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O F F I C I A L P R O G R A M F O R B R O A D W AY I N D E T R O I T A T T H E G em T heatre





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Love, Loss, and What I Wore

Life, Accessorized By Monty Arnold,, October 16, 2009

It’s a chick thing, Nora Ephron is basically saying about this play she and her sister Delia have written —and Nora would know. The phrase “chick tive, because you read it and you start thinkflick” entered our lexicon via her Oscar- and ing of your own clothes, whether they were BAFTA-nominated script for Sleepless in anything like hers or not. Seattle, where she cinematically separated “We used her story as part of the play, but the boys from the girls what we were going for and called leaping into was the same reactions a lugubrious tub of in the audience. Even suds like An Affair to those of us who aren’t Remember a ladiesinto fashion can date only enterprise. our life by our clothes Now, fashion (or, and the mistakes we more accurately, made expressing ourwomen’s wear) is the selves through our Ephron flash point, clothes. and The Great Divide “You know, bebegins all over again fore you can go on with Love, Loss, and the street by yourself What I Wore, based on or decide what you Ilene Beckerman’s wafeel like eating, you fer-thin 1995 memoir are allowed to dress on how she dressed for yourself. It’s one of the seminal moments Playwrights Nora Ephron and Delia Ephron. the earliest ways you of her life—sort of a photo © Carol Rosegg have of saying, ‘This The Way We Wore veris who I am today.’ So, sion of The Way We Were. The Ephrons de- for women, clothes just become this constant scribe it as “The Vagina Monologues with- thing of ‘Who am I?’/’Is this me?’/’Who out the vagina,” and, keeping that thought, do I want people to think I am?’/’Can I get they installed it at the same Westside The- away with this?’/’Who was I when I bought atre where the V-word held fast for more than this?’/’What on earth was I thinking?’ three years. For this opening salvo of twelve “It’s a very emotional piece. It’s not about weeks, they have three sets of rotating casts fashion. It’s about women’s lives, and the way of five each. The hope, of course, is that their to talk about them is through their clothes. show will evolve into a cottage industry like To me, it’s an amazing window into looking Eve Ensler’s evening of girl talk. at women’s lives. There’s a reason it’s Love, “We started out very much thinking it Loss, and What I Wore.” would be that kind of evening,” Nora reBeckerman’s eschewed life-view was so members, “monologues and group ensemble insistently identifiable the Ephrons jumped pieces and sketches—just a very free-form right in and gave it a universal spin. “We thing that, nonetheless, goes through all the sent out e-mails and questionnaires and instages of a woman’s life.” terviewed people about their life and their She found the book in galley form and clothes,” recalls Delia. “All of our friends flipped over it, even though Beckerman was sent us stories. I mean, the thing about your speaking from a slightly older perspective. clothes is that it’s not just your clothes—it’s “It’s her life story told through her clothes, the memories of what happened to you when but it’s a magical little book, weirdly interac- you were wearing them. If you’re a guy, you 4

from left: Sonia Manzano, Loretta Swit, Myra Lucretia Taylor, Emily Dorsch and Daisy Eagan star in the first national tour of Nora Ephron and Delia Ephron’s Love, Loss, and What I Wore. photo © Carol Rosegg probably don’t realize that, but women remember everything in terms of what they were wearing the night it happened. Once we got all this wonderful material, we then started to prune and shape monologues with it. “It covers a huge range of things—everything from your first bra to a girl who throws her twenties away on a terrible guy to people who wear black to what a woman wears to visit the man she loves in prison to a piece on how we hate our purses.” Seeing the last requires explaining, she offers: “What we hate is what’s inside the purse. We hate the mess about our lives that is reflected by what’s in our purse.” Writing together is the family trade. Nora and Delia are the daughters of a celebrated screenwriting team, Henry and Phoebe Ephron, that eased many a stage hit on to the screen (Carousel, John Loves Mary, Desk Set) and occasionally gave back to Broadway (their Take Her, She’s Mine was prompted by Nora’s letters home from college). The sisters grew up Princesses of the Apthorp, inveterate West Siders whose affection for the neighborhood was vibrantly visual in You’ve Got Mail, This Is My Life and When Harry Met Sally. “We do every form of collaborating that you can do,” beams Nora. “We write together. We write separately together. On something like this, one of us might write most of a piece or take the first pass at it, and the

other’s the editor or suggester.” The Ephrons got their play up and at ‘em in a series of Monday night workshops last winter at their producer Daryl Roth’s DR2 Theatre. “One of the things we found is that people wouldn’t leave,” Delia says. “They gathered in the lobby afterwards and wanted to talk about their lives and their clothes and what happened to them. They were just flooded with memories. It’s a powerful piece because it stirs that up.” Ladies, start your engines! Postscript: On December 20, 2011 Mark Kennedy of the Associated Press reported: “Since debuting… the show has taken on a life of its own. This fall it celebrated its second anniversary at its permanent home in the Westside Theatre… and it also has played on six continents—in 14 countries as different as France and Argentina. “Over 100 actresses have felt the power, including Samantha Bee, Alexis Bledel, Kristin Chenoweth, Tyne Daly, Fran Drescher, Janeane Garofalo, Melissa Joan Hart, Carol Kane, Minka Kelly, Jane Lynch, Natasha Lyonne, Rosie O’Donnell, Rhea Perlman, Caroline Rhea, Doris Roberts, Sherri Shepherd and Brooke Shields.” The performances of Love, Loss, and What I Wore at Detroit’s Gem Theatre are part of the show’s first national tour, which began January 3, 2012. 5

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Emily Dorsch Daisy Eagan Sonia Manzano Loretta Swit Myra Lucretia Taylor Scenic Designer

Costume Designer

Lighting Designer

Sound Designer

Jo Winiarski

Ren LaDassor

Jeff Croiter

Walter Trarbach



Tara Rubin Casting

AWAAWA Theatrical Booking Touring

Production Stage Manager

Production Manager

Lucia Lombardi

Shannon Case

General Manager

Associate Producer

DR Theatrical Management Alexander Fraser

Company Manager

Susan Guszynski

Directed by

Karen Carpenter This production proudly supports Dress for Success. Audience members are invited to donate gently-used purses and other accessories in the theatre lobby.


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SCENES Gingy’s Story My Mother Clothesline—What My Mother Said The Bathrobe Holly’s Story Gingy’s Story, continued Clothesline—The Bra The Prom Dress Madonna The Gang Sweater Boots Clothesline—The Dressing Room The Shirt Gingy’s Story, continued Lynne’s Story Sisters Clothesline—The Closet Gingy’s Story, continued Annie’s Story Fat/Thin Shoes Clothesline—I Just Want to Say I Hate My Purse Brides Clothesline—Black Gingy’s Story, continued Geralyn’s Story Gingy’s Story

THE AUTHORS WISH TO THANK THE WOMEN WHO CONTRIBUTED THEIR STORIES: Amanda Abarbanel-Rice, Heather Chaplin, Nancy De Los Santos Reza, Gail Kass, Alex Leo, Geralyn Lucas, Merrill Markoe, Holly Millea, Stephanie Mnookin, Anne Navasky, Pamela Newton, Rosie O’Donnell, Shira Piven, Mary Rodgers, Elizabeth Segal, Nancy Short, Alex Witchel, Lisa Zeiler


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Fisher Theatre • Feb. 28–Mar. 11, 2012 • Fisher Box Office, & 800-982-2787 Groups (12+): e-mail Groups@Broadway (subject line: Shrek) or call 313-871-1132

On Sale Now Fisher Theatre • May 1–13

Fisher Box Office, & 800-982-2787 Groups (12+): (subject line: Blue Man) or 313-871-1132 Info: • 313-872-1000

Shrek—Believe All Ogre Again


illiam Steig (1907-2003), the artist and Rob Ashford (Co-Directors) at the helm. once crowned the “King of Car- They also turned to the top notch designer toons” by Newsweek, remains the Tim Hatley for sets and costumes. New Yorker’s longest-running contributor Shrek The Musical debuted in the sumwith more than 1,600 drawings and 117 cov- mer of 2008 at Seattle’s 5th Avenue Theatre ers to his name. He began writing and illus- and opened on Broadway in December of trating books for children at the age of sixty. that year. During its Broadway run it played In the 1990 picture book Shrek!, Steig over 500 performances, garnered eight Tony took familiar themes and characters from Award nominations, ranked in the top ten traditional fairy tales and wove musicals for ticket sales in 2009, them into a fabric of cutand embarked on a national tour. ting wit and humor to create In May of this year, the show a modern-day fairy tale for opened a production based in kids and adults London, England. alike. From the The musical’s indomitable Pilatest tour, comnocchio to the ing to the Fisher lovable ogre Theatre in Febhimself, Shrek! ruary, incorpoallows each rates some critcharacter to emically-acclaimed body a sense of adjustments optimism and including a new vigor that, while opening, new absent from musical arrangeclassic fairy ments, and a tales, fits nicely Luke Yellin as Pinocchio and the fairy tale creatures in “Freak Flag” new song, “Forinto the mind set from the 2011–2012 national tour. photo by Joan Marcus ever,” sung by of a new and inthe red Dragon. volved generation. Whereas the classic fairy During its run in Costa Mesa, California tale ogre is threatening, Shrek is kind, strong in October, Shrek The Musical made Miand wise. cheal L. Quintos of Broadway World laugh DreamWorks Pictures brought Steig’s for most of the night. In his review, he said modern fairy tale to the screen in 2001. Ear- “this amusing, big-kid friendly live-action ly in the film’s production process, Academy cartoon musical delivers the laughs not with Award-winning director Sam Mendes felt a beguiling snark but, rather with fart battles, that the story was a perfect fit for Broadway, cheeky sight gags and a sassy attitude,” addand he and DreamWorks’ Jeffrey Katzenberg ing that it’s “a silly, harmlessly fun show.” determined that the first step was to see how The new production’s talented cast and hithe characters came to life on screen. larious pop culture and Broadway referencThe movie version of Shrek had its own es—look for jabs at everything from Wicked fairy tale ending, going on to become one of and A Chorus Line to Dreamgirls and Les the most successful film series of all time, Misérables—will undoubtably bring tons even winning the first-ever Academy Award of good-humored fun to the Fisher Theatre for an Animated Feature film. Having con- stage in February and March 2012. qured Hollywood, it was time for Shrek and his merry cohorts to take Broadway Shrek The Musical plays at the Fisher Theatre by storm. DreamWorks assembled some of February 28–March 11. Tickets are on sale now at the most celebrated, talented and slightly the Fisher Theatre box office, and twisted creative types working on Broadway, 800-982-2787. Groups of twelve or more e-mail with David Lindsay-Abaire (Book and Lyr- (subject line Shrek) or ics), Jeanine Tesori (Music), Jason Moore call (313) 871-1132. 11

The Historic Gem and Century Theatres & Century Grille

Detroit’s Record-Breaking “Little Gem”


he Historic Gem and Century Theatres and Century Grille have a history of breaking records. Built in 1903 by the Twentieth Century Association, a group of civic and philanthropic-minded women, the Century Club set a precedent even before a brick was laid, holding Detroit’s first building permit issued in a woman’s name. The original building opened at Columbia and Witherell streets on December 26, 1903. In 1927, the Century Club completed construction of its adjoining building, the “Little Theatre” of Detroit. From the beginning, the Little Theatre broke new ground, opening with the first foreign film shown in Detroit, Cyrano De Bergerac. The small theatre continued to At the original location at Columbia show artisand Witherell tic and foreign films until the Great Depression when The Twentieth Century Club disbanded and the Little Theatre and Century Club were lost to development foreclosures. The Century Club Building operated as a restaurant under various names until the 1950’s when it was known as The Russian Bear. Over the years, the Little Theatre changed names, ownership, and uses, operating as a movie theatre (Rivoli, Drury Lane, Cinema and Europa), a repertory theatre (The Vanguard) and finally as an adult movie and burlesque theatre (The Gem) until its closure in 1978. Chuck Forbes purchased each building independently and after 50 years, once again brought the Gem and Century under a single ownership. In 1990, the Forbes family began a complete restoration of the Gem Theatre, using archive photos, re-creation of the original carpeting found in the building, historical chandeliers and theatre seats from the demolished Ambassador Theatre in St. Louis. The theatre reopened on December 31, 1991 as The Gem Theatre with the musical review, The All Night Strut! In 1997, the theatre again closed. Faced with demolition for the construction of Co12

merica Park, the Forbes family conceived a plan to save these two historic buildings by moving the entire structure to the corner of Madison and Brush—a move of 1,850 feet. On November 10, 1997 the Gem Theatre completed its five-block journey (shown mid-way below), breaking the Guinness Book World Records as the heaviest building ever moved on wheels. Once relocated, the Forbes family began restoration of the Century Club facility. Using photos from the building’s 1903 opening, the facility was restored to its original Arts and Craft style, while preserving architectural artifacts from several demolished downtown buildings. These artifacts are seen in the Pewabic tile from the YWCA swimming pool as decorative tiles on the bar in the Century lobby, leaded glass from the YWCA behind the Century bars, the limestone balustrade which originally lined the rooftop of the YWCA now encloses the Gem/Century outdoor patio. The 12 beautiful stained glass windows from the YWCA chapel now overlook the Century staircase.

On the move to Madison and Brush, 1997 Today, the building is listed on the National Register of Historic Places and is one of Detroit’s most intimate and charming venues. It has continued its record-breaking history by presenting six of Detroit’s ten longest running shows—Menopause The Musical, Escanaba in Da Moonlight, The All Night Strut!, Shear Madness, Forbidden Broadway and Forever Plaid. In 2003 a grand black-tie affair celebrated the Century Building’s 100-year anniversary with best wishes for the next 100 years!

WHO’S WHO EMILY DORSCH. Broadway: In the Next Room (Lincoln Center Theater), A Man For All Seasons (Roundabout Theatre Company). Regional Theater: In The Next Room (Repertory Theatre of St. Louis), Bossa Nova (Yale Rep), The Miracle Worker (Paper Mill Playhouse). Television: “Law & Order,” “Law & Order: SVU,” “Gossip Girl” and “New Amsterdam.” She holds a Bachelor of Music degree from Bowling Green State University, and an MFA in Acting from the Yale School of Drama. DAISY EAGAN is the youngest actress to win a Tony Award for her performance as Mary Lennox in The Secret Garden (Drama Desk and Outer Critics Circle nominations). Broadway: Les Misérables, James Joyce’s The Dead. Off Broadway and Regional include: World premieres of Be Aggressive and On the Mountain; A View from the Bridge, The Wild Party (L.A. Weekly Award). TV/ Film credits include: “Numbers,” “Ghost Whisperer,” “The Unit,” “Without a Trace,” Ripe and Losing Isaiah. More information at SONIA MANZANO has been playing Maria on “Sesame Street” since the early seventies. Stage work includes the original production of Godspell, Vagina Monologues and The Exonerated. Manzano has earned fifteen Emmys as a writer for “Sesame Street,” and has published two children’s books, No Dogs Allowed! and A Box Full Of Kittens with Simon and Schuster. Scholastic will publish her first novel in the fall 2012. She is working on a memoir. LORETTA SWIT became an American icon starring in television’s most honored series, “M*A*S*H.” She has been honored with two Emmys, People’s Choice Award, Genie Award, Silver Satellite Award, ten Emmy nominations and eight Golden Globe nominations. Her signature piece, Shirley Valentine, won her Chicago’s most prestigious honor, the Sarah Siddons Award. On Broadway, she starred in Same Time, Next Year and The Mystery of Edwin Drood. Toured with Mame, Song of Singapore, 42nd Street and did The Vagina Monologues in New York, London and Chicago. She has eight features to her credit and 30 films for television. Recognized leader in the Humane Environment.

MYRA LUCRETIA TAYLOR. Broadway: Nine (Tony Award, Best Revival 2003), Macbeth, Electra, Chronicle of A Death Foretold, MuleBone, and A Streetcar Named Desire. Off Broadway: A Cool Dip in the Barren Saharan wCrick, Crazy Mary, Fabulation (Playwright’s Horizons). National Tour: Wicked (Madame Morrible). Regional: Mary (world premiere/Goodman), Going to St. Ives (Barrington Stage), The Old Settler (world premiere/ McCarter, Long Wharf). International: A Winter’s Tale; Pericles (Royal Shakespeare Company). TV: “Law & Order” (all three shows), “The Big C.” Film: Silver Tongues, The Private Lives of Pippa Lee, Changing Lanes. Myra is a Fox Fellow. AJA KANE (Understudy) has traveled the USA, Europe, and the Far East as a performer, stage manager, director and choreographer. On Broadway and the National Tours: The Radio City Christmas Spectacular, Sweeney Todd, The Exonerated, Scrooge: The Musical, Best Little Whorehouse in Texas w/Ann-Margret, Cats, Jesus Christ Superstar, The American Dancemachine, Elvis: a Celebration, Jack w/Wayne Cilento. Regional: A Chorus Line, Man of LaMancha, Gypsy, Funny Girl, Sweet Charity, Kiss Me Kate, George M., Annie, Hello Dolly, Nunsense, The Shoji Tabuchi Show. Also a variety of opera, film, television, and dance credits. NORA EPHRON (Playwright) is a journalist, novelist, playwright, screenwriter and director. Her credits include Heartburn, When Harry Met Sally, Sleepless in Seattle, You’ve Got Mail and Imaginary Friends. Books include Crazy Salad, Scribble Scribble, I Feel Bad About My Neck and her latest, I Remember Nothing: and Other Reflections. Her most recent film, Julie & Julia, stars Meryl Streep and Amy Adams. DELIA EPHRON (Playwright) is an author, playwright and screenwriter. Her new novel, The Lion Is In, will be published in July 2012 by Penguin. She has written fiction, non-fiction, humor (for adults, teens, and children), including the novels Hanging Up and Big City Eyes. Her best-selling book How to Eat Like a Child was adapted as a musical for television and subsequently became a theatrical musical for children. Screenwriting credits include The Sisterhood of the Traveling Pants, You’ve Got Mail, Michael, This Is My Life and Hanging Up. 13


Art/See Music Live! and Riot of Spring (conceived/scripted), Indianapolis Symphony. Creative Producer, UN/WHO global camILENE BECKERMAN (Original Book paign: Deliver Now for Women and Children, and Drawings) was nearly 60 when she be- inaugural Clinton Global Initiative. Faculty, gan her writing career. Her articles have Yale Drama, 1991–1996. “For my Mother.” appeared in the New York Times, the Los Angeles Times, the Ladies Home Journal, DARYL ROTH (Producer) is proud to and many other places. Her books have been hold the singular distinction of producing translated into German, Japanese, French six Pulitzer Prize-winning plays: August: and Portuguese; she has done spot drawings Osage County, Proof, Wit, How I Learned for the New Yorker and her art has been in- to Drive, Anna in the Tropics and Edward cluded in exhibitions at the Museum of the Albee’s Three Tall Women. Also: The Baby Dance; Bea Arthur on Broadway; Beckett/ City of New York. Albee; Cactus Flower; Camping with Henry KAREN CARPENTER (Director). Steel and Tom; Caroline, or Change; A Catered Magnolias, Paper Mill Playhouse; seven Affair; Closer Than Ever; Come Fly Away; award-winning seasons as Associate Artis- Curtains; De La Guarda; Dear Edwina; tic Director, The Old Globe, directing many Defying Gravity; Die Mommie Die!; The critically acclaimed productions: Splendour; Divine Sister; Driving Miss Daisy; Fela!; Two Sisters and a Piano; Smash; Betrayal; Edward Albee’s The Goat, or Who Is Sylvia? As You Like It and producing all, including (Tony Award); Irena’s Vow; A Little Night Nora Ephron’s Imaginary Friends. NYMF: Music; Manuscript; Medea; The Normal Top of the Heap, Director’s Choice Award. Heart (Tony Award); Old Wicked Songs; William Inge Theatre Festival, Inge: Com- Our Lady of 121st Street; Edward Albee’s plex (also conceived/curated). Arena Stage, The Play About the Baby; Salome; Snakebit; CenterStage, Huntington, Seattle Rep, Wil- The Tale of the Allergist’s Wife; The Temperliamstown, Martha Graham. Concerts: Hear amentals; Thom Pain…; Through the Night;


Thurgood; Twilight: Los Angeles, 1992; Vigil; War Horse (Tony Award); What’s That Smell: The Music of Jacob Sterling; Edward Albee’s Who’s Afraid of Virginia Woolf?; The Year of Magical Thinking; and the film My Dog: An Unconditional Love Story. Upcoming projects include A Time to Kill, based on the John Grisham novel, and Kinky Boots, with book by Harvey Fierstein and music by Cyndi Lauper. Love to Steven, my wonderful family and Leo & Lucy, ever in my heart. JO WINIARSKI (Scenic Design). OffBroadway: The J.A.P. Show: Jewish American Princess of Comedy, I Love You Because, A Likely Story. Associate Broadway design: Rock of Ages, Jay Johnson: The Two and Only, LoveMusik. Regional: Utah Shakespearean Festival, Virginia Stage, The Hangar, Geva. Art Direction: “A Colbert Christmas: The Greatest Gift of All” (Emmy Award nomination), “2009 NHL Awards.” REN LaDASSOR (Costume Design). OffBroadway credits: Post No Bills (Rattlestick Theater). Regional & NY credits: The Glass Menagerie (American Players Theatre), Camp Wanatachi (La MaMa), My Name is Asher

Lev (Roundabout Theatre/Delaware Theatre Company), Dream Machines (Open Dream Ensemble), Kaboom! (FringeNYC), Baby with the Bathwater (Ground UP Productions), Adventures from Ezra Jack Keats (Weston Playhouse). Film: Cruzando (Those Guys & That Girl Films). A graduate of the University of North Carolina School of the Arts. JEFF CROITER (Lighting Design). NYC credits include Kiki & Herb Alive on Broadway; concerts at the New Amsterdam including Chess, Hair and On the 20th Century; Jerry Springer The Opera; Rufus Wainwright’s Judy concert at Carnegie Hall; Next Fall; Streamers; The Voysey Inheritance; Adrift in Macao; Things We Want; The Internationalist; Burleigh Grimes; Drumstruck; Jacques Brel…; I Love You Because; Barbra’s Wedding; Almost, Maine; Trumbo; Matt & Ben; Cam Jansen; Miss Witherspoon; Privilege; The Dazzle; and Fiction. WALTER TRARBACH (Sound Design). Broadway: The Farnsworth Invention and Cymbeline. Other credits include Catch Me If You Can; The Tin Pan Alley Rag; Becky Shaw; Measure for Pleasure; Satellites; Farragut North; Sandra Bernhard’s Everything

Pro Titl Pub pro Run Siz For (Fis Des Bac Pho fra


WHO’S WHO Bad and Beautiful; Almost, Maine; I Love You Because; and Mr. Marmalade. Associate Sound Designer on Billy Crystal’s 700 Sundays, Assistant Sound Designer for Jersey Boys national tours. Walter is married to photographer Kimberly Witham. TARA RUBIN CASTING (Casting). Broadway: How to Succeed in Business Without Really Trying, Promises, Promises, A Little Night Music, Billy Elliot, Shrek, Guys and Dolls, The Country Girl, Rock ‘n’ Roll, The Farnsworth Invention, …Young Frankenstein, The Little Mermaid, Mary Poppins, My Fair Lady, Pirate Queen, Les Misérables, History Boys, Spamalot, Jersey Boys, … Spelling Bee, The Producers, Mamma Mia!, Imaginary Friends, Phantom of the Opera, Oklahoma!, Happiness, The Frogs, Contact, Thou Shalt Not. Off-Broadway: Love, Loss, and What I Wore, Second Stage. Regional: Yale Repertory, Kennedy Center, La Jolla Playhouse, Dallas Theatre Center. DR THEATRICAL MANAGEMENT (General Management) provides general management services to Off-Broadway commercial productions in New York and their interests on the road. The company, led by Adam Hess and Seth A. Goldstein, represents such properties as Love, Loss, and What I Wore (NYC and First National Tour), Traces and The Ohmies, as well as forthcoming productions of Rated P . . . For Parenthood, Tokio Confidential and Judith of Bethulia. AWA TOURING (Tour Booking and Engagement Management) is a full service live entertainment agency, distributing musicals, plays, and variety attractions domestically and internationally. Current roster includes: Green Day’s American Idiot, The Phantom of the Opera, A Chorus Line, A Christmas Story: The Musical, Dreamgirls, Cirque Dreams Pop Goes The Rock, Cirque Dreams Holidaze, Untapped, Love, Loss, & What I Wore, Colin Quinn Long Story Short, Blast, and Apassionata. SUSAN GUSZYNSKI (Company Manager). Andrew Lloyd Webber’s Phantom of the Opera (National Tour), Xanadu (Chicago, Tokyo, National Tour), Tuna Does Vegas (National Tour), Whistle Down the Wind (National Tour and Canada), All Shook Up 16

(National Tour), Def Poetry Jam (National Tour, Sydney, Auckland); Guys And Dolls (National Tour), Fame (National Tour and Canada), Steve Martin’s Picasso at the Lapin Agile (National Tour), Mrs. Klein starring Uta Hagen (National Tour), The Great Radio City Music Hall Spectacular (National Tour and Canada). Member, ATPAM. It’s a privilege to join the Love, Loss production. LUCIA LOMBARDI (Production Stage Manager) has worked at The Goodman Theatre, Northlight, Victory Gardens, Body Politic, NJT and Remains. Commercial Productions include: White Noise, Don’t Dress for Dinner, Bleacher Bums, The Cocktail Hour, Zoo Plate Special, Comfortable Shoes, Love Janis, ART, Could It Be Magic (the Barry Manilow Songbook), The Last Night of Ballyhoo and the unforgettable Uncle Broadway. National Tours: Billy Elliot, Scrooge with Richard Chamberlain and Disney’s The Lion King. BALEIGH ISAACS (Stage Manager) is honored to join the sisterhood of Love, Loss, and What I Wore. Chicago theatre: Steppenwolf, Lookingglass, Chicago Shakespeare, Remy Bumppo, American Theater Company, and Famous Door. Baleigh has also worked with the Alliance Theatre and Georgia Shakespeare in her hometown of Atlanta. Her NYC credits include Les Misérables, The Rhythm Club, and Summer of ‘42. SHANNON CASE (Production Manager). Kindness, A Feminine Ending, Essential Self-Defense, Blue Door, Pen (Playwrights Horizons); Spalding Gray: Stories Left to Tell; I Love You Because; Apparition; Slut the Musical; Sandra Bernhard: Everything Bad and Beautiful, Indoor/Outdoor, Manuscript (Daryl Roth Theatre). Associate Production Manager, Grace Jones Hurricane Tour US Summer 2009. ALEXANDER FRASER (Associate Producer) joins Daryl Roth Productions after working as a producer, general manager and nonprofit executive on more than 75 Broadway (The Normal Heart—Tony Award, Irena’s Vow, Bombay Dreams, Topdog/ Underdog, Noises Off, Crazy for You), OffBroadway (Love, Loss, and What I Wore; Jitney; Saturday Night; Jar the Floor; This is Our Youth), West End (Ragtime, Boston Marriage, Lobby Hero) and touring productions. Executive Director, Second Stage Theatre (1996–2001).

STAFF FOR LOVE, LOSS, AND WHAT I WORE GENERAL MANAGEMENT DR Theatrical Management Adam Hess  Seth A. Goldstein Jodi Schoenbrun Carter Heather Schings  Aaron Thompson Kyle Provost  Danielle Karliner TOUR BOOKING & ENGAGEMENT MANAGEMENT AWA Touring Alison Spiriti  Sean Mackey Robin Mishik-Jett CASTING Tara Rubin Casting Tara Rubin, CSA Laura Schutzel, CSA Eric Woodall, CSA Merri Sugarman, CSA Paige Blansfield  Dale Brown  Kaitlin Shaw Company Manager .....................................Susan Guszynski Associate Lighting Designer........................................ Charles Cooper Production Stage Manager...........................Lucia Lombardi Stage Manager...............................................................Baleigh Isaacs Technical Director................................................... Gregory F. Mazure Assistants to Ms. Roth ................................. Greg Raby, Megan Smith Assistant to Ms. Ephron........................................................ J.J. Sacha Management Associate ....................................................... Scott Lupi Online Marketing ............................. Pit Bull Interactive/David Risley General Press Representatives ............................................. O&M Co./ Rick Miramontez, Molly Barnett Illustrations .............................................................. Ilene Beckerman Graphic Designer ................................................................. Scott Lupi Accounting......................................Rosenberg, Neuwirth & Kuchner/ Chris Caccace, Marina Flom Legal Counsel..................................................... Lazarus & Harris LLP/ Scott Lazarus, Esq., Robert C. Harris, Esq. Insurance ...........................................C&S Int’l Insurance Brokers Inc. Payroll Services...........................................................Paychex Payroll CREDITS Makeup provided by MAKE UP FOREVER. Scenic elements provided by Joe Cairo. BOUNCE is the official sponsor of “lint-free black clothing” worn by the cast at opening night events. The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States. The Press Agents & Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers. The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.

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Special places before & after the show

Affordable Bistro Dining in Midtown Detroit, just minutes from the Gem Theatre –Complimentary Shuttle–

Proof: xxxxxxxxxxxx Title Publication: Broadway in Detroit program for “xxxxxxxxxxx” Run dates: xxxxxxxxxxxx Size: 1/4 pg. vert. (2-1/4” x 3-1/4”) For: Nederlander Detroit (Fisher Theatre & others) Agency: SMZ advertising Design: Frank Bach, Bach & Associates; Phone 313-822-4303;

restaurant Canfield at Second • Detroit 313-831-9470 Restaurant Brewery Dairy Bakery Handcrafted & Homemade Since 1965

Mention this ad & get 10% off your entrée 18

Complimentary shuttle service to & from the Gem Theatre

Scan in to see our list of Cast Parties & other upcoming events… Live Entertainment Fri. & Sat. Evenings 313-832-1616 4222 Second Ave. north of Mack • Detroit

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e proudly present Broadway In Detroit Preludes & Encores, our recommendations for a great meal before the show, or a place to close the night’s curtain with a delicious dessert. Please consider these wonderful restaurants—and don’t forget to say that you heard about them here. Thanks! Guide: $ = <$10, $$ = $10-$25, $$$ = $25-$50, $$$$ = >$50, F=Free Parking, G = Groups, P=Prix fixe packages available, R = Reservations, S = Shuttle Service, V=Valet Parking Andiamo • Warren, Grosse Pointe Woods, Bloomfield, Royal Oak, Sterling Heights, Dearborn, Detroit Riverfront, Novi, Livonia. Type of cuisine: Italian, Price: $$$, Amenities: GRV (F-some locations). This season, enjoy Prezzo-Fisso, a fixed-price Fisher Theatre menu on performance days with tickets. Contact your local Andiamo for reservations and information. The Capital Grille • The Somerset Collection – North, 2800 W. Big Beaver Rd., Troy, MI 48084. (248) 649-5300. Type of cuisine: American, Price: $$$, Amenities: FGPRV. Join us before or after the show for our dry aged steaks, freshest of seafood, award-winning wine list, incredible staff and our special $39 menu especially created for theatre guests. Elwood Bar & Grill • 300 Adams, Detroit MI 48226. (313) 962-2337. Price: $, Amenities: FGPR. The Elwood Bar & Grill is a pre-show favorite located directly behind the Gem Theatre. The art deco diner features an extensive salad and sandwich menu.

La Musique • New Center – 3071 W Grand Blvd., Detroit, MI 48202. (313)873-3000. Type of Cuisine: American, Price: $$, Amenities: GPRV. Eat. Play. Stay. Park and dine at La Musique in the historic St. Regis Hotel and walk to the Fisher Theatre. Contemporary American Cuisine. Majestic Café • Midtown, 4120 Woodward Ave., Detroit, MI 48201. (313) 833-9700. Type of cuisine: American, Price: $$, Amenities: FGSR. Located in the historic Majestic Theatre Center. The menu is rooted in classic American comfort food with a modern twist. Delicious appetizers, sandwiches, burgers, entrees & desserts are all made fresh daily.

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A Dining Experience Worthy of Applause Dinner for Two â&#x20AC;&#x201C; Fixed Price Menu We want to help make your Gem Theatre experience even more spectacular! Visit one of our nine Andiamo locations on show night and order from our fixed price menu. Visit our website for full menu.

Buon Appetito!

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Preludes & Encores from page 19 Mario’s • Midtown, 4222 Second St., Detroit, MI 48201. (313) 832-1616. Type of cuisine: Italian, Price: $$$, Amenities: GPRSV. Complimentary shuttle to & from the Gem Theatre. Show your tickets and receive 10% off food on your performance date. Afterglow specials too! Party with the people who perform. Ocean Prime • Coolidge & Big Beaver, 2915 Coolidge Highway, Troy, MI 48084. (248) 458-0500. Type of Cuisine: American, Price $$$, Amenities: FVRG. Seafood or Steak? At Ocean Prime, you can choose the best of both. Our passion is to give you an extraordinary supper club experience. Traffic Jam & Snug • 511 W. Canfield St., Detroit MI, 48201. (313) 831-9470. Type of cuisine: American, Price: $$, Amenities: FGR. Featuring an eclectic menu of vegetarian items, burgers, fresh fish, pastas & salads. Decadent house-made desserts. Free, guarded parking. Minutes from the Gem Theatre. Union Street • Midtown, 4145 Woodward Ave, Detroit, MI 48201. (313) 831-3965. Type of Cuisine: American, Price: $$, Amenities: GR. 15% off when you bring in your Love, Loss ticket! Serving lunch, dinner, desserts and Sunday brunch. Kitchen open late. Large group tours welcomed.

Bring This Ad & Receive 15% Off!

Proof: 10/23/10; 8:52PM Union Street Publication: Broadway in Detroit program for “Rock of Ages” Run dates: 11-9 to 11-21-10 Size: 1/4 pg. vert. (2-1/4” x 3-1/4”) For: Nederlander Detroit (Fisher Theatre & others)

Lunch • Dinner • Sunday Brunch Group Tours Welcome!

Design: Frank Bach, Bach & Associates; Phone 313-822-4303, fax 313-331-1108;

4145 Woodward Avenue Midtown Detroit 313.831.3965 21

Broadway In Detroit The Program for the Gem Theatre Volume 50, Number 7 February 8–March 4, 2012 Fisher Theatre • Fisher Building 3011 W. Grand Blvd., Detroit, MI 48202 Under the Management of Nederlander Detroit, LLC Executive Director............................................. Alan N. Lichtenstein Assistant to Mr. Lichtenstein.......................................... Nancy King Director, Corporate Sales/Marketing..............................Scott Myers Senior Director, Marketing........................................... Alyssa Cohen Advertising Director.....................................Debbie Michelson, SMZ Press Agent................... Brendy Barr, Brendy Barr Communications Program Design................................Frank Bach, Bach & Associates

Broadway In Detroit TicketExchange: Buy and sell theater tickets online. Buyers: print guaranteed tickets directly from subscribers.

Subscribers: enjoy automatic payment and ticket delivery. Get a My Broadway In Detroit account at or by calling Subscriber Services at 313-872-1180.


• AlySSA Cohen • (248) 608-1884 • SCoTT MyeRS • (313) 872-1177 22

The Gem Theatre Jim Forbes..............................................................General Manager Laurie Bemis.................................................. Director of Accounting Nicole Lakatos.................................. Sales & Special Events Director Mario Consiglio.....................................................Technical Director Andrea Kannon.................................................... Wardrobe & Props George Hamiel...........................................................Executive Chef Sara Schrems................................................... Group Sales Manager Bertha Crane........................................................ Banquet Manager Judy Beneson....................................................... Banquet Manager Kristine Wakefield.................................................... House Manager SallyProof: Hoskins....................................................Accounting Assistant xxxxxxxxxxxx Pam Merritt.......................................................... Usher Coordinator The Title photographing or sound recording of any performance or the possession of any device for such photographing or sound recording Publication: Broadway Detroitofprogram for inside the theater without the writteninpermission the management is prohibited by law. Violations may be punishable by ejection and may “xxxxxxxxxxx” render the offender liable for money damages.

Run dates: xxxxxxxxxxxx

Articles found in the theater will be held for 30 days only. Lost Size: 1/4 pg. vert. (2-1/4” x 3-1/4”) article inquiries should be made by phone to (313) 963-9800 between 11AM and 5PM Mon.–Fri. For: Nederlander Detroit Gem Theatre Offices..................................................(313) 963-9800 (Fisher Theatre & others) Broadway In Detroit Season Ticket Office & Subscription Information...........................................(313) 872-1180 Agency: SMZ advertising Gem Theatre Group Sales Information..................... (313) 463-4216 If you expect emergency phone calls please leave your seat location withDesign: the ticketFrank taker. Bach, For Bach emergencies only during performances. ............(313) 963-9800 & Associates; Phone 313-822-4303;

AGE LIMIT As a courtesy to our patrons, it is the policy of Broadway In Detroit not to admit children under the age of 5. This policy may be altered from time to time based on Shows and Show content. You will be made aware of particular age restrictions during your purchase. Some shows make further age appropriate recommendations and Broadway In Detroit will provide those on its website; however, judgment of the content for each show should be made Proof: xxxxxxxxxxxx on an individual basis prior to purchase. When available, Broadway In Detroit provides links to show websites for further information. Title regardless of age, must have a ticket. All patrons,

Publication: Broadway in Detroit program for “xxxxxxx Run dates: xxxxxxxxxxxx Size: 1/4 pg. vert. (2-1/4” x 3-1/4”) Design: Frank Bach, Bach & Associates; Phone 313-822

Fisher Theatre • April 10–22 Tickets: Fisher Box Office, & 800-982-2787 • Info:, 313-872-1000 Groups (12+): or 313-871-1132 Broadway In Detroit 50th Anniversary Season sponsored by

Spotlight Room At t h e Fis h e r t h e At r e Experience theatre at an entirely new level. • An elegant, private environment with comfortable seating and many amenities including food, beverages, private bar service, coat check and private restroom. • Comfortably accommodates parties of ten to thirty guests.

• Available for pre-show, intermission and post-show events. For more information visit or call (313) 872-1177 Catering provided exclusively by


D E S I G N E D T O PAY AT T E N T I O N A N D A T T R A C T I T. T H E 3 0 0 I S W E L L A P P O I N T E D T O R E M I N D YO U O F W H AT YO U â&#x20AC;&#x2122; V E A C C O M P L I S H E D. T H E L U X U R I O U S I N T E R I O R I S F I L L E D W I T H A D VA N C E D T E C H N O L O G Y L I K E T H E C L A S S - L E A D I N G 8 . 4 - I N C H T O U C H S C R E E N , O U R M O S T I N N O VAT I V E A W D E V E R A N D R E F I N E D D E TA I L S L I K E O U R H E AT E D S T E E R I N G W H E E L . A B O V E A L L , T H E 3 0 0 I S A R E M I N D E R T H AT W I T H H A R D W O R K C O M E S G R E AT R E W A R D S .

C H RYS L E R .CO M / 3 0 0 Chrysler is a registered trademark of Chrysler Group LLC. Available optional feature. Claim based on 2011 Chrysler Group LLC Upper Large Car segment.

Love, Loss  

Broadway In Detroit 2011-2012 season program, Love, Loss and What I Wore at the the Gem Theatre, 2-8-12 to 3-4-12