Trinity Square | Winter 2013

the trinity square

winter 2013

1 the trinity square • winter 2013

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Dear Friends,

A

s I write this, the winter storm Nemo has just dumped approximately five million feet of snow on Providence. Or at least that what it looks like walking into work — walls of snow, piled high on both sides of the sidewalk, slush and ice lining the roads, men and women gingerly tip-toeing their way around, trying not to slip and fall.

February in New England… it can be tough.

Ah, but then I remember back to the 1993 classic Groundhog Day starring Bill Murray as a weather man forced to re-live the same day — Groundhog Day – over and over again. Confronted with someone at his bed and breakfast who innocently asks whether or not it’ll be an early spring, Murray’s character quotes a poem by Samuel Taylor Coleridge: And winter, slumbering in the open air, Wears on his smiling face a dream of spring!

These lines help to buoy my spirits in the cold New England winter (as well as thinking of Murray’s gleeful, concluding “Ciao” which the man enthusiastically returns). What also warms my heart during these winter months is the promise of the next season’s plays here at Trinity Rep. There is truly something for everyone: a vibrant adaptation of one of the greatest American novels of all time (John Steinbeck’s The Grapes of Wrath), a hilarious recent Broadway smash (Christopher Durang’s Vanya and Sonia and Masha and Spike), a wild, unruly deconstruction of the American family by one of our greatest theatrical minds (A Lie of the Mind by Sam Shepard), a family friendly musical (Oliver!), a beautiful love story written by one of the preeminent playwrights of the past decade (Lynn Nottage’s Intimate Apparel) and a world premiere written by one of our very own company members (Veronica Meadows

by Stephen Thorne).

Not to mention the three upcoming productions we have lined up to conclude this season! The world premiere of Social Creatures, a hilarious, harrowing vision of a post-apocalyptic world, and the theatrical event of the season, Alan Ayckbourn’s House and Garden — a diptych of comedies, both designed to be performed simultaneously by the same cast.

There are so many things to look forward to in the next few months, I can hardly stand it.

Happy spring!

—Tyler Dobrowsky, Associate Artistic Director

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winter 2013

in this issue 3 4 5 6 7 8

11 12 13 22 15 16 17 18 19 20 21 22

In the Square with Chairman of the Board Jonathan Duffy.

The “Z” Word: a talk with playwright Jackie Sibblies Drury about the creatures and actors that inhabit her world premiere play, Social Creatures.

Hungry for More: a heaping helping of zombie facts and fun.

Laughing Matters: The Second City comedy troupe returns to Providence.

Tickets, Dates & Times A 50th Season to Celebrate: Artistic Director Curt Columbus and Associate Artistic Director Tyler Dobrowsky provide more tantalizing details about Trinity Rep’s anniversary season.

Postcards from Actors: resident actors Stephen Berenson, Angela Brazil, Mauro Hantman and Rachael Warren report from stages in Texas and Oregon.

Applause for our Graduates: Brown/Trinity Rep MFA graduates make their mark in NYC. Reaching Out with Romeo and Juliet: MFA director Ryan Purcell looks to connect with the community with his thesis directing project.

Brown/Trinity Rep MFA Productions: What’s next from the stars of tomorrow.

Surviving on Stage: Our education department works with a community group to shed light on the dark secrets of domestic violence.

To Neverland: A young actress in our TRAIN program soars in Peter Pan. A Love Letter to YASI: A Young Actors Summer Institute counselor and graduate describes her summer experience.

Theater for Every Generation: Trinity Rep’s campaign enters its final phase.

All Eyes Are On: Trinity Rep Young Actors Studio student Alexandra Fortin.

2013 Pell Awards: Celebrated actor Kate Burton to be honored with Pell Award for Lifetime Achievement.

Red, White and Blues 2: Trinity Rep’s popular wine-tasting and dance party rocked the Pell Chafee Performance Center.

Around the Rep: Events of note at Trinity Rep.

trinity repertory company

(401) 521-1100 • Box Office (401) 351-4242

201 Washington Street, Providence, RI 02903

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In the Square

on the cover Among the many projects the 3rd-year Brown/Trinity Rep MFA acting students took on this winter was devising a new theater piece for young audiences. The result was Boing! A Musical Adventure into the Land of Ah, which was performed for several local elementary schools in February. In the words of Kali Quinn, Brown/Trinity Rep’s clown and mask instructor and the director for the production: “BOING! evolved out of a five–month process of looking at fables and fairy tales, relating our own childhood experiences, and seeing what kind of skills and interests each individual wanted to bring to our ensemble. The kid characters…were based on literary devices and musical genres and developed through improvisation and physical play.” Created and performed by Alston Brown, Grant Chapman, Caitlin Davies, Amanda Dolan, Daniel Duque-Estrada, Peter Mark Kendall, Barrie Kreinik, Drew Ledbetter and Liz Morgan, Boing! is the story of Jakob, who learns how to survive third grade with the help of his canine companion Chestnut and the friends and foes they meet in the Land of Ah. cover PHOTO BY MARK TUREK PHOTO THIS PAGE BY FLORDELINO LAGUNDINO

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The Trinity Square Issue 25 March 2013 The Trinity Square is published quarterly and distributed free of charge

by Trinity Repertory Company, 201 Washington St., Providence, RI, 02903.

Every few months, as I ponder how to begin this letter, I am continually amazed how many times the thought “this can only happen at Trinity Rep” pops into my head. Looking at the final shows of Trinity Rep’s 2012–2013 season, you can see why.

Social Creatures is Trinity Rep’s 62nd world premiere, and while that is spectacular in and of itself, the play has special meaning as it is written by Jackie Sibblies Drury, a 2010 graduate of the Brown University MFA playwriting program. Jackie is the most recent MFA graduate playwright to have work make it to the Trinity Rep stage, following in the footsteps of Sarah Ruhl (The Clean House) and Adam Bock (The Receptionist).

Social Creatures is a reminder of the extraordinary world-class work being made by the playwriting graduates, who work closely with our own Brown/Trinity Rep MFA actors and directors while they earn their master’s degrees. Trinity Rep commissioned Jackie before she even graduated, for the play to be developed and written especially for our theater. Trinity Rep is one of the only theaters in the country that can combine the talents of a young, brilliant new playwright with the experience and knowledge of a long-standing resident company. It is an achievement worth celebrating.

The season ends with House and Garden. Alan Ayckbourn, the author of the hilarious Absurd Person Singular, has penned what will surely be the theatrical event of the season: two intertwined comedies with one cast performing both shows in both theaters at the same time. Not many theaters have the capability nor the desire to pull off this production. House or Garden alone would be a great evening out, but together they make a experience not to be missed. Our actors will be racing from House (in the upstairs theater) to Garden (downstairs), while we stay put, our sides splitting from laughter. Both are full of Ayckbourn’s wacky characters, which we enjoyed so much in Absurd Person Singular. It promises to be a funny and outrageous end to our 49th season.

The latest two examples of what makes Trinity Rep so special and unique.

It should be a very entertaining spring at Trinity Rep. Enjoy.

—Jonathan Duffy, Chairman of the Board

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SOCIAL CREATURES

Jackie Sibblies Drury Talks About the

“Z” Word

illustration by michael guy

In 2010 Trinity Rep commissioned emerging playwright Jackie Sibblies Drury to write a new script especially for our local audiences. Over the course of the next few years the play Social Creatures was born. Set in the not so distant future, a motley group of survivors is trying desperately to avoid contracting an illness that turns people into something eerily close to zombies. During a break from rehearsals, Jackie joined literary intern Emily Macleod to talk about creating her new creatures and the scariest part of writing a new play.

Emily MacLeod: I think people are surprised to hear that we are doing a “zombie play” at Trinity Rep. Would you call yourself a zombie nerd?

Jackie Sibblies Drury: I am actually, sadly, not a zombie nerd. I don’t think I’d ever seen a zombie movie before working on this play.

EM: So then where did the Idea for Social Creatures come from?

JSD: Actually, the idea came from a New York Times story that I was reading at the time about a vampire in turn of the century Providence. I thought, “Ooh, a vampire in Providence, it’ll be so specific to Providence, so neat.” So I started thinking about vampires, and zombies are also so popular right now, so I thought that “vampirish” zombies would be a good place to start.

EM: Why do you think zombies are so prevalent in our pop culture right now?

JSD: It’s so weird, because I think they are so not sexy.

EM: True, not like, say, the vampires in the Twilight movies.

JSD: Exactly. I think it’s in part because of the threat that zombies pose. It’s inside of all of us, and the potential of it is everywhere. There’s something that is really hopeless about the concept. There are always pessimists who say, “now is the worst that the world’s ever been,” and it also seems that on both sides of the political spectrum, everyone thinks that the other half of America is horrifyingly terrible. Economically we are on the edge of ruin, America is slipping from its position of moral authority, problems with the environment ­— everything you hear is terrifying. The current problems are so huge in almost every aspect of our culture that it can feel like impending doom.

EM: Why do you choose not to call the “zombies” by that name? The characters never say the “z” word in the play.

JSD: I was more interested in blending them with the idea of vampires. I was more excited about the idea of this epidemic that is easily spread, it’s unclear how to stop it, and it turns people into something other than people.

EM: Now that you’ve done the research, do you have a favorite zombie movie?

JSD: I’m really into Shaun of the Dead. Simon Pegg is pretty amazing. But it is pretty zombie “lite.”

EM: So now what is it like to be in the rehearsal room with the cast asking you

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questions?

JSD: To me it’s really scary, and also totally the point of live theater. There are almost too many questions to think about when I’m by myself in my room. So getting into rehearsal, with actors who are seeing the play from the perspective of their character, is really helpful — I love being in rehearsal.

EM: Do you start to hear the actors’ voices as you rewrite?

JSD: Yeah, and it’s so much easier that way!

It’s the opposite problem that people have when they read a book and see a movie, or see a movie before they read a book. It’s so much easier to write when you can picture the actor in the part and they fit that part. You can shape it around who they are.

EM: Any final thoughts on Social Creatures?

JSD: Science fiction and fantasy are great ways to explore things that are too complicated to talk about in real life. I’m trying to use the tropes and the themes of things that go bump in the night to make the audience think about the things that go bump in our society today.

To find out why an abandoned theater is the perfect place to set Social Creatures, as well as the answers to more questions put to Jackie Sibblies Drury, check out this video:

A Brief History of the

Undead

by Emily MacLeod Clairvius Narcisse, a man born in Haiti in 1922, died in the hospital in 1962 after suffering from an undiagnosed but quickly fatal disorder. He was buried the next day. It was to his sister Angelina’s great dismay when, 18 years later, a man claiming to be Clairvius approached her in the marketplace.

He knew information only privy to close family

Social

CREATURES

by

Jackie Sibblies Drury

directed by Curt Columbus set design by Eugene Lee costume design by Olivera Gajic lighting design by Josh Epstein sound and video design by Peter Sasha Hurowitz speech and voice direction by Thom Jones with resident acting company members Timothy Crowe and Janice Duclos and guest artists Darien Battle, D’Arcy Dersham, Rebecca Gibel, Alexander Platt, Charlie Thurston and Nance Williamson March 14 – April 21, 2013 in the Dowling Theater This production is supported in part by a grant from The National Endowment for the Arts

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members and, with the help of scientific experts, the family welcomed Clairvius back from the dead. The story of how he got from there to here, however, is chilling. Scientists believe that Clairvius was drugged by a bokor, or voodoo witch doctor, who had been paid by Narcisse’s jealous brother.

The drug slowed his heartbeat enough to simulate death while Clairvius, paralyzed and unable to speak, remained aware of his surroundings. After his burial, Clairvius explained that he was dug up by the bokor and forced to work on a plantation with other “zombies” — people who also were “killed” and subsequently sustained mental damage from the drugs administered to them by the bokor.

The modern zombie evolved from the legends of voodoo culture of Haiti, specifically as interpreted

by American colonizers and tourists of the early twentieth century, to the cannibalistic monsters we see in popular culture today. These original zombies were brought to American audiences in movies like White Zombie as well as William Seabrook’s novel The Magic Island, both of which detailed how humans could be forced into a state of living death by witch doctors to work on plantations. This idea — that a person could lose their individuality and become one of many — was a frightening notion, especially for Americans, who typically pride themselves on their personal freedoms.

While the Haitian zombie became a parable for the exploited and colonized workers of the early twentieth century, film director George Romero created a whole new zombie mythology which emerged from the social turmoil of his day in Night of the Living Dead (1968). Every director of zombie movies since is indebted to Romero, who created a monster — literally. The halting, groaning, brains-devouring undead creature we all think of when we hear the word “zombie” sprung from his imagination. While that film is over 40 years old, its influence is still felt today, through sequels, spin-offs, comedic send-ups like Shaun of the Dead, graphic novels and television shows.

Zombies continue to pervade our national consciousness, and not just through our screens.

If you want to be chased by zombies in real life, look no further than the zombie walks, races and PREVIOUS PAGE

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pub crawls in cities all over the U.S. There are even obstacle courses where participants pay to be a survivor of the zombie apocalypse trying to escape from the walking dead (or, for an extra fee, you can be a zombie, fashioned by professional makeup artists)!

Our culture’s fascination with the undead isn’t going anywhere, and we are excited to add Jackie Sibblies Drury’s Social Creatures to the everexpanding zombie canon.

Hungry for More?

Check out:

Books I Am Legend

Richard Matheson’s 1954 novel about the last man on earth was instrumental in the development of the zombie myth. While more like vampires than zombies, the creatures in I Am Legend are victims of an incurable infection, with only one man still fighting against them.

The Serpent and the Rainbow

Following the case of Clairvius Narcisse, Wade Davis went to Haiti in 1985 to research zombification and the chemicals that induced Narcisse’s death-like state. While scientists find his results controversial, Davis’s account gives one perspective on voodoo culture.

Pride and Prejudice and Zombies

Seth Grahame-Smith’s 2009 book sounds just like what it is: a mash-up of Jane Austen’s classic novel with, well, zombies. Using much of the original text, the author plunges familiar characters like Elizabeth Bennett and Darcy in the midst of a zombie apocalypse in Regencyera England.

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Movies Night of the Living Dead (1968) Dawn of the Dead (1978) Day of the Dead (1985)

George A. Romero’s original Dead series revolutionized zombie pop culture. Each involves a group of survivors defending themselves against the undead using different methods, usually seeking out places that were once safe, such as a shopping mall (famously in Dawn of the Dead).

28 Days Later (2002)

Danny Boyle’s instant classic follows four survivors of a viral outbreak in England. Cillian Murphy, Naomie Harris and Brendan Gleeson star in this unique portrayal of a world with “fast” zombies. No lurching or halting for them.

Shaun of the Dead (2004)

Edgar Wright and Simon Pegg (creators of Hot Fuzz) bring us this hilarious horror movie spoof with a heart. Shaun and his best friend, the vulgar Ed, defend their friends and family from zombies while Shaun also fights to get his girlfriend back.

Warm Bodies (2013)

Nicholas Hoult (About a Boy, Skins) stars as R, a zombie who falls in love at first sight with Julie… after eating her boyfriend’s brains. This rom-zom-com, an undead spin-off of Romeo and Juliet, provides a sillier look at the effects of a zombie infestation.

Television The Walking Dead (on TV now)

Based on the comic book series of the same name, this show tells the story of Rick Grimes, a deputy sheriff, who wakes up from a coma to find the world infested with undead “walkers.”

He joins other survivors, trying to find his family and rebuild their collapsed society.

The Second City Is Back!

Chicago’s legendary sketch comedy company returns to Trinity Rep for one weekend only!

Chicago’s legendary sketch comedy theater, The Second City, will bring their unique brand of humor to the Trinity Rep stage March 20–23 at 7:30pm. Laughing Matters features some of the best sketches, songs, and improvisations from The Second City’s 52-year history. The Second City is truly a Chicago landmark and a national treasure. With economic uncertainty, political gridlock and a glut of Kardashians clogging up our televisions, laughing has never mattered more. The Second City’s Laughing Matters Tour puts comedy first in a wickedly funny revue that skewers and celebrates in equal doses. With scripted and improvisational elements, audiences always enjoy being part of the show and playing along with the next generation of comic legends.

Whether it’s ripped from the morning headlines or a classic gem from their 50 year archives, The Second City is always a laugh out loud hit.

Tickets for The Second City are $35 and can be purchased at the Trinity Rep box office, 201 Washington St.; by phone at (401) 351-4242; and online at www.trinityrep.com.

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ticketstimes & dates Tickets for Social Creatures, House and Garden

PREVIEWS: First Thurs., Fri., Sat. 7:30pm..... $22–$34

REGULAR: Wed. matinee 2pm...................... $22–$58

Sun.–Thurs. 7:30pm..................... $22–$58

Fri.–Sat. 7:30pm............................. $22–$68

Sat. & Sun. matinees 2pm.......... $22–$68 An additional $5.00 per ticket handling fee applies to phone and online orders. discounts: Call the box office for discounts for educators, military, police, firefighters, students, and seniors. Rush tickets ($22 main seating, $28 prime seating) are available at box office two hours prior to show (excluding A Christmas Carol).

Subscribers: Save 20% on additional tickets with handling fees waived. Call (401) 351-4243.

MEMBERShip: Save 10% on tickets with handling fees waived. Call (401) 351-4242.

Group discounts: call (401) 351-4242 Box Office: (401) 351-4242 • Fax: (401) 831-1612 Email: boxoffice@trinityrep.com or subs@trinityrep. com Walk-up hours: noon–8pm, Tuesday–Sunday Phone hours: noon–8pm, Monday–Sunday 201 Washington St., Providence, RI 02903 Order online at www.trinityrep.com Prices, times and dates subject to change.

Tickets subject to availability.

Project discovery: For reservations to student matinees, contact (401) 521-1100 x114 or education@ trinityrep.com.

TALKBACKS: Audience members are invited to join us for a 20-minute discussion about issues raised by the play, held after every performance.

Social Creatures by Jackie Sibblies Drury It’s the end of the world. Seven survivors are holed up in a familiar building, barricaded against contagion — and whatever else might be trying to get in. As they try to preserve civilization at all costs, one of their own begins to turn… into one of them. Horrifying, hilarious, and incredibly, eerily true, Social Creatures was written specifically for Trinity Rep. SOCIAL CREATURES • March 14 – April 21, 2013 SUNDAY MONDAY TUESDAY

WED.

THURS.

FRIDAY SATURDAY

HOUSE • May 16 – June 30, 2013 in the Chace SUNDAY MONDAY TUESDAY

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MAY 12 13 14 15 16 17 $ 18 7:30 PM 7:30 PM 7:30 PM 19 20 21 22 23 24 25

26 27 28 29 30 31 JUNE 1

7:30 PM 7:30 PM MARCH 11 12 13 14 15 $ 16 7:30 PM 7:30 PM 7:30 PM 2 3 4 5 2 PM 6 7 8 17 7:30 18 19 20 2 PM 21 22 23 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM SOLD OUT

7:30 PM 7:30 PM 7:30 PM 9 2 PM 10 11 12 13 14 15 2 PM 28 29 30 2 PM 24 2 PM 25 26 27 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 16 2 PM 17 18 19 2 PM 20 21 22 31 APRIL 1 2 3 2 PM 4 5 6 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM

7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30PM 23 2 PM 24 25 26 27 28 29 2 PM 7:30 PM 7:30 PM 7:30 PM 7 2 PM 8 9 10 11 12 13 2 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 30 2 JULY 1 2 3 4 5 6 7:30 PM 14 2 PM 15 16 17 18 19 20

7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 21 2 PM 22 23 24 25 26 27 7:30 PM

KEY TO CALENDARS $ Pay What You Can: limited number of

tickets on sale 1 hour before curtain, limit 1 per person First Look Thursday: talkback with the artists after play Open Captioned performance

No performance

Preview performance Dates and times subject to change

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House and Garden by Alan Ayckbourn From the author of Absurd Person Singular comes the event of the season: a pair of interlocking comedies that take place simultaneously, with one cast performing both shows in two different theaters at the same time. Teddy and Trish are hosting a big garden party for the town.

Friends, family, a London writer, and a French movie star — what could go wrong? Anything and everything! While actors race from House (in the upstairs theater) to Garden (downstairs), the lucky audience stays put, seeing one production at a time, in either order. Both are chock full of Ayckbourn’s wacky characters and topsy-turvy story!

GARDEN • May 26 – June 30, 2013 in the Dowling SUNDAY MONDAY TUESDAY

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FRIDAY SATURDAY

MAY 26 $ 27 28 29 30 31 JUNE 1 7:30 7:30 PM 7:30 PM 7:30 PM 7:30 PM 2 3 4 5 2 PM 6 7 8 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 9 2 PM 7:30 PM 16 2 7:30 PM 23 2 PM 7:30 PM 30 2 PM 7:30 PM

10 11 12 13 14 15 2 PM

7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 17 18 19 2 PM 20 21 22

7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 24 25 26 27 28 29 2 PM

7:30 PM 7:30 PM JULY 1 2 3 4 5 6

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A 50th Season to Celebrate!

Curt Columbus, Trinity Rep’s Richard L. Bready Artistic Director, and Associate Artistic Director Tyler Dobrowsky sat down with Lauren Ustaszewski to talk about Trinity Rep’s 50th season.

“Wherever they’s a fight so hungry people can eat, I’ll be there.”

—The Grapes of Wrath

“If everyone took antidepressants, Chekhov would have had nothing to write about.”

—Vanya and Sonia and Masha and Spike

“Don’t let no man get a part of your heart without getting a piece of his.”

—intimate apparel

Lauren Ustaszewski: Did planning the 50th season feel different than prior years?

Curt Columbus: Yes. There’s a couple of ways in which it was different, though every year is its own unique, delightful challenge.

Basically, we wanted to do something that acknowledged we were turning 50, but we didn’t want to be retrospective. We wanted to honor the things that are essentially Trinity Rep, while continuing to do work that’s innovative, groundbreaking, forward-thinking…

Tyler Dobrowsky: And it was also important to do something that had resonance politically, socially, that was “of the moment.”

CC: Absolutely. As it always is. I think the important point is just because we’re celebrating an anniversary doesn’t mean we should look backwards. We have to think about where we stand today and continue to look forward.

LU: Should we expect any surprises?

CC: You know, I think what’s great about this season is that with each show I can truly say there’s something that you won’t have seen at Trinity Rep before. Of course, if I told you… they wouldn’t be surprises.

LU: What production are you most excited about?

TD: You know what I’m excited about? Curt often talks about how a season should be like a really good meal, in the sense that it should have a nice appetizer, and a main course, and a dessert… basically a lot of different flavors that compliment each other in interesting and exciting ways. I think this season has a lot of nice flavors.

CC: I agree.

TD: And this season has something for everybody.

LU: A nice six-course meal.

TD: It really is. I mean, there’s a musical and there’s the Christopher Durang — Vanya and Sonia and Masha and Spike, a really fun comedy.

There’s The Grapes of Wrath, which is this incredible American classic, then a new play by Stephen Thorne, and Intimate Apparel is a nice love story…

CC: I feel like we really hit all the bells.

LU: What drew you to The Grapes of Wrath?

CC: Well, part of it is the current political landscape. We really wanted to say something that spoke to our time. We also wanted to open the season with a big American show featuring our incredible resident company, and one that would be appropriate for a wide age-range of audiences.

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John Steinbeck’s The Grapes of Wrath

adapted for the stage by Frank Galati

directed by Brian McEleney Natural disasters. Rampant foreclosures. Corporate greed and record joblessness. Written in the wake of the Great Depression, Steinbeck’s classic speaks to the same harsh realities that America faces today. This evocative and deeply affecting stage version lifts the novel to new heights of theatrical urgency, visceral storytelling and pure emotional impact. The story of a nation is told through the eyes of one Oklahoma clan — the Joads — driven off their farm and forced west to find work in California’s “promised land.” Part naturalistic epic, part road novel, part inspirational gospel, The Grapes of Wrath is perhaps the definitive American tale of the strength of the human spirit.

Vanya and Sonia and Masha and Spike

by Christopher Durang Fresh from a wildly successful New York run, we are thrilled to bring you the New England premiere of the newest play from the outrageous comic mind of Christopher Durang. Siblings Vanya and Sonia are living in a haze of Chekhovian regret in their Bucks County farmhouse when their sister, Masha, a glamorous actress a bit past her prime, arrives unexpectedly with Spike, her handsome new boy toy. In this hilarious satire, the family battles over long-held resentments while ignoring the prophecies of their housekeeper, Cassandra. Will Vanya and Sonia’s lives be changed forever?

Is Spike going to run off with Nina, the aspiring actress next door? And who is Hootie Pie? “A laugh-out-loud new comedy.” (The Record)

Intimate Apparel

by Lynn Nottage • Rhode Island Premiere Lace, silk, satin and beads. These are the materials that quiet and unassuming Esther Mills uses to create the exquisite corsets for fashionable brides (and other, less virtuous clientele) in turn-of-the-century Manhattan.

Approaching spinsterhood at 35, Esther has yet unfulfilled dreams — love, marriage and one day opening her own business. A letter from a faraway stranger changes everything, and Esther must decide whether she can finally open her heart and try to craft a future for herself as beautiful as one of her creations. Audiences across the country have fallen in love with this new American classic from Pulitzer Prize-winning playwright Lynn Nottage.

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“In this life, one thing counts, in the bank, large amounts, I’m afraid these don’t grow on trees, you gotta pick-apocket or two.”

—oliver!

“This is me. This is me now. The way I am. Now. This. Different.

I — I live inside this. Remember.

Remembering... I know what love is.

I can never forget.

That. Never.”

—A Lie of the Mind

“We snoop, we spy, where every dirty secret may lie. May honesty and truth forever be our guide!”

—veronica meadows

And much like Crime and Punishment or All the King’s Men or the other adaptations of literary classics that we’ve done, it will feel very much ours.

TD: Right, and we thought Brian McEleney would be a great person to direct it, and when we came to him with the idea, he had a really theatrical, innovative concept for it — to use a large cast but also incorporate lots of music…

CC: Theatrical, innovative, musical, not like any production of The Grapes of Wrath you’ve seen before.

TD: Exactly.

LU: Stephen Thorne’s previous play, The Completely Fictional — Utterly True — Final Strange Tale of Edgar Allan Poe, just had a huge success in Baltimore. Where did Veronica Meadows come from?

TD: Well, I know he was working on it over the summer, and we read it at our August new play workshops… and it was really wonderful, yet very different than Poe. In Poe, the language was dense, sort of as a homage to Poe’s language, and the language in this is lighter and funnier.

CC: Yeah, it’s a comedy, and Veronica Meadows is Stephen’s response to child detective books of the 1950s and 60s. Veronica Meadows is a girl detective who has just never grown up. We meet her and her best friend Ginny Balderston, and they are still solving crimes and going to summer camp and doing all the things they did in the books, even though they are no longer children. So it’s really a play about how the world asks us to become adults even when we still have this self-view of being children.

But because it’s a response to those kinds of books, the dialogue has a kind of faux Runyon-esque quality to it, where it’s not really hard-boiled, it’s kind of children’s hard-boiled.

TD: And it’s dark in an interesting way, but also playful. A little tonguein-cheek but it highlights what people love about those books too.

LU: Curt, as our resident Chekhovian, what drew you to Vanya and Sonia and Masha and Spike?

CC: Early in the planning process Tyler said, “Hey, we did Uncle Vanya in our first season, maybe we should do Uncle Vanya again in this season.”

So we started talking about Chekhov, and then suddenly this play came along…

TD: It was a big hit at the McCarter Theatre and then again in New York. Once we got the script, it spread like wildfire through the office.

CC: You read it and it’s just one of the funniest things. It’s funny and human and it makes fun of a Chekhov play until suddenly it becomes a Chekhov play. And then when you’re reading it you think, “Oh, this is much more profound and heartwarming than I thought a comedy was going to be.” And that’s what I love about it, it’s funny and then it’s human. So alive.

It clearly had great roles for actors.

TD: It got a round of applause when we announced it at the board meeting.

CC: It’ll be a nice winter comedy.

LU: It’s been two seasons since we did a musical. Why Oliver!?

9 the trinity square • winter 2013

Oliver!

book, music and lyrics by Lionel Bart

based on Charles Dickens’ Oliver Twist February will be the time to kick up your heels and high-step along with Lionel Bart’s beloved family musical Oliver!, based on the novel Oliver Twist by Charles Dickens.

This boisterous, high-energy show brims with familiar songs such as “Food, Glorious Food,” “Consider Yourself,“ and “I’d Do Anything.” This new Trinity Rep adaptation of the classic will vividly bring to life Dickens’ timeless characters, from the orphan boy who dares to ask for “more” to the Artful Dodger, the kindhearted Nancy, mischievous Fagin and the sinister Bill Sykes. Join Oliver as he navigates the streets of 19th-century London, on a search for love and family and his place in the world. Winner of three Tony Awards.

A Lie of the Mind

by Sam Shepard • directed by Brian Mertes Hailed recently by the New York Times as the playwright’s “richest and most penetrating play, a 20th-century masterwork of a family portrait,” Sam Shepard’s storytelling is at his most poetic, most poignant and most striking. Brimming with enormous vitality and humor, the play alternates between two families joined together by marriage and torn apart by a life-changing incident. Excavating our ideas of the American family, the play asks us to look deeper into the human heart and the destructive power of love. “Sam Shepard is surely the only dramatist alive who could tell a story as sad and frightening as this one and make such a funny play of it without ever skimping on its emotional depth.” (The New Yorker)

Veronica Meadows

by Stephen Thorne • World Premiere Girl detective Veronica Meadows and her gal pal Ginny have been sleuthing and solving small town crimes for as long as anyone can remember.

Time and time again, they stop the evil-doers in their tracks and heroically save the day. That is, until the day our plucky girl detective stops following her predicable habits and takes a dangerous turn into the unknown. A darkly comic gem from Stephen Thorne, resident actor and playwright of The Completely Fictional — Utterly True — Final Strange Tale of Edgar Allan Poe, which premiered two seasons ago at Trinity Rep and recently played at Baltimore’s Centerstage. “Thorne can write lines that sing, startle and amuse.” (Baltimore Sun) Plays and dates subject to change.

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10 the trinity square • winter 2013

a perfect fit. The play is hard-hitting family drama, and it has a muscular musicality to it, plus great roles for actors.

TD: And Shepard doesn’t shy away from the darker aspects of the American family, in fact he kind of excavates it in a very poetic way ­— there’s no way that you don’t leave the theater moved in some way, there’s no way you don’t experience something.

CC: Something huge.

LU: Let’s talk a bit about Intimate Apparel.

CC: It’s one of my favorite contemporary American plays. We want to introduce contemporary playwrights to our audience, like Sarah Ruhl or Adam Bock, and we’ve never done Lynn Nottage’s plays here. She graduated from Brown, she’s a Pulitzer Prize winner, a MacArthur Genius grant winner… she ain’t no slouch. And this play is so extraordinary. It starts out with letters exchanged between between an African-American seamstress at the turn of the last century and an Afro-Caribbean man who is digging the Panama Canal. It’s a love story, it’s lyrical, it’s funny, it’s about what we want and what we can’t have, and how we find strength through that wanting.

TD: It’s a beautiful play that’s been done across the country, though never in Rhode Island. The main character has denied a lot of things for herself. She thinks she’s never going to find love, but she always hopes for it and then when she thinks it might happen, it makes it all the more the sweeter. It’s a beautiful love story.

CC: I read it on the plane and I started crying.

This is such a play about longing and heartache.

Unbelievably beautiful and powerful.

LU: Were there any themes that you considered as you picked the season?

CC: You know, we are always thinking about the ways theater can be an advocate for social change and justice, and in a lot of ways this season features a lot of underdogs — people who don’t get noticed, or people who are marginalized… it’s important to tell their story. It is actually the season of people being heard that don’t necessarily have a voice.

Photo by Anne L. Harrigan

CC: This is actually an idea that Stephen Berenson brought to us a couple of years ago.

We do so well with Dickens, and we have an audience appetite for it, and we finally thought it was time to bring this really great musical to our stage, but done in a very specific way — keeping the great music, but adding bits of the novel.

T he music is just such a delight, it just feels like a win-win for all of us.

TD: We a l s o w a n t programming that honors our artistic spirit, but also encourages families and children to come to the theater. That’s a huge part of what we do with all our education programs, so this seemed like a great way to energize that particular audience, the people who might not come see A Lie of the Mind, for example.

CC: And that intergenerational audience is what we hope for. This is going to be our Project Discovery Plus show, so we’re going to encourage our school partners to teach the novel in class so that the students can read it and then see this adaptation. It should just a really extraordinary and unique experience with lots of great songs and music.

LU: Speaking of A Lie of the Mind…

CC: It’s Sam Shepard unique voice — an unequalled American classic. We wanted to go back to something in our past, but we wanted to do it in a unique and wonderful way. Brian Mertes, who directed Crime and Punishment and Clybourne Park for us, really wanted to do it here. And because we wanted to do Shepard anyway, it seemed like

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POSTCARDS

While Trinity Rep takes pride in the fact that ours is a resident acting company — one of the last in the nation — we also are excited to bring in guest artists who help invigorate our work with different points of view.

This season, however, the tables have been turned as six of our actors (Stephen Berenson, Angela Brazil, Phyllis Kay, Brian McEleney, Fred Sullivan, Jr. and Joe Wilson, Jr.) traveled to the Dallas Theater Center in January to continue their work in our co-production of King Lear. Likewise, husband and wife Mauro Hantman and Rachael Warren, after completing A Christmas Carol here, departed for Ashland, Oregon to be featured players in the Oregon Shakespeare Festival’s 2013 season. Angela, Stephen, Fred, Mauro and Rachael sent us these reports:

FROM THE

ACTING COMPANY

ANGELA BRAZIL “I loved observing how Dallas Theater Center works. They have a program, called Come Early (in addition to their post-show Stay Late conversations with the audience), which offers patrons the opportunity to learn about the history of the play, the reasons behind Artistic Director Kevin Moriarty’s directorial choices, and more. DTC has some student matinees, but most area high school students attend a regular evening performance, mixing in with the adult audience. I love seeing how things like this work and thinking about how they might work for us at Trinity Rep. It’s been fun to work with a company who’s fairly new to being a company; they’ve been together five years. There’s a different energy and a different language. Trinity Rep actors speak the same language as Kevin (who trained and worked in Providence), a language rooted in story and event and how to make both of those hit an audience viscerally, in a new and fresh way. Because of the technical capabilities of the Wyly theater, Kevin now also uses visual and sound spectacle to tell a story.

The biggest change in King Lear has been in the space, obviously. The Wyly is much larger than our Dowling Theater. Kevin and the designers reworked much of the sound and lighting to fill a stage that’s deeper, wider, and higher. And the show feels less intimate, more grand. Listening to the talkbacks after the show, however, the audience experience seems to be the same, so we’re very proud of that.

I have a unique perspective on Dallas since I’m traveling with Vivien, my daughter, and my unbelievable Mom. The Arts District (home to DTC’s home at the Wyly, the Symphony, the Opera, and several museums) has fantastic opportunities for children and families. Viv has seen an opera version of Jack & the Beanstalk and Dallas Children’s Theatre’s stage version of Goodnight Moon, been to

11 the trinity square • winter 2013

art lessons at the Dallas Museum of Art, and heard a children’s program of Fantasia at the Orchestra.

Tickets to all were unbelievably inexpensive, and the work was great!

Every experience deepens an actor’s work, whether it reinforces something you know or teaches you something new. Fred Sullivan and I agreed that being in Dallas reminded us of how fortunate we are to have jobs at Trinity Rep. Traveling can be hard on an actor — leaving family and friends and other projects we’re working on. It’s good to be reminded of how lucky we are.”

—­Angela Brazil STEPHEN BERENSON “Having spent much of the last two decades performing in Providence, it’s exciting to be working in a different building, with different rehearsal halls, backstage areas and lobby areas. Although it’s feeling familiar after five weeks, the initial experience was one of discovery, confusion, and delight. Being at the Dallas Theater Center has also given me a fresh appreciation for Providence and Trinity Rep. As with any kind of travel, a large part of the experience is not just seeing a new place but also examining the way it reflects one’s own part of the world. I’ve enjoyed working with my Dallas colleagues and it’s been a wonderful reversal to be in their home theater and city after having them with us last fall.

In Providence, King Lear was in Trinity Rep’s intimate downstairs Dowling Theater to give the show a pressurized explosiveness which worked very well. The Dallas theater has about 150 more seats (about the size of Trinity Rep’s Chace Theater) and is much larger and more cavernous. There are two balconies, and the main floor audience is below us instead of above us. The dimensions of the Dallas space gives a grander, more expansive and operatic

DALLAS PHOTOS BY FRED SULLIVAN, JR.

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feel to the play, with a different color and energy.

Thanks to hundreds of Project Discovery performances, I think audiences in Providence are extremely sophisticated. The Dallas Theater Center also has a strong educational component, including a discussion program following each show. We’re doing four morning performances for students, and they have been some of our best audiences.

One of my passions is to travel and see new things, especially museums, historic districts, and local events. Being here has allowed me to explore Dallas and Fort Worth. I’ve seen Coco Chanel’s Mediterranean villa in the Dallas Museum of Art, the Sixth Floor Museum, which is the building from which Oswald shot President Kennedy, and the stock show, which had a shocking collection of swine and an impressive collection of roosters, including the Rhode Island Red. Although I’m enjoying my time in Dallas, I realize all over again that Trinity Rep is a terrific institution and how privileged I am to work there in such a spectacularly beautiful part of the country.”

—Stephen Berenson MAURO HANTMAN & RACHAEL WARREN “Ashland, Oregon, in the Rogue River Valley, is surrounded by two mountain ranges — the Cascades to the east and the Siskiyous to the south — and there are beautiful views everywhere. Deer wander freely all over town and are a nuisance to locals but pretty cool when you’re not used to them. Our son Theo has gone with us on several hikes in the mountains, and the sunsets and sunrises are gorgeous. Ashland, with a population of 20,000, is much smaller than Providence so most people who come to the Oregon Shakespeare Festival plays are from out-of-town for theater vacations.

The most exciting thing about performing with a different theater company is working with new people. The theater here is much bigger than Trinity Rep; there are over 100 actors on staff, and they do 11 plays on three stages. All the plays are done in repertory, so each play is performed three or four times a week. The theater community here is also 12 the trinity square • winter 2013

Applause for Our

Graduates!

by Tyler Dobrowsky

ashLAND

pretty much the people who work at OSF, unlike Providence, where we hang out with people from The Gamm, Elemental, Wilbury, AS220, etc. People are very positive and hard-working — there’s an intensity that comes with juggling so many plays, rehearsals, and actors, and everyone has to pull their weight.

We just started tech for My Fair Lady, directed again by Amanda Dehnert, and will begin performing at the end of February. We’re doing the same work we do at Trinity Rep, but with a lot more people on the production end. The set, designed by our original designer, David Jenkins, is almost identical to what we had at Trinity Rep in 2000. The costumes are designed again by Devon Painter and are very similar as well. The main difference is the new cast so there are totally different performances to bounce off of. Also, I am older now and have very different experiences in my own life that are coloring my own journey through the show. This my fourth time playing Eliza, so I’ve been working on this performance in one way or another for 12 years. That is a rare privilege. It is thrilling as an actor to return to these great parts and see what you find.”

—Mauro Hantman & Rachael Warren

W

henever our Brown/Trinity Rep MFA acting and directing students achieve success, we tend to crow like proud parents.

So please allow us to share some especially wonderful news: Fault Line Theater, a new group founded by Brown/Trinity Rep graduates, has created a well-received show entitled From White Plains that runs Off-Broadway at the Pershing Square Signature Center, February 8 – March 9, 2013.

Written and directed by Michael Perlman ’10 (who directed A Christmas Carol in 2010 and last year’s The Mourners’ Bench at Trinity Rep), the play addresses the repercussions of bullying a LGBT high school student, from both the vantage point of the bullied as well as the bully. The play stars recent graduates (below from left) Jimmy King ’09, Aaron Rossini ’09, Karl Gregory ’10 and Craig Wesley Divino ’09. The play received a GLAAD Media Award nomination for Outstanding New York Theater: Off-Off Broadway for its initial run, and we sincerely hope that this production provides Michael, Craig, Aaron, Jimmy and Karl with even more fantastic opportunities.

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Reaching Out with

Romeo and Juliet Ryan Purcell, a third year student in the Brown/Trinity Rep MFA directing program, sat down with Associate Artistic Director Tyler Dobrowsky and Education Director Caroline Azano to talk about his thesis show, Romeo and Juliet, as well as his desire to connect the show with area schools.

Tyler Dobrowsky: So, Ryan, this is your thesis project, the last show you’ll do in graduate school.

Ryan Purcell: Yes, sir.

TD: Romeo and Juliet. What brought you to this particular play?

RP: Unlike most people, I didn’t come to Shakespeare through the language. I was a bad reader growing up, I never understood it. I came to Shakespeare through seeing productions that felt like they included everyone, from the youngest kid to the oldest grown up. I was really drawn to Shakespeare because he seemed like a writer for the whole community and Romeo and Juliet to me is the most accessible and most universal of his plays because it’s about love, and it’s about getting older, which we can all relate to.

The other reason I picked this play is, among all Shakespeare’s plays, there is a small window of time when you can do this one right. I think it’s a play that takes a lot of skill, because the language is hard, the relationships are hard, the characters are very complicated, so it takes a lot of training and a lot of skill to get it right, but I think it also requires a young energy to have the arrogance to say, “there’s something new to be said here.”

Plus, I think it’s a perfect play to do in this community, at this theater, in this city that I’ve grown to love over three years. I wanted my class to do something that reached out into this community 13 the trinity square • winter 2013

to make a piece of art that is for all of Providence.

TD: Usually for these thesis shows, there are 60 seats, 70 seats. You have how many seats?

RP: We’re still working on that… we’re aspiring to 200, at least 150. I wanted that because I wanted to offer half the seats to the community. One of the challenges of this play is that it asks young people to see old peoples’ perspectives, and it asks older people to see a younger person’s perspective. And it doesn’t say one side is right and one is wrong, it says both need to learn to see each other. And so, on stage, there’s Romeo and Juliet and their parents, but its important the audience reflects that too — that there are young people who still have a very innocent view of how love works, and there are older people who have lost love and who have been widowed and who have gone through divorces, and having all those people in the room together enriches the experience.

We’re also working to get people who are veterans, who have a specific point of view on the amount of violence in this play, and we’re reaching out to battered women’s shelters and homeless shelters, as well. We’re encouraging an audience full of different points of view to this very universal and tragic story.

TD: Caroline, as education director, what kind of education programs do you have that involve Shakespeare?

Caroline Azano: Well, for starters, in our year-round classes, we have several sessions that focus specifically on Shakespeare. Right now, in my year-round junior ensemble class for fifth through seventh grade, we are doing a 45-minute version of Twelfth Night. In our year-round eighth and ninth grade class we’re doing a showcase of Shakespeare scenes that play with gender, which we’re calling “Shakespeare’s Drag Race.” Additionally, we’re doing several off-site residencies with various Providence schools and community organizations. For instance, right now I am working with third through sixth graders at the Providence Athenaeum on a site-specific Romeo and Juliet where we are going to perform it in the old library, which is very exciting.

We’re also working with Nathan Bishop Middle School and Classical High School doing other mini-

Shakespeares. So we are all about the Bard!

TD: How are you getting students interested in this new production?

CA: Well, the most exciting partnership is with the Jacqueline M. Walsh Performing Arts School. Last year Ryan directed Richard III, and that toured to several schools including JMW and it was a tremendous success.

So Ryan decided to explore that further — he has been talking with Karen Carpenter, a teacher there, and he’s actually getting ten of the JMW students involved in the show as actors.

RP: Yeah, it was that performance of Richard III that confirmed for me that Shakespeare is not an elitist writer. Richard III is a very complicated, hardto-follow history play, and these young people really loved it. And that’s where I got the confidence to include everyone in this production. When I was their age, I had teachers who were young professionals and college students. Hopefully I can be a mentor to these kids as they work on this play, to return the favor.

CA: We’re also reaching out to schools that we are particularly close with, specifically public schools. The goal is to get a group from every single Providence public high school to attend. We already have Central Falls, Classical, and a handful of other schools booked in, and we’re excited to reach out to more in the coming months.

TD: And if anyone reads this and wants to get involved, who should they contact?

CA: Teachers who are interested should email us at education@trinityrep.com.

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Ryan Purcell

Romeo and Juliet May 7–19, 2013 $12 general admission, $6 students and seniors (401) 351-4242 trinityrep.com Performances at the Citizens Bank Theater, Pell Chafee Performance Center, 87 Empire St., Providence

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Brown/Trinity Rep MFA Programs in Acting & Directing

Spring 2013 MFA Performances Romeo and Juliet

above:

by William Shakespeare • directed by Ryan Purcell ’13

Tickets: $12 general admission, $6 for students (with valid ID) and seniors (62 and older).

The classic tale of forbidden passion in a world filled with violence, jealousy and ultimately, loss. Two teens unexpectedly meet and fall in love — and then realize that their families are the most violent of enemies.

For tickets, call (401) 351-4242 or visit trinityrep.com.

May 7–19, 2013

14 the trinity square • winter 2013

brown/trinity rep’s 2012 production of venus by suzan-lori parks, directed by ryan purcell ’13. SET design by Patrick Lynch, LIGHTING DESIGN

BY Kristen Opstad AND COSTUME DESIGN BY Christine Mok. photo

by Mark turek

All performances at the Citizens Bank Theater, Pell Chafee Performance Center, 87 Empire St., Providence.

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Surviving on Stage:

The Incredible Women of SOAR

by Michael Williams

“We have survived our pasts, hoping to cultivate courage for the future.”

Something amazing happens at Trinity Rep when the education department produces an eve nt . W i th o u t —Final line of Behind Closed Doors ques tion and with endless generosity, the entire Trinity Rep family joins together to do whatever it takes to help us transform the lives of our students, regardless of age. In the fall of 2012, something amazing happened with 15 survivors of domestic violence through a partnership with the Rhode Island Coalition Against Domestic Violence (RICADV).

In February 2012, I received an email from a woman at RICADV inquiring about public-speaking workshops for a group of their survivors. RICADV encompasses a number of programs, among them a task force of survivors who speak at events in the community to raise awareness on the issue: Sisters Overcoming Abusive Relationships (SOAR). Since I came on as Trinity Rep’s education outreach coordinator in 2011, I had been waiting for an email like photo by mark turek

15 the trinity square • winter 2013

this. I replied with the usual response for this sort of inquiry, but added a “what if?” What if we created a play with the women, based on their words and experiences, that the women themselves would perform in, together, to shed light on the issue and inspire change? This being quite a “what if?” I didn’t expect to hear much in response. Little did I know the tenacious, determined organization I was contacting. A rapid, enthusiastic email exchange later, the seeds for something transformative were planted.

Starting in August, together with Francesca Montanile — a former Trinity Rep education intern — I began meeting with the women of SOAR. Francesca and I spent the weeks preceding our initial session researching domestic violence. We came to the first meeting, played a few theater games, ate some chocolate and presented our findings on the trajectory of the domestic violence experience. We found out later that the majority of the women were skeptical of the project at first.

One even said she thought at the beginning of the first meeting, “I can’t wait to get out of this room and never come back.”

Thankfully, our research and promise to honor their stories seemed to speak to the women. For the next 10 weeks we met with the women as they shared stories, laughs and tears. It was a powerful journey for all involved. Each week, without fail, Francesca and I would leave the small office building in Warwick and say out loud, “These women are incredible.”

And they were. Though some were terrified of reopening old wounds and some were still in hiding from their abusers, the women were determined to come together to share their stories for a greater purpose: to enact change in their community and educate us all about the complex, often psychological abuse that accompanies physical harm in domestic violence relationships. A number of the women told their families about their abuse for the first time through our work together. They decided they wanted their families to know before

speaking their words out loud on stage. After much deliberation, the women decided to title the play Behind Closed Doors and a date of October 29th was set for the performance in Trinity Rep’s Dowling Theater.

October 29th, however, turned out to be the worst of Hurricane Sandy’s devastation of the east coast. The day before, we met with the women in the Dowling Theater and broke the news that we would not be performing the next day. I’ll never forget one survivor saying, “You know what? We’ve survived worse.” We cancelled rehearsal and instead shared some much needed pizza and beer before heading home to stock up on storm supplies. Luckily a new date in early December was open for the women to take the stage. We continued rehearsing on Saturday and Sunday afternoons until at last, December 10th arrived.

It’s hard to describe what happened in the Dowling Theater that night. With the greatest of courage and perseverance, the women of SOAR opened up their hearts to an audience of friends, family, state representatives and teenage mothers.

Even after rehearsing the piece again and again, some of the women began to tear up while telling their stories. As they always had, they forged ahead with grace and dignity.

Speaking their own words and the words of their fellow survivors, the 15 women of SOAR shared stories that redefined, for many, the meaning of survivor. It was a humbling and emotional experience. After the performance, one survivor declared, “I feel like it has finally come up, and I can finally release it. Do away with it. I have survived.’’

Behind Closed Doors is slated to begin a tour of college campuses and community centers in the summer of 2013. The women will continue to share their stories and raise their voices about an issue that all too often goes unnoticed or ignored.

It may be years before Francesca and I have an opportunity to work on a piece of theater with such deep, vital social implications again. One thing is for certain though. I cannot imagine meeting a braver, bolder, more driven group of women who selflessly offer their experiences up to a higher cause. These women are incredible, indeed.

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by Jordan Butterfield On January 15, Trinity Rep Active Imagination Network (TRAIN) and Seven Hills Rhode Island presented a sold-out performance of J.M. Barrie’s Peter Pan. The actors, all clients of Seven Hills, consisted of 27 bright young stars with autism spectrum disorders or other cognitive and physical disabilities. For some of them, their performance in the Chace Theater was their very first time onstage.

Abbey Tilton was one of those newcomers. At our first rehearsal in Pawtucket, Abbey roared into the room with the widest smile I had ever seen.

Her positivity was infectious. She volunteered for every improv game, actively participated in warm-ups, and graciously answered the questions of her curious peers. “Why are you in a wheelchair?”

16 the trinity square • winter 2013

one asked. Abbey replied simply, “I have cerebral palsy. I was born like this.” Abbey also has spastic quadriplegia and has been in a wheelchair since she was three years old. She is legally blind and for many years suffered with a seizure disorder.

Seeing her onstage, you would never know. She is every inch a performer and comes alive under the bright lights.

Abbey was the only member of the cast playing two roles: a pirate and a mermaid.

She led the pirates in their sea shant y and then exited and returned transformed into a sassy mermaid.

Sh e inf us e d eve r y scene with energy, and bravely steered a motley crew of pirates.

Abbey knew every line of the script by heart.

Abbey reminded me of why I became a teaching artist. Watching her revel in every moment, onstage and off, proved Trinity Rep’s mantra that theater has the power to transform lives. As an actor, Abbey could be anything she wanted to be. Her radiant energy along with a slew of supportive family and friends made anything possible.

Abbey’s mother, Sharon, came to all the rehearsals with her. “My husband and I try very hard to give Abbey as many opportunities as we possibly can. She has never been so excited and engaged

and dedicated to a community activity as she was about the Trinity Rep drama club. Every day she woke up asking ‘Is it Tuesday?’ She ate, slept and dreamt about Peter Pan. We cannot express what this program has done for Abbey’s self-esteem and independence. It widened her social circle beyond our imagination. This made Abbey believe that she can fly too!”

Performing gave Abbey and the rest of the cast a rare opportunity to display their talents in front of 500 loving spectators. In those moments, doctors and diagnoses faded away and the magic of theater remained. When I told her I was writing this article, Abbey said, “I am so famous in this universe!” She truly is. I hope that you can all see her onstage someday. She will make you believe not just in fairies and mermaids and pirates, but the power of the human spirit.

ABOVE: Abbey as a pirate with Captain Hook left: Abbey as a mermaid with her “waves” Photos by Anne L. Harrigan

Trinity Rep Active Imagination Network

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A Love Letter

lifelong learning

to the Young Actors Summer Institute Last August, Nicole Sandaniantz, one of our Young Actors Summer Institute (YASI) counselors and former students, wrote to us about her experience with us this past summer: Dear YASI, I would like to thank you for every bit of the four weeks I spent at Trinity Rep this summer. YASI entered my life when I needed it most.

I needed the children, and I needed the adults who were willing to spend eight hours per day with the children. I needed the old white building with all its history, I needed the old man sitting PHOTOand

BY MARK outside the café TUREK on Empire Street each day in a fine tweed suit. I needed the laughter from a wellplayed comedic scene, and I needed the laughter from the mishaps that arose when attempting to rehearse a tragic scene.

The “real world” that everyone seems to talk about is tiring to me. There is a marathon in high school to impress the college admissions officers.

And then you arrive in college to find young people building resumes instead of joy. I mean, I know money is useful, but to step out of the system and find oneself able to breathe is such a gift.

People are at YASI because they want to be at YASI, not just because they think they should be here. They are ready to put their hearts on the line, ready to make themselves so vulnerable because

17 the trinity square • winter 2013

Photo by mark turek

The Young Actors Summer Institute is one of the most comprehensive arts enrichment summer programs in New England. Taught by Trinity Rep’s professional acting company and education staff, students are able to choose from a variety of different classes, including musical theater, stage combat, improvisation, Shakespeare, puppetry and much more! YASI 2013 runs from July 2 – August 3 for students entering grades 5–12. Students in grades 1–4 can participate in YASI Jr., running from June 24–28. The Shakespeare extension (high school only) is from August 5–10. Email education@trinityrep.com or visit trinityrep.com/education to enroll your young actor today!

they have not yet been confronted by the “real world” some would say. But I would disagree. Such an explanation could not account for the counselors and teaching artists who return year after year; nor could it account for the fact that, through theater, students may learn much more about the “real world” than many of their peers.

I just think that this kind of program reminds me of those things that are truly important in life: sharing a meal with someone half your age, growth through failure, trust in oneself and ones’ companions, humility, pizza, hugs, and letting your guard down when a wicked cool jam comes blasting through the speakers.

So I thank you for welcoming me into the Trinity Rep family, and I thank you for sustaining such a uniquely beautiful community.

— Nicole Sandaniantz

Trinity Rep offers education programs for students of all ages — from introductory acting classes for K–12 students to advanced acting and discussion series for adults.

Visit trinityrep.com/education for our most complete listing of programs for students of all ages!

Our spring 2013 season programs continue with…

Shakespeare

This is a scene study class dedicated to exploring the works of William Shakespeare.

Students will learn how to develop skills to inhabit and activate Shakespeare’s gorgeous language and vital characters and to bring to life the raucous humor, deep tragedy, and profound humanity inherent in the writing. Rehearsal time outside class is required. Tuition includes admission for two to a production at Trinity Rep. Permission from the instructor is required to enroll. Taught by company member Fred Sullivan, Jr. April 27 – June 22, 2013 Saturdays, 10am–12:30pm, $300 To enroll in our Adult Acting Classes and Discussion Series, contact Michael Williams, Education Outreach Coordinator at mwilliams@trinityrep.com or (401) 521-1100, ext. 220, or register online at www.trinityrep.com/education

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Theater for Every Generation Trinity Rep’s Theater for Every Generation Campaign has entered its final phase of raising $18 million to preserve Trinity Rep’s unique vision and values for future audiences. Our goal is to complete the campaign during Trinity Rep’s upcoming 50th anniversary year (July 2013–June 2014). Under the volunteer leadership of Campaign Chair Suzanne Magaziner and the hardworking volunteer members of the campaign steering committee, the campaign is $4.5 million away from reaching its goal. Since the campaign is a comprehensive one, all gifts to the theater count towards the campaign goal including annual fund support, campaign gifts, gifts in kind, restricted gifts, endowment gifts, and planned gifts.

We have made great headway in our fundraising efforts during the first half of this fiscal year (which began on July 1, 2012) — here are some of the highlights: Since the unveiling of Trinity Rep’s expanded legacy giving program last October, we have seen an increase in the number of planned gifts made to the theater. To date, more than $1.2 million in planned gifts have been documented and received by theater as part of this campaign.

The Endowment Society is preparing to unveil three newly created named funds this spring, two of which were funded either by bequests or donations made in memory of past Trinity Rep company members. These funds will all become a part of Trinity Rep’s permanent endowment, which is managed by The Rhode Island Foundation.

In preparation for the theater’s upcoming 50th anniversary season, institutional funders have

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donated a combined total of close to $1 million to Trinity Rep this year — some of our most generous corporate and foundation supporters include Amgen Foundation, Amica, Bank of America Charitable Foundation, The Champlin Foundations, Citizens Bank, The Hearst Foundation, Inc., June Rockwell Levy Foundation, Merrill Lynch Investments, McAdams Charitable Foundation, Murray Family Foundation, National Grid, Ocean State Jobbers, Inc., Providence Journal Charitable Trust, Sharpe Family Foundation, The Harold and Mimi Steinberg Charitable Trust, Taco/The White Family Foundation, Textron, Mabel Woolley Trust, The Yawkey Foundation, Otto H. York Foundation and Washington Trust Company.

Emeritus Trustee Richard L. Bready’s fundraising challenge last fall was a tremendous success for the campaign. Bready challenged Trinity Rep supporters to donate up to $125,000 in new or increased gifts to the theater by December 31, 2012, which he offered to match 2-to-1. Over 500 donors participated in this challenge, exceeding the original goal and raising more than $135,000 in new donations for Trinity Rep! Special events featuring Honorary Campaign Board member Brian Dennehy and resident acting company member Fred Sullivan, Jr. (July) and honoring Campaign Chair Suzanne Magaziner as part of Providence Place Gives in October raised more than $20,000 for the campaign.

While the theater is proud of the tremendous momentum this campaign has achieved thus far and is exceedingly grateful for the generosity of our donors, the campaign is far from being complete. If you have not already found a way to support Theater for Every Generation, we encourage you to do so by completing and returning the coupon on this page.

For more information, please contact Director of Development Kathryn Calnan at (401) 453-9238 or kcalnan@trinityrep.com.

Make your gift online at www.trinityrep.com/give, by calling Kristen at (401) 453-9235, or print out and return this form with your gift. Thank you!

I believe in Theater for Every Generation. q Enclosed please find my gift of $________ designated as follows: $_______ Annual Fund $________ Campaign q I’ve included Trinity Rep in my estate plans. q I’d like to learn more about legacy giving and The Stanzler Society. q My employer has a matching gifts program. q Form enclosed. Company name_ ____________________________ NAME_ _____________________________________________________________ (as you wish to be recognized in donor listings) ADDRESS___________________________________________________________ CITY____________________________STATE______ZIP_ _________________ PHONE____________________EMAIL__________________________________

q Enclosed is a check payable to Trinity Repertory Company. q Please charge my q Visa q MC

q AmEx q Discover

NAME ON CARD______________________________________________________ CARD #_ ____________________________________________________________ Security Code__________EXP. DATE__________________________________ signature_ ________________________________________________________

q Please bill me for the balance. q I would like to set up automatic payments. Please contact me.

I would like to take advantage of donor benefits: q Yes q No

Please return to: Trinity Rep, 201 Washington St., Providence, RI 02903.

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All Eyes Are On… “It takes a special kind of person to be a great theater educator, and Trinity Rep does the best job of hiring exactly the right people.”

—Alexandra Fortin

Alexandra Fortin

Age: 17, junior at Exeter-West Greenwich High School Been part of the Trinity Rep family: …for two years, through scene study classes, the Trinity Zoo (Trinity Rep’s youth improv troupe), and the Young Actors Summer Institute (YASI). This year, Alex went a step further by asking her family, in lieu of Christmas gifts, to make donations to Trinity Rep. After auditioning at her high school for Cinderella her freshman year, and being told she “wasn’t ready,” she attended YASI that summer — an experience which she says changed everything. Through the classes, performances, and new friendships, Alex built up her self-esteem, confidence, and theater knowledge. The following school year, she landed the role of Maggie in Lend Me a Tenor, which Alex considers a favorite theater experience — one she feels would not have happened without the education she received at Trinity Rep. Safe space: Often our young actors speak of Trinity Rep as a safe space.

“You get to just be you,” Alex says, “From the first minute, it’s instantly okay. All the staff are so real… you want to keep that with you all the time. It becomes an outlet necessary to being happy.”

Mentorship: Alex feels Trinity Rep has especially good educators on staff ­— people who keep in mind who they’re teaching. “Kids are emotional!” The relationships between the young actors and teaching artists often morph into mentorship. She gets choked up speaking about two women in her life, Charise Greene, a recent Brown/Trinity Rep MFA graduate, who taught her for one YASI session; and Phoebe Madden, her voice teacher, who gave her the confidence to give Trinity Rep’s programs a try. Both encouraged Alex to keep the arts in her life, stressing the importance of finding things to be passionate about, but to also develop interests outside of theater. Now Alex wants to find a field of study where she can combine her love of acting with a desire to positively impact people.

This desire to help others is what led Alex to ask her family to support the organization she feels has helped shape her as a young artist, a young person — and now, a young philanthropist. When asked why, she replied that she feels “…so lucky to have the parents and support I do. I’m so happy with this life, why not give back to something that means so much to me and hopefully help other kids have the same opportunity?”

ABOVE: Alexandra in the Dowling’s outer lobby, which she calls her favorite place at the theater because it’s where she gathers for auditions with all her friends each summer at the beginning of YASI. She loves the “nervous, but supportive energy.” PHOTO BY kate kataja below: Performing (kneeling front left) during the YASI showcases in August 2012. PHOTO BY MARK TUREK

From all of us at Trinity Rep, a heartfelt “thank you” to Alex and her family for their support of Trinity Rep’s education programs. For more information on how you can get involved, contact Kate Kataja, Donor Programs and Individual Giving Officer, at kkataja@trinityrep.com or (401) 521-1100, x172.

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Celebrated Actress

On June 10, celebrated stage and screen actor Kate Burton will be honored with the 2013 Pell Award for Lifetime Achievement in the Arts at the 17th annual Pell Awards at Trinity Rep. The

Kate Burton

to Receive 2013 Pell Award for Lifetime Achievement

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annual fundraising event will be co-chaired by Joe and Michele Madden and Elizabeth “Beppie” Huidekoper. Mrs. Nuala Pell will serve as the event’s honorary chair.

The Pell Awards honor Senator Claiborne Pell and recognize artistic excellence in Rhode Island and New England as well as nationally.

Throughout his life, Senator Pell worked to support the arts and provide new opportunities for artists.

He sponsored the landmark legislation that established the National Endowments for the Arts and Humanities in 1965, and chaired the Senate Education and Arts subcommittee.

Kate Burton has amassed a wide range of awards, nominations and accolades from her decades as an actress across the globe in theater, film and television. Recent film roles include Josh Radnor’s Liberal Arts; 2 Days in New York from writer/director Julie Delpy; Danny Boyle’s 127 Hours with James Franco and the indie Puncture with Chris Evans. Past film roles include: Remember Me (Alan Coulter), Max Payne (John Moore), What Just Happened (Barry Levinson), Celebrity (Woody Allen), The Ice Storm (Ang Lee), First Wives Club (Hugh Wilson), August (Anthony Hopkins), Big Trouble in Little China (John Carpenter), Unfaithful (Adrian Lynne), Swimfan (John Polson), Stay (Marc Forester), Sherrybaby (Laurie Collyer), Quid Pro Quo (Carlos Brooks). Upcoming roles include the indie Consent; Barefoot with Evan Rachel Wood, and Mariachi Gringo.

Television audiences can see Kate recur in the latest Shonda Rhimes ABC series Scandal, in addition to her recurring roles on the CBS hit drama The Good Wife, the NBC series Grimm and the HBO series Veep with Julia Louis Dreyfuss. Prior pilots include the ABC drama pilot Boston’s Finest and

the HBO comedy pilot The Washingtonienne. Past recurring roles also include both Grey’s Anatomy (two Emmy Nominations) and Rescue Me. Recent television guest star roles include Criminal Minds: Suspect Behavior, Eleventh Hour, Justice, The West Wing, The Practice, Law & Order, Law & Order: Criminal Intent, 100 Centre St., and Notes For My Daughter (Emmy award). Kate appeared in HBO’s Empire Falls, the Lifetime feature Obsessed (John Badham) with Jenna Elfman and The Diary of Ellen Rimbauer for ABC. On stage, Kate starred in the new A.R. Gurney play The Grand Manner at Lincoln Center Theatre, playing the legendary Katherine Cornell. Previous theatre credits include the Tony Award-winning musical Spring Awakening, the Williamstown production of The Corn is Green directed by Nicholas Martin, starring opposite her son, Morgan Ritchie, and the City Center revival of Applause with Christine Ebersole. Kate received a Tony nomination for her role as the title character in The Constant Wife for the Roundabout Theatre, directed by Mark Brokaw and appeared in The Water’s Edge opposite Tony Goldwyn at the Second Stage Theatre. She appeared as Olga in the critically acclaimed West End production of Three Sisters with Kristen Scott Thomas, directed by Michael Blakemoore. Kate received two Tony nominations in 2002 on Broadway for her title role in Hedda Gabler, directed by Nicholas Martin, and for the role of Mrs. Kendall in The Elephant Man, directed by Sean Mathias. Kate has also starred on Broadway in The Beauty Queen of Leenane (also UK/Ireland tour), An American Daughter, Jake’s Women, Some Americans Abroad (Drama Desk nomination) and Present Laughter (Theater World Award). She has appeared for 13 seasons at Williamstown Theatre Festival.

The 17th annual Pell Awards will be held on Monday, June 10 at Trinity Rep. Tickets to the full event are $500; a limited number of tickets to the ceremony and post-show reception are $250, and corporate sponsorships are available. Proceeds benefit Trinity Rep’s artistic and educational programs. For more information or tickets, please contact David Azulay at dazulay@trinityrep.com or (401) 453-9237.

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Red White &

Blues

2

by Carol Drewes For the second year in a row, Trinity Rep partnered with generous local wine, beer and food purveyors to offer a winter warm-up at the Pell Chafee Performance Center on January 12. More than 150 new friends and longtime fans turned out to sample red and white wines paired with delicious tastes from fresh-herbed appetizers to small entrée plates to coffee and dessert, prepared by Allen Farms/Community Shared Agriculture/March Hare, Local 121, Nick’s on Broadway, Russell Morin Catering, The Roi , Sin Bakery and The Two Paul’s.

Bottles Fine Wine owner Gil MacLean (also a Trinity Rep board member) and his wife Michelle Collie co-chaired the event and

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brought several Bottles staff members along to inform tasters of the many wines sampled.

T hrough ticket and wine sales and a wine-tasting contest, more than $12,000 was raised to benefit Trinity Repertory Company’s ar tistic and educational programs.

The grand prize for the wine tasting contest was a two-night getaway in a luxury suite at the Vineyard Square Hotel & Suites on Martha’s Vineyard. Those guests not in a wine mood enjoyed beer and soda selections from Narragansett Brewing Company.

Throughout the night, attendees danced to the lively and eclectic music of The Silks.

VIP ticket holderswere welcomed to a special lounge where the freshest Ninigret Pond oysters were shucked on the spot by Walrus & Carpenter owner Jules OptonHimmel, a.k.a The Carpenter. Those delectable bivalves were washed down with generous tastes of three wonderful champagnes from Bottles.

Trinity Rep would like to offer a final toast to all who generously wined, dined and danced the night away with us!

Clockwise from top left: Event

co-chairs Michelle Collie & TRC board member Gil MacLean; The Silks; Linda & John Bushee with TRC board member & campaign chair Suzanne Magaziner; TRC board member Don Quattrucci, Patsy Quattrucci & Nate Watson; Lisa Bisaccia & Robert Naparstek; Providence Mayor Angel Taveras, Lynne McCormack (Director, Providence Department of Art, Culture & Tourism), and TRC Artistic Director Curt Columbus. Photos by Anne L. Harrigan PREVIOUS PAGE

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Around the Re

Our annual London Theater Tour was held this past November and plans are already underway for the 2013 tour!

Trinity Rep’s popular annual theater tours have also included destinations such as Chicago and Washington D.C. — this coming spring we will take off for Portland, Oregon from May 3–9. Not only are the accommodations always top-notch, the meals world-class and the theater the best the city has to offer, but the tour is accompanied by a member of Trinity Rep’s artistic team or acting company who takes you “backstage” to meet local theater artists and notables.

To find out how you can join in the adventure, please contact Lauren Ustaszewski at lustaszewski@trinityrep.com for more information — limited space is available.

Photo by Annie Talbot

Not long ago, we succeeded in getting a quorum of our dedicated and hard-working board members together for a group portrait on the set of King Lear. Needless to say, we are very grateful for all they do for Trinity Rep!

In November, Trinity Rep hosted an “Inside the Company” event at Gracie’s, where guests enjoyed a cocktail party and were entertained with a preview of The How and the Why led by (below left) Associate Artistic Director Tyler Dobrowsky and featuring actors Anne Scurria and Barrie Kreinik and director Shana Gozansky. Among those attending were (above from top left) Joe and Laurie DiBattista; Linda Cohen, Mary Morse, Ann Mason and Steven Cohen; Barbara Coppola and Susan M. Pacheco. Photos by kate kataja

Back row: Barbara Schoenfeld; Linda Cohen; John J. McConnell; Doris Licht; Joseph Madden; Deborah A. Imondi; Michael K. Prescott; Alec Taylor; John Lombardo, Treasurer; Kibbe Reilly; Donald R. Quattrucci; Suzanne Magaziner, Secretary; Mark K.W. Gim; Angela Brazil, Acting Company; Heidi Keller Moon; Marc Perlman; William F. Greene. Front row: Tracey Daugherty; Sally Herreid; Sandra A. Carson; Susan Symonds; Michael Gennaro, Executive Director; Jonathan Duffy, Chair; Curt Columbus, The Richard L. Bready; Artistic Director; Hannah Bell-Lombardo; Richard Beretta. Photo by mark turek

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the trinity square

Issue 25, Winter 2013

A publication of Trinity Repertory Company 201 Washington St., Providence, RI 02903 (401) 521-1100 • www.trinityrep.com

Trinity Repertory Company Curt Columbus, The Richard L. Bready Artistic Director Michael Gennaro, Executive Director Tyler Dobrowsky, Associate Artistic Director Laura Smith, Production Director Katie Byrnes, General Manager Marilyn Busch, Director of Marketing and PR Kathy Calnan, Director of Development Caroline Azano, Director of Education

Contributors Angela Brazil Stephen Berenson Marilyn Busch Jordan Butterfield Kathy Calnan Carol Drewes Tyler Dobrowsky Jon Duffy Mauro Hantman Kate Kataja Emily MacLeod Nicole Sandaniantz Board of Trustees (Officers) Lauren Ustaszewski Michael Williams Jonathan Duffy, Chair Paul Choquette, Vice Chair Graphic Designer/Illustrator Suzanne Magaziner, Secretary Michael Guy John Lombardo, Treasurer Photographers Anne L. Harrigan Kate Kataja Flordelino Lagundino Mark Turek Trinity Rep’s Season Sponsor Fred Sullivan, Jr. Annie Talbot Supporting Season Sponsors

one last look… left: stephen thorne & rachel christopher in fyodor Dostoyevsky’s crime and punishment, adapted by marilyn Campbell & curt columbus, directed by Brian mertes. SET DESIGN BY eugene lee, COSTUME DESIGN BY olivera gajic & LIGHTING DESIGN BY dan scully. photo by Mark turek

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