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CONTENTS
JANUARY–FEBRUARY 2017
7 THE PROGRAM 10 A MODERN MARRIAGE: IBSEN AND A DOLL’S HOUSE IN CONTEXT
10
PLUS: 4 Backstage by Olivia J. Kiers 35 Emergency Exits 38 Guide to Local Theatre 43 Boston Dining Guide
Edvard Munch’s Ibsen at the Grand Café
46 Dining Out: Davio’s THEATREBILL STAFF
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The season continues through May 6. 617-266-1200 • bso.org
HUNTINGTON THEATRE COMPANY
3
BACKSTAGE
Steven E. Purcell
BEHIND THE SCENES IN LOCAL AND NATIONAL THEATRE BY OLIVIA J. KIERS
PIONEERING PROGRAM: Evelyn Francis, Director of Programs for Theater Offensive, and 18-year-old Traeshayona “Trae” Weekes accepted the 2016 National Arts and Humanities Youth Program Award from First Lady Michelle Obama on behalf of the True Colors: Out Youth Theater program in a White House ceremony on November 15, 2016.
Boston Theatre Company in National Spotlight The longest-running LGBTQ youth theatre program in the United States, The Theater
Offensive’s True Colors: Out Youth Theater
received the 2016 National Arts and Humanities Youth Program Award last November. The award was presented by First Lady Michelle Obama, who is honorary chairman of the President’s Committee on the Arts and the Humanities, at the White House to 18-year-old True Colors representative Traeshayona “Trae” Weekes. “Accepting this award from the First Lady…was an unforgettable experience,” said Weekes. “I’m so proud to be a part of the first-ever LGBTQ organization to receive this honor.” Founder of the program and current executive artistic director of The Theater Offensive Abe Rybeck said that True Colors’ “inclusive group of talented youth exemplifies America’s dynamic cultural intersections. These are the creative young leaders our overlapping communities need to overcome bigotry and jointly build a more harmonious future. To have affirmation from the highest levels of the arts and the White House is extraordinary.” Since 1994, True Colors has used community-based theatre to impact youth in mainly urban areas, helping them to develop artistically and emotionally. Go to thetheateroffensive.org for more details. 4
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Huntington Shines a Spotlight Huntington Theatre Company ’s 2017 Spotlight Spectacular gala takes place this year on Monday, April 24, at the Boston Center for the Arts’ Cyclorama building. The gala includes a cocktail reception, live auction, dinner, and entertainment in addition to an awards ceremony. This year, Boston Mayor Martin Walsh and Tony Award winner Billy Porter are the two Wimberly Award recipients. “Mayor Walsh played the critical role in helping the Huntington stay on Huntington Avenue and because of his leadership, the Huntington is now able to embark on a new chapter in its history,” said managing director Michael Maso. Artistic director Peter DuBois commented on Porter’s award, stating that the company is “delighted to honor [Porter’s] work at the Huntington and his many contributions to the American theatre community.” Porter directed the Huntington’s production of George C. Wolfe’s The Colored Museum in 2015, and returns this season with Suzan-Lori Park’s Topdog/Underdog in March. For more information, visit huntingtontheatre.org. Watertown’s Arsenal Center Changes Names Watertown, Mass.’s Arsenal Center for the Arts is being renamed The Dorothy and Charles Mosesian Center for the Arts in memory
of the late Watertown philanthropist and his wife and in honor of the continued generosity of the Mosesian Family Foundation. In 2000, Charles Mosesian donated $1 million to help launch the building campaign that transformed the former Army arsenal building into a nonprofit, multi-use arts center that opened its doors in 2005. Housing a 380-seat theatre, a black box theatre, exhibition gallery, rehearsal halls, classrooms, and artist studio spaces, the center is home to Watertown Children’s Theatre and New Repertory Theatre. Executive director Robert Miller stated, “With great pride in what we have accomplished over the last 10 years, we are invigorated by this opportunity to continue opening doors to excite and inspire diverse audiences and artists to create, appreciate, participate, and grow through the arts.” For further information, visit arsenalarts.org. Encore for SpeakEasy’s The Scottsboro Boys Following an acclaimed run at the Calderwood Pavilion at the BCA in the fall, SpeakEasy Stage Company’s production of The Scottsboro Boys is back for an additional four weeks in a special
Nile Hawver/Nile Scott Shots
BACKSTAGE (continued)
BACK ON STAGE: SpeakEasy Stage Company reprises this past fall’s production of Kander and Ebb’s The Scottsboro Boys at the Calderwood Pavilion at the BCA through January 22.
return engagement that started December 30, 2016. The Scottsboro Boys is the final musical collaboration between songwriters John Kander and Fred Ebb, known for their hits Cabaret and Chicago. Nominated for 12 Tony Awards, the musical mixes gospel, jazz, and vaudeville to tell the true story of nine African Americans jailed in 1930s Alabama for a crime they did not commit. If you missed this remarkable performance back in October and November, now is your second chance to see what the accolades were all about! Tickets are available at speakeasystage.com.
WHAT’S ON STAGE in January
Our picks for the hottest plays and musicals on local stages this month
A THOUSAND CRANES CREATE. INSPIRE. CHANGE THEATER COMPANY January 27 This special, one-night-only performance—presenting the poignant true story of a young Japanese girl, Sadako Saski, living through the aftermath of the Hiroshima atom bombing—is designed to bring professional performance to underserved and low-income families. Refer to listing, page 42. TRANS SCRIPTS, PART I: THE WOMEN AMERICAN REPERTORY THEATER January 19–February 5 A.R.T. presents the U.S. premiere of this play about diverse transgender experiences that won a Fringe First Award for new writing at the 2015 Edinburgh Festival Fringe. Refer to listing, page 42.
WHO’S AFRAID OF VIRGINIA WOOLF? LYRIC STAGE COMPANY January 13–February 12 Edward Albee’s comic yet biting tale of marital disaster is the perfect antidote for the run-up to Valentine’s Day. Refer to listing, page 42. HAND TO GOD SPEAKEASY STAGE COMPANY January 6–February 4 This Boston premiere offers an updated and hilarious insight into the perennial teenage struggle between fitting in and being comfortable with one’s own identity through the antics of a shy teen’s troubled sock puppet. Refer to listing, page 40. HUNTINGTON THEATRE COMPANY 5
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Andrea Goss and the 2016 national touring cast of Roundabout Theatre Company’s CABARET. Photo by Joan Marcus
BEN BRANTLEY
UT O F H E TH ND E A RTS
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ET NO ER RM D AR A JE UBO TIS AN IS TIC CA DIR LDE ECT RW M OR OOD I CH MA A NA E L GIN M G D AS IRE O CTO R
NT ING CO T TO MP HE N AVE AN ATR & S NU Y E O E
HU
Henrik Ibsen’s
A DOLL’S HOUSE An Adaptation by Bryony Lavery Directed by Melia Bensussen
Scenic Design
Costume Design
James Noone
Casting
Michael Krass
Alaine Alldaffer
Lighting Design
Sound Design & Original Music
Dan Kotlowitz
Production Stage Manager
Emily F. McMullen
Rob Milburn & Michael Bodeen Stage Manager
Jeremiah Mullane
We gratefully acknowledge the Huntington’s 2016–2017 Season Sponsors
Sherryl & Gerard Cohen Carol G. Deane J. David Wimberly the Production Sponsors of A Doll’s House
Nancy & Ed Roberts and the Production Co-Sponsors of A Doll’s House
Linda & Brooks Zug A Doll’s House © Bryony Lavery, 2004
HUNTINGTON THEATRE COMPANY 7
t. charles erickson
Ruibo Qian and Jon Norman Schneider in Tiger Style!
CELEBRATE THE REST OF OUR 35th SEASON:
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THE WHO & THE WHAT
BY AYAD AKHTAR (DISGRACED) MARCH 31 - MAY 7, 2017
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BY DAVID LINDSAY-ABAIRE (GOOD PEOPLE) MAY 26 - JUNE 25, 2017
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huntingtontheatre.org/intro
CAST Nora...................................................................................Andrea Syglowski Torvald....................................................................................Sekou Laidlow Mrs. Linde........................................................................ Marinda Anderson Anne-Marie.................................................................... Adrianne Krstansky Dr. Rank...................................................................................Jeremy Webb Krogstad....................................................................................... Nael Nacer Helene................................................................................ Lizzie Milanovich Children (at alternating performances)............................Kinsaed Damaine James, Zoë Adams Martin, Elise Rose Walker, Gavin Daniel Walker
SETTING Christmas Eve, Christmas Day, and the day after There will be one 10-minute intermission.
UNDERSTUDY
John Tracey (Krogstad)
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TO UN P D DER OG / MA D O R AVE .10 G NU -A EO P FT R HE .9 ART
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massculturalcouncil.org
The Huntington Theatre Company is supported in part by a major contribution from Boston University. Additional support is provided by the Massachusetts Cultural Council, a state agency, and by more than 6,000 individual, foundation, and corporate contributors.
“Thrilling comic drama. Dazzlingly written!” — THE NEW YORK TIMES
BU
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AIBSENMODERN MARRIAGE: & A DOLL’S HOUSE IN CONTEXT Edvard Munch’s Ibsen at the Grand Café (1902). Ibsen and Munch were contemporaries and Munch designed scenery for many of Ibsen’s plays in Norway.
“ibsen gave the stage its first distinctively modern
characters: complex, contradictory individuals driven by a desire for something — the ‘joy of life,’ a sense of themselves — that they can barely recognize or name.”
— W.B. WORTHEN
Economic exile Born in 1828, Henrik Ibsen’s early life and career were marked by financial struggle. His father was a merchant, but the family went bankrupt when Henrik was seven years old and was forced to move to a coastal port city. Even in financial difficulty, the Ibsens kept servants and maintained a certain level of affluence or at least the public image of it. “The Ibsens had been rich; then they became not poor, but much less wealthy; and yet they were keen to keep up appearances,” Erica Wagner writes for The New Statesman, tying Ibsen’s childhood to one of the core themes of his later career. “This conflict between reality and appearance is what still draws audiences to Ibsen’s work.” Ibsen’s path to playwriting took a circuitous route. He became an apothecary’s apprentice at the age of 15, and he fathered a child with the maid at the shop at the age of 18. Though they did not marry, he paid child support for 15 years. Some biographies of Ibsen skip over this chapter in his young life as incidental, but others see it as a formative chapter in Ibsen’s development. As scholar Toril Moi writes, “For 10 A DOLL’S HOUSE
a young penniless woman, the birth of an illegitimate child would have meant the end of any hopes of an education, let alone of any chance to write. For a young man with no money, it meant a burdensome struggle to pay child support for a son he probably never met.” In her book Henrik Ibsen and the Birth of Modernism, Moi quotes Ibsen’s letter to the judge: “I am now in my twentieth year; I own absolutely nothing, except some shabby clothes, shoes, and linen, and will shortly leave the Grimstad pharmacy where I have lived as an apprentice, that is to say without any other pay than my food.” Ibsen moved to Christiania (now Oslo), and though he planned to go into medicine, he failed critical exams. He decided to pursue writing. The first decade of his writing career is largely forgotten. At the age of 20, Ibsen published his first play Catalina under a pseudonym, though it was never performed. His second play The Burial Mound was produced at the Christiania Theatre. Ibsen was only 23 when he was invited to serve as resident playwright at the nationalist Norwegian Theatre in Bergen, a position he held from 1851 to 1857. During this period, he wrote a number of plays, primarily verse dramas that explore Norwegian history or myth — in addition to directing, designing, and managing the operations of the theatre. From 1858 to 1862, he led the Norwegian Theatre in Christiania (Oslo) until the theatre went bankrupt. Through this period he was sued for his debts several times, and barely escaped debtors’ prison. To pay for his expenses, he pieced together a series of grants; in 1864, on receipt of a grant to write abroad, he moved to Rome and did not return to Norway for ten years. All the belongings he left in Norway were sold at auction. Living abroad changed Ibsen. (“Life out here in Europe is after all freer and more refreshing, and larger,” he wrote in a letter.) His verse play Brand — his first play to establish his core theme of the false morality of modern society — led to him being awarded an annual grant from the Norwegian government, which finally stabilized his economic status. He was able to devote himself to writing. He soon wrote Peer Gynt, another verse play (the first play of Ibsen’s that is still widely performed today). The year 1877 marked a turning point when Ibsen firmly abandoned verse for prose. Scholar and translator Eric Bentley writes, “It isn’t that this prose can do more than that verse, but that the prose is part of a complex (character, milieu, tone) that constitutes a far more expressive form of psychological theatre. Verse overstates, prose understates. […] People in Brand say the maximum, in Ghosts or The Wild Duck the minimum. Sentences are short. They may even be broken off. Silences are awesome and full of juice.” After transitioning to prose, Ibsen’s first play was The Pillars of Society, examining the hypocrisy of business. The second play he wrote in this period was A Doll’s House.
Worldwide sensation Ibsen borrowed the broad outlines of the story for A Doll’s House from a woman he knew, Laura Kieler (Kieler wrote a novel that was a sequel to his play Brand, and she asked him for an endorsement to help get it published; Ibsen refused). In 1876, Kieler forged her husband’s signature to borrow money; her husband ultimately committed her to a sanitarium for a time.
HUNTINGTON THEATRE COMPANY 11
Munch’s Ghosts: Family Scene (1920), The Munch Museum, Oslo
In 1879, living in Rome, Ibsen wrote an outline that he titled “Notes for a Modern Tragedy.” It begins: “There are two kinds of moral laws, two kinds of conscience, one for men and one, quite different, for women. They don’t understand each other; but in practical life, woman is judged by masculine law, as though she weren’t a woman but a man.” (Some critics see the play he wrote as an extension of this initial impulse; contemporary scholar Sandra Saari advances the theory that Ibsen discarded this notion and “embraced an entirely different fundamental premise […] in order to demonstrate the radical transformation of Nora from female to human being.”) Ibsen wrote the play in just a few months, and productions quickly followed in Denmark, Germany, and Norway. Contemporary Halvdan Koht wrote: “A Doll’s House exploded like a bomb into contemporary life. The Pillars of Society, [...] though it attacked reigning social conventions, still retained the traditional theatrical happy ending, so that it bit less sharply. But A Doll’s House knew no mercy.” The play shocked conventional morality of the time, and therefore held an irresistible attraction for theatregoers to talk about it. “Such furious discussion did Nora rouse when the play came out that many a social invitation given in Stockholm during that winter bore the words ‘You are requested not to mention Ibsen’s Doll’s House,’” wrote Henrietta Frances Lord, a translator living in Stockholm at the time. Though his following play, Ghosts, was banned in some countries for its scandalous plot, no future play of Ibsen’s was to catch the cultural and political zeitgeist to the extent that A Doll’s House did. Quickly and enduringly the play was championed by members of the women’s movement, even without Ibsen’s encouragement. “[I] must disclaim the honor of having consciously worked for the women’s rights movement,” 12 A DOLL’S HOUSE
Ibsen said in a 1898 speech. “I am not even quite clear as to just what this women’s rights movement really is. To me it has seemed a problem of humanity in general.” Though he was briefly an anarchist, Ibsen rarely participated in politics and distrusted politicians. For some, that only burnished his reputation. In 1914, anarchist feminist Emma Goldman wrote, “Uncompromising demolisher of all false idols and dynamiter of all social shams and hypocrisy, Ibsen consistently strove to uproot every stone of our social structure.”
Ibsen in translation At the time of Ibsen’s death, A Doll’s House was available in ten languages. Today, it is published in 78. The feat is remarkable for a playwright who wrote in a relatively obscure language. Only 1.4 million people could read Norwegian when Ibsen began writing. William Archer, the first English translator of Ibsen, wrote, “In respect of language, Ibsen stands at a unique disadvantage. Never before has a poet of worldwide fame appealed to his worldwide audience so exclusively in translations.” Scholars do not even generally agree on how the title of A Doll’s House should be handled. The original title Et Dukkehjem does not use the possessive, so some translators choose A Doll House. But it is not the same word that would have been used in Scandinavia for a literal doll’s house (dukkehus). Instead of hus, Ibsen chose hjem, the Norwegian word for “home.” Every word could have this level of debate over choice and nuance. The adaptation for the Huntington production is by British feminist playwright Bryony Lavery, one of the few translations by a woman. Lavery chose to leave the “clockwork” plot of the original play largely untouched. “I try to remember that I am trying to serve another writer to have their work presented in another language,” says Lavery in an interview with the Manchester Library Theatre in England. “So the task is simply to find the shortest path through the forest. The big reminder I had in my head was to not think of it as Victorian, but to obey the internal rules of the play’s culture.” Lavery’s main focus instead was on maintaining the play’s tension for a modern ear. “The main license I took was deciding that, as it was a domestic drama, people who live together and know each other rather well often talk over one another,” says Lavery. “I simply decided where the next speech should cut in to the former, which I think gives the scenes a lack of formality and intensity of repressed frustration that helps the airless landscape of the play.” The Lavery translation has never had a professional production in America; it has been in wide use in the United Kingdom, including a revival for the Royal Exchange in 2014, where critics celebrated its grasp on the heart of the play. As Dominic Cavendish writes for The London Telegraph, “Lavery’s subtly modern version [understands,] crucially, that it’s what’s not being said between husband and wife that counts most.” — CHARLES HAUGLAND
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ABOUT THE COMPANY Marinda Anderson* (Mrs. Linde) has Off Broadway credits that include A Life and Far from Heaven (Playwrights Horizons), Macbeth (Lincoln Center Theater), Sex of the Baby (Access Theater), and Every Good Girl (Soho Rep). Her regional credits include Lady Day at Emerson’s Bar and Grill and Intimate Apparel (Dorset Theatre Festival); Three Sisters (PlayMakers Repertory Company); Fairfield and A Carol for Cleveland (Cleveland Play House); and Love’s Labours Lost (Chautauqua Theater Company). She appeared on the television series “Gotham” and the web series “Horace and Pete.” Ms. Anderson holds a BFA in musical theatre from Howard University and a MFA from New York University Graduate Acting Program. marindaanderson.com. Adrianne Krstansky* (Anne-Marie) last appeared at the Huntington in Come Back, Little Sheba (Elliot Norton and IRNE awards). Her regional credits include Paradise Lost, Britannicus, and Ubu Rock (American Repertory Theater); A Clockwork Orange and Twelfth Night (Steppenwolf Theatre Company); Luck, Pluck & Virtue (La Jolla Playhouse and Atlantic Theater Company, NYC); and 365 Days/365 Plays (The Public Theater/NYSF). Her Boston credits include Tribes, Body Awareness, and Snakebit (SpeakEasy Stage Company); Blackberry Winter, Imagining Madoff, On the Verge, Three Viewings, Holiday Memories, and 2.5 Minute Ride (New Repertory Theatre); Othello (Commonwealth Shakespeare Company); Gary (Boston Playwrights’ Theatre); and New Electric Ballroom (Gloucester Stage). Her film and television credits include The Company Men and HBO’s “Olive Kitteridge.” She is an associate professor of theatre arts at Brandeis University. Sekou Laidlow* (Torvald) has theatre credits that include Airline Highway (Broadway, Manhattan Theatre Club), Father Comes Home from the Wars (American Repertory Theater), A Civil War Christmas (Baltimore Center Stage), The Mountaintop (Philadelphia Theatre Company), and Of Mice and Men (Pioneer Theatre Company). He appeared in the films The Mend (supporting lead), Better Off Single, and Pop Foul (lead), and is now recurring as Walter Camp in the VH1 series “The Breaks” which airs in January of 2017. Other television credits include “The Good Wife,” “Person of Interest,” “Smash,” “The Wire,” “Law & Order,” and the web series “What’s Your Emergency.” He is a graduate of The Juilliard School Drama Division. Lizzie Milanovich (Helene) has Boston area credits that include Stoneham Theatre, Bad Habit Productions, Fresh Ink Theatre Company, Brown Box Theatre Project, and Theatre on Fire. Her writing has been produced with Fresh Ink Theatre Company, Shotz Boston, and Emerson College. She is a graduate of Emerson College where she received a BA in acting and playwriting. lizziemilanovich.com. Nael Nacer* (Krogstad) returns to the Huntington having previously appeared in Bedroom Farce; Come Back, Little Sheba; Awake and Sing!; The Seagull; and Our Town (IRNE Award, Best Supporting Actor). New York credits include The Hiding Place (59E59 Theaters) and Lemonade (New York International Film Festival). His regional credits include 45 Plays for 45 Presidents and It’s a Wonderful Life: a Live Radio Play (Merrimack Repertory Theatre); Mr. Burns, a Post-Electric Play and Intimate Apparel (Elliot Norton Award, Best Actor); The Temperamentals and Animal Crackers (Lyric Stage Company); A
14 A DOLL’S HOUSE
ABOUT THE COMPANY
Boston University and the Huntington Theatre Company have partnered to train the next generation of artists.
A DOLL’S HOUSE
Number, Pattern of Life, Lungs, and The Kite Runner (New Repertory Theatre); The Flick (Gloucester Stage Company; IRNE Award, Best Actor); A Future Perfect and Tribes (SpeakEasy Stage Company); Rhinoceros, Windowmen, The Farm, and Gary (Boston Playwrights’ Theatre); and Shear Madness (Charles Playhouse).
Andrea Syglowski* A Doll’s House features the following (Nora) previously BU alumni, faculty, and students: appeared at the AMELIA BROOME Huntington in Venus (Vocal Coach) in Fur for which she MFA, Theatre Education, 2003 won an Elliot Norton Award and the IRNE Award for SHANNON CLARKE Best Actress. Her recent New York (Assistant to the Lighting Designer) credits include Queens (Women’s BFA, Lighting Design, 2018 Project Theater: Pipeline Festival), JAMES NOONE Asking for Trouble (Ensemble Studio (Scenic Design) Theatre), and The Walk Through Associate Professor of Scenic Design (Slant Theatre Project). Her regional credits include The May Queen SARAH SCHNEIDER (PlayMakers Repertory Company); (Production Assistant) Dear Elizabeth (Dorset Theatre BFA, Stage Management, 2017 Festival); The Nest (Denver Center for the Performing Arts); Of Good Stock (South Coast Repertory); A Flea in her Ear, Bully to You, Schmoozy Togetherness, and White Trash Anthem (Williamstown Theatre Festival); Three Sisters, Love’s Labour’s Lost, Elijah, and Carve (Chautauqua Theater Company); and Much Ado About Nothing and A Midsummer Night’s Deam (Shakespeare at the Manor). Her television credits include “How to Get Away with Murder,” “Elementary,” and “The Good Wife.” Ms. Syglowski is a graduate of the University of Southern California and The Juilliard School, where she was the recipient of the Robin Williams Scholarship. She is a proud member of Actors’ Equity and the Screen Actors Guild. Jeremy Webb* (Dr. Rank) previously appeared at the Huntington as Victor in Private Lives (IRNE Award nomination), a production that subsequently moved to the Shakespeare Theatre Company. Other credits include Kander and Ebb’s The Visit (Broadway, The Actors Fund, and Signature Theatre), The Glorious Ones (Lincoln Center Theater, original cast recording), The Baltimore Waltz (Signature Theatre), Tabletop (Working Theater), Photograph 51 (Ensemble Studio Theatre), She Stoops to Conquer (Williamstown Theatre Festival and McCarter Theatre), Next Fall (LA Theatre Works and NPR), and Tom Jones (North Shore Music Theatre). He has worked at New York Stage and Film, The Old Globe, The Kennedy Center, Long Wharf Theatre, Alley Theatre, Hangar Theatre, and The Cape Playhouse. Mr. Webb received the Drama Desk Award for Tabletop, the Connecticut Critics Circle Award for The Laramie Project, The St. Louis Theatre Circle Award for Buyer & Cellar, and he has been twice nominated
* Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
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A DOLL’S HOUSE
ABOUT THE COMPANY for a Helen Hayes Award for The Visit and The Apple Family Plays. His film and television credits include Love Walked In, “Law & Order,” “Law & Order: SVU,” “Law & Order: Criminal Intent,” and over 200 episodes on “Guiding Light.” Mr. Webb received his training from The Drama School at the University of North Carolina School of the Arts. He will next direct the premiere of Georgette Kelly’s I Carry Your Heart (Hangar Theatre, Hope on Stage Playwriting Award). Kinsaed Damaine James (Child) first began acting at age six with the leading role in his elementary school musical production of Peter Pan. He also played Michael Banks in his school musical Mary Poppins. His first professional theatre appearance will be in A Doll’s House. He enjoys playing the viola and dance and has performed with Boston Landmarks Orchestra, Longy School musicians, Boston Ballet’s City Dance, and the 360 Dance Ensemble. Zoë Adams Martin (Child) is a kindergarten student at Thacher Montessori School, and has taken numerous drama classes at Wheelock Family Theatre. She loves art in many forms, and has particularly enjoyed storytelling and playmaking since she was a baby. She is making her theatrical debut on the Huntington stage. Elise Rose Walker (Child) makes her first professional theatre appearance in A Doll’s House. She has been a member of Boston City Singers training chorus based in Dorchester for the past five years and loves to perform at events around Boston. A Dorchester girl at heart, she is also a member of the Boys and Girls Club Marlins swim team and an active member of an all-girls soccer team with Global Premier Soccer. She and her brother, Gavin, attend the Mather Elementary School. Her family was the Boston Children’s Hospital 2015–2016 “Family of the Year” sponsored by the Kohls and Boston Children’s Hospital Healthy Family Fun Program. Gavin Daniel Walker (Child) makes his first theatre appearance in A Doll’s House acting alongside his sister Elise. He is following close in his big sister’s footsteps and has just recently been promoted from Kodaly singing chorus to training chorus with Boston City Singers and is excited to join her in performing at local events. He is a junior member of the Boys and Girls Club Marlins swim team. For the past two years his dad has trained his Dorchester youth soccer team and they love to play together. John Tracey* (understudy Krogstad) has New England area credits that include Trinity Repertory Company, Provincetown Tennessee Williams Theater Festival, Boston Theater Company, and Bridge Repertory Theater — where he’s been seen as Cassius in Julius Caesar directed by Olivia D’Ambrosio, and as Austin in The Launch Prize, MJ Halberstadt’s Elliot Norton Award-winning new play. Other theatres include REV Theatre Company, Baltimore Center Stage, Hunger & Thirst Theatre, and the Philadelphia and New York Fringe Festivals. He is a graduate of the Brown University/Trinity Rep MFA Program in acting, where he appeared in The Duchess of Malfi (Bosola), The Lady from Dubuque (Sam), and Hot L Baltimore (Jamie). He is a proud member of the Bridge Repertory Theater team of playmakers. Henrik Ibsen (Playwright) is often considered the father of modern drama. He is held to be the greatest of Norwegian authors and one of the most important playwrights of all time, and after Shakespeare, his works are more frequently
16 A DOLL’S HOUSE
ABOUT THE COMPANY
A DOLL’S HOUSE
performed than any other playwright in the world. His plays were considered scandalous to many of his era, when Victorian values of family life and propriety largely held sway in Europe and any challenge to them was considered immoral and outrageous. Mr. Ibsen’s work examined the realities that lay behind many facades, possessing a revelatory nature that was disquieting to many contemporaries. He largely founded the modern stage by introducing a critical eye and free inquiry into the conditions of life and issues of morality. His best-known works include A Doll’s House (1879), Ghosts (1881), An Enemy of the People (1882), and Hedda Gabler (1890). Many of Mr. Ibsen’s plays are realistic, issue-driven dramas that focus on social criticism. A Doll’s House was Mr. Ibsen’s international breakthrough. His later plays shift to psychological and symbolic drama. His final dramatic works include The Master Builder (1892), Little Eyolf (1894), John Gabriel Borkman (1896), and When We Dead Awaken (1899). His “dramatic epilogue,” When We Dead Awaken, was thus and appropriately the last dramatic work that he wrote. In all, Mr. Ibsen wrote 26 dramatic works and some 300 poems. Bryony Lavery (Adapter) is a British dramatist, known for her successful and award-winning 1998 play Frozen. Early in her career she founded a theatre company called Les Oeufs Malades with actor Gerard Bell, and she also founded Female Trouble, More Female Trouble, and served as artistic director of Gay Sweatshop. In addition to her original plays and adaptations, she has authored translations of foreign works such as her 2007 version of Chekhov’s Uncle Vanya. Additionally, she adapted Treasure Island, the novel by Robert Louis Stevenson,
* Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
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HUNTINGTON THEATRE COMPANY 17
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ABOUT THE COMPANY into a play which was first performed on the Olivier stage of the National Theatre in London in 2014. In addition to her work in theatre, she has also written for television and radio. Her books include Tallulah Bankhead and The Woman Writer’s Handbook. She has also taught playwriting at Birmingham University. Melia Bensussen (Director) is the recipient of an Obie Award for Outstanding Direction. Her Huntington credits include Awake and Sing!, Luck of the Irish, and Circle Mirror Transformation. Other directing credits include work with Sleeping Weazel, Actors’ Shakespeare Project, Merrimack Repertory Theatre, La Jolla Playhouse, Baltimore Center Stage, Hartford Stage, Oregon Shakespeare Festival, New York Shakespeare Festival, MCC Theater, Primary Stages, Long Wharf Theatre, Actors Theatre of Louisville, People’s Light and Theatre Company (Barrymore Award nomination for Best Direction), and many others. She has received two Directing Awards from the Princess Grace Foundation, including its top honor, the Statuette Award for Sustained Excellence in Directing. Her edition of Langston Hughes’ translation of Garcia Lorca’s Blood Wedding is published by Theatre Communications Group, and she is featured in Women Stage Directors Speak by Rebecca Daniels, in Nancy Taylor’s Women Direct Shakespeare, and in Jews, Theatre, Performance in an Intercultural Context. Ms. Bensussen is chair of the performing arts department at Emerson College, and serves as chair of the arts advisory board for the Princess Grace Foundation. James Noone (Scenic Design) has designed Choice, The Corn is Green, She Loves Me, Rabbit Hole, Les Liaisons Dangereuses, Burn This, The Rose Tattoo, Ain’t Misbehavin’, Springtime for Henry, Fully Committed, and Dead End for the Huntington. His Broadway credits include Lady Day at Emerson’s Bar and Grill; Sunset Boulevard revival; A Time to Kill; A Bronx Tale; Come Back, Little Sheba; Match; A Class Act; Judgment at Nuremberg; Urban Cowboy; Jekyll & Hyde; The Rainmaker; Night Must Fall; Getting and Spending; The Sunshine Boys; The Gin Game; and Inherit the Wind. Off Broadway credits include The Time of the Cuckoo, Hotel Suite, Fully Committed, Full Gallop, and Three Tall Women, among others. Mr. Noone is the recipient of LA Ovation, Drama Desk, American Theatre Wing Design, and Helen Hayes Design awards. He is currently an associate professor of scenic design at Boston University. Michael Krass (Costume Design) returns to the Huntington having designed A Confederacy of Dunces, Awake and Sing!, The Rose Tattoo, The Rivals, A Month in the Country, and Dead End, among many others. His Broadway credits include Tony Award nominations for Noises Off, Machinal, and The Constant Wife; plus The Cherry Orchard; Twelve Angry Men; After the Fall; Hedda Gabler; The Lion in Winter; You’re a Good Man, Charlie Brown; The Rehearsal (Drama Desk Award nomination); and A View from the Bridge. Off Broadway he has designed world premiere plays by Edward Albee, Christopher Durang, David Rabe, Kenny Lonergan, Nicky Silver, Keith Bunin, and John Guare, among others. He has costumed 13 seasons at the Williamstown Theatre Festival and 12 at the Hangar Theatre in Ithaca, New York. His opera work includes Pelleas and Melisande in St. Petersburg, Russia. Mr. Krass’ film credits include Campbell Scott’s Hamlet. He teaches in the graduate program at Brown University/Trinity Rep. Dan Kotlowitz (Lighting Design) designed Circle Mirror Transformation, Nixon’s Nixon, and The Winter’s Tale at the Huntington. His New York credits include Turn of the Screw, Scotland Road, Sabina, and Secret Order (Primary Stages); The Mysteries and What’s So Funny (American Repertory Theater, Spoleto Festival, Serious Fun, and national tour); The Wash (Manhattan Theatre Club); Something in the Air (Bay Street Theater); and Yankee Dawg You Die and The Perfect Party (Playwrights Horizons and Astor Place Theatre). Regional work includes
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ABOUT THE COMPANY
Rob Milburn & Michael Bodeen (Sound Design & Original Music) return to the Huntington having previously designed sound or music for Awake and Sing!; Good People; Private Lives; How Shakespeare Won the West; Bang the Drum Slowly; Journey to the West; Hamlet; King Hedley II; Ah, Wilderness!; The Amen Corner; and Jitney. Broadway credits include music composition and sound for No Man’s Land and Waiting for Godot, Breakfast at Tiffany’s, The Miracle Worker, One Flew Over the Cuckoo’s Nest, and The Speed of Darkness; music for My Thing of Love; and sound for Larry David’s Fish in the Dark, This is Our Youth, Of Mice and Men, Who’s Afraid of Virginia Woolf?, Superior Donuts, reasons to be pretty, A Year with Frog and Toad, King Hedley II, Buried Child, The Song of Jacob Zulu, and The Grapes of Wrath. Their Off Broadway credits include music and sound for Guards at the Taj, Sticks and Bones, How I Learned to Drive, Inked Baby, After Ashley, The Notebooks of Leonardo da Vinci, Boy Gets Girl, Red, Space, and Marvin’s Room; sound for Sweat, The Babylon Line, The Spoils, Family Week, reasons to be pretty, Jitney, Juvenilia, Brundibar, and The Pain and the Itch; and music direction and sound for Ruined. Mr. Milburn and Mr. Bodeen have created music and sound at resident theatres throughout America, frequently with Steppenwolf Theatre Company, as well as internationally. milbomusic.com.
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productions at Long Wharf Theatre, Baltimore Center Stage, The Repertory Theatre of St. Louis, Merrimack Repertory Theatre, La Jolla Playhouse, Trinity Repertory Company, Hartford Stage, Berkshire Theatre Group, George Street Playhouse, Cincinnati Playhouse in the Park, Portland Stage, Cleveland Play House, Milwaukee Repertory Theater, Berkeley Repertory Theatre, and Virginia Stage Company. Mr. Kotlowitz teaches lighting design at Dartmouth College.
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ABOUT THE COMPANY Alaine Alldaffer (Casting) is also the casting director for Playwrights Horizons, where her credits include Grey Gardens (also for Broadway), Clybourne Park (also for Broadway), Circle Mirror Transformation (Drama Desk and Obie awards for Best Ensemble and an Artios Award for casting), and The Flick (Playwrights Horizons and Barrow Street Theatre). Television credits include “The Knights of Prosperity” (aka “Let’s Rob Mick Jagger”) for ABC. Associate credits include “Ed” for NBC and “Monk” for USA. Ms. Alldaffer has also cast productions for Arena Stage, Williamstown Theatre Festival, and the Humana Festival of New American Plays at Actors Theatre of Louisville, among others. She credits Lisa Donadio as her associate casting director. Emily F. McMullen* (Production Stage Manager) has previously worked on Bedroom Farce, Sunday in the Park with George, I Was Most Alive with You, Can You Forgive Her?, Disgraced, A Confederacy of Dunces, A Little Night Music, after all the terrible things I do, The Colored Museum, Vanya and Sonia and Masha and Spike, Awake and Sing!, Guess Who’s Coming to Dinner, Smart People, The Seagull, Venus in Fur, and The Cocktail Hour for the Huntington. Ms. McMullen was recently the production stage manager for the Lexington Theatre Company’s production of Disney’s Mary Poppins. She spent nine seasons as production stage manager at Merrimack Repertory Theatre in Lowell and 15 summers as production stage manager of Music Theatre of Wichita. Other credits include work with Cincinnati Playhouse in the Park, South Coast Repertory, North Shore Music Theatre, and Capital Repertory Theatre, among others. She holds a BA from Emory University. Jeremiah Mullane* (Stage Manager) returns to the Huntington having previously stage managed Tiger Style!, August Wilson’s How I Learned What I Learned, Disgraced, Choice, The Second Girl, Awake and Sing!, Guess Who’s Coming to Dinner, The Seagull, The Cocktail Hour, The Jungle Book, and Invisible Man. He has regional credits that include Love’s Labour’s Lost, A Midsummer Night’s Dream, and King Lear (Commonwealth Shakespeare Company); Blood on the Snow at Boston’s Old State House (The Bostonian Society); First You Dream and Follies (The Kennedy Center); Really Really, The Boy Detective Fails, [title of show], and Giant (Signature Theatre); and As You Like It, The Alchemist, The Way of the World, Julius Caesar, and Major Barbara (Shakespeare Theatre Company). He is a graduate of Ithaca College with a BA in drama and computer science. Peter DuBois (Artistic Director) is in his ninth season as Artistic Director at the Huntington where his directing credits include Stephen Sondheim’s Sunday in the Park with George and A Little Night Music; the world premieres of Gina Gionfriddo’s Can You Forgive Her?, Lydia R. Diamond’s Smart People, Evan M. Wiener’s Captors, Stephen Karam’s Sons of the Prophet (2012 Pulitzer Prize Finalist), Bob Glaudini’s Vengeance is the Lord’s, and David Grimm’s The Miracle at Naples; the regional premieres of A. Rey Pamatmat’s after all the terrible the things I do, Stephen Belber’s The Power of Duff, and Gina Gionfriddo’s Becky Shaw and Rapture, Blister, Burn; and Craig Lucas’ Prelude to a Kiss. His West End/ London credits include the upcoming Sex with Strangers and Rapture, Blister, Burn (Hampstead Theatre), All New People with Zach Braff (Duke of York’s Theatre), and Becky Shaw (Almeida Theatre). His New York credits include The Power of Duff with Greg Kinnear (New York Stage and Film/Powerhouse Theater); the premiere of Rapture, Blister, Burn (Playwrights Horizons, 2013 Pulitzer Prize finalist); Sons of the Prophet (Roundabout Theatre Company, 2012 Pulitzer Prize finalist); Modern Terrorism, Becky Shaw, Trust with Sutton Foster, All New People, and Lips Together, Teeth Apart (Second Stage Theatre); Measure for Pleasure, Richard III with Peter Dinklage, Mom, How Did You Meet the Beatles?, and Biro (The Public Theater/NYSF); Jack Goes Boating with Philip Seymour Hoffman and
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ABOUT THE COMPANY
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The View From 151st Street (LAByrinth Theater Company/The Public Theater), and the upcoming Can You Forgive Her? at the Vineyard Theatre. Regional US and UK credits include productions at American Conservatory Theater, Trinity Repertory Company, Humana Festival of New Plays, Manchester Opera House, and King’s Theater Glasgow. Before arriving at the Huntington, he served for five years as associate producer and resident director at The Public Theater, preceded by five years as artistic director of the Perseverance Theatre in Juneau, Alaska. Prior to his work at Perseverance, Mr. DuBois lived and worked in the Czech Republic where he co-founded Asylum, a multi-national squat theatre in Prague. His productions have been on the annual top ten lists of The New York Times, Time Out, New York Magazine, The New Yorker, Newsday, Variety, Entertainment Weekly, The Evening Standard, The Boston Globe, and Improper Bostonian, and he received an Honorable Mention for 2013 Bostonian of the Year by The Boston Globe Magazine. Michael Maso (Managing Director) has led the Huntington’s administrative and financial operations since 1982, producing more than 200 plays in partnership with three artistic directors and leading the Huntington’s ten-year drive to build the Stanford Calderwood Pavilion at the Boston Center for the Arts, which opened in September 2004. In recognition of these efforts, Boston Herald honored him as 2004’s Theatre Man of the Year. From 1997 to 2005 Mr. Maso served as the president of the League of Resident Theatres (LORT), an association of 70 of the country’s major not-for-profit professional theatres. In 2005, he was named as one of a dozen members of the inaugural class of the Barr Fellows Program. He currently serves on the Boston Cultural Planning Steering Committee and previously served as a member of the board of directors of ArtsBoston; as a board member for Theatre Communications Group (TCG); as a site visitor, panelist, and panel chairman for the National Endowment for the Arts; as a member of Mayor Menino’s Advisory Task Force for Cultural Planning; as a trustee of the Massachusetts Advocates for the Arts, Sciences, and Humanities (MAASH); as a board member of StageSource; and as a member of the Boston Foundation’s Cultural Task Force. He is the recipient of TCG’s 2012 Theatre Practitioner Award, the Huntington’s 2012 Wimberly Award, StageSource’s 2010 Theatre Hero Award, the 2005 Commonwealth Award (the state’s highest arts honor) in the category of Catalyst, and the 2000 Norton Prize for Sustained Excellence from the Boston Theatre Critics Association. He has also served as the managing director of Alabama Shakespeare Festival, general manager of New York’s Roundabout Theatre Company, business manager for PAF Playhouse on Long Island, and as an independent arts management consultant based in Taos, New Mexico. Mr. Maso is an associate professor of theatre at Boston University. Christopher Wigle (Producing Director) is in his 16th season at the Huntington. He has worked on Broadway, Off Broadway, and regionally for Lincoln Center Theater, Playwrights Horizons, the Bay Street Theater, and the Royal National Theatre. Working primarily as a stage manager, his credits include the original productions or New York premieres of Six Degrees of Separation (John Guare), subUrbia (Eric Bogosian), The Designated Mourner (Wallace Shawn), Some Americans Abroad (Richard Nelson), Desdemona (Paula Vogel), Racing Demon (David Hare), Sex and Longing (Christopher Durang), The Last Night of Ballyhoo (Alfred Urhy), and Sophistry (Jonathan Marc Sherman). Additional credits include the award-winning Broadway revivals of The Heiress and The Most Happy Fella, as well as two seasons as workshop director for the Williamstown Theatre Festival.
* Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
HUNTINGTON THEATRE COMPANY 21
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ABOUT THE HUNTINGTON THEATRE COMPANY Celebrating its 35th season, the Huntington Theatre Company is Boston’s leading professional theatre and one of the region’s premier cultural assets since its founding in 1982. The Huntington is the recipient of the 2013 Regional Theatre Tony Award and was named Best of Boston 2013 and 2014 by Boston magazine. Under the direction of Artistic Director Peter DuBois and Managing Director Michael Maso and in residence at Boston University, the Huntington brings world-class theatre artists from Boston, Broadway, and beyond together with the most promising new talent to create eclectic seasons of exciting new works and classics made current. By also mentoring local playwrights in the Huntington Playwriting Fellows program, educating young people in theatre, and serving as a catalyst for the growth of dozens of Boston’s emerging performing arts organizations by providing discounted access to facilities and audience services, the Huntington cultivates, celebrates, and champions theatre as an art form. A national leader in the development of new plays, the Huntington has produced more than 120 world, American, and New England premieres to date. It supports local writers through a playwright residency and the Huntington Playwriting Fellows program, the cornerstone of its new work activities. Through a diverse and impactful range of nationally renowned education and community programs, the Huntington serves 35,000 young people and underserved audience members each year. The Huntington built the Stanford Calderwood Pavilion at the Boston Center for the Arts in 2004 as a home for its new works activities and to provide a muchneeded resource for the local theatre community. At the Calderwood Pavilion, the Huntington provides first-class facilities and audience services at significantly subsidized rates to dozens of organizations each year, including some of Boston’s most exciting small and mid-sized theatre companies. The Huntington was founded in 1982 by Boston University due to the vision and leadership of President John Silber and Vice President Gerald Gross and was separately incorporated as an independent non-profit in 1986. Its two prior artistic leaders were Peter Altman (1982 – 2000) and Nicholas Martin (2000 – 2008). In the past 34 years, the Huntington has played to an audience of 3.5 million, presented over 200 plays (16 of which went on to Broadway or Off Broadway), and served over 450,000 students, community members, and organizations. WE THANK THE FOLLOWING HUNTINGTON FRIENDS FOR THEIR GENEROUS SUPPORT OF
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NANCY & ED ROBERTS
PRODUCTION SPONSORS
LINDA & BROOKS ZUG
PRODUCTION CO-SPONSORS
COKIE & LEE PERRY
OPENING NIGHT SPONSORS
PAULA O’KEEFFE SET SPONSOR
NADA KANE
COSTUME SPONSOR HUNTINGTON THEATRE COMPANY 23
IT’S NOT A GAME ANYMORE New season premieres January 1st at 9pm
HUNTINGTON THEATRE COMPANY TRUSTEES & OVERSEERS BOARD OF TRUSTEES David R. Epstein Chairman Sharon Malt President Carol B. Langer Treasurer Sherryl Cohen Clerk Carole Alkins David Altshuler Neal Balkowitsch Michael Brown John Cini Gerard H. Cohen John Cohen Carol G. Deane
James J. Dillon Betsy Banks Epstein Peter Fiedler William Finard David Firestone John Frishkopf Thomas Hamilton III Cassandra Hyland Henderson Arthur C. Hodges Frederick Jamieson Michelle Karol David Leathers William P. McQuillan Ann Merrifield Sandra Moose Anne M. Morgan Cokie Perry James Petosa Bryan Rafanelli
Mitchell J. Roberts Joseph V. Roller II Robert H. Scott John D. Spooner Wendell Taylor Linda H. Thomas Linda Waintrup J. David Wimberly Veronica Wiseman Mary Wolfson Fancy Zilberfarb Warren R. Radtke Trustee Emeritus
COUNCIL OF OVERSEERS John Cohen Tania Phillips Co-Chairs Nancy S. Adams Kitty Ames Nancy Brickley Jim Burns Suzanne Chapman J. William Codinha Bette Cohen Tenney Cover Elizabeth Cregger Catherine Creighton JoAnne W. Dickinson Susan Ellerin Deborah First Anne H. Fitzpatrick Maria Farley Gerrity Paul Greenfield
Ann T. Hall Ann-Ellen Hornidge Janice Hunt Alan S. Johnson Katherine Jones Nada Despotovich Kane Linda Kanner Christopher Kimball Victoria Knox Loren Kovalcik Sherry Lang Joie Lemaitre Debbie Lewis Tracie Longman Nancy Lukitsh Rumena Manolova-Senchak Charles Marz Noel McCoy Thalia Meehan Daniel A. Mullin
Gail Roberts Juliet Schnell Turner Tracey A. West Caleb White John Taylor Williams Bertie Woeltz Christopher R. Yens Linda Zug
as of December 16, 2016
HUNTINGTON THEATRE COMPANY 25
THE HUNTINGTON CIRCLE The Huntington Circle recognizes our leadership donors to the Huntington Annual Fund and offers members a range of special benefits. We are grateful to the members of the Huntington Circle and the other donors listed below whose generous Annual Fund gifts support our artistic programs, as well as our award-winning youth, education, and community initiatives. For information or to become a Huntington Circle member, please call Meg White, Director of Major Gifts, at 617 273 1596. Lead Producers Circle ($100,000+) Sherryl and Gerard Cohen Carol G. Deane Betsy and David Epstein Eilene Davidson Grayken Albert W. Merck 1997 Family Trust Nancy and Edward Roberts Mr. J. David Wimberly Executive Producers Circle ($50,000-$99,999) Dr. John and Bette Cohen Gardner C. Hendrie and Karen Johansen Carol B. Langer Sharon and Brad Malt Jane and Neil Pappalardo Mitchell and Jill Roberts Linda and Daniel Waintrup 1 anonymous gift Artistic Producers Circle ($25,000-$49,999) Arthur C. and Eloise W. Hodges Barbara and Amos Hostetter Jane and Fred Jamieson Susan and David Leathers John D. Spooner Faith and Joseph Tiberio Charitable Foundation Howard and Veronica Wiseman Linda and Brooks Zug Anonymous, celebrating the Huntington’s President Sharon Malt and Chairman David Epstein Associate Producers Circle ($15,000-$24,999) Stephen Chapman Denise and William Finard Tom and Nancy Hamilton Cassandra Hyland Henderson Rita J. and Stanley H. Kaplan Family Foundation, Inc./ Susan B. Kaplan and Nancy and Mark Belsky Adrienne Kimball Bill and Linda McQuillan Wayne Davis and Ann Merrifield Sandra Moose and Eric Birch Ms. Anne M. Morgan Cokie and Lee Perry Dr. Paul S. Russell 26 A DOLL’S HOUSE
Directors Circle ($10,000-$14,999) Neal Balkowitsch and Donald Nelson Dr. and Mrs. Reinier Beeuwkes Fay Chandler‡ Jim Dillon and Stone Wiske Linda L. D’Onofrio Karen and David Firestone John Frishkopf Karen and Gary Gregg Julie and Jordan Hitch Joyce Huber and Randall Ellis Elizabeth and Woody Ives Nada Despotovich Kane Marjie and Robert Kargman Loren B. Kovalcik/ IntePros Consulting Joie Lemaitre Alan and Harriet Lewis Mr. and Mrs. David Long Tracie L. Longman and Chaitanya Kanojia Paula and Bill O’Keeffe Jeffrey Dover and Tania Phillips Jan and Joe Roller Robert M. Rosenberg, in honor of Mary Wolfson Estate of Marie Rotti‡ Mr. and Mrs. Patrick J. Sullivan Linda H. Thomas 1 anonymous gift Playwrights Circle ($5,000-$9,999) Nancy Adams and John Burgess Charles and Kathleen Ames Camilla Bennett Carolyn Birmingham Amy and Joshua Boger Susan and Michael Brown Jim Burns Katie and Paul Buttenwieser Suzanne Chapman Brant Cheikes and Janine Papesh John Cini and Star Lancaster J. William Codinha and Carolyn Thayer Ross Mr. and Mrs. Lewis W. Counts Betsy and David Cregger Laura and Neil Cronin Amey A. Defriez Margaret Eagle and Eliezer Rappaport Jennifer Eckert and Richard D’Amore
Robert Fine and Matthew Fine Debbie and Bob First, in memory of Susan Spooner Donald Fulton Ann and John Hall Scottie Held Ned Murphy and Ann-Ellen Hornidge Alan Johnson Seth and Mary Kaufman Vicki and Northrup Knox Christine Kondoleon and Frederic Wittmann David A. Kronman Cecile and Fraser Lemley John and Jean Lippincott The Mancuso Family Marion Martin, in memory of Travis John Martin Sharon Miller Daniel A. Mullin Dr. and Mrs. John William Poduska, Sr. Mr. and Mrs. Peter E. Rawson Sally C. Reid and John D. Sigel Gail Roberts Darin S. Samaraweera Marilyn and Jay Sarles Coralie Berg and Steve Schwartz M.H. Sirvetz Ellie Svenson and Mark Klempner Wendell Taylor Jean C. Tempel John Travis Drs. Stephen and Beth Trehu Juliet Schnell Turner Roberta and Stephen R. Weiner Mary Wolfson Justin and Genevieve Wyner Christopher R. Yens and Temple Gill Dr. and Mrs. Jeffrey L. Zilberfarb 1 anonymous gift Designers Circle ($2,500-$4,999) Bruce and Denise Bauman Patricia Bellinger and Richard Balzer Nancy and Richard Brickley Kevin and Virginia Byrne Betsy Cabot Suzanne and Bert Capone Nancy Ciaranello
THE HUNTINGTON CIRCLE (continued) McLane and Tenney Cover Catherine and Peter Creighton Charles and JoAnne Dickinson Ellen and Kevin Donoghue Virginia Drachman and Douglas Jones Susan Ellerin Winifred Ewing Mr. and Mrs. William Fink Anne H. Fitzpatrick Newell Flather Maria and Daniel Gerrity Thomas and Joanne Gill Mark E. Glasser and Frank G. McWeeny Paul Greenfield and Sandy Steele Betsy and David Harris Mr. and Mrs. Stephen T. Hibbard, in honor of David Wimberly Estate of Carmela M. Hilbert‡ Prof. and Mrs. Morton Z. Hoffman Linda and Steven Kanner Mary S. and Duncan Kennedy Richard and Dorothy Koerner Susan and David Kohen Alvin and Barbara Krakow Ted and Ann Kurland Sherry Lang Drs. Lynne and Sidney Levitsky Deborah Lewis and Robert Grinberg Nancy Lukitsh Joseph Machera Charles Marz Jack Fabiano and Noel McCoy Thalia Meehan and Rev. Gretchen Grimshaw Amy Merrill Charles Merrill and Julie Boudreaux Jonette Nagai and Stephen O’Brien Jerry Nelson Coleen and David Pantalone Jackie and Bob Pascucci Mr. and Mrs. J. Daniel Powell Deborah and S. Caesar Raboy Victoria and John Rizzi Mr. and Mrs. Owen W. Robbins Rumena and Alexander Senchak Vivian and Lionel Spiro Bruce and Emily Stangle Estate of Demetre J. Steffon‡ Helen and Jack Stewart Beth and Michael Stonebraker Joanna and Nigel Travis Mr. and Mrs. Steve Tritman Pamela Tucker and George Pettee Elizabeth and Caleb White
Ike Williams Bertie and Anthony Woeltz Sally and Richard Zeckhauser Actors Circle ($1,500-$2,499) Alice and Walter Abrams James Alexander and Thomas Stocker Carole and Leonard Alkins Liliana and Hillel Bachrach Deborah L. Benson and Frederic J. Marx Jeff and Jody Black Joseph L. Bower and Elizabeth Potter Kenneth Brown Dominic Cioffoletti and Christopher Scinto Rosalie Florence Cohen Ken and Ginny Colburn David Dalena and Brian Patton Lynn and Bruce Dayton Dean K. Denniston, Jr. Tim and Linda Diering Richard Donoho Jonathan Dyer and Thomas Foran Stephen Elman and Joanne D’Alcomo Jerome and Vivien Facher Barbara and Larry Farrer Sharon and Irving Gates Norman and Madeleine Gaut Eric P. Geller and Cathy Thorn Drs. Laura Green and David Golan Mary Beth and Chris Gordon Peter and Jacqueline Gordon Phil Gormley and Erica Bisguier Katherine Haltom Jay and Donna Hanflig H. Patricia Hanna Mr. and Mrs. James L. Hartmann Barbara Hirshfield and Cary Coen, in honor of Sherry and Gerry Cohen Bob Hiss and Mary Riffe Hiss Janice and Roger Hunt Margaret Jackson and Peter Harrington Leonard W. Johnson, in memory of Virginia Wimberly Holly and Bruce Johnstone Jill and Stephen Karp Paul and Elizabeth Kastner John and Marilyn Keane Susan Kirk Paul and Tracy Klein Louise Kwan Jon Levy Ann D. Macomber
Mahmood Malihi Shelley and Brad Marcus Mike and Mary McConnell Louise and Sandy McGinnes Sarah M. McGinty Neal and Lynne Miller Mr. and Mrs. William Mitchell, in memory of Virginia Wimberly Bill and Ginny Mullin Bob and Alison Murchison Joy Pak and David Deutsch Susan Pak Dr. Susan E. Bennett and Dr. Gerald Pier Meredith and Bob Pitts Steven J. Ralston and William Robert Hair Christine and David Root Diane Rosenberg Susan and Geoffrey Rowley Irvine and Louise Rusk Richard Powers and Stephen Schram Jane E. Shattuck The Spector Family John H. Straus and Liza Ketchum Lise and Myles Striar Lisbeth Tarlow and Stephen Kay Ben and Kate Taylor Kenneth R. Traub and Pamela K. Cohen Mindee Wasserman Jerold and Abbe Beth Young 3 anonymous gifts
s Member of The Hunt, the Huntington’s young donor program
‡ Deceased This list reflects gifts received during the 14 months prior to December 16, 2016.
HUNTINGTON THEATRE COMPANY 27
C A M B R I D G E , MA $1,595,000
gail@gailroberts.com / gailroberts.com / 617 245-4044
Building Community One Home at a Time Supporting: Huntington Theatre Company, US Fund for UNICEF, The Mt. Auburn Hospital, and The Guidance Center
FRIENDS OF THE HUNTINGTON Leading Role ($750-$1499) John and Rose Ashby, in honor of Ann T. Hall • Carol Baker • George and Katharine Baker • Michael Barza and Judith Robinson • Kate and Gordon Baty • Calvin J. Beckett • Susana and Clark Bernard • Leonard and Jane Bernstein • Linda Cabot Black Foundation • Margaret Blackwell, in honor of David Wimberly • Edward Boesel • Lori Bornstein and Alan Rothman • Geri and Bill Brehm • Jane Brock-Wilson, in honor of Carol and Disque Deane • Rick and Nonnie Burnes • Cara and Anthony Casendino • Ronni and Ronald Casty • Peggy and Anton Chernoff • George and Mary Chin • Beverley Cooper-Wiele • Joan Dolamore • Peggy Engel • Martha A. Erickson • Dave and Kelly Frederickson • Mr. and Mrs. Nathaniel Gardiner • Mr. and Mrs. Richard C. Garrison • Lori and Michael Gilman • Mr. K. Frank Gravitt • Garth and Lindsay Greimann • Dr. and Mrs. George Hatsopoulos • Bucky and Clifton Helman • Mr. and Mrs. Thomas High • Richard and Priscilla Hunt • Susan M. Hunziker • Terence Janericco • Andronike E. Janus • Rev. Dr. Katherine Kallis • John T. Kittredge • Jeanne and Allen Krieger • Anthony Lucas • Barbara A. Manzolillo • Bronwyn Martin, in memory of Travis Martin • Joan and John McArdle • Kathy McGirr and Keith Carlson • Jack and Susan McNamara • Marianne and Richard Moscicki • Eric and Elizabeth Nordgren • Patricia Patricelli • Kevin Powers and John Wolfarth • Jessica and David Reed • Ellen Remmer • Michelle and Aaron Rhodess • Michael and Jane Roberts • Sarah Rothermel • David and Anne Salant • Mr. and Mrs. William R. Sapers • Susan Schiro and Peter Manus, in honor of Carol Deane • Mr. and Mrs. Ross Sherbrooke • Spoon Hill Groundhog Fund • Hope and Adam Suttin • Jared Tausig, in honor of David Wimberly • David Parker and Janet Tiampo • Sumer and Kiran Verma • Kenneth Virgile and Helene Mayer • Robert C. Volante • Norman Weeks • Dr. Ronald Weinger • Wendling Charitable Fund • 4 anonymous gifts Featured Role ($500-$749) Molly and John Beard • Richard R. Beaty • Kathleen Beckman • Danielle Belanger and Robert Sparkes • Jonas Berman • William Bloor • Stephen and Traudy Bradley • Frank B. Mead • Jeremiah J. Bresnahan • Lee and Pam Bromberg • Mrs. Barbara Buntrock-Schuerch • Thomas Burger and Andree Robert • Diane Burns • Robert Capliss • A. William Caporizzo • Carol Chandler • John Clippinger • Connie Coburn and James Houghton • Alison Conant and Richard Frank • Stephen Conner • Beth and Linzee Coolidge • Anne Crowley • Lloyd and Gene Dahmen • Dammann Boston Fund • Marguerite Davoren • Terry O. Decima • Judy DeFilippo • Richard J. Diamond, in honor of David Wimberly • Peter and Jan Eschauzier • Sara and James Feldman • Pierre Fleurant • Edward Glazer • Rimma Gluzman • Deborah Goddard • Irene and Stephen Grolnic • Steven and Barbara Grossman and David Grossman • Eunice Harps • Terry Rockefeller and William Harris • Dr. Galen Henderson and Dr. Vanessa Britto • Kathleen Henry and Kim Maarkand • Rosalind and Herbert Hill • Andrew Himmelblau • Sherry Jacobs • Ernest and Madeline Jacquet • Peter Jenney • Molly Johnston • Julia Karols • Nancy R. Karp • Jane Katims and Daniel Perlman • Michael and Dona Kemp • Jill Kneerim • John and Sharon Koch • Yuriko Kuwabara and Walter Dzik • Anne LaCourt • Stewart and Rhonda Lassner • Jenny and Jay Leopold • Mark H. Lippolt • Babette and Peter Loring • Priscilla Krey Loring • James D. Maupin • Mary McFadden • Daniel and Annette McIntyre • Joseph Misdraji • Harry and Ruth Montague • Mark Nelke • Mary Owens • Constance Page • Mr. and Mrs. Murray Preisler • Suzanne Priebatsch • Mr. and Mrs. Martin Quitt • Edith Rea • Katharine and William Reardon • Charles Reed and Ann Jacobs • Lynn and John Reichenbach • Sharon and Howard Rich • Margaret Ridge • Lily and Gerald Riffelmacher • Jean and Richard Roberts • Sue Robinson • Mr. and Mrs. Michael Rotenberg • Robert and Pauline Rothenberg • Kathleen and William Rousseau • Rohini Sakhuja • Susan Pioli and Martin Samuels • Diane and Richard Schmalensee • William Schutten • Gilda Slifka • Mark Smith and John O’Keefe • Nancy and Edward Stavis • Lee Steele • Bob and Dorothy Stuart • Darline Lewis and Marshall Sugarman • Mary Verhage • Dr. and Mrs. Raymond Walther • Scott and Brenda Warner • Mrs. Lewis R. Weintraub • Constance V. R. White • Karolye White • Dr. Elaine Woo • 9 anonymous gifts Supporting Role ($250-$499) Marilyn and Bill Adams • Robert Allen • Michael Ansara • Tammy Arcuri • Tom Austin • Jeannine M. Ayotte • Robert Banker • Michelle Barbera, in honor of Theodore Barbera • Barbershop Deluxe • Emily Barclay and John Hawes • Robin Barnes and David Bor • Beth Barrett • Elizabeth Barrett • David Barry • Auli and Ken Batts • Caitlin Bearce • Martin S. Berman and Mary Ann Jasienowski • Jerry M. Bernhard • Christina and Ky Bertolis • Gregory Bialecki and Mary Herlihy • Robert Bienkowski • Clinton Blackburns • Donald and Ellen Bloch • Drs. Brian and Rachel Bloom • Scott Chisholm and Afshan Bokhari • Sandy Bornstein • Richard and Dorothy Botnick • Payne/Bouchier Inc. • Jonathan Golding and Sally Bradley-Golding • Eric and Sandra Brenman • S. Britt • Barry Brown and Ellen Shapiro • Teresa Brown • Ruth Budd and John Ehrenfeld • Allan and Rhea Bufferd • Eric Butlers • Bismarck and Ingrid Cadet • Missage Cadet, M.D. • Judith Carmany • Charles R. Carr • Carrig Kitchens LLC • Elyse D. Cherry • Mr. and Mrs. Charles S. Cheston, Jr. • Mary E. Chin
HUNTINGTON THEATRE COMPANY 29
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FRIENDS OF THE HUNTINGTON (continued) • Andrea and Jon Clardy • Grace D. Clark • Valerie Cloutier • Priscilla Cogan • Steven Coleman and Christine Tunstall • Sarah Columbia • Janet L. Comey • Jaden Crawford • German Crisostomo • Don and Sandy Crocker • Julie Crockford and Sheridan Haines • James F. Crowley • Zoltan and Cristina Csimma • Paul Curtis • Sue Dahlie • Marla Daniels • Fred Davis • Karen Davis and Randy Block • Bill and Kay DeFord • Ray and Debra De Rise • Charlotte Delaney and Steve Pattyson • Sara Delano • David Delany • Suzanne DelVecchio • Jane and Stephen Deutsch • George Dhionis • Reed Dickinson • Beatrice and William Dole • Mr. and Mrs. Walter L. Downey • Owen Doyle • David and Eleanor Drachman • Mary Ann Driscoll • Grace Durrani • Harriett M. Eckstein • Mr. Glenn Edelson • Gordon Edes • Dr. Rachela Elias and Gedalia Pasternak • Andrew Eschtruth and Elana Varon • Jose Estabil • Maggi Farrell • Fidler Family • Dr. Charles Fine • Gail Flatto • Dr. and Mrs. Richard Floyd • Mr. and Mrs. Martin Flusberg • Judy Foster • Patricia A. Fraser, M.D., in memory of Ivy Markes Fraser • Michael and Leslie Gaffin • Tony and Melissa Gallo • Kathryn M. Gallucci • Judith L. Ganz • Clifford Garnett • William Gault • Jack and Maureen Ghublikian • Ronald Goldstein • Michael and Sophie Gordon • David Govonlus • Amelia and William Graham • Mr. and Mrs. Herbert P. Gray • Suzanne Greenberg • Theodore and Sally Hansen • Gail and Jan Hardenbergh • Patricia Hardyman and Charles H. Jones • Judith Harris • Alice H. Haveles • Alfio Hernandez • Erin Higgins • Jim Hoben • Wanda Holland Greene, in honor of Ken Berman • Mark and Cindy Holthouse • Ken Horn • Bruce Howlett • Maggie Huff-Rousselle • Mrs. Donald Hunsicker • Amal Hussein • Robert Hutchison, Jr. • Mr. and Mrs. Howard Israel • Maggie Jacksons • Roland Jacobson • Ali Jadbabaie and Nikroo Hashemi • Peter and Adrienne Jaffe • Peter K. Jenkins • Norman W. Johnson • Peter Jones • Jess and Aran Kadar • John Quackenbush and Mary Kalamaras • Mr. and Mrs. Nathan Kalowski • Sondra Katz and Jess Klarnet • Rob and Mary KeaneHazzard • Jim Keefe and family • Paul Kelly • Judy and Dan Kennedy, in honor of Stephen Sondheim • Gail King and Christopher Condon • Nancy F. Korman • Mrs. Charlotte Krentzel • Joan Kuhn • George Langer • Carol Lazarus • Dr. and Mrs. Lucian Leape • Stacey and David Lee • Naomi Leeper • Richard and Kathleen Leitermann • Timothy Leland and Julie Hatfield • Ms. Susan Lincoln • Virginia Litle • Jim and Allie Loehlin • Dennis and Nancy Lynch • Peter and Yvette Madany • Amy and Bill Marshall • Kathy Martin • Dr. Rosemary Mazanet • Michael and Barbra Ann McCahill • Kevin McCarthy • Terri-Lynn McCormick • Lindsay McNair • Lynne Menichetti • Forrest and Sara Milder • Michael Miller • Mrs. Fermo A. Bianchi • Lacie and Michael Milton • Saro and Elizabeth Minassian • Dorian Mintzer and David Feingold • Paula Monbouquette and Kevin McElroy • Gloria and Deborah Monosson • John W. Moore • Mr. and Mrs. Cornelius Moynihan • The Munzer Family • Eileen Murray • Bob Muti, in memory of James Robinson • Mr. and Mrs. Francis W. Newbury, Jr. • Mary Norato-Indeglia • Tom Norris • Richard Belin and Rosanne O’Brien • Kathryn O’Connell • Nancy and Charles Oddleifson • Roy and Kathleen Olesky • James Orleans and Nancy Walker • RADM and Mrs. J. Clarke Orzalli • William Panaros • Edith Parekh, in honor of Anissa Parekh • Robert and Beverly Parke • Marian Pasquale • Ellen C. Perrin • Ted and Josie Petersen • Martha and Joel Pierce • Joan Pilsmaker • Russell Pollock • James and Jeanette Post • James Poterba and Nancy Rose • Allison Powersa • Mr. and Mrs. Ronald Proulx • Kathleen Quillard, in honor of Kara Amelia Quillard’s acting career • Helene M. Quinn and Tony Kanopt • Kerry Mulligan Railey • Robert Raymond • Gretchen Reilly • Mary Rench, in honor of David Wimberly • Helen Robertson • Patricia Robinson • Barbara Roby • Daniel P. Romard • Anne Romney • Mathilde and Robert Ross • Dr. Glenn S. Rothfeld and Magi McKinnies • Farley Sullivan and Jeff Roy • Phyllis and Sam Rubinovitz • Debra Ruder • Sue and Terry Rushfirth • Vinod and Gaile Sahney • Dr. Lucienne Sanchez • Mr. and Mrs. Michael R. Sandler • Robert and Susan Schechter • Molly Schen • Kim and Eric Schultz • Ivy and Fran Scricco • Irene Sege • Mark Seliber • Jim A. Sersich • Michael Seward • Tom Shapiro and Emily Kline • Elisabeth Shields • James Shields and Gayle Merling • David W Shukra and Clifford S Wunderlich • James Shuman • Omar Siddiqi • David Siegel • Ellen L. Simons • Donald S. Sisson • Peter L. Smith and Donna J. Coletti • Rachel Smith • Edward Sonn • Paula and Joseph Spound • Renai Stalzle • Naomi Stearns, in honor of Bill and Dee Finard • Candace Steingisser • Gail Steketee and Brian McCorkle • Laurin Stolers • Jennifer Stone and Robert Waldinger • Glenn and Katherine Strehle • Dr. and Mrs. Herman D. Suit • David Swartz and Lisa Fitzgerald • Richard A. Sweeney • Jane Talcott • Margaret M. Talcott and L. Scott Scharer • Patrick Tally • Jacob Taylor and Jean Park • Nancy Temple • M.K. Terrell • Janet Testa • Judy Thomson • Patricia Tibbetts • Edwin and Joan Tiffany • Dawn Tucker • Judith Tucker • Mr. and Mrs. Mario Umana • Rosamond B. Vaule • Pat and Steve Vinter • Daniel Wakabayashi • Rabbi and Mrs. Frank Waldorf • Susan Weiler • Scott Weiss • Nancy White • Leslie Wilcox • Richard and Frances Winneg • Pamela Wood and Bruce Kirch • Janis Woodman, in honor of Christopher Woodman • Alfred Woodworth • Amy and Robert Worth • David C. Wright • Mr. and Mrs. John Wyman • Richard Yule, in memory of Helen Yule • Robert E. Zaret • Lorena and Robert Zeller • 14 anonymous gifts This list reflects gifts received during the 14 months prior to December 16, 2016. s Member of The Hunt, the Huntington’s young donor program
‡ Deceased
HUNTINGTON THEATRE COMPANY 31
CORPORATE, FOUNDATION & GOVERNMENT DONORS The Huntington Theatre Company is grateful to receive support from a wide range of corporations, foundations, and government agencies that support the Huntington’s annual operations, as well as our award-winning productions and education and community programs. For more information about sponsorship opportunities, please contact Diana Jacobs-Komisar, Institutional Giving Manager, at 617 273 1514 or djkomisar@huntingtontheatre.org. Grand Patron Boston University Lead Producers Circle ($100,000+) The Andrew W. Mellon Foundation The Barr Foundation Klarman Family Foundation with the Barr-Klarman Arts Capacity Building Initiative The Shubert Foundation, Inc. Executive Producers Circle ($50,000-$99,999) Bank of America* Mabel Louise Riley Foundation* Massachusetts Cultural Council* Theatre Communications Group* Artistic Producers Circle ($25,000-$49,999) The Boston Foundation* Hershey Family Foundation Liberty Mutual Insurance* National Endowment for the Arts
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Associate Producers Circle ($15,000-$24,999) BPS Arts Expansion Fund at EdVestors* Kingsbury Road Charitable Foundation* Harold and Mimi Steinberg Charitable Trust MEDITECH Directors Circle ($10,000-$14,999) Alfred E. Chase Charitable Foundation* Lucy R. Sprague Memorial Fund* The Tiny Tiger Foundation* Playwrights Circle ($5,000-$9,999) Cue Ball Group Goodwin Procter LLP Nutter McLennen & Fish Proskauer Rose LLP Ropes & Gray LLP Vertex Pharmaceuticals Worldwide Schrafft Charitable Trust* WilmerHale
Designers Circle ($2,500-$4,999) Boston Cultural Council Cambridge Savings Bank* Cambridge Trust Company Jackson and Irene Golden 1989 Charitable Trust Nixon Peabody Danversbank Charitable Foundation and People’s United Bank* Roy A. Hunt Foundation* Wilson Butler Architects TJX* Actors Circle ($1,500-$2,499) AAFCPAs Staples Foundation* Surdna Foundation * Education and community programs donor ** Includes in-kind support
THE HUNTINGTON LEGACY SOCIETY BUILDING A LEGACY OF GREAT THEATRE — The Huntington Legacy Society recognizes those who play a lasting role in securing the Huntington’s strong, successful future beyond their lifetime by making a bequest or other planned gift. We are grateful to these members of the Huntington Legacy Society:
Neal Balkowitsch and Donald Nelson Howard H. Bengele Suzanne Chapman Brant A. Cheikes Sherryl and Gerard Cohen Carol G. Deane Susan Ellerin Arthur C. and Eloise W. Hodges Jane and Fred Jamieson Carol B. Langer Joie Lemaitre
Sharon and Brad Malt Bill and Linda McQuillan Mary C. O’Donnell Robert C. Volante Linda and Daniel Waintrup Margaret J. White J. David Wimberly Veronica and Howard Wiseman Justin and Genevieve Wyner 1 anonymous
If you have already included the Huntington as part of your will or estate plans, or if you wish to discuss how you can participate, please contact Celina Valadao, Major Gifts Officer, at 617 273 1536 or cvaladao@huntingtontheatre.org.
HELP US MAKE THE MATCH! Your Annual Fund gift provides critical funding that helps the Huntington create the world-class theatre you love.
PAUL MAROTTA
All new and increased Annual Fund gifts up to $350,000 will be matched by our generous board.
The cast of Sunday in the Park with George
huntingtontheatre.org/donate HUNTINGTON THEATRE COMPANY 33
BU THEATRE • GENERAL INFORMATION Contact Information for the Huntington Theatre Company The Huntington Theatre Company performs in three beautiful theatres in two dynamic Boston neighborhoods. The 890-seat Boston University Theatre is on the Avenue of the Arts (264 Huntington Avenue), diagonally across from Symphony Hall. The 370-seat Virginia Wimberly Theatre and the flexible 250-seat Nancy & Edward Roberts Studio Theatre are part of the Calderwood Pavilion in the historic South End, on the campus of the Boston Center for the Arts (527 Tremont Street).
Refreshments Snacks, wine, beer, soft drinks, and coffee are available before opening curtain and during intermission in the main lobby. Drinks purchased at concessions are permitted inside the theatre, but food is not.
Babes in Arms Children must have their own seats. Babes in arms are not permitted in the theatre. Children under 6 are not permitted.
Cameras Website: huntingtontheatre.org Box Office: 617 266 0800 Box Office fax: 617 421 9674 Administrative office: 617 266 7900 Administrative office fax: 617 353 8300 B.U. Theatre Lost and Found: 617 266 7900, ext. 1666
The videotaping or other video or audio recording of this production is strictly prohibited.
Box Office Hours
Wheelchair Accessibility
The Box Office is generally open Tuesday-Saturday, noon-curtain (or 6pm); Sunday, noon-curtain (or 4pm). Hours change weekly. For the most up-to-date hours, please visit huntingtontheatre.org or call the Box Office at 617 266 0800.
The BU Theatre is accessible by ramp and can accommodate both wheelchair and companion seating in the orchestra section. Please notify us when you purchase your tickets if wheelchair accommodations will be required and confirm arrangements with the House Manager at 617 266 7900, ext. 1666.
Huntington Group Discounts Groups of 10 or more may receive a discount of up to 20% off full ticket prices and a free ticket for every 20 purchased. Space is available at the theatre for pre- or post-performance receptions. Contact Jon Slater for more information at 617 273 1657 or groups@ huntingtontheatre.org.
Public Transportation
Pagers and Cellular Phones Please silence all watches, pagers, and cell phones during the performance.
Hearing Enhancement The BU Theatre is equipped with an FM hearing enhancement system. Wireless headphones are available free of charge at the concessions stand in the main lobby for your use during a performance.
We encourage patrons to use public transportation to the BU Theatre whenever possible. The Theatre is conveniently located near the MBTA Green Line Hynes or Symphony Stations; Orange Line/Commuter Rail Mass Ave. Station; the No. 1 Harvard-Dudley bus via Mass Ave. to Huntington Ave.; and the No. 39 Arborway-Copley bus to Gainsborough Street.
Restrooms
BU Theatre Parking
If You Arrive Late In consideration of our actors and other audience members, latecomers will be seated at the discretion of the management.
Parking is available at many nearby locations. For details, please visit huntingtontheatre.org or call the Box Office at 617 266 0800.
Please note that these parking garages are independently owned and operated and are not affiliated with the Huntington Theatre Company or the BU Theatre. If Your Plans Change We hate to see empty seats. Please consider donating any tickets you can’t use. For more information please call the Box Office at 617 266 0800.
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Located in the lower-level and balcony lobbies. A wheelchair-accessible restroom is located in the main lobby on the first floor.
Coat Check Located in the lower lobby.
Large Print Programs Large print programs are free of charge and are available in the main lobby.
BOSTON UNIVERSITY THEATRE • EMERGENCY EVACUATION MAP In addition to the lobby exits through which you entered, there are six illuminated emergency exits at the sides of the balcony and mezzanine, and four in the orchestra. = EXIT SIGN
3rd floor (balcony)
= EGRESS
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HONORING Mayor Martin J. Walsh and Tony Award winner Billy Porter with the Wimberly Award
HUNTINGTON THEATRE COMPANY 35
STAFF Peter DuBois
Michael Maso
ADMINISTRATION General Manager................................................Sondra R. Katz Associate General Manager.........................Conwell Worthington III Company Manager.......................................................... Jazzmin Bonner Assistant Company Manager.........................................Meagan Garcia Assistant to the Managing Director........................ Gabrielle Jaques Management Assistant..........................................................Annie Walsh
Box Office Associates..........................................Brittany Rae Bonnell, Brenton Thurston Full-Time Customer Service Reps.............................. Christine Lefter, Tasha Matthews, Ellie Solomon, Nicole Williams Customer Service Reps................................Victoria Barry, Nick Boonstra, Lizzie Benway, Victoria Cunha, Sue Dietlin, Taylor Granger, Mary Olsen, Katelyn Reinert, Katie Sumi, Yurika Watanabe
Norma Jean Calderwood Artistic Director
BU Theatre BU Theatre House Manager.............................................. Daniel Morris Assistant House Managers................Meg Ciabotti, Brian Dudley, Annie Walsh Front of House Staff................................................... Julie Cameron, Michael Choueiri, Kendrick Terrell Evans, Ariana Goldsworthy, Robin Goldberg, Dalton Gordon, Sierra Grabowska, Zachary McPheeters, Brianna Randolph, Ivy Ryan, Kathleen Sansone, Geri Spanek, Madeline Wigon Maintenance...................................................................Ronald Belmonte, Kenneth Carter, Gary Santos Calderwood Pavilion at the BCA Calderwood Pavilion Manager............................... Joey Riddle Calderwood Pavilion Rentals Coordinator........................Katie Most Calderwood Pavilion House Manager...............................Katrina Alix Calderwood Pavilion Management Assistant..................Gabe Hughes House Electrician.........................................Mercedes Roman-Manson House Sound Operator.................................................. Jesse McKenzie House Carpenter.........................................................................Mike Hamer Wardrobe Run................................................................Barbara Crowther Calderwood Pavilion Apprentice............................Dalton Zogleman Assistant House Managers............................ Paul Fox, Ksenia Lanin, Matt Feldman, Maura Neff Front of House Staff..............................................Natasha Bonfield, Mia Buchsbaum, Robert Caplis, Barbara Crowther, Talia Curtin, Linnea Donnelly, Katie Flanagan, Madeleine Gibbons, Ryan Impagliazzo, Terry McCarthy, Laura Meilman, Maura Neff, Nick Perron, Leah Reber, Sarah Schnebly, Ciera-Sadé Wade, Dalton Zogleman Custodians...............................................................................Jose Andrade Security Coordinator...............................................................Greg Haugh
Finance Director of Financial Management................. Glenda Fishman Accounting Manager.............................................................. June Zaidan Accounting Coordinator.................................................Laura Casavant Accountants....................................Alexander, Aronson, Finning, CPA Human Resources Director of Human Resources........................ Peggy J. Novello Human Resources Coordinator.................................... Michael Comey Payroll and Reporting Specialist...................................April Swiniuch Administrative Support Assistant................. Kendrick Terrell Evans Information Technology IT Director.....................................................................................Scott Poole Helpdesk Specialist................................................................Jevon Foster Subscription and Box Office Audience Services Manager.....................................................Jon Slater Assistant Audience Services Manager...........................Katie Catano BU Theatre Box Office Coordinator......................... Victoria Swindle Pavilion Box Office Coordinator...........................................Noah Ingle Subscriptions Coordinator...................................................Amy Klesert
36 A DOLL’S HOUSE
Managing Director
ARTISTIC Producing Director.......................................Christopher Wigle Director of New Work.............................................................Lisa Timmel Associate Producer..........................................................M. Bevin O’Gara Artistic Programs & Dramaturgy............................Charles Haugland Assistant to the Artistic Director............................ Stephanie LeBolt Playwright-In-Residence..................................................Melinda Lopez Literary Apprentice...........................................................Sarah Schnebly Producing Apprentice.........................................................Justin Samoy Huntington Playwriting Fellows.......................................... Mia Chung, Thom Dunn, John J King, Sam Marks, Nina Louise Morrison, Deborah Salem Smith BU Graduate Directors................................Zohar Fuller, Kelly Galvin, Adam Kassim, Jeremy Ohringer, Stephen Pick, Jillian Robertson DEVELOPMENT Director of Annual Giving & Development Operations.......................................... Joy Pak Director of Major Gifts................................................Margaret J. White Major Gifts Officer..............................................................Celina Valadao Special Events Manager......................................................Kirsten Doyle Institutional Giving Manager...........................Diana Jacobs-Komisar Annual Fund & Research Coordinator........................Annalise Baird Development Database Coordinator...........................Lisa McColgan Development Associate.....................................Elizabeth MacLachlan Development Apprentice.................................................... Sam Buntich Development Intern............................................................... Vicky Huang EDUCATION & COMMUNITY PROGRAMS Director of Education......................................... Donna J. Glick Manager of Education Operations...................................Meg O’Brien Manager of Curriculum & Instruction..................... Alexandra Smith Education Associate..............................................................Marisa Jones Education Interns........................................................ Elizabeth Botelho, Daniella Forero, Liam McParland Teaching Artists........................... Kortney Adams, Pascale Florestal, Naheem Garcia, Lydia Graeff, Keith Mascoll, Allie Meek, Anneke Reich MARKETING Director of Marketing.............................................. Temple Gill Associate Director of Marketing...................... Meredith Mastroianni Communications Manager.................................................Desiree Barry Tessitura Analytics Manager........................................... Derrick Martin Digital Content Manager............................................Carolyn MacLeod Promotions & Community Coordinator.......................... James Boyd Community Membership Coordinator.....................................................Candelaria Silva-Collins Creative Services Coordinator.................................................Dan Pecci Marketing Associate................................................................ Katie Iafolla Marketing Apprentice..............................................................Leah Reber Marketing Intern....................................................................Kaya Williams
STAFF (continued) PRODUCTION Production Manager ...................................... Todd D. Williams Associate Production Manager....................................... Bethany Ford Stage Management Apprentice.........................................Billy Cowles Graduate Assistant...............................................................Emily Vaughn Scenery Technical Director.................................................. Dan Ramirez Associate Technical Director........................................ Adam Godbout Assistant Technical Director..................................................Dan Oleksy Master Carpenter....................................................................Larry Dersch Scenery Mechanic...........................................................Jesse Washburn Carpenters................................................................... Andrew Cancellieri, Milosz Gassan, Christian Lambrecht, Nick Hernon Carpenter/Scene Shop Assistant...........................Carolyn Daitch Stage Carpenter.....................................................................Chris Largent Scenery Apprentice..........................................................Grayson Basina Properties Properties Master.............................................Kristine Holmes Assistant Properties Master.............................................Justin Seward Properties Artisan.....................................................................Ian Thorsell Properties Run................................................................Andrew DeShazo Paints Charge Scenic Artist............................................Kristin Krause Lead Scenic Artist...................................................Romina Diaz-Brarda Scenic Artist...........................................................................Chelsey Erskin BU Certificate Interns..................................................Katherine Keaton, Jaqueline Kempe, Lauren White
Costumes Costume Director.............................................. Nancy Hamann Assistant Costume Director................................. Virginia V. Emerson Costume Design Assistant.....................................................Mary Lauve Head Draper...........................................................................Anita Canzian Costume Crafts Artisan/Dyer................Denise M. Wallace-Spriggs First Hand............................................................................Rebecca Hylton Wardrobe Coordinator.......................................................Christine Marr Costume Apprentice...................................................Becky Thorogood Costume Intern..................................................................... Lauren Reuter Electrics Master Electrician........................................... Katherine Herzig Assistant Master Electrician..................................................Alisa Hartle Electrics Apprentice.......................................................... Paige Johnson Sound Sound Supervisor................................................. Ben Emerson Sound Engineer.......................................................................... J. Jumbelic Sound Apprentice.........................................................Terrence Dowdye Graduate Assistants............................. Collin Barnum, Aubrey Dube
BU SCHOOL OF THEATRE PRODUCTION STAFF Theatre Complex Production Manager........................................ Johnny Kontogiannis Senior Staff Assistant Design & Production......................................................Renee Yancey Costume Shop Supervisor............................................ Karen Martakos
Additional Staff for A Doll’s House Vocal Coach..................................................................Amelia Broome Fight Director...................................................................... Ted Hewlett Movement Consultant.................................................. Misha Shields Assistant to the Director.........................................Zoë Golub-Sass Production Assistants...................Jamie Carty, Sarah Schneider Child Wrangler................................................................Phaedra Scott Carpenters............................ Jackson Hammond, Rachael Hasse, Danny Hochster, Bill O’Donnell, Ana Weiss Scenic Artists.....................................Rob Allison, Amanda Gimbel Drapers................................................Jen Bennett, James Weedon
First Hands........................................... Katie Kenna, Sara Marhamo Stitcher.................................................................................. Ash Wagner Dresser......................................................................Kathryn Schondek Hair & Wig Run............................................................... Kat Shanahan Assistant to the Lighting Designer......................Shannon Clarke Electricians................................................. Kevin Barnett, Dan Biser, Austin Boyle, Kyle Brown, Harrison Burke, Evey Connerty-Marin, Graham Edmondson, Kevin Fulton, Laura Hildebrand, Aja Jackson, Nate Jewett, Kelly Martin, Taylor Ness, Jess Rosso, Brian Shaw, Brittany Trymbulak, Gifford Williams
The Huntington Theatre Company is a member of the League of Resident Theatres (LORT), an association of the nation’s leading resident professional theatres; Theatre Communications Group, a national service organization for the nonprofit professional theatre; StageSource, a regional alliance of theatre artists and producers; and ArtsBoston, the voice and resource for the arts in Greater Boston. This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the union of professional actors and stage managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. The scenic, costume, lighting, and sound designers in LORT theatres are represented by United Scenic Artists Local USA-829, IATSE.
HUNTINGTON THEATRE COMPANY 37
THE BEAUTY QUEEN OF LEENANE, Druid Theatre Company, Emerson/Paramount Center Robert J. Orchard Stage, 559 Washington St., 617-824-8400. Feb 8–26. In a small house in the mountains of Ireland, a lonely spinster locks horns with her house-bound, manipulative mother in Martin McDonagh’s subversive thriller that takes audiences through the twists and turns of the ultimate dysfunctional relationship.
BLUE MAN GROUP, Charles Playhouse, 74 Warrenton St., 800-BLUE-MAN. Ongoing. This giddily subversive offBroadway hit serves up outrageous and inventive theatre where three muted, blue-painted performers spoof both contemporary art and modern technology. Wry commentary and bemusing antics are matched only by the ingenious ways in which music and sound are created.
Great Theater Lives Here. Trans Scripts, Part I: The Women
January 19 - February 5, 2017 Drawn from dozens of interviews conducted around the world, Trans Scripts uses the real words of women to shed light on the rich and diverse experiences within the transgender community.
Tickets from $25 Subscriptions from $99 Located in the heart of Harvard Square.
AmericanRepertoryTheater.org 38 A DOLL’S HOUSE
Joan Marcus
DOWNTOWN/THEATRE DISTRICT
WILLKOMMEN: The Sam Mendes-directed Roundabout Theatre Company production of Kander and Ebb’s timeless musical Cabaret makes its Hub debut at the Boston Opera House January 31–February 12.
Photo: Michael J. Lutch
JANUARY– FEBRUARY 2017
Joan Marcus
GUIDE to LOCAL THEATRE
GUIDE TO LOCAL THEATRE (continued) CABARET, Boston Opera House, 539 Washington St., 800-9822787. Jan 31–Feb 12. Roundabout Theatre Company presents Sam Mendes (Skyfall, American Beauty) and Rob Marshall’s (Into the Woods, Chicago) Tony Award-winning production of John Kander, Fred Ebb and Joe Masteroff’s Tony-winning musical about Sally Bowles and the infamous denizens of the Kit Kat Klub in pre-WWII Germany. OUR SECRETS, Emerson/Paramount Center Robert J. Orchard Stage, 559 Washington St., 617-824-8400. Jan 19–22. This one-of-a-kind theatrical experience set in 1980 Communist Budapest combines folk music, dance and evocative staging to tell the story of a musician with a terrible secret forced to become a government informant or risk exposure. SHEAR MADNESS, Charles Playhouse Stage II, 74 Warrenton St., 617-426-5225. Ongoing. It’s a day like any other at the Shear Madness salon, when suddenly the lady upstairs gets knocked off. Whodunit? Join the fun as the audience matches wits with the suspects to catch the killer in this wildly popular comedy. SOMETHING ROTTEN!, Boston Opera House, 539 Washington St., 800-982-2787. Jan 17–29. Set in 1595, this hilarious smash tells the story of Nick and Nigel Bottom, two brothers who are desperate to write a hit play. When a local soothsayer foretells that the future of theatre involves singing, dancing and acting at the same time, Nick and Nigel set out to write the world’s very first musical.
StageSpotlight Building Audiences for Greater Boston’s Outstanding Not-For-Profit Performing Arts Organizations
Dark Sisters In Nico Muhly’s contemporary opera, a member of the Fundamentalist Latter Day Saints Church attempts to escape her sect and find her sense of self. Sung in English with supertitles. Libretto by Stephen Karam. Conducted by Andrew Altenbach. Directed by Nathan Troup.
February 9–12, 2017 Tickets go on sale to the public January 25. bostonconservatory.berklee.edu/events
LOCAL/REGIONAL THEATRE THE ATHEIST, Boston Playwrights’ Theatre, 949 Commonwealth Ave., 866-811-4111. Jan 19–Feb 5. Augustine Early, a crooked journalist, has made an art of clawing her way up the professional ladder. When she turns a politician’s tawdry predilections into front-page news, the scandal threatens to undo the one person she thought was immune. BILLY ELLIOT THE MUSICAL, Wheelock Family Theatre, 200 The Riverway, 617-879-2300. Jan 27–Feb 26. Set in a northern English mining town, this inspirational story of a young boy’s struggle against the odds to make his dream come true follows Billy as he stumbles out of the boxing ring and into a ballet class, where he discovers a passion for dance that inspires his family and community, changing his life forever.
Scott Edmiston directs Albee’s fiercely funny and intensely painful masterpiece. Featuring Steven Barkhimer and Paula Plum.
January 13–February 12, 2017 Lyric Stage • Copley Square 617-585-5678 • lyricstage.com
BOSTON CRIME SCENES, The Winter Hill Repertory, The Rockwell, 255 Elm St., Somerville, 617-684-5335. Jan 8–30. This three-act musical paying tribute to Hollywood cult classics with Massachusetts roots is set to Irish music and features a cast of iconic characters who frequently convene at a South Boston pub. When the local haunt loses its liquor license and the head mob boss goes missing, the group goes on a crime spree throughout town. After extorting local politicians, clergy and members of the community, the criminals eventually have to face their demons. CURIOUS GEORGE AND THE GOLDEN MEATBALL, Boston Children’s Theatre, Regent Theatre, 7 Medford St., Arlington, 781-646-4849, Feb 18–26; Larcom Theatre, 13 Wallis St., Beverly, Mar 4–19. Join the fun-loving little monkey Curious George as he helps his friend Chef Pisghetti cook the most delicious meatballs and see what happens when Curious George enters the meatballs in the world-famous Golden Meatball Contest in Rome.
“Flat out hilarious!” —NY Times All hell breaks loose in this acclaimed Broadway comedy when a young Texas boy’s sock puppet takes on a shocking life of its own.
January 6–February 4, 2017 Tickets from $25 617-933-8600 • SpeakEasyStage.com SPECIAL ADVERTISING SECTION
GUIDE TO LOCAL THEATRE (continued) DON’T GIVE UP THE SHIP, Fresh Ink Theatre Company, Plaza Black Box Theatre, Boston Center for the Arts, 539 Tremont St., 617-933-8600. Feb 10–25. When Diana, a middle-aged mother of two, wakes up as Commodore Oliver Hazard Perry, hero of the War of 1812, she suddenly commands much more of her life than she used to. Imagining that her daughters are warring lieutenants, her ex-husband is her 4-year-old son and her nurse Lizzie is her darling wife, Diana establishes an identity that is much closer to her true self than anyone expected. HAND TO GOD, SpeakEasy Stage Company, Wimberly Theatre, Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont St., 617-933-8600. Jan 6–Feb 4. Tyrone causes trouble. Tyrone breaks things. Tyrone wants to hurt people, which is bad news for Jason, because Tyrone is Jason’s sock puppet, and he’s refusing to go away. Created as a coping mechanism for a shy and introverted teen, Tyrone now battles Jason for the body that they share. The church’s after-school activities program will never be the same. THE HONEY TRAP, Boston Playwrights’ Theatre, 949 Commonwealth Ave., 866-811-4111. Feb 16–26. When two off-duty British soldiers go for a drink on the outskirts of Belfast in 1979, they meet two local girls. What seems like a typical night at the pub turns into something much darker. Decades later, reliving that night for an oral history project, Dave reopens old wounds that send him back to Belfast in search of answers and revenge. INFORMED CONSENT, Apollinaire Theatre Company, Chelsea Theatre Works, 189 Winnisimmet St., Chelsea, 617-887-2336.
FEB 2017
Feb 17–Mar 12. Inspired by a recent court case between a Native American tribe and an Arizona university, Deborah Zoe Laufer’s acclaimed timely drama takes us into the personal and national debate about science versus belief, and whether our DNA is our destiny. INTIMATE EXCHANGES, The Nora Theatre Company, Central Square Theater, 450 Massachusetts Ave., Cambridge, 866-811-4111. Jan 12–Feb 12. Two actors. Ten characters. Four different courses of action. What will happen next? The audience decides in Alan Ayckbourn’s exploration of how, at many moments in life, a small choice can alter the course of all events that follow. JONAH AND THE WHALE: A NEW MUSICAL, Stoneham Theatre, 395 Main St., Stoneham, 781-279-2200. Feb 23–Mar 12. This musical fable, an East Coast premiere, re-imagines one of the strangest and most familiar stories in the Old Testament into an unforgettable story of faith, loss and survival against unbeatable odds. A MIDSUMMER NIGHT’S DREAM, Trinity Repertory Company, The Chace Theater, 201 Washington St., Providence, R.I., 401-351-4242. Feb 9–Mar 24. In one of Shakespeare’s most beloved romantic comedies, four fantastic stories are woven together in a single fanciful night: the wedding of an Athenian Duke to his Queen, the comic misadventures of four lovers lost in the forest, an uproarious throw-down between the King and Queen of the Fairies, and the hilarious antics of a group of amateur actors.
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Wimberly Theatre Calderwood Pavilion at the Boston Center for the Arts
527 Tremont Street, Boston BostonTheatreScene.com
GUIDE TO LOCAL THEATRE (continued) MISS NELSON IS MISSING, Boston Children’s Theatre, Roberts Studio Theatre, Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont St., 617-424-6634 x222. Feb 4–25. What would you do if your super nice teacher disappears and a homework-loving, recess-cancelling, tough-as-nails substitute teacher named Viola Swamp takes her place? This stage production is based on the books Miss Nelson is Missing and Miss Nelson is Back by Harry Allard and James Marshall.
EXTENDED THRU FEB 26! Mother-Daughter dysfunction was never so thrilling. Or chilling.
THE MOUNTAINTOP, Trinity Repertory Company, The Dowling Theater, 201 Washington St., Providence, R.I., 401-351-4242. Jan 12–Feb 12. April 3rd, 1968. Martin Luther King, Jr. returns to room 306 in Memphis’ Lorraine Motel after delivering one of his most famous speeches. Suddenly, he is visited by a spirited young maid who challenges him to confront the truth of his life, the question of his legacy and his ultimate destiny. This soul-stirring re-imagining of one night in the life of one of America’s greatest heroes reaches a summit that will leave audiences breathless. THE MOUSETRAP, The Footlight Club, 7A Eliot St., Jamaica Plain, 617-524-3200. Feb 3–18. Agatha Christie’s much-loved murder mystery takes the audience through twists and turns at snowed-in Monkswell Manor, where nothing is quite as it seems and there is a murderer among the guests. THE NIGHT OF THE IGUANA, American Repertory Theater, Loeb Drama Center, 64 Brattle St., Cambridge, 617-547-8300. Feb 18–Mar 18. On the edge of the Mexican jungle, a group of troubled travelers seek shelter from a storm. A Nantucket portrait artist traveling with her ancient grandfather, a bus full of fuming Texan college administrators and a party of vacationers collide in Tennessee Williams’ feverishly poetic 1961 drama about how far we travel to outrun the demons within. THE PRINCESS & THE PEA, imaginary beasts, Plaza Black Box Theatre, Boston Center for the Arts, 539 Tremont St., 617933-8600. Jan 14–Feb 4. A prince seeking the perfect wife, a maid fighting for her very life and a forgetful vegetable sprite who can’t seem to do anything right—not to mention one very nasty woman—are just a few of the magical characters in this skewed adaptation of Hans Andersen’s fairy tale. REALLY, Company One Theatre, Matter and Light Fine Art, 63 Thayer St., 800-838-3006. Jan 25–Feb 12. In a studio filled with photographs, two women work to process the disappearance of a charming, volatile artist. But which of them really knew him? Staged in a South End art gallery, this striking, lyrical new work follows the people the artist left behind as they sort through his remaining photos—which offer confounding clues into to the person they both loved. THE SCOTTSBORO BOYS, SpeakEasy Stage Company, Roberts Studio Theatre, Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont St., 617-933-8600. Through Jan 22. In Kander and Ebb’s final collaboration, they bring to light one of the most infamous events in American history: the shocking true story of nine African American boys jailed in Alabama in 1931 for a crime they did not commit. Featuring a period-specific mix of gospel, jazz and vaudeville, this audacious musical uses the construct of a minstrel show to tell the harrowing true story that provoked a national outrage and helped launch the American civil rights movement. SH*T-FACED SHAKESPEARE, The Rockwell, 255 Elm St., Somerville, 617-684-5335. Through Jan 27. A fusion of an
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N
BE OUTRAGEOUS.
5 T OMI ON NA Y A TED W FOR AR DS
GUIDE TO LOCAL THEATRE (continued) entirely serious Shakespeare play with an entirely sh*t-faced cast member, this side-splitting, raucous and interactive show presents Romeo and Juliet with a genuinely drunken professional actor selected at random every night. No two shows are ever the same and audiences can even dictate when the actor gets to drink more to prevent unwanted sobriety. STAGE KISS, Lyric Stage Company, 140 Clarendon St., 617585-5678. Feb 24–Mar 26 . Two squabbling, long-lost loves are cast as long-lost lovers, and quickly lose touch with reality in this romantic and revealing play-within-a-play by Sarah Ruhl.
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A THOUSAND CRANES, Create. Inspire. Change. Theater Company, Community Church of Boston, Lothrop Auditorium, 565 Boylston St., 978-790-1069. Jan 27. This drama by Kathryn Shultz Miller based on Sadako and the Thousand Cranes by Eleanor Coerr presents the true story of Sadako Saski, who was 2 years old when the atomic bomb was dropped on the small city of Hiroshima and later develops leukemia. Using the ancient Japanese tradition of folding paper cranes, Sadako finds herself and helps to inspire others. THURGOOD, New Repertory Theatre, Black Box Theater, The Dorothy and Charles Mosesian Center for the Arts, 321 Arsenal St., Watertown, 617-923-8487. Jan 7–Feb 5. This play about Justice Thurgood Marshall, the first African-American to sit on the Supreme Court, spans Marshall’s impressive career as a lawyer, arguing such landmark cases as Brown v. Board of Education. TRANS SCRIPTS, PART I: THE WOMEN, American Repertory Theater, Loeb Drama Center, 64 Brattle St., Cambridge, 617547-8300. Jan 19–Feb 5. Drawn from dozens of interviews conducted around the world, this U.S. premiere uses the real words of women to shed light on the rich and diverse experiences within the transgender community. WHO’S AFRAID OF VIRGINIA WOOLF?, Lyric Stage Company, 140 Clarendon St., 617-585-5678. Jan 13–Feb 12. Edward Albee’s towering masterpiece thrillingly examines the breakdown of a middle-aged couple, who mercilessly draw a naïve younger pair into the bitter psychological cage match that is their frustrated marriage.
DANCE ARTIFACT, Boston Ballet, Boston Opera House, 539 Washington St., 617-695-6955. Feb 23–Mar 5. Step inside William Forsythe’s theatrical world in this American company premiere that combines powerful choreography, spoken word and artistic sets in an athletic, avant-garde spectacle. JESSICA LANG DANCE, Boch Center, The Shubert Theatre, 265 Tremont St., 866-348-9738. Jan 27 & 28. This New York Citybased dance company is dedicated to creating and performing the work of former Twyla Tharp dancer Jessica Lang, hailed as “a master of visual composition” by Dance Magazine.
OPERA DARK SISTERS, The Boston Conservatory Theater, 31 Hemenway St., 617-912-9222. Feb 9–12. Featuring music by Nico Muhly and a libretto by Stephen Karam, this contemporary opera follows a member of the Fundamentalist Latter Day Saints Church’s attempts to escape her sect and find her sense of self in a world where personal identity is forbidden.
BOSTON DINING GUIDE L–Lunch • D–Dinner • B–Breakfast C–Cocktails • VP–Valet Parking SB–Sunday Brunch • LS–Late Supper
49 SOCIAL, 49 Temple Pl., 617-338-9600. This eclectic bar and restaurant at Downtown Crossing serves refined modern American cuisine. The seasonal dinner menu draws inspiration from around the globe while also incorporating ingredients from local New England farms. D, C. 49social.com. ARAGOSTA BAR & BISTRO, Three Battery Wharf, 617994-9001. This latest addition to Boston’s vibrant waterfront restaurant community offers a new take on Italian cuisine by award-winning chef David Daniels who shows his signature flair through hand-made pastas, prime meats and classic New England seafood. Using quality, local farm-raised ingredients, Aragosta offers a warm, social atmosphere in a stunning waterfront setting. Also offering an open kitchen with Chef’s Counter and an outdoor terrace. B, L, D. Mon–Sun 6:30 a.m.– 10 p.m.; Sat & SB 10:30 a.m.–2 p.m. aragostabistro.com. AVENUE ONE RESTAURANT, Hyatt Regency, One Avenue de Lafayette, 617-912-1234. Newly renovated and located in the heart of the Theatre District, Avenue One restaurant and lounge serves contemporary New England cuisine in a relaxed atmosphere. Enjoy a refreshing cocktail, three-course prix fixe dinner or a delectable dessert. Discounted parking available. B 6:30–11:30 a.m., L noon–3 p.m., D 5–10 p.m. C, VP regencyboston.hyatt.com. BACK DECK, 2 West St. (corner of Washington), 617-6700320. With three deck spaces and a menu of grill-focused favorites, Back Deck invites everyone to gather around patio tables and chairs for a charcoal-cooked meal and backyardinspired cocktails. Its ambiance brings the outdoors inside with floor-to-ceiling open windows, carriage lighting, lush green planters, glazed brick and an open kitchen. Drawing inspiration from a roof deck, this restaurant is the ultimate urban retreat. L, D, Sat & SB, C. BackDeckBoston.com. BLU, 4 Avery St., 617-375-8550. Located in the heart of the Theatre District next door to the Ritz Carlton on the fourth floor, blu Restaurant and Bar is celebrating its 15th anniversary with a feast for the senses. Its contemporary American menu includes the all-time favorite lobster club. Featuring spectacular floor-to-ceiling windows, blu is perfect for a pre-show dinner, corporate events, weddings, cocktail receptions and private dining. L Mon–Fri 11:30 a.m.–2:30 p.m., D Mon–Sat 5–10 p.m. blurestaurant.com.
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BOSTON DINING GUIDE (continued) CITYPLACE, On Stuart Street between Tremont and S. Charles streets in the State Transportation Building. Enjoy handcrafted beers at Rock Bottom Brewery, delicious treats from Panera Bread and gourmet Chinese at P.F. Chang’s as well as flatbread sandwiches, specialty pizzas, custom burritos and more in the Food Court. B, L, D, C. cityplaceboston.com. CLINK, The Liberty Hotel, 215 Charles St., 617-224-4004. Clink serves the freshest North Atlantic seafood, seasonal New England fare and delicious artisanal meats, highlights of a menu that artfully marries European culinary tradition with contemporary American innovation. The dining room features vestiges of original jail cells and an open kitchen, while gold leather seats, butcher block tables and granite accents add to the contemporary style. Nightly, Clink’s lobby bar draws urban dwellers and hotel guests to an energetic and social nightlife scene in the heart of Boston. B 6:30–11 a.m., L 11:30 a.m.–3 p.m., D 5–11 p.m., SB 10 a.m.–3 p.m. clinkrestaurant.com. DAVIO’S NORTHERN ITALIAN STEAKHOUSE, 75 Arlington St., 617-357-4810. This Boston institution is located in Park Square, within walking distance to all theatres. The Northern Italian steakhouse menu includes a selection of homemade pastas and Brandt meats (aged New York sirloin, Niman Ranch pork chop, Provini porterhouse veal chop), as well as Davio’s classics and selection of fresh seafood, before or after the theatre. Enjoy a lighter fare menu in the spacious bar and parlor area. D Sun–Tue 5–10 p.m., Wed–Sat ’til 11 p.m., L Mon–Fri. VP. davios.com. FAJITAS & ’RITAS, 25 West St., 617-426-1222. Established in 1989, Fajitas & ’Ritas is an easygoing restaurant and bar that features fresh, healthy Texan and barbecue cuisine at bargain prices. An all-around fun place to eat, drink and hang out, the walls are decorated with colorful murals and the bar boasts some of Boston’s best—and sturdiest—margaritas. L, D Mon & Tue 11:30 a.m.–9 p.m.; Wed, Thu & Sat ’til 10 p.m.; Fri ’til 11 p.m.; Sun ’til 8 p.m. C. fajitasandritas.com.
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THE HUNGRY I, 71½ Charles St., 617-227-3524. In a twostory townhouse with three working fireplaces and an outdoor patio, Chef Peter Ballarin celebrates 30 years of French country cuisine and creative desserts. Signature dishes include venison au poivre and braised rabbit a la moutard. Private dining rooms available. L, D, SB, C. hungryiboston.com. JASPER WHITE’S SUMMER SHACK, 50 Dalton St., 617-8679955; 149 Alewife Brook Parkway, Cambridge, 617-520-9500. Enjoy top-notch seafood such as pan-roasted lobster, awardwinning fried chicken and an impressive raw bar in a casual setting. L, D. summershackrestaurant.com. LEGAL SEA FOODS, 558 Washington St., 617-692-8888; 26 Park Plaza, Park Square Motor Mart, 617-426-4444; 255 State St., Long Wharf, 617-227-3115; Prudential Center, 800 Boylston St., 617-266-6800; 270 Northern Ave., Liberty Wharf, 617-477-2900; other locations. Legal Sea Foods, a Boston tradition for more than 50 years, features more than 40 varieties of fresh fish and shellfish as well as an award-winning wine list. Named “Boston’s Most Popular Restaurant” (Zagat 2010/2011). L & D. legalseafoods.com. MASSIMINO’S CUCINA ITALIANA, 207 Endicott St., 617-5235959. Owner/chef Massimino—former head chef of Naples’ Hotel Astoria and Switzerland’s Metropolitan Hotel—offers specialties like the veal chop stuffed with arugula, prosciutto,
44 A DOLL’S HOUSE
BOSTON DINING GUIDE (continued) smoked mozzarella and black olives, amongst numerous other delights. L, D, C. Sun–Thu 11 a.m.–10 p.m., Fri & Sat ’til 11 p.m. massiminosboston.com. PAPAGAYO, 15 West St., 617-423-3600; 283 Summer St., 617-423-1000; other locations. This Mexican restaurant and tequila bar boasts a fun menu of south-of-the-border favorites—from tacos, enchiladas and fajitas to quesadillas, empanadas and burritos—as well as a selection of more than 180 tequilas. L & D Mon–Sat noon–10 p.m., Sun ’til 9 p.m.; C. papagayorestaurants.com. PARKER’S RESTAURANT, Omni Parker House, 60 School St. at Tremont Street, 617-725-1600. Executive chef Gerry Tice celebrates nostalgic cuisine with a contemporary flair at Parker’s Restaurant, the birthplace of Boston Cream Pie, the Parker House Roll and Boston Scrod. B Mon–Fri 6:30–11 a.m., Sat–Sun 7–11:30 a.m., offering an elaborate buffet in addition to a la carte selections. L Mon–Fri 11:30 a.m.–2 p.m.; D Mon– Thu 5:30–10 p.m., Fri & Sat 5–10 p.m. ROWES WHARF SEA GRILLE, Boston Harbor Hotel, 70 Rowes Wharf, 617-856-7744. Rowes Wharf Sea Grille delivers the sea straight to your table. Enjoy power breakfasts and lunches followed by a vibrant after-work cocktail and dinner scene. The sunlight-filled dining room or seasonal outdoor terrace is an ideal spot for a leisurely lunch or special date night. B 6:30–11 a.m., L 11:30 a.m.–4 p.m., Afternoon Tea 2:30–4 p.m., D 4:30–10 p.m. roweswharfseagrille.com.
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RUTH’S CHRIS STEAK HOUSE, 45 School St., 617-742-8401. At Ruth’s Chris Steak House, each steak is hand-selected from the top 2% of the country’s beef, broiled to perfection at 1,800 degrees and served in the restaurant’s signature style—on a sizzling, 500-degree plate so every bite stays hot and delicious. Located at Old City Hall, Ruth’s Chris also features fresh seafood, an award-winning wine list and a gracious environment with warm hospitality. L, D, C. ruthschris.com. SIP WINE BAR AND KITCHEN and THE TASTING ROOM AT SIP, 581 Washington St., 617-956-0888. With a menu featuring tapasstyle plates—from sushi to grilled oysters to steak skewers—and an emphasis on wine, Sip allows diners to try different flavors and wines from around the world, and is perfect for gathering with friends before a show, after work or for brunch. Mon–Fri 11:30 a.m.–1 a.m., Sat & Sun 10 a.m.–1 a.m. SB available. sipwinebarandkitchen.com. THE TAJ BOSTON, 15 Arlington St., 617-536-5700. This 1927 landmark offers dishes reflecting the seasonal flavors of New England as well as authentic Indian dishes for dinner. The Cafe: B, L, D, Sat & SB. The Lounge: L, D, C. The Bar: L, D, C. tajhotels.com/boston. TOP OF THE HUB, 800 Boylston St., Prudential Center, 617-536-1775. Located 52 stories above the city, Top of the Hub is Boston’s special occasion favorite. With upscale American cuisine, live entertainment nightly, a spectacular view and romantic atmosphere, Top of the Hub promises a unique experience for both visitors and native Bostonians alike. L, D, C, SB. topofthehub.net.
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HUNTINGTON THEATRE COMPANY 45
DINING OUT
Davio’s S
ometimes an evening out can get derailed by modern Italian cuisine like lobster risotto or the simplest of debates—for example, Italian sautéed veal tenderloin with oyster mushrooms, food or steak? Luckily, Bostonians have the cipollini, potatoes and marsala; and hearty meat perfect answer to this particular dilemma—Back dishes like grilled Niman Ranch pork chop or the Bay favorite Davio’s Northern Italian seared organic salmon. At lunchtime, Steakhouse, which combines the bold Davio’s also boasts a selection of DAVIO’S flavors of a superior Italian eatery with gourmet pizzas and panini filled with 75 Arlington St. the class, sophistication and unmistakeverything from braised beef short 617-357-4810 Refer to Dining Guide, able flair of a classic upscale steakhouse. rib to grilled chicken. page 44 Diners at Davio’s can begin their By night, Davio’s delivers everymeal with a selection from a superior thing you expect from a top-notch wine list that earned the eatery an steakhouse. Whether you opt for the Davio’s delivers Award of Excellence from Wine Speccenter cut filet mignon or natural aged everything you tator magazine in 2011, or dive right New York sirloin, these mighty, meaty into a wide array of antipasti. From expect from a top- cuts of beef come cooked to perfecthe bold taste of Davio’s Kobe beef tion. Enjoy them with a la carte sides meatballs to the restaurant’s trademark notch steakhouse. ranging from steakhouse faves like Philly cheese steak spring rolls, from creamy mashed potatoes, grilled asparasalads like the arugula with shaved gus and crispy onion rings to Mediterparmigiano and lemon olive oil to the baby iceberg ranean-influenced treats like baked eggplant with with Niman Ranch bacon and herbed buttermilk fresh mozzarella, wild mushrooms in aged balsamic dressing, guests will find something distinctive and or the special spinach alla Romana. delicious to kick off their dining experience. Located just blocks from both the fabulous From there, Davio’s diverse entrees take cen- shopping on Newbury and Boylston streets and ter stage: diners can sample tempting pasta the first-rate entertainment of the Theatre District, dishes like tagliatelle with braised veal, beef, pork Davio’s is a prime spot for either a night on the town and tomato sauce and hand-rolled potato gnocchi; or simply lunch with friends.
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46 A DOLL’S HOUSE
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