval. Fräulein Schneider then goes to Cliff and Sally’s room and returns their engagement present, explaining that her marriage has been called off. When Cliff protests, saying that she can’t give her fiancé up, she asks him what other choice she has. Meanwhile, Cliff informs Sally that he is taking her back to his home in America so they can raise the baby together. Though Sally protests, Cliff does not relent and tells her to pack her bags. Following their heated argument, Sally returns to the club to perform again. When Sally returns to her and Cliff’s room, Cliff asks where her fur coat is. She answers, evasive-

The Taming of the Shrew Director’s Note hat, exactly, is this thing we call “marriage”? In our current cultural climate, there is much heated debate about who should be given the right to be married, but there is less cultural discourse about the nature and the dynamic of marriage itself. People are getting married all around us (we ourselves may also have tied the knot), and yet, how much do we really know about the couples we observe? The marriages we think are happy, or the ones we see as troubled? Do we really know what’s going on behind the closed doors of an intimate relationship? Even our own? Some argue passionately that marriage should exist only between a man and a woman, and yet, what exactly is a man or a woman? Beyond simple biology, what constitutes a man or a woman involves the adapting of and conforming to the expected gender roles of any given society. We are not born with an innate sense of these rules of behavior, we are taught them over time. Some cultures have elaborate rituals around the initiation of a child into the arena of manhood or womanhood. Gender identity is a learned behavior based on a culture’s expectations and beliefs about what that means. Ideas about gender identity were very different in Shakespeare’s time than they are in our modernday world, and yet, part of Shakespeare’s brilliance is reflected through his penetrating insights into the nature of human beings and the ways that basic nature is expressed through the prism of gender. In The Taming of the Shrew, he has created two fascinating characters in Katharine and Petruchio, who are equally matched in intelligence, humor and vitality, and yet who are seemingly at odds throughout the play because of the cultural expectations of their gender. Throughout the play, we watch as Petruchio sets about “taming” Katharine by continually and, to an ever more absurd degree, asserting his status as “the man of the house.” We watch as Katharine rages against Petruchio’s dominance of her and against the expectations society has thrust upon her as a member of the “fairer sex.” Then, in the final moments of the play, Kate deliv-

greatlakestheater.org

Act Two

ly, that she left it at the doctor’s. Cliff realizes that Sally has had an abortion. Sally, devastated, says that she had hoped their relationship wouldn’t end like this. Cliff says that he is leaving for Paris in the morning, hoping that she will join him. But Sally says that she’s “always hated Paris.” Cliff leaves, heartbroken. As Cliff rides the train to Paris, he begins to write his novel, reflecting on his experiences at the Kit Kat Klub and with Sally.

Great Lakes Theater

in. Directly after this scene, the Emcee and two female companions sing a song that comments on Cliff and Sally’s unusual living conditions. The action moves to Fräulein Schneider’s apartment. Herr Schultz, an elderly Jewish shop owner who lives in the boardinghouse, has given Fräulein Schneider a pineapple as a gift. This scene is the beginning of a romance. Months later, Sally and Cliff have been living together. Sally reveals that she is pregnant, but she does not know with whose child. She reluctantly decides to get an abortion. Cliff convinces her to have the baby. Ernst then offers Cliff a job — delivering a suitcase to his “client” — which Cliff accepts. The Emcee and the cabaret girls comment on this with a song. Meanwhile, Fräulein Schneider has caught one of her boarders, Fräulein Kost, bringing sailors into her room. Fräulein Schneider forbids her from doing it, but Fräulein Kost threatens to leave. She mentions that she has seen Fräulein Schneider with Herr Schultz in her room. Herr Schultz saves Frau Schneider’s reputation by declaring their engagement. The next scene is Fräulein Schneider and Herr Schultz’s engagement party, at Herr Schultz’s shop. Cliff arrives and delivers the suitcase to Ernst. Looking for revenge on Fräulein Schneider, Fräulein Kost tells Ernst, who now sports a Nazi armband, that Herr Schultz is a Jew. Ernst warns Fräulein Schneider that marrying a Jew may not be wise.

ers a highly controversial speech that, when taken at face value, appears to sublimate all of womankind under the foot of male supremacy. What does this mean? Has Katharine really been tamed? Does she really mean the words sheâ&#x20AC;&#x2122;s saying, or is it all a ruse at the expense of Petruchio and the other men? The debate rages on. Still, at the heart of Shrew is that married couple, who are full of complexity and mystery. We will never know what really goes on between Petruchio and Kate in their private world. We only have Shakespeareâ&#x20AC;&#x2122;s keen humor and provocative observations to pique our imaginations and invite us to ponder not only what constitutes a marriage but also who we are, whether men or women, and who we choose to be in the world. Iâ&#x20AC;&#x2122;d like to dedicate my participation in this production to my fiancĂŠ, Michael John Hansen. â&#x20AC;&#x201D; Tracy Young, Director

SYNOPSIS: The Taming of the Shrew aptista, a wealthy merchant of Padua, has two daughters: Katherina and Bianca. Because of Katherinaâ&#x20AC;&#x2122;s shrewish disposition, her father has declared that no one shall wed Bianca until Katherina has been married. Lucentio of Pisa, one of many suitors to the younger and kinder Bianca, devises a

scheme in which he and Tranio (his servant) will switch clothes, and thus disguised, Lucentio will offer his services as a tutor for Bianca in order to get closer to her. At this point, enter Petruchio of Verona, in Padua to visit his friend Hortensio (another suitor to Bianca). Attracted by Katherinaâ&#x20AC;&#x2122;s large dowry, Petruchio resolves to woo her. To the surprise of everyone, Petruchio claims that he finds Katherina charming and pleasant. A marriage is arranged, and Petruchio immediately sets out to tame Katherina through a series of increasingly worse tricks. This involves everything from showing up late to his own wedding to constant contradictions of whatever she says. After many trying days and nights, an exhausted Katherina is indeed â&#x20AC;&#x153;tamedâ&#x20AC;? into docility. By the end of the play, Lucentio has won Biancaâ&#x20AC;&#x2122;s heart and Hortensio settles for a rich widow in Padua. During an evening feast for Bianca and Lucentio, Petruchio makes and wins a wager in which he proposes that he has the most obedient wife of all the men there, at which point Katherina gives Bianca a lecture on how to be a good and loving wife herself. â&#x20AC;&#x201D; Reprinted from the Shakespeare Resource Center online at www.bardweb.net

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“There was a star danced, and under that was I born.” –William Shakespeare, Much Ado About Nothing, II, i

Forever Young Celebrating 50 Seasons of Great classic theater

At a time when the average lifespan of an American theater is seven years, Great Lakes Theater has thrived for fifty. The theater’s enduring legacy is a testimony to the aspirations and commitments of countless people—artists, administrators, educators, and community members—who have made contributions large and small to the success of a theater dedicated to the classics that has perched for five decades on the edge of America’s north coast. On the following pages, in a symbolic gesture to the tens of thousands of people who have helped to shape our company, we are proud to honor “Fifty Stars” - individuals and organizations whose contributions to the theater have shone the brightest over the course of our history. Every one of the “Stars” on our list represents at least another fifty that also deserve our gratitude. On this occasion, we are proud to thank all of the individuals that have given generously of their time, shared their talent, provided support or bought a ticket to a Great Lakes Theater performance over the past half century. We’re extremely grateful and we look forward to the next exciting fifty years!

DID YOU KNOW? .UDQ SGD O@RS UD CDB@CDR We have connected over 4 million adults and students to the classics. Over 9,000 artists and artisans have been employed by Great Lakes Theater. We have staged over 300 productions. Over 2,000 generous members of the northeast Ohio community have served on our company’s Board of Trustees. Our School Residency Program has had a presence in northern Ohio schools for 30 consecutive years – and, today, impacts the lives of 16,000 students in 100 schools annually. Our annual operating budget has grown from $50K in 1962 to $3.6M today.

our Fifty stars A Lasting Legacy In 1961, president of the Lakewood school board Dorothy Teare sought a tenant to ﬁll the high school’s vacant auditorium. She read of the departure of theater director Arthur Lithgow from Stan Hywet Hall and the cancellation of his summer season, and contacted him. A deal was proposed: in exchange for providing the auditorium rent free, Lithgow’s company would perform matinees of William Shakespeare plays for students at no charge. Teare became president of the Great Lakes Shakespeare Association, and Lithgow the company’s ﬁrst artistic director.

became GLSF’s ﬁrst full-time year-round employee and in 1974 brought Bill Rudman to intern at Great Lakes. He would become instrumental in the development of the education program, expanding the in-school residency program, helping launch the theater’s adult education program and in 1997 drafting the company’s mission statement. In 1975, Carra’s ﬁnal season, Great Lakes’ budget of $300,000 was six times the inaugural one, and included grants from The George Gund Foundation, the Festival’s largest long-term educational supporter.

Georgia Nielsen, first president of the volunteer Women’s Committee, coordinated many of that group’s start-up details, including ticket sales, sewing costumes and constructing stage armor. That first season Audrey Watts was in charge of housing and would go on to launch the Festival’s first Fashion Show, a fundraiser which ensured the undertaking of a second season. She chaired the Women’s Committee and numerous benefits, and was instrumental in conceiving the Festival’s annual London Tour.

In 1976 Vincent Dowling, former deputy director of his native Dublin’s Abbey Theatre, was named Great Lakes’ third artistic director following a search led by board president Marilyn E. Brentlinger. A trustee for 43 years, Brentlinger co-wrote a best practices book on producing not-for-profit benefits which became an industry standard. Her Festival participation was always a family affair: her children played onstage extras, volunteered in the box office, and her husband Paul’s support is ongoing.

Yet were it not for banker Carl Dryer, it is unlikely the company would have survived. Dragged to a history play by his wife in the inaugural season, he was hooked, and agreed to become chairman of ﬁnance. Dryer brought in Ernst & Whinney accountants, got early loans forgiven, and connected the Festival with The Cleveland Foundation, one of Great Lakes’ most signiﬁcant supporters to this day. Lithgow departed in 1965. Lindsay Morgenthaler, a trustee who joined Great Lakes in 1963 and a key player in cultivating community support for the company, brought a professor of drama from Carnegie Tech to Great Lakes as its second artistic director: Lawrence Carra. Carra broke Festival tradition of performing Shakespeare in Elizabethan style by producing a contemporary Hamlet in 1968 informed by the shooting of Robert Kennedy. The production mesmerized a drama instructor at St. Joseph Academy, Mary Bill. Bill joined Great Lakes part-time, crafting grants to underwrite youth tickets. In the tradition of these efforts, Eaton Corporation continues corporate support for this cause, as well as provides ongoing trustee representation on the Festival’s board. In 1970 Bill was granted funding by The Martha Holden Jennings Foundation, a dedicated supporter, to expand the education program. She

In 1977 Dowling encouraged Tom Hanks to join Great Lakes as an intern. Hanks worked three seasons at the Festival, building sets, hanging lights, and acting on stage. It was at Great Lakes that he earned his Actors’ Equity card. Since making his mark in Hollywood, he has thrice returned to support Great Lakes and dazzle audiences. In 1982, Dowling’s The Playboy of the Western World was taped by PBS and won a local Emmy Award. Its scenic design was by John Ezell, who joined Great Lakes in 1976, later becoming Associate Artistic Director. Ezell designed award-winning sets at the Festival for decades, collaborating with every subsequent artistic director. The Festival was outgrowing its Lakewood home, and in 1980 board president Natalie Epstein, a passionate theater lover who joined Great Lakes in 1977, took a tour of the vacant PlayhouseSquare theaters. Standing on the stage of the dilapidated Ohio Theatre, she fell in love with it. She and Mary Bill teamed up to obtain funding for a renovation, and on July 9, 1982, Great Lakes opened its new home with its inaugural play, As You Like It. After Dowling’s departure, the Festival named Lorain, Ohio native Gerald Freedman its fourth artistic director in 1985. With New York credits including the artistic directorship of the

New York Shakespeare Festival, Freedman brought celebrated actors such as Olympia Dukakis, Hal Holbrook, and Jean Stapleton to Cleveland. Several landmark education programs were launched during these years, including community Surrounds, notably “Festival Fantastico!” in 1988, co-produced by Bill Rudman and Margaret Lynch. Lynch served as an usher in the 1960s, worked in the costume shop in the ‘70s, and later became Great Lakes’ dramaturge, writing program notes, lobby exhibit materials, the company’s exemplary 25th Anniversary history (to which much material from this narrative is indebted), and eventually directing adult education programming. In 1985 Great Lakes Shakespeare Festival was renamed Great Lakes Theater Festival to reflect the broader body of work produced, and rotating repertory yielded to performance in stock. In 1991 the production calendar was changed from summer to September-May. To help manage this momentous undertaking, Anne DesRosiers was hired as Managing Director, a position she held through 1998. DesRosiers’ strong fiscal sense helped the Festival through some challenging times, with no shortage of artistic, educational, and financial accomplishments along the way. Offstage, several key board members who would play an essential role in the success of the Festival emerged during the Freedman era. John Collinson joined GLTF in 1981, and in the ’90s put together a bank consortium to have Great Lakes’ debt forgiven. William E. MacDonald III came aboard in 1990 and served for nearly two decades. Retired Vice-Chairman of National City Corporation, a longtime major sponsor of the Festival’s work, MacDonald chaired Great Lakes’ committee on trustees and mentored numerous board members. Ellen Stirn Mavec, president of the Kelvin and Eleanor Smith Foundation, joined GLTF in 1986. Her long-term support, including significant support of the Hanna Theatre capital campaign, have been instrumental in the company’s success. Michael J. Peterman, a trustee since 1992, has shared his real estate expertise as Executive Vice President of North Pointe Realty on all property and leasing issues facing the Festival. James O. Roberts joined Great Lakes in 1984. When business obligations prevented his continued participation, his wife Georgianna T. Roberts stepped in, filling his vacancy. Jim was able to return in 1997, and both husband and wife served together as trustees. Their partnership, in personal life and in their relationship with Great Lakes, embodied love of life, love of the arts, and love of education. John D. Schubert, an art and literature aficionado, has been a trustee since 1979. He has provided steady, constant support of the company for over three decades. Laura Siegal first joined Great

Lakes in 1989, and along with her husband Alvin Siegal, have been staunch Festival supporters. The Siegals are passionate about education and theatre, are deeply committed to the production of professional Shakespeare and exposing students to the classics. Ernst & Young Partners have long played important roles at Great Lakes. John E. Katzenmeyer, Thomas G. Stafford, and Robrt D. Neary are among them. A retired E&Y Partner, Katzenmeyer’s watchful fiscal eye and generous support of Great Lakes since he first joined the Festival in 1974 have seen the theater through many tough times. His good humor, personal generosity, love of the classics and deep support of education make him a treasured trustee. Stafford, also a retired Partner at E&Y, joined Great Lakes in 1977. He memorably signed Tom Hanks’ first Equity paycheck, recalling it to be “somewhere in the mid-two figure range.” Neary, a trustee since 1995, is a retired Co-Chairman of E&Y. He was brought to the board by his wife Janet E. Neary, whose commitment to Great Lakes began in 1987. Bob’s strong financial oversight and his leadership in inaugurating the company’s Legacy Society have proven invaluable. Janet’s strategic behind-the-scenes work on the Hanna Theatre campaign exemplifies her continued guidance and commitment. As a couple, the Neary’s dedication to the company’s mission, and their generosity on every level makes them one of the primary forces behind Great Lakes’ success. Victoria Bussert was hired by Freedman in 1985 as his assistant director, and made her GLTF directing debut in 1988. She served as Freedman’s Associate Director through 1997 and is presently Resident Director. Bussert has become the region’s premiere director of musical theater. She has directed 32 productions at Great Lakes, including staging Freedman’s adaptation of A Christmas Carol a dozen times and working with numerous actors of great talent, including the Festival’s inaugural Ebenezer Scrooge and Jacob Marley: William Leach and John Buck, Jr. Leach portrayed Scrooge in the first seven productions of A Christmas Carol. Capturing the true spirit of transformation, his onstage gifts were apparent to all fortunate enough to be in his audience. Leach’s acting partner in the famous Ghost of Marley scene was John Buck, who portrayed the fettered spirit fifteen times from 1989 through 2003. Buck’s acting gifts are many, but among them are his precision as an actor, his presence in the moment and his masterful vocal tone. In 1989, Mark Cytron joined Great Lakes as a carpenter. He worked his way up the backstage ranks to become Great Lakes’ Technical Director, a position he also holds at the Idaho Shakespeare

Festival (ISF) and Lake Tahoe Shakespeare Festival (LTSF). In 1996, Christopher Flinchum was hired as assistant stage manager, later promoted to Production Stage Manager, and is now the Festival’s Production Manager, overseeing all elements of production for Great Lakes as well as ISF and LTSF. After Freedman’s 1997 departure, Bussert and Ezell served as the Festival’s Co-Artistic Directors in 1997-98, and in time for the following season the board hired Great Lakes’ fifth artistic director, James Bundy. Bundy broadened the Festival’s aesthetic and cultural definitions of classic, embracing diversity onstage and off, and initiated discussions with the board and PlayhouseSquare about moving Great Lakes to the Hanna Theatre. Programming in this period featured Shakespeare and musicals, included contemporary adaptations of J.M. Barrie’s Peter Pan and Henrik Ibsen’s The Wild Duck, and promoted newer works with classic structures and themes such as Thunder Knocking on the Door, From the Mississippi Delta, and the musical Lone Star Love. In 2001 Bundy promoted Daniel Hahn to the position of Education Director. Hahn’s love of the company’s rich history and his personal dedication to Great Lakes’ mission began in 1995 as an actor-teacher in the school residency program under Kenn McLaughlin. Four years later, Todd S. Krispinsky was hired as Outreach Tour stage manager and made himself indispensable to GLTF, wearing many hats while rising through the ranks. In 2005 Krispinsky became the Festival’s Director of Marketing and Communications, overseeing double-digit sales increases and garnering national coverage in American Theatre magazine and The Wall Street Journal. The 2001 season began under the leadership of new board president David P. Porter, who joined Great Lakes in 1998. Bundy had accepted the position of Dean of the Yale School of Drama, and the search for a new artistic director was underway. Porter’s governance during this era of transition and financial challenge, as well as his personal generosity and dedication to the Festival’s artistic and educational core values, helped sustain Great Lakes at a time of uncertainty. In the spring of 2002, the Festival landed Charles Fee to helm Great Lakes. Producing Artistic Director of ISF, Fee brought a wealth of experience producing and directing the classics, as well as leading a successful capital campaign for the Boise theatre. With Great Lakes’ working capital funds exhausted, an accumulated deficit looming and merger talks with the Cleveland Play House

in progress, Fee immediately inserted a second Shakespeare play into GLTF’s schedule: his A Midsummer Night’s Dream, originally conceived in Boise. Great Lakes’ future production model had begun: creatively sharing work between companies led by Fee, which now include ISF and LTSF. Fee’s production of Midsummer saw the Festival debut of Cleveland favorite Andrew May, who would continue for eight seasons at GLTF, acting in 17 productions, directing, and serving as Associate Artistic Director. That same year, Heather Sherwin joined Great Lakes as Director of Development, helping to set the company on secure financial footing, and then serving as chief strategist and manager of the Hanna Theatre campaign. Working closely with Sherwin was trustee Robyn Barrie, who joined the board in 1998. Time and again Barrie has chaired annual benefits and worked tirelessly to ensure goals were achieved and fun was had by all. The culmination of Great Lakes’ capital campaign, chaired by Timothy K. Pistell, a trustee since 1997, came in 2008 with the opening of the completely reimagined Hanna Theatre. As Executive VP & CFO of Parker Hannifin Corporation, Pistell drew significant corporate and individual support, resulting in a campaign that exceeded its goal. Featuring the Parker Hannifin hydraulic thrust stage, the Hanna retains all of its historical legacy while enjoying the most modern theatrical amenities. In partnership with PlayhouseSquare under the leadership of President and CEO Art Falco, whose unwavering support and advocacy for the project was instrumental, the Festival’s historic move into its new home is the culmination of an extraordinary team effort. A key player on that team is Bob Taylor, who joined Great Lakes in December 2000 as Development Manager, was promoted to Director of Administration in 2001, and named Executive Director in 2003, a position he also holds at LTSF. Along with Fee, Taylor has led the financial turnaround of the company and the move into the Hanna Theatre. As Fee embarks upon his tenth season as Producing Artistic Director and Great Lakes Theater honors the 50 Stars whose dedication make this celebration possible, we save the final distinction for you: The Great Lakes Theater Audience. Over 4 million adults and students taking in over 300 productions spanning five decades have made this journey a reality. Thank you for your continued support, and here’s to the next fifty years! Daniel Hahn, Director of Education

our production history Five Decades of the Classics 1962 As You Like It Richard II Othello Henry IV, Part I Henry IV, Part II The Merchant of Venice 1963 The Comedy of Errors Romeo and Juliet The Merry Wives of Windsor Henry V Julius Caesar Measure for Measure 1964 The Taming of the Shrew Hamlet Much Ado About Nothing Henry VI Richard III Antony and Cleopatra 1965 Macbeth The Rivals A Midsummer Night’s Dream The School for Wives + Marriage Proposal Henry VI Coriolanus 1966 Twelfth Night She Stoops to Conquer King Lear The Importance of Being Earnest A Winter’s Tale 1967 Romeo and Juliet Love’s Labour’s Lost Cyrano de Bergerac Misalliance All’s Well That Ends Well 1968 The Tempest Hamlet Cymbeline Arms and the Man The Beaux’ Stratagem 1969 The Would-Be Gentleman As You Like It Macbeth Candida Troilus and Cressida

1970 The Merchant of Venice R.U.R. (Rossom’s Universal Robots) Julius Caesar Volpone The Comedy of Errors 1971 Othello You Never Can Tell The Taming of the Shrew Godspell Henry IV, Part I 1972 The Merry Wives of Windsor The Beggar’s Opera Richard III The Marowitz Hamlet Electra 1973 Twelfth Night 3@QSTÈD A Midsummer Night’s Dream Much Ado About Nothing The Italian Straw Hat 1974 King Lear The Playboy of the Western World Measure for Measure Under the Gaslight The Comedy of Errors 1975 As You Like It The Miser Our Town Celebration of Mime Theater The Frogs A Winter’s Tale 1976 The Tempest Dear Liar Ah, Wilderness! The Devil’s Disciple Romeo and Juliet 1977 Hamlet Peg O’My Heart In a Fine Frenzy The Glass Menagerie The Importance of Being Oscar The Taming of the Shrew

1978 Polly The Two Gentlemen of Verona What Every Woman Knows The Wild Oats The Nine Days Wonder of Will Kemp King John 1979 Twelfth Night Juno and the PayCock Clarence Do Me a Favorite Blithe Spirit Othello 1980 Henry IV, Part I Charlie’s Aunt My Lady Luck Hughie The Boor The Comedy of Errors Titus Andronicus 1981 The Matchmaker Streetsongs King Lear A Doll’s House Much Ado About Nothing My Lady Luck 1982 As You Like It The Playboy of the Western World Piaf: La Vie L’Amour! The Life and Adventures of Nicholas Nickleby A Child’s Christmas in Wales 1983 The Merry Wives of Windsor Blanco! Waiting for Godot Henry V The Island The Dark Lady of the Sonnets W.S. The Life and Adventures of Nicholas Nickleby A Child’s Christmas in Wales 1984 The Taming of the Shrew She Stoops to Conquer Our Town Alcestis and Apollo Jeeves Takes Charge Peg O’My Heart A Midsummer Night’s Dream

1985 Twelfth Night The Skin of our Teeth Miss Margarida’s Way 3@QSTÈD The Game of Love Open Admissions Take One Step! 1986 Arsenic and Old Lace Ghosts Barbara Cook in Concert 3GD 2GNV .È Macbeth 1987 The Boys from Syracuse Broadway The Regard of Flight Romeo and Juliet Hedda Gabler Absent Forever Up From Paradise 1988 Love’s Labour’s Lost Man and Superman Lady Day at Emerson’s Bar and Grill A Doll’s House Blood Wedding 1989 Hamlet Grandma Moses: An American Primitive The Threepenny Opera The Seagull A Christmas Carol 1990 King Lear A Delicate Balance The Lady from Maxim’s La Ronde Dividing the Estate A Christmas Carol 1991-92 Coming Home Uncle Vanya Paul Robeson A Christmas Carol Ohio State Murders Mother Courage An Intimate Evening with Dixie Carter 1992-93 Cyrano de Bergerac Rough Crossing A Christmas Carol Now Playing Center School for Wives Othello Sisters, Wives, and Daughters: Portraits of Shakespeare’s Women

1993-94 The Cherry Orchard A Christmas Carol Noel and Gertie The Taming of the Shrew Death of a Salesman 1994-95 Shakespeare for my Father A Midsummer Night’s Dream A Christmas Carol The School for Wives The Bakkhai 1995-96 School for Scandal A Christmas Carol As You Like It The Dybbuk Blithe Spirit 1996-97 She Loves Me A Christmas Carol Antony and Cleopatra What the Butler Saw The Glass Menagerie 1997-98 The Tempest A Christmas Carol Fallen Angels The Most Happy Fella Who’s Afraid of Virginia Woolf 1998-99 Richard III A Christmas Carol A Little Night Music A Raisin in the Sun The Beauty Queen of Leenane 1999-2000 Thunder Knocking on the Door A Christmas Carol The Wild Duck Twelfth Night Travels With My Aunt 2000-01 Macbeth A Christmas Carol Gypsy From the Missippi Delta Peter Pan 2001-02 Lone Star Love, or The Merry Wives of Windsor, Texas A Christmas Carol ...Love, Langston A Moon for the Misbegotten Romeo and Juliet 2002-03 Much Ado About Nothing A Christmas Carol Anything Goes Arms and the Man A Midsummer Night’s Dream

2003-04 Hamlet 3@QSTÈD A Christmas Carol Private Lives Nickel and Dimed: On (Not) Getting By in America 2004 The Taming of the Shrew The Complete Works of William Shakespeare (Abridged) The Importance of Being Earnest Julius Caesar A Christmas Carol 2005 As You Like It A Christmas Carol 2006-07 A Funny Thing Happened on the Way to the Forum Love’s Labour’s Lost A Christmas Carol Hay Fever The Tempest 2007-08 Arsenic and Old Lace Measure for Measure A Christmas Carol The Crucible All’s Well That Ends Well 2008-09 Macbeth Into the Woods A Christmas Carol The Comedy of Errors The Seagull 2009-10 The Mystery of Edwin Drood Twelfth Night Tom Hanks at the Hanna A Christmas Carol Bat Boy: The Musical A Midsummer Night’s Dream John Lithgow: Stories By Heart 2010-11 Othello An Ideal Husband A Christmas Carol The Complete Works of William Shakespeare (Abridged) The Two Gentlemen of Verona 2011-12 Cabaret The Taming of the Shrew A Christmas Carol The Mousetrap Romeo and Juliet Sondheim on Sondheim

50th anniversary angels Thanks and Many Thanks

The following generous supporters gave a special 50th anniversary gift. Anonymous Bonnie & Chuck Abbey Jeanette S. Barclay Robyn & David Barrie Fred & Mary Behm John & Jeannene Bertosa Bernice A. Bolek Stanley Brandt & Mary Whitmer Richard & Mary Ann Brockett Marilyn Callaly Mr. & Mrs. Frank Cercone John & Donna Clifford Kathleen Cooper David & Gayle Cratty Marilyn P. Demeter Carol Dolan & Greggory Hill Dr. & Mrs. Michael Eppig Gene & Patricia Ewald Mr. & Mrs. David Forte Deborah A. Geier Janet & Patricia Glaeser Virginia T. Goetz Ms. Roe Green Brenda and Jonathan Henry Tom & Luz Higgason Clyde A. Horn Robert & Linda Jenkins Kenneth Karosy Lauren Kawentel Bob & Nanci Kirkpatrick Ronald Kollar

Eleanor & Stephen Kushnick Sheryl & Thomas Love Mr. & Mrs. Donald J. Mayer Ms. Linda McGinty, Lois Weller, Cheryl Warner and Joan Riha Stephen & Donna Miller David & Leslee Miraldi Mr. & Mrs. Robert D. Neary Mr. & Mrs. Robert Oshinsky Lee & Maria Parks Mr. and Mrs. Petras Mr. and Mrs. John S. Piety Mr. and Mrs. Harry Pollock John & Norine Prim Larry & Susan Rakow Mr. & Mrs. Clifford A. Reeves Jr. Mario Sinicariello & Ellen Roberts Otmar & Rota Sackerlotzky Dina & Richard Schoonmaker Bryan Schwegler & Adam Nolley Mr. & Mrs. David K. Siegel Edward W. & Donna Rae Smith William E. Spatz Kathlyn & Harry Stenzel Dan and Robin Sullivan Mary E. Thomas Elizabeth Twohig Carol Lee Vella Dr. and Mrs. Leslie Webster Mr. & Mrs. John H. Weitz John & Dianne Young

A MESSAGE

Producing Artistic Director

Friends,

n behalf of our artists, staff, and Board of Trustees, welcome to Great Lakes Theater’s 50th Anniversary Season!

“It all started with an empty auditorium and a group of concerned citizens. The hall was fastened to the public high school in suburban Lakewood. The citizens were members of the Lakewood Board of Education who wanted to fill the auditorium during the summer months with cultural offerings. The year was 1961 when Lakewood Board of Education president Dorothy Teare persuaded a peripatetic Shakespeare troupe to make Lakewood Civic Auditorium its home.”

On January 7th, we will celebrate in grand style at the Great Lakes Theater 50th Anniversary Gala, being held at the InterContinental Hotel. We hope that you will join us for a “Twelfth Night” themed evening of revels, memories and surprises honoring our history and celebrating our future! At the center of our celebrations this year, we are creating our most expansive programming in decades – a six play season of great works performed by a company of stellar artists who define our work onstage and in the community year round. Running from September through July, the season features two of Shakespeare’s most captivating plays, The Taming of the Shrew and Romeo and Juliet; an iconic murder mystery by the Queen of Crime herself, Agatha Christie’s The Mousetrap; our traditional holiday offering by Mr. Dickens, A Christmas Carol; and a pair of musicals – one, a daring classic, Cabaret and the other, the newest work by America’s greatest composer for the theatre, Sondheim on Sondheim.

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Over the course of this golden anniversary season we will take many opportunities to recognize and honor the extraordinary contributions made by individuals and organizations over the past five decades of Great Lakes Theater. In a symbolic gesture to the thousands of people who have shaped our company, we will honor “Fifty Stars” who contributions have shone the brightest over our history. We began in July by featuring the name of each honoree for a full week on the marquee of the Hanna Theatre. Completing the 52 weeks of shining stars will be the names of William Shakespeare and Charles Dickens – in recognition of the significant role their works continue to play in the life of our company.

Great Lakes Theater

Thus began the 50-year history of Great Lakes Theater under the visionary leadership of Dorothy Teare, and our first Artistic Director, Arthur Lithgow. In the succeeding decades, fortune has shined on our company through a succession of extraordinary leaders, dedicated board members, and a community of support undaunted by the challenges of creating and sustaining the artistic and educational mission of “Cleveland’s Classic Company.” We are thrilled to begin our 50th season in as strong a position as we have ever been – both financially and artistically!

We hope you will join us many times this season in celebration of the rich legacy of Great Lakes Theater’s commitment to the classics, the city of Cleveland, and our fifty year history as one of the region’s most vital providers of educational programming! I look forward to seeing you in our audience throughout this exciting season.

Sincerely,

25 Charles Fee, Producing Artistic Director

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WHO’S WHO ACTING COMPANY

Sara M. Bruner* Fraulein Kost in Cabaret and Katherine in The Taming of the Shrew Eight seasons at Great Lakes Theater

Phillip Michael Carroll* Victor/Max/Sailor in Cabaret and Curtis/Coffee Vendor/Cop in The Taming of the Shrew Three seasons at Great Lakes Theater Phillip Michael Carroll is thrilled to be returning to the Hanna stage, having been a member of the inaugural productions of Into the Woods and Macbeth. Other credits include Amadeus, As You Like It, A Midsummer Night’s Dream and A Christmas Carol (Great Lakes Theater); Brooklyn: the Musical (14th Street Theatre); Hair, Bat Boy: the Musical and West Side Story (Cain Park); Passion and Moby Dick: the Musical (Beck Center for the Arts). Aled Davies* Vincentio in The Taming of the Shrew Eleven seasons at Great Lakes Theater Previously for GLT: Scrooge/ Samuels in A Christmas Carol, Duke

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Neil Brookshire* Clifford Bradshaw in Cabaret and Tranio in The Taming of the Shrew Three seasons at Great Lakes Theater Great Lakes Theater: Valentine, The Two Gentlemen of Verona and Moth, Love’s Labour’s Lost. Idaho Shakespeare Festival: Valentine in The Two Gentlemen of Verona, Cliff in Cabaret; Tranio in The Taming of the Shrew, Stephen in Major Barbara, Edgar in King Lear, Orlando in As You Like It, Witch in Macbeth and others. He has also worked with Boise Contemporary Theater: Miles, The Drawer Boy; Dr. Seward, Dracula and Bartley, The Cripple of Inishmaan; as well as Company of Fools (Idaho), Idaho Dance Theatre, Opera Idaho and Seattle Novyi Theatre. He has an MFA in acting from Northern Illinois University, and is the founder of Dirt Hills Productions, a website featuring audio dramas and documentaries.

Sara is pleased to return to Cleveland to Great Lakes Theater, where she has appeared as a musician in The Two Gentlemen of Verona, Desdemona in Othello, Drood in The Mystery of Edwin Drood, Viola in Twelfth Night, Masha in The Seagull, a Witch in Macbeth, Abigail in The Crucible, Ariel in The Tempest, Raina in Arms and the Man, Ophelia in Hamlet, Marianne in Tartuffe, Helena in A Midsummer Night’s Dream and Sorel in Hay Fever. She has spent 15 years at the Idaho Shakespeare Festival. Favorite roles include Juliet in Romeo and Juliet, Audrey in Little Shop of Horrors, Percy in The Spitfire Grill, Kate Hardcastle in She Stoops to Conquer, Julia in The Two Gentlemen of Verona, the Courtesan in The Comedy of Errors, Cecily in The Importance of Being Earnest, Zerbinetta in Scapin and Rosalind in As You Like It. She has also adapted and directed multiple shows for ISF’s educational outreach program. Her most recent production was Twelfth Night. Sara has performed with The Repertory Theatre of St. Louis, Boise Contemporary Theater and Drop Dance Collective and served as assistant director to Charles Fee, Risa Brainin and Victoria Bussert.

Great Lakes Theater

Kjerstine Rose Anderson* Bianca in The Taming of the Shrew Great Lakes Theater debut First season with Great Lakes Theater. Four seasons with the Oregon Shakespeare Festival: Helena in All’s Well That Ends Well, Clarice in The Servant of Two Masters, Helena in A Midsummer Night’s Dream, Natalie in Distracted, Sugarsop in The Taming of the Shrew and Liberty in an adaptation of The Comedy of Errors. Other credits include Elinor in Sense and Sensibility (Book-It Rep), Calpurnia in Julius Caesar (Freehold Engaged Theater Tour), Maria in Twelfth Night (New Theater House), Beatrice in The Changeling (Black Swan Project) and Lula in The Dutchman (Black Swan Project). She holds a BFA in acting from Cornish College of the Arts, and is a member of Actors’ Equity.

The Company

of Milan in The Two Gentlemen of Verona, Brabantio in Othello, The Earl of Caversham in An Ideal Husband, Sheriff Reynolds in Bat Boy: The Musical, Oberon/Theseus in A Midsummer Night’s Dream, Your Chairman in The Mystery of Edwin Drood and Sea Captain/Priest in Twelfth Night. Duncan/Siward in Macbeth, Solinus/Dr. Pinch in The Comedy of Errors, Dorn in The Seagull, Deputy Governor Danforth in The Crucible, King of France in All’s Well That Ends Well, Mr. Witherspoon in Arsenic and Old Lace, Escalus in Measure for Measure, Prospero in The Tempest, David Bliss in Hay Fever, Senex in A Funny Thing Happened on the Way to the Forum, Boyet in Love’s Labour’s Lost, Lady Bracknell in The Importance of Being Earnest, Julius Caesar in Julius Caesar, Claudius in Hamlet, Cleante in Tartuffe, Oberon/Theseus in A Midsummer Night’s Dream, Leonato in Much Ado About Nothing, Buckingham in Richard III and Topper in A Christmas Carol. Aled has been a proud and appreciative member of Actors’ Equity Association since 1984. Go Browns!

Jodi Dominick* Sally Bowles in Cabaret and Ivana/Tailor in The Taming of the Shrew Five seasons at Great Lakes Theater Jodi’s previous roles include The Baker’s Wife in Into the Woods, Lady MacDuff in Macbeth, Olivia in Twelfth Night, Helena Landless in The Mystery of Edwin Drood, Lady Chiltern in An Ideal Husband, Bianca in Othello and Lucetta/Outlaw in Two Gentlemen of Verona. Other credits include Diana in I Love You Because at PlayhouseSquare; Helen/Frances/Bad Perm, The Break Up Notebook at The Beck Center for the Arts, New World Stages (NYC) and Hudson Backstage Theatre (LA); Clara, Passion at The Beck Center for the Arts; Woman 1 and 2, I Love You, You’re Perfect, Now Change at The Hanna Theatre, PlayhouseSquare; Debtor’s Wife, A Christmas Carol, Great Lakes Theater; and Gypsy at Great Lakes Theater, The Repertory Theatre of St. Louis and The Cincinnati Playhouse in the Park. Other shows include Lovelace: A Rock Opera, The Hayworth Theatre (LA); Violet and Bye Bye Birdie, Cain Park; and Closer, Dobama Theatre. Jodi is a graduate of Baldwin-Wallace College Conservatory of Music and proud member of AEA.

Nika Ericson Ensemble in Cabaret and Map Seller/Waiter/Servant Peter /Haberdasher in Taming of the Shrew Two seasons at Great Lakes Theater Nika is thrilled to be coming back for the second time to the Great Lakes Theater. She has worked in and around Chicago with such theaters as Writer’s Theatre, Babes with Blades, First Folio Theatre and Stage Left. Nika received her MFA in acting from Penn State University, where she was given the Manuel Duque Award for excellence in acting. She is currently an Equity Membership Candidate. Nika would like to thank her wonderful family for their endless love and support. Reggie Gowland* Lucentio in The Taming of the Shrew Great Lakes Theater debut Reggie is thrilled to make his first ever trip to Cleveland to join GLT. With Idaho Shakespeare Festival: Amadeus, Macbeth, Julius Caesar, The Merry Wives of Windsor and As You Like It. Recent regional credits include Ken Ludwig’s new farce The Fox on The Fairway at The George Street Playhouse directed by David Saint, Seussical at The Summer Theatre of New Canaan, Thomas Higgins’ A Different Kind of Animal at the Sam French Short Play Festival, and appearances in the Edinburgh and New York Fringe Festivals. TV: Evan and Gareth are Trying to Get Laid. Reggie holds a BA from Northwestern University and is a founding member of The Filament Theatre Ensemble in Chicago, appearing in their productions of Six Impossible Things and A Muse in Love, both directed by Filament’s artistic director, Julie Ritchey. Proud AEA member. Danny Henning* Bobby/Gorilla in Cabaret and Biondello in The Taming of the Shrew Four Seasons at Great Lakes Theater GLT credits: Twelfth Night (Valentine, u/s Sebastian), The Mystery of Edwin Drood (Deputy) and three seasons in A Christmas Carol (Dick Wilkins). With Idaho Shakespeare Festival: The Comedy of Errors (ensemble), Twelfth Night (Valentine, u/s Sebastian) and The Mystery of Edwin Drood (Deputy). Other credits include Freddie in Chess (PlayhouseSquare), Leo Bloom

in The Producers, Tony in West Side Story, Dean Hyde in All Shook Up (Timber Lake Playhouse), Jimmie Curry in 110 in the Shade (Kalliope Stage), Victor in Cabaret (Milwaukee Repertory Theatre), Hair and Kiss Me Kate (Cain Park). Danny has a bachelor of music from BaldwinWallace College Conservatory of Music. He is a proud AEA member. Love, respect and greatest thanks to Charlie, Ms. B, ISF/GLT family, mom, dad, MSKN, Kyle and Nicholas.

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Andrea Leach Rosie in Cabaret and Servant Phillip/Jogger/Bridesmaid in The Taming of the Shrew Two seasons at Great Lakes Theater Andrea is so honored to be making a return to the Great Lakes Theater for it’s 50th season! Regional: An Ideal Husband (Lady Barford) at Great Lakes Theater, Chess (Chess Queen) at the 14th Street Theatre, Pippin at Cain Park, Chicago (Velma Kelly), Oklahoma, and Curtains at Timber Lake Playhouse. Collegiate: Rent (Maureen) and The Wild Party. Andrea is currently studying at the Baldwin-Wallace Conservatory of Music and will earn a bachelor’s degree of music in May 2012. Love to my eversupportive family and a huge thank you to the patrons for supporting the arts!

Bailey Carter Moulse Tourist Kid/Servant Joseph/Bridesmaid in The Taming of the Shrew and Fritzie in Cabaret Two seasons at Great Lakes Theater Bailey is delighted to be returning to Great Lakes Theater, having previously been a part of The Mystery of Edwin Drood. She just finished her first season with Idaho Shakespeare Festival, where she appeared in Cabaret and The Taming of the Shrew. Previous roles include Shelly in the regional premiere of Evil Dead: The Musical at The Beck Center for the Arts, Alice in Bye, Bye Birdie (Porthouse Theatre), Babette in Beauty and the Beast (Regent University), Lizzie in Goblin Market (The Governor’s School for the Arts) and ensemble in the world premiere of Rent and La Boheme in repertory at Baldwin-Wallace College. Other BWC credits: Marcy in Dog Sees God, Cecily Pigeon in The Odd Couple and Bridget Sullivan in a workshop of the new rock musical Lizzie Borden. Bailey is a senior music theater major at Baldwin-Wallace College Conservatory of Music. Special thanks to Mom, Dad, Vicky, Scott, Greg, Joan, Jason and MT12 for their endless love and support.

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Jillian Kates* Texas in Cabaret and Tourist Mom/Servant Nathaniel/Bridesmaid in The Taming of the Shrew Great Lakes Theater debut Jillian is thrilled to be making her theatrical debut with Great Lakes Theater! Favorite credits include Little Edie in Grey Gardens at Beck Center, Mimi in Rent at BaldwinWallace College, Sally in You’re A Good Man Charlie Brown at Heartland Festival, Liesl in The Sound of Music at Lyric Theatre of Oklahoma and Cinderella in Into The Woods at Tolbert Theatre. Jillian graduated with her BM in music theater from the Baldwin-Wallace College Conservatory of Music in May and will be moving to NYC this fall. Much love and thanks to family, friends, Vicky, Greg, Charles Fee, the GLT cast and crew, teachers past and present and the wonderful people at Stewart Talent. Proud member of AEA. This performance is for Nanny. www.jilliankates.com

Jim Lichtscheidl* Ernst Ludwig in Cabaret and Petruchio in The Taming of the Shrew Great Lakes Theater debut This is Jim’s first appearance at the Great Lakes Theater. Recent credits include playing Billygoat in the world premiere of Tiny Kushner at the Tricycle Theater in London and Berkeley Repertory; Lou Levy in Sisters of Swing at Riverside Theater in Vero Beach, Florida; and Captain Bluntschli in Arms and the Man and Clown 1 in The 39 Steps at the Guthrie Theater in Minneapolis, where Jim has appeared in more than 25 productions. Jim also works in the Twin Cities area as an instructor of improvisation and movement, choreographer and collaborator, having created original works such as Igloo Glue for the Southern Theater, archy and mehitabel: life in lowercase for Open Eye Figure Theater and KNOCK! for Theater Latte Da, which earned Jim a 2006 Ivey Award and Best of the Fringe award. Jim is also an acting core member for Ten Thousand Things Theater, a company that brings theater to prisons, homeless shelters and lowincome audiences.

Shannon O’Boyle* Lulu in Cabaret and Executive/Servant Nicholas/Bridesmaid in The Taming of the Shrew Great Lakes Theater debut Shannon is thrilled to be making her debut with Great Lakes Theater. Favorite credits include Logainne Schwarzand Grubeniere in 25th Annual Putnam County Spelling Bee at Heartland Festival, Mimi (u/s), Mrs. Jefferson and ensemble in the world premiere of Rent and La Boheme in repertory at Baldwin-Wallace, Bette Brennan (The Marriage of Bette and Boo), Celia (As You Like It) and the title role of Lizzie Borden in a workshop of the new rock musical. Shannon will receive her BM in music theater from BaldwinWallace College Conservatory of Music in May 2012. All my gratitude to Vicky, Scott, Greg, Sara, Mr. C., Charles Fee, Sara and Ben. Laura Perrotta* Fraulein Schneider in Cabaret and The Widow in The Taming of the Shrew Thirteen seasons at Great Lakes Theater Representative roles: NY: Love’s Labour’s Lost, Heartbreak House, Kabuki Macbeth, Troilus and Cressida, Much Ado About Nothing, Twelfth Night, Major Barbara, Boy Meets Girl, The Long Goodbye, Talk to Me Like the Rain... Whispers on the Wind, Private Lives; Cleveland: Hedda Gabler, Broken Glass, Uncle Vanya, King Lear, Jocasta, The Front Page, Angels in America, Three Days of Rain, Closer, The Tale of the Allergist’s Wife, How I Learned to Drive; Great Lakes Theater: The Wild Duck, Gypsy, Macbeth, Romeo and Juliet, Arms and the Man, Julius Caesar, The Importance of Being Earnest, Private Lives, Tartuffe, Hamlet; Idaho Shakespeare Festival/Great Lakes Theater: The Taming of the Shrew, A Funny Thing Happened on the Way to the Forum, Love’s Labour’s Lost, King Lear, Romeo and Juliet, Hay Fever, Into the Woods, Twelfth Night, Othello, An Ideal Husband, Cabaret and Taming of the Shrew. To Daisy with love.

Eduardo Placer* Master of Ceremonies in Cabaret and Hortensio in The Taming of the Shrew Three seasons at Great Lakes Theater Previous GLT & ISF credits include

Puck (A Midsummer Night’s Dream), Bud/Pan/Daisy (Bat Boy: The Musical), Ghost of Christmas Past (A Christmas Carol), Roderigo (Othello), Vicomte de Nanjac (An Ideal Husband), Neville Landless (The Mystery of Edwin Drood) and Feste (Twelfth Night). NY credits: Clincher Sr. (The Constant Couple) and Rosencrantz (Hamlet) at The Pearl Theatre. Regional credits: world premiere productions of Zhivago (La Jolla Playhouse) and Senor Discretion Himself (Arena Stage), Much Ado About Nothing (The Shakespeare Theatre), Camelot (Arena Stage), A Man’s A Man (Arena Stage), The Mineola Twins (Woolly Mammoth). Training: MFA in Acting, UCSD. BA in English from the University of Pennsylvania. Proud AEA member since 2003. Maggie Roach Frenchie in Cabaret Great Lakes Theater debut Maggie is thrilled to be making her theatrical debut with Great Lakes Theater! Favorite credits include Heidi in [title of show] (PlayhouseSquare), Dodi in See Rock City (Dobama Theatre), Julie in Show Boat (Carson-Dater Performing Arts Center), Chess Queen in Chess (PlayhouseSquare), Frenchie in Cabaret (CBB of St. Louis), Dolores in The Wild Party (Baldwin-Wallace College), Essie in Parade (Baldwin-Wallace College) and others. She holds a bachelor of music in music theater from Baldwin-Wallace College Conservatory of Music. Tons of love and thanks to Miss V, Greg, teachers past and present, my NYC family as well as my 6 Roaches at home. This performance is dedicated to THE best audience member there ever was, Hoberta Roach (Nana). Dudley Swetland* Autograph Hound/Merchant in The Taming of the Shrew Fifteen seasons at Great Lakes Theater Last summer, Dr. Swetland appeared as both the Duke and Don Antonio in the Idaho Shakespeare Festival production of The Two Gentlemen of Verona. At Great Lakes Theater, he has appeared in many roles over the last 15 years, including that of Scrooge for 12 years. Other productions include Antony and Cleopatra (directed by Gerald Freedman), As You Like It, Measure for Measure, Love’s Labour’s Lost, Julius

Sara Whale Helga in Cabaret Two seasons at Great Lakes Theater Sara attended the Juilliard School before joining Ram Island Dance and the Maine State Ballet, where she performed, taught and choreographed for both Portland-based companies. During her career, Sara has performed works by Charles Weidman, George Balanchine, Linda MacArthur Meile, Randy James, Daniel McCusker, Jeff Duncan, Dan Wagoner, Buffy Miller and Doug Varone, and has performed as an ensemble member in Great Lakes Theater’s production of Arsenic and Old Lace. She moved to Cleveland in 2007 after earning a BFA in graphic design from Pacific Northwest College of Art. Sara is currently a member of the dance faculty at BaldwinWallace College and teaches for the Dancing Wheels Company. She has recently created new works for Verb Ballets, Meg Louise Dance, The Dancing Wheels Company, Cleveland Public Theatre’s Big [BOX] Series and Cleveland’s PlayhouseSquare Dance Showcase and was a featured dancer in the Zurich Opera’s production of Don Giovanni with the Cleveland Orchestra. Rod Wolfe Customs Official/Rudy in Cabaret and Gremio in The Taming of the Shrew Great Lakes Theater debut Rod has performed seven seasons with the Idaho Shakespeare Festival. Favorite ISF roles include Trinculo in The Tempest, Cleante in The Miser, Conrad/Balthazar in Much Ado About Nothing, Valentine in Twelfth Night, Protean in A Funny Thing Happened On The Way To The Forum, Audrey 2 in Little Shop Of Horrors and Officer Klein in Arsenic And Old Lace. Shakespearience roles include Claudius/Ghost in Hamlet/ Roderigo in Othello, and Malvolio in Twelfth Night. Rod has also performed with Boise Contemporary Theater as Sagot in Picasso at The Lapan Agile and as Jeeter in Last Of The Boys for Alley Rep Theater. He is a co-founder of Idaho Theater for Youth. Some favorite ITY roles include Mark Twain in Liar’s Stew, Fool in Commedia De Lazzi, Giant in Jack and the Beanstalk, Tubby in

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M. A. Taylor* Grumio in The Taming of the Shrew 10 seasons at Great Lakes Theater Mark Anthony (aka M.A.) is delighted to return to the Hanna Theatre for another Autumn Sonata. He has most recently been seen in The Two Gentlemen of Verona (Speed), The Complete Works of William Shakespeare (Abridged) (Actor 3), Othello (Gratiano), An Ideal Husband (Phipps), A Midsummer Night’s Dream (Flute/Fairy), A Christmas Carol (Charity Man/Old Joe), The Mystery of Edwin Drood (Durdles) and Twelfth Night (Fabian). Also among his credits: Candy in Of Mice and Men (directed by Adrian Hall) for PTTP/Rep, Dracula for Boise Contemporary Theater in the title role, Launce in The Two Gentlemen of Verona, Gravedigger/Player King in Hamlet for Pennsylvania Shakespeare Festival and Crave & Fully Committed for Tooth & Nail Theater in Salt Lake City. Other productions include Arsenic and Old Lace, The Crucible, She Stoops to Conquer, A Streetcar Named Desire, Tooth of Crime, Translations, An Ideal Husband, All the King’s Men, The Effects of Tobacco, Swan Song, Saint Joan and The Count of Monte Cristo. He holds an MFA from the University of Delaware’s Professional Theatre Training Program (PTTP). He wishes to

give special thanks to my supportive families, both professional and genetic. Go Tribe!

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Ceasar and A Midsummer Night’s Dream, along with many non-Shakespearean productions over the last several seasons. He even dipped his creative toe into the musical theater genre in both She Loves Me and A Funny Thing Happened on the Way to the Forum. Since graduating from Ohio State (Ph.D. 1976), Dr. Swetland has served as a member of the acting faculty at Case Western, was part of the Cleveland Play House artistic staff, served as a staff director for four summers at the Champlain Shakespeare Festival, was a Master Acting coach at the University of Akron for one semester, and has appeared at almost all theatrical venues throughout Cleveland. He remembers fondly working with the late Tony Randall in the John Kenley production of The Man Who Came to Dinner (and feels blessed to have known these two theatrical icons). For many years, he has worked as a voice-over talent and is often heard on radio in that capacity. Dr. Swetland is truly appreciative of the opportunity afforded him in being a part of Great Lakes Theater.

Little Lulu and Wilbur in Charlotte’s Web. He dedicates his work to his family. John Woodson* Herr Schultz in Cabaret and Baptista Minola in The Taming of the Shrew Five seasons at Great Lakes Theater John Woodson has been a working theater professional for more than 30 years. NYC credits: Broadway: Jason in Medea, starring Dame Diana Rigg; Kent in King Lear with Hal Holbrook at Roundabout Theatre; Kent in King Lear with F. Murray Abraham at the NY Shakespeare Festival/Public Theatre, Exeter in Henry V, NY Shakespeare Festival. Regionally, John has worked in many outstanding theaters, including Repertory Theatre of St. Louis, Great Lakes Theater, Cincinnati Playhouse in the Park, Dallas Theatre Center, Alley Theatre, Alabama Shakespeare Festival (company member), Cleveland Play House, Williamstown Theatre Festival, Philadelphia Theatre Company, Long Wharf, Buffalo Studio Arena and the North Carolina Shakespeare Festival (a founding company member). John served as Artistic and Executive Director of The Warehouse Theatre in Greenville, South Carolina, from 2002-2006. In 2007, John founded Atlantic Stage in Myrtle Beach, and served as its Artistic Producer until 2010.

UNDERSTUDIES Phillip Michael Carroll*, Cameron Cornelius, Jay Ellis, Nika Ericson, Danny Henning*, Antwaun Holley, Andrew Holmes, Rachel Jones, Jillian Kates*, Kara Konken, Andrea Leach, Meg Maley, Bailey Carter Moulse, Shannon O’Boyle*, Laura Perrotta*, Stewart Tabler, Nick Varricchio

DIRECTORS/CHOREOGRAPHER

Victoria Bussert Director, Cabaret Twenty-six seasons at Great Lakes Theater Victoria Bussert has been with Great Lakes Theater for 26 seasons, having directed Bat Boy: The Musical, The Mystery of Edwin Drood, Into the Woods, A Funny Thing Happened on the Way to the Forum, Anything Goes, A Little Night Music, She Loves Me, The Most Happy Fella, Rough Crossing, Blithe Spirit, La Ronde, The School for Wives, Noel and Gertie, The Threepenny Opera and Lady Day at Emerson’s Bar and Grill. Her work has been seen at

many theaters across the country, including Idaho Shakespeare Festival, Manhattan Theatre Club, Goodspeed Opera, Repertory Theatre of St. Louis, Cincinnati Playhouse in the Park, Portland Stage, Dallas Theatre Center, Cleveland Play House, Pegasus Players, Porthouse Theatre, Dobama Theatre, Beck Center and, for 23 seasons, at Cain Park. She has had an active career in opera direction with productions at Piedmont Opera, Anchorage Opera, Skylight Opera Theatre, Pennsylvania Opera and Cleveland Opera. Victoria has directed seven national tours, including Into the Woods, Once on the Island and The Who’s Tommy, and has her MFA in directing from Northwestern University. She serves as Director of Music Theatre for Baldwin-Wallace College Conservatory of Music. Upcoming projects include Avenue Q in Denmark, Spring Awakening at Beck Center and the regional premiere of Sondheim on Sondheim, a co-production between GLT and PlayhouseSquare. Proud member of SDC. Many thanks to Charlie, Bob and her GLT family, Jeff, Matt, Greg, Charlotte, Corrie, Norman and her Cabaret family, and especially to Dale and Zoey — her “family” family. Gregory Daniels Choreographer, Cabaret Great Lakes Theater debut Gregory Daniels is thrilled to be making his choreographic debut with Great Lakes Theater. He is the head of the dance department at Baldwin-Wallace College. As a professional dancer, he has performed in regional theaters from coast to coast, in national tours of Broadway shows and, for nine years, at the famed Radio City Music Hall in NYC. His choreographic credits include Anything Goes (Houston Theatre Under the Stars), starring Tony Award nominated actress Dee Hoty; the world premiere of a new musical, My Own Song (Flatrock Playhouse, NC), starring Clint Holmes; and Putting it Together (Syracuse Stage), starring Tony Award winners Lillias White and Chuck Cooper. Other shows include Forever Plaid; I Do! I Do!; Hello, Dolly!; I Love You, You’re Perfect, Now Change (winner of Broadway World.com Philly Award for Best Musical); The Producers and Hairspray (nominated for a 2010 New Hampshire Theatre Award for best choreography). He had the rare honor of creating and choreographing a brand-new number for The Rockettes for The Commerce Bank Wow Awards. Most recently, he choreographed Rent and La Boheme for Baldwin-

Wallace College, Dreamgirls for Cain Park and Cabaret for Idaho Shakespeare Festival. Proud member of SDC. Thank you to Vicki, Charley, Chris, Bob and the entire Great Lakes Theater family and to Jared for always being there with support and smiles. For more info, please visit www.gregorydaniels.net

Tracy Young Director, The Taming of the Shrew Great Lakes Theater debut This is Tracy’s first season with the wonderful Great Lakes Theater, and she’s very happy to be here! Thanks to the amazing cast and production team. Directing: The Imaginary Invalid, The Servant of Two Masters, Luis Alfaro’s Breakfast Lunch and Dinner (Oregon Shakespeare Festival); Medea/Macbeth/Cinderella (Yale Repertory Theatre, co-directed with Bill Rauch); The Winter’s Tale (Ten Thousand Things); Michael Schlitt’s Jesus Ride (The Marsh, San Francisco); Alison Tatlock’s Jolly Good Fellow (Chalk Repertory Theatre); The Estrogen Map (The Improv, LA); Your New Best Friends, An Anti-Clown Show (Onyx Theatre); Shishir Kurup’s Merchant on Venice (Taper Too workshop); Yehuda Hyman’s Center of the Star (Greenway Court); Laural Meade’s The Wide Open Ocean Ate Aimee Semple Whole (Los Angeles Theatre Center); Liberty! (Inside the Ford); Hysteria, Euphoria, DreamPlay (The Actors’ Gang). Other credits: Resident Director, The Actors’ Gang,

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Matthew Webb Music Director, Cabaret Five seasons at Great Lakes Theater Matthew is returning to Cleveland for his fifth season with Great Lakes Theater. A graduate of the Baldwin-Wallace College Conservatory of Music, Matthew was Music Director for Bat Boy: The Musical and for The Two Gentlemen of Verona earlier this year. Off-Broadway: Ernest in Love (The Irish Repertory). New York: The Cure (Roy Arias Theatre), The Water Coolers. Regional: I Love You Because (PlayhouseSquare’s 14th Street Theatre), The Mystery of Edwin Drood (Great Lakes Theater & Idaho Shakespeare Festival), The Breakup Notebook: The Lesbian Musical (The Beck Center), The Wiz (Cain Park), Guys on Ice (American Folklore Theatre and The Milwaukee Repertory), The Phantom of the Opera (BaldwinWallace College), Hair (Cain Park and Kent State University) and A Cabin With A View (AFT). Infinite thanks to my parents for their continued love and support, to Charlie & Vicky for their encouragement to grow, and to M3N for being the best.

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Charles Fee Producing Artistic Director Ten seasons at Great Lakes Theater Directing credits at GLT: The Two Gentlemen of Verona, A Midsummer Night’s Dream, Twelfth Night, The Comedy of Errors, Macbeth, All’s Well That Ends Well, Hamlet, Hay Fever, The Importance of Being Earnest, Arms and the Man and The Complete Works of William Shakespeare (Abridged). Charles holds a unique position in the American theater as Producing Artistic Director of three independently operated, professional theater companies: Great Lakes Theater in Cleveland, Ohio (since 2002), Idaho Shakespeare Festival in Boise, Idaho (since 1991) and Lake Tahoe Shakespeare Festival in Lake Tahoe, Nevada (since 2010). His appointments have resulted in a dynamic and groundbreaking producing model for the companies, in which 37 plays have been shared since 2002. In 2009, Charles was honored to receive recognition for his leadership by the Cleveland Arts Prize as a recipient of the Martha Joseph Award. Other awards include The Mayor’s and Governor’s awards for Excellence in the Arts, in Boise, Idaho. From 1988 to 1992, he held the position of artistic director at the Sierra Repertory Theatre in California. He has also worked with such companies as The Old Globe, La Jolla Playhouse, the Milwaukee and Missouri repertory theaters, Actor’s Theatre of Phoenix and the Los Angeles Shakespeare Festival. In addition to his work with the companies in Ohio, Idaho and Nevada, Charles is active within the community. He has served as a member of the strategic planning committee for the Morrison Center, as producer of the FUNDSY Award Gala (’96, ’98 and 2000), and as producer of the 1996 Idaho Governor’s Awards in the Arts. Charles has served on the board of the Boise Metro Chamber of Commerce and as a member of the Downtown Rotary Club. He received his BA from the University of the Pacific and Master of Fine Arts from the University of California, San Diego. Along with his wife, Lidia, and 16-year-old daughter, Alexa, Charles resides in Boise, Cleveland

and Lake Tahoe –– a feat that is only possible because of the incredible love and support of his family, and the generous communities he serves!

1992-2001; Associate Artist, Cornerstone Theater Company, 1996-2002; Assistant Director, The Clean House (Lincoln Center Theater). Playwriting: DreamPlay, Euphoria, Hysteria (Actors’ Gang Theater); Adapting: The Imaginary Invalid, The Servant of Two Masters (with Oded Gross); Medea/Macbeth/Cinderella (with Bill Rauch); and Four Roses (based on the plays of Tennessee Williams). Awards: Connecticut Critics Circle, Ovation, LA Weekly and Backstage West Garland awards for direction; finalist for the Alan Schneider Directing Award, CTG Robert Sherwood Directing Award and the P.E.N. West Playwriting Award. Proud member of SDC.

DESIGNERS Eva Wielgat Barnes Dialect Coach, Cabaret Great Lakes Theater debut Eva is delighted to be dialect coach on Cabaret. She has coached productions at many theaters, including the La Jolla Playhouse (Jersey Boys premiere, Tartuffe, Xanidu, Carmen, Zhivago, Our Town and many more), the Mark Taper Forum, Ahmanson Theatre (Romeo and Juliet, directed by Sir Peter Hall) Arena Stage, Shakespeare Theatre in Washington D.C., McCarter Theatre, San Diego Repertory Theatre, Missouri Repertory Theatre and the Joseph Papp Public Theatre. She coached Anna Deavere Smith’s House Arrest and Twilight: Los Angeles, 1992 (on Broadway and the PBS film), as well as the film Big Night. Eva has also performed in many of these theaters. She is next performing in Pride and Prejudice at South Coast Rep. in September. Eva is on the acting faculty at UCSD, where she received her M.F.A.

Norman Coates Lighting Designer, Cabaret Six seasons at Great Lakes Theater Cabaret is Norman’s sixth design for GLT. Previous designs were The Mystery of Edwin Drood, Into the Woods, The School for Wives, The Most Happy Fella and Gypsy. His regional credits include work at Idaho Shakespeare Festival, Triad Stage, American Stage Festival, The North Carolina Shakespeare Festival, Playmakers Repertory, Burt Reynolds Jupiter Theatre, The Hirshfeld Theatre and The North Carolina Theatre. He has designed with various opera companies, including The Princeton Festival, Opera Pacific, Opera Carolina, Opera Omaha, Fort Worth Opera, Piedmont Opera

Theater and Greensboro Opera. On Broadway, he has designed lighting for The News and Prince of Central Park. Norman’s off-Broadway credits include work at the Roundabout Theater, Here Are Ladies with Siobhan McKenna, Diversions and Delights with Vincent Price, Blood Knot with Danny Glover at Circle in the Square, Provincetown Playhouse, The Lion Theatre and Westbeth Theater, where he lit Limbo Tales which earned the Villager Award for lighting design. His work has also been seen around the world in the international tour of Camelot with Richard Harris, and in Encounter 500 in Europe. Norman is the founder and director of the Winston-Salem Light Project (www.lightproject.org), devoted to the creation of multimedia public art presentations. He is currently the Director of Lighting at The North Carolina School of the Arts and a member of United Scenic Artists. Jeff Herrmann Scenic Designer, Cabaret Five seasons at Great Lakes Theater Jeff is pleased to return to Great Lakes Theater for his fifth season. Previous productions for Great Lakes Theater include Bat Boy: The Musical, The Mystery of Edwin Drood, A Funny Thing Happened on the Way to the Forum and, for the opening season in the Hanna Theatre, Into the Woods — all joint productions with the Idaho Shakespeare Festival. Other ISF production designs include I Love You, You’re Perfect, Now Change; The Spitfire Grill and Little Shop of Horrors. For Cain Park in Cleveland Heights, Jeff has designed a combination of scenery and lighting for productions including Tintypes, Bye-Bye Birdie, Damn Yankees, The Sound of Music, West Side Story, Fiddler on the Roof, Oliver, Songs for a New World, Hair, Dreamgirls and the Cleveland premiere of tick...tick...Boom! For Dobama Theatre, he has designed scenery for the Cleveland premieres of Closer, Wit, Refuge, The Tale of the Allergist’s Wife, Take Me Out, The Last Five Years, The Blue Door and Blackbird. Jeff is the Chair of Theatre and Dance at Baldwin-Wallace College, where he teaches courses in scene design, lighting design and stagecraft. As the resident scenic and lighting designer for the program, production design work for B-W this past season included Rent, La Boheme, Moon Over Buffalo, Passing Strange and Miss Elizabeth Bennet. He holds an MFA in scene and lighting design from

Southern Illinois University and he is a member of United Scenic Artists Local 829. Jeff resides in Lakewood with his partner Bob.

Rick Martin Lighting Designer Nine seasons at Great Lakes Theater Many productions with ISF and GLT. Other theater: US premiere of Kurt Weil’s Marie Galante (Opéra Français de NY), Hekabe, The Illiad and The Rage of Achilles with Music-Theatre Group (New York and Santa Fe) and The Bitter Tears of Petra van Kant (Henry Miller Theatre). Opera: Castor et Pollux, Pelléas et Méllisande and To Be Sung (Opéra Français de NY) and Roméo et Juliette (Spoleto Festival USA). Concerts: Orchestre national de Lyon and the Orchestre de Champs-Élysées (Lyon, Poitiers, Buenos Aires, Montevideo, São Paulo). Coming up: La Chute de

greatlakestheater.org

Alex Jaeger Costume Desingner, The Taming of the Shrew Great Lakes Theater debut Alex designs costumes for film and theater nationally. His credits include Two Sisters and a Piano for the Public Theatre N.Y.; August:Osage County, Cat on a Hot Tin Roof, Dead Man’s Cell Phone, Romeo and Juliet, Fuddy Meers, Handler, and Stop Kiss for Oregon Shakespeare Festival; Once in a Lifetime, The Homecoming, November, Rock N Roll and Speed the Plow for A.C.T. in San Francisco; more than a dozen productions, including The Habit of Art, Caroline or Change, Grey Gardens and Rosencrantz and Guildenstern are Dead for the Studio Theatre in D.C.; Rock N Roll for the Huntington in Boston; Interpreting William for Indiana Repertory; Mauritius, OR, Oedipus El Rey and many others for the Magic Theatre in San Francisco; Looped (with Valerie Harper), Tally’s Folly and Doubt for the Pasadena Playhouse; and Eclipsed and The Paris Letter for the Kirk Douglas Theatre. Alex received his MFA from UCLA. He has taught design at UCLA, FIDM and UNLV and is the recipient of many awards, including the Ovation award, L.A. Drama Critics Circle Award, several Backstage Garland and Drama-Logue awards and the TCG/ NEA designer fellowship. Alex is a member of USA 829.

Great Lakes Theater

Dan Jankura Sound Designer, Cabaret Two seasons at Great Lakes Theater Dan recently joined the Great Lakes Theater team as the live sound mixer for last season’s production of The Two Gentlemen of Verona. As a sound designer, his recent credits include Cabaret (Idaho Shakespeare Festival), Passing Strange (14th Street Theatre at Playhouse Square), RENT (BaldwinWallace College), The Wedding Singer, The Great White Hope (Weathervane Playhouse), A Funny Thing Happened on the Way to the Forum (Porthouse Theater), RENT (Kent State University) and Ragtime (Weathervane Playhouse). Dan is a graduate of Kent State University’s Department of Theater and Dance with a B.A. in Theater and an emphasis in live sound reinforcement. Dan would like to thank his friends and family for all of their support in his love for the performing arts.

Michael Locher Scenic Designer, The Taming of the Shrew Great Lakes Theater debut Michael Locher makes his GLT and Idaho Shakespeare Festival debuts with The Taming of the Shrew. Recent and upcoming credits include Troilus & Cressida (Oregon Shakespeare Festival) Goldfish, Mrs. Whitney, Or and Llyod Suh’s Jesus in India (Magic Theatre Company); Happy Days (Guthrie Theater), Trouble in Mind (Yale Repertory Theatre), La Finta Pazza (Yale Baroque Opera, American premiere), Happy Days (Playmakers Rep, NC). In New York, his recent and upcoming work includes offBroadway productions of Dramatis Personae, Crane Story (The Playwrights Realm/Cherry Lane), SIN (Rose Nagelberg), Thomas Bradshaw’s The Bereaved (Partial Comfort, associate designer), and assistant design credit for Broadway’s Guys And Dolls. Michael is a longtime artistic associate of the Cutting Ball Theater in San Francisco, where his credits include Marcus Gardley’s Jesus Moonwalks the Mississippi, Pelleas & Melissande, Victims Of Duty, Bone To Pick, The Bald Soprano, Macbeth, The Vomit Talk Of Ghosts, Roberto Zucco and The Tempest. Additional SF credits include The Bright River (The Jewish Theatre), Liz Duffy Adams’ The Train Play (Crowded Fire), and several seasons with The Lorraine Hansberry Theatre (The Piano Lesson, Seven Guitars, Ain’t Misbehavin and The Black Nativity). Michael also works as a freelance graphic designer and illustrator, specializing in artwork for theater companies and related organizations. A graduate of the University of California, San Diego (Stewart Prize) and Yale School of Drama (Donald Oenslager Scholarship in Stage Design), Michael relocated this spring from New York City to the SF Bay Area.

la Maison Usher, Le Diable dans le beffroi (Opéra national de Paris), Le martyre de Saint Sébastien (Cité de la Musique, Paris & Arsenal, Metz) Member: USA 829, IATSE. Charlotte Yetman Costume Designer, Cabaret Seven seasons at Great Lakes Theater Charlotte joins Great Lakes for her seventh season. She is an associate professor of theater at BaldwinWallace College, where she has recently designed La Boheme, Rent, Wild Party, Phantom of the Opera, Parade, As You Like It, Macbeth, Company and A Midsummer Night’s Dream. Among her professional credits are designs for Into the Woods, Arsenic and Old Lace, Major Barbara, The Complete Works of William Shakespeare (Abridged) (Idaho Shakespeare Festival); Into the Woods, Arsenic and Old Lace, You Can’t Take It With You, The Complete Works of William Shakespeare (Abridged) and Private Lives (Great Lakes Theater); Lady With All The Answers, Custody of the Eyes and Jocasta (Cleveland Play House); Jesus Christ Superstar (Theater-By-The-Sea); Frankenstein (Tennessee Repertory Theater); Silver Dollar, John & Jen, Das Barbecue and Heartbeats (Goodspeed Opera House); Conrack (Ford’s Theater); The Business of Murder (Studio Arena Theater); The Cocktail Hour and Driving Miss Daisy (Pennsylvania Stage Company); La Dori and Les Bavards (Mannes College of Music); Super Sunday and Widows (Williamstown Theater Festival); Bye-Bye Birdie, Damn Yankees, The Sound of Music, Goblin Market and West Side Story (Cain Park); and the American premiere of Ballenchine’s ballet Mozart Violin Concerto No.5 with Tulsa Ballet Theater. Charlotte received her BFA from Pennsylvania State University and her MFA from New York University, Tisch School of the Arts. In addition to her costume work, she has been an assistant scenic designer and scenic artist with Oregon Shakespeare Festival and is a member of USA 829.

STAGE MANAGEMENT

Tim Kinzel* Stage Manager, Taming of the Shrew Three seasons at Great Lakes Theater Tim is delighted to be back in the city of Cleveland. Stage manager credits for GLT include A Midsummer Night’s Dream, An Ideal Husband and The Complete Works of William Shakespeare

(Abridged). For Idaho Shakespeare Festival: A Midsummer Night’s Dream, An Ideal Husband and The Complete Works of William Shakespeare (Abridged). For Lake Tahoe Shakespeare Festival: Twelfth Night. For NYC Cherry Lane Theater and Playwrights Horizon: Asking for It. For Houston’s Stages Repertory Theater: The Giver, Old Stories and Always Patsy Cline. Assistant stage manager credits for Great Lakes Theater include The Mystery of Edwin Drood and A Christmas Carol. Production assistant credits for Houston’s Stages Repertory Theater include Mr. Marmalade, Rounding Third, Lady, Unseen, Altar Boyz, Black Pearl Sings and The Souvenir. For Great Lakes Theater: The Comedy of Errors. Tim cannot ask for a better family and group of friends. He is thankful for their continuous support and encouragement through this journey. Go Tribe and here we go Brownies! Andrew Morton* Assistant Stage Manager, Cabaret Three Seasons at Great Lakes Theater This is Andrew’s third season with Great Lakes Theater. Andrew has worked on many shows in combination with the Idaho Shakespeare Festival, the Lake Tahoe Shakespeare Festival and Great Lakes Theater. Past credits include, The Two Gentlemen of Verona, The Complete Works of William Shakespeare (Abridged), A Christmas Carol, Othello, An Ideal Husband, A Midsummer Night’s Dream, and Bat Boy: The Musical. Andrew earned his BA from Kent State University. Proud member of AEA. Love and thanks to all his family and friends, especially Mom, Dad, Jenn, and Beth. “Life is a Cabaret!” Corrie E. Purdum* Stage Manager, Cabaret Seven seasons at Great Lakes Theater GLT: The Taming of the Shrew, A Funny Thing Happened on the Way to the Forum, A Christmas Carol, The Tempest, Measure for Measure, The Crucible, Into the Woods, The Comedy of Errors, The Mystery of Edwin Drood, Bat Boy: The Musical, Othello and The Two Gentlemen of Verona. Other credits include The Complete Works of William Shakespeare (Abridged) at Lake Tahoe Shakespeare Festival, seven seasons with Idaho Shakespeare Festival, six seasons with the Cleveland Play House, and three seasons with Cain Park. Corrie is an alumna of Baldwin-Wallace College, where she teaches stage management.

Great Lakes Theater

STAFF

Charles Fee, Producing Artistic Director

ADMINISTRATION

Bob Taylor, Executive Director

Audience Engagement Manager ....................................Chris Fornadel Development Associate .........................................Joanna Laurenzana Finance Associate .........................................................Tamara Nelson

2011–12 ARTISTIC COMPANY Fall Repertory DIRECTORS Victoria Bussert, Gregory Daniels, Dexter Fidler, Matthew Webb, Tracy Young

Norman Coates, Jeff Herrmann, Alex Jaeger, Dan Jankura, Michael Locher, Rick Martin, Peter John Still, Charlotte Yetman. ACTORS Kjerstine Rose Anderson*, Neil Brookshire*, Sara M. Bruner*, Phillip Michael Carroll*, Aled Davies*, Jodi Dominick*, Nika Ericson, Reggie Gowland*, Danny Henning*, Jillian Kates*, Andrea Leach, Jim Lichtscheidl*, Bailey Carter Moulse, Shannon O’Boyle*, Eduardo Placer*, Laura Perrotta*, Maggie Roach, M.A. Taylor*, Dudley Swetland*, Sara Whale, Rod Wolfe, John Woodson*

Stage Managers ...........................Tim Kinzel*, Corrie E. Purdum* Assistant Stage Manager ....................................Andrew Morton* Production Associate.............................................Alisha Glasser Technical Director .....................................................Mark Cytron Scene Shop Foreman .....................................William Langenhop Assistant Technical Director..........................William J. Amato III Lead Carpenter .........................................................Lindsay Loar Master Electrician ...................................................Tammy Taylor Properties Master ......................................................Terry Martin Charge Scenic Artist.....................................................Angi Grow Costume Shop Manager..................................Esther M. Haberlen First Hand ......................................................................Leah Loar Wardrobe Supervisor ....................................................Anji Dunn Wardrobe Crew .............Lisa Hamilton, Leah Loar, Margret Ruble Sound Engineers.............................Dan Jankura, Daniel H. Taylor Run Crew....................Pat Hayes, Richard Haberlen, Lindsay Loar Hanna Theatre Crew .............................. Thomas Boddy, Chris Guy, Shaun Milligan, Robert Prah House Doctor........................................................... Dr. Donald Ford *Members of Actors’ Equity Association

Great Lakes Theater

DESIGNERS

PRODUCTION

MANAGEMENT TEAM

EDUCATION Education Associate.............................................Kelly Schaffer Florian Associate Residency Supervisor.....................................David Hansen Supervisor, School Residency Program.............................Lisa Ortenzi Actor-Teachers School Residency Program.................Allison Bencar, Katelyn Cornelius, Melissa Crum, Tim Keo, Debbie Keppler, Brian McNally, Randy Muchowski, Eric Perusek, Carrie Williams

SPECIAL THANKS: Arrow Video Great Lakes Theater is a member of the League of Resident Theaters (LORT) and operates under agreements with LORT, Actors’ Equity Association, American Federation of Musicians, the International Alliance of Theatrical Stage Employees, the Society of Stage Directors and Choreographers, and the United Scenic Artists, which are unions representing professional actors, stage managers, musicians, stagehands, directors, choreographers, and designers, respectively, in the United States.

1501 Euclid Ave., Suite 300 Cleveland, OH 44115 P: (216) 241-5490 F: (216) 241-6315 W: www.greatlakestheater.org

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Production Manager .......................................Christopher D. Flinchum Director of Education .........................................................Daniel Hahn Marketing & Public Relations Director ...................Todd S. Krispinsky Development Director .....................................................Holly Tomasch

A not-for-profit performing arts center that presents and produces a wide variety of performing arts, advances arts education and creates a destination that is a superior location for entertainment, business and housing, thereby strengthening the economic vitality of the region.

Playbill Editor: Linda Feagler For advertising information, please contact

Paul Klein: 216-377-3693

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SEPTEMBER/OCTOBER ALLEN

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Tuesday

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On Our Stages

WESTFIELD INSURANCE STUDIO THEATRE

Wednesday

Thursday

Friday

E. 14TH ST. Saturday

SEPTEMBER

1 The Life of GALILEO

8 Anisfield-Wolf Book Awards

3 Jonathan Butler and Spryo Gyra Introducing Sepia Girl

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The Life of Galileo The Life of Galileo Why Good Girls Like Why Good Girls Like Bad Boyz Bad Boyz Lewis Black

11 12 13 14 15 16 17 The Life of Galileo Why Good Girls Like Bad Boyz

Ambassador John Bolton

The Life of Galileo Elizabeth Strout

The Life of Galileo

The Life of Galileo Cabaret Patrizio Buanne

The Life of Galileo Cabaret Robin Williams: A Heart to Heart

18 19 20 21 22 23 24 The Life of Galileo Tommy Emmanuel

The Life of Galileo

OCTOBER

2 The Life of Galileo Cabaret

Daniel Esty

3 Bryan Ferry

The Life of Galileo

4 Million Dollar Quartet

The Life of Galileo

5 Million Dollar Quartet

The Life of Galileo Cabaret

6 The Taming of the Shrew Million Dollar Quartet

The Life of Galileo Cabaret

The Life of Galileo The Taming of the Shrew Lavell Crawford

7 The Taming of the Shrew Million Dollar Quartet

8 Cabaret Million Dollar Quartet Shoufou Alwawa Wayn (Where Does It Hurt?)

greatlakestheater.org

The Life of Galileo The Life of Galileo The Taming of the The Taming of the Shrew Shrew The Whispers & The Dramatics

25 26 27 28 29 30 The Life of Galileo The Taming of the Shrew

Great Lakes Theater

2 The 12th Annual PlayhouseSquare District Block Party & Tour Dance Showcase

9 10 11 12 13 14 15 Cabaret Million Dollar Quartet

Million Dollar Quartet

The Taming of the Shrew Million Dollar Quartet Duran Duran

The Taming of the Shrew Million Dollar Quartet

Cabaret Daddy Long Legs Girls Night: The Musical Fall for the Arts

Cabaret Daddy Long Legs Girls Night: The Musical The Kings of Salsa

Cabaret Million Dollar Quartet Daddy Long Legs

Cabaret Million Dollar Quartet Daddy Long Legs The Little Prince

16 17 18 19 20 21 22 The Taming/Shrew Million $ Quartet Daddy Long Legs Kathy Griffin Cabaret Daddy Long Legs Girls Night: The Wizard of Oz

Michael Pollan 24

Daddy Long Legs Girls Night: The Musical

The Taming of the Shrew Daddy Long Legs Girls Night: The Musical The Wizard of Oz Joe Bonamassa

The Taming / Shrew Cabaret Daddy Long Legs Girls Night: The Wizard of Oz Tony Bennett Aszure Barton

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New shows are announced every week. Sign up for the PlayhouseSquare eAlert at playhousesquare.org to get advance notices by e-mail!

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