Native Gardens Program

NATIVE

GARDENS

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LETTER FROM THE MANAGING DIRECTOR HELLO, AND WELCOME TO NATIVE GARDENS –

 JILL ANDERSON. PHOTO: BRENNA MERRITT.

What strikes me most about Karen Zacarías’ play are the spot-on depictions of human relationships. In the play, we witness as neighborly interactions develop, devolve, and eventually evolve in ways we can easily recognize.

Not altogether unexpectedly, these on stage relationships prompt consideration of the professional and personal relationships occasioned by this production. I first met playwright Karen Zacarías and director Melissa Crespo in the early 2000s while I was on staff at Washington, D.C.’s Arena Stage. I am certainly delighted to welcome them here now to collaborate with the exceptional resident artists of Syracuse Stage.

highly sought after. This assembly of artists marks a first for Syracuse Stage— the first time that an entire creative team consists of women of color. In fact, this may be the first such team in a theatre such as ours anywhere in the country.

Choosing a play and finding a director is typically our first step in the creative process that conveys a play from the page to our stage. A critical next step is assembling a team of designers.

The process usually unfolds as follows: names are floated, interest and availability gauged, and after much calendar crunching, a team built. In this instance, the resulting group of artists is remarkable; they are women who don’t collaborate routinely (yet!), but whose varied paths have led them to build this show together.

While the composition of this team may be notable, I find myself reflecting more broadly on how the “teams” of our lives are built. Our abilities to welcome new artists, new neighbors, new friends, new colleagues are all built on the same principle—a willingness to listen, to learn, and perhaps to share a laugh and a bottle of wine. May this play give us all a chance to do just that!

Enjoy, and thanks for being here -

Scenic designer Shoko Kambara and lighting designer Dawn Chiang each have long associations with Syracuse Stage, with work seen on our stage as recently as last season. Costume designer Lux Haac and sound designer Elisheba Ittoop are new to Stage, each wellregarded for work elsewhere and both

Jill A. Anderson Managing Director

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TA B L E O F C O N T E N T S 13 | Letter from the Managing Director 17 | Title 18 | Taking Photos in the Theatre 19 | Cast & Credits 20 | Dramaturgical 31 | Cast & Artistic Staff Bios 49 | Who We Are

Our Mission

Our Vision

Our Core Values

About Syracuse Stage

Indigenous Land Acknowledgement 50 | In the Community

Accessibility Performances 51 | General Information 52 | Next at Syracuse Stage 53 | Next at the Department of Drama 54 | Board of Trustees 55 | Emeritus Circle

Education Advocacy Board

Young Adult Council 56 | Corporate, Foundation &

Government Sponsors 58 | Native Gardens Sponsor 59 | Individual, Corporate, Foundation,

& Government Gifts 60 | In Tribute 62 | Planned Giving 63 | Matching Gift Program 64 | Staff

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

Native Gardens Published February 13, 2019 The Syracuse Stage program is published six times a year.

For advertising rates and information contact Joanna Penalva at 315-443-2636. Printed by Canfield & Tack.

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P R E S E N T S I N A S S O C I AT I O N W I T H G E VA T H E AT R E C E N T E R & P O R T L A N D C E N T E R S TA G E

NATIVE

GARDENS BY

Karen Zacarías DIRECTED BY

Melissa Crespo SOUND DESIGN/ SCENIC DESIGN

COSTUME DESIGN

LIGHTING DESIGN

ORIGINAL MUSIC

Shoko Kambara

Lux Haac

Dawn Chiang

Elisheba Ittoop

S TA G E M A N A G E R

CASTING

Laura Jane Collins*

Harriet Bass Casting

Robert Hupp

Jill A. Anderson

Kyle Bass

Artistic Director

Managing Director

Associate Artistic Director

Mark Cuddy

Christopher Mannelli

Marissa Wolf

Cynthia Fuhrman

Geva Artistic Director

Geva Executive Director

PCS Artistic Director

PCS Managing Director

COMMUNITY DIALOGUE SPONSOR

MEDIA SPONSORS

SEASON SPONSORS

Native Gardens is produced by special arrangement with The Gersh Agency, 41 Madison Avenue, 33rd Floor, New York, NY 10010. Native Gardens was commissioned and first produced by Cincinnati Playhouse in the Park under Blake Robison (Artistic Director) and Buzz Ward (Managing Director).

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TA K I N G P H O T O S I N T H E T H E AT R E Audience members may take photos in the theatre before and after the performance and during intermission. If you post photos on social media or elsewhere, you must credit the production's designers by including the names below.

Please note: Photos are strictly prohibited during the performance. Photos of the stage are not permitted if an actor is present. Video and audio recording is not permitted at any time in the theatre.

SCENIC DESIGN

COSTUME DESIGN

Shoko Kambara

Lux Haac SOUND DESIGN/

LIGHTING DESIGN

ORIGINAL MUSIC

Dawn Chiang

Elisheba Ittoop

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THE CAST (in alphabetical order)

Anne-Marie Cusson*............................................Virginia Butley Paul DeBoy*............................................................Frank Butley Erick González*....................................................Pablo Del Valle Monica Rae Summers Gonzalez*..........................Tania Del Valle

GARDENERS (in alphabetical order)

Baker Adames................................................................Gardener Luis A. Figueroa Rosado................................Gardener, Inspector Aaron J. Mavins.............................................Gardener, Surveyor Isabel Rodriguez................................................Gardener, Nanny Devante Vanderpool......................................................Gardener

SETTING A historic neighborhood in Washington, D.C.

ADDITIONAL CREDITS Student Assistant Lighting Designer: Aria Sivick Stage Management Journeyman: Em Piraino Stage Management Interns: Shannon Bagoly, Eli Blodgett Sound Apprentice: Alex Brock Electrics Apprentice/Board Operator: Caitlin Weinell Deck Crew: Chris Green Dresser: Elizabeth Jaquay Wardrobe Supervisor: Sarah Stark Official Hotels for Guest Artists: The Genesee Grande Hotel, Parkview Hotel

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

The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.

Native Gardens 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.

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PLANTING SEEDS OF DISSENT AND HOPE AN I NTERVI EW WI TH N AT I VE GA RDE N S PLAYWRI GHT KAR E N ZACAR ÍAS

BY KE L U NDR A S MIT H

Playwright Karen Zacarías was under a tight deadline to deliver on a new play commission and though ideas fluttered through her mind, nothing quite stuck. Then, while she was at a dinner party, friends suggested that she write a play about a dispute they were having with their neighbor. After other party attendees started sharing their stories of neighborly nuisances, Zacarías realized that most conflicts in the world could be boiled down to differences over property, taste, class, and culture. This planted the seeds for her comedy Native Gardens, which finds two couples, one white and one Latinx, at odds over property lines and best practices in gardening.

KS: You’ve written a few plays that deal with the foibles of suburban play, for example, The Book Club Play pokes fun at suburban academic types. Where does that come from for you?

KZ: Well here, I was very interested in having my Latinx characters be characters that you don’t see a lot onstage.

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You don’t usually get to have a Ph.D. candidate or a lawyer who’s Latinx. For me, Native Gardens is always about, in a warm-hearted sense, undermining expectations, so the engineer in the play is a woman. We’ve seen this dynamic before, but there are different ways to approach it, so as the audience is laughing they’re also being challenged.

 PLAYWRIGHT KAREN ZACARÍAS.

“My hope is that people will take a moment to ponder what it will take for them to be a better neighbor.”

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KS: In this comedy, these neighbors take their stakes– winning a gardening competition and making partner at a law firm–so seriously. But neither seems to have regard for how they’re impacting the natural life around them or each other’s lives.

KZ: People are constantly making judgments and sometimes they don’t go on the generous side–they’re assuming the worst of someone. The play ended up becoming a symbol of what’s going on in our country, a way to be able to talk about important topics like entitlement, white privilege, and the border through the lens of horticulture and make it funny. It’s been a really interesting sociological experiment to see what this play does to audiences across the country. Most communities can relate to what’s going on no matter what side of the fence they’re on.

KS: You write in the play that the difference between a weed and a flower is judgment. What is America’s weed and flower to you?

KZ: The idea that immigrants, who are the bed-

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rock of this country, that they become the scapegoat for every single problem going on. This country goes through phases like that, like with the Irish, the Germans, and the Italians, but you think we would learn.

This country’s ability to reinvent itself and diversity are what makes it beautiful.

It’s a country founded on ideas and the idea that we are made up of many tribes and colors of people is what makes us beautiful.

KS: At the time of this interview, the government is shut down over a wall at the Mexican border, but you wrote this play before many people saw this coming. Did you imagine the play would be this relevant?

KZ: As a Mexican immigrant in this country I can tell you that the anti-Mexican sentiment that President Trump has used as the bedrock of his policy was already there before the winds started shifting. That it would literally start to become a conversation about a wall, or a fence–I just happened to choose a symbol that became the symbol for what we’re all talking about

“The play ended up becoming a symbol of what’s going on in our country, a way to be able to talk about important topics like entitlement, white privilege, and the border through the lens of horticulture and make it funny.”

right now. The roots existed long before the election and I think that’s why people can identify with it. I thought it was really important that all four people have redeeming values so that you want them to resolve it. I was much more interested in exploring hope.

KS: What do you want audiences to take away from the experience of seeing this show?

of the play the person you’re judging is yourself.

My hope is that people will take a moment to ponder what it will take for them to be a better neighbor. I want simple things out of my plays. You can still laugh, have fun, and talk about hard things in a way where nobody’s off the hook.

KZ: You go in and you’re judging each couple and changing your mind about who's right, but at the end

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NATI VE GA R DE NS

SCENIC DESIGN Whenever I start a show, I first read the script and break down where each scene takes place, the time of day, and then note specific things that need to be in the scenery. If someone says, “Here, let me go get some lemonade,” I record the scene number and in my notes, “lemonade.” It seems rather simple, but when a character specifies something like lemonade, it sparks questions that I need to discuss with the director.

Do we see where it comes from? Does the character make lemonade in the following scene? Is there a sink?

A kitchen? Is the character a “make it from scratch” kind of person or an instant lemonade person?

In Native Gardens, since the characters are constantly talking about their surroundings, I had many notes. They mention the plants in the yard, the eyesore of a fence, the new fence that is a couple inches too tall, lemonade (really), and the list goes on.

In this way, the set is largely designed in the script: back-

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yards of neighboring houses divided by a fence. One has a contest-worthy garden; the other, poorly maintained, has an oak tree.

There are many options on how to design two believable houses. I felt it was important that they be similar in style but each have its own personality and history.

Melissa and I agreed that the Butley house was recently renovated. I kept thinking of it as the architectural version of “man spreading;” I wanted every inch of their property manicured. I spent hours assessing what is available at Home Depot and home renovation stores. I chose the color from a catalog for a realistic and newly done feel.

Meanwhile, the Del Valle house is more original to the neighborhood. The script mentions it was a rental and the previous owner did not maintain it. Tania says, “If we pull away some of that patched grass… get rid of those plants and that gnome… Add some filtered

water in the birdbath. And the oak looks so majestic.”

I am sure it is no surprise that no catalog sells rolls of patchy grass or dead plants.

The challenge was creating our own. It has been amazing to watch the scenic department build everything from “the majestic oak tree” from wood, metal, and carpet padding to the “patchy grass” from fake fur rolls.

“I am sure it is no surprise that no catalog sells rolls of patchy grass or dead plants. The challenge was creating our own.”  SCENIC SKETCHES COURTESY OF SHOKO KAMBARA.

–Shoko Kambara

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NATI VE GAR DE NS

COSTUME DESIGN In costume the details tell the story. From the dahlia’s on Tania’s dress to the dirt (or lack thereof ) on Pablo’s shoes, there’s no nuance too subtle or small to be considered. When Melissa Crespo and I sat down to discuss Native Gardens, we felt it was important to explore what everyday life looks like for the characters. Where does Virginia Butley like to shop? How worn are Frank Butley’s gardening gloves? We all absorb information about people who we encounter throughout the day, unconsciously forming judgments about them. Similarly, when an actor walks on stage, an audience instantly begins to draw conclusions about

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the character and who he or she represents. One of the most exciting things about this script is its ability to play with expectation, allowing the characters and their costumes to reveal deeper truths about societal norms.

Melissa and I felt that the characters' relationships to their gardens are central to the play and should give us insight into who they are and who they want to be.

We wanted to channel all of the potential vibrancy that Tania wants for her garden into her costumes, which gave me a rich palette to draw from. On the other side of the chain-link fence, the Butley’s garden is much more traditional,

which led to their costumes being more conservative.

Native Gardens touches on racism, ageism, and the American dream, and our production asks audiences to examine their own preconceived notions about what an American looks like.

In these politically divisive times, it’s wonderful to be able to work together to bring audiences a story that highlights the importance of finding common ground.

–Lux Haac

“One of the most exciting things about this script is its ability to play with expectation, allowing the characters and their costumes to reveal deeper truths about societal norms.”  COSTUME SKETCHES FOR TANIA (WEDNESDAY), PABLO (MONDAY MORNING), FRANK (WEDNESDAY), AND VIRGINIA (WEDNESDAY) COURTESY OF LUX HAAC.

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NATI VE GARDENS

LIGHTING DESIGN About six months ago, the entire design team met with director Melissa Crespo in Syracuse Stage’s Archbold Theatre to get on the same page. Together the designers deliberated over the logistics of fitting the scenery and the lighting equipment in the space without compromising artistic design. They discussed color choices, coordinating the color of the light with the colors of the scenery and costumes. Lighting is not just to make the scenery and costumes visible—its goal is to complement them.

“My job is to help highlight the performers and all the other elements of design,” says lighting designer Dawn Chiang.

For instance, choosing a color of light that complements both Caucasian and Latinx skin tones was a consideration

that led Chiang to paler tints. Lights with leaf patterns help create dimensional foliage on the tree. Other colors “tone the space” and these tend toward deeper saturation to help create the feeling of morning, afternoon, or evening. This includes the lights on the rear-projection screen upstage which helps define the time of day.

As a comedy, Native Gardens relies less on the theatric and over stage lighting, and instead focuses on front light. “Brighter, Faster, Funnier,” is the currency of comedy. There are no dramatic Macbethesque shadows in this lighthearted and witty production.

Lights also shift the audience’s attention.

It might be the intent to focus on one set of characters at one

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house, then bounce to the other pair of characters and their house, which can help create the sense that the couples are unaware of each other. During one night scene where the characters are gathering “intel,” the lighting helps give the sense of sneakiness. “Lighting can editorialize,” Chiang explains.

One of the major topics of discussion was the 20+ foot tall tree that is a crucial element of the scenic design. Despite being well off to one side of the stage, its expansive foliage creates a 25 foot wide “canopy” blocking many lighting shots from the side and above and requiring creative solutions from Chiang. “It’s like a 3D puzzle, things to work around,” she says.

–Lauren E. Braico

NATI VE GARDENS

MUSIC The music used throughout Native Gardens is original, composed specifically for this production. Composer and sound designer Elisheba Ittoop describes it as two worlds butting up against each other. The first world, introduced at the top of the show, is full of charm and politeness. The feeling is of a chamber orchestra with cello, celeste, and harpsicord.

It is an older and established world with an edge of arched-eyebrow elegance.

music of Mark Mothersbaugh and the song “The Hardest Geometry Problem in the World” from the soundtrack to Wes Anderson’s film Rushmore. The sound of the second world derives from the television series Jane the Virgin. In addition to these musical worlds, Ittoop’s design will employ ambient sounds to bring the audience into the adjoining back yards that serve as the setting for the play.

Encroaching incrementally on the first world is a second percussive world, more in the realm of marching bands with driving drumbeats that grow in intensity and insistence.

At its peak, Ittoop says, this world arrives like a drumline marching down a street and shattering the serenity of a quiet neighborhood.

Ittoop says her role is to aid and abet the storytelling on stage. The music, she expects, will be used chiefly at the “tops and tails” of scenes as commentary and reflections on the situation, the characters, or both. One question not quite settled at the time of this writing was how the conflicting musical worlds would resolve. The answer is ninety minutes away.

For the first world, Ittoop found inspiration in the

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CAST Mia!, North America; Martin Luther On Trial, Fellowship for Performing Arts. Regional: The Christians, Syracuse Stage/The Wilma; Cat On A Hot Tin Roof, Baltimore Center Stage; Appoggiatura, Indiana Repertory Theatre; All The Way, Denver Center; Everything is Wonderful, We Will Not Be Silent, CATF; The Audience, Maltz Jupiter Theatre; The 39 Steps, The Pillowman (and 15 others) Repertory Theatre of St. Louis; My Fair Lady, The Real Thing, The Pioneer Theatre; Sylvia, The Clean House, Caine Mutiny, Cincinnati Playhouse; Blithe Spirit, The Olney Theatre. Film/TV: All four Law & Orders, The Blacklist: Redemption, Royal Pains, The Following, A Dirty Shame. Instagram: @pauladeboy, www.pauldeboy.com.

Anne-Marie Cusson (Virginia Butley) is making her Syracuse Stage debut! Broadway: Magic/Bird (u/s).

Off-Broadway: Stalking the Bogeyman, Echoes of the War with Richard Easton and Frances Sternhagen, Schnitzler’s Far and Wide. Regional: Equus and Collected Stories (Palm Beach Dramaworks); Good People; Vanya & Sonia & Masha & Spike; and Philadelphia, Here I Come! (The Asolo Repertory); All My Sons (Delaware Theatre); Anne Frank (Virginia Stage); Arms and the Man (Shakespeare Theatre NJ); The Clean House (Geva); Third (Riverside); Defying Gravity (Merrimack Repertory); A Moon for the Misbegotten (New Repertory); and Alabama Shakespeare Festival repertory company member in Romeo & Juliet and The Count of Monte Cristo. National Tour: Steel Magnolias.

Film: The Good Shepherd, My Dead Boyfriend, A Nice Girl Like You, and several indie films. TV: VEEP, Law & Order: SVU, and As The World Turns. A New Hampshire native and proud member of Actors’ Equity Association.

Erick González (Pablo Del Valle). Syracuse Stage debut. New York: El Coronel No Tiene Quien Le Escriba, Valor Agravio y Mujer, En El Nombre De Salomé, El Loco por Fuerza, Aire Frio (Repertorio Español). Oberon in A Midsummer Night’s Dream, Macbeth in Macbeth, Petruchio in The Taming of the Shrew, Iachimo in Cymbeline (Frog and Peach Theatre). Angelo in Measure for Measure, Don Pedro in Much Ado About Nothing, Marc Antony in Julius Caesar, Orlando in As You Like It (Hip to Hip Theatre Company). Marfa Lights (Intar Theatre), Noche Tan Linda (PRTT/Pregones), Farragut North (Premiere Stages).

TV: Madam Secretary, Start Up.

Paul DeBoy (Frank Butley). Broadway: Mamma Mia!, Broadhurst; Sight Unseen, Manhattan Theatre Club (cover).

Off-Broadway: Eurydice, Second Stage; Edwin, The Story of Edwin Booth, St Clement’s; Ferguson, 30th St Theatre; Swiss Family Robinson, NYMF. Tours: Mamma

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GALA HONOREES Chancellor Kent Syverud & Dr. Ruth Chen, June 8, 2018 Robert Moss, June 16, 2017 Tim Bond, June 10, 2016 Diana C. Coles, June 10, 2016 Barbara Beckos, June 10, 2016 Bethaida González, June 19, 2015 James A. Clark, June 7, 2014 Jack H. Webb, June 14, 2013 Dr. Louis G. Marcoccia, June 15, 2012

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CAST Film: A Nice Girl Like You. Proud member of the Upstart Creatures. www.erickgonzalezactor.com

Luis A. Figueroa Rosado (Gardener, Inspector) was born in Caguas, Puerto Rico and came to Syracuse at age two.

His first brush with theatre was with an after school program called “Manos” at Delaware Elementary School. When he was seven years old, he became part of the theatre group La Joven Guardia del Teatro Latino sponsored by the Spanish Action League. He performed in Los Zapaticos de Rosa, Un viejo con las alas enormes, El Principito, Don Quijote, Cecilia Valdes, El Lazarillo de Tormes, El Camarón Encantado, La Muneca Negra, Los dos Principes, and Los dos Ruisenores.

At Nottingham High School, he performed in Legally Blonde. He has also worked locally with La Casita Cultural Center, Syracuse University, LeMoyne College, OCC, Red House Theatre, The Civic Center, and with the Syracuse Opera. He serves as the lighting and sound technician for Jose Miguel Hernandez’ touring show, Cuba To Cuse. Luis currently works at Upstate Medical University with the aim of taking care of people in the community.

Monica Rae Summers Gonzalez (Tania Del Valle). A native New Yorker, Monica graduated from Fiorello H. LaGuardia High School of Performing Arts where she studied Drama. She received her B.F.A. in Acting from the Conservatory of Theater Arts at SUNY Purchase College. TV: Orange Is the New Black, Shades of Blue. Off-Broadway: The Siblings Play (Cherry Lane Theatre).

Regional: Scapino (Gulfshore Playhouse). Other NY credits include Ten Days in a Mad-House with Strangemen Theatre Company. Many thanks to HCKR Agency, Cathy Kanner, Harriet Bass Casting, and her phenomenal family and friends. @_monicarae_ Baker Adames (Gardener) was born in the Dominican Republic and moved to Syracuse at the age of eight. At age eleven, after living in Syracuse for a couple of years, he started acting in La Joven Guardia del Teatro Latino sponsored by The Spanish Action League. He has performed in Don Quijote, El Lazarillo de Tormentas, El Camarón Encantado, Los Dos Ruiseñores, Meñique, and Bebe. He is looking forward to performing at Syracuse Stage for the first time and broadening his experience.

Aaron J. Mavins (Gardener, Surveyor) is a Syracuse, New York native and second-generation student at Syracuse University pursuing Information Management. He has written and co-starred in the 2011 short play Good Hair, Bad Hair which was featured at the Loft The-

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CAST atre at the Syracuse Stage/Department of Drama complex. He enjoys behind-the-scenes writing as well as the challenge of a live show. Locally, he is known for his service to the Westcott community. He has attended plays at Syracuse Stage since a youth and is thrilled to be a part of this production.

Devante Vanderpool (Gardener) is a native of Syracuse, NY. This is his first time in a professional production and he is eager to see where this journey will take him. He is currently modeling for a production company called Wynn Visuals and works at SouthSide Fitness. He looks forward to developing his acting craft in future dramatic and comedic performances.

Isabel Rodriguez (Gardener, Nanny) is a sophomore Musical Theater major from Bronx, NY. She is thrilled to be making her Syracuse Stage debut in Native Gardens.

A R T I S T I C S TA F F Shoko Kambara (Scenic Design).

Previous work at Syracuse Stage: Next to Normal, The Turn of the Screw, and The Bomb-itty of Errors. Other recent work: Little Girl Blue (George Street Playhouse); Holiday Inn, Always . . .

Patsy Cline, and Guys and Dolls (Finger Lakes Musical Theatre Festival); A Christmas Carol and Chicago (Hangar Theater); The Prince of Players (Houston Grand Opera - world premiere, Florentine Opera); Carrie: The Musical (Montclair State University); The Barber of Seville (Opera Philadelphia, Opera Theatre of St. Louis - St. Louis Theater Circle Award for Outstanding Set Design, Opera Omaha, Virginia Opera); Don Pasquale (Juilliard School); The Little Mermaid (Arkansas Repertory Theatre); Nice Work If You Can Get It (National Tour, Worklight Produc-

tions); Animals Out of Paper (Hudson Stage Company); Shining City (Nevada Conservatory Theatre). Adjunct professor at New York University and Montclair State University. www.shokokambara.com Lux Haac (Costume Design) is a New York-based costume designer for theatre, film, opera, and dance. Credits include Ajijaack on Turtle Island (New Victory Theater); Well Intentioned White People (Barrington Stage Company); The Lover, The Collection (University of Rochester); The Review or How to Eat Your Opposition (WP Theater); ¡Figaro! (90210) (The Duke/Ragman Ventures); Destiny of Desire (Garden Theatre); Nibbler (The Ammoralists/ Rattlestick Playwrights Theatre); Cross-ing the Line (Amphibian Stage Productions); The FairyQueen (Hofstra

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A R T I S T I C S TA F F University); Fall River, Syncopation, Trayf (Penguin Rep Theatre); Hair, Echoes and Nibbles of the Sun, The Seagull (NYU); A Lesson from Aloes (The Juilliard School); The Road to Damascus (59E59); Leave Me Green (The Gym at Judson); A Winter’s Tale (The New School); The Erlkings (Theatre Row); Rock & Roll Refugee, Love/Sick (Royal Family); PowwowHighway(Amerinda/HERE).

Film: #TEXIT; Look Closer (Can’t You See the Signs); Violation; Across the Sea; A Teacher’s Reward; Deluge.

Education: M.F.A., Design for Stage and Film, Tisch School of the Arts/ NYU. www.luxhaac.com. Upcoming: Between Two Knees (OSF).

co-designed the first two seasons of the Encores! concert musical series at City Center. Dawn was resident lighting designer for New York City Opera, where her designs included A Little Night Music and Fanciulla del West. She is the lighting designer for the award-winning FDNY Fire Zone at Rockefeller Center, New York. Awards include two Lighting Designer of the Year Awards (Syracuse Area Live Theatre), two Dramalogue awards, a THEA Award (Themed Entertainment Association) and nominations for the Hewes Design Award from American Theatre Wing, Syracuse Area Live Theatre – Lighting Designer of the Year, Los Angeles Drama Critics’ and San Francisco Bay Area Critics’ Award.

Dawn Chiang (Lighting Design) designed the lighting for the Syracuse Stage productions of Next to Normal, To Kill A Mockingbird, Other Desert Cities, The Glass Menagerie, August Wilson’s Two Trains Running, Rent, Blithe Spirit, Boys Next Door, Little Women, Fiddler on the Roof, A Christmas Carol, Hamlet, M. Butterfly, and The Dybbuk. She has designed the lighting at numerous regional theatres including Denver Center Theatre Company, Oregon Shakespeare Festival, Milwaukee Repertory Theater, South Coast Repertory, Alliance Theatre, Mark Taper Forum, Guthrie Theater, Arena Theatre, and Geva Theatre. On Broadway, Dawn designed the lighting for Zoot Suit, was co-designer for Tango Pasion, and associate lighting designer for Show Boat, The Life, and the original production of La Cage Aux Folles. Off-Broadway, she has designed for the Roundabout Theater, Manhattan Theatre Club, and

Elisheba Ittoop (Sound Design/ Original Music). Elisheba’s designs and original music have been heard at The Kennedy Center, Guthrie Theater, The Public Theater, Manhattan Theatre Club, New York Theatre Workshop, Steppenwolf Theatre, Signature Theatre, Oregon Shakespeare Festival, National Gallery of Art, Soho Rep, Huntington Theatre, Shakespeare Theatre Company, Denver Center, Two River Theater, Women’s Project, Triad Stage, Woolly Mammoth, Arena Stage, Alliance Theatre, Cincinnati Playhouse, Cleveland Playhouse, LaMaMa, 59E59, Children’s Theatre of Charlotte, Bonnaroo Music Festival, Okeechobee Music Festival, and the Center for Puppetry Arts. Elisheba was a resident sound designer at the Eugene O’Neill Theater Center for the 2010 and 2011 National

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JPMorgan Chase & Co. is proud to be a sponsor of Syracuse Stage’s 46th season.

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A R T I S T I C S TA F F Playwrights Conferences, a recipient of the Kenan Fellowship at the John F. Kennedy Center for the Performing Arts, and winner of the 2008 USITT Rising Star Award. Education: NYU, North Carolina School of the Arts. www.elishebaittoop.com

a graduate of the stage management program in Syracuse University’s Department of Drama.

Harriet Bass Casting (Casting).

Harriet is an independent New York casting director for theatre, film, and television. In New York she has cast for ABC/TV, Fox Television Studios, Joseph Papp’s Public Theater: New Work Now, the Minetta Lane Theatre, the Women’s Project, La Mama E.T.C., New York Women in Film and Television, and the Jewish Repertory Theatre.

She cast the original and touring production of August Wilson’s Radio Golf, the Broadway production of Gem of the Ocean, and the Off-Broadway production of Jitney. Selected regional casting credits include Mark Taper Forum, Hartford Stage Co, Arena Stage, Trinity Rep, San Jose Rep, Geva, Syracuse Stage, Pittsburgh Public, Merrimack Rep, Long Wharf Theatre, Alliance Theatre, the Goodman Theatre, Kansas City Rep, Baltimore Center Stage, Huntington Theatre Company, Virginia Stage Company, Dallas Theatre Company, Berkeley Rep, Portland Center Stage, and Playmaker’s Rep.

Laura Jane Collins (Stage Manager) returns for her ninth season with Syracuse Stage and was a part of the stage management team for Noises Off and Elf The Musical. She will stage manage Native Gardens and The Humans.

Regional credits include: The Curious Incident of the Dog in the Night-Time, Next to Normal, The Magic Play, Disgraced, Stupid F***ing Bird, The Piano Lesson, Chinglish, Scorched, and The Boys Next Door (Syracuse Stage); The Foreigner, Third, The Hound of the Baskervilles, Around the World in 80 Days (Hangar Theatre); Anne of Green Gables: A New Folk Rock Musical, Murder For Two, Ghost: The Musical (Finger Lakes Musical Theatre Festival). Dance production credits include: Slightly Sinful, Ballet on the Edge, The Nutcracker (Rochester City Ballet, under the direction of David Palmer). LJ is

P L AY W R I G H T Karen Zacarías was recently hailed as one of the most produced playwrights in the United States. Her award-winning plays include Destiny of Desire, Native Gardens, The Book Club Play, Legacy of Light, Mariela in the Desert, The Sins of Sor Juana, and the adaptations of Just Like Us, Into The Beautiful North, and How the Garcia Girls Lost Their Accent. She is the

author of ten renowned theatre for young audiences (TYA) musicals and the librettist of several ballets. She is one of the inaugural resident playwrights at Arena Stage, a core founder of the Latinx Theatre Commons, and a founder of Young Playwrights’ Theater.

She was voted 2018 Washingtonian of the Year by Washingtonian Magazine for her advocacy work in the arts.

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CO-PRODUCERS Geva Theatre Center. Now in its 46th Season, Geva Theatre Center is a notfor-profit, professional theatre company dedicated to creating and producing professional theatre productions, programs and services of a national standard. As Rochester’s leading professional theatre, Geva Theatre Center is the most attended regional theatre in New York State, and one of the 25 most subscribed in the country, serving up to 160,000 patrons annually, including more than 16,000 students. The 516seat Elaine P. Wilson Stage is home to a wide variety of performances, from musicals to American and world classics. The 180-seat Ron & Donna Fielding Stage is home to Geva’s own series of contemporary drama, comedy and musical theatre; Geva’s New Play Reading Series and the Hornets’ Nest– an innovative play-reading series facilitating community-wide discussion on controversial topics. In addition, the Fielding Stage hosts visiting companies of both local and international renown. Geva Theatre Center offers a wide variety of educational, outreach and literary programs, nurturing audiences and artists alike. Since 1995, the organization has been under the artistic direction of Mark Cuddy.

Portland Center Stage at The Armory is the largest theater company in Portland, Oregon. Established in 1988 as a branch of the Oregon Shakespeare Festival, the company became independent in 1994. An estimated 160,000 people visit The Armory annually to enjoy a mix of classic, contemporary, and world premiere productions, along with a variety of high quality education and community programs. Eleven productions are offered each season, in addition to roughly 400 community events created–in partnership with 170+ local organizations and individuals–to serve the diverse populations in the city. As part of its dedication to new play development, the company has produced 26 world premieres and presents an annual new works festival, JAW: A Playwrights Festival. Home to two theaters, The Armory was the first building on the National Register of Historic Places, and the first performing arts venue in the country, to achieve a LEED Platinum rating. In 2018, The Armory welcomed new leadership under Artistic Director Marissa Wolf and Managing Director Cynthia Fuhrman.

DIRECTOR Melissa Crespo is a New York City based director of theatre, opera, and film. She has developed new work at The Lark, Atlantic Theater Company, Two River Theater, Ensemble Studio Theatre, Ars Nova, Labyrinth Theater Company, and more. Upcom-

ing: world premiere of Daughters of the Rebellion by Guadalís del Carmen at Montclair State University. Recent credits include: In the Red and Brown Water by Tarell Alvin McCraney (Columbia Graduate Acting), Wickedest Woman by Jessica Bashline

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DIRECTOR (Strange Sun Theatre), graveyard shift by Korde Arrington Tuttle (San Francisco Playhouse), Pedro Pan by Rebecca Aparicio and Stephen Elkins (NYMF), In the Blue Hour by Martina Potratz (Lil’ Explosions), Brother Toad by Nathan Louis Jackson (Kansas City Repertory Theatre), The Review or How to Eat Your Opposition

by Donnetta Lavinia Grays (WP Theatre), eat and you belong to us by mj kauffman (NYU Tisch School for the Arts); ¡Figaro! (90210) by Vid Guerrerio (The Duke on 42nd Street

& LA Opera), ABC Talent Showcase (Disney NYC), Destiny of Desire by Karen Zacarías (Garden Theatre), Tar Baby by Desiree Burch with Dan Kitrosser (seen at 59E59, Edinburgh, London, Finland, and New Zealand).

Fellowships and Residencies: Time Warner Fellow (WP Theatre), Usual Suspect (NYTW), The Director’s Project (Drama League), Van Lier Directing Fellow (Second Stage Theatre), and the Allen Lee Hughes Directing Fellow (Arena Stage). http://www.melissacrespo.com

ARTISTIC DIRECTOR Robert Hupp is in his third season as artistic director of Syracuse Stage.

He recently directed Noises Off, Next to Normal, and The Three Musketeers for 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 New York State Council on the Arts, 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.

He and his wife Clea ride herd over a blended family of five children, one dog, and two cats.

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TICKET SALES COVER LESS THAN

50%

of our annual operating costs. The rest is covered by tax-deductible donations made by people like you. Help us continue to make theatre in Syracuse, for Syracuse.

Every gift matters. Make yours today.

FOR MORE INFORMATION: SYRACUSESTAGE.ORG | 315-443-3931  KIM STAUNTON, CHIKÉ JOHNSON, AND STORI AYERS IN A RAISIN IN THE SUN. BY

LORRAINE HANSBERRY. DIRECTED BY TIMOTHY DOUGLAS. PHOTO: MICHAEL DAVIS.

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MANAGING DIRECTOR in Hiiumaa, Estonia. Previously, Jill spent five years in the production office at Washington, D.C.’s Arena Stage, after working as a stage manager in Minnesota, New Mexico, and Massachusetts. In addition to her work at Stage, Jill is an instructor in the Theater Management program of the Syracuse University Department of Drama, building on her work with high school and college students elsewhere, including at the Kennedy Center American College Theater Festival. Jill was recognized as part of the Central New York Business Journal’s “40 Under Forty” awards in 2017 and has served on numerous municipal and non-profit boards. Jill is a proud cheesehead, hailing from Marshfield, Wisconsin.

She and her husband Dave Anderson, along with their daughter, are pleased to call Central New York home.

Jill A. Anderson has served as managing director of Syracuse Stage since 2016. Jill is responsible for Stage’s nearly $6.5 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

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 is the author of Possessing Harriet, commissioned by the Onondaga Historical Association, which received its world premiere at Syracuse Stage earlier this season, and is currently the Burke Endowed Chair for Regional Studies at Colgate University. A two-time recipient of the New York Foundation for the Arts Fellowship (for fiction in 1998 and playwriting in 2010), a finalist for the Princess Grace Playwriting Award, and Pushcart Prize nominee, Kyle’s full-length plays include Tender Rain, The Faith of our Fathers, and Bleecker Street. Separated, a piece

of documentary theatre about the student military veterans at Syracuse University was presented at Syracuse Stage and at the Paley Center in New York, directed by Robert Hupp. Kyle is the co-author (with Ping Chong) of Cry for Peace: Voices from the Congo, which had its world premiere at Syracuse Stage and was subsequently produced at La MaMa Experimental Theatre in New York City. Kyle’s one-act plays include Fall/Out, Theory of Night, Love is a Blue Velvet Box, Spoons, Northeast, and The Cutaneous Rabbit Illusion.

Kyle has begun writing a new fulllength play: Lakeview, which is set in a small city situated between a large university and a sacred but troubled body 45

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A S S O C I AT E A R T I S T I C D I R E C T O R of water, and on the verge. As dramaturg, 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, subsequently produced at Yale Rep and the Kennedy Center. As a screenwriter, Kyle is the co-author of the original screenplay for the film Day of Days (Broad Green Pictures, 2017), which stars award-winning veteran actor Tom Skerritt, and he is the author of the screenplay adaptation of the novel Milk by Darcy Steinke. Kyle has been commissioned by the Society for New Music to write the libretto for an opera based on the life and music of leg-

endry folk singer and guitarist Libba Cotten. Kyle’s plays and other writings have appeared in the journals Callaloo, Folio, and Stone Canoe, among others, and in the essay anthology Alchemy of the Word: Writers Talk about Writing. He is drama editor for the journal Stone Canoe, teaches playwriting in Syracuse University’s Department of Drama, theatre courses in the Department of African American Studies, has been guest lecturer in playwriting at Hobart & William Smith Colleges, and was faculty in the M.F.A. Creative Writing program at Goddard College from 2006 to 2018. Kyle holds an M.F.A. in Playwriting from Goddard College, and is a proud member of the Dramatist Guild of America.

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GA L A 2 0 1 8 T H A N K Y O U T O O U R G A L A B E N E FA C T O R S Christine Larsen and Vincent Dopulos Mackenzie Hughes LLP Mangano Law Offices Fran and Sally Lou Nichols NBT Bank Michael J. Falcone, Pioneer Companies Rockacres Veterinary Hospital Solvay Bank Dr. Paul Phillips and Mrs. Sharon Sullivan

UNDERWRITERS Bank of America Merrill Lynch BPAS Crouse Health Everson Museum of Art The Hayner Hoyt Corporation JPMorgan Chase & Co. Ashley McGraw Architects, D.P.C. O’Brien & Gere Peterson Guadagnolo Engineers The Dorothy and Marshall M. Reisman Foundation Syracuse University

SPONSORS Advance Media New York George Bain Mark Jackson & Candace Campbell Jackson Syracuse Banana

V I P TA B L E S Michael & Jacki Goldberg National Grid

GALA SUPPORTERS PAT R O N TA B L E S

Edward S. Green & Associates LLC Neil and Helene Gold Hueber-Breuer Construction Co., Inc. Huen Pathfinder Bank The Austin and Alesandro Group at UBS Financial Services Zellar Homes

Barclay Damon Bond, Schoeneck & King, PLLC Bousquet Holstein PLLC Cathedral Candle Company Excellus BlueCross BlueShield Neil and Helene Gold Bea González and Michael Leonard Hancock Estabrook, LLP

As of June 4, 2018

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WHO WE ARE Syracuse Stage is the non-profit, professional theatre company in residence at Syracuse University. We are nationally recognized for creating stimulating theatrical work that engages Central New York, and for our significant contribution to the artistic life of Syracuse University, where we are a vital partner in achieving the educational mission of the University’s Department of Drama.

OUR MISSION Syracuse Stage tells stories that engage, entertain, and inspire us to see life beyond our own experience.

OUR VISION Reimagining what's possible for regional theatre–through active inclusion, innovative outreach, and bold productions–Syracuse Stage shapes the culture and social vitality of Central New York, enriches the Syracuse University student experience, and fosters change in ourselves, our communities, and our world.

O U R C O R E VA L U E S People - Actively including diverse individuals, communities, ideas, and perspectives.

Passion - Commitment to integrity, excellence, and enthusiasm in our work.

Curiosity - Fostering an innovative and adaptive environment that elicits wonder.

A B O U T S Y R A C U S E S TA G E Originally constructed as the Regent Movie House in 1914, the physical space of Syracuse Stage has seen many films, musicians, actors and artists pass through its doors over the course of the past century. The Syracuse Stage that exists today is a nonfor-profit professional theatre company founded in 1974, and a longstanding League of Resident Theatres (LORT) member. Since its inception, Stage has produced over 300 shows, both plays and musicals, within its walls. Now, Stage produces six to seven shows per season, while also offering educational programs to students, various pre- and post-show events, and fundraising events each year. Stage is Central New York’s only LORT theatre and one of the largest performing arts organizations in the area. Stage has a strong commitment to giving the community access to a range of high-quality productions; it is equally committed to bringing in actors, designers and directors who are among the leading theatre professionals, both locally and across the nation.

INDIGENOUS LAND ACKNOWLEDGEMENT Syracuse Stage acknowledges with respect the Onondaga Nation, firekeepers of the Haudenosaunee, the indigenous people on whose ancestral lands we now stand.

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IN THE COMMUNITY Stage has collaborated with a myriad of institutions in the Syracuse area. Community partners include AccessCNY, ARC of Onondaga, ARISE, ArtRage, CNY Reads, Interfaith Works of Central New York, La Casita, McMahon / Ryan Child Advocacy Center, Onondaga Historical Association, Rosamond Gifford Zoo at Burnet Park, SUNY Upstate Medical University, the VA Medical Center, and Vera House.

Additionally, the educational department collaborates with many CNY schools.

ACCESSIBILITY PERFORMANCES 2018/19 NATIVE GARDENS

THE HUMANS

Sat. Feb. 23, 3:00 S Sat. Mar. 2, 3:00 A Wed. Feb. 20, 2:00 Sat. Mar. 2, 8:00 O Sun. Mar. 3, 2:00 O

Sat. May 4, 3:00 S Sat. May 11, 3:00 A Wed. May 1, 2:00 O Sat. May 11, 8:00 O Sun. May 12, 2:00 O

O

PRIDE AND PREJUDICE

THE LAST FIVE YEARS

Sat. Mar. 30, 3:00 S Sat. Apr. 6, 3:00 A Wed. Mar. 27, 2:00 Sat. Apr. 6, 8:00 O Sun. Apr. 7, 2:00 O

Sat. June 8, 3:00 S Sat. June 15, 3:00 A Wed. June 5, 2:00 O Sat. June 15, 8:00 O Sun. June 16, 2:00 O

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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.

Relaxed/Sensory-Friendly = R/SF Relaxed/Sensory-Friendly performances provide a welcoming environment that lets all patrons express themselves freely without judgment or inhibition. These live theatre experiences invite and encourage individuals with autism, ADD, ADHD, dementia, and sensory sensitivities to enjoy the performance in a "shush-free" zone. All tickets for Relaxed/Sensory-Friendly performances are $25 and include a 100% refund right up to the start of the show. Tickets can be reserved by calling the Box Office. Contact Kate Laissle at kmlaissl@syr.edu or 315-4427755 for more information.

Open Captioned = O Open Captioning is provided for two matinee performances and one evening performance 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.

Audio Enhancement We offer a wireless FM system for patrons with up to a 70% hearing loss. Headsets can be reserved free of charge at the Coat Room before curtain, or patrons can use their own earbuds or headphones, or with t-coil technology for those who use hearing aids equipped with a t-switch.

Audio Description = A Simultaneous live narration and pre-show description for blind and visually impaired patrons. Please call the Box Office in advance to reserve headsets.

Wheelchair Seating and Accessibility Syracuse Stage is wheelchair accessible.

Please call the Box Office at 315-443-3275 to arrange wheelchair seating.

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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

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.

Group Discounts Available Available for groups of 10 or more; additional discounts for student/senior citizen groups. Contact Tracey White: 315-443-9844, trwhite@syr.edu

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.

M&T Bank Pay-What-You-Will We believe everyone should be able to attend Syracuse Stage performances. With this in mind, we are offering 76 tickets to one performance of each show on a pay-what-you-will basis. Dates can be found on our website. Tickets must be claimed in person at the Box Office on the day of performance only, limit of two per person. Subject to 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 Restaurant and Coffee Lounge and the garage maintained by Syracuse University.

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

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.

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.

SyracuseStage.org Subscribe, purchase Flex Packs, gift certificates, and single tickets 24-7. Information, schedules, reviews and more.

Cell Phones For the actors’ safety and in consideration of the audience please turn off all cell phones.

Advertiser Support Syracuse Stage encourages audience members to support the businesses advertised in our program.

Taking Photos In The Theatre Audience members may take photos in the theatre before and after the performance and during intermission. If you post photos on social media or elsewhere, you must credit the production's designers by including their names, which may be found on the title page of this program.

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.

Please note: Photos are strictly prohibited during the performance. Photos of the stage are not permitted if an actor is present. Video and audio recording is not permitted at any time in the theatre.

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

Beverage Policy Only 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 and at the bar.

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

PRIDE AND PREJUDICE

THE HUMANS

BY KATE HAMILL | ADAPTED FROM THE NOVEL BY JANE AUSTEN | DIRECTED BY JASON O’CONNELL MARCH 20 - APRIL 7 | OPENING NIGHT MARCH 22

BY STEPHEN KARAM | DIRECTED BY MARK CUDDY CO-PRODUCED WITH GEVA THEATRE CENTER APRIL 24 - MAY 12 | O PEN IN G N IG HT: APRIL 26

In the age of The Crown and Victoria, we go back to the Anglophile source with Kate Hamill’s playful adaptation of Jane Austen’s classic romance, Pride and Prejudice. The outspoken Elizabeth Bennet faces mounting pressure from her status-conscious mother to secure a suitable marriage. But is marriage suitable for a woman of Elizabeth’s intelligence and independence? Especially when the irritating, aloof, self-involved… tall, vaguely handsome, mildly amusing, and impossibly aristocratic Mr. Darcy keeps popping up at every turn? What? Why are you looking at us like that? Literature’s greatest tale of latent love has never felt so theatrical, or so full of life than it does in this effervescent new adaptation.

Hey, Jane Austen could show these upstart hipsters a thing or two.

Critically acclaimed winner of the 2016 Tony Award for Best Play, The Humans offers a compelling look at a slice of contemporary life as seen through a family Thanksgiving celebration. The Blakes of Scranton, Pennsylvania, Eric and Deirdre, have come to Chinatown to spend the holiday with their adult daughters, Aimee and Brigid. Along for the celebration are Momo, Eric’s mother teetering in and out of consciousness, and Richard, Brigid’s boyfriend. Of course, they eat turkey, but when they talk turkey, it really gets interesting. A blisteringly funny and poignant play about people we might know and people we could be.

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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

WE ARE PROUD TO PRESENT...

THE WILD PARTY

B Y JAC KI E S I B B L I E S D R U R Y | DI R E C TE D B Y GILBERT MCCAULEY | FEBRUARY 22 – MARCH 3 O P E N I N G N I G H T : F E B R UAR Y 2 3

BOOK, MUSIC, AND LYRICS BY ANDREW LIPPA BASED ON THE POEM BY JOSEPH MONCURE MARCH | DIRECTED BY KATHERINE MCGERR ASSOCIATE DIRECTED AND CHOREOGRAPHED BY ANDREA LEIGH-SMITH | MUSIC DIRECTION BY BRIAN CIMMET | MARCH 29 – APRIL 7 | OPENING NIGHT: MARCH 30

Ever wonder what it would be like to be in the rehearsal room when actors are digging ferociously into their psyches to discover a moment of revelation, or arguing heatedly over a character’s motivation? In We Are Proud to Present …, a company of six actors gathers in a rehearsal room to tell the little-known story of the first genocide of the 20th century—the extinction of the Herero tribe at the hands of their German colonizers. Along the way, they test the limits of empathy as their own stories, subjectivities, assumptions and prejudices catalyze their theatrical process.

Eventually the full force of a horrific past crashes into the good intentions of the present, and what seemed a faraway place and time comes all too close to home in this exceptional play about the sensitivities and difficulties inherent in the act of storytelling itself.

You’re invited to a party—a wild Hollywood party set in the Roaring 20s.

Queenie and Burrs are your hosts. An intoxicating array of beverages will be served, music and dancing will raise the roof, and trouble will most certainly make an appearance. What’s a party without at least a little trouble? Based on Joseph Moncure March’s 1928 narrative poem, The Wild Party is a steamy prohibition tale driven by one of the most exciting, pulse-racing scores ever written. When you need to cut loose, how far is too far?

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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

Rick Shirtz Regional President NBT Bank PRESIDENT

Bea González Vice President for Community Engagement Syracuse University CHAIR-ELECT

Nancy Green President Edward S. Green & Associates VICE CHAIR

Janet Audunson Assistant General 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 VICE CHAIR

Phil Turner Pastor Bethany Baptist Church TREASURER

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

Sharon Sullivan Community Volunteer Jill Anderson** Managing Director Syracuse Stage George S. Bain Freelance Editor and Writer Barbara Beckos Retired Syracuse Stage Dan Berman Partner Hancock Estabrook, LLP Sandra Brown President Grandma Brown’s Beans, Inc.

Nancy Byrne Community Volunteer

Rod McDonald Bond, Schoeneck & King

Steve Chase Senior Vice President BPAS

Samantha Millier Associate Attorney Mackenzie Hughes LLP

Robin Curtis Zellar Homes/Berkshire Hathaway CNY Realty

Molly Mulvihill VP, Market Manager Enterprise Business & Community Engagement Bank of America

Richard Driscoll Sr. Commercial Banking Relationship Manager Commercial Banking Division NBT Bank Herman R. Frazier Senior Deputy Athletics Director Syracuse University Helene Gold Private Voice & Piano Instructor Neil Gold Retired VP Gold Pure Food Products Jacki Goldberg VP Fundraising Syracuse Stage John Huhtala Relationship Manager Middle Market Commercial Banking Chase

Fran Nichols Chair Emeritus, Syracuse Stage Eric Mower + Associates Marc Nichols Executive VP & General Counsel SAAB USA, LLC. Virginia Parker Retired Educator Annette Peters Marketing Director Syracuse Media Group Kendall Phillips Associate Dean, Global Academic Programs and Initiatives Syracuse University Amir Rahnamay-Azar Chief Financial Officer Syracuse University

Robert Hupp** Artistic Director Syracuse Stage

Molly Ryan Partner, Goldberg Segalla LLP

Kathy Kelly Health Educator, PNP, retired

Robert Sarason Retired Lawyer, Organizer, Fundraiser

Larry Leatherman Retired Bristol-Myers Squibb, MOST Dan Lent Vice President Solvay Bank Anthony Malavenda Duke’s Root Control Rocco Mangano Partner Mangano Law Office, PLLC Julia Martin Partner Bousquet Holstein Kevin R. McAuliffe Partner Barclay Damon Suzanne McAuliffe Retired Educator

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L. John Steigerwald IV Marketing and Sales Representative Cathedral Candle Company Cora Thomas Radio Host and Office Manager, WAER Michael S. Tick Dean, College of Visual and Performing Arts Syracuse University 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 Joan Green Elizabeth Hartnett

Jack Mannion Margaret Martin Eric Mower Judy Mower

Michael Shende Jack Webb

SYRACUSE STAGE EDUCATION ADVOCACY BOARD Sara Bambino

Elizabeth Defurio

Linda Ponza

CICERO-NORTH SYRACUSE

NOTTINGHAM HIGH SCHOOL

SOLVAY HIGH SCHOOL

David Fisselbrand

Jennifer Sabatino

AUBURN HIGH SCHOOL

CATO-MERIDIAN MIDDLE SCHOOL

HIGH SCHOOL

Todd Benware CHRISTIAN BROTHERS ACADEMY

Melissa Morgan

Jordan Berger

BAKER HIGH SCHOOL

JAMESVILLE-DEWITT HIGH SCHOOL

Matthew Phillips

Rhiannon Berry

JAMESVILLE-DEWITT HIGH SCHOOL

LIVERPOOL HIGH SCHOOL

Y O U N G A D U LT C O U N C I L Samantha Aitken

Ryan Dunn

Nancy O’Connor

JAMESVILLE-DEWITT HIGH SCHOOL

FAYETTEVILLE-MANLIUS HIGH SCHOOL

JAMESVILLE-DEWITT HIGH SCHOOL

Emma Baker

Garrett Frink

Tyler Piper

NOTTINGHAM HIGH SCHOOL

PHOENIX HIGH SCHOOL

JORDAN-ELBRIDGE HIGH SCHOOL

Chloe Butler

Chloe Hill

Victoria Sayre

JAMESVILLE-DEWITT HIGH SCHOOL

PAUL V. MOORE HIGH SCHOOL

MARCELLUS HIGH SCHOOL

Derek Caldeira

Lauren Lammers

Peyton VanBoden

FABIUS POMPEY HIGH SCHOOL

C.W. BAKER HIGH SCHOOL.

HOMESCHOOLED

Emma Clardy

Joe McCurdy

Eleanor Wester

JAMESVILLE-DEWITT HIGH SCHOOL

LIVERPOOL HIGH SCHOOL

CAZENOVIA CENTRAL SCHOOL

Cami Cortez

Jade McKenney

WESTHILL HIGH SCHOOL

NOTTINGHAM HIGH SCHOOL

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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. 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, AND GOVERNMENT SPONSORS

Richard Mather Fund

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CORPORATE, FOUNDATION, AND GOVERNMENT SPONSORS

J.M. McDonald Foundation

Contributions listed above are current as of January 14, 2019 and reflect operating support of $2,800+ and inkind donations of $10,000+.

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NATIVE GARDENS SPONSOR

Charities, nonprofits, civic organizations, and the arts are essential for a successful community.

Tompkins Trust Company is proud to continue sponsoring Syracuse Stage and we are thrilled to invite you to Native Gardens. We believe that local is powerful and we appreciate the artistic integrity Syracuse Stage brings to Central New York. Bravo to another successful season!

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INDIVIDUAL, CORPORATE, FOUNDATION, & GOVERNMENT GIFTS New and increased gifts this season will be matched by The Richard Mather Fund. $100,000+ Syracuse University $75,000 - $99,999 Nancy & Bill Byrne The Dorothy and Marshall M. Reisman Foundation $50,000 - $74,999 Advance Media New York CNY Arts, Inc Destiny USA The Shubert Foundation $20,000 - $49,999 CNY Community Foundation iHeartMedia Richard Mather Fund $15,000 - $19,999 Allyn Family Foundation Howard L. Green Foundation, Inc. M&T Bank NBT Bancorp Inc Benefactors Circle $10,000 - $14,999 AXA Foundation George Bain Bank of America Business Journal News Network Cumulus Media Paul Phillips & Sharon Sullivan Urban CNY WAER WRVO Founders Circle $7,500 - $9,999 JP Morgan Chase Mary & Larry Leatherman Elinor Spring-Mills & Darvin Varon Playwrights Circle $5,000 - $7,499 AnCor Inc. Richard Bunce Carrier Corporation

Cathedral Candle Company Fred L. Emerson Foundation Inc. Excellus BlueCross BlueShield Fidelity Charitable Michael & Barbara Flintrop Rosamond Gifford Foundation Helene & Neil Gold Michael & Jacki Goldberg Gail Hamner & Daniel Bingham Peter & Brigitte Herzog J.M. McDonald Foundation Nancy Kramer & Doug Sutherland LeChase Construction Lockheed Martin Lockheed Martin Employees Federated Fund Suzanne & Kevin McAuliffe Eric & Judy Mower Sally Lou & Fran Nichols Pathfinder Bank Raymour & Flanigan Furniture Patricia & Melvin Stith SUNY Upstate Medical University Syracuse Symposium: Stories Tompkins Trust Company Wegmans Producers Circle $2,800 - $4,999 Janet Audunson & David Youlen Bank of New York Mellon Jane Burkhead & Robert Sarason Mary Beth & Pete Carmen Margaret, Amy & Bob Currier Gladys Krieble Delmas Foundation Melvin & Mildred Eggers Family Charitable Foundation Sandra Lee Fenske & Joe Silberlicht

as of January 14, 2019 59

Grandma Brown Foundation Larry & Ann Harris Roberta & Rocco Mangano National Grid Frederick & Virginia Parker Selma Radin Syracuse New Times Theatre Development Fund, Inc. Directors Circle $1,500 - $2,799 Maria & Paul Badami Barbara Beckos & Art McDonald Boeheim Foundation Kris & Jeffrey Bogart Lorraine Branham & Melvin Williams Jim & Cathy Breuer Sandra L. Brown Craig & Kathy Byrum Peter Cannavo & Helen Jacoby James Clark & Sharon Gordon Kristin & Sidney Cominsky Bob & Bobbie Constable Robin Curtis & David Zellar Edward & Susan Downing Dick & Therese Driscoll Peggy & Dana Dudarchik Mary Ann Finn Frank and Frances Revoir Foundation Herman Frazier Barb Genton Bea Gonzalez & Michael Leonard Nancy Green & Tony Marschall Joan Green The Haines Family David and Sally Hootnick Robert & Clea Hupp Elaine & Steve Jacobs Jewish Community Foundation of Central New York Randy & Elizabeth Kalish Kathy Kelly & Len Weiner

Leslie Kohman & Jeffrey Smith KPMG, LLP Daniel & Ann Lent Andrew S. London, Ph.D. & Alan E. Curle, MD John FX Mannion & Stephanie Miner Julia & Lee Martin Martine Burat & Anthony Malavenda Pete & Betsy McKinnell Molly & Kevin Mulvihill Sheila & John Parker Rosemary S. Pooler Dr. Amir Rahnamay-Azar Rissa & Michael Ratner Molly Ryan & Tim Byrnes Elaine & Michael Shende Margaret & Richard Shirtz George & Rita Soufleris Dr. & Mrs. Sam Spalding David & Dierdre Stam Raymond & Linda Straub Cindy Sutton & Family Peter & Cherry Thun Michael & Cathy Tick Linda & Jack Webb Glenda & Larry Wetzel Woodbine Group, Inc Dr. Yu & Mr. Qi Michael & Laurie Zoanetti Star $1,000 - $1,499 Jill & Dave Anderson Bankers Healthcare Group Kyle Bass Bousquet Holstein PLLC Candace Campbell Jackson & Mark Jackson Steven & Seanne Chase George Curry Paula Dendis John Druke Karen & Daniel Fuleihan Edward S. Green & Associates Winnie Greenberg Hampton Inn & Suites Syracuse North Joyce Homan John & Kimberly Huhtala Sandra Hurd & Joel Potash Dr Lawrence Myers Paciorek Orthodontics David & Janice Panasci Annette & Kenneth Peters Sutton Companies

Gregg Tripoli Welch Allyn Joanne Zinsmeister Yarwood Leading Role $500 - $999 George & Sandra Abbott American Endowment Foundation Anaren Anoplate Corp.

Marion Barbero Daniel & Sarah Berman Kathleen Bice Carrie Lazarus and Dave Birchenough Audrey & William Boyd Marlene A. Brown Craig Buckhout Drs. Jayne and Larry Charlamb Roger & Naomi DeMuth Stephen & Catherine DiMarco Don Blair & Nancy Dock Lewis & Elaine Dubroff Clay & Dora Elliott Allen & Anita Frank Douglas Goldschmidt & David Jacobs Golub Foundation Lawrence & Dorothy Gordon Theodore C. & Antonia M.Hansen Sharon Hayford Dennis & Judi Hebert David Heisig & Donna Mahar Huen New York The Kelberman Center Ellen & Terry Lautz Bob & Pat Lebel Mackenzie Hughes LLP Rod & Jana McDonald Elizabeth & Walter Merriam Law Office of Keith D. Miller John & Joan Nicholson Doren & Dennis Norfleet David & Susan Palen Lois & Ted Schroeder Kendrick & Gracia Sears Lowell Seifter & Sharon McAuliffe Jon Selzer & Thelie Trotty Selzer Nancy & Walter Shepard

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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.

Andre Bishop in honor of Bob Moss Andrea Fleck Clardy in honor of Bob Moss Anne Grace in memory of Audrey Dwyre Bruce Hoover in honor of Bob Moss Carol Bryant in honor of Virginia Parker Charlie & Beth Beach in honor of Rosemary Curtis Daniel Fuleihan in honor of Bob Moss Dene A. Sarason's children in memory of Dene Sarason Diane Kuppermann in honor of Jacki Goldberg Diane Orcutt in honor of Bob Moss Dr. Lawrence Myers in memory of Betty Jane Myers Dr. Susan & Mr. S Jeffrey Bastable in honor of Chancelor Kent Syverud & Dr Ruth Chen Elizabeth Burton in honor of Julia Martin Elizabeth Humphreys in memory of Barbara Burke Liptak Gary Pugh in honor of Audry Dwyre Gene Gill in honor of Bob Moss George Bain in honor of Don Buschmann.

And all the production shops at Stage Gwynne Bellos in memory of Dr. Neal Bellos H. Paul Steiner in honor of Tracey White

James W. Shults Lynn & Corrine Smith L. John Steigerwald IV Paul Steiner Lennie Turner Vanguard Charitable Supporting Role $150 - $499 Alan Byer Auto Sales, Inc Eric Alderman Kristi Andersen Robert & Jeanne Anderson Anthony Antonello & Danielle Quintus Chris Arnold & Ellen Yeomans Timothy Atseff & Margaret Ogden Holmes & Sarah Bailey Lana Baker Dr & Mrs. Gerhard Baule Dr. Joanne & Jim Beckman Gwynne Bellos Phyllis & William Berinstein Berkshire Hathaway Bill Rapp Superstore Diana Biro and Eric Rogers Gerald & Barbara Black Cynthia Blume Francine Boutet Richard Bowman Mary Brady Susan & Thomas Brett Angel & Walter Broadnax Maren & Mark Brown Caroline & Nick Brust Helen Buck Marion Burke Frank & Kathy Campagna Ronald Capone Tom & Maryann Carranti Robert Caswell Anthony & Carolyn Cimino Joan Cincotta Susan & Craig Cobb Martha Cole Jack & Lori Coleman Melanie Comito & Spencer Brown The Concept @ 235 Robert & Joan Conine Dr & Mrs Paul S. Cohen Mike & LaRae Cottrell Therese Wiley Dancks Dannible & McKee, LLP Judith Dannible

Peter & Margaret Darby Clive & Sandra Davis Bill & Terry Delavan George & Margaret DeLorenzo Sandra DiBianco Cynthia Dietz Alan B. Dolmatch Susan Dorn Sharry W. Doyle Elizabeth & Evan Dreyfuss Charley & Kim Driscoll Karen & Nat Dunn Jonathan & Rosanne Ecker Kathy Effler Bill & Betsy Elkins Linda & Greg Ellstrom Linda Fabian & Dennis Goodrich Daniel Fisher & Lori Rublman Robert & Terry Flower Len Fonte Judith Fox Phillip & Marilyn Frankel Jeff & Tess Freedman Kathleen & Kenneth Freer David & Silvia Fry Allen & Nirelle Galson Gasparini Sales, Inc. Henry & Janet George Giarrusso Building Supplies, Inc Drs. Michael & Wendy Gordon Mark & Cynthia Dowd Greene Greg & Elaine Hallett Mr H Baird Hansen & Mrs Sarah Hansen David & Ellen Hardy Donald & Cherie Haswell Mary Hershberger Drs. Joseph & Paula Himmelsbach Judy & John Hoepner Alexander & Charlotte Holstein Hueber-Breuer Construction Co., Inc. IBM Foundation Linda & Dr. John Isaac Peter Vanable & Anne Jamison Robin & Mark Kasowitz Norma Kelley Amy Kemp Jeanne Kempton King David's Restaurant

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Holly Thuma in memory of Genevieve and Theodore Thuma James MacKillop In Memory of Patricia MacKillop Jeff Purdy in honor of Enoch Purdy JoAnn Wickman in memory of Arlene Alpaugh Jody Harvey in memory of Mrs. Audrey W. Dwyre John Huppertz & Diane Mastin in honor of Fran and Sally Lou Nichols John Kunert in honor of A'Isha Shanes John Wolf in honor of Bob Moss Joyce Homan in honor of Bob Moss Judith Dannible in memory of Anthony F. Dannible Judy Rubin in honor of Bob Moss Kathleen M. Effler in honor of Damian M. Effler Kathleen M. Effler in memory of Steven W. Effler Lorne and Ellen Runge in memory of Laurie Clark Molly Corley in honor of Fran Nichols Nancy and Joesph Gorrell in honor of Bob Moss Robert Moss and Michael Brennan in honor of Tracey White and Don Buschmann Rocco Mangano in memory of Ed Green Susan Dorn in memory of Philip K. Dorn Susan Eisenberg in honor of Professor James Clark Susan Kaplan in honor of Bob Moss Winona Rainbow, Jodi Gunther, Cindy & Jim Altman in memory or Audrey Dwyre

Russell & Joan King Jeffrey Knox & Susan Maxwell Barry & Kathy Kogut Elizabeth Kolodney & Barbara Sutton Don & Margo Koten Sheldon & Karen Kruth Lauren & Robert Lalley Randall LaLonde & Patricia Homer Jay & Linda Land Linda Lebedovych Amanda Lee Bonnie Levy Mr. & Mrs. James Light Zalie & Bob Linn Edward & Carol Lipson Laura Livingston Joanne Lloyd Dr Harlan London John D. & Marian S. Loosmann Nicholas & Cathy Lozoponi Marlene & Scott Macfarlane James MacKillop John & Janet Mallan Jon Maloff Louis & Nancy Maresca Candace & John Marsellus Susan Martineau Dr. Marty & Jackie Talcik Elizabeth G. Mascia Julie Matson Mr. & Mrs. Peter Mazzaferro Rena & Don McCrimmon Mary Ellen McDonald Howard McLaughlin & Mary O'Hara Sam & Margaret McNaughton Dr. & Mrs. James L Megna Maggie & Andreas Meier Daniel & Terry Miller Gail & Peter Mitchell

David & Beth Mitchell Robert & Barbara Moore Laurel Moranz & John McAllister James & Kathleen Muldoon Network for Good Brenda Neuss Marc Nichols Michael & Margaret O'Connor Sally O'Herin Phyllis Olmsted Donna & Richard O'Neil Deborah O'Shea Larry & Joan Page Cathy Palm Robert & Teresa Parke Edith Pennington & Lawrence Lardy Kendall Phillips Marilyn Pinsky Barbara & Bob Rabin Raymond James Global Account Pat & Kuni Riccardi Nancy Rothschild Neil & Erica Rube Arnie & Libby Rubenstein Elaine Rubenstein Robert & Suzanne Rubino Linda & Bob Ryan Marilyn & Mike Sees Cheryl & Robert Shallish Geraldine Sheehan Walter & Beverly Short Rhoda Sikes Robert M. & Harriet Silverman Christina Smith Harold & Ruth Smulyan George & Helene Starr Deborah & James Stewart Chris & Laina Stupp Drs. Lawrence Stewart & Pamela Sunshine

Thomas Talbot Steve & Kathleen Tallman Linda Tassa & Joseph Cerroni Meghan & TJ Vitale Robert & Anita Wagner Dr. & Mrs. Donald Washburn Linda Webb Ruth S. Weinstock Peter N. Wells Jo Ann Wickman Christopher & Renee Wiles Gregory Wilt Lola Winter Tina Winter

PLANNED GIVING A planned gift is a way to make a significant and lasting gift to Syracuse Stage. By making a bequest to the theatre, you are assuring that Syracuse Stage will continue to inspire, stimulate, and entertain Central New York audiences for generations to come, as well as maintain its high artistic standards that are recognized locally, and nationally.

Mary Louise Dunn Fund Dr. William J. Clark, Jr. Fund

The Estate of Rosemary Curtis

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In Honor and Memory of Sheldon P. Peterfreund and Josephine A Peterfreund

Matching Gift Program

Key Foundation Lever Brothers Company

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!

Marine Midland Bank,

AT&T

Mutual Life Insurance Co.

Allied-Signal, Inc. American Express Company Avon Products, Inc. AXA Equitable Bank of America

Digital Equipment Corporation

Ins. Co.

General Foods Corporation

Chemical Bank

John Hancock Mutual

Coopers Industries Foundation Crouse Hinds Co. – Cooper Industries Deluxe Corporation

Foundation Owens-Illinois, Inc.

GlaxoSmithKline

N.A.

NCR Corporation

Niagara Mohawk

Farmer & Traders Life

CNA Foundation

Insurance Companies

The MONY Group

New York Telephone

Society

GE Foundation

Citicorp & Citibank,

Mobil Oil Corporation

National Grange

Fireman’s Fund Insurance

Chubb Group of

Merrill Lynch

Equitable Life Assurance

Bristol-Meyers Squibb CIGNA Corporation

McDonald’s Corporation

Emerson Electric Co.

Borden, Inc. Foundation

N.A.

Life Insurance The Home Depot Foundation

Pitney Bowes The Prudential Foundation Charles Schwab Radio Shack Rockwell Automation Trust SmithKline Beecham Labs The St. Paul’s Companies The Travelers Companies

Honeywell IBM Corporation J.P. Morgan Chase & Co.

United Parcel Service United Technologies Corp.

Johnson & Johnson

Verizon

Kemper National P&C

Welch Allyn Xerox Corporation

Co.

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

Artistic Director.............................................................................................................Robert 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 Associate Director of Production Operations..........................................................Dianna Angell Company Manager/Production Management Assistant..............................................Brian Crotty Production Management Apprentice...................................................................Audrey Flynn Facilities Student Assistants..............Rachel Ackerman, Hector Aguirre and Marilyn Wechsler Technical Director..................................................................................................Randall Steffen Assistant Technical Director............................................................................Rebecca Schuetz Scene Shop Foreman...........................................................................................Michael King Carpenters............................................Brian McBurney, Cheyenne McBurney, John Gamble Graduate Assistant................................................................................................Joshua Baker Student Assistants..........................................................................................Garett Pembrook Scenic Charge Artist...........................................................................................Holly K. LaGrow Assistant Scenic Artist...........................................................................................Phillip Dyke Graduate Assistants.......................................................................................Louise Thompson Props Supervisor.....................................................................................................Mary Houston Props Carpenter...............................................................................................Jordan Michaud Props Artisan....................................................................................................Jessica Culligan Props Graduate Assistant........................................................................................Drew Davis Student Assistants.....................................................................Shannon Bagoly, Logan Shiller Costume Shop Manager..........................................................................Gretchen Darrow-Crotty Assistant Costume Shop Manager/Drama Department Costume Coordinator.....Mallory Kay Nelson Cutter-Drapers...............................................................Catherine Hennessy, Meghan Pearson First Hand.........................................................................................................Victoria Lillich Stitchers.......................................................................................Emily King, Katelyn Yonkers Craftsperson/Shopper.........................................................................................Sandra Knapp Wardrobe and Wig Supervisor.................................................................................Sarah Stark Student Assistants......................................................................Michaela Vivona, Xinglan Yan Lighting and Projection Supervisor..................................................................David M. Bowman Electrician…….......................................................................................................Jed Daniels Electrics Journeyman........................................................................................Anastasia Sioris Electrics Apprentice/Board Operator................................................................Caitlin Weinelll Student Assistants..........................................................Ian Borowik, Aria Sivick, Adrian Yuen Resident Sound Designer/Audio Engineer......................................................Jacqueline R Herter Assistant Audio Engineer................................................................................Kevin O’Connor Sound Apprentice...........................................................................................Alexandra Brock Production Stage Manager....................................................................................Stuart Plymesser Stage Manager..............................................................................................Laura Jane Collins Stage Management Journeymen........................................................Erin C Brett, Em 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....................................................................................................Michael McCurdy Comptroller..............................................................................................Mary Kennett Morreale Human Resources Manager/Business Associate.......................................................Kathy Zappala Student Business Office Intern................................................................Emilia Smart-Denton Director of Information Management & Technology...................................Garrett Wheeler-Diaz Box Office Managers......................................Laurie Lindsey, Courtney Richardson, A'Isha Shanes Box Office Assistants.................................Marjon Ardehali, Abby Cieslewski, Chidube Egbo, Jordan McKey, Makenzie Nickerson, Canab Sheekh Nuur, Chelsea Perez, Samoya Peters, Lexie Smuchynsky, Mary Storholm, Olivia St. Peter Box Office Intern..............................................................................................Margot Correa Audience Services Manager........................................................................................Jacob Ellison Audience Services Assistant.................................................................................Ella Lafontant Assistant House Manager......................................................Patricia Condello, Donna Stuccio Student Assistant House Managers.................Valeria Berdecia, Manda Borden, Jackson Norman Claire St. Marie, McKenna Vargas, Marilyn Wechsler Bartenders...........Daisha Abdillahi, Meg Pusey-Anthis, Michelle Cannizzo, Evan Starling-Davis Student Ushers.......................Summer Ainsworth, Gabriel Arbelo, Haley Ayers, Alana Barker, Blake Brewer, Anju Cloud, Ashley Collado, Ella Coste, Juliette Geraghty, Olivia Herz, Ellie Kallay, Calvin Keener, Clare Kenny, Dylan King, Jaelle LaGuerre, Kerri McAneney, Grace Morgan, Maria Polanco, Denise Romero, Eli Shwartz, Charles Curtis Towle III, Damon Williams, Haley Wright Director of Development...............................................................................................Tina Morgan Development Manager.......................................................................................Stefania Ianno Development Assistant.................................................................................Elizabeth Gardner Director of Education & Community Engagement.......................................................Joann Yarrow Associate Director of Education.............................................................................Kate Laissle Community Engagement and Education Assistant...................................MiKayla Hawkinson Education Assistant...................................................................................................Len Fonte Education Intern.......................................................................................Brianna Stankiewicz Director of Marketing and Communications..............................................................Joseph Whelan Group/Corporate Sales Manager..........................................................................Tracey White Marketing Manager...........................................................................................Joanna Penalva Patron Campaign Specialist.........................................................................Nori Gartner-Baca Graphic Designers.................................................................Jonathan Hudak, Brenna Merritt Group Sales Assistant........................................................................................Amanda Kurey Student Group Sales Assistant.............................................................................Lia Chapman Marketing Interns...........................................................Cara Christian, Lyle Andrew Michael Executive Assistant..................................................................................................Rebecca Li Grady Artistic Student Intern.................................................................................................Andy Jacobson Sign Language Interpreters....................Brenda Brown, Jim Brown, Aaron Burton, Angelo Coppola, Mikki Evans, Sue Freeman, Joanne Jackowski, Zenna Preli, Trisha Schwartz, Ryan Wight Open Captioning..................................................................................................Jessika Whitehouse Audio Description...................................................................................Kate Laissle, Joseph Whelan Community Services Officers.......................................................Stacey Emmons, Joseph O'Connor Custodians.............................................................................Kitty Ashby, Les Edwards, Tony Rogers

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A strong arts community

is critical in attracting and retaining employees.

Keep Syracuse a vibrant and enriching place to live with your business sponsorship today!

Plus, the more your give, the more you benefit.

FOR MORE INFORMATION, CONTACT TINA MORGAN, DIRECTOR OF DEVELOPMENT AT 315-443-3931 OR TMORG100@SYR.EDU  SYRACYSE STAGE GALA. PHOTO: JERRY KLINEBERG.

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PRESENTS

College of Visual and Performing Arts

18 19 SEASON

INTO THE WOODS BOOK BY JAMES LAPINE | MUSIC AND LYRICS BY STEPHEN SONDHEIM | DIRECTED AND CHOREOGRAPHED BY DAVID LOWENSTEIN | MUSIC DIRECTION BY BRIAN CIMMET | OCTOBER 12 21 OPENING NIGHT: OCTOBER 13

NEXT FALL

BY GEOFFREY NAUFFTS | DIRECTED BY RALPH ZITO NOVEMBER 9 – 17 | OPENING NIGHT: NOVEMBER 10

ELF THE MUSICAL* BOOK BY THOMAS MEEHAN AND BOB MARTIN MUSIC BY MATTHEW SKLAR | LYRICS BY CHAD BEGUELIN | DIRECTED BY DONNA DRAKE | CHOREOGRAPHY BY BRIAN J. MARCUM | MUSIC DIRECTION BY BRIAN CIMMET | BASED ON THE NEW LINE CINEMA FILM BY DAVID BERENBAUM | CO-PRODUCED WITH SYRACUSE STAGE | NOVEMBER 23 – JANUARY 6 | OPENING NIGHT: NOVEMBER 30

WE ARE PROUD TO PRESENT A PRESENTATION ABOUT THE HERERO OF NAMIBIA, FORMERLY KNOWN AS SOUTH WEST AFRICA, FROM THE GERMAN SÜDWESTAFRIKA, BETWEEN THE YEARS 1884 - 1915

BY JACKIE SIBBLIES DRURY | DIRECTED BY GILBERT MCCAULEY | FEBRUARY 22 – MARCH 3 | OPENING NIGHT: FEBRUARY 23

THE WILD PARTY BOOK, MUSIC, AND LYRICS BY ANDREW LIPPA BASED ON THE POEM BY JOSEPH MONCURE MARCH DIRECTED BY KATHERINE MCGERR | ASSOCIATE DIRECTED AND CHOREOGRAPHED BY ANDREA LEIGH-SMITH | MUSIC DIRECTION BY BRIAN CIMMET MARCH 29 – APRIL 7 | OPENING NIGHT: MARCH 30

GOOD KIDS

BY NAOMI IIZUKA | DIRECTED BY HOLLY THUMA MAY 3 -11 | OPENING NIGHT: MAY 4

*DRAMA SUBSCRIBERS WILL RECEIVE VOUCHERS REDEEMABLE FOR TICKETS TO ELF THE MUSICAL. PHOTO: (FROM RIGHT) BRITTANY ADEBUMOLA, MADELEINE INCE, AND CARLY CAVIGLIA IN THE SEAGULL. DIRECTED BY ROB BUNDY. SCENIC DESIGNER: EMMA ANTENEN. COSTUME DESIGNER: FELIX E. COCHREN. LIGHTING DESIGNER: ARIA SIVICK. PHOTOGRAPHER: MICHAEL DAVIS. RALPH ZITO, CHAIR, DEPARTMENT OF DRAMA

TICKETS AND SEASON PACKAGES AVAILABLE VPA.SYR.EDU/DRAMATICKETS 315.443.3275

S E AS O N S PO N S O R

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ACT-ivate your summer with

SUMMER YOUTH THEATRE EXPERIENCE AT SYRACUSE STAGE TO BE YOUR BEST - PLAY WITH THE BEST. For ages 11-14 – Come and play with the professional teaching artists of Syracuse Stage as we dive into the magical world of creativity and performance.

EARLY BIRD DISCOUNTS – REGISTER BY MAY 1ST $225 – Acting Out Loud ($25 Savings) $225 – Creating Characters ($25 Savings) $500 – Syracuse Stage Experience ($50 Savings) $800 for all 4 weeks ($250 Savings! – One week free!)

REGISTRATION: Register online now at: www.SyracuseStage.org/summerprograms.php Space limited. Scholarships available.

For more information contact Kate Laissle at 315-442-7755 or kmlaissl@syr.edu

SALTspace

PROGRAM ONE: Session A: Acting Out Loud Session B: Creating Characters Develop a story from an idea to performance as you create and perform your own original work.

Sessions include acting, improvisation, voice, and creative writing.

PROGRAM TWO: Syracuse Stage Experience A Midsummer Night’s Dream Sharpen your acting skills with movement, voice, and character development as you prepare for a presentation of Shakespeare’s comedy A Midsummer Night’s Dream.

Location: SALTspace

102 Wyoming St

Syracuse, NY Dates: Session A - July 15-19

Session B - July 22-26 Time: 10 am - 3 pm Tuition: $250 per week.

Location: Syracuse Stage

820 E. Genesee St.

Syracuse, NY Dates: July 29 - August 9 Time: 10 am - 3 pm Tuition: $550 Before and after care available.

Before and after care available.

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SYRACUSE STAGE PRESENTS

ANNUAL GALA at syracuse stage

5:30 VIP RECEPTION with

JASON ALEXANDER

6:00 DRINKS, DINNER and

WITH JASON ALEXANDER Including the opening night of The Last Five Years.

SILENT AUCTION

7:30 SHOWTIME

9:00 AFTER-PARTY UNDER THE STARS WITH MUSIC, DESSERTS, & MORE!

EXPECTED TO SELL OUT, RESERVE YOUR SPOT TODAY!

FOR MORE INFORMATION PLEASE CONTACT

Tina Morgan P: 315.443.3931 E: tmorg100@syr.edu

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ADVERTISE HERE The Syracuse Stage program is published six times a year. For advertising rates and information contact Joanna Penalva at 315.443.2636, jlpenalv@syr.edu

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Your Exclusive CNY Lexus Dealer, Come in today to experience our amazing lineup of Luxury Vehicles

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A SEASON BURSTING with dynamic stories & vibrant characters NOISES OFF

NATIVE GARDENS

SEPTEMBER 12 - 30

FEBRUARY 13 - MARCH 3

By Michael Frayn Directed by Robert Hupp

By Karen Zacarías | Directed by Melissa Crespo | Co-produced with Geva Theatre Center & Portland Center Stage

Hailed as the funniest farce ever written . . . a festival of delirium.

POSSESSING HARRIET OCTOBER 17 - NOVEMBER 4

By Kyle Bass | Directed by Tazewell Thompson | Commissioned by the Onondaga Historical Association Presented by Nancy and Bill Byrne A world premiere inspired by the true story of Harriet Powell who escaped slavery while visiting Syracuse in 1839.

ELF THE MUSICAL NOVEMBER 23 - JANUARY 6

Book by Thomas Meehan and Bob Martin | Music by Matthew Sklar Lyrics by Chad Beguelin | Directed by Donna Drake | Choreography by Brian J. Marcum | Musical Direction by Brian Cimmet | Based on the New Line Cinema film by David Berenbaum Co-produced with the Syracuse University Department of Drama Great songs, great fun, and tons of holiday cheer.

A spot–on new comedy skewers walls, border disputes, and more from adjoining backyards in Georgetown, Washington, D.C.

PRIDE AND PREJUDICE MARCH 20 - APRIL 7

By Kate Hamill Adapted from the novel by Jane Austen Directed by Jason O’Connell Jane Austen’s classic gets a bright and lively makeover for the 21st century.

THE HUMANS APRIL 24 - MAY 12

By Stephen Karam | Directed by Mark Cuddy | Co-produced with Geva Theatre Center The 2016 Tony Award winner for Best Play.

ADDED SHOW

THE LAST FIVE YEARS MAY 29 – JUNE 16

Written and Composed by | Jason Robert Brown | Directed by Jason Alexander Musical Direction by Brian Cimmet A compelling musical of love gained and love lost.

Flex Packs on Sale!

SAVE UP TO 30% COMPARED TO SINGLE TICKETS 315.443.3275 | SyracuseStage.org SEASON SPONSORS

COLD READ FESTIVAL MARCH 7 - 10

Curated by Kyle Bass Featuring Playwright Larissa FastHorse