p l aywise ON STAGE AND OFF
OCTOBER 14 through NOVEMBER 13, 2011
WINNER
2010 TONY AWARD FOR BEST PLAY!
by John Logan directed by Anders Cato
What’s Inside: Rothko AS SUBJECT
by Carrie Chapter Production Dramaturg
The Seagrams murals today
by Samantha Lazar Literary Contributor
Art Through the ages
compiled by Amanda Young Literary Intern
Dear Friends, What does a theater company like PTC do after a fantastic 35th Anniversary Season filled with new plays, world-class artists and a huge array of fascinating conversations with experts about race, politics and other compelling topics? Why, do it again, of course! Our new season begins with Red, John Logan’s provocative look at painter Mark Rothko as he struggles over the course of two years to complete the murals commissioned from him by the Four Seasons restaurant in 1958. Brilliant, funny, and as mordant as the color black that threatens to overtake his paintings, Rothko and the play that contains him seems to cast an undeniable spell over audiences. This is because Red, which won the 2010 Tony Award for Best Play, is more than a play about an artist but rather an exploration of several moving and universal themes, not the least of which is the eternal clash between generations and the sorrow those in power feel as they must inevitably yield their place to a new breed. We are pleased to welcome some great artists new to PTC including director Anders Cato, and actors Stephen Rowe and Haley Joel Osment, the latter in his return to Philadelphia after shooting M. Night Shyamalan’s The Sixth Sense thirteen years ago. We are also excited to be partnering with the Philadelphia Museum of Art which has created a special Red Tour to enhance your theater-going experience. Check out the details in this Playwise. Come January, we will have the honor of producing the musical that represents the final collaboration of the great composing team of Kander & Ebb - The Scottsboro Boys. We are delighted to be able to extend the life of this extraordinary Broadway production with direction and choreography by Susan Stroman, thanks to her collaborator, Jeff Whiting. On stage will be some members of the original Broadway cast, including Philadelphia’s own Tony nominated Forrest McClendon, plus several great new performers. Ande, we are again planning some exciting platforms for community conversation- this time in partnership with the Pennsylvania Innocence Project, the Constitution Center, WURD talk radio and others, so stay tuned. Thanks to vital support from the John S. and James L. Knight Foundation, our PTC@Play new works festival is back this winter with new play readings, talk- backs with playwrights, a workshop of a new musical in development and the announced winner of our new Terrence McNally New Play Award! Plus, there will be plenty of cocktails and conversation in the lobby following each and every event! The season concludes with The Outgoing Tide, a new play from Philadelphia writer Bruce Graham which very well could be his finest in a long and wonderful body of work. Tide is followed by another personal best, this from Neil LaBute, with his riveting, dynamic battle of the sexes, Reasons To Be Pretty. And finally, PTC offers a warm and hearty welcome to our new Managing Director, Shira Beckerman, who looks forward to meeting all of you this season! See you in the lobby!
Sara Garonzik Producing Artistic Director
A letter from our Production Sponsor, Blank Rome LLP On behalf of Blank Rome LLP, welcome to Philadelphia Theatre Company’s 2011-2012 season. Blank Rome is proud to be the Philadelphia Premiere Production Sponsor of Red by John Logan, winner of the 2010 Tony Award for Best Play. Since its beginning, Blank Rome’s core values of respect for the individual, the community, and the law have been expressed through our leadership in pro bono and community activities. Our attorneys serve on the boards of public interest organizations and as counsel to local and national advocacy organizations, as well as doing pro bono work for more than 30 non-profit, religious, and charitable organizations across the country and region. Blank Rome applauds Philadelphia Theatre Company’s dedication to present the best in American theatre to Philadelphia audiences. Together, we share a commitment to Philadelphia and everything that makes this a city that continues to excel in business, the arts and culture. Enjoy the play. Sincerely,
Alan J. Hoffman Co-Chairman and Managing Partner Blank Rome LLP
February 27 through March 11, 2012 With generous support from The Knight Foundation, we are proud to present our 2nd annual PTC@Play festival, a staged reading series here at the Suzanne Roberts Theatre. Last year, we welcomed such artists as Theresa Rebeck, Jeffrey Hatcher, John Rando, Kirsten Greenidge, and Bill Cain. This year, PTC@Play features brand new plays from five playwrights, as well as a special workshop of a musical-in-development! In addition to the readings, the Festival includes pre-and post-reading talkbacks with the artists, panel discussions, and much more. Best of all, it’s FREE! Please stay tuned for an announcement of the Festival schedule coming soon. Hope to see you there!
Sara Garonzik Producing Artistic Director
RED by john
Shira Beckerman Managing Director
logan
featuring
HALEY JOEL OSMENT
STEPHEN ROWE
Set Design Costume Design Lighting Design JAMES NOONE ALEJO VIETTI TYLER MICOLEAU Red Casting JANET FOSTER
Director of Production Bruce charlick
Production Stage Manager AMANDA ROBBINS-BUTCHER
Sound Design & Composer JOSH SCHMIDT
PTC Casting Director amy dugas brown
Production Dramaturg Carrie chapter
directed by
ANDERS CATO Thank you to our sponsors
CAST Ken.............................................................................................................................Haley Joel Osment* Mark Rothko....................................................................................................................Stephen Rowe* *Member of Actors’ Equity Association
Setting Rothko’s Studio 222 Bowery New York City Circa 1958 - 1960 Red is performed without an intermission.
The video and/or audio recording of this performance by any means whatsoever is strictly prohibited. All electronic devices such as beepers, cell phones, and watch alarms must be turned off prior to the performance.
THE ACTORS AND STAGE MANAGERS EMPLOYED IN THIS PRODUCTION ARE MEMBERS OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES.
THE SCENIC, COSTUME, LIGHTING AND SOUND DESIGNERS IN LORT THEATERS ARE REPRESENTED BY UNITED SCENIC ARTISTS LOCAL USA-829, IASTE. PHILADELPHIA THEATRE COMPANY IS A PROUD MEMBER OF THE LEAGUE OF REGIONAL THEATRES (LORT). A CONSTITUENT MEMBER OF THEATRE COMMUNICATIONS GROUP, INC. (TCG), A MEMBER OF THE GREATER PHILADELPHIA CULTURAL ALLIANCE (GPCA), THEATRE ALLIANCE OF GREATER PHILADELPHIA (TAGP), THE GREATER PHILADELPHIA CHAMBER OF COMMERCE. PHILADELPHIA THEATRE COMPANY PROUDLY PARTICIPATES IN THE BARRYMORE AWARDS FOR EXCELLENCE IN THEATRE, A PROGRAM OF THE THEATRE ALLIANCE OF GREATER PHILADELPHIA. ONE OPEN CAPTION PERFORMANCE IS PROVIDED FOR EVERY PRODUCTION TO OUR DEAF AND HARD OF HEARING PATRONS. ONE AUDIO DESCRIPTION PERFORMANCE IS PROVIDED FOR OUR BLIND AND VISUALLY IMPAIRED PATRONS. LARGE PRINT, AND AUDIO CASSETTE PROGRAMS ARE AVAILABLE UPON REQUEST.
Support for Philadelphia Theatre Company’s Accent on Accessibility Program Comes From: Independence Foundation Louis N. Cassett Foundation
Wells Fargo Foundation
who’s who Haley Joel Osment (Ken) rose to fame with his Oscar-nominated
performance in M. Night Shyamalan’s The Sixth Sense (shot right here in Philadelphia). His other credits include Pay It Forward opposite Kevin Spacey and Helen Hunt, Steven Spielberg’s A.I. Artificial Intelligence, and Secondhand Lions opposite Michael Caine and Robert Duvall. He made his Broadway debut in 2008 in a revival of David Mamet’s American Buffalo. In 2010 he graduated from the Experimental Theatre Wing at NYU’s Tisch School of the Arts. Osment recently completed work on the black comedy Sassy Pants with Anna Gunn and Ashley Rickards, and will next appear in Wake the Dead, an adaptation of Mary Shelley’s Frankenstein.
Stephen Rowe (Mark Rothko) Broadway: That Championship Season, Red, Frost/Nixon, The Goat, Serious Money, The Nerd. Off-Broadway: Almost an Evening (Atlantic), A Picasso (MTC), O Jerusalem (Flea), Coming Of Age In Soho Cinders, The Normal Heart (Public). Work with Edward Albee: The Goat, Tiny Alice (2ndStage), Who’s Afraid of Virginia Woolf? (Vienna’s English Theatre). Albee’s Men (One-Man Show. ART), The Zoo Story, The American Dream, The Sandbox, Box/Mao/Box (Albee Directs Albee International Tour). Regional Highlights: ART (Founding Member), Yale Rep (Midsummer Night’s Dream), Hartford Stage (Peer Gynt), McCarter (Romeo and Juliet), South Coast Rep and Berkeley Rep (Sight Unseen, World Premiere; DramaLogue Award, Bay Area Critics Award). Television: Cheers, Wings, Beverly Hills 90210, ER, Law and Order. Film: Awake, The Pink Panther, Spinning Into Butter, Basic Instinct. John Logan (Playwright) has authored Never the Sinner about the infamous Leopold and Loeb case, Hauptmann about the Lindbergh baby kidnapping, and Riverview, a musical melodrama set at Chicago’s famed amusement park. Red, which premiered in London, received six Tony Awards in 2010, the most of any play that year, including Best Play, Best Direction of a Play, and Best Featured actor in a play. As a screenwriter, Logan has received two Academy Award nominations for Gladiator and The Aviator, and a Golden Globe Award for Sweeney Todd: The Demon Barber of Fleet Street. He has also written Any Given Sunday, Star Trek: Nemesis, The Time Machine, and The Last Samurai. Logan’s most recent feature films include Rango, an animated feature starring Johnny Depp, the film adaptation of Shakespeare’s Coriolanus directed by and starring Ralph Fiennes, and the film adaptation of The Invention of Hugo Cabret directed by Martin Scorsese. Anders Cato (Director) has directed extensively in New York and at many of the leading
regional theaters in the United States. His work has been seen at American Repertory Theater, Cleveland Playhouse, La Jolla Playhouse, The Magic Theater, Cherry Lane Theatre, Coconut Grove Playhouse, Rattlestick Playwright’s Theater, La Mama Theater and A Contemporary Theatre in Seattle. He directed Beckett’s Text for Nothing at the Royal Court Theatre in London and When the World Was Green at the Moscow Art Theater. He has translated, adapted and directed plays by Strindberg and Ibsen. At the Berkshire Theatre Festival he has directed 16 productions, including plays by Moliere, Williams, Mamet and Shaw. At George Street Playhouse he directed I Am My Own Wife, Souvenir, Doubt, Seafarer and Circle Mirror Transformation. He collaborated with Joseph Chaikin for over ten years and worked closely with some of America’s finest playwrights: Arthur Miller, Edward Albee, Sam Shepard, Craig Lucas and Doug Wright. He is a proud member of Stage Directors and Choreographers Society. Recent productions include the world premiere of Steven Drukman’s The Innocents at Asolo Repertory Theatre and Pygmalion at the Alley Theatre in Houston.
James Noone (Scenic Designer) For PTC: At Home At The Zoo, Third, Murderers, Love!, Valour!,
Compassion! Noone has been a Scenic Designer in NYC since 1983 and a member of USA local 829 since 1986. During this time he has worked for some of NYC’s most prestigious theatre companies including Playwrights Horizons, Manhattan Theatre Club, Lincoln Center Theatre, Roundabout Theatre Company and numerous others. Off-Broadway he has designed the original productions of Terrance McNally’s Frankie And Johnny in the Clair Delune, Edward Albee’s Pulitzer Prize winning play Three Tall Women, the long running solo shows Full Gallop and Fully Committed. Other long running Off-Broadway shows include Cowgirls and Breaking Legs, the original production of A Bronx Tale, the first revival of Boys in the Band and the musical Ruthless. Broadway productions include the long running Jekyll and Hyde, Tony nominated Best Musical A Class Act, many productions for Tony Randall’s NATIONAL ACTORS THEATRE including The Persians, Judgement at Nuremnberg, Night Must Fall, The Sunshine Boys and The Gin Game and the recent revival of A Bronx Tale and Come Back Little Shiba. Outside of NYC he has designed at many of the leading Regional Theatres in America as well as many national tours. His work in Opera has been seen at GLIMMERGLASS, NYC OPERA, LYRIC OPERA OF CHICAGO, HOUSTON GRAND OPERA, LA OPERA, WASHINGTON NATIONAL OPERA, and AND CANADIAN OPERA CO. For television he designed Sweeney Todd, Candide, Passion, Camelot, and Stephen Sondheim’s 80th Birthday Concert for PBS and COMPANY seen in select movie theatres. Currently he is head of the scenic design department at Boston University, a position held since 2001. Awards include THE DRAMA DESK (and multiple nominations), AMERICAN THEATRE WING DESIGN AWARD, TWO HELEN HAYES AWARDS (DC) The LA OVATION AWARD, and TWO NAACP THEATRE DESIGN AWARDS.
Alejo Vietti (Costume Design) For PTC: The 25th Annual Putnam County Spelling Bee and
Nerds: A Musical Software Satire. NY: Seance on a Wet Afternoon NYC Opera, Primary Stages’ Secrets of the Trade, Manhattan Theatre Club’s Nightingale, MCC’s Grace; Manipulation; Rooms, A Rock Romance; Make Me a Song; Tryst, Roulette, The Last Sunday in June; and The New Group’s Servicemen among others. Selected Regional: Alley Theatre, Arena Stage, Arizona Theatre, Cincinnati Playhouse, Cleveland Playhouse, Colorado Ballet, Ford’s Theatre DC, Goodspeed, Guthrie, Hartford Stage, Minnesota Opera, NY Stage & Film, Northlight, Old Globe, Paper Mill Playhouse, Pasadena Playhouse, Pittsburgh Public, Saint Louis Rep, Westport Country Playhouse, Williamstown Theatre Festival and Wolf Trap Opera. International: Edinburgh Festival Fringe and Donetsk Opera Ukraine. Others: Ringling Brothers Boom’A’Ring. 2010 TDF Irene Sharaff Young Master Award.
Tyler Micoleau (Lighting Designer) Though based in Brooklyn, NY, Tyler has worked
frequently in Philadelphia with the Pig Iron Theatre (Twelfth Night, Isabella, Love Unpunished), Wilma Theater (My Wonderful Day, Macbeth, Eurydice, The Life of Galileo), Curtis Opera (The Cunning Little Vixen), and the Prince Music Theater (A Night In The Old Marketplace, Bright Lights Big City) garnering him three Barrymore nominations. He is also the recipient of two Village Voice OBIE awards, one for his design of the 2004 NY premiere of Tracy Letts’ Bug and a 2010 award for Sustained Excellence. This is Tyler’s fourth collaboration with director Anders Cato.
Josh Schmidt (Sound Designer and Composer) BROADWAY: House of Blue Leaves, Brigh-
ton Beach Memoirs (both with Fitz Patton) OFF-BROADWAY: As Composer/Co-Author – A Minister’s Wife (Lincoln Center), ADD1NG MACH1N3 (Minetta Lane), Whida Peru (59E59); Incidental Scores: When the Rain Stops Falling (Lincoln Center) Fifty Words (MCC Theater). As Sound Designer – Crime and Punishment (59E59), many others. CHICAGO: As Composer/CoAuthor A Minister’s Wife (Writers Theatre). As Composer/Sound Designer - Steppenwolf Theatre Company, Writers’ Theatre (Associate Artist), Northlight Theatre, Next Theatre Company, Seanachai Theatre Company, many others. REGIONAL: Over 100 productions at venues internationally and across the country including Stratford Shakespeare Festival (Ontario, Canada) The Kennedy Center, Ford’s Theatre (Washington DC); Seattle Repertory Theatre (WA), Alley Theatre (Houston, TX); Arizona Theater Company (AZ); Cleveland Playhouse (OH), Kansas City Rep (MO); South
Coast Repertory (CA); Delaware Theatre Company (DE); 10 Seasons at American Players Theatre including recent world premiere of the original musical Gift of the Magi (Spring Green, WI) Milwaukee Repertory Theater, Chamber Theatre, First Stage Children’s Theatre, Next Act Theatre, Renaissance Theatreworks, Bialystock and Bloom, Theatre X, Milwaukee Shakespeare (Milwaukee, WI); Madison Repertory Theatre, University Theatre (Madison, WI). Many others. RECORDINGS: ADD1NG MACH1N3, A Minister’s Wife – both released on PS Classics and available on ITunes, Amazon, etc. ASSOCIATE ARTIST: Alley Theatre in Houston, Writers Theatre in Glencoe. TEACHING: Lectures at Harvard, Suffolk, Mississippi-Oxford, Illinois-Urbana/Champaign, Wisconsin-Madison, Wisconsin-Milwaukee. His work was presented as part of the Prague Quadrennial in 2007. MEMBER: ASCAP. AWARDS: Lortel, Outer Critics, Jeff, ASCAP, NEA/TCG.
Janet Foster (Red Casting Director) PTC: Ma Rainey’s Black Bottom; Centerstage The
Importance of Being Earnest; ‘Tis Pity She’s a Whore; Fabulation or, The Re-education of Undine; Who’s Afraid of Virginia Woolf?; The Matchmaker; A Little Night Music; Hearts; Arsenic & Old Lace; Trouble in Mind; The Boys from Syracuse; Death and the Maiden. Broadway: The Light in the Piazza, (Artios nom.); Ma Rainey’s Black Bottom; Lennon; Taking Sides (co.). Off-Broadway: Westside Theater: DUST, Endpapers; True Love; The Dying Gaul; The Maiden’s Prayer; Dream True; Trojan Women; A Love Story; Playwrights Horizons: Floyd Collins, The Monogamist, A Cheever Evening, Later Life. Regional: Kennedy Center: Golden Child; Westport Country Playhouse: Intiman; Dallas Theater Center; Berkeley Rep; Pittsburgh Public; Yale Rep; Prince Music; Goodman; Steppenwold; A.R.T.; Cal Shakes. Film/TV: The Deal; Advice from a Caterpillar; Cosby; Tracey Ullman Takes on New York. BBC World Services radio dramas The Day That Lehman Died (Peabody Award) and Severed Threads. Janet has relocated to San Francisco to take on the position of Casting Director/Artistic Associate with the American Conservatory Theater.
Amy Dugas Brown (PTC Casting Director) is a casting director, director, audition coach,
senior lecturer at University of the Arts, and project director for the Actors’ Project at University of Pennsylvania’s Brain Behavior Laboratory. She spent ten seasons as Associate Artistic Director at Arden Theatre Company and is a graduate of Barnard College, Columbia University. She is married to Philadelphia actor Ben Dibble and together they have three children.
Carrie Chapter (Production Dramaturg) Carrie Chapter is the Literary Manager and
Dramaturg at Philadelphia Theatre Company. Her workshop and production credits include the National Music Theatre Conference and the National Playwrights Conference at the O’Neill Theater Center; PlayPenn New Play Development; Geva Theatre Center; Playwrights Horizons; Primary Stages; and, Inis Nua Theatre Company. Ms. Chapter also provided workshop dramaturgy for Broadway’s The Book of Mormon. Recently, she proudly acted as the facilitator/ dramaturg for a seed grant project at Temple University entitled, que[e]ry, a student-written performance piece on the experiences of LGBT youth. Ms. Chapter is a member of the Literary Managers and Dramaturgs of the Americas (LMDA).
Amanda Robbins-Butcher (Production Stage Manager) Pig Iron Theatre Company:
Production Stage Manager; Twelfth Night. Blueman Group Boston; Stage Manager. A.R.T: Assistant Stage Manager; Paradise Lost , Best of Both Worlds, Endgame, Romance. Production Associate; Communist Dracula Pageant, No Man’s Land, Wings of Desire. ART Institute: Stage Manager; Pinter One Acts (The Room & Celebration), Lacy Project, The Discreet Charm of Monsieur Jordain, Expats, Gray City, Betty’s Summer Vacation, Phoenician Women, Kate Crackernuts, The Island of Anyplace, Melancholy Play. Received B.A. from St. Olaf College, Northfield, MN.
Bruce Charlick (Director of Production) is in his 15th season with Philadelphia Theatre
Company. Bruce’s career in theater spans four decades, including: The Annenberg Center of the University of Pennsylvania, The Mann Center for the Performing Arts, and Temple University’s Department of Theatre. In his “spare” time Bruce enjoys his family of three children, a dog, and wife of over 30 years.
Shira Beckerman (Managing Director) served as Managing Director of the 2011 Drama
Desk Award recipient Pearl Theatre Company Off-Broadway from 2007 to 2011, overseeing coordination of the company’s significant growth and transition of leadership, programming and venues. Shira joined The Pearl in 2006 as General Manager and previously served as a Producer at SoHo Think Tank’s Ice Factory Festival; Associate Director of Marketing and Assistant Director of Development at Yale Repertory Theatre; and Management Fellow and National Conference Assistant for Theatre Communications Group (TCG). She has held administrative positions at: Ensemble Company for the Performing Arts, Boston Symphony Orchestra, The Boston Conservatory, Brandeis/New Rep ON TOUR, and North Shore Music Theater. Ms. Beckerman holds a B.A. with highest honors from Brandeis University and an M.F.A. in Theater Management from Yale School of Drama.
Sara Garonzik (Producing Artistic Director) has directed and produced for Philadelphia
Theatre Company since 1982, and introduced more than 130 world or regional premieres of major new American plays and musicals to Philadelphia including new work by Terrence McNally, Bill Irwin, Jeffrey Hatcher, Christopher Durang, John Henry Redwood, Tracey Scott Wilson, Naomi Wallace and Bruce Graham, among others. In 1991 she was named to the Philadelphia Theatre Company Board of Directors. Other service has included: Board Member of ArtReach and the Greater Philadelphia Cultural Alliance (GPCA); theater panels for the Pennsylvania, New Jersey and Ohio State Councils on the Arts; theater panels for The Philadelphia Theatre Initiative, the McKnight Foundation Advancement Awards for Playwriting and the O’Neill Playwrights Conference, and as a judge for the Susan Smith Blackburn Prize. She is listed in “Who’s Who of American Women” and was named one of Business Philadelphia’s and Philadelphia Magazine’s “People to Watch.” She has received the Award of Honor from the Alumnae Association of the Philadelphia High School for Girls and the President’s Award from the Philadelphia Young Playwrights. In 2007, she received the Achievement Award from the American Association of University Women, an honor she proudly shared with Dawn Staley and Terry D’Alessandro. In June 2008, she received the first Arts Pioneer Award created by Councilwoman Blondell Reynolds Brown. She currently serves as a Board Member of the Arts & Business Council of Greater Philadelphia, as President of the Board of the Philadelphia Cultural Fund and on the advisory board of PlayPenn, a new play development organization.
ActOut Winter Session December 26 – 30; 9:30am – 4:00pm Performance: Dec. 30 at 2:00pm NEW! Middle School Session – Grades 6, 7, 8 High School Session – Grades 9 through 12 Students will build acting, directing and playwriting skills as they work together as an ensemble to create an original one act show in just FIVE days. The show will be performed right here on our stage complete with lights and sound on Dec. 30th at 2:00pm and it’s
Perform on our stage! only $350 per student.
FREE to the public!
215.985.0420 or philadelphiatheatrecompany.org/education
director’s noteS Anders Cato
When reading about Mark Rothko’s paintings, you often come upon language that art critics or art historians have borrowed from the theater. They are looking for a way to describe not only what is happening in the paintings, but also the process of looking at the paintings – what happens in the meeting between the painting and the viewer. Rothko himself, who in his youth had plans of becoming an actor, describes his paintings using terms from the theater. In his essay, “The Romantics Were Prompted,” he writes: I think of my pictures as dramas; the shapes in the pictures are the performers. They have been created from the need for a group of actors who are able to move dramatically without embarrassment and execute gestures without shame. Neither the action nor the actors can be anticipated, or described in advance. They begin as an unknown adventure in an unknown space. It is at the moment of completion that in a flash of recognition, they are seen to have the quantity and function which was intended. Ideas and plans that existed in the mind at the start were simply the doorway through which one left the world in which they occur. Rothko, who became increasingly reluctant to write about his own work, did not think that explanations or intellectual preparations were necessary to understand his paintings. He insisted all that was needed to appreciate his work was an open mind, a willingness to see. He tried to create an intimacy – a space where the viewer and the painting could meet freely and where the emotional response would occur spontaneously. Rothko said that his pictures were “involved with the scale of human feelings, the human drama, as much of it as I can express.” Just like Rothko’s paintings, a performance begins as “an unknown adventure in an unknown space.” The characters of a play are like Rothko’s shapes of color – they need our participation to come alive. Their deepest secrets are ultimately a reflection of our secrets. Their tragedy is given depth and magnitude by our experience and it is through us they gain the courage to confront their loss and transcend their fears. In my mind, Rothko’s greatest achievement was opening up a space for the viewer to become a true collaborator in the creative process. Ultimately, Rothko found a form, which eliminated all the obstacles between himself and the viewer and created a new kind of painting in which the viewer’s experience became a central component of its revelatory power (just like the audience member’s experience is a central component of theater). As we enter his paintings, we enter a world that is not only uniquely his, but also uniquely our own. The paintings become a doorway to a new self that can perhaps only exist inside dreams and works of art, a self that is uncorrupted, free and somehow more true – the beginning of who we really are. Rothko brought drama and theatrical revelation to the art of painting.
Anders Cato
FROM THE MANAGING DIRECTOR Hello Philadelphia Theatre Company! I am so pleased to be joining this tremendous organization at the beginning of its 36th season of producing America’s greatest contemporary plays. The life of a theatrical managing director is one of constant development and exploration, and in that sense I have the best job in the world! After five years managing a repertory company Off-Broadway, and a number of years previously working throughout New England, I am delighted with my new mid-Atlantic community. There is no better year for us to play together in the stunning Suzanne Roberts Theatre; this season is full of new beginnings and opportunties, showcased tonight in the fascinating context of Red. John Logan’s magnificent musing on artists and artwork explores developing a creative spirit and balancing an artistic place in our consumer-driven world. I grew up the daughter of a painter, always surrounded by art and artists, and inspired by the creation of visual and aural art from an extremely young age. As you might guess, I am particularly excited about this production to start to my first year at PTC. I look forward to talking to each of you in the lobby about your experiences creating or observing canvases, your interpretation of this beautiful play, and your tips on where to get the best soft pretzels in town! I’m very pleased to welcome the law firm Blank Rome as the production sponsor of Red. As one of Philadelphia’s leaders in exceptional client service, PTC is thrilled to be partnering with Blank Rome on this special production. I am also honored to welcome the following new members to our Artist’s Circle of donors: Barbara Adams, Abby and Scott Applebaum, Lee Berg, Stacey Spector and Ira Brind, Beverly and Berny Brownstein, Sherry and Brian H. Effron, Phyllis and Howard Fischer, Hope Cohen and Richard Green, Meredith and John Hanamirian, Sheila and Steven Kessler, Suzette and Steve Kolitch, Ellyn and Seth Lehr, Shelley Wallock and David Lerman, Alexis and Joel Marmar, Robin Palley, Elizabeth and Steven Reed, Janet Perry and David Richman, Sherrie Savett, Mary Ellen and Carl Schneider, and Karen and John Stanley. Many of us were fortunate to share a gorgeous meal together at the home of extraordinary hosts Suzanne and Norman Cohn this September, another remarkable way to begin the season. I’m grateful for all of the support PTC receives from our amazing family of subscribers and patrons, and I look forward to meeting each of you throughout the year. I can’t wait to share this trip through the transformative power of theatre with you. Together, we’ll find out something new about the magic and intensity of the human condition.
Shira Beckerman Managing Director
Rothko as Subject, Between the Color Fields Carrie Chapter, Production Dramaturg
To paint a small picture is to place yourself outside your experience. However you paint the larger picture, you are in it. - Mark Rothko An artistic temperament is a privilege, not a right. No one exemplifies this distinction better than the great American painter, Mark Rothko. The artist was borne out of a time where artists toiled and earned their status as deities in a finicky social landscape. Yet, the tide was shifting towards an art where one’s youth would become a viable asset. A Jewish-American immigrant, Rothko spent a lifetime thwarting the public’s attempt to define or classify him as an individual and as an artist. Like his paintings, he longed to be taken in on a larger, transcendental scale – purified and free of agenda. Career Beginnings A Yale dropout and gifted intellectual, Marcus Rothkowitz (soon to be abridged to Mark Rothko) tried his hand at figurative painting, but still could not be seriously considered by the artistic community. By the 1940s, Rothko adjusted his style of work. In a 1943 Radio WNYC interview, he and fellow painter, Adolph Gottlieb described their nonrepresentational works without absolutely defining the emerging, Abstract movement. As Rothko insists: “Neither Mr. Gottlieb’s painting nor mine should be considered abstract paintings. It is not their intention either to create or to emphasize a formal color—space arrangement. They depart from natural representation only to intensify the expression of the subject implied in the title—not to dilute or efface it.” But, in a society bent on labels, Rothko would find a relentless adversary. Spotlight on Abstract Expressionism There would be two camps within the movement. Action, also known as Gestural Abstraction, which refers to the unrestrained energy and movement applied to the canvas, each brushstroke a brisk fling, dab, drip, or smear of paint; These practicioners include Jackson Pollock, Arshile Gorky, Willem de Kooning and Franz Kline. Color Field, also known as Post-Painterly Abstraction, which refers to areas of flat color organized to evoke an emotional feeling from the viewer. (Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb, and Ad Reinhardt). By the 1950s, Rothko worked on large-scale color blocks – hormonal strains of lively hues vibrating along a scrappily drawn line – which begged not a critical mind, but rather a soul’s recognition. In this way, Rothko was closer to a Romanticist poet than an Abstract painter. Yet, some of his critics dismissed the work as exercises in obscurity, whose meaning was “too enigmatic” and its spiritual intent indiscernible, and instead, more in the vein of “a formalist tradition.” Rothko rejected their interpretation, saying: “If you say you are moved only by their color relationships then you miss the point.”
The Renowned Rothko On January 1st 1950, LIFE magazine took an iconic photograph. With steely stares and banker suits, a group of American artists assumed their positions as the new voices of a generation. The New York School – known as “The Irascibles”- presented Abstract Expressionism to the world, and soon collided with mainstream fame. The men (and one woman) included Willem De Kooning, Jackson Pollock, Adolph Gottlieb, Ad Reinhardt, Robert Motherwell, Clyfford Still, James C. Brooks, Hedda Sterne, Jimmy Ernst, Bradley Walker Tomlin, Richard Pousette-Dart, Barnett Newman,Theodoros Stamos, William Baziotes, and Mark Rothko. Finally, Rothko could claim the attention he was seeking from respected critics, but he quickly shuddered at its cost. In the photograph, he sits in profile looking vigilantly at the viewer, as if new suspicion just took hold of him. Overprotective of his work, he feared the popularity of his art would manifest into the dreaded commodification of his art. This thrust into the limelight would lead to the Seagram commission in June 1958 – his highly anticipated series of murals set to adorn the Four Seasons restaurant – and, it would be his integrity that would prevent the completion of the commission. Rothko: The Twilight Years From 1964 to 1967, the artist worked on his commission in Houston, Texas –the Rothko Chapel – a space to house his paintings in a kind of spiritual enclosure to fully contemplate the art in a meditative setting. At last, Rothko had found a sanctified place for his paintings, an uncompromised, suitable home. However, the change in his palette during his later works was undeniable. Reds and yellows were replaced by overcast greys, tinges of ebony, and anemic pinks; his bout with depression worsened and overwhelmed his work. In 1970, around the time his Seagram murals arrived in London for their display at the Tate Gallery, Mark Rothko’s body was found in his East 69th Street studio after an apparent suicide. Life After Rothko By the 1960s, Pop Art stormed the gate of the art world, and their descendants emerged as such Neo-Dadaists as Jasper Johns and Robert Rauschenberg. As for Rothko’s legacy, artists such as Ellsworth Kelly and Kenneth Noland are considered late color field painters, or “hard edge abstractionists” - this time, moving away from the expressive qualities of their predecessor. As for the fate of Rothko’s paintings, their relevance remains palpable. In 2007, “White Center (Yellow, Pink, Lavender on Rose),” a 1950 Rothko painting, sold for a record $73 million at Sotheby’s. With this acute resonance and celebrated value, Rothko should be pleased – especially since the Warhol only sold for $35 million at the same auction. “Exegi monumentum aere perennius.” (I have erected a monument more lasting than bronze. (Horace))
The Seagram murals today Samantha Lazar, Literary Contributor
On the icy gray morning on February 25th, 1970, Mark Rothko was found dead in his studio, lying in a vast sea of red, having slashed deeply into his veins; at that very moment, on the other side of the Atlantic, canvas after blood-red canvas – nine in total – arrived at London’s Tate Gallery. The 30 canvases that Rothko had created for the Four Seasons commission, of which seven were intended to be chosen for installation in the restaurant, had sat neglected for over a decade while Rothko cast about for an appropriate venue for their display. He eventually decided on the Tate Gallery (known today as the Tate Modern). Characteristically, Rothko was exacting and particular about how the paintings were to be displayed and the gift came with the stipulation that they were to hang in their own gray-walled, dimly lit room. The goal was an atmosphere that enveloped the viewer, dominating his senses and forcing an uncomfortable engagement with the work. To properly view a single painting, the artist would recommend standing about 18 inches from the giant canvas so that the entire visual field is consumed by color. To step into the Tate’s specifically-designed room is to be enveloped by the inescapable color fields that haunt the gloomy space. At the time of Rothko’s death, the Tate space was to be the only room of its kind devoted to the Seagram murals. It held this status for 20 years, until the Kawamura Memorial DIC Museum of Art in Japan purchased seven canvases from the series and, as the artist would wish, created a room for their display that is similar to the Tate’s. The remaining paintings are now at the National Gallery in Washington, D.C., where two are currently installed and the others are among the museum’s almost 300 paintings and over 650 sketches by the artist, donated by the Rothko Foundation in the mid-1980s.
The Seagram murals at Tate Modern. Photo: David Sillitoe
art through the ages Compiled by Amanda Young, Literary Intern
Ancient & Classical Art KEY DATES: 15000 BC / 400 BC200AD / 350 AD-450AD Egyptian frescoes, tombs, pottery, metalwork, drawings, Romanesque/Greek, geometric architecture, Byzantine religious mosaics, domes, arches Medieval & Gothic Art KEY DATES: 400AD Biblical iconography, architecture of pointed archways and elaborate rib vaulting Renaissance KEY DATES: 1300s Leonardo da Vinci, Sandro Botticelli, Raphael, Titian, Michelangelo Buonarroti Mannerism KEY DATES: 1520-1600 Andrea del Sarto, Correggio, Jacopo da Pontormo Baroque KEY DATES: 1600s Caravaggio, Rubens, Rembrandt, Velazquez, Vermeer Rococo KEY DATES: 1700s Giovanni Battista Tiepolo, William Hogarth, Giovanni Antonio Canaletto Neo-classical KEY DATES: 1750-1880 Thomas Gainsborough, JacquesLouis David, Jean-Auguste-Dominique Ingres Romanticism KEY DATES: 1800-1880 Francisco Goya, John Constable, J.M.W. Turner, Eugene Delacroix Hudson River School KEY DATES: 1825-1875 Thomas Cole, Thomas Doughty, Asher B. Durand Pre-Raphaelites KEY DATES: 1848-1920s Ford Maddox Brown, William Holman Hunt, Sir John Everett Millais, Dante Gabriel Rossetti, Edward Burne-Jones, John William Waterhouse, William Morris Arts & Crafts Movement KEY DATES: 1850s John Ruskin, William Morris, Walter
Crane, Dante Gabriel Rossetti Symbolism KEY DATES: 1885-1910 Gustave Moreau, Odilon Redon, Gustv Klimt Realism KEY DATES: 1830-1870 John Singer Sargeant, J.A. MacNeill Whistler, Honore Daumier, Gustave Courbet Impressionism KEY DATES: 1867-1886 Edouard Manet, Claude Monet, Edgar Degas, Pierre-Auguste Renoir, Mary Cassatt Post-impressionism KEY DATES: 1880-1920 Paul Cezanne, Georges Seurat, Paul Gauguin, Vincent Van Gogh, Auguste Rodin, Amedeo Modigliani
Dada KEY DATES: 1916-1920s Marcel Duchamp, Max Ernst, Andre Breton Futurism KEY DATES: 1909-1944 Filippo Tommaso Marinetti, Giacomo Balla, Umberto Boccioni, Carlo Carra, Gino Severini Surrealism KEY DATES: 1920-1930s Salvador Dali, Pablo Picasso, Joan Miro, Rene Magritte Constructivism KEY DATES: 1915-1940s Kasimir Malevich, Wassily Kandinsky
Nabis KEY DATES: 1888-1899 Pierre Bonnard, Edouard Vuillard, Maurice Denis, Ker-Xavier Roussel
Abstract Expressionism KEY DATES: 1940-1960s Jackson Pollock, Arshile Gorky, Barnett Newman, Mark Rothko, Franz Kline, Robert Motherwell, Willem de Kooning, Clyfford Still, Adolph Gottlieb
Fauvism KEY DATES: 1905-1908 Andre Derain, Henri Matisse, Raoul Dufy
Pop Art KEY DATES:1950-1960s Andy Warhol, Roy Lichtenstein, Jeff Koons, Claes Oldenburg
Art Nouveau KEY DATES: late 1800s Gustav Klimt, Alphonse Mucha, Henri de Toulouse-Lautrec
Op-Art KEY DATES: 1960s Bridget Riley, Heinz Mack, Victor Vasarely
Ashcan School KEY DATES: 1891-1918 Robert Henri, William J. Glackens, George Luks, Everett Shinn
Minimalism KEY DATES: 1962 Dan Flavin, Carl Andre, Ellsworth Kelly
Modernism KEY DATES: 1890-1940 Paul Cezanne, Edouard Manet
Fluxus KEY DATES: 1960-1965 Joseph Beuys, Joe Jones, Yoko Ono, Dick Higgins, Robert Filliou
Expressionism KEY DATES: 1905-1925 Edvard Munch, Marc Chagall, Egon Schiele, Georges Rouault Bauhaus KEY DATES: 1919-1930s Paul Klee, Oskar Schlemmer, Franz Marc, Lyonel Feininger, Wassily Kandinsky Cubism KEY DATES: 1908-1914 Georges Braque, Pablo Picasso, Fernand Leger, Piet Mondrian, Juan Gris
Indian River School KEY DATES: 1950s A.E. “Beanie” Backus Situationism KEY DATES: 1957-1972 Asger Jorn, Guy Debord Neo-Expressionism KEY DATES: 1980s Julian Schnabel, David Salle, Sandro Chia, Georg Baselitz Post-Modernism KEY DATES: 1960-present Jasper Johns, Frank Stella, Donald Judd
our supporters Philadelphia Theatre Company is deeply grateful for the support it receives from the many generous individuals, corporations, foundations and government partners who contribute to the Annual Fund. For more information about how to support PTC’s artists, productions, and programs, please call the Development Office at 215-985-1400 ext. 117.
INDIVIDUAL DONORS Benefactors ($100,000+)
Alan & Janet Widra Kaiserman Company, Inc. Patrons ($50,000 - $99,999)
Harriet & Larry Weiss
The Artists Circle
Where great theater and great theater friends meet Executive Producers Circle ($25,000 - $49,999)
Marilyn & Robert Birnhak Susan & Kenneth Kaiserman Marjorie & Lewis Katz Producers Circle ($10,000 - $24,999)
Tracy & Rick Burke Julia & Eugene Ericksen Priscilla M. Luce Sheldon & Karen Thompson Actors Circle ($7,500-$9,999)
Dr. Dorothy J. del Bueno Alice L. George Monika Krug & George Edel Susan & James Meyer Carol Saline & Paul Rathblott Jerry & Cookie Riesenbach Don & Lynne Rosenblit Neal & Sheila Schneider Elliot & Carol Schwartz Directors Circle ($5,000-$7,499)
Anonymous Lynda Barness Lani & John Carrow Ellen Singer Coleman & Michael Coleman
David & Nancy Colman Fran & Neal Cupersmith Mr. and Mrs. Alan S. Fellheimer Glenn Gundersen & Susan Manix Arthur M. Kaplan & R. Duane Perry Sally Lyn Katz Robert & Elizabeth Nourian Julie & Jordan Savitch Bryna & Andrew Scott Laura & Richard Steel Designers Circle ($2,500-$4,999)
Anonymous (2) Brigitte F. Daniel, Esq. Dr. James F. Dougherty Steven J. Engelmyer, Esq. & Lisa Wershaw, in support of Drama Contact Sally Walker & Thomas Gilmore Carol & Jim Ginty Mr. and Mrs. Joseph Goldblum Christine Kanter David Lerman & Shelley Wallock Dale Penneys Levy & Richard Levy Carl & Mary Ellen Schneider James T. Smith & Debra Klebanoff June & Stephen Wolfson Playwrights Circle ($1,000-$2,499)
Barbara Adams Ken & Edna Adelberg Scott & Abby Applebaum Dr. Peter H. Arger Jim & Kim Balaschak Lee Berg Barbara & Mickey Black Arthur & Janice Block Louis Bluver Stacey Spector & Ira Brind Beverly & Berny Brownstein Alexandra Carides John & Priscilla Clement Diane Cribbs & Arthur M. Mann
Mr. and Mrs. Brian H. Effron Neil Falis & Laurie Frischman Phyllis & Howard Fischer Marjorie & Sidney Gable Mr. and Mrs. Matthew I. Garfield Teresa Gavigan & Larry Besnoff Henry & Sheila Gladstone Rosalie Burns Goldberg & Herbert I. Goldberg Mr. and Mrs. Jay Goldstein Ron & Marcia Goldstein Mr. and Ms. Gregory G. Gosfield Cheryl & Jonathan Green Hope Cohen & Richard Green John & Meredith Hanamirian Lynn & Don Haskin Tom & Wendy Hibberd Mr. and Mrs. Richard Jaffe, Esq. Madeleine & Steven Kessler Harvey & Virginia Kimmel Debra Fein & Kenneth Kleinman Suzette & Steven Kolitch Benita Hofstetter Koman Mary Ann B. & Joel I. Lawson Seth & Ellyn Lehr William Leonard Richard A. Levan, Esq. Mr. Paul Lewis Mr. and Dr. Jeffrey P. Libson Charisse R. Lillie Michael Loughran & Jim Leach Belle & Thomas J. Maher Lynn & Joe Manko Alexis & Joel Marmar Seymour Millstein Nancy & Dean Nance Kathleen & Tim Nolan Jeannie & Mike O’Neill Robin Palley Ron & Jayne Perilstein Marcy Panzer & Manny Pokotilow Maureen E. Pugh Steve & Elizabeth Reed Barbara Rice & Tina Phipps
Janet Perry & David Richman Lila Roisman Vesna & Howard Sacks Michael Sanyour & Laurada Byers Sherrie Savett Dr. Nathan & Dolly Beechman Schnall Michael T. Scott Eric & Robin Settle Marjorie & Howard Silverman Gayle & David Smith Karen & John Stanley Kathleen Stephenson, Esq. Sophie & Gary P. Steuer Barbara & Robert Tiffany Dr. Bettyruth Walter & Donald J. Goldberg Jeanne P. Wrobleski, Esq. Martin Zeldin
PTC Performers Impresarios ($500-$999)
Anonymous (2) Sally Berlin Linda & Jonathan Chorney Mark & Linda S. Conley Alberta De Martini Mr. and Mrs. Arthur W. Forte Raymond Kraft & Gregory Wise Dr. Rosalie Matzkin Chris & Cecelia Ross Mr. and Mrs. Gerry Schwam Mr. and Mrs. Richard Sheerr Kellye L. Walker & Werten Bellamy Doug Zegel STAR PERFORMERS ($250-$499)
Anonymous Mr. and Mrs. Bennett Aaron Dr. Ronald Abraham Barbara Abrahams Dr. Victor & Arlene Adlin Ann Auerbach Mrs. Liesel Baker Ann & Tom Blackburn John & Teresa Cavenagh Peggy & Mark Curchack Elizabeth H. Gemmill, Esq.
Dr. and Ms. Alex Glijansky Ms. Linda E. Howard Fred & Beth Jacoby Mr. and Ms. Barry Kleban George F. Koch, Jr. & Santo A. DiDonato Mr. and Mrs. Don Kramer Dr. Edward Lundy & Debbie Reiff Bruce McKittrick & Wendy E. Wilson Paul Nutaitis & Robert Clark Eugenia & Philip Paul Ms. Ellyn Phillips Barbara Picasso Rex Ronald E. Powers Sherri and Abe Reich Mary J. Reilly Avery Rome & Jeff Price Dulcie Romm Mr. and Mrs. Robert Rose Barbara & Dan Rottenberg Mr. and Mrs. Joel Rubin Dr. Patricia Saddier In honor of Anne Stern Robert Stewart & Barbara Barnett-Stewart Nina E. Tafel Jeff & Marie Taylor Krista & David Underwood Norman K. Walker Mr. and Mrs. Ken Weiss Mr. and Mrs. Jonathan Wheeler Leslie Miller & Richard Worley Ensemble Performers ($100-$249)
Anonymous (3) Alan Aarons Mr. and Mrs. Guy Aiman Charlotte & Dirk Ave Ms. Margaret McLaughlin & Dr. Donald Bakove Dr. William F. Barr Rochelle & Herb Bass Robert & Sandy Clay Bauer Mr. James Baum Carroll W. Baylson Toni Seidl and Richard Berkman
Harriet and Louis Berneman Hugh N. Blair David & Michele Blask Patricia M. Burland Nancy Burd Mrs. Janet B. Cantor Mr. and Mrs. Anthony Carozza Mr. Keith Case Debbie & Alan Casnoff Randolph Charles Scott & Nelly Childress Dr. Gail Ciociola Natalie & Herbert Cohn Barbara & Ronald Coleman Henry & Elizabeth Combs Darlene & John Cooke Rosalie Coombs Joseph Danciger Dr. and Ms. John A. DeFlaminis Dr. and Mrs. B. Franklin Diamond Don & Nancy Donaghy Mr. and Ms. Gordon Elkins Debbie & Jerry Epstein Drs. Jay Federman & Sylvia Beck Judy & Leonard Feldman Sandy & Len Feldman Mr. and Mrs. Arthur S. Filderman Lisa C. Dimedio & John C. Flamma Janice & Leonard Freed David Furniss Mr. Bernardo C. Garcia Edwin & Judy Gerber Emilia DeMarco & James F. Giblin Jeffrey & Linda Gloss Joan Gmitter Toni Alperin Goldberg Ms. Sandra S. Gordon Rick & Diane Graboyes Peggy Grip Judge Marvin R. & Marcia O. Halbert Elaine Hamilton Ralph & Sharon Harris Karen & Bruce Harrison Morgan Y. Himelstein Diane & Millage Holloway, Jr.
Joseph Holman John E. Holohan Nina Hope Debra & James Kahn Mary & Donald Kane Luci & Edwin W. Kane Jaan & Roberta Kangilaski Ms. Sylvia Kauders Rebecca Landes & Tim Kolman Leonard & Pearl Kornit Magdalyn Y. Lawton Mr. Daniel T. Lee Ms. and Ms. Eric W. Leichter Janet Levitt Barbara & Alan Levy Don Liu Jacqueline A. Massari Sandra Mayers James F. McCaffery David S. Miller Judith & Martin Miller Dr. Eric Minch Constance C. Moore Jeff & Maxine Morgan Carmen C. Mucci & Lois Marianni Hershel & Charlotte Muchnick Mr. James R. Murray Jr. Eliot & Bonnie Nierman Richard J. Pariseau Ms. Margaret E. Phillips Marsha & Nathan Pincus John & Jo Anne Pinto Rhoda Polakoff Elise Vider & Dick Polman Harriet Potashnick Phoebe & Myron Resnick Marvin & Lorraine Riesenbach Janet Riser George & Zara Roberts Tony & Barbara Rooklin Dorothy Roseman Barbara Ann Rosenberg Sally & Edwin Rosenthol Mr. and Mrs. Stuart Rubin Ms. Selma Rudolph Mr. Peter Ryker Marvin & Ruth Sachs Arlene D. Schaller Mark & Janet Schreiner
Dr. Louis & Linda Schwartz Mr. and Mrs. David Scott Marilyn & Jerome Segal Bubbles Seidenberg Keith Shively & Thomas Williams Mr. and Mrs. Richard Shulman Milton & Sylva Silver Gladys Simon Mr. Morton R. Simon James L. Smith Lee Snyder & Hellen Zahniser-Snyder Jay Snyderman Julie Sokoloff Mr. and Mrs. Robert E. Spallone Paula & Jerry Speigel Judith Spiller Debbie & Gary Stahl Anne L. Stein Lucille B. Stein Bette Steinberg Philip & Doris Steinberg Michael & Marianna Sullivan Mr. and Ms. Jim Sumerson Shirley Turnoff Swerdloff Dr. and Mrs. John Taylor Walter Vail Mr. and Mrs. Harold B.
Wells Jr. Evelyn Wiener Howard Wiener Sherry Shamansky & Wallace Wing Roger & Lillian Youman Ms. Margo K. Zitin Mr. and Mrs. Theodore Zutz
Gifts in memory In Memory of
Milton Garonzik
Mimsye Katz Monika Krug Priscilla Luce Joe & Lynn Manko Jim Meyer Kathleen Kund Nolan Jerry Riesenbach Sue Rosefsky Don & Lynne Rosenblit Bryna & Andy Scott Judith Spiller Christina Sterner & Steve Poses Sophie & Gary Steuer Shel & Karen Thompson The Staff of Philadelphia Theatre Company Debi & Ned Weinberg Harriet & Larry Weiss In Memory of
Ralph & Suzanne Roberts Stanley Baurys Michael Coleman Neal & Fran Cupersmith Kim Delconte Alice George Tom Hibberd Ken & Susan Kaiserman
Barbara “Babs” Glassberg Laurie Beechman Gifts in honor
Jerry Riesenbach (2) Michael Coleman (2)
Matching Gifts
Bank of New York Mellon GE Foundation Matching Gifts Program GlaxoSmithKline Foundation Matching Gifts Program Merck Partnership for Giving
Make a donation through your workplace United Way Program. Our Donor Choice Number: 4273 Contributions made through the United Way support our educational programs with at-risk youth in Philadelphia and the region.
A legacy of theatre The aspirations of Philadelphia Theatre Company has always been fueled by the generosity of theatre enthusiasts from the region. The Visionary Society, named after the theatre’s founders, was formed to pay tribute to the special group of visionary supporters who have remembered Philadelphia Theatre Company in their wills or in other gift plans. When you join the Society you reach past your own lifetime to ensure that PTC’s rich tradition of artistic excellence will be preserved for generations to come! If you have included us in your plans, we hope you will let us know. Or if you are interested in learning how simple it is to do so, please call our office: Christine Mickletz | Director of Development | 215-985-1400, x115 cmickletz@philadelphiatheatrecompany.org
Corporate Partners Let Philadelphia Theatre Company put your business in the spotlight. For more information about corporate memberships, sponsorships and in-kind support, please call 215.985.1400 x103 Corporate Sponsors ($25,000+)
Bank of America Blank Rome LLP HealthAmerica Lincoln Financial Foundation PECO PNC Arts Alive Corporate Members ($3,000- $24,999)
ARAMARK Charitable Fund at the Vanguard Charitable Endowment Program Beneficial Bank Berwind Fund Buchanan Ingersoll & Rooney PC CBIZ Coleman/Nourian Dranoff Properties, Inc Electronic Ink Eric Hafer & Associates, P.A. Firstrust Bank Flaster Greenberg Fleischman Gerber Associates Samuel T. Freeman & Company Hangley Aronchick Segal & Pudlin McCarter & English LLP Newman & Company, Inc. PMA Capital Sage Financial Group Shamrock Clean Shire Pharmaceuticals Spring Garden Construction Company TD Bank, through the TD Charitable Foundation Team Clean Towers Watson Verizon Wells Fargo US Airways
other Corporate gifts
Clean Rental Services, Inc. The Haverford Trust Company Isdaner & Company Metropolitan Carpets Philip Rosenau Company, Inc. SSH Real Estate Target FOUNDATION SUPPORT
AYCO Charitable Foundation The Barra Foundation, Inc. Beatrice Fox Auerbach Foundation Fund at the Hartford Foundation for Public Giving Jacob Burns Foundation, Inc. Louis N. Cassett Foundation The Civic Foundation, Inc. Connelly Foundation Gift from The Charlotte Cushman Foundation in memory of their Trustee Norma Testardi Egendorf Pomerantz Dolfinger-McMahon Foundation The Horace W. Goldsmith Foundation The Hamilton Family Foundation Independence Foundation Virginia and Harvey Kimmel Arts-Education Fund Knight Arts Challenge of the John S. and James L. Knight Foundation Christian R. and Mary F. Lindback Foundation Lomax Family Foundation Performing Arts Foundation, Inc. The Pew Center for Arts & Heritage through the Philadelphia Cultural Management Initiative and the Philadelphia Theatre Initiative Fund for Children of The Philadelphia Foundation The Suzanne F. and Ralph J. Roberts Foundation Rosenlund Family Foundation The Saramar Charitable Fund The Sheerr Foundation The Shubert Foundation, Inc. Tanker Family Charitable Trust The Victory Foundation
The Wallace Foundation The William Penn Foundation June and Steve Wolfson Family Foundation Government SUPPORT
Philadelphia Theatre Company receives State arts funding support through a grant from the Pennsylvania Council on the Arts, a State agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency. Philadelphia Theatre Company is supported in part by an award from the National Endowment for the Arts. Philadelphia Theatre Company gratefully acknowledges the support of the Philadelphia Cultural Fund.
This list acknowledges donors as of October 5, 2011. PTC strives for accuracy in its donor listings. If there is a misprint or your name has been inadvertently omitted, please call 215.985.1400 x117 Increase the impact of your support. Ask your company about its matching gift program.
Philadelphia Theatre Company Gives Special Thanks to: Cozen O’Connor CRW Graphics Diccicco Battista Communications Ken Kaiserman Lafayette Hill Studios
Frank Liu Lauren Luloff & Wallace Whitney PECO TD Bank The 12th St. Gym
Preferred Hospitality Partners: Philadelphia Theatre Company thanks the following members of the Preferred Hospitality Partners Program (PHP) who have made significant in-kind contributions of their exceptional goods and services. Please keep members of the PHP in mind when planning a pre-theatre, in-theatre or personal special event.
PHP Caterers
PHP Event Consultants
Inquiries from the hospitality industry may be made to 215-985-1400 ext. 117 or RSVP@philadelphiatheatrecompany.org
Organize 8 OR MORE of your friends and neighbors, book club, alumni association, church or synagogue and enjoy discount group rates at Philadelphia Theatre Company! photo: Opening Night of The Happiness Lecture
Call Carol Flannery, Sales Manager, at 215.985.0420 x103
2011/2012 SEASON
12
2011/20
S S A P X FLE y PTC | an
e | ANYtim y a w y n play | a
Turn in your Single Ticket anytime during the run of RED and you’re almost half way towards a PTC FLEX PASS for FOUR! We’ll deduct the face value of your Single Ticket from any FLEX PASS purchased and you’ll also get ALL THE PERKS of a traditional Subscription – free and unlimited ticket exchanges, restaurant and parking discounts, and first access to the latest PTC news. Use your Flex Pass for anyplay, ANYway, ANYtime! Bring three friends to one show, bring a date to two, or go see all four! CALL or STOP BY the box office today to take advantage of this great offer! *Must be redeemed during the 2011/2012 season. Some restrictions apply.
215.985.0420 | philadelphiatheatrecompany.org 480 South Broad Street | Philadelphia, PA | 19146
Capital Campaign Contributors Philadelphia Theatre Company applauds these leadership and major donors for their generous support of the campaign to help bring Philadelphia Theatre Company and the Suzanne Roberts Theatre to the Avenue of the Arts.
LEAD DONORS
Aileen K. and Brian L. Roberts
The Arcadia Foundation
Diane and Douglas A. Roberts
THE CORNERSTONE SOCIETY PATRONS
Marilyn and J. Robert Birnhak
Sue Perel Rosefsky
Jill and Sheldon Bonovitz
City of Philadelphia
Lisa S. Roberts and David Seltzer
Tracy and Rick Burke
Commonwealth of Pennsylvania
Anita and Terry Steen
Citibank
Shel and Karen Thompson
Michael M. Coleman
U.S. Airways Community Foundation
David and Nancy Colman
The Horace W. Goldsmith Foundation The Kaiserman Family Independence Foundation Marguerite and Gerry Lenfest
Harriet and Larry Weiss Alan and Janet Widra
Dorothy J. del Bueno Roberta and Carl Dranoff Ernst & Young
Suzanne F. and Ralph J. Roberts
THE CORNERSTONE SOCIETY BENEFACTORS
Weight Watchers of Philadelphia, Inc.
Ken and Edna Adelberg
Debbie and Bob Fleischman
Valla Amsterdam
Matt and Marie Garfield
Beatrice Fox Auerbach Foundation Fund at the Hartford Foundation for Public Giving
Teresa Gavigan and Larry Besnoff
Beneficia Foundation
Independence Blue Cross
Blank Rome LLP
Eleanor M. and Herbert D. Katz Family Foundation
June and Steve Wolfson The William Penn Foundation
THE FOUNDERS CLUB Catherine Roberts Clifton and Anthony A. Clifton The Comcast Family
Connelly Foundation
Cozen O’Connor
Will and Lucille Daniel
The Dietrich Foundation
Sir David Bruce Duncan and Lady Deana Pitcairn Duncan
Linda and David Glickstein Daniel B. and Florence E. Green Family Foundation Phoebe W. Haas Charitable Trust A at the recommendation of Carole Haas Gravagno Mr. and Mrs. Jon Harmelin KieranTimberlake Associates
Samuel S. Fels Fund Otto Haas Charitable Trust #2 at the recommendation of Leonard C. Haas Sally Lyn Katz The Lida Foundation Jerry and Cookie Riesenbach
Donna and Barry Feinberg
Hamilton Family Foundation
Mr. and Mrs. Thomas J. Maher Richard and Alice Norman Mandel Frank and Barbara Osinki PNC Don and Lynne Rosenblit Kenneth M. Rutherford Neal and Sheila Schneider Shire Pharmaceuticals James T. Smith and Debra I. Klebanoff
Monika Krug
Carol Saline and Paul Rathblott
Richard and Dale Levy
Bryna and Andrew Scott
Kim and Rob Roberts The Fulcrum Foundation
Ruth W. and A. Morris Williams, Jr.
Tracey B. Weiss and William I. Goldberg
Leslie MIller and Richard Worley
Special thanks to our many other donors.
Lincoln Financial Foundation Susan and James Meyer
Laura and Richard Steel
Philadelphia Theatre Company Seat Naming Campaign Name a seat today and become an indelible part of the Suzanne Roberts Theatre. We invite you to place your name, that of a loved one, or your business on one or more of the seats in the theatre. An elegantly engraved plaque with your specified text will be placed on the back of a seat on the orchestra or mezzanine levels of the theatre. Reasons to Name a Seat Today: w
You enjoy and care about theatre and Philadelphia Theatre Company
w
You’d like to make a meaningful contribution that supports our work
w
You’d like to recognize a special person, occasion, or institution
w
You’d like to honor the memory of a loved one
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You need to find the perfect gift for the person who has everything
For information about naming a seat, please call the Development Office at 215-985-1400, ext. 117
Philadelphia Theatre Company Productions Key Code
All productions are Philadelphia premieres unless otherwise note vWorld Premiere lCo-Production nEast Coast, Professional or American Premiere mProduction moved on to NY or other regional theater. the Suzanne Roberts Theatre
(2007 - Present)
2010 - 11 RUINED by Lynn Nottage LET ME DOWN EASY by Anna Deavere Smith RACE by David Mamet the 25th annual putnam county spelling bee book by Rachel Sheinkin music and lyrics by William Finn 2009 - 10 Humor Abuse by Lorenzo Pisoni and Erica Schmidt The Light in the Piazza by Craig Lucas and Adam Guettel v Golden Age by Terrence McNally v Red Hot Patriot: The Kick-Ass Wit of Molly Ivins by Margaret Engel & Allison Engel Ma Rainey’s Black Bottom by August Wilson 2008 - 09 v Unusual Acts of Devotion by Terrence McNally 25 Questions for a Jewish Mother by Kate Moira Ryan & Judy Gold Resurrection by Daniel Beaty At Home at the Zoo by Edward Albee Grey Gardens book by Doug Wright, Music by Scott Frankel, Lyrics by Michael Korie 2007 - 08 v Being Alive music & lyrics by Stephen Sondheim, conceived and
directed by Billy Porter M. Butterfly by David Henry Hwang Third by Wendy Wasserstein v The Happiness Lecture by Bill Irwin
plays & Players theater (1982 - 2007) 2006 - 07 n Murderers by Jeffrey Hatcher The Frog Bride by David Gonzalez v Nerds://A Musical Software Satire by Jordan Allen-Dutton, Erik Weiner, music by Hal Goldberg l In The Continuum by Danai Gurira & Nikkole Salter Orson’s Shadow by Austin Pendleton 2005 - 06 vm Adrift in Macao book & lyrics by Christopher Durang, music by Melnick Ben Franklin: Unplugged by Josh Kornbluth in collaboration with David Dower After Ashley by Gina Gionfriddo Intimate Apparel by Lynn Nottage vm Some Men by Terrence McNally 2004 - 05 Trumbo by Christopher Trumbo with Bill Irwin The Story by Tracey Scott Wilson Elegies: A Song Cycle by William Finn Take Me Out by Richard Greenberg
2000 - 01 m Compleat Female Stage Beauty by Jeffrey Hatcher vm No Niggers, No Jews, No Dogs by John Henry Redwood This Is Our Youth by Kenneth Lonergan The Laramie Project by Moisés Kaufman and Members of the Tectonic Theater Project 1999 - 00 l Dinah Was: The Dinah Washington Musical by Oliver Goldstick v White People by J.T. Rogers Wit by Margaret Edson Side Man by Warren Leight 1998 - 99 How I Learned to Drive by Paula Vogel vm Lives of the Saints by David Ives Gross Indecency: The Three Trials of Oscar Wilde by Moisés Kaufman The Beauty Queen of Leenane by Martin McDonagh 1997 - 98 Full Gallop by Mark Hampton and Mary Louise Wilson Minutes from the Blue Route by Tom Donaghy A Question of Mercy by David Rabe nm Birdy by William Wharton, adapted by Naomi Wallace
1996 - 97 2003 - 04 vm Bunny Bunny by Alan Zweibel Topdog/Underdog by Suzan-Lori Parks Molly Sweeney by Brian Friel Nickel and Dimed by Joan Holden l Sylvia by A.R. Gurney v According to Goldman Seven Guitars by August Wilson by Bruce Graham 1995 - 96 The Goat Or, Who Is Sylvia? Three Viewings by Jeffrey Hatcher by Edward Albee I Am A Man by Oyamo 2002 - 03 Broken Glass by Arthur Miller Fully Committed by Becky Mode Love! Valour! Compassion! King Hedley II by August Wilson by Terrence McNally The Last Five Years 1994 - 95 by Jason Robert Brown All in the Timing by David Ives vm A Picasso by Jeffrey Hatcher Keely and Du by Jane Martin 2001 - 02 The Woods by David Mamet Dinner With Friends Master Class by Terrence McNally by Donald Margulies 1993 - 94 n The Infidel by Bruce Norris Sight Unseen by Donald Margulies The Play About the Baby The World Goes ‘Round by Edward Albee by John Kander and Fred Ebb vm Barbra’s Wedding by Daniel Stern
n “2” by Romulus Linney Night Sky by Susan Yankowitz 1992 - 93 Prelude to a Kiss by Craig Lucas Mountain by Douglas Scott with Len Cariou v Tiny Tim is Dead by Barbara Lebow Lips Together, Teeth Apart by Terrence McNally 1991 - 92 National Anthems by Dennis McIntyre Miss Evers’ Boys by David Feldshuh n Lady-Like by Laura Shamas vm Nagasaki Dust by W. Colin McKay 1990 - 91 Speed-the-Plow by David Mamet The Cocktail Hour by A.R. Gurney with Celeste Holm n Pill Hill by Samuel Kelley 1989 The Middle of Nowhere songs by Randy Newman and Tracy Friedman 1988 - 89 Elaine’s Daughter by Mayo Simon The Voice of the Prairie by John Olive Frankie and Johnny in the Clair de Lune by Terrence McNally Glengarry Glen Ross by David Mamet Hannah Senesh by Lori Wilner and David Schechter adapt: of Senesh diaries Avner the Eccentric with Avner Eisenberg 1987 - 88 vm Stauf by Eric Saltzman and Michael Sahl co-produced with the American Music Theater Festival Orphans by Lyle Kessler Southern Exposure: n Sister and Miss Lexie by Eudora Welty, adapt. by Brenda Curran; and From The Mississippi Delta by Endesha Ida Mae Holland vm Hospitality by Allan Havis Out! by Lawrence Kelly First fully-mounted production 1986 - 87 Williams & Walker by Vincent D. Smith vm Citizen Tom Paine by Howard Fast with Richard Thomas, co-produced with The Kennedy Center Days and Nights Within by Ellen McLaughlin As Is by William M. Hoffman 1985 - 86
Painting Churches by Tina Howe Split Second by Dennis McIntyre. Co-produced with Freedom Theatre. Original commissioned from Grover Washington, Jr. Great American Sideshow: One Acts by Romulus Linney, Alan Zweibel and Robert Pine Extremities by William Mastrosimone 1984 - 85 Terra Nova by Ted Tally Geniuses by Jonathan Reynolds To Gillian On Her 37th Birthday by Michael Brady Fool for Love by Sam Shepard 1983 - 84 Getting Out by Marsha Norman True West by Sam Shepard Strange Snow by Steve Metcalfe Fifth of July by Lanford Wilson 1982 - 83 Wings by Arthur Kopit Lone Star/Laundry & Bourbon by James McLure Final Passages by Robert Schenkkan Dylan Thomas by Jack Aranson with Jack Aranson 1981 - 82 When You Comin’ Back, Red Ryder by Mark Medoff The Vietnamization of New Jersey by Christopher Durang Nuts by Tom Topor
various theatres (1975 - 1981) 1980 - 81 The Rimers of Eldritch by Lanford Wilson Alice Through The Looking Glass company developed by Lewis Carroll Hooters by Ted Tally Jesse and the Bandit Queen by David Freeman Getting Out by Marsha Norman 1979 - 80 Streamers by David Rabe The Insanity of Mary Girard by Lainie Robertson The Emperor Jones by Eugene O’Neill Dementia 80 by Don Steele 1979
Ashes by David Rudkin The Exhibition by Thomas Gibbons Some of My Best Friends are Women by Don Steele and Edward Earle 1978 The Seagull by Anton Chekhov The Transfiguration of Benno Blimpie by Albert Innaurato The Persecution of Eugene Waterman by Louis Lippa The Final Concert Tour of Mickey Colossus by Peter Mattaliano A Midsummer Night’s Dream by William Shakespeare Center City Soap by Dorothy Louise 1976 - 77 The Lion and the Lamb by Joseph Orazi Future Tense by John Sevcik The Keeper by Karolyn Nelke 27 Wagons Full of Cotton by Tennessee Williams Mars by Clay Goss She Stoops to Conquer by Oliver Goldsmith (Theatre in the Court) Twelfth Night by William Shakespeare (Theatre in the Court) 1976 Marlowe by John Yinger Rain by W. Somerset Maugham, adapted by Colton and Randolph The Crossing/As I Lay Dying A Victim of Spring by David Rabe & Leslie Lee The Three Daughters of M. Dupont by E. Brieux Translation by Pauline Jones Twelfth Night by William Shakespeare (NewMarket) 1975 The Adding Machine by Elmer Rice Sargeant Musgrave’s Dance by John Arden Between Now and Then by Leslie Lee
about our home The Suzanne Roberts Theatre, designed by KieranTimberlake Associates, is owned and operated by Philadelphia Theatre Company and is the Company’s first permanent home. PTC is proud that the creation and development of its home, in partnership with Symphony House developer Carl Dranoff, has become a model for civic redevelopment; one that capitalizes on the ability of the arts to reinvigorate districts for residential and commercial revival. The space is contemporary, elegant and urbane, and features a 160’ double height glass facade on the Avenue of the Arts. The interior is defined by a uniquely warm and sculptural 365 seat mainstage auditorium with a proscenium arch of interlocking leather tiles, a spacious and contemporary mezzanine, and a planned 100 seat flexible second stage for new play development, intimate performances, and educational programming. Our stage house significantly enhances our ability to respond to the most imaginative visions of our creative teams with its spacious wings, soaring fly gallery, and trapped stage. The Theatre offers a full range of public amenities with an on-site box office, ample public restrooms, a concession stand, and lobbies designed for patron comfort and engagement with the City visible through large expanses of glass. The grand staircase leads from the main floor to the double height mezzanine lobby. The Theatre’s contemporary universal design makes it one of the country’s most accessible performing arts venues and supports one of PTC’s core values ensuring that our artistry is accessible to everyone in our community.
about suzanne Roberts Philadelphia Theatre Company is honored to name its home after Suzanne Roberts--actress, playwright, director, educator, producer and philanthropist. For more than 40 years, Suzanne has been a leading champion of the Philadelphia theater community. An actress by training, Suzanne has engaged as an artist in meaningful public service with projects as diverse as performing in dramas to inspire the purchase of war bonds during World War II to national appearances in plays discouraging racism and alcoholism. Demonstrating the breadth of her artistry, Suzanne has performed on many stages throughout our region in plays from Shakespeare to A.R Gurney. She has also performed in a variety of media including radio and television and is well known to audiences as the creator and host of the Emmy Award winning “Seeking Solutions with Suzanne.” One of Suzanne’s lifelong passions has been using theater to improve the lives of young people. Through the Suzanne Roberts Cultural Development Fund, she has supported the outreach work of theater and dance companies in sharing their creativity with school children and young adults. Portrait of Suzanne Roberts by Alan Kole. Photo of Mainstage of Suzanne Roberts Theatre, home of Philadelphia Theatre Company, by Mark Garvin
for your information Box Office Hours:
During Productions: Mon - Fri: 10am to showtime Sat - Sun: 12pm to showtime Between Productions: Mon - Fri: 10am to 5pm Sat - Sun: closed
Open Caption Performance: 11/5/11 at 2pm
For audience members who are hearing impaired. A large LED captioning screen, positioned beside the stage, scrolls text of the lyrics/dialogue in tandem with the lyrics/dialogue of the performance.
Assisted Listening Devices:
State-of-the-Art assisted listening headsets that use an infrared signal to wirelessly deliver all dialogue, music and sound from the show at a personally adjustable volume are available for free at every PTC performance through the House Manager or concessionaire.
Audio Description Performance & Sensory Workshop 10/29/11 at 2pm
For audience members who are blind or low vision. Assistive listening devices are provided, through which a trained audio describer fills in the visual details and action on stage, live while it is being performed. A sensory workshop is provided before the show in which teaching artists provide in depth explanations of the visual aspects of the show, with patrons often invited on stage to touch and experience the set and costumes. Large Print programs available upon special request. Contact the box office to make a reservation for this workshop and/or performance. PTC’s accessibility programming is sponsored by the Lincoln Financial Foundation and the Pennsylvania Council on the Arts’ Accessibility to the Arts in Pennsylvania for Individuals with Disabilities Program. Accessibility technology in the Suzanne Roberts Theatre was made possible by a grant from the Lincoln Financial Foundation.
Photography
The use of photographic or recording devices is strictly prohibited. Please note: The audience may be photographed by PTC staff for archival and publicity purposes. If you prefer that your likeness not appear in PTC materials, please notify the House Manager.
Group Ticketing & Events
Contact PTC’s Sales Manager, Carol Flannery at 215.985.0420 x103
Student Matinees, In-School Workshops, and Summer Camp
Contact PTC’s Education Department at 215.985.1400 x106
Facility Rentals
Contact events@philadelphiatheatrecompany.org
Volunteer Opportunities
Contact PTC’s Patron Services Manager, Meg Morris at 215.985.0420 x105
Advertising Opportunities
Contact Carol Flannery at 215.985.0420 x103 or cflannery@philadelphiatheatrecompany.org
Parking and Public Transportation
The Theatre is easily accessible by the Walnut/Locust and Lombard/South SEPTA Broad Street Subway stations, 15th/16th PATCO station, Route “C” bus, or taxi. On-site parking is available at the InterPark lot, as well as nearby garages along Broad Street. PTC Subscribers can pick up $2-off parking vouchers for the Interpark or Ez-Park lot at the Box Office.
Restrooms, Elevator, Water Fountains
LADIES’ & MEN’S ROOMS are located on the orchestra level of the Theatre. All restrooms are ADA compliant. The ELEVATOR is located to the left of the concession stand which may be used to reach the mezzanine level. WATER FOUNTAINS are located outside the restrooms.
Lost & Found
If you have lost or found an item, please see the Box Office or House Manager. PTC is not responsible for loss or theft of personal belongings.
Lobby Video Installation
The klip//collective is dedicated to creating high-end, large-scale and unique video installations. klip//collective transforms architectural spaces into immersive visual experiences. For more information visit www.klip.tv/about.html.
Put a little PEP in your PTC experience FREE Patron Enrichment programs (PEP) For MEET-THE-ARTIST - 10/20, 10/25, 11/3
Our post-show MTA events allow the audience to learn about the creation of each production and ask the cast questions. Hang on to your seat for a post-show Q&A with the cast of RED.
American Playwrights In Context (APIC) - 10/22
post-matinee interview with director, Anders Cato.
Book Club - 10/20 @ 6:30pm Join us in the SRT Alcove to discuss Carol Wallace’s illuminating novel, Leaving Van Gogh. SPECIAL TOPIC - 11/2 directly following the 7pm performance. Throughout the year we will schedule discussions and special speakers that pertain to the production as well as the ideas raised by the production. Stay after the evening performance for our exclusive panel discussion, “Seeing RED: Rothko the Painter and the Purist,” moderated by Philadelphia Museum of Art staff lecturer, Matthew Palczynski.
BACKSTAGE TOUR - 10/29 Want to see more of RED? Come along on our post-matinee Backstage Tour for a Behindthe-Scenes look!
All PEP events are FREE! thank you to our community partner
check out the wonderful RED programming AT THE PMA Mark Rothko and the Play Red - Friday, November 4, 6:30 p.m. Copresented with the Philadelphia Theatre Company Van Pelt Auditorium $10 after Museum admission ($8 Museum members, subscribers of the Philadelphia Theatre Company, and students with valid ID) Matthew Palczynski, Ph.D., Museum Educator and Staff Lecturer for Western Art, and Carrie Chapter, Philadelphia Theatre Company’s dramaturg, discuss Mark Rothko’s pioneering paintings and John Logan’s Tony Award–winning play, Red.
Red Tours - Fridays, October 7, 14, 21, and 28, 6:30 p.m. Meet in Lenfest Hall/West Foyer $8 after Museum admission ($6 Museum members and subscribers of Philadelphia Theatre Company; $5 students with valid ID) Enjoy a glass of red wine at Art After 5, the Museum’s Friday evening program, and then take a Red Tour, a look at Mark Rothko and the artists he admired. Space is limited; reservations required. Call 215-235-SHOW (7469). Wine is not included in this tour.
PHILADELPHIA THEATRE COMPANY STAFF
2010/11 BOARD OF DIRECTORS
Priscilla M. Luce, President Michael M. Coleman, Co-Chairman* E. Gerald Riesenbach, Esq., Co-Chairman* Julia Ericksen, Ph.D., Vice President Glenn Gundersen, Vice President Neal Cupersmith, Treasurer Brigitte Daniel, Secretary Lynda Barness Shira Beckerman Marilyn Birnhak Richard Burke John C. Carrow David L. Colman, AIA Sara Garonzik Alice L. George Frank Giordano Kenneth Kaiserman* Sally Lyn Katz Monika Krug* Dale Penneys Levy James M. Meyer, CFA Donald Rosenblit, Chairman Emeritus* Carol Saline Jordan Savitch Neal Schneider Elliot Schwartz Bryna Silver Scott, Esq. James T. Smith, Esq. Harriet Weiss Alan Widra Members Emeritus Joanne Harmelin Sheldon L. Thompson* Bettyruth Walter, Ph.D. Tracey Weiss, Ph.D. *denotes past president
executive staff Producing Artistic Director Managing Director Assistant to the Producing Artistic & Managing Directors artistic/ programming staff Literary Manager and Dramaturg PTC@Play Festival Director Literary Intern Director of Education Education Coordinator Teaching Artists
administrative staff Director of Development Development Associate Development Associate Grant Writer Director of Marketing & Communications Marketing & Communications Manager Sales Manager Patron Services Manager Box Office Manager Assistant Box Office Manager Publicist Box Office Associates House Manager Business Office Associate
Production staff Director of Production Technical Director Company Manager Facilities Supervisor Assistant Stage Manager Assistant Set Designer Assistant Sound Designer Props Master Sound Supervisor Wardrobe Supervisor Production Electrician/Programmer Local Assistant Lighting Designer/Light Board Operator Deck Crew Production/Company Management Interns
services Auditor Scenery Red was rehearsed at the New 42nd Street Studios
Sara Garonzik Shira Beckerman Sharon Kling
Carrie Chapter Jacqueline Goldfinger Amanda Young Maureen Sweeney Rashanda Freeman Jan Michener, David Pershica, Melody Tash
Christine Mickletz Aimee Kerr Jessie Pasquariello Michelle Hitz Amy Lebo Rose Schnall Carol Flannery Meg Morris Sarah Blask Liz Lyons Deborah Fleischman Sara Blomquist, David Pershica Ron Hunter Jonelle Kelly
Bruce Charlick Michael L. Cristaldi Bridget A. Cook Chris Butterfield Danielle Commini Adrienne Carlisle Toby Algya Melissa A. Cristaldi Daniel A. Little Maxine Johnson Terry Smith Alyssandra Docherty Stuart Bartlett, Jacob Lyon Goddard Kristine Bonaventura Samantha Wilbert
Larson Allen Scenery First, Inc.
PLANNING AN EVENT?
Wedding | Birthday Party | Corporate Event | Bar/Bat Mitzvah | Film Premiere Cocktail Party | Dance Recital | Super Bowl Party | Anniversary Party | New Years Bash | Gala | Graduation Party Quinceanera | Sweet Sixteen | Reception Masquerade | Shower | Fundraiser Holiday Party | and more‌
CELEBRATE AT PTC The stunning Suzanne Roberts Theatre on the Avenue of the Arts in Center City Philadelphia is a premier venue for all of your short-term event needs. Sit-down dinners, cocktail receptions, and live performances & presentations are all eaily accommodated. The venue includes a beautiful 365-seat theater and bi-level lobbies for up to 400 guests. Catering, video, lighting, and sound amenities are available. For more info and availability: events@philadelphiatheatrecompany.org
UP NEXT AT PHILADELPHIA THEATRE COMPANY
“ A MASTERWORK! A TRIUMPH! FOUR STARS! ”
- New York Post
music & lyrics by John Kander & Fred Ebb book by David Thompson directed by Jeff Whiting
12 TONY AWARD NOMINATIONS! From the legendary songwriting team of Kander and Ebb (Cabaret, Chicago, Kiss of the Spider Woman), The Scottsboro Boys is a stirring musical that explores the infamous 1930’s ‘Scottsboro Case’ in which a group of African-American men are falsely accused of a terrible crime, ultimately provoking a national outrage that sparked the American Civil Rights movement. Scottsboro Boys is the definition of inspired American musical theater with a gorgeous and melodic score.
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PHILADELPHIA PREMIERE STARTING JANUARY 20!