Chinglish Program by Syracuse Stage

l e t t e r f r o m t h e m a nag i n g d i r e c to r

Dear Friends, Since Chilnglish is a play about commerce, we thought this might be an opportunity to give Tim Bond a break and have me update you on the administrative side of Syracuse Stage. Here are some quick facts about Syracuse Stage the business.  We have 54 full time em-

ployees. Roughly two-thirds of our staff work for the production (scenery, costumes, props, paints, lights, and sound), education, and artistic departments, and onethird in our administrative departments of marketing, development, business, and box office.  This year our budget to

produce six Syracuse Stage productions, conduct educational programs that will reach over 20,000 students, and provide production and administrative services to the Syracuse University Department of Drama is $5.35 million. Since our founding in 1974, we have been a member of the League of Resident Theaters (LORT), a collective bargaining organization for contracting with union artists and the largest and most prominent association of non-profit professional theatres in the country. This means we attract the finest professional 

actors, directors and designers in the country. LORT is the arts equivalent of the National Football League, Major League Baseball, or the National Basketball Association. Our subscriber base is up 7% this year to 3,600. Last season attendance was 60,000. 

More than 2,700 CNY households make an annual contribution to Stage. 

Despite receiving high marks from peer panels, national and state government funding has declined this season by almost 30%, and corporate funding has declined by 9%. Overall, foundation and individual giving is flat. 

Despite, the economic challenges we are facing, and these are national challenges for the performing arts, we are operating within our means, balancing our operating budgets, and have no debt. What can you do to help? Since you are reading this, you are already supporting Stage as a ticket holder. Thank you. Please consider becoming a season ticket holder next season. Please consider making a gift to our annual fund. And, thanks to the extraordinary Richard Mather Fund all new and increased gifts will be matched dollar for dollar.

I am optimistic about the future of Stage because of the high quality of our artistic work. Scorched was one of the finest productions I have ever seen, Steven Hendrickson was the best Scrooge I have ever seen (this was my 18th production of A Christmas Carol), and Tim Bond is one of the finest directors in the country as demonstrated by his direction of The Whipping Man, and his work on the plays of August Wilson and Arthur Miller. If the work is good, audiences will come, and the funding challenge will be worked out. Thank you so much for your support.

best,

Jeff Woodward Managing Director

season

13/14

Tickets and Season Packages Box Office: 315.443.3275 www.SyracuseStage.org New American Comedy

Chinglish By David Henry Hwang Directed by May Adrales February 26 – March 16 American Classic

The Glass Menagerie By Tennessee Williams Directed by Timothy Bond April 2 – 27

season sponsor

Kimiye Corwin and Lindsay Smiling in A Midsummer Night's Dream. Photo: Michael Davis.

presents

David Henry Hwang directed by

May Adrales co-produced with

Portland Center Stage scenic and projection Designer

costume Designer

Lighting Designer

Sound Designer

Timothy R. Mackabee

Jeff Cone

Seth Reiser

Casi Pacilio

composer

c u l t u r a l c o n s u l ta n t

s ta g e m a n a g e r

casting

Jana Crenshaw

Jane Chen

Laura Jane Collins

Harriet Bass

Timothy Bond

Jeffrey Woodward

Chris Coleman

Producing Artistic Director

Managing Director

PCS Artistic Director

Syracuse Stage dedicates the 2013 – 2014 season to Arthur Storch, 1925 – 2013: founding artistic director of Syracuse Stage and chair of Syracuse University Department of Drama 1974 – 1992. presenting sponsor

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Chinglish opened at The Longacre on Broadway on October 27, 2011 and was produced by Jeffrey Richards, Jerry Frankel, Jay & Cindy Gutterman/Cathy Chernoff, Heni Koenigsberg/Lily Fan, Joseph & Matthew Deitch, Dasha Epstein, Ronald & Marc Frankel, Barry & Carole Kaye, Mary Lu Roffe, The Broadway Consortium, Ken Davenport, Filerman Bensinger, Herbert Goldsmith, Jam Theatricals, Olympus Theatricals, Playful Productions, David & Barbara Stoller, Roy Gottlieb, and Hunter Arnold. Chinglish was first premiered by the Goodman Theater in Chicago, IL (Robert Falls, Artistic Director; Roche Schuffer, Executive Director) on June 18, 2011. Chinglish was first developed at the Lark Play Development Center, New York City in cooperation with the Public Theatre (Oskar Eustis, Artistic Director). Mandarin Chinese translations by Candace Chong. Chinglish is presented by special arrangement with Dramatists Play Service, Inc., New York. February 26 - March 16, 2014

cast (in alphabetical order)

Tina Chilip..................................................................Xi Yan Lily Tung Crystal......................Hotel Manager/Prosecutor Li Jeff Locker..........................................................Peter Timms Rachel Lu.....................................................Miss Qian/Zhao Peter O’Connor.........................................Daniel Cavanaugh Yuekun Wu.......................................Bing/Judge Xu Geming Jian Xin............................................................Cai Guoliang There will be one fifteen-minute intermission.

play Sponsorship

Margaret & Don Martin, Opening Night, February 28 Frtiz & Ginny Parker, Opening Night, February 28 Mary & Larry Leatherman, Opening Night, February 28 Mayor Stephanie Miner & Jack Mannion, March 5, 7:30 pm Dana & Peggy Dudarchik, March 9, 7:00 pm

additional credits Stage Management Apprentices: Paula Clarkson Stage Management Intern: Jess Feder† Deck Crew: Basil Allen, James Domachowske, Phillip Dyke, Michael Fernandez, Christopher Green Sound Board Operator/ Sound Apprentice: George Hart Light Board Operator/Electrics Apprentice: Sarah Olsen Dresser: Katharine Tarkulich Wardrobe Supervisor: Danielle Waterman Official Hotels for Guest Artists: The Genesee Grande Hotel, Parkview Hotel

Chinglish is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The actors and stage manager in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. † Student, Syracuse University Department of Drama

A Conversation with David Henry Hwang A few weeks before Chinglish premiered at Chicago’s Goodman Theatre in 2011, David Henry Hwang spoke with the Goodman’s Neena Arndt about his writing process and the timeliness of the play. NA: You’re working with a translator, Candace Chong, to create the Mandarin text for Chinglish. Is this the first time that you’ve worked closely with a translator on a show? DHH: Yes, and I’m really enjoying this experience; it enables me to write a little more deeply about China without actually knowing Chinese. And to write a bilingual play without being bilingual. NA: In Chinglish, there’s a bilingual character, Peter, who’s been in China for 20 years and knows the country very well. Peter is from England, but says he feels more at home in 14

China—unfortunately, his Chinese colleagues don’t always accept him as one of their own. In writing that character, what issues about cultural identity were you aiming to explore? DHH: I’ve spent a good portion of my career writing about the dilemma of identity as it relates to Asian Americans. I’m a Chinese American, and when I’m in China, they certainly don’t consider me Chinese. And in America, there are some questions about Asians and to what extent we are either perpetual foreigners or “regular” Americans. The more I’ve gotten a chance to

travel and meet people in different parts of the world, the more I realize that this is not a dilemma that is unique to Asian Americans. Especially as the world grows smaller and there’s more transnationalism and more people relocating across borders, this sense of dislocation and insecurity about identity applies to a lot of people. And I think Peter was an opportunity for me to explore these sorts of feelings of identity confusion but with the shoe on the other foot. Having spent some time with the ex-pat community in China, I would say it is more difficult for someone like Peter to be accepted as a Chinese person in China than it is for a Chinese American to be accepted as an American. NA: One of the other major themes of the play is the difference between the American ideal of marriage, which dictates that marriage should be based on romantic love and open communication, and the Chinese ideal of marriage, which relies on different values altogether. Can you speak about that cultural difference? DHH: In a way I would say it’s not even an America versus China difference, as

right: Playwright David Henry Hwang. Photo: Brenna Merritt

much as it is a new-world versus old-world difference. If you talk to people from Europe, they have a much more practical notion of what marriage is supposed to be—that it’s essentially an institution. It’s a partnership; the romance is going to fade and you don’t necessarily go from one marriage to another trying to chase romance. I think that’s something that older cultures, like China’s, tend to realize more. The emphasis on romance as an integral part of marriage is a relatively new idea in China. Whereas in America, I feel that romance is sort of our secular religion. Like, “All you need is love.” As our attachment to traditional religion has diminished, I feel as if what’s taken its place is this humanistic religion of romantic love, which is what all our songs and movies are about. In the Middle Ages all art was to glorify God, and now, all our art—at least all our popular art—is to glorify romantic love. NA: Art, and the value of art, is another subject

that you address in the play. Some of the characters are building a cultural center in a provincial Chinese city and there’s discussion about what kind of performances will go on there. DHH: Yes. Many regional capitals now have big cultural centers, which were constructed as monuments of civic pride. Cities are left with the question, “What are we supposed to do with this now that we’ve got it? What goes into the cultural center?” Certainly, traditional work—Chinese opera and traditional Chinese music—is one possibility. But on the other hand, China is moving rapidly into a market-dominated economy. And the dilemma in the play has to do with a bureaucrat who is very interested in preserving the traditional forms, which aren’t going to make the most money (the same is true in our culture). And so there’s a lot of pressure for him to use the cultural center in a way that’s going to be more market-friendly.

NA: Why isn’t Chinese opera market-friendly? DHH: Chinese opera is a total theatre form that involves acrobatics and singing; it has been the high art form of Chinese theatre for 400 or 500 years. There are still a lot of people who practice it with excitement and are innovating in the form. But, much like Western opera, it’s somewhat esoteric. It’s not as accessible and not as popular as pop music and American movies. That brings up a question: if something cannot make money, is it valuable? So what do we put in the cultural center? That’s one of the questions of the play. And it’s the same question that we struggle with in Western culture in terms of how we value or don’t value the arts. NA: Another problem the characters face with the cultural center is making sure that all the signs are translated into English properly—which is often not the case in China. DHH: Yes. And those

The emphasis on romance as an integral part of marriage is a relatively new idea in China. Whereas in America, I feel that romance is sort of our secular religion. mistranslations have been very much in the news— particularly in China. As they were gearing up for the Olympics there was a desire to get rid of all the Chinglish. And then there started to be a certain number of counterarticles written about how Chinglish is actually very interesting and we should preserve it. So that was in the air during a lot of the time that I’d been going over. And then as I started to think about writing a play about doing business in China, I went to

a brand-new cultural center. It was made out of beautiful Italian woods and had a Japanese sound system— but all I noticed were the mistranslated signs and how ridiculous they were. It seemed like it would be fun to use that as the jumpingoff point for a play about doing business in China. This piece originally appeared in the program for the Goodman Theatre’s 2011 production of Chinglish. http://www. goodmantheatre.org/

above: Tina Chilip and Peter O’Connor in Chinglish. Photo: Patrick Weishampel.

An American [who looks Chinese but is actually Filipino]

in China A few months ago, Portland Center Stage sponsored Chinglish director May Adrales on a trip to Guiyang, China–the city in which the play takes place. Adrales shared her thoughts, experiences and tips on what it was like to travel in China as a Filipino-American. To be mistaken for a native Chinese person, but actually be a FilipinoAmerican, is a unique hardship when traveling alone in China. You look Chinese, therefore it’s assumed you speak Chinese. The more you try to explain in English or use the 30 words of Mandarin you tried to teach yourself on the plane, the more people shake their heads and walk away. You’re expected to hold your own when navigating through crowded airports or securing your place in line despite aggressive elbows and blatant shoves.

You are expected to know how to order a meal, hail a cab, and certainly how to find your hotel, which you have only walked 1,000 feet away from, but is somehow dauntingly confusing to find again. Desperate to find my way back to the hotel through a series of crowded, stupefyingly similar looking streets, I pulled out a scrap piece of paper where I had written the address to show to anyone who might meet my distressed gaze. I cursed myself for losing the hotel card, the address

above: Chinglish director May Adrales in Guiyang, China.

written in Mandarin, the only key to survival. Filled with thoughts of dying, alone, calling fruitlessly for help on a crowded street corner in Guiyang, just minutes away from my hotel, I managed to walk in circles, through underground passageways and finally found myself across the street from my hotel. In an international city like Shanghai or Beijing,

Westerners would not be so unusual, but in a city like Guiyang, it is extremely rare. In this city of nearly 4 million people, I saw only one Westerner, who looked just as lost as I felt. I came to Guiyang to specifically research Chinglish. I wanted to see for myself the city, experience the sights and sounds. I pushed beyond the limits of what

was actually wise for me to do: Eat copious amounts of sour fish soup, a delicacy in Guizhou with a healthy dose of the notoriously hot peppers. I forced myself to take the bus, which redefined my notion of “personal space.” I braved the perplexed looks as I went for a morning run around the city. I watched some sort of dance/exercise class in the plaza at 7 a.m. before

Like Daniel, I arrived with the same winning confidence and naiveté and departed China, humbled, with stomach pains and with a confused wonderment that left me hungry to understand more. going to the Walmart, which is in a plaza underneath a huge statue of Chairman Mao. I ordered food by pointing, found the bathroom by miming, asked for directions by emphatic desperate game of charades. I resigned myself to playing the role of “village idiot,” one who looked Chinese but could neither speak nor understand. I wanted to give myself the same experience as Daniel Cavanaugh in the play–a helpless Westerner in China. Like Daniel, I arrived with the same winning confidence and naiveté and departed China, humbled, with stomach pains and with a confused wonderment that left me hungry to understand more. At every turn in China, I marveled at how David Henry Hwang was able to write about this “confused wonderment” with such exacting detail. There are a few prominent themes within the play that I experienced firsthand.

1. High roller I was just an average, ignorant Westerner who didn’t speak the language until I was introduced as May Adrales from Yale. Name and brand recognition carry a lot of weight in China. I could see facial expressions change the instant someone said “Yale” in association with my name: I was a nobody who became a somebody. For a brief amount of time, I was esteemed and respected. Just for a brief moment, and then I was back to miming, pointing and emphatic charades. 2. Guanxi Guanxi is defined as relationship in the play. Used often and everywhere, it is the building and maintaining of deep, complex interpersonal relationships over a long period of time, in many cases without a specific need or use for that relationship. When a problem arises, then that relationship comes in handy. For instance,

a theatre colleague got a parking ticket just before dinner. She calmly tucked the ticket in her purse and said simply, “this is not a problem.” Later I discovered that she knows someone in the traffic court system that would somehow exonerate her. This same colleague took me to an extravagant dinner with a few special guests who showered me with gifts. I was May from Yale, and these were parents who wanted their children to go to Yale. Throughout my stay, my hosts’ guanxi allowed me to enter the “back door” of museums and parks, cutting lines, bypassing fees. 3. Mian zi Simply, defined as “face,” is equally important to guanxi within Chinese social settings. Face is the ability to maintain respect, authority, and social acceptability. Face is fundamentally about perception, respect, and appropriate deference. I attended a dinner with

the Guiyang Minister of Culture, with the help, and guanxi, of Joanna Lee, a Chinese cultural consultant. He had seen the Hong Kong production of Chinglish. I asked his opinion of the show– “The play was... amusing.” Amusing?–as it was translated to me with tepid caution–was really more of a euphemism for terribly offensive? He then stated stiffly, “It is amusing to poke fun of Guiyang for a little while.” He then stiffly and pointedly defended Guiyang as a beautiful, historical city that will embrace both Eastern traditions and the modern Western world. I had challenged his authority–indirectly. Since the play paints the role of Guiyang’s minister of culture in a compromising manner, I had inadvertently offended this Minister. 4. Translators Translators have a tough job–they have to reconcile the difficulty of translating from Mandarin to English, but also must understand context and social mores. To translate well, one needs to understand the cultural mores of the United States, which is difficult as many people learn English in China or

in other Asian countries. Direct translations can sound extremely critical and harsh. I learned to take abrupt phrases like “Leave now” in context. Translators must also be assertive, they must insert themselves in the conversation. My translator was far too polite for this. At the dinner, my host passionately and animatedly spoke, waving his hands and pounding on the table. After about two minutes of non-stop speech, my translator would say, “they are talking about Karl Marx.” After another round of drinking, more fervent speeches, more toasting, ganbei! and chin chin and still the translation would be “they are still talking about Karl Marx.” 5. Drinking This aspect of the culture isn’t highlighted in the play. But if you are watching the play to learn how to do business in China, then take note. Handle your liquor. Or if you don’t drink much, invent a medical excuse. Or make sure you always keep some drink in your glass–this will keep it from getting graciously refilled by your neighbor. If your drinking partner who moves to clink glasses with you is superior

to you in some way (age, position, etc…) be sure to clink his/her glass with the rim of yours below his/ hers. Make eye contact and also toast to the person paying for the meal. Most importantly, never drink more than you can, or more than you think your dinner compatriots can. I inadvertently drank one of the fellow guests under the table; she kept up with me toast after toast so as to not lose face… Spending time in China is certainly not a vacation, at least for me. It’s work. It’s a lot of work. It’s exhausting and confounding. Will I ever understand why a worker must always sweep under your feet every twenty minutes at a state park? Why getting in line at a store becomes more like a wrestling match? Why a coffee drink is translated to “Good jade breasts”? Or why a Roasted Duck is translated to “F#$k! a duck until it explodes.” I may never know. But like Daniel Cavanaugh, I have come to love the mystery. The beautiful mystery. –May Adrales This article originally appeared as a blog post on the Portland Center Stage website, www.pcs.org.

Chinglish Decoded: How We Lose Things in Translation by Neena Ardnt “I like your smile, but unlike you put your shoes on my face,” reads a sign situated near a lawn in China. “The little grass is sleeping. Please don’t disturb it,” reads another similarly placed sign. “Your careful step keeps tiny grass invariably green,” reads a third. All three are attempting to communicate the same message, which in America is crisply rendered as “Keep off the grass.” Signs like these are a common sight in China, where tourists puzzle and giggle over the mistranslations commonly known as “Chinglish.” English-speakers are directed to “slip carefully” (“don’t slip”) and to use the “deformed man’s toilet” (“handicapped restroom”). They are informed that “the civilized and tidy circumstance is a kind of enjoyment” (“don’t litter”).

Any native speaker of English can snicker at these malapropisms, but most don’t know enough about Chinese language or culture to understand the factors that result in Chinglish signage. In fact, as the character Daniel points out in Chinglish, “If you are American, it is safe to assume that you do not speak a single *&%^ing foreign language.” Though most Americans are exposed to foreign languages during their school years, few attain proficiency. And many monolinguals, who acquired their native language in infancy and haven’t had a good reason to think about language since, operate under what linguists call the naïve lexical hypothesis: that is, they assume that differences between languages lie solely in their vocabulary, and that each word in a given language has an equivalent word in all other languages. Both Chinglish

(the linguistic phenomenon) and Chinglish (David Henry Hwang’s play) are humorous but potent reminders that there’s no such thing as a direct translation and that language is usually more slippery than we expect. Translators would do well to heed the Chinglish warning: “slip carefully.” An English speaker learning Mandarin Chinese will rapidly discover that it differs from English not only in its sound system, but also in its structure. Those who learned a Germanic or Romance language in high school will recall the arduous task of conjugating verbs in past, present and future tenses. Mandarin learners need not study up on verb tenses because Mandarin doesn’t use them; it relies instead on other cues within a sentence to indicate if something has already happened, is happening presently, is expected to hap-

Both Chinglish (the linguistic phenomenon) and Chinglish (David Henry Hwang’s play) are humorous but potent reminders that there’s no such thing as a direct translation and that language is usually more slippery than we expect. 23

pen in the future or if the speaker is using the verb as a command. Adding an ending to a verb (such as -d or -ed to indicate past tense in English) would be an unfamiliar concept for a Mandarin speaker. This illuminates, for the English speaker, how someone might create a sign that reads, “Be sloppily dressed excuse me for not receiving,” when a more apt translation might be, “Entrance may be denied to underdressed customers.” While “be sloppily dressed” sounds like a command to English speakers, a native Mandarin speaking translator could easily misunderstand the relative subtleties involved in using verbs in English. Another significant structural difference between the two languages concerns plurals. In Mandarin, it is rare to combine mor-

phemes—units of meaning—to create more complex words. The English word dogs contains two morphemes—dog, which means furry quadruped, usually friendly, and -s, which means that there are two or more of them. While English denotes plurality by adding -s, Mandarin often goes without denoting it at all—the listener must either infer it from contextual clues, or proceed without knowing whether her neighbor is talking about his single dog or his 50 dogs. If a speaker needs to make this distinction clear, he or she can use words like some or many, or can indicate a specific number, but this is often unnecessary. This explains why a person might create a sign that says, “Don’t forget to carry your thing,” when he is attempting to prevent foreigners from leav-

ing their personal belongings behind: in English, we draw a (key) distinction between “your thing” and “your things,” but a Mandarin speaker could be hard-pressed to see the difference. Of course, good translation between the two languages is possible, and the real causes of Chinglish signage are carelessness and poor knowledge of English. Some companies assign translation duties to the employee whose knowledge of English is best—but the “best” English speaker in a company may possess only partial proficiency. Unwilling to defy or disappoint her superiors by revealing her lack of ability, this employee will attempt the translation—with mixed results. In some cases, companies rely on online translators, which tend to create

As the character Daniel points out in Chinglish, “If you are American, it is safe to assume that you do not speak a single *&%^ing foreign language. literal, dictionary-based translations that don’t take into account connotations or multiple definitions of words. Nor do such translators consider how each language uses metaphors and idioms differently. It may make sense, to the Chinese mind, to say that undisturbed grass is “sleeping,” but English doesn’t normally utilize that metaphor, and an adept human translator would find a more familiar phrase. (The opposite scenario— English idioms sounding odd or unintelligible in Chinese—can also be true. A literal translation of phrases like “bad egg” or “nest egg” would surely prove either disastrous or amusing.)

of Chinglish and aim to eradicate it. Certainly tourists would benefit from clearer signage, but would also miss out on windows into the Chinese language—which, though often comical, are thoughtprovoking insights into a culture that so often remains elusive and mysterious to westerners. This piece originally appeared in the program for the Goodman Theatre’s 2011 production of Chinglish. http://www. goodmantheatre.org/

In David Henry Hwang’s play, as in real life, many Chinese people are ashamed

cast Tina Chilip (Xi Yan) is thrilled to make her Syracuse Stage debut reprising the role of Xi in Chinglish, which she just performed at Portland Center Stage (dir. May Adrales). This marks her sixth production of a David Henry Hwang play. She has previously appeared in M. Butterfly (Guthrie Theater), Yellow Face (TheatreWorks Silicon Valley), and twice in Golden Child (Signature Theatre, dir. Leigh Silverman; and the Cultural Center of the Philippines). Other New York credits: A Dream Play (National Asian American Theatre Company), Flipzoids (Ma-Yi Theatre), Joy Luck Club (Pan Asian Repertory Theatre), Sweet Karma (Queens Theatre in the Park), Twelfth Night (Leviathan Lab). Other regional credits: A Christmas Carol, Romeo and Juliet (Trinity Repertory Company), Far East (TheatreWorks Silicon Valley), Marin Shakespeare Company and more. TV: Royal Pains. Upcoming: The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures at Berkeley Repertory Theatre. Training: M.F.A., Brown/Trinity. www. tinachilip.com

fornian who has performed with theatre companies in San Francisco, New York, and Shanghai, including Magic Theatre, Crowded Fire Theater, San Francisco Playhouse, Playwrights Foundation, The New Group, and Women’s Project Theater. Favorite shows include: Private Lives (Amanda), Grease (Rizzo), Cabaret (Lulu), Tough Titty (Rachel Li/ Rashida), and Songs of the Dragons Flying to Heaven (Korean #2), for which she was nominated for a SF Bay Area Theatre Critics Circle Award. Lily also created the roles of Mrs. Park in Jay Kuo’s new musical Worlds Apart, which debuted at the Magic and was workshopped at New World Stages, and Tye Leung Schulze in Tye, her solo show about the first Chinese-American woman to vote. Lily is the founding coartistic director of Ferocious Lotus Theatre Company in San Francisco. Love and thanks to Mom, Eric and Cole for making dreams possible. www.lilytungcrystal.com Jeff Locker (Peter Timms) is thrilled to be making his Syracuse Stage debut, especially in a show that hits so close to home! He was an actor and award-winning TV/radio personality in Taiwan and China for 15 years, best known for his portrayal of Bush in Golden Bell-winning political satire show Mimics, Brindsley in Black Comedy (National Theatre Taiwan) and Paul in The Musical Story of Teresa Teng (Chiang Kai-shek Memorial Hall). Hosting duties in-

Lily Tung Crystal (Tea Server/Bartender/Hotel Manager/Prosecutor Li) is thrilled and grateful to be making her Syracuse Stage debut after appearing in Chinglish at Portland Center Stage. She is a native Cali-

cast cluded the Golden Horse Awards (Chinese Oscars) and Asia-Pacific Film Festival, Fear Challenge (Chinese Fear Factor) and Love Radio (East Radio Shanghai). Jeff was also a best-selling author of eight Mandarin books, lecturing throughout Chinese Asia. He is a proud graduate of The Second City and iO West. US credits include Jimmy Kimmel Live!, Saving Face, Second City Hollywood’s America: Chin Up, Fly Down! and Dirty, Sexy, Funny, and vocal group Top Shelf. He can also be found mumbling to himself in actual Chinglish as he fights LA traffic. www.jefflocker.com

Peter O’Connor (Daniel Cavanaugh) is thrilled to be working at Syracuse Stage. Theatre: Annie Baker’s The Aliens (two productions; West Coast premiere at San Francisco Playhouse and The Studio Theatre, D.C., dir. Lila Neugebauer), Jailbait (OBIE Award, two productions; The Cherry Lane and The Cherry Pit), And Miles to Go (dir. Hal Brooks), so go the ghosts of mexico (Ellen Stewart Award, La MaMa, dir. Meiyin Wang), Robert O’Hara’s Fuckmate, Laura Mark’s 50 Shades, Jon Caren’s YES (Partial Comfort), O’Neill’s Beyond the Horizon (Center Stage), Sexual Healing (The Mint), Balaton (Urban Stages), Sexual Neuroses of our Parents with Grace Gummer (Wild Project), A Bitter Taste, Echo Echo, and Behind the Blind (Ensemble Studio Theatre), Kidstuff, Letters to the End of the World (Theatre Row), The Shape of Things (New York Innovative Theatre Award Nomination, Best Cast), Richard II, All’s Well That Ends Well, Ionesco’s Killing Game. Film/TV: The Last Treasure Hunt, Viola (Golden Palm Audience Award, Mexico International Film Festival), P.S. I Love You, Alpha-Beta, Sweet Lorraine, As the World Turns (three year recurring), Mercy (NBC), Ed (NBC), Book of Daniel with Aidan Quinn (NBC), Law & Order with Jeffrey Tambor, Guiding Light (recurring), and St. Michael Keane in Grand Theft Auto IV. Education: the Fightin’ Irish of Notre Dame. Thank you May and Tina, and those who schlepped up. www. vimeo.com/peteroconnor

Rachel Lu (Miss Qian/ Zhao). Hailing from Taiwan, Rachel started playing the piano at the age of five and dreamed of becoming a street musician in Paris. Since graduating from Columbia University with an Acting MFA, she has appeared on stage, films, and commercials. She is known for her role as the ambitious Tiger Mom on ABC’s What Would You Do?, and she recently appeared as a conspicuous fashionista in the feature film Yellow Fever. An avid martial artist, Rachel co-wrote and co-produced the Kung Fu parody Savage Lotus on YouTube. She is thrilled to be a part of Chinglish! Rachel lives happily in New York City with her dashing husband, Brendan, and their rescued pit bull, Penny LuWalsh. Rachel strives for beauty and truth in everything she does. Connect with her at RachelLu.com.

cast ing Swordsman. Training: A.R.T./ MXAT at Harvard University; B.A. Fordham University. Big thanks to May Adrales, our wonderful crew and my family.

Yuekun Wu (Bing/Judge Xu Geming). Syracuse Stage debut. Off-Broadway: The Dance and the Railroad (Signature Theatre/Wuzhen Theatre Festival, China), Clocked Out (Roy Arias Theatres). Selected New York credits: Women: The War Within (Baryshnikov Arts Center), Love in Tear and Laughter, Luo Shen: Legend of the Luo River (Theatre for the New City), Swoony Planet, The Marriage of Figaro, Groundwork of the Metaphysic of Morals, The Good Person of Szechwan. The Subtle Body (Shanghai International Contemporary Theatre Festival). Film/ Television: American Dreams in China, Beijing, New York, The Fly-

Jian Xin (Cai Guoliang) worked as an actor for over fifteen years at the Tianjin People’s Art Theatre in Tianjin, China. Upon relocating to the United States, he spent two years performing with Dongfang Performing Arts Association in Chicago before settling in Houston. Jian is an alumnus of the renowned Shanghai Theatre Academy and currently teaches drama at the Oriental Art Education Center in Houston.

A r t i s t i c S ta f f Timothy R. Mackabee (Scenic and Projection Designer). Broadway: Mike Tyson: Undisputed Truth (dir. Spike Lee). Off-Broadway: Luce (Lincoln Center Theatre), Much Ado About Nothing (Public Theatre), Our New Girl (Atlantic Theatre Company). Opera: Paul’s Case (UrbanArias), Tosca (Mill City Opera). Regional: Dallas Theatre Center, Yale Repertory Theatre, Philadelphia Theater Company, Asolo Repertory Theatre, Triad Stage, Studio Theatre, Virginia Stage, Syracuse Stage, Paper Mill Playhouse. Williamstown Theatre Festival: eight seasons. Dance: Doug Varone & Dancers, Cedar Lake Dance. Film/TV: Smash, The Today Show, Mike Tyson: Undisputed Truth

(HBO), Margot at the Wedding. Upcoming: The Band’s Visit (dir. Hal Prince), Heathers: The Musical (New World Stages). Education: North Carolina School of the Arts, Yale School of Drama. timothymackabeedesign.com Jeff Cone (Costume Designer) has designed for 16 seasons at Portland Center Stage. In that time he has designed costumes for over 75 productions. Of those shows, 49 have been in the last eight seasons at the Armory. Favorite productions include West Side Story, Cabaret, Alfred Hitchcock’s The 39 Steps, One Flew Over the Cuckoo’s Nest, Sometimes a Great Notion, Snow Falling on Ce-

A r t i s t i c S ta f f dars, The Imaginary Invalid, Black Pearl Sings!, Venus in Fur, and Clybourne Park. Jeff received Drammy Awards for his costume designs for Dirty Blonde, Act A Lady, and Shakespeare’s Amazing Cymbeline. In addition to his resident costume designer duties, Jeff manages the costume shop at Portland Center Stage.

top, Fiddler on the Roof, Oklahoma!, The North Plan, Shakespeare’s Amazing Cymbeline, Black Pearl Sings!, Opus, futura (with composer Jana Losey), Ragtime (PAMTA Award 2010), The 25th Annual Putnam County Spelling Bee, Alfred Hitchcock’s The 39 Steps, Snow Falling on Cedars, Crazy Enough, The Little Dog Laughed, Sometimes a Great Notion, Cabaret, The Pillowman, I Am My Own Wife, West Side Story, Celebrity Row, and eight seasons of JAW. National shows: Holcombe Waller Surfacing and Wayfinders; Left Hand of Darkness, My Mind is Like an Open Meadow (Drammy Award 2011), Something’s Got Ahold Of My Heart, and PEP TALK (Hand2Mouth Theatre). Other theatrical credits include Squonk Opera’s BigsmorgasbordWunderWerk (Broadway, PS122, national and international touring); I Am My Own Wife, I Think I Like Girls (La Jolla Playhouse); Playland, 10 Fingers, and Lips Together, Teeth Apart (City Theatre, PA). Film credits include Creation of Destiny, Out of Our Time, and A Powerful Thang. Recordings: Glitterfruit’s “fruit snacks.”

Seth Reiser (Lighting Designer) designs for theatre, dance, music, and installations across the United States. Recent NYC credits include Come and Back Again with David Dorfman Dance at BAM and now touring; The Bad Guys at Second Stage; The Agony and the Ecstasy of Steve Jobs at The Public Theatre; the Obie Award-winning production of The Lily’s Revenge at HERE Arts; Dutch A/V at La Mama; Reggie Watts and Tommy Smith’s RADIO PLAY at PS 122. Regionally his work has been seen at Profile Theatre, Trinty Repertory Company, Actors Theatre of Louisville, Berkeley Repertory Theatre, Seattle Repertory Theatre, The Denver Center Theatre Company, On the Boards, The Eugene O’Neill Theatre Center, Woolly Mammoth, American Repertory Theatre, and PlayMakers Repertory Company. Seth received his MFA from New York University/ Tisch. He lives in Rochester, NY with his wife Mary and daughter Marion. www.sethreiserdesign.com

Jana Crenshaw (Composer) is a singer-songwriter originally from rural PA. After losing her janallosey.com url to vicious internet hunters from a galaxy far, far away, and suffering years of the mispronunciation of her birth name, she is born again as CHINA LUCY! With a history that includes Broadway, international touring, a solo career, and a reality TV show, China Lucy has recently

Casi Pacilio (Sound Designer) keeps busy with a variety of work and play around the country. Portland Center Stage credits include The Mountain-

A r t i s t i c S ta f f resurfaced in the Portland, OR music scene with The Tuesday Project, a revolving band of local musicians and artists of many flavors. Recent theatre projects include: composing the score for Hand2Mouth Theatre’s production of Left Hand of Darkness by Ursula K. Le Guinn; composing and arranging for Liminal’s recent production of Our Town at The Headwaters Theatre; and transitional music and cues for Portland Center Stage’s futura. See more at China-Lucy.com.

in Portland – an activity she considers the best means of meditation and escape from the stresses of everyday life. Jane is also in the process of catching up on American culture. She loves classic film noir and the films of Orson Welles, Alfred Hitchcock, and David Lynch. Laura Jane Collins (Stage Manager) is happy to return to Syracuse for Chinglish. Regional credits include: Scorhed, Good People, August Wilson’s Two Trains Running, Moby Dick, Red, The Boys Next Door, and No Child... (Syracuse Stage); 4000 Miles, Last of the Red Hot Lovers, Lend Me A Tenor, and Full Gallop (The Hangar Theatre). New York credits include: Most Likely To: The Senior Superlative Musical (Broadway Clubhouse, MITF), Hillary: A Modern Greek Tragedy with a Somewhat Happy Ending (New Georges). Dance production credits include: The Who’s TOMMY—A Rock Ballet, Paul Taylor and Other Dances, In Search of a Goddess (all Adelphi University productions with visiting artists). LJ is a graduate of the Stage Management program in Syracuse University’s Department of Drama, and is currently based in New York City.

Jane Chen (Cultural Consultant) is originally from Nanjing City, China. The city has been known as a historical capital for six dynasties. Jane went to Japan in 1996 to pursue her education. She obtained her BA in Law & Policy from Tezukayama University in Nara, Japan. After graduation, she worked for the Osaka City government to promote international business in the city. In 2005 Jane moved to Portland, OR for career advancement. She has worked for local international business companies, such as KAI USA Ltd. (Kershaw, SHUN Knives) and Leupold & Stevens. Specializing in the fields of global procurement, sourcing, and supply chain management, she has refined her in-depth understanding of Asia-West economic and cultural exchange. This professional background as well as her fluency in three languages (Chinese, Japanese, and English) has contributed to the successful ventures of several American companies in Asian nations. Jane likes running on the Wildwood trail

Harriet Bass (Casting Director) has been an independent New York casting director since 1989, casting for theatre, film and television. In New York City Harriet has cast for ABC/TV, Fox Television Studios, Joseph Papp’s Public Theatre: NEW WORK NOW, The Minetta Lane Theatre, The Women’s Project, La MaMa, E.T.C., New York Women

Care for children & adults Complimentary Consultation Advanced SureSmile Technology ®

Clear braces Invisalign ® Reduced treatment times

A r t i s t i c S ta f f in Film and Television, and The Jewish Repertory Theatre. She has cast the last three of the late August Wilson’s ten part play series: the original and touring productions of Radio Golf, the Broadway production of Gem of the Ocean, and the Off-Broadway production of Jitney. Selected regional casting credits include: Syracuse Stage, Mark Taper Forum, Hartford Stage, Arena Stage, Trinity Repertory Theatre, San Jose Repertory Theatre, Geva Theatre Center, Indiana Repertory Theatre, Pittsburgh Public, Merri-

mack Repertory Theatre, Longwharf Theatre, Alliance Theatre Company, The Goodman Theatre, Kansas City Repertory Theatre, Baltimore Center Stage, Huntington Theatre Company, Virginia Stage Company, Dallas Theatre Company, Berkeley Repertory Theatre, Portland Center Stage, and Playmaker’s Repertory Theatre. Feature film credits include: Pushing Hands directed by Ang Lee, Underheat, starring Lee Grant, First We Take Manhattan, produced by Golden Harvest Inc., and Graves End, directed by Sal Stabile.

co-producer Portland Center Stage exists to inspire its community by bringing stories to life in unexpected ways. Established in 1988 as a branch of the Oregon Shakespeare Festival, PCS became an independent theater in 1994 and has been under the leadership of Artistic Director Chris Coleman since May 2000. The company presents a blend of

classic, contemporary and original productions in a conscious effort to appeal to the eclectic palate of theatergoers in Portland, Oregon. PCS also offers a variety of education and outreach programs for curious minds from six to 106, including discussions, classes, workshops and partnerships with organizations throughout the Portland metro area.

p l ay w r i g h t David Henry Hwang wrote M. Butterfly (1988 Tony Award, 1989 Pulitzer Finalist), Golden Child (1998 Tony nomination, 1997 OBIE Award), Yellow Face (2008 Obie Award, 2008 Pulitzer Finalist), FOB (1981 Obie Award), The Dance and the Railroad (1982 Drama Desk nomination), Family Devotions (1982 Drama Desk Nomination),

and Bondage. He wrote the books for the Broadway musicals Elton John and Tim Rice’s Aida (coauthor), the revival of Flower Drum Song (2002 Tony nomination), and Disney’s Tarzan. In opera, his libretti include Philip Glass’ The Voyage (Metropolitan Opera), Osvaldo Golijov’s Ainadamar (two 2007 Grammy Awards), Unsuk Chin’s Al-

p l ay w r i g h t ice in Wonderland (Opernwelt 2007 “World Premiere of the Year”), and Howard Shore’s The Fly. Hwang also penned the feature films M. Butterfly, Golden Gate, and Possession (co-

author). He serves on the Council of the Dramatists’ Guild and was appointed by President Clinton to the President’s Committee on the Arts and the Humanities.

director May Adrales is thrilled to direct Chinglish at Syracuse Stage. A freelance theatre director based in New York City, May has helmed several world premieres including JC Lee’s Luce (LCT3); Katori Hall’sWhaddabloodclot!!! (Williamstown Theater Festival); In This House at Two River Theatre Company; A. Rey Pamatmat’s Edith Can Shoot Things and Hit Them (Actors Theatre of Louisville); Thomas Bradshaw’s Mary (The Goodman Theatre); Tommy Smith’s The Wife (Access Theatre), and The Bereaved (Partial Comfort Productions). She recently directed David Henry Hwang’s The Dance and the Railroad at New York’s Signature Theatre and the Wuzhen International Theatre Festival in China, and Katori Hall’s The Moun-

taintop at Milwaukee Repertory Theatre. Upcoming Projects: Breath and Imagination (Cleveland Playhouse) and Deathtrap (Pioneer Theatre). She is a Drama League Directing Fellow, Women’s Project Lab Director, SoHo Rep Writers/Directors Lab and NYTW directing fellow, and a recipient of the TCG New Generations Grant, Denham Fellowship and Paul Green Directing Award. She proudly serves as an Associate Artist at Milwaukee Repertory Theatre. She is a former Director of On-Site Programs at the Lark Play Development Center and Artistic Associate at The Public Theatre. MFA, Yale School of Drama. She is currently on faculty at the Yale School of Drama. Thank you David, PCS and this amazing cast. www.mayadrales.net

Producing Artistic Director Timothy Bond is in his seventh season as producing artistic director of Syracuse Stage and the Syracuse University Department of Drama. For Syracuse Stage he has directed The Whipping Man, August Wilson’s Two Trains Running, The Brothers Size,

The Boys Next Door, Radio Golf, No Child..., Fences, The Price, The Diary of Anne Frank and Ma Rainey’s Black Bottom. He has 26 years experience in leading regional theatres throughout the country. Previously, he served for 11 years as associate artistic director of the famed Oregon Shakespeare Festival where he directed 12 produc-

Producing Artistic Director tions, including works by Shakespeare, August Wilson, Suzan-Lori Parks, Edward Albee, Lorraine Hansberry, Lynn Nottage, Octavio Soliz and Pearl Cleage. Prior to that, Bond spent 13 years with the Seattle Group Theatre, serving as artistic director from 1991 – 1996. While there he directed more than 20 plays including a number of world and West Coast premieres, and he oversaw the largest capital campaign in the company’s history, culminating in the completion of a new theatre complex in the Seattle Center. Bond has also directed at such prestigious theatres as The Guthrie, Arena Stage, Seattle Repertory Theatre, Actors

Theatre of Louisville, Milwaukee Repertory Theatre, The Cleveland Play House, A Contemporary Theatre, Indiana Repertory Theatre and Geva Theatre. Bond received a Theatre Communications Group/ National Endowment for the Arts Directing Fellowship Award and has twice won Backstage West’s Garland Award for Outstanding Direction for Les Blancs (1998) and Blues for an Alabama Sky (1997). He served on the board of directors of the Theatre Communications Group from 1993 to 1997. Bond holds a BFA from Howard University and an MFA in directing from the University of Washington.

managing Director Jeffrey Woodward became the managing director of Syracuse Stage in 2008. For 17 years he served as the managing director for the McCarter Theatre Center in Princeton, NJ. During his tenure, McCarter was honored with the Tony Award for Outstanding Regional Theatre. Woodward is a member of the board of the University Hill Corporation, the East Genesee Regent Association and CNY Arts. He has served on

the Board of Trustees of Theatre Communications Group and as President of ArtPride New Jersey. He has also served as a panel chairman, panelist, and on-site evaluator for the National Endowment for the Arts. He has worked for Hartford Stage, the Mark Taper Forum, Northlight Theatre and the Oregon Shakespeare Festival, and served as a consultant to a number of organizations. He holds a BA from Pomona College and a MBA from New York University.

mission/vision Mission: Syracuse Stage is a global village

turous, and entertaining productions of new plays, classics and musicals, and offer interactive education and outreach programs in Central New York.

square where renowned artists and audiences of all ages gather to celebrate our cultural richness, witness the many truths of our common humanity, and explore the transformative power of live theatre. Celebrating our 41st season as a professional theatre in residence at Syracuse University, we create innovative, adven-

Vision: Syracuse Stage illuminates the

many truths of our common humanity through the transformative power of live theatre.

A b o u t S y r a c u s e S ta g e Syracuse Stage is Central New York’s

Chong. These visiting artists are supported by a staff of artisans, technicians, educators and administrators who are responsible for all facets of the theatre from building sets, props and costumes to marketing, development and box office. A solid core of subscribers and supporters helps keep Syracuse Stage a vibrant artistic presence in Central New York. Year after year their support and patronage contribute to the success of the theatre. Additional support from government, foundations, corporations and Syracuse University helps to ensure the continued role of Syracuse Stage as a valued cultural resource for the community. Syracuse Stage is a constituent of the Theatre Communications Group (TCG), the national organization for the American theatre, and a member of the Arts and Cultural Leadership Alliance (ACLA), the University Hill Corporation and the East Genesee Regent Association.

premier professional theatre. Founded in 1974, Stage has produced more than 300 plays in 40 seasons including a number of world, American, and East Coast premieres. Each season 90,000 patrons enjoy an adventurous mix of new plays and bold interpretations of classics and musicals featuring the finest theatre artists. In addition, Stage maintains a vital educational outreach program that annually serves over 20,000 students from 24 counties. Syracuse Stage is a member of The League of Resident Theatres (LORT), the largest professional theatre association in the country. America’s leading actors, directors and designers work and/or have worked at Stage including: Tony Award-winners Lillias White, Chuck Cooper and Elizabeth Franz, Emmy recipient Jean Stapleton, Sam Waterston, John Cullum, James Whitmore, Ben Gazzara and Ping

in The Community An important aspect of the Syracuse

The Burton Blatt Institute, ARISE, IRC’s Community Wide Dialogue to End Racism, Hospice of CNY, SUNY Upstate Medical/St. Joseph’s Hospital Health Center, Big Brothers/Big Sisters of Onondaga County, The Learning Place, AIDS Community Resources, Syracuse Homes, The Chadwick Residence, The Child Care Council of Onondaga County, and Vera House, among others.

Stage mission is to be an active partner and resource in the Central New York community. Each season Syracuse Stage is pleased to partner with a diverse group of community organizations in sponsoring and facilitating various programs, benefits and events. Ongoing and past partnerships include Arc of Onondaga,

2 0 1 4 Fa l l c h i l d r e n ’ s to u r

n e x t at s ta g e

The Glass Menagerie

Annabel Drudge... and the Second Day of School

By Tennessee Williams Directed by Timothy Bond April 2 - 27

The Bank of America Children’s Tour By Lauren Unbekant Directed by Lauren Unbekant September 23 - December 11

The Glass Menagerie is the play that launched Pulitzer Prize-winning playwright Tennessee Williams’ career and is among the masterworks of the American stage. Drawn from Williams’ life, this moving play explores the illusory nature of dreams and the fragility of hope. Abandoned by the father of her children, Amanda is obsessed with finding a suitor for her shy and vulnerable daughter, Laura. Tom, the restless and sensitive son who narrates the story, eases his frustrations with nighttime escapes to the movies. At Amanda’s urgings, Tom asks a coworker to dinner. Can this “gentleman caller” offer any light to these bruised souls clinging to the tattered edges of lost dreams and faded hopes?

Annabel Drudge had a very bad first day at her new school... and she’s not going back. “Not with another 179 days left to go.” Her ever positive parents Phillip and Ima Drudge try to convince Annabel that she is special and will find friends who won’t care that she wears a leg brace. Annabel doesn’t want to be “special,” she just wants to fit in. With help from her Nana, a midnight journey to Istanbul and a pair of magical slippers, Annabel discovers just how special she is. Information and Booking: Kate Laissle 315.442.7755, kmlaissl@syr.edu

n e x t at SU d r a m a

The Good Woman of Setzuan

Spring Awakening

By Bertolt Brecht Directed by Felix Ivanov Performed in the Loft Theatre March 28 – April 13

Book and Lyrics by Steven Sater Music by Duncan Sheik Based on the play by Frank Wedekind Directed by Michael Barakiva Musical Direction by Brian Cimmet Choreographed by Andrea Leigh-Smith April 25 – May 10

Bertolt Brecht had a way with accepted social convention: turn it upside down, give it a good shake, and expose its hypocrisy with humor and delightful characters. In this master work, a good-hearted, penniless, prostitute named Shen Tei disguises herself as a savvy businessman in order to master the ruthlessness needed to be a “good person” in a brutal world. She can fool just about everyone, but how will she be judged by the gods?

Winner of eight Tony Awards, Spring Awakening is a hard-hitting rock musical adaptation of Frank Wedekind’s expressionist play. Set in late nineteenth century Germany, the story follows Wendla Bergmann, Moritz Stiefel, Melchior Gabor and their peers as they struggle to understand the meaning of sexuality and violence in an oppressive, repressed society where adults refuse to answer any hard questions.

s y r a c u s e s ta g e b o a r d o f t r u s t e e s Chair

Ann Clarke Dean, College of Visual and Performing Arts Syracuse University

President

Pat Colabufo Human Resource Manager Wegmans Food Markets

Robert Pomfrey* President & CEO POMCO Group Louis Marcoccia* Executive VP & Chief Financial Officer Syracuse University Vice Chair

Janet Audunson* Senior Counsel National Grid Vice Chair

Melvin T. Stith* Professor, Whitman School of Management Syracuse University Vice Chair

Fran Nichols* Vice Chair Eric Mower + Associates Treasurer

Brian Sischo* VP for Development Syracuse University Secretary

Rod McDonald* Bond, Schoeneck & King Dan Berman Partner HancockEstabrook, LLP Timothy J. Bond** Producing Artistic Director Syracuse Stage & SU Dept. of Drama Lorraine Branham Dean/Professor, S.I. Newhouse School of Public Communications Syracuse University

Richard Driscoll Group Manager Commercial Real Estate Lending M&T Bank Ellen Kimatian Eagen

Samantha Millier Associate Attorney Mackenzie Hughes LLP Kevin O’Connor Sr. Resident Director & Sr. VP Investments Merrill Lynch Virginia Parker Retired Educator Annette Peters Human Resources Director The Post-Standard

Sandra Fenske VP & General Counsel Lockheed Martin Corporation

Linda Pitonzo Guild President

Helene Gold Private Voice & Piano Instructor

James Reed Sr. VP Marketing & Sales Excellus BlueCross BlueShield

Bea Gonzalez Dean, University College Syracuse University Nancy Green Investment Advisor Edward S. Green & Associates

Richard Shirtz Regional President NBT Bank Sharon Sullivan Community Volunteer

Larry Harris Sr. VP & CFO & Secretary Saab Sensis Corporation

Wanda Thompson Sr. VP of Operations Upstate Medical University

Jeffrey Hoone Executive Director, Coalition of Museum & Arts Centers Syracuse University

Phil Turner Pastor Bethany Baptist Church

Brian Howard Private Bank Market Manager Key Bank Gregg Lambert Dean’s Professor of the Humanities Syracuse University

Gregory Usherwood Branch Manager Chase Bank Jeffrey Woodward** Managing Director Syracuse Stage

Larry Leatherman President MOST

Ralph Zito** Chair Syracuse University Department of Drama

Sandra Brown President Grandma Brown’s Beans, Inc.

Vincent Love President 100 Black Men of Syracuse Inc.

Michael Zoanetti VP Senior Wealth Advisor Tompkins Financial Advisors

Nancy Byrne Community Volunteer

Suzanne McAuliffe Retired Educator

*Executive Committee **Ex-Officio

s y r a c u s e S ta g e e m e r i t u s c i r c l e Noreen Falcone Eddie Green Joan Green

Elizabeth Hartnett Claude Incaudo Jack Mannion

Margaret Martin Eric Mower Judy Mower

Michael Shende Jack Webb

S y r a c u s e S ta g e G u i l d b o a r d President

Corresponding Secretary

Linda Pitonzo

Bev Short

executive vice president

Sara Lowengard Vice President, Membership

Gretchen Goldstein Vice President, fundraising

Julia Martin Vice President, Publicity

Elaine Cardone Treasurer

Ray Abdella recording Secretary

Kelly Gardner

Ray Abdella Deborah Borenstein Elaine Cardone Roxanna Carpenter Sarah Conley Nancy Danzer Terry Delavan Marsha Ferrara Grace Flusche Kelly Gardner Jacki Goldberg Barbara Ianuzi Josie James

Lauren Kochian Linda Lowengard Sara Lowengard Julia Joyce Martin Amy McHale Ann Mullin Mary O’Hara Linda Pitonzo Daniel Ryan Beverly Short Marian Stanton Jean Straub Maryam Wasmund Ginny Yerdon

S y r a c u s e S ta g e e d u c at i o n a d v o c a c y b o a r d Sara Bambino

Joe Goldberg

North Syracuse High School

Jamesville Dewitt High School

Todd Benware

Fred Montas

Christian Brothers Academy

Manlius Pebble Hill

Elizabeth Defurio

Kathleen Pickard

Nottingham High School

Baker High School

Kimberly Doan

William Preston

Auburn High School

Manlius Pebble Hill

Patricia Farrington

Jennifer Sabatino

Cicero North Syracuse High School

Cato Meridian Middle School

Chinglish presenting Sponsor

The Dorothy and Marshall M. Reisman Foundation is happy to support the Syracuse Stage production of Chinglish. We value what Syracuse Stage brings to the cultural fabric of Central New York, making it a better place to live and work. Congratulations on another exciting season of diverse plays.

season supporters*

Richard Mather Fund

The John Ben Snow Foundation, Inc.

Grandma Brown Foundation

*Corporate, Foundation and Government support received in the last 12 months from $3,000 - $100,000 and above.

s y r a c u s e s ta g e a n n u a l G i f t s Syracuse Stage depends on the generosity of contributions from individuals, corporations, businesses, foundations and government agencies. It is with much gratitude that we recognize the following donors to our annual campaign. Contributors listed below represent donations received in the past twelve months. For information regarding levels of contribution and benefits of each please contact the Development office at 315.443.3931 or visit syracusestage.org

c o r p o r at e h o n o r r o l l $100,000+ Syracuse University $50,000 - $99,999 Syracuse Media Group $14,000 - $24,999 Arts Engage, the Office of the Syracuse University Arts Presenter M&T Bank – The Glass Menagerie, Pay What You Can Series, Syracuse Stage Fundraiser POMCO Group – Presenting Sponsor, A Christmas Carol Time Warner Cable WAER WCNY $7,500 - $13,999 Bank of America – Children’s Tour, The Bully Games Clear Channel Media and Entertainment CNY Business Journal Excellus BlueCross BlueShield – Blithe Spirit Hiscock & Barclay KeyBank N.A. – A Christmas Carol Lockheed Martin MST NBT Bank – Blithe Spirit Syracuse Stage Board of Trustees WRVO

 = Increased Gift,

$5,000 - $7,499 Carrier Corporation – The Glass Menagerie Constellation Energy Nuclear Group – ArtsEmerging Lockheed Martin Employees Federated Fund National Grid Scherzi Photography + Video SU Humanities Center, organizer of Syracuse Symposium: “Listening” Scorched Tompkins Financial Advisors – Educational Programs Wegmans –Educational Programs $2,800 - $4,999 CNY Latino Eagle Newspapers Syracuse New Times Urban CNY $1,500 - $2,799 Bristol- Meyers Squibb Foundation EBS-RMSCO, Inc. Phoebe’s SRCTec Inc. SU School of Education Syracuse Blue Print Young & Franklin $1,000 - $1,499 Action Printwear, Inc. 

Cooper Crouse - Hinds McIntosh Box & Pallet Co., Inc. Thomas R. Pratt, Architect, PC $500 - $999 Anoplate Corp. Merrill Lynch Law Office of Keith D. Miller Rapid Response Monitoring Service $250 - $499 ACLS Mailing & Fulfillment Freeman Interiors Geddes Federal Savings Hebert Financial Strategies/ Dennis & Judy Hebert Reeves Farms Smith Contemporary Furniture/Smith Interiors Ltd The Mid-York Press, Inc. $75 - $249 Brady System Fulton Savings Bank Giarrusso Building Supplies Mauro-Bertolo Therapy Services, P.T., P.C. L. & J.G. Stickley Urist Financial & Retirement Planning Visual Technologies Ann Wolfson Associates

* = Stage Board Member, Stage Emeritus Board Member,

n = In-kind Contribution

Contributors listed have provided support in the past 12 months.

f o u n d at i o n & g o v e r n m e n t h o n o r r o ll $50,000 - $99,999 The Dorothy and Marshall M. Reisman Foundation – Presenting Sponsor, Scorched, The Whipping Man and Chinglish, and Founders Circle Member $25,000 - $49,999 Central New York Community Foundation, Inc. John F. Marsellus Fund County of Onondaga, Administered by the CNY Arts The Richard Mather Fund National Endowment for the Arts New York State Council on the Arts Shubert Foundation

$14,000 - $24,999 The John Ben Snow Foundation, Inc. ArtsEmerging $7,500 - $13,999 AXA Foundation The Gifford Foundation The Green Family Foundation $5,000 - $7,499 Theatre Development Fund, Inc. $2,800 - $4,999 Grandma Brown Foundation - The Whipping Man The Gladys Krieble Delmas Foundation – General Operating Support

Melvin & Mildred Eggers Family Charitable Foundation $1,500 - $2,799 The Allyn Foundation – A Christmas Carol Price Chopper’s Golub Foundation – Education Initiative $1,000 - $1,499 Henry A. Panasci, Jr. Charitable Trust Frank & Frances Revoir Foundation  $500 - $999 Peter & Wendy Blanck Family Foundation

endowment & planned gift donors $7,500 - $12,000 Mary Jane Woodward

$5,000 - $7,499 Mary Louise Dunn Fund

$1,000 - $1,499 Howard & Grayce Bendixen Memorial Trust

individual gifts All new and increased gifts this season are matched dollar for dollar by the Richard Mather Fund. Founders Circle $7,500 - $24,999 Paul Phillips, MD & Sharon* Sullivan Playwrights’ Circle $5,000 - $7,499 Daniel Bingham & Gail Hamner – Scorched Eric & Judy Mower Sandra Lee Fenske* & Joe Silberlicht Theatre Development Fund, Inc. Producer’s Circle $2,800 - $4,999 Bill & Nancy* Byrne

Pete & Mary Beth* Carmen Margaret, Amy & Bob Currier Helene* & Neil Gold Mary & Larry* Leatherman Louis* & Susan Marcoccia Judy & Eric Mower* Judith Sayles & David Murray Frederick & Virginia* Parker Mrs. Sherwin Radin Nancy & Steve Rogers The Spina Family Elinor Spring-Mills & Darvin Varon Dr. & Mrs. Thomas R. Welch

Director’s Circle $1,500 - $2,799 Janet Audunson & David Youlen Joan Christy & Thomas Bersani Nancy Seward & Tim Bond Cathy & Jim Breuer Sandra L. Brown* Barbara Burgess Laurie Clark Kristin & Sidney Cominsky Dana & Peggy Dudarchik James Eagen & Ellen* Kimatian Eagen Mike & Noreen Falcone Barbara & Michael Flintrop

RESTAURANT & COFFEE LOUNGE

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Lunch ~ Dinner ~ Full Bar ~ Coﬀee Lounge 56

Joan & Eddie Green* Winifred E. Greenberg Bonnie & Gary Grossman Ann & Larry*Harris Betsy Hartnett* Barbara & Brian* Howard Mr. & Mrs. Claude* Incaudo Tamara Jacobs Peter Cannavo & Helen Jacoby Mr. & Mrs. Dudley Johnson Randy & Elizabeth Kalish Bea Gonzalez* & Michael Leonard Mr. John F.X. Mannion* & Mayor Stephanie A. Miner Nancy Green* & Tony Marshall Margaret* & Don Martin Suzanne* & Kevin McAuliffe Sally Lou & Fran Nichols Kevin* & Michelle O’Connor John & Sheila Parker William & Rosemary Pooler Bob & Kellie Pomfrey Dene A. Sarason Elaine & Michael* Shende Leslie Kohman & Jeffrey Smith Dr. & Mrs. Sam Spalding James Sprague Gies & Kenneth Gies Sprague Patricia & Melvin* Stith Cindy Sutton & Family Sally & Bob Theis Eileen & David Thompson Cherry & Peter Thun Linda & Jack* Webb Paul Barron & Leah Weinberg Glenda & Larry Wetzel Laurie & Michael* Zoanetti Benefactors $1,000 - $1,499 Joan Christy Marya & John Frantz and Sutton Real Estate Company, LLC Sam & Deborah Haines Joyce Homan Susan Beth Burgess & Michael S. Nilan Sandra Hurd & Joel Potash Athenia Rogers George & Rita Soufleris

Stars $500 - $999 Aminy Audi: Stickley Furniture Anoplate Dr. & Mrs. Richard Aubry Maria & Paul Badami  Marion & Bob Barbero Daniel* & Sarah Berman Louise Birkhead Patti & Frank Borer Craig & Kathy Byrum Pat Colabufo* Drs. Alexander & Margaret Charters* Dr. & Mrs. Paul S. Cohen Ann Clarke* Frank N. Decker Mr. & Mrs. Richard Driscoll* Donald Blair & Nancy Dock Lew & Elaine Dubroff Clay & Dora Elliott Michael & Jacki Goldberg Deb & Sam Haines Theodore C. & Antonia M. Hansen Donna Mahar & David Heisig Della & Philip Holtzapple John & Gloria Kennedy Stephen & Janet Kimatian Gregg Lambert*, Director of HC, Syracuse University Barbara Beckos & Arthur McDonald John P. & Elizabeth Y. McKinnell Jane Merrill John MacAllister & Laurel Moranz Justin Sawyers & Jeffrey T. Morehead Anne Morford Jan & David Panasci Mark Re & Nancy Pasquale Jane Burkhead & Robert Sarason Gracia & Rick Sears Walter & Nancy Shepard Brian* & Kathy Sischo Corinne & Lynn Smith James & Vicki Smith Laurence Sovik Raymond & Linda Straub Nancy Kramer & Doug Sutherland

In Tribute ontributions have been made to Syracuse Stage to honor someone, celebrate a special occasion or offer an expression of sympathy in memory of a loved one. In Memory of Arlene Alpaugh Allene Ayling in honor of Don Ayling Rose Erma Angotti in honor of Nancy Davenhauer Mrs. Gwynne Bellos in honor of Dr. Neal S. Bellos Sherly Day-Bernthal in tribute of Murray Bernthal Dr. Stuart Bretschneider in tribute to Cindy Bretschneider Carol Bryant in honor of Virginia Parker Susan G. Dorn in memory of Phillip K. Dorn June M. Estes in honor of Gerald L. Estes Mrs. Blanche & Ms. Carol Everingham, in honor of WWII, Purple Heart Veteran, Robert I. Everingham Barbara Genton in honor of Donna Perricone Peggy Ginniff in honor of my parents Harold & Mildred Ginniff Jacki & Michael Goldbergin tribute of Natalie Goldberg Syracuse MT Student Tom & Christine Hafner in tribute of Peter Hafner Patti & Bill Haggerty in memory of Marilyn Parratt Kip & Terri Hargrave in honor of Gus Hargrave & Rick Menke Kathlyn Heaton in honor of Sharon Waletzko Drs. Timothy & Lisa Izant in honor of the Izant Brothers Linda & Bob Jackson in honor of Kevin Crewell Doris King in memory of Austin Hoffman II Richard & Joan Kollgaard in honor of Don Buschmann & Tracey White Robert & Ellen LaBerge in tribute of Daniela Varon Lorraine LaDuke in honor of Mrs. Cecile LaDuke Janet W. Lowe in honor of Bob Moss

ACCESSI B ILIT Y PERFORMANCES 2 0 1 3 / 1 4

chinglish Sat. Mar. 8, 3:00 S Wed. Mar. 5, 2:00 OC Sat. Mar. 15, 3:00 AD Sun. Mar. 16, 2:00 OC the glass menagerie Sat. Apr. 12, 3:00 S Sat. Apr. 19, 3:00 AD Wed. Apr. 23, 2:00 OC Sun. Apr. 27, 2:00 OC American Sign Language = S Sign Language Interpreted Performance Series supported in part by Welch Allyn, in memory of Susan Thompson. An American Sign Language Interpreted performance is offered for every production. For the most advantageous viewing, be sure to mention your interest in sign interpretation when reserving tickets. Open Captioned Performances = OC Open Captioning is provided for two matinee performances of every production. A small screen, placed to the side of the stage, displays text corresponding to the play’s dialogue and other sounds. Open Captioning can be viewed from most seats in the theatre. However, for the most advantageous viewing, please contact the Box Office. Open Captioning is supported by grants from Theatre Development Fund’s TAP Plus Praagram, NYSCA and donations from individuals and corporations. Audio-Described Performances = AD Simultaneous live narration and pre-show description for blind and visually impaired patrons is available upon advance request. Information at 443-9839 or jmwhelan@syr.edu. Audio Enhancement: Syracuse Stage offers an infrared hearing system for patrons with up to 70% hearing loss. Headsets can be reserved free of charge through the Box Office or at the Coat Room before curtain. Wheelchair Seating and Accessibility: Syracuse Stage is wheelchair accessible. Please call the Box Office at 315-443-3275 to arrange wheelchair seating.

PROGRAM BOO K Publications Director Graphic Designer Advertising Program Cover Art

Joseph Whelan Jonathan Hudak Katherine Keeney Brenna Merritt

Chinglish published February 26, 2014 The Syracuse Stage program is published seven times a year. For advertising rates and information contact the development office at 315.443.2709. Printed by Midstate Printing Corporation.

Tiso Family Lorraine Branham & Melvin Williams Lori Ott & Jeffrey Woodward Angels $250 - $499 George & Sandra Abbott Mr. Timothy Atseff & Ms. Margaret G. Ogden Anne Barash Joanne & Jim Beckman Diane & Orville Boden Anthony & Nancy Bottar Dick Bowman Susan & Thomas Brett Mrs. William L. Broad Mark & Maren Brown Marlene A. Brown Marion L. Burke Dr. & Mrs. R. J. Cassady Drs. Alexander* & Margaret Charters Ann & Steve Chase Goodwin Cooke Thomas & Deborah Coyle Mr. W. Carroll Coyne Mr. & Mrs. Anthony Dannible Carol Decker Sandra Marie DiBianco Alan B. Dolmatch Jonathan & Rosanne Ecker Ted Emerick Marsha & Benjamin J. Ferrara Maryann Finn Michael & Grace Flusche Judith A. Fox Anita & Allen Frank David & Sylvia Fry Allan & Nirelle Galson Penny & Ernie Giraud David Jacobs & Douglas Goldschmidt Marie & Joseph E. Grasso Jean Jeffery Greene Jerry & Beth Groff Ellen & Dave Hardy Dr. & Mrs. Donald M. Haswell Nancy & Bud Haylor Drs. Joe & Paula Himmelsbach Mr. & Mrs. Alexander Holstein Anne Barash & Eric Holzwarth Randall LaLonde & Patricia Homer

Carrie Mae Weems & Jeffrey* Hoone Dr. Peter & Mary Huntington Robin & Mark Kasowitz Norma Kelley Penelope J.M. & Stephen M. Klein Mary Rose Kott Linda & Dan Lowengard Candace & John Marsellus Albert Marshall Philip & Kim Mazza Scott & Marlene Macfarlane Amy & Myles McHale, Jr. Sam & Margaret McNaughton Bernard P. & Leslie A. Molldrem Alejandro Amezcua & David Murray Betty Jane & Larry Myers Maria Maniscalco & James Nellis John & Joan Nicolson Mike & Maggie O’Connor Phyllis & Chuck Olmsted Robert & Teresa Parke Robert & Jane Pickett Marilyn Pinsky Kathy & Dan Rabuzzi Nancy & Gary Radke Rissa & Michael Ratner James* & Theresa Reed Arnie & Libby Rubenstein Ellen & Lome Runge Lois & Ted Schroeder Marilyn & Mike Sees Nancy & Walter Shepard James W. Shults Rhoda Sikes Laurence Sovik Sharon Springer, MD Helene & George Starr Dr. J. Martin & Jackie Talcik Robert & Rosemarie Tenney Cynthia G. Tracy Elizabeth A. Tumbridge Pastor Phil M. Turner/ Bethany Baptist Church Sara & Jay Wason Marylou & Kurt Watson Lynda & Terry Wheat Lorrain Branham & Mevin Williams John & Mitzi Wolf Mary Jane Woodward Kathy, Tony, Victoria & Lucas Zappala

Mary S. Mahoney in honor of John Francis Mahoney John Huppertz & Diane Mastin in honor of Fran & Sally Lou Nichols Richard Midlam in tribute of Barbara Midlam Lois Moran in honor of Joan & Raymond Lee Janice Nelson in honor of Bea & Irving Solomon Pamela K. Reisman Monaco in tribute of Dorothy & Marshall Reisman Mark Cywilko & Marianne Moosbrugger in honor of Isabell A. Cywilko In honor of Kathryn Mulligan Liz Nguyen in tribute of Jack P. Bleich Joy & Al Oliver in honor of Rebecca Oliver & Hillary Gale Joan & Lawrence Page – in tribute of the musicians of the orchestra who accompany some productions Susan A. Parker in honor of Virginia B. Parker Karleen Preske in tribute of Kathleen Wilkinson Anita Rathbun in honor of Mildred Rathbun David Relyea in tribute of Paula Relyea Nancy Remchuk – in honor of Tim Bond, for a job well done Terry & Marilyn Ryan in honor of Shirley Gersony Nancy Scheutziw in tribute of Syracuse Stage Staff/ Volunteers Mr. & Mrs. Jacob H. Schuhle in memory of William Whiting Mansukh L. Shah in memory of Indira M. Shah John W. Sivak, Jr. in memory of Phoebe P. Sivak Vivan Summerville, June 7, 1968 Darcie Bowden Judy & Jim Sweet in memory of Kara Sweet Gobron Peter & Hanora Vander Sluis in memory of Hildegarde B. Vander Sluis Ron Theel in memory of Karen Theel Gary Walters in memory of Patti Grycka Carol Bryant & Richard Ward in honor of Virginia & Fritz Parker Terry & Lynda Wheat in memory of Kathy Goldfarb-Findling Octavia Wilcox in honor of Ethel May Pierce Janet & Larry Wolf in memory of Frederick I. Wolf

Supporting Cast $100 - $249 Dr. & Mrs. Jerrold Abraham Judy & Bud Adams Bev & George Adams Sally Alden Howard & Sara Alexander David & Amy Allyn Kal Alston Kristi Andersen Robert & Jeanne Anderson Alice & Bob Andrews Nathan Andrews James & Nancy Asher Holmes & Sarah Bailey George S. Bain Ed & Joan Bangel Nancy Barnum Gerhard & Carole Baule Andrew & Margot Baxter Ms. Gwynne Bellos Paula A. Bendis Mr. & Mrs. Ronald Berger Dr. & Mrs. William Berkery Wanda Warren Berry Cynthia A. Blume. Gary & Fran Bockus Katherine & Jack Boyce Mary Brady Bernard B. & Ona Cohn Bregman Robert Moss & Michael Brennan James & Joyce Bresnahan Rachel May & Tom Brockelman Dawn Broderick G. Martin & Kathleen Brogan Philip & Helen Buck Robert & Mary Burdick Mary & Bill Butler Frank & Kathy Campagna Fran & Larry Campbell Ronald M. Capone Peter Carney Tom & Maryann Carranti Robert E. & Dorothy C. Chambers Steve & Mary Chapin Joseph L. & Janice L. Charles Joan Cincotta Malcolm Clark R. Peter & Janet H. Clarke Carolyn & Sam Clemence James A. Clinton Mr. & Mrs. Craig Cobb Gregory Cohen Martha Cole Milt & Miggs Coleman

James A Traver & Marguerite Conan Bob & Sue Congel Mr. & Mrs. Robert D. Conine Roger & Judy Corwin Mr. & Mrs. Richard Cote Mr. & Mrs. Douglas L. Cotton Mike & LaRae Cottrell Orazio & Genevieve Covelli Elizabeth Cowan Tracy Cromp George W. Curry Peter & Margaret Darby Clive & Sandra Davis John S. & Catherine J. Davies Clive & Sandra Davis Arthur & Juleen Delaney Paula A. Dendis Mr. & Mrs. Robert H. Derrenbacker David C. Dickinson Delores R. Dixon Elizabeth & Evan Dreyfuss Jeff & Linda Drimer David & Robin Drucker Walter & Linda Dudas Lynn Cleary & David Duggan Nancy & Tony Ebersole Dr. Nabila A. Elbadwi/ Radiotherapy Associates of Upstate NY Betsy & Bill Elkins Susan A. Estabrook Cissie Fairchilds Lori & Christopher Farrell Tom & Jane Ferguson James & Barbara Finlon Joseph & Lillian Fischer Dan & Colleen Fisher Karen & William Fisher Katherine Flack Robert & Terry Flower Theresa Flyn Len Fonte Philip & Marilyn Frankel Drs. Tess & Jeff Freedman Ellie & Cyril Freeman Mr. & Mrs. Kenneth Freer Martin & Daisy Fried Melanie & Mark Fullerton Edgar & Eva Galson David & Bernice Gaynor Margaret Gelfuso Barbara W. Genton Dr. & Mrs. Henry George III Mr. & Mrs. John Gerson

Syracuse Stage Gala

An Evening with Julia Murney June 14, 2013 Schine Student Center underwriter

Keefe, Bruyette & Woods VIP Tables

Bond, Schoeneck & King PLLC Helene & Neil Gold Dr. & Mrs. Louis G. Marcoccia National Grid NBT Bank POMCO Group Sharon Sullivan & Dr. Paul Phillips Syracuse University Advancement and External Affairs College of Visual and Performing Arts at Syracuse University S.I. Newhouse School of Public Communications Patron Tables

Bank of America Bousquet Holstein PLLC ERIC MOWER + ASSOCIATES The Gifford Foundation Hancock Estabrook, LLP Harbridge Consulting Group LLC a BPAS Company Ann & Larry Harris Hiscock & Barclay Keybank KPMG MacKenzie Hughes LLP Suzanne McAuliffe/Ginny and Fritz Parker Syracuse Stage Guild Upstate Medical University University College of Syracuse University Cabaret Sponsors

Hueber-Breuer St. Joseph’s Hospital Health Center Cabaret Supporter

Sandra Brown/Grandma Brown’s Beans Office of the Chancellor, Syracuse University Lynda & Terry Wheat For more information contact the Development Office at 315.443.3931

Michele Gildemeyer Frank & Anne Girardi Peggy Ginniff James Godleski Sheila Goldie Robert & Karen Goldman Gretchen & Jeff Goldstein Annette Goodman Linda Fabian & Dennis Goodrich Lawrence & Dorothy Gordon Drs. Michael & Wendy Gordon Samuel & Judith Gorvitz David Graham Stephen & Julia Graziano Roger & Vicki Greenberg James M. Hahn Elaine & Gregory Hallett Mr. & Mrs. Daniel Halsey Stewart & Ruth Hancock Kevin & Denise Hanlon Carole & Mark Hansen Milena Hansen Ellen & David Hardy Bill & Kathy Harmand David & Lib Hayes Lionel Lee Hector Alan & Dorothy Heller Lee & Nancy Herrington Mary Hershberger Celaine & Victor Hershdorfer Judy & John Hoepner Marcia Hayden-Horan & Philip Horan Patricia & John Hottenstein Mr. & Mrs. Richard Hovey Guy & Patricia Howard Karen Heitzman & James Howe Dr. Anne Hunt Jim & Sherri Hyla Pam Hyland John & Linda Isaac Janet & John Isabelle Virginia Jacob Elaine & Steven Jacobs Richard Jaegar Mr. & Mrs. Jastrzab Daniel & Rhea Jezer Sisters Janet & Joan – supporting cast James Aiello & Pam Johnson Dr. & Mrs. Howard C. Johnson Mr. & Mrs. Stephen L. Johnson Mr. & Mrs. Thomas Johnston Michael & Lynette Jozefczyk

Marjorie T. & Joseph V. Julian Rita & Allan Kanter Jan & James Kaplan Phil & Judy Kaplan Robin & Mark Kasowitz John & Jane Keegan David & Noel Keith Scott & Cheryle Kelley Stephen & Janet Kimatian Jean Kimber Barbara & Richard Kimm Russell & Joan King Sally & Dick Kinsey Richard & Joan Kollgaard Barbara Sutton & Liz Kolodney Dr. Sylvia Betcher & Martin Korn Donald & Margo Koten Kathy & Scott Krell Roger Krieger Margaret Kufel Stephen & Cheryl Ladenheim Hume & Peggy Laidman Jay & Linda Land Phyllis & Harlan LaVine Linda & Jim LeMessurier Mark & Jeannette Levinsohn Bonnie Levy Elizabeth D. Liddy Edward & Carol Lipson Barbara Burke Liptak Brian & Susan Lison K.B. Lloyd Paul Brown & Susan Loevenguth Harlan London, Ph.D. Betsy Long John & Marian Loosmann Daniel & Linda Lowengard Nick & Cathy Lozoponi Eugene & Christine Lozner Thomas Luck Tom Miller & Mary MacBlane Patricia & James MacKillop John & Janet Mallan J.R. Manier Jon M. Maloff Louis & Nancy Maresca Mary K. Massad Fred & Virginia Marty Elizabeth G. Mascia Grace & Richard Mason John & Gloria Mandly Rick Manier Ann M. Marshall Nancy & Tony Marshall

Matching Gift Program he following companies will match gifts of their employees, retirees and spouses with a gift of their own to Syracuse Stage. Ask your personnel office for a matching gift form, send the completed form with your gift – and we’ll do the rest! AT&T Allied-Signal, Inc. American Express Company Avon Products, Inc. AXA Equitable Bank of America Borden, Inc. CIGNA Corporation CNA Foundation Chemical Bank Chubb Group of Insurance Companies Citicorp & Citibank, N.A. Coopers Industries Foundation Crouse Hinds Co. – Cooper Industries Deluxe Corporation Digital Equipment Corporation Emerson Electric Co. Equitable Life Assurance Society Farmer & Traders Life Ins. Co. Fireman’s Fund Insurance GE Foundation General Foods Corporation GlaxoSmithKline John Hancock Mutual Life Insurance The Home Depot Foundation Honeywell IBM Corporation J.P. Morgan Chase & Co. Johnson & Johnson Kemper National P&C Co. Key Foundation Lever Brothers Company Marine Midland Bank, N.A. McDonald’s Corporation Merrill Lynch Mobil Oil Corporation The MONY Group Mutual Life Insurance Co. NCR Corporation National Grange New York Telephone Niagara Mohawk Foundation Owens-Illinois, Inc. Pitney Bowes The Prudential Foundation Charles Schwab Radio Shack Rockwell Automation Trust SmithKline Beecham Labs The St. Paul’s Companies The Travelers Companies United Parcel Service United Technologies Corp. Verizon Welch Allyn Xerox Corporation

Frederick & Virginia Marty Mary K. Massad Mr. & Mrs. Peter Mazzaferro Drs. Toni & Bob McCormick Don & Rena McCrimmon Michael McGrath Pat McGrath Brian & Cheryl McIntyre Bev & Dave McKay Marilyn McKnight Diane Cass & Tim McLaughlin Dr. & Mrs. James L. Megna Mary & Eckart Meisterfeld Clifford & Marjorie Mellor Ann R. Melvin Sis Merrell Howard & Ann Port David Michelo & Peggy Ruzzie Mr. & Mrs. Charles Miller Dan &Terry Miller Merrill L. Miller, M.D. David & Beth Mitchell Gail & Peter Mitchell June M. Mitchell James Mitscher Robert & Barbara Moore John Palmer & Liz Morgenthein Eugene & Kimberlee Moretti Janet S. Munro Richard & Barbara Natoli Dorothea & Douglas Nelson Brenda Neuss Stephen W. Nevins John & Joan Nicholson Douglas & Gail Nielsen Gloria Noble Dennis & Doren Norfleet Neil Novelli Robert & Beth Oddy Howard McLaughlin & Mary O’Hara Sally O’Herin Donna & Richard O’Neil Timothy & JoDean Orcutt Cathy L. Palm Connie & Peter Palumb Robert & Teresa Parke Francis McMillan Parks David & Cynda Penfield Mr. & Mrs. Ralph Penner Kenn & Annette* Peters David & Susan Pickard Mary & Barry Pickard Richard & Nera Pilgrim David & Linda Pitonzo Joe & Karen Porcello Howard & Ann Port

Tom & Camille Potter David & Linda Rezak Robert & Christina Rhinehart Mr. & Mrs. David A. A. Ridings Brian & Chris Rieger Avard & Patricia Rogers Howard J. Rose Nancy Machles Rothschild Elaine Rubenstein Maria & Richard A. Russell Linda & Bob Ryan Don & Florence Saleh Richard & Jill Sargent Kelly & Tony Scalzo Jeffrey & Abby Scheer M. Gelfuso & P. Scheibe Keith Schroeder Janice Scully Jeffrey & Abby Scheer Nancy Mudrick& Eric Schiff George & Sharon Schmit Herbert & Hillery Schneiderman Margaret Schuhle Ellen Schwartz Ruth Seaman Constance Semel Drs. Peter Cronright & Judy Setla Rick & Betsy Severance Rob & Cheryl Shallish Mark Watkins & Brenda Silverman Dr. & Mrs. Robert Slavens Dr. & Mrs. L. Ryan Smart Craig & Martha Smith Debbie & David Smith Judith B. Smith Robert & Sheila Smith Harold & Ruth Smulyan Carol & Dirk Sonneborn Marcene Sonneborn Dr. & Mrs. George Soufleris Rosemary Baker & Stu Spiegel Helen E. Stacy Anne Stagnitti Dr. & Mrs. Dennis J. Stelzner Deborah & Jim Stewart Nona Stewart Jill & Ron Stratton Nan Strickland Thomas Talbot Joan & Gene Tarolli Laura M. Terpening Dr. & Mrs. James A. Terzian Jim & Terry Toole

e endeavor to provide a complete listing of all donors in all individual giving categories. However, if your gift is not listed or is listed incorrectly, please accept our apologies, and contact the Development Office at (315) 443-9848.

Dr. Richard & Mavis Tornatore Jean & John Tromans Tom & Mollie Tucker Marc & Susan Viggiano Dina & Gershon Vincow Meghan & T.J. Vitale Sara Warner & Laurence Volan Fred & Patricia von Mechow Frank & Alice Vreeland Barbara Vural Anita S. & Robert L. Wagner Kashi & Kameshawar Wali Dr. & Mrs. Donald Washburn Wilbur & Linda Webb – Audio Description Sally Webster Miriam Weiner Steven Shahan & Elizabeth Weinstein Ruth S. Weinstock Margaret Harding & Joseph Whelan Evelyn D. White Stacey White Elizabeth R. Wiggins Pauline & Robert Williamson Alex & Lola Winter Tina Winter Ivan & Bonnie Wolf Tom & Carol Wolff Kelly Wypych Cynthia A. Zacharek Judy & Steve Zdep, DDS Friends $75 - $99 Al & Jane Arras John & Mary Ann Baichi Gail & Dennis Baldwin Manny & Ellen Barbas Theresa & Dennis Bardenett Jon & Trish Booth

G e n e r a l I n f o r m at i o n Syracuse Stage 820 East Genesee Street Syracuse, NY 13210-1508 Administration: 315/443-4008 Box Office: 315/443-3275 www.SyracuseStage.org

Ticket Exchange All tickets may be exchanged. Please call the Box Office 24 hours prior to the earliest performance involved in the exchange. Single ticket exchanges carry a $5 fee per ticket. 6Pack holders may make one free exchange per show. Subscribers may make unlimited free exchanges; upgrade charges may apply. Subscribers who missed a scheduled performance and did not exchange may use their Extra Value Ticket or purchase a missed performance pass for $5.

Single Ticket Prices Opening Night: $52, $49, $30 Evenings: Fri., Sat.: $50, $47, $30 Sun., Tues., Wed., Thurs.: $39, $37, $30 Matinees: Wed., Sat., Sun.: $46, $43, $30 Previews: $35, $32, $30 All tickets can be purchased at the Syracuse Stage Box Office or online anytime at www.SyracuseStage.org. Prices may vary for opening nights and for A Christmas Carol.

Latecomers In order to ensure the safety and concentration of the actors and the uninterrupted enjoyment of our patrons, latecomers will be seated at the earliest, appropriate break in the performance in the closest available seats. Buy it if You Like it! Many of the items featured in our productions are available for purchase. For information contact Sam Sheehan, Props Master: (315) 443-2437.

Discounts Available for senior citizens and students. Call the Box Office for prices. Group Discounts Available Available for groups of 10 or more; additional discounts for student/senior citizen groups. Call Tracey White: 315/443-9844.

To Volunteer as an Usher If you would like to get a backstage view of Syracuse Stage, or would like to expand your social circle, this is the ideal opportunity for you. All we ask for is a positive attitude, a smiling face and the willingness to commit a few hours a month. Please call our House Manager at (315) 443-3219 for more information.

Rush Tickets Rush tickets are available for purchase at a discounted rate on the day of the show for all performances by cash or check. Limited availability.

Open Captioning We are pleased to offer two open captioned performances for each mainstage play. Open captioning provides a simultaneous display of the play’s dialogue on a screen next to the stage.

Box Office Hours The Box Office is open Monday through Friday, 9 a.m. noon to 6 p.m., and two hours before each performance. Box Office phone: 315/443-3275. Box Office fax: 315/443-1408.

Audio-Described Performances Simultaneous live narration and pre-show description for blind and visually impaired patrons is available upon advance request. Information at 443-9839 or jmwhelan@syr.edu.

Gift Certificates Call the Box Office or visit us online at www.SyracuseStage.org.

Audio Enhancement We offer an infrared listening system for patrons with up to a 70% hearing loss. Headsets can be reserved free of charge through the Box Office or at the Coat Room before curtain.

Parking Entrance to the enclosed parking garage on Irving Avenue is on the corner of Madison Street and Irving, next to the MadisonIrving Medical Building. For hours of operation and parking costs, call (315) 475-4742. There is an open parking lot between Phoebe’s Garden Cafe and the garage maintained by Syracuse University.

Signed Interpreted Performances Tuesday evenings, the third or fourth week of each production, we offer performances for the hearing impaired. Wheelchair Accommodations Syracuse Stage is wheelchair accessible. Please call the Box Office to arrange wheelchair seating.

Beepers and Cell Phones For the actors’ safety and in consideration of the audience please turn off all cell phones; check your beeper and leave your seat number with an usher at the Coat Room prior to the performance. They will monitor your beeper and notify you if there is an emergency.

Emergency Telephone Contact To be reached in an emergency, please leave your name and seat location at the Coat Room when you arrive. This is the only way we can locate you. In case of an emergency you may be reached at (315) 443-9922.

Fire Notice The exit indicated by a red sign nearest the seat you occupy is the shortest route to the street. In the event of an emergency, walk to that exit and follow the house staff ’s directions.

www.SyracuseStage.org Subscribe, purchase 6Packs and single tickets 24-7. Information, schedules, reviews and more.

Smoking Policy Smoking is not permitted in this building or any public building in accordance with Syracuse University and New York State policy. We ask that our patrons who smoke do so outside of our theatre.

Please . . . The use of cameras and recording devices is not permitted. Please do not bring drinks and/or food into the theatre.

Quiet Children Quiet children over the age of five are welcome at Syracuse Stage performances. We do ask that adults remove disruptive children to the lobby.

ADVERTISER SUPPORT Syracuse Stage encourages audience members to support the businesses advertised in our program.

Dr. & Mrs. Denis F. Branson Bob & Kathy Brown Helen Buck Dr. & Mrs. Deane Cady Sharon F. Campanelli Dr. Richard & Nina Sterne Cantor Ronald Capone Timothy McLaughlin & Diane Cass Tim Cassidy Gary & Shannon Comins Paula derBoghosian Mary Ellen Drabot James & Marlene Dunford Molly Fitzpatrick Cliff & Jane Forstadt Judith Fox N. Gordon Gray William J. Gray Jane Guiles Annette & Monroe Guisbond Patricia Haggerty Holly S. Hart Robert & Denise Heater John & Judit Hoepner Elizabeth B. Humphreys

Janet Jaffe Nancy Freeborough-Kaczmar Phil & Judy Kaplan Kankus Family Linda Kashdin Alexander & Joan Keilen Gregory & Linda Keefe John & Susan Kline Richard & Joan Kollgaard Mr. & Mrs. Sheldon Kruth Robert & Lauren Lalley Lois M. Easterday & Susan J. Lamanna Eileen & James Lantier Joanne Lloyd Nicholas & Cathy Lozoponi Patricia & Donald MacLaughlin Thomas A Brisk & Gerald M. Mager Bob Mass Doug & Randi Matousek Ryan & Alyson McDermott Nancy & John Merrill Robt & Maureen Minich Verner & Jane Mize Robert Moore David & Janet Muir

DELI & CATERING

Call us for all your catering needs! 323 Irving Avenue Syracuse, NY 13210

M-F: 6:30 am - 6 pm Sat: 9 am - 3 pm ph: 476 - 8363 fax: 476 - 8364

ALL MAJOR CREDIT CARDS ACCEPTED

Dr. & Mrs. Charles Muniak Deirdre Neilen Brenda Neuss Ellen O’Connor Sally O’herin Karen Orr Anita Pisano Cathy Palm Brian Silfer & Amy Romano Barbara Rothschild Dr. & Mrs. Bernard Schneider Richard & Denise Severance Judith Smith John Steinburg Dr. Lawrence Stewart Barbara Sutton Lennie & Elizabeth Turner Martha & Tony Viglietta Marc & Marcy Waldauer JoAnn Wallace Mrs. Barbara Wanamaker Larry Volan & Sara Warner Dianne D. Webb Ruth Weinstock Peter N. Wells Anna Giacobbe & Peter Welge

SERVICE

S y r a c u s e STAGE S ta f f

ARTISTIC S ta f f

Producing Artistic Director..........................................................................................Timothy Bond Managing Director..................................................................................................Jeffrey Woodward Resident Dramaturg.............................................................................................................Kyle Bass Artistic Assistant...............................................................................................................Chris Botek Director of Educational Outreach...........................................................................Lauren Unbekant Education Outreach Manager.................................................................................Kate M. Laissle Education Assistant.........................................................................................................Len Fonte PRODUCTION S ta f f

Director of Production Operations...........................................................................Don Buschmann Assistant Production Manager..................................................................................Dianna Angell Company Manager/Production Management Assistant...............................................Brian Crotty Production Management Intern...................................................................................Jessica Feder Student Assistant.....................................................................................................Cynthia Moore Technical Director.......................................................................................................Randall Steffen Assistant Technical Director...................................................................................Rebecca Schuetz Scene Shop Foreman..................................................................................................Michael King Master Carpenter..............................................................................................Elizabeth Nosewicz Carpenters............................................................................................Robert Jenista, Adam Segal Graduate Assistant.........................................................................................................Mike Fong Student work study................................................................................................Mylene Quijano Scenic Charge Artist................................................................................................Holly K. LaGrow Assistant Scenic Artist..............................................................................Kristen Prescott-Ezickson Graduate Assistants.................................................................Carlie Miller Sherry, Aniela Sobieski Student work study................................................................................................Jennifer Donsky Properties Coordinator..........................................................................................Samuel S. Sheehan Props Carpenter.....................................................................................................Tammy Goetsch Props Artisan.................................................................................................................Lisa Letson Graduate Assistants.............................................................................James Gallagher, Lucia Sanz Student work study.....................................................................................................Ashley Kyker Costumer.....................................................................................................Gretchen Darrow-Crotty Assistant Costumer..................................................................................................Meggan Camp Cutter-Drapers.................................................................Jennifer Guadagno, Catherine Hennessy First Hand...............................................................................................................Victoria Lillich Stitchers...................................................................................Amanda Moore, Cynthia Papworth Craftsperson/Shopper................................................................................................Sandra Knapp Wardrobe Supervisor.........................................................................................Danielle Waterman Hair and Wig Stylist..............................................................................................Kristina Scalone Student work study.................................Kathryn Bailey, Kiersten Kozbial-Wu, Charity Van Tassel Master Electrician.................................................................................................David M. Bowman Assistant Master Electrician.......................................................................................Jamie Garrard Electrics Apprentice......................................................................................................Sarah Olsen Student Assistants....................................................Gregory Folsom, Ryan Gibson, Anna LiDestri Resident Sound Designer/Audio Engineer............................................................Jonathan R. Herter Assistant Audio Engineer......................................................................................Kevin O’Connor Sound Apprentice........................................................................................................George Hart Graduate Assistant......................................................................................................Stefan Zoller

S y r a c u s e STAGE S ta f f

Production Stage Manager........................................................................................Stuart Plymesser Stage Manager....................................................................................................Laura Jane Collins Stage Management Apprentices..........................................................Erin C Brett, Paula Clarkson ADMINISTRATIVE S ta f f

Administrative Director...................................................................................................Diana Coles Director of Marketing and Communications...............................................................Patrick Finlon Publications Director/Assistant Marketing Director................................................Joseph Whelan Group/Corporate Sales Manager................................................................................Tracey White Group Sales Assistants...........................................................................Amanda Kurey, Julia Slater Graphic Designers.......................................................................Jonathan Hudak, Brenna Merritt Marketing Interns.......................................................................Erica Franceschini, Tyler Patchett Production Photographer.........................................................................................Michael Davis Director of Development............................................................................................Barbara Beckos Assistant Director of Development......................................................................Katherine Keeney Development Assistant.................................................................................................Joelle Milea Development Intern...............................................................................................Shantel Bobbitt Comptroller...................................................................................................Mary Kennett Morreale Human Resources Administrator/Assistant Business Manager..................................Kathy Zappala Student Assistant...............................................................................................Emily Buonsignore Director of Information Management & Technology................................................Garrett Wheeler Student Assistants.....................................................................................................David Amado Director of Ticketing & Subscription Services...............................................................Sandra Boyer Assistant Director of Ticketing & Subscription Services.............................................Ben Murphy Assistant Box Office Manager...............................................................Lisa Doerle, Miguel Tarrats Patron Sales and Services...........................................Brian Balamut, Jasmin Fink, Dennis Lennox Box Office Assistants.....................................Madeline Corliss, Anthony Dibiase, Daniella Franco Amy Gleitsman, Benjamin Odom, Nick Pizarro EmilyAnne Reddy, Heather Rubin, Danielle Spinello Interpreters for the Deaf.....................Brenda Brown, Angelo Coppola, Mikki Evans Sue Freeman Joanne Jackowski, Sarah Korcz, Zenna Preli, Shaun Standford Director of Audience Services.......................................................................................Renée Storiale S.U. Main Stage House Manager....................................................Pat Condello, Tammy Goetsch Student Assistant House Managers..............Katie Ball, Hannah Daly, Betty Etheredge, Jesse Roth Bartenders.............................................Laura Hahn, Michael King, Meg Pusey, MaryLou Wright Ushers........................................Luke Brau, Mary Louisa Britt, Kelsey Brodeur, Elizabeth Carson Thomas Countz, Jacob Custer, Hannah Daly, Crystal Ferreiro Abigail Gjurich, Alex Griffin, Troy Hussmann, Shea Kastriner Bridget McGlone, Mary McGowen, Lucy Morgan, Natalie Oliver Adam Segrave, Jenny Taylor, William Zimmermann Community Services Officer......................................................................................Stacey Emmons Custodians........................................................................Kitty Ashby, Delores Bachus, Tony Rogers Piano Tuner and Technician........................................................................................Edward Mastin

13/14

season

6subscription Play

Speed-the-Plow By David Mamet Directed by Rob Bundy February 21 – March 2

The Good Woman of Setzuan By Bertolt Brecht Directed by Felix Ivanov Performed in the Loft Theater March 28 – April 13

Spring Awakening Book and Lyric s b y Steven Sater Mu sic by Duncan Sheik Based on the play by Frank Wedekind Directed by Michael Barakiva Musical Direction by Brian Cimmet Choreograp hed by Andrea Leigh-Smith April 25 – May 10

*D rama s u bs c r i b e r s w i ll r e c e i v e vo uc h er s r e d e e mab le f o r t i c k e t s to A c hr i st m a s c a r o l. Timothy Bond, Producing Artistc Director Ralph Zito, Chair, Department of Drama

Ethan Butler and Rachel Slotky in A Midsummer Night’s Dream. Directed by Bill Fennelly. Scenic Designer: Andrew Boyce. Costume Designer: Jessica Ford. Lighting Designer: Thom Weaver.

subscriptions available now! http://vpa.syr.edu/drama | 315.443.3275

Live theatre

offers an opportunity for people to gather and experience the joys, triumphs, and sorrows of life through a shared experience. Syracuse Stage Education Department is committed to providing experiential programs that make learning in and through the arts possible.

Syracuse Stage is grateful to the following for supporting Educational Programs that will reach over 24,000 students in Central New York this season. John Ben Snow Foundation ArtsEmerging Bank of America Children’s Tour The Bully Games Wegmans General Education Support Constellation Energy Nuclear Group General Education Support Tompkins Financial Advisors General Education Support

EDUCATION

• Adult & Pediatric Dermatology • Dermatologic Surgery - Mohs Surgery • Photodynamic Therapy for Skin Cancer & Facial Rejuvenation • Fraxel Laser Resurfacing • Laser Removal of Spider Veins & Rosacea • Laser Tattoo Removal • Laser Acne Treatments • Laser Facials - Skin Tightening • Chemical Peel - Psoriasis Tx Ctr • Traditional & Ultrasonic Microdermabrasion • Enhancing Products

BOTOX - JUVEDERM - SCULPTRA BELOTERO BALANCE TRUSCULPT BODY CONTOURING

422-8331 EMATRIX PERFORMS MAGIC ON YOUR EYELIDS

Gisela Chípe in Blithe Spirit. Photo: Michael Davis.

5 1 0 9 W. G e n e s e e S t . , S t e . 1 0 2 , C a m i l l u s 4 2 2 - 8 3 3 1 | 1 9 3 1 6 U S R t 1 1 , S t e A , Wa t e r t o w n 4 2 2 - 8 3 3 1 120 Cayuga St, Ste A, Fulton 593-2730 | 1000 E. Genesee St., Ste. 601, Syracuse 422-8331 F U A D S FA R A H M D • R A M S AY S FA R A H M D • J O Y C E B FA R A H M D

Angel Appeal 2013/14 SEASON YOUR CONTRIBUTION to our annual giving campaign helps us bring the country’s leading theatre artists to our Stage and supports educational programs that reach more than 20,000 students each season. All new and increased gifts will be matched dollar for dollar by the Richard Mather Fund. Thank you for your support. FOR MORE INFORMATION

call 315.443.3931 or visit www.SyracuseStage.org 76