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a message from the

artistic and managing directors

Welcome to our 2016-2017 season and thank you for joining us for our muchanticipated revival of Fiddler on the Roof. We’re glad you’re spending the holiday season with us and we hope you will tell your friends and family about this wonderful production. This beloved musical masterpiece continues to resonate strongly today as it examines the traditions of life, communities, and family through the lives of the villagers of Anatevka with its timeless warmth, humor, and honesty. We’re thrilled to welcome back to our stage so many New Rep favorites as well as many newcomers as we celebrate our fastest-selling show of all time! We’d also like to welcome back director Austin Pendleton. While this is his first time directing for us, he is no stranger to our stage having appeared in Quills, Waiting for Godot, and King Lear. His play, Orson’s Shadow, also received its Boston-area premiere during our 2006-2007 season to resounding critical praise, and in 2015 we were honored to present him with New Rep’s Award for Lifetime Artistic Achievement at our annual Gala. We hope you’ll join us as our season continues in the new year as we begin a new series we’ve entitled Prophetic Portraits. We’ll start in the Black Box with Thurgood, featuring Johnny Lee Davenport as Supreme Court Justice Thurgood Marshall, followed by a collage of the works and songs of Bertolt Brecht in Brecht on Brecht, and conclude on our mainstage with Golda’s Balcony, featuring Bobbie Steinbach as Israeli Prime Minister Golda Meir. And our season will come to a conclusion in April with the Boston-area premiere of The Gift Horse, Lydia Diamond’s humorous and introspective comedy. Thank you again for visiting us today. We look forward to seeing you again soon!

Jim Petosa Artistic Director

Harriet Sheets Managing Director


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XFINITY is a proud sponsor of the New Repertory Theatre.

14139-Theater-Ad-0316.indd 2


3/11/16 1:32 PM

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in residence at the mosesian center for the arts

Jim Petosa Artistic Director


Harriet Sheets Managing Director


























There will be one 15-minute intermission. Fiddler on the Roof is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI.


member of the Stage Directors and Choreographers Society ˚ member of United Scenic Artists, Local USA 829 * member of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States ** appears courtesy of Actors’ Equity Association

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The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.




ADAM LOKKEN BARRAMEDA Featured Bottle Dancer, Ensemble VICTORIA BRITT* Chava AMELIA BROOME* Golde SEAMUS DOYLE Ensemble GABRIELA ETTINGER Shprintze DASHIELL EVETT Fiddler, Ensemble LEO GALLETTO Bottle Dancer, Ensemble ABIGAIL GOLDFARB* Tzeitel GABRIEL GRAETZ Mordcha, the innkeeper; Ensemble RICARDO HOLGUIN Mendel, Bottle Dancer, Ensemble JEREMIAH KISSEL* Tevye, the dairyman BO KRUCIK Nachum, the beggar; Ensemble RYAN MARDESICH Perchik, the student; Ensemble SARAH OAKES MUIRHEAD** Hodel ROBERT ORZALLI Rabbi, Ensemble DAN PRIOR Fyedka, Russian Soldier, Ensemble ELI RASKIN Constable JARED REINFELT Russian Dancer, Ensemble BENJAMIN SALUS Avram, the bookseller; Bottle Dancer; Ensemble BOBBIE STEINBACH* Yente, the matchmaker ALYSSA RAE SURRETTE Shaindel, Fruma-Sarah, Ensemble PATRICK VARNER* Motel, the tailor DYLAN C. WACK Russian Soldier, Featured Russian Dancer, Ensemble JOCELIN WEISS Grandma Tzeitel, Ensemble CARLY WILLIAMS Bielke SAMUEL L. WARTON Ensemble DAVID WOHL* Lazar Wolf, the butcher dance captain ADAM LOKKEN BARRAMEDA understudies SIOBHAN CARROLL Tzeitel, Hodel KATIE GRINDELAND Shprintze, Bielke IVY RYAN Chava, Fruma-Sarah, Grandma Tzeitel JON VELLANTE Constable, Nachum SAMUEL L. WARTON Perchik, Mordcha


Piano Flute Percussion Reed Trumpet Trombone Violin Bass

* member of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States ** appears courtesy of Actors’ Equity Association 4 n e w re p e r t o r y t h e a t re

musical numbers act one

Tradition Tevye, Ensemble Matchmaker, Matchmaker Hodel, Chava, and Tzeitel If I Were A Rich Man Tevye Sabbath Prayer Tevye, Golde, Ensemble To Life Tevye, Lazar Wolf, Ensemble Men Tevye's Monologue Tevye Miracle Of Miracles Motel The Dream Tevye, Golde, Grandma Tzeitel, the Rabbi, Fruma-Sarah, Ensemble Sunrise, Sunset Tevye, Golde, Perchik, Hodel, Ensemble The Wedding Ensemble

act two

Now I Have Everything Perchik and Hodel Tevye's Rebuttal Tevye Do You Love Me? Tevye and Golde The Rumor Yente, Ensemble Far From The Home I Love Hodel Chava Sequence Tevye Anatevka Ensemble


Boris Kiwi Productions – Peter Colao and Richard Wood, Partners TECHNICAL DIRECTOR Eric Sauter TECHNICAL SUPERVISOR Samuel L. Warton PROPS MANAGER Ryan Bates ASSISTANT PROPS MANAGER Katie Grindeland MASTER ELECTRICIAN Nathaniel Jewett ASSISTANT COSTUME DESIGNER Stephanie Brownell SOUND ENGINEER Lee Schuna REHEARSAL & PRODUCTION ASSISTANT Brian Robillard PRODUCTION ASSISTANTS Christine Dickinson, Hannah Roth SPOTLIGHT OPERATORS & PRODUCTION ASSISTANTS Cory Missildine, Siobhan Carroll SCENERY Wooden


Whitney Towers Katie & Paul Buttenwieser SYMPOSIUM SUPPORT FROM


Joan Gallos & Lee Bolman SPECIAL THANKS

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Mark Nardone Tree Service



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meet the artists ADAM LOKKEN BARRAMEDA (Bottle Dancer, Ensemble) makes his New Repertory Theatre debut. Area credits include Yellow Face (Office of War Information); Footloose and Fancy Free!  (Boston Landmarks Orchestra); and The Serpent and Changes of Heart (Boston University).  Mr. Barrameda trained with Double Edge Theatre in Ashfield, MA, and is a BFA candidate at Boston University. Originally from Roxbury, NJ, he currently resides in Allston. VICTORIA BRITT* (Chava) returns to New Repertory Theatre after performing in The Snow Queen. Area credits include Carnival (Gloucester Stage); Sweeney Todd (Metro Stage Company); and The Fantasticks (Company Theater). Off-Broadway/NYC credits include Sea Legs (American Theater for Actors); All for Joe (Duke Theater); Pageant Princess (NYNW Festival); and Save the Date (Fringe). Other regional credits include Amazing Grace (Goodspeed); The Little Mermaid (Prescott Park); The Marvelous Wonderettes (Seacoast Repertory Theater); and Company (Playhouse on Park). She has been in eight mainstage musicals with Disney Cruise Lines. Ms. Britt is an alumna of The Hartt School. Originally from Massachusetts, she currently resides in New York City. AMELIA BROOME* (Golde) returns to New Repertory Theatre after performing in Master Class. Other credits include A Little Night Music and Steel Magnolias (NextDoor Theatre); Two Wives in India (Boston Playwrights’ Theatre); Casting Amanda (Emerson College); Next Fall, Adding Machine: A Musical (BroadwayWorld Award), Jerry Springer the Opera, and The Light in the Piazza (IRNE Award, SpeakEasy Stage Company); Sweeney Todd, Rich Girl, and Kiss Me Kate (Lyric Stage Company); Tea at Five (Worcester Foothills Theatre); and Spring Awakening and My Old Lady (Gloucester Stage Company). Film credits include Edge of Darkness. Ms. Broome earned her MFA at Boston University and is a faculty member at Emerson College. Originally from Georgia, she currently resides in Wilmington, MA.


SEAMUS DOYLE (Ensemble) makes his New Repertory Theatre debut. He has appeared in over ten productions with Watertown Children’s Theatre including Seussical, Les Miserables, The Music Man, West Side Story, Grease, and A Midsummer Night’s Dream. He is an eighth grader at Shady Hill School in Cambridge and lives in Watertown. ETTINGER (Shprintze) makes her New Repertory Theatre debut.  Area credits include  Caps for Sale (Boston Children›s Theatre);  Finding Nemo  (French Woods Festival of the Performing Arts); and  High School Musical,  Annie Jr,  Into the Woods Jr, and The Sound of Music (Menotomy Musical Theater). She has sung with the Boston Children’s Chorus for five years and was named her choir’s Singer of the Year in 2016. She has received training at Cambridge School of Weston’s Summer Arts, French Woods Festival of the Performing Arts,  Boston Children’s Theatre, Reagle Music Theatre, and Wheelock Family Theatre. TV credits include appearances as a cast member on interstitial segments of Curious George and Peep and the Big Wide World (PBS/WGBH) and as a narrator for interstitial segments of Curious George (PBS/Universals Studios). An 11-year-old sixth grader at Shady Hill School, she currently resides in Newton with her mom and younger sister.  GABRIELA

DASHIELL EVETT (Fiddler, Ensemble) returns to New Repertory Theatre after performing in Camelot. Area credits include The Secret Garden (Stoneham Theatre); The Sound of Music (Concord Players); Once Upon a Mattress (Concord Youth Theatre); and Legally Blonde and Zombie Prom (Middlesex Summer Arts). He is an accomplished singer/ songwriter, and his debut EP, Lost, with his group Sons of Eve, is available on iTunes, Spotify, Amazon, and Google Play. LEO GALLETTO (Bottle Dancer, Ensemble) makes his New Repertory Theatre debut. Boston credits include Crazy for You, Thoroughly Modern Millie, Wonderful Town, Singin’ in the Rain, and Me and My Girl (Reagle n e w re p e r t o r y t h e a t re

Music Theatre); and Columbinus (The Boston Conservatory). He also performed for two summers in The Lost Colony, America’s Longest Running Outdoor Drama on Roanoke Island, North Carolina. Originally from the suburbs of Philadelphia, he currently resides in Boston while earning his BFA in Musical Theatre from The Boston Conservatory. Follow on Instagram @leotheburrito ABBY GOLDFARB* (Tzeitel) returns to New Repertory Theatre after performing in The King of Second Avenue. Other recent Boston credits include Exposed (Boston Playwrights’ Theatre); and Cafe Variations (ArtsEmerson). She most recently performed pop/rock musicals in Europe with AIDA Cruise Line. Other credits include The Magic Jukebox  (NYC Fringe); The Berenstain Bears LIVE (MMAC, NY); and The Meredith Vieira Show (NBC). She received her BFA in Musical Theatre from Emerson College and also trained with The Upright Citizens Brigade. Ms. Goldfarb is a native New Yorker. GABRIEL GRAETZ (Mordcha, the innkeeper; Ensemble) makes his New Repertory Theatre debut. Area credits include How Soft the Lining (Bad Habit Productions); The School for Scandal and The Cherry Orchard (Actors’ Shakespeare Project); A Measure of Normalcy (Gloucester Stage);  Translations (Bad Habit Productions);  The Importance of Being Earnest (Moonbox Productions); and It’s a Wonderful Life (Stoneham Theatre). Mr. Graetz also leads tours as the painter John Singleton Copley with the Freedom Trail Foundation. He received a BFA in Acting from Emerson College. Originally from Chapel Hill, NC, he currently resides in the South End. RICARDO D. HOLGUIN (Mendel, Bottle Dancer, Ensemble) makes his New Repertory Theatre debut. Credits include Assassins, The Light in the Piazza, and  HAIR (The Boston Conservatory); Shrek the Musical, The Who’s Tommy, and Cinderella (Laredo Theater Guild International); The Wild Party (Moonbox Productions); Guys and Dolls (Reagle Music Theatre); Guys and Dolls (Mssng Lnks); and RENT and Cabaret (LITE Productions). He holds an MFA in Musical Theatre from The Boston Conservatory. He will next appear in Altar Boyz (Stoneham Theatre).

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JEREMIAH KISSEL* (Tevye, the dairyman) returns to New Repertory Theatre after performing in Broken Glass, The King of Second Avenue, Imagining Madoff, Rosencrantz & Guildenstern Are Dead, Twelfth Night, and Hard Times. Last season in Boston he also appeared in King Lear, Ulysses on Bottles, and Exposed. Screen credits include The Town, The Fighter, The Great Debaters,  Stronger,  and Joy. He is the recipient of two Elliot Norton Awards (1990, 2014), two IRNEs, and the Elliot Norton Prize for Sustained Excellence (2003). BO KRUCIK (Nachum, the beggar; Ensemble) makes his New Repertory debut. He is currently a senior in Boston University’s BFA Acting conservatory. Recent credits include Mad Forest and The Serpent (Boston University); and Equal Writes  (Boston Playwrights› Theatre). Mr. Krucik is originally from San Francisco, CA. RYAN MARDESICH (Perchik, the student) makes his New Repertory Theatre debut. Credits include City of Angels (San Francisco Playhouse); Spring Awakening (Foothill Music Theatre); The Lieutenant of Inishmore (Palo Alto Players); The Fantasticks (Los Altos Stage Company); Spamalot (City Lights Theatre Company); Guys & Dolls, Oliver, and Evita (Broadway By The Bay); and Sunday  in the Park with George and Sweeney Todd (Boston Conservatory).  He has also performed as the opening act for Earth, Wind, & Fire and Huey Lewis & The News. Mr. Mardesich received his MFA in Musical Theatre from the Boston Conservatory. OAKES MUIRHEAD** (Hodel) makes her New Repertory Theatre debut. Area credits include Sunday in the Park with George and A Little Night Music (Huntington Theatre Company); A Little Night Music (The Barnstormers Theatre); Arcadia (Central Square Theatre); 4,000 Miles and Spring Awakening (Gloucester Stage Company). Ms. Muirhead studied at the London Academy for Music and Dramatic Art and received her BFA in Acting from Boston University. She is also a coach for locally-based My College Audition. Next up, she will be directing Buyer & Cellar at SARAH


the 6th Street Playhouse in California. Originally from New Jersey, she currently resides in Boston.

College. Originally from Nashville, TN, he currently resides in Brookline.

BEN SALUS (Avram, Bottle Dancer, Ensemble) makes his New Repertory Theatre debut. Recent area credits include Brigadoon and Don’t Dress for Dinner (New London Barn Playhouse). Other area credits include Colossal (Company One); Romeo vs. Juliet (Anthem Theatre Company); and Our Class (Boston Center for American Performance). A recent graduate of Boston University’s School of Theatre, he was seen in The Hothouse and was nominated for Best Student Actor by ArtsImpulse for his performance in The Whitmores at the 18th BU Fringe Festival. Mr. Salus also holds a degree in Classical Acting from the London Academy of Music and Dramatic Art. He currently resides in Allston.

ROBERT ORZALLI (Rabbi, Ensemble) makes his New Repertory Theatre debut. Recent credits include Laughing Wild  (IRNE nomination),  Goodly Creatures, and Sand Mountain (Hub Theatre Company);  J.A.S.O.N. (Office of War Information); Hamlet (Wax Wings); Side by Side by Sondheim (Arlington Friends of Drama); Rocky Horror  (Emerson Umbrella);  Wild  Party  (Footlight Club); and Our Town (Riverside Theatre Works). He received a BA from Brandeis University. DAN PRIOR (Fyedka, Russian Soldier, Ensemble) makes his New Repertory Theatre debut. Area credits include Sense and Sensibility (Maiden Phoenix Theatre Company); A Man of No Importance (Bad Habit Productions); Carousel and Wonderful Town (Reagle Music Theatre); The Last Five Years (Arts After Hours);  Polish Joke (Titanic Theatre Company); and Three Sisters (Wellesley Repertory Theatre). Mr. Prior attended Ithaca College and received a BM in Vocal Performance and Education. Originally from Connecticut, he currently resides in Somerville. You can see Mr. Prior this spring in Barnum (Moonbox Productions).

RASKIN (Constable) makes his New Repertory Theatre debut. He is a graduate of the Boston University School of Theatre and also attended the Universidad de San Francisco in Quito, Ecuador. Recent credits include Thoroughly Modern Millie (Reagle Music Theatre); Prometheus Bound (Boston University); and Our Class (Boston Center for American Performance). Originally from Irvine, CA, he currently resides in Brighton. ELI

JARED REINFELDT (Russian Dancer, Ensemble) makes his New Repertory Theatre debut. Area credits include the workshop and reading of Finish Line (Boston Theater Company); Measure for Measure (Commonwealth Shakespeare Apprentice Company); and understudying Love’s Labor’s Lost (Commonwealth Shakespeare Company). Mr. Reinfeldt trained at Circle in the Square Theatre, Commonwealth Shakespeare Company, and recently graduated from Boston 10

BOBBIE STEINBACH* (Yente) returns to New Repertory Theatre after performing in Tongue of a Bird, Collected Stories (IRNE Award Best Actress, Elliot Norton Nomination Outstanding Actress), The Clean House, Romeo and Juliet, A Girl’s War (IRNE Award Best Actress), The Waverly Gallery, and Stonewall Jackson’s House (Elliot Norton Award Outstanding Actress). Recent credits include Sunday in the Park with George (Huntington Theatre Company); and School for Scandal (Actors’ Shakespeare Project, Founding Member, Resident Actor). Other regional credits include work with Lyric Stage Company, SpeakEasy Stage Company, Commonwealth Shakespeare Company, Boston Symphony Orchestra, and Boston Playwrights’ Theatre. She is the Huntington Theatre Company’s 2016 Lunt-Fontanne Fellow and is a 2015 recipient of the Fox Fellowship for Distinguished Achievement. She will return to New Rep in March to play Golda Meir in Golda’s Balcony. ALYSSA RAE SURRETTE (Shaindel, Fruma Sarah, Ensemble) makes her New Repertory Theatre debut. Area credits include Carousel, Guys and Dolls, Wonderful Town, Me and My Girl, and Singin’ in the Rain (Reagle Music Theater). She attended Walnut Hill School for the Arts as a theater major and received her BFA in Musical Theater from the Boston Conservatory. Ms. Surrette teaches voice, theatre, and dance in Southern Massachusetts and Rhode Island and currently resides in Bellingham, MA.

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PATRICK VARNER* (Motel, the tailor) returns to New Repertory Theatre after performing in Assassins. Recent credits include Sunday in the Park with George and A Little Night Music (Huntington Theatre Company); Dogfight (SpeakEasy Stage); Sondheim on Sondheim, City of Angels, and Buyer & Cellar (Lyric Stage); Brundibar and But, the Giraffe! (Underground Railway Theater); and Translations (Bad Habit Productions). Mr. Varner received his BFA in Acting from Boston University and also trained at the London Academy of Music and Dramatic Art. He can next be seen in Buyer & Cellar (6th Street Playhouse, California). Originally from Sonoma County, California, he currently resides in Allston. DYLAN C. WACK (Russian Soldier, Russian Dancer) returns to New Repertory Theatre after performing in Baltimore. Area credits include King Lear and Twelfth Night (Theater in the Open); Parade and Blue/Orange (Boston University School of Theatre). A comedian, he can be seen performing improv with Spontaneous Combustion, as well as stand-up around Boston. He is the 2016 runner up for Boston University’s Funniest competition. He is a BFA Theatre Arts candidate at the Boston University College of Fine Arts School of Theatre. Next semester, he will attend the London Academy of Music and the Dramatic Arts, studying Shakespeare and Restoration Comedy. Originally from Newburyport, he currently resides in Allston. Follow online @dylanwack SAMUEL L. WARTON (Ensemble) returns to New Repertory Theatre after performing in New Rep’s Classic Repertory Company productions of Romeo and Juliet and The Scarlet Letter. Recent credits include: Romeo and Juliet and A Midsummer Night’s Dream (Shakespeare Now!); Three Sisters (Wellesley Rep.); The Winter’s Tale and From the Sea, to Somewhere Else (Bay Colony Shakespeare Co.); Mystery Play (The Poets’ Theatre); and Peter Pan, The Liar, Casanova, and The Pillowman (UMass Amherst). Sam earned his BA in Theater from the University of Massachusetts Amherst. JOCELIN WEISS (Grandma Tzeitel, Ensemble) returns to New Repertory Theatre after performing in New Rep’s Classic Repertory Company productions of Romeo and Juliet and The Scarlet Letter. Recent area 2 01 6-2 017 se ason

credits include The Plant (Roxbury Rep); MBTA: A T Musical (ImprovBoston); Gorefest: The 13th (ImprovBoston); and Macbeth (Commonwealth Shakespeare Apprentice Company). She performs occasionally in Catalyst Comedy’s Kerplunk. Film credits include Academy (The Crypt TV). This spring, she will continue touring with New Rep’s Classic Repertory Company. Ms. Weiss trained at the Gately-Poole Conservatory and holds a BA from Skidmore College. Originally from Needham, she currently resides in Brookline. CARLY WILLIAMS (Bielke) makes her New Repertory Theatre debut. Area credits include Billy Elliot (Ocean State Theatre); A Year with Frog and Toad (Wheelock Family Theatre); Les Miserables (North Shore Music Theatre); Willy Wonka (Little Theatre of Stoughton); Scrooge: The Musical (Norton Singers); and Oliver! (Massasoit Theatre Company). She has also performed in numerous productions at the Capachione School of Performing Arts in East Bridgewater. She currently resides in West Bridgewater. DAVID WOHL* (Lazar Wolf, the butcher) makes his New Repertory Theatre debut. He has appeared on Broadway in  Golden Boy  and  Dinner at Eight (Lincoln Center Theater); The Man Who Had All the Luck  (Roundabout Theatre Company); and  Fiddler on the Roof  (Minskoff Theatre). Select Off-Broadway credits include  The Last Will  and  The Frugal Repast  (Abingdon Theatre Company); Between the Songs (Ensemble Studio Theatre);  Rag and Bone  (Rattlestick Playwrights Theater); and  The Basement Tapes (Village Gate). Other credits include performances with Goodspeed Musicals, Paper Mill Playhouse, Williamstown Theatre Festival, George Street Playhouse, La Jolla Playhouse, Mark Taper Forum, Cincinnati Playhouse in the Park, Bucks County Playhouse, Victory Gardens Theater, and Pittsburgh Public Theater. Film credits include The Boy Downstairs, You Must Be Joking, The Wackness,  Joe Gould’s Secret,  Saving Private Ryan,  Hot Shots! Part Deux,  War of the Roses, Presumed Innocent, Troop Beverly Hills, The Couch Trip,  Brewster’s Millions,  Revenge of the Nerds, and  Sophie’s Choice. Television credits include Brooklyn Bridge, DEA, Once a Hero, Hey Arnold!, Madam Secretary, White Collar, Suits, The Good Wife, and Rescue Me. 11

JERRY BOCK (Music) was born in New Haven, CT in 1928. Bock and Sheldon Harnick’s celebrated collaboration yielded five scores in seven years and included The Body Beautiful, Fiorello!, Tenderloin, She Loves Me, Fiddler on the Roof, The Apple Tree, and The Rothschilds. Bock and Harnick were triply honored by being inducted into the Theater Hall of Fame, receiving the Johnny Mercer Award from the Songwriters Hall of Fame and the Spirit of American Creativity Award from the Foundation for a Creative America. Bock received an honorary Doctor of Humane Letters degree from the University of Wisconsin. It was there that he met his wife Patti, and it was there that he decided to be a composer. Mr. Bock was a member of a number of professional guilds and associations, among which is the BMI Foundation, Inc. SHELDON HARNICK (Lyrics) was born in Chicago in 1924. His first song for a Broadway show was the hilarious Boston Beguine for New Faces of 1952. He then contributed songs to the revues Two’s Company (starring Bette Davis), John Murray Anderson’s Almanac and The Littlest Revue. His collaboration with composer Jerry Bock produced such Broadway classics as Fiorello! (1959): Pulitzer Prize, Tony Award; Tenderloin (1960); She Loves Me (1963): Grammy Award; Fiddler on the Roof (1964) Tony Award; The Apple Tree (1966); and The Rothschilds (1970). Other collaborations include A Christmas Carol with Michel Legrand (1981); Rex with Richard Rodgers (1976); A Wonderful Life with Joe Raposo (1986); and The Phantom Tollbooth with Arnold Black (1995). For Dragons and Malpractice Makes Perfect, he provided book, lyrics, and music. He has written songs for the films The Heartbreak Kid (1972) and Blame It on Rio (1984) both with music by Cy Coleman; and Aaron’s Magic Village (1995) with Michel Legrand. In the 1970s, he entered into the world of opera. With composer Jack Beeson, he has provided the librettos for Captain Jinks of the Horse Marines (1975), Dr. Heidegger’s Fountain of Youth (1978) and Cyrano (1994). Other operas include Love in Two Countries with Thomas Shepard (1991) and Coyote Tales with Henry Mollicone (1998). Harnick has won a Pulitzer Prize, two Tony Awards, two Grammy Awards, two New York Drama Critics Circle Awards, three gold records, and a platinum record. He and his wife Margery have a published book


entitled The Outdoor Museum (Not Your Usual Images of New York), featuring her photographs and his poetry. His two-CD set, Sheldon Harnick: Hidden Treasures, includes songs written for 17 of his shows and includes more than 50 songs from rare demos. It features performances by Harnick and composer Jerry Bock, Audra McDonald, Brian d’Arcy James, Hugh Martin, Margery Gray Harnick, Charlotte Rae, and more. JEROME ROBBINS (Original Stage Direction and Choreography) is world renowned for his work as a choreographer of ballets as well as his work as a director and choreographer in theatre, movies and television. Although he began as a modern dancer, his start on Broadway was as a chorus dancer before joining the corps de ballet of American Ballet Theatre in 1939, where he went on to dance principal roles in the works of Fokine, Tudor, Massine, Balanchine, Lichine, and de Mille. His first ballet, Fancy Free (1944) for American Ballet Theatre, still in many repertoires, celebrated its fiftieth birthday on April 18, 1994. While embarking on his career in the theater, Mr. Robbins simultaneously created ballets for New York City Ballet, which he joined in 1949, and became an Associate Artistic Director with George Balanchine. Mr. Robbins directed for television and film as well, with his co-direction and choreography of West Side Story winning him two Academy Awards. After his Broadway triumph with Fiddler on the Roof in 1964, Mr. Robbins continued creating ballets for New York City Ballet. He shared the position of Ballet-Master-in-Chief with Peter Martins until 1989. He has created more than 60 ballets, including Afternoon of a Faun (1953), The Concert (1956), Les Noces (1965), Dances at a Gathering (1969), In the Night (1970), In G Major (1975), Other Dances (1976), Glass Pieces (1983), and Ives Songs (1989) which are in the repertories of the New York City Ballet, the Ballet de l’Opera de Paris and major dance companies throughout the world. More recent ballets include A Suite of Dances with Mikhail Baryshnikov (1994), 2 & 3 Part Inventions (1994), West Side Story Suite (1995), and Brandenburg (1996) all of which premiered at New York City Ballet. In addition to his two Academy Awards, Mr. Robbins’s awards and citations include four Tony Awards, five Donaldson Awards, two Emmy Awards, the Screen Directors’ Guild Award and the New York Drama Critics Circle Award. Mr. Robbins

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is a 1981 Kennedy Center Honors Recipient, was awarded the Commandeur de L’Order des Arts et des Lettres, is an honorary member of the American Academy and Institute of Arts and Letters, and was awarded a National Medal of Arts as well as the Governor’s Arts Awards by the New York State Council on the Arts. Some of his Broadway shows include On the Town, Billion Dollar Baby, High Button Shoes, West Side Story, The King and I, Gypsy, Peter Pan, Miss Liberty, Call Me Madam, and Fiddler on the Roof. In 1989, Jerome Robbins’s Broadway won six Tony Awards including Best Musical and Best Director. He was most recently awarded the French Chevalier dans l’Ordre National de la Legion d’Honneur. Jerome Robbins passed away in 1998. JOSEPH STEIN (Book) started his career in television and was one of a noted group of writers on Your Show of Shows and The Sid Caesar Show. His first work for the theatre was as co-author of Plain and Fancy, the hit musical about the adventures of a pair of sophisticated New Yorkers living among the Amish in Pennsylvania. His next show was Mr. Wonderful, starring Sammy Davis, Jr. He created the libretto for the Bock and Harnick musical The Body Beautiful. His next librettos were for Take Me Along, based on Eugene O’Neill’s Ah, Wilderness; and Juno, with score by Marc Blitzstein. He then wrote the adaptation for the hit stage comedy Enter Laughing. Fiddler on the Roof was his next show, for which he won the Tony as well as the Drama Critics’ Circle Award. He was also nominated for a Tony for his next show, Zorba, with score by Kander and Ebb. His other productions include King of Hearts, Irene, Rags (for which he also was nominated for a Tony), and The Baker’s Wife, which was produced in London and was nominated for the Laurence Olivier Award. Mr. Stein is also the author of the screenplays for Enter Laughing and Fiddler on the Roof. AUSTIN PENDELTON◊ (Director) returns to New Repertory Theatre after performing in Quills, Waiting for Godot, and King Lear. He is also the recipient of New Rep’s 2015 Award for Lifetime Artistic Achievement. Mr. Pendelton is an actor, director, playwright, and a teacher of acting at HB Studio in New York. As an actor he made his Broadway debut in the original production of Fiddler on the Roof, which was directed by Jerome Robbins.  Subsequent Broadway productions in which he has appeared include Hail Scrawdyke (Clarence Derwent Award winner), Mike 2 01 6-2 017 se ason

Nichols’ production of The Little Foxes, Doubles, and The Diary of Anne Frank (with Natalie Portman and Linda Lavin, in a new adaptation by Wendy Kesselman). He has also acted extensively off-Broadway and in other regional theatres, notably Chicago’s Steppenwolf Theatre, where he is a member of the Ensemble.  He has acted in about 200 movies, and on such TV shows as Oz and Homicide, in each of which he has appeared in recurring roles. He has directed on, off, and off-off Broadway, at the Williamstown Theatre Festival (where he apprenticed under the guidance of Nikos Psacharopoulos), as well as at the National Theatre of Great Britain. His plays, published and produced in New York, around the country, and internationally, are Orson’s Shadow, Uncle Bob, and Booth. F. WADE RUSSO (Musical Director, Conductor) makes his New Repertory Theatre debut. He most recently conducted Bye Bye Birdie at the Goodspeed Opera House where he has conducted over 25 productions including Fiddler on the Roof in 2014. He served as associate conductor of By Jeeves on Broadway and conducted the national tour of The Boy Friend directed by Julie Andrews. Regionally he has conducted at the Huntington Theatre Company, Pittsburgh Public Theatre, Asolo Theatre, Repertory Theatre of St. Louis, Barrington Stage, Lyric Stage Company, Williamstown Theatre Festival, Gateway Playhouse, Shakespeare Theatre of New Jersey, and the Juilliard Repertory Theatre. He received the St. Louis Critics Award for Outstanding Musical Director/Conductor for Sunday in the Park with George in 2013. He has conducted cast recordings of By Jeeves and Illyria. Mr. Russo has served on the faculty of Circle in the Square Theatre School, The Juilliard School, and the Boston Conservatory. KELLI EDWARDS (Choreographer) returns to New Repertory Theatre after co-choreographing The Snow Queen with director Rick Lombardo and choreographing RENT, The Hot Mikado (IRNE Award for Best Choreography), Passing Strange, Cabaret, The Wild Party, Ragtime, Romeo and Juliet, Into the Woods, Scapin, and The Threepenny Opera. Other Boston theatre credits include A Confederacy of Dunces, How Shakespeare Won the West, The Cherry Orchard, The Second Girl, Becoming Cuba, and Come Back, Little Sheba (Huntington Theatre Company); A Marvelous Party, Red, Hot, and Cole, In the 13

Jungle of Cities, The King Stag, and The Taming of the Shrew (American Repertory Theater); The Secret Garden and Gypsy (Stoneham Theatre); and Love’s Labour’s Lost and Much Ado about Nothing (Actors’ Shakespeare Project). Ms. Edwards co-directs Dances by Isadora-Boston and is currently on the performing arts faculty at Milton Academy. STEPHEN DOBAY˚ (Scenic Designer) makes his New Repertory Theatre debut. Previous work with Mr. Pendleton includes Gideon’s Knot (59E59th); Don Pasquale (Boston Midsummer Opera); The Last Will (Abingdon); A Loss of Roses (Arkansas Rep); and Bus Stop (Olney Theater). Boston credits include Come Back Little Sheba and Our Town (Huntington); Funny Girl (North Shore Music Theatre); and many shows for Boston Midsummer Opera, Odyssey Opera, and OperaHub. New York credits include Under My Skin (Little Shubert Theatre); Adult (Abrons Arts Center); The Realists (HERE); The Cottage and To Kill a Mockingbird (Queens Theatre in the Park); Holy Crap!! (La MaMa); and Allegro, The Cottage, Blood Brothers, A Hard Wall at High Speed, and The Pillowman (APAC). Mr. Dobay received a BA from Williams College and an MFA from the University of Washington. Upcoming productions include Play of Adam (Cloisters);  Abduction from the Seraglio (Opera Columbus); Beauty and the Beast (North Shore Music Theatre); and Jekyll and Hyde (Engeman). Originally from Puerto Rico, he currently resides in New York City. KATHLEEN DOYLE˚ (Costume Designer) makes her New Repertory Theatre debut. Kathleen designs for opera, theatre, film, dance, and animation. Credits include Soldier’s Tale (Tanglewood); A Midsummer Night’s Dream (Boston Symphony Orchestra); The Light Princess (American Repertory Theater and The New Victory); Great Lakes (New York City Center); Hansel & Gretel (Opera Alaska); Sunfish (Daegu Opera House, South Korea); Acteon (The Kennedy Center); The Snow Queen (Here Art Center); Sassy Swings Tokyo and Winter Wonder Woman (La  MaMa); The Magic Flute (Arizona Opera); Fireweather (The Joyce Theater); and Lollapalooza (Jazz at Lincoln Center). Ms. Doyle’s work has been seen on the stages of Santa Fe Opera, San Francisco Opera, and Walt Disney World.  She has earned an MFA in Theatrical Design from NYU and an MA in Dramaturgy 14

from Villanova University.   She was a Goodwill Ambassador to Peru, has received a TCG Grant to Vietnam, was a Fulbright Scholar to Japan, and was a Fulbright Scholar to China.  She was awarded the 2016-2017 Labworks Residency at The New Victory Theater.  Ms. Doyle is originally from Arlington, and is now based in New York. KEITH PARHAM˚ (Lighting Designer) makes his New Repertory Theatre debut. Broadway credits include Thérèse Raquin (Roundabout Theatre Company). Off-Broadway credits include The Purple Lights of Joppa Illinois and Between Riverside and Crazy (Atlantic Theater Company); The Model Apartment (Primary Stages); Tribes, Mistakes Were Made, and Red Light Winter (Barrow Street Theatre); Stop the Virgens (Karen O at St. Ann’s Warehouse/Sydney Opera House); Ivanov and Three Sisters (Classic Stage Company); A Minister’s Wife (Lincoln Center Theatre); and Adding Machine: A Musical (Minetta Lane). International credits include Homebody/Kabul (National Theatre of Belgrade, Serbia). Regional credits include work at TUTA Theatre, Goodman Theatre, Steppenwolf, Court Theatre, The Mark Taper Forum, and Arena Stage among others. Mr. Parham received both an Obie Award and the Lucille Lortel Award for his work on Adding Machine: A Musical. ANNA BURNHAM* (Stage Manager) returns to New Repertory Theatre after stage managing Regular Singing, Blackberry Winter, Via Dolorosa, The Snow Queen, Broken Glass, God Box, Stronger Than the Wind, The King of Second Avenue, The Little Prince, Assassins, and Imagining Madoff. Area credits include Rhinoceros (Boston Playwrights Theatre); Jar The Floor, The Little Foxes, Mr. Burns: a post-electric play, Other Desert Cities, The How and the Why, Good People, Red, Quality of Life, Distracted, and Superior Donuts (New Century Theatre). New York credits include Corner Pocket (Extant Arts); Notice Me (Foglight Productions); and In Paradise & She Plundered Him and Summer Shorts Festivals IV & V (Interactive Arts). She received a BA from Bennington College. Originally from Westport, CT, she currently resides in Roxbury. BECCA FREIFELD* (Assistant Stage Manager) returns to New Repertory Theatre after serving as Assistant Stage Manager on Good and Production Assistant on Freud’s Last Session, The Testament of Mary, The Snow Queen, A Number, Broken Glass, Scenes From an Adultery, The King of Second n e w re p e r t o r y t h e a t re

Avenue, and Closer Than Ever. Other area stage management credits include Shoes On, Shoes Off (Brandeis Department of Theater Arts); Romeo & Juliet and Evil Dead: the Musical (Arts After Hours); Hamlet (Wax Wings Productions); Bully Dance (Argos Productions); and Hamlet (Bay Colony Shakespeare Company). Ms. Freifeld is a graduate of Brandeis University, and currently resides in Newtonville. JIM PETOSA (Artistic Director) joined New Repertory Theatre as an award-winning theatre artist, educator, and leader in 2012. He has served as Director of the School of Theatre, College of Fine Arts, at Boston University since 2002, and Artistic Director of Maryland’s Olney Theatre Center for the Arts and its National Players educational touring company (19942012). While at Boston University, he established the Boston Center for American Performance (BCAP), the professional production extension of the Boston University School of Theatre, in 2008. Throughout the Northeast, Mr. Petosa has directed for numerous institutions, including Freud’s Last Session, The Testament of Mary, Broken Glass, Assassins, On the Verge, The Elephant Man (IRNE Nomination), Amadeus, Three Viewings, The Last Five Years, and Opus at New Rep. In Boston, his work was nominated for two IRNE awards for A Question of Mercy (BCAP). He has served as one of three artistic leaders for the Potomac Theatre Project (PTP/NYC) since 1987. In Maryland, his work earned over 25 Helen Hayes Award nominations as well as the award for outstanding direction of a musical for Jacques Brel is Alive and Well… His production of Look! We Have Come Through! was nominated for the Charles MacArthur Award for outstanding new play, and he earned the Montgomery County Executive’s Excellence in the Arts and Humanities Award for Outstanding Artist/Scholar. A member of Actors’ Equity Association, Mr. Petosa has served on the executive board of the Stage Directors

and Choreographers Society, and currently serves on the Board of Directors for StageSource. Originally from New Jersey, he was educated at The Catholic University of America and resides in Quincy. HARRIET SHEETS (Managing Director) joined New Repertory Theatre in 2000. During her tenure, Ms. Sheets has successfully managed the theatre’s increasing operational budget, and moved the company from Newton Highlands to the Arsenal Center for the Arts. Ms. Sheets is treasurer of the Producers’ Association of New England Area Theatres (NEAT). Prior to working at New Rep, she was the General Manager at Merrimack Repertory Theatre, where she worked for nine years. Ms. Sheets began her career as an Actors’ Equity Association Stage Manager, working at North Shore Music Theatre, Huntington Theatre Company, Opera Company of Boston, and others. Originally from Arizona, she holds a BFA from Arizona State University and resides in Methuen.

member of the Stage Directors and Choreographers Society


member of United Scenic Artists, Local USA 829 * member of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States ** appears courtesy of Actors’ Equity Association

ACTORS’ EQUITY ASSOCIATION (AEA), founded in 1913, AEA represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence.

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Sholem Aleichem and Fiddler on the Roof NOTES BY SERENA CATES, EDITED BY RUTH SPACK

Fiddler on the Roof is rooted in the stories of Sholem Aleichem (1859-1916), the beloved Yiddish writer so renowned for his humorous tales that he was dubbed “the Jewish Mark Twain.” Upon learning of the comparison, Mark Twain said, “please tell him that I am ‘the American Sholem Aleichem.’” SHOLEM ALEICHEM’S EARLY LIFE

Sholem Aleichem was born Sholem Naumovich Rabinovich to a well-to-do family in Pereyaslav, Ukraine, in Imperial Russia. His happy childhood ended with the failure of his father’s business, the death of his mother when he was thirteen, and the abuse hurled at him by his stepmother. Sholem’s first book, at age fourteen, was a dictionary of curses drawn from his stepmother’s rants. His granddaughter, American author Bel Kaufman (Up the Down Staircase), told an interviewer, “That is the way his humor worked.” After receiving a traditional Jewish education, Sholem entered a Russian gymnasium in 1873. For three years after graduation, he tutored Olga Loev, the daughter of a prosperous landowner. From 1880 to 1883, he served as “crown rabbi” of Lubny (an administrative position). SHOLEM ALEICHEM’S WRITING CAREER

Starting in the late 1870s, Sholem worked as a reporter for the local Hebrew weekly and also published in the Russian press. He’d planned to be a Hebrew or Russian writer but discovered that Yiddish, though it lacked artistic respectability, had greater appeal to the reading public. In 1883, the year he married Olga, he published his first Yiddish work under the pen name Sholem Aleichem (a 18

variant of a Yiddish phrase meaning “peace be unto you”). After his father-in-law’s death in 1885, he became sole trustee of the estate but later squandered the fortune in risky business ventures. In 1888, Sholem Aleichem fulfilled a personal dream by founding a Yiddish literary annual, Di Yidishe Folksbibliotek, to elevate the status of Yiddish language and literature. The journal, though short-lived, became a milestone in the history of modern Yiddish literature. SHOLEM ALEICHEM IN AMERICA

In 1905, the year Fiddler on the Roof is set, widespread pogroms impelled Sholem Aleichem to depart the Czarist empire. He traveled with his family to Europe before setting out for New York City to seek his fortune as a playwright for the Yiddish Theater. He was greeted by the Jewish cultural elite as a literary hero, but his plays were flops. Financially strapped and angry at his treatment by the Yiddish critics, Sholem Aleichem left the country to rejoin his family in Geneva. During a second sojourn in New York, which began in 1914, he died of tuberculosis and diabetes. Hundreds of thousands of people lined the streets for his funeral procession. Sholem Aleichem is buried in Queens. FROM TEVYE THE DAIRYMAN TO FIDDLER ON THE ROOF

The creators of Fiddler on the Roof originally considered developing a musical based on Sholem Aleichem’s Wandering Stars, a novel about a traveling Yiddish theatre company. Lyricist Sheldon Harnick had read it, loved it, and shared it with composer Jerry n e w re p e r t o r y t h e a t re

Bock and playwright Joseph Stein. Stein nixed the idea because he thought the novel might be too unwieldy to stage. But, having fallen under Sholem Aleichem’s spell, the men continued reading his works. When they got to Tevye the Dairyman, they knew they’d found their musical. TEVYE

The character of Tevye was based on a milkman Sholem Aleichem knew, whose banter he recorded in a notebook. The fictional Bible-quoting father of seven daughters made his first appearance in a short story (1894) and became the central character in the collection titled Tevye the Dairyman (1912). Sholem Aleichem also wrote scripts based on the Tevye stories, produced posthumously on stage and screen. The author felt deeply connected to his character as the two men aged together, one in reality and the other on the page. The stories in Tevye the Dairyman, also known as Tevye’s Daughters, are told through Tevye’s point of view as though he were speaking directly to his author. (“If you’re meant to strike it rich, Pani Sholem Aleichem, you may as well stay home with your slippers on, because good luck will find you there too.”) Many of the tales have dark moments— the suicide of a daughter, the death of his wife—too harsh for the vision of the Fiddler team. Omitting the most painful events, they crafted a more comic adaptation. FIDDLER ON THE ROOF AND JEWISH IDENTITY

At first, Joseph Stein viewed Sholem

Aleichem’s work as stories about characters who “just happened to be Jewish.” But the process of creating Fiddler on the Roof became a journey of ethnic and cultural rediscovery for Stein and his collaborators, including director-choreographer Jerome Robbins, who’d long struggled to come to terms with his Jewish identity. In preparation for the production, Robbins reconnected with his Jewish roots by digging into his father’s childhood in Russia and visiting Hasidic communities in New York. Zero Mostel, the original Tevye, relentlessly teased Robbins about the research. But Mostel himself, who’d always identified as Jewish, was profoundly affected by the opportunity to reconcile his Orthodox past with his secular present. The show itself would eventually serve as a trope for Jewish identity. In an episode of the animated sitcom “The Simpsons,” Homer tells a rabbi from whom he wants to borrow money, “I know I haven’t been the best Jew, but I have rented Fiddler on the Roof and I intend to watch it.” THE CROSS-CULTURAL APPEAL OF FIDDLER ON THE ROOF

Fiddler on the Roof has wide appeal in part because it underscores the threat of modernity to familial ties and cultural traditions. When actress Florence Henderson saw the show, she exclaimed to Harnick, “Sheldon, this is about my Irish grandmother!” Japanese director Amon Miyamoto explains, “We have a ‘so traditional’ way. We have to be careful always. Our parents say, ‘Tradition! Tradition!’”

Production History Fiddler on the Roof smashed all Broadway box office records when it opened in 1964. The initial production played a record-setting total of 3,242 performances. It won nine of ten nominated Tony Awards, including best musical, score, and book. The musical was an international hit, with early productions playing throughout Europe, South America, Africa, and Australia. The Hebrew language staging in Tel Aviv was so popular the producer solicited a Yiddish version. Within five years after the collapse of the Berlin Wall, theatres in the former East Germany staged 23 productions, and it became Tokyo’s longest-running musical. There have been five Broadway revivals, including a 2015-2016 run, and hundreds of amateur productions are staged each year in the US alone. The award-winning film version, adapted by Joseph Stein from his own book, was released in 1971.  2 01 6-2 017 se ason



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New Repertory Theatre is the award-winning, professional theatre company in residence at the Arsenal Center for the Arts in Watertown, MA. For over 30 years, New Rep has been a leader of self-produced theatre in greater Boston, producing contemporary and classic dramas, comedies, and musicals in both the 340-seat Charles Mosesian Theater and the 90-seat Black Box Theater. Annually, New Rep serves over 40,000 patrons, including 2,000 season subscribers. In addition to its mainstage productions, New Rep produces Next Voices, a program dedicated to developing new plays by our Next Voices Playwriting Fellows. Under its Lifelong Enrichment Arts Programs (LEAP), New Rep also produces its Classic Repertory Company, Page To Stage, Insider Experiences, and Spotlight Symposium Series. New Repertory Theatre, Inc. is a not-for-profit theatre company operating under a New England Area Theatres (NEAT) contract with Actors’ Equity Association. New Repertory Theatre is a member of Theatre Communications Group, a national service organization for non-profit professional theaters; StageSource, the Alliance of Theatre Artists and Producers; ArtsBoston; the Producer’s Association of New England Area Theatres (NEAT); New England Theatre Conference; VSA Arts-Massachusetts, a service and support organization promoting accessibility; Theatre Arts Marketing Alliance (TAMA); Boston Arts Marketing Alliance (BAMA); National New Play Network (NNPN); and Massachusetts Advocates for the Arts, Sciences and Humanities.

mission STATEMENT New Repertory Theatre produces plays that speak powerfully to the essential ideas of our time. Through the passion and electricity of live theater performed to the highest standards of excellence, New Rep expands and challenges the human spirit of both artists and audience. New Rep presents world premieres, contemporary and classic works in several intimate settings. We are committed to education and outreach, including special dedication to the creation of innovative in-school programming and providing access to underserved audiences. New Rep is an active advocate for the arts and a major voice in the national dialogue defining the role of theater in our culture. TOP: ANNE GOTTLIEB AND JEREMIAH KISSEL IN BROKEN GLASS. PHOTO: ANDREW BRILLIANT / BRILLIANT PICTURES.


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A.W. (Chip) Phinney III TREASURER Jon Harris CLERK Wendy Liebow

James Bourdon, Gregory E. Bulger, Judi Cantor, Marcy Crary, Diane DiCarlo, Richard Dix, Jane Feigenson, C. Nancy Fisher, Christopher Flynn, Ralph Fuccillo, H. Peter Karoff, B.J. Krintzman, Ted Kurland, Paul Levine, Michael McCay, Fred Miller, Peter Nessen, Daniel S. Newton, Mary Rivet, Dan Salera, Richard Walker, Curtis Whitney


Lillian Sober Ain, Ruth Budd, Carol S. Fischman, Joan Gallos, Jonathan Garlick, Donald Giller, Miriam Gillitt, David Kluchman, Shari Malyn, Anita Meiklejohn, Chris Meyer, Laurie H. Nash, Pamela Taylor


Jim Petosa


Bridget Kathleen O’Leary Eric Sauter EDUCATION ASSOCIATE Lily Linke PRODUCTION MANAGER


Truppi Edikan Brown


Katie Grindeland HOUSE MANAGERS

Katie Grindeland, Jaclyn Fulton, Barbara Pierre interns Keaton Brower, Serena Cates, Olivia Cote, Isabelle Goodman, Erik Nikander, Ian Wallace ambassadors

Lloyd David, Iris Feldman, Scotty Hart, Virginia Inglis, Mary Koomjian, Elissa Rogovin, Diane Smith



Sheets Dearborn


Heather Darrow Jillian Smith GRANT WRITER Mark W. Soucy DEVELOPMENT DIRECTOR




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Andew Brilliant / Brilliant Pictures, Christopher McKenzie Stanley B. Kay Eliott Morra, CPA support Mark W. Soucy, NCGIT

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Karen Coyle Aylward, Kimo Carter, Jonathan Garlick, Clay Hopper, Lisa Stott

Kirsten Greenidge, Melinda Lopez, Bridget Kathleen O’Leary, Jim Petosa, Kate Snodgrass



Clay Hopper PRODUCTION DESIGNER Mary Sader COMPANY Siobhan Carroll, Katie Grindeland, Ivy Ryan, Dana Stern, Jon Vellante, Samuel L. Warton, Jocelin Weiss

Ellen O’Brien, Walt McGough, John Minigan


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NOV 25 - DEC 24




Book & Lyrics by KELLEN


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BOX OFFICE INFORMATION The New Rep Box Office is open Tuesday - Sunday from noon until 5pm. On performance days, the window will be open until fifteen minutes after the last performance begins. For the most up to date hours, please visit ACCESSIBILITY Patrons requiring wheelchair seating or who are otherwise physically handicapped should inform the Box Office staff when ordering tickets. The building is equipped with wheelchair-accessible restrooms on each floor. The Charles Mosesian Theater is equipped with a Tele-Coil Loop System. Patrons with hearing aids and cochlear implants can set their devices to “T-Coil” to take advantage of the assistive listening system. Patrons wishing for assistive listening devices may pick up a headset from the Box Office upon arrival at the theater. Patrons wishing to use largeprint or Braille programs can pick one up from the Box Office upon arrival. Patrons who will be bringing guide dogs to the theater should advise the Box Office staff when ordering tickets. PARKING There is a free parking garage on the Arsenal campus, directly across from the Arsenal Center. The parking garage has handicap accessible parking and an elevator on each level. Please do not park in “15 minute” or “2 hour” spaces, or any space designated for a particular company when attending a performance. CHILDREN Babes-in-arms are not permitted in the theater during performances. New Rep encourages the introduction of young audiences to the theatre. Children under 14 years of age are required to have a parent or guardian present with them in the theater during the performance. Some shows may contain strong language and/or mature themes; patrons may request additional information when purchasing tickets. PHOTOGRAPHY & RECORDING All photography, videotaping, and audio recording are strictly prohibited inside the theater. LATECOMERS All latecomers will be seated at the discretion of management in the most accessible seats, in order to minimize distractions.



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If you are 70½ years or older, consider rolling your IRA over to New Rep. Benefits for giving a gift up to $100,000 include: • Reducing your taxable income • Lowering your social security tax • Avoiding IRS tax limits • Satisfying your required minimum distribution for the year • Helping to make New Rep’s mission a reality!

To learn more, call Heather Darrow at 617-923-7060 x8210

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