Playwise | Vanya and Sonia and Masha and Spike by Philadelphia Theatre Company

p l ayw se ON STAGE AND OFF

march 21 through april 20, 2014

and and

and

Christopher Durang directed by james j. christy by

wINNER!

2013 tony award best new play

PHILADELPHIA 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

christopher durang featuring

GRACE GONGLEWSKI

DEIRDRE MADIGAN

CLARE O’MALLEY Set Design DAVID P. GORDON

ALEC SHAW

Costume Design RICHARD ST. CLAIR

Composer robert maggio PTC Dramaturg Carrie chapter

KIANNé MUSCHETT KRAIG SWARTZ

Lighting Design DENNIS PARICHY

Director of Production roy w. backes

Sound Design BART FASBENDER

Production Stage Manager DANielle Commini

Casting stuart howard & Paul hardt

PTC Casting Amy dugas brown

Directed by

james j. christy Original Broadway Production Produced by: Joey Parnes Larry Hirschhorn Joan Raffe/Jhett Tolentino Martin Platt & David Elliott Pat Flicker Addiss Catherine Adler John O’Boyle Joshua Goodman Jamie deRoy/Richard Winkler Cricket Hooper Jiranek/Michael Palitz Mark S. Golub & David S. Golub Radio Mouse Entertainment Shawdowcatcher Entertainment Mary Cossette/Barbara Manocherian Megan Savage/Meredith Lynsey Schade Hugh Hysell/Richard Jordan Cheryl Wiesenfeld/Ron Simons S. D. Wagner John Johnson in association with McCarter Theater Center and Lincoln Center Theater Originally commissioned and produced by McCarter Theater, Princeton, N.J. Emily Mann, Artistic Director; Timothy J. Shields, Managing Director; Mara Isaacs, Producing Director. And produced by Lincoln Center Theater, New York City under the direction of Andre Bishop and Bernard Gersten in 2012 “Here Comes The Sun” Written by George Harrison Published By Harrisongs, Ltd. (ASCAP) Used By Permission. All Rights Reserved

THANK YOU TO OUR SPONSORS! Victor Keen and Jeanne Ruddy-Keen Honorary Executive Producers .com

Season Sponsor

Additional support provided by The Charlotte Cushman Foundation Kenneth S. Kaiserman Fund for Artistic Excellence

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FROM THE president Dear Friends, Some 250 enthusiastic party goers wined, dined and danced at PTC’s festive Annual Gala on March 8 at The Hyatt at the Bellevue. This year’s Gala honorees were longtime PTC Board member Elliot Schwartz and the law firm of Cozen O’Connor. Elliot, owner of the Carol Schwartz Gallery in Chestnut Hill, is one of PTC’s most fervent advocates, helping to attract new friends to the Company through his chairmanship of the Board’s Governance Committee. Cozen O’Connor, which is ranked among the top law firms in the country, has 575 attorneys in 22 cities on two continents. We honor them for their longstanding support of PTC, including the important pro bono services rendered to the Company, and for their significant support of the region’s arts and culture community. A vibrant cultural life requires the leadership of exceptional individuals and firms such as Elliot Schwartz and Cozen O’Connor who are passionate about the arts. Organizations such as PTC can only thrive through the continued engagement of individuals and organizations dedicated to ensuring that our area remains a place about which it can always be said “You’re Going to Love the Arts in Philadelphia.” We thank Elliot and Cozen for their unwavering commitment to meeting that goal. Proceeds from Gala ticket sales and auctions support PTC’s award-winning education program, Drama Contact, which annually brings theatre programming to 2,000 students in Philadelphia who otherwise would not be able to participate. This year, Gala attendees also made additional gifts to support PTC’s all-scholarship summer theatre camp at the Suzanne Roberts Theatre -- the only one of its kind in the area. As a result of their generosity, PTC will cover camp tuition for 60 students this summer. Our donors and volunteer leaders are the lifeblood of PTC. We thank you and our students thank you! Sincerely,

Priscilla M. Luce | President

from the executive producing director Dear Friends, Christopher Durang has been making us laugh for a good four decades with his sublime send-ups of our most iconic writers and reliable genres. Adrift in Macao, his musical we premiered back in 2005, skewered film noir so perfectly that I can no longer watch Robert Mitchum without giggling. Naturally, then, upon settling into my seat to see Vanya and Sonia and Masha and Spike on Broadway last spring, I expected to have another deep chuckle as Durang entered the ring with Anton Chekhov. This was not to be the case, however. Somewhere deep into the proceedings, I found myself unexpectedly engaged with Durang’s Bucks County siblings in ways I had not anticipated. In between the big laughs and the sure-footed storyline, I began to well up at the beauty and humanity of it all! Vanya/Sonia’s characters seemed to embody everything from the wistful ache of middle age to the sweetness and passion of youth. Chekhov might have been hovering in the rafters, but it was clear that this play was forged by Durang’s own dramatic ambitions and keenly contemporary point of view. At the curtain call, I cried as I applauded ---first for the play and its characters but, second, because I knew that I had just witnessed a masterpiece by one of America’s favorite writers. Working on this play has been a labor of love for everyone involved-- from director Jim Christy and his fabulous cast to our exemplary team of designers. There’s no need for you to have brushed up your Chekhov to appreciate the production. As long as you are here tonight with an open heart and your love of theater intact, you can sit back and relax. Durang will do the rest.

Sara Garonzik | Executive Producing Director

CAST Masha...................................................................................................................................Grace Gonglewski* Sonia.......................................................................................................................................Deirdre Madigan* Cassandra..............................................................................................................................Kianné Muschett* Nina..............................................................................................................................................Clare O’Malley* Spike.....................................................................................................................................................Alec Shaw* Vanya...............................................................................................................................................Kraig Swartz*

* Denotes member of Actors’ Equity Association

Time: Present Place: A lovely farmhouse in Bucks County Vanya and sonia and masha and spike runs with one 15-minute 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. 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

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DIANE MAIR AND ALEX PODULKE IN H2O BY JANE MARTIN. 2013 SEASON. PHOTO BY SETH FREEMAN.

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who’s who Grace Gonglewski (Masha) Off-Broadway: The Flea Theatre, The Guys with Tom Wopat, directed by Tommy Kail. Regional: Arden Theatre Company (25 roles including most recently Desiree in A Little Night Music, Barbara in August: Osage County, Hedda Gabler (Barrymore nomination), Candida, Maggie in Cat on a Hot Tin Roof and Josie in Moon for the Misbegotten (Barrymore nomination)), Walnut Street Theatre (including The Heiress, Three Tall Women, Vohsey Inheritance, The Rivals, The Last Flapper, Shooting Simone, and Street Car Named Desire), Cape Cod Playhouse (The Beard Of Avon with Juliet Mills, directed by Russ Treyz), Cape May Stage (Owl and the Pussycat, Last of the Red Hot Lovers, Private Lives, and Going to St. Ives) Delaware Theatre Company (As You Like It, Design For Living, and Inspecting Carol), Mt Gretna Theatre (Gaslight), Pennsylvania Shakespeare Festival (8 seasons - Portia in Julius Caesar, Josie in Moon For The Misbegotten, Titania, Kate (twice) in Taming of the Shrew, Adrianna, Lady Anne, Elvira in Blythe Spirit, and Mistress Ford and Mistress Page in separate Merry Wives), Orlando Shakespeare Festival (Rosalind in As You Like It, Lady Capulet in Romeo and Juliet), Philadelphia Theatre Company (Laramie Project – Barrymore Best Ensemble), Wilma Theatre (Travesties, Galileo, and Body Awareness), Theatre Exile (Bug - Barrymore nomination), 1812 Productions (Daughters of Genius and Boston Marriage), and a tour of Ireland with Interact Theatre Company. Four Barrymore Awards, F Otto Haas Award, Dorothy Haas Fellowship, Independence Foundation Recipient, BFA North Carolina School of the Arts. Grace is the voice of Mrs. Dash, Alex’s Lemonade Stand, CarSense, and many banks, casinos, hospitals and politicians around the country. Deirdre Madigan (Sonia) Most recently appeared in Cincinnati Playhouse’s Clybourne Park (dir. Timothy Douglas). Broadway: Who’s Afraid of Virginia Woolf? (dir. Pam MacKinnon) and After the Night and the Music (dir. Dan Sullivan). Regional credits include Two River Theater Company’s Seven Homeless Mammoths Wander New England (dir. Ken Rus Schmoll); Mrs. Whitney (dir. Kyle Fabel) at Merrimack Repertory Theatre; Who’s Afraid of Virginia Woolf? at The English Theatre Frankfurt; God of Carnage and The Little Foxes (dir. Ted Pappas) at the Pittsburgh Public Theater; All the King’s Men (dir. Pam MacKinnon) at the Intiman Theatre; A Marriage Minuet (dir. Tracey Brigden) at Westport Country Playhouse and City Theatre; Dinner With Friends and Julius Caesar (dir. Charles Morey) at Pioneer Theatre Company; and Lips Together, Teeth Apart (dir. Michael Morris) at George Street Playhouse. Her television credits include Elementary, The Good Wife, Law & Order, and Law & Order: Criminal Intent. Kianné Muschett (Cassandra) earned her MFA in Acting from Rutgers University, Mason Gross School of the Arts. Off-Broadway: Oya and Osha in Tarell Alvin McCraney’s highly acclaimed The Brother/Sister Plays (Public Theatre), HJ in Kia Corthron’s A Cool Dip in the Barren Saharan Crick (Playwrights Horizons); Regional: The Brother/ Sister Plays (McCarter Theatre), In the Red & Brown Water (Alliance Theater); Film and Television: House of Cards, Guiding Light, One Life to Live, The Forgotten Ones, and Certainty.

who’s who Clare O’Malley (Nina) is delighted to be making her PTC debut! Regional Credits: The Credeaux Canvas at Theatre Horizon, Lovers at Round Table Theatre, The Threepenny Opera at The Arden Theatre, and Othello at the Goodwill Theatre. International: The Dead at The Abbey Theatre, The Last Summer at The Gate Theatre, The Life and Sort of Death of Eric Argyle at Edinburgh Fringe, Heroin(e) for Breakfast at Pillowtalk Theatre, Monster Clock at Collapsing Horse, and Jedward and the Beanstalk at The Olympia. Television: The Late Late Show, Live From Dublin RTE; Eurovision Song Contest Live from Baku, Azerbaijan. Training: BFA Theater at The University of the Arts. Alec Shaw (Spike) is honored to be making his Philadelphia debut with the fantastic cast and crew here at the Suzanne Roberts Theatre. Since graduating in May of 2013 from the University of North Carolina School of the Arts, Alec has starred in the independent feature film, As the Crow Flies (to be released in spring of 2014), worked with Bekah Brunstetter at the O’Neill National Playwrights Conference on her new play, The Oregon Trail, and made his New York debut with the Sanguine Theatre company in Aleks Merilo’s new play, Exit 27. Much gratitude and love to the school for preparing him for opportunities like this, his agents at BRS for their faith in him, and of course his family and friends for their constant dedication and support. You can stay posted on upcoming projects with him at alecshaw.com. Kraig Swartz (Vanya) is thrilled to be back at PTC, where he previously appeared in Take Me Out (Barrymore Award) directed by Jim Christy and Fully Committed (Barrymore Award; coproduction with Act II). Other Philadelphia credits include Betty/Edward in Cloud 9 (Barrymore nomination) at the Wilma, The Foreigner at Bristol Riverside, and Brothers-In-Law (world premiere) at Act II. Off-Broadway: A Picture of Autumn, The Voysey Inheritance, and The Madras House, all at The Mint; Tartuffe (Pearl Theatre), Jungle Book (BAM), and the Drama Desk Award-nominated So Help Me God, starring Kristin Johnston, at the Lucille Lortel. Chicago credits include: Goodman Theatre, Victory Gardens, and Chicago Shakespeare Theatre. Regional credits: Guthrie Theatre (A Christmas Carol, Macbeth), Milwaukee Rep. (Angels In America), Asolo Theatre (Fully Committed, Syncopation, Visiting Mr. Green), Rep./St. Louis (Major Barbara), Pioneer Theatre (Beauty & the Beast), Alabama Shakespeare Festival (Peter Pan), Coconut Grove Playhouse (Fully Committed), MeadowBrook Theater (Broadway Bound, [Detroit Free Press Award]), Kennedy Center (Shear Madness), Caldwell Theatre (Love! Valour! Compassion! and Bent [Carbonell Award Nominations]) and most recently, Gulfshore Playhouse (I Am My Own Wife). 18 idyllic summers in NH at Peterborough Players, with favorites: Santaland Diaries, Six Degrees of Separation starring Marybeth Hurt and Jayne Houdyshell, Our Town starring James Whitmore, and Measure For Measure starring Gordon Clapp. Television: SNL. Film: World and Time Enough.

who’s who Christopher Durang (Playwright) won the 2013 Tony Award for Best Play for his Vanya and Sonia and Masha and Spike. This play also won Best Play from the New York Drama Critics Circle, the Drama Desk Award, the Outer Critics Circle, the Drama League Award, and the Off-Broadway Alliance Award. Durang has a B.A. from Harvard College, and an M.F.A. in playwriting from Yale School of Drama, where he worked with some wonderfully talented fellow students like Sigourney Weaver, Albert Innaurato, Meryl Streep and Wendy Wasserstein. His plays include A History of the American Film (Tony nomination, Best Book of a Musical, 1978), The Actor’s Nightmare, Sister Mary Ignatius Explains It All For You (Obie award; Off-Bway run 1981-83), Beyond Therapy (on Broadway in 1982, with Dianne Wiest and John Lithgow), Baby with the Bathwater (Playwrights Horizons, 1983), The Marriage of Bette and Boo (Public Theatre, 1985; Obie award, Dramatists Guild Hull Warriner Award), Laughing Wild (Playwrights Horizons, 1987), Durang/Durang (an evening of six plays at Manhattan Theatre Club, 1994, including the Tennessee Williams’ parody, For Whom the Southern Belle Tolls), Sex and Longing (Lincoln Center Theatre production at the Cort Theatre, 1996, starring Sigourney Weaver and Dana Ivey), Betty’s Summer Vacation (Playwrights Horizons, 1999, Obie award), Mrs. Bob Cratchit’s Wild Christmas Binge (City Theatre in Pittsburgh in 2002) starring Kristine Nielsen, Adrift in Macao, a musical written with composer Peter Melncick, at Philadelphia Stage Company in 2005 and at Primary Stages in 2006; Miss Witherspoon (2005), which had a double premiere at McCarter Theatre and Playwrights Horizons, featured Ms. Nielsen again, and was a finalist for the Pulitzer Prize; and Why Torture is Wrong, and the People Who Loved Them (Public Theater, 2009), The applause is getting starring Laura Benanti and Ms. Nielsen louder for REX 1516 (again!). He’s written and performed in cabaret: at Yale he and Wendy Wasserstein coauthored When Dinah Shore Ruled the Earth; Sigourney Weaver and he wrote and performed in their loony Brecht-Weill parody, Das Lusitania Songspiel (1980), and were both nominated for Best Performers in a Musical; and he performed his crackpot act Chris Durang and Dawne (with John Augustine and Sherry Anderson as his backup group “Dawne”) multiple times from Named one of the best whiskey 1988 until 1996 when all three won a cabaret Bistro Award. He’s acted in some of his and bourbon bars in Philadelphia. - uwishunu.com plays, he’s played ministers and priests and YMCA clerks in movies. He’s won various grants and honors including a Rockefeller, a Guggenheim, a Lila Wallace Playwriting award, the Sidney Kingsley playwriting FIFTEEN SIXTEEN award, the Harvard Arts Medal, and the 2008 William Inge Distinguished Achievement 1516 South Street 267-319-1366 • rex1516.com Award. Since 1994 he and Marsha Norman

who’s who have been co-chairs of the Playwriting Program at the Juilliard School. He is a member of the Dramatists Guild’s council. He lives in Pennsylvania. www.christopherdurang.com James J. Christy (Director) is happy to return to PTC where he has had so much history. He was a founding member of the company back in the seventies and, more recently, directed such shows as The Laramie Project and Take Me Out, both Barrymore Best Production winners. In 2012 he directed The Outgoing Tide here written by his long time collaborator and friend, Bruce Graham. He has directed at many other Philadelphia theatres and at Shakespeare festivals around the country. Jim taught theatre at Villanova for thirty-nine years where is now Professor Emeritus. Seven years ago, Jim was honored with the Philadelphia’s Barrymore Award for Lifetime Achievement, a real highlight of his longtime career as a director and educator in Philadelphia. He looks forward to more directing, travel, and good times with his wonderful wife, Franny, and their fabulous kids, and grandkids. David P. Gordon (Set Designer) has designed almost 300 productions for theatre and opera, including PTC’s productions of Gross Indecency, Dinner with Friends, Orson’s Shadow, and The Outgoing Tide, for which he received the 2012 Barrymore Award. Other recent work includes designs for the Public Theater/NYSF, CSC, Theatre for a New Audience, Hartford Stage, Old Globe, Long Wharf, Huntington, McCarter, Goodspeed, Williamstown, Chicago Shakespeare, Arden, Wilma, Walnut St., Kennedy Center, Westport, Lincoln Center, Seattle Opera, L.A. Opera, Opera Theatre of St. Louis, Arizona, Berkshire and Sarasota Operas, and the State New Experimental Theatre in Volgograd, Russia. David has received four additional Barrymore Awards and the 2003 Elliot Norton Award for Outstanding Scenic Design, and has been nominated for IRNE, Carbonel and CT Critics Circle awards. He is a professor of set design at Rutgers University’s Mason Gross School of the Arts. Richard St. Clair (Costume Designer) returns to Philadelphia Theater Company after designing last year’s production of Venus in Fur directed by Kip Fagan. This is his fourth collaboration with Jim Christy at PTC following Gross Indecencies, The Laramie Project, and Orson’s Shadow. Also at PTC Richard designed the world premiere of Terrence McNally’s Golden Age directed by Austin Pendleton (Barrymore nomination for Best Costumes.) He is a two time recipient of the Barrymore Award for Best Costumes for A Year with Frog and Toad, and Sleeping Beauty, both at the Arden Theatre. Richard was the Resident Costume Designer for the Opera Company of Philadelphia for 26 years. His most recent project there was the American premiere of Phaedra by Hans Werner Henze. Currently Richard is the head of Costume Design for Penn State University. Dennis Parichy (Lighting Designer) has been designing lights professionally for fifty years, working on Broadway, Off- and Off-Off Broadway and in regional theatres throughout the United States. He has designed over twenty shows for Peoples Light & Theatre Co. since 1998, the latest being Ibsen’s Ghosts and The Rainmaker. Broadway credits include Talley’s Folly and Burn This. Other recent designs include Life on the Mississippi for the Workshop Theatre and Bloody Sky for the Schreiber Studio. He has received an OBIE, Drama Desk and L.A. Dramalogue awards for his designs and teaches lighting at Purchase College SUNY.

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who’s who Bart Fasbender (Sound Designer) Glad to be back at PTC. Previous designs include 4000 Miles, Venus in Fur, reasons to be pretty, and The Outgoing Tide. New York: Bloody Bloody Andrew Jackson on Broadway; A.R. Gurney’s World Premiere of Family Furniture (The Flea Theater); Storefront Church and Port Authority (Atlantic Theater Company); Lonely, I’m Not and Mr. and Mrs. Fitch (Second Stage Theatre); Burning and Russian Transport (The New Group); Apple Cove (Women’s Project); Three Changes and Drunken City (Playwrights Horizons); Graceland (LCT3); Ashville, The Revisionist, Asuncion, and The Aliens (Rattlestick Playwrights Theater); A Body of Water (Primary Stages); Women on Fire, and Bhutan (Cherry Lane); and Boozy..., Heddatron, and Hell House at St. Ann’s Warehouse (Les Freres Corbusier). Regional: The Old Globe, Williamstown Theatre Festival, New York Stage and Film, Barrington Stage Company, Berkshire Theatre Festival, Center Theatre Group (Mark Taper Forum and The Kirk Douglas Theatre), Yerba Buena Center for the Arts, Virginia Shakespeare Festival, and TheaterWorks. Hewes Design Award nomination. Robert Maggio (Composer) is delighted to be collaborating again at PTC, where he has composed music for The Outgoing Tide, M Butterfly, Intimate Apparel, Third, Nickel and Dimed, Take Me Out, Orson’s Shadow, Dinner with Friends, and The Laramie Project. He has also composed songs and incidental music for Yale Repertory Theater, Peoples Light and Theater Company, Pennsylvania Shakespeare Festival, and Shakespeare Santa Cruz. He is working on projects with Matthew Hardy, Kristin Maloney, and Michael Hollinger in the BMI Musical Theatre Workshop. For his original compositions, Robert has received a Pew Fellowship, a Guggenheim Fellowship, an American Academy of Arts and Letters Award, and grants from the PA and NJ Arts Councils. His music is recorded on the New World, Summit and Albany labels. A graduate of Yale and Penn, Robert teaches music composition at West Chester University. www.robertmaggio.com Roy W. Backes (Director of Production) 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.

who’s who Danielle Commini (Production Stage Manager) Philadelphia Theatre Company: Production Stage Manager for Tribes, 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 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. She is also an instructor at Temple University. Ms. Chapter is a member of the Literary Managers and Dramaturgs of the Americas (LMDA). Stuart Howard & Paul Hardt (Casting) are very happy to be back at Philadelphia Theatre Company. They have previously done casting for productions here: The Outgoing Tide, Seminar, and Tribes. 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 directed and produced for Philadelphia Theatre Company since 1982, and introduced more than 140 world or regional premieres of major new American plays and musicals to Philadelphia including new work by Terrence McNally, 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

who’s who 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, as Vice President of the Board of the Philadelphia Cultural Fund (after serving three 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-raising campaign for the Cleveland Public Schools, and is an expert in crisis management, strategic planning, marketing communications and issue communications. Luce 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. 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 a member of the Union League of Philadelphia, the Forum of Executive Women and the Pennsylvania Society.

The following article is reprinted courtesy of the McCarter Theatre Center. Christopher Durang is the author of many plays, including Beyond Therapy; Sister Mary Ignatius Explains It All For You; The Marriage of Bette and Boo; Laughing Wild; Bettyâ&#x20AC;&#x2122;s Summer Vacation; and Why Torture is Wrong, and the People Who Love Them. His play Miss Witherspoon premiered at McCarter in 2005. A few weeks before rehearsals began for Vanya and Sonia and Masha and Spike he spoke withâ&#x20AC;Śhimself.

Durang Interviews Durang Chris: Hello again. I don’t know if you recall, but I interviewed you in 2005 when McCarter presented your play Miss Witherspoon.

all up, as if I’ve put them into a comic blender.

Durang: Oh yes. You’re my inner child or something?

Durang: It’s a blender that is funny. As opposed to a tragic blender.

Chris: No, I’m just your first name. And you’re your last name. But you do most of the writing. I eat bonbons and stay in bed most of the time.

Chris: And is this play a parody of Chekhov?

Chris: What’s a “comic” blender?

Durang: No, it is not. I have written parodies, but this is not one. It is a “regular” Durang: Oh yes right. I’m always throwing play that is set in the present time, in Bucks County, Pennsylvania. And Vanya out candy boxes all the time. Gosh, you and Masha are brother and sister, and should be fatter if you eat chocolates all Sonia is their adopted sister. And they the time. had professor parents who named them after Chekhov characters. But they are Chris: You’re the one who looks fatter. not in pre-revolutionary Russia, and they I look fine. don’t have samovars, and they don’t pay Durang: Well, I eat cupcakes a lot. I’m for things with rubles. On the other hand, sorry, can we move ahead with the interthey are filled with regret and bitterness view? and are busy wondering if they made the right choices in life. Vanya and Sonia, in Chris: Sure. Tell me about your new particular, feel they have missed having play. a life, and they are resentful of their sister Masha who is a movie star. And Spike is Durang: Well, it’s called Vanya and Sonia Masha’s new, not-terribly-age-appropriate and Masha and Spike. It takes Chekhov boyfriend. themes and characters and mixes them

Chris: I’m sorry, I wandered into the kitchen to get a ginger ale. Could you say that all again? Durang: No, I couldn’t. But the tape recorder was on, you can transcribe it later on. Chris: Oh Lord. Transcribing things. Very difficult. But how I love ginger ale. Durang: Me too! And to answer your question, I am not an alcoholic, but I do love ginger ale. Chris: I’m sorry. What about alcoholic? Durang: Nothing. I just like to say that I am not one. It’s unusual. Chris: Uh huh. So this play, which is a parody, pokes fun at the work of Tennessee Williams, right? Durang: IT IS NOT A PARODY. Is something wrong with your short term memory? Chris: There certainly is. And with yours. I remember you said something to me this morning, and I can’t for the life of me remember what you said. Durang: When I read Chekhov in college, I really loved it…but I was in my early 20s, and when I read about the middle aged and older characters feeling gloomy with their life choices, I felt empathy—but I was very young, I had all my hopes and plans ahead of me. Chris: Keep talking. I have to answer this text. Durang: And now that I am a lot older, suddenly I totally understand those characters who are looking back, and thinking, oh that was a mistake. Or oh that was a missed opportunity. Or they’re looking ahead and saying, oh Lord the

future looks bleak. Especially since the weather is now terrifying. Gosh those people who deny global warming exists…well, it’s hard sharing a planet with people who think science is bunk, and oil is fine, and I guess we’re stuck with nothing being done until the earth becomes uninhabitable. With the extreme heat, I envision people needing to walk around in plastic, air-conditioned bubbles. For real. Chris: I am texting my massage person. Please don’t talk for a little while, I am having trouble with my autocorrect. I told him I couldn’t see him for a massage, and autocorrect changed it to I wanted to sue him for a sausage. And now he’s upset. Durang: Yes, to answer your question, my characters live in the present and they use telephones and texting and Google. So it is in the present. Chris: Why does autocorrect think sausage is a sensible word but not massage? Durang: I don’t know. Nothing in the world makes sense. I want to end this interview. You’re not listening to me. Chris: Yes, I am. Your play is a parody, you admit you’re an alcoholic, and you are bitter and you want to live in an air-conditioned bubble. Durang: Uh huh. You know the dramaturg did an interview with me. I’m going to ask her to print some of that. And you should go back to bed and eat your chocolates. Chris: I love to stay in bed all day. That’s the problem with today. I got up.

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Oh, Olga, Let’s Go to Bucks County!

Inside Durang’s Zany Province of Vanya and Sonia and Masha and Spike by Carrie Chapter, PTC Dramaturg Disclaimer: The play you are about to witness is not a parody of the works of Russian playwright Anton Chekhov. Any resemblance to Chekhovian characters, in carriage or attitude, is dependent on the interpretation (and post-adolescent memory) of the individual theatergoer. This, however, is not to say that the play is not beholden to particular references to Chekhov plays. In fact, the allusions to Chekhov function much like the myriad of cultural influences found in the world of the play. This could be likened to how some media and popular attractions contain “Easter eggs,” which are defined as hidden messages, extra features, or insider jokes located in films, books,

crossword puzzles or computer games (or like scavenging for the “hidden Mickeys” at the Disney theme parks.) If you are looking for them, it gives you an edge to your experience, but, if you are unaware or not on the hunt for the “eggs,” it does not diminish the value nor your enjoyment of the event itself. This is the world of Vanya and Sonia and Masha and Spike – a comedic journey of its own making, unique in its brand of whimsy. That said, here is a tour of the landscape binding these characters together (whether they like it or not.)

Chekhov for Beginners (Spoiler Alerts Ahead!) Playwright Anton Chekhov was born in Taganrog, Russia in 1860. He trained as a doctor and practiced medicine in Moscow before he started writing humor pieces, short stories, and plays. In the beginning, his theatrical works were not that successful; however, shortly after he settled with his family at his new country estate, Melikhovo, in 1892, Chekhov would write what is considered to be his four major plays, most of which are laced with anxiety and loss and poured into a tragicomic cup: The Seagull, Uncle Vanya, Three Sisters, and The Cherry Orchard. His plays were among the earliest of their kind to focus on the lives of ordinary people lamenting the lost dreams and desires of their lives in circumstances that exist in a “non eventful” atmosphere - with the past as impossibly dreamy, the present as interminable, and the future as strange and bleak. Here are the 10-cent summaries of each major play, as paraphrased by their defining characteristics: In The Seagull, the grand actress, Arkadina, arrives at her brother’s country estate with her writer-lover, Trigorin, where they are bored by her son, Konstantin, and his Symbolist play, as performed by the wealthy neighbor’s daughter, Nina. There is much misery felt by those who live on and manage the estate, particularly from Masha, who is married but is in love with Konstantin, and from Konstantin himself, who is in love with Nina and shoots a seagull to commemorate his suffering for her and also tries shooting himself more than once. In Uncle Vanya, a pompous professor, Serebryakov, takes his fetching new wife,

Yelena, to his first wife’s country estate, managed by his plain-jane daughter, Sonya, and his brother-in-law, Vanya. A country doctor and Vanya both fall in love with Yelena; nobody falls in love with Sonya. Serebryakov decides to sell the estate, Vanya unsuccessfully tries to shoot him, Yelena and Serebryakov depart, leaving Sonia and Vanya by their lonesome. In Three Sisters, which was supposedly inspired by the lives of the Bronte sisters, Olga the Spinster, Masha the Adulteress and Irina the Wishful yearn to go back to Moscow, but instead live with their debt-ridden brother, Andrei, who secretly mortgages their house and marries a lower-class woman named Natasha, who cuckolds him and bullies his three sisters. All the time, the family is surrounded by military men from their father’s past, like Masha’s lover, Vershinin, who get drunk and talk philosophy. In Chekhov’s swan song, The Cherry Orchard, Madame Ranevskaya returns from a bad Parisian love affair with her teenage daughter, Anya, in tow, to her family estate, occupied by her adopted daughter, Varya, and her leisure-loving brother, Gayev. Trofimov, a Leftist tutor/ forever student, is romantically linked to Anya while Varya is uncomfortably linked to local merchant, Lopakhin. Despite continued efforts to clear their debt, the family loses the estate, complete with a soon-to-be-decimated cherry orchard, to Lopakhin, indicating the dawn of a new era, while their elderly manservant, Firs, is left behind. Chekhov’s contemporaries perceived his voice as even more revolutionary as he intended; each play suggests an upheaval of class relations and the rise of the new bourgeoisie at the cost of the dwindling Russian aristocracy.

In the Belly of Bucks County, PA Named after William Penn’s boyhood home of Buckinghamshire in England, it is where George Washington crossed the Delaware River to sneak-attack Trenton on Christmas Night (Beware of Yankees bearing gifts? I digress.) To this day, the county contains an abundance of tree farms, vineyards, parks, and majestically kept historic properties. Its position as an ideal retreat is twofold: people flock to Upper Bucks for its historic landscape and scenery, seeking a rustic yet elegant nostalgia for early America, but also the county’s closeness to major metropolitan areas does not hurt its appeal. From Bucks County, you can get to New York City, Philadelphia or Atlantic City in the window of 2 hours’ time. Think of it as escapism with a leash - a perfect fit for the lifestyle of an artist. Over the years, the county has been recognized as a haven for artist types; some of its illustrious residents have included Oscar Hammerstein II, Jean Toomer, Stan and Jan Berenstain (yes, of Berenstain Bears fame), Charlie Parker, Moss Hart, Stephen Sondheim, and Dorothy Parker. In particular, Dorothy Parker’s residence, Fox House, has become a secluded historic landmark. When Parker and her husband, Alan Campbell, visited Bucks County in 1936, they set their sights on the country farmhouse and bought it with money they had made from screenwriting gigs. They would go on to entertain famous friends at the residence for twenty years. It is now a privately owned home, closed off to any potential tourist. What is not as well known (but pointedly significant to the world of the play) is the county’s tradition of local theatre. For instance, Town and Country Players have produced plays since 1948, with early productions of works by Noel Coward,

William Inge, and Anton Chekhov (Fun fact: Jean Toomer’s wife, Marjorie, played Marina in their 1961 production of UNCLE VANYA). Notably, the Bucks County Playhouse has recently undergone a renaissance in its own history. Moss Hart and a bevy of local artists saved the 18th-Century grist mill structure from demolition in the 1930s, and the theatre enjoyed 70 years of productions, many of which attracted prestigious actors to its boards. After closing briefly in 2010, the Playhouse emerged refreshed and renovated in 2012. Now, new generations of art-lovers can appreciate what their predecessors enjoyed in the county’s quaint yet renowned legacy.

Well, In My Day... You Had to Bridge the Generational Gap with Your Own Two Hands In the play, there is a highly relatable, comic dynamic created along a generational divide. Where the “generational gap” of the 1960s and 1970s pertained to the lifestyle and political response of youth culture, today’s “gap” focuses on a schism based on modes of communication. The Emily Post Institute, which is now online, even lists etiquette for text messaging, since it has become the prevalent and most immediate way of reaching others. In 2012, Forbes magazine issued an illustrative graph on how to define generations in the workplace by how each one prefers to communicate; as you would imagine, the traditionalist (ages 60 and over) is most comfortable with face-to-face conversation, while the Millennials (the early twenty-somethings) ask to tweet or message on Facebook. As this divide widens, so do the options for fast, individualized diversions. The idea of the shared experience no longer carries the same coziness as it did when there

were only five channels on the television set, and you had to wait to see a movie when it was released at a local, singlescreened theatre house. Now, we share more than ever before, but it is on our own terms, at different places and times on multiple electronic platforms, making us the most experientially diverse (and divisive) generation of all time - for better or for worse.

The Family Dynamic, Bringing It In For the Real Thing At the heart of this play is a family rejoined - warts and all. Like a fractured fairy tale, there is no perfect family and happy endings are as elusive as feelings of satisfaction in a Chekhov play. Siblings, too, test and measure how much (or, more likely, how little) we have grown up over the years. There is an apt quotation from

Dylan Thomas’s “A Child’s Christmas in Wales”: “It snowed last year too: I made a snowman and my brother knocked it down and I knocked my brother down and then we had tea.” In abiding within the inescapable nature of family life, there is the inevitable comedy. Humor is the solvent in making daily life digestible. After all, as you will discover in this play, no one really is Snow White, or the Prince, or even the Evil Queen – with our charming foibles, we are all dwarfs, and we live quirkily ever after. Source information courtesy of Biography. com, Project Gutenberg, Online-literature. com, Forbes.com, the Emily Post Institute, Town & Country Players theatre archives, the Bucks County Playhouse archives, and VisitBucksCounty.com

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 PTCâ&#x20AC;&#x2122;s artists, productions, and programs, please call the Development Office at 215-985-1400 ext. 117. This list acknowledges donors as of January 28, 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

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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 theatreâ&#x20AC;&#x2122;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 PTCâ&#x20AC;&#x2122;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 The Chubb Corporation 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 February 28, 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 Oâ&#x20AC;&#x2122;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

Co-Production

East Coast, Professional or American Premiere

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

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

Open Caption Performance:

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.

4/12/14 at 2pm

Group Ticketing & Events

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.

Student Matinees, In-School Workshops, and Summer Camp

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 4/5/14 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.

Contact PTC’s Sales Director, Carol Flannery at 215.985.0420 x104

Contact PTC’s Education Department at 215.985.1400 x111

Facility Rentals

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

Volunteer Opportunities

Contact 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 Monika Krug, Treasurer Marilyn Birnhak Sara Garonzik Alice L. George

Sally Lyn Katz Victor Keen 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. Oâ&#x20AC;&#x2122;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 Oâ&#x20AC;&#x2122;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 Development Consultant 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 Audience Services Manager Kristen Norine 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 Technical Coordinator/Crew Chief Michael L. Cristaldi Assistant Stage Manger Annie Halliday Assistant Director Kevin Rodden Assistant Costume Designer Bridget Beauchamp Sound Supervisor Daniel A. Little Lighting Supervisor Alyssandra Docherty Carpentry/Rigging Supervisor Paul Hewitt Production Electrician Terry Smith Props Master Melissa Cristaldi Little Wardrobe Supervisor Maxine Johnson Dressers Janet Connors, Danielle Joh Deck Crew Jacob Lyon Goddard Production Apprentice Patrick Dougherty Custodian Marvin Smith 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 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 Proof Productions Music recorded by Dolce Suono Ensemble

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 Playwrights in Context (APIC) Christophe r Durang

April 6 post-matinee

Join us for an onstage conversation with playwright Christopher Durang and guest interviewer Howard Sherman.

Meet-the-Artists (MTA) March 27 and April 10

Backstage Tour April 12 - post-matinee 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 March 27 @ 6:30PM Join us in the lobby alcove for snacks and a discussion of Celebrity Chekhov by Ben Greenman.

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

April 5 - 2PM performance

Special Topics

April 12 - 2PM performance

Audio Description Open Captioning

April 1 post-show Catch the on-stage conversation immediately following the 6:30pm performance! “Durang Durang: Bringing the Absurd Home to Roost.”

Martini Thursdays March 27, April 3, April 10, & April 17 Mix and mingle in PTC’s lobby while enjoying custom vodka cocktails for only $3. 5pm to 7pm

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

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