Noises Off Program

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LETTER FROM THE ARTISTIC DIRECTOR

DEAR FRIENDS,

 ROBERT HUPP. PHOTO: BRENNA MERRITT.

Welcome to the opening of our 46th season! We’re glad you’re here. I want to offer a special welcome to our season subscribers. Your choice to join us on this annual journey inspires us all to do our best and most creative work especially for you. Thank you for joining us!

And welcome to Noises Off. It’s a silly, fun evening in the theatre and I’ve loved it since I saw the first U.S. production in 1984. It seems whenever I read the paper or watch the news today, I find myself looking at the national headlines and thinking, “what a farce!” I know what’s happening in the world around us is not necessarily funny, but it is, at times, absurd and ridiculous. In this context, it seemed that a little escapism might be just what we need in a season opener. This is the perfect time for the genuine article—an actual, noholds-barred farce.

company of actors to bring to life a madcap comedy about second-notch actors doing a third-notch play. It’s been a genuine pleasure collaborating with this amazing group of actors and artisans to create this swirling confection of a production. Enjoy the ride!

And may the farce be with you. (Sorry).

For the past thirty years, Noises Off has been among the most produced plays in the country. But this is its inaugural launch at Stage, and I have been eager to direct this pedal-to-themetal comedic classic. For the actors and backstage crew, the production you’re about to see is a workout.

Writer John Mortimer said, “farce is tragedy played at a thousand revolutions a minute.” It takes a top-notch

Doors and sardines!

Sincerely,

Robert Hupp Artistic Director

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TA B L E O F C O N T E N T S 13 | Letter from the Artistic Director 16 | Nothing On Program 27 | Title 29 | Cast & Credits 30 | Dramaturgical 39 | Cast & Artistic Staff Bios 57 | Mission/Vision

About Syracuse Stage

In the Community

Indigenous Land Acknowledgement

58 | Next at Syracuse Stage 59 | Next at the Department of Drama 60 | Board of Trustees 61 | Emeritus Circle

Education Advocacy Board

Young Adult Council

62 | Corporate, Foundation &

Government Sponsors

64 | Noises Off Sponsors

Individual, Corporate, Foundation,

& Government Gifts

66 | In Tribute 69 | Planned Giving

Matching Gift Program

70 | Staff 72 | Accessibility Performances

Taking Photos in the Theatre

73 | General Information

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

Noises Off Published September 12, 2018 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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‘A GLIMPSE OF THE NOUMENAL’ (condensed from J G Stillwater, Eros Untrousered – Studies in the Semantics of Bedroom Farce) The cultural importance of the so-called ‘bedroom farce’, or ‘English sex farce’, has long been recognised, but attention has tended to centre on the metaphysical significance of mistaken identity and upon the social criticism implicit in the form’s ground-breaking exploration of cross-dressing and trans-gender role-playing.

The focus of scholarly interest, however, is now beginning to shift to the recurrence of certain mythic themes in the genre, and to their religious and spiritual implications.

In a typical bedroom farce, a man and a woman come to some secret or mysterious place (cf. Beauty and the Beast, Bluebeard’s Castle, etc.) to perform certain acts which are supposed to remain concealed from the eyes of the world. This is plainly a variant of the traditional ‘search’ or ‘quest’, the goal of which, though presented as being ‘sexual’ in nature, is to be understood as a metaphor of enlightenment and transcendence. Some partial disrobing may occur, to suggest perhaps a preliminary stripping away of worldly illusions, but total nudity (perfect truth) and complete ‘carnal knowledge’ (i.e. spiritual understanding) are perpetually forestalled by the intervention of coincidental encounters (often with other seekers engaged in parallel ‘quests’), which bear a striking resemblance to the trials undergone by postulants in various esoteric cults (cf. The Magic Flute, Star Wars, etc.).

According to evidence given to the Royal Commission on Procedures and Practice in the Sale of Real Estate, approximately 17% of estate agents admit to having on at least one occasion passed off a property they were selling as their own.

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In 63% of these cases the intention was to impress a member of the opposite sex, and/or to provide accommodation for illicit sexual activity–though some witnesses had at one time or another used properties to secure a loan or other business advantage from gullible victims. One agent boasted that he had managed to have intercourse in the master bedroom, then sell his partner the property–and help himself to a case of champagne from the cellar and a pound and a half of strawberries from the garden.

 THE COMMON SARDINE. 13.4

MILLION ARE EATEN DAILY IN GREAT BRITAIN ALONE. THE WORD IS DERIVED FROM THE FRENCH, SARDINE.

A recurring and highly significant feature of the genre is a multiplicity of doors. If we regard the world on this side of the doors as the physical one in which mortal men are condemned to live, then the world or worlds concealed behind them may be thought of as representing both the higher and more spiritual plane into which Posset (milk curdled with ale or vinegar) was one of the first foods to be processed by industrial methods. In the sixteenth century virtually every village had its posset-mill, though few have survived. Their functioning was based on the common observation that milk tends to curdle more readily on thundery summer days. In a posset-mill production was maintained throughout the year by allowing the milk to run into a heated curdling chamber where the flow of incoming ale or vinegar was ingeniously harnessed to operate a kind of simple theatrical thundersheet. The product was then packed in small ‘yoggy post’, made from the scrota of wild yogs. –Janet Thrice: The Tudor Food Industry

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the postulants hope to escape, and the underworld from which at any moment demons may leap out to tempt or punish. When the doors do open, it is often with great suddenness and unexpectedness, highly suggestive of those epiphanic moments of insight and enlightenment which give access to the ‘other’, and offer us a fleeting glimpse of the noumenal.

Another recurring feature is the fall or loss of trousers. This can be readily recognised as an allusion to the Fall of Man and the loss of primal innocence. The removal of the trousers traditionally reveals a pair of striped underpants, in which we recognise both the stripes of the tiger, the feral beast that lurks in all of us beneath the civilized exterior suggested by the lost trousers, and perhaps also a premonitory representation of the stripes caused by the whipping which was formerly the traditional punishment for fornication.

 AN EARLY

PAIR OF FAMOUS DOUBLES–EDWARD IV AND LEOFRIC LEADBETTER.

The confusion of identity caused by the chance resemblance has always played a significant part in human affairs. Edward IV had a notorious lookalike, Leofric Leadbetter, a tallowboiler from Stony Stratford, who fooled many courtiers and visiting heads of state.

Not even their wives could tell them apart. On one occasion Leadbetter gave the royal assent to three statutes and probably fathered the future King Edward V before the imposture was detected.

Some historians believe that in the subsequent confusion it was in fact the king, not Leadbetter, who was hanged.

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Farce, interestingly, is popularly categorised as ‘funny’. It is true that the form often involves ‘funny’ elements in the sense of the strange or uncanny, such as supposedly supernatural phenomena, and behavior suggestive of demonic possession. But the meaning of ‘funny’ here is probably also intended to include its secondary sense, ‘provocative of laughter.’

 SARDINES ARE EVEN

MORE PLAGUED THAN THEIR HUMAN COUSINS BY THE PROBLEM OF DOUBLES AND LOOKALIKES.

This is an interesting perception. It scarcely needs to be said that laughter, involving as it does the loss of self-control and the spasmodic release of breath, a vital bodily fluid, is a metaphorical representation of the sexual act. But it can also occasion the shedding of tears, which suggests that it may in addition be a sublimated form of mourning. Indeed we recognize here a symbolic foretaste of death.

British citizens claiming for tax purposes to live abroad cannot spend more than six months in the country during a single tax year, or more than 91 days in any one tax year calculated over four years.

In 1996 a helpline, TaxBreak, was set up to counsel visiting tax exiles suffering anxiety or guilt about their situation. Many of its clients report recurrent nightmares involving sudden chance encounters with officials of Inland Revenue.

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If sneezing has been widely feared because it is thought that during a sneeze the soul flies out of the body, and may not be recaptured (whence ‘Bless you!’ or ‘Gesundheit!’), then how much more dangerous is laughter. Not once but over and over again the repeated muscular contractions and expulsions of breath drive the ‘soul’ forth from the body. The danger of laughter is recognized in such expressions as ‘killingly funny,’ and ‘I almost died’. There is a lurking fear that even more spectacular violence may ensue, and that a farce may end with a bloodletting as gruesome as in Oedipus or Medea, if people are induced to ‘split their sides’ or ‘laugh their heads off ’.

Fear of the darker undertones of bedroom farce has sometimes in the past led to its dismissal as ‘mere entertainment’. As the foregoing hopefully makes clear, though, financial support by the Arts Council or a private sponsor for the tour of a bedroom farce would be by no means out of place.

The first item of background information in a theatre programme is believed to have appeared in 1599, for a revival of Two Gentleman of Verona. It provided a brief history of the rise and fall on the North Italian city states, and an inset panel containing a list of useful Italian phrases for travelers.

THIS SPACE TO LET Please apply to The Manager, Grand Theatre

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Behind the Dressing Room Doors DOTTY OTLEY (Mrs Clackett) makes a welcome return to the stage to create the role of Mrs Clackett after playing Mrs Hackett, Britain’s most famous lollipop lady (‘Ooh, I can’t ’ardly ’old me lolly up!’) in over 320 episodes of TV’s On the Zebras. Her many stage appearances include her critically acclaimed portrayal of Fru Såckett, the comic char in Strindberg’s Scenes From the Charnelhouse. Her first appearance ever? In a school production of Henry IV Part I – as the old bag-lady, Mrs Duckett.

BELINDA BLAIR (Flavia Brent) has been on the stage since the age of four, when she made her debut in Sinbad the Sailor as one of Miss Toni Tanner’s Ten Tapping Tots. She subsequently danced her way round this country, Southern Africa, and the Far East in shows like Zippedydooda! and Here Come Les Girls!. More recently she has been seen in such comedy hits as Don’t Mr Duddle!, Who’s Been Sleeping In My Bed?, and Twice Two Is Sex. She is married to scriptwriter Terry Wough, who has contributed leadin material to most of TV’s chat shows. They have two sons and three retrievers.

Dignity is the straitjacket of the soul. Its loss is our first stumbling step towards sanity. –Friedrich Nietzsche GARRY LEJEUNE (Roger Tramplemain) while still at drama school won the coveted Laetitia Daintyman Medal for Violence. His television work includes Police!, Crime Squad, Swat, Forensic, and The Nick, but he is probably best-known as ‘Cornetto’, the icecream salesman who stirs the hearts of all the lollipop ladies in On the Zebras.

SELSDON MOWBRAY (Burglar) first ‘trod the boards’ at the age of 12 – playing Lucius in a touring production of Julius Caesar, with his father, the great Chelmsford Mowbray, in the lead. Since then he has served in various local reps, and claims to have appeared with every company to have toured Shakespeare in the past half-century, working his way up through the Mustardseeds and the various Boys and Sons of, to the Balthazars, Benvolios, and Le Beaus; then the Slenders, Lennoxes, Trinculos, Snouts, and Froths; and graduating to the Scroops, Poloniuses, and Aguecheeks. His most recent film appearance was as Outraged Pensioner in Green Willies.

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BROOKE ASHTON (Vicki) is probably best known as the girl wearing nothing but ‘good, honest, natural froth’ in the Hauptbahnhofbrau lager commercial. Her television appearances range from Girl at Infants’ School in On The Zebras to Girl in Massage Parlour in On Probation. Cinemagoers saw her in The Girl In Room 14, where she played the Girl in Room 312.

The most important technological advance in history, so far as the maintenance of moral standards is concerned, was the invention of the keyhole. –George Santayana FREDERICK FELLOWES (Philip Brent) has appeared in many popular television series, including Calling Casualty, Cardiac Arrest!, Out-Patients, and In-Patients. On stage he was most recently seen in the controversial all-male version of The Trojan Women. He is happily married, and lives near Crawley, where his wife breeds pedigree dogs. ‘If she ever leaves me,’ he says, ‘it will probably be for an Irish wolfhound!’

ROBIN HOUSEMONGER (Author) was born in Worcester Park, Surrey, into a family ‘unremarkable in every way except for an aunt with red hair who used to sing all the high twiddly bits from The Merry Widow over the tea-table’. He claims to have been the world’s most unsuccessful gents hosiery wholesaler, and began writing ‘to fill the long hours between one hosiery order and the next’. He turned this experience into his very first play, Socks Before Marriage, which ran in the West End for nine years. Two of his subsequent plays, Briefs Encounter and Hanky Panky, broke box office records in Perth, Western Australia. Nothing On is his seventeenth play.

LLOYD DALLAS (Director) ‘read English at Cambridge, and stagecraft at the local benefits office’. He has directed plays in most parts of Britain, winning the South of Scotland Critics’ Circle Special Award. In recent years he has probably become best known for his brilliant series of ‘Shakespeare in Summer’ productions in the parks of the inner London boroughs.

Desperation tells a thousand tales–and each of those thousand begets a thousand more. –Moldovian proverb

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PRESENTS

BY

Michael Frayn DIRECTED BY

Robert Hupp SCENIC DESIGNER

COSTUME DESIGNER

LIGHTING DESIGNER

SOUND DESIGNER

John Iacovelli

David Zyla

Xavier Pierce

Jacqueline R Herter

P R O D U C T I O N S TA G E

COMEDY STUNT C O O R D I N AT O R

DIALECT COACH

MANAGER

S TA G E M A N A G E R

D.C. Wright

Ralph Zito

Stuart Plymesser

Laura Jane Collins

Robert Hupp

Jill A. Anderson

Kyle Bass

Artistic Director

Managing Director

Associate Artistic Director

PRESENTING SPONSOR

SPONSORS

MEDIA SPONSOR

SEASON SPONSORS

Noises Off is presented by special arrangement with Samuel French, Inc. The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings on any medium, including the internet, is strictly prohibited, a violation of the author's rights and actionable under United States copyright law. For more information please visit: www.samuelfrench.com/whitepaper September 12 - 30, 2018 27

IN MEMORIAM

Alexander N. Charters 1916 - 2018 Syracuse University emeritus professor, Syracuse Stage subscriber, and longtime advocate of professional theatre in Syracuse.

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 DESIGNER

COSTUME DESIGNER

LIGHTING DESIGNER

SOUND DESIGNER

John Iacovelli

David Zyla

Xavier Pierce

Jacqueline R Herter

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THE CAST (speaking order)

Dotty Otley...........................................................Dori Legg Lloyd Dallas.............................Andrew Ramcharan Guilarte Garry LeJeune.......................................Seth Andrew Bridges Brooke Ashton.................................................Eliza Huberth Poppy Norton-Taylor.........................................Kate Hamill Frederick Fellowes.......................................Michael Keyloun Belinda Blair.....................................................Gina Daniels Tim Allgood........................................................Blake Segal Selsdon Mowbray.............................................Brad Bellamy SETTING 1982 Act I The living room of the Brents' country home. Wednesday afternoon.

(Grand Theatre, Weston-super-Mare. Monday, January 14.)

Intermission: 15 minutes Act II The living room of the Brents' country home. Wednesday afternoon.

(Theatre Royal, Ashton-under-Lyne. Wednesday matinee, February 13.)

Pause: 5 minutes Act III The living room of the Brents' country home. Wednesday afternoon.

(Municipal Theatre, Stockton-on-Tees. Saturday, April 6.)

ADDITIONAL CREDITS Dramaturg: Nicholas Kowerko Student Assistant Fight Choreographer: Logan Shiller Stage Management Journeyman: Erin C Brett Stage Management Intern: Brian Beighley Wardrobe Supervisor: Sarah Stark Sound Apprentice: Alexandra Brock Electrics Journeyman: Anastasia Sioris Deck Crew: Basil Allen, Megan Berner, Christopher Green, Brian McBurney Dresser: Elizabeth Jaquay Official Hotels for Guest Artists: The Genesee Grande Hotel, Parkview Hotel

The actors and stage manager in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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

Noises Off 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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NO SEX PLEASE JUST LAUGHTER

BY JOSEPH WHELAN The beleaguered acting company in Michael Frayn’s Noises Off is attempting, with escalating degrees of “unsuccess”, to rehearse and perform a trifling sex farce called Nothing On. London audiences in 1982, when Noises Off premiered, would have recognized Nothing On as a riff on the long running sex farce No Sex Please – We’re British, which at that point had been a West End fixture for 11 years and would eventually conclude its run in 1987 after 6,761 performances, second only to Agatha Christie’s The Mousetrap.

Though it finds antecedents in classical Greece and the work of Aristophanes, in ancient Rome’s Plautus, and more directly in the fin de siècle plays of Georges Feydeau, the sex farce as a particularly British form of comic mayhem owes its popularity to the writer Ben Travers and his series of plays

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 PLAYWRIGHT MICHAEL FRAYN.

known as the Aldwych Farces, so named because they were performed at the Aldwych Theatre.

Twelve plays in all— nine by Travers—the Aldwych Farces were written between 1925 and 1933, when the Depression spread gloom across the country and laughter proved a needed panacea. Travers wrote for a company of actors, names once known now largely forgotten, who from play to play portrayed recognizable types enmeshed in ridic-

ulous situations, quite often alluding to sex but never getting beyond desire and anticipation to consummation. For all the dropped trousers and women prancing around in their “smalls”, most sex farce is actually quite innocent. Adultery is often on the menu but rarely, if ever, served.

Most of the Aldwych Farces were made into films in the 1930s and featured the same company of actors. The actor-manager Tom Walls and Ralph Lynn were

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“For all the dropped trousers and women prancing around in their ‘smalls', most sex farce is actually quite innocent.

Adultery is often on the menu but rarely, if ever, served.”

“I mean it seems to me that everyday life has a very strong tendency toward farce, that is to say, things go wrong.”

the leading players supported by Robertson Hare, Mary Brough, Winifred Shotter, Ethel Coleridge, and Gordon James. (Check out snippets on YouTube.) The most well-known of the plays, Rookery Nook, Thark, and Plunder still enjoy occasional revivals, and occasionally revive discussions about the genre of farce itself.

For all its popularity, farce, especially sex farce, draws criticism for its decidedly lowbrow sensibility. Fair enough. Brian Rix, whose Whitehall Farces of the late 1950s and 60s may be considered heirs to Travers’ Aldwych plays, is reported to have dropped his trousers some 12,000 32

times in 26 years of performing farce. Certainly the validity of observations, such as those of British critic Fiona Mountford, that sex farce deals in imbecilic stereotypes where men are reduced to “priapic schemers” and women to either “shrill battleaxes” or “ditzy bimbos”, cannot be denied.

Still, where some see stereotypes, others see archetypes. Where some see silly and flimsy plots, others see the sheer ingenuity of craftsmanship. And where some deride farce as “comedy with all the meaning left out”, others, Frayn included, find an almost philosophical resonance in characters desperately trying to hold onto or-

“Technically, farce is about taking away all thinking time, not only from the characters, but also from the audience.

We never drop into a zone where things are being considered—they are just happening.”  (FACING) RONNIE

CORBETT, IAN OGILVY, AND SUSAN PENHALIGON IN NO SEX PLEASE - WE'RE BRITISH, 1973.

der while veering ever closer to chaos.

Frayn explained in an interview with The Paris Review: “I mean it seems to me that everyday life has a very strong tendency toward farce, that is to say, things go wrong. And they often go wrong in a very complex and logically constructed way—one disaster leads to another, and the combination of two disasters leads to a third disaster, which is the essence of classical farce: disaster building upon itself. It seems to

me that the same thing happens in life, in my life anyway.”

Moreover, like Frayn, some exceedingly savvy playwrights have gleefully embraced the form, including Tom Stoppard, Caryl Churchill, Alan Bennet, and of course Alan Ayckbourn.

As Frayn often points out in interviews, writing and performing farce is incredibly difficult.

He candidly admits that writing the three acts of Noises Off was the most difficult task of his career. “It was like trying 33

 (LEFT )

WINIFRED SHOTTER IN ROOKERY NOOK, LONDON, 1926.

to make a sculpture out of jelly,” he told an interviewer. “Every time you change something in one of the acts it bulges out in the other two.”

Plus, the playing of farce requires mathematical precision executed at dangerously frantic speed. In his book Theatre Craft, John Caird advises: “You must spend hour upon hour honing the physical and linguistic routines and rhythms that will eventually release the audience’s laughter. Nothing in farce can be left to chance.”

 JAN WATERS, TONY

MATTHEWS, YVONNE ANTROBUS, PAUL EDDINGTON, AND PATRICIA ROUTLEDGE IN NOISES OFF AT THE LYRIC THEATRE HAMMERSMITH, 1982.

PHOTO: ALASTAIR MUIR.

British director Sean Foley also emphasizes the need for speed.

“Technically, farce is about taking away all thinking time, not only from the characters, but also from the audience. We never drop into a zone where things are being considered—they are just happening.”

If achieving that speed is challenging for actors and directors, it is necessary to create the requisite anxiety in the characters that drives the comedy.

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“I think what most farces have in common is the element of panic,” Frayn explained.

“People lose their heads.

They find themselves in an embarrassing situation, and they tell a lie to cover up. The lie doesn’t make things better, it makes things worse, and they then have to explain not only the initial embarrassing situation, but the lie as well, and the panic escalates. In every farce, in every comedy, there has to be an element of pain and difficulty, and we laugh as a relief that it is

“It was like trying to make a sculpture out of jelly. Every time you change something in one of the acts it bulges out in the other two.” much funnier than what was happening on stage.

After a long and slow gestation, the experiences coalesced into an idea for a one-act play, “Exits”. A commission from Frayn’s producer Michael Cordon led to the full-length Noises Off.

happening to somebody else and not to us.”

Frayn experienced some of that panic as a participant and an observer and the combination of the two led to Noises Off. While serving in the army, he performed a minor role in a production of The Government Inspector, one of his first theatrical experiences.

Having completed his part in a scene, he tried to exit offstage through a door in the set only to find that it wouldn’t open. Stuck on stage, his embarrassment grew to

panic as he pulled harder and harder to get the door open, when at last he heard a voice from other side of the set, “PUSH”. “I shot offstage and haven’t been back since,” he recalled.

Later, he observed actors Lynn Redgrave and Richard Briers manage multiple quick changes backstage during a performance of his 1970 play “Chinamen”, part of an evening of three short pieces produced under the title The Two of Us. Frayn found the backstage mayhem

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For some critics, Noises Off represents a kind of apotheosis for contemporary farce. In one play Frayn successfully parodies the form while achieving its ultimate goal—uncontrollable laughter, the kind that has audiences falling out of their seats.

As critic Mark Lawson once noted in The Guardian: “It’s this sense of helplessness—that laughter is controlling us rather than the other way around—that is the special pleasure of farce. It’s the sort of laughter that can’t be achieved through any other art form.”

MICHAEL FRAYN LITERARY CHRONOLOGY In interviews, Michael Frayn has frequently offered some variation of this: “If I were to give serious practical advice to a young writer about how to succeed I would say, ‘Write the same book, or the same play, over and over again, just very slightly different, so that people get used to it. It takes some time, but if you do it often enough, finally people will get the hang of it, and get familiar with it, and they’ll like it. Then you go on producing a consistent product and you’ll have a market for it.’”

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Clearly, Frayn finds it easier to give advice than to follow it. His body of work includes journalism, essays, stories, novels, and plays, and ranges from farce to serious philosophy— probably not so surprising for a writer who remembers laughing so hard at a music hall routine as a child that he nearly fell out of his box seat into the orchestra below, then, as a student at Cambridge, became an admirer of the philosopher Ludwig Wittgenstein.

Novels

Plays

The Tin Men (1965) The Russian Interpreter (1966) Towards the End of the Morning (1967) aka Against Entropy A Very Private Life (1968) Sweet Dreams (1973) The Trick of It (1989) A Landing On the Sun (1991) Headlong (1998) Spies (2002) Skios (2012)

Alphabetical Order (1977) Clouds (1977) Donkeys’ Years (1977) Make and Break (1980) Noises Off (1982) Benefactors (1984) Clockwise (1986) Balmoral (1987) First and Last (1989) Look Look (1990) Audience (1991) Now You Know (1992) Copenhagen (1998) Frayn Plays: 1 (1998) aka Alarms Democracy (2003) Crimson Hotel / Audience (2007) Afterlife (2008) Matchbox Theatre (2014) Alarms and Excursions (2015) Frayn Plays: 4 (2017) Frayn Plays: 3 (2017) The Sneeze (2017) (with Anton Chekhov) Frayn Plays: 2 (2017)

Collections The Two of Us (1970) Listen To This (1990) Frayn Plays (2010)

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CAST Brad Bellamy (Selsdon Mowbray) is a member of The Ensemble Studio Theatre and was formerly an artist-in-residence at Manhattan Punch Line. Brad’s most recent New York appearances were in the OffBroadway productions of March Madness, Alphabetical Order, and So Help Me God. He played Stefano in the 400th anniversary production of The Tempest. Regional credits include Actors Theatre of Louisville, Atlanta’s Alliance, Cleveland Play House, Dallas Theatre Center, Denver Center, Long Wharf, and Pittsburgh Public, among others. His film appearances include Ira and Abby, Burning Point, Tied to a Chair, The Adventures of Arthur Conan Doyle, and A Kiss for Jed Wood. On television he’s been seen as the special musical guest in ABC’s On the Edge, with Rodney Dangerfield in It’s Not Easy Being Me, 30 Rock, Law & Order: SVU, Conviction, and in commercials for AARP, Snickers, Sprint, Wendy’s, and many others.

Twelfth Night (Alabama Shakespeare Festival); Peter and the Starcatcher (Arkansas Repertory Theatre/TheatreSquared); The Dingdong (Florida Repertory Theatre); Proof and One Man,Two Guvnors (TheatreSquared); and The Liar (Gulfshore Playhouse). As a stuntman, his select credits include Elementary (CBS); The Blacklist (NBC); Marvel’s: The Defenders (Netflix); Gotham (Fox); The Path (Hulu); Law & Order: SVU (NBC); numerous feature and independent films, and an upcoming video game (that he’s not allowed to talk about).

He holds a B.F.A. from NYU. Follow @sethandrewb. For Jodi Davis: the reason he's here.

Gina Daniels (Belinda Blair) was a member of the Broadway company of All The Way, having originated the roles of Coretta Scott King and Fannie Lou Hamer at The Oregon Shakespeare Festival (OSF) where she has been a 10-season company member. Her OSF credits include Twelfth Night, Roe, Julius Caesar, A Streetcar Named Desire, A Midsummer Night’s Dream, Well, Joe Turner’s Come and Gone, The Skin of Our Teeth, and The White Snake (which subsequently traveled to the Wuzhen Theatre Festival in China), among others. Off-Broadway credits include Building the Wall, Zona, and Displaced. Regionally, Gina has appeared at Studio Theatre, Arena Stage, Berkeley Repertory Theatre, Repertory Theatre of St. Louis, Portland Center Stage, Paper Mill Playhouse, Kansas City Repertory Theatre, Theater Works, Shakespeare Santa Cruz, Milwaukee

Seth Andrew Bridges (Gary LeJeune) is thrilled to return to Syracuse Stage! A New York City-based actor and stuntman, his previous Syracuse Stage credits include The Three Musketeers and Great Expectations. Other regional theatre credits include Alabama Story (Pioneer Theatre Company, world premiere); A Christmas Carol, The Tempest, Sherlock Holmes, Bear Country, and

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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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CAST Repertory Theatre, Delaware Theatre Company, Center Stage, Pittsburgh Public Theater, Lake Tahoe Shakespeare Festival, Arden Theatre, Geva Theatre Center, and Utah Shakespeare Festival, among others. Her TV credits include Orange is the New Black and High Maintenance. Gina holds a B.F.A. from the University of Southern California.

For more, visit gina-daniels.com.

man Presents (The New Group, world premiere); The Play Company’s Obie Award-winning Invasion (Soho Rep/ The Flea); Marat/Sade (Classical Theatre of Harlem); The Winter’s Tale with David Strathairn (Classic Stage Company); Jackson Heights Trilogy (Theatre 167); Bumburg: The Musical (NYIT nominee for Best Production of a Musical); Desipina’s Lonely Leela; Pulitzer Prize-finalist Rajiv Joseph’s The Leopard and the Fox (NYIT nominee for Best Ensemble); Pulitzer Prize-finalist Rollin Jones’ world premiere of The Jammer (NY Fringe); and Kingdom of Lost Songs (Lincoln Center Director’s Lab).

Andrew also performed regionally in two of the three plays in the world premiere of the trilogy Displaced Hindu Gods (Mixed Blood Theatre), and The Consequences (Wellfleet Harbor Actors Theater, world premiere). TV/Film: Blacklist, Elementary, Madame Secretary, Jessica Jones, Person of Interest, Nurse Jackie, Law & Order: SVU, Turks, Early Edition, The Workplace, When Kiran Met Karen, and How It Probably Went Down: Gandhi. Education: M.F.A. Yale School of Drama; B.F.A. The Theatre School at DePaul University.

Andrew Ramcharan Guilarte (Lloyd Dallas) is excited to be making his second appearance at Syracuse Stage. He last appeared in Disgraced in Shanghai with The Great Theater of China reprising the role of Amir. In New York City he was last seen OffBroadway playing Claudius in Waterwell’s Hamlet. Regionally he appeared in the critically acclaimed production of Disgraced as Amir (Syracuse Stage and Alliance Theatre, Atlanta), The Invisible Hand (Kansas City Rep), Twelfth Night (Malvolio, Connecticut Repertory Theatre). He was in David Auburn’s Fifth Planet from the Sun at Lincoln Center’s Clark Studio Theater, and he was the King of Siam in Marriott Theatre’s critically acclaimed production of The King and I in Lincolnshire, Chicago. Other NYC/Off-Broadway credits: A Midsummer Night’s Dream (Oberon/Theseus, Masterworks Theatre Company); 2G’s world premiere of Galois the Musical (The Ice Factory/The New Ohio Theater); Macbeth (Lincoln Center/Clark Studio Theater); NAATCO’S Obie Award-winning production of Awake and Sing; Immaculate at La MaMa; Bunty Ber-

Kate Hamill (Poppy Norton-Taylor) is an actor/ playwright. Her work includes her play Sense and Sensibility (in which she originated the role of Marianne)—winner, Off-Broadway Alliance Award; nominee, Drama League Award; 265+ performances off-Broadway and one of the top 10 most-produced plays in the country last year. Other plays include Van-

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CAST ity Fair at the Pearl Theatre (in which she originated the role of Becky Sharp; nominee, Off-Broadway Alliance Award); Pride and Prejudice at Primary Stages and Hudson Valley Shakespeare Festival (originated the role of Lizzy Bennet, nominee, Off-Broadway Alliance Award). Additional acting credits include The Seagull (Bedlam, “best classical production of 2014” – Wall Street Journal), Cyrano (Amphibian Stage), Dreams of A West Texas Marsupial Girl and Three Mutants (PearlDamour), The General from America (Hudson Valley Shakespeare Festival), Separation Rapid (Chenango River Theatre), Good Person of Szechwan and The Nameday Party (Schapiro Theatre), and numerous independent films. Upcoming new plays: Little Women at Primary Stages and Jungle Theater, Mansfield Park at Northlight Theatre. Her Pride and Prejudice, directed by her partner Jason O’Connell, is part of the 18/19 Syracuse Stage season and runs March 20 – April 7, 2019.

Kate was named the Wall Street Journal’s Playwright of the Year in 2017 and was one of the top 10 most-produced playwrights in the country in 20172018. B.F.A. Acting, Ithaca College. http://www.kate-hamill.com

Me For Living and Gwendo & Fiona.

Television: The Path. Training: The Juilliard School, Artist As Citizen Award.

Proud member of the 52nd St. Project. www.elizahuberth.com Michael Keyloun (Frederick Fellowes) appeared Off-Broadway in Clifford Odets’ Rocket to the Moon and the premiere of Drop Dead Perfect by Erasmus Fenn. Regional credits include productions with the Denver Center Theatre, Shakespeare Theatre of DC, Long Wharf, Hartford Stage, Goodspeed Musicals, Pioneer Theatre, St. Louis Rep, Asolo Rep, Cincinnati Playhouse, Indiana Rep, Geva Theatre Center, Actors Theatre of Louisville, and La Jolla Playhouse, among others. Film: The Road from Erebus, The Try-Out, and The Thing.

Michael has an M.F.A. from UCSD. Dori Legg (Dotty Otley).

New York: The Short Fall (Toy Box Theatre), Shaving the Pickle (Origin Theatre). Regional: Vanya, Sonia, Masha and Spike (Syracuse Stage); Other Desert Cities (Syracuse Stage/Portland Center Stage); Last Night of Ballyhoo (Bay Street Theatre); August: Osage County, Enchanted April, Brighton Beach Memoirs, Prides Crossing, Glorious (Fulton Opera House); The Women (Arena Stage); Twelfth Night, Macbeth, Melissa Arctic (Folger Shakespeare Theatre); This Beautiful City (Humana Festival/ The Civilians); Recent Tragic Events (Woolly Mammoth - Helen Hayes Nomina-

Eliza Huberth (Brooke Ashton) is making her debut at Syracuse Stage. Theatre credits include: The Way Of The World (Folger Theater); Vrooommm!

(Triad Stage); A Doll’s House, Babs The Dodo, OKAY, Robin Hood, The Gnadiges Fraulein, and Camp Monster (Williamstown Theatre Festival); Crude (Ars Nova). Film/Web Series: Excuse

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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 tion); Radiunt Abundunt, Snow Queen, Brother Wolf (Triad Stage); Durang, Durang (Studio Theatre); Season’s Greetings, Escape from Happiness (Round House); The Diary of Anne Frank (Delaware Theatre); Barefoot in the Park (Two River Theatre); Sherlock Holmes and the Case of the Purloined Letter, Great Expectations, Pirates of Penzance, Iolanthe, Christmas at the Old Bull and Bush (Interact Theatre). Film: The Daft Penguin, El Camino, Double Negative, Guilty As Charged. TV: Good Girls Revolt, Law & Order: SVU, Law & Order: CI, Homicide, As the World Turns, Late Night with Conan O’Brien.

Dr. Seuss’ How the Grinch Stole Christmas! (The Old Globe); Nerds (Philadelphia Theatre Company, Barrymore Award Nomination); Romeo and Juliet, POP!, Rough Crossing (Yale Repertory Theatre); Carousel (Paper Mill Playhouse); Amadeus, Macbeth, The Winter's Tale (Chautauqua Theater Company); Sweeny Todd: The Demon Barber of Fleet Street (PlayMakers Repertory Company); Into the West (Tantrum Theater); Good People (The Public Theatre, ME). NYC: Bones in the Basket (Araca Project); Les Enfants de Paris (NYMF); Frogs (Fault Line Theatre); Twelfth Night (Three Day Hangover). Concert: Swan Lake (Original Cast, Hollywood Chamber Orchestra). TV: Blue Bloods. Education: Proud graduate of the University of Virginia (B.A.) and Yale School of Drama (M.F.A.). Please visit www.blakesegal.com for more.

Blake Segal (Tim Allgood) is delighted to be making his Syracuse Stage debut. National Tour: Mary Poppins.

Regional: The Corn Is Green (Williamstown Theatre Festival); Ken Ludwig’s Baskerville,

A R T I S T I C S TA F F John Iacovelli (Scenic Designer) has designed more than 300 plays and musicals at most major theatres in the U.S. including Steppenwolf, South Coast Rep, McCarter Theatre, Long Wharf Theatre, Seattle Rep, Geffen Playhouse, Pasadena Playhouse, Berkeley Rep, Goodman Theatre, Oregon Shakespeare Festival, and Center Theatre Group. For Syracuse Stage he designed Ring of Fire, Blithe Spirit, and The Clean House. Iacovelli received a primetime Emmy for the broadcast of the Broadway production

of Peter Pan. He was the production designer on Ruby in Paradise, starring Ashley Judd, and art director on Honey, I Shrunk the Kids! Television credits include The Old Settler starring Phylicia Rashad and Debbie Allen, The Gin Game staring Mary Tyler Moore and Dick Van Dyke, and Babylon 5. He has an M.F.A. in scenic design from NYU’s Tisch School of the Arts. This year he received the Distinguished Achievement Award in Scene Design and Technology from The U.S. Institute of Theatre Technology, iacovelli.com

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A R T I S T I C S TA F F David Zyla (Costume Designer). Theatre credits include the Broadway production and international tour of Deaf West’s Big River as well as the off-Broadway productions of Edwin, Fraulein Else, Dreyfus in Rehearsal, POPart, and Clue: The Musical. Regional credits include productions for Pittsburgh Public Theater, Repertory Theatre of St. Louis, Ford’s Theatre, Cincinnati Playhouse in the Park, Theatreworks, and Capitol Repertory. His work for television includes ABC’s All My Children (2010 Outstanding Achievement in Costume Design Emmy Award), General Hospital, Port Charles, and Lifetime's Devious Maids. Film design credits include Heart of the Country, Sara’s Life, and Nice Guys Sleep Alone. Zyla revealed his theories on color and design with the publication of his best-selling book Color Your Style (Dutton) and the reveal of his stylist shopping secrets in How to Win at Shopping (Workman). www.davidzylaportfolio.com

Enemy, Red (Triad Stage); A Raisin in the Sun (Westport Country Playhouse); Two Trains Running (Two River Theater Company); The Glass Menagerie, Black Odyssey, Fences (California Shakespeare Theatre); Hamlet, Pippin (Arkansas Shakespeare Theatre).

Jacqueline R Herter (Sound Designer) has served as resident sound designer for twenty seasons at Syracuse Stage and the Syracuse University Department of Drama. She has designed for Indiana Repertory Theatre, Studio Arena, the Wilma, Geva, Round House, Shakespeare Santa Cruz, Virginia Stage, and the Hangar Theater as well as other theatres across the nation. Some favorite designs have been: Next to Normal, The Three Musketeers, Nine, Hairspray, The Overwhelming, Caroline, or Change, The Miracle Worker, The Day Room, The Christians, Radio Golf, Parade, The Diary of Anne Frank, The Lieutenant of Inishmore, Red Noses, The Real Thing, Hedwig and the Angry Inch, M. Butterfly, A Raisin in the Sun, A Lesson Before Dying, Frozen, Copenhagen, Who’s Afraid of Virginia Woolf?, Inherit the Wind, and Big River.

Xavier Pierce (Lighting Designer).

Theatre credits include Othello, Shakespeare in Love (Oregon Shakespeare Festival); Native Gardens, Harvey, Blithe Spirit (The Guthrie); The Roommate (Steppenwolf Theatre) Smart People, Native Gardens (Arena Stage), Misery (Cincinnati Playhouse) Yours Unfaithfully, A Day by the Sea (Mint Theatre NYC), Fences (Long Wharf and the McCarter); Peter and the Starcatcher, 4000 Miles, The Mountaintop, Detroit ’67 (PlayMakers Rep); Two Trains Running (Arden Theatre); Outside Mulingar (Arizona Theatre Company); The Piano Lesson (Olney Theatre Center); Fly (Florida Studio Theatre); Common

D.C. Wright (Comedy Stunt Coordinator) is excited to be back at Syracuse Stage after directing the fights for last season’s The Three Musketeers. OffBroadway credits include The Blowin of Baile Gall (Irish Arts Center). Regional credits include Spamalot, Peter and the Starcatcher, August: Osage County, Compleat Wrks of Wllm. Shkspr Abridged, Les Miserables, Henry V, Death of a Salesman, Treasure Island: A New Musical, Hamlet, To Kill a Mockingbird, Of Mice 47

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A R T I S T I C S TA F F and Men, Moonlight and Magnolias, Romeo and Juliet (Arkansas Repertory Theatre); Treasure Island: A New Musical (Merry Go Round Playhouse); Peter and the Starcatcher, One Man, Two Guvnors, and Hamlet (Theatre Squared); Compleat Wrks of Wllm. Shkspr Abridged, Romeo and Juliet, Titus Andronicus, Taming of the Shrew, Macbeth, and Twelfth Night (Illinois Shakespeare Festival). He is recognized as a Certified Teacher of Stage Combat by the Society of American Fight Directors and as a Master Instructor by Dueling Arts International. He teaches movement and stage combat at Western Illinois University.

a Bird; The Merchant of Venice (New York Shakespeare Festival); The Pitchfork Disney (Blue Light Theatre Company); Birdy (The Women’s Project); The Model Apartment (Primary Stages); the New York premiere of Tony Kushner’s SLAVS! (New York Theatre Workshop); and The African Company Presents Richard III (The Acting Company). His regional theatre credits include numerous productions at The Shakespeare Theatre and Arena Stage in Washington, DC; Syracuse Stage; Baltimore CENTERSTAGE; Hartford Stage; and the McCarter Theatre, among others. A former touring member of The Acting Company, he served as artistic associate of The Chautauqua Theatre Company for seven years and was a member of the Board of Directors of The American Society for the Alexander Technique (AmSAT) for six years. He is a graduate of Harvard University, The Juilliard School, and the American Center for the Alexander Technique. He was recently awarded the prestigious Juilliard President’s Medal in recognition of his contributions to both Juilliard and to the broader performing arts community.

Ralph Zito (Dialect Coach) is in his ninth year as chair of the Department of Drama. He came to Syracuse University from the Juilliard School Drama Division, where he had been a teacher and director from 1992 to 2010 and chair of the Voice and Speech Department since 1999. He was a director and adjunct lecturer in the Barnard College Theater Department from 2006 until 2010 and has been a guest artist at training programs across the country, including the Old Globe in San Diego, The University of Texas at Austin, and the Academy for Classical Acting in Washington, DC. Directing credits for the Department of Drama include: The Spitfire Grill, As You Like It, Gruesome Playground Injuries, and The Aliens. He has served as a voice, text or dialect consultant for numerous professional productions both on and off-Broadway, including: The Light in the Piazza; Awake and Sing!; The Herbal Bed; Mrs. Klein; The Fiery Furnace; The Time of the Cuckoo (Lincoln Center Theatre); Tongue of

Stuart Plymesser (Production Stage Manager) is in his 22nd season at Syracuse Stage where he has stage managed around 100 plays, musicals, and special events, working with such talents as Olympia Dukakis, Frank Langella, Elizabeth Franz, and Phylicia Rashad. Stuart has worked at numerous regional theatres around the country and in Cape Town, South Africa, and has toured nationally.

Locally, he has also stage managed events for Syracuse Fashion Week. In 49

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A R T I S T I C S TA F F addition, Stuart is adjunct faculty for Syracuse University’s Department of Drama and has been a guest speaker/ lecturer at Ithaca College, Wells College, SUNY Oswego, and the Zabalaza Festival in Cape Town. Stuart is a proud member of Actors’ Equity Association, the union of professional actors and stage managers, as well as the United States Aikido Federation.

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

Laura Jane Collins (Stage Manager) returns for her ninth season with Syracuse Stage and will be a part of the stage management team for Noises Off, Elf The Musical, Pride and Prejudice, and The Humans. Regional credits include: The Curious In-

P L AY W R I G H T Michael Frayn was born in London in 1933. He began his career as a reporter for the Guardian and later the Observer. After leaving the Observer he continued to write as a columnist as well as publish novels and plays for television and stage. His plays for stage include: Copenhagen, After Life, The Two of Us, Alphabetical Order, Donkeys’ Years, Clouds, Balmoral (Liberty Hall),

Make and Break, Noises Off, Benefactors, Alarms and Excursions, Look Look, Here, and Make and Break. Translations include: four full-length Chekhov plays–The Cherry Orchard, Three Sisters, The Seagull, and Uncle Vanya and four one-act plays–The Evils of Tobacco, Swan Song, The Bear, and The Proposal. Mr. Frayn is married to the biographer and critic Claire Tomalin.

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

He recently directed 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 51

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DIRECTOR/ARTISTIC DIRECTOR 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 presi-

dent 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.

MANAGING DIRECTOR iumaa, Estonia. Previously, Jill spent five years in the production office at Washington DC’s Arena Stage, after working as a stage manager in Minnesota, New Mexico, and Massachusetts. 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 in Hi53

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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 Kyle Bass is 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. His new play Possessing Harriet, commissioned by the Onondaga Historical Association, will have its world premiere at Syracuse Stage in October, directed by former Syracuse Stage artistic director Tazewell Thompson. Kyle is creator and curator of Syracuse Stage’s Cold Read Festival of new plays and is the co-author of the original screenplay for the film Day of Days, which stars award-winning veteran actor Tom Skerritt and was released by Broad Green Pictures in 2017. He is currently writing the screenplay adaptation of the novel Milk by Darcy Steinke and has been commissioned by the Society for New Music to write the libretto for an opera based on the life and music of legendry folk singer and guitarist Libba Cotten. 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 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. Kyle’s 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’s prose and other writings have appeared in the journals Folio and Stone Canoe, among others, and in the anthology Alchemy of the Word: Writers Talk about Writing. Kyle has taught in the M.F.A. Creative Writing program at Goddard College since 2006 and was recently named to the Burke Endowed Chair for Regional Studies at Colgate University. Kyle also teaches playwriting in Syracuse University’s Department of Drama, theatre courses in the Department of African American Studies, and has taught playwriting at Hobart & William Smith College. He holds an M.F.A. in Playwriting from Goddard College and is Drama Editor for the journal Stone Canoe. Kyle is a proud member of the Dramatist Guild of America.

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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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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, 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 NOISES OFF

ELF THE MUSICAL

PRIDE AND PREJUDICE

Sat. Sept. 22, 3:00 S Sat. Sept. 29, 3:00 A Wed. Sept. 19, 2:00 O Sat. Sept. 29, 8:00 O Sun. Sept. 30, 2:00 O Tues. Sept. 25, 7:30 R/SF

Sat. Dec. 8, 3:00 S Sat. Dec. 8, 3:00 A Wed. Dec. 5, 2:00 O Sat. Dec. 15, 8:00 O Sun. Dec. 16, 2:00 O Sat. Dec. 29, 3:00 R/SF

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

POSSESSING HARRIET

NATIVE GARDENS

THE HUMANS

Sat. Oct. 27, 3:00 S Sat. Nov. 3, 3:00 A Wed. Oct. 24, 2:00 Sat. Nov. 3, 8:00 O Sun. Nov 4, 2:00 O

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

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.

O

Relaxed/Sensory Friendly = R/SF Relaxed and 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 315-442-7755 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 Garden Cafe 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

POSSESSING HARRIET

POSSESSING HARRIET

ELF THE MUSICAL

BY KYLE BASS | DIRECTED BY TAZEWELL THOMPSON COMMISSIONED BY THE ONONDAGA HISTORICAL A S S O C I AT I O N | A C O L D R E AD WOR LD P R E MI E R E P RO D U C T I O N | O C TO B E R 1 7 - NOV E MB E R 4 O P E N I N G N I G H T : O C TO B E R 1 9

BOOK B Y THOMAS MEEHAN AN D BO B MARTIN | MUS IC B Y MATTHEW SKLAR | LYRICS BY CHAD B E GU E LI N | DI R ECTED BY D O N N A D RAKE MUS IC A L DI R E C T IO N BY BRIAN CIMMET | CHOR E OGR A P H E D B Y BRIAN J. MARCUM | BASED ON THE NE W LI NE CIN EMA F ILM BY DAVID B E R E NBAUM | CO -PRO D UCED W ITH THE SYRA C U S E U NIV E R S I T Y D EPARTMEN T O F D RAMA | NOV E MB E R 2 3 - JAN UARY 6 | O PEN IN G N IG HT NOV E MB E R 3 0

In 1839, Harriet Powell, a young, mixedrace, enslaved woman slips away from a hotel in Syracuse, New York, and escapes from the Southerner who owns her. With the aid of a mysterious free black man named Thomas Leonard, Harriet finds temporary safe harbor in an attic room at the home of impassioned abolitionist Gerrit Smith. With the slave catchers in pursuit, Harriet spends the hours before her nighttime departure on the dangerous journey to Canada in the company of Smith’s young cousin Elizabeth Cady, an outspoken advocate for women’s equality. Confronted with new and difficult ideas about race, identity, and equality, and with confusion, fear, and desperation multiplying, Harriet is forced to the precipice of radical self-reimagination and a reckoning with the heartrending cost of freedom. A world premiere by awardwinning playwright and Syracuse Stage associate artistic director Kyle Bass.

This holiday season channel your inner elf and join Buddy on his journey from the North Pole to New York City to find his real family. For this journey you’ll need provisions (four food groups recommended: candy, candy canes, candy corns, and syrup), snowballs, and an ability to sing very loud (but maybe wait for the ride home). Most of all, you’ll need family and friends and a desire to spread holiday cheer. Donna Drake (The Wizard of Oz) returns to direct this delightful holiday show.

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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

INTO THE WOODS

NEXT FALL

BO O K B Y JA M E S L A P I N E | MUS IC A ND LYR I C S B Y S T E P H E N S O N D H E I M | D I R E C TE D A ND C H OR E O G R AP H E D B Y DAV I D L OW E NS TE I N | MU S IC DIRECTION BY BRIAN CIMMET | OCTOBER 12 - 21 O P E N I N G N I G H T : O C TO B E R 1 3

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

There are stories we tell about ourselves and stories others tell about us. Can both perspectives yield truth? A car accident places a young man named Luke in critical condition. As he lies comatose, suspended between life and death, his family and friends slowly begin reckoning with the conflicting stories of his life, the silences and secrets that have kept Luke from integrating his present and his past. Will Luke be given a chance to knit the story of his life into a satisfying whole? In this deeply moving and surprisingly funny play, Geoffrey Nauffts takes the measure of a painful passage and shapes a drama that speaks in a quiet voice of momentous things.

A stunningly fresh take on one of Stephen Sondheim’s most popular works, this production nudges the familiar characters of Into the Woods a little further into the fearful, dark forest. Sondheim based his sophisticated musical on the unsettling tales of the Brothers Grimm, populated it with slightly skewed versions of storybook favorites, and set them on a course wherein having wishes granted is not the same as having wishes come true. Good storytellers know unforeseen consequences are always lurking deep in the narrative.

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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 Senior Counsel National Grid VICE CHAIR

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

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

Tyler Piper

JAMESVILLE-DEWITT HIGH SCHOOL

FAYETTEVILLE-MANLIUS HIGH SCHOOL

JORDAN-ELBRIDGE HIGH SCHOOL

Emma Baker

Garrett Frink

Victoria Sayre

NOTTINGHAM HIGH SCHOOL

PHOENIX HIGH SCHOOL

MARCELLUS HIGH SCHOOL

Chloe Butler

Chloe Hill

Peyton VanBoden

JAMESVILLE-DEWITT HIGH SCHOOL

PAUL V. MOORE HIGH SCHOOL

HOMESCHOOLED

Derek Caldeira

Molly Kotzin

Eleanor Wester

FABIUS POMPEY HIGH SCHOOL

JAMESVILLE-DEWITT HIGH SCHOOL

CAZENOVIA CENTRAL SCHOOL

Emma Ciardy

Lauren Lammers

JAMESVILLE-DEWITT HIGH SCHOOL

C.W. BAKER HIGH 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

Contributions listed above are current as of August 14, 2018 and reflect operating support of $2,800+ and in-kind donations of $10,000+.

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NOISES OFF SPONSORS

THE REISMAN FOUNDATION is proud to be a sponsor of the arts in Central New York. We recognize the deep importance that live theatre plays in shaping the cultural and social vitality of our community. We are delighted to continue to support Syracuse Stage and the production of Noises Off. Congratulations on your 46th season, here's to the next 46!

L e CHASE CONSTRUCTION, established in 1944, is a full-service construction management and general construction firm with extensive experience in a wide range of industry sectors. We take pride in our reputation for integrity, safety and quality. We also take pride in supporting organizations, like Syracuse Stage, that help enrich the lives of our family, friends, and neighbors in the Syracuse area.

INDIVIDUAL, CORPORATE, FOUNDATION, & GOVERNMENT GIFTS New and increased gifts this season will be matched by The Richard Mather Fund. $100,000+ Syracuse University

M&T Bank NBT Bancorp Inc

$75,000 - $99,999 Bill & Nancy Byrne The Dorothy and Marshall M. Reisman Foundation

$20,000 - $49,999 CNY Community Foundation iHeartMedia Richard Mather Fund

Benefactors Circle $10,000 - $14,999 AXA Foundation George Bain Bank of America Business Journal News Network Cumulus Media News Channel 9 The John Ben Snow Foundation & Memorial Trust Paul Phillips & Sharon Sullivan Urban CNY WAER

$15,000 - $19,999 Allyn Family Foundation Howard L. Green Foundation, Inc.

Founders Circle $7,500 - $9,999 JP Morgan Chase Mary & Larry Leatherman

$50,000 - $74,999 Advance Media New York CNY Arts, Inc Destiny USA The Shubert Foundation

as of August 14, 2018 66

Elinor Spring-Mills & Darvin Varon Syracuse New Times WRVO Playwrights Circle $5,000 - $7,499 Bank of New York Mellon Carrier Corporation Community Bank Excellus BlueCross BlueShield Michael & Barbara Flintrop Rosamond Gifford Foundation Helene & Neil Gold Michael & Jacki Goldberg Gail Hamner & Daniel Bingham Peter & Brigitte Herzog LeChase Construction Lockheed Martin Lockheed Martin Employees Federated Fund

Suzanne & Kevin McAuliffe Eric & Judy Mower Sally Lou & Fran Nichols Pathfinder Bank Patricia & Melvin Stith SUNY Upstate Medical University Tompkins Trust Company Producers Circle $2,800 - $4,999 Janet Audunson & David Youlen Grandma Brown Foundation Mary Beth & Pete Carmen Cathedral Candle Company Margaret, Amy & Bob Currier Gladys Krieble Delmas Foundation Bill Eggers Sandra Fenske Fidelity Charitable Bea Gonzalez & Michael Leonard Larry & Ann Harris Nancy Kramer & Doug Sutherland Roberta & Rocco Mangano David Murray & Judith Sayles Fredrick & Virginia Parker Selma Radin Theatre Development Fund, Inc. Wegmans Dr. & Mrs. Thomas R. Welch Directors Circle $1,500 - $2,799 Barbara Beckos & Art McDonald Boeheim Foundation Kris & Jeffrey Bogart Lorraine Branham & Melvin Williams Jim & Cathy Breuer Sandra L. Brown Richard Bunce Mark Jackson & Candace Campbell Jackson Peter Cannavo & Helen Jacoby James Clark & Sharon Gordon Kristin & Sidney Cominsky Bob & Bobbie Constable Robin Curtis & David Zeller

Edward & Susan Downing Dick & Therese Driscoll Peggy & Dana Dudarchik Alex Epsilanty & Dan Jonas Herman Frazier Barbara Genton Joan Green Nancy Green & Tony Marschall Betsy Hartnett David & Sally Hootnick Robert & Clea Hupp Sandra Hurd & Joel Potash Jewish Community Foundation of CNY Randy & Elizabeth Kalish Kathy Kelly & Len Weiner Leslie Kohman & Jeffrey Smith KPMG, LLP Dan & Ann Lent Andrew S. London, Ph.D. and Alan E. Curle, MD Martine Burat & Anthony Malavenda Jack Mannion & Stephanie Miner Julia & Lee Martin Pete & Betsy McKinnell Molly & Kevin Mulvihill Rosemary Pooler Dr. Amir Rahnamay-Azar Rissa & Michael Ratner Frank and Frances Revoir Foundation Molly Ryan & Tim Byrnes Jane Birkhead & Robert Sarason Elaine & Michael Shende Margaret & Richard Shirtz George & Rita Soufleris Dr. & Mrs. Sam Spalding Raymond & Linda Straub Cindy Sutton & Family Peter & Cherry Thun TIAA-CREF Trust Michael & Cathy Tick Linda & Jack Webb Welch Allyn Glenda & Larry Wetzel Woodbine Group, Inc Michael & Laurie Zoanetti Star $1,000 - $1,499 ACLS Mailing & Fulfillment Action Printwear, Inc. Dave & Jill Anderson Craig & Kathy Byrum

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Steven & Seanne Chase Joan Christy John Druke Mary Ann Finn Grace & Michael Flusche Karen & Daniel Fuleihan Winnie Greenberg Nancy & Lee Herrington Margare & Don Martin Dr. Lawrence Myers Paciorek Orthodontics Jan & David Panasci Panasci Charitable Trust Annette & Kenneth Peters Marya and John Frantz and Sutton Real Estate Company, LLC Syracuse Research Corporation Leading Role $500 - $999 George & Sandra Abbott Anoplate Corp.

Marion Barbero Gerhard & Carol Baule Daniel & Sarah Berman Donald Blair & Nancy Dock William & Audrey Boyd Marlene A. Brown Craig Buckhout Drs. Jayne & Larry Charlamb The Jerome & Phyllis Charney Foundation George Curry Roger & Naomi DeMuth Paula Dendis Stephen & Catherine DiMarco Lewis & Elaine Dubroff Allen & Anita Frank Douglas Goldschmidt & David Jacobs Golub Foundation Lawrence & Dorothy Gordon Drs. Michael & Wendy Gordon Theodore C. & Antonia M.Hansen David Heisig & Donna Mahar Heritage Masonry Restoration Joyce Homan Huen New York The Kelberman Center Ellen & Terry Lautz Law Office of Keith D. Miller

Bob & Pat Lebel Lennie Turner Elizabeth D. Liddy George & Roseann Lorefice Elizabeth G. Mascia Rod & Jana McDonald Elizabeth & Walter Merriam John & Joan Nicholson Doren & Dennis Norfleet Mike & Maggie O'Connor Lois & Ted Schroeder Kendrick & Gracia Sears Lowell Seifter & Sharon McAuliffe James W. Shults Lynn & Corrine Smith L. John Steigerwald IV Paul Steiner The Taishoff Center Gregg Tripoli Phil & Janice Turner Supporting Role $150 - $499 Alan Byer Auto Sales, Inc Eric Alderman Anaren Robert & Jeanne Anderson Anthony Antonello & Danielle Quintus Chris Arnold & Ellen Yeomans Tim & Peggy Atseff Aminy Audi Gail & Dennis Baldwin Theresa & Dennis Bardenett Andrew & Margot Baxter Dr. Joanne & Jim Beckman Phyllis & William Berinstein Dr. Sylvia Betcher & Martin Korn Kathleen Bice Bill Rapp Superstore Gerald & Barbara Black Richard Bowman Eric & Carol Boyer Mary Brady Susan & Thomas Brett Angel & Walter Broadnax Nick & Carolyn Brust Kevin Bryans Marion L. Burke Mary & Bill Butler Frank & Kathy Campagna Robert Caswell Linda Tassa & Joseph Cerroni

Susan Chappuis Alexander & Margaret Charters Anthony & Carolyn Cimino Sam & Carolyn Clemence Susan & Craig Cobb Jack & Lori Coleman Melanie Comito & Spencer Brown The Concept @ 235 Joan & Robert D. Conine William & Julia Consroe Mike & LaRae Cottrell Peter & Margaret Darby Bill & Terry Delavan George & Margaret DeLorenzo Sandra DiBianco Cynthia Dietz Alan B. Dolmatch Susan Dorn Sharry W. Doyle Elizabeth & Evan Dreyfuss Nancy & Samuel Ebersole Jonathan & Rosanne Ecker Edward S. Green & Associates Bill & Betsy Elkins Linda & Greg Ellstrom Ted & Penny Emerick Richard Ernst Daniel Fisher & Lori Rublman Mrs. Ruth Fitzmorris Len Fonte Philip & Marilyn Frankel Jeffrey & Teresa Freedman Cyril Freeman Kathleen & Kenneth Freer Silvia & David Fry Melanie & Mark Fullerton Allen & Nirelle Galson GE Foundation Matching Gifts Peter Scheibe & Margaret Gelfuso Giarrusso Building Supplies, Inc Ernest & Penny Giraud Linda Fabian & Dennis Goodrich Dr. Roger & Mrs. Vicki Greenberg Mark & Cynthia Dowd Greene Jerry & Beth Groff Ms Carol Guido Greg & Elaine Hallett

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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 Boss 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 Gwynne Bellos in memory of Dr. Neal Bellos Holly Thuma in memory of Genevieve and Theodore Thuma Jeff Purdy in honor of Enoch Purdy

Mr. H Baird Hansen & Mrs. Sarah Hansen David & Ellen Hardy Julia & Daniel Harris Dr. & Mrs. Donald M. Haswell Berkshire Hathaway Sharon Hayford Mary Hershberger Hueber-Breuer Construction Co., Inc. Drs. Joseph & Paula Himmelsbach Joseph J. Hipius Judy & John Hoepner Linda & Dr. John Isaac Robin & Mark Kasowitz Norma Kelley Jeanne Kempton King David's Restaurant Russell King Kathy & Barry Kogut Lauren & Robert Lalley Randall LaLonde & Patricia Homer Ellen & Robert LeBerge Robert Linn & Rosalia Hull Edward & Carol Lipson Nicholas & Cathy Lozoponi Julie Lutz Mackenzie Hughes LLP Jon Maloff John & Candace Marsellus Susan Martineau Michael Masingale Mr. & Mrs. Peter Mazzaferro Mary Ellen McDonald Marlene & Scott Macfarlane Michael & Patricia McGrath Dannible & McKee, LLP Marilyn McKnight J Thomas & Marilyn McKnight Howard McLaughlin & Mary O'Hara Sam & Margaret McNaughton Dr. & Mrs. James L Megna Maggie & Andreas Meier David Michel & Peggy Liuzzi

Katharine O'Connell & Dr. Michael F. Miller Dan & Terry Miller David & Beth Mitchell Peter & Gail Mitchell Robert & Barbara Moore Laurel Moranz & John McAllister Bob Moss & Michael Brennan Brenda R. Neuss Sally O'Herin Donna & Richard O'Neil Deborah O'Shea Phyllis Olmsted Larry & Joan Page David & Susan Palen Robert & Teresa Parke Susan R. Parker Ralph & Mary Lou Penner Jane Pickett Neva & Richard Pilgrim Anita Pisano Mr. and Mrs. Robert Rabin Dan & Kathy Rabuzzi David Rankert Teresa Reller Michael & Cindy Rogan Neil & Erica Rube Elaine Rubenstein Marc Safran Kelly & Dr. Anthony Scalzo Ruth Seaman Marilyn & Mike Sees Pamela Sherwood Rhoda Sikes Robert M. & Harriet Silverman Harold & Ruth Smulyan Laurence Sovik Helene & George Starr Deborah & James Stewart Lawrence Stewart & Pamela Sunshine Thomas Talbot J Martin & Jackie Talcik Steve & Kathleen Tallman Holly Thuma Cynthia Tracy Peter Vanable & Anne Jamison Lynn V&erhoek & Michael VanVranken

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JoAnn Wickman in memory of Arlene Alpaugh John Huppertz & Diane Mastin in honor of Fran and Sally Lou Nichols John Wolf in honor of Bob Moss Joyce Homan in honor of Bob Moss Judy Rubin in honor of Bob Moss Kathy Effler in honor of Damian M. 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 in honor of Tracey White and Don Buschmann Rocco Mangano in memory of Ed Green Susan Dorn in memory of Philip K. Dorn Susan Kaplan in honor of Bob Moss Winona Rainbow in memory of Audrey Dwyre

Gershon & Dina Vincow Meghan & TJ Vitale Robert & Anita Wagner Sara Warner & Laurence E. Volan Linda Webb Peter N Wells Lynda & Terry D Wheat David & Daryll Wheeler Margaret Harding & Joseph Whelan Christopher & Renee Wiles Gregory Wilt

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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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

Matching Gift Program

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

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 Production Management Intern.....................................................................Samuel Arencibia Technical Director..................................................................................................Randall Steffen Assistant Technical Director............................................................................Rebecca Schuetz Scene Shop Foreman...........................................................................................Michael King Carpenters.................................................Andrew Burns, Caleb Harris, Cheyenne McBurney Graduate Assistant................................................................................................Joshua Baker 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...............................................................Sarah Alspach, Emily King, Katelyn Yonkers Craftsperson/Shopper.........................................................................................Sandra Knapp Wardrobe and Wig Supervisor.................................................................................Sarah Stark Student Assistants.........................................................................Tucker Breder, Abby McGee Lighting and Projection Supervisor..................................................................David M. Bowman Electrician…….......................................................................................................Jed Daniels Electrics Journeyman/Board-op.........................................................................Anastasia Sioris Electrics Apprentice...........................................................................................Caitlin Weinell Student Assistants..................................................Samuel Arencibia, Ian Borowik, Aria Sivick 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 Journeyman............................................................................Erin C Brett Stage Management Apprentice................................................................................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 Assistant.............................................................Andrew Winogradoff Director of Information Management & Technology...................................Garrett Wheeler-Diaz Box Office Managers.......................................Laurie Lindsey, Courtney Richardson, Aisha Shanes Box Office Assistants.........................Abby Cieslewski, Emily Edwards, Talia Fossum-Wernick Rupert Krueger, Nick Lacopo, Chelsea Perez, Samoya Peters Lexie Smychynsky, Olivia St. Peter, Mary Storholm Audience Services Managers.............................................................Jacob Ellison, Lydia Kubiniec Assistant House Manager...............................................................................Patricia Condello Student Assistant House Managers..................Manda Borden, John MacLeod, Jackson Norman McKenna Vargas, Marilyn Wechsler Bartenders............................................................Daisha Abdillahi, Meg Anthis, Evan Starling Student Ushers....................................................Blake Brewer, Yasmine Chanine, Anju Cloud Shamel Fadloun, Olivia Herz, Calvin Keener, Clare Kenny Jaelle LaGuerre, Jack Rento, Isabel Rodriguez 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 Education Assistant...................................................................................................Len Fonte Education Intern.................................................................................................Greg Mytelka 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.................................................................Christine Liggio, Madalyn Owen Executive Assistant..................................................................................................Rebecca Li Grady 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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JPMorgan Chase & Co. is proud to be a sponsor of Syracuse Stage’s 46th season.

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

5947 East Circle Drive, Cicero, Driver’s Village (315) 458-7800 www.burdicklexus.com 80

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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.

On Sale Now!

FULL SEASON SUBSCRIPTIONS START AT $186 315.443.3275 | SyracuseStage.org SEASON SPONSORS

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 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.

COLD READ FESTIVAL MARCH 7 - 10

Curated by Kyle Bass Featuring Playwright Larissa FastHorse