Introduction - American Repertory Theater

Introduction
Dear Friends,
It is with the greatest pleasure and joy that I welcome you to our theatre. Some twenty years ago I wandered the halls of the Loeb Drama
Center as a Harvard undergraduate, deeply inspired and awed by the
artists and work of the American Repertory Theatre. My mind, heart,
and soul were opened to the possibilities of what theatre could be. I
dreamed of some day joining this family. I could not be happier that my
journey in the theatre has led me full circle back to Cambridge as the
American Repertory Theatre’s new Artistic Director.
My first season of programming will take place in 2009 / 2010. I will spend the next year actively
planning artistically and institutionally for this exciting new era for the A.R.T. In the meantime, I am
delighted to join you as an audience member for this season, a theatre journey planned by our own
Gideon Lester, Director of the 2008/2009 season. I look forward to being in the presence of the great
artists Gideon is bringing to our theatre, and to beginning my partnership with you—the audience and
invaluable supporters of our work.
With great anticipation for the future,
Diane Paulus, Artistic Director
Dear Friends,
Welcome to the second production of the A.R.T.’s 08 / 09 season—the
world premiere of Anne Washburn’s The Communist Dracula Pageant,
directed by Anne Kauffman.
The play is ostensibly about the fascinating and grotesque world of
Nicolae and Elena Ceausescu, the dictators who ruled Romania for
twenty-four bizarre, brutal years. As Anne Washburn reminds us in the
subtitle, though, The Communist Dracula Pageant is “by Americans, for
Americans.” This doesn’t mean that the play is a direct critique of our
current political landscape, but that its themes are universal and not specific to Romania. Nevertheless,
you may find much in Anne’s fantastical writing that resonates in our own election season, from the manipulation of the media to the shaping of narratives, national and personal, for political gain.
Anne is part of an exciting new generation of American playwrights who are turning away from the
psychological realism that has dominated the theatre for several decades. Many of these writers reach
to other ages and cultures to find lenses through which we can consider our own times, as Anne does
here with Romania. I’m thinking particularly of Christine Evans’ use of ancient Troy in Trojan Barbie,
which we are producing at the A.R.T. later this season, or Ajax in Iraq, which Ellen McLaughlin developed earlier this fall with the A.R.T. Institute, or Sarah Ruhl’s massive Passion Play cycle, which travels in time from Elizabethan England to Nazi Germany, or The Brothers Size by Tarell Alvin McCraney,
which uses ancient Yoruban myths to weave a contemporary story about a family in Louisiana.
It’s thrilling to watch the growth of these young playwrights, all powerful innovators who are developing new forms and styles, and reminding us that theatre can inhabit imaginative realms far beyond the naturalism of most film and television. In this new generation Anne is first among equals;
please join me in welcoming her to the A.R.T. I hope you have a wonderful time in her colorful and
exuberant world.
Best wishes,
Best wishes,
Gideon Lester, Director, 08/09 Season
Professional Company • 2008 / 09 Season
Remo Airaldi
Jeremy Geidt
Karen MacDonald
Jon Bernthal
John Kuntz Matthew Maher
Anna Deavere Smith
Paula Langton
Jim True-Frost
Thomas Derrah
Will LeBow
TO OUR AUDIENCE
To avoid disturbing our seated patrons, latecomers (or patrons who leave the theatre during the performance) will be seated at the discretion of the management at an appropriate point in the performance.
By union regulation:
• Taking photographs and operating recording equipment is prohibited.
•A
ll 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.
08/09 season
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Zero Arrow Theatre
Our exciting second
performance space!
“Boston’s Best Theatre”
– 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 three years old! This
three hundred-seat theatre serves as an
incubator for new work and a host for
performances by the A.R.T./ MXAT Institute
for Advanced Theatre 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 THEATRE.
The American Repertory Theatre and the Institute for Advanced Theatre Training at Harvard are supported in part by major grants from The Andrew W. Mellon Foundation, the Doris Duke Charitable
Foundation, The Shubert Foundation, and the Carr Foundation. The A.R.T. also gratefully acknowledges the support of Harvard University, including 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 Theatre
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)
Robert J. Orchard
Jesse Souwei
American Repertory Theatre
presents
the world premiere of
The Communist Dracula Pageant
by Americans, for Americans
a play about the Romanian Revolution of 1989
with hallucinations, phosphorescence, and bears
By Anne Washburn
Directed by Annie Kauffman
Scenic Design
Costume Design
Lighting Design
Sound Design
Original Music Movement
Voice and Speech
Stage Manager
Dramaturgs
Mimi Lien
Christal Weatherly
Tyler Micoleau
David Remedios
J. Michael Friedman
Doug Elkins
Nancy Houfek
Katherine Shea*
Gideon Lester & Marshall Botvinick
First performance October 18, 2008
Zero Arrow Theatre
Major Production Sponsor
Rebecca Gold Milikowsky
Production Sponsors
Page Bingham and Jim Anathan
The world premiere of The Communist Dracula Pageant has been made possible in part
by the Edgerton Foundation New American Plays Award.
Season Sponsors
Media Sponsors
Cast
Nicolae Ceausescu
Elena Ceausescu / Pageant Elena
Vlad Tepes / The Functionary
Thomas Derrah *
Karen MacDonald *
Will LeBow *
Ensemble:
Remo Airaldi*, Kaaron Briscoe, Sheila Carrasco,
Shawn Cody, John Kuntz*, Matthew Maher*,
James Senti, Josh Stamell, Roger K. Stewart.
Pageanteers: Adam Eli Clem, John M. Costa, Wayne Fritsche,
Carrie Ann Quinn.
Understudies:
Roger Kuch, Nicolae Ceausescu;
Sheila Carrasco, Elena Ceausescu/Pageant Elena; Josh Stammel, Vlad Tepes/The Functionary;
Renzo Ampuero, Kaaron Briscoe, Doug Chapman. Shawn Cody, Carl Foreman,
Manoel Hudec, Paul Murillo, James Senti, Chudney Sykes, Ensemble
T here
will be one fifteen - minute intermission .
Production Associate
Assistant Dramaturg
Amanda Robbins-Butcher
Beck Holden
Additional Staff: Mia Rovegno, Assistant to the Director; Julie Foh, Assistant Voice and Speech;
Joshua Finstein, Music Coach; Eugen Taso, Language Consultant; Jane Jung, Yale Management
Fellow; Allegra Libonati, Carnegio Mellon Fellow; Rachel Padula-Shufelt, Wigmaster; Natasha A.
Vogt, Properties Craftperson; Hayley Ryan, Scenic Paint Intern; Alan Boyer, Dave Thomas, Stephen
Woodward, Patrick Brooks, Franklin Reid, Jim McQuaid, Adric Giles, Gina Siepel, Carpenters;
Stephanie Gunn, Kaeta Knowles, Scenic Painters; Kyle Carlson, Stage Management Intern.
Thanks to Catalin Augustin Stoica and John F. Ely for kindly permitting the use of their translation of
the Ceausescus’ trial.
Special thanks to Steve Cosson, Gordon Dahlquist, Dr. Michael Dediu, Vanessa Gilbert, Ana and Nicolae Golici, Elena Greenfield, Sophie Haviland, Ellen Klahn, Cerasela Stan, Cheryl Turski, James Urbaniak, Mac Wellman, Charles Goldman, James Moore, Eugen Taso, Phil Bosakowski, and Soho Rep.
The development of The Communist Dracula Pageant was supported by a workshop production at
Soho Rep in New York City in August 2001, directed by Steve Cosson, and by a workshop production
at Defunkt Theater in Portland, Oregon in January 2008, directed by James Moore.
Natural Herb Cough Drops courtesy of Ricola
* Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United
States. Actors’ Equity Association (AEA), founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential
component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits,
including health and pension plans. AEA is a member of the AFL-CIO and is affiliated with FIA, an international
organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org
.
The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists
Local USA-829 IATSE.
Program Notes
An Empire of the Imagination
Playwright Anne Washburn describes the evolution of The Communist Dracula Pageant
I started work on The Communist Dracula Pageant in 1996 when a director friend was interested in
creating a production based on the trial of the Ceausescus, and I began to research the topic. I had been
barely aware of the Romanian Revolution, distracted by the fall of the rest of Eastern Europe.
I had known nothing about the Ceausescu dictatorship and assumed it was simply a grim, gray
cliché of Eastern Bloc life. Once I started digging,
I became fascinated by the escalating madness of
the whole thing, particularly the degree to which
the Ceausescus succumbed to their own self-defining fantasies. Elena Ceausescu, who left school
in the fourth grade, really seems to have believed
that she was a world-renowned scientist, simply
because she said so. She created fabulously wellfunded labs in which real scientists worked to
produce papers that she would sign, and she soon
came to regard herself as a prominent intellectual.
Elena dozes while Nicolae Ceausescu makes a
speech
Hers was an extreme case, but it was common for party notables to award themselves diplomas and
credentials that had no basis in reality.
Nicolae Ceausescu was a terrible shot who never went hunting without a Securitate agent right behind
him, also armed, to make the kill that he would then cheerfully brag about. Even as the country was
falling apart, with no food, no electricity, Ceausescu believed that he was the Genius of the Carpathians,
deeply beloved by his people. And the entire country was forced to behave as if these things were true,
and to devote real amounts of time to celebrating them.
It’s not just that the Ceausescus were out of touch with reality. It’s that they had re-created it for themselves, vividly, and dragged an entire people with them. It was an empire of the imagination.
And then the revolution itself was such a compelling mixture of fact and of fiction, rumor and television. On the one hand it was a genuine expression of frustration and horror, in which thousands of
Romanians lost their lives, and on the other hand…what? It was referred to, afterwards, as the “Stolen
Revolution”; many Romanians even now believe it was a coup, cynically engineered to look like a revolution. Whatever the truth, the facts about those days are still largely unavailable.
The trial transcript, which is a major source for the play, is a wild document. The trial was technically a
kangaroo court with a predetermined outcome—execution. But there was nothing clinical about the event.
On the video footage of the trial we can see a room full of people speaking directly to the Ceausescus—the
dictators who had not been spoken to directly for twenty years, who were now being openly defied. You
have the feeling that the event was surreal for everyone involved, particularly the Ceausescus.
The starting point for the play came early on in my research, when I discovered that in 1976 pageants were staged across Romania to commemorate the five-hundredth anniversary of the death of
Vlad Tepes, the historical Dracula. Vlad the Impaler was a complex and surprisingly sophisticated
figure who played a real and important role in Romanian history, but of course the pageants were really in celebration of Ceausescu, and I found the idea of them irresistible. They brought a buoyant ab-
Program Notes
surdity to the play, in contrast to the trial transcript, which has its farcical moments but is essentially
grim and drastic. I wanted the play to encompass both realities, and shades in between. In writing The
Communist Dracula Pageant I wanted to capture something of the spirit of the Romanian Revolution
itself: a whirlwind of chaos and action, rumor, heroism, deception, and hope.
The Rise and Fall of Nicolae Ceausescu
Compiled by Marshall Botvinick
1918 – Nicolae Ceausescu is born in Scornicesti, a small peasant
village in southern Romania.
1929 – Because of financial hardships, Ceausescu leaves school,
moves to Bucharest, and apprentices with a shoemaker.
1934 – Nicolae joins the Communist Party.
1939 – N
icolae and Elena, his future wife, meet at a Communist
rally.
1940 – Romania’s pro-Nazi government imprisons Nicolae for
Communist activity. While in jail, Ceausescu becomes the
protégé of Gheorghe Gheorghiu-Dej, the future Secretary
General of the Communist Party.
1945 – After being reunited one year earlier, Nicolae and Elena
Ceausescu hunting
marry.
1950 – Ceausescu becomes Deputy Minister of Agriculture.
1952 – Ceausescu is promoted to Deputy Minister of Defense.
1954 – Dej rewards Ceausescu for his loyalty, placing him in charge of all Party promotions. This job gives
Ceausescu a base on which to build power.
1965 – After Dej dies, Ceausescu is elected Secretary General of the Communist Party.
1966 – Ceausescu bans abortion and limits the availability of contraceptives.
1967 – Richard Nixon becomes the first major American politician to visit Romania since it became a
Communist country.
1967 – Ceausescu begins staging pageants that link him with famous Romanian heroes of the past.
1968 – Soviet tanks invade Czechoslovakia. By speaking out against the invasion, Ceausescu wins admiration from the West and his own people.
1971 – Ceausescu visits China and North Korea. The visit inspires him to create a personality cult similar
to Mao’s and Kim Il Sung’s.
1974 – Ceausescu makes himself the first President of Romania, receiving a scepter at his inauguration.
1977 – 30,000 miners strike in Jiu Valley and take several government officials hostage.
1978 – Queen Elizabeth II grants Ceausescu an honorary knighthood.
1982 – Ceausescu rejects all foreign loans and inaugurates a plan to pay off the national debt by the end
of the decade.
Program Notes
1984 – Construction starts on the Palace of the People, a monument to Ceausescu that consumed 30%
of the national income and resulted in the demolition of one-fifth of Bucharest.
March 1989 – Six prominent Romanian politicians publish a letter calling for the end of Ceausescu’s rule.
December 15, 1989 – Protests against the exile of Laszlo Tokes, a local priest known for speaking out
against Ceausescu, begin in Timisoara.
December 17, 1989 – Troops fire on the protestors in Timisoara, killing and wounding many.
December 21, 1989 – Trying to calm the country, Ceausescu speaks to a massive crowd in Bucharest. When
chants of “Timisoara!” ripple through the square, an unnerved Ceausescu retreats into the building.
December 22, 1989 – Ceausescu flees Bucharest in a helicopter when rioters storm the Central Committee
Building. Police arrest him and Elena in Targoviste where they are imprisoned in army barracks.
December 24, 1989 – Queen Elizabeth revokes Ceausescu’s knighthood.
December 25, 1989 – In a schoolhouse in Targoviste, a court finds Nicolae and Elena Ceausescu guilty
of genocide and undermining the national economy. They are executed by firing squad.
Marshall Botvinick is a second-year dramaturgy student at
the A.R.T./ MXAT Institute for Advanced Theatre Training.
The Real Dracula
by Beck Holden
Vlad Tepes (Vlad the Impaler), the historical Dracula, ruled three
times as Prince of Wallachia, one of three principalities comprising
contemporary Romania. In the fall of 1448 he briefly usurped the
Wallachian throne while Prince Vladislav II was away fighting the
Ottoman Turks, but Vladislav’s return forced Vlad to flee. Vlad’s
third reign in late 1476 was similarly brief; he died in a skirmish
against the Turks after little more than a month. It was in his second reign, 1456-1462, that he made his name known and feared.
In Romania, Tepes is still celebrated as a military hero. He
defended Wallachia against a Turkish invasion lead by Sultan
Mohammad II, the conqueror of Constantinople. By destroying his
15th-century portrait of Vlad Tepes
own country as he retreated—burning towns, slaughtering cattle,
poisoning wells—he guaranteed the Sultan could gain nothing by defeating him. Meanwhile, he used his
knowledge of the terrain to launch lightning raids against the Turkish army. In the end, the Sultan withdrew from Wallachia with most of his forces, although he left some behind under Vlad’s brother Radu the
Handsome, who defeated Vlad and forced him to leave Wallachia.
Vlad’s domestic policies earned him a reputation as a vicious tyrant. He was a brutal, absolute ruler;
political rivals, criminals, and less-than-virtuous women were all apt to face execution, usually by impaling. Vlad’s defenders, however, point out that such methods of control were not uncommon tools in his
day, for centralizing his power and keeping his subjects in line.
Beck Holden is a first-year dramaturgy student at the
A.R.T./ MXAT Institute for Advanced Theatre Training.
Program Notes
People and Places in The Communist Dracula Pageant
Assembled by Beck Holden
Ana Blandiana – The pen name of Otilia Valeria Coman, Romanian poet, essayist, and political figure.
Bucharest – Capital of Romania.
Burebista – King of the Dacians, from 82 BC to 44 BC. Sided with Pompey in his struggle against Julius
Caesar, which would have provoked a large retaliation after Caesar’s victory had the Roman emperor
not been assassinated.
Ion Caramitru – Romanian actor and director involved with the National Salvation Front. He was in
charge of Culture under Ion Illiescu’s regime, but left the National Salvation Front in protest after the
1990 elections.
Dacia – An empire contemporary to the Ancient Greeks and Romans, comprised largely of present-day
Romania and Moldova as well as parts of Bulgaria, Hungary, and Ukraine.
Decebal – A great Dacian king who ruled AD 87 to AD 106. He achieved several stunning victories
against Roman invaders, but was defeated twice by Emperor Trajan. Cornered by Roman soldiers, he
slit his own throat rather than allow himself to be captured.
Mircea Dinescu – In the years leading up to the revolution, this dissident poet and editor was increasingly
under the watch of Ceausescu and the Securitate in the late 1980s. He took part in the seizure of the
Romanian television station during the revolution, and has run several satirical magazines since.
Grand National Assembly – Romanian legislature, elected every four years.
General Milea – Ceausescu’s Minister of Defense during the December Revolution, who died under mysterious circumstances on the morning of December 22, 1989.
National Salvation Front – A cluster of second- and third-tier communists from Ceausescu’s regime, lead
by Ion Illiescu, who took advantage of the popular uprising to seize power in December 1989. In
1992, it split into two parties: the Social Democratic Party and the Democratic Party.
PCR – The Romanian Communist Party.
Securitate – The brutal Romanian secret police force. It was said that by the late 1980s, one Romanian
citizen in four was a Securitate informer.
Targoviste – Capital of Wallachia at the time of Vlad Tepes’s reign. It was here in a schoolhouse on
December 25, 1989 that Nicolae and Elena Ceausescu were tried and executed.
Timisoara – A city on the RomanianHungarian border. Riots broke out on
December 16, 1989 in response to
the Securitate’s decision to deport
Hungarian Calvinist minister Laszlo
Tokes. Riots continued on December
17, when the Romanian army was
called in to keep the peace. On that
day, on Ceausescu’s orders, the army
Bucharest Parliamentary Palace
opened fire on the rioters.
Acting Company
REMO AIRALDI — Ensemble
A.R.T.: Fifty-six productions, including 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.
KAARON BRISCOE — Ensemble
Second-year actor at the A.R.T./MXAT Institute. A.R.T. Institute /
Moscow Art Theatre credits: Discreet Charm of Monsieur
Jourdain (Madame Jourdain). Other: As You Like It (Audrey),
Working (Diane), Dracula 2000 (Virgin Co-Worker). Has also
appeared in various commercials.
SHEILA CARRASCO — Ensemble
Second-year actor at the A.R.T./MXAT Institute. A.R.T./Moscow
Art Theatre credits: 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).
Acting Company
SHAWN CODY — Ensemble
Second-year actor at the A.R.T./MXAT Institute. A.R.T. Institute/
Moscow Art Theatre credits: Oblomov (Oblomov as a Boy).
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 — Nicolae Ceausescu
A.R.T.: One hundred and twelve productions, including 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 Arts Center; five productions at Houston’s Alley Theatre, including Our Town (Dr. Gibbs, directed by José Quintero); and many theatres throughout the U.S. Awards:
1994 Elliot Norton Prize for Sustained Excellence, 2000 and 2004 IRNE Awards for Best Actor, 1997
Los Angeles DramaLogue Award (for title role of Shlemiel the First). Television: Julie Taymor’s film
Fool’s Fire (PBS American Playhouse), Unsolved Mysteries, Del and Alex (Alex, A&E Network). Film:
Mystic River (directed by Clint Eastwood). He is a graduate of the Yale School of Drama.
JOHN KUNTZ — Ensemble
A.R.T.: Copenhagen (Werner Heisenberg). Founding company
member of the Actors Shakespeare Project; credits include King
john (Pandulph), Titus Andronicus (Tamora), The Winter’s Tale
(Autolycus), Measure for Measure (Lucio/Froth), Twelfth Night
(Sebastian), All’s Well That Ends Well (Bertram/The Clown),
Richard III (title role). New York: The Bad Seed (Mrs. Daigle), Ohio
Theatre; Jump/Rope (Kurt, also writer), Square Peg Productions at
Urban Stages; his one-person shows Starfuckers, Ohio Theatre and
NY Fringe Festival (Elliot Norton Award and New York International
Acting Company
Fringe Festival Award); and Freaks!, Solo Arts Group. Recent Boston: After School Special (Janet,
also writer), Mr. Marmalade (title role), Company One; numerous productions of The SantaLand
Diaries (IRNE Award Best Solo Performance), the New England premiere of The Pillowman (Katurian),
Waiting for Godot (Estragon), Scapin (title role), True West (Austin), all with New Repertory Theatre;
How I Got That Story (20 roles), Nora Theatre Company; Fully Committed (40 roles), LyricStage;
Betty’s Summer Vacation (Voice #1) Huntington Theatre Company; Henry V (Fluellen), Twelfth Night
(Sir Andrew) and Hamlet (Guildenstern/Osric), Commonwealth Shakespeare Company. His plays Sing
Me to Sleep and Freaks! both received Elliot Norton Awards for “Outstanding Fringe Production,”
Jasper Lake received both the Michael Kanin and the Paula Vogel National Playwriting Awards, with
productions at the Kennedy Center (Washington, D.C.) and the New York Fringe Festival. Film: The
Red Right Hand (Roger), Anathema (Neil; Best Actor Award, Festival du Cinéma de Bruxelles).
WILL LeBOW — Vlad Tepes/The Functionary
A.R.T.: Fifty-four productions, including When It’s Hot, It’s Cole,
Cardenio, Julius Caesar, Copenhagen (Niels Bohr), Donnie Darko
(Eddie Darko), 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), Amerika (Uncle Jacob, Innkeeperess, Head Waiter), Dido,
Queen of Carthage (Jupiter), The Miser (Valére), The Birthday Party
(Goldberg), A Midsummer Night’s Dream (Egeus/Peter Quince),
Pericles (Cleon/Pandar), Highway Ulysses (ensemble), Uncle Vanya
(Serebriakov), Lysistrata (Magistrate), Marat/Sade (Marat), The Doctor’s Dilemma (Sir Ralph), Nocturne
(Father, Drama Desk nomination), Full Circle (Heiner Müller, Elliot Norton Award for best actor), The
Merchant of Venice (Shylock), The Marriage of Bette and Boo (Karl), The Imaginary Invalid (title role),
Shlemiel the First (Shlemiel/Zalman Tippish, also on tours of the West Coast), The Wild Duck (Hjalmar
Ekdal), Picasso at the Lapin Agile (Sagot), The King Stag (Brighella, a role he also performed in Taiwan),
Six Characters in Search of an Author (The Father). Other: The Cherry Orchard, Love’s Labors Lost,
The Rivals, 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 premiere of “How the Grinch Stole
Christmas” (narrator). Film: Next Stop Wonderland, Real Men Cry. Television: the Cable Ace Award-winning animated series Dr. Katz, Professional Therapist (voice of Stanley).
KAREN MacDONALD — Elena Ceausescu
A.R.T.: Founding member, sixty-five productions, including When It’s Hot, It’s Cole, Cardenio
(Luisa), Copenhagen (Margrethe Bohr), Donnie Darko (Kitty Farmer), A Marvelous Party!, Oliver
Twist (Mrs. Bumble, also at Theatre for a New Audience and Berkeley Repertory Theatre), The
Onion Cellar, Island of Slaves (Euphrosine), Romeo and Juliet (Nurse), No Exit (Estelle, Elliot
Norton Award), Olly’s Prison (Ellen, Elliot Norton Award), Dido, Queen of Carthage (Anna), The
Provok’d Wife (Madamoiselle, IRNE award), The Miser (Frosine, IRNE award), The Birthday
Party (IRNE Award), A Midsummer Night’s Dream (Hypolita/Titania, IRNE award), Pericles
(Dionyza), Highway Ulysses (Circe), Uncle Vanya (Marina), Lysistrata (Kalonika), Mother Courage
Acting Company
and Her Children (Mother Courage), Marat/Sade (Simone),
Othello (Emilia, IRNE award). Director of The Woman in Black,
Gloucester Stage; Dressed Up! Wigged Out!, Boston Playwrights
Theatre. New York: Roundabout Theatre, Second Stage,
Playwright’s Horizons, and Actors’ Playhouse. Regional: The
Misanthrope (Arsinöe), Berkshire Theatre Festival; Infestation
(Mother), Boston Playwrights Theatre; Hamlet (Gertrude) and
Twelfth Night (Maria), Commonwealth Shakespeare Company;
The Beauty Queen of Leenane (Maureen) and The Last Night of
Ballyhoo (Boo), Vineyard Playhouse; Who’s Afraid of Virginia
Woolf (Martha, Elliot Norton Award) and Frankie and Johnny in the Clair de Lune (Frankie),
Merrimack Repertory Theatre; As You Like It (Rosalind), Shakespeare & Co; Shirley Valentine
(Shirley), Charles Playhouse. Other: Alley Theatre (Company member), the Goodman Theatre,
Wilma Theatre, Long Wharf Theatre, Geva Theatre, Syracuse Stage, Buffalo Studio Arena,
Cincinnati Playhouse, Hartford Stage, Philadelphia Festival of New Plays.
MATTHEW MAHER — Ensemble
A.R.T.: Debut. Recent credits: world premiere of Eric Bogosian’s
1+1, New York Stage and Film. New York: Richard III, The Public
Theater; Coriolanus, Theatre for a New Audience; The World Over,
Playwrights Horizons; Molly’s Dream, Soho Rep; Have You Seen
Steve Steven?, 13P; Hello Failure, PS122; and One Hundred
Aspects of the Moon, Clubbed Thumb; among others. Regional: A
Seagull in the Hamptons, McCarter Theatre, and The Pillowman,
Berkeley Repertory Theatre, among others. He received an Obie
Award for the Foundry Theater production of The Race of the
Ark Tattoo and is an Associate Artist of The Civilians. Film: Gone Baby Gone, Jersey Girl, Dogma,
Bringing Out The Dead, Vulgar, The Third Wheel, Homecoming. Television: John From Cincinnati
(HBO, recurring role), The Jury, Deadline, and all three Law and Order series.
JIM SENTI — Ensemble
Second-year actor at the A.R.T./MXAT Institute. A.R.T Institute/
Moscow Art Theatre credits: The Discreet Charm of Monsieur
Jourdain (Monsieur Jourdain). Other: SubUrbia, Wait Until Dark,
Mouthful of Birds, Vinegar Tom, The Good Person of Szechwan.
Acting Company
JOSH STAMELL — Ensemble
Second-year actor at the A.R.T./MXAT Institute. A.R.T. Institute/
Moscow Art Theatre 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
Second-year actor at the A.R.T./MXAT Institute. A.R.T. Institute/
Moscow Art Theatre 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.
Creative Staff
ANNE WASHBURN — Playwright
Plays include I Have Loved Strangers (included in an edition of New York Theater Review, edited by
Brook Stowe), Apparition (published in New Downtown Now; University of Minnesota Press, edited
by Young Jean Lee and Mac Wellman), The Ladies, and The Inernationalist (Gate Theatre in London,
published by Playscripts, Inc.), as well as a translation of Euripides’ Orestes. Her plays have been
produced by 13P, Cherry Lane Theater, The Civilians, Clubbed Thumb, Dixon Place, Naked Angels,
and the Vineyard Theater in New York. Workshops with Kretakor, New York Theater Workshop, The
Public Theater, Soho Rep, and the Williamstown Theater Festival. Associated Artist with Obie awardwinning groups 13P, The Civilians, and New Georges, and member of New Dramatists. MFA from
NYU, currently working on commissions from Yale Repertory Theatre and The Civilians.
ANNE KAUFFMAN — Director
Most recent credits: God’s Ear, Vineyard Theater and New Georges Theatre; Anne Marie Healey’s
Have You Seen Steve Steven?, 13P; Adam Bock’s Thugs (Obie Award for directing), Soho Repertory;
John Patrick Shanley’s Doubt and Lisa Loomer’s Expecting Isabel, Asolo Repertory Theatre in Florida;
Jordan Harrison’s Act a Lady, Humana Festival of New Plays; Sides: The Fear is Real, Culture Project;
Adam Bock’s Typographer’s Dream, Encore Theater, San Francisco; Jorge Ignacio Cortiñas’ The Loyal
Opposition, New York Theater Workshop; Karen Hartman’s Hang Ten, Women’s Project & Productions;
The Children’s Hour (Big Easy Award), Loyola University; and Anne Washburn’s The Ladies, The
Civilians at Dixon Place and Cherry Lane Theater.
Upcoming directing projects: Dan LeFranc’s 60 Miles to Silverlake with P73 and Soho Rep
and David Adjmi’s Stunning at LCT3, Lincoln Center. Other credits: Playwrights Horizons, New
York Theater Workshop, CSC, The Vineyard, The Public, Rattlestick, Clubbed Thumb, American
Conservatory Theater, The Guthrie Theater, and the Sundance Institute. She is alumna of the Soho Rep
Writers and Directors Lab, Lincoln Center Directors Lab, The Drama League of New York, a founding
member of The Civilians, and 2003-2004 New Dramatist Resident Director. She is also on the directing faculty at NYU in the Playwrights Horizons Theater Studio. MFA in directing from UCSD.
MIMI LIEN — Set Design
Recent: Palace of the End, Epic Theatre Center; Eurydice, Wilma Theater; In the Red and Brown Water,
Alliance Theater; Wind-Up, Princeton University Atelier. New York: Signature Theatre Company, The Joyce
Theater, Clubbed Thumb, TACT, Juilliard, Dance Theater Workshop, The Kitchen. Regional: Williamstown
Theatre Festival, Berkshire Theater Festival, Shakespeare Theater of New Jersey, Chautauqua Theater
Company, The Pennsylvania Ballet, Museum of Contemporary Art in Chicago, Pig Iron Theatre Company
(artistic associate), and East River Commedia (company member). Awards: Barrymore Award (Outrage),
two Barrymore nominations, New York Innovative Theatre Award nomination, semifinalist in the Ring
Award competition for opera design in Graz, Austria. Studied architecture at Yale University and theatre
design at NYU, recipient of the 2007-2009 NEA/TCG Career Development Program.
CHRISTAL WEATHERLY — Costume Design
A.R.T.: Cardenio. Recent: Back Back Back for The Old Globe, Octavio Solis’s Lydia for Denver Center
Theater Company’s New Play Summit and Jordan Harrison’s Doris to Darlene for Playwrights
Horizons. New York: Queen’s Boulevard, Signature Theatre Company; Jane Eyre, The Acting
Creative Staff
Company; Apparition, Apparition Off-Broadway LLC; Orpheus and Eurydice, Human Company
and the 2005 Summer Play Festival. Around the country, she has designed for Hartford Stage,
The Humana Festival, Williamstown Theatre Festival, La Jolla Playhouse, The Children’s Theatre
Company in Minneapolis, Berkeley Repertory Theatre, Center Theatre Group, Madison Repertory
Theatre, and Rainpan 43, among others. Upcoming: Cinderella for The American Southwest
Theatre Co., James and the Giant Peach for The Arden, The Servant of Two Masters for Oregon
Shakespeare Festival, and Lydia for the Mark Taper Forum.
TYLER MICOLEAU – Lighting Design
Recent: New York premiere Sarah Kane’s Blasted for Soho Rep; Tommy, Dallas Theater Center. OffBroadway: God’s Ear, Vineyard Theatre (also with director Anne Kauffman); 1001, P73; Gutenberg!
The Musical!, Actors Playhouse; Orson’s Shadow, Bug, Barrow Street Theater; Underneath the Lintel,
Soho Playhouse; The Intelligent Design of Jenny Chow, The Night Heron, Dublin Carol, Mojo, Atlantic
Theater. Regional: Dallas Theater Center, The Old Globe, Trinity Rep, Wilma Theater, Delaware Theater
Company, Pig Iron, Chautauqua Theater Company, Hangar Theatre, Syracuse Stage, Portland Center
Stage, Madison Rep, Shakespeare Theater, Cornerstone Theater and Long Wharf Theater. Awards:
Off-Broadway Lucille Lortel Award, a Village Voice Obie, Connecticut Critics Circle award, three
Barrymore nominations, an American Theatre Wing Hewes Award nomination, and the National
Endowment for the Arts / Theatre Communications Group Career Development Program. Education:
BA, Bowdoin College.
J. MICHAEL FRIEDMAN — Composer
A.R.T.: [I Am] Nobody’s Lunch, Lysistrata, Marat/Sade, Idiots Karamazov, The Merchant of Venice.
Composer/lyricist for the Civilian’s This Beautiful City, [I Am] Nobody’s Lunch, Gone Missing, and
Canard, Canard, Goose? Also wrote music and lyrics for Saved, Bloody Bloody Andrew Jackson, In
the Bubble, The Brand New Kid, God’s Ear, and The Blue Demon. With Steve Cosson, he is the coauthor of Paris Commune. New York: Playwrights Horizons, Public/NYSF, NYTW, Roundabout, Second
Stage, Soho Rep, Theatre for a New Audience, Signature, and The Acting Company. Regional: Hartford
Stage, Humana Festival, Kennedy Center, Berkeley Rep, Williamstown Festival. International: London’s
Soho and Gate Theatres, and the Edinburgh Festival. Founding Associate Artist of the Civilians. Artistic
Associate at New York Theatre Workshop, MacDowell Fellowship, and a Princeton University Hodder
Fellowship. 2007 Obie award for sustained excellence.
DAVID REMEDIOS — Sound Design
A.R.T.: Forty-three productions, including Cardenio, Julius Caesar, Copenhagen, Donnie Darko,
No Man’s 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: 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 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
Britannicus, Island of Slaves, Olly’s Prison, Oedipus, Snow in June, and Highway Ulysses.
Creative Staff
DOUG ELKINS — Movement
A.R.T.: Cardenio, Romeo and Juliet, Desire Under the Elms, Olly’s Prison, The Provok’d Wife,
Highway Ulysses, Sound of a Voice. Has been the Artistic Director of the Doug Elkins Dance Company
for sixteen years and is a recipient of the New York Dance Performance Award (Bessie Award) for
sustained choreographic achievement. Resident choreographer for the Flying Karamazov Brothers and
has choreographed for JoAnne Akalaitis in the production of The Screens. His European production of
Peter and the Wolf premiered at Sadler’s Wells Theater, London in 2006.
NANCY HOUFEK — Voice and Speech
A.R.T.: Resident vocal coach since 1997. Has coached shows directed by Francois Rochaix, Andrei
Serban, Andrei Belgrader, David Mamet, David Wheeler, Scott Zigler, Marcus Stern, Liz Diamond,
Karin Coonrod, Robert Woodruff, and others. Previous coaching credits include the American
Conservatory Theatre and the Guthrie Theatre with directors including Allan Fletcher, Ed Hastings, Bill
Ball, Bennie Sato Ambush, and Bill T. Jones. At the A.R.T. Institute teaches voice, speech, dialects and
Shakespeare text, and administers the MFA program in voice training. At Harvard, she has presented
workshops on public speaking for the Derek Bok Center for Teaching and Learning (who have made
a film of her work with Harvard faculty called “The Act of Teaching”), the Radcliffe Fellows, Harvard
Medical School, and the Kennedy School of Government. Has received several teaching commendations at Harvard for her undergraduate class, and has garnered both a Bay Area Theatre Critics Award
and a Los Angeles Dramalogue for her previous performance work. A graduate of Stanford University,
Ms. Houfek received her MFA from the American Conservatory Theatre.
GIDEON LESTER — Dramaturg/Director 08-09 Season
Recent translations: Marivaux’s Island of Slaves and La Dispute (published by Ivan Dee, directed by Anne
Bogart at the A.R.T.), Bertolt Brecht’s Mother Courage (directed by János Szász), Georg Büchner’s Woyzeck
(directed by Marcus Stern), and two texts by the French playwright Michel Vinaver, King and Overboard
(published by Methuen and staged at the Orange Tree Theatre in London). Adaptations: Wings of Desire
by Wim Wenders, Peter Handke, and Richard Reitinger, directed by Ola Mafaalani; Kafka’s Amerika, or the
Disappearance (directed at the A.R.T. by Dominique Serrand), Anne Frank for the Carr Center for Human
Rights at Harvard, and Enter the Actress, a one-woman show that he devised for Claire Bloom. Born in
London in 1972, Mr. Lester studied English literature at Oxford University. In 1995 he came to the U.S.
on a Fulbright grant and a Frank Knox Memorial Scholarship to study dramaturgy at the A.R.T. Institute
for Advanced Theatre Training at Harvard. When he graduated from the Institute, Mr. Lester was appointed Resident Dramaturg. He became the A.R.T.’s Associate Artistic Director in 2002 and Acting Artistic
Director in 2007. He teaches dramaturgy at the A.R.T./MXAT Institute and playwriting at Harvard.
KATHERINE SHEA — Stage Manager
A.R.T.: Stage Manager When It’s Hot, It’s Cole, Donnie Darko. Assistant Stage Manager 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.
Creative Staff
DIANE PAULUS — Artistic Director
Diane Paulus is a director of opera and theatre. She is the creator and director of The Donkey Show,
a disco adaptation of A Midsummer Night’s Dream which ran for six years Off-Broadway and toured
internationally to London, Edinburgh, Madrid, and Evian, France. Recent theatre work includes the
40th Anniversary production of Hair at the Delacorte Theatre in Central Park for The Public Theater
(transferring to a Broadway theatre this spring); Kiss Me, Kate at the Glimmerglass Opera Festival; Lost
Highway, based on the David Lynch film, an English National Opera co-production with the Young Vic;
Another Country by James Baldwin at Riverside Church; Turandot: Rumble for The Ring at the 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. Also for Music-Theatre Group, she directed the Obie Award-winning and Pulitzer Prize
finalist Running Man by jazz composer Diedre Murray and poet Cornelius Eady; and Swimming With
Watermelons, created in association with Project 400, the theatre company she co-founded with her
husband, Randy Weiner. Other work Off-Broadway: Brutal Imagination, and the Obie-award winning
Eli’s Comin, featuring the music and lyrics of Laura Nyro. As an opera director, her productions include
Don Giovanni, Le Nozze Di Figaro, Turn 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 Theater. 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. She 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. She is a recipient of the Peters 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.
ROBERT J. ORCHARD — Executive Director
Mr. Orchard served as the A.R.T.’s founding Managing Director for twenty-one years. He currently serves
as Executive Director of the A.R.T. and the Institute for Advanced Theatre Training, and Director of the
Loeb Drama Center at Harvard University. Prior to 1979, he was Managing Director of the Yale Repertory
Theatre and School of Drama, where he also served as Associate Professor and Co-Chairman of the Theatre
Administration Program. For nearly twenty years, Mr. Orchard has been active facilitating exchanges, leading seminars, and advising on public policy with theatre professionals and government officials in Russia.
At the A.R.T. he has produced close to two hundred productions over half of which were new works. In
addition, he has overseen tours of A.R.T. productions to major festivals in Edinburgh, Avignon, Belgrade,
Paris, Madrid, Jerusalem, Venice, São Paulo, Tokyo, Taipei, Singapore, and Moscow, among others. Under
his leadership, A.R.T. has performed in eighty-one cities in twenty-two states, and worldwide in twenty-one
cities in sixteen countries on four continents. Mr. Orchard has served as Chairman of both the Theatre and
the Opera/Musical Theatre Panels at the National Endowment for the Arts, on the Board and Executive
Committee of the American Arts Alliance, the national advocacy association for the performing and visual
arts, and as a trustee of Theatre Communications Group (TCG), the national service organization for the
American professional theatre and publisher of American Theatre magazine. In addition, he has served
on the Board of the Cambridge Multi-Cultural Arts Center and as President of the Massachusetts Cultural
Education Collaborative. In 2000, Mr. Orchard received the Elliot Norton Award for Sustained Excellence.
About the A.R.T.
A HISTORY OF THE AMERICAN REPERTORY THEATRE
Diane Paulus Artistic Director Robert J. Orchard
Executive Director
Gideon Lester
Director, 08/09 Season
Robert Brustein
Founding Director
The American Repertory Theatre (A.R.T.) occupies a unique place in the American theatre. It is the only
professional not-for-profit theatre in the country that maintains a resident acting company and an international training conservatory, and that operates in association with a major university. Over its twentyeight-year history the A.R.T. has welcomed American and international theatre artists who have enriched
the theatrical life of the nation. The theatre 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.
received a National Theatre Conference’s Outstanding Achievement Award, and in May of 2003 it was
named one of the top three theatres in the country by Time magazine.
Since 1980 the A.R.T. has performed in eighty-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-six 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-eight 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 theatre’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/theatre 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 theatre’s artistic staff teaches undergraduate classes
in acting, directing, dramatic literature, design, and playwriting at Harvard, and in 1987 the A.R.T.
founded the Institute for Advanced Theatre Training. In conjunction with the Moscow Art Theatre School,
the Institute provides world-class graduate-level training in acting, dramaturgy, and special studies.
The A.R.T. 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. website — www.amrep.org.
NEW WORKS
The A.R.T.’s American and world premieres include works by Robert Auletta, Edward Bond,
Robert Brustein, Don DeLillo, Keith Dewhurst, Humberto Dorado, Christopher Durang, Rinde
Eckert, Elizabeth Egloff, 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 ShiZheng, 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, François Rochaix, Adelheid Roosen, Robert Scanlan, Dominique 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, and the International Fortnight of Theatre
in Quebec; 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 theatres 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 Magazine
“Theatre that cries out to be seen.” – Boston Globe
“Stretching the limits of artistic possibility with an imaginative daring that 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
&K@P?AC
RFC
"35
Be a part of the art at
American
Repertory
Theatre
with a gift to the
2008-09 Annual Fund.
Julius Caesar: Brutus (Jim True-Trost) and Portia
(Sara Kathryn Bakker). Photo: Michael Lutch. 2008.
Gifts to A.R.T.’s Annual Fund
provide critical support for
community outreach, student
programming, the artists on
our stages and the artists
behind the scenes. Be part
of the community of donors
who embrace the A.R.T.
Online: www.amrep.org
Phone: 617-496-2000 x8832
Mail: A.R.T. Development Department, 64 Brattle Street
Cambridge, MA 02138
Donors
American Repertory
Theatre is deeply grateful
for the generous support of the individuals,
foundations, corporations,
and government agencies
whose contributions make
our work possible. The
list below reflects gifts
between August 1, 2007
and July 31, 2008 to the
Annual Fund and for gala
sponsorships.
$100,000 and above
The Carr Foundation
The Doris Duke Charitable
Foundation
The Andrew W. Mellon
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
$25,000–$49,999
American Express
Philanthropic Program
Philip and Hilary Burling*
Robert E. Davoli and
Eileen L. McDonagh*
Edgerton Foundation New
American Plays
The E.H.A. Foundation, Inc.
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*
Ted and Mary Wendell*
$10,000–$24,999
Bank of America Philanthropic Management
Page Bingham and Jim
Anathan*
The Boston Foundation
Boston Investor Services*
Paul and Katie
Buttenwieser*
Ted and Joan Cutler
Étant Donnés
Michael G. Feinstein and
Denise Waldron
Merrill and Charles
Gottesman
Barbara and Steve
Grossman
Ann and Graham Gund
Barbara W. Hostetter
The Roy A. Hunt
Foundation
Michael and Wanda
Jacobson*
The Robert & Myra Kraft
Family Foundation, Inc.
Lizbeth and George Krupp
Kako and Fumi
Matsumoto*
New England Foundation
for the Arts
Office of the Provost,
Harvard University*
Anthony Pangaro
Cokie and Lee Perry
Beth Pollock*
Michael Roitman and
Emily Karstetter
The Lawrence & Lillian
Solomon Fund, Inc.
Anonymous*
$5,000–$9,999
Joel and Lisa Alvord
George C. and Hillery
Ballantyne
Kate and Gerald
Chertavian*
Clarke and Ethel D.
Coggeshall
Constellation Center*
Crystal Capital*
Alan and Suzanne
Dworsky
Matthew Garrity
Joseph W. Hammer
Glenn KnicKrehm
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
Lisbeth Tarlow
William Gallagher
Associates*
Anonymous
$2,500–$4,999
Enid Beal
John A. Boyd
Stanley and Peggy Charren
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
Vita Weir and Edward
Brice
Sam Weisman and
Constance McCashin*
Francis H. Williams
Anonymous
$1,200–$2,499
Elizabeth M. Adams
Sheldon Appel
Sharyn Bahn
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
The Kennedy Center
John D.C. Little
Donors
Mary Elizabeth Moore
Bob and Alison Murchison
Arthur and Merle Nacht
Finley and Patricia Perry
Renee Rapaporte
Beatrice Roy
SD&A Teleservices, Inc.
Kay and Jack Shelemay
Michael Shinagel and
Marjorie North
Sholley Foundation
Marshall Sirvetz
Christopher R. Yens and
Temple V. Gill
$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
Stephen Coit
Richard and Dorothy Cole
Jane and Marvin Corlette
Pamela Coravos and
Garrett Stuck
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
Peter and Kitty Griffith
Jerry and Margaretta
Hausman
Hurlbut Family Charitable
Lead Trust
David and Meredith Kantor
Gillian and Bill Kohli
Barbara Lee Family
Foundation
Greg and Mary Beth
Lesher
Esther Maletz-Stone
Patricia Cleary Miller Ph.D.
F. Paul Mooney
Drs. Hilda and Max
Perlitsh
Carol and Steve Pieper
Carolyn G. Robins
Judy and David Rosenthal
Alan Savenor
Wendy Shattuck and
Samuel Plimpton
Edgar Schein
Julie Taymor
The Joseph W. and Faith
K. Tiberio Charitable
Foundation
Jean Walsh and Graham
Davies
Mindee Wasserman, Esq.
Ruth and Harry Wechsler
Anonymous
$250–$499
Rena and Walter
Abelmann
Nancy and Mark Angney
Dr. and Mrs. Ronald Arky
Janeen Ault
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
Fred and Edith Byron
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
David Golan and Laura
Green
Dr. Jeffrey and Laurie
Goldbarg
Randy and Stephen
Goldberger
Ellen and Richard
Grossman
Jonathan Harris
Margaret and Timothy
Heitz
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
Judith Kidd
Allen S. and Jeanne Krieger
Ruth B. Kundsin
Bill and Lisa Laskin
Drs. Mortimer and
Charlotte Litt
Stephen and Jane Lorch
Gregory Maguire
Barbara 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
Suzanne Ogden and Peter
Rogers
Carmel and Peter O’Reilly
Nicholas Patterson
Suzanne Priebatsch
Paul and Anna Maria
Radvany
Theresa Regli and Thor
Iverson
Sally C. Reid and John
D. Sigel
Vicky Robson
Patricia Romeo-Gilbert and
Paul B. Gilbert
Civia and Irwin Rosenberg
Kim and Fernando Salazar
Tom Slavin
George Smith
Rina Spence and Gary
Countryman
Katharine Sterling
Wendell Sykes
Betty Taymor
Mark Thurber and Susan
Galli
Margaret Ulrich-Nims and
Charlie Nims
Ioannis Yannas
William Zinn and Nancy
Bridges
Dr. Stephen H. Zinner
Anonymous
+ denotes gift-in-kind
* includes gala
sponsorship
Donors
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 @ 617-4962000x8842.
Boston Beer Company
The Bay State Banner
The Boston Globe
The Boston Phoenix
The Harvard Coop
The Harvest Restaurant
MAX Ultimate Food
Newbury Comics
Sandrine’s Restaurant
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 $5,000 or
more to National Corporate
Theatre Fund:
Altria Group, Inc.
AT&T
Bingham McCutchen
Bloomberg
Committees
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 Theatre
National Advisory Committee
Dr. Stephen Aaron
Donald and Lucy
Beldock
Alexandra Loeb Driscoll
Ronald Dworkin
Wendy Gimbel
Stephen and Kathy
Graham
Kay Kendall
Robert and Rona Kiley
Rocco Landesman
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 Theatre 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
Gideon Lester Director, 08/09 Season
Robert Brustein Founding Director
Production
Patricia Quinlan Production Manager
Christopher Viklund Associate Production Manager
Skip Curtiss Associate Production Manager
J. Michael Griggs Loeb Technical Director
Artistic
Scott Zigler Director, A.R.T. Institute
Jeremy Geidt Senior Actor
Marcus Stern Associate Director
Christopher De Camillis Artistic Coordinator
Arthur Holmberg Literary Director
Nancy Houfek Voice and Speech Coach
Ryan McKittrick Associate Dramaturg
David Wheeler Associate Artist
Scenery
Stephen Setterlun Technical Director
Emily W. Leue Assistant Technical Director
Alexia Muhlsteff Assistant Technical Director
Gerard P. Vogt Scenic Charge Artist
Peter Doucette Master Carpenter
York-Andreas Paris Scenic Carpenter
Jason Bryant Scenic Carpenter
David Buckler Scenic Carpenter
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
Properties
Cynthia Lee Properties Manager
Tricia Green Assistant Properties Manager
Stacey Horne Properties Carpenter
Development
Sue Beebee Assistant Director of Development
Jan Graham Geidt Coordinator of Special Projects
Joan Moynagh Director of Institutional Giving and
Strategic Partnerships
Jessica Obara Development Officer
Publicity, Marketing, Publications
Ruth Davidson Director of Communications and
Marketing
Katalin Mitchell Director of Press and Public
Relations
Nicholas Peterson Assistant Director of Marketing
Kerry Israel Audience Development Manager
Amanda Gutowski Communications Manager
Jose Nieto Design Consultant
Kelly Mastracchio Graphic Designer
Stevens Advertising Associates Advertising Consultant
Box Office
Derek Mueller Box Office Manager
Ryan Walsh Box Office Manager
Karen Snyder Box Office Representative
Public Services
Erin Wood Theatre Operations Coordinator
Maria Medeiros Receptionist
Sarah Leon Receptionist
Killian Clarke House Manager
Michael Haviland House Manager
Heather Quick House Manager
Matthew Spano House Manager
Barbara Lindstrom Volunteer Usher Coordinator
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
Lights
Derek L. Wiles Master Electrician
Kenneth Helvig Lighting Assistant
David Oppenheimer Light Board Operator
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 Production Associate/ASM
Carolyn Boyd Production Associate
Elizabeth Bouchard Institute Stage Manager
Internships
Sara Bookin-Weiner Dramaturgy
Kyle Carlson Stage Management
Jane Jung Marketing
Patrick Landreman Sound
Julia Reynaud Administration
Allegra Libonati Artistic
Institute
A.R.T./MXAT INSTITUTE
FOR ADVANCED THEATRE TRAINING
Scott Zigler, Director
Julia Smeliansky, Administrative Director
Marcus Stern, Associate Director
Nancy Houfek, Head of Voice and Speech
Andrei Droznin, Head of Movement
AMERICAN REPERTORY THEATRE
Diane Paulus, Artistic Director
Robert J. Orchard, Executive Director
Gideon Lester, Director, 08/09 Season
MOSCOW ART THEATRE
MOSCOW ART THEATRE SCHOOL
Oleg Tabakov, Artistic Director
Anatoly Smeliansky, Head
The Institute for Advanced Theatre Training at Harvard was established in 1987 by the American Repertory Theatre (A.R.T.) as a training ground for the American theatre. Its programs are fully integrated with the
activities of the A.R.T. In the summer of 1998 the Institute commenced a historic joint program with the
Moscow Art Theatre (MXAT) School. Students engage with two invaluable resources: the work of the A.R.T.
and that of the MXAT, as well as their affiliated schools. Together, this exclusive partnership offers students
opportunities for training and growth unmatched by any program in the country.
The core program features a rigorous two-year, five-semester period of training in acting, dramaturgy, and
special studies, during which students work closely with the professionals at the A.R.T. and the MXAT as well
as with the best master teachers from the United States and Russia. At the end of the program, students
receive a Certificate of Achievement from the faculty of the American Repertory Theatre and an MFA Degree
from the faculty of the Moscow Art Theatre School.
Further information about this new program can be obtained by calling the Institute for a free catalog at
617-496-2000 x8890 or going to our website at www.amrep.org/iatt.
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 Alpern
Renzo Ampuero
Skye Noel Basu
Jason Beaubien
Kaaron Briscoe
Sheila Carrasco
Doug Chapman
Shawn Cody
Tim Eliot
Anthony Gaskins
Heather Gordon
Kelley Green
Carl Foreman
Michala Hansen
Susannah Hoffman
Manoel Hudec
Nina Kassa
Ian Kerch
Scott Lyman
Roger Kuch
Jacob Martin
Careena Melia
Paul Murillo
Cameron Oro
Laura Parker
Therese Plaehn
Anna Rahn
Richard Scott
James Senti
Charles Settles, Jr.
Lisette Silva
Josh Stamell
Lindsay Strachan
Chudney Sykes
Rebecca Whitehurst
Dramaturgs
Sean Bartley
Marshall Botvinick
Whitney Eggers
Beck Holden
Heidi Nelson
Lynde Rosario
Brendan Shea
Paul Stacey
Voice
Julie Foh
Jane Guyer
ARTifacts
617.547.8300
www.amrep.org
curtain times
A.R.T. student pass
Tue / Wed / Thu / Sun evenings – 7:30 pm
Friday / Saturday evenings – 8:00 pm
Saturday / Sunday matinees –
2:00 pm
$60 gets you 5 tickets good for any combination of plays. That’s only $12 a seat!
(Full-time students only.)
exchanges
individual ticket prices
• LOEB STAGE
Fri / Sat evenings All other perfs
Hot Dates (rear, sides)
A
$79
$68
$25
• ZERO ARROW
Fri / Sat evenings
All other perfs
Hot Dates (rear, sides)
$52
$39
$25
B
$56
$39
•S
EASON TICKET HOLDERS can change
to any other performance free of charge.
• SINGLE TICKET BUYERS can exchange
for a transaction fee of $10.
discount parking
box office hours
•L
OEB 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.
• LOEB DRAMA CENTER
Tuesday–Sunday
noon–5 pm
Monday
closed
Performance days
open until curtain
• 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
• ZERO ARROW THEATRE
box office opens one hour before curtain
learn more
playback
Post-show discussions after all Saturday
matinees. All ticket holders are welcome.
special series designed for socializing,
with the ART bar open late for mingling.
• out@ART
includes playback discussion
select Friday performances: 9/19, 10/31,
12/5, 1/23, 2/27, 4/10, 5/22.
• under 35
select Thursday performances: 9/18,
10/23, 12/4, 1/22, 2/19, 4/2, 5/14.
Visit ARTicles online to find background
information on our productions, including
selections from ARTicles, program notes,
ARTConnections, and more.
Sign up for our e-newsletter! Receive
up-to-the-minute notification of discounts
and events, as well as articles, interviews,
and commentary designed to enhance your
A.R.T. experience. Visit www.amrep.org
upcoming production:
Aurélia’s Oratorio
Written and directed by Victoria Thierrée
Chaplin, starring Aurélia Thierrée
November 28, 2008 – January 3, 2009
Loeb Drama Center
order your tickets today! 617.547.8300 www.amrep.org
617.547.8300
www.amrep.org
64 Brattle Street, Cambridge, MA 02138