Oliver Twist Program - American Repertory Theater

Dear Friends,
Welcome to Neil Bartlett’s adaptation of Oliver Twist, the fifth production
in our Season of Transformations. So far we’ve brought you stage versions of
the art of Robert Rauschenberg and the music of the Dresden Dolls, Tacitus’
chronicles of Rome reinterpreted by Jean Racine and Robert Woodruff, and
The Importance of Being Earnest transformed through the sublime folly of
Ridiculusmus. Now comes an adaptation of a novel by that most theatrical of
authors, Charles Dickens.
Dickens’ characters are flamboyant, eccentric, and villainous, and his narratives are dramatic and wildly exciting. Small wonder he has been adapted so
often for the stage. But even with such self-consciously theatrical source material, it is a formidable task to adapt his novels. How do we deal with the author’s
relationship with the reader, with the unstageable narrative voice, with the brutal compression of plot that
occurs when five hundred pages are recast into two hours of playing time? Or from another perspective,
how can the qualities of live performance, of real, breathing, sweating actors enhance elements of a great
text from another genre?
For an adaptation to be really successful, it needs to reinvent the original novel totally — indeed, it
often has to invent a new theatrical form. I first saw Neil’s Oliver Twist in 2004 at the Lyric Hammersmith,
the London theatre that he led for a decade. From the opening notes of the first song, it was obvious that
Neil and his collaborators — composer Simon Deacon, choreographer Struan Leslie, and the genius designer Rae Smith — had struck gold. Oliver Twist is one of the best adaptations I’ve seen; entirely theatrical
yet true to the essence of Dickens, a brilliant homage to the Victorian theatre but at the same time stylistically new and eerily resonant in our contemporary world. The Dodger’s smile, the death of Nancy, the evershifting relationship between performers and audience, the astonishing transformations of Rae’s magical set
— I’m still haunted by images from that production. We’re thrilled to welcome Neil back to the A.R.T., and
to bring you this American premiere of his glorious adaptation. Together with our colleagues at Theatre for
a New Audience and Berkeley Rep, we wish you a wonderful evening.
Best wishes,
Gideon Lester
Professional Company — 2006-07 Season
Remo Airaldi
Akiko Aizawa
J. Ed. Araiza
David Wilson Barnes
Paul Benedict
Will Bond
Stephen Boyer
Claire E. Davies
Danyon Davis
Gregory Derelian
Thomas Derrah
Ned Eisenberg
Carson Elrod
Jeremy Geidt
Fred Goessens
Jon Haynes
Rebecca Henderson
Jennifer Ikeda
Leon Ingulsrud
Elizabeth Jasicki
Adrianne Krstansky
Ellen Lauren
Will LeBow
Jesse Lenat
Karen MacDonald
Joan MacIntosh
Kelly Maurer
Hadewych Minis
Alfredo Narciso
Tom Nellis
Kevin O’Donnell
Barney O’Hanlon
Amanda Palmer
Daniel Parker
Craig Pattison
Stephen Payne
Frieda Pittoors
Mark Rosenthal
John Sierros
Mam Smith
Lucas Steele
Brian Viglione
Michael Wartella
Stephen Webber
Bernard White
David Woods
Max Wright
Robin Young
boston ballet
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Ar t i s t i c D i re c t o r
VALERIE WILDER
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Television Partner
Principal Dancer Karine Seneca by Gene Schiavone, on location at the Museum of Fine Arts, Boston
Zero Arrow
Theatre
Our exciting second
performance space!
“Boston’s Best New Theatre (2005)”
– Improper Bostonian.
The A.R.T.’s flexible and intimate second performance space at the intersection of Arrow Street and Mass.
Avenue in Cambridge is now two
years old! This three hundred-seat theatre serves as an incubator for new work in addition to
hosting performances by the A.R.T./MXAT. Institute for Advanced Theatre Training. Performance
times and dates will be updated on the A.R.T.’s website (www.amrep.org). Don’t miss the adventure of new work, young artists, and multiple disciplines all at affordable prices –– the signature
mission of ZERO ARROW THEATRE.
American Repertory Theatre Advisory Board
Philip Burling Co-Chair
Joel Alvord
Joseph Auerbach, emeritus
George Ballantyne
Carol V. Berman
Page Bingham
Robert Brustein
Paul Buttenwieser
Greg Carr
Caroline J. Chang
Antonia H. Chayes
Clarke Coggeshall
Kathy Connor
Robert Davoli
Ted Wendell Co-Chair
Mrs. Ralph P. Rudnick Vice-Chair
Eileen McDonagh
Rebecca Milikowsky
Ward Mooney
Anthony Pangaro
Beth Pollock
Jeffrey Rayport
Michael Roitman
Henry Rosovsky
Linda U. Sanger
John A. Shane
Michael Shinagel
Donald Ware
Sam Weisman
Charles Gottesman
Barbara W. Grossman
Ann Gund
Joseph W. Hammer
Horace H. Irvine II
Michael Jacobson
Michael B. Keating
Glenn KnicKrehm
Myra H. Kraft
Lizbeth Krupp
Barbara Cole Lee
Barbara Lemperly Grant
Carl Martignetti
Dan Mathieu
The A.R.T./Harvard Board of Directors
Philip Burling
Luann Godschalx
Jonathan Hurlbert (clerk)
T
O
O
U
Judith Kidd
Robert James Kiely
Jacqueline A. O’Neill (chair)
R
A
U
Robert J. Orchard
Robert Woodruff
D
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N
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To avoid disturbing our seated patrons, latecomers (or patrons who leave the theatre during the performance) will be seated at
the discretion of the management at an appropriate point in the performance.
By union regulation:
• Taking photographs and operating recording equipment is prohibited.
• All electronic devices such as pagers, cellular phones, and watch alarms should be turned off during the performance.
By Cambridge ordinance, there is no smoking permitted in the building.
in assocation with
Theatre for a New Audience
and
Berkeley Repertory Theatre
OLIVER TWIST
presents
Charles Dickens’
adapted & directed by
music
set & costume design
lighting design
sound design
music adaptor & director
movement director
production stage manager
dialect coach
casting
Neil Bartlett
Gerard McBurney
Rae Smith
Scott Zielinski
David Remedios
Simon Deacon
Struan Leslie
Chris De Camillis*
Laura Hitt
Deborah Brown Casting
First performance February 17, 2007
Major Production Sponsors
Philip and Hilary Burling
Horace and Cassandra Irvine
This version of Oliver Twist was originally commissioned and produced
for the Lyric Hammersmith, London in 2004.
season sponsor
The American Repertory Theatre and the Institute for Advanced
Theatre Training at Harvard are supported in part by major grants from
The Andrew W. Mellon Foundation, the Doris Duke Charitable
Foundation, The Shubert Foundation, and the Carr Foundation. The
A.R.T. also gratefully acknowledges the support of Harvard University,
including Acting President Derek Bok, Provost Steven E. Hyman,
Acting Dean Jeremy R. Knowles, the Committee on Dramatics, Dean
Michael Shinagel, and the School of Continuing Education. We also
wish to give special thanks to our audience and to the many A.R.T.
Annual Fund donors for helping us make this season possible.
CAST
John Dawkins, the Artful Dodger
Oliver Twist
Mr. Bumble
Mrs. Bumble
Mr. Sowerberry/Mr. Grimwig/Mr. Fang
Bill Sykes/Mrs. Sowerberry
Nancy
Fagin
Noah Claypole/Tom Chitling
Charley Bates
Toby Crackit
Mr. Brownlow
Rose Brownlow/Charlotte Sowerberry
Carson Elrod*
Michael Wartella*
Remo Airaldi*
Karen MacDonald*
Thomas Derrah*
Gregory Derelian*
Jennifer Ikeda*
Ned Eisenberg*
Steven Boyer*
Craig Pattison*
Lucas Steele*
Will LeBow*
Elizabeth Jasicki*
Understudies: Caroline Barad (Mrs. Bumble), Jacqueline Brechner (Nancy), Henry David Clarke
(Noah Claypole/Tom Chitling), Philip Dunbridge (Mr. Sowerberry/Mr. Grimwig/Mr. Brownlow),
Brian Farish (Charley Bates), Aaron Ganz (John Dawkins), Adel Hanash (Bill Sykes/Mrs. Sowerberry),
Nicole Muller (Rose Brownlow/Charlotte Sowerberry), Neil Patrick Stewart (Fagin),
Tim Wynn (Mr. Bumble), Matt Young (Oliver Twist, Toby Crackit).
Running time is approximately two hours and fifteen minutes,
including one fifteen-minute intermission.
costumer
assistant stage manager
hurdy gurdy instructor
serpent instructor
advertising consultants
Penelope Challen
Katherine Shea*
Nina Bohlen
Laura Conrad
Stevens Advertising
Flying by Foy
Additional Staff: Jason Hayes, Wigmaster; Adam Bellao, Tom Stephansky, Properties Craftspersons;
George Kane, Kristin Knudson, John Maciel, Scenic Carpenters; Carolyn Sullivan, Scenic Artist;
Amy Cole, Stage Management Intern; Michelle Cohen, Audio Intern.
Special thanks to Patrick Swanson, David Gay, and Matthew Szostak.
The A.R.T. operates under an agreement between the League of Resident
Theatres and Actors’ Equity Association, the union of Professional Actors and
Stage Managers in the United States. The director of this production is a
member of the Society of Stage Directors and Choreographers, Inc., and most
of the designers are members of United Scenic Artists, both independent labor
unions. The A.R.T. is also a constituent member of Theatre Communications
Group (TCG), the national service organization for the American not-for-profit
theatre. Supporting administrative and technical staff are represented by the
Harvard Union of Clerical and Technical Workers/AFSCME
(*) Members of Actors’ Equity Association,
the Union of Professional Actors and Stage
Managers in the United States.
(*) Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Actors’ Equity Association
(AEA), founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing
arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org
Staging Dickens: Making a New
Stage Version of Oliver Twist
by Neil Bartlett
Any new stage version of
a story which the audience feels
they not only know but own
before the curtain even rises has
to do two apparently contradictory things. It has to deliver all the
famous bits (so that no one feels
short-changed), but also has to
make the audience feel that they
are encountering the story anew,
afresh; that they are hearing and
seeing things which they either
never knew or had forgotten
were there.
The first decision taken in
making this adaptation was that
it would be made out of Dickens’
original language and nothing
but. With the exception of one or
two short phrases necessitated
by the telescoping of the novel’s
Oliver is introduced to the respectable Old Gentleman.
plot, this is a decision which has
been abided by. Indeed, the
extraordinary energy and volatility, the sadistic black comedy and sheer dramatic guts of
Dickens’ actual sentences are the raisons d’être of this piece. Returning to the original words —
even for the singing in the show — was the main way in which I hoped to avoid any bowdlerization of the tale. I wanted the show to be as alarming, as compelling and as wickedly comic as
Dickens’ words are. Of course, which words I have chosen to include, and which words I have
chosen to omit, reveal what I personally care most about in this story. I hope.
The Question of Tone
‘It is the custom on the stage, in all good murderous melodrama, to present the tragic
and the comic scenes, in as regular alternation, as the layers of red and white in a side of
streaky bacon. The hero sinks upon his bed, weighed down by misfortune;
the next scene regales the audience with comic song.’
Oliver Twist, Chapter 17
What do we mean by the word ‘Dickensian’? Not, I think, simply subject matter taken from
the lower depths of urban poverty. Rather, I think we mean a distinctive way of dramatizing what
is seen.
The first nineteenth-century stagings of Oliver Twist — some made even before the final
parts of the original, serialized novel had been published — have scripts of quite extraordinary
ferocity and brevity. One of them gets the whole proceedings down to thirty handwritten pages,
and still finds time for plenty of rambling low comedy from the Bumbles. They all seek to
unashamedly achieve one objective, namely, to rouse the audience. To achieve this end, they
employ the most remarkable combinations of comedy with horror, satire with sentiment. They
demand that the audience enjoys the most alarming leaps of dramatic tone. They are also very
fond of (and good at) employing those most powerful forms of theatrical shorthand, the baldly
stated moral, the tableau and the melodrama. In doing all of this they are of course entirely in
keeping with Dickens’ own dramatic and dramatizing instincts in Oliver Twist.
Dickens is, paradoxically, the most serious of writers, in that he takes this task of engaging
us, his audience, with such wholehearted seriousness. I wanted to create an adaptation that
would not shy away from this seriousness, but rather relish it; that would demand of its actors
they engage with their audience above all else. This is why the script does not try to shift Dickens
into some solid or polite middle ground of dialogue-based, psychologised ‘literary’ theatre, but
lets his story move alarmingly (demandingly) through all its intensely felt and highly coloured original shifts of theatrical tone. It is only when melodrama is allowed to rub shoulders with psychodrama, when sensationalism combines with fierce and socially committed satire, that you
arrive in the particular world of the dramatic imagination that we can only describe with the tautology ‘Dickensian.’
The Set
‘Sudden shiftings of scene, and rapid changes of time and place, are not only sanctioned
in books, by long usage, but are by many considered a great art.’
Oliver Twist, Chapter 17
The first visual and physical
inspiration for our set was a visit to
the Chamber of Horrors at Madame
Tussauds. This not only renewed my
interest in the unheimlich appeal of
waxworks, especially those depicting
extreme violence, but also triggered
in designer Rae Smith’s imagination
a connection between the sensationalist mechanics of Dickens’ plot — its
combination of creaky contrivance
with uncanny power — with the
mechanical toys which we now know
as ‘Penny Dreadful’ machines.
These are the sinister glass-fronted
boxes which, in response to a child
inserting the required coin, bring to
life miniature tableaux of haunted
houses, historic crimes or mildly erotic misdemeanours. One of these
boxes, emptied and magnified, as if
by a child’s imagination, provided the
basic setting. The early nineteenth
century theatrical vocabulary of fly-
Oliver amazed at the Dodger's mode of "going to work."
ropes, trapdoors, footlights and two-dimensional scenery also influenced the design of the show,
allowing and indeed encouraging a script which cuts and dissolves from scene to scene without
any establishing shots (to confuse matters by employing a cinematic vocabulary) — and, largely, without any narrative linking passages.
The Music
‘The preliminaries adjusted, they proceeded with flourishes of most
unmusical snatches of song, mingled with wild execrations.’
Oliver Twist, Chapter 26
Bill Sykes on the rooftop.
The popular theatre which
Dickens knew and loved was
almost all, in the original sense
of the word, melodrama; an
evening at the theatre without
live music barely existed in the
first half of the nineteenth century. This script, too, is a melodrama, in that the telling of the story
presupposes that the actors
work with (and sometimes
against) music in their telling of
that story, and the creation of
the different places and atmospheres which that story takes us
to. The music is all adapted
from popular early nineteenthcentury music-hall numbers
contemporary with the novel,
and arranged for an authentic (if
somewhat alarming) early
Victorian combination of violin,
serpent and hurdy-gurdy.
The Plot
‘The good ended happily, and the bad
unhappily. That is what fiction means.’
Miss Prism, The Importance of Being Earnest
This is a story with a single over-riding desire; to find a family for its orphan hero. Every
scene in the book can be read in this light; every character too. In the absence of Oliver’s mother, Mr. and Mrs. Bumble, Mr. and Mrs. Sowerberry — even Noah Claypole and Charlotte — all
attempt, in their various twisted ways, to mother him. Fagin and Mr. Brownlow, in their archetypically opposite worlds, construct surrogate families for Oliver. Everyone (even Mr. Grimwig)
is convinced that they know the right way for the boy to live. All of these conflicting dreams of
family life, so deeply rooted in their creator’s own childhood, are powerful; Nancy’s dream of a
possible home for Oliver — her
determination that he will have the
childhood she knows has been
stolen from her — is so fierce, that
it kills her.
In editing Dickens’ labyrinthine
plot, I wanted to arrive at a script
whose economy would encourage
the actors to concentrate on trying
to get back to the blunt realities of
the original cast-list. Nancy is, after
all, a teenage prostitute with a violent owner, not a musical-comedy
star; the boys Fagin says he finds
sleeping rough at Kings Cross are
very like the teenagers who still
sleep rough there; Bill is a violent
housebreaker, and a coward; Fagin
is Jewish, and his vicious rage is
that of someone who lives excluded
from everything we might conceivably call society.
Fagin in the condemned cell.
Some of the events of the
great final working-out of the story
may surprise audiences who only know it from films. I’ve kept what for me is the greatest and
strangest scene of the book, where,
on the night before his death, Fagin
goes mad with terror, and in his madness realises that Oliver is ‘somehow
the cause of all this.’ I’ve taken Mr.
Brownlow and Rose seriously. I’ve
dared to kill off not just Nancy and
Bill, but Fagin and the Dodger, as
Dickens does. I’ve even dared to
believe, as Dickens did, that after all
the strange violent parodies of family
life that claim him — the brutal workhouse of the Bumbles, the gothic
funeral-parlour of the Sowerberries,
the nightmare inversion of all maternal values in Fagin’s den — the
motherless Oliver’s destiny is the one
we must all, despite our evidence to
the contrary, believe in: safety.
Oliver asking for more.
All illustrations are by George
Cruikshank from the 1836 edition
of Oliver Twist.
OIiver Twist
Acting Company
REMO AIRALDI* — Mr. Bumble
A.R.T.: Fifty productions, including The Onion Cellar, Island of Slaves, Romeo and Juliet
(Peter), No Exit (Valet), Amerika (Captain, Green, Head Porter), Dido, Queen of Carthage
(Nurse), The Provok’d Wife (Constable), The Miser (Master Jacques), The Birthday Party
(McCann), A Midsummer Night’s Dream (Francis Flute), Pericles (Fisherman), La Dispute
(Mesrou), Uncle Vanya (Telegin), Marat/Sade (Cucurucu), Enrico IV (Bertoldo), The Winter’s
Tale (Clown), The Wild Duck (Molvik), Buried Child (Father Dewis), Tartuffe (Monsieur Loyal),
Henry IV and V (Mistress Quickly), Waiting for Godot (Pozzo), Shlemiel the First
(Mottel/Moishe Pippik/Chaim Rascal), The King Stag (Cigolotti), Six Characters in Search of an Author (Emilio Paz).
Other: Camino Real and Eight by Tenn (Hartford Stage), productions at La Jolla Playhouse, Geffen Playhouse,
American Conservatory Theater, Walnut St. Theatre, Prince Music Theater, Actors’ Theatre of Louisville, Serious Fun
Festival, Moscow Art Theatre, Taipei International Arts Festival, Commonwealth Shakespeare Company.
STEVEN BOYER* — Noah Claypole/Tom Chitling
Broadway: I’m Not Rappaport (dir. Dan Sullivan) also at Coconut Grove, Ford’s Theatre,
Papermill Playhouse. Other New York: I Heart Kant, Committee Theatre; The Mooncalf,
Abingdon Theatre; Which Wolf is Which, Partial Comfort Productions; Michael John Garces’
Audio/Video, Drama League; Day, Prospect Theatre. Regional: The Underpants, Capital
Repertory: Camille, adapted by Neil Bartlett, Bard Summerscape; Act a Lady, Humana Festival
at Actor’s Theater of Louisville; Dylan’s Line, The Last of the Boys, McCarter Theater; The
Drawer Boy, Merrimack Repertory Theatre; Hamlet, Comedy of Errors, Santa Cruz
Shakespeare Festival; Camelot, Berkshire Theater Festival. Television: Ed, Law & Order, House of Detention (pilot).
BFA from The Juilliard School. Voiceover work including video games and audiobooks. Steven is also an accomplished
standup comedian and comedy writer who has performed at clubs and colleges around the country. Time magazine’s
Person of the Year 2006.
GREGORY DERELIAN*— Bill Sykes / Mrs. Sowerberry
Broadway: Metamorphoses, Circle in the Square. Off-Broadway: The Hairy Ape, Irish Rep; As
You Like It, Henry V, Othello, New York Shakespeare Festival. Resident: The Taming of the
Shrew (Petruchio), Julius Caesar (Mark Anthony), Macbeth (McDuff), Othello (Cassio), The
Tempest (Caliban), The Forest (Pyotr), Shakespeare Theatre of New Jersey. Other Regional:
The Blue Demon (Sultan), Huntington Theatre; The Birds (Mitch), Yale Repertory Theatre;
Lover’s Leap (Ernie), Fulton Opera House; Baby With the Bathwater (Daisy), What Exit?
Theater Company. Films and television: The Pizza Boy, Blur of Insanity, Cinco de Mayo, Order
of the Serpentine, All My Children, Guiding Light, As the World Turns. MFA in acting from the Yale School of Drama.
THOMAS DERRAH* — Mr. Sowerberry/Mr. Grimwig
A.R.T.: The Onion Cellar, Island of Slaves (Trivelin), Three Sisters (Chebutykin), Carmen
(Zuniga), Olly’s Prison (Barry), The Birthday Party (Stanley), A Midsummer Night’s Dream
(Nick Bottom), Highway Ulysses (Ulysses), Uncle Vanya (Vanya), Marat/Sade (Marquis de
Sade), Richard II (Richard), Mother Courage (Chaplain), Charlie in the House of Rue
(Charlie Chaplin), Woyzeck (Woyzeck). Broadway: Jackie: An American Life (twenty-three
roles). Off-Broadway: Johan Padan and the Discovery of the Americas (Johan), Big Time
(Ted). Tours with the Company across the U.S., with residencies in New York, Chicago, San
Francisco, and Los Angeles, and throughout Europe, Canada, Israel, Taiwan, Japan, and Moscow. Other: I Am My Own
Wife, Boston TheatreWorks; Approaching Moomtaj, New Repertory Theatre; Twelfth Night and The Tempest,
Commonwealth Shakespeare Co.; London’s Battersea Arts Center; five productions at Houston’s Alley Theatre, including Our Town (Dr. Gibbs, directed by José Quintero); and many theatres throughout the U.S. Awards: 1994 Elliot Norton
Prize for Sustained Excellence, 2000 and 2004 IRNE Awards for Best Actor, 1997 Los Angeles DramaLogue Award (for
title role of Shlemiel the First). Television: Julie Taymor’s film Fool’s Fire (PBS American Playhouse), Unsolved
Mysteries, Del and Alex (Alex, A&E Network). Film: Mystic River (directed by Clint Eastwood). He is a graduate of the
Yale School of Drama.
NED EISENBERG* — Fagin
Broadway: Awake and Sing (Tony Award-Best Revival, Drama Desk-Best Ensemble, 2006),
The Green Bird. Off Broadway: Meshugah, Hesh, Naked Angels;King John, Titus
Andronicus, Theatre for a New Audience; Pal Joey, Bloomer Girl, City Center; Red Address,
Second Stage; Antigone in New York, Moving Targets, Vineyard Theatre. Resident:
Meshugah, Boston Theater Works; The Middle of Nowhere, Prince Music Theatre; Guys and
Dolls, Long Wharf; Street Scene, Williamstown Theatre Festival; Lost in Yonkers, National
Tour. Films: World Trade Center, Flags of Our Fathers, Million Dollar Baby, Head of State, Path
to Paradise, Last Man Standing, Let it Snow, Primary Colors, A Civil Action, Winchell, Celebrity, Cheaters, Dash and Lily.
Television: The Black Donnellys, Cheaters, Law & Order, Law & Order SVU, Law & Order CI, Dragnet, Rescue Me,
Whoopi, The Sopranos. Member of Naked Angels and Ensemble Studio Theatre; a Fox Fellowship recipient.
CARSON ELROD* — John Dawkins, the Artful Dodger
Broadway: Reckless, Noises Off. Off-Broadway: Based on a Totally True Story (Drama
League Nomination), House/Garden, Comic Potential, Manhattan Theatre Club;
Cavedweller, New York Theatre Workshop. Other New York: Waiting for Godot, East River
Amphitheatre. Resident: The Drawer Boy, Westport County Playhouse; The Cherry Orchard
and The Intelligent Design of Jenny Chow, Yale Repertory Theatre; Misalliance, Baltimore
Center Stage; Our Town, La Jolla Playhouse; The Comedy of Errors, Colorado Shakespeare
Festival; Loves’ Labours Lost, Shakespeare & Co., The Importance of Being Earnest,
Hangar Theatre. Film: When a Stranger Calls, The Wedding Crashers, Kissing Jessica Stein. Television: Law and Order
CI, The Medium, Lifegame, Andy Dick Show, Carnivale (HBO). Founder of improv troupes Hypothetical 7 and God Squad.
1999 Princess Grace Foundation Award; New York Theatre Workshop Usual Suspect. Training: BA from Kansas
University and MFA from New York University. AEA Member since 2000.
JENNIFER IKEDA* — Nancy
Broadway: Edward Albee’s Seascape, LCT. New York: As You Like It, Delacorte; The Two
Noble Kinsmen, As You Like It, New York Shakespeare Festival / Public Theatre; Coriolanus,
Theatre for a New Audience; Kid Simple, SPF; The Square, Ma-Yi; The Dispute (translated by
Neil Bartlett), NAATCO. Regional: The Tempest, Shakespeare Theatre of New Jersey; Romeo
and Juliet, The Shakespeare Theatre, Washington, DC and Shakespeare Festival of St. Louis.
Television and Film: Nate the Great (PBS, Fall 2007), Guiding Light, Heavy Petting. Other:
“Selected Shorts” (NPR), various audiobooks (2005 Audie Award). Training: Julliard.
ELIZABETH JASICKI* — Rose/Charlotte
New York: Abigail’s Party (Angela), The New Group, Theatre Row (with Jennifer Jason Leigh).
UK: When Harry Met Sally (Helen/Sally), West End (with Luke Perry & Molly Ringwald), As You
Like It, The Peter Hall Company, Bath Theatre Royal/UK & USA Tour; The Talented Mr. Ripley
(Marge), Cancer Tales (Marilyn), Relatively Speaking (Ginny), Man & Superman (Ann), Jane
Eyre (Jane), Les Liaisons Dangereuses (Mme de Tourvel), David Copperfield (Clara/Dora),
The Wizard of Oz (Dorothy), They’re Playing Our Song and Beauty and the Beast (Beauty).
USA Tours: Dracula, The Hunchback of Notre Dame and The Canterbury Tales, New Vic
Theatre. Film & television: Christie Malry’s Own Double Entry, Room for Uncertainty, Summer Rain, Dinner in Purgatory,
La Belle Dame Sans Merci, The Vanishing Man, Watching the Detectives (BBC) and Buddha of Suburbia (BBC).
WILL LeBOW* — Mr. Brownlow
A.R.T.: forty-six productions, including Romeo and Juliet (Capulet), Three Sisters (Kulygin), No
Exit (Garcin), Amerika (Uncle Jacob, Innkeeperess, Head Waiter), Dido, Queen of Carthage
(Jupiter), The Miser (Valére), The Birthday Party (Goldberg), A Midsummer Night’s Dream
(Egeus/Peter Quince), Pericles (Cleon/Pandar), Highway Ulysses (ensemble), Uncle Vanya
(Serebriakov), Lysistrata (Magistrate), Marat/Sade (Marat), The Doctor’s Dilemma (Sir
Ralph), Nocturne (Father – Drama Desk nomination), Full Circle (Heiner Müller - Elliot Norton
Award for best actor), The Merchant of Venice (Shylock), The Marriage of Bette and Boo
(Karl), The Imaginary Invalid (title role), Shlemiel the First (Shlemiel/Zalman Tippish — also on tours of the West
Coast), The Wild Duck (Hjalmar Ekdal), Picasso at the Lapin Agile (Sagot), The King Stag (Brighella — a role he also
performed in Taiwan), Six Characters in Search of an Author (The Father). Other: The Cherry Orchard, Love’s
Labors Lost, The Rivals and Melinda Lopez’s Sonia Flew (Huntington Theatre), Twelfth Night (Feste, Commonwealth
Shakespeare Company), Brian Friel’s Faith Healer (Gloucester Stage Company), Shear Madness (all male roles), the
Boston Pops premiere of “How the Grinch Stole Christmas”(narrator). Film: Next Stop Wonderland. Television: the
Cable Ace Award-winning animated series Dr. Katz, Professional Therapist (voice of Stanley).
KAREN MACDONALD* — Mrs. Bumble
A.R.T.: founding member, fifty-nine productions, including The Onion Cellar, Island of Slaves
(Euphrosine), Romeo and Juliet (Nurse), No Exit (Estelle, Elliot Norton Award), Olly’s Prison
(Ellen, Elliot Norton Award), Dido, Queen of Carthage (Anna), The Provok’d Wife
(Madamoiselle, IRNE award), The Miser (Frosine, IRNE award), The Birthday Party (Maguire
Award), A Midsummer Night’s Dream (Hypolita/Titania, IRNE award), Pericles (Dionyza),
Highway Ulysses (Circe), Uncle Vanya (Marina), Lysistrata (Kalonika), Mother Courage and
Her Children (Mother Courage), Marat/Sade (Simone), Othello (Emilia, IRNE award). Director
of Dressed Up! Wigged Out!, Boston Playwrights Theatre. New York: Roundabout Theatre, Second Stage, Playwright’s
Horizons, and Actors’ Playhouse. Regional: The Misanthrope (Arsinöe), Berkshire Theatre Festival; Infestation
(Mother), Boston Playwrights Theatre; Hamlet (Gertrude) and Twelfth Night (Maria), Commonwealth Shakespeare
Company; The Beauty Queen of Leenane (Maureen) and The Last Night of Ballyhoo (Boo) Vineyard Playhouse;
Who’s Afraid of Virginia Woolf (Martha, Elliot Norton Award) and Frankie and Johnny in the Clair de Lune (Frankie),
Merrimack Repertory Theatre; As You Like It (Rosalind), Shakespeare & Co; Shirley Valentine (Shirley), Charles
Playhouse. Other: Alley Theatre (Company member), the Goodman Theatre, the Wilma Theatre, Long Wharf Theatre,
Geva Theatre, Syracuse Stage, Buffalo Studio Arena, Cincinnati Playhouse, Hartford Stage, Philadelphia Festival of New
Plays.
CRAIG PATTISON* — Charley Bates
Recent credits: Jesus Hates Me, Denver Center Theatre Company. New York: Moonchildren,
Pains of Youth, HERE; Three Birds, Gale Gates; The Maids, Linhart, Twenty Gorilla Killer,
Red Room. Other: As You Like It, The Taming of the Shrew, The Real Thing, Alabama
Shakespeare Festival; Camino Real, Glimmer Brothers, ‘Tis Pity She’s a Whore,
Williamstown Theatre Festival. Film: The Thing About My Folks, The Franklin Abraham.
LUCAS STEELE* — Toby Crackit
Broadway: The Threepenny Opera. Off-Broadway and other New York credits: Corpus
Christie, Bouwerie Lane Theatre; Impostors, Trippin, Mint; Dalliance in Vienna, ATA, Cheri,
The Actors Studio; My Brother’s Going to the States, Manhattan Theatre Source; All
American Boy, New York Fringe; a year-long run of John Tartaglia:AD-LIBerty, Joe’s Pub. A
singer/songwriter of his own material, he is also a violinist and lead vocalist for the Infinite
Orchestra and a member of The Broadway Boys.
MICHAEL WARTELLA* — Oliver Twist
Tours: Seussical the Musical (Jojo). New York: Macbeth (Fleance), Clown Shorts
(Quintessential White). New England: Once Upon a Mattress (Minstrel/Jester), Little Shop of
Horrors (Seymour), You’re a Good Man Charlie Brown (Snoopy), Barrington Stage
Company; Much Ado About Nothing (Dogberry), Hamlet (Laertes), Henry VI, Part I (Talbot),
Shakespeare and Company; The Gifts of the Magi (Willy Porter), Troupe Taconic.
Artistic Staff
NEIL BARTLETT — Director
A.R.T.: Dido, Queen of Carthage (2005). He was an early member of Complicité, and in 1988 he was a founding member of Gloria, a musical theatre company which created thirteen new works over ten years, including Sarrasine (seen at
New York Theatre Workshop in 1990), A Vision of Love Revealed in Sleep, Night After Night, and The Seven
Sacraments of Nicolas Poussin. From 1994 to 2004 he was Artistic Director of the Lyric Hammersmith, London; his
twenty-four productions there included collaborations with Robert Lepage, Improbable Theatre, and the Royal
Shakespeare Company, stagings of Wilde, Maugham, Rattigan, Balzac, Britten, Kleist, Marivaux, Labiche, Dumas,
Dickens, Shakespeare, Genet, and Molière as well as five Christmas shows. His plays, adaptations, performance pieces
and translations have been performed at theatres across Britain and America, including productions at the Royal Court
and the National Theatre (London), The Glasgow Citizens, The Goodman Theater (Chicago), and the Arena Stage
(Washington). His third novel, published in the U.S. under the title of The House on Brooke Street, was nominated for
the Whitbread Prize; his Lyric production of Shakespeare’s Pericles was nominated for an Olivier Award for Outstanding
Achievement. In 2006 he was invited to stage his first opera, Stravinsky’s The Rake’s Progress for Aldeburgh Festival.
Mr. Bartlett’s future plans include Genet’s The Maids with Katherine Hunter for the Brighton Festival, Twelfth Night for
the Royal Shakespeare Company and the publication of his fourth novel, Skin Lane.
GERARD McBURNEY — Composer
Studied composition and orchestration at the Moscow Conservatory in the 1980s. He lives in London, where he divides
his time between composing, arranging, broadcasting, teaching and writing about music and especially about contemporary Russian and Soviet music; is a frequent radio broadcaster, especially for BBC Radio 3. He has also written and
researched many TV documentary films, among them portraits of composers. His compositions for theatre include White
Nights for the English National Ballet; Pinocchio and Oliver Twist for Lyric Hammersmith; and Four Walls for the
National Youth Music Theatre. Many of his concert works are inspired by Russian themes, including A Winter’s Walk
Round The Park at Troitse-Lykovo for the Spitalfields Festival, and Letter to Paradise for the 1998 Proms. Other projects include Hildegard Quartet for the Kronos Quartet and several projects with the Birmingham Contemporary Music
Group; the Sage Centre in Newcastle-on Tyne, and the Halle Orchestra in Manchester, intended to introduce young
schoolchildren to the pleasures of music for a symphony orchestra. Gerard teaches musical history and analysis at
London’s Royal Academy of Music, and is currently Distinguished Visiting Fellow in Russian and Soviet Music within the
School of Music and Drama at Manchester University. Most recently, in 2006, he has been appointed Artistic
Programming Advisor and Creative Director of “Beyond the Score” at the Chicago Symphony Orchestra.
RAE SMITH — Set and Costume Design
A.R.T. Dido, Queen of Carthage. Eleventh collaborations with Neil Bartlett; also The Rake’s Progress at Snape Opera,
Prince of Homburg at RSC, and Oliver Twist, The Servant, Cause Celebre, Sarasine, Mrs. Warren’s Profession, A
Christmas Carol, and The Letter at the Lyric Hammersmith. Work previously seen in the US includes The Weir (Conor
McPherson), Broadway; Juno and the Paycock, Roundabout Theatre; The Street of Crocodiles, Theatre de
Complicité at the Lincoln Center Festival; The Visit, Theatre de Complicité at Spoleto Festival; and Dinner, Ralph
Ralph/Jacobs Pillow at Spoleto. Her wide range of theatre work includes classical (As You Like It, Pedro the Great
Pretender, The Phoenician Women, Henry IV, Cymbeline, Royal Shakespeare Company); modern (Conor
McPherson’s Shining City, Dublin Carol, and Joe Penall’s Some Voices and Presence, The Royal Court:); and experimental (Silence Silence, Silence, Mladinsko Theatre, Slovenia and Fiat Medea, Kosmokinetical Theatre of Red Pilot,
former Yugoslavia). Other: Conor McPhersons’ The Seafarer, Improbable Theatre’s’ TheTheatre of Blood, Pillars of
the Community, and currently, Joan d’Arc and Warhorse, Royal National Theatre. Current opera: Das Rheingold
(Ring Cycle), Opera du Rhin Strasbourg; Bird of Night, Covent Garden; and A Midsummer Night’s Dream, La
Monnaie Opera House, Brussels.
SCOTT ZIELINSKI — Lighting Designer
A.R.T.: Three Sisters, Dido, Queen of Carthage, Black Snow, Woyzeck, Peter Pan and Wendy. New York:
Topdog/Underdog (Broadway), Lincoln Center, Public Theater, Theatre for a New Audience, Manhattan Theater Club,
Playwrights Horizons, New York Theater Workshop, Signature Theater, and Classic Stage Company, numerous regional theaters throughout the U.S. International: productions in London, Paris, Edinburgh, Rotterdam, Hamburg, Berlin,
Stuttgart, Zurich, Vienna, Stockholm, Oslo, Goteborg, Adelaide, Tokyo, Hong, Kong Singapore, Luang Prabang, Fukuoka,
Toronto, and Ottawa. Dance: designs for The Joyce, Kennedy Center, American Dance Festival (all with Twyla Tharp),
American Ballet Theatre, National Ballet of Canada, Centre National de la Danse, San Francisco Ballet, Boston Ballet,
and Kansas City Ballet. Opera: New York City Opera, The English National Opera, Houston Grand Opera, Minnesota
Opera, Toronto Opera, Pittsburgh Opera, Arizona Opera, Gotham Opera, Berkshire Opera, Opera Colorado, Spoleto
USA, and BAM.
DAVID REMEDIOS — Sound Designer
A.R.T.: Thirty-six productions, including Britannicus, Island of Slaves, Orpheus X, No Exit, Three Sisters, The
Keening, Amerika, Olly’s Prison, Desire Under the Elms, Dido, Queen of Carthage, The Provok’d Wife (original
music), The Miser, A Midsummer Night’s Dream, Pericles, Absolution, Marat/Sade, Enrico IV, Othello, Antigone,
Nocturne, How I Learned to Drive, Man and Superman. Other: The Scottish Play (La Jolla Playhouse), Leap
(Cincinnati Playhouse), Dressed Up! Wigged Out! (original music and sound, Boston Playwrights Theatre), Sideways
Stories from the Wayside School, All of a Kind Family, The Fabulous Invalid (Emerson Stage), Our Town (Boston
Theatre Works), Samson Agonistes (92nd St. Y), Nocturne (New York Theatre Workshop), Far East (Vineyard
Playhouse). Dance soundscapes: Concord Academy, Snappy Dance Theater Company, Lorraine Chapman. Awards:
2001 Elliot Norton Award (Mother Courage and Her Children); IRNE Award nominations for ART’s Oedipus, Snow in
June, and Highway Ulysses.
SIMON DEACON — Music Adaptor & Director
Theatre: Much Ado About Nothing (original music), Crucible Theatre, Sheffield, UK; Measure for Measure,
Complicite/Royal National Theatre; Much Ado About Nothing (original music), Salisbury Playhouse, UK; Oliver Twist,
Pericles, Christmas Carol (for Neil Bartlett), Lyric Hammersmith, London; As You Like It, Williamstown Theater
Festival; Taming Of The Shrew, Public Theater/Shakespeare in the Park; The Miser, Teatro Ornintorrinco, Sao Paulo;
Jackie: An American Life, Belasco Theater, NY; Jayson: The Musical, 45th Street Theater, NY; Fabula Urbis (original music), Theatre Royal Stratford East, London; Giovanni’s Room (world premiere, original music), Drill Hall, London;
Poker-Game (original music), Jazz Dance America, NY; Dreaming It Up (original music), Theatre Centre, London.
Music/Performance: Glamour Damage/The Freudian Slippers (with Justin Bond), London & New York; Heart’s
Content (Artist In Residence Commission), Goldsmiths College Music Department, University of London; Sweet Metal
Choir (with Neo Muyanga), Liverpool, UK; Jerriese Johnson East Village Gospel Choir; Unfinished Symphony, Yoshiko
Chuma & The School of Hard Knocks, New York, Los Angeles & European tour; Bloo Revue, New York; Dark Pocket,
Bloolips, London. Co-Artistic Director (with Struan Leslie) of Next Generation (London). Lecturer at Goldsmiths College,
University of London. Other music projects at The Liverpool Institute for the Performing Arts; The Peabody Conservatory
of Music, Baltimore, New York Foundation for the Arts. Fulbright Scholar (95-97) at the Manhattan School of Music.
STRUAN LESLIE — Movement Director
Trained at London Contemporary Dance School and at The Naropa Institute, Colorado, where he has worked with Ann
Carlson, Nancy Stark-Smith, Trisha Brown, Meredith Monk, Steve Paxton, Ruth Zaporah. Recent: The Seagull, No
(Sea) No (Gull), National Theatre, London; Les Negres, Theatre Freiburg, Germany; George Enescu’s opera Oedipe,
Theatre Bielefeld, Germany; Long Time Dead, Plymouth (touring in 2007). Other: Iphigenia at Aulis, Fix-up, Ivanov,
Oresteia, National Theatre, London; As You Like It, The Duchess of Malfi, Merchant of Venice, Slaughter City,
Cyrano de Bergerac, Beckett Shorts, Easter, Royal Shakespeare Company; The Country, Forty Winks, Ashes to
Ashes/Mountain Language, Royal Court, London; Il Viaggio a Rheims, Marriage of Figaro, Theatre Bielefeld,
Germany; Iphigenia at Aulis, Abbey Theatre, Dublin; Attempts on Her Life, Piccolo Teatro, Milan; Cricket Recovers,
The Girl of Sand, Almeida Opera and Aldeburgh Festival; Endgame, Morphic Resonance, Donmar Warehouse,
London; Antigone (TAG Scottish tour), Julius Caesar (Young Vic/Japanese tour), A Midsummer Night’s Dream
(Regent’s Park), Jephtha, Jenufa, Così fan tutte, Katya Kabanova, Welsh National Opera; Katya Kabanova, Geneva;
Jephtha, English National Opera. Directing credits: Carmen (Welsh National Opera), Mourning Becomes Elektra, Arts
Ed, London; and Song of Songs, University of Illinois. Film and televison: Casanova and Our Mutual Friend (BBC) and
the remake of Sleuth released 2007/8.
CHRIS DE CAMILLIS* — Production Stage Manager
A.R.T.: Wings of Desire, Island of Slaves, Romeo and Juliet, Three Sisters, Desire Under the Elms, Dido, Queen
of Carthage, The Provok’d Wife, Oedipus, A Midsummer Night’s Dream, Lady with a Lapdog, Pericles, Uncle
Vanya, Lysistrata, Marat/Sade, Johan Padan and the Discovery of the Americas, Richard II, Mother Courage and
Her Children, Three Farces and a Funeral, The Winter’s Tale, Full Circle, Ivanov, We Won’t Pay! We Won’t Pay!,
The Merchant of Venice, and The Cripple of Inishmaan. Off-Broadway: Pride’s Crossing (Lincoln Center Theater),
The Boys in the Band (Lucille Lortel Theatre), Slavs! (New York Theatre Workshop), Raised in Captivity (Vineyard
Theatre), and ‘Till the Rapture Comes (W.P.A.) Regional: The Guthrie Theater, Berkshire Theatre Festival (three seasons), George Street Playhouse, Shakespeare & Company, San Antonio Festival, Old Globe Theatre in San Diego, The
Acting Company (fifteen productions over five seasons, including As You Like It, directed by Liviu Ciulei, A Doll’s
House, directed by Zelda Fichlandler, and A Midsummer Night’s Dream, directed by Joe Dowling). Mr. De Camillis is
A.R.T. Artistic Coordinator.
LAURA HITT — Dialect Coach
For the past 25 years Laura Hitt has coached, performed in and collaboratively created new theatre, musicals, and opera,
in San Francisco (Theater Artaud/Whoopi Goldberg Productions), New York City (St. Clement’s and Gene Frankel
Theaters), Chicago and Providence, RI (Trinity Repertory Theatre). Her original work includes performing nationally and
internationally in her one-woman music theater piece, Dust Singing into Light: A Vision of Hildegard of Bingen. She
also has worked as a dialect, voice/text and performance coach with theatre and business professionals, as well as a
dialect and voice coach on numerous theatre and music productions in New York and Boston, including And Then We
Go On, Blue/orange and Homebody/Kabul. She has been on faculty and lectured about The Voice, Body and Creative
Vision at a number of universities and colleges, including the Boston Conservatory and Brown University. She is currently an Associate Professor of Voice & Speech at West Virginia University.
DEBORAH BROWN — Casting
Has cast for Broadway, off-Broadway and many of the leading regional theatres in the country. She is currently casting
director for Theatre For a New Audience in New York. She shared an Emmy for the HBO’s series “From the Earth to the
Moon”. Other television projects include “The Days and Nights of Molly Dodd” and New York casting on “Band of
Brothers”.
PENELOPE CHALLEN — Costumer
Set and Costume Designer; trained at the National Institute of Dramatic Art, Australia and has recently completed a year
as Resident Designer as part of the Royal Shakespeare Company’s Trainee Designer. Current and recent credits:
Qabuka, Full Frontal Theatre at The Oval; Hair, Gate Theatre; The Taming of the Shrew, RSC Education; When You
Cure Me by Jack Thorne and Bites by Kay Adshead, Bush Theatre; Sweet Charity, RSC. Other: To The Moon, Arches
Theatre, Glasgow; Under The Earth, Battersea Arts Centre; Protection, Soho Theatre; A Night In The Desert, The
Union Theatre; Dark Heart, Tap Gallery, Sydney; Ring Round The Moon, Plenty, Hello From Bertha, Swing Girl,
NIDA, Australia,
KATHERINE SHEA* — Assistant Stage Manager
A.R.T.: Assistant Stage Manager The Onion Cellar. Production Associate Island of Slaves, Desire Under the Elms.
A.R.T. Institute Stage Manager The Front Page, Arabian Night, Zoya, Mayhem, A Bright Room Called Day, Island
of Anyplace, The Bacchae, Spring Awakening, Donnie Darko.
ROBERT WOODRUFF — A.R.T. Artistic Director
A.R.T.: directed Britannicus, Island of Slaves, Orpheus X, Olly’s Prison, Oedipus, Sound
of a Voice, Highway Ulysses, Richard II, Full Circle (2000 Elliot Norton Award for Best
Director) and In the Jungle of Cities (1998 Elliot Norton Award for Best Director). A.R.T.
Institute: directed Charles L. Mee’s Trojan Women A Love Story. His credits include the premieres of Sam Shepard’s Curse of the Starving Class, Buried Child (Pulitzer Prize), and
True West at the New York Shakespeare Festival; In the Belly of the Beast, A Lie of the
Mind, and Philip Glass’s A Madrigal Opera at the Mark Taper Forum; The Comedy of Errors
(with the Flying Karamazov Brothers) at Lincoln Center; David Mamet’s adaptation of Red River at The Goodman
Theatre; The Tempest, A Man’s a Man, and Happy Days (among others) at La Jolla Playhouse; Julius Caesar at
Alliance Theatre; The Duchess of Malfi and Nothing Sacred at the American Conservatory Theatre; The Skin of Our
Teeth at The Guthrie Theater, and Baal at Trinity Repertory Company. His work has been seen at most major U.S. Arts
Festivals and abroad. Recent work includes Medea at the National Theatre of Israel and Saved at Theatre for a New
Audience. Mr. Woodruff co-founded The Eureka Theatre, San Francisco, and created The Bay Area Playwrights
Festival.
GIDEON LESTER — Associate Artistic Director
Recent translations: Marivaux’s Island of Slaves and La Dispute (published by Ivan Dee,
directed by Anne Bogart at the A.R.T.), Bertolt Brecht’s Mother Courage (directed by János
Szász), Georg Büchner’s Woyzeck (directed by Marcus Stern), and two texts by the French
playwright Michel Vinaver, King and Overboard (published by Methuen and staged at the
Orange Tree Theatre in London.) Adaptations: Wings of Desire by Wim Wenders, Peter
Handtke, and Richard Reitinger, directed by Ola Mafaalani; Kafka’s Amerika (directed at the
A.R.T. by Dominique Serrand), Anne Frank for the Carr Center for Human Rights at Harvard,
and Enter the Actress, a one-woman show that he devised for Claire Bloom. Born in London in 1972, Mr. Lester studied English Literature at Oxford University. In 1995 he came to the US on a Fulbright grant and Frank Knox Memorial
Scholarship to study dramaturgy at the A.R.T. Institute for Advanced Theatre Training at Harvard. When he graduated
from the Institute, Mr. Lester was appointed Resident Dramaturg. He became the A.R.T.’s Associate Artistic Director in
2002. He teaches dramaturgy at the A.R.T./MXAT Institute, playwriting at Harvard.
ROBERT J. ORCHARD — Executive Director
Mr. Orchard co-founded the A.R.T. with Robert Brustein in 1979 and served as the Company’s
Managing Director for twenty-one years. He currently serves as Executive Director of the A.R.T.
and the Institute for Advanced Theatre Training, and Director of the Loeb Drama Center at
Harvard University. Prior to 1979, he was Managing Director of the Yale Repertory Theatre and
School of Drama where he also served as Associate Professor and Co-Chairman of the Theatre
Administration Program. For nearly twenty years, Mr. Orchard has been active facilitating
exchanges, leading seminars, and advising on public policy with theatre professionals and government officials in Russia. At the A.R.T. he has produced nearly 170 productions over half of which were new works. In
addition, he has overseen tours of A.R.T. productions to major festivals in Edinburgh, Avignon, Belgrade, Paris, Madrid,
Jerusalem, Venice, Sao Paulo, Tokyo, Taipei, Singapore, and Moscow, among others. Under his leadership, A.R.T. has
performed in eighty-one cities in twenty-two states and worldwide in twenty-one cities in sixteen countries on four continents. Mr. Orchard has served as Chairman of both the Theatre and the Opera/Musical Theatre Panels at the National
Endowment for the Arts, on the Board and Executive Committee of the American Arts Alliance, the national advocacy
association for the performing and visual arts, and as a trustee of Theatre Communications Group (TCG), the national
service organization for the American professional theatre and publisher of American Theatre magazine. In addition he
has served on the Board of the Cambridge Multi-Cultural Arts Center and as President of the Massachusetts Cultural
Education Collaborative. In 2000, Mr. Orchard received the Elliot Norton Award for Sustained Excellence.
THEATRE FOR A NEW AUDIENCE — Co-Producer
Founded in 1979 by Jeffrey Horowitz, the Theatre is committed to developing and vitalizing the performance and study
of Shakespeare and classic drama. The Theatre aims to find the contemporary heart of the classics. It is where
Shakespeare meets Julie Taymor and Sir Peter Hall, and American and European artists interact, workshop, teach and
direct. The Theatre is also committed to the next wave of American classical artists and supports the American Directors
Project, a mentoring program led by Cicely Berry. The company’s productions and affiliated artists have been honored
with prestigious awards and nominations such as Drama Desk, Lortel, Obie and the Tony. The Theatre’s production of
The Green Bird by Carlo Gozzi, directed by Julie Taymor, opened Off-Broadway, toured to La Jolla Playhouse and later
moved to Broadway. In 1994, Julie Taymor directed Titus Andronicus Off-Broadway for the Theatre (followed by the
film). The Theatre has an ongoing collaboration with the Royal Shakespeare Company (RSC) and became the first
American theatre to be invited to bring a production of Shakespeare to the RSC — Cymbeline, directed by Bartlett Sher.
In January 2006, the Theatre’s production of Souls of Naples starring John Turturro toured to the Teatro Mercadante in
Naples, Italy, and in March 2007 the Theatre is returning to the RSC with The Merchant of Venice starring F. Murray
Abraham.
BERKELEY REPERTORY THEATRE — Co-Producer
Founded in 1968, the Tony Award-winning Berkeley Repertory Theatre has established a national reputation for its ambitious programming and dynamic productions. The company is especially well known for its presentations of important new
dramatic voices and its fresh adaptations of seldom-seen classics. In the last six years alone, Berkeley Rep has premiered new works by Culture Clash, David Edgar, Francesca Faridany, Leigh Fondakowski, Lillian Groag, Jordan
Harrison, Geoff Hoyle, Naomi Iizuka, Charles Mee, and Stew. Recently, four shows seen at Berkeley Rep have moved
on to Manhattan. In 2006, Artistic Director Tony Taccone staged Sarah Jones’ Tony Award-winning Bridge & Tunnel on
Broadway, and he also helmed Tony Kushner and Maurice Sendak’s Brundibar. This spring, Stew’s Passing Strange
heads to The Public, and Associate Artistic Director Les Waters brings his production of Sarah Ruhl’s Eurydice to Second
Stage. Under the leadership of Taccone, Waters, and Managing Director Susan Medak, Berkeley Rep seeks to engage
its audience in an ongoing dialogue of ideas. With the opening of two new buildings – the Roda Theatre, a 600-seat
proscenium theatre that complements the 400-seat Thrust Stage, and the Berkeley Rep School of Theatre – what was
once a single stage has transformed into a vital and versatile performing arts center.
(*) Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Actors’ Equity Association (AEA), founded in 1913, represents more than 45,000 actors and stage managers in the
United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension
plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions.
The Equity emblem is our mark of excellence. www.actorsequity.org
A History of the American Repertory Theatre
Robert J. Orchard
Executive Director
Robert Woodruff
Artistic Director
Robert Brustein
Founding Director / Creative Consultant
The American Repertory Theatre (A.R.T.) occupies a unique
place in the American theatre. It is the only not-for-profit theatre
in the country that maintains a resident acting company and an
international training conservatory, and that operates in association with a major university. Over its twenty-six-year history the
A.R.T. has welcomed American and international theatre artists
who have enriched the theatrical life of the whole nation. The
theatre has garnered many of the nation’s most distinguished
awards, including a Pulitzer Prize, a Tony Award, a Jujamcyn
Award, the 2002 National Theatre Conference’s Outstanding
Achievement Award; and in May of 2003 it was named one of the
top three theatres in the country by Time magazine. Since 1980
the A.R.T. has performed in eighty-two cities in twenty-two states
around the country, and worldwide in twenty-one cities in sixteen
countries on four continents. It has presented one hundred and
eighty-four productions, over half of which were premieres of new
plays, translations, and adaptations.
The A.R.T. was founded in 1980 by Robert Brustein and
Robert J. Orchard, and has been resident for twenty-six years at
Harvard University’s Loeb Drama Center. In August 2002
Robert Woodruff became the A.R.T.’s Artistic Director, the second in the theatre’s history. Mr. Orchard assumed the new role
of Executive Director, and Gideon Lester that of Associate
Artistic Director. Mr. Brustein remains with the A.R.T. as
Founding Director and Creative Consultant.
The A.R.T. provides a home for artists from across the world,
whose singular visions generate and define the theatre’s work.
The company presents a varied repertoire that includes new
plays, progressive productions of classical texts, and collaborations between artists from many disciplines. The A.R.T. is also
a training ground for young artists. The theatre’s artistic staff
teaches undergraduate classes in acting, directing, dramatic literature, design, and playwriting at Harvard, and in 1987 the
A.R.T. founded the Institute for Advanced Theatre Training. In
conjunction with the Moscow Art Theatre School, the Institute
provides world-class graduate-level training in acting, dramaturgy, and special studies.
The A.R.T.’s American and world premieres include among
others, works by Robert Auletta, Edward Bond, Robert Brustein,
Don DeLillo, Keith Dewhurst, Humberto Dorado, Christopher
Durang, Rinde Eckert, Elizabeth Egloff, Peter Feibleman, Jules
Feiffer, Dario Fo, Carlos Fuentes, Larry Gelbart, Leslie Glass,
Philip Glass, Stuart Greenman, William Hauptman, David Henry
Hwang, Milan Kundera, Mark Leib, David Lodge, Carol K. Mack,
David Mamet, Charles L. Mee, Roger Miller, John Moran,
Robert Moran, Heiner Müller, Marsha Norman, Han Ong, David
Rabe, Franca Rame, Adam Rapp, Keith Reddin, Ronald
Ribman, Paula Vogel, Derek Walcott, Naomi Wallace, and
Robert Wilson.
Many of the world’s most gifted directors have staged pro-
Gideon Lester
Associate Artistic Director / Dramaturg
ductions at the A.R.T., including JoAnne Akalaitis, Neil Bartlett,
Andrei Belgrader, Anne Bogart, Lee Breuer, Robert Brustein,
Chen Shi-Zheng, Liviu Ciulei, Martha Clarke, Ron Daniels, Liz
Diamond, Joe Dowling, Michael Engler, Alvin Epstein, Dario Fo,
Richard Foreman, Kama Ginkas, David Gordon, Adrian Hall,
Richard Jones, Ola Mafaalani, Michael Kahn, Jerome Kilty, Tina
Landau, Krystian Lupa, John Madden, David Mamet, Des
McAnuff, Jonathan Miller, Nicolás Montero, Tom Moore, David
Rabe, François Rochaix, Robert Scanlan, János Szász, Peter
Sellars, Andrei Serban, Dominique Serrand, Susan Sontag,
Marcus Stern, Slobodan Unkovski, Les Waters, David Wheeler,
Frederick Wiseman, Robert Wilson, Mark Wing-Davey, Robert
Woodruff, Yuri Yeremin, Francesca Zambello, and Scott Zigler,
among others.
A.R.T. productions were included in the First New York
International Festival of the Arts, the 1984 Olympic Arts Festival
in Los Angeles, the Serious Fun! Festival at Lincoln Center’s
Alice Tully Hall, the Next Wave Festival at the Brooklyn
Academy of Music, and the International Fortnight of Theatre in
Quebec. The company has also performed at international festivals in Edinburgh, Asti, Avignon, Belgrade, Ljubljana,
Jerusalem, Haifa, Tel Aviv, and Venice, and at theatres in
Amsterdam, Rotterdam, Perugia, and London, where its presentation of Sganarelle was filmed and broadcast by Britain’s
Channel 4. In 1986 the A.R.T. presented Robert Wilson’s adaptation of Alcestis at the Festival d’Automne in Paris, where it
won the award for Best Foreign Production of the Year. In 1991
Robert Wilson’s production of When We Dead Awaken was
presented at the 21st International Biennale of São Paulo,
Brazil. The company presented its adaptation of Carlo Gozzi’s
oriental fable The King Stag, directed by Andrei Serban, at the
Teatro Español in Madrid in 1988, at the Mitsui Festival in Tokyo
in 1990, the Taipei International Arts Festival in Taiwan (with
Robert Brustein’s adaptation of Pirandello’s Six Characters in
Search of an Author) in 1995, at the Chekhov International
Theatre Festival in Moscow — the first American company to
perform at the Chekhov Moscow Art Theatre (with Six
Characters in Search of an Author, and Joseph Chaikin and
Sam Shepard’s When The World Was Green (A Chef’s
Fable); and in October 2000, sponsored in part by AT&T:On
Stage, on a year-long national and international tour, with stops
in twenty-seven American cities in fifteen states, ending with a
three-week residency at London’s Barbican Centre in the summer of 2001. In June 1998 the company also presented two
works including Robert Brustein’s new play Nobody Dies on
Friday at the Singapore Festival of the Arts. Most recently, productions of Lysistrata, The Sound of a Voice, The Miser,
Lady with a Lapdog, Amerika, and No Exit have been presented at theatres throughout the US, and Krystian Lupa’s 2005
production of Three Sisters recently closed the 2006 Edinburgh
Robert J. Orchard
Robert Woodruff
Executive Director
Artistic
Scott Zigler
Jeremy Geidt
Marcus Stern
Christopher De Camillis
Arthur Holmberg
Nancy Houfek
Ryan McKittrick
David Wheeler
Robert Brustein
Director, A.R.T. Institute
Senior Actor
Associate Director
Artistic Coordinator
Literary Director
Voice and Speech Coach
Associate Dramaturg
Associate Artist
Director of Development
Assistant Director of Development
Coordinator of Special Projects
Director of Institutional Giving
Development Officer
Publicity, Marketing, Publications
Henry Lussier
Director of Marketing
Katalin Mitchell
Director of Press and Public Relations
Jeremy Allen Thompson Director of Audience Development
Nicholas Peterson
Marketing Associate
Douglas F. Kirshen
Web Manager
Burt Sun
Director of Graphic/Media Design
Stevens Advertising
Advertising Consultant
Associates
Box Office
Derek Mueller
Ryan Walsh
Lilian Belknap
Public Services
Erin Wood
Maria Medeiros
Sarah Leon
Killian Clarke
Doug Fallon
Shannon Matathia
Nicole Meinhart
Heather Quick
Charlean Skidmore
Matthew Spano
Production
Patricia Quinlan
Christopher Viklund
Skip Curtiss
Amy James
Katherine Shea
Amanda Robbins
J. Michael Griggs
Associate Artistic Director / Dramaturg
Founding Director / Creative Consultant
Administration and Finance
Jonathan Seth Miller
General Manager
Nancy M. Simons
Comptroller
Angela Paquin
Assistant Comptroller
Julia Smeliansky
Administrative Director, Institute
Steven Leon
Assistant General Manager
Tracy Keene
Company / Front of House Manager
Stacie Hurst
Financial Administrator
Tali Gai
Artistic Associate / Executive Assistant
Alexander Popov
Moscow Program Consultant
Development
Sharyn Bahn
Sue Beebee
Jan Graham Geidt
Joan Moynagh
Jessica Obara
Gideon Lester
Artistic Director
Box Office Manager
Box Office Manager
Box Office Representative
Theatre Operations Coordinator
Receptionist
Receptionist
House Manager
House Manager
House Manager
House Manager
House Manager
House Manager
House Manager
Production Manager
Associate Production Manager
Associate Production Manager
Assistant Stage Manager
Assistant Stage Manager
Institute Stage Manager
Loeb Technical Director
Scenery
Stephen Setterlun
Emily W. Leue
Alexia Muhlsteff
Gerard P. Vogt
Evan Wilkinson
Peter Doucette
Chris Tedford
York-Andreas Paris
Jason Bryant
Props
Cynthia Lee
Lyn Tamm
Costumes
Jeannette Hawley
Hilary Hacker
Karen Eister
Carmel Dundon
David Reynoso
Bettina Hastie
Theadora Fisher
Stephen Drueke
Suzanne Kadiff
Tova Moreno
Lights
Derek L. Wiles
Kenneth Helvig
David Oppenheimer
Lauren Audette
Sound
David Remedios
Darby Smotherman
Stage
Joe Stoltman
Jeremie Lozier
Christopher Eschenbach
Kevin Klein
Internships
Ariane Barbanell
Elizabeth Bouchard
Amy Cole
Elaine Harris
Nicholas Jandl
Kristin Knutson
Heather McPherson
Heidi Nelson
William Shaw
Emily Yost
Technical Director
Assistant Technical Director
Assistant Technical Director
Scenic Charge Artist
Scene Shop Supervisor
Master Carpenter
Scenic Carpenter
Scenic Carpenter
Scenic Carpenter
Properties Manager
Assistant Properties Manager
Costume Shop Manager
Assistant Costume Shop Manager
Head Draper
Draper
Crafts Artisan
First Hand
First Hand
Wardrobe Supervisor
Costume Stock Manager
Stitcher
Master Electrician
Lighting Assistant
Light Board Operator
Zero Arrow House Electrician
Resident Sound Designer / Engineer
Production Sound Engineer
Stage Supervisor
Assistant Stage Supervisor
Production Assistant
Production Assistant
Development
Stage Management
Stage Management
Administration
Administration
Scenery
Administration
Dramaturgy
Administration
Production Management
The American Repertory Theatre Program
Loeb Drama Center • 64 Brattle Street • Cambridge, MA 02138
Editors: Katalin Mitchell & Ryan McKittrick
For information about advertising call:
Susan Bach
amrep.org/ads
American Repertory Theatre National Advisory Committee
Dr. Stephen Aaron
Donald and Lucy Beldock
Alexandra Loeb Driscoll
Ronald Dworkin
Wendy Gimbel
Stephen and Kathy Graham
Kay Kendall
Robert and Rona Kiley
Rocco Landesman
Willee Lewis
William and Wendy Luers
Joanne Lyman
James Marlas
Stuart Ostrow
Dr. David Pearce
Steven Rattner
Nancy Ellison Rollnick
and Bill Rollnick
Daniel and Joanna S. Rose
Mark Rosenthal
Miriam Schwartz
Beverly Sills
and Peter Greenough
Daniel Selznick
Rose Styron
Mike and Mary Wallace
Seth Weingarten
Byron Wien
William Zabel
American Repertory Theatre Honorary Board
JoAnne Akalaitis
Laurie Anderson
Rubén Blades
Claire Bloom
William Bolcom
Carmen de Lavallade
Brian Dennehy
Christopher Durang
Carlos Fuentes
Philip Glass
André Gregory
Mrs. John Hersey
Geoffrey Holder
Arliss Howard
Albert Innaurato
John Irving
Anne Jackson and Eli Wallach
Robert R. Kiley
James Lapine
Linda Lavin
Jonathan Miller
Kate Nelligan
Andrei Serban
John Shea
Talia Shire
Beverly Sills
Meryl Streep
Rose Styron
Lily Tomlin
Christopher Walken
Mike and Mary Wallace
Sam Waterston
Robert Wilson
Debra Winger
Frederick Wiseman
Stockard Channing
Anthony E. Malkin
James C. Marlas
Jeffrey D. Melvoin
Thomas H. Parry
Daniel Mayer Selznick
Winifred White Neisser
Byron R. Wien
Visiting Committee for the Loeb Drama Center
A.R.T./MXAT INSTITUTE
FOR ADVANCED THEATRE TRAINING
Scott Zigler, Director
Julia Smeliansky, Administrative Director
Marcus Stern, Associate Director
Nancy Houfek, Head of Voice and Speech
Andrei Droznin, Head of Movement
Robert J. Orchard
Executive Director
Robert Woodruff
Artistic Director
MOSCOW ART THEATRE
Oleg Tabakov, Artistic Director
Gideon Lester
Associate Artistic Director/Dramaturg
MOSCOW ART THEATRE
SCHOOL
Anatoly Smeliansky, Head
The Institute for Advanced Theatre Training at Harvard was established in 1987 by the American Repertory
Theatre (A.R.T.) as a training ground for the American theatre. Its programs are fully integrated with the activities
of the A.R.T. In the summer of 1998 the Institute commenced a historic new joint program with the Moscow Art
Theatre (MXAT) School. Students engage with two invaluable resources: the work of the A.R.T. and that of the
MXAT, as well as their affiliated Schools. Individually, both organizations represent the best in theatre production
and training in their respective countries. Together, this exclusive partnership offers students opportunities for training and growth unmatched by any program in the country.
The core program features a rigorous two-year, five-semester period of training in acting, dramaturgy, and
special studies, during which students work closely with the professionals at the A.R.T. and the MXAT as well as
with the best master teachers from the United States and Russia. At the end of the program, students receive a
Certificate of Achievement from the faculty of the American Repertory Theatre and an M.F.A. Degree from the faculty of the Moscow Art Theatre School.
Further information about this new program can be obtained by calling the Institute for a free catalog
(617) 617-496-2000 x8890 or on our web site at www.amrep.org.
Faculty
Robert Brustein
Trey Burvant
Thomas Derrah
Elena Doujnikova
Andrei Droznin
Tanya Gassel
Jeremy Geidt
Arthur Holmberg
Nancy Houfek
Roman Kozak
Will LeBow
Gideon Lester
Stathis Livathinos
Karen MacDonald
Alexandre Marin
Ryan McKittrick
Jeff Morrison
Pamela Murray
Robert J. Orchard
Robert Scanlan
Andrei Shchukin
Anatoly Smeliansky
Julia Smeliansky
Marcus Stern
János Szász
Oleg Tabakov
Robert Walsh
Robert Woodruff
Scott Zigler
Staff
Christopher Viklund
Criticism and Dramaturgy
Yoga
Acting
Movement
Movement
Russian Language
Acting
Theatre History and Dramaturgy
Voice and Speech
Acting and Directing
Acting
Dramaturgy
Acting and Directing
Acting
Acting and Directing
Dramatic Literature and Dramaturgy
Voice
Singing
Theatre Management
Dramatic Literature
Movement
Theatre History and Dramaturgy
History and Practice of Set Design
Acting and Directing
Acting
Acting
Combat
Acting and Directing
Acting, Directing and Dramaturgy
Production Manager
Acting
Katia Asche
Elizabeth Allen
Joseph Almanza
Caroline Beth Barad
Sarah Baskin
Jacqueline Brechner
Henry David Clarke
Gardiner Comfort
Emmy Lou Diaz
Phillip Dunbridge
Jia Doughman
Brian Farish
Kristen Frazier
Aaron Ganz
Adel hanash
Megan Hill
Perry Jackson
Sarah Jorge Leon
Merritt Janson
Dramaturgy
Neena Arndt
Heather Helinsky
Katie Mallinson
Njål Mjøs
Voice
Carey Dawson
Thomas Kelley
Adam Kern
Rocco LaPenna
Daniel Le
DeLance Minefee
George Montenegro
Nicole Muller
Angela Nahigian
Yelba Osorio
Kunal Prasad
Natalie Saibel
Sarah Scanlon
Kristin Sidberry
Neil Stewart
Cheryl Turski
Elizabeth Wilson
Tim Wynn
Matthew Young
Sarah Ollove
Katheryn Rasor
Sarah Wallace
Miriam Weisfeld
Christopher Lang
Producing a p
Special appearance by
Mam Smith, aerialist
y–
A.R.T. Style
Many organizations have galas, festive events where friends and supporters gather to celebrate the mission
of the organization and to raise important funds to support that mission.
The A.R.T. has “pARTy”, a gala event done in A.R.T.’s style –– new, different, entertaining, and exciting.
Unique to the A.R.T., the pARTy reflects A.R.T.’s onstage endeavors and, like our productions, expands
boundaries.
American Repertory Theatre’s pARTy brings together board members, donors, patrons and friends of the
A.R.T. for a fun and festive evening. Illuminated by the theatre’s artistic staff and other artists, the event is
designed to celebrate and support the theatre, while providing critical, budgeted income for the current
season. Central to the event is supporting A.R.T.’s mission and artistic vision. Additionally, the event:
• Connects supporters of the A.R.T. as well as advocates for the arts.
• Energizes interest and engages supporters and patrons of the theatre.
• Makes the A.R.T. visible to a broader audience and, by doing so, demonstrates support for the theatre and the arts in general.
Creating an event that “breaks the mold” requires much imagination, planning, coordination and effort. The
pARTy Committee, a dedicated group of friends and Advisory Board members, works for over six months
to create this event “from scratch.”
The first step is to identify the right venue –– one that doesn’t usually accommodate galas or functions.
“Raw” space works best as it provides an empty canvas for our Committee members and design team to
envision and execute something new and exciting each year. This is, indeed, a challenge! Conceiving an
event that will generate interest in the theatre and attendance at the pARTy, while not relying on the “tried
and true”, requires much imagination and flexibility, and a new space every year.
That blank canvas –– the empty space –– must have a few essentials: electricity, plumbing (bathrooms!),
running water, a safe infrastructure, space for catering . . . all the accommodations of a more refined space,
but without décor –– the A.R.T. adds that! What the A.R.T. creates on that canvas makes our event extraordinary.
In this Season of Transformations, A.R.T.’s pARTy transforms a vacant
retail space at Brighton Mills into a moveable feast that highlights the
season’s productions. This year our event takes place on March 5, a
Monday night during the run of Oliver Twist. Cocktails in a setting
reflecting bobrauschenbergamerica, martinis from a bar called Olive
or Twist?, a performance by Wings of Desire’s aerial artist Mam
Smith, dinner in the contemporary setting of Britannicus, and
desserts staged in an area called, No Man’s Land are some of the elements that celebrate our 2006-07 season. The 2007 Robert Brustein
Award will be presented to playwright Tony Kushner, author of Angels
in America, Caroline or Change, Homebody/Kabul, among others.
Tony Kusher,
Robert Brustein Award winnner
Transforming 30,000 square feet into a festive gala event starts with imagination. Guided by ideas generated by the Committee, the design team –– comprised of our caterer, consultants, and A.R.T. technicians
and staff –– begins its work. Electricians, structural and sound engineers, designers and props masters all
work their magic to transform the space for the few hours of the A.R.T.’s pARTy. The perception of a magical transformation is supported by months of behind-the-scenes planning and work.
Once the space is secured, and while the design team is “making magic,” the Committee continues its work
on other elements of the event. Guest lists, auction items, guests of honor, special performances, invitation design and mailing are just some of the many details attended to by the Committee in the months leading up to the pARTy.
Proceeds from A.R.T.’s pARTy benefit the current season, providing income to help cover the costs of bringing this high caliber of productions to our stages. With subscription and ticket revenues meeting about half
of A.R.T.’s annual expenses, contributed
income is critical to help us bridge the
gap. Our pARTy raises over $300,000 for
the A.R.T., and supplements donations
made through our Annual Fund, production sponsorship and institutional giving.
The Institute for Advanced Theatre
Training also benefits from this event.
Jessica Obara, Derek Wiles, Peter Agoos, Mary Wendell,
and Ann Gund confer about the transformation
of this year’s pARTy space.
While fundraising is critical, it’s the
FUNraising that makes A.R.T.’s pARTy so
special. It is the one, and only, time during the season when the entire A.R.T.
community comes together, sharing a
passion for theatre and celebrating the
A.R.T. Producing a pARTy –– A.R.T. style
–– is something we love to do!
2007 pARTy
Committee Members
2007 pARTy
Design Team
Mary Wendell, Chair
Page Bingham
Kathy Connor
Martha Cox
Ann Gund
Michael Jacobson
Emily Karstetter
Beth Kurtin
Mary Lentz
Rebecca Gold Milikowsky
Sally Miller
Jackie O’Neill
Beth Pollock
Sam Weisman
Peter Agoos
Ann Gund
Dan Mathieu
Jessica Obara
Mary Wendell
Derek Wiles
Graphic Design
Carlos M. Ridruejo
The American Repertory Theatre is deeply grateful for the generous support of the individuals, foundations, corporations, and government agencies whose contributions make our work possible. The list
below reflects gifts between August 1, 2005 and January 2, 2007 to the Annual Fund and special events.
Guardian Angel • $100,000 and above
The Carr Foundation
Doris Duke Charitable Foundation
The Andrew W. Mellon Foundation
The President and Fellows of Harvard College
The Shubert Foundation, Inc.
Archangel • $50,000 – $99,999
The Educational Foundation of America
The Hershey Family Foundation
The Harold and Mimi Steinberg Charitable Trust
TIAA-CREF
The Norman and Rosita Winston Foundation
Anonymous
Angel • $25,000 – $49,999
Altria Group, Inc.
Association of Performing Arts Presenters Ensemble/
Theatre Collaborations Grant Program
The Boston Globe+
Philip and Hilary Burling*
The E.H.A. Foundation, Inc.
Ann and Graham Gund*
Cassandra and Horace Irvine*
Massachusetts Cultural Council
National Endowment for the Arts
National Corporate Theatre Fund
The Rockefeller Foundation/Multi-Arts
Production Fund
Theatre Communications Group
Trust for Mutual Understanding
Ted and Mary Wendell*
Mr. and Mrs. Byron R. Wien
Anonymous
Benefactor • $10,000 – $24,999
Joel and Lisa Alvord*
Page Bingham and Jim Anathan*
Boston Investor Services, Inc.*
Paul and Katie Buttenwieser*
Ted and Joan Cutler
Robert Davoli and Eileen McDonagh*
Étant Donnés
Barbara W. Hostetter
Priscilla and Richard Hunt*
The Roy A. Hunt Foundation
Merrill and Charles Gottesman*
Barbara and Steve Grossman
Michael E. Jacobson*
Lizbeth and George Krupp*
Barbara and Jon Lee*
Dan Mathieu/Neil Balkowitsch/MAX Ultimate Food*+
Meet the Composer, USA
Rebecca and Nathan Milikowsky*
Cokie and Lee Perry
Beth Pollock*
Michael Roitman and Emily Karstetter
Mrs. Ralph P. Rudnick*
The Lawrence & Lillian Solomon Fu nd, Inc.
Donald and Susan Ware*
Visionary • $5,000 – $9,999
George C. and Hillery Ballantyne*
Bank of America*
Carol and Harvey Berman
Cabot Family Charitable Trust
Clarke and Ethel D. Coggeshall
Citizens Bank
Martha Cox and Andrew McKay
Alan and Suzanne Dworsky
Michael G. Feinstein and Denise Waldron
Rachael and Andrew Goldfarb
Joseph W. Hammer
Glenn KnicKrehm
Audrey Love Charitable Foundation
Dr. Henry and Mrs. Carole Mankin
Carl Martignetti
Kako and Fumi Matsumoto
Millennium Partners – Boston*
Ward K. and Lucy Mooney
Jackie O’Neill*
Robert J. Orchard
Jeryl and Stephen Oristaglio*
The Bessie E. Pappas
Charitable Foundation, Inc.
Joan H. Parker/Pearl Productions*
Polaris Capital Management, Inc.*
The Polish Cultural Institute+
Office of the Provost, Harvard University*
Jeffrey F. Rayport
Henry and Nitza Rosovsky*
Mary and Edgar Schein
Tony Shalhoub and Brooke Adams
The Shane Foundation
Sovereign Bank
Jim and Cathy Stone*
William Gallagher Associates*
Anonymous
Associate • $2,500 – $4,999
Linda Cabot Black
John A. Boyd
Cambridge Trust Company
Terry and Catherine Catchpole
Stanley and Peggy Charren
Philip and Debbie Edmundson
Hannelore and Jeremy Grantham
Nancy P. King
Wladzia and Paul McCarthy
James C. Marlas
Robert and Jane Morse
The Netherland-America Foundation, Inc.
Laurence and Linda Reineman
The Abbot and Dorothy H. Stevens Foundation
Sam Weisman and Constance McCashin Weisman
Francis H. Williams
Partner • $1,000 – $2,499
Steven and Elizabeth Adams
America Dural, Inc.
Sheldon Appel
Howard and Leslie Appleby
Sharyn Bahn
Barbara E. Bierer and Steven E. Hyman
Martha Jane Bradford and Alfred Ajami
Mr. Arthur H. Brooks III
Robert Brustein and Doreen Beinart
Dorothea and Sheldon Buckler
Clark and Gloria Chandler
Antonia H. Chayes
City Schemes +
Jane and Marvin Corlette
Richard Donoho
Diane and Joel Feldman
Merle and Marshall Goldman
Nicholas Greville
The Harvest +
Margaretta Hausman
Robert P. Hubbard
Karen Johansen and Gardner Hendrie
Michael B. Keating
Judith Kidd
Bernice Krupp
Jim and Lisa La Torre*
Barbara Lemperly Grant and
Frederic D. Grant*
Ann Lenard
Joy Lucas and Andrew Schulert
Michael McClung and Jacqueline Kinney
Arthur and Merle Nacht
Robert and Janine Penfield
Finley and Patricia Perry
Beatrice Roy
Carol J. Rugani
William A. Serovy
Kay and Jack Shelemay
Michael Shinagel and Marjorie North
Sholley Foundation
Marshall Sirvetz
Matthew Stuehler and Treacy Kiley
Julie Taymor
The Joseph W. and Faith K. Tiberio Charitable
Foundation
Judith and Stephen Wolfberg
Christopher Yens and Temple V. Gill
Anonymous
Leading Player • $500 — $999
Mark Angney
Javier Arango
Paul and Leni Aronson
The Bay State Federal Savings Charitable
Foundation
William Bazzy
Donald Butterfield
Liz Coxe and Dave Forney
Gail Flatto
David Golan and Laura Green
Charlotte Hall
Sarah Hancock
Haney Foundation
Dena and Felda Hardymon
Stefaan Heyvaert
Gillian and Bill Kohli
Susan and Harry Kohn
Pam and Nick Lazares
John D.C. Little
Louise and Sandy McGinnes
Parker Family Fund
Renee Rapaporte
Carolyn G. Robins
Arthur P. Sakellaris
Cathy and George Sakellaris
Elisabeth Schmidt-Scheuber
David Tobin
Jean Walsh and Graham Davies
Mindee Wasserman
Mr. and Mrs. Harry C. Wechsler
Peter and Dyann Wirth
Judi Ross Zuker
Anonymous
* includes contributions to special events
+ denotes gift-in-kind
National Corporate Theatre Fund
National Corporate Theatre Fund is a
nonprofit corporation created to
increase and strengthen support from
the business community for ten of this
country’s most distinguished professional theatres. The following foundations, individuals, and corporations
support these theatres through their
contributions of $5,000 or more to
National Corporate Theatre Fund:
Altria Group, Inc.
American Express Company
Bingham McCutchen
Bloomberg
BristolMyers Squibb Company
a
r
o
fl
happy bar
delicious food
nice people
Cisco Systems, Inc.
Citigroup
Colgate-Palmolive Company
Credit Suisse First Boston
Davis, Polk & Wardwell
Dorsey & Whitney Foundation
Dramatists Play Service, Inc.
Ernst & Young
Goldman, Sachs & Company
JP Morgan Chase
KPMG
Lehman Brothers
Marsh & McLennan Companies,Inc.
McCarter & English LLP
Merrill Lynch & Co.
MetLife Foundation
Morgan Stanley
Newsweek
New York State Council on the Arts
Ogilvy & Mather New York
Palace Production Center
Pfizer, Inc.
Skadden, Arps, Slate, Meagher &
Flom LLP
Sharp Electronics
Time Warner
UBS
Verizon
Willkie Farr & Gallagher
Chefs
Bob Sargent
Keith Cournoyer
190 Mass Ave
Arlington
781-641-1664
current dinner menu and private dining information available at www.florarestaurant.com
The Frame Gallery
We invite you to see for
yourself why The Frame
Gallery is the framer of choice
to Boston’s premier architects,
interior designers, museums,
and, hopefully, you.
The Frame Gallery
2 Summit Avenue
Corner of Beacon Street
Coolidge Corner, Brookline
617 232-2070
ARTifacts
SUBSCRIPTIONS AND INDIVIDUAL TICKETS NOW ON SALE
617.547.8300
www.amrep.org
subscribe & save!
• Free and easy ticket exchange!
• Create your own season —
choose any 3 or more plays!
• All subscriptions are discounted —
save up to 26% off single ticket
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• Discounts on parking and fine dining
in Harvard Square
new to the A.R.T.?
subscribe now with no risk
We’re so sure you’ll enjoy the 2006-07
season, here’s a money back guarantee:
After you’ve seen your first two productions, if you’re not
completely satisfied, just give us a call and we’ll refund the
remainder of your season tickets. (New subscribers only.)
preplay
Preshow discussions one hour before 7:30 curtain
led by the Literary Department.
Loeb Stage plays only.
Oliver Twist preplays
Wednesday, March 7
Thursday, March 8
Sunday, March 11,
Post-show discussions after all Saturday matinees.
All ticket holders welcome.
curtain times
noon — 5pm
closed
open until curtain
new! exchanges for
single ticket buyers
Sometimes emergencies do arise, and you may
need to change the date of your performance.
Now single ticket buyers can exchange for a
transaction fee of $10. As always, A.R.T.
subscribers can exchange for free!
A.R.T. student pass
$60 gets you 5 tickets good for any combination of
plays. That’s only $12 a seat!
(Full-time college students only.)
discount parking
LOEB STAGE
individual ticket prices
A
$76
$66
ZERO ARROW THEATRE
Discount parking is available at the Harvard
University lot at 1033 Mass. Ave. (entrance on
Ellery Street.) There is also valet parking availabe at
the nearby Grafton Street Pub & Grill. See page 11.
Tue/Wed/Thu/Sun evenings — 7:30pm
Friday/Saturday evenings — 8:00pm
Saturday/Sunday matinees — 2:00pm
Fri/Sat evenings
All other perfs
LOEB STAGE
Tuesday — Sunday
Monday
Performance days
Have your ticket stub stamped at the reception
desk when you attend a performace and receive
discounts at the University Place Garage or The
Charles Hotel Garage.
playback
LOEB STAGE
box office hours
B
$53
$38
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for more information.
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