The Piano Lesson Program by Syracuse Stage

l e t t e r f r o m t h e p r o d u c i n g a r t i s t i c d i r e c to r

Dear Friends, Welcome to August Wilson’s The Piano Lesson. This production represents Syracuse Stage’s ninth production of Wilson’s plays. To date we have produced: Fences (1991, director Claude Purdy), The Piano Lesson (1996, director Claude Purdy), Jitney (2002, director Timothy Douglas), Gem of the Ocean (2007, director Timothy Douglas), Ma Rainey’s Black Bottom (2008, director Timothy Bond), Fences (2010, director Timothy Bond), Radio Golf (2011, director Timothy Bond), Two Trains Running (2013, director Timothy Bond), and now the Pulitzer Prize-winning The Piano Lesson again. Of the ten plays that constitute Wilson’s Century Cycle—the decade-by-decade chronicle of African American life in the 20th century—we have completed seven. The remaining plays and their corresponding decades include Joe Turner’s Come and Gone (1910s), Seven Guitars (1940s), and King Hedley II (1980s). In the course of his ten-play chronology, Wilson explores the impact of the catastrophic events that have disrupted the lives of the descendants of the Africans torn from their homes and enslaved in this country. The legacies of that enslavement, and the subsequent trials of Jim Crow, the Great Migration, and the plethora of injustices and indignities born of racial prejudice and endured by generations of African Americans are contained and conveyed in Wilson’s Cycle. But for Wilson, the plays do not constitute a history. In dramatic form they speak of cultural identity and greater purpose.

The playwright addressed this in a preface to King Hedley II written in 2000: The cycle of plays I have been writing since 1979 is my attempt to represent [African American] culture in dramatic art. From the beginning, I decided not to write about historical events or the pathologies of the black community. The details of our struggle to survive and prosper, in what has been a difficult and sometimes bitter relationship with a system of laws and practices that deny us access to the tools necessary for productive and industrious life, are available to any serious student of history or sociology. Instead, I wanted to present the unique particulars of black American culture as the transformation of impulse and sensibility into codes of conduct and response, into cultural rituals that defined and celebrated ourselves as men and women of high purpose. I wanted to place this culture on stage in all its richness and fullness and to demonstrate its ability to sustain us in all areas of human life and en7

deavor and through profound moments of our history in which the larger society has thought less of us than we have thought of ourselves. King Hedley II was the eighth play Wilson wrote for the Cycle. Later in the preface, he equates the process of writing the Cycle with a journey, one that has left him “a different person than when I started.” He continues: “As with any journey, the only real question is: ‘Is the port worthy of the cruise?’ The answer is a resounding ‘Yes.’” We agree, and we are thrilled that you are here to join us as we continue our journey through these remarkable plays.

warm regards,

Timothy Bond Producing Artistic Director

August Wilson’s the piano lesson

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The Piano Lesson is presented by special arrangement with Samuel French, Inc. Originally produced by Yale Repertory Theatre, Lloyd Richards, Artistic Director. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited. The videotaping or making of electronic or other audio and/or visual recordings of this production is a violation of United States copywright law and an actionable federal offense. October 22 - November 9, 2014

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cast (in order of appearance)

Derrick Lee Weeden*......................................................Doaker Stephen Tyrone Williams*..........................................Boy Willie Yaegel T. Welch*..............................................................Lymon Erika LaVonn*..............................................................Berniece Marcea Bond.................................................................Maretha Ken Robinson*..................................................................Avery G. Valmont Thomas*..............................................Wining Boy Allison Strickland*.............................................................Grace setting

Pittsburgh, 1936

There will be one fifteen-minute intermission. understudies

Alani Simone Henderson (Maretha)

additional credits

Stage Management Apprentice: Marisa M. Andrews Stage Management Intern: Praycious Wilson-Gay† Electrics Apprentice: Ann Archer Child Supervisors: Judy Evans, Anita Robinson Deck Crew: Christopher Green Wardrobe Supervisor: Sarah Stark Sound Apprentice: Jade Taggart Official Hotels for Guest Artists: The Genesee Grande Hotel, Parkview Hotel

August Wilson’s The Piano Lesson 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. *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. † Student, Syracuse University Department of Drama

and

Romare Bearden August Wilson by joseph whelan

In a 1999 interview with George Plimpton published in The Paris Review, August Wilson described the primary influences on his work as a playwright, what he called his “four Bs”: the blues, Borges, Baraka, and Bearden. He came to the blues via a Bessie Smith recording of “Nobody in Town Can Bake a Sweet Jelly Roll Like Mine” that he bought in a charity shop and proceeded to play 22 times straight. “The universe stuttered and everything fell to a new place,” he once wrote.

With Jorge Luis Borges, it was the “wonderful gaucho” stories that impressed upon Wilson that a writer could be “specific as to a time and place and culture and still have the work resonate with the universal themes of love, honor, duty, betrayal, et cetera.” From the poet and playwright Amiri Baraka, Wilson learned that all art is political. And from the painter Romare Bearden, Wilson took this: “the fullness and richness of everyday ritual life can be rendered without compromise or sentimentality . . . through Bearden I realized that you

could arrive at the universal through the specific. Every artist worth his salt has a painting of a woman bathing. So Bearden’s Harlem Woman Bathing in Her Kitchen is no different as a subject than you would find in Degas, but it is informed by African American culture and aesthetics.” Bearden is best known for the collages that dominated his output for twenty-five years. These are mixed media works that incorporate photos, painting, fabric, and found objects and that celebrate the quotidian and the ritual of African Ameri-

 [opposite above] Romare Bearden. Photo: Frank Stewart. [below] August Wilson. AP., 2003. 13

can culture. Born of his involvement with the Civil Rights movement of the 1960s, the collages afforded Bearden through the end of his career a chance to rediscover “the value of his own life and culture,” as Mary Schmidt Campbell wrote for a retrospective of the artist’s work at the Studio Museum in Harlem. His subject matter ranged from street scenes to images of Caribbean conjure women to scenes recalled from his childhood in North Carolina and Pittsburgh. In the collages, Bearden once said, he sought to “establish a world through art in which the validity of my negro experience would live and make its own logic.” If Wilson drew inspiration from Bearden’s work and ideas, his approach to playwriting contains elements of the artist’s collage approach. Bearden once described his process: “. . . people start coming into my work, like opening a door. One day, these people came walking into my work and seemed to know just where to go within the painting.” As he worked on each play, Wilson embraced a similar relationship with his characters: “In the way my plays are structured, plot grows out of characterization,” he told Plimpton. In a 1987 interview with

David Savran, he put it this way: “Someone says something to someone else, and they talk, and at some point I say, ‘Well, who is this?’ and I give him a name. But I have no idea what the story line of the play is. It’s a process of discovery.” Wilson was more explicit when he spoke with playwright Suzan-Lori Parks for a 2005 American Theatre interview: “I work like this— in collages. I just write stuff down and pile it up, and when I get enough stuff I spread it out and look at it and figure out how to use it. You get enough stuff and you start to build the scene and you don’t know where the scene’s going, and you don’t have any idea what’s going to follow after that . . . So, very much like Romare Bearden, you move your stuff around on the pages until you have a composition that satisfies you, that expresses the idea of something and then—bingo—you have a play.” Bearden and Wilson were also linked by an unshakable conviction that, as Wilson told Parks, “the black experience is inexhaustible.” He added, “There was no idea that couldn’t be contained by black life.” For Bearden, this conviction meant recognizing that his experience of the world as an African American was

the equal of what could be found in classical art and literature. In an interview with Henri Ghent he explained: “If you equate a lot of the things that happened in Negro life you see there’s a continuity with many of the great classical things that have happened before. And this is what I tried to find in my work, this connotation of many of the things that have happened to me with the great classical things of the past.” And he explained to his biographer Myron Schwartzman: “It is not my aim to paint about the Negro in America in terms of propaganda. It is precisely my awareness of the distortions required of the polemicist that has caused me to paint the life of my people as I know it—as passionately or dispassionately as Breughel painted the life of the Flemish people in his day.” Bearden achieved this goal in his collages and in so doing created “works filled with cryptic figures and a dense symbolism that looked like nothing else in American art,” as Mary Schmidt Campbell noted. The same certainly may be said of August Wilson, whose ten-play Century Cycle is a singular achievement unlike any other in American Theatre.

 [opposite above] Romare Bearden. [below] August Wilson. Photo: David Cooper, 2004. 14

• Foreword In 1990 August Wilson contributed a foreword to a biography of Romare Bearden called Romare Bearden: His Life and Art by Myron Schwartzman, published by Harry N. Abrams, Inc., New York. The following is Wilson’s foreword. In 1965, as a twenty-yearold poet living in a rooming house in Pittsburgh, I discovered Bessie Smith and the blues. It was a watershed event in my life. It gave me a history. It provided me with a cultural response to the world as well as the knowledge that the text and content of my life were worthy of the highest celebration and occasion of art. It also gave me a framework and an aesthetic for exploring the tradition from which it grew. I set out on a continual search for ways to give expression to the spiritual impulse of the African-American culture which had nurtured and sanctioned my life and ultimately provided it with its meaning. I was, as are all artists, searching for a way to define myself in relation to the world I lived 16

in. The blues gave me a firm and secure ground. It became, and remains, the wellspring of my art. In 1977, I made another discovery which changed my life. I discovered the art of Romare Bearden. I was then a thirty-twoyear-old poet who had taken his aesthetic from the blues and was unsure how to turn it into a narrative that would encompass all the elements of culture and tradition— what Baldwin had so eloquently called “the field of manners and ritual of intercourse” that sustains black American life. My friend Claude Purdy* had purchased a copy of The Prevalence of Ritual, and one night in the Fall of 1977, after dinner and much talk, he laid it open on the table before me. “Look at this,” he said.

“Look at this.” The book lay open on the table. I looked. What for me had been so difficult, Bearden made seem so simple, so easy. What I saw was black life presented on its own terms, on a grand and epic scale, with all its richness and fullness, in a language that was vibrant and which, made attendant to everyday life, ennobled it, affirmed its value, and exalted its presence. It was the art of a large and generous spirit that defined not only the character of black American life, but also its conscience. I don’t recall what I said as I looked at it. My response was visceral. I was looking at myself in ways I hadn’t thought before and have never ceased to think of since. In Bearden I found my artistic mentor and sought, and still aspire, to make my plays the equal of his canvases. In two instances his paintings have been direct inspirations. My play Joe Turner’s Come and Gone was inspired by Bearden’s Mill Hand’s Lunch Bucket, a boardinghouse setting

 Romare Bearden's The Piano Lesson, 1984, Silkscreen, 29.25" x 20.25". Private collection.

In Bearden I found my artistic mentor and sought, and still aspire, to make my plays the equal of his canvases.

What for me had been so difficult, Bearden made seem so simple, so easy. What I saw was black life presented on its own terms, on a grand and epic scale, with all its richness and fullness, in a language that was vibrant and which, made attendant to everyday life, ennobled it, affirmed its value, and exalted its presence. in Pittsburgh. I tried to incorporate all of the elements of the painting in the play, most notably the haunting and brooding figure at its center, whom I named Harold Loomis. The names of the characters, Seth and Bertha, were taken from another Bearden painting, Mr. Seth and Miss Bertha. The title of my play The Piano Lesson was taken from a painting of the same title. I never had the privilege of meeting Romare Bearden. Once I stood outside 357 Canal Street in silent homage, daring

myself to knock on his door. I am sorry I didn’t, for I have never looked back from that moment when I first encountered his art. He showed me a doorway. A road marked with signposts,with sharp and sure direction, charting a path through what D. H. Lawrence called the “dark forest of the soul.” I called to my courage and entered the world of Romare Bearden and found a world made in my image. A world of flesh and muscle and blood and bone and fire. A world made of scraps of paper, of line

 [opposite] Romare Bearden in his studio, 1940s. Archives of American Art, The Smithsonian Institution, Washington, D.C. 19

and mass and form and shape and color, and all the melding of grace and birds and trains and guitars and women bathing and men with huge hands and hearts, pressing on life until it gave back something in kinship. Until it gave back in fragments, in gesture and speech, the colossal remnants of a spirit tested through time and storm and the lash. A spirit conjured into being, unbroken, unbowed, and past any reason for song—singing an aria of faultless beauty and unbridled hope. I have often thought of what I would have said to him that day if I had knocked on his door and he answered. I probably would have just looked at him. I would have looked, and if I were wearing a hat, I would have taken it off in tribute. August Wilson Saint Paul, Minnesota *Editor’s note. Claude Purdy has directed two August Wilson plays at Syracuse Stage: Fences (1991) and The Piano Lesson (1996).

Old Friends Costume designer Constanza Romero was in her final year as a graduate student at Yale School of Drama when she was assigned to work on the Yale Repertory Theatre’s world premiere production of August Wilson’s The Piano Lesson. The production opened at Yale in November of 1987, moved to Boston’s Huntington Theatre in January of 1988, and opened on Broadway on April 16, 1990. This was how Ms. Romero and Mr. Wilson met. They married in 1994, and had a daughter, Azula, in 1997. Mr. Wilson passed away in 2005. Ms. Romero is the executor of the August Wilson Estate. Recently, she spoke with Joseph Whelan and shared some recollections of that time and production. Of course, I had known about August Wilson. I had seen Joe Turner’s Come and Gone my first year at the drama school. He was a really important playwright working at Yale. I never imagined that I would be chosen to work on one of August’s productions. It just happened that I was in a class of all set designers, though I had done a lot of costume design as well. My teachers chose me, and the importance of that was huge for me. Even before I started working, I knew that, if it followed the previous plays, this one

was going to tour around the country, and eventually open on Broadway. At that time I didn’t really understand the full scope of what August was trying to do, writing the American Century Cycle, one play for every decade of the 20th century. I knew his voice and his work were important. Also, Lloyd [Richards], who was the head of the Yale Drama School, was going to be directing the play. I was so excited! The play, however, was not fully developed yet. With each

•

production along the way, I got to witness the play become a fully realized piece. The end, that you’ll see tonight, didn’t exist until we opened in Chicago, the third stop of the repertory theatre tour, incidentally, when the great S. Epatha Merkeson joined the cast as Berniece. This process speaks to the August Wilson/Lloyd Richards relationship. Instead of August having the whole play planned out in his mind, he shaped it watching the actors at work. (At Yale Rep the role of Boy Willie was played by Samuel L. Jackson. By the time of the opening in Boston, Charles (Rock) S. Dutton had joined the cast as Boy Willie.) Once Rock was on stage it all fell into place for August. Rock Dutton was always the actor that August saw as Boy Willie. I had never seen him on stage before, but suddenly here was an actor with the force of a hurricane, and the sly, irresistible wink of a rascal. Without giving away the ending of the play, these were the qualities that Au-

gust was looking for in order to resolve the conflict between brother and sister over the fate of the piano. (Design inspirations) August evokes such vivid images in his plays. For example, the exchange between Lymon and Bernice:

 Starletta DuPois and Lou Myers in The Piano Lesson at Yale Repertory Theatre. Photo: Gerry Goodstein, 1987.

 Lou Myers, Rocky Carroll, Charles S. Dutton and Carl Gordon in the Broadway production of The Piano Lesson. Photo: Gerry Goodstein, 1990.

LYMON: You got on that nightgown. I likes women when they wear them fancy nightclothes and all. It makes their skin look real pretty. BERNIECE: I got this at the five-and-ten-cents store. It ain’t so fancy. LYMON: I don’t too often get to see a woman dressed like that. So, what is that nightgown going to look like? I said, well it is going to be very simple, (this the 1930’s, the Great Depression) but it should also be something that makes her look pretty,

and more vulnerable than we’ve seen her before. She has been warring with Boy Willie over the piano, she has been standing up for herself saying she doesn’t need a man to define her. But in this scene she has her guard down. One of the main resources for researching that period is the old Sears & Roebuck catalogue. I looked for a very simple cotton nightgown with just a little bit of lace. In those days they cut a lot garments on the bias, the clothes hugged the body in a very soft way. It really was a very simple garment, but it worked beau-

tifully. Those are the kinds of details that really allow the designer to participate in the poetry of the text. (Meeting August Wilson. Pants rolled up) My sketch for Boy Willie showed that he rolled his pants up slightly. I started by thinking he’s a farmer, so I wanted to feature his working boots, which would really stand out in a city like Pittsburgh. Boy Willie is not thinking about staying, like Lymon is. He’s thinking he’s going to sell the piano and come back south and start his work

on the farm. With all the drawings under my arm, the other designers and I went to meet August and Lloyd in New York City. They were having auditions— this was the first time I met August. As they were looking at the costume sketches, August said, “I don’t think that Boy Willie would be rolling his pants up.” So I said, OK, and I redrew it. Lo and behold, the very first time Rock Dutton came on stage, the very first time, he rolled his pants up. He had done it on his own, August came up to me and said, “I can’t believe it!” and I said, “Yes, he did it on his own. I had nothing to do with it.” (Want to buy a suit?) At that same meeting, I asked August what color the suit is that Wining Boy sells to Lymon. He said, “green”. I gulped and said, “Green! O-kay?” As I thought about it later in my studio, it dawned on me that this was the perfect thing. You know, Wining Boy is a blues man, a “Rambling Man”. His hey-day was in the 1920s. He probably had a lot of custom suits made for him, which is what a lot of the jazz greats did. To have a suit like that would be like walking around with cash, you can trade it or put it in

the pawn shop. But in the 30s, that shiny, flashy look is no longer in style. So I made the cut of the suit be from the 20’s. I had it made in a wool/silk combination to survive through all the different performances we were scheduled for. When Wining Boy walked in with that suit on a hangar, seeing that flashy odd green, the audience started to laugh right away. They know that there is going to be a story behind that suit, it is going to play a really big part later, but they don’t yet know what. In the hands of a great story teller this is gold! To this day I speak of that laughter, that costume moment as one of the most rewarding moments in my design career. (Opening on Broadway) Oh my goodness, it was amazing. For those designers who got to have the experience I had: you know, going to the Yale School of Drama, and getting into a whole lot of debt; it’s a moment when you say “this is totally worth it!” At the same time, the August Wilson shows were supposed to come into New York with all the costumes done. The producers were stubborn about spending more money. Rock Dutton went through his

clothes really fast, he was very physical on stage. I had made a whole new version of his costume for the Broadway opening, but it hadn’t been distressed yet. His clothes looked brand new, while he is supposed to look like a hard working farmer from the south. So I’m in a Broadway theatre, thinking this is the apex of my career as a designer thus far, while at the same time, I’m in a dark alley doing all the spraying and distressing by myself. At once, it was the bottom and the top! (Old friends) Of all the ten plays in the Cycle, The Piano Lesson had the most stops along the way. After the play closed on Broadway, the producers brought the production, along with the set and costumes to the Seattle Rep. There was a different set actors, so we had to re-shape the clothes, some we made new. Then that same show went on tour. After that, the costumes ended up in the storage of Seattle Rep where I’m the resident artist. Many times, as I have been down there pulling costumes for other shows, I run into original pieces from the show on Broadway, and it’s like, oh, these are old friends.

cast Marcea Bond (Maretha) is an eighth grade student at Christian Brothers Academy. She is an avid horse rider and jumper. She also loves skiing, basketball, swimming, softball, camping, fishing, hiking, and throwing pots. This is her third year playing cello and she plays in the orchestra at school. At Syracuse Stage she has performed in A Christmas Carol, and in elementary school in Jungalbook, Willy Wonka, and Honk. She also loves to travel.

& Order: SVU, A.T.W.T., One Life to Live, and she will return to the small screen in the 2015 PBS presentation, LBJ: The Forty Acres Club. Ken Robinson (Avery) is honored to be a part of this amazing cast, bringing life to one of the greatest American plays ever written. He was last at Syracuse Stage in 2012 supporting his wife, who played Radio 2 in Caroline, or Change. Ken was seen on Broadway in the musicals Memphis and Baby It’s You! Last season, he was featured in the world premiere of The Unfortunates, and in My Fair Lady as Freddy Eynsford-Hill both at the Oregon Shakespeare Festival. Ken received his MFA from the Yale School of Drama in 2009.

Erika LaVonn (Berniece) is pleased to return to Syracuse Stage having previously been seen here as Risa in Two Trains Running. The Piano Lesson marks her fifth production from August Wilson’s body of work. Most recently, Erika embodied Camae from The Mountaintop in a four city tour that stretched from Arizona, to North Carolina, to the Guthrie stage in Minnesota. She’s had the privilege of working overseas and across the country in other productions that include, The Comfort Team (world premiere), A Raisin in the Sun, Nobody (world premiere), The Fall of the House (world premiere), Jitney, Seven Guitars, Metamorphoses, Gee’s Bend, Things of Dry Hours, Crowns, A Christmas Carol, and a three and a half year run on Broadway in The Lion King. Other credits include War of the Worlds (Spielberg), Law

Allison Strickland (Grace) recently appeared in Strawberry Theatre Workshop’s production of Black Comedy and in the West Coast premiere of In the Book Of at Taproot Theatre. Selected credits include: The Walworth Farce (New Century Theatre Company); Antony and Cleopatra and A Midsummer Night’s Dream (Seattle Shakespeare Company); My Wonderful Day (Seattle Public Theatre); The Cider House Rules (Book-It Repertory Theatre, Gregory Award-winner for Outstanding Production). Allison studied at the Royal Academy of Dramatic Art in their Acting Shakespeare program.

cast in Othello (dir. Marti Maradan); PCPA Solvang: Cyrano in Cyrano de Bergerac. In 21 seasons at the Oregon Shakespeare Festival, title roles in Antony and Cleopatra (2015), Othello, Coriolanus, Pericles Prince of Tyre, Death and the King’s Horseman, and The Philanderer. Others include Prospero in The Tempest, Tshembe Matoseh in Les Blancs, Caesar in Gem of the Ocean (dir. Tim Bond), Hedley in Seven Guitars (dir. Kenny Leon), Herald Loomis in Joe Turner’s Come and Gone, Brutus in Julius Caesar, Duke in Measure for Measure, Vershinin in Three Sisters, among others. Also Milwaukee Repertory Theatre, Alabama Shakespeare Festival, Great Lakes Theatre Festival. The Continental Divide Tour: Mothers Against and Daughters of the Revolution at La Jolla Playhouse; The Barbican Theatre London, UK; Birmingham Rep. Birmingham, UK; Berkeley Rep.

G. Valmont Thomas (Wining Boy) has previously appeared at Syracuse Stage in Radio Golf (Roosevelt) and Two Trains Running (Memphis, dir. Tim Bond). G. Valmont also performed at: Geva Theatre in Radio Golf (Roosevelt), West Of Lenin in Master Harold… and the boys (Sam, dir. M. Burke Walker), Huntington Theatre Company in Ma Rainey’s Black Bottom (Cutler, dir. Liesl Tommy), the Seattle Repertory Theatre in The Cherry Orchard (Yasha, dir. Dan Sullivan), and The Oregon Shakespeare Festival (OSF) in Seven Guitars (Red Carter, dir. Kenny Leon). In the acting company of OSF for 13 seasons, credits include Blue in Party People, Macbeth in Macbeth, Falstaff in The Merry Wives of Windsor, Feste in Twelfth Night, Lincoln in TopDog/ UnderDog, and Solly in Gem of The Ocean. Film and television credits: Child in the Night, Singles, and I Love You to Death. G. Valmont served on the faculty of The Johnny Carson School of Theatre and Film at The University of Nebraska-Lincoln.

Yaegel T. Welch (Lymon) was most recently seen as Leroy/Herb in By the Way, Meet Vera Stark at The Everyman Theatre in Baltimore. Other credits include: Ogun in The Brothers Size at the Everyman Theatre and the Seattle Rep; the PlayMakers Rep production of Fences; Jitney at Kenny Leon’s True Colors Theatre and Alliance Theatre; the Studio Theatre’s production of In the Red and Brown Water; and the Alabama Shakespeare Festival’s Bear Country. Off-Broadway he has been seen in Lincoln Center’s Fly, with The Crossroads Theatre. Additional

Derrick Lee Weeden (Doaker). At Shakespeare Theatre Company, DC: Henry IV pts 1 and 2 (with Stacy Keach), Kolibas in Wallenstein, Nothumberland in Richard II, Exeter in Henry V, Sicinius in Coriolanus; Berkeley Repertory Theater: Agamemnon in The Oresteia; Chicago Shakespeare Theater: Othello

cast credits: The Revenger’s Tragedy at Red Bull Theatre and Of Mice and Men and As You Like it with The Acting Company. Regionally, he has appeared in The Piano Lesson at The Arden Theatre (Barrymore Award nomination); My Children! My Africa! at The Studio Theatre and Wilma Theatre; Fences at the Arkansas Repertory Theatre; A Midsummer Night’s Dream with the Bridgeport Free Shakespeare Festival; Fences with Ruben Santiago-Hudson at Boston’s Shubert Theatre; Cobb at the Chautauqua Institution; and Professional Skepticism at the Wellfleet Harbor Actors Theatre. Recently he was also seen on NBC’s hit show The Blacklist. Mr. Welch has a B.A. in Theatre Arts from Morehouse College, an M.F.A. in Acting from Brandeis University, and an M.F.A. from The Shakespeare Theatre’s Academy for Classical Acting. Twitter@yaegelwelch

- Clive Barnes nomination and Drama League Award), Burning (New Group), and The Hallway Trilogy (Rattlestick Playwrights). Other regional theatre credits include Gem of the Ocean (Hartford Stage), Fences (Seattle Repertory/ Syracuse Stage - SALT nomination), Ruined (Intiman/Geffen Playhouse), Topdog/Underdog (Actors Theatre of Louisville), and Measure for Measure (Shakespeare Theatre of New Jersey). Select film and TV credits include Children of God, Greetings from Tim Buckley, Elementary, Person of Interest, Unforgettable, Restless City, The Knick, and Spike Lee’s The Sweet Blood of Jesus. Alani Simone Henderson (u/s Maretha) is a 10 year old fifth grader in the Fayetteville-Manlius School District. Alani made her theatre debut with the lead role of Beauty in The Enchantment of Beauty and The Beast, a Syracuse Children's Theatre production in the spring of 2014. When Alani is not rushing from school to theatre rehearsal, tap, ballet, jazz, drama, or ice skating lessons, she enjoys dancing, singing, swimming and playing Minecraft on the computer. Alani is a student of The Ballet & Dance Center. She spends creative downtime writing songs and perfecting new dramatic accents to debut for family and friends.

Stephen Tyrone Williams (Boy Willie) made his Broadway debut last spring as Abner Louima in Nora Ephron’s Lucky Guy. He has appeared Off-Broadway in Harper Regan (Atlantic Theatre Company), My Children! My Africa! (Signature Theatre Company

A r t i s t i c S ta ff William Bloodgood (Scenic Designer). William Bloodgood’s work was seen last season in The Whipping Man and The Glass Menagerie. Among his many previous designs for Syracuse

Stage are recent productions of Radio Golf, Irving Berlin’s White Christmas, Red, and Caroline, or Change. Well known in American regional theatres, he has worked in many, in29

A r t i s t i c S ta ff cluding Arena Stage in Washington, DC, Arizona Theatre Company, the Berkeley Repertory Theatre, the Alley Theatre in Houston, Chicago Shakespeare Theatre, Denver Center Theatre Company, Indiana Repertory Theatre, Intiman Theatre in Seattle, the Old Globe Theatre in San Diego, Portland Center Stage, Seattle Repertory Theatre, and the Oregon Shakespeare Festival where he has designed the scenery for 150 productions. In 2011 he was honored to design the Unites States national exhibit for the Prague Quadrennial of Performance and Space Design. He is the recipient of many awards for his designs, including the Oregon Governor’s Award for the Arts in 2002. Currently, he is a professor of scene design at the University of Texas at Austin.

design works in exhibition Curtain Call: Celebrating a Century of Women Designing for Live Performance at The New York Public Library, Lincoln Center, and the Prague Quadrennial. Huang is a professor in the MFA Costume Design Program at University of Maryland, College Park. Geoff Korf (Lighting Designer) has designed the lighting for more than 300 productions over the past 30 years. His work has appeared on Broadway, at the Oregon Shakespeare Festival, Seattle Repertory, Playwrights Horizons, the Mark Taper Forum, Cornerstone Theater, La Jolla Playhouse, The Old Globe, South Coast Repertory, the Alley Theatre, the Guthrie Theatre, the Goodman Theatre, Long Beach Opera, and San Francisco Opera. He lit the world premieres of August Wilson’s Two Trains Running, Sarah Ruhl’s The Clean House, and Disney’s High School Musical. Geoff is a member of the Ensemble of Cornerstone Theater and serves as the head of design at the University of Washington in Seattle. He is a graduate of California State University, Chico and the Yale School of Drama.

Helen Q Huang (Costume Designer) has designed at Syracuse Stage for Ma Rainey’s Black Bottom and Two Trains Running. Design credits: Classic Stage Company, New York; The Washington Ballet; Woolly Mammoth Theatre Company; The Studio Theatre; Ford’s Theatre; Shakespeare Theatre Company; Arena Stage; Signature Theatre Company; Folger Theatre; Guthrie Theatre; Oregon Shakespeare Festival; The Children’s Theatre Company, Minneapolis; Milwaukee Repertory Theatre; Philadelphia Theatre Company; Utah Shakespearean Festival; Disney Entertainment; PlayMakers Repertory; Boston Lyric Opera. International: Set and costume design at National Opera House of China and the Central Television of China. Awards: Helen Hayes Award and Ivey Award. Other credits include costume

Michael G. Keck (Composer). The Bacchae (Portland Center Stage); Death of a Salesman, A View from the Bridge, The Great White Hope, Derek Walcott’s: The Odyssey, Community Carol, I AM A MAN (Arena Stage); Jitney, Escape From Happiness, Criminal Genius, The Norman Conquest, Copenhagen, Intimate Apparel, The Glass Menagerie (Milwaukee Rep); Othello (Idaho Shakespeare Festival and Great Lakes Theatre Festival); It Ain’t Noth31

Over

15,000

students in CNY will attend Syracuse Stage Education Programs this season. thank you to the following sponsors

The John Ben Snow Foundation, Inc. ArtsEmerging Sponsor

Children’s Tour Annabel Drudge

Education Programs 2014/2015

A r t i s t i c S ta ff ing but the Blues (Prince Music Theater – Barrymore Nomination); Doubt (People's Light & Theatre Co – Barrymore Nomination); Young Lady from Rwanda (People's Light & Theatre Co - Barrymore Nomination); An Ideal Husband (Idaho Shakespeare Festival and Great Lakes Theatre Festival); The Piano Lesson, TopDog/UnderDog, Gem of the Ocean, Fences, Death and the Kings Horseman, Measure for Measure, Henry IV pt1, Ma Rainey’s Black Bottom, Intimate Apparel (Oregon Shakespeare Festival); Intimate Apparel (Guthrie Theatre); As You Like It, Looking Over the Presidents Shoulder, Gem of the Ocean, Searching for Eden, Dr. Jekyll and Mr. Hyde, Rabbit Hole (Indiana Repertory Theatre); A Village Fable - AATE Distinguished Play Award (Mark Taper Forum); Fences, Ma Rainey’s Black Bottom, The Brothers Size, Gem of the Ocean (Syracuse Stage); Miss Evers Boys (Cincinnati Playhouse); A Dolls House, Wit, Dinner with Friends (Alliance Theatre); Holidays For Children Video Series, Writer/Host/Composer (Fabian-Baber Productions). International: The Brothers Size (Market Theatre – Johannesburg, South Africa and Baxter Theatre Center - Cape Town, South Africa); A Streetcar Named Desire, Death of a Salesman (The National Theatre of Croatia); Miss Evers Boys (Barbican Theatre Center and Bristol Old Vic). AEA, SAG-AFTRA, ASCAP, PEN and the Dramatists Guild.

Musical School (violin) in Moscow, Russia. He has choreographed the combat, movement and character dance scenes for over three hundred Russian drama and puppet theatres, motion pictures and television. Presently, Felix is an assistant professor at the Drama Department of Syracuse University. He has previously taught at The Juilliard School, The Actors Center, Brooklyn College, and SUNY Purchase, NY; Rutgers University, NJ; The Hartt School, Hartford, CT; and The North Carolina School of the Arts, Winston Salem, NC. His stage movement and combat choreography has been seen at many American venues including The Acting Company, Lincoln Center Theatre, The Metropolitan Opera, The New York Theatre Workshop, The Wooster Group, The Cherry Lane Theatre in NYC; The Guthrie Theatre in Minneapolis, MN; The Shakespeare Theatre Festival in Cleveland, OH; and The Shakespeare Theatre in Washington, D.C., among others. Kyle Bass (Dramaturg) is resident dramaturg for Syracuse Stage where he has served as production dramaturg for 17 shows, including last season’s The Whipping Man, Scorched, and The Glass Menagerie. As script dramaturg, Kyle collaborated closely with writers Ping Chong and Sara Zatz in the creation of Tales from the Salt City and also served as script dramaturg on Lauren Unbekant’s plays Woman in the Blue Dress and Annabel Drudge…and the Second Day of School. Among other works, Kyle is the author of Carver at Tuskegee, a

Felix Ivanov (Fight Choreographer) is a graduate of the prestigious Schukin Theatre School at the Vakhtangov Academy Theatre and the Stasov

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 ff one-man play about George Washington Carver which toured as part of Syracuse Stage’s Backstory! program. With Ping Chong, Kyle is co-writer of Cry for Peace: Voices from the Congo, which had its world premiere at Syracuse Stage in September 2013 and was produced at La MaMa Experimental Theatre in New York City, and he has been commissioned by the Onondaga Historical Association to write a play about a fugitive enslaved woman in Syracuse. Kyle is on the faculty at Goddard College in Vermont, where he teaches in the MFA Creative Writing program. He also teaches playwriting in Syracuse University’s Department of Drama, at Colgate University, and is drama editor for the journal Stone Canoe. Kyle is a two-time recipient of the New York Foundation for the Arts (NYFA) Fellowship including the 2010 fellowship in playwriting. He holds an MFA in Playwriting from Goddard College.

Search of a Goddess (Dalia Carella). LJ is a graduate of the Stage Management program in Syracuse University’s Department of Drama, and is now based in New York City. 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 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, Merrimack 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 PlayMakers 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.

Laura Jane Collins (Stage Manager) is happy to return to Syracuse for the 2014-2015 season and this production of The Piano Lesson. Regional credits include: Chinglish, Scorched, Good People, Two Trains Running, Moby Dick, Red, The Boys Next Door, and No Child... (Syracuse Stage); Around the World in 80 Days, 4000 Miles, Last of the Red Hot Lovers, Lend Me A Tenor, and Full Gallop (The Hangar Theatre). New York credits include: Hillary: A Modern Greek Tragedy with a Somewhat Happy Ending (New Georges). Dance production credits include: The Who’s TOMMY—A Rock Ballet (Christopher Fleming), In

co-producer Seattle Repertory Theatre was founded in 1963 and is currently led by acting artistic director Braden Abraham and managing director Jeffrey Herrmann. One of America’s premier non-profit resident theatres, Seattle Repertory Theatre has achieved international renown for its consistently high production and

artistic standards, and was awarded the 1990 Tony Award for Outstanding Regional Theatre. With an emphasis on entertaining plays of true dramatic and literary worth, Seattle Rep produces a season of plays along with educational programs, new play workshops, and special presentations.

p l ay w r i g h t August Wilson (April 27, 1945- October 2, 2005). August Wilson authored Gem of the Ocean, Joe Turner’s Come and Gone, Ma Rainey’s Black Bottom, The Piano Lesson, Seven Guitars, Fences, Two Trains Running, Jitney, King Hedley II, and Radio Golf. These works explore the heritage and experience of African-Americans, decade-by-decade, over the course of the twentieth century. His plays have been produced at regional theatres across the country and all over the world, as well as on Broadway. In 2003, Mr. Wilson made his professional stage debut in his one-man show, How I Learned What I Learned. Mr. Wilson’s works garnered many awards including Pulitzer Prizes for Fences (1987) and for The Piano Lesson (1990); a Tony Award for Fences; Great Britain’s Olivier Award for Jitney; as well as eight New York Drama Critics Circle Awards for Ma Rainey’s Black Bottom, Fences, Joe Turner’s Come and Gone, The Piano Lesson, Two Trains Running, Seven Guitars, Jitney, and Radio Golf. Additionally, the cast recording of Ma Rainey’s Black Bottom received a 1985 Grammy Award, and Mr. Wilson received a 1995 Emmy Award nomination for his screenplay adaptation of The Piano Lesson. Mr. Wilson’s early works included the one-act plays The Janitor, Recycle, The Coldest Day of the Year, Malcolm X, The Homecom-

ing, and the musical satire Black Bart and the Sacred Hills. Mr. Wilson received many fellowships and awards, including Rockefeller and Guggenheim Fellowships in Playwriting, the Whiting Writers Award, 2003 Heinz Award, was awarded a 1999 National Humanities Medal by the President of the United States, and received numerous honorary degrees from colleges and universities, as well as the only high school diploma ever issued by the Carnegie Library of Pittsburgh. He was an alumnus of New Dramatists, a member of the American Academy of Arts and Sciences, a 1995 inductee into the American Academy of Arts and Letters, and on October 16, 2005, Broadway renamed the theatre located at 245 West 52nd Street - The August Wilson Theatre. Additionally, Mr. Wilson posthumously received the Dramatists Guild Award for Lifetime Achievement; was inducted into the Theatre Hall of Fame; and is the chosen namesake for Pittsburgh’s August Wilson Center for African American Culture. Mr. Wilson was born and raised in the Hill District of Pittsburgh, Pennsylvania and lived in Seattle, Washington at the time of his death. He is immediately survived by his two daughters, Sakina Ansari and Azula Carmen Wilson, and his wife, costume designer Constanza Romero. 37

director/Producing Artistic Director Timothy Bond is in his eighth 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 27 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 productions, 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 teaches Theatre Management in Syracuse University's Department of Drama and 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 42nd 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

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 41 seasons including a number of world, American, and East Coast premieres. Each season 70,000 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 15,000 students throughout Central New York. 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 Chong.

in The Community An important aspect of the Syracuse 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, 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.

n e x t at S y r a c u s e s ta g e

In the Next Room, or The Vibrator Play

Hairspray

By Sarah Ruhl Directed by May Adrales January 28 - February 15

It’s the 1880s and electricity is all the rage. In a quiet home office, a doctor experiments with a new instrument for treating “hysteria.” The device? A vibrator. In this genuinely touching, original, and wickedly funny play, Sarah Ruhl (The Clean House) explores relationships and sexual fulfillment while managing to stay discreetly beneath the crisp white sheets of Victorian propriety. Recommended for ages 14 and up.

Bubbling with joy and 60s era music and dance, Hairspray delights with the pleasures of a classic American musical. Tracy Turnblad is a teen whose life revolves around dancing on the Corny Collins TV show. Who knew that a teenybopper TV show could be a catalyst for integration? You can’t stop the beat, and truth be told, you won’t want to once the allsinging and dancing cast takes the stage. Recommended for all ages.

n e x t at SU d r a m a

Stepping Out

Lips Together, Teeth Apart

This comic gem of a play follows the ups and downs of nine women and one man who meet each week in a church hall for a beginning tap class. Led by Mavis, a patient and talented dancer, and accompanied by the acerbic Mrs. Fraser on piano, the students struggle to learn basic tap with varying degrees of success. Throughout, playwright Richard Harris explores the shifts in the lives of the characters as they work together to rehearse and perform a polished routine at a charity fundraiser. This delightful play ran for three years when it premiered in London in the 1980s and remains an insightful look at friendship and the joy that can be found in Stepping Out, if only once a week.

Playwright Terrence McNally excels at making wild and witty comedy out of very serious and thoughtful matters. In this 1991 off-Broadway triumph, two couples grapple with the mundane (burgers and kites) and the momentous (illness and infidelity) as they try (very hard) to celebrate the 4th of July at a beach house. A touch of Chekhov with the sly wickedness of McNally. What’s up with that bug zapper?

By Terrence McNally Directed by Gerardine Clark February 20 – March 1 Opening Night: February 21

By Richard Harris Directed by Timothy Davis-Reed November 14 – 22 Opening Night: November 15

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

Robert Pomfrey* President & CEO POMCO Group President

Louis Marcoccia* Executive VP & Chief Financial Officer Syracuse University Vice Chair

Janet Audunson* Senior Counsel National Grid Vice Chair

Fran Nichols* Vice Chair Eric Mower + Associates Vice Chair

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

Bea Gonzalez* Dean, University College Syracuse University

Ann Clarke* Dean, College of Visual and Performing Arts Syracuse University Pat Colabufo Human Resource Manager Wegmans Food Markets Richard Driscoll Group Manager Commercial Real Estate Lending M&T Bank Ellen Kimatian Eagen Sandra Fenske VP & General Counsel Lockheed Martin Corporation Helene Gold Private Voice & Piano Instructor Nancy Green Investment Advisor Edward S. Green & Associates Larry Harris Sr. VP & CFO & Secretary Saab Sensis Corporation

Rod McDonald* Bond, Schoeneck & King

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

Dan Berman Partner HancockEstabrook, LLP

Brian Howard Private Bank Market Manager Key Bank

Timothy J. Bond** Producing Artistic Director Syracuse Stage & SU Dept. of Drama

John Huhtala Relationship Manager Middle Market Commercial Banking Chase

Secretary

Lorraine Branham Dean/Professor, S.I. Newhouse School of Public Communications Syracuse University

Gregg Lambert Dean’s Professor of the Humanities Syracuse University

Sandra Brown President Grandma Brown’s Beans, Inc.

Larry Leatherman President MOST

Nancy Byrne Community Volunteer

Vincent Love President 100 Black Men of Syracuse Inc.

Brian Cimmet Professor of Practice/Music Director SU Department of Drama

Kevin R. McAuliffe Partner Hiscock & Barclay

Suzanne McAuliffe Retired Educator Samantha Millier Associate Attorney Mackenzie Hughes LLP Kevin O’Connor Sr. Resident Director & Sr. VP Investments Merrill Lynch Virginia Parker* Retired Educator Annette Peters Marketing Director Syracuse Media Group Linda Pitonzo Syracuse Stage Guild President James Reed Sr. VP Marketing & Sales Excellus BlueCross BlueShield Michelle Schultz Senior Director, HR Business Partner Human Resources AXA Richard Shirtz Regional President NBT Bank Sharon Sullivan* Community Volunteer Wanda Thompson Sr. VP of Operations Upstate Medical University Phil Turner Pastor Bethany Baptist Church Jeffrey Woodward** Managing Director Syracuse Stage Ralph Zito** Chair Syracuse University Department of Drama Michael Zoanetti VP Senior Wealth Advisor Tompkins Financial Advisors *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 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

recording Secretary

Linda Pitonzo

Mary O’Hara

executive vice president

Corresponding Secretary

Sara Lowengard

Gretchen Goldstein

Vice President, Membership

Julia Martin Vice President, fundraising

Jacki Goldberg Vice President, Publicity

Kelly Gardner Treasurer

Ray Abdella

Deborah Borenstein Elaine Cardone Roxanna Carpenter Terry Delavan Sandi DiBianco Marsha Ferrara Grace Flusche Donna Green

Jessica Humphreville Barbara Ianuzi Lauren Kochian Ellen Lautz Amy McHale Carol Minkstein Beverly Short Marian Stanton Jean Straub Melissa Vassenelli 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

Patricia Farrington

William Preston

cicero-North Syracuse

Cicero-North Syracuse

Manlius Pebble Hill

High School

Todd Benware

Joe Goldberg

Christian Brothers Academy

Jamesville-Dewitt High School

Elizabeth Defurio

Fred Montas

Nottingham High School

Manlius Pebble Hill

Kimberly Doan

Kathleen Pickard

Auburn High School

Baker High School

Jennifer Sabatino Cato-Meridian Middle School

Y o u n g A d u lt C o u n c i l Kristina Bell

Anna Capria

Molly North

10th grade, Jamesville-DeWitt

11th grade, Baker High School

12th grade, Jamesville-DeWitt

High School

Katherine Benware 10th grade, Christian Brothers Academy

Hayley Bermel 12th grade, Cicero-North Syracuse High School

Lily Byrne

High School

Brennan Carman 11th grade, Christian

Alizah Smith

Brothers Academy

11th grade, LaFayette Big Picture School

Rose Collins 11th grade, Christian Brothers Academy

Michel Dadey

9th grade, Cato-Meridian

12th grade, LaFayette

High School

Big Picture School

Dana Tooney 11th grade, Christian Brothers Academy

August wilson’s the piano lesson Sponsors The Dorothy and Marshall M. Reisman Foundation is happy to support the Syracuse Stage production of August Wilson's The Piano Lesson. 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. Daniel Bingham & Gail Hamner

Daniel Bingham & Gail Hamner. We honor Timothy Bond and the artistic experts he gathers around him at Syracuse Stage for challenging audiences with the best work of contemporary and classical playwrights. Lockheed Martin is pleased to sponsor this season’s production of August Wilson's The Piano Lesson. Lockheed Martin and its Central New York based employees congratulate and thank Syracuse Stage for its commitment to bringing the very best of theatrical entertainment to Central New York and as a result, contributing to our high quality of life. The Humanities Center in the College of Arts and Sciences is pleased to support Syracuse Stage in its efforts to bring live theatre to our community. Whether by staging canonical drama or the most innovative and avant grade performance pieces, Syracuse Stage shares the mission to explore and enrich human experience in all its diversity that is the cornerstone of humanities education.

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.

RESTAURANT & COFFEE LOUNGE

ace The Pl

To Go

ow The Sh Before

315.475.5154 900 EAST GENESEE ST PHOEBESSYRACUSE.COM

Lunch ~ Dinner ~ Full Bar ~ Coﬀee Lounge

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 Season Sponsor $14,000 - $24,999 M&T Bank POMCO Group - Presenting Sponsor, Vanya and Sonia and Marsha and Spike $7,500 - $13,999 Bank of America – Children’s Tour, Annabel Drudge Business Journal News Network Hiscock & Barclay iHeart Media KeyBank N.A. – Hairspray Lockheed Martin MST – August Wilson’s The Piano Lesson and Military Initiatives NBT Bank – Vanya and Sonia and Marsha and Spike Syracuse New Times Syracuse Stage Board of Trustees WAER WRVO

 = Increased Gift,

$5,000 - $7,499 Carrier Corporation Exelon Generation Excellus BlueCross BlueShield – Hairspray Lockheed Martin Employees Federated Fund National Grid Scherzi Photography + Video The SU Humanities Center presents as part of the 2014 Syracuse Symposium™ on Perspective – August Wilson’s The Piano Lesson Syracuse Stage Guild – In the Next Room (or the vibrator play) Tompkins Financial Advisors Wegmans –Educational Programs $2,800 - $4,999 Urban CNY $1,500 - $2,799 Bristol-Meyers Squibb Foundation Phoebe’s SRCTec Inc. 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. Sheats & Bailey PLLC 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 County of Onondaga, Administered by CNY Arts - Hairspray The Dorothy and Marshall M. Reisman Foundation - Presenting Sponsor, The Piano Lesson, In the Next Room (or the vibrator play), Other Desert Cities and Founders Circle Member $25,000 - $49,999 Allyn Foundation Central New York Community Foundation, Inc. John F. Marsellus Fund Robert Sterling Clark Foundation - Sizwe Banzi is Dead The Richard Mather Fund 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 National Endowment for the Arts $5,000 - $7,499 Grandma Brown Foundation Theatre Development Fund, Inc. - Hairspray

$2,800 - $4,999 The Gladys Krieble Delmas Foundation - The Piano Lesson Melvin & Mildred Eggers Family Charitable Foundation $1,500 - $2,799 Price Chopper’s Golub Foundation - Education Initiatives $1,000 - $1,499 Henry A. Panasci, Jr. Charitable Trust $500 - $999 Peter & Wendy Blanck Family Foundation Frank & Frances Revoir Foundation

endowment & planned gift donors $5,000 - $7,499 Mary Louise Dunn Fund

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 - August Wilson’s The Piano Lesson Mary & Larry* Leatherman Judy & Eric Mower* Sandra Lee Fenske* & Joe Silberlicht Elinor Spring-Mills & Darvin Varon

Producers’ Circle $2,800 - $4,999 Bill & Nancy* Byrne Margaret, Amy & Bob Currier Helene* & Neil Gold Louis* & Susan Marcoccia Suzanne* & Kevin* McAuliffe Judith Sayles & David Murray Frederick & Virginia* Parker Mrs. Sherwin Radin Nancy & Steve Rogers The Spina Family Dr. & Mrs. Thomas R. Welch

Directors’ Circle $1,500 - $2,799 Janet* Audunson & David Youlen Joan Christy & Thomas Bersani Nancy Seward & Tim Bond Cathy & Jim Breuer Sandra L. Brown* Laurie Clark Kristin & Sidney Cominsky Dana & Peggy Dudarchik James Eagen & Ellen* Kimatian Eagen Barbara & Michael Flintrop Joan & Eddie Green* Winifred E. Greenberg

ACCESSI B ILIT Y PERFORMANCES 2 0 1 4 / 1 5

august wilson’s the piano lesson

in the next room, or the vibrator play

hairspray

sizwe banzi is dead

Sat. Nov. 1, 3:00 S Sat. Nov. 8, 3:00 AD Wed. Oct. 29, 2:00 O Sun. Nov. 9, 2:00 O Sat. Dec. 13, 3:00 S Sat. Dec. 20, 3:00 AD Sun. Dec. 21, 2:00 O Tue. Dec. 23, 2:00 O

Sat. Feb. 7, 3:00 S Sat. Feb. 14, 3:00 AD Wed. Feb. 4, 2:00 O Sun. Feb. 15, 2:00 O

other desert cities

Sat. Apr. 18, 3:00 S Sat. Apr. 25, 3:00 AD Wed. Apr. 15, 2:00 O Sun. Apr. 26, 2:00 O

Sat. Mar. 7, 3:00 S Sat. Mar. 14, 3:00 AD Wed. Mar. 4, 2:00 OC Sun. Mar. 15, 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 = O 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. Please call the Box Office in advance to reserve headsets. 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 Jonathan Hudak

August Wilson’s The Piano Lesson published Oct. 22, 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.

Ann & Larry* Harris Betsy Hartnett* Barbara & Brian* Howard Mr. & Mrs. Claude* Incaudo Tamara Jacobs & David Epstein 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 Marschall Margaret* & Don Martin 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 Glenda & Larry Wetzel Laurie & Michael* Zoanetti Benefactors $1,000 - $1,499 Marya & John Frantz and Sutton Real Estate Company, LLC Joyce Homan Susan Beth Burgess & Michael S. Nilan Sandra Hurd & Joel Potash Athenia Rogers George & Rita Soufleris Stars $500 - $999 Dr. & Mrs. Richard Aubry Marion & Bob Barbero Daniel* & Sarah Berman Louise Birkhead Patti & Frank Borer Craig & Kathy Byrum Dr. & Mrs. Paul S. Cohen

Ann Clarke* Frank N. Decker Donald Blair & Nancy Dock Richard & Therese Driscoll Lew & Elaine Dubroff Clay & Dora Elliott Michael & Jacki Goldberg Bonnie & Gary Grossman Deb & Sam Haines Theodore C. & Antonia M. Hansen Donna Mahar & David Heisig Della & Philip Holtzapple John & Gloria Kennedy Stephen & Janet Kimatian Gregg Lambert* Barbara Beckos & Arthur McDonald John P. & Elizabeth Y. McKinnell Jane Merrill John MacAllister & Laurel Moranz Justin Sawyers & Jeffrey T. Morehead Anne Morford Mark Re & Nancy Pasquale Jane Burkhead & Robert Sarason Gracia & Rick Sears Walter & Nancy Shepard Brian & Kathy Sischo Corinne & Lynn Smith James & Vicki Smith Raymond & Linda Straub Nancy Kramer & Doug Sutherland Wanda Thompson* Tiso Family Leah Weinberg 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 Walter D. and Angel W. Broadnax Mark & Maren Brown

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. Sarah B. Alden in memory of Jacqueline Coley 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 Mary S. Mahoney in honor of

Marlene A. Brown Marion L. Burke Dr. & Mrs. R. J. Cassady Drs. Alexander* & Margaret Charters Ann & Steve Chase Pat Colabufo* Goodwin Cooke Thomas & Deborah Coyle Mr. W. Carroll Coyne Mr. & Mrs. Anthony Dannible Sandra Marie DiBianco Alan B. Dolmatch Jonathan & Rosanne Ecker Marsha & Benjamin J. Ferrara Maryann Finn Michael & Grace Flusche Anita & Allen Frank David & Sylvia Fry Charles R. Gallagher 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 Norma Kelley Penelope J.M. & Stephen M. Klein Mary Rose Kott Linda & Dan Lowengard Candace & John Marsellus Albert Marshall Philip & Kim Mazza Amy & Myles McHale, Jr. Sam & Margaret McNaughton Bernard P. & Leslie A. Molldrem Alejandro Amezcua & David Murray

Betty Jane & Larry Myers Linda & Donald Napier Maria Maniscalco & James Nellis Mike & Maggie O’Connor Phyllis & Chuck Olmsted David and Susan Palen Janice & David Panasci Robert & Teresa Parke Robert & Jane Pickett Marilyn Pinsky Kathy & Dan Rabuzzi Rissa & Michael Ratner James* & Theresa Reed Arnie & Libby Rubenstein Ellen & Lome Runge Lois & Ted Schroeder Marilyn & Mike Sees 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 John & Mitzi Wolf Mary Jane Woodward Kathy, Tony, Victoria & Lukas Zappala 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 Mr. & Mrs. Ronald Berger Dr. & Mrs. William Berkery

John Francis Mahoney John Huppertz & Diane Mastin in honor of Fran & Sally Lou Nichols Carl Peterson & Margaret Maurer in memory of Jacqueline Coley 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 ñ 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 ñ 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 GoldfarbFindling Octavia Wilcox in honor of Ethel May Pierce Janet & Larry Wolf in memory of Frederick I. Wolf

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 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 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 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 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 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 David Graham Stephen & Julia Graziano Roger & Vicki Greenberg James M. Hahn Elaine & Gregory Hallett Mr. & Mrs. Daniel Halsey Ruth Hancock Kevin & Denise Hanlon Carole & Mark Hansen Milena Hansen 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 Elaine & Steven Jacobs Mr. & Mrs. Jastrzab Daniel & Rhea Jezer Sisters Janet & Joan 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 Jan & James Kaplan Phil & Judy Kaplan Robin & Mark Kasowitz John & Jane Keegan David & Noel Keith Scott & Cheryle Kelley 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 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 Brian & Susan Lison K.B. Lloyd

Paul Brown & Susan Loevenguth Harlan London, Ph.D. Betsy Long John & Marian Loosmann 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 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 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 Janet S. Munro Richard & Barbara Natoli Dorothea & Douglas Nelson Stephen W. Nevins John & Joan Nicholson Douglas & Gail Nielsen 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 Francis McMillan Parks David & Cynda Penfield Mr. & Mrs. Ralph Penner Kenn & Annette* Peters David & Susan Pickard Mary & Barry Pickard Richard & Neva Pilgrim David & Linda Pitonzo Joe & Karen Porcello Howard & Ann Port Tom & Camille Potter David & Linda Rezak 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 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 Barbara and David Simon 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

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. Bristol-Meyers Squibb Foundation 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

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 Dr. Richard & Mavis Tornatore Marguerite Conan & James A. Traver Jean & John Tromans Tom & Mollie Tucker Marc & Susan Viggiano Dina & Gershon Vincow Meghan & T.J. Vitale 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 Theresa & Dennis Bardenett Jon & Trish Booth Dr. & Mrs. Denis F. Branson Bob & Kathy Brown Dr. & Mrs. Deane Cady Sharon F. Campanelli 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 Holly S. Hart Robert & Denise Heater Elizabeth B. Humphreys Janet Jaffe Nancy Freeborough-Kaczmar Kankus Family Alexander & Joan Keilen John & Susan Kline Mr. & Mrs. Sheldon Kruth Robert & Lauren Lalley Lois M. Easterday & Susan J. Lamanna Eileen & James Lantier Joanne Lloyd Patricia & Donald MacLaughlin

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.

Thomas A Brisk & Gerald M. Mager Doug & Randi Matousek Ryan & Alyson McDermott Nancy & John Merrill Robt & Maureen Minich Verner & Jane Mize Robert Moore David & Janet Muir Dr. & Mrs. Charles Muniak Deirdre Neilen Brenda Neuss Ellen O’Connor Karen Orr Anita Pisano Brian Silfer & Amy Romano Barbara Rothschild Dr. & Mrs. Bernard Schneider John Steinburg Dr. Lawrence Stewart Lennie & Elizabeth Turner Marc & Marcy Waldauer JoAnn Wallace Mrs. Barbara Wanamaker Larry Volan & Sara Warner Dianne D. Webb Anna Giacobbe & Peter Welge

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

ARTISTIC S ta ff

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 ff

Director of Production Operations...........................................................................Don Buschmann Assistant Production Manager..................................................................................Dianna Angell Company Manager/Production Management Assistant...............................................Brian Crotty Production Management Intern...........................................................................Bridget Anderson Student work study..................................................................................................Araceli Aquilar Technical Director.......................................................................................................Randall Steffen Assistant Technical Director...................................................................................Rebecca Schuetz Scene Shop Foreman..................................................................................................Michael King Master Carpenter..............................................................................................Elizabeth Nosewicz Carpenters...........................................................................................Mike Kuhla, Simone Scalici Graduate Assistant............................................................................................Christopher Zacher Scene Shop Intern......................................................................................................Alex Petersen Student work study.....................................................................Emma Antenen, Mylene Quijano Scenic Charge Artist................................................................................................Holly K. LaGrow Assistant Scenic Artist..............................................................................Kristen Prescott-Ezickson Graduate Assistants...............................................................Loren Bartnicke, Carlie Miller Sherry Properties Coordinator................................................................................................Mary Houston Props Carpenter.....................................................................................................Tammy Goetsch Props Artisan.................................................................................................................Lisa Letson Graduate Assistant.....................................................................................................Chelsea Jones Student work study.............................................................Ashley Kyker, Emily Mae Timmerman Prop Shop Volunteer.......................................................................................................Ryan Ross Costumer.....................................................................................................Gretchen Darrow-Crotty Assistant Costumer..................................................................................................Meggan Camp Cutter-Drapers...........................................................................Catherine Hennessy, Jennifer Peet First Hand...............................................................................................................Victoria Lillich Stitchers...................................................................................Amanda Moore, Cynthia Papworth Craftsperson/Shopper................................................................................................Sandra Knapp Wardrobe and Wig Supervisor.......................................................................................Sarah Stark Hair Stylist.............................................................................................................Kristina Scalone Student work study.................................Kathryn Bailey, Kiersten Kozbial-Wu, Charity Van Tassel Master Electrician.................................................................................................David M. Bowman Electrician...............................................................................................................Miles Dudgeon Electrics Apprentice......................................................................................................Ann Archer Student Assistants....................................................Gregory Folsom, Ryan Gibson, Anna LiDestri Resident Sound Designer/Audio Engineer............................................................Jonathan R. Herter Assistant Audio Engineer......................................................................................Kevin O’Connor Sound Apprentice........................................................................................................Jade Taggert Graduate Assistant......................................................................................................Stefan Zoller

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

Production Stage Manager........................................................................................Stuart Plymesser Stage Manager....................................................................................................Laura Jane Collins Stage Management Journeyman..................................................................................Erin C Brett Stage Management Apprentice...............................................................................Marisa Andrews ADMINISTRATIVE S ta ff

Administrative Director...................................................................................................Diana Coles Director of Marketing and Communications...............................................................Patrick Finlon Publications Director/Assistant Marketing Director................................................Joseph Whelan Group/Corporate Sales Manager................................................................................Tracey White Public Relations Manager....................................................................................Kristina Starowitz Graphic Designers.......................................................................Jonathan Hudak, Brenna Merritt Group Sales Assistants...........................................................................Amanda Kurey, Julia Slater Production Photographer.........................................................................................Michael Davis Director of Development............................................................................................Barbara Beckos Assistant Director of Development......................................................................Katherine Keeney Development Assistant.........................................................................................Meggan Madden 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 Assistant........................................................................................................Justin Ramer Director of Ticketing & Subscription Services...............................................................Sandra Boyer Assistant Director of Ticketing & Subscription Services.............................................Ben Murphy Assistant Box Office Managers...................................Lisa Doerle, Stasya Erickson, Miguel Tarrats Angel Appeal Telefunding Manager..........................................................................Kathy Zappala Patron Sales and Services...........................................Brian Balamut, Jasmin Fink, Dennis Lennox Box Office Assistants..............Justin Cangiano, Madeline Corliss, Tatiana Fenner, Amy Gleitsman Dolores Pereira, Jesse Roth, Adam Segrave, Maggie Siciliano Interpreters for the Deaf.....................Brenda Brown, Angelo Coppola, Mikki Evans Sue Freeman Joanne Jackowski, Sarah Korcz, Zenna Preli, Shaun Standford Open Captioning.........................................................................................................Chris Botek Audio Description.........................................................................Kate M. Laissle, Joseph Whelan Director of Audience Services................................................................................Wayne Yaddow, Jr. S.U. Main Stage House Manager..........................................................................Tammy Goetsch Student Assistant House Managers..............Katie Ball, Hannah Daly, Betty Etheredge, Jesse Roth Bartender.......................................................................................................................Meg Pusey Community Services Officer......................................................................................Stacey Emmons Custodians........................................................................Kitty Ashby, Delores Bachus, Tony Rogers

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: $54, $50, $30 Evenings: Fri., Sat.: $51, $48, $30 Sun., Tues., Wed., Thurs.: $40, $37, $30 Matinees: Wed., Sat., Sun.: $47, $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 Hairspray.

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 Mary Houston, 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. Please contact Box Office in advance to reserve headsets.

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.

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Home means different

things to different people. to the hundreds of refugees who come from all over the globe to resettle in Central new York, home is the welcoming staff and safe refuge provided by the Center for New Americans. to those who strive to build understanding among those of different faiths, ethnicities and beliefs, home is the Ahmad and Elizabeth El-Hindi Center for Dialogue. for those in prisons, in hospitals and in nursing facilities, home is the calm reassurance of a chaplain. and, for frail seniors who want to remain independent, the assistance provided by a senior companion helps them to stay just where they want to be—at home.

now located at 1010 James St., interfaith Works’ new home provides valuable operational efficiencies and the space to expand our Center for new americans, Center for dialogue as well as spiritual Care and senior services programs. most importantly, it is a welcoming place where our community is invited to join together as we build dignity, understanding and hope.

SponSored by InterFaIth WorkS, the duck race to end racISm IS a Free, Fun-FIlled FamIly FeStIval attended by people oF many colorS, dIFFerent backgroundS and varIouS WalkS oF lIFe Who demonStrate What the World Would be lIke IF racISm dId not exISt.

InterFaith Works of Central New York, through education, service and dialogue, affirms the dignity of each person and every faith community and works to create relationships and understanding among us.

1010 James St., Syracuse, ny 13203 | 315-449-3552 | www.interfaithworkscny.org