STATE OF THE UNION by Howard Lindsay and Russel Crouse September 16 - October 12, 2008 Quadracci Powerhouse Theater
ABOUT MILWAUKEE REPERTORY THEATER Milwaukee Repertory Theater is a nationally recognized theater company that presents a critically acclaimed selection of compelling dramas, powerful classics, award-winning contemporary works and lively cabaret shows on three stages from September through May. The Rep also produces an annual production of A CHRISTMAS CAROL. The Rep’s home, the Patty and Jay Baker Theater Complex, located in the Downtown Theater District, contains the Quadracci Powerhouse Theater, Stiemke Theater and Stackner Cabaret. For ticket information or to receive a copy of The Rep’s 2008/09 Quadracci Powerhouse Theater, Stiemke Theater or Stackner Cabaret brochure or a Rep Patron Guide, please call 414-224-9490 or go to milwaukeerep.com. The Rep is “home” to a resident acting company that performs with The Rep throughout the season. This company of remarkable actors – in residence at The Rep for the entire season – is an essential component of the exceptional performances and unrivaled artistry that make up a season at The Rep. Having the company allows The Rep to develop complex and ambitious productions like RICHARD III and MARY STUART (2003/04), A MONTH IN THE COUNTRY (2005/06), TARTUFFE (2006/07) and ARMADALE (2007/08). It guarantees inspired performances in large and small roles. We believe that having a resident acting company makes plays better for our audience. And that’s what we’re all about. Distinguished members of the 2008/09 Resident Acting Company are: Jim Baker, Mark Corkins, Jonathan Gillard Daly, Lee E. Ernst, Laura Gordon, Torrey Hanson, Gerard Neugent, James Pickering, Rose Pickering, Lanise Antoine Shelley, Peter Silbert, Deborah Staples and Brian Vaughn. Milwaukee Repertory Theater is a member of the League of Resident The Rep's 2008/09 Resident Acting Company: Seated front row (L – R): Brian Theatres (LORT), a management Vaughn, Lee E. Ernst and Torrey Hanson. Middle row (L – R): Jim Baker, Laura association of some of the nation’s Gordon, Deborah Staples, Jonathan Gillard Daly, James Pickering and Lanise largest non-profit professional theAntoine Shelley. Back Row (L – R): Gerard Neugent, Peter Silbert, Rose aters that collectively bargains with Pickering and Mark Corkins. Photo by Jack Orton, Milwaukee Journal Sentinel. the unions that represent the actors, directors and designers that work at The Rep; a constituent of Theatre Communications Group (TCG), the national organization for the non-profit professional theater; and a member of Theatre Wisconsin, the statewide association of non-profit professional theaters. ◆ The director of this show is a member of the Society of Stage Directors and Choreographers, an independent national labor union. ◆ This theater operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. ◆ The set, costume, lighting and sound designers are members of United Scenic Artists, a national labor union. ◆ This theater is an equal opportunity employer. Except in plays where race itself is an issue, casting is decided on the basis of ability, not race. ◆ All scenery, costumes and properties for Rep productions are made in Rep shops. ◆ Audio Describers and Interpreters are provided by arrangement with Independence First. ◆ The Rep is proud to be a member of The United Performing Arts Fund (UPAF), which provides major annual financial support.
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milwaukeerep.com STATE OF THE UNION – 1
A MESSAGE FROM THE BOARD PRESIDENT Take a Bow!
As active participants in this enterprise, you too should take pride in our efforts. Milwaukee Repertory Theater has a long-standing reputation for artistic achievement. For instance, last season’s production of THE NORMAN CONQUESTS drew national attention in the Wall Street Journal. In writing about the production their critic Terry Teachout said, “Revivals of so complex a theatrical undertaking must of necessity be rare, and I very much doubt you’ll see a better one than this.”
Today, as you settle into your seat in one of the country’s much-envied theaters, you share a growing sense of anticipation and wonder with other members of the audience. What story will this production tell? How will the costumes, make-up, sets, props, sound, lighting and physical space enrich the experience? How will our Resident Acting Company, guest actors, directors, stage managers and production team members Closer to home, LeAnne bring this story to life in a Walker, a student at way that is relevant and Ronald Reagan IB College connects with the timeJohn Kordsmeier Preparatory High School in less art of theater and Milwaukee, offered the following in cabaret? her review of one of last season’s productions, stating: “The actors in this Along with this sense of awe, I want rendition of THE NIGHT IS A CHILD you to feel a sense of pride in your portrayed the characters in an extraorchoice to be here. As President of the dinary fashion. I felt as if I were part of Board of Trustees for Milwaukee this family (in the play) coping with Repertory Theater, I welcome you to the pain as well.” LeAnne’s review today’s performance and thank you was a result of The Rep’s educational for your presence. You have many choices in terms of how to spend your outreach to schools, with a goal of developing lifelong appreciation of the entertainment dollars. On behalf of theater arts in our community. And the Board of Trustees, thank you for keep in mind that this is only one of being here and being part of our 55th many of our educational efforts. season. The playwright Oscar Wilde said, “The stage is not merely the meeting place of all the arts, but is also the return of art to life.” The mission statement of Milwaukee Repertory Theater supports this, as we strive to “create theatrical productions of the highest standard that explore and illuminate the human condition.” In my view, this is precisely the reason we feel this sense of anticipation and wonder, as we ask “what will I learn about myself and those around me as a result of this experience?”
Our company of resident actors not only allows for the intricate development of each production, but also strives to advance the art of acting and the theater. Within the collegial experience of the company, individual actors can explore the boundaries of both new and established plays, further illuminating the work and growing personally and professionally as actors, writers, directors and artists. The Rep also serves our community directly through a variety of service initiatives. continued on page 4 STATE OF THE UNION – 3
A MESSAGE FROM THE BOARD PRESIDENT continued from page 3 Last year, for the 12th consecutive year, The Rep offered a dress rehearsal to benefit the Aids Resource Center of Wisconsin. For the first time, this dress rehearsal was for A CHRISTMAS CAROL, and the event raised $40,000 in one evening for this cause. We also gave away over $10,000 of A CHRISTMAS CAROL tickets to clients of social service agencies. Finally, the cast of A CHRISTMAS CAROL raised $10,000 in general operating funds for the family assistance agency Wisconsin FACETS, and an additional $8,500 to purchase, wrap and deliver presents for Wisconsin FACETS families.
4 â€“ STATE OF THE UNION
So, even before the curtain is raised, please take a bow. Your engagement in our story-telling and your attendance here today are part of the foundation for Milwaukee Repertory Theater, enabling participation in the ageless exploration of the human condition through the art of the theater. Enjoy the show! John Kordsmeier President Milwaukee Repertory Theater Board of Trustees
6OGPSHFUUBCMF This year our Gala raised over $94,000 to support The Rep’s Artistic Programs. We oﬀer our thanks to the companies that helped to make this possible: Badger Meter, Inc.
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An iinterview with ith
Jim Pickering’s Pickerin e g’s Left Br Brain rain (Conducted by by Jim J Pickering’s Pickering’s Right Brain) Braiin)
photos by Torrey Hanson
Last winter I was inveigled into a discussion of the importance of theater with my cranial alter ego. Afterward I demanded equal time with myself, and, finally, we agreed to a rematch. Here’s the result. Right: Can you hear me alright way over there on the other side of the corpus callosum?* Left: Yes. There’s no need to wave your arms around and shout. Right: Okay, okay. I thought I was the sensitive one. Left: Get on with it. What do you want to know? Right: How DO we learn all those lines, anyway? Left: Get serious. Right: I am. Left: I can start by informing you that you aren’t much help in the department of memorization. I resent the fact that I have to do all the grunt work of determining the logic, sequence and progression of a text, then imprint it here in the storage *corpus callosum: a wide arched band of white matter connecting the cerebral hemispheres . . . —American Heritage Dictionary
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area where it can easily be retrieved, rehearsed, and finally turned over to you so you can turn it into art. Right: I empathize with your resentment. But then, of course, empathy is my department. Or, rather, just one of them. Left: Yes, I realize that all the groovy stuff – the recognition of emotional states, the ability to supply context, the capacity for metaphorical expression – is locked up on your side, but don’t disparage the linear. A fat lot of good all that creativity would do you if you were habitually falling off the stage, which you most assuredly would do if I weren’t reminding you of your physical situation. Right: Yes, I admit that. I thank you, my personal GPS device, for both constructing and maintaining that old fourth wall. But we had been discussing the “importance of theater,” I think . . . Left: True. And before you start singing that song about communal dreams once again, I must make the case for theatrical experience as it is practically applied . . . Right: Hey. As you said, it’s an art for cryin’ outside . . .
Left: So it shouldn’t be useful to society in ways other than the sharing of cosmic insight? Use your own dreamy metaphor, if you wish. You maintain that participating as an audience at a play purges the unconscious as the functioning of the kidneys purge the bloodstream. Don’t you realize as well that such participation also helps to train and instruct? Right: I can’t stand preachy plays . . . Left: You misconstrue what I’m saying. It is precisely through the process whereby the audience’s minds leap to grasp the meaning of the metaphor in which the instructing occurs – the fun kind of instructing that happens through enlightenment. Just as playing chess, working on crossword puzzles or learning new games exercises the analyzing muscles of the mind, experiencing a live performance exercises the synthesizing, intuiting muscles so that they can do better creative thinking, designing, living . . . Right: . . . because both actor and audience are constantly asking the question, “What if . . . ?” Left: You got it. What we both learned from acting teachers all those years ago. What an actor must constantly be asking himself as he creates a role. What a set designer asks herself as she creates a space that must represent a whole world. What a playwright must ask himself as he allows his characters to speak. It’s the good old MAGIC “IF.” Right: There was this poem we had to learn . . . Left: Sha-ZAM!
Right: . . . whoa, man, you just morphed into the guy who wrote it.**
Left: We’re both actors, aren’t we? Right: The point being . . . Left: The point being that if a picture is worth a thousand words (and I imagine Shakespeare, Beckett and Thomas Jefferson, for that matter, would give you an argument there), a metaphor is worth a thousand similes. Transforming myself before your very eye from one image to another is what the actor does when he becomes a character in a play . . . Right: . . . he embodies the metaphor ... Left: . . . Yes. Mediocre art demonstrates what something “is like.” Good art breathes what something “is.” When an audience walks into a theater to see a play, they know that the real event they are about to experience is, in fact, an illusion. That’s part of the contract they agreed to when they bought their tickets. And, as we’ve discussed, since they sit in the same room and breathe the same air, they’ve jumped into the metaphor and become part of it, just as my morphed image jumped into our picture. Right: Ah. Your point was to be something about training and instructing . . . Left: In this post-industrial (post-technological even) age, the ability to teach and learn through story-telling, through metaphor is going to be crucial if our society’s consciousness is not to atrophy. This is not just my idea, there’s a lot of thinking and writing going on about it right now. There is, in addition, a current theory that our brains have evolved to a terminal state. So, instead of our species being able to count on expanding mental capabilities, we must, if we intend to advance, make better use of what’s left. Right: You mean “right.” Left: Right?
**Rudyard Kipling. Author of If
continued on page 9 STATE OF THE UNION – 7
AN INTERVIEW WITH JIM PICKERING’S LEFT BRAIN (cont.) continued from page 7 Right: Correct. Left: Don’t do that! Right: Sorry. Left: Yes. What’s left is the right. I refer to “outside the box” thinking. A box designed, constructed and refined by my side of the brain inside of which communities function. Which now must be examined, expanded and, occasionally, repaired by your side. Right: Now we’re talking about applied dreaming. Tricky business. Left: As I admit the truth of what you said last about live theater providing a communal dream, I believe the wisdom and insight obtained from such activity to be well worth the effort, as we communicate with each other through empathy, metaphor and narrative in order to become the best we can be. Right: So that’s what I’ve been up to these last few years. I thought I was just doing plays – I mean, I have always thought that was important, but a play is, after all, a play. As the noted baseball player Willie Stargell spoke of his attitude toward his game, “When that umpire puts on his mask and gets behind the plate he doesn’t say ‘Work ball!’ he says ‘Play ball!’”
Left: And theater, like baseball, is a team sport. So you and I must work as a team. At its core the beauty of baseball is that the game constantly strives to bring order out of chaos. No two batted balls are the same. When the shortstop fields a hot shot into the hole and throws the batter out by half a step, he has re-directed a random occurrence into a codifiable event. Theater, in any time, from any age, in any setting, strives for the same sort of thing. The first time someone leapt up onto a rock in the firelight and told a story to another someone, he was doing that – relating his experience of the chaotic events he had undergone, say, in pursuit of food, in a form. A story. The more we exercise our ability to communicate through empathy, narrative and all the other right-y tools, the better we can understand how to work, think and live. And theater is built for that. That’s its reason for existence. That’s what makes it matter. Right: Okay. We’re even. Left: Good. Right: Just one thing . . . Left: What? Right: Do you happen to remember where we left the ibuprofen? To read Jim Pickering’s previous article, “An Interview with Jim Pickering’s Right Brain” (Conducted by Jim Pickering’s Left Brain), please go to milwaukeerep.com.
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P L AY W R I G H T B I O G R A P H I E S – L I N D S AY A N D C R O U S E Howard Lindsay and Russel Crouse – OF MUSIC, which began as a book by established playwrights, actors and Lindsay and Crouse, was adapted for producers – began their partnership in the Broadway stage in 1959 and won 1934 when they collaborated to revise five Tony Awards including Best Guy Bolton and P.G. Wodehouse’s Musical. In 1965 it was adapted into book, Anything Goes, for the Broadway Rodger’s and Hammerstein’s popular musical. They continued to write and Academy Award-winning film starring produce together for 30 Julie Andrews. Their last years creating plays and collaboration came in 1962 librettos for Broadway prowhen Irving Berlin adapted ductions including: RED, their book, Mr. President, HOT, BLUE (1936); LIFE into a musical. Both men WITH FATHER (1939); STATE died in the few years folOF THE UNION (1945); CALL lowing MR. PRESIDENT’s ME MADAM (1950); THE run on Broadway, Crouse in SOUND OF MUSIC (1959) 1966 and Lindsay in 1968. and MR. PRESIDENT (1962). Many of these plays While both were highly enjoyed great success not successful on Broadway as only on Broadway but also playwrights and producin Hollywood. LIFE WITH ers, Lindsay and Crouse Howard Lindsay and FATHER was their most sucbegan their careers on Russel Crouse cessful comedy. It enjoyed stage as actors. Lindsay is an eight-year run, culminatmost noted for his role in ing in 3,224 performances, to become LIFE WITH FATHER as well as the King the longest running non-musical on in Rodgers and Hammerstein’s 1957 Broadway, a record it still holds today. television version of Cinderella with In addition to co-writing the play, Julie Andrews in the title role. Crouse Lindsay also starred in the stage prodid not act as much as Lindsay, as he duction as Father, and his wife, Dorothy was also trained as a journalist, but Stickney, portrayed Mother. The play he did take the stage to star as was later made into a film starring Bellflower in the 1928 Broadway play Elizabeth Taylor. GENTLEMEN OF THE PRESS. Following the success of ANYTHING GOES STATE OF THE UNION won Lindsay and both men turned their attention to Crouse the Pulitzer Prize for Drama in collaborating on writing plays and 1946. Two years later it was adapted librettos, thus beginning one of the into a film by Frank Capra starring most successful partnerships in Spencer Tracy, Katharine Hepburn and American theater. Angela Lansbury, though the film omitted some of the play’s witty dialogue Natalie Jankowski and controversial issues. THE SOUND Milwaukee Rep Staff
STATE OF THE UNION – 11
A L O O K AT T H E H I S T O R I C A L C O N T E X T O F T H E P L AY Everybody here tonight was thinking of the next election. Well, it’s time somebody began thinking of the next generation. –Mary Matthews, STATE OF THE UNION With the end of World War II, the United States had achieved a massive international victory, and millions of weary American soldiers returned home as heroes. The G.I.’s were welcomed back amidst waves of celebration and rejoicing to what now appeared to be the greatest and most powerful nation in the world. But with the return to life as usual on the home front, the unity that had sustained the nation during the dark years of the battle against fascism now began to unravel. The use of the atomic bomb had brought an abrupt end to the war, and threw domestic life off balance for a nation that didn’t yet have a postwar policy set in place. The war effort had necessarily kept strict restrictions on cost and availability of goods that impacted all aspects of everyday life. The unions had agreed not to strike during the war, keeping prices relatively stable. Yet, the patriotic spirit of cooperation – so strong during the wartime years – suddenly faded as Americans desperately yearned to go on with their lives. In the months following the end of the war, business and labor interests collided. The nation was looking forward to a long-awaited peacetime prosperity and businessmen wanted to charge more for their goods. Prices soared, unions demanded higher wages in response, and one million workers walked off of their jobs at the same time. By New Year of 1946, 5000 strikes threatened to cripple the nation. In May of that same year, a national railway strike paralyzed the country. Prices immediately soared six per cent, and a shortage of bread, meat and housing angered the American citizens. With the life of the country quickly being torn to shreds, President Truman was under pressure to find a solution. His unusual approach was to 12 – STATE OF THE UNION
threaten to draft the striking railway workers. The plan worked and the strike ended, but the experience left deep and bitter feelings between labor and management. In fact, just about everyone seemed to be unhappy and they blamed the President for their problems. There was an election on the horizon, but who could offer a promise of hope for the future in a nation so divided by special interests, labor disputes, the aftermath of war and shortages in the basic necessities of food, housing and medical care? This is the backdrop for the world of Howard Lindsay and Russel Crouse’s STATE OF THE UNION. In our story, the Republicans are looking for a candidate to oppose Truman in the 1948 election. They land on aviation tycoon, Grant Matthews, a successful and charismatic businessman who has no experience in politics. The Republican politicos feel that Grant Matthews may be the man to re-ignite the party’s appeal; as a leader in the aviation industry, Matthews is progressive, honest and well liked. They may be able to get him into office, but only if they can keep him from speaking his mind! Though separated from our current Presidential election by about 70 years, STATE OF THE UNION takes a contemporary look at presidential politics and the issues faced by candidates who try to reconcile their principles with the need for winning votes. Jim Conover, one of the most powerful men in Washington, gives advice to Grant before a tour of speaking engagements designed to garner interest in his potential candidacy; he suggests to Grant, “If you make this preliminary tour, keep whatever you have to say pretty general. Don’t be too specific.” Grant, however, is passionately concerned about finding a way to unite the frayed core of the nation, and is willing to upset or risk alienating the various special interest groups if it might help him accomplish his goal: “ . . . We’ve all got to work in harmony, if we’re going to take our place in this world. And if we don’t
CONTEXT (cont.) there wonâ€™t be any world . . . . If our party does win, whoever is President has to have guts enough to pull us together and keep us together. Iâ€™m for that man, Mr. Conover â€“ I donâ€™t care who he is.â€? Grantâ€™s energy and exuberance are exciting and infectious. He is one man who dares to dream the best of what we might all become in this nation. Here in 2008, we also find ourselves at a national crossroads that is unusually reminiscent of these events of the past. We fret over the high costs of food, fuel, housing, rising unemployment rates, poor quality medical coverage, disintegrating educational institutions and the ravages of a long war. It angered us then, and it angers us now. Perhaps the situation looks bleak to some; the temptation to blame is a powerful one. It is equally tempting to pull the covers over our heads and wait for someone else to come along and change our situation for the better. But I think the optimism and hope with which Grant Matthews approaches the â€œstate of the unionâ€? reminds us that we must â€“ as columnist Thomas L. Stokes suggests in his foreword to the original 1946 publication of the play â€“
THE PERSIANS by Aeschylus
New Adaptation by Ellen McLaughlin
Directed by Angela Iannone
This heartwrenching play has survived nearly 2500 years for a reason. Come see why.
â€œ . . . get up and get about the worldâ€™s work . . . . For we are in a moment of history that may very well decide whether we are fit people to live in the world that we have created, or whether we are hell-bent upon destroying ourselves and all the beautiful things we have fashioned. â€? We must all face our fears and be the change in our own communities, both local and national . . . even global. Our story tonight, â€œis a powerful appeal for us to get together as a people and as a nation, so that we may meet our problems and those of the world in a spirit of team play, of co-operation, of unity and, above all, with tolerance of each other.â€?
October 10 - November 02, 2008 [VVV Q S V BNL
Kristin Crouch Literary Director STATE OF THE UNION â€“ 13
TO THE AUDIENCE The Rep in Depth Our lively, informative halfhour background talk is offered beginning 45 minutes prior to every Quadracci Powerhouse and Stiemke Theater performance. Get a quick overview of the play you are about to see, as well as get great backstage information. This exciting series is led by Rep company members. Drop in any time during the 30-minute talk. The Rep Talkbacks Offered immediately after select performances, talkbacks offer audience members the opportunity to ask questions about the play to actors in the production. For talkback schedules, please contact the Ticket Office at 414-224-9490, refer to Prologue, The Rep’s online publication, The Rep’s Patron Guide or visit our website at: milwaukeerep.com. Smoke-Free Sunday Matinee One Sunday matinee in the Quadracci and Stiemke Theaters will eliminate onstage smoking if used for that production. Please refer to The Rep’s Patron Guide for the specific performance dates or call the Ticket Office at 414-224-9490. Ticket Exchange Policy Only subscribers may exchange tickets by returning them to The Rep Ticket Office at least 24 hours prior to the time printed on the tickets. Call the Ticket Office at 414-224-9490 to make arrangements. Missed Show Insurance Subscribers who miss their performance will be reseated in the best available seats for any remaining performance. One free ticket insurance claim per season. A $5 service charge per ticket will apply for subsequent claims. Emergency Calls If you anticipate the need to be reached during a performance, leave your name and seat location with your contact information, along with instructions to direct such emergency phone calls to the House Manager at 414-290-5379 or 414-224-1761, ext. 379. Weather Policy The Rep does not cancel or reschedule performances due to inclement weather, nor do we offer refunds. Food and Beverages Enjoy a drink or dessert in the Quadracci Powerhouse Theater or Stiemke Theater lobby prior to the performance or at intermission. Please remember that food and drink are not allowed in the theater. Late Arrivals Out of courtesy to the actors and audience, patrons arriving after the performance has started will be seated at the discretion of House Management, possibly not until the first intermission. Speakers’ Bureau Members of the Friends of The Rep are available to speak to your social group or club. Our program can be designed to fit your group’s special interests. Classroom presentations are also available. Call 414-224-1761 for further information. Student and Senior Citizen Discount Students and senior citizens receive $5 off
14 – STATE OF THE UNION
any seat in advance or may purchase halfprice “rush tickets” 60 minutes prior to curtain. Offer valid for Quadracci Powerhouse Theater and Stiemke Theater performances only. Proper identification is required. New This Year - The Rep’s Under 40 Discount For patrons under the age of 40, $10 tickets are available for all Quadracci Powerhouse Theater performances. For more information or to order tickets visit: therep-entourage.com. Smoking The Milwaukee Center is a smokefree facility. Policy on Children Children below school age may not attend our productions. Please remember that this means babies, as well as toddlers. Recording Equipment and Cameras The use of recording equipment and cameras in the theater is strictly forbidden. Access Services
Deaf or Hard of Hearing Services: The Quadracci Powerhouse Theater (QPT) and the Stiemke Theater are equipped with an infrared listening system which ensures clarity of sound from any seat in the house. Performances are offered in American Sign Language for a Thursday evening of all QPT productions and a Sunday matinee for all Stiemke Theater productions. We also offer a Captioned Theater performance during the last Sunday matinee performance of all QPT productions. Please call The Rep Ticket Office at 414224-9490 for more information. Script synopses are available upon request for QPT and Stiemke productions by calling 414-224-1761. Blind or Low Vision Services: Large print programs are available in the Quadracci Powerhouse Theater and Stiemke Theater simply by asking any usher. Each QPT, Stiemke and Cabaret production has one audio-described performance. Using an earpiece attached to a small hand-held receiver, patrons hear a live, real-time description of the action on stage. Call the Ticket Office at 414-224-9490 for more information. A descriptive tape is available for each QPT and Stiemke production by calling 414-224-1761. Wheelchairs The Rep has seating easily accessed by patrons using wheelchairs. If you need wheelchair access, please contact the Ticket Office at 414-224-9490. All Rep stages are fully accessible.
Cellular Phones/Electronic Paging Devices Please remember to turn off your cell phones and electronic paging devices. These items may also be left with the House Manager. Thank you!
BIOGRAPHIES Michael Halberstam, Director Michael Halberstam is delighted to be back with The Rep, having previously directed ENCHANTED APRIL. He is the Artistic Director and co-founder of Writers’ Theatre. Now in its 17th season, the award-winning Writers’ Theatre enjoys international acclaim, a 3.7 million dollar budget, 5400 subscribers and is heralded as one of Chicago’s most treasured artistic resources. For his theater he has directed over 25 productions including NOT ABOUT HEROES, PRIVATE LIVES, LOOK BACK IN ANGER, NIXON’S NIXON, SEAGULL, THE DUCHESS OF MALFI, OTHELLO and the world premiere of THE SAVANNAH DISPUTATION. Michael has acted in many Writers’ Theatre productions including RICHARD II (title role), LOOT and MISALLIANCE. Previously, he spent two years at The Stratford Festival in Ontario and performed in TIMON OF ATHENS and THE KNIGHT OF THE BURNING PESTLE (title role). Elsewhere he directed: PLEDGE OF ALLEGIANCE (American Theatre Company); THE GAMESTER (Northlight Theatre); The Rape of Lucretia (Chicago Opera Theatre); FRANCESCA DA RIMINI (Ravinia Festival); A MAN FOR ALL SEASONS (Peninsula Players Theatre); HAMLET (Illinois Shakespeare Festival); CANDIDA (Jean Cocteau Repertory in New York City, NY) and TEN LITTLE INDIANS (Drury Lane Oakbrook). Halberstam has received awards for excellence in theater from The Chicago Drama League, The Arts & Business Council and the Chicago Lawyers for the Creative Arts. He recently directed a highly acclaimed production of CRIME AND PUNISHMENT at 59E59 Theaters in New York City, (the Writers’ Theatre Off-Broadway premiere) and will direct the world premiere of A MINISTER’S WIFE, adapted from G.B. Shaw’s CANDIDA, a musical, by Austin Pendleton, with music by Milwaukee’s own Josh Schmidt and lyrics by Jan Tranen.
Keith Pitts, Scenic Designer Keith Pitts is pleased to be designing at The Rep. Keith has been designing scenery around the Wisconsin and Chicagoland area since 2000, and has been an American Theatre Company Ensemble Member since 2001. Design credits include: WEEKEND and HARMLESS at Timeline Theatre; AS YOU LIKE IT, THE SAVANNAH DISPUTATION, OTHELLO, PUPPETMASTER OF LODZ at Writers’ Theatre; CRIME AND PUNISHMENT at Milwaukee Chamber Theatre; SHE STOOPS TO CONQUER at Northlight Theatre; VINCENT IN BRIXTON (Jeff Nominated) and JAMMIN’ WITH POPS at Apple Tree; THE CRADLE OF MAN and THE DEFIANT MUSE (Jeff Nominated) at Victory Gardens; SPEECH AND DEBATE, ORPHEUS DESCENDING, HERITAGE, AMERICAN DEAD, TWO ROOMS and ENDGAME at American Theatre Company; A DYBBUK at Northwestern University; THE ACCIDENTAL DEATH OF AN ANARCHIST and DEFIANCE at Next Theatre; ANGEL STREET, NOISES OFF, MASTER CLASS, DEATH TRAP, INTO THE WOODS, FOOLS, BROADWAY BOUND, THE TAFFETAS, PROOF, A MAN FOR ALL SEASONS, THE ODD COUPLE and THE FOREIGNER at Peninsula Players Theatre. When not designing, Keith is a professor at Columbia College Chicago. Some upcoming designs include: LANDSCAPE OF THE BODY at Columbia College; TRUE WEST and TOPDOG/UNDERDOG at American Theatre Company; OLD GLORY at Writers’ Theatre and THE PIANO LESSON at The Court Theatre. Rachel Anne Healy, Costume Designer Rachel is honored to return to Milwaukee Repertory Theater where previous works include ENDGAME, TRANSLATIONS and INVENTING VAN GOGH. Based in Chicago, Ms. Healy’s designs have been seen on various STATE OF THE UNION – 15
BIOGRAPHIES stages including The Goodman Theatre, Steppenwolf Theatre Company, Chicago Shakespeare Theatre, Alliance Theatre, American Players Theatre, Writers’ Theatre, Chicago Children’s Theatre, Court Theatre, Northlight Theatre, American Theatre Company, Next Theatre and Timeline Theatre. Ms. Healy collaborated with Chicago Children’s Theatre on a new education initiative called the “Red Kite Project,” which explored a multi-sensory installation performance for children with autism as well as designed costumes for American Players Theatre’s current production of A MIDSUMMER NIGHT’S DREAM. Joel Moritz, Lighting Designer Joel Moritz recently designed a new production for Blue Man Group in Tokyo. New York/Off-Broadway work includes TATJANA IN COLOR, WAVE, JUST AS IF, LION IN THE STREETS, THE TEMPEST, ELLIOT A SOLDIER’S FUGUE, PHEDRE (JoAnne Akalaitis) at the Fisher Center and KING STAG (Andrei Belgrader) at Juilliard. Regional theater and opera include: PASSION PLAY and CABARET (Arena Stage); A TRIP TO BOUNTIFUL (Kansas City Repertory Theatre); BEE-LUTHER HATCHEE (Repertory Theatre of St. Louis); Semele, Rape of Lucretia (Chicago Opera Theatre); VIRGINIA WOOLF, THE DEAD, PHEDRE and THE CHAIRS (Court Theatre); 28 (Goodman Theatre); DISAPPEARED, HER NAME WAS DANGER and HOUSE ON MANGO STREET (Steppenwolf Theatre Company). Other companies include: Shakespeare Theatre, Two River Theater Company, Meadowbrook Theatre, Theatre Alliance and six productions with About Face Theatre including ELEVEN ROOMS OF PROUST (Mary Zimmerman). International: Blue Man Group in Berlin, Oberhausen, Amsterdam, Orlando, Stuttgart, Lugano Switzerland; Traverse Theatre, Assembly Theater in Edinburgh and productions in Buenos Aires, Lima, Hong Kong, Tokyo, Paris, Prague and Cairo. 16 – STATE OF THE UNION
Josh Schmidt, Sound Designer Josh Schmidt returns to The Rep after previously designing TUESDAYS WITH MORRIE and CAROLIN’ CAROLYNNE RIDES AGAIN. New York credits: ADD1NG MACH1NE – Minetta Lane Theatre (four Lortel Awards including Best Musical, OCC – Best Musical Off-Broadway, Best Score 2008, nine Drama Desk Nominations including Best Musical, Drama League Nomination for Best Musical, four Obie Awards) and CRIME AND PUNISHMENT (59E59). Regional: CURE AT TROY (Seattle Repertory Theatre); THE CLEAN HOUSE (Alley Theatre); LOVE-LIES-BLEEDING (Kennedy Center/ Steppenwolf Theatre Company); THE GRAPES OF WRATH (Ford’s Theatre, DC) and THE PRICE (Delaware Theatre Company); among others. Chicago: Steppenwolf Theatre Company, Writers’ Theatre, Northlight Theatre, Next Theatre and Seanachai Theatre Company, among others; four Jeff Nominations, two Awards. In Wisconsin: seven seasons at American Players Theatre and virtually every professional company in Milwaukee and Madison area. Love to Amy. Kristin Crouch, Literary Director Kristin is now in her second season as Literary Director for The Rep. Prior to her move up North, Kristin served on the Drama faculty at Trinity University in San Antonio, TX. Recent directing credits include: Shakespeare’s MUCH ADO ABOUT NOTHING; Philip Barry’s HOLIDAY; Sharman MacDonald’s THE WINTER GUEST; Brian Friel’s DANCING AT LUGHNASA; Rebecca Gilman’s BOY GETS GIRL and Caridad Svich’s ALCHEMY OF DESIRE/DEAD MAN’S BLUES. She received her Masters of Philosophy from the University of Glasgow, Scotland, and her PhD from The Ohio State University.
BIOGRAPHIES Joseph Hanreddy, Artistic Director Joseph Hanreddy has been Milwaukee Rep’s Artistic Director since 1993. During his tenure, he has initiated innovative collaborations with leading international theater companies, recruited some of the world’s most acclaimed directors to create unique, forward thinking productions, premiered several new works and adaptations of literature by leading American dramatists and established one of the country’s finest acting ensembles. Productions Joe has directed include: THE NORMAN CONQUESTS, TARTUFFE, KING LEAR, SHERLOCK HOLMES: THE FINAL ADVENTURE, SUEÑO, TWELFTH NIGHT, LOVE’S LABOUR’S LOST, MARY STUART, THE SEAGULL, THE PLAYBOY OF THE WESTERN WORLD, THE IMPORTANCE OF BEING EARNEST, AN IDEAL HUSBAND, ENGAGED, ARCADIA, DANCING AT LUGHNASA, ANNA KARENINA, THE MILL ON THE FLOSS, SILENCE, PARAGON SPRINGS, FORCE OF NATURE and ESCAPE FROM HAPPINESS. He has written and directed stage adaptations of Pirandello’s YES. NO. (MAYBE SO . . .), SIX CHARACTERS IN SEARCH OF AN AUTHOR, George M. Cohan’s THE TAVERN and, with Ed Morgan, A CHRISTMAS CAROL. As an actor he has appeared in The Rep productions OF MICE AND MEN, A SKULL IN CONNEMARA and Edward Albee’s THE GOAT, OR WHO IS SYLVIA?
Timothy J. Shields, Managing Director Mr. Shields is pleased to begin his eleventh season as The Rep’s Managing Director. He is currently a vice president of the League of Resident Theatres (LORT), the national association of professional not-forprofit regional theaters that collectively bargains with the unions that represent the actors, directors and designers that work at The Rep. He also is currently serving on the board of Theatre Communications Group, the national service organization for professional non-profit theater. Mr. Shields was the co-founder of Theatre Wisconsin, the statewide association of professional not-for-profit theaters and served as president of the group for eight years. Other activities include serving on the National Council for the Humanities at Alverno College (Milwaukee), and participating as a panelist, a panel chair and as an on-site reporter for the National Endowment for the Arts. He currently is a board member of Latino Arts of the United Community Center in Milwaukee and of the Cultural Alliance of Greater Milwaukee. Prior to arriving at The Rep, he served as managing director of the Geva Theatre Center in Rochester, NY where he led the theater to record ticket sales, donations and annual operating budget surpluses. Other professional experience spans more than 15 years and includes administrative positions at McCarter Theatre Center in Princeton, NJ; The Children’s Theatre Company and School in Minneapolis, MN and at the Denver Center Theatre Company. He holds a Bachelor of Fine Arts (Drama/Production) degree from Carnegie-Mellon University.
STATE OF THE UNION – 17
M I LWA U K E E R E P E R T O R Y T H E AT E R PATTY AND JAY BAKER THEATER COMPLEX QUADRACCI POWERHOUSE THEATER Joseph Hanreddy Artistic Director
Timothy J. Shields Managing Director
STATE OF THE UNION By Howard Lindsay and Russel Crouse Directed by Michael Halberstam• Scenic Designer Keith Pitts Costume Designer Rachel Anne Healy Lighting Designer Joel Moritz Sound Designer Josh Schmidt Literary Director Kristin Crouch Stage Manager Whitney Frazier* Assistant Stage Manager Amanda Weener* Assistant Director Tina Myers Production Manager Melissa Nyari Vartanian Technical Director Melissa Nyari Vartanian Properties Director James Guy Charge Scenic Artist Jim Medved Costume Director Holly Payne Associate Costume Director Amy Horst Electric & Sound Supervisor Aimee Hanyzewski STATE OF THE UNION is presented by special arrangement with SAMUEL FRENCH, INC. Made possible in part by the generous support of
18 – STATE OF THE UNION
CAST (in order of appearance)
James Conover ............................................................James Pickering* Spike MacManus............................................................Torrey Hanson* Kay Thorndyke............................................................Deborah Staples* Grant Matthews ..................................................................Lee E. Ernst* Norah ..............................................................................Linda Stephens* Mary Matthews................................................................Laura Gordon* Perkins/Hopkins/Stevens ............................................Gerard Neugent* Bellboy..................................................................................Aaron Shand Sam Parrish ....................................................................Daniel Mooney* Jenny ..................................................................Cassandra Stokes-Wylie Lulubelle Alexander ......................................................Rose Pickering* Judge Jefferson Davis Alexander........................................Peter Silbert* Mrs. Draper ....................................................................Linda Stephens* Bill Hardy ........................................................................Steve Pickering* Senator Lauterback ..............................................................Brian Rooney Labor Leaders ......................Eric Bultman, Joshua Innerst, Jordan Laroya Wait Staff ................................Samuel Hicks, Dennis Kelly, Brian Rooney Ensemble Eric Bultman, Samuel Hicks, Joshua Innerst, Dennis Kelly, Jordan Laroya, Brian Rooney, Aaron Shand, Cassandra Stokes-Wylie, Heidi Wermuth* Time and Place: Act I - Scene 1: A study in the home of James Conover in Washington, DC Act I - Scene 2: A bedroom in the home of James Conover in Washington, DC, the next night Act II: The living room of a suite at the Book-Cadillac Hotel in Detroit Act III - Scene 1: The living room in the Matthews’ apartment in New York City Act III - Scene 2: The same, an hour later There will be two intermissions. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Member
of the 2008/09 Rep Resident Acting Company.
•Member of the Society of Stage Directors and Choreographers. The set, costume and lighting designers are members of United Scenic Artists, a national labor union. STATE OF THE UNION – 19
BIOGRAPHIES Eric Bultman, Ensemble Artistic Intern Company Member. Eric Bultman is a South Carolina native and an MFA candidate at the University of South Carolina in Columbia. His roles at USC include: Malvolio (TWELFTH NIGHT); Dukes Ferdinand and Frederick (AS YOU LIKE IT); Michael (TWO ROOMS); Lloyd (NOISES OFF); Sebastian (THE TEMPEST); The Water Seller (THE GOOD PERSON OF SETZUAN) and Louis XIV (A CABAL OF HYPOCRITES). He appeared as Gaev in the New York premiere of GRAVITY, “a lively confluence of theatre, Einstein, dance, Chekhov, science and Diaghilev in 1910 Paris,” with The Pacific Performance Project East. He also appeared as Eugene in Dael Orlandersmith’s YELLOWMAN at Trustus Theatre in Columbia. Eric is a graduate of Duke University. Lee E. Ernst, Grant Matthews Resident Acting Company Member. Lee Ernst, is in his 16th season as member of The Rep’s Resident Acting Company. He last appeared as Clov in ENDGAME, John Williamson in GLENGARRY GLEN ROSS, Tom in THE NORMAN CONQUESTS and Cyrano in CYRANO DE BERGERAC. In previous years, Lee has played scores of roles at The Rep, including: Frank Lloyd Wright in WORK SONG; Truffaldino in SERVANT OF TWO MASTERS; Levin in ANNA KARENINA; Renfield in
DRACULA; George in OF MICE AND MEN; Richard in RICHARD III; Charlie Baker in THE FOREIGNER; John Proctor in THE CRUCIBLE; Norman in THE NORMAN CONQUESTS; Sherlock Holmes in SHELOCK HOLMES: THE FINAL ADVENTURE, The Fool in KING LEAR and Ebenezer Scrooge in A CHRISTMAS CAROL. A graduate of the University of Delaware’s Professional Theater Training Program, Lee has performed, directed violence and designed make-up for theaters across the US and Japan. He has appeared in the films Reeseville, directed by Christian Otjen, and Side Effects, featuring Katherine Heigl, and is active in the voiceover industry, including numerous characters in the video games Rune, Dead Man’s Hand and Prey. Lee is the recipient of the 2006 Minerva Laureate Award, presented by the Wisconsin Academy of Sciences, Arts and Letters. Laura Gordon, Mary Matthews Resident Acting Company Member. Laura Gordon has been a member of Milwaukee Repertory Theater’s Resident Acting Company since 1993, performing in over 60 productions including: ENCHANTED APRIL, DOUBT, THE BEAUTY QUEEN OF LEENANE, MARY STUART, COPENHAGEN, TWELFTH NIGHT, A DOLL’S HOUSE, ESCAPE FROM HAPPINESS, THE SEAGULL, THE MEMORY OF WATER and MOLLY SWEENEY. Directing projects include WELL for Milwaukee Chamber Theatre, SKIN TIGHT, FULL GALLOP and MEMORY HOUSE for Renaissance Theaterworks, Edward Albee’s SEASCAPE, HALF LIFE and I HAVE BEFORE ME A REMARKABLE DOCUMENT GIVEN TO ME BY A STATE OF THE UNION – 21
BIOGRAPHIES YOUNG LADY FROM RWANDA here at The Rep. Laura received her MFA in Acting from the University of Iowa and is a member of the Board of Trustees of the Ten Chimneys Foundation. She is married to actor/director Jonathan Smoots. Torrey Hanson, Spike MacManus Resident Acting Company Member. Torrey was most recently seen as Nagg in ENDGAME, Frederick Arnott in ENCHANTED APRIL, Reg in THE NORMAN CONQUESTS and Ragueneau in CYRANO DE BERGERAC. In the previous season he appeared as Axel Hammond in THE NERD, Peacey in THE VOYSEY INHERITANCE, Owen in TRANSLATIONS, Bob Cratchit in A CHRISTMAS CAROL and Reverend Hill in The Rep’s Stiemke Theater production of HALF LIFE. Favorite productions at The Rep include: A FLEA IN HER EAR (Victor Emmanuel Chandebise/Poche); BACH AT LEIPZIG (Johann Friedrich Fasch); YES. NO. (MAYBE SO . . .) (Lamberto Laudisi); THE CRUCIBLE (John Hale); A DOLL’S HOUSE (Nils Krogstad); the title role in INVENTING VAN GOGH; COPENHAGEN (Werner Heisenberg); ‘ART’ (Yvan); PICASSO AT THE LAPIN AGILE (Einstein); GHOSTS (Oswald); NIXON’S NIXON (Kissinger); TWELFTH NIGHT (Sir Andrew); HYSTERIA (Salvador Dali) and THE BALTIMORE WALTZ (The Third Man). Torrey has also worked at Seattle Repertory Theatre, Intiman Theatre, A Contemporary Theatre, Empty Space Theatre, The Cleveland Play House, Oregon Shakespeare Festival (five seasons), Utah Shakespearean Festival, Madison 22 – STATE OF THE UNION
Repertory Theatre, Subaru Theater Company in Tokyo and appeared on Cheers and Wings on NBC. He is a graduate of the Professional Theater Training Program currently located at the University of Delaware. Samuel Hicks, Ensemble Artistic Intern Company Member. Samuel Hicks grew up on the very south side of Chicago in a quiet town called Homewood. He recently graduated from Southern Methodist University in Dallas, TX, with a BFA in Theatre Studies. In addition to acting, Sam directed and wrote a few plays while he was in college, one of which – PANACEA – was staged in April 2008. Sam also had ample opportunity to act while studying at SMU. Acting roles include Vanek in AUDIENCE, Medvendenko in THE SEAGULL, John in OLEANNA and roles in numerous new works. Sam is thrilled to be a part of The Rep’s 2008/09 season. Joshua Innerst, Ensemble Artistic Intern Company Member. Josh Innerst is a recent graduate of Bob Jones University (BA in Performance Studies) where he appeared in roles ranging from Otto Frank in THE DIARY OF ANNE FRANK to Caliban in THE TEMPEST. Much of his theater experience has been with the university’s acting company, The Classic Players, with whom Josh appeared as Hortensio in TAMING OF THE SHREW, Hotspur in HENRY IV and most recent-
BIOGRAPHIES ly, Leonato in MUCH ADO ABOUT NOTHING. His favorite production thus far has been a one-man adaptation of Marlowe’s DOCTOR FAUSTUS, which he cut, staged and performed to a full house last year. Josh is honored to be joining The Rep for the 2008/09 season. Dennis Kelly, Ensemble Artistic Intern Company Member. Dennis Kelly was most recently seen as the German P.O.W. in SEE HOW THEY RUN and Alejandro in the Northwest premiere of THE LABYRINTH OF DESIRE. Favorite roles include Levene in GLENGARRY GLEN ROSS, Estragon in WAITING FOR GODOT, Jerry in TALES OF THE LOST FORMICANS and Skouratov/ Annenkov in THE ROPE by Albert Camus. Dennis has also appeared in THE SHAPE OF THINGS, BIG LOVE, ALICE IN BED and INTERVIEW by Jean-Claude van Itallie. While living in Washington, DC, Dennis performed with Washington Storyteller’s Theatre and Jan Davis Entertainment. He received a Master’s in Theater Arts at Portland State University. Jordan Laroya, Ensemble Artistic Intern Company Member. Jordan Laroya is a recent graduate from Cornish College of the Arts in Seattle, WA. Acting credits include George in STOP KISS, Lockit in THE
BEGGAR’S OPERA and Boatkeeper in CHILDREN OF DIVINITY. Most recently, Jordan worked with Book-It Repertory Theater in an adaptation of THE HIGHEST TIDE as Frankie Marx. He is honored to be invited to The Rep, and, having grown up in Seattle, is excited to explore new opportunities in new places. Daniel Mooney, Sam Parrish Mr. Mooney has worked with many of America’s oldest and largest resident theaters including The Victory Gardens Theatre, Seattle’s Intiman Theatre, The Goodman, Chicago’s Court Theatre, Evanston’s NorthLight, Houston’s Alley Theatre, The Cleveland Play House, The Pittsburgh Playhouse and StageWest in Massachusetts. In addition to the 20 some years with Milwaukee Repertory Theater, he has worked with Next Act Theatre, Renaissance Theaterworks, First Stage Children’s Theater, The Skylight and Milwaukee Chamber Theatre. He has toured throughout America and Japan, performed in Russia and with The Royal Exchange Theatre in Manchester, England. In a career of some 40 years he has appeared in well over 200 productions. Favorite roles include: Lenny in OF MICE AND MEN, Proctor in THE CRUCIBLE, the nefarious Commander Gomez in FUENTE OVEJUNA, John in Mamet’s OLEANNA, Pozzo in WAITING FOR GODOT, Victor Fleming in MOONLIGHT AND MAGNOLIAS, and, of course, Mr. Scrooge. He has directed plays by Pinter, Shaw, Chekhov, Amlin Gray and Larry Shue. He has appeared in, or done voice work for hundreds of commercials and thousands of industrial videos. He recently appeared as Judge Palnick in Law & Order: CI. He has been seen on WNET’s Theatre in America Series, in an ABC After School Special and as a dastardly politician in The Untouchables. He has served on STATE OF THE UNION – 23
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BIOGRAPHIES The Wisconsin Arts Board, the board of AFTRA/SAG, is currently on the Chamber Theatre’s board and is a Principal Councilor from the Central Region of Actors’ Equity Association, the union of professional actors and stage managers. Gerard Neugent, Perkins/Hopkins/ Stevens Resident Acting Company Member. This is Gerard’s sixth season with Milwaukee Rep and his second season as a member of the Resident Acting Company. Most recently he was seen as Rogers/Young Pedgift in the world premiere of ARMADALE, Antony Wilding in ENCHANTED APRIL, Norman in THE NORMAN CONQUESTS and Montfleury in CYRANO DE BERGERAC. In the previous season at The Rep he was seen “playeen” Rick Steadman in Larry Shue’s THE NERD and also appeared as Hugh Voysey in THE VOYSEY INHERITANCE and Edgar in KING LEAR. Past roles include: Ellard (THE FOREIGNER); Young Scrooge (A CHRISTMAS CAROL); Steindorf (BACH AT LEIPZIG) and the verbally-challenged Camille (A FLEA IN HER EAR). Other favorite roles include: the Cat in the Hat in SEUSSICAL THE MUSICAL (First Stage Children’s Theater); Jeff in LOBBY HERO (Madison Repertory Theatre and Milwaukee Chamber Theatre); Charlie in STONES IN HIS POCKETS (Next Act Theatre); Valentine in TWO GENTLEMEN OF VERONA and Dazzle in LONDON ASSURANCE (American Players Theatre) and Larry in BURN THIS (Renaissance Theaterworks). Gerard is a Marquette grad who lives in Milwaukee with his wife, Kate, and their two sons.
James Pickering, James Conover Resident Acting Company Member. STATE OF THE UNION marks the beginning of Jim’s 35th season as a member of Milwaukee Rep’s Resident Acting Company. Last season for The Rep he appeared as Charlie in Edward Albee’s SEASCAPE, Dave Moss in GLENGARRY GLEN ROSS and the dual roles of Major Milroy and Dr. Downward in ARMADALE. In addition, he returned to The Pabst Theater last winter after a seven-season hiatus to portray Ebenezer Scrooge in The Rep’s annual revival of A CHRISTMAS CAROL, an assignment he will gleefully reprise this year. Other favorite roles in recent times are Danforth in THE CRUCIBLE, Niels Bohr in COPENHAGEN, Hugh Mor O’Donnell in TRANSLATIONS and Dr. Rank in A DOLL’S HOUSE. He and his wife, actress Rose Pickering, are former co-recipients of the Outstanding Artists Award from the Milwaukee Arts Council and Alumni Achievement Award from The College of Arts and Architecture at Penn State University. He is a trustee emeritus of The Ten Chimneys Foundation. In addition to theater work he is a voice-talent, having narrated the Emmy Award-winning documentary The Making of Milwaukee. His online demo may be audited at http://JimPickering.voicezam.com
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STATE OF THE UNION – 25
BIOGRAPHIES Rose Pickering, Lulubelle Alexander Resident Acting Company Member. This is Rose’s 36th consecutive season as a member of The Rep’s Resident Acting Company. Some of her favorite performances have been Kate Keller in ALL MY SONS, Mag in THE BEAUTY QUEEN OF LEENANE, Amanda in THE GLASS MENAGERIE, Lady Bracknell in THE IMPORTANCE OF BEING EARNEST, Elizabeth Proctor in THE CRUCIBLE, Arkadina in THE SEAGULL, Masha in THE THREE SISTERS, Kate in DANCING AT LUGHNASA, and title roles in JUNO AND THE PAYCOCK, THE MATCHMAKER, MISS LULU BETT and MOTHER COURAGE. Rose and her husband Jim are the recipients of the Milwaukee Art Board’s Outstanding Artist Award and Penn State’s Alumni Achievement Award. Steve Pickering, Bill Hardy STATE OF THE UNION is Steve’s fifth production at The Rep, following ARMADALE, BORN YESTERDAY, MOBY DICK and THE UNDERPANTS. In Chicago, he last appeared as: Fatboy at A Red Orchid Theatre; Col. Littlefield in DEFIANCE at Next Theatre and Kent, opposite Stacy Keach, in KING LEAR – directed by Robert Falls for The Goodman Theatre – to be remounted for the Shakespeare Theatre Company in DC, May 2009. On to his 29th show 26 – STATE OF THE UNION
at The Goodman, where his credits include 654 performances of Falls’ Tony Award-winning production of DEATH OF A SALESMAN with Brian Dennehy – on Broadway, for the national tour, on Showtime and most recently, in London’s West End. Regional credits include The Old Globe in San Diego, Arena Stage in DC, the New York Shakespeare Festival in Central Park and the Illinois and Alabama Shakespeare Festivals. Brian Rooney, Senator Lauterback/ Ensemble Artistic Intern Company Member. Brian is ecstatic and grateful to be making his Rep debut in STATE OF THE UNION. His internship here will satisfy the final requirements for his MFA in Acting at the University of South Carolina. Having performed roles in more than 100 productions, some favorites are: Prospero in THE TEMPEST and Ariel in THE PILLOWMAN (South Carolina); Macbeth in MACBETH, Trissotin in LEARNED LADIES, Timmy in TONY AND TINA’S WEDDING and Freddy in PICASSO AT THE LAPIN AGILE (Oregon); Old Tom in THE LOST COLONY (North Carolina) and 12 characters in MOMMIE QUEEREST (Los Angeles). Film and television: For the Boys, French Exit and General Hospital. Aaron Shand, Bellboy/Ensemble Artistic Intern Company Member. Aaron Shand hails from Tucson, AZ and is thrilled to be leaving the scorching heat behind to join The Rep’s 2008/09 Artistic Intern Ensemble.
STATE OF THE UNION – 27
BIOGRAPHIES Aaron recently graduated with a BFA in Acting from the University of Arizona at Tucson. Some of his favorite roles there include James Keller in THE MIRACLE WORKER, Bo in BUS STOP and Tybalt in ROMEO AND JULIET. Aaron also starred in April’s Last, a short, 35mm film shot near the U of A and funded by Kodak. Aaron would like to thank The Rep for this amazing opportunity and, as always, his family for their unconditional support. Peter Silbert, Judge Jefferson Davis Alexander Resident Acting Company Member. Last season, Peter appeared as Reverend Decimus Brock and Bashwood in the world premiere of ARMADALE, Shelley Levene in GLENGARRY GLEN ROSS, Ligniere in CYRANO DE BERGERAC and Mr. Philpot in A CHRISTMAS CAROL. The previous season he appeared as the Earl of Gloucester in KING LEAR, Rutherford Selig in GEM OF THE OCEAN, Jimmy Jack Cassie in TRANSLATIONS and Orgon in TARTUFFE. Some favorites from previous seasons include THE LAST NIGHT OF BALLYHOO, INSPECTING CAROL, THE FRONT PAGE, PROOF, THE MAGIC FIRE and SILENCE. Other theaters where Peter has worked include: The Empty Space Theatre, Seattle Repertory Theatre, Intiman Theatre, Berkeley Repertory Theatre, Missouri Repertory Theatre, The Goodman Theatre, Actors Theatre of Louisville, La Jolla Playhouse, Oregon Shakespeare Festival, Huntington Theatre Company, Arizona Theatre Company and Next Act Theatre.
Deborah Staples, Kay Thorndyke Resident Acting Company Member. Deborah is honored to be with The Rep for her 13th consecutive season. Some favorites from her 40-plus Rep credits include: Lydia Gwilt (ARMADALE); Lady Caroline (ENCHANTED APRIL); Elmire (TARTUFFE); Nancy (FROZEN); Billie Dawn (BORN YESTERDAY); Natalya (A MONTH IN THE COUNTRY); Nora (A DOLL’S HOUSE); Catherine (PROOF); and the title roles in MARY STUART, ANNA KARENINA and ANNA CHRISTIE. She has performed with Chicago Shakespeare Theater, ShawChicago, New American Theater, Indiana Repertory Theatre, Syracuse Stage, Meadow Brook Theatre, Iowa Shakespeare Festival, Wisconsin Shakespeare Festival and has enjoyed six seasons with American Players Theatre. Deborah can be seen in the upcoming Rep productions of THE BLONDE, THE BRUNETTE AND THE VENGEFUL REDHEAD, MIRANDOLINA and THE CHERRY ORCHARD. Linda Stephens, Norah/Mrs. Draper Linda Stephens played Nancy in Edward Albee’s SEASCAPE last season and at The Skylight she played Florence Foster Jenkins in SOUVENIR. And, peppered through the last 22 seasons, she’s played 11 roles at The Rep, including Linda in DEATH OF A SALESMAN, Daisy in DRIVING MISS DAISY and Mrs. Gibbs in OUR TOWN. Linda’s history includes Broadway and Chicago theater and acting awards STATE OF THE UNION – 29
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BIOGRAPHIES throughout the country including New York, Chicago, Atlanta, DC and Miami. Since her move from New York, she’s played at Milwaukee Chamber Theatre, The Skylight, Renaissance Theaterworks and Next Act Theatre. TV appearances include Frasier and Law & Order: SVU. Cassandra Stokes-Wylie, Jenny/Ensemble Artistic Intern Company Member. Cassandra Stokes-Wylie was born and raised in Albuquerque, NM and is thrilled to be a part of the 2008/09 Artistic Intern Ensemble. She has a BFA from the University of Utah’s Actor Training Program. Favorite credits include Mrs. Saunders, Ellen and Victoria from CLOUD NINE, Evelyn in THE SHAPE OF THINGS, Dromio of Ephesus in THE COMEDY OF ERRORS, Masha in THE THREE SISTERS and Genevra in BRIGHT IDEAS. She recently participated in the 48 Hour Film Project in Salt Lake City, UT. She also lived in Los Angeles where she studied with Steppenwolf West and the Stella Adler Academy. Heidi Wermuth Ensemble Artistic Intern Company Member. Heidi Wermuth is from DallasFort Worth, where she began her career as a freelance actor, commercial-industrial singer and a resident company member of Casa Manana Theatre. Now based in New York City, she is delighted to join The
Rep for its 2008/09 season. Memorable credits include the White Witch in NARNIA, Poopay in COMMUNICATING DOORS and Helena in A MIDSUMMER NIGHT’S DREAM for the Bristol Old Vic Theatre (UK). In addition to acting, Heidi is a classical trumpeter and a certified stage combatant. She trained at the Bristol Old Vic Theatre School in England with an emphasis in Shakespeare and classical acting. Whitney Frazier Stage Manager A native Texan, Whitney is pleased to return to the Quadracci Powerhouse Theater, where last season she stage managed THE NORMAN CONQUESTS. Since arriving at The Rep in 2000, she has had the pleasure of collaborating on many productions, such as ESCAPE FROM HAPPINESS, TARTUFFE, HALF LIFE, THE MAGIC FIRE, WORK SONG and Edward Albee’s SEASCAPE. She spends her summers stage managing at the Cincinnati Opera, where some of her favorite projects include L’etoile, Faust, The Tales of Hoffman, Don Giovanni and La Traviata. Whitney sends love to her incredible family Mike, Paula, Mary, Kim and Marla, who wish she would come home more often but support her anyway. Thanks to Amanda, Holly and Donna for everything.
STATE OF THE UNION – 31
BIOGRAPHIES Amanda Weener Assistant Stage Manager This is Amanda Weener’s fifth season with Milwaukee Repertory Theater, where she began as an intern in the 2004/05 season. Her most recent Rep credits include ARMADALE, ENCHANTED APRIL, CAROLIN’ CAROLYNNE’S COMIN’ TO TOWN and CYRANO DE BERGERAC. She has also worked with the Great River Shakespeare Festival, the Utah Shakespearean Festival and Hope Summer Repertory Theatre. Tina Myers, Assistant Director Artistic Intern Company Member. Tina Meyers is a graduate of Cornish College of the Arts with a BFA in Original Works. She is a member of Backward Ensemble Theater Company in Seattle and is thrilled to be joining the 2008/09 Artistic Intern Company here at The Rep.
Her recent work includes directing BLOODY CHAMBER & A SERIOUS OF ANGELA CARTER TALES, assistant directing ACCORDING TO COYOTE at Seattle Children’s Theaters and assisting Robin Lynn Smith with the OTHELLO: FREEHOLD’S PRISON PROJECT at the Washington Department of Corrections in Gig Harbor. Special Thanks Guthrie Theater Prop Department Understudies Grant Matthews, Dennis Kelly; Mary Matthews, Richelle Meiss; Spike MacManus, Brian Rooney; Sam Parrish, Sam Hicks; Perkins/Hopkins/Stevens, Aaron Shand; James Conover/ Senator Lauterback/Ensemble, Eric Bultman; Lulubelle Alexander, Andrea Laufer; Bill Hardy/Bellboy/Ensemble, Jordan Laroya; Judge Jefferson Davis Alexander, Joshua Innerst; Kay Thorndyke, Heidi Wermuth; Norah/Mrs. Draper, Tiffany Cox; Jenny/Ensemble, Diana Huey Additional Staff Stage Management Interns .................. Holly Burnell, Donna Larsen
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STATE OF THE UNION – 33
M I LWA U K E E R E P E R T O R Y T H E AT E R
Board of Trustees Officers: President, John Kordsmeier; Vice President (Board Development), Patrick Gallagher; Vice President (Planning), Pete Hotz; Vice President (Development), Susan Esslinger; Vice President (Marketing/Audience Development), Robert Welke; Treasurer, Wally Morics; Secretary, Richard Meeusen; Assistant Secretary, Timothy J. Shields; Immediate Past-President, Jacqueline Herd-Barber; Trustees: Sara Aster, Wendy Blumenthal, Juan Carrasquillo, Jane A. Chernof, Michelle Crockett, Walter Daumler, Karen Dean, George A. Dionisopoulos, Stephen Einhorn, Byron Foster, Gary Giesemann, Kathleen Gray, John N. Greene, Judy Hansen, Stephen Isaacson, Kristine Lueders, Michael McNeely, Greg D. Miller, Mark A. Miller, Dwight L. Morgan, James Plunkett, Lisa Quezada, Dr. John E. Ridley, Joseph A. Rock, Joe Schlidt, Tom Scrivner, Patrick Smith, Sean Torinus, Renee Tyson, Karin Werner.
Friends of The Rep Officers: President, Walter Daumler; President-Elect, Lisa Gehrke, Vice President of Company Services, Maryann Katzor; Vice President of Special Events, Sue Luterbach; Vice President of Community Services, Cathy Morics; Vice President of Friends’ Services, Dan Roskom; Vice President of Usher Services, Jessica Pihart; Secretary, Cindy Wiktorek; Treasurer, Gee Esslinger; Immediate Past-President, Maureen Swokowski; Directors at Large: Lisa Braun, Eunice Beckendorf, Gerry Biehl, Karen Dean, Karan Dudley, Susan Esslinger, Don Fraker, Chuck Malone, Sue McComb, Jim Mergener, Wally Morics; Patricia Roberts
Honorary Board of Trustees Richard A. Abdoo, Charlotte Altenburg*, Kent Anderson, James Baillon, Jay Baker, Katharine Banzhaf, John S. Bell*, Gerry Biehl, Wendy Blumenthal, T. Michael Bolger, Constance Bowman, William B. Boyd, Mrs. John P. Boynton*, Marilyn Bradley, Joseph K. Brennan, Joyce Broan, Alan G. Brown, Jo Burr, Margaret Butter*, Priscilla Chester, Doris Chortek, Kristine Cleary, Paul Counsell, John Crichton, Danny Cunningham, George Dalton, William DeLind, John Dillon, Joyce Dreyfus, Robert Dye, Laurie Eiseman, Thomas R. Ellis, Jim Ericson, Susan Esslinger, Dr. Walter C. Farrell, Jr., Robert Feitler, David Fleck, Harry F. Franke, Timothy C. Frautschi, Ted Friedlander, Jr., Ann Gallagher, Lisa Gehrke, Lloyd A. and Mary Ann Gerlach, Cecilia Gilbert, Anne Gimbel, Susan G. Godfrey, David M. Goelzer, Conrad Goodkind, William Haberman, Judy Hansen, Edward T. Hashek, Anne M. Hazelwood, Jill Heavenrich, Lloyd and Edith B. Herrold, John Hevey, John Holbrook, Richard Holsher, Randall L. Hoth, Janet Hume, Gwen T. Jackson, Nagle Jackson, Norman Jacobs, Robert C. James*, Mary W. John, Ben E. Johnson, Jules Joseph, Larry Jost, Nancy Kamlukin*, Steve Kent, J. Patrick Keyes, Natalie Kranbuehl, Frank Krejci, F.D. Kuester, David Kundert, Mark Kultgen, Arthur J. Laskin, James LaVelle, Jack and Phoebe Lewis, Henry J. Loos, David J. Lubar, Marianne Lubar, Susan Lueger, Robert Manegold, Audrey Mann, Janet Martin, Larry Martin, Vincent Martin, Patrick C. McAllister, Charles R. McCallum*, Hazelyn McComas, E. Bartlett McCown, Barbara J. McCrory, Randall McElrath, Patti Brash McKeithan, Venora McKinney, Sandra McSweeney, Donna Meyer, Doug Mickelson, Richard Mooney*, Pat Moschea, Robert W. Mulcahy, Paul Noelke*, Margaret Stratton Norman, Paula Norton, Tonen (Sara) O’Connor, Sandi Perlstein, Elaine N. Peterson, Jane B. Pettit*, Anthony Petullo, Penny E. Podell, Joan Hickey Polivka, Betty Quadracci, David F. Radtke, Kris Rappe, Allen N. Rieselbach, Darlene Rose, Peggy Rose, Mason G. Ross, Catherine Rynkiewicz, Arthur Saltzstein, James Schloemer, Tom Scrivner, Steven M. Singer, Brenda Skelton, Michael Spector, Joan M. Spinks, Brian J. Stark, Anne Stratton, Dr. A. A. Suppan, John Syburg, Robert Taylor, Sally Tolan, John Torinus, Robert Trainer, Joseph Uihlein, Kent Velde, Carleen VogelGuenther, John C. Walker, Jack H. Werner, Charles Willsey, Tunc Yalman* *Deceased 34 – STATE OF THE UNION
T H E S TA F F ARTISTIC DIRECTOR Joseph Hanreddy
MANAGING DIRECTOR Timothy J. Shields
ARTISTIC Associate Artistic Director ............Sandy Ernst Artistic Associate ......................Brent Hazelton Literary Director ........................Kristin Crouch Artistic Assistant ..........................Amy Richter
PAINT Charge Scenic Artist ......................Jim Medved Scenic Artists ..................Susannah M. Barnes, Shannon Mann Scenic Artist Intern ....................Karlie Driscoll
RESIDENT ACTING COMPANY Jim Baker, Mark Corkins, Jonathan Gillard Daly, Lee E. Ernst, Laura Gordon, Torrey Hanson, Gerard Neugent, James Pickering, Rose Pickering, Lanise Antoine Shelley, Peter Silbert, Deborah Staples, Brian Vaughn
PROPS Properties Director ..........................James Guy General Props Artisan ....................Sarah Heck Props Shopper..........................Dana D. Fralick Soft Props Artisan ............Margaret Hasek-Guy Props Carpenter..........................Erik Lindquist Prop Painter/Graphic Artist........Jill Lynn Lyons Props Crafts Artisan......................Anna Warren Props Intern ..............................Carina Liebsch
ARTISTIC INTERNS Eric Bultman, Tiffany Younne Cox, Andrea Dennison-Laufer, Sam Hicks, Diana Huey, Josh Innerst, Abigail Issac, Dennis Kelly, Jordan Laroya, Laura Lynn MacDonald, Richelle Meiss, Tina Myers, Brian Rooney, James S. Rudy, Aaron Shand, Cassandra Stokes-Wylie, Heidi Wermuth PRODUCTION Production Manager ....Melissa Nyari Vartanian Technical Director ........................Tony Puglielli Electric & Sound Supervisor....Aimee Hanyzewski Production Accounts Manager ....Donna E. Hunsicker Purchasing/Scenic Assistance ......Peter Koenig Lighting Design Intern..............Alan Piotrowicz Assistant Stagehand ..................Steve Barnes STAGE MANAGEMENT Company Stage Managers ......Whitney Frazier, Amanda Weener Stage Managers ......................Briana J. Fahey, Richelle Harrington Calin, Kathi Karol Koenig, Becky Merold, Mark S. Sahba, Melissa L. Wanke, Laura Wendt Stage Management Apprentice....Liz Eisenmenger Stage Management Interns ........Holly Burnell, Donna Larsen COSTUMES Costume Director ..........................Holly Payne Associate Costume Director ............Amy Horst Senior Draper ..........................Alex B. Tecoma Drapers ..................Inga Buske, April McKinnis Junior Draper/ Associate First Hand ..................Jessica Jaeger First Hands ................Rey Dobeck, Jef Ouwens Stitchers ..................Jade Jablonski, Carol Ross Crafts Artisan Supervisor................Kate Bailey Crafts Artisan ............................Jenny Thurnau Hair & Wigmaster ......................Kevin McElroy Make-up Director/Wig Associate....Lara Dalbey Head Wardrobe ................................Amy Mills Wardrobe ......Jennifer Johnson, Jennifer Vinent Costume Shop Intern......................Erin Tucker
RESIDENT CREW Bill Burgardt, Glenn Dassow, Sam Garst, Paul Gegenhuber, Rick Grilli, Dave Hicks, John Nusslock, Jim Zinky ADMINISTRATION General Manager ....................Diane B. Dalton Company Manager ................Dawn Marie Ross Assistant Manager ..............William Newcomb Administrative Assistant ..............Erin Burgess Chief Receptionist ................Barbara Bearden Receptionists......................Andrew Brownson, Pam Brownson, Michael Evans, Maria Roades, Michael Ziegler HOUSE House Manager..........................Drew Douglas Quadracci Powerhouse Theater Assistant House Managers..........Carynne Dati, David Glenn, Johnathan Koller, Brian Rott FINANCE Finance Director ....................Leslie Fillingham Payroll Specialist ............................Gail Getka Accounting Associate ..................Lisa Schieffer Accounting Assistant....................Randy Talley DEVELOPMENT Development Director......Annie Jansen Jurczyk Director of Corporate & Foundation Giving ............................Jim Farrell Annual Fund/Grants Manager ......Anne Cauley Events Coordinator..............Lindsay Rocamora Development Assistant ......Rebecca Kitelinger MARKETING/PUBLIC RELATIONS Marketing Director ..................David Anderson Public Relations Director ..........Cindy E. Moran Marketing Manager ................Kristy Studinski Marketing Coordinator ........Christina DeCheck PR/Marketing Interns ..........Natalie Jankowski, Elizabeth Nelson
STATE OF THE UNION â€“ 35
T H E S TA F F TICKETING/SALES Senior Sales Manager ................Kerry Dawson Ticket Office Manager ..........Christine Yundem Associate Ticket Office Manager ..Marie Holtyn Assistant Ticket Office Manager ..............................................James Thibodeau Group Sales Coordinator ..............Lisa Bonack Ticket Office Night Supervisor ....Melissa Heppe Ticket Office Staff ................Andrea Austreng, Yolando Bucio, Carla Crump, Brenda Ferrill, Jordan Henkel, Matthew Nelson, Michelle Russell Priority Services Manager............Steve Ivester EDUCATION Education Director ....................Jenny Kostreva Education Coordinator ................Rebecca Witt Teaching Artists ............................Tom Bruno, Jamie Cheatham, Amy Geyser, Richard Hedderman, Marlin Hill, Angela Iannone, Bo Johnson, Marcy Kearns, Olusegun Sijuwade, Shannon Sloan-Spice, Nancy Weiss-McQuide, Nomusa Xaba, Dean Yohnk
36 â€“ STATE OF THE UNION
MAINTENANCE Chief Building Engineer ..........Mark A. Uhrman Lead Engineer ................................James Ross Engineer ..........................................Todd Ross Part-time Engineer ................Dominick Deligio HOUSEKEEPING Housekeeping Supervisor ......Charles McClain Housekeeping Staff ....................Regail Blade, Sireatha L. Cathion, Kaye Johnyakin, Frederick Prophet, Dennis Reed STACKNER CABARET Manager......................................Kristen Olsen Kitchen Manager ............................Ryan Helm Stackner Cabaret Director ............Sandy Ernst Cabaret Staff ....................Kathleen Borchardt, Matthew Flannery, Rebecca Godfrey, Tim Gould, Caitlin Hagness, Ryan Helm, Allison Janda, Sara Kempa, Kate Miller, Maegan Novak, Beth Ormsby, Carrie Parker, Michael Passow, James Passow, Jeanne Pfannenstiel, Marna Riordan, Claire Rydzik, Micheal Shorty, Stephan Shanklin, David Stachlewicz, Elijah Stratton, Jane Stratton, Caroline Tyson, Eric Volmar, Jenni Watson, Megan Watson
Issue 1, September/November 2008 Published by Marcus Promotions, Inc. The content of any article in this publication is based solely on the opinion of its writer and does not necessarily reflect the opinion of Marcus Promotions, Inc., Footlights, or its staff. The center program content is at the sole discretion of the performing arts group. Any errors, omissions, or inconsistencies are their responsibility. Inquiries or comments should be directed accordingly.
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Pictured above are Rep Resident Acting Company Members Lee E. Ernst and Laura Gordon in STATE OF THE UNION.
CONTENTS STATE OF THE PERFORMING ARTS By Anne Siegel
The struggle to reach this year’s UPAF fund-raising goal may not indicate a tough year for performing arts groups. They’re keeping their ticket prices in check and devising innovative ways to attract new subscribers and single ticket buyers. ARTS SCENE Milwaukee’s Performing Arts Guide.
DINING & NIGHTLIFE
SCENE & BE SEEN
Milwaukee Repertory Theater's production playbill.