a message from the
artistic and managing directors
Welcome to New Repertory Theatre! As the second half of our season begins, we’d like to thank you for joining us for our Black Box productions. These two plays examine the amazing human capacity for resilience when faced with life-changing circumstances beyond our control. We’re delighted to present Gabriel Jason Dean’s Heartland, an evocative existential drama, as part of the National New Play Network’s Rolling World Premiere initiative. This poignant work is a touching drama about the unlikely friendship between a retired American professor and a young Afghan refugee, and the effects of American propaganda in Afghanistan. Immediately on the tail of Heartland comes Still Standing, the inspirational onewoman musical written and performed by disability advocate Anita Hollander. Having lost her leg to cancer in 1977, Hollander’s Still Standing details her story from diagnosis to the very moment of performance. With songs, wit, and great dollops of humor, Still Standing is a tale of perseverance that reaches out to every member of the audience. We hope you’ll join us back on the MainStage this spring as we present the engaging socio-political drama Cardboard Piano by Hansol Jung, where a secret wedding ceremony between two young women in Uganda leads to explosive consequences, testing the human capacity for hatred, forgiveness, and love. We will close our season with Becoming Dr. Ruth by Mark St. Germain, the heartwarming biographical comedy following Dr. Ruth Westheimer’s journey from refugee to world famous radio personality. Stay tuned in March as we announce our 2019-2020 season. Sign up for our e-newsletter at newrep.org/newsletter to be the first to receive news and special offers! Thank you again for visiting us today. We look forward to seeing you again soon!
Jim Petosa Artistic Director
TOP: THE CAST OF MAN OF LA MANCHA
Harriet Sheets Managing Director
Andrew / Brilliant Pictures. 2Photo: 01 8-2 019 Brilliant se ason
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Investigating the largest unsolved art heist in history. applepodcasts.com/lastseen
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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
Heartland by
Gabriel Jason Dean
directed by Bridget
Kathleen O’Leary◊
A National New Play Network Rolling World premiere
scenic designer
COSTUME designer
Afsoon Pajoufar
Becca Jewett
SOUND DESIGNER
lighting designer
Chris BRusberg
stage manager
Lee Schuna
Renee E. Yancey*
cast (IN ALPHABETICAL ORDER)
Ken Baltin* Harold CAITLIN NASEMA CASSIDY* Getee SHAWN K. JAiN* Nazrullah
There will be no intermission. Heartland was commissioned by a grant from The National New Play Network. Heartland is produced at New Repertory Theatre as a part of a National New Play Network Rolling World Premiere. Other partnering theaters are Geva Theatre Center (Rochester, NY), The Vortex (Austin, TX), and Interact Theatre Company (Philadelphia, PA).. For more information please visit www.nnpn.org. SEASON SPONSORS
◊ member of the Stage Directors and Choreographers Society * member of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States The video and/or audio recording of this performance by any means whatsoever is strictly prohibited.
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2257 Massachusetts Avenue Cambridge www.spindlerconfections.com 1-617-714-4871
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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
Still STANDing a musical survival guide for life’s catastrophes Written and Performed by
ANITA HOLLANDER
scenic designer
stage manager
Afsoon Pajoufar
Renee E. Yancey*
cast (IN ALPHABETICAL ORDER)
Anita hollander* Herself
There will be no intermission.
SEASON SPONSORS
* member of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States The video and/or audio recording of this performance by any means whatsoever is strictly prohibited.
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Additional Production Staff master electrician props manager
Katie Hoolsema
Zack Stern
technical Director Nathan sound engineer Lee
Lee
Best Wishes to New Repertory Theatre, for a great season!
Schuna
production assistant
Kristina Furey, Kevin Hanley ASL Interpretation for ‘Still Standing’
Reverend Rachel Hollander
‘Still Standing’ original Recording
Evan Richey, Jeff Klitz, Jack Francis
‘Still Standing’ original Production Team
Maurice J. Moran JR, R. Paul Hamilton
Additional Thanks For ‘Still Standing’
Scott Barton, Kevin Carolan, Harry Patrick Christian, Erin Dilly, Adam Feder, R. Paul Hamilton
H OM E is where your story begins. Annie Danielson
Elissa Rogovin REALTOR®
Cell: 617.620.2440 826 Boylston Street • Chestnut Hill • MA 02467 erogovin@HammondRE.com • ElissaRogovin.myhammondagent.com www.HammondRE.com Serving Boston and the surrounding comunities
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n e w re p e r t o r y t h e a t re
n ot e s f r o m t h e d i r e c to r o f h e a rtl a n d:
Bridget Kathleen O’Leary
“Everything kills everything else in some way” – The Old Man and the Sea On September 11, 2001 I was working in Washington, DC not far from the Capitol. In an instant, the world got really small and really big all at the same time. In the weeks/years that followed the news became too much, and I shut down. I stopped wanting to take in what was happening outside of our country and just retreat into my own life. I actively avoided the news. By 2015 my relationship to politics had become focused mainly on presidential elections and civil rights. I didn’t pay much attention to what was happening internationally. So, when I was asked to read an early draft of this play, I assumed it was fiction. It wasn’t. I didn’t want to know any of this. I was horrified by my country’s complicity in our own tragedy. How had we let this happen – and why were we still participating in wars and interventions that would most likely come back to haunt us? If this had been a play about a Government confronting their bad decisions, I probably would not have been able to lean into it. But Dean is able to take a large socio-political issue, examine the implications and make them deeply personal. Harold Banks is forced to confront the consequences of his actions and the reality that for him, there is no redemption. I no longer believe that our government is making the best decisions without knowing what could happen; that we are blindsided by the outcomes. In trying to find meaning, in trying to make sense of the chaos that is our world, I hope that we can move closer to seeing people and not governments, daughters and not enemies. Like Harold, I hope in the end we can finally make the political, personal.
Bridget Kathleen O’Leary
Keeping Faith: Sisters of Story Feb 25-26/2019
BlackBox Theater newrep.org/events/keeping-faith
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note s on
Heartland bY RUTH SPACK
The play traffics in silence and omission, in the things we aren’t able to say to each other, in the secrets we keep in order to protect one another. Gabriel Jason Dean, playwright I n sp i r at ion for Heartl an d
Gabriel Jason Dean’s “obsession with Afghanistan,” as he calls it, began in 2006 when his brother-in-law’s girlfriend died in a helicopter crash in Afghanistan on a visit to her father, a civilian contractor. The tragedy stirred Dean to learn as much as he could about the country, even before he thought of writing about it. During his research, Dean chanced upon an article concerning United States’ funding of anti-Soviet, pro-mujahideen textbooks in the 1980s. Heartland grew out of that learning experience. “It’s difficult to point the finger at ourselves,” Dean says; “I think that’s a real mistake.” He believes Heartland holds the possibility of opening up a conversation similar to the conversation fostered in German schools in relation to the Holocaust: “There is very much an ownership and a sense of ‘We did this horrible thing, we have to make reparation for it.’” Afg h a n i stan and the Co l d Wa r
In December 1979, one hundred thousand Soviet troops crossed the border into Afghanistan, gained control of the central government in Kabul, and launched myriad reforms throughout the country to mirror the Soviet way of life. In support of anti-communist resistance, the United States and 8
Pakistan financed and armed disparate groups of rural Afghan insurgents, collectively known as mujahideen. In the ensuing ten-year conflict, more than a hundred thousand combatants from both sides were killed, and millions of Afghan civilians were slaughtered, maimed, starved to death, or displaced into refugee camps, primarily in Pakistan. After the Soviet withdrawal in 1989, a weakened Afghanistan succumbed to civil war and became a breeding ground for anti-imperialist terrorism. Educ atin g A fg h a ni sta n’s Ch il dr en
Most Afghans view education as both a religious obligation (“for the soul”) and a path toward social and economic security (“for the world”). They are therefore committed to schooling all of their children, male and female. Yet rural communities, which comprise three-fourths of Afghanistan’s population, have for centuries challenged educational reforms that undermine their local cultural and religious traditions. With the rise of communism in Afghanistan in the late 1970s, and especially after the Soviet invasion, fears of educational secularization turned into reality as the newly formed government initiated a substantial overhaul of the school system. The issue of enforced education was central to the mujahideen resistance, and the United States acted to disrupt the Marxist ideology and anti-mujahideen sentiment promulgated in the classroom. n e w re p e r t o r y t h e a t re
J i h a d Literacy, Funded by the U n i t e d States of Amer ic a
In 1986, the United States Agency for International Development gave the University of Nebraska Omaha (UNO) a $50 million dollar grant to produce primary school textbooks promoting an anti-Soviet agenda. The university distributed the funds through the Education Center for Afghanistan in Peshawar, Pakistan. Under the auspices of the seven-party mujahideen alliance, and supported by the CIA and ISI (Pakistan’s intelligence agency), a committee of Afghan educators designed and wrote textbooks in the Pashto and Dari languages. Highlighting the key role of the mujahideen freedom fighters, many of the books included illustrations of tanks and guns and references to hatred, violence, and jihad, whose meaning was altered from its historical concept as a personal spiritual struggle to a collective militant struggle against opponents of Islam. Here, for example, are excerpts from a first-grade language arts text: “The Russians are the enemies of the religion of Islam”; “We perform jihad against the oppressors”; “Shakir conducts jihad with the sword. God becomes happy with the defeat of the Russians.” Mathematics textbooks, too, incorporated anti-Soviet indoctrination, as evidenced in this fourth-grade word problem: The speed of a Kalashnikov bullet is 800 meters per second. If a Russian is at a distance of 3,200 meters from a mujahid, and that mujahid aims at the Russian’s head, calculate how many seconds it will take for the bullet to strike the Russian in the forehead. U S J u stification for S uppo rt o f P ro - Jihad Textbooks 2 01 8-2 019 se ason
Violent messages in textbooks targeted for children had precedence in Afghan schools. During the reign of King Zahir Shah (1933-73), harsh imagery infused the curriculum. A 1970 first-grade language arts text, for example, included this verse in a poem about Afghan independence: If, with designs on our land, Our dirty enemies Come forward one step, We will cut off their feet, We will cut off their legs, We will cut off their legs.
But the involvement of the United States in the development of such texts was unprecedented. Raheem Yaseer, who worked at the UNO office in Peshawar at the time, justified the decision in a 2001 interview. Yaseer (now assistant director of UNO’s Center for Afghanistan Studies) citied Afghans’ “religious and cultural sensitivities” to explain why UNO project managers sanctioned the committee’s choice of subject matter. Given that Afghans deeply resented the Soviet reform of Afghan education, the university wanted to mitigate any suspicion they might be imposing American values on Afghan children. Skirting the issue of whether using tax dollars to promote religion violated a constitution ban, government officials defended the religious content of the textbooks, arguing that Afghan culture is inextricably bound to Islamic principles. Un in ten ded Cons e qu enc es
Hundreds of thousands of Afghan students in Afghanistan and in Pakistan-based refugee camps used the US-funded mujahideen textbooks. After the Soviet withdrawal, parents, teachers, and aid organizations pressured the Education Program for Afghanistan 9
to eliminate the violent references. Revision of the textbook series was completed by 1992, the same year the last Afghan communist regime was overthrown, and the US terminated its educational project in 1994. Reprinted versions of the original, unrevised texts soon surfaced, however, and they played a dominant role in education after the 1996 ascendancy of the Taliban (Pashto for “students”). The Taliban, educated as children in refugee camps during the Soviet occupation, emerged
in adulthood to foment the Islamic militancy they had studied in USfunded jihadist textbooks. In protest of the US presence on Afghan soil, they reinforced the books’ anti-imperialist message, turning anti-Soviet language into a model for anti-American rhetoric. Many schools and madrassas on both sides of the Afghan-Pakistan border continue to use these as well as similar textbooks to teach militancy as a religious obligation, even though other types of books are available.
PRODUCTION HISTORY
Heartland was originally commissioned by InterAct Theatre Company in Philadelphia, Pennsylvania. It was developed with the support of PlayPenn, Paul Meshejian, Artistic Director. As part of the National New Play Network’s Rolling World Premiere program, Heartland opened in March, 2018 at Geva Theatre Center in Rochester, New York. Special thanks to Jenni Werner, Literary Director/Resident Dramaturg at Geva. Following its run at the New Rep, Heartland will be produced at The Vortex in Austin, Texas.
Winner of Eight Tony Awards Including Best Musical!
LILLIAN HELLMAN’S “BRILLIANT, BLISTERING*”
THE LITTLE FOXES
DIRECTED BY SCOTT EDMISTON | FEB 15 - MAR 17 *VARIETY
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Once Tickets from $25 SpeakEasyStage.com (617) 933-8600 n e w re p e r t o r y t h e a t re
an intervie w with
Anita Hollander
I began writing what was originally called Here I Stand in 1977 with a song called “The Choice.” In 1985 a concert version of the piece was presented at Broadway Tomorrow in NYC, with the support and good humor of the brilliant Michael Devon at the piano. Michael was diagnosed with AIDS shortly after and asked me “How did you get from there to here?” (meaning, I surmised, from cancer to strength and health). After his death I realized that this piece could be my best reply to people asking my help as they struggle to survive life’s catastrophes. What you hear today is what I learned – the hardest possible way – over 16 years. I sincerely hope it is not only enjoyable to you, but useful as well. – Anita Hollander H ow d id your exten sive b a c k g r ound as a per f or mer p r e pa r e you with the tool s to c r e ate Sti ll Sta n din g?
I’ve always been told I was “born in a trunk,” since theatre has come so naturally to me all my life. I began as a professional at the age of eight, and four weeks after my leg was amputated (at age twenty-six), I was back on stage, opening in a show. So, it’s like theatre runs in my blood, I know the shape of it, how to tell a story, how to connect with an audience. And this whole show is actually about “tools for survival” so it was the perfect combination of my theatre training background AND my struggle to survive through two episodes of cancer and an amputation. 2 01 8-2 019 se ason
bY elena Morris
Can y ou ta l k a bo u t the c r eative p ro c ess yo u w e nt thr ough to m a k e Sti l l S tan din g?
In 1977, after my first cancer surgery, I was going through chemo and radiation while in my senior year at Carnegie Mellon University. I sang and played a cabaret evening for the school, which included my favorite Joni Mitchell, James Taylor, Carole King, and Judy Collins songs. My favorite teacher said afterwards “That was nice, but you’re going through a life and death battle right now, and none of your songs reflect this at all. We want to know more about THAT.” I replied “What am I supposed to do? Write my own songs?” To which she simply said “Yes.” To show her how wrong she was I wrote the song “The Choice,” which I considered one of the most depressing, whiny songs about dealing with the choice one makes to live in the face of a deadly disease. She loved it. And for the next sixteen years of my life I kept writing more and more songs about survival. The first draft was performed as a full cast concert show at Broadway Tomorrow cabaret, then a second draft at Primary Stages, and yet another at Don’t Tell Mama in 1993. Finally, I put most of the other characters on tape in a final draft and began performing it all over the place as a solo show. Once I could take it places, I performed it in theatres, colleges, schools, naval bases, prisons, rehab centers, temples and churches, VA hospitals, government agencies, The White House, Disney World and just about everywhere you can imagine. The amazing thing is that it seems to have 11
kept its relevance through all these years and venues and locations. I’ve sung excerpts in Japan and Croatia which somehow speak to people who don’t even speak English. H ow w e re you able to dec ide wh i c h m om ents of y our l if e n e e d e d to be included in yo u r show ?
In some ways the show just wrote itself. My sister would come to Pittsburgh just to eat pizza and watch movies while I was on chemo - CUE SONG! I had a method to deal with the pain - CUE SONG! I had to say goodbye to my leg - CUE SONG! I got married and had a baby on one leg CUE THREE SONGS! I was accepted into both the BMI & ASCAP Musical Theatre Writers Workshops and was sometimes told how a certain song would never work with an audience. And, of course, that song is the one people always talk most about! Sex is an element which has been in and out of the show. The idea that people with disabilities are asexual has been a myth that’s needed busting over the years. Wh at d oes your life as an art i st l ook like right n ow?
My life as an artist right now could be described in one word: BUSY! Surprisingly, this show is more in demand than ever. I’m also writing a new solo show called Spectacular Falls which I was able to work on at the remarkable SPACE on Ryder Farm in Brewster, NY last summer. I continue to do readings of new work in NYC, and productions Off-Broadway and regionally. I teach music and voice, and I work with the children’s choir of the Village Temple, where I’ve written many new songs and settings of prayers 12
which I’ve shared with other synagogues across the country, sometimes singing and playing with my sisters, daughter and brother-in-law as The Hollander People. I’m also learning ASL to keep up with my deaf colleagues who are fast advancing in theatre, TV and film! As an ac tiv i st fo r the in c l usion o f p eopl e w i th disabil ities i n the a rts , how woul d yo u enc o u ra g e theatr es and a rts or gan izatio ns to st e p u p a s al l ies an d l ea ders i n thi s ar ea?
As National Chair of the SAGAFTRA Performers With Disabilities (PWD) Committee, I’ve worked with theatre, film and TV producers, writers, directors, casting directors, managing directors and artistic directors for inclusion of people with disabilities on stage and screen as well as behind the scenes. I’ve been part of a Broadway League/Actors Equity Task Force for Diversity. I keep a “watchdog scorecard” of PWDs showing up in every form of media. We’ve made great strides over the past ten years in theatre and TV, but film is still woefully behind. When it comes to theatre, 2017-2018 was remarkable in that about a dozen nominations for Pulitzer, TONY, Drama Desk, Theatre World, Off-Broadway Alliance and other awards came out for either PWDs or plays that included authentic disabled actors in the cast. (In fact, I was in one of those productions!) So now, when I encourage theatres to include PWDs in their seasons, I show them all the awards they will win if they do! I’ve also created a hashtag, #AuthenticCasting, because time and time again, it’s been proven that casting authentic performers with disabilities n e w re p e r t o r y t h e a t re
enhances and informs any story, even if it wasn’t written with disability in it. The American scene contains 56 million people with disabilities. We’re part of the picture. W h at excites you most abo ut the at r e and the creative a rts tod ay?
Honestly, diversity in general has made theatre so much more exciting.
The stories have become so much richer on stage and in all of the arts. Also, theatre has so much rich material to draw from at the moment. With so many serious challenges and issues in our world, theatre (and the arts) act as the conscience of the world. Nothing is as effective as the arts (and live theatre in particular) to enlighten, enrich and enhance the minds, hearts and souls of people.
Special Thanks
This piece is dedicated to Michael Devon, with special thanks to Paul Hamilton, Holland Hamilton, Joe Chaikin, Ann Hampton Callaway, Maurice Moran, Rev. Rachel Hollander, Iris November, Harry Christian, Kia Benbow and an endless list of performers, writers, directors, producers and others who have contributed their voices, wisdom and inspiration. This performance is in honor of people presently navigating the territory I faced over 40 years ago. For more information about Anita Hollander, please visit: anitahollander.com
Still Standing CDs can be purchased in the theater and online on iTunes and Amazon.
Still Standing- musical numbers Prologue Why I Prefer One Dressing Lazy Day Funeral for a Replaceable Part Difficult Woman Blues Walkman! The Pain/The Choice That’s The Way It Is I Want To Be There The Phone Call Mommy is a Mermaid Here I Stand Epilogue 2 01 8-2 019 se ason
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Don’ t stay silent! J o i n N e w R e p’s O u t re a c h Co m m i t te e
Bedlam’s Pygmalion by George Bernard Shaw directed by Eric Tucker
January 31 – March 3, 2019 Tickets & Information: CentralSquareTheater.org | 617.576.9278 x1
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New Repertory Theatre seeks new members for its Outreach Committee, a volunteer body dedicated to supporting the growth and developement of the company’s audience. We gather a variety of voices monthly to help identify business and community partners, address issues of diversity and inclusion, and discuss how we can best reach and support our audiences. Interested in learning more? Contact Jaclyn Dentino at jaclyndentino@newrep.org. Thank you for your support!
n e w re p e r t o r y t h e a t re
meet the artists Ken Baltin* (Harold, Heartland) returns to
New Repertory Theatre after being seen in Kite Runner (Baba), Eurydice (Father), Waiting for Godot (Pozzo), Twelfth Night (Toby Belch), Waverly Gallery (Father), and American Buffalo (Donny). Other local credits include Death of a Salesman (Willy Loman), Glengarry Glen Ross (Shelly Levene), Lost in Yonkers (Louie), and Laughter on the 23rd Floor (Max) with the Lyric Stage Company; ART (Marc), Oleanna (John), and The Illusion (Amanuensis) with Merrimack Repertory Theater; Deported: A Dream Play (Harry), King of the Jews (Rievsaltes), Permanent Whole Life (Mort), and Sussman Variations (Sussman) with the Boston Playwright’s Theatre; My Station in Life (Simon Geller), and Last of the Red Hot Lovers (Barney) with Gloucester Stage Company; Copenhagen (Bohr), The Screenwriter’s Daughter (Ben Hecht) with Martha’s Vineyard Playhouse; The Cherry Orchard (Lopahkin), The Fever Chart (Mourid), Brooklyn Boy (Zimmer) with Central Square Theatre; Romeo and Juliet (Capulet) and Cymbeline (Cymbeline) with Actors Shakespeare Project; and Beckett in Brief (Mr. Cream) with Commonwealth Shakespeare Company. Baltin taught acting at the Boston Conservatory at Berklee for 16 years. Originally from New Brunswick, New Jersey, he now resides in Needham, MA.
Caitlin Nasema Cassidy* (Getee,
Heartland) makes her New Repertory Theatre debut with this production of Heartland. She is an actor-singertheatremaker of Lebanese and Irish descent. She is a Fellow with The Lab for Global Politics and Performance and Edinburgh Institute for International Affairs. She is Co-Artistic Director of LubDub Theatre Company. Acting credits include: Middle East Mix Fest (Atlantic Theatre, Kareem Fahmy),
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Pay No Attention to the Girl (Target Margin, David Herskovits), Matt and Ben (Kitchen Theatre, Shana Gozansky), Paradise (Central Square Theater, Shana Gozansky), Cymbeline (Shakespeare’s Globe, Tom Cornford), Kafka’s Metamorphosis (Synetic Theater Company), Anything Goes (Williamstown, Roger Rees), and Equity national tours There Is A Field, ShowBoat, Joseph & The Amazing Technicolor Dreamcoat. Training: East 15 School of Acting in London, Shakespeare’s Globe Theatre, Georgetown University. Originally from Norfolk, MA she now resides in New York, NY. www.CaitlinNCassidy.com Shawn K. Jain* (Nazrullah, Heartland)
makes his New Repertory Theatre debut with this production of Heartland. Other recent credits include Miss Bennet: Christmas at Pemberley with Merrimack Repertory Theatre; Charlotte’s Web, Assistance, and Our Town with American Repertory Theatre; Honor Killing with WAM Theatre, Fear and Misery in the Third Reich with Moscow Art Theater, The Fire and the Rain with Constellation Theatre, Twelfth Night with Prince George’s County Shakespeare, and the Source Festival in Washington D.C. Jain received an MFA from A.R.T. Institute at Harvard University/Moscow Art Theatre School in Cambridge, Massachusetts, and holds a BA from UC Berkeley. Originally from Northern California, he now resides in New York City.
Anita Hollander* (Playwright/Performer,
Still Standing) has worked throughout Europe, Asia and America, at Carnegie Hall, Playwrights Horizons, Chicago’s Goodman Theater, London’s West End and the NY Shakespeare Festival. A Helen Hayes Award nominee, she originated the title role of John Belluso’s Gretty Good Time at the Kennedy Center and starred 15
Off-Broadway in the World Premiere of Bass For Picasso by Kate Moira Ryan. Still Standing has played at The White House, on tour, and Off-Broadway, where it won the Audience Award at the United Solo Theatre Festival. TV appearances include Law & Order, OZ, The Sopranos, All My Children & BBC’s From The Edge. Stage roles include Emma Goldman in Ragtime, Golde in Fiddler on the Roof, Blanche in Brighton Beach Memoirs, and Grizabella in CATS. Films include Susan Seidelman’s Musical Chairs and Handsome Harry. Theatre Week Magazine awarded her Best Director for The Goodbye Girl. A SAG-AFTRA Board member, she is National Co-Chair of Performers with Disabilities. (www.anitahollander.com) Renee E. Yancey* (Production Stage
Manager) returns to New Repertory Theatre after most recently stage managing Ripe Frenzy. Other recent stage management credits include Frankenstein with Central Square Theater, The Fantasticks with Opera House Arts, The Honey Trap, Faithless, and Exposed with Boston Playwright’s Theatre. Yancey served as the production stage manager for 30 productions at Olney Theatre Center, favorite credits of which include The King and I, Chorus Line, Spring Awakening, and The 39 Steps. Production management credits include Richard III with Commonwealth Shakespeare Company, A Midsummer Night’s Dream and The Boys from Syracuse with the Boston Landmarks Orchestra/Commonwealth Shakespeare Company. She currently serves as Lecturer and Production Management program Head at Boston University’s College of Fine Arts School of Theatre. She holds an MFA in Production Management from Boston University, and a BFA in Theatre Arts from Texas State University. Originally from Alice, Texas she now resides in Arlington, MA.
Afsoon Pajoufar (Scenic Designer)
returns to New Repertory Theatre after most recently designing the set for Straight White Men and Ripe Frenzy. She holds an MFA in Set Design from Boston University. Originally from Tehran, Iran, she now resides in Boston, MA. Other design credits: s.i.n.s.o.f.u.s. at 16
Harvard University and Cabaret at Boston University. afsoonpajoufar.com Becca Jewett (Costume Designer,
Heartland) returns to New Repertory Theatre for a third season. Her previous credits include We Will Not Be Silent, Blackberry Winter, Statements After an Arrest Under the Immortality Act, and Lonely Planet. Other recent credits include Julius Caesar at the Actors’ Shakespeare Project and Taste of Honey with the Boston Center for American Performance. Ms. Jewett was the 2015 recipient of the Virgil C. Jonson Award for Excellence in Costume Design.
Christopher Brusberg (Lighting
Designer, Heartland) returns to New Repertory Theatre after most recently working on Scenes from an Adultery, Muckrakers, Blackberry Winter, Camelot, Masterclass, Dollhouse, Holiday Memories, Three Viewings, Frankie & Johnny in the Claire De Lune, and Fool for Love. Other select professional credits include Imagination Stage in Bethesda, MD, Lyric Stage Company of Boston, Actors’ Shakespeare Project, Company One Theater Company, Boston Midsummer Opera, A.R.T. Institute, Boston Opera Collaborative, Guerilla Opera, and Gotham Early Music Scene. Brusberg is currently a third-year graduate student in pursuit of an MFA in Theater Design at the University of Maryland. Originally from Boston, MA he now resides in College Park, MD.
Lee Schuna (Sound Designer, Heartland)
returns to New Repertory Theatre after most recently working on Straight White Men, Two Jews Walked Into a War, Lonely Planet, Statements After an Arrest Under the Immortality Act, and Fiddler on the Roof. Other recent credits include Hype Man with Company One Theater, The Tragic Ecstasy of Girlhood with Boston Playwright’s Theatre, Heritage Hill Naturals with Fresh Ink Theater, The Woman Who Mapped the Stars with The Nora Theater Company, and Fires in the Mirror at Tufts University. Schuna holds a BS in Music Industry from Northeastern University. n e w re p e r t o r y t h e a t re
Originally from New Richmond, Wisconsin, he now resides in Boston, MA. Bridget Kathleen O’Leary◊ (Director,
Heartland) returns to New Repertory Theatre after directing Ripe Frenzy, Blackberry Winter, Scenes from an Adultery, Muckrakers, Pattern of Life, Lungs, Fully Committed, Collected Stories, Dollhouse, A Christmas Carol, Boom, and Fool for Love. Other recent credits include Grand Concourse at Speakeasy Stage Company, Othello at Actors’ Shakespeare Project, The Flick at Gloucester Stage Company, The Other Place at Central Square Theatre, Reconsidering Hanna(h) and Devil’s Teacup at Boston Playwright’s Theatre, Aunt Dan and Lemon and Recent Tragic Events at Whistler in the Dark. O’Leary also served as the dramaturg for the world premiere of Finish Line at the Boch Center and was the Hotch Festival dramaturg at Washington State University in St. Louis, Missouri. She holds a graduate certificate in Arts Administration and an MFA in Directing, both from Boston University, and serves as a visiting artist in directing at Tufts University and as a guest lecturer at Northeastern University. Originally from Manchester, NH, she now resides in Everett, MA.
Gabriel Jason Dean (Playwright, Heartland) is an award-winning playwright and screenwriter whose critically-acclaimed plays include In Bloom (Kennedy Center Paula Vogel Award, Laurents / Hatcher Award Finalist, Princess Grace Award Runner-Up); Qualities of Starlight (Broadway Blacklist, Kesselring Nomination, Essential Theatre New Play Prize, B. Iden Payne Awards for Outstanding Comedy & Best Original Script); Terminus (James Tait Black Prize Finalist, B. Iden Payne Awards for Outstanding Drama & Best Original Script, Austin Critic’s Table Award Best Production); Heartland (National New Play Network Rolling World Premiere, InterAct 20/20 Commission); The Transition of Doodle Pequeño (American Alliance for Theatre & Education Distinguished Play Award, Kennedy Center TYA Award, New England Theatre Conference Aurand Harris Award); and others. He has written book and 2 01 8-2 019 se ason
lyrics for the musicals Mario & the Comet and Our New Town. Screenplays include Pigskin and D’Angelico, TV Pilots We Belong, Rabble, and animated series Tenderfoot. Gabriel received the Hodder Fellowship from Princeton University, Dramatist’s Guild Fellowship, and the Sallie B. Goodman / McCarter Theatre Fellowship. He is on faculty for Spalding University’s Brief-Residency MFA Program, is a Visiting Writer in Residence at Muhlenberg College, an alum of The Civilians R&D Group, an Affiliated Writer at The Playwrights’ Center, an Associate Artist with Monk Parrots and a Usual Suspect at New York Theatre Workshop. He grew up in Chatsworth, GA, a mill town in the foothills of the Appalachian Mountains. He currently lives in Brooklyn, NY. JIM PETOSA (Artistic Director/Director) joined New Repertory Theatre as an awardwinning 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 The Bakelite Masterpiece, Statements After an Arrest Under the Immorality Act, Lonely Planet, Ideation (IRNE Nomination), 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! 17
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, now Mosesian 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, MA. * 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
Actors’ Equity Association (AEA), founded in 1913, AEA represents more than 51,000 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
ARTS FEBRUARY 27-MARCH 17
By Alexis Scheer | Directed by Sara Katzoo February 21-March 3 Tickets: (866) 811-4111 or BostonPlaywrights.org
CARLING-SORENSON THEATER BABSON COLLEGE, WELLESLEY For info and tickets visit commshakes.org or call 781-239-5880 By special arrangement with Knight Hall Agency Ltd and Spring Sirkin
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n e w re p e r t o r y t h e a t re
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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board of directors
advisory council
A.W. (Chip) Phinney III treasurer Jon Harris clerk Ruth Budd
Andrew Brilliant, Gregory E. Bulger, Judi Cantor, Marcy Crary, Diane DiCarlo, Richard Dix, Jane Feigenson, Carol S. Fischman, C. Nancy Fisher, Christopher Flynn, Ralph Fuccillo, Joan Gallos, Jonathan Garlick, Virginia Inglis, Farida Kathawalla, B.J. Krintzman, Ted Kurland, Paul Levine, Wendy Liebow, Michael McCay, Chris Meyers, Fred Miller, Peter Nessen, Daniel S. Newton, Carlos Ridruejo, Mary Rivet, Dan Salera, Phyllis Strimling, Richard Walker, Curtis Whitney
chair
Lillian Sober Ain, Donald Giller, Miriam Gillitt, David Kluchman, Shari Malyn, Matt McGuirk, Anita Meiklejohn, Laurie H. Nash, Pamela Taylor, Jo Trompet
artistic and production
Jim Petosa artistic associate Elena Morris production manager Hannah Huling education associate Sarah Morrisette artistic director
administration managing director Harriet
Sheets Page
management associate Zack
development
Ari Herbstman Denise Takvorian grant writer Mark W. Soucy Development Manager
box office box office manager Angelica
development Associate
Potter
box office associates
Sarah Vandewalle (Lead), Nick Chieffo Ryan LaForest house managers
Serena Cates, Nick Chieffo, Becca Freifeld, Coriana Hunt Swartz, Ryan LaForest, Matt Winberg legal counselor Stanley B. Kay accountant Eliott Morra, CPA it support Mark W. Soucy, NCGIT
marketing communications director Jaclyn
Dentino
CREATIVE SERVICES & MARKETING ASSOCIATE
Emily DeCarolis group sales associate Jan graphic design Caridossa photographers
Nargi Design
Andew Brilliant / Brilliant Pictures, Christopher McKenzie videographer Robert Greim ambassadors
Lloyd David, Scotty Hart, Virginia Inglis, Chris Noble, Danielle Naugler, Elissa Rogovin, Diane Smith, Michael Zimmer
CLASSIC REPERTORY COMPANY ADVISORY COMMITTEE
Karen Coyle Aylward, Kimo Carter, Jonathan Garlick, Clay Hopper, Lisa Stott
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CLASSIC REPERTORY COMPANY
Clay Hopper Katey Christianson company Nick Chieffo, Willa Eigo, Riley Fox Hillyer, Willow Lautenberg, David Picariello, Jane Reagan, Elena Toppo
director
production designer
n e w re p e r t o r y t h e a t re
ne w rep
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/corporate-sponsors s easo n SPO N SO R S
The following list represents in-kind contributions and cash gifts made between 6/1/2017
and 12/25/2018. Corporate Donors A Thoughtful Move Amazon.com The Arsenal Project Artemis Yoga ArtsBoston athenahealth Boston University Broadway in Boston Capaldi Limited Partnership Eastern Bank Fastachi Hammond Real Estate igive.com J. Stallone Realty Group Keller Williams Realty Massachusetts General Hospital NCGIT R L Tennant Insurance Residence Inn by Marriott- Boston/Watertown Sotheby’s Realty Stewart International Travel The Village Bank Watertown Savings Bank WGBH Matching Gifts AT&T Blue Cross Blue Shield Covidien Fiduciary Trust ExxonMobil Foundation Gartner Google IBM Matching Gifts Program SalesForce Foundation Sanofi Foundation of North America FOUNDATION Support Esther B. Kahn Foundation Foundation for MetroWest The Fuller Foundation
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GHR Foundation Gregory E. Bulger Foundation The Marshall Home Fund Mass Humanities National New Play Network Roy A. Hunt Foundation The Shubert 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 Framingham Cultural Council Granby Cultural Council Hudson Cultural Council Hull Cultural Council Marlborough Cultural Council Massachusetts Cultural Council MASSCreative Milford Cultural Council National Endowment for the Arts Saugus Cultural Council Shrewsbury Cultural Council Sudbury Cultural Council Town of Sudbury Waltham Cultural Council Watertown Commission on Disability Watertown Cultural Council Westford Cultural Council
Caridossa Catering with Distinction Commander’s Mansion Eliott Mora CPA, PC Fastachi Irving House La Casa de Pedro Legit Band MEM Tea Imports Moldova Restaurant NCGIT Not Your Average Joe’s Premier Bartending & Beverage Service Red Lentil Vegetarian & Vegan Restaurant Season to Taste Sensational Foods Solomon’s Collection & Fine Rugs Spindler Confections The Spirited Gourmet Stanley B. Kay Stockyard Restaurant Terry O’Reilly’s Vantage Graphics Vicki Lee’s WGBH
In-Kind Big Picture Framing Boston University Brilliant Pictures, Inc. Capaldi Limited Partnership
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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 between 6/1/2017 and 12/25/2018. Platinum Production Partners $50,000+ Donald Fulton Fidelity Charitable Trust Marcy Crary & Tim Hall Gold Production Partners $25,000-$49,999 Lillian Sober Ain Miriam Gillitt Silver Production Partners $10,000-$24,999 Jim Petosa Joy & A.W. (Chip) Phinney Vincent Piccirilli & Anita Meiklejohn William & Helen Pounds Bronze Production Partners $5,000-$9,999 Anonymous (1) Holly Crary Nan & Bill Harris Wendy Liebow & Scott Burson Lawrence & Lillian Solomon Fund Founders’ Society $2,500-$4,999 Anonymous (1) 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 Dorothy Mohr Laurie Nash Harriet Sheets Pamela Taylor Jo Trompet Leadership Society $1,500-$2,499 Anonymous (2) David & Sandy Bakalar Christopher Flynn & Daniel Newton Annette Furst & Jim Miller Don & Pamela Giller John & Sheila Hicinbothem Neal & Lynne Miller Nancy Raphael Elizabeth Grady & Duncan Spelman Arlene Weintraub
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Angels’ Society $1,000-$1,499 Anonymous (1) Cindy Aber Marty Ahrens & Gary M. Madison Mark & Carolyn Ain Betsy Ansin The Bellevue Fund Michael Broad & Grace Massey Ann Buxbaum Jane Capaldi Iris Feldman Jonathan & Lauren Garlick Garth & Lindsay Greimann John B. Hawes & Emily Barclay Jonathan Hecht & Lora Sabin Brian & Robin Hicks Larry Manchester & Kathleen O’Connor Abigail Johnson & Chris McKown Timothy & Deborah Moore Jerry & Myrna Olderman Glenn Rosen & Ann Dannenberg Donald & Abby Rosenfeld Ann Ross Maria Saiz & Athelia Tilson Lisa & Stephen Shapiro Edward & Nancy Stavis Daniel Wagner Richard C. Walker III Barbara Wands Phillip & Tamar Warburg Benefactors’ Society $500-$999 Anonymous (2) John & Mary Antes Henry & Sue Bass John & Kathleen Bradley Bill & Maria Brisk Mary Jo Campbell Jane & Christopher Carlson Laura & Mike Dreese Ralph Fuccillo & Paul Newman Erika Geetter & David Siegel Garth & Lindsay Greimann Rona Hamada Michael & Sharon L. Haselkorn Virginia Inglis James Kamitses Farida Kathawalla George Kinder & Kathy Lubar Edgar Knudson & Louis Mula Ted & Ann Kurland Susie & Chuck Longfield John Neale Lowell Partridge Robert & Jackie Pascucci Jan Perry & Paul Landrey Jeff Poulos & Brad Peloquin
Suzanne Priebatsch R. Lynn Rardin & Lynne A. O’Connel Nancy A. Risser Elissa Rogovin Mary Rivet & Christopher Meyer Arnold & Linda Roth Chuck Schwager & Jan Durgin Stephen & Peg Senturia Joseph Shrand Peter Smith & Donna J. Coletti Christoph Wald & Ute Gfrerer Nancy Richmond Winsten Directors $250-$499 Anonymous (2) Deb Antonelli Janet Bailey Fred & Judith Becker Kathleen Beckman & Theodore Postol Robert Berk Paul & Linda Bicknell Richard Berger & Ellen Glanz Donald & Ellen Bloch Francine Brasseur Robert Brustein & Doreen Beinart Renee Burns Ronald & Elizabeth Campbell Judi Taylor Cantor Chester & Carol Cekala Judith Chasin Anna Clark Cary Coen Priscilla Cogan & CW Duncan Steven & Arlene Cohen Lloyd David Graham Davies & Jean Walsh Michael & Beth Davis Owen Doyle Glenn Edelson Myriel Eykamp Harold & Susan Farkas Glenda & Robert Fishman Ernestine Gianelly John C. Goodman & Virginia Jordan Garth H. Greimann Charitable Gift Fund Christina & Chip Hall - In honor of Marcy Crary Barbara & Steven Grossman Carolyn Hebsgaard Susan Hepler Carole Hirsch Douglas Huber & Sallie Craig Jeanne Krieger Anton Kris Ann & Ted Kurland Julianne Lindsay Will & Anastasia Lyman
n e w re p e r t o r y t h e a t re
Lindsay McNair Patricia Meaney Lee Nadler Leslie Nelken Linda & Barry Nelson Jeff Poulos & Brad Peloquin Suzanne Priebatsch Ellen Perrin David & Donna Podolsky Barbara Poplack Peter & Ulrike Rettig Sharon Rich & Nancy Reed Patricia Robinson & Henry Finch Peter & Sandra Roby Serge & Tanya Savard Cynthia Sickler Rita & Harvey Simon Ellen Simons Ruth Spack Barbara Spivak & Peter Loewinthal Martha Stearns Phyllis Strimling Herman & Joan Suit Judith A. Thomson Evelyn & Joel Umlas Barnet & Sandra Weinstein Denise Wernikoff Curtis Whitney Jane & Larry Wilcox Benjamin Wolozen & Danielle Murstein Julianne Yazbek Players $150-$249 Anonymous (2) Joel Abrams Anne H.Anderson & David C. Baxter Deb Antonelli David Baxter Edward Boesel Melissa & Lisa Caten Nancy & Steve Clayman Eric & Pam Diamond Vesna Dimitrijevic Lee & Inge Thorn Engler Richard & Katherine Floyd Richard & Nancy Fryberger Margaretta Lyon Fulton Nancy Galluccio Anita B. Garlick Walter Gilbert Mark & Janet Gottesman Malcolm & Susan Green Eva Guinan Scotty Hart Peter E. Haydu Edward & Pamela Hoffer Jeffrey Hughes & Nancy Stauffer Israeli Stage Company Martin & Phyllis J. Kornguth David J. Kovacs & Alisa Marshall Patti Marcus & Paul Koch Edmund Murad Paras Patel Dr. Ian C. Pilarczyk Babara Poplack Stanley & Rhoda Sakowitz Daniel Sheingold
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Inge Thron Engler Jean Walsh Jane & Larry Wilcox Friends $50-$149 Anonymous (7) Beverly Abegg Phllis Adams Jane Adolph & Bill Poznik Josh & Rachelle Ain Arthur Anderson & Sharon Sisskind Colin & Melody Anderson Eva Benda Freya Bernstein Stuart Bernstein Susan Bernstein Priscilla Biondi Elizabeth Bjorkman Lorraine Bossi Linda Braun Patricia Bresky Linda Brodt Monique Brown Tamar Brown Michelle Brownlee Judi Burten & Kevin Soll Victor Calcaterra & Mary Scanlon Judi Cantor Tayler Capaldi Deborah Carr Karen Chieffo Maureen Coffin Donna Cohen Jacqueline Colby Dorothy & Richard Cole Roxann Cooke Donald Coppack Dorothy Crawford Bonnie Creditor Harvey Creem Bonnie Creinin Harold Crowley Milagros Cruz Mary Cummings Virgina Danielson & James Toth Jeffrey DaRocha-Boyle Amanda Davenport Barry David Frances Davis Marjorie & Bruce Davis Susan DeMarco Karen DiGiovanni Arthur & Nicky Dimattia Gail Doherty Alexandra Dulchinos Virginia Dushame Marilyn Eichner Lindsay Eimert Kathleen Engel & Jim Rebitzer Jerome Facher Chris Farrow-Noble Edith Fenton Deborah Flannery Jean Flatley McGuire Carol A. Flynn & Anna Yoder James Foley Harold & Carol Forbes David & Gita Foster
Christine Fry Nancy H. & Richard Fryberger Frank V. Gages Sharon & Irving Gates Barbara Gawlick Charles & Richard Gazarian Susan Getman Jane S. Getter Nyla Gislason Georgia Glick Leon & Phyllis Goldman Donald Goldstein Alan & Sandy Greenwald Daniel B. Green & Susan Skelley Kiki & Jim Gross Marvin & Joanne Grossman Bobbi Hamill Ken Hamilton Jay Hanflig Marie Hannon Ilana Hardesty & John Emery David Harris Susan Haule Charles & Natasha Haverty Leonard Heier Ann R. & Philip B. Heymann Carole Hirsch Marie Hobart Jane Holden Philip Horwitz Elisabeth Howe Mary A. Hubbard Jean Humez Judith Hurwitz Bruce Jackan Mitchell Jacobs Martha & Henry Jacoby Carol J. Jenson & Steven P. Willner Fred Johnson Lloyd Sheldon Johnson William Joyner Jeffrey & Judith Kalla Fern Kaplan Susan S. Kaplan Eva Karger Stanley B. & Joanne Kay Stuart & Ellen Kazin Carolyn Keller William & Rheta C. Keylor E. Patricia Killory Louise Kittredge Richard & Ronnie Klein Ronna & Thomas Klein Irving & Ann Kofsky Stephen Kraffmiller Allen & Jeanne Krieger Susan G. Krinsky Maureen Kruskal Joan Lancourt Ksenia Lanin Richard & Irene Laursen Virginia Leavy Alyssa LeBel Robert & Helen Lebowitz Reuel & Malvina Liebert Sigrid Lindo Cheryl Lindsay Brooke & Paul Lipsitt
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Natasha Lisman Leonta Longman & Pauline Rosco Richard & Candace Mandel Margaret & George Mansfield Grace Marzynski Charlo Maurer Joseph Mayer & Jennifer Page Jerome Medalie & Beth Lowd Rachel Mele & Jeffrey Scherz Karole Mendelsohn Gil Menna Karen Miller Lindsay Miller & Peter Ambler Lois Miller Debra Minard Martha Minow Kati Mitchell Rick & Lynne Montross Viola Morse Eileen Murray Danielle Naugler Nancy Nugent Sean O’Brien Jim O’Hare Judy Paradis Lisa Parker Kim Parker Diane F. Paulson Melissa Payne James Pazzanese Martin Perfit Roy & Jean Perkinson Burt & Roberta Perlmutter Deborah Peterson, Susan Falkoff, & Janet Jameson Anne Marie Plasse P.J. Plauger Thomas & Elena Powers Joseph Pranevich Bruce Price Charles & Frances Przyjemski John Quatrale
Iftekhar Rahman Alice Ain Rich Carlos & Alisa Ridruejo Ilyse D. Robbins & Glen Mohr Anita W. Robboy Janet Rosen Mona & Phil Rosen Ken & Janet Rosenfield Robert & Pauline Rothenberg Peggy Rothschild Jennifer Saal Rhoda & Stanley Sakowitz Rebecca Sands Mary Scanlon & Victor Calcaterra John & Lily Schlafer Nancy Schön Liliane Schor Charlotte Seeley Ruth T. Segaloff Lolly Selenkow Robert Shapiro John & Linda Sheehan Sheila & Harry Shulman Effie Shumaker Evelyn Shumsky Phyllis Shycon Stacie Simon & Hal Tepfer Nancy Sizer Susan Skelley & Daniel B. Green Carole Slattery Gary & Elizabeth Smith Shelby Smither Rachael Solem Sheila Sparks Marvin Sparrow Becky Squier & Herb Lin Leslie Stacks Joe Stallone Elizabeth Starr Nancy Stauffer & Jeffrey Hughes Stephen Steadman Bobbie & Bob Steinbach
o Your gift is y
Susan Stott Jean Stringham Mary Sullivan Eileen Sviokla Roberta & Jim Swenson Paul A. Syrakos Denise Takvorian Paula Their Beth Thiemann Martin & Carol Thrope Cristina Todesco Eva Travers Mark & Janis Urbanek Elaine Vaan Hogue Darshna Varia Vicki Vogt Ajay Wakhloo David Warnock Samuel Warton Bonnie Waters Alice & Rick Weber Christopher Weikart Barnet & Sandra Weinstein Deborah & Scott Weiss Ellen Westheimer David & Sharon White Barbara & Tom Williams Walter & Margo Williams Robert Willis Roswitha Winsor Evelyn Wolfson Benjamin Wolozin Lina Yablonovsky Robert Zaret & Jean Holmblad Ralph & Helen Zelinsky Young Professional Leader’s Guild Danielle Naugler Mary Naugler Jillian Levine
ur voice—
rfully. e w o p k a e sp
New Repertory Theatre appreciates your patronage and is honored to be your theatre of choice in the Greater Boston region. You can help us continue to produce compelling and thought-provoking productions with a gift to our annual fund. Your gift will ensure that we remain at the forefront of cutting-edge theatre. To make your gift, please go to newrep.org/donate or call 617-923-7060 x8212. Thank you for your support!
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HAND-SELECTED, HAND-ROASTED, HAND ‘EM OVER ARTISANAL NUTS, FINE CHOCOLATES, & GIFTS
Boston • Watertown • Wellesley www.fastachi.com
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audience
information
B o x Of f ice In formatio n
The New Rep Box Office is open Tuesday - Saturday from noon until 5pm. On performance days, the window opens 2 hours prior to curtain and stays open until fifteen minutes after the last performance begins. For the most up to date hours, please visit newrep.org or call the Box Office at 617-923-8487. A c c e ssi bility
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. Pa rking
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. Ch 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 hoto g raph y & Recor d i n g
All photography, videotaping, and audio recording are strictly prohibited inside the theater. L ate c omers
All latecomers will be seated at the discretion of management in the most accessible seats, in order to minimize distractions. R ef u nds/Exchan ges:
Subscribers may exchange their tickets in person or by calling the Box Office. Upgrade fees may apply for ticket exchanges into a higher ticket price series. There are no refunds or exchanges for single ticket purchases. In the case of inclement weather, refunds or exchanges will be at the discretion of New Repertory Theatre and based on performance schedule and availability.
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peterfuller.com | 617-924-1747 20 Coolidge Ave, Watertown 02472
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TEAMWORK...
IN THEATRE AND REAL ESTATE. Introducing the BRILLIANT PLACES Real Estate Team
Your Agents: Andrew Brilliant Carol Palmer Brilliant 617.694.9759
Your Attorney: Law Offices of Barbara P. Lazaris 617.523.8869
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673 Centre Street Jamaica Plain, MA 02130 617.522.2200 | unlimitedsir.com Sotheby’s International Realty and the Sotheby’s International Realty logo are registered service marks used with permission. Each Office Is Independently Owned And Operated. If your property is listed with a real estate broker, please disregard. It is not our intention to solicit the offerings of other real estate brokers. We are happy to work with them and cooperate fully. New Repertory Theatre’s Production of Amadeus 2012-2013, Photo by Andrew Brilliant.
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