How I Learned to Drive Playbill

APR 3–21, 2019 Joan H. Gillings Center for Dramatic Art

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HOW I LEARNED TO DRIVE

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Letter from Vivienne Donor Spotlight: Amy & Kevin Guskiewicz Support PlayMakers Who We Are Title Page Cast List Program Notes Author Bio Actor Bios Up Next: Our 2019/20 Season Legacy | NOW Creative Team Bios General Information PlayMakers Staff Friends of PlayMakers Corporate and Foundation Partners Advertisers

Photo of Julia Gibson and Jeffrey Blair Cornell by HuthPhoto

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TABLE OF CONTENTS

PRODUCING ARTISTIC DIRECTOR

VIVIENNE BENESCH

Dear Friends, As a wide-eyed undergraduate at Brown, I had the immense fortune of taking several dramatic literature classes with Paula Vogel as my teacher. Like most transformative encounters in a person’s life, her impact on me went beyond the intellectual—it was almost physiological. She spoke up to her students, treated us as adults, and took for granted that we all had powerful brains that deserved respect, instilling in us confidence in our own work, and more importantly, in our own thinking.

I can’t begin to describe how surprised I was to learn that PlayMakers had never produced Paula’s singular, Pulitzer Prize-winning masterpiece, How I Learned to Drive. Here was the perfect way to reconnect with my beloved mentor, to introduce PlayMakers’ audiences to this seminal work of American literature, and to use our theatre as a space to communally engage with the widespread issue of sexual abuse.

In the play as in the classroom, Paula unabashedly assumes her audience’s intelligence and resilience. She refuses to be reductive or collapse nuance, allowing the stage to be as complex and ambiguous as life itself. In the presence of Paula’s writing, you may not always feel comfortable, but you’ll always know you are being asked to seek for truths.

I am thrilled to have matched Paula’s voice with a host of other incredible women on this production. It is a gigantic honor to have Lee Sunday Evans captaining our ship, alongside the design genius of Jan Chambers, Anne Kennedy, and Barbara Samuels.

And, of course, the inimitable Julia Gibson, hot off her extraordinary turn in The Cake last season.

We have one more provocative piece of theater to engage you with this season—on April 24th we open Virginia Grise’s radical manifesto, Your Healing is Killing Me, a powerful treatise on one woman’s struggle to find balance and wellness within a system that conspires to keep her off-balance and marginalized. You won’t want to miss it.

Lastly, thank you for coming along on this season of Shifting Ground: Theatre that Moves and to encourage you to keep moving the dial as you consider our 2019/20 Season: Legacy | NOW. If you’re already a subscriber, consider re-subscribing today or adding a monetary gift to your subscription. If you’re a single-ticket buyer, give a subscription a shot next season. If this is your first time in our building, take a look at our upcoming titles, and make a plan to join us again for round two. At PlayMakers, you never know what you’ll discover when the lights go out.

Your fellow traveler,

Vivienne

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DONOR PROFILE

AMY & KEVIN GUSKIEWICZ

Amy and Kevin Guskiewicz have called Chapel Hill home for more than 20 years. Amy, who grew up casually participating in theatre throughout middle and high school in Maryland, is a real estate agent with Fonville Morisey and enjoys sharing with others her love of Chapel Hill. Prior to her career as a realtor, Amy taught elementary school and once had the pleasure of directing her class of 3rd–5th graders in a performance of A Midsummer Night’s Dream in the Forest Theatre.

Kevin is the Kenan Distinguished Professor of Exercise and Sports Medicine, Athletic Trainer, and founding director of the Matthew Gfeller Sport-Related Traumatic Brain Injury Research Center at The University of North Carolina at Chapel Hill, where he has served on faculty since 1995. Over the past 25 years, his research has helped sports medicine clinicians to improve diagnosis and management of sport-related concussions. In 2016, Kevin was appointed Dean of the College of Arts & Sciences at UNC-CH, and in 2019 was named Interim Chancellor. Amy and Kevin have four children: Jacob, Nathan, Adam, and Tessa.

Amy and Kevin often enjoy a short walk through Battle Park from their Franklin Street home to the Joan H. Gillings Center for Dramatic Art for an evening of theatre. They have been actively involved with PlayMakers for the past few years as subscribers and supporters of our annual gala. Amy also serves as a member of the PlayMakers Advisory Council and is a founding member of the PlayMakers women’s leadership council, WPOV (Women’s Point of View). This year, Amy is excited to take on a new leadership role as Vice Chair of the Advisory Council.

“We give to PlayMakers because it is a place that our family enjoys gathering to see how theatre brings together students, faculty, staff, and the community in a meaningful way,” says Amy. We are grateful to Amy and Kevin for their enthusiastic support of PlayMakers and its role in the Chapel Hill community!

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SUPPORT US Now is a wonderful time for PlayMakers Repertory Company, as they help celebrate 100 Years of Playmaking at Carolina.

We have launched the 100 Years of Playmaking campaign not only to celebrate the rich history of the dramatic arts here at Carolina, but more importantly, the impact this award-winning theatre has in our community. From their world-class productions to meaningful K-12 arts-in-education programs and community engagement, PlayMakers does it all. The 100 Years of Playmaking campaign will help ensure that PlayMakers can continue to inspire, entertain, and challenge our community for the next 100 years.

Your support has the power to influence all aspects of the theatre, from the innovative work you see onstage to making ticket prices affordable for all and training for the artists of tomorrow. If you enjoy and believe in the impact of theatre as I do, make a yearly gift to the Annual Fund; give a little each month as a Sustainer; or offer a campaign gift to show you stand behind their mission of producing relevant and courageous work.

Join me in supporting an organization that makes a difference to our community.

You’ll sit just a little taller in your theatre seat knowing that you’re making a difference towards excellence, access, and education.

I could never thank you enough for that.

GIVE TO THE PLAYMAKERS ANNUAL FUND:

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• Pick up a contribution card in the lobby • Go online to www.playmakersrep.org • Call the Development Office at 919.962.2481

Joan H. Gillings

FRIENDS OF PLAYMAKERS ADVISORY COUNCIL: Joan Gillings, Chair Tom Hazen Betsy Blackwell Janelle Hoskins Maria Duran Betty Kenan, emeritus Deborah Gerhardt Kimball King, emeritus Amy Guskiewicz Duncan Lascelles Bobbi Hapgood Stuart Lascelles Lisa Hazen

Amy Guskiewicz, Vice Chair Robert Long Carol Smithwick Graig Meyer David Sontag Julie Morris Mike Wiley Florence Peacock Lisa Yarborough Diane Robertson 7 Wyndham Robertson

PlayMakers is...

“One of America’s Best Regional Theatres” (American Theatre Magazine), PlayMakers Repertory Company is North Carolina’s premier professional theatre company, proudly in residence on the dynamic campus of the University of North Carolina-Chapel Hill. The professional company was founded in 1976, growing out of a storied 100-year tradition of playmaking at Carolina. Our mission is to produce relevant, courageous work that tells stories from and for a multiplicity of perspectives. We believe that theatre can have a transformational impact on individuals and entire communities, and we are committed to making our work accessible to all.

PlayMakers produces ten shows on two stages each year in our home venue, the Joan H. Gillings Center for Dramatic Art bringing the transformative power of theatre to up to 50,000 audience members annually from over 50 counties. At the very heart of the PlayMakers experience is one of the nation’s last remaining resident theatre companies, made up of accomplished performers, directors, designers, artisans and technicians, and supported by exceptional graduate students in UNC’s Department of Dramatic Art. Our company works side by side with guest artists from all over the world and our alumni include Pulitzer Prize, Tony, Emmy, and Grammy Award winners.

Creating Tomorrow’s Classics, Today Producing Artistic Director Vivienne Benesch is continuing PlayMakers’ tradition of producing vibrantly reimagined classics, large-scale musical theatre and significant contemporary work, but is also broadening the company’s reach to become a home for new play development and a true hub of social and civic discourse in the region. Her first three seasons have already given life to six important new American plays.

Provoking Conversation Our hugely popular PRC2 series is programmed to provoke thought, stimulate discussion, and push the boundaries of the theatrical form. Every PRC2 production in the intimate Elizabeth Price Kenan Theatre is followed by an “Act 2” opportunity for direct, dynamic engagement between audiences, artists, and subject matter experts.

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Theatre for the People PlayMakers Mobile is an initiative that seeks to positively contribute to the civic and social life of our region by taking world-class theatre out of our building and into the community. We create a streamlined production of one classic play each year and take it to Title-1 schools, homeless shelters, and treatment facilities around the Greater Triangle area. It’s all free of charge, since too often the people who can benefit from theatre the most are the ones who don’t have access to it.

WHO WE ARE

Leaving Eden, 2018. Photo by HuthPhoto A Hub of Engagement Beyond being the region’s go-to for dynamic and entertaining stories, PlayMakers is a home for memorable conversations that allow us to make connections with the work and with each other well beyond the experience of a production. In the Wings, Vision Series, and a host of other post-show discussions and unique engagement opportunities enrich our audience’s experience of the live arts.

Passing the Torch PlayMakers’ award-winning Summer Youth Conservatory is the only professionally-supported training program of its kind in the region. The Theatre Quest program provides classes to area middle school students, while the Theatre Intensive and Theatre Tech programs allow Triangle high-schoolers to apprentice directly with professional directors, choreographers, musical directors, and technicians, culminating in a professional-quality production on the PlayMakers mainstage for the whole community to enjoy.

Eliminating Barriers With a commitment to eliminating barriers for attendance, PlayMakers offers All Access performances for our patrons living with disabilities, Community Nights where all tickets are just $15, and tickets reduced to jut $10 for UNC students and $12 for all other students. Our Spotlight on Service program also offers complimentary tickets to local service organizations.

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PLAYMAKERS PRESENTS

How I Learned to Drive by

Paula Vogel Director

Lee Sunday Evans Scenic Designer Jan Chambers

Costume Designer Anne Kennedy

Lighting Designer Barbara Samuels

Sound Designer Lee Kinney

Composer Daniel Kluger

Dramaturg Mark Perry

Movement Coach Thiago Felix

Vocal Coach Tia James

Associate Director Ilana Khanin

Stage Manager Elizabeth Ray

Assistant Stage Manager Charles K. Bayang

APR 3–21, 2019 HOW I LEARNED TO DRIVE received its world premiere at the Vineyard Theatre, New York City.

Off-Broadway production produced by the Vineyard Theatre in association with Daryl Roth and Roy Gabay.

This play was made possible by generous support from the Pew Charitable Trust and the John Simon Guggenheim Foundation.

It was written and developed at the Perseverance Theatre, Juneau, Alaska, Molly Smith, Artistic Director.

The Professional Theatre of the Department of Dramatic Art Adam VersĂŠnyi, Chair Vivienne Benesch, Producing Artistic Director Justin D. Haslett, Managing Director Produced in association with The College of Arts & Sciences The University of North Carolina at Chapel Hill

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PROFESSIONAL TRAINING WORLD CLASS INSTRUCTION

HIGH SCHOOL

MIDDLE SCHOOL

Honored by the North Carolina Theatre Conference with its Youth Theatre Award, the Conservatory has been recognized as a “model program for youth theatre in North Carolina.”

THEATRE QUEST

JUNE 17 - AUGUST 2 For middle school students, Theatre Quest is an exciting program that offers young actors with the opportunity to study a variety of disciplines and train with professional theatre artists in a professional setting—come and train with us for one week or all seven!

All classes meet at the Center for Dramatic Art on the campus of UNC-Chapel Hill from 10:00am– 5:00pm with early drop-off available at 9:00am for an additional fee (free for UNC employees).

THEATRE INTENSIVE

THEATRETECH

The Triangle’s premier actor training program for rising 9th graders through recent high school grads, Theatre Intensive offers young people the opportunity to train, rehearse and perform under the guidance of professional artists.

AUDITION REQUIRED.

This unique program provides high school students and recent high school grads, with the chance to apprentice with PlayMakers’ professional staff in Costumes, Scenic Design/ Stage Craft, Lighting and Stage Management.

INTERVIEW REQUIRED.

JUNE 17 - JULY 28

JUNE 17 - JULY 31

Performances: July 17–28 *Financial Aid is available

FOR MORE INFORMATION

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THE CAST

In alphabetical order

Female Greek Chorus. . . . . . . . . . . . . . . . . . . . . Emily Bosco* Teenage Greek Chorus. . . . . . . . . . . . . . . . . . . Gabriella Cila Uncle Peck. . . . . . . . . . . . . . . . . . . . . . . . Jeffrey Blair Cornell* Li'l Bit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julia Gibson* Male Greek Chorus. . . . . . . . . . . . . . . . . . . . . . . . . Dan Toot*

There will be no intermission

STAGE MANAGERS

Charles K. Bayang*

Elizabeth Ray*

*Indicates members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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PROGRAM NOTES To Tell a Secret, To Teach a Lesson

By Mark Perry How I Learned to Drive is among the most important plays of the last 50 years. It’s also one of the most excellently crafted. This play ventures into the uncomfortable, even explosive areas of pedophilia, molestation, and hypersexualization, but its chief confrontation is with the Nemesis in whose shadow these diseases ferment—our Patriarchy. The play's method of confrontation method is gentle, startling, raucous, funny, devastating, and intimate.

“Sometimes to tell a secret, you first have to teach a lesson.”

With this enigmatic line, the play begins. There are a variety of lenses through which we may see what follows. For one, it is a survivor story. Having premiered in 1997, it anticipated the “Me Too” movement and its surge of women standing up and sharing their experiences that range from sexual abuse to inappropriate comments in the workplace. Our central character, whom we know as Li’l Bit, appears before us as a grown woman, ready to share her story of decades past, when she was a teen coming up in 1960s rural Maryland. She frames this story euphemistically—How I Learned to Drive.

Li’l Bit’s narrative is delivered carefully, gradually—using flashbacks that are out-of-sequence, indeed that move mainly backward in time, as if the older memories are more remote or more difficult to share. While such a nonchronological sequence of plot may seem counterintuitive for a play, it

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mirrors the retrospective manner of story revelation in that most classic of plots, Oedipus Rex. The content of Li’l Bit’s account is extraordinary in its nuance. It portrays the depths of love and hurt, of tenderness and transgression, that can come from our earliest and closest relationships. It aches as a bittersweet testimony to ambivalent legacies.

Li’l Bit was raised in a highly sexualized family. In a satirical vein, her family is a microcosm of a society bent on sexual objectification, as well as other symptoms of that oddly American mashup of prurience and puritanism. In other ways, the family is less presentational, and more realistic—especially when it comes to codes of silence, denial, and female-blaming, where male sexual desire is seen as an incessant force with women as the necessary gatekeepers.

Raised in such a family, young Li’l Bit is vulnerable not just to transgressive advances, but also to adopting a value system in which she feels herself simply here on earth to fulfill a sexual role. As is true with many women, internalizing such a value system could deeply affect her own maturation and the health of future relationships.

The allure of Melodrama

Survivor stories are not typically depicted in nuanced ways in our popular culture. We like to fit them into the frame of Melodrama, where our unbounded sympathy is elicited for the survivor and our outrage stoked at the individual in the lineup most resembling a perpetrator. We then cry out for a hero to save the "victim." We search for an authority figure—a policeman, a lawyer, a father.

Think of the insatiable popular appetite for cop shows on prime-time TV and for vigilante fathers in Hollywood movies. It’s as if the collective consciousness were so inflamed about the deep systemic injustice in our society that we reflexively seek relief in the illusory promise of narrative pap.

Melodrama places agency—the capacity for choice and the power to act on that choice—in the hands of the villain and the hero, and it insists that the victim is just as blameless as she is powerless. It therefore reasserts a black-and-white understanding of any social issues encountered, implying the reason for the victimization lies essentially in the aberrant perpetrator—an outlier who must be neutralized—and not in the social structure or its values. To frame a story as a melodrama is to rouse up emotions not for social change, but in order to reinforce simple morality and the societal status quo. This may explain its perennial charm with the middle class, beneficiaries of the paternalistic status quo.

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How I Learned to Drive eschews such black-and-white thinking, and so the eye of the audience member’s conscience—if atrophied by lack of narrative care— may start darting about, seeking any diversion or escape from the gaping moral ambiguity. Be warned: there is no policeman coming to the door here. Li’l Bit will have to find her own way to the door.

Betty Hutton in “The Perils of Pauline” (1947) A love story...?!

Another lens through which we can see this play is the “coming of age” story.

This form emphasizes that time in life when change is rapid, turbulent and impactful. Here, Li’l Bit highlights the time of her life from age 11 through 18— basically, the full length of adolescence, when character is formed and agency is developing, when decisions are made that will set the course of a lifetime.

Sexuality is the great discovery of adolescence, ranking among the ultimate expressions of a burgeoning agency. The ready metaphor is that of driving—or more specifically, learning to drive.

In a 1997 interview on PBS, playwright Paula Vogel described the play as “a love story about good people who cross the lines and get confused.” This notion might be confounding to some given the nature and origin of the central relationship. In another interview, she enlarged on this explanation: "It is a love story, although it's a little disturbing, a little off. And I think everyone is familiar with that experience, whether it's a crush on a teacher, a student, or a priest.” The examples of "crushes" she gives highlight relationships where there may well be 17

love, but where sexual manifestation can be harmful and even devastating.

The playwright dispels the notion that the story is autobiographical. Li’l Bit’s experience is not hers, but rather an amalgamation of many other people’s stories. On a retreat in Alaska, Vogel took only two weeks to write the play. “It poured out of me. I felt in love with these characters. I felt on a kind of… like a high all the time. I wrote all night long.” The setting was the Maryland of her childhood, and the memories of driving those rural roads, while she was isolated in Juneau without a car and without roads, rekindled her love for driving.

Feminist Drama

Perhaps the most eye-opening lens through which we can see How I Learned to Drive is that of Feminist Drama. When Feminism and Drama mix, some of the results may be self-evident—for example, hiring more women directors, as PlayMakers is now doing. In terms of the content and structure of a script, Feminist Drama seeks to disrupt patterns we may not even be aware of, but which unconsciously undermine true equality.

Looking at the Western Dramatic Canon—from Sophocles to Shakespeare to Eugene O’Neill, we see a lot of the same storytelling patterns: male characters far outnumber female characters, women’s roles often lack agency or women are defined by their relationships to men. These are obviously unacceptable

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Agamemnon sacrifices his daughter, Iphigenia, to free his army to sail for Troy.

“The Sacrifice of Iphigenia” by Leonaert Bramer (1596-1674)

NOVEMBER 24-DECEMBER 5

Celebrate Generosity It’s the time of year when the focus turns to sharing good times. And we’re giving you some splendid specials—including the latest from hitmaker Neil Diamond and other popular performances— plus live, in-studio entertainment.

Join our Joy of Giving campaign, November 24-December 5, on UNC-TV.

Get more info at unctv.org/specials

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conditions for our art form to linger in, but the Feminist critique doesn’t end there.

The canonical stories tend to reinforce patriarchal attitudes and assumptions. As Ellen Donkin and Susan Clement describe in their book, Upstaging Big Daddy, we inevitably encounter a conflict where a paternal figure rises up—he may be attractive, compelling, but he is utterly disabling to the female characters, and perhaps to the younger males. That conflict begs for resolution, and most often, it is a woman—a daughter or a mother who becomes the sacrifice to abate that conflict. Her submission seems the key ingredient to the world returning to some stability. It is the perennial ritual of the Patriarchy playing out again and again, training us, filling us with despair.

Disruption

Feminist Drama disrupts such patterns. First, it gives focus to women and their lives, even as the male-dominated world seeks to narrow and define those lives. It emphasizes women having needs independent of the men in their lives. It allows women their agency, even if within narrowed societal parameters. Wonder Woman is not the norm; a feminist play will show women more as they are, and less as a projection of male perception or fantasy. These women are resilient, despite setbacks, and they are freed to disrupt the oppressive cycles in their lives. They do not sacrifice themselves to re-establish stability for men. In all these regards, Li’l Bit is a Feminist character.

Mia Pinero and company in PlayMakers’ My Fair Lady, directed by Tyne Rafaeli (2017)

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Beyond character, the method of plotting in the Canon is often highly gendered.

Traditional story form reflects male psychology. Plots are probing, flaring up with interpersonal conflict, forcing change, pressing sprawling life into a line with a clear beginning and end. The climax is singular, all-encompassing and followed by a quick denouement. How I Learned to Drive reflects Feminist Drama’s frequent use of non-chronological, episodic plots. Relationships are highlighted, and conflict is often intrapersonal—that is, within oneself.

Feminist directors and writers often bring their revitalizing subversiveness directly to the Canon. PlayMakers audiences saw a marvelous example of this with the 2017 production of My Fair Lady. Not a word was altered, but some bold staging and character choices reoriented the play’s center point from Higgins to Eliza.

In like manner, How I Learned to Drive is Paula Vogel’s reimagination of Vladimir Nabokov’s Lolita. In no way should we imagine this impulse as mean-spirited or essentially an act of deconstruction. Vogel describes being “astonished” when she first read the novel. “I just wanted to know what it would feel like to write Lolita from Lolita's point of view.”

A new point of view

And that’s just it. Feminist Drama is about point of view. The stage has been forever acquainted with male point of view. Now we are learning more and more to understand dramatic storytelling from a female point of view. With two functioning eyes, life's depth is being revealed.

Seeing clearly means we see what we can control and what we can't. We can't control what is forced upon us. Agency arises with learning to respond. Also, female agency does not just mean the power to do the right thing. It means the choice to do the right thing or the wrong thing, or the thing we may not know yet if it’s right or wrong.

To put a fine point on it: In a Feminist play, women have, or they are gaining, the power to: disrupt the patterns of dysfunction and dependence in their lives, or perpetuate them; subvert the roles afforded to women in society, or seek comfort in them; speak out the truth, or hide it away; transcend the injury inflicted on them because of their sex, or hold on to the hurt.

As you consider this play, witness how Paula Vogel has created—in her universal family—female characters that run the gamut here. Their choices and actions

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seem to define the consequences of the world of the play more than the oblivious chauvinism of “Big Papa.” At the center is Li’l Bit, who today is deciding to come forward and tell us her story.

Oh, and Peck… Funny, I’ve managed to get this far into the program notes without writing about one of the fascinating characters of contemporary drama. Perhaps a lifetime of focus on male characters will prepare you to understand his complexity. Perhaps you will be surprised how you have the capacity to identify with him because of this playwrights' extraordinary empathy, which is wide open like a highway to a better place. If not, and if you choose to see him simply as a villain, a perpetrator, a molester, a pedophile who grooms children for the conquering, you have the power to do that too.

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AUTHOR BIO Paula Vogel Playwright

Paula Vogel is a Pulitzer Prize-winning playwright whose plays include Indecent (Tony Award nominee for Best Play), How I Learned to Drive (Pulitzer Prize for Drama, the Lortel Prize, OBIE Award, Drama Desk Award, Outer Critics Circle and New York Drama Critics Awards for Best Play), The Long Christmas Ride Home, The Mineola Twins, The Baltimore Waltz, Hot’n’Throbbing, Desdemona, And Baby Makes Seven, The Oldest Profession and A Civil War Christmas. She is currently working on three new projects, including Cressida On Top (recently workshopped at CTG and the Goodman), and a new play commissioned by CTG and Second Stage. Honors include induction in the American Theatre Hall of Fame, the Dramatists Guild Lifetime Achievement Award, the Lily Award, the Thornton Wilder Prize, the Obie Award for Lifetime Achievement, the New York Drama Critics Circle Award, the William Inge Award, the Elliott Norton Award, a Susan Smith Blackburn Award, the PEN/Laura Pels Award, a TCG Residency Award, a Guggenheim, a Pew Charitable Trust Award, and fellowships and residencies at Sundance Theatre Lab, Hedgebrook, The Rockefeller Center’s Bellagio Center, Yaddo, MacDowell Colony, and the Bunting. She is particularly proud of her Thirtini Award from 13P, and honored by three Awards in her name: the Paula Vogel Award for Playwrights given by the Vineyard Theatre, the Paula Vogel Award from the American College Theatre Festival, and the Paula Vogel mentorship program, curated by Quiara Hudes and Young Playwrights of Philadelphia. Paula was playwright in residence at The Signature Theatre (200405 season), and Theatre Communications Group publishes six volumes of her work. Paula continues her playwriting intensives with community organizations, students, theater companies, subscribers and writers across the globe. She is the 2019 inaugural UCLA School of Theater, Film and Television Hearst Theater Lab Initiative Distinguished Playwright-in-Residence and has recently taught at Sewanee, Shanghai Theatre Academy and Nanjing University, University of Texas at Austin, and the Playwrights Center in Minneapolis. From 1984 to 2008, Paula Vogel founded and ran the playwriting program at Brown University; during that time she started a theatre workshop for women in Maximum Security at the Adults Correction Institute in Cranston, Rhode Island. It continues to this day, sponsored by the Pembroke Center for Women at Brown University. From 2008-2012, she was the O’Neill Chair at Yale School of Drama.

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SPECIAL THANKS

PlayMakers Repertory Company would like to thank the Renewable Energy Special Projects Committee (RESPC) at UNC for awarding us a $155,000 grant for new, energy-efficient light-emitting diode (LED) house lights and a new lighting console to operate the LED lights in the Paul Green Theatre.

With approximate savings of 239,550 kWh per year, PlayMakers is thrilled to be working with RESPC to make our theatre greener while increasing energy efficiency on campus.

RESPC is a student-run and student-funded group that facilitates renewable energy, energy efficiency, and energy education projects on campus. RESPC pursues the use of new energy-related technologies that will help Carolina set the standard for campus sustainability.

To learn more about RESPC, visit respc.web.unc.edu.

PlayMakers continues our efforts to improve all aspects of our theatre, including our lighting and sound, to ensure that you—our audience members—have the best possible experience each and every time you join us for a show. Ticket sales only cover 50% of our costs to produce world-class theatre.

If you would like to get involved in supporting the work we do, please contact our Development Office at 919.962.2481.

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CAST BIOS Emily Bosco

Female Greek Chorus

PlayMakers: Company member in second year of UNC’s Professional Actor Training Program. She Loves Me, Sense and Sensibility; PlayMakers Mobile Macbeth and A Midsummer Night’s Dream. Regional: Significant Other (Theatre Raleigh); The Last Night of Ballyhoo, A Shayna Maidel (Bergen County Players) University: Richard II, The Importance of Being Earnest, The 25th Annual Putnam County Spelling Bee (Boston University). Education: Boston University (B.A. in English), The Barrow Group Theater Company, Upright Citizens Brigade.

Gabriella Cila

Teenage Greek Chorus

PlayMakers: The Crucible. Film: The Leisure Seeker (Sony Pictures Classics) with Helen Mirren and Donald Sutherland, Table 19 (Fox Searchlight) with Anna Kendrick. Television: Bobcat Goldthwait’s Misfits & Monsters (truTV), Good Behavior (TNT). Education/Other: Currently a senior at UNC-Chapel Hill majoring in Political Science. Company member at Moonlight Stage Company in Raleigh and member of the improv troupe, Prism.

Jeffrey Blair Cornell Uncle Peck

PlayMakers: Company member since 1998. Recently: Bewilderness, She Loves Me, Sherwood: The Adventures of Robin Hood, Count, Sense and Sensibility, The Christians, and Leaving Eden. Some favorites from 23 seasons: My Fair Lady, An Enemy of the People, Into the Woods, Assassins, Metamorphoses, The Tempest, Private Lives, Henry IV & V, Noises Off, Angels in America, Cabaret, Opus, The Life and Adventures of Nicholas Nickleby, Cyrano de Bergerac, King Lear, The Illusion, Big River, Side Man, Wit, All My Sons. New York: Two by Two, Down to Earth, Serious Business. Regional: Guthrie Theater, Cincinnati Playhouse in the Park, Pittsburgh Public Theater, Paper Mill Playhouse, among others. Education/ Other: Carbonell Award nominations for Someone Who’ll Watch Over Me and Falsettoland (Caldwell Theatre). Studied at HB Studios in New York with Uta Hagen, Austin Pendleton, and Elizabeth Wilson. Holds an MFA from the Professional Actor Training Program, UNC-Chapel Hill. Member of Actors’ Equity Association and the Screen Actors Guild. Serves as Teaching Professor/Associate Chair in UNC’s Department of Dramatic Art.

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Julia Gibson Li'l Bit

PlayMakers: Company member for six seasons. Recently and highlights: Bewilderness, She Loves Me, The Cake, My Fair Lady, Twelfth Night, The Crucible, An Enemy of the People, Into the Woods, Vanya and Sonia and Masha and Spike, Love Alone, Metamorphoses, The Tempest. Broadway: Stanley, Uncle Vanya, ‘Night Mother.

National Tour: The Exonerated. Off-Broadway: New York Shakespeare Festival’s Public and Delacorte Theatres, Manhattan Theatre Club, Roundabout Theatre Company, Classic Stage Company, Origin Theatre Company, Irish Repertory Theatre, Rattlestick, New York Theatre Workshop, SoHo Repertory Theatre, among others. Regional: Some favorites include The Cake (Alley Theater); Angels in America, The Little Foxes, Clybourne Park, The Playboy of the Western World, Dancing at Lughnasa, All’s Well That Ends Well, The Seagull, Talley’s Folly, Intimate Exchanges, The Real Thing, All in the Timing, Uncle Vanya, The Importance of Being Earnest, Harvey, The Drowsy Chaperone. Film/TV/Other: Michael Clayton, Changing Lanes, Blue Bloods, Law & Order, Law & Order: Criminal Intent, Spin City, So Close, One Life to Live. Narrated more than 150 audio books.

Dan Toot

Male Green Chorus

PlayMakers: Company member in second year of UNC’s Professional Actor Training Program. Bewilderness, She Loves Me, Sherwood: The Adventures of Robin Hood, Leaving Eden, Sense and Sensibility; PlayMakers Mobile A Midsummer Night’s Dream. Regional: Pericles (Chicago Shakespeare Theatre); Romeo and Juliet, The Tempest, A Midsummer Night’s Dream (Notre Dame Shakespeare Festival);Seascape (Oak Park Theatre Festival); Rose and the Rime (The House Theatre of Chicago) as well as appearances at The Hartford Stage, Montana Shakespeare in the Parks, Windy City Playhouse, Raven Theatre, the side project, Monomoy Theatre in Chatham, MA., and Goodspeed Musicals.

Originally from Wellsville, NY, he holds his BFA in Acting from The Hartt School.

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Subscribe today. playmakersrep.org 919.962.7529

MAINSTAGE

SON

When you look in the mirror, what do you see?

JAN 22–FEB 9, 2020

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o

Sometimes you really do put your foot in it.

MAR 4-22, 2020

y

As wildly unpredictable as the lottery of life.

JULIUS

CA

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BY HEIDI ARMBRUSTER

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ADAPTED BY NAMBI E. KELLEY

Dairyla

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NATIVE

BY BRANDEN JACOBS-JENKINS

World Premiere

OCT 16–NOV 3, 2019

SEP 11–29, 2019

Winning is easy.

Governing is harder.

BY WILLIAM SHAKESPEARE

As part of 100 years of playmaking at Carolina, PlayMakers Repertory Company has inherited a legacy of universal stories reimagined for our moment and a commitment to new work that delights and inspires.

PRC 2

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NOV 20–DEC 15, 2019

Tony Award® Winner

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Rg me i MUSIC BY STEPHEN FLAHERTY LYRICS BY LYNN AHRENS BOOK BY TERRENCE MCNALLY

An era exploding. A century spinning.

AUG 21–25, 2019

No Fear and Blues Long Gone:

NA NIIM OE S N

BY HOWARD L. CRAFT

The music, loves and losses of the legendary North Carolina singer.

JAN 8–12, 2020

AMISH The

Project

The triumph of forgiveness and compassion.

APR 8–26, 2020

NATIVE

r

BY KAREN ZACARÍAS

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Ga

BY JESSICA DICKEY

A comedy that is anything but neighborly.

All titles and dates subject to change.

APR 29–MAY 3, 2020

EDGEofSTime

BY JACQUELINE E. LAWTON

The life and times of the marvelous Marvel Cooke, a World Premiere.

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CREATIVE TEAM Lee Sunday Evans Director

PlayMakers: Debut. Off-Broadway/New York: Dance Nation (Playwrights Horizons), Intractable Woman, Caught (The Play Company), The Things That Were There (The Bushwick Starr), [Porto] (WP Theater/Bushwick Starr), Bull in a China Shop (LCT3), Macbeth (Hudson Valley Shakespeare Festival), D Deb Debbie Deborah (Clubbed Thumb), A Beautiful Day in November on the Banks of the Greatest of the Great Lakes by Kate Benson (Obie Award – New Georges/WP Theatre), HOME, Farmhouse/Whorehouse (BAM Next Wave Festival), The Winter’s Tale (The Public Theater’s Mobile Unit). Regional: Wellesley Girl (Humana Festival), Miller, Mississippi (Dallas Theater Center); Baryshnikov Arts Center, Sundance Theater Lab, BAX, CATCH, LMCC, Robert Wilson’s Watermill Center, Juilliard. Other: She received the 2017 SDC Breakout Award, and the 2016 Susan Stroman Directing Award from The Vineyard Theater. Lee is also the Artistic Director of Waterwell, and the resident director for CollaborationTown.

Jan Chambers Scenic Designer

PlayMakers: Company member for 12 seasons. Jan Chambers is a resident designer for PlayMakers Repertory Company and professor in the Department of Dramatic Art at the University of North Carolina. She is also resident designer and core company member of Archipelago Theatre/Cine, as well as a member of United States Institute of Theatre and Technology and United Scenic Artists Local 839. Skeleton Crew, Leaving Eden, A Christmas Carol, The Cake, The May Queen, Sweeney Todd, 4000 Miles, Vanya and Sonia and Masha and Spike, The Making of a King: Henry IV & V, A Raisin in the Sun, Red, Metamorphosis, The Tempest, Angels in America, Nicholas Nickleby, The Glass Menagerie, and A Number, among others. Other Recent Designs: Sunday in the Park with George, Pericles (Guthrie Theatre); Asylum (Only Child Aerial Theatre at Circus Now International Contemporary Circus Exposure); Pericles, Hamlet (Folger Theatre); Pericles, Henry V (Oregon Shakespeare Festival); Eve and Poppy, It Had Wings, The Narrowing, Out of the Blue (Archipelago Theatre/ Cine).

Anne Kennedy Costume Designer

PlayMakers: Tartuffe, Twelfth Night, Assassins, In The Next Room, As You Like It, The Importance of Being Earnest, The Bluest Eye, God’s Man in Texas. Off-Broadway: Floyd and Clea Under the Western Sky, The Mistress Cycle, Sarah Plain and Tall, Walk Two Moons, Under the Bridge, Cam Jansen, Opus, Boy, Geometry of Fire, A Christmas Carol, Blind. Regional: Levelling Up, The History of Invulnerability, Durango, Third, The Sweetest Swing in Baseball, The Clean House, The Glass Menagerie, Lincolnesque, Intimate Apparel, The Goat or, Who is Sylvia?, Proof, Book of Days, Anthems, Culture Clash in the District, On the Jump, All My Sons, Living Out, Nijinsky’s Last Dance, Elegies, The Last Five Years, Passion, Sunday in the Park with George, Sweeney Todd, Assassins, Pacific Overtures, The Highest Yellow, Kiss of the Spiderwoman, Tribes,

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Dollhouse, The Last Goodbye, Light in the Piazza, As You Like It. Educational: All’s Well That Ends Well, Arms and the Man, Boston Marriage, The Misanthrope, Othello, Twelfth Night, Hamlet, Macbeth ( Juilliard School of Drama). Awards: Helen Hayes Award nominations for Urinetown, Side Show, The Fix.

Barbara Samuels Lighting Designer

PlayMakers: Debut. Off-Broadway/New York: Dance Nation (Playwrights Horizons), Rags Parkland Sings… (Ars Nova), The Things That Were There (The Bushwick Starr), Singlet (The Bushwick Starr), Acquanetta (Beth Morrison Projects), The Rape of The Sabine Women (Playwrights Realm), Orange Julius (Rattlestick/P73, Henry Hewes Design Nom.), Caught (PlayCo, Drama League Nom.), Kate Benson’s OBIE Award-winning Great Lakes (New Georges/ WP Theater), and Julia Jarcho’s OBIE Award-winning Grimly Handsome. Regional: The Alley Theatre, LA Dance Project, Cincinnati Playhouse, Curtis Opera Theater, and Trinity Rep. Education/Awards/Other: Ongoing collaborations include Lee Sunday Evans, Jordan Fein, Daniel Fish, Shannon Gillen, Julia Jarcho, Melissa Kievman, Brian Mertes, Katie Pearl, Target Margin Theater, and Dustin Wills. Barbara served as the General Manager of OBIE Award-winning 13P. BA, Fordham; MFA, NYU. Proud member of USA Local 829.

Lee Kinney Sound Designer

PlayMakers: Debut. Select New York: Daddy (The New Group/Vineyard Theatre); Thom Pain (Signature Theatre); The Light Years (Playwrights Horizons); Can You Forgive Her? (Vineyard Theatre); Homos, Or Everyone in America (Labyrinth Theater Company); A Doll’s House, The Father (TFANA); Opportunities of Extinction, The Convent of Pleasure (Cherry Lane Theatre); Spill (Ensemble Studio Theatre); The Tomb of King Tot (Clubbed Thumb); Wolf in the River (The Flea).

Regional: Long Wharf Theatre, People’s Light, Idaho Shakespeare, Great Lakes.

Daniel Kluger Composer

PlayMakers: Hold These Truths. Broadway: Oklahoma!, Revival of Marvin’s Room, World Premiere of Significant Other. Off-Broadway: Premieres of I Was Most Alive With You, Animal, The Village Bike, Man From Nebraska, Tribes, and Women or Nothing. Kluger has produced dozens of other scores for Off-Broadway theaters including Lincoln Center, Roundabout Theatre Company, The Atlantic, Second Stage, Playwrights Horizons, and Vineyard Theater. Regional: The Mark Taper Forum, The Ford’s Theater, Yale Repertory Theater.

Mark Perry Dramaturg

PlayMakers: Company member for 12 seasons. Jump, The Cake, De Profundis, The Crucible, Trouble in Mind, Metamorphoses, Surviving Twin, A Raisin in the Sun, An Iliad, Noises Off, The Parchman Hour, Shipwrecked! An Entertainment, The Little Prince. Mark teaches play analysis and playwriting in the Department of

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Dramatic Art. His plays The Will of Bernard Boynton and A New Dress for Mona have been produced in our Kenan Theatre, and both have now been published

by Drama Circle. Mark has recently directed two classic plays with Kenan Theatre Company: Hedda Gabler and The Cherry Orchard. Education/Other: MFA, Playwright’s Workshop, University of Iowa. Former recipient of NC Arts Council Literature Fellowship for Playwriting.

Thiago Felix Movement Coach

PlayMakers: Movement coach and visiting Assistant Professor / choreographer.

Jump. Off-Broadway: Fragmented Frida. New York: Lizards, The Fifth of July, Six Degrees of Separation, Scape From Happiness, Hurlyburly, Top Girls, Suddenly Last Summer, Clybourne Park, Choir Boy, A Bright Room Called a Day, The Crucible, Romeo and Juliet, Twelfth Night, Macbeth, The Merchant of Venice. Education/Other: Movement coach/choreographer at Yale School of Drama, BAM (Brooklyn Academy of Music), Eugene Lang College at The New School University, Stella Adler Studio of Acting in New York City, The Studio/NewYork and Marymount Manhattan College. Teaches the Lucid Body Process extensively at the Lucid Body House in New York City, as well as in Rio de Janeiro, São Paulo, Lisbon and Barcelona. Nomination for Outstanding Choreography/Movement at the New York Innovative Theatre Awards and at the Brazilian Press Awards

Tia James Vocal Coach

PlayMakers: Company member in her first season as head of Voice and Speech for the Professional Actor Training Program. Director of PlayMakers Mobile‘s Macbeth (2018). Broadway: The Merchant of Venice. Off Broadway/New York: The Merchant of Venice, The Winter’s Tale (Shakespeare in the Park, The Public Theater) Regional: The Review (Women’s Project) Loving and Loving (Stella Adler) Civilization: All You Can Eat (Woolly Mammoth). Directing: NYU Grad: Hamlet, The Mystery Cycles, Othello, Shakespeare Academy @ Stratford CT: Richard III, Two Gentlemen from Verona, Atlantic: A Bright New Boise. TV: Nurse Jackie, Treme. Teaching/Coaching: NYU Graduate Acting, NYU Dance, Atlantic Acting School, Montclair Univ. Education/Awards: MFA NYU Tisch Graduate Acting Program, BFA Virginia Commonwealth Univ., Teacher Training under Scott Miller from NYU Grad Acting and John Patrick from UNC Chapel Hill.

Recipient of the 2014 NYU Graduate Acting Diversity Mentorship Scholarship, 2003 Kennedy Center American College Theatre Festival, Irene Ryan Acting Scholarship winner for Best Actor.

Ilana Khanin Associate Director

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PlayMakers: Debut. New York: I Was Unbecoming Then (Ars Nova), Breakfast Scene (2017 Samuel French Off-Off Broadway Festival - winner), Book of Jonah [The Interim Years] (Exquisite Corpse Company/ Governors Island), White Pig (Atlantic Stage 2), Some Pictures of the Floating World, Incorruptible: The Tragical

Historie of Maximilien Robespierre ( Joust Theater Company), Gobstopper (The Tank), The Tempest (The Brick). Select associate/assistant: Lila Neugebauer (Miles for Mary at Playwrights Horizons), Annie-B Parson (Big Dance Theater), Lee Sunday Evans, Daniel Fish. Other: 2019-2020 Montclair Artist-in Residence/ New Works Initiative. Education: MA Performance Studies and BFA Drama from NYU.

Elizabeth Ray Stage Manager

PlayMakers: Company member in her second full season. Jump, Skeleton Crew, Temples of Lung and Air, "A" Train, Tartuffe, Dot, The Cake, Into the Woods, A Midsummer Night’s Dream, and Private Lives. New York: Shows for Days (Lincoln Center Theater), In the Secret Sea (Theatre Row), Wallenberg, Requiem for Mr. B, Presto Change-O (Frankel Green Production Company), and Welcome to Shoofly (Playwrights Horizons). Work at other regional theatres includes productions at North Carolina Theatre, Theatre Raleigh, Palm Beach Dramaworks, and Cape Fear Regional Theatre. Elizabeth is a member of Actors’ Equity Association.

Charles K. Bayang Assistant Stage Manager

Charles is in his eleventh season with PlayMakers. Work at other regional theatres includes productions at Studio Arena Theatre, Merrimack Repertory Theatre, Huntington Theatre Company, Alabama Shakespeare Festival, Dallas Theater Center and Dallas Children’s Theatre. Charles holds an MFA from the University of Alabama/Alabama Shakespeare Festival and is a member of Actors’ Equity Association.

Vivienne Benesch Producting Artistic Director

Vivienne is in her third season as a company member and PlayMakers’ Producing Artistic Director. For 12 seasons, she served as Artistic Director of the renowned Chautauqua Theater Company and Conservatory, presiding over the company’s transformation into one of the best summer theatres and most competitive summer training programs in the country. She directed over fifteen productions at CTC including an acclaimed re-imagining of Romeo and Juliet featuring the Chautauqua Symphony Orchestra, Theatre, Opera and Dance companies. She brought CTC’s production of Amadeus, performed with the Chautauqua Symphony Orchestra and Buffalo Philharmonic, to the Virginia Arts Festival featuring PlayMakers company member Ray Dooley. She has helmed productions of Life of Galileo, Leaving Eden, Mr. Joy, The May Queen, Three Sisters, Love Alone, RED and In The Next Room for PlayMakers, the world premiere of Noah Haidel’s Birthday Candles for Detroit Public Theatre, directed extensively for The Shakespeare Theatre of New Jersey, and directed The Heidi Chronicles for Trinity Repertory Company. As an actress, Vivienne has worked on and off-Broadway, in film and television, and at many of the country’s most celebrated theatres. She has appeared with Gene Wilder, Al Pacino and Blythe

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Danner, performed with Maggie Smith in the London revival of Edward Albee’s The Lady from Dubuque, and received an OBIE Award for her performance in Lee Blessing’s Going to St. Ives. Vivienne is a graduate of Brown University and NYU’s Graduate Acting Program. As an educator, she has directed for and served on the faculty of some of the nation’s foremost actor training programs, including The Juilliard School, UNC-Chapel Hill’s Professional Actor Training Program, Brown/Trinity Rep MFA Program and at her alma mater, NYU’s Graduate Acting Program. Vivienne also holds a BA from Brown University. She is the 2017 recipient of the Zelda Finchandler Award given by the Stage Directors and Choreographers Foundation.

Justin Haslett Managing Director

Justin Haslett is in his third season as a company member at the helm of PlayMakers’ administrative operations. He has more than 15 years in not-forprofit theatre management experience. From 2007-2016, Justin served as Associate General Manager to Boston’s largest not-for-profit theatre, the Huntington Theatre Company, recipient of the 2013 Regional Theatre Tony Award. During his time at the Huntington, he oversaw production budgets, negotiated contracts with agencies and unions, managed Company Management, and worked with award-winning regional and national talent. Prior to his time at the Huntington, Justin served as Director of Development for Merrimack Repertory Theatre in Lowell, MA where he strengthened its foundation of engaged and generous community support. He also held multiple positions in development, marketing and management/administration for the Yale School of Drama, Yale Repertory Theatre and the International Festival of Arts & Ideas. Justin holds an MFA in Theatre Management from the Yale School of Drama and a BA in Theatre and Anthropology from Bowdoin College. He currently serves as the Chair of the Chapel Hill Cultural Arts Commission, serves on the Carborro Arts Committee and the Orange Country Arts Commission, and teaches classes in theatre management at UNC-CH.

Michael Rolleri Production Manager

Michael is in his 32nd season with PlayMakers Repertory Company. He has been Technical Director, Project Manager, Exhibition Technician and Lighting Designer for industrial shows in the Southeast region, as well as lead carpenter for films, the U.S. Olympic Festival and scenic studios. He has also been a rigger in the Southeast region and has served on the executive board and as President of IATSE Local 417. Michael is a 30 year Gold Pin member of IATSE. An active member of USITT, he is a three-time winner at Tech Expo for the United States Institute For Theatre Technology. He is Associate Professor/Head of the Technical Production Program at UNC-Chapel Hill and was an instructor at High Point University and Tufts University. Education: MFA in Design and 38 Technical Production, UNC-Greensboro.

Proud Sponsors of the PlayMakers Repertory Company

Extended Stay Suites Chapel Hill

101 Erwin Road, Chapel Hill, NC 919.933.4848 ResidenceInnChapelHill.com

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GENERAL INFO

JOAN H. GILLINGS CENTER FOR DRAMATIC ART CB# 3235, UNC-CHAPEL HILL CHAPEL HILL, NC 27599-3235 BOX OFFICE: 919.962.7529 WEBSITE: WWW.PLAYMAKERSREP.ORG facebook.com/playmakersrep @playmakersrep instagram.com/playmakersrep playmakersrep.org/blog

Box Office Hours Monday-Friday 12:00 noon-5:00pm and 90 minutes prior to each performance.

Use of Cell Phones and Other Electronics Texting and using cell phones, laptops, smart watches, and other devices that make sounds or emit light are strictly prohibited during the performance. It disturbs other patrons and the actors. Please turn all electronic devices to silent or off during the show.

Cameras or Recording Devices Taking photographs or videotaping inside the auditorium is strictly prohibited during performances. However, before the show, during intermission, and after the show, you are invited to take and share your photos of the stage and scenery.

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PLAYMAKERS Parking Come early to have a complete PlayMakers experience! Plan to arrive 30 minutes before the show so that you have time to park, find your seat, and enjoy the playbill with a drink or a light snack. Please note that campus parking is maintained by UNC’s Department of Public Safety, and while free and open to the public after 5:00pm and on weekends, parking is frequently used by the larger UNC population and the Chapel Hill community. Therefore, please allow yourself time to find parking. More information is on PlayMakers’ website: www.playmakersrep.org/visitor-info.

Policy on Young Children As a courtesy to our patrons, it is the policy of PlayMakers not to admit children under the age of 5. All of our shows have age recommendations based on the content of each production. If you are considering bringing your child, please refer to our age recommendations, or contact our Box Office for further information.

All patrons, regardless of age, must have a ticket.

Headsets for Hearing Impaired Patrons Our theatres are equipped with sounds systems that amplify the sound from the stage. Patrons who wish to use the system may obtain headsets on a first-come, first-served basis from the coat check. Headsets must be returned immediately after the performance.

Late Seating and Leaving Your Seat During the Performance In order to minimize disturbance to other patrons and the actors, late seating will be provided at the discretion of the house manager at an appropriate break in the action on stage. Patrons who need to be seated late must be escorted by house staff to seats at the rear entrance of the auditorium. Patrons can take their regular seat at intermission. We discourage patrons from leaving their seats during the performance. Be advised that you most likely will not be able to return to your regular seat; patrons will be reseated by house staff at the rear of the auditorium.

Thank you for your cooperation.

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PLAYMAKERS Administration Vivienne Benesch, Producing Artistic Director Justin D. Haslett, Managing Director

ARTISTIC OFFICE

DEVELOPMENT

Amelia Stanley, Director of Development Lenore Field, Corporate Relations & Events Manager Shea Fitzgerald, Assistant Director of Development Martha Shannon, Grant Manager

Kathryn Hunter-Williams, Company Artistic Associate Alejandro Rodriguez, Producing Associate Jeri Lynn Schulke, Engagement Associate Tracy Bersley, Movement Coach Tia James, Vocal Coach Gregory Kable, Dramaturg Jacqueline E. Lawton, Dramaturg Mark Perry, Dramaturg Adam Versényi, Dramaturg

Students: Taylor Brunson, Mahika Kawale, Ashley Legoas, Madison Walters

MARKETING & AUDIENCE SERVICES

Diana Pineda, Director of Sales & Marketing Thomas Porter, Box Office Manager Rosalie Preston, Associate Director of Marketing Alex James, Audience Services Associate Julie Lucier, Audience Services Manager Brittany Petruzzi, Marketing & Comm. Associate

Students: Gabriella Cila, Zaire Cullins, Allyx Miles, Jada Poteat, Nijah Poteat, Gage Tarlton, Joshua Wahab, Sophie Wise

ADMINISTRATION

Joe Emeis, General Manager Frank Bermel, Accountant Abbey Toot, Company Manager/Executive Assistant Lauren Vandemark, Business Operations Coordinator Anna Longenecker, Management Assistant

Box Office Students: Logan Anderson, Liam Becker, Briana Colbert, Ashley Curry, Ben Finsel, Ursula Gamache, Matthew Gregoire, Lauryn Hyatt, Chloe Jones, Elly Leidner, Gillian Montgomery, Giuliana Palasciano, Sydnni Poole Front of House Students: Aubree Dixon, Imani Edwards, Philip Guadagno, Grey Howard, Priya Naik, Agustin Noguera, Geomae Peterson, Alex Schmidt, Nya Spinks, Jenna Zottoli Marketing Students: Brooklynn Cooper, Cai Davis, Jamya Graham, Elizabeth Holmes, Rob Piscitelli, Salihah Siddiqui

DRAM 193: Marika O’Hara, Emily Pirozzolo, Briana Small, Sam Yancey Student: Bailey Elrod

Department of Dramatic Art Adam Versényi, Professor and Chair

FACULTY

Jeffrey Blair Cornell, Associate Chair, Teaching Prof.

Dominic Abbenante, Teaching Assistant Professor David Adamson, Lecturer Judy Adamson, Professor of the Practice Milly S. Barranger, Alumni Distinguished Prof. Emerita Vivienne Benesch, Professor of the Practice Tracy Bersley, Assistant Professor Jan Chambers, Professor McKay Coble, Professor Howard Craft, Professor of the Practice Ray Dooley, Professor Samuel Ray Gates, Assistant Professor Julia Gibson, Assistant Professor Jennifer Guadagno, Teaching Assistant Professor David A. Hammond, Professor Emeritus Justin Haslett, Teaching Assistant Professor

Kathryn Hunter-Williams, Teaching Assoc.Professor Tia James, Teaching Assistant Professor Gregory Kable, Teaching Professor Jacqueline E. Lawton, Assistant Professor Adam Maxfield, Teaching Associate Professor Triffin Morris, Professor of the Practice David Navalinsky, Associate Professor Bobbi Owen, Distinguished Professor Kathy A. Perkins, Professor Emerita Mark Perry, Teaching Assistant Professor Rachel E. Pollock, Teaching Assistant Professor Bonnie Raphael, Professor Emerita Michael Rolleri, Associate Professor Aubrey Snowden, Teaching Assistant Professor Craig Turner, Professor Emeritus

Frank Bermel, Accountant Betty Futrell, Student Services Specialist

Jamie Strickland, Business Officer Lauren Vandermark, Business Operations Coordinator

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STAFF

OUR 2018/19 SEASON Production Michael Rolleri, Production Manager Charles K. Bayang, Stage Manager Elizabeth Ray, Stage Manager DRAM 193: Marisa Antuna, Kayla Bailey, Chad Birkenstock, Jordan Blazek-Guinan, Garrett Blom, Kathryn Brown, Callie Carswell, Briseydi Castro Perulero, Catherine Demos, Alyssa Geary, Joseph Hattan, Livian Kennedy, Zack Lindsey, Jackson McKenzie, Cammie McMahan, Gustavo Mendez Rodriguez, Michelle Munoz, Luis Paula, Annabelle Rahal, Saifullah Raja, Lyndsey Reed, Jordan Riggs, Alexander Rinaldi, Amanda Roberts, Diego Sanchez-Brugal, Sonny Simonetti, Emily Smith, Shea Stanley, La'Reyce Troyano, Josh Wahab, Zack Watkins

COSTUMES

Triffin Morris, Costume Director Jennifer Guadagno, Assistant Costume Director Kelly Anne Johns, Wig & Wardrobe Supervisor Rachel Pollock, Costume Craftsperson Alex Ruba, Costume Collection Coordinator Costume Production Graduate Students: Ellen Cornette, Cami Huebert, Samantha Reckford, Jane Reichard, Erin Rodgers, Danielle Soldat, Lauren Woods Undergraduate Assistant: Isabella St. Onge

DRAM 192: Pareen Bhagat, Alexis Bigelow, Dalia Blevins, Aeris Carter, Aneia Chanthaboury, LJ Enloe, Danny Ferguson, Michele Metzger, Lawson Park, Miriam Sanchez, Isabella St. Onge, Grace Sword Work Study Students: Hannah Berg, Karmen Black, Riley Brozovsky, Carla Diaz, Indigo Laibida, Amelia Locklear

Volunteers: Naomi Eckhaus

LIGHTING

Dominic Abbenante, Lighting/Video Director Students: Kwaji Bullock, Yejin Cho, Jahel Gomes, Madison Haines, Rebecca Henry, Nathan Jenkins, Angela Lanm, Lara Madrid, Carrington Newland, Alessandra Quattrocchi, Autumn Skerlec, Brook Smaltz, Nathan Urguhart, Hawthorne Weeks Production Office Student: Hannah Drury

PROPS

Andrea Bullock, Properties Master Adrienne Call, Props Artisan Brittney Dockery, Props Artisan Kevin Pendergast, Props Artisan

Students: Kayla Bailey, Anna Ballard, Meghan Chandless, Kenly Cox, Hannah Fatool,Macy Jones, Nhi Nguyen, Gabby Reenstra, Bryant Thai

SCENIC

Adam Maxfield, Technical Director Laura Pates, Assistant Technical Director Donald Quilinquin, Master Carpenter Jessica Secrest, Scenic Artist Technical Production Graduate Students: TJ Hansen, Rocky Love, Nate Pohl, Kyle Spens Undergraduate Assistant: Laika Maganga

DRAM 191: Kathryn Brown, Emily Buckner, Elizabeth Durham, Zach Eanes, Sydnie Kavanaugh, Frankie Lipscomb-Cobbs, Anna Longenecker, Connor Nielsen, Anish Pinnamaraju, Shea Stanley Work Study Students: Afua Abonuhi, Faith Benton, Abigail Carter, James Faucette, Carlexa Fevry, Susan Huynh, Cole Kordus, Julia Kwierzynski, Cheyenne Lowery, Lindsay Pendleton, Nathaniel Phelan, Sarah Pollack, Lesly Portillo Ramirez, Nina Quevedo, Kennedy Routh, Kari Spenser

SOUND Derek Graham, Audio Designer/Engineer Students: Marisa Clemente, Aeron Scales

PlayMakers’ Resident Acting Company David Adamson Jeffrey Blair Cornell

Ray Dooley Julia Gibson Samuel Ray Gates Kathryn Hunter-Williams Professional Actor Training Program: Emily Bosco, Geoffrey Culbertson, April Mae Davis, Rishan Dhamija, Alex Givens, Brandon Haynes, Sarah Elizabeth Keyes, Jenny Latimer, Shanelle Nicole Leonard, Christine Mirzayan, Tristan Parks, Adam Poole, Dan Toot

For this Production of How I Learned to Drive Kyle Spens, Assistant Technical Director Michele Metzger, Production Assistant J Alexander Greene, Asst to Scenic Designer Emily Gray Morgan, Asst to the Director

Lauren Woods, Asst to the Costume Designer First Hands: Sam Reckford, Danielle Soldat Stitchers: Ellen Cornette, Jane Reichard, Erin Rodgers Cameron Wade, Intimacy Consultant/Drama Therapist Barbara Kaynan, Drama Therapist 43

PlayMakers Repertory Company is a program of the Department of Dramatic Art, The College of Arts and Sciences, The University of North Carolina at Chapel Hill. The North Carolina Arts Council, a division of the Department of Cultural Resources, recognizes PlayMakers as a professional theatre organization and provides grant assistance to this organization from funds appropriated by the North Carolina General Assembly and the National Endowment for the Arts.

PlayMakers is a beneficiary of the Elizabeth Price Kenan Endowment and the Lillian Hughes Prince Endowment.

PlayMakers Repertory Company is a Member of Theatre Communications Group (TCG), the national organization for the American theatre.

This Theatre operates under an agreement between the League Of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE. The Director is a member of the Stage Directors and Choreographers Society, an independent national labor union.

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MEMORIAL HALL, CHAPEL HILL

Debussy’s La Mer

Music Inspired by the Sea SUN, APR 14 | 7:30PM Grant Llewellyn, conductor Brian Reagin, violin Media Partner: Our State

Sibelius: The Oceanides Chausson: Poème Boulanger: D’un matin de printemps Britten: Four Sea Interludes Debussy: La Mer

Carmina Burana TUES, MAY 7 | 7:30PM Carlos Miguel Prieto, conductor Karen Strittmatter Galvin, violin Jacqueline Saed Wolborsky, violin Ying Fang, soprano Vale Rideout, tenor Stephen Powell, baritone North Carolina Master Chorale Capital City Girls Choir Gabriela Ortiz: Hominum Anna Clyne: Prince of Clouds Orff: Carmina Burana

Tickets start at only $18!* *Price does not include tax.

ncsymphony.org | 919.733.2750

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Invest in the Arts.

MAKE A GIFT. MAKE A DIFFERENCE. PlayMakers Repertory Company grew out of a storied Carolina history starting with the founding of the Carolina Playmakers in 1918. With your partnership, PlayMakers can plan for the next 100 years of excellence and impact. Make a gift now to support our vision for world class theatre, visionary leadership, and vital community programs.

HOW YOU CAN HELP We’ve already raised $350,000 towards our Annual Fund goal. With your help, we can reach 100% of our campaign goals.

$350,000 raised $6,000,000 raised

Annual Fund $500,000 Endowment $10,000,000

We’re well on our way, but your support is imperative!

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playmakersrep.org/thecampaign

SUPPO

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Shea Fitzgerald Asst Director of Development shea.fitzgerald@unc.edu 919.962.2481

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Send your check to: PlayMakers Development Office CB 3235 University of North Carolina Chapel Hill, NC 27599-3235

FRIENDS OF PLAYMAKERS

ORT

SUPPORT PlayMakers is grateful to the members of the Friends of PlayMakers for their generous support. For more information about how to join this dynamic group of supporters, call the PlayMakers Development Office at 919.962.2481 or visit us at playmakersrep.org.

Director’s Circle ($10,000+)

Investor ($2,500–4,999)

The Educational Foundation of America Joan H. Gillings * + The Charles Goren and Hazen Family Foundation,

Trustees Tom and Lisa Hazen Matt and Bobbi Hapgood * Brian Hargrove and David Hyde Pierce The Lewis R. Holding Fund of the North Carolina

Community Foundation Mrs. Frank H. Kenan * + Charles W. Millard III Trust National Endowment for the Arts North Carolina Arts Council The Prentice Foundation * Robertson Foundation Shubert Foundation

Richard and Deirdre Arnold ^ Andrew and Katherine Asaro ^ * Ed and Eleanor Burke Tom and Holly Carr Dustin and Susan Gillings Gross * Stuart and Duncan Lascelles * Michael and Erika Lipkin Robert Lontz * Mark and Julie Morris + Nick and Amy Penwarden Robert and Marilyn Pinschmidt David Sontag Alan H. Weinhouse

CELEBRATE

Angel ($5,000–9,999) Dr. Charlie Atkins * Betsy Blackwell and John Watson * Chapel Hill-Carrboro Youth Forward Munroe and Becky Cobey College of Arts and Sciences * Cheray Duchin + F.M. Kirby Foundation Joanne and Peter Garrett Hartfield Foundation Tom and Lisa Hazen + Mr. Thomas S. Kenan, III * Kenan-Flagler Business School * Dr. and Mrs. Kimball King * D.G. and Harriet Martin * + National New Play Network Mr. and Mrs. William O. McCoy Jim and Florence Peacock * + Edwin and Harriet Poston * Lauren Rivers and Janelle Hoskins * Coleman and Carol Ross SunTrust Bank * UNC School of Dentistry * UNC School of Education * Jim and Bonnie Yankaskas

Page to Stage ($1,500–2,499) Anonymous David and Judy Adamson * Chris Bavolack and Martha Huelsbeck Vivienne Benesch * + Steve Benezra ^ Cindy and Thomas Cook Jan and Jim Dean Peter and Kim Fox * Kevin and Amy Guskiewicz * + David Howell Joanna Karwowska and Hugon Karwowski ^ Kim Kwok Myron B. and Anne C. Liptzin Paul and Linda Naylor ^ Jean and Joseph Ritok Dr. and Mrs. Edward Smithwick SunTrust Foundation Ford and Allison Worthy *

Partner ($1,000–1,499) Bruce and Mary Barron Reginald Barton John and Patti Becherer Mr. and Mrs. Jackson Breaks Molly and Bob Broad Rosalie M. Cassidy

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June Clendenin Joy and Chet Douglass Dr. and Mrs. John P. Evans Carolyn and John Falletta Carol Folt and David Peart * Laura Gasaway + Robert and Dana Greenwood Drs. Sid and Suzanne Gulledge * Owen Gwyn Pam and Jim Heavner * Hill Family Fund 2 of the

Triangle Community Foundation Drs. Carol C. Hogue and Gordon DeFriese Bitty and Bill Holton Hannelore and Konrad Jarausch Dr. Lyle V. Jones Shirley and Tom Kunkel Dr. Lauren Leve * Scott Levitan * Sandy and Ned McClurg^ Panter Foundation Bettina Patterson ^ Josephine Ward Patton + Rich and Marilyn Jacobs Preyer Ram Omni, LLC * Dr. Uday Reebye * Pam and Mike Reed Alec Rhodes James and Janet Robles John E. Spence * Jackie Tanner + Michael and Barbara Walsh Jesse L. White, Jr. Clarence Whitefield

Backer ($500–999) Charles M. Abbey Howard and Penny Aldrich Pete and Hannah Andrews ^ Katherine Asaro ^ + David Ball and Susan Pochapsky Evelyn Barrow Diane Beckman + Stephen S. Birdsall Dr. Stanley Warren Black, III Linda and Cliff Butler * Lisa Capetanos + Susan Cassidy Bill Cobb and Gail Perry * Jeff Cornell * Dede Corvinus +

Fred and Jane Dalldorf Jan Dean + M’Liss and Anson Dorrance * Kathleen DuVal and Marty Smith Bob and Connie Eby Cauveh Erami * Jaroslav and Linda Folda John and Diane Formy-Duval ^ Kim and Stephen Fraser Deborah and Michael Gerhardt + Carolyn and Jim Harris Justin D. Haslett and Gia Podobinski * Martha Hauptman + C. Hawkins ^ Carol Hazard and Winston Liao David and Leslie Henson Joel and Christine Huber Steve and Lisa Jones * Lisa Kang + Jeanette Kimmel Brenda W. Kirby Lois Knauff and Mike Maness Dr. Catherine Kuhn and Glenn Tortorici Joseph J. Kusa Kathryn and Robert Kyle Anand and Sandhya Lagoo Douglas and Nelda Lay Stephen and Karen Lyons Douglas MacLean and Susan Wolf John and Alice May * Holly and Ross McKinney Mary McMorris and Leonard Santoro Graig and Jennifer Meyer * James and Susan Moeser Mary N. Morrow John and Deborah Mullins * + Linda W. Norris Robert and Joyce Anne Porter Jane Preyer and Lark Hayes * David and Lisa Price Vikram Rao and Susan Henning Linda and Alan Rimer Terry Rhodes * Dr. Scott De Rossi * Kyle and Jenn Smith Terrence and Marguerite Sullivan Roy and Donna Swaringen Jim and Judy Taft James Taup Joe and Claudia Templeton Stacey Wallen +

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Roger and Marlene Werner Sandy and Jennifer Williams Ashley and John Wilson Rick and Jennifer Woods * David and Heather Yeowell

Supporter ($250–499) Anonymous Virginia Aldige Tony and Susan Barrella Adam Beck ^ John W. Becton and Nancy B. Tannenbaum Shula and Steve Bernard Jim and Martha Bick Frank and Sally Binkowski Julie Blatt and Arthur Greenberg Julia Borbely-Brown ^ David Brehmer and Megan Matchinske Ken and Margie Broun Joyce Carver Bumann Lucille Burkett-Hoffman ^ Keith Burridge and Patricia Saling Glenn and Patricia Camp Philip and Linda Carl Sarah Casey *

Beverly Long Chapin Norm and Portia Christensen Dennis Clements and Martha Ann Keels Marshall and Phyllis Clements Joseph and Elizabeth Cook Patricia Lockwood Davis Nancy and Mark Dewhirst Dr. Carrie Donley Steven and Sandra Dykes Jo Anne and Shelley Earp Claire Ebbitt ^ Jeff and Kamie Edwards Jerry and Adelia Evans Mr. and Mrs. Philip W. Ewing Barbara and Chris Exton James Faber and Mary Musacchia Pat Fischer ^ Beth Furr John and Ann Gabor W. Patrick Gale ^ Ruth and Art Gerber Ugo Goetzl Linda Grimm Albert and Mary Guckes Carol and Nortin Hadler Toby and Cheryl Harrell David and Lina Heartinger Marianna Matthews Henry Don and Kay Hobart Terrence Holt and Laurie Langbauer Mr. and Mrs. David G. Hubby William W. Hurd Gerda G. Hurow Lynne and Walter Jacobs ^ Charles and Ellen Johnson Mary Kerrigan Brian and Moyra Kileff Lynn K. Knauff Richard and Lynne Kohn Dr. Leonard and Ruth Kreisman ^ Marie E. Kulchinski Joseph Labenson Carol and Alexander Lawrence Judi Lilley Mort and Cheryl Malkin Raleigh and Betsy Mann Lee and Elaine Marcus Shelley Masters Sharon and Alan McConnell Ellen McDaniel

Ross and Margaret McKinney Sr. Larry McManus Herbert and Jeanne Miller Roy and Bev Milton Susan Minnix and Ronald Manka Cecelia D. Moore ^ Rick Muise Betty Nies Karl Nordling Pat and Mary Norris Oglesby Lois Oliver Lee and Barbara Pedersen Beth and Larry Peerce Mark and Eugenea Pollock Jodi and Glenn Preminger George and Carol Retsch-Bogart Sandra and Stephen Rich Drs. Sharon and Chris Ringwalt Margaret Anne Rook Dr. Michael Salemi Jan F. and Anne P. Sassaman Stephanie Schmitt John and Lucia Sehon Martha and Michael Shannon William Sharpe Barry Slobin and Carol Land Dr. and Mrs. Sidney C. Smith John and Carol Stamm Margaret Griswold Teasley Barney and Vivian Varner Glenn Veit and Judy Kane Patrick Wallace and Laurie McNeil Katherine White Ann and Frank Wilson Meribeth Withrow

Patron ($100–249)

Anonymous (6) Fouad Abd-El-Khalick and Lama Boufajreldin * Mary Altpeter Mary R. Amend Mr. and Mrs. Thomas E. Archie Tony and Bonnie Armer Dr. Elaine Arrington Katie Baer Phil and Ellen Baer Clifford and Robin Bailin Guy and Ingrid Baird Frank and Anna Baldiga Kim Ball

Dan and Susan Barco Samuel and Laura Baron Judith Barton Barry Bayus and Anna Chao Larry and Sheila Benninger Kitty Bergel Robert and Christine Berndt Patricia C. Beyle Dorothy and Justin Biddle Dolores Bilangi Sara and Richard Bird Mr. and Mrs. David Birnbaum Jill and Dick Blackburn Mr. Joseph Blair and Sandra Peyser Carolina Arbors Theater Club Peter Bleckner Scott and Victoria Bouldin Donald A. Boulton Thomas W. Boyer Carol Brainard and Nancy Hardin Mitchell Breit William Brettmann ^ Maurice and Mary Hughes Brookhart Mr. and Mrs. William Browder Charles and Renee Brown Greg and Lisa Brown * Lyndon E. Brown, PhD Renee A. Brown Patricia Bryan and Tom Wolf Dean and Catherine Burnette * David Burr and Rustine Unger Maurice and Joan Bursey Douglas Call and Susan Warwick Dr. Leigh Fleming Callahan Paul and Amelia Carew Hodding Carter Clara Cazzulino Dr. Margaret Champion Richard Chase and Terry Parsons Dr. and Mrs. Jason K.S. Ching Steve Clark and Becky Luce-Clark Ellen Clevenger-Firley Betty and Gilles Cloutier Anne Coenen Margaret Cohen Jonathan and Anita Cohn Julie Coleman Robert F. Coleman, III

In memory of Susan Hurst Rappaport Geneva Collins and Theodore Fischer ^

51

52

Jeffrey Collins and Rose Mills Mr. and Mrs. Rudolf J. Colloredo-Mansfeld Mrs. Michael Colvin Marcella Congdon Elizabeth Cook Jeanette and Matthew Cook Jay and Barbara Cooper Greg Copenhaver Josephine Corro Dr. Mary Covington and Mike Patil Adrienne and John Cox Ellen and James Cox Lawrence S. Craige Linda G. Craney Karen Dacons-Brock Jacobi and Jerry Daley Julie Daniels Barbara and Allen Dearry Hampton and Jolynn Dellinger * Mr. and Mrs. Robert Bigelow DeMaine Aravinda Desilva and Amy Weil Leslie Deslis Todd Dickinson and Helen Kalevas Judith Dimon Artie Dixon Alec and Georgia Donaldson Caroline Donaldson and Ephraim Firdyiwek Ray Dooley and Rebecca Bailey * Kerry and Julia Draeger Dr. and Mrs. Claude Wallace Drake Ginny and David Dropkin Terry Byrd Eason and Jonathan D. Whitney Connie Eble Bobette Eckland and Richard Kamens E.M. Eddy and D.A. O’Brien Jan Elliott Jonathan Engel and Meryl Kanfer Donald and Audrey Esposito George Evans Melinda Evans Carrie Faber * Paul and Anita Farel Fearrington Friends of the Arts Laurice Ferris ^ Bronwyn and John de Figueiredo Karen Fink Jon and Susan Fish Karen Fisher and Robert Warren Brian K. Flatley

Christina and Richard Folger Dorathea Foote ^ JoAnn and Stan Fox Stanley and Rabbi Suri Friedman Bennett Galef Maggi Gallagher and Don Castro Harolyn J.L. Gardner Betty Garland Sarah Geer Mat Gerard * Adam and Jennifer Gerdts Tom and Victoria Gerig Mike and Bonnie Gilliom goingbarefoot.inc Scott Goldsmith Nathalie Goodrich Mr. and Mrs. Henry Grabowski John and Lucy Grant Dorothy Gration Christina Graybard and Nicholas Mirra Terry Greenlund Elizabeth Grey Gail and Steve Grossman Shontel and Whitney Grumhaus Kay Gruninger Priscilla Guild Pickett Guthrie Gayla Halbrecht Nancy Haltom Bruce Hamilton and Jennifer Weiss Christopher Harris Janet Hartman Mr. & Mrs. James C. Hayes Thomas and Gail Heath Charlotte Henshaw William Hicks and William Sadler Shayna A. Hill Ann Hillenbrand Ann Holloman Elizabeth and Donald Holt Jewel Hoogstoel Mary Howes, In Memory of Jonathan B. Howes John and Joyce Hren Brad and Debra Ives * Abby Jablin Charles and Betty James Justin Johnson Robert and Cecelia Jolls Christy Jones

Ann Moss Joyner Rynita and Eric Julien David Jung Bobby and Claudia Kadis Daniel and Linda Kaferle Richard and Sally Kahler Drs. John F. and Joy S. Kasson Naomi Kaufman Tom Keeler and Dr. Keturah Faurot Paul and Edith Keene Charles R. Keith and Muki W. Fairchild Marie-Beatrice and Robert Keller Vance and Marilyn Kelley Michael E. Kelly Jack and Carol Kepler Kristi Kerins Moise Khayrallah * Carole and Gary Kibler Ted and Marilyn Koenig Frank Konhaus and Ellen Cassilly ^ Elizabeth K. Koonce David and Vivian Kraines Lloyd Kramer and Gwynne Pomeroy Timothy A. Kuhn Shrawan Kumar Randi and Brian Kurtzer Ted and Debbie LaMay Randy and Cathy Lambe Betty-Ann Landman Benjamin Landman and Jen Feldman

In honor of Ms. Betty-Ann Landman Robert Lauterborn

In memory of Sylvia Lauterborn William Leary John and Ruth Leopold Rick and Kathleen Lessard Arnold and Annette Levine Joy Lewis and Frederick Annand Dr. Philip and Anne Lewis ^ Betty and John Leydon Roy Lindahl and Marian Stephenson Erika Lindemann David Linquist * Joan Lipsitz and Paul Stiller Clarissa Liu James and Mary Lou LoFrese Robert and Anne Long Dr. and Mrs. Miles Lovelace Carol Lucas

Peter and Dayna Lucas Taylor and Thomas Ludlam * John Ludlow and Kathy Davies Samuel Magill and Eunice Brock William Mahony and Joyce Boucheron H.R. and Betsy Malpass Rosalie Marcus Chris and Caroline Martens Bill and Susan Mattern Karen McCall Ann and Webb McCracken Patrick Joseph McLane ^ Lee McLean Pat and Bob McQueen Cathleen Melton and Larry Greenblatt Carol and Eric Meyers Amey Miller and David Kiel Dori Mitzi Dana Mochel Kristen Monahan Gustavo and Joan Montana Laura Moore and Brad Murray Merry-K Moos Joseph and Barbara Moran Kristy Merrell Morley Suzanne Morrah and Robert Jenkins Charles Mosher and Pamela St. John Margaret B. Mullinix Kate Murphy Judy Murray Lee and Ava Nackman Ursula Nebiker Nancy Oates Edward and Shirley O’Keefe Glenn E. O’Neal Marilyn and Peter Ornstein Barry and Lois Ostrow Jean Owen Heather and Russ Owen Norman and Roberta Yule Owen ^ Patsy Owens * Elizabeth Paley and Stefan Zauscher William Palmer and JoAnn Hotta Michael Patrick Julie and Ronald Paxton Dr. Cort Pedersen Robert Peet Arnold Pender Diane Pettifor

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Nancy Smith Pfeiffer

In memory of Betty Smith Bepi Pinner John and Sally Pinnix Gordon and Jo Ann Pitz Stephen and Lyn Pizer Chris Plaks Dr. Martin and Barbara Poleski Theodore and Margaret Pratt Steven E. Quasny Maureen Quinn-Rubin Elizabeth Raft Dr. Donald J. Raleigh Jean Rhyne Geraldine and Gary Richards Kay Richardson Richard and Sue Richardson Sandra Roberts * Mrs. Paul Rohrdanz Louise Romanow and Bill Swallow Frances Ross Judith L. Ruderman Mary Ann Ruegg Laura and Reid Russell Florence and Paul Safran Dale Sandler Allie and Ian Scales ^ Carol Schachner ^ Tanya L. Schreiber Jim and Cindi Schrum Bill Schwab Dr. Caryl Jane Schwartzbach Georganne Sebastian Joan Seiffert Pat Shane Andrew Shapanka Doug and Joan Shier Carl and Eve Shy Ilene Siegler and Charles Edelman Caroline Sikorsky Howard Simon Karen Sindelar and Douglas Schiff Ron and Mary Sinzdak Sim Sitkin and Vivian Olkin

54

Dr. Robert Sealock and Cecile Skrzynia Mike and Kim Slomianyj Mariechen W. Smith Peter and Rosalyn Smith Dr. and Mrs. Stuart Solomon ^ Chuck and Marlene Spritzer Kimberly W. Spurr Susan F. Stedman Cathy and Sefton Stevens Andy Stewart and Peggy Kinney ^ Lee and Barbara Strange Dr. Lishan Su ^ James and Sarah Swenberg Dr. Mary Lou Szymkowski and Dr. Lindsey Puryear Beverly Taylor Daniel and Linda Textoris Charles Thomas and Suzanne Maupin Patti and Holden Thorp Bruce and Carol Tomason Ara Tourian Mary and Thomas Trabert Jeff and Nancy Tudor Nancy Tunnessen Nancy Tusa and Andy Brawn Robert W. Upchurch John and Donna van Arnold ^ Carol and Jim Vorhaus Lynn H. Voss Deborah and Jonathan Wahl Sandy and Bill Wall David and Marsha Warren Phil Washburn and Mary Jenne Anna Washington The Rev. Wendy R. and Mr. W. Riley Waugh Tovah Wax and Lucjan Mordzak Nan Weiss Marlene and Ken Whitt Coleman Whittier Jane Williams Blanche S. Williamson Calvin and Carrie Williamson * William and Katherine Wilson Maureen A. Windle and Douglas Cary ^ Jane Pettis Wiseman

Peter Witt Jerry Worsley Janice and Richard Woychik Edward and Phyllis Wright David and Dee Yoder Kristen Smith Young and Dylan Young Elizabeth Youngs and Richard Haynes * Justin Yung ^

^ Sustainers Club Member * PlayMakers Gala Supporter + Women’s Point of View (WPOV) Leadership Council Member

This list is current as of March 10, 2019. If your name is listed incorrectly or not at all, please contact PlayMakers Development Office at 919.962.2481.

We will ensure you are recognized for your thoughtful support.

919.929.1119 universityf lorist.com selfrisingf lower

55

CAROLINA PERFORMING ARTS FEBRUARY 15

MARCH 1

MEMORIAL HALL

MEMORIAL HALL

CHRISTIAN SCOTT ATUNDE ADJUAH

SAMMY MILLER AND THE CONGREGATION

PA R T O F T H E 2019 CAROLINA J A Z Z F E S T I VA L

MARCH 21 & 22

APRIL 2

MEMORIAL HALL

MEMORIAL HALL

KIDD PIVOT REVISOR

BATSHEVA DANCE COMPANY V E N E Z U E L A

APRIL 10

APRIL 13

MEMORIAL HALL

MEMORIAL HALL

CARRIE MAE WEEMS

Toshi

AND

PAST TENSE

REAGON

BIGLovely

nt

Stude s Ticket TO ALL PERFORMANCES

15% UNC FACULTY & STAFF DISCOUNT For tickets and details on the full 18/19 season, visit: carolinaperformingarts. o r g

OUR PARTNERS PlayMakers gratefully acknowledges the generous support of our corporate and foundation partners for the 2018/19 Season.

Coffee Provided by Larry’s Coffee PlayMakers Gala Wine Sponsor Glasshalfull PlayMakers Gala Spirits Sponsor TOPO PlayMakers Opening Night Post Show Receptions provided by Il Palio Restaurant, Jujube, The Catering Company of Chapel Hill PlayMakers Bartending Service provided by On The Rocks

CORPORATE CO-PRODUCERS

PLAYMAKERS’ 2018/19 SEASON IS MADE POSSIBLE IN PART BY GRANTS FROM: Congratulations and thank you to the North Carolina Arts Council for 50 years of leadership and support.

FOUNDATION SUPPORT The Shubert Foundation, National Endowment for the Arts, North Carolina Arts Council, The Educational Foundation of America, Chapel Hill-Carrboro Youth Forward, Hartfield Foundation, F.M. Kirby Foundation, Fund for the Triangle–Support for the Arts of Triangle Community Foundation, SunTrust Foundation ADDITIONAL FUNDING FOR GUEST ARTISTS IS PROVIDED BY Robert Boyer and Margaret Boyer Fund, Louise Lamont Fund, Emeriti Professors Charles and Shirley Weiss Fund PRODUCING COUNCIL American Party Rentals, Glasshalfull, Jujube Restaurant, Linda’s Bar and Grill, Mebane Lumber, Residence Inn Chapel Hill, Hyatt Place Durham/ Southpoint, The Siena Hotel/Il Palio Restaurant CORPORATE COUNCIL Aloft, Cambria Suites, DeMaison Selections, Inc., University Florist ASSOCIATES House of Frames, Carolina Brewery

57

OUR ADVERTISERS

34 56 10 14 26 50 2 59 58 48 29 32 45 39 19 55

American Party Rentals Carolina Performing Arts The Catering Company The Cedars of Chapel Hill Compass Center Craven Allen Gallery/ House of Frames The Forest at Duke Glasshalfull Il Palio Jujube Larry’s Coffee Linda’s Bar & Grill North Carolina Symphony Residence Inn UNC-TV University Florist and Gifts

59

THEATRE

THAT

SHIFTING GROUND

MOVES

Experience entertaining, soul-stirring stories of discovery, reflection, and shifting power dynamics. Be a part of #TheatreThatMoves

MAINSTAGE SEASON: SEP 12–30

OCT 10–28

REGIONAL PREMIERE

KEN LUDWIG’S

NOV 14–DEC 9

SKELET

S H E RWO O D :

SHE

N

CREW

THE ADVENTURES OF

ME

ROBIN HOOD

BY DOMINIQUE MORISSEAU

BOOK BY JOE MASTEROFF MUSIC BY JERRY BOCK LYRICS BY SHELDON HARNICK

Merry men, Maid Marian, and much merriment

Where do you go when the line stops moving?

A holiday musical that goes straight to the heart

JAN 23–FEB 10

FEB 27–MAR 17

WORLD PREMIERE

APR 3–21

LIFE GALI OF LE 0

PULITZER PRIZE WINNER

HOW I LEARNED TO

BY CHARLY EVON SIMPSON

BY BERTOLT BRECHT

BY PAULA VOGEL

An unexpected bridge between sorrow and hope

How long can a truth be denied?

A survivor's guide to the rules of the road

PRC 2 SEASON:

BY KANE SMEGO A hip-hop odyssey through race and identity

BEWILDERNESS

BY ZACHARY FINE A comedic look at Thoreau’s epic failure on the way to success

APR 24–28

JAN 9–13

AUG 22–26

TEMPLES OF LUNG AND AIR

ALL TITLES AND DATES SUBJECT TO CHANGE.

YOUR HEALING IS KILLING ME

BY VIRGINIA GRISE A performance manifesto

PLAYMAKERSREP.ORG 919.962.7529

Our Kenan Stage features works by new voices, sure to provoke conversation and push the boundaries of what we understand theatre to be.