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CONTENTS
JANUARY–FEBRUARY 2019
7 THE PROGRAM 10 INTERVIEW WITH THE PLAYWRIGHT AND DIRECTOR
Kevin Berne
PLUS:
7
04 Backstage by S. Scarlett Moberly 14 About the Company 34 Patron Services 35 Emergency Exits 38 Guide to Local Theatre 42 Boston Dining Guide 44 Dining Out: Top of the Hub
Joan Marcus
46 Dining Out: Davio’s Northern Italian Steakhouse
38
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HUNTINGTON THEATRE COMPANY
3
BACKSTAGE
Matthew Murphy
BEHIND THE SCENES IN LOCAL AND NATIONAL THEATRE BY S. SCARLETT MOBERLY
FROM BOSTON TO BROADWAY: After its successful world premiere at Boston’s Emerson Colonial Theatre this past summer, Moulin Rouge! The Musical lands on Broadway this coming June.
Moulin Rouge! Set to Debut on Broadway Moulin Rouge! The Musical, based on Baz Luhrmann’s 2001 film, makes the jump to Broadway this June after its sold-out world premiere run in the summer of 2018 at Boston’s Emerson Colonial Theatre. Leads Karen Olivo, Aaron Tveit, Danny Burstein, and other principal cast members from the Boston production resume their roles on the Great White Way. Set designer Derek McLane intends to incorporate the interior architecture of show venue the Al Hirschfeld Theatre — which was built in 1924 as one of the most opulent theatres of its time — into the stage design. The dazzling stage extravaganza, set in Belle Époque-era Paris, boasts familiar numbers from the film as well as new arrangements of hit songs from the last two decades. Go to moulinrougemusical.com for tickets. Spring Galas Announced American Repertory Theater (A.R.T.)
announced its spring gala for April 1 at the 4
A DOLL’S HOUSE, PART 2
Boch Center’s Wang Theatre. This year’s gala honors the A.R.T. Angel Award recipient and Harvard University President Emerita Drew Gilpin Faust for her advocacy for the arts across the venerable institution, which plays host to A.R.T. The gala also continues the celebration of the 10th anniversary season of Diane Paulus as the Terrie and Bradley Bloom Artistic Director. In addition to recognizing contributors to the arts, the A.R.T. spring gala raises critical funds for the theatre’s artistic and educational programming. V i s i t a m e r i c a n r e p e r t o r y t h e a t e r. o r g /membership-support/art-gala for tickets. SpeakEasy Stage Company hosts its annual spring gala on April 5 at the Revere Hotel Boston Common, just steps away from the downtown Theatre District. The largest event of SpeakEasy’s year, the gala features a cocktail hour, seated dinner, silent auction, and a sampling of the award-winning entertainment for which the organization is known. For tickets, go to speakeasystage.com/support/events.
BACKSTAGE (continued) Family Theatre at GBSC this Winter The Young Company at Greater Boston Stage Company’s Winter Festival 2019 takes
up residence in Stoneham, Mass. January 25– February 3, introducing audiences to stories both classic and new. The program includes selections from Junie B. Jones: The Musical Jr., Annie, Disney’s Beauty and the Beast, and The 25th Annual Putnam County Spelling Bee. The audition-based program is for students in grades 1–12 and is open to young actors of all experience levels, culminating in the opportunity to perform at Greater Boston Stage Company’s 353-seat theatre. For schedules and tickets, visit greaterbostonstage.org.
Claudia Hansen
Guerilla Opera Names Amy Advocat as Executive Director After appointing Alina de la Guardia and Julia Noulin-Mérat as co-artistic directors in 2018, Guerilla Opera has named Amy Advocat as executive director. Dr. Advocat is known as half of the bass clarinet-marimba duo Transient Canvas, and has performed in 10 of Guerilla Opera’s 15 commissioned operas. “Women are underrepresented in the opera community-atlarge,” said de la Guardia and Noulin-Mérat, “so for Guerilla Opera to be a woman-run organization is thrilling! Three industrious women who represent singers, instrumentalists and production at the top of Guerilla Opera’s masthead is incredibly exciting and fully encompasses what Guerilla Opera is all about.”
ARTS ADVOCAT: Guerilla Opera recently became a women-run organization when it hired musician Amy Advocat as its executive director in late November.
Q& A
with MERRITT DAVID JANES, actor (Dewey) in the national tour of School of Rock How will it be to return to New England after performing on Broadway? I am beyond excited! As a native New England boy, and huge Patriots and Red Sox fan, Boston has always been a very exciting place for me. Coming from a family of musicians, is this role more significant — or fun — to play? It is the perfect culmination of everything that I have done and have always wanted to do. My mother, grandfather, and cousins have very much inspired the journey that has led me here. So yes, that has made it more fun in a very special way. You studied to be a music teacher at University of Maine. What’s it like to play a substitute teacher introducing kids to rock music? This is the best teaching job I could have ever hoped for! The fact that I’m playing a music teacher on stage every night is a reminder to me that I am in the right place at the right time! Can you tell us a bit about the album you just released, Waiting in the Wings? Over the past 11 years, I have written many songs about life on the road. The song “New England Roads” is all about coming home. I will be listening to it on my way to Boston in February! Responses have been edited for clarity and length. HUNTINGTON THEATRE COMPANY 5
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Huntington Theatre Company, in a co-production with Berkeley Repertory Theatre, presents
A DOLL’S HOUSE, PART 2 by Lucas Hnath Directed by Les Waters Scenic Design Andrew Boyce
Costume Design Annie Smart
Casting Alaine Alldaffer, CSA & Amy Potozkin, CSA
Lighting Design Yi Zhao
Production Stage Manager Emily F. McMullen
Sound Design J Jumbelic Stage Manager Jeremiah Mullane
Originally produced on Broadway by Scott Rudin, Eli Bush, Joey Parnes, Sue Wagner, and John Johnson. Commissioned and first produced by South Coast Repertory. A Doll’s House, Part 2 benefited from a residency at New Dramatists. A Doll’s House, Part 2 is presented by special arrangement with Dramatists Play Service, Inc., New York.
HUNTINGTON THEATRE COMPANY 7
STANTEC ARCHITECTURE
Draft rendering of the Huntington Avenue redevelopment project
IT’S OFFICIAL: THE THEATRE IS OURS! “The deed to this historic theatre is ours! It is now our job to restore this beautiful theatre to its former glory, not for the sake of architecture, but for the sake of art, for the sake of the people we serve in this community, for artists, and for audience members.” – Michael Maso, Managing Director The Huntington Theatre Company is now officially the sole owner of the Huntington Avenue Theatre! In May 2018, our commercial development partners QMG Huntington LLC gave us a remarkable gift – the deed to the theatre – donating our home to us on a permanent basis and fulfilling a long-held aspiration to control our own theatre space. Ownership of the theatre is an astounding accomplishment on our remarkable journey. We are now embarking on a process to create a magnificently restored Huntington Avenue Theatre to greatly expand our services to our audiences, artists, and the community. Notable milestones of the past year paved the way for our future: full independence from Boston University, opening a new state-of-the-art Huntington Production Center in Everett, and receiving the city of Boston’s approval on plans to renovate our theatre complex that includes our beautiful proscenium auditorium and support wing, as well as a new 14,000 square foot space for our exclusive use in the adjacent QMG Huntington LLC residential building.
Our new theatre complex will beckon visitors through a soaring entrance that will be activated throughout the day welcoming the entire community to participate in programs, enjoy a café, and avail themselves of our new box office along with other visitor amenities. The expansive second floor will create flexible spaces for audiences to gather, for students and the community to engage in education programs and multidisciplinary activities, and to invite visitors and artists to converse together, realizing our vision to be “Boston’s Living Room” with an open configuration that includes an intimate performance venue, lobby, and veranda overlooking Huntington Avenue. And, of course, both floors will have plenty of restrooms! You will be an important part of the Huntington’s new future! Planning is underway and we invite you to learn about the transformation by visiting our website, attending upcoming events, and through contributing to the Campaign for the Huntington Theatre Company.
For the latest news and information about the Huntington Avenue Theatre, please visit huntingtontheatre.org/FAQ and to contribute please contact Elisabeth Saxe, Chief Development Officer, at 617 273 1579 or esaxe@huntingtontheatre.org. 8
A DOLL’S HOUSE, PART 2
CAST
(in order of appearance) Anne Marie....................................................................................... Nancy E. Carroll Nora..................................................................................................Mary Beth Fisher Torvald........................................................................................................ John Judd Emmy................................................................................................... Nikki Massoud
A Doll’s House, Part 2 will be performed without an intermission.
The Huntington Theatre Company is supported by the Mass Cultural Council, a state agency; the National Endowment for the Arts, a federal agency; and more than 6,000 individual, foundation, and corporate contributors.
Cover: Mary Beth Fisher, photo: Kevin Berne
“Smart, silly, and convulsively funny!” — THE NEW YORK TIMES
SPAMILTON AN AMERICAN PARODY created, written, and directed by
GERARD ALESSANDRINI
STARTS FEB. 12!
HUNTINGTON THEATRE COMPANY 9
Playwright Lucas Hnath
Director Les Waters
“YOU HAVE TO WANT SOMETHING” (RIGHT?):
AN INTERVIEW WITH LUCAS HNATH AND LES WATERS Playwright Lucas Hnath and director Les Waters met in 2012 at the annual Humana Festival of New American Plays at Actors Theatre of Louisville, where Hnath’s play Death Tax was being performed. Waters had just stepped into his role of artistic director at Actors Theatre of Louisville, and was blown away by Hnath’s play. He commissioned Hnath to write another play, and in 2014 the two premiered The Christians at the Humana Festival. The play was subsequently produced nationwide, and the two artists formed a close collaboration and friendship. Berkeley Repertory Theatre Literary Manager Sarah Rose Leonard spoke with Waters and Hnath about the great art of creating and performing arguments. SRL: Les, what draws you to Lucas’ work? Waters: That’s always difficult to say, because it revolves around instinct. And passion. I’m always a little reluctant to put the words on it because it’s a little mysterious to myself and I prefer to keep the mystery of it. I just found the writing very exciting and rather ferocious. Lucas sometimes talks to me about things that he’s thinking about writing, but they always surprise me. That’s terrific because most things aren’t surprising. With Lucas, I never know what’s coming next. Plus he’s a great friend and a colleague, and I like working with him. SRL: I’m sorry to make you say that in front of him. Waters: I’m English, so I’m staring at the floor as I say it. (Laughter.) 10 A DOLL’S HOUSE, PART 2
SRL: Lucas, how did you go about creating a play that could be understood relationally but also independently of the source text? Hnath: The setup is there’s a woman who left her family 15 years ago. That’s kind of the only information you need. The play doesn’t get into much about the specifics of the plot that motivated her to leave. There aren’t really winky references to the original. It seemed necessary that I write the play in a way that did not require knowledge of the original, otherwise it would turn into some kind of inside theatre joke. SRL: Ibsen didn’t necessarily consider A Doll’s House a feminist text, but it’s come to be one over the years. How have you entered the conversation on feminism that surrounds Ibsen’s play? Hnath: All of the things that were debated and negotiated in A Doll’s House are still topics that are debated and negotiated now. So one of the first ideas that I had about A Doll’s House, Part 2 is it’s a play about how much we’ve changed, and how much we haven’t, in terms of thinking about equality between men and women. I was reading a lot of Charlotte Perkins Gilman while working on the play, the woman who wrote The Yellow Wallpaper. She wrote a great deal of feminist theory and she had a really interesting line saying, when you hear a school teacher, nurse, secretary — she listed a bunch of occupations — the first thing that anybody imagines is a woman. She goes on to say that she’s looking forward to the day when you can say one of those titles and a woman is not the first image that pops into the mind. She’s thinking about certain limitations in terms of how women are perceived.
And there were a lot of arguments in my play that some of the scholars thought went too far. More often than not, I would actually give
KEVIN BERNE
At a certain point, I brought the play to a number of feminist scholars and asked them to take a look at the play and counter argue anything that gets said in it. One of the questions I asked at one point was, “It was shocking for Nora to leave her children at the end of Doll’s House, but if it were written now, what would be the shocking ending?” The response was, “Well, that’s still the shocking ending! That’s still something that is unthinkable.” That was actually very helpful to hear. I think I had gotten quite numb to the shock.
Nancy E. Carroll as Anne Marie and Mary Beth Fisher as Nora
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whatever critique they had of Nora’s argument to another character. A lot of times, I would just let Anne Marie say something like what the scholars said and it made the argument better. SRL: How did you decide that the cast would be these four particular characters? Hnath: I tried out a number of other different characters, but those four offered the most essential and unique points of view. It felt necessary to have a character who’s basically a footnote in the original, but is extremely significant, which is Anne Marie. She was in a position to most directly deal with the fallout from Nora’s leaving. Then of course Torvald had to be there. Nora has three kids and at some point I entertained the notion of having all three, but then it started to come off as fussy, and I was most interested in — as opposed to having one of the boys — the perspective of the daughter.
KEVIN BERNE
SRL: Les, what was your casting process like for this production? Waters: What I learned from working with Lucas on The Christians is that you need performers who could stand up in court as lawyers and really argue, who can get the language in their mouths, and pursue the logic of an argument, find the rhythm of the language, and really go for it. A lot of extraordinary actors came in and they found it difficult. You’re looking for people who, a) have an appetite for it, b) who can do it. It’s not the kind of play that has a subtext, like “what are they really saying underneath all of this?” What they’re saying is what they’re thinking. When you find people who can do that, and think that’s fun and exhilarating to do, then the thing really flies.
12 A DOLL’S HOUSE, PART 2
John Judd as Torvald and Mary Beth Fisher as Nora
KEVIN BERNE
SRL: Lucas, this is in many ways a play about marriage. How did your own thoughts on marriage influence your work? Hnath: The argument that Nora makes at the beginning about predicting and advocating for a world in which there’s no marriage, in which the lines aren’t drawn between couples, that’s something I’ve never really been able to understand. My interest in the arguments in the play does not necessarily have to do with what I believe, but with what I don’t understand. I don’t understand Nora’s initial argument; I have a hard time relating to it. When I’m writing, I try to find examples of people who very convincingly make some of those arguments.
Nikki Massoud as Emmy
George Bernard Shaw wrote a play called Getting Married. Shaw often has a cluster of essays in front of his plays. Getting Married has a couple of essays that very strongly inform Nora’s big opening speech about marriage. I often try to find arguments that I don’t really agree with, try to put those arguments in my own words, and try to make them as convincing as possible. That tends to be the relationship between the plays and what I do or don’t believe. SRL: In one interview Lucas gave he said that Nora asks herself at the end of A Doll’s House, “If I’m left to myself, what do I want for myself?” What is your current answer to that question for yourself? Hnath: Oh, yeah! It’s so funny, I was actually just re-watching My Dinner with Andre last night. I feel like that question is the big question of that movie. Wally [Wallace Shawn] more or less argues, “You have to want something,” and Andre says, “But what if you don’t? What if you can just not want something or not try to be doing anything?” I’m very, very happy to just always be spending my time making something. I’m more in the Wally camp. I want to be writing a play. I want to be in the rehearsal room. My least favorite thing is actually watching any of my plays because then I’m not getting to actually do anything and having to just sit there passively. I’m happiest when I’m writing, and in the rehearsal room, and in the midst of making or rewriting. This interview originally appeared in the playbill at Berkeley Repertory Theatre; Berkeley co-produced A Doll’s House, Part 2 with the Huntington Theatre Company.
HUNTINGTON THEATRE COMPANY 13
A DOLL’S HOUSE, PART 2
ABOUT THE COMPANY Nancy E. Carroll* (Anne Marie) has appeared in Ripcord; I Was Most Alive with You; The Seagull; Rapture, Blister, Burn; Good People; Luck of the Irish; Prelude to a Kiss; Brendan; She Loves Me; Present Laughter; The Rose Tattoo; and Dead End at the Huntington. She appeared on Broadway in Present Laughter (Roundabout Theatre Company) and regionally in Our Town and She Loves Me (Williamstown Theatre Festival); Rapture, Blister, Burn (Geffen Playhouse); The Year of Magical Thinking (Lyric Stage Company); Trad (Tír Na Theatre); The New Electric Ballroom, North Shore Fish, Breath of Life, Doubt, Happy Days, My Old Lady, and Collected Stories (Gloucester Stage); Uncanny Valley (Stoneham Theatre); Mothers and Sons, Other Desert Cities, The Savannah Disputation, The Women, Company, and A Man of No Importance (SpeakEasy Stage Company); Bailengangaire (The Súgán Theatre Company); Humble Boy and Hamlet (Publick Theatre); and Auntie and Me (Merrimack Repertory Theatre). Her international credits include The Cripple of Inishmaan and Big Maggie (Druid Theatre Company) and Return of the Winemaker (Cork Arts Theatre, Ireland). Her film and television credits include Spotlight, Irrational Man, and “Olive Kitteridge.” She is an Elliot Norton Award winner for Present Laughter, Brendan, and Bailegangaire. Mary Beth Fisher* (Nora) appeared in How Shakespeare Won the West and The Birthday Party at the Huntington. Her many Chicago credits include Blind Date, Vanya and Sonia and Masha and Spike, The Little Foxes, Luna Gale, and The Seagull (Goodman Theatre); Domesticated, Dead Man’s Cell Phone, and The Dresser (Steppenwolf Theatre Company); and Guess Who’s Coming to Dinner, Long Day’s Journey into Night, Three Tall Women, The Year of Magical Thinking, The Wild Duck, and Arcadia (Court Theatre). Her New York credits include Frank’s Home (Playwrights Horizons); Boy Gets Girl and The Radical Mystique (Manhattan Theatre Club); The Night of the Iguana (Roundabout Theatre Company); and Extremities (Westside Arts). Ms. Fisher has performed in regional theatres all over the country. Her television and film credits include “Sense8,” “Chicago Fire,” “Chicago Justice,” “Without a Trace,” “Numb3rs,” “Prison Break,” “NYPD Blue,” “Profiler,” and Dragonfly. Ms. Fisher has received two Joseph Jefferson Awards, Drama Desk and Lucille Lortel Award nominations, the LA Drama Critics’ Circle Award, Chicago’s Leading Lady Award from the Sarah Siddons Society, and is an inaugural Lunt-Fontanne Fellow at the Ten Chimneys Foundation. John Judd* (Torvald) appeared in Shining City at the Huntington. A Chicago actor for over 30 years, he has appeared on many stages there including the Goodman Theatre, Steppenwolf Theatre Company, Court Theatre, Chicago Shakespeare Theater, Writers Theatre, Northlight Theatre, Lookingglass Theatre Company, Victory Gardens Theater, and A Red Orchid Theatre. Other regional stages include Berkeley Repertory Theatre, Williamstown Theatre Festival, Westport Country Playhouse, McCarter Theatre Center, Philadelphia Theatre Company, City Theatre, Actors Theatre of Louisville, Beaver Creek Theatre Festival, The Old Globe, and Town Hall Theatre in Galway, Ireland. He has appeared off Broadway at Barrow Street Theatre, 59E59 Theatres, and BAM.
* Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
14 A DOLL’S HOUSE, PART 2
Art New England
THE SURREALISTS
MARK HOGANCAMP
HOLIDAY GUIDE
DIANE PAULUS
Art New England Contemporary art
and
Culture
November/December 2018 • Vol. 39 issue 6
NOVEMBER/ DECEMBER 2018
Critical. Compelling. Contemporary. Don’t miss a thing! Stay connected to New England’s unrivalled arts scene. To Subscribe: visit artnewengland.com Subscribers receive six issues per year and are invited to exclusive art salons, exhibitions, and openings throughout New England.
Available by subscription, on newsstands everywhere, and at special art events throughout the region.
ON THE COVER: Benjamin (B.F.) Perkins, Statue of Liberty, 1989, oil on canvas. Tufts University Permanent Collection: Gift of Andrew and Linda Safran, 2017.024. Photo: Steve Briggs.
Investigating the largest unsolved art heist in history. applepodcasts.com/lastseen
ABOUT THE COMPANY Nikki Massoud* (Emmy) has New York stage credits that include Bianca in Othello at New York Theatre Workshop, directed by Sam Gold and starring Daniel Craig. Her regional credits include the world premiere of Theresa Rebeck’s Zealot (South Coast Repertory), Marina/Thaisa in Pericles (Two River Theater), Emily in Our Town (Portland Center Stage), and Laura/ Rose in The Glass Menagerie Project (Arena Stage). Television credits include “Madam Secretary,” “Homeland,” “Odd Mom Out,” “Mozart in the Jungle,” and “Succession.” Ms. Massoud received her MFA from Brown University/ Trinity Repertory Consortium and also trained at the British American Drama Academy and Georgetown University.
A DOLL’S HOUSE, PART 2
Recent television appearances include “Chicago Fire” (NBC), “Empire” (FOX), “Sense8” (Netflix), and “SouthSide” (Comedy Central).
Lucas Hnath (Playwright) is the author of A Doll’s House, Part 2 which received eight Tony Award nominations, including Best Play. His other plays include Hillary and Clinton, Red Speedo, The Christians, A Public Reading of an Unproduced Screenplay About the Death of Walt Disney, Isaac’s Eye, and Death Tax. He has been produced on Broadway at the John Golden Theatre and Off Broadway at New York Theatre Workshop, Playwrights Horizons, Soho Rep, and Ensemble Studio Theatre. His plays have been produced nationally and internationally with premieres at the Humana Festival of New American Plays, Victory Gardens Theater, and South Coast Repertory. He has been a resident playwright at New Dramatists since 2011. Mr. Hnath has received the Kesselring Prize, Guggenheim Fellowship, Whiting Award, two Steinberg-ATCA New Play Award Citations, Outer Critics Circle Award for Best New Play, an Obie Award, and the WindhamCampbell Literary Prize. Les Waters (Director) is an Obie Award-winning director. From 2012 to 2018, he served as artistic director of Actors Theatre of Louisville, where he directed the premiere of Lucas Hnath’s The Christians and other new works by Jorge Ignacio Cortiñas, Sarah Ruhl, Anne Washburn and Dave Malloy, Will Eno, Charles Mee, and Mark Schultz. In 2009, he made his Broadway debut with Sarah Ruhl’s In the Next Room (or the vibrator play). In the last ten years, his productions have ranked among the year’s best in The New Yorker, The New York Times, Time Magazine, The Guardian, Time Out New York, and USA Today. In New York, his productions have been seen at BAM, Playwrights Horizons, Classic Stage Company, Second Stage Theater, The Connelly Theater, Signature Theatre Company, Soho Rep, The Public Theater, and Manhattan Theatre Club. Regional credits include productions at Berkeley Repertory Theatre, La Jolla Playhouse, Long Wharf Theatre, Mark Taper Forum, Kirk Douglas Theatre, American Repertory Theater, Goodman Theatre, Steppenwolf Theatre Company, Yale Repertory Theatre, and American Conservatory Theater. He led the MFA directing program at University of California, San Diego from 1995 to 2003.
* 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, PART 2
ABOUT THE COMPANY Andrew Boyce (Scenic Design) is a New York City- and Chicago-based designer working in theatre, opera, film, and television. New York City credits include Lincoln Center Theater, Roundabout Theatre Company, Atlantic Theater Company, Rattlestick Playwrights Theater, The Play Company, Playwrights Realm, Cherry Lane Theatre, and more. His regional credits include Actors Theatre of Louisville, Alliance Theatre, American Players, California Shakespeare Theater, Curtis Opera Theatre, Dallas Theater Center, Geffen Playhouse, George Street Playhouse, Goodman Theatre, Kirk Douglas Theatre, Long Wharf Theatre, Magic Theatre, Mark Taper Forum, Milwaukee Repertory Theater, The Old Globe, Opera Theatre of Saint Louis, Oregon Shakespeare Festival, Syracuse Stage, TheatreWorks, Westport Playhouse, and Yale Repertory Theatre. Mr. Boyce is a graduate of Yale School of Drama, and is currently an assistant professor in the Northwestern University theatre department. andrewboycedesign.com. Annie Smart (Costume Design) is originally from London where she designed sets and costumes for Joint Stock, the National Theatre, the Royal Court, and many others. US regional credits include Passing Strange, Rita Moreno: Life Without Makeup, Danny Hoch’s Taking Over, In the Next Room (or the vibrator play) (also on Broadway), and Tiny Kushner (Berkeley Repertory Theatre); Quixote Nuevo, Measure for Measure, The Glass Menagerie, Blithe Spirit, Candida, The Tempest, and Man and Superman (California Shakespeare Theater); and A Doll’s House, Night and Day, and The Threepenny Opera (American Conservatory Theater). Ms. Smart has also designed for The Public Theater, Arena Stage, BAM, Steppenwolf Theatre Company, Guthrie Theater, La Jolla Playhouse, Long Wharf Theatre, Magic Theatre, TheatreWorks, Actors Theatre of Louisville, and more. She was recently awarded Best Set Design by the San Francisco Bay Area Critics Circle for Guards at the Taj at Marin Theatre Company. She teaches performance design at UC Berkeley. Yi Zhao (Lighting Design) designed Becoming Cuba at the Huntington. His New York credits include Pipeline (Lincoln Center Theater); The House That Will Not Stand and Red Speedo (New York Theatre Workshop); Actually (Manhattan Theatre Club); Lynn Nottage’s Fabulation, or the Re-Education of Undine and Suzan-Lori Parks’ In the Blood and The Death of the Last Black Man in the Whole Entire World (Signature Theatre); and Thunderbodies, Revolt. She Said. Revolt Again., and FUTURITY (Soho Rep). Other regional credits include Berkeley Repertory Theatre, Guthrie Theater, Mark Taper Forum, American Conservatory Theater, Oregon Shakespeare Festival, Yale Repertory Theatre, Dallas Theater Center, Wilma Theater, and Shakespeare Theatre Company in DC. His designs for opera, music, and dance have been seen at ArtsEmerson, Curtis Institute of Music, Prototype Festival, and Ballet de Lorraine in France. He is a recipient of the 2016 Vilcek Prize for Creative Promise in Theatre. yi-zhao.com. J Jumbelic (Sound Design) has New England credits that include Lost Tempo, Every Piece of Me, Franklin, The Honey Trap, and Faithless (Boston Playwrights’ Theatre); Vicuña, A Great Wilderness, Cakewalk, The Boys in the Band, The Submission, The Big Meal, Bent, and The Normal Heart (Zeitgeist Stage Company); My Three Angels, Ghost Train, and Spamalot (The Barnstormers Theater); Small Craft Warnings (Provincetown Tennessee Williams Festival); The Laramie Project (Curry College); and 9 Parts of Desire (Capital Repertory Theatre); as well as sound compositions in collaboration with local Massachusetts
18 A DOLL’S HOUSE, PART 2
ABOUT THE COMPANY Alaine Alldaffer, CSA (Co-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 (Playwright Horizons and The Barrow Street Theater). 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.
A DOLL’S HOUSE, PART 2
choreographers. Currently he is at work on The Handmaid’s Tale (Boston Lyric Opera). He is the sound engineer at the Huntington Theatre Company.
Amy Potozkin, CSA (Co-Casting) is the director of casting and artistic associate at Berkeley Repertory Theatre. She has cast plays for A Contemporary Theatre (Seattle), Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, The Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Ms. Potozkin cast roles for various independent films, including Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and Love & Taxes, both by Josh Kornbluth; and Beyond Redemption by Britta Sjogren. Ms. Potozkin is a member of the Casting Society of America, and was nominated for Artios Awards for Excellence in Casting for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures; One Man, Two Guvnors; An Octoroon; and Angels in America. She received her MFA from Brandeis University, where she was also an artist in residence. Emily F. McMullen* (Production Stage Manager) has stage managed 25 shows for the Huntington over the past five years, including this season’s Man in the Ring and The Niceties and Top Girls, Bad Dates, Tartuffe, and Merrily We Roll Along last season. 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 Lexington Theatre Company, 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 and is a proud member of Actors’ Equity. Jeremiah Mullane* (Stage Manager) has previously stage managed Man in the Ring, Fall, Bad Dates, A Guide for the Homesick, The Who & the What, A Doll’s House, 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 at the Huntington. He has regional credits that include Blood on the Snow at Boston’s Old State House (The Bostonian Society); Love’s Labour’s Lost, A Midsummer Night’s Dream, and King Lear (Commonwealth Shakespeare Company); First You Dream and Follies (The Kennedy Center); Really Really, The Boy Detective Fails, Chess, [title of show], and Giant (Signature Theatre); and As You Like It, The Alchemist, The Way
* Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
HUNTINGTON THEATRE COMPANY 19
A DOLL’S HOUSE, PART 2
ABOUT THE COMPANY 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 11th season as Artistic Director at the Huntington where his directing credits include Moliére’s Tartuffe; Stephen Sondheim’s Sunday in the Park with George and A Little Night Music; the world premieres of Bernard Weinraub’s Fall, 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 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 Can You Forgive Her? (Vineyard Theatre), The Power of Duff with Greg Kinnear (New York Stage and Film/Powerhouse Theater); 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); and Jack Goes Boating with Philip Seymour Hoffman and The View From 151st Street (LAByrinth Theater Company/The Public Theater). 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. Mr. DuBois has directed multiple episodes of the podcast “Modern Love,” including its debut with Lauren Molina. 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. He has produced more than 200 productions in partnership with three artistic directors and is one of the most well-regarded managing directors in the theatre industry. Under his tenure, the Huntington has received over 150 Elliot Norton and Independent Reviewers of New England Awards, as well as the Tony Award for Outstanding Regional Theatre. Mr. Maso received the 2016 Massachusetts Nonprofit Network’s Lifetime Achievement Award, as well as 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. In 2004 the Boston Herald honored him as Theatre Man of the Year. Mr. Maso led the Huntington’s ten-year drive to build the Stanford Calderwood Pavilion at the
20 A DOLL’S HOUSE, PART 2
ABOUT THE COMPANY
A DOLL’S HOUSE, PART 2
Boston Center for the Arts, which opened in September 2004, and is currently leading the redevelopment and renovation of the Huntington Avenue Theatre. He previously served on the Boston Cultural Planning Steering Committee, as a member of the board for ArtsBoston, Theatre Communications Group (TCG), and StageSource, and as a site visitor, panelist, and panel chairman for the National Endowment for the Arts. 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. Prior to the Huntington, he 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. Christopher Wigle (Producing Director) is in his 19th season at the Huntington where he has produced over 80 productions. He has worked on Broadway, Off Broadway, and regionally for Lincoln Center Theater, Playwrights Horizons, the Bay Street Theatre, 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 awardwinning Broadway revivals of The Heiress and The Most Happy Fella, as well as two seasons as workshop director for the Williamstown Theatre Festival. Berkeley Repertory Theatre has grown from a storefront stage to an international leader in innovative theatre. Known for its ambition, relevance, and excellence, as well as its adventurous audience, the nonprofit has provided a welcoming home for emerging and established artists since 1968. Over 5.5 million people have enjoyed nearly 500 shows at Berkeley Rep, which have gone on to win five Tony Awards, seven Obie Awards, nine Drama Desk Awards, one Grammy Award, and many other honors. Berkeley Rep received the Tony Award for Outstanding Regional Theatre in 1997. Berkeley Rep’s bustling facilities — which also include the 400-seat Peet’s Theatre, the 600-seat Roda Theatre, the School of Theatre, and a spacious campus in West Berkeley — are helping revitalize a renowned city. Be a Rep.
BROADWAY @ THE HUNTINGTON
CHRISTINE EBERSOLE WITH SETH RUDETSKY SATURDAY, JANUARY 26
HUNTINGTON THEATRE COMPANY 21
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ABOUT THE HUNTINGTON THEATRE COMPANY 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 has received over 150 Elliot Norton and Independent Reviewers of New England Awards, as well as the Tony Award for Outstanding Regional Theatre. In the past 36 years, the Huntington has played to an audience of 3.5 million, presented over 200 plays (18 of which went on to Broadway or Off Broadway), and served over 500,000 students, community members, and other cultural organizations. Under the direction of Norma Jean Calderwood Artistic Director Peter DuBois and Managing Director Michael Maso, the Huntington brings together world-class theatre artists from Boston, Broadway, and beyond with the most promising new talent to create eclectic seasons of exciting new works and classics made current. A longstanding anchor cultural institution of Huntington Avenue, the Avenue of the Arts, the Huntington now fully owns the Huntington Avenue Theatre and is planning a transformational renovation and expansion of the historic venue, adding first-rate, modern amenities including a new entrance and expansive lobby, as well as expanding services to audiences, artists, and the community. The Huntington built the Stanford Calderwood Pavilion at the Boston Center for the Arts (BCA) in 2004 as a home for its new work activities and to provide a much-needed 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 serves 200,000 audience members each year at the Huntington Avenue Theatre and the Calderwood Pavilion at the BCA. Through a diverse and impactful range of nationally-renowned education and community programs, the Huntington engages 36,000 young people and adults in underserved neighborhoods each year. These programs include the Poetry Out Loud National Recitation Contest, the August Wilson Monologue Competition, the Huntington Community Membership Initiative, a youth playwriting program called EPIC, and the Student Matinee Series. The Huntington is a founding partner of Codman Academy Charter Public School and has collaborated with Codman for 17 years to create and teach its innovative, interdisciplinary humanities curriculum and run the Codman Summer Theatre Institute. A national leader in the development of new plays, the Huntington has produced more than 120 world, American, and New England premieres to date. Through the Huntington Playwriting Fellows program, the cornerstone of its new work activities, the Huntington supports local writers through two-year fellowships, and is also proud to serve as a home for Playwright-in-Residence Melinda Lopez. The Huntington cultivates, celebrates, and champions theatre as an art form and is committed to mentoring local playwrights, educating young people in theatre, and serving as a catalyst for the growth of dozens of Boston’s emerging performing arts organizations.
HUNTINGTON THEATRE COMPANY 23
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HUNTINGTON THEATRE COMPANY TRUSTEES & ADVISORS BOARD OF TRUSTEES David R. Epstein Chairman Sharon Malt President Carol B. Langer Treasurer Sherryl Cohen Clerk Carole Alkins David Altshuler Neal Balkowitsch John Cini Gerard H. Cohen
John Cohen Carol G. Deane James J. Dillon Betsy Banks Epstein William Finard David Firestone John Frishkopf Ann T. Hall Arthur C. Hodges Frederick Jamieson Nada Despotovich Kane Shelly Karol David Leathers Rumena Manolova- Senchak William P. McQuillan Ann Merrifield
Sandra Moose Anne M. Morgan Cokie Perry Bryan Rafanelli Mitchell J. Roberts John D. Spooner Linda H. Thomas Linda Waintrup J. David Wimberly Mary Wolfson Warren R. Radtke Trustee Emeritus
BOARD OF ADVISORS Neal Balkowitsch Kate Taylor Co-chairs Nancy S. Adams Kitty Ames Steven M. Bauer Camilla Bennett Nancy Brickley Jim Burns Suzanne Chapman J. William Codinha Bette Cohen Ivy B. Cubell Deborah First Anne H. Fitzpatrick
Maria Farley Gerrity Paul Greenfield Thomas Hamilton III Janice Hunt Linda Kanner Loren Kovalcik Sherry Lang Joie Lemaitre Jon A. Levy Tracie Longman Nancy Lukitsh Charles Marz Noel McCoy Thalia Meehan Daniel A. Mullin David R. Peeler
Tania Phillips Gail Roberts Donna J. Robinson Robert H. Scott Valerie Shey Ben Taylor George Ticknor Stephen M. Trehu Juliet Schnell Turner Tracey A. West John Taylor Williams Bertie Woeltz Melissa Wylie Fancy Zilberfarb Linda Zug as of December 10, 2018
HUNTINGTON THEATRE COMPANY 25
GIFTS TO THE HUNTINGTON’S COMPREHENSIVE CAMPAIGN The Huntington Theatre Company is extremely grateful for the extraordinary generosity of early donors to our Comprehensive Campaign, a five-year initiative launched in July 2017, designed to fund the renovation and expansion of our Huntington Avenue Theatre complex, grow and diversify our programs and offerings, increase the Annual Fund, and enhance our reserve and endowment funds. We are currently in the leadership phase of the Campaign. At the successful conclusion of the Campaign in 2022, generous donors to this effort will have provided the Huntington with the strongest possible foundation with which to serve and thrive as a vital part of the cultural fabric of Boston and beyond. To learn more about the Campaign, please contact Elisabeth Saxe, Chief Development Officer, at 617 273 1579 or esaxe@huntingtontheatre.org.
$5 million and above Carol G. Deane $1 million – $4,999,999 The Bigbird Fund Dr. John and Bette Cohen Sherryl and Gerard Cohen Susan and David Leathers Liberty Mutual Foundation Sharon and Brad Malt Ann Merrifield and Wayne Davis $500,000 – $999,999 Constance and Lewis Counts Denise and William Finard Jane and Fred Jamieson
Betsy and David Epstein Sandra Moose and Eric Birch‡ Jill and Mitchell Roberts Nancy and Edward Roberts Mr. J. David Wimberly Linda and Brooks Zug 2 anonymous gifts
Carol B. Langer Nancy Lukitsh John D. Spooner
$250,000 – $499,999 Nancy Adams and John Burgess Arthur C. and Eloise W. Hodges Shelly and Steve Karol Massachusetts Cultural Council
Cokie and Lee Perry Dr. Paul S. Russell Linda and Daniel Waintrup
$100,000 – $249,999 The Amelia Peabody Charitable Fund Neal Balkowitsch and Donald Nelson Jim Dillon and Stone Wiske Karen and David Firestone Debbie and Bob First John Frishkopf and Brett Mattingly
Gardner C. Hendrie and Karen Johansen Elizabeth and Woody Ives Ms. Anne M. Morgan Linda H. Thomas Mary Wolfson
$50,000 – $99,999 Suzanne Chapman Nada Despotovich Kane
Noel McCoy and Jack Fabiano Rumena and Alexander Senchak
The Huntington Theatre Company expresses gratitude for the generosity of donors to the Comprehensive Campaign under $50,000.
26 A DOLL’S HOUSE, PART 2
ANNUAL FUND | PATRONS CIRCLE The Huntington Theatre Company expresses its appreciation to all our Annual Fund donors for their generosity. Contributed revenue accounts for almost half our operating budget. Every gift to the Annual Fund is essential to fulfilling our mission. Patrons Circle donors provide vital philanthropy to support our world-class productions, emerging playwrights, and award-winning education and community programs. In recognition of their generosity, Patrons receive special access to our artistic process, artists, and leaders. To learn more, contact our Patrons Concierge at 617 273 1523 or visit huntingtontheatre.org/support.
Grand Benefactor Patrons ($100,000 and above) Sherryl and Gerard Cohen Carol G. Deane
Betsy and David Epstein Mr. J. David Wimberly
Gold Benefactor Patrons ($50,000 – $99,999) Dr. John and Bette Cohen Jane and Neil Pappalardo Donald Fulton‡ Jill and Mitchell Roberts Gardner C. Hendrie and Nancy and Edward Roberts Karen Johansen 1 anonymous gift Jane and Fred Jamieson Silver Benefactor Patrons ($25,000 – $49,999) Stephen Chapman Ann Merrifield and Wayne Davis Amey A. Defriez‡ Sandra Moose and Eric Birch‡ Jim Dillon and Stone Wiske Paula O’Keeffe Barbara and Amos Hostetter Cokie and Lee Perry Shelly and Steven Karol John D. Spooner Carol B. Langer Mr. and Mrs. Patrick J. Sullivan Nancy Lukitsh Linda and Daniel Waintrup Bill and Linda McQuillan Howard and Veronica Wiseman Benefactor Patrons ($10,000 – $24,999) Charles and Kathleen Ames M. Baldwin Family Fund Neal Balkowitsch and Donald Nelson Jane Brock-Wilson John Cini and Star Lancaster Jeffrey Dover and Tania Phillips, in honor of Erin Byrne and Sandra Yong Margaret Eagle and Eliezer Rapaport Jennifer Eckert and Richard D’Amore Denise and William Finard Karen and David Firestone Debbie and Bob First, in memory of Susan Spooner John Frishkopf Nicki Nichols Gamble Maria and Daniel Gerrity Karen and Gary Gregg Ann and John Hall Donna and Jay Hanflig Elizabeth and Woody Ives Nada Despotovich Kane Marjie and Robert Kargman
Adrienne Kimball Loren B. Kovalcik / IntePros Consulting Susan and David Leathers Joie Lemaitre Cecile and Fraser Lemley Mr. and Mrs. David Long Tracie L. Longman and Chaitanya Kanojia Mr. and Mrs. Peter E. Rawson, in memory of Marjorie and Edward Rawson Robert M. Rosenberg, in honor of Mary Wolfson Dr. Paul S. Russell Marilyn and Jay Sarles Coralie and Steve Schwartz Valerie Shey The Lawrence and Lillian Solomon Fund Linda H. Thomas John Travis Mary Wolfson Christopher R. Yens and Temple Gill 1 anonymous gift HUNTINGTON THEATRE COMPANY 27
ANNUAL FUND | PATRONS CIRCLE (continued) Premier Patrons ($5,000 – $9,999) Nancy Adams and Janice and Roger‡ Hunt John Burgess Gail King and Steven M. Bauer Christopher Condon Camilla Bennett Paul and Tracy Klein Susan and Michael Brown David A. Kronman Jim Burns Sherry Lang Katie and Paul Buttenwieser John and Jean Lippincott Brant Cheikes and Gregory Maguire Janine Papesh Sharon and Brad Malt J. William Codinha and Charles Marz Carolyn Thayer Ross Thalia Meehan and Laura and Neil Cronin Rev. Gretchen Joanne D’Alcomo and Grimshaw Steve Elman Amy Merrill, in honor of Anne W. Deane Donna Glick Jack Fabiano and Sharon Miller Noel McCoy Daniel A. Mullin Mr. and Mrs. William Fink Neubauer Family Anne H. Fitzpatrick Foundation, in memory Norman and Madeleine Gaut of Eric Birch Mary Beth and Chris Gordon Ned Murphy and Hodges Charitable Ann-Ellen Hornidge Foundation David Parker and Janet Tiampo
Mr. and Mrs. J. Daniel Powell Gail Roberts Donna J. Robinson Adrienne and Arnold Rubin, in honor of Sherry Cohen’s special birthday Debbie and Darin Samaraweera Rumena and Alexander Senchak Robert Sherblom♦ Ben and Kate Taylor Jean C. Tempel Drs. Stephen and Beth Trehu Mr. and Mrs. Steve Tritman Juliet Schnell Turner Norman Weeks Bertie and Anthony Woeltz Justin and Genevieve Wyner Dr. and Mrs. Jeffrey L. Zilberfarb 3 anonymous gifts
Preferred Patrons ($2,500 – $4,999) Alice and Walter Abrams Jill and John Avery, in memory of Eric Birch Michael Barza and Judith Robinson Dr. Susan E. Bennett and Dr. Gerald Pier Christina and Ky Bertoli♦ Carolyn Birmingham Nancy and Richard Brickley Kevin and Virginia Byrne Peggy and Anton Chernoff Nancy Ciaranello Rosalie Florence Cohen Catherine and Peter Creighton Ellen and Kevin Donoghue Jonathan Dyer and Thomas Foran Edmund and Betsy Cabot Charitable Foundation Matthew Fine, in honor of Gerry Cohen Mark E. Glasser and Frank G. McWeeny Peter and Jacqueline Gordon Phil Gormley and Erica Bisguier 28 A DOLL’S HOUSE, PART 2
Paul Greenfield and Sandra Steele Garth and Lindsay Greimann Jeanne Hagerty Deborah and Martin Hale Betsy and David Harris Mr. and Mrs. James L. Hartmann Bob Hiss and Mary Riffe Hiss Prof. and Mrs. Morton Z. Hoffman Emily Hughey Terence Janericco Linda and Steven Kanner Paul and Elizabeth Kastner Seth and Mary Kaufman Ted and Ann Kurland Drs. Lynne and Sidney Levitsky Jon A. Levy Ann Lord-Brezniak Ann D. Macomber The Mancuso Family Mary T. Marshall Mike and Mary McConnell Charles Merrill‡ Joseph Misdraji Coleen and David Pantalone
Jackie and Bob Pascucci George Pettee, in memory of Pamela Tucker Joseph L. Bower and Elizabeth Potter Richard Powers and Stephen Schram Deborah and S. Caesar Raboy Victoria and John Rizzi Mr. and Mrs. Owen W. Robbins Mona Roberts, in memory of Clara H. Jones Jan and Joe Roller Ellen Sheehy and Scott Aquilina Rebecca Jean Smith Bruce and Emily Stangle Naomi Stearns, in honor of Bill & Dee Finard Helen and Jack Stewart George and Kathryn Ticknor Mindee Wasserman Elizabeth and Caleb White Dr. Elaine Woo 1 anonymous gift
ANNUAL FUND | PATRONS CIRCLE (continued) Patrons ($1,000 – $2,499) Carole and Leonard Alkins Carol Baker George and Katharine Baker Kate and Gordon Baty Mr. and Mrs. George Beal Howard H. Bengele Deborah L. Benson and Frederic J. Marx Susana and Clark Bernard Edward Boesel Lori Bornstein and Alan Rothman Stephen and Traudy Bradley Pam and Lee Bromberg Paul Buddenhagen, in memory of Eric Birch A. William and Carol Caporizzo Cara and Anthony Casendino Ronald G. Casty George and Mary Chin Ken and Ginny Colburn Beth and Linzee Coolidge Dean K. Denniston, Jr. Tim and Linda Diering Virginia Drachman and Douglas Jones Susan Ellerin Jerome and Vivien Facher Barbara and Larry Farrer Newell Flather Susan Gardner Mr. and Mrs. Richard C. Garrison Mr. and Mrs. Frederick Gates Lori and Michael Gilman Mr. K. Frank Gravitt Drs. Laura Green and David Golan Irene and Stephen Grolnic Louis and Patti Grossman Katherine Haltom H. Patricia Hanna Diane and Kirk Hartung
Kathleen Henry and Kim Marrkand Mr. and Mrs. Stephen T. Hibbard, in honor of David Wimberly Rosalind and Herbert Hill Barbara Hirshfield and Cary Coen, in honor of Sherry and Gerry Cohen Lyle Howland Susan M. Hunziker Adrienne and Peter Jaffe Holly and Bruce Johnstone Katherine and Hubie Jones Rev. Dr. Katherine Kallis John and Marilyn Keane Liza Ketchum and John H. Straus, MD John T. Kittredge Dorothy and Richard Koerner Susie and David Kohen Anne and Geoff Lafond, in honor of David Wimberly Barrie Landry Rhonda and Stewart Lassner Mr. and Mrs. Francis V. Lloyd III Anthony Lucas Janet Mack Stuart and Yvonne Madnick Mahmood Malihi Joan C. McArdle Louise and Sandy McGinnes Jack and Susan McNamara Mr. and Mrs. William Mitchell, in memory of Ginnie Wimberly Michael and Donna Moskow Bill and Ginny Mullin Jonette Nagai and Stephen O’Brien Fred and Julie Nagle Mark Nelke and Bill Snavely Peter C. Nordblom Eric and Elizabeth Nordgren
Tom Norris Janet and David Offensend Dr. and Mrs. John William Poduska, Sr. Mrs. Murray Preisler Suzanne Priebatsch Warren R. Radtke and Judith Lockhart-Radtke Katharine and William Reardon Jessica and David Reed Lynn and John Reichenbach Sally C. Reid and John D. Sigel Sharon and Howard Rich Sue Robinson Sari Rosman Susan and Geoffrey Rowley Allison K. Ryder and David B. Jones Rohini Sakhuja Diane and Richard Schmalensee William Schutten Tom Shapiro and Emily Kline Jane E. Shattuck Mr. and Mrs. Ross Sherbrooke Vivian and Lionel Spiro Nancy and Edward Stavis Beth and Michael Stonebraker Lise and Myles Striar Beth and Larry Sulak Hope and Adam Suttin Kenneth R. Traub and Pamela K. Cohen Robert C. Volante Dr. Ronald Weinger Tracey Allyson West P.T. Withington Melissa and Jay Wylie Jerold and Abbe Beth Young Robert E. Zaret 3 anonymous gifts
ANNUAL FUND | SUPPORTERS CIRCLE
Sustaining Supporters ($500 – $999) Rosanna Alfaro Jerry M. Bernhard Elizabeth Aragao♦ Leonard and Jane Bernstein John and Rose Ashby, in honor Linda Cabot Black Foundation of Ann Hall Jeffrey Borenstein John and Molly Beard Barry Brown and Ellen Shapiro Kathleen Beckman Mrs. Barbara Buntrock-Schuerch Danielle Belanger and Thomas Burger and Andree Robert Robert Sparkes Eric Butler♦ Martin S. Berman and Patricia Chadwick and Mary Ann Jasienowski Norman Cantin
Mr. and Mrs. Charles S. Cheston, Jr. Lynda and John Christian Janet L. Comey, in honor of Michael T. Comey Alison Conant and Richard Frank Nancy Myers Coolidge Karolye and Fernando Cunha Lloyd and Gene Dahmen Marguerite Davoren Terry Decima
HUNTINGTON THEATRE COMPANY 29
ANNUAL FUND | SUPPORTERS CIRCLE (continued) Joan Dolamore Gordon Edes Dr. Rachela Elias and Gedalia Pasternak Martha A. Erickson Ellen Fallon Jonathan S. Felt Pierre Fleurant Dr. and Mrs. Richard Floyd Hilary and Chris Gabrieli Moira and Barry Gault, in honor of Nancy E. Carroll Harry and Deborah Graff, in honor of the J. David Wimberly Family Katherine Gross Gail and Jan Hardenbergh Eunice M. Harps Dr. and Mrs. George Hatsopoulos Mr. and Mrs. Thomas High Peggy and Ronald Hillegass, in honor of Nancy and Tom Hamilton Toini and Carl Jaffe Peter Jenkins Leonard W. Johnson, in memory of Virginia Wimberly Gopal Kadagathur and Sarah Gallivan, in memory of Eric Birch Mr. and Mrs. Gerald Karon Nancy R. Karp Jane Katims and Daniel Perlman Amelia and Joshua Katzen Michael and Dona Kemp Mary S. and Duncan Kennedy Jill Kneerim
John and Sharon Koch Yuriko Kuwabara and Walter Dzik Kristine Langdon, in memory of Eric Birch Jenny and Jay Leopold Nancy Levy Kate Lewandowski and Adam Guren♦ Darline Lewis and Marshall Sugarman Dr. and Mrs. David Lhowe Elizabeth Lintz Babette and Peter Loring Joseph Machera Barbara A. Manzolillo Edward Marram Bronwyn Martin, in memory of Travis Martin W. Kathy Martin and David L. Johnson James D. Maupin Dan and Mary Miller Julie Nadal William Pananos Marianne Pasts Ellen C. Perrin Susan Pioli and Martin Samuels James Poterba and Nancy Rose, in memory of Eric Birch Lisa and Tom Redburn Charles Reed and Ann Jacobs Carla Reeves and Luis Borrero Michelle and Aaron Rhodes♦ Christina Rifkin Michael and Jane Roberts Richard and Jean Roberts Barbara Roby
Terry Rockefeller and William Harris Christine and David Root Diane Rosenberg Pauline and Robert Rothenberg Kathleen and William Rousseau George A. Russell, Jr. Vinod and Gaile Sahney David and Anne Salant Susan and Bob Schechter, in honor of Donald Nelson and Neal Balkowitsch Barbara Schmitt William and Elisabeth Shields David W Shuckra and Clifford S Wunderlich Mark Smith and John O’Keefe Edward and Maybeth Sonn Lee Steele Bob and Dorothy Stuart Margaret M. Talcott and L. Scott Scharer Janet Testa Judy Thomson Rosamond B. Vaule John and Cheryl Walsh, in memory of Kevin J. Walsh Mrs. Raymond Walther Constance V. R. White Margaret J. White, in honor of Sherry Cohen’s special birthday Richard and Frances Winneg Clark Wright and Lisa Goldthwait Wright 1 anonymous gift
Continuing Supporters ($250 – $499) James Alexander and Thomas Stocker David and Holly Ambler Tammy Arcuri Carolyn and John Baird Mr. and Mrs. James Banker Emily Barclay and John Hawes Elizabeth Barrett David Barry Desiree and Jacob Barry♦ Bill and Annie Barton, in honor of Ann Hall Mr. and Mrs. Milton E. Berglund John Biderman Robert Bienkowski Drs. Brian and Rachel Bloom Mr. and Mrs. Kenyon C. Bolton III Eric and Sandra Brenman Jeremiah J. Bresnahan Allan and Rhea Bufferd Diane Buhl and Mark Polebaum Daniel C. Burnes Renee Burns
Margaret Bush Maryellen Callahan Charles R. Carr Ronna M. Casper and Isaac Greenberg Mary Chin Scott Chisholm and Afshan Bokhari Judith Clementson John Clippinger Priscilla Cogan Phyllis Cohen Steven Cohen Steven Coleman and Christine Tunstall Robert and Amanda Crone Catherine Crow Harold S. Crowley, Jr. James F. Crowley Paul Curtis Peter A. Cygan Harriet Davis, in memory of Eric Birch Raymond De Rise
Jane and Stephen Deutsch Susan and Digger Donahue, in loving memory of Eric Birch Lisa and Oliver Dow Walter and June Downey Owen Doyle Grace Durrani Mr. Glenn Edelson Diane F. Engel Nicole Faulkner Mike Feldstein and Amy Mazur Ariane and Stefan Frank Joseph Genovese Jack and Maureen Ghublikian Suzanne Greenberg Susan Haller Kate Haney Judith Harris Elizabeth Harrison Lewis Hays Ann Karen Henry Andrew Himmelblau Esther and Richard Hochman
30 A DOLL’S HOUSE, PART 2
ANNUAL FUND | SUPPORTERS CIRCLE (continued) Lindsey Humes Charlene and John Ingham, in memory of Eric N. Birch Jill Jackson Kerry James Candace Jans Richard Johnston Mark and Tess Jrolf Mr. and Mrs. Nathan Kalowski Neal Kane Yetta Katz Mr. and Mrs. James P. Keeney Paul Kelly Joan G. Kinne Nancy Korman and Ken Elgart Drs. Carol and Ben Kripke Joan Kuhn Carol Lazarus Ned and Patsy Leibensperger Timothy Leland and Julie Hatfield Pamela F. Lenehan, in memory of Eric Birch June K. Lewin, in memory of Ted Kazanoff Laurel C. Lhowe Sigrid Lindo Caroline and James Lloyd Jim and Allie Loehlin Priscilla Krey Loring Paul Mahoney Robert Mann Marietta Marchitelli Amy and Bill Marshall Erin Martin Arthur Mattuck Lindsay McNair Gabriella Meyer
Mr. and Mrs. Tremont Miao Lindsay Miller and Peter Ambler Adam and Denise Moehring Margaret Mone John Montgomery Mr. and Mrs. Cornelius Moynihan Eileen Murray Martha Narten Nader Nazari Kimberly and David Nelson Mr. and Mrs. Francis W. Newbury, Jr. Carol and Davis Noble, in memory of Eric Birch Nancy and Chris Oddleifson James Packer Steve Pattyson Michael Pavel Payne/Bouchier, Inc. Suzanne and Bob Petrucci Mr. and Mrs. Harry Photopoulos Josephine Pizzuto, in memory of Pat Pizzuto Mr. and Mrs. Ronald Proulx Martin and Deborah Quitt Peter and Suzanne Read Mr. and Mrs. William Reed Patricia Robinson Anne Romney Etta and Mark Rosen Abby Rosenfeld Leila Joy Rosenthal Michelle Rosner and Ken Kurnos Mr. and Mrs. Michael Rotenberg Nancy L. Russell Dr. and Mrs. Norman Sadowsky Kim and Eric Schultz Mark Seliber
Diana Seufert Sayre Sheldon James Shields and Gayle Merling Kay Shubrooks Candelaria Silva-Collins and Tessil Collins Margaret and Michael Simon Rita and Harvey Simon Ellen L. Simons Peter L. Smith and Donna J. Coletti Michele Steinberg Glenn and Katherine Strehle Karen and Hale Sturges Ellen Beth Suderow Rebecca Sullivan Linda Sutter and Steven Centore Jacob Taylor and Jean Park Mark Thurber Patricia Tibbetts Mr. and Mrs. Mario Umana Pat and Steve Vinter Kenneth Virgile and Helene Mayer Christopher Wade Susan Warshauer, in memory of Eric Birch Susan Weiler Sylvia Welsh David White Elizabeth P. Wolf Mary and Gary Wolf David C. Wright Marilyn Wright Mr. and Mrs. John Wyman Lorena and Robert Zeller 10 anonymous gifts
This list reflects gifts received during the 12 months prior to December 10, 2018. ♦ Member of the Hunt, the Huntington’s community of young donors. For more information or to join, visit huntingtontheatre.org/thehunt. ‡ Deceased Every effort has been made to assure accuracy of listings. Please bring errors or omissions to the attention of Elizabeth MacLachlan at 617 273 1523 or emaclachlan@huntingtontheatre.org.
PLEASE MAKE YOUR ANNUAL FUND GIFT TODAY! DAVID MARSHALL
Your support will ensure access to the arts for 30,000 students this season.
2018 August Wilson Monologue Competition participants
Visit huntingtontheatre.org/donate or call 617 273 1522 HUNTINGTON THEATRE COMPANY 31
ANNUAL FUND | CORPORATE, FOUNDATION & GOVERNMENT FUNDERS 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. Executive Season Producers ($100,000 and above) The Andrew W. Mellon Foundation The Barr Foundation The Shubert Foundation, Inc.
Benefactors ($15,000 – $24,999) Harold and Mimi Steinberg Charitable Foundation Kingsbury Road Charitable Foundation** MEDITECH
Season Co-Producers ($50,000 – $99,999) Hershey Family Foundation Massachusetts Cultural Council**
Patrons ($10,000 – $14,999) Alfred E. Chase Charity Foundation BPS Arts Expansion Fund at EdVestors** The Tiny Tiger Foundation**
Production Sponsors ($25,000 – $49,999) Bank of America** The Boston Foundation** Cabot Family Charitable Trust Eaton Vance Wealth Management Edgerton Foundation Liberty Mutual Foundation** National Endowment for the Arts
Supporters ($5,000 – $9,999) Atlantic Philanthropies Berkshire Partners Goodwin Nutter Proskauer LLP
Ramsey McCluskey Family Foundation** Rockland Trust Company Ropes & Gray LLP WilmerHale Members ($2,500 – $4,999) Boston Cultural Council Jackson and Irene Golden 1989 Charitable Trust** Rodgers Family Foundation Roy A. Hunt Foundation** Surdna Foundation Thank you to our in-kind contributors Constangy, Brooks, Smith & Prophete LLP High Output MAX Ultimate Food Noble Ford Productions Rafanelli Events
** Education and community programs donor
32 A DOLL’S HOUSE, PART 2
THE HUNTINGTON LEGACY SOCIETY BUILDING A LEGACY OF GREAT THEATRE — The Huntington Legacy Society is comprised of philanthropists who want to ensure that great theatre lives on in Boston for generations to come. With our home now secure on the Avenue of the Arts, gifts through wills or estate plans are vital to a successful future for the Huntington. These gifts ensure that together we can continue to produce great theatre and have a lasting impact through our award-winning youth, education, and community initiatives. To learn about ways to give now and for the future, please visit huntingtontheatre.org/legacy. If you have already included the Huntington in 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.
Neal Balkowitsch and Donald Nelson Howard H. Bengele Suzanne Chapman Brant A. Cheikes Sherryl and Gerard Cohen Carol G. Deane Jim Dillon and Stone Wiske Susan Ellerin Arthur C. and Eloise W. Hodges Jane and Fred Jamieson Mary Ellen Kiddle Carol B. Langer Joie Lemaitre
Sharon and Brad Malt Bill and Linda McQuillan Mary C. O’Donnell Nancy and Edward Roberts Steve Stelovich Robert C. Volante Linda and Daniel Waintrup Margaret J. White J. David Wimberly Veronica and Howard Wiseman Mary Wolfson Genevieve and Justin Wyner 1 anonymous
“Has any play permeated popular culture as thoroughly as Romeo and Juliet?”
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— THE BOSTON GLOBE
HUNTINGTON THEATRE COMPANY 33
HUNTINGTON AVENUE 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 Huntington Avenue 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). Website: huntingtontheatre.org Ticketing Services: 617 266 0800 Ticketing Services email: tickets@huntingtontheatre.org Administrative office: 617 266 7900 Administrative office email: thehuntington@huntingtontheatre.org Lost and Found: 617 273 1666
Ticketing Services Hours Ticketing Services 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 Ticketing Services at 617 266 0800.
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 Brenton Thurston for more information at 617 273 1661 or groups@huntingtontheatre.org.
Public Transportation We encourage patrons to use public transportation to the Huntington Avenue 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 ArborwayCopley bus to Gainsborough Street.
If Your Plans Change We hate to see empty seats. Please consider donating any tickets you can’t use. For more information please call Ticketing Services at 617 266 0800.
Refreshments Snacks, wine, beer, soft drinks, and coffee are available before opening curtain 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 The videotaping or other video or audio recording of this production is strictly prohibited.
Pagers and Cellular Phones Please silence all watches, pagers, and cell phones during the performance.
Wheelchair Accessibility The Huntington Avenue Theatre is accessible by ramp and can accommodate both wheelchair and companion seating in the orchestra section. A power assisted door is located at the far left Ticketing Services entrance. Please notify us when you purchase your tickets if wheelchair accommodations will be required and confirm arrangements with the House Manager at 617 273 1666.
Hearing Enhancement The Huntington Avenue 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.
Restrooms
Huntington Avenue Theatre Parking
Located in the lower-level and balcony lobbies. A wheelchair-accessible restroom is located in the main lobby on the first floor.
Parking is available at many nearby locations. For details, please visit huntingtontheatre.org or call Ticketing Services at 617 266 0800.
Coat Check Located in the lower lobby.
Please note that these parking garages are independently owned and operated and are not affiliated with the Huntington Theatre Company or the Huntington Avenue Theatre.
If You Arrive Late In consideration of our actors and other audience members, latecomers will be seated at the discretion of the management. Large Print Programs Large print programs are free of charge and are available in the main lobby.
34 A DOLL’S HOUSE, PART 2
BOSTON UNIVERSITY THEATRE •• EMERGENCY MAPMAP HUNTINGTON AVENUE THEATRE EMERGENCYEVACUATION EVACUATION 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
2nd floor (mezzanine, opera boxes, lobby)
1st floor (orchestra, main lobby)
One of the New York Times’ Top Ten Plays of 2015!
SUPPORTING
HEALTHY OUTCOMES FREE 3-DAY PASS
COME IN FOR A TOUR TODAY! This pass entitles an individual or family to experience the YMCA for one week before 12/31/2016. 6/30/2019 Valid for new free trial participants over the age of 18. Government issued identification is required to enter the YMCA.
Tickets from $25 SpeakEasyStage.com (617) 933-8600
HUNTINGTON AVENUE YMCA 316 Huntington Avenue, Boston, MA 02110 HUNTINGTON THEATRE COMPANY 35
STAFF Peter DuBois
Michael Maso
ADMINISTRATION General Manager................................................Sondra R. Katz Associate General Manager.........................Conwell Worthington III General Management Assistant.................................. Katy Poludniak Company Managers........................Jazzmin Bonner, Meagan Garcia Executive Assistant to the Managing Director.......................................................Mackenzie Cala
Huntington Avenue Theatre Ticketing Coordinator......................................................Robin Russel Ticketing Associates.................................................... Carolyn Andrews, Michaela Buccini Full-Time Customer Service Rep.................................. Fanni Horvath, Andrew Mackay Customer Service Reps........................................Sue Dietlin, Kaylah Dixon, Kristina Dugas, Amanda Haag, Shana Jackson, Patrick Mahoney, Zoe Nadal, Katelyn Reinert, Brittany Schmitke, Rita Youssef
Norma Jean Calderwood Artistic Director
Finance Director of Financial Management................. Glenda Fishman Accounting Manager.............................................................. June Zaidan Accounting Coordinator............................................................Jon Slater Accountants....................................Alexander, Aronson, Finning, CPA Human Resources Director of Human Resources.......................... Nina E. Nicolosi Human Resources Coordinator.................................... Michael Comey Payroll and Reporting Specialist...................................April Swiniuch Administrative Support Assistant...............................Sarah Schnebly Information Technology IT Director................................................................Scott Poole Network Administrator....................................................... Dan Moloney Theatre Operations Director of Theatre Operations................Timothy H. OConnell Patron Experience Coordinator........................................... JB Douglas Theatre Operations Apprentice........................................ Alicia Weber Security Coordinator...............................................................Greg Haugh Custodian.................................................................................Jose Andrade Calderwood Pavilion Calderwood Pavilion Manager...............................................Katie Most Calderwood Pavilion House Manager........................Julie Cameron Calderwood Pavilion Management Associate...............................Matt Feldman-Campbell Calderwood Pavilion Apprentice....................................... Teresa Cruz Calderwood Facilities Technician.............................Luis Rodriquez Calderwood Pavilion Assistant House Managers..........................................Paul Fox, Gabe Hughes, Ksenia Lanin, Maura Neff, Micaela Slotin Calderwood Pavilion Front of House Staff..........................................Chabreah Alston, Cullen Burling, Robert Caplis, Mia Coffin, Barbara Crowther, Linnea Donnelly, Casey Greenleaf, Kerry Lydon, Terry McCarthy, Brittany McKenzie, Tiniqua Patrick, Nick Perron, Mirabella Pisani, Kelly Roper, Elliot Simmons-Uvin, Sarah Schnebly, Ciera-Sadé Wade Huntington Avenue Theatre Huntington Avenue Theatre Front of House Staff.......................Erica Brown, Delali Davies, Terrence Dowdye, Kristina Dugas, Owen Elphick, Kendrick Evans, Robin Goldberg, Ariana Goldsworthy, Tiwat Laoboonchai, Patrick Mahoney, Will Morrison, Samantha Myers, Yurika Watanabe Ticketing Services Ticketing Services Manager......................................................Ellen Holt Assistant Ticketing Services Manager................. Brenton Thurston Calderwood Pavilion Ticketing Coordinator....................Noah Ingle
36 A DOLL’S HOUSE, PART 2
Managing Director
ARTISTIC Producing Director.......................................Christopher Wigle Associate Producer................................................... Rebecca Bradshaw Director of New Work.................................................Charles Haugland Playwright-in-Residence..................................................Melinda Lopez Literary Associate.....................................................J. Sebastián Alberdi Assistant to the Artistic Director...................................... Caley Chase Producing Apprentice.........................................................Alexis Scheer Literary & Marketing Apprentice.................................Adriana Zuñiga Huntington Playwriting Fellows................................. MJ Halberstadt, Brenda Withers DEVELOPMENT Chief Development Officer................................Elisabeth Saxe Director of Development................................Jessica Morrison Senior Major Gifts Officer..........................................Margaret J. White Major Gifts Officer..............................................................Celina Valadao Development Events Manager....................................... Emma Blaxter Institutional Giving Manager...........................Diana Jacobs-Komisar Individual Giving Manager...............................................Annalise Baird Campaign Manager...........................................................Robin Valovich Manager of Development Operations, Research & Stewardship...............................Elizabeth MacLachlan Special Events Coordinator................................................ Sam Buntich EDUCATION Interim Co-Directors of Education.......................Meg O’Brien, Alexandra Smith Education Associate.............................................................. Daniel Begin Education Associate..............................................................Marisa Jones Teaching Artist Fellow...................................................................Ivy Ryan Education Apprentice........................................................Dylan C. Wack Teaching Artists....................................Naheem Garcia, Keith Mascoll, Allie Meek-Carufel, Trinidad Ramkissoon MARKETING Director of Marketing............................................Anne Rippey Associate Director of Marketing...................... Meredith Mastroianni Tessitura Analytics Manager........................................... Derrick Martin Digital Media Specialist.............................................................. Paul Lazo Graphic Design Coordinator............................................Lauren Calder Promotions & Community Coordinator.....................................................Cheyenne Cohn-Postell Digital Marketing Coordinator..............................................Leah Reber Marketing Associate............................................................Laura Cafasso Literary & Marketing Apprentice.................................Adriana Zuñiga PUBLIC AFFAIRS Director of Public Affairs and Strategic Partnerships...................................... Temple Gill Publicist...............................................................................Danielle Morales Community Membership Coordinator.....................................................Candelaria Silva-Collins
STAFF (continued) PRODUCTION Director of Production................................... Todd D. Williams Associate Director of Production................................... Bethany Ford Production Management Apprentice.............................. Lucas Dixon Stage Management Apprentice........................................ Juli Merhaut
Paints Charge Scenic Artist............................................Kristin Krause Assistant Charge Scenic Artist...........................Romina Diaz-Brarda Scenic Artist...........................................................................Chelsey Erskin Scenic Painting Apprentice..................................................Rhi Sanders
Scenery Technical Director.................................................. Dan Ramirez Associate Technical Director........................................ Adam Godbout Assistant Technical Director..................................................Dan Oleksy Assistant Technical Director........................................Michael Huxford Scene Shop Foreman..............................................................Mike Hamer Master Carpenter....................................................................Larry Dersch Carpenters....................................................................Andrew Cancellieri, Milosz Gassan, Christian Lambrecht, Nick Hernon Carpenter/Scene Shop Assistant...........................Carolyn Daitch Calderwood Pavilion Stage Supervisor......................Rachael Hasse Huntington Avenue Theatre Stage Carpenter...........................................................Joseph Fanning Scenery Apprentice............................................... John Graham Parker
Costumes Costume Director.......................Carolyn Hoffmann-Schneider Assistant Costume Director................................. Virginia V. Emerson Costume Design Assistant...................................... Kathryn Schondek Head Draper...........................................................................Anita Canzian Costume Crafts Artisan/Dyer................Denise M. Wallace-Spriggs First Hand............................................................................Rebecca Hylton Wardrobe Supervisor..........................................................Christine Marr Associate Wardrobe Supervisor.............................Barbara Crowther Wigmaster...............................................................................Troy Siegfreid Costumes Apprentice...............................................................Luisa Earle
Properties Properties Master.............................................Kristine Holmes Assistant Properties Master.............................................Justin Seward Properties Artisan.....................................................................Ian Thorsell Properties Run................................................................Andrew DeShazo Properties Apprentice................................................. Duncan Kennedy
Electrics Lighting & Projections Supervisor................. Katherine Herzig Assistant Lighting Supervisor....................................... Bridget Collins Calderwood Pavilion House Electrician............................Taylor Ness Huntington Avenue Theatre House Electrician................................................................... Sean Baird Sound Sound Supervisor................................................. Ben Emerson Sound Engineer........................................................................... J Jumbelic Calderwood Pavilion Sound Engineer..................... Jesse McKenzie Sound Apprentice................................................................Paula Halpern
Additional Staff for A Doll’s House, Part 2 Carpenters.............................Andrew Adamopoulos, Slava Tchoul Associate Lighting Designer............................................Marika Kent Assisant to the Lighting Designer..................... Hannah Solomon
Electricians.........................................Carmen Alfaro, Kevin Barnett, Kyle Blanchette, Dean Covert, Tyler Ericson, Kyle Lampe, Steve Manifold, Ricky Roman, Zach Straeffer, Ali Witten
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
GUIDE to LOCAL THEATRE BEAUTIFUL: THE CAROLE KING MUSICAL, Boston Opera House, 539 Washington St., 866-523-7469. Jan 29–Feb 10. This musical tells the inspiring true story of Carole King’s remarkable rise to stardom, from being part of a hit songwriting team with her husband Gerry Goffin, to her relationship with fellow writers and best friends Cynthia Weil and Barry Mann, to becoming one of the most successful solo acts in popular music history. Along the way, she made more than beautiful music—she wrote the soundtrack to a generation. 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. THE END OF TV, Manual Cinema, Robert J. Orchard Stage, Emerson Paramount Center, 559 Washington St., 617-8248400. Jan 16–27. Set against the grain of a Midwestern city in decline, an elderly white woman and a young black woman build a genuine connection amongst all of the chatter of the television ads that surround daily American life. ROALD DAHL’S CHARLIE AND THE CHOCOLATE FACTORY, Boston Opera House, 539 Washington St., 866-523-7469. Jan 8–20. Willy Wonka is opening his marvelous and mysterious chocolate factory to a lucky few. That includes Charlie Bucket, whose bland life is about to sweeten with color and confection beyond his wildest dreams. He and four other golden ticket winners embark on a joyride through a mesmerizing world, complete with songs from the original film, including “Pure Imagination,” “The Candy Man” and “I’ve Got a Golden Ticket.” SCHOOL OF ROCK, Boston Opera House, 539 Washington St., 866-523-7469. Feb 12–24. Based on the hit film, this hilarious new musical follows Dewey Finn, a wannabe rock star posing as a substitute teacher who turns a class of straight-A students into a guitar-shredding, bass-slapping, mind-blowing rock band. This high-octane smash features 14 new songs from Andrew Lloyd Webber, all the original songs from the movie and musical theatre’s first-ever kids rock band playing their instruments live on stage. 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 38 A DOLL’S HOUSE, PART 2
Joan Marcus
DOWNTOWN/THEATRE DISTRICT
EYE CANDY: The musical version of the classic children’s book, complete with songs from the beloved 1971 film adaptation, comes to vibrant life when Roald Dahl’s Charlie and the Chocolate Factory sets up shop at the Boston Opera House January 8–20. knocked off. Whodunit? Join the fun as the audience matches wits with the suspects to catch the killer in this wildly popular comedy. TO THE SOURCE, AST National Academy of Theatre Arts, Robert J. Orchard Stage, Emerson Paramount Center, 559 Washington St., 617-824-8400. Jan 30–Feb 3. When a group of young artists unearth a mother lode of folk songs and classic compositions from the period when Poland was partitioned and its national identity erased from the map of the world, they discover their true cultural inheritance. WHEN ANGELS FALL, Emerson Cutler Majestic Theatre, 219 Tremont St., 617-824-8400. Feb 20–24. This delightfully dark and entrancing production from French interdisciplinary pioneer Raphaëlle Boitel employs dance, cinema and circus to weave a tale of flightless angels surviving in a post-apocalyptic world.
LOCAL/REGIONAL THEATRE BARBER SHOP CHRONICLES, American Repertory Theater, Loeb Drama Center, 64 Brattle St., Cambridge, 617-547-8300. Through Jan 5. Newsroom and political platform, confession box and stadium—for generations, barber shops have been places where African men gather to discuss the world. Leaping from London to Johannesburg, Harare, Kampala, Lagos and Accra, Inua Ellams’ dynamic new play traces the global ties between these spaces where the banter can be barbed and the truth is always telling. BEDLAM’S PYGMALION, Underground Railway Theater, Central Square Theater, 450 Massachusetts Ave., Cambridge, 866-811-4111. Jan 31–Mar 3. Eric Tucker’s gritty, fresh interpretation of George Bernard Shaw’s classic brings Eliza
Doolittle, Professor Higgins (performed by Tucker) and a cast of characters to life with just six actors. BIRDY, Commonwealth Shakespeare Company, Carling-Sorenson Theater, Sorenson Center for the Arts at Babson College, 19 Babson College Dr., Wellesley, 866-811-4111. Feb 27–Mar 10. Two men—Birdy, an odd young man who spends his time collecting pigeons and canaries for his aviary and his best friend, Al—cope with the trauma of their experiences during World War II. When Birdy retreats from the world by completely assuming a bird identity, Al intervenes in a last-ditch effort to try to lure Birdy out of his delusion before it’s too late. BLOOD RELATIONS, The Footlight Club, 7A Eliot St., Jamaica Plain, 617-524-3200. Feb 2–16. This psychological murder mystery is based on historical fact and speculation surrounding the life of Lizzie Borden and the murders of her father and stepmother, crimes with which Borden was charged. THE CHRISTIANS, Apollinaire Theatre Company, Chelsea Theatre Works, 189 Winnisimmet St., Chelsea, 617-887-2336. Feb 15–Mar 9. Twenty years ago, Pastor Paul’s church was nothing more than a modest storefront. Now he presides over a congregation of thousands, with classrooms for Sunday school, a coffee shop in the lobby and a baptismal font as big as a swimming pool. Today should be a day of celebration, but Paul is about to preach a sermon that will shake the foundations of his church’s belief in Lucas Hnath’s acclaimed drama. DISNEY’S THE LITTLE MERMAID, Create. Inspire. Change. Theater Company, MainStage Theater, The Dorothy and Charles Mosesian Center for the Arts, 321 Arsenal St., Watertown, 617923-8487. Jan 13. In a magical kingdom beneath the sea, the beautiful young mermaid, Ariel, longs to leave her ocean home to live in the world above. Join Ariel and her friends on a grand adventure in this special concert version of the beloved musical.
StageSpotlight Building Audiences for Greater Boston’s Outstanding Not-For-Profit Performing Arts Organizations
BOSTON YOUTH SYMPHONY ORCHESTRAS
Puccini’s La Bohème Semi-staged opera with professional vocalists Federico Cortese, conductor Edward Berkeley, stage director
January 27, 2019 at 3 p.m. Tickets from $40 • Sanders Theatre Ages 10+ • 617-496-2222 • bysoweb.org
LYRIC STAGE
THE DONKEY SHOW, American Repertory Theater, Oberon, 2 Arrow St., Cambridge, 617-547-8300. Ongoing. Bringing the ultimate disco experience to Boston, this crazy circus of mirror balls, feathered divas, roller skaters and hustle queens tells the story of A Midsummer Night’s Dream through great ’70s anthems you know by heart. ENDLINGS, American Repertory Theater, Loeb Drama Center, 64 Brattle St., Cambridge, 617-547-8300. Feb 26–Mar 17. On the Korean island of Man-Jae, three elderly women—“haenyeos,” or sea women, that have no heirs to their millennium-old tradition—spend their dying days diving into the ocean and harvesting seafood with rusty knives. Celine Song’s world premiere follows these extraordinary women both on land and underwater as they swim beneath the waves and reach beyond the shores of their tiny island. GIRLISH, Fresh Ink Theatre Company, Plaza Black Box Theatre, Boston Center for the Arts, 539 Tremont St., 617-933-8600. Feb 1–16. Windy loves painting her nails, goofing off with her BFF and every one of her American Girl dolls—even though loving AG is totally embarrassing when you’re 15. But when her obsession brings Instagram celebrity and the digital attention of a cute older guy, things get complicated. Adolescence meets online culture in this world premiere play by Alexa Derman. HEARTLAND, New Repertory Theatre, Black Box Theater, The Dorothy and Charles Mosesian Center for the Arts, 321 Arsenal St., Watertown, 617-923-8487. Jan 12–Feb 9. When Afghan refugee Nazrullah shows up on the doorstep of Dr. Harold Banks claiming to have known his adopted daughter
An all-girls soccer team—fierce in competition… and in life! Pulitzer Prize finalist!
January 11–February 3, 2019 Lyric Stage • Copley Square 617-585-5678 • lyricstage.com
Ragtime The Tony Award-winning musical is a kaleidoscopic journey of three distinct families at the turn of the 20th century in New York City. Based on the novel by E.L. Doctorow.
January 25–February 17, 2019 200 Riverway • 617-353-3001 wheelockfamilytheatre.org HUNTINGTON THEATRE COMPANY 39 SPECIAL ADVERTISING SECTION
GUIDE TO LOCAL THEATRE (continued) Getee, the two become unlikely roommates and friends. Getee and Nazrullah’s relationship unfolds in a series of dramatized memories that reveal their uniquely human journey while stunning us with a new understanding of America’s tragic impact on Jihadism in the Middle East. LAUGHS IN SPANISH, Boston Playwrights’ Theatre, 949 Commonwealth Ave., 866-811-4111. Feb 21–Mar 3. It’s Art Basel and the stakes are high for the gallery Mariana runs in the Wynwood Arts District in Miami. And when Mariana’s moviestar mother tries to help out, things get even more complicado in this fast-paced, cafecíto-induced comedy about art and success—and mothers and daughters—and learning to love the people we can’t change. THE LITTLE FOXES, Lyric Stage Company, 140 Clarendon St., 617-585-5678. Feb 15–Mar 17. Lillian Hellman’s riveting drama captures the story of a Southern family whose selfish pursuit of the American Dream turns into a vicious circle of lying scheming, cruelty and, finally, murder. MISS YOU LIKE HELL, American Repertory Theater and Company One Theatre, Oberon, 2 Arrow St., Cambridge, 617-547-8300. Jan 10–27. A daughter who gets to stay, a mother who may have to go and the border wall that may come between them— join this passionate, wild and unforgettable female duo and the unexpected cadre of American originals they meet en route to mom’s immigration hearing in this powerful new musical. THE MOST HAPPY FELLA, Reagle Music Theatre, Robinson Theatre, 617 Lexington St., Waltham, 781-891-5600. Jan 13. This benefit concert production of Frank Loesser’s most ambitious and romantic musical tells the heart-stopping story of a love triangle between an aging Napa Valley farmer, a younger waitress and a handsome, restless ranch hand. NAT TURNER IN JERUSALEM, Actors’ Shakespeare Project, Hibernian Hall, 184 Dudley St., Roxbury, 866-811-4111. Jan 30–Feb 24. Nat Turner led a slave revolt that shocked the country in August of 1831. The evening before Turner is scheduled to be executed, he and attorney Thomas R. Gray, the recorder of his confessions, confront what has passed and what the future may hold. OTHELLO, American Repertory Theater, Loeb Drama Center, 64 Brattle St., Cambridge, 617-547-8300. Jan 13–Feb 9. Shakespeare’s most intimate tragedy explores society’s polarizing struggles with difference. Consumed by their bigotry and xenophobia, those who praised the Moorish general Othello for his military successes now reject his marriage to Desdemona. The newlyweds are determined to overcome this resentment, but Othello’s assignment in Cyprus draws them into the web of his lieutenant Iago, whose jealousy knows no bounds. RAGTIME, Wheelock Family Theatre, 180 The Riverway, 617-353-3001. Jan 25–Feb 17. Based on the novel by E.L. Doctorow with book by Terrence McNally, music by Stephen Flaherty and lyrics by Lynn Ahrens, this musical is a kaleidoscopic journey of three distinct families through the turn of the 20th century in New York City. THE RUNAWAY BUNNY, Boston Children’s Theatre, Roberts Studio Theatre, Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont St., 617-933-8600. Feb 9–23. Based on the classic children’s book by Margaret Wise Brown 40 A DOLL’S HOUSE, PART 2
and newly adapted for the stage, this world premiere musical features the heartwarming tale of a mother’s reassurances to always run after and find her “little bunny,” no matter how he tries to run away from home and evade her. SMALL MOUTH SOUNDS, SpeakEasy Stage Company, Roberts Studio Theatre, Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont St., 617-933-8600. Jan 4– Feb 2. Six strangers in search of serenity attempt to abandon technology and observe a vow of silence while being guided by an unseen guru at a wellness retreat for what they all hope will be a life-changing five-day experience in this hit Off-Broadway comedy by Bess Wohl. SPAMILTON: AN AMERICAN PARODY, Huntington Theatre Company, Wimberly Theatre, Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont St., 617-2660800. Feb 12–Mar 10. This “convulsively funny” (The New York Times) musical parody of Lin-Manuel Miranda’s smash hit comes to Boston courtesy of the comic mastermind behind the long-running hit Forbidden Broadway. STILL STANDING, New Repertory Theatre, Black Box Theater, The Dorothy and Charles Mosesian Center for the Arts, 321 Arsenal St., Watertown, 617-923-8487. Feb 9–Mar 3. Anita Hollander, who lost her leg in 1977 to cancer, details her story from diagnosis to the very moment of performance in this one-woman show full of songs, wit, understatement and great dollops of humor. TWO MILE HOLLOW, Apollinaire Theatre Company, Chelsea Theatre Works, 189 Winnisimmet St., Chelsea, 617-887-2336. Through Jan 20. When the Donnellys gather to divide their belongings after the sale of their oceanfront mansion, both an internal and literal storm brew. As this brood of famous, longing-to-be-famous and mess of a Caucasian family—all played by non-white actors—comes together with their personal assistant, Charlotte, some complicated and totally unique secrets are revealed over white wine. WELL, Wellesley Repertory Theatre, Ruth Nagel Jones Theatre at Wellesley College, 106 Central St., Wellesley, 781-283-2000. Jan 17–Feb 10. Lisa Kron’s carefully orchestrated “multicharacter exploration of issues of health and illness” is disrupted when her mother appears on stage with her and proves to be considerably more interesting to the actors hired by Lisa than the play Lisa wrote, leading the audience to contemplate in deeply felt hilarity and chaos: what brings wellness to our community, to our relationships, and to ourselves? WHAT ROUGH BEAST, The Underlings Theatre Co., Boston Playwrights’ Theatre, 949 Commonwealth Ave., 866-811-4111. Jan 12–19. A controversial professor is invited to speak at a progressive college, fracturing the student body along personal and political fault lines. But when one of their own acts on the speaker’s extremist ideals, those cracks become canyons that will change lives forever. WHO IS EARTHA MAE? A ONE-WOMAN SHOW ABOUT EARTHA KITT, Bridge Repertory Theater, Multicultural Arts Center, 41 Second St., Cambridge, 617-577-1400. Jan 31–Feb 23. Influential American icon Eartha Kitt and her personal, private journey come to life in this world premiere production. THE WOLVES, Lyric Stage Company, 140 Clarendon St., 617585-5678. Jan 11–Feb 3. From the safety of their suburban
GUIDE TO LOCAL THEATRE (continued) stretch circle, a girls’ indoor soccer team navigates big questions and wages tiny battles with all the vigor of a pack of adolescent warriors in this 2017 Pulitzer Prize finalist by Sarah DeLappe.
DANCE
“SPELL-BINDING. GRABS YOU BY THE THROAT AND WON’T LET YOU GO.” - THE GUARDIAN
MYELINATION, Dorrance Dance, Emerson Cutler Majestic Theatre, 219 Tremont St., 617-824-8400. Jan 18 & 19. Michelle Dorrance’s iconic tap company performs the Boston premiere of this groundbreaking new work for 12 dancers and a live band. NEDERLANDS DANS THEATER 2, Boch Center, The Shubert Theatre, 265 Tremont St., 866-348-9738. Jan 26 & 27. One of the world’s most celebrated dance companies thrills audiences with its unique brand of breathtaking dance, awe-inspiring skill and passionate creativity. PEPPERLAND, Mark Morris Dance Group, Boch Center, The Shubert Theatre, 265 Tremont St., 866-348-9738. Feb 8–10. Mark Morris returns to Boston with this a unique tribute to the 50th anniversary of The Beatles’ groundbreaking album Sgt. Pepper’s Lonely Hearts Club Band, accompanied by an unprecedented chamber music ensemble of voice, soprano saxophone, two keyboards, theremin and percussion. WINTERWORKS, The Boston Conservatory Theater, 31 Hemenway St., 617-912-9222. Feb 21–24. This program of new works by sophomore and junior students also showcases Alumni Choreographic Commission co-recipients Key’Aira Lockett and Maleek Washington.
OPERA HYDROGEN JUKEBOX, The Boston Conservatory Theater, 31 Hemenway St., 617-912-9222. Feb 7–10. Two distinctly American voices, writer Allen Ginsberg and composer Philip Glass, combine their talents in this innovative multidisciplinary piece exploring American life from the 1950s through the 1980s. LA BOHÈME, Boston Youth Symphony Orchestras, Sanders Theatre, 45 Quincy St., Cambridge, 617-496-2222. Jan 27. This semi-staged performance of Puccini’s timeless opera about the struggles of a group of young artists features professional vocal soloists and the BYSO Opera Chorus. PARIDE ED ELENA, Odyssey Opera, Huntington Avenue Theatre, 264 Huntington Ave., 617-933-8600. Feb 15 & 17. In Christoph Willibald Gluck’ fully staged work about the events leading up to the Trojan War, Paris is rewarded by the goddess Venus with the promise of the love of the most beautiful woman in the world, Helen of Troy. Upon meeting, love sparks and they defy everything to be together. But when gods intervene in the lives of mortals, can there be a happy ending? THE SCARLET IBIS, Boston Opera Collaborative, Edward M. Pickman Hall at Longy School of Music of Bard College, 27 Garden St., Cambridge, 617-517-5883. Jan 17–20. Based on a short story by James Hurst, this Boston premiere tells the story of Doodle, a remarkable disabled boy whose older brother pushes him to be “normal.” Set in a mysterious swampland, the show combines singers, puppetry and a minimalist score to explore notions of physical wholeness, mystical otherness and the power to soar above physical limitations.
J B PRIESTLEY’S CLASSIC THRILLER
AN INSPECTOR CALLS DIRECTED BY
STEPHEN DALDRY THE NATIONAL THEATRE’S LANDMARK PRODUCTION
AS SEEN IN
LONDON. NEW YORK. AND AROUND THE WORLD!
MAR 14 - 24 EMERSON CUTLER MAJESTIC THEATRE
ARTSEMERSON.ORG 617.824.8400
HUNTINGTON THEATRE COMPANY 41
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, 617-9949001. This 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. 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 backyard-inspired 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 42 A DOLL’S HOUSE, PART 2
private dining. L Mon–Fri 11:30 a.m.–2:30 p.m., D Mon–Sat 5–10 p.m. blurestaurant.com. 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 specialty pizzas, custom burritos and coffee from Starbucks and Dunkin Donuts. 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.; LS Sun–Tue ’til 11 p.m., Wed–Sat ’til midnight; L Mon–Fri, SB 11 a.m.–3 p.m. 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. 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; Copley Place, 100 Huntington Ave., 617-266-7775; 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.
BOSTON DINING GUIDE (continued)
MASTRO’S OCEAN CLUB, 25 Fan Pier Blvd., 617-530-1925. Mastro’s Ocean Club Seafood locations are recognized for their combination of world-class service, highly acclaimed cuisine and live entertainment in an elegant, energetic atmosphere. Reservations recommended. D Mon–Sat 5–11 p.m., Sun ’til 10 p.m. Lounge open daily at 4 p.m. mastrosrestaurants.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. 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.
Myung Urso
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, 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.
n to s o B g onddio n i rn Beyary StuNow o Ad andtemporThen + on lry
C ewe J On view through February 17, 2019
100 Pier 4 Boulevard Suite 200 Boston
societyofcrafts.org
The Best View of Boston— at Home or on the Go!
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. YE OLDE UNION OYSTER HOUSE, 41 Union St., 617-2272750. America’s oldest restaurant, now celebrating 191 years, serves Yankee-style seafood, beef and chicken, and is famed for the oyster bar where Daniel Webster dined daily. Specialties include clam chowder and fresh lobster. L & D Sun–Thu 11 a.m.–9:30 p.m., Fri & Sat ’til 10 p.m. C ’til midnight. unionoysterhouse.com.
the official site of THE OFFICIAL GUIDE TO BOSTON
HUNTINGTON THEATRE COMPANY 43
DINING OUT
Top of the Hub D
ining in a room perched at one of sics like the Clyde May’s old fashioned. Given the highest points in the city can be the encyclopedic wine list, it would be a thrilling, yet at Top of the Hub the grievous oversight not to point out that Top of the Hub has won Wine Spectator’s spectacular view is merely an appetizer coveted Award of Excellence multiple for an evening of fine food, drink and entertainment. And while the vista TOP OF THE HUB times, offering wines by the bottle, may not change, the restaurant contin- 800 Boylston St. half-bottle and in large format—not ues to evolve, not only offering season- Prudential Center to mention the dozens of vintages 617-536-1775 ally and regionally inspired dishes, but Refer to Dining Guide, available by the glass. page 43 For those looking to make an entire also an exciting new lounge menu that evening out of their Top of the Hub makes the expansive bar area an even experience, the aforementioned more welcoming destination for a The lounge menu lounge victuals make for a perfect special night on the town. The kitchen at Top of the Hub offers a perfect prelude to the eatery’s nightly live music performances. Sandwiches, continues to turn out a wide array prelude to the soups, salads, flatbreads, oysters and of fresh seafood—from appetizers like the grilled octopus salad and nightly live music. shareable platters (charcuterie board or beef carpaccio, anyone?) are highexquisitely creamy lobster bisque lights for smaller appetites, while to hearty entrées like the Georges Bank seared scallops served with sweet corn, more substantial dishes including the fresh fava beans, heirloom tomatoes, squash and shellfish platter, jumbo lump crab linguine, New green garlic jus—as well as Instagram-worthy England fish & chips and New England lobster indulgences like the perfectly cooked, nearly roll are featured as well. fork-tender filet mignon. Speaking of indul- Whether you need a pre-theatre stopover, gences, the bar also mixes it up with creative, a place to celebrate a special occasion or a refreshing cocktails such as the blueberry mojito memorable spot to spend time with that special crafted with wild Maine blueberries and clas- someone, Top of the Hub has you covered.
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44 A DOLL’S HOUSE, PART 2
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DINING OUT
Davio’s Northern Italian Steakhouse S
ometimes an evening out can get derailed by and tomato sauce and hand-rolled potato gnocchi; the simplest of debates—for example, Ital- modern Italian cuisine like lobster risotto or ian food or steak? Luckily, Bostonians have grilled center cut veal rib chop with creamy potathe perfect answer to this particular dilemma— toes, asparagus and vintage port sauce; and hearty Back Bay favorite Davio’s Northern meat dishes like grilled Niman Ranch Italian Steakhouse, which combines pork chop or the seared Atlantic salmon. DAVIO’S the bold flavors of a superior Italian At lunchtime, Davio’s also boasts a 75 Arlington St. eatery with the class, sophistication selection of gourmet pizzas and panini 617-357-4810 and unmistakable flair of a classic Refer to Dining Guide, filled with everything from shrimp to page 42 upscale steakhouse. prosciutto. Diners at Davio’s can begin their By night, Davio’s delivers everymeal with a selection from a superb thing you expect from a top-notch Davio’s delivers wine list that earned the eatery an steakhouse. Whether you opt for the everything you Award of Excellence from Wine Speccenter cut filet mignon or natural aged tator magazine in 2017, or dive right expect from a top- New York sirloin, these mighty, meaty into a wide array of antipasti. From cuts of beef come cooked to perfecthe bold taste of Davio’s Kobe beef notch steakhouse. tion. Enjoy them with a la carte sides meatballs to the restaurant’s trademark ranging from steakhouse faves like Philly cheese steak spring rolls, from creamy mashed potatoes, grilled asparasalads like the arugula with shaved parmigiano and gus and crispy onion rings to Mediterraneanlemon olive oil to the baby iceberg with bacon, toma- influenced treats like broccoli rabe or the special toes, onions, croutons and Louis dressing, guests will spinach alla Romana. find something distinctive and delicious to kick off Located just blocks from both the fabulous their dining experience. shopping on Newbury and Boylston streets and From there, Davio’s diverse entrees take the first-rate entertainment of the Theatre Discenter stage: diners can sample tempting pasta trict, Davio’s is a prime spot for either a night on dishes like tagliatelle with braised veal, beef, pork the town or simply lunch with friends.
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46 A DOLL’S HOUSE, PART 2
THE TRIP OF A LIFETIME
THE AMALFI COAST
$2,899 pp/do
Including Round-trip Airfare from Boston!
INCLUDES: Round-trip regularly scheduled flights from Boston to Naples, via Rome Seven nights’ four-star accommodations
2019 DEPARTURES: April 12–20 May 4–12 JUST ADDED! May 11–19 SOLD OUT! September 21–29 October 5–13
Fifteen meals, seven buffet breakfasts, four lunches, four dinners with wine Escorted, private, round-trip airport/ hotel transfers Services of professional local guides during all excursions including Capri, Positano, Pompeii and Ravello
Call 617-338-1111 or visit showofthemonth.com/amalfi to book your trip today! The Travel Club is a service of Show of the Month Club, a subsidiary of New Venture Media Group, publisher of Playbill, Theatrebill and Art New England magazines.