Playwise | Tribes

p l ayw se ON STAGE AND OFF

s e b r t

January 24 through February 23, 2014

by Nina Raine directed by

Stuart Carden PHIL ADELPHIA THEATRE COMPANY at the

DRANOFF PTC Ad 5x8 4C.indd 3

8/19/13 6:41 PM

PH IL ADEL P H I A TH E ATR E CO MPANY at the

Sara Garonzik Executive Producing Director

Priscilla M. Luce President

TRIBEs By

Nina raine featuring

Robin Abramson

Tad Cooley

Amanda KearnS Set Design Narelle Sissons

Costume Design Janus Stefanowicz

Dialect Coach Melanie julian PTC Dramaturg Carrie chapter

Alex Hoeffler

John Judd

Laurie Klatscher Lighting Design Andrew david Ostrowski

Director of Production roy w. backes

Sound/Projection Design Mike Tutaj

Production Stage Manager DANielle Commini

Casting stuart howard & Paul hardt

PTC Casting Amy dugas brown

Directed by

stuart carden TRIBES is produced in association with City Theatre Company, Pittsburgh, PA. Tracey Brigden, Artistic Director, Mark R. Power, Managing Director TRIBES was commissioned and first presented by English Stage Company at the Royal Court Theatre on 14 October 2010 TRIBES was presented by Barrow Street Theatre, New York, NY in 2012 TRIBES is presented by special arrangement with Dramatists Play Service

THANK YOU TO OUR TRIBES SPONSORS! .com

Julia and Gene Ericksen Honorary Executive Producers

Official Beverage Sponsor Season Sponsor

P h i l a d e l p h i a T h e a t r e C o mp a n y

Annual Gala March 8, 2014

Honorary Chairs David and Rhonda Cohen Gala Chairs Jerry and Cookie Riesenbach Honoree Elliot Schwartz Corporate Honoree Cozen O’Connor

Saturday, March 8, 2014 6:00pm

The Hyatt at the Bellevue 200 S. Broad Street Philadelphia, PA 19102 Cocktails. Auction. Dinner. Dancing Hosted by Jessica Dean, CBS3 Anchor Music by Rich Posmontier

Proceeds from the Gala help support PTC’s education and community outreach initiatives.

For table sponsorships, tickets or underwriting opportunities, please contact: The Development Department 215.985.1400, x115 Gala@philadelphiatheatrecompany.org PhiladelphiaTheatreCompany.org/Gala

from the executive producing director Dear Friends, Tribes had an auspicious 2010 debut at London’s Royal Court Theatre, that hot- bed of new plays and social provocation on Sloane Square, winning a raft of awards and nominations including The Olivier (our Tony equivalent.) The excitement continued in 2012 when a new production mounted Off Broadway at the Barrow Street Theater exceeded its original run, pushing past two extensions and finding a place on every critic’s “must-see” list.

Since that time, Tribes has been produced in Los Angeles, La Jolla, Boston and, even as we speak, Chicago, Washington DC and here in Philadelphia.

(We are pleased to be co-producing with Pittsburgh’s City Theatre, a kindred spirit, that will be running the production starting March 8th.)

It is clear that Nina Raines’ drama seems to be hitting a universal chord even while it illustrates a highly unusual domestic scenario. In Tribes we meet a raucous, intellectual and dysfunctional British/Jewish family whose battles are played out nightly at the dinner table. Presided over by patriarch Christopher, meals are non-stop, high intensity debates over politics, art and any topic that can be used to win points, build alliances and strengthen the shared values of this volatile “tribe.” Everyone shouts and no one seems to be listening except son Billy, deaf since birth, who forms the quiet, churning center of this absorbing play. Tribes is Billy’s quest for identity and its enormous impact on his family.

Playwright Raines, who is also a director, has created vibrant, truthful characters and a complex story, rich with metaphor, that lifts it above most domestic drama. Her delineation of the politics and divisions within the deaf community is gutsy and revelatory, as is her portrait of a family who cannot and will not accept their son’s individuality.

We are proud to be presenting this smart, brave and beautiful play and its themes of inclusion and understanding which are core to the work we do at Philadelphia Theatre Company. We also welcome director Stuart Carden, new to PTC, and a wonderful cast and creative team to our stage. For those members of our community who are deaf or hearing impaired, we will be offering ASL translated as well as open captioned performances and post-show events, all of which are listed in this Playwise.

Sara Garonzik | Executive Producing Director

CAST Ruth.........................................................................................................................................Robin Abramson* Billy......................................................................................................................................................Tad Cooley* Daniel.............................................................................................................................................Alex Hoeffler* Christopher........................................................................................................................................John Judd* Sylvia.........................................................................................................................................Amanda Kearns* Beth...........................................................................................................................................Laurie Klatscher* * Denotes member of Actors’ Equity Association

Time: Present Place: London 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. PRODUCTION EMPLOYEES ARE REPRESENTED BY THE INTERNATIONAL ALLIANCE OF THEATRICAL STAGE EMPLOYEES, MOVING PICTURE TECHNICIANS, ARTISTS AND ALLIED CRAFTS OF THE UNITED STATES, ITS TERRITORIES AND CANADA, LOCAL 8.

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. 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

special thanks Philadelphia Theatre Company thanks its friends and community partners in helping to make our production of TRIBES as accessible as possible: ArtReach, Deaf-Hearing Communication Centre (DHCC), Geraldine D. Fox, NOHR Foundation, HandsUp, Pennsylvania School for the Deaf, Mimi Smith, Executive Director, VSA Pennsylvania

who’s who Robin Abramson (Ruth) Previous Pittsburgh City Theatre credits are Stephen Massicotte’s Mary’s Wedding and Blackbird by David Harrower, both of which earned her 2009 Pittsburgh Post Gazette’s Performer of the Year, and were directed by Stuart Carden. Additional City Theatre productions include Jordan Harrison’s Maple and Vine, Time Stands Still, and Outlying Islands. Robin was most recently seen portraying the role of Annabelle in You Say Tomato, I Say SHUT UP! in Pittsburgh (CLO Cabaret), San Diego, and Philadelphia. She played Eliante in Pittsburgh Irish and Classical Theatre’s production of The School for Lies by David Ives. Quantum Theatre appearances include Electric Baby (Natalia), Viola in Twelfth Night, and When the Rain Stops Falling. Some of her favorites are Maura in Tammy Ryan’s FBI Girl (Playhouse Rep) Kathy in No Name Players’ production of Orange Flower Water, Tzeitel in Fiddler on the Roof, and Three Sisters (Olga).

Tad Cooley (Billy) makes his professional stage debut at PTC. In his native Texas, he has appeared in numerous productions including A Funny Thing Happened on the Way to the Forum, Once on This Island, Robin Hood and High School Musical, among many others. Tad is currently attending the New York Conservatory for Dramatic Arts.

Alex Hoeffler (Daniel) is thrilled to be making his Philadelphia Theatre Company debut with this exciting piece of theatre. Broadway: War Horse. New York: Happy’s Funeral. Regional: Derma (Charleston, SC), The Phantom of the Alamo (The Magik Theatre). Training: UNCSA. Thanks to Abrams. Hi, Mum! John Judd (Christopher) is an actor based primarily in Chicago. He most recently appeared in Wrecks at Profiles Theatre. He has appeared at The Goodman Theatre (Measure For Measure, The Iceman Cometh, A Christmas Carol, Magnolia, and Shining City), Steppenwolf Theatre Company (Three Sisters, Clybourne Park, Last Of The Boys, The Dresser, The Butcher Of Baraboo, Orson’s Shadow, Golden Boy, and Our Town), Chicago Shakespeare Theatre (The Feast, An Intimate Tempest, and Romeo And Juliet), Writer’s Theatre (Othello, Crime And Punishment, and The Price), Court Theatre (Lettice And Lovage, and Gross Indecency), Lookingglass Theatre (Great Men Of Science, Nos. 21 & 22), Northlight Theatre (The Lieutenant Of Innishmore and The Cripple Of Inishmaan), Shattered Globe Theatre (Come Back Little Sheba), A Red Orchid Theatre (Gagarin Way), About Face Theatre (Execution Of Justice), Next Theatre (A Number and The Boarding House). Also: And Neither Have I Wings to Fly with Fox Theatricals, Angels In America Parts I and II with The Journeymen, Long Day’s Journey Into Night with Irish Rep Of Chicago. In New York at Barrow Street Theatre (Orson’s Shadow and An Oak Tree) and 59E59 Theatres (Crime And Punishment). Regionally and Internationally at McCarter Theatre, Princeton NJ (American Buffalo), Huntington Theatre, Boston (Shining City), Williamstown Theatre Festival, Westport Country Playhouse , and Beaver Creek Theatre Festival (Orson’s Shadow) and at Town Hall Theatre, Galway, Ireland (Long Day’s Journey Into Night). Screen appearances include: Public Enemies, Batman Begins, Mr. 3000, Road To Perdition, Ride With The Devil, Losing Isaiah, Hoffa, Chump Change, Children On Their

who’s who Birthdays, Milwaukee, Minnesota, and Cherry. TV appearances include: Boss, Chicago Code, Prison Break, ER, Early Edition, and numerous pilots.

Amanda Kearns (Sylvia) is delighted to be working for the first time at Philadelphia Theatre Company! A Canadian born, Boston bred actress, Amanda now resides in Philadelphia and is a 2012 graduate of the BFA program at the University of the Arts. Previous credits include: Talleyrand in Vainglorious (Applied Mechanics), Savage Love (RebelYard), Alice in Mosque (Hybridge) and Groupie in NPGN, a part of the 2012 Philadelphia Fringe and Manhattan Rep. Fall Fest. Many thanks to everyone at PTC for the opportunity, and to my family and friends and Goose for their unconditional love.

Laurie Klatscher (Beth) Recent Theatre: Dream of Autumn, The Electric Baby (Quantum Theatre); Riders to the Sea (Microscopic Opera). Laurie was named Pittsburgh Post Gazette’s ”Performer of the Year 2011” for her work in Madeleine George’s Precious Little (City Theatre) and Tammy Ryan’s Lost Boy Found in Whole Foods (Playhouse Rep). Other theatre: Shooting Star, The Good Body, Slavs, The Cryptogram, Temptation, Moonlight Room, Compleat Female Stage Beauty, Red Herring, and The Baltimore Waltz (City Theatre); Mad Honey and Women Beware Women (Unseam’d Shakespeare); Dog Face (Festival de Otono, Madrid), Candide, Closer (Quantum), Heartbreak House, and A Woman of No Importance (PICT).

Nina Raine (Playwright) began her career as a trainee director at the Royal Court Theatre after graduating from Oxford. She dramaturged and directed Unprotected at the Liverpool Everyman (TMA Best Director Award, Amnesty International Freedom of Expression Award). Her debut play, Rabbit, premiered at the Old Red Lion Theatre in 2006 and transferred to the West End before going to New York. Rabbit won the Charles Wintour Evening Standard and Critics Circle Award for most Promising Playwright. Nina also directed her second play, Tiger Country, at Hampstead Theatre. She directed Jumpy at the Royal Court Theatre, later transferring to the West End, and Shades (Critics Circle and Evening Standard Awards for Most Promising Newcomer). Her commission for the Royal Court Theatre, Tribes, directed by Roger Michell, won an Offie award and was also nominated for both Olivier and Evening Standard Awards for best new play. Tribes opened to rave reviews and won the 2012 Drama Desk Award for Best New Play and the New York Drama Critics Circle Award for Best Foreign Play. Nina just opened Longing at Hampstead Theatre.

Stuart Carden (Director) makes his PTC debut with Tribes. The Associate Artistic Director of Writers Theatre in Chicago, Stuart most recently developed and co-directed PigPen Theatre Co.’s new play with music The Old Man and The Old Moon. Stuart is a new play specialist who has helped commission, develop, and bring to the stage over twenty-five new works. Previously, he was the Associate Artistic Director at City Theatre Company. At Writers, he recently directed the US Premiere of David Greig’s Yel-

who’s who low Moon, the second developmental production of Randall Colburn’s Hesperia, and Giles Havergal’s adaptation of Graham Greene’s Travels with my Aunt. Other recent directing projects include Annie Baker’s Circle Mirror Transformation, Sarah Ruhl’s In the Next Room (vibrator play), Curt Columbus and Marilyn Campell’s adaptation of Crime and Punishment, and Martin McDonagh’s The Lieutenant of Inishmore at The Repertory Theatre of St. Louis; David Harrower’s Blackbird, Stephen Massicottes’ Mary’s Wedding, Jeffrey Hatcher’s A Picasso, and Tristine Schyler’s The Moonlight Room at City Theatre; Shishir Kurup’s The Merchant on Venice, David Henry Hwang’s Golden Child, and Yussef el Guindi’s Back of the Throat and 10 Acrobats at Silk Road Theatre Rising; and Martin McDonagh’s The Pillowman, Martin Crimp’s adaptation of The False Servant, and Marie Jones’ Stones in His Pockets for Pittsburgh Irish and Classical Theatre. As Associate at Writers Theatre he helps lead the theatre’s Literary Development Initiative that establishes a dialogue between the theatre and playwrights from across the U.S. in order to commission, develop, and produce new and adapted works. Stuart is a proud alum of Carnegie Mellon University, member of SDC, and dad to twin toddlers Dashiell and Griffin.

Narelle Sissons (Set Designer) Broadway: All My Son’s at The Roundabout Theatre.

Off-Broadway: How I Learned To Drive original production; also Stop Kiss, In the Blood, Kit Marlowe, Julius Caesar (NYSF), and Little Flower of East Orange at the Joseph Papp Public Theatre. Mabou Mines Doll House at St Anne’s Warehouse. Also in NYC, many productions with LAByrinth, Light Box, Playwrights Horizons, New York Theatre Workshop, Signature Theatre, Epic Theatre Ensemble, Classic Stage Company, Juilliard, and The Women’s Project. Regional: Mark Taper Forum, ACT Seattle, Seattle Rep, Intiman; also productions for Long Wharf, Repertory Theatre of St Louis, Cincinnati Playhouse in The Park, The Shakespeare Theatre, Trinity Rep, City Theatre, Quantum, PlayMakers, and Berkley Rep. International: Jesus Hopped the ‘A’ Train directed by Philip Seymour Hoffman (West End and NYC) and Mabou Mines Doll House directed by Lee Breuer (US and world tour including the Olso Festival in Norway). Also, The Syringa Tree (Vienna, Austria, and Frankfurt, Germany). No Child at the Edinburgh Festival. Upcoming: Sokrates at VAT Theatre in Tallinn, Estonia. Select Opera: I Pagliacci at Mill City Summer Opera, Der Ferne Klang directed by Thaddeus Strassberger at Bard SummerScape, Die Schwarze Spinne directed by Robin Guarino for Gotham Opera (NYC). Nominations/awards: Drama Desk, Helen Hayes, American Theatre Wing, Kevin Kline Award, Back Stage West Award, Elliot Norton Award, and Exhibitor at Prague Quadrennial 2007 and 2011. Ms. Sissons is Design Option Co-coordinator and Associate design faculty at Carnegie Mellon School of Drama. She was trained in London at Central St. Martins and The Royal College of Art. Janus Stefanowicz (Costume Designer) is very happy to be part of this amazing production team. Tribes will be her 26th costume design for PTC. Past productions include: reasons to be pretty, Ruined, The Story, and How I Learned To Drive. 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

who’s who nominated for 16 Barrymore Awards and has won three: the above mentioned Intimate Apparel in 2006, the 2003 Barrymore Award for Big Love and 1998 Award for On the Razzle both at the Wilma Theater.

Andrew David Ostrowski (Lighting Designer) National credits include The National High School Musical Theater Awards in NYC, The Asolo, Virginia Stage Company, North Shore Music Theatre, George Street Playhouse, TheatreWorks, Penn’s Landing Playhouse, New York Theater Institute, Merrimack Repertory Company, The Arden Theatre Company, The Blumenthal Center in Charlotte, NC, Spoleto Festival USA, Pittsburgh Public Theater, City Theatre, Pittsburgh Opera, Madison Opera, Pittsburgh CLO, Dallas Summer Musicals, Theater of the Stars at the fabulous Fox Theater, as well as others. Internationally, his designs have appeared in France, Sweden, Scotland, and Ireland. From 1998-2003, Andy was the lighting director for an international tour of the Gershwin opera Porgy and Bess. In 2002, he was given a national merit award from the Kennedy Center for the Performing Arts. Andy resides in Pittsburgh and is an adjunct instructor for Point Park University as well as a freelance Lighting Designer for hire. He has designed over 150 productions in Pittsburgh for many of the companies there. www.tfpld.blogspot.com Mike Tutaj (Sound/Projection Designer) joins Philadelphia Theatre Company for the first time with this production. Based in Chicago, Mr. Tutaj’s recent design credits include The Mountaintop (Court Theatre); Pullman Porter Blues, and By the Way Meet Vera Stark (Goodman Theatre); Sunday in the Park with George, and Shrek - The Musical (Chicago Shakespeare Theatre); Still Alice (Lookingglass Theatre); Beyond the Score: The Tristan Effect, and Beyond the Score: Symphonie Fantastique (Chicago Symphony Orchestra); Lord of the Flies, and The Book Thief (Steppenwolf Theatre); Miss Saigon, and Fiddler on the Roof (Paramount Theatre Aurora); Blood and Gifts, Concerning Strange Devices from the Distant West, and 33 Variations (TimeLine Theatre Come to Jet before or after the show.

Company); and Burning Bluebeard (The Great food, great wines, Ruffians). Mr. Tutaj is an artistic associate great atmosphere. with TimeLine Theatre Company and an adjunct professor in the Theatre Department of Columbia College Chicago.

Don’t make curtain call your last call.

Melanie Julian (Dialect Coach) is very pleased to be back at Philadelphia Theatre Company as a dialect coach for the third time; she previously coached PTC’s productions of Grey Gardens and Ruined.

She has been a member of the theater faculty at Temple University since 2008, where she teaches speech, acting, and

Eat. Drink. Enjoy.

All at our global vineyard.

1525 South Street 215.735.1116 • jetwinebar.com

who’s who voice. Since moving to Philly she has worked with a number of local theaters as a vocal coach: the Arden Theatre, Passage Theatre, Theatre Exile, BRAT Productions, EgoPo Classic Theater, Luna Theater, Plays and Players, and Quince Productions. As an actress she has worked with various companies around the U.S., including Northern California’s Mondavi Arts Center, the Soho Playhouse, EgoPo Classic Theater, the Pittsburgh Playhouse, Penumbra Theatre, and the Minnesota Orchestra. She will appear next in Mauckingbird Theatre Company’s show Beautiful Thing. She is a member of Actors’ Equity Association and an Associate teacher of Fitzmaurice Voicework.

Roy W. Backes (Director of Production) is thrilled to have joined Philadelphia Theatre Company’s senior management team as Director of Production. Roy is a top honors graduate of Point Park University’s BFA conservatory theater program in his hometown of Pittsburgh. He began his career as Prop Master for the late, great Fred Rogers on the landmark PBS show Mister Rogers Neighborhood. Mr. Backes has spent over three decades in the professional theater, working as a Production Stage Manager, Production Manager and General Manager both on and Off Broadway and at regional theaters throughout the country, including Pittsburgh Public Theater, Philadelphia Drama Guild, Roundabout Theatre Company, Freedom Theatre, Williamstown Theatre Festival, Bay Street Theatre, Hartmann Theater, Prince Music Theater, Wilma Theater, Walnut Street Theatre, and many more. Roy is a proud member of Actors Equity and the Production Managers Forum. Roy thanks his wife Lisbeth and son Oliver for their love and undying support. Accept grace.

Danielle Commini (Production Stage Manager) Philadelphia Theatre Company: Production Stage Manager for Nerds, 4000 Miles, Love, Loss, and What I Wore, Venus in Fur, Seminar, and Bella: The Color of Love; Assistant Stage Manager for The Mountaintop, Stars of David, reasons to be pretty, The Outgoing Tide, The Scottsboro Boys, Red, Colin Quinn: Long Story Short, Ruined, Let Me Down Easy, Race, and The 25th Annual Putnam County Spelling Bee. 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 her B.F.A. from the University of the Arts. Special thanks to the PTC staff, especially Bridget and Annie. Much love to Mom, Dad, and Will for unending support.

Carrie Chapter (Literary Manager/ 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).

who’s who Stuart Howard & Paul Hardt (Casting) are very happy to be back at the Philadelphia Theatre Company. They have previously done casting for productions here: The Outgoing Tide, Seminar, and the upcoming Vanya and Sonia and Masha and Spike. They also cast for Broadway, Off-Broadway, National tours, and various regional theatres such as the Goodspeed Opera House in East Haddam, CT, the Shakespeare Theatre Company in Washington, DC and the Delaware Theatre Company.

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.

Sara Garonzik (Executive Producing Director) has led PTC since 1982, having introduced more than 140 world or regional premieres of major new American plays and musicals to Philadelphia including new work by Terrence McNally, David Ives, 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; the TCG Fox Foundation Actor Fellowships, 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 an advisory Board Member of the Arts & Business Council of Greater Philadelphia, on the Board of the Philadelphia Cultural Fund (after serving 3 years as President), and on the advisory board of PlayPenn, a new play development organization.

Priscilla M. Luce (President) has a broad background that covers virtually all aspects of non-profit management, positioning, philanthropy, and volunteerism. She served 11 years as vice president of a national non-profit fund-raising and management consulting firm, guiding the boards of trustees and staff of more than 50 schools, colleges, museums, performing arts, hospitals and other organizations in raising annual, capital, endowment and deferred gifts for their institutions. Previously, she held public relations positions at the Philadelphia Museum of Art and Mount Holyoke College, and spent the majority of her long career in corporate communications with TRW Inc., a Fortune 100 company based in Cleveland. She also directed a $16 million fund-

who’s who raising campaign for the Cleveland Public Schools, and is an expert in crisis management, strategic planning, marketing communications and issue communications. She has been volunteer President and Executive Director of The Albert M. Greenfield Foundation in Philadelphia since 2000. Under her leadership, this family Foundation is developing a leading-edge grant-making style that emphasizes collaboration with non-profit partners to implement innovative approaches addressing evolving community and social needs in Philadelphia. She is Executive Producer of a documentary film, “Mr. Philadelphia – The Story of Albert M. Greenfield,” which aired on WHYY in Philadelphia.

Since 2003, Luce has consulted with non-profit organizations as well as companies in the manufacturing and real estate sectors. Her work has included strategic and operational planning, fundraising feasibility analysis and planning, constituency development, organizational positioning and marketing communications. Luce is a graduate of the University of Pennsylvania with a degree in English and attended executive marketing programs at the Fuqua School of Business, Duke University; the London Business School, and the J. L. Kellogg School of Management, Northwestern University. She is currently listed in Who’s Who of American Women and is a member of the Union League of Philadelphia.

City Theatre Company Described by The New York Times as “Pittsburgh’s most innovative theater company,” City Theatre specializes in new play development. It is the largest theatre in Pittsburgh dedicated to a full season of all new work, commissioning, and producing plays by writers including Daniel Beaty, Jessica Dickey, Christopher Durang, Michael Hollinger, Willy Holtzman, Tarell McCraney, and Theresa Rebeck. Under the leadership of Artistic Director Tracy Brigden, Managing Director Mark R. Power, and a 45-member Board of Directors, City Theatre’s mission is to provide an artistic home for the development and production of contemporary plays of substance and ideas that engage and challenge a diverse audience. Additional season initiatives include the Young Playwrights Festival, City Theatre’s professional showcase of middle and high school playwrights, and “Momentum,” City Theatre’s annual festival of new plays at different stages, featuring readings of new plays and musicals at different stages of development as well as workshops, panels, and conversation about the art of play creation.

Located on Pittsburgh’s historic South Side, City Theatre is currently in its 39th season.

Nina Raine Why I Wrote TRIBES 22 September 2010 I first had the idea of writing Tribes when I watched a documentary about a deaf couple. The woman was pregnant. They wanted their baby to be deaf.

I was struck by the thought that this was actually what many people feel, deaf or otherwise. Parents take great pleasure in witnessing the qualities they have managed to pass on to their children. Not only a set of genes. A set of values, beliefs. Even a particular language.

The family is a tribe: an infighting tribe but intensely loyal.

Once I started looking around, tribes were everywhere. I went to New York and was fascinated by the orthodox Jews in Williamsburg, who all wear a sort of uniform.

They were like an enormous extended family.

And just like some religions can seem completely mad to non-believers, so the rituals and hierarchies of a family can seem nonsensical to an outsider.

I learnt some sign language. I found it immensely tiring. Sign demands that you heighten your facial expressions – ‘like’ – you stroke your neck downwards and smile beatifically, ‘don’t like’ you stroke your neck upwards and make a face almost as if you are throwing up. I felt like I was being made to assume a personality that didn’t fit me. I realised how much we

express our personality through the way we speak. I didn’t like having to change my personality. And sign has a different grammar. I felt stupid, slow, uncomprehending. Was this what it might be like to be a deaf person trying to follow a rapid spoken conversation? But I was also envious. I loved the way sign looked when used by those fluent in it. It could be beautiful. Wouldn’t it be great to be a ‘virtuoso’ in sign? They must exist, like poets or politicians in the hearing world…

Finally, I thought about my own family.

Full of its own eccentricities, rules, in-jokes and punishments. What if someone in my (hearing, garrulous) family had been born deaf?

All these things went into the play, which took a very long time to write. All I knew was that at the beginning we would be plunged into a family dinner. The first scene was easy to write. I wrote it with no idea of the characters’ names, or of how many siblings there were. But oddly, it is one of the scenes that has hardly changed during the writing of the play. It sat there for a very long time. And then, slowly, I wrote the rest. The crazy family was born fully formed. I just had to work out what happened to them.

Originally written and published online for The Royal Court Theatre

Same Land, Different Tribes: Exploring Language in the Deaf Community

by Carrie Chapter, PTC Dramaturg In Tribes, the audience meets the character of Billy at a crossroads, positioned between a pervasively aural family environment and the brave new world of Sign. According to the National Institute of Deafness and Other Communication Disorders (NIDCD), “about 2 to 3 out of every 1,000 children in the United States are born deaf or hard-of-hearing. Nine out of every 10 children who are born deaf are born to parents who can hear.”

In 1994, Rob Tranchin broadcast those statistics from a personal standpoint.

His PBS documentary, “For a Deaf Son,” chronicled his hearing family’s struggle in deciding how his son, Tommy, should be educated with regard to learning speech or learning sign language. This

is not an extraordinary predicament for hearing parents who discover their child is deaf. Rather, it is a social quandary that has followed families for centuries. The decision of how to teach language to a child who is deaf has depended on two major schools of thought. One method is manualism, what is more commonly known as the teaching of sign language.

In contrast, there is method of oralism or an oral education, which is instruction that relies on teaching speech and lipreading without any practice of sign language. There are many other variants, like cued speech and signed English, but the adversarial history of Deaf education concerns the oralist tradition and the manualist tradition.

Then & Now: A Deaf Education Timeline In 18th and early 19h century, there was no formal Deaf education for the masses.

But, deaf children from wealthy families were sent abroad to the highly secretive Braidwood Academy in Scotland, which provided a speech-only method to its students. However, by the 1810s, Thomas Gallaudet emerged as a public advocate for manualism in teaching the Deaf after visiting and observing students at the National Institution for Deaf-Mutes in Paris. He invited Laurent Clerc to come back to America to establish what would become the new American School for the Deaf in Connecticut, for which Clerc would be the first deaf teacher. Gallaudet’s son, Edward, would later found Gallaudet College (later University) in 1864 in Washington, D.C. Sign language – in this instance, American Sign Language (ASL) - would be the accepted and dominant language taught until the latter part of the century.

By the late 1860s, though, Darwin’s notion of “Survival of the Fittest” began to influence educators; there was the desire to strengthen the nation’s youth by way of practicing common language across physical limitations in order to encourage full social and cultural integration. The oralist method started to gain popularity again, and the manualist approach waned. The first oral schools in America were opened by this time - the most notable being The Clarke Institution for Deaf-Mutes, now known as the Clarke Schools for Hearing and Speech. By 1880, the Second International Congress on Education of the Deaf convened in Milan to discuss which type of education methodology should take primacy. It was decided that both schools in the United States and in countries throughout Europe should implement speech therapy – an oral education of spoken word and

lip-reading – as the principal method and preferred language model. ASL and other forms of sign language abroad would no longer be actively practiced in educating the Deaf community.

Oralism was the predominant form of instruction up until the late 1960s when the term “Total Communication” was introduced by Roy Kay Holcomb, which advocated for a kind of balance between both methods in allowing the individual to choose which one worked best for him or her personally, and for ASL to be a viable choice in Deaf education.

As a result, there were new efforts to integrate both language models by way of Simultaneous Communication or Signsupported speech. The 1988 protest by the deaf students of Gallaudet University in their advocacy for a deaf president for the university put the debate of Deaf culture and civil rights into sharper focus, determining how schools best attend to the needs of deaf students.

On this note, then, it is worth giving perspective to each methodology in order to fully and fairly recognize the process for a family looking to give their child an education.

An Auditory-Oral and Auditory-Verbal Education Inventor Alexander Graham Bell was an early promoter for providing an oral education to children who are deaf.

The Alexander Graham Bell Academy for Listening and Spoken Language in Washington, D.C. defines the mission: “Auditory-Verbal Therapy facilitates optimal acquisition of spoken language through listening by newborns, infants, toddlers, and young children who are deaf or hard of hearing. AuditoryVerbal Therapy promotes early diagnosis, one-on-one therapy, and

state-of-the-art audiologic management and technology. Parents and caregivers actively participate in therapy. Through guidance, coaching, and demonstration, parents become the primary facilitators of their child’s spoken language development.

Ultimately, parents and caregivers gain confidence that their child can have access to a full range of academic, social, and occupational choices. AuditoryVerbal Therapy must be conducted in adherence to the Principles LSLS of Auditory-Verbal Therapy.”

In this methodology, parental involvement is vital in keeping the auditoryverbal engagement consistent, both at home and in the classroom in order for the child to feel grounded and supported. The most conspicuous benefit to an oral education is the child’s ability to communicate more directly with hearing people and their surroundings, relaxing some of the social and cultural barriers of being deaf in a hearing world.

By learning speech, the average reading level of students from an auditory-oral background was in the range of a 13or14-year-old, which is nearly double that of other children who are deaf.

As one parent notes: “We chose AuditoryVerbal because we wanted our child to speak the language of his family and culture. We wanted him to have the same educational opportunities and abilities of our other children, and we wanted him to be self-sufficient. He is not yet 3 and is already on par with his peers receptively and expressively.”

In addition to the Clarke Schools of Hearing and Speech, the Central Institute for the Deaf in St. Louis, established 98 years ago, still works exclusively in the oral method from infancy to age 12, with programs designed to ready students to be mainstreamed into hearing environments and education systems.

An Education in Sign Language In many circles, sign language – in this case, American Sign Language – has been viewed as an invaluable asset within the Deaf community. For its advocates, it stands as the hallmark of Deaf culture and identity – a fundamental communication tool that creates a peer group and fosters a support system of relationships.

Many organizations, like the National Association of the Deaf, stand up for the primacy of sign language as the first introduction to communication and learning for a child who is deaf. As natural receivers of visual information, the immediacy of ASL is an enticing quality for families making decisions about language. The American Society for Deaf Children explains the early advantages of choosing sign language: “The most accessible pathway for full access to linguistic information for many deaf children is through vision.

Visual languages are not merely signs that represent spoken language; they function independently from spoken languages and have fully developed grammatical systems. Some innovative early intervention programs have recognized the need for early visual language learning in children receiving implants. In one such program, a study revealed that children who were exposed to sign language while waiting for cochlear implants developed receptive language: they understood comments, questions, explanations, commands, and they were signing simple phrases.”

In several cases, educators see sign language as a gateway to understanding not only spoken English but also the modes through which the child can express him or herself, opening doors for creative and intellectual expression at an early age. The most significant

issue facing sign language is the gulf it can create between the child and their hearing family; there are parents who choose not to learn ASL, even if the child is learning it as part of their education, and, for those parents who do learn, their fluency often pales in comparison with that of their child. It is worth noting, though, that even if the parents’ use of ASL is less than perfect, the child is still able to master the language with little trouble. As one parent affirms: “I don’t think it really matters which sign system you use as long as you start signing just as fast as you can. Which grammar you are using will hardly matter for the first few months, and there is no substitute for early two-way communication.”

Building an Identity with Language What brings both of the methodologies together is the imperative of time.

As Gallaudet professor, Sharon Baker, asserts: “...without access to a complete linguistic code during early development, it is difficult for deaf and hard of hearing children’s language acquisition to parallel that of hearing children. Fortunately, the language areas of the brain have no preference for language input.” The earlier a child is exposed to a consistent, tactical approach in learning language, the easier the experience and quicker the acquisition – and, hopefully, the more proficient the practice.

However, no child is alike. Part of the complexity of families introducing a language approach is that every child will learn differently; the experience or success rate of any given method is radically indeterminate. For example, some children try the oral method and do not progress as expected for reasons of stress and physical limitations, and then they go into a Sign form of communication – but the delay in development is there. Yet, for other children who are deaf, the oral

method works, and leads to vocational and social opportunities in both the hearing and Deaf communities. Those in the sign language community flourish, too, as Deaf culture continues to expand its reach daily through social media, arts, and politics. Still, sign language, in its exclusivity, has the potential to be isolating from the general public as an accessible mode of communication. The question of which model is the preferred, most effective, or successful out of the myriad of educational options is one left open-ended.

What lives at the center of the debate, though, is community, and how language affects a sense of belonging and identity.

For our family in TRIBES, they have created a culture defined by those kindred ties that bind. For Billy, there is the choice of how to reconcile those bonds of familial love with his need to communicate. In decisions over language, it is the family who must first choose how their children – deaf or hearing – grow to communicate, and obtain the tools needed to define and express themselves. It is then up to the children to decide how to use those tools to shape the people they will become, and embrace the community that fits them best.

Source information and cited material courtesy of Disability Studies Quarterly archives; the Science of Learning Center on Visual Language and Visual Learning, Gallaudet University; Orel Zak of Deaf-Info; Raisingdeafkids.org; the National Association of the Deaf; the American Society for Deaf Children; NIDCD; the Alexander Graham Bell Academy for Listening and Spoken Language; Patrick Stone; Jean Sachar Moog, Oral Deaf Education; and, the Central Institute for the Deaf.

PHI L A D EL P H IA TH EATRE COMPA NY at the

Growing UP and Coming OUT to The Sound of Philadelphia

written and performed by

directed by

coLMAN DOMINGO Tony Kelly

“CAPTIVATING...wicked, tender, and profound!

Production Sponsor

May 23 - June 22

”

- Newsday

PhiladelphiaTheatreCompany.org Broad & Lombard Streets • 215.985.0420

es upon li re y n a p m o C e tr a e h Philadelphia T to continue u o y e k li ls a u id iv d the support of in rtaining te n E d n a , rt a m S , g in producing the Inspir PTC. m o fr t c e p x e to e m co theatre you have

Your contributions to PTC benefit the following: Exciting new American plays and musicals brought to life by the finest creative teams at our beautiful Suzanne Roberts Theatre on the Avenue of the Arts

PTC@Play our Annual New Play Festival Drama Contact Education Program that serves thousands of Philadelphia students every year

2013

PTC FAnnuAl und

BeneFiTs

$100+$100+ Ensemble ENSEMBLE

$250+ Star

• Donor listing in Playwise performance programs.

All the benefits of a Ensemble, plus: listing intoPlaywise • Invitation Opening Night reception of PTC@Play.

• Voucher for two complimentary glasses of wine at the Suzanne Roberts Theatre Lobby Café.

• Donor performance programs.

• Invitation to an exclusive technical rehearsal.

• Voucher for two complimentary $250+ glasses of wineSTAR at the Suzanne $500+ Impresario All the benefits of the Ensemble, plus: Roberts• Theatre Cafe.

Invitation toLobby an exclusive technical rehearsal and reception.

All the benefits of a Star, plus: • Invitation to Opening Night • Preferred subscription seating. reception of PTC@Play. $500+ IMPRESARIO • VIP invitation to our Season All the benefits of a Star, plus: Launch Party.

• Preferred subscription seating.

• VIP invitation to our Season Launch Party.

• NEW! Invitation to one Artist Circle • Invitation to one Artists Circle Salon.

Salon.

$1,000+ PLAywRIghTS

All the benefits of an Impresario, plus: • Concierge ticketing service.

• NEW! Access to Artist Circle House Seats - premium seats exclusively held for AC Members for subscription exchanges and ticket purchases (Subject to availability, some restrictions apply).

• Invitations to privately hosted salons with our actors, playwrights, and directors.

• Bi-annual “On The Boards” newsletter from our Executive Producing Director and Dramaturg, featuring the latest in national theatre news.

Artists Circle Benefits

make the biggest impact - enjoy the closest access

$1,000+ Playwrights

$2,500+ Designers

All the benefits of the Playwrights All the benefits of an Impresario, plus: $2,500+ DESIgNERS Circle, plus: • Concierge All the ticketing benefits of the service.

Playwrights Circle, plus: • Customized backstage tour and champagne reception•for up to 10 guests. (Must be scheduled intour advance).

Customized backstage and • NEW! Access to Artist • Invitation for two toCircle attendedHouse an exclusive privately hosted dinner with the creative team of one of our champagne reception for up to 10 season productions.

Seats - premium seats exclusively • Invitation for two to attend one Opening Night performance and post show reception. guests. (Must be scheduled in advance). held for AC Members for subscription exchanges and ticket purchases (Subject • Invitation for two to attend an exclusive privately hosted dinner to availability, some restrictions apply). with the creative team of one of our • Invitations to privately hosted salons season productions. with our actors, playwrights, and • Invitation for two to attend one directors.

Opening Night performance and • Biannual “On The Boards” newsletter post-show reception. from our Executive Producing Director and Dramaturg, featuring the latest in national theatre news.

Patron Enrichment Programs (PEP) that bring audiences closer to the artists they love Accessibility Programs that ensure that everyone has access to our productions and programs

To make a difference through Theatre Find donation envelopes in the lobby or at the Box Office, make a gift online, or call our office 215-985-1400 x117.

ANNUAL FUND 2013-2014 Philadelphia Theatre Company is deeply grateful for the support it receives from the many generous individuals, corporations, foundations and government partners who contribute to the Annual Fund. For more information about how to support PTC’s artists, productions, and programs, please call the Development Office at 215-985-1400 ext. 117.

This list acknowledges donors as of January 3, 2014.

The Artists Circle Where great theatre and great theatre friends meet Executive Producers Circle ($25,000+) David & Nancy Colman Julia & Eugene Ericksen Victor Keen and Jeanne Ruddy Mr. and Mrs. H.F. Lenfest Dale Penneys Levy & Richard Levy James T. Smith & Debra Klebanoff Harriet & Larry Weiss Alan & Janet Widra Producers Circle ($10,000 - $24,999) Fran & Neal Cupersmith Alice L. George David and Linda Glickstein Daniel Green Glenn Gundersen & Susan Manix Mr. Tom Kirdahy Monika Krug Susan & James Meyer Jerry & Cookie Riesenbach Kristen Phillips and Matt Schreck Directors Circle ($5,000-$9,999) Anonymous Ms. Lee Ducat Carole Haas Gravagno & Emilio Gravagno Joal Greenberg & Marcy Gringlas Mr. and Mrs. Bruce E. Kardon Sally Lyn Katz Don & Lynne Rosenblit Carol Saline & Paul Rathblott Elliot Schwartz Bryna & Andrew Scott Laura & Richard Steel Shel & Karen Thompson Stephen & Rosalyn Weinstein Designers Circle ($2,500-$4,999) Anonymous Tracy & Rick Burke Mr. Edward A. Comer Dorothy J. del Bueno Jane and Joe Goldblum

Christine Kanter Arthur M. Kaplan & R. Duane Perry Madeleine & Steve Kessler David Lerman & Shelley Wallock Priscilla M. Luce Maureen E. Pugh June & Stephen Wolfson Playwrights Circle ($1,000-$2,499) Dr. Peter H. Arger Charlotte & Dirk Ave Jim & Kim Balaschak Carol Blank & Dr. Horace Barsch Arthur & Janice Block Louis Bluver Linda & Jonathan Chorney John & Priscilla Clement Michael & Ellen Singer Coleman Diane Cribbs & Arthur M. Mann Dr. James F. Dougherty Mr. and Mrs. Jonathan Edelman Phyllis & Howard Fischer Esther Flaster Teresa Gavigan & Larry Besnoff Sally Walker & Thomas Gilmore Henry & Sheila Gladstone Rosalie Burns Goldberg & Herbert I. Goldberg Mignon Groch John & Meredith Hanamirian Tom & Wendy Hibberd A. Ron Hunter Harvey & Virginia Kimmel William L. Leonard Fran & Leon L. Levy Charisse R. Lillie Lynn & Joe Manko Seymour Millstein Robin Palley Joyce & Tim Ratner Barbara Rice & Tina Phipps Beatriz Rodriquez Noel Rosales & Vic Spain Sue Perel Rosefsky Jeannette & Dick Rosen Chris & Cecelia Ross Mr. and Mrs. Mark E. Rubenstein Andrew and Melinda Rudolph Vesna & Howard Sacks

Patricia Saddier Michael Sanyour & Laurada Byers Sherrie Savett Dr. Nathan & Dolly Beechman Schnall Eric & Robin Settle Mr. and Mrs. Richard Sheerr Marjorie & Howard Silverman Gayle & David Smith Kathleen Stephenson, Esq. Barbara & Robert Tiffany Bettyruth Walter, PH. D. Jeanne P. Wrobleski, Esq. PTC Performers Impresarios ($500-$999) Harriet and Bob Blum Jane & Peter Cohen Mr. Ori Feibush Mr. and Mrs. Arthur W. Forte Kenneth L. George Mr. and Mrs. Richard Glazer Marjorie & Jeffrey Honickman Marc & Susan Howard Ellen Milgrim and Andrew Keiser Mary Ann B. & Joel I. Lawson Mr. Steve Poses Mrs. Catherine Rawcliffe Mr. Brett J. Rhode Mr. Harry Roth Antoinette F. Seymour Dr. Stanton & Sara Kay Smullens Mr. Leon C. Sunstein Jr. Dr. and Mrs. Harald Wulff Mr. and Mrs. Stuart Young STAR PERFORMERS ($250-$499) Dr. Ronald Abraham Barbara Abrahams Dr. Victor & Arlene Adlin Mr. and Mrs. Robert S. Bass Barbara & Mickey Black Reese & Attyah Blair Sandra A. Bloch Mrs. Marilyn A. Brown Richard A. Couch and James M. Stein Mr. and Mrs. Howard A. Cutler Esq. Andrea & Alexander Ehrlich John H. Erickson & Harry I. Zaleznik

Mr. and Mrs. Samuel M. Freeman II Elizabeth H. Gemmill Esq. Laura and Lew Gitlin Mr. & Mrs. Jay Goldstein Drs. Selina Luger & Michel Hoessly Joseph S. Holman Fund of the Community Foundation of New Jersey John E. Holohan Fred and Beth Jacoby Rachelle & Ron Kaiserman Donald and Dorothy Kardon Debra Fein & Kenneth Kleinman Mr. and Mrs. Thomas Kleinman George F. Koch, Jr. & Santo A. DiDonato Pamela D. Laws & Robert I. Whitelaw Mr. Daniel T. Lee Mr. Paul R. Levy Alexis & Joel Marmar Bruce McKittrick & Wendy E. Wilson David S. Miller Mr. Jerome Napson Paul Nutaitis & Robert Clark Eugenia & Philip Paul Mr. and Mrs. David B. Pudlin Esq. Paul Rabe & Cheryl Gunter Mary Jo Reilly Lorraine & Marvin Riesenbach Barbara & Dan Rottenberg James L. Smith Robert Smith and Maris Ogg Jeff & Marie Taylor Bernie & Marilyn Weidenaar Ensemble Performers ($100-$249) Anonymous (6) Mr. and Mrs. Bennett Aaron Alan Aarons Ms. Janet M. Andereck Robert & Betty Anderson Ann Auerbach Mrs. Liesel Baker Margaret G. McLaughlin & Dr. Donald Bakove Dr. William F. Barr Rochelle & Herb Bass Robert & Sandy Clay Bauer Carroll W. Baylson Ms. Sok Be Ms. Deanne L. Bennett Bruce and Sara Berger Toni Seidl & Richard Berkman Drs. Alice Hausman & Jesse Berlin Dr. Martin Black Ann & Tom Blackburn Hugh N. Blair David & Michele Blask Ms. Berry Boxley Mr. Alvin Brothers David & Ann Brownlee

Bernard & Pamela Brownstein Janet B. Cantor Mr. and Mrs. Anthony Carozza Lani & John Carrow Timothy P. Carey Keith Case and Maurice D. Gross Debbie & Alan Casnoff John & Teresa Cavenagh Scott & Nelly Childress Dr. Gail Ciociola Saul & Sandra Clair Matt & Barbara Cohen Judy Cohen Mr. and Ms. Stephen D. Cohen Natalie & Herbert Cohn Mr. Brian Coleman Dr. and Dr. Robert W. Colman Mr. and Mrs. Leonard Commini Mr. Charles Conwell Darlene & John Cooke Rosalie Coombs James D. Crawford & Judith Dean PTC Production Crew Mr. Joseph A. Damico Jr. Nina Hope Mr. William Davis Dr. and Ms. John A. DeFlaminis Mr. and Mrs. Anthony C. Demarco Alberta De Martini Don & Nancy Donaghy Mr. & Ms. Henry Donner Ellen Dooneief Mr. and Mrs. Alfred Dorsey Ms. Beverly M. Dotter Dr. & Mrs. William Douglass Elizabeth Dow Ms. Bess Dubin Lois & John Durso Stewart & Sally Eisenberg Mr. and Ms. Gordon Elkins Debbie & Jerry Epstein Mr. and Mrs. Ronald Evans Sue and Jim Fagnani Drs. Jay Federman & Sylvia Beck Judy & Leonard Feldman Sandy & Len Feldman Mr. and Mrs. Stephen M. Feldman Mr. and Mrs. H. Robert Fiebach Mr. and Mrs. Robert Fischl Dr. and Mrs. Aron B. Fisher Geraldine and Richard Fox Amie & Mark Frankel Arthur and Leslie Frankel Janice & Leonard Freed Mr. and Ms. John R. Fulton III David Furniss Bernardo Garcia Mark Garvin Edwin & Judy Gerber

Emilia DeMarco & James F. Giblin Dave & Sandy Gift Gloria Gilman Dr. and Ms. Alex Glijansky Peggy Glover Joan Gmitter Mr. and Mrs. Morris Gocial Dr. and Mrs. Allan Gold Jeanne Goldberg Mr. and Mrs. James P. Golden Esq. Judy & Joel Golden Richard & Claire Goldman Ms. Brenda Goode Ms. Janet Golup Ms. Sandra S. Gordon Rick & Diane Graboyes Phillip Graneto and Janice Breen Dr. and Mrs. B. David Grant Mrs. Aline Gray Marsha Gross Dr. and Mrs. Paul Gutterman Elaine Hamilton Marcy Hammerschlag Raezelle Zinman & Brian Hanna Judy C. Harris Sharon Harris Karen & Bruce Harrison Adrienne & Eric Hart Mr. Richard Hausch Bob Hedley & Harriet Power Morgan Y. Himelstein Ms. Miriam Hirsch Michael Hollinger & Megan Bellwoar Hollinger Mr. and Mrs. Millage Holloway Jr. Jill N. Horn Mr. Dave F. Huting Dr. and Mrs. Marc R. Inver Annabelle & Miles Jellinek Mr. and Mrs. Victor J. Johnson Sandy & Richard Josephs Tudy & Hy Kahn Mary & Donald Kane Robert S. Kane & Paula Ko Ms. Jan Kanoff Mr. Ross S. Kardon Doug & Ruth Keating Rhena & Steven Kelsen Christine Killough Mr. and Mrs. David H. Kilmer Richard & Marcia Klafter Rebecca Landes & Tim Kolman Jim & Nina Korsh Mr. and Mrs. Don Kramer Selma & Goncer Krestal Carol LaBelle Dr. Peter Labriola Magdalyn Y. Lawton Deborah Leavy and Don Bersoff

Mrs. Ilene Lefko Mr. Todd Lehmacher Harvey & Joan Levitan Natalie Levkovich Dr. Joseph Lex Mrs. Judith T. Lieb Dr. Glen H. Loev Dr. and Mrs. Paul T. Makler Mr. Brett Mandel Terri Loring & Robert Margolies Mr. and Mrs. Charles E. Mather Jim and Cheryl Marple Dr. Rosalie Matzkin Lynne Maxwell Edythe & Robert Mazer Jim McCaffery Deborah McColloch & Charles Valentine Mr. Michael K. McClure Ms. Cynthia McGovern Judith & Martin Miller Dr. and Mrs. Manley Mincer Mark & Laura Moffa Dr. Wanda Mohr Jill & Al Montagna Jeff & Maxine Morgan Marianne Morris Ms. Susan Muller Mr. James R. Murray Jr. Margaret Goodman & Jack Nachamkin Earnestine P. Neal Mr. and Mrs. Larry Ness Dr. and Mrs. Andrew Newman Eliot & Bonnie Nierman Etta & Chuck Nissman Stuart & Carol Ockman A. P. O’Connell Linda L. Osler John & Sandi Packel Arthur Panfile Richard J. Pariseau David Pierson & Barrie Trimingham Marsha & Nathan Pincus Claudia Pine-Simon John & Jo Anne Pinto Mr. George Pomerantz Ronald E. Powers Barbara Z. Presseisen Mr. and Mrs. Alfred W. Putnam Jr. Mr. and Mrs. Michael Rathmill Robert & Wanda M. Rauch Margery and Raymond Reed Janet Riser Cintra Rodgers Dulcie Romm Tony & Barbara Rooklin Barbara Ann Rosenberg Joan & Joel Rosenbloom Sally & Edwin Rosenthol

Brian Ross Bernard & Harriet Rothman Mr. and Mrs. Joel Rubin Mr. and Mrs. Stuart Rubin Lisette & Jerry Ruderman Mr. and Mrs. James Santangelo Arlene D. Schaller Carl & Mary Ellen Schneider Neal & Sheila Schneider Mrs. Miriam Schneirov Kate & Stanley Schreiner Mr. Bruce S. Schwartz David A. Schwartz Dr. Louis & Linda Schwartz Mr. and Mrs. David Scott Bob and Didi Scott Ms. Suzanne Scott Marilyn & Jerome Segal Bubbles Seidenberg Mr. and Mrs. Richard Shulman Marilyn Z. Kutler & Ira Silberman Anne C. Singer Morton & Joan Sklaroff Mr. Israel Skolnick Dr. Harris Slavick Ms. Janet Golup Mrs. Constance Smukler Jay K. Snyderman Ronnie and Dr. Robert Somers Mr. Jonathan J. Spadaford and Ms. Joy A. Toritto Mr. and Mrs. Robert E. Spallone Debbie & Gary Stahl Mr. and Ms. Paul Stark Anita & Terry Steen Lucille B. Stein Bette Steinberg Philip & Doris Steinberg Ethan and Patricia Stenger Michael & Marianna Sullivan Mr. and Ms. Jim Sumerson Nina E. Tafel Bruce & Christina Tarkoff Dr. and Mrs. John Taylor Mr. Blair Thompson Mr. and Mrs. Bruce E. Toll Tom & Joan Tropp Krista Reichard John R. Urofsky Walter Vail Mr. and Mrs. Vincent Van Laar Dr. & Mrs. Jack Vinson Mr. and Mrs. Alfred Vogel Norman K. Walker Mr. Thomas E. Watkins Dr. Charlotte C. & Carroll Weinberg Eileen Weinberg George H. Weiss, M.D. Dr. and Mrs. Roger Weiss

Tracey Weiss & Bill Goldberg Mr. and Mrs. Harold B. Wells Jr. Fran and Marvin Welsch Ms. Carolyn L. Whitaker Evelyn Wiener Mr. Donald E. Williams Connie & Sankey Williams Sherry Shamansky & Wallace Wing Leslie Miller & Richard Worley Kuna & Sam Yankell Mr. F. Gordon Yasinow Roger & Lillian Youman Bernie & Barbara Zbrzeznj Mr. and Mrs. Thomas E. Zemaitis Tom and Jackie Zemaitis Arnold & Barbara L. Zenker Margo K. Zitin & Mimsye Katz Joseph S. & Renee M. Zuritsky Mr. and Mrs. Theodore Zutz Gifts in Memory In Memory of Ray Duval and in honor of Ron Hunter Nicolina DiSciascio Sharon Kling PTC Production and Front of House Staff Diane G. Steinbrink In Memory of Laurie Beechman from Dr. Nathan & Dolly Beechman Schnall In Memory of Ken Kaiserman from Arthur M. Kaplan & R. Duane Perry In Memory of Annie Richardson from Jerome Napson In Memory of Carol Schwartz from Bryna & Andrew Scott In Memory of Donald Stanley Wilf and in Honor of Dr. Peter Arger from Elaine W. Baer and Gloria A. Moskowitz In Memory of Donald Stanley Wilf From Dr. Peter Arger Gifts in honor In Honor of Susan Meyer’s Special Birthday Bruce and Sara Berger Arthur and Leslie Frankel Margery and Raymond Reed Robert Smith and Maris Ogg

In Honor of Jerry Riesenbach from Fred and Beth Jacoby

In Honor of Jerry Riesenbach and Sara Garonzik from Lynn and Joe Manko

Major GiftS Philadelphia Theatre Company is grateful to the following major donors for their foresight in helping us in achieving a bright future. It is because of their commitment, goodwill and continued generosity that PTC has grown to become one of the finest theatres in the region.

Thank you!

$1,000,000+

$20,000 to $49,999

Suzanne F. and Ralph J. Roberts

Tracy and Rick Burke Alice L. George Estate of Ellis K. Ginsberg Sally Lyn Katz Monika Krug Dale Penneys Levy & Richard Levy Susan & James Meyer Carol Saline and Paul Rathblott Bryna and Andrew Scott James T. Smith and Debra Klebanoff

$100,000 to $999,999 Dr. Peter H. Arger* Julia & Eugene Ericksen The Horace W. Goldsmith Foundation The Kaiserman Family Kaiserman Company, Inc. H.F. and Marguerite Lenfest The Miller Worley Foundation $50,000 to $99,999 Dorothy J. del Bueno David and Nancy Colman Priscilla M. Luce Sue Perel Rosefsky** Harriet & Larry Weiss Alan and Janet Widra

*The Peter Arger and Donald Wilf New Play Fund ** Kenneth S. Kaiserman Fund for Artistic Excellence

A legacy of theatre The aspirations of Philadelphia Theatre Company have always been fueled by the generosity of theatre enthusiasts from the region. The Visionary Society, named after the theatre’s founders, was formed to pay tribute to the special group of visionary supporters who have remembered Philadelphia Theatre Company in their wills or in other gift plans.

When you join the Society you reach past your own lifetime to ensure that PTC’s rich tradition of artistic excellence will be preserved for generations to come.

If you have included us in your plans, we hope you will let us know.

Or, if you are interested in learning how simple it is to do so, please call our office: Christine Mickletz | Director of Development | 215-985-1400, x115 cmickletz@philadelphiatheatrecompany.org

Corporate Partners Let Philadelphia Theatre Company put your business in the spotlight.

For more information about corporate memberships, sponsorships and in-kind support, please call 215.985.1400 x115 season Sponsors Center City Film and Video Wines Til Sold Out - WTSO.com Corporate Sponsors ($25,000+) Lincoln Financial Foundation PECO cOrporate producers ($10,000 – $24,999) Blank Rome LLP CRW Graphics Corporate pARTNERS ($5,000 – $9,999) Dranoff Properties, Inc. Republic Bank Sage Financial Group Corporate mEMBERS ($3,000 – $4,999) Samuel T. Freeman & Company Shamrock Clean Spring Garden Construction Company Wells Fargo Foundation other Corporate gifts Aribella Events The Bourse Merchants Association Carl Alan Floral Designs Mr. Nicola Cinalli Cupersmith, Wilensky, Steiger, Stempler & Company, LLP DoubleTree by Hilton, Philadelphia Center City Electronic Ink Firstrust Bank O’Donnell & Naccarato, Inc. Philadelphia Event Planners Valley Green Bank

Matching Gifts Alliance Bernstein Bank of New York Mellon GE Foundation Matching Gifts Program GlaxoSmithKline Foundation Matching Gifts Program Merck Partnership for Giving Lincoln Financial Foundation Matching Gift Program UBS Employee Giving Program FOUNDATION SUPPORT Ann B. Ritt Charitable Foundation The Civic Foundation, Inc. The Charlotte Cushman Foundation Dolfinger-McMahon Foundation Dramatists Guild Fund Edgerton Foundation New American Plays Award Linda & David Glickstein Fund of The Philadelphia Foundation The Albert M. Greenfield Foundation The Hamilton Family Foundation The Eleanor M. and Herbert D. Katz Family Foundation Independence Foundation Knights Arts Challenge of the John S. and James L. Knight Foundation Virginia and Harvey Kimmel Arts-Education Fund The Lida Foundation Lomax Family Foundation The Miller Worley Foundation Performing Arts Foundation, Inc. Fund for Children of The Philadelphia Foundation The Suzanne F. and Ralph J. Roberts Foundation Mr. and Mrs. Ralph J. Roberts The Caroline J. Sanders Trust The Victory Foundation Archie D. & Bertha H. Walker Foundation June and Steve Wolfson Family Foundation The William Penn Foundation The Wyncote Foundation

Government SUPPORT Philadelphia Theatre Company receives State arts funding support through a grant from the Pennsylvania Council on the Arts, a State agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency.

Philadelphia Theatre Company is supported in part by an award from the National Endowment for the Arts.

Philadelphia Theatre Company gratefully acknowledges the support of the Philadelphia Cultural Fund.

This list acknowledges donors as of January 3, 2014.

PTC strives for accuracy in its donor listings. If there is a misprint or your name has been inadvertently omitted, please call 215.985.1400 x117

Increase the impact of your support.

Ask your company about its matching gift program or contact the Development team for more information.

215.985.1400 x117

Make a donation through your workplace United Way Program. Our Donor Choice Number: 4273 Contributions made through the United Way support our educational programs with at-risk youth in Philadelphia and the region.

Capital Campaign Contributors Philadelphia Theatre Company applauds these major donors for their generous support of the campaign to help bring Philadelphia Theatre Company and the Suzanne Roberts Theatre to the Avenue of the Arts.

LEAD DONORS

Aileen K. and Brian L. Roberts

The Arcadia Foundation

Diane and Douglas A. Roberts

Marilyn and J. Robert Birnhak

Sue Perel Rosefsky

City of Philadelphia

Lisa S. Roberts and David Seltzer

Commonwealth of Pennsylvania

Anita and Terry Steen

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 Monika Krug Richard and Dale Levy Kim and Rob Roberts The Fulcrum Foundation Lincoln Financial Foundation Susan and James Meyer

Frank and Barbara Osinki

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

Carol Saline and Paul Rathblott Bryna and Andrew Scott

Kenneth M. Rutherford

Laura and Richard Steel

Ruth W. and A. Morris Williams, Jr.

Tracey B. Weiss and William I. Goldberg

Leslie MIller and Richard Worley

Special thanks to our many other donors.

Philadelphia Theatre Company Productions Key Code

All productions are Philadelphia premieres unless otherwise note v

World Premiere

l

Co-Production

n

East Coast, Professional or American Premiere

m

Production moved on to NY or other regional theater.

the Suzanne Roberts Theatre

(2007 - Present)

2012 - 13 vSTARS OF DAVID book by Charles Busch adapted from book by Abigail Pogrebin THE MOUNTAINTOP by Katori Hall SEMINAR by Theresa Rebeck l VENUS IN FUR by David Ives 2011 - 12 red by John Logan The Scottsboro boys music and Lyrics by John Kander and Fred Ebb book by David Thompson nthe outgoing tide by Bruce Graham reasons to by pretty by Neil LaBute 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 vBella: the color of love

by Theresa Tova and Mary Kerr 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 vGolden Age by Terrence McNally vRed Hot Patriot: The Kick-Ass Wit of Molly Ivins

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

by August Wilson Chicago’s the second city 50th anniversary tour 2008 - 09

vUnusual 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 vthe city of nutterly love co production with Chicago’s The Second City 2007 - 08

vBeing Alive music & lyrics by Stephen Sondheim, conceived and directed by Billy Porter M. Butterfly by David Henry Hwang Third by Wendy Wasserstein vThe Happiness Lecture by Bill Irwin

plays & Players theater

(1982 - 2007)

2006 - 07 nMurderers by Jeffrey Hatcher The Frog Bride by David Gonzalez vNerds://A Musical Software Satire

by Jordan Allen-Dutton, Erik Weiner, music by Hal Goldberg lIn The Continuum by Danai Gurira & Nikkole Salter Orson’s Shadow by Austin Pendleton 2005 - 06 vmAdrift 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 vmSome 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 2003 - 04 Topdog/Underdog by Suzan-Lori Parks Nickel and Dimed by Joan Holden vAccording to Goldman

by Bruce Graham The Goat Or, Who Is Sylvia?

by Edward Albee

2002 - 03 Fully Committed by Becky Mode King Hedley II by August Wilson The Last Five Years

by Jason Robert Brown vmA Picasso by Jeffrey Hatcher 2001 - 02 Dinner With Friends by Donald Margulies nThe Infidel by Bruce Norris The Play About the Baby

by Edward Albee Barbra’s Wedding by Daniel Stern 2000 - 01 mCompleat Female Stage Beauty

by Jeffrey Hatcher vmNo 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

lDinah Was: The Dinah Washington Musical by Oliver Goldstick

vWhite People by J.T. Rogers Wit by Margaret Edson Side Man by Warren Leight 1998 - 99 How I Learned to Drive

by Paula Vogel vmLives 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 nmBirdy by William Wharton, adapted by Naomi Wallace 1996 - 97 vmBunny Bunny by Alan Zweibel Molly Sweeney by Brian Friel lSylvia by A.R. Gurney Seven Guitars by August Wilson 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 vmMaster 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 vTiny 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 nLady-Like by Laura Shamas vmNagasaki Dust by W. Colin McKay 1990 - 91 Speed-the-Plow by David Mamet The Cocktail Hour

by A.R. Gurney with Celeste Holm nPill 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 vlStauf by Eric Saltzman and Michael Sahl co-produced with the American Music Theater Festival Orphans by Lyle Kessler nSouthern Exposure: Sister and Miss Lexie

by Eudora Welty, adapt. by Brenda Curran; and From The Mississippi Delta by Endesha Ida Mae Holland

vmHospitality by Allan Havis Out! by Lawrence Kelly First fully-mounted production 1986 - 87 Williams & Walker by Vincent D. Smith vlCitizen 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 lSplit 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 vThe Insanity of Mary Girard

by Lainie Robertson The Emperor Jones by Eugene O’Neill vDementia 80 by Don Steele 1979 Ashes by David Rudkin vThe Exhibition by Thomas Gibbons vSome 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 vThe Persecution of Eugene Waterman by Louis Lippa vThe Final Concert Tour of Mickey Colossus by Peter Mattaliano A Midsummer Night’s Dream

by William Shakespeare vCenter City Soap by Dorothy Louise 1976 - 77

vThe Lion and the Lamb by Joseph Orazi vFuture Tense by John Sevcik vThe Keeper by Karolyn Nelke 27 Wagons Full of Cotton

by Tennessee Williams vMars by Clay Goss She Stoops to Conquer

by Oliver Goldsmith (Theatre in the Court) Twelfth Night by William Shakespeare (Theatre in the Court) 1976

vMarlowe by John Yinger Rain by W. Somerset Maugham, adapted

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

by David Rabe & Leslie Lee vThe 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 vBetween Now and Then by Leslie Lee

drive skill hard work Ex

c E l l E n c E

It’s realizing that being the best doesn’t come easily.

You have to work for it.

That’s the spirit that drives us at CRW Graphics in printing this program.

We recognize and express our sincere thanks to Philadelphia Theatre Company for bringing to audiences 38 years of excellence in contemporary American theatre.

9100 Pennsauken Highway Pennsauken, NJ 08110 / 800.820.3000 crwgraphics.com

THE Albert M. Greenfield Teaching Artist Fellows

Clockwise from top left: Allbert M. Greenfield Teaching Artist Fellows Christina Binder, David Pershica, Adriana Lopez, Jessica Wallace, and Justine Brannon.

Thanks to the generosity and support of The Albert M. Greenfield Foundation, Philadelphia Theatre Company is implementing a unique fellowship program geared toward the training, nurturing and cultivation of high caliber teaching artists to serve the city of Philadelphia. Through selected readings, small group discussions, classroom observations, and one-on-one mentoring, the Greenfield Fellowship program serves as the ideal training ground for enthusiastic, devoted and eager artists who are passionate about bringing the arts alive through education. Philadelphia Theatre Company is excited to develop young teaching artists in an effort to improve the quality of arts education locally and nationally.

For more information, visit PhiladelphiaTheatreCompany.org/Greenfield

P HI L AD ELP H IA TH EATRE COMPANY at the

about our THEATRE The Suzanne Roberts Theatre, designed by Kieran Timberlake 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 main stage 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 rest rooms, 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 Monday - Sunday: 12:00pm to showtime Between Productions Monday – Friday: 10:30am to 5:30pm Saturday & Sunday: Closed

American Sign Language (ASL) Performances:

Three translated performances added, including post-show events: 2/1/14 at 2pm 2/4/14 at 6:30pm 2/13/14 at 8pm

Open Caption Performance: 2/15/14 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 T-coil device options that are compatible with your hearing aid.

Audio Description Performance & Sensory Workshop 2/8/14 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 Director, Carol Flannery at 215.985.0420 x104

Student Matinees, In-School Workshops, and Summer Camp

Contact PTC’s Education Department at 215.985.1400 x111

Facility Rentals

Contact R. Eric Thomas at 215.985.0420 x105 or ethomas@philadelphiatheatrecompany.org

Volunteer Opportunities

Contact R. Eric Thomas at 215.985.0420 x105

Advertising Opportunities

Contact Carol Flannery at 215.985.0420 x104 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.

Rest Rooms, Elevator, Water Fountains

LADIES’ & MEN’S ROOMS are located on the orchestra level of the Theatre. All rest rooms 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.

2013/14 board of directors E. Gerald Riesenbach, Esq., Chairman David L. Colman, AIA, Vice President Julia Ericksen, Ph.D., Vice President Glenn Gundersen, Vice President Brigitte Daniel, Secretary Marilyn Birnhak Sara Garonzik Alice L. George Sally Lyn Katz

Victor Keen Monika Krug Dale Penneys Levy Priscilla M. Luce James M. Meyer, CFA Kristen Phillips Donald Rosenblit, Chairman Emeritus Carol Saline 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 Executive Producing Director Sara Garonzik President Priscilla M. Luce artistic/ programming staff Literary Manager & Dramaturg Carrie Chapter Director of Education Maureen Sweeney Assistant Director of Education Will Dennis Education Coordinator Rashanda Freeman Master Teaching Artists Krista Apple, David O’Connor Teaching Artists Donovan Hagins, Donja Love, Jarrett McCreary, Josh Yoder Greenfield Teaching Artist Fellows Christina Binder Justine Brannon-Buss, Adriana Lopez David Pershica, Jessica Wallace administrative staff Manager of Board & Administrative Services Sharon Kling Director of Development Christine Mickletz Manager of Annual Giving Jessie Pasquariello Director of Marketing & Communications Amy Lebo Marketing Manager Rose Schnall Sales Director Carol Flannery Venue Services Manager R. Eric Thomas Publicist Deborah Fleischman Audience Services Supervisors Lesley Berkowitz, Alexander Rioh Audience Services Associates Adriana Lopez, Kasual Owens-Fields, Chelsea Sanz House Managers Aaron Bell, Terrell Green, Arlen Hancock, Ron Hunter, Jennifer MacMillan, Rebecca Vail

Production staff Director of Production Roy W. Backes Company Manager Bridget A. Cook Production/Operations Manager Matthew F. Lewandowski II Assistant Stage Manger Annie Halliday Assistant Director Robert Phillip Smith Technical Coordinator/Crew Chief Michael L. Cristaldi Master Carpenter/Rigger Michael Troncone Production Electrician Terry Smith Sound Supervisor Daniel A. Little Prop Master Melissa Cristaldi Little Lighting Supervisor Alyssandra Docherty Wardrobe Supervisor Maxine Johnson Dressers Janet Connors, Danielle Joh Video Operator Samuel Bergey Head Video Chrus Butterfield Lighting Programmer Samuel Bergey Deck Crew Jacob Lyon Goddard Production Apprentice Patrick Dougherty interns/ volunteers Education Interns Annie Block, Josh Campbell, Tre-von Coleman, Pia Convento, George McGriff, Champagne Powell, Madeline Richardson Graham, Kristall Smith Development Interns Abby Case, Mica Taliaferro Gala Volunteer Reneé Rollin Literary Assistant Rebecca Adelsheim Marketing Intern Samuel Chattin Special thanks 12th Street Gym Enterprise Rent-A-Car; Melanie Hazzard, Branch Manager Scenery built and painted by Center Line Studios, Inc., New Windsor, New York

PEP Events Our FREE Patron Enrichment Programming gives the audience a chance to see behind-the-scenes of each production and discuss the ideas and issues raised by each show.

American Sign Language

Special Topics

(ASL) *Three translated performances

February 4* post-show

February 1, 2:00PM performance February 4, 6:30PM performance February 13, 8PM performance

Catch the on stage conversation immediately following the 6:30pm performance! “Sign on the Line: The Politics of Sign Language Today.”

Partial support for ASL interpretation comes from Art-Reach and the Independence Starts Here Program.

February 8, post-matinee

added, including post-show events:

Audio Description February 8, 2PM performance

Open Captioning February 15, 2PM performance

Backstage Tour Join a member of PTC’s staff for a backstage tour of the set. Learn how the set was conceived and built, and how the crew runs the show!

Book Club January 30 at 6:30PM

American Playwrights in Context (APIC) January 28 PTC Dramaturg, Carrie Chapter will interview TRIBES director Stuart Carden on stage post-show.

Meet-the-Artists (MTA) January 30 and February 13*

Join us in the lobby alcove for snacks and a discussion of Seeing Voices

by Oliver Sacks.

HAPPY HOUR January 31, February 7, and 14 Mix, mingle, and enjoy great drink specials at PTC’s pre-show happy hour from 6:30pm to 7:30pm.

Stick around right after the show for a talk-back and audience Q&A with the cast of TRIBES.

of 8+ save!

G Groups Carol at 215.985.0420 x104 Call P h i l a d e l p h i aT h e at r e C o m pa n y. o r g / p e p

PHI L A D EL P H IA TH EATRE COMPA NY at the

and and

and by

Christopher Durang directed by james j. christy

wINNER!

2013 tony award best new play

and utterly “ZANYREFRESHING! ”

– Associated Press

.

Rivalry, Regret, Revenge..

JUST ANOTHER FAMILY REUNI

ON IN BUCKS COUNTY

March 21 - April 20

Victor Keen and Jeanne Ruddy-Keen Honorary Executive Producers

Kenneth S. Kaiserman Fund for Artistic Excellence

PhiladelphiaTheatreCompany.org

.com

Broad & Lombard Streets • 215.985.0420 Season Sponsor

Official Beverage Sponsor