p l aywise ON STAGE AND OFF
MAY 20 through JUNE 12, 2011
by Lynn Nottage directed by Maria Mileaf WHAT’S INSIDE: RUINED IN CONTEXT
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Dear Friends, At PTC we proudly conclude the mainstage celebration of our 35th Anniversary with Lynn Nottage’s sterling play, Ruined, winner of the 2009 Pulitzer Prize for Drama as well as 13 other major theater awards. Having Nottage’s work on our stage, however, is reason alone to celebrate. PTC audiences will remember her epic and moving drama, Intimate Apparel, set in turn-of-the 20th Century New York which we produced five years ago. The canvas for Ruined, set in present day, war-torn Congo, has even greater sweep and perhaps deeper emotional impact, as we delve into the lives of gutsy brothel-owner Mama Nadi and the young, damaged women who work for her while finding shelter in the shadow of her open, wounded heart. Ruined, though large in scope, has become one of our country’s most revered and produced works, with productions in Chicago, New York, Washington, Boston, Minneapolis, Seattle and abroad. One might wonder what magic this script exerts on audiences everywhere, given its raw depiction of brothel life in a ravaged mining town in another continent far away. The answer is simple: Lynn Nottage has written one of the richest, truest, most gripping and well -structured plays of the last decade. It is rare to encounter such first-rate storytelling coupled with complex characterizations in contemporary theatre. Ruined has it all: high stakes and heart- stopping moments, artfully crafted, to carry you along on its journey to the possibility of redemption. We are proud to have entrusted Nottage’s vision to director Maria Mileaf who has given PTC so many wonderful productions, most recently The Story by Tracey Scott Wilson, a multiple Barrymore Award-winner. We also give our very special thanks to the Pew Center for Arts & Heritage through the Philadelphia Theatre Initiative for major support that has allowed us to produce Ruined, as well as to the Lomax Family Foundation. Although our mainstage season ends with Ruined, PTC once again affirms its place as Philadelphia’s home for summer comedy when we present Colin Quinn’s Long Story Short, directed by Jerry Seinfeld, direct from Broadway, at the end of June. Since we opened the Suzanne Roberts Theatre in 2007, we have hosted Chicago’s The Second City (twice!), Judy Gold and John Leguizamo and we guarantee you that Colin Quinn will be one of the funniest 75 minutes you have spent in a theater! Next season, as this Playwise proudly announces, the work we have lined up includes the 2010 Tony Award-winning play, RED, the 2011 Tony-nominated Kander & Ebb musical The Scottsboro Boys, directed by Susan Stroman and The Outgoing Tide by Philadelphia’s favorite playwright, Bruce Graham. “Tide,” to me, is one of Graham’s very finest plays and we are proud to have it on our stage. Another premiere play will be announced shortly. Many thanks for joining us at Ruined and helping us end our anniversary celebration with a great finish.
Sara Garonzik Producing Artistic Director
35 TH A N N I VE RS A RY
PHILADELPHIA
THEATRE CO MPAN Y
G ALA Monday, June 6, 2011 LOCATION
THE HYATT AT THE BELLEVUE
200 SOUTH BROAD STREET, PHILADELPHIA
HONORING
SARA GARONZIK
• KENNETH KAISERMAN
FEATURING
TYNE DALY • QUENTIN DARRINGTON JOHN GLOVER • TERRENCE MCNALLY KATHLEEN TURNER
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THE HONORABLE EDWARD G. RENDELL
FOR MORE INFORMATION RSVP@PHILADELPHIATHEATRECOMPANY.ORG 215.985.1400 ext. 110
Philadelphia Theatre Company Sara Garonzik Producing Artistic Director
Kathleen Kund Nolan Interim Managing Director
RUINED LYNN NOTTAGE by
featuring OBERON K.A. ADJEPONG
SEAN-MICHAEL BOWLES
JAMES IJAMES
JAMIL MANGAN
PAUL MESHEJIAN
ERIKA ROSE
CHANDRA THOMAS Set Design ANTJE ELLERMANN Sound Design BART FASBENDER
JORDAN MCCREE HEATHER ALICIA SIMMS
U.R.
KEONA WELCH
Costume Design JANUS STEFANOWICZ Casting ALAN FILDERMAN
Technical Director Local Casting MICHAEL CRISTALDI AMY DUGAS BROWN Production Dramaturg CARRIE CHAPTER Movement Consultant JEROBOAM BOZEMAN
KHRIS DAVIS
Lighting Design RUSSELL H. CHAMPA Director of Production BRUCE CHARLICK Production Stage Manager KATRINA LYNN OLSON
Dialect Coach MELANIE JULIAN Musical Director ERIC EBBENGA
Directed by
MARIA MILEAF Ruined has been supported by The Pew Center for Arts & Heritage through the Philadelphia Theatre Initiative with additional support from the Lomax Family Foundation.
CAST Christian.......................................................................................................... Oberon Adjepong* Simon/Soldier......................................................................................... Sean-Michael Bowles* Laurent/Soldier............................................................................................................ Khris Davis Fortune/Soldier....................................................................................................... James Ijames* Commander Osembenga/ Soldier................................................................. Jamil Mangan* Drummer............................................................................................................... Jordan McCree Mr. Harari............................................................................................................... Paul Meshejian* Salima............................................................................................................................... Erika Rose* Josephine............................................................................................................ chandra thomas* Mama Nadi............................................................................................... Heather Alicia Simms* Jerome Kisembe/Soldier/Miner............................................................................................ U.R.* Sophie......................................................................................................................... Keona Welch* *Member of Actors’ Equity Association
Time: Present Location: Small Mining Town, Democratic Republic of Congo Ruined is performed with one 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, BRAILLE 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
2010-2011 SEASON
philadelphia theatre company
ACT OUT!
Summer Theatre Cam p for Teens 13–18
ActOut Summer Session 2011: Week #1 – July 11 - July 15 Week #2 – July 18 - 22 Week #3 – July 25 - July 29 (10:00am – 4:00pm with an optional warm-up at 9:30am)
With PTC’s flexible single week sessions, you can attend one, two, or all three weeks of ActOut Summer Session. Students spend mornings cycling through classes in playwriting, acting, directing, and design. Afternoons are spent with their company actively exploring theater concepts, building an ensemble and deciding what pieces to put on stage in our Theater Lab each Friday at 2:00pm – friends and family are encouraged to attend. Fees: $350 for 1 week; $675 for 2 weeks; $ 1,000 for 3 weeks.
215.985.0420 or PhiladelphiaTheatreCompany.org/education
WHO’S WHO Oberon K.A. Adjepong (Christian) has performed Off Broadway in Like I Say, Cellophane (The Flea Theater); Mother Courage, The Blacks (Classic Stage Company, The Classical Theatre of Harlem); Wabenzi (Ohio Theatre); Hieroglyphic Graffiti (Hip-Hop Theater Festival); The Hamlet Project (La MaMa E.T.C.); and Oya (National Black Theatre). Regional credits include Ruined (La Jolla Playhouse, Huntington Theatre Company, Berkeley Repertory Theatre); The Piano Lesson and James and The Giant Peach (Arden Theatre Company); Timon of Athens and Coriolanus (Shakespeare Theatre Company); and A Rhyme Deferred (National Black Theatre Festival, The Kennedy Center, Nuyorican Café). He has appeared on film and television in Margin Call, Son of No One, Hope & Faith, and Law & Order: SVU. He trained at Lola Louis’ Creative and Performing Arts Studio, Oxford University, and Howard University. This show is dedicated to his lovely wife and children, who keep him smiling. Sean - Michael Bowles (Simon/ Soldier), is proud to be making his debut at Philadelphia Theatre Company. He holds a BFA in acting from Boston University College of Fine Arts. Some of his recent roles include Toby in A Behanding in Spokane at the Alley Theatre (regional premiere), Stefah in Townville (LaMaMa ETC), David in The Amen Corner (Huntington Theater Company), Jimmy in A Taste of Honey (Cherry Lane Theatre), Grant in Catch A Fish (Elephant Theater Co.) and Spider in Silver Bullet Trailer (Ohio Theater). Film: The Private Lives of Pippa Lee (dir: Rebecca Miller), American Dreamz, Dependency, Goodbye Winter and This is Poetry. Television: Law and Order, ER, Without A Trace, Cupid, and Guiding Light. Sean-Michael would like to dedicate his performance to 73 Harriman Ave and everyone who has called it home. Khris Davis (Laurent/ Soldier) is happy to be making his main stage debut at the Philadelphia Theatre Company. Hailing from Camden, NJ, he is excited to be an example of the hidden gems that Camden has to offer. Khris has worked with the Walnut Street Theatre’s education dept. on an education tour called Go Green, Superior Donuts and Blue Door (understudy at the Arden), Romeo and Juliet (Theatre Horizon), Henry IV (Quintessence Theatre Group), Mufaro’s Beautiful Daughter (Camden Rep. Theatre). I give honor to God in the most high. James Ijames (Fortune/ Soldier) thrilled to be back at PTC in this production of Ruined. His regional theater credits include: Empty Plate at the Café du Grand Beouf, James and the Giant Peach, Romeo and Juliet, Superior Donuts (Arden Theatre Company), Grey Gardens (Philadelphia Theatre Company), PROM (New Paradise Laboratories), Angels in American Part I & II (BCKSEET Productions), Gossomar, One Flew Over the Cuckoo’s Nest (People’s Light and Theatre Company), The Threshing Floor (Mauckingbird Theatre Company), Around the World in 80 Days (The Delaware Theatre Company) and Voices Underwater (Gas and Electric Arts). He also appeared in The Gloucester Stage Company’s production of Ponies as Ken for which he received an Independent Reviewer’s of New England Award nomination for Best Supporting Actor in a Play. James is a 2010 F. Otto Haas Philadelphia Emerging Artist Award Nominee and a recipient of a 2011 Independence Foundation Fellowship in the Arts. He is a native of Bessemer City, NC. He received a BA in Drama from Morehouse College in Atlanta, GA and a MFA in Acting from Temple University in Philadelphia, PA. James resides in South Philadelphia.
Jamil Mangan (Commander Osembenga/ Soldier) credits include Lost Boy Found In Whole Foods (Premiere Stages), Audelco Award winner for Best Supporting Actor in What Would Jesus Do? (Billie Holiday Theatre), August Wilson’s Woman (Audelco Award for ‘Outstanding Ensemble’), as Martin Luther King Jr. in My Soul Is A Witness (National Tour), Romeo & Juliet & Three Musketeers (Connecticut Free Shakespeare), The Greeks (Manhattan Ensemble Theatre), The Bluest Eye (Connecticut Repertory Theatre) My Lord What A Morning (Arden Theatre), Boy Willie in Piano Lesson (Arts Bank), Camp Logan (Kimble Theatre), The Engagement (Wings Theatre). Other credits : Comcast Sportsnet (Philadelphia 76ers), US Cellular, Doritos and Klondike INC, The Dave Chappelle Show, Eli Lily Medical Group, The Discovery Channel. Feature Films: A DANGEROUS PLACE, HEAD TRAUAM, and as Thelonious Monk in THELONIOUS HAND. www.JamilMangan.com Jordan McCree (Drummer) Jordan is thankful to be involved with his first performance with the Philadelphia Theatre Company. His recent credits include percussion for Dessa Rose, Joseph and the Technicolor Dreamcoat, South Pacific, and Pippin. He would like to thank the cast, stage management, the director, and music director. Currently ending his sophomore year as a jazz performance major at the University of the Arts, Jordan would also like to thank his instructor Joe Nero. Paul Meshejian (Mr. Harari) is the Founding Artistic Director of PlayPenn, a national new play development conference located in Philadelphia, now in its seventh season. At PTC he has appeared in I Am A Man, Broken Glass, Wit and Nickle and Dimed. He has been a company member at People’s Light and Theatre since 1989 and has performed for most of Philadelphia’s major theatres. As a director his work has been seen in Philadelphia, regionally and Off-Broadway. Film: The Comeback; Private Enemy, Public Eye; Equinox; Twelve Monkeys; Checkout. Television: Comedy for Rent; Homicide: Life on the Street; The Wire, among others. Erika Rose (Salima) REGIONAL: Hawa in In Darfur at Theater J (2011 Outstanding Lead Actress, Helen Hayes Award); Pretty Fire at The African Continuum Theater (Outstanding Lead Actress, Helen Hayes Nomination); The Bluest Eye at Theater Alliance; Lenny & Lou and The Mineola Twins at Woolly Mammoth Theater Company; The Taming of the Shrew and Much Ado About Nothing at The Shakespeare Theatre (Free For All); The Book Club Play and Pippin at Round House Theatre; Looking for Roberto Clemente, Mufaro’s Beautiful Daughters and Cinderella at Imagination Stage; Knuffle Bunny, The Brand New Kid, Alice, As You Like It and Color Me Dark at The Kennedy Center. Education: The University of Maryland, College Park; London Academy of Music and Dramatic Art; LAByrinth Theater Masterclass. Heather Alicia Simms (Mama Nadi) is pleased to make her Philadelphia Theatre Company debut. Her past credits include Broadway: Ma Rainey’s Black Bottom, A Raisin In The Sun, and Gem of the Ocean. Off-Broadway: Born Bad (Soho Rep), The Brother/SisterPlays (The Public),The Exonerated (National Tour), Insurrection: Holding History (The Public), and Breath, Boom (Playwright’s Horizons). Her regional credits include productions at The McCarter, The Kennedy Center, The O’Neill, The Denver Center, Cincinnati Playhouse in the Park, Missouri Repertory Theatre, Stamford TheatreWorks, and NY Stage and Film. Television: The Good Wife, Life Support, Law and Order, Law and Order: CI, Whoopi, Third Watch, Homicide: Life on the Street. Film: The Nanny Diaries,
Broken Flowers, You Belong To Me, Head of State, Kings County, NY’s Dirty Laundry and Stream with Whoopi Goldberg. Heather is also an accomplished voice-over artist and winner of a 2006 Audie Award for the audiobook Upstate. Heather received her BA from Tufts University in History and English, as well as her MFA from Columbia University. Heather is the recipient of a Fox Foundation Resident Actor Fellowship through Theater Communications Group. chandra thomas (Josephine) is thrilled to be performing in Lynn Nottage’s dynamic play. Based in New York, chandra works an actor/writer/ producer. Most recently, she performed in Lisa Loomer’s new play, Two Things You Don’t Talk About At Dinner and premiered her original solo play, Forgive to Forget as part of Passage Theatre’s Solo Festival. Her other theatre performances include contemporary and classic works at Classical Theatre of Harlem (AUDELCO nomination), Delaware Theatre Company (Barrymore Award nominations), Public Theater, Guthrie Theatre, Women’s Project Theatre, The Barrow Group Theater, Alliance Theatre, Ensemble Studio Theater, Cherry Lane Theatre, P.S. 122, among others. chandra’s television and film credits include roles in HBO’s upcoming film, Too Big to Fail, the upcoming independent feature, Sweet Lorraine, The Good Wife, Law & Order: CI, As the World Turns, and others. chandra is also the co-founder of viBe Theater Experience, a non-profit, performing-arts education organization empowering teenage girls in New York City. MFA: Columbia University. More information at www.NYchandra.com. U.R. (Jerome Kisembe/ Soldier/ Miner) Characters of the Baconian canon include: Puck, Sir Toby, Othello, Hotspur, Macduff, Mercucio, Oberon, Petruchio, Don Jon, with various Shakespeare companies in Connecticut and elsewhere. Regional theatre from Rhode Island to Atlanta to Boston to New York to etc with the contemporary works, Alien Garden, The Piano Lesson (Barrymore nominee), Lesson Before Dying, Lobby Hero, Highland Mist (writer), The 11th Year, American Buffalo, amongst others. As a director, Ivanov with the Neptune Rep Co in NY, Othello and Macbeth with Forest Rep in CT, and Spirit Porn (writer) with the Rooster Theatre Co in Manhattan. TV: Law and Order, etc. Keona Welch (Sophie) is delighted to make her Philadelphia debut with PTC. A native of Washington DC, her Off-Broadway credits include The Negro Ensemble Company’s Colored People’s Time and Savanna Black & Blue; Subway Love at The Actors’ Playhouse; The Cold Chill of Winter for The Strawberry Theatre Festival and Mother of God. Her film credits include Candy and The Riot. She has appeared on Law and Order, and Law and Order SVU. She attended Duke Ellington School of the Arts in Washington DC, and has trained under the late Isreal Hicks at Rutgers University, where she obtained her B.F.A. in Theatre Arts. She has also received classical training at The Shakespeare’s Globe Theatre in London, England. For Africa. For my Family. And anyone else who’s ever dared to dream.
Lynn Nottage (Playwright) is a playwright from Brooklyn. Her plays include Intimate Apparel, Fabulation, or the Re-Education of Undine, Crumbs from the Table of Joy, Las Meninas, and Ruined. They have been produced and developed at theatres both nationally and internationally, including the Manhattan Theatre Club, the Goodman Theatre, the Roundabout Theatre Company, Playwrights Horizons, Center Stage, South Coast Rep., Second Stage, Freedom Theatre, Sundance Institute Theatre Lab, St. Louis Black Rep., Crossroads Theatre, Intiman, San Jose Rep., Oregon Shakespeare Festival, Steppenwolf, Yale Rep., The Vineyard Theatre, The Women’s Project, New Dramatists Playtime Lab, The Tricycle Theatre in London, among many others. She is the recipient of numerous awards including the 2009 Pulitzer Prize for drama for Ruined, 2007 MacArthur Genius Award, an OBIE Award for playwriting, NY Drama Critics Circle Award, Best play and John Gassner Outer Critics Circle awards, American Theatre Critics/Steinberg 2004 New Play Award, 2004 Francesca Primus Award, and 2 AUDELCO awards. Lynn’s most recent publications include: Intimate Apparel and Fabulation (TCG) and an anthology of her plays, Crumbs from the Table of Joy and Other Plays (TCG) which includes Crumbs from the Table of Joy, Las Meninas; Mud, River, Stone; Por’knockers and Poof! She was awarded a 2007 Lucille Lortel Foundation Fellowship, 2005 Guggenheim Fellowship, The National Black Theatre Festival’s August Wilson Playwriting Award and the 2004 PEN/Laura Pels Award for Drama. She is a graduate of Brown University and the Yale School of Drama, where she is currently a visiting lecturer. Lynn is also a recent graduate of New Dramatists. Maria Mileaf (Director) Maria returns to PTC where she has previously directed Tracy Scott Wilson’s The Story (Barrymore Award for Outstanding Direction), How I Learned to Drive, The Beauty Queen of Leenane and Nickel and Dimed and Wit. Favorite 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 Emmanuel-Schmidt’s Monsieur Ibrahim and the Flowers of the Koran (The Play Company), Oren Safdie’s Private Jokes Public Places (Center for Architecture), 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), Joanna Murray-Smith’s Ninety (New York Stage and Film), Wendy Wasserstein’s The Heidi Chronicles (Berkshire Theatre Festival), Wasserstein’s Third (with Christine Lahti at the Geffen Playhouse). On the West End, Maria directed Richard Schiff in Glen Berger’s Underneath the Lintel. This summer she will direct the premiere of Patricia Wettig’s F2M at New York Stage and Film.
Antje Ellermann (Set Designer) Antje is happy to work with Maria Mileaf again, having previously collaborated on Sakharam Binder at the Play Company in New York. Regionally, Antje’ s work has been seen at Cleveland Play House, Williamstown Theatre Festival, Trinity Rep, The Huntington Theatre, Berkeley Rep, Arena Stage, Denver Center Theatre Company, Geffen Playhouse, Seattle Rep, Steppenwolf, Mass Moca, Bard Summerscape & Pittsburgh Opera Center. In New York her designs include Invasion, directed by Erica Schmidt at the Play Company Hamlet, directed by David Esbjornson at Theatre for a New Audience, Liberty City at NY Theatre Workshop and Heather Raffo’ s Nine Parts of Desire, directed by Joanna Settle at Manhattan Ensemble Theater. She has been nominated for a Helen Hayes Award, an Ovation Award and a Lucille Lortel Award for Nine Parts of Desire and for an Emmy Award for Becoming American, The Chinese Experience on PBS. Janus Stefanowicz (Costume Design) Costume Designer is very happy to be back at PTC. Working on Ruined is her seventh collaboration with director Maria Mileaf, most memorable are The Story, How to Learn to Drive, Beauty Queen of Lenane, Wit and Nickeled & 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 ShakespeareFestival. 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. Russell H. Champa (Lighting Designer) current and recent projects: Picked(The Vineyard theater), Dangerous Beauty(Pasadena Playhouse), Timon of Athens(The Public Theater), The Grand Manner (Lincoln Center Theater), On Broadway, Mr. Champa has designed In The Next Room or The Vibrator Play at the Lyceum Theater and Julia Sweeney’s God Said “HA!” also at the Lyceum. Other New York credits include Manhattan Theater Club, 2nd Stage, Classic Stage Company, New York Stage & Film, and La MaMa E.T.C. Regionally, Mr. Champa has designed for ACT, Berkeley Rep, The Mark Taper Forum, Wilma Theatre, Seattle Rep, Trinity Rep, Calshakes, McCarter Theater, Campo Santo, Williamstown Theatre Festival, the Actors’ Gang, and the Kennedy Center. Thanks J + J. PEACE. Bart Fasbender (Sound Designer) previously designed Humor Abuse at Philadelphia Theatre Company. With Ms. Mileaf, Sakharam Binder (PlayCo) and A Body of Water (Primary Stages). On Broadway, Bloody Bloody Andrew Jackson. Other New York credits include designs at Playwrights Horizons, Second Stage, MTC, The Public, Women’s Project, The Atlantic, Cherry Lane, LAByrinth, Ars Nova, New Group, Naked Angels, Rattlestick, Brooklyn Academy of Music, St. Ann’s Warehouse, HERE, PS 122, Symphony Space, Clubbed Thumb, P73, The Culture Project and Sundance Lab. Regional: Kirk Douglas CTG, Williamstown, Barrington Stage, Berkshire Theater Festival, NY Stage & Film, Hudson Stage, TheaterWorks, and American Dance Festival. Alan Filderman (Casting) Over 40 plays for The 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. Film: Ice Age, Broadway Damage, Anastasia.
Amy Dugas Brown (Local Casting) is a casting director, director, audition coach and Senior Lecturer at University of the Arts. She is a project director with the Brain Behavior Laboratory at University of Pennsylvania, hiring and directing actors to portray a variety of emotions for the creation of videos and photographs for future research that will examine emotional perception in brain disorders. 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 actor Ben Dibble and together they have three enthusiastic preschoolers. Eric Ebbenga (Musical Director) is glad to be back at PTC, where he has previously music directed The Light in the Piazza (Barrymore Award) and Grey Gardens (Barrymore nomination). Other recent shows include The Threepenny Opera, Caesar’s Palace O’ Fun, Sunday in the Park With George (Barrymore nomination), Candide, Assassins (Barrymore Award), Caroline, or Change (Barrymore nomination), Sweeney Todd (Barrymore nomination), See What I Wanna See and Cherry Bomb. Eric is also on the music theater faculty of University of the Arts. 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 studentwritten performance piece on the experiences of LGBT youth. Ms. Chapter is a member of the Literary Managers and Dramaturgs of the Americas (LMDA). Katrina Lynn Olson (Production Stage Manager) Regional: Paper Mill Playhouse, New York Stage and Film, Hartford Stage, Trinity Repertory Company, Yale Repertory Theatre, Colorado Shakespeare Festival, Houston Grand Opera, Scottish Opera, Glasgow, Scotland, International Festival of Arts & Ideas. New York: Theater for a New Audience, The Public Theater, Vineyard Theatre, Origin Theater Company. International: The Brothers Size, The Abbey Theatre, Dublin, Ireland. TV: From Mao to the Met, PBS. BA, University of North Texas; MFA, Yale School of Drama. Proud member of Actors’ Equity Association. Melanie Julian (Dialect Coach) has been a member of the full-time acting faculty at Temple University since 2008. She has previously taught voice, speech, and acting at the University of Pittsburgh, the University of Georgia, Point Park University, and the University of California at Davis. In addition to vocal coaching many productions at Temple, she has also coached and/or consulted for the Arden, Theater Exile, BRAT Productions, EgoPo, and Quince Productions. She is a member of the Actors’ Equity Association and is an Associate Teacher of Fitzmaurice Voicework. Jeroboam Bozeman (Movement Consultant) began his dance training with Jamel Gaines at Creative Outlet Dance Theatre of Brooklyn. He later attended the Joffrey Ballet School and Dance Theatre of Harlem on full scholarship. Jeroboam later became a Principal artist at Creative Outlet and work with Ballet Noir. Jeroboam was also a featured guest Artist in the Nutcracker with Urban Ballet Theatre. Jeroboam is a NAACP Act-So recipient. He has toured with the Broadway Musical Aida in China. Performed on NBC’s Miss Teen USA at the Atlantis Resort in the Bahamas. He was an extra in the movie Step Up 3-D, was in the top 36 dancers on Fox 5 Show, So You Think You Can Dance. Jeroboam is currently a Philadanco company member and is entering his second season with the company. Jeroboam has work with artist such as Nigel Lythgoe, Frank Gatson, George Fasion, Desmond Richardson, Dwight Rhoden, George De La Pena and many more.
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. Bruce Charlick (Director of Production and Theater Operations) is in his 14th 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. Kathleen Kund Nolan (Interim Managing Director) A seasoned theater manager, Kathleen served as Interim Managing Director at Princeton’s McCarter Theatre in 2008 where she had previously enjoyed a long association as General Manager. She continues to serve as trustee on McCarter’s Board where she is Vice President for Development. Philadelphia theatre-goers might recall that Kathleen served as Business Manager for five years at the Philadelphia Drama Guild, and prior to that held positions with Pennsylvania Stage Company, Cleveland Playhouse and the North Shore Music Theatre. In addition to serving on the Board of McCarter Theatre, Kathleen also serves as a Trustee on the Board of the Pennsylvania Shakespeare Festival and the Tofte Lake Center. She and her family live in Newtown, PA. 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.
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Getting to Know Congo: Books and Films of Influence Carrie Chapter, Production Dramaturg On the heels of RUINED’s premiere production, an outpouring of journalistic interest in the Democratic Republic of Congo streamed from the global media. In addition to the budding clusters of charities, campaigns, and news coverage, Congo has also been the featured subject matter for many acclaimed documentaries and nonfiction books. May 2008 –All Things Must Fight to Live: Stories of War and Deliverance in Congo Written by Bryan Mealer, the book attends to the tragedy of the Eastern Congo at the hands of the Congolese government and a host of rebel militias. Mealer spent three years reporting in the Democratic Republic of Congo, often following soldiers and warlords along the backcountry and into the major cities, being the sole witness to inconceivable acts of both terror and heroism. April 2010 – Overcoming Speechlessness: A Poet Encounters the Horror in Rwanda, Eastern Congo, and Palestine/Israel A swift read at 80 pages, treasured American poet and novelist Alice Walker (author of The Color Purple) speaks of her first-hand accounts with nations in conflict. In cooperation with Women for Women International and Code Pink, Walker gives a persevering voice to the voicelessness of these struggling regions. September 2010 – The Enough Moment: Fighting to End Africa’s Worst Human Rights Crimes Co-written by John Prendergast and actor/activist Don Cheadle, the book acts as crusading companion to the efforts of The Enough Project, a program which works to raise awareness and stop genocide, rape, child imprisonment in African Countries. There are several testimonies and interviews by “Upstanders” (enraged, proactive citizens) pertaining to the atrocities in Eastern Congo. October 2010 – Congo in Four Acts The product of a film training initiative for Congolese students, the documentary is filmed in four chapters, each depicting the thorny, uncompromising reality of Congolese people. “Ladies in Waiting” shows the desperate barter system for birthing fees; “Symphony Kinshasa” illustrates a littered, polluted portrait of the capital city; “Zero Tolerance” demonstrates the corruption of local economy and politics as it pertains to sexual abuse; and “After the Mine” exposes the extreme working conditions behind Congo’s mining industry. March 2011 – Pushing the Elephant, a documentary featured on PBS’s “Independent Lens” The searing, incredible story of Congolese refugee, Rose Mapendo, who was sent to a death camp, faced the execution of her husband, and managed to escape to Cameroon with nine of her ten children. The documentary follows the reunion between Rose and her daughter, more than 10 years later, in Phoenix, Arizona. April 2011 – Dancing in the Glory of Monsters: The Collapse of the Congo and the Great War of Africa This meticulously – researched book, written by Jason K. Stearns, chronicles the embattled country through interviews with Congolese victims, refugees, and warlords in an attempt to fully convey their ongoing struggles to a Western audience.
RUINED in Context Carrie Chapter, Production Dramaturg
From Automobiles to Cell Phones: Congo’s Unbroken Circle In November 2008, National Public Radio featured a story entitled, “The Costliest War You Never Heard Of.” At the same time, Lynn Nottage’s play, RUINED, premiered at the Goodman Theatre in Chicago. Both sources disclosed the truth behind a horrific and grossly underreported crisis: the ongoing conflict in the Democratic Republic of Congo. In a sense, the play provided a call-response to the NPR story. Through its vibrant, startling realism and deeply felt journeys of its characters, RUINED gave the war a bellowing voice, demanding, at long last, to be heard.
Congo on the Sidelines In 2008, it was Darfur capturing the media’s attention, and critics took note of the selective nature of journalism where Africa was concerned, placing the blame on capricious, fleeting Western interests and our inability to extend our efforts to more than one African country at a time. While Darfur, in all its unquestionable tragedy, lost a quarter million of its people, several million people had perished in Congo to woefully little global commotion. A silent sufferer, it had become “the widest interstate war in modern African history.” Yet, this was not the first time the DRC experienced the blow of general apathy. It remains a country of repeated patterns, in which generations parallel each other with incorrigible histories and renewed bloodlust.
Origins of an Endangered Land King Leopold II of Belgium established the Congo Free State in 1885, and imprisoned the land and its native people by turning it into a forced labor slave colony of unfathomable proportions. In Western society, the era of the automobile had arrived, and the need for rubber surged. Congo’s rubber trees provided the perfect, bountiful supply, and the Congolese people were enslaved as a free labor force. The results of Leopold’s unmitigated greed were appalling. By the early 1900s, about 20% of Congo’s population had been decimated due to the mass killings at the hands of their overseers, with its survivors bearing the amputated wounds of the abuse. After its annexation as the Belgian Congo in 1908, the country would finally gain its independence in 1960, and after much tumult, was renamed Zaire in 1971 under the capitalistic leadership of Mobutu Sese Seko until 1997. But, since the Second Congo War broke out in 1998, the Democratic Republic of Congo has faced an all-too-familiar predicament: a ravenous appetite for control of its natural resources.
Congo in the Here and Now This time, the mines of Congo are being highly coveted, causing devastating clashes between rebel militias and the government army. These desirable “conflict minerals” consist of gold, diamond, cobalt, copper, and most critical of all, coltan. The coltan ore is an essential component for the function of modern technology, including laptop computers and cellular phones. Scores of civilians and miners have died in the acquisition of coltan, and thousands of women have been ravaged in its pursuits. During the age of King Leopold, public outrage saved Congo through the words and efforts of literary personas the likes of Joseph Conrad, Arthur Conan Doyle, and Mark Twain. Now, the acknowledgement of the country’s plight has sparked advocacy of its own in the form of Ben Affleck’s Eastern Congo Initiative, Eve Ensler’s V-Day City of Joy, and other celebrities joining campaigns to denounce the trade of “conflict minerals.” Since 2008, more organizations than ever before are rallying for the peace and restoration of Congo.
Looking at the Past to Change the Future Around 1905, following allegations of human cruelty, the Belgian parliament forced King Leopold to send an independent commission of inquiry to Congo to publish a report of their findings. The commission heard hundreds of testimonies from Congolese men and women, all confirming the severe mistreatment. Suddenly, a chief from a local tribe rushed to the commission panel with a massive bundle of sticks. One by one, he counted out the sticks in front of the commission, giving each a name of a slain person from his village. In the culmination of 2009 and 2010, if you sorted a bundle for victims of sexual violence, you would be carrying the weight of (reported) 433,785 sticks.** In 2010, if you laid out sticks for the refugees, it would total 200,000.* In 2010, if you counted out sticks for internally displaced peoples in Congo, there would be 2,000,000.* If you counted sticks for every person slain as a result of the conflict in Congo, you would be reaching over 5,000,000 and counting in a seemingly unending circle. But, for the fate of the DRC, the truth lies in the advocacy, and in fulfillment of that, the cycle will break. Let a broken circle mend the country known as “the Broken Heart of Africa.” * Statistics courtesy of “Human Rights Watch, World Report 2011 – Democratic Republic of Congo.” **Most recent statistic courtesy of The American Journal of Public Health – May 2011.
In ‘Ruined,’ Women Bear Witness To War Reprint of article by Jeff Lunden, National Public Radio February 7, 2009
MacArthur Award-winner Lynn Nottage set her best-known play, Intimate Apparel, in 1905. But her latest work is ripped from today’s headlines. Ruined, which opens at the off-Broadway Manhattan Theatre Club on Feb. 10, takes an unflinching look at the stories of women who’ve suffered appalling violations in the ongoing civil war in the Democratic Republic of the Congo. They’ve been raped; they’ve been mutilated. But they’ve survived.
Lynn Nottage, Photo by Henry Luetwyler
The playwright says she wanted to bring events that can often seem far away right into the laps of a contemporary audience.
“It’s very easy, when we’re reading those articles on the 20th page of The New York Times, to distance ourselves and say, ‘It’s someone else,’” says Nottage. “But I wanted to create an emotional bridge, so that when people are reading those articles, they feel that they’re connecting with living, breathing human beings, not just statistics.” Ruined is set in a bar and brothel in a mining town in the Congo rainforest. The customers are miners and rebels — or government soldiers, whoever controls this particular spot of land on any given day. And all the women who work there have been “ruined” — their humanity degraded through rape. “What we’re finding that’s peculiar to this conflict is that women are being raped in large numbers,” says Nottage. “Not only are they being raped, but they’re being brutalized. Rape has become a weapon of war.” Nottage and director Kate Whoriskey began working on Ruined several years ago, when they decided to do a contemporary adaptation of Mother Courage, the classic indictment of war and war profiteering by German playwright Bertolt Brecht.
They flew to Uganda, across the border from Congo, to interview refugee women about their war experiences. The experience left a vivid impression on Whoriskey. “They were all beautifully dressed, these 15 women, so colorful and beautiful,” she remembers. “And then we heard these stories. And the stories were devastating, and to hear them back to back. ... I didn’t actually recognize that rape had such physical consequences. I always thought of the psychological, but not the physical consequences. It was hard to hear, over and over, how ruined these women’s bodies were.” In this war, women’s bodies are a battleground. So Nottage decided to make one character, a war profiteer, the owner of a brothel. “I was very interested in the different levels of exploitation,” says Nottage. “We begin with financial exploitation, and then I wanted to move to sexual exploitation. I think the brothel became that perfect venue with which to explore these issues.” And the brothel owner — Mama Nadi. “She’s sexy, she’s smart, she’s witty, she’s sassy, she’s a survivor,” says actress Saidah Arrika Ekulona, who plays the part. “She’s nurturing, and then she can also be very offputting.” And Mama has her rules, all of which look out for No. 1. “If things are good, everyone gets a little. If things are bad, then Mama eats first,” explains Ekulona. One critical rule is that Mama Nadi’s establishment will serve anyone, as long as they check their gun at the door. “When you come into Mama Nadi’s place, essentially, you’re laying aside the war,” Nottage says. “But what we see in the course of the play is that that war begins to creep into the bar, and she’s really incapable of keeping it at bay.” Much of Ruined’s story is harrowing. But director Whoriskey says it’s also about the human capacity to adapt. “Each story has a lot of trauma inside of it, but it also has a lot of hope, love, humor, hypocrisy and betrayal and all of these other elements,” she says. “So we’re really hoping
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This season was financed in part by a grant from the Commonwealth of Pennsylvania, Department of Community & Economic Development 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.
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The Philly Theatre Casting Couch is appearing around the Greater Philadelphia region throughout the summer! Sit down for a chat with a Philadelphia theatre celebrity and you might be cast in our next ad about theatre!
Get a list of dates and locations at phillytheatretix.com. Jack and the Beanstalk Storybook Musical Theatre 5/3/2011 – 8/6/2011 (215) 659-8550
Cabaret Playcrafters of Skippack 6/1/2011 – 6/17/2011 (610) 584-4005
Footloose Wolf Performing Arts Center 6/16/2011 – 6/18/2011 (610) 642-0233
The Flea and the Professor Arden Theatre Company 5/4/2011 – 6/12/2011 (215) 922-1122
Peter Pan: A Musical Adventure Village Productions 6/2/2011 – 6/19/2011 (610) 468-8300
The Skin of Our Teeth The Dramateurs 6/17/2011 – 6/25/2011 (610) 539-BARN
Dividing the Estate People’s Light & Theatre Co. 5/10/2011 – 6/4/2011 (610) 644-3500
Great American Trailer Park Musical
11th Hour Theatre Company 6/3/2011 – 6/29/2011 (215) 519-7672
Prisoner of Second Avenue Montgomery Theater 6/23/2011 – 7/16/2011 (215) 723-9984 ext. 10
Art Act II Playhouse 5/10/2011 – 6/5/2011 (215) 654-0200
Night Mother New City Stage Company 6/8/2011 – 7/3/2011 (215) 563-7500
Real Estate Playcrafters of Skippack 7/6/2011 – 7/22/2011 (610) 584-4005
My Wonderful Day The Wilma Theater 5/18/2011 – 6/19/2011 (215) 546-7824
Snoopy!!! Wolf Performing Arts Center 6/9/2011 – 6/11/2011 (610) 642-0233
That Honeysuckle Summer First World Theatre Ensemble 7/7/2011 – 7/24/2011 (484) 461-8748
Vigil Lantern Theater Company 5/19/2011 – 6/12/2011 (215) 829-0395
Passing Strange Bootless Artworks 6/9/2011 – 6/25/2011 (302) 887-9300
All Shook Up The Ritz Theatre Company 7/7/2011 – 8/6/2011 (856) 959-5230
Ruined Philadelphia Theatre Company 5/20/2011 – 6/12/2011 (215) 985-0420
Othello The Actors’ NET 6/10/2011 – 6/26/2011 (215) 295-3694
Annie New Candlelight Theatre 7/9/2011 – 8/21/2011 (302) 475-2313
Playing Leni Madhouse Theater Company 5/27/2011 – 6/11/2011 (215) 260-4968
The Price The Stagecrafters 6/10/2011 – 6/27/2011 (215) 247-9913
Cabaret The Actors’ NET 7/15/2011 – 7/31/2011 (215) 295-3694
In a Daughter’s Eyes InterAct Theatre Company 5/27/2011 – 6/19/2011 (215) 568-8079
Hatchetman People’s Light & Theatre Co. 6/14/2011 – 7/9/2011 (610) 644-3500
Rabbit Hole Playcrafters of Skippack 8/10/2011 – 8/26/2011 (610) 584-4005
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2011/2012 SEASON LINE-UP • RED WINNER - 2010 TONY AWARD FOR BEST PLAY! • THE SCOTTSBORO BOYS TWELVE 2011 TONY NOMINATIONS!
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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
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City of Philadelphia
Lisa S. Roberts and David Seltzer
Commonwealth of Pennsylvania
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The Horace W. Goldsmith Foundation The Kaiserman Family
Shel and Karen Thompson U.S. Airways Community Foundation
THE CORNERSTONE SOCIETY PATRONS Jill and Sheldon Bonovitz Tracy and Rick Burke Citibank Michael M. Coleman David and Nancy Colman Dorothy J. del Bueno
Harriet and Larry Weiss
Roberta and Carl Dranoff
Alan and Janet Widra
Ernst & Young
Suzanne F. and Ralph J. Roberts
THE CORNERSTONE SOCIETY BENEFACTORS
Donna and Barry Feinberg
Weight Watchers of Philadelphia, Inc.
Ken and Edna Adelberg
Independence Foundation Marguerite and Gerry Lenfest
June and Steve Wolfson The William Penn Foundation
THE FOUNDERS CLUB
Valla Amsterdam Beatrice Fox Auerbach Foundation Fund at the Hartford Foundation for Public Giving Beneficia Foundation
Debbie and Bob Fleischman Matt and Marie Garfield Teresa Gavigan and Larry Besnoff Hamilton Family Foundation Independence Blue Cross
Blank Rome LLP
Eleanor M. and Herbert D. Katz Family Foundation
The Comcast Family
Connelly Foundation
Mr. and Mrs. Thomas J. Maher
Cozen O’Connor
Will and Lucille Daniel
The Dietrich Foundation
Sir David Bruce Duncan and Lady Deana Pitcairn Duncan
Richard and Alice Norman Mandel
Catherine Roberts Clifton and Anthony A. Clifton
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
PNC
Otto Haas Charitable Trust #2 at the recommendation of Leonard C. Haas
Don and Lynne Rosenblit
Sally Lyn Katz
Neal and Sheila Schneider
The Lida Foundation
Shire Pharmaceuticals
Jerry and Cookie Riesenbach
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.
Lincoln Financial Foundation Susan and James Meyer
Frank and Barbara Osinki
Leslie MIller and Richard Worley
Kenneth M. Rutherford
Laura and Richard Steel Tracey B. Weiss and William I. Goldberg Special thanks to our many other donors.
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 w 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. 115
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35 Seasons of Premieres! P TC’s mission is centered around the development and production of imaginative and entertaining contemporary theater focused on the American experience that both ignites the intellect and touches the soul.
Under the ongoing artistic direction of Producing Artistic Director Sara Garonzik, PTC supports the work of a growing body of diverse dramatists and takes pride in being a home to scores of nationally recognized artists who have participated in more than 130 world and Philadelphia premieres. Our PTC@PLAY new play project provides residencies and commissions while having developed over 75 scripts, half of which have gone on to production or publication. Philadelphia Theatre Company’s exceptional history of producing moving and provocative new work for the stage includes the world premieres of The Happiness Lecture (a PTC commission conceived by Bill Irwin), Terrence McNally’s Master Class (1995); Bunny Bunny by Alan Zweibel (1996); David Ives’s Lives of The Saints (1999); J.T. Rogers’s White People (2000); No Niggers, No Jews, No Dogs by John Henry Redwood (2001); Barbra’s Wedding by Daniel Stern (2002); A Picasso by Jeffrey Hatcher (2003); Bruce Graham’s According to Goldman (2004); Adrift in Macao by Christopher Durang and Peter Melnick (2005); and Some Men by Terrence McNally (2006), all of which were then produced in New York and other cities. Among its numerous other honors are the 45 Barrymore Awards that PTC has garnered over the years, including the 2008 Barrymore Award for Excellence in Education & Community Service, Best Theater Company or Theatre Company of the Year from the Philadelphia Inquirer, Philadelphia Magazine, Philadelphia Weekly, City Paper, Philadelphia Style Magazine, Philadelphia Gay News and the Arts & Business Council Award (twice) for Arts Management Excellence and its partnership with Dranoff Properties. With its loyal subscription base and expansive education and outreach programming, PTC is now in its fourth season in its beautiful home on the Avenue of the Arts, the Suzanne Roberts Theatre, confirming its status as a major player in the American national theater scene.
Productions with National Impact Red Hot Patriot: The Kick -Ass Wit of Molly Ivins by Margaret and Allison Engel Philadelphia Theatre Co. 2010 Golden Age by Terrence McNally Philadelphia Theatre Co. 2010 The Kennedy Center, 2010 Unusual Acts of Devotion by Terrence McNally Philadelphia Theatre Co. 2008 La Jolla Playhouse, 2009
The Happiness Lecture Conceived & Performed by Bill Irwin, PTC Commissioned, 2008 Some Men by Terrence McNally Philadelphia Theatre Co. 2006 Second Stage, 2007 Adrift in Macao Books & Lyrics by Christopher Durang Music by Peter Melnick Philadelphia Theatre Co. 2005 Primary Stages, 2007
A Picasso by Jeffrey Hatcher Philadelphia Theatre Co. 2003 Coconut Grove Playhouse, Cincinatti Playhouse and Manhattan Theatre Club, 2005 Geffen Theaer, 2007 Barbra’s Wedding by Daniel Stern Philadelphia Theatre Co. 2002 Westside Arts Theatre, Off Broadway, 2003 Invisible Theatre, 2006
No Niggers, No Jews, No Dogs by John Henry Redwood Philadelphia Theatre Co. 2001 Primary Stages, Off Broadway, 2001 Detroit Repertory Theatre, New Repetory Theatre, 2003 White People by J.T. Rogers Philadelphia Theatre Co. 2000 Salt Lake Acting Company, 2001 Atlantic Theater Company, 2009 Shakespeare & Company, 2009
Lives of the Saints by David Ives Philadelphia Theatre Co.1999 Berkshire Theatre Festival, 1999 Birdy by Naomi Wallace adapted from William Wharton Philadelphia Theatre Co.1998 Women’s Project, Off Broadway, 2003
Bunnny Bunny by Alan Zweibel Philadelphia Theatre Co.1996 Lucille Lortel Theatre, Off Broadway 1997 Master Class by Terrence McNally Philadelphia Theatre Co.1995 Tony Award for Best Play Broadway, Kennedy Center, Mark Taper Forum, National Tour, 1995-1999
PHILADELPHIA THEATRE COMPANY PRODUCTIONS Key Code
All productions are Philadelphia premieres unless otherwise note
directed by Billy Porter M. BUTTERFLY by David Henry Hwang THIRD by Wendy Wasserstein v THE HAPPINESS LECTURE by Bill Irwin
v World Premiere
PLAYS & PLAYERS THEATER
l Co-Production
(1982 - 2007)
n East Coast, Professional or American Premiere mProduction moved on to NY or other regional theater. THE SUZANNE ROBERTS THEATRE (2007 - Present) 2010 - 11 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
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
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
2003 - 04 TOPDOG/UNDERDOG by Suzan-Lori Parks 1996 - 97 NICKEL AND DIMED by Joan Holden vm BUNNY BUNNY by Alan Zweibel v ACCORDING TO GOLDMAN MOLLY SWEENEY by Brian Friel by Bruce Graham l SYLVIA by A.R. Gurney THE GOAT OR, WHO IS SYLVIA? SEVEN GUITARS by August Wilson by Edward Albee 2002 - 03 FULLY COMMITTED by Becky Mode KING HEDLEY II by August Wilson THE LAST FIVE YEARS by Jason Robert Brown vm A PICASSO by Jeffrey Hatcher 2001 - 02 DINNER WITH FRIENDS by Donald Margulies n THE INFIDEL by Bruce Norris
1995 - 96 THREE VIEWINGS by Jeffrey Hatcher I AM A MAN by Oyamo BROKEN GLASS by Arthur Miller LOVE! VALOUR! COMPASSION! by Terrence McNally 1994 - 95 ALL IN THE TIMING by David Ives KEELY AND DU by Jane Martin THE WOODS by David Mamet
vm MASTER CLASS by Terrence McNally 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 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 Theatre’s design honors PTC’s mission to produce and develop new American plays and musicals. 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 Captioned Performances: 6/11/11 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 Described Performances & Sensory Workshops 6/11/11 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 and Braille 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 Group Sales Manager, Carol Flannery at 215.985.1400 x304
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 Rose Schnall at 215.985.1400 x112 or rschnall@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
Edward Albee
Faith Prince, Angela Lansbury, Terrence McNally
Edward Albee
Peter Melnick, Christopher Durang Peter Melnick, Christopher Durang
FREE PATRON ENRICHMENT PROGRAMS (PEP) FOR RUINED MEET-THE-ARTIST - 5/26, 5/31, 6/9 Our post-show MTA events allow the audience to learn about the creation of each production and ask the cast questions. Stay tuned directly after the performance for a conversation onstage with the cast of RUINED!
AMERICAN PLAYWRIGHTS IN CONTEXT (APIC) - Details to be announced soon! BOOK CLUB - 5/26 @ 6:30PM Our pre-show Book Club features the discussion of a book that has a theme similar to that of the production. Join us in the Lobby Alcove to discuss Uwem Akpan’s compelling SAY YOU’RE ONE OF THEM! SPECIAL TOPIC - 6/1, 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. Be there for our Special Topics panel discussion, “The World Behind RUINED: Facing the Truth of Congo,” to hear about the national advocacy to end the conflict in Democratic Republic of Congo with special guest representatives from THE ENOUGH PROJECT, HEAL AFRICA USA, Women’s Campaign International, and the Penn Society for International Development.
BACKSTAGE TOUR - 6/4
Join PTC’s Technical Director and Literary Manager for a post-matinee backstage tour of the set. Learn how the set was conceived and built, and how the crew runs the show!
All PEP events are FREE!
Photos by Paola Nogueras
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 Neal Schneider, Vice President Neal Cupersmith, Treasurer Brigitte Daniel, Secretary Lynda Barness Marilyn Birnhak Richard Burke John C. Carrow Sara Garonzik Alice L. George Frank Giordano Glenn Gundersen Kenneth Kaiserman* Sally Lyn Katz Monika Krug* Carol Clark Lawrence Dale Penneys Levy James M. Meyer, CFA Donald Rosenblit, Chairman Emeritus* Carol Saline Jordan Savitch 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
PHILADELPHIA THEATRE COMPANY STAFF Producing Artistic Director Sara Garonzik Interim Managing Director Kathleen Kund Nolan Assistant to the Producing Artistic & Managing Directors Sharon Kling Business Manager Patricia Lustig Director of Development Sophie V. Steuer Development Associate Aimee Kerr Grant Writing Consultant Barbara Barnett Director of Marketing & Communications Amy Lebo Marketing Associate Rose Schnall Publicist Deborah K. Fleischman Group Sales Manager Carol Flannery Patron Services Manager Meg Morris Box Office Manager Sarah Blask Assistant Box Office Manager Liz Fontenla Box Office Associates Jessie Pasquariello, Carla Emanuele, Liam Daley, Sara Blomquist House Manager Ron Hunter Marketing Intern Austin Stanton Director of Education Maureen Sweeney Education Coordinator Rashanda Freeman Education Interns Derrick Mull Desmond Williams Teaching Artists Carla Emaunele, Jan Michener, Melody Tash Literary Manager and Dramaturg Carrie Chapter Literary Intern Veronica Decker
PRODUCTION STAFF Director of Production & Theater Operations Technical Director & Theater Operations Manager Associate Production Manager/Company Manager Facilities Supervisor Assistant Stage Manager Props Master Sound Supervisor Wardrobe Supervisor Production Electrician Local Assistant Lighting Designer Costume Assistants Light Board Operator/Programmer Deck Crew A2 Dresser Production Apprentice Production Intern
CREDITS Playwise Design Auditor Scenery TV Spot
Bruce Charlick Michael L. Cristaldi Bridget A. Cook Chris Butterfield Danielle Commini Melissa A. Cristaldi Daniel A. Little Maxine Johnson Terry Smith Allysandra Docherty Margaret Ozemet Heather White Charlotte Cloe Fox Wind Sam Henderson Stuart Bartlett, Josue Carazo, Jacob Lyon Goddard Matt Ricchini Hallie Keyser Melissa C. Mann Julian Fernandez
Rose Schnall Larson Allen Proof Productions Inc. Emily Schnall
“A GORGEOUSLY PURE, LOOSE AND PERSONAL CIRCUS”
CHICAGO TRIBUNE
presented by
THE PHILADELPHIA LIVE ARTS FESTIVAL THE KIMMEL CENTER FOR THE PERFORMING ARTS
IN ASSOCIATION WITH
“SEXY, THRILLING AND SINCERE, TRACES LEAVES A HELL OF AN IMPRESSION” TIME OUT CHICAGO
MERRIAM THEATER 250 S BROAD STREET TICKETS: $15-$55 AVAILABLE IN JUNE AT WWW.KIMMELCENTER.ORG
Photo © Valerie Remise, ODC
LIMITED ENGAGEMENT SEPTEMBER 15-18, 2011
UP NEXT AT PHILADELPHIA THEATRE COMPANY DIRECT FROM BROADWAY! A HISTORY OF THE WORLD IN 75 MINUTES
“HISTORICAL AND HYSTERICAL! VERY, VERY FUNNY!” - NY POST
More than standup comedy, Colin Quinn’s (Saturday Night Live, HBO) Long Story Short is a hilarious blend of incisive observation, sharp commentary, and the channeling of famous (and infamous) personalities. From Socrates to Snooki, Quinn is at his satirical best, taking on the attitudes and appetites that toppled the world’s most powerful nations, proving that throughout history, the joke has always been on us!
PHILADELPHIA PREMIERE home of
philadelphiatheatrecompany.org 215.985.0420
STARTING JUNE 28
2 WEEKS ONLY!