Roundabout Theatre Company 02-03 Annual Report

Roundabout

Theatre Company

Annual Report 2002-2003

ROUNDABOUT THEATRE COMPANY BOARD OF DIRECTORS Steven F. Goldstone, Chairman Silver Spring Group, LLC Thomas E. Tuft, Vice Chairman Managing Director Goldman, Sachs & Co. Christian C. Yegen, Vice Chairman President Yegen Companies

Samuel R. Chapin

Jeffrey S. Maurer

Senior Vice President, Head, Global Investment Banking Merrill Lynch & Company

Executive Vice President Neuberger Berman

Mary Cirillo-Goldberg

Chief Executive Officer McGarry Bowen

Chairman and Chief Executive Officer OPCENTER

Robert G. Donnalley Jr.

Todd Haimes, President

Retired, CPA

Artistic Director Roundabout Theatre Company

Douglas Durst

Barbara Schaps Thomas, Treasurer

President The Durst Organization

Senior Vice President and Chief Financial Officer HBO Sports

L. Thomas Gleason

John P. McGarry Jr.

Carol Mitchell Cynthia Nixon Laura Pels President The Laura Pels Foundation

Christopher Plummer Donna J. Slade

Kevin A. McCabe, Secretary

Regional Vice President, Passenger Sales American Airlines, Inc.

Senior Vice President JPMorgan Chase

Lawrence Kaplen

Retired IBM Americas

Leslie E. Bains Senior Executive Vice President HSBC Bank USA

Maureen Bluedorn

Writer

Gene R. Korf Attorney Korf & Rosenblatt

Bluedorn Capital Management, LLC Paul A. Lacouture President, Network Services Group Ronald B. Bruder Verizon Communications Chairman The Brookhill Group Theresa Lang Philanthropist

Linda Carter, Ph.D.

Clinical Psychologist

David E. Massengill

Graphic Designer

Patricia S. Wolpert

Todd Haimes Artistic Director

Ellen Richard Managing Director

Julia C. Levy Executive Director, External Affairs

Scott Ellis Associate Artistic Director

Partner Simpson, Thatcher & Bartlett

ROUNDABOUT THEATRE COMPANY ADVISORY COUNCIL F. Murray Abraham

Marsha Mason

Steven A. Sanders

Polly Bergen

Helen Mirren

Attorney Spitzer & Feldman, P.C.

Jed Bernstein

Brian Murray

Robert N. Sellar

Executive Director The League of American Theatres and Producers

Liam Neeson

President and Chief Executive Officer National Executive Service Corps.

Robert T. Greig Partner Cleary, Gottlieb, Steen & Hamilton

Samuel H. Hagler

Barbara L. Rambo Chief Executive Officer OpenClose.com

Charles Randolph-Wright

Mary Steenburgen Patricia A. Stockhausen President Emergency Management Training

Marketing Consultant

Natasha Richardson

Cherry Jones

Ron Rifkin

Irwin E. Kaplan

Robert S. Roath

Retired Datronics, Inc.

Retired RJR Nabisco, Inc.

Stephen Lang

Florence Rosen

Frank Langella

President Barry C. Waldorf Rosen Associates Management Corp. Retired, Managing Director U.S. Trust Company of New York

Honorable Anthony D. Marshall Charlene T. Marshall

Rebecca Sullivan Project Director The Arnold P. Gold Foundation

Yolanda R. Turocy Managing Director Neuberger Berman, LLC

Robert A. Rosen

Chairman and Tony Walton Chief Executive Officer Rosen Associates Management Corp. Toby Webb Retired

OPEN HOUSE

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f you go backstage a half an hour before the show, you’ll hear the stage manager over the intercom letting actors and crew know that the “house” is open. It’s one of theatre’s funny little coinages, calling the inside of a theatre a “house.” I don’t know when the custom first began, but after 20 years with this theatre company, Roundabout has produced a lot of shows in many different houses.

In the 2002-2003 season alone, we had five Roundabout productions at separate Broadway theatres around town. Looking back now on the year, I expect our staff, as well as many of our audience members, friends, and funders, would say we were crazy to try to pull off such a feat. Everyone rose to the occasion and all the juggling was worthwhile, though, as the year turned out to be one of the most artistically successful seasons in our 38-year history.

The future will be simpler, as a trio of houses becomes Roundabout’s permanent home. In addition to our long-term lease on the American Airlines Theatre, we now own Studio 54, where Cabaret has run for six years. We also have signed a long-term lease for our new off-Broadway theatre center on 46th Street. We are completely renovating this venerable but neglected gem to house a mainstage theatre named after Laura Pels, our long-time supporter and Board member, as well as a 75-seat black box theatre. Our plan is for Studio 54 to be our home for musicals, the 46th Street theatre complex to nurture new plays and new play development in its two houses, and the American Airlines Theatre to continue to be home to classic plays.

This year also marked my twentieth anniversary with Roundabout. As with any major milestone, I found myself remembering all of the incredible artists whose work has made this company’s reputation for excellence.

Fortunately, some of these old friends came home to Roundabout this year. Brian Bedford and Joe Dowling, whose production of London Assurance thrilled audiences in 1997, joined

us once again for Tartuffe. Our own Associate Artistic Director Scott Ellis staged an evening of Burt Bacharach and Hal David songs in The Look of Love. Peter Nichols’ caustic comedy A Day in the Death of Joe Egg, one of Roundabout’s first productions to move to Broadway in the 1980s, was equally lauded in this season’s revival starring the very talented Eddie Izzard and Victoria Hamilton.

We welcomed back to our stages Jane Krakowski (Company), who dazzled audiences and critics in Nine. And Danny Glover and Lonny Price, both old friends of ours, joined us again for an unforgettable revival of Athol Fugard’s “Master Harold”…and the boys.

One central aspect of Roundabout’s mission, as a not-for-profit theatre, is to present unique and exciting work that otherwise would not be seen. This certainly held true when we brought Deaf West Theatre’s production of Big River to Broadway this year.

Working with director Jeff Calhoun and the amazing cast as they made history in Broadway’s first deaf musical was a tremendous experience for me. Big River also allowed us to bring new technology to the theatre, such as hand-held personal captioning devices. We hope to continue to work with Sound Associates, Inc. to help refine and promote such technologies to make theatre (whether at Roundabout or elsewhere) more accessible to all audiences.

Most important, Roundabout makes every house it inhabits a home because of the devotion of our staff and board, as well as the generosity of our funders. I’d like to particularly thank Mary Cirillo-Goldberg for her wonderful leadership as she completed her term as board chair this year. I am delighted that Mary will continue to serve Roundabout as a member of our Board of Directors.

I look forward to walking backstage in our new homes this year and hearing “the house is open.” I hope you’ll plan many visits.

Artistic Director PAGE 1

BREAKING NEW GROUND

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his season has been one of Roundabout’s most exciting.

We celebrated Todd Haimes’ incredible leadership as he marked his twentieth anniversary with Roundabout. It was Todd who made this and so many other remarkable seasons possible.

Todd has led Roundabout with true entrepreneurial spirit and superb artistic taste while taking advantage of and creating opportunities for doing challenging work at every turn. In so doing, he has transformed Roundabout from a small off-Broadway company into one of New York’s premier cultural organizations. Roundabout is the company it is today thanks to Todd’s exceptional vision, and we on the Board are proud to support and congratulate him.

In addition to the artistic success of the past season, I can, with great enthusiasm, also tell my friends that Roundabout is indeed buying and renovating new theatres. I never imagined that such grand plans would come to fruition. Roundabout’s dream of purchasing Studio 54 was made possible through the support of Mayor Michael R. Bloomberg, Speaker Gifford Miller and Christine Quinn and the New York City Council, Manhattan Borough President C. Virginia Fields, and Governor George E. Pataki. Combined with Roundabout’s renovation of the 46th Street Theatre Center, these real estate developments will allow us to continue to produce high-quality plays and musicals.

Despite all we had to celebrate during this past year, it has not been free of challenges.

From my vantage point on the Board, I have seen the tough financial issues that Roundabout has faced in this difficult economic climate. Fortunately, the future looks bright. As Roundabout settles into its permanent homes in the coming year, we will be able to continue to create riveting theatre in a fiscally sound manner. This is, of course, Roundabout’s modus operandi.

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Roundabout continues to do unprecedented work in our education department. The Bronx Theatre High School and the Brooklyn High School for Music and Theatre opened their doors to just over 200 freshmen students this fall, marking an audacious new day in education. As a part of the New Century High Schools Initiative, Roundabout’s education department partnered with the New York City Department of Education and New Visions for Public Schools to create these two small schools that use theatre-based curriculum through which students will learn all their subjects. It’s a major next step by Roundabout to affect the quality of education in our city schools.

Roundabout’s supporters enable such programs to exist, and we would like to offer our deepest thanks to the many generous individuals, foundations, corporations, and governmental agencies that supported us this year. I’d particularly like to acknowledge the members of our Board of Directors and Advisory Council whose dedication and enthusiasm have been integral to the successes of the past year. We welcomed new Board members Carol Mitchell and Ronald Bruder, and thanked departing Board member Cathryn Palmieri for her many years of service. Sadly, we mourned the passing of Advisory Council member Lesley Sanders. Lesley and her husband Steven have been Roundabout supporters since our earliest days, and she will be dearly missed.

Finally, I would like to recognize Steven Goldstone. Steven, who will be the incoming chairman, has provided outstanding leadership on the Board. I know Roundabout will continue to thrive on his watch. I look forward to continuing to work with Steven and my fellow Board members to ensure that Roundabout remains at the forefront of our city’s cultural life.

Chairman of the Board

Danny Glover in “Master Harold”…and the boys.

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BROADWAY PRODUCTIONS Tartuffe

By Jean Baptiste Poquelin de Molière December 6, 2002 through February 23, 2003 American Airlines Theatre Director: Joe Dowling Set Design: John Lee Beatty Costume Design: Jane Greenwood Lighting Design: Brian MacDevitt Original Music and Sound Design: Mark Bennett Original Cast: Brian Bedford, Henry Goodman, J. Smith-Cameron, Jeffrey Carlson, Philip Goodwin, Bryce Dallas Howard, T.R. Knight, Rosaleen Linehan, John Bedford Lloyd, Kathryn Meisle, Alec Beard, Jon Halbach, John Hayden, Melissa Miller, Brandy Mitchell, Virginia Louise Smith, Erik Steele, Robert Thompson OPENING NIGHT: January 9, 2003 Performances: Attendance: Capacity:

93 61,449 89%

A Day in the Death of Joe Egg

By Peter Nichols March 14, 2003 through June 1, 2003 American Airlines Theatre Director: Laurence Boswell Set and Costume Design: Es Devlin Lighting Design: Adam Silverman Sound Design: Fergus O’Hare Cast: Eddie Izzard, Victoria Hamilton, Dana Ivey, Margaret Colin, Michael Gaston, Madeleine Martin OPENING NIGHT: April 3, 2003 Performances: Attendance: Capacity:

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93 63,613 92%

Support for this production generously provided by the Eleanor Naylor Dana Charitable Trust.

A production of A Day in the Death of Joe Egg, directed by Laurence Boswell and starring Eddie Izzard and Victoria Hamilton, was produced by Sonia Friedman Productions and Adam Kenwright in the West End of London in 2001-2002.

Nine, The Musical Book by Arthur Kopit Music and Lyrics by Maury Yeston Adaptation from the Italian by Mario Fratti March 21, 2003 - present Eugene O’Neill Theatre Director: David Leveaux Choreographer: Jonathan Butterell Music Director: Kevin Stites Set Design: Scott Pask Costume Design: Vicki Mortimer Lighting Design: Brian MacDevitt Sound Design: Jon Weston Original Cast: Antonio Banderas, Chita Rivera, Laura Benanti, Jane Krakowski, Mary Stuart Masterson, Nell Campbell, Deidre Goodwin, Mary Beth Peil, Saundra Santiago, Myra Lucretia Taylor, Stephanie Bast, Jessica Leigh Brown, Anthony Colangelo, Rachel deBenedet, Rona Figueroa, Sara Gettelfinger, Kristin Marks, Linda Mugleston, Elena Shaddow, William Ullrich, Kathy Voytko OPENING NIGHT: April 10, 2003 Performances: Attendance: Capacity:

187* 199,205* 99%*

*as of August 31, 2003 Major support for this production provided by The Kaplen Foundation.

The Donmar Warehouse (Sam Mendes, Artistic Director, Caro Newling, Executive Producer) produced a production of Nine in 1996, directed by David Leveaux.

The Look of Love Music by Burt Bacharach Lyrics by Hal David April 4, 2003 through June 15, 2003 Brooks Atkinson Theatre Co-Conceivers: David Thompson, Scott Ellis, David Loud, and Ann Reinking Director: Scott Ellis Musical Director: David Loud Choreographer: Ann Reinking Set Design: Derek McLane Costume Design: Martin Pakledinaz Lighting Design: Howell Binkley Sound Design: Brian Ronan Cast: Farah Alvin, Liz Callaway, Kevin Ceballo, Nikki Renée Daniels, Jonathan Dokuchitz, Eugene Fleming, Capathia Jenkins, Janine LaManna, Shannon Lewis, Rachelle Rak, Desmond Richardson, Allyson Turner, Eric Jordan Young OPENING NIGHT: May 4, 2003 Performances: Attendance: Capacity:

84 61,427 71%

Major support for this production provided by HSBC Bank USA, The Kaplen Foundation, and The Blanche and Irving Laurie Foundation. Additional support provided by the National Endowment for the Arts.

Cast: Danny Glover, Michael Boatman, Christopher Denham OPENING NIGHT: June 1, 2003 Performances: Attendance: Capacity:

80 64,296 75%

Big River, The Adventures of Huckleberry Finn Music and Lyrics by Roger Miller Book by William Hauptman July 1, 2003 through September 21, 2003 American Airlines Theatre Director/ Choreographer: Jeff Calhoun Music Director: Steven Landau Set Design: Ray Klausen Costume Design: David R. Zyla Lighting Design: Michael Gilliam Sound Design: Peter Fitzgerald Cast: Michael Arden, Scott Barnhardt, Catherine Brunell, Walter Charles, David Aron Damane, Christina Ellison Dunams, Gina Ferrall, Phyllis Frelich, Tyrone Giordano, Daniel Jenkins, Lyle Kanouse, Rod Keller, Troy Kotsur, Kevin Massey, George McDaniel, Michael McElroy, Drew McVety, Guthrie Nutter, Ryan Schlect, Gwen Stewart, Melissa van der Schyff, Alexandria Wailes OPENING NIGHT: July 24, 2003

“Master Harold”… and the boys.

By Athol Fugard May 6, 2003 through July 13, 2003 Royale Theatre Director: Lonny Price Set Design: John Lee Beatty Costume Design: Jane Greenwood Lighting Design: Peter Kaczorowski Sound Design: Brian Ronan

Performances: Attendance: Capacity:

71* 48,382* 94%*

*

as of August 31, 2003

Co-produced by Deaf West Theatre (Ed Waterstreet, Artistic Director) in association with Center Theatre Group/Mark Taper Forum.

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2002-2003 AWARDS AND NOMINATIONS

TARTUFFE

NINE

TONY Nomination for Best Performance by a Leading Actor in a Play – Brian Bedford Nomination for Best Performance by a Featured Actress in a Play – Kathryn Meisle

TONY Best Revival of a Musical Best Performance by a Featured Actress in a Musical – Jane Krakowski Nomination for Best Performance by a Leading Actor in a Musical – Antonio Banderas Nominations for Best Performance by a Featured Actress in a Musical – Mary Stuart Masterson, Chita Rivera Nomination for Best Director of a Musical – David Leveaux Nomination for Best Lighting Design – Brian MacDevitt Nomination for Best Orchestrations – Jonathan Tunick

DRAMA LEAGUE Nomination for Distinguished Revival of a Play or Musical OUTER CRITICS CIRCLE Nomination for Outstanding Revival of a Play Nomination for Outstanding Actor in a Play – Brian Bedford Nominations for Outstanding Featured Actress in a Play – Kathryn Meisle, J. Smith-Cameron

A DAY IN THE DEATH OF JOE EGG TONY Nomination for Best Revival of a Play Nomination for Best Performance by a Leading Actor in a Play – Eddie Izzard Nomination for Best Performance by a Leading Actress in a Play – Victoria Hamilton Nomination for Best Direction of a Play – Laurence Boswell DRAMA DESK Outstanding Actor in a Play – Eddie Izzard Nomination for Outstanding Revival of a Play DRAMA LEAGUE Distinguished Revival of a Play or Musical

DRAMA LEAGUE Nomination for Distinguished Revival of a Play or Musical

Ellen Richard, Todd Haimes, and Julia C. Levy with the Tony Award for Nine

OUTER CRITICS CIRCLE Outstanding Revival of a Play Outstanding Actor in a Play – Eddie Izzard Nomination for Outstanding Actress in a Play – Victoria Hamilton THEATRE WORLD Victoria Hamilton This spring, Roundabout Theatre Company was also honored by the Drama League with its Unique Contribution to the Theatre award.

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DRAMA DESK Outstanding Revival of a Musical Outstanding Actor in a Musical – Antonio Banderas Outstanding Featured Actress in a Musical – Jane Krakowski Nominations for Outstanding Featured Actress in a Musical – Mary Stuart Masterson, Chita Rivera Nomination for Outstanding Director of a Musical – David Leveaux

OUTER CRITICS CIRCLE Outstanding Revival of a Musical Outstanding Actor in a Musical – Antonio Banderas Outstanding Featured Actress in a Musical – Jane Krakowski Nomination for Outstanding Actress in a Musical – Chita Rivera Nominations for Outstanding Featured Actress in a Musical – Laura Benanti, Mary Stuart Masterson, Mary Beth Peil Nomination for Outstanding Direction of a Musical – David Leveaux Nomination for Outstanding Choreography – Jonathan Butterell Nomination for Outstanding Set Design – Scott Pask Nomination for Outstanding Costume Design – Vicki Mortimer Nomination for Outstanding Lighting Design – Brian MacDevitt THEATRE WORLD Antonio Banderas Mary Stuart Masterson

Antonio Banderas and company in Nine

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ARTISTIC READINGS AND WORKSHOPS

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hrough a series of intensive readings and workshops, Roundabout is committed to cultivating new plays and musicals as well as re-working classic plays and musicals. These developmental workshops support the growth and enrichment of the theatre community by providing playwrights, composers, and lyricists with opportunities to hear their work performed by experienced artists. The following artistic readings and musical workshops were produced during Roundabout’s 2002-2003 season.

ARTISTIC READINGS After the Fall

By Arthur Miller September 12, 2002 Director: Michael Mayer Cast: Margaret Colin, MacIntyre Dixon, Kevin Geer, Jessica Hecht, Kaitlin Hopkins, Laila Robins, Liev Schreiber, Steven Skybell, Hilary Swank, Jonathan Walker

Sarah, Sarah

By Daniel Goldfarb October 15, 2002 Director: David Warren

Man with Two Hearts Found on the Moon

By Nan Knighton March 27, 2003 Director: Brendon Fox Cast: Marylouise Burke, David Cromwell, Daniel Davis, Marcy Harriell, Neil Patrick Harris, Aaron Krohn, Marc Kudisch, Swoosie Kurtz, Ben Shenkman, Mary Louise Wilson

Twentieth Century

By Ben Hecht and Charles MacArthur Adaptation by Ken Ludwig June 19, 2003

Cast: Jennifer Carpenter, Michael Director: Walter Bobbie Goldstrom, Richard Kind, Cast: Tom Aldredge, Jason J. Smith-Cameron Antoon, Alec Baldwin, Rob Bartlett, Terry Beaver, Teagle Pen Bougere, Danny Burstein, Brian

By David Marshall Grant Hutchison, Jane Krakowski, February 5, 2003 Thomas McCarthy, Mark Nelson, Director: Evan Yionoulis Kali Rocha, Clarke Thorell Cast: Kate Arrington, Margaret Colin, Jesse Eisenberg, Aaron Krohn, Fisher Stevens

Safety in Numbers

By Nicky Silver March 17, 2003

MUSICAL WORKSHOPS Open Heart

By Robby Benson November 14, 2002

Director: Nicky Silver

Musical Director: Sterling Smith Host: Robyn Goodman

Cast: Blair Brown, Jim Dale, Raul Esparza, Enid Graham, Jessica Hecht, Quentin Mare

Cast: Robby Benson, Stan Brown, Karla DeVito

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Baby Music by David Shire Lyrics by Richard Maltby, Jr. Book by Sybille Pearson December 9 & 10, 2002 Director: Charles RandolphWright Musical Director: Kevin Stites Associate Musical Director: Eugene Gwozdz Cast: Victoria Clark, Bobby Daye, John Dossett, Rosena M. Hill, Christa Justus, Andy Karl, Chad Kimball, La Chanze, Norm Lewis, Scott Mikita, Linda Mugleston, Anika Noni Rose

The Gondoliers or The King of Barataria Libretto by William S. Gilbert Music by Arthur S. Sullivan Libretto Adapted and Additional Lyrics by Stuart Ross Music Adapted and Arranged by Joseph Church Musical Direction by Joseph Church June 27, 2003 Directed by Gabriel Barre Cast: Kate Baldwin, Christian Borle, Kerry Butler, Rona Figueroa, Barrett Foa, Edward Hibbert, Hunter Foster, Deven May, Nancy Opel, Destan Owens, Tricia Paoluccio, Angela Robinson, Douglas Sills, Jennifer Smith, Michael Winther

Victoria Hamilton and Eddie Izzard in A Day in the Death of Joe Egg

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DRAMATIC ACTS This season, a few of the world’s great artists gave Roundabout audiences some stellar turns.

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ver the years, Roundabout has served as home to some extraorindary artists. That’s because the mission of the theatre and Artistic Director Todd Haimes’ vision have remained constant: to foster a creative environment in which the finest artists of our day can come together to stage revivals of great plays and, more recently, of classic American musicals. Roundabout offers its actors, directors, and designers the freedom and the kind of nurturing environment necessary for artistic growth, while providing the personal support to create a home for artists.

Truly outstanding productions combine top-notch work with a strong artistic team. As Haimes explains, “Most of the plays that we revive are considered really good plays, if not great classics. Since we have nothing to prove with the play, the challenge is creating a great production. To do that, you need great artists.” This season, Roundabout brought to its stage many great artists: from the first show of the season, a revival of Molière’s Tartuffe at the American Airlines Theatre, to the last – the remarkable Big River, whose entire ensemble of actors, both deaf and hearing, made the musical sing in completely new ways.

Mutual Attractions Roundabout’s reputation for being an inviting home for great actors helps perpetuate future great performances.

Tartuffe, for example, grew out of actor Brian Bedford’s and director Joe Dowling’s previous relationships with Roundabout that for each goes back more than a decade.

Dowling, head of The Guthrie in Minneapolis, had teamed up with Bedford once before: “Brian, Todd, and I began talking about doing something else after London Assurance [1997], because we had such a good time working on it,” recalls Dowling. Bedford, arguably the most acclaimed Molière interpreter in the English language, was interested in playing Orgon. Haimes agreed that this was a first-rate idea.

Bedford initially had been introduced to Roundabout audiences as the star of a 1995 double-bill called The Molière Comedies. Since Bedford had played the title role in Tartuffe, this time he wanted to try Orgon, the role of the pious patriarchal hypocrite whose machinations drive the story. It’s the better role of the two: it was originally performed by the playwright himself.

Henry Goodman, Joe Dowling, and Brian Bedford of Bedford, not surprisingly, Tartuffe

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earned Tony and Outer Critics Circle nominations for his performance. To play opposite him in the title role, Roundabout brought in another famed British actor, Henry Goodman. “Clearly, the play is about both [characters],” Dowling says. “That’s why you need two great actors.”

Re-hatching Joe Egg The second show of Roundabout’s American Airlines Theatre season was a revival of A Day in the Death of Joe Egg. It was Joe’s third appearance in New York since Peter Nichols wrote it in 1968, and the second time it was produced under the auspices of Roundabout.

Roundabout’s long relationship with Nichols, from its first production of Joe Egg to Privates on Parade in 1990, made the company an obvious choice when the production moved from London’s West End. “The real core of Joe Egg, though, and why this was the third revival on Broadway in 30 years is that it deals with the sacrifices of a relationship,” says director Laurence Boswell. That relationship was performed with surgical precision by Eddie Izzard and Victoria Hamilton, who had large shoes to fill and larger impressions to erase as Bri and Sheila, the young beleaguered parents of a severely handicapped child. Roundabout’s Tony Award-winning 1985 production featured Jim Dale and Stockard Channing.

The 2003 revival was a particularly memorable one for Haimes, as the 1985 production was the company’s first major success after he joined the company. And, as Roundabout productions have done for so many other artists, Joe Egg stars Eddie Izzard and Victoria Hamilton soon found their American theatrical careers taking off.

“Joe Egg really introduced Victoria to America as a world-class actress,” Haimes remarks, “and the show changed Eddie’s image in the U.S. from a stand-up comedian to a serious actor.” Roundabout’s commitment to creating artistic opportunities that would not be found elsewhere certainly played a role in Izzard and Hamilton’s newfound stateside fame.

Eddie Izzard, Victoria Hamilton, and Madeleine Martin of Joe Egg

Amidst the new production’s many memorable elements (including Es Devlin’s wonderfully evocative set and costume designs), Izzard’s revved up, madcap, and heartbreaking performance stood out. Joe Egg’s structure demands bravura turns from its performers, and Nichols’ balance of intense, dramatic moments and comedic repartee served Izzard’s comic roots particularly well. Each night at the American Airlines Theatre, Izzard’s quick wit and Hamilton’s imagination were let loose, as they described in long free-form monologues the frustrating world of idiot doctors and uncaring clergy in which Bri and Sheila were trapped.

The theatre community was left changed in its wake, and the Drama League even honored the production with its award for Distinguished Revival of a Play or Musical.

Indeed, the production proved a prime example of Roundabout’s aesthetic ethos: only revive a worthy play or musical if you can do so with great artists.

Theatre audiences discovered what fans of Banderas’ work in Tie Me Up, Tie Me Down and Evita could have told them: this guy can act. Part of the reason, Banderas says, he felt so comfortable was the rehearsal environment. He praises the producer: “Roundabout is fabulous. Anything that they would ask me, I would do.”

Unbelievably, there were several reasons to be distracted from Banderas’s riveting performance. One was Jane Krakowski. Her entrance as Contini’s frustrated mistress Carla, struggling to keep her towel on while singing “A Call from the Vatican” on a trapeze, was a showstopper. Roundabout audiences probably weren’t as surprised by her powerful musical performance as those who only knew her from Ally McBeal. She had wowed Roundabout audiences as April in the 1995 revival of Company, singing Sondheim’s brilliant romantic duet, “Barcelona.” After many years of trying to entice Krakowski to return to Roundabout’s stages, Nine finally provided the perfect opportunity.

Coming Home Antonio Banderas hadn’t performed in a play onstage in 14 years—and he had never acted or sang onstage in English. Why this season, and why at Roundabout?

“Being in a theatre feels like coming home,” says Banderas. The combination of Roundabout’s reputation as a great not-for-profit musical producer and director David Leveaux’s artistic vision made Nine a homecoming he didn’t care to miss.

Leveaux has had a long history with Roundabout, beginning with a seminal production of Anna Christie in 1992. For the production of the Eugene O’Neill classic, Haimes recruited this very young talent to direct Natasha Richardson and a fairly unknown Liam Neeson.

What resulted was an exquisite production that launched several extraordinary careers. Subsequently, all of these artists have gone on to call Roundabout their theatrical home. Leveaux, for one, has worked almost exclusively with Roundabout when in the States.

After years of discussions by Leveaux and Haimes to find the perfect cast for Nine, with Banderas on board, the revival was finally ready for the stage. The Maury Yeston-Arthur Kopit show was to make its first Broadway appearance since the original production in 1982.

Banderas, who got his start as a classically trained stage actor in Spain, had heretofore been known to American audiences primarily through his film roles, from the adventurous hero Zorro to the lovable dad in Spy Kids. As Banderas slipped into the emotionally complicated and vocally challenging role of Guido Contini, you could see why Leveaux was so insistent on his presence.

Alongside Banderas and Krakowski, such standouts as Laura Benanti, Mary Stuart Masterson, and legendary Chita Rivera vied for audiences’ attentions. As the production was getting underway, even Banderas found himself a little bit awed by Rivera’s company. “It’s Chita Rivera, for Christ’s sake!” he remembers thinking.

“Sometimes, I just wanted to stop in amazement in rehearsal.” Audiences and critics agreed, as the production went on to win the 2003 Tony Award for Best Revival of a Musical.

Mary Stuart Masterson, Antonio Banderas and Jane Krakowski in Nine

continued on page 12

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DRAMATIC ACTS

Michael Boatman, Christopher Denham, Lonny Price, and Danny Glover of “Master Harold”... and the boys.

Master Actors Due to its long history, Roundabout has been fortunate to reunite artists who began their careers on its stages, rekindling creative relationships between artists now at new places in their careers. Roundabout’s production of Athol Fugard’s “Master Harold”…and the boys at the Royale Theatre certainly had a sentimental value for two artists, Lonny Price and Danny Glover, both members of the original 1982 Broadway cast. Back then, Glover was a Broadway newcomer who shined in the smaller role of Willie, a young, put-upon South African man who looks up to his fellow waiter, the world-weary Sam. In 2003, Glover took on the role of Sam, and it was Michael Boatman (of TV’s Spin City) who played Willie. Price, who played the 15-year old title character in the original, served as director. Newcomer Christopher Denham admirably took on Price’s former role as Hally.

Both Price and Glover are also longtime members of the Roundabout family. Price was originally known to Roundabout audiences and to Haimes as an actor, appearing in Roundabout’s production of Room Service in 1986. Since that time, Price had transitioned into directing, as seen in his Roundabout directorial debut of The Matchmaker in 1991. Glover, too, was an alumnus, having appeared in Roundabout’s production of another Fugard play, The Blood Knot, in 1979.

“When I suggested to Athol that we do ‘Master Harold’ with Danny [Glover] he said absolutely yes in three seconds,” remembers Price. Haimes agrees: “The opportunity to revisit ‘Master Harold’ with members of the original Broadway cast at the helm but under such different historical and social circumstances was incredible.” According to Price, when he approached Glover about the Roundabout production, Glover “didn’t need much convincing.”

Christina Ellison Dunams and Gwen Stewart in Big River

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The new production gave both Glover and Price, along with Broadway audiences, a chance to re-engage with Fugard’s poetic play about the brutal realities, and personal complications, of South African apartheid, but now through a 2003 postapartheid lens. Glover’s performance masterfully mixed a wise intensity with a playful teasing quality, a passion and pathos that garnered high critical praise.

“Theater…offers special consolations,” wrote Ben Brantley in the Times. “There is something precious in having Mr. Glover on a stage again, to locate that sense of loss with such immediacy.”

Ensemble Acting The two other shows in Roundabout’s 2002-2003 season, both musicals, exemplified another kind of razzle-dazzle virtuosity in its performances. The Look of Love, an evening of song and dance fashioned by associate artistic director Scott Ellis and David Thompson from the songs of Burt Bacharach and Hal David, gave a whole new heat to the ages old theme of sex and love. Choreographed by Ann Reinking, the show, which Roundabout had nurtured from conception, finally made its exciting premiere.

The final show, a co-production with Deaf West Theatre and Los Angeles’s Mark Taper Forum, was a new sign language adaptation of the musical Big River. The show’s strength lay in a fantastic ensemble cast, including Phyllis Frelich (a 1980 Tony winner for her performance in Children of a Lesser God) and Daniel Jenkins (who played Huck in the original 1985 production). Big River brought to life a classic piece of American mythology – with sign language translation mirroring the spoken word throughout.

When Big River sought a Broadway home for this groundbreaking revival featuring a mixed deaf and hearing cast, the show’s creators needed to look no further than the Roundabout. “Big River complimented Roundabout’s not-for-profit mission in so many ways that it was an obvious fit,” Haimes remembers. “From our education efforts to our commitment to bring to audiences works that would not otherwise be seen, Big River just made sense for us to do.” In addition to inspiring audiences, the production was also deeply moving for the Roundabout family. “Most of our staff, myself included, had never been in a setting in which the deaf and hearing communities came together so seamlessly,” Haimes adds. “It was a very emotional, extraordinary experience for us all.”

The excellent ensemble work in both shows let the material take center stage, whether Bacharach-David’s pop songs that oozed pure suavity or Big River’s message of redemption and humanity torn, almost literally, from the pages of Mark Twain’s classic, Huckleberry Finn. These two intimate musicals reaffirm Roundabout’s efforts to merge classical content with reenvisioned theatricality. In this sense, Roundabout’s 2002-2003 season and its rich legacy of performances will be a hard act to follow.

Desmond Richardson and Shannon Lewis in The Look of Love

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THEATRE-PLUS: ACCESS FOR ALL Roundabout’s many innovative subscription series have proven just the ticket for theatregoers.

T

here are a few things that distinguish Roundabout Theatre Company from all other non-profit theatre companies in New York. One of the most notable is Roundabout’s dedication to serving its large number of nearly 40,000 devoted subscribers. “We have been committed to the subscription model since Roundabout began,” says Artistic Director Todd Haimes. “And we remain committed. It’s part of our mission.”

In addition to receiving half-price tickets, Family Club members attend pre-play workshops led by teaching artists and post-show discussions.

Emboldened by the early popularity of Solo Series, But how did Roundabout attract so many loyal Roundabout steadily expanded its menu of targeted subscribers? Much of the credit is due to the highsubscription series. The success and appeal of the quality productions of great classic works on which Theatre-Plus series are underscored by the extent to Roundabout has built its reputation. However, this which other theatres, both around New York and success is also due in part to the vision of Roundabout’s nationwide, have adopted and leader, Todd Haimes. Many years adapted them as their own. Today, ago, Haimes realized that producers The success of Theatre-Plus there are nine series in all, each had been complacent in attracting programs is underscored by geared toward audiences with specific new theatregoers. With the the extent to which theatres interests or needs. expanding competition for entertainment dollars, the theatre nationwide have adopted and Roundabout offers a Gay and Lesbian community would have to be more adapted them as their own. series, a Teacher’s Night series, and a adventurous and creative in the way Lecture Series, which brings in it reached out to its potential experts to lead pre-play workshops and post-play audiences. According to Haimes, “It just wasn’t enough discussions about each given production. The Family anymore to produce good, or even great, theatre and Club provides half-price tickets for kids and kidhope that audiences would come. We had to reach out to friendly literature to accompany the show. Theatre-Plus the audiences we were subscribers are given a schedule of special events, trying to attract and which are held at the theatre or, occasionally, off-site at create an added value to midtown hotspots like the Whiskey. entice them to our shows.” Thus was born For those who prefer to end their evenings earlier, Roundabout’s TheatreRoundabout’s Early-to-Bed Series, which features curtain Plus program back in times at 7:00 instead of the traditional 8:00, allow busy 1991 with what is now patrons to either get home sooner or save dinner for after known as the Solo the show. Roundabout was definitely ahead of the curve Series, a program with that idea, and if imitation is the sincerest form of designed to give singles flattery, the company should feel extremely flattered as an alternative to the bar last season many Broadway theatres started scene. “What we didn’t experimenting with 7:00 PM curtains once a week. know would happen,” Haimes added, “is that these single subscribers would become regular subscribers.”

Over the past decade, the Solo Series has also proven successful on a more personal level: Roundabout can proudly point out many happily married couples whose early romantic history can be traced back to Solo Series evenings. The series continues to evolve, keeping up with the increasingly technological times. In 20022003, Roundabout co-hosted a hugely successful Solo Series event with the singles Web site, Match.com.

Solo Series subscribers enjoy great theatre and each other’s company.

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Another of the most popular packages is the Wine Tasting Series, sponsored in 2002-2003 by Robert Mondavi Imports. Each theatrical evening is topped off with (you guessed it) an informal wine tasting.

Roundabout’s Sign Interpreted Series, in conjunction with the non-profit organization Hands On (they provide the “translators” who create American Sign Language versions of every show) makes four shows accessible to the deaf and hard of hearing.

Roundabout’s production of the ASL adaptation of Big River in the American Airlines Theatre represented the best of a tradition of accessible theatre.

Perhaps the most extraordinarily popular series is called HIPTIX. Like the Solo Series before it, HIPTIX is designed to appeal to the younger generation of theatregoers (ages 19-35). The HIPTIX membership program allows deeply discounted tickets to be made available to members on a show-by-show basis. It’s designed to be both enormously valuable and enormously easy to use.

You sign up, you tell your friends to sign up, and you all get inexpensive tickets to Roundabout’s shows. In the process, Roundabout hopes these HIPTIX members will become lifelong supporters of the theatre.

HIPTIX has grown exponentially since its inception in 2000, when the first users paid half price or less to see Juliette Binoche and Liev Schreiber in Roundabout’s revival of Harold Pinter’s Betrayal. Once again, the trick has been to make it incredibly easy (and free) for people to join, and to emphasize the social aspects of theatregoing. HIPTIX members go to parties where they can hang out before or after the show, and the theatre encourages members to travel in packs, making it easy to “link” memberships and buy a block of HIPTIX tickets at once. Memberships doubled last season, growing to 5,836 from about 2,600 the previous year.

Master Harold’s Michael Boatman and Christopher Denham provide an insider’s perspective during a post-show discussion.

In 2002-2003, Roundabout began Tuesday Talks, providing pre-performance discussions for all Tuesday evening theatregoers, whether subscribers or single ticket buyers. Led by a member of the education staff, these discussions engage audience members in a dialogue about the play’s themes, characters, and historical setting, among other topics. By infusing the evening’s production with a little more context, Roundabout makes the theatregoing experience more accessible.

The Teacher’s Night Series offers deeply discounted tickets to teachers, often providing lessons in theatre that can easily be transported to the classroom.

Ultimately, Roundabout hopes that these series will encourage audiences to become regular theatre patrons, at Roundabout and elsewhere. “These innovative subscription packages and concepts have helped attract a diverse and growing audience,” says Haimes. “And most of these new subscribers are young. That’s crucial, for they are our audience of the future.”

A Family Club Member concentrates on a project during a pre-play workshop.

HIPTIX members rub elbows with Roundabout stars, such as Henry Goodman, at post-performance receptions.

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THREE’S COMPANY During the 2003-2004 season, Roundabout adopts two theatres to establish three secure homes.

“Wilkommen. Bienvenue. Welcome.”

Studio 54, Roundabout’s new home for musical theatre, was purchased in July of 2003

Roundabout will be singing those inviting lyrics from Cabaret – even after its acclaimed production draws to a close in the coming months. That’s because Roundabout has finalized negotiations to take over two new theatres: Studio 54 and the 46th Street Theatre Center, formerly the home of the American Place Theatre. With the purchase of Studio 54 this summer and a new 20 year lease on the 46th Street Theatre Center, Roundabout plans to re-open both theatres in the 2003-2004 season. Both houses will join the American Airlines Theatre as homes for Roundabout productions.

In fact, it is thanks to Cabaret’s history-making run that Roundabout has found its second Broadway theatre. The former discotheque Studio 54 was originally the Gallo Opera House. Built in 1927 it had an illustrious history. Its second production was a revival of Electra that featured Antoinette Perry, who gave her name to the Tony Awards. In 1930, its name was changed to the New Yorker Theatre, hosting revivals of Ibsen, a new musical by Zora Neale Hurston, and other projects of note. Eventually, it became a nightclub, then a sound studio and ultimately, for several decades, the CBS television studio where programs such as The Jack Benny Show and The $64,000 Question were broadcast.

Finally, the space was transformed into the legendary disco Studio 54.

Roundabout spent about $2 million for Studio 54’s initial makeover. The company expects another $4 million will be necessary to update the lighting grid, replace the cabaret-style seating with orchestra seats, and improve the heating and air conditioning systems, among many other improvements. The result will be a 920-seat intimate theatre perfect for musicals, the production of which Roundabout has made part of its mission since 1993 with the revival of She Loves Me. Subsequent musicals have kept Broadway – and audiences – singing. The eleven musicals Roundabout has mounted have garnered 35 awards.

Meanwhile, Roundabout’s Laura Pels Theatre also gets a new off-Broadway home when the 46th Street Theatre Center, formerly the American Place Theatre, is fully renovated this coming season. The facility was created in 1971 as part of a zoning resolution that ensured a theatre would always exist in the space. In this new theatre, Roundabout will continue its mission to produce new plays by established playwrights.

The primary task in this $7.2 million renovation effort has been enlarging the mainstage of the Laura Pels Theatre from 350 seats to 424 seats by adding a balcony. A 75-seat black box theatre will also be renovated in the building. It’s ideal for workshops, readings, and more experimental work. Best of all, the education department now has an ideal space for its teaching artist workshops, professional development seminars, and other programming.

Buying one theatre, leasing another, and renovating both: the entire plan is an ambitious one. But scrambling to rent theatres in an ad hoc way, which Roundabout has been forced to do since losing its lease at the Criterion Center, has been costly and challenging.

Subscribers who have followed Roundabout’s fortunes – from Chelsea and Union Square to Times Square – should share our pride. Roundabout has accomplished its greatest achievement: three beautiful homes perfectly suited to stage the very best revivals of musicals and plays, as well as new plays by established writers.

To our subscribers and supporters who have joined us on our incredible journey over the past thirty years, welcome home.

The Laura Pels Theatre under renovation in Roundabout’s new 46th Street Theatre Center

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Brian Bedford and Henry Goodman in Tartuffe

P A G E 17

CELEBRATING EXCELLENCE Events to Benefit Roundabout Programs

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oundabout enjoyed an exciting season of fundraising successes, raising over $940,000 through two very special events.

A Festive Benefit for Education

Roundabout’s Arts-in-Education Benefit on December 2, 2002 was a great success for a great cause. Co-chaired by Peter Davenport, Maureen A. Hayes, Susan and Robert Kravitz, Kara and Stephen Ross, and Donna Slade, the benefit was held at the chic Tribeca Grand Hotel. Alan Cumming, the legendary Emcee from Roundabout’s award-winning revival Blue star of Cabaret, gave a cabaret performance of his Phylicia Rashad own for the lucky attendees.

Scholarship recipients Geneva Serrano and Darnell Halguin with Todd Haimes Guests also went home with exclusive dining, travel, and entertainment packages from the silent auction. For many, the highlight of the evening was the announcement of the Roundabout Theatre Scholarship established by The Richard & Mica Hadar Foundation. Darnell Holguin and Geneva Serrano, who received Advisory Council support to study theatre at member Yolanda Turocy and Education college, were selected from Committee Chair and Event co-chairs with Alan Cumming (front, center).

Board member the many talented New York City public Clockwise from front left: Maureen Hayes, Kara Ross, Donna Slade Peter Davenport, Donna Slade, Bob Kravitz, and Susan school students who Kravitz participate in Roundabout’s education programs.

Chairman’s Circle member Anthony Napoli and guest Gary Newman

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Jane Krakowski with Gala co-chair Tom Gleason

Clockwise from top left: Shannon Lewis, Desmond Richardson, Rob Marshall, Saundra Santiago, Sara Gettelfinger, and Rachelle Rak

Looking Back, Moving Forward: Twenty Years at the Roundabout On April 21, 2003, Roundabout celebrated Nine, appropriately the ninth show in the Theatre’s Great American Musical Series, as well as Artistic Director Todd Haimes’ 20 years of leadership. After a special performance of the Fellini-inspired musical, Board members Chris Yegen and the entire cast (including Antonio Banderas, Mary Cirillo-Goldberg Mary Stuart Masterson, Jane Krakowski, Laura Benanti and Chita Rivera) joined over 500 guests for a dinner at Cipriani 42nd Street.

Charles Grodin led an all-star tribute to Todd Haimes, featuring moving remarks from longtime friends and colleagues Rob Marshall, Paula Vogel and Swoosie Kurtz. The ladies of Nine were on hand to present Todd with a special album of congratulatory messages.

To further commemorate this anniversary, Kate Levin, Commissioner of New York City’s Department of Cultural Affairs, presented Todd with a proclamation from the mayor declaring April 21, 2003 Roundabout Theatre Company Day. Thanks to the support of Roundabout’s most generous patrons, Gala co-chairs Tom and Diane Tuft with Antonio Banderas and Melanie Griffith industry, corporate and foundation partners, as well as the dedicated leadership of event co-chairs Tom and Diane Tuft, Tom and Patty Gleason, and ViceChair Leslie Bains, the evening was a rousing success.

Board member Lois Robards, Laura Pels, and Bill Irwin

Swoosie Kurtz and Paula Vogel with host Charles Grodin

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ANNUAL FUND 2002-2003

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oundabout is deeply grateful to the thousands of individuals, foundations, corporations, and government officials and agencies for their extraordinary generosity during the 2002-2003 season. Gifts to the 2002-2003 Annual Fund totaled $5.8 million.

INDIVIDUAL GIVING PROGRAM Individuals contributed almost $3 million to Roundabout this year through Chairman’s Circle and Friends of Roundabout memberships. Donors enjoyed intimate events with Roundabout artists including Opening Night celebrations throughout the season, a backstage event with the director and cast of “Master Harold”… and the Boys, and a “Night Out with Roundabout” to see company alumnae Swoosie Kurtz and Cherry Jones in Imaginary Friends. Friends of Roundabout were invited to attend another series of memorable playreadings featuring Charles Grodin, Peter Scolari, Estelle Parsons, Sam Rockwell, J. Smith-Cameron and Richard Easton.

INSTITUTIONAL GIVING PROGRAM Foundations, corporations, government agencies and officials contributed over $2.2 million in support of Roundabout’s artistic and educational initiatives during the 2002-2003 season. Over $750,000 of that support was directed towards Roundabout’s work with New York City public school students through our comprehensive education programs.

Corporate Club members and sponsors received a number of exclusive privileges, including ticket discounts for employees, invitations to private receptions and readings, access to house seats, and discounted rental rates on Roundabout’s event spaces.

VOLUNTEER SERVICES Roundabout’s volunteer program, led by Advisory Council member Patricia A. Stockhausen, has attracted subscribers, Friends of Roundabout, Chairman’s Circle members, and HIPTIX members to help with numerous projects throughout the year. Longtime subscriber Jadwiga Villa received Roundabout’s second annual Volunteer of the Year award. Jadwiga worked for several months repairing and categorizing hundreds of theatrical costumes for the use of students participating in Roundabout’s educational programs. A new addition to Roundabout’s volunteer program this season was the Friends of Roundabout membership kiosk at the American Airlines Theatre, which continues to be manned entirely by our faithful volunteer corps.

Herbert and Sylvia Plever

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Steven, Elissa, and Liz Goldstone

Michael Emmerman and Patricia Stockhausen

FOUNDERS American Airlines, Inc. HSBC Bank USA JPMorgan Chase The Kaplen Foundation The Blanche and Irving Laurie Foundation Andrew W. Mellon Foundation New York State Council on the Arts The Shubert Foundation Inc. The Harold and Mimi Steinberg Charitable Trust DIRECTORS Rose M. Badgeley Residuary Charitable Trust Robert Sterling Clark Foundation Eleanor Naylor Dana Charitable Trust Horace W. Goldsmith Foundation Nabisco Group Holdings, Inc. National Endowment for the Arts New Visions for Public Schools New York City Department of Cultural Affairs The Laura Pels Foundation Verizon Communications PRODUCERS Maureen Bluedorn Ronald Bruder Ms. Mary Cirillo-Goldberg and Mr. Jay N. Goldberg Ford Motor Company Steven and Liz Goldstone Martin and Perry Granoff The Heckscher Foundation for Children F.M. Kirby Foundation, Inc. Norma S. Langworthy Carol and Earle I. Mack David and Anita Massengill Joe Masteroff Gilda and John P. McGarry, Jr. Carol Mitchell Newman’s Own, Inc. New York State Office of Parks, Recreation, and Historic Preservation The New York Times Company Foundation The Fan Fox and Leslie R. Samuels Foundation The Starr Foundation Diane and Tom Tuft The Westin New York LEADERS AOL Time Warner Adrian and Jessie Archbold Charitable Trust Mr. and Mrs. Robert Arnow Harrison and Leslie Bains Bank of America Foundation

Ron Bruder with daughter Megan

Veronica and Larry Kaplen Fred and Janet Plotkin

Ann L. Bernstein Susan Bloomberg Bob Boyett Linda Carter, Ph.D. Patricia Cembalest Center for Arts Education Mr. and Mrs. Samuel R. Chapin Citigroup Foundation Edward and Arlene Cohen Douglas S. Cramer Foundation Mr. and Mrs. Joseph F. Cullman III The Gladys Krieble Delmas Foundation Cory and Bob Donnalley Douglas and Susanne Durst Basil and Georgina Dzubak The M.N. Emmerman and P.A. Stockhausen Foundation Lori and Edward Forstein Ira and Leonore Gershwin Philanthropic Fund Herman Goldman Foundation Barbara Goldsmith Jim Grapka and Dan Navarro The Richard and Mica Hadar Foundation Francena T. Harrison Foundation Trust Judy and Larry Howard Bill Huxley Renee and Edgar Jackson The Joelson Foundation Bicky and George Kellner Catherine Ladnier and J. M. Robinson Eugene M. Lang Foundation Kurt F. Leopold The Honorable Anthony D. Marshall and Charlene Marshall Jeffrey and Wendy Maurer Mellam Family Foundation Neuberger Berman New York Community Trust Henry Nias Foundation, Inc. Mr. and Mrs. James F. O’Rorke, Jr. Alice M. Perlmutter Eileen Ryan Pettus Herbert H. Plever Pamela Rankin-Smith Jeannette and Jonathan Rosen Toby and Michael Rozen Rudin Foundation, Inc. Dr. and Mrs. Nathan E. Saint-Amand

Assemblyman Steven Sanders Daniel and Janet Scapin The Adolph and Ruth Schnurmacher Foundation Chip Seelig Showman Fabricators, Inc. Skadden, Arps, Slate, Meagher & Flom LLP Donna and Elliott Slade Lavinia and Brian Snyder Susan and Martin Stoll Barbara Schaps Thomas, David M. Thomas Michael Tuch Foundation, Inc. Yolanda Turocy United States Trust Company of New York Barry C. Waldorf The Walt Disney Company Mr. and Mrs. Alan G. Weiler Max Weintraub Williams Capital Group Patricia S. Wolpert Chris and Lonna Yegen Donald and Barbara Zucker Anonymous

BENEFACTORS The Avellino Family Foundation, Inc. Axe-Houghton Foundation Gary and Tia Barancik Dr. Bernard I. Belasco Bristol-Myers Squibb Company Donald and Jadwiga Brown Karen Calby and Douglas Calby Liz Claiborne Foundation Con Edison Barbara Bell Cumming Foundation Edmund C. and Terry D. Duffy Assemblyman Herman D. Farrell, Jr. Fried, Frank, Harris, Shriver & Jacobson Roy and Frieda Furman Melissa M. Gibbs Goldman, Sachs & Co. Assemblyman Richard Gottfried Barbara McIntyre Hack Richard and Mica Hadar Thomas and Susan Hertz The Hilton Club Sally and Robert Huxley Mark and Carol Hyman Fund Richard I. Kandel David and Anita Knechel

Clockwise from top left: Ed and Arlene Cohen, Bill and Gina Dzubak, Mike and Toby Rozen

Bruce Kovner Paul A. Lacouture Jack Makoujy Kevin and Nancy McCabe Stephanie and Carter McClelland Jason and Paige McDevitt The McGraw-Hill Companies Merrill Lynch & Co. Foundation, Inc. Peter and Elsbeth Moller Susan E. Nassau Murray and Belle Nathan Elizabeth Olmsted and Randall Kau Charles and Charlotte Peck Ira M. Resnick Foundation,Inc Robert S. Roath and Jo-Ann Ford Florence and Robert A. Rosen Daryl and Steven Roth Karen and Charles Schader Dr. and Mrs. Thomas P. Sculco Shearman and Sterling LLP Speaker of the Assembly Sheldon Silver Martin and Toni Sosnoff Jay and Mary Dale Spach Cathrine Stickney Steck: In Honor of Barbara Schaps Thomas The Dorothy Strelsin Foundation Linda and Jonathan Strumpf Bob and Rosie Stubbs Tishman Speyer Properties Linda and Daniel Waintrup John and Denise Ward Edith and Allen Wolpert Anonymous

PARTNERS Mildred and Arnold Abelson Judith Adel and Robert Arnold The Aeroflex Foundation Kathy and Howard Aibel Altria Group, Inc. American Express Company John and Cathy Andrus Stanley and Barbara Arkin Babbitt Family Charitable Trust Donald and Barbara Bady Barbara Bantivoglio and Joseph Magliocco John and Penelope Biggs Genie and Bob Birch

Clockwise from top left: John McGarry, Tawana Tibbs, Gordon Bowen, Deborah Fell, Bruce Gordon, Gilda McGarry

Paul and Ann Brandow The Brewer Family Murray Bring and Kay Delaney Bring Mr. and Mrs. William J. Burke Jerome and Pamela Charnizon Jerome and Simona Chazen Kent and Janet Christensen Jill F. and Irwin B. Cohen Michael T. Cohen John J. Colantuono Isabel E. Collins Thomas and Sharon Collins Mr. and Mrs. Kevin Conway Ravenel and Beth Curry Peter Davenport Paul G. De Vido Seraphina and Giovanni D’Emilia Christine Denham and Robert Stein Senator Thomas Duane The Samuel and Rae Eckman Charitable Foundation, Inc. In memory of Susan Fastow In memory of William Fox - The William Fox, Jr. Foundation Leah and Ed Frankel Laura Gallagher Bruce and Alice Geismar Wilma and Arthur Gelfand Gloria Gelfand Mr. and Mrs. Ned Gerstman Myrna and Bob Getz Irene and Martin Ginsburg Beverly and Herbert Goldfarb Gai and Mark W. Grannon Craig Gustafson Samuel H. and Sandra Hagler Gilbert Hahn and Barbara Benezet Russel T. Hamilton The Harkness Foundation for Dance Aubrey E. and Sylvia Hawes Maureen A. Hayes Diana and Larry Henriques John High Drs. Andrew and Irma Hilton Joe and Lee Hipius Arlene and Leonard Hochman H. Brett Humphreys and Samantha Merton

International Creative Management Eric and Victoria Jensen Hugh Patrick Jones Joseph Family Charitable Trust Miles and Judy Josephson Irwin and Marion Kaplan Raymond and Cheryl Katz Eugenia King Barbara Ann Klein Nanette L. Laitman Trudy K. Lampert Grace Langberg The League of American Theatres and Producers, Inc. Muriel L. Macnab Richard H.M. and Gail Lowe Maidman William and Victoria Marraccini Melissa Meyer and Peter Mensch Danny and Audrey Meyer M. Richard and Joan Meyers Kathryn & Gilbert Miller Fund Adriana Mnuchin Mary Schiller Myers Jordan and Sue Nager John C. and Barbara O. Nelson Eliot Nolen Kathleen O’Grady One World Fund Henna Ong and Peter D. Lawrence Dara and Mark Perlbinder Nancy and Peter Philipps Barbara L. Rambo and Thomas A. Goossens Sheila and Steve Redan Michael and Susan Reuben Frances Rubacha Petros and Marina Sabatacakis Nathan and Nancy Sambul Joan and Richard Scheuer Frank Schwarzer and Cindy Muth Nancy C. Sellar Robert N. Sellar Victor and Susan Shedlin Martha E. Sherman Stephanie and Fred Shuman James L. Simon Alan B. Slifka Foundation Barbara Slifka Margaret Smith Trace & Susan Stout Elizabeth and Gerald Strauss Rebecca Sullivan and Stephen Greenwald

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Clockwise fom top: Barry Waldorf, Frank Langella, and Stanley Gotlin

Dr. William J. Sweeney III, In loving memory Pamela and Allen B. Swerdlick Mr. and Mrs. David Swope Judith M. Vale Gerald N. Wachs, M.D. Drs. Benjamin and Eugenia Wainfeld Deborah and Thomas Wallace Martin B. Wasser Jack Watters and Ian Archer Johanna Weber and Edwin Bacher Diane H. Welsh and Thomas D Balliott Arthur and Hilda Wenig Neil Westreich The Harold Wetterberg Foundation Nina and Gary Wexler Shelby White Robert and Susan Wilder Mr. Francis H. Williams Peter A. Winter The Hon. & Mrs. Carl S. Wolfson Bernice Wollman and Warren Rubin Anonymous (7)

PATRONS William and Vicki Abrams Carol and William Achenbaum Daniel Adler Inc. Advanced Telesystems Ann B. Alford Mariette Allen Louise and Philip Alpert American Theatre Wing Teresa and Matthew Andresen Catherine C. Arinella Antoinette and Nicolina Astorina Martin Atkin Ina and Paul Avrich Hany S. Awadalla Jean N. Ayer Earl L. Bailey Betty Ballin Stephen and Kathi Bard Carolyn Bauer Mr. and Mrs. Jay Baum Dr. and Mrs. Abraham Becker Simone Bedient Becky and Roger Benson Linda and Bill Berliner Martin and Deborah Bernstein Mr. Jed W. Bernstein Cara and Bill Biach Mark and Gloria Bieler

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Bob, Jennifer, and Cory Donnalley

Robert and Ellen Bienstock Alexander and Cynthia Bing Susan L. Blair Elizabeth B. Blau Allison M. Blinken Adele G. Block Barbara and Daniel Bock Jeremiah M. and Margot C. Bogert Jeffrey and Lynne Bolson Bruce and Liz Boulware Dr. C. M. Bournazos Beebe Bourne Mr. and Mrs. William Bousquette William C. Bowers and JoAnne Kennedy Raymond Bragar and Robin Hertz, Ph.D. Mr. and Mrs. Donald B. Brant, Jr. Stanley and Josephine Brezenoff Briggs Red Carpet Associates Mr. and Mrs. Glenn A. Britt Cynthia A. Brockett and Richard J. Mack Nikki Brown Martin and Elaine Buss Linda Beck Cane Dr. Stephen K. and Marcia Carter Walter and Linda Censor John and Linda Chamard JuJu Chang and Neal Shapiro Allan Chasanoff and Joanna Bayless Mrs. Michael J. Chasanoff Phyllis and Herbert Chernin Carol and Wallace Chinitz Clark Transfer, Inc. Walter and Ursula Cliff New York State Assemblywoman Adele Cohen Arlene and Larry Cohen Baukje and Noel Cohen Michael Coles and Edie Langner Peter and Nancy Coll Ellen and Winthrop Conrad Leon Constantiner Joseph A. Cornacchia and Eileen Bonner Mr. Joseph Cosgriff Mr. and Mrs. James P. Cottingham Peter S. Croncota Peter and Barbara Cross Anna E. Crouse Marianne Cruikshank

New York City Council Member Christine Quinn, Anthony Catullo, Chita Rivera, and Kim Catullo

Gay Culverhouse-Gilanyi Cody Dalton Ide and David Dangoor June B. Davies Lewis F. Davis and Judy Tobias Davis Robert de Rothschild Dennis and Jo Ann Delafield Al and Kathy Diamant Ms. Bernice and Dr. Robert Dickes Alisa and Dan Doctoroff Richard R. Doll Diane Donnelly Linda Donofrio Mary J. Donohue Maralène Downs Catherine Doyle M. B. Doyle The Drapkin Family Morton and Grace Dropkin Francisco Duque June Dyson Paul Ehrenstein Roger and Carol Einiger Eileen and Richard Ekstract Dr. Gregory Elder Michael L. Emmel Charles and Sylvia Erhart Gene D. Falk Susan E. Fein and Martin S. Herstein Eric Felker Mr. and Mrs. Jerry M. Field Charlotte Fischman, Esq. Lawton Fitt and James McLaren Mr. and Mrs. Arthur Fleischer, Jr. Mr. and Mrs. Julius P. Fouts Rose-Marie T. Fox Nancy and Sidney Freedman The Friars Foundation Martin Fridson and Elaine Sisman Gail A. Furman Barbara A. Gallay Judith A. Garson and Steven N. Rappaport Robert A. Gender Carolyn Gentile Edda and James Gillen Evelyn S. Gilman Beverly and Joel Girsky Eileen M. Gleimer Beth and Gary Glynn Patricia and Bernard Goldstein M. Robert and Susan Goldstein

Patricia and John Wolpert Paul and Karen Lacouture

Caroline Goodman Maurice and Georgine Goodman John and Kiendl Gordon Irwin and Elizabeth Gotlieb Elizabeth Gouger and Alen Shapiro Mr. and Mrs. Harry E. Gould, Jr. Colleen Butler Gowl Ilse W. Grafman James and Marilee Greenwald Lucy Grollman Ralph and Calla Guild Max Hahn Todd Haimes Irwin Haims Helen R. Hamlin Saul B. and Terry Hamond Jonno and Julie Hanafin Margaret and Gerard Hansen Eric Hanson Dr. Henry T. Harris Sondra Harris and Bud Cohen Laura and Mike Hartstein Peter Hein and Anne Farley Steven J. Heller Robert L. and Laura Henkle Joy and Harry Henshel Ruth and Karl Hess Fredrick Hessler Lynn and Burt Hoffman Pamela J. Hoiles Francine and David Holtzman Bruce Horten Lauren Howard Miriam and John Hunt John H. Insabella Carl M. Jacobs Lola and Edwin Jaffe Eileen Kaminsky Stacy J. Kanter and Eric M. Kornblau In memory of Morris Kaplan Lawrence Kaplen Stephen Kashinsky and Barbara Berg Jacqueline and Michael Kates Amy L. Katz and Irving Scher Ken Katz William H. Kearns Foundation Tom and Betsy Kearns Robert and Anna Kelly Lynette C. Kelly Lee Kempler and Allison Pease Kempler

Norma Kendall Susan M. King Mr. and Mrs. Jerome Kohlberg, Jr. Alan and Gail Koss Laura Kramer and Jay Kramer William K. and Naomi Kramer Charles J. Krause Stan and Sarann Kraushaar Mark Krueger Douglas Krupp George Krupp Wendy and Jerry Labowitz Donna and Tom Lambert Jeff Landsman Marc J. Lane Laura S. Langford Carmen E. Lantigua The Lapin Foundation, Inc. James and Dale Lattimer Shirley Lentz Jay B. Lesiger and Tom Klebba Laura and Nicholas Lester Taylor Julia C. Levy Mr. and Mrs. Norman Liebman Randall Liken and Stephen Svoboda Richard and Rebecca Lindsey Kathleen Lingo Robert G. and Elaine Lippman Judith Anne and Michael Lipstein Bob Little David and Debbie Livingstone Donald and Barbara Louria The Lucy Foundation Reeva and Ezra P. Mager Caryn and James Magid Stanley L. Malkin, M.D. and Candace N. Conard Dr. Joseph Mandelbaum and Mrs. Reva D. Mandelbaum Barry Margolius Andrea Marks and David Warmflash Edwina and Marvin Marks Marsh Inc. Wayne P. Marshall and John Iaconetti Susan Martin and Alan Belzer Hamish Maxwell Enken and Jerome Mayer Dr. and Mrs. Jeffrey L. McClendon Ann Bell McCoy

Jeff Lawson and Leslie and Mac Bains

Robert and Donna McCoy Scott C. McDonald Joseph McGrath Martin J. McLaughlin James and Wren McNiel Edith Meiser Foundation Carmen and Samuel Memberg Mr. and Mrs. W. Peter Metz John Micale and Robert Raicht Eric and Stacey Mindich Margaret and Gerald Mintz Helene and Henry Morrison Richard R. Morsches Saleem and Sara Jane Muqaddam Joan and Nicholas Murray Niclas Nagler Sheila Nevins Leonard and Randi Newman Anthony Nigri and Catherine Killeen Mr. and Mrs. Pete Nitze Fred and Gilda Nobel Nancy J. O’Connor Norman Odlum David C. Olstein Charles and Isabelle Osborne Trisha A. Ostergaard Nicole and Bruce Paisner Gerald and Naomi Patlis Katheryn C. Patterson Arnold S. Penner and Madaleine Berley Jane Perlmutter Foundation Dr. Frank Petito Nancy D. Petrone Ms. Terri Poli and Mr. J. Craig Weakley Tony and Ruthe Ponturo Robert A. Press, M.D. Ephraim and Gail Propp Robert and Merry Quackenbush Zoila A. Quintero Timothy and Joyce Ratner Michael Recanati and Ira J. Statfeld Dorothy and Sal Reina Elaine and Ely Reiss Beatrice Renfield Foundation Elaine and Jack Richard Arthur Richenthal and Joan Easton Albert and Adele Robbins Rachel and Richard Robbins Fred and Judy Robins Sandra Rocks and Bernard Plum

Susan and Victor Shedlin

Rodgers & Hammerstein Foundation Hila and Saul Rosen Jeffrey and Marjorie Rosen Pamela and Robert J. Rosenberg Robert and Elizabeth F. Rosenman James Rosenthal and Marvin Schofer Patricia Rowell Joseph B. Rubin Joshua and Julia Ruch Barbara H. Rudd Tamar E. Rudich Diane and Dennis Rumme Patricia M. Ryan Peter and Bonnie Sacerdote Steven Sanders Carol and Chuck Schaefer Pam and Scott Schafler Ann and Tom Scheuer Stuart and Linda Schlesinger Lawrence Schulman Family Foundation, Inc. Nanette Scofield Elias and Barbara Sedlin Edith and Martin Segal Betsey and Arthur Selkowitz Harold and Myra Shapiro Kenneth G. Shelley Dr. Howard I. Sherman Mr. and Mrs. Brian Shoot Gerald E. Silveira Jack and Shirley Silver Maida and Howard Silver Eileen Silvers and Richard Bronstein Linda Singer Loren and Marlene Skeist Violeta Smadbeck Floyd and Jane Smith Meredyth and Brooks Smith Lynn and Jeffrey Smith Vincent M. Smith and Alice Silkworth Leon and Marilyn Sokol Adam Solomon and Vicki Rosen-Solomon Herbert and Helene Solomon Annaliese Soros Jeffrey Sosnick and Albert A. Carucci Jodie Sovak Lois and Arthur Stainman Theodore and Vada Stanley Lee Steelman David and Sylvia Steiner Sperber & Steinfeld Families Charitable Trust Dr. and Mrs. Igor Stiler

Jim Grapka, Norma Langworthy, and Dan Navarro

Linda Stocknoff Barbara and David Stoller Richard and Lise Stolley Dr. William Stratigos and Dr. Deborah Feller Janis and Jeffrey Strauss Lise Strickler and Mark Gallogly Jack M. Stufflebeam Dorothy and Fredrick Sulcer Sullivan and Gallion Ronna Sussman Brenda and Leonard Swartz Linda and Jay Tanenbaum Michael Tarpley and Amy Nathan Patricia and Jeff Tarr Daniel and Linda Tartaglia Andrew Tavel Glenn and Diane Taylor Barbara Goldfarb Tepperman and Fred Tepperman Theatre Development Fund Wayne and Barbara Thornbrough Myra Leigh Tobin Marcia Townley John and Mary Jane Tozzi Peter J.R. Trapp Helen S. Tucker Michael Tuohy Ruth Turner Beth Uffner Melissa and Gerald Uram Bernardette Vaskas Dr. and Mrs. Robert C. Vogt Ray Wagner Melvin and Sandra Warshal Susan Watson Toby and Stacie Webb Stacey and Jeffrey Weber Robert and Evelene Wechsler Reny Weigert Frank and Denie Weil Jan and Tinky Weisblat Joanne R. Wenig Tanya Wexler and Amy Zimmerman Bradford G. Wheler Margo Wintersteen Billy F. B. Wong and Stephanie Gordon Valerie and Thomas Wood Ms. Lisa Woods Eva Young Michael A. Young Irene Yuss and Leonard Tuft Gloria Zeche Anonymous (14)

Carol Mitchell and Scott Ellis

GALA AND EDUCATION BENEFIT DONORS * William and Alberta Aldinger Altour International American Airlines, Inc. John and Cathy Andrus Mr. and Mrs. Robert Arnow Carl Asakawa Automatic Data Processing, Inc. Aviva Life Insurance Company Rose M. Badgeley Residuary Charitable Trust Susan Baker and Michael Lynch The BISYS Group, Inc. Susan Bloomberg Maureen Bluedorn Briggs Red Carpet Associates Bristol-Myers Squibb Company Ronald Bruder Linda Carter, Ph.D. Ms. Mary CirilloGoldberg and Mr. Jay N. Goldberg Leon Constantiner Mr. and Mrs. Joseph F. Cullman III Peter Davenport Denham Wolf Real Estate Services Inc. Cory and Bob Donnalley Irene Duell Douglas and Susanne Durst Eliran Murphy Group The M.N. Emmerman and P.A. Stockhausen Foundation Empire Pictures Sandra and Andrew Farkas Linda and Gregory Fischbach David and Barrie Ford Lori and Edward Forstein Sharon Frankel Barry Friedberg and Charlotte Moss Irving and Yetta Geszel Linda Giordano GoGo Worldwide Vacations Steven and Liz Goldstone Martin and Perry Granoff The Richard and Mica Hadar Foundation Maureen A. Hayes Philip J. and Colleen Hempleman Home Box Office, Inc. Robert Hurst IBM Corporation The Joelson Foundation Eileen Kaminsky

Virginia and Stanley Edelman

Lawrence Kaplen Diane D. Kern Bob and Susan Kravitz Norma S. Langworthy Mr. and Mrs. Leonard A. Lauder The Blanche and Irving Laurie Foundation Carol and Earle I. Mack Morris and Susan Mark David and Anita Massengill Jeffrey and Wendy Maurer Kevin and Nancy McCabe Gilda and John P. McGarry, Jr. Merrill Lynch & Co. Foundation, Inc. Carol Mitchell Susan E. Nassau The New York Times Mr. and Mrs. Jeremy Nussbaum Henry and Wendy Paulson The Laura Pels Foundation Dara and Mark Perlbinder Nancy Perlman and Tom Klingenstein Jack and Jane Rivkin Jeffrey and Marjorie Rosen Jeannette and Jonathan Rosen Kara and Stephen Ross Ryder Construction Incorporated Peter and Bonnie Sacerdote Sea Gate Travel Chip Seelig Donna and Elliott Slade Mary and David Solomon John and Susan Steinhardt Melville and Leila Straus Stroock & Stroock & Lavan LLP John and Virginia M. Sullivan Diane and Tom Tuft Tzell Travel Group Verizon Communications Thomas B. and Joann Walker Johanna Weber and Edwin Bacher Theodore and Renee Weiler Foundation Inc. John and Amy Weinberg Max Weintraub William Morris Agency * Gifts of $3,000+

P A G E 23

PROJECTED REVENUE AND EXPENSES OPERATING FUND (in dollars)

8/31/03

8/31/02

REVENUE FROM OPERATIONS Subscription Ticket Income Single Ticket Income Investment Income Sponsorship Income Rental/Other Income Production Enhancement

11,755,000 17,236,000 128,000 750,000 804,000 2,900,000

10,735,000 5,191,000 370,000 750,000 644,000 200,000

Total Revenues

33,573,000

17,890,000

CONTRIBUTED REVENUES Individual Contributions Foundations Corporations Government Grants Net Benefit Income

2,860,000 1,225,000 656,000 332,000 723,000

3,272,000 2,075,000 701,000 319,000 503,000

Total Contributed Revenues

5,796,000

6,870,000

Total Revenues

39,369,000

24,760,000

EXPENSES Artistic/Production Occupancy Marketing/Advertising Fundraising Theatre and Box Office General Administration

27,416,000 2,369,000 6,810,000 1,361,000 1,692,000 2,544,000

10,885,000 2,601,000 4,245,000 1,428,000 1,933,000 2,261,000

Total Expenses Change from Subscription Operations

41,922,000 (2,553,000)

23,353,000 1,407,000

Income By Source Other 4% Production Enhancement 7% Contributions 15% Subscription Ticket Income 30% Single Ticket Income 44%

CONTRIBUTIONS: Individuals Foundations Corporations Government Benefits

7% 3% 2% 1% 2%

OTHER: Investment Income <1% Net Sponsorship Income 2% Rental/Other Income 2%

Expenses By Department

Unaudited data. For a copy of Roundabout’s 2002-2003 audited financial statement, please contact the Roundabout Theatre Company Development Office at (212) 719-9393.

Other 13% Marketing / Advertising 16% Occupancy 6% Artistic / Production 65%

OTHER: Fundraising Theatre and Box Office General Administration

3% 4% 6%

2002-2003 Audience Figures Number of Productions: Number of Performances: Number of Subscribers: Community Tickets: Total Attendance: Capacity:

6 664* 39,289 36,849 534,855 89%

* Only performances through August 31, 2003 are included. Roundabout’s productions of Big River and Nine continued to run beyond this date.

P A G E 24

ROUNDABOUT THEATRE COMPANY STAFF

Glenn Alan Stiskal,

Shannon O’Connor,

Todd Haimes, Artistic Director

Individual Giving Associate

Ticket Services Supervisor

Ellen Richard, Managing Director

Elaina Grillo, Special Events Associate

Nancy Mulliner, Assistant to

Julia C. Levy,

Kristen Bolibruch,

the Director of Sales Operations

Executive Director, External Affairs

Institutional Giving Assistant

Scott Ellis, Associate Artistic Director

Cassandra Oliveras,

Paola Arinci, Solangel Bido, Andrew Clements, Johanna Comanzo, Sean Crews, Nisha Dhruna, Lindsay Ericson, Catherine Fitzpatrick, Julie Hilimire, Shareema Jones, Deirdre Kiely, Talia Krispel, Ryan Mackey, Krystin MacRitchie, Mead Marguilies, David Meglino, Jeff Monteith, Robert Morgan, Carlos Morris, Bonnie Morrison, Nichole Nicholson, Bekah Nutt, Marie Elena O’Brien, Shannon Paige, Mark Pergola, Stephen Riordan, Benjamin Scott, Monte Smock, Catherine Sorensen, Lillian Soto, Melissa Snyder, Megan Young, Nydia Zamorano-Torres,

Patrons Desk Liaison

ARTISTIC STAFF

Jim Carnahan, Director of Artistic

Adam Gwon, Development Assistant

Development/Director of Casting

MARKETING STAFF

Robyn Goodman, Artistic Consultant

David B. Steffen, Director of Marketing

Michael Mayer, Resident Director

Tim McCanna,

Scott Elliott, Bill Irwin, David Leveaux, Joe Mantello, Mark Brokaw, Associate Artists

Marketing/Publications Manager

Sunil Ayyagari, Marketing Associate Rebecca Ballon, Marketing Assistant

Jerry Patch, Consulting Dramaturg

Keith Powell Beyland,

Samantha Barrie,

Website Consultant

Assistant to the Artistic Director / Literary Associate

Tony Baksa,

Mele Nagler, Casting Director

Michael Morgan Noverre,

Jeremy Rich, Senior Casting Associate

Telesales Manager

Betsy Capes, Casting Associate

Anton Borissov,

Carrie Gardner, Casting Assistant ADMINISTRATIVE STAFF

Sydney Davolos, General Manager Laura O’Neill, General Counsel Catharine Guiher, Don-Scott Cooper, Greg Backstrom,

Director of Telesales Special Promotions

Denys Baker, Jean Haring, Nichole Larson,

EDUCATION STAFF

Company Managers

Arlene Jordan, Education Director

Arthur Gaffin, Peter Hanson, Michael Passaro,

Reneé Flemings, Curriculum Advisor Megan Waltz,

Glenn Merwede, William K. Rowland,

Lindsay Erb,

Master Technicians

Bonnie Berens,

Julie Alexander, Philip Alexander, Tony Angelini, Cynthia Babak, Victor Barbella, Brigitte Barnett, Joe Basile, Courtney Boddie, LaTonya Borsay, Bonnie Brady, Michael Carnahan, Margie Castleman, Joe Clancy, Martin Coren, Stephen DiMenna, Joe Doran, Amy Fortoul, Tony Freeman, Dennis Green, Jacqueline Gregg, Sheri Graubert, Nigel Gretton, Lawrence Grimm, Susan Hamburger, Sarah Iams, Jim Jack, Stacie Lee Lents, Padraic Lillis, Ben Lipitz, Erin McCready, Peter Mentrie, Andrew Ondrejcak, Marilyn Pasekoff, Angela Pietropinto, Anna Saggese, David Sinkus, Godfrey Simmons, Ted Sod, Daniel Sullivan, Christopher Swift, Felicia Telsey, Olivia Tsang, Jennifer Varbalow, Lisa Walker, Gail Winar,

Human Resources Manager

Jeff Goodman, Network Systems Manager

Timothy Santillo, Facilities Manager Lloyd Alvarez, MIS Associate Jennifer Decoteau, Lead Receptionist Kim Bennett, Michele Lee, Debbie McIntyre, Elisa Papa, Receptionists

Robert Weisser, Messenger FINANCE STAFF

Susan Neiman, Controller John LaBarbara, Assistant Controller Frank Surdi, Accounts Payable Administrator

Production Stage Managers

Education Program Manager Education Program Associate

Stephen Deutsch,

PRODUCTION STAFF

Telesales Office Coordinator

Management Associates Office Operations Manager

Ticket Services Staff

Steve Beers, Technical Supervisor Henry J. Helgeson, Sound Engineer Susan J. Fallon, Wardrobe Supervisor Julious Russell, Security FRONT OF HOUSE STAFF

Jétaun Dobbs, Matthew Mundinger, Theatre Managers

LaConya Robinson, Stephen Ryan, House Managers

Zipporah Aguasvivas, Associate House Manager

GENERAL PRESS REPRESENTATIVES

Adrian Bryan-Brown, Matt Polk, Jessica Johnson Boneau/ Bryan-Brown PUBLIC RELATIONS CONSULTANTS

Howard Rubenstein, Jim Grossman

Trina Cox, Customer Service Coordinator

Teaching Artists

Rubenstein Associates, Inc.

David Solomon,

TICKET SERVICES STAFF

ROUNDABOUT THEATRE COMPANY 2002-2003 ANNUAL REPORT

Business Office Associate

Yonit Kafka, Business Assistant DEVELOPMENT STAFF

Jim Seggelink, Director of Sales Operations

Editor: John Istel/ ICAP

Ellen Holt, Ticket Services Manager

Project Manager: Stacey Morris

Jeffory Lawson, Director of Development Charlie Garbowski, Julie K. D’Andrea, Director of Institutional Giving

Julia Lazarus, Director of Individual Giving

Stephanie T. Weissman, Director of Special Events

Tina Mae Bishko, Manager, Donor Information Systems Stacey L. Morris, Associate, External Affairs

Subscription Manager

Edward P. Osborne, Jaime Perlman, Jessica Bowser,

Contributors: Julie D’Andrea, Kristen Bolibruch, Stephanie Weissman

Box Office Managers

Photo credits: Production Photos – Joan Marcus

Amy Soroko, Group Sales Manager

Page 17 – Z. Jedrus

Jason Schultz,

All others – Anita and Steve Shevett

Assistant Box Office Manager

Robert Kane, Paul Caspary, Kris Todd, Assistant Ticket Services Managers

Design: CS Designworks, NYC

ROUNDABOUT THEATRE COMPANY Mission Statement The mission of the Roundabout Theatre Company is to team great theatrical works with the industry’s finest artists in an effort to re-energize classic plays and musicals; develop and produce new works by today’s great writers and composers; provide educational programs that will enrich the lives of children and adults; and retain a loyal and diverse audience through a commitment to the subscription model.

231 West 39th Street, Suite 1200 New York, NY 10018 Telephone : 212-719-9393 Fax: 212-642-9636 www.roundabouttheatre.org

Front cover: Michael McElroy and Tyrone Giordano in Big River

ROUNDABOUTTHEATRECOMPANY