The Long Christmas Ride Home by Paula Vogel Directed by Peter Sampieri
December 3 -10, 2020
Tickets for this recorded performance available at salemstatetickets.com
The Long Christmas Ride Home by Paula Vogel Directed by Peter Sampieri
December 3-10 2020 Recorded in the Sophia Gordon Center for Creative and Performing Arts
THEATRE The Salem State University Theatre and Speech Communication department presents
THE LONG CHRISTMAS RIDE HOME by Paula Vogel
Director and Puppetry/Movement Choreographer Peter Sampieri** Dance Choreographer Schanaya Barrows Scenic and Projections Designer Michael M. Harvey Costume and Puppet Designer Jane Hillier-Walkowiak Lighting Designer Mathias Cardona Sound Designer Topher Morris Props Masters Stacey Horne-Harper and Hannah Ashe Stage Manager Alex “Bovie” Boisvert **
THE LONG CHRISTMAS RIDE HOME is presented by special arrangement with Dramatists Play Service, Inc., New York. THE LONG CHRISTMAS RIDE HOME received its New York premiere by the Vineyard Theatre, Douglas Aibel, Artistic Director, October 2003. The world premiere of THE LONG CHRISTMAS RIDE HOME was produced by Trinity Repertory Company, Oskar Eustis, Artistic Director; Edgar Dobie, Managing Director, May 2003
CHAIRPERSON LETTER Dear Theatre Patrons, Welcome to the Salem State Theatre and Speech Department 20202021 season. As we all know, 2020 continues to be a turbulent year of pandemic, social injustices and a divided nation. We are living in uncertain times. I am so very worried about the health of our faculty and staff, our students, and our patrons. However, the theatre must strive to tell new stories, inspire and invigorate audiences. We open our season with Friedrich Dürrenmatt’s The Visit, a riveting, dark comedy about a scorned woman›s revenge, which explores the darkest depths of human nature. Adjunct professor, Sara Colon, is directing the play. The play is being presented via Vimeo. The second production of the season is Paula Vogel’s The Long Christmas Ride Home, offering a reminder that, for many people, the holidays are the most difficult time of the year. The play is directed by Professor Peter Sampieri, filmed on the Sophia Gordon’s Mainstage, and will be streamed via Vimeo. Next, for our third production, we are producing, Sophie Treadwell’s Machinal, considered one of the pinnacles of the American Expressionist theatre. The play follows the case of convicted murderer Ruth Snyder, the first woman executed by the electric chair in the country. The play is under the direction of Adjunct Professor Esme Allen and will be presented via Vimeo. Finally, we close our season with Moisés Kaufman’s The Laramie Project, a documentary style play focusing on the reaction to Matthew Shepard’s death; a student at the University of Wyoming in Laramie, Wyoming. The play is directed by Professor Bill Cunningham and is being presented via Vimeo. Please follow Salem State’s Department of Theatre and Speech’s social media, as there may be a few more surprises in store for this season! Wishing I could see you all live and in person in the theatre,
Jerry L. Johnson Interim Chairperson
DRAMATURG NOTES Paula Vogel is a playwright and educator who was awarded the Pulitzer Prize in Drama in 1998, only the tenth woman to be awarded at that time, and the first openly gay woman to do so. A writer known for her willingness to write on taboo topics, this production marks Salem State Theatre’s first time premiering one of her works. The play brings audiences back to 1968 inside the 64-mile interstate known as the beltway of Washington D.C., and leaps around in time from there. Paula notes Thornton Wilder as a great influence. This play was inspired by Thornton Wilder’s play The Long Christmas Dinner and The Happy Journey to Trenton and Camden. In both of these plays, family unity is examined under the pressure of the holidays, and emphasis is placed on the journey rather than the destination. What’s so unique about this work is the influence of traditional Japanese Noh and Bunraku Theatre. In the play three children are portrayed by puppets, controlled by actors portraying their adult character. Scholar Ronald Cavaye states, “Unlike the emotionally detached appearance of the puppeteer from his puppet, the narrator appears to be totally empathizing with the character and infusing the puppets with feelings” (Cavaye, Ronald. A Guide to the Japanese Stage: From Traditional to Cutting Edge. New York: Kodansha International, 2004.) Through this device, Vogel reveals how the adult character is experiencing the memories of their childhood this particular Christmas. Traditional Bunraku Theatre developed during the Edo Period (16031868), a period of cultural expansion in Japan’s history. Normally Bunraku puppets are operated by three puppeteers and it is a long-practiced, honored role to control such a puppet. Out of the nature of safety, the production team had to alter this to one-person puppet manipulation. Bunraku is a collaborative blend of music, puppetry, and narration, much like Vogel’s script. Traditional Bunraku plays are fantastical stories about spirits and demons, accompanied by live music, typically featuring a Shamisen. Here we use live western music played by the actors. To keep student artists safe, we employ green screen technology and dubbed audio recording. Rather than apologize for these changes as artists, we have tried to make these limitations into assets, weaving them into the fabric of our production. In her notes for the play, Paula Vogel writes “her misunderstanding of Japanese culture is key” in honoring the stylized elements of Japanese theatre. She clearly notes she is no expert on Japanese theatre and does not encourage other western theatre makers to do so. Rather, like her
lead character Stephen, she emphasizes appreciation intended to heighten awareness, blend genres, and challenge audiences to expand their horizons. As a team and ensemble, we attempt to do the same. Vogel compares the puppetry to Catholic church pageants she attended that featured music, song, and dance. In the case of the characters in this play, a Unitarian minister returns to Washington D.C. from Japan to share pictures in his Christmas Eve sermon. By sharing this art, he inspires the character of Stephen and insights a fascination Stephen carries throughout his adult life. The story is non-linear, with characters able to move within their memories, past and present. This is consistent in Noh Theatre of Japan. The Long Christmas Ride Home resembles a type of Noh Theatre called Mugen, a fantasy theatre that hands off the traditional facet of a leading player. Similarly, in our play, different characters narrate for their spouse or sibling, and hand off the leading role of storyteller, until they are all fully integrated. Among the masks, music, and art in the play, there is one distinct type of wood block art featured known as Ukiyo-e, which translates to “The Floating World.” Ukiyo-e came to be during the Edo period in what is now Tokyo. Art of Ukiyo-e typically presents beautiful geishas and courtesans, kabuki performers, landscapes, and flora. This artwork is associated with a growing change of ideals in Japanese history, art that focused on ideas of flesh without guilt, and finding beauty in the commonplace. Ukiyo-e is not unlike seeing through the innocent eyes of a child. Vogel herself states that puppetry, “requires a participation from the audience that goes against the grain of adult cynicism or jadedness” (Van Lente, Gretchen. “What’s That Puppet Doing in My Play?” American Theatre 21 (2004): 24-79.) The floating world is described as a liberation, a freedom from depressions and insecurities. But while our souls exist in the floating world, our troubles linger below, clinging to us like weeds. Throughout the play the viewer sees the family drama unfold before us, characters trapped in their own insecurity, stuck in their Rambler going to celebrate Christmas. As we see the family burst forth from that car, they are free from time, worries, and burdens to seek liberation. Among the blend of Japanese influences and western ideas there is a rift in family opinions regarding religious views. We have Catholic family members, Jewish members, and newly Unitarian members. Despite all of these religious influences, this is a play about The Feast of Stephen and Christmas, both traditionally Catholic holidays. Paula describes how, while writing, she felt Christmas was an Americana tradition, a time when most have an ideal belief of how the day is
celebrated. Christmas is associated with a warm, tender feeling. By moving our lens closer, we observe tensions are high, money is tight, in-laws are probing, and children on edge with expectation. We see their complex truth, and how they choose to hold their breath and face it. Breath is essential to all forms of life, imperative in all types of performance, and especially puppetry. Traditional Bunraku Puppeteers can train for over 10 years in learning the mechanics of the puppet, and the use of breath is their only form of communication. The act of breathing in puppetry forms a bond between Puppeteer and Puppet. In The Long Christmas Ride Home the effects of breath are visceral. If puppets require breath to connect, the family is suffocating. Though they are crammed in one car traveling the same journey, they meander from silence into their breathless thoughts and turn to their inner self. There is limited connection. All artists pull from what they know. Vogel was inspired by her own siblings in writing. She grew up in Washington D.C., and certainly drew from her own life. This play is a tribute to her late brother Carl, who died of AIDS. Carl was a writer and poet, who was fascinated by Japanese culture. It’s earth-shattering to imagine how Paula uses the character of Stephen to speak to and honor the life of her own brother Carl, and their shared memories. You cannot pick your family. These past seven months of quarantine have been eye-opening to us all. Those whom we live with, or choose to call family, is complex. There is love but also insecurities. Christmas is a complex time for many, when we confront unrealistic expectations. It’s further complicated by the way this play asks us to consider the profound influence parents have on their children (from repeated phrases, to ideals, to how we face and honor relationships). We notice how desperately these characters want to be seen by their parents, and by each other. Each character is deprived of that in some way and becomes willing to go to great lengths to become visible. But in the end, the family bond -especially between siblings- is everlasting, withstanding time, life, and even death.
Alexandra White ‘21 Dramaturg
TIME AND PLACE The interior of an AMC Rambler in 1968, traveling a 64-mile interstate known as the beltway near Washington D.C., then traveling around in time from there. Always the Christmas season. Please note the play contains issues of domestic violence, alcoholism, homophobia, anti-Semitic language, depression, and sexual content, and is not suitable for young children/is for mature audiences only.
CAST Stephen............................................................................................... Caleb Dion Man......................................................................................... Fernando Barbosa Woman..............................................................................................Riley Toland Rebecca................................................................................. Margaret Sweeney Claire...................................................................................... Madison Gallagher Minister/Grandparents/Dancer...............................................Trevor Hathaway
Puppetry Ensemble............................................. Evan Carr, Jayanne Glynn, Justin Hatch, Caitlyn Luria, Michael Poliquin, and Erin Shine
Musicians Saxophone, percussion, vocals.......................................................... Evan Carr Vocals........................................................................................... Jayanne Glynn Piano, band leader, vocals............................................................. Justin Hatch Ukulele, vocals................................................................................ Caitlyn Luria Trumpet, percussion, vocals................................................... Michael Poliquin French horn, percussion, vocals....................................................... Erin Shine Guitar............................................................................................ Peter Sampieri
SPECIAL THANKS AMC Rambler club, Michael Harvey, Topher Morris, Jane Hillier- Walkowiak, Dean of the College of Arts and Sciences Gail Gasparich, Lia Marcheterre, Jillian Blevins, and Brad Busque.Â
This production is made possible with the support of the Dembowski Family Theatre Endowment, Bernard and Sopha Gordon and the Gordon Foundation.
Š2020. This Video recording was produced by special arrangement with Dramatists Play Service and Paula Vogel. All rights reserved. This performance is authorized for non-commercial use only. By accepting this license, you agree not to authorize or permit the Video to be recorded, copied, distributed, broadcast, telecast or otherwise exploited, in whole or in part, in any media now known or hereafter developed.
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PRODUCTION PERSONNEL Assistant Directors............................ Clark D’Agostino and Laura Scarpellini Assistant Stage Managers................................Lily Barnes and Felix Horelick Assistant Scenic/Digital Media Designer.................................Laura Chipman Assistant Sound Designer.................................................... Benjamin Richard Company Deputy................................................................. Margaret Sweeney Costume Shop Supervisor............................................................Becca Jewett Assistant Costume Shop Supervisor..............................Stephanie Colclough Dramaturg................................................................................. Alexandra White Dance Choreographer..........................................................Schanaya Barrows Puppetry and Movement Choreographer................................ Peter Sampieri Staff Assistant Technical Director..................................................Tim O’Toole Staff Technical Director......................................................................Stu Grieve Student Technical Director......................................................... Jacob Crosbie Light Board Operator...................................................................Maddie Dustin Camera Operators........................................ Alecia DiCicco and Lisa Tetreault Video Recording and Editing.............................................Sperling Interactive
ADMINISTRATIVE STAFF Center for Creative and Performing Arts Karen Gahagan, Director Angelina Benitez, Project Manager Theatre Department House Manager and Production Coordinator Ashley Preston
CAST Fernando Barbosa (Man) is a senior pursuing his Bachelor of Fine Arts degree in performance. This is his third role at Salem State University. Previous credits: Much Ado About Nothing and The House of Blue Leaves (Salem State University), Native Gardens (Gloucester Stage Company), All’s Well that Ends Well and Cymbeline (u/s) (Commonwealth Shakespeare Co.), Assassins (Arts After Hours), Jesus Christ Superstar (Marblehead Little Theatre), Macbeth (UMass Lowell), Cloud Tectonics (Fort Point Theatre Channel), A Midsummer Night’s Dream (Apollinaire Theatre Co., Elliot Norton nomination), and P.O.V (UMass Lowell). Evan Carr (Puppetry ensemble/Musician) is a sophomore pursuing his Bachelor of Fine Arts degree in theatre performance as well as a Bachelor of Arts in music. This is his second role at Salem State University. Previous credits include Boy/Girl (Much Ado About Nothing), Flute/Thisbe (Midsummer’s Night Dream), Paris (Romeo and Juliet), and Joly (Les Misérables). Caleb Dion (Stephen) is a senior pursuing his Bachelor of Arts degree in theatre performance. This is his fifth role at Salem State University. Previous credits include Male Swing/Fight Captain (Bedroom Farce,) Billy Einhorn (The House of Blue Leaves,) and Immigrant Ensemble/Swing (Ragtime.) Awards include the EMACT DASH award nomination for Best Specialty Ensemble (Addams Family), Kennedy Center American College Theatre Festival Region 1 Ensemble Award (Bedroom Farce.) Madison Gallagher (Claire) is a junior pursuing her Bachelor of Fine Arts in theatre performance. This is her third role at SSU. Previous credits include The Raven (Nightfall: With Edgar Allen Poe), Woman Cop (Gunplay: A Play About America), Kaliope (She Kills Monsters) and Amanda (The Glass Menagerie). Jayanne Glynn (Puppetry ensemble/Musician) is a transfer student/junior pursuing her Bachelor of Fine Arts degree in directing for theatre. This is their first role at Salem State University. Previous credits include The Customer (My Very Own Personal Shopper, New Works Play Festival), and The Woman Who Liked to Make Vaginas Happy (The Vagina Monologues). Justin Hatch (Puppetry ensemble/Musician) is a senior pursuing both a Bachelor of Arts in theatre with a concentration in performance and a Bachelor of Science in educational studies with a concentration in community education. Previous Salem State credits include Ronnie Shaughnessy (The House of Blue Leaves) and Friar Francis (Much Ado About Nothing).
Trevor Hathaway (Minister/Grandparents/Dancer) is in his second semester at Salem State University and is pursuing a Bachelor of Fine Arts degree in theatre performance. This is his first role at Salem State University. Previous credits include Enjolras (Les Misérable), Lord Capulet (Romeo and Juliet), Officer Lockstock (Urinetown: The Musical), and Ed Boone (The Curious Incident of the Dog in the Nighttime). Caitlyn Luria (Puppetry ensemble/Musician) is a sophomore pursuing a Bachelor of Fine Arts in theatre performance. This is Caitlyn’s third role at Salem State University. Previous credits include Ursula (Much Ado About Nothing), Gertrude McFuzz (Seussical the Musical), and Wendla Bergman (Spring Awakening). Michael Poliquin (Puppetry ensemble/Musician) is a sophomore pursuing his Bachelor of Fine Arts degree in theatre performance at Salem State University. Previous credits include Kevin Rosario (In The Heights), Swing/ Ensemble (Much Ado About Nothing), Gomez Adams (The Addams Family), and Lendall (Almost Maine). Erin Shine (Puppetry ensemble/Musician) is a senior pursing her Bachelor of Fine Arts Degree in performance with a double major in music. This is her fifth role at Salem State University. Previous performance credits include: Shona (Top Girls), Simon (O Beautiful), 25 Captain (The Wolves), Sweetheart (Middletown), Angle/soloist (Jesus Christ Superstar), Cinderella (Cinderella), Wednesday (Addams Family), and Ginette (Almost, Maine). Opera credits include: Salome (Salome), and Dew Fairy (Hansel and Gretel), and Carmen (Carmen). Margaret Sweeney (Rebecca) is a senior pursuing a Bachelor of Fine Arts degree in theatre performance. This is her sixth role at Salem State University. Previous credits include Margaret (Much Ado About Nothing), Marlene (Top Girls), Evelyn Nesbit (Ragtime), Zoe Kingsbury (Poison of Choice), and Dona Polissena (A Free Man of Color). Riley Toland (Woman) is a junior pursuing her Bachelor of Fine Arts degree in performance with a minor in social work. This is her fourth role at Salem State University. Previous credits include Jeanine (Top Girls), Vocalist (Hir), and Agnes (She Kills Monsters).
CREATIVE TEAM AND PRODUCTION STAFF
Hannah Ashe (Props Master) is a senior pursuing a Bachelor of Fine Arts degree in theatre design. This is her fifth major production credit at Salem State University. Recent production credits include Props Master (Much Ado About Nothing) Assistant Props Master (Ragtime, Poison of Choice, and Gunplay), Props Run Crew (Clybourne Park), Scenic Run Crew (The Cripple of Inishmaan), Costume Run Crew (A Free Man of Color), Light Board Operator (Student Theatre Ensemble’s Advance Man: Part One of the Honeycomb Trilogy), Electrics Crew (The Cripple of Inishmaan and Macbeth), and Scenic Painting (Harvey, Poison of Choice and Uncommon Woman and Others). Schanaya Barrows (Choreographer) is a senior pursuing her Bachelor of Fine Arts in performance at Salem State University. Recent Salem State credits include Melpomene/Leda/ Dance ensemble/Margery u/s (A Free Man of Color), Haley/Chavez (Poison of Choice), Sarah’s Friend/Harlem Ensemble/Dance Captain (Ragtime), George Washington/Shante Johnson/ Lois Milberger/Woman/Announcer (Gunplay:A Play about America), Female swing/Fight Captain (Bedroom Farce), and choreographer (Much Ado About Nothing). Awards: Kennedy Center American College Theatre Festival Region 1 Irene Ryan Best Scene Partner (2019), KCACTF Region 1 Merit Nomination for best ensemble (Ragtime), and KCACTF Region 1 Irene Ryan Nominee (2018). Alex “Bovie” Boisvert (Stage Manager) is a junior pursuing her Bachelor of Fine Arts degree in stage management. Her recent Salem State stage management and assistant stage management credits include Bedroom Farce, Gunplay: A Play about America, the Veterans 10-Minute Play Festival, Ragtime and Rough Crossing. Mathias Cardona (Lighting Designer) is a senior pursuing his Bachelor of Fine Arts degree in theatre design. Recent design credits include Nightfall (Salem State Theatre Ensemble), Esto Es Puerto Rico (Jorge Santiago Arce), Triggered (John ADEkoje), White Witch (Salem State University), Uncommon Women and Others (Salem State University), Unto This House (Alda Marshall Witherspoon), Midsummer Night’s Dream (Actor Shakespeare Project), The Every 28 Hour Play (Brookline High School), and The Wiz (Boston Arts Academy). Laura Chipman (Assistant Scenic Designer) is a senior in the BA technical theater program at Salem State. Previous credits at SSU include: Scenic Designer (White Witch), Assistant Scenic Designer (Ragtime), and multiple credits on build and paint crews for previous productions.
Clark D’Agostino (Assistant Director) is a junior pursuing his Bachelor of Fine Arts degree in directing. He is currently directing Dead Man’s Cell Phone (Student Theatre Ensemble). Recent assistant directing credits include O Beautiful (Salem State University) and Stupid Fucking Bird (Student Theatre Ensemble). Michael M. Harvey (Scenic and Projections Designer) is an Associate Professor of design at Salem State University where he teaches and designs scenery and lighting. Previously he spent four years at Southern Utah University where he served as Assistant Professor and Director of design and production. He taught scenic and lighting and sound design, as well as designed scenery, lights, and sound for the department of theatre arts and dance. He spent eight years teaching and designing at Central Lakes College in Minnesota. He also spent two years teaching at the University of Southern Indiana, where he served as scenic designer and technical director. Among his professional credits are scenic coordinator for the Opera Company of Philadelphia; scenic designer for Spamalot at North Shore Music Theatre; scenic and lighting designer for several Primedia Inc. television productions; and production manager for both the New Harmony Theatre in New Harmony, IN, and Capital Repertory Company in Albany, NY. Michael holds a Master of Fine Arts in Scenic Design and Theatre Technology from Wayne State University in Detroit, MI. Jane Hillier-Walkowiak (Costume and Puppet Designer) holds her degree from Trent University in Nottingham England and has been designing both in the U.K. and the U.S.A. since the early 1980’s. In the Boston area, Jane has designed for the Publick Theatre and the Lyric Stage Company and has also worked as a designer/sculptor and painter for VDA Productions and The Costume Works as well as stitching for The Boston Ballet and A.R.T. Jane also has a custom corsetry business called Jane’s Corsets; her work has been featured in many magazines both in the U.S.A. and worldwide. Jane’s recently designed shows include Bedroom Farce, Top Girls, Ragtime, Harvey, The Cripple of Inishmaan, The Drowsy Chaperone, The Seagull, The Grapes of Wrath, Cabaret, Twelfth Night, and Cat on a Hot Tin Roof. Stacey Horne-Harper (Faculty Props Master) is a graduate of the University of Delaware Professional Theatre Training Program. She spent seven years as the properties carpenter at the American Repertory Theater. She would like to thank her family for all of their incredible support.
Peter Sampieri (Director) Prof. Sampieri is a director, playwright, musician, puppeteer, and teaching artist. His professional directing credits include (Off-Broadway) the world premiere of On The Line at the Cherry Lane Theatre, The Sister Wall at Barrow St. Theatre, and The Three Same Guys at The Public. (NYC workshops): world premieres of Show Ho at Six Figures, Ars Nova, and Vendetta Chrome for The Dramatist’s Guild. (Regional Theatre): Wit, A Christmas Carol, and The Taming of The Shrew at Trinity Rep, and the world premiere of Yemaya’s Belly at Portland Stage Company. Red Noses, Crime and Punishment, The Pillowman, and the world premiere of Radio Free Emerson (Elliot Norton Award in 2008 for Outstanding New Play) at Gamm Theatre. Others include A Bright Room Called Day, Talk to Me Like the Rain… and King Stag for the Elemental Theatre Collective. He has taught and directed at New York University, Brown University, Huntington Theatre Company, New England Conservatory of Music, Providence College, University of Rhode Island, OperaWorks, and Northwestern University. This is his eleventh year serving as a tenured Associate Professor for the Theatre and Speech Communication Department at Salem State University where he’s directed Twelfth Night, Cabaret, Kafka in Tel Aviv, The Grapes of Wrath, The Master and Margarita, A Free Man of Color, and Ragtime. He graduated magna cum laude from the Honors Program at St. Michael’s College, receiving dual Bachelor of Arts Degrees in Theatre and English Literature; later he earned a Master of Fine Arts in Directing from the Trinity Rep Conservatory. Peter is the 2002 recipient of a Pell Award Scholarship for Artistic Excellence, and the 2014 recipient of three national awards from The Kennedy Center for his original play Kafka in Tel Aviv, including Outstanding Direction of a New Work, and The David Mark Cohen National Playwriting award. He was an O’Neill Playwriting Fellow in 2014, received Salem State’s first-ever Distinguished Teaching Award in 2015, a Whiting Fellowship in 2017, and was a guest resident artist at The National Theatre Academy in Helsinki, Finland in 2018. He is a proud member of SDC, a national labor union for directors and choreographers. Laura Marie Scarpellini (Assistant Director) is a junior pursuing her Bachelor of the Fine Arts degree in directing. This is her third time assistant directing at Salem State University, previous credits include Bedroom Farce (Dir. Celena Sky April) and She Kills Monsters (Dir. Esme Allen). In Spring 2021 she will direct her first production with the Student Theatre Ensemble at Salem State University. Alexandra White (Dramaturg) is a senior in the Bachelor of Fine Arts program obtaining her BFA in theatre performance with a minor in dance and music, graduating this upcoming spring. Some of Alex’s favorite roles include Oberon/ Theseus in A Midsummer Night’s Dream (NSP), Susannah in Bedroom Farce (Salem State Theatre), Mary Poppins (WHS), and Costanza in Enchanted April (TTG).
THEATRE AND SPEECH COMMUNICATION DEPARTMENT Celena Sky April Esme Allen Brianne Beatrice Bryn Boice William Cunningham Sara Conlon Matthew Emerson James J. Fallon, Professor Emeritus Myrna Finn, Professor Emerita Stuart Grieve Thomas J. Hallahan, Professor Emeritus Michael M. Harvey Elizabeth Hart, Professor Emerita Jane Hillier-Walkowiak Stacey Horne-Harper Alex Jacobs Becca Jewett Jerry L. Johnson, Chairperson Julie Kiernan Matthew Korahais Christopher Morris Tim O’Toole Ashley Preston Jill Rogati Peter Sampieri Vera Sheppard, Professor Emerita Richard Snee Allen Vietzke Whitney L. White, Professor Emeritus Patricia Zaido, Professor Emerita
The Kennedy Center The Kennedy Center American College Theater Festival, part of the Rubenstein Arts Access Program, is generously funded by David M. Rubenstein. Special Thanks to The Harold and Mimi Steinberg Charitable Trust for supporting the John F. Kennedy Center of the Performing Arts’ Kennedy Center American College Theater Festival. Additional support is provided by The Honorable Stuart Bernstein and Wilma E. Bernstein; and the Dr. Gerald and Paula McNichols Foundation. Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts. This production is entered in the Kennedy Center American College Theater Festival (KCACTF). The aims of this national theater education program are to identify and promote quality in college-level theater production. To this end, each production entered is eligible for a response by a regional KCACTF representative, and selected students and faculty are invited to participate in KCACTF programs involving scholarships, internships, grants and awards for actors, directors, dramaturgs, playwrights, designers, stage managers and critics at both the regional and national levels. Productions entered on the Participating level are eligible for invitation to the KCACTF regional festival and may also be considered for national awards recognizing outstanding achievement in production, design, direction and performance. Last year more than 1,500 productions were entered in the KCACTF involving more than 200,000 students nationwide. By entering this production, our theater department is sharing in the KCACTF goals to recognize, reward, and celebrate the exemplary work produced in college and university theaters across the nation.
FRIENDS OF THE CENTER FOR CREATIVE AND PERFORMING ARTS GUARDIAN ANGEL ($2,000+) Anonymous Anita V. M. Shea Patricia Zaido
ANGELS ($1,000-$1999) Anonymous Joan and Ron Fox Norene Comito Gachignard Claire Keyes Rome Pozgay and Ann Arata Phyllis A. Sullivan ’59, ’64G
MUSE’S CIRCLE ($500-$999) Steve and Kathleen Jervey Michael and Janet Merriman ’82
PLAYER’S CIRCLE ($250-$499) Sidney and Barbara Abramson Eileen Fitzgerald and J.D. Scrimgeour Paul W. Mucica ’72, ’80
ARTISAN’S CIRCLE ($100-$249) Matthew G. Caruso ’82 Mathew Chetnik Derek M. DiGregorio '04 William E. Endslow ’76 Karen Gahagan Hazel Grenham Bill and Iris Kaufman Josephine Kennedy Rod Kessler and Maile Black Andrea Liftman John R. Marshall ’71 and Elaine C. Marshall ’72 Mr. and Mrs. Donald McAllister Elizabeth Morris Richard and Heidi Newman Valerie T. Pearson John J. Ronan Joyce Rosenthal
Katrina Sealey ’06 Mark, Nicole, Cooper and Reece Sherf Margaret A. Somer Mr. and Mrs. Michael Sturgeon Michael J. and Helen B. Tomich
FRIEND ($50-$99) Jim and Mugsie Bailey Mr. and Mrs. Norton P. Halber Marie Hall ’64 Susan L. Indresano Elizabeth Janick ’85 Barbara M. Lemiesz Judith N. Lubov ’53 Philip and Elizabeth McCarthy Mr. and Mrs. Glen Melton Jr. Betsy and Monty Morris Ann and Taft Murray Augustin H. Parker Sally and Howard M. Ross Amy Saltz Mark Steinberg, PhD Mrs. Sheila I. Theberge Donald Tritschler Frank and Theresa Tyburc Mr. and Mrs. Edward Zielinski
PATRON (UNDER $50) Mr. and Mrs. Lloyd L. Cockreham Mary Lou Crimmins Dr. Pamela A. Halpern Mrs. Linda C. Kiley ’84G Ellen B. Lahlum Rebecca Lang Audrey Michaud Mr. Douglas B. Maitland ’66 Merton and Sandra Morse Gaspar J. Pallazola ’15 Dayle B. Persons Marianne Terlizzi Donna L. Wade ’73