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L E T T E R F R O M T H E A R T I S T I C D I R E C TO R

 Photo: Marc Safran

IT’S A 20-HOUR DRIVE FROM LITTLE ROCK to Syracuse: across the Mississippi, to Cincinnati via Tennessee and Kentucky, north and east to Buffalo and then straight east, along the Thruway. We were leaving Arkansas, the place we called home for the past 17 years, and returning to New York. I moved to the Empire State for the first time in 1981. Now, after almost two decades in the South, it was time to move back. This time to Syracuse. Our five children are grown and live in four states; one lives in Africa. Clea and I were ready for a new adventure. Part of the adventure involved parsing the contents of our suburban home to cull just what we needed for our new, downtown apartment. But the real adventure has been meeting new colleagues and making new friends. We’re exploring the lakes and the theatres, the restaurants and the festivals. We’re discovering a place that already feels like home.

pectations”, to linger on these words by Charles Dickens: “Home is a name, a word, it is a strong one; stronger than magician ever spoke, or spirit ever answered to, in the strongest conjuration.” Clea and I are happy to conjure our new lives here. And I’m thrilled to call Syracuse Stage my new artistic home. I promise it is a home that welcomes you. Come over any time.

At the same time, I’m discovering the powerful legacy that is the four-decade history of Syracuse Stage. Our rich legacy is the starting point for how we plan and dream for the theatre’s future. I’m excited for the journey we’ll take together. The theatre has a way of crafting amazing stories from all the ideas, issues and events that swirl through our lives. Theatre helps shape how we understand our community and offers fresh perspectives on this place we call home. It’s fitting perhaps, in this season that begins with such “Great Ex-

Robert M. Hupp Artistic Director

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L E T T E R F R O M T H E M A N AG I N G D I R E C TO R GREETINGS FROM 820 EAST GENESEE!

 Photo: Marc Safran

While this missive purports to be a note welcoming you to our 2016-2017 season, I must first note the incredible welcome that the community has extended to me and to my family. My husband, two-year old daughter, and I arrived in July and spent the end of the summer acclimating to life in Syracuse, with all it has to offer. As you might imagine, that means we’ve spent our share of time at the Rosamond Gifford Zoo, the gorgeously renovated Central Library, and at nearly every playground in Onondaga County. We’re looking forward to our share of winter explorations, too! I’m trusting that my Wisconsin roots will serve me well in Central New York winters. Along with getting to know our community, I’ve thoroughly enjoyed getting to know the Syracuse Stage staff and board. There is a team of generous, dedicated, talented professionals and trustees at Stage, making sure every element of our organization is functioning at a high level. Stage’s productions, educational outreach programs, administrative efforts, and patron experiences are all vital to our success, and I am eager to learn what’s working well and where we may have room to grow.

child garment worker Rosalie Randazzo into local schools. We’ll continue to seek out ways in which we can partner with our neighbors, our region, and our peers to bring the finest programming to life in Syracuse. We even have craft beer nights scheduled throughout the season. There’s a great deal to be excited about as we kick off the 2016-17 season! We’re grateful for the longstanding support so many of you have given to the organization, and for the opportunity to forge new relationships in the months and years ahead. I look forward to meeting you this season, and to hearing your Syracuse Stage stories.

You’ll see some new faces when you visit Stage this year, as well as a few new initiatives we’re putting in place. I think you’ll love our new ticketing system, which allows for more flexibility and even the potential to have an e-ticket on your mobile device in lieu of a paper ticket. With support from The Dorothy and Marshall M. Reisman Foundation, we’ll hold our first “sensory-friendly” performance, with one matinee of Mary Poppins modified to better meet the needs of families and patrons on the Autism spectrum or with other sensory processing concerns. This spring, we’ll relaunch the Backstory! educational program, taking the stories of Harriet Tubman and

Jill A. Anderson Managing Director

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PRESENTS

A D A P T E D F O R T H E S TA G E B Y

Gale Childs Daly BASED ON THE NOVEL BY

Charles Dickens DIRECTED BY

Michael Bloom COMPOSER/ SCENIC DESIGNER

COSTUME DESIGNER

LIGHTING DESIGNER

SOUND DESIGNER

Michael Schweikhardt

Tracy Dorman

Nancy Schertler

Scott Killian

A S S I S TA N T

HAIR, WIG &

DIRECTOR

MAKEUP DESIGNER

DIALECT COACH

S TA G E M A N A G E R

CASTING

Nicholas Kowerko

Dave Bova

Ralph Zito

Laura Jane Collins

Paul Fouquet CSA/ Elissa Myers CSA

PRESENTING SPONSOR

Robert M. Hupp

Jill A. Anderson

Artistic Director

Managing Director

SPONSOR

MEDIA SPONSORS

SEASON SPONSORS

Produced by special arrangement with Dramatic Publishing, Woodstock, Illinois. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited. October 19 - November 6, 2016

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315.475.2430   ACRHealth.org

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CAST

(in alphabetical order) Seth Andrew Bridges........................................Narrator 2 Anthony Cochrane...........................................Narrator 1 Linda Mugleston..............................................Narrator 3 Marina Shay.....................................................Narrator 4 Robbie Simpson..........................................................Pip William Oliver Watkins...................................Narrator 5

ADDITIONAL CREDITS

Fight Consultant: Felix Ivanov Choreographic Staging: Anthony Salatino Fight Captain: Seth Andrew Bridges Assistant Lighting Designer: Howard Dent Casting Associate: Karie Koppel Stage Management Apprentice: Em Piraino Stage Management Intern: Landon F. Lee Spot Operators: Basil Allen, Chris Green Deck Crew: Megan Berner Sound Board Operator: Trinisha Dupree Light Board Operator: Laura Gisondi Automation Operator: Brian McBurney Dresser: Tine McBurney Wardrobe Supervisor: Sarah Stark Official Hotels for Guest Artists: The Genesee Grande Hotel, Parkview Hotel

There will be one fifteen-minute intermission.

Great Expectations is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The actors and stage manager in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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FROM THE DIRECTOR

THE IMPORTANCE OF LOCATION IN GREAT EXPECTATIONS BY MICHAEL BLOOM

One of the greatest coming of age stories ever written, Great Expectations opens—not in London, the scene of so many memorable Dickens scenes—but in its hero’s birthplace, county Kent. Having spent many summers at his house Gad’s Hill Place near Rochester, Dickens had a strong connection to and knowledge of the southeast region that borders Greater London on the northwest and the Strait of Dover to the east. The eerie first scene is set in the marshes surrounding the river Medway. Laden with fog, the lowland is the perfect place for the frightening encounter of the seven-year old Pip and an escaped convict destined to become a pow16

erful figure in the boy’s life. In Great Expectations, the marshes represent the humble beginnings of our hero, an area he happily leaves to pursue his expectations in London. When he first returns to Kent, it’s to visit the country estate of Miss Havisham, making a point of avoiding his home. But as Pip’s sense of entitlement is challenged by circumstances, he comes to realize that London isn’t the prize he thought it would be. As he comes of age he realizes the value of his humble upbringing, and he returns home a chastened and wiser man. Dialect is one of the essential ways of signaling location, class, and edu-


 Vignette of Pip approaching the lime-kiln. Illustrated by F. A. Fraser.

cation. In our production you will hear three different varieties of sound. The actors playing the Kentish characters—Pip, his sister and uncle, and their friends—speak with a rural dialect that isn’t often heard by Americans. There are hints of Irish sounds and even some American pronunciations. In the London scenes you will hear stan-

dard British typical of the upper classes and the cockney of the working class. The differences in dialect are critical in delineating the way characters change or remain the same. When Mr. Wopsle decides to take up acting he adopts the standard British of the London stage. Yet offstage he is still a country vicar from Kent. Once Pip is settled 17

in London and comfortable with its ways, we’ve chosen to have him adopt a standard British accent, in line with his aspirations to be a gentleman. Like a suit of clothes, a dialect makes the man or woman—revealing their origins, aspirations, and place within their society. Enjoy!


DICKENS MAKES YOU SMART AN INTERVIEW WITH PLAYWRIGHT GALE CHILDS DALY BY MADISON FLAVIN Madison Flavin: How did you come to adapt Great Expectations? Gale Childs Daly: Actually, it was an assignment that I was given. The theatre that I was working with at the time asked me if I could do an adaptation of Great Expectations that would be 45 minutes long to go on an outreach tour to junior high and high schools in the area. I thought that was impossible. But I said okay. I sat down and I wrote the adaptation in three weeks. It was 45 minutes long and it pretty much told the whole story of Pip and his adventures. But it was really bare bones.

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The 45-minute version was very successful on the road. And I was asked if I would like to write a more complete version of the story. That’s when I wrote this version of Great Expectations. MF: How did you arrive at this particular form of telling the story? GCD: I adapted the piece as it is because, in 1982, I was in the first and only American production of The Life and Adventures of Nicholas Nickleby, which was adapted by David Edgar. I was an actress in that production and it was a story theatre piece, very much like Great Expecta-


 Gale Childs Daly. Photo: Great River Shakespeare Festival.

tions is, except there were 36 people onstage, not 6. I had that production in my head and it helped me very much. That production was wildly successful, I think for the same reasons that Great Expectations is successful. It’s really fun to come and see a group of artists, whether 36 or 6, come in and just give virtuosity performances in different roles. It’s fun to see one actor play 16 different parts. I think that’s one

of the reasons why people like Dickens, too. You just get to live in this world of fantastic characters. MF: Do you think that Charles Dickens is relevant to the world of 2016? GCD: Charles Dickens is a humanist. He really knew and loved people and how people act and how we think and what we do. I think that the people in Charles Dickens novels are just like

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IT’S FUN TO SEE ONE ACTOR PLAY 16 DIFFERENT PARTS. I THINK THAT’S ONE OF THE REASONS WHY PEOPLE LIKE DICKENS, TOO. YOU JUST GET TO LIVE IN THIS WORLD OF FANTASTIC CHARACTERS. people today. It’s like Shakespeare. We love Shakespeare after 400 years for the same reason we love Charles Dickens and that is that he’s universal. His scenes are universal. His characters are delightful. We get to go into a world that is very strange, and at the same time, familiar to us. I think he’s very, very relevant. MF: Did writing this adaptation at all change


your perception of Charles Dickens? GCD: Adapting Great Expectations has only made me love Charles Dickens more. My mother was a voracious reader and she raised me to be a voracious reader. As a young girl I read Dickens. I remember her telling me, I was maybe 12 years old and I was reading a Dickens novel, and I said, “Oh, it’s too many words! There’s too many words!” She said, “No, you have to read every single word. Every single word is important.” And that was a huge lesson I learned as a reader. I could just really, really get into it and chew it up intellectually. And so being able to go inside that novel and just really read every single word, choose the words to use, who’s going to say what when where, was delightful. It was a joy. It took me two years to write the complete piece and I would like to do it again. MF: Watching a theatre production and reading a book are two different experiences. Theatre is a two-hour experience and a book

is a longer experience. So what does live theatre offer that reading a book can’t offer? GCD: The thing that’s great about live theatre to me is that you’re in the room. You’re in the room with the characters. You are sharing the experience in the same space, breathing the same air as the characters. That’s what makes theatre very exciting and enlivening to me. Reading is meditative in my opinion. I love to read. I read constantly. It’s like meditating. It gives my brain the same kind of rest, gives my brain the same kind of joy, the relaxation that meditating does. Whereas, the theatre is alive. It’s electric being in the room with the characters and being part of the story, especially in a story theatre production like Great Expectations, where the audience is a character. The actors stand there and talk at you, immediately to you, and they say, “This is what’s going to happen. Come with me into this story, and I will take you to this wonderful place.”

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MF: Do you think that people who see this production are going to become more interested in Charles Dickens? GCD: I hope so. I certainly hope so. I think that, seeing Great Expectations, I hope people will say, “Oh, I read that when I was a kid” or “I had to read that in high school and I didn’t understand it or I didn’t like it”. And they’ll come and see it. And they’ll remember it and go, “Oh, this is a great story. And I’m really glad that I got a chance to relive it again.” Or you have kids who have never read Dickens and are being asked to read it in school and then they get to go and see the play, too. And that’s the ideal experience because they read the book and now they get to see the play, or vice versa. They get a full experience of living in a Dickens novel. Dickens is one of the greatest writers in the English language. There’s no doubt about it. The more people who know about him, the better. Reading Dickens makes you smart is what I think.


FROM THE COMPOSER/SOUND DESIGNER

SOUNDSCAPES BY SCOTT KILLIAN

As a composer and sound designer on this production, my job has been to support the creation of a world that is living and breathing and yet also fantastical and poetic. Mr. Dickens has set this story in “extreme” environments, and the sounds need to reflect that. In addition to building soundscapes, I also have needed to offer windows into the characters’ inner lives as well as support the Dickensian interweaving of these disparate characters’ relationships. To this end, Michael and I have chosen to approximate the “sound” of the 19 th century in this production, while taking liberties to expand the palate to include more contemporay orchestrations (i.e., electronic sounds and

textures, electric guitars, musical dissonances, etc.) to expand the production’s relevance to contemporary audiences while maintaining and supporting the essence of the Dickens novel. At the end of the day, for me this is the most rewarding kind of theatre to engage in. Charles Dickens has given us a work that invites us to go on a journey that is rich with narrative twists and turns while engaging our imaginations and emotions. When Michael asked me if I was interested in composing incidental music for Great Expectations, it was an easy decision to make. My only previous experience with Dickens was a large-scale production of A Christmas Carol for Theatre Calgary in 2006. I still have such wonder-

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MY JOB HAS BEEN TO SUPPORT THE CREATION OF A WORLD THAT IS LIVING AND BREATHING AND YET ALSO FANTASTICAL AND POETIC. fully vivid memories of scoring that epic tale—for indeed, it is an epic tale! And now I have found that this story is no less adventuresome—no less colorful—no less heartfelt— no less “epic”. And it has been no less thrilling and challenging to work on.


“I MUST WRITE” BY JOSEPH WHELAN Charles Dickens began writing Great Expectations in September of 1860. He was entering what would be the final decade of his life and his health was beginning to slip. All the previous summer he had battled a severe cold that sapped his energy and he experienced persistent pain from what he called “facial neuralgia”. Additionally, he was still suffering from the break-up of his marriage to Catherine two years prior. They had never been a good match, he declared to friends. She had never really cared for their ten children and the children had not cared

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for her. More than a few of his friends and acquaintances noticed the desperate tone of his plaints. Separation was an admission of failure in the Victorian world. There was shame, and quite probably for him, guilt as well, as many suspected his growing affection for the actress and close friend Ellen Ternan had contributed mightily to the break-up. The fragility and volatility of Dickens’ mental state expressed itself in irritability and restlessness noticed by family and friends. On the day in July 1860 when his eldest and favorite daughter Kate married


THE WRITER ANGUS WILSON CALLS GREAT EXPECTATIONS “THE MOST COMPLETELY UNIFIED WORK OF ART THAT DICKENS EVER PRODUCED”  Charles Dickens reading to his daughters Mamey and Kate in the garden of his home, Gad’s Hill, in Kent.

a man he considered unsuitable, Dickens was found sobbing. “But for me, Katie would not have left home,” he told his daughter Mamey. In the years immediately following the separation, Dickens seemed caught between a powerful desire for a clean and permanent break with

his past, and an inability to escape it. He wished Catherine to be “out of [his] life for evermore”. He sold Tavistock House, his London residence for nine years, because it contained too many memories. With the help of three of his children, he torched the correspondence of twenty years in the

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field behind his house at Gad’s Hill. Gone forever were letters from the likes of Thackeray, Tennyson, and George Eliot, basketful after basketful into the flames. But the more he tried to push the past away, the more his distant past pushed into his thoughts. He felt himself haunted, and the ghosts of his


 Charles Dickens in 1864 with family and friends.

past crept into his writing. In a story called “The Haunted House” he alludes to “the ghost of my own childhood, the ghost of my own innocence.” In the midst of this internal struggle he worried, too, about his children. Kate, now married, was gone, and his other children, ranging in age from 8 - 23, gave him cause for concern. None seemed particularly capable or ambitious. He once remarked that he “had brought up the largest family ever known with the smallest disposition to do anything for themselves.” He worried

about their future careers. Moreover, his aged mother was slipping deeper into senility, and when his brother Alfred died suddenly just a few days after Kate’s wedding, he took on the care and support of the widow and her five children. The general impression of Dickens at this time, notes biographer Peter Ackroyd, was “of a melancholy and in many ways dissatisfied man who was trying at all costs to keep busy, to fill his days, to cultivate forgetfulness.”

for so long, he waged that fight with pen and ink. “I must write,” he declared.

Dickens confided to a friend: “Life is a fight and must be fought out.” As he had done

Dickens owned the weekly periodical All the Year Round, which he had launched with

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Dickens’ initial inspiration for Great Expectations coalesced around the “grotesque idea” of the relationship between Pip and Magwitch. “I can see the whole of a serial revolving on it, in a most singular and comic manner,” he told his friend John Foster. Then, as if scripted by Dickens, an economic necessity appeared to add incentive.


The writer Angus Wilson calls Great Expectations “the most completely unified work of art that Dickens ever produced”. The novel to which it is most often compared is the much earlier David Copperfield, perhaps the most literally autobiographical work. Biographer Ackroyd, however, finds Great Expectations “much more frankly autobiographical” and reflective of “a fresh access of selfknowledge on Dickens’ part”. He notes, “It is in any event a book of great psychological accuracy and observation, as if Dickens were secretly examining himself as he writes, analyzing the nature of passion, of hypocrisy, of psychological meanness, all those things ‘low and small’ of which Pip eventually realizes himself to be guilty.

 Dickens Caricature by Herbert Watkins.

the serialization of A Tale of Two Cities, the novel immediately preceding Great Expectations. The success of A Tale of Two Cities and subsequent serializations by other writers made All the Year Round a source of reliable income for Dickens. In September 1860, however, Dickens became alarmed at the decreasing sales of the periodical due to the unpopularity of Charles Lever’s novel A Day’s Ride: A life’s Romance. He decided to act and determined to replace Lever’s novel with the novel taking shape in his head. The first installment of Great Expectations appeared in December to popular and critical acclaim.

DICKENS CONFIDED TO A FRIEND: “LIFE IS A FIGHT AND MUST BE FOUGHT OUT.” AS HE HAD DONE FOR SO LONG, HE WAGED THAT FIGHT WITH PEN AND INK. “I MUST WRITE,” HE DECLARED.

“Who could have gone through the events of the last two years,” Ackroyd asks, “without being in some sense invaded by it?” 25


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CAST Tom Stoppard, and Cymbeline at Lincoln Center Theater. Off-Broadway credits include Nikolai and The Others, LCT; Cato, The Flea; Othello, Cyrano de Bergerac, Much Ado About Nothing, Julius Caesar, King Lear, Twelfth Night, The Iliad, The Man Who Would Be King, The Invisible Man, and Romeo and Juliet (European tour), all with Aquila Theatre Company. BAM: Dense Terrain (Doug Varone and Dancers); Carnegie Hall: Médéé. Regional credits include Julius Caesar, Henry VIII, (Folger Shakespeare Theatre); Timon of Athens, Hamlet, All’s Well That Ends Well (Alabama Shakespeare Festival); Owners, Cymbeline (Yale Rep); One Man, Two Guvnors (Repertory Theatre of St. Louis); Tovarich, The Diary of Anne Frank (Shakespeare Theater of New Jersey). UK credits include The Broken Heart, The Wives’ Excuse, Coriolanus, Julius Caesar (Royal Shakespeare Company); The Merchant of Venice, Measure for Measure, Hiawatha (Royal Lyceum, Edinburgh); Hamlet, Jungle Book (Lyric Theatre, Belfast). Film: Wall St. 2, Apocalypse Watch. TV: Law & Order: SVU, Benjamin Franklin (PBS), Taggart (STV). Cochrane was associate director and composer/ musical director of the Aquila Theatre Company for 12 years. In this capacity he has written musical scores and collaborated on the creation of more than 20 productions. He scored Timon of Athens and As You Like It recently for the Alabama Shakespeare Festival. Cochrane’s film scores include Alex Webb’s films Pizza, the award winning The Girl from 2C, Hove (The Wind), and Robert Richmond’s Dreadful Sorry. www.anthonycochrane.com

Seth Andrew Bridges (Narrator 2) is a New York City-based actor and stuntman and is thrilled to make his Syracuse Stage debut. NYC theatre credits include: Alabama Story (The Actors Company Theatre); The Time of Your Life and Friend of the Devil (Attic Theatre Company); A Midsummer Night’s Dream, Henry VI Pt. 1 (New York Neo-Classical Ensemble). Regional theatre credits include: Alabama Story (Pioneer Theatre Company, world premiere), Twelfth Night, Macbeth, The Adventures of Tom Sawyer (Alabama Shakespeare Festival); Peter and the Starcatcher (Arkansas Repertory Theatre/TheatreSquared); The Dingdong (Florida Repertory Theatre, regional theatre premiere), Proof, One Man, Two Guvnors (TheatreSquared); The Liar (Gulfshore Playhouse); The Two Gentlemen of Verona (Lake George Theatre Lab). As a stuntman, his credits include Boardwalk Empire (HBO), The Blacklist (NBC), Law & Order: SVU (NBC), Elementary (CBS), Gotham (FOX), Royal Pains (USA), and numerous feature and indie films. He holds a BFA from New York University. follow@sethandrewb www.sethandrewbridges.com Anthony Cochrane (Narrator 1) is an actor/ composer from Scotland who now resides in New Jersey. Cochrane’s Broadway acting credits include The Audience with Helen Mirren, War Horse, the Tony Awardwinning trilogy, The Coast of Utopia by

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THE LOUIS G. MARCOCCIA AWARD FOR EXEMPLARY SERVICE TO SYRACUSE STAGE Dr. Louis G. Marcoccia, June 15, 2012 Jack H. Webb, June 14, 2013 James A. Clark, June 7, 2014 Bethaida Gonzรกlez, June 19, 2015 Tim Bond, June 10, 2016 Diana C. Coles, June 10, 2016 Barbara Beckos, June 10, 2016

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CAST Linda Mugleston (Narrator 3) makes her Syracuse Stage debut with Great Expectations. Her Broadway credits include: Beautiful, On the 20th Century, Cinderella, Anything Goes, Young Frankenstein, Wonderful Town, Nine, Into the Woods, Kiss Me, Kate, and On the Town. At New York’s Carnegie Hall, she performed in Guys and Dolls, The Sound of Music, and Kristina (also The Royal Albert Hall). Regionally, she has appeared in Sweeny Todd, The Unsinkable Molly Brown, and A Christmas Carol at the Denver Center Theatre; Sunset Boulevard at Portland Center Stage; Damn Yankees and The Sound of Music at MUNY; Falsettos at the Huntington Theatre Company; and Happy End at American Conservatory Theater.

Marina appeared as Eurydice in Eurydice at Columbia Stages and in the Indie film Lux as the title role. Marina is a graduate of Brown/Trinity Rep’s MFA Acting program. Representation: DGRW, Inc. More info at marinashay.com.  Robbie Simpson (Pip) is thrilled to be back in Syracuse! Off-Broadway credits include Spring Awakening and A Class Act. Select regional credits include Freddy in the 100th anniversary production of  Pygmalion  directed by the late, great Nicky Martin,  The Winter’s Tale, The Merchant of Venice, Othello, Two Gentlemen of Verona (The Old Globe),  A Class Act directed by Bob Moss (Berkshire Theater Festival),  Misalliance  (The Shakespeare Theater of New Jersey),  Almost, Maine, Rent  (Papermill Theater), Yankee Tavern  (New Century Theater) and  The Last Five Years  (The Majestic Theater). Film: Sales Pitch (2017).  TV: The Path (Hulu) opposite Aaron Paul, Can You Survive A Horror Movie? (Syfy), SMASH, and 30Rock (NBC). Robbie works regularly in China as an international member of GLEE: CHINA. Training proudly includes a BFA in Acting from the Syracuse University Drama Department and an MFA in Acting from The Old Globe/ USD Graduate Acting Program. Robbie is represented by Christopher Silveri at Prestige Management and HardenCurtis Associates. Proud AEA member. Follow @MrRobbieSimpson www.RobbieSimpsonActor.com

Marina Shay (Narrator 4) is thrilled to be making her Syracuse Stage debut. Regional Theatre credits include Sasha in Ivanov  (Trinity Repertory Company), Iphigenia in  Iphigenia 2.0  (Cleveland Public Theatre), Pulse (Guthrie Theater), Roxanne in  Cyrano De Bergerac (Heartwood Regional Theater), Bus Stop and A Midsummer Night’s Dream (Oberlin Summer Theater Festival). Favorite educational credits include Olivia in Twelfth Night (Brown/Trinity Rep), In The Next Room (Brown/Trinity Rep) and Stone Cold Dead Serious  (Brown/Trinity Rep). Most recently in New York,

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ćFĕSTUEJTUJMMFSZJOUIFWJMMBHFPG4LBOFBUFMFTTJODFQSPIJCJUJPO0VSUBTUJOHSPPN JTPQFO'SJEBZQN 4BUVSEBZQN BOE4VOEBZQN8FPČFSHVFTUT TBNQMFTPGPVSMPDBMMZNBEF IBOEDSBęFETQJSJUT DPDLUBJMT BOEEJTUJMMFSZUPVST lastshotdistillery@gmail.com | (315) 427-2486 | 4022 Mill Road, Skaneateles NY, 13152

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CAST skin Suit and  Nodding Off (Ensemble Studio Theatre); Happy New Year! (Barrow Group); Camp Logan    (National Black Theater);  A Raisin in the Sun (Studio Arena); To Kill A Mockingbird  (Great Plains Theater Festival);  Blues for an Alabama Sky, Train is Comin’  (St. Louis Black Repertory). Film: Nasty Baby, I Don’t Make the Rules and Happy New Year! TV: Forever, Nurse Jackie, Law & Order (SVU and original series), Rescue Me, NY 22 and Canterbury’s Law. Training: BFA - Webster University; Wynn Handman Studio. Will grew up in Cincinnati, OH.

William Oliver Watkins (Narrator 5). This is Will’s first production at Syracuse Stage. Regional credits include:  Act One  (Good Theater, Portland, ME);  As You Like It, One Night in Miami, Jackie & Me,  Ruined  (Denver Center Theatre); Merchant of Venice, Merry Wives of Windsor  (HipToHip Shakes);  Lombardi (Cleveland Play House/Arizona Theatre Co.);  Duck Sauce, Nursery Rhymes at the 99  (Artistic New Directions);  I Knew King… (Abingdon Theatre Company);  Snake-

A R T I S T I C S TA F F Michael Schweikardt (Scenic Design). For Syracuse Stage: Visiting Mr. Green and Lost in Yonkers. Selected OffBroadway productions include: The Bus and the American premiere of Frank McGuinness’ Gates of Gold (59 E 59); Bloodsong of Love (Ars Nova); The Black Suits (The Public Theater);  Things to Ruin  (Second Stage, The Zipper Factory); The Plant That Ate Dirty Socks (Theaterworks USA at The Lortel). Selected Regional credits include productions at Portland Center Stage, Ford’s Theatre, The Old Globe, Cleveland Play House, Cincinnati Playhouse in the Park, Asolo Repertory Theatre, Maltz Jupiter Theatre, Saint Louis Rep, Sarasota Opera, The MUNY, Paper Mill Playhouse, and multiple productions for Goodspeed Musicals including Fiddler On the Roof, The Most Happy Fella, Carousel, Showboat, Annie Get Your Gun, 1776, Big River, and Camelot.  Tours:

James Taylor’s One Man Band, ELLA, and Motherhood the Musical. Other productions: Oklahoma! starring Kelli O’Hara and Will Chase celebrating the Oklahoma State Centennial. Michael recently designed productions of Marie Antoinette the Musical and Phantom for EMK International in Seoul, South, Korea.  www.msportfolio.com Tracy Dorman (Costume Design) returns to Syracuse Stage where she has designed the costumes for Ken Ludwug’s Baskerville: A Sherlock Holmes Mystery, A Christmas Carol, Little Women, Alfred Hitchcock’s The 39 Steps, Moby Dick, and The Miracle Worker, among others. She has designed at numerous regional theatre and opera companies around the country including Asolo Rep, Cincinnati Playhouse in the Park, The Cleveland Play House, Geva Theatre Center, Milwaukee Rep, Actors The-

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A R T I S T I C S TA F F atre of Louisville, Indiana Repertory Theatre, Maltz-Jupiter, Drury Lane (Chicago), Kansas City Rep, Virginia Opera, Kentucky Opera, Opera Omaha, Chicago Opera Theatre, Glimmerglass, and New York City Opera. From 2005-2008 she was an associate costume designer on the CBS daytime drama As the World Turns, for which she won a 2007 Emmy Award for Costume Design.

at Manhattan Theatre Club); The Duchess of Malfi, Edward the Second, Women Beware Women (Red Bull Theater);  Side Effects  (MCC);  and Steve and Idi, and Miss Julie at the Rattlestick Theater.  Regional credits include: resident composer/sound designer at the Berkshire Theatre Festival (35+ productions),  George Street Playhouse, Cincinnati Playhouse, Cleveland Play House, Westport Country Playhouse, American Conservatory Theatre, Seattle Repertory Theatre, Shakespeare Theatre, DC, Shakespeare & Company, Theatre Calgary, and Vancouver Playhouse. A well-known composer in the dance world, Scott has composed works for many companies, including Alvin Ailey American Dance Theatre, José Limón Company, Nikolais-Louis Dance, and Chicago’s Hubbard Street Dance. His long-term choreographic collaborators include Zvi Gotheiner, Joanie Smith (Shapiro and Smith Dance), and Cherylyn Lavagnino.

Nancy Schertler (Lighting Designer) is pleased to be working once again with director Michael Bloom on her first production at Syracuse Stage. Broadway credits include Bill Irwin’s  Fool Moon and  Largely New York (Tony Award nomination). Off-Broadway designs include  Hilda, Texts for Nothing, and The Regard Evening. She has designed for regional theatres across the country, including the American Conservatory Theatre, Arena Stage, La Jolla Playhouse, The McCarter Theatre, Portland Center Stage, and Seattle Repertory Theatre. Opera credits include the premiere productions of The Difficulty of Crossing a Field commissioned by The American Conservatory Theatre and Shadowboxer, Clara, and Later the Same Evening, commissioned by the University of Maryland Opera Studio.

Nicholas Kowerko (Assistant Director) currently teaches two courses in the Syracuse University Department of Drama as part-time faculty. He completed a season-long directing assistantship at Pacific Conservatory Theatre (PCPA), where he was also on faculty.  He completed the directing assistantship at Great River Shakespeare Festival, as well. Nicholas has been involved in over 25 productions as a director or assistant director at various theatres across the country, and has taught at the University of Nevada at Las Vegas and

Scott Killian (Composer/Sound Designer). This is Scott’s first production at Syracuse Stage. As a composer and sound designer for theatre, his NYC credits include Sarah, Sarah; Five by Tenn; A Picasso (Lortel Award nomination); and The Other Side (all

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EVERY GIFT MATTERS This past September, Syracuse Stage welcomed over 400 community members to our Open House. By far the most popular activity was the “backstage tours”. Guests were taken behind the scenes to where the magic is made. From actor dressing rooms, to our prop, scene, and costume shops, Stage artisans were on hand to talk about their work on upcoming shows. Patrons were surprised to learn that Syracuse Stage shows are not “pre-built” - they are carefully crafted from the ground up. From the 500 feet of steel molded into the Bank’s home for Mary Poppins to the four-tier Victorian wedding cake, our sets are constructed on site piece by piece. Gifts to Syracuse Stage support our artists and artisans every step of the way and allow them to bring our productions to life – productions that inspire and entertain audiences young and old and transport us out of our everyday lives into the magical realm of live theatre. For a brief time we can come together and celebrate our common humanity. Thank you to the thousands of patrons who over the years have supported Stage. Every gift matters. Make yours today. WWW.SYRACUSESTAGE.ORG | 315-443-3931

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A R T I S T I C S TA F F SUNY Fredonia. He was a casting assistant at Boston Casting, working on such projects as ABC Television’s Body of Proof, commercials for Verizon, Gillette, Dunkin’ Donuts, as well as other independent films and webseries.  Nicholas is a SDC Associate and received his M.F.A. in theatre directing from the Actors Studio Drama School.  www.nicholaskowerko.com

School Drama Division, where he had been a teacher and director from 1992 to 2010 and chair of the Voice and Speech Department since 1999. He was a director and adjunct lecturer in the Barnard College Theater Department from 2006 until 2010 and has been a guest artist at training programs across the country, including the Old Globe in San Diego, The University of Texas at Austin, and the Academy for Classical Acting in Washington, DC. He has served as a voice, text or dialect consultant for numerous professional productions both on and off-Broadway, including: The Light in the Piazza; Awake and Sing!; The Herbal Bed; Mrs. Klein; The Fiery Furnace; The Time of the Cuckoo (Lincoln Center Theatre); Tongue of a Bird; The Merchant of Venice (New York Shakespeare Festival); The Pitchfork Disney (Blue Light Theatre Company); Birdy (The Women’s Project); The Model Apartment (Primary Stages); the New York premiere of Tony Kushner’s SLAVS! (New York Theatre Workshop); and The African Company Presents Richard III (The Acting Company). His regional theatre credits include numerous productions at The Shakespeare Theatre and Arena Stage in Washington, DC; Syracuse Stage; Baltimore CENTERSTAGE; Hartford Stage; and the McCarter Theatre, among others. A former touring member of The Acting Company, he served as artistic associate of The Chautauqua Theatre Company for seven years and was a member of the Board of Directors of The American Society for the Alexander Technique (AmSAT) for six years. He is a

Dave Bova (Hair, Wig, and Makeup Design). Violet, The Real Thing (Broadway). Little Miss Sunshine, Here Lies Love, Buried Child, Pericles, Booty Candy, The Killer, My Name is Asher Lev, Good Person of Szechwan, The Ohmies, Romeo and Juliet, (OffBroadway). Marie Antoinette, Last of the Boys, Lady Madeline (Steppenwolf Theatre). An Octoroon, Hamlet (The Wilma), Les Misérables, Light in the Piazza (Weston Playhouse). Central City Opera Company 2012-15, Bard Summerscape 2014, Sarasota Opera Fall 2014. Chitty Chitty Bang Bang  (First National Tour) Joseph and the Amazing Technicolor Dreamcoat, 42nd Street (Equity Tour). Ragtime, The Addams Family, Camelot, Rock of Ages, Spamalot (non-Equity tours).  Wicked, Memphis, Motown, The Color Purple, The Addams Family, Jersey Boys (Wig Construction, Broadway). Thank you to Zevie for the love and support. Ralph Zito (Dialect Coach) is in his seventh year as chair of the Department of Drama. Directing credits for the Department of Drama include: The Spitfire Grill, As You Like It, and The Aliens. He came to Syracuse University from the Juilliard 35


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A R T I S T I C S TA F F graduate of Harvard University, The Juilliard School, and the American Center for the Alexander Technique.

Actors Center, Brooklyn College, and SUNY Purchase, NY; Rutgers University, NJ; The Hartt School, Hartford, CT; and The North Carolina School of the Arts, Winston Salem, NC. His stage movement and combat choreography has been seen at many American venues including The Acting Company, Lincoln Center Theater, The Metropolitan Opera, New York Theatre Workshop, The Wooster Group, Cherry Lane Theatre in NYC; The Guthrie Theater in Minneapolis, MN; Cleveland Shakespeare Festival; and Shakespeare Theatre Company in Washington, D.C., among others.

Anthony Salatino (Choreographic Staging). A graduate of the Juilliard School, Tony has choreographed and directed for many opera and dance companies throughout the United States. Margaret Garner (New York City Opera), The Wind in The Willows (New Victory Theatre, New York City), Carmen (Virginia and Syracuse Opera), Maria de Buenos Aires (Opera Naples and Syracuse Opera), Cato in Utica (Glimmerglass Opera Festival), Daughters of the Regiment (Pittsburgh Opera), Aida (Dallas Opera, Connecticut Opera). For Syracuse Stage: A Christmas Carol, Rent, Little Women, Fiddler On the Roof, The Sound of Music, West Side Story, Peter Pan, The Wizard of Oz, Big River, My Fair Lady, Romeo and Juliet. Former artistic director of the Fort Worth Ballet, Texas and associate artistic director of the Hartford Ballet, Connecticut.

Laura Jane Collins (Stage Manager) returns for her seventh season with Syracuse Stage and will stage manage three productions: Great Expectations, Disgraced, and How I Learned to Drive. She spends the majority of her time in Central New York with Syracuse Stage and the Hangar Theatre in Ithaca. Regional credits include: The Christians, Stupid F***ing Bird, Steve Martin’s The Underpants, In the Next Room, or the vibrator play, The Piano Lesson, Chinglish, Scorched, Good People, Two Trains Running, Moby Dick, Red, The Boys Next Door, and No Child‌ (Syracuse Stage); Third, The Hound of the Baskervilles, God of Carnage, Around the World in 80 Days, 4000 Miles, Last of the Red Hot Lovers, and Lend Me a Tenor (Hangar Theatre). New York credits include: Hillary: A Modern Greek Tragedy with a Somewhat Happy Ending (New Georges). Dance production credits include:

Felix Ivanov (Fight Director) is a graduate of the prestigious Schukin Theatre School at the Vakhtangov Academy Theatre and the Stasov Musical School (violin) in Moscow, Russia. He has choreographed the combat, movement, and character dance scenes for over three hundred Russian drama and puppet theatres, motion pictures, and television. Presently, Felix is an assistant professor in the Department of Drama at Syracuse University. He has previously taught at The Juilliard School, The

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A R T I S T I C S TA F F Slightly Sinful and Ballet on the Edge (Rochester City Ballet, Dir. David Palmer), The Who’s TOMMY – A Rock Ballet (Dir. Christopher Fleming). LJ is a graduate of the Stage Management program in Syracuse University’s Department of Drama, and she’s now based on Long Island.

two PBS specials by Wendy Wasserstein and Terrance McNally (with Bernadette Peters, Nathan Lane, Blythe Danner, Spike Lee, and Paul Sorvino), the Peabody Award-Winning mini-series Liberty as well as the Emmy Award-Winning mini-series Benjamin Franklin, and John & Abigail Adams. Also cast mini-series God In America, The People v. Leo Frank, Dolley Madison, and Louisa May Alcott. Some regional casting includes Denver Center, Geva Theatre, Cleveland Play House, Alabama Shakespeare Festival, Magic Theatre. The office has so far received 13 nominations and has won three Artios Awards for “Outstanding Achievement in Casting.”

Elissa Myers Casting (Casting). Casting for PBS movie Souls on Fire which aired in 2013. Previously cast seven Broadway shows, including Tony nominated Having Our Say and 25 Off-Broadway Shows. Additionally, three “Movies of the Week” (with Tyne Daly, Claire Danes, Christopher Reeve, Ed Asner, and Daniel J. Travanti), five pilots and

P L AY W R I G H T Gale Childs Daly has been a playwright, director, teacher, and actor in the theatre for many years. A graduate of the Goodman School of Drama at the Art Institute of Chicago (now DePaul University), Daly has worked at the Goodman Theatre, the Alley Theatre, the Great Lakes Shakespeare Festival, the Great River Shakespeare Festival, and the Pacific Conservatory of the Performing Arts, among others. As a playwright, she has adapted The Secret Garden, The Story of Opal, and The

Lament for Ignacio Sanchez. Some of Daly’s directing credits include The Government Inspector, Julius Caesar, and Rosencrantz and Guildenstern Are Dead. As an actor, she has enjoyed playing such roles as Beatrice in Much Ado About Nothing, Goneril in King Lear, and Elizabeth Proctor in The Crucible. Daly is a freelance director, teacher, and text coach in the Midwest. She is married to actor Jonathan Gillard Daly and has two children. Currently, she lives in Milwaukee.

AUTHOR Charles Dickens (1812 - 1870) began his writing career as a newspaper reporter. The success of his first

novel, The Pickwick Papers, allowed him more time to write, leading to Oliver Twist, Nicholas Nickelby and

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AUTHOR The Old Curiosity Shop. In December of 1843, A Christmas Carol was published, likely his best-known story that has inspired many versions and adaptations. Dickens continued to write more successful novels, including David Copperfield, Great Expectations, and A Tale of Two Cities. In addition to being great works of literature, Dickens’ novels provided social commentary. At a time when Britain was the major economic and political power of the world, Dickens highlighted the life of the forgotten poor and disadvantaged within society. Many readers will also remember Charles Dickens for his memorable

characters. The likes of Ebenezer Scrooge, Tiny Tim, Jacob Marley, Bob Cratchit, Oliver Twist, The Artful Dodger, Fagin, Miss Havisham, David Copperfield, Mr. Micawber, Samuel Pickwick, Wackford Squeers, Uriah Heep and many others are so well known that they continue to this day to be household names. In 1870, Dickens was buried in the Poet’s Corner of Westminster Abbey, and a printed epitaph circulated at the time of his funeral said, “He was a sympathiser with the poor, the suffering, and the oppressed; and by his death, one of England’s greatest writers is lost to the world.”

DIRECTOR Michael Bloom. Former artistic director of Cleveland Play House, Bloom directed the premiere and OffBroadway productions of Sight Unseen at Manhattan Theatre Club, for which he received a Drama desk nomination. In New York he also directed at Soho Rep and WPA Theatre. Regionally, he directed Gross Indecency (Elliot Norton Award, Best Production) and Mrs. Warren’s Profession at Huntington Theatre Company; the premiere of The Writing Game and The Road to Nirvana at ART; Nora, The Guardsman, and Sweet Bird of Youth at Williamstown Theatre Festival, and the premiere of Dinner with Friends at the Humana

Festival at ATL. He also directed at South Coast Rep, Berkley Rep, Old Globe Theatre, Long Wharf Theatre, Kansas City Rep, Geffen Playhouse, Paper Mill Playhouse, Olney Theatre, and Seattle Rep. In Tokyo he directed The Glass Menagerie and The Miracle Worker. Bloom has taught at Harvard/ART, UCLA, NYU, University of Texas, Austin, and Case Western Reserve University. His written works include: Jane Austen’s Emma (Samuel French), Christmas Freud, and most recently Mysterious Friends: Houdini and Conan Doyle. His widely used book on directing, Thinking Like a Director, was published by Faber and Faber. His articles have appeared in American Theatre Magazine, Plays Magazine, and the New York Times.

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ARTISTIC DIRECTOR Robert Hupp is in his first season as artistic director of Syracuse Stage. Prior to coming to central New York, Robert spent seventeen seasons as the producing artistic director of Arkansas Repertory Theatre in Little Rock. He directed over 30 productions for Arkansas Rep ranging from Hamlet to Les Miserables to The Grapes of Wrath. In New York City, Robert directed the American premieres of Glyn Maxwell’s The Lifeblood and Wolfpit for the Phoenix Theatre Ensemble. He also served for nine seasons as the artistic director of the Obie Award winning Jean Cocteau Repertory. At the Cocteau, Robert’s directing credits include works by Buchner, Wilder, Cocteau, Shaw, Wedekind and the premieres of the

Bentley/Milhaud version of Brecht’s Mother Courage and Her Children, Seamus Heaney’s The Cure at Troy and Eduardo de Filippo’s Napoli Millionaria. He has held faculty positions at Pennsylvania’s Dickinson College and, in Arkansas, at the University of Arkansas at Little Rock and Hendrix College. Robert served as vice president of the Board of Directors of the Theatre Communications Group and has served on funding panels for the National Endowment for the Arts, the Theatre Communications Group, the New Jersey State Council of the Arts and the New York City Department of Cultural Affairs. While in Arkansas, Robert was named both Non-Profit Executive of the Year by the Arkansas Business Publishing Group, and Individual Artist of the year by the Arkansas Arts Council.

MANAGING DIRECTOR Jill A. Anderson arrived at Syracuse Stage in July, 2016, and is delighted to serve as managing director. Jill is responsible for Stage’s nearly $6 million operating budget and has oversight of fundraising, marketing, and operational matters within the organization. Prior to joining Stage, Jill spent a decade as general manager at the Eugene O’Neill Theater Center in Waterford, CT. During her tenure, the O’Neill completed a $7 million capital campaign and campus expansion, doubled its operating budget, and

was honored with a 2015 National Medal of Arts and the 2010 Regional Theatre Tony Award. Under the O’Neill’s aegis, Jill also developed the Baltic Playwrights Conference, an annual international new play development retreat held in Hiiumaa, Estonia. Previously, Jill spent five years in the production office at Washington DC’s Arena Stage, after working as a stage manager in Minnesota, New Mexico, and Massachusetts. Jill has also served on numerous municipal and non-profit boards and participated in mentoring programs for high school and college students, including the

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MANAGING DIRECTOR Kennedy Center American College Theater Festival. Jill is a proud cheesehead, hailing from Marshfield, Wisconsin. She and her hus-

band Dave Anderson, along with their daughter, look forward to calling Central New York home for years to come.

A S S O C I AT E A R T I S T I C D I R E C T O R Kyle Bass previously served as resident dramaturg and worked on many Syracuse Stage productions, including The Christians, To Kill a Mockingbird, The Piano Lesson, Scorched, The Whipping Man, The Glass Menagerie, Moby Dick, The Brothers Size, Caroline, or Change, Fences, The Price, Little Women, and The Diary of Anne Frank. Kyle worked closely with Ping Chong on the creation of Tales from the Salt City and is the co-author (with Ping Chong) of Cry for Peace: Voices from the Congo, which was subsequently produced at La MaMa Experimental Theatre in New York City. Kyle is the co-author of the screenplay for the film Day of Days, which stars award-winning veteran actor Tom Skerritt and is scheduled for release in 2017. Kyle is a two-time recipient of the New York Foundation for the Arts Fellowship, for fiction in 1998 and the 2010 fellowship in playwriting, a finalist for the Princess Grace Playwriting Award, and a Pushcart Prize nominee. His stage plays include Tender Rain and Bleecker Street and his one-man play Carver at Tuskegee, which was produced in Syracuse Stage’s BackStory! series.

Kyle is currently writing a new play titled Possessing Harriet, which was commissioned by the Onondaga Historical Association and developed through the Kitchen Theatre Company’s New Play Development Workshop at Saltonstall Foundation for the Arts. He is also writing the screenplay adaptation of the novel Milk by Darcey Steinke. Kyle worked with acclaimed visual artist Carrie Mae Weems on her theatre piece Grace Notes: Reflections for Now, which had its world premiere at the 2016 Spoleto Festival USA in Charleston, South Carolina, and was presented at Yale Repertory Theatre. Kyle’s writing has appeared in the journals Callaloo, Folio, and Stone Canoe, among others, and in the anthology Alchemy of the Word: Writers Talk about Writing and he has been a guest on National Public Radio discussing race in American theatre. Kyle teaches in the MFA Creative Writing program at Goddard College. He also teaches playwriting at Syracuse University, Colgate University, and Hobart & William Smith Colleges and serves as Drama Editor for Stone Canoe. He holds an MFA in Playwriting from Goddard College and is a proud member of the Dramatist Guild of America.

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MISSION/VISION Mission: Syracuse Stage is a global village

turous, and entertaining productions of new plays, classics, and musicals, and offer interactive education and outreach programs in Central New York.

square where renowned artists and audiences of all ages gather to celebrate our cultural richness, witness the many truths of our common humanity, and explore the transformative power of live theatre. Celebrating our 44th season as a professional theatre in residence at Syracuse University, we create innovative, adven-

Vision: Syracuse Stage illuminates the

many truths of our common humanity through the transformative power of live theatre.

A B O U T S Y R A C U S E S TA G E Syracuse Stage is Central New York’s

Chong. These visiting artists are supported by a staff of artisans, technicians, educators, and administrators who are responsible for all facets of the theatre from building sets, props, and costumes to marketing, development, and box office. A solid core of subscribers and supporters helps keep Syracuse Stage a vibrant artistic presence in Central New York.  Year after year their support and patronage contribute to the success of the theatre.  Additional support from government, foundations, corporations, and Syracuse University helps to ensure the continued role of Syracuse Stage as a valued cultural resource for the community.   Syracuse Stage is a constituent of the Theatre Communications Group (TCG), the national organization for the American theatre, and a member of the Arts and Cultural Leadership Alliance (ACLA), the University Hill Corporation, and the East Genesee Regent Association.

premier professional theatre. Founded in 1974, Stage has produced more than 300 plays in 43 seasons including a number of world, American, and East Coast premieres. Each season 70,000 patrons enjoy an adventurous mix of new plays and bold interpretations of classics and musicals featuring the finest theatre artists. In addition, Stage maintains a vital educational outreach program that annually serves over 20,000 students throughout Central New York. Syracuse Stage is a member of  The League of Resident Theatres (LORT), the largest professional theatre association in the country. America’s leading actors, directors and designers work and/or have worked at Stage including: Tony Award-winners Lillias White, Chuck Cooper, and Elizabeth Franz, Emmy recipient Jean Stapleton, Sam Waterston, John Cullum, James Whitmore, Ben Gazzara, and Ping

IN THE COMMUNITY An important aspect of the Syracuse Stage mission is to be an active partner and resource in the Central New York community. Each season Syracuse Stage is pleased to partner with a diverse group of community organizations in sponsoring and facilitating various programs, benefits, and events. Ongoing and past partnerships include Arc of Onondaga, The

Burton Blatt Institute, ARISE, InterFaith Works of Central New York, Hospice of CNY, SUNY Upstate Medical/St. Joseph’s Hospital Health Center, Big Brothers/Big Sisters of Onondaga County, The Learning Place, AIDS Community Resources, Syracuse Homes, The Chadwick Residence, The Child Care Council of Onondaga County, and Vera House, among others.

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N E X T AT S Y R A C U S E S TA G E

DISGRACED

DISNEY AND CAMERON MACKINTOSH'S

MARY POPPINS

B Y AYA D A K H TA R | D IRECTED BY MAY AD RALES JA NUA R Y 2 5 - FEBRUARY 12 | O PEN IN G N IG HT: JA NUA R Y 2 7

A MUSICAL BASED ON THE STORIES OF M.L. TRAVERS AND THE WALT DISNEY FILM | ORIGINAL MUSIC AND LYRICS BY RICHARD M. SHERMAN AND ROBERT B. SHERMAN | BOOK BY JULIAN FELLOWES | NEW SONGS AND ADDITIONAL MUSIC AND LYRICS BY GEORGE STILES AND ANTHONY DREWE | COCREATED BY CAMERON MACKINTOSH | DIRECTED BY PETER AMSTER | CHOREOGRAPHY BY ANTHONY SALATINO | MUSICAL DIRECTION BY BRIAN CIMMET CO-PRODUCED WITH SYRACUSE STAGE | NOVEMBER 26 – JANUARY 8 | OPENING NIGHT: JANUARY 2

Amir Kapoor is a deeply assimilated Pakistani-American with the perfect job, the perfect apartment, and the perfect wife—until it all unravels over the course of a single dinner party (an unforgettably explosive scene). Winner of the Pulitzer Prize (2013) and a Tony Award nominee for Best Play (2015), Disgraced is a timely and taut (90 minutes) drama that engages mind and heart with refreshing and stunning candor as it explores the cultural and personal fracturing Amir encounters as he pursues his ideal of the American Dream. A new and daring voice in American theatre, Akhtar creates urgent dramatic connections between the stage and the world outside our doors.

Supercalifragilisticexpialidocious! The sound of it may be atrocious but it is synonymous with this beloved family musical. The Banks children, Jane and Michael, have been positively beastly to a series of nannies. Enter (from above) Mary Poppins with her magic tricks and common sense know-how to charm children and grown-ups alike and remind them and us how important they are to each other. Winner of multiple Tony Awards, Mary Poppins is an enchanting mixture of irresistible story, unforgettable songs, breathtaking dance numbers, and astonishing stage magic.

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N E X T AT T H E D E PA R T M E N T O F D R A M A

LAURA AND THE SEA

THE KING STAG

B Y K AT E TAR KE R | D I R E C T ED B Y K ATHE R INE M c G E R R | N OV E M B E R 4 – 1 3 | OP E NI NG N I G H T : N OV E M B E R 5

B Y C A R LO GOZZI | EN G LISH VERSIO N BY A LB E R T B E R ME L D IRECTED BY F ELIX IVAN OV FE B R UA R Y 1 7 – 26 | O PEN IN G N IG HT: FE B R UA R Y 1 8

Join us for a first look at a new play by a fresh new voice in the American Theater. It’s company outing day, and Laura, one of the top travel agents of her generation, is having the best/worst day of her life—so much so that she decides to end it all. Afterwards, her colleagues try to piece things together on a memorial blog, but how do you mourn someone you didn’t know that well? Laura and the Sea is many things: a comedy about depression, a meditation on human connection in the digital age, and a treatise on travel agents who don’t travel.

One of the best known plays of the Commedia del’Arte form, Gozzi’s magical tale brings to life King Deramo, his faithful wife Angela, his treacherous prime minister Tartaglia, several hare-brained members of his court, a magician, a parrot, magical stags, and a giant bear. A fairy tale for all ages, The King Stag captures the sheer fun and bracing physicality of the Italian comic tradition.

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S Y R A C U S E S TA G E B O A R D O F T R U S T E E S CHAIR

Fran Nichols Vice Chairman Emeritus Eric Mower + Associates PRESIDENT

Bea Gonzalez Dean, University College Syracuse University CHAIR-ELECT

Richard Shirtz Regional President NBT Bank VICE CHAIR

Janet Audunson Senior Counsel National Grid VICE CHAIR

Larry Harris EVP and CFO Saab Defense and Security, USA VICE CHAIR

Melvin T. Stith Dean Emeritus, Whitman School of Management Syracuse University TREASURER

Lorraine Branham Dean/Professor, S.I. Newhouse School of Public Communications Syracuse University SECRETARY

Samantha Millier Associate Attorney Mackenzie Hughes LLP Jill A. Anderson** Managing Director Syracuse Stage George S. Bain Freelance Editor and Writer   Dan Berman Partner HancockEstabrook, LLP   Sandra Brown President Grandma Brown’s Beans, Inc.   Nancy Byrne Community Volunteer   Steve Chase Senior Vice President Harbridge Consulting Group  

Brian Cimmet Professor of Practice/Music Director SU Department of Drama Robin Curtis Zellar Homes/Berkshire Hathaway CNY Realty   Richard Driscoll Sr. Commercial Banking Relationship Manager Commercial Banking Division NBT Bank   Helene Gold Private Voice & Piano Instructor   Neil Gold Retired VP Gold Pure Food Products   Jacki Goldberg VP Fundraising Syracuse Stage Guild   Nancy Green Investment Advisor Edward S. Green & Associates   John Huhtala Relationship Manager Middle Market Commercial Banking Chase   Robert M. Hupp** Artistic Director Syracuse Stage   Gregg Lambert Dean’s Professor of the Humanities Syracuse University   Larry Leatherman Retired Bristol-Myers Squibb, MOST   Daniel D. Lent VP, Sr. Relationship Manager Key Bank   Sara Lowengard Syracuse Stage Guild President Attorney Macht, Brenizer & Gingold, P.C.   Rocco Mangano Partner Mangano, Lucchesi and Collins   Kevin R. McAuliffe Partner Barclay Damon  

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Suzanne McAuliffe Retired Educator Rod McDonald Bond, Schoeneck & King   Kevin O’Connor Sr. Resident Director & Sr. VP Investments Merrill Lynch   Virginia Parker Retired Educator   Annette Peters Marketing Director Syracuse Media Group   Kendall Phillips Associate Dean, Global Academic Programs and Initiatives Syracuse University   Robert Pomfrey President & CEO POMCO Group Robert Sarason Retired Lawyer, Organizer, Fundraiser   Michelle Schultz Senior Director, HR Business Partner Human Resources AXA   L. John Steigerwald IV Marketing and Sales Representative Cathedral Candle Company   Sharon Sullivan Community Volunteer   Michael Tick Dean, College of Visual and Performing Arts Syracuse University   Phil Turner Pastor Bethany Baptist Church   Ralph Zito** Chair Syracuse University Department of Drama   Michael Zoanetti VP Senior Wealth Advisor Tompkins Financial Advisors **Ex-Officio


S Y R A C U S E S TA G E E M E R I T U S C I R C L E We are grateful to the following individuals who have served as Members of the Stage Board of Trustees and continue to support Syracuse Stage at the Circle level. Jim Breuer Mary Beth Carmen Eddie Green Joan Green Elizabeth Hartnett

Claude Incaudo Howard C. Johnson Jack Mannion Margaret Martin Eric Mower

Judy Mower Michael Shende Jack Webb

S Y R A C U S E S TA G E G U I L D B O A R D PRESIDENT

RECORDING SECRETARY

Sara Lowengard

Mary O'Hara

EXECUTIVE VICE PRESIDENT

CORRESPONDING SECRETARY

Julia Joyce Martin

Gretchen Goldstein

VICE PRESIDENT, MEMBERSHIP

Deborah Trent VICE PRESIDENT, FUNDRAISING

Jacki Goldberg VICE PRESIDENT, PUBLICITY

Melissa Vassenilli TREASURER

Ellen Lautz

Ray Abdella Elaine Cardone Roxanna Carpenter Sandi DiBianco Grace Flusche Kelly Gardner Donna Green Jessica Humphreville

Barbara Ianuzi Carol Minkstein Mary O’Hara Maryam Wasmund Ginny Yerdon Margaret Shirtz Stefan Berg Linda Lowengard Rosalind Schwartz Sheila Gangemi

SYRACUSE STAGE EDUCATION ADVOCACY BOARD Sara Bambino

David Fisselbrand

Jennifer Sabatino

CICERO-NORTH SYRACUSE

AUBURN HIGH SCHOOL

CATO-MERIDIAN MIDDLE SCHOOL

HIGH SCHOOL

Matthew Phillips

Todd Benware

JAMESVILLE-DEWITT HIGH SCHOOL

CHRISTIAN BROTHERS ACADEMY

Elizabeth Defurio

Kathleen Pickard BAKER HIGH SCHOOL

NOTTINGHAM HIGH SCHOOL

Y O U N G A D U LT C O U N C I L Kristina Bell

Brennan Carman

Olivia Moffa

11TH GRADE, JAMESVILLE-DEWITT

12TH GRADE, CHRISTIAN BROTHERS

10TH GRADE, CHRISTIAN BROTHERS

HIGH SCHOOL

ACADEMY

ACADEMY

Katherine Benware

Rose Collins

Geraldine Wason

12TH GRADE, CHRISTIAN BROTHERS

11TH GRADE, JAMESVILLE-DEWITT

ACADEMY

ACADEMY

HIGH SCHOOL

Lily Byrne

Marcus Johnson

Owen Volk

11TH GRADE, CHRISTIAN BROTHERS

10TH GRADE, CATO-MERIDIAN

10TH GRADE, JAMESVILLE-DEWITT

HIGH SCHOOL

HIGH SCHOOL

Anna Capria

Michael Mankiewicz

12TH GRADE, BAKER HIGH SCHOOL

1OTH GRADE, G. RAY BODLEY HIGH

12TH GRADE, JAMESVILLE-DEWITT HIGH SCHOOL

SCHOOL

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LOCAL BUSINESSES AND SYRACUSE STAGE – A WINNING COMBINATION For 44 years, Central New York businesses have been partnering with Syracuse Stage. Each year Stage services over 70,000 patrons, from community leaders to families and children – potential customers for your business! A business partnership with Syracuse Stage shows the Central New York Community that you care about keeping Syracuse a vibrant and enriching place to live. Business benefit packages include: Ÿ

Unique marketing opportunities

Ÿ Free and discounted tickets for clients and employees, and opportunities to host pre- or post-show events Syracuse Stage Ÿ Demonstrates the role your business plays as a community builder. Whether you choose to support our mainstage productions, education programs or our community outreach efforts, there is a place for your business at Stage. For more information, please contact Tina Morgan, Director of Development at 315-443-3931 or tmorg100@syr.edu

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GREAT EXPECTATIONS SPONSORS

The Reisman Foundation values what Syracuse Stage brings to the cultural fabric of Central New York, making it a better place to live and work. The Foundation is pleased to support the production of Great Expectations. Congratulations on another great season.

M&T Bank. Continuing a long tradition of supporting the arts in the CNY community, M&T is pleased to sponsor Syracuse Stage’s production of Great Expectations. M&T has always maintained strong support for civic and educational experiences and recognizes the need to be actively involved in helping to achieve a better quality of life in our community.

CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORTERS*

Richard Mather Fund

*Corporate, Foundation and Government support received in the last 12 months from $3,000 and above.

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SYRACUSE STAGE ANNUAL GIFTS Syracuse Stage depends on the generosity of contributions from individuals, corporations, businesses, foundations and government agencies. It is with much gratitude that we recognize the following donors to our annual campaign. Contributors listed below represent donations received in the past twelve months. For information regarding levels of contribution and benefits of each please contact the Development office at 315.443.3931 or visit syracusestage.org

CORPORATE, FOUNDATION & GOVERNMENT HONOR ROLL $100,000+ Syracuse University

WAER§ WRVO§

$75,000 - $99,999 The Dorothy and Marshall M. Reisman Foundation«

$7,500 - $9,999 Chase

$50,000 - $74,999 Destiny USA§ Genesee Grande§ Syracuse Media Group§ $25,000 - $49,999 Central New York Community Foundation County of Onondaga, Administered by CNY Arts The Richard Mather Fund« New York State Council on the Arts Shubert Foundation $15,000 - $24,999 Allyn Foundation Bank of America – Children’s Tour The Gifford Foundation« The John Ben Snow Memorial Trust KeyBank N.A.« M&T Bank POMCO Group $10,000 - $14,999 AXA Foundation iHeart Media§ The National Endowment for the Arts NBT Bank Syracuse New Times§

 = INCREASED GIFT,

$5,000 - $7,499 Aloft Syracuse Inner Harbor§ Barclay Damon Business Journal News Network§ Carrier Corporation Excellus BlueCross BlueShield The Grandma Brown Foundation Lockheed Martin Employees Federated Fund« Lockheed Martin MST Phoebe’s§ Scherzi Photography + Video§ The SU Humanities Center presents as part of the 20162017 Syracuse Symposium™ on Place Syracuse Stage Board of Trustees Syracuse Stage Guild Tompkins Financial Advisors Wegmans $2,800 - $4,999 Bank of New York Mellon The Gladys Krieble Delmas Foundation Melvin & Mildred Eggers Family Charitable Foundation Urban CNY§

$1,500 - $2,799 Bond, Shoeneck & King, PLLC Bousquet Holstein PLLC Bristol-Meyers Squibb Foundation Frank & Frances Revoir Foundation« McIntosh Box & Pallet Co., Inc.« Syracuse Blue Print§ Theatre Development Fund, Inc. $1,000 - $1,499 Action Printwear, Inc.§ Liberty Mutual Midstate Printing Corp.§ Henry A. Panasci, Jr. Charitable Trust $500 - $999 ACLS Mailing & Fulfillment§ Anoplate Corp. Cardinal Health Eastern Security Service Giarrusso Building Supplies Heritage Masonry Restoration Merrill Lynch Law Office of Keith D. Miller L. & J.G. Stickley« $250 - $499 Freeman Interiors Geddes Federal Savings Hebert Financial Strategies/ Dennis & Judy Hebert« Price Chopper’s Golub Foundation Reeves Farms

* = STAGE BOARD MEMBER, STAGE EMERITUS BOARD MEMBER, as of September 26, 2016

54

n = IN-KIND CONTRIBUTION


CORPORATE, FOUNDATION & GOVERNMENT HONOR ROLL Smith Contemporary Furniture/Smith Interiors Ltd The Horowitch Family Foundation The Mid-York Press, Inc.

$75 - $249 Brady Systems Fulton Savings Bank Genuine Parts Company Lead to Success

Sheats & Bailey PLLC Urist Financial & Retirement Planning Visual Technologies Ann Wolfson Associates

ENDOWMENT & PLANNED GIFT DONORS $100,000 - $124,999 In Honor and Memory of Sheldon P. Peterfreund and Josephine A. Peterfreund

$5,000 - $9,999 Mary Louise Dunn Fund§

$2,500 - $4,999 Dr. William J. Clark, Jr. Fund«

INDIVIDUAL GIFTS All new and increased gifts this season are matched dollar for dollar by The Richard Mather Fund. Founders’ Circle $7,500 - $24,999 The Dorothy and Marshall M. Reisman Foundation Paul Phillips, MD & Sharon* Sullivan« Playwrights’ Circle $5,000 - $7,499 Daniel Bingham & Gail Hamner Bill & Nancy* Byrne« Mary & Larry* Leatherman Judy & Eric Mower* Sally Lou & Fran* Nichols« Sandra Lee Fenske & Joe Silberlicht« Elinor Spring-Mills & Darvin Varon Producers’ Circle $2,800 - $4,999 George* Bain« Pete & Mary Beth* Carmen Margaret, Amy & Bob Currier« Helene* & Neil* Gold Roberta & Rocco* Mangano« Louis & Susan Marcoccia Suzanne* & Kevin* McAuliffe« Judith Sayles & David Murray«

Frederick & Virginia* Parker Bob* & Kellie Pomfrey« Mrs. Sherwin Radin Patricia & Melvin* Stith« Dr. & Mrs. Thomas R. Welch Directors’ Circle $1,500 - $2,799 Janet* Audunson & David Youlen« Barbara Beckos & Arthur McDonald« Joan Christy & Thomas Bersani Nancy Seward & Tim Bond Cathy & Jim Breuer Sandra* L. Brown James Clark & Sharon Gordon Laurie Clark« Kristin & Sidney Cominsky Robin Curtis* & David Zellar Ed & Susan Downing Therese & Richard* Driscoll« Dana & Peggy Dudarchik Barbara & Michael Flintrop« Joan & Eddie Green* Winifred E. Greenberg Ann & Larry* Harris Betsy Hartnett* Clea & Bob Hupp Mr. & Mrs. Claude* Incaudo Peter Cannavo & Helen Jacoby

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Mr. & Mrs. Dudley Johnson Randy & Elizabeth Kalish« Ann & Dan* Lent« Bea Gonzalez* & Michael Leonard« Mr. John F.X. Mannion* & Mayor Stephanie A. Miner Nancy Green* & Tony Marschall Margaret* & Don Martin Kevin* & Michelle O’Connor Sheila R. Parker & John F. Parker, M.D. William & Rosemary Pooler Dene A. Sarason Elaine & Michael* Shende Leslie Kohman & Jeffrey Smith Dr. & Mrs. Sam Spalding Cindy Sutton & Family« Cherry & Peter Thun Linda & Jack* Webb Glenda & Larry Wetzel Laurie & Michael* Zoanetti Benefactors $1,000 - $1,499 Anonymous Maria & Paul Badami Marya & John Frantz and Sutton Real Estate Company, LLC


56


Linda & Dan Lowengard John P. & Elizabeth Y. McKinnell« Susan Beth Burgess & Michael S. Nilan Jan & David Panasci Sandra Hurd & Joel Potash Margaret & Richard* Shirtz« George & Rita Soufleris Raymond & Linda Straub« Lynda & Terry Wheat« Stars $500 - $999 Richard & Marjorie Aubrey Marion Barbero Daniel* & Sarah Berman Jeffrey Bogart Rachel May & Tom Brockelman« Drs. Alexander* & Margaret Charters Steven* & Seanne Chase Pat Colabufo Diana Coles« Frank N. Decker John Druke« Lew & Elaine Dubroff Jim & Patty Dungey« Karen & Nat Dunn« Clay & Dora Elliott Mary Ann Ferris Mary Ann Finn« Grace & Michael Flusche« Sylvia & David Fry« Allan & Nirelle Galson Michael & Jacki* Goldberg Donna Graber« Deborah Haines« David Heisig & Donna Mahar Theodore Hansen John Huppertz & Diane Mastin David Jacobs« John & Gloria Kennedy« Penelope J.M. & Stephen M. Klein« John MacAllister & Laurel Moranz Kim & Phillip Mazza« Jane Merrill Anne Morford Dorothea P. Nelson« Ralph & Mary Lou Penner« Nancy & Steve Rogers Tina Press & David Rubin Jane Burkhead & Robert* Sarason«

Kendrick & Gracia Sears« Nancy & Walter Shepard Corinne & Lynn Smith James & Vicki Smith H. Paul Steiner Nancy Kramer & Doug Sutherland Wanda Thompson« Gregg Tripoli Pastor Phil* Turner« Lorraine* Branham & Melvin Williams« Angels $250 - $499 Mr. Timothy Atseff & Ms. Margaret G. Ogden Dr. Joanne & Jim Beckman Donna Marie & Michael Bocketti Dr. Sharon Brangman & Charlie Lester« Susan & Thomas Brett Walter & Angel Broadnax Maren & Mark Brown Marlene A. Brown« Marion L. Burke Craig & Kathy Byrum Ann Clarke« Barbara & Goodwin Cooke Mr. W. Carroll Coyne Judith Dannible Bill & Terry Delevan Wynetta Devore« Sandra Marie DiBianco Cynthia Dietz Alan B. Dolmatch Walter & Linda Dudas Jonathan & Rosanne Ecker Anita & Allen Frank Melanie & Mark Fullerton« Charles R. Gallagher Ernest Giraud Penny & Ernie Giraud Jerry & Beth Groff Dr. & Mrs. Donald M. Haswell Drs. Joseph & Paula Himmelsbach Mr. & Mrs. Alexander Holstein David & Sally Hootnick« Joyce Homan Randall LaLonde & Patricia Homer Carrie Mae Weems & Jeffrey Hoone Elaine & Steve Jacobs Lex & Helen Joseph

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In Tribute Contributions have been made to Syracuse Stage to honor someone, celebrate a special occasion or offer an expression of sympathy in memory of a loved one.

Dr. & Mrs. Mark Adelson in memory of Laura Edell Sarah B. Alden in memory of Jacqueline Coley In Memory of Arlene Alpaugh Rose Erma Angotti in tribute of 43 years in real estate Juanita Balamut in tribute of Marion A. Sevier Mrs. Gwynne Bellos in honor of Dr. Neal S. Bellos Carrie Berse in memory of Betty Lourie Carol Bryant in honor of Virginia Parker Marion L. Burke in honor of Barbara B. Liptak Jim Clark & Sharon Gordon in honor of Betty Lourie and Lou Kempton The Central New York Community Foundation in memory of Betty Lourie Judith Dannible in honor of my Angel, Anthony F. Dannible Vicki & David Dansky in memory of Betty Lourie Susan G. Dorn in memory of Phillip K. Dorn Barbara Genton in honor of Donna Perricone Peggy Ginniff in honor of my parents Harold & Mildred Ginniff


Robin & Mark Kasowitz« Norma Kelley Stephen & Janet Kimatian Mary Rose Kott Ellen & Terry Lautz« Marlene & Scott MacFarlane Candace & John Marsellus Albert Marshall« Samantha* Millier Anne Morford John Palmer & Liz Morgenthein« James & Kathleen Muldoon« Betty Jane & Larry Myers Linda & Donald Napier Maria Maniscalco & James Nellis John & Joan Nicholson Michael & Maggie O’Connor Phyllis & Chuck Olmsted David & Susan Palen« Robert & Jane Pickett« Marilyn Pinsky Kathy & Dan Rabuzzi« Rissa & Michael Ratner James* & Theresa Reed Arnie & Libby Rubenstein Lois & Ted Schroeder Ellen Schwartz« Marilyn & Mike Sees« Barbara Shaw James W. Shults Rhoda Sikes Carol & Dirk Sonneborn Lawrence Sovik Dr. Kenneth & Lois Spitzer Helene & George Starr L. John* Steigerwald IV« Mr. & Mrs. Robert Tenney« Tiso Family Cynthia G. Tracy« Anita Wagner Linda Webb« – in support of Audio-Described Performances John & Mitzi Wolf Mary Jane Woodward Supporting Cast $150 - $249 George & Sandra Abbott Dr. & Mrs. Jerrold Abraham Judy & Bud Adams Judith Adams Dr. George P. Adams & Mrs. Beverly C. Adams Kathy & Mark Adelson Sally Alden

Kal Alston Robert & Jeanne Anderson Nathan Andrews Tony Antonello & Danielle Quintus Holmes & Sarah Bailey« Rosemary Baker & Stu Spiegel Juanita Balamut« Tammy Balamut« Gail & Dennis Baldwin« Ed & Joan Bangel Theresa & Dennis Bardenett« Nancy Barnum Joseph & Linda Barry Andrew & Margot Baxter« Gwynne Bellos« Mr. & Mrs. Ronald Berger Roslyn Bilford Nicki Bisson« Gerald & Barbara Black Barbara Bloom Gary & Fran Bockus Richard Bowman Virginia Brennan Jenifer Breyer Caroline & Nicholas Brust« Carol Bryant Jennifer Bryer Helen Buck Mary & Bill Butler Naomi & Jim Cannon« Joan Carlon Tom & Maryann Carranti Timothy McLaughlin & Diane Cass Dr. & Mrs. Raymond J. Cassady Robert F. Caswell Susan Chappuis« Joseph L. & Janice L. Charles Ann & Steve Chase Anthony & Carolyn Cimino« Joan Cincotta Malcolm Clark Carolyn & Sam Clemence« Edward Cohen Dr. & Mrs. Paul S. Cohen Sylvia & William Cohen« Martha Cole Margaret & Milton Coleman Mr. & Mrs. Robert Colley« Michele Combs« Margaret & David Compton« Mr. & Mrs. Robert Congel Joan & Robert D. Conine« William & Julia Consroe« Orazio & Genevieve Covelli Elizabeth Cowan

58

Jacki & Michael Goldberg in tribute of Natalie Goldberg Syracuse MT Student Daughter Carol Jean in tribute of Bob & Blanche Everingham Tom & Christine Hafner in tribute of Peter Hafner Kip & Terri Hargrave in honor of Gus Hargrave & Rick Menke Kelly & Colleen Harrison in honor of Kathleen D. Harrig Kathlyn Heaton in honor of Sharon Waletzko Heidi Holtz in memory of Betty Lourie Doris King in memory of Austin Hoffman II Richard & Joan Kollgaard in honor of Don Buschmann & Tracey White Lorraine LaDuke in honor of Mrs. Cecile LaDuke Janet W. Lowe in honor of Bob Moss Gerald Mager in tribute of Thomas A. Brisk John Huppertz & Diane Mastin in honor of Fran & Sally Lou Nichols Carl Peterson & Margaret Maurer in memory of Jacqueline Coley Mr. Wallace J. McDonald in memory of Betty Lourie Richard Midlam in tribute of Barbara Midlam Lyn Morsillo & Vanessa Kalette in honor of Tracey White & Mary Kennett Janice Nelson in honor of Bea & Irving Solomon Brenda Neuss in tribute of Christine Lightcap In honor of Kathryn Mulligan Joy & Al Oliver in honor of Rebecca Oliver & Hillary Gale


George Curry« Jamie & Julie Cyr« Peter & Margaret Darby« Clive & Sandra Davis Carol Decker Paula A. Dendis Delores R. Dixon Susan Dorn« Cynthia & Mark Dowd Greene« Sharry Doyle« Elizabeth & Evan Dreyfuss David & Robin Drucker Karen Dunn Nancy & Tony Ebersole Elizabeth & William Elkins Greg & Linda Ellstrom S. Emerick« Richard Ernst Susan Estabrook Cissie Fairchilds« Lori & Christopher Farrell Tom & Jane Ferguson Marsha & Benjamin Ferrara James & Barbara Finlon Karen & William Fisher Molly Fitzpatrick Katherine Flack« Robert & Terry Flower« Geraldine Forbes & Sidney Greenblatt Len Fonte Kathleen Forrest« Judith Fox Philip & Marilyn Frankel Jeff & Tess Freedman Mr. & Mrs. Kenneth Freer« Melanie & Mark Fullerton Carolyn & Sean Garner David & Bernice Gaynor Margaret Gelfuso« Barbara W. Genton John & Debbie Gerson« Michele & Carl Gildemeyer Frank & Anne Girardi« Peggy Ginniff James Godleski Phyllis Goldman« Annette Goodman« Robert & Karen Goldman Mrs. Lewis H. Goodman Linda Fabian Goodrich & Dennis Goodrich« Lawrence & Dorothy Gordon Drs. Michael & Wendy Gordon Judith & Samuel Gorovitz Joseph & Marie Grasso

William J. Gray Stephen & Julia Graziano Dr. Roger & Vicki Greenberg The Greenfield Family Jerry & Beth Groff James M. Hahn Patricia Haggerty Mr. & Mrs. Daniel Halsey Mrs. Stuart F. Hancock, Jr.« Carole & Mark Hansen Milena Hansen« Margaret Harding & Joseph Whelan Bill & Kathy Harmand Rebecca & Michael Harris David & Lib Hayes Nancy & Bud Haylor Lionel Lee Hector Alan & Dorothy Heller Christopher Henke & Carolyn Hsu Mary Hershberger Celaine & Victor Hershdorfer Jacqueline Hicks« Camille & Mark Hill« Alvin & Sandra Holmes Marcia Hayden-Horan & Philip Horan Mr. & Mrs. Richard Hovey Guy & Patricia Howard Dr. Harold Husovsky & Dr. Susan E. Stred Jim & Sherri Hyla Virginia Jacob Richard Jaeger Janet Jaffe« Anne Jamison & Peter Vanable Susan & Theodore Jarosz« Mr. & Mrs. Jastrzab James Aiello & Pam Johnson Pamela Johnson Mr. & Mrs. Stephen L. Johnson Thomas & Corinne Johnston Michael & Lynette Jozefczyk Marjorie T. & Joseph V. Julian« Kankus Family Dr. & Mrs. Allan Kanter Jan & James Kaplan Dr. & Mrs. Philip Kaplan Carolyn & Gregory Keefe Jane & John Keegan Joan & Alexander Keilen« David & Noel Keith Ed & Susan Kelley Jean Kimber Barbara & Richard Kimm«

59

Susan A. Parker in honor of Virginia B. Parker Dr. Paul E. Phillips & Ms. Sharon Sullivan in memory of Betty Lourie David Relyea in honor of Paula Relyea Nancy Remchuk in honor of Timothy Bond Erica Rube in honor of Jackie Goldberg cochairing the Gala Elaine Rubenstein in memory of Betty Lourie Lorne & Ellen Runge in tribute of Betty Lourie Lois & Mike Schaffer in memory of Betty Lourie Nancy Scheutziw in tribute of Syracuse Stage Staff/Volunteers Mr. & Mrs. Jacob H. Schuhle in memory of William Whiting Mansukh J. Shah in memory of Indira M. Shah Mel Shindler in honor of Tracey White Alberta L. Shouldice in honor of Peter Fekete Artistic Director of Open Hand Theatre Corrine & Lynn Smith in support of Open Captioning H. Paul Steiner in honor of Renée & Ben & Tracey White Union Bank & Trust in Honor of Betty Lourie Carol Bryant & Richard Ward in honor of Virginia & Fritz Parker Lynda Wheat In Honor of Barbara Beckos Lynda & Terry Wheat in memory of Betty Lourie Lynda Wheat in Honor of Diana Coles JoAnne Wickman in honor of Arlene Alpaugh Janet Willis in memory of Genevieve Thuma


Doris King« Russell & Joan King Sally & Dick Kinsey Theresa & Stephen Kline« Kathy & Barry Kogut Richard & Joan Kollgaard Dr. Sylvia Betcher & Martin Korn Kathy & Scott Krell Sheldon Kruth« Jill Ladd Hume & Peggy Laidman Jay & Linda Land L. Lardy & E. Pennington« Phyllis & Harlan LaVine Mark & Jeannette Levinsohn Bonnie Levy Elizabeth D. Liddy Edward & Carol Lipson David Michel & Peggy Liuzzi Joanne Lloyd« K.B. Lloyd« Harlan London, Ph.D.« Betsy Long« John & Marian Loosmann« Nicholas & Cathy Lozoponi Tom Miller & Mary MacBlane James MacKillop John & Janet Mallan« J.R. Manier Rick Manier, Jr. Louis & Nancy Maresca Elizabeth G. Mascia Ann Marshall Susan Martineau« Frederick & Virginia Marty Dr. & Mrs. Michael Masingale« Mary K. Massad Michael Mattson Mr. & Mrs. Peter Mazzaferro« Noreen & Donald McCrimmon Rod & Jana McDonald William & Pamela McGarry Michael McGrath« Pat McGrath Brian & Cheryl McIntyre Bev & Dave McKay Marilyn McKnight Brian McLane Diane Cass & Tim McLaughlin« Nancy & M. James McPherson« Dr. & Mrs. James L. Megna Margaret Meier

Mary & Eckart Meisterfeld Clifford & Marjorie Mellor Ann R. Melvin Ben & Julie Merchant« Sis Merrell Elizabeth & Walter Merriam David Michelo & Peggy Ruzzie Dan & Terry Miller« Merrill L. Miller, M.D. Beth & David Mitchell Gail & Peter Mitchell June M. Mitchell James Mitscher Robert & Barbara Moore Tina Morgan Dr. & Mrs. Charles Muniak« Mary Jane & Stephen Nathan« Richard & Barbara Natoli Patricia Naughton Nancy Needham« Brenda Neuss« Cathryn Newton Dennis & Doren Norfleet Neil Novelli Brenda Neuss« Robert & Beth Oddy Ute Oestreicher Howard McLaughlin & Mary O’Hara Sally O’Herin« Albert & Joy Oliver Donna & Richard O’Neil« Timothy & JoDean Orcutt Deborah O’Shea« Kathy Palm« Peter & Constance Palumb Susan Parker« Kenn & Annette* Peters« David & Susan Pickard Richard & Neva Pilgrim David & Linda Pitonzo Ann & Howard Port Jean Raper« Mark Re & Nancy Pasquale Robert & Christina Rhinehart Brian & Chris Rieger« Julie & Boyd Rimel« Michael & Cindy Rogan« Howard J. Rose Elaine Rubenstein Ellen & Lorne Runge Maria & Richard A. Russell« Linda & Bob Ryan« Don & Florence Saleh Richard & Jill Sargent Sisters Janet & Joan Kelly & Tony Scalzo«

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Jeffrey & Abby Scheer Robert Scheer Nancy Mudrick & Eric Schiff George & Sharon Schmit Mr. & Mrs. Jacob H. Schuhle Margaret Schuhle Janice Scully, M.D. Ruth Seaman Gracia & Kendrick Sears Thelie Trotty-Selzer & Jon Selzer« Rick & Betsy Severance Craig Simmons Nancy & Robert Slavens Craig & Martha Smith Debbie & David Smith Judith B. Smith Robert & Sheila Smith Harold & Ruth Smulyan Gwen Kay & Jef Sneider Marcene Sonneborn Jean & Paul Soper Helen E. Stacy Anne Stagnitti Deirdre & David Stam John Steinburg & Karl Crossman Deborah & James Stewart Dr. Lawrence Stewart« Jill & Ron Stratton Myrna & E.D. Sullivan« Thomas Talbot Jordan Tannenbaum Dr. Martin & Jackie Talcik Mr. and Mr. Richard Terpening Laura M. Terpening Christine & Richard Thomas Marguerite Conan & James A. Traver Charles F. Tremper« Gregg Tripoli Jean & John Tromans Lennie Elizabeth Turner« Dina & Gershon Vincow T.J. Vitale Fred & Patricia von Mechow« Frank & Alice Vreeland Ann Vaccaro Bob Visalli Kashi & Kameshwar Wali Mrs. Barbara Wanamaker Larry Volan & Sara Warner« Dr. & Mrs. Donald Washburn Mark Watkins & Brenda Silverman Elizabeth Weinstein & Steven Shahan


Ruth S. Weinstock Anna Giacobbe & Peter Welge« Peter N. Wells Evelyn D. White

Joanne Wickman Elizabeth & James Wiggins Garrett Wikoff Pauline & Robert Williamson Alex & Lola Winter

Matching Gift Program The following companies will match gifts of their employees, retirees and spouses with a gift of their own to Syracuse Stage. Ask your personnel office for a matching gift form, send the completed form with your gift – and we’ll do the rest! AT&T Allied-Signal, Inc. American Express Company Avon Products, Inc. AXA Equitable Bank of America Borden, Inc. Bristol-Meyers Squibb Foundation CIGNA Corporation CNA Foundation Chemical Bank Chubb Group of Insurance Companies Citicorp & Citibank, N.A. Coopers Industries Foundation Crouse Hinds Co. – Cooper Industries

Deluxe Corporation Digital Equipment Corporation Emerson Electric Co. Equitable Life Assurance Society Farmer & Traders Life Ins. Co. Fireman’s Fund Insurance GE Foundation General Foods Corporation GlaxoSmithKline John Hancock Mutual Life Insurance The Home Depot Foundation Honeywell IBM Corporation J.P. Morgan Chase & Co. Johnson & Johnson

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Tina Winter Ivan & Bonnie Wolf Tom & Carol Wolff Lori Ott & Jeffrey Woodward Kelly Wypych«

Kemper National P&C Co. Key Foundation Lever Brothers Company Marine Midland Bank, N.A. McDonald’s Corporation Merrill Lynch Mobil Oil Corporation The MONY Group Mutual Life Insurance Co. NCR Corporation National Grange New York Telephone Niagara Mohawk Foundation Owens-Illinois, Inc. Pitney Bowes The Prudential Foundation Charles Schwab Radio Shack Rockwell Automation Trust SmithKline Beecham Labs The St. Paul’s Companies The Travelers Companies United Parcel Service United Technologies Corp. Verizon Welch Allyn Xerox Corporation


PRESENTS

16 17 SEASON

NINE BOOK BY ARTHUR KOPIT | MUSIC AND LYRICS BY MAURY YESTON | ADAPTATION FROM THE ITALIAN BY MARIO FRATTI (BASED ON FELLINI’S 8 ½) DIRECTED AND CHOREOGRAPHED BY ANTHONY SALATINO | MUSICAL DIRECTION BY BRIAN CIMMET | PERFORMED IN THE ARCHBOLD THEATRE SEPT. 30 – OCT. 8 | OPENING NIGHT: OCT. 1

LAURA AND THE SEA BY KATE TARKER | DIRECTED BY KATHERINE MCGERR NOV. 4 – 13 | OPENING NIGHT: NOV. 5

DISNEY AND CAMERON MACKINTOSH’S

MARY POPPINS A MUSICAL BASED ON THE STORIES OF M.L. TRAVERS AND THE WALT DISNEY FILM | ORIGINAL MUSIC AND LYRICS BY RICHARD M. SHERMAN AND ROBERT B. SHERMAN | BOOK BY JULIAN FELLOWES | NEW SONGS AND ADDITIONAL MUSIC AND LYRICS BY GEORGE STILES AND ANTHONY DREWE | CO-CREATED BY CAMERON MACINTOSH DIRECTED BY PETER AMSTER | CHOREOGRAPHY BY ANTHONY SALATINO | MUSICAL DIRECTION BY BRIAN CIMMET | CO-PRODUCED WITH SYRACUSE STAGE | PERFORMED IN THE ARCHBOLD THEATRE NOV. 26 – JAN. 8 | OPENING NIGHT: DEC. 2

THE KING STAG BY CARLO GOZZI | ENGLISH VERSION BY ALBERT BERMEL | DIRECTED BY FELIX IVANOV FEB. 17 – 26 | OPENING NIGHT: FEB. 18

MAJOR BARBARA BY GEORGE BERNARD SHAW DIRECTED BY GERARDINE CLARK MAR. 31 – APR. 9 | OPENING NIGHT: APR. 1

BERLIN TO BROADWAY WITH KURT WEILL: A MUSICAL VOYAGE MUSIC BY KURT WEILL | LYRICS BY ALAN JAY LERNER, BERTOLT BRECHT, IRA GERSHWIN, MICHAEL FEINGOLD, OGDEN NASH, MAXWELL ANDERSEN, MARC BLITZSTEIN, JACQUES DEVAL, PAUL GREEN, LANGSTON HUGHES, GEORGE TABORI, AND ARNOLD WEINSTEIN | TEXT FORMAT BY GENE LERNER MUSICAL ARRANGEMENTS BY NEWTON WAYLAND ORIGINALLY DIRECTED BY DONALD SADDLER ORIGINALLY PRODUCED BY GENE LERNER AND HANK KAUFMAN | DIRECTED BY DAVID LOWENSTEIN | MUSICAL DIRECTION BY BRIAN CIMMET | MAY 5 - 13 | OPENING NIGHT: MAY 6 *DRAMA SUBSCRIBERS WILL RECEIVE VOUCHERS REDEEMABLE FOR TICKETS TO MARY POPPINS . JON PAUL ROBY WITH ENSEMBLE IN KISS ME, KATE. DIRECTED BY DAVID LOWENSTEIN. MUSICAL DIRECTOR: BRIAN CIMMET. CHOREOGRAPHER: ANDREA LEIGH-SMITH. SCENIC DESIGNER: KATIE TULIN. COSTUME DESIGNER: MEGGAN CAMP. LIGHTING DESIGNER: HYRUM JUDKINS. PHOTO: MICHAEL DAVIS.

RALPH ZITO, CHAIR, DEPARTMENT OF DRAMA

S E A S ON S P ONS OR

TICKETS & SEASON PACKAGES AVAILABLE 62

vpa.syr.edu/drama | 315.443.3275 Follow us on:

SUDrama.VPA

@SUDrama_VPA


S Y R A C U S E S TA G E G A L A 2 0 1 6

UNDERWRITERS

Michael & Jacki Goldberg POMCO Group The Dorothy & Marshall M. Reisman Foundation VIP TABLES

Bond, Schoeneck & King, PLLC BPAS Actuarial and Pension Services Helene & Neil Gold National Grid

Sharon Sullivan & Paul Phillips, MD Syracuse University S.I. Newhouse School of Public Communications

PATRON TABLES

Barclay Damon, LLP Hancock Estabrook, LLP KeyBank KPMG Mackenzie Hughes, LLP Mangano, Lucchesi & Collins ERIC MOWER + ASSOCIATES

Ginny & Fritz Parker Rockacres Veterinary Hospital Sack & Associates Consulting Engineers, PLLC Syracuse Stage Guild University College of Syracuse University

GALA SPONSORS

Alesco Advisors, LLC Bousquet Holstein, PLLC NBT Bank

Drs. Melvin & Patricia Stith Syracuse Media Group Upstate Medical University

GALA SUPPORTERS

Anonymous Sandra Brown Dannible & McKee, LLP Grace & Michael Flusche

M&T Bank Gregg Tripoli Austin, Alesandro & Josephson Group at UBS Financial Services, Inc.

as of JUNE 1, 2016

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S Y R A C U S E S TA G E S TA F F

Artistic Director.......................................................................................................Robert M. Hupp Managing Director.....................................................................................................Jill A. Anderson Associate Artistic Director....................................................................................................Kyle Bass P R O D U C T I O N S TA F F

Director of Production Operations...........................................................................Don Buschmann Assistant Production Manager.................................................................................Dianna Angell Company Manager/Production Management Assistant..............................................Brian Crotty Production Management Intern............................................................................Bryn Newell Student Work Study.............................................................Rachel Ackerman, Hector Aguirre Technical Director..................................................................................................Randall Steffen Assistant Technical Director............................................................................Rebecca Schuetz Scene Shop Foreman...........................................................................................Michael King Carpenters...............................................................Phillip Dyke, Jordan Michaud, Erek Weis Graduate Assistant........................................................................................Leticia Hernandez Student Work Study..............................................................Hector Aguirre, McKenna Vargas Scenic Charge Artist...........................................................................................Holly K. LaGrow Assistant Scenic Artist.......................................................................Kristen Prescott-Ezickson Graduate Assistants..............................................................Loren Bartnicke, Mark Zbikowski Properties Coordinator...........................................................................................Mary Houston Props Carpenter...................................................................................................Mike Gerlach Props Artisan....................................................................................................Jessica Culligan Graduate Assistants......................................................................Chelsea Jones, Taro Takizawa Student Work Study..................................................................Jessica Crawford, Ashlee Kyker Costumer................................................................................................Gretchen Darrow-Crotty Assistant Costumer/Drama Department Costume Coordinator..................James A. McDaniel Cutter-Drapers.....................................................................Catherine Hennessy, Jennifer Peet First Hand.........................................................................................................Victoria Lillich Stitchers...................................................................................Sarah Alspach, Katelyn Yonkers Craftsperson/Shopper.........................................................................................Sandra Knapp Wardrobe and Wig Supervisor.................................................................................Sarah Stark Hair Stylist......................................................................................................Kristina Scalone Student Work Study...........................................................Kiersten Kozbial-Wu, Abby McGee Master Electrician............................................................................................David M. Bowman Assistant Master Electrician..............................................................................Miles Dudgeon Electrics Apprentice............................................................................................Laura Gisondi Student Assistants..........................Greg Folsom, Ryan Gibson, Andy LiDestri, Roslyn Palmer Resident Sound Designer/Audio Engineer.......................................................Jonathan R. Herter Assistant Audio Engineer................................................................................Kevin O’Connor Sound Apprentice............................................................................................Trinisha Dupree Graduate Assistant.................................................................................Corey Martin Sullivan Production Stage Manager....................................................................................Stuart Plymesser Stage Manager..............................................................................................Laura Jane Collins Stage Management Journeyman............................................................................Erin C Brett Stage Management Apprentice............................................................................Emily Piraino

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S Y R A C U S E S TA G E S TA F F

A D M I N I S T R AT I V E S TA F F

General Manager...............................................................................................................Jon Wilson Comptroller..............................................................................................Mary Kennett Morreale Human Resources Manager/Business Associate..................................................Kathy Zappala Director of Information Management & Technology...................................Garrett Wheeler-Diaz Student Assistant..................................................................................................Justin Ramer Director of Ticketing & Subscription Services........................................................Miguel Tarrats Assistant Director of Ticketing and Subscription Services........................Courtney Richardson Assistant Box Office Manager............................................................................Laurie Lindsey Patron Sales and Services..........................................................Brian Balamut, Dennis Lennox Box Office Assistants.........................................Phelicia Ball, Danielle Bertolini, Jalina Brown Stephanie Burnham, Elizabeth Carson, Luke Earle Rupert Krueger, Michael Roach Director of Audience Services.................................................................................Lydia Kubiniec Substitute House Manager.............................................................................Patricia Condello Student Assistant House Managers.......Drew Deal, James Mack, Natalie Oliver, Nenad Vukovic Bartenders....................Meg Pusey Anthis, Patrick Cummings, William Loeper, Evan Starling Work Study Ushers..................................Valeria Berdecia, Manda Borden, Kimberly Castoro, Katelyn Rachel Eaton, Madelyn Gelth, Amanda Gomes, Alexander Aranyi Low, Samantha Lucas, John Michael MacLeod, Alexander Maiman, Callista McMaye, Cameron Reece, Tee Rodriguez, Jenefer Rojas, Nathan Shapiro, Jemila Smith, Claire St. Marie, Brianna Stankiewicz Director of Development...............................................................................................Tina Morgan Associate Director of Development...............................................................Katherine Keeney Development Associate...................................................................................Meggan Madden Angel Appeal Telefunding Manager....................................................................Kathy Zappala Development Intern.........................................................................................Zora Moynihan Director of Educational Outreach...........................................................................Lauren Unbekant Assistant Director of Education..............................................................................Kate Laissle Education Assistant...................................................................................................Len Fonte Education Intern...........................................................................................Mike Mankiewicz Director of Marketing and Communications..............................................................Joseph Whelan Group/Corporate Sales Manager.........................................................................Tracey White Group Sales Assistant........................................................................................Amanda Kurey Marketing Manager...........................................................................................Joanna Penalva Public Relations Manager..............................................................................Kristina Starowitz Graphic Designers.................................................................Jonathan Hudak, Brenna Merritt Dramaturgy Graduate Intern.................................................................................Ellie Kaplan Dramaturgy Undergraduate Intern...................................................Catherine Grace Giddings Marketing Interns...........................................Suzanne El-Nabli, Kaitlyn Leonard, Beth Lindly Artistic Assistant...............................................................................................................Chris Botek Interpreters for the Deaf.........................................Brenda Brown, Angelo Coppola, Mikki Evans Sue Freeman, Joanne Jackowski, Sarah Korcz Zenna Preli, Shaun Standford Open Captioning........................................................................................................Chris Botek Audio Description..............................................................................Kate Laissle, Joseph Whelan Community Services Officer.................................................................................Stacey Emmons Custodians........................................................................Kitty Ashby, Les Edwards, Tony Rogers

65


ACCESSIBILITY PERFORMANCES 2016/17

GREAT EXPECTATIONS

Sat. Oct. 29, 3:00 S Sat. Nov. 5, 3:00 AD Wed. Nov. 2, 2:00 O Sun. Nov. 6, 2:00 O

DISNEY AND CAMERON MACKINTOSH’S MARY POPPINS

Sat. Dec. 10, 3:00 S Sat. Dec. 10, 3:00 AD Wed. Dec. 7, 2:00 O Sun. Dec. 18, 2:00 O

DISGRACED

Sat. Feb. 4, 3:00 S Sat. Feb. 11, 3:00 AD Wed. Feb. 8, 2:00 O Sun. Feb. 12, 2:00 O AIN’T MISBEHAVIN’ THE FATS WALLER MUSICAL SHOW

Sat. Mar. 11, 3:00 S Sat. Mar. 18, 3:00 AD Wed. Mar. 15, 2:00 O Sun. Mar. 19, 2:00 O

American Sign Language = S Sign Language Interpreted Performance Series supported in part by Welch Allyn, in memory of Susan Thompson. An American Sign Language Interpreted performance is offered for every production. For the most advantageous viewing, be sure to mention your interest in sign interpretation when reserving tickets.

HOW I LEARNED TO DRIVE

Sat. Apr. 15, 3:00 S Sat. Apr. 22, 3:00 AD Wed. Apr. 19, 2:00 O Sun. Apr. 23, 2:00 O DEATHTRAP

Sat. May 20, 3:00 S Sat. May 20, 3:00 AD Wed. May 24, 2:00 O Sun. May 28, 2:00 O

Audio-Described Performances = AD Simultaneous live narration and pre-show description for blind and visually impaired patrons. Please call the Box Office in advance to reserve headsets. Audio Enhancement: Syracuse Stage offers an infrared hearing system for patrons with up to 70% hearing loss. Headsets can be reserved free of charge through the Box Office or at the Coat Room before curtain.

Open Captioned Performances = O Open Captioning is provided for two matinee performances of every production. A small screen, placed to the side of the stage, displays text corresponding to the play’s dialogue and other sounds. Open Captioning can be viewed from most seats in the theatre. However, for the most advantageous viewing, please contact the Box Office. Open Captioning is supported by grants from Theatre Development Fund’s TAP Plus Praagram, NYSCA and donations from individuals and corporations.

Wheelchair Seating and Accessibility: Syracuse Stage is wheelchair accessible. Please call the Box Office at 315-4433275 to arrange wheelchair seating.

PROGRAM BOOK Director of Marketing and Communications: Joseph Whelan Advertising: Joanna Penalva Graphic Designer: Jonathan Hudak Cover: Brenna Merritt

Great Expectations published October 19, 2016 The Syracuse Stage program is published seven times a year. For advertising rates and information contact Joanna Penalva at 315.443.2709. Printed by Canfield & Tack.

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G E N E R A L I N F O R M AT I O N SYRACUSE STAGE 820 East Genesee Street Syracuse, NY 13210-1508 Administration: 315/443-4008 Box Office: 315/443-3275 www.SyracuseStage.org SINGLE TICKET PRICES Evenings: Fri., Sat.: $53, $48, $30 Sun., Tues., Wed., Thurs.: $43, $42, $30 Matinees: Wed., Sat., Sun.: $51, $46, $30 Previews: $39, $34, $30 All tickets can be purchased at the Syracuse Stage Box Office or online anytime at www.SyracuseStage.org. Prices may vary for opening nights. Prices may vary for opening nights and Mary Poppins. DISCOUNTS Available for senior citizens, 40 and under, and students. Call the Box Office for prices. GROUP DISCOUNTS AVAILABLE Available for groups of 10 or more; additional discounts for student/senior citizen groups. Call Tracey White: 315/443-9844. RUSH TICKETS Rush tickets are available for purchase at a discounted rate on the day of the show for all performances. Limited availability. BOX OFFICE HOURS The Box Office is open Monday through Friday, 10 a.m. to 6 p.m., and two hours before each performance. Box Office phone: 315/443-3275. Box Office fax: 315/443-1408. GIFT CERTIFICATES Call the Box Office or visit us online at SyracuseStage.org PARKING Entrance to the enclosed parking garage on Irving Avenue is on the corner of Madison Street and Irving, next to the Madison-Irving Medical Building. For hours of operation and parking costs, call (315) 475-4742. There is an open parking lot between Phoebe’s Garden Cafe and the garage maintained by Syracuse University. BEEPERS AND CELL PHONES For the actors’ safety and in consideration of the audience please turn off all cell phones; check your beeper and leave your seat number with an usher at the Coat Room prior to the performance. They will monitor your beeper and notify you if there is an emergency. FIRE NOTICE The exit indicated by a red sign nearest the seat you occupy is the shortest route to the street. In the event of an emergency, walk to that exit and follow the house staff’s directions. SMOKING POLICY The Syracuse Stage/Drama Complex is proud to be tobacco- and smoke-free. To help ensure a healthy and respectful environment, the use of all tobacco and tobacco-related products is prohibited on the property, including buildings, sidewalks, and parking areas. For more information visit: wellness.syr.edu/tobacco-free QUIET CHILDREN Quiet children over the age of five are welcome at Syracuse Stage performances. We do ask that adults remove disruptive children to the lobby.

TICKET EXCHANGE All tickets may be exchanged. Please call the Box Office 24 hours prior to the earliest performance involved in the exchange. Single ticket exchanges carry a $5 fee per ticket. Flex Pack holders may make one free exchange per show. Subscribers may make unlimited free exchanges; upgrade charges may apply. Subscribers who missed a scheduled performance and did not exchange may use their Extra Value Coupon or purchase a missed performance pass for $5. LATECOMERS In order to ensure the safety and concentration of the actors and the uninterrupted enjoyment of our patrons, latecomers will be seated at the earliest, appropriate break in the performance in the closest available seats. BUY IT IF YOU LIKE IT! Many of the items featured in our productions are available for purchase. For information contact Mary Houston, Props Master: (315) 443-2437. TO VOLUNTEER AS AN USHER If you would like to get a backstage view of Syracuse Stage, or would like to expand your social circle, this is the ideal opportunity for you. All we ask for is a positive attitude, a smiling face and the willingness to commit a few hours a month. Please call our House Manager at (315) 443-3219 for more information. OPEN CAPTIONING We are pleased to offer two open captioned performances for each mainstage play. Open captioning provides a simultaneous display of the play’s dialogue on a screen to the right of the stage. AUDIO-DESCRIBED PERFORMANCES Simultaneous live narration and pre-show description for blind and visually impaired patrons. Please contact Box Office in advance to reserve headsets. AUDIO ENHANCEMENT We offer an infrared listening system for patrons with up to a 70% hearing loss. Headsets can be reserved free of charge at the Coat Room before curtain. SIGNED INTERPRETED PERFORMANCES Tuesday evenings, the third or fourth week of each production, we offer performances for the hearing impaired. WHEELCHAIR ACCOMMODATIONS Syracuse Stage is wheelchair accessible. Please call the Box Office to arrange wheelchair seating. EMERGENCY TELEPHONE CONTACT To be reached in an emergency, please leave your name and seat location at the Coat Room when you arrive. This is the only way we can locate you. In case of an emergency you may be reached at (315) 443-9922. WWW.SYRACUSESTAGE.ORG Subscribe, purchase Flex Packs, gift certificates, and single tickets 24-7. Information, schedules, reviews and more. PLEASE . . . The use of cameras and recording devices is not permitted. Please do not bring food into the theatre. Drinks in Syracuse Stage’s Approved Theatre Containers may be brought into the theatre. Those containers are available for purchase at the Gift Shop in the Coyne Lobby. ADVERTISER SUPPORT Syracuse Stage encourages audience members to support the businesses advertised in our program.

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DELI & CATERING

Call us for all your catering needs! 323 Irving Avenue Syracuse, NY 13210

M-F: 6:30 am - 6 pm Sat: 9 am - 3 pm ph: 476 - 8363 fax: 476 - 8364

ALL MAJOR CREDIT CARDS ACCEPTED

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SERVICE


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SYRACUSE STAGE

FlexPacks

Save money and be in control of your theatre experience for the rest of our season with a Syracuse Stage FlexPack. Flexible packages of 4, 6, or 8 tickets can be used in whatever combination best suits your needs. (Please note, only two tickets per FlexPack may be applied to Mary Poppins.)

GREAT EXPECTATIONS OCTOBER 19 – NOVEMBER 6

DISNEY AND CAMERON MACKINTOSH’S

MARY POPPINS

NOVEMBER 26 – JANUARY 8

AIN’T MISBEHAVIN’ THE FATS WALLER MUSICAL SHOW MARCH 1 - 26

HOW I LEARNED TO DRIVE

DISGRACED

APRIL 5 - 23

JANUARY 25 – FEBRUARY 12

DEATHTRAP MAY 10 - 28

SEASON SPONSORS:

315.443.3275 SYRACUSESTAGE.ORG

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Celebrating 40 Years of Dining and Drama

Coee Lounge: 8 am, Mon - Fri Lunch: Mon- Sat Dinner: Tues - Sat Closed on Sundays*

*Except during the run of Mary Poppins when brunch will be served before the matinees from 12-2 pm.

PhoebesSyracuse.com | 315.475.5154 | 900 East Genesee St. Reservations are Recommended

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WE PUT THE SPOTLIGHT

ON YOUR BUSINESS At Mackenzie Hughes, we put your business center stage. That’s why we provide a comprehensive list of legal services for all your business needs—from litigation, labor and employment, tax and securities to immigration, real estate and finance. We even focus on your personal business, whether it is estates, trusts, family business issues, personal planning, or wealth management. In a friendly, informal atmosphere, you’ll feel comfortable asking questions and getting solutions to your most complicated problems. For a law firm that focuses on your business, choose Mackenzie Hughes.

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Profile for Syracuse Stage

Great Expectations Program  

Great Expectations Program