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2016/17 Season

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Artistic Director's Welcome DIANE PAULUS The Terrie and Bradley Bloom Artistic Director American Repertory Theater

WELCOME TO FINGERSMITH In the wake of a divisive election, we need theater now more than ever. No matter what our political beliefs are, we must dedicate ourselves to reflecting different narratives that encourage vulnerability, empathy, compassion, and generous listening. In this spirit, I couldn't be more pleased to welcome you to Fingersmith. Fingersmith is based on the novel by Sarah Waters, whose feminist and queer historical fiction reimagines beloved genres including the Victorian thriller. Adapted for the stage by award-winning television writer Alexa Junge and staged by Bill Rauch (director of All the Way and Artistic Director of the Oregon Shakespeare Festival), this production continues its development at A.R.T. following its premiere at the Oregon Shakespeare Festival in 2015. A talented team of designers returns to A.R.T. with this production: set designer Christopher Acebo (All the Way), costume designer Deborah Dryden (All the Way), lighting designer Jen Schriever (In the Body of the World), and video designer Shawn Sagady (O.P.C., All the Way). Composer and sound designer Andre Pluess makes his A.R.T. debut with this production.

Cover artwork: Courtney Russo. Cover photo: Zack Reiser.

The theater is a place of convening where we gather to experience the stories of others, to connect, to build understanding and community. In a time when such work feels ever more necessary, Fingersmith is a powerful reminder that love can prevail in the face of intense class and gender warfare.

#FingersmithART @americanrep 1

Juan Cupini and Micaela Spina in Arrabal

Great theater lives here. 2016/17 SEASON

Trans Scripts, Arrabal May 12 - June 18, 2017 Part I: The Women Sergio Trujillo directs this dance theater January 19 - February 5, 2017

Drawn from candid interviews with transgender women

The Night of the Iguana

February 18 - March 18, 2017

Tennessee Williams’ sensuous drama comes to life

piece about Argentina's Disappeared

FAMILY HOLIDAY PROGRAMMING James and the Giant Peach December 17 - 31, 2016

Roald Dahl's beloved transatlantic adventure

Continue your experience today 2

American Repertory Theater presents



Lighting Design JEN SCHRIEVER

Composer/ Sound Design ANDRE PLUESS

Projections Design SHAWN SAGADY




Associate Director ILLANA STEIN

Production Stage Manager MANDY YOUNGER*

Directed by BILL RAUCH First performance at the Loeb Drama Center on December 4, 2016. Fingersmith was commissioned and first produced at the Oregon Shakespeare Festival Bill Rauch, Artistic Director / Cynthia Rider, Executive Director. A workshop production of Fingersmith was presented by New York Stage and Film and Vassar in the Powerhouse Season, July 2016.


The A.R.T. 2016/17 Season is supported in part by the Massachusetts Cultural Council, which receives support from the Commonwealth of Massachusetts and the National Endowment for the Arts. The A.R.T. 2016/17 Season is dedicated in loving memory to Christopher Eschenbach.

Electrifying. What sparks your imagination? Whatever your passion—from science or technology to management or the arts— our lively courses will fire it up.

Spring registration: November 14 to January 22



(in order of appearance)

YOUNG SUE YOUNG MAUD........................................................MORGAN JAMIE BÉNARD, GIANA RIBEIRO (in alternating performances) JOHN VROOM, a lodger at Lant Street and petty criminal MR. KENT, an asylum orderly.......................................................................LUKE MARINKOVICH* MRS. SUCKSBY, a baby farmer........................................................................KRISTINE NIELSEN* SUE TRINDER, a talented pickpocket.................................................................TRACEE CHIMO* MR. IBBS, a crooked pawn seller VICAR, a country clergyman HUSS, a businessman/book collector...................................................................PATRICK KERR* DAINTY WARREN, John Vroom's girlfriend and thief MARGARET, a parlormaid at Briar BETTY, an asylum inmate and "simpleton".........................................................................JO MEI* RICHARD "GENTLEMAN" RIVERS, a scoundrel con man.............................JOSIAH BANIA* MRS. STILES, a housekeeper at Briar MRS. CREAM, a cottage owner MISS WILSON, an asylum inmate and spinster.........................................................KATE LEVY* MR. WAY, the butler at Briar DR. CHRISTIE, an asylum doctor HAWTREY, a book dealer and publisher........................................................KINGSLEY LEGGS* COOK, part of the Briar staff NURSE SPILLER, the head asylum nurse.......................................................LAUREN MODICA* CHARLES, a knife boy MR. HEDGES, an asylum orderly...................................................................ZACHARY INFANTE* MAUD LILLY, an heiress.....................................................................CHRISTINA BENNETT LIND* CHRISTOPHER LILLY, a purveyor of books, writing a massive bibliography.............................................................................T. RYDER SMITH* MARIANNE, sister to Christopher Lilly AGNES, a lady’s maid.......................................................................................LENNE KLINGAMAN* ENSEMBLE........................................................................ZACHARY INFANTE*, PATRICK KERR*, LENNE KLINGAMAN*, KINGSLEY LEGGS*, KATE LEVY*, LUKE MARINKOVICH*, JO MEI*, LAUREN MODICA*, KRISTINE NIELSEN*, T. RYDER SMITH*

UNDERSTUDIES Understudies never substitute for listed players unless a specific announcement for the appearance is made at the time of the performance. For Sue: LAUREN NOLL^ For Maud: CLAIRE FREDERIKSEN/CHARLOTTE STOIBER For Christopher Lilly: ALEXANDER PEPPERMAN For Mrs. Sucksby: ZONIA EDWARD For Richard "Gentleman" Rivers: BRIAN LORE EVANS For Ensemble: SOOMIN CHUN; RICKY DAVIS, JR.; JOEY DONNELLY; FRANKIE DICIACCIO; ADRIENNE POWELL; BEN WINTER (*) Member of Actors' Equity Association (^) Appears courtesy of Actors' Equity Association



Assistant Stage Manager...................................................................................TAYLOR BRENNAN* Voice/Text..........................................................................................................................ERIKA BAILEY Fight Director..................................................................................................................LISA KOPITSKY Associate Set Designer..................................................................................RICHARD ANDERSON Associate Lighting Designer.............................................................................................BEN GREEN Assistant Lighting Designer.............................................................................................BEN TRAVIS Associate Sound Designer..........................................................................................RAY NARDELLI Associate Projections Designer.................................................................................OMAR RAMOS A.R.T. Institute Production Dramaturg............................................................LELAND FRANKEL Production Assistants................................................KATE HAUSLER, ALTA LEWIS-MILLARD Child Wranglers........................................................................OLIVIA VIOLA, JESS ANNE KEMP Ms. Lind's costumes by Carmel Dundon. Additional equipment provided by Sound Associates. Flying consulting by Henry Wheaton.

SPECIAL THANKS Harriet Leve, Lily Tomlin, Jane Wagner, Rachel Berger, Danielle Demisay, Caroline Gart, Deby Xiadani. Elijah Alexander, Karl Alphonso, D. Christian Bolender, Sara Bruner, Peter Frechette, Brent Hinkley, Peter Laughlin, Carlos N. Lopez, Terri McMahon, Kate Mulligan, Nancy Rodriguez, Erica Sullivan, Moira Todd, Sofia Villarreal, K.T. Vogt, Bruce A. Young. Special Thanks to John Kristiansen Studios of New York, Costume Works of Somerville, History In The Making of Toronto, Abraham’s Lady, and Fred Longtin Shoemakers for additional costumes. SETTING: 1861 and various times in the preceding 21 years. A London slum, a mansion in the countryside, and two lunatic asylums. This show runs approximately 2 hours and 40 minutes, incuding one intermission.





Roald Dahl


David W�od


Dmitry �royanov�ky NOW PLAYING




A Note from Playwright Alexa Junge Once in a while a work of art finds you, and embeds itself so deeply into your mind and heart it seems to travel with you as you go about your waking (and dreaming) life. I am, by no means, the first reader to have this mesmerizing experience with Sarah Waters’ celebrated literary works, but by the time I finished Fingersmith, I was so riveted by her gasp-inducing story turns and moved by her epic tale of love, betrayal, and redemption that I was already envisioning Sue and Maud on a stage. Bill Rauch and I had wanted to collaborate for many years. I am an avid fan of the extraordinary work coming out of the Oregon Shakespeare Festival under his direction. Over dolmas and coffee, I pitched my vision for transforming Fingersmith into a play. Once Bill read the novel, he was entranced by Sarah Waters’ complex consideration of class, gender, and sexuality in late nineteenth-century London and was captivated by the narrative thrill-ride and ripping yarn of the story. When I approached Sarah Waters about obtaining the rights to adapt her novel, she was graciously supportive and enthusiastic. Only sometime later when we both appeared on a panel did I learn of her initial reservation that an American might want to adapt a work so singularly British in nature. (Thank goodness I could reassure her it would not be a modern retelling with satiric references to Kardashians!) Sarah also sheepishly confessed to a generalized anxiety at the prospect of American actors grappling with cockney accents. Referring to the film Mary Poppins (which apparently exemplifies how England regards the American capacity to reproduce an authentic cockney dialect) she said: “I have three words for you: Dick. Van. Dyke.” Once we had Sarah Waters’ blessing, I set to work immersing myself in Victorian fiction. Already a dedicated fan (I wrote my undergraduate thesis on Charlotte Perkins Gillman’s short story “The Yellow Wallpaper”), it was easy to lose myself in authors who had inspired Ms. Waters such as Wilkie Collins, Charles Dickens, Charles Kingsley, Lewis Carroll, Ellen (Mrs. Henry) Wood, Mary Elizabeth Braddon and Charles Reed. I am a writer 8

who would rather research than write, so as much as I was enjoying The Lustful Turk, at a certain point I had to face the challenge of turning this 582-page book into a single evening of theater. While a book is a private pleasure, the demands of the theater are urgent and communal. In divining the needs for a play, I wanted to be true to the dramatic heart of the novel, but knew I had to be completely free to move away from it as well. It was daunting work, but the love story between Sue and Maud and their complex entanglements with Mrs. Sucksby kept pulling me back in. I remember on a particularly tough writing day, I let my mind wander about how to define Mrs. Sucksby’s worldview in a way that could persuade Sue to accept Gentleman’s shifty proposal. Having just pored through a book about Victorian-era hangings, I had a notion that Mrs. Sucksby might equate free will (or the lack of it) with the nature of gravity. I explored the gravity metaphor and found it provided a unifying structure—both visual and emotional. It also gave me a way to talk about love. The next day, I chanced upon a quote by the philosopher Pierre Teilhard de Chardin that so embodied what I wanted the play to say, I felt I had a clear path and the real work could begin at last: “Someday, after mastering the winds, the waves, the tides and gravity, we shall harness for God the energies of love, and then, for a second time in the history of the world, man will have discovered fire.”

" the time I finished Fingersmith, I was so riveted by her gaspinducing story turns and moved by her epic tale of love, betrayal, and redemption that I was already envisioning Sue and Maud on a stage. "

Making theater is about collaboration. At this point in the journey of the play, virtually hundreds of people have given their talents and shared their love to bring this epic production to life. I am indebted to Sarah Waters for trusting me to adapt her work and so grateful to A.R.T. for giving us the opportunity to make the play better and share it with you. Sarah Waters’ novel is a valentine to the gothic thriller, domestic drama, and Victorian sensation novel. It is historically accurate (with some intentional anachronisms) but could very well take its place alongside a novel by Dickens on the shelf in a Victorian library. But in centering the story around three active, assertive women, the novel flies in the face of traditional portrayals of what was considered appropriately “feminine” at the time. The result is that in addition to creating a sexy and delicious yarn, Waters has imaginatively created a history (and fiction) that never existed by exposing the blind spots of history and bringing marginalized women to the light. It is my fondest hope that we have done the same. 9

A Note from Director Bill Rauch Fingersmith was commissioned, developed, and premiered at the Oregon Shakespeare Festival (OSF), where I am honored to serve as Artistic Director. No matter how different our plays are from one another in each OSF season’s smorgasbord of rotating repertory, they all have three things in common. Inspired by Shakespeare, we strive to offer classics and new work that have extraordinary language, memorable characters, and a compelling story. On those three counts alone, what a privilege it is to share this play with audiences in Cambridge. In the spirit of All the Way, which also represented an adventurous collaboration between OSF and the A.R.T., Sarah Waters’ entire body of work examines who we are now by dramatizing our past. Her celebrated novels are fascinating, contemporary re-imaginings of historically distant eras. The world of Fingersmith is both painstakingly accurate in its depiction of a repressive Victorian England and also reinvented from a contemporary feminist point of view. Playwright Alexa Junge brings her own unerring sense of drama and glittering way with words, creating richly layered dramatic characters and language that is surprising, spikey, and nuanced. Fingersmith holds multiple themes near and dear to my heart: connections across a rigid class structure, how our identity is shaped by what we’re told by others as much as by our own choices, and the seeming immutability and yet real possibility for change in our very natures. And, best of all, this thematic richness is grounded in an unlikely and moving love story. And what a story! From the first time I read the novel, I have been utterly in this tale’s grip. The phrase “page-turner” is over-used, and yet it seems to me that it should have been first coined to describe the dueling tales of Sue and Maud. We are blessed to have had some of the best designers in the country to interpret this bracing work, along with a cast of fiercely beautiful actors. In this particular moment in our country, it feels even more urgent that we tackle this tale of love as it triumphs over misogyny, homophobia, and class rage. Inhale deeply as you prepare to dive into Fingersmith: I guarantee that you won’t get a chance to catch your breath once you’ve entered this world. 10

AD 2

Erin Markey returns to OBERON in A Ride on the Irish Cream.

Great theater lives here.

OBERON PRESENTS A Ride on the Irish Cream


This coming-of-age musical explores the relationship between a girl and her family's pontoon boat.

The Dance Cartel takes Cambridge by storm in this whirlwind of electrifying movement.

February 28 - March 4, 2017

April 27 & 28, 2017


This season-long collaboration with the Afterglow Festival brings worldclass cabaret and solo performance to Cambridge UP NEXT: Johnny Blazes & Brian King, and Lady Rizo.

The Mini Series

Designed for audiences from one to twenty-five, these intimate experiences blur the boundaries between performer and spectator. UP NEXT: temping


Cast JOSIAH BANIA Richard "Gentleman" Rivers A.R.T.: Debut. New York: Ironbound, Rattlestick. Regional: Sarah Ruhl’s Three Sisters, Yale Rep; Love’s Labour’s Lost, Chautauqua Theater Company; The Secret in the Wings, Yale Summer Cabaret; The History Boys, Artists Repertory Theatre; The Uneasy Chair, CoHo Theater; A Christmas Carol, JAW: A Playwright’s Festival, Portland Center Stage; Othello, Richard II, The Seagull, Petty Harbour, Yale School of Drama. Television: “The Good Wife,” “Leverage,” “The Mysteries of Laura.” MFA, Yale School of Drama. MORGAN JAMIE BÉNARD Young Sue/Young Maud A.R.T.: Debut. Regional includes: Billy Elliot (Debbie), Company Theatre; Scrooge, the Musical (Street Urchin, Ensemble), Riverside Theatre Works; Beauty and the Beast, Seussical the Musical, High School Musical, Willy Wonka, Kids’ Cabaret. Champion Irish Dancer (Dunleavy, Boyle Connolly Academy), ranked 4th in the New England Region and 8th on the continent. Opening dance act for: Tenor Ronan Tynan, Cherish the Ladies (A Celtic Sojourn), and Riverdance (Boston). 5th-grader at Derby Academy in Hingham, MA. TRACEE CHIMO Sue Trinder A.R.T.: Debut. Broadway: Noises Off (Tony nomination for Best Revival), The Heidi Chronicles; Harvey; Irena’s Vow. Off-Broadway: Bad Jews (Lucille Lortel Award, Outer Critics Circle & Drama League nominations); Circle Mirror Transformation (Drama Desk & Obie Awards, Lucille Lortel nomination); Bachelorette (Clarence Derwent Award, Lucille Lortel nomination); Lips Together Teeth Apart. TV: Chelsea Wheeler on the new TBS show "People of Earth,” “Orange is the New Black” (Neri Feldman), “The Good Wife,” “Blackbox,” “Royal Pains,” “Difficult People." Film: 12

Sully (dir. Clint Eastwood), Black Hat (dir. Michael Mann), The Five-Year Engagement, Concussion, Take Care. ZACHARY INFANTE Charles/Mr. Hedges/ Ensemble A.R.T.: Debut. Off-Broadway: Do I Hear A Waltz? (dir. Evan Cabnet), Encores!; Pericles (dir. Trevor Nunn), Tamburlaine the Great (dir. Michael Boyd), A Midsummer Night’s Dream (Francis Flute, dir. Julie Taymor), Theatre for a New Audience. Regional: Somewhere, Hartford Stage; Peter Pan, Paper Mill Playhouse. TV/Film: School of Rock (dir. Richard Linklater), Carrie Pilby (dir. Susan Johnson), "Alpha House," "GOTHAM." Drama BFA, NYU Tisch (CAP21 & ETW). PATRICK KERR Mr. Ibbs/Vicar/Huss/ Ensemble A.R.T.: Debut. Broadway: You Can’t Take it with You, The Ritz. Off-Broadway: Sarah Ruhl's Stage Kiss; Elizabeth Egloff's The Devils; Paul Rudnick's Jeffrey; Lee Breuer's The Warrior Ant. Regional: Mark Taper Forum, Geffen Playhouse, Chicago Shakespeare Theatre, Old Globe, Berkeley Rep (Bay Area Critics Award), Yale Rep, Guthrie Theater, La Jolla Playhouse, Pasadena Playhouse, South Coast Rep, The Acting Company. TV includes: “Frasier” (recurring role), “Curb Your Enthusiasm” (recurring role), “Seinfeld,” “Friends,” “E.R.,” “Will and Grace,” “Elementary,” “Law and Order,” “Star Trek: Voyager.” MFA, Yale School of Drama.

LENNE KLINGAMAN Marianne/Agnes/ Ensemble A.R.T.: Debut. Regional: Tartuffe (Mariane), Berkeley Rep, Shakespeare Theatre Company, South Coast Rep; Romeo & Juliet (Juliet), Appoggiatura, Denver Center; Two Gentlemen of Verona, Jungle Theater; Anna Karenina (Anna), Capital Stage; Sense & Sensibility (Elinor), Sacramento Theatre; Twelfth Night, The Three Musketeers, A Midsummer Night’s Dream, Santa Cruz Shakespeare; Richard III, Intiman Theatre; The Rehearsal, Noises Off, A Noise Within. TV/Film: “Cold Case,” “Welcome to Sanditon,” Love: As You Like It. MFA, University of Washington. Debut album available at KINGSLEY LEGGS Mr. Way/Dr. Christie/ Hawtrey/Ensemble A.R.T.: Debut. Broadway: Sister Act, The Color Purple, Miss Saigon. Touring: The Gershwins' Porgy and Bess (NAACP Theatre Award nomination), Sister Act, Ragtime, Forbidden Hollywood, Miss Saigon. Regional: Goodman Theatre, Alliance Theatre, MUNY, STL Black Rep, NCT, Denver Center, Baltimore Center Stage, CLOSBC (2 LA Ovation Award Nominations), Ford’s Theatre, Goodspeed Opera House. TV: “The Americans,” “The Good Wife,” “Law and Order: SVU,” “One Life to Live,” “City of Angels.” Music BFA, Benedictine College. KATE LEVY Mrs. Stiles/Mrs. Cream/ Miss Wilson/Ensemble A.R.T.: Debut. New York: Stalking the Bogeyman, NewYorkRep, The New Group, Barrow Street, MTC, Roundabout, The Mint. Tours: The Graduate, On Golden Pond. Regional: Arena Stage, TheaterWorks Hartford, Pioneer Theatre Company, Hartford Stage, Merrimack Rep, Cincinnati Playhouse, Yale Rep, Cleveland Playhouse, Denver Center, Portland Center Stage, St. Louis Rep, Alliance Theatre, O’Neill, Alley, Paper Mill Playhouse, Syracuse Stage, Indiana Rep,

Northern Stage, Florida Stage, Clarence Brown, Philadelphia Festival For New Plays, BoarsHead. TV: “The Deuce,” “Younger,” “Elementary,” “Blue Bloods,” “Unforgettable,” “The Affair,” “The Good Wife,” “A Gifted Man,” “Royal Pains,” Gossip Girl,” “Law & Order” (all three). Film: Extremely Loud and Incredibly Close. BA, Tufts; MFA, American Conservatory Theatre. CHRISTINA BENNETT LIND Maud Lilly A.R.T.: The Heart of Robin Hood. Off-Broadway: PEMDAS (Teacher), 59E59; Amiri Baraka’s Dutchman, Lascivous Something, Cherry Lane Theatre; pool (no water), One Year Lease Theater Company; Wait Until Dark, John W. Engeman Theatre. TV/Film: “House of Cards” (Sharon, opp. Michael Kelly); “Z: The Beginning of Everything” (Tallulah Bankhead, opp. Christina Ricci), Amazon; Calico Skies (Ariel, opp. Tom Sizemore); “Blue Bloods” (100th episode); “All My Children” (Bianca Montgomery), “Forever,” ABC; “Person of Interest,” NBC. Producer: Occupy, Texas (DIFF Official Selection 2016), Starring Austin Pendleton (TriBeCa Film Festival Official Selection 2016), with The Neboya Collective. Writer/actor/director/ producer: Fireworkers (NaFF 2016 World Premiere). LUKE MARINKOVICH John Vroom/Mr. Kent/ Ensemble A.R.T. Debut. Broadway: The Bridges of Madison County. Off-Broadway: The Rehearsal: Playing the Dane, Pan Pan Theatre; Sleep No More. Regional: The Bridges of Madison County, Williamstown Theatre Festival; Victoria Martin (San Diego Critics Circle Craig Noel Award), Moxie; Romeo and Juliet, Lincoln Center Education. TV/ Film: “Law and Order: SVU,” Rapid Eye Movement.


Cast JO MEI Dainty Warren/ Margaret/Betty/ Ensemble A.R.T.: Debut. Off-Broadway: The World of Extreme Happiness, MTC; You For Me For You, Ma-Yi Theater Company; Double Suicide at Ueno Park!, Ensemble Studio Theatre; TEN, Partial Comfort. Regional: King of Hell’s Palace, Goodman Theatre; You For Me For You, Woolly Mammoth. TV/Film: “Nicki,” “Bones,” “The Good Wife,” A Picture of You, Adult World, The Grief of Others, Revenge of the Green Dragons. BA, Wellesley College; MFA, Juilliard. LAUREN MODICA Cook/Nurse Spiller/ Ensemble A.R.T.: Debut. Theater includes: Second City’s Twist Your Dickens, OUR TOWN, JAW (2014/16), Portland Center Stage; The Antigone Project, Profile Theatre; The Skin of Our Teeth, Artists Repertory Theatre; PLAY, DC Copeland Presents; Undiscovered Country, DEFUNKT Theatre; King Lear, Northwest Classical; The Crucible, Theatre Vertigo; No Man’s Land, Action/Adventure; Cymbeline, PAE; Much Ado About Nothing, Willamette Shakespeare, A Raisin in the Sun, Public House Theatre; Trailing Colors, Gretchen Icenogle; Fidelio, Portland Opera; Silence, Agnes. KRISTINE NIELSEN Mrs. Sucksby/Ensemble A.R.T.: Debut. Broadway: You Can’t Take It With You, Vanya and Sonia and Masha and Spike (Tony nomination, Outer Critics Circle Award), Bloody Bloody Andrew Jackson, Spring Awakening, The Greenbird, Jackie, The Iceman Cometh. Off-Broadway: Hir, Why Torture Is Wrong And The People Who Love Them, How I Spent Last Summer, Omnium Gatherum, Our Leading Lady, Betty’s Summer Vacation (Obie Award), Dog Opera (Obie Award). Regional: Williamstown Theatre Festival; Guthrie; McCarter; 14

Old Globe; Long Wharf; Yale Rep; The Alley; The Matchmaker (Dolly Levi), Goodman Theatre. TV/Film include: Theresa Rebeck’s Trouble; “Happyish”; “Elementary”; Morning Glory; The Savages; Small Time Crooks; “Political Animals”; “Sound of Music Live!,” NBC; “Zelda,” Amazon. BA, Northwestern; MFA, Yale School of Drama. GIANA RIBEIRO Young Sue/Young Maud A.R.T.: Waitress (Lulu). Regional: Happy Haunted House (Rebecca), Dixieland Chicks (Daisy), Under the Big Top (Rosie the Clown), and others, Kid’s Curtain Call Productions. Giana is so excited to be back at the A.R.T.!  T. RYDER SMITH Christopher Lilly/ Ensemble A.R.T.: Paradise Lost. Broadway: War Horse, Equus. Off-Broadway: the world premieres of J. T. Rogers' Oslo; Katori Hall’s Our Lady of Kibeho; Christina Masciotti’s Social Security; Anne Washburn’s Apparition and I Have Loved Strangers; David Greenspan’s She Stoops to Comedy; Richard Foreman’s The Gods Are Pounding My Head and King Cowboy Rufus Rules the Universe; Sarah Ruhl’s Passion Play and Dead Man’s Cell Phone; Underneath the Lintel (Drama Desk nomination); Lebensraum (Drama Desk Award, Outstanding Ensemble Cast). Regional: world premieres of Sarah Ruhl’s Scenes from Court Life, Yale Rep; Yaël Farber’s Salome, Shakespeare Theatre Company; Barbara Hammond’s We Are Pussy Riot, CATF; Doug Wright’s Creditors, La Jolla Playhouse; Chuck Mee’s Big Love, Actors Theatre of Louisville. TV/Film: “Elementary,” “The Blacklist,” “White Collar,” “Nurse Jackie,” “Blue Bloods,” “The Abolutionists,” Happy Tears, El Cielo es Azul, Brainscan. Voice work: Audiobooks, “The Venture Brothers" TV series, the “Bioshock” videogames.

Creative Team ALEXA JUNGE Playwright ART: Debut. Alexa Junge grew up in Los Angeles and attended Barnard College, where she wrote The Varsity Show with David Rakoff and Jeanine Tesori. After receiving her MFA in NYU’s Dramatic Writing program, Junge wrote for “Friends” from 1994 to 1999. Her popular episode, “The One Where Everybody Finds Out,” earned her an Emmy nomination for Best Writing for a Comedy Series, and has been cited in Atlantic Magazine as a proven “mood booster.” Other television work includes: “Grace and Frankie” (executive producer and writer), “The United States of Tara” (showrunner), “Big Love,” “The West Wing” (Emmy nomination for Outstanding Drama Series, WGA nomination for Best Episodic Drama), and “Sex and the City.” As a screenwriter and lyricist, her film work (also with Ms. Tesori) includes: Lilo & Stitch 2 and Mulan II. Fingersmith received its World Premiere at the Oregon Shakespeare Festival (directed by Bill Rauch) in 2015 and was further developed at New York Stage and Film this past summer. Junge’s other plays and musicals have been produced at the Goodspeed Opera House, Studio Arena Theater, Playwrights Horizons’ Lab, and the Depot Theater. Her work has been developed at The Hedgebrook Women Playwrights Festival, The Public Theater Lab/Ars Nova, MacDowell Colony and Djerassi Resident Artists Program. Junge is a writer-contributor to NPR’s “This American Life” and was a live performer on TAL’s “What I Learned from Television” tour.

SARAH WATERS Author, Fingersmith Other books: Tipping the Velvet, Affinity, The Night Watch, The Little Stranger. Adaptations: Award-winning adaptations of Tipping the Velvet, Fingersmith and The Night Watch for the BBC; Affinity for ITV; Tipping the Velvet (written by Laura Wade, for Lyric Theatre/ Edinburgh Lyceum); The Little Stranger is in development as a feature film with Potboiler Productions. Play: The Frozen Scream (with Christopher Green). Awards: Betty Trask Award (Tipping the Velvet); Somerset Maugham Award, The Sunday Times Young Writer of the Year Award, short-listed for the Mail on Sunday/John Llewellyn Rhys Prize (Affinity); short-listed for the Man Booker Prize and the Orange Prize (Fingersmith, Nightwatch); South Bank Show Award for Literature, the CWA Historical Dagger (Fingersmith); shortlisted for the Man Booker Prize and the South Bank Show Literature Award (The Little Stranger). Waters was included on Granta’s prestigious list of “Best of Young British Novelists 2003,” voted Author of the Year, British Book Awards and the BA Conference, and won Waterstone’s Author of the Year Award. Education: PhD, English Literature, Queen Mary, University of London. BILL RAUCH Director A.R.T.: All the Way (IRNE Award, Best Director). Currently Artistic Director of the Oregon Shakespeare Festival (since 2007); Founding Artistic Director, Cornerstone Theater Company (19862006). Broadway: All the Way (winner of 2014 Tony Award for Best Play). New York: Night is a Room, Signature Theatre; The Clean House, Lincoln Center. Other directing credits: world premieres by Lisa Loomer, Lynn Nottage, Robert Schenkkan, Bill Cain, Alison Carey, Culture Clash, Dan O’Brien, Sarah Ruhl, Jeff Whitty, and others, along with classical plays at Yale Rep, Long Wharf, Guthrie Theater, Mark Taper Forum, Arena Stage, Pasadena Playhouse, Seattle Rep, Portland Center Stage. Television: “Judging Amy.” Selective Awards: Fichandler Award, TCG Visionary Leadership, Margo Jones Award, U.S. Artists Fellowship, Leadership for a Changing World, Grammy nomination. Education: Harvard University. 15

Creative Team CHRISTOPHER ACEBO Scenic Designer A.R.T.: All the Way. Broadway: All The Way. Regional: Head Over Heels, King Lear, A Streetcar Named Desire, Hamlet, Equivocation, Cat on a Hot Tin Roof, Seagull, The Clean House, Lincoln Center; Throne of Blood, BAM; Center Theater Group/Mark Taper Forum; Goodman Theatre; Yale Rep; Berkeley Rep; La Jolla Playhouse; South Coast Rep; Guthrie Theater; Denver Center Theatre; Kennedy Center; Portland Center Stage. Was Associate Artistic Director at OSF for ten seasons. Vice Chair: Oregon Arts Commission. Board of Directors: Theatre Communications Group. Ensemble member: Cornerstone Theater Company (2000-2006). Education: MFA, U.C. San Diego. BA, Cal Poly, SLO. DEBORAH DRYDEN Costume Designer A.R.T.: All the Way. Broadway: All The Way. Regional: Guthrie Theatre; Arena Stage; Huntington Theatre Company; Old Globe; La Jolla Playhouse; American Conservatory Theatre; Seattle Rep; Chicago Shakespeare Theater; Portland Center Stage; Hong Kong Repertory; Denver Center; Berkeley Rep; Alliance. Opera: Minnesota Opera; San Diego Opera; Portland Opera. Resident Costume Designer Emerita of the OSF. Presented with Irene Sharaff Lifetime Achievement Award, Michael Merritt Collaboration Award, & USITT Distinguished Achievement. Author: “Fabric Painting and Dyeing for the Theatre.” Professor Emerita of Design, UC San Diego.

JEN SCHRIEVER Lighting Designer A.R.T.: In the Body of the World. Broadway: Eclipsed, Ghetto Klown. Off-Broadway: ToasT, A Second Chance, Public Theater; Night is a Room (dir. Bill Rauch), Signature Theatre; Engagements, Mala Hierba, American Hero, 2econd Stage; Sunset Baby, Labyrinth; Bright Half Life, Women’s Project. Regional includes: Goodman Theatre, Goodspeed, Studio, Woolly Mammoth, Shakespeare Theatre Company, Papermill, CenterStage, Signature, Williamstown Theatre Festival. Opera: The Pearl Fishers, ENO, Met; Die Fledermaus, Met; A Midsummer Night’s Dream, Faust, La Traviata, Mariinsky Theatre Russia. Dance: Liz Lerman’s Healing Wars. ANDRE PLUESS Sound Designer A.R.T.: Debut. Broadway: 33 Variations, I Am My Own Wife, Metamorphoses. Regional: Long Day’s Journey Into Night, The Tempest, Two Gentlemen of Verona, A Streetcar Named Desire, King Lear, The White Snake, As You Like It, August: Osage County, Ghost Light, Cat on a Hot Tin Roof, The Merchant of Venice, Equivocation, The Clay Cart, OSF; Berkeley Rep, Lookingglass Theatre Company, Steppenwolf, La Jolla Playhouse, Goodman Theatre, Shakespeare Theatre Co, Steppenwolf, A.C.T., Williamstown Theatre Festival, Arena Stage, Yale Rep, Lincoln Center, McCarter Theatre, Cal Shakes. Awards: Multiple Joseph Jefferson Awards and Citations, Ovation Award, Drama Critics' Circle Award, Barrymore Award, Drama Desk and Lucille Lortel nominations for composition and sound design. SHAWN SAGADY Projections Designer A.R.T.: O.P.C., All the Way. Broadway: Leap of Faith, Memphis (2010 Tony Award for Best Musical). Off-Broadway: Stop. Reset., Mound Builders, Emotional Creature, Signature Theatre; By The Way, Meet Vera Stark, 2econd Stage; Father Comes Home From the Wars, Public Theater. National Tours: Memphis, Julius Caesar. Regional: The White Snake, Measure for Measure, American Night, OSF; Back Back Back, Old Globe; Carmen, La Jolla Playhouse; Cowboy Vs. Samurai, Mo’ollelo Performing Arts.


RACHEL PADULA SHUFELT Wig & Makeup Design A.R.T.: Natasha, Pierre, & The Great Comet of 1812; Waitress; Crossing; The Heart of Robin Hood; Pippin; All the Way; The Glass Menagerie; Marie Antoinette; Best of Both Worlds; Cabaret; Death and the Powers; Donnie Darko; Julius Caesar; The Blue Flower; Copenhagen; The Communist Dracula Pageant. Broadway: Waitress, The Glass Menagerie. Regional: The Colored Museum, Huntington Theatre Company. CHRISTOPHER LIAM MOORE Dramaturg A.R.T.: All the Way, The King Stag (original cast), The CIVIL warS, Alcestis, Olympian Games. Oregon Shakespeare Festival: (director) A Streetcar Named Desire, A Midsummer Night’s Dream, among others and four seasons as an actor including All the Way. Other theater: Cal Shakes, Berkeley Rep, Arena Stage, Long Wharf, Old Globe, Yale Rep, Guthrie Theater. Founding member of Cornerstone Theater Company. TV: “Friends,” “3rd Rock from the Sun,” “Star Trek: Voyager,” “Judging Amy,” “Ten Items or Less.” ILLANA STEIN Associate Director A.R.T.: Debut. Off-Broadway: Associate Director: Tamburlaine the Great (dir. Michael Boyd), Pericles (dir. Trevor Nunn), Theatre for a New Audience. Assistant Director: Signature Theatre, The Pearl Theatre Company. Regional: OSF, Yale Rep, Hangar Theatre, Cincinnati Playhouse in the Park. Member of 2012 Lincoln Center Theater Directors Lab and presented with Overall Excellence Award in Directing for Or What She Will at FringeNYC’12. MANDY YOUNGER Production Stage Manager A.R.T.: Debut. Her work with Oregon Shakespeare Festival includes: Production Stage Manager: Twelfth Night; Timon of Athens. Stage Manager: Fingersmith; Head Over Heels; The Cocoanuts; Cymbeline; As You Like It. Assistant Stage Manager: A Wrinkle in Time; My Fair Lady; August: Osage County; Ruined; Throne of Blood; Equivocation; All’s Well That Ends Well; Romeo and Juliet; Cyrano de Bergerac; The Tragical History of Doctor Faustus.

Production assistant: Julius Caesar. Assistant Stage Manager: Equivocation, Seattle Rep and Arena Stage. TAYLOR BRENNAN Assistant Stage Manager A.R.T.: Stage Manager: Notes from the Field: Doing Time in Education; O.P.C.; The Shape She Makes; The Donkey Show. Assistant Stage Manager: RoosevElvis; Kansas City Choir Boy; The Heart of Robin Hood; All the Way; The Glass Menagerie; The Lily’s Revenge; Once. Production Associate: Prometheus Bound; The Blue Flower; Cabaret. Production Coordinator: Hansel and Gretel; Nutcracker Turbo: And Other Love Stories; Bob: A Life in Five Acts; As You Like It; The Snow Queen. Education: B.F.A. (Summa Cum Laude) from Boston University. ERIKA BAILEY Voice/Text A.R.T.: Waitress, In the Body of the World, O.P.C. Broadway: Mary Stuart. Boston area: New Electric Ballroom, Gloucester Stage Company; Absurd Person Singular, Nora Theatre Company. Regional: Arms and the Man, Guthrie Theatre; A Christmas Carol, McCarter Theatre; The Foreigner, Cabaret, Bus Stop, To Kill a Mockingbird, A Christmas Carol, Kansas City Repertory Theatre. A.R.T. Institute Head of Voice & Speech: vocal production, dialects, Shakespeare; heads MFA program in voice pedagogy. MA in Voice Studies from the Royal Central School of Speech and Drama. LISA KOPITSKY Fight Director A.R.T.: Debut. Broadway: The Father, MTC. Off-Broadway: Hamilton, Hamlet, The Taming of the Shrew, Comedy of Errors, Macbeth, Venice, Detroit ’67, Measure for Measure, Urge for Going, Neighbors, Public Theater. Regional: Extremities, Berkshire Theatre Festival; Dracula, Whaddabloodclot!, The Valley of Fear, Williamstown Theatre Festival; Romeo and Juliet, Shakespeare on the Sound. Other selected: Red Flamboyant, Firebone; Red Light Winter, Strasbourg; Bareknuckle, Vertigo; Hamlet, Lincoln Center Institute. MA, Movement Dramaturgy and Pedagogy, NYU. 17

Creative Team TELSEY + COMPANY Casting A.R.T.: Waitress, Finding Neverland, All the Way, The Heart of Robin Hood, The Gershwins' Porgy and Bess. Broadway/ Tours: Paramour, Waitress, Fiddler on the Roof, The Color Purple, On Your Feet!, Hamilton, Something Rotten!, Kinky Boots, Wicked, The King and I, An American in Paris, The Sound of Music, Rock of Ages. Off-Broadway: Atlantic, Classic Stage Company, LAByrinth, MCC, Second Stage, Signature. Regional: Center Theatre Group, Kennedy Center, La Jolla Playhouse, McCarter, New York Stage and Film, Paper Mill Playhouse, Philadelphia Theatre Company, Williamstown. Film: Into the Woods, Margin Call, Rachel Getting Married, Across the Universe, Camp, Pieces of April. TV: “Hairspray Live!,” “Conviction,” “This Is Us,” “Grease Live!,” “The Wiz Live!,” “Flesh and Bone,” “Masters of Sex,” “Smash,” “The Big C,” commercials.

NEW YORK STAGE AND FILM New York Stage and Film is a nonprofit company dedicated to both emerging and established artists in the development and production of new works for theater and film. Since 1985, we have provided a home for a diverse group of artists free from critical and commercial pressures, and served as a vital cultural institution for residents of the New York metropolitan region. Thanks to our signature Powerhouse Season in collaboration with Vassar College, our NYC Programming, the Filmmakers’ Workshop, and our educational initiatives, we support over 500 artists each year and have launched dozens of celebrated projects, including 2016 Tony Award winners Hamilton and The Humans, as well as American Idiot, Doubt, The Wolves, The Babylon Line, Side Man, and Taylor Mac’s A 24-Decade History of American Popular Music.

TELSEY + COMPANY: Bernard Telsey CSA, William Cantler CSA, David Vaccari CSA, Bethany Knox CSA, Craig Burns CSA, Tiffany Little Canfield CSA, Rachel Hoffman CSA, Justin Huff CSA, Patrick Goodwin CSA, Abbie Brady-Dalton CSA, Cesar A. Rocha CSA, Karyn Casl CSA, Kristina Bramhall, Adam Caldwell CSA, Josh Einsohn CSA, Conrad Woolfe CSA, Rachel Nadler, Rachel Minow, Rikki Gimelstob, Rachel Dill, Ryan Bernard Tymensky, Rebecca Scholl, Scott Galina, Madison Sylvester, Lauren Harris, Laura Wade, Ally Kiley, Rose Bochner, Jaime Jaget, Kristian Charbonier

Partial support for open captioning provided by Theatre Development Fund. The American Repertory Theater is a proud partner of PoNY 2.0, providing an artistic home for PoNY Playwrights of New York. The American Repertory Theater is a member of ArtsBoston, StageSource, and Theatre Communications Group.


Photo: Quang (James Ryen) and Nhan (Will Dao) have a run-in with a biker (Paco Tolson). Photo by Jenny Graham, Oregon Shakespeare Festival.

About The Oregon Shakespeare Festival Founded by Angus Bowmer in 1935, the Oregon Shakespeare Festival (OSF) has grown from a three-day festival of two plays to a major theatre arts organization that presents an eight-month season consisting of 11 plays that include works by Shakespeare as well as a mix of classics, musicals, and new works. The Festival draws attendance of more than 400,000 to approximately 800 performances every year and employs approximately 575 theatre professionals. OSF’s mission statement: "Inspired by Shakespeare's work and the cultural richness of the United States, we reveal our collective humanity through illuminating interpretations of new and classic plays, deepened by the kaleidoscope of rotating repertory." OSF invites and welcomes everyone, and believes the inclusion of diverse people, ideas, cultures and traditions enriches both our insights into the work we present on stage and our relationships with each other. OSF is committed to diversity in all areas of our work and in our audiences. The 2017 season includes four plays by Shakespeare—Julius Caesar, The Merry Wives of Windsor, and Henry IV, Parts One and Two. World premieres include Hannah and the Dread Gazebo by Jiehae Park, Off the Rails by Randy Reinholz, and August Wilson’s poetry in UniSon by UNIVERSES. Running all season is the U.S. premiere of Shakespeare in Love, adapted by Lee Hall from the screenplay by Marc Norman and Tom Stoppard. Also featured is Mojada: A Medea in Los Angeles by Luis Alfaro, Mary Zimmerman’s adaptation of The Odyssey, and Disney’s Beauty and the Beast. “American Revolutions: the United States History Cycle” is OSF’s multi-decade program of commissioning and developing 37 new plays sprung from moments of change in United States history. Bringing together artists, historians and institutions from around the country, American Revolutions works to establish a shared understanding of our nation’s past while illuminating the best paths for our nation's future. Launched in 2008, the last five plays will be commissioned in 2017, with the writing and development of the plays expected to

last at least through 2027. Of the 32 American Revolutions commissions to date, seven have been produced at OSF, including Robert Schenkkan’s All the Way, which then played at the American Repertory Theater in Cambridge before moving to Broadway, where it won the Tony Award for Best Play. OSF’s “Play on! 36 playwrights translate Shakespeare” commissioning program is taking 36 playwrights and pairing them with dramaturgs to translate 39 plays attributed to Shakespeare into contemporary modern English between now and December 31, 2018. By seeking out a diverse set of playwrights (more than half writers of color and more than half women), OSF hopes to bring fresh voices and perspectives to the rigorous work of translation. Each playwright is being asked to put the same pressure and rigor of language as Shakespeare did on his, keeping in mind meter, rhythm, metaphor, image, rhyme, rhetoric and emotional content. The hope is to have 39 unique side-by-side companion translations of Shakespeare’s plays that are both performable and extremely useful reference texts for both classrooms and productions. OSF has embarked on an ambitious Canonin-a-Decade (2015-2024) initiative, aiming to produce all 37 of Shakespeare’s plays in ten years, half of the standard amount of time it takes the Festival to normally cycle through the canon. “Every 28 Hours” is a project produced by the Oregon Shakespeare Festival under the leadership of Claudia Alick (OSF’s Associate Producer, Community) and The One-Minute Play Festival with Dominic D’Andrea (Producing Artistic Director), in association with local St. Louis theater maker and producer Jacqueline Thompson (Assistant Professor of Acting and Directing, University of Missouri-St. Louis). “Every 28 Hours” is a national partnership focused on the widely shared and contested statistic that every twenty-eight hours a black person is killed by vigilante, security guard, or the police in the United States. The “Every 28 Hours Plays” consist of 72 one-minute plays inspired by the Black Lives Matter movement, with participation from artists across the nation.


January 2017

I.D. Festival


Presented in conversation with A.R.T.’s Season production of Trans Scripts, the I.D. Festival series celebrates the diverse experiences of the trans community, explores issues of gender identity, and continues OBERON’s engagement with trans artists and stories. Rae Spoon, Becca Blackwell, Alison Young and the Swinging Steaks, and Our Lady J are just some of the announced performers! Visit us online for dates and performance times.

In addition to I.D. Festival headline performances, many of OBERON’s regular offerings such as Mortified and The Moth will offer special events to complement this series.



About the A.R.T.

BOARD OF TRUSTEES Steve Johnson, Chair Amy Brakeman Laurie Burt Paul Buttenwieser RoAnn Costin Mike Dreese Zita Ezpeleta Michael Feinstein Provost Alan M. Garber Henry Louis Gates, Jr. Catherine Gellert Rebecca Grafstein Lori Gross Ann Gund Sarah Hancock Jonathan Hulbert Alan K. Jones Robin Kelsey Herman "Dutch" Leonard Serena Lese Dennis Masel Thomas B. McGrath Rebecca Milikowsky Ward Mooney Bob Murchison Dan Nova Andrew Ory Diane Paulus Diane Quinn Mike Sheehan Sid Yog

BOARD OF ADVISORS Karen Mueller, Co-Chair Ann Gund, Co-Chair Paolo Abelli Frances Shtull Adams Yuriko Jane Anton Robert Bowie, Jr. Philip Burling* Greg Carr Antonia Handler Chayes* Lucy Chung Lizabeth Cohen Lisa Coleman Kathleen Connor Rohit Deshpande Susan Edgman-Levitan Shanti Fry Erin Gilligan Jonathan Glazer Candy Kosow Gold Rachael Goldfarb Barbara Wallace Grossman Peggy Hanratty Marcia Head James Higgins Horace H. Irvine II Brenda Jarrell Emma Torres Johnson Jerry Jordan Dean Huntington Lambert G. Barrie Landry Ursula Liff Tim McCarthy Travis McCready Irv Plotkin Martin Puchner Ellen Gordon Reeves Pat Romeo-Gilbert Linda U. Sanger Maggie Seelig Dina Selkoe John A. Shane Michael Shinagel Lisbeth Tarlow Sarasina Tuchen Susan Ware Michael Yogman Stephen H. Zinner, M.D. *Emeriti


The American Repertory Theater (A.R.T.) at Harvard University is a leading force in the American theater, producing groundbreaking work in Cambridge and beyond. The A.R.T. was founded in 1980 by Robert Brustein, who served as Artistic Director until 2002, when he was succeeded by Robert Woodruff. Diane Paulus began her tenure as Artistic Director in 2008. Under the leadership of Paulus and Executive Director Diane Quinn, the A.R.T. seeks to expand the boundaries of theater by programming events that immerse audiences in transformative theatrical experiences. Throughout its history, the A.R.T. has been honored with many distinguished awards, including the Tony Award for Best New Play for All the Way (2014); consecutive Tony Awards for Best Revival of a Musical for Pippin (2013) and The Gershwins’ Porgy and Bess (2012), both of which Paulus directed; a Pulitzer Prize; a Jujamcyn Prize for outstanding contribution to the development of creative talent; the Tony Award for Best Regional Theater; and numerous Elliot Norton and IRNE Awards. The A.R.T. collaborates with artists around the world to develop and create work in new ways. It is currently engaged in a number of multi-year projects, including a new collaboration with Harvard's Center for the Environment that will result in the development of new work over several years. Under Paulus’s leadership, the A.R.T.’s club theater, OBERON, has been an incubator for local and emerging artists and has attracted national attention for its innovative programming and business models. As the professional theater on the campus of Harvard University, the A.R.T. catalyzes discourse, interdisciplinary collaboration, and creative exchange among a wide range of academic departments, institutions, students, and faculty members, acting as a conduit between its community of artists and the university. The A.R.T. plays a central role in Harvard's newly launched undergraduate Theater, Dance, and Media concentration, teaching courses in directing, dramatic literature, acting, voice, design, and dramaturgy. The A.R.T. Institute for Advanced Theater Training, which is run in partnership with the Harvard Extension School and the Moscow Art Theatre School, offers graduate training in acting, dramaturgy, and voice. Dedicated to making great theater accessible, the A.R.T. actively engages more than 5,000 community members and local students annually in project-based partnerships, workshops, conversations with artists, and other enrichment activities both at the theater and across the Greater Boston area. Through all of these initiatives, the A.R.T. is dedicated to producing world-class performances in which the audience is central to the theatrical experience.











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The American Repertory Theater is deeply grateful for the generous support of individuals, foundations, corporations, and government agencies whose contributions make its work possible. The following gifts were received between July 1, 2015 and October 31, 2016.

VISIONARY Barr-Klarman Arts Capacity Building Initiative Amy & Ed Brakeman* Doris Duke Charitable Foundation

$100,000 and above Sarah Hancock* President and Fellows of Harvard College The Johnson Family*

BENEFACTOR The Bank of America Charitable Foundation, Inc. Katie and Paul Buttenwieser* RoAnn Costin*‡ The Dana Foundation Laura and Michael Dreese* E.H.A. Foundation

$50,000 - $99,999 Ann and Graham Gund* The Hershey Family Foundation Alan Jones and Ashley Garrett*† Massachusetts Cultural Council Thomas B. McGrath and Sandy Medallis* National Endowment for the Arts

Poss Family Foundation Dr. Linda U. Sanger* Maureen and Mike Sheehan* The Harold and Mimi Steinberg Charitable Trust Sid Yog*

Rebecca and Laurence Grafstein*† Grayson Family Foundation Marcia Head* John W. Henry Family Foundation Hill Holliday Barbara and Amos Hostetter* Jeanne and Dennis Masel*† Lucy and Ward Mooney*‡

Newbury Comics Inc. The Pemberton Family Foundation Starcom & Digitas LBi Lisbeth Tarlow and Stephen Kay* Theatre Forward Donald and Susan Ware*

Investment Technology Group Horace H. Irvine II Allison Johnson Jerry Jordan Judith and Douglas Krupp Lizbeth and George Krupp G. Barrie Landry Serena and Bill Lese, in memory of Melva Bucksbaum† Liberty Mutual Cary Lynch Sally McNagny and Robert Green Hee-Jung and John Moon† Karen and Gary Mueller Octagon Marjorie and Robert Ory Diane Paulus and Randy Weiner Cokie and Lee Perry Julia Pershan and Jonathan Cohen† Janet and Irv Plotkin Stan Ponte and John Metzner†

The Office of the Provost at Harvard University Rafanelli Events Patricia Romeo-Gilbert and Paul Gilbert‡ Valerie Beth Schwartz Foundation Silver Mountain Foundation for the Arts Delia and Robin Thompson Sarasina and Mike Tuchen Weber Shandwick The Xander Group Inc.

Susan Edgman-Levitan and Richard Levitan Shanti Fry and Jeffrey Zinsmeyer Jody and Thomas Gill Erin Gilligan and Hoil Kim Lawrence Golub‡ Lindsay and Garth Greimann Barbara and Steve Grossman Peggy Hanratty

Pamela Haran and David S. Godkin Kathy and Ernie Herrman Perry Hewitt and Robert B. Hudson Heather and James Higgins† Madeline Jacquet Janice and Ralph James Landry Family Foundation ^ Lars Charitable Foundation Lori Lesser‡

LEADER Amy and David Abrams* Laurie Burt* The Gregory C. Carr Foundation Zita Ezpeleta and Kewsong Lee*† Michael Feinstein and Denise Waldron* Fresh Sound Foundation Catherine Gellert*†

$25,000 - $49,999

PRODUCER Yuriko Jane Anton and Philip Anton Jill and John Avery John Bailey Brigham and Women's Hospital Amanda Brown and Justin Chang† Hilary and Philip Burling Chung Family Foundation‡ Barbara and Rodgin Cohen† Alexi and Steve Conine Karen and Brian Conway Crystal Financial CVS Health Dewey Square Group, LLC The Elphaba Fund EY Drew Faust Lori Finkel and Andrew Cogan† Jonathan Glazer and Hadley Leach Candy Kosow Gold and Martin Waters‡ Rachael Goldfarb

$10,000 - $24,999

PARTNER Anonymous (3) Paolo Abelli Frances Shtull Adams The Boston Foundation Cambridge Community Foundation Chet and Carol Cekala Bernard Chiu Kathy Connor Debbie DeCotis


Alison and Bob Murchison* The Linda Hammett Ory & Andrew Ory Charitable Trust RN Family Foundation† The Shubert Foundation

$5,000 - $9,999

PARTNER (cont'd) Tristin and Martin Mannion Annette and Dan Nova Janny and Dave Offensend Diane Quinn and Keith Freiter

$5,000 - $9,999 Rosse Family Charitable Foundation Maggie and Jonathan Seelig The Shane Foundation John Travis

Rick and Martha Wagner Davin T. and David P. Wedel Mary and Ted Wendell Stephen H. Zinner, M.D. and S. Wade Taylor, PhD

Andrew Dominus and Stephanie Altman Dominus‡ Amy Edmondson and George Daley Lori E. Gross and Robert Douglas Campbell Corinne Grousbeck Jeanne Hagerty Melinda Hall and Larry Pratt Melissa Kaish and Jonathan Dorfman‡ Kay and David Kane Jerome P. Kassirer, M.D. and Sheridan Kassirer Jane L. Katz Alvin and Barbara Krakow Barbara H. Landreth, M.D.‡ John D.C. Little Larry Lucchino Anne Mitchell Diana Nelson and John C. Atwater

Nitin Nohria Mercedes Nugent-Head and James C. Marlas‡ William O. Nutting and Veronica Zoani Quinterno Mary-Kathleen O'Connell and Jeffrey Bernfeld ^ Ellen Gordon Reeves† Amy Russo Allison K. Ryder and David B. Jones Janice Saragoni Nichole Bookwalter Savenor and Alan Savenor Kristine Shadek Deborah Sinay and Charles J. Kravetz Dr. Deborah Tolman and Luis Ubinas WBUR Fran and Barry Weissler‡ Dyann and Peter Wirth

SPONSOR Anonymous (3) Alexander, Aronson, Finning & Co., CPAs Dianne Anderson The Beker Foundation Barbara E. Bierer, M.D. and Steven E. Hyman, M.D.* Willa and Taylor Bodman Diane Borger Denise Casper Lynne and John Chuang Clarke and Ethel D. Coggeshall Lizabeth Cohen and Herrick Chapman Beth and Richard Compson Christopher Connolly and Marjorie Liner Anne and Christopher Connor Jonathan Davis Rohit Deshpande Nat Dodge

$2,500 - $4,999

PATRON Anonymous (2) Naomi Aberly The Acorn Foundation/Barbara and Theodore Alfond Mary Akerson and Steven Cohen Muffy and Paul Antico Bruce Auerbach James Basker Barbara and George Beal Carol Beggy Janet L. Berkeley and Robert Duboff Lisa Bevilaqua Kathryn Biberstein Linda Cabot Black Marc D. Blakeman Barbara and William Boger Garen Bohlin Boston Capital Corporation Robert R. Bowie jr. Brown Advisory Charitable Foundation, Inc. ^ Charity Brown Cindy and Scott Burns Jonathan Bush Betsy Cabot The Edmund and Betsy Cabot Charitable Foundation Katherine Chapman Charles Cherington Eleanor and Brian Chu Jason Cole Brit d'Arbeloff Lynn Dale and Frank Wisneski Robert J. Davis Mark Diker and Deborah Colson‡ Nancy Donahoe and John Cohen Alexandra Drane and Antonio Bertone Mary and Juan Enriquez Deborah and Ronald Feinstein Donald Fulton

$1,000 - $2,499 Sylvia Gerson‡ Kathryn Keohane Glassberg‡ Mark Glasser David Golan and Laura Green Lisa Katz Golod Stacey and Mike Grealish Marjorie and Nicholas Greville Joseph Hammer Phyllis Harrington Nikola and David Hennes‡ Linda A. Hill and Dr. Roger E. Breitbart Megan and David Hinckley Alice Hoffman Peter Hornstra Jen Horton and Dave Regan Maisie and James Houghton Hunt Alternatives Brenda Jarrell Karen Johansen and Gardner Hendrie Alexandra Juckno Janet and Howard Kagan‡ Jane Katims and Dan Perlman Priscilla Kauff‡ Stephen Kidder Joseph Kittredge Mr. Kevin Klett Lawrence Kotin Ann and Ted Kurland Laurie Laba Hunt and Kelly Lambert William Leblanc Stacey Schneer Lee Lori Leif Herman "Dutch" Leonard and Kathryn Angell Karen and Nathaniel Levy Harriet and Alan Lewis Amy Lieberman Mr. and Mrs. Hambleton Lord Kathleen Malley

Barbara Manocherian‡ Wendy Mariner and Toby Nagurney Professor Timothy McCarthy and CJ Crowder Kelly and Steven Migliero Barbara Millen and Markley Boyer Deborah and Timothy Moore Nadine and Peter Mowschenson Newton at Home Kate Olmsted and John Grossman Tracy Palandjian Julianne Pemberton Susan Pett The Pilot House Dr. Vibha Pinglé and Ashutosh Varshney Fern Portnoy and Roger Goldman Heidi Pribell Suzanne Priebatsch Karen Foote Richards Jill Richardson and Peter Chinetti Helen Riess, M.D. and Norman Nishioka, M.D. Andrée Robert and Thomas M. Burger Judi and Bill Rosensweig Linda Sallop and Michael Fenlon Barbara Schapiro Susan and Robert Schechter Lisa Schmid and Joel Alvord Molly Schoeck and Guy MacDonald Stephanie and Jeff Schwartz Lori and Jon Shaer Christine and Richard Shea Harry Sherr Michael Shinagel and Marjorie North The Sholley Foundation, in honor of Jeremy Geidt Stacie Simon and Hal Tepfer Cory Sinclair Somerled Charitable Foundation


PATRON (cont'd) Lisa Stern and Jim Brochin‡ Leslie Anne Sullivan Robert Svikhart Linda Swartz‡ Deborah Sweet and Steven Lazar Sarah Thomas

Dune Thorne and Neville McCaghren ^ The Joseph W. and Faith K. Tiberio Charitable Foundation Mindee Wasserman Dr. Norman Weeks

CONTRIBUTOR Anonymous (5) Tina Aronson and Koby Rotstein Elizabeth Ascher and Michael Yogman Evelyn Barnes and Mary Carter William M. Bazzy Leonard and Jane Bernstein Joy and Steven Bunson Suzanne and Jeff Bloomberg Kathleen Brochin‡ Dorothea and Sheldon Buckler Lauren Budding Cris and Paul Carter Antonia H. Chayes Eversource Energy Foundation Andrew Farkas‡ Sandi Farkas‡ Anna May and Timothy Feige‡ Scott D. Feinstein Dr. Alan Garber and Dr. Anne Yahanda Leigh Gilmore and Thomas Pounds Givenik Helen Glikman and Dan Bartley Professors Mary Jo and Byron Good

$500 - $999 Phil Gormley and Erica Bisguier Shelly F. Greenfield and Allan M. Brandt Lisa Gruenberg and Martin Carmichael ^ Dena and Felda Hardymon Joan and George Hornig‡ Brent Jones Belinda Juran and Evan Schapiro Joseph Kahan Jim Keegan Jason Kemper‡ Lisabeth Kundert Christine Letts Susan and Steven Levkoff Stephen Martyak and Ryan Means The Max Productions Anita Meiklejohn and Vincent Piccirilli Patricia E. Cleary Miller Ph.D Susan and Ed Novick‡ Dr. Shara Oken Deval and Diane Patrick Ted Patton Sally C. Reid and John D. Sigel Christine and Don Rothman

Adina Schecter‡ Wendy Shattuck and Sam Plimpton Steven Showalter and Jeffrey Davis George Sing‡ Ildiko Sragli and Barry Appelman‡ Stavis Charitable Foundation Beth and Anthony Terrana Melinda B. Thaler‡ Sally Thurston‡ Jane and William Vaughn III Vitality Personal Fitness Inc. Susan Olsen Walton and Richard Walton Jonice Webb and Seth Davis Ruth and Bill Weinstein Lally Weymouth‡ Ms. Kelsey Wirth and Dr. Samuel Myers Marla and Ron Wolf‡ Carolyn Zern

Johanna and Andrew Herwitz William S. Hildreth Diane and James Hirshberg Hoban Family James Hoben Amy and Paul Holt Jonathan Hulbert and Sonia Hofkosh Caroline and Fred Hoppin Sarah Jaffe and Richard Eisert‡ Cyndi Jones and Steve Birnbaum Louisa Kasdon Lynn Kodama Deborah and Jonathan Kolb Steven Lampert and Anita Feins Katie Lapp Lisa and Bill Laskin Ms. Susan B. Lelyveld Liberty Mutual, Give with Liberty Program Jonathan Litt Barbara A. Manzolillo W. Kathy Martin and David L. Johnson Dr. Lindsay McNair Cordelia and Carl Menges‡ Sharon Miller Jessica Morrison Aileen Murphy Evelyn and Mac Musser Professor Suzanne P. Ogden and Peter Rogers Karen Page Carol Paik and Daniel Slifkin‡ Drs. Hilda and Max Perlitsh Sarah Piper‡ Tom Quintal and Naomi Kaufman Gerald Riffelmacher

Carol and Jim Rosen Kathryn and David Rosenberg Pamela Schwartz Shipyard Brewing Company Janet and Gil Slovin Mason and Jeannie Smith Ray Smith Frederick and Ruth Stavis Karen and Steve Stulck Lynn and George Vos William Waters Ryan and Amanda West Sharon Goddard White and David White San San Wong Lisa and Clark Wright Jeffrey Zapfe Nikki Zapol William Zinn

SUPPORTER Anonymous (2) Shari Malyn Abbott and Jon Abbott Jennifer Aronson Albert Bangert Sue and Henry Bass Mrs. Nicolette Beerel and Dr. Gustav H. Beerel, PhD Andrea L. Benoit and Michael Parsons Barbara Berke Susana and Clark Bernard Breen Family Southie Bundy and Richard Hermon-Taylor Ilene Bunis Jonathan and Julie Carroll Donna Case James Clarkeson Ellen Clegg Mr. Stephen Columbia Rina Spence Countryman Nancy Dellarocco Jane and Stephen Deutsch Dino DiPalma Elizabeth Fennell Anna Fitzloff Barbara and Kurt Fretthold Constance and Michael Fulenwider Howard Gardner, M.D. Kathleen and Robert Garner Laurie and Jeffrey Goldbarg, M.D. Jody Gorton‡ Mark Granovsky Ilene Greenberg and Michael Maynard Natalie Greene Patricia and Robert Harrington


$1,000 - $2,499 Robert Windsor Brenda and Barry Winston Claudia and Charlie Wu Fancy and Jeff Zilberfarb

$250 - $499

*Donors who provide annual operating support of $25,000 or more are members of the Artistic Director's Circle ^ Donors who have given in memory of Bryan Bernfeld † A.R.T. N.Y.C. Leadership Circle Members. The A.R.T. N.Y.C. Leadership Circle includes New York-based donors of $10,000 and above, and all New Yorkbased Trustees and Advisors. ‡ A.R.T. N.Y.C. Supporters

IN-KIND SUPPORTERS The A.R.T. thanks the following individual and corporate supporters for their invaluable in-kind donations. Southwest Airlines (Official Airline Sponsor)

Aesop Beat Brasserie Boch Center Amy and Ed Brakeman Cambridge 1. The Catered Affair The Charles Hotel Davis Center For Russian And Eurasian Studies Laura and Michael Dreese

Ilex Designs/ Andrew Anderson (Floral Sponsor)

The Urban Grape/ Hadley and T.J. Douglas (Wine Sponsor)

Peterson Party Center (Party Rental Sponsor)

Epstein Joslin Architects Google Grafton Street The Graphic Group Grendel's Den Harvest Henrietta's Table Alan Jones and Ashley Garrett Alison and Bob Murchison Noir Bar

Mary-Kathleen O'Connell and Jeffrey Bernfeld Parsnip Rialto Restaurant Shipyard Brewing Company The Sinclair Southwest Airlines Toscano Fran and Barry Weissler

THEATRE FORWARD Theatre Forward is a not-for-profit organization that advances the American theater and its communities by providing funding and other resources to the country’s leading nonprofit theaters. The following foundations, individuals and corporations support these theatres through their contributions of $2,500 and above to Theatre Forward. Buford Alexander and Pamela Farr *◊ American Express * AT&T ◊ Mitchell J. Auslander *◊ Bank of America * Bloomberg BNY Mellon Steven & Joy Bunson *◊ Cisco Systems, Inc. * Citi DeWitt Stern * Disney/ABC Television Group * Paula Dominick *◊ Dorfman and Kaish Family Foundation, Inc. ◊ Dorsey & Whitney Foundation Dramatists Play Service, Inc. * Kevin & Anne Driscoll John R. Dutt *◊ Epiq Systems * The Estée Lauder Companies Inc. EY * Bruce R. and Tracey Ewing *◊ Jessica Farr * Alan & Jennifer Freedman *◊ Goldman, Sachs & Co. Mason and Kim Granger *◊ Brian J. Harkins *◊

Gregory S. Hurst *◊ Howard and Janet Kagan ◊ Karen A. & Kevin W. Kennedy Foundation Joseph F. Kirk *◊ Anthony and Diane Lembke, in honor of Brian J. Harkins, board member. Marsh & McLennan Companies, Inc. John R. Mathena *◊ Jonathan Maurer and Gretchen Shugart *◊ Dina Merril & Ted Hartley * MetLife Morgan Stanley National Endowment for the Arts ◊ Newmark Holdings * Lisa Orberg ◊ Frank & Bonnie Orlowski *◊ Pfizer, Inc. Presidio * Thomas C. Quick * RBC Wealth Management ◊ The Schloss Family Foundation ◊ Sills Cummis & Gross P.C. * Daniel A. Simkowitz *◊ George S. Smith, Jr. *◊ Southwest Airlines ◊† S&P Global

TD Charitable Foundation ◊ Gretchen Shugart *◊ John Thomopoulos *◊ Evelyn Mack Truitt * Leslie C. & Regina Quick Charitable Trust James S. & Lynne Turley *◊ UBS Wells Fargo *◊ Willkie Farr & Gallagher LLP * Isabelle Winkles *◊ *Theatre Forward/DeWitt Stern Fund for New American Theatre ◊ Educating through Theatre Support †Includes In-kind support As of July 2016 Theatre Forward supporters are former supporters of National Corporate Theatre Fund and Impact Creativity.


Photo: Gretjen Helene. Students in Proclamation 4: Borders/ Boundaries, an afterschool playmaking intensive for Boston-area high school students led by the A.R.T.'s Education & Community Programs department.

Education & Community Programs A.R.T. Education & Community programs offer in-depth access to A.R.T. artists and productions for everyone in our community. Education Experience A.R.T. Education Experiences spark meaningful discourse, in-school and out. In addition to fostering creativity, collaboration, and intellectual curiosity in our community, we support teachers with free artsintegrated teaching tools and affordable tickets to world-class theater at the A.R.T. Community Connections A.R.T. partners with Boston-area non-profit organizations, bringing high-quality arts experiences to underserved families and individuals. Community Connections pair subsidized tickets to A.R.T. performances with enrichment programming ranging from private artist talks to in-depth workshops. Neighborhood Podcast Play Series A.R.T. works with non-profit partners around the city to enliven and creatively engage with our public spaces through site-specific audio plays written by local children and teens, available on our website. 28

A.R.T. Kids Company Children ages 5 - 10 join us on Saturday mornings to learn the fundamentals of theater in the fall and spring by creating weekly re-imaginings of classic and contemporary tales, live! Proclamation An ensemble of local high school juniors and seniors team up with A.R.T. artists and Harvard scholars for an eight-week afterschool playmaking intensive. The result is a vivid, provocative, extremely fresh performance work. This season, Proclamation 4: Borders/Boundaries explored the visible and invisible borders we encounter on a daily basis, performed at OBERON and the ICA Boston.





Producer Director of Artistic Programs/Dramaturg Line Producer Resident Director Artistic Associate Company Manager/Fellow Artistic Fellow Special Assistant


Director Administrative Director Associate Director Co-head of Dramaturgy Co-head of Dramaturgy Resident Literary Advisor Head of Voice & Speech Institute Fellow

Venue Manager Production Manager Programming Associate Assistant Venue Manager House Technician Sound Supervisors House Sound Engineer Programming Intern

Scott Zigler Julia Smeliansky Marcus Stern Anatoly Smeliansky Ryan McKittrick Arthur Holmberg Erika Bailey Katy Poludniak

Leo X. Crowley Skip Curtiss Emma Watt Megan Minger Justin Paice Alex Giorgetti, Katrina Sistare Michael Policare Emily Bergquist


Director of Development Megan Hinckley Deputy Director of Development Jessica Morrison Grants Manager Meghan Coleman Development Officers Christine Noah, Jonathan Remmers Development Information and Database Specialist Darnell Graham Development Associate Hannah Pryfogle Development Intern Caroline Hertz


Director of Marketing and Communications Anna Fitzloff Director of Press and Public Relations Katalin Mitchell Assistant Director of Marketing and Communications Grace Geller Senior Graphic Designer Joel Zayac Education and Community Programs Manager Brenna Nicely Education and Community Programs Fellow Daniel Begin Publications and Artistic Programs Fellow Robert Duffley Marketing and Communications Fellow Nicole Banks Videographer Johnathan Carr Marketing Interns Zack Reiser, Lilly Strieder Graphic Design Interns Yoshitaka Koishikawa, Courtney Russo


Director of Patron Services/ System Administrator Ticket Services Manager Audience Services Manager Senior Ticket Services Coordinator Ticket Services Representative Weekend Shift Supervisor Ticket Services Staff

Derek Mueller Alicia Curtis Stephen Wuycheck Heather Conroe Cassandra Long Heather Conroe Stacy Friedman, Taylor Hughes, Nickolas Mellace, Jessica Mullen, Tani Nakamoto, Emma Putnam, Kathleen Sansone Front of House Manager Matt Spano Duty House Managers Heather Conroe, Marissa Friedman, Anna Kelsey, Stephanie Pando, Courteney Smith Volunteer Usher Coordinator Barbara Lindstrom

As of November 2016

General Manager Associate General Manager

FINANCE Diane Borger Ryan McKittrick Mark Lunsford Allegra Libonati Shira Milikowsky Ryan Sweeney Kimiko Matsuda-Lawrence Brídín Clements




Director of Finance Senior Financial Accountant Payroll Coordinator Financial Associate Accounting Assistant Finance Office Staff

Steven Showalter Teresa Gozzo

Kathryn Rosenberg Rebecca Wrigley David Jewett Toufiq Aitelfqih Yvette Layne John Josti, Michelle Goldberg


Technical Director Associate Production Managers Production Supervisor, Pedagogical Programs Costume/Props Stock Manager


Costume Shop Manager Assistant Costume Shop Manager Head Draper Crafts Artisan Wardrobe Supervisor Wig Runner

Stephen Setterlun Jeremie Lozier Kathryn Nakaji Suzanne O. Kadiff Jeannette Hawley Carson M. Eddy Caitlin Menotti Jeffrey Scott Burrows Alma Reyes Emily Damron


Lighting and Projections Supervisor Assistant Lighting Supervisor Light Board Programmer/Operator Lighting Design Fellow

Matthew Adelman Alex Brandt Jeremy Goldenberg Ali Witten


Properties Manager Assistant Props Master Props Carpenter

Cynthia Lee-Sullivan Rebecca Helgeson Nicholas Menge


Technical Director Assistant Technical Directors Scene Shop Supervisor Scenic Charge Artist Master Carpenter Scenic Carpenters Scenic Painter Purchaser


Stephen Setterlun Kristin Knutson David Schultz Jerry Vogt Peter Doucette Dan Lincoln, York-Andreas Paris Heather Morris David Jewett

Sound Manager Assistant Sound Manager Front of House Mixer/Sound Board Operator


Automation Programmer/Operator Fly and Stage Hand

THEATER AND FACILITIES Theater and Facilities Manager

Sam Lerner Bryan Atterberry Michelle Reiss Keelia Liptak Ricky Roman

Tracy Keene

LOEB RECEPTION DESK Main Receptionists Receptionists

FOR FINGERSMITH Costumier Stitchers

Crafts Assistant Dressers

Sarah Leon, Maria Medeiros Jack Holder, Barbara Lindstrom, Sean O'Leary, Alison Schaefer, Matt Spano

Carmel Dundon Sara Marhamo, Tyler Kinney, Chelsea Kerl, Jez Insalaco, Sally Perry Jennifer Bennett, Kendra Bell Amber Voner, Jill Costello, Amy Thompson


PLEASE NOTE: The photographing or sound recording of any performance or the possession of any device for such photgraphing or recording inside this theater, without the written permission of the management, is prohibited by law. Violators may be punished by ejection, and violations may render the offender liable for monetary damages.

Notes Post-performance discussions follow select matinees, visit our website for specific dates and times.


EMERGENCIES: In case of emergency, contact the House Manager or nearest usher.



All venues are fully accessible. Assistive listening devices are available for all A.R.T. performances. WEST LOBBY

Large Print and Braille programs are available at select performances at the reception desk. A.R.T. offers Open Captioning, Audio Description, ASL interpreted, & Sensory Friendly programming at designated performances throughout the year. email: 617.547.8300


Publisher Design Sales

Jeff Lawrence Tak Toyoshima Jesse Weiss

For program advertising opportunities please contact:


Nearest exit route Fire extinguishers

FIRE NOTICE: Please take a moment to locate the nearest emergency exit. In the event of a fire or other emergency, remain calm and listen for directions from management and/or via our public address system.

Without a Heart, it’s just a machine. Southwest Airlines® proudly supports the A.R.T. © 2015 Southwest Airlines Co.

Designated Meeting Site Cross Brattle St. to Radcliffe Yard


Fingersmith A.R.T. Program  
Fingersmith A.R.T. Program