GOLDA'S BALCONY Program

a message from the

artistic and managing directors

Thank you for joining us for the final show in our Prophetic Portraits Series, Golda’s Balcony. The first two shows in the series, Thurgood and Brecht on Brecht, performed to many sold out houses, and were heralded by critics and audiences alike. All three shows examine historic figures who made significant impacts on the world, cementing their legacies in the realms of law, theatre, and politics.

Golda’s Balcony is a cornerstone in a season we’ve entitled Prologue, which examines our present through the lens of the past. At a time when our current political environment is in flux and America’s standing on the world stage is at a critical juncture, we invite you to consider how Golda’s story intersects with today’s conversations.

New Rep is thrilled to welcome back Bobbie Steinbach to our stage after appearing in many of our productions over the years, including most recently our smash-hit revival of Fiddler on the Roof last December. Bobbie brings with her a creative energy that is unmatched in the Greater Boston theatre community, so we’re pleased for you to experience this much-anticipated production.

Please join us again as our season comes to a conclusion with The Gift Horse.

This humorous and introspective Boston-area premiere crackles with nationallyacclaimed playwright Lydia R. Diamond’s distinctive voice. Featuring Obehi Janice, Maurice Emmanuel Parent, and Lewis D. Wheeler, The Gift Horse is not to be missed.

We are pleased to announce our 2017-2018 season in which we showcase the remarkable RESILIENCE of the human spirit. Theatre has the power to shed light in dark times, to illuminate and stimulate thought, and to provide a forum for us to come together as a community in conversation. It is our hope that these plays will inspire and engage audiences as New Repertory Theatre continues to be a place where the vital ideas of our time can be discussed freely and openly.

Thank you again for visiting us today. We look forward to seeing you again soon!

Jim Petosa Artistic Director

Harriet Sheets Managing Director

TOP, from l-r: JOEL COLODNER AND SHELLEY BOLMAN In FREUD’S LAST SESSION.

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n e w re p e r t o r y t h e a t re

in residence at the mosesian center for the arts

Jim Petosa Artistic Director

321 arsenal st, watertown

Harriet Sheets Managing Director

presents

GOLDA’S BALCONY by

WILLIAM GIBSON

directed by JUDY

scenic designer

JIYOUNG HAN

SOUND DESIGNER

DAVID WILSON˚

BRAHA◊

COSTUME designer

PENNEY PINETTE

PROJECTION DESIGNER

SEAGHAN McKAY˚

lighting designer

JOHN MALINOWSKI

stage manager

ANNA BURNHAM*

cast

BOBBIE STEINBACH*

Golda Meir

There will be no intermission.

SEASON SPONSORS

Golda’s Balcony is presented by special arrangement with Samuel French, Inc.

◊

˚ 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

member of the Stage Directors and Choreographers Society

The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings on any medium, including the internet, is strictly prohibited, a violation of the author’s rights and actionable 2 01United 6-2 017 secopyright ason law. For more information, please visit samuelfrench.com/whitepaper 3 under States

Additional Production Staff assistant director Tim

Spears Ghaemi dialect consultant Christine Hamel master electrician Nathaniel Jewett technical supervisor Samuel L. Warton sound engineer Lee Schuna props manager Jane Feigensen scenery Wooden Kiwi Productions – Peter Colao and Richard Wood, Partners dramaturg Leila

SunBug Solar is a full-service local solar energy installer offering consultation, system design, installation, financing options and more.

production assistants

Benjamin Finn, Christine Dickinson

Thank you to the generous support of our GOLDA’S BALCONY Production Circle:

Ruth Budd Don Giller Wendy Liebow

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“And She Persisted” a note fro m the direc tor

One of the most fascinating things about directing a play is discovering how it crashes up on the shores of our own present moment and how the resonances ripple and vividly reveal themselves. New Rep Artistic Director Jim Petosa mentioned to me that the theatre programmed Golda’s Balcony last year as they thought it would be fascinating to juxtapose this story of Israel’s first (and only) female prime minister with the election of the first female US president. Fate dealt us a different opportunity. Rehearsing the play post-election, we have been feeling the resonances daily.

In the course of the play, William Gibson’s character Golda poses three key questions to her audience and, as she examines and reveals her own very complex legacy, to herself.

1. “I dreamed of a paradise. What went wrong?”

2. “To save a world you create... how many worlds are you entitled to destroy?”

3. “What happens when idealism becomes power?”

As her personal and political lives collide in the tumult before and after the founding of the State of Israel (a quest she was dedicated to practically her entire life), she grapples with these core questions, vividly holding a mirror up to our world in 2017. How might we learn from her mistakes and successes? How can individuals, states, and nations learn to move forward creatively and well even in the face of impossibly complex circumstances, horribly conflicting goals, and major differences of opinion? How much loss are we able/willing to bear in service to our ideals? Golda’s cautionary tale, full of contradictions, passions, foibles, and vision prompts us to ponder: how do we get to “Shalom” in the best and worst of times?

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meet the artists BOBBIE STEINBACH* (Golda Meir) returns to New Repertory Theatre after performing in Fiddler on the Roof, Tongue of a Bird, Collected Stories (IRNE Award, Best Actress, Elliot Norton Award Nomination, Outstanding Actress), The Clean House, Romeo and Juliet, A Girl’s War (IRNE Award Best Supporting Actress), The Waverly Gallery, and Stonewall Jackson’s House (Eliot Norton Award Outstanding Actress).

Regional Credits include The School for Scandal, Phedre, Richard III, Twelfth Night, All’s Well That Ends Well, The Winter’s Tale, Macbeth, Much Ado About Nothing, Coriolanus, Othello, Timon of Athens, Henry IV, Troilus & Cressida, and Pericles (Actors’ Shakespeare Project); A Little Night Music (Boston Pops at Boston Symphony Hall, Tanglewood); A Little Night Music, Sunday in the Park with George, Rose Tattoo, Dead End, and The Corn is Green (Huntington Theatre Company); Light Up the Sky, Follies, The Importance of Being Earnest, A Little Night Music, Arms and the Man, Spitfire Grill, Over the River and Through the Woods, and Assassins (Lyric Stage Company); Romeo and Juliet and Much Ado About Nothing (Commonwealth Shakespeare Company); Deported: a dream play (Boston Playwrights’ Theatre); The Fakus – A Noir (IRNE Award, Best New Play, Centastage); It’s A Wonderful Life and Rimers of Eldritch (Stoneham Theatre); Anna in the Tropics (SpeakEasy Stage Company); and Christmas Revels at Sanders Theatre.

Directing credits include Romeo and Juliet, A Midsummer Night’s Dream, and Macbeth (Shakespeare Now!); Our Town (Boston Conservatory); The Diary of Anne Frank (New Repertory Theatre Touring Company). In 2015 the Theatre Communications Group honored Bobbie with a two-year Resident Actor Fox Fellowship for Distinguished Achievement, for which she is partnering with Actors’ Shakespeare Project. She is also the 2016 Huntington Theatre Company’s Lunt-Fontanne Fellow. Bobbie is an acting coach who works mainly with high school students, preparing them for their college theatre auditions. bobbiesteinbach.com WILLIAM GIBSON (Playwright) was born in 1914 in New York City. He has written poetry, fiction, and scripts for stage, television, and films.

His plays include The Miracle Worker (Tony Award, Best Play) which was originally produced for TV’s Playhouse 90, Two for the Seesaw, A Cry of Players, Golda’s Balcony, The Butter-fingers 8

Angel, Monday After the Miracle, Goodly Creatures and Handy Dandy. He is the author of a novel, The Cobweb, as well as the musical version of Clifford Odets‘ Golden Boy. His several books include The Seesaw Log, A Mass for the Dead – a study of his family – and a volume of poetry entitled Winter Crook. Mr. Gibson’s book, A Season in Heaven, takes a look at metaphysics and the creative process. His latest book is Shakespeare’s Game, a critical study. He was inducted into the Theatre Hall of Fame in 2005.

JUDY BRAHA◊ (Director) has been a director, teacher, actor, and arts advocate in New England for over three decades. Head of the MFA Directing program at Boston University School of Theatre for over ten years and faculty member in the BFA Acting program for over twenty, she most recently collaborated extensively with the BU Prison Education program as a guest artist in André de Quadros’ groundbreaking class, Empowering Song, and created the BU College of Fine Arts Collaborative Arts Incubator with de Quadros and Jeannette Guillemin. Braha’s teaching and guest artist credits also include Brandeis University, Emerson College, Yale University International Conference in Choral Conducting, Mount Holyoke College, M.I.T., Northeastern University, Wheaton College, Trinity Rep Conservatory, Suffolk University, and the Boston University Summer Theatre Institute. Professionally, she has directed regionally at many theaters including Actors’ Shakespeare Project, Boston Center for American Performance, Merrimack Repertory Theatre, New Repertory Theatre, Ensemble Studio Theatre, Huntington Theatre Company, Boston Playwrights’ Theatre, and Nora Theatre Company. As a founding member of The New Ehrlich Theater, Braha directed many award winning productions including Bent, The Fifth of July, and The House of Blue Leaves, paving the way for the theatre renaissance in Boston’s South End. Most recently, Ms. Braha directed Emilie: La Marquise du Châtelet Defends Her Life Tonight for the Nora Theatre Company, Our Class and The Road to Mecca for Boston Center for American Performance, Othello for Actors’ Shakespeare Project, Water by the Spoonful for Boston University School of Theatre, and Joyce Van Dyke’s new plays Deported: a dream play and The Oil Thief for Boston Playwrights’ Theatre. The Oil Thief won an Elliot Norton Award for Outstanding New Play in 2009 and Emilie: La Marquise du Châtelet Defends Her Life Tonight won Lee Mikeska Gardener a Norton for Outstanding Actress in 2015. After n e w re p e r t o r y t h e a t re

Golda’s Balcony, Braha will be working on her 8th project with dear collaborator, Bobbie Steinbach, I Am Lear, for Actors’ Shakespeare Project as well as directing To Kill a Mockingbird for Gloucester Stage Company. Braha continues to be a proud member of SDC, AEA, SAGAFTRA and, of course, StageSource where she sat on the Board of Directors for its first six years.

JIYOUNG HAN (Scenic Designer) returns to New Repertory Theatre after designing Good and Assassins. Boston area credits include Doubt (Stoneham Theatre); Our Class (Boston Center for American Performance); Much Ado about Nothing (Arts After Hours); Chicago (Reagle Musical Theatre); Owen Wingrave, The Cracking Hour, Il Matrimonio Segreto, Intimate Apparel, The Learned Ladies, and God’s Ear (Boston University). Assistant Designer credit includes Sunset Boulevard (Broadway Revival and English National Opera); Carousel (English National Opera); Sweeney Todd (English National Opera); Marriage of Figaro (Chicago Lyric Opera); The Daughter of Regiment (Washington National Opera); Candide and Siege of Calais (The Glimmerglass Festival); The Critic and The Real Inspector Hound (Guthrie Theatre and Shakespeare Theatre Company); among many others. She received an MFA in Scenic Design from Boston University. She is originally from Seoul, Korea.

PENNEY PINETTE (Costume Designer) returns to New Repertory Theatre after designing A Number. She is a Boston-based designer focusing in dance and theatre. In addition to designing for the stage she also teaches costume production at Boston University where she also earned her MFA. Some of her work has been with local puppeteer Bonnie Duncan of They Gotta Be Secret Agents, and the local dance community including Prometheus Dance, Contrapose Dance, and Fort Point Theatre Channel. This year will be her fourth year designing costumes for the Boston Conservatory dance department.

JOHN MALINOWSKI (Lighting Designer) returns to New Repertory Theatre after designing Rent, Bakersfield Mist, A Christmas Carol (2005-2010), Entrances and Exits, Picasso at the Lapin Agile, A Streetcar Named Desire, The Pillowman, Quills, Jack and Jill, Kindertransport, A Moon for the Misbegotten, and American Buffalo.

Area credits include Arcadia, Saving Kitty, Emilie: La Marquis Du Châtelet Defends Her Life Tonight, Saint Joan, and Journey to the West (Central Square 2 01 6-2 017 se ason

Theater); A Midsummer Nights’ Dream, The Winter’s Tale, Hamlet, and The Cherry Orchard (Actors’ Shakespeare Project); Deported: a dream play, Crave, and The Man Who (Boston Playwrights’ Theatre); Oceanside and Visiting Mr. Green (Merrimack Repertory Theatre); An Ideal Husband and Cyrano de Bergerac (Tennessee Rep); City of Angels, Working, The Temperamentals, Sideman, The Heiress, The Chosen, and Communicating Doors (Lyric Stage Company); Fool for Love, Coyote Theater (IRNE Award), and Kiss of the Spider Woman (SpeakEasy Stage); and Weldon Rising (Coyote Theatre, Elliot Norton Award). He is a resident designer at the Nora Theatre Company and the Harbor Stage Company (Wellfleet). He was the resident lighting designer during Jeff Zinn’s leadership at the Wellfleet Harbor Actors Theater where he designed over 25 productions. He was a TCG/ NEA Design Fellow in 2002. He attended Harvard College and the American Repertory Theater Institute. He currently teaches at Northeastern University and lives in Boston.

DAVID WILSON˚ (Sound Design) returns to New Repertory Theatre after designing over a dozen shows including Regular Singing, A Christmas Story, Scotland Road, Blue Window, Exits and Entrances, A House with No Walls, The Scarlet Letter, and Sylvia. Other recent area productions include lighting and sound design for Windowmen (Elliot Norton Nomination, Boston Playwrights’ Theatre); lighting design for Crazy for You (Reagle Music Theatre); sound design for Edward II (Actors’ Shakespeare Project); Bootycandy (SpeakEasy Stage Company); and An Octoroon (IRNE Nomination, Company One); and sound and music design for The Comedy of Errors (Elliot Norton Award, Best Sound Design, Commonwealth Shakespeare Company).

Mr. Wilson served on the faculty of Brandeis University for over 20 years, teaching lighting and sound design, and created and led the MFA program in sound design. His designs for theatre at other companies include Central City Opera, Dibble Dance, Gloucester Stage, Lyric Stage, Merrimack Repertory Theatre, Nora Theatre, North Shore Music Theater, Stoneham Theatre, Shakespeare & Company, Wheelock Family Theatre, and Wellfleet Harbor Actors Theater. He has designed and taught at Boston College, Boston Conservatory of Music, Bowdoin, Emerson, Tufts, Suffolk, and UMass Lowell. dw-design.com SEAGHAN MCKAY˚ (Projection Designer) makes his New Repertory Theatre debut. Recent credits include Swan Lake (The Boston Ballet); La 9

Boheme and The Flying Dutchman (Boston Lyric Opera); Gershwin Spectacular: Promenade (The Boston Pops); Educating Rita (The Huntington Theatre Company); Sondheim on Sondheim (IRNE Nomination), On The Town (IRNE Nomination), and Big River (Lyric Stage Company); A Disappearing Number (IRNE Nomination, Underground Railway Theater); Big Fish (IRNE Nomination), Carrie: the Musical, Next To Normal, Nine, Striking 12, [title of show], and Jerry Springer: The Opera (SpeakEasy Stage Company); Memory House (Merrimack Repertory Theatre); Merrily We Roll Along, and Rent (Boston Conservatory); Twilight: Los Angeles, 1992; and Light Up The Sky (Emerson Stage); Best of Enemies (Florida Rep), and All The Way (TheatreSquared). He assisted Broadway projection designer Peter Nigrini on the PBS documentary Becoming Helen Keller. He is a Lecturer in Lighting Production and Media Design at the Boston University School of Theatre. seaghanmckay.com

ANNA BURNHAM* (Stage Manager) returns to New Repertory Theatre after stage managing Fiddler on the Roof, 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.

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 Brecht on Brecht, Good, Freud’s Last Session, The Testament of Mary, Broken Glass, Assassins, On 1the 0 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 Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States ◊ member of the Stage Directors and Choreographers Society

member of United Scenic Artists, Local USA 829

˚

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. actorsequity.org

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2017-2018 season SATI R I C A L DA R K C O M E DY

IDEATION by

SEP 2-24/2017

A aron Loeb

direc ted by

JIM PETOSA

C O M P E LLI N G C L A S S I C D R A M A

OLEANNA by

OCT 14-NOV 5/2017

DAV ID M A ME T

direc ted by

EL AINE VAAN HOGUE

S P I R ITE D M U S I C A L R EV I VA L

MAN OF LA MANCHA by

Dale Wasserman Joe Darion ly r i c s

music by

by

Mitch Leigh

A lbert M arre A lbert W. Selden a n d Hal James

o r i g i n a l p r o d u c t i o n s ta g e d b y o r i g i n a lly p r o d u c e d b y

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A ntonio O c ampo - Guzman

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STATEMENTS AFTER AN ARREST UNDER THE IMMORALITY ACT

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Golda Meir and Margaret Thatcher, April 1976, Tel Aviv

Who Gets to be Head of State—and How?

bY RUTH SPACK

“Whether women are better than men I cannot say— but I can say they are certainly no worse.”

Golda Meir When Golda Meir became prime minister of Israel in 1969, there was only one other female non-hereditary head of state: Indira Ghandi of India, elected in 1966. Prior to Ghandi, only one woman had attained national executive power: Sirimavo Bandaranaike of Ceylon (1960).

In 1974, when Vice-President Isabel Perón assumed leadership of Argentina following her husband’s death, she became the first female president in any country in the world.

Today, although record numbers of women have been elected to national parliaments worldwide, fewer than 10% of the 193 UN member countries are led by women. Winning the highest political office thus remains a decidedly male achievement. But since the 1960s, more than seventy countries have elevated women to the top position (elected, appointed, interim or other), including some of the most populous countries in the world.

The US, of course, has never made that list.

As a result, it’s common for little girls in this country to wonder, “Can I be president one day?” In Nordic countries, it is more likely to be little boys who ask the question, for many of them have known only a woman as head of state. Why is it that women rise to power 14

in some countries but not in others? What factors might explain their success?

Family Ties

Golda Meir emerged as the leader of her nation without the benefit of family ties, but kinship, especially within prominent political families, has long provided a path for women to high office. In many regions, when a male leader is assassinated or otherwise unable to serve, a female member of the family may assume his role, either through appointment of election, if she has significant political experience or if no male relatives are available or qualified.

Even in non-dynastic structures, being connected by blood or marriage to a former male executive (dead or alive) is advantageous, for it gives a woman access to a support network that can fund and promote her candidacy. Rather than being an unfair advantage, such connections typically put women candidates like Hillary Clinton on a more level playing field with the men. Of course, these connections cannot guarantee success. While men also benefit from family ties, women disproportionately rely on this route to power. n e w re p e r t o r y t h e a t re

Parliamentary Systems

Across the world, women become prime ministers more often than they become presidents. In fact, women almost never win presidential elections. In the US and many other countries, the president is viewed as a solitary figure, the commander-in-chief—a role that, consciously or unconsciously, many voters associate with masculinity. In contrast, prime ministers typically govern through consensus and cooperation, an approach more compatible with voters’ sense of feminine power.

In most parliamentary systems, voters elect parties rather than individuals, and therefore a woman can achieve high office by working her way up the ranks of her party. This phenomenon helps to explain why women have led or are leading advanced democracies like Israel (Golda Meir), Great Britain (Margaret Thatcher), and Germany (Angela Merkel) but not presidential countries like the US and France. Overall, the vast majority of women leaders share authority. In systems with dual executives—president and prime minister—women seldom hold the upper hand if their counterpart is male.

Political Instability and Nascent Democracies

Perhaps contrary to expectations, women are more likely to hold executive positions in countries that have recently experienced or are currently undergoing major crises. This trend reflects a well-documented phenomenon in the business world known as the “glass cliff ”: Women are more likely to achieve leadership roles during periods of downturn, when the chance of failure is highest.

Given the stability of the US political system, female presidential candidates (there have been five in all) have not benefitted from the crisis effect. Furthermore, US women have been shut out of old-boy political networks for most of the country’s two centuries. Newly established democracies, which have had less time to create such barriers, may afford women greater opportunity to get elected.

The Political Pipeline

The US Congress ranks a dismal 97th among the 193 UN member states when it comes to women’s representation. Without enough women in the political pipeline, fewer women are likely to run for the highest office. Furthermore, the scarcity of women representatives serves to reinforce the idea of the presidency as a masculine post.

To address the pipeline problem, several other countries have established quotas to increase the proportion of women who serve in office. Such quotas (if their effects are not subverted by elites) not only help women enter politics but also provide the networks they need to climb up the political ladder.

Female national leaders do not necessarily facilitate the political rise of other women.

Golda Meir, like Indira Ghandi and Margaret Thatcher, reached the top and then pulled the ladder up behind her.

FOR BIBLIOGRAPHY, VISIT NEWREP.ORG/RESEARCH

Production History In the summer of 2002, Shakespeare & Company premiered Golda’s Balcony in the drawing room of The Mount, Edith Wharton’s estate in Lenox, Massachusetts. When the play opened Off-Broadway in the spring of 2003, with Tovah Feldshuh in the lead, it sold out its entire 16-week run. Later that year, the play moved to Broadway and ran for 14 previews and 493 performances, making it the longest running one-woman show in Broadway history. In 2007, William Gibson adapted Golda’s Balcony into a film starring Valerie Harper.

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INDIVIDUAL DONORS Thank you to all of our individual contributors! Space does not permit us to list gifts under $50, but we remain grateful to all of our generous supporters. The following list represents contributions and cash gifts made between 9/1/15 - 3/3/16.

Legacy Producing Partners $100,000+ Anonymous (3) Producing Partners $25,000-$99,999 Anonymous (3) Marcy Crary & Tim Hall Miriam Gillitt Jonathan Harris Paul & Randi Levine

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Platinum Production Partners $10,000-$24,999 Lillian Sober Ain Holly Crary Mike & Laura Dreese Nan & Bill Harris Joy & A.W. (Chip) Phinney William & Helen Pounds Production Partners $5,000-$7,499 Anonymous (1) Ruth Budd & John Ehrenfeld David B. Elsbree &

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Lorraine Gilmore Chris & David Kluchman Wendy Liebow & Scott Burson Chris Meyer & Mary Rivet Vincent Piccirilli & Anita Meiklejohn Founders’ Society $2,500-$4,999 Gregory Bulger & Richard Dix Jane Capaldi C. Nancy Fisher Delia Flynn Donald Fulton BJ Krintzman

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Shari Malyn & Jon Abbott Jim Miller & Annette Furst Timothy & Deborah Moore Laurie Nash Pamela Taylor Leadership Society $1,500-$2,499 Anonymous (1) Martha Ahrens & Gary M. Madison David & Sandy Bakalar Robert & Ann Buxbaum Tracey & Joseph Cargile Carol & Mitchell Fischman Joan Gallos & Lee Bolman Don & Pamela Giller Jonathan Harris John & Sheila Hicinbothem Paul & Elizabeth Kastner Larry Manchester & Kathleen O’Connor Robert & Elizabeth Pozen Duncan Spelman & Elizabeth Grady Susan Murphy Warren Angels’ Society $1,000-$1,499 Anonymous (1) Cindy Aber Betsey Ansin Emily Barclay & John Hawes Richard Berger & Ellen Glanz Paul & Katie Buttenwieser Diane DiCarlo & Jeanne Leszczynski Lee & Amy Ellsworth Ralph Fuccillo & Paul Newman Jonathan & Lauren Garlick Jonathan Hecht & Lora Sabin Brian & Robin Hicks Grace Massey & Michael Broad Muriel Mayman Chris McKown & Abigail Johnson Jerry & Myrna Olderman Jim Petosa Jeff Poulos & Brad Peloquin Nancy Raphael Glenn Rosen & Ann Dannenberg Donald & Abby Rosenfeld Edward & Nancy Stavis Daniel Wagner Arlene Weintraub Benefactors’ Society $500-$999 Anonymous (2) Mark & Carolyn Ain John & Mary Antes Henry & Sue Bass Francine Brasseur Stephen & Lisa Breit Bill & Maria Brisk Jane & Christopher Carlson Lee & Inge Thorn Engler Jane Feigenson Stephanie Furtsch

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Erika Geetter & David Siegel John C. Goodman & Virginia Jordan Scott Gortikov & Ross Ozer Virginia Inglis Richard & Ilene Jacobs Henry & Martha Jacoby James Kamitses Edgar Knudson & Louis Mula Ted & Ann Kurland Timothy & Deborah Moore Daniel Newton & Christopher Flynn Robert & Jackie Pascucci Suzanne Priebatsch Arnold & Linda Roth Kathleen & William H. Rousseau Maria Saiz & Athelia Tilson Chuck Schwager & Jan Durgin Stephen & Peg Senturia Peter Smith & Donna J. Coletti Scott L. Utzinger Richard C. Walker III Barbara Wands Philip Warburg Nancy Richmond Winsten Directors $250-$499 Anonymous (1) Fred & Judith Becker Kathleen Beckman & Theodore Postol Patricia Black Donald & Ellen Bloch Kathleen & John Bradley Mary Jo Campbell Ronald & Elizabeth Campbell Judi Taylor Cantor Chester & Carol Cekala Priscilla Cogan & CW Duncan Steven & Arlene Cohen Graham Davies & Jean Walsh Michael & Beth Davis Donald Dearborn Owen Doyle Myriel Eykamp Harold & Susan Farkas Glenda & Robert Fishman Ernestine Gianelly Garth & Lindsay Greimann Kimberly Gurlitz & Eliot Morra Michael & Sharon Haselkorn Douglas Huber & Sallie Craig Linda Hudson & Randy Burnham Jeanne & Allen Krieger Tom Lewis Julianne Lindsay Will & Anastasia Lyman Niecie & Joseph B. Manello Charlie Marz Lindsay McNair Richard S. Milsten, Esq. Leslie Nelken Cindy O’Leary Lowell Partridge David & Donna Podolsky R. Lynn Rardin & Lynne A. O’Connell Sharon Rich & Nancy Reed

Ellen Simons Ruth Spack Barbara Spivak & Peter Loewinthal Judith A. Thomson Players $150-$249 Anonymous (2) Anna Bedirian Priscilla Biondi James & Jean Bourdon Peter & Marie Butler Ken & Nancy Crasco Daughters Fund Eric & Pam Diamond Vesna Dimitrijevic Glenn Edelson Leon Fernandez Richard & Katherine Floyd Richard & Nancy Fryberger Sondra Gotkin Mark & Janet Gottesman Daniel B. Green & Susan Skelley Christina & Chip Hall Scotty Hart Edward & Pamela Hoffer Linda Hudson & Randy Burnham Jeffrey Hughes & Nancy Stauffer Tosh Kawakami Martin & Phyllis J. Kornguth Tom Lewis Alisa Marshall & David J. Kovacs Thomas & Deborah Melone Joan Perea Roy & Jean Perkinson Patricia Robinson & Henry Finch Peter & Sandra Roy Stanley & Rhoda Sakowitz Serge and Tanya Savard Daniel Sheingold Rita Simon Rachael Solem Herman & Joan Suit Dawn C. Tucker Evelyn & Joel Umlas Denise Wernikoff Friends $50-$149 Anonymous (1) Leonard & Rita Aberbach Robin Abrahams Debra Antonelli Martin & Geila Aronson Michael Aylward Fred & Mary Baker David Baxter & Anne Anderson Jeannette Belcher-Schepis Nancy Belsky Eva Benda Robert Berk Lois Landau Berman Freya Bernstein James & Carolyn Birmingham Edward Boesel Michael Brewer Jerry & Phyllis Briskin Linda Brodt and Paul Katz

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Tamar Brown Michelle Brownlee Judi Burten & Kevin Soll Victor Calcaterra Tayler Capaldi John Carlow Melissa & Lisa Caten Judith Chaffee Maureen Coffin Jacqueline Colby R. John & Joan Collier Donald Coppack James W. & Linda Crawford Bruce Creditor Harvey & Cynthia Stone Creem Mara Crounse Susan DeMarco Frank & Annette DerSarkisian Karen Digiovanni Glenn Dodge J. Patrick and Susanne Dowdall Charles Duncan Maria Epsimos Barbara Epstein Phyllis Ettinger Iris Feldman Carol A. Flynn James Foley Harold & Carol Forbes David & Gita Foster David Frankel Linda & John Freeman Frank V. Gages Sharon Gates Nancy Galluccio Ashit Ganguly Harold Garrett-Goodyear Charles & Richard Gazarian Lucretia Giese Walter Gilbert Herbert Gish & Alfreda Piecuch Nyla Gislason Leon & Phyllis Goldman Eugene & Joan Goodheart Joseph Goodman Harriet Gould Daniel B. Green & Susan Skelley Kiki & Jim Gross Marvin & Joanne Grossman Todd Michael Hall Rona Hamada Jay Hanflig Ilana Hardesty & John Emery Brenda Harley Peter Haydu Richard Hermon-Taylor Ann R. & Philip B. Heymann Amy Hiatt Jean Holmblad John Hope Mary A. Hubbard Jean & Paula Humez Judith Hurwitz James Kamitses Ellen L. & Robert S. Kaplan Eva Karger

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Peter Katz & Linda Weiss Stanley B. & Joanne Kay In Honor of Stanley Kay Stuart & Ellen Kazin Rheta & Willam Keylor E. Patricia Killory Phebe Kiryk Richard & Ronnie Klein Irving & Ann Kofsky Stephen Kraffmiller Laura & Steven Krich Susan G. Krinsky Maureen Kruskal Philip Landa Andrea Larson Virginia Leavy Suzette Levenson Frederick & Doris Lewis Ilene Lieberman Reuel & Malvina Liebert Sigrid Lindo Cheryl Lindsay Brooke & Paul Lipsitt Natasha Lisman Joel & Deborah Litvin Lucy Lovrien Laura & Ery Magasanik Anne Mahoney Gami Maislin Karen Malone Richard & Candace Mandel Margaret & George Mansfield Patti Marcus & Paul Koch Elizabeth McCarthy Katherine McGuinness Doreen Mckillop Jerome Medalie Rachel Mele & Jeffrey Scherz Karole Mendelsohn Arnie Miller Lindsay Miller & Peter Ambler Debra Minard Kati Mitchell Rick & Lynne Montross Elaine Murray Judith Murray & James Pidacks Greg Nash Lewis Nashner & Ann Marie Flores Steve & Judi Nichols Geoffrey & Clare Nunes Elizabeth Hall Olszewski Mary B. Parent Diane F. Paulson Richard Perlmutter Dr. Ian C. Pilarczyk Dale Place Genevieve Pluhowski Barbara Poplack Thomas Powers Bruce Price Charles & Frances Przyjemski Eva Radding Anna Maria Radvany Katherine Read & John P. Huston Neva Reiner Janet Rosen

Mona & Phil Rosen Yvonne Sacks Joseph Salerno & Ellen Einstein Alvin & Peggy Schmertzler Phil Schroeder Charlotte & Robert Seeley Ingrid Shaffer Debbie Shalom Robert Shapiro Rob & Laurie Shea John & Linda Sheehan Margaret Simons Eugene & Winifred Skolnikoff James & Carole Slattery Howard & Elaine Smith Marvin Sparrow Joe Stallone Betty Starr Martha Stearns Bobbie Steinbach Marilyn Stone Laura Streichert & Chris Roberts Lynell Stromberg David & Judy Taub James D. Taylor & Martha Sheridan Jeffrey Templer Paula & Samuel Thier Martin & Carol Thrope Mark & Janis Urbanek Charles Valentine & Mary Beth Maisel Clare Villari Alice Wadden Kathleen & Ted Wade Diana Wainrib Barry Wanger Bonnie Waters Alice & Rick Weber Deborah & Scott Weiss David & Sharon White Allen Wiegner Larry & Jane Wilcox Robert Willis Richard Winneg Toni Wolinsky Benjamin Wolozin David & Carolyn Wood Robert Zaret & Jean Holmblad

NEW REP

GALA

2017 Save the Date

MAY 9, 2017 newrep.org/gala

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New Repertory Theatre remembers

H. Peter Karoff Peter and his wife Marty were instrumental to New Rep’s early years, and their drive to involve community members in the company built a loyal base of patrons and supporters who have sustained the theatre ever since.

Toward Independent Living and Learning, Inc. (TILL) www.tillinc.org

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about

new rep

New Repertory Theatre is the award-winning, professional theatre company in residence at the Mosesian 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 MainStage Theater and the 90-seat BlackBox Theater. Annually, New Rep serves over 40,000 patrons, including 2,000 season subscribers. In addition to its season of 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 vital ideas of our time.

What we do:

• Through the passion and electricity of live theater performed to the highest standards of excellence, New Rep seeks to spark community conversations on crucial contemporary issues.

• Our work expands and challenges the human spirit of both artists and audiences.

We present world premieres, contemporary plays and classic works in several intimate settings. Our productions are designed to be accessible to all. We are committed to education and enrichment for learners of all ages, with a special dedication to the creation of innovative in-school programming and outreach to underserved audiences. We embrace theater as the basis for enduring connections with our community and as a springboard for meaningful civic engagement.

• 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.

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board of directors

advisory council

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, B.J. Krintzman, Ted Kurland, Paul Levine, Michael McCay, Fred Miller, Peter Nessen, Daniel S. Newton, Mary Rivet, Dan Salera, Richard Walker, Curtis Whitney

chair

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

artistic and production artistic director

Jim Petosa

associate artistic director

Bridget Kathleen O’Leary Hannah Huling education associate Lily Linke production manager

box office box office manager Mike

Truppi

box office associates

Serena Cates, Gavin Damore, Katie Grindeland, Kevin Parker, Dana Stern, Sarah Spinella, Jon Vellante, Kate Ventimiglia house managers

Eric Green, Katie Grindeland, Barbara Pierre, Jon Vellante, Samuel L. Warton

administration managing director Harriet general manager Alexis

development

Susan Hepler Jillian Smith grant writer Mark W. Soucy director of development development manager

marketing marketing & pr director Michael Duncan Marketing & creative services manager

Smith

Tyler Prendergast group sales associate Jan graphic design Caridossa photographers

Nargi Design

Andew Brilliant / Brilliant Pictures, Christopher McKenzie ambassadors

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

interns

Keaton Brower, Serena Cates, Olivia Cote, Isabelle Goodman, Erik Nikander, Ian Wallace

Sheets Dearborn

Stanley B. Kay Eliott Morra, CPA support Mark W. Soucy, NCGIT

legal counselor accountant it

CLASSIC REPERTORY COMPANY ADVISORY COMMITTEE

NEXT VOICES ADVISORY COMMITTEE

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

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

CLASSIC REPERTORY COMPANY

NEXT VOICES PLAYWRITING FELLOWS

Clay Hopper production designer Mary Sader company Siobhan Carroll, Alex Casillas, Katie Grindeland, Ivy Ryan, Dana Stern, Jon Vellante, Samuel L. Warton

Ellen O’Brien, Walt McGough, John Minigan

director

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ALL MIXED UP

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A Midsummer Night’s Dream

by William Shakespeare directed by Patrick Swanson

May 10 – June 4 Multicultural Arts Center, Cambridge

“TURNS THE AMERICAN DOMESTIC COMEDY ON ITS HEAD!” – VARIETY

ROBERT O’HARA

by

Directed by

SUMMER L. WILLIAMS

8 4111 or or 866.

66. 811.

811. 4111 actorsshakespeareproject.org actorsshakespeareproject.org

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Apr 7 Ma y 7 MAR 23 – APR 9, 2017 Grea ter Bo ston. Greater Theatre.

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BE A PART OF

Book by Kevin Del Aguila Music and Lyrics by Gary Adler and Michael Patrick Walker Conceived by Marc Kessler and Ken Davenport

JENNIFER ELLIS. PHOTO BY GLENN PERRY PHOTOGRAPHY.

TIX FROM $25 | SpeakEasyStage.com

617-933-8600

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Directed by Tyler Rosati & Ceit Zweil Choreographed by Ceit Zweil Music Direction by Matt Stern

SINFULLY SPECTACULAR MUSICAL! STONEHAMTHEATRE.ORG | 781-279-2200

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audien ce

information

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 newrep.org.

Accessibility Patrons requiring accessible seating should inform the Box Office staff when ordering tickets.

The building is equipped with wheelchair-accessible restrooms on each floor. The MainStage 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 large-print 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 Mosesian Center.

The parking garage has handicap accessible parking and an elevator on each level. Please do not park in “15 minute” or “30 minute” 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.

TOP: THE CAST OF THE SNOW QUEEN. Photo: Andrew Brilliant / Brilliant Pictures.

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Bay State Cleaning Service We work behind the scenes to make the Bay State shine Commercial • Industrial COMPLETE BUILDING SERVICES quality • reliability • experience Richard Howard (617) 923-4920

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