by Ödön von Horváth - PICT Pittsburgh`s Classic Theatre

PITTSBURGH IRISH & CLASSICAL THEATRE
Ödön von Horváth
in a new version by Duncan Macmillan
by
August 8-31, 2013
The Henry Heymann Theatre
The hilarious
whodunit from
the madcap mind
of McDonagh —
complete with
flying skulls!
Pittsburgh Irish & Classical Theatre
presents
Don Juan Comes Back
From the War
Ödön von Horváth
in a new version by Duncan Macmillan
Directed by Alan Stanford
by
David Whalen*
Nike Doukas*
Melinda Helfrich*
Karen Baum*
Lissa Brennan
Catherine Moore*
Gayle Pazerski
Don Juan
Woman 5 / Matron / Mother
Woman 3 / Nurse 4 / Nun 3 / Prostitute 2
Woman 4 / Nurse 1 / Girl
Woman 1 / Nurse 2 / Nun 1 / Prostitute 1
Landlady / Woman with Knife / Abbess
Woman 2 / Nurse 3 / Nun 2 / Young Woman
Scenic Designer
Narelle Sissons
Lighting Designer
Allen Hahn
Costume Designer
Narelle Sissons
Sound Designer
Joe Pino
Production Manager
Gianni Downs
Technical Director
Aaron Bollinger
Props Master
Johnmichael Bohach
Stage Manager
Cory F. Goddard*
Scenic Charge Artist
Jennifer Kirkpatrick
Assistant Stage Manager
Jessica Wasserlauf
Master Electrician
Madeleine Steineck
Assistant Costume Designer
Ali Roush
Assistant Sound Designer
Rebecca Stoll
By Martin McDonagh A Pittsburgh Premiere
September 11–28 Directed by Martin Giles
The Charity Randall Theatre in the Stephen Foster Memorial, Oakland
Note: Strong language and situations.
Tickets at picttheatre.org or call 412.561.6000 x207
T H E A T R E
Professional
Theatre in
Residence at
the University
of Pittsburgh
Don Juan Comes Back From the War is produced by special arrangement with The Gersh
Agency, 41 Madison Ave., 33rd Floor, New York, NY 10010.
Don Juan Comes Back From the War was first performed at the Finborough Theatre,
London. Neil McPherson, Artistic Director, February 28, 2012.
PLEASE NOTE: The video and/or audio recording of any of the performances in Don Juan
Comes Back From the War by any means whatsoever is strictly prohibited.
This production runs approximately 1 hour and
40 minutes with no intermission.
*Member of Actors’ Equity Association,
the Union of Professional Actors and
Stage Managers in the United States.
Don Juan Comes Back From the War Production Staff/Crew
Assistant Stage Manager.....................................Jessica Wasserlauf
Asst. Technical Directors.....................................Jacob Rothermel, Luke Foco
Asst. Master Electrician......................................Duncan Lynch
Light Board Operator.........................................Regina Tvaruzek
Sound Engineer...................................................Stephen Tipton
Sound Board Operator........................................Stephen Tipton
Electrician...........................................................Scott Conklin, Madeleine Steineck
Carpenter............................................................Vincent Lobello
Wardrobe.............................................................Ali Roush
Apprentices in Stage Management......................Stephen Brakey
Apprentices in Electrics.......................................Douglas Roberts, Regina Tvaruzek
Intern in Painting................................................Natalie Flango
Intern in Properties.............................................Pia Marchetti
Education Consultants........................................Mimi Botkin, Mona Rush
Dramaturg...........................................................Emily Anne Gibson
Box Office...........................................................Helen Radkoff
Volunteers in Production.....................................Peter Landwehr
would like to thank
our 2013 Media Sponsors!
Special Thanks
Bob & Mary Ann Wittig, Sara Steelman, Peter Landwehr, C. Todd Brown, Holly
Koenig, Tony Ferrieri, Jon Ward, Nick Wright, Carnegie Mellon School of Drama,
Point Park Playhouse, Prime Stage Theatre, Pitt Repertory Theatre.
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About the Playwright - Ödön von Horváth
About the Playwright - Ödön von Horváth
Edmund Josef von Horváth (9 December 1901
Sušak, Rijeka, then in Austria–Hungary, now
in Croatia - 1 June 1938 Paris) was an AustroHungarian playwright and novelist who wrote
in German. He preferred the Hungarian version of his first name and published as Ödön
von Horváth.
Important topics in Horváth’s works were popular culture, politics and history. He
especially tried to warn of the dawn of fascism and its dangers. Among Horváth’s
most enduringly popular works, Jugend ohne Gott (Youth Without God) describes the
youth in Nazi Germany from a disgruntled teacher’s point of view. The teacher, at
first an opportunist, is helpless against the racist and militaristic Nazi propaganda
that his pupils are subjected to and that de-humanizes them. At last, the teacher
loses his job but gains his identity.
Horváth was the oldest son of the AustroHungarian diplomat of Hungarian origin
from Slavonia. Dr. Edmund (Ödön) Josef
Horvát and Maria Lulu Hermine (Prehnal)
Horvát, who was from an Austro-Hungarian
military family.
Source: en.wikipedia.org - Ödön
From 1908 he attended elementary school in
Budapest and later the Rákóczianum, where
he was educated in Hungarian. In 1909, his father was ennobled (indicated in
German by the preposition “von”, and in Hungarian by an additional “h” at the
end of the last name) and assigned to Munich, but Ödön and his mother did
not accompany him. The young Horváth went to high school in Bratislava and
Vienna, where he was taught German - this not being his native tongue - beginning in 1913, and where he also earned his Matura (high school diploma), before
finally re-joining his parents at Murnau am Staffelsee, near Munich, where, from
1919, he studied at the Ludwig Maximilians University.
He started writing as a student in 1920. Quitting university without a degree
in early 1922, he moved to Berlin. Later, he lived in Salzburg and Murnau am
Staffelsee in Upper Bavaria. In 1931, he was awarded, along with Erik Reger,
the Kleist Prize. In 1933, at the beginning of the Nazi regime in Germany,
he relocated to Vienna. Following Austria’s Anschluss with Germany in 1938,
Horváth emigrated to Paris.
Ödön von Horváth was hit by a falling branch from a tree and killed during a
thunderstorm on the Champs-Élysées in Paris, opposite the Théâtre Marigny,
in June 1938. The irony of it: Only a few days earlier, von Horváth had said to
a friend: “I am not so afraid of the Nazis … There are worse things one can be
afraid of, namely things one is afraid of without knowing why. For instance, I
am afraid of streets. Roads can be hostile to one, can destroy one. Streets scare
me.” [1] And a few years earlier, von Horvath had written poetry about lightning:
“Yes, thunder, that it can do. And bolt and storm. Terror and destruction.”[2]
von Horváth.
[1] Dieter Hildebrand, Ödön von Horváth. (Reinbeck: Rororo, 1985).
[2] Traugott Krischke, Ödön von Horvath: Kind seiner Zeit. (Munich: Heyne Verlag, 1985).
About the Playwright - Duncan Macmillan
Duncan Macmillan is an award-winning
playwright and director. His play Lungs was
produced in a rolling world premiere at the
Studio Theatre, Washington DC (nominated
as Outstanding New Play at the Helen
Hayes Awards) and Paines Plough/Sheffield
Theatres in the UK (winner of Best New Play
at the ‘Off West End Awards’ and nominated
for Best New Play at the Theatre UK
Awards). The play has had many productions
in the US and internationally, with upcoming
productions in Stockholm, Buenos Aires,
Chicago, Toronto, Copenhagen, Palma,
Sydney and at the Schaubühne in Berlin,
directed by Katie Mitchell. Other work
includes Reise Durch Die Nacht, adapt.
Friederike Mayröcker (created with Katie Mitchell and Lyndsey Turner,
Schauspielhaus Köln, selected for Theatertreffen and the Avignon Festival);
Every Brilliant Thing (Paines Plough/Pentabus), Don Juan Comes Back from the
War, adapt. Ödön von Horváth (Finborough Theatre/National Theatre Studio);
Monster (Royal Exchange/Manchester International Festival – winner of two
Bruntwood Prizes for Playwriting); The Most Humane Way to Kill a Lobster
(Theatre 503); Sleeve Notes (various); Eugene Onegin, The Forbidden, I Wish to
Apologise for My Part in the Apocalypse, So Say All of Us, Lungs, and Family Tree
(all BBC Radio). Formerly writer-in residence at Paines Plough and Manchester
Royal Exchange, Duncan is currently on attachment at Soho Theatre and is
under commission to the Royal National Theatre and the Vienna Burgtheater.
He is also writing new plays for BBC Radio 3 and 4 and a film for BBC.
The Setting of the Play
This play takes place in Berlin in the aftermath of the Great War, or World War I.
Don Juan Comes Back from the War Acting Company
Karen Baum* (Woman 4 / Nurse 1 / Girl) is honored to return
for her 4th show with PICT (King Lear; Boston Marriage; The
Shaughraun). A Point Park BFA graduate, local theater credits
include Saint Vincent Summer Theatre (The Nerd; Too Many
Cooks; Almost, Main; Suite Surrender; Taking Steps; Be My Baby),
Pittsburgh Public (Amadeus), Playhouse REP (Hamlet; Halcyon
Days; Knights of the Round Table; Riddley Walker; Ithaka), Off The
Wall (Looking for the Pony; Shaken&Stirred; Shining City; Stop,
Kiss), UnSeam’d Shakespeare (Out of This Furnace; Nina Variations;
Lion in Winter; The Blue Room; SHREW; Othello; The Winter’s Tale),
NoName Players (Reasons to be Pretty), Bricolage, Squonk Opera, Pitt’s Shakespeare in the
Schools, and CMU Interactive (Pittsburgh and Chicago). Regional includes Public Theater
of Kentucky (Crimes of the Heart), Theatre54 NYC and Chicago venues. A SAG-AFTRA
member, her favorite film credits include Promised Land, The Road, My Bloody Valentine 3D,
KillPoint, The War That Made America, the TV pilot series Ghosthunters, PSI, and A Fancy Piece
of Homicide (2014). In addition, she teaches for the Pittsburgh Public, Civic Light Opera
and Hope Academy. Thanks to this inspiring team of artists and to my family.
Lissa Brennan (Woman 1 / Nurse 2 / Nun 1 / Prostitute 1) is a
local actor, director, teacher and playwright who has worked all over
the world but likes Pittsburgh best- working with barebones, the
University of Pittsburgh, Quantum, Bricolage and her own Dog &
Pony Show. Previous work with PICT includes In the Next Room
(or the vibrator play), the Beckett Festival, and Salome.
Nike Doukas* (Woman 5 / Matron / Mother) most recently
starred as Mrs. Erlynne in PICT’s Lady Windermere’s Fan. In 2012,
she played Celimene in The School for Lies, and for PICT’s Chekhov
Celebration, she appeared as Olga in Three Sisters, Anna in Ivanov,
and Popova in The Bear, as well as directing The Proposal. Previous
productions at PICT: House and Garden, Betrayal, Celebration, and
An Ideal Husband. Other regional credits include South Coast
Repertory Theatre, The Mark Taper Forum, The Old Globe, The
Pasadena Playhouse, Shakespeare Festival LA, Berkeley Repertory
Theatre, The American Conservatory Theatre, A Contemporary
Theatre, Shakespeare Santa Cruz, and The Berkeley Shakespeare Festival. Television credits
include a recurring role on Desperate Housewives. She has an MFA from The American
Conservatory Theatre and is a recipient of the 2011 Lunt Fontanne Fellowship.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
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Don Juan Comes Back From the War Acting Company
Melinda Helfrich* (Woman 3 / Nurse 4/ Nun 3 /Prostitute 2)
is thrilled to be back at PICT, having last joined the company as
Mrs. Daldry in In the Next Room (or the vibrator play). A native
of Pittsburgh, Melinda has most recently appeared as Duck
Macatarsney in The Monster in the Hall (City Theatre), and as
Sanelma Kayramo in The Howling Miller (Quantum Theatre).
She has also performed the title role in Yerma (Quantum Theatre),
and as Elizabeth in Jeffrey Hatcher’s Dr. Jekyll and Mr. Hyde (City
Theatre). In New York she has appeared as Betty in You May Go
Now (Bable Theatre Project), Mathilde in Penknife (The Living
Theatre), and as Henry V in 2girls>henry5 (IRT). Other favorite roles include the title role
in Sarah Ruhl’s Eurydice (The Alliance Theatre, GA) and the ensemble piece Confluence (The
Guthrie Theatre, MN).
Catherine Moore* (Landlady / Woman with Knife / Abbess) has
performed with PICT since 2001 in Portia Coughlin, Tonight at
8:30, The Seagull, the PICT Ireland tour of Faith Healer, BeckettFest,
Julius Caesar, Salome, and Jane Eyre. She was last seen in Pittsburgh
in the Quantum Theatre production of Golden Dragon. As a Fight
Choreographer, her work has been seen at PICT, City Theatre,
and Pittsburgh Opera. Regional theatre credits include: Alabama
Shakespeare Festival, Cincinnati Playhouse in the Park, Indiana
Repertory Theatre, and Human Race Theatre Company. She has
written and performed narrations for Young People’s Concerts with
the Cincinnati, Chicago, and Boston Symphony Orchestras, the narration for a concert version
of Carmen for the Milwaukee Symphony, and a concert based on the letters of Johannes
Brahms and Clara Schumann for Canada’s Orchestra du Centre National des Arts. She is
an Associate Teaching Professor at the Carnegie Mellon University School of Drama.
Gayle Pazerski (Woman 2 / Nurse 3 / Nun 2 / Young Woman) has
a BFA in Theatre from the University of Kentucky and studied in
the graduate acting program at Rutgers University under William
Esper. Favorite roles include Chantalle in Chicks with Dicks
(Bricolage), Liz in The Book of Liz (No Name Players), and Sarah
in The End of the Affair (Quantum). As a playwright, Gayle’s work
has been featured with Bricolage’s Midnight Radio series, No Name
Players’ SWAN Day, Organic Theater Pittsburgh, and the Future
Ten 10-minute play festival. She is thrilled to be making her PICT
debut in Don Juan.
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*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
13-02712 City Theatre 6x9_B&W_GYM.indd 1
3/20/13 4:25 PM
Don Juan Comes Back From the War Acting Co./Artistic Staff
David Whalen* (Don Juan) is marking his eighth season with
PICT. He will also be reprising the title role in Sherlock Homes &
The Crucifer of Blood. His previous appearance as Holmes was in
2011 in The Mask of Moriarty, PICT’s highest revenue-generating
show ever. Among his 20 performances for the company, favorites
include the Chekhov Celebration, Pinter Festival, Julius Caesar,
Stuff Happens, Doubt, Salome, King Lear and Pride and Prejudice.
Additional Pittsburgh stage credits include Good People, God of
Carnage, As You Like It, The Royal Family, Elektra (Pittsburgh Public
Theater); The Monster in the Hall, Opus, The Morini Strad, and Speak
American (City Theatre); Cymbeline (Quantum); and August: Osage County (The Rep) and he
directed Take Me Out for barebones productions. In 2012, he was named the MVP Performer
by the Pittsburgh Post-Gazette as well as being recognized as Performer of the Year for
2007. He played Claudius in Hamlet at the Folger Theatre (Helen Hayes Award 2010 Best
Production). In 2009, he won the Kevin Kline Award for Best Actor for The Lieutenance of
Inishmore at the Repertory Theatre of St. Louis, a role he previously played for PICT. He
has appeared across the country and in Europe in productions at The Roundabout, South
Coast Rep, Alley Theatre, Philadelphia Theatre Company, Arden Theatre, Hartford Stage,
Center Stage, Laguna Playhouse, Peoples Light & Theatre, Venice’s Bienalle Festival, and
Playmakers Rep, among others. Some of his TV and film credits include The Legion (now
filming), Jack Reacher, 61*, Black Dahlia, Without Warning, Three Rivers, All My Children, and
The Guiding Light. Next up: the world premiere of Tammy Ryan’s Soldier’s Heart at The REP.
Johnmichael Bohach (Props Master) is on staff at the University of Pittsburgh as Pitt
Repertory Theatre’s prop shop supervisor as well as the props coordinator at the Pittsburgh
Opera. He also works locally with Prime Stage Theatre, Microscopic Opera, Pittsburgh CLO,
Carnegie Mellon’s School of Music and Drama, Renaissance City Choirs, and Stagedoor
Manor of Loch Sheldrake, NY in capacities including scenic design, props, and scenic painting.
Select design credits include The Great Gatsby, Fahrenheit 451, The Elephant Man, The Glass
Menagerie (Prime Stage), Riders to the Sea, Lizbeth, Three Decembers (Microscopic Opera),
and Dido and Aeneas (Renaissance City Choirs). Johnmichael is a graduate of the University
of Pittsburgh with BAs in theatre arts and architectural studies. www.jmbsetdesigns.com
Aaron Bollinger (Technical Director) is also the head of technical theatre at Point Park
University in Pittsburgh. He is an MFA graduate of Yale School of Drama’s technical design
and production department. Previously, Aaron was assistant professor of technical production
at FSU’s School of Theatre. His research focuses on efficiency of use and design of dynamic
scenery, both projected and automated. His research and work has given him the opportunity
to hold many unique positions: database designer for Spiderman-Turn off the Dark’s immense
automated scenic design on Broadway; draftsman as a subcontractor for The Lion King’s Pride
Rock built by Hudson Scenic; production manager and technical director for Pennsylvania
Shakespeare Festival; illustrator for the books Control Systems for Live Entertainment: Third
edition and Show Networks and Control Systems by John Huntington; video/media supervisor
for the Arts + Ideas Festival in New Haven, CT; assistant technical director at Elon University,
Maine State Music Theatre, and Orlando Shakespeare Festival; and many other positions.
He would like to thank his wife, son, and daughter for their support and patience.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
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PITTSBURGH IRISH & CLASSICAL THEATRE
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Our Class
The Kreutzer Sonata
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Don Juan Comes Back From the War
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Don Juan Comes Back From the War Artistic Staff
Gianni Downs (Production Manager/Resident Scenic Designer) is pleased to be
returning to PICT for his eighth season to design Our Class, The Kreutzer Sonata, and
A Skull in Connemara. While in Pittsburgh, he has designed over 45 plays for PICT,
including House & Garden, Race, Pinter Celebration, Crime and Punishment, The History
Boys, The Lieutenant of Inishmore, Playboy of the Western World, and The Mask of Moriarty.
Regionally, he has had the pleasure of designing for The Repertory Theatre of Saint Louis,
Merrimack Repertory Theatre, City Theatre, Prime Stage Theatre, The Stoneham Theatre,
and the Point Park Playhouse REP among others. Gianni is the recipient of a Kevin
Kline Award in Excellence in Scenic Design for In the Next Room or the vibrator play and
has been nominated for Crime and Punishment and The Lieutenant of Inishmore, as well
as a nomination for an Independent Reviewers of New England Award for Stoneham
Theatre’s The Dazzle. Academically, Gianni received an MFA from Brandeis University,
taught at Point Park University, served as a member of the special faculty in scenic design
at the Carnegie Mellon University School of Drama, was an assistant professor of theatre
at Westminster College, and will be joining the faculty of the University of Pittsburgh in
the fall. His portfolio can be viewed online at www.giannidesigns.net.
Cory F. Goddard* (Production Stage Manager) is in his ninth season with PICT. A
graduate of Baldwin-Wallace College in Cleveland, he is happy to call Pittsburgh his home
now. Cleveland area stage management credits include Parade, The Laramie Project, The 24Hour Theatre Project, Grey Gardens, and the non-Equity premieres of Brooklyn, Phantom of
the Opera, and [title of show]. In Pittsburgh his credits include Neighborhood 3: Requisition
of Doom for Bricolage and August: Osage County for The REP. Past PICT credits include
BeckettFest, the Synge Cycle, the Pinter Celebration, the Chekhov Celebration, Heartbreak
House, Othello, House & Garden, Antony and Cleopatra, The Lieutenant of Inishmore, Jane Eyre,
The History Boys, Doubt, In the Next Room or the vibrator play, Stones in his Pockets, Private
Lives, Stuff Happens, Boston Marriage, Our Class, The Kreutzer Sonata, Lady Windermere’s
Fan, and Salome. He would like to thank Alan, Rebekah, Vicky, Jo, Alicia, Phill, Liz, The
Wetness, and Gianni.
Allen Hahn (Lighting Design) Recent credits include Henry V (Two River-Red Bank, NJ),
Under the Whaleback (Wilma Theatre), Bluebeard’s Castle (Opera Omaha) and the world
premiere of choreographer Pauline Jennings’ [Radical] Signs of Life (EMPAC-Troy NY).
Allen returns to PICT after designing last year’s Chekhov Celebration. He is a founding
member of The Builders Association, a NY-based theatre company, and has worked
with artist Tony Oursler on installations at the Metropolitan Museum of Art and ARoS
Kunstmuseum in Denmark. He has designed productions at City Opera, Santa Fe Opera,
Glimmerglass, and the Spoleto USA and Lincoln Center Festivals, and world premieres at
Juilliard, the Royal Danish Opera, and most recently, the new American musical Sunfish,
in Daegu, South Korea. His work has also been seen in several other European countries
as well as in Hong Kong and Bogota. His designs for several productions were exhibited
in the 2007 Prague Quadrennial and he served as US Lighting Design Curator for the
2011 Quadrennial.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
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Don Juan Comes Back From the War Artistic Staff
Jennifer Kirkpatrick (Scenic Charge Artist) is pleased to be joining PICT for her first
season. She holds a BFA in production design and technology from Ohio University and
has also worked for three seasons as an apprentice with the Santa Fe Opera. She more
recently has worked as scenic charge artist for companies including University of Pittsburgh
Theatre Arts Department, Guiding Star Dance Foundation, Lincoln Park Performing Arts
Center, and CLO Academy, and as scenic artist for GALA Hispanic Theater Company
and West Allegheny High School.
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Joe Pino (Sound Design) has created soundscores for theaters across the USA for the past
30 years. Previous designs at PICT include Othello, Crime and Punishment, Heartbreak
House, and Travesties. Other recent local designs include Dream of Autumn, Golden Dragon
and Mnemonic at Quantum Theatre; Seminar and The 39 Steps at City Theatre Company. In
2007 and 2011, Joe curated the International Theater Soundscore and Music Composition
exhibit for Scenofest at the Prague Quadrennial. He is a member of the theatrical designer
union USA-829, USITT, the OISTAT Sound Design Group and teaches design at
Carnegie Mellon University.
Narelle Sissons (Scenic and Costume Designer) has designed for Broadway (All My
Sons, The Roundabout Theatre) and off-Broadway (original production of How I Learned
To Drive; Stop Kiss; In The Blood; Kit Marlowe; Julius Caesar (NYSF); Little Flower of East
Orange at the Joseph Papp Public Theatre; Mabou Mines Doll House at St Anne’s Warehouse.
Also in NYC many productions with: LAByrinth, Light Box, Playwrights Horizons, New
York Theatre Workshop, Signature Theatre, Epic Theatre Ensemble, Classic Stage Company,
Juilliard and The Women’s Project. Her regional credits include: Quantum Theatre scenic
and costume design, Dream of Autumn; productions for Mark Taper Forum, ACT Seattle,
Seattle Rep, Intiman, Long Wharf, Repertory Theatre of St Louis, Cincinnati Playhouse
in The Park, The Shakespeare Theatre, Trinity Rep, The Round House, Pittsburgh Public
Theatre, City Theatre, PlayMakers and Berkley Rep. Narelle has worked with acclaimed
directors such as: Moises Kaufman, Mladen Kiselov, John Patrick Shanley, John Rando,
Bartlett Sher, Pam MacKinnon and Leigh Silverman. Select international credits include:
Jesus Hopped the A Train, director Philip Seymour Hoffman, West End and NYC; and
Mabou Mines Doll House, director Lee Breuer, US and world tour including the Olso
Festival in Norway; The Syringa Tree, Vienna, Austria and Frankfurt, Germany; No Child at
the Edinburgh Festival. Nominations/awards include Drama Desk, Helen Hayes, American
Theatre Wing, Kevin Kline Award, Back Stage West Award, Elliot Norton Award and
Exhibitor at Prague Quadrennial 2007 and 2011. Narelle is design option co-coordinator
and associate professor at Carnegie Mellon School of Drama. She was trained in London
at Central St. Martins and The Royal College of Art. Next, she will design Clybourne Park
for Dorset Theatre; Tribes for Theatre of Philadelphia and City Theatre; Sokrates at VAT
Theatre in Tallinn, Estonia.
Affiliated with the University of Pittsburgh School of Medicine,
UPMC is ranked among the nation’s top 10 hospitals by U.S. News & World Report.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Don Juan Comes Back From the War Artistic Staff
Alan Stanford (Director) was for the past 30 years a principal director and leading actor with
the renowned Gate Theatre, Dublin. He founded Ireland’s Second Age Theatre. For the past
five years, Alan has been a part of the PICT family and moved to Pittsburgh permanently
two years ago. He most recently directed Lady Windermere’s Fan and The Kreutzer Sonata for
PICT and The School for Scandal for Point Park Conservatory. His previous directing credits
include works by Shakespeare, Molière, Noel Coward, Oscar Wilde, Shaw, and Brecht. He
directed PICT’s record-breaking production of the Sherlock Holmes mystery The Mask
of Moriarty in 2011, and will direct Sherlock Holmes & The Crucifer of Blood this December.
Rebecca Stoll (Assistant Sound Designer) Becca was a cherub. Ask her about it! She is
happy to be working on her first show at PICT, after spending the first part of summer as
the Sound Intern for the Pittsburgh CLO. Last summer, she designed Behind the Badge
for the New York Int’l Fringe Festival. Previously, she worked at Second Stage Theatre,
UglyRhino Productions, and The Gallery Players. Upcoming: The Crucible and her senior
year at Carnegie Mellon University, where she studies sound design and stage management.
Jessica Wasserlauf (Assistant Stage Manager) is spending her second summer with PICT,
where her previous credits include The Chekhov Celebration (Ivanov and Funny Chekhov)
and The Pitmen Painters. Jessica is studying stage management at SUNY Purchase College
and will be a senior in the fall. She would like to thank her family and Gary for their endless
support and for everything else they do.
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Preface to the Play by Ödön von Horváth
We do not know whether Don Juan ever had a
historical existence. All that can be established
is that there was once a Don Juan type, and
consequently it is clear that there still is and
always will be. I have, therefore, felt free to
describe a Don Juan of our time, since our own
times are always more immediate to us. Of
course, this Don Juan, too, ostensibly belongs
to the past, as he died during the great inflation
of 1919-23, in other words at a time when, even
in the most banal sense of the word, all values
were dislocated. However, as I say, this time
is only ostensibly in the past, because from a
somewhat broader point of view, we are still living in times of inflation, and
there is no telling when they will end.
A typical feature of our age is the way each individual changes radically as a
result of the catastrophes which befall society as a whole. Thus Don Juan comes
back from the war and imagines he has become a different man. Nevertheless
he remains who he is. He has no choice. He is not going to escape the ladies.
For hundreds of years, people have tried to solve the enigma of Don Juan in a
variety of ways, but the enigma is insoluble. The character has gone through
the most disparate transformations, from the original view of him as adulterer,
murderer and desecrator of the dead to the psychologically dissected weary
cavalier. He lives on in tradition and legend as a violent criminal, like some force
of nature, running riot against morality and justice. He is the great seducer,
seduced again and again by women. They all succumb to him, but- and this may
be the essential point- he is never really loved by any of them. (This is why the
play does not have a single love scene.)
So what is it that attracts women to Don Juan? It is not male sexuality alone,
although no doubt he is its most powerful representative, but the particularly
ardent and exclusively distinct metaphysical implications of this sexuality, which
give him such inescapable power over women. Don Juan is forever in search of
perfection, in other words something which does not exist in the world. And
time and again women want to prove to him, and also to themselves, that it
is possible for him to find in the world everything he is searching for. The
misfortune of these women is that their horizons are worldly- only when they
suspect, to their horror, that he is not searching for life but yearning for death,
do they recoil from him. Don Juan’s tragic guilt is that he continually forgets
or even mocks this yearning; and thus becomes the cynical victim of his own
powers, but not unaffectingly.
Our 2013-2014 Season
Thematically, although the play makes use of the fictitious character of Don
Juan, in a greater sense it examines the proposition that it is those who survive
a war that are its greatest victims. In hindsight, we remember the ideal, the
more beautiful and perfect world before war corrupted or destroyed it.
The hero — if that is the right word — of this play is a man who ran through
the world, and the women in it, but only on his own terms. He played a game
of love that was based only upon his own desires and the momentary gratifications of lust. For him, love was a physical act, a descriptive noun meaning
nothing more than sex. He had no concept of the word as an active verb meaning partnership, trust, duty or responsibility. For him life was a game of danger
and dalliance, a perpetual irresponsibility. Women were his very own garden
of delights.
When the responsibility of love finally beckoned him, he ran from it. The
reality of love and of a woman who may truly have loved him forced him
to face the truth of his all-too-human weakness. War came and gave him
freedom, his escape route.
But that same war soured the world which he had wanted only for its sweetness. When he comes back from the war, it is the women, women in all shapes
and forms that he must face. Those for whom he is still a flaming symbol of
passion and those for whom he is a burning memory. A god or a devil.
The women of the play represent all those he left behind, those he used, those
he abused and those from whom he escaped. Now, broken by war, Don Juan
wants to believe that there was some perfection in the life he ran from, some
ideal for which he survived, some ultimate and sanctifying hope, some lost
love to redeem him.
But in this pilgrim’s progress through a purgatory of pleasure and pain, all he
finds is the destruction and corruption he helped to create. Now he must face
the realities of the world he tried to make a perpetual party. All he can do now
is die. His life is now an echo of Marlowe's Mephistopheles. “Why, this is hell,
nor am I out of it.”
Don Juan comes back as both survivor and victim and now death is the release
he wants from the hell that is his life. The women survived the war also, but
now, Don Juan is their victim. And as their victim they will not let him go.
Three Great Shows - One Fantastic Season
Director's Note by Alan Stanford
www.primestage.com
Extra Reading Materials
PICT Theatre and The Carnegie Library of Pittsburgh work
together to provide our patrons with the best materials to
enhance your enjoyment of the show.
Read more about the history of the legendary dramatic character of Don Juan with these
books from the Carnegie Library of Pittsburgh:
The Metamorphoses of Don Juan by Leo Weinstein 1959
“The first complete history of the Don Juan legend in English.”
Don Juan: Comedy in Five Acts, 1665 by Moliere
The famous French dramatist’s take on the legend.
The Trickster of Seville and the Stone Guest (El burlador de Sevilla y el convidado de piedra)
by Tirso de Molina
The original Spanish play that introduced the character of Don Juan, one of the most
famous legends in theater history.
Don Juan by Byron 1986
The English poet’s interpretation in epic poem form.
George Bernard Shaw’s Man and Superman
Yet another play provides inspiration for a playwright.
Don Giovanni by Wolfgang Amadeus Mozart 1983
Don Juan inspires Mozart in this libretto of his famous opera.
Don Giovanni
COMPACT DISC Op Moz 32233
Harmonia Mundi France, 2007
Weisser, Regazzo, Pasichnyk, Pendatchanska, Tarver; Jacobs, RIAS Kammerchor,
Freiburger Barockorchester
Don Giovanni
COMPACT DISC Op Moz 15195
London, 1997
Terfel, Pertusi, Fleming, Murray, Lippert; Solti, London Voices and London
Philharmonic Orchestra
Did you know?
The library has an amazing collection of operas on CD as well as librettos and scores. We
also subscribe to Freegal which allows you to download three of your favorite songs for
free each week! Music lovers –come find us!
2013 PICT Sponsors
SEASON SPONSOR:
Philip Chosky Charitable & Educational Foundation
PRODUCTION SPONSOR:
Richard Rauh
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For information on the benefits of sponsorship, please contact
Terry Moss, Director of Revenue, at 412.561.6000 or email [email protected]
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Kevin R. Gieder, Vice-President
Cynthia Berger, Secretary
V. Sue Molina, Treasurer
INTRODUCING
Richard Miller
Alan Baum
Michael Burns
Charles Moellenberg
Fabian O’Connor
Steve Cuden
Dina Fulmer
Richard E. Rauh
Erin Shannon-Auel
Joseph Karas
Justin Krauss
Advisory Board Members
D.L. “Larry” Brophy, E. Bruce Hill, Paul Homick,
Robert Levin, Kristen Olson, PhD., Alberta Sbragia,
John Sotirakis, Wanda Wilson
Honorary Board Members
U.S. Representative Mike Doyle, Charles Gray, Thomas Kilroy,
David Norris–Seanad Eireann, Bingo O’Malley, Stephanie Riso
PICT Staff
Alan Stanford, Interim Producing Artistic Director
Stephanie Riso, Operations Director
Therese Dillman Moss, Director of Revenue
Michelle Belan, Sales & Marketing Director
Gianni Downs, Production Manager & Resident Scenic Designer
Carolyn Ludwig, Office Administrator
Tegan McCune, Office Assistant
Jess MacFeater, Telesales Campaign Manager
Katie Wagner, Marketing Assistant
Many thanks to our Phone Representatives for all their hard work!
Matthew Colecchia • Tim Hibbard • Jess MacFeater
Kim McCartney • Leslie McCartney • Kathleen Plummer
Thank you to all of our patrons who speak kindly to them when they call you.
oAkLand’s Most uNiQue dInIng dEsTinAtIon
t h e p o r C h a t s c H e n l e y. c o M
Pittsburgh Irish and Classical Theatre, Inc.
PO Box 7964, Pittsburgh, PA 15216
Tel: 412-561-6000, Fax: 412-561-6686
PICT is a Constituent of Theatre Communications Group (TCG),
the national organization for the American theatre.
To order tickets:
VISIT OUR WEBSITE: www.picttheatre.org
OR CALL 412-561-6000 x. 207
Need help? Email [email protected]
All photography by Laura Petrilla. w w w.misslphotography.com
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