She Loves Me Playbill by PlayMakers Rep

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SHE LOVES ME

Letter from Vivienne Donor Spotlight: Amy & Kevin Guskiewicz Support PlayMakers Title Page Cast List Musical Numbers Program Notes Author Bios Actor Bios Up Next: Jump Creative Team Bios General Information PlayMakers Staff Friends of PlayMakers Corporate and Foundation Partners Advertisers

Photo of Michael Maliakel and Jenny Latimer by HuthPhoto.

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TABLE OF CONTENTS

PRODUCING ARTISTIC DIRECTOR

VIVIENNE BENESCH

Dear Friends, Welcome to She Loves Me! As some of you may know, this same story is the basis for three big screen romantic comedies, including You’ve Got Mail and The Shop Around the Corner. In the early ’60s, the same writing team that would go on to pen Fiddler on the Roof found a spark of musical inspiration in Miklos Lazlo’s Hungarian fragrance shop and brought She Loves Me to Broadway to the tune of five Tony Award nominations. So why does this little story of anonymous pen pals turned holiday lovebirds continue to charm audiences across time, language, and medium? You’re about to find out! While it’s true that She Loves Me is a piece full of substance and complexity, sometimes you also just need the gift of a compassionate, witty story and some beautiful music to get you through the cold winter nights. To all those gathered here—long-time patrons and newcomers alike—this is PlayMakers’ holiday gift to you. We are so appreciative of your support. Wrapped inside, you’ll find a perfect jewel-box of a musical, filled with an incredible cast and creative team, including some of our long-time collaborators—like Music Director Mark Hartman and Costume Designer Bobbi Owen—and new faces like that of Director Kirsten Sanderson. She has brought such passion and clarity of vision to this project we could almost see the perfumery bustling with customers just by her description on the first day of rehearsal. I’m now thrilled to throw our doors wide open and share it with you. If you enjoy it as much as we do, please spread the word and consider giving back with a gift to your own “theatre around the corner” by including PlayMakers in your holiday giving. Most importantly, please allow this special piece to remind you of what you already know deep in your heart: appearances can be deceiving. Everything, and everyone, is worth a second look. Who knows? Your soulmate — or new friend, or frequent playgoing partner — may be seated in the chair right next to you. Enjoy the discovery, and have a beautiful holiday,

Vivienne

DONOR PROFILE

AMY & KEVIN GUSKIEWICZ

Amy and Kevin Guskiewicz have called Chapel Hill home for more than 20 years. Amy, who grew up casually participating in theatre throughout middle and high school in Maryland, is a real estate agent with Fonville Morisey and enjoys sharing with others her love of Chapel Hill. Prior to her career as a realtor, Amy taught elementary school and once had the pleasure of directing her class of 3rd–5th graders in a performance of A Midsummer Night’s Dream in the Forest Theatre. Kevin is the Kenan Distinguished Professor of Exercise and Sports Medicine, Athletic Trainer, and founding director of the Matthew Gfeller Sport-Related Traumatic Brain Injury Research Center at The University of North Carolina at Chapel Hill, where he has served on faculty since 1995. Over the past 25 years, his research has helped sports medicine clinicians to improve diagnosis and management of sport-related concussions. In 2016, Kevin was appointed Dean of the College of Arts & Sciences at UNC-CH. Amy and Kevin have four children: Jacob, Nathan, Adam, and Tessa. Amy and Kevin often enjoy a short walk through Battle Park from their Franklin Street home to the Joan H. Gillings Center for Dramatic Art for an evening of theatre. They have been actively involved with PlayMakers for the past few years as subscribers and supporters of our annual gala. Amy also serves as a member of the PlayMakers Advisory Council and is a founding member of the PlayMakers women’s leadership council, WPOV (Women’s Point of View). This year, Amy is excited to take on a new leadership role as Vice Chair of the Advisory Council. “We give to PlayMakers because it is a place that our family enjoys gathering to see how theatre brings together students, faculty, staff, and the community in a meaningful way,” says Amy. We are grateful to Amy and Kevin for their enthusiastic support of PlayMakers and its role in the Chapel Hill community!

SUPPORT US Now is a wonderful time for PlayMakers Repertory Company, as they help celebrate 100 Years of Playmaking at Carolina. We have launched the 100 Years of Playmaking campaign not only to celebrate the rich history of the dramatic arts here at Carolina, but more importantly, the impact this award-winning theatre has in our community. From their world-class productions to meaningful K-12 arts-in-education programs and community engagement, PlayMakers does it all. The 100 Years of Playmaking campaign will help ensure that PlayMakers can continue to inspire, entertain, and challenge our community for the next 100 years. Your support has the power to influence all aspects of the theatre, from the innovative work you see onstage, making ticket prices affordable for all, and training for the artists of tomorrow. In an exciting development, a very generous donor has offered PlayMakers a $20,000 challenge match for new and increased donations made before December 31, 2018. If you enjoy and believe in the power of theatre as I do, take advantage of this opportunity to double your impact by making a gift to the Annual Fund by December 31st. Join me in supporting an organization that makes a difference to our community. You’ll sit just a little taller in your theatre seat knowing that you’re making a difference towards excellence, access, and education. I could never thank you enough for that. Warmly,

GIVE TO THE PLAYMAKERS ANNUAL FUND: • Pick up a contribution card in the lobby • Go online to www.playmakersrep.org • Call the Development Office at 919.962.2481

Joan H. Gillings

FRIENDS OF PLAYMAKERS ADVISORY COUNCIL: Joan Gillings, Chair Tom Hazen Betsy Blackwell Janelle Hoskins Maria Duran Betty Kenan, emeritus Deborah Gerhardt Kimball King, emeritus Amy Guskiewicz Duncan Lascelles Bobbi Hapgood Stuart Lascelles Lisa Hazen

Amy Guskiewicz, Vice Chair Robert Long Carol Smithwick Graig Meyer David Sontag Julie Morris Mike Wiley Florence Peacock Lisa Yarborough Diane Robertson 7 Wyndham Robertson

NOVEMBER 24-DECEMBER 5

Celebrate Generosity It’s the time of year when the focus turns to sharing good times. And we’re giving you some splendid specials—including the latest from hitmaker Neil Diamond and other popular performances— plus live, in-studio entertainment. Join our Joy of Giving campaign, November 24-December 5, on UNC-TV.

Get more info at unctv.org/specials

PLAYMAKERS PRESENTS

She Loves Me Book by

Music by

Lyrics by

Joe Masteroff

Jerry Bock

Sheldon Harnick

Based on a Play by Miklos Laszlo

Director

Kirsten Sanderson Music Director Mark Hartman

Choreographer Tracy Bersley

Scenic Designer Daniel Zimmerman

Costume Designer Bobbi Owen

Lighting Designer Amith Chandrashaker

Sound Designer Eric Alexander Collins

Dramaturg Gregory Kable

Vocal Coach Tia James

Stage Manager Charles K. Bayang

Assistant Stage Manager Elizabeth Ray

NOV 14â&#x20AC;&#x201C;DEC 9, 2018 SHE LOVES ME is presented by special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. MTIShows.com The Professional Theatre of the Department of Dramatic Art Adam VersĂŠnyi, Chair Vivienne Benesch, Producing Artistic Director Justin D. Haslett, Managing Director Produced in association with The College of Arts & Sciences The University of North Carolina at Chapel Hill

THE CAST In alphabetical order

Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . . David Adamson* Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily Bosco* Ladislav Sipos . . . . . . . . . . . . . . . . . . . . . Jeffrey Blair Cornell* Mr. Maraczek. . . . . . . . . . . . . . . . . . . . . . . . . . . . Ray Dooley* Busboy/Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . David Fine Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julia Gibson* Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Austenne Grey Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Faith Jones Ensemble. . . . . . . . . . . . . . . . . . . . . . . Sarah Elizabeth Keyes* Ilona Ritter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Janet Krupin* Amalia Balash . . . . . . . . . . . . . . . . . . . . . . . . . Jenny Latimer* Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . Alison B. Lawrence Georg Nowack . . . . . . . . . . . . . . . . . . . . . . Michael Maliakel* Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dan Mason Arpad Laszlo. . . . . . . . . . . . . . . . . . . . . . . . . . Connor Nielsen Keller/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . Tristan Parks Steven Kodaly. . . . . . . . . . . . . . . . . . . . . . . . . . . Adam Poole Waiter/Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . Dan Toot

TIME:

The 1930’s

PLACE: Budapest, Hungary

There will be one 15 minute intermission

STAGE MANAGERS

Charles K. Bayang* Elizabeth Ray*

*Indicates members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

THE MUSIC Act One

Overture Good Morning, Good Day . . . . . . . Sipos, Arpad, Kodaly & Georg Sounds While Selling. . . . . . . . . . Sipos, Kodaly, Georg, Ensemble Days Gone By. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maraczek No More Candy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amalia Three Letters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Georg & Amalia Tonight at Eight. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Georg I Don’t Know His Name. . . . . . . . . . . . . . . . . . . . . . . Amalia, Ritter Perspective. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sipos Goodbye, Georg. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ensemble Will He Like Me?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amalia Ilona. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kodaly, Sipos, Arpad I Resolve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ritter A Romantic Atmosphere. . . . . . . . . . . . . . . . . . . . . . . . . . . . Waiter Mr. Nowack, Will You Please. . . . . . . . . . . . . . . . . . Amalia, Waiter Dear Friend. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amalia Act Two

Entr’acte Try Me. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arpad Where’s My Shoe?. . . . . . . . . . . . . . . . . . . . . . . . . Amalia & Georg Vanilla Ice Cream. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amalia She Loves Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Georg A Trip to the Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ritter Grand Knowing You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kodaly Twelve Days to Christmas. . . . . . . . . . . . . . . . . . . . . . . . Ensemble Finale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Georg & Amalia 12

MUSICIANS

Music Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark Hartman Synth/Associate Music Director . . . . . . . . . . . . . . Alex Thompson Violin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joan Beck Drums/Percussion. . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Hannah Reeds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wayne Leechford Cello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jake Wenger

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PROGRAM NOTES The Soul and the Shine, or “How Do You Sing Leather?”: She Loves Me in Transit By Gregory Kable, Dramaturg

Hungary’s capital, Budapest, was established in 1873, joining three separate towns on either bank of the Danube, those of Buda, Obuda, and Pest. This historical development is a useful metaphor for tracing the fortunes and interpretations of She Loves Me, set in this crossroads of Europe and modern history, bridging divides on opposing fronts like that unification between two shores. Like many acknowledged classics, She Loves Me had a long and compelling genesis. The story began with a 1937 Hungarian play by Miklós László, Illatszertár, more familiar by its French title Parfumerie. The László original was widely seen in Europe though never produced in its time in America. In 1940, famed director Ernst Lubitsch adapted the play to the screen as Hollywood’s The Shop Around the Corner starring James Stewart and Margaret Sullivan, with a screenplay by Samson Raphaelson and Ben Hecht. The success of the film sparked interest in adapting it as a Broadway musical, seizing the imaginations of composer Jerry Bock and lyricist Sheldon Harnick, who were

teamed together in 1956 for their musical debut, The Body Beautiful, a novel combination of boxing and romance. Given the centrality of correspondence in She Loves Me, it’s both significant and prophetic that Bock defined their relationship as “love at first write.” And write they did, completing seven musicals in the span of a fourteen year partnership, and consciously pursuing as much variety as they could along the way. When their inaugural effort proved unsuccessful, they persevered, producing a major hit on their sophomore outing with Fiorello! in 1959. A musical biography of New York mayor Fiorello LaGuardia and comic indictment of political corruption, Fiorello! earned the Tony Award for Best Musical and the Pulitzer Prize for Drama. Their third show saw them back where they’d started, as 1960’s Tenderloin, a tale of religious reform in New York’s red-light district in the 1890s, was both a commercial and critical failure. That was followed by another upswing with the success of She Loves Me, a score composed while the pair were simultaneously exploring the musical possibilities in Sholem Aleichem’s stories of Tevye the Milkman in Tsarist Russia. That next show, Fiddler on the Roof, would run nearly a decade and become a landmark in American musical theatre, but Bock and Harnick would collaborate on only three more works, their anthology musical The Apple Tree, a television musical of The Canterville Ghost (both 1966), and the historical musical The Rothschilds in 1970.

She Loves Me is among the pioneer efforts of screen to stage transfers, an approach that is ubiquitous in musical theatre today. The show enjoyed respectable runs in New York and London and would succeed in revivals twice more on Broadway in 1993 and 2016. Hollywood would revisit the Lubitsch film on two more occasions, once as a Andre Kertesz, Budapest. Judy Garland vehicle with Van Johnson as the musical In the Good Old Summertime (1949), featuring a score of largely existing songs like today’s spate of jukebox musicals, and again as a comedy with a decidedly late-twentieth century spin in Nora Ephron’s internet romance, You’ve Got Mail (1988) with Tom Hanks and Meg Ryan.

By his own recollection, Masteroff ’s play was based on the Hollywood screenplay, not the László source, which strengthens the kinship between the Lubitsch variation and She Loves Me. That pairing, in turn, inspired changes in the only American publication of the original Parfumerie, translated by László’s nephew E.P. Dowdall in 2009, effectively reversing the original direction of influence and bringing the journey full circle. In an unusual but tight collaboration, playwright Joe Masteroff, who had no prior experience with musicals, was commissioned to write an entire play which would serve as inspiration for the musical moments chosen by Bock and Harnick. It was Masteroff ’s decision to shift retail stock from leather goods in Lubitsch to cosmetics, which would prove fortuitous. (“How do you sing leather?”, he repeatedly asked at the project’s conception.) And if the musical’s conceit of courtship through combat dates back centuries to Shakespeare’s Much Ado About Nothing and William Congreve’s The Way of the World, proceeding through Jane Austen, Noel Coward, and any number of screwball comedies and present day rom-coms, the twist of She Loves Me, presenting warring co-workers who are unknown pen pals has more of a wash of Franz Kafka in this creative team’s hands than the gentler irony of an O. Henry. Further, that plot motor of attraction to a projected image places She Loves Me squarely in its decade of the popular spread of Freudian psychology, while collapsing time by maintaining its relevance in our age of social media. Nevertheless, a varnish of easy sentimentality began to obscure the material, giving it an undeserved reputation for preciousness and saccharine escapism, reinforced by initial reviews drawing heavily on confectionery similes, establishing the show as relying on a vague sense of “charm”, and enabling its dismissal as a mere indulgence or work of little consequence. But there was always more specificity and substance to She C. J. Sternberg Loves Me than that. Its first director, the now legendary Harold Prince, characterizes it an “unsentimental love story”, insisting its appeal lies in the juxtaposition of a style piece that nonetheless “has irony and an edge to it”. Mihaly Biro

The stripping away of decorative embellishments was the goal of guest director Kirsten Sanderson from the start, focusing the present production on what she defined as “the soul, not the shine” of the musical. Those parameters effectively establish the spectrum on which She Loves Me is in constant motion: on the one hand, its presumed locale of Budapest evokes nostalgia and Old Europe. As Bock explained, “the guiding principle of the score was ‘Hungarian.’ And that is very general, mind you, but it gave me a sound, a shape, a period, and a feeling, and that gave me a platform from which to take off.” On his part, Harnick found a treasure trove in Masteroff ’s play which he recalls as “drenched with music.” In the beginning, then, was the shine. But Budapest in the late 1930s was wracked with problems tied to national identity and allegiances, from political instability and a stagnant social hierarchy, to financial upheaval and fanned racial tensions, suffering a host of internal crises which would make an alliance with Nazi Germany a viable prospect in 1939. Given the circumstances, the deceptively bourgeois environment of a cosmetics shop and the commonplace concerns of its staff and customers, might appear too limited and insular to achieve wider resonance. Yet this is where the soul of the musical gradually begins to reveal itself.

Kertesz, Broken Glass.

Far from some fairy tale flight from reality, in She Loves Me, darker shadows lend counterpoint to the sparkling surface. Luxury is conspicuously absent in a backdrop of luxury goods. Gainful employment is a stark necessity, pressure points are found and exploited, colleagues casually turn on each other, a longstanding marriage is callously imperiled, and the most passionate, unguarded, and sincere connections are made anonymously by mail. Where disguise and deceit run rampant, cosmetics serve as a perfect metaphor for exploring this perfumery as politics, contributing to the show’s honest and skillfully understated vision of Budapest as a twilight world—beautiful but perishable and perishing even as these lives play out. In retrospect, the seeds of what would be fully cultivated in its songwriters’ Fiddler on the Roof and its librettist’s masterwork Cabaret were already planted and taking root. In his novel Beware of Pity, Stefan Zweig observes that, “in 1938 almost every conversation, in every country of our ruined continent of Europe, revolved around the probability or otherwise of a second world war. The theme inevitably fascinated every social gathering, and you sometimes felt that fears, suppositions and hopes were being expressed not so much by the speakers as by the atmosphere itself, the air of those times, highly charged with secret tensions and anxious to put them into words.” Among the many notable accomplishments of She Loves Me is its suggestion of this unspoken current, while shifting attention away from the precipice to our capacity for endurance which can partially alter our fate. When fear chills the air we can scent it with perfume. If despair sits on our doorstep we can drive it away with a humble ice cream. Where darkening times demand articulation, we transcend their limitations by replacing speech with song. By any measure, such actions are imperfect and transitory but they’re also deeply human. “In pursuing you,” Bock reflected in the form of a ‘Dear Friend’ letter to the show in 1987, “we found our romantic selves. And in finding that, we found our collective voice.” In a world that seems to deny their legitimacy, She Loves Me finds dignity, hope, and value in the smallest gestures of courtesy, civility, and attempts at consensus. “How,” then, to return to Masteroff ’s question “do you sing leather?” By giving yourself permission, as he had done in reframing the action, to reconceive your circumstances. She Loves Me affirms and celebrates the hard-won virtue of transparency, with full acknowledgment of what threatens such openness and personal authenticity. Like ourselves, its characters might not have the status to easily change the world, but their faith in the need for improving their lives, however briefly, unveils the soul. And in the vast sweep of history, even temporary victories truly qualify as occasions for joy.

AUTHOR BIOS Joe Masteroff Book

Joe Masteroff was born in Philadelphia in 1919. He graduated from Temple University with a journalism degree in 1940. After serving in the Army in World War Two, he studied playwriting at the American Theatre Wing. His first Broadway play, the comedy The Warm Peninsula premiered in 1959, gaining the attention of Sheldon Harnick who would suggest Masteroff for the She Loves Me creative team. His book for the Kander and Ebb musical Cabaret in 1966 would seal his reputation in musical theatre history, while his next show, 70, Girls, 70 (1971), with another Kander and Ebb score would prove his last appearance on Broadway. Further works include the libretto for a folk opera based on Eugene O’Neill’s Desire Under the Elms (1978), his book and lyrics for Six Wives (1992), another Henry VIII musical, though completely independent of the Rodgers and Harnick project, and Paramour in 1998. Masteroff passed away on September 28, 2018 at the age of 98. Joe Masteroff

Sheldon Harnick Lyricist

Sheldon Harnick was born in Chicago in 1924. After Army service, he studied music and became a songwriter while attending Northwestern University, Harnick had numbers featured in New Faces of 1952, Two’s Company (1952), John Murray Anderson’s Almanac (1953), and 1955’s Shoestring Revue. His career as a lyricist was encouraged by the famous E.Y. Harburg, beloved lyricist for The Wizard of Oz and Finian’s Rainbow. Harnick would continue contributing to revues and provide additional lyrics to outside shows throughout his time with Bock and, following their break as a team, expanded his range from grand opera to animated television, once again branching out from lyrics to serve as a composer, librettist, and translator. Later shows include A Wonderful Life (1986), Cyrano: The Musical (1993), Coyote Tales (1998), and Dragons (2003). His most high-profile, post-Bock assignment was as lyricist to composer Richard Rodgers on the short-lived Henry VIII musical, Rex, in 1976; his most recent, The Phantom Tollbooth

at the Kennedy Center in 2007. Among numerous honors, Harnick has received a Pulitzer Prize, three Tonys including a Lifetime Achievement Award in 2016, the Drama League Award for Distinguished Achievement in Musical Theatre, and an honorary doctorate from Northwestern in 2018.

Jerry Bock Composer

Jerry Bock was born in New Haven, Connecticut in 1928. Raised in Queens, New York, he began composing in high school, and honed his craft at the University of WisconsinMadison. His first Broadway score was for the revue Catch a Star in 1955, followed by the book musical Mr. Wonderful, starring Sammy Davis, Jr., the following year. He met Sheldon Harnick in 1956 and the two collaborated on their bestknown Broadway musicals, The Body Beautiful (1958), Fiorello! (1959), Tenderloin (1960), She Loves Me (1963), Fiddler on the Roof (1964), The Apple Tree (1966), and The Rothschilds (1970) in addition to several Sheldon Harnick and Jerry Bock lesser projects. After ending their partnership in 1970, Bock moved through an array of ambitions from studio albums, to Broadway shows that failed to materialize, to a series of mini-musicals for children’s theatre. Bock’s work earned him major recognitions ranging from two Tony Awards, two New York Critics’ Circle Awards, an Emmy, a Grammy, and the Pulitzer Prize for Drama. He died in 2010.

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CAST BIOS David Adamson Ensemble

PlayMakers: Company member for over 40 years. Highlights include Leaving Eden, Twelfth Night, Three Sisters, An Enemy of the People, Trouble in Mind, Into the Woods, Imaginary Invalid, Henry IV & V, Big River, As You Like It, Nicholas Nickleby, The Illusion, Hobson’s Choice, The Tempest, Cymbeline, The Seagull, Arcadia, Charley’s Aunt, Macbeth, Cyrano de Bergerac, Curse of the Starving Class, Sherman the Peacemaker. Off-Broadway: The Strike, The Ambassador, Taming of the Shrew, Henry V, Happy Birthday, Wanda June. Tours: Tracers, Drumwright, Appalachia Sounding. Regional: Much Ado About Nothing, Macbeth, Love’s Labours Lost, Hamlet, Henry IV, A Christmas Carol (North Carolina Shakespeare Festival); Henry V, All’s Well That Ends Well (Colorado Shakespeare Festival); Deathtrap (Old Creamery Theatre); Henry IV, Hamlet (Indiana Repertory Theatre). International: Telemacco, Bridge of Sighs (Fest in Hellbrunn, Salzburg, Austria). Other: Director of Undergraduate Studies, Academic Advisor, UNC-Chapel Hill; Vietnam veteran.

Emily Bosco Ensemble

PlayMakers: Company member in second year of UNC’s Professional Actor Training Program. Sense and Sensibility; PlayMakers Mobile Macbeth and A Midsummer Night’s Dream. Regional: Significant Other (Theatre Raleigh); The Last Night of Ballyhoo, A Shayna Maidel (Bergen County Players). University: Richard II, The Importance of Being Earnest, The 25th Annual Putnam County Spelling Bee (Boston University). Education: Boston University (B.A. in English), The Barrow Group Theater Company, Upright Citizens Brigade.

Jeffrey Blair Cornell Sipos

PlayMakers: Company member since 1998. Recently: Sherwood: The Adventures of Robin Hood, Count, Sense and Sensibility, The Christians, and Leaving Eden. Some favorites from 23 seasons: My Fair Lady, An Enemy of the People, Into the Woods, Assassins, Metamorphoses, The Tempest, Private Lives, Henry IV & V, Noises Off, Angels in America, Cabaret, Opus, The Life and Adventures of Nicholas Nickleby, Cyrano de Bergerac, King Lear, The Illusion, Big River, Side Man, Wit, All My Sons. New York: Two by Two, Down to Earth, Serious Business. Regional: Guthrie Theater, Cincinnati Playhouse in the Park, Pittsburgh Public Theater, Paper Mill Playhouse, among others. Education/Other: Carbonell Award nominations for Someone Who’ll Watch Over Me and Falsettoland (Caldwell Theatre). Studied at HB Studios in New

York with Uta Hagen, Austin Pendleton, and Elizabeth Wilson. Holds an MFA from the Professional Actor Training Program, UNC-Chapel Hill. Member of Actors’ Equity Association and the Screen Actors Guild. Serves as Teaching Professor/Associate Chair in UNC’s Department of Dramatic Art.

Ray Dooley Mr. Maraczek

PlayMakers: Company member since 1989. Most recent: Prince John in Sherwood, Gabriel/Doc Lanford in Leaving Eden, Orgon in Tartuffe, Storyteller in A Christmas Carol, Mrs. Jennings in Sense and Sensibility, Colonel Pickering in My Fair Lady. Broadway: Macbeth (Circle in the Square). OffBroadway: Three seasons with Classic Stage Company (OBIE Award for Distinguished Performance, Peer Gynt). International: European premiere of Doubt (Vienna’s English Theatre); Amadeus, The Lark (Citadel Theatre, Edmonton, Canada). Regional: Theatres include the Folger Theatre, Yale Repertory Theatre, American Shakespeare Theatre, Seattle Repertory Theatre, Huntington Theatre Company, Alliance Theatre Company, among many others. Film/TV: Changeover, The Trial of Standing Bear, Stonebrook, One Life to Live, Guiding Light. Member: Actors’ Equity Association, Canadian Actors’ Equity Association, SAG-AFTRA. Education/Other: MFA, American Conservatory Theater; BA, Hamilton College (Phi Beta Kappa). UNC-Chapel Hill: Professor, Department of Dramatic Art; Head, Professional Actor Training Program. C. Knox Massey Award for Unusual, Distinguished and Meritorious Service to the University.

David Fine Busboy/Ensemble

PlayMakers: Tartuffe. Regional: Igor in Young Frankenstein (Asheville Community Theatre); Trinculo in The Tempest (NC Stage Company). University: Billy Flynn in Chicago (Pauper Players); Leo Bloom in The Producers (Company Carolina). Education: BA in Dramatic Art and Oenological Studies from UNC-Chapel Hill, Class of 2020.

Julia Gibson Ensemble

PlayMakers: Company member for six seasons. The Cake, My Fair Lady, Twelfth Night, The Crucible, An Enemy of the People, Into the Woods, Vanya and Sonia and Masha and Spike, Love Alone, Metamorphoses, The Tempest. Broadway: Stanley, Uncle Vanya, ‘Night Mother. National Tour: The Exonerated. Off-Broadway: New York Shakespeare Festival’s Public and Delacorte Theatres, Manhattan Theatre Club, Roundabout Theatre Company, Classic Stage

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Company, Origin Theatre Company, Irish Repertory Theatre, Rattlestick, New York Theatre Workshop, SoHo Repertory Theatre, among others. Regional: Favorite roles and plays include The Cake (Alley Theater); Harper in Angels in America, Birdie in The Little Foxes, Bev/Kathy in Clybourne Park, Pegeen Mike in The Playboy of the Western World, Rose in Dancing at Lughnasa, Helena in All’s Well That Ends Well, Nina in The Seagull, Talley’s Folly, Intimate Exchanges, The Real Thing, All in the Timing, Uncle Vanya, The Importance of Being Earnest, Harvey, The Drowsy Chaperone. Film/TV/Other: Michael Clayton, Changing Lanes, Blue Bloods, Law & Order, Law & Order: Criminal Intent, Spin City, So Close, One Life to Live. Narrated more than 150 audio books.

Austenne Grey Ensemble

PlayMakers: Debut. Regional: The Secret Garden, The Light in the Piazza, Parade (Theatre Raleigh); Samson and Delilah, Rigoletto, The Pearl Fishers, Madama Butterfly, La Traviata (NC Opera); Die Zauberflote (Masterworks Festival). Other: Austenne is a narrator for Audible. Her favorite books include The Remembrandt Series (Robin King), The Scarlet Thread (D.S. Murphy), Free to Fall (Lauren Miller). She studied voice, piano, and violin at Virginia Commonwealth University and has 20 year of ballet experience which includes training with The Richmond Ballet. Her favorite ballet performances include The Nutcracker (The Richmond Ballet) and Swan Lake (Chesterfield School of Ballet).

Faith Jones Ensemble

PlayMakers: Hairspray (SYC). Regional: Martha in Spring Awakening (North Raleigh Arts and Creative Theatre), The Radio in Caroline, or Change (Raleigh Little Theatre), Ruth Condomine in Blithe Spirit (One Song Productions). University: Queenie in The Wild Party (Company Carolina). Education: B.A. in Music from UNC-Chapel Hill, Class of 2020. Awards: Triangle Rising Stars Best Actress 2015, National High School Musical Theatre Awards Best Actress Nominee

Sarah Elizabeth Keyes Ensemble

PlayMakers: Company member in second year of UNC’s Professional Actor Training Program. Leaving Eden, Sense and Sensibility; PlayMakers Mobile Macbeth and A Midsummer Night’s Dream. New York: The Skin of Our Teeth (TFANA); The Mysteries (The Flea); Solutions Grassroots Tour (International Wow Company). Regional: Measure for Measure, Macbeth (Scranton Shakespeare Festival); Dracula, Floyd Collins, and

The Humana Festival of New American Plays (Actors Theatre of Louisville). Film/Television: On the Way North (OTWN); Boy Code (Cannes Film Festival Selection). Education: BA in Acting Fordham University Lincoln Center; Theatre major at Interlochen Arts Academy High School.

Janet Krupin Ilona

PlayMakers: Debut. Broadway: Bring It On: The Musical; Hands on a Hardbody; If/Then. New York: Maggie in development labs of 17 Again: The Musical (dir. Andy Shankman). Regional: The Secret Garden (Richland Light Opera Company); The Boy In The Bathroom (Adirondack Theatre Festival); See What I Wanna See (USC with Musical Theatre Rep); West Side Story (Musical Theatre of Los Angeles). International: Maureen in Rent at the Edinburgh Fringe Festival 2015 in Scotland and 2017 in Aruba. TV/Film: GIRLBOSS on Netflix; Megyn in David Cross’ Hits Sundance 2014. Nominated for Best Actress at Sparrow Film Festival 2015. Education/Awards: BA in Cinematic Arts from USC with a double minor in musical theatre and philosophy. Winner of LA’s Next Great Stage Star 2010 as well as StageScene LA’s Breakout Star of the Year. Janet also works as a Voice Over artist for Wochit, an international media creator.

Jenny Latimer Amalia

PlayMakers: Company member in third year of UNC’s Professional Actor Training Program. The Cake, My Fair Lady, Twelfth Night, The May Queen. Assistant Director on Sherwood: The Adventures of Robin Hood. Tour: Cosette in the 25th Anniversary Tour of Les Miserables. Regional: Into the Breeches, An Octoroon (Chautauqua Theatre Company); The Secret Garden (Theatre Raleigh); Les Miserables (Paper Mill Playhouse); She Loves Me, Into the Woods (Westport Country Playhouse); Into the Woods (Baltimore Center Stage); Much Ado about Nothing, Fantasticks (Provo Theater Company). Directing: Peter Rabbit and Friends (Theatre Raleigh); Natural Shocks, The Kritik (Kenan Theatre Company); Assistant Director to Tyne Rafaeli, Measure for Measure (Shakespeare Santa Cruz). TV: America’s Got Talent, The Academy Awards (featured performer). Education/Other: Brigham Young University and Steppenwolf Theater Company. Former member of Thrillionaires, long form musical Improv. Jenny is a proud member of Actors Equity Association.

Photo of Michael Maliakel and Jenny Latimer by HuthPhoto.

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TREVOR JOHNSON

SHANELLE NICOLE LEONARD

ADAM POOLE

This funny, heartbreaking, and surprising new play takes us on a theatrical journey to a place where lights flicker, things fall from the sky, and a sister finds solace on a bridge.

JAN 23â&#x20AC;&#x201C;FEB 10

WHAT’S AT

NEW

PLAYMAKERS?

“I have long been a champion of new work. New plays by new voices invite vital conversation on the issues, substance, and questions of the moment, while expanding the canon for the field in general.” –Vivienne Benesch PlayMakers’ Producing Artistic Director

RECENT NEW WORKS AT PLAYMAKERS Draw the Circle, 2016

Count, 2017

The Cake, 2017

Leaving Eden, 2018

Temples of Lung and Air, 2018

Don’t miss Jump and Bewilderness, 2019

www.playmakersrep.org

Alison B. Lawrence Ensemble

PlayMakers: Debut. Tour: Clay Aiken’s Joyful Noise Tour. Regional: Sister Act, Memphis, The Secret Garden (Raleigh Little Theatre); It Shoulda Been You, Glorious: The Story of Florence Foster Jenkins (Theatre in the Park); Annie, Funny Girl, Mame, Oliver (North Carolina Theatre); 42nd Street, 1940’s Radio Hour (Cape Fear Regional Theatre). Film: The Fifth Quarter (w/ Andi McDowell & Aydan Quinn) Education/Other: Ms. Lawrence has a successful voice studio in Raleigh, The Singer’s Art.

Michael Maliakel Georg

PlayMakers: Debut. Off Broadway/New York: Anything Can Happen: The Songs of Maury Yeston (Triad Theatre); Curlew River (Brooklyn Academy of Music). Regional: MASS (Ravinia Festival); Monsoon Wedding (Berkeley Rep); Hydrogen Jukebox (American Opera Theatre). Television: FBI (from Law & Order producer, Dick Wolf ); The Late Show with Stephen Colbert. Education/Awards: Georgetown University and Peabody Institute of Music. First Prize – NATS National Music Theater Competition; First Prize – American Traditions Competition; Third Prize – Lotte Lenya Competition.

Dan Mason Ensemble

PlayMakers: Debut. Regional: Cabaret, The Sound of Music, Chicago, Sweeney Todd, Candide, Brigadoon, The Student Prince, La Cage aux Folles, 1776, Annie, I Do I Do, Man of La Mancha, The Fantasticks. 13 years as the original ugly stepsister Henrietta in Raleigh Little Theatre’s annual Cinderella. Education/Awards/Other: Brigham Young University; BA in Musical Theatre from Appalachian State University. Directing work with North Carolina 4-H Performing Arts Troupe, Raleigh Teen Arts Program. Private voice teacher at Chapel Hill School of Musical Arts.

Connor Nielsen Arpad

PlayMakers: Tartuffe. University: Burrs in The Wild Party (Company Carolina); Ernst Ludwig in Cabaret, Mark in A Chorus Line (Pauper Players); The Cherry Orchard (Kenan Theatre Company). Regional: Robbie in Bloomsday (35below Asheville); George Gibbs in Our Town, Sweeney Todd in Sweeney Todd, West Side Story (Matthews Playhouse); Sweet Charity, Hairspray, The Drowsy Chaperone (Theatre Charlotte). Education/

Other: BA in Dramatic Art and Economic Development, UNC-Chapel Hill Class of 2019. Connor is a Producing Director of Kenan Theatre Company.

Tristan Parks Keller/Ensemble

PlayMakers: Actor in his third year in the Professional Actor Training Program in the Department of Dramatic Art, UNCChapel Hill. Sherwood: The Adventures of Robin Hood, Leaving Eden, My Fair Lady, Twelfth Night, The Crucible; PlayMakers Mobile A Midsummer Night’s Dream and Measure for Measure. University: The Odyssey, Oklahoma!, Blues for Alabama Sky, Macbeth, The Little Prince, Chamber Music, Fabulation, or the Re-Education of Undine, The Normal Heart (University of Memphis). Education: BFA in Theatre with a Concentration in Performance, University of Memphis.

Adam Poole Kodaly

PlayMakers: Company member in second year of UNC’s Professional Actor Training Program. Tartuffe, Dot, Sweeney Todd; PlayMakers Mobile Macbeth. Regional: Big Fish, Significant Other, Lombardi, The Mystery of Edwin Drood, A Few Good Men, Crimes of the Heart, The 25th Annual Putnam County Spelling Bee, Avenue Q (Theatre Raleigh); Grease (North Carolina Theatre); The Full Monty, Annie Get Your Gun (Theatre Workshop of Nantucket); The Glass Menagerie (Bartlett Theatre); Rudolph the Red-Nosed Reindeer (Broadway Series South). Film/TV: Max Steel, Well Wishes, Adrenaline, Turn: Washington Spies, The Originals, Under the Dome, Revolution. Education: BA in Theatre (Performance Concentration) from the University of North Carolina at Wilmington.

Dan Toot Waiter/Ensemble

PlayMakers: Company member in second year of UNC’s Professional Actor Training Program. Sherwood: The Adventures of Robin Hood, Leaving Eden, Sense and Sensibility; PlayMakers Mobile A Midsummer Night’s Dream. Regional: Pericles (Chicago Shakespeare Theatre), Romeo and Juliet, The Tempest, A Midsummer Night’s Dream (Notre Dame Shakespeare Festival), Seascape (Oak Park Theatre Festival), Rose and the Rime (The House Theatre of Chicago) as well as appearances at The Hartford Stage, Montana Shakespeare in the Parks, Windy City Playhouse, Raven Theatre, the side project, Monomoy Theatre in Chatham, MA., and Goodspeed Musicals. Education: BFA in Acting from The Hartt School.

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CREATIVE TEAM Kirsten Sanderson Director

PlayMakers: Debut. Kirsten Sanderson has directed new plays by Michael John LaChiusa, Craig Lucas, Shel Silverstein, Steven Schwartz, and Blake Edwards, among others. Her work has been seen at Playwright’s Horizons, The Public Theater, PS 122, Circle Rep, Ensemble Studio Theatre, The Director’s Company, Sundance Theatre Lab, The Blank Theatre Company, Theatreworks USA, The Women’s Project, HBO Comedy Arts Festival, New York Fringe Festival, New York Music Theatre Festival, Carnegie Hall, Alice Tully Hall and Town Hall. Previous collaborations with Mr. LaChiusa include the original production of First Lady Suite at The Public Theater, Eulogy for Mr. Hamm/Break/Agnes/Lucky Nurse, at Playwrights Horizons, Little Fish and Sukie and Sue: Their Story at the Blank Theatre in Hollywood, as well as numerous outings in the Marathon at Ensemble Studio Theatre.

Mark Hartman Music Director

PlayMakers: My Fair Lady, Sweeney Todd, Assassins, Into the Woods, Cabaret, A Little Night Music, Othello, The Visit. Broadway: Sondheim on Sondheim (associate conductor), Avenue Q (associate conductor, music director), Miss Saigon, 1776 (Roundabout Theatre Company). Off-Broadway/Regional/ Tour: West Side Story, Sunday In The Park With George (Guthrie Theater); His Royal Hipness (59E59); Waterfall (Pasadena Playhouse, 5th Avenue Theater in Seattle); Silence! The Musical; Funny Girl, 9 to 5, A Christmas Carol (North Shore Music Theatre); Guys and Dolls (Big League Productions); Working (Broadway in Chicago, The Old Globe, Asolo Repertory Theatre); Gray Gardens (Cape Playhouse); Pippin (Goodspeed Musicals, national tour); Chita Rivera: The Dancers of Life (The Old Globe); Finian’s Rainbow (Irish Repertory Theatre); The Fantasticks (Sullivan Street Playhouse, Jerry Orbach Theater). Concerts: The Happiest Millionaire,Oliver!, Camelot, Brigadoon, Pippin, Children of Eden (New York City premier). Other: Arranger and Music Supervisor of Magic To Do, a new Stephen Schwartz revue with magic for Princess Cruises; recipient of three MAC Awards and the Backstage Bistro Award for Music Direction; Music Consultant on The Dead, 1904, a new immersive adaptation by Paul Muldoon of James Joyce’s masterpiece, currently in it’s third season in New York City.

Tracy Bersley Choreographer

PlayMakers: Movement coach and resident choreographer in her third season. As director/choreographer, Tracy Bersley has worked at such institutions as Lincoln Center, The Public Theater, BAM (Brooklyn Academy of Music), The Lortel Theatre, Primary Stages, McCarter Theatre, Williamstown Theatre Festival and many award winning Off-Broadway companies, such

as The Civilians and Red Bull Theatre. She has served as professor or guest artist at Yale School of Drama, Princeton University, New York University, Purchase College, Columbia University/Barnard College and The Juilliard School. Tracy received her MFA in Directing from Syracuse University and is currently the head of movement for the Professional Actor Training Program in the Department of Dramatic Art at UNC-Chapel Hill, a member of Stage Directors and Choreographers Society, and a Drama League Fellow.

Daniel Zimmerman Scenic Designer

PlayMakers: Debut. Off-Broadway: Fashions for Men (Drama Desk nomination; The Mint); After the Blast and Kill Floor (Lincoln Center); Friend Art (Second Stage); Suicide, Incorporated (Roundabout); You Got Older (Page 73 Productions); Be a Good Little Widow (Ars Nova). New York: The Play Company, Clubbed Thumb, Cherry Lane, Colt Coeur, Lesser America, The Pearl. Regional: Arena Stage, Dallas Theatre Center, Actors Theatre of Louisville, Humana Festival of New American Plays, NYS&F, Cincinnati Playhouse, Baltimore Center Stage, Trinity Repertory Company, Milwaukee Repertory Theater, Theatreworks Palo Alto, Portland Stage Company, People’s Light, Eugene O’Neill Playwrights Conference.

Bobbi Owen Costume Designer

PlayMakers: Company member during the entire existence of PlayMakers (more than 40 years), a resident costume designer for PlayMakers, and the Michael R. McVaugh Distinguished Professor of Dramatic Art. Recent highlights include Intimate Apparel, The Greeks, Life on the Mississippi (with The Red Clay Ramblers), Once In a Lifetime, All’s Well That Ends Well, Pygmalion, Ring ‘Round the Moon, Our Town, Cyrano De Bergerac (with Michael Cumpsty), Travesties, and The Importance of Being Earnest (with Kathryn Meisle). New York (Off-Broadway): Isadora Duncan Sleeps with the Russian Navy; Therese Raquin. Regional: Indiana Repertory Company, Charleston Stage Company, Alley Theatre, Alcazar Theatre, Houston Shakespeare Festival, North Carolina Shakespeare Theatre, Weathervane Theatre, Carolina Regional Theatre, U.S. Army at Ft. Bragg. Books: Eight books and dozens of articles about theatrical designers. Most recent: The Designs of William Ivey Long.

Amith Chandrashaker Lighting Designer

PlayMakers: Debut. Theater/Opera: The Drawer Boy (Soho Playhouse), Middletown (Atlantic Theater School), Twelfth Night (Mile Square Theater Company), Home for the Holidays (LTOTS), World of Wires ( Jay Schieb/ ICA Boston), A Lasting Impression (4th St Theater), Baal (Hoi Polloi), Carmen, La Boheme, Die Fledermaus (NJAVO), Rough Sketch (59e59), Angry Young Women… (Players Theatre), Measure for Measure (NYU Tisch), Festenmacher (Robert

Woodruff/NYU Tisch). Dance: Premieres by Sidra Bell, Alexander Ekman, Aszure Barton, Kate Weare, Benoit Swan-Pouffer, Cedar Lake Contemporary Ballet. Television: NBC Coverage of the 2012 Democratic Convention, CNN, WNBC, SNY Sports, MLS Soccer. Education: BFA Rutgers University: Mason Gross School of the Arts 2005, MFA NYU Tisch School of the Arts 2012.

Eric Alexander Collins Sound Designer

PlayMakers: Temples of Lung and Air, The Crucible, We Are Proud To Present…, Peter and the Starcatcher. Regional: Newsies, A Night With Janis Joplin, Gypsy, Jesus Christ Superstar (North Carolina Theatre); Once, Big Fish, Rock of Ages, The Secret Garden (Theatre Raleigh); MacBeth, Lynn Taylor-Corbett’s Dracula and The Little Mermaid (all World Premieres) at Carolina Ballet; The Music Man, Idina Menzel (in concert), Natalie Merchant (in concert) for the North Carolina Symphony; The 39 Steps, Anon(ymous), The (Real) Merry Housewives of Windsor (NC State University Theatre). A 25-year veteran of the pro audio field, Eric Alexander Collins has worked across the U.S, Europe, and Austrailia in venues from Ceasar’s Palace to the iconic Sydney Opera House. A North Carolina native, today Eric is proud to support the rich theatre community we have here.

Gregory Kable Dramaturg

PlayMakers: Company member since 1997. Productions include: Sweeney Todd, Peter and the Starcatcher, An Enemy of the People, Into the Woods, Private Lives, Clybourne Park, Red, Big River, Angels in America, Topdog/Underdog, The Illusion, Yellowman, The Subject Was Roses, Uncle Vanya, Violet: A Musical and Gross Indecency: The Three Trials of Oscar Wilde. Yale Repertory Theatre: Pentecost (American premiere); Le Bourgeois Avant-Garde. Directing: Playing for Time; Lulu; Hedwig and the Angry Inch; Sunday in the Park with George; Danton’s Death; Closer; The Lady From the Sea; Balm in Gilead; Jesus Christ Superstar; Therese Raquin; Hair; American Buffalo; Miss Julie; Curse of the Starving Class; Camino Real. Faculty: Department of Dramatic Art, UNC-Chapel Hill. Education: MFA, Yale School of Drama.

Tia James Vocal Coach

PlayMakers: Company member in her first season as head of Voice and Speech for the Professional Actor Training Program. Director of PlayMakers Mobile‘s Macbeth (2018). Broadway: The Merchant of Venice. Off Broadway/New York: The Merchant of Venice, The Winter’s Tale (Shakespeare in the Park, The Public Theater) Regional: The Review (Women’s Project) Loving and Loving (Stella Adler) Civilization: All You Can Eat (Woolly Mammoth). Directing: NYU Grad: Hamlet, The Mystery Cycles, Othello, Shakespeare Academy @ Stratford

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CT: Richard III, Two Gentlemen from Verona, Atlantic: A Bright New Boise. TV: Nurse Jackie, Treme. Teaching/Coaching: NYU Graduate Acting, NYU Dance, Atlantic Acting School, Montclair Univ. Education/Awards: MFA NYU Tisch Graduate Acting Program, BFA Virginia Commonwealth Univ., Teacher Training under Scott Miller from NYU Grad Acting and John Patrick from UNC Chapel Hill. Recipient of the 2014 NYU Graduate Acting Diversity Mentorship Scholarship, 2003 Kennedy Center American College Theatre Festival, Irene Ryan Acting Scholarship winner for Best Actor.

Charles K. Bayang Stage Manager

Charles is in his eleventh season with PlayMakers. Work at other regional theatres includes productions at Studio Arena Theatre, Merrimack Repertory Theatre, Huntington Theatre Company, Alabama Shakespeare Festival, Dallas Theater Center and Dallas Children’s Theatre. Charles holds an MFA from the University of Alabama/Alabama Shakespeare Festival and is a member of Actors’ Equity Association.

Elizabeth Ray Assistant Stage Manager

PlayMakers: Company member in her second full season. Skeleton Crew, Temples of Lung and Air, A-Train, Tartuffe, Dot, The Cake, Into the Woods, A Midsummer Night’s Dream, and Private Lives. New York: Shows for Days (Lincoln Center Theater), In the Secret Sea (Theatre Row), Wallenberg, Requiem for Mr. B, Presto Change-O (Frankel Green Production Company), and Welcome to Shoofly (Playwrights Horizons). Work at other regional theatres includes productions at North Carolina Theatre, Theatre Raleigh, Palm Beach Dramaworks, and Cape Fear Regional Theatre. Elizabeth is a member of Actors’ Equity Association.

Vivienne Benesch Producing Artistic Director

Vivienne is in her third season as a company member and PlayMakers’ Producing Artistic Director. For 12 seasons, she served as Artistic Director of the renowned Chautauqua Theater Company and Conservatory, presiding over the company’s transformation into one of the best summer theatres and most competitive summer training programs in the country. She directed over fifteen productions at CTC including an acclaimed re-imagining of Romeo and Juliet featuring the Chautauqua Symphony Orchestra, Theatre, Opera and Dance companies. She brought CTC’s production of Amadeus, performed with the Chautauqua Symphony Orchestra and Buffalo Philharmonic, to the Virginia Arts Festival featuring PlayMakers company member Ray Dooley. She has helmed productions of Leaving Eden, Mr. Joy, The May Queen, Three Sisters, Love Alone, RED and In The Next Room for PlayMakers, directed extensively for The Shakespeare Theatre of New Jersey, and directed The Heidi Chronicles for Trinity Repertory Company. As an actress, Vivienne has worked on and off-Broadway, 40 in film and television, and at many of the country’s most celebrated theatres. She

has appeared with Gene Wilder, Al Pacino and Blythe Danner, performed with Maggie Smith in the London revival of Edward Albee’s The Lady from Dubuque, and received an OBIE Award for her performance in Lee Blessing’s Going to St. Ives. Vivienne is a graduate of Brown University and NYU’s Graduate Acting Program. As an educator, she has directed for and served on the faculty of some of the nation’s foremost actor training programs, including The Juilliard School, UNC-Chapel Hill’s Professional Actor Training Program, Brown/ Trinity Rep MFA Program and at her alma mater, NYU’s Graduate Acting Program. Vivienne also holds a BA from Brown University. She is the 2017 recipient of the Zelda Finchandler Award given by the Stage Directors and Choreographers Foundation.

Justin Haslett Managing Director

Justin Haslett is in his third season as a company member at the helm of PlayMakers’ administrative operations. He has more than 15 years in notfor-profit theatre management experience. From 2007-2016, Justin served as Associate General Manager to Boston’s largest not-for-profit theatre, the Huntington Theatre Company, recipient of the 2013 Regional Theatre Tony Award. During his time at the Huntington, he oversaw production budgets, negotiated contracts with agencies and unions, managed Company Management, and worked with award-winning regional and national talent. Prior to his time at the Huntington, Justin served as Director of Development for Merrimack Repertory Theatre in Lowell, MA where he strengthened its foundation of engaged and generous community support. He also held multiple positions in development, marketing and management/administration for the Yale School of Drama, Yale Repertory Theatre and the International Festival of Arts & Ideas. Justin holds an MFA in Theatre Management from the Yale School of Drama and a BA in Theatre and Anthropology from Bowdoin College. He currently serves as the Chair of the Chapel Hill Cultural Arts Commission and teaches classes in theatre management at UNC-CH.

Michael Rolleri Production Manager

Michael is in his 32nd season with PlayMakers Repertory Company. He has been Technical Director, Project Manager, Exhibition Technician and Lighting Designer for industrial shows in the Southeast region, as well as lead carpenter for films, the U.S. Olympic Festival and scenic studios. He has also been a rigger in the Southeast region and has served on the executive board and as President of IATSE Local 417. Michael is a 30 year Gold Pin member of IATSE. An active member of USITT, he is a three-time winner at Tech Expo for the United States Institute For Theatre Technology. He is Associate Professor/Head of the Technical Production Program at UNC-Chapel Hill and was an instructor at High Point University and Tufts University. Education: MFA in Design and Technical Production, UNC-Greensboro. 41

GENERAL INFO

JOAN H. GILLINGS CENTER FOR DRAMATIC ART CB# 3235, UNC-CHAPEL HILL CHAPEL HILL, NC 27599-3235 BOX OFFICE: 919.962.7529 WEBSITE: WWW.PLAYMAKERSREP.ORG facebook.com/playmakersrep @playmakersrep instagram.com/playmakersrep playmakersrep.org/blog

Box Office Hours Monday-Friday 12:00 noon-5:00pm and 90 minutes prior to each performance. Use of Cell Phones and Other Electronics Texting and using cell phones, laptops, smart watches, and other devices that make sounds or emit light are strictly prohibited during the performance. It disturbs other patrons and the actors. Please turn all electronic devices to silent or off during the show. Cameras or Recording Devices Taking photographs or videotaping inside the auditorium is strictly prohibited during performances. However, before the show, during intermission, and after the show, you are invited to take and share your photos of the stage and scenery.

PLAYMAKERS Parking Come early to have a complete PlayMakers experience! Plan to arrive 30 minutes before the show so that you have time to park, find your seat, and enjoy the playbill with a drink or a light snack. Please note that campus parking is maintained by UNC’s Department of Public Safety, and while free and open to the public after 5:00pm and on weekends, parking is frequently used by the larger UNC population and the Chapel Hill community. Therefore, please allow yourself time to find parking. More information is on PlayMakers’ website: www.playmakersrep.org/visitor-info. Policy on Young Children As a courtesy to our patrons, it is the policy of PlayMakers not to admit children under the age of 5. All of our shows have age recommendations based on the content of each production. If you are considering bringing your child, please refer to our age recommendations, or contact our Box Office for further information. All patrons, regardless of age, must have a ticket. Headsets for Hearing Impaired Patrons Our theatres are equipped with sounds systems that amplify the sound from the stage. Patrons who wish to use the system may obtain headsets on a first-come, first-served basis from the coat check. Headsets must be returned immediately after the performance. Late Seating and Leaving Your Seat during the Performance In order to minimize disturbance to other patrons and the actors, late seating will be provided at the discretion of the house manager at an appropriate break in the action on stage. Patrons who need to be seated late must be escorted by house staff to seats at the rear entrance of the auditorium. Patrons can take their regular seat at intermission. We discourage patrons from leaving their seats during the performance. Be advised that you most likely will not be able to return to your regular seat; patrons will be reseated by house staff at the rear of the auditorium.

Thank you for your cooperation.

PLAYMAKERS Administration Vivienne Benesch, Producing Artistic Director Justin D. Haslett, Managing Director Martha Shannon, Grant Manager ARTISTIC OFFICE Kathryn Hunter-Williams, Company Artistic Associate Students: Taylor Brunson, Mahika Kawale, Alejandro Rodriguez, Producing Associate Ashley Legoas, Madison Walters Jeri Lynn Schulke, Engagement Associate MARKETING & AUDIENCE SERVICES Tracy Bersley, Movement Coach Diana Pineda, Director of Sales & Marketing Tia James, Vocal Coach Thomas Porter, Box Office Manager Gregory Kable, Dramaturg Rosalie Preston, Associate Director of Marketing Jacqueline E. Lawton, Dramaturg Alex James, Audience Services Associate Mark Perry, Dramaturg Julie Lucier, Audience Services Manager Adam VersĂŠnyi, Dramaturg McKenzie Millican, Tessitura Coordinator Students: Gabriella Cila, Zaire Cullins, Brittany Petruzzi, Marketing & Comm. Associate Allyx Miles, Jada Poteat, Nijah Poteat, Gage Tarlton, Box Office Students: Logan Anderson, Joshua Wahab, Sophie Wise Liam Becker, Briana Colbert, Ashley Curry,

ADMINISTRATION

Ben Finsel, Ursula Gamache, Matthew Gregoire, Lauryn Hyatt, Chloe Jones, Gillian Montgomery, Giuliana Palasciano, Sydnni Poole Front of House Students: Aubree Dixon, Imani Edwards, Philip Guadagno, Grey Howard, Priya Naik, Agustin Noguera, Geomae Peterson, Alex Schmidt, Nya Spinks, Jenna Zottoli Marketing Students: Brooklynn Cooper, Cai Davis, Jamya Graham, Elizabeth Holmes, Rob Piscitelli, Tamara Royster, Salihah Siddiqui

Joe Emeis, General Manager Frank Bermel, Accountant Abbey Toot, Company Manager, Executive Assistant Lauren Vandemark, Business Operations Coordinator Students: Bailey Elrod, Anna Longenecker, Caroline Norton, Abby Wooten, Lily Yang

DEVELOPMENT Lenore Field, Corporate Relations & Events Manager Shea Fitzgerald, Assistant Director of Development

Department of Dramatic Art Adam VersĂŠnyi, Professor and Chair

FACULTY

Jeffrey Blair Cornell, Associate Chair, Teaching Prof. Dominic Abbenante, Teaching Assistant Professor David Adamson, Lecturer Judy Adamson, Professor of the Practice Milly S. Barranger, Alumni Distinguished Prof. Emerita Vivienne Benesch, Professor of the Practice Tracy Bersley, Assistant Professor Jan Chambers, Professor McKay Coble, Professor Howard Craft, Professor of the Practice Ray Dooley, Professor Samuel Ray Gates, Assistant Professor Julia Gibson, Assistant Professor Jennifer Guadagno, Teaching Assistant Professor David A. Hammond, Professor Emeritus Justin Haslett, Teaching Assistant Professor

Kathryn Hunter-Williams, Teaching Assoc.Professor Letitia James, Teaching Assistant Professor Gregory Kable, Teaching Professor Kimball King, Lecturer Jacqueline E. Lawton, Assistant Professor Adam Maxfield, Teaching Associate Professor Triffin Morris, Professor of the Practice David Navalinsky, Associate Professor Bobbi Owen, Distinguished Professor Kathy A. Perkins, Professor Emerita Mark Perry, Teaching Assistant Professor Rachel E. Pollock, Teaching Assistant Professor Bonnie Raphael, Professor Emerita Michael Rolleri, Associate Professor Aubrey Snowden, Teaching Assistant Professor Craig Turner, Professor Emeritus

STAFF

Frank Bermel, Accountant Betty Futrell, Student Services Specialist

Jamie Strickland, Business Officer Lauren Vandermark, Business Operations Coordinator

OUR 2018/19 SEASON Production Michael Rolleri, Production Manager Charles K. Bayang, Stage Manager Elizabeth Ray, Stage Manager DRAM 193: Janki Balar, Annie Ball, Dalia Blevins, Kathryn Brown, Sean Crane, Aubree Dixon, Hannah Drury, Elizabeth Durham, Danny Ferguson, David Fine, May Flowers, Peyton Furtado, Bellamy Harden, Joel Hockaday, Liz Howard, Michael Jabar, Ethan Jordan, Danny Kohring, Brian Koo, Cole Kordus, Marissa Lupkas, Emily MacKillop, Michele Metzger, Savannah Midgette, Victor Ramirez, Laura Youngblood

COSTUMES

Triffin Morris, Costume Director Jennifer Guadagno, Assistant Costume Director Kelly Anne Johns, Wig & Wardrobe Supervisor Rachel Pollock, Costume Craftsperson Alex Ruba, Costume Collection Coordinator Costume Production Graduate Students: Ellen Cornette, Cami Huebert,Samantha Reckford, Jane Reichard, Erin Rodgers, Danielle Soldat, Lauren Woods Undergraduate Assistant: Olivia Herrera DRAM 192: Rachel Bleggi, Joshuah Cates, Mia Collins, Caroline Greenlish, Ashlei Heffernan, Livian Kennedy, Marissa Lupkas, Emily Pirozzolo, Tiffany Small, Sydney Taylor, Kendall Walker, Laura Youngblood Work Study Students: Hannah Berg, Karmen Black, Riley Brozovsky, Carla Diaz, Indigo Laibida, Amelia Locklear Volunteers: Pareen Bhaget, Emily-Jane Jackson, Isabella St. Onge, Naomi Eckhaus

LIGHTING

Dominic Abbenante, Lighting/Video Director Students: Jahel Gomes, Madison Haines, Rebecca Henry, Nathan Jenkins, Lara Madrid, Carrington Newland, Alessandra Quattrocchi, Autumn Skerlec

PROPS

Andrea Bullock, Properties Master Adrienne Call, Props Artisan Kevin Pendergast, Props Artisan Students: Kayla Bailey, Anna Ballard, Meghan Chandless, Kenly Cox, Hannah Fatool, Macy Jones, Nhi Nguyen, Gabby Reenstra

SCENIC

Adam Maxfield, Technical Director Laura Pates, Assistant Technical Director Donald Quilinquin, Master Carpenter Jessica Secrest, Scenic Artist Technical Production Graduate Students: TJ Hansen, Rocky Love, Nate Pohl, Kyle Spens Undergraduate Assistant: Laika Maganga DRAM 191: Nina Barnett, David Fine, Alyssa Geary, Nicholas Guariglia, Aspen Jackson, Ethan Jordan, Kent McDonald, David Oltman, Gabby Reenstra, Caroline Robinson, Kelly Wygant Work Study Students: Afua Abonuhi, Faith Benton, Abigail Carter, James Faucette, Carlexa Fevry, Susan Huynh, Cole Kordus, Julia Kwierzynski, Cheyenne Lowery, Lindsay Pendleton, Nathaniel Phelan, Sarah Pollack, Lesly Portillo Ramirez, Nina Quevedo, Kari Spenser

SOUND Derek Graham, Audio Designer/Engineer Student: Marisa Clemente

PlayMakersâ&#x20AC;&#x2122; Resident Acting Company David Adamson Jeffrey Blair Cornell

Ray Dooley Julia Gibson Samuel Ray Gates Kathryn Hunter-Williams Professional Actor Training Program: Emily Bosco, Geoffrey Culbertson, April Mae Davis, Rishan Dhamija, Alex Givens, Brandon Haynes, Sarah Elizabeth Keyes, Jenny Latimer, Shanelle Nicole Leonard, Christine Mirzayan, Tristan Parks, Adam Poole, Dan Toot

For this Production of She Loves Me Dennis Yueh-Yeh Li, Assistant Director Laura Pates, Technical Director Rocky Love, Assistant Technical Director Nate Pohl, Shop Lead Jordon Ross Weinhold, Orchestrator Andrew Knudsen, Music Assistant

Ben Rawson, Assistant Lighting Designer Jennifer Guadagno, Asst to the Costume Designer Sam Reckford, Asst to the Crafts Artisan Drapers: Cami Huebert, Jane Reichard, Danielle Soldat First Hands: Ellen Cornette, Erin Rodgers, 45 Lauren Woods

PlayMakers Repertory Company is a program of the Department of Dramatic Art, The College of Arts and Sciences, The University of North Carolina at Chapel Hill. The North Carolina Arts Council, a division of the Department of Cultural Resources, recognizes PlayMakers as a professional theatre organization and provides grant assistance to this organization from funds appropriated by the North Carolina General Assembly and the National Endowment for the Arts. PlayMakers is a beneficiary of the Elizabeth Price Kenan Endowment and the Lillian Hughes Prince Endowment. PlayMakers Repertory Company is a Member of Theatre Communications Group (TCG), the national organization for the American theatre. This Theatre operates under an agreement between the League Of Resident Theatres (LORT) and Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers in the United States. The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE. The Director and Choreographer are members of the Stage Directors and Choreographers Society, an independent national labor union.

CELEBRATE

WAYS GIVE

Invest in the Arts. MAKE A GIFT. MAKE A DIFFERENCE. PlayMakers Repertory Company grew out of a storied Carolina history starting with the founding of the Carolina Playmakers in 1918. With your partnership, PlayMakers can plan for the next 100 years of excellence and impact. Make a gift now to support our vision for world class theatre, visionary leadership, and vital community programs.

HOW YOU CAN HELP We’ve already raised $300,000 towards our Annual Fund goal. With your help, we can reach 100% of our campaign goals.

$300,000 raised $6,000,000 raised

Annual Fund $500,000 Endowment $10,000,000

We’re well on our way, but your support is imperative!

Online

playmakersrep.org/thecampaign

SUPPO

By Phone or Email

Shea Fitzgerald Asst Director of Development shea.fitzgerald@unc.edu 919.962.2481

By Mail

Send your check to: PlayMakers Development Office CB 3235 University of North Carolina Chapel Hill, NC 27599-3235

BE A PART SUPPORT

of the

DOUBLE. YOUR. IMPACT. YOUR. DOUBLE. CELEBRATE A very generous donor has offered PlayMakers a $20,000 challenge match for new and increased donations made between now and December 31, 2018. Help us secure the $20,000 challenge match while doubling the impact of your gift!

ORT $10,800 Raised

Match Challenge $20,000 as of 11/6/18

Engage with our community through world-class artistry and profound conversation with our intergenerational audiences Keep ticket prices affordable for all Secure and expand K-12 arts-in-education and community partnerships that engage, inform, and entertain non-traditional audiences throughout the Triangle

To find out more on how you can participate, visit playmakersrep.org/give.

FRIENDS OF PLAYMAKERS PlayMakers is grateful to the members of the Friends of PlayMakers for their generous support. For more information about how to join this dynamic group of supporters, call the PlayMakers Development Office at 919.962.2481 or visit us at playmakersrep.org.

Director’s Circle ($10,000+)

The Educational Foundation of America Joan H. Gillings * + The Charles Goren and Hazen Family Foundation, Trustees Tom and Lisa Hazen Matt and Bobbi Hapgood * Brian Hargrove and David Hyde Pierce The Lewis R. Holding Fund of the North Carolina Community Foundation Mrs. Frank H. Kenan * + Charles W. Millard III Trust National Endowment for the Arts North Carolina Arts Council The Prentice Foundation * Robertson Foundation Shubert Foundation

Angel ($5,000–9,999)

Dr. Charlie Atkins * Chapel Hill-Carrboro Youth Forward Munroe and Becky Cobey College of Arts and Sciences * Cheray Duchin + F.M. Kirby Foundation Joanne and Peter Garrett Hartfield Foundation Tom and Lisa Hazen + Mr. Thomas S. Kenan, III * Kenan-Flagler Business School * Dr. and Mrs. Kimball King * D.G. and Harriet Martin * + Mr. and Mrs. William O. McCoy National New Play Network Jim and Florence Peacock * + Edwin and Harriet Poston * Lauren Rivers and Janelle Hoskins * Coleman and Carol Ross SunTrust Bank * UNC School of Dentistry * UNC School of Education * Betsy Blackwell and John Watson * 50 Jim and Bonnie Yankaskas

Investor ($2,500–4,999) Richard and Deirdre Arnold ^ Andrew and Katherine Asaro ^ * Ed and Eleanor Burke Tom and Holly Carr Dustin and Susan Gillings Gross * Stuart and Duncan Lascelles * Robert Lontz * Mark and Julie Morris + Robert and Marilyn Pinschmidt David Sontag

Page to Stage ($1,500–2,499) Anonymous David and Judy Adamson * Chris Bavolack and Martha Huelsbeck Steve Benezra ^ Jan and Jim Dean Peter and Kim Fox * Kevin and Amy Guskiewicz * + David Howell Joanna Karwowska and Hugon Karwowski ^ Myron B. and Anne C. Liptzin Paul and Linda Naylor ^ Jean and Joseph Ritok SunTrust Foundation Alan H. Weinhouse Ford and Allison Worthy *

Partner ($1,000–1,499) Bruce and Mary Barron Mr. and Mrs. Jackson Breaks Molly and Bob Broad Rosalie M. Cassidy Michael and June Clendenin Cindy and Thomas Cook Dr. Carrie Donley Joy and Chet Douglass Dr. and Mrs. John P. Evans Carol Folt and David Peart * Laura Gasaway + Robert and Dana Greenwood

Drs. Sid and Suzanne Gulledge * Pam and Jim Heavner * Hill Family Fund 2 of the Triangle Community Foundation Drs. Carol C. Hogue and Gordon DeFriese Bitty and Bill Holton Shirley and Tom Kunkel Dr. Lauren Leve * Scott Levitan * James and Susan Moeser Panter Foundation Bettina Patterson ^ Josephine Ward Patton + Rich and Marilyn Jacobs Preyer Ram Omni, LLC * Dr. Uday Reebye * Alec Rhodes James and Janet Robles John E. Spence * Michael and Barbara Walsh Jesse L. White, Jr. Clarence Whitefield

Backer ($500â&#x20AC;&#x201C;999)

Charles M. Abbey Howard and Penny Aldrich Pete and Hannah Andrews ^ Katherine Asaro ^ + Evelyn Barrow John and Patti Becherer Diane Beckman + Vivienne Benesch * + Stephen S. Birdsall Dr. Stanley Warren Black, III Linda and Cliff Butler * Lisa Capetanos + Bill Cobb and Gail Perry * Jeff Cornell * Dede Corvinus + Fred and Jane Dalldorf Jan Dean + Mâ&#x20AC;&#x2122;Liss and Anson Dorrance * Bob and Connie Eby Cauveh Erami * Jaroslav and Linda Folda John and Diane Formy-Duval ^ Deborah and Michael Gerhardt + Carolyn and Jim Harris Martha Hauptman +

C. Hawkins ^ Carol Hazard and Winston Liao David and Leslie Henson Joel and Christine Huber Steve and Lisa Jones * Lisa Kang + Brenda W. Kirby Lois Knauff and Mike Maness Kathryn and Robert Kyle Anand and Sandhya Lagoo Douglas and Nelda Lay Stephen and Karen Lyons Douglas MacLean and Susan Wolf John and Alice May * Sandy and Ned McClurg ^ Holly and Ross McKinney Graig and Jennifer Meyer * Mary N. Morrow John and Deborah Mullins * + Linda W. Norris Robert and Joyce Anne Porter Jane Preyer and Lark Hayes * David and Lisa Price Vikram Rao and Susan Henning

Linda and Alan Rimer Terry Rhodes * Dr. Scott De Rossi * Terrence and Marguerite Sullivan Jim and Judy Taft Jackie Tanner + James Taup Dr. Catherine Kuhn and Glenn Tortorici Stacey Wallen + Ashley and John Wilson Rick and Jennifer Woods * David and Heather Yeowell

Supporter ($250â&#x20AC;&#x201C;499)

Anonymous Virginia Aldige David Ball and Susan Pochapsky Tony and Susan Barrella Adam Beck ^ John W. Becton and Nancy B. Tannenbaum Shula and Steve Bernard Jim and Martha Bick Frank and Sally Binkowski Julie Blatt and Arthur Greenberg Julia Borbely-Brown ^ David Brehmer and Megan Matchinske Ken and Margie Broun Joyce Carver Bumann Lucille Burkett-Hoffman ^ Keith Burridge and Patricia Saling Glenn and Patricia Camp Philip and Linda Carl Sarah Casey * Beverly Chapin Norm and Portia Christensen Dennis Clements and Martha Ann Keels Marshall and Phyllis Clements Joseph and Elizabeth Cook Lawrence S. Craige Nancy and Mark Dewhirst Kathleen DuVal and Marty Smith Steven and Sandra Dykes Jo Anne and Shelley Earp Claire Ebbitt ^ Jeff and Kamie Edwards Jerry and Adelia Evans Mr. and Mrs. Philip W. Ewing Barbara and Chris Exton James Faber and Mary Musacchia

Pat and Frank Fischer ^ Kim and Stephen Fraser Beth Furr John and Ann Gabor Albert and Mary Guckes Carol and Nortin Hadler Toby and Cheryl Harrell Justin D. Haslett and Gia Podobinski * Marianna Matthews Henry Don and Kay Hobart Terrence Holt and Laurie Langbauer Mr. and Mrs. David G. Hubby William W. Hurd Gerda G. Hurow Lynne and Walter Jacobs ^ Mary Kerrigan Brian and Moyra Kileff Lynn K. Knauff Richard and Lynne Kohn Dr. Leonard and Ruth Kreisman ^ Marie E. Kulchinski Carol and Alexander Lawrence Joan Lipsitz and Paul Stiller Dayna Lucas Mort and Cheryl Malkin Dr. and Mrs. Robert N. McCall Sharon and Alan McConnell Ross and Margaret McKinney Sr. Larry McManus Ray and Bev Milton Pat and Mary Norris Oglesby Lois Oliver Lee and Barbara Pedersen Beth and Larry Peerce Mark and Eugenea Pollock Jodi and Glenn Preminger Drs. Sharon and Chris Ringwalt Margaret Anne Rook Jan F. and Anne P. Sassaman William Sharpe Barry Slobin and Carol Land Dr. and Mrs. Sidney C. Smith John and Carol Stamm Margaret Griswold Teasley Glenn Veit and Judy Kane Patrick Wallace and Laurie McNeil Roger and Marlene Werner Katherine White

Ann and Frank Wilson Meribeth Withrow

Patron ($100â&#x20AC;&#x201C;249)

Anonymous Fouad Abd-El-Khalick and Lama Boufajreldin * Mary Altpeter Mr. and Mrs. Thomas E. Archie Tony and Bonnie Armer Dr. Elaine Arrington Katie Baer Phil and Ellen Baer Clifford and Robin Bailin Guy and Ingrid Baird Dan and Susan Barco Samuel and Laura Baron Judith Barton Barry Bayus and Anna Chao Larry and Sheila Benninger Kitty Bergel Patricia C. Beyle Dolores Bilangi Sara and Richard Bird Mr. and Mrs. David Birnbaum Jill and Dick Blackburn Mr. Joseph Blair and Sandra Peyser Peter and Denise Bleckner Scott and Victoria Bouldin Donald A. Boulton Carol Brainard and Nancy Hardin Mitchell Breit William Brettmann ^ Maurice and Mary Hughes Brookhart Mr. and Mrs. William Browder Greg and Lisa Brown * Renee A. Brown Lyndon E. Brown, PhD Dean and Catherine Burnette * Maurice and Joan Bursey Douglas Call and Susan Warwick Dr. Leigh Fleming Callahan Paul and Amelia Carew Hodding Carter Clara Cazzulino Dr. Margaret Champion Richard Chase and Terry Parsons Dr. and Mrs. Jason K.S. Ching Ellen Clevenger-Firley

Betty and Gilles Cloutier Anne Coenen Margaret Cohen Robert F. Coleman, III ^ In memory of Susan Hurst Rappaport Jeffrey Collins and Rose Mills Geneva Collins and Theodore Fischer ^ Mr. and Mrs. Rudolf J. Colloredo-Mansfeld Mrs. Michael Colvin Marcella Congdon Elizabeth Cook Jay and Barbara Cooper Greg Copenhaver Dr. Mary Covington and Mike Patil Adrienne and John Cox Ellen and James Cox Linda G. Craney Karen Dacons-Brock Jacobi and Jerry Daley Barbara and Allen Dearry Hampton and Jolynn Dellinger * Mr. and Mrs. Robert Bigelow DeMaine Leslie Deslis Todd Dickinsen and Helen Kalevas Judith Dimon Alec and Georgia Donaldson Caroline Donaldson and Ephraim Firdyiwek Ray Dooley and Rebecca Bailey * Kerry and Julia Draeger Dr. and Mrs. Claude Wallace Drake Terry Byrd Eason and Jonathan D. Whitney Connie Eble Bobette Eckland and Richard Kamens E.M. Eddy and D.A. Oâ&#x20AC;&#x2122;Brien Donald and Audrey Esposito George Evans Carrie Faber * Laurice Ferris ^ Joao de Figueiredo Jon and Susan Fish Brian K. Flatley Christina and Richard Folger Dorathea Foote ^ JoAnn and Stan Fox Stanley and Rabbi Suri Friedman W. Patrick Gale ^ Bennett Galef Maggi Gallagher and Don Castro

Harolyn J.L. Gardner Mat Gerard * Tom and Victoria Gerig Adam and Jennifer Gerdts Mike and Bonnie Gilliom Ugo Goetzl Scott Goldsmith Mr. and Mrs. Henry Grabowski John and Lucy Grant Dorothy Gration Elizabeth Grey Gail and Steve Grossman Kay Gruninger Priscilla Guild Owen Gwyn Gayla Halbrecht Nancy Haltom Bruce Hamilton and Jennifer Weiss Mr. and Mrs. James C. Hayes Charlotte Henshaw William Hicks Shayna A. Hill Ann Hillenbrand Ann Holloman Jewel Hoogstoel Mary Howes In memory of Jonathan B. Howes John and Joyce Hren Brad and Debra Ives * Charles and Betty James Charles and Ellen Johnson Justin Johnson Robert and Cecelia Jolls Christy Jones Ann Moss Joyner David Jung Bobby and Claudia Kadis Richard and Sally Kahler Drs. John F. and Joy S. Kasson Mr. and Mrs. Charles Kaufman Tom Keeler and Dr. Keturah Faurot Charles R. Keith and Muki W. Fairchild Vance and Marilyn Kelley Jack and Carol Kepler Kristi Kerins Moise Khayrallah * Carole and Gary Kibler Ted and Marilyn Koenig

Frank Konhaus and Ellen Cassilly ^ Elizabeth K. Koonce David and Vivian Kraines Timothy A. Kuhn Joseph Labenson Ted and Debbie LaMay Randy and Cathy Lambe Betty Ann Landman Robert Lauterborn In memory of Sylvia Lauterborn William Leary John and Ruth Leopold Rick and Kathleen Lessard Dr. Philip and Anne Lewis ^ Betty and John Leydon Roy Lindahl and Marian Stephenson Erika Lindemann David Linquist * James and Mary Lou LoFrese Dr. and Mrs. Miles Lovelace Carol Lucas Taylor and Thomas Ludlam * William Mahony and Joyce Boucheron Raleigh and Betsy Mann Rosalie Marcus Chris and Caroline Martens Shelley Masters Bill and Susan Mattern Ann and Webb McCracken Patrick Joseph McLane ^ Lee McLean Pat and Bob McQueen Cathleen Melton and Larry Greenblatt Carol and Eric Meyers Herbert and Jeanne Miller Susan Minnix and Ronald Manka Dori Mitzi Dana Mochel Kristen Monahan Gustavo and Joan Montana Cecelia D. Moore ^ Merry-K Moos Suzanne Morrah and Robert Jenkins Charles Mosher and Pamela St. John Margaret B. Mullinix Kate Murphy Judy Murray Lee and Ava Nackman Ursula Nebiker

Betty Nies Edward and Shirley O’Keefe Glenn E. O’Neal Norman and Roberta Yule Owen ^ Patsy Owens * Elizabeth Paley and Stefan Zauscher William Palmer and JoAnn Hotta Julie K. Paxton Dr. Cort Pedersen Robert Peet Arnold Pender Diane Pettifor Nancy Smith Pfeiffer In memory of Betty Smith John and Sally Pinnix Gordon and Jo Ann Pitz Stephen and Lyn Pizer Chris Plaks Dr. Martin and Barbara Poleski Theodore and Margaret Pratt Steven E. Quasny Maureen Quinn-Rubin Dr. Donald J. Raleigh

Chapel Hill’s Real EstateSpecialist CELEBRATING

Tony Hall RESIDENTIAL REAL ESTATE

311W. Rosemary Street Chapel Hill, NC 27516 919.933.8500 • 800.382.0673 tonyhall@tonyhallassociates.com www.tonyhallassociates.com

Jean Rhyne Geraldine and Gary Richards Kay Richardson Richard and Sue Richardson Sandra Roberts * Mrs. Paul Rohrdanz Judith L. Ruderman Mary Ann Ruegg Laura and Reid Russell Florence and Paul Safran Dale Sandler Allie and Ian Scales ^ Carol Schachner ^ Stephanie Schmitt Jim and Cindi Schrum Bill Schwab Dr. Caryl Jane Schwartzbach Georganne Sebastian John and Lucia Sehon Pat Shane Carl and Eve Shy Ilene Siegler and Charles Edelman Caroline Sikorsky Howard Simon Sim Sitkin and Vivian Olkin Mike and Kim Slomianyj Mariechen W. Smith Peter and Rosalyn Smith Dr. and Mrs. Stuart Solomon ^ Chuck and Marlene Spritzer Kimberly W. Spurr Susan F. Stedman Andy Stewart and Peggy Kinney ^ Lee and Barbara Strange Dr. Lishan Su ^ James and Sarah Swenberg Dr. Mary Lou Szymkowski & Dr. Lindsey Puryear

Beverly Taylor Daniel and Linda Textoris Charles Thomas and Suzanne Maupin Bruce and Carol Tomason Jeff and Nancy Tudor Nancy Tunnessen David Burr and Rustine Unger Robert W. Upchurch John and Donna van Arnold ^ Barney and Vivian Varner Carol and Jim Vorhaus Lynn H. Voss Deborah and Jonathan Wahl Sandy and Bill Wall The Rev. Wendy R. and Mr. W. Riley Waugh Tovah Wax and Lucjan Mordzak Marlene and Ken Whitt Coleman Whittier Jane Williams Blanche S. Williamson Calvin and Carrie Williamson * Maureen A. Windle and Douglas Cary ^ Jane Pettis Wiseman Peter Witt Janice and Richard Woychik Edward and Phyllis Wright David and Dee Yoder Kristen Smith Young and Dylan Young Elizabeth Youngs and Richard Haynes * Justin Yung ^

^ * +

Sustainers Club Member PlayMakers Gala Supporter Womenâ&#x20AC;&#x2122;s Point of View (WPOV) Leadership Council Member

This list is current as of October 21, 2018. If your name is listed incorrectly or not at all, please contact PlayMakers Development Office at 919.962.2481. We will ensure you are recognized for your thoughtful support.

OUR PARTNERS PlayMakers gratefully acknowledges the generous support of our corporate and foundation partners for the 2018/19 Season. Coffee Provided by Larry’s Coffee PlayMakers Gala Wine Sponsor Glasshalfull PlayMakers Gala Spirits Sponsor TOPO PlayMakers Opening Night Post Show Receptions provided by Il Palio Restaurant, Jujube, The Catering Company of Chapel Hill PlayMakers Bartending Service provided by Sugarland

CORPORATE CO-PRODUCERS

PLAYMAKERS’ 2018/19 SEASON IS MADE POSSIBLE IN PART BY GRANTS FROM: Congratulations and thank you to the North Carolina Arts Council for 50 years of leadership and support.

FOUNDATION SUPPORT The Shubert Foundation, National Endowment for the Arts, North Carolina Arts Council, The Educational Foundation of America, Chapel Hill-Carrboro Youth Forward, Hartfield Foundation, F.M. Kirby Foundation, Fund for the Triangle–Support for the Arts of Triangle Community Foundation, SunTrust Foundation ADDITIONAL FUNDING FOR GUEST ARTISTS IS PROVIDED BY Robert Boyer and Margaret Boyer Fund, Louise Lamont Fund, Emeriti Professors Charles and Shirley Weiss Fund PRODUCING COUNCIL American Party Rentals, Glasshalfull, Jujube Restaurant, Linda’s Bar and Grill, Mebane Lumber, Residence Inn Chapel Hill, Hyatt Place Durham/ Southpoint, The Siena Hotel/Il Palio Restaurant CORPORATE COUNCIL Aloft, Cambria Suites, DeMaison Selections, Inc., University Florist ASSOCIATES House of Frames, Carolina Brewery

Age really is about attitude? Bingo.

There are a lot of ways you can spend your golden years. You could sit around and wait for the grandkids to visit. Decorate with doilies. Play Bingo. Or you could live it up at The Cedars of Chapel Hill. Our thriving, age-diverse Meadowmont community is designed for your active lifestyle. You can practice Tai Chi. Learn French. Have a comprehensive health care plan so you can Zumba with reckless abandon. Travel the world and then come home to your own home. This is your time. You can spend it playing games or you can spend it working on your bucket list.

Call 919-259-7927 today to learn more about life at The Cedars. www.cedarsofchapelhill.com

OUR ADVERTISERS

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American Party Rentals Carolina Performing Arts The Catering Company The Cedars of Chapel Hill Craven Allen Gallery/ House of Frames The Fragrance Shop The Forest at Duke Galloway Ridge Glasshalfull

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Il Palio Jujube Larry’s Coffee Linda’s Bar & Grill North Carolina Symphony Residence Inn Tony Hall & Associates UNC-TV University Florist and Gifts

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THEATRE

THAT

SHIFTING GROUND

MOVES

Experience entertaining, soul-stirring stories of discovery, reflection, and shifting power dynamics. Be a part of #TheatreThatMoves

MAINSTAGE SEASON: SEP 12–30

OCT 10–28

REGIONAL PREMIERE

KEN LUDWIG’S

NOV 14–DEC 9

SKELET

S H E RWO O D :

SHE

CREW

THE ADVENTURES OF

ROBIN HOOD

BY DOMINIQUE MORISSEAU

BOOK BY JOE MASTEROFF MUSIC BY JERRY BOCK LYRICS BY SHELDON HARNICK

Merry men, Maid Marian, and much merriment

Where do you go when the line stops moving?

A holiday musical that goes straight to the heart

JAN 23–FEB 10

FEB 27–MAR 17

WORLD PREMIERE

APR 3–21

LIFE GALI OF LE 0

PULITZER PRIZE WINNER

HOW I LEARNED TO

BY CHARLY EVON SIMPSON

BY BERTOLT BRECHT

BY PAULA VOGEL

An unexpected bridge between sorrow and hope

How long can a truth be denied?

A survivor's guide to the rules of the road

PRC 2 SEASON:

BY KANE SMEGO A hip-hop odyssey through race and identity

BEWILDERNESS BY ZACHARY FINE A comedic look at Thoreau’s epic failure on the way to success

APR 24–28

JAN 9–13

AUG 22–26

TEMPLES OF LUNG AND AIR

ALL TITLES AND DATES SUBJECT TO CHANGE.

YOUR HEALING IS KILLING ME BY VIRGINIA GRISE A performance manifesto

PLAYMAKERSREP.ORG 919.962.7529

Our Kenan Stage features works by new voices, sure to provoke conversation and push the boundaries of what we understand theatre to be.