Anna Christie by Triad Stage

by Eugene O’Neill

Two lovers. A secret past. New beginnings.

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6 .................................... Welcome 8 .................................... Our Story 9 ............................... Core Values 10 ........................ The Production 12 .......................... The Company 16 ........................... Co-Founders 18 ........................ Program Notes 30 .................................. Sponsors 31 ................... The Pyrle Theater 33 ..................... Facts and Fables 34 ..... Annual Fund Contributors 45 ....... Board of Trustees & Staff 49 ............................ House Rules 52 ................. Advertisers Listing

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THE LUCKY SEASON / 2013 – 2014 The theater is a superstitious place. In a live art form where so much can go so terribly wrong, most actors have their own rites and rituals to hopefully placate the theater spirits and guarantee a good performance. And there are — of course — numerous rules that every artist knows. You never say the name of Shakespeare’s Scottish play inside a theater. You never whistle. Peacock feathers are forbidden. You never wish a performer “good luck.” And a light must always be left on in an empty theater. Fortunately, with so many superstitions guiding our behavior, theater artists have the great benefit that what is considered unlucky outside a theater is lucky inside. Walk under ladders and open your umbrellas, and nothing bad will ever happen. And since that is true, Triad Stage is thrilled to invite you to season 13. If you’re one of those people who avoid the dreaded number on Fridays, elevators or planes, you’ll be just fine as we welcome you to our luckiest season yet. And, of course, all of us at Triad Stage feel very lucky to get to share our stories with you.

Preston Lane Artistic Director

Richard Whittington Managing Director

We fit your life, no matter where you perform.

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Triad Stage began as a dream... Co-founders Preston Lane and Richard Whittington forged their artistic partnership as graduate students at the Yale School of Drama. After managing a theater in Connecticut for two years, they undertook the three-year task of opening their own theater in the heart of historic Greensboro. In September 1999, Triad Stage purchased the former Montgomery Ward building, which had been built in 1936 and sat vacant for almost 40 years. Renovations transformed the five-story building into a world-class theater center now called the Pyrle Theater, complete with a 300-seat theater and thrust stage, rehearsal hall, offices, two spacious lobbies and other audience amenities. Photo courtesy of Greensboro Historical Museum

The Grand Opening took place in January 2002 with Tennessee Williams’ modern classic Suddenly Last Summer.

In 2008, Triad Stage finished a second round of renovations to the Pyrle. A scene shop annex was added in the basement. The top floor underwent major construction to create the 90-seat UpStage Cabaret performance space, the Sloan Rehearsal Hall, and the studio and office facilities of WUNC Public Radio’s new Greensboro Bureau. In 2011, Triad Stage purchased a 30,000 square foot building near the Greensboro Coliseum Complex to serve as the theater’s new production facility, relocating its scene, costume and properties shops as well as its warehouse. In 2013, with significant support from The Arts Council of Winston-Salem and Forsyth County, Triad Stage announced a major expansion of programming to be produced at the Hanesbrands Theatre in downtown Winston-Salem.

The Pyrle Theater, Greensboro

Hanesbrands Theatre, Winston-Salem

Now in its 13th season, Triad Stage has over 3,000 Season Passholders and more than 400 annual donors. The company has received accolades on national, state and local levels, including being named “One of the 10 Most Promising Emerging Theatre Companies” by the American Theatre Wing and “One of the Best Regional Theaters in America” by the Drama League of New York. Triad Stage has been voted the Triad’s “Best Live Theater” by the readers of the News & Record’s Go Triad ten years in a row and named “Professional Theatre of the Year” by the North Carolina Theatre Conference in 2003 and 2011. Its production of Tobacco Road was listed among the “Best of 2007” by The Wall Street Journal, its production of The Glass Menagerie was named “Best North Carolina Production of 2010” by Triangle Arts & Entertainment, and 2012’s production of Reynolds Price’s New Music trilogy was named among the “Best Productions” of the year in Triangle Theatre by Independent Weekly. 8

Core Values Triad Stage is guided by core values that inspire all aspects of our operations. These core values are a daily reminder to our entire company of why and how we produce theater for our community.

EXCELLENCE

INCLUSION

We strive for bold, daring excellence in all of our endeavors as we seek to create professional theater with regional and national impact.

Our community’s varied diversity must not only reflect itself in Triad Stage’s casting and staffing, but also in the selection of the stories we choose to tell.

COLLABORATION

ARTISTIC RISK

We celebrate and encourage an artistic process rooted in collaboration. We seek to mirror this process in all aspects of our operations and actively seek partnerships with other organizations to benefit the well-being of our communities.

Striving to constantly challenge ourselves, we reserve the right to take artistic risks and make mistakes.

IMAGINATION

REJUVENATION

Triad Stage delights in the imaginative process. We uphold freedom of expression as indispensable to the power of imagination.

We are committed to revitalizing our historic downtowns by greatly enhancing the cultural life of the Piedmont Triad through entertainment and by providing an economic impact benefiting other area businesses.

COMMUNITY

A SOUTHERN VOICE

As individuals are united in their shared experience of the theatrical event, strangers become friends, common ground is discovered, and dialogue begins. In imagining the lives of others, our capacity for empathy is strengthened.

By placing the best of Southern writing in juxtaposition with classic and contemporary world drama, we foster a unique Southern voice, allowing our audience the pride of saying, “This theater is ours.”

LEARNING

NORTH CAROLINA

Theater is a valuable part of a lifetime of learning. Our work and the dialogue it creates should spark curiosity and inspire creative ways of thinking for our artists, staff and audience.

We seek to play a leading role in the North Carolina arts community. We actively work to create an artistic home for artists with North Carolina connections and to provide a bridge to the profession for emerging artists. 9

Preston Lane Artistic Director

Richard Whittington Managing Director

presents

by Eugene O’Neill directed by Preston Lane

Scenic Design by Fred Kinney

Costume Design by Miwa Ishii

Lighting Design by Jiyoun Chang

Sound Design by Phillip Owen

Dialect Coach Christine Morris

Fight Director Jim Wren

Dramaturg Bryan Conger

Casting by Cindi Rush Casting

Stage Manager Emily J. Mails

Presented with Support from Triad Stage’s Producers Circle and Center Stage level donors

Triad Stage • 232 South Elm Street • Greensboro • North Carolina 27401 10

Cast Larry ................................................................................................... Josh Foldy* ◊ Chris Christopherson .................................................. Gordon Joseph Weiss* Marthy Owen ........................................................................ Christine Morris*◊ Anna Christopherson ................................................................. Gardner Reed* Mat Burke ................................................................................ Matthew Bellows* Stage Manager ............................................................................... Emily J. Mails*

Act I Johnny-the-Priest’s saloon near the waterfront. New York City.

Act II The barge, Simeon Winthrop, at anchor in the harbor of Provincetown, Massachusetts. Ten days later.

Act III Cabin of the barge, at dock in Boston. A week later.

Act IV The same. Two days later.

Time of the Play — About 1910

Josh Foldy * ◊ (Larry) Triad Stage: A Christmas Carol (2010, 2011, 2012, 2013), The Woman in Black (Director), Dial “M” for Murder, Billy Bishop Goes to War, Doubt. Off-Broadway: Urban Stages, The Drilling Company. Regional: Paper Lantern Theatre, Guthrie Theatre, Yale Repertory Theatre, Perseverance Theatre, Cleveland Playhouse, Virginia Stage Company, Caldwell Theatre, Phoenix Theatre, Players Theatre Columbus, Idaho Repertory, Playwrights Center, Alaskan Shakespeare Theatre, Pillsbury House Theatre, New Theatre. Television: As the World Turns. Josh is a member of the theatre faculty at UNCG. Education: Northern Kentucky University, Yale School of Drama. Gordon Joseph Weiss * (Chris) Triad Stage: A Christmas Carol (2010, 2011, 2012, 2013), My Fair Lady (Doolittle / Mrs. Higgins), Tartuffe (Tartuffe), Tobacco Road ( Jeeter Lester). Broadway: Sly Fox, The Life, Jelly’s Last Jam, The Visit, Ghetto (NY Drama Desk Award and Tony Award® nominee), Raggedy Ann, King of Hearts, Goodtime Charley, Jumpers. Off-Broadway: The Undertakers, God in Bed, Tourists of the Mindfield, Walk on the Wild Side, Ragtime Blues. Regional: Principal roles at Baltimore’s Center Stage, Ford’s Theatre, McCarter Theatre, Goodspeed Opera House, Actors Theatre of Louisville, Virginia Stage Company and Merrimack Repertory Theatre. Film: Awakenings, Reversal of Fortune, All the Vermeers in New York, Lustre, The Undeserved, All is Bright. TV: Law & Order, Third Watch, Spin City, Law & Order: SVU, NYPD Blue. Christine Morris * ◊ (Marthy Owen) Triad Stage: Taw Avery in New Music: Better Days; Cordie Grindstaff in Providence Gap, Mme. Pernelle in Tartuffe, multiple roles in Bloody Blackbeard, Sister Aloysius in Doubt (Triad Stage at An Appalachian Summer Festival). New York: New York Shakespeare Festival; The Public Theatre; The Actors Studio. Regional: Asolo Theatre; Playmakers Rep; Archipelago Theatre; Manbites Dog; Profile Theatre (Portland, OR); The Horton Foote Festival of American Playwrights (TX); The Tennessee Williams Center (Sewanee); Stoneleaf Theatre Festival (Asheville). Film: Elephant Sighs. Also resident vocal coach for Triad Stage and dialect coach for this production. Other vocal coaching includes North Carolina Theatre; Manbites Dog; Broadway Previews at Duke; American Players Theatre (Spring Green, WI). Associate Professor, UNCG Department of Theatre. Memberships: Actors’ Equity Association (proud member since 1983); SAG-AFTRA; Voice and Speech Trainers Association (VASTA).

Gardner Reed * (Anna) Triad Stage debut. Off Broadway: Zelda Fitzgerald in Zelda at the Oasis (St. Luke’s Theatre). Regional: Phyllis in Double Indemnity (St. Louis Rep/Cincinnati Playhouse *LCT nominee for Best Actress), Mona in Find and Sign (Pioneer Theater), Inga Arvad in Inga Binga (Charleston Stage), The Women in The 39 Steps (Portland Stage), Sister James in Doubt (Kansas City Rep), Joan la Pucelle in Henry VI and Lady Anne in Richard III (Alabama Shakespeare Festival), Abigail in The Crucible (Actors Theatre of Louisville), Lydia in Pride and Prejudice and Emilie in Les Liaisons Dangereuses (Shakespeare Theatre of NJ), Beulah Baxter in Merton of the Movies and Henrietta in The Hollow (Dorset Theatre Festival) and Jackie-O in The House of Yes (Red Envelope Productions). Gardner received her BFA from Syracuse University and spent a semester studying at Shakespeare’s Globe Theatre in London. Matthew Bellows * (Mat) Triad Stage debut. The Old Globe: Salerio in The Merchant of Venice, The Player King in Rosencrantz and Guildenstern are Dead, Charles in As You Like It, Sir Richard Ratcliffe in Richard III, George Sillers in Inherit the Wind and A Midsummer Nights Dream. USD/Old Globe MFA: Angelo in Measure for Measure, Henry Higgins in Pygmalion, Cleante in Tartuffe and Pavel in Fathers and Sons. Regional: Sunset Boulevard (Pioneer Theatre Company), Chauvelin in The Scarlet Pimpernel and The Beast in Beauty and the the Beast (Hale Center Theatre), Trofimov in The Cherry Orchard (The People’s Theater), The Ark and Big River (Provo Theatre Company), The Sound of Music and Marius in Les Miserable (Tuacahn Center for the Arts). Other: Misalliance, Handing Down the Names, The Beggar’s Opera, Elton John and Tim Rice’s Aida, The Zoo Story and the title role in Hamlet. Matthew worked opposite Richard Dreyfuss in Dustin Lance Black’s 8. Television and Film: The WB’s Everwood, Forever Strong, Civil Love and The Letter Writer; he produced in starred in the short film Hellespont, competing in festivals now. Education: MFA from The University of San Diego/Old Globe; BFA from Brigham Young University. matthewbellows.com Preston Lane (Director) is the founding Artistic Director of Triad Stage. See Preston’s full biography on page 16. Fred Kinney (Scenic Designer) Triad Stage: Tennessee Playboy, Ain’t Misbehavin’, Masquerade, Steel Magnolias, Ethel Waters, Tartuffe, Sleuth, Noises Off, Bus Stop, Proof, Angel Street, On Golden Pond. Other credits include: Ordinary Days, A Wrinkle in Time, A Year with Frog and Toad and Sunlight (South Coast Repertory); Peter Pan and Wendy (Prince Music Theater); A Picasso (Pittsburgh City Theatre); Intimate Apparel (San Diego Repertory Theatre). Fred holds an MFA from the Yale School of Drama. 13

Miwa Ishii (Costume Designer) Triad Stage debut. Miwa Ishii graduated from UT Knoxville with an MFA and has earned recognitions as a costume designer and technician. Such recognitions include the Ready-to-Work Award from the Southeastern Theatre Conference (SETC) whose prize was the opportunity to design Anna Christie. She is grateful to Preston and Betsey for making her part of the talented team, and Kathleen and her shop for their tireless support. She lives in NYC, currently working for Eric Winterling Inc. For more, visit www.miwaishii.com Jiyoun Chang (Lighting Designer) Triad Stage: Tennessee Playboy, A Doll House. Regional: The Unfortunates, Troilus and Cressida (Oregon Shakespeare Festival); The Dance and the Railroad (Signature Theatre); The Poor of New York (Connelly Theatre); Letter from Italy (New Dramatic Oratorio with The Greater Middletown Chorale); Olives and Blood (HERE Art Center); Crane Story (Playwrights Realm); T. 1912, Peter and the Wolf (Guggenheim Museum); Light Within (Carnegie Hall); other credits with Pan Asian Repertory, A.R.T. Institute. Education: MFA in Design, Yale School of Drama. Phillip Owen (Sound Designer) Triad Stage: Kingdom of Earth. Broadway: A Steady Rain [Assistant] (Schoenfeld Theatre). Regional/Local: Cymbeline, Antony & Cleopatra, Measure for Measure (Stonington Opera House); Rough Crossing (Yale Rep); Notes from Underground [Associate] (Yale Rep, La Jolla Playhouse & Baryshnikov Arts Center); Waking (Yale Cabaret); A Life of the Mind, On the Verge, Galileo (Mary Moody Northern Theatre). Education: MFA, Yale School of Drama. Jim Wren ◊ (Fight Director) has staged the violence for over a dozen Triad Stage productions, including the battles in Bloody Blackbeard, the fantastical fights in Brother Wolf, and the general behavior of the Lesters in Tobacco Road. Education: MFA, University of Florida. Jim is Performance Program Coordinator for the UNCG Department of Theatre, and is a two time recipient of the Kennedy Center Gold Medallion for Excellence. Cindi Rush, C.S.A. (Casting Director) New York: Silence! The Musical, My Mother’s Jewish Lesbian Wiccan Wedding (NYMF Winner 2010), Jay Alan Zimmerman’s Incredibly Deaf Musical, Bonnie and Clyde, Rooms, Jacques Brel, Six Dance Lessons, The Thing About Men, Urinetown, The Hurricane Katrina Comedy Festival. Regional: Penguin Rep, Triad Stage, Act II Playhouse, Arena Stage, Goodman, Humanafest. Film: Ghoul, The Woman (Top 9 Sundance 2011), In the Family, Offspring, Jack Ketchum’s The Girl Next Door, Headspace. Tours: “Barney”, “Curious George”, “Kidz Bop”. Consultant for National Alliance for Musical Theatre (2004–2008), Consultant for NYU Graduate Program for Musical Theatre Writing. 14

Bryan Conger (Dramaturg) is the Artistic Associate at Triad Stage. Triad Stage directing credits include: A Christmas Carol (2011, 2012, 2013); My Fair Lady; tick, tick . . . BOOM!; The Mystery of Irma Vep; Billy Bishop Goes to War; Associate Director for New Music (2011); Assistant Director for A Christmas Carol (2010); Around the World in 80 Days and Ghosts. UNCG: Sister Mary Ignatius . . . (THTR 232); Oklahoma!; Balm in Gilead and Blind Date. Education: MFA, UNCG. Emily J. Mails * (Stage Manager) Triad Stage: Snow Queen, The Mountaintop, Wait Until Dark, Tennessee Playboy, My Fair Lady, Kingdom of Earth, A Christmas Carol (2012), Shipwrecked!, Trouble in Mind, The Illusion, Ain’t Misbehavin’, The Mystery of Irma Vep (2011), The America Play, Billy Bishop Goes to War, Oleanna, Bloody Blackbeard, Mad at Miles, The Santaland Diaries (2008-2011), Dracula (2008) and “MASTER HAROLD” ...and the boys. Regional: A Thousand Cranes (North Carolina Shakespeare Festival); Rigoletto (Greensboro Opera); Crime and Punishment, Merry Wives of Windsor, Into the Woods (Orlando Shakespeare Festival). Education: BFA in Technical Production, University of North Carolina at Greensboro. * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States ◊ Student or Faculty Member with the University of North Carolina at Greensboro Theatre Department

ACTORS’ EQUITY ASSOCIATION Actors’ Equity Association (AEA) was founded in 1913 as the first of the American actor unions. Equity’s mission is to advance, promote and foster the art of live theatre as an essential component of our society. Today, Equity represents more than 40,000 actors, singers, dancers and stage managers working in hundreds of theatres across the United States. Equity members are dedicated to working in the theatre as a profession, upholding the highest artistic standards. Equity negotiates wages and working conditions and provides a wide range of benefits including health and pension plans for its members. Through its agreement with Equity, this theatre has committed to the fair treatment of the actors and stage managers employed in this production. AEA is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. For more information, visit www.actorsequity.org.

Triad Stage Co-Founders Richard Whittington (Managing Director/CoFounder) has served as Managing Director of Triad Stage since its inception. Rich earned an MFA in Theatre Management from the Yale School of Drama and has a BFA in Acting and Directing from Marymount Manhattan College.

Preston Lane (Artistic Director/Co-Founder) is in his 13th season at Triad Stage where he has directed over 35 productions. Preston is the recipient of the 2008 Betty Cone Medal of the Arts and is in his fourth year as the Artistic Partner for Theatre for An Appalachian Summer Festival. He was formerly Artistic Associate at the Dallas Theater Center, where his productions included the US premiere of Inexpressible Island (Dallas Observer Best of Dallas Awards: Best Director, Best Production) and The Night of the Iguana (Dallas Morning News: 2002 Top Ten Theatre List).

In 2007, Rich was appointed by the Governor to serve on the board of the NC Arts Council, where he is currently a member of the Executive Committee. He has previously served on the boards of ArtsNC and Downtown Greensboro, Inc. and has served on numerous grant panels throughout the state as well as for the Florida Division of Cultural Affairs and the National Endowment for the Arts.

As a playwright, Preston’s adaptations have been produced at Triad Stage, Dallas Theater Center and Sonoma Rep. His work with musician Laurelyn Dossett includes Brother Wolf (Triad Stage, An Appalachian Summer Festival, The Human Race Theatre Company and St. Olaf College), Beautiful Star (Triad Stage and WaterTower Theatre), Bloody Blackbeard, Providence Gap and Snow Queen. Preston is a recipient of an NC Arts Council Playwright Fellowship.

Rich has taught Theatre Management at Greensboro College and NC A&T University and has guest lectured at UNC Chapel Hill, UNC School of the Arts, Wake Forest University and UNCG. A native of Dallas, Texas, Rich previously served as Artistic Administrator for the Dallas Theater Center and Associate Producer of Dallas’ The Big D Festival of the Unexpected. Experience also includes work at the Roundabout Theatre in New York and StageWest in Springfield, Massachusetts.

Preston has taught at UNCG, NC A&T, UNCSA, Greensboro College, SMU, and the Professional Actors Workshop at the Dallas Theater Center. He is an alumnus of the Drama League of New York’s Director’s Project. A native of Boone, NC, Preston received his BFA from UNCSA and his MFA from the Yale School of Drama.

In 2010, Preston and Rich were honored with Downtown Greensboro, Inc.’s J. Edward Kitchen Leadership Award. In 2013, they received the Adelaide F. Holderness/H. Michael Weaver Award from UNCG for distinguished public service.

Follow Preston on Twitter at @aprestonlane.

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ESCAPING SOLITUDE: EUGENE O’NEILL & ANNA CHRISTIE by James Fisher

Eugene Gladstone O’Neill (1888-1953), arguably America’s greatest and most ambitious dramatist, stressed in a 1932 American Spectator essay that “One’s outer life passes in a solitude haunted by the masks of others; one’s inner life passes in a solitude hounded by the masks of oneself.” Few dramatists have as succinctly described the central concern of their plays — and even fewer have as deeply explored their dominant theme. No American playwright prior to O’Neill came close to approaching the boundless ambition of his achievement. Despite influences as diverse as classical tragedy and modern European dramatists such as August Strindberg, O’Neill is a quintessentially American voice. By the early 1920s, O’Neill became the gold standard for serious drama on Broadway and his plays also found acceptance in international theatres.

“Tragedy, I think, has the meaning the Greeks gave it. To them it brought exaltation, an urge toward life and ever more life. It roused them to deeper spiritual understandings and released them from the petty greeds of everyday existence. When they saw tragedy on the stage, they felt their own hopeless hopes ennobled in art.”

EUGENE O’NEILL 18

His second full-length play, Anna Christie, revised in 1920 from an earlier drama, Chris Christopherson, was his first unqualified commercial and critical success. It ran a full season on Broadway, winning accolades including a Pulitzer Prize (his second; he had won a Pulitzer the previous year for Beyond the Horizon). Ultimately, O’Neill’s unparalleled achievement made him the sole American dramatist honored with a Nobel Prize for Literature in 1936. Yet in all likelihood, O’Neill believed he had failed to achieve his ambitious aesthetic goals as physical illness and deep depression, forged as part of a profoundly troubled family, stifled his work during the final years of his life. O’Neill’s lasting value as a playwright rests not only on the startling ambition of his dramatic goals and his bold experiments in form, but on his willingness to probe the darker corners of the human soul with an astringent analysis mixed with compassion for his deeply flawed characters — and even an occasional touch of humor and romanticism, as reflected in Anna Christie. Actresses as diverse as Celeste Holm, Liv Ullman, and Natasha Richardson have brought Anna to life in notable stage revivals — and screen icon Greta Garbo made her “talkie” debut in a memorable performance as Anna. As one of the earliest and most realistic of O’Neill’s dramas, Anna Christie is a forerunner of masterpieces O’Neill completed late in his career, including Long Day’s Journey Into Night, The Iceman Cometh, and A Moon for the Misbegotten. The haunted solitude of O’Neill’s characters, so powerfully depicted in these plays, first found voice in Anna Christie, even though Anna ultimately finds escape from the existential solitude of her haunted past.

“If a person is to get the meaning of life, he must learn to like the facts about himself — ugly as they may seem to his sentimental vanity — before he can lay hold on the truth behind the facts; and that truth is never ugly!”

EUGENE O’NEILL 19

ANNA CHRISTIE’S WORLD: A P L AY W R I G H T ’ S I N S P I R AT I O N by Bryan Conger

“Dat Ole Devil Sea” O’Neill and his plays were profoundly influenced by the sea and his time as a seaman. In 1910, he set sail on a two-month voyage aboard a Norwegian windjammer, the Charles Racine, bound for Buenos Aires. This was to be the first of three trips O’Neill would take as a seaman. O’Neill hated many of the rules of his controlling father and the society in which he was raised, but he embraced the rules of the sea and it was there he found a home. The sailors he met had a deep impact on him, and he later said of the Charles Racine crew, “They were fine fellows. I’ve never forgotten them, nor, I hope, they me. Indeed, I look on a sailor man as my particular brother.” Though the life was rough, he cherished it and all its joys and perils, and that old devil sea never loosened its grip from his life and memories.

Jimmy the Priest’s At 252 Fulton Street, across from Washington Market, was an old red brick building with the faded yellow writing in the window saying, “Schooner - 5¢.” Named for its mysterious proprietor, Jimmy the Priest’s sold the cheapest whiskey and beer in New York City, was filled with colorful characters, and served as a home for Eugene O’Neill for several months following his return from Buenos Aires. It is unclear how O’Neill found the place, but it became a source of solace and inspiration for him. The place appears in many of his plays including The Iceman Cometh, The Long Voyage Home, and Anna Christie. Though the names are different, the barrooms are very much the same. O’Neill took up residence at the flop house above the bar, renting a small cell for $3 a month though he spent many nights passed out drunk with his head on a table in the backroom. The conditions were crude and its inhabitants were the low level of society but O’Neill considered them friends saying, “They were sincere, loyal, and generous. In some queer way they carried on. I learned at Jimmy the Priest’s not to sit in judgment on people.”

Chris Christopherson Of the many patrons he met at Jimmy the Priest’s, none had a bigger impact on O’Neill than Chris Christopherson. “A Thickly built man in his early forties,” Chris was a man of the sea who had been a sailor since leaving Norway on a windjammer at the age of 14. During the long nights in the barroom O’Neill heard much of the old coal barge captain’s history and said of him, “He had followed the sea so long that he got sick of it . . . he spent much of his time cursing the sea.” Taken with this man, O’Neill made him the central figure of his play, Chris Christopherson, mixing his own story with the characteristics of his friend. The play was a critical disappointment in out-of-town tryouts and he revised and renamed it but kept the legendary character. However, the real Christopherson differed from his fictionalized counterpart and was a devoted husband and father. According to O’Neill, he wandered out one Christmas Eve after a drunken party and fell into the ocean while attempting to board his barge. He was found frozen on a cake of ice between the piles and the docks the next morning. It appears that O’Neill took some dramatic license with the story, but he must’ve felt his friend deserved a true dramatic end befitting his larger than life personality.

Driscoll Driscoll was a muscle plated stoker who O’Neill met on the docks of New York in 1911. The two immediately became friends, and O’Neill was enamored with the good humored Irishman. O’Neill described him as a “giant of a man, and absurdly strong. He thought a whole lot of himself, was a determined individualist. He was very proud of his strength, his capacity for grueling work. It seemed to give him mental poise to be able to dominate the stokehold, to do more work than any of his mates.” His image appears in many of O’Neill’s plays including the ill-fated hero in The Hairy Ape, Driscoll in the Glencairn cycle of plays, and Mat Burke in Anna Christie.

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Triad Stage is proud to be a member of the following organizations.

Triad Stage is very proud of the name of our theater building — The Pyrle Theater — made possible by a generous donation by Tobee and Leonard Kaplan in honor of Tobee’s mother, Pyrle Gibson.

Pyrle Gibson (1909-2000) was a woman with a great sense of humor, who found goodness in all people and beauty in the world around her. Her family always came first in her life and with them she shared her love of theater, music and the thrill of sports. The theater is named for her in loving memory by the children, grandchildren and greatgrandchildren of the Kaplan family with whom she shared her love, wisdom and joy of life.

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Think you know all about Triad Stage? A few facts might surprise you.

FABLE: My ticket price covers the cost of the production. FACT: Ticket sales and services account for only 60% of our total budget; we

depend on contributions for the remaining 40%. Your ticket price essentially covers just half of what you experience when you come to Triad Stage. If we had to survive on ticket sales alone, every seat to every performance would be at least $50 (our current average ticket price is $25).

FABLE: The productions at Triad Stage are touring shows created elsewhere. FACT: Each and every set, costume and prop is created right here in

Greensboro. Triad Stage employs 16 full-time and 16 part-time professionals who see the show from inception to the stage. We also hire 247 actors, directors, designers and technicians during the season. These artists are both local talent and nationally recognized leaders in their field.

FABLE: Triad Stage will move to the new Performing Arts Center. FACT: Triad Stage owns and operates two buildings — the theater and

administrative offices at 232 South Elm Street and the Scene Shop on Holbrook Street. Triad Stage will continue to build, create and perform in these spaces as well as our new space in Winston-Salem at the Hanesbrands Theatre.

Fabric room at the Scene Shop

Load in for Ain’t Misbehavin’

GIVE YOUR SUPPORT

Former Props Master Amy Peter

donate @ triadstage.org 33

Annual Campaign Contributors Triad Stage wishes to thank the following individuals, corporations and foundations who have contributed generously to our 2013-2014 Annual Campaign. Annual Campaign contributors as of January 14, 2014.

PRODUCERS CIRCLE ($10,000+) Clem & Hayes Clement Kathy Manning & Randall Kaplan Kyle Jackson, MD Linda & Tom Sloan Pam & David Sprinkle Susan & Eric Wiseman The Honorable Aldona Wos & Mr. Louis DeJoy CENTER STAGE ($5,000–$9,999) Anonymous Lindsey & Frank Auman Betty & Jim Becher Joseph M. Bryan, Jr. Pat & Pete Cross Rob DaVanzo The John G.B., Jr. and Jane R. Ellison Family Foundation Haynes & Ginger Griffin Maureen & Bob Ihrie

Tobee & Leonard Kaplan J.A. King & Company Kathryn & Bobby Long Marge Michel Mindy & Chad Oakley Sylvia & Norman Samet Bill Soles Robert Strickland Family Foundation Dr. & Mrs. W. Harrison Turner III

FRONT ROW ($2,500–$4,999) Steve & Jackie Bell Ms. Brandon Bensley Joanne Bluethenthal Jim & Louise Brady Dr. Helen Brooks Jeb Brooks Lisa & Willie Bullock Linda & Jim Carlisle Kristin & Craig Carlock Holly Chambers & Richard Steedle The Copeland Family Rick & Rebecca Craig Christine & Chris Hobson

Laura & Alan Irvin Ron Johnson & Bill Roane Barbara Kretzer Ernest & Shelby Lane Carol & Seymour Levin Bob & Donna Newton Richard A. Parker Debby L. Reynolds Dabney & Walker Sanders Kay Stern Ruthie & Alan Tutterow Jane & Jonathan Ward Courtney & Richard Whittington 34

STAGE HAND ($1,000–$2,499) Anonymous Betty & Dennis Barry Marianne & Jim Bennett Carol & Jeff Burgess Joann & Bill Cassell Sally & Alan Cone Jean & Ralph Davison Carol & David DeVries Susie & Rasmus Fenger Dionis & Gordon Griffin Rusty & Van Gunter II Beth & Edward Harrington David Hemm T. Henry & Dell B. Wilson Family Fund Bill & Hoppy Hervey David & Emily Johnston Matt & Kathy Kottyan Michael Lewis Sue & Neil Lutins Christopher Mattern Misty McCall

Judy & Dan McGinn Kellie Melinda Jane & Dan Moore Julie Olin Cissy & Bill Parham The Poteat-Smiths Tim & Carolynn Rice John Riley Nancy & Frederick Sharpless Kim & Bassam Smir Pat & Gordon Soenksen Paula Stober & Bill Bucklen Willie Taylor Margaret M. Thompson May Toms The Thomas Ralph Wear III Family Katie & Randall White Len & Judy White Judy & Bob Wicker Woodruff Family Law Group Ann & Ben Zuraw

GALLERY ($500–$999) Kate R. Barrett Mary Katherine & Durant Bell Annette Benson Tony & Barbara Blake Bill & Gay Bowman Joe & Betty Brantley Dr. Steven Case Lori & Murray Clayton Sherry Dickstein & Kurt Lauenstein Mylene & Andy Duffy Bert & Debbie Fields Patti & Douglass Gilbert Bob Hansen Tony Hooimeijer & Cynthia Soemita Rep. Maggie Jeffus & Ted Thompson Olive B. & William W. Jordan Amy & John Kelly Ray & Doris Kiszely Harriette & Bob Knox Lex & Brent Kulman Greg & Barb Laskow Connie Mahan Judy & Dan McGinn Rob & Karen Melhem Jane & Dan Moore Peg & Skip Moore

Linda Mortenson Nancy Napier David & April Parker Tim & Denise Pastoor Lloyd & Jane Peterson Nancy & Ed Pleasants Donna & Don Pulitzer Todd & Kimberly Rangel Sheri & Ray Raymer David & Claudia Reich Carol & Russell Remy Dee & Jason Roghelia Kelly Sigle Jim & Linda Starmer Mr. & Mrs. Douglas Stone Charlotte A. Straney Tom & Maggie Styers Mark Tarnacki Ernestine & Stuart Taylor Mr. & Mrs. Christopher Tew Burke & Trinh Thompson Mary & Will Truslow Jeff & Shirley Vestal Jim & Michelle Walter Michael Wilson Lynn Wooten & Paul Russ

PATRON ($250–$499) Richard Allen Gary & Linda Anderson Bud & Betsy Bain Dr. Phil Barrineau Dee & Wes Bartlett Angela Bensberg Mary & Frank Biggerstaff Janet Ward Black & Gerard Davidson Dora & Bruce Brodie Joe & Kate Brower Patrick & Elizabeth Burns Lynda Brown Clifford Sallie & Jim Clotfelter Harvey Colchamiro Benita & Ron Cole CompuSystems Doug & Jean Copeland Phyllis H. Dunning Mr. & Mrs. Barry Eisenberg Grace Ellis Pete & Sandra Ennever Richard & Nancy Evans Ellen & Gary Fischer Jim & Dana Fisher Suzanne Goddard Kay & Chip Hagan Melinda Hamrick Sherry & Bob Harris Cindi & Dave Hewitt Nancy Hoffmann Sam & Anne Hummel Susan Ireton & Valerie Leschber Tomasita & Sam Jacubowitz Carroll Johnson Kenneth & Christina Johnson Randall T. Johnson Ken & Ginger Karb Carole Keeler Robin & Tim Lane Louise & Bill Latture Marilyn & John Lauritzen Ronald & Kimberly Lawrence Ms. Cathy Levinson Victor Lindsley & Jim Battinelli

Denise Lute Nancy Y. Madden David & Kathy Mazzola Bonnie & Dan McAlister Amanda McGehee Jim & Fray Metcalfe Jane Tucker Mitchell Christine Morris & Jeffery West Julia M. Morton Eberhard Mueller-Heubach Al & Linda Munns Maureen & Doug Murray Jane & Ron Norwood Marion O’Brien William Osborne Meredith & Gary Piatt Dr. & Mrs. William R. Rogers The Rose Family Susan Samuelson Beatrice Schall Susan & Jerry Schwartz Donna & Mark Shapiro Phyllis Shavitz Misa & Alex Shuford Kathleen Smith Melanie R. Soles Amy Speas Michiko Stavert Christine Stinson Adeline & David Talbot Suzanne & Tom Tilley Bryan & Billie Toney Davis & Lisa Vu James & Barbara Walls B.J. Weatherby & Verne Nielsen Katherine & Mike Weaver David Westfall & Barbara Ann Peters Jeff White & Mary Dubuisson Jack & Karen Whiteside Jim Wilkie W. Fred Williams Carmen & Robert Wood Nancy Young Richard & Jeanne Young

FRIEND ($100–$249) Anonymous (3) Rose & Victor Ackermann Sophie & Eric Adamson Hattie & John Aderholdt

Janet Allard & Josh Foldy Leanne Angell Margaret & Howard Arbuckle III Mr. & Mrs. Carl C. Ashby 36

FRIEND (continued) Led & Sally Austin Sherry Barr Bill & Laura Barrier Deb Bartz & James Peterson Laverne M. Bass Susan & Richard Beard Shari & Richard Beavers Sally & Fred Beck Elizabeth Bell Deb Bell & Keith Cushman Catherine & Peter Bergstrom Robert Beseda Kate Black William (Hugh) Black Jr. Louise & Jerry Boothby J. Roger & Jackie E. Brown Nancy & Jim Bryan Alex & Maureen Burns Nancy Cameron Julia Smith Capone John Carney IHO Holly Chambers & Rick Steedle Kathy & Bill Cissna Louann A. Clarke Pat Clark Elizabeth & Thomas Clary Faye & Michael Collins Diane Conrad Pat W. Copeland Ross & Debbie Cox Mr. & Mrs. David Craft William F. Cromartie Jennifer & John Cross Catherine Crowder Gail & Bruce Crozier Larry & JoAnn Currie Linda Cykert Larry Davis Gerald & Marge Doty Pam & Alan Duncan Debra Dykes Mona & Emanuel Edwards Nancy & Jim Edwards Jean & Robert Finley Gerald Freedman Dr. Deborah Friedman Robert W. Fuller Denise Gabriel Silvia & Thomas Gahm Felice Gavin Mary Ann & Allen Gerhard

Mr. & Mrs. Edward N. Gideon, Jr. Betty Godwin Terri & Robert Goldberg A Happy Birthday to Dr. Willie L Taylor Guilford College Art Appreciation Club Patricia Gutzwiller & Alan Spiewak Jay & Deb Gyure Libby Haile & Donald Martin Mark & Linda Hale Barbara Hall Marty & Porter Halyburton Janis Hammett Brenda C. Hampton Ron & Becky Hampton Anne & Bill Hardin Karyn Harrell & Cindy Kimbrell, DVMs Jerry & Melissa Harrelson Cyril & Judith Harvey Hon. & Mrs. A. Robinson Hassell Angela Hays Dr. & Mrs. Joseph R. Hedgpeth Pat Hester Wes & Rose Hood David & Rodna Hurewitz Sallie & Hoke Huss Judith Hyman Joia Johnson Marcia & Orton Jones Denny Kelly & Lou Bouvier Sue & Jim Kennedy Milton Kern Eleanor & John Ketcham Jennifer Killingsworth Robert Kilpatrick & Jackie Palmer Bonnie & John Knab Virginia & David Knox Bob & Levina Kollar Kelly Krantz Derek Krueger & Gene Rogers Donna & Tom Lambeth Hugh & Anita Lawson Eric Lee Carolyn C. Lester Michele & Pat Levy Grey W. Lineweaver Mandy Lotz in honor of Sherry Barr Jack & Judy MacDowall Mary & Gustav Magrinat Marcy Maury Bud & Reba Maxson Tom & Marilou May 37

FRIEND (continued) George & Bobbie Roberts Carla & Stephen Robinson Ms. Cary Root Margaret Rowlett & David Gilbert Debbie & Eugene Russell Nancy & Jim Sands Robin & Connie Saul Matthew Sergio & Steve Stonecypher Bill & Barb Sharpe Lee & Mary Ellen Shiflett David & Diane Smith Beverly & Lawrence Snively Suci Sorensen Donna Speas Andy Stern & Judy Pellarin Glenn & Marylou Strohl Joan Sullivan in loving memory of John L. Sullivan Janice & John Sullivan Peggy R. Tager Frieda Taylor Julie & Tom Taylor Jean Loy Toms Barbara Van Cleve Bert & Rebecka VanderVeen Dave & Carol VanSchoick Dean & Kate Wahlberg Mr. Robert Walker Wes & Sarah Ward William E. Waters Linda Weiss Andrea West Brook & Paul Wingate Carol & Tom Wood Mary & Robert Woodrow Earle & Lynette Wrenn Kay & Charlie Zimmerman

Donald & Eleanor McCrickard Angus & Wynn McGregor Jim & Joyce McKenzie Carol H. Melvin Benedicte & Christian Mengel Cliff & Kathryn Miller Gary & Nancy Miller Robert & Bonnie Miller Hal & Amy Mohorn Diane P. Monnier Barbara & Bill Moran Donna Moran & Garnett Hughes Margie & Jay Motsinger Ninevah & Dan Murray The Nashes Judith ( J. T.) Nebenzahl Floyd & Joann Nesbitt Karol & John Neufeld Margaret & Vernon Newlin Gaynelle Bass Nichols John & Emily Odom David Olson Zack & Nancy Osborne Nancy Oschell Jill A. Painter Caroline Panzer Dorothy Peters Paula F. Pierce Roger & Nan Poplin William & Lee Presson Margaret Y. Price Jesse Pugh Jay Putnam Wendell & Phoenix Putney Kathy Ramsay Betsy & Bill Raulerson Kat Rice & Grumpy Allen Ridenour

MATCHING GIFT COMPANIES Lincoln Financial Foundation Reynolds American Foundation Schneider Electric/Square D Foundation Weaver Foundation

American Express Compass Financial IBM Matching Grants Program The Johnson & Johnson Family of Companies Kinder Morgan Foundation

FOUNDATION SUPPORT

SUPPORT TRIAD STAGE

Cemala Foundation City of Greensboro Community Foundation of Greater Greensboro Hillsdale Fund Roberts Family Foundation The Shubert Arts Foundation Weaver Foundation

Triad Stage is a 501(c)(3) not-for-profit organization, with donations tax-deductible to the extent provided by law. TO LEARN MORE, PLEASE CONTACT: CEDRIC BLUE - DEVELOPMENT ASSISTANT cedric@triadstage.org 336.274.0067 ext. 214

LEGACY DONORS Anonymous Claire King Sylvia Samet Linda & Tom Sloan Martha & Harrison Turner Ruthie & Alan Tutterow

Experience A Higher View In Life 201 North Elm Street

Legacy Donors have made bequests in support of Triad Stage.

336.458.0250 www.CenterPointeGreensboro.com

“ Major funding for Triad Stage is provided by ArtsGreensboro and contributions from patrons like you.”

When you support ArtsGreensboro, you not only make tonight’s performance possible, you also help support hundreds of other arts events, exhibits & exciting projects across Greensboro. ArtsGreensboro is the new brand of the United Arts Council. Visit our new website at artsgreensboro.org and connect with the thriving arts scene of a great city. Together, we put the Arts first in Greensboro. Give online securely right now at www.artsgreensboro.org, or simply give us a call weekdays at 336-373-7523, extension 243. Thank you!

GREENSBORO CULTURAL CENTER I 336.373.7523 I ARTSGREENSBORO.ORG Thanks to Triad Stage for donating this space to help reduce our fundraising costs.

Lorillard Tobacco Company And Its Employees Are Proud To Support Triad Stage

GREENSBORO DAY SCHOOL’S MIDDLE SCHOOL PRESENTS

FEBRUARY 27 TO MARCH 1 7:30 PM MARCH 2 2:00 PM $10 adults, $7 students greensboroday.org/tickets

GDS Center for the Arts 5401 Lawndale Drive

Celebrating 25 years of counseling clients from opening nights through curtain calls.

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Staying true to the arts that enrich our lives. Proud supporter of Triad Stage

Board of Trustees

Staff continued

Officers

Marketing & Communications

Kathy E. Manning, Chair Mindy Oakley, Vice Chair Susan Schwartz, Vice Chair Tom Styers, Treasurer Holly Chambers, Secretary Alan Tutterow, Immediate Past Chair Linda Sloan, Founding Chair Preston Lane, Artistic Director Richard Whittington, Managing Director

Megan Mabry, Marketing & Social Media Manager Kim Doty, Marketing Assistant Anna Lowe, Greensboro Marketing Intern Sydney Leto, Winston-Salem Marketing Intern Kevin Patterson, Publicity Intern

Audience Services Sherry Barr, Director of Audience Services Justin Nichols, Box Office Manager Amanda Waterhouse, Asst. Box Office Manager Teresa Clifton, House Manager Joseph Rollins, UpStage Cabaret House Manager Anna Lowe, Ainsley Patterson, Bonnie Pachasa, Rachel Rutz, Joseph Rollins, Box Office Associates Jenna McMillan, Carrie Miller, Bar Staff Janita Colbert, UpStage Cabaret Bartender

Members at Large Kate Barrett, Jeb Brooks, Linda Carlisle, Craig Carlock, D. Hayes Clement, Lynda Clifford, Jim Fisher, Chris Hobson, Tomasita Jacubowitz, Christina Johnson, John Kelly, Dan McAlister, Donna Newton, Julie Olin, Cissy Parham, Todd Rangel, Debby L. Reynolds, Paul Russ, Dabney Sanders, Tom Sloan, Kathleen Smith, Amy Speas, Ernestine Taylor, Margaret Thompson

Production Tim Kottyan, Production Manager Nick Rutz, Technical Director Emily J. Mails, Resident Stage Manager Eric Hart, Properties Master Kathleen Ludwig, Costume Shop Manager Liz Stewart, Master Electrician Jonathan Fredette, Sound Supervisor Amanda Warriner, Lead Carpenter Andrew Landon Cutler, Wardrobe Supervisor Mary Beth Pazdernik, Stitcher / Rentals Coordinator Lisa Bledsoe, Props Assistant Matt Hirst, Sound Assistant

Advisory Council Judy Wicker, Chair Ralph Davison, Danny Gatling, Sandra Hughes, Lesley Hunt, Ron Johnson, Tobee Kaplan, Ancella Livers, Dennis Quaintance, Sylvia Samet, Joy Shavitz, Ralph Shelton, Harrison Turner

Staff Artistic Preston Lane, Artistic Director Bryan Conger, Artistic Associate William Gwyn, Artistic Intern Price Felker, Artistic Intern

For â&#x20AC;&#x153;Anna Christieâ&#x20AC;? John Bumiller, Carpenter Dave Early, Carpenter Desise Gabriel, Movement Coach William Gwyn, Assistant Director Jessica Holcombe, Scenic Artist James Hunter, Carpenter Sarah Sparks, Assistant Stage Manager Jason Korff, Carpenter

Administrative Richard Whittington, Managing Director Jason Bogden, Business Manager Robin Campbell, Company Manager Melanie Soles, Fundraising Consultant Cedric Blue II, Development Assistant

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House Rules and Other Helpful Information •

No food is permitted inside The MainStage Theater. Drinks are permitted, but not in glass bottles or in cups with ice. No outside food or drink is permitted inside The UpStage Cabaret. If you have any questions, please ask the bartender or House Manager for clarification.

•

Smoking is prohibited throughout the building.

•

Latecomers are seated at the discretion of the House Manager.

•

All electronic devices, such as pagers, beepers, cellular phones and watch alarms must be turned off prior to the performance.

•

Patrons cannot be paged during the performance. Pagers and beepers may be checked with the House Manager, who will notify the patron in case of an emergency.

•

Listening assistance devices are available at our Box Office.

•

Photographing or sound recording of the performance is expressly prohibited by law. So, no cameras or recorders, please. Your cooperation is appreciated.

•

For the enjoyment of all audience members, every attendee must have a ticket and sit in his or her own seat (no “babes in arms” or children in laps).

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