PTP/NYC program

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PTP//NYC

2022...35 years & counting!

SEX, GRIFT, AND DEATH an evening of plays by Steven Berkoff (lunch) and Caryl churchill (hot fudge & here we go)

REVERSE TRANSCRIPTION

a pairing of two plays—Dog plays by Robert chesley and a variant strain by jonathan adler and jim petosa

July 6–31, 2022


Welcome to the 35th Season of PTP/NYC Summer 2022 The return to living, breathing, human—and thus unpredictable—theatre, is completely a leap into the unknown. Of course there is history, both positive and negative, but every moment now is fraught, an act of trust and of belief. All that being said—the need to raise our voices and consciousnesses again won’t subside. Perhaps this is not a time to celebrate—no fireworks and confetti yet!—but it is a time to see, to scan, to share. This season PTP/NYC has turned to a handful of writers—new to us and/ or the stage in general—coupled with voices we have heard before and are grateful to welcome again. The two programs that comprise this season, are, very specifically, about life and about death. Reverse Transcription encompasses Robert Chesley’s voice in Dog Plays, testimonies and memories from the AIDS crisis. Dog Plays is here paired for the first time with A Variant Strain (a phrase with which we are all way too familiar in 2022) where Jim Petosa and Jonathan Adler create a link from then to now, illuminating both. The second program, Sex Grift and Death, with plays by Steven Berkoff and Caryl Churchill, is also both past and present—a most basic human urge (which is also, of course a life force, we might say) links with a story of scamming, scrambling, reinvention and loss. Our losses coupled with our community’s. A theatre company is also a community—Potomac Theatre Project has now experienced 35 of them. This season’s community has been essential, contributory, joyous and unsparing. Comprised of those new to the company as well as those who are indelible parts of its history and present, we feel no end of gratitude to the artists you see on this stage those who’ve crafted what you see onstage and those who now are backstage. Welcome back. Cheryl, Richard, Jim, and Alex


David Barlow and Christopher Marshall in No End of Blame

Christopher Marshall, David Barlow, and Emily Kron in Havel: The Passion of Thought

Tara Giordano and Bill Army in An Experiment with an Air Pump

Lana Meyer, Melissa MacDonald, and Jan Maxwell in Scenes from an Execution

Jonathan Tindle and Tara Giordano in The After Dinner Joke

Jay Dunn Steven Dykes Jonathan Tindle in Pity in History 3


PTP/NYC (POTOMAC THEATRE PROJECT) Cheryl Faraone, Jim Petosa, Richard Romagnoli Coartistic Directors Alex Draper Associate Artistic Director presents the summer 2022repertory for PTP’s 35th season

Reverse Transcription Hauntings from Pandemics Past and Present with Dog Plays By Robert Chesley Directed by Jim Petosa and A Variant Strain By Jonathan Adler and Jim Petosa Directed by Jim Petosa

Sex, Grift, and Death Lunch By Steven Berkoff Directed by Richard Romagnoli Hot Fudge By Caryl Churchill Directed by Cheryl Faraone and Here We Go By Caryl Churchill Directed by Cheryl Faraone

*member, Actors Equity Association

The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under United States copyright law. For more information, please visit: https://concordtheatricals.com/resources/protecting-artists

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The Company in Brecht on Brecht

Scenic and Coprojection Design Mark Evancho

Sound Design Sean Doyle

Costume Design Bella Costantino-Carrigan Lunch, Hot Fudge

Production Stage Managers Christine Lemme* Lunch, Hot Fudge & Here We Go

Carol Wood Here We Go, Reverse Transcription

Abbey Murray* Reverse Transcription

Company and Production Management Courtney Smith

Original Music Composed and Performed by Peter Hamlin Here We Go

Press Representative David Gibbs / DARR Publicity Lighting and Coprojection Design Courtney Smith

Original Music by “Fear Tactics” Jeph Olsen and Jamie Grassman Dog Plays

Marketing BigLeapBrands 5


SEX, GRIFT, AND DEATH CASTS Lunch Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bill Army* Woman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jackie Sanders* Time and Place: A bench by the seaside. The present day. *Member, Actors’ Equity Association

Intermission A NOTE FROM THE DIRECTOR Lunch was written in 1966 and premiered in 1983 at the King’s Head, a pub theatre in London. Lunch is a poetic, terse, scabrous pas de deux, an encounter between A Man and A Woman, with spare biographies, different cultural backgrounds, but with a shared interest in Elliot’s Prufrock . . . Through their encounter, they explore fantasies, but also trip into the unanticipated consequence, the trap beneath the fiction. In a brief 38 minutes Berkoff presents characters in mid-life, stepping outside their familiar routines to passionately and humorously challenge themselves and each other. In Berkoff’s theatrical manifesto, Total Theatre, all the elements are equal, but like Orwell’s swine, some devices are more equal than others. He prefers heightened language, mimetic, stylized movement, potent alchemy that reveals the nightmares and hoaxes by which we live. As he has said, “Art should be limitless. The deepest core of our being. We need to expose the demons and we may find something unexpected. Illuminate. Offend. Learn something.” Thank you, Richard

Lunch is produced by arrangement with Concord Theatricals on behalf of Samuel French Inc. (www.concordtheatricals.com).

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Hot Fudge Cast in order of appearance Matt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gibson Grimm + Sonia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Molly Dorion + Charlie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chris Marshall* June . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Danielle Skraastad* Ruby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tara Giordano* Colin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Barlow* Hugh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chris Marshall* Grace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wynn McClenahan + Jerry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Teddy Best + Lena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Danielle Skraastad* Locales: A pub, 7 p.m.; a winebar, 9 p.m.; a club, 11 p.m; Colin’s flat, 11 p.m. Understudies: Annabelle Iredale Bella Costantino-Carrigan Maggie Connolly, Catie Clark, Charlie Porto, Francis Price Ryan Kirby Meili Huang Charlie Porto Pause 1.Here We Go A Party After a Funeral Mourners Chris Marshall* Bill Army* Danielle Skraastad* Jackie Sanders* Meili Huang + Annabelle Iredale + Maggie Connolly + Charlie Porto 2. After One person David Barlow* 3. Getting There An ill person and his carer David Barlow* Victoria Keith + Scott Janes and Lily Balsen in Therese Raquin

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Understudies: Wynn McClenahan+, Catie Clark+, Katelyn Wenkoff+, Molly Dorion,Victoria Keith, Teddy Best, Gibson Grimm, Trey Atkins Patrons are required to turn off all cell phones. *Member, Actors’ Equity Association + Equity Membership Candidate

Hot Fudge and Here We Go are produced by arrangement with Concord Theatricals on behalf of Samuel French Inc. (www.concordtheatricals.com) Here We Go was first presented at the Lyttleton, at the National Theatre, London, on 27th November, 2016. DIRECTOR’S NOTES Engaging with the work of Caryl Churchill is gasp-inducing, always. There’s one gasp from the reader of her work—stunned by the audacity, the unsentimental but profoundly human gaze of the creator towards her subjects. The second gasp, deeper and more sustained, comes when those subjects, those people, are embodied by actors, whose own humanity entwines with Churchill’s people. This is the seventh play of Churchill’s I’ve had the fierce joy of directing, in a total of 12 productions. There is no better way to arm yourself against the world, or to turn the dial to change that world, than to laugh at, and possibly scream about, the words of Caryl Churchill. Hot Fudge was written in 1989 and meant as a companion piece to Ice Cream, (thus, Ice Cream and Hot Fudge) an acerbic view of Anglo-American relations. But decade be damned..we are still in this world. Here We Go was written in 2015. The relationship to the present—in fact to time immemorial—is undeniable. As a company, we’re pleased you’re here as we share grift, grief, and death with you. Thank you. Cheryl

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Joseph Varca and Noah Berman in Monster


REVERSE TRANSCRIPTION

Hauntings from Pandemics Past and Present CAST Dog Plays Dog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James Patrick Nelson* Buck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joshua Mallin* Fido . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jonathan Tindle* Lad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Trey Atkins + Time and Place: San Francisco 1989 Intermission A Variant Strain Old Dog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James Patrick Nelson New Dog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Francis Price + Fido . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ryan Kirby + Understudies: Teddy Best, Charlie Porto, Ryan Kirby, Gibson Grimm Time and Place: New York City—the recent past Dog Plays is produced by arrangement with Broadway Play Publishing (permission of Victor Bumbalo). *Member, Actors’ Equity Association + Equity Membership Candidate

Jan Maxwell and Jennifer Van Dyck in The Castle

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A NOTE ON THE PLAY There is a common maxim that history does not repeat itself, but it often rhymes. For us, the contemporary rhyme with the world of Robert Chesley’s play is urgent and provocative. But, like all sound, it is ethereal, dynamic, elusive. It arrives in waves, having reverberated across the medium of time, and we receive it as a variation, one possibility among many. Robert Chesley was living and writing and ultimately, dying during a surreal moment, when HIV/AIDS ravaged. And today we find ourselves grappling with how to make sense of the incomprehensible losses and challenges of the Covid pandemic, even with all its associated upheavals and reckonings that might produce welcome changes in our outlooks. We believe that the juxtaposition of Chesley’s Dog Plays and our new Variant Strain invites a productive intergenerational haunting. There are ghosts among us. If we invite them in, their rhymes might help to heal us. Jim Petosa and Jonathan Adler Reverse Transcription was supported in part by a grant from the Sketch Model Summer Studio at Olin College of Engineering with funding from the Andrew W. Mellon Foundation.

Danielle Skraastad and David Barlow in Havel: The Passion of Thought

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POTOMAC THEATRE PROJECT 2022 Directors, Season 35 . . . . . . . . . . . . . . . . . . . . . . . . . . . Cheryl Faraone, Jim Petosa, Richard Romagnoli Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cheryl Faraone Associate Artistic Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alex Draper Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Courtney Smith Scenic and Coprojection Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark Evancho Lighting and Coprojection Designer . . . . . . . . . . . . . . . . . . . . . . . Courtney Smith Costume Designers . . . . . . . Carol Wood Here We Go, Reverse Transcriptions Bella Costantino-Carrigan, Lunch, Hot Fudge Sound Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sean Doyle Original Score . . . . . . . . . . . . . . . . . . . . . . Peter Hamlin Hot Fudge & Here We Go Stage Managers . . . . . . . . Christine Lemme* Lunch, Hot Fudge & Here We Go Abbey Murray* Reverse Transcription Assistant Stage Managers . . . . . . . . . . Becca Ferrante* Reverse Transcription Ruby Ginal* Lunch , Hot Fudge & Here We Go Assistants to the Stage Managers . . . . . . . . . . . . . . . . . . . . . . . Qinyi Hua +, Lunch Katelyn Wenkoff +, Here We Go, Hot Fudge Catie Clark +, Reverse Transcriptions Video Production and Social Media Direction . . . . . . . . .Christopher Marshall Program and Poster Design . . . . . . . . . . . . . . Courtney Smith, Valerie Costello Program Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wynn McClenahan Wardrobe Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bella Costantino-Carrigan Fight Captain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Christopher Marshall Poster and Graphic Design . . . . . . . . . . . . . . . . . . . . Tim Spears, Valerie Costello Movement Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jay Dunn Dialect Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chris Marshall Run Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Trey Atkins, Teddy Best, Catie Clark, Maggie Connolly, Molly Dorion, Gibson Grimm, Qinyi Hua, Meili Huang, Annabelle Iredale, Victoria Keith, Ryan Kirby, Wynn McClenahan, Charlie Porto, Francis Price, Katelyn Wenkoff Press Representative . . . . . . . . . . . . . . . . . . . . . . . . . David Gibbs /DARR Publicity Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BigLeapBrands Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Verarose Muir Production Photographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stan Barouh

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David Gibbs (Press Representative) (he/him) is the founder of DARR Publicity, a boutique entertainment press agency specializing in theater, dance, film, music and unique theatrical experiences. Clients include The Amoralists, Company XIV, FIAF, Ice Factory Festival, La MaMa, Molière in the Park, New Ohio Theatre, NYC Indie Theatre Film Festival, Pig Iron and PTP/NYC. David has publicized shows at many Off-Broadway and OffOff-Broadway venues throughout NYC. His clients have won Drama Desk, Lucille Lortel, Obie and Off Broadway Alliance Awards SPECIAL THANKS Middlebury College Theatre Department, faculty and staff Tony Bader Deborah Wesley, RN, CEO Addison County Home Health & Hospice The Reverend Andi Lloyd, former Middlebury College Dean of the Faculty Sujata Moorti, current Dean of the Faculty Pieter Broucke, director of the arts Lexie Carlson, financial operations analyst, Middlebury College The Center for Careers and Internships The Office of Advancement Bill and Rosemary Carlough James Noone Adam Kassim Jeph Olsen Jamie Grassmann Raymond Dàvila Doug Favero Larry Bruni Valerie Costello These individuals and organizations associated with Middlebury College have insured the production of the company’s 35th season And to the many supporters who generously reached out during our 2020 and 2021 virtual seasons, including Alicia Romero, Karen Winer, Julie Parker, Carroll Maxwell, Judith Epstein-Fisher, Wendy Caster, Tucker Scully,Annette Toutonghi, Natarajan Krishnaswami, Robert Donnalley, Jon Rothstein, Sandra Farkas, Jay Gayner, Aaron Noble, Stephen F Sherman, Sandy and Alan Wade, Yue Wang, Alan Schaplowsky, Holly Middleton, Julie Parker, Jim Elgo, Daining Cui, Caitlin Duffy, Marianne Tatum, plus many others who chose to remain anonymous . . . we are here this year also because of you.

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BIOGRAPHIES Playwrights Steven Berkoff (Playwright, Lunch) was born in Stepney, London. After studying drama and mime in London and Paris, he entered a series of repertory companies and in 1968 formed the London Theatre Group. His plays and adaptations have been performed in many countries and in many languages. Among the many adaptations Berkoff has created for the stage, directed and toured, are Kafka’s Metamorphosis and The Trial, Agamemnon, and Poe’s The Fall of the House of Usher. He has directed and toured productions of Shakespeare’s Coriolanus, also playing the title role, Richard II, Hamlet and Macbeth, as well as Oscar Wilde’s Salome. Berkoff’s original stage plays include East, West,The Messiah: Scenes from a Crucifixion, The Secret Love Life of Ophelia, Decadence, Harry’s Christmas, Massage, and Acapulco. He has performed his trilogy of solo shows, One Man, Shakespeare’s Villains, and Requiem for Ground Zero, in venues all over the world. Films Steven has acted in include A Clockwork Orange, Barry Lyndon, Octopussy, Beverly Hills Cop, Rambo, Under the Cherry Moon, Absolute Beginners and The Krays. He directed and co-starred with Joan Collins in the film version of his play Decadence. He has published a variety of books on the theatre such as the production

journals I am Hamlet, Meditations on Metamorphosis, and Coriolanus in Deutschland. Berkoff’s work has led him to traverse the globe, and his love for travel is apparent in his book Shopping in the Santa Monica Mall: The Journals of a Strolling Player. Robert Chesley (Playwright, Dog Plays) is best remembered as a playwright, though he was also an author, critic, and composer. He was born in Jersey City, New Jersey, and taught in private schools in upstate New York for nearly ten years before settling in New York City in 1976 . . . Chesley composed music during the ten-year period 1965 to 1975 and his compositions were almost exclusively for voice. Between 1966 and 1970 he composed 53 songs, mostly to texts by American poets including Emily Dickinson, Willa Cather, and James Agee, and including sixteen settings of the British poet Walter de la Mare. There are also several choral works from the 1970s, with texts by Gertrude Stein and Walt Whitman, among others. His few instrumental works include the score to a 1972 film by Erich Kollmar, the “Sonata for Guitar and Harpsichord” (1974), and the “Little Concerto for Two Flutes and String Orchestra” (1968), which was revived in 1991 in a Benson Series concert of Downtown Music Productions, 13


conducted by Mimi Stern-Wolfe. The transformation of Robert Chesley, composer, to Robert Chesley, playwright, roughly coincided with his move to San Francisco in the early 1980s where he became a part of the gay theatre scene. In 1984 the city’s Theatre Rhinoceros produced his first one act, Hell, I Love You and in 1984 Chesley’s Night Sweat became the first produced full-length play to deal with AIDS. In all, Chesley wrote ten full-length and twentyone one-act plays. Several works were premiered posthumously, and all of his major plays have been published. Robert Chesley died of AIDS in San Francisco at the age of 47 on December 5, 1990. PTP previously produced Dog Plays in 1991 and 1995. Caryl Churchill (Playwright, Here We Go, Hot Fudge) began to write short works in the 1960s and 1970s for BBC Radio including The Ants; Not, Not, Not, Not Enough Oxygen, and Schreber’s Nervous Illness. She also wrote television plays for the BBC including The After-Dinner Joke and Crimes. She served as resident dramatist at the Royal Court Theatre from 1974– 1975, and subsequently began collaborating with companies such as Joint Stock Theatre Company and Monstrous Regiment (the latter a feminist theatre union which first produced Vinegar Tom) which used an extended workshop period in the development of new plays.Her many plays include Owners, Objections to Sex and Violence, Vinegar Tom, Fen, Three 14

More Sleepless Nights, Cloud Nine (1979 winner of an Obie Award in 1982 for best play of the year), Ice Cream with Hot Fudge , The Striker, Hotel (a choreographed opera or sung ballet set in a hotel room), Top Girls, This Is a Chair, Blue Heart, Far Away, A Number, Drunk Enough To Say I Love You, Love and Information, Ding Dong the Witch, Escaped Alone, . In January 2009, Churchill wrote a ten-minute history of Israel, ending with the Israeli attack on Gaza, to be performed free at the Royal Court. The play, Seven Jewish Children—a play about Gaza, was published online, for free download and use, as long as the company does a collection for people in Gaza at the end of the reading. Seven Jewish Children has been performed worldwide, invariably sparking controversy. PTP productions of Churchill’s work include Mad Forest (1998), Serious Money (2012, 2013), Vinegar Tom (2015), The AfterDinner Joke (2018, 2002) and Far Away (2020). Jonathan Adler (he/him; coauthor, A Variant Strain) is a professor of psychology at Olin College of Engineering in Needham, Massachusetts. He is also a visiting associate professor of Medicine at Harvard Medical School, editor in chief of the academic journal Personality and Social Psychology Review, and chief academic officer of Health Story Collaborative, a nonprofit organization dedicated to centering personal narrative in


the medical ecosystem. Jonathan’s research focuses on the dynamic relationship between identity development in adulthood and mental health. Jonathan has directed/codirected numerous plays in academic settings. Favorites include: The Intelligent Design of Jenny Chow (Babson College), Our Town (Olin College of Engineering), Assassins (Northwestern University), Julius Caesar (Harvard University),

and The Day I Stood Still (Bates College). He has written one prior play, Resurfacing, with Annie Brewster and Anna Bess Moyer Bell. Jonathan would like to thank Olin’s Sketch Model initiative (funded by the Mellon Foundation) for planting the seed of this project, as well as his husband and their two kids. Collaborating with Jim on this project has been a highlight of his career. www.jonathan-adler. com/

Alex Draper and Kathryn Kates in Gertrude—The Cry

Christopher Marshall and Jay Dunn in Pity In History

David Barlow, Jeanne LaSala, and Mat Nakitare in Serious Money 15


The Company Bill Army* (Man, Lunch; Mourner, Here We Go) Bill began his professional acting career in Somewhere in the Pacific directed by PTP Co-Artistic Director, Jim Petosa. Over nearly two decades, Bill has worked with Co-Artistic Directors Richard Romagnoli and Cheryl Faraone, and Associate Artistic Director, Alex Draper on over twenty productions and readings, most recently in Scenes from an Execution and Vinegar Tom. And though Jim, Cheryl, Alex, and Richard hate sentimentality, Bill wishes to thank each of these brilliant artists from the bottom of his heart for their impact on his life . . . but he was only offered 100 words in the program, so there isn’t enough space. David Barlow* (Colin, Hot Fudge; Man, Here We Go) has performed for PTP/NYC in Havel: the Passion of Thought, Scenes From An Execution, Victory, The Castle, Gertrude, No End Of Blame, and Serious Money. Some other favorite NYC productions include Horizon at New York Theater Workshop, This Is My Office at The Play Company (Drama Desk nomination), Saved and Andorra at Theater For A New Audience, Romola and Nijinski at Primary Stages, and his original piece LA Party at the Under the Radar Festival. He has performed at Berkeley Rep, Arena Stage, Hartford Stage, Actors Theater of Louisville, Portland Center Stage, Kansas City Rep, Berkshire 16

Theater Group, Philadelphia Theater Company, and others, and has appeared in various European productions, including at the Norwegian National Opera House in The Hamlet Complex, and in France with director Arthur Nauzyciel in Julius Caesar and Splendids. David most recently voiced the characters of Mr. Chouinard and Francois in Season 2 of Julian Koster’s The Orbiting Human Circus, now available on all podcast platforms. Middlebury Alum, MFA: NYU Grad Acting. Tara Giordano* (Ruby, Hot Fudge) is a proud 15-year company member of PTP/NYC, with previous credits including Vinegar Tom, Serious Money, Lovesong of the Electric Bear, Dogg’s Hamlet, Cahoot’s Macbeth, Cigarettes and Chocolate, Experiment with an Airpump, Perfect Pie, The AfterDinner Joke, and Plenty. A Helen Hayes nominated actor, she has performed at Arena Stage, the Shakespeare Theatre Co., Two River Theater, Lincoln Center Education, New Victory Theatre, Folger Theatre, and others. Her work can also be seen and heard in national commercials, audiobook recordings, and feature films. Ms. Giordano received her BA in Theatre from Middlebury College and her MFA from the Academy for Classical Acting at George Washington University.


Joshua Mallin* (Buck, Dog Plays) is an actor from Philadelphia making his PTP debut. He is grateful to return to his Middlebury College family and holds an MFA from the Columbia University School of the Arts where his credits included Middletown, A Streetcar Named Desire, Into the Zone, The Thugs, The Cherry Orchard and Wedding Band. He also performed in dreamer examines his pillow at 13th Street Repertory Theatre (NYC). During the pandemic he performed in, Bluefish, a zoom collaboration with actors from around the globe. Thanks to mom and dad. Christopher Marshall* (Charlie/ Hugh, Hot Fudge; Mourner, Here We Go) is an actor, director, and teacher. Off-Broadway: No End of Blame, Pity in History, The Possibilities, The Havel Plays, Cahoot’s Macbeth (PTP/NYC Atlantic Stage 2). Regional: All My Sons (Milwaukee Rep), A Christmas Carol (ACT Theatre Seattle), Betrayal (Aurora Theatre, *Best Cast SFGuardian); The Two Gentlemen of Verona, Hamlet, Love’s Labors Lost, A Penny for a Song (American Players Theatre), Copenhagen (Tampa Rep), Hedda (Jobsite), three seasons at The Utah and Colorado Shakespeare Festivals. James Patrick Nelson* (Dog, Dog Plays; Old Dog, A Variant Strain) just appeared in Broadway’s Slave Play at the Mark Taper Forum. Recent regional credits include The Human Voice (Bay Street

Theatre), Immortal Longings (Zach Theatre—World Premiere by Terrence McNally), Bedlam’s Pygmalion (Central Square Theatre), and Bedlam’s Sense and Sensibility (American Repertory Theatre, Folger Theatre—Helen Hayes Award for Outstanding Ensemble). Off-Broadway credits include The Three Sisters with Maggie Gyllenhaal, A Midsummer Night’s Dream with Bebe Neuwirth, and Ivanov with Ethan Hawke (CSC). Additional credits: Old Familiar Faces (Innovative Theatre Nomination—Best Actor), Rutherford and Son (Mint Theatre), Pericles (Berkeley Rep), The Maids (Outliers Theatre), Life x 3 (New Light Theatre Project), Romeo and Juliet, All’s Well That Ends Well, and The Knight of the Burning Pestle (American Shakespeare Center). James created the short film “Waking Up,” which premiered at the Santa Barbara Int’l Film Festival, and streams now on Dekkoo. He stars in several upcoming indie films, and he wrote, produced, and stars in the upcoming dramedy series “For Years to Come” with Richard Riehle. www.james-patrick-nelson. com IG: @jamespatricknelson Jackie Sanders* (Woman, Lunch; Mourner, Here We Go) is thrilled to be returning to Potomac Theatre Project this season. Other recent work: Carousel (Riverside Theatre); The Musical of Musicals (York Theatre Co.); Tyrants! (York Theatre Workshop). Off-Broadway Original Casts: Swingtime Canteen (Lilly McBain); Cowgirls (Mickey); 17


Kicking a Dead Horse (written and directed by Sam Shepard). Other: Measure for Measure (The Public Theatre); The Taming of the Shrew (Shakespeare in the Park); The Demise – A Rock Opera (Playwrights Horizons). Tours: A Chorus Line (Val); 42nd Street (Anytime Annie u/s, Dance Captain). TV: “Pan Am” (ABC); “The Loudest Voice” (CBS); “The Blacklist” (NBC); “Unbreakable Kimmy Schmidt” (Netflix). Jackie can be seen playing Barbara Walters in the upcoming TV mini-series, “Mike” (HULU) and can be heard voicing numerous Audiobooks. Many thanks to Richard and Cheryl. Love to Bill and Olin. Danielle Skraastad* (June/Lena, Hot Fudge; Mourner, Here We Go) was last seen at PTP in Havel: The Passion of Thought. Broadway: All My Sons. Off Broadway: Anon and Paris (The Atlantic) Moundbuilders (Signature), Hurricane Diane (NYTW/WP), Architecture of Becoming (WP), IHO (Signature/The Public) and The Wake (The Public) A Bright Room Called Day (The Public), The Pain and the Itch (Playwrights Horizons), Big Times (W.E.T.), Lidless (Page 73) Regionally Danielle has worked at Miami New Drama, Ancram OperaHouse, The Studio Theater, Premiere Stages, Two River Theater, Berkeley Rep, Cleveland Playhouse, Gulfshore Playhouse, The Wilma,, The Kirk,, Berkeley Rep, Capital Rep/Albany, ACT/Seattle, StageWorksHudson, The Human Festival and more . . . 18

Film/TV: 27 Dresses, Draw Up and Stare, Being, Hard Sell , Michael Clayton, The Business of Story, “Succession”, “Speed Mating,” “SVU,” “L&O,” “Unforgettable,” “Mercy,” “Fringe.” MFA NYU. Jonathan Tindle* (Fido, Dog Plays) PTP/NYC: Via Dolorosa, The Possibilities, Arcadia, Pity in History, No End of Blame, Scenes From an Execution, Pentecost. NYC: The Bacchae 2.1 (Flea); Roger&Tom (HERE); Not all Korean Girls Can Fly (EST); Welcome to Our City (Mint); Maud: The Madness (PTE, NYIT award nominee); Regional: Some Brighter Distance (world premier, City Theatre, Pittsburgh); The Swan (Helen Hayes award nominee, Round House); Three Sisters, Bed Among The Lentils (Helen Hayes nominee, Studio Theatre); The Pavilion (Merrimack Rep); Mrs. Warren’s Profession (Helen Hayes nominee, WSG); FILM: Delenda (Best Supporting Actor, Chelsea Film Festival), Full-Moon Fables (SAG Peer award), Dovid Meyer, The Hunley, The Day Lincoln Was Shot. TV: “The Blacklist,” “Happy!,” “The Tick,” “Dietland,” “Person of Interest,” “Boardwalk Empire,” “Law and Order,” “All My Children” Trey Atkins+ (Lad, Dog Plays) is a Chemistry major at Middlebury College. Hailing from Watertown, Connecticut, his Middlebury theatre credits include Ophelia Underwater (H). He is beyond grateful for this exciting opportunity, and he hopes you enjoy the show.


Teddy Best+ (Jerry, Hot Fudge) graduated in May from Middlebury College with a degree in Political Science. He is grateful to have caught the theatre bug in the latter half of his college years, and he is very excited to make his PTP/NYC debut this summer. Middlebury credits include: Everybody (Friendship) and Mr. Burns: a post-electric play (Gibson, Pianist). Teddy is eager to pursue acting and writing in the coming years. Catie Clark+ (Understudy, Here We Go and Hot Fudge; Assistant to the Stage Manager) is a senior theatre major from Tampa, Florida. Her past credits at Middlebury include Company (Kathy), Julius Caesar (Octavius) and The Bacchae 2.1 (Aide to Agave). Outside of theatre, Catie spends her time rehearsing with her a cappella group, the Middlebury Mamajamas. She sends her appreciation to Cheryl and the PTP company for their ingenuity and dedication to the arts. Maggie Connolly+ (Mourner, Here We Go) is a senior at Middlebury College, majoring in Theatre and Philosophy. She debuted with PTP in Standing on the Edge of Time during the summer of 2021. At Middlebury, Maggie most recently performed in She Kills Monsters as Tilly Evans and is looking forward to playing Daisy in Rhinoceros this coming fall. Her other Middlebury acting credits include Giants Have Us In Their Books (Jennifer Leigh), Julius Caesar (Metellus Cimber, Lepidus, Poet) and Jump! The 2019 Annual First-Year Show.

Molly Dorion+ (Sonia, Hot Fudge) is thrilled to be making her PTP/ NYC debut after three long years of waiting. Molly is a senior Theatre and Psychology double major from Carpinteria, California. Previous Middlebury theatre credits include Mr. Burns (Colleen), Dinner with Friends (Karen), Dry Land (Ester), Happy (Eva), Julius Caesar (Portia). She also works at the Costume Shop on campus and spends her time outside of the theatre running around Vermont. A huge thank you to Cheryl and the company for their persistence in putting these shows up and to her family for supporting her the whole way through! Gibson Grimm+ (Matt, Hot Fudge) graduated in May from Middlebury College with a degree in Theatre and Film Studies. His Middlebury acting credits include Mr. Burns (Matt), Dinner with Friends (Gabe), She Kills Monsters (Chuck), Giants Have Us in Their Books (Visitor), The Bacchae 2.1 (Tony U.), and Stop Kiss (Detective Cole). He recently directed I and You. Additionally, he has worked with Project Y’s Tiny Barn Festival in June 2021 and Women-in-Theatre Festival in January 2022, and performed in the PTP/NYC 2021 season in Standing on the Edge of Time. This past summer he co-produced the web series The Deli People, in which he also performed. Meili Huang+ (Mourner, Here We Go) is thrilled to be making her PTP debut. Her acting credits include No One Is Forgotten (Lali), Everybody (Everybody), finally (Aria and Celeste), and Julius Caesar (Cicero). 19


She has 12 weeks of patternmaking experience, interning for the Middlebury College Costume Shop. Her costuming credit includes The Orphan Muses. This past spring, she directed Bella Costantino-Carrigan’s thesis, Ophelia Underwater. A native of Shenzhen, China, Meili is currently completing her BA in theatre at Middlebury College. Annabelle Iredale+ (Mourner, Here We Go) is a theatre and neuroscience major at Middlebury College from Rhode Island. Her previous Middlebury acting credits include She Kills Monsters (Kaliope/Kelly), Company (Sarah), Big Fish (gender-bent Edward), Everybody (B). She is copresident of Middlebury College Musical Theatre as well as a student liaison for the Theatre department. She is thrilled to be making her PTP debut this summer! Victoria Keith+ (Caregiver, Here We Go) is a theatre major at Middlebury College. Middlebury acting credits include Mr. Burns, A Post-Electric Play (Jenny), She Kills Monsters (Evil Gabbi), and Ophelia Underwater (Nanny). Tech credits include PTP/NYC’s Standing on the Edge of Time (Assistant Director/ ASM), Dinner with Friends (Scenic Designer), I and You (ASM), and Happy (Wardrobe). She has performed in three world premiere plays: Sloppy Firsts, Hear. Eye. Stand., and Beach Week as part of the Teen Performance Company at Round House Theatre in Bethesda, Maryland. 20

Ryan Kirby+ (New Fido, A Variant Strain) is a recent Middlebury College graduate with a focus in directing from Waco, Texas. His directing credits include Happy, Gidion’s Knot, This Is Our Youth, and most recently, Botticelli in the Fire. Recent acting credits include the Third Man in The Baltimore Waltz and Mitch in A Streetcar Named Desire. After the summer, Ryan will continue to work as part of the executive team for a start-up theatre company in Waco called Silent House Theatre Co. Wynn McClenahan+ (Grace, Hot Fudge; Program Coordinator; assistant to the Producer) is a recent Middlebury College graduate from Montclair, New Jersey. Her acting credits include Mr. Burns, A Post-Electric Play (Quincy), Dinner with Friends (Beth), Project Y’s Women-in-Theatre Festival and Tiny Barn Festival, PTP’s Standing on the Edge of Time, Writer’s Block (Alvin Miller), Julius Caesar (Julius Caesar), Giants Have Us in Their Books (Lizzy), and American Idiot (St. Jimmy). This past summer, she performed in a YouTube series called The Deli People and in PTP/ NYC’s Standing on the Edge of Time. She is so grateful to finally perform with PTP in New York. Charlie Porto (Mourner, Here We Go) is a Miami-grown senior at Middlebury College studying molecular biology/biochemistry and theatre. Some of his favorite productions have been playing Steve in She Kills Monsters and romping in local Middlebury


theatre. He enjoys his offstage hobbies as a playwright, writer, musician, and book addict almost as much as theatre. His future plans range from medical school to an MFA (or an accursed mix of both). He holds inexpressible gratitude for his family and friends, and hopes you enjoy the show! Francis Price+ (New Dog, A Variant Strain) graduated in May from Middlebury College with a degree in theatre and English. Francis is incredibly excited to be returning for his second season with PTP. Middlebury credits include The First Year Show, She Kills Monsters (Miles), Dinner With Friends (Tom), and Botticelli in the Fire (Savonarola), as well as the 2021 season of PTP/NYC Standing on the Edge of Time. Huge

thanks to the company for this exciting opportunity, and endless appreciation to his fellow cast mates. Katelyn Wenkoff + (Understudy, Assistant to the Stage Manager, Hot Fudge & Here We Go) is a theatre and psychology major at Middlebury College from Nashville, Tennessee. Middlebury credits include She Kills Monsters (Lilith), Company (Susan), Everybody (Stuff/Somebody 1), The Last Five Years (Cathy), and Big Fish (The Witch). She has previously studied with the NHSI TheatreArts Division at Northwestern University. At Middlebury, she is copresident of Middlebury College Musical Theatre, as well as a member of the Middlebury Mamajamas a capella group.

DESIGN AND PRODUCTION Christine Lemme (Stage Manager, Sex, Grift and Death) Most recently: Two by Synge Irish Repertory Theatre; Broadway: reasons to be pretty, Swan Lake; Off-Broadway: LAByrinth, TBTB, Vineyard, MCC, Signature, Primary Stages, Second Stage, Cherry Lane and the OntologicalHysteric Theater. Abbey Murray (Stage Manager, Reverse Transcriptions) is a recent graduate from Western Connecticut State University with a BA in stage management and design technology. She has been stage managing for almost a decade and is so excited to be a part of PTP

this summer! Her recent credits include Hamilton: Angelica Tour (Covid Safety Manager), SWEAT (PSM), Hand to God (PSM), and Into the Woods In Concert (ASM). Abbey would like to thank those closest to her for their undying support and love, and hopes everyone enjoys the show! Ruby Lynde-Ginal** (Assistant Stage Manager, Sex, Grift and Death) is from Seattle, Washington, and received her BA in technical theatre from Gonzaga University in Spokane. She is currently working on a masters degree in religion, politics, and ethics at Harvard Divinity School. In the fall she will 21


return to the west coast where she will be completing a masters in education and will be teaching fourth grade. This production season marks her PTP/NYC and east coast debut. She would like to thank her friends and family for all the support. Credits include—Stone Soup Theatre: Frozen (SM), Lion King (SM); Coeur d’Alene Summer Theatre: Beauty and the Beast (ASM), Smokey Joe’s Cafe (ASM); Gonzaga University: The Shape of Things (SM), Dog Sees God (ASM), Gruesome Playground Injuries (ASM) Becca Ferrante* (Assistant Stage Manager, Reverse Transcription) is a senior at Western Connecticut State University in Danbury, Connecticut. This is her first season with PTP/NYC and she is super excited. She is a theater arts management and theater performance major from Norwalk, Connecticut. Some of her past WCSU credits include The 1940’s Radio Hour (assistant stage manager), The Who’s TOMMY (assistant stage manager), and The Radium Girls: A Jaw Dropping New Musical (production stage manager). Courtney Smith (Lighting Designer, Projection Designer) is a scenic, media designer, and technician for live performance. He is currently the production designer for the Department of Theatre at Middlebury College. Courtney’s designs have received several Meritorious Achievement Awards from the Kennedy Center 22

American College Theatre Festival. Additionally, his work received a “Distinguished Achievement Award in Scenic Design” from the Kennedy Center in Washington D.C. Credits include Potomac Theatre Project (NY), Warren Miller Performing Arts Center (MT), Southwark Playhouse (UK), the Bushwick Starr (NY), Roundabout Theatre Company (NY), New York City Opera (NY), Playwrights Horizons (NY), Classic Stage Company (NY), Cedar Lake Dance (NY), Marvel Repertory Theatre (NY), Mount Baker Repertory Theatre (WA), Montana Shakespeare in the Parks (MT), Coeur d’Alene Summer Theatre (ID), and Idaho Repertory Theatre (ID). Mark Evancho (Scenic Designer, Projection Designer, Lunch) has designed scenery, lights, and projections for the PTP/ NYC for 25 years, in Maryland, and in New York. Over the years Mark has designed New Jersey Shakespeare Festival, Olney Theatre Center in Maryland, Pennsylvania, Shakespeare Festival, and the Bucks County Playhouse, in Pennsylvania. In the New England area Mark has designed scenery and lights for the Vermont Stage Company, Lyric Theatre Company, Lost Nation Theatre Company in Vermont, and TV broadcast designing for YNC/ Yankee Communications Network in New Hampshire. Mark teaches design at Middlebury College.


Carol Wood (Costume Designer, Here We Go, Reverse Transcription; Costume Director, Lunch) is a professional patternmaker/draper. Carol Wood has been teaching costume cutting and construction through her custom costume business and at design schools in California and Vermont. She is known for recreating, wearing, and writing about historical garments. For the past two decades, her work has been honored with awards, shown in galleries, worn to period events, appeared on the stage, and escorted down the wedding aisle. Carol also worked as an assistant cutter in San Francisco Opera’s costume shop and is currently costume shop director in Middlebury College’s Department of Theatre. Her motto: Cinch it tighter! Bella Costantino-Carrigan (Costume Designer, Lunch, Hot Fudge; Wardrobe,) was a theatre major and Italian minor at Middlebury College. Middlebury acting credits include Ophelia Underwater (Ophelia), She Kills Monsters (Agnes), Happy (Melinda), Giants Have Us in Their Books (Paola), The Bacchae 2.1 (Tattooed Woman), American Idiot (Ensemble), and You Are Here (FYS 2018). Costume design credits include Ophelia Underwater, No One is Forgotten, Gidion’s Knot, Lunch, Happy, I and You, Until I Do, Working, Stop Kiss, Airswimming, and Jump! (FYS 2019). Bella spent the summer of 2020 as an acting apprentice with Commonwealth Shakespeare Company. On

campus, she was the President of Middlebury Queers and Allies, one of three student liaisons for the Department of Theatre, and works at the costume shop, Language Tables, and the Student Activities Office. Sean Doyle (Sound Designer) is a recent graduate of Boston University with a masters of fine arts in sound design. Mr. Doyle, a Washington, D.C., native, is a Boston based sound designer, and audio engineer. His designs have been heard at New Harmony Rep, Fresno State, the University of Alabama at Birmingham, Boston Playwrights Theatre, and The American Century Theatre. He is currently the sound supervisor for the Barrington Stage Company. Peter Hamlin (Original Score, Hot Fudge & Here We Go) is a composer, retired Middlebury music professor and former broadcaster. His compositions include music for orchestra, chamber ensembles, choir, and electronic media. He has recently been especially interested in sound design and music for theater and film. After working on Middlebury Department of Theatre productions of Middletown, One Flea Spare and The Orphan Muses, he is excited to be working for the first time with Cheryl Faraone and PTP/NYC. Qinyi Hua+ (Assistant to the Stage Manager, Lunch) is a theatre and art history major at Middlebury College from Shanghai, China. This is Qinyi’s first season of PTP, and 23


she is thrilled to work with this talented group. Middlebury credits include Mr. Burns (Assistant Stage Manager), Friends: The One in the

Zoo (Sound Design), Orphan Muses and 2021 Annual First-Year Show (Board Operator).

COMPANY DIRECTORS Alex Draper (Associate Artistic Director) is a founding member and the associate artistic director of PTP/NYC, appearing most recently in their productions of The House in Scarsdale: A Memoir for the Stage, Arcadia, No End of Blame, Judith: A Parting from the Body, Pentecost, Gertrude-The Cry, Serious Money, and Plevna: Meditations on Hatred. Theatre credits include the New York premieres of Terrorism (New Group/Play Company); Get What You Need (Atlantic); Rose’s Dilemma (MTC); Endpapers (Variety Arts); Saint Crispin’s Day (Rattlestick); The Pitchfork Disney (Blue Light); and Oedipus (CSC/Blue Light); revivals of Waiting for Lefty and Golden Boy (Blue Light); and

Jeanne LaSala in No End of Blame

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Scapin and The Triumph of Love (CSC); and regional productions at Yale Rep, Williamstown, Arena Stage, the Westport Playhouse, the McCarter, the Huntington, George Street, and The Berkshire Theatre Festival. Film: The Witch in the Window, No Pay, Nudity, Yellowbrickroad, Joshua, Hysterical Blindness, Simply Irresistible, The Photographer, Kalapani and Hard Shell. TV: Chicago Med, Taken, The Good Wife, John Adams, Sex and the City, Law and Order, Law and Order SVU, Law and Order: CI, Suddenly Susan and Ed. Alex trained at the Yale School of Drama and Middlebury College, where he is currently chair of the Department of Theatre.

David Barlow in Catastrophe


Cheryl Faraone (Director, Here We Go & Hot Fudge) is a cofounder of Potomac Theatre Project and has produced all of PTP/NYC’s 35 seasons. She has directed many shows for the company, including Dogg’s Hamlet, Cahoot’s Macbeth and Arcadia by Tom Stoppard; Serious Money, Vinegar Tom, After-Dinner Joke, Mad Forest and Far Away (the last online) by Caryl Churchill; Sarah Kane’s Crave, Territories, Lovesong of the Electric Bear, Politics of Passion: the Plays of Anthony Minghella, An Experiment with an Airpump, Perfect Pie, Stanley and many more. Previously, she directed and produced for eight seasons with the New York Theatre Studio. For the Olney Theatre Center in Maryland she directed King of the Jews, The Real Thing and Anna Karenina. She worked on the Broadway productions of The American Clock and An Evening with Comden and Greene with producer Arthur Cantor and also worked at the Public Theatre.. Her work at Middlebury College, where she is professor emeritus of Theatre and Women and Gender Studies, includes the direction of 30+ productions, including Julius Caesar, Men on Boats, Enron, Stupid Fucking Bird, As You Like It, The Good Woman of Setzuan, Jumpers, Arcadia, The Real Inspector Hound,The Five Hysterical Girls Theorem, An Experiment with an Air Pump, Top Girls, Way of the World, and numerous others. She is a graduate of Catholic University and Florida State University’s School of Theatre, and officer and board

member for OOBA (early ART/ NY), the League of Washington Theatres, AThe and TCG. She is a member of the National Theatre Conference. Jim Petosa (Director, Reverse Transcriptions; Playwright, A Variant Strain) is professor emeritus with Boston University’s College of Fine Arts. He served as a professor and as director of the BU School of Theatre from 2002–2018. He also served as artistic director of the Boston region’s New Repertory Theatre from 2012–2018. Petosa has directed Tom Stoppard and André Previn’s Every Good Boy Deserves Favour at NYC’s Town Hall and the operas Carmen (Peter Brook adaptation) and The Man Who Mistook His Wife for a Hat among others. PTP/NYC credits include Monster, Spatter Pattern, A Question of Mercy, Therese Raquin, Somewhere in the Pacific, Marisol, Dog Plays, Statements After an Arrest, Good, Brecht on Brecht, among others. He also served as artistic director for the Olney Theatre Center, where directing credits include Democracy, Racing Demon, Brooklyn Boy, Copenhagen, The Laramie Project, Art, The Miracle Worker, Jacques Brel is Alive and Well and Living in Paris (won a Helen Hayes Award for Outstanding Musical Production), Theatre J’s Collected Stories (received a Helen Hayes nomination for Outstanding Direction), and Look! We Have Come Through! (Charles MacArthur New Play nomination, 25


Cocreated with Carole Graham Lehan). A member of the Actor’s Equity Association and the Society of Directors and Choreographers, and the Becket Arts Center Board, he teaches acting and directs for the Boston University Opera Institute. Richard Romagnoli (Director, Lunch) In 1986 Richard Romagnoli co-founded and has since been the coartistic director of the Potomac Theatre Project. Director, For PTP/NYC, private and public Zoom productions of Pinter’s Press Conference/Party Time, Howard Barker’s poem Don’t Exaggerate. His most recent ‘live’ production for the company was 2019’s Havel: The Passion of Thought. For PTP and other theatres he has directed multiple productions of Howard Barker’s The Castle, Scenes from an Execution, The Europeans, A Hard Heart, Pity In History and The Possibilities. He has also directed Barker’s Judith, Gertrude— The Cry, Victory: Choices in Reaction and Barker’s poems ‘Gary the

Adam Ludwig, Stephanie Janssen and Rishabh Kashyap in Crave 26

Thief,’ ‘Plevna: Meditations on Hatred, ‘and ‘Don’t Exaggerate.’ For the worldwide 2010 Barker celebration “21 for 21”, he directed Judith with Jan Maxwell, Alex Draper and Stephanie Janssen. Other playwrights directed for PTP include Harold Pinter, Edward Albee, Gore Vidal, Vaclav Havel, Pavel Kohout, Snoo Wilson, Howard Brenton and Tariq Ali. In Washington D.C., he has directed Dumas fil’s Camille (with Jan Maxwell), Pinter’s The Homecoming, Coward’s Private Lives, and The Importance of Being Earnest for the Olney Theatre Center, and has also worked with Project Y in D.C., and in Boston for Whistler in the Dark. He is a professor emeritus of theatre at Middlebury College in Vermont, where he directed numerous plays, including Major Barbara, The Bewitched, Pentecost, Havel: The Passion of Thought and multiple Howard Barker pieces. He is a member of the National Theatre Conference.

Nesba Crenshaw and Tara Giordano in Vinegar Tom


HISTORY OF THE POTOMAC THEATRE PROJECT 86 productions, 1987–2021

Howard Barker

Judith: a Parting from the Body NY premiere Gertrude: The Cry American premiere No End of Blame: Scenes of Overcoming The Castle American premiere The Possibilities A Hard Heart Scenes from an Execution The Europeans: Struggle to Love American premiere Plevna: Meditations on Hatred world premiere Gary the Thief American premiere Victory: Choices in Reaction Pity in History world premiere Don’t Exaggerate Harold Pinter Mountain Language The New World Order American premiere One for the Road No Man’s Land A Kind of Alaska and other works Caryl Churchill Vinegar Tom The After-Dinner Joke American premiere

Mad Forest Serious Money Far Away Neal Bell Somewhere in the Pacific Therese Raquin Spatter Pattern Monster

Snoo Wilson Vampire American premiere Lovesong of the Electric Bear American premiere

Tom Stoppard Dogg’s Hamlet, Cahoot’s Macbeth Arcadia

Pam Gems Stanley Piaf

Anthony Minghella Cigarettes and Chocolate American premiere Politics of Passion: The Plays of Anthony Minghella

Vaclav Havel, Harold Pinter, Samuel Beckett Havel: The Passion of Thought American premiere

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Crave Sarah Kane American premiere

Plenty David Hare

Pentecost David Edgar—NY premiere

Measure for Measure Shakespeare, adapted by Chris Hayes—Premiere

Trial of the Catonsville Nine Daniel Berrigan The Best Man Gore Vidal A Question of Mercy David Rabe Magnificence Howard Brenton A Narrow Bed Ellen McLaughlin Statements After an Arrest Under the Immorality Act Athol Fugard Masterpieces Sarah Daniels A Poster of the Cosmos Lanford Wilson Manny and Jake Harvey Fierstein The Good and Faithful Servant Joe Orton Ghosts Henrik Ibsen Rain. Some Fish. No Elephants Y York Marisol José Rivera The Dog Plays Robert Chesley Family Life Wendy Hammond Closetland Radha Bharadwaj Good C.P. Taylor

Scotland Road Jeffrey Hatcher

Perfect Pie Judith Thompson The American Dream Edward Albee An Experiment with an Air Pump Shelagh Stephenson Territories: The Spoils & A Light Gathering of Dust Steven Dykes Brecht on Brecht Bertolt Brecht/George Tabori The House in Scarsdale Dan O’Brien Standing on the Edge of Time a compilation and juxtaposition of the work of multiple writers Lunch Steven Berkoff A Small Handful Anne Sexton and Gilda Lyons In addition, PTP’s After Dark series, First Hearings, and Plays on the Porch provide multiple opportunities for young artists affiliated with the company to develop and present new and often experimental work.

LAND ACKNLOWLEDGMENT Atlantic Stage 2 acknowledges that the Atlantic Theatre Company and School buildings are on the occupied and traditional lands of the Lenape people. We are grateful to the indigenous caretakers of these lands and honor the Lenape Tribes who continue to thrive today.

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Andrew W. Smith, Stephanie Janssen and Megan Byrne in Arcadia

Actors’ Equity Association (AEA) was founded in 1913 as the first of the American actor unions. Equity’s mission is to advance, promote and foster the art of live theatre as an essential component of our society. Today, Equity represents more than 40,000 actors, singers, dancers and stage managers working in hundreds of theatres across the United States. Equity members are dedicated to working in the theatre as a profession, upholding the highest artistic standards. Equity negotiates wages and working conditions and provides a wide range of benefits including health and pension plans for its members. Through its agreement with Equity, this theatre has committed to the fair treatment of the actors and stage managers employed in this production. AEA is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. For more information, visit www.actorsequity.org.

THEATER RENTAL INFORMATION The 16th Street Theater is available to rent for theatrical productions, special events, movie shoots, and conferences. For additional information about availability and rates, please contact Atlantic Theater Company at 212-691-5919 or www.atlantictheater.org Ticketing services provided by ovationtix.com 29


The Company of Serious Money.

Chris Duva and Alex Draper in No End of Blame

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Tara Giordano in Lovesong of the Electric Bear


William Wilder and Jan Maxwell in Victory

Aubrey Dube and Rishabh Kashyap in Pentecost 31


Christopher Marshall, Denise Cormier, Peter Schmitz in Cahoots Macbeth

Robert Emmet Lunney and Bill Army in The Europeans

Chelsea Melone and Tara Giordano in Vinegar Tom

Jonathan Tindle and Adam Ludwig in Scenes from an Execution

Matt Ball in Dogg’s Hamlet

Lucy Van Atta and Adam Ludwig in Spatter Pattern

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Michael Kaye and the company in Good

Denise Cormier, Christopher Marshall, Lucy Van Atta, and Tara Giordano in Cahoots Macbeth

Bill Army and Alex Draper in Scenes From An Execution 33


Alexander Burnett, Valerie Leonard, Christopher Marshall, and Christo Grabowski front. With Alex Draper and Jonathan Tindle rear in No End of Blame

Alex Cranmer, Steven Dykes, and Robert Zuckerman in Victory

Caitlin Duffy and Ro Boddie in Far Away

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Rob Emmet Lunney in Victory


The cast of Somewhere in the Pacific

Lindsay Haynes and Valerie Leonard in A Kind of Alaska

Tim Spears and Paula Langton in A Question of Mercy

Jan Maxwell, Steven Dykes, and Michaela Lieberman in Victory 35


PTP/NYC [POTOMAC THEATRE PROJECT]

2022 Company Atlantic Stage 2

330 West 16th St. (between 8th & 9th Aves.) Browse our program and purchase tickets at

www.ptpnyc.org