1718 ripefrenzy program web

a note fro m

new repertory theatre

At New Repertory Theatre, we hold very strongly to our mission to present plays that speak powerfully to the vital ideas of our time. Given the recent events in Florida, Ripe Frenzy is all too relevant. When we programmed this play last year, the number of mass school shootings was continuing to grow, prompting us to look at Ripe Frenzy as a way to engage in conversation about these events.

Our hearts go out to the victims and their friends and families in Florida and across the nation where this wave of violence has directly affected so many for some time now. It is our hope that a play like Ripe Frenzy can help progress the dialogue about these tragedies, and we invite all to attend this production and join us in that conversation.

Ripe Frenzy is a beautifully written new play that depicts the lives of three women and their children. While its subject matter may be about a town rocked by a recent tragedy, it is so much more. It is witty and humorous. It is about how that town comes together, shares its history, and finds ways to move forward.

Once again, we hope you’ll join us in conversation about this play. We have several talkbacks scheduled, and we welcome your feedback online or via email.

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

Jim Petosa Artistic Director

TOP: THE CAST OF FIDDLER ON THE ROOF.

Harriet Sheets Managing Director

ANDREW / BRILLIANT PICTURES. 2PHOTO: 01 7-2 018 BRILLIANT se ason

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2017-2018 SEASON

JOIN US FOR THE REST OF OUR SEASON! R I V ETI N G H I STO R I C A L D R A M A

THE BAKELITE MASTERPIECE by

K ATE C AY LE Y

direc ted by

JIM PE TOSA BENJAMIN EVETT*

MAR 17-APR 8/2018

LAURA LATREILLE*

m ain s t a ge t heate r

A dynamic and compelling new work about a master forger put on trial for selling a long-lost Vermeer to the Nazis.

H I L A R I O U S E X I STE NTI A L C O M E DY

TWO JEWS WALK INTO A WAR... by

SE TH ROZIN

direc ted by

W ILL LEBOW JOEL COLODNER*

APR 28-MAY 20/2018 m ain s t a ge t heate r

JEREMIAH KISSEL*

Jeremiah Kissel and Joel Colodner reunite in this Vaudeville-style play doing their best in a shtick-y situation. * member of Actors’ Equity Association

A L A G P E R N EW Raise a glass

rees:

to our Hono

MAY 8, 2018

Lillian Sober Ain New Rep Board Member

Commander’s Mansion 440 Talcott Ave, Watertown, MA

Kenneth Elmore Associate Provost and Dean of Students, Boston University

VIP RECEPTION & ADMISSION $275 EVENT ADMISSION $200 Mark your calendars today and stay tuned for more details! For inquiries, email jillian@newrep.org.

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

Jim Petosa Artistic Director

and

Harriet Sheets Managing Director

present

RIPE FRENZY BY

JENNIFER BARCLAY

DIRECTED BY BRIDGET

KATHLEEN O’LEARY

PROJECTION DESIGNER

SCENIC DESIGNER

JARED MEZZOCCHIº

AFSOON PAJOUFAR LIGHTING DESIGNER

SOUND DESIGNER

DAVID ORLANDO

DAVID REIFFELº

COSTUME DESIGNER

ANNALYNN LUU STAGE MANAGER

RENEE E. YANCEY*

cast

REILLY ANSPAUGH Hadley/Bethany VERONIKA DUERR* Zoe STACY FISCHER* Miriam HENRY B. GARDNER Matt/Bryan James McNamara SAMANTHA RICHERT* Felicia

setting Tavistown, NY. 2017.

A high school theatre and the woods surrounding the town.

T I M E : Time is slippery here.

There will be no intermission.

Ripe Frenzy was commissioned by a grant from The National New Play Network, with funding from The Smith Prize for New Plays.

Ripe Frenzy is produced at New Repertory Theatre as a part of a National New Play Network Rolling World Premiere. Other partnering theaters are Synchronicity Theatre (Atlanta, GA) and Greenway Court Theatre (Los Angeles, CA).

For more information please visit www.nnpn.org.

* member of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States ºmember of United Scenic Artists, Local USA 829 The video and/or audio recording of this performance by any means whatsoever is strictly prohibited.

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ADDITIONAL STAFF

SEASON SPONSORS

PRODUCTION ASSISTANT

Eric J. Simon UNDERSTUDIES

Emma Tayce Palmer, Sarah Morissette HOUSE MANAGER

Emily Trantanella FRONT OF HOUSE

Tramaine Bembury, Valenia Bergier

SPECIAL THANKS

Mimi de Quesada Irving House

Old Money

by Wendy Wasserstein

Directed by Karen MacDonald

MARCH 6 - 18, 2018 Carling-Sorenson Theater Babson College, Wellesley

For tickets visit commshakes.org or 781-239-5880 Presented by ARTS Sponsors:

Old Money is presented by special arrangement with Samuel French, Inc.

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

a note

from the director

Since April 20, 1999, in the aftermath of Columbine, our country has seen a barrage of mass shootings, many in our schools and public places that used to be considered safe. As of February 2018 there have been 17 school shootings already.

When these events take place, we cling to what little scraps of information we can find. We know the what, where, and when right away. Then, we discover the who. But the why… the why remains elusive. It is a piece of the puzzle that no matter how hard we try, we can never actually answer. We can pull together as many facts as we can get our hands on. We can interview every person they ever knew. We can read everything they’ve ever written and study their patterns. But none of this can get to the heart of why a person would commit these acts.

With media and technology, we are able to sensationalize them in our search for why. We comfort ourselves with labels like “monster,” “sociopath,” “homicidal maniac,” or “psychopath.” We cannot accept that we missed the signs and we failed to intervene. We blame the gun manufacturers, politicians, and the mental health system. We point our fingers at the parents and teachers who didn’t see it coming.

But the satisfactory answers never come, and instead we rely on structures to sustain us in the face of chaos: religion, family, community, or even just a simple embrace of the capriciousness of life. How a person or even a community comes to grips with the unanswered “why” is a window into the raw humanity that holds us together in the face of the unimaginable.

Perhaps the more interesting question to be asking is How? How do we keep each other safe both physically and emotionally? How do we reach the people who commit these crimes before they happen? And how do we as a country stop them from happening so that we can stop always having to search for the Why.

Bridget Kathleen O’Leary

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intervie w with

playwright jennifer barclay

BY RUTH SPACK

PLAYWRIGHT JENNIFER BARCLAY

Jennifer Barclay describes herself as an “actor-turned-playwright.” She has performed in Chicago, California, New York, Austria, and Scotland and toured her solo show, Clearing Hedges, internationally. Jennifer has also written original screenplays and screenplay adaptations. She is currently an Assistant Professor of Playwriting and Performance at the University of Maryland.

I N T E R V IEW W ITH J EN N I F E R BA R C LAY RS: What first drew you to theatre?

JB: My parents and my school gave me plenty of exposure to theatre. I was so lucky to have drama class and school plays starting in elementary all the way through high school (Here’s to the importance of great arts education in our schools!), and my parents took me to see plays and enrolled me in drama camps. I was an actor first, and in the beginning what primarily excited me was the attention in the spotlight. But then, when I was 15, I took a fantastic class that opened my eyes to how much actors need to analyze and research to do their best work. I realized that to

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be the greatest actor you can be, you have to know everything about all of humanity. When I realized this could be a lifelong pursuit that used my brain and body to their utmost capacity, I was hooked and focused all my attention on making this my career.

RS: Among your many pursuits, you are both a playwright and a professor of playwriting. How do your writing and teaching impact and build on one another?

JB: I teach both acting classes and playwriting classes in the Department of Theatre, Dance and Performance Studies at the University of Maryland, and my teaching and playwriting careers feed each other constantly. As a professor, I have to articulate and challenge my own methods and beliefs. I need to keep up to date with the national and international theatre scene to be both a great teacher and writer, and I am constantly reading new plays to stay abreast of new trends in American theatre. And even though I no longer work as an actor, teaching acting keeps me viscerally involved in the actors’ process so that I never lose track of their point of view while I’m writing. My students inspire me with their fearlessness, their optimism, and their hunger.

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Playwriting is such a solitary activity, and I think I’d go stir crazy if I didn’t get out in the world to teach and see my extraordinary colleagues. My department is a wonderful place to be. Going to work every day is like stepping into a repertory theatre company and artistic home, and my colleagues and I collaborate all the time—my collaboration with projection designer Jared Mezzocchi on Ripe Frenzy being one prime example!

RS: You engaged in a unique collaboration with Jared Mezzocchi to incorporate media design into the script of Ripe Frenzy. Please share key moments of that creative process.

JB: Before I began the first draft of Ripe Frenzy, Jared and I did months of research and brainstorming about how the media covers and impacts mass shootings in our country. We then had a workshop with our directorcollaborator, Margot Bordelon, where we got to learn about Jared’s process as a projections designer, so that I could best incorporate the design element into the script. Jared brought up the idea of “mediaturgy” which means looking at the dramatic arc of the media in the play, instead of just using projections as background, and that thrilled me. Jared and I both are big fans of early in-depth collaboration, but we also love to have our “dark time,” where we retreat to the corners of our individual roles and do the

bulk of our creation in private. So I holed up to write the play solo while I was at the MacDowell Colony, and we didn’t reconvene until I was on the third draft during our workshop at Woolly Mammoth. It’s such a rare and productive pleasure to get to work so in depth with a collaborator so early on in a process, and for us both to have such complete trust that we share the same artistic vision and goals for the play.

RS: Ripe Frenzy won the National New Play Network’s 2016 Smith Prize for Political Theater. How would you define “political theater”? Did you have politics in mind as you developed the script?

JB: I consider myself to be a political playwright. I think political plays are what we urgently need in our society right now, and I think it can be any story that makes us question our own role in society, and ideally engage in debate. The political theatre that I love is also highly personal, emotional, empathetic, funny, and perhaps a little bizarre. One of my primary missions is to write intimate stories that are set against the bold backdrop of monumental shifts in our political landscape. I believe that, as theatre artists, we can use our characterdriven stories to let audiences imagine walking in another’s shoes.

DEVELO PMENT HISTORY

Ripe Frenzy was workshopped in 2016 and 2017 at the Woolly Mammoth Theater, Ojai Playwrights Conference, PlayPenn, and National New Play Network. Its world premiere at New Rep will be followed by productions at Synchronicity Theatre in Atlanta and Greenway Arts Alliance/Greenway Court Theatre in Los Angeles as a part of a National New Play Network Rolling World Premiere.

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meet the artists REILLY ANSPAUGH (Hadley/ Bethany) makes her Boston Center for American Performance and New Repertory Theatre debut.

Recent area credits include Talley & Son, Our Town, and Mad Forest (Boston University School of Theatre).

An improviser and comedy writer, she can be seen performing improv with Spontaneous Combustion, as well as writing for and performing with HeadGum’s Jake and Amir in their YouTube sketch series. She is a BFA Acting candidate in her final semester at Boston University School of Theatre.

She holds a certificate in Classical Acting from the London Academy of Music and Dramatic Art, having studied Shakespeare and Restoration Comedy. In March, Reilly will complete her Senior Acting Thesis. reillyanspaugh.com @reillyanspaugh VERONIKA DUERR* (Zoe) makes her Boston Center for American Performance and New Repertory Theatre debut. Recent credits include Men On Boats (SpeakEasy Stage Company); Going to See the Kid, 45 Plays for 45 Presidents, and Home of the Brave (Merrimack Repertory Theatre). Regional credits includes BOB: A Life in Five Acts (GEVA Theatre); The Tall Girls and Spoonlake Blues (Alliance Theatre); Twelfth Night, Romeo and Juliet, and Cymbeline (Atlanta Shakespeare Company); and Venus in Fur (Actor’s Express). Veronika 8

received an MFA from Savannah College of Art and Design. Originally from Atlanta, she currently resides in Lowell. Upcoming projects include a public reading of her one-woman show Glockenspeilbavariasexpartygoodbye in May (Central Square Theater) and the birth of her daughter in June.

STACY FISCHER* (Miriam) makes her Boston Center for American Performance debut and returns to New Repertory Theatre after performing in A Christmas Carol, Fool For Love, Picasso at the Lapin Agile, and My Name is Rachel Corrie. Recent Boston area credits include Franklin (Boston Playwrights’ Theatre); Miss Julie, The Kritik, and The River (Harbor Stage Company); Luna Gale (Greater Boston Stage Company); and Necessary Monsters (SpeakEasy Stage Company). Stacy has performed in numerous theatres in the Boston area including Central Square Theater, Gloucester Stage, Huntington Theatre Company, Lyric Stage Company, North Shore Music Theatre, and Wellfleet Harbor Actors Theater. She is the recipient of an Elliot Norton Award for Best Actress for her role in Hysteria (Nora Theatre).

Stacy is a graduate of Emerson College, and is a founding member of Harbor Stage Company in Wellfleet, MA. HENRY B. GARDNER (Matt/Bryan James McNamara) makes his Boston Center for American Performance and New Repertory Theatre debut. n e w re p e r t o r y t h e a t re

Boston credits include Las Meninas (Boston University). Off-Broadway credits include The Last Days of Vincent Van Gogh (Chernuchin Theatre).

Regional credits include Twelfth Night (Colonial Theatre, RI); and Into the Woods (Oscar Schindler Performing Arts Center, NJ). Henry was born and raised in West Orange, NJ and has trained at the Stella Adler Conservatory in New York City. He currently lives in Boston while he is pursuing a BFA in Acting from Boston University. henrybgardner.com SAMANTHA RICHERT* (Felicia) makes her Boston Center for American Performance debut and returns to New Repertory Theatre after designing fight choreography for Scenes from an Adultery. Boston credits include Hold These Truths, City of Angels, and Becky’s New Car (Lyric Stage Company); Elemeno Pea (Boston Playwrights’ Theatre); The Tempest (Actors’ Shakespeare Project); Lucky Stiff (Greater Boston Stage Company); Ryan Landry’s ‘M’ (Huntington Theatre Company); Jesus Christ It’s Christmas!, and Snow White and the Seven Bottoms (Gold Dust Orphans); and The How and the Why (Nora Theatre). Samantha is an adjunct faculty member in the Northeastern University Theatre Department, and has taught acting and stage combat workshops for Greater Boston Stage’s Young Company, Wheelock Family Theatre, North Shore Music Theatre, Newton North and South High Schools, and Canton High School. She has also choreographed fights for Greater Boston Stage Company, Fresh Ink Theatre, and The Hub Theatre Company. Samantha 2 01 7-2 018 se ason

received her MFA from Brandeis University. samantharichert.com BRIDGET KATHLEEN O’LEARY (Director/New Rep Associate Artistic Director) joined New Rep in 2008. Most recently, she has directed New Rep’s productions of Blackberry Winter, Scenes from an Adultery, Muckrakers, Pattern of Life, Lungs, Fully Committed, Collected Stories, DollHouse, boom, Charles Dickens’ A Christmas Carol, and Fool for Love. Other directing credits include Grand Concourse (SpeakEasy Stage Company); Othello (Actors’ Shakespeare Project); The Flick (Gloucester Stage); Mud Blue Sky (Bridge Rep); Reconsidering Hanna(h) and The Devil’s Teacup (Boston Playwrights’ Theatre); The Other Place (Nora Theatre and Underground Railway Theater); and Recent Tragic Events and Aunt Dan and Lemon (Whistler in the Dark). In 2007, she assisted Artistic Director Wendy C. Goldberg at the National Playwrights’ Conference at the Eugene O’Neill Theater Center and worked as an assistant on new plays by Rebecca Gilman and Roberto Aguirre-Sacasa.

Before moving to Boston, Bridget worked in Washington, DC with the Olney Theatre Center, Theater Alliance, Cherry Red Productions, Charter Theater, Studio Theatre Second Stage, and Phoenix Theatre DC, of which she was a founding member. She is the Chair of the Literary Committee for the National New Play Network and a member of the New England New Play Alliance. Bridget received her MFA in Directing at Boston University.

JENNIFER BARCLAY (Playwright) is a Chicago-bred actor and playwright.

Recently, she relocated to Washington, 9

DC to join the faculty at the University of Maryland. Jennifer is currently a member of Center Stage’s inaugural Playwrights Collective, and was previously the 2009-2010 Shank Playwright in Residence at South Coast Repertory. She has been awarded the Samuel Goldwyn Writing Award, Mary Margaret Linn Theatre Award, the Pinter Review Gold Medal Prize for Drama, Best Female Dramatic Solo at the San Francisco Fringe, and the second Prize for the Kennedy Center’s 2008 National Science Playwriting Award. Jennifer has been granted playwriting residencies at The Hawthornden International Writers Retreat in Scotland and The Virginia Center for the Creative Arts. Jennifer’s plays have been produced by La Jolla Playhouse, Teatro Vista, Remy Bumppo, The International Theatre of Vienna, Collaboraction); Red Tape, MaryArrchie Theatre Company, Downstairs Cabaret, The Source Festival, Looking Glass, Son of Semele, Redcat, Moving Arts, the University of Maryland, the San Francisco Fringe Festival, the Edinburgh Fringe Festival, and UC San Diego’s Baldwin Festival of New Plays. Jennifer has written the screenplay adaptations for The Human Capacity and Freedom, NY, the original screenplays The Fontaines, Prank, and The Right Track, and the TV pilot Flesh & Blood.

AFSOON PAJOUFAR (Scenic Designer) makes her Boston Center for American Performance and New Repertory Theatre debut. Boston area credits include Cabaret, ‘Tis Pity She’s a Whore, and Rosencrantz and Guildenstern are Dead (Boston

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University). Film credits include Ruined, Zoya, Remembering the Pentagons, and Nar. She received a BA in Painting from the Azad Art and Architecture University of Tehran and is currently pursuing an MFA in Scenic Design at Boston University. Originally from Tehran, Iran, she currently resides in Allston. afsoonpajoufar.com JARED MEZZOCCHIº (Projection Designer) makes his Boston Center for American Performance and New Repertory Theatre debut. Boston credits include Astroboy and the God of Comics (Company One). Off-Broadway credits include Vietgone (Manhattan Theatre Club). New York credits include Downtown Loop (Three-Legged Dog); and You Are Dead. You Are Here (Here Arts Center). Washington, DC credits include The Nether, Women Laughing Alone with Salad, and Chad Deity (Woolly Mammoth); Smart People and Intelligence (Arena Stage); and BELL (National Geographic). Regional credits include work with Baltimore Center Stage, Milwaukee Rep, South Coast Rep, Cleveland Playhouse, Portland Center Stage, and The Wilma. He has designed nationally and internationally for Big Art Group, Builder’s Association, and Connect4Climate (Design Week, Milan). Awards include a 2017 Obie Award, Lucille Lortel Award, Henry Hewes Design Award (Vietgone), the 2015 Elliot Norton and IRNE Awards (Astroboy), and the 2012 Princess Grace Award. Jared currently is the Artistic Director of Andy’s Summer Playhouse, an innovative NH children’s theater focusing on new work, and currently teaches in the MFA Design program at The University of Maryland.

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ANNALYNN LUU (Costume Designer) returns to Boston Center for American Performance and New Repertory Theatre after assisting costume design for Baltimore and Brecht on Brecht. Recent credits include designing The Cherry Orchard and co-designing Cloud Nine and God’s Ear (Boston University). Past credits include costume design for Hot Mikado (San Diego School of Creative and Performing Arts), Disguise Costumes, and various avant garde fashion collections for Exhibit Ambush. She has also worked with The Old Globe and Lamb’s Players Theatre in San Diego.

Annalynn is a third year costume design graduate student at Boston University. annalynnluu.com DAVID ORLANDO (Lighting Designer) makes his Boston Center for American Performance debut and returns to New Repertory Theatre after designing New Rep’s Classic Repertory Company touring productions of Othello and To Kill a Mockingbird.

Other recent work includes designing Sweets by Kate and Eurydice (Boston University); and assistant design credits at Boston Conservatory, Berkshire Theater Group, American Repertory Theater, and Boston Lyric Opera. He formerly served as the resident lighting designer of the New Classics Company.

David is currently a senior pursuing his BFA in Lighting Design at Boston University. He is originally from Cape Cod. Upcoming projects include La Bohème (Boston Opera Collaborative); and Bull (Boston University Senior Theater Arts Majors Productions). davidorlandojr.com

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DAVID REIFFELº (Sound Designer) makes his Boston Center for American Performance debut and returns to New Repertory Theatre after creating arrangements and sound for Man of La Mancha, for which he also served as Music Director, Blackberry Winter, The Elephant Man, Master Class, Marry Me a Little, Chesapeake (IRNE Nominee), and Collected Stories, among others.

Recent Boston area credits include Winter Solstice, Hamlet, Blood Wedding, A Beautiful Day In November…, and Stupid F***ing Bird (Apollinaire Theater Company); A Disappearing Number (Underground Railway Theatre, IRNE Nominee); A Midsummer Night’s Dream, Othello, Measure for Measure, As You Like It, and Middletown (Actors’ Shakespeare Project); Shakespeare in Love, Dogfight, Big Fish, Carrie, and The Color Purple (SpeakEasy Stage); Doubt and I Capture the Castle (Greater Boston Stage Company); The Rainmaker, Man in Snow, and Gloucester Blue (Gloucester Stage, LaMama); and The Rag Doll (Blue Spruce, IRNE Nominee, Best New Play). Recent national credits include Shakespeare in Love (US national premiere); Twelfth Night and Romeo and Juliet (Oregon Shakespeare Festival); and Cymbeline (Shakespeare & Co.). Upcoming projects include musical direction for The Cradle Will Rock (Boston Conservatory at Berklee). soundcloud.com/davidreiffel RENEE E. YANCEY* (Stage Manager) makes her New Repertory Theatre debut and returns to Boston Center for American Performance after stage managing Exposed. New Englandarea credits include The Fantasticks (Opera House Arts); The Honey Trap and

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Faithless (Boston Playwrights’ Theatre/ Boston University College of Fine Arts School of Theatre); and Production Manager for A Midsummer Night’s Dream and The Boys from Syracuse (Landmarks Orchestra/Commonwealth Shakespeare Company). She was the Production Stage Manager for 30 productions at Olney Theatre Center.

Favorite Olney credits include The King and I, A Chorus Line, Spring Awakening, and The 39 Steps. This summer, Renee will be the Production Manager for Richard III (Commonwealth Shakespeare Company). Renee is a Lecturer and Program Head of Stage Management for the School of Theatre at Boston University. She received a BFA in Theatre Arts from Texas State University-San Marcos. Originally from Texas, Renee was based in the DC/MD area before moving to Boston. renee-e-yancey.com JIM PETOSA (Director/Artistic Director, New Repertory Theatre and Boston Center for American Performance) 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 (1994-2012). 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 Statements After an Arrest Under the 12

Immorality Act, Lonely Planet, Ideation, The Gift Horse, Brecht on Brecht, Good, 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 of New Repertory Theatre) 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, now Mosesian Center for the Arts.

Ms. Sheets is treasurer of the Producers’ Association of New England Area Theatres (NEAT). Prior to working at n e w re p e r t o r y t h e a t re

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.

NATIONAL NEW PLAY NETWORK (NNPN) is the country’s alliance of non-profit professional theaters dedicated to the development, production, and continued life of new plays. Since its founding in 1998, NNPN has supported more than 250 productions nationwide through its innovative National New Play Network Rolling World Premiere program, which provides playwright and production support for new works at its Member theaters. Additional programs - its annual National Conference, National Showcase of New Plays, and MFA Playwrights Workshop; the NNPN Annual and Smith Prize commissions; its residencies for playwrights, producers and directors; and the organization’s member accessed Collaboration, Festival, and Travel banks and online information sessions - have helped cement the Network’s position as a vital force in the new

play landscape. NNPN also strives to pioneer, implement, and disseminate ideas and programs that revolutionize the way theaters collaborate to support new plays and playwrights. Its most recent project, the New Play Exchange, is changing the way playwrights share their work and others discover it by providing immediate access to information on more than 17,000 new plays by living writers. NNPN’s 30 Core and 80 Associate Members - along with the more than 250 affiliated artists who are its alumni, the thousands of artists and artisans employed annually by its member theaters, and the hundreds of thousands of audience members who see its supported works each year - are creating the new American theater. nnpn.org | newplayexchange.org * member of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States ºmember 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

NOW ANNOUNCING NEW REP’s NEXT SEASON:

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about

new rep

mission

New Repertory Theatre produces plays that speak powerfully to the vital ideas of our time. w h at w e d o :

• 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.

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 and Stage Directors and Choreographers Society. 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.

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

BOARD OF DIRECTORS

ADVISORY COUNCIL

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

Andrew Brilliant, Gregory E. Bulger, Judi Cantor, Marcy Crary, Diane DiCarlo, Richard Dix, Jane Feigenson, C. Nancy Fisher, Carol S. Fischman, Christopher Flynn, Ralph Fuccillo, B.J. Krintzman, Ted Kurland, Paul Levine, Michael McCay, Fred Miller, Peter Nessen, Daniel S. Newton, Carlos Ridruejo, Mary Rivet, Dan Salera, Phyllis Strimling, Richard Walker, Curtis Whitney

CHAIR

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

ARTISTIC AND PRODUCTION ARTISTIC DIRECTOR

ADMINISTRATION MANAGING DIRECTOR Harriet

Jim Petosa

GENERAL MANAGER Alexis

ASSOCIATE ARTISTIC DIRECTOR

Bridget Kathleen O’Leary Leila Ghaemi PRODUCTION MANAGER Hannah Huling EDUCATION ASSOCIATE Lily Linke ARTISTIC ASSOCIATE

BOX OFFICE BOX OFFICE MANAGER Angelica

Potter

BOX OFFICE ASSOCIATES

Katie Grindeland, Sarah Morrisette, Sarah Spinella, Sarah Vandewalle LEGAL COUNSELOR Stanley B. Kay ACCOUNTANT Eliott Morra, CPA IT SUPPORT Mark W. Soucy, NCGIT AMBASSADORS

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

CLASSIC REPERTORY COMPANY ADVISORY COMMITTEE

Sheets Dearborn

DEVELOPMENT DIRECTOR OF MAJOR GIFTS AND INSTITUTIONAL

Mimi de Quesada Jillian Levine GRANT WRITER Mark W. Soucy ADVANCEMENT

DEVELOPMENT MANAGER

MARKETING MARKETING & PR DIRECTOR

Michael Duncan Smith

CREATIVE SERVICES & MARKETING ASSOCIATE

Katy Doughty GROUP SALES ASSOCIATE Jan GRAPHIC DESIGN Caridossa PHOTOGRAPHERS

Nargi Design

Andew Brilliant / Brilliant Pictures, Christopher McKenzie, Bruce Wilson VIDEOGRAPHER Robert Griem INTERNS

Mengdi Zhao, Alice Kabia

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 FELLOW

Clay Hopper PRODUCTION DESIGNER Sean Perreira COMPANY Benjamin Finn, Lillian Gomes, Chris Kandra, Sarah Morrisette, Emma Tayce Palmer, Adrian Peguero, Slava Tchoul

Samantha Noble

DIRECTOR

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donors & partners

c o r p o r at e pa r t n e r s h i p p r o g r a m For more information on our new Corporate Partnership Program, please visit newrep.org/sponsors SEASO N SPO N SO R S

PARTN ER SPO N SO R S

The following list represents in-kind contributions and cash gifts made between 10/1/2016 - 2/15/18.

CORPORATE DONORS A Thoughtful Move Amazon.com The Arsenal Project Artemis Yoga ArtsBoston athenahealth Boston University Broadway in Boston Capaldi Limited Partnership Eastern Bank EverPresent Eversource Energy Fastachi Hammond Real Estate igive.com J. Stallone Realty Group Keller Williams Realty NCGIT R L Tennant Insurance Residence Inn by Marriott- Boston/Watertown Sotheby’s Realty Stewart International Travel SunBug Solar The Village Bank Watertown Savings Bank WGBH Wooden Kiwi Productions MATCHING GIFTS AT&T Blue Cross Blue Shield Covidien Fiduciary Trust ExxonMobil Foundation Gartner Google IBM Matching Gifts Program Salesforce Sanofi Foundation of North America

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FOUNDATION SUPPORT Esther B. Kahn Foundation Foundation for Metrowest The Fuller Foundation GHR Foundation Gregory E. Bulger Foundation Highland Street Foundation The Marshall Home Fund Mass Humanities Richard & Susan Smith Family Foundation Roy A. Hunt Foundation Santa Barbara Foundation The Shubert Foundation The Solomon Foundation Watertown Community Foundation GOVERNMENT SUPPORT Boxford Cultural Council Brookline Commission for the Arts Burlington Cultural Council Cambridge Arts Council Carver Cultural Council Dedham Cultural Council Dover Cultural Council Framingham Cultural Council Granby Cultural Council Marlborough Cultural Council Massachusetts Cultural Council MASSCreative Milford Cultural Council National Endowment for the Arts Shrewsbury Cultural Council Sudbury Cultural Council Waltham Cultural Council Watertown Commission on Disability Watertown Cultural Council

IN-KIND Ancestry.com Ballroom in Boston Bay State Cleaners Blossoms Boston University BrilliantPictures, Inc. Capaldi Limited Partnership Caridossa Commander’s Mansion Elliot Morra, CPA Fastachi Fiorella’s Irving House Stanley B. Kay Legit Band Lindt Chocolate MEM Tea Imports Moldova Restaurant NCGIT Not Your Average Joe’s Premier Bartending & Beverage Service Red Lentil Vegetarian & Vegan Restaurant Sensational Foods Solomon’s Collection & Fine Rugs Spindler Confections The Spirited Gourmet Stellina Restaurant Stockyard Restaurant Strip T’s Terry O’Reilly’s Vantage Graphics Vicki Lee’s WatertownNews.com Wegmans WGBH

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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 are grateful to all of our generous supporters. The following list represents contributions and cash gifts made between 10/1/2016 - 2/15/18.

Legacy Producing Partners $100,000+ Anonymous (3) Marcy Crary & Tim Hall Producing Partners $25,000-$99,999 Miriam Gillitt Platinum Production Partners $10,000-$24,999 Lillian Sober Ain Joy & A.W. (Chip) Phinney William & Helen Pounds Production Partners $5,000-$7,499 Anonymous (1) Holly Crary Donald Fulton Nan & Bill Harris Wendy Liebow & Scott Burson Chris Meyer & Mary Rivet Jim Petosa Vincent Piccirilli & Anita Meiklejohn Founders’ Society $2,500-$4,999 Stephen & Lisa Breit Ruth Budd & John Ehrenfeld Gregory Bulger & Richard Dix Lee & Amy Ellsworth Carol & Mitchell Fischman C. Nancy Fisher Delia Flynn Joan Gallos & Lee Bolman Jonathan Harris Chris & David Kluchman BJ Krintzman Shari Malyn & Jon Abbott Laurie Nash Harriet Sheets Pamela Taylor Leadership Society $1,500-$2,499 Anonymous (2) David & Sandy Bakalar Diane DiCarlo & Jeanne Leszczynski Don & Pamela Giller John & Sheila Hicinbothem Paul & Elizabeth Kastner Michael McCay & Dan Salera Neal & Lynne Miller Duncan Spelman & Elizabeth Grady Angels’ Society $1,000-$1,499 Anonymous (1)

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Cindy Aber Mark & Carolyn Ain Betsy Ansin Michael Broad & Grace Massey Ann Buxbaum Jane Capaldi Iris Feldman Jonathan & Lauren Garlick John B. Hawes & Emily Barclay Jonathan Hecht & Lora Sabin Brian & Robin Hicks Larry Manchester & Kathleen O’Connor Chris McKown & Abigail Johnson Jim Miller & Annette Furst Jerry & Myrna Olderman Nancy Raphael Glenn Rosen & Ann Dannenberg Donald & Abby Rosenfeld Ann Ross Maria Saiz & Athelia Tilson Edward & Nancy Stavis Daniel Wagner Richard C. Walker III Barbara Wands Phillip & Tamar Warburg Arlene Weintraub Benefactors’ Society $500-$999 Anonymous (2) John & Mary Antes Henry & Sue Bass John and Kathleen Bradley Bill & Maria Brisk Mary Jo Campbell Laura & Mike Dreese Jane Feigenson Ralph Fuccillo & Paul Newman Erika Geetter & David Siegel Scott Gortikov & Ross Ozer Richard & Ilene Jacobs James Kamitses George Kinder & Kathy Lubar Edgar Knudson & Louis Mula Ted & Ann Kurland Susie & Chuck Longfield Robert Mashal & Shawna Giggey Walt & R. Eldridge Meissner Timothy & Deborah Moore Daniel Newton & Christopher Flynn Lowell Partridge Robert & Jackie Pascucci Jeff Poulos & Brad Peloquin Suzanne Priebatsch Nancy A. Risser Chuck Schwager & Jan Durgin Stephen & Peg Senturia Joseph Shrand Peter Smith & Donna J. Coletti

Scott L. Utzinger Christoph Wald & Ute Gfrerer Arlene Weintraub Nancy Richmond Winsten Directors $250-$499 Anonymous (2) Deb Antonelli Fred & Judith Becker Kathleen Beckman & Theodore Postol Richard Berger & Ellen Glanz Donald & Ellen Bloch Kathleen & John Bradley Francine Brasseur Ronald & Elizabeth Campbell Judi Taylor Cantor Chester & Carol Cekala Judith Chasin Cary Coen Priscilla Cogan & CW Duncan Steven & Arlene Cohen Lloyd David Graham Davies & Jean Walsh Michael & Beth Davis Donald Dearborn Owen Doyle Myriel Eykamp Harold & Susan Farkas Glenda & Robert Fishman Ernestine Gianelly John C. Goodman & Virginia Jordan Garth & Lindsay Greimann Barbara & Steven Grossman Kimberly Gurlitz & Eliot Morra Rona Hamada Michael & Sharon Haselkorn Susan Hepler Carole Hirsch Douglas Huber & Sallie Craig Jeanne & Allen Krieger Anton Kris Tom Lewis Julianne Lindsay Will & Anastasia Lyman Lindsay McNair Eileen McNeely & Jeff Nadherny Richard S. Milsten, Esq. Lee Nadler Leslie Nelken Linda & Barry Nelson David & Donna Podolsky Barbara Poplack R. Lynn Rardin & Lynne A. O’Connell Peter & Ulrike Rettig Sharon Rich & Nancy Reed Peter & Sandra Roby Serge & Tanya Savard Lisa & Stephen Shapiro Cynthia Sickler

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Ellen Simons Ruth Spack Barbara Spivak & Peter Loewinthal Martha Stearns Judith A. Thomson Denise Wernikoff Curtis Whitney Players $150-$249 Anonymous (2) Edward Boesel James & Jean Bourdon Melissa & Lisa Caten Eric & Pam Diamond Glenn Edelson Lee & Inge Thorn Engler Richard & Katherine Floyd Richard & Nancy Fryberger Mark & Janet Gottesman Malcolm & Susan Green Eva Guinan Christina & Chip Hall Scotty Hart Peter E. Haydu Edward & Pamela Hoffer Jeffrey Hughes & Nancy Stauffer Virginia Inglis Martin & Phyllis J. Kornguth Patti Marcus & Paul Koch Alisa Marshall & David J. Kovacs Thomas & Deborah Melone Paras Patel Joan Perea Patricia Robinson & Henry Finch Stanley & Rhoda Sakowitz Harvey & Rita Simon Martha Stearns Herman & Joan Suit Paula Thier Evelyn & Joel Umlas Peter & Florence Vanderwarker Friends $50-$149 Anonymous (2) Robin Abrahams Phllis Adams Jane Adolph & Bill Poznik Colin Anderson Michael Aylward Fred & Mary Baker Jeannette Belcher-Schepis Nancy Belsky Eva Benda Richard Berger & Ellen Glanz Robert Berk Lois Landau Berman Freya Bernstein Stuart Bernstein Susan Bernstein Elizabeth Bjorkman Lorraine Bossi Linda Braun Linda Brodt & Paul Katz Tamar Brown Michelle Brownlee Judi Burten & Kevin Soll Victor Calcaterra & Mary Scanlon

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Tayler Capaldi John Carlow Deboah Carr Judith Chaffee Maureen Coffin Donna Cohen Jacqueline Colby Dorothy & Richard Cole R. John & Joan Collier Roxann Cooke Donald Coppack James W. & Linda Crawford Bruce Creditor Bonnie Creinin Mara Crounse Harold Crowley Milagros Cruz Mary Cummings Susan DeMarco Karen Digiovanni J. Patrick & Susanne Dowdall Charles Duncan Virginia Dushame Marilyn Eichner Kathleen Engel & Jim Rebitzer Phyllis Ettinger Glenda & Robert Fishman Deborah Flannery Jean Flatley McGuire Carol A. Flynn John Foote & Kristin Rupert Harold & Carol Forbes David & Gita Foster Nancy H. & Richard Fryberger Frank V. Gages Ashit Ganguly Jesse Garlick Harold Garrett-Goodyear Sharon Gates Barbara Gawlick Charles & Richard Gazarian Lucretia Giese Walter Gilbert Herbert Gish & Alfreda Piecuch Nyla Gislason Georgia Glick Leon & Phyllis Goldman Donald Goldstein Joseph Goodman Harriet Gould Daniel B. Green & Susan Skelley Kiki & Jim Gross Marvin & Joanne Grossman Audrey Haas Todd Michael Hall Marilyn Hamburger Bobbi Hamill Sylvia Hammerman Jay Hanflig Marie Hannon Ilana Hardesty & John Emery Brenda Harley David Harris Susan Haule Peter Haydu Lauren Heier Ann R. & Philip B. Heymann

Marie Hobart Andrew Holden John Hope Philip Horwitz Elisabeth Howe Mary A. Hubbard Jean & Paula Humez Judith Hurwitz Carol J. Jenson & Steven P. Willner David Jones Ellen L. & Robert S. Kaplan Fern Kaplan Eva Karger Stuart & Ellen Kazin E. Patricia Killory Phebe Kiryk Louise Kittredge Richard & Ronnie Klein Irving & Ann Kofsky Stephen Kraffmiller Naomi Krasner Laura & Steven Krich Susan G. Krinsky Maureen Kruskal Joan Lancourt Ksenia Lanin Andrea Larson Virginia Leavy Robert & Helen Lebowitz Suzette Levenson David & Audrey Levington Frederick & Doris Lewis Ilene Lieberman Reuel & Malvina Liebert Sigrid Lindo Cheryl Lindsay Brooke & Paul Lipsitt Natasha Lisman Leonta Longman Lucy Lovrien Laura & Ery Magasanik Gami Maislin Richard & Candace Mandel Margaret & George Mansfield Deena Marlette Grace Marzynski William & Jo McConaghy Katherine McGuinness Jerome Medalie Rachel Mele & Jeffrey Scherz Karole Mendelsohn Karen Miller Lois Miller Debra Minard John Miner Katalin Mitchell Kati Mitchell Rick & Lynne Montross Viola Morse Eileen Murray Elaine Murray Greg Nash Lewis Nashner & Ann Marie Flores Steve & Judi Nichols Geoffrey & Clare Nunes Elizabeth Hall Olszewski Judy Paradis

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Lisa Parker Diane F. Paulson James Pazzanese Roy & Jean Perkinson Richard Perlmutter Dr. Ian C. Pilarczyk P.J. Plauger Genevieve Pluhowski Thomas & Elena Powers Joseph Pranevich Bruce Price John Quatrale Anna Maria Radvany Ilyse D. Robbins & Glen Mohr Anita W. Robboy Elissa Rogovin Janet Rosen Mona & Phil Rosen Ken & Janet Rosenfield Robert & Pauline Rothenberg Peggy Rothschild Yvonne Sacks Joseph Salerno & Ellen Einstein Alvin & Peggy Schmertzler Nancy Schรถn Charlotte Seeley Ruth T. Segaloff Lolly Selenkow

Ingrid Shaffer Debbie Shalom Robert Shapiro John & Linda Sheehan Sheila & Harry Shulman Evelyn Shumsky Phyllis Shycon Margaret Simons Nancy Sizer Carole Slattery Gary & Elizabeth Smith Emily Smith-Sturr & Ted Sturr Rachael Solem Marvin Sparrow Becky Squier & Herb Lin Joe Stallone Betty Starr Bobbie & Bob Steinbach Marilyn Stone Phyllis Strimling Jean Stringham Mary Sullivan Roberta & Jim Swenson James D. Taylor & Martha Sheridan Martin & Carol Thrope Eva Travers Mark & Janis Urbanek Elaine Vaan Hogue

Charles Valentine & Mary Beth Maisel Clare Villari Vicki Vogt Alice Wadden Kathleen & Ted Wade Diana Wainrib Linda Waintrup Ajay Wakhloo Barry Wanger Alice & Rick Weber Christopher Weikart Deborah & Scott Weiss Ellen Westheimer David & Sharon White Larry & Jane Wilcox Barbara & Tom Williams Robert Willis Roswitha Winsor Toni Wolinsky Karen Zander Robert Zaret & Jean Holmblad Geraldine Zetzel

classic repertory company TOURING PRODUCTIONS AND WORKSHOPS TO VENUES ACROSS NEW ENGLAND SINCE 2001

Now booking Fall 2018 and Spring 2019!

For more information, visit newrep.org/crc

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audience

information

B OX OF F ICE IN FORMATIO N

The New Rep Box Office is open at the Mosesian Center for the Arts, 321 Arsenal Street, Watertown, Tuesday - Sunday from noon until 5pm. The Box Office at Studio ONE, 855 Commonwealth Avenue, Boston, will be open 1 hour prior to the show on performance days.

For the most up to date hours, please visit newrep.org.

A C C E S S I B ILITY

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

The building is equipped with wheelchair-accessible restrooms on each floor. Patrons who will be bringing guide dogs to the theater should advise the Box Office staff when ordering tickets.

PA RKING

Parking is available at the Agganis Arena Parking Garage, 925 Commonwealth Avenue, Boston, and meter street parking. More information may be found at agganisarena.com/plan-yourvisit/parking.

P U BLI C T RAN SPORTATIO N

The theatre may is assessable via MBTA Green Line B to Boston University West and 57/57A bus inbound to St. Paul Street, outbound to Buick Street.

C H I LDRE N

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.

P HOT OG RAPHY & RECOR D I N G

All photography, videotaping, and audio recording are strictly prohibited inside the theater.

LATE COMERS

All latecomers will be seated at the discretion of management in the most accessible seats, in order to minimize distractions.

Your message to New Rep audiences could be here!

Promote your business, applaud your favorite actors, recall your fondest New Rep memory, honor or memorialize someone special—the choice is yours!

For more information, email advertising@newrep.org!

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