By George Bernard Shaw
MAD COW THEATRE is
founded on the belief that the Theatre is a dynamic and powerful means of social understanding, as well as a hugely entertaining art form. Through the combination of passionate, skillful acting and compelling, insightful writing, nurtured by an attentive and ever-changing process, Mad Cow presents entertaining works of Theatre to an ever-widening audienceâ€“promoting, enhancing and celebrating the human condition through art. Mad Cow Theatre is supported in part with public funds from the United Arts campaign and by State of Florida, Department of State, Division of Cultural Affairs, and the Florida Council on Arts and Culture. The Florida Arts Council, The National Endowment for the Arts; The Downtown Development Board; and Orange County Government through the Arts & Cultural Affairs Program. A Great Nation Deserves Great Art! Mad Cow Theatre is a 501(c)3 organization and welcomes all donations including funds, materials, time and goodwill. We are especially delighted when audience members bring others to share the theatrical experience.
ACKNOWLEDGEMENTS Mad Cow Theatre has forged many alliances and made many friends. This endeavor would not be possible without the generous spirit, passion and goodwill of the following individuals and organizations. A VERY SPECIAL THANK YOU
55 West The Arts and Cultural Alliance of Central Florida In-Bloom Florist L2 Studios, Inc Orlando Philharmonic Orchestra DirectOne Holland & Knight Holland & Reilly Tom Hurst Photography Voxeo - AND Elizabeth Dean John Haupt Robin Jensen Michael Marinaccio Peg Oâ€™Keef Thomas Ouellette Allen Overlander Janine Papin Katrina Ploof Mark Edward Smith Marty Stonerock All the Cows in the Pasture
Mad Cow Theatre Presents
MRS. WARREN’S PROFESSION by George Bernard Shaw February 8 - March 3, 2013 The Black Box
- FEATURING Stephan Jones* Tommy Keesling Sarah Lockard
Jennifer Christa Palmer* Peter Travis Terry Wells*
Scenic Design LISA BUCK
Lighting Design ERIN MINER
Costume Design EMILY SMITH
Sound Design BOOMER BARDO
Stage Manager Meghan Kennedy Director ERIC ZIVOT * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the U.S.
CAST OF CHARACTERS in order of appearance
Mr. Praed................................................Tommy Keesling Vivie Warren...........................................Sarah Lockard Sir George Crofts.....................................Stephan Jones Mrs. Warren............................................Jennifer Christa Palmer Frank Gardner.........................................Peter Travis Rev. S. Gardner.......................................Terry Wells
SETTING ACT I: Summer afternoon in a cottage garden. ACT II: Inside the cottage after nightfall. ACT III: In the Rectory garden the next morning. ACT IV: Honoria Fraser’s chambers in Chancery Lane.
PRODUCTION TEAM Assistant Director/Dramaturg....................Melissa Cooper Properties................................................Michael Bell Dialect Coach..........................................Jennifer Toohey Scenic Charge.........................................Lisa Buck Carpenters...............................................Daniel Cooksley, Jim Howard
Mrs. Warren’s Profession is performed with one intermission. Out of respect for the audience and the artists, patrons who leave the theatre during the performance will be re-admitted at House Manager’s discretion. Patrons arriving late will be sat at the House Manager’s discretion. 4
The photographing, video and/or audio recording of this performance by any means whatsoever is strictly prohibited.
GEORGE BERNARD SHAW GEORGE BERNARD SHAW (1856-1950), the acclaimed dramatist, critic and social reformer, was born in Dublin where he grew up in an atmosphere of genteel poverty. He attended four schools and was tutored by a clerical uncle, but left his formal schooling behind him at the age of 15. He developed a wide knowledge of music, art and literature under the influence of his mother, a singer and vocal music teacher, and as a result of his visits to the National Gallery of Ireland. In 1876 he moved to London, where he spent his afternoons in the British Museum, and his evenings pursuing his informal education in the form of lectures and debates. Bernard Shaw declared himself a socialist in 1882 and joined the Fabian Society in 1884; soon he distinguished himself as a fluent and effective public speaker and an incisive and irreverent critic of music, art and drama. Shaw’s first play, Widowers’ Houses, was produced privately in 1892 for the members of a progressive theatre club called the Independent Theatre Society. It was followed by The Philanderer and Mrs Warren’s Profession. Published as Plays Unpleasant (1898), these Bernard Shaw plays reflect Shaw’s admiration for the “new drama” of Ibsen. More palatable, though still rich with challenges to conventional middleclass values, were his Plays Pleasant (1898) which included Arms and The Man, Candida, The Man of Destiny and You Never Can Tell. In 1897 Shaw attained his first commercial success with the American premiere of The Devil’s Disciple, which enabled him to quit his job as a drama critic and to make his living solely as a playwright. In 1898 he married Charlotte Payne-Townshend, an Irish heiress. Shaw continued to write plays and essays until his death in 1950 at the age of 94.
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EXCERPT FROM SHAW’S PREFACE TO MRS. WARREN’S PROFESSION , 1902 Mrs. Warren’s Profession has been performed at last, after a delay of only eight years; and I have once more shared with Ibsen the triumphant amusement of startling all but the strongest-headed of the London theatre critics clean out of the practice of their profession. No author who has ever known the exultation of sending the Press into an hysterical tumult of protest, of moral panic, of involuntary and frantic confession of sin, of a horror of conscience in which the power of distinguishing between the work of art on the stage and the real life of the spectator is confused and overwhelmed, will ever care for the stereotyped compliments which every successful farce or melodrama elicits from the newspapers. Give me that critic who rushed from my play to declare furiously that Sir George Crofts ought to be kicked. What a triumph for the actor, thus to reduce a jaded London journalist to the condition of the simple sailor in the Wapping gallery, who shouts execrations at Iago and warnings to Othello not to believe him! But dearer still than such simplicity is that sense of the sudden earthquake shock to the foundations of morality which sends a pallid crowd of critics into the street shrieking that the pillars of society are cracking and the ruin of the State is at hand. Even the Ibsen champions of ten years ago remonstrate with me just as the veterans of those brave days remonstrated with them. Mr. Grein, the hardy iconoclast who first launched my plays on the stage alongside Ghosts and The Wild Duck, exclaimed that I have shattered his ideals. Actually his ideals! What would Dr. Relling say? And Mr. William Archer himself disowns me because I “cannot touch pitch without wallowing in it.” Truly my play must be more needed than I knew; and yet I thought I knew how little the others know.
…. I am allowed to mention here that Mrs. Warren’s Profession is a play for women; that it was written for women; that it has been performed and produced mainly through the determination of women that it
should be performed and produced; that the enthusiasm of women made its first performance excitingly successful; and that not one of these women had any inducement to support it except their belief in the timeliness and the power of the lesson the play teaches. Those who were “surprised to see ladies present” were men; and when they proceeded to explain that the journals they represented could not possibly demoralize the public by describing such a play, their editors cruelly devoted the space saved by their delicacy to an elaborate and respectful account of the progress of a young lord’s attempt to break the bank at Monte Carlo. A few days sooner Mrs. Warren would have been crowded out of their papers by an exceptionally abominable police case. I do not suggest that the police case should have been suppressed; but neither do I believe that regard for public morality had anything to do with their failure to grapple with the performance by the Stage Society. And, after all, there was no need to fall back on Silas Wegg’s subterfuge. Several critics saved the faces of their papers easily enough by the simple expedient of saying all they had to say in the tone of a shocked governess lecturing a naughty child. To them I might plead, in Mrs. Warren’s words, “Well, it’s only good manners to be ashamed, dearie;” but it surprises me, recollecting as I do the effect produced by Miss Fanny Brough’s delivery of that line, that gentlemen who shivered like violets in a zephyr as it swept through them, should so completely miss the full width of its application as to go home and straightway make a public exhibition of mock modesty.
Special Thanks to:
The City of Orlando Mayor Buddy Dyer & City Council Downtown Development Board Community Redevelopment Agency
MRS. WARREN’S PROFESSION Boomer Bardo (Sound Designer) has been on stage, back stage, in the pit, or on the air since he was three, professionally since he was 10. After his “finishing school” time at Walt Disney World Entertainment, Boomer earned his Bachelor of Music Education at UCF and taught music and theater full time for 5 years following his wife Joan’s career out of state. 2003 saw a return to Florida and a focus on show production. Boomer is currently the Sound Department Head at the Bob Carr PAC. A former SAG/AFTRA and AFM member, he has been with IATSE for 25 years.
LISA BUCK (Scenic Designer, Scenic Artist) originally from Massachusetts, received her BFA in Graphic Design from the Massachusetts College of Art in 1976 and studied watercolor at the Parsons School of Design and Pratt Institute. She has worked as art director for Dow Jones, American Heritage, Danskin Dance Wear, and Leavitt Advertising. Lisa moved to Orlando in 1996 and began painting and designing scenery for the Orlando Opera, Mad Cow Theatre, and Stetson University. Before returning to the pasture, Lisa worked as a graphic artist for Visit Orlando as the publication artist for Orlando Arts Magazine and Texture Magazine. Stephan Jones (Sir George Crofts) has been a frequent collaborator (Fight-Director, Teacher, Director, and Cabaret Artist) with the Cows for over a decade. This marks his 16th production in The Pasture as an actor, with previous roles in Sweeney Todd, The Fantasticks, and Who’s Afraid of Virginia Woolf? Tommy Keesling (Mr. Praed) has appeared in several Mad Cow productions in recent seasons, including roles in Arcadia, Our Town, The Constant Wife, Present Laughter, The Seagull, Pericles, I Have Before Me a Remarkable Document Given to Me by a Young Lady From Rwanda, Eurydice, Amadeus, She Stoops to Conquer, The Pitmen Painters and most recently as Steve Heidebrecht in August: Osage County. He has appeared at many other Central Florida stages in past years, including Bach at Leipzig for Empty Spaces, The Pillowman for Hubris Theatre, and Take Me Out at Theatre Downtown. He has performed at the Orlando International Fringe Festival and has also appeared in staged readings for Mad Cow, PlayFest and Women Playwrights’ Initiative.
Actors’ Equity Association (AEA), founded in 1913, represents more than 48,000 actors and stage managers working in theatres across the U.S. Equity negotiates wages and working conditions, and provides benefits, including health and pension plans, for its members. Equity’s mission is to advance, promote, and foster the art of live theatre as an essential component of our society. Wherever professional theatre exists, Equity exists. For more information, visit www.actorsequity.org
MRS. WARREN’S PROFESSION Meghan Kennedy (Stage Manager) is stage managing for her third time at Mad Cow, having worked previously on Billy Bishop Goes to War and The Pitmen Painters. She couldn’t be more delighted to work with such a talented company. In 2011, she moved back to Orlando after spending five years in Los Angeles. Her LA stage managing credits include: Hair and Hedwig and the Angry Inch at The Met Theatre, Return: The Musical at Edgemar Center for the Arts, Pope Joan: The Musical at The Stella Adler Theatre, Noises Off!, Great Expectations, and The Playboy of the Western World at A Noise Within. Meghan received a BA in Theatre from Rollins College. She would like to thank Drew, her family and friends for their constant love and support. Sarah Lockard (Vivie Warren) is very grateful to be back in the herd with this amazing cast and crew. Her previous Mad Cow roles include Marina in Pericles, Jenny Hill in Shaw’s Major Barbara, Constanze in Amadeus, and Alais in The Lion in Winter, as well as Mad Cow’s Actor’s Process classes taught by Michael Marinaccio. Some of her other favorite shows in town have been Ibex Puppetry’s Panther and Crane, Jane Henson’s Nativity, and Ironhead and Connected at the Orlando Fringe Festival, Proof with GOAT, and Sylvia at Ice House Theatre. She currently works at Valencia College and Sleuth’s Mystery Dinner Theatre, and dances with Canvas Coalition and Voci Dance. She would like to thank her family for their support, especially her sister Bethany, who has a birthmark just like hers.
MRS. WARREN’S PROFESSION ERIN MINER (Lighting Design) Mrs. Warren’s Profession marks Erin’s 65th show with Mad Cow Theatre. She is excited to be working with Aradhana for the first time! When not at Mad Cow, she can be found in the fields of Apopka High School as a drama teacher. JENNIFER CHRISTA PALMER (Mrs. Warren) originally hails from Hatboro, PA and is a grateful member of Actor’s Equity Association. She earned her BA in Theatre from Penn State University and currently trains with Lauren O’Quinn in Meisner & scene study. Previous Mad Cow credits include Amanda Prynne in Private Lives, Catherine Sloper in The Heiress, Lizzie in The Rainmaker, and the title role in G.B. Shaw’s Major Barbara. Other favorites include Tybalt in Romeo + Juliet (freeFall Theatre), Phaedra in Feverish (Orlando Shakes PlayFest) and Helena in A Midsummer Night’s Dream (freeFall Theatre). She also has credits in film (I Did, Out, Legend of the Red Reaper), television (Army Wives) and web series (The Aegeans). JCP extends special thanks to this wonderful cast, Mitzi, Eric, and her husband Ryan. Visit her website at www.jenniferchristapalmer.com
Enchanted April by Matthew Barber from the novel by Elizabeth von Arnim MAD COW THEATRE
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Mar 22-Apr 14,2013
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PRIMARY PUBLIC PARTNER
ThisÊprojectÊisÊfundedÊinÊpartÊbyÊOrangeÊ CountyÊGovernmentÊthroughÊtheÊArtsÊ&Ê CulturalÊAffairsÊProgram.ÊInÊaddition,ÊthisÊ projectÊisÊsponsoredÊinÊpartÊbyÊtheÊStateÊ ofÊFlorida,ÊDepartmentÊofÊState,ÊDivisionÊ ofÊCulturalÊAffairsÊandÊtheÊFloridaÊCouncilÊ onÊArtsÊandÊCulture;ÊUnitedÊArtsÊofÊ CentralÊFlorida;ÊNationalÊEndowmentÊforÊ theÊArts;ÊandÊtheÊAcademyÊofÊMotionÊ PictureÊArtsÊ&ÊSciences.Ê
MRS. WARREN’S PROFESSION Emily Smith (Costume Designer) celebrates her fifth show with Mad Cow. Her costume, prop, and scenic work has been seen across Central Florida and New England theatres and theme parks, including our own dear Annie Russell. She fondly remembers designs for Cabaret, Around the World in 80 Days, Is He Dead?, and of course most recently Laughter on the 23rd Floor, August: Osage County, Sunday in the Park With George and Billy Bishop Goes to War at Mad Cow. PETER TRAVIS (Frank Gardner) is delighted to return to Mad Cow Theatre. Peter was last seen in the Black Box in Mass Appeal. Currently Peter is a senior at Rollins College. He has appeared in several shows at the Annie Russell Theater and the Fred Stone Theater. His Rollins credits include How I Learned to Drive, Cabaret, Rabbit Hole, Stage Fright, and I Hate Hamlet. Peter would like to thank all of his friends and family who love and support him. TERRY WELLS (Rev. Gardner) is returning to Mad Cow for the first time since playing Freud in Freud’s Last Session. He has lived in Toronto, New York, Atlanta and Los Angeles, working with Alabama Shakespeare Festival, Shakespeare in the Square, York Shakespeare Festival, Atlanta Shakespeare, Gulfshore Playhouse, Vineyard Theatre (NYC) and Ensemble Studio Theatre (NYC), among others. Representative stage roles include: Jacques in As You Like It, Feste in Twelfth Night, Lavatch in All’s Well that Ends Well, Salieri in Amadeus, Andrew in Sleuth, Gerald in Murderers and Mr. Kirby in You Can’t Take it With You. Most recently, he appeared in Theatre Emory’s premiere of Persuasion, John Ammerman’s stage adaptation of Jane Austen’s novel. He has also done film and television in the US and Canada.
Eric Zivot (Director) returns to Mad Cow for this season’s production of Mrs. Warren’s Profession. Previous Mad Cow Productions of Billy Bishop Goes to War, Hedda Gabler and Next Fall have made him a happy member of “The Herd.” Eric has been an Associate Artist at Orlando Shakespeare Theater since 2004 where he has directed and appeared in numerous productions. He is also an Associate Professor in the Department of Theater and Dance at Rollins College, where he both acts and directs. Before joining the faculty at Rollins College, Eric was a training division head and member of the acting company at the American Conservatory Theater in San Francisco and had his own school, The Gymnasia Theatrica, in Los Angeles. Eric has appeared with and directed at Marin Shakespeare, the Stratford Festival of Canada, Colorado Shakespeare and the Manitoba Theatre Centre among many other national and regional theater companies. His film and television credits include JAG (Emmy Winner), The Alarmist, Two Voices, Looking for Lola, Babylon 5 and Sunset Beach. Eric’s work on Mrs. Warren’s Profession is dedicated to his Grandmothers, Syble and Sadie, shining examples of the power and strength of the fairer sex.
a drama by donald Marguiles
Mad Cow ThEaTRE
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Mad Cow Directory Executive Director June 21-July 14, 2013 Mitzi Maxwell
Mad Cow Theatre P.O. Box 3109 Orlando, FL 32802 Photographer Tom Hurst
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David B. Mink
Zac Alfson Lisa Buck
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Mad Cow Theatre is proud to introduce
THE DREAMS Cherry Hamlin
Music by Henry Krieger Lyrics and Book by Tom Eyen June 7-30, 2013
MAD COW THEATRE
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Program for "Mrs. Warren's Profession" at Mad Cow Theatre