Romance - American Repertory Theater

Introduction
Dear Friends,
Hello and happy spring to you all! I am delighted to welcome you to
the A.R.T.
As our last production of the season takes the stage, I am deeply
grateful to Gideon Lester, Director of the 08/09 season, for planning an incredible year of theater that has inspired, challenged, and
brought joy to us all.
The programming for my first season as Artistic Director in 09/10
speaks directly to the A.R.T.’s core mission — “to expand the boundaries of theater” — with you, the audience, playing an important
role in expanding our idea of what makes up the theatrical event. We
begin our Shakespeare Exploded! festival late this summer, when we
invite you to dance with us at The Donkey Show — which promises to bring a whole new meaning to
the word “theater,” as well as a rollicking good time. The season continues with two more festivals:
America: Boom, Bust, and Baseball, and Emerging America. Each festival encourages you to experience the work as part of a larger cultural event.
We’ve designed a host of affordable and flexible ticket options for next season, including a TOTAL
EXPERIENCE package for just $169 — less than $25 per event! Visit www.americanrepertorytheater.
org to learn more about all our exciting plans.
Thank you for being a part of the A.R.T., and for your invaluable continued support. I look forward
to seeing you at the theater next season!
Warm regards,
Diane Paulus, Artistic Director
Dear Friends,
David Mamet, one of the greatest American playwrights of our
time, has long been associated with the A.R.T. This theater has
premiered four of his plays — Oleanna, The Cryptogram, The
Old Neighborhood, and Boston Marriage — and it is exciting
to welcome him back to Cambridge with his outrageous farce,
Romance, directed by David’s long-time collaborator Scott Zigler.
Romance is this season’s dessert course. After a journey that
has taken us from Anna Deavere Smith’s unforgettable search for
grace in Let Me Down Easy, through the world premieres of The
Communist Dracula Pageant and Trojan Barbie, past the magical
wonder of Aurélia’s Oratorio and the mighty classical heights of
The Seagull and Endgame, it’s high time for some silliness and
fun. Romance provides that in spades, and I wish you an evening of pure laughter in the hands of
David Mamet and the sublime comic stars of our acting company.
Introduction
Romance is the centerpiece of a festival celebrating Mamet’s comedies that also includes a
double bill of Sexual Perversity in Chicago and The Duck Variations, and Seriously Funny, an
evening of short comedies by Mamet, Shel Silverstein, and Harold Pinter, presented by the graduating class of the A.R.T./MXAT Institute for Advanced Theater Training. Please join us for all three
evenings, and experience the full scope of David’s comic genius.
This festival brings to an end another season at the A.R.T., and with it my tenure as the
Director of the 2008-09 Season. It’s been an honor and a great pleasure to lead this great theater
for the past two and a half years. I know that you must be as thrilled as I am to welcome Diane
Paulus as the theater’s new Artistic Director, and I look forward to joining you at the A.R.T. for
many evenings of joy and excitement to come.
All best wishes for a wonderful summer,
Gideon Lester, Director, 08/09 Season
Professional Company • 2008-2009 Season
Remo Airaldi
Thomas Derrah Brian Dykstra Jeremy Geidt
John Kuntz
Paula Langton
Will LeBow
Karen MacDonald
Matthew Maher
Anna Deavere Smith
Mickey Solis
Jim True-Frost
Molly Ward
TO OUR AUDIENCE
To avoid disturbing our seated patrons, latecomers (or patrons who leave the theater during the
performance and return) 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.
A M E R I C A N R E P E R T O R Y T H E AT E R
presents
ROMANCE
by
D avid M amet
Director
Set Design Costume Design
Lighting Design
Sound Design
Production Stage Manager
Dramaturg Vocal Coach
Scott Zigler
J. Michael Griggs
Miranda Hoffman
D.M. Wood
David Remedios
Katherine Shea*
Sean Bartley
Jane Guyer
First Performance May 9, 2009
The World Premiere of Romance was presented by the Atlantic Theater
Company, New York.
Romance by David Mamet is presented by arrangement with Dramatists Play
Service, Inc., New York.
The A.R.T. wishes to thank its institutional partners, whose support helps to make
the theater’s programs possible:
Media Partners
Cast
The Prosecutor
The Defendant
The Defense Attorney
The Judge
The Bailiff
Bernard
The Doctor
Thomas Derrah*
Remo Airaldi*
Jim True-Frost*
Will LeBow*
Jim Senti
Carl Foreman
Doug Chapman
Understudies
Doug Chapman (The Prosecutor), Roger K. Stewart
(The Defendant), Josh Stamell (The Defense Attorney),
Jim Senti (The Judge), Paul Murillo (The Bailiff, The
Doctor), Renzo Ampuero (Bernard).
There is a fifteen-minute intermission.
Assistant Stage Manager
Amanda Robbins-Butcher *
Additional Staff
Rebecca Helgeson, Properties Artisan; Kyle Carlson,
Stage Management Intern.
.
*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the UnitedStates. 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 theater 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
.
The scenic, costume, lighting and sound designers in LORT Theaters are represented by
United Scenic Artists Local USA-829 IATSE.
A M E R I C A N R E P E R T O R Y T H E AT E R
presents
the duck variations
by
D avid M amet
Director
Lighting Design
Sound Design Stage Manager
Production Assistant
Emil Varec
CAST
George S. Aronovitz
Marcus Stern
Jeff Adelberg
David Remedios
Chris De Camillis*
Graydon Gund
Thomas Derrah*
Will LeBow*
Intermission
A M E R I C A N R E P E R T O R Y T H E AT E R
presents
The A.R.T. Institute
for
Advanced Theater Training
production of
sexual per versity in chicago
by
D avid M amet
Director
Costume Design
Lighting Design Sound Design Stage Manager
Production Assistant
Bernard
Dan
Deborah
Joan
CAST
Paul Stacey
Mallory Freers
Jeff Adelberg
David Remedios
Kyle Carlson
Graydon Gund
Tim Eliot
Scott Lyman
Susannah Hoffman
Laura Parker
The A.R.T. Institute
for
Advanced Theater Training
presents
SERIOUSLY FUNNY
A Life
L.A. Sketches 1-5 • Australia
with No Joy in it • Sunday Afternoon • Family
by david mamet
Trouble in the Works • Request Stop • Applicant
New World Order • Silence • Mountain Language
by harold pinter
One Tennis Shoe • The Best Daddy • Have a Nice Day
Do Not Feed the Animal • Repairs • No Skronking
Buy One, Get One Free • Smile • Gone to take a...
by shel silverstein
Director
Set Design
Costume Design
Lighting Design Sound Design Stage Manager
Dramaturg
Jim Frangione
J. Michael Griggs
Mallory Freers
Jeff Adelberg
Nathan Leigh
Elizabeth Bouchard
Lynde Rosario
THE CLASS OF 2009
Emily Alpern Renzo Ampuero
Kaaron Briscoe
Sheila Carrasco
Shawn Cody
Manoel Hudec
Nina Kassa
Careena Melia
Skye Nöel
Anna Rahn
Lizette Silva
Josh Stamell
Roger K. Stewart
Chudney Sykes
Program Notes
law and disorder
David Mamet’s Subversive Style
by Sean Bartley
Over the past four decades, David Mamet has
explored an enormous range of subjects and styles
in his plays and films. His plays can rarely be categorized in traditional genres; they take delight in
transforming and subverting their dramatic precedents. Though he is best known for terse, serious
dramas like Glengarry Glen Ross and American
Buffalo, comedy has played a prominent role in
his writing. Mamet began his career writing comic
plays, and has returned in recent years to iconoclastic comedies.
Mamet overturned the genre of romantic
comedy in his first major public success, Sexual
Perversity in Chicago (1974). The play opens with
lovers flirting on a park bench and ends with their all-night argument, inviting the audience to laugh
at the hopelessness of these characters’ romantic relationships. Johan Callens, a Mamet scholar,
characterizes the comic world of Sexual Perversity as one where “men and women constantly sabotage their own strategies as they consistently fail to achieve what they believe they desire. Both
sexes seem to lack a usable language, a shared understanding.” From Shakespeare to Shaw, romantic comedies have traditionally ended in matrimony. Sexual Perversity closes with Danny and Bernie,
two unsuccessful, lonely antiheroes, sitting on a beach, ogling unsuspecting women in bikinis.
Mamet reversed the power dynamic between the sexes in Boston Marriage (1999), the fifth of his
plays to premiere at the A.R.T. At first glance, the play’s language, style, and setting pay homage to
Oscar Wilde’s drawing room comedies. But Mamet subverts the tradition of Wilde’s elegant, aristocratic women who guide their husbands towards moral rectitude. Instead, he presents his all-female
cast as, in the words of New York Times critic Ben Brantley, “guiltless lesbian lovers in the age of
gilt.” The world of Boston Marriage is ruled not by male power, but female machination. In Wilde’s
comedies, men toil to trick and deceive their wives. But in Boston Marriage, the pervasive ploys of
women banish their doltish fathers and male lovers from the stage altogether. The drawing room,
formerly home to Wilde’s bickering gentlemen, has become a female kingdom.
More recently, Mamet has shifted his focus from small-cast comedy to large-scale farce. In
November (2008) he invited audiences to laugh at an antihero president swindling his way into
reelection, stripping the American presidency of its gravitas. In Romance, Mamet investigates and
caricatures one of theater’s most venerable genres: the courtroom drama.
The first courtroom drama may well have been Aeschylus’ Eumenides, the third part of his
Oresteia trilogy. Aeschylus’ hero Orestes faces a trial by jury to assess and exonerate his family’s
crimes. Plays about trials have been widespread across theatrical cultures and ages: Aristophanes
(The Wasps), Shakespeare (The Merchant of Venice, Henry VIII), Ibsen (John Gabriel Borkman),
and Brecht (Saint Joan, Life of Galileo) all understood that the mounting tension of a courtroom
made for good theater. The trial has also become a staple of American drama: Twelve Angry Men,
Inherit the Wind, and A Few Good Men all enjoyed huge popular success, and the genre continues
to thrive on television, from Law and Order to Judge Judy.
Program Notes
Few of these classic courtroom plays are comedies, and most share the same basic structure:
intrigue and suspense builds as a trial moves towards verdict and resolution. But by injecting farce
into the courtroom, Mamet radically subverts this classic structure. Romance does not move inexorably towards a verdict; the play does not even specify the charges laid against the defendant. Mamet
not only refuses to give us answers, but even hides the question itself.
Mamet’s courtroom is less a temple of law and order than a madhouse of pure comedy. The niceties of legal procedure evaporate; the jury is absent, making way for the total authority of a wisecracking, pill-popping judge. The language of Mamet’s lawyers parodies uptight, politically correct
“legalese,” daring us to laugh at crime, racism, sexism, homophobia, and even conflict in the Middle
East.
Throughout his career, Mamet has subverted dramatic genres, creating comic energy by exploding
long-standing theatrical traditions. Romance is his most outrageous formal experiment to date, undercutting the sobriety and tension of courtroom drama with the anarchy of freewheeling farce.
Whether he is writing in a comic or serious mode, Mamet never forgets the power of laughter.
Where other playwrights may study the tragedies of Shakespeare and the Greeks for inspiration,
Mamet takes a different approach. “The model of the perfect play,” he claims, “is the dirty joke.”
Sean Bartley is a second-year dramaturgy student at the A.R.T./MXAT Institute
for Advanced Theater Training.
Casey Affleck, Matt Damon, and Ben Affleck doing a staged reading
from Romance at the A.R.T. annual gala in 2000.
Program Notes
MAMETISMS
Excerpted from Writing in Restaurants and Three Uses of the Knife: On
the Nature and Purpose of Drama
Compiled by Sean Bartley
ON THE PURPOSE OF DRAMA:
Children jump around at the end of the day to expend the last of that day’s energy. The adult equivalent, when the sun goes down, is to create or witness drama — which is to say to order the universe
into a comprehensible form.
When you come to the theater, you have to be willing to say, “We’re all here to undergo a communion, to find out what the hell is going on in this world.” If you’re not willing to say that, what you
get is entertainment instead of art, and poor entertainment at that.
Drama doesn’t need to affect people’s behavior. There’s a great and very, very effective tool that
changes people’s attitudes and makes them see the world in a new way. It’s called a gun.
The purpose of art is not to change but to delight. I don’t think its purpose is to enlighten us. I don’t
think it’s to change us. I don’t think it’s to teach us.
Artists don’t wonder, “What is it good for?” They aren’t driven to
“create art,” or to “help people,” or to “make money.” They are
driven to lessen the burden of the unbearable disparity between
their conscious and unconscious minds, and so to achieve
peace.”
ON ROMANCE AS A GENRE:
Romance celebrates the inevitable salvation/triumph of the individual over (or through the actions of) the gods — such triumph
due, finally, not even to exertion, but to the inherent (if unsuspected) excellence on the part of the protagonist.
In these — the problem play, the evening news, the romance,
the political drama — we have conquered not our nature but
our terror, the one specific proposition: we have championed
the romantic, which is to say the specious, the fictional, the
untrue; and our victory leaves us more anxious than before.
ON DRAMA AND POLITICS:
A Mamet cartoon.
ates a problem and vows to solve it.
American political campaigns are, as understood by the
attendant hucksters, structured as a drama. The hero is the
American People, in the person of the candidate. He or she cre-
Program Notes
Politics, at this writing, sticks closer to traditional drama than does The Stage itself. A problem is
stated, the play begins, the hero (candidate) offers herself as the protagonist who will find a solution,
and the audience gives its attention. Like the more traditional drama, the problem in politics is notably imaginary — that is, something which either does not in fact exist or that cannot be eradicated by
political action. . . And legitimate political concerns ­— the environment, health care — go begging for
an audience because they are not dramatic.
We respond to a drama to that extent to which it corresponds to our dream life . . . We are told the
theater is always dying. And it’s true, and, rather than being decried, it should be understood. The
theater is an expression of our dream life — of our unconscious aspiration. It responds to that which
is best, most troubled, most visionary in our society. As the society changes, the theater changes.
ON TRIALS:
During the O.J. Simpson case I was at a party with a couple of rather famous jurists. I said it
occurred to me that a legal battle consisted not in a search for the truth but in jockeying for the right
to pick the central issue. They chuckled and pinched me on the cheeks. “You just skipped the first
two years of law school,” one of them said.
Sean Bartley is a second-year dramaturgy student in the A.R.T./MXAT Institute
for Advanced Theater Training.
David Mamet rehearsing Boston Marriage with Rebecca Pidgeon and
Felicity Huffman at the A.R.T.
Program Notes
MAMET TIMELINE
Compiled by Lynde Rosario
1947
1969
1970
1972
1974
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1977
1978
1979
1981
1982
1983
1984
1985
1986
1987
1988
1989
1991
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1999
2000
2001
2004
2005
2006
2007
2008
2009
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Born in Chicago, Illinois
Graduates from Goddard College
Lakeboat (play)
The Duck Variations (play)
Sexual Perversity in Chicago (play, Obie Award for Distinguished Playwriting)
American Buffalo (play, New York Drama Critics Circle Award for Best Play)
Reunion (play); The Water Engine (play)
A Life in the Theatre (play)
Revenge of the Space Pandas (play); Outer Critics Circle Award for Contributions to American Theatre
– The Woods (play); The Blue Hour (play)
– The Postman Always Rings Twice (screenplay)
– Edmond (play, Obie Award); The Verdict (screenplay)
– The Frog Prince (play)
– Glengarry Glen Ross (play; Pulitzer Prize, New York Drama Critics Circle Award and Tony Award for Best Play)
– The Shawl (play); Goldberg Street (play)
– The Poet & The Rent (play); About Last Night… (screenplay)
– House of Games (screenplay written and directed by Mamet; ALFS Award for Screenwriter of the Year, Pasinetti Award for Best Film, Golden Osella Award for Best Original Screenplay); Untouchables (screenplay)
– Speed the Plow (play); Things Change (screenplay written and directed by Mamet); Founds Atlantic Theater Company with William H. Macy
– Bobby Gould in Hell (play); We’re No Angels (screenplay); Uncle Vanya (adaptation;
premiered at the American Repertory Theater)
– Homicide (screenplay written and directed by Mamet; ALFS Award for Screenwriter of
the Year)
– Oleanna (play – premiered at the A.R.T.); Hoffa (screenplay); Glengarry Glen Ross
(screenplay)
– Oleanna (screenplay written and directed by Mamet); Vanya on 42nd Street (screenplay)
– The Cryptogram (play, premiered at the A.R.T.; Obie Award)
– American Buffalo (screenplay); Ricky Jay and His 52 Assistants (TV show directed by Mamet)
– The Old Neighborhood (play – premiered at the A.R.T.); Wag the Dog (screenplay);
The Spanish Prisoner (screenplay written and directed by Mamet); The Edge (screenplay)
– Ronin (screenplay)
– Boston Marriage (play – premiered at the A.R.T.); The Winslow Boy (screenplay
written and directed by Mamet, Los Charalas Award for Best Studio Feature Film)
– Lakeboat (screenplay); State and Main (screenplay written and directed by Mamet, FFCC Award for Best Screenplay, Jury Award for Best Film); Catastrophe (directed)
– Hannibal (screenplay); Heist (screenplay written and directed by Mamet)
– Faustus (play); Spartan (screenplay written and directed by Mamet); The Shield (TV show, directed one episode)
– Romance (play); The Voysey Inheritance (play); Edmond (screenplay)
– The Unit (TV show, directed one episode)
– Keep Your Pantheon (play)
– November (play); A Waitress in Yellowstone (play); Redbelt (screenplay written and
directed by Mamet); The Unit (TV show, directed one episode)
– The Prince of Providence (screenplay); Come Back to Sorrento (screenplay)
Lynde Rosario is a second-year dramaturgy student at the
A.R.T/MXAT Institute for Advanced Theater Training.
Program Notes
SHORT WORKS, LONG HISTORIES
David Mamet, Harold Pinter, and Shel Silverstein
by Scott Zigler
David Mamet enjoyed longtime friendships and collaborations with both Harold Pinter and Shel
Silverstein. His most interesting collaboration with Pinter was on the film version of Catastrophe, a
play by Samuel Beckett — a writer whom both acknowledge as an important influence on their work.
In the film of Catastrophe, Mamet directed Pinter in the leading role of the Director while Mamet’s
wife, the Scottish actress Rebecca Pidgeon, played the role of the Assistant. This film also marked
the last on-screen appearance of the legendary English actor Sir John Gielgud, who appeared in the
role of the Protagonist. In another collaboration, Pinter directed the British premiere of Mamet’s play
Oleanna, which had its world premiere at the A.R.T.
Mamet’s two best-known collaborations with Silverstein are the screenplay for the film Things
Change (which Mamet also directed) and a successful off-Broadway evening of one acts entitled
“Oh Hell” which included Mamet’s play Bobby Gould in Hell and Silverstein’s The Devil and Billy
Markham, produced at Lincoln Center. When Mamet, his longtime collaborating actor William H.
Macy, and I founded the Atlantic Theater Company, we chose Silverstein’s short plays as the best
vehicle for the company’s debut.
Mamet, Pinter, and Silverstein all agree on the importance of the short form play in developing both
their craft and their discipline as writers; they have each acknowledged that it is extremely important
in the life of the writer to always have something to work on, especially when a larger project might
require some distance.
“Seriously Funny” presents a selection of comedic short works from these three great playwrights.
Scott Zigler is the Director of the A.R.T./MXAT Institute for Advanced Theater Training.
Harold Pinter grew up during one of the most devastating periods in British history. As a child,
he lived through some of the worst Nazi bombing campaigns and once had to be evacuated from
London. After the war, Pinter registered as a conscientious objector. He studiede acting at the Royal
Academy of Dramatic Art and the Central School of Speech and Drama, and soon began working as a
professional actor with touring companies in Ireland and England. In 1957, his first play, The Room,
was staged at Bristol University. His next plays, The Dumb Waiter, The Birthday Party, and The
Homecoming, established his reputation as one of Britain’s most promising young playwrights. His
late plays, written in the 1990’s, became more overtly political. Pinter received the Nobel Prize for
Literature in 2005, and remained a political activist and outspoken critic of U.S. and British foreign
policy until his death in 2008.
Shel Silverstein is one of this country’s most celebrated authors of children’s books and
poetry. He was also an accomplished songwriter, musician, composer, cartoonist, screenwriter, and
playwright. Best known for books such as The Giving Tree and collections of poetry such as Where
the Sidewalk Ends, Silverstein also wrote the lyrics and music for a number of popular songs, including “A Boy Named Sue,” which won him a Grammy Award in 1970 when it was performed by Johnny
Cash. Silverstein began writing short works of fiction while serving the United States armed forces in
Japan and Korea. In the late 1970’s he published a series of cartoons in Playboy, including an illustrated poem, “The Devil and Billy Markham,” which was subsequently adapted for the stage and dou-
Program Notes
ble billed with David Mamet’s Bobby Gould in Hell in 1989. In 2001, The Atlantic Theater produced
a collection of his short plays under the title, An Adult Evening of Shel Silverstein. Although written
primarily for adults, his plays contain the same bizarre wit and sense of humor that delight children
and parents who read his stories and poems.
Lynde Rosario is a second-year dramaturgy student at the
A.R.T/MXAT Institute for Advanced Theater Training.
.
Clockwise from top:
Harold Pinter, Shel Silverstein,
David Mamet
Zero Arrow Theater
Our exciting second
performance space!
“Boston’s Best New Theater”
– Improper Bostonian 2008
The A.R.T.’s flexible and intimate second
performance space at the intersection
of Arrow Street and Mass. Avenue in
Cambridge is now four years old! This three
hundred-seat theater serves as an incubator
for new work and a host for performances
by the A.R.T./MXAT Institute for Advanced
Theater Training. Performance times and
dates are always listed 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 Theater.
The American Repertory Theater and the Institute for Advanced Theater 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 President Drew Gilpin Faust, Provost Steven E.
Hyman, Faculty of Arts and Sciences Dean Michael D. Smith, 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.
American Repertory Theater
Advisory Board
Philip Burling, Co-Chair
Ted Wendell, Co-Chair
Joseph Auerbach, emeritus
Page Bingham
William H. Boardman, Jr.
Robert Brustein
Paul Buttenwieser
Greg Carr
Caroline Chang
Antonia Handler Chayes,
emerita
Clarke Coggeshall
Kathleen Connor
Robert Davoli
Michael Feinstein
Charles Gottesman
Barbara W. Grossman
Ann Gund
Joseph W. Hammer
Sarah Hancock
Horace H. Irvine II
Michael E. Jacobson
Glenn KnicKrehm
Myra H. Kraft
Barbara Lemperly Grant
Carl J. Martignetti
Dan Mathieu
Fumi Matsumoto
Eileen McDonagh
Rebecca Gold Milikowsky
Ward Mooney
Anthony Pangaro
Michael Roitman
Henry Rosovsky
Linda U. Sanger
John A. Shane
Michael Shinagel
Lisbeth Tarlow
Donald Ware
Sam Weisman
The A.R.T./ Harvard
Board of Directors
Philip Burling
Jonathan Hurlbert (clerk)
Judith Kidd
Robert James Kiely
Jacqueline A. O’Neill (chair)
Diane Paulus
Robert J. Orchard
Jesse Souweine
Acting Company
REMO AIRALDI — The Defendant (Romance)
A.R.T.: Fifty-nine productions, including Endgame (Nagg), The Seagull
(Shamrayev), The Communist Dracula Pageant, When It’s Hot, It’s Cole,
Cardenio, Julius Caesar, Donnie Darko, A Marvelous Party!, Oliver Twist
(also at Theatre for a New Audience and Berkeley Repertory Theatre), 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 Street Theatre, Prince Music
Theater, Actors’ Theatre of Louisville, Serious Fun Festival, Moscow Art Theatre, Taipei International
Arts Festival, Commonwealth Shakespeare Company.
EMILY ALPREN — Ensemble (Seriously Funny)
A.R.T.: Trojan Barbie (Clea). Second-year actor at the A.R.T./MXAT Institute
for Advanced Theater Training. A.R.T. Institute/Moscow Art Theater credits: Ajax in Iraq (AJ), Aloha, say the Pretty Girls (Myrna), The Discreet
Charm of Monsieur Jourdain (Nicole). Film and television: What Just
Happened?, The Bronx is Burning. BA from Amherst College.
RENZO AMPUERO — Ensemble (Seriously Funny)
A.R.T.: Trojan Barbie (Mica). The Island of Anyplace (The
Creature). Second-year actor at the A.R.T./MXAT Institute for Advanced
Theater Training. A.R.T./MXAT Institute credits: Aloha, Say The Pretty
Girls (Will), Ajax in Iraq (Pisoni, Odysseus, Larry), The Discreet Charm of
Monsieur Jourdain (Cleonte). Other: The Picture of Dorian Gray, The King
Stag, Romeo and Juliet, The Skin of Our Teeth, The Threepenny Opera,
Tape, Rosencrantz and Guildenstern Are Dead. B.A. in Drama from
Colorado College.
KAARON BRISCOE — Ensemble (Seriously Funny)
A.R.T.: Trojan Barbie (Polly X), The Communist Dracula Pageant
(Ensemble). Second-year actor at the A.R.T./MXAT Institute for Advanced
Theater Training. A.R.T. Institute/Moscow Art Theater credits: The
Discreet Charm of Monsieur Jourdain (Madame Jourdain), Largo
Desolato. Other: As You Like It (Audrey), Working (Diane), Dracula
2000 (Virgin Co-Worker). Has also appeared in various commercials. BA
in theatre from Florida State University.
Acting Company
SHEILA CARRASCO — Ensemble (Seriously Funny)
Second-year actor at the A.R.T./MXAT Institute. A.R.T.: The
Communist Dracula Pageant (Pageant Boy, ensemble). A.R.T.
Institute/Moscow Art Theater credits: Ladybird (Yulka), Aloha, Say
the Pretty Girls (Vivian), The Discreet Charm of Monsieur Jourdain
(Lucille). New York: A Streetcar Named Desire, Life and Limb,
Youth in Asia, Life is a Dream, Medea, The Merchant of Venice, NYU
Tisch School of the Arts. Chicago: The Philadelphia Story, Court
Theater, Blue Window, School at Steppenwolf (Garage).
DOUG CHAPMAN — The Doctor (Romance)
Second-year actor at the A.R.T./MXAT Institute. Institute credits:
Ladybird (The Drunk), Aloha, Say the Pretty Girls (Martin), Largo
Desolato (Edward), Ajax in Iraq (Lieutenant/Fletcher/NVG/Chorus),
The Discreet Charm of Monsieur Jordain (Choreographer). Elsewhere:
Arms and the Man, The Seagull, The Bald Soprano, The Tempest,
Equus, The Gondoliers, Trouble in Tahiti, Military duet Militaire.
Graduated from the Interlochen Arts Academy, holds a BA from
Oberlin College and a diploma in design from the Institute without
Boundaries.
SHAWN CODY — Ensemble (Seriously Funny)
A.R.T.: The Seagull (Medvedenko), The Communist Dracula
Pageant (Ensemble), The Island of Anyplace (Father). Secondyear actor at the A.R.T./MXAT Institute. A.R.T. Institute/Moscow
Art Theater credits: Oblomov (Oblomov as a Boy), Ladybird. Other: Twelfth Night (Sebastian), Shakespeare & Company;
Hamlet (Hamlet), Picasso at the Lapin Agile (Picasso), Shakespeare
East; Much Ado About Nothing (Don John), Measure for
Measure (Lucio), Harvard University. Awards: 2007 Massachusetts
Cultural Council Playwright Award, 1994 Boston Shakespeare
Acting Competition, 1994 Boston Globe Acting Scholarship Award. Training: Royal Shakespeare
Company, National Theatre Institute, Eugene O’Neill Theatre Center, New York Film Academy. THOMAS DERRAH — The Prosecutor (Romance)/
Emil (Duck Variations)
A.R.T.: One hundred and fifteen productions, including Endgame
(Clov), The Seagull (Dorn), The Communist Dracula Pageant (Nicolae
Ceausescu), When It’s Hot, It’s Cole, Cardenio (Melchiore), Julius
Caesar (title role), Donnie Darko (Jim Cunningham), A Marvelous
Party!, Oliver Twist (also at Theatre for a New Audience and Berkeley Repertory Theatre), The Onion Cellar, 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). 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
Acting Company
Arts Center; five productions at Houston’s Alley Theatre, including Our Town (Dr. Gibbs, directed by
José Quintero); and many theaters 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, The Pink Panther II. He is
a graduate of the Yale School of Drama.
TIM ELIOT - Bernie (Sexual Perversity)
First year actor at the A.R.T./MXAT Institute. A.R.T. Institute: Shakespeare
Slams, Little Tragedies. New York: Mad Forest (Columbia Stages), Red
Beads (Mabou Mines), Seven Woes of a Libra Prophet (Studio XIV),
Rockberry (Jollyship the Whiz-Bang), The Girl Detective (Ateh Theater).
Regional: Taming of the Shrew (Commonwealth Shakespeare), Compleat
Works of Wllm Shkspr (Windwood Theatricals), Blue Man Group. BA
from Yale College.
CARL FOREMAN — Bernard (Romance)
A.R.T:. Trojan Barbie (Talthybius/Max), The Island of Anyplace (Blind
Spider). A.R.T./MXAT Institute for Advanced Theater Training: Ajax In
Iraq (Charles/Chorus), Aloha Say The Pretty Girls (Richard), The Discreet
Charm of Monsieur Jourdain (Translator). Other: Stories/Cuentos, Raven
Brings The Light (Raven/Boy), Mud/Bone Theater, New York; Richard 2
x 8 (multiple), NY Clown Cabaret Festival; Alice In Wonderland (Lewis
Carroll/King of Hearts), Deliver Us Not (Fetus #3), For Black Boys Who
Have Considered Homicide When The Streets Were Too Much (Brother
#5), University of Pennsylvania.
SUSANNAH HOFFMAN — Deborah (Sexual Perversity)
First year acting student at the A.R.T./MXAT Institute. A.R.T. Institute:
Shakespeare Slams, Little Tragedies. BA from St. Mary’s College of
Maryland.
MANOEL HUDEC — Ensemble (Seriously Funny)
Second year actor at the A.R.T./MXAT Institute. A.R.T. Institute: Ajax in
Iraq (Ajax) and Largo Desolato (Vaclav), The Discreet Charm of Monsieur
Jourdain (Dorante). .
Acting Company
NINA KASSA — Ensemble (Seriously Funny)
A.R.T.: Trojan Barbie (Cassandra), The Seagull (Masha), The Island
of Anyplace (Evil Queen). Second-year actor at the A.R.T./MXAT
Institute for Advanced Theater Training. A.R.T. Institute: Ajax in Iraq (Tecmessa), The Discreet Charm of Monsieur Jourdain (Countess
Dorimini), Oblomov (Olga). Other Training: The Hartt School of Music,
BM (Vocal Performance).
paul murillo — Ensemble (Seriously Funny)
Second year actor at the A.R.T./MXAT Institute. A.R.T. Institute: Ajax in
Iraq (the Sargent), Aloha, Say the Pretty Girls (Jason), Ladybird (Slavik),
The Discreet Charm of Monsieur Jourdain (Trainer). Originally from
Dallas, Texas and holds a BFA in acting from Marymount Manhattan
College in New York City.
WILL LEBOW — The Judge (Romance)/ George (Duck Variations)
A.R.T.: Fifty-six productions, including Endgame (Hamm), The Communist Dracula Pageant, Cardenio, Julius Caesar, Copenhagen (Niels
Bohr), A Marvelous Party!, Oliver Twist (Mr. Brownlow, also at Theatre
for a New Audience and Berkeley Repertory Theatre), Romeo and Juliet
(Capulet), Three Sisters (Kulygin), No Exit (Garcin), 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 Corn is Green, The Cherry Orchard, Love’s Labors Lost, The Rivals, How Shakespeare Won the
West, 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 premieres of “The Polar Express” and “How the Grinch Stole Christmas” (narrator). Film: Next Stop Wonderland, What Doesn’t Kill You. Television: the Cable Ace
Award-winning animated series Dr. Katz, Professional Therapist (voice of Stanley).
SCOTT LYMAN - Danny (Sexual Perversity)
First-year acting student at the A.R.T./MXAT Institute. A.R.T. Institute
credits: Shakespeare Slams, Little Tragedies. B.A. from Guilford
College in Theater Studies and Studio Art.
Acting Company
CAREENA MELIA — Ensemble (Seriously Funny)
A.R.T.: Trojan Barbie (Helen). Second year actor at the A.R.T./MXAT
Institute. A.R.T. Institute: The Discreet Charm of Monsieur Jourdain,
Ajax in Iraq, Largo Desolato. New York: Macbeth (Theatre for a New
Audience), Anne Frank and Me (American Jewish Theatre), Sunnyside
& Sunday Mornings (Irish Rep. New Plays Series), The Playboy of
the Western World (Alpha Omega Theatre Company). REGIONAL:
Romeo and Juliet (Shakespeare Los Angeles), Ah, Wilderness (The
Huntington), All The Rage (Pittsburgh Public Theatre), Moby Dick
Rehearsed (Berkshire Theatre Festival), The One Eyed Man is King
(GeVa Theatre), The Tempest (Great Lakes Theatre Festival), Much Ado About Nothing, La Dispute,
The Vision of Simone Machard (Shakespeare Theatre of New Jersey/Next Stage Ensemble). Film and
television: Moonlight Mile, Songs in Ordinary Time (CBS), JAG (CBS), Under Hellgate Bridge, Two
Way Crossing, Touched by an Angel (CBS), 18 Wheels of Justice (TNT), Shakespeare in America
(ABC), The Dark Light, Wake. BA from Sarah Lawrence College, graduate of Walnut Hill School for
the Performing Arts.
SKYE NÖEL — Ensemble (Seriously Funny)
A.R.T.: Trojan Barbie (Andromache), The Island of Anyplace (Jennifer).
Second year actor at the A.R.T./MXAT Institute for Advanced Theater
Training. A.R.T. Institute/Moscow Art Theater credits: Ajax in Iraq
(Sickles), The Discreet Charm of Monsieur Jourdain (Fashion
Designer), Aloha, Say the Pretty Girls (Wendy), Oblomov (Olga), The
Marriage. Regional credits: Berkeley Rep., Willows Theatre Company,
American Musical Theatre of San Jose. BA in Theater performance
from Florida Southern College.
LAURA PARKER — Joan (Sexual Perversity)
First year actor at the A.R.T./MXAT Institute. A.R.T. Institute:
Shakespeare Slams, Little Tragedies. New York: Fool’s Mass (Dzieci
Theatre), Makbet (Dzieci Theatre) The Maids (Draupadi Ensemble),
Vote for Our Team (Gene Frankel Theatre). BA from University of
Pennsylvania.
JIM SENTI — The Bailiff (Romance)
A.R.T.: Trojan Barbie (Menelaus/Jorge/Clive/Officer in Blue), The
Communist Dracula Pageant (Ensemble). Second-year actor at the
A.R.T./MXAT Institute for Advanced Theater Training . A.R.T. Institute/
Moscow Art Theater credits: The Discreet Charm of Monsieur
Jourdain (Monsieur Jourdain), Largo Desolato (Sidney 2 / Visitor 2),
Aloha, Say The Pretty Girls (Pete) . Other: SubUrbia, Wait Until
Dark, Mouthful of Birds, Vinegar Tom, The Good Person of Szechuan.
BA from Butler University.
Acting Company
LISETTE SILVA — Ensemble (Seriously Funny)
A.R.T.: Trojan Barbie (Esme). Second-year actor at the A.R.T./MXAT
Institute for Advanced Theater Training. A.R.T. Institute / Moscow
Art Theater credits: Largo Desolato (Lucy), Ajax in Iraq (Athena), The
Discreet Charm of Monsieur Jourdain (Fashion Designer). Other:
Counting Her Dresses, Polybe and Seats; Life? Or Theater?, Mabou
Mines; 365 Plays in 365 Days, The Public Theater. Education: BA
from Columbia University.
JOSH STAMELL — Ensemble (Seriously Funny)
A.R.T.: The Island of Anyplace (Alex), The Communist Dracula
Pageant (Ensemble). Second-year actor at the A.R.T./MXAT Institute
A.R.T. Institute/Moscow Art Theater credits: The Discreet Charm of
Monsieur Jourdain (Coveille). Other credits include Hamlet, Tragedy
of Abraham Lincoln, The Bacchae, Loot, Lion in Captivity.
ROGER K. STEWART — Ensemble (Seriously Funny)
A.R.T.: The Communist Dracula Pageant (Ensemble). Second-year
actor at the A.R.T./MXAT Institute A.R.T. Institute/Moscow Art Theater
credits: The Discreet Charm of Monsieur Jourdain (Mufti). University
of California, San Diego: The Bourgeois Gentleman, Fifth of July, Two
Gentlemen of Verona, Edward II.
CHUDNEY SYKES — Ensemble (Seriously Funny)
A.R.T.: The Island of Anyplace (Great Great Grandfooler). Second-year
actor at the A.R.T./MXAT Institute A.R.T. Institute/Moscow Art Theater
credits: Aloha Say the Pretty Girls (Joy), Ajax In Iraq (Spc. Connie
Mangus), The Discreet Charm of Monsieur Jourdain (Intellectual). BA
from Brown University.
JIM TRUE-FROST — The Defense Attorney (Romance)
A.R.T.: Julius Caesar (Brutus). A.R.T. Institute: Director of Ladybird.
New York: The Rivals, Lincoln Center; Philadelphia, Here I Come!,
Roundabout Theatre Company; August: Osage County, Buried Child,
Grapes of Wrath, Broadway (with Steppenwolf Theatre Company).
Member of the Steppenwolf Theatre Company in Chicago: The
Pillowman, I Just Stopped By to See the Man, David Copperfield,
The Playboy of the Western World, and The Grapes of Wrath. Films:
Diminished Capacity, Off the Map, Affliction, Singles, The Hudsucker
Proxy, Normal Life, and Far Harbor. Television: The Wire (Prez), HBO;
Medium, CSI: Miami, Karen Sisco, Early Edition, Crime Story, Law &
Order, and Law & Order: CI.
Creative Staff
SCOTT ZIGLER — Director (Romance)
A.R.T.: Copenhagen, Animals and Plants, Absolution, The Cripple of Inishmaan, The Old
Neighborhood (world premiere). Broadway: The Old Neighborhood; Off-Broadway: Dust (World
Premiere). Atlantic Theater Company founding member and past Artistic Director, The Cherry
Orchard, The Woods, Sure Thing, Strawberry Fields, Suburban News (World Premiere), As You Like
It. National Tour: Oleanna. Regional: The Cryptogram, A Fair Country, Steppenwolf Theatre Company;
Glengarry Glen Ross, McCarter Theatre; The Cryptogram, Alley Theatre; Spinning Into Butter,
Repertory Theatre of St. Louis. Director of the American Repertory Theater’s Institute for Advanced
Theater Training at Harvard University, a graduate theater training program run in collaboration
with the Moscow Art Theater School, where he most recently directed the world premiere of Ellen
McGlaughlin’s Ajax in Iraq. Co-author, A Practical Handbook for the Actor.
MARCUS STERN — Director (Duck Variations)
A.R.T.: Endgame, Donnie Darko, The Onion Cellar with The Dresden Dolls, Suzan Lori Parks’ The
America Play, Adrienne Kennedy’s The Ohio State Murders, Büchner’s Woyzeck, Sam Shepard’s
Buried Child, Adam Rapp’s Nocturne, Christopher Durang’s Marriage of Bette and Boo (also at NYU
and Harvard University). A.R.T. Institute: a stage adaptation of the film Donnie Darko. Other: Han
Ong’s The Chang Fragments and Martin Crimp’s The Treatment, The Joseph Papp Public Theater;
Fellini’s Juliet of the Spirits, Theater Neumarkt, Zurich; Jose Rivera’s Marisol, Actors Theatre of
Louisville, Humana Festival; Mac Wellman’s Hyacinth Macaw, Primary Stages, New York; Instant
Girl’s On the Run, Dance Theater Workshop; Mac Wellman’s The Land of Fog and Whistles, Whitney
Museum Biennial; Neena Beber’s The Living Goddess, The Magic Theater; and Erin Cressida Wilson’s
Cross Dressing in the Depression, Soho Rep. Adaptations: Fellini’s Juliet of the Spirits, Zurich;
Phoebe’s Got Three Sisters, Cucaracha Theater in New York; O’Neill’s The Great God Brown, N.Y.U.
and Harvard University. Associate Director of the A.R.T. and the A.R.T./ MXAT Institute for Advanced
Theater Training. Has taught at the Yale School of Drama, New York University, and Columbia
University, currently teaches at Harvard University (where he has taught acting, directing, and
screenwriting), Harvard’s Extension School, and A.R.T. Institute for Advanced Theater Training.
PAUL STACEY — Director (Sexual Perversity)
Dramaturgy student at the A.R.T./MXAT Institute. A.R.T.: The Seagull. A.R.T. Institute: The Little
Tragedies. Kangaroo Court Theatre Company: Julius Caesar, The Pillowman, Bent, Blasted, Withnail
and I, Lady Chatterley’s Lover, Edinburgh Festival Fringe and Bush Theatre, London; Dorian Gray,
Tabard Theatre, London. BA: University of Nottingham, England.
JIM FRANGIONE — Director (Seriously Funny)
Actor/director. Has performed in the New York premiere of several David Mamet plays, including
The Old Neighborhood, Oleanna (also Alley Theatre, Houston and national tour), and Romance
(Atlantic Theater Company, NY and Mark Taper Forum, LA), American Buffalo (Berkshire Theatre
Festival). Other Atlantic Theater credits include The Night Heron, Hobson’s Choice, Edmond, Sea
of Tranquility, and Hellhound on My Trail. Other: The Front Page (Long Wharf Theatre) and The
Pursuit of Happiness (Merrimack Repertory Theatre). Directing credits include Romance (Wellfleet
Harbor Actors Theatre). Founder of The Stage Company of Boston, where he directed and acted in
many plays by David Mamet, Athol Fugard, and Harold Pinter, among others. He is a founder and
co-artistic director of the Berkshire Playwrights Lab, a development forum for new plays in Great
Barrington, MA. Television credits include episodes of Brotherhood, The Unit, Law & Order (original, SVU, & CI), New York Undercover, Another World and All My Children. Films: Transamerica,
Spartan, Heist, State and Main, The Spanish Prisoner, Homicide, Suits, Claire Dolan, Maryam,
Frozen Impact, Rubout, Little Kings, and The Last Days of May. Jim is one of NYC’s busiest audio
book narrators, with such titles as: Nova Swing, A Killer’s Kiss, Happiness, Dog On It, the Black
Dagger Brotherhood series and Change of Heart, for which he was just nominated for an Audie®
Award.
Creative Staff
J. MICHAEL GRIGGS — Scenic Design (Romance/Seriously Funny)
A.R.T.: No Child, No Man’s Land, Animals and Plants, Boston Marriage, How I Learned to Drive, and
Nobody Dies on Friday. Other: Oh Dad, Poor Dad Mama’s Hung You in the Closet and I’m Feeling
So Sad (inaugural production at Harvard’s New College Theatre); The Seafarer, Speakeasy Stage
Company; Talking to Terrorists, The Sanctuary Lamp, Well of the Saints, Mojo Mickybo, Howie the
Rookie, The Lepers of Baile Baiste, Molly Maquire, Bailegangaire, The Lonesome West, This Lime
Tree Bower, Perfect Days, and St. Nicholas, Súgán Theatre Company; White People, New Repertory
Theatre; 9 Parts of Desire, Adrift in Macao, Lyric Stage Company; Travesties, Design for Living, The
Publick Theatre:. Mr. Griggs is the Technical Director of the Loeb Drama Center and teaches stage
design at Harvard University. He is a member of United Scenic Artists 829.
MIRANDA HOFFMAN — Costume Designer (Romance)
A.R.T.: Debut. Broadway: Well. New York: Beauty of the Father, Manhattan Theatre Club;
Satellites and Well, Public Theater: Essential Self Defense, Spatter Pattern and She Stoops
to Comedy, Playwrights Horizons; Oedipus at Palm Springs, NYTW; Landscape of the Body,
Signature Theatre; Othello, The Last Letter, Theatre for a New Audience: The Marriage of Figaro,
Target Margin Theater. Regional: Well, Mauritius, Huntington Theatre; Twelfth Night (Helen Hayes
Nomination), Taming of the Shrew, Shakespeare Theatre Company; Uncle Vanya, Titus Andronicus,
The Court Theatre; Godspell, Papermill Playhouse; Euridice, Smart Cookie, Alliance Theatre; The
Ramayana., ACT; Betrayal, Yale Repertory Theatre; Outrage, Merchant of Venice, Portland Center
Stage. Opera: La Voix Humaine, Portrait de Manon, Glimmerglass Opera Festival and Gran Teatre
del Liceu, Barcelona; Mirandolina, Lord Byron’s Love Letter, The Village Singer, Manhattan School
of Music. Henry Hewes American Theater Wing Nominee. NEA/TCG Career Development Grant
Recipient. Graduate of the Yale School of Drama.
D.M. WOOD — Lighting Design (Romance)
A.R.T.: Romeo and Juliet. U.S. credits: Il Barbiere di Siviglia, Il Trovatore, Minnesota Opera; Die
Zauberflöte, Houston Grand Opera and Opera Colorado; La Traviata, Opera Colorado; Sophistry,
The Black Monk, South Ark Stage; The Overwhelming, Pig Farm, 1001, The Pursuit of Happiness,
Mr. Marmalade and Sex, Death and the Beach Baby, Contemporary American Theatre Festival; The
Second Tosca, 45th Street Theatre; The Sound of a Voice and Hotel of Dreams, Long Beach Opera;
Cinderella, Charleston Ballet Theatre; Candy & Dorothy, Wellfleet Harbor Actors Theater and Theatre
Three, New York (Winner - 2007 GLAAD Media Award Best New York Theater - Off-off Broadway); Il
Viaggio a Reims, New York City Opera; Miss Julie, Théâtre Trouvé; The Dreams of Sarah Breedlove,
Alabama Shakespeare Festival; String of Pearls, Primary Stages, New York; Picnic, Baltimore
CenterStage; A Midsummer Night’s Dream, Lyric Opera of Kansas City; Lilly’s Purple Plastic Purse,
The Minneapolis Children’s Theatre Company; Everybody’s Ruby and Civil Sex, NYSF/The Public
Theater; k, Provincetown Playhouse; The Cider House Rules (Parts I/II), The School For Scandal,
Meshugah, The Cryptogram, Nine Armenians, and The Music Man, Trinity Repertory Company; How
I Learned to Driv, Philadelphia Theatre Company; Medea Eats and Freak Show, Clubbed Thumb,
New York. International: Les Misérables (New Production), Tour of Denmark; Tosca, Canadian Opera
Company; La Cleopatra and Oedipus Rex, Opernhaus – Graz, Austria; Tristan und Isolde, Savonlinna
Opera Festival, Finland; and the transfer designs of Simone Boccanegra and L’incoronazione di
Poppea, New Israeli Opera in Tel Aviv.
DAVID REMEDIOS — Sound Designer (Romance, Duck Variations, Sexual Perversity)
A.R.T.: Forty-seven productions, including Trojan Barbie, Endgame, The Seagull, Cardenio, Julius
Caesar, Copenhagen, Donnie Darko, No Manís Land, Oliver Twist, The Onion Cellar, Orpheus X,
The Provok’d Wife (original music), Absolution, Enrico IV, Man and Superman. Has also toured
regionally and internationally for the A.R.T. Other regional: Actors Shakespeare Project, CenterStage
Baltimore, La Jolla Playhouse, Cincinnati Playhouse in the Park, Boston Playwrights Theatre, Emerson
Stage, 92nd Street Y, Boston Theatre Works, Vineyard Playhouse. Dance soundscapes include works
Creative Staff
for Concord Academy, Snappy Dance Theater Company, and Lorraine Chapman. Awards: 2007
Connecticut Critics Circle Award (No Exit, Hartford Stage), 2001 Elliot Norton Award (Mother
Courage and Her Children, A.R.T.), IRNE Award nominations for A.R.T.’s Julius Caesar, Britannicus,
Island of Slaves, Olly’s Prison, Oedipus, Snow in June, and Highway Ulysses.
CHRIS DE CAMILLIS — Stage Manager (Duck Variations)
A.R.T.: Thirty-two productions including Trojan Barbie, The Seagull, Cardenio, Julius Caesar, Oliver
Twist, Wings of Desire, Island of Slaves, Romeo and Juliet, Three Sisters, Desire Under the Elms,
Dido, Queen of Carthage, Oedipus, A Midsummer Nightís Dream, Lady with a Lapdog, Pericles,
Uncle Vanya, Lysistrata, Marat/Sade, Richard II, Mother Courage and Her Children, The Winterís
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), ‘Till the
Rapture Comes (W.P.A.), Oliver Twist (Theatre for a New Audience). Regional: Berkeley Repertory
Theatre, The Guthrie Theater, Berkshire Theatre Festival (three seasons), George Street Playhouse,
Shakespeare & Company, Old Globe Theatre in San Diego, The Acting Company (fifteen productions
over five seasons, including As You Like It, directed by Liviu Ciulei, A Dollís House, directed by Zelda
Fichlandler, and A Midsummer Night’s Dream, directed by Joe Dowling). Mr. De Camillis is the
A.R.T.’s Artistic Coordinator, and serves as Stage Management Advisor at Boston University.
KATHERINE SHEA — Stage Manager (Romance)
A.R.T.: Stage Manager Endgame, The Communist Dracula Pageant, When It’s Hot, It’s Cole, Donnie
Darko. Assistant Stage Manager The Seagull, Oliver Twist, 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, The Island of Anyplace, The Bacchae, Spring
Awakening, Donnie Darko. Gloucester Stage Company: Production Stage Manager The Woman in
Black. Lyric Stage Company: Production Stage Manager Three Tall Women, Adrift in Macao. Actors’
Shakespeare Project: Stage Manager King John.
AMANDA ROBBINS-BUTCHER — Assistant Stage Manager (Romance)
A.R.T: Assistant Stage Manager Endgame, Production Associate Communist Dracula Pageant,
No Man’s Land, Wings of Desire. ART Institute: Stage Manager Pinter One Acts (The Room &
Celebration), Lacy Project, The Discreet Charm of Monsieur Jourdain, Expats, Gray City, Betty’s
Summer Vacation, Phoenician Women, Kate Crackernuts, The Island of Anyplace, Melancholy
Play. B.A. from St. Olaf College, Northfield MN.
DIANE PAULUS — A.R.T. Artistic Director
Director of opera and theater. Creator and director of The Donkey Show, a disco adaptation of A
Midsummer Night’s Dream that ran for six years Off-Broadway and toured internationally. Recent
credits include the 40th Anniversary production of HAIR at the Delacorte Theatre for The Public
Theater, now on Broadway; Kiss Me, Kate, Glimmerglass Opera Festival; Lost Highway, based on
the David Lynch film, English National Opera co-production with the Young Vic; Another Country
by James Baldwin, Riverside Church; Turandot: Rumble for The Ring, Bay Street Theatre; The
Golden Mickeys for Disney Creative Entertainment; Best of Both Worlds, a gospel/R&B adaptation of A Winter’s Tale produced by Music-Theatre Group and The Women’s Project; and The
Karaoke Show, an adaptation of The Comedy of Errors set in a karaoke bar, produced by Jordan
Roth Productions. Other: Running Man by jazz composer Diedre Murray and poet Cornelius
Eady (Obie Award, Pulitzer Prize finalist) and Swimming With Watermelons (created in association with Project 400, the theater company she co-founded with her husband, Randy Weiner),
Music-Theatre Group; Brutal Imagination, and the Obie Award-winning Eli’s Comin, featuring the
music and lyrics of Laura Nyro, Off-Broadway. Opera: Don Giovanni, Le nozze di Figaro, Turn
Creative Staff
Of The Screw, Cosi fan tutte, and all three Monteverdi operas, Il ritorno d’Ulisse in patria,
L’incoronazione di Poppea, and Orfeo at the Chicago Opera Theatre. She is a frequent collaborator with British conductor Jane Glover. In 2002, their critically acclaimed production
of Orfeo was presented as part of the Monteverdi Cycle at the Brooklyn Academy of Music in
New York City. Graduated Phi Beta Kappa from Harvard University with a BA in social studies, and has a MFA in directing from Columbia University’s School of the Arts. Recipient of the
Peter Ivers Visiting Artist Fellowship at Harvard University and a directing fellowship from The
Drama League. She has taught at the Yale School of Drama, Columbia University, and New York
University. She has recently been appointed Professor of the Practice in Harvard University’s
English Department; and is a 2009 recipient of the Harvard College Women’s Leadership Award.
GIDEON LESTER — A.R.T. Director 08-09 Season
Recent translations: Marivaux’s Island of Slaves and La Dispute (published by Ivan Dee, directed
by Anne Bogart), Bertolt Brechtís 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, staged at the Orange Tree Theatre, London).
Adaptations: Wings of Desire by Wim Wenders, Peter Handke, and Richard Reitinger, directed by
Ola Mafaalani; Kafka’s Amerika, or the Disappearance (directed 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, studied English literature at
Oxford University. In 1995 he came to the U.S. on a Fulbright grant and a Frank Knox Memorial
Scholarship to study dramaturgy at the A.R.T. Institute for Advanced Theater Training at Harvard.
Upon graduation, Mr. Lester was appointed Resident Dramaturg;. became the A.R.T.’s Associate
Artistic Director in 2002, Acting Artistic Director in 2007. He teaches dramaturgy at the A.R.T./
MXAT Institute and playwriting at Harvard.
ROBERT J. ORCHARD — A.R.T. Executive Director
A.R.T.’s founding Managing Director for twenty-one years, currently serves as Executive Director of
the A.R.T. and the Institute for Advanced Theater Training, and Director of the Loeb Drama Center
at Harvard University. Managing Director of the Yale Repertory Theatre and School of Drama,
and Associate Professor and Co-Chairman of its Theatre Administration Program. For nearly
twenty years, Mr. Orchard has been active facilitating exchanges, leading seminars, and advising
on public policy with theater professionals and government officials in Russia. Mr. Orchard has
served as Chairman of both the Theater 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 Theater
Communications Group (TCG), the national service organization for the American professional
theater and publisher of American Theatre magazine. Has served on the Board of the Cambridge
Multi-Cultural Arts Center and as President of the Massachusetts Cultural Education Collaborative.
In 2000, he received the Elliot Norton Award for Sustained Excellence.
About the A.R.T.
A HISTORY OF THE AMERICAN REPERTORY THEATER
Diane Paulus Artistic Director
Robert J. Orchard
Executive Director
Gideon Lester
Director, 08/09 Season
Robert Brustein
Founding Director
The American Repertory Theater (A.R.T.) occupies a unique place in the American theater. It is the only
professional not-for-profit theater 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 twentynine-year history, the A.R.T. has welcomed American and international theater artists who have enriched
the theatrical life of the nation. The theater has garnered many of the nation’s most distinguished awards,
including a Pulitzer Prize, a Tony Award, and a Jujamcyn Award. In December 2002, the A.R.T. was the
recipient of the National Theater Conference’s Outstanding Achievement Award, and in May of 2003 it
was named one of the top three theaters in the country by Time magazine.
Since 1980 the A.R.T. has performed in eighty-three cities in twenty-two states around the country, and
worldwide in twenty-two cities in sixteen countries on four continents. It has presented one hundred and
ninety-eight 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 has resided for twenty-nine years at Harvard
University’s Loeb Drama Center. Robert Woodruff succeeded Mr. Brustein as Artistic Director in 2002. In
2007 Gideon Lester became Acting Artistic Director, joining Executive Director Robert J. Orchard as the
theater’s management team. The A.R.T. welcomed Diane Paulus as its new Artistic Director in 2008. The
first season under her direction will be 2009 / 2010.
The A.R.T. is known for its commitment to new American plays and music/theater explorations; to
neglected works of the past; and to established classical texts reinterpreted in refreshing new ways. The
A.R.T. is also a training ground for young artists. The theater’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 Theater Training. In conjunction with the Moscow Art Theater School, the
Institute provides world-class graduate level training in acting, dramaturgy, and special studies.
The A.R.T. attempts to establish historical continuity as contemporary artists reinterpret the past, and
classical work helps to inform the present. The Company prides itself on being an artistic home for toplevel playwrights, actors, directors, designers, technicians, and administrators. A full list of participating
artists can be found on the A.R.T. web site — www.americanrepertorytheater.org.
NEW WORKS
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, Christine Evans, Jules Feiffer, Dario Fo, Carlos Fuentes, Larry Gelbart, 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, Anne Washburn, and Robert Wilson.
About the A.R.T.
DIRECTORS
Many of the world’s most gifted directors have staged productions 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, Michael Kahn,
Anne Kauffman, Jerome Kilty, Krystian Lupa, John Madden, Ola Mafaalani, David Mamet, Des
McAnuff, Jonathan Miller, Nicolas Montero, Jerry Mouawad, Tom Moore, Arthur Nauzyciel, Carmel
O’Reilly, François Rochaix, Adelheid Roosen, Robert Scanlan, Dominque Serrand, János Szász,
Peter Sellars, Andrei Serban, 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.
TOURING
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, the International Fortnight of Theatre in Quebec; the international festivals in Asti, Avignon, Belgrade, Edinburgh, Haifa, Jerusalem, Ljubljana, Singapore, Taipei, Tel
Aviv, and Venice; and at theatres in Amsterdam, Perugia, Rotterdam, 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, and in 1991 Robert Wilson’s production of When We Dead Awaken was presented
at the 21st International Biennale of São Paulo, Brazil. In March 1998, the A.R.T. opened the Chekhov
International Theatre Festival in Moscow, the first American company to perform at the Chekhov Moscow
Art Theatre with The King Stag, Six Characters in Search of an Author, and Joseph Chaikin and Sam
Shepard’s When The World Was Green (A Chef’s Fable). In October 2000 the A.R.T. embarked on a
year-long national and international tour of The King Stag, 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.
Most recently, productions of Lysistrata, The Sound of a Voice, The Miser, Lady with a Lapdog, Amerika,
No Exit, and Oliver Twist have been presented at theaters throughout the U.S.; the A.R.T. returned to
the Edinburgh International Festival two years in a row, with Krystian Lupa’s Three Sisters in 2006, and
Robert Woodruff’s Orpheus X in 2007. Orpheus X was also presented at the 2008 Hong Kong International
Festival of the Arts in February.
FROM THE PRESS
“. . . the nation’s most prestigious resident theatre. One of the top three theatres in the country.” – Time
“Theatre that cries out to be seen.” – Boston Globe
“Stretching the limits of artistic possibility with an imaginative daring the has few parallels on the contemporary scene.” – Washington Post
“One of the most vital influences on the U.S. stage in the last twenty years.”
– International Herald Tribune
“. . . more concentrated, provocative quality than New York City has delivered all year.” – USA Today
Donors
American Repertory
Theater 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
November 1, 2007 and
March 30, 2009 to the
Annual Fund and for
gala sponsorships.
$100,000 and above
The Andrew W. Mellon
Foundation
The Carr Foundation
Doris Duke Charitable
Foundation
The President and Fellows of Harvard
College
The Shubert
Foundation, Inc.
$50,000–$99,999
The Boston Globe+
Hershey Family Foundation
Massachusetts Cultural
Council
The Harold and Mimi
Steinberg Charitable
Trust
Ted and Mary Wendell*
Anonymous
$25,000–$49,999
American Express
Philanthropic Program
Philip and Hilary
Burling*
Paul and Katie
Buttenwieser*
Robert E. Davoli and
Eileen L. McDonagh*
Edgerton Foundation
New American Plays
The E.H.A. Foundation,
Inc.
Ann and Graham Gund
Sarah Hancock*
Cassandra and Horace
Irvine*
Dan Mathieu/Neal
Balkowitsch/MAX
Ultimate Food+*
Rebecca and Nathan
Milikowsky*
National Endowment for
the Arts
National Corporate
Theatre Fund
Theatre
Communications
Group
Trust for Mutual
Understanding
Donald and Susan
Ware*
$10,000–$24,999
Bank of America
Philanthropic
Management
Page Bingham and Jim
Anathan*
The Boston Foundation
Boston Investor
Services*
Ted and Joan Cutler
Étant Donnés
Michael G. Feinstein
and Denise Waldron
Google, Inc.+
Merrill and Charles
Gottesman
Barbara and Steve
Grossman
Barbara W. Hostetter
The Roy A. Hunt
Foundation
Michael and Wanda
Jacobson*
Glenn A. KnicKrehm
The Robert &
Myra Kraft Family
Foundation, Inc.
Lizbeth and George
Krupp
Kako and Fumi
Matsumoto*
Ward and Lucy Mooney
Office of the Provost,
Harvard University*
Anthony Pangaro
Cokie and Lee Perry
Beth Pollock*
Michael Roitman and
Emily Karstetter
Ed Schein
The Lawrence & Lillian
Solomon Fund, Inc.
Lisbeth Tarlow
The Wallace Foundation
Anonymous*
$5,000–$9,999
Joel and Lisa Alvord
George C. and Hillery
Ballantyne
Boston Beer Company+
Kate and Gerald
Chertavian*
Clarke and Ethel D.
Coggeshall
Constellation Center*
Crystal Capital*
Alan and Suzanne
Dworsky
William Gallagher
Associates*
Matthew Garrity
Barbara Lemperly Grant
and Frederic D. Grant
Joseph W. Hammer
William and Daisy
Helman
Audrey Love Charitable
Foundation
Dr. Henry and Mrs.
Carole Mankin
James C. Marlas
Carl Martignetti
Jackie O’Neill*
Robert J. Orchard
The Bessie E. Pappas
Charitable Foundation,
Inc.
Robert and Janine
Penfield
Polaris Capital
Management, Inc.*
Henry and Nitza
Rosovsky*
Linda U. Sanger*
Cathleen Douglas Stone
and James Stone*
Tony Shalhoub and
Brooke Adams
The Shane Foundation
Anonymous
$2,500–$4,999
Enid Beal
John A. Boyd
Stanley and Peggy
Charren
Kathleen Connor
Philip and Debbie
Edmundson
Hannelore and Jeremy
Grantham
Dena and Felda
Hardymon
The Harvard Coop
Alice Hoffman and Tom
Martin*
Karen Johansen and
Gardner Hendrie
Mary Pfeifer Lentz and
Tom Lentz*
Loro Piana*
Lars Foundation
Wladzia and Paul
McCarthy
Judy and Paul Marshall
Millennium PartnersBoston*
Robert and Jane Morse
The Netherland-America
Foundation, Inc.
Laura Pels Foundation
The Ramsey McCluskey
Family Foundation
The Abbot and Dorothy
H. Stevens Foundation
Caroline Taggart and
Robert Sachs
Wagamama Inc.
Vita Weir and Edward
Brice
Sam Weisman and
Constance McCashin*
Francis H. Williams
Anonymous
$1,200–$2,499
Elizabeth M. Adams
Sheldon Appel
Howard and Leslie
Appleby
Sharyn Bahn
Jeffrey Borenstein
Martha Bradford and
Alfred Ajami
Magdalene Brasch
Ronnie Bretholtz
Jean and Arthur Brooks
Jr.’s kids
Sara and Tim Cabot*
Cambridge Trust
Company
Caroline Chang
Antonia H. Chayes
Ruth Davidson and
Emily Sherwood
Wendy Fox and Al
Larkin
Nicholas Greville
Jonathan Harris
The Kennedy Center
Nancy P. King
Stacey Lee
John D.C. Little
Mary Elizabeth Moore
Bob and Alison
Murchison
Arthur and Merle Nacht
Donors
Finley and Patricia Perry
Renee Rapaporte
Andres Rodriguez
Beatrice Roy
SD&A Teleservices, Inc.
Kay and Jack Shelemay
Michael Shinagel and
Marjorie North
The Sholley Foundation
Marshall Sirvetz
TheatricalProjections.
com
Christopher R. Yens and
Temple V. Gill
Zipcar+
Anonymous
$500–$1,199
Janeen Ault
The Bay State Federal
Savings Charitable
Foundation
William Bazzy
Leonard and Jane
Bernstein
Linda Cabot Black
Mr. and Mrs. William H.
Boardman Jr.
Sheldon and Dorothea
Buckler
Donald Butterfield
Fred and Edith Byron
Stephen Coit
Richard and Dorothy
Cole
Jane and Marvin
Corlette
Pamela Coravos and
Garrett Stuck
Corning Incorporated
Foundation
Nader Darehshori
Discovering Justice
The Foley Hoag
Foundation
Marthe and Robert
Forrester
General Catalyst Group
Management, LLC
Good Frames LLC+
Richard Grubman and
Caroline Mortimer
Homer Hagedorn
Harman Cain Family
Foundation
Rachael and Andrew
Goldfarb
James Gray
Peter and Kitty Griffith
IBM Corporation
Jerry and Margaretta
Hausman
Hurlbut Family
Charitable Lead Trust
David and Meredith
Kantor
Judith Kidd
Gillian and Bill Kohli
Barbara Lee Family
Foundation
Jim and Lisa La Torre
Greg and Mary Beth
Lesher
Michael J. Lutch+
Esther Maletz-Stone
Patricia Cleary Miller
Ph.D.
F. Paul Mooney
NSTAR Foundation
Carol and Steve Pieper
Sally C. Reid and John
D. Sigel
Judy and David
Rosenthal
Kim and Fernando
Salazar
Alan Savenor
Valya and Robert
Shapiro
Wendy Shattuck and
Samuel Plimpton
Jacqueline A. Simon
Robert Skenderian
Somerled Charitable
Foundation
Julie Taymor
The Joseph W. and
Faith K. Tiberio
Charitable Foundation
Jean Walsh and
Graham Davies
Mindee Wasserman,
Esq.
Ruth and Harry
Wechsler
Peter and Dyann Wirth
Anonymous
$250–$499
Rena and Walter
Abelmann
Nancy and Mark
Angney
Dr. and Mrs. Ronald
Arky
Sarah Baker and Tim
Albright
Janet and Arthur Banks
Dr. Robert Barbieri
Sue Beebee and Joe
Gagné
Abigail Beutler
Peter Bien
Susan Block and Andy
Billings
Catherine Bird
Joseph Blatt and Leda
Zimmerman
Thomas B. Bracken
Robert and Maria
Bradley
Jacqueline Brown
Corporate Ink Public
Relations
Liz Coxe and Dave
Forney
Frederica Cushman
Beatrice and Anirudh
Dhebar
Suzanne Dion
Mark Drews
Timothy E. Driscoll
Linda and William
Faiella
Charles Flowers
Donald and Marjorie
Forté
Robert and Kathleen
Garner
R. Harold GarrettGoodyear
Christine and Michael
Garrity
Arthur and Younghee
Geltzer
Susan Glassman
Helen Glikman
David Golan and Laura
Green
Dr. Jeffrey and Laurie
Goldbarg
Randy and Stephen
Goldberger
Ellen and Richard
Grossman
Margaret and Timothy
Heitz
Stefaan Heyvaert
Helene B. Black
Charitable Foundation
George Heller and Laura
Wilson Heller
Dr. Earl Hellerstein
Sandra S. Henderson
Petie Hilsinger Fund
Alison M. Hodges and
Thomas F. Clarke
Robert W. Hopkins
Fred and Caroline
Hoppin
Belinda Juran and Evan
Schapiro
Eleanor Kafalas
Jane and Dan Katims
Paul V. Kelly
Jeanne and Allen
Krieger
Ruth B. Kundsin
Bill and Lisa Laskin
Drs. Mortimer and
Charlotte Litt
Stephen and Jane Lorch
Lorraine Lyman
Gregory Maguire
Barbara A. Manzolillo
Jane and Thomas
Martin
Dr. Joseph B. Martin
Douglas Bruce McHenry
Larry McMaster
Jane N. Morningstar
Roderick and Joan
Nordell
Elizabeth and Eric
Nordgren
Carolyn G. Robins
Suzanne Ogden and
Peter Rogers
Carmel and Peter
O’Reilly
Joan H. Parker and
Robert Parker
Nicholas Patterson
Drs. Hilda and Max
Perlitsh
Suzanne Priebatsch
Paul and Anna Maria
Radvany
Theresa Regli and Thor
Iverson
Vicky Robson
Patricia Romeo-Gilbert
and Paul B. Gilbert
Civia and Irwin
Rosenberg
Kim and Fernando
Tom Slavin
George Smith
Rina Spence and Gary
Countryman
The Spencer Foundation
Katharine Sterling
Wendell Sykes
Thomas Tarpey
Betty Taymor
Mark Thurber and
Susan Galli
Margaret Ulrich-Nims
and Charlie Nims
Donna Wainwright
Ioannis Yannas
William Zinn and Nancy
Bridges
Dr. Stephen H. Zinner
Donors
Anonymous
+denotes gift-in-kind
* includes gala
sponsorship
Corporate Partners
The A.R.T. would like
to thank the following
Corporate Partners
for their support
during the current
season. Corporate
partners provide
invaluable in-kind
and monetary support
for the programs of
the A.R.T. For more
information please
call Joan Moynagh,
Director of Institutional
Giving and Strategic
Partnerships @
617-496-2000x8842.
Boston Beer Company
The Bay State Banner
The Boston Globe
The Boston Phoenix
Google Inc.
The Harvard Coop
The Harvest Restaurant
MAX Ultimate Food
Michael J. Lutch
Photography
Newbury Comics
Sandrine’s Restaurant
TheatricalProjections.
com
Wagamama Inc.
The Weekly Dig
Zipcar
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
Committees
$5,000 or more to
National Corporate
Theatre Fund:
Altria Group, Inc.
AT&T
Bingham McCutchen
Bloomberg
Bristol Myers Squibb
James Buckley
Steven Bunson
Robert Cagnazzi
Christopher Campbell
Jason and Marla
Chandler
Clear Channel
Cisco Systems, Inc.
Citi
Citi Private Bank
Colgate-Palmolive
Company
Credit Suisse Dorsey &
Whitney Foundation
Dramatists Play
Service,
Inc.
Ernst & Young
Goldman, Sachs &
Company
HIRECounsel
IMG
JP Morgan Chase
KPMG
Lehman Brothers
Marsh & McLennan
Companies, Inc.
McCarter & English LLP
Merrill Lynch & Co.
MetLife
Morgan Stanley
National Endowment for
the Arts
Newsweek New York
State Council on the
Arts
Ogilvy & Mather New
York
Pfizer, Inc.
Thomas Quick
Seinfeld Family
Foundation
Sharp Electronics*
George Smith
Theatermania
James S. Turley
UBS
Verizon
Communications
Willkie Farr & Gallagher
LLP
American Repertory Theater
National Advisory Committee
Donald and Lucy Beldock
Alexandra Loeb Driscoll
Ronald Dworkin
Wendy Gimbel
Stephen and Kathy
Graham
Kay Kendall
Robert and Rona Kiley
Rocco Landesman
Wilee 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
Daniel Selznick
Rose Styron
Mike and Mary Wallace
Seth Weingarten
Byron Wien
William Zabel
American Repertory Theater Honorary Board
JoAnne Akalaitis
Laurie Anderson
Rubèn Blades
Claire Bloom
William Bolcom
Carmen de Lavallade
Brian Dennehy
Christopher Durang
Carlos Fuentes
Philip Glass
Andrè Gregory
Mrs. John Hersey
Geoffrey Holder
Arliss Howard
Albert Innaurato
John Irving
Anne Jackson and Eli
Wallach
James Lapine
Linda Lavin
Jonathan Miller
Kate Nelligan
Andrei Serban
John Shea
Talia Shire
Meryl Streep
Rose Styron
Lily Tomlin
Christopher Walken
Mike and Mary Wallace
Sam Waterston
Robert Wilson
Debra Winger
Frederick Wiseman
Staff
Diane Paulus Artistic Director
Robert J. Orchard Executive Director
Artistic
Scott Zigler Director, A.R.T. Institute
Jeremy Geidt Senior Actor
Marcus Stern Associate Director
Chris De Camillis Artistic Coordinator
Arthur Holmberg Literary Director
Nancy Houfek Voice and Speech Coach
Ryan McKittrick Associate Dramaturg
David Wheeler Associate Artist
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
Ari Barbanell Artistic Associate / Executive Assistant
Alexander Popov Moscow Program Consultant
Box Office
Derek Mueller Box Office Manager
Ryan Walsh Box Office Manager
Karen Snyder Box Office Representative
Costumes
Jeannette Hawley Costume Shop Manager
Hilary Gately Assistant Costume Shop Manager
Karen Eister Head Draper
Carmel Dundon Draper
Tova Moreno Stitcher
David Israel Reynoso Crafts Artisan
Stephen Drueke Wardrobe Supervisor
Suzanne Kadiff Costume Stock Manager
Development
Erica DeRosa Director of Development
Sue Beebee Assistant Director of Development
Jan Graham Geidt Coordinator of Special Projects
Joan Moynagh Director of Institutional Giving and
Strategic Partnerships
Julia Propp Development Associate
Lights
Derek L. Wiles Master Electrician
Kenneth Helvig Lighting Assistant
David Oppenheimer Light Board Operator
Publicity, Marketing, Publications
Ruth Davidson Director of Communications and
Marketing
Katalin Mitchell Director of Press and Public Relations
Kerry Israel Audience Development Manager
Amanda Gutowski Communications Manager
Jose Nieto Design Consultant
Blitz Media Advertising Consultant
Public Services
Erin Wood Theatre Operations Coordinator
Maria Medeiros Receptionist
Sarah Leon Receptionist
Gideon Lester Director 08/09 Season
Robert Brustein Founding Director
Killian Clarke House Manager
Gretjen Hargesheimer House Manager
Michael Haviland House Manager
Heather Quick House Manager
Matthew Spano House Manager
Cheryl Turski House Manager
Matt Wood House Manager
Barbara Lindstrom Volunteer Usher Coordinator
Production
Patricia Quinlan Production Manager
Christopher Viklund Associate Production Manager
Skip Curtiss Associate Production Manager
J. Michael Griggs Loeb Technical Director
Garrett Herzig Zero Arrow House Technician
Properties
Cynthia Lee Properties Manager
Tricia Green Assistant Properties Manager
Stacey Horne Properties Carpenter
Scenery
Stephen Setterlun Technical Director
Emily W. Leue Assistant Technical Director
Alexia Muhlsteff Assistant Technical Director
Gerard P. Vogt Scenic Charge Artist
James Williston Scene Shop Supervisor
Peter Doucette Master Carpenter
York-Andreas Paris Scenic Carpenter
Jason Bryant Scenic Carpenter
David Buckler Scenic Carpenter
Sound
David Remedios Resident Sound Designer / Engineer
Katrina McGuire Production Sound Engineer
Stage
Joe Stoltman Stage Supervisor
Jeremie Lozier Assistant Stage Supervisor
Christopher Eschenbach Production Assistant
Kevin Klein Production Assistant
Matthew Sebastian Production Assistant
Stage Management
Christopher De Camillis Resident Stage Manager
Katherine Shea Stage Manager
Amanda Robbins-Butcher Assistant Stage Manager
Carolyn Boyd Production Associate
Elizabeth Bouchard Institute Stage Manager
______________________________
Internships
Sara Bookin-Weiner Dramaturgy
Kyle Carlson Stage Management
Adriana Colón Administration
Vanda Gyuris Administration
Emily Hyman Administration
Jesse Victoria Meadow Marketing
Emily Hecht Marketing
Julia Renaud Administration
James Wetzel Development
Institute
A.R.T./MXAT INSTITUTE
FOR ADVANCED THEATER TRAINING
Scott Zigler, Director
Julia Smeliansky, Administrative Director
Marcus Stern, Associate Director
Nancy Houfek, Head of Voice and Speech
Andrei Droznin, Head of Movement
AMERICAN REPERTORY THEATER
Diane Paulus, Artistic Director Robert J. Orchard, Executive Director
Gideon Lester, Director, 08/09 Season
MOSCOW ART THEATER
MOSCOW ART THEATER SCHOOL
Oleg Tabakov, Artistic Director
Anatoly Smeliansky, Head
The Institute for Advanced Theater Training at Harvard was established in 1987 by the American Repertory Theater (A.R.T.) as a training ground for the American theater. Its programs are fully integrated with the
activities of the A.R.T. In the summer of 1998 the Institute commenced a historic joint program with the
Moscow Art Theater (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. 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 Theater and an M.F.A. Degree
from the faculty of the Moscow Art Theater School.
Further information about this new program can be obtained by calling the Institute for a free catalog at
(617) 496-2000 or going to our web site at www.americanrepertorytheater.org.
Faculty
Robert Brustein
Erin Cooney
Carey Dawson
Thomas Derrah
Elena Doujnikova
Andrei Droznin
Tanya Gassel
Jeremy Geidt
Arthur Holmberg
Nancy Houfek
Roman Kozak
Will LeBow
Gideon Lester
Karen MacDonald
Alexandre Marin
Ryan McKittrick
Jeff Morrison
Pamela Murray
Lori O’Doherty
Robert J. Orchard
Robert Scanlan
Andrei Shchukin
Anatoly Smeliansky
Julia Smeliansky
Marcus Stern
Oleg Tabakov
Tommy Thompson
Robert Walsh
Scott Zigler
Criticism and Dramaturgy
Yoga
Voice and Speech
Acting
Movement
Movement
Russian Language
Acting
Theatre History and Dramaturgy
Voice and Speech
Acting and Directing
Acting
Dramaturgy
Acting
Acting and Directing
Dramatic Literature and Dramaturgy
Voice
Singing
Yoga
Theatre Management
Dramatic Literature
Movement
Theatre History and Dramaturgy
History and Practice of Set Design
Acting and Directing
Acting
Alexander Technique
Combat
Acting, Directing, and Dramaturgy
Staff
Christopher Viklund Production Manager
Angela Paquin Financial Aid Officer
Actors
Emily Alpren
Renzo Ampuero
Jason Beaubien
Kaaron Briscoe
Sheila Carrasco
Doug Chapman
Shawn Cody
Tim Eliot
Anthony Gaskins
Heather Gordon
Kelley Green
Carl Foreman
Susannah Hoffman
Manoel Hudec
Nina Kassa
Ian Kerch
Scott Lyman
Jacob Martin
Careena Melia
Paul Murillo
Skye Nöel
\Cameron Oro
Laura Parker
Therese Plaehn
Anna Rahn
Richard Scott
James Senti
Charles Settles, Jr.
Lisette Silva
Josh Stamell
Roger K. Stewart
Lindsay Strachan
Chudney Sykes
Rebecca Whitehurst
Dramaturgs
Sean Bartley
Marshall Botvinick
Whitney Eggers
Beck Holden
Katie Mallinson
Heidi Nelson
Lynde Rosario
Brendan Shea
Paul Stacey
Voice
Julie Foh
Jane Guyer
ARTifacts
617.547.8300 | www.americanrepertorytheater.org
individual ticket prices
Day Section
Loeb
box office hours
Zero Arrow
Fri / Sat evenings
A
B
$79
$56
$52
All other performances
A
B
$68
$39
$39
$25 $25
HOT DATES rear
sides
curtain times
Tue/Wed/Thu/Sun evenings Friday/Saturday evenings Saturday/Sunday matinees • LOEB DRAMA CENTER
Tuesday–Sunday
noon–5 pm
Monday
closed
Performance days open until curtain
• ZERO ARROW THEATRE
box office opens one hour before curtain
exchanges
• Season ticket holders can change to any
other performance free of charge
7:30 pm
8:00 pm
2:00 pm
• SINGLE TICKET BUYERS can exchange
for a transaction fee of $10
playback
Post-show discussions after all Saturday
matinees. All ticket holders welcome.
special series
designed for socializing:
• UNDER 35 bar open 2-hours before
selected Thursday performances: 5/14.
• OUT@ART includes playback discussion,
bar open late for mingling at select Friday
performances: 5/22.
discount parking
• LOEB STAGE Have your ticket stub
stamped at the reception desk when
you attend a performance and receive
discounts at the University Place Garage
or The Charles Hotel Garage.
• ZERO ARROW THEATRE Discount parking is available at the Harvard University
lot at 1033 Mass. Ave. (entrance on
Ellery Street). For more information go to
www.amrep.org/venues/zarrow/
Order your tickets today!
617.547.8300 | www.americanrepertorytheater.org
Sun Mon Tues Wed Thurs
Sat
Fri MAY 9 HOT
2009
ROM
10
11
17 HOT
18
24
25
ROM
ROM
12 HOT
ROM
19
ROM
26
ROM
p
31 ROM t JUNE 1
ROM, SF
8
7 ROM
ROM
ROM
14
15
21
22
28
29
SPC
SPC
SPC
2
13
14
ROM
ROM
20
21
ROM
27
ROM
3
u
p
ROM
ROM, SF
9
10
16
17
28
ROM
ROM
29
ROM, SF
ROM, SF
ROM, SF
4
11
5
12
23 13
SPC
SPC
18
19
20
SPC
SPC
SPC
24
25
26
SPC
SPC
t
ROM t
30 ROM t
ROM, SF
6 ROM t
ROM, SF
SPC
23
SPC
o,t
p
SPC
SPC
ROM
ROM
22
ROM
16
15 HOT
SPC
ROM Romance
SF Seriously Funny
SPC Sexual Perversity in Chicago and
Duck Variations
p
t
o
u
Preplay discussion
Talkback discussion
Out at A.R.T.
Under 35 Night
Daytime show (2 p.m. unless
otherwise marked)
Evening show (Fri & Sat 8 p.m.,
Sun–Thu 7:30 p.m. unless marked)
27
SPC
30
HOT Hot Dates: limited $25 tickets
available at rear and sides of
the theatre.
Dates and times subject to change. Please see www.americanrepertorytheater.org/mamet for the most up-to-date calendar.
American Repertory Theater
64 Brattle Street, Cambridge, MA 02138