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2013/14 Season


Welcome to the A.R.T.! I am delighted you’ve joined us for the world premiere of Witness Uganda. It has been my great pleasure collaborating with co-creators Matt Gould and Griffin Matthews, and the immensely talented cast and creative team behind this new musical. Witness Uganda was born out of Griffin’s real life experiences as an aid worker in Uganda. Several members of the cast and creative team also have served in Africa and around the world. Composer Matt Gould served for two years in the Peace Corps in Mauritania; choreographer Darrell Grand Moultrie spent time teaching dance in South Africa; even our production interns—many of whom are undergraduates at Harvard University—shared their own experiences abroad, in countries including Indonesia, Tanzania, and Uganda. Throughout our creative process, I have been struck by how deeply Witness Uganda probes essential questions that our generation grapples with—questions about what it means to be an American in our increasingly globalized, yet still profoundly unequal world.


One of my goals as Artistic Director of the A.R.T. has been to focus on the ways a theatrical experience can extend beyond the work on the stage. As we plan each season, I look for projects that will foster opportunities for vibrant exchange and conversation. To that end, after every performance of Witness Uganda, we will be hosting “Act III”: a post-performance discussion with artists who have contributed to the project and specialists in international aid and social justice who will discuss the themes of the show and how it relates to their own research and work. Please refer to our website for a continuously updated list of upcoming guests and topics. Thank you for coming to the A.R.T.—and for being a part of the Witness Uganda experience!

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DIRECTED BY DIANE PAULUS First performance at the Loeb Drama Center on February 4, 2014 Originally developed at Vineyard Arts Project, co-produced by Brooke Hardman and Ashley Melone Winner of 2012 Richard Rodgers Award for Staged Readings, administered by the American Academy of Arts and Letters The A.R.T. is dedicating the 2013/14 season to the memory of Jeremy Geidt, beloved actor, revered teacher, and cherished friend, who was a founding member of the A.R.T. and truly embodied its spirit through his generosity, wit, and devotion to the theater. PRODUCTION SUPPORT 2014 EDGERTON FOUNDATION NEW AMERICAN PLAYS AWARD RECIPIENT AMBASSADOR SWANEE HUNT, CHAIR, HUNT ALTERNATIVES FUND ROSEMARIE & STEVE JOHNSON






Dance Captain LaTrisa Harper*

BAND Conductor/Keyboard 1 MATT GOULD Keyboard 2 BRIAN LI Viola ANDREW GRIFFIN Drummer NATHAN V. TERRY Guitar CHARLIE CHRONOPOULOS Bass JONNY MORROW Percussion SENFUAB STONEY Additional Orchestrations and Vocal Arrangements Andrew Griffin, Remy Kurs, Nathan V. Terry Electronic Music Design Jeff Marder



Understudies never substitute for listed players unless a specific announcement is made at the time of the performance. For Griffin: TYRONE DAVIS, JR.*; for Griffin and Ensemble: TYRICK WILTEZ JONES*; for Joy and Ensemble: MARTHA BOLES; for Jacob: RODRICK COVINGTON*; for Ryan: LAUREN DOUCETTE; for Grace and Eden: AISHA JACKSON*; for Ronny and Ibrahim: KEVIN CURTIS*

ADDITIONAL STAFF Assistant Stage Manager

Stephanie M. Holmes* Mia Walker Amy Hall Garner Jared Fine Leah Loukas Dede Ayite Tsubasa Kamei David Bengali Derek Wiles Brian Li Ryan McKittrick, Ashley Melone, a Marissa Friedman, Christian Ronald Dialect Coach Charlotte Fleck Copyist Andrew Griffin Music Assistant Luke Anderson Music Intern Khiyon Hursey Production Assistants Allison Grant, Courtney Ziegler Assistant to Matt Gould and Griffin Matthews Greg Nobile WITNESS UGANDA INTERNSHIP PROGRAM - HARVARD UNIVERSITY Producing Playwriting Directing Directing Music Choreography Stage Management Stage Management Marketing

Mark Mauriello ‘15 Brenna McDuffie ‘15 ^ Lily Glimcher ‘14 Susanna Wolk ‘14 Madeline Smith ‘14 Megan Murdock ‘14 ^ Jumai Yusuf ‘16 Kyra Atekwana ‘14 Selena Kim ‘15 ^

(^) Spring 2014 Harvard Arts and Museums Fellow, funded with support from the Office of Career Services Rehearsed at the New 42nd Street Studios and the Loeb Drama Center THERE WILL BE A 15 MINUTE INTERMISSION SPECIAL THANKS Susan Abbott; ASCAP; Ildiko Sragli and Barry Appelman; Hasan Askari; The Bishop Family; Clint Bond; Katie Boeck; Jane Bolster and the Richard Rodgers committee; Anne Marie Bookwalter; Dillon Bustin; Rev. Christine Nakyeyune Busuulwa; John Buzzetti; Keith Caggiano; Vanessa Coakley; Susan Cook; Brett Cramp; Virginia Dajani; Laurie DeMarco; Robin Lafoley and Mitchell Dong; Michael Eder; Deb Fowler; Molly Gachignard; Maria Giarrizzo; Erica Glenn; The Gould Family; The Griffin Family; David Hempton; Tim Sanford, Kent Nicholson and all at Playwrights Horizons; Brenna St. George Jones; Edward Jones; Dean Kay; Annie Kee; Kathryn Kozlark; Joan Lader; Timothy Lappin; Timothy Longman; Mary MacLeod; Sam Martinborough; Timothy McCarthy; Kevin McCollum; Lucas McMahon; Ashley Melone; Kerry Melone; Cameron Mizell; Andrea Moore; Anne Muyanga; Greg Nobile; Leslie Odom, Jr.; The Paris Family; Julia Putnam; Juanita Rodrigues; Michael Rose; Amy Rosenblum; Jimmy Ryan; Kyle Scatliffe; Stephen Schwartz; Molly Shoemaker; Amy Slaughter; Shannan Smith; Abigail Spencer; Summit Series; Michael Taglieri; Maura Tighe; Nondumiso Tembe; Wilson Torres; the students of UgandaProject; Zurin Villanueva; Jonathan L. Walton; Lyle Warner; Elissa Weinzimmer; Elizabeth Woodbury; Jeanne Smith and Pam Young




MATT GOULD: We were talking about needing money for our nonprofit, UgandaProject, and I said to Griffin, “Why don’t we write a musical about aid work?” And he said, “That’s the worst idea I’ve ever heard!” A couple days later, we were still talking about how frustrating it can be to raise money. I recorded Griffin ranting, “It starts because it’s hard,” and began weaving it through music. The next morning I played it for him and something about it just worked. We decided to write a few songs and turn it into a kind of staged infomercial for UgandaProject. We sold out two shows, but, after paying to rent the theater, we didn’t make any money. But people were crying. They were coming up to us saying, “This is my story. I love this!” So we began to think about it as a more formal theater piece, and then we were invited to Disney ASCAP [American Society of Composers, Authors, and Publishers] and were able to do a 25-minute performance one night and a 50-minute on the second. Word got around and it sold out. The show was a mess at that time, but we knew what the heart of it was: that people want to help. But sometimes they’re not sure how to do it and sometimes they screw up. GRIFFIN MATTHEWS: After the second performance, the composer Stephen Schwartz [Pippin, Wicked, Godspell] said to us, “Boys, this is a musical. Just figure out what story you want to tell.” That was the night we knew we should start looking at it as a musical and not just an infomercial. Stephen was and is a champion for us and for other young writers in musical theater, which is a huge gift.



MARISSA L. FRIEDMAN: How did you start writing Witness Uganda?

MF: What does a musical offer as a vehicle for this story that another form might not? MG: Singing is crying. And musical theater is one of the most powerful, underappreciated, and underutilized art forms that we have. This is a story about our generation and the problems that plague our generation, not just in this country, but in other countries as well. And the themes are cry-worthy. Griffin and I always talk about how being in the theater is like going to church or to synagogue or to mosque. It is meant to be a spiritual experience. Bringing a community together and hearing the cries of our generation in a common space is the experience we want to curate. The live form feels like the best way to do it. You have to get people in a room talking. That’s what we hope this does. MF: This musical grapples with many issues, including sexuality, race, and religion; were they always represented in the text? GM: There are a lot of things in the script now that I didn’t want to talk about at first. Early drafts of the script did not include the character Griffin being gay. But marriage equality has pushed the gay agenda inside of the text. Five years ago there was no marriage equality— there was Massachusetts where it was ok and that was it. I felt a kind of responsibility because we see a lot of white actors coming out of the closet and not as many black ones. And as a writer, I also felt like I wasn’t ever seeing myself on stage. Create something that you want to see! Otherwise, stop complaining! MF: The music in Witness Uganda is unlike anything I’ve ever heard before. What were the musical influences and how did you create this fusion of musical worlds? MG: When I first lived in Mauritania, West Africa, as part of the Peace Corps, I thought the music there sounded crazy. It’s loud and didn’t make sense to my ears. But after a while, I started to love it. You realize that there is a whole other structure to it. I opened up to those ideas and to understanding that those weird-sounding patterns seemed strange because they have a different structure than I was used to. They became a part of my DNA. Most of the Africans I know listen to everything now; they listen to Beyoncé as much as they listen to Baaba Maal. And we wanted to create a sound that walked the line between those things. Griffin can tell you how I walk around the house all the time making percussive clicking sounds with my teeth. I’m constantly making that music. I think it’s just a matter of going and collecting all those little pieces everywhere and finding a way to put them together. MF: This past October you did a tour to schools and community groups in the Greater Boston area. How did that enhance your experience of the show? GM: The idea of the tour was to connect with community, which is what this show is about. It was a really humbling experience. Every performance was completely different, and they were all worth it. I really appreciated that there were a lot of brown kids and adults that we were able to share with. My way in to musical theater was through The Music Man—so I didn’t even know that brown people could exist in musical theater! I loved when we went to the West End House Boys and Girls Club and they cheered. It’s part of the mission, to go beyond the theater itself. MG: I was thinking about this as we were sitting in St. Peter’s Church of Uganda in Waltham. We were living the dramaturgy of the piece right in that moment. This is the part of the show that is not about what happens on the stage. The performance itself has always been about the discussion that starts there and then gets taken out with the audience into the community. This interview was excerpted from the A.R.T. Guide. To read the full interview, please pick up a copy in our lobby or visit Marissa L. Friedman is a second-year dramaturgy student at the A.R.T./Moscow Art Theater School Institute for Advanced Theater Training at Harvard University.


Founded by Griffin Matthews in 2005

UgandaProject is a grassroots aid organization that sponsors the education of 10 Ugandan students. Every dollar raised goes directly toward students’ tuition, food, housing, and basic needs. RESURRECT PEOPLE!

To make a donation, please visit




CHRISTIAN RONALD: What first drew you to this musical? DIANE PAULUS: Witness Uganda first landed on my desk when it was awarded the prestigious 2012 Richard Rodgers Award for Musical Theater. I listened to the music and I was knocked out by the score. It sounded like nothing I had ever heard before. Then I read the script and it was like nothing I had ever read before—especially as far as musicals go. So it was really a combination of the power of the music and the subject of the story that hooked me. Then I remembered that when I had met with Stephen Schwartz to discuss Pippin he told me there was a musical about Uganda on the horizon that he thought would really interest me. Needless to say, it felt like fate.


CR: The mission of the A.R.T. is to expand the boundaries of theater. How do you see Witness Uganda embodying that vision? DP: Working on Witness Uganda is about incubating a new American musical. Stretching the form and pushing the envelope of what we consider a musical to be is very much part of what it means to take on a show like Witness Uganda. It is about broaching new subject matter and telling a story that you wouldn’t normally see told on the stage. The show serves as a catalyst for a larger conversation about the American impulse to help in the world— how complicated that is, but ultimately how important that is. When I program shows for the A.R.T., I am always thinking about how the work will reach beyond the stage. I knew that this show had enormous potential to inspire dialogue and debate on crucial subjects that need to be discussed. CR: Harvard is home to a wide array of academic departments and organizations related to international development and work in Africa. What has it been like creating a musical like Witness Uganda here in Cambridge? DP: Having an intellectual hotbed like Harvard at our fingertips allows the A.R.T. to collaborate with some of the world’s leading scholars. With Witness Uganda in particular, we’ve been able to draw upon a huge range of the University’s resources. Throughout the development process we have been privileged to collaborate with the Divinity School, Memorial Church, the Committee on African Studies, and the Kennedy School. We have also had the opportunity to engage with Harvard undergraduates and student groups who have taken trips to Uganda and continue to do aid work there. continued on next page


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CR: It is unusual for a musical to tackle such contemporary issues. What has it been like to work with material inspired by real events and why do you think that audiences need to see Witness Uganda today? DP: It is so exciting to be working on a project that deals with the issues that we are facing in our increasingly complex global community. When we did our first workshop of this piece last year, there were so many young people who came up to me and said, “This is my story,” and they told me about similar experiences. There were also many people from the notfor-profit community who identified with the story. They understood how hard it is to run a non-profit and the challenges these organizations face on a daily basis all around the globe. I’m always interested in theater that feels like it’s speaking directly to the audience. Witness Uganda directly addresses the challenges that individuals face today as they seek to make a real change in our increasingly complex and interconnected world. CR: You are known for assembling outstanding creative teams. Could you say a little bit about your process of collaboration on Witness Uganda? DP: Making a musical is a huge collaborative effort—it takes a village. The work can only begin when I have the right team at the table. In this case, the team that I’ve pulled together is a particularly exciting one. I’m thrilled to have Peter Nigrini as our projection designer—I’ve been familiar with his work for years. He created the projections for Here Lies Love, the musical based on the David Byrne and Fatboy Slim concept album. I was so impressed by WITNESS UGANDA: ACT III his work that I immediately reached out to see if he would join us. We have Tom Pye, an internationally Join Matt Gould, Griffin renowned set designer who has worked with Matthews, and members of the incredible artists such as Deborah Warner, Fiona cast for “Act III,” a twenty-minute Shaw, and Simon McBurney at Complicite. Maruti post-show discussion of the Evans, whom I’ve known for years through his themes of the show that will be work with the designer Riccardo Hernandez, is our held after each performance of brilliant lighting designer. And of course there’s Witness Uganda. Darrell Grand Moultrie, a choreographer whose body of work spans the genres of concert dance and On select dates, cast members American musical theater. Darrell has also been to will be joined by scholars and Africa, and the subject of the show really resonated experts who will discuss the with him. Designing the physical life of the show show, as well as their own is always at the center of any production I do. The research and work in the field. entire creative team has helped me to understand the dramaturgy of the piece through the world we For a complete listing of guest are building together on the stage. speakers, please visit the A.R.T.’s website: events/show/witness-uganda

CR: As an Artistic Director, you have said that you want the theatrical experience to exist before, during, and after each performance. How will this happen with Witness Uganda?

DP: What is so exciting about this production is that the creators are in the show: Matt Gould plays in the band and Griffin Matthews plays himself. There are two acts in the musical, and we’re calling the post-show “Act III.” Act III is an opportunity at the end of the performance for Matt and Griffin and other members of the cast to speak directly with the audience—this includes asking questions and wrestling with the issues that arise throughout the show. Act III will also include curated conversations with experts from across Harvard’s campus and the Greater Boston community. Witness Uganda doesn’t end when the curtain goes down—it is at this moment when the real dialogue begins. Christian Ronald is a first-year dramaturgy student at the A.R.T./Moscow Art Theater School Institute for Advanced Theater Training at Harvard University.


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CAST MELODY BETTS Ensemble A.R.T.: Debut. Regional: Pinocchio, Comedy of Errors, Chicago Shakespeare Theater; The Nativity, Congo Square/Goodman Theater; Once on This Island, The Drowsy Chaperone, Cinderella, Nunsense, Marriott Theatre; Ragtime, Thoroughly Modern Mille, Seussical the Musical, The Boys from Syracuse, Drury Lane Oakbrook; Do Black Patent Leather Shoes Really Reflect Up?, Godspell, Little Theater on the Square. TV: “Chicago Code,” “Chicago PD.” 1Jo.3:16-18 RODRICK COVINGTON  Ensemble A.R.T.: Debut. Broadway: The Lion King (Banzai).  South African Tour: The Brothers Size. National Tour: Fosse. Off-Broadway: Central Avenue Breakdown. Regional: Miss Saigon, NSMT; Pal Joey, Arkansas Rep; Venice, Kirk Douglas Theatre; The Brother/ Sister Trilogy (Jeff Award Best Actor nomination), Steppenwolf; In the Red and Brown Water, Alliance Theatre. TV/ Film: “Mask of the Ninja,” “Law and Order,” Dave Chappelle’s Show,” Three Verses, Memory of Running, The Warriors, Five To Life. Hebrews 10:36 KEVIN CURTIS Ensemble A.R.T.: Debut. National Tour: A Chorus Line. OffBroadway: Street Lights, Twilight in Manchego, Maccabeat!, NYMF; Daniella Uses Dirty Words, Abingdon Theatre Company. Regional: A Chorus Line, TUTS Houston; Joseph and the Amazing Technicolor Dreamcoat, Fulton Theatre; A Chorus Line, Hairspray, The Student Prince, Pittsburgh CLO; Hairspray, High School Musical, North Shore Music Theatre; Peter Pan, Alabama Shakespeare Festival. TV/Film: Take Care, Newlyweeds, “Live from Lincoln Center: Tribute to Marvin Hamlisch.” AMDA NY; Baltimore School for the Arts. @KevinTCurtis

TYRONE DAVIS, JR. Ronny A.R.T.: Debut. National Tours: Shrek the Musical (1st National Tour), The Mystery of King Tut. Off-Broadway: Archbishop Supreme Tartuffe, King Lear, Classical Theatre of Harlem. New York: The Loves of Mr. Lincoln, GayfestNYC; Coriolanus, The Rape of the Lock, Judith Shakespeare Company; Life on the Mississippi, WorkShop Theater Company. Regional: Amazing Grace, Goodspeed Musicals; A Civil War Christmas, Baltimore Centerstage; Ain’t Misbehavin’ (dir. André DeShields), Crossroads Theatre Company; Pure Confidence, Vineyard Playhouse; Angels in America, Colony Theater. New World School of the Arts. LATRISA HARPER Ensemble A.R.T.: Debut. Broadway: The Color Purple, The Lion King. National Tours: The Color Purple. Regional: The Wiz, Center Stage; Eubie, Towson Town Theatre; The Pajama Game, Little Theatre on the Corner; On Strivers Row (Cobina). Workshops: Beehive on Broadway with Debbie Allen. Was a member of Ailey II. B.F.A. Towson State University. Proud AEA member. EMMA HUNTON Ryan A.R.T.: Debut. Broadway: Spring Awakening. OffBroadway: Rent, New World Stages. National Tours: Next to Normal, Les Misérables. Regional: Distracted, Mark Taper Forum. Readings: Dogfight. TV/Film: “Sonny With A Chance,” “Angel,” “The Drew Carey Show,” “Taken,” “Judging Amy,” Happy Endings. Thanks to mom, everyone at A.R.T., and my Witness Uganda family. @EmmaHunton


CAST AISHA JACKSON Ensemble A.R.T.: Debut. Regional: Legally Blonde, Hairspray, Arvada Center for the Arts and Humanities; U Don’t Know Me (workshop), Tyler Perry Studios; Tintypes, Chicago, Little Theatre of the Rockies; Waiting Room, Ragtime, Anything Goes, Legally Blonde, Guys and Dolls, Ruthless, University of Northern Colorado. TV: “The Kandi Factory.” B.A. in Musical Theatre from the University of Northern Colorado. Thanks to God, my family, and friends for all the love and support. Luke 1:37 KRISTOLYN LLOYD Grace A.R.T.: Debut. Theater: Heathers: The Musical, Hudson Theatre; Hairspray, Rent, Hollywood Bowl; The Convert, Post Office, Venice, Kirk Douglas Theatre; Once On This Island, Reprise; Romeo and Juliet, As You Like It, Hello Again, Carnegie Mellon University. TV/Film: “The Bold and the Beautiful,” “Lie to Me,” “ER,” 40, The Routes of Wild Flowers. B.F.A. from Carnegie Mellon University. Love to Mommy and Daddy. Thanks to Stone Manners Salners, Trademark, and AEA. MICHAEL LUWOYE Jacob A.R.T.: Debut. Theater: Once On This Island, Hairspray, Guys and Dolls, Flat Rock Playhouse; Hair, Big River, Show Boat, City of Angels, Chicago, Othello, Saint Joan, Moby Dick, Side Man, University of Alabama. B.A. from University of Alabama.


GRIFFIN MATTHEWS Griffin/Co-Creator A.R.T.: Debut. Griffin Matthews graduated with a B.F.A. in musical theater from Carnegie Mellon University, in his hometown of Pittsburgh, PA. He is a writer, director, actor, and philanthropist splitting his time between New York and Los Angeles. Griffin co-wrote and directed numerous staged readings of Witness Uganda (Richard Rodgers Award, Harold Adamson Award, and Dean Kay Award) and directed several readings of the new musical Lempicka for Yale Rep and New Dramatists. As a writer, Griffin has been commissioned by Center Theatre Group to write a new musical (The Family Project) about the ever-changing face of the American family. Acting credits include Off-Broadway: Best of Both Worlds. New York/Regional: 1776, Paper Mill Playhouse; Don’t Bother Me, I Can’t Cope, Ford’s Theatre; Once On This Island, Round House Theatre. Television: “Happy Valley” (NBC Pilot), “The Carrie Diaries,” “The Mentalist,” “Suburgatory,” “Weeds,” “90210,” “Law and Order: LA,” “Cashmere Mafia,” “Numb3rs.” He founded UgandaProject in 2005. @witnessuganda JAMARD RICHARDSON Ensemble A.R.T.: Debut. Regional: Joseph and the Amazing Technicolor Dreamcoat (Judah), Stagger Lee (Staged Reading), Dallas Theater Center; Tarzan (Terk), Xanadu (Terpsicore), A Chorus Line, Hairspray, Big River, Ragtime, Oliver!, Lyric Theatre of Oklahoma; Godspell (Judas), City Repertory Theatre, OK; Rent (Collins), Something Wicked This Way Comes (Mr. Dark), Seussical, University of Oklahoma. Musical Theatre B.F.A. from the University of Oklahoma. Much love to The Mine, Ou13, Mom, Dad and Morgynne for their friendship and support. BOOMER!


CAST NICOLETTE ROBINSON Eden A.R.T.: Debut. Theater: Once On This Island, Reprise Theater Company. Workshops: Brooklynite, NYSAF; Lempicka, Yale Repertory Theater, New Dramatists; Post Office, Kirk Douglas Theater. TV: “The Affair,” “Hart of Dixie,” “Unforgettable,” “Perfect Couples,” “Cold Case.” Princess Grace Award-winner for Theater and a graduate of UCLA’s School of Theater, Film, & Television. Thank you Randi, Jim, and Stephen! Love to Griffin, Gould, Robinson-Odom bunch, and most of all: my Les. @Nicolettekloe ADEOLA ROLE Joy A.R.T.: The Lily’s Revenge (Susan Stewart). A.R.T. Institute: The Boston Abolitionists Project, The Flu Season, The Imaginary Invalid. Regional: Torture

Garden (Clara), Pearls of Shanghai: A Cockettes Revival (Wobblin’ Robin Sister), Thrillpeddlers Hypnodrome Theater. Film: Interface (Claire). M.F.A. from the A.R.T./MXAT Institute for Advanced Theater Training at Harvard University and B.F.A. University of California, Berkeley. Love to my mother and sister. JAMAR WILLIAMS Ibrahim A.R.T.: Debut. Regional: Hairspray (Seaweed), The Piano Lesson. Tours: Theatre Works USA. Workshops/Readings: Witness Uganda, A.R.T.; Choir Boys, Manhattan Theatre Club; West Village Swing (screen play by. Vincent Mignatti). Television: 40th anniversary “Oklahoma” (dir. Terrance Mann), “Much Ado About Nothing” (Emmy nominated). University of North Carolina School of the Arts.



Angélique Kidjo

2/23 • Somerville Theatre

Habib Koité

3/7 • Somerville Theatre Flamenco Festival 2014:

Stars of Flamenco

3/8 & 3/9 • Berklee Performance Center


3/25 • Paradise Rock Club

Carolina Chocolate Drops 3/29 • Somerville Theatre

Zakir Hussain & Masters of Percussion 4/6 • Symphony Hall




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BAND CHARLIE CHRONOPOULOS Guitar A.R.T.: Prometheus Bound. Charlie Chronopoulos is an independent songwriter, and freelance musician. He has worked in the studio and on stage with several Grammy-winning talents including multiplatinum recording artist Serj Tankian of System of a Down. Writing under his middle name, Charlie Christos, he has released two full length albums, and had a single in the top 200 national radio charts in 2010. MATT GOULD Co-Creator/ Music Supervision/ Orchestrations/Vocal Arrangements/Conductor/ Keyboard 1 A.R.T.: Debut. Matt Gould is working on new musical commissions for Yale Rep (Lempicka), Center Theatre Group (The Family Project), and the Japanese nonprofit, Ashinaga (A Cantata) with Tony Award-winning director, John Caird. Matt’s additional credits include Twilight in Manchego, the Jonathan Larson Awardwinning musical directed by Tony Awardwinner Billy Porter; writing and directing Free Style for LA’s Reprise Theatre Company; and translating, adapting and directing Romeo and Juliet in Pulaar in Mauritania, West Africa. He has also composed and arranged music for Grammy winner Desmond Child, Terrence McNally, Vanessa Williams, and for Playwrights Horizons, Denison University, and Boston University. Matt is the winner of the Richard Rodgers Award and ASCAP’s Dean Kay and Harold Adamson Awards. His music has been performed at venues around the world including Jazz at Lincoln Center, Summit Series, TEDx Wall Street, and at Highland Oaks Elementary School where he lived his dream as a music teacher for seven years. Matt holds a degree in acting from Boston University’s College of Fine Arts and dedicates this show “to all my students here and abroad who continue to teach me so much.” Matt is the co-director of UgandaProject.

ANDREW GRIFFIN Viola /Additional Orchestrations and Vocal Arrangements/Copyist A.R.T.: Debut. Copyist: Blue Dress (film score, winner of Buffalo Niagara Film Festival for best short film), commissioned string arrangements for Skillet and Papa Roach. Viola for: Alkali Ensemble (Artistic Director), Performances with Houston Symphony Orchestra, New York String Orchestra Seminar. Semi-finalist 2012 Washington International Strings Competition. Master of Music from Rice University: Shepherd School of Music, Bachelor of Music from Carnegie Mellon University. BRIAN LI Keyboard 2/Synth Programming Assistant A.R.T.: Debut. Keyboard programming work: The Lion King, Gazelle Tour; Aladdin, Broadway; Shrek, MUNY. Candidate for B.S. in Music Industry from Northeastern University. JONNY MORROW Bass A.R.T. Debut. Performances with theater artists Billy Porter, Shoshana Bean, Megan Hilty, Eden Espinosa, Ty Taylor, Matt Cusson, Valarie Pettiord, Rogelio Douglas Jr., Lucy Arnaz, Lillias White, Wayne Brady, and Tracie Thoms. Jonny is the Musical Director/ Bassist for Taylor Dayne and was Bassist for For The Record, A critically acclaimed theater experience in Los Angeles 20082012. Currently performing/Touring with Star Search “Grand Champion” Jake Simpson, Country artist Michael Austin from NBC’s “The Voice” and Latin Pop superstar Ana Barbara. Bachelor in Music Production and Engineering, Berklee College Of Music. Currently Residing in Los Angeles.


BAND SENFUAB STONEY Percussion A.R.T.: Debut. Broadway: A Free Man Of Color (dir. George C. Wolfe, starring Jeffery Wright and Mos Def). Off-Broadway: RIO (featured percusionist). Senfuab has worked with Diddy, Wycleff, Shakira, Mos Def, KRS 1, Erykah Badu, The Roots, and Ankrah. He has appeared on national television on the VH1 “Hip Hop Honors Awards,” “Model City,” and on MTV’s “Making the Band 4.” He has played with groups such as Indoda Ensha, a percussion group for which he created drum arrangements; Forces of Nature; Ile Aiye; Silvana Magda at S.O.B.’s; Heritage; Asasseya; Carlinhos Brown; Timbalada. Senfuab has also taught and performed with Alvin Ailey. In addition to performing throughout the United States, he has also toured and entertained audiences in London, West Africa, Brazil, Mexico, and Amsterdam.


NATHAN V. TERRY Drummer/Additional Orchestrations and Vocal Arrangements A.R.T.: Debut. Drummer: Goodbye Picasso, Instrument Thieves, Ms. Nina. Volunteer Percussion Teacher: UpBeat NYC, after school music education program ( Bachelor of Music Composition, University of the Arts, Philadelphia.

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CREATIVE TEAM MATT GOULD Co-Creator/Music Supervision/ Orchestrations/Vocal Arrangements/ Conductor/Keyboard 1 See band bio. GRIFFIN MATTHEWS Co-Creator/Griffin See actor bio. DIANE PAULUS Director Diane Paulus is the Artistic Director of the A.R.T. at Harvard University and is the 2013 recipient of the Tony Award for Best Director of a Musical (Pippin). At the A.R.T.: Pippin and on Broadway at the Music Box Theatre; The Gershwins’ Porgy and Bess and on Broadway at the Richard Rodgers Theatre (2012 Tony Award-winner for Best Revival of a Musical) and now currently on tour in the US; Death and the Powers: The Robots’ Opera; Prometheus Bound; Johnny Baseball; Best of Both Worlds; The Donkey Show. Her other recent work includes Amaluna, Cirque du Soleil’s newest creation which had its world premiere in Montreal in April 2012 and is now currently on tour in the US; The Public Theater’s Tony Awardwinning 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 L’incoronazione di Poppea, 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.

DARRELL GRAND MOULTRIE Choreographer A.R.T.: Debut. Staged and created work for companies including: The Juilliard School, Ailey 2, Atlanta Ballet, BalletMet Columbus, Cleo Parker Robinson Dance Ensemble, The Holland Dance Festival, Smuin Ballet. Recent: Beyonce’s “Mrs. Carter Show,” collaboration with tap legend Savion Glover on a new dance project. Broadway credits: Aida, Hairspray, Billy Elliot (original cast). Awards: Princess Grace Award. TOM PYE Set Design A.R.T.: Debut. Broadway/West End: The Testament of Mary (Fiona Shaw); All My Sons (John Lithgow & Dianne Wiest); Top Girls, MTC; Cyrano de Bergerac (Kevin Kline); The Glass Menagerie (Jessica Lange); Fiddler on the Roof (Tony nomination); Medea (Fiona Shaw); Sinatra. Other design credits: Eugene Onegin, Met Opera; John Gabriel Borkman, BAM; The Low Road, NSFW, Royal Court; Miss Fortune, Bregenz, Royal Opera; Death in Venice, La Scala (Premio Franco Abbiati della Critica Musicale Italiana); The Cunning Little Vixen, Glyndebourne. Future projects include: The Death of Klinghoffer, Met Opera. ESOSA Costume Design A.R.T.: The Gershwins’ Porgy and Bess, Best of Both Worlds. Broadway: Motown, The Gershwins’ Porgy and Bess (Tony nomination), Topdog/Underdog. OffBroadway: Water by the Spoonful, By the Way, Meet Vera Stark (Lucille Lortel and NAACP Theater Awards), Second Stage; The Capeman, Juan and John, Father Comes Home from the Wars, Romeo and Juliet, Public Theater; The Misanthrope, All That I Will Ever Be, NYTW. Regional: Othello, Guthrie Theater; Ruined, Senor Discretion Himself (Helen Hayes Award nominee), Arena Stage; Twist, Alliance; Once On This Island, Centerstage.


CREATIVE TEAM MARUTI EVANS Lighting Design A.R.T.: Alice vs. Wonderland, Mouth Wide Open. A.R.T. Institute: Hansel and Gretel. Work includes: Else Where, Leiderabend, BAM; Master and Margarita, Bard Summer Scape; An Oresteia, Classic Stage; Crowns, Goodman Theatre; Sweeney Todd, Virginia Opera. Maruti has received the Drama Desk Sam Norkin Award 2013 for Tiny Dynamite and Pilo Family Circus and Drama Desk nominations for: In the Heat of the Night, Slaughterhouse 5, and Blindness. JONATHAN DEANS Sound Design A.R.T.: The Heart of Robin Hood. Broadway: Pippin, Carrie, Priscilla Queen of the Desert, Spiderman, La Cage aux Folles, Young Frankenstein, The Pirate Queen, Lestat, Taboo, Follies, Seussical, The Music Man, Fosse, Parade, Candide, Ragtime. His work with Cirque du Soleil include: ONE, LOVE, KA, Believe, Zumanity, O, Mystère, La Nouba, OVO, Corteo. Nominated for Tony Awards for Pippin and La Cage aux Folles and has been presented with a USITT award for Distinguished Career in Sound Design. PETER NIGRINI Projection Design A.R.T.: Debut. Designs include: Here Lies Love (by David Byrne and Fat-Boy Slim); Fela!; The Elaborate Entrance of Chad Deity, Second Stage, Gore Vidal’s The Best Man. One of the founders of Nature Theater of Oklahoma and designs all aspects of their productions, including: No Dice, Rambo Solo, Romeo and Juliet, and their current decade long undertaking Life and Times. Peter has engaged in a series of collaborations with Robert Woodruff including: Autumn Sonata, In a Year of 13 Moons, and Notes From The Underground.


REMY KURS Music Director /Additional Orchestrations and Vocal Arrangements A.R.T.: Debut. Broadway and national tour: The Book of Mormon. Other credits include: Iron Curtain, The Hidden Sky and

more with Prospect Theater Co. in NY; Village Theater in WA; NYMF; and the NY and Edinburgh Fringe. STEPHEN KOPEL, C.S.A. Casting A.R.T.: The Glass Menagerie, Once, Ajax, The Blue Flower, Johnny Baseball, Best of Both Worlds. Casting director for Roundabout Theatre Company. Broadway credits include: Violet, Beautiful – the Carole King Musical, Winslow Bow, The Glass Menagerie, Mystery of Edwin Drood, Harvey, Don’t Dress For Dinner, Once, Road to Mecca, On A Clear Day…, Anything Goes, The People In The Picture, Brief Encounter, Scottsboro Boys, Sondheim On Sondheim, Hedda Gabler. Off-Broadway: Violet; Getting My Act Together…; Cradle Will Rock, Encores! Off-Center; The Common Pursuit; The Milktrain Doesn’t Stop Here Anymore; The Tin Pan Alley Rag; At Least It’s Pink. CAROLYN BOYD Production Stage Manager A.R.T.: Sleep No More, Let Me Down Easy. New York: Sleep No More, productions with Lincoln Center, Atlantic Theater Company. International: Death and the Powers: The Robots’ Opera. Regional: Huntington Theatre Company, Boston Ballet, Williamstown Theatre Festival, Hangar Theater. B.F.A. in Stage Management from Boston University College of Fine Arts. STEPHANIE M. HOLMES Assistant Stage Manager A.R.T.: The Wedding Band (reading). Broadway: Rodgers and Hammerstein’s Cinderella (Production Asst./Sub. ASM), Off-Broadway: One Night Only (Stage Manager), American Theatre of Actors. Regional: Welcome to Jesus (Stage Manager), Hartford Stage; Dreamgirls (Asst. Stage Manager), Ivoryton Playhouse; The Dining Room, Westport Country Playhouse. 2011/12 Season Production Assistant, Two River Theater Company. Stage Management B.F.A. from Syracuse University.

CREATIVE TEAM SHIRA MILIKOWSKY Associate Director A.R.T.: The Lily’s Revenge (Director), The Wedding Band (reading, CoDirected with Hilton Als), Johnny Baseball (Associate Director), Britannicus (Assistant Director). A.R.T. Institute: Twelfth Night (May, 2014), BOB: A Life in Five Acts. Broadway: HAIR (Assistant Director). Regional: She Kills Monsters, Company One; Big Money, Williamstown Theatre Festival. New York projects include: I Hope I Die of Heart Disease! I’d Like To See You Manage Then!, Mabou Mines RAP; Cookie Crumble (by Elizabeth Meriwether); Mourn The Living Hector (Winner of a Fringe Excellence Award), NewYork Fringe; and multiple projects at Ars Nova (Director-in-Residence, 2008). Drama League Directing Fellow. M.F.A. in Directing, Columbia; B.A. in Theater Studies, Yale. MIA WALKER Assistant Director A.R.T.: Pippin, The Gershwins’ Porgy and Bess, Prometheus Bound, Johnny Baseball. Broadway: Pippin, The Gershwins’ Porgy and Bess.

Graduated magna cum laude from Harvard University, B.A. in Visual and Environmental Studies (Film Production). Mia has been assisting for Diane Paulus since graduating in 2010. Mia was also a Resident Director at The Flea Theater in NYC, where she directed new works by Trista Baldwin and Israel Horovitz. Other credits include: Ensemble Studio Theater, The Berkshire Theatre Festival, American Conservatory Theater, NYU Tisch, and Vassar Powerhouse. AMY HALL GARNER Assistant Choreographer A.R.T.: Debut. Created work for: Ailey II, The Joffrey Ballet (trainees), The Juilliard School (summer intensive), Central Pennsylvania Youth Ballet, The Ailey School, “Law & Order: Trial by Jury,” Kidz Bop Live!, The Ohmies, and recently coached Grammy Award winner Beyoncé for “The Mrs. Carter Show” World Tour. Broadway/National Tour credits: Fosse, Contact, Thou Shalt Not, Chita Rivera: The Dancer’s Life, and Disney’s The Little Mermaid. B.F.A. from the Juilliard School.

To learn more about the creative team and to read more bios, please visit our website 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.

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 PoNY Playwrights of New York. The American Repertory Theater is a member of ArtsBoston, Stagesource, and Theater Communications Group.


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Steve Johnson, Chair Laurie Burt Paul Buttenwieser Kevin Cole Costin Mike Dreese Zita Ezpeleta Michael Feinstein Provost Alan M. Garber Lori Gross Ann Gund Sarah Hancock Jonathan Hulbert Alan Jones Fumi Matsumoto Thomas B. McGrath Rebecca Milikowsky Ward Mooney Robert Murchison Andrew Ory Diane Paulus William Russo Mike Sheehan Diana Sorensen Lisbeth Tarlow Donald Ware

BOARD OF ADVISORS Rachael Goldfarb, Co-Chair Ann Gund, Co-Chair Frances Shtull Adams Yuriko Jane Anton Robert Bowie, Jr. Philip Burling* Greg Carr Antonia Handler Chayes* Bernard Chiu Lizabeth Cohen Kathleen Connor Rohit Deshpande Susan Edgman-Levitan Jill Fopiano Erin Gilligan Candy Kosow Gold Barbara Wallace Grossman Horace H. Irvine II Ethan W. Lasser Dan Mathieu Travis McCready Karen Mueller Ellen Gordon Reeves Linda U. Sanger Maggie Seelig Dina Selkoe John A. Shane Michael Shinagel Sarasina Tuchen Alfred Wojciechowski Stephen H. Zinner, M.D. *Emeriti


About the A.R.T. The 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 her leadership, 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 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 I.R.N.E. 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 the Civil War Project, an initiative that will culminate in the staging of new work in the 2014/15 season. Under Paulus’s leadership, the A.R.T.’s club theater, OBERON, has become 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. artists also teach undergraduate 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 Moscow Art Theater School, offers graduate-level training in acting, dramaturgy, and voice. Dedicated to making great theater accessible, the A.R.T. actively engages more than 5,000 community members and local students annually in project-based partnerships, workshops, conversations with artists, and other enrichment activities both at the theater and across the Greater Boston area. Through all of these initiatives, the A.R.T. is dedicated to producing world-class performances in which the audience is central to the theatrical experience.

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The American Repertory Theater is deeply grateful for the generous support of individuals, foundations, corporations, and government agencies, whose contributions make its work possible. The following gifts were received between July 1, 2012 and January 10, 2014.

VISIONARY Anonymous Barr Foundation Betsy and Edward Cohen* Doris Duke Charitable Foundation Sarah Hancock* The President and Fellows of Harvard College

$100,000 and above Rosemarie and Steve Johnson*# Janet and Howard Kagan* The Blanche and Irving Laurie Foundation RN Family Foundation The Shubert Foundation

BENEFACTOR Katie and Paul Buttenwieser* The Dana Foundation Laura and Michael Dreese*# Edgerton Foundation# E.H.A. Foundation The Hershey Family Foundation

$50,000-$99,999 HILT - Harvard Initiative for Learning & Teaching Massachusetts Cultural Council Alison and Bob Murchison*# National Endowment for the Arts Newbury Comics Inc.

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

Ambassador Swanee Hunt, Chair, Hunt Alternatives Fund# Alan Jones and Ashley Garrett* Karmaloop

Lucy and Ward Mooney* Dr. Josephine Murray†National Corporate Theatre Fund Maureen and Mike Sheehan*

LEADER The Gregory C. Carr Foundation Zita Ezpeleta and Kewsong Lee* Ann and Graham Gund*




PRODUCER Anonymous Amy and David Abrams Yuriko Jane Anton and Philip Anton Amy and Ed Brakeman# Hilary and Philip Burling Laurie Burt Julia Pershan Cohen and Jonathan Cohen Kevin Cole Costin Ted and Joan†Cutler

Sandi and Andrew Farkas Drew Faust Michael Feinstein and Denise Waldron Fresh Sound Foundation Erin Gilligan and Hoil Kim Marcia Head Horace Irvine Judith and Douglas Krupp Lizbeth and George Krupp Kako and Fumi Matsumoto

PARTNER Anonymous Frances Shtull Adams Alchemy Foundation# Lisa and Joel Alvord BD Robert Bowie jr. Joy and Steven Bunson Bernard Chiu Kathy Connor RoAnn Costin Pamela and Robert Cutler Foley Hoag LLP Gerald Flaxer Charitable Foundation

Andrea and Marc G. Gershwin Katia and Garry Ginzburg Candy Gold and Martin Waters Rachael Goldfarb Peggy Hanratty and Geoffrey Peters The Office of the Provost at Harvard University Catherine Hayden and David Thurston The DuBose & Dorothy Heyward Memorial Fund Jessica and Ethan Lasser Lori Lesser Gregory Maguire

SPONSOR Anonymous (3) Leslie and Howard Appleby Lynne and John Chuang Clarke and Ethel D. Coggeshall Juliet Cozzi and Ronald Gumbaz Susan Edgman-Levitan and Richard Levitan Catherine Gellert Pamela Haran and David S. Godkin Ruth and Mark Golub Joan and Charles Gross Lori E. Gross and Robert Douglas Campbell

Barbara Wallace Grossman and Steve Grossman Nikola and David Hennes Heather and James Higgins The Roy A. Hunt Foundation Melissa Kaish and Jonathan Dorfman Barbara H. Landreth, M.D. Jenifer Wells Megalli and Mark Megalli Hee-Jung and John Moon Marean and Thomas Pompidou Ellen Gordon Reeves Natasha and Umar Riaz

PATRON Anonymous (2) Nancy Adams and Scott Schoen Alexander, Aronson, Finning & Co., CPAs Sheldon Appel Diana and Richard Beattie Carol Beggy Nancy Bernhard and David Margolin Barbara E. Bierer, M.D. and Steven E. Hyman, M.D. Linda Cabot Black Terrie and Bradley Bloom Sissela and Derek Bok Diane Borger Melinda Brown Dorothea and Sheldon Buckler, M.D. The Edmund and Betsy Cabot Charitable Foundation Ronald and Ronni Casty Diane Cataldo Frank Celeste Hemmie and Ralph Chang Charles Cherington


Chic to Chic Susan and Mark Clark Frances Cohen Lizabeth Cohen and Herrick Eaton Chapman Nick Corley Rohit Deshpande Barbara and Michael Eisenson Ellie Kai Inc. Newell Flather# Jill Fopiano and Paul Brickman Robin Freeman Verna C. Gibbs, M.D. Perrin and Bruns Grayson Ms. Laura Green and Dr. David Golan Renee Greene Marjorie and Nicholas Greville Agnes Gund Melinda Hall and Larry Pratt Joseph Hammer Phyllis Hammer Mel and Brendan Hannigan Megan and David Hinckley

$10,000-$24,999 Tom McGrath and Sandy Medallis The Andrew W. Mellon Foundation Stacey and Eric Mindich Diane Paulus and Randy Weiner Janet and Irv Plotkin Valerie Beth Schwartz Foundation Dina and Greg Selkoe* Trust for Mutual Understanding

$5,000-$9,999 Melinda Milberg Karen and Gary Mueller Cokie and Lee Perry Patricia Romeo-Gilbert and Paul Gilbert Maggie and Jonathan Seelig The Shane Foundation Sarasina and Mike Tuchen Lynn and George Vos Mary and Edward Wendell, in memory of Jeremy Geidt Alfred Wojciechowski and Tammerah Martin

$2,500-$4,999 Lisa Sotto and Bruce Saber Dr. Linda U. Sanger* Nichole Bookwalter Savenor and Alan Savenor S. Wade Taylor, Ph.D. and Stephen Zinner, M.D. Gillien Todd and Kingsley Taft John Travis Francis H. Williams Ann Wozencraft and Craig Willey

$1,000-$2,499 Ruth and William Hsiao Priscilla and Richard Hunt Karen Johansen and Gardner Hendrie Kay Kane Sheridan and Jerome Kassirer Theresa Kavanaugh and John Lienhard Nancy P. King Lawrence Kotin Lars Foundation Stacey Schneer Lee Marjorie Liner and Christopher Connolly John D.C. Little Jennifer and Nick Littlefield Celine and Alastair Mactaggart Chris Mastrangelo Anita Meiklejohn and Vincent Piccirilli Alan Muraoka Jean and David Nathan Mercedes Nugent-Head and James C. Marlas

PATRON (CONTINUED) Jeryl and Stephen Oristaglio Patricia and Finley Perry Gerald Pier Jennifer and Thomas Pincince# Lia and William Poorvu James Rado Janice Saragoni and Ben Bradlee Adina Schecter NoraLee and Jon Sedmak

Dr. and Mrs. Dennis J. Selkoe Christine and Rick Shea Michael Shinagel and Marjorie North The Sholley Foundation, in memory of Jeremy Geidt Deborah Sinay and Charles J. Kravetz Somerled Charitable Foundation Deborah Sweet and Steven Lazar Janet Tiampo and David Parker

$1,000-$2,499 The Joseph W. and Faith K. Tiberio Charitable Foundation Brad Voigt and William Burton Mindee Wasserman Joanne and Daniel Weil Ruth and Bill Weinstein The Winter, Wyman Companies Fancy and Jeff Zilberfarb

CONTRIBUTOR Anonymous (3) Dianne Anderson Evelyn Barnes William M. Bazzy Jane and Leonard Bernstein Francis Biondi and Jamie Nicholls Helen and Joe Bouscaren Ronnie Bretholtz Elaine and Eric Bucher Richard Cacciagrani Brian Carey Antonia H. Chayes Jim Chervenak Tracy Elstein Barbara Fiacco Dr. Alan Garber and Dr. Anne Yahanda Leigh Gilmore and Thomas Pounds Professors Mary Jo and Byron Good Barbara Lemperly Grant and Frederic D. Grant Dena and Felda Hardymon


Jen Horton and Dave Regan Judy Kanwal Rita J. and Stanley H. Kaplan Family Foundation, Inc., Ms. Susan B. Kaplan & Nancy and Mark Belsky Jane Katims and Dan Perlman Madeleine and Steven Kessler Dr. and Mrs. Gilbert Kliman Denise and Ari Korn Laurie Laba Katherine N. Lapp Liberty Mutual, Give with Liberty Program Hambleton Lord Monique Sullivan Lowitt and Ian Lowitt Ms. Patricia Cleary Miller Mary Milton Jonathan Moses Emily Moskowitz Brigette and Suok Noh NSTAR Foundation

Carolyn Perelmuter Rose Polidoro Nancy Rappaport and Colin Flavin Sally C. Reid and John D. Sigel The Reiss Family Foundation Dr. Helen Riess Hathaway Russell Lori and Steven Sater Frank Segall Wendy Shattuck and Sam Plimpton Stephanie and Fred Shuman Mark Slovenkai Mason and Jeannie Smith W Boston Hotel Ryan West Dyann and Peter Wirth Ms. Kelsey Wirth and Dr. Samuel Myers

Lindsay and Garth Greimann Patricia and Homer Hagedorn Robert Harrington Deborah L. Hicks Caroline and Fred Hoppin Jonathan Hulbert and Sonia Hofkosh Sarah Jaffe and Richard Eisert Cindi Jones Jerry Jordan Belinda Juran and Evan Schapiro CC King and Tom Tarpey Edgar Knudson Lynn Kodama Deborah and Jonathan Kolb Rena Krasnow and Bob Marx Grace Kyung-Sun Won and Richard Holden Lisa and Bill Laskin Don Law Mary Beth and Greg Lesher Lewise Lucaire Barbara A. Manzolillo Wendy Mariner and Toby Nagurney James D. Marver Donna Friedman Meir and Gadi Meir Ashley Melone Kimberly and Peter Mulligan Professor Suzanne P. Ogden and Peter Rogers Caren Pasquale William Peake Drs. Hilda and Max Perlitsh Kathryn and Richard Pershan

Tom Quintal Andree Robert and Thomas M. Burger Leandrew Robinson Paul Romano Gabriela and Bob Romanow Bonnie Rosse Sarah and Gregory Sands James Scopa Lisa Stern Jean and Michael Strunsky Kathryn Taylor and Tom Steyer Hal Tepfer M.K. Terrell Diana Walsh and Kent Walker Kathy Williams and Douglas Carlston Mary Winslow Carolyn Zern William Zinn

SUPPORTER Anonymous Barbara Addison and Stephen Gill Ravin Agrawal James Asp Sybilla and Alexandre Balkanski Barbara Boger Maud Cabot Richard Carson Cris and Paul Carter Betsy Ellis Chung and Peter Chung Lisa Coleman Frederica Cushman Mary and Richard Daniels Gloriana Davenport Jane Mendelsohn Davis and Nick Davis Alma Derricks Mark Diker Julie Farkas and Seth Goldman Anita Feins and Steven Lampert Anna C. Fitzloff Herbert Fox and Janet Zinner Susan Fried and Jeffrey Rudman Howard Gardner, M.D. Kathleen and Robert Garner Marie and Daniel Glenn Laurie and Jeffrey Goldbarg, M.D. Sharon Goddard White and David White Drs. Susan Graham and Michael Harrison Drs. Shelly Greenfield and Allan Brandt


*Donors who provide annual operating support of $25,000 or more are members of the Artistic Director’s Circle #Donors who provide support to the production of Witness Uganda and its education and access activities are members of the Witness Uganda Leadership Circle †In Memoriam


A.R.T. NYC DONORS A.R.T. NYC is a group of donors based in New York that provides generous annual support to the American Repertory Theater. The following gifts of $250 and above were received between July 1, 2012 and January 10, 2014. PRODUCER $10,000 and above Julia Pershan Cohen and Jonathan Cohen, Kevin Cole Costin, Zita Ezpeleta and Kewsong Lee, Sandi and Andrew Farkas, Alan Jones and Ashley Garrett, Janet and Howard Kagan, Rebecca Gold and Nathan Milikowsky, Stacey and Eric Mindich PARTNER $5,000-$9,999 Joy and Steven Bunson, RoAnn Costin, Andrea and Marc G. Gershwin, Lori Lesser, Melinda Milberg, Lynn and George Vos SPONSOR $2,500-$4,999 Anonymous (2), Juliet Cozzi and Ronald Gumbaz, Catherine Gellert, Ruth and Mark Golub, Joan and Charles Gross, Ann and Graham Gund, Nikola and David Hennes, Heather and James Higgins, Melissa Kaish and Jonathan Dorfman, Barbara H. Landreth, M.D., Jenifer Wells Megalli and Mark Megalli, Hee-Jung and John Moon, Marean and Thomas Pompidou, Ellen Gordon Reeves, Natasha and Umar Riaz, Lisa Sotto and Bruce Saber, Dr. Linda U. Sanger, Ann Wozencraft and Craig Willey MEMBER $250-$2,499 Diana and Richard Beattie, Francis Biondi and Jamie Nicholls, Mark Diker, Tracy Elstein, Jane Mendelsohn Davis and Nick Davis, The DuBose and Dorothy Heyward Memorial Fund, Sarah Jaffe and Richard Eisert, Madeleine and Steven Kessler, Rena Krasnow and Bob Marx, Tom McGrath and Sandy Medallis, Ashley Melone, Mary Milton, Jonathan Moses, Brigette and Suok Noh, Mercedes Nugent-Head and James C. Marlas, Caren Pasquale, Rose Polidoro, The Reiss Family Foundation, Adina Schecter, Lisa Stern

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) Boston Beer Company Cambridge, 1. The Charles Hotel Kevin Cole Costin Carol DeGiere

MAX Ultimate Food/ Dan Mathieu and Neal Balkowitsch (Catering Sponsor)

Ilex Designs/ Andrew Anderson (Floral Sponsor)

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

Event Illuminations/ Derek Wiles Google Grafton Street Grendel’s Den Ann and Graham Gund

Harvest Henrietta’s Table The Kendall Hotel Melinda Milberg Rialto Sandrine’s Bistro

The Sinclair Tory Row Toscano UpStairs on the Square Donald and Susan Ware

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 theaters through their contributions of $2,500 and above to National Corporate Theatre Fund. Acquis Consulting Group† • American Express • AOL† • Mitchell J. Auslander** • Bank of America • Bloomberg • BNY Mellon • James E. Buckley • Steven Bunson** • Christopher Campbell/Palace Production Center† • Christ Economos** • Cisco Systems, Inc. • Citi • Clear Channel Outdoor**† • CMT/ABC**† • Dantchik Family • Datacert, Inc. • Disney/ABC • Paula Dominick** • Dorfman and Kaish Family Foundation, Inc. • Dorsey & Whitney Foundation • Dramatists Play Service, Inc. • John R. Dutt** • Epiq Systems** • Ernst & Young • Bruce R. and Tracey Ewing** • Pamela Farr • Richard Fitzburgh • Ford Foundation* • Goldman, Sachs & Co. • John Gore for • Jeffrey Gural/Newmark Holdings • Mariska Hargitay** • The Hearst Foundations** • Gregory S. Hurst • Howard and Janet Kagan** • Joseph F. Kirk** • Michael Lawrence and Dr. Glen Gillen • Marsh & McLennan Companies • John R. Mathena • The Maurer Family Foundation** • Jonathan Maurer and Gretchen Shugart** • McGraw Hill Financial • MetLife • John G. Miller • Morgan Stanley • New York Life • Theodore Nixon** • Ogilvy & Mather† • Lisa Orberg** • Frank Orlowski** • Edison Peres • Pfizer, Inc. • Thomas Quick** • RBC Wealth Management** • The Schloss Family Foundation** • Sharp Electronics† • Skadden, Arps, Slate, Meagher & Flom LLC • George S. Smith, Jr.** • Southwest Airlines** • TD Bank • Shugart • John Thomopoulos** • Time Warner • Evelyn Mack Truitt • James S. Turley** • The James S. and Lynne P. Turley Ernst & Young Fund for Impact Creativity** • UBS • Michael A. Wall • Wells Fargo** • Willkie Farr & Gallagher LLP • Isabelle Winkles**


*NCTF/Ford Foundation Fund for New Work **Impact Creativity †Includes In-kind Support As of January 2014



Bryan Cranston in All the Way, A.R.T.’s sold-out 2013/14 Season opener.

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ARTISTIC Producer Diane Borger Director of Artistic Programs/Dramaturg Ryan McKittrick Artistic Coordinator Chris De Camillis Director of Special Projects Ariane Barbanell Artistic Associates Allegra Libonati, Shira Milikowsky Assistant Producer Mark Lunsford Special Assistant to the Artistic Director Julia Kraus Company Manager/ Hasty Pudding Institute Producing Fellow Ben Nelson

INSTITUTE Director Administrative Director Associate Director Co-head of Dramaturgy Co-head of Dramaturgy Resident Literary Advisor Head of Voice and Speech Institute Associate Technical Director Student Financial Aid Administrator

Scott Zigler Julia Smeliansky Marcus Stern Anatoly Smeliansky Ryan McKittrick Arthur Holmberg Nancy Houfek Josh Glenn-Kayden Skip Curtiss Janie Rangel

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

Randy Weiner Ariane Barbanell Leo X. Crowley James Wetzel Skip Curtiss Justin Paice Alex Giorgetti

EXTERNAL AFFAIRS DEVELOPMENT Director of Development Megan Hinckley Deputy Director of Development Jessica Morrison Grants Manager Meghan Coleman Development Information Coordinator Brendyn Schneider Development Associate Renee Rober MARKETING AND COMMUNICATIONS Director of Marketing and Communications Anna Fitzloff Director of Press and Public Relations Katalin Mitchell Associate Director of Marketing and Communications Jared Fine Marketing and Communications Manager Grace Geller Graphic Designer Joel Zayac Education and Community Programs Manager Brendan Shea Education and Community Programs Assistant Georgia Young Donkey Show VIP Coordinator Christina Tucker Marketing Interns Mark Mauriello, Kendra Norton, Rachel Stephens Education Interns Jenna Gabriel, Maria Giarrizzo, Erica Glenn, Annie Guaghen, Shanelle Villegas PATRON SERVICES Director of Patron Services /System Administrator Derek Mueller Ticket Services Manager Alicia Curtis Audience Services Manager Stephen Wuycheck Ticket Services Representatives Karen Snyder, Cassandra Long Weekend Shift Supervisor Heather Conroe Ticket Services Staff Taylor Hughes, Natalie Lurowist, Amelia Mason, Janet Mwaura, Tani Nakamoto, Emma Putnam Duty House Managers Marissa Friedman, Anna Kelsey, Megan Nussle, Adam Quinn, Eleanor Regan, Courtney Smith, Matthew Spano Volunteer Usher Coordinator Barbara Lindstrom


THEATER AND FACILITIES Theater and Facilities Manager Receptionists

Tracy Keene Sarah Leon, Maria Medeiros

FINANCE Financial Analyst Senior Financial Analyst Senior Finance Accountant Financial Administrator Financial Assistant

Ann Kellegher Kathryn Rosenberg John Josti Stacie Hurst Nira Tejada

PRODUCTION Production Manager Patricia Quinlan Associate Production Managers Skip Curtiss, Jeremie Lozier COSTUMES Costume Shop Manager Jeannette Hawley Assistant Costume Shop Manager Ameera Ali Draper Caitlin Menotti Crafts Artisan Jeffrey Scott Burrows Wardrobe Supervisor Alma Reyes Costume/Props Stock Manager Suzanne Kadiff LIGHTS Lighting Supervisor Matthew Adelman Light Board Operator Matthew Houstle PROPERTIES Props Manager Cynthia Lee-Sullivan Assistant Props Master Rebecca Helgeson Props Carpenter Stacey Horne-Harper SCENERY Technical Director Stephen Setterlun Associate Technical Director Chris Swetcky Assistant Technical Director Kristin Knutson Shop Supervisor David Schultz Scenic Charge Artist Jerry Vogt Master Carpenter Peter Doucette Scenic Carpenters York-Andreas Paris, Kyle Moore, Garret McEntee SOUND Sound Supervisor Sam Lerner Sound Console Operator Brian Walters Theatrical Audio Technician Katrina Sistare STAGE Stage Supervisor Henning Malm Assistant Stage Supervisor Christopher Eschenbach Production Assistants Kevin Klein, Matthew Sebastian

ADDITIONAL STAFF FOR WITNESS UGANDA Microphone Technician Bryan Atterberry ASL Coach Michael Krajnak Audio Description Consultant Alice Austin Craftspersons Andrew DeShazo, Madeline Hays, Megan Kinneen Scenic Carpenters Tyler Brown, Justin Hamblen, Bill Hawkins, Derek Jay, Tom Kee, Dan Lincoln, Marty Lynch, Stephen Maurer, Vinca Merriman, Dane Palmer, Joe Parello, Andrew Remillard, Seth Shaw, Nick Stein, Nick Tosches, Scenic Painters Paula Bird, Brian Crete, Chris Kavanah, Heather Morris, Richard Ouellette

As of January, 2014



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


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.

Jeff Lawrence Tak Toyoshima, Scott Murry Nate Andrews, Jesse Weiss

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Nearest exit route Fire extinguishers

Designated Meeting Site Cross Brattle St. to Radcliffe Yard

Follow us. Just not in a creepy way. @digboston



Witness Uganda Program  
Witness Uganda Program