WilmaBill - The Wilma Theater

Wilmabill
2 0 1 3 /2 0 14 SEASON
M AY 21 T H R U
J U N E 22 , 2014
FROM THE
FROM THE
Artistic
Director
B LAN K A ZIZK A
Managing
Director
JA M ES H AS K I N S
It’s an enormous pleasure to produce Tom Stoppard’s
plays. He is a virtuosic writer. His plays reflect his
intellect, craft, inventive ideas, compulsive research,
and great wit. In many of his plays he explores the
world of thinkers, artists, or philosophers who are
obsessing with ideas and moral dilemmas that Tom
wants to understand as well. He once told me that’s
why he writes a new play: to learn about a subject that
he is interested in but may not know enough about.
His plays always explore new ideas, new worlds, and
new experimentations with form and structure that
continuously surprise his audience.
Blanka’s production of Tom Stoppard’s The Invention of Love was the first play I encountered at The
Wilma Theater. The year was 2000 and I had recently moved to Philadelphia from Seattle. To be honest,
I felt intimidated when walking into the theater. I
had recently seen a Seattle production of Arcadia,
and somehow found myself completely confused
by the play (or perhaps the production). People had
told me that The Invention of Love was even denser
than Arcadia. Despite all of the accolades and buzz,
I was afraid the play would confound me, which
is something I always hate when it happens in the
theater.
In The Real Thing, Tom asks questions that center on
what the ‘real thing’ – in love, art, personal narratives,
ideologies, and our perceptions – is. With wonderful irony, he is searching for it in the world of theater,
which is, by its nature, full of artifice. Even though the
play is set in the early ‘80s, modern audiences will
have no problem relating to the dynamics between the
characters: as much as they are original and surprising, they are also immediately recognizable. David
Kennedy, who directs The Real Thing, considers it
his favorite Stoppard play. In addition to “sparkling language, brilliant plot, great
characters and profound commitment to the life of the mind, the play also has a great
depth of emotion,” he advocates.
I was profoundly inspired and moved by the play.
So much so, that I ran to my shoebox apartment to
call my partner, who was still in Seattle, stuck my
head out the window because of the poor cellphone
reception, and told him that I had seen a production
that truly gave me faith in theater in Philadelphia.
Blanka’s production was crystal clear and filled with
humanity, not to mention the trademark excellence, and the all-sensory excitement generated by
the world created onstage. I immediately knew that one day I wanted to work at the
Wilma with this extraordinary theater artist.
This is the Wilma’s tenth production of Tom Stoppard after Travesties (1994), Arcadia (1996), On the Razzle (1997), The Invention of Love (2000), The Real Inspector
Hound (2001), Indian Ink (2002), Every Good Boy Deserves Favor (2002), Night and
Day (2004), and Rock ’n’ Roll (2008). Jiri Zizka (the co-founder of The Wilma Theater),
who died two years ago, directed six of Tom Stoppard’s plays, including his beautiful
production of Arcadia, which opened this theater 17 years ago.
I am now finishing my eighth season at the Wilma, and in that time we have only
produced one of Stoppard’s plays, Rock ’n’ Roll. So, I’m thrilled that we are producing two Stoppard “classics” never before seen on the Wilma stage. Next season you’ll
see Rosencrantz and Guildenstern are Dead, but first, under David Kennedy’s deft
direction, enjoy the wit, enjoy the wisdom, enjoy the artistry, and enjoy the humanity
of The Real Thing.
David Kennedy is working on the play with a wonderful group of actors and designers, who, I trust, will bring the play vibrantly to life. Most importantly, I hope you’ll
have a great time and enjoy your experience of The Real Thing at the Wilma.
Sincerely,
Sincerely,
Season Sponsors
under the direction of
Honorary Producer
DAN BERGER, ESQ.
Supported by
THE CHARLOTTE CUSHMAN FOUNDATION
Blanka Zizka
Artistic Director
James Haskins
Managing Director
presents
Opening Night Sponsors
The Wilma Theater is grateful for significant support provided by:
The Horace Goldsmith
Foundation
directed by David Kennedy
May 21 - June 22, 2014
The Wilma Theater’s in-school residency
program WILMAGINATION is made
possible with the support of
Wyncote Foundation
Student Sunday Evenings
This program is generously underwritten by the Virginia and Harvey
Kimmel Arts Education Fund of the Philadelphia Foundation and provides $10 tickets to students. The Virginia and Harvey Kimmel Family
Campaign to Build the Audiences of Tomorrow provides positive early
theater experiences for Philadelphia area students.
Create a Legacy at
The Wilma Theater
featuring
Kevin Collins*, Hannah Gold, Dan Hodge*, Suzy Jane Hunt*,
Karen Peakes*, Brian Ratcliffe, Harry Smith*
Set Designer
Marsha Ginsberg
Costume Designer
Emily Rebholz
Lighting Designer
Thom Weaver
Sound Designer
Nick Kourtides
New York Casting Director
Laura Stanczyk Casting, CSA
Philadelphia Casting Director
David Stradley
Dramaturg
Walter Bilderback
Fight Coordinator
Michael Cosenza
Dialect Coach
Neill Hartley
Production Manager
Clayton Tejada
Resident Stage Manager
Patreshettarlini Adams*
The Real Thing is presented by special arrangement with Samuel French, Inc.
*Members of Actors Equity Association,
the Union of Professional Actors and
Stage Managers in the United States.
This theater 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 scenic, costume, lighting and sound
designers in LORT Theatres are
represented by United Scenic Artists,
Local USA-829 of the IATSE.
Cast of Characters
(in order of appearance)
Dan Hodge......................................................................................... Max
Karen Peakes..............................................................................Charlotte
Kevin Collins...................................................................................Henry
Suzy Jane Hunt................................................................................ Annie
Brian Ratcliffe.....................................................................................Billy
Hannah Gold................................................................................. Debbie
Harry Smith.................................................................................... Brodie
Who’s Who
TOM STOPPARD (PLAYWRIGHT) was introduced to American audiences in 1967 with Rosencrantz and Guildenstern Are Dead. His
stage plays include Jumpers, Travesties, Night and Day, The Real Thing,
Hapgood, Indian Ink, Arcadia, The Invention of Love, Coast of Utopia and
Rock ’n’ Roll. Shorter plays include After Magritte, The Real Inspector
Hound, Dirty Linen and Dogg’s Hamlet, Cahoot’s Macbeth. All the above
have been performed in the U.S.A. Indian Ink, previously seen in San
Francisco and at The Wilma Theater, is receiving its New York premiere
this season in a production by Roundabout Theatre. Tom Stoppard has
written for radio (most recently Darkside in collaboration with Pink
Floyd); for television (most recently an adaptation of Ford Madox Ford’s Parade’s End); and
for film has written or co-written Empire of the Sun, Brazil, Billy Bathgate, The Russia House,
Enigma and the Academy Award-winner Shakespeare in Love.
DAVID KENNEDY (DIRECTOR) has served as Associate Artistic Director of
There will be one 15-minute intermission
Connecticut’s Westport Playhouse since 2009, where he has directed Loot, Tartuffe, Suddenly
Last Summer, Beyond Therapy, and Dinner With Friends, and will direct their upcoming production of Nora, Ingmar Bergman’s adaptation of Ibsen’s A Doll’s House. Prior to Westport, he
spent four seasons on the artistic staff of Dallas Theater Center, first as Associate Director and
then as Acting Artistic Director. For DTC he directed The Misanthrope, Glengarry Glen Ross,
Moonlight and Magnolias, Thom Pain (based on nothing), I Am My Own Wife, and The Violet
Hour, as well as readings of new plays by Denis Johnson, Peter Morris, and Marcus Gardley.
David was a founding Artistic Director for Milkman Theatre Group of Halifax, Canada (19921999), and in 2005 he wrote and directed Brighter Than the Light of the Sun, a co-production
with Nova Scotia’s Ship’s Company Theatre and Toronto’s The Lunar Society. His directing
work has also been seen at the Wilma (The Understudy and Assistance), Clarence Brown
Theatre Company, Shakespeare Theatre of New Jersey, Hangar Theatre, Kitchen Dog Theater,
Prospect Theater Company, 78th Street Theatre Lab, and The Summer Cabaret in New Haven
(1998 artistic director). David is a former Phil Killian Fellow at the Oregon Shakespeare Festival, a Drama League Directing Fellow, and a graduate of the Yale School of Drama.
KEVIN COLLINS (HENRY) Born in Bucks County, PA, Kevin
The Wilma Theater is a member of the following organizations: Avenue of the Arts, Inc., Greater
Philadelphia Cultural Alliance, League of Resident Theatres, Rittenhouse Row, and Theatre
Communications Group, Inc.
Please note
Photography or sound recording inside the theater, without the written permission of the management, is prohibited by law. Violators may be asked to leave the theater and may be liable for financial
charges.
Children Policy
Some subject matter may be deemed objectionable for children; therefore, children under 12 will not
be permitted in the theater.
Distracting Noise and Light
The noise of cellular phones and candy wrappers, and the light from electronic devices, are distracting
to both audiences and actors. Please turn off all cellular phones and electronic devices. Also, please
be sure that your watch alarm does not sound during the performance.
Smoking, eating, and drinking are prohibited inside the theater.
is delighted to be making his Philadelphia debut at the Wilma. Theatre
includes: West End, London: When Harry Met Sally, Sexual Perversity
in Chicago; Peter Hall Company: Much Ado About Nothing, As You Like
It; Théâtre de l’Ange Fou: The Government Inspector (London, Israel,
Spain); Blue Raincoat Theatre Company (Lyric Belfast, Abbey Peacock,
Factory Theatre Sligo, 1995-2002), Dancing at Lughnasa, The Yeats Project, Mrs. Warren’s Profession – Irish Repertory Theatre, NYC; Photograph
51 – Ensemble Studio Theatre. Film/TV: Everybody’s Fine, Baby Mama,
Munich, Infinite Justice, The Other Guys, Believe, Law & Order: SVU, Person of Interest, Unforgettable, Gossip Girl, The Onion News Network, Law & Order. Training:
National Theatre School of Canada and L’Ecole de Mime Corporel Dramatique.
HANNAH GOLD (DEBBIE) most recently appeared on the
Wilma’s stage in Don Juan Comes Home from Iraq and is delighted to be
back. Hannah has worked locally with Shakespeare in Clark Park, InterAct Theatre, InVersion Theatre and People’s Light and Theatre. She has
also performed with City Theatre Company, FullStop Collective, and the
National Playwrights Conference. Hannah graduated from Vassar College with a BA in English and studied at the National Theater Institute.
Deep gratitude to David and the extended Wilma family. For Dad, always.
DAN HODGE (MAX) is proud to be returning to the Wilma where
he was last seen in Our Class. In the Philadelphia area Dan has worked
with Walnut Street, InterAct, Theatre Exile, Delaware Theatre, 1812 Productions, Bristol Riverside, Pennsylvania Shakespeare Festival, Curio,
and Hedgerow Theatre. A cofounder of the Philadelphia Artists’ Collective, he appeared in Changes of Heart and Creditors, and directed their
productions of The Duchess of Malfi, Timon of Athens, and Mary Stuart.
Dan holds his MFA in Acting from the USD/Old Globe, San Diego.
SUZY JANE HUNT (ANNIE) is thrilled to be making her Phila-
delphia debut at the Wilma. In New York, Suzy most recently appeared
as Juliet in Three Day Hangover’s critically acclaimed immersive production of Romeo and Juliet. Other favorite credits include: Broadway: Dead
Accounts (understudy to Katie Holmes and Judy Greer). Theatre: rogerandtom (HERE Arts Center, Personal Space Theatrics), Viola in Twelfth
Night (Stratford Shakespeare Festival), Battlehymn (Ford Theatre, Circle
X Theatre Co, LA), Our House (Denver Center), SubUrbia (Second Stage),
Girl (Cherry Lane). Television/Film: The Good Wife, Believe, The Americans, Unforgettable, and Big Words. Suzy grew up outside Nashville,
Tennessee. She studied at The University of Evansville and now lives happily in Brooklyn.
KAREN PEAKES (CHARLOTTE) This is Karen’s first show
with the Wilma. She has performed with many Philadelphia theatre companies, including the Arden (A Little Night Music), People’s Light and
Theatre Company (Born Yesterday, Aladdin, Man from Nebraska), InterAct (Gidion’s Knot), 1812 Productions (First Day of School), Act II Playhouse (Hotel Suite), Delaware Theatre Company (Lucy), and others. She
has also worked often with the Peterborough Players in New Hampshire,
and The Folger Theatre in DC (Othello, Macbeth, Measure for Measure,
Henry VIII). She has voiced many characters from various Shakespeare
plays for the Folger audio series, and has recently voiced her first audio
book, The Shadows by Megan Chance, for Brilliance Audio. Many thanks to Blanka and the
good folks at The Wilma. Love to Ian and Owen.
BRIAN RATCLIFFE (BILLY) is honored to return to the Wilma
stage after appearing in Don Juan Comes Home from Iraq and Under
The Whaleback. Brian is a native of Salt Lake City and a graduate of
Swarthmore College, where he studied Chemistry, Chinese, and Theater.
Locally he has worked with 1812 Productions, the Philadelphia Artists’ Collective, Azuka Theatre, Applied Mechanics, and others. He is
a founding member of Murmuration Theater, and is a keyboardist for
ComedySportz Philadelphia. Endless gratitude to David, Blanka, Pat,
and the extraordinary people here at the Wilma. Next up: Prince Hal in
Henry IV, presented by Shakespeare in Clark Park with Team Sunshine
Performance Corporation. For Rachel.
HARRY SMITH (BRODIE) is delighted to be making his Wilma
debut in The Real Thing. Other Philadelphia area theatre includes
Pumpgirl, Walworth Farce, Hand of Gaul (Inis Nua), The Mousetrap, An
Ideal Husband (Walnut Street Theatre), Emma (Lantern Theater), Pride
and Prejudice (People’s Light & Theatre) and Spacewang (Azuka/Tiny
Dynamite). UK theatre includes Merchant of Venice (Edinburgh Royal
Lyceum), Twelfth Night, Les Liaisons Dangereuses (Bristol Old Vic), Serious Money (Cambridge Arts Theatre), Arcadia (Old Fire Station, Oxford),
Treasure Island (Tobacco Factory, Bristol), Gorboduc (Shakespeare’s
Globe), and numerous tours. On-screen appearances include The Good
Wife, 2014 feature film Carry Me Home, and NBC’s new pirate drama Crossbones. Harry
trained at Cambridge University and the Bristol Old Vic Theatre School. Thanks to David,
Blanka and Walter.
MARSHA GINSBERG (SET DESIGNER) is a set/costume designer and installa-
tion artist. Recent theater: Our Class at The Wilma Theater, HABIT by David Levine (Watermill
Center, Mass MoCA, Luminato Festival), Blue Flower (American Repertory Theater; Elliot
Norton Design Award), Obie-winning Telephone (Foundry Theater), Lascivious Something
(Women’s Project), Bleakhouse (Bauhaus Festival,Theaterhaus Jena), Kafeneion (Athens/Epidaurus Festival), Knock-out (Thalia Theater, Theaterhaus Jena). Recent designs for opera with
directors Christopher Alden, Roy Rallo, and Ken Rus Schmoll have been presented internationally: Theater Basel, Opera National de Bordeaux, Staatstheater Saarbruecken; Nationaltheater Weimar, Spoleto Festival, USA, Tanglewood, etc. Exhibits: Solo: “Pavlov’s Lab and other
rooms” at Gallery Magnus Muller, Berlin; “Design Life Now” National Design Triennial, Cooper
Hewitt Museum, ICA Boston, Contemporary Arts Museum, Houston. Grants: NEA/TCG Design
Fellowship, MacDowell Colony Residencies.
EMILY REBHOLZ (COSTUME DESIGNER)
The Wilma: Becky Shaw. Broadway:
If/Then; Vanya and Sonia and Masha and Spike, Bloody, Bloody Andrew Jackson. Recent OffBroadway: Stop Hitting Yourself, VSMS (Lucille Lortel 2013 Nomination) (Lincoln Center); Substance of Fire, The Last Five Years, Lonely I’m Not, The Bachelorette (2nd Stage); Mr. Burns,
The Call, The Shaggs (Playwrights Horizons); Into The Woods (Shakespeare in the Park); The
Madrid, Close Up Space (MTC); Carrie (MCC); Additional designs have been seen at Opera St.
Louis, Lincoln Center, Roundabout, Rattlestick, Ars Nova, The Atlantic, The Old Globe, A.R.T,
Westport Playhouse, Williamstown Theater Festival, Cincinnati Playhouse in the Park, and
Asolo Repertory. MFA, Yale School of Drama.
THOM WEAVER (LIGHTING DESIGNER)
For the Wilma: Don Juan Comes
Home from Iraq, Assistance, Body Awareness, In the Next Room, Coming Home, Scorched,
and Becky Shaw. In the area: Arden, Delaware Theatre Company, People’s Light, Azuka,
Theatre Exile, Curtis Opera, New Paradise Laboratories, Headlong, Lantern, 1812, and
Flashpoint Theatre Company, where he is also Artistic Director. Other credits: CenterStage,
Syracuse Stage, Milwaukee Rep, Shakespeare Theatre, Theatre J, Berkshire Theatre Festival,
Williamstown, Signature Theatre Company, Folger Theatre, Cleveland Playhouse, Round
House Theatre, Cincinnati Playhouse, Hangar, York Theatre, Lincoln Center Festival, Summer
Play Festival, 37 ARTS, Spoleto Festival USA, City Theatre, Virginia Stage, Pittsburgh Public
Theatre, and Yale Rep. Awards: 2011 and 2012 Barrymore Awards (14 nominations), 3 Helen
Hayes nominations, 2007 AUDELCO award. Education: Carnegie Mellon and Yale.
NICK KOURTIDES (SOUND DESIGNER) designs for musical theatre and cre-
ates sound environments for collaborative ensemble works. Previously at the Wilma and with
David Kennedy: Assistance. New York: The Chocolate Show! (47th St.), Elephant Room (St.
Ann’s), Our Aeneid (Red Bull), Carson McCullers Talks About Love (Rattlestick), Jomama Jones
* RADIATE (Soho Rep), Chekhov Lizardbrain (Under The Radar, Soho Think Tank). International: Lublin Konfrontacje Teatralne, Paris Quartier d’Ete, London Barbican, Edinburgh
Festival. Regional: Center Theater Group, Arena Stage, Folger Theatre, Milwaukee Rep, La
Jolla Playhouse, Flat Rock Playhouse, PTC, Walnut Street Theatre, Prince Music Theater, Arden
Theatre,1812, Azuka Theatre, Inis Nua, Passage Theater, and many others. With Pig Iron
Theatre Company: Cankerblossom, Isabella, Chekhov Lizardbrain, Mission to Mercury. With
Rainpan43: The Object Lesson, Flesh and Blood & Fish and Fowl. Visiting Instructor in Sound
Design at Swarthmore College 2010. 2006 Barrymore Award. www.nickkourtides.com
LAURA STANCZYK CASTING, CSA (NEW YORK CASTING DIRECTOR) Broadway: Ragtime, Impressionism, The Seafarer, Coram Boy, Translations, Radio
Golf, Who’s Afraid of Virginia Woolf, and Urinetown. Previously for the Wilma: Cherokee, The
Convert, Bootycandy, Assistance, Body Awareness, Macbeth, Language Rooms, Becky Shaw,
Coming Home. Other: The Shawshank Redemption (Gaiety, Dublin; Wyndam’s Theatre, West
End), The Cripple of Inishmaan (Atlantic, Irish Tour), Ragtime (Kennedy Center), Dirty Danc-
ing (National Tour), Broadway Three Generations (Kennedy Center), National Anthems (Old
Vic), Tryst (Promenade), Damn Yankees (Encores! Summer Stars), Gate/Beckett (LCF), Don’t
Dress for Dinner (Royal George), The Glorious Ones (LCT), Long Day’s Journey Into Night
(Druid Theatre, Galway). She is also the resident casting director for McCarter Theatre and
regularly works with the Alley, ACT, Goodman, and Huntington Theatres in the United States.
a freelance Technical Director or Production Manager for 1812 Productions, Mum Puppettheatre, Lantern Theater, and Azuka Theatre. Clayton is a graduate of the Theater Arts program at
The University of Puget Sound. He is proud to make Philadelphia his professional and artistic
home. Thanks and love to his sweet Kate, Alex, and Gabriel.
DAVID STRADLEY (PHILADELPHIA CASTING DIRECTOR) is the Artistic
has been Founding Artistic Director of The Wilma Theater since 1981.
In the fall of 2011, Blanka received the Zelda Fichandler Award from the
Stage Directors and Choreographers Foundation, which recognizes an
outstanding director or choreographer transforming the regional arts
landscape. Most recently, Blanka directed Paula Vogel’s World Premiere
Don Juan Comes Home from Iraq, Richard Bean’s Under the Whaleback,
Tony Kushner’s Angels in America, Tadeusz Słobodzianek’s Our Class,
Sarah Ruhl’s In the Next Room, which received eight Barrymore awards,
and Macbeth, which included an original score by Czech composer and
percussionist Pavel Fajt. Blanka has directed over 60 plays and musicals at the Wilma. Her
recent favorite productions are Wajdi Mouawad’s Scorched, Tom Stoppard’s The Invention of
Love and Rock ’n’ Roll, Sarah Ruhl’s Eurydice (which featured an original score by composer
Toby Twining, now available from Cantaloupe Records), Brecht’s The Life of Galileo, Athol
Fugard’s Coming Home and My Children! My Africa!, and Caryl Churchill’s Cloud 9. She collaborated closely with Dael Orlandersmith on her plays Raw Boys and Yellowman, which was
co-produced by McCarter Theatre and the Wilma and also performed at ACT Seattle, Long
Wharf, and Manhattan Theatre Club. Blanka was also privileged to direct Rosemary Harris
and John Cullum in Ariel Dorfman’s The Other Side at MTC. For the Academy of Vocal Arts,
she directed the opera Kát’a Kabanová by Leoš Janácek. She has collaborated with many playwrights including Yussef El Guindi, Doug Wright, Sarah Ruhl, Tom Stoppard, Linda Griffiths,
Polly Pen, Dael Orlandersmith, Laurence Klavan, Lillian Groag, Jason Sherman, Amy Freed,
Robert Sherwood, and Chay Yew. Her favorite productions are, even after all these years, Tom
Stoppard’s The Invention of Love and Jim Cartwright’s Road.
Director of Delaware Shakespeare Festival. As a casting director, he has also worked for Philadelphia Young Playwrights and Delaware Theatre Company. As a director, David has directed
for Delaware Theatre Company (eight productions), Walnut Street Theatre, Delaware Shakespeare Festival, and Philadelphia Shakespeare Theatre. As an educator, David has worked for
all of the above companies as well as for the Wilma, Folger Shakespeare Library, and People’s
Light & Theatre Company. BFA Theatre Performance, University of Evansville; MFA Acting,
Asolo Conservatory/Florida State University. Many thanks to Blanka and Jamie for the opportunity. Much love to Michelle. For more information, please see davidstradley.com.
NEILL HARTLEY (DIALECT COACH) is an actor, director, and educator. He has
acted with many companies including the Arden, InterAct, People’s Light, and Philadelphia
Shakespeare Theatre. He has six one-man shows that he presents and can be seen and heard
in many voice-overs, commercials, and films. He is the Artistic Director for Acting Without
Boundaries, a theater company for physically disabled performers, and he has directed for
many local colleges and theaters. Neill is on the theater faculty at the University of the Arts
and has been a speech/dialect coach for several professional productions, including Assistance for the Wilma.
MICHAEL COSENZA (FIGHT COORDINATOR) is always happy to work at The
Wilma Theater. This season he worked on The Convert, Cherokee, and Don Juan Comes Home
from Iraq. Other recent Philadelphia credits include Romeo and Juliet at The Philadelphia
Shakespeare Theatre, Down Past Passyunk at InterAct Theatre Company, Luna Theater’s The
Pillowman, Theater Exile’s North Plan and Behanding in Spokane, the last six seasons with
The Philadelphia Shakespeare Theatre, Tribe of Fools (Antihero, Heavy Metal), and others. He
has taught and choreographed productions at local universities, including his alma mater,
Temple University, Arcadia University, DeSales, Swarthmore College, Lehigh University, and
La Salle. He would like to thank Blanka for the opportunity, the actors for all their hard work,
and of course, Natalie for her love and support.
WALTER BILDERBACK (DRAMATURG) has been The Wilma Theater’s dra-
maturg since 2004. His first production here was Tom Stoppard’s Night and Day, directed by
Jiri Zizka. Walter has worked as a dramaturg for three decades at regional theaters across
the country and on Broadway; he has also been a theater educator, director, playwright, and
movement artist at points in his career. His essay on the Naomi Wallace Festival in Atlanta appears in the new book, The Theatre of Naomi Wallace: Embodied Dialogues.
PATRESHETTARLINI ADAMS (STAGE MANAGER/AEA) has been the
Production Stage Manager at the Wilma since the theater made its new home on the Avenue
of the Arts in 1996. She has captained all but three productions in her tenure here and is very
happy and proud to be a part of the Philadelphia theater community. “Pat” is celebrating
season #18 at the fabulous Wilma! Prior to her coming home to Philly, Pat was stage manager
at the Tony Award-winning Crossroads Theatre in New Brunswick, NJ. In past years, Pat has
worked the National Black Arts Festival in Atlanta, GA and the National Black Theater Festival
in Winston-Salem, NC. When not at the Wilma, she has found herself traveling the world with
critically-acclaimed dance company Noche Flamenca! Most recently, she is using all her free
time to spoil her grandsons, Isaiah and Elijah. God Is Good!
CLAYTON TEJADA (PRODUCTION MANAGER) is in his third year as Production Manager after serving the Wilma as Technical Director for the previous seven years.
Clayton started his professional career as an Apprentice at the Arden Theatre, and then
worked there for several years as Stage Supervisor. Before coming to the Wilma, he worked as
BLANKA ZIZKA (FOUNDING ARTISTIC DIRECTOR)
JAMES HASKINS (MANAGING DIRECTOR) joined the
staff of The Wilma Theater as Managing Director in 2006. He began his
work in theater administration at Circle Repertory Company and went on
to work with a number of theaters in New York and Seattle. Upon moving
to Philadelphia, James worked as Managing Director of InterAct Theatre
Company and then Executive Director of the Theatre Alliance of Greater
Philadelphia before coming to the Wilma. Also an actor and director,
James holds an MFA from the University of Washington and a BA from
The College of Wooster (Ohio), where he currently serves as President of
his alumni class and as a member of the Alumni Board. James is honored
to serve on Philadelphia Mayor Michael Nutter’s Cultural Advisory Council and Pennsylvania
Ballet’s 50th Anniversary Advisory Council.
STAFF
ARTISTIC DIRECTOR: Blanka Zizka
MANAGING DIRECTOR: James Haskins
ARTISTIC
Dramaturg/Literary Manager - Walter Bilderback
Artistic Assistant - Nell Bang-Jensen
Literary Interns - Sophie Peyton, Kate Herzlin, & Carl Roa
EDUCATION
Education Director - Anne K. Holmes
Education Assistant - Lizzy Pecora
Teaching Artists - Kate Czajkowski, Mike Dees, Elizabeth Filios, Katharine Clark Gray, Liz Greene, John Jarboe, Brian Ratcliffe, Ed Swidey, & Tasha Milkman
MARKETING
Marketing Director - Aaron Immediato
Community Relations Manager - Sara Madden
Group Sales Manager - Alexa Smith
FRONT OF HOUSE
Box Office Manager - James Specht
Assistant Box Office Manager - Hilary Asare
Box Office Staff - Josh Millhouse, Richard Rubin,
Chelsea Sanz, Alexa Smith
House Manager - Javier Mojica
DEVELOPMENT
Development Director - Iain Campbell
Grants Manager - Justin Bauer
Development Assistant - Debby Lau
Development Intern - Anira Jones
PRODUCTION
Production Manager - Clayton Tejada
Assistant Production Manager/Master Electrician - Ashley W. Mills
Technical Director - Ethan M. Mimm
Resident Stage Manager - Patreshettarlini Adams
Facilities Manager - Kenneth Deprez
Sound Engineer - Zachary Beattie-Brown
Costume Supervisor - Regina Rizzo
Production Fellow - Tessa Young
Stage Management Fellow - Philip J. Vonada
Custodian - Fetteroff F. Colen
BUSINESS
General Manager - Maggie Arbogast
Office Manager - Andrea Sotzing
Administrative Coordinator - Megan O’Donnell
Tessitura Application Systems Analyst Catherine Lachance-Duffy
Tessitura Training & Support Specialist Andy Wertner
PRODUCTION CREW
Assistant Director - Sophie Peyton
Assistant Stage Manager - Philip J. Vonada
Assistant Set Designer - Jason Sherwood
Assistant Costume Designer - Sarafina Bush
Assistant Lighting Designer - Joseph Glodeck
Properties Master - Kimitha Anne Cashin
Light Board Programmer & Operator Ashley W. Mills
Assistant Master Electrician - Nicole Rolo
Sound & Video Operator - Zachary Beattie-Brown
Costume Supervisor - Regina Rizzo
Dresser - Anya Loverdi
Running Crew - Elliot Greer, Ben Henry,
Tessa Young
Carpenters - Alyssa Cole, Elliot Greer, Ben Henry,
Stephen Hungerford, Alison Levy, Matthew
Zumbo
Scenic Painters - Lance Kniskern, Brooke Murray
Electricians - Ali Blair Barwick, Michael Hamlet,
Jill Klecha, Nicole Rolo, Rachel Sampley, Evan
Wilson
Costume Intern - Moira Miller
Lighting Intern - Rachel Sampley
Sound Intern - Brad Pouliot
Scenery Construction - American Repertory
Theater Scene Shop
SPECIAL THANKS
The Kimmel Center, Jay Wahl, University of the Arts, Joanna Settle, Janet Embree, Troy Martin-O’Shia,
Harold Wolpert, Managing Director, Roundabout Theatre Company
HOW TO REACH US
The Wilma Theater
265 South Broad Street
Philadelphia, PA 19107
Box Office: 215-546-7824
Admin: 215-893-9456
Fax: 215-893-0895
Email: [email protected]
www.wilmatheater.org
July 16 - 27 at The Wilma Theater
For tickets, call 215-546-7824 or online at wilmatheater.org
This production is made possible by the generous support of the John S. and James L. Knight
Foundation, the Philadelphia Cultural Fund, and the Samuel S. Fels Fund
OPEN
STAG E S
“Entire generations falsify themselves to themselves; that is to say, they wrap
themselves up in artistic styles, in doctrines, in political movements, which
are insincere and which fill the lack of genuine conviction.” José Ortega y
Gasset (1883 - 1955), quoted in W. H. Auden, A Certain Time, under the heading “Commitment.”
“I don’t know if it’s autobiographical, but it certainly is auto
something.” - Tom Stoppard
The Real Thing is the closest to an autobiographical play Stoppard has written. He shares many features with his protagonist Henry, although several
would constitute spoilers for anyone new to the play. Like Henry, Stoppard
has always had a deep love for pop music. Like Henry, Stoppard has always
been a niggler for grammar. When the play was revived at the Old Vic in
2010, Stoppard told an interviewer that he’d only recently stopped writing to
newspapers to complain about the misuse of “who” for “whom.” “It still goes
through me like a knife.”
The play is one of only three plays by Stoppard set entirely in the present
(Arcadia splits its scenes between its present and Regency England). This
made the play very accessible for its initial audience, but has led Stoppard
to revise it numerous times, most recently for its 2010 London revival. The
story’s nature still requires elements that might be unclear to a 21st century
US audience: a large hinge for the play’s plot is the stationing of nucleararmed US cruise missiles in Great Britain, which triggered massive demonstrations across the isle. Relatively few will also remember that in those early
days of Margaret Thatcher’s England the BBC was often called the “Bolshevik
Broadcasting Service” by cultural and political conservatives.
Stoppard at work on the terrace at the Windamere Hotel in Darjeeling, India, 1990;
photo by Karan Kapoor
From its premiere, The Real Thing has challenged Rosencrantz & Guildenstern Are Dead for the title of “Tom Stoppard’s most popular play.” Although
Night and Day had ventured into similar territory, The Real Thing was more
recognizably “realistic” in both setting and character psychology. Affairs of
the heart take precedence over intellectual brio and sparkling wordplay. In
an interview with critic Mel Gussow, Tom Stoppard suggests that the initial
inspiration for writing The Real Thing was the Ortega y Gasset quote prefacing this note. Much has been written about the ways in which The Real Thing
differs from other works by Stoppard (and more will be coming shortly), but
this origin story points to something that makes this a very “Stoppardian”
play. What is “the real real thing”? How do you know it? How do you prove it?
British anti-nuclear demonstrators in the early 1980s;
photo by PA
The most important impact of The Real Thing on Stoppard’s critical reputation, however, was the sense that he was “finally” dealing with emotions
and “not just ideas.” It might be more accurate to say that, because of the
subject matter, Stoppard had to deal with the connection between emotions
and ideas. The Austrian writer Peter Handke once wondered at the notion
that ideas and emotions stand in opposition, saying he couldn’t remember
a strong emotion he’d felt that wasn’t somehow connected to a strong idea,
and vice versa. Stoppard’s work since The Real Thing has usually combined
both, with the emotions being primary: even his most intellectual characters
have deep emotional connections to the ideas they expound so articulately.
What he’s remained suspicious of are the ways and times in which people
continue, as Ortega y Gasset suggested, to “falsify themselves to themselves” to “fill the lack of genuine conviction.” As A.E. Housman says in The
Invention of Love, Stoppard’s other play directly about the heart, “life is in
the minding.”
Desert Island Discs
Desert Island Discs is a British radio program started in 1942 that continues
to the present. A well-known person is asked the question: “if you were to be
cast away alone on a desert island, which eight gramophone records would
you choose to have with you? Assuming of course, that you had a gramophone and an inexhaustible supply of
needles.” In addition to eight pieces of
music, the “castaways” were allowed
to choose one book and one luxury
item of their choice, as long as the
“luxury” could not help them escape
the island.
Famous “castaways” have included
Noel Coward, John Cleese, James Cameron, Colin Firth, Margaret Thatcher,
and all Prime Ministers and potential
Prime Ministers. John Cleese got special dispensation to have Michael Palin
as his “luxury,” as long as Palin was stuffed.
Tom Stoppard appeared on Desert Island Discs on January 12, 1985, near the
end of the The Real Thing’s original West End run. His choices:
Bessie Smith, “Careless Love”
Avon Cities Jazz Band (from Bristol, England), “Jump For Joyce”
The Beatles, “Love Me Do”
William Balkein, “Graceful Ghost” (a ragtime tune used in
Stoppard’s Travesties)
Sondheim and Bernstein, “America” (from West Side Story)
André Previn, score for Every Good Boy Deserves Favor
Vaughn Williams, “Fantasia on a Theme” by Thomas Tallis (which
Stoppard called “the most English sound one could possibly have”)
Keith Jarrett, Cologne Concert
A sketch of Stoppard by his wife Miriam, 1982
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Biographer Ira Nadel writes that Stoppard “chose a book in two languages,
with a dual translation from English into Italian, ‘something like Dante’s Inferno,’” and his luxury was a “small plastic football for him to kick repeatedly
without it hitting the ground, a practice he has often followed when he has
the ‘delusion that a change of activity and scene would unblock me’ when
writing.”
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A plus sign(+) denotes five year
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A
C O F F I N
BOARD OF DIRECTORS
I N
Officers
David U’Prichard, PhD, Chair
David E. Loder, Vice Chair
Clare D’Agostino, Esq., Secretary
Thomas Mahoney, Treasurer
E G Y P T
Chair’s Council
Mark S. Dichter, Esq.
Herman C. Fala, Esq.
Peggy Greenawalt
Jeff Harbison
Lewis H. Johnston
John D. Rollins
A.E. (Ted) Wolf
Board Members
Arjun Bedi
Daniel Berger, Esq.
Kathryn Doyle
Janice Giannini
Linda Glickstein
Jerry Goldberg
Jane Hollingsworth
Kenneth Klothen
Robert E. Linck
Sissie Lipton
James F. McGillin
Reginald J. Middleton
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Donald F. Parman
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Florence Zeller
Ex-Officio
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Emeritus
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GORDON/FOGLIA
A COFFIN IN EGYPT
S O M E T H I N G S Y O U J U S T C A N ’ T B U RY
EAST
COAST
PREMIERE
JUNE 6–15, 2014
P E R E L M A N T H E AT E R
A haunting tale of memor y and
m u r d e r, r a c i s m a n d r e c r i m i n a t i o n ,
s t a r r i n g F red erica von Stade
TICKETS ON SALE NOW
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PERFORMED IN ENGLISH WITH ENGLISH SUPERTITLES
LUNA THEATER PRESENTS
THE PHILADELPHIA PREMIERE OF
by Jose Rivera
May 3 - 24
Mayannah, a reclusive wealthy young woman, annually invites two strangers to
join her feast commemorating the death of her parents, but her purpose remains
unclear. All that will change tonight when two damaged souls find their way to her
table. If they are able to last till the end of the meal, each will receive $20,000, but
of course there is a catch. Taking place in a not-so-distant future, the sounds of
war-torn Los Angeles fill the air.; tensions rise, true colors are revealed and the
main course is not the only thing with claws.
Showing at the (NEW) LUNA THEATER 620 S. 8th Street
(between Bainbridge and South)
www.LunaTheater.org Use promo code "WILMA" FOR $10 off tickets
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