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2016/17 Season


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

WELCOME TO NOTES FROM THE FIELD: DOING TIME IN EDUCATION I cannot think of a better way to open our 2016/17 Season than with Anna Deavere Smith's Notes from the Field: Doing Time in Education. Part of the power of Anna's work is her insistence that we move beyond the perspective of passive spectatorship. By placing herself inside the stories, voices, and physicalities of individuals with conflicting perspectives, Anna demonstrates—and urges us to cultivate—a radical openness to the experiences of others. For over 20 years, Anna has worked tirelessly to make performance a much-needed public forum. From 1998 to 2000, her Institute on the Arts and Civic Dialogue, co-hosted by the A.R.T. and Harvard's W. E. B. Du Bois Institute for African and African American Research, convened six-week summer intensives to support the development of art that illuminated social conditions and deepened the capacity of artists to communicate with their audiences. Notes from the Field draws on and extends these efforts, asking audiences to engage in a second act of facilitated discussions around the themes of the show before a final coda performed by Anna. By incorporating discussions directly into the performance, this production builds on A.R.T.’s ongoing initiative to place art and audiences in dialogue around the pressing global issues of our time. At a time when the names of entire cities in the U.S. have become shorthand for episodes in a civil rights crisis unfolding across this country, we offer the theater as a transformative gathering place, where we can listen, empathize, identify our shared vulnerabilities, and strengthen our collective capacity for action. Thank you for joining us.

#NotesFromTheField @americanrep 1


American Repertory Theater presents

NOTES FROM THE FIELD: DOING TIME IN EDUCATION Created, Written, & Performed by ANNA DEAVERE SMITH Set Design RICCARDO HERNANDEZ

Costume Design ANN HOULD-WARD

Projection Design ELAINE MCCARTHY

Lighting Design HOWELL BINKLEY

Dialect Coach AMY STOLLER

Dramaturg ALISA SOLOMON

Sound Design DAN MOSES SCHREIER Movement Coach MICHAEL LEON THOMAS

Production Stage Manager TAYLOR BRENNAN

Music Composed & Performed by MARCUS SHELBY This performance is part of The Anna Deavere Smith PIPELINE PROJECT which is produced by Ms. Smith.

Directed by LEONARD FOGLIA First performance at the Loeb Drama Center on August 20, 2016. PRODUCTION SPONSORS The Ash Center for Democratic Governance and Innovation at Harvard Kennedy School Hutchins Center for African & African American Research at Harvard University Edmond J. Safra Center for Ethics at Harvard University

PRODUCTION SUPPORT Amy and Ed Brakeman (Umsizi Fund) Poss Family Foundation The artistic residency of Anna Deavere Smith is generously supported by Katie and Paul Buttenwieser.

SEASON SUPPORT

The 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 2016/17 Season is dedicated in loving memory to Christopher Eschenbach.


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John Tiffany’s I Speak, Therefore I Am. Photo: Marcus Stern

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A.R.T./MXAT Institute for Advanced Theater Training at Harvard University Masters/Certificate Program Acting • Voice • Dramaturgy A two-year professional training program fully integrated with the work of the American Repertory Theater, based in Cambridge, MA with a residency at the Moscow Art Theater School in Moscow, Russia.

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ADDITIONAL STAFF Artistic Associate/The Pipeline Project...........................................KIMBER RIDDLE Director of Interviewee Relations/ Onstage Assistant...........................................................................DANIEL RATTNER Assistant Director.......................................................KIMIKO MATSUDA-LAWRENCE Assistant Stage Manager........................................................ANDREA JESS BERKEY Associate Costume Design................................................CHRISTOPHER VERGARA Associate Movement Coach................................................................MICHAEL BENTT Associate Lighting Design..............................................................CATHERINE CLARK Associate Sound Design.............................................................................JOSHUA REID Assistant Sound Design..............................................................................PETER GANGI Assistant Projection Design.......................................................MAXWELL BOWMAN Projection Programmer......................................................................PAUL VERSHBOW Special Assistant to Anna Deavere Smith.....................................DAVID LOCKARD Text Coordinator..............................................................................ZOË NORMAN-HUNT

ACT II STAFF Act II Manager..............................................................................................KAYHAN IRANI Pipeline Staff Team Leader/ Act II Facilitator Manager...............................................STEPHANIE SCHNEIDER Act II Facilitator Trainer.............................................................LIZZY COOPER DAVIS Act II Facilitator Manager........................................PABLO HERNANDEZ BASULTO SPECIAL THANKS Stephen Sheppard Berkeley Repertory Theatre, Center Stage, Philadelphia Theatre Company Charles Hamilton Houston Institute for Race and Justice at Harvard Law School, Steven Seidel The Pipeline Project Advisory Committee: Chief Justice Abby Abinati, Yurok Tribe, Allen Bromberger, Esq., Perlman and Perlman LLP, Professor Sean Reardon, Graduate School of Education, Stanford University

EDUCATION & ACCESS INITIATIVES Cambridge Community Foundation Grayson Family Foundation Marcia Head Panta Rhea Foundation

ANNA DEAVERE SMITH PIPELINE PROJECT Lead support for the Anna Deavere Smith School-to-Prison Pipeline Project is provided by the Ford Foundation. Major support is provided by The Andrew W. Mellon Foundation; Panta Rhea Foundation; The Atlantic Philanthropies, a limited life foundation; The California Endowment; NoVo Foundation; Open Society Foundations; Poss Family Foundation; and The Charles Evans Hughes Memorial Foundation. Additional support is provided by Agnes Gund, Suzanne Farver Advised Fund at Aspen Community Foundation, Alexandra & Paul Herzan, Ellen & Bob Peck, Daryl Roth, Jordan Roth & Richie Jackson, Robert & Laura Sillerman, Mr. and Mrs. Robert K. Steel, Michael Margitich, Mike & Jackie Bezos, Jeremy Smith, The Crown Family, David & Susan Rockefeller, Melva Bucksbaum & Raymond Learsy, Cultures of Resistance Network Foundation, Robert J. Caruso & The Kantian Foundation, the Mimi & Peter Haas Fund, Louise Grunwald, Nancy & Morris W. Offit, Roger & Vicki Sant, and several anonymous donors. Special thanks to the Office of the Provost and the Institute on the Arts and Civic Dialogue, New York University. The Pipeline Project is a sponsored project of the New York Foundation for the Arts.

A.R.T. SUMMER INTERNSHIP PROGRAM Julia Belanoff, Harvard University '18, Artistic* Christopher Conway, Amherst College '18, Artistic Holly Dayton, Stanford University '17, Artistic Jonah Eggleston, Virginia Tech '17, Marketing Oliver Halperin, Noble and Greenough School '17, Lighting Sophie Harrington, Cambridge Rindge and Latin High School '18, Development Kevin Lombard, Tufts University '18, Marketing Matthew Munroe, Harvard University '17, Artistic* Nicolas O'Connor, Harvard University '17, Artistic* Destiny Polk, Wesleyan University '19, Artistic Derek Speedy, Harvard University '18, Artistic* Caleb Spiegel Ostrom, Harvard University '18, Artistic* Courtney Russo, Lesley University '17, Graphic Design Julia Steigerwald Schnall, Harvard University '18, Artistic* *With support from the Harvard University Office of Career Services

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TOWARD EMPATHIC IMAGINATION AND ACTION by Anna Deavere Smith While traveling in various parts of the country to do interviews upon which Notes From the Field is based, I was particularly influenced by two women I met in South Carolina, one in Charleston and the other in Summerton. They were both actively involved in the mid-twentieth century movement to desegregate American schools: Millicent Brown and Beatrice Rivers. Ms. Brown helped integrate Rivers High School in Charleston, South Carolina in 1963. She told me about the trauma she suffered as the first Negro to walk the halls of Rivers when she was 15 years old, facing hostility from many students and teachers alike. After some months she began having symptoms of a heart attack. Today, at age 68, she still has those symptoms. She is collecting a series of interviews with others around her age, who were “firsts.” Many still have the same physical and psychological symptoms that they experienced as barrier-breaking youngsters. Beatrice Rivers was a petitioner in the desegregation case Briggs v. Elliot. Filed in 1951, it preceded the more famous Brown v. Board of Education into which it was eventually subsumed. To this day, pulses go up for the old-time black folks in Summerton, South Carolina when they talk about their case. They are proud of their struggle and upset that most Americans evoke only the Brown case when they talk about civil rights history. The case began in 1947 as a demand for equality in transportation—a story that is easy to remember, once you hear it. The community asked the county for a school bus so that their children would not have to walk as many as nine miles to the school for Negroes. The county said no. The community somehow found a broken-down bus and got it running. They asked the county to pay for gas. The county said no. The NAACP stepped up to support the community in 1949, expanding the demand to one of equal educational opportunities in Clarendon County. The first action was for black citizens to gather at their church to sign a petition for education equality. Beatrice Rivers’s signature on that petition curls and curves in that old-fashioned, perfectly rounded “cursive” writing. She told me that all of the adults who signed the petition lost their jobs, her father among them. He was a janitor at the “white” high school, and many in the town liked him. He was the last to lose his job, but lose his job he did. Popularity was not enough to override racism. As some of you well know, even though southern towns were eventually ordered to desegregate, they found ways around it. They created private “religious” schools for white children. I spoke with Terry Peterson, a white man who was a young activist in those days. He is still at the forefront—fighting for social justice in Charleston. He looks like a southern gentleman, with a full head of white hair. I wanted to know his point of view about

"Have we squandered a generation’s hard-won victories? In many American cities today, schools are as racially segregated as they were in the 1950s." 6


Photo: Blake Alcantara.

For Notes from the Field, Anna Deavere Smith conducted interviews around the country. Here, she speaks in Baltimore with Kevin Moore, who captured the video of Freddie Gray's arrest.

why the county refused even to supply gasoline for the bus. He shook his head. He shrugged. He pursed his lips. And he said that the same sentiments exist today. I told him that some white people say racism is not real. “It’s real,” he said simply. And he started to weep. Have we squandered a generation’s hard-won victories? In many American cities today, schools are as racially segregated as they were in the 1950s. And other social forces and institutions are separating us from each other even more. Thomas Jefferson constructed a plan for public education in the Notes on the State of Virginia, as one speaker in the play, philosopher Maxine Greene, points out. His plan was for a system that would reveal the “excellent students” and throw out the “rubbish.” The “rubbish,” Maxine says, were the poor kids who couldn’t make it. Schools that work as sorting mechanisms are deep in our American DNA, whether the sorting is meant to find talent and aptitude, whether it is meant to weed out those who slow “us” down, or whether it is meant to keep races and social classes apart. Those working to dismantle the “school-to-prison pipeline” make a strong claim that schools sort out future prisoners, feeding the astonishing growth of America’s prison industry and making us the developed country with the highest incarceration rate in the world. Laws were one way we looked at the problem of integration six decades ago. I am grateful for the laws. My education and my career are byproducts of laws that helped make it possible for more of us to reach our arms over the chasm of racism and classism. But sixty years later, it’s obvious that laws are not enough. We have fine law schools in this country; one of the best in the world is on this campus. Could you ever imagine The Graduate School of Empathy and Love? I know that sounds ridiculous. But I also know that some individuals have a special aptitude for these core elements of our humanity. Those gifts should be honed, nourished, refined, and celebrated in the same way we cultivate athletic prowess, intellectual productivity, and business acumen. We need a generation of leaders who are as loving as they are strategic. (continued) 7


(continued from page 7) We need such leaders to help us find ways to imagine ourselves as beings who could extend our concern beyond the boundaries of our front doors, our fences, our perceived self-interests, our skins. How? As an artist, my effort has been to broaden the realm of my inquiry beyond my writing room and beyond understanding based on personal experience. For forty years, I have been creating plays out of fragments of conversations with diverse groups of people from all over the country. When I was a girl, my paternal grandfather and I used to spend hours talking. He said, “If you say a word often enough it becomes you.” I have been trying to become America word for word. I interview people—seeking to understand a problem from a variety of points of view. This practice allows me to enrich my understanding of my country. I choose moments of crisis as the pivot points. I now seek to extend my work beyond the artistic product that evolves out of those many conversations. I now extend the realm of my work into the audience. What do you think? What is your position on the large and complex landscape of points where failed attempts at education meet prison walls, broken families, broken dreams, broken possibilities? Even the position that is far from the nexus of the problem is a position. We all live somewhere in the landscape. We are really all connected “to the person next door, down the street or whatever,” as a woman in a maximum security prison told me. We must do the work required to make our democracy robust. I invite you, groups of strangers, to sit together during this play to chew, fret out loud, speculate, connect, invent, find. We need to be together. While I did research in my broken-down boardedup hometown, Baltimore, I met a charismatic, articulate man in his late twenties. He had spent a lot of his young adulthood in prison, where he developed a rich vocabulary by studying the dictionary from beginning to end, and back again. With passion he said: “We can’t wait for the leaders to make it better. We have to make it better.”

A NOTE from Notes from the Field Composer and Performer Marcus Shelby I have had the greatest honor of my life working with Anna Deavere Smith on her School-to-Prison Pipeline Project. I have learned a great deal from her about communication and empathy. Both are central to the blues form given to us by our ancestors, who found a creative way to express hope, determination, and identity in the face of overwhelming oppression. The musical score for my work is born out of this blues tradition, which includes call and response, improvisation, inflection, and tension, and release. I have found the power of the blues in all of Anna’s past work, so this is a natural form for us to work with. Each of the individuals whom Anna interviewed has a personal and succinct musicality that embodies the very essence of the blues—triumph over tragedy. The music aims to provide a soulful addition to Anna’s words. The subject material for the School-to-Prison Pipeline Project has personally inspired me to fight for reform using my creative tools. I am eternally grateful to Anna for this opportunity. 8


Nationwide, 70% of students arrested in school or referred to law enforcement are Black or Latino/a. (Source: US Department of Education—Office of Civil Rights.)

In Massachusetts, one-third of children arrested before they 1/3 turn 18 years old are arrested again within one year of their release. (Source: Greater Boston Legal Services.)

Children with disabilities make up 19% of Boston Public 36% School students and 19% account for 36% of overall suspensions. (source: Massachusetts Department of Elementary and Secondary Education.)

Nearly two-thirds of all out-of-school suspensions in 2/3 Massachusetts in the 2012-13 school year were for “non-violent, noncriminal, non-drug” offenses. (Source: “Not Measuring Up: The State of School Discipline in Massachusetts,” report by the Lawyers Committee for Civil Rights and Economic Justice, 2014.)

Nearly 60% of men in federal prison and 74% in state prison never earned a high school diploma.

Photo: Peter Varshavsky. Graphics: Tak Toyoshima.

(Source: Bureau of Justice Statistics.)

1.6 million American children go to public schools that employ law enforcement officers but no counselors. (Source: US Department of Education.)

“… the presence of on-site police officers frequently results in both more student arrests and more arrests for misbehavior previously handled informally by educators and parents.” (Source: “ARRESTED FUTURES: The Criminalization of School Discipline in Massachusetts’ Three Largest School Districts,” report by ACLU, ACLU-MA, and Citizens for Juvenile Justice, 2012.)

THE SCHOOL-TOPRISON PIPELINE:

Striking Figures and Concepts

Prepared by Alisa Solomon, Dramaturg for Notes from the Field DEFINITION: The School-to-Prison Pipeline The school-to-prison pipeline refers to the punitive and discriminatory school disciplinary practices that drive children into the juvenile and criminal justice systems. Many experts say that underfunded public schools are ill-equipped to deal with the multiple needs of contemporary students. The pipeline is fed by “zero tolerance” policies, intended to keep schools free of drugs and weapons by imposing severe punishments, like year-long suspensions, for infractions, no matter the circumstances. Rather than improving school safety, these policies have ended up criminalizing all kinds of rule-breaking or disruptive activities that previously would have been handled by childappropriate measures like trips to the principal’s or guidance counselor’s office. Students have been suspended or expelled at high rates over the last two decades. When young people are not in school, they are, quite simply, likely to be in trouble. Data show that zero-tolerance discipline disproportionately targets students of color and those with a history of abuse, neglect, poverty or learning disabilities. Beyond school walls, these same populations are disproportionately profiled, arrested, and responded to with violence by police.

THE BROADER CONTEXT School discipline policies are not the only cause of the crises affecting American schoolchildren. Too many students grow up in environments that are not conducive to learning: they are surrounded by violence and poverty, suffer from trauma and physical and mental health challenges, lack the self-regulation that school culture requires, and are bereft of hope and a sense of purpose. Public schools, meanwhile, starved for resources and forced to focus on high-stakes testing, place unrealistic expectations on teachers. Often schools must cede disciplinary matters to police officers stationed in their buildings through federal and local initiatives, even as counselors and nurses 9


In 2009 In 1979

ON THE RIGHT PATH The U.S. Department of Justice has investigated— and even sued—several states for violating the rights of children funneled into juvenile justice systems for minor infractions. In 2014 the U.S. Department of Justice, along with the U.S. Department of Education, published guidelines aimed at both curbing harsh, discriminatory over-punishments imposed for school discipline violations, and fostering safe, inclusive and positive learning environments while keeping students in school. “By ensuring federal civil rights 10

21%

15%

(Source: "Black Girls Matter: Pushed Out, Overpoliced and Underprotected," research study by the African American Policy Forum and Columbia Law School’s Center for Intersectionality and Social Policy Studies, 2015.)

are eliminated from school staff due to budget cuts. Despite the commitment and expertise of dedicated educators, schools can become places where students encounter the same arbitrary, over-aggressive policing they face in their communities. Activists say that students come to perceive the school system as emphasizing control and punishment over a stimulating educational experience, and to sense that they are being prepared more for prison than for lives as engaged, imaginative, productive citizens. Many advocates, educators, and health professionals have suggested that we need to shift resources spent on the “back end”—the building of prisons and youth facilities—to the front end—richer, more deeply endowed schools, as well as support for early childhood and for pre-natal care, and, importantly, support and growth opportunities for parents. Today, new technologies—smart-phone cameras, social media—have made more visible to the general public the problems these young people are facing. Videos of abuses go viral and affect events as they unfold; organizers wielding these technological tools reveal the urgency and dignity of struggle and expand the ranks of those who are urging change.

69%

Men's Risk of Imprisonment by Age 30-34

Gender, Race, and Discipline In Boston schools, black girls are disciplined at a rate 11 times higher than white girls, while black boys are disciplined at a rate 8 times higher than white boys.

1% 3%

4%

All whites

White high school dropouts

15%

9% All African Americans

African American high school dropouts

(Source: Bruce Western, Harvard, as published in the Boston Globe, March 19, 2015.)

protections, offering alternatives to exclusionary discipline, and providing useful information to school resource officers, we can keep America’s young people safe and on the right path,” said Attorney General Eric Holder when the guidelines were released. This year's Democratic Party platform promises to end the school-to-prison pipeline and "build a cradle-to-college pipeline instead." Here in Massachusetts, in August of 2012, Governor Deval Patrick signed into law Chapter 222 of the Acts of 2012—An Act Relative to Students’ Access to Educational Services and Exclusion from School. It went into effect on July 1, 2014. It aims to keep children in school by restricting the use of suspension and expulsion and requires schools to collect data on student exclusions, establishes enhanced hearing provisions for students prior to suspension or exclusion, and promotes alternative programs to assure continued academic progress for students who are disciplined. While students and their advocates welcomed this progressive law, according to the Boston Student Advisory Council, students are still being removed from their schools for minor offenses, with low-income students, students of color, and students with disabilities being more likely to be suspended unfairly. Students taken away from their education by out of school suspension are more likely to fall behind in schoolwork or drop out.


THE LEGAL CONDUIT TO THE PIPELINE: DISTURBING SCHOOLS LAWS National and state-wide efforts to reduce the criminalization of routine school infractions often center on changing local school district policies, reducing the heavy presence of police officers in hallways, and providing more guidance and academic counseling for students, and more opportunities for them to strive for excellence in academics, the arts, and athletics. In some states, though, even these substantial improvements would still leave students vulnerable to criminal arrest. These are states—Massachusetts remains one of them—that have on their books some version of a “disturbing schools law”: a vague and subjective means of charging a student for behaviors that would not constitute crimes if engaged outside school grounds. South Carolina’s became notorious in the fall of 2015 when a girl in a Columbia, SC high school math class was reprimanded for using her cell phone; when she refused an order to leave the classroom, a school officer was called in. Video shot by fellow students show him pulling the student out of her desk and dragging her along the ground. The student was charged under the disturbing schools law, which makes it a misdemeanor “willfully or unnecessarily (a) to interfere with or to disturb in any way or in any place the students or teachers of any school or college in this State, (b) to loiter about such school or college premises or (c) to act in an obnoxious manner thereon . . .” Another student, Niya Kenny (who is represented in Notes from the Field), was also arrested under this law for standing up and objecting to how her classmate was being treated and encouraging fellow students to film it with their phones. Age 18 at the time, Ms. Kenny was charged as an adult and faces a $1,000 fine or 90 days imprisonment. She is due in court on September 15, 2016. Here in Massachusetts, students can be charged for “disturbance of schools or assemblies”—a crime punishable by up to a $50 fine or a month of jail, with a third offense within a year requiring a one-month jail sentence. A 2012 investigation of Boston, Springfield, and Worcester by the ACLU and ACLU of MA, and Citizens for Juvenile Justice, found that in all three districts such “catch-all public order offenses” were often used to justify in-school arrests “based on misbehavior that could have been addressed more appropriately by teachers and school staff, and with significantly less harm to students.” Introduced last year in the General Court, Senate bill S842, and the parallel House bill, H1623, seek to decriminalize student nonviolent and verbal misconduct like cursing, sassing or bouncing a basketball in a hallway—all misbehaviors for which students have been arrested and charged in criminal or juvenile court. The bills have failed to advance. Even when controlling for school poverty, schools with a School Resource Officer (SRO) had nearly five times the rate of arrests for disorderly conduct as schools without an SRO.

Arrest rate per 100 students

14 12

11.5

10

8.5

8 6 4

3.9

2

0.5 0.3

0 Total arrest rate

Alcohol/public intoxication charge rate

1

0.7

Assault charges

Schools with a School Resource Officer (n=13)

1.8

Disorderly conduct charges

1.2

0.8

Drug-related charges

0.1 0.2 Weapons charges

Schools without a School Resource Officer (n=15)

(Source: Matthew T. Theriot, "School Resource Officers and the Criminalization of Student Behavior," Journal of Criminal Justice 37 (2009): 280-287.) Note: When controlling for school economic disadvantage, the presence of SROs did not relate to more arrests for any other type of offense than disorderly conduct.

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Cast & Creative Team ANNA DEAVERE SMITH Writer/Performer A.R.T.: Let Me Down Easy, Fires in the Mirror (Pulitzer Prize runner-up). Actress, playwright, and teacher, Anna Deavere Smith is said to have created a new form of theater. She received the National Humanities Medal, presented to her by President Obama in 2013. She was the 2015 Jefferson Lecturer for the National Endowment for the Humanities, and a 2016 Guggenheim Fellow for Theatre Arts (for the development of Notes from the Field: Doing Time in Education). She is a MacArthur Fellow, and received The Dorothy and Lillian Gish Prize. She is the recipient of two Tony nominations and two Obie Awards. She has created over 15 one-person shows based on hundreds of interviews, most of which deal with social issues. Twilight: Los Angeles, about the Los Angeles race riots of 1992, was performed around the country and on Broadway. Let Me Down Easy (seen at the A.R.T. in 2008) focused on health care in the U.S. In popular culture she has been seen in “Nurse Jackie,” “Black-ish,” “The West Wing,” The American President, Rachel Getting Married, and Philadelphia. Books include Letters to a Young Artist and Talk to Me: Listening Between the Lines. She has a number of honorary degrees including Yale, University of Pennsylvania, Juilliard, Union Theological Seminary, and The Radcliffe Medal. She sits on the board of trustees for the American Museum of National History, the Aspen Institute, Grace Cathedral in San Francisco, and the Museum of Modern Art in New York. She is University Professor in the department of Art & Public Policy at New York University. She also directs the Institute on the Arts and Civic Dialogue at New York University.

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MARCUS SHELBY Composer/Performer A.R.T.: Debut. Marcus Anthony Shelby is a composer, arranger, bassist, and educator who currently lives in San Francisco. His work and music have focused on the history, present, and future of African American lives, social movements, and early childhood music education. In 1990, Shelby received the Charles Mingus Scholarship to attend Cal Arts and study composition with James Newton and bass with Charlie Haden. From 1990-1996, Shelby was bandleader of Columbia Records Recording Artists Black/ Note. Currently, Shelby is artist in residence with the Yerba Buena Gardens Festival. In 2013, Shelby received a MAP Fund Award to compose Beyond the Blues: A Prison Oratorio, an original composition for big band orchestra about the prison industrial complex. In 2015, Shelby was commissioned by Anna Deveare Smith to compose the score for her new play Notes from the Field: Doing Time in Education. Shelby also has arranged for Ledisi and the Count Basie Orchestra, recorded with Tom Waits, and received the City Flight Magazine 2005 award as one of the “Top Ten Most Influential African Americans in the Bay Area." Shelby teaches at the Stanford Jazz Workshop and in March 2013, San Francisco Mayor Ed Lee appointed Shelby to the San Francisco Arts Commission.


LEONARD FOGLIA Director A.R.T.: Debut. Leonard Foglia is a theater and opera director and librettist. Original Broadway productions: Master Class with Zoe Caldwell and Audra McDonald (also West End with Patti LuPone, National tour with Faye Dunaway), Thurgood with Laurence Fishburne (filmed for HBO), The People in the Picture with Donna Murphy. Broadway revivals: The Gin Game with James Earl Jones and Cicely Tyson, On Golden Pond with Mr. Jones, Wait Until Dark with Quentin Tarantino and Marisa Tomei. Off-Broadway: Anna Deavere Smith’s Let Me Down Easy (filmed for PBS), The Stendhal Syndrome with Isabella Rossellini, One Touch of Venus (Encores!), If Memory Serves, Lonely Planet. Regional: Unusual Acts of Devotion, Distracted, Paper Doll, The Secret Letters of Jackie and Marilyn, The Subject Was Roses, A Coffin in Egypt, God's Man in Texas. Opera: Foglia directed the world premieres of Moby Dick (filmed for PBS), Dallas Opera, San Francisco Opera, etc., Everest (Dallas Opera); Cold Mountain (Santa Fe Opera); The End of the Affair (Houston Grand Opera, etc.); Three Decembers (Houston Grand Opera). His production of Dead Man Walking has been seen across the country. As a librettist, he wrote (and directed) El Pasado Nunca Se Termina/The Past Is Never Finished, with composer José “Pepe” Martínez, commissioned by and premiered at Lyric Opera of Chicago. It has played San Diego Opera and Houston Grand Opera; A Coffin in Egypt with composer Ricky Ian Gordon was commissioned by and premiered at Houston Grand Opera and has played, Opera Philadelphia, Chicago Opera Theater, LA and The American Songbook at Lincoln Center. Cruzar la Cara de la Luna/To Cross the Face of the Moon with composer Martínez was commissioned by and premiered at Houston Grand Opera and has played, Lyric Opera of Chicago, Houston Grand Opera, San Diego Opera, Arizona Opera and Théâtre du Châtelet in Paris.

RICCARDO HERNANDEZ Set Designer A.R.T.: Over twenty credits, including Marie Antoinette, The Gershwins’ Porgy and Bess, Prometheus Bound, Best of Both Worlds, The Seagull, Julius Caesar, Britannicus, and Marat/Sade. Broadway: The Gin Game; The Gershwins’ Porgy and Bess; The People in the Picture; Caroline, or Change; Topdog/ Underdog; Elaine Stritch at Liberty; Parade (Hal Prince, director, Tony and Drama Desk nominations); Bells Are Ringing; Noise/ Funk; The Tempest. New York (selected): Over two dozen productions at New York Shakespeare Theater; Grounded; The Library; Red Speedo (Drama Desk Nomination), The Invisible Hand (2015 Henry Hewes Set Design Award), NYTW; A Doll’s House, The Father, Theatre for a New Audience; King Lear; Vineyard Theatre; Lincoln Center Theater; BAM; Second Stage; Playwrights Horizons; MTC; MCC. Regional (selected): Guthrie, Goodman, Taper. Opera (selected): Lyric Opera of Chicago, San Francisco Opera; NYCO, HGO, Los Angeles Opera, Théâtre du Châtelet, Theater an der Wien, Santa Fe Opera, English National Opera/Young Vic: Lost Highway directed by Diane Paulus; Opera de Nice. Also: Avignon Festival (Cour D’Honneur, Palais des Papes), Festival Automne Paris, Oslo National Theater, Teatr Polski Warsaw, Abbey Theatre Dublin, Teatro Real de Madrid. ANN HOULD-WARD Costume Designer A.R.T.: Let Me Down Easy, Second Stage, “PBS Great Performances.” Broadway (selected credits): The Color Purple; The Visit; The People in the Picture; A Free Man of Color (Drama Desk nomination); A Catered Affair (Drama Desk nomination); Company (2006 revival); Beauty and the Beast (Tony Award); Into the Woods (Tony and Drama Desk nominations); Falsettos; Sunday in the Park with George (Tony and Drama Desk nominations); Saint Joan; Timon of Athens; Little Me. OffBroadway: Passion, Classic Stage Company; Russian Transport; The Blue Flower; Road Show; Lobster Alice; Cymbeline. Ms. Hould-Ward’s work can be seen in over 35 International companies of Beauty and the Beast, and at The Salzburg Festival’s West Side Story, The Bronze Idol (Mikhailovsky Theatre), Dear World (West End), Schuh Des Mantu (Germany), Othello (Norwegian Ballet), and Imagine This (West End). 13


Creative Team HOWELL BINKLEY Lighting Designer A.R.T.: Debut. Broadway (selected credits): Hamilton (Tony Award, Henry Hewes Design Award), After Midnight (Tony nomination), How to Succeed… (with Daniel Radcliffe, Tony nomination), West Side Story (Tony nomination), Gypsy (with Patti LuPone), In The Heights (Tony nomination), Jersey Boys (Tony Award, Outer Critics Circle Award, Henry Hewes Design Award), Avenue Q, The Full Monty, Parade, Kiss Of The Spider Woman (Tony nomination, Olivier Award, Dora Award). Regional and Dance (selected credits): Billboards, The Joffrey Ballet; Co-Founder and Resident Lighting Designer for Parsons Dance. 2006 Henry Hewes Design Award and Outer Critics Circle Award for  Jersey Boys. DAN MOSES SCHREIER Sound Designer A.R.T.: Father Comes Home From the Wars (Parts 1, 2 & 3). Broadway: American Psycho, A Gentleman’s Guide to Love and Murder, Act One, Sondheim on Sondheim, A Little Night Music, Gypsy (Patti LuPone), Radio Golf, John Doyle’s production of Sweeney Todd, A Catered Affair, Gem Of the Ocean, Pacific Overtures, Assassins, The 25th Annual Putnam County Spelling Bee, Julius Caesar (Denzel Washington), Into The Woods, Topdog/ Underdog, Dirty Blonde,The Tempest (Patrick Stewart), Bring in ‘da Noise/ Funk. Off-Broadway: Passion, Road Show, Floyd Collins, others. Recent scores: King Lear (John Lithgow); Merchant of Venice (Al Pacino); Disfarmer, St. Ann’s Warehouse. Awards: 4 Tony Award nominations, 4 Drama Desk Awards, Obie Award for sustained excellence, 2013 Dreyfus Fellow at The MacDowell Colony.

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ELAINE MCCARTHY Projection Designer A.R.T.: Debut. Broadway (selected credits): Wicked, Spamalot, Impressionism, The People in the Picture, Assassins, Man of La Mancha, Into the Woods, Thurgood, Judgement at Nuremberg. Off-Broadway: Embedded, Fran’s Bed, Speaking in Tongues. Additional career highlights include: Great Scott, Everest, Iolanta, Tristan und Isolde, Moby Dick, Dallas Opera; Cold Mountain, Santa Fe Opera; Mazeppa, The Met; Dead Man Walking, New York City Opera; War and Peace, The Met, Kirov Opera; Tan Dun and Peter Sellars’ The Peony Pavilion, Wiener Festwochen (Opera); Frequency Hopping (set and projections); Distracted (set and projections); Tan Dun’s The Gate, NHK Symphony; Don Byron’s Tunes and ‘Toons, BAM (Concert); Peter Buffett’s Spirit–A Journey in Dance Drums & Song, Chen ShiZheng’s Forgiveness, Asia Society/New York (Dance); Adidas, Sony/Epic Records, Kenneth Cole, Calvin Klein Cosmetics; the 1996 and 1997 CFDA Awards (Fashion/ Industrial); Secrecy (Film). AMY STOLLER Dialect Coach A.R.T.: Let Me Down Easy, Second Stage, National Tour, “PBS Great Performances.” Also with Anna Deavere Smith: Notes from the Field: Doing Time in Education, Berkeley Rep; “Master Class,” HBO. Broadway: Beautiful (coach for Jessie Mueller as Carole King, Tony Award). Off-Broadway: 20th anniversary, resident dialect designer, Mint Theater Company, currently A Day by the Sea. Film/TV: Selma (coach for Carmen Ejogo as Coretta Scott King, NAACP Image Award); “Mozart in the Jungle” “Nurse Jackie”; “Power.” stollersystem.com MICHAEL LEON THOMAS Movement Coach A.R.T.: Let Me Down Easy, Second Stage, National Tour, “PBS Great Performances.” Also with Anna Deavere Smith: On Grace, Grace Cathedral San Francisco; “A Hymn for Alvin Ailey,” PBS/Alvin Ailey American Dance Theater. Choreography credits include: University of North Carolina School of the Arts, Cape Town Dance Company, Frank Sinatra School of the Arts, Long Island University, Encuentro Internacional de Danza Madrid, Beijing Dance Academy, Danceworx Mumbai. Teaching: NYU Tisch School of the Arts, Complexions Contemporary Ballet (dance intensives


program director), Alvin Ailey Arts & Education Revelations Residencies, The Ailey School, Joffrey Jazz & Contemporary NYC program, LIU Post, dance festivals and schools both in the U.S. and abroad. ALISA SOLOMON Dramaturg A.R.T.: Let Me Down Easy. Alisa teaches at the Columbia University Graduate School of Journalism, where she directs the MA concentration in Arts & Culture. A longtime theater critic and political journalist, she has written for The Nation, The New York Times, Howlround.com, The Forward, American Theatre, among other publications, and The Village Voice, where she was a staff writer for two decades. Her books include Re-Dressing the Canon: Essays on Theater and Gender, and most recently, Wonder of Wonders: A Cultural History of Fiddler on the Roof. Education: DFA, Dramaturgy and Criticism, Yale.  TAYLOR BRENNAN Production Stage Manager A.R.T.: Stage Manager: O.P.C., The Shape She Makes, The Donkey Show. Assistant Stage Manager: RoosevElvis, Natasha, Pierre & the Great Comet of 1812, 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. Graduate of Boston University, Summa Cum Laude, College of Fine Arts. ANDREA JESS BERKEY Assistant Stage Manager A.R.T.: Debut. Off-Broadway: O Earth; Maurice Hines’ Tappin Thru Life, Charles Francis Chan Jr’s Exotic Oriental Murder Mystery, Consent, The Last Starfighter, The Fabulous Life of a Size Zero, joy, Fame on 42nd Street, Potomac Theatre Project, Soho Rep, MCC, Cherry Lane, Manhattan Theatre Club. Festivals: NYMF, FringeNYC, NAMT, MITF. Regional: Flat Rock Playhouse, North Carolina Stage Company, Williamstown Theatre Festival, Actors Theatre of Louisville. Tours: Blue’s Clues Live!, TheatreworksUSA. Numerous BC/EFA events. Proud member of Actor’s Equity Association.

MICHAEL BENTT Associate Movement Coach A.R.T.: Debut. Michael Bentt is a boxer, writer, producer, actor, and director. Boxing decorations include: WBO world heavyweight champion (1993), 4 New York Golden Gloves titles, 5 U.S. national championships, Sugar Ray Robinson Award, Pan American Games (boxing team captain), North American Championship gold medal, U.S. Goodwill Games (boxing team captain). Film/TV (selected credits): Ali (with Will Smith), Public Enemies (with Johnny Depp), State Property 2, Million Dollar Baby, Blue, Girlfight, "Saturday Night Live," "JAG," "Sons of Anarchy," "Firefly," Kid Shamrock (director), Broken (director), work with directors Michael Mann, Ron Shelton, Clint Eastwood, Sylvester Stallone, and Bill L. Norton. Boxing writing/ commentating (selected credits): HBO.com, "Bert Sugar's Fight Game," ESPN, BBC. He has also mentored, served as a guest speaker, and conducted seminars for juvenile facilities across the country and co-instructed acting workshops with Anna Deveare Smith. Training: Northampton Community College (journalism and acting), Tina Sattin NYC. KIMIKO MATSUDA-LAWRENCE Assistant Director A.R.T.: Finding Neverland (Production Intern). Harvard: Black Magic on the Loeb Mainstage (Director, Co-writer); I, Too, Am Harvard (Director, Writer); Dreamgirls (Assistant Choreographer); Creator of I, Too, Am Harvard photo campaign; Co-founder of Renegade (POC art collective and magazine); member of Kuumba Singers of Harvard College; BlackC.A.S.T. In Development: Ragtime on Ellis Island (Dramaturg). Named one of The Root 2016 Young Futurists, Business Insider "19 Incredibly Impressive Students at Harvard." B.A. Harvard ’16. kimikomatsudalawrence.com

The actors and stage managers employed in this production are members of Actors' Equity Association, the union of professional actors and stage managers in the United States. United Scenic Artists represents the designers and scenic painters for the American Theatre. The Director and Choreographer are members of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union. The musicians employed in this production are members of the American Federation of Musicians. 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.

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A.R.T. BOARDS

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 Catherine Gellert Rebecca Grafstein Lori Gross Ann Gund Sarah Hancock Jonathan Hulbert Alan K. Jones Robin Kelsey Herman "Dutch" Leonard Dennis Masel Thomas B. McGrath Rebecca Milikowsky Ward Mooney Bob Murchison 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 Jill Fopiano 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 Johnson Jerry Jordan Dean Huntington Lambert 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 Stephen H. Zinner, M.D. *Emeriti

FOUNDING DIRECTOR Robert Brustein

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. 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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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.

public spaces through site-specific audio plays written by local children and teens, available on our website.

Education Experience A.R.T. experiences spark meaningful discourse, inschool and out. In addition to fostering creativity, collaboration, and intellectual curiosity in our community, we support teachers with free artsintegrated teaching tools, free classroom visits, and affordable tickets to world-class theater at the A.R.T.

WORDplay Summer Theater & Writing Program Each year, A.R.T. and writing center 826 Boston students write scripts, design sets, costumes, and perform plays on a professional stage, inspired by the A.R.T. season.

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

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 fairy 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 on one of the A.R.T.'s stages. This season, Proclamation 4: Borders/Boundaries will explore the visible and invisible borders we encounter on a daily basis.

Our Local Partners Our friends are your friends!

For current promotions & discounts, visit: americanrepertorytheater.org/discounts

Restaurant Partners

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Beat Brasserie 13 Brattle St. beatbrasserie.com

Henrietta’s Table 1 Bennett St. henriettastable.com

The Sinclair 52 Church St. sinclaircambridge.com

Cambridge, 1. 27 Church St. cambridge1.us

Noir Bar 1 Bennett St. noir-bar.com

Toscano 52 Brattle St. toscanoboston.com

Grafton Street 1230 Massachusetts Ave. graftonstreetcambridge.com

Parsnip 91 Winthrop St parsniprestaurant.com

Harvest 44 Brattle St. harvestcambridge.com

The Regattabar 1 Bennett St. regattabarjazz.com

Hotel Partner The Charles Hotel 1 Bennett St. charleshotel.com


Donors

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 June 30, 2016.

VISIONARY Barr-Klarman Arts Capacity Building Initiative Doris Duke Charitable Foundation Sarah Hancock*

$100,000 and above President and Fellows of Harvard College The Johnson Family* ‡ Alison and Bob Murchison*‡

The Linda Hammett Ory & Andrew Ory Charitable Trust RN Family Foundation† The Shubert Foundation

E.H.A. Foundation 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 Dr. Linda U. Sanger* Maureen and Mike Sheehan* The Harold and Mimi Steinberg Charitable Trust Sid Yog*

Marcia Head* John W. Henry Family Foundation Hill Holliday Barbara and Amos Hostetter* Jeanne and Dennis Masel*† Lucy and Ward Mooney*‡ National Corporate Theatre Fund Newbury Comics Inc. The Pemberton Family Foundation

Starcom & Digitas LBI Lisbeth Tarlow and Stephen Kay*

Candy Kosow Gold and Martin Waters ‡ Grayson Family Foundation Investment Technology Group Horace H. Irvine II 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† 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 Delia and Robin Thompson Sarasina and Mike Tuchen Donald and Susan Ware Weber Shandwick The Xander Group Inc.

Susan Edgman-Levitan and Richard Levitan Gerald Flaxer Charitable Foundation Shanti Fry and Jeffrey Zinsmeyer Jody and Thomas Gill Erin Gilligan and Hoil Kim Rachael Goldfarb 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†

BENEFACTOR The Bank of America Charitable Foundation, Inc. Amy & Ed Brakeman*‡ Katie and Paul Buttenwieser* RoAnn Costin* The Dana Foundation Laura and Michael Dreese*

$50,000 - $99,999

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*† Rebecca and Laurence Grafstein*†

$25,000 - $49,000

PRODUCER Yuriko Jane Anton and Philip Anton Jill and John Avery Robert 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

$10,000 - $24,999

PARTNER Anonymous (2) Paolo Abelli Frances Shtull Adams The Boston Foundation Chet and Carol Cekala Bernard Chiu Kathy Connor Debbie DeCotis

$5,000 - $9,999

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PARTNER (cont'd) Madeline Jacquet Janice and Ralph James Landry Family Foundation ^ Lars Charitable Foundation Lori Lesser‡ Tristin and Martin Mannion Karen and Gary Mueller

$5,000 - $9,999 Annette and Dan Nova Janny and Dave Offensend Diane Quinn and Keith Freiter 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

Nat Dodge 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 Allison Johnson Melissa Kaish and Jonathan Dorfman‡ Kay and David Kane Jerome P. Kassirer, M.D. and Sheridan Kassirer 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 Fran and Barry Weissler‡ Dyann and Peter Wirth

SPONSOR Anonymous (2) 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 Katherine Chapman 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

$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 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 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 Sylvia Gerson‡

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$1,000 - $2,499 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‡ 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 Kate Olmsted and John Grossman Tracy Palandjian Julianne Pemberton Susan Pett Dr. Vibha Pinglé and Ashutosh Varshney Fern Portnoy and Roger Goldman 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


PATRON (cont'd) The Sholley Foundation, in honor of Jeremy Geidt Stacie Simon and Hal Tepfer Cory Sinclair Somerled Charitable Foundation Leslie Anne Sullivan Robert Svikhart Linda Swartz‡

$1,000 - $2,499 Deborah Sweet and Steven Lazar Dune Thorne and Neville McCaghren ^ The Joseph W. and Faith K. Tiberio Charitable Foundation Mindee Wasserman Dr. Norman Weeks

Robert Windsor Brenda and Barry Winston Claudia and Charlie Wu Fancy and Jeff Zilberfarb

Professors Mary Jo and Byron Good 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 Jane Katims and Dan Perlman 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 Newton at Home Susan and Ed Novick‡ 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 Lisa Stern and Jim Brochin‡ Beth and Anthony Terrana Melinda B. Thaler‡ Vitality Personal Fitness Inc. Susan Olsen Walton and Richard Walton Jonice Webb and Seth Davis Ruth and Bill Weinstein Ms. Kelsey Wirth and Dr. Samuel Myers Carolyn Zern

James Hoben Amy and Paul Holt Jonathan Hulbert and Sonia Hofkosh 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 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 Janet and Gil Slovin Mason and Jeannie Smith Frederick and Ruth Stavis Karen and Steve Stulck

Jane and William Vaughn III 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

CONTRIBUTOR Anonymous (4) Tina Aronson and Koby Rotstein Elizabeth Ascher and Michael Yogman Evelyn Barnes and Mary Carter William M. Bazzy Leonard and Jane Bernstein Ms. Kathryn Biberstein Suzanne and Jeff Bloomberg Kathleen Brochin‡ Dorothea and Sheldon Buckler Lauren Budding Cris and Paul Carter Antonia H. Chayes Eversource Energy Foundation 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

$500 - $999

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 Barbara Berke Susana and Clark Bernard Breen Family Southie Bundy and Richard Hermon-Taylor Ilene Bunis Jonathan and Julie Carroll 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 William S. Hildreth Diane and James Hirshberg Hoban Family

$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

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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) southwest.com

Ilex Designs/ Andrew Anderson (Floral Sponsor) ilexflowers.com

Beat Brasserie Amy and Ed Brakeman Cambridge 1. The Catered Affair The Charles Hotel Citi Performing Arts Center Davis Center For Russian and Eurasian Studies Laura and Michael Dreese

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

DigBoston (Publishing Partner) digboston.com

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

Peterson Party Center (Party Rental Sponsor) Petersonpartycenter.com

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. Karen A. & Kevin W. Kennedy Foundation Joseph F. Kirk *◊ 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 * Ogilvy & Mather † Lisa Orberg ◊ Frank & Bonnie Orlowski *◊ Pfizer, Inc. Presidio * Pryor Cashman LLP * PURE Insurance * 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 ◊ Theatermania.com/ 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: Marcus Stern

Buford Alexander and Pamela Farr *◊ American Express * 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. * 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 ◊

SHAKESPEARE & DISCO COLLIDE Bringing you the ultimate disco experience every Saturday night! Directed by Diane Paulus | Inspired by A Midsummer Night's Dream 22


American Repertory Theater Staff THE TERRIE AND BRADLEY BLOOM ARTISTIC DIRECTOR

DIANE PAULUS

EXECUTIVE DIRECTOR

DIANE QUINN

ARTISTIC

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

Diane Borger Ryan McKittrick Ariane Barbanell Mark Lunsford Allegra Libonati Shira Milikowsky Ryan Sweeney

Director Administrative Director Associate Director Co-head of Dramaturgy Co-head of Dramaturgy Resident Literary Advisor Head of Voice & Speeach IATT Stage Manager Technical Director Student Financial Aid Administrator

Associate Producer Venue Manager Production Manager Programming Associate Assistant Venue Manager House Technician Sound Supervisors House Sound Engineer House Lighting Programmer

Scott Zigler Julia Smeliansky Marcus Stern Anatoly Smeliansky Ryan McKittrick Arthur Holmberg Erika Bailey Elizabeth Haroian Skip Curtiss Sophia Henderson

Ariane Barbanell Leo X. Crowley Skip Curtiss Emma Watt Megan Minger Justin Paice Alex Giorgetti, Katrina Sistare Michael Policare Violet Gayzagian

EXTERNAL AFFAIRS DEVELOPMENT

Director of Development Deputy Director of Development Grants Manager Development Officer Development Information and Database Specialist Development Associate

Megan Hinckley Jessica Morrison Meghan Coleman Christine Noah Darnell Graham Jonathan Remmers

MARKETING AND COMMUNICATIONS

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 Publications and Artistic Programs Associate Robert Duffley Marketing and Communications Associate Nicole Banks Videographer Johnathan Carr

PATRON SERVICES

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 Karen Snyder Cassandra Long Heather Conroe Stacy Friedman, Taylor Hughes, Nickolas Mellace, Jessica Mullen, Tani Nakamoto, Emma Putnam Front of House Manager Matt Spano Duty House Managers Heather Conroe, Marissa Friedman, Anna Kelsey, Courteney Smith Volunteer Usher Coordinator Barbara Lindstrom

As of August 2016

General Manager Associate General Manager

Steven Showalter Teresa Gozzo

FINANCE

Director of Finance Financial Associate Accounting Assistant

Kathryn Rosenberg Toufiq Aitelfqih Yvette Layne

PRODUCTION

Associate Production Managers Skip Curtiss, Jeremie Lozier Production Supervisor, Pedagogical Programs Kathryn Nakaji

COSTUMES

INSTITUTE

OBERON

GENERAL MANAGEMENT

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

Jeannette Hawley Carson Eddy Caitlin Menotti Jeffrey Scott Burrows Alma Reyes Burgos Emily Damron Suzanne O. Kadiff

LIGHTS

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

Matthew Adelman Alex Brandt Jeremy Goldenberg Ali Witten

PROPERTIES

Props Master Assistant Props Master Props Carpenter

SCENERY

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

SOUND

Cynthia Lee-Sullivan Rebecca Helgeson Nicholas Menge Stephen Setterlun Mike Hamer Kristin Knutson David Schultz Jerry Vogt Peter Doucette Dan Lincoln, Garrett McEntee, York-Andreas Paris Heather Morris David Jewett

Sound Supervisor Front of House Mixer/Sound Board Operator Theatrical Audio Technician

STAGE

Stage Supervisor Automation Programmer/Operator Fly and Stage Hand

THEATER AND FACILITIES Theater and Facilities Manager

LOEB RECEPTION DESK Main Receptionists Receptionists

Sam Lerner Michelle Reiss Bryan Atterberry

Henning Malm Keelia Liptak Ricky Roman

Tracy Keene Sarah Leon, Maria Medeiros Jack Holder, Barbara Lindstrom, Sean O'Leary, Matt Spano

FOR NOTES FROM THE FIELD Scenic Carpenters

Peter Birren, Thomas Eckenfels, Catrin Evans, Bill Hawkins, Brian Melcher, Dawn Morningstar, Alex Platt, Ray Reyes, Rachel Shainwald, Nat Taylor, Sophia Tepermeister, Nick Tosches Hair and Make-Up Stylist Amber Voner Open Captioning c2 Primary Audio Describer Alice Austin Secondary Audio Describer Janet Stankus Special Mention Creative Conners

23


Assistive listening devices are available for all A.R.T. performances. Large Print and Braille programs are available at select performances.

OFFICES

All venues are fully accessible.

Second floor

SF OC

LARGE PRINT

OFFICES

A.R.T. offers Open Captioning, Audio Description, ASL interpreted, & Sensory Friendly Programming at Designated performances throughout the year. email: ticketservices@amrep.org/call: 617.547.8300

First floor

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. ALL ADMISSIONS INTO THE THEATER, ONCE THE PERFORMANCE HAS BEGUN, WILL BE AT THE DISCRETION OF MANAGEMENT.

FRONT LOBBY

EMERGENCIES: In case of emergency, contact the House Manager or nearest usher. Nearest exit route Fire extinguishers

PROGRAMS AND GUIDES BY DIGBOSTON

Publisher Design Sales

Jeff Lawrence Tak Toyoshima Jesse Weiss

Without a Heart, it’s just a machine. © 2015 Southwest Airlines Co.

Designated Meeting Site Cross Brattle St. to Radcliffe Yard

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.

For program advertising opportunities please contact: sales@digboston.com

Southwest Airlines® proudly supports the A.R.T.

WEST LOBBY


give and receive Do both with a Charitable Gift Annuity (CGA) to help people live longer, healthier lives Current CGA Rates

Age 60: 4.9% Age 70: 6.0% Age 80: 7.7% Calculate your fixed income for life using our free online gift calculator at

hms.harvard.edu/art Or contact Karen S. Turpin or Carolyn Stone in confidence at 1-800-922-1782 or giftplanning@hms.harvard.edu

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Building Community One Home at a Time Supporting: The Mt. Auburn Hospital, US Fund for UNICEF, The Guidance Center, Huntington Theatre Company, The Cambridge Jazz Festival, and Cambridge Community Foundation

Notes from the Field Program  

Anna Deavere Smith's "Notes from the Field"

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