CURTAIN! Magazine - Spring 2022

A PUBLICATION OF GOODSPEED MUSICALS

Spring 2022

brighter. happier. stronger. together.

2 Letter from the Artistic Director 3 Letter from the Managing Director This Spring in Education 4 Cabaret: What Lies Beneath

ARTISTIC DIRECTOR Dear Members,

Cabaret Director's Vision 5 Anne of Green Gables Writers' Notes

Happy Spring!

Announcing Christmas in Connecticut

Here at Goodspeed the daffodils are blooming and campus is abuzz with all the signs of a return to full production.

6 2022 Johnny Mercer Foundation Writers Grove at Goodspeed Thank You to The Burry Fredrik Foundation

In February we welcomed a full cohort of writers—composers, lyricists and librettists—to the Johnny Mercer Writers Grove at Goodspeed.

Over their month-long residency we supported and reveled in their work. In March we celebrated our 16th Festival of New Musicals—many of you joined us to enjoy the book-in-hand reading of three new musicals and to engage with industry leaders in conversation about the state of the art as we continue the recovery from the pandemic.

7 2022 Festival of New Musicals 8 Goodspeed "Works" In Inclusion: An Update 9 Goodspeed Members Travel to NYC Open Caption & Sensory Friendly Turn Your Credits into Tickets Goodspeed Gala Save the Date 10 A Couple Leaves A Legacy Leaving A Legacy Through Your IRA 11 A Long Life, A Good Friend 2022 Corporate & Foundation Supporters

is a publication of Goodspeed Musicals MEMBERSHIP DIRECTOR Michele R. Baumann 860.615.0333 membersmatter@goodspeed.org BOX OFFICE | 860.873.8668 ADMINISTRATIVE OFFICES 860.873.8664 WEB | goodspeed.org EDITOR | Michele R. Baumann

And now, as spring arrives, the surest sign of the change of seasons in East Haddam has appeared—Cabaret is in rehearsal! The beautiful sounds of music and laughter are once again emanating from the rehearsal hall; power tools and sewing machines are buzzing; paint is being applied to scenery and brushes are being washed; lighting instruments and speaker cabinets are being focused in the theatre—as our exceptional production team cranks out the beautiful productions you will enjoy on the Goodspeed stage all year long. It has been a joy to welcome our full staff back to work.

We remain grateful to our Members for standing by us through the long pandemic shutdown of 2020 and through our reduced ability to produce in 2021. Today we are focused squarely on the future—on restoring Goodspeed as the premiere producing theatre in Connecticut, to reclaiming our strong position in the economic life of the lower Connecticut River Valley and, most of all, to welcoming musical theatre lovers from across the country (and around the globe) back to Goodspeed—in force!

As artists who are aware of our obligation to bring light and compassion to all through our work, our hearts break at the suffering we see on the other side of the world. But we rejoice this spring that here at Goodspeed we can finally all get back to doing what we do best—bringing laughter, music, joy and understanding into your lives—8 shows a week!

I will see you at the theatre soon.

DESIGNER | Katie Desjardins CONTRIBUTORS Naomi Anhorn David B. Byrd MIchael Fling Donna Lynn Hilton Gloria Gorton Mary Miko Matte O'Brien Cecilia Kurachi Ubé James Vásquez Matt Vinson PHOTOS Cover Photo courtesy of Julia Balfour, LLC David B. Byrd Diane Sobolewski

Donna Lynn Hilton (she/her) Artistic Director dhilton@goodspeed.org

YOU ARE THE BEST!

Thank you for renewing your memberships and your subscriptions. Your support means that we are able to mount a full season here at The Goodspeed this year. You are the star of every Goodspeed show, so don’t forget to go online to see your name listed at www.goodspeed.org.

MANAGING DIRECTOR Dear Members,

Art at the center of it all at long last.

For so very long now, and with great reason, we have been mostly focused on all things COVID. There was a time when we thought this thing would all blow over. Maybe we’d be down for a couple of weeks, tops. Then the ground quickly began to shift beneath our feet. We all became accustomed to living in a virtual space of Zoom boxes and wondered when, if ever, it would all end. Although there are numerous obstacles ahead, for which we will have a variety of alternate plans at the ready, that bright light headed our way no longer seems like a train, it’s the bright light at the end of the tunnel and we are ready for what’s ahead.

Earlier this year we welcomed a host of incredible artists back to the Goodspeed campus to participate—in person—in the Johnny Mercer Foundation Writers Grove at Goodspeed. It was truly a magical moment to experience, for the very first time in my case, the adored “musical handshakes” that occur on those first evenings where the teams of writers share a snippet of a song, a piece they hope to perfect, as a way of introducing their project and themselves. It was joyous. And once again, at long last, the nurturing of musicals was taking place in our little artistic village.

Mid-February brought about design presentations, casting sessions and production meetings for our first full season back. Trust me, you will be thrilled to experience what lies ahead in Cabaret, Anne of Green Gables, and 42nd Street and Christmas in Connecticut. As a Member, you already know Goodspeed is a special place. But to see that spark in the eyes of the artists we are finally able to employ again…it really is meaningful.

Soon, too, we’ll be able to share this all with you and I trust you’ll feel the same. And what a great reward after all of the hardship, toil and tumult we’ve collectively experienced these past two years. Because of you and many just like you, we’ve been able to persevere and finally, fully embody art at the center of it all.

As we continue to navigate this long road of recovery, we remain focused on Goodspeed’s bright future. From growing and expanding education and community engagement programs, to caring for and supporting our talented staff, to serving as a launch pad for the next generation of musical theatre makers, to achieving financial sustainability after this uncertain time; we are excited about what lies ahead and thank you for the important role you continue to play in this work.

Stay tuned for member-only opportunities to connect with the art and artists helping make our 2022 Season one to remember. And if I can leave you with just one request, please help us spread the word—shout it from the roof tops—that Goodspeed Musicals is back. We are meant to be together. Our incredible team will be waiting for you in that magical jewel box by the river.

Wishing you peace, health and musical moments,

David B. Byrd (he/him) Managing Director dbyrd@goodspeed.org

THIS SPRING IN EDUCATION

BY CECELIA KURACHI UBÉ EDUCATION ASSOCIATE

T

he Education Department began their Kids Company Spring Session on Monday, February 7. Kids Company offers Ensemble Classes and Private Studio Lessons in Acting, Voice and Dance.

This session, we have a selection of acting and vocal lessons, as well as an all-ages Acting Ensemble, run by the Education Department’s Teaching Artist Dr. Spencer Reese. Kids Company Ensembles follow four distinctive unit themes throughout the course of each session to explore different components of performance style and technique, all while exploring a variety of musicals. This Spring, Acting Ensemble is studying the following themes: • • • •

Unit 1: In the Wild Unit 2: It Started at Goodspeed Unit 3: Original Movie Musicals Unit 4: Musical Farce

Kids Company Spring Session will run for 14 weeks and culminate in a final virtual studio showcase for friends and family in May. Additionally, the Education Department is gearing up for the start of their virtual Arts Education Collaboration (AEC), a grant-funded program that allows us to host students from schools around Connecticut. Due to COVID concerns, we are continuing virtual programming this spring. Our Spring AEC curriculum will center around Goodspeed’s 2019 production of Passing Through (music and lyrics by Brett Ryback and book by Eric Ulloa). Curriculum will include dramaturgical-based workshops, workshops with the actors and an archival recording of the show itself, originally performed at The Terris Theatre. Because Arts Education Collaboration is a program fully funded by sponsors and donors, we are able to work with schools and students that would otherwise not be able to afford to attend our productions or participate in group workshops.

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Spotlight

CABARET: WHAT LIES BENEATH

BY MICHAEL FLING | ARTISTIC ASSOCIATE When it first premiered on Broadway in 1966, Cabaret shepherded in a new era of American Musical Theatre. Historians cite it as one of the first “concept musicals”— meaning that it was more about its theme and central idea than it was about the narrative arc of its characters. Its status as high concept only grew when the incredibly popular and beloved film adaptation did away with most of the actual story— winning 8 Academy Awards along the way and cementing Bob Fosse’s status as a leading creative force in musical theatre.

But the origins of Cabaret lie in the real life and stories of Christopher Isherwood, the British-American author who moved to Berlin in the early 1930s as Hitler rose to power. Isherwood drew on his and his friends' experiences during this period to write The Berlin Stories. He recounted the decadent nightlife culture of Berlin against the increasing hostility toward Jews and the willful ignorance of a majority of Germans toward Nazi brutality. It’s within these stories that Isherwood created cabaret singer Sally Bowles, modeled after his friend Jean Ross, whom he shared a flat with for a brief period of time. It is worth mentioning that Ross was much more politically engaged and active than her literary counterpart.

Isherwood’s book inspired playwright John van Druten to adapt it into the play I Am A Camera, the title taken as a direct

the plot—rather than directly advancing the story or characters.

Liza Minelli in the Cabaret film

quote from the evocative words that begin Isherwood’s novel… “I am a camera with its shutter open, quite passive, recording, not thinking.” The play was quite successful in its initial run, playing over 200 performances on Broadway and garnering a film adaptation. Both starred stage icon Julie Harris, in her first Tony Award-winning performance.

The novel's ultimate adaptation is John Kander, Fred Ebb, and Joe Masteroff’s unquestionable masterpiece. And the real hero of the musical’s creation was Harold Prince who played the dual role of Director and Producer. Though the writers began to craft the show as a traditional book musical, Prince felt the show’s theme spoke effectively to the growing tensions of 1960s America in regard to the civil rights movement. The team landed on the conceit of using the musical numbers performed by the Master of Ceremonies (Emcee) as a comment on the action of

The brilliance in this concept is that, to the audience, it seems harmless and is incredibly entertaining. And it perfectly embodies the spirit of the hedonistic culture in which Sally and Cliff are immersed. While the Emcee and Kit Kat Klub performers (notice a particular repeating letter?) dance, evil begins to penetrate the world around them…without us noticing.

In our production, the creative team and designers have taken this notion and fully incorporated it into their vision. As the show progresses, the physical world on the stage begins to deteriorate in front of our eyes. The costumes become grungier, the hair and makeup a little rougher— while the set and lights work together to expose a new way to look at the world we’ve inhabited. And even when it may not be obvious, they’ve used the design to convey this shift in the story.

Cabaret remains a resonant piece of musical theatre because it pleads for us to be aware of the world around us and the inhumanities that occur every day—or as Prince said “any place that there are people.”

As you enter the world of Cabaret, I'd encourage you to ask yourself…what would you do?

DIRECTOR'S VISION

BY JAMES VÁSQUEZ | DIRECTOR

How do you connect with the show?

The music. The music. The music. That Kander and Ebb score is probably full of some of the most perfect musical theatre songs ever written. I saw Cabaret for the first time when I was 11 years old at my community theatre—way too young to be seeing Cabaret—but instantly drawn to that music. I didn't understand at all what the actual story was about, and then years later, I was really able to dive in and find a deeper connection to it beyond just the music. Now, I'm attracted to that story of humanity and how we treat each other.

Why Cabaret, why now?

Cabaret is a period piece that would be lovely to package up and keep in that period, but unfortunately, it is still relevant. We’re seeing in our society humanity turn against itself a little bit and we’re watching communities and families be torn apart. I think Cabaret is a little bit of a mirror. It’s time again for our community and our society to hold the mirror up and see what we’re doing to each other and hopefully walk away a little different.

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Spotlight

ANNE OF GREEN GABLES

WRITERS' NOTES

BY MATTE O'BRIEN | BOOK & LYRICS & MATT VINSON | MUSIC

MATTE O'BRIEN'S NOTES To me, Anne of Green Gables is a love story—or rather—it’s many love stories.

L.M. Montgomery explores endless shades of love throughout the Avonlea tales: romantic love and platonic love— love between friends, and siblings, and parents and children, and mentors, and even frenemies. Yet, somewhat uniquely, she never places one form of love above another. In so many stories romantic love is presented as the ideal and most important type of love. But, that’s not the case in much of L.M. Montgomery’s work; one of the greatest love stories she tells in Anne of Green Gables is the deep platonic bond between two unmarried siblings, Matthew and Marilla Cuthbert. They share a profound connection; some would call them soulmates—or, perhaps, kindred spirits.

Growing up as a queer person in a conservative town, I never felt like I belonged. I suppose we’ve all had that feeling at some point in our lives. When my mother first introduced me and my sisters to Anne, I felt an instant connection with the character.

This red haired, freckled orphan, who was melodramatic, bookish, overly verbose and imaginative, with a quick temper and a stubborn nature, didn’t seem to fit into the social constructs of the town of Avonlea. She was somehow “other,” like me—like so many of us. We’ve all had the feeling of standing outside a group or community, looking in, longing to be seen, to be recognized, to have our value acknowledged, to connect. That longing to love and be loved, to belong, is timeless.

I think that’s why, over a hundred years after L.M. Montgomery first dreamed up Anne of Green Gables, the story endures.

Though the show is set in the period of the books, the turn of the 1900s, the script and score have a very contemporary flare. When we would talk to people about the piece they seemed to either think it had to be Little House on the Prairie or Spring Awakening. That it would either be a quaint children’s show, or somehow betray the beloved aesthetic of the original work.

Our vision was always a show that felt simultaneously classic and contemporary. We wanted people who knew the Green Gables stories to recognize and love our version, and people who’d never encountered them to be converted to full on “F-Annes with an E!”

MATT VINSON'S NOTES Similar to Matte, I relate most to Anne’s arc as an outsider longing for a place to belong in the world. Her ability to hold the most determined, confident stances while simultaneously wearing her heart on her sleeve is a defining trait that calls for a rather expansive emotional (and musical) range. Stylistically, we drew from musical theatre, folk, rock, pop, and country influences to create the score—definitely a bit of an eclectic mix! Our orchestrator, Justin Goldner, is a true genius in his ability to weave together an instrumental texture that allows for all the comedic and heartfelt ups and downs while maintaining a cohesive sound that blends both electric and acoustic elements.

We’ve been blessed to work with three incredible artists throughout the development process: Jenn Thompson, Jennifer Jancuska, and Amanda Morton. The direction, choreography, and music direction of this piece are thrilling. Jancuska’s exciting choreography and musical staging is so fresh and unexpected. Morton is hands down one of the best musical supervisors in the business—she not only shapes the sonic world with precision and artistry, but also drives powerful musical interpretations that are fully-realized performances. And, Thompson—I realize Goodspeed audiences know well what she’s capable of—but, let me be the first to say: you ain’t seen nothing yet!

rld Wo iere! m Pre

JUST ANNOUNCED! NOV 18 - DEC 30

Book by Patrick Pacheco and Erik Forrest Jackson Music by Jason Howland | Lyrics by Amanda Yesnowitz Based upon the Warner Bros. Picture Music Director Adam Souza Directed by Amy Corcoran

Goodspeed invites you to spend a very merry…Christmas in Connecticut! Smart Housekeeping columnist Liz Lane, a famous expert on marriage, cooking and homemaking, is asked by her publisher to host a war hero for Christmas dinner at her renowned Connecticut farmhouse. The only problem? She can’t cook, she isn’t married and she lives in a tiny New York apartment. Based on the classic 1945 Warner Bros. film, this World Premiere musical comedy is a delightfully cheerful way to celebrate the holiday season! Get your tickets today!

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2022 JOHNNY MERCER FOUNDATION WRITERS GROVE AT GOODSPEED

BY NAOMI ANHORN | ASSISTANT STAGE MANAGER

What do new musicals about aliens, a kabuki dancer, Odysseus, and Christmas have in common? The common thread that ties all these projects together is the 2022 Johnny Mercer Foundation Writers Grove, which took place on the Goodspeed campus this past February. This year twenty-two writers joined the Writers Grove in person, while six writers joined remotely making it the first hybrid Grove. The primary goal of the Grove is to cultivate, collaborate and celebrate new works while giving the ever-scarce commodity of space and time to writing teams who may not have the luxury of working in person together the rest of the year.

Once invited to the Grove each writing team is provided with transportation, team housing (complete with keyboard courtesy of our music department), and a common space to share ideas and new drafts with fellow writers. Residencies are typically one or two weeks over the course of the entire month of February.

Among the writers is also Johnny Mercer Foundation board member and Producing Writer-in-Residence Jonathan Brielle who spends the four weeks of the Grove writing and refining his shows with his collaborators as well.

Each evening of the residency writers are invited to a Salon where work and feedback is shared freely among peers and dramaturgs who are also in residence on campus. What results,

THANK YOU TO THE BURRY FREDRIK FOUNDATION 6

CURTAIN! | Spring 2022 | Goodspeed Musicals

in addition to new drafts of musicals, is a sense of community unparalleled in the world of musical theatre writers. This year the Grove was an exciting mix of established and emerging writers, all of whom were able to leave after their time at Goodspeed with forward momentum on their new shows as well as new colleagues and friends.

Over 300 writers have developed their work at the Grove. Just a few of the musicals worked on in the first decade include: A Strange Loop, (winner of the 2020 Pulitzer Prize for Drama and now on Broadway!), The Lion (Drama Desk Award), Passing Through (The Terris Theatre, 2019), Darling Grenadine (The Terris Theatre, 2017), Chasing Rainbows (The Goodspeed, 2016), and Himself and Nora (off-Broadway).

PHOTOS: The 2022 Writers Grove participants are Melis Aker, Avi Amon, Jake Bernstein, Jonathan Brielle, Ty Defoe, Nolan Doran, Dr. Amma Y. Ghartey-Tagoe Kootin, Alex Hare, Elliah Heifetz, Paul Hodge, Alphonso Horne, Naomi Iizuka, Jessica Kahkoska, Jesse L. Kearney, Jr., Zhailon Levingston, Nevada Lozano, Peter Mills, Cheeyang Ng, Hayley Gene Penner, Kyle Puccia, Kalani Queypo, Cara Reichel, Jorge Miguel Rivera-Herrans, Benjamin Scheuer, Rona Siddiqui, Eric Sorrels, Khalil Sullivan, Rotana Tarabzouni, Joshua Williams, and Zack Zadek

The Burry Fredrik Foundation's longstanding and generous support of Goodspeed Musicals' commitment to develop the next generation of musical theatre creators is nothing short of remarkable. Their support has allowed us to present to the world powerful new musicals like Little Girl Blue: The Nina Simone Musical. Most importantly they've stood by us, and our producing partner theatres across Connecticut, throughout the pandemic— allowing us to continue to support artists who are creating new musicals, despite the devastating blows of the pandemic. Our gratitude is immense.

2022 FESTIVAL OF NEW MUSICALS

March 18th-20th we celebrated our 16th Goodspeed Festival of New Musicals and welcomed audiences back to our signature three-day winter event after missing it in 2021 due to the pandemic. The weekend featured the book-in-hand presentation of three new musicals alongside cabarets, seminars and our Festival Symposium.

For the first time ever, all three of the new musicals showcased were created by female identifying writers. Those musicals were A House Without Windows with a book by Anna Ziegler and music and lyrics

by Anna K. Jacobs; HoT, which has music

by Lynne Shankel and words by Sara Cooper; and The Gunfighter Meets His Match, a new musical filled with humor and heart with book, music and lyrics by Abby Payne.

Festival Cabarets took place in the Gelston House dining room on Friday and Saturday evening and featured the work of composers Timothy Huang and Joriah Kwamé. Both cabarets were song-filled celebrations of new musical theatre work featuring tunes from six new musicals as well as some stand-alone titles. Kwamé premiered a song never before heard in

public which he’d written shortly after the passing of Stephen Sondheim. Titled “Sitting With Sondheim,” the song shares Kwamé’s sadness at realizing that he’d never have the opportunity to meet the giant who inspires so much of his work.

There wasn’t a dry eye in the house.

the opportunity to examine their role in supporting diversity, equity, inclusion, and antiracism in partnership with Goodspeed.

The Festival wrapped up late Sunday afternoon with a Meet the Writers panel.

Artistic Associate Michael Fling moderated a conversation with our Festival writers during which audience members were able to ask questions and offer comment on the new work they’d experienced through the weekend.

Saturday featured Festival Seminars on topics as wide ranging as a conversation on the creation and administration of the Shuttered Venue Operators Grants, to the critical importance of online communication with audiences, to the move of Little Girl Blue from the Goodspeed by the River tent to New York where it is currently running off-Broadway. Goodspeed Artistic Director Donna Lynn Hilton led the female leaders of Connecticut’s Flagship Producing Theatres in a conversation about becoming, and being, a female arts leader in The New Majority panel.

We are grateful to our Festival sponsors— RisCassi & Davis, P.C., the Burry Fredrik Foundation, the Adolph and Ruth Schnurmacher Foundation, The Jessica Waldman Thompson Endowment in Support of The Festival of New Musicals, Webster Private Bank and our Friends of the Festival.

Donna Lynn and Managing Director David B. Byrd were joined in the Festival Symposium by Seena Hodges and Ansa Akyea of The Woke Coach. The group engaged in a conversation about racial equity issues that are impacting the theatre industry at large and audience members had

PHOTOS: The cast of The Gunfighter Meets His Match. Meet the Writers with Artistic Associate Michael Fling; the writers of HoT, Lynne Shankel and Sara Cooper; the writer of The Gunfighter...

Abby Payne. Saturday Cabaret with Joriah Kwamé.

GOODSPEED THANKS THE FRIENDS OF THE FESTIVAL

the first musical written through GoodWorks, Goodspeed's new commissioning program. Goodspeed thanks the Friends for their commitment to the Festival and the development of new musical theatre works and artists. Interested in becoming a Friend? Contact Gloria at ggorton@goodspeed.org or (860) 873-8664 x366.

Goodspeed’s 2022 Festival of New Musicals welcomed 44 Friends of the Festival for a weekend celebrating new musicals.

Friends of the Festival contribute essential support to the Festival weekend, helping to make it a resounding success. As Friends, they attend all of the Festival activities, plus, they are treated to an exclusive brunch on Sunday morning with guest speakers. This year Claire McKenzie and Scott Gilmore shared with the group their process and progress in writing The Snow Goose, which is

The Friends of the Festival are pictured left to right. First row: Artistic Director Donna Lynn Hilton, Eddie Muentes, Denise Bernardo, Stu Kazin, and Ellen Kazin; 2nd row: Dale Woods, Managing Director David Byrd, Lee Anderson, Cathy Velenchik, Anne Calanquin, Chris Joy, Margaret Saxe, Russ Tait, Jay Bruno, Bill Gratz, Judith Macri, Susan Gonsalves, Lynn Davidson, and Jon Lukomnik; 3rd row: Pam Foarde, Shawn Amdur, Saul Rosen, Hila Rosen, Mark Planner, George Vinick, Amy Campbell, Frank Campbell, Bert Silverberg, and Dave Macri. Not pictured are E. Marie Wilson, Colette Trohan, Nancy Kline, Jim Trail, Carl Thompson, Jeff Riley, Mary Wilson, Roy O’Neil, Don and Terri Coustan, Tim Foarde, Ed and Sonya Mangan, Tracy Weed, Wyn and Karen Seymour, Kevin and Bonnie Condrin.

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IDEA Work

GOODSPEED "WORKS" IN INCLUSION: AN UPDATE

BY RACHEL TISCHLER (SHE/HER) | GENERAL MANAGER

L

ike many of our colleagues across Connecticut and the nation, Goodspeed continues to reckon with the cultural shift taking place following the murder of George Floyd in May 2020, as well as the recent baseless attacks on Asian Americans and Pacific-Islanders (AAPI). The clear drive to increase diversity, demonstrate inclusion in more than name, and improve—and in some cases, introduce—equity into our industry and workplace sparked internal mobilization and action within Goodspeed that is ongoing and permanent.

We wanted to share just how Goodspeed’s staff and Board are weaving these inclusion, diversity, equity, and accessibility (IDEA) strands into our work and how you will start to see them reflected in our programming and on our stages, and as part of our organization, as well.

Throughout summer 2020, Goodspeed reviewed and discussed the statements and demands of various theatre-focused antiracist organizations which called out what has historically been a primarily white, homogeneous industry. We quickly agreed that outside training would be the right place to start in preparing our response and actions going forward. With support from our Board of Trustees, we engaged The Woke Coach to share their From Ally to Accomplice® program with us. This multi-month engagement was invaluable in showing us to ourselves and giving us tools and vocabulary to continue having the conversation about these issues with our colleagues long after our training ends. We knew the entire organization should have the opportunity to receive The Woke Coach’s guidance and leadership. Thus, a second cohort began their training in early March. It is our goal for all staff to successfully complete this program. Our IDEA work has been generously funded by the Burry Fredrik Foundation, the Adolph and Ruth Schnurmacher Foundation, Inc., Webster Private Bank, and Dr. Anne Rothstein and Ms. Jane Hellman. We will seek additional financial support to help us continue working with The Woke Coach into the coming years.

The first Woke Coach cohort evolved into a staff-led committee we currently title the IDEA Working Group. Inclusion, Diversity, Equity, and Accessibility are the guiding principles underpinning an ever-evolving task list, including projects such as: gathering educational resources on antiracism and other diversity and inclusion principles, creating mandatory training on antiracism and other IDEA topics, pronoun usage guidance, welcoming gender-variant and non-binary staff, and expanding and deepening our job posting locations and resources so that we can reach a broader audience of applicants. This group tries to emulate the perspective gained from the work with The Woke Coach, and as additional staff graduate from the training, they will be welcomed to join this committee.

At the Board level, a committee titled the Racial Equity Task Force (RETF) formed in 2020 to start these same conversations in a joint Board-staff group. The primary purpose was to look at what contributions the Trustees can make toward the inclusion goals of the organization. Similar to the staff, the Trustees are grappling with the role of Boards in the inequitable structure underpinning the American regional theatre industry. The RETF continues to discuss IDEA training opportunities for the full Board, as well as the need to center IDEA into our Board nomination process and

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CURTAIN! | Spring 2022 | Goodspeed Musicals

Trustee diversification—including ensuring these goals meet future diverse Trustees where they are, and not place unintentional barriers in front of their true engagement.

Beginning with the 2022 Festival of New Musicals, Goodspeed welcomed its audience and patrons—you!—to join us in these efforts. The Symposium featured our partners at The Woke Coach—Seena Hodges (she/her) and Ansa Akyea (he/him)—who challenged us all to look at our own participation and perpetuation of the systems affecting the Black, Indigenous, and People of Color (BIPOC) populations. As we move into our regular productions, expect to see these issues raised at member events and talk-backs with the creative teams. We want you to be engaged with how we are considering these questions and navigating those challenges.

Festival Symposium with Seena Hodges, David Byrd, Donna Lynn Hilton, and Ansa Akyea.

Our Executive Leadership is also committed to promoting a diversification of the creative teams (directors, choreographers, and designers) and actors, both racially and with regards to gender. Our public casting notices make our commitment to inclusive casting very clear, and we are adjusting our language and approach to casting roles based on gender or gender identification—in fact removing it when it is not absolutely required for a role. While it may have happened occasionally in our past productions, it is now a primary goal to have roles filled by BIPOC actors. And our orchestra will also see this shift—our goal is to have all folks, on-stage and back, better reflect the diverse communities in which Goodspeed operates.

As Goodspeed launches its first formal strategic planning process, these commitments will play a central role in Goodspeed’s future. Goodspeed cannot move forward responsibly—or truly in good conscience—without dedicating resources, both fiscal and energetic, to our IDEA work. This will include supporting further community engagement, additional antiracist and inclusion training, and selecting programming which reflects these commitments. Stay tuned for updates about our impending strategic planning process.

Please feel free to reach out to Donna Lynn (dhilton@goodspeed. org) and/or David (dbyrd@goodspeed.org) if you have questions or want to help with the work. You will continue to hear from us as the conversation progresses—and it will—because at a minimum, we have come to understand what a life-long engagement this work entails, when you approach it not just in name, but in deed, with true resource-delegation, fundraising support, and earnest, honest conversation. More to come!

Member Events

GOODSPEED MEMBERS TRAVEL TO NYC On March 30th , 40 members set off to Broadway with a jam-packed week of five musicals, dining at celebrity chef Alex Guarnaschelli’s restaurant BUTTER, a historic walking tour by Broadway Close Up and a luncheon with four cast members (all Goodspeed Alums) from The Music Man. Plans are already underway for 2023!

PHOTOS: Goodspeed Members on their way to New York City; view of Times Square from the Marriott Marquis hotel; John Wilmot, Director of Major Gifts Gloria Gorton, The Music Man company member Nicholas Ward (Goodspeed's Show Boat) and Alexandra Johnson enjoy lunch at Green Fig.ne, Emily Zacharias, Samantha Massell

OPEN CAPTION & SENSORY-FRIENDLY PERFORMANCES Goodspeed believes in the universal value of experiencing live theatre, and we are pleased to offer a number of special performances throughout our season.

OPEN CAPTION PERFORMANCES: Cabaret: Friday, June 17 at 8pm Anne of Green Gables: Friday, August 19 at 8pm 42nd Street: Friday, October 21 at 8pm

SAVE THE DATE

GOODSPEED’S 21st ANNUAL

Gala

SENSORY-FRIENDLY PERFORMANCE: Anne of Green Gables: Tuesday, August 28 at 6:30pm Thank you to our Lead Corporate Sponsor, Starkweather & Shelpley Insurance Brokerage, Inc.

Honoring -honoring-

TURN YOUR CREDITS INTO TICKETS Thank you to all of our members who donated tickets or left them as a credit on their account when we were forced to cancel our shows due to Covid. Your support and faith in us was so much more important than you’ll ever know.

Now that we’re gearing up for a full season of musicals, we wanted to remind you to use your credits for purchasing season tickets or single tickets for any of the shows. The box office has all of the information in your account, so the process is simple. Give them a call today at 860-873-8668!

Not sure if you have a credit? Give the box office a call and they will be happy to check for you.

6.18.22

The Riverhouse | Haddam, CT CURTAIN! | Spring 2022 | Goodspeed Musicals

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Support

A COUPLE LEAVES A LEGACY

BY GLORIA GORTON | DIRECTOR OF MAJOR GIFTS

S

ally and Ted Carrier were well known in Connecticut as owners of The Lucy Baltzell Shops in West Hartford and Hamden and as supporters, volunteers, and boosters of many community organizations.

Sally and Ted were also well known and well-loved at Goodspeed, where they were valued members of the Goodspeed family. They were members and supporters for over 30 years and loved to bring family and friends to the theatre to experience the shows they loved so much. Ted passed away in 2019 and Sally passed away two years later in 2021. Like for so many others throughout the state, their passing has been keenly felt here at Goodspeed.

While Sally and Ted loved attending shows at the Opera House, it wasn’t long after they joined that Sally started to travel to London with Goodspeed. In fact, she loved the London trips so much that she went to London with Goodspeed ten times! Ted was busy at home running their family business, but Sally loved travel and she found travel companions on the Goodspeed London tour who, like her, loved theatre, history, and a truly unique travel experience. She made many friends on Goodspeed London trips and she was such a delightful travel companion that we were always thrilled when she booked her next trip. Sally and Ted also loved a

LEAVING A LEGACY THROUGH YOUR IRA

Perhaps, like Sally and Ted, you would like to remember Goodspeed with a bequest. If so, you may want to consider following their example and make a tax-advantaged gift by naming Goodspeed as a beneficiary of your IRA. Ted pre-deceased Sally, so if she had left her IRA assets to her non-spousal heirs the value of her IRA would have been added to her taxable estate and her heirs would have to pay federal and state income taxes on the distributions they took from the IRA they inherited from Sally. This could have subjected her estate and

good party and attended the Goodspeed Gala every year. Given their business running an upscale women’s clothing store, they were always among the best dressed at every Gala and we always looked forward to seeing the colorful jacket Ted would wear.

Ted and Sally did not like to call attention to themselves, so we were surprised when we were notified last December that Sally had remembered Goodspeed with a beneficiary designation from her IRA. Given her inherent reserve, she had not notified us of her plans. We were honored that she chose to make a significant gift to Goodspeed as one of her final acts. Her niece, Susan Sanford, remembers coming to Goodspeed as a child with Aunt Sally and Uncle Ted. She told us that Sally and Ted always felt at home at Goodspeed, where they had made many friends, and especially appreciated that our historic building continues to be relevant and welcome patrons to enjoy world-class musical theatre. To memorialize Sally and Ted’s long association with and appreciation of Goodspeed, we have decided to add their generous bequest to our endowment, where it will help to preserve the theatre and building that meant so much to them into perpetuity.

Sally and Ted left their mark on Goodspeed and all those who were fortunate enough to know them. We will miss them, but we will never forget them.

PHOTO: Sally and Ted Carrier at the 2010 Goodspeed Gala.

her heirs to triple taxation. By leaving her IRA assets to charity and her other assets to her heirs Sally was able to leave a bequest to her heirs that would not be subject to income tax when they receive it and make an estate tax deductible gift to a charity that meant so much to her and Ted during their lifetimes—Goodspeed Musicals. For more information, please contact Gloria Gorton at 860-873-8664 x366 or ggorton@ goodspeed.org.

FRANK CAMPBELL JOINS THE BOARD Frank Campbell was recently elected to the Goodspeed Board of Trustees, but Frank’s association with Goodspeed stretches back for decades.

Frank and his wife Amy have been members of Goodspeed for over 40 years and in that time they have seen every show produced at The Goodspeed and The Terris Theatre. They are also regular attendees at the Festival of New Musicals, the Goodspeed Gala and all Goodspeed events, and they have traveled with Goodspeed to London and New York City numerous times. Given all this, it’s not an exaggeration

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CURTAIN! | Spring 2022 | Goodspeed Musicals

to say that Frank is taking on his new duties as a Goodspeed Trustee with an incredible store of knowledge of the organization.

However, that is not all that Frank brings to his new role. Before his retirement Frank had extensive experience as an investment manager in the insurance industry at Travelers Insurance and Conning and Company in Hartford. In retirement, he served as board member and chair of the finance committee of Pennsylvania Mutual Insurance until 2015.

Goodspeed is excited to welcome Frank to the Board of Trustees, where his deep knowledge of the organization and his financial expertise will be a great asset.

Support

A LONG LIFE, A GOOD FRIEND

BY GLORIA GORTON | DIRECTOR OF MAJOR GIFTS

W

hen Natalie Tenney passed away on February 23rd, just six weeks shy of her 102nd birthday, everyone at Goodspeed felt the loss. Natalie and her husband Ashton joined Goodspeed in 1984, shortly after they moved to Madison, CT. They loved both the classic musicals at the Opera House as well as the new musicals produced at The Terris Theatre. Perhaps they especially loved musicals because they had once owned Jerome Kern’s yacht, which was named “Show Boat.” Natalie’s parents originally purchased the yacht and she and Ash inherited it from them. Of course there was a piano on board—a small five octave piano that was painted red. With such a background, is it any surprise that they found their way to Goodspeed, the “Home of the American Musical?”

After Ash’s death in 1993 Natalie established The Ashton M. Tenney Memorial Annuity Fund at Goodspeed in order to memorialize the many happy times they shared at the theatre. Natalie also traveled to London with Goodspeed, which she recalled as one of her favorite trips abroad. On the trip she came to know Michael Price and it was the start of a friendship that lasted the rest of her life. Natalie always appreciated Michael’s contributions to Goodspeed, so when he retired she was among the first to contribute to The Michael Price Endowment Fund. She also contributed to the New Actor Housing Campaign and took advantage of the naming opportunity her contribution afforded in an especially

inspired way. Behind the houses in the village is “Tenney Lane,” the pervious concrete road that provides access to the houses.

In recent years Natalie wanted to make a gift to Goodspeed that would have a significant impact and so she made a contribution that was used in part to renovate the rehearsal studio. Just past the Opera House you will pass the Ashton and Natalie Tenney Rehearsal Studio, affectionately known on campus as “The Natalie.” Thanks to Natalie’s generous gift the actors who come to Goodspeed have a beautiful space in which to rehearse with new HVAC, lighting, furniture, paint, bathrooms, kitchen, and, most important of all, a new sprung floor on which to practice the dancing you see on stage. All the actors who perform at Goodspeed spend a significant amount of time in “The Natalie” and appreciate Natalie’s concern for their comfort and desire to provide them with the very best rehearsal experience possible.

Natalie’s contributions to Goodspeed were many and all were appreciated, but those of us who knew her have lost a dear friend and we will miss her. Natalie was a wonderful woman with a sharp memory. She lived a long life and had many stories to tell about it. She was fiercely intelligent, funny, and kind, but she was also very opinionated and willing to share just how she felt. Every conversation with her was a delight. She was truly one of a kind and we feel so fortunate to have called her a friend. Goodspeed will not be the same without her.

PHOTO: Michael Price and Natalie Tenney at the dedication of Tenney Lane, part of the New Actor Housing project.

2022 CORPORATE & FOUNDATION SUPPORTERS CORPORATE SUPPORT

Allan S. Goodman Inc. All Waste, Inc. Ally Charter Bus Altek Electronics, Inc. AmazonSmile Ashlawn Farm Store, LLC Centerbrook Architects & Planners, LLP Comcast Community Health Center ConnectiCare Connecticut Public Broadcast Network Creative Transportation & Tours Esquire Entertainment Eversource Energy Falcetti Pianos GHP Media Gourmet Galley Catering Hartford Business Journal Harvest Develpment Group, LLC Hoffman Audi Kainen, Escalera + McHale, P.C. LAZ Parking Liberty Bank Masonicare at Chester Village Monoflo Septic Tank Co., Inc. Morgan Stanley Wealth Management

Nathan L. Jacobson & Associates, Inc. Option A Group Petra Construction Corporation PrintCraft, Inc. Reynolds' Subaru & Reynolds' Boats RisCassi & Davis, P.C. Sennheiser Electronic Corporation Sette & Parnoff, P.C. Sky Investments Southern Connecticut Gas Starkweather & Shepley Insurance Brokerage, Inc. Theatrical Rights Worldwide The Russell Hall Company, Inc. The Shops at Mohegan Sun The Suzio York Hill Companies Tower Laboratories Ltd. United Airlines United Mechanical Resources, Inc. Universal Strategies Limited Updike, Kelly & Spellacy, P.C. Webster Bank Webster Private Bank WithumSmith+Brown, PC Young's Printing

FOUNDATION SUPPORT Acorn Alcinda Foundation Actors' Equity Foundation

Adolph and Ruth Schnurmacher Foundation, Inc. Burry Fredrik Foundation Case Graber Foundation Community Foundation of Middlesex County/Kalayjian Family Fund, Ann T. D'Addario Family Foundation Fund, and the Hanna and Gerhard Krauland Youth Enhancement Fund CT Humanities EIS Foundation Elizabeth Carse Foundation, Bank of America, N.A., Trustee Frank Loomis Palmer Fund, Bank of America, N.A., Trustee Howard Gilman Foundation Jana Foundation, Inc. Lucille Lortel Foundation Richard P. Garmany Fund at the Hartford Foundation for Public Giving SBM Charitable Foundation, Inc. The Aeroflex Foundation The Aldo DeDominicis Foundation The ASCAP Foundation Irving Caesar Fund The Christine E. Moser Foundation The Elizabeth M. Landon and

Harriette M. Landon Charitable Foundation The Frank Young Fund for New Musicals, a Program of National Alliance for Musical Theatre The Frederic R. Coudert Foundation The Johnny Mercer Foundation The Kitchings Family Foundation The Lambs Foundation The Max Showalter Foundation, Inc. The Norma Terris/Albert D. Firestone Foundation The Richard Sims Winkler Foundation The Scripps Family Fund for Education and the Arts The Shubert Foundation William & Alice Mortensen Foundation

GOVERNMENT SUPPORT

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Goodspeed Opera House Foundation, Inc.

6 Main Street, PO Box A East Haddam, CT 06423-0281

WE'RE BACK WITH A FULL SEASON!

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