Playwise | reasons to be pretty

p l ayw se ON STAGE AND OFF

mAy 25 through june 24, 2012

What’s Inside: The Beautiful Trifecta: Inside The Beauty Plays of Neil LaBute

by Carrie Chapter, PTC Dramaturg Neil LaBute, Waiting for the Guys to Grow Up

by Hanny Hindi of Flavorwire The Flaws of Attraction: The Mythos and Ethos of Love

by Carrie Chapter, PTC Dramaturg

reasons to be

pretty

by Neil LaBute directed by Maria Mileaf

PHIL ADELPHIA THEATRE COMPANY at the

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Sara Garonzik Producing Artistic Director

Shira Beckerman Managing Director

reasons to be

pretty

by neil

labute featuring

Daniel Abeles

Paul Felder

Genevieve Perrier

Elizabeth Stanley

Lighting Design Set Design Costume Design Vince Mountain Janus Stefanowicz David Lander Fight Choreographer Thomas Schall PTC Casting Director amy dugas brown

Casting Alan Filderman Production Stage Manager AMANDA ROBBINS-BUTCHER

Assistant Stage Manager danielle commini

Sound Design Bart Fasbender

Director of Production Bruce charlick Technical Director michael L. cristaldi

Production Dramaturg Carrie chapter

directed by

maria mileaf Original Broadway production produced by Jeffrey Richards Jerry Frankel MCC Theatre Gary Goddard Entertainment Ted Snowdon Doug Nevin/Erica Lynn Schwartz Ronald Frankel/Bat-Barry-Productions Kathleen Seidel Kelpie Arts, LLC Jam Theatricals Rachel Helson/Heather Provost World Premiere at MCC Theater on June 2, 2008, Robert LuPone & Bernard Telsey, Artistic Directors; William Cantler, Associate Artistic Director; Blake West, Executive Director.

REASONS TO BE PRETTY is presented by special arrangement with Dramatists Play Service, Inc., New York.

Thank you to our sponsors

Additional support for reasons to be pretty provided by the Charlotte Cushman Foundation.

from the producing artistic director Dear Friends, We are delighted to conclude our season with Neil LaBute’s deceptively masterful reasons to be pretty, a play that has been on my “must do” short list since its 2009 Broadway debut. It is a rare script that pulls you in and keeps you there for the duration, but that was certainly the effect it had on me, starting with the operatic, profane and hilarious battle of the sexes that opens the play and ending with ….well, I don’t think I will share that with you at the moment! What I will say, however, is that LaBute’s storytelling skills, combined with his painfully accurate and funny delineation of male/female relationships, exerts a powerful one-two punch.

Despite having been produced in Chicago; Washington, DC; New York and Los Angeles, LaBute has not yet received a major mounting here in Philadelphia, so we are doubly pleased to welcome him. As of this writing, he is scheduled to join us in early June for our traditional American Playwrights in Context interview and, with any luck, his busy schedule as playwright, screenwriter and director will allow him to be here. We are also thrilled to welcome back Maria Mileaf who is the first female director in our country to tackle reasons to be pretty. The range of Maria’s work for PTC has been extraordinary these last 15 years, encompassing plays as diverse as Ruined, Wit, How I Learned to Drive, The Story (for which she won a Barrymore Award) and others. Her astute eye for casting has never been more evident than here, and we are fortunate in welcoming four actors, all new to PTC: Daniel Abeles, Paul Felder, Genevieve Perrier and Elizabeth Stanley.

Moving ahead to next season, we have some exciting news to share! In addition to the previously announced Seminar by Theresa Rebeck and The Mountaintop by Katori Hall, we will be kicking off the season with the world premiere of Stars of David, a new musical based on Abigail Pogrebin’s best-selling collection of interviews of notable Jewish celebrities and achievers. These interviews, which reveal how faith and Jewishness impacts their work, family and lives, will be set to music by some of America’s most famous composers including William Finn, Jeanine Tesori, Sheldon Harnick and others. Get ready for musical confessions from the likes of Tony Kushner, Joan Rivers and Ruth Bader Ginsburg! A very early draft of this fresh and original work was rolled out at our PTC@Play new works festival last February and the feedback we received from our audiences was invaluable. PTC@Play, which returns next season, is one of the important ways we are developing new work, supporting writers and putting you front and center in the process.

Thank you again for joining us for this uniquely PTC season. It has been quite a journey from RED to The Scottsboro Boys (now playing at the Old Globe in San Diego, by the way) to The Outgoing Tide and now reasons to be pretty. I look forward to welcoming you all back in the fall!

FROM THE MANAGING DIRECTOR Dear Friends, PTC’s Education department has had one of its most successful years in the company’s history. Through our Barrymore Award-winning Drama Contact program, we’ve brought over 2,000 Philadelphia high school students to the Suzanne Roberts Theatre; for many of them it was their first time experiencing a live theatrical event. We provided for hundreds of teens the opportunity to write, direct, design, and perform in our annual Philly Reality program, as part of the PTC@Play festival of new plays. Over five hundred friends, families, and other members of our community watched this winter as the students produced some of the most powerful and creative work on our stage. We’ve launched the Greenfield Teaching Artist Fellowship, a visionary three-year program designed to vastly expand the breadth and depth of teaching artist training throughout the country. To close the season we’re pleased to announce our new and improved ActOut Summer Conservatory.

Summer is always a time for fun, but teens also need creative stimulation and a safe place to be themselves. PTC’s Summer Conservatory is an intensive four week experience for teens with some theatrical background who are interested in the fun and challenges of creating original one-act plays through an ensemble process.

The importance of creativity, teamwork, critical thinking, acceptance and respect are at the core of the conservatory’s instructional model. Teens not only have the opportunity to focus their interests and strengths (acting, directing, writing) but they will also learn the technical skills required to produce a play. Under the guidance of PTC staff members and master teaching artists, the students will become familiar with lighting design, sound design, music direction and stage management. Each week students will welcome professional theatre artists for a conversation about life in the theatre. This year’s guests include Philly’s finest: Tony Braithwaite, Jen Childs, Jackie Goldfinger, Bruce Graham, Michael Hollinger, Forrest McClendon, and others.

I hope you will join me in celebrating the success of the PTC Education machine, and, if you’re able, supporting these important programs for children. We’re extremely grateful for longstanding major support for our education programs from Lincoln Financial, The Hamilton Family Foundation, Victory Foundation, Aramark Charitable Fund, Beatrice Fox Auerbach Foundation Fund, Philadelphia Foundation Fund for Youth, and the Connelly Foundation. We hope you will join these philanthropic leaders, especially in underwriting the cost of a child to attend ActOut Summer Conservatory. To learn more about any of our education initiatives, visit us online at philadelphiatheatrecompany.org, call a staff member anytime, or find us in the lobby during intermission – we’d love to tell you more about our great work.

With thanks for your support,

FROM THE PTC BOARD PRESIDENT Dear Friends, On Monday, April 30, nearly 400 friends, artists, colleagues, and other patrons of the arts came together in the beautiful Grand Ballroom of the Hyatt at the Bellevue for Philadelphia Theatre Company’s annual Gala.

This year’s Gala honored longtime PTC supporters and distinguished Philadelphia-area philanthropists Marilyn and Bob Birnhak, and was attended by Suzanne Roberts, The Outgoing Tide director, James J. Christy, and the talented cast from PTC’s production of Reasons to be Pretty.

Co-chairs John and Rita Birnhak and Susan and Jim Meyer, as well as Tribute Book Chairs Harriet Weiss and Howard Silverman helped raise over $255,000 dollars in support of PTC’s Education and Outreach programs.

Guests bid $47,000 on such scrumptious and luxurious auction items as a New York City Theater Honorees Marilyn and Bob Birnhak with Sara Garonzik (center), weekend including house seats for PTC’s Producing Artistic Director. Photo by Paola Nogueras. three Broadway shows, a week’s vacation in the spectacular scenery of the Scottish Highlands, five days on safari in the exclusive Ongava Game Reserve in Namibia, Africa, and two tickets to the invitation-only 66th Annual Tony Awards on June 10th in New York.

Our dynamic Producing Artistic Director, Sara Garonzik, also spoke eloquently about PTC’s education program Drama Contact, our new Albert M. Greenfield Teaching Fellows program, and PTC@Play – our annual new play festival.

The highlight of the evening, which was hosted by PTC friend and CBS-3 anchor Pat Ciarrocchi, was a special concert appearance by Broadway and TV star, Brian Stokes Mitchell. Stokes is a Tony Award winner for Kiss Me Kate and is also known for his performances in Ragtime, Man of LaMancha, and the Carnegie Hall concert presentation of South Pacific. Most recently, he appeared as one of Rachel’s two dads, alongside Jeff Goldblum, in the smash TV hit Glee! Stokes’ encore of “The Impossible Dream” from Man of La Mancha brought the Gala audience to its feet.

My personal thanks go to everyone -- volunteers and staff -- who made this event so successful, and we hope you’ll join us for next year’s festivities. Stay tuned for all the exciting details!

With best wishes,

Priscilla M. Luce President, PTC Board of Directors

CAST Greg.....................................................................................................................................Daniel Abeles* Kent...........................................................................................................................................Paul Felder* Steph..........................................................................................................................Genevieve Perrier* Carly.............................................................................................................................Elizabeth Stanley* *Member of Actors’ Equity Association

Setting At home, at work, at the mall, at a restaurant, and at the ball field.

Time The present.

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

The Beautiful Trifecta: Inside The Beauty Plays of Neil LaBute

by Carrie Chapter, PTC Dramaturg With observed candor, playwright/ screenwriter/director Neil LaBute has regularly discussed the varied receptions to his works: “My plays are polarizing. People love them or loathe them. I don’t care which.”

In this way, LaBute succeeds wildly as a dramatist; after all, the worst response a playwright could truly receive is a lukewarm one, shrugged off as “okay,” “mediocre,” or the abhorrent not bad, but not good, Neil LaBute, photo by Aaron Eckhart either.” Effective theatre at work should kindle a fire in the belly of the audience, for better or worse. LaBute is no stranger to this blaze. Most of his plays and films fearlessly, unabashedly, delve into the ugly difficulties of the human character, often with harsh and controversial repercussions. With The Beauty Plays trilogy, the playwright put a truthful if unflattering mirror up to our perceptions of human beauty and self-image. What each play reflects backs to us discloses a universal, lingering story of our own insecurities.

1.)

The Shape of Things Evelyn, an outspoken art student begins a romantic relationship with frumpy everyman, Adam. When she starts to enact more control over his life and appearance, the consequences are revelatory to both Adam and his friends, Jenny and Phillip. First produced by London’s Almeida Theatre in the spring of 2001, and stateside, by the Promenade Theatre in October 2001, the play was directed by Neil LaBute, and featured Gretchen Mol, Rachel Weisz, Paul Rudd, and Frederick Weller. The play was later adapted into a film in 2003 with the original cast, with LaBute back as director, and with an exceptional Elvis Costello score.* Both Rachel Weisz and Gretchen Mol won the 2002 Theatre World Awards for their respective performances.

2.)

Fat Pig Tom is dating Helen, a plus-size librarian. Ashamed of her weight, he tries to hide her from “size-ist” friend Carter, and his on-again-off-again fling, Jeannie. Once the truth comes out, Tom is chastised by both Carter and Jeannie for getting involved with a “fat cow.” Unable to taccept his sense of shame, Helen provides Tom with an ultimatum to accept her as she is, which he cannot bear to do, and they go their separate ways. The play was first produced Off- Broadway by MCC Theater at the Lucille Lortel theatre in December 2004. It was directed by Jo Bonney, and featured Ashlie Atkinson, Andrew McCarthy, Jeremy Piven, Keri Russell – the latter two actors were replaced by Jessica Capshaw and Steven Pasquale. *Won the 2005 Outer Critics Circle Award for Outstanding Off-Broadway play, and a Theatre World Award for actress Ashlie Atkinson.

3.) reasons to be pretty Greg and his girlfriend, Steph, battle over an off-hand remark made by Greg to his brash friend and co-worker, Kent, about her looks. Meanwhile, Kent and his wife, Carly, deal with their personal relationship woes as it pertains to attractiveness and moral values. The final play in the trilogy, LaBute’s characters walk a long road towards selfrealization and redemption. The play was first produced Off-Broadway by MCC Theater at the Lucille Lortel theatre in June 2008. It was directed by Chicago’s Terry Kinney, and featured Alison Pill, Piper Perabo, Thomas Sadoski, and Pablo Schreiber. In the Broadway production, it opened at the Lyceum Theatre in April 2009 with Marin Ireland, Piper Perabo, Thomas Sadoski, and Steven Pasquale under Kinney’s direction. * Won the 2009 Broadway.com Audience Award for Favorite New Off-Broadway Play, and Pablo Schreiber was awarded the 2009 Drama Desk Award for his performance.

On Broadway: Nominated for three Tony Awards and three Drama Desk awards. Marin Ireland won the 2009 Theatre World Award for her performance.* Other Career Highlights from Neil LaBute: Theatre: Bash: Latter-Day Plays (1999) The Mercy Seat (2002) The Distance From Here (2002) This Is How It Goes (2005) Some Girl(s) (2005) Wrecks (2005) In a Dark Dark House (2007) The Break of Noon (2010) Film: Death at a Funeral (2010 – Director) Lakeview Terrace (2008 – Director) The Wicker Man (2006 – Director/Screenwriter) The Shape of Things (2003 -Director/Screenwriter/Producer) Possession (2002 – Director/Screenwriter) Nurse Betty (2000 – Director) Your Friends & Neighbors (1998 – Director/Screenwriter) In the Company of Men (1997 – Director/Screenwriter)

who’s who Daniel Abeles (Greg) PTC debut. NYC Theatre credits include: Too

Much Too Soon (Lesser America), Squealer (Theatre for the New City), Ethan Coen’s Offices (Atlantic Theatre Company), Keep Your Baggage With You at all Times (IT Award Nominee, Outstanding Featured Actor) Too Little Too Late (IT Award Nominee, Outstanding Ensemble), Behold! The Bowery, The Heart Attack, and Falling Petals. Regional: The Gnadiges Fraulein (Provincetown) and The Comedy of Errors (Lake George). Film/TV: Law & Order (final season), Gasoline, Son of Mourning, and Repatriate. He is a graduate of NYU’s Tisch School of the Arts and a founding member of the theater company Lesser America. Thanks to Maria and PTC!

Paul Felder (Kent) is thrilled to be working with Philadelphia

Theatre Company on this amazing play. This is Paul’s second Neal LaBute credit, having already played Carter in Theatre Horizon’s production of Fat Pig. Other Credits include: Sylvia, Magnetic North (Act II Playhouse), Lieutenant of Inishmore (Theatre Exile), Eclectic Society, Streetcar Named Desire (Walnut Street Theatre), Talk Radio, Chicken, and Extremities (New City Stage Company). When not on stage, Paul is also a professional mixed martial arts fighter with a record of 2-0, and counting! He would like to thank his loving family and Lynnia.

Genevieve Perrier (Steph) Perrier is a Philadelphia actress proud

to be making her debut at PTC. She has performed with many of the area’s companies, including the Arden, Act II, Azuka, EgoPo, Exile, Headlong Dance, Lantern, Pig Iron, Mum Puppettheatre, and Temple Repertory Theater. Favorite roles include Kyra in Skylight (Barrymore for Outstanding Leading Actress), Girleen in The Lonesome West (Barrymore Nomination for Supporting Actress), Amanda in Private Lives (Lantern Theater), and Mrs. Computer in The Annihilation Point (The Berserker Residents). In 2011, she received her MFA from Temple University and is now a teaching artist in the Philadelphia area. Many thanks to Sara and Maria for this opportunity.

Elizabeth Stanley (Carly) This spring, Elizabeth received critical acclaim for her portrayal of Gussie in the New York City Center, Encores! production of Merrily We Roll Along (cast album release: June, 2012). Broadway: originated roles of Dyanne in Million Dollar Quartet, Allison in Cry-Baby, and April in the Tony-Award-winning revival of Company. First National Tour: Kira in Xanadu. Off-Broadway: The Nurse in Hello, Again (Transport Theatre Group—Drama League Nomination, best ensemble). TV: Fringe, The Chappelle Show, and PBS Great Performances: “Company.” Regional: Rep. of St. Louis, O’Neill, La Jolla Playhouse, Pioneer Theatre Co., and Cincinnati Playhouse. Graduate of Indiana University.

Twitter: @ECStans. Love & Gratitude to Maria & PTC!

Neil LaBute (Playwright) received his Master of Fine Arts degree in dramatic writ-

ing from New York University and was the recipient of a literary fellowship to study at the Royal Court Theatre, London, and also attended the Sundance Institute’s Playwrights’ Lab. His films include: In the Company of Men (New York Critics’ Circle Award for Best First Feature and the Filmmakers’ Trophy at the Sundance Film Festival), Your Friends and Neighbors, Nurse Betty, Possession, The Shape of Things (a film adaptation of his play by the same title), The Wicker Man, Lakeview Terrace, and Death at a Funeral.

LaBute’s plays include: Bash: Latter-Day Plays, The Shape of Things, The Mercy Seat, The Distance From Here, Autobahn (a collection of five of his one-act plays), Fat Pig, Some Girls, This is How it Goes, and In a Dark Dark House. LaBute is also the author of several fictional pieces that have been published in The New York Times, The New York Times Magazine, Harper’s Bazaar, and Playboy, among others. Seconds of Pleasure, a collection of his short stories, was published by Grove Atlantic.

Maria Mileaf (Director) is thrilled to be back at PTC where she has previously directed Lynn Nottage’s Ruined, Tracy Scott Wilson’s The Story (Barrymore Award for Outstanding Direction), How I Learned to Drive, The Beauty Queen of Leenane, Nickel and Dimed, and Wit. Her New York directing credits include Lee Blessing’s Body of Water (Primary Stages) and his Going to St. Ives (Outer Critic Circle Award for Best New Play, 2005), Alexandra Gerston-Vasilleros’ The Argument (The Vineyard), Kira Obolensky’s Lobster Alice (Playwright’s Horizons), Vijay Tendulkar’s Sakharam Binder, and Erik EmmanuelSchmidt’s Monsieur Ibrahim and the Flowers of the Koran (The Play Company), Brooke Berman’s A Perfect Couple (DR2), Erik Ehn’s ‘Maid (Lincoln Center Festival), Neena Beber’s Hard Feelings (Women’s Project), Julia Cho’s 99 Histories (Cherry Lane) and Dawn Saito’s Ha (DTW). Regionally, Maria has directed Lucy Prebble’s Sugar Syndrome, John Belluso’s A Nervous Smile and Noel Coward’s Blithe Spirit (Williamstown Theatre Festival), Patricia Wettig’s F2M, Joanna Murray-Smith’s Ninety (New York Stage and Film), Wendy Wasserstein’s The Heidi Chronicles (Berkshire Theatre Festival). On the West End, Maria directed Richard Schiff in Glen Berger’s Underneath the Lintel.

Vince Mountain (Set Designer) reasons to be pretty is Vince’s first show with PTC, although he has worked with director Maria Mileaf off and on since 1992. Vince has worked at various regional theatres including the Alley Theatre, Great Lakes Theatre Festival, Seattle Repertory Theatre, Intiman Theatre, Williamstown Theatre Festival, Geffen Playhouse, and the Purple Rose Theatre, where he is a Resident Artist. He has also designed for the Opera Theatre of Saint Louis, Central City Opera, Opera Omaha, and the Wolf Trap Opera Company. In addition to his professional design career, Vince teaches set design in the BFA Design & Production program at the University of Michigan.

Janus Stefanowicz (Costume Designer) is very happy to be working on reasons

to be pretty. It is her eighth collaboration with director Maria Mileaf. Most memorable are Ruined, The Story, How to Learn to Drive, Beauty Queen of Lenane, Wit, and Nickled & Dimed. Janus also designed the Best Costume, Barrymore Award winner Intimate Apparel in 2006. Janus has worked at numerous regional theatres including: Manhattan Theatre Club, ACT Theatre, McCarter Theatre Center, NY Stage & Film, Berkshire Theatre Festival, Wilma Theatre, Delaware Theatre Company, The People’s Light and Theatre Company, Arden Theatre Company, and Pennsylvania Shakespeare Festival. Janus is the resident Costume Designer and shop manager for Villanova University’s Theatre Department. Since 1996, she has been nominated for 16 Barrymore Awards and has won three: the 2006 Barrymore Award for Best Costume for Intimate Apparel at Philadelphia Theatre Co., the 2003 Barrymore Award for Big Love and 1998 Award for On the Razzle both at the Wilma Theater.

David Lander (Lighting Designer) PTC: Nickel and Dimed, Orson’s Shadow, Frog

Bride, Some Men. Broadway: The Lyons with Linda Lavin, Master Class with Tyne Daly, Bengal Tiger at the Baghdad Zoo with Robin Williams (Drama Desk Award; Tony nomination), 33 Variations with Jane Fonda (Tony nomination), I Am My Own Wife (Drama Desk nomination), A Man for All Seasons with Frank Langella, Dirty Blond (Drama Desk Nomination), and Golden Child. Off-Broadway: Fran’s Bed with Mia Farrow, King Lear with Kevin Klein, Rose with Olympia Dukakis, Macbeth with Liev Schreiber and Jennifer Ehle, and Modern Orthodox with Molly Ringwald, Jason Biggs and Craig Bierko. Also worked in the UK, Asia, Australia, and major Regional Theatres in the US.

Bart Fasbender (Sound Designer) previous designs at PTC: The Outgoing Tide,

Ruined, and Humor Abuse. Broadway: Bloody Bloody Andrew Jackson. In NY: Playwrights Horizons, The Public, Second Stage, The New Group, Primary Stages, The Atlantic, BAM, PlayCo, Naked Angels, MTC, LAByrinth, Women’s Project and Productions, Rattlestick, Cherry Lane, Ars Nova, Lincoln Center, 24 Hour Plays, P73, Clubbed Thumb, Les Freres Corbusier, The Exchange, Summer Play Festival, NY Music Festival, Juilliard, Fordham, Circle East/Circle Rep. Regional: Williamstown, NY Stage & Film, Seattle Rep, American Conservatory Theater, Yerba Buena PAC, CTG – Kirk Douglas Theater, Barrington Stage, Berkshire Theater Festival, and TheaterWorks.

Thomas Schall (Fight Choreographer) Broadway: Death of a Salesman, War Horse, Venus in Fur, House of Blue Leaves, A Free Man of Color, Merchant of Venice, A View from the Bridge, After Miss Julie, Mary Stuart, Waiting for Godot, The Seafarer, Coram Boy, Journey’s End, The Woman in White, Wicked, and Noises Off. Off-Broadway: King Lear, Titus Andronicus, Mother Courage, Hamlet, and Why Torture is Wrong, and the People Who Love Them (Public Theater). Blood and Gifts, Bernarda Alba, Dessa Rose, Belle Epoque, and A Man of No Importance (Lincoln Center). The Lyons (Vineyard). Ruined (MTC). The Pride (MCC). Homebody/Kabul (BAM).

Alan Filderman (Casting) Over 40 plays for Philadelphia Theatre Company. Broadway, Off-Broadway and National Tours: 33 Variations, Grey Gardens, Marie Christine, Master Class, Once On This Island, Dessa Rose, A New Brain, A Beautiful Thing, Three Tall Women, Song Of Singapore, The Sum of Us. Many Regional Theatres across the United States including The Berkshire Theatre Festival. Film: Ice Age, Broadway Damage, Anastasia.

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) is the Literary Manager and Dramaturg at Philadelphia Theatre Company. A graduate of Washington College and Villanova University, 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 studentwritten 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) Philadelphia Theatre Company: Production Stage Manager for The Outgoing Tide, Scottsboro Boys, and Red. Pig Iron Theatre Company: Production Stage Manager for Twelfth Night. Stage Manager for Blueman Group Boston. A.R.T: Assistant Stage Manager for Paradise Lost, Best of Both Worlds, Endgame, and Romance. Production Associate for Communist Dracula Pageant, No Man’s Land, and Wings of Desire. ART Institute: Stage Manager for 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, and Melancholy Play. Received B.A. from St. Olaf College, Northfield, MN. Danielle Commini (Assistant Stage Manager) Philadelphia Theatre Company: Assistant Stage Manager for The Outgoing Tide, The Scottsboro Boys, Red, Colin Quinn’s Long Story Short, Ruined, Let Me Down Easy, Race, and The 25th Annual Putnam County Spelling Bee. Production Stage Manager for Bella: The Color of Love. Opera Company of Philadelphia: Stage Management Intern for Otello. Walnut Street Theatre: Stage Management Apprentice for Fiddler on the Roof, Fallen Angels, The Eclectic Society, and Oliver!. Received B.F.A. from University of the Arts, Philadelphia, Pa. Much love to Mom and Dad for unending support.

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.

Michael Cristaldi (Technical Director) has been with PTC since 2000. He is proud to be a part of the growing and vibrant theatre arts scene here in our wonderful city.

Staldi has traveled the country and all over the world as TD for Enchantment Theatre Company, freelanced at almost every theatre in town, and has designed lights for the Walnut Street Theatre’s Studio 3 and for the Philadelphia Live Arts Festival. He also co-produced the 2008 “Unofficial Fringe Late-Night Cabaret.” Staldi credits his success to Allentown College (now DeSales University), his wonderful family, and his incredible wife, Stacey.

Shira Beckerman (Managing Director) joined PTC in 2011. Previously she served as Managing Director of the 2011 Drama Desk Award-recipient Pearl Theatre Company Off-Broadway, overseeing significant organizational growth and transition. Shira originally 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). Ms. Beckerman has served on management and planning panels for Theatre Communications Group and The Alliance of Resident Theatres/New York and as an advisor for students at NYU, Columbia, Brooklyn College, and Yale University. 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 140 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 includes: 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.

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Flavorwire Exclusive:

Neil LaBute, Waiting for the Guys to Grow Up

by Hanny Hindi Monday, Feb 23, 2009

When Neil LaBute calls himself Mr. Sunshine, it makes you giggle. But when you stop to think, there’s something bright, shiny, and ultimately life affirming about the joy he takes in pushing people’s buttons — even when he’s lacing a 9/11 play with abortion or peppering a piece for a voter registration celebration with hate speech. Especially when.

He’s the kind of writer who seeks to challenge, rather than entertain the masses, but watching him lumber (his word choice) around the stage, cutting jokes while gently chiding the audience at the *92YTribeca last Wednesday night, he managed to do both seamlessly. Almost three hours passed, and we didn’t even notice that we needed to pee. Behold: the magic of theater.

Flavorwire’s Hanny Hindi talks to LaBute about the upcoming Broadway production of his play reasons to be pretty, the tendency for critics to confuse him with his evil characters, and his recent fascination with body image/the way we look at people.

Flavorwire: Have you been surprised by the reviews of reasons to be pretty? All the talk about you “going soft”?

Neil LaBute: [laughter] Soft.

Growing-up. Delirious various terms. I’m surprised more by their sense that one piece makes them think that I’m going a certain way. Rather than… that’s the way it ends and that it’s that play rather than it says something about me.

FW: The other thing they seem to suggest as a lot of reviews of your work do is that you identify directly with the nastier characters in your work: the Chads and Carters.

They act surprised that you’re a softy, even when you come straight out and say that Paul Rudd is your dramatic doppelganger.

NL: I don’t know if they think I sympathize. I think they imagine that if I’m able to create this, if I’m able to go to that place and imagine that dialogue, those scenarios, then it must be somewhere within me, rather than, “you have to be able to imagine the worst and the best people, because that’s the job.” I’m really a fiction writer. I write characters that are interesting, but they’re firmly rooted in the fictitious.

FW: You did say that Greg [the protagonist of reasons to be pretty] was a different sort of character. An “adult” rather than a “man who’s a boy at heart” like many of your other characters. Can you say more about that?

NL: I think he progresses to a place of adulthood: you begin to think about other people; you begin to make choices that are based on other people’s needs rather than your own. I think part of his journey is to a place where he cares more about somebody else and that person’s life than his own.

FW: You have said that the original ending of the play was different, and that it changed over the course of working with audiences and showing it to test audiences. Was that growth toward adulthood in the original version of the ending?

NL: I did have it, but it was probably a little more wistful. It was a little more bittersweet. While there’s still some of that, I think I nudged it toward a more completely, well, not “satisfying” rather than bittersweet it became sweet.

FW: Your female characters have been adults for a while.

NL: Yeah, so I was waiting for the guys to grow up! Even the character in fat pig: he comes upon some very hard truths about himself, to realize that he’s not ready to buck the system and go against his friends and he’s a more weak person. I don’t hold him accountable for that; I don’t think of him as a bad person. I don’t think of the guy who was manipulated in The Shape of Things as someone who is bad he was victimized by somebody. His feelings were based on a lie, so, those are guys who are not a “bad guy” but, they’re not necessarily good guys. They’re just people. I write complex people. There are some who are almost sociopathic, like [Chad] in In the Company of Men, and people then sort of base everything against that character and say, “Is this as bad as that?” or “Is this better?” It’s hard to shake that first thing that people recognize you for.

FW: You’ve also said this was a trilogy, though not one you deliberately set out to write. But there does seem to be a sort of progression from Evelyn in The Shape of Things who does seem nearly sociopathic,

to Carter in Fat Pig who just isn’t strong enough to do something that you imply would take a lot of strength, and then you get to Greg in reasons to be pretty who does make that leap and become an adult.

NL: — but he makes it begrudgingly as well. He very easily could have gone the other way, so it’s like a portrait of man learning to walk upright. It’s a slow move toward modern man.

FW: Was that move something you thought you’d do when you sat down to write The Shape of Things or did it develop out of working on the plays?

NL: Those first two were written without a real sense of their being a trilogy. But the third time I was thinking about a play that dealt with with body image, the way we look at people, I suddenly realized that I was kind of harping on that theme and that there must be something to it. So that made me look at the structure and the shape of the first few pieces, and I saw that they were really similar, and I’m going to use that same shape for three of these, and it will in effect be a trilogy. That sort of came out of my realization that I was continuing to be fascinated by that subject.

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The Flaws of Attraction: The Mythos and Ethos of Love

by Carrie Chapter, PTC Dramaturg

Don’t Hate Me Because [I Think] I’m Beautiful Last month, The Daily Mail posted an article by 41-year-old journalist Samantha Brick entitled, “There Are Downsides to Looking This Pretty: Why Women Hate Me for Being Beautiful.” Brick talked about how her physical beauty created such envy among women she felt victimized by their contempt for her prettiness.

The backlash has been tremendous; at print, 5,725 comments – mostly from women – crowd The Daily Mail website.

One notable quote comes from Barbara Walters on The View: “At the risk of being really not-so-nice? She’s got a problem. She’s not that beautiful. OK?’’ California plastic surgeons chimed in to comment on her “averageness” by U.S. standards, slamming her delusions of beauty and recommending countless procedures, including a nose job and a brow lift. Her husband, a Frenchman, has defended her point of view, saying he enjoys how much other men admire her.

For all its syrupy gossip, what the Samantha Brick story does challenge is the importance of beauty in relationships, and how people define the romantic dynamic by attractiveness.

First Stirrings Anthropologist Helen Fisher frames our romantic love as a reckless investigation into

“huge gains and huge losses,” something not so different from any other addictive substance. But, in its simplest introduction, love is attraction. The chemical buzz of finding someone attractive stems from genetic conservation. In theory, we look for a partner who matches us with some genetic similarity, perpetuating our coveted internal makeup.

A few of our insanely unattainable models of beauty are limited to Western cultural standards. One of the more outstanding prerequisites is the question of WHRs (waist-to-hip ratios). While other cultures have shown a preference for the higher WHRs in potential mates, Western societies prefer low WHRs in women, which is to say more “cushion” on the hips and buttocks with a leaner waist for optimal desirability.

However, being drawn to physically attractive people does manipulate a certain measure of worth. The culprit, in this respect, is called “the halo effect.” In this view, because society has deemed an individual beautiful, better things come their way, including a higher perceived intellect, a more developed personality, and innate popularity.

These angel faces also translate in the workplace; research shows that attractive people experience more occupational success than their “regular” co-workers, earning them better pay. So, naturally, a high success rate in all areas of life propels the perfect-mate ideal forward.

The merits of status, though, involve both sexes when it comes to attracting a partner.

For men, a woman’s sex appeal differs from how he perceives her in terms of beauty, which is much more attached to the presentation of his status, especially in front of other men. So, in short, women may dress for other women, but men are paying more attention to appearances than previously thought.

The Good, the Bad, and the Faithless The differences among men and women are the same variances in sexual partnerships found species-wide throughout the animal kingdom. For example, swans are famously faithful. However, what are more prevalent are creatures like the frisky meadow voles, renowned for promiscuity in mating practices. So, why should human beings be the exception to the rule? Easy, it’s the imperative of a culturally and religiously instituted standard. But, men cannot fight – biologically speaking – the “man-trance,” which refers to their enlarged sexual pursuit area of the brain, which makes it impossible for guys not to “ogle.” Also, the amygdala and hypothalamus – the centers of brain responsible for emotion and arousal – are hyper-activated in men in sexual situations, which can lead to the prickly subject of cheating. Human beings are given the complex categorization of enjoying sexually promiscuous genitals while contending with socially monogamous brains.

John Devore wrote an article for CNN, which explained why men cheat through a parable: “A dog was carrying a bone over a bridge. Looking down at the water under the bridge, the dog saw his reflection, which looked to the dog to be a bigger dog, carrying a bigger bone. Wanting the bigger bone he saw in the water, the dog barked and dropped his bone into the river. Stupid dog loses his bone... We cheat because we’re tempted to risk what we have for the promise of something that isn’t, probably never was, and definitely won’t last.”

Also, beauty is no deterrent for infidelity Tiger cheated on Elin, and Elizabeth Hurley has been cheated on by three different men. Even if the general public gapes in disbelief that men would cheat on their beautiful partners, the motivation to cheat rests on the essentially male pursuits of status, territory, and conquest.

Then, there is the dreaded “break-up” scene.

When Helen Fisher mentioned the addictive quality of love, she spoke of its effects both in its retention and in its loss. Its motor – obsession - chokes when rejection occurs; the reward system, the highs afforded by the nature of love, has ceased. Much like a drug withdrawal, the lovelorn journeys through the phases of “protest” and “despair.” One can protest if the love affair ends (or, fails to be reciprocated), but eventually despairs once the truth is met.

Beauty, Love, To Be Continued Florenz Ziegfeld, the Broadway impresario whose Follies epitomized feminine beauty, stated: “Beauty in the flesh will continue to rule the world.” This stands as quite a prophecy in light of the media’s ravenous zeal for defining beauty. So, being fully aware of such machinations, why strive for beauty?

Regardless of its superficial origins, it does lead to betterment in self-worth…to a point. Beauty has been conditioned to bring out ugliness, too. Women use it to build “social capital,” to be competitive in the sexual marketplace as a viable, lucrative commodity. The contest becomes everything, and the beauty secondary at best - it’s rigging Mother Nature to spite Father Time.

On a lighter note, researchers at NYU studied how human beings develop personal aesthetics, and their findings saw strong associations with one’s ability to deeply reflect. This could mean, for attracting partners, how one keenly observes their own sense of contemplation influences how they assess beauty in another – which is a pretty thought to relieve the pressure of a beautiful world.

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Robert Taglieri & Timothy Moir Dr. and Mrs. John Taylor Mr. Blair Thompson Tom & Joan Tropp Dr. Rosalind H. Troupin Mr. and Mrs. Norman A. Trudel Ellen Ufberg John R. Urofsky Walter Vail Eileen Weinberg Ms. Joan Weiner Mr. and Mrs. David Weinstein George H. Weiss, M.D. Mr. and Mrs. Harold B. Wells Jr. Ms. Carolyn L. Whitaker Evelyn Wiener Howard Wiener Connie & Sankey Williams Sherry Shamansky & Wallace Wing Richard Woosnam Kuna & Sam Yankell Roger & Lillian Youman Mr. and Mrs. Thomas E. Zemaitis Ms. Margo K. Zitin & Ms. Mimsey Katz Joseph S. & Renee M. Zuritsky Mr. and Mrs. Theodore Zutz * In support of the Terrence McNally New Play Award

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AYCO Charitable Foundation The Albert M. Greenfield 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 Haley 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 Wyncote Foundation

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.

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THE ORIGINAL COOL

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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 the 25th annual putnam county spelling bee book by Rachel Sheinkin music and lyrics by William Finn RACE

by David Mamet LET ME DOWN EASY

by Anna Deavere Smith RUINED

by Lynn Nottage Colin Quinn: Long Story short 2009 - 10 Humor Abuse by Lorenzo Pisoni and Erica Schmidt The Light in the Piazza

by Craig Lucas and Adam Guettel vm Golden Age by Terrence McNally vm Red Hot Patriot: The Kick-Ass Wit of Molly Ivins

by Margaret Engel & Allison Engel l Ma Rainey’s Black Bottom

by August Wilson Chicago’s the second city 50th anniversary tour 2008 - 09 vm Unusual Acts of Devotion

by Terrence McNally 25 Questions for a Jewish Mother

by Kate Moira Ryan & Judy Gold vl 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 vl the city of nutterly love co production with Chicago’s The Second City

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

n The Infidel by Bruce Norris

The Play About the Baby

by Edward Albee vm Barbra’s Wedding by Daniel Stern 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 vm Bunny Bunny by Alan Zweibel 2003 - 04 Molly Sweeney by Brian Friel Topdog/Underdog by Suzan-Lori Parks l Sylvia by A.R. Gurney Nickel and Dimed by Joan Holden Seven Guitars by August Wilson v According to Goldman

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 Broken Glass by Arthur Miller 2002 - 03 Love! Valour! Compassion!

Fully Committed by Becky Mode

by Terrence McNally King Hedley II by August Wilson 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 The Woods by David Mamet 2001 - 02 vm Master Class by Terrence McNally Dinner With Friends

by Donald Margulies

1993 - 94 Sight Unseen by Donald Margulies The World Goes ‘Round

by John Kander and Fred Ebb 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 v 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

v 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 v Eugene Waterman

by Louis Lippa v The Final Concert Tour of Mickey Colossus by Peter Mattaliano A Midsummer Night’s Dream

by William Shakespeare v Center City Soap by Dorothy Louise 1976 - 77 v The Lion and the Lamb by Joseph Orazi v Future Tense by John Sevcik v The Keeper by Karolyn Nelke 27 Wagons Full of Cotton

by Tennessee Williams Mars by Clay Goss v She Stoops to Conquer

by Oliver Goldsmith (Theatre in the Court) Twelfth Night by William Shakespeare (Theatre in the Court) 1976 v Marlowe by John Yinger Rain by W. Somerset Maugham, adapted

by Colton and Randolph v The Crossing/As I Lay Dying A Victim of Spring

by David Rabe & Leslie Lee v 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 v Between Now and Then by Leslie Lee

Philadelphia Theatre Company gives special thanks to our friends at Lafayette Hill Studios for many years of valuable, in-kind video and photography assistance.

about our THEATRE 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 Tuesday - Sunday: 12:00pm to showtime Monday: Closed Between Productions Monday – Friday: 10:30am to 5:30pm Saturday & Sunday: Closed

Open Caption Performance: 6/16/12 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. Please ask about Tcoil device options that are compatible with your hearing aid.

Audio Description Performance & Sensory Workshop 6/9/12 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 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.

2011/12 BOARD OF DIRECTORS Priscilla M. Luce, President E. Gerald Riesenbach, Esq., Chairman Julia Ericksen, Ph.D., Vice President Glenn Gundersen, Vice President Neal Cupersmith, Treasurer Brigitte Daniel, Secretary Lynda Barness Shira Beckerman Marilyn Birnhak John C. Carrow David L. Colman, AIA Sara Garonzik Alice L. George Kenneth Kaiserman Sally Lyn Katz Victor F. Keen Monika Krug Dale Penneys Levy James M. Meyer, CFA Salvatore J. Patti Kristen Phillips Donald Rosenblit, Chairman Emeritus Carol Saline 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.

Former board presidents

Kenneth Kaiserman Robert Greenfield Thomas M.S. Wheelock Lewis C. Ross Carole Phillips* John Friedman Donald Rosenblit William F. O’Donnell Monika Krug Cheryl Green Bernard A. Weidenaar Sheldon L. Thompson E. Gerald Riesenbach, Esq. Michael M. Coleman * deceased

PHILADELPHIA THEATRE COMPANY STAFF LEADERSHIP Producing Artistic Director Sara Garonzik Managing Director Shira Beckerman artistic/ programming staff Literary Manager and Dramaturg Director of Education Assistant Director of Education Education Coordinator Teaching Artists

Education Intern administrative staff General Manager Company Manager Business Office Associate Assistant to the Producing Artistic & Managing Directors Director of Development Manager of Institutional Giving Development Associate Development Associate Development Intern Grant Writer Director of Marketing & Communications Marketing Manager Sales Manager Patron Services Manager Box Office Manager Publicist Box Office Associates House Manager Marketing Interns Production staff Director of Production Technical Director Facilities Supervisor Assistant Costume Designer Props Master Sound Supervisor Lighting Supervisor Wardrobe Supervisor Production Electrician Dresser Deck Crew Production Apprentice­ Production Intern Company Management Intern

Carrie Chapter Maureen Sweeney Will Dennis Rashanda Freeman Heather Cole, A.S. Freeman, MJ Harris, Donja Love, Jason Mangano , Jan Michener, Renata McAdams, Kathryn Moroney, David Pershica, Bridget Reynolds, Melody Tash Shante Brown Jillian Taylor Getting Bridget A. Cook Jonelle Kelly Sharon Kling Christine Mickletz Amanda Varone Aimee Kerr Jessie Pasquariello Iraisa Ann Reilly Michelle Hitz Amy Lebo Rose Schnall Carol Flannery Meg Morris Sarah Blask Deborah Fleischman Lesley Berkowitz, Sara Blomquist, Liz Lyons, David Pershica Ron Hunter Samuel Chattin, Samuel Fineman Bruce Charlick Michael L. Cristaldi Chris Butterfield Charlotte Cloe Fox Wind Melissa A. Cristaldi Daniel A. Little Alyssandra Docherty Maxine Johnson Terry Smith Danielle Joh Josue Carazo, Jacob Lyon Goddard, Melissa Mann Samuel Bergey Chris Solis Samantha Wilbert

COMMUNITY VOICES INSIGHTS & OUTREACH

We hope you will engage with us through our many offerings scheduled during the run of reasons to be pretty. Please take a look at the events listed below, and check out our website for further detail. Hope to see you there!

Book Club 5/31 Join us in the SRT Alcove at 6:30pm to discuss Jennifer Egan’s book, Look at Me Meet-the-Artists (MTA) 5/31, 6/5, 6/14 Hang on to your seat for a post-show Q&A with the cast of reasons to be pretty.

Our post-show MTA events allow the audience to learn about the creation of each production and ask the cast questions.

American Playwrights In Context (APIC) 6/3 Post-matinee interview with playwright Neil LaBute, interviewed by Howard Sherman. (subject to change) Special Topics 6/6 “Eye Candy: How we define the fairest of them all!” Panel discussion post-matinee Backstage Tour 6/10 Want to see more of reasons to be pretty? Come along on our post-matinee Backstage Tour for a Behind-the-Scenes look!

Movie Night 6/11 Join us at 7:30pm for a pre-show discussion of Neil LaBute’s career with Dr. Lance Wahlert, Gender/Cinema Studies professor from the University of Pennsylvania, followed by a screening of Neil LaBute’s scintillating 2003 film, The Shape of Things, featuring Rachel Weisz and Paul Rudd. $5 at the door

Philadelphia Theatre Company celebrates Philly Beer Week!

For more information or to nominate a bachelor or bachelorette, visit www.philadelphiatheatrecompany.org/thedatinggame

ActOut 2012 Summer Conservatory July 9 through august 2

“Original, fun “I loved every class!” and exciting!”

- Tiffany, age 14 - Ben, age 16 Summer theatre camp for teens 13-17 July 9 thRough august 2 • Four Week Conservatory • Fridays Off • Guest Artists: (left ro right) Tony Braithwaite, Jackie Goldfinger, Bruce Graham, Michael Hollinger, Forrest McClendon, and others.

• 3:1 ratio of campers to teaching artist • Professional Advice from Experts in the Field • Teen Subscription to Philadelphia Theatre Company’s 2012/2013 season • Receive $50 OFF if you register by May 31! Use code PW50 at checkout.

To REGISTER

visit philadelphiatheatrecompany.org or call 215.985.1400, extension 111