the pitmen painters - PICT Pittsburgh`s Classic Theatre

PITTSBURGH IRISH & CLASSICAL THEATRE
Generously sponsored by:
The Charity Randall Foundation
THE PITMEN PAINTERS
by Lee
Hall
Henry Heymann Theatre
Professional Theater in Residence at
the University of Pittsburgh
Pittsburgh Irish & Classical Theatre
presents
The Pitmen Painters
by Lee Hall
inspired by the book by William Feaver
directed by Andrew S. Paul
Robert Lyon
Oliver Kilbourn
Jimmy Floyd
Harry Wilson
George Brown
Young Lad
Helen Sutherland
Susan Parks
Ben Nicholson
Saturday Night at the Club, Oliver Kilbourn (1936)
Brad Heberlee*
Simon Bradbury*
Daryll Heysham*
Alan Stanford*
Larry John Meyers*
Bernard Balbot
Linda Kimbrough*
Rachel McKeon
Sean Sears
Scenic Designer
Gianni Downs
Lighting Designer
Jim French
Costume Designer
Rachel Parent
Sound Designer
Chris Rummel
Properties
George DeShetler
Projection Designer
Jessi Sedon-Essad
Production Manager
Gianni Downs
Stage Manager
Cory Goddard*
Technical Director
Aaron Bollinger
Master Carpenter
Jesse Poole Van-Swol
Assistant Stage Manager
Jessica Wasserlauf
Scenic Charge Artist
Lori Lynn Bollinger
Master Electrician
Scott Conklin
Dialects
Natalie Baker Shirer
THE PITMEN PAINTERS is presented by special arrangement with
Dramatists Play Service, Inc., New York
Pitmen Painters’ images © Ashington Group Trustees.
Images reprinted by permission.
Wartime Wedding, Harry Wilson (1940)
This production runs
approximately two hours and thirty
minutes, with one
15-minute intermission
*member of Actors’ Equity
Association, the Union of
Professional Actors and
Stage Managers in the
United States.
12
Professional Theatre in Residence
at the University of Pittsburgh
would like to thank
our 2012 Media Sponsors!
Light Board Operator: Matthew Shearer
Sound Engineer: Stephen Tipton
Sound Board Operator: Stephen Tipton
Projectionist: Patrick Dudiak
Deck Crew: John Forton
Wardrobe: Jordan Peterson
Electricians: JC Bardzil, Jordan Walsh, Louis Costanzo
Stage Management Apprentice: Jessica Wasserlauf
Carpentry Apprentice: John Forton
Scenic Paint Apprentice: Sarah Leonard
Electrics Apprentice: Matthew Shearer
Costume Apprentice: Jordan Peterson
Stage Management Intern: Angela Trovato
Carpentry Intern: Steven Lau
Lighting Interns: Patrick Dudiak, Harrison Smith
Scenic Art Intern: Grace McConnell
Box Office: Helen Radkoff
SPECIAL THANKS:
Joe Pino, Chris McGinnis, Beth Lawry, Rebecca Fink
PLEASE NOTE: The video and/or audio recording of any of the performances in
The Pitmen Painters by any means whatsoever is strictly prohibited.
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WHO’S
YOUR MAMA?
FOR RESERVATIONS: (412) 621.SAUCE
under the clock at Forbes & Oakland
The Pitmen Painters Acting Company
Bernard Balbot (Young Lad) is thrilled to return to his hometown to
collaborate on this production with PICT! Chicago credits include: We
Are Proud to Present a Presentation… (Victory Gardens); Far Away
(Winterfall Chicago); Short Shakespeare! Macbeth, En Route (Chicago
Shakespeare Theater); She Loves Me (Writers’ Theatre); Yeast Nation,
The Original Grease, It’s a Wonderful Life: A Radio Play (American
Theater Company); A Christmas Carol (Drury Lane Oakbrook). Other
Regional credits: Blood Brothers (Farmers Alley Theater); Cyrano de
Bergerac, Othello, Two Gentleman of Verona (Utah Shakespearean
Festival); Hair, Romeo & Juliet, Androcles and the Lion (Hangar
Theater). Training: Carnegie Mellon University School of Drama and Moscow Art Theater
School. Film: “Warrior.” Endless love and gratitude to my family.
Simon Bradbury (Oliver Kilbourn) is pleased to return to PICT
and Pittsburgh, his second home. Previous PICT credits include Will
Mossop in Hobson’s Choice, which earned him Performer of the Year
from the Pittsburgh Post-Gazette, the title role in Chaplin, Ariel in The
Pillowman, Clov in Endgame, the title role in The Shaughraun, the
Fool in King Lear, director of What the Butler Saw and the Interrogator
and Nigel in Rock and Roll. He was a long standing member of the
Shaw Festival where he appeared for 16 seasons. His play Chaplin
inauguated the new mandate at Shaw to incorporate plays written by
living playwrights. Other appearances in Canada are Stratford for 4
seasons, Citadel, Edmonton, Neptune Theatre, Halifax, Theatre New Brunswick, Canadian
Stage Toronto, Vancouver Playhouse and the Arts Club where he just played Chausable
in The Importance of Being Earnest.
Brad Heberlee (Robert Lyon) Off-Broadway: The Bald Soprano
(Pearl Theatre Company), Dada Woof Papa Hot (Atlantic Theater
Company), This Beautiful City (Vineyard Theatre/The Civilians), The
Thugs (Soho Rep), (I am) Nobody’s Lunch (The Civilians), Man Is
Man (Prospect Theater Company). Regional: In The Next Room or
the vibrator play (PICT), Frost/Nixon (Arkansas Rep), This Beautiful
City (Humana Festival/Center Theatre Group/Studio Theatre), The
Sweetest Swing In Baseball (Denver Center Theatre Company), 36
Views (Huntington Theatre), Hay Fever (Baltimore Centerstage),
Serious Money (Yale Rep), I Am My Own Wife and David Copperfield
(Weston Playhouse), A Thousand Clowns (Two River), Amadeus (Syracuse Stage/Virginia
Stage/Geva Theatre). Television: “Unforgettable.” Brad is a graduate of the Yale School
of Drama.
Daryll Heysham (Jimmy Floyd) is delighted to return to PICT for
a third time. He played Inspector Lestrade in last December’s boxoffice hit The Mask of Moriarty and appeared as Montano in Othello,
directed by Andrew Paul. This past April, he performed the role of Max
Tarasov in Geva Theatre’s critically acclaimed production of Superior
Donuts. At the Pittsburgh Public Theater, Daryll originated the role of
Sammy Carducci in the world premiere of Harry’s Friendly Service.
He also appeared at the Public as Gil Marshall in The Royal Family
and as Luther Flynn in Superior Donuts. Other Pittsburgh credits
include Phil Romano in That Championship Season for The REP, and
Monsieur Pierre in The Clockmaker for City Theatre. Off-Broadway credits include roles
in Tony ‘n’ Tina’s Wedding and Much Ado About Nothing. Daryll played opposite George
Peppard and Susan Clark in a national tour of The Lion in Winter and he logged over
1,000 performances of Shear Madness in the original Philadelphia production. Favorite
roles include Biff Loman in Death of a Salesman (opposite Harold Gould), Milo Tindle in
Sleuth, Bernard Nightingale in Arcadia, Mercutio in Romeo and Juliet, and Toby Belch in
Twelfth Night. Daryll has appeared at the Walnut Street Theatre, Syracuse Stage, Florida
Stage, and Iowa’s Riverside Shakespeare Festival. He has taught acting and voice and
speech at Cornell University, Philadelphia’s University of the Arts, and AMDA in New
York City. A native of Great Britain and trained at London’s Royal Academy of Dramatic
Art, Daryll holds a BFA from The Ohio State University and received his MFA from Point
Park University. He resides in Manhattan with his lovely wife, Christine.
Linda Kimbrough (Helen Sutherland) previously appeared at PICT
as Mrs. Lintott in The History Boys and Lady Catherine in Pride and
Prejudice. Since then, she played Hattie in Ten Chimneys at Northlight
Theatre in Chicago. Regional credits include Marie in The Gospel
According to James (at Indiana Rep, and Victory Gardens in Chicago),
Dottie in Noises Off (The Cleveland Play House and Maltz Theatre),
and Julia in The Fourth Wall (Alliance Theater). She has originated
roles in four of David Mamet’s plays: Edmond, Reunion, The Water
Engine, Squirrels, and as Charlotta in his adaptation of Chekhov’s
The Cherry Orchard. Movies include “Homicide,” “State & Main,”
“Spartan” (with Val Kilmer), “Redbelt,” and the upcoming HBO movie “The Phil Specter
Story” with Al Pacino.
Rachel McKeon (Susan Parks) is so thrilled to be collaborating
with PICT on this stunning new play. Locally, she has worked with
Pittsburgh Musical Theater (Legally Blonde, Spring Awakening), City
Theatre (Young Playwrights Festival), and toured on behalf of the
Pittsburgh CLO (The Amazingly True Adventures of Nellie Bly). Other
credits: New York: P.S. 122 (Welcome to Nowhere), The Debate Society
(You’re Welcome), Temporary Distortion (Welcome to Nowhere).
Regional: The Shakespeare Theatre of New Jersey (Tartuffe, Love’s
Labour’s Lost, Henry VI, pt I). Rachel will be starring in an independent
feature film, “Homemakers,” shooting in Pittsburgh and Austin, TX
this summer, before spending next season with Cincinnati Playhouse
in the Park. Endless thanks to Andrew and the rest of the cast! BFA: NYU/Tisch.
The Pitmen Painters Acting Company
Larry John Meyers (George Brown) returns to Pittsburgh Irish
& Classical Theatre for his eleventh season, where his most recent
roles were in Othello and the Pinter Celebration. A “regional artist”
who has called Pittsburgh “home” for most of the past thirty years,
Mr. Meyers has a long and sundry list of credits in theater, television,
and film. A proud member of Actors’ Equity and the newly merged
SAG-AFTRA, he is currently pondering a memoir, Slow from Bates
Street to the Squirrel Hill Tunnel.
Sean Sears (Ben Nicholson) After moving here in 2008, Sean has
loved every minute of the theatre in Pittsburgh! He has been lucky,
in his short time here, to have acted with Prime Stage Theatre as
Joseph Merrick in The Elephant Man; with Throughline Theatre
as Benjamin Cohen in The Underpants, with Pittsburgh Irish and
Classical Theatre as Abused Messenger in Antony and Cleopatra;
with Quantum Theatre as Sir Andrew Aguecheek in Twelfth Night,
as well as a part of the ensemble for the 2011 Young Playwrights
Festival hosted at City Theatre. Sean earned his B.A. in Theatre Arts
from Catawba College in 2004 and would like to thank City Theatre
for all their help and support.
Alan Stanford (Harry Wilson) is in his fourth season with PICT,
where he recently played Lady Bracknell in The Importance of Being
Earnest. Other PICT directing credits include last year’s recordbreaking production of The Mask of Moriarty, as well as Salome,
Betrayal and Celebration. He began his career at Dublin’s Project
Arts Centre where his productions included works by Shaw, Arbuzov,
Graham Greene, Brecht, Dürrenmatt and Shakespeare. He is Artistic
Director of Second Age Theatre Company for whom he has directed
many productions, most recently Philadelphia Here I Come!, Hamlet,
and his own adaptation of A Doll’s House. Alan has been principal
director at the Gate Theatre Dublin for nearly twenty years. His
productions there include works by Shakespeare, Moliere, Noel Coward and Oscar Wilde.
He holds the privilege of directing Harold Pinter in his own play, The Collection, and has
presented many of his own adaptations including A Christmas Carol, Pride and Prejudice,
Oliver Twist, Jane Eyre, The Old Curiosity Shop and The Picture of Dorian Gray. His
work as an actor includes roles with most of the major theatres in Ireland, receiving awards
for his performance as Salieri in Amadeus, Astrov in Uncle Vanya, Higgins in Pygmalion
and Valmont in Les Liaisons Dangereuses. His interpretation of Herod in Salome received
international acclaim. He is known as Ireland’s leading exponent of the works of Oscar
Wilde. With the Gate Theatre’s Beckett Festival he performed as Pozzo in Waiting for
Godot and as Hamm in Endgame, performances he repeated at the Lincoln Centre in New
York and in Toronto, Melbourne, London, Beijing and Shanghi and two tours of the USA.
For the Abbey Theatre he has played Judge Brack in Hedda Gabler and Lady Bracknell
in The Importance of Being Earnest.
Lee Hall (Playwright) was born in Newcastle Upon Tyne in 1966. He studied English
Literature at Cambridge University and has worked as a writer in theatre, TV, radio and
film. He has been writer-in-residence at the Royal Shakespeare Company and Live Theatre,
Newcastle Upon Tyne. Theatre credits include Wittgenstein On Tyne, Live Theatre, 1996;
Bollocks, RSC Fringe, 1998; Genie, Paines Plough, 1998; Cooking With Elvis, Live
Theatre/West End, 1999 (nominated for an Oliver Award for Best Comedy); Spoonface
Steinberg, Ambassadors Theatre, London 2000; Two’s Company, Live Theatre/Bristol
Old Vic, 2001; Billy Elliot the Musical, 2004 (Oliver Award Best Musical); The Pitmen
Painters, Live Theatre/Royal National Theatre, 2007/08/09/10 and The Manhattan Theatre
Club, 2010. Theatre adaptations include Leonce and Lena (Buchner), The Gate Theatre,
1997; Mr. Pultila and His Man Matti (Brecht), Almedia Theatre, 1998, A Servant to Two
Masters (Goldoni), RSC/Young Vic, 1999; The Adventures of Pinocchio (Collodi), Lyric
Theatre, Hammersmith, 2000; Mother Courage (Brecht), Shared Experience/Ambassadors
Theatre; The Good Hope (Heijermans), Royal National Theatre, 2001; The Barber of
Seville (Beaumarchais), Bristol Old Vic, 2003. Opera: Adaptation of Il Pagliacci/The
Comedians for the English National Opera, 2008. TV: “Spoonface Steinberg,” 1997, BBC;
“A Prince of Hearts,” 1998, BBC; “Wind in the Willows,” 2007, BBC; “Toast,” 2010,
BBC. Radio (all BBC): “I Luv You Jimmy Spud,” 1996 (Writers Guild Award Best New
Play, Gold Sony Award Best New Play, Alfred Bradley Award, Society of Authors Award);
“Spoonface Steinberg,” 1997; “I Love You, Ragie Patel,” 1997; “The Sorrows of Sandra
Saint,” 1997; “Blood Sugar,” 1997; “Aunt Julia and the Scriptwriter” (from Vargas Llosa),
1998; “Gristle,” 1999; “Child of the Snow,” 2000; “Child of the Rain,” 2000. Film: “Billy
Elliot,” Working Title Films, 2000.
Natalie Baker-Shirer (Dialect Coach) has coached Debbie Reynolds, Katherine Heigl,
John Leguizamo, Deborah Monk, Isabel Adjani, and other actors for theatre and film. She
was dialect coach for One for the Money, for Lakeshore Entertainment, and Diabolique
with Sharon Stone for MorganCreek. She has been the resident voice and dialect coach
for PICT since 1996, 75 plays to date, including Major Barbara, presented at the Galway
Arts Festival. Natalie appeared in Jule Styne’s Broadway production Something More
with Barbara Cook. She played Maria in Michael Bennett’s National Tour of West Side
Story, in the title role of Gypsy, Julie in Carousel, Rosemary in How to Succeed. She
appeared on Misterogers Neighborhood,. received an Emmy for “The Inside Story”
((PBS), narrated, “Women Light up the Sky” which was broadcast in fifty-six countries.
Video games voiceovers: “Hell” with Dennis Hopper, “Ripper” with Christopher Walken
and Burgess Meredith, “Spiderman,” “The Venom Factor” and “The Sinister Six.” Natalie
is Associate Professor of Speech and Phonetics at Carnegie Mellon Drama and Tepper
School of Business. In partnership with the Online Learning Initiative at CMU, Natalie
has developed American English Speech Course supported by the Gates Foundation,
Lumina and Hewlett Packard. It will be open and free to the world this fall 2011. Natalie
directs a communitybased outreach course, The My True Voice Project, to teach distinct
speech to students in Pittsburgh inner city schools. Natalie’s work is included in “Do
You Speak American,” a PBS MacNeil/Lehrer show. http://www.pbs.org/speak/seatosea/
standardamerican/truevoice/
Aaron Bollinger (Technical Director) is also the Head of Technical Theatre at Point Park
University in Pittsburgh. He is an MFA graduate of Yale School of Drama’s Technical
Design and Production department. Previously, Aaron was Assistant Professor of Technical
Production at FSU’s School of Theatre. His research focuses on efficiency of use and design
of dynamic scenery, both projected and automated. His research and work has given him
the opportunity to hold many unique positions: Database Designer for Spiderman-Turn off
the Dark’s immense automated scenic design on Broadway, Draftsman as a subcontractor
for The Lion King’s Pride Rock built by Hudson Scenic, Production Manger and Technical
Director for Pennsylvania Shakespeare Festival, Illustrator for the book Control Systems
for Live Entertainment: Third edition by John Huntington (currently working on the
Fourth Edition), Video/Media Supervisor for the Arts + Ideas Festival in New Haven, CT,
Assistant Technical Director at Elon University, Maine State Music Theatre and Orlando
Shakespeare Festival, and many other positions. He would like to thank his wife and son
for their support and patience.
BIZET
MOZART
BERNSTEIN
The Magic Flute
Candide
Carmen - The Gypsy
June 29, July 1,8,14
July 7,13,15
June 30, July 6,12,14
6 WORLD PREMIERE
MINI-OPERAS
Night Caps
July 6-8, 12-15
Lori Lynn Bollinger (Scenic Charge Artist) is in her second season at PICT. Previous
PICT credits include scenic charge artist for House & Garden, Race, and The Mask of
Moriarty. Over the last ten years, Lori has served as scenic artist and paint shop manager
for Florida State University, scenic charge artist for Glimmerglass Opera, staff scenic
artist for Yale Repertory Theatre/Yale School of Drama, and scenic charge artist for the
Pennsylvania Shakespeare Festival. Regional theatre credits include shows at Pittsburgh
Public Theater, Pittsburgh Opera, Huntington Theatre Company and Goodspeed Musicals.
Other important roles include wife to Aaron and mommy to Porter.
Scott Conklin (Master Electrician) Scott is in his first season with PICT and is excited
to be working with such a talented professional group. In addition to working with PICT,
Scott is the Master Electrician/Scene Shop Foreman for the University of Pittsburgh, and
he provides lighting design and technical direction for a number of organizations and
schools in the Pittsburgh region.
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FREE FAMILY FUN
George DeShetler (Properties Master) is excited to be the Props Master for the 2012
season at PICT. George is also currently the Technical Director for Prime Stage Theatre
and a carpenter for CMU’s School of Drama. Prior to moving to Pittsburgh in 2009, George
was the Technical Director at Imagination Stage in Bethesda, Maryland. George has held
various technical positions at regional theatres including Arena Stage (Washington, DC),
Contemporary American Theater Festival (Shepherdstown, WV) and Indiana Repertory
Theatre (Indianapolis, IN). George graduated from Otterbein College in Westerville, Ohio,
with a BFA in Theatre Design and Techology.
Gianni Downs (Production Manager/Scenic Manager) is pleased to be returning to
PICT for his seventh season to design In the Next Room or the vibrator play, The Pitmen
Painters and The Chekov Celebration. While in Pittsburgh, he has designed over 37 plays
for PICT, including House and Garden, Race, Pinter Celebration, Crime and Punishment,
History Boys, The Lieutenant of Inishmore, Playboy of the Western World, and The Mask
of Moriarty. Regionally, he has had the pleasure of designing for: The Repertory Theatre
of Saint Louis, Merrimack Repertory Theatre, The City Theatre, Prime Stage Theatre, The
Stoneham Theatre, and the Point Park Playhouse among others. Gianni is the recipient of
a Kevin Kline Award in Excellence in Scenic Design for In the Next Room or the vibrator
play and has been nominated for Crime & Punishment and The Lieutenant of Inishmore, as
well as a nomination for an Independent Reviewers of New England Award for Stoneham
Theatre’s The Dazzle. Academically, Gianni received an MFA from Brandeis University,
taught at Point Park University and the University of Pittsburgh, served as a member of
the Special Faculty in Scenic Design at the Carnegie Mellon University School of Drama,
and was an Assistant Professor of Theatre at Westminster College. His portfolio can be
viewed online at www.giannidesigns.net.
Jim French (Lighting Designer) Previous designs for PICT: The Importance of Being
Earnest, Pinter Celebration (Celebration,The Hothouse, No Man’s Land, The Room). Crime
And Punishment, History Boys, Rock ‘n’ Roll, Synge Cycle, Playboy of the Western World,
Lieutenant of Inishmore. Pittsburgh: A Picasso, Blackbird (City Theatre). Dance: Cedar
Lake Contemporary Ballet, Richmond Ballet, Twyla Tharp Dance, Pascal Rioult Dance
Theatre, Jennifer Muller/The Works, Chet Walker/ 8&ah1, Chitresh Das, Jacob’s Pillow
Dance Festival, Adele Myers and Dancers. www.jimfrenchld.com
Cory Goddard (Production Stage Manager) is in his eighth season with PICT. A
graduate of Baldwin-Wallace College in Cleveland, he is thrilled to call Pittsburgh home.
Cleveland area stage management credits include: Parade, The Laramie Project, The 24
Hour Theatre Project, Grey Gardens, and the non-equity premieres of Brooklyn, Phantom
of the Opera, and [title of show]. Past PICT credits include: Pinter Celebration, Othello,
House & Garden, Antony & Cleopatra, Beautiful Dreamers, The Lieutenant of Inishmore,
Jane Eyre, The History Boys, Doubt, What the Butler Saw, Stones in his Pockets, Private
Lives, Synge Cycle, Stuff Happens, Boston Marriage, Synge Cycle, and Salome. He would
like to thank Alan, Rebekah, Jo, Alicia, Phill, Gianni and Lissa.
Rachel S. Parent (Costume Design)This is Rachel’s third season with PICT. You may
remember her design from last season’s production of Race. She is a recent CMU grad.
Favorite designs include Anything Goes (Kalamazoo Civic Theatre) Someone Who’ll Watch
Over Me (Phase 3 Productions), The 25th Annual Putnam County Spelling Bee (Carnegie
Mellon School of Drama). Thank you for supporting Pittsburgh theatre. rachelsparent.
com
Andrew Paul (Director) is the co-founder and producing artistic director of PICT. Under
his leadership, PICT has produced sixty-six main-stage productions, Festivals devoted to
the plays of Samuel Beckett, John Millington Synge, and Harold Pinter, and two successful
international tours. His directing credits for PICT include last year’s productions of David
Mamet’s Race and Alan Ayckbourn’s House, the 2010 productions of Othello, No Man’s
Land, and Hobson’s Choice, and the 2009 productions of The History Boys and Rock ‘n’
Roll. Other PICT directing credits include Shakespeare’s Hamlet, Henry IV, and Julius
Caesar; the world premiere of Thomas Kilroy’s Henry (After Pirandello); Chekhov’s The
Seagull and Uncle Vanya; Friel’s Faith Healer and Aristocrats; and David Hare’s Stuff
Happens and Via Dolorosa. In 2008, Andrew directed and collaborated with David Hare on
the non-English language premiere of Stuff Happens at the Slaski Teatr in Katowice, Poland.
He has taught acting at Duquesne University and directing at Carnegie Mellon University,
has served as a panelist for Theatre Communications Group and the Pennsylvania Council
on the Arts, and is a proud board member of Pittsburgh Playwrights Theatre. In 2010,
Andrew was a featured speaker at the World Theatre Conference in Baku, Azerbaijan.
Many thanks to Chris McGinnis and this amazingly talented cast. I dedicate my work on
this production to my late, great friend Mark Russ.
Chris Rummel (Sound Designer) is happy to be working with PICT for the first time.
Recent designs include Camino (The Hiawatha Project). New York - #9 (Waterwell/59E59),
Boy Girl Mind Rock Fun Love (Roundabout Theatre Co.), Freed (59E59), Stockton
(Ensemble Studio Theatre), Wood (NYMF), The Real Thing, How I Learned To Drive (T.
Schreiber Studio, two NYIT nominations), Raised By Lesbians (NY Fringe), The Jack
of Tarts (La Mama ETC), The Listener of Junk City (New Dramatists), and Angels In
America (Stella Adler). Chris is the resident sound designer for Personal Space Theatrics,
a member of TheDrillingCompaNY. BFA, Syracuse University, MFA Candidate, Carnegie
Mellon University.
Jessi Sedon-Essad (Projection Designer) has been a Projection Designer for theatre,
dance, and installation in Pittsburgh for the past eight years. Her previous PICT credits
include The History Boys and Rock ‘N’ Roll. Jessi is currently the resident projection
designer for The Pittsburgh Playhouse and has had the pleasure of working with The
National Aviary, Pittsburgh CLO, Bricolage Theatre, Off the Wall Productions, The Pillow
Project, Attack Theatre, Hiawatha Project, and spoken word artist Vanessa German. Jessi
is also the video designer for Squonk Opera and is currently designing Squonk’s new
outdoor show, GO Roadshow, set to premiere this summer. Some excerpts of her work
can be seen at www.shinealightdesigns.com and www.squonkopera.org.
Jesse Poole Van-Swol (Master Carpenter) is a third generation carpenter who has been
working in theatre for nearly 20 years. He graduated from the Pinellas County Center
for the Arts with honors in 1997. He has worked all over the Tampa Bay area of Florida,
including St. Petersburg Little Theatre and as a master carpenter/scenic tech for the Home
Shopping Network. He moved to Pittsburgh in April of 2011 and jumped headfirst into the
theatre scene. He is currently the shop foreman at City Theatre, has worked as technical
director for Quantum Theatre and has worked for the August Wilson Center. He is excited
to be back for a second season at PICT.
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High Culture & The Pitmen Painters
by
Lee Hall
Some things in my play are untrue. The
Bedlington Terrier was not, for instance,
painted by Jimmy Floyd but by another
Ashington Group member, William Scott,
and Marx’s Theses on Feuerbach were
not translated into English until 1938 so
Harry probably didn’t quote them in 1933.
However; the most obvious untruth is that
there were only five members of the group.
Perhaps the most remarkable thing about
the real story is that there were at least
30 people in the first register alone. My
main characters — George, Harry, Jimmy,
and Oliver — are based on their historical
namesakes but inevitably bear aspects of
Mother and Child, Oliver Kilbourn (1939)
other members of the group. However, with
the exception of The Bedlington Terrier, all of the pictures each character paints
were in fact done by their historical namesakes, and perhaps more surprisingly,
virtually all of the events of the play are based on the truth.
The group did go to London and were entertained to an evening of madrigals
by the curator of the Tate. Their work was collected by one of the foremost
collectors of Modernism in the country. They were friends with some of the most
important artists of their day and were feted by prominent members of the left
wing intelligentsia.
But what struck me most about them was that, despite being a group of very
ordinary men whose personal histories had been harsh and brutal — surviving
war, personal tragedy, and the scantest of educations — they wrote knowledgeably
about Cezanne and Picasso, and were ardent devotees of Turner, Ruskin and
Blake. Even when he retired, Oliver Kilbourn would stay with Bill Feaver so he
could spend whole days in the London galleries studying the Great Masters and
the modern Giants. These were fearless souls, confident to talk as equals to the best
minds of the day, yet humble enough to go on a life-long search for knowledge and
illumination.
Their work, however, is anything but academic, theoretical or difficult. It is
accessible, straightforward and full of life. But I didn’t quite understand their
achievement until I looked at the attempts their direct contemporaries made to
portray the same subjects. If you compare Henry Moore’s drawings of miners
with those by Oliver or Jimmy, you can see that the Group can hold their heads
high. But what is perhaps most interesting is that a direct comparison is irrelevant
because of the Group’s avowedly ‘unprofessional’ status.
The idea that art is somehow a commodity, that culture is something one consumes
rather than takes part in, is, of course, a very modern notion. The idea that an artist
is someone who makes things to be bought and sold is part of this ideological shift
and it is important to remind ourselves that art might indeed mean something more
than this. That the Group chose to make art both central to their lives but removed
from the ‘economy’ of the art world seems very significant.
Quite clearly the working classes of the early part of last century were aspirational
about high art. They not only felt entitled, but felt a duty to take part in the best
that life has to offer in terms of art and culture. That 50 years later I could write
Billy Elliot, a story about the incomprehension of a mining community towards
a similar aspirant to high culture, seems to me some sort of index of a political
and cultural failure. Despite the advances in education and the blossoming of the
welfare state, somehow we have failed to ‘democratize’ the riches of culture. That
the Group managed to achieve so much unaided and unabetted should remind us
that dumbing down is not a prerequisite of culture being more accessible. That is
a lie perpetrated by those who want to sell us shit. Culture is something we share
and we are all the poorer for anyone excluded from it.
© 2008 Lee Hall
Tony Richards Vocal Coach
Specializing in the principles of belt singing
412-207-2373
[email protected]
Private studio in Mt. Lebanon
Pitmen Painters: The Ashington Group
NEVER UNDERESTIMATE
THE POWER OF A
GREAT PERFORMANCE.
UPMC is proud to support the Pittsburgh Irish &
Classical Theatre.
William
Feavers
by
On the train to
Ashington
that
afternoon in October
1934, Robert Lyon,
Master of Painting at
Armstrong College
Newcastle
(then
part of Durham
University), was in
two minds as to how
to proceed. Invited to
teach art appreciation
Fred Laidler, Jimmy Floyd, and Oliver Kilbourn, c. 1969
from scratch, this
immediate instinct
was to lay on a feast of lantern slides: High Renaissance for beginners featuring
Michelangelo, Leonardo and so on. Ashington was outside his orbit and the
nearest he had ever got to consorting with coal miners was his friendship at the
Royal College of Art with the son of a Yorkshire colliery official, a young sculptor
named Harry, later known as Henry Moore.
The Workers Educational Association class that had asked to be supplied with
a lecturer wanted to move on from Geology, Evolution, and other such topics.
Forty or so turned up at the YMCA hall, an old army hut, for the first session,
but only half that number the following week. The reason why so many dropped
Affiliated with the University of Pittsburgh School of Medicine,
UPMC is ranked among the nation’s best hospitals by U.S. News & World Report.
Pitmen Painters: The Ashington Group, continued
out right away was obvious. Lyon himself was the first to realize that there was
no point in exposing details of the Sistine Chapel to an audience completely
unversed in art. It was agreed that instead of being idle hands looking at black and
white projections of remote images on an improvised screen, the men should try
making images themselves. Lyon started them off on linocuts, reasoning that the
business of gouging lines in resistant material would suit manual workers. And
then breakthrough: he and the class came to an understanding. Given a subject
(‘Deluge,’ say, or ‘The Hermit’), each member would do a painting accordingly,
to be discussed in class the following week. All at once Tuesday evening became
the focus of life outside of work. The Group flourished.
(Oliver Kilbourn’s The Deluge)
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Word of it spread, to Newcastle and beyond. Patrons of art became interested,
notably Helen Sutherland, a shipping line heiress who lived at Rock, due north
of Ashington. Through her they got to know artists such as Ben Nicholson and
David Jones, and she arranged for them to go on a weekend trip to London
where they were modestly feted at the Tate and the British Museum. Then Mass
Observation, a socio-documentary movement of the late 1930’s dedicated to
getting people to recount everything that occurred to them in their daily lives,
sought them out as prime examples of working men’s self-expression. They
were visited, photographed, and debated over.
After eight years of involvement, Lyon moved to Edinburgh to run the College of
Art there. Aware that he had gained a reputation on the strength of the Group, he
2
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Ju
In the mid-1980’s, not long after the last of his fellow founder-members died,
Oliver — then still working on one last set of paintings — wrote to me, putting in
words what the paintings represent:
‘A key factor in our long life, I think, was the fact that we were never a commercial
group but preserved our idealism. We thought we were doing something that no one
else could do. We were depicting a way of life both below and above ground in a
mining village that only we knew by experiencing it. Life goes on and we paint life.
A funny thing, once you’ve painted a picture you feel it’s part of your life.’
n
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Seeing by doing. Doing by seeing. Each time the play is performed it renews in
spirit the passion that united the Group, demonstrating once again that art making
is art appreciation and art appreciation is also a zest for life.
A ite ratio of
–
9 Sp eb e
l
tr
n
n i A Ce Thea
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i
:
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ge self and
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r
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of the
of
When I first encountered the Group, in 1971 (at the preview in the Laing Art
Gallery of works from the Helen Sutherland Collection) the surviving members
were elderly and reduced in number to fewer than ten. I visited them one cold
January evening in their hut. As the fire was lit and overcoats were discarded they
began pulling paintings out from under tables and shelves. They were: pictures of
life above and below ground, some of the early subjects, some of the more recent
gaudy experiments, scenes of allotment, club and domestic carry-on. Already they
had been shown all over the country; later they were to be toured to the Netherlands,
Germany and China. By 1984 the Group no longer functioned. The hut was
demolished when the ground rent became unaffordable. The paintings were kept
together in varying circumstances until, eventually, Oliver Kilbourn and I became
founder trustees for the formally constituted permanent collection and deposited
it at the Woodhorn Colliery Museum. Two years ago, following expansion and
rebuilding, the paintings went on permanent display there in their own gallery.
In Lee Hall’s play the urges, the frustrations and the twists and turns of events are
composed into argument and narrative, touching and illuminating. The pictures,
projected above the actors’ heads, complement the dialogue below. Robert Lyon’s
catchphrase ‘seeing by doing’ has come to fruition far removed from the original
idea that he hit on one Monday night in an ex-army hut in 1930’s Ashington.
6
H
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maintained sporadic contact, half expecting that the impetus would soon cease, not
least because of wartime circumstances. The Group however flourished. Conscious
by this time that their strength lay in their ability to depict as insiders what others
could only see from afar and romanticize or politicize, they persisted in painting the
settings and incidents of their daily lives. By the end of the war the Group had its
own premises, a former army hut, where they went on meeting every Tuesday.
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© 2008 William Feavers
PRO
ARTS
TICKE TS.ORG
GREATER PITTSBURGH ARTS COUNCIL
9
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P i c call P
or
Made possible in part by
the generous support of
RICHARD E. RAUH
12
Professional Theatre in Residence
at the University of Pittsburgh
PICT 2012 SPONSORS
PPG Industries, Inc. has generously donated the paint for the season
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Kilolo Luckett & John Barbera
Dr. & Mrs. Robert M. Lumish
Jim & Pat Lynn
Macy’s Foundation
Norma Sue Madden
Hank Mader
Richard & Joyce Magee
Joyce Magill
Kathleen & Robert Mahoney
Ralph & Marcia Malmer
William & Doris Malter
Sandra Simon Mangham
David & Kathia Marks
Demetria Marsh
Raymond E. Marsh
Kenneth Mason &
Marilyn Roberts
David Maxwell
Eleanor Mayfield
Bob McAfoos
Michelle McClendon
Christine McClure
Bruce & Stephanie
McConachie
Earl McDaniel
Patricia & James McDonnell
Maureen McHugh &
Fran Barret
Gerald & Denise Medwick
Robert & Christiana Mendoza
Richard & Christine Michaels
Robert & Carol Miller
Rev. Robert J. Miller
Susan Miller
Margaret Mima
Christine & Robert Misback
Joseph P. Moffitt
Mondo Italiano
Vivian & Lewis Morse
Earl Mounts
Eleanor & Ed Nemeth
Anita Newell
Walter & Marilyn Noll
Dee & Bob Novak
Dr. Enrico Novelli
Nancy Noyes
Maxine Nunn
Peter Oanes &
Lorraine Starsky
Margaret O’Connell
James Olszewski
Scott O’Neal
Susan & Sean O’Rourke
Thomas Pandaleon &
Faith Schantz
Elizabeth & Todd Pascuzzi
Maggie Patterson
Cynthia Pennington &
C. Liam Donohue
Ms.Terese Piccoli
Charlotte & Norbert Pilewski
Jeffrey Pollock
Suzanne Powell
Kathleen Puskar
Martin Regan
Douglas & Terri Reiss
Robert Richardson
Barbara D. Richman
R.C. Ridgway
Sean Rolly
Deborah Rosen
Michael & Linda Rosenbaum
Ralph & Dolores Roskies
Christine & James Rupp
Ms. Sylvia Sachs
James Sahovey
Beatrice Salazar
Esther Sales
David Salgarolo &
Frances Savoia
Harold & Marla Sue
Scheinman
Dr. Elizabeth A. Schlenk
Sandy & Steve Schmerin
Eleanor Schoenberger
Elizabeth Schoyer
Mr. & Mrs. Tony Schryer
Iriving & Janet Selsley
Ron Senerius &
Michael Madden
Amanda Serra
Joyce Serratore
Marianne Shaffer
George & Joan Shames
Mabel Shaner
Aryeh & Rochelle Sherman
Roz Sherman
Jo Shores
Jay Silberblatt & Lori Sisson
Francis B. Simko, Jr.
David Simon
John Sitton
Professor Daniel Sleator
Chester & Anita Smolenski
Stella Smetanka &
Kemal Alexander Mericli
Carol Solomon
Gerri Sperling &
David Slesnick
Stuart & Mary Staley
James Stangl
William & Joan Stenger
Elizabeth Stern
Jaclyn Sternick
Denee Stevenson
Barbara Story
Mona Strassburger
Dick Strojan
Linda J. Tuite
Patricia Ulbrich &
Claus Makowka
Peter Teneyck
Deborah & Stephen Vargo
Darlene Veghts
Margaret & Christopher Vincent
Irving Wender & Jean Gershon
Kaye Wentling &
Richard Spring
Fred & Peggy Whelan
Phil & Sarah Wildenhain
Rev. Phillip Wilson
Merlyn & Jim Williams
Allen Wolfert &
Adrienne Young
Terry & Janet Woodcock
Elizabeth Woodland
Barbara & Marc Yergin
Marlene & John Yokim
* in-kind
Contributions from January 1, 2011 - May 17, 2012. For corrections or information about making
a tax-deductible gift to PICT, call Gale McGloin at 412.561.6000, x204. Don’t forget to see if your
employer has a gift-matching program.
Many thanks to the following companies for supporting PICT by matching
their employees’ contributions: Bank of America, BNY Mellon, The Buhl
Foundation, Chevron, Computer Associates Inc., Gap Stores, HJ Heinz Co.
Foundation, Highmark Blue Cross Blue Shield, IBM, Macy’s Foundation,
PNC Foundation, PPG Industries, Inc., UBS.
Special Gifts:
Anonymous, in honor of Anne Mullaney
James C. Chaplin IV, in honor of Anne Burnham
Maurice B. Cohill, in memory of my wife, Anne D. Mullaney
Jamini Vincent Davies in honor of Mona Rush’s birthday
Mary Davitt, in memory of my father, J. Alan Davitt
Richard Devlin, remembering Rita Devlin
The Fougnies Family, in memory of Catherine & Leon Fougnies
In Memory of Leon Fougnies:
Dr. R.G. & Phyllis Caneva
W.E. & Mary Ann Griffin
James Collins, Jr.
Alice Koger
Barbara & Ralph Danna
Maxine Nunn
Linda Ehrlich
Nikola & Phil Webb
In honor of David Kremen:
Lisa Campagna
Linda Iller
James Olszewski
Jeffrey & Rachel Lowden, in honor of Robert Levin
Milton & Lois Michaels, in honor of Andrew S. Paul
Robert & Carol Miller, in honor of the marriage of Faye Miller & Diane Pittman
Margaret Mima, in memory of Joseph Mima
Thomas Pandaleon & Faith Schantz, in memory of Lila Schantz
Jeffrey Pollock, in honor of former PICT Board member, Mark Clayton Southers
Mona Rush, in memory of Renee Huff-Moody: A mother who never gave up hope that
her lost son would one day be found
Anchor Fund of The Pittsburgh Foundation in honor of Cynthia Berger
PICT Board of Directors
Eugene O’Sullivan, President
Kevin R. Gieder, Vice-President
Cynthia Berger, Secretary
Dina J. Fulmer, Treasurer
INTRODUCING
Alan Baum
Joseph Karas
Justin Krauss
Richard Miller
V. Sue Molina
Fabian O’Connor
Andrew S. Paul, ex-officio
Richard E. Rauh
Anne B. Shearon, Esq.
Arthur Sheffield
Advisory Board Members
D.L. “Larry” Brophy, E. Bruce Hill, Paul Homick,
David Kremen, Robert Levin, Kristen Olson, PhD., Alberta Sbragia,
John Sotirakis, Wanda Wilson
Honorary Board Members
U.S. Representative Mike Doyle, Charles Gray, Thomas Kilroy,
David Norris–Seanad Eireann, Bingo O’Malley, Stephanie Riso
PICT Staff
Andrew S. Paul, Producing Artistic Director
Stephanie Riso, Operations Director
Gale McGloin, Development Director, Education Director
Michelle Belan, Marketing Director
Gianni Downs, Production Manager & Resident Scenic Designer
Carolyn Ludwig, Office Assistant
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Pittsburgh Irish and Classical Theatre, Inc.
PO Box 23607, Pittsburgh, PA 15222
Tel: 412-561-6000, Fax: 412-561-6686
PICT is a Constituent of Theatre Communications Group (TCG),
the national organization for the American theatre.
To order tickets:
VISIT OUR WEBSITE: www.picttheatre.org
or call ProArtsTickets: 412-394-3353
All photography by Laura Petrilla. w w w.misslphotography.com
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