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Artistic Director’s Welcome Diane Paulus, Artistic Director

PIPPIN Welcome to Pippin! I’m so glad you’ve joined us for this new production of Stephen Schwartz and Roger O. Hirson’s 1972 Tony Award-winning musical. It has been my great pleasure to collaborate with a world-class creative team on a musical that I have loved and dreamt about from a very young age. Pippin premiered on Broadway forty years ago, but the questions that Schwartz and Hirson were exploring carry enormous resonance for audiences today. In this age of fleeting fame, the investigation of how far each of us is willing to go in order to be extraordinary seems more relevant than ever. While the story focuses on the journey of a young adult and captures the pressures that people just out of school face as they enter the world, I cannot help but feel that the questions surrounding the choices we make in our lives will resonante with audiences of all ages, as it does with me— a mother in my forties juggling my family life and my career. I am thrilled to be working with choreographer Chet Walker. As a cast member in the original Broadway production, Chet worked closely with legendary director/choreographer Bob Fosse and has become a world-renowned specialist in Fosse’s work. I also feel lucky to be working with Gypsy Snider of the incomparable Montreal-based acrobatic troupe, Les 7 Doigts de la Main, who is creating a circus world that reflects this search for the extraordinary, and mirrors Pippin’s deathdefying mission to find what makes him special. Chet’s expertise, combined with Gypsy’s unique acrobatic vision, have made for an exhilarating collaboration and expression of our A.R.T. mission to expand the boundaries of theater by experimenting with a new physical vocabulary of musical theater storytelling.

Photo: Dario Acosta

These two artists are just a small sampling of the great talent we have brought together in order to mount this production­—an extraordinary company of singers, actors, dancers, acrobats, musicians, designers, and even an illusions specialist. As always, thank you for being part of our process and joining the experience at the A.R.T.!


“[Harry Christophers] is a magician, that’s all there is to it.” –THE HUB REVIEW

THE INDIAN QUEEN JANUARY 25, 2012 AT 8PM NEC’S JORDAN HALL JANUARY 27, 2012 AT 3PM SANDERS THEATRE Harry Christophers, conductor Jonathan Best, baritone Zachary Wilder, tenor Period Instrument Orchestra and Chorus

Henry Purcell’s last major work, The Indian Queen, receives special treatment in this compelling interpretation by Harry Christophers and the Period Instrument Orchestra and Chorus. The program also includes excerpts from Purcell’s The Fairy Queen and King Arthur.

TICKETS ON SALE NOW FROM $20 617 266 3605 handelandhaydn.org

PHOTO: NEIL HENDERSON

PURCELL


AMERICAN REPERTORY THEATER PRESENTS

BOOK ROGeR O. HiRSON SCENIC DESIGN ScOTT PaSK

MUSIC AND LYRICS STePHeN ScHWaRTZ

COSTUME DESIGN LIGHTING DESIGN DOMiNiQue leMieuX KeNNeTH POSNeR

SOUND DESIGN cliVe GOODWiN

ORCHESTRATIONS laRRy HOcHMaN MUSIC SUPERVISOR NaDia DiGiallONaRDO ILLUSIONS Paul KieVe

MUSIC DIRECTOR cHaRlie alTeRMaN

ASSOCIATE MUSIC DIRECTOR SONNy PalaDiNO

CASTING ASSOCIATE DIRECTOR/PSM DuNcaN STeWaRT aND cO. NaNcy HaRRiNGTON* DuNcaN STeWaRT cSa BeNTON WHiTley cSa CIRCUS CREATION GyPSy SNiDeR OF LES 7 DOIGTS DE LA MAIN CHOREOGRAPHY cHeT WalKeR IN THE STYLE OF BOB FOSSE

DIRECTOR DiaNe PauluS First performance at the Loeb Drama Center on December 5, 2012 Originally produced on the Broadway stage by Stuart Ostrow Directed on the Broadway stage by Bob Fosse

PRODUCTION SUPPORT

SEASON SUPPORT

ALISON & BOB MURCHISON

PIPPIN Is presented through special arrangement with Music Theatre International (MTI), New York, NY. www.MTIShows.com


CAST

(in alphabetical order)

LEWIS Erik Altemus* theo Andrew Cekala* fastrada Charlotte d’Amboise* catherine Rachel Bay Jones* charles Terrence Mann* Berthe Andrea Martin* leading player Patina Miller* pippin Matthew James Thomas^ THE PLAYERS: Gregory Arsenal^, Lolita Costet^, Colin Cunliffe*, Andrew Fitch*, Orion Griffiths^, Viktoria Grimmy*, Olga Karmansky*, Bethany Moore*, Stephanie Pope*, Philip Rosenberg*, Yannick Thomas^, Molly Tynes*, Anthony Wayne* (*) members of Actors’ Equity Association (^) Matthew James Thomas, Gregory Arsenal, Lolita Costet, Orion Griffiths, and Yannick Thomas are appearing with the permission of Actors’ Equity Association pursuant to an exchange program between American Equity and UK Equity.

UNDERSTUDIES Understudies never substitute for listed players unless a specific announcement for the appearance is made at the time of the performance. Pippin—Erik Altemus*; Lewis—Colin Cunliffe*; Charles—Andrew Fitch*; Fastrada—Bethany Moore*; Male Swing—Brad Musgrove*; Leading Player—Stephanie Pope*; Catherine—Molly Tynes* Dance Captain: Brad Musgrove* Original choreography for “Manson Trio” by Bob Fosse “Spread a Little Sunshine” dance arrangement by Zane Mark

ORCHESTRA

Music Director/Conductor/Keyboard 1—Charlie Alterman; Associate Music Director/Keyboard 2—Sonny Paladino; Violin/Viola—Emily Dahl; Cello—Kevin Crudder; Bass—Tony D’Amico; Guitar—Scotty Johnson; Reed 1—Mark Pinto; Reed 2—Rod Ferland; Trumpet—Rick Hammett; Trombone—Walt Bostian; Percussions—Joe DeMarco; Drums/Percussions—Kenny Hadley Music Preparation—Don Oliver and Paul Holderbaum/Chelsea Music, Inc. Orchestra Contractor—Rick Hammett Keyboards and Programming—Randy Cohen, Cohen Keyboards


ADDITIONAL STAFF

Assistant Stage Manager Julie Baldauff* Assistant Stage Manager Stephen R. Gruse* Voice and Speech Coach Nancy Houfek Assistant Director Mia Walker Drama League Fellow Assistant Director Christopher Windom Assistant Choreographer Brad Musgrove Assistant Circus Creation Jeslyn Kelly Acrobatic Equipment Engineer Alex LeMay Circus Rigger Michael Cecchini Assistant Rigger Evan Hyde Assistant to Gypsy Snider Katie Naka Music Librarian Kevin Lin Music Intern Haley Bennett Production Assistant Sara Sahin Dressers Brian Choinsky, Emily Damron Additional Run Crew Benjamin Saint Louis Acrobat Costumes by Costume Works Liz Perlman (Owner), Therese Beck (Head Draper), Lynn Jeffries, Rita Scavulnos, Erin Butcher, Kendra Bell, Gail Buckley, Heidi Hermiller, Martha Palaza, Susanne Miller Draper Caroline Errington Stitchers Susanna Brown, Lisa Dezmelyk, Sally Ravitz, April McCoy Wig and Make Up Artisan Rachel Padula Shufelt Crafts Fabian Aguilar, Jen Bennet, Jill Thibault Props Craftspersons Rebecca K. David, Bill Hawkins Props Painter Julie Talty Props Intern Irene Yee Scenic Shop Buyer Ryan Anderson Carpenters Sam Cournyn, Evan DelGaudio, Megan Doughty, Tim Jones, George Kane, Keelia Liptak, Dan Lincoln, Adam Medlyn, Matthew Meeds, Kyle Moore, Ray Reyes, Jon Seiler, Nick Shelton Carpenter Intern Vinca Merriman Scenic Painters Brian Crete, Elizabeth Johnson, Heather Morris Scenic Paint Intern Richard Oullette

CASTING DUNCAN STEWART AND COMPANY Duncan Stewart CSA, Benton Whitley CSA, Andrea Zee

Harvard 2012 Summer Interns with support from the Office of the President and Provost and in partnership with the Office of Career Services: Madeleine Bersin, Rachel Gibian, Heather Mauldin, Civry Melvin, Anise Molina, Benjamin Moss, Ryan Smillie, Susanna Wolk

Aerial training for Andrea Martin and Patina Miller—Bobby Hedglin-Taylor, Director of Espana Streb Trapeze Academy at the STREB lab for Action Mechanics. www.BobbyHedglinTaylor.com

SPECIAL THANKS

Barry and Fran Weissler, Howard and Janet Kagan Jill Johnson, Christine Bennett, Marin Orlosky, Harvard Dance Center; Dana Knox, Andrew Gitchel, Farkas Hall; Jack Megan, Eric Engel, and the entire Office for the Arts at Harvard University Liz Perlman, Costume Works; Larry Lelli, Shannon Ford, Rehearsal Drummers; Stephen Gabis, NYC Dialect Coach; Johnathan Carr, Flame Video; Margaret Cotter, Union Square Theater; Jit Seneviratne, Gibney Dance; Steve Routh, Pearl Studios; Circus Warehouse, Event Illuminations and Cat Entertainment Services; Christi Tisdale, Stephanie Sine, and Polly Solomon, Assistants to Mr. Hedglin-Taylor; Bonnie Baggesen, Emerson College; Tony Robillard, BU Track and Tennis Center; Alecia Parker; B.J. Holt; Clint Bond; Mhari Sandoval; Triney Sandoval; Bryce Gilifillian; Megan Jones.


SOME THOUGHTS ON PIPPIN AS HE TURNS 40 by Stephen Schwartz

Pippin is forty years old? How can that be? Pippin, who in 1972 arrived on Broadway on his youthful, idealistic and naïve quest for an extraordinary life, returns to try again at the A.R.T. in 2012. And like any forty-year-old, much has happened to him along the way. Actually, Pippin’s life began some five years prior to that, in 1967 at CarnegieMellon University in Pittsburgh. There was a club called Scotch ‘n’ Soda, which presented each spring a new student-written musical. A fellow drama student, Ron Strauss, had come across a paragraph in a history textbook about the first-born son of Charlemagne and his attempt to overthrow his father. This was at a time when we drama students were

much enamored of James Goldman’s The Lion in Winter, so Ron and I came up with Pippin, Pippin (I no longer remember why we had two “Pippins” in the title), a medieval court intrigue musical. We and our fellow CMU students had a blast with it, and that, as we thought, was that. But a year later, as I was getting set to graduate, I got a letter from a wouldbe New York producer who had heard the vanity cast recording we had made of the show (basically for ourselves and our parents). He said he thought the show had potential, and asked if I would be interested in developing it. Ron gave me license, literally and figuratively, to do so. I will spare you the details of the show’s odyssey over the next five years,


but suffice it to say that along the way it accumulated a book writer, the smart and funny Roger O. Hirson, an experienced producer, Stuart Ostrow, and a legendary director/chorographer, Bob Fosse. And by the time the now one-name-titled Pippin went into rehearsal for Broadway, not one line of dialogue, not one scrap of lyric, and not one bar of music from the original CMU show remained. The show had transmogrified into the story of a young man in search of himself, a story heavily influenced by the social upheaval happening in America at the time. It was of course the time of the Vietnam War and the so-called “generation gap” and America was as divided and polarized as... well... as it is now, although along somewhat different fault lines.   There was plenty of polarization in the development process for the Broadway show as well. It’s well-known that Bob Fosse and I often found ourselves on opposite sides of our own generation gap, with Roger frequently caught in the middle. But I’ve come to believe that the show benefited from it, since it heightened the dramatic tension of the central conflict in the show between the hopeful naïveté of its title character and the worldly-wise cynicism of the Leading Player and his cohorts. I have a feeling that if either Bob’s point of view or my own at the time had totally won out, the show wouldn’t have worked nearly as well.

Since Broadway, over the course of many productions, Pippin has continued to evolve. Roger and I have found cuts and improvements for lines, sharpening of lyrics, better focus for the story. A decade or so ago, I wandered into a production of the show in the London Fringe and found that they were trying a different ending, one that Roger and I immediately knew was righter than any we had ever thought of. So the new ending became part of the show. Because Pippin lends itself to directorial interpretation, over the years I have seen productions in all sorts of styles: punk rock, vampire chic, video game, Pan Asian (in which case the court of Charlemagne was a Japanese Shogunate), and one of my favorites, a Deaf West production in which Pippin was played by two actors, one who signed and one who spoke and sang, and who came more and more into conflict with each other as Pippin’s internal conflict increased. Now comes this new production at A.R.T. under the direction of Diane Paulus, celebrated for her ability to reinvigorate (rather than reinvent). In collaboration with Diane, Roger and I have once again tweaked dialogue and lyrics, and a superb musical team has worked with me to refresh the score while staying true to its origins. Diane has assembled a remarkable cast to bring to life a production that fuses classic Fosse choreography with contemporary circus. My hope is that here at the A.R.T., Pippin at forty will remain forever young.

“It’s wellknown that Bob Fosse and I often found ourselves on opposite sides of our own generation gap... But I’ve come to believe that the show benefited from it.”


Chet Walker leading a masterclass at Harvard University. Photo: GretjenHelene.com

THE PHYSICAL LANGUAGE OF PIPPIN

My story begins two years after Pippin opened on Broadway. Every dancer in New York City wanted to be in Pippin. To work with Mr. Fosse personally and to dance his choreography with the music and lyrics by Stephen Schwartz was my goal. Then the day came when I received an offer to join the Broadway company of Pippin.   Mr. Fosse changed how dancers worked. We were no longer asked to just dance, but to sing and act as well. Pippin changed my life. Mr. Fosse’s choreography was, and is, based in acting and imagery. We danced a style—Mr. Fosse’s style. It demanded that you interpret the written word and illustrate the lyric. True Musical Theater Dance became my passion ever since I was first introduced to Pippin.   It was an honor and privilege to work with and for Mr. Fosse on many of his Broadway shows, and at the end of his life I brought him the idea for what would become the Broadway show, Fosse. That show was my tribute to the man and his style.   With this new production of Pippin at the A.R.T, I have been asked to choreograph the show in the style of Mr. Fosse, and to work with Gypsy Snider to combine his style with the world of circus, and find the vocabulary that will serve Diane Paulus’s vision of the show. The journey and process have been fascinating and rewarding. I have to thank Stephen Schwartz for creating Pippin some forty years ago and for his support of me in my participation in this production. It teaches me one more time that the American Musical is alive and well and has a lot of “Magic To Do!” - by Chet Walker, Choreography in the style of Bob Fosse

It has always been my dream to participate in a collision of musical theater and circus arts. I believe that circus is one of the most exciting ways of expressing ideas and emotions. It is filled with risk, passion, imagination, and extraordinary physical possibilities. My life in the circus has always led me to new forms and collaborations. It has been an honor and a thrill to take part in Diane’s incredible vision of Pippin, a young man’s quest for meaning in his life played out in the magical ring of the circus tent. I hope it inspires you all to run away and join us for a moment. Gypsy Snider works with Philip Rosenberg. Photo: Evgenia Eliseeva

- by Gypsy Snider of Les 7 Doigts de la Main, Circus Creation


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CAST Erik Altemus Lewis A.R.T.: Debut. Off-Broadway: The Fantastiks (Matt). Regional: Hairspray (Link Larkin), Drury Lane, Chicago; And the Curtain Rises (George), Signature Theatre, DC; Parade (Frankie Epps), Musical Theatre of Los Angeles; Yeast Nation; My Fair Lady; The Music Man; Phantom. Workshops: Carrie, Far From Heaven. Film: HBO’s Miraculous Year, The Newman Shower. (AFI). BFA in Musical Theater from College-Conservatory of Music (CCM).

Gregory Arsenal Player A.R.T.: Debut. Regional: Festival mondial du cirque de demain (Bronze medal), Paris; Sol y circo festival (Bronze medal), Germany; Dummy, GOP Variété Theatre, Germany; Friedrichsbau Variété, Germany; Olympic Games, Vancouver, Les 7 Doigts de la Main; Cabotinage, Vague de Cirque Tent, Canada; C’est Assez Pour Aujourd’hui, Crime, Ou Est le Chef, La TOHU, Canada; Variété et Cetera, Germany; PSY, Les 7 Doigts de la Main, Colombia; Planetary Carnival of Circus Stage Direction, Grand State Circus of Saint-Petersburg, Russia.

Andrew Cekala Theo A.R.T.: Marie Antoinette (Dauphin). Theater: All My Sons (Bert), Huntington Theatre Company; The Life of Galileo (Andrea Sarti), Underground Railway Theatre; A Christmas Story (Ralphie, IRNE nomination), New Repertory Theatre; Ragtime (Edgar), Berklee College of Music; The Full Monty (Nathan), Turtle Lane Playhouse; Oliver (Oliver), Wellesley Players. He also has performed in numerous Watertown Children’s Theatre productions and with Revels.

Lolita Costet Player A.R.T.: Debut. Credits: Seuls avec vous: Festival Deltebre Dansa, Spain; Caravanes en cirque, La Grainerie, France; Festival Trapezi, Spain; Convention acrosport, Holland; Pôle cirque de Montpellier, France; Theater op de Markt, Festival de Neerpelt, Belgium; Festival d’Watt, Gödör Klub, Hungary; Glanzlichter, Shortcut, GOP Variété Theatre, Germany; Festival Sol y Circo (“New Talent” prize), Germany; Circus Monti, Switzerland; Gala Federation de Gymnastique Francophone, Belgium; Crece’09, Spain; una storia nella storia, Scola di circo Flic, Italy; Sta onira mas, Greece. TV: “Millow”; RTBF; “Le Tailleur de Neve,” Franco Dragone.

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Colin Cunliffe Player A.R.T.: Debut. Broadway: Evita starring Ricky Martin; The Addams Family; Cry Baby. National Tours: Sweet Charity; The Boyfriend (dir. by Julie Andrews); Fame; Cats. Regional/Other: The Human Comedy, Barrington Stage; Grease, Paper Mill; Annie, Paper Mill; Rocky Horror Picture Show, Le Poisson Rouge. He was also the director and creator of Broadway Loves San Miguel in San Miguel De Allende, Mexico. He would like to thank Gypsy, Diane, and Chet for letting him run away with the circus.

Charlotte d’Amboise Fastrada A.R.T.: Debut. Broadway: A Chorus Line (Cassie, Tony nomination); Jerome Robbins’ Broadway (Tony nomination); Sweet Charity; Contact; Chicago; Can Can; Company; Damn Yankees; Cats. London: Carrie (Chris). National Tour: Chicago (Roxie, Winner of LA Ovation Award and LA Drama Critics Circle Award). Regional theater: Parade; Tonight at 8:30; Speed the Plow; Italian American Reconciliation. Film: The Preacher’s Wife, The In Crowd, Every Little Step, Frances.

Andrew Fitch Player A.R.T.: Debut. Broadway: Monty Python’s Spamalot. New York: Heat Wave: The Jack Cole Project, Queens Theatre;

Follies, Girl Crazy, City Center Encores!; Radio City Christmas Spectacular; Sinatra, Radio City Music Hall. National Tour: Billy Elliot; Monty Python’s Spamalot; Victor/ Victoria; Jesus Christ Superstar (Peter). Regional: Fiddler on the Roof, North Shore Music Theater; Gypsy (Tulsa), Damn Yankees (Rocky), Stages St. Louis; Whatever Happened to Baby Jane, Evita, TUTS, Houston; Guys and Dolls, North Carolina Theater.

Orion Griffiths Player A.R.T.: Debut. Performances: Circus Los Muchoso’s, Circus Funder Plunder, The Shrine Circus, Arnold Classic Sports Festival. Born into a circus family, he has been performing since he was four. He is training with his family in San Francisco to create their own show. He hopes to one day compete in the MonteCarlo International Circus Festival.

Viktoria Grimmy Player A.R.T.: Debut. Circus and theater: Ringling Bros. Barnum and Bailey Circus; Cirque du Soliel; Big Apple Circus; Royal Hannaford Circus; Circus Hamid; Busch Gardens Tampa FL; Hephaestus: A Greek Mythology Circus Tale, Goodman Theatre. Live shows: On Tour With Britney Spears World Circus Tour. Competitions: MonteCarlo International Circus Festival (Bronze Medal, Solo Aerialist To Place); World Circus Festival in Latina Italy (Bronze Medal Winner). Film: Burlesque. Television: “Shake It Up!”; “Switched”; “Glee/ Superbowl Commercial.” Fifth Generation Circus performer.


Rachel Bay Jones Catherine A.R.T.: Debut. Broadway: HAIR (Mother, Buddhadalirama); Women on the Verge of a Nervous Breakdown (standby/ performed Lucia [Patti LuPone]); Meet Me in St. Louis (Lucille). National Tour: A Christmas Story (Mother); Grand Hotel (Trude); Fiddler on the Roof (Hodel); Rent (Berlin Company, in German). OffBroadway: Hello Again (The Actress; Drama League nomination), Transport Group. Regional: Sylvia (Sylvia), A Thousand Clowns (Sandra Markowitz), Berkshire Theatre Festival; The King and I (Anna, opposite Lou Diamond Phillips); Evita (Eva, in Spanish and English). By day, Rachel is the mother of Miranda, a nine-year-old girl. Solo Album: ShowFolk. www.rachelbayjones.com

Olga Karmansky Player A.R.T.: Debut. US Tours: Panic! At The Disco; Gymnastics Superstars. International: Allora + Calzadilla, Venice Biennale, Italy. Television: “Law & Order: SVU”; “Strange Beauty” (Contortionist). Rhythmic Gymnastics, 2004 US Olympic team Alternate, two-time Pan American Champion.

Terrence Mann Charles A.R.T.: Debut. Broadway: The Addams Family; Beauty and The Beast (Tony and Drama Desk nominations for Best Actor); Les

Misérables (Tony nomination); Trevor Nunn’s Cats (originated role of Rum Tum Tugger); Barnum (Ringmaster); Jerome Robbins’ Broadway; The Rocky Horror Show; The Scarlet Pimpernel; Jekyll and Hyde. Off-Broadway: Promises, Promises; Assassins. Film/TV: Richard Attenborough’s Chorus Line (Larry); “30 Rock”; “Law and Order”; “Unforgettable”; “Smash”; “One Life to Live”; “As the World Turns” (Emmy nomination). Endowed Chair of Musical Theatre at Western Carolina University. Founder Triple Arts Musical Theatre Workshop.

Andrea Martin Berthe A.R.T.: Debut. Broadway: Exit the King (Juliette; Drama Desk, Outer Critics Award nominations); Mel Brooks’s Young Frankenstein (Frau Blucher; Tony, Drama Desk nominations); Oklahoma (Aunt Eller; Tony, Drama Desk, Outer Critics nominations); Candide (Old Lady; Tony, Drama Desk, Outer Critics nominations); My Favorite Year (Tony, Drama Desk, Theatre World Awards), Lincoln Center. Regional: Betty’s Summer Vacation (IRNE, Elliot Norton Award), Rose Tattoo, Huntington Theatre. Film: Wag the Dog, The Producers, Hedwig and the Angry Inch, My Big Fat Greek Wedding (SAG nomination—Best Ensemble). TV: “SCTV” (2 Emmy awards for writing and an Emmy nomination for acting); Sesame Street (Special Emmy Award); “Nurse Jackie”; “30 Rock.” Miss Martin tours with her one woman show: Andrea Martin “Final Days: Everything Must Go.” www.iamandreamartin.com.

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Patina Miller Leading Player A.R.T.: Debut. Broadway: Sister Act (Deloris Van Cartier; Tony, Drama Desk, Drama League, Outer Critics Circle Award nominations). West End: Sister Act (Olivier Award nomination). Off-Broadway: Lost in the Stars, Encores!; Hair, The Public Theater; Romantic Poetry, Manhattan Theatre Club. Regional: First You Dream, Kennedy Center; Sister Act, Alliance Theatre, Pasadena Playhouse; Being Alive, Philadelphia Theater Company. Workshops: Book of Mormon; Nightingale; American Idiot. TV: “All My Children.” Musical theater B.F.A. from Carnegie Mellon.

Bethany Moore Player A.R.T.: Debut. Broadway/New York: SpiderMan: Turn Off the Dark (original company); Into the Woods (Florinda, u/s Witch), The Public Theater. Tours: A Chorus Line (Judy), 1st National Tour; Cats (Bombalurina). Regional: The Producers (Ulla), Kansas City Starlight; Drowsy Chaperone (Janet); Urinetown (Hope); Legally Blonde (Margot). 

Stephanie Pope Player A.R.T.: Debut. Broadway/ National Tours: Thoroughly Modern Millie (Muzzy Van Hossmere); Chicago (Velma Kelly); Fosse (Leading Player); Smokey Joe’s Café (Brenda); A Funny

Thing Happened On The Way To The Forum (Gymnasia); Jelly’s Last Jam (The Hunnies); Sweet Charity (Helene); Bob Fosse’s Big Deal. Off-Broadway: The Ziegfeld Follies of 1936; Abraham Lincoln’s Big Gay Dance Party. Regional: Pippin (Fastrada); Ma Rainey’s Black Bottom. Television: “Law and Order: SVU”; “One Life to Live”; “All My Children”; “OZ.”

Philip Rosenberg Player A.R.T.: Debut.  Off-Broadway: TRACES, Les 7 Doigts de la Main, Union Square Theatre. Regional: TRACES (touring), Les 7 Doigts de la Main, Saddlers Wells in London, Casino de Paris, The Sydney Opera House; The Birdhouse Factory, The New Pickle Circus, Palace of Fine Arts Theatre; Dummy, GOP Variété Theatre, Germany; Die Boscars, Variété et Cetera Theatre, Germany; Cabotinage, Vague de Cirque Tent, Canada; LA VIE, Les 7 Doigts de la Main, France; C’est Assez Pour Aujourd’hui, Les Feuilles Mortes, Ou Est le Chef, La TOHU, Canada; Vau de Vire Society, The Regency Ballroom; Planetary Carnival of Circus Stage Direction, Grand State Circus of Saint-Petersburg, Russia.

Matthew James Thomas Pippin A.R.T.: Debut. Broadway: Peter Parker in the original company of Spider-Man: Turn Off the Dark. West End: Oliver! (Kipper); Whistle Down the Wind (Clarence); Dorian Gray (Dorian); Fame (Schlomo); Popcorn (Wayne), Landor Fringe. Film: Billy Elliot; About a Boy;


Possessions; Bare. TV: Series regular “Britannia High,” “Wonderful You,” “Trevor’s World of Sport,” “The Blind Date Murder Mysteries,” Stephen Poliakoff’s “The Lost Prince.” Guest lead: “Casualty,” “Midsomer Murders,” “Bad Girls,” “Genie in the House,” “Doctors,” “The Bill,” “Hero to Zero.” I don’t know what I would do without my friends, family, and everyone who helps me achieve and experience my greatest hopes and goals. I dedicate my performance to my dear friend and mentor Jack Abrahams.

Yannick Thomas Player A.R.T.: Debut. Regional: Festival mondial du cirque de demain (Bronze medal), Paris; Sol y circo festival (Bronze medal), Germany; Dummy, GOP Variété Theatre, Germany; Friedrichsbau Variété, Germany; Olympic Games, Vancouver,  Les 7 Doigts de la Main; Cabotinage, Vague de Cirque Tent, Canada; C’est Assez Pour Aujourd’hui, Crime, Ou Est le Chef, La TOHU, Canada; Variété et Cetera, Germany; PSY, Les 7 Doigts de la Main, Colombia; Planetary Carnival of Circus Stage Direction, Grand State Circus of Saint-Petersburg, Russia.

Molly Tynes Player A.R.T.: Debut. New York: CHIX 6 (Lola Touche), Pre-Broadway Production at the Queens Theatre. Tours: Chitty Chitty Bang Bang (Baroness u/s), 1st National Tour; Pippin (Manson Trio), Goodspeed Opera House and National Tour. Regional: Legally Blonde (Brooke Wyndham), Arvada Center; Chitty Chitty Bang Bang (Baroness), Lyric Theatre of OK; Curtains, Paper Mill

Playhouse and TUTS; Annie Get Your Gun, Goodspeed Opera House; On the Town, Paper Mill Playhouse; Guys and Dolls, Riverside Theatre. Thanks to the entire artistic team, The Mine, and my family.

Anthony Wayne Player A.R.T.: Debut. Broadway: Anything Goes; Priscilla, Queen of the Desert (Jimmy). Off-Broadway: Bells Are Ringing, Anyone Can Whistle, Encores!; Once on this Island (Papa Ge), Gallery Players. Tours: A Chorus Line (Richie, 1st National Tour), The Color Purple (1st National Tour). Fame (Tyrone Jackson). Regional: Robin and the 7 Hoods, Old Globe; Sophisticated Ladies, Arena Stage. www.awayne.com C.E.O./President of awayne Productions, Inc.: FABULOUS, ONE MORE TIME: A SYLVESTER CONCERT (Sylvester). For Kendrell... “You Know How To Love Me.”

Porridge Pie J Thomas Not a Duck/ Circus Dog Born on March 21, 2011. He makes his onstage debut with this production of Pippin. Previous Credits: Mascot at Spider-Man: Turn Off the Dark. Porridge is also a certified cat claw avoidance specialist and would like to be paid in bacon for his participation in this production.


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ORCHESTRA Walt Bostian

anThony D’Amico

Trombone A.R.T.: Debut. Walt Bostian, trombone, has played the national tours of The Lion King, Wicked, and other shows during their Boston runs. In addition he has performed with the Boston Ballet, Boston Modern Orchestra Project, The Rhode Island Philharmonic, and The Portland Symphony Orchestra, as well as touring with Bim Skala Bim and Roomful of Blues. He is an Honors graduate of the New England Conservatory.

Double Bass A.R.T.: Debut. Principal bass: The Boston Modern Orchestra Project, The Boston Philharmonic, Opera Boston. Member: The Rhode Island Philharmonic, Portland Symphony, Springfield Symphony. He is a frequent participant with: The Chameleon Arts Ensemble, Emmanuel Music, New England Camerata. He serves on the faculties of the New England Conservatory of Music Preparatory Division, the Walnut Hill School, and Project STEP. He is an alumnus of the Hartt School of Music and the New England Conservatory of Music.

Kevin Crudder Cello A.R.T.: Debut. Cellist Kevin Crudder received his Master’s Degree from Indiana University, studying with Janos Starker and Gary Hoffman and was a three year fellow at Tanglewood where he was the recipient of the Jackson and Levinson awards. He has performed in Asia, Europe and throughout the United States with artists ranging from Pavarotti to Led Zeppelin. Here in Boston, he performs regularly with the Boston Pops Esplanade Orchestra and has been concerto soloist with the Boston Ballet and Martha Vineyard Festival orchestra.

Emily Dahl

Joe DeMarco Percussions A.R.T.: Debut. Worked with: Boston Symphony and Pops orchestras, The Boston Ballet, Boston Modern Orchestra Project, Pro Arte Chamber Orchestra, The Rhode Island Philharmonic Orchestra, The Portland Symphony Orchestra. His expertise spans genres, including orchestra, opera, new music, jazz and theater. He holds degrees in music from Boston University and The Juilliard School. He currently resides in Providence, RI.

Violin/Viola A.R.T.: Debut. Violin and viola. Performed with: DJ Premier, Itzhak Perlman, John Eliot Gardiner. Member of The King’s Consort, European touring orchestra. She performs on modern and baroque violin. She spent three years in London, studying and working with many acclaimed artists within the early music field, specializing in historical performance. 

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Rod Ferland Reed 2 A.R.T.: Johnny Baseball. Woodwind doubler on oboe, English horn, flute, saxophone, and clarinet. Performed for Broadway productions in the orchestra pits of Boston’s Wang, Shubert, Colonial, Boston Opera House, and North Shore Music Theater. Besides playing for touring shows in Boston, Rod has performed in the pre-Broadway productions of Dreamgirls, Grand Hotel, Seussical, and Rags. Recent highlights include Candide at the Huntington Theatre and the concert performance of Porgy and Bess with the Boston Symphony Orchestra, as well as numerous performances with the Boston Pops Orchestra.

Kenny Hadley Drums/Percussions A.R.T.: Debut. Styles: rhythm and blues, rock. Work includes: shows with Steve Lawrence and Eydie Gorme, world tours with small jazz groups, clubs, performing concerts. He is active in the educational community, teaching private students, working as a respected clinician and festival adjudicator. Kenny is the leader, for the last twenty years, of his own seventeen-piece big band, which has recorded three CDs, the latest being “Common Thread” in 2009.

Rick Hammett Orchestra Contractor/Trumpet A.R.T.: Debut. 1st Trumpet: Aretha Franklin; Stevie Wonder; Ray Charles; The Temptations; Shirley Bassey, Mel Torme, Carnegie Hall; The Boston Pops (Tony Bennett). National tours: Cats; Bob Fosse’s Dancin’; Les Misérables; 42nd Street; The King and I (assistant conductor), Japan. Jingles: Ford; The Boston Red Sox; “Chronicle.” Musical contractor: The Boston Opera House,

The Huntington Theatre. He led Soul Kitchen, a Boston nine piece R&B band and he performs, arranges, and records with the Kenny Hadley Big Band.

Scotty Johnson Guitar A.R.T.: Debut. Theater musician credits include: The Lion King, Memphis, Spamalot, The Color Purple, Legally Blonde, Chicago, Hairspray. He is an Associate Professor at Berklee College of Music and has toured several times with various rock and blues artists. He is presently working with guitarist Steve Vai as the co-author and instructor of the Berklee online course “Steve Vai Guitar Techniques.”

Mark Pinto Reed 1 A.R.T.: Debut. Jazz Alto Saxophonist/ woodwind specialist. Member of: Buddy Rich Big Band, Herb Pomeroy Jazz Orchestra, Greg Hopkins Big Band, John Allmark Jazz Orchestra. Performed with: Frank Sinatra, Tony Bennett, Rosemary Clooney, Jon Faddis, Jack Walrath, Bill Pierce, Phil Woods, Natalie Cole, Stevie Wonder, Johnny Mathis, Aretha Franklin, Mel Torme, Harry Connick Jr., Boston Pops Orchestra, Gordon Goodwin’s Big Phat Band. He is featured on the Buddy Rich recording “Mr. Drums, Live on King Street.”


CREATIVE TEAM Roger O. Hirson Book Mr. Hirson has written extensively for the theater, movies and television. His Broadway credits include Pippin, Walking Happy, which starred Norman Wisdom, and Darling of the Day, featuring Patricia Routledge. He won the Emmy for his six-hour television mini-series A Woman Named Jackie. Mr. Hirson’s adaptation of A Christmas Carol, which starred George C. Scott, was honored by a Royal Command performance. He wrote the film Demon Seed, starring Julie Christie and the story for The Bridge at Remagen.  

Stephen Schwartz Music and Lyrics Stephen Schwartz has contributed music and/or lyrics to Godspell, The Magic Show, The Baker’s Wife, Working (which he also adapted and directed), Rags, Children of Eden, My Fairytale, and the current Broadway hit, Wicked. He collaborated with Leonard Bernstein on the English texts for Bernstein’s Mass and wrote the title song for the play and movie  Butterflies are Free. For children, he has written songs for two musicals, Captain Louie and My Son Pinocchio. For films, he collaborated with Alan Menken on the songs for Disney’s Enchanted, as well as the animated features Pocahantas and The Hunchback of Notre Dame, and wrote the songs for the DreamWorks animated feature The Prince of Egypt. He has released two CDs of new songs entitled “Reluctant Pilgrim” and “Uncharted Territory.” His first opera, Séance on a Wet Afternoon, premiered with Opera Santa Barbara in the fall of 2009 and was recently produced by New York City Opera. A book about his career, “Defying Gravity,” has recently been released by Applause Books. Under the auspices of the ASCAP Foundation, he runs musical

theatre workshops in New York and Los Angeles, and is currently the President of the Dramatists’ Guild. Mr. Schwartz has recently been given a star on the Hollywood Walk of Fame and inducted into the Theatre Hall of Fame and the Songwriters Hall of Fame. Other awards include three Academy Awards, four Grammy Awards, four Drama Desk Awards, and a tiny handful of tennis trophies.

Diane Paulus Director Diane Paulus is the Artistic Director of the A.R.T.. At the A.R.T.: The Gershwins’ Porgy and Bess and on Broadway at the Richard Rodgers Theatre (2012 Tony Award winner for Best Revival of a Musical); Prometheus Bound, a new musical inspired by Aeschylus’s ancient Greek tragedy, written by Tony Award-winner Steven Sater (Spring Awakening) with music composed by Grammy Award-winner Serj Tankian; Tod Machover’s Death and the Powers: The Robots’ Opera, finalist for the 2012 Pulitzer Prize in Music; The Donkey Show a disco adaptation of A Midsummer Night’s Dream; Best of Both Worlds; Johnny Baseball. Her other recent work includes Amaluna, Cirque du Soleil’s newest creation which had its world premiere in Montreal in April 2012; The Public Theater’s Tony Award-winning revival of HAIR on Broadway and London’s West End. As an opera director, her credits include The Magic Flute, Il mondo della luna, Don Giovanni, Le nozze di Figaro, and the Monteverdi trilogy Il ritorno d’Ulisse in patria and Orfeo. Diane is a Professor of the Practice in Theater in Harvard University’s English Department, and was one of Boston Magazine’s 50 Most Powerful Bostonians in 2012. She was awarded the 2012 Founders Award for Excellence in Directing from the Drama League. continued>


Gypsy Snider

Scott Pask

of 7 Doigts de la Main Circus Creation A.R.T.: Debut. Gypsy Snider co-founded  Les 7 Doigts de la Main in Montreal in 2002 with six other co-directors. Born into the circus ring as daughter of the founders of San Francisco’s Pickle Family Circus, Gypsy began her artistic career at age four. She performed internationally (Cirque du Soleil; Cirque Knie; Pomp Duck and Circumstance; Teatro Zinzanni). An original performer in Loft, Mistress of Ceremonies in Cabaret des 7 doigts de la main, co-creator of Loft and co-director of Traces (nominated Outstanding Choreography, New York Drama Desk Awards, TOP 10 TIME Magazine in 2011, Special Guest on “America’s Got Talent”). She teaches and directs at multiple circus schools.

Scenic Design A.R.T.: Johnny Baseball, The Donkey Show, and design of OBERON. Selected Broadway: The Book Of Mormon (Tony Award); The Pillowman (Tony Award); The Coast of Utopia (Tony, Drama Desk, Outer Critics Circle, Hewes); Pal Joey (Tony nomination); Les Liaisons Dangereuses (Tony nomination, Drama Desk award); Promises, Promises; Speed The Plow; The Vertical Hour; Urinetown; Take Me Out; NINE; A Behanding in Spokane; La Cage aux Folles. Metropolitan Opera: Peter Grimes. A long time collaborator of Diane Paulus, he has worked on many projects with her, most notably the award winning revival of HAIR on Broadway and in London, as well as The Donkey Show, and Amaluna for Cirque du Soleil. His work has been exhibited at The Prague Quadrennial, The Bruce Museum of Science and Art, The Leslie Lohman Gallery, The Met Gallery, and is in the permanent collection of the McNay Art Museum.

Chet Walker Choreography in the style of Bob Fosse A.R.T.: Debut. Fosse (co-creator and choreographer). Broadway (as a performer): The Pajama Game, Pippin, Dancin’, Sweet Charity, Lorelei, The Ambassadors, and On the Town. Regional: Cole (creator and choreographer), Queens Theatre in the Park; Pal Joey (co-recipient of the Joseph Jefferson Award for Choreography), Goodman Theatre; Best Little Whorehouse in Texas (L.A. Dramalogue Award for Best Choreography). International: Annie Get Your Gun (Sweden’s equivalent of the Tony Award for Best Choreography); Cirque du Soleil, Montreal; Compania Internacional de Teatro Musical, Buenos Aires; A Funny Thing Happened on the Way to the Forum (2013), Cameri Theatre, Tel Aviv; Jacob’s Pillow (Director of the Jazz Program). He is also Artistic Director of WALKERDANCE, a nonprofit Musical Theatre Dance Company.

Dominique Lemieux Costume Design A.R.T.: Debut. One of the original costume designers for Cirque du Soleil, credits include: Saltimbanco, Mystère, Alegria, Quindam, O, La Nouba, Corteo, Zaia, Banana Schpeel. Additional credits: Céline Dion’s A New Day, Las Vegas; The Nutcracker, Les Grands Ballets Canadiens de Montréal. Her work has been exhibited in Montreal, Quebec City, Canada; Paris, France; and Monterrey, Mexico.

Kenneth Posner Lighting Design A.R.T.: Debut. More than 45 Broadway play and musical theater credits. He designs extensively Off-Broadway,


for resident theatres and touring productions throughout the United States as well as internationally. Selected Broadway credits: Wicked, Hairspray, Catch Me If You Can, Dirty Rotten Scoundrels, Legally Blonde, The Coast of Utopia - Shipwrecked, Other Desert Cities, Harvey, The Best Man, The Merchant of Venice, The Homecoming, The Odd Couple, Glengarry Glen Ross, The Goat, Uncle Vanya, and Side Man. He is the recipient of the Tony, Drama Desk, Outer Critics’ Circle and OBIE Awards.

Clive Goodwin Sound Design A.R.T.: The Lily’s Revenge, As You Like It, Once, Prometheus Bound, The Blue Flower (IRNE and Elliot Norton Award), Cabaret, Alice vs. Wonderland,  Paradise Lost. Sound Design credits: Broadway: Once (Tony Award in Sound Design, Lucille Lortel Award nomination, Drama Desk Award nomination). New York: Soul Doctor, Once, New York Theatre Workshop. London: BBC: “Dancing With The Stars,” “Later with Jools Holland,” “The Sound of Musicals,” “Friday Night with Jonathan Ross.” ITV: “Parkinson.” Music: Radiohead, Jamiroquai, Paolo Nutini, Orbital, Sparks, The Waterboys, Glastonbury Festival, London Philharmonic Orchestra, London Symphony Orchestra, BBC Symphony Orchestra, Royal College of Music. Woodhouse Players: The Dresser, Wyrd Sisters, Dracula - The Vampire Strikes Back. He has worked on numerous shows including work at: Brooklyn Academy of Music, Hollywood Bowl, Madison Square Garden, Royal Festival Hall, Avignon Festival.

Larry Hochman Orchestrations A.R.T.: Debut. Selected Broadway: The Book of Mormon (Tony Award, Drama

Desk Award); The Scottsboro Boys (Tony nomination, Drama Desk nomination); Monty Python’s Spamalot (Tony nomination, Drama Desk nomination); Fiddler on the Roof (2004 Revival, Tony nomination); A Class Act (Tony nomination); The Addams Family; Chaplin; Jane Eyre. Regional and Off-Broadway: 25 shows including: Death Takes a Holiday (Drama Desk nomination, Maury Yeston); The Nutty Professor (Marvin Hamlisch). Film: 17 films including: The Informant! (Marvin Hamlisch); Lady and the Tramp II, Disney; Little Mermaid II, Disney. Television (as composer): “The Wonder Pets!” (Five Emmy Awards). Other composer credits: Little Mermaid II (add’l music); Amazing Stories (Spielberg); In Memoriam (symphonic poem, publ. E.B. Marks). Recordings & Concerts: Sir Paul McCartney, Barbra Streisand, Eric Idle, Mandy Patinkin, Audra McDonald, Barry Manilow, Brian Stokes Mitchell, Betty Buckley, The Boston Pops, San Francisco Symphony, The New York Philharmonic, The Big Apple Circus.  www.larryhochman.net 

Nadia DiGiallonardo Music Supervisor A.R.T.: Debut. Theater credits include: Diane Paulus’s production of HAIR (Music Director), Delacorte Theatre and Hirschfeld Theater; Harps & Angels (vocal arrangements), Mark Taper Forum; The 101 Dalmatians Musical (arrangements with music by Dennis DeYoung; Nerds (arrangements), Philadelphia Theatre Company; The Calgary Stampede (vocal arrangements); Monica! The Musical; Mario Cantone’s Laugh Whore. Television credits: on-air pianist/sidekick for ABC’s “The Tony Danza Show” original music for the syndicated game show “Temptation” and various commercials. Nadia continues to supervise touring continued>


companies of HAIR. She is currently the music supervisor for the upcoming production of Nerds: A Musical Software Satire at North Carolina Theatre. As a singer, Nadia was recently seen at the 92nd Street Y with her sisters, as part of the Lyrics & Lyricists series. The DiGiallonardo Sisters are frequent guests on “A Prairie Home Companion” and will be with them at Town Hall this December. They will be recording a new CD this May from a live performance at the Virginia Arts Festival. She graduated Phi Beta Kappa from Vassar College with a degree in Urban Planning.

Charlie Alterman Music Director/Conductor/Keyboard 1 A.R.T.: Debut. Broadway credits include: Godspell (Musical Director); Next to Normal (Musical Director); Martin Short: Fame Becomes Me (Musical Director/ actor); Legally Blonde (Associate Conductor). Tours: Next to Normal (Music Supervisor); Grease (US/Asia). OffBroadway: Silence: The Musical!; Almost Heaven: Songs of John Denver.  Regional: La Jolla Playhouse, MUNY, Arena Stage, Trinity Rep, The Huntington Theatre, and nine seasons with the Williamstown Theatre Festival. Concert appearances include shows with Brooke Shields, Frankie Avalon, Emily Skinner, Dana Reeve, Billy Porter, Carol Woods and Ken Page.

Sonny Paladino Associate Music Director/Keyboard 2 A.R.T.: Debut. Broadway: (Assistant Conductor/Keys): Jesus Christ Superstar; Billy Elliot; Grease; Priscilla, Queen of the Desert. Keyboards: Guys and Dolls; Mamma Mia; Promises, Promises; The Addams Family; Women on the Verge. Music Supervisor for Disney’s High School Musical, Milan/Italy tour. 1st National Tours: Disney’s High School Musical, Dirty Rotten Scoundrels, Grease.

Work with Alicia Keys, Ke$ha, Matthew Morrison. Music supervisor for upcoming musicals: The Happy Embalmer, Mercy Street. B.F.A. in Jazz Piano from CUNY City College. www.sonnypaladino.com

Paul Kieve Illusions A.R.T.: Debut. Broadway: Ghost (Winner Drama Desk Award), The Woman in White, Matilda (Forthcoming). West End work: The Invisible Man (also at Menier Chocolate Factory), Zorro, The Lord Of The Rings, Our House, The Witches, The Witches Of Eastwick, Scrooge. Other theater: Matilda, Arabian Nights, A Winter’s Tale, The Tempest, Dr Jekyll & Mr Hyde, The Mysteries, Spring Awakening, Royal Shakespeare Company; Theatre of Blood, La Grande Magia, The Seagull, National Theatre; India (created by Dragone), Arena. Opera and Ballet includes: L’Heure Espagnole, Royal Opera House; Das Reingold, Strasbourg; Macbeth, Hamburg; Parsifal, Paris Bastille. Film/Television: Hugo, David Copperfield’s “Unseen Forces TV special,” “Earthsea” for Sci Fi Channel. Coached Anne Hathaway for The Dark Knight Rises and was magic consultant to Harry Potter and the Prisoner of Azkaban (in which he also appears). He is the author of Hocus Pocus and is a Gold Star Member of the Inner Magic Circle. www.stageillusion.com

Duncan Stewart AND Company Casting Duncan Stewart and Benton Whitley are responsible for casting the Tony Award® winning musical, La Cage Aux Folles (National Tour), the current companies of Chicago The Musical (Broadway and National tour). Other projects include: Menier Chocolate Factory (U.S. casting); Les Liaisons Dangereuses, West End; The People Sing, Carnegie Hall; La Cage Aux Folles (2010 Broadway revival); Thriller


Live, West End; Radio City Christmas Spectacular, Hairspray, Saturday Night Fever, Chicago, Royal Caribbean Productions; various regional theatres. Proud members of the Casting Society of America. www.dstewartco.com

Nancy Harrington Associate Director/PSM A.R.T.: The Gershwins’ Porgy and Bess, Children of Herakles, Prometheus Bound, Death and the Powers: The Robots’ Opera. Broadway: The Gershwins’ Porgy and Bess; The Rainmaker; Uncle Vanya; A View From The Bridge; The Full Monty; The Play What I Wrote; I Am My Own Wife; HAIR. Other projects with Diane Paulus include: Capeman; Turandot—Rumble For The Ring; HAIR in Central Park, London, and national tour. Collaborator of Bill Irwin for 28 years, one of the creators of the Tony Award-winning Fool Moon, Largely NY, The Regard of Flight.

Julie Baldauff Assistant Stage Manager A.R.T.: The Gershwins’ Porgy and Bess, Children of Herakles, Death and the Powers: The Robots’ Opera. Broadway: The Gershwins’ Porgy and Bess, HAIR, The Wedding Singer, I Am My Own Wife, King Lear, Henry IV parts 1 & 2, The Play What I Wrote, The Full Monty, Fool Moon, The Little Foxes, The Rehearsal, Summer and Smoke, Getting Away with Murder. Off-Broadway: You Never Can Tell, Arms and the Man, Roundabout; Prides Crossing, Hapgood, LCT. Regional: Death and the Powers: The Robots’ Opera, Monaco and Chicago; Fool Moon, Kennedy Center.

Stephen R. Gruse Assistant Stage Manager A.R.T.: Debut. Broadway: Godspell; Wonderland; HAIR; Grease; Grey Gardens; The Pajama Game; Sweet Charity; A Christmas Carol, MSG; The Play

What I Wrote; Oklahoma!; The Full Monty; Marie Christine, LCT. Off-Broadway: If There Is I Haven’t Found it Yet. Concerts: Dreamgirls 20th Anniversary Concert.

Nancy Houfek Voice and Speech Coach A.R.T.: Resident vocal coach since 1997. Has coached shows directed by Francois Rochaix, Andrei Serban, Andrei Belgrader, David Mamet, David Wheeler, Scott Zigler, Marcus Stern, Liz Diamond, Karin Coonrod, Robert Woodruff, and others. At the A.R.T. Institute teaches voice, speech, dialects, and Shakespeare text, and administers the M.F.A. program in voice training.

Mia Walker Assistant Director A.R.T.: The Gershwins’ Porgy and Bess, Prometheus Bound, Johnny Baseball. Broadway: The Gershwins’ Porgy and Bess. New York: Paul Simon’s The Capeman (The Public Theater, dir. Diane Paulus). Trained at The Berkshire Theatre Festival, American Conservatory Theater, NYU Tisch and Vassar Powerhouse. Resident Director at The Flea Theater, where she directed the world premiere of Trista Baldwin’s American Sexy. B.A. in Film Production/Studies (Magna Cum Laude), Harvard University.

Christopher Windom Drama League Assistant Director A.R.T.: Debut. Directed and Choreographed for Trinity Repertory Company, TheatreWorks, TinyRhino, NYMF, FringeNYC, Young Playwrights Inc., Maples Rep, Arrow Rock Lyceum Theatre, Festival 56, NYU, and Temple University. Performing: Broadway, National Tours, West End, and Regional credits. BFA, Webster University. MFA, Brown/Trinity Rep. www.christopherwindom.com

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ZANE MARK “Spread a Little Sunshine” Dance Arrangement A.R.T.: Debut. Broadway: Leap of Faith; All Shook Up; Dirty Rotten Scoundrels; Never Gonna Dance; The Full Monty; Bring in Da Noise, Bring in Da Funk (Tony and Grammy nomination); Bubblin’ Brown Sugar; The Wiz. Off-Broadway and regional: Frog Kiss, Crowns, The Brother Sister Plays, Ray Charles Live, Imagine Tap, Radiant Baby, George Wolfe’s: “Harlem Song” (Audelco award), Thunder Knocking On The Door, Insurrection, Betsy Brown. Film: The Dancer Chronicles, Lackawanna Blues, Frances Ford Coppola’s: The Cotton Club.

Brad Musgrove Assistant Choreographer/ Dance Captain/Male Swing A.R.T.: Debut. Broadway (original casts): The Producers (Carmen Ghia, Dance captain); La Cage aux Folles (Hanna from Hamburg); Fosse (Dance Captain, Original choreography reconstruction). Tours: 42nd Street, 1st European tour; CATS, Hamburg, Germany; Anything Goes, Berlin, Germany. Costume Design: Heatwave: The Jack Cole Project, OffBroadway; Crazy for You, Theatre by

the Sea; My One and Only, A Chorus Line, 101 Dalmations (Kevin Kline Award nomination), Stages St. Louis.

Jeslyn Kelly Assistant Circus Creation A.R.T.: Debut. Recent choreography credits include: Equus (dir. Tony Walton). Broadway performance credits: War Horse, Tarzan. Other performance: FuerzaBruta; De La Guarda; Liars’ Club; Impact Theater. She teaches movement for actor and acting for dancers. B.A. from Vassar College. She is so happy to collaborate with A.R.T. and Les 7 Doigts.

Musical Theatre International Music Theatre International (MTI) is one of the world’s leading theatrical licensing agencies, granting schools as well as amateur and professional theatres from around the world the rights to perform the largest selection of great musicals from Broadway and beyond. MTI works directly with the composers, lyricists and book writers of these shows to provide official scripts, musical materials and dynamic theatrical resources to over 60,000 theatrical organizations in the US and in over 60 countries worldwide.

Actors’ Equity Association (AEA), founded in 1913, represents more than 49,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society.  Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans.  AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists Local USA-829 IATSE. A.R.T. Musicians are members of the Boston Musicians’ Association, Local 9-535 which has protected the interests of musicians and promoted the art of live music since 1896.

The American Repertory Theater is a proud partner of PoNY 2.0, providing an artistic home for Playwrights of New York fellows. The American Repertory Theater is a member of ArtsBoston, Stagesource, and Theater Communications Group.


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Capote’s stories of friendship, fruitcakes, and the joy of giving.

by Truman Capote staged version by Russell Vandenbroucke directed by Michael Hammond featuring Adrianne Krstansky as Miss Sook

December 9 – 23, 2012 charles mosesian theater

A perfect story for the entire family: children, parents, and grandparents! by William Shakespea re directed by Robert Wal sh**

Dec. 12, 2012 – Ja

Davis Square Theatre n. 6, 2013 | Somerville 866-811-4111 or www.actorsshakespe are

project.org ** This director is a mem society, a national theaber of the stage directors and choreogr aphers trical labor union

Free Parking! Public Transportation: 70/70A bus to School Street

tickets: 617-923-8487

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in residence at the arsenal center for the arts

up next: fully committed The witty comedy exposing the impolite side of the holidays.


A.R.T. Board of Trustees Donald Ware, Chairman Laurie Burt Paul Buttenwieser Kevin Cole Costin Mike Dreese Michael Feinstein Provost Alan M. Garber Lori Gross Ann Gund Sarah Hancock Steve Johnson Fumi Matsumoto Tom McGrath Rebecca Milikowsky Ward Mooney Bob Murchison Diane Paulus James Rhee Dina Selkoe Diana Sorensen Lisbeth Tarlow

A.R.T. Board of Advisors Kathleen Connor, Co-Chair Rachael Goldfarb, Co-Chair Frances Shtull Adams Joseph Auerbach* Philip Burling* Greg Carr Antonia Handler Chayes* Bernard Chiu Lizabeth Cohen Rohit Deshpande Susan Edgman-Levitan Jill Fopiano Erin Gilligan Candy Gold Barbara Wallace Grossman Horace H. Irvine II Dan Mathieu Travis McCready Ellen Gordon Reeves Linda U. Sanger Maggie Seelig John A. Shane Michael Shinagel Sarasina Tuchen Alfred Wojciechowski Yuriko Jane Young *Emeriti

Founding Director Robert Brustein

About the A.R.T. The American Repertory Theater (A.R.T.) at Harvard University is dedicated to expanding the boundaries of theater. Winner of the 2012 Tony Award for Best Musical Revival for its production of The Gershwins’ Porgy and Bess, the A.R.T. 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. In 2008, Diane Paulus became the A.R.T.’s Artistic Director. The A.R.T. is the recipient of numerous other awards including the Tony Award for Outstanding Regional Theater, the Pulitzer Prize, and many Elliot Norton and IRNE Awards. Its recent premiere production of Death and the Powers: The Robots’ Opera was a 2012 Pulitzer Prize nominee. During its 32-year history, the A.R.T. has welcomed many major American and international theater artists, presenting a diverse repertoire that includes premieres of American plays, bold reinterpretations of classical texts and provocative new music theater productions. The A.R.T. has performed throughout the U.S. and worldwide in 21 cities in 16 countries on four continents. The A.R.T. is also a training ground for young artists. The Theater’s artistic staff teaches undergraduate classes in acting, directing, dramatic literature, dramaturgy, voice, and design at Harvard University. In 1987, the A.R.T. founded the Institute for Advanced Theater Training at Harvard University. A two-year, five-semester M.F.A. graduate program that operates in conjunction with the Moscow Art Theater School, the Institute provides world-class professional training in acting, dramaturgy and voice. Since becoming Artistic Director, Diane Paulus has enhanced the A.R.T.’s core mission to expand the boundaries of theater by continuing to transform the ways in which work is developed, programmed, produced and contextualized, always including the audience as a partner. Productions such as Sleep No More, The Donkey Show, Gatz, The Blue Flower, Prometheus Bound, The Gershwins’ Porgy and Bess, and Wild Swans have engaged audiences in unique theatrical experiences. The A.R.T.’s club theater, OBERON, which Paulus calls a second stage for the 21st century, has become an incubator for local and emerging artists, and has also attracted national attention for its innovative programming model.


A.R.T./MXAT Institute for Advanced Theater Training at Harvard University Scott Zigler, Director Julia Smeliansky, Administrative Director Marcus Stern, Associate Director Nancy Houfek, Head of Voice and Speech Andrei Droznin, Head of Movement Anatoly Smeliansky, Co-Head of Dramaturgy Ryan McKittrick, Co-Head of Dramaturgy

American Repertory Theater Diane Paulus, Artistic Director/CEO

Moscow Art Theater School Anatoly Smeliansky, Head

Faculty Donna Ames Robert Brustein Thomas Derrah Andrei Droznin Jane Guyer Fujita Tatyana Gassel Jeremy Geidt David Hammond Adrienne Hawkins Arthur Holmberg Nancy Houfek Robert Lada Jodi Leigh Allen Will LeBow Ryan McKittrick Robert Najarian Marin Orlosky Diane Paulus Brendan Shea Anatoly Smeliansky Julia Smeliansky Marcus Stern Tommy Thompson Robert Walsh Sam Weisman Marina Van Winkle Scott Zigler

The Institute for Advanced Theater Training at Harvard University was established in 1987 by the American Repertory Theater (A.R.T.) as a training ground for the professional American theater. Its programs are fully integrated with the activities of the A.R.T. In the summer of 1998, the Institute commenced a historic joint program with the Moscow Art Theater (MXAT) School. Students engage with two invaluable resources: the work of the A.R.T. and that of the MXAT, as well as their affiliated schools. Together, this exclusive partnership offers students opportunities for training and growth unmatched by any program in the country. The core program features a rigorous two-year, five semester period of training in acting, dramaturgy, or voice pedagogy, during which students work closely with the professionals at the A.R.T. and the MXAT as well as with the best master teachers from the United States and Russia. At the end of the program, students receive a Certificate of Achievement from Harvard University and an M.F.A. Degree from the faculty of the Moscow Art Theater School. Further information about this program can be obtained by calling the Institute for a free catalog at 617.495.2668 or going to our web site at harvardtheatertraining.org.

Singing Criticism and Dramaturgy Acting Movement Voice Russian Language and Culture Acting Acting, Shakespeare Social Dance Theater History, Dramaturgy Voice and Speech Alexander Technique Coordinator of Movement Training Voice-over Dramaturgy, Dramatic Literature Combat Movement Theater Practice Adaptation Theater History, Dramaturgy History of Set Design, Translation Acting Alexander Technique Combat Director of Professional Development Ballet Acting, Dramaturgy

Staff Chelsea Keating Institute Program Assistant Janie Rangel Financial Aid Charles Hubbard Production Management Associate Skip Curtiss Technical Director Acting David Abrams Elizabeth Bates Martha Boles Kristen Alyson Browne Billy Calder Erin Callahan Benjamin Crockett Lauren Doucette Samantha Eggers Eduardo FernandezBaumann Marisa Fratto Ashruf Ghanimah Elijah Guo Mario Haynes Megan Hopp Amen Igbinosun Dramaturgy Marissa Friedman Leslie Gehring  Morgan Goldstein Voice Ronald Carlos

Samara Kelly Rushi Kota Laura Kruegel Pedram Naseri Justin Packard Jamie Perkins Sarah Beth Roberts Adeola Role Henry Austin Shikongo Marissa Stewart Rebecca Strimaitis Robert Torres Katherine Vos Alec Wilson William Yuekun Wu Jing Xu Dara Yazdani Alexandra Juckno Fiona Kyle Kenneth Molloy Liana Stillman Ashleigh Reade


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, 2011 and October 31, 2012. To make a donation or to learn more about the A.R.T.’s giving programs, please contact the Development Department at 617.496.2000 x8847

Visionary Anonymous Barr Foundation The Dana Foundation Ira and Leonore Gershwin Philanthropic Fund

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

Benefactor E.H.A. Foundation The Hershey Family Foundation HILT – Hauser Grant Program

$50,000-$99,999 Massachusetts Cultural Council National Corporate Theatre Fund Newbury Comics

The Harold and Mimi Steinberg Charitable Trust Lisbeth Tarlow and Stephen Kay* Susan and Don Ware*

Edgerton Foundation Ann and Graham Gund* DuBose and Dorothy Heyward Memorial Fund Karmaloop

Lizbeth and George Krupp* The Andrew W. Mellon Foundation Lucy and Ward K. Mooney Alison and Bob Murchison National Endowment for the Arts

LEADER Anonymous Bank of America Katie and Paul Buttenwieser* The Gregory C. Carr Foundation Laura and Michael Dreese*

$25,000-$49,999

Producer Admirals Bank Hilary and Philip Burling Laurie Burt Bernard Chiu Kevin Cole Costin RoAnn Costin and James Bailey Ted and Joan† Cutler Sandi and Andrew Farkas

Bernadette Feeney Michael Feinstein and Denise Waldron Frances Gershwin Godowsky Trust Marcia Head Horace Irvine Rosemarie and Steve Johnson Judith and Douglas Krupp

Partner Anonymous The John W. Alden Trust Lisa and Joel Alvord Cambridge Trust Company Chung Family Foundation Randi and Joel Cutler Ashley Garrett and Alan Jones Andrea and Marc George Gershwin

Erin Gilligan and Hoil Kim Candy Kosow Gold and Martin Waters Rachael Goldfarb John Hancock Financial Shelly and Ofer Nemirovsky Bessie Pappas Charitable Foundation, Inc. Diane Paulus and Randy Weiner

Sponsor Anonymous Frances Shtull Adams Enid Beal Nancy and David Berman Ethel D. and Clarke Coggeshall Jill Fopiano and Paul Brickman Ruth and Mark Golub Barbara Wallace Grossman and Steve Grossman Roy A. Hunt Foundation

Donors

Lawrence Kotin Barbara H. Landreth, M.D. Lori E. Lesser Wladzia and Paul McCarthy Melinda and David Milberg David G. Mugar Jeryl and Stephen Oristaglio Melissa Posen and Larry Hirschhorn Ellen Gordon Reeves

$10,000-$24,999 Kako and Fumi Matsumoto Julia Pershan and Jonathan Cohen James Rhee and Margaret Smith Dina and Greg Selkoe Trust for Mutual Understanding Welch & Forbes

$5,000-$9,999 Cokie and Lee Perry Janet and Irv Plotkin Valerie Beth Schwartz Foundation The Shane Foundation Fran and Barry Weissler Mary and Ted Wendell Yuriko Jane Young

$2,500-$4,999 Patricia Romeo-Gilbert and Paul Gilbert Nichole Bookwalter Savenor and Alan Savenor Christine and Rick Shea Rachel Solem S. Wade Taylor, Ph.D. and Stephen Zinner, M.D. Lynn and George Vos Zipcar


Donors (continued)

Patron Anonymous Philip Anton Sheldon Appel Jan Bergstrom and Walter Fey Barbara E. Bierer and Steven E. Hyman, M.D. Linda Cabot Black Foundation Bill Brett Dorothea and Sheldon Buckler, M.D. Lynne and John Chuang Lizabeth Cohen and Herrick Chapman Maura Connolly and John Egan Margaret and Gardner Dozier Eastern Bank Susan Edgman-Levitan and Richard Levitan Julie Farkas and Seth Goldman Kiki and David Gindler Marjorie and Nicholas Greville Joan and Charles Gross

Lori E. Gross and Robert Douglas Campbell Joseph W. Hammer Lisa Saunders Hartstein and David Hartstein Jen Horton and Dave Regan Hunt Alternatives Fund Karen Johansen and Gardner Hendrie Sheridan and Jerome Kassirer John D. C. Little Gregory Maguire Barbara Manocherian Marie and James Marlas Erica and Bob Mason Karen and Gary Mueller Alan Muraoka Emily and Dan O’Neil Janine and Robert Penfield Patricia and Finley Perry Gerald Pier

$1,000-$2,499 Lia and William Poorvu Larry Pratt Helen Riess, M.D. and Norman Nishioka, M.D. Mr. and Mrs. Andres Rodriguez The Schneer Foundation Wendy Shattuck and Sam Plimpton Michael Shinagel and Marjorie North John Snow, Inc. Brenda Sullivan and Jeremy Kindall Deborah Sweet Janet Tiampo and David Parker The Joseph W. and Faith K. Tiberio Charitable Foundation Paul Traub John Travis Susan Whitehead Francis H. Williams

Contributor Anonymous Nancy Wang Adams Marta Bach Chris and Jim Barker William M. Bazzy Nina and Nessan Bermingham Jane and Leonard Bernstein Diane Borger Dina Catani and Ned Gray Antonia H. Chayes Eleanor and Brian Chu Elizabeth Coxe and David Forney Alan Garber and Anne Yahanda Howard Gardner, M.D.

$500-$999

Grayson Family Foundation/ ABS Ventures Ms. Laura Green and Dr. David Golan Lindsay and Garth Greimann Dena and Felda Hardymon Hurlbut Family Charitable Lead Trust Melissa Kaish and Jonathan Dorfman Susan Kaplan Jane Katims and Dan Perlman Katherine N. Lapp Liberty Mutual, Give with Liberty Program Anita Meiklejohn and Vincent Piccirilli Jane Minasian and J. Grant Monahon Evelyn Musser NSTAR Foundation

Jennifer and Thomas Pincince Fern Portnoy and Roger Goldman Sally C. Reid and John D. Sigel The Reiss Family Foundation Patti and Charles Ribakoff Jane Brooks Robbins Joan Arbetter Rosenberg Adina Schecter Marsha and Paul Shorthose Mark Slovenkai Jeannie and Mason Smith Lisa Sotto and Bruce Saber W Boston Hotel Dyann and Peter Wirth William Zinn

Georgia Levenson Keohane and Nat Keohane CC King and Tom Tarpey Lynn Kodama Lisa and Bill Laskin Mary and Paul Lee Ann Marie Lipinski Jennifer and Nick Littlefield Cynthia Livingston Barbara A. Manzolillo Mary Milton Kyra Montagu Faith Moore Ruth Moorman and Sheldon Simon Susan Napier and Stephen Coit Joan and Roderick Nordell Tris Oakley and Robert Stringer Drs. Hilda and Max Perlitsh Michael Ress Marita Rivero Andree Robert and Thomas M. Burger

Peter Rogers Bonnie Rosse Janice Saragoni and Ben Bradlee Belinda and Evan Schapiro Edward Silbert Diana Sorensen Spencer Foundation Michele Steckler Stephen Stulck Nicholas Warren Mindee Wasserman Sam Weisman and Constance McCashin Weisman Ryan West Alfred Wojciechowski and Tammerah Martin Antoinette and Michael Yacobian

Supporter Anonymous Barbara Addison and Stephen Gill Janet and Godfrey Amphlett Richard Beaty Phillip Boykin Dennis Carboni Tatiana and Brian Cavanaugh Della Cushing Anna C. Fitzloff Sherri Floros Mr. and Mrs. Michael Frieze Kathleen and Robert Garner Mark Glasser Laurie and Jeffrey Goldbarg, M.D. Mary Jo Good Alicia and Martin Gordon Silvia Gosnell Robert Harrington Megan and Dave Hinckley Julie Joyal and Paul Reville Tracy Keene and Tim Longman

$250-$499

* Donors who provide annual operating support of $25,000 or more are members of the Artistic Director’s Circle. † in memoriam


Annual Fund Donors (continued)

A.R.T. NYC Donors Donors to A.R.T. NYC provide generous annual support to the American Repertory Theater and are invited to special events in NYC. The following gifts were received between July 1, 2011 and October 31, 2012. PRODUCER $10,000 and above Kevin Cole Costin, Sandi and Andrew Farkas, Rebecca Gold and Nathan Milikowsky, Julia Pershan and Jonathan Cohen PARTNER $5,000-$9,999 Ashley Garrett and Alan Jones, Andrea and Marc George Gershwin, Fran and Barry Weissler SPONSOR $2,500-$4,999 Ruth and Mark Golub, Barbara H. Landreth, M.D., Lori E. Lesser, Melinda and David Milberg, Melissa Posen and Larry Hirschhorn, Ellen Gordon Reeves, Lynn and George Vos MEMBER $250-$2,499 Anonymous, Melissa Kaish and Jonathan Dorfman, Marie and James Marlas, Mary Milton, Georgia Levenson Keohane and Nat Keohane, The Reiss Family Foundation, Michael Ress, Adina Schecter

In-Kind Supporters The A.R.T. thanks the following individual and corporate supporters for their invaluable in-kind donations. As of October 31, 2012.

Be Our Guest (2012/13 Party Rental Sponsor) beourguestpartyrental.com

Ilex Designs/ Andrew Anderson (2012/13 Season Floral Sponsor) ilexflowers.com

MAX Ultimate Food/ Dan Mathieu and Neal Balkowitsch (2012/13 Season Catering Sponsor) maxultimatefood.com

The Urban Grape/ T.J. and Hadley Douglas (2012/13 Season Wine Sponsor) theurbangrape.com

90+ Cellars Boston Beer Company Cambridge, 1. The Catered Affair The Charles Hotel Event Illuminations/

Derek Wiles Nathan D. Fowler Google Grafton Street Grendel’s Den Henrietta’s Table

Hotel Veritas The Kendall Hotel Latitude Beverage Company OM Rutland Nurseries/ Sean Green

Sandrine’s Bistro The D.L. Saunders Companies Tory Row Trader Joe’s Upstairs on the Square Zipcar

National Corporate Theatre Fund National Corporate Theatre Fund is a not-for-profit corporation created to increase and strengthen support from the business community for this country’s most distinguished professional theatres. The following foundations, individuals and corporations support these theatres through their contributions of $2,500 or more to National Corporate Theatre Fund. Acquis Consulting Group† • American Airlines† • American Express Foundation • AOL† • Mitchell J. Auslander** • Bank of America • Bingham McCutchen* • Bloomberg • BNY Mellon • Broadway Across America* • James E. Buckley* • Steven Bunson • Christopher Campbell/Palace Production Center† • Christ Economos** • Cisco Systems, Inc.* • Citi • Cleveland Clinic* • CMT/ABC**† • Columbia Records* • Dantchik Family* • Datacert, Inc.* • Paula Dominick** • Dorsey & Whitney Foundation • Dramatists Play Service, Inc. * • John R. Dutt • Epiq Systems* • Ernst & Young • Bruce R. and Tracey Ewing** • Pamela Farr • Richard Fitzburgh • Steve & Donna Gartner** • Goldman, Sachs & Co. • Nancy Hancock Griffith* • Kathleen Hancock* • Mariska Hargitay** • Gregory S. Hurst • Joseph F. Kirk • Michael Lawrence and Dr. Glen Gillen* • Marsh & McLennan Companies • John R. Mathena • Jonathan Maurer and Gretchen Shugart** • The McGraw-Hill Companies • MetLife • John G. Miller • Morgan Stanley • Theodore Nixon** • Ogilvy & Mather† • Frank Orlowski • Edison Peres • Pfizer, Inc. • Planet Data* • Thomas Quick • RBC Wealth Management • RVM INC. * • The Ralph and Luci Schey Foundation** • Seyfarth Shaw LLP* • Sharp Electronics† • Skadden, Arps, Slate, Meagher & Flom LLC* • George S. Smith, Jr. • TD Bank • Theatermania.com/Gretchen Shugart* • John Thomopoulos** • TrialGraphix* • Evelyn Mack Truitt* • James S. Turley • The James S. and Lynne P. Turley Ernst & Young Fund for Impact Creativity** • UBS • Vernalis Systems† • Michael A. Wall* • Wells Fargo** • Wilkins Management* • Willkie Farr & Gallagher LLP* • Isabelle Winkles** *Fund for New American Theatre **Impact Creativity †Includes In-kind Support As of October 2012


AMERICAN REPERTORY THEATER STAFF ARTISTIC Artistic Director/CEO Producer/Interim Managing Director Artistic Coordinator Director of Special Projects Dramaturg Special Assistant to Artistic Director/CEO Company Manager Artistic Associate Artistic Director Fellow Dramaturgy Intern

Diane Paulus Diane Borger Chris De Camillis Ariane Barbanell Ryan McKittrick Lauren Antler Mark Lunsford Allegra Libonati Shira Milikowsky Josh Glenn-Kayden

INSTITUTE Director Administrative Director Associate Director Co-head of Dramaturgy Co-head of Dramaturgy Resident Literary Advisor Head of Voice and Speech Institute Program Assistant Production Management Associate Technical Director

Scott Zigler Julia Smeliansky Marcus Stern Anatoly Smeliansky Ryan McKittrick Arthur Holmberg Nancy Houfek Chelsea Keating Charles Hubbard Skip Curtiss

OBERON Producer Associate Producer Production Manager Venue Manager Programming Manager House Technician Sound Console Operator

Randy Weiner Ariane Barbanell Skip Curtiss Erin Wood James Wetzel Justin Paice Aaron Mack

EXTERNAL AFFAIRS DEVELOPMENT Director of Development Deputy Director of Development Grants Manager Special Events and Corporate Partnerships Officer Development Info. Coordinator Development Associate

Megan Hinckley Jessica Morrison Meghan Coleman Emily O’Neil Brendyn Schneider Lily Lewis-McNeil

MARKETING Director of Marketing and Communications Anna Fitzloff Director of Press and Public Relations Katalin Mitchell Marketing and Communications Manager Jared Fine Graphic Designer Joel Zayac Education and Community Programs Associate Brendan Shea Marketing and Communications Associate Grace Geller Donkey Show VIP Coordinator Julia Sommer Marketing Interns David Manella, Mark Mauriello, Wairimu Mwaura TICKET SERVICES Director of Ticketing and CRM Integration Derek Mueller CRM Integration and Group Sales Coordinator Alicia Curtis Ticket Services Representatives Karen Snyder, Cassandra Long Weekend Shift Supervisor Heather Conroe Ticket Services Staff Emma Putnam, Natalie Lurowist, Amelia Mason, Michelle Roginsky

THEATER AND FACILITIES Theater and Facilities Manager Tracy Keene Front of House Manager Stephen Wuycheck Receptionists Sarah Leon, Maria Medeiros Volunteer Usher Coordinator Barbara Lindstrom Duty House Managers Anna Kelsey, Nick Mansur, Heather Quick, Adam Quinn, Eleanor Regan, Courtney Smith, Matthew Spano, Ben Tyson, Matt Wood

FINANCE Comptroller Senior Finance Accountant Financial Administrator Payroll Administrator Financial Assistant Student Financial Aid Administrator Financial Analyst

Barbara Addison John Josti Stacie Hurst Floyd Patterson Nira Tejada Janie Rangel Ann Kellegher

PRODUCTION Production Manager Associate Production Manager Loeb Technical Director

Patricia Quinlan Skip Curtiss J. Michael Griggs

COSTUMES Costume Shop Manager Assistant Costume Shop Manager Draper Wardrobe Supervisor Costume Rentals Supervisor Crafts Artisan LIGHTS Master Electrician Light Board Operator Assistant Lighting Designer

Derek L. Wiles Matthew Houstle Porsche McGovern

PROPERTIES Props Manager Assistant Props Master Props Carpenter SCENERY Technical Director Assistant Technical Director Scenic Charge Artist Master Carpenter Scenic Carpenters

Cynthia Lee-Sullivan Rebecca Helgeson Stacey Horne-Harper Stephen Setterlun Chris Swetcky Jerry Vogt Peter Doucette York-Andreas Paris, Kristin Knutson, Garret McEntee

SOUND Resident Sound Designer/Engineer Sound Console Operator Theatrical Audio Technician STAGE Stage Supervisor Assistant Stage Supervisor Production Assistants

Jeannette Hawley Mary R. Hurd Caitlin Menotti Stephen Drueke Suzanne Kadiff Jeffrey Scott Burrows

Clive Goodwin Brian Walters Katrina Sistare Jeremie Lozier Christopher Eschenbach Kevin Klein, Matthew Sebastian


Photo: GretjenHelene.com

A.R.T.’s Education and Community Connections programming reaches over 4,000 students and community members each year. With your help, we can reach even more! Make a gift today. americanrepertorytheater.org/community


notes + MASTHEAD

PLEASE NOTE: The photographing or sound recording of any performance or the possession of any device for such photographing 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 money damages. EMERGENCIES: In case of emergency, contact the House Manager or nearest usher.

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Designated Meeting Site Cross Brattle St. to Radcliffe Yard



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