Bram Stoker's Dracula - Adapted by Preston Lane

Nationally Recognized, Locally Produced.

SEASON XIX

Triad Stage GREENSBORO, NC - OCTOBER 20 - NOVEMBER 10, 2019

TRANSYLVANIA EDITION Grab your garlic and wooden stakes, folks.

DRACULA STORMS GREENSBORO! Bram Stoker’s

Dracula

Adapted by Preston Lane

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DOWNTOWN GREENSBORO 1

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Preston Lane Producing Artistic Director

BRAM STOKER’S

DRACULA

ADAPTED BY PRESTON LANE Directed by Eleanor Holdridge Scenic Design by John Coyne § ◉

Costume Design by Hunter Kaczorowski §

Lighting Design by Andrew Griffin §

Sound Design & Original Music by Patrick Calhoun § ◉

Projection Design by Nicholas Hussong §

Resident Movement Coach Denise Gabriel◊ ∞

Vocal Coach Emily Rieder◊

Fight Director Jim Wren◊

Dramaturgy by Sarah Hankins◊ *

Casting by Cindi Rush

Stage Manager Jeff Meyers*

Assistant Stage Manager Ellen McCauley◊*

Production Sponsors Quaintance-Weaver Restaurants & Hotels | Arts Greensboro | bluezoom | NC Arts Council Dracula was commisioned by and recieved its world premiere at Triad Stage in Greensboro, in 2004. * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States ◊ Faculty member, student or alumnus of the University of North Carolina at Greensboro ◉ Faculty member or alumnus of the University of North Carolina School of the Arts § Member of USA (United Scenic Artists) § ∞ Member of SDC (Stage Directors and Choreographers) 4

CAST The Child.........................................................................................................................................................................................................Sarah Bock Jonathan Harker / Dracula (In London)....................................................................................................................................................Curt James* Renfield / Coachman / Ship’s Captain.................................................................................................................................................Brian Mullins* ◊ Dr. Seward / Vampire.......................................................................................................................................................................Michael Newman ◊ Lucy Westenra / Mina Harker / Innkeeper / Vampire................................................................................................................Maggie Thompson* Van Helsing / Dracula (In Transylvania)....................................................................................................................................Dathan B. Williams*

TIME 1893 SETTING England, Transylvania, and at Sea There will be one intermission.

VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RECORDINGS OF THIS PRODUCTION OR DISTRIBUTING RECORIDNG ON ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIBITED, A VIOLATION OF THE AUTHOR’S RIGHTS AND ACTIONABLE UNDER UNITED STATES COPYRIGHT LAW. 5

Sarah Bock (The Child) is an eighth grader at Mills Park Middle School. She is honored and excited to be part of the cast of Dracula! Sarah was last seen in Annie (Kate) at NC Theatre and will be in Lythgoe Family Panto’s A Snow White Christmas at NC Theatre later this fall. When she isn’t on stage, she loves to practice her ukulele, play tennis, and advocate for environmental issues. You can find Sarah on Instagram at @sarah_bock.

Curt James* (Jonathan Harker / Dracula (In London)) trained in London at the Guildhall School and went on to perform in London’s West End, around the UK and even internationally in shows such as War Horse (National Theatre), Low Life (Blind Summit), Madama Butterly (English National Opera), Faeries (Royal Opera House) and The Late Henry Moss (Almeida). He relocated to the US in 2013 with the US touring production of War Horse, where he performed across 40 states and in Tokyo, Japan. Work in NYC includes, Orange is the New Black, Time After Time and The Blacklist. Broadway: King Kong and Angels in America (Tony Award for Best Revival), where he was also an Associate Director. He is thrilled to be working with the team at Triad Stage.

Brian Mullins ◊* (Renfield / Coachman / Ship’s Captain) was featured in: Lipstick Traces (Burning Coal Theatre); Leading Ladies, See Rock City (The Broach Theatre); Gruesome Playground Injuries (Paper Lantern); Brilliant Traces (The Cherry Orchard Theatre); Antigone, Candida (UNCG); All My Sons, The Glass Menagerie, The Ice Fishing Play (NMSU). He attended New Mexico State to receive a BA in Theatre Arts and UNCG for a MFA in Acting.

Michael Newman ◊ (Dr. Seward / Vampire) is a junior at UNCG in the B.F.A. Acting program. He is thrilled to be making his Triad Stage debut! Previous credits include Shakespeare in Love, All My Sons, and Big Love (UNCG). He wants to thank his family, friends, the UNCG faculty, and Triad Stage for this wonderful experience.

Maggie Thompson* (Lucy Westenra / Mina Harker / Innkeeper / Vampire) is thrilled to be making her Triad Stage debut. Off-Broadway: Hedda, Sources of Light Other than the Sun (HERE Arts Center). Regional: Hamlet (dir. Michael Kahn), Twelfth Night (Shakespeare Theatre Company); Othello, Red Velvet, Learned Ladies (Theater at Monmouth); Julius Caesar, A Midsummer Night’s Dream (Shakespeare Theater of New Jersey). TV: Hysterical Women.

Film: Broad Shoulders, What Goes Up. Maggie has a B.F.A. in Acting from Ithaca College, and is a proud LaGuardia Arts alum. Many thanks to the Triad Stage team! www.maggiepeckthompson.com.

Dathan B. Williams* (Van Helsing / Dracula (In Transylvania)) makes his Triad Stage debut. Broadway – Show Boat; Off-Broadway – Christmas in Hell; Mary Stuart; Nathan The Wise; Buffalo Gal plus five others. National Tour - Show Boat plus three others. International - The Stratford Festival – (’91 Guthrie Award). Recent Regional – Deathtrap; Proposals; The Prince of Egypt; Curious Incident of the Dog in the Night-Time; The Count of Monte Cristo. Associate Artistic Director of The Harlem Shakespeare Festival.

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Preston Lane∞◊◉ (Playwright, Triad Stage Producing Artistic Director) Preston grew up in the Blue Ridge mountains of North Carolina with Appalachian ACTORS’ EQUITY ASSOCIATION ancestry stretching all the way back to Tidence Lane, Actors’ Equity Association (AEA) was founded in 1913 as the first of the American actor unions. Equity’s mission is the first Baptist preacher in what would become to advance, promote and foster the art of live theatre Tennessee. His childhood dream was to live in a NC as an essential component of our society. Today, Equity represents more than 40,000 actors, singers, dancers Piedmont city where he could hear trains and interact and stage managers working in hundreds of theatres across the United States. Equity members are dedicated daily with such big city trappings as revolving doors and escalators. He to working in the theatre as a profession, upholding the frequently checked out recorded plays on albums from the old Watauga highest artistic standards. Equity negotiates wages and working conditions and provides a wide range of benefits County Public Library and spent many afternoons listening to Marat/ including health and pension plans for its members. Through its agreement with Equity, Sade, Who’s Afraid of Virginia Woolf?, and A Streetcar Named Desire. this theatre has committed to the fair treatment of the actors and stage managers employed in this production. AEA is a member of the AFL-CIO and is affiliated with His central conflict as a child was that on Saturday evenings his parents FIA, an international organization of performing arts unions. For more information, visit www.actorsequity.org. wanted to watch The Lawrence Welk Show and he wanted to watch Hee Haw. This conflict still dominates much of his work. Besides a brief fascination with being a dump truck driver, Preston never considered any other career than as a theater maker. He became aware of himself as an artist at UNCSA, developed a passion for visual storytelling at Yale School of Drama, and is deeply indebted to a long line of collaborative partners. He is also thankful for amazing teachers from Miriam Darnell, Sandra Daye, John Foster West, Yury Belov, Earle Gister, Barney Hammond, Lesley Hunt, Ming Cho Lee, Nick Martin and many many others. Preston is honored to pass on the tradition they entrusted to him to the next generation. Gerald Freedman took him under his wing and Richard Hamburger gave him his first real job and mentored him. He founded Triad Stage with Rich Whittington to explore how theater can engage with a community. He’s directed nearly 100 shows, written almost a dozen, and is an honorary citizen of Hawboro, NC. He believes that theater can make our community stronger by exploring stories that unite and challenge us. Preston is grateful to be a theater maker in North Carolina. * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States ◊ Faculty member, student or alumnus of the University of North Carolina at Greensboro ◉ Faculty member or alumnus of the University of North Carolina School of the Arts § Member of USA (United Scenic Artists) § ∞ Member of SDC (Stage Directors and Choreographers)

Triad Stage 2019 - 2020 Season

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Eleanor Holdridge (Director) TRIAD STAGE: Educating Rita, Noises Off, Art, Other Desert Cities, and The Blonde, The Brunette, and the Vengeful Redhead. OFF-BROADWAY: World Premieres of Selma ’65 (LaMaMa); Steve & Idi (Rattlestick Playwrights Theatre);Cycling Past The Matterhorn (Clurman Theatre); The Imaginary Invalid, Mary Stuart (Pearl Theatre Company).

REGIONAL: World Premieres of David Grimm’s adaptation of Cyrano de Bergerac, Meg Miroshnik’s FiCKLE: A Fancy French Farce, Lauren Gunderson’s The Revolutionists (Cincinnati Playhouse), Miss Bennet: Christmas at Pemberley (Roundhouse Theatre) and I and You (Olney and Geva Theaters); Caleen Sinnette Jennings’ Queens Girl in the World (Theatre J) and Darius & Twig (Kennedy Center TYA), and Zorro (Constellaton Stage), which she co-wrote. She has directed twenty-four of Shakespeare’s plays, some of them multiple times. Recent credits include Richard II at Orlando Shakespeare and Antony & Cleopatra at Pennsylvania Shakespeare Festival. . UPCOMING: Maytag Virgin at Merrimack Rep, Every Brilliant Thing at Florida Rep, and Pippin at Olney Theatre. EDUCATION: BA Sarah Lawrence College; MFA Yale School of Drama

Living. Other Regional: The Fix (Signature Theater), A Doll’s House, Oslo, Dear Elizabeth and Last of the Red Hot Lovers (Northern Stage), A Streetcar Named Desire (Yale Rep), How to Succeed in Business… (starring Frankie Grande, Muhlenberg), Beauty and the Beast (Barrington), as well as Yale Baroque Opera, Red House Theater, Kitchen Theatre, Millbrook Playhouse, Luna Stage, Cape Fear. Upcoming: The Sound of Music (Northern Stage), Sense and Sensibility (Alley Theatre). As Assistant: Angels in America (Broadway revival).

MFA, Yale School of Drama. www.huntersk.com

Andrew Griffin § (Lighting Designer) Triad Stage Debut. Recent New York credits include: Goldstein (Off-Broadway, Actors Temple) The War Boys (Access Theatre) Lucie Pohl: Hi Hitler! (Cherry Lane) and Midsummer (TiltYard). Recent Regional Credits: Sweat (Asolo Rep) Rocky Horror Show (Park Square Theatre) Matilda (Newarts) and the workshop World Premier of the new musical We Aren’t Kids Anymore (Christopher Newport University). Andrew has also collaborated with other regional companies including: Folger Theatre, Yale Rep, Le Petite Theatre du Vieux Carre, Delaware Theatre Company, Woolly Mammoth, Olney Theatre Center, Theatre J, Signature Theatre, Synetic Theatre, Studio Theatre, Tri-Cities Opera, Adventure Theatre, Urban Arias, GALA Hispanic Theatre, Imagination Stage, and Everyman Theatre. As an associate, Andrew has been a part of the Premier and subsequent North American Tour of A Thousand Splendid Suns going to ACT San Francisco, Theatre Calgary, The Old Globe, Seattle Rep, The Grand, Vancouver Arts Club, Arena Stage, and the Royal Manitoba. Andrew’s work has been recognized with two Helen Hayes Awards, and two Big Easy Awards. He is a proud member of USA 829, and a graduate of the Yale School of Drama.

John Coyne ◉ § (Scenic Designer) Triad Stage: And So We Walked, A Christmas Carol (2013-2019), Deathtrap, Wait Until Dark, Trouble in Mind, Other Desert Cities. Regional: Charley’s Aunt (Guthrie Theater); Hamlet, Macbeth (Shakespeare Theater); Rough Crossing (Old Globe Theatre); You Never Can Tell, First Lady (Yale Rep); 3 Tall Women (Center Stage); Henry IV, Pride & Prejudice, Moonlight & Magnolias, My Fair Lady, The Importance of Being Earnest, The Front Page, Of Mice and Men, The Real Thing, Tartuffe, Colossal, Les Miserables (Dallas Theater Center); Hamlet (The Public Theatre); Boston Commonwealth Shakespeare; California Shakespeare Festival; Juilliard; Bard College; Goodspeed Musicals; Barrington Stage; Sante Fe Stages; San Francisco Opera, Washington Opera, New York City Opera. Education: Yale School of Drama. John is currently the Director of Scenic Design at UNCSA.

Patrick Calhoun ◉ § (Sound Designer and Composer) Triad Stage: The New Music Trilogy, The Santaland Diaries (2010,2011), Educating Rita (Assist.); Broadway: The Nap (Assoc.); Off Broadway: Little Shop of Horrors (Assist.), Drunk Shakespeare, Trainspotting Live, The Migration, AmerikeThe Golden Land, KPOP (Assoc.); International Tour: Wits End Puppet Theatre: Saudade; National Tour: Step Afrika: The Migration; Regional: Kennedy Center: Bud Not Buddy; Woolly Mammoth: An Octaroon; Olney Theatre Center: The Crucible; Theater J: Copenhagen, The Christians, Sons of the Prophet, God’s Honest Truth, After The Revolution; Folger Theatre: Winter’s Tale, Mary Stuart; Everyman Theatre: Long Day’s Journey Into Night, Wait Until Dark; Barrington Stage Company: Butler, Romance in Hard Times, The Golem of Havana, Southern Comfort; Education: Graduate– UNCSA; Undergraduate-Greensboro College. Member of United Scenic Artists Local 829. For more information visit www. patrickcalhoun.info

Hunter Kaczorowski § (Costume Designer) is thrilled to be making his Triad debut! Recent New York: Yours Unfaithfully (Hewes Award Nom.) and The Price of Thomas Scott (both Mint Theater); The Gentleman Caller, The Dork Knight, Stet (Abingdon Theatre); HAM (Ars Nova); as well as Heartbeat Opera, The Public, Astoria Performing Arts Center, HERE Arts, Dixon Place, The Joyce Soho. Regional: 5 seasons designing at The Berkshire Theater Festival including: The Petrified Forest (Berkshire Critics Award nom.), The Skin of Our Teeth, Arsenic and Old Lace, Cat on a Hot Tin Roof, Design for

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Nicholas Hussong § (Projections Designer) Nicholas previously served as Artistic Associate of Design at Triad Stage, where some design credits include: The Passion of Teresa Rae King, South Pacific, Actions and Objectives, Radiunt Abundunt, Common Enemy, Underneath the Lintel, A Christmas Carol (2010-2019), The Mountaintop, The Sunset Limited, The Glass Menagerie, Providence Gap and The America Play. Off-Broadway credits include: Until the Flood (Rattlestick Playwrights Theatre, Goodman, Milwaukee Rep, St.Louis Rep, ACT Seattle, Portland Center Stage); White Guy on the Bus (59E59); Skeleton Crew (Atlantic Theater Company); These Paper Bullets! - Drama Desk Nomination (Atlantic Theater Company, Geffen Playhouse, Yale Rep). Other Regional credits include: ELLA (Delaware Theatre Company); A Streetcar Named Desire (Le Petit Theatre du Vieux Carre); Grounded (Alley Theatre); Two Trains Running (Arden Theater); The Mountaintop (Playmakers Rep); I Saw My Neighbor onthe Train and I Didn’t Even Smile, Million Dollar Quartet, WORKING (Berkshires Theatre Group) as well as productions with Marc Jacobs, The United Nations, Space Wing, Esperanza Spalding, Urban Bush Women, Enchantment Theatre Company, Delaware Theatre Company, Lantern Theatre Company, Abrons Art Center, Premieres NYC, Ars Nova, Heartbeat Opera, Cantata Profana, Nashville Symphony, Hartford Symphony, I am a Boys Choir, Summerworks Toronto, LaMaMa, Summer Shorts, the 2016 and 2017 Tony Awards (CBS), The Illusionists, and On Your Feet (Associate on Broadway, Marquee). As designs in London, Scotland, Ireland, Berlin, China, Canada and Vienna. Co-Creator of FEAST, Every Year I Grow Again, an immersive dining experience with Listen&Breathe (Nantucket, Ireland, & Prince Edward Island).

Adjunct Lecturer New School of Drama. Yale MFA. Member of New Neighborhood and the Hawboro Zebra Boosters, www. nickhussong.com

Shakespeare Festival (over 30 productions); A Midsummer Night’s Dream and The Comedy of Errors (Old Globe Theatre); Alchemy of Desire/Deadman’s Blues and King Lear (Cincinnati Playhouse); Romeo and Juliet, The Three Sisters and Nora (Clarence Brown Theatre); Ascension Day (Working Theatre NY). International: Shanghai Theatre, Schloss Leopoldskron Salzburg Austria, and Artscape Theatre Center and Dance for All (Cape Town South Africa). Denise is an Associate Professor at UNCG, a founding board member of American Theatre for Movement Educators, and Associate Member of Stage Directors and Choreographers Society.

Emily Barrett Rieder◊ (Vocal Coach) is an Actress and Teaching Artist originally from Raleigh, NC. She received her MFA in Acting from Northern Illinois University and her B.F.A in Acting from The University of North Carolina at Greensboro.

She most recently appeared on stage as “Gerte” in Bartlett Theatre’s production of Crumbs from the Table of Joy. Some of her favorite roles include “Kyra” in Skylight (Burning Coal Theatre Co.), “Ruth” in Blithe Spirit (Northern Illinois University), Beth in A Lie of the Mind (Northern Illinois University), Myrrhine in Lysistrata (Phare Play Productions NYC) and, always, “Brooke” in Noises Off! (Triad Stage).

Jim Wren◊ (Fight Director) has staged the violence for over thirty Triad Stage productions, including the battles in Bloody Blackbeard, the fantastical fights in Brother Wolf (2006 and 2014), and the general behavior of the Lesters in Tobacco Road. Education: MFA, University of Florida. Jim is Performance Program Coordinator for the UNCG Department of Theatre, and is a two-time recipient of the Kennedy Center Gold Medallion for Excellence.

Sarah Hankins◊ * (Dramaturg, Triad Stage Associate Artistic Director) Triad Stage: A Christmas Carol (2016-2018); assistant director for The 39 Steps, Cat on a Hot Tin Roof, Vrooommm! and A Christmas Carol (2015); performed as Suzanne Oliver in The Passion of Teresa Rae King. Former Artistic Director of Green Theatre Collective in NYC, where she directed The Tempest, As You Like It, It’s a Wonderful Life: A Live Radio Play, and Shakespeare’s Heart of Hearts. Sarah was an Associate Artist, director, and actor at Orlando Shakespeare Theatre for six seasons, playing such roles as Ophelia, Portia, and Desdemona. NYC Directing credits include A Comedy of Errors, Supernova, and Much Ado About Nothing. At UNCG: Mr. Burns, a post-electric play;

Denise Gabriel ∞ (Resident Movement Coach) At Triad Stage since 2009 where she has been movement coach on numerous productions including Actions and Objectives, Don Juan, Radiunt Abundunt, Cat on a Hot Tin Roof, Snow Queen, and The Glass Menagerie. In 2015 she joined Living Pictures, UK as an Artistic Associate. Co-producing credits in Triad’s Upstage Cabaret include: Diary of a Madman (Robert Bowman, Living Pictures UK) and Desire Under the Elms (Abrahamse-Meyer Theatre Company and Provincetown Tennessee Williams Theatre Festival). Other credits include: Resident Movement Director at Alabama ◊

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His New York highlights include The Mountains Look Different, Conflict, Hindle Wakes, Fashions For Men and Earnest Hemingway’s The Fifth Column (Mint Theater). Beyond Therapy and Happy Birthday (TACT), Painting Churches and Marry Me A Little (Keen Company), Amazons And Their Men (Clubbed Thumb), Orange Flower Water and Adam Rapp’s Stone Cold Dead Serious (Edge Theater Company), Hamlet (CSC), Critical Darling (The New Group) and Greg Kotis’ Eat The Taste. (Barrow St. Theatre).

His Regional highlights include, Ten Summer Seasons with The Theater at Monmouth and The Underpants (Two River Theater Company). His union of choice is AEA, and he dedicates this and every performance to his Mom and Dad.

Frankie and Johnny in the Clair de Lune; Iphigenia 2.0; The Lover; Home Free! Training: UNCG MFA in Directing, BA Davidson College. Sarah has taught at UNCG, Greensboro College, GTCC, and The College of St. Elizabeth.

Cindi Rush (Casting Director) New York: Silence! The Musical, My Mother’s Jewish Lesbian Wiccan Wedding (NYMF Winner 2010), Jay Alan Zimmerman’s Incredibly Deaf Musical, Bonnie and Clyde, Rooms, Jacques Brel, Six Dance Lessons, The Thing About Men, Urinetown, The Hurricane Katrina Comedy Festival. Regional: Penguin Rep, Triad Stage, Act II Playhouse, Arena Stage, Goodman, Humanafest. Film: Ghoul, The Woman (Top 9 Sundance 2011), In the Family, Offspring, Jack Ketchum’s The Girl Next Door, Headspace. Tours: “Barney”, “Curious George”, “Kidz Bop.”

Ellen McCauley◊* (Assistant Stage Manager) Triad Stage: And Then There Were None, Radiunt Abundunt (ASM), Snow Queen (ASM); Westport Country Playhouse: Camelot (PA); Berkshire Theatre Group: 2016 Production Management Apprentice, Stone Witch (PA); Peppercorn: Lost & Found (PSM), Learn to Speak Doll (PSM); BFA in Production from UNCG.

Jeff Meyers* (Production Stage Manager) was in a play once. He played the “Captain” in the Grand Junction, Colorado, high school production of Carousel. He then turned to stage management.

* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States ◊ Faculty member, student or alumnus of the University of North Carolina at Greensboro ◉ Faculty member or alumnus of the University of North Carolina School of the Arts § Member of USA (United Scenic Artists) § ∞ Member of SDC (Stage Directors and Choreographers)

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BRAM STOKER (November 8, 1847 - April 20, 1912) Despite the fact that Bram Stoker wrote one of the most famous Gothic novels, he was known in his lifetime for his success as a theatre manager for the famed actor/manager Henry Irving. Essentially, Dracula was written by a man whose daily professional life was dominated by budget columns, business details, and train schedules. How did this analytical mind produce the horrors of Dracula?

Sadly, information about Stoker’s life varies between biographers. The inconsistencies tend to highlight bias on the part of the writer. Do they want to argue that Stoker was naturally drawn to horror and mystery or do they highlight his rationalism? What is sensationalism intended to increase sales? What is the truth?

What we do know is that Stoker was born in County Dublin, Ireland in 1847 and spent much of his early childhood as a bed-bound invalid. Many accounts of this time mention that his mother would entertain him with old Irish fairy tales and horrific stories, which may have been influenced by the cholera she witnessed in Sligo in the 1830s. Because of his illness, he was educated by a tutor at home. Eventually Stoker recovered fully and even became a successful football player, playing at Trinity College in Dublin, where he received a degree in Mathematics.

Stoker’s studies at Trinity prepared him for a career in the Irish Civil Service. Stoker authored his first book during this time: The Duties Of Clerks Of Petty Sessions In Ireland, which essentially was a manual and guide for those in his position in the Civil Service. He worked for ten years in this position, while also serving as the unpaid drama critic for the Dublin Mail. As critic he had the opportunity to become acquainted with Henry Irving in 1976. Impressed by the young man, Irving invited Stoker to call the next day and the two began a long and complex relationship. Stoker joined Irving full-time in London in 1878, Stoker managing not only Irving’s personal affairs as his private secretary, but also serving as business manager of the Lyceum Theatre. He remained in the position until Irving’s death in 1905.

The position demanded an incredible amount of work and, in his own words, Stoker reported that he wrote in Irving’s name “nearer half a million than a quarter of a million letters.” Stoker was responsible for day-to-day operations, including the theatre accounts, execution and planning for national and international tours, and arrangements for the grand parties Irving regularly hosted after performances in in a large Gothic parlor called the Beefsteak Room, which was located backstage at the Lyceum.

By all reports, Stoker was a grounded, hearty, meticulous red-bearded giant who was at home with his ledger, which made his authorship of the novel a bit of a surprise to those that knew him. But a nightmare after a crab dinner in March 1890 inspired Stoker to begin writing what would become one of Harker’s journal entries in Transylvania. Although the book developed slowly over the next seven years due to the demands of his employer, the inspiration remained clearly in the text. The nightmare from Stokers’ notes: “Young man goes out, sees girls -- one tries to kiss him not on the lips but throat. Old Count interferes rage & fury diabolical - this man belongs to me I want him.”

Stoker first began to develop the story on a family holiday to Whitby, which is a significant location to the story. Stoker’s trip to the local Whitby library provided a book by William Wilkinson, a former British consul to what is now Romania. Wilkinson described a leader named Vlad Tepes who impaled his enemies. He was known as Dracula – the ‘son of the dragon’. In Stoker’s previous notes, the character had been named “Count Wampyr”, but the visit to Whitby had a profound effect on the story. Further research in the British Museum helped Stoker ground the story with information about vampire folklore and Transylvania. Irving himself served as one of Stoker’s

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inspirations for the character of Dracula. Critics have made comparisons between their imposing and domineering personalities, as well their physical descriptions.

After the closure of the Lyceum and Irving’s death in 1905, Stoker’s fortunes fell. He suffered from a stroke, which affected his financial health as well. Friends often discretely loaned the family money to help smooth their way. Stoker died in April 1912 with no idea how his story would impact future generations and the popularity it would garner as an inspiration for film interpretations.

Triad Stage is very proud of the name of our theater building — The Pyrle Theater — made possible by a generous donation by Tobee and Leonard Kaplan in honor of Tobee’s mother, Pyrle Gibson.

Pyrle Gibson (1909-2000) was a woman with a great sense of humor, who found goodness in all people and beauty in the world around her. Her family always came first in her life and with them she shared her love of theater, music and the thrill of sports. The theater is named for her in loving memory by the children, grandchildren and great-grandchildren of the Kaplan family with whom she shared her love, wisdom and joy of life.

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Dear Friends,

Now that fall seems determined to take root, I've been thinking about the changing of seasons. This summer, I completed another residency at Montalvo Arts Center in eternal spring-like Saratoga, California—only this time it was very early spring-like, with near constant rain and sweater weather. With the windows of my studio thrown open, despite the cold, I sat at my desk, serenaded by coyotes and thunderstorms, luxuriating in the gift of time the Lucas Arts Residency Program at Montalvo has given me.

When I left for California, I was taken from my favorite time here in the Piedmont—a glorious North Carolina spring. In late March and most of April of any given year, to get to my long-term monogamous breakfast relationship With Coliseum Country Café, I wind my way from College Hill down through Glenwood to the corner of Coliseum and Florida. I take unexpected turns down side streets and revel in the riot of color that is springtime in the Piedmont. I returned to Greensboro for the full force of summer, a season that seems to be unwilling to relinquish its hold even deep in September.

I’m fascinated by changes of weather and seasons. On Memorial Day, I left Montalvo where the sun had finally reemerged and headed across the Santa Cruz Mountains to the ocean. Climbing through redwoods and hairpin curves on Highway 9, meant ascending up through clouds—the temperature dropped by 10 degrees, the rain returned and when I pulled over in Ben Lomond (where a Blue Ridge boy could be tempted to think he had come back home) it was cold enough to feel like winter. And then back down, hurtling, curving and twisting toward the Pacific.

Growing up in Boone, I longed for journeys down the mountain in early spring. The first signs of new life comes late in the High Country and to travel from Watauga to Wilkes to Yadkin and beyond is to witness spring unfolding in the course of a two hour drive. I always loved that sense of time lapse photography as the bleak late winter of the Blue Ridge, budded, flowered and exploded with rich new life.

That fast/slow transformation of seasons was an early life lesson in the shifting, changing process of creativity—to take one thing and to transform it to another. Those journeys east were pilgrimages of a sort, from sleep to awake and from dark to light. I’m convinced they played an essential role in how I embraced the wonder of change.

I know there are many who don’t cotton to change, but change is at the heart of what we do here at Triad Stage—we invest our creativity collaboratively to create opportunities to engage with our audience, and in doing so we change—with our craft—what was before. A playwright changes letters to words and blank pages to stories. An actor changes her clothes and becomes another. Directors and designers change the world we see to become a world we have only imagined. And a theater changes its community by the stories it tells.

As most of you know, Triad Stage is emerging from a through a period of change. At the beginning of July, my co-founder and business partner Rich Whittington stepped away from Triad Stage to pursue new opportunities in business and to reclaim the work/life balance that is unfortunately a frequent casualty in creative careers. From the moment Ric h and I first talked about how to found a theater to our opening night performance of the last season’s Man of La Mancha, Rich was my closest colleague. Without him, none of what we have accomplished here in the Triad would have been possible. But I support his decision to embrace this change in his life and I look forward to how his next chapter unfolds.

Much of the creative craft of making theater hasn’t changed since the great Russian acting teacher Stanislavsky first came up with a way of working. Other parts of our craft have even earlier roots, dating all the way back to Moliere or Shakespeare or even to the Greeks and Romans. I still teach and direct lazzi (little bits of comic business) that come from the commedia dell’arte that delighted Europe in the 16th-18th century. But even those ancient lazzi have roots even further back. The physical comedy joke you laugh at on a TV sit-com was just as funny in Italy in the 1600’s as it was way back when Plautus introduced it to Rome in 150 BC.

A friend in arts education likes to say “The nature of the conservatory is conservative.” And I always counter with “The nature of the art is progressive.” As much as the craft of making theater responds to its roots, we are constantly pilgrimaging for new truths. Nowhere is this truer than in the business of making theater. It’s true theaters have most always charged in one way or another for a bit of entertainment. It’s also true theaters have almost always relied on much more than ticket sales: Shakespeare and Moliere had kings and 14

queens to keep their theaters afloat; Triad Stage has you. I’m sure Plautus and Shakespeare probably spent as many sleepless nights as Rich and I have had trying to figure out how to pay the artists and keep the doors open.

But the business of how we market, sell, finance, lead and sustain theater has changed radically— not only over the past centuries, but also over the nearly three decades of my professional career. Rich and I were trained in the Regional Theater system— the dominant theater model of the last half of the 20th century. That model is as obsolete as a dial phone. The bat out of hell 21st century speed of technological revolution has forever altered how we make, market and manage entertainment and how we are, in turn, entertained.

The 20th century regional theater model was handed down from foundations and corporations to import organizational structures to fledgling not for profit theaters. From the very beginning they created a chasm between the corporate structure of the institution’s management and the collaborative nature of the creative process. As 21st century corporate models have increasingly embraced creativity, collaboration, and change, institutional theaters have too often remain stuck in a 1960’s hierarchical organizational structure that is slow to respond to the demands of a fast age.

Several years ago, Rich and I, inspired by arts consultant Nello McDaniel, began a shift away from the model in which we trained.

Recognizing the process theaters make plays with creativity and collaboration is much more in align with the innovation of the most successful for profit corporations and companies, we began to chip away at mid-century hierarchical structures and find our inspiration for our operations in the led collaboration that is at the heart of our theater making process.

To make a play, I believe, one must create an environment of curiosity and inspire a journey of creativity. At the center of this collaborative process, a leader must establish vision and goal, working tirelessly to ensure those who are on the journey with her are nurtured, encouraged and given the freedom to explore. A production is cast and staffed from unique individuals whose individual talent provides a necessary skill to achieve the work of the group. But in a production, a leader of this collaboration recognizes the individuals involved are much more than their unique skills. In a collaborative process the creativity of all involved engages in tackling the probletunities encountered.

I’ve spent my life strengthening my collaborative leadership skills. I’ve wrestled with ego, anger, and pride. I’ve studied the challenges of this this most difficult yet most rewarding way of working. I’m continually surprised when folks tell me as I speak about creativity they do not consider themselves to be creative. Creativity is in our DNA. It predates language. From the first human beings on, we have survived as a species because we are all creative. From improvising how to make fire to strategizing how to escape the saber tooth tiger, creativity kept us alive. But the same folks who say they aren’t creative will frequently say they are collaborative. But collaboration just isn’t in our DNA. It’s a practice that requires dedication and self-sacrifice. But while our creativity may save us individually from the saber tooth tiger, it is our collaboration that can save the whole community.

I have led collaborations for over 18 years here at Triad Stage. In my new position as Producing Artistic Director, I’m going to be leading less of them in the rehearsal hall but collaborating much more with our Creative Company and our community.

This term “Creative Company” is not just another word for staff. It’s a brand new way of thinking about the theater makers who sell tickets, make sets, sew costumes, market plays and raise money—not a hierarchical set of individuals working in silos, but an intensely curious group of craftpeople charged with being collective producers of our bespoke work. From this Creative Company, leaders have emerged, working collaboratively with me to form a Producing Team, nurturing the work of all involved. This team thinks forward, rejecting the deadline driven structures that create so much chaos in not for profit arts companies. Our new Creative Calendar shapes our work with the space and time necessary for real growth to happen. Already we are seeing active engagement across job position and cohort—collaborative probletunity conversations that seek to find innovation where before there was only frustration.

In this transformation of a new season of transformation for Triad Stage, we will continue to engage with our audience and through that engagement enliven our community. Our Core Values remain the same, but you will notice a shifting— small changes frequently designed to better serve our audience. But these small changes, like the first blooms of the bravest spring flowers reveal transformation in process as we strive to build a collaborative laboratory for creativity and curiosity in the heart of downtown Greensboro.

I am so pleased that you are with us on this journey together. I welcome you into our collaboration. Triad Stage is listening and open for engagement—and as always so proud to be handmaking theater just for you. -Preston Lane 15

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WINSTON-SALEM

Celebrate the Season!

NOVEMBER 29 November 30-DECEMBER 24 December 23

Buy tickets today!

HANESBRANDS THEATRE 209 N. SPRUCE STREET DOWNTOWN WINSTON-SALEM 336.272.0160 WWW.TRIADSTAGE.ORG

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Triad Stage began as a dream...

Triad Stage is rooted in the heart of the Piedmont of North Carolina. From its home in downtown Greensboro, Triad Stage explores stories and ideas to engage with its audience and through that engagement enliven its community. The theater is a laboratory of curiosity, creativity and collaboration, and seeks to play an active role in the conversations of its region and beyond.

Triad Stage began as a dream. After a nationwide search, Co-founders Preston Lane and Richard Whittington selected Greensboro as the home for a new theater. Along with community supporters, they undertook the three-year task of opening Triad Stage. Transforming the long empty historic Montgomery Ward store, into a world-class theater center now called The Pyrle Theater, Triad Stage began its engagement with the audiences of Greensboro and beyond in January 2002 with Tennessee Williams’ modern classic Suddenly Last Summer.

In 2008, Triad Stage finished a second round of renovations to The Pyrle, creating the UpStage Cabaret performance Space and the Sloan Rehearsal Hall. In 2011, Triad Stage purchased a building to serve as the theater’s production and warehouse facility. In 2013, Triad Stage expanded programming to the Hanesbrands Theatre in downtown Winston-Salem, where its original adaptation of A Christmas Carol still performs.

Photo courtesy of Greensboro Historical Museum

Guided by its Core Values, Triad Stage seeks to build empathy bridges to heal historic divisions. It does not take a partisan position, but is, instead, a Vitally Welcoming theater that encourages conversations, questioning and dialogue. It celebrates the unique Southern Voice of an ever-changing region. Its focus remains firmly on its community, handmaking its work locally for its community.

Triad Stage’s organizational structure is based on the led collaboration at the heart of its artistic process. Rejecting traditional hierarchical business structures, Triad Stage embraced a new Collaborative Corps structure. Led by Producing Artistic Director Preston Lane and a Producing Team, the Creative Company now works together as co-producers of their work in the community.

The Pyrle Theater, Greensboro

Hanesbrands Theatre, Winston-Salem

Now in its 19th season, Triad Stage has over 2,500 Season Passholders and more than 800 annual donors. The company has received accolades on national, state and local levels. Triad Stage is committed to providing a bridge to the profession for early career theatermakers. It is engaged with pushing boundaries of what theater can be, embracing new design technologies such as video and projection and constantly seeking to re-imagine classics and contemporary work to seek new ways of seeing story .

Placing a particular emphasis on Southern writers and stories, Triad Stage has explored the works of Tennessee Williams, Lillian Hellman, Reynolds Price, Elyzabeth Wilder, Delanna Studi, Carson McCullers and Beth Henley. With singer/songwriter Laurelyn Dossett, Triad Stage develops original pieces that deal with the mythology and folklore of the region. The theater’s ongoing Hawboro series explores the questions of the contemporary South with original plays set in the fictional NC former textile town of Hawboro.

Now in its 19th season, Triad Stage has over 2,500 Season Passholders and more than 900 annual donors. The company has received accolades on national, state and local levels. As it prepares to celebrate its 20th anniversary, Triad Stage believes that its greatest work and impact in its community is still in the future.

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CORE VALUES Triad Stage is guided by core values that inspire all aspects of our operations. These core values are a daily reminder to our entire company of why and how we produce theater for our community.

AUDACIOUS ARTISTRY The artistic process is based in risk.

Our process strives for bold, daring excellence in all our endeavors to enliven our community.

This excellence and risk is made possible by fi scal responsibility and creative tenacity.

CREATIVE COLLABORATION We work collaboratively in all aspects of our process.

Collaboration is a skill that demands listening, humility and respect.

We embrace creative thinking in our work together to transform ourselves through story, enlivening our audience and community.

CURIOUS LEARNING Theater takes us places we have never been before, inspiring our inquisitve natures and creative thinking.

From engaging the natural playfulness of children to reigniting the imaginations of adults, we encourage active learning.

In all we do, we seek to incite a lifetime of curiosity.

A SOUTHERN VOICE We tell the stories of the South in juxtaposition with the stories of the world.

We engage with our ever-changing region -- building empathy bridges between our diverse communities.

Our roots are planted deep in the heart of the North Carolina Piedmont and our work is handmade locally, empowering our audiences to say “Y’all, this Theater is ours.”

WELCOMING COMMUNITY United in shared theatrical event, strangers become friends, common ground is discovered and dialogue begins.

Imagining the lives of others, our capacity for empathy is strengthened.

Triad Stage is vitally welcoming and inclusive, seeking to reflect our community’s diversity in casting and staffing, and in the stories we tell.

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HELP AN ANGEL EARN HIS WINGS. A 1940’s live radio broadcast re-imagines the classic story of George Bailey, a man ready to throw it all away before a stranger comes to show him how important he is. Be reminded that we all have a place and celebrate how wonderful life is for the holidays.

BUY YOUR TICKETS TODAY! DECEMBER 1 - 22, 2019 It’s A Wonderful Life: A Live Radio Play by Joe Landry Pyrle Theater in Downtown Greensboro

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Institutional Supporters

In partnership with the NC A&T Theatre Department, Triad Stage will produce the NC regional competition event for the national August Wilson Monologue competition in February 2020

Triad Stage wishes to thank the following corporations and organizations that have generously contributed.

UNDERWRITERS ($20,000+)

AISHA SOUGOU, SECOND PLACE REGIONALS

BECOME A SPONSOR.

STARS ($10,000-19,999) The Cemala Foundation • Lincoln Financial Foundation Piedmont Natural Gas • Pinnacle Financial Partners • Zuraw Financial Advisors • Jan Pro DIRECTORS ($5,000-9,999) Arbor Acres United Methodist Retirement Community • Bernard Robinson & Company, LLP • Cone Health • The Mebane Foundation • O.Henry Hotel • Triad Tech Services • Well•Spring • Fordham Cleaners

AUGUST WILSON MONOLOGUE COMPETITION

BENEFACTORS ($2,500-4,999) Ecolab Foundation • First Bank • Friends Homes • The Fresh Market • Pennybyrn at Maryfield • River Landing at Sandy Ridge

School and community workshops that offer an introduction and exploration of Pulitzer Prize-winning African-American playwright August Wilson’s work.

WHAT.

WHO.

ANGELS ($1,000-2,499) Action Greensboro • American Premium Beverage • BB&T • The Community Foundation of Greater Greensboro • Enterprise Rent-A-Car Foundation

High school students in our community.

WHEN.

TINY TIM FUND (UNDER $1,000) Hanes-Lineberry Funeral Homes • Kilpatrick Townsend & Stockton, LLP • Laura Redd Interiors • Natty Greene's Brewing Company •

Media Partners

Graffiti Ads • News & Record/GoTriad • O.Henry Magazine • Triad City Beat • Yes! Weekly • 88.5 WFDD • 91.5 WUNC

Workshops throughout the fall of 2019.

Preliminary Competition January 11, 2020 at NC A&T. State Finals February 17, 2020 at Triad Stage.

WINNERS.

Two regional finalists will advance to a national competition; the top three regional competitors will receive scholarship funding. Two State winners will go to the national competition in New York City May 2nd - 5th, where they perform on a Broadway stage and see a Broadway show!

CONTACT SARAH LEONARD sleonard@triadstage.org CALL 336.274.0067 ext 203 ADD YOUR SUPPORT TODAY!

Triad Stage is proud to be a member of the following organizations:

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Annual Campaign Contributors Please consider joining the following individuals, corporations, and foundations who have contributed generously to Triad Stage’s 2019 Annual Campaign.

2019 Annual Campaign Supporters as of October 8, 2019

PRODUCERS CIRCLE ($10,000+) CENTER STAGE ($5,000-$9,999) The Arts Council of WinstonSalem & Forsyth County ArtsGreensboro Suzanne & Bud Baker Bluezoom Vanessa & Roy Carroll The Carroll Companies The Cemala Foundation Clem & Hayes Clement Cynthia & William Graham Sally Pagliai & Kyle Jackson, MD Kathy Manning & Randall Kaplan Elizabeth & John King Lincoln Financial Foundation Mercedes-Benz of Winston-Salem North Carolina Arts Council Piedmont Natural Gas Pinnacle Financial Partners Ron Johnson & Bill Roane Sylvia & Norman Samet The Shubert Foundation Linda & Tom Sloan Pam & David Sprinkle Elizabeth Strickland Strickland Family Foundation The Louis DeJoy & Aldona Wos Family Foundation Zuraw Financial Advisors

FRONT ROW ($2,500-$4,999)

Arbor Acres United Methodist Retirement Community Lindsey & Frank Auman Bernard Robinson & Company Brandon Bensley Jeb Brooks Joseph M. Bryan, Jr. Janis & Marc Bush Rebecca & Rick Craig Candace & Roger Cummings Rob DaVanzo Goslen Printing Ginger & Haynes Griffin Maureen & Bob Ihrie Barbara Kretzer Donna & George Lawson Kathryn & Robert Long The Mebane Foundation The Michel Family Foundation Pamela Murphy Deborah Hayes & Gregg Nelson Betsy & Mitchell Oakley O.Henry Hotel The Roberts Family Foundation Cheryl Feltgen & Chris Sheehan Tannenbaum-Sternberger Foundation Martha & Harrison Turner Well*Spring 30

Alicia & Bill Allred Kate R. Barrett Mary Katherine & Durant Bell Louise & Jim Brady Janis & Marc Bush Linda & Jim Carlisle Joann & Bill Cassell Jody Cauthen Jean & Ralph Davison The Fresh Market Christine & Chris Hobson Friends Homes Linda Morris & George Johnson Shelby & Ernest Lane Sue & Neil Lutins Kelly Sigle & George Marple Deborah Hayes & Gregg Nelson Julie Olin Erica & Bo Parker Margaret & Brad Penn River Landing at Sandy Ridge Dabney & Walker Sanders Bill Soles Willie Taylor Ruthie & Alan Tutterow Judy & Len White

STAGE HAND ($1,000-$2,499) American Premium Beverage Drs. Anthony & Katherine Atala BB&T Ben Baker Betty & Dennis Barry Susan & Richard Beard Lisa & William Bullock Pat & William Cross Carol & David DeVries Ruth Heyd & Stephanie Frazier Joe & Karen Grady Beth & Edward Harrington Emily & David Johnston Ashley & Frankie Jones Leigh Ann & Steve Klee Preston Lane Dr. Ranjan Sharma & Stacy Lawson Barbara R. Morgenstern Jane & Ron Norwood Mindy & Chad Oakley O.Henry Magazine Cissy & Bill Parham Jane & Lloyd Peterson Barbara & Dale Phipps Lynn Wooten & Paul Russ Adrian Smith Bonnie Stewart Ernestine & Stuart Taylor May Toms Triad Tech Services Shirley & Jeffrey Vestal Judy & Bob Wicker

GALLERY ($500-$999)

PATRON ($250-$499)

Russ & Alice Anderson Phil Barrineau Annette Benson Catherine & Peter Bergstrom Barbara & Tony Blake Kenneth L. Caneva Leanne Willis & James Caress Betsy & Watts Carr David & Karen Condon Karen Dyer Diane Gill Celeste Gonzalez Kay & Chip Hagan Hanes-Lineberry Funeral Homes Hoke Huss Mike & Diane Jacobs Sujay Kumar Dr. & Mrs. Robert Knox Greg & Barb Laskow Mimi Levin Leslie & J.J. Marus Eberhard Mueller-Heubach Richard Parker Susan & Tarrell Preston Sandy & Tom Pugh Kim & Todd Rangel Steve Stonecypher Sergio Heather & Mark Setzler Kim & Bassam Smir Kathleen Smith Linda & Jim Starmer Maggie & Tom Styers Timothy Thomson in memory of Maguy Thomson Richard & Courtney Whittington Beverly & Pat Wright

Clare & Mike Abel Carolyn & Donald Allen Uma & Ravi Avva Donna Baldwin-Bradby Josephine Barbour Jerry & Milton Bates Heather & Paul Benson Mary & Frank Biggerstaff Angenita Boone Mr. and Mrs. Boothby Lynn Bresko Betty Byron Wendell Calhoun Benita & Ron Cole John Crump Gerald Cunningham Janet Ward Black & Gerard Davidson Kathi & John Dubel Nancy & Richard Evans Bert & Debbie Fields Barbara Doughten & Wiley Fisher Robert Baxley & David French Ann McCarty & Robert Fried Karen & Steve Garrison J. Andrews & Kelley Hancock Sherry & Bob Harris Donna & Robert Hoekstra Rose & Wes Hood Tomasita & Sam Jacubowitz Justin Nichols & Ryan Kelly Alex Plotnikov & Svetlana Krylova Marilyn & John Lauritzen Nancy Y. Madden

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Joanne Martin Kathy & David Mazzola Amanda McGehee Doris McGinn Dana & Doug McLeroy Bonnie & Robert Miller Peg & Skip Moore William Osborne John Poole Kathryn Ramsay Beverly & William Rogers Cary Root The Rose Family Ernie & Elizabeth Schiller Genie & Maurice Schwartz Susan & Jerry Schwartz Phyllis Shavitz Eulene Shepherd John Small Steve Sumerford James & Barbara Walls Verne Nielsen & B.J. Weatherby Carol & Tom Wood

FRIEND ($100-$249)

Anonymous (4) Virginia Achey Rose & Victor Ackermann Daryl Adams Leanne Angell Margaret & Howard Arbuckle Sarah Lynn Barringer Mary Beavers in memory of her husband, Bill Beavers Fred & Sally Beck Amy Lytle & Steve Bird Ron Black Chester Brown, Jr.

Cheryl & Richard Bullard Christel Bullock Betty & George Burfeind Hodges & Joe Carroll Waban Carter Kathy Cissna Amanda Clark Lori & Murray Clayton Faye & Michael Collins Deb Bell & Keith Cushman Deborah & Charles Delcambre Georgetta Denhardt Marlita Diamond Tonya & Glenn Dobrogosz Pam & Alan Duncan Phyllis Dunning Dennis & Inez Elliott Janis & Andy Fields Becky Fligel David & Wanda Formisani Martha H. Fowler Elaine Fox Alane & William Frakes Marcia Freed Deborah Friedman Kenneth L. Garner Romona & Russell Gibson Marilyn & Edward Gideon Betty Godwin Janis Hammett David Cohen & Judy Hampton Susan Hanks Anne & Bill Hardin Karyn Harrell Gloria & Walter Harris Wanda Harris Angela & Drew Hays Janet Hendley Mary Louise Smith & Cheryl Hopkins 32

David & Betsey Horth Marion & Gary Hosey Sue & Larry Hungerford Lesley Hunt Hoke Huss Mary Jellicorse Frances & Jim Jochum Jenna Johnson Randall T. Johnson Margaret & Robert Kantlehner Bob Kollar Kristin Landrum Mark & Susan Lang Ms. Yolanda Leacraft Carol & Harry Lejda Annabel Link Cathy & Robert Lovejoy Peggy & Jack MacDowall Reba & Bud Maxson Bonnie & Dan McAlister Karen & Keith McCall Eleanor & Donald McCrickard Nancy & Gary Miller Barbara & Bill Moran Sharon Rimm & Bob Muecke Ninevah & Dan Murray John & Jenny Naples Lee Ann & Drew Naylor Margaret & Vernon Newlin Gaynelle Nichols Karen Niehans Barbara & Jim North Jill Pinto Nan & Roger Poplin Margaret Price Eleanor Procton Fern Ragan David Rice Susan & Bill Ridenour Jennifer & Tommy Robards George & Bobbie Roberts

Robert Robless Michael Rocco Ruth & Lloyd Roghelia Judy Hyman & Dr. Richard Rosen Debbie & Eugene Russell Joyce & Bob Shuman Donald Smith Amy & Robert Struble Janice & John Sullivan Lee Templeton David VanSchoick Cheryl Viglione Laura & John Warren Peggy & Leon Wessel Dave Clark & Susan Wilson Mary & Terry Woodrow

SPOTLIGHT ON...

MATCHING GIFTS

LEGACY CIRCLE

Amazon Smile American Express Arch MI Johnson & Johnson Family of Companies Lincoln Financial Foundation

Lesley Hunt Tobee & Leonard Kaplan Bill Roane & Ron Johnson Claire King Sylvia & Norman Samet Linda & Tom Sloan Martha & Harrison Turner Ruthie & Alan Tutterow Legacy Circle Donors have made requests on behalf of Triad Stage

Ruth Darling Heyd

Ruth is an integral member of our Board of Trustees and heads the Development committee at Triad Stage. A graduate of the University of North Carolina at Greensboro in piano performance, Ruth loves the arts and how they connect folks together. She is excited to be in a brand new role at Cone Health as a Philanthropy Officer focused on the Heart & Vascular Center. Ruth’s passion around heart health and wellness plus the love of fundraising is a perfect fit for her new role. She loves to cook and has an adventurous spirit in the kitchen. She also currently serves on the board at the Weatherspoon Art Museum.

Mark Weddle

Mark is the Operations Manager and Assistant Distiller for Sutler’s Spirit Co. and the Owner/ Founder of Cocktail Culture which is a Greensboro based mixology training and consulting company. Mark has been creating innovative and unique cocktails for well over 25 years and is considered to be one of the best mixologists in the Southeastern U.S. For Triad Stage, mark has created some signature cocktails to compliment our 19TH Season.

PRESTON’S 19TH SEASON BREAKDOWN Sutler’s Gin, Strawberry-Basil infused Lemonade, Club Soda

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Special Thanks: UNCSA, Continental Carbonic Products, Nicholas Guariglia, Keri Dumka, Eric Hart, YES! Weekly, O.Henry Magazine.

Board of Trustees Officers

Triad Stage Staff

Deborah Hayes, Chair Leigh Ann Klee, Treasurer Kate Barrett, Secretary Dabney Sanders, Immediate Past Chair Linda Sloan, Founding Chair Frankie Jones, Jr., At-Large Erica Parker, At-Large Preston Lane, Founding Artistic Director

Artistic

Preston Lane, Producing Artistic Director Sarah Hankins, Associate Artistic Director Dani Keil, Learning Director Keaton Brower, Artistic Apprentice

Administration

Jason Bogden, Interim Managing Director Ramon Perez, Company Manager Bobby Pittman, Facilities/Rentals Coordinator Tabitha Davis, Office Assistant and Bookkeeper

Members at Large

Jackie Alexander, Margaret Arbuckle, Donna Baldwin-Bradby, Phil Barrineau, Brandon Bensley,Lynn Bresko, Vanessa Carroll, Jewell Cooper, Karen Dyer, Ruth Heyd, George Johnson, Sujay Kumar, Leslie Marus, John Poole, Terri Relos, Sarah Saint, Steve Sumerford, Cassandra Williams, Brook Wingate, Lynn Wooten

Marketing & Development

Jody Cauthen, Director of Marketing and Development Sarah Leonard, Development Manager Katie Hutchinson, Marketing Associate Eliza Gilbert, Graphic Designer

Greensboro Advisory Council

Judy Wicker, Chair Hayes Clement, Ralph Davison, Sandra Hughes, Lesley Hunt, Ron Johnson, Ancella Livers, Dennis Quaintance, Sylvia Samet, Joy Shavitz, Tom Sloan, Harrison Turner, Alan Tutterow

Audience Services

Justin Nichols, Director of Audience Services Mary Reading, Lead Audience Services Associate Emily Gordon, Josh Johnson, Martha Latta, Hunter Morgan, Nikki Tomeo, Clarice Wiesman, Rebeka Pomeroy, Audience Services Associates Daniel Morrison, House Manager

For Dracula

Keaton Brower, Assistant Director Chris Fields, Props Master Nicholas Chimienti, Assistant Projections Designer and Programmer Gitana Havner & Kathryn Whilden, Assistant Stage Managers Will Barney & Taylor Dankovich, Sound Supervisors Madison Hardaway, Light and Projections Board Operator Elizabeth Copenhaver, Sound Board Operator Sarah Gunter, Wardrobe Supervisor Mashawna Peterson, Wardrobe Crew Abby Eubanks, Wigs Joan Paluska, Ben P’Simer, Holland Berson, Blood Prosthetic UNCSA Mary Crockett, Angelina Rodriguez, Scenic Artists Marie Phillips, Run Crew Ciara Travis, Child Supervisor

Production

Katie O’Kelly, Director of Production Tannis Boyajian, Technical Director T.J. Scott, Master Carpenter Shane Burgett, Carpenter Jennifer Speciale Stanley, Costume Shop Manager Grace McEwan, Assistant Costume Shop Manager Troy Morelli, Master Electrician Jessica Holcombe, Scenic Charge Kathryn Whilden, Production/Stage Management Apprentice Madison Hardaway, Electrics/Sound Apprentice Marie Phillips, Carpentry Apprentice Sarah Gunter, Costume Shop/Wardrobe Apprentice Andy Canning-Skinner, Props Apprentice 34

Dracula’s Song In Romanian: Mnirresuca nu si nebuna Nu zdera dupa cununa Pune cununa in cui Si dai guar mindrului Ca tata huc ii a lui Saracile fetele De ar muri tatele Sa le ngroape mamele Sa le ngroape dinti flori Sa nu marga de nurori Sa le ngroape ntre malini Sa nu marga la straini.

In English: Little bride don’t be crazy Don’t cry after your crown Put your crown on a nail And give your mouth to your sweetheart Because it all belongs to him

From Jane Austen to Edward Albee, to the incomparable Preston Lane, there is something for everyone this season at Triad Stage!

Grant funding to Triad Stage from ArtsGreensboro is made possible through the ArtsFund. Thank you to all who donate to support the arts of our community.

Poor girls If they would die, all of them And their mothers bury them Bury them among the flowers Not to go as daughters-in-law Bury them among the cherry trees Not to go to strangers.

artsgreensboro.org || #artsgso

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