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BY EDWARD ALBEE

SEPTEMBER 8-29, 2019 232 SOUTH ELM STREET | DOWNTOWN GREENSBORO | WWW.TRIADSTAGE.ORG | 336.272.0160 SEASON SPONSORS


IN THE...

Upstage Cabaret a BOURBON-PAIRED DINNER

Who’s Afraid of Virginia Woolf? Well, Buffalo Trace isn’t! Come experience various spirits from the Buffalo Trace Distillery with a classic 1960’s Prime Rib Dinner. Featured offerings are Buffalo Trace, Eagle Rare, E.H. Taylor Small Batch and Blantons. This Exclusive Buffalo Trace Bourbon Dinner is Saturday, September 21 at 7 pm in the UpStage Cabaret @ Triad Stage. Enjoy the culinary courses created by GIA! Executive Chef, Anders Benton. Each course will be an homage to 1960’s cuisine and exquisitely paired with rich Buffalo Trace Bourbons. $125 per person, all inclusive. 336.272.0160 www.triadstage.org

BECOME A A SEASON SEASON BECOME PASSHOLDER! PASSHOLDER! Convert today’s ticket into a 2019-2020 Triad Stage Season Pass! See our box office, to apply the cost of today’s ticket into a discounted pass to attend 4 more performances. WWW.TRIADSTAGE.ORG 336.272.0160

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Preston Lane Producing Artistic Director

EDWARD ALBEE'S WHO'S AFRAID OF VIRGINIA WOOLF? Directed by Preston Lane∞◊◉

Scenic Design by Anya Klepikov §

Costume Design by Bill Brewer § ◉

Lighting Design by Krista Smith

Sound Design by Taylor Dankovich

Resident Movement Coach Denise Gabriel∞◊

Resident Vocal Coach Christine Morris◊

Dramaturgy by Sarah Hankins◊

Casting by Cindi Rush

Stage Manager Janine Wochna*

Production Sponsors Quaintance-Weaver Restaurants & Hotels | Arts Greensboro | bluezoom | NC Arts Council Edward Albee's "Who's Afraid of Virginia Woolf ” is presented in special arrangement with SAMUEL FRENCH, INC.

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CAST

Martha................................................................................................................................................................................................................................Brandy Zarle* George................................................................................................................................................................................................................................. Mark Boyett* Nick.....................................................................................................................................................................................................................................Mickey Theis* Honey............................................................................................................................................................................................................................ Rhiannon Ross* Understudies ................................................................................................................................................................................. Jessica Hudson◊ & Aaron Botts◊ Stage Manager...............................................................................................................................................................................................................Janine Wochna*

TIME

The Past

SETTING

A house near a small New England college campus Act I: Fun and Games Act II: Walpurgisnacht Act III: The Exorcism There will be two intermissions.

VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RECORDINGS OF THIS PRODUCTION OR DISTRIBUTING RECORDINGS ON ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIBITED, A VIOLATION OF THE AUTHOR’S RIGHTS AND ACTIONABLE UNDER UNITED STATES COPYRIGHT LAW. FOR MORE INFORMATION, PLEASE VISIT: WWW.SAMUELFRENCH.COM/WHITEPAPER

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Brandy Zarle* (Martha) Television: Guest Star as Debbie Labott on Season 19 "Law and Order: SVU." International Tour: Joy in Cinderella (w/ Lea Salonga) Original Cast Album. Off- Broadway: (World Premieres): Once Around The City Second Stage, Sleepover The Cherry Lane, What You Will The Connelly. Regional Theatre: Blanche in A Streetcar Named Desire at Virginia Stage, Our Town and Death of a Salesman (w/ Christopher Lloyd), Tanya in Mamma Mia! and Tartuffe Weston Playhouse, Brooke in Other Desert Cities, Noises Off, Das BBQ Triad Stage, Ivy Weston in August : Osage County  Fulton Theatre, Rapture, Blister, Burn, Time Stands Still, Boston Marriage Shaker Bridge Theatre, Maggie in Cat On a Hot Tin Roof Portland Center Stage, Title Role in Mary Stuart Baltimore Center Stage, Elephant Man VSC, The Importance of Being Earnest at St. Louis Rep, James Joyce’s The Dead at Huntington and A.C.T., Awake and Sing Merrimack Rep, Other Theatres include: Barrington Stage, Berkshire Theatre Festival, Actors Theatre of Louisville, Utah Shakespeare, Goodspeed Opera House, Dallas Theatre Center, Maltz- Jupiter Theatre, GEVA Theatre and Yale Rep. Awarded Best Actress 2003 in Mary Stuart by Best of Baltimore Magazine.  Film: "More Harm Than Good", "Chekhov: Master Teachers." MFA: Yale School of Drama, BFA: Southern Methodist University.

Mickey Theis* (Nick) is thrilled to be making his Triad Stage debut! Broadway: Six Degrees of Separation (u/s) Off-Broadway: Among the Dead (Ma-Yi Theater Company), Desire (The Acting Company), Posterity (Atlantic Theater Company). Regional: Twelfth Night (The Acting Company), Hamlet (Yale Repertory Theater) TV: "Madam Secretary" (CBS), "Shades of Blue" (NBC), "Vinyl" (HBO). Education: MFA, Yale School of Drama. Mickey is also an accomplished singer/songwriter. www.mickeytheis.com Rhiannon Ross* (Honey) is excited to perform at Triad Stage for the first time! A Utah native, Rhiannon was trained in the UK at the Royal Academy of Dramatic Art and Drama Centre London. Her previous credits include Malcolm in Macbeth with Montana Shakespeare in the Parks, Helena in A Midsummer Night’s Dream with the Davis Arts Council and Ellida in Lady from the Sea at Drama Centre London. She wants to thank the company and everyone at Triad Stage for such an amazing experience. Jessica Hudson◊ (Understudy: Martha, Honey) is currently in her final year of the MFA acting program at UNCG. She is a Durham, NC native who has worked in Durham and extensively in Chicago as an actor, an independent theatre artist and as a teaching artist. Jessica’s solo work pulls from the vocabularies of dance, theatre, physical theatre and installation. However, she is happiest and most alive in collaboration with others, both on the stage and in the classroom. Jessica has had the pleasure of sharing the stage with such gems as Man Bites Dog Theatre, Little Green Pig Theatrical Concern, Mucca Pazza: a nerd-punk marching band, About Face Theatre and 500Clown. Jessica was a teaching artist for over a decade with Chicago Arts Partnerships in Education and Hubbard Street Dance Chicago. In 2010, she won the 3Arts artist award as a teaching artist in theatre.

Mark Boyett* (George) Triad Stage: Arms and the Man, Masquerade, The Mystery of Irma Vep, Debunked, The Turn of the Screw. Off-Broadway: A Woman (Summer Shorts Festival); Martin Luther On Trial (Pearl Theater); A Play On Words, Clean Alternatives (59E59); Old Wicked Songs (Daryl Roth, Producer). Regional Includes: Shreck (Connecticut Rep); Christopher Hampton’s Appomattox (World Premiere at The Guthrie); Dracula (Pioneer Theater); Love Song (Cincinnati Playhouse); Henry IV Parts 1 & 2 (American Repertory Theater); Chesapeake (Kitchen Theater); The Cherry Orchard (Pittsburgh Public); Galileo and A Dybbuk (Denver Center); Inexpressible Island (Dallas Theater Center, directed by Preston Lane); Wit (Syracuse Stage); The Retreat from Moscow (The Human Race Theater); Sister Carrie (Indiana Rep). TV: "Royal Pains"; "Law & Order SVU"; "Pan Am"; MTV’s "One Bad Choice"; Apple TV’s upcoming "Dream." Mark has narrated over 200 audiobooks, winning the Audie Award in 2017 for In Harm’s Way The Sinking of the U.S.S. Indianapolis and the Extraordinary Story of Its Survivors. He is a graduate of the A.R.T. at Harvard University.

Aaron Botts◊ (Understudy: George, Nick) is a current M.F.A. student at U.N.C. Greensboro and is very excited to be working on Who’s Afraid of Virginia Woolf? at Triad Stage. Some of Aaron’s favorite credits include Tecumseh in Unto These Hills, Benedick in Much Ado About Nothing, Actor 1/White Man in We Are Proud to Present, Christopher Marlowe in Shakespeare in Love, Eddie in Fool for Love, and Anon in Anon(ymous). He would like to thank his friends, family, mentors,

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and faculty for all the love, faith, and constant support as he pursues his happiness.

ACTORS’ EQUITY ASSOCIATION

Preston Lane∞◊◉ (Director, Triad Stage Producing Artistic Director) Preston grew up in the Blue Ridge mountains of North Carolina with Appalachian ancestry stretching all the way back to Tidence Lane, the first Baptist preacher in what would become Tennessee. His childhood dream was to live in a NC Piedmont city where he could hear trains and interact daily with such big city trappings as revolving doors and escalators. He frequently checked out recorded plays on albums from the old Watauga County Public Library and spent many afternoons listening to Marat/Sade, Who’s Afraid of Virginia Woolf?, and A Streetcar Named Desire. His central conflict as a child was that on Saturday evenings his parents 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

Actors’ Equity Association (AEA) was founded in 1913 as the first of the American actor unions. Equity’s mission is to advance, promote and foster the art of live theatre as an essential component of our society. Today, Equity represents more than 40,000 actors, singers, dancers and stage managers working in hundreds of theatres across the United States. Equity members are dedicated to working in the theatre as a profession, upholding the highest artistic standards. Equity negotiates wages and working conditions and provides a wide range of benefits including health and pension plans for its members. Through its agreement with Equity, 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 FIA, an international organization of performing arts unions. For more information, visit www.actorsequity.org.

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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Anya Klepikov§ (Scenic Designer) designs spaces and clothes for live performance. Previously at Triad Stage: sets for Glass Menagerie, Kingdom of Earth, A Doll House, Dial M for Murder, The Blonde, The Brunette and the Vengeful Redhead, Radiunt Abundunt, and A Midsummer Night’s Dream. Anya’s opera designs have been seen at Glimmerglass, Fort Worth Opera Festival, Florida Grand Opera, Chicago Opera Theater, Saratoga Opera, Curtis, Princeton, and Yale Opera. She is currently designing a new production of The Firebird for Miami City Ballet, The Wolves at Syracuse Stage and collaborating with photographer Cig Harvey on Bluebeard’s Castle for Atlanta and Austin Operas. Having lectured on design and color at Princeton, Brown, Colgate, and the Yale School of Drama, Anya is on the faculty at UMass Amherst. www.anyaproductiondesign.com

Taylor Dankovich◉ (Sound Designer) Triad Stage: Radiunt Abundunt, Beautiful Star: An Appalachian Nativity, Wit, A Childs Play, Spinning Jenny, Two Rooms (Assistant Sound Designer) Hangar Theatre: Pinkalicious The Musical, With Two Wings, James and the Giant Peach, A Year with Frog and Toad, The Wiz (Host and Co-Producer) Podcasting: "Who Knows?" 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 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.

Bill Brewer § ◉ (Costume Designer) designs for theatre, ballet, opera, film and television across the country and abroad. Recently at Triad Stage: And Then There Were None, South Pacific, Arms and the Man, Radiunt Abundant, Snow Queen, Wait Until Dark, Kingdom of Earth, Trouble in Mind, The Illusion, Ain't Misbehavin': The Fats Waller Musical Show, and New Music Trilogy. United States: Playmakers Rep; Sweeney Todd, starting Annie Golden; Into The Woods; Berkeley Rep; Minnesota Rep; Pioneer Theatre Company; Pittsburgh Ballet Theatre; American Stage; Lucas Film, Sweeney Todd, starring Jean Stapleton; Peter Pan, starring Cathy Rigby. Abroad: ballet, contemporary dance and film in Paris and Milan. As a director and producer, Bill's award-winning production of Side by Side by Sondheim ran in San Francisco for two years. Bill teaches costume design at UNCSA and is a member of United Scenic Artists 829.

Christine Morris◊ (Resident Vocal Coach) At Triad Stage since 2006, where coaching has included dialects for The Glass Menagerie, Shipwrecked, Snow Queen, Dirty Blonde, Abundance and many others, and voice/text for All’s Well That Ends Well. Other coaching: A Thousand Clowns (starring Tom Selleck); Kudzu (with The Red Clay Ramblers); and Sheridan’s The Critic at American Players Theatre in Wisconsin. Also an actor, she was most recently seen at Triad Stage as “Mrs. Rogers” in And Then There Were None. Other roles at Triad Stage include “Dr. Mildred Grant” in Actions and Objectives; “Silda Grauman” in Other Desert Cities, “Taw Avery” in New Music: Better Days, “Cordie Grindstaff ” in Providence Gap; “Marthy Owen” in Anna Christie and “Mme. Pernelle” in Tartuffe. In 2017 she performed in the inaugural season of North Carolina Summer Rep, doubling as “Old Lady/Blair Daniels” in Sunday in the Park with George in Concert. Christine is an Associate Professor of Theatre at UNCG and holds memberships in the Actors’ Equity Association, Screen Actors Guild, and Voice and Speech Trainers Association (VASTA).

Krista Smith (Lighting Designer) is a New York based theater and visual artist. Recent credits include: At Black Lake (The Tank), Good Person of Setzuan (Atlantic Theater Company), Machinal (Lee Strasberg Institute), The Last Days of Judas Iscariot (Williams College), A Doll’s House, Pt3 (Exponential Festival), Twin Size Beds (Under the Radar Festival), This American Wife (New York Theater Workshop Next Door), A Doll’s House Pt3 (Ars Nova), An Enemy of The People (Yale Repertory Theater), Everything That Never Happened, Bulgaria! Revolt!, and The Merchant of Venice (Yale School of Drama). Originally from California, her regional credits include: The Marriage of Figaro, Once on This Island, Jacques Brel Is Alive and Well and Living in Paris, Rent (Cinnabar Theater), Little Brother (Custom Made Theatre), The Great Tragedies by Mike Daisey (California Shakespeare Theater), Anatol (Aurora Theatre), Fire Work (Theatre FIRST). MFA Yale School of Drama. www.KristaSmithLD.com

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The Gerswins

TICKETS ON SALE NOW GREENSBOROOPERA.ORG 336.272.0160

Featuring Rhiannon Giddens

Tickets on sale now!

November 13 & 15, 2020

greensboroopera.org | 336.373.7575

Janine Wochna* (Stage Manager) is delighted to return to Triad Stage having previously stage managed Man of La Mancha, The Passion of Teresa Rae King, Abundance, Underneath the Lintel, and Brother Wolf. At Florida Repertory Theatre: A Christmas Carol, Hay Fever, Outside Mullingar, How the Other Half Loves, Cabaret, and many others over 15 seasons. Four seasons as Resident Stage Manager at the Geva Theatre, and 14 seasons with the Cleveland Play House. She is a graduate of the University of Cincinnati College-Conservatory of Music and a proud member of Actors’ Equity Association.

Sarah Hankins◊ (Dramaturg, Triad Stage Associate Artistic Director) Triad Stage: White Lightning, A Christmas Carol (2016-2018), assistant director for The 39 Steps, Cat on A Hot Tin Roof, and A Christmas Carol (2015). Former Artistic Director of Green Theatre Collective in NYC, where she directed The Tempest, As You Like It, It's A Wonderful Life, 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, Frankie and Johnny in the Clair de Lune, Iphgenia 2.0., The Lover, Home Free! UNCG MFA in Directing, BA Davidson College. Sarah has taught at UNCG, Guilford College, Greensboro College, GTCC, and The College of St. Elizabeth.

To learn about supporting Triad Stage through donations or sponsorships, please contact:

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.”

Sarah Leonard | Development Manager sleonard@triadstage.org | 336.274.0067 ext. 203 Triad Stage is a 501(c)(3) not-for-profit organization. Donations are tax-deductible to the extent provided by law. Financial information about this organization and a copy of its license are available from the State Solicitation Licensing Branch at 919-8072214. The license is not an endorsement by the State.

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Director's Notes I killed Edward Albee. On Friday September 16, 2016, I was teaching Collaboration to the UNCG MFA directors and designers. Somehow the subject of Edward Albee came up and one of the students asked why Triad Stage had never done one of his plays. I began to go through a long litany of stories about unpleasant encounters I’d witnessed with one of our greatest living playwrights. I was winding myself up into quite a fury detailing the time when he visited Guilford College and told me I would never be able to produce Who’s Afraid of Virginia Woolf? He said everyone did that play and he wanted me to direct one of his much, much lesser known works. I ended my tirade by proclaiming: “I’ll never do an Albee play until he is dead!” Not long after, news alert bings sounded on students phones letting them know Edward Albee had indeed just passed away. And suddenly, my students were very, very well behaved. Long ago at Guilford, as I made my case with Albee as to why Triad Stage should be given the rights to his most famous play, I realized that I was fighting for something I had long desired to direct. No other play has been as much a part of my consciousness for as long as Who’s Afraid of VIrgina Woolf? The Watauga County Public Library in Boone had a selection of records and whenever I visited I’d check out one or two of the plays on LPs that were an odd niche market in the last half of the 20th Century. I more or less had three on constant checkout: the original RSC Marat/Sade, Rosemary Harris (who I knew from Penland, NC) as Blanche Dubois in A Streetcar Named Desire, and the complete dialogue from the film version of Who’s Afraid of Virginia Woolf? While today one might question the wisdom of allowing a precocious third grader to check out Albee’s play, I was delighted that in less censorious times, no one stopped me. I devoured the dialogue on multiple listenings, playing all four characters with the adult subject matter flying well over my head. I grew up with the play, and I as I grew more aware of its subjects and themes, I discovered it anew. Each listening, and eventually each reading and each performance I saw at theaters here and abroad, revealed something new in the story of this love story that masquerades as a drunken slug fest. Finally approaching the play as a director, I’ve been able to delve deeply into the stories of George and Martha and Nick and Honey. Critics have written endlessly about the symbolism and metaphors in Albee’s classic—he was at that time America’s answer to Brecht and Ionesco. But I’m less interested in the absurdism than I am in the story that unfolds this drunken night. What fascinates me is what happens when we create dreams and illusions to protect us from the dangers we fear. It’s the same question that was at the heart of Man of La Mancha last season. And the conversation started with that production, I hope will be continued with this. Albee didn’t want me to do this play because he felt it was overdone and I understand his desire to promote his less-liked children. But the fact is, this play has that unique hallmark of greatness. To approach it anew is to discover startling depths. As always when we explore the great plays, we are changed by our interactions with them. I hope this production stirs you and will stay in your thoughts for a long time to come.

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EDWARD ALBEE

(March 12, 1928 – September 16, 2016) One of the great and prolific American playwrights, Edward Albee often critiqued the idea of the “American Dream” in his work. He desired to dismantle the illusions that encourage us to adhere to a set of values or ideas that limit our expression. As one of Albee’s early plays, WHO’S AFRAID OF VIRGINIA WOOLF continues his exploration of what truly happens behind closed doors and confronts us with the lies that we tell ourselves in order to survive the day-to-day horror of society. Adopted at a young age by a wealthy family, Albee’s youth and early experiences encouraged his disillusionment and satirical commentary on American life. Although he was very well provided for financially, Albee grew up with a sense of having never been loved. His family was a part of the upper echelon of society in Westchester and Albee chafed under their social rules and expectations. While his father was distant and uninvolved in his son’s life, his mother was reportedly cold and demanding. Albee was expelled from several schools as a teenager and struggled to find a place for himself. His only comfort was his grandmother, whom he dearly loved. Eventually, Albee became estranged from his adoptive family and escaped to Greenwich Village. His experiences with his family left an indelible mark on him and would be a source of his critique, which comes to the fore in WHO’S AFRAID OF VIRGINIA WOOLF. Albee’s Broadway debut, WHO’S AFRAID OF VIRGINIA WOOLF, opened to mixed reviews in October 1962, but earned several awards. In addition to the New York Drama Critics Circle Award for best play, WHO’S AFRAID OF VIRGINIA WOOLF won five of the six Tony awards for which it was nominated, including Best Play and Best Production. Although the play was recommended by the Pulitzer committee for a Pulitzer Prize in Drama, the Pulitzer board refused to award it to Albee due to the play’s content and tone. Two board members resigned in protest and the guidelines were changed in subsequent years. No Pulitzer would be awarded to any play in 1963, but Albee would ultimately win three Pulitzers for later works. The unexpected commercial success of WHO’S AFRAID OF VIRGINIA WOOLF allowed Albee a certain amount of financial security and gave him an opportunity to start a program for young playwrights called The Playwright’s Unit. The production company aimed to give young playwrights a forum in which to produce new work and take artistic risks. Participants included Terrence McNally, Sam Shepherd, Lanford Wilson, and many other leaders in the American theater. Although WOOLF provided opportunities, Albee eventually came to see the play as an albatross of sorts. In a program for a production at the Almeida in the UK, he stated: “The play has hung about my neck like a shining medal of some sort.”

THE WORLD OF THE PLAY Throughout WHO’S AFRAID OF VIRGINIA WOOLF, Albee comments on politics in America and the illusion of the American Dream. Although we often look back to the early 1960s through the rosy view of JFK’s Camelot, at that time America was faced with rising political tension and change. The Cold War continued to create fear and anxiety for everyday Americans and the play opened under the shadow of the Cuban Missile Crisis in October 1962. The threat of nuclear war was quite real. International tensions were also being played out in the Space Race, as the United States and the USSR competed for scientific dominance. The early 1960s also saw the beginning of second-wave feminism, which challenged the role of women in the workplace and in the home. Deep cultural changes were underway nationwide with the advent of the Civil Rights movement. Albee admits that he named Nick after President Nikita Krushchev of the Soviet Union, while George and Martha clearly refer to our first American President and his wife. The tensions of the world around the characters are also being played out in a living room in New Carthage.


House Rules and Other Helpful Information •

Food and beverages purchased at the lobby bar are allowed inside the theater, but we ask that you are respectful of your fellow audience members and enjoy them quietly.

Smoking is strictly prohibited throughout the building.

Latecomers are seated at the discretion of the House Manager.

Personal electronic devices, including cellular phones, must be turned off prior to the performance.

Listening assistance devices are available at the Box Office.

Photographing or sound recording of the performance is expressly prohibited by law. So, no cameras or recorders, please. Your cooperation is appreciated.

For the enjoyment of all audience members, every attendee must have a ticket and sit in his or her own seat (no “babes in arms” or children in laps).

Thank you for respecting all Triad Stage facilities. If you have any questions, please ask the bartender, House Manager or a Box Office Associate for clarification.

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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Proud Supporter of Triad Stage

Since our opening in 1962, Brady has been a proud supporter of the Arts in our communities. We are proud to continue in that tradition as we sponsor Triad Stage’s 2019-2020 season. To learn more about the various ways we serve our communities, please visit us online at bradyservices.com.

bradyservices.com

buildingclarity.com


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.


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.

EXCELLENCE

We strive for bold, daring excellence in all of our endeavors as we seek to create professional theater with regional and national impact.

ARTISTIC RISK

Striving to constantly challenge ourselves, we reserve the right to take artistic risks and make mistakes.

IMAGINATION

Triad Stage delights in the imaginative process. We uphold freedom of expression as indispensable to the power of imagination.

COMMUNITY

As individuals are united in their shared experience of the theatrical event, strangers become friends, common ground is discovered, and dialogue begins. In imagining the lives of others, our capacity for empathy is strengthened.

LEARNING

Theater is a valuable part of a lifetime of learning. Our work and the dialogue it creates should spark curiosity and inspire creative ways of thinking for our artists, staff and audience.

INCLUSION

Our community’s varied diversity must not only reflect itself in Triad Stage’s casting and staffing, but also in the selection of the stories we choose to tell.

COLLABORATION

We celebrate and encourage an artistic process rooted in collaboration. We seek to mirror this process in all aspects of our operations and actively seek partnerships with other organizations to benefit the well-being of our communities.

REJUVENATION

We are committed to revitalizing our historic downtowns by greatly enhancing the cultural life of the Piedmont Triad through entertainment and by providing an economic impact benefiting other area businesses.

A SOUTHERN VOICE

By placing the best of Southern writing in juxtaposition with classic and contemporary world drama, we foster a unique Southern voice, allowing our audience the pride of saying, “This theater is ours.”

NORTH CAROLINA

We seek to play a leading role in the North Carolina arts community. We actively work to create an artistic home for artists with North Carolina connections and to provide a bridge to the profession for emerging artists.

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Proud sponsors of tomorrow. At Lincoln Financial Group, we believe in helping people face their futures with confidence. It began over a century ago when we adopted Lincoln’s name. His legacy of honesty, integrity, and respect has helped shape our business as well as how we dedicate our resources to help the community around us. It’s also why we established the Lincoln Financial Foundation: To carry on our rich tradition of giving by supporting the hopes and dreams of North Carolina with the tools it needs to lay the foundation for a better tomorrow.

Lincoln Financial Group is the marketing name for Lincoln National Corporation and its affiliates. LCN-1271538-081115 © 2018 Lincoln National Corporation. 16

BRING THE GARLIC AND A SILVER STAKE, BUT LEAVE YOUR DISBELIEF AT HOME. A bloodsucking stranger appears in London and has citizens locking their doors and praying for dawn.

BUY YOUR TICKETS TODAY! OCTOBER 20 - NOVEMBER 10, 2019 Dracula by Bram Stoker Adapted by Preston Lane Pyrle Theatre in Downtown Greensboro


ENRICHING OUR COMMUNITIES Integrity, Respect, Stewardship, Excellence and Health are the commitments we’ve made to ourselves, our fellow employees and the communities where we work and live.

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AUDIENCES SING OUR PRAISES!

®

“Triad Stage is a beacon of excellence that makes me love my community more, and gives me the desire to more fully invest in my life here. I am very grateful for this theatre and for those whose vision keeps it going.”

Looking for the Best in Locally Owned Triad Restaurants?

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NOW SHOWING

THE ART & SOUL OF GREENSBORO Catch our next showing of O.Henry magazine in BLUE BOXES around the city and at your favorite restaurants and shops.

PUMP BOYS AND DINETTES, 2014

GIVE YOUR SUPPORT

W W W.O H EN RY MAG .CO M

donate@triadstage.org 21


I FOUND F I N D YO U R

D OW N TOW N . |

DOW NTOW NG R E E NS B O R O . OR G

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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+)

STARS ($10,000-19,999) The Cemala Foundation • Lincoln Financial Foundation • Piedmont Natural Gas • Pinnacle Financial Partners • Zuraw Financial Advisors • Jan Pro

AISHA SOUGOU, SECOND PLACE REGIONALS

BECOME A SPONSOR.

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

WHAT.

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

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

WHO.

High school students in our community.

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

WHEN.

Workshops throughout the fall of 2019. Preliminary Competition January 11, 2020 at NC A&T. State Finals February 17, 2020 at Triad Stage.

Media Partners

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!

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

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

CONTACT SARAH LEONARD sleonard@triadstage.org CALL 336.274.0067 ext 203 ADD YOUR SUPPORT TODAY! 23


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This is a community surrounded by care. With an extensive network of doctors, specialists, nationally‑recognized hospitals and emergency care and urgent centers, Cone Health is right here with you. And with the convenience of e‑visits and 24/7 video visits, quality care is even more accessible…and more personal. Learn more at conehealth.com.

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8/13/19 4:42 PM


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 August 21, 2019

PRODUCERS CIRCLE ($10,000+) 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 and 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

CENTER STAGE ($5,000-$9,999)

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

Lindsey and Frank Auman Bernard Robinson & Company Brandon Bensley Jeb Brooks Joseph M. Bryan, Jr. Janis & Marc Bush Rebecca & Rick Craig Candace & Roger Cummings Rob DaVanzo Ginger & Haynes Griffin Maureen & Bob Ihrie Barbara Kretzer Donna and George Lawson Kathryn and 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 Martha & Harrison Turner Well*Spring

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

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STAGE HAND ($1,000-$2,499) American Premium Beverage Drs. Anthony & Katherine Atala BB&T Ben Baker Betty & Dennis Barry Susan & Richard Beard Lisa and William Bullock Pat and 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 and Lloyd Peterson Barbara & Dale Phipps David & Claudia Babb Reich Lynn Wooten and Paul Russ Adrian Smith Bonnie Stewart Ernestine & Stuart Taylor May Toms Triad Tech Services Shirley & Jeffrey Vestal Judy & Bob Wicker Woodruff Family Law Group

GALLERY ($500-$999)

PATRON ($250-$499)

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

Clare & Mike Abel Carolyn and Donald Allen Uma & Ravi Avva Donna Baldwin-Bradby Josephine Barbour Jerry & Milton Bates Heather and Paul Benson Mary & Frank Biggerstaff Angenita Boone 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 Handcock 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 Joanne Martin Kathy & David Mazzola Amanda McGehee

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Doris McGinn Dana & Doug McLeroy Bonnie and 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) John & Virginia Achey Rose & Victor Ackermann Daryl Adams Leanne Angell Margaret & Howard Arbuckle Sarah 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 and George Burfeind Hodges and Joe Carroll Waban Carter Kathy Cissna Amanda Clark Lori & Murray Clayton Faye & Michael Collins Deborah & Charles Delcambre Georgetta Denhardt Marlita Diamond Tonya & Glenn Dobrogosz Pam and Alan Duncan Phyllis Dunning Dennis & Inez Elliott Janis and Andy Fields Becky Fligel David & Wanda Formisani Martha H. Fowler Elaine Fox Alane & William Frakes Marcia Freed Deborah Friedman Kenneth L. Garner Ramona and Russell Gibson Marilyn and Edward Gideon Betty Godwin Janis Hammett Susan Hanks David Cohen & Judy Hampton Susan Hanks Anne & Bill Hardin Karyn Harrell Gloria and Walter Harris Wanda Harris Angela and Drew Hays Janet Hendley Mary Louise Smith & Cheryl Hopkins David & Betsey Horth

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


Robert Robless Michael Rocco Ruth and 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 and Leon Wessel Dave Clark & Susan Wilson Mary & Terry Woodrow

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 bequests on behalf of Triad Stage

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BE PART OF OUR STORY BECOME A SEASON PASSHOLDER. GREAT SAVINGS. Enjoy the highest quality professional theater and great savings! See all five MainStage shows in Greensboro and save up to 30% over the cost of single tickets.

From Jane Austin 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.

PRIORITY SEATING. Secure your favorite seats for the season now, before anyone else. EASIER EXCHANGES. Change of plans? No problem. We make it easy to switch your tickets to another performance, all season long. HOLIDAYS MADE SIMPLE. Season Passholders get exclusive access to buy holiday tickets to It's a Wonderful Life: A Live Radio Play and A Christmas Carol at discounted prices before they go on sale to the public.

STOP BY THE BOX OFFICE OR CALL 336.272.0160 TO BUY YOUR SEASON PASSES TODAY!

artsgreensboro.org || #artsgso

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Board of Trustees

Triad Stage Staff

Officers 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, Brandon Bensley, Donna Baldwin-Bradby, Phil Barrineau, Lynn Bresko, Vanessa Carroll, Jewell Cooper, Karen Dyer, Ruth Heyd, George Johnson, Sujay Kumar, Leslie Marus, John Poole, Terri Relos, Sarah Saint, Steve Sumerford, Ashley Wigglesworth, 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 Design

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 Service,s Associate Emily Gordon, Josh Johnson, Martha Latta, Hunter Morgan, Nikki Tomeo, Claire Weisman, Audience Services Associates Daniel Morrison, House Manager

For Who's Afraid of Virginia Woolf?

Production Katie O’Kelly, Director of Production Tannis Boyajian, Technical Director T.J. Scott, Master Carpenter Shane Burgett, Carpenter Eric Hart, Props Master 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

Randall Simmons, Assistant Director Keaton Brower, Assistant Dramaturg Amber Bidwell, Assistant Stage Manager Courtney Lawson, Run Crew Taylor Dankovich, Sound Supervisor Madison Hardaway, Sound Board Operator Sarah Gunter, Wardrobe Supervisor Mary Crockett, Angelina Rodriguez, Scenic Artists Special Thanks: Dr. David Wharton

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new possibilities COME SEE WHAT’S NEW!

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LIVE YOUR LIFE WITH LIVE ARTS

NICK CAVE

Falk Visiting Artist September 26, 2019

ANDERSON & ROE Piano Duo October 1, 2019

CAMILLE A. BROWN & DANCERS February 8, 2020

RENÉE FLEMING Soprano February 26, 2020

DAVEED DIGGS

Original Cast of Hamilton April 9, 2020

Season Subscriptions and Tickets on sale now! Special rates for Seniors, Military, Students, and Faculty. TICKETS: 336.334.5789 or UCLS.UNCG.EDU

Profile for Triad Stage

Triad Stage's WHO'S AFRAID OF VIRGINIA WOOLF?  

Program/Playbill for Triad Stage's production of Edward Albee's WHO'S AFRAID OF VIRGINIA WOOLF?

Triad Stage's WHO'S AFRAID OF VIRGINIA WOOLF?  

Program/Playbill for Triad Stage's production of Edward Albee's WHO'S AFRAID OF VIRGINIA WOOLF?

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