Fall 2011 Spotlight

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FALL 2011 - 2012

SPOTLIGHT

CELEBRATING 30 YEARS OF TIMELESS THEATRE

CANDIDE P.4

BEFORE I LEAVE YOU P.8

CAPTORS P.12

ANNOUNCING THE

CHAIRMAN’S CHALLENGE P.16

STICK FLY HEADS

TO BROADWAY P.22

PERFORMANCE CALENDARS P.23

JOIN US FOR OUR 2011-2012 SEASON MOST 30TH BIRTHDAY PARTIES LAST A NIGHT. OURS RUNS ALL SEASON LONG. SUBSCRIBE NOW – SPECIAL INTRODUCTORY OFFER 7-Play Package See the entire season!

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GLORIOUS MUSICAL

CANDIDE SEPT.10-OCT. 16 LOVE STORY FOR GROWNUPS

BEFORE I LEAVE YOU OCT.14-NOV.13 THRILLING TRUE STORY

CAPTORS NOV.11-DEC.11 SCATHING HIT COMEDY

GOD OF CARNAGE JAN.6-FEB.5

POWERFUL & MOVING DRAMA

MA RAINEY’S BLACK BOTTOM MAR.9-APR.8 COMPELLING BOSTON STORY

THE LUCK OF THE IRISH MAR.30-APR.29 SPARKLING COMEDY

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PRIVATE LIVES MAY 25-JUNE 24

WE WANT YOUR HUNTINGTON STORIES! Help us celebrate our anniversary by sharing your Huntington memories with us. What is your favorite production? Who introduced you to the Huntington?

Do you have a ritual for each time you come?

Visit huntingtontheatre.org/30 or email tickets@huntingtontheatre.org with your written or video recollection or with a request for us to help record it.

WELCOME TO OUR 30TH ANNIVERSARY SEASON!

Over the past 30 years, the Huntington Theatre Company has established itself as a major force on the Boston cultural scene. Known for productions of groundbreaking new works and classics made current, the Huntington brings together the most talented theatre artists from the Boston area and throughout the United States.

YOU’RE INVITED TO OUR 30TH ANNIVERSARY OPEN HOUSE! MONDAY, OCTOBER 10, 2011 11AM - 12PM light brunch for subscribers only 12PM - 3PM open to the general public Activities include backstage tours, technical demonstrations, discussions with artists, giveaways, and more — families welcome!

• Take the stage like an actor • Interact with our world-class staff and artists • Explore the production shops where our award-winning designs are brought to life RSVP by September 30 at huntingtontheatre.org/openhouse.

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“Gorgeously imagined,

Candide is a garden of delights!”

Tony Award and MacArthur “Genius” Grant-winning director Mary Zimmerman’s breathtaking new production features a soaring score and lyrics from the wittiest writers of our time. Bernstein’s Candide enchants with some of the most memorable music ever written for Broadway including “Glitter and Be Gay” and “Make Our Garden Grow.”

Lauren Molina (Cunegonde), Geoff Packard (Candide), and Director Mary Zimmerman in rehearsal; photos: Liz Lauren

ENTERTAINED AND ENCHANTED

VISIONARY DIRECTOR/ADAPTOR MARY ZIMMERMAN ON CANDIDE “Mary Zimmerman is a true genius. Her production will blow the doors off of the theatre and will kick off our 30th Anniversary Season with ambition, imagination, and glorious music.” – PETER DuBOIS I’ve always been drawn to adapt thorny, difficult, epic old texts. Voltaire’s Candide has that epic sweep and broad range of feeling that I like, and it is full of difficult things to stage, which I like as well. And then Bernstein’s music is so glorious.

What makes the play funny and absurd, I hope, is the way in which chance and mischance pile up so fast and furious, while the characters’ views of the world as “all for the best” remain absolutely unchanged in the face of all evidence to the contrary.

It’s the story of a young man named Candide who is the illegitimate nephew of a Baron in a small province called Westphalia. Along with the Baron’s daughter, he is tutored by a professor named Doctor Pangloss, who claims that Westphalia is “the best possible place in all the world.” When Candide falls in love with Cunegonde, his benefactors kick him out of the kingdom without a penny. The rest of the story follows Candide making his way in the world, having adventure after adventure. He is candid and honest and innocent, and he is mistreated and swindled over and over again. Cunegonde and her family also meet great misfortune in a war, so some of Candide’s adventures involve reuniting with her.

Candide is a tougher text than people realize. It challenges some of our most cherished ideas – ideas about one’s own virtue and the virtues of one’s own home. I think this play is challenging in whichever country it is performed, because every country thinks it is the best in the best of all possible worlds.

The novel and the play ask people to think about the fact that life is really complicated and that random, tragic things happen all the time. It suggests that blind optimism, or the idea that everything is part of a grand plan and that all is for the best, is not only absurd but also an excuse for inaction in the face of social injustice. Yet it also rejects blind pessimism, through the figure of Martin, the scholar who is as consistently cynical and depressed as Pangloss is buoyant.

I read all the previous adaptations – the scripts for the musical – about three or four years ago, and then I stopped reading because I wanted to go back to Voltaire’s original novel. Some of the versions have big changes from the original structure of the novel, and the primary challenge for me in adapting it anew is that some of the songs have lyrics that are tied to events or circumstances that don’t exist in the novel. We want to preserve these songs in a context that makes sense, while trying to be as trusting as possible of Voltaire’s original structure and story.

Finding the tone is the most difficult key to Candide because terrible things happen to the characters, yet the novel is hilarious.

I hope that audiences are swept away by the production, that they are extremely entertained and enchanted, but also attentive to Voltaire’s satire.

Candide has gorgeous music that is incredibly witty, both lyrically and musically. Voltaire’s and Bernstein’s works are both achievements of such high order that when combined, they remind us what people are capable of at their best at the very same moment they are showing us what is worst.

And in this way, the work manages to be affirmative – even transcendent – in the face of its own cynicism and satiric edge.

- MARY ZIMMERMAN

LEARN MORE ONLINE VISIT THE LEARN & EXPLORE SECTION OF HUNTINGTONTHEATRE.ORG/CANDIDE TO LISTEN TO THE CANDIDE OVERTURE, READ AN INTERVIEW WITH CHOREOGRAPHER DANIEL PELZIG, AND EXPLORE REHEARSAL AND PRODUCTION PHOTOS.

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The cast of Candide; photo: Liz Lauren

THE BEST OF ALL POSSIBLE CANDIDES

Geoff Packard as Candide; photo: Liz Lauren

In the world of musical theatre, Leonard Bernstein’s Candide is the mother of all do-overs, continuing to evolve long after its original creators’ deaths.

Longtime Huntington Theatre Company subscribers will be familiar with the 1973 version (produced here in 1989) and may be wondering why we are giving Candide our own do-over. Simply put, the “most labored-over show in theatre history” has been an irresistible challenge for generations of theatre artists. In the visionary hands of Mary Zimmerman, it has come to rest after an epic and improbable journey.

The idea for adapting Candide came to Lillian Hellman in 1953. She considered Voltaire’s 1759 novella to be “a great book, full of laughter, wisdom, comment, satire, and bite,” and thought it to be the perfect piece for her long-awaited collaboration with Bernstein. From the start, the project was wrought with tribulations: Bernstein initially refused the project, and the pair dropped their lyricist before even starting the second act. After tryouts at Boston’s Colonial Theatre, Candide was mounted on Broadway in 1956, only to close after just 73 performances.

The initial production’s unfavorable reviews inspired several different revisions, adaptations, and concert versions of Candide across the country and around the world as different artists tried to solve the book’s inability to compete with, or effectively complete, the score.

These subsequent productions incited new interest in Bernstein, who approached poet, playwright, and lyricist Richard Wilbur about continuing work. Wilbur agreed that there was so much “life in the show, so much that [was] good and finished, that it would be a shame to abandon it.” In 1973, director Harold Prince and book writer Hugh

DEDICATED TO SUSAN F. SPOONER

We were all saddened over the summer by the death of our dear friend, Susan Spooner, a Huntington Trustee, generous supporter, and true theatre enthusiast.

Any memory of Susan is invariably filled with one of two attributes: joy or admiration. Sharing private time with Susan was to know someone who lived life deeply and enjoyed every minute of it. To watch her in action as a deeply engaged Huntington Trustee, whether chairing the Nominating Committee or strategizing about a Huntington problem at a Board meeting, was to admire her clear-headed insight and intelligence. One of the things that Susan was looking forward to was the Huntington 30th Anniversary Season opener, Candide. While she will not be in her usual seat on opening night, we will honor Susan by dedicating our production to her memory. - MICHAEL MASO, MANAGING DIRECTOR

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BOX OFFICE 617 266 0800

CURTAIN CALLS NAME McCAELA DONOVAN ROLE PAQUETTE HOMETOWN BETHLEHEM, NEW YORK WHAT IS YOUR FAVORITE PHILOSOPHY IMPARTED IN CANDIDE? I’m drawn to Candide’s interminable belief that all human beings are innately good. I love that.

WHAT IS YOUR FAVORITE LEONARD BERNSTEIN MUSIC? I love Bernstein’s score for the ballet Fancy Free (which later became On the Town), but the Candide overture is one of the best pieces of music ever written for the theatre.

Lauren Molina as Cunegonde; photo: Liz Lauren

Wheeler opened a scaled-down version of Candide, with “Words, Words, Words,” a new song by Bernstein. This version replaced Lillian Hellman’s original adaptation. Up until that production, Bernstein’s Candide was the stuff of legend. The 1973 Chelsea Theatre version made Candide, and its potential for success, a reality.

But the revisions didn’t stop in 1973, and there were several versions of Candide “kicking around,” in the words of Chicago theatre critic Chris Jones, by the time Mary Zimmerman was drawn to the piece. A longtime observer of Zimmerman’s groundbreaking theatrical adaptations (Metamorphoses, The Notebooks of Leonardo da Vinci), Jones notes that unlike most musicals, Candide fits nicely into Zimmerman’s aesthetic, complete with “literature, storytelling, simplicity, nondramatic texts, metaphor, moral dilemmas, and a theatrical journey with life-and-death stakes.” Undaunted by the many challenges, Zimmerman revamped the book by returning to the original text, a blend of biting satire and good-humored comedy. Luckily for us, the risk paid off, and Candide’s new book pays real tribute to the still fresh, smart, and effervescent score. Garnering Zimmerman praise in Variety and elsewhere, this new version just might be “the best of all possible Candides.”

- CHEYENNE POSTELL

NAME LAUREN MOLINA ROLE CUNEGONDE HOMETOWN DETROIT, MICHIGAN WHAT HAS BEEN YOUR FAVORITE MOMENT WHILE PERFORMING IN CANDIDE? Mary Zimmerman’s blocking of “Glitter and be Gay” involves me singing one of the hardest arias in musical theatre while going from naked in a bathtub to tightened in a corset to fully dressed in a gown. It’s an acrobatic tightrope walk that is both thrilling and terrifying.

HOW ARE YOU LIKE OR NOT LIKE YOUR CHARACTER? She’s spunky and knows what she wants, which is very much like me. She wants happiness and love. However, I’m not a gold digger, nor a spoiled brat.

NAME GEOFF PACKARD ROLE CANDIDE HOMETOWN CONCORD, MASSACHUSETTS WHAT IS YOUR FAVORITE LEONARD BERNSTEIN MUSIC? I love West Side Story, as well as his Mass. I think my favorite song other than the ones in Candide is “Simple Song.”

HOW ARE YOU LIKE YOUR CHARACTER? I look just like him (kidding.) I like to think I see the world as genuinely positive. Sometimes that has served me wrong, mostly it has served me right, but at the end of the day I am responsible for my own happiness and love (as Candide also understands).

NAME JESSE PEREZ ROLE CACAMBO HOMETOWN WASHINGTON HEIGHTS, NY WHAT HAS BEEN YOUR FAVORITE MOMENT WHILE PERFORMING IN CANDIDE? My favorite moment in Candide is the final song when we end the show together. We have the opportunity to look at everybody in the cast and in the orchestra and realize we have just accomplished something special.

WHAT IS YOUR FAVORITE LEONARD BERNSTEIN MUSIC? I love West Side Story. I rarely do musicals, and you would not believe how many non-musical actors use the songs from West Side Story to warm up before a show.

LEARN MORE ONLINE SEE PAGE 23 FOR SHOW PERFORMANCE CALENDAR AND EVENT LISTINGS

VISIT HUNTINGTONTHEATRE.ORG/CANDIDE FOR EXPANDED INTERVIEWS WITH THE CAST.

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“A terrific and fearless playwright with an individual and

astute voice.”

— THE HARVARD CRIMSON

In a blink, Emily’s Harvard Square world falls apart. Her husband Koji suddenly embraces his Asian roots. Her friend Jeremy’s work on his novel gets interrupted by a health scare and his sister Trish moving in. Four longtime friends face too much past and too little future in this moving new comedy.

A map of the Harvard Square area

NEW PLAYS, NEW CHAPTERS A CAMBRIDGE PLAYWRIGHT TELLS A STORY OF REDISCOVERY

“Rosanna’s play tells a beautiful, seldom told middle-age love story, unfolding in our own backyard, with the freshness and smart sensibility of a young independent filmmaker.” – PETER DuBOIS A new play can spark from anything – an idea, an evocative image, a single line of text. Cambridge writer Rosanna Yamagiwa Alfaro’s new play Before I Leave You started with a tumble. “A few years ago, I was preparing paella for guests, lifted up the heavy skillet, and, propelled by unseen forces, tumbled backwards and landed on the kitchen floor,” she says. “For no real reason I felt this was the beginning of the end.”

The play that Alfaro wrote shows few traces of that particular situation, but it captures the moment we intuit that everything could change and that our comfortable, set lives may hold new and unsettling discoveries just around the corner. As Alfaro started to turn her real-life scare into a play, it crystallized around four fictional friends, each with their own particular concerns. Jeremy, a 64-year-old Jewish writer, works on his next great novel; his spike-heeled sister Trish is just out of work as a realtor; his best friend Koji is angling to direct King Lear; Koji’s wife Emily is trying to maintain ties with their increasingly estranged son.

The quartet has been friends for decades, making their careers, raising a child, and meeting often for boisterous conversation at the Royal East, a Chinese restaurant in Central Square. They are satisfied with the consistent pleasures of their routine lives and have accepted the compromises they made years ago.

As Alfaro says of her own Harvard Square life, “I could never consider leaving Cambridge because of my friends. When you’ve lived in a place for so long, you have your friends’ books in your bookcases, their paintings on your

walls. You meet for teas and lunches and dinners. You bump into someone you know every time you run an errand in the Square.”

The possibility of shaking up that long-held balance held real dramatic potential for Alfaro. What if there was a new chapter in our lives, just about to begin? Disrupting the status quo started with a bump in Jeremy’s health, an unexplained shortness of breath. “This is the first time anything like this has happened,” Jeremy says in the play. “It’s funny – when you are young ‘the first time’ means something great, but when you’re our age ‘the first time’ means a heart attack or a stroke.”

Alfaro, in her seventies, views the inner emotional lives of the retired and retiring with a candor and a sense of vigor rarely seen on American stages where characters past a certain age are often relegated to supporting parts.

Alfaro instead puts characters in their sixties front and center, emphasizes their intelligence and sexuality, and isn’t afraid to show them in unsympathetic moments. These qualities make Alfaro a surprising and fresh voice on a field cluttered with “emerging” playwrights in their twenties and thirties.

For those Cantabrigians who know Alfaro, though, she has a particularly personal appeal. “I’m a very good listener and not above stealing my friends’ best lines and putting them in my plays,” she says. “I tell all my friends I’ve based my characters on them so they better come to the show.”

- CHARLES HAUGLAND

LEARN MORE ONLINE VISIT THE LEARN & EXPLORE SECTION OF HUNTINGTONTHEATRE.ORG/BEFOREILEAVEYOU TO LISTEN TO AN INTERVIEW WITH ROSANNA YAMAGIWA ALFARO AND EXPLORE A MAP OF HARVARD SQUARE.

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UNEXPECTED CAMBRIDGE:

AN INTERVIEW WITH ROSANNA YAMAGIWA ALFARO PLAYWRIGHT ROSANNA YAMAGIWA ALFARO HAS BEEN WRITING PLAYS FROM HER HOME IN HARVARD SQUARE FOR OVER FORTY YEARS, A FACT THAT COMES IN HANDY SINCE HER LATEST IS SET THERE. SHE RECENTLY TALKED WITH US ABOUT WRITING, HER TOWN, AND THE SURPRISES IT HOLDS.

PLAYWRITING FELLOWS AT THE HUNTINGTON WHEN DID YOU MOVE TO CAMBRIDGE? I started college at Radcliffe in 1956.

I grew up in Ann Arbor so I’ve always been Rosanna Yamagiwa Alfaro; fond of living in college towns, not that photo: Paul Marotta

Cambridge is just a college town, but we live in Harvard Square so it feels that way. My husband Gustav and I met here as students in 1958; our two children Anna and Pablo grew up here.

We’ve lived in Berkeley, Stanford, Halifax, Salamanca, and London, but we’ve been in Cambridge 46 years and counting.

WHEN DID YOU START WRITING?

Since 2003, the Huntington Theatre Company has fostered the talent of local Boston-area playwrights at all stages of their careers through the Huntington Playwriting Fellow program. Each year, local playwrights are awarded a two-year residency at the Huntington during which they receive a modest stipend, participate in a writers’ collective with the artistic staff, and receive support through readings and the other resources of the Huntington. The HPF community includes many leaders of the Boston theatre scene whose plays have been produced on the Huntington’s stages and throughout the country. Plays produced at the Huntington by HPFs include:

PLAY PLAYWRIGHT SEASON SONIA FLEW

Melinda Lopez

2004 - 2005

I’ve always liked to write. In many ways, it seems more natural to me than talking.

THE ATHEIST

Ronan Noone

2007 - 2008

BRENDAN

Ronan Noone

2007 - 2008

WHO INFLUENCED YOU? WHO FORGED YOU AS A WRITER?

SHAKESPEARE’S ACTRESSES IN AMERICA

Rebekah Maggor

2007 - 2008

THE CRY OF THE REED

Sinan Ünel

2007 - 2008

STICK FLY

Lydia R. Diamond

2009 - 2010

PSYCHED

Ryan Landry

2010 - 2011

BEFORE I LEAVE YOU

Rosanna Yamagiwa Alfaro

2011 - 2012

THE LUCK OF THE IRISH

Kirsten Greenidge

2011 - 2012

My parents were a little sad I didn’t go into science, but they weren’t unhappy that I majored in English instead. After all, my father was a professor of Japanese literature. I wish they were still alive to see Before I Leave You at the Huntington. Two of my creative writing teachers at Harvard left their mark – Monroe Engel because of his warmth and encouragement and John Hawkes because he was a strong advocate for bold metaphors and subtle violence. John’s office was always full of cigarette smoke, and his writing class was affectionately called “S Squared,” referring to sex and sadism. I’m sure none of his students has ever quite been able to shake the notion that, in writing, perhaps that was the way to go.

WHAT IS YOUR PROCESS LIKE? ARE YOU EVER BLOCKED? I write in bed in the morning with my papers and books spread out in front of me. I always write first in longhand, which matches the speed of my thoughts. I’ve never been blocked for long. I find most problems can be solved by a nap or a good night’s sleep.

To learn more about the HPF program and the Huntington’s other new work initiatives visit huntingtontheatre.org/newwork.

STICK FLY IS HEADED TO BROADWAY! SEE PAGE 22 FOR MORE INFORMATION.

WHAT ARE YOUR HOBBIES? I play the piano about ten minutes a day. I belong to an Asian-American women’s book club, which is much more about eating and gossiping than reading books. I religiously watch the University of Michigan football games on television.

Zabryna Guevara and Will LeBow in Sonia Flew; photo: T. Charles Erickson

WHAT DON’T MOST BOSTONIANS KNOW ABOUT YOUR NEIGHBORHOOD? Most think of Cambridge as a place full of college kids, but it’s the perfect city for the old. Our friends in their sixties and seventies are still painting, playing chamber music, birding, sailing, and kayaking when they’re not traveling to remote corners of the world. I’m afraid I do none of those things, but it makes one think the world is still full of endless possibilities.

SEE PAGE 23 FOR SHOW PERFORMANCE CALENDAR AND EVENT LISTINGS HUNTINGTONTHEATRE.ORG

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1960 Buenos Aires. Covert Israeli agents have just nabbed Adolf Eichmann, the world’s most wanted war criminal. The agents hold “the architect of the Holocaust” in a safe house, but bringing him to justice means getting his consent to stand trial. One of his captors and Eichmann, the infamous mastermind, compete in a thrilling battle of wills.

Eichmann in his jail cell, 1961

Eichmann on trial, 1961

DRAMATIC HISTORY

INSPIRES HISTORICAL DRAMA

“Evan illuminates a piece of fascinating, little-known history about power, obedience, retribution, and justice.

This is an incredibly important story, one I’m so glad we will be telling.” – PETER DuBOIS The story surrounding Captors may sound familiar. In its broadest strokes, it starts with an elite undercover team covertly hunting an enemy in a foreign country and ends with a burial at sea. Most of us know something about the capture in Argentina of the notorious Nazi Adolf Eichmann and his subsequent trial in Jerusalem, however, most of us do not know that before leaving for Israel, the Mossad agents who abducted Eichmann – all of whom lost family members or themselves survived the Holocaust – were confined in a safe house in a town outside of Buenos Aires for ten days with the man most responsible for the implementation of the Final Solution.

Playwright Evan M. Wiener was drawn to this little-known piece of the story.

He writes, “When I read the book that inspired Captors (the memoir Eichmann in My Hands), I found myself riveted by a small but absolutely crucial slice of history. Eichmann’s name has become a kind of cultural shorthand. But the story of those ten days is not familiar, and the prospect of interpreting those events for the stage, with a living, breathing Eichmann sharing space in real time with both his captors and the audience, seemed to open limitless possibilities.”

In Captors, Wiener cunningly examines the fraught realities of sharing space with a moral monster, a man who was literally the stuff of nightmares.

Writers in every literary form have long turned to history for inspiration. One can argue that Western drama begins with a history play, The Persians by Aeschylus, which tells the story of the Persian war from the point of view of the defeated.

Shakespeare, of course, is known for his “history plays” and the tragedies Julius Caesar and Antony and Cleopatra. In contemporary drama, British writers have successfully mined stories about physicists (Copenhagen), American politicians (Frost/Nixon), and the Iraq war (Stuff Happens). Interestingly, there are few enduring historical dramas of American provenance, The Crucible being the best-known exception. Wiener considers the topical familiarity of historical drama an asset: “I think in a good historical drama, familiarity with the subject is only the point of entry, like the call of the carnival barker. Once the show starts, it’s all about finding the unfamiliar – some perception-altering or expanding approach to the official record or to conventional wisdom.”

“Contemporary relevance is obviously essential,” explains Wiener. When he started the play, he had no way of knowing that US forces would capture and execute Osama bin Laden months before it premiered or that its first production would coincide with the 50th anniversary of Eichmann’s trial, nor was that a goal. “I’d be leery of any writer who began a play thinking outsidein, who consciously started by saying something like, ‘I’ll use the Irish potato famine to comment on Fox News.’ Ideally it’s more organic: a great true story compels you – you might not even be quite sure why – and as you write about ‘back then’ from a perspective of ‘right now,’ the parallels and resonances begin to emerge and evolve.”

- LISA TIMMEL

LEARN MORE ONLINE VISIT THE LEARN & EXPLORE SECTION OF HUNTINGTONTHEATRE.ORG/CAPTORS TO LEARN MORE ABOUT ADOLF EICHMANN, WATCH A VIDEO OF HIS TRIAL, AND SEE MORE OF MALKIN’S ARTWORK.

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In Evan M. Wiener’s provocative and suspenseful new play Captors, Peter Z. Malkin, a young Israeli agent, captures and guards Adolf Eichmann, the architect of the Nazi party’s “Final Solution to the Jewish Question.” The play itself is based on Malkin’s memoir Eichmann in My Hands (now out of print). The agent’s surprising capacity for empathy made him the perfect man to crack Eichmann, and a series of formative experiences led him to the moment of opportunity.

The cover of Malkin’s memoir

The face of Eichmann over a map of South America as sketched by Malkin during his assignment in Buenos Aires

Malkin’s family moved from Poland to Palestine in 1933 when he was a small child. Because of restrictive immigration policies, his oldest sister Fruma was unable to get a visa and stayed behind with her husband and children. While his parents and older brother worked long hours, a scrappy, adventurous, and unsupervised Malkin grew up in a chaotic and dangerous environment, stealing and street fighting in the blind alleys of Haifa. At 12, Malkin joined the Haganah, an underground army fighting the British for the establishment of a Jewish state in Palestine. His career as a youthful offender prepared him well for his life in the Underground. Instead of candy, he now stole ammunition and could escape any patrol. For Malkin, as much as he believed in the cause, it was also great fun.

Shortly before Malkin graduated from high school, World War II came to a close, and his family learned that Fruma had been killed in the Holocaust.

Malkin vowed to his mother that he would kill three Germans, one for each

CAPTORS’ HERO:

PETER Z. MALKIN’S EARLY YEARS of his sisters. After training in the army as an explosives specialist, Malkin applied to work with the Mossad, stating on his application as his reason for applying, “I like adventure.” He was hired to train Israeli Embassy personnel in detecting and disarming letter bombs. Malkin became a trusted agent by the time his superior Uzi informed him that the two would travel to Buenos Aires to capture Adolf Eichmann.

“Evil does not exist in isolation. It is a product of amorality by consensus. Could it happen again? Who can say? I only know it is a question we must never stop asking.”

- PETER Z. MALKIN

After Eichmann’s capture, Malkin’s mother suspected he had been involved and pestered him about where he had been. Ever the professional, he insisted he was in Paris. He kept his secret until he went to see his mother on her deathbed: I knelt beside her bed and took her hand. “Mama,” I whispered. “Mama, it’s me, Peter. Mama, I want to tell you something. What I promised, I have done.

I have captured Eichmann.” There was no response. “Mama, Fruma was avenged. It was her brother who captured Adolf Eichmann.” I repeated it.

But suddenly her hand began to squeeze mine. “Do you understand, Mama?

I captured Eichmann.” Her eyes were open now. “Yes,” she managed in a whisper. “I understand.”

- LILIA RUBIN

SEE PAGE 23 FOR SHOW PERFORMANCE CALENDAR AND EVENT LISTINGS

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EICHMANN UNDERGROUND 1945

dolf Eichmann flees to Berlin and then to Austria A where he leads a guerilla unit into the Alps only to receive word the war is over. Fearing prosecution, he disguises himself as a low-ranking soldier and destroys his identification papers. Captured by US forces, he gives his name as “Adolf Barth.” On the German border, he is stopped again by Americans who discover his SS tattoo. He then calls himself “Otto Eckmann.” Eichmann is moved from camp to camp, hiding in plain sight.

1946-1947 Eichmann learns that investigators have identified his position in the SS as instrumental in the deportation of Jews to death camps. Unsure whether he will be discovered, he escapes again. As “Otto Heninger,”he hides in a small, remote town working as a lumberjack and chicken farmer.

1948

e obtains a landing permit for Argentina through the H extensive Nazi underground.

1950 He leaves Germany for Italy, where he is sheltered by a sympathetic priest. In Italy, he takes his last alias, “Ricardo Klement,” and is given a Red Cross passport.

On July 17, he boards a ship for Argentina.

1950-1960 Eichmann works several odd jobs in the Buenos Aires area. His family joins him in 1952.

1957

Lothar Hermann, a German man of Jewish descent who lost his sight from a Gestapo beating, realizes his daughter Sylvie’s boyfriend is Eichmann’s son. He contacts a German war crimes prosecutor. He and Sylvie begin investigating Eichmann. Eichmann meets with a Dutch journalist to work on his memoirs.

1959

The Mossad confirms Eichmann is in Buenos Aires and begins surveillance. Eichmann buys a modest parcel of land on Garibaldi Street in an undeveloped district.

1960

n May 11, Eichmann is captured by a team of Mossad O and Shin Bet agents.

1961 On April 11, Eichmann’s trial begins in Jerusalem. He is convicted and sentenced to death in December.

1962 On May 31, Eichmann is hanged and cremated, the only person to be executed by Israel. On June 1, his ashes are scattered over the Mediterranean Sea in international waters.

A collage of photos from Peter Z. Malkin and Harry Stein’s book Eichmann in my Hands, clockwise from top left: Malkin’s surveillance map of Buenos Aires; Malkin in Israel, 1960; Eichmann’s son Haasi, 1960; Malkin’s sketch of the safe house where Eichmann was kept; Malkin’s sketch of Eichmann; Adolf Eichmann in his SS uniform; Malkin’s parents in Palestine in the 1940s

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30TH ANNIVERSARY GIFT CREATES

THE CHAIRMAN’S CHALLENGE: HAVE YOUR GIFT MATCHED TWO-FOR-ONE

AS WE EMBARK ON THE HUNTINGTON THEATRE COMPANY’S 30TH ANNIVERSARY SEASON, WE ARE CELEBRATING 30 YEARS OF TIMELESS THEATRE WHILE PLANNING FOR THE NEXT 30.

THROUGHOUT THE SEASON, YOU WILL HEAR ABOUT SPECIAL ACTIVITIES AND EVENTS TO CELEBRATE THIS AUSPICIOUS ANNIVERSARY. ONE WE WANT TO SHARE WITH YOU NOW COMES THROUGH THE GREAT GENEROSITY OF OUR CHAIRMAN, CAROL G. DEANE.

Huntington Board Chairman Carol G. Deane values the Huntington and especially appreciates its history of creating timeless theatre. Carol wanted to ensure that the Huntington could celebrate this landmark season in ways that honor our artistic values and traditions, including our commitment to producing classics made current, new plays, and musical theatre. As a longstanding Trustee, she also knows the real financial needs that a season this ambitious requires, and as a person of action, she has created a way to to help: a challenge to our community that will raise an additional $1.5 million this season.

“The Huntington has played such a special role in Boston theatre history,” Carol said, “bringing world-class theatre to Boston and reaching hundreds of thousands through innovative and award-winning education and community programs. I hope that everyone in our audience will join with me and my fellow Board members to ensure that we celebrate this great tradition and ensure that it continues for the next 30 years and beyond.”

The Chairman’s Challenge will match all new and increased annual fund gifts – regardless of their amount – two for one. We must raise $500,000 this year in new and increased gifts from individuals like you in order to receive Carol’s $1 million match.

FOR EXAMPLE Never donated before? Make a gift of $30, and it will be matched with $60 from the Chairman’s Challenge, increasing its value to $90.

Are you a current donor who contributed $1,000 last year? Increase your support to $1,500, and the additional $500 will be matched two-to-one with $1,000, making your gift value $2,500.

We are extremely grateful to Carol for her extraordinary generosity, but to realize its full impact, we need your help. Whether you are a longtime Huntington supporter or are considering making your first donation, we hope that you will be excited by this rare opportunity.

You play a vital role in the Huntington family by being part of our audience and for the vital financial support you have provided. Maximize the impact of your gift today by making a generous annual fund commitment in support of the Chairman’s Challenge.

Artistic Director Peter DuBois and Board Chairman Carol Deane; photo: Laura Wulf

For additional information about the Chairman’s Challenge, please contact Lisa McColgan at 617 273 1546 or lmccolgan@huntingtontheatre.bu.edu.

Interested in having an even larger impact by joining the Huntington Circle with a gift of $1,500 or more? Please contact Meg White at 617 273 1596 or mwhite@huntingtontheatre.bu.edu.

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Abbe Young (left) with members of the Young family, celebrating Abbe’s birthday together at a performance of Educating Rita last season.

THE HUNTINGTON COULD NOT HAVE LAUNCHED ITS 30TH ANNIVERSARY SEASON WITHOUT THE VITAL SUPPORT OF MANY ENTHUSIASTIC AND GENEROUS DONORS WHO HELP US CREATE WORLD-CLASS THEATRE.

WHY ABBE YOUNG SUPPORTS THE HUNTINGTON The Huntington is fortunate to have supporters like Abbe and Jerry Young who are longtime subscribers and donors. They have made their nights at the Huntington family affairs by sharing them with two adult children and their spouses. Last spring, the Youngs invited their extended family to the Huntington to celebrate Abbe’s birthday. Abbe shares her reasons for making the Huntington such an important part of her life:

WHAT BROUGHT YOU TO THE HUNTINGTON, AND WHAT HAS KEPT YOU COMING BACK? We saw a few great productions early on and decided to subscribe. It just made more sense; we knew we were going to want to see everything, and subscribing gives us a great value. The best part is the flexible exchange policy. It’s incredible! We’ve stayed on as subscribers and supporters because we love the variety of shows in each season. There’s always a mix of tried and true classics and original work.

WHEN DID YOU START BRINGING YOUR CHILDREN? My children always loved live theatre. When they were growing up, we would take them to performances frequently, especially for any special occasion. Theatre was great for them because it’s participatory.

That’s still why I like being in the audience. When the kids got married, I got them each subscriptions as wedding gifts, so we still get to attend performances together.

WHAT IS YOUR FAVORITE HUNTINGTON PERFORMANCE? I love the productions, but my favorite performance was an education program called Know the Law!, performed by students. Amazing. I don’t think people know how much of a difference the Huntington makes in the community.

WHAT ELSE? Jerry and I value the Huntington not only for its fantastic staged productions but also for its extensive work with kids. We know they could not produce those programs without additional financial help, and that’s why we support them. We need to make sure that the Huntington is around for our family, but also for the community around us.

WELCOME TO OUR NEW OVERSEERS

On May 25, 2011, the Huntington’s Board of Trustees elected five new members to the Council of Overseers: Eleanor Devens, Lydia R. Diamond, JoAnne Dickinson, David Leathers, and Roberta Woeltz. We are thrilled to have their commitment, support, and guidance as we embark on our 30th Anniversary Season, and we welcome them to the Huntington Board family.

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THE 2011 SPOTLIGHT SPECTACULAR!

On May 9, 2011, Huntington Board Members, friends, and guests gathered

history. The proceeds help to support and sustain the Huntington’s

to honor Bill McQuillan and Lydia R. Diamond with Wimberly Awards

wide array of youth, education, and community programs that serve

at our annual Spotlight Spectacular! Bill is a Trustee, our immediate

over 25,000 students and adults each year.

past Board President, and a longtime supporter who notably led the Huntington’s campaign to build the Calderwood Pavilion. Playwright Lydia R. Diamond became a Huntington Playwriting Fellow in 2006.

She penned the Huntington’s 2010 smash hit Stick Fly, which will open on Broadway in early December. Lydia continues to be a passionate advocate for the Huntington, and was recently elected to our Council of Overseers.

The Wimberly Award, the Huntington’s highest honor, was established nine years ago and is given in recognition of excellence and commitment to the organization.

Our Spectacular! host, the dynamic actor, writer, and director Zach Braff, entertained us with a “surprise duet” from Les Misérables with special guest Lauren Molina, star of this fall’s Candide. Huntington staff and volunteers joined the pair, with Managing Director Michael Maso leading the charge in the Huntington’s first-ever flashmob.

(Visit huntingtontheatre.org/flashmob to see!) Other entertainment included a powerful performance by Huntington education student and August Wilson Monologue Competition runner-up Denver PetitHonne, from English High School in Jamaica Plain, who performed a

This year’s gala, chaired by Huntington Overseers Bryan Rafanelli (event

piece from Wilson’s The Piano Lesson.

planner for the stars) and Fancy Zilberfarb (one of Boston’s own stars), raised more than $800,000, more than any previous event in Huntington

To those who celebrated the 2011 Spotlight Spectacular! with us we thank you for your support. Join the fun again next year!

The 2012 Spotlight Spectacular! will be held on Monday, April 2 at The Boston Park Plaza Hotel and Towers. For more information, please contact Shaine Belli at 617 273 1536 or sbelli@huntingtontheatre.bu.edu.

A collage of photos from the 2011 Spotlight Spectacular!; photos: Laura Wulf.

ANNOUNCING OUR 2011-2012 STUDENT MATINEE SEASON!

All student matinee performances start at 10am and include a lively post-show Actors Forum with members of the cast. Student groups are also welcome at regularly scheduled performances. TICKETS: $15 per student. For more information and to reserve tickets,

please contact Meg Wieder, Education Manager, at 617 273 1558 or mwieder@huntingtontheatre.bu.edu. Seats fill quickly, reserve today!

CANDIDE

OCTOBER 6, 2011

CAPTORS

DECEMBER 8, 2011

GOD OF CARNAGE JANUARY 19, 2012

MA RAINEY’S BLACK BOTTOM MARCH 29

AND APRIL 5, 2012

THE LUCK OF THE IRISH APRIL 13, 2012

PRIVATE LIVES

EDUCATION AND ACCESS PARTNER:

JUNE 7, 2012

LEARN MORE ONLINE VISIT HUNTINGTONTHEATRE.ORG/STUDENTMATINEE 20

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Students at Marshall Simonds Middle School in Burlington during a pre-show workshop with Propeller Theatre Company member Richard Frame; photo: Sue Rogers

POETRY OUT LOUD 2012 REGISTRATION OPEN!

In April 2011, Michaela Murray (John D. O’Bryant School of Mathematics and Science) traveled to Washington, DC to compete in the Poetry Out Loud National Finals. As our Massachusetts State Champion, Michaela performed brilliantly, finishing the competition as one of the country’s top nine finalists. We are extraordinarily proud of her accomplishments and continue to be inspired by the talent and artistry displayed by the more than 19,000 students throughout the Commonwealth who participated in Poetry Out Loud.

Registration is now open for the seventh annual Poetry Out Loud National Recitation Contest! This is a free program open to all high schools (grades 9-12) in Massachusetts. Visit huntingtontheatre.org/pol for more information and to register your school today.

CELEBRATING AUGUST WILSON: CODMAN SUMMER THEATRE INSTITUTE

This summer marked the 6th annual Huntington/Codman Academy Summer Theatre Institute, an extension of our school-year collaboration with the Codman Academy Public Charter School in Dorchester. Associate Director of Education Lynne Johnson directs the Institute and its annual production.

A Tribute To August Wilson celebrated the Codman students’ relationship to Wilson’s work, a key component of their Humanities curriculum at Codman. The piece included scenes and monologues from each of Wilson’s 10 plays, performed in chronological order. The cast, made up of current Codman Academy students and alumni, explored the theatrical production process in depth, were instilled with the values of individual focus and commitment necessary for success, and experienced a safe environment – particularly significant during the summer’s wave of urban youth violence.

“The students revealed extensive talent, creativity, knowledge, and depth in their acting and production contributions,” says Johnson. “The community we build during this program is an invaluable complement to their academic-year work with the Huntington. Most rewarding, it is clear that our collaboration is enriching their lives.”

AUGUST WILSON MONOLOGUE COMPETITION The 2010 - 2011 Season included the Huntington Theatre Company’s inaugural participation in the August Wilson Monologue Competition, run nationally by Kenny Leon’s True Colors Theatre Company in Atlanta, Georgia. (Leon directed our recent productions of Stick Fly and Wilson’s Fences.) The first year was a huge success!

Mariah Watkins (Edward M. Kennedy Academy for Health Careers), Tyler Jackson (Boston Adult Technical Academy), and Nehemie Auguste (Fenway High School) were the top three winners selected from 120 Boston Public School students. Representing Boston, the three students traveled to New York City to compete with finalists from across the country at the August Wilson Theatre on Broadway.

(Top to bottom) Derek Butterton, 2011 MA Poetry Out Loud participant, photo: Kalman Zabarsky; Summer Theatre Institute cast and crew; Mariah Watkins, 2011 MA Champion, August Wilson Monologue Competition, photo: Sheppard Ferguson

We will begin the competition again in October, introducing students from eight Boston high schools to Wilson’s life and his powerful work. Huntington teaching artists will visit classrooms to introduce monologues and coach the students, who will compete for the title of school winner. One winner from each school will compete in the Boston Regional Finals at the Huntington Theatre Company in February 2012.

ACCESS FOR ALL The Huntington continues its commitment to accessible theatre by offering American Sign Language interpretation for select performances of Candide and Ma Rainey’s Black Bottom and Audio Description for select performances of Captors and God of Carnage.

Tickets are $15 for each patron and one guest to any of our ASL-Interpreted or Audio-Described performances. To purchase tickets, or for more information, please contact Meg Wieder, Education Manager and Access Coordinator, at 617 273 1558 or mwieder@huntingtontheatre.bu.edu.

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HUNTINGTON NEWS STICK FLY HEADS TO BROADWAY! HUNTINGTON ARTISTIC DIRECTOR

PETER DUBOIS IS IN DEMAND! In addition to directing the Huntington’s world premiere production of Captors this fall, Peter DuBois directs three high-profile New York productions this season: SUMMER 2011: the world premiere of All New People

by Zach Braff (Garden State, “Scrubs”) at Second Stage Theatre.

OCTOBER 2011: Sons of the Prophet, which had its world premiere at the Huntington last spring, by Stephen Karam (Speech & Debate) at Roundabout Theatre Company.

SPRING 2012: the world premiere of Rapture, Blister, Burn by Gina Gionfriddo at Playwrights Horizons.

Nikkole Salter as Taylor, Jason Dirden as Kent, Billy Eugene Jones as Flip, and Rosie Benton as Kimber in Stick Fly; photo: Scott Suchman

If you’re in the New York area, be sure to check them out!

We’re thrilled that Huntington Playwriting Fellow Lydia R. Diamond’s Stick Fly, the hit of the Huntington’s 2009 - 2010 Season, will move to Broadway this coming November.

Kenny Leon (Stick Fly, Fences) will helm the production, which is produced by Grammy Award winner Alicia Keys as well as Reuben Cannon and Nelle Nugent.

Performances at the Cort Theatre begin November 18. To learn more or purchase tickets, visit StickFlyBroadway.com.

Joanna Gleason in Sons of the Prophet; photo: Paul Marotta

THE HUNTINGTON LAUNCHES SCRIPT CLUB Last year, the Huntington launched SCRIPT CLUB, a new benefit for Annual Fund donors of $250 or more. Styled like a book club, SCRIPT CLUB gives participants the opportunity to read scripts from the Huntington’s season and then discuss them in a group setting led by a member of our artistic staff. In its inaugural year, the SCRIPT CLUB met to discuss and hear inside information about Sons of the Prophet and Richard III. SCRIPT CLUB meetings are held midday. Beverages and dessert are provided, and we encourage members to bring a bag lunch. At press time, this season’s SCRIPT CLUB dates are not yet finalized, but will be soon. For information, please contact Vicki Schairer, Assistant to the Artistic Director, at vschairer@huntingtontheatre.bu.edu.

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HU NT ING CO T TO MP HE N AN ATR Y E

PERFORMANCE CALENDARS HUNTINGTON THEATRE COMPANY 2011-2012 SEASON SEPTEMBER DECEMBER 2011 HUNTINGTON 2011-2012 HUNTINGTONTHEATRE THEATRECOMPANY COMPANY 2011-2012-SEASON SEASON

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Participating members of the cast answer your questions following the performance.

Start at $25

$25 for those 35 and under at every performance

For Deaf and hard-of-hearing audience members. Call 617 273 1558 for more information.

Save 20%! Behind-the-scenes access and on-site reception space available. Contact 617 273 1665 or GroupSales@huntingtontheatre.org.

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NON-PROFIT ORGANIZATION US POSTAGE PAID BOSTON, MA PERMIT # 52499

2011 - 2012 SEASON CELEBRATING 30 YEARS OF TIMELESS THEATRE