2012 / 2013 SEASON
MARCH 6 - APRIL 7, 2013
Richard Bean’s Under the Whaleback takes place among
fishermen living in Hull, England, who spend most of
their lives fishing the most treacherous waters. They
hate fishing because of its danger, but at the same time
it provides them with a strong sense of identity, belonging, and masculine pride. At sea, they can be courageous
daredevils. Isolated from the rest of the population, these
men can be brutish, crude, and hilariously funny. They are
also surprisingly brittle, showing deep despair when they
crack under pressure. And while this heritage seems to
be a curse, when the fishing industry collapses there is a
void and a new generation is set adrift, lacking purpose.
FROM THE ARTISTIC DIRECTOR
BLANKA ZIZKA
The problems and crises in this play are extremely local,
and the cast must be as authentic as possible: to find the
tone, the dialect, the music of the language, the
physicality; to understand local customs and fishermen’s
superstitions and prejudices; to make exhilarating, terrifying encounters with nature believable. All of this is
extremely important to bring the play to life.
The exciting cast of Philadelphia actors, led by Pearce
Bunting, has been preparing for this play for months.
They have participated in a workshop led by French vocal
teacher Jean-René Toussaint, watched BBC
documentaries, read many books, and visited “Shipwreck!
Winslow Homer and the Life Line” at the Philadelphia
Museum of Art. I also traveled to London to meet Richard
Bean, and to Hull, where I was able to speak to retired
fishermen, including Jim Williams, a guide on the Arctic
Corsair and a partial inspiration for one of Whaleback’s
characters.
The designers working on this production, Matt Saunders
(set), Allen Hahn (lighting), Daniel Perelstein (sound), and
Oana Botez (costumes) collaborated with me to create a
design that, despite placing the skeleton of a boat
unapologetically in the midst of the Wilma’s black stage,
means to ignite your imagination and take you on a trip
into a fascinating world.
Enjoy Under the Whaleback.
And now for something completely different.
When Blanka selected the four plays for this season,
I found myself fascinated with the unique and specific
worlds revealed in each of them.
FROM THE MANAGING DIRECTOR
JAMES HASKINS
I lived in New York as a gay man in the mid to late ’80s.
It’s an understatement to say that I was deeply connected
to our six-month journey into the world (and heaven) of
Angels in America as seen through Tony Kushner’s eyes.
I brought my mom to see the play to give her a better
glimpse into aspects of my life.
In my years as a struggling actor in Seattle, I worked
many box office and temp reception jobs. Although I’m
glad to say that I never worked for a megalomaniac boss
like Daniel Weisinger in Leslye Headland’s Assistance, I
certainly identified with the frenzied workplace, crazed
juggling of telephone calls, and Nick and Nora’s office antics. Just before summer, we’ll take you into the
kaleidoscope of Robert O’Hara’s Bootycandy…but that’s a
surprise for later.
Today, we go Under the Whaleback. I can’t recall experiencing a world – in life or onstage – quite like this one.
Energized, thrilling, dangerous, funny, and claustrophobic,
Richard Bean’s vivid language provides a hyper-realistic
look at the lives of fisherman in Hull, England. Through
them, we see a fading industry not unlike many in our own
country, and a world in which a life under the whaleback
is more of a home to these men than any house on land.
Even upon seeing a rendering of Matt Saunders’ stunning
set, I knew we were creating a wholly new adventure on
the Wilma stage.
As we look to the future, we are in various stages of
development on projects with the likes of Pulitzer Prizewinning playwright Paula Vogel, Greek director Theodoros
Terzopoulos, JUNK Artistic Director Brian Sanders, and
others, with the hope of bringing their work to the Wilma
in the future. And we continue to welcome our resident
dance company BalletX and our resident cabaret The
Bearded Ladies into our theater and lobby.
I welcome you to discover the resonances for yourself in
each of these experiences. Some reflect a familiar situation while others provide insights into how others live, but
they all demonstrate how we as human beings behave in
divergent and oftentimes extraordinary circumstances.
*SEASON SPONSORS
*OPENING NIGHT SPONSORS
*PRODUCTION SPONSORS
HONORARY PRODUCERS
LINDA AND DAVID GLICKSTEIN
This project is supported
in part by an award from
the National Endowment
for the Arts.
With additional support from the
Charlotte Cushman Foundation.
The Wilma Theater is grateful for significant support
provided by:
The
Horace Goldsmith
Foundation
Wyncote Foundation
Blanka Zizka
Artistic Director
under the direction of
presents
James Haskins
Managing Director
BY RICHARD BEAN
DIRECTED BY BLANKA ZIZKA
featuring
Ross Beschler*, Gaby Bradbury, Pearce Bunting*, Keith Conallen,
Brian Radcliffe, Ed Swidey*, H. Michael Walls*
Set Designer
Matt Saunders
Costume Designer
Oana Botez
Lighting Designer
Allen Hahn
Sound Designer
Daniel Perelstein
Philadelphia Casting
David Stradley
Voice Coach
Jean-René Toussaint
Dialect Coach
Lynne Innerst
Dramaturg
Walter Bilderback
Production Manager
Clayton Tejada
Resident Stage Manager
Patreshettarlini Adams*
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
UNDER THE WHALEBACK was first produced by the
English Stage Company at the Royal Court Theatre.
This theater operates under an
agreement between the League of
Resident Theatres and Actors’ Equity
Association, the Union of Professional Actors and Stage
Managers in the United States.
Ross Beschler.....................................................................Bagnall
Gaby Bradbury...........................................................................Elly
Pearce Bunting.......................................................Cassidy/Darrel
Keith Conallen.............................................................Norman/Pat
Brian Radcliffe......................................................................Darrel
Ed Swidey...................................................................................Roc
H. Michael Walls..........................................................................Bill
Act One: 1965 - Hull, England, aboard the Kingston Jet
Act Two: 1972 - Icelandic Coast, aboard the James Joyce
Intermission
Act Three: 2002 - Hull, England, aboard Arctic Kestrel Museum Ship
The Wilma Theater is a member of the following organizations: Greater Philadelphia Cultural Alliance,
League of Resident Theatres, Rittenhouse Row, and Theatre Communications Group, Inc.
Please note
Photography or sound recording inside the theater, without the written permission of the management,
is prohibited by law. Violators may be asked to leave the theater and may be liable for financial charges.
Children Policy
Some subject matter may be deemed objectionable for children; therefore, children under 12 will not be
permitted in the theater.
Distracting Noise and Light
The noise of cellular phones and candy wrappers, and the light from electronic devices are distracting
to both audiences and actors. Please turn off all cellular phones and electronic devices. Also, please be
sure that your watch alarm does not sound during the performance.
Smoking, eating, and drinking are prohibited inside the theater.
*THE ARTISTS
RICHARD BEAN
(PLAYWRIGHT)
was born in East
Hull in 1956.
After graduating
school, he worked
in a bread factory
before leaving to
study Psychology at Loughborough University. Richard has worked as a
psychologist and a stand-up comedian. He
was awarded the 2011 Evening Standard
Award for Best Play for The Heretic and
One Man, Two Guvnors. He also won the
2011 Critics’ Circle Award for Best Play
and 2012 Whatsonstage.com Award for
Best New Comedy, both for One Man, Two
Guvnors. His work for the stage includes
One Man, Two Guvnors (National Theatre,
Lyttelton/Adelphi Theatre/Theatre Royal
Haymarket/Music Box Theatre, New York/
World Tour); a stage version of David
Mamet’s The House of Games (Almeida);
The Big Fellah (produced by Out of Joint);
team writer of Jack and the Beanstalk
(Lyric Hammersmith); Pub Quiz is Life
(Hull Truck); England People Very Nice
(National Theatre, Olivier; Olivier Award
Nomination for Best New Play); The
English Game (produced by Headlong);
Up On Roof (Hull Truck; nominated for
TMA Play of the Year); In The Club (Hampstead Theatre); a version of Moliere’s The
Hypochondriac (Almeida); The Heretic,
Harvest (nominated for Evening Standard
and Olivier Best New Play Awards; winner
Critics’ Circle Best New Play), Honeymoon
Suite (Pearson Play of the Year), Under
The Whaleback (George Devine Award)
and Toast (all at the Royal Court); The God
Botherers (Bush Theatre); Smack Family
Robinson (Newcastle Live!); The Mentalists (Lyttelton Loft, National Theatre); and
Mr. England (Sheffield Crucible Theatre).
His radio plays include Of Rats and Men,
Yesterday, Unsinkable, and Robin Hood’s
Revenge.
BLANKA ZIZKA
(DIRECTOR) has
been Founding
Artistic Director of The Wilma
Theater since
1981. In the fall
of 2011, Blanka
received the
Zelda Fichandler
Award from the Stage Directors and Choreographers Foundation, which recognizes
an outstanding director or choreographer
transforming the regional arts landscape.
Most recently, Blanka directed Tony
Kushner’s Angels in America, Tadeusz
Słobodzianek’s Our Class, Sarah Ruhl’s
In the Next Room, which received eight
Barrymore awards, and Macbeth, which
included an original score by Czech composer and percussionist Pavel Fajt. Blanka
has directed over 60 plays and musicals
at the Wilma. Her recent favorite productions are Wajdi Mouawad’s Scorched, Tom
Stoppard’s Rock ’n’ Roll, Sarah Ruhl’s
Eurydice (which featured an original score
by composer Toby Twining, now available
from Cantaloupe Records), Brecht’s The
Life of Galileo, Athol Fugard’s Coming
Home and My Children! My Africa!, and
Caryl Churchill’s Cloud 9. She collaborated closely with Dael Orlandersmith on
her plays Raw Boys and Yellowman, which
was co-produced by McCarter Theatre
and the Wilma and also performed at
ACT Seattle, Long Wharf, and Manhattan
Theatre Club. Blanka was also privileged
to direct Rosemary Harris and John Cullum in Ariel Dorfman’s The Other Side
at MTC. For the Academy of Vocal Arts,
she directed the opera Kát’a Kabanová
by Leoš Janácek. She has collaborated
with many playwrights including Yussef
El Guindi, Doug Wright, Sarah Ruhl, Tom
Stoppard, Linda Griffiths, Polly Pen, Dael
Orlandersmith, Laurence Klavan, Lillian
Groag, Jason Sherman, Amy Freed, Robert Sherwood, and Chay Yew. Her favorite
productions are, even after all these years,
Tom Stoppard’s The Invention of Love and
Jim Cartwright’s Road.
ROSS BESCHLER
(BAGNALL) is thrilled
to be back at the Wilma
after a stint in Pittsburgh
performing in Jordan
Harrison’s Maple & Vine
at City Theatre. Notable
Philadelphia shows include The Wilma Theater
(Our Class), People’s
Light & Theatre (End
Days, The Master Builder), Theatre Exile (Knives in Hens,
Hunter Gatherers), Delaware Theatre Company (Lucy), and
EgoPo Classic Theater (The Golem, Marat/Sade, Waiting
for Godot, and Hell, his original adaptation of the novel by
Henri Barbusse). In New York, Ross has been a frequent
collaborator with the Brooklyn-based performance group
Object Collection, and has also performed with The Flea,
Vital Theater, Polybe & Seats, and many others. Look for
him in the indie feature film Flight of the Cardinal, and come
back to the Wilma to see him in Bootycandy! MFA: Temple
University. Much love to shipmates BG & SL, and many tired
thanks to taskmaster KG.
GABY BRADBURY (ELLY)
is thrilled to be making
her debut at The Wilma
Theater. Credits: The
Music Man (Gracie Shinn),
Oliver! (Ensemble), and
A Christmas Carol (Tiny
Tim), Walnut Street
Theatre; Gypsy (Baby
June), Bristol Riverside
Theatre; Charlotte’s Web
(Carter/President of the Fair), Hedgerow Theatre; Honk Jr.
(Downy) and Cinderella Kids (Luke), The Media Theatre; the
world premiere of Macy’s Yes, Virginia: The Musical (Dancing
Pigeon) and Babes in Arms (Ensemble), Stagedoor Manor.
Readings: Faery Tales (Frances Griffiths) and The Women
(Little Mary). She also participated in an educational video
for children at CHOP’s Center for Autism Research. Special
thanks and love to Blanka, everyone at The Wilma, Bob
Marks, Stagedoor, BDF, The Kimmel Center, school, God,
family, and friends.
PEARCE BUNTING (CASSIDY/DARREL) is back to
the Wilma after 18 years,
having appeared in Quartet and Road (Barrymore
award), both directed by
Blanka Zizka. Most recent:
A Behanding in Spokane
(Theatre Exile), As You
Like It (Ten Thousand
Things), A Wrinkle in
Time (Children’s Theatre, MN), Grapes of Wrath (Shakespeare Theatre of New Jersey). More Philly: Lieutenant of
Inishmore, Blackbird, Killer Joe (Theatre Exile); Endgame,
Hamlet, The Wild Duck, Pink Melon Joy (Big House); Coyote
On A Fence, Midsummer Night’s Dream (Arden); All in the
Timing, Fifth of July (PTC); Julius Caesar, Macbeth, Sister
Carrie (People’s Light); All My Sons, Reckless (Cheltenham). Broadway: Mamma Mia. TV: Bill McCoy in Boardwalk
Empire (HBO), Law & Order: SVU, Homicide, Travelers (The
Discovery Channel). Pearce lives in Minneapolis with his wife
and son (Yo!) and is currently developing The Clumsy Man,
a piece inspired by the life of Hans Christian Andersen, w/
Michael Sommers and Kristin van Loon, for the fall of 2013
at The Open Eye Figure Theatre.
KEITH J. CONALLEN
(NORMAN/PAT) is thrilled
to be back at the Wilma
after a brief encounter
in Curse of the Starving
Class. A Philadelphia native, Keith has been seen
on many area stages with
Azuka, BRAT, Simpatico,
Flashpoint, etc. He’d like
to thank Blanka for this
amazing opportunity to stretch and help create this outstanding world with her and a stellar cast. Love you guys!
Be kind to one another.
BRIAN RATCLIFFE
(DARREL) is delighted
to be making his Wilma
debut. He is a graduate
of Swarthmore College,
where he studied chemistry, Chinese, and theatre.
Brian regularly performs
improv comedy at the
Philly Improv Theater, and
is a piano player for ComedySportz Philadelphia. Local acting credits include Jim in
Red Cross (InVersion Theatre), Istvan in Love/Stories (Round
Table Theatre), Quinn in Hazard County (Azuka Theatre),
and Karl van Beethoven in Vainglorious (Applied Mechanics).
Deep gratitude to Blanka and to this incredible cast.
ED SWIDEY (ROC) is
thrilled to return to the
Wilma, where he played
Ellis in Curse Of The
Starving Class, Wladek
in Our Class, and Angus
in Macbeth (also the
11th-hour understudy for
Macbeth himself). Recent
roles: the villain Fu in
Aladdin: A Musical Panto
(People’s Light); The Messenger in A Dybbuk, Philippe in
Hell, and Hamm in Endgame (EgoPo Classic Theater); Lucas
in Lidless (InterAct Theatre); Jazzbo in It’s A Wonderful Life
(Delaware Theatre Company); and Rio Rita in The Hostage
(Resident Ensemble Players - UDEL). Next up: Uncle Tom’s
Cabin with EgoPo Classic Theater. As a playwright, Ed’s
all-ages fantasy the mEEp pROject was a hit for Simpatico
Theatre Project last season. Ed is also a passionate theatre
teacher and proudly works with the Wilma’s outreach programs. Ed received his MFA in Acting from the University of
Delaware. For Alfie, Winky and their beautiful Mama.
H. MICHAEL WALLS
(BILL) makes his fifth
appearance in a Wilma
production, having debuted there on Sansom
Street eighteen years ago
with Pearce’s inevitably
forceful presence in the
cast, and Blanka’s always
wonderfully imaginative
hand on the tiller. Seems
like old times. His last appearance here was in 2010’s Leaving. Walls is a stage veteran of more than 40 years and over
150 productions. He has appeared in many area theaters
including Theatre Exile, Arden Theatre, Pennsylvania Shakespeare Festival, Philadelphia Theatre Company, and several
no-longer extant groups such as Novel Stages, Philadelphia
Festival Theatre of New Plays, and Philadelphia Drama
Guild. Playwrights whose work he has performed range
from Chekhov, Shakespeare, Shaw, Arthur Miller, Steinbeck
and Williams to Stoppard, Jason Miller, Derek Walcott, and
Havel. He wishes to thank Blanka for so much - of course
the role and the rehearsal process; JR for putting him in
touch with so much of himself he didn’t know was there; and
Pat, one of the best stage managers and warmest people in
the world. Especially, he thanks his wife for the inspiration,
humor, support, and love that make all other things possible.
He dedicates his performance of this role to Jiri, whose
absence often leaves a twinge of sadness in the creative
part of his heart.
MATT SAUNDERS (SET DESIGNER) is a Barrymore Awardwinning performer, scenic designer, and a creator of new
performance work, proudly based in Philadelphia. Matt is a
founding member and Associate Artistic Director of the OBIE
Award-winning experimental theatre company New Paradise
Laboratories. He has been involved in the creation of all of
NPL’s work through both scenic design and performance.
This work has included Prom, a co-production with the Tony
Award-winning Children’s Theatre Company in Minneapolis,
and BATCH, at the 2007 Humana Festival for New American
Plays at Actors Theatre of Louisville. Matt co-created and
designed Fatebook, which was selected for the United
States’ professional pavilion at the Prague Quadrennial 2011.
Outside of NPL, Matt has designed over 80 shows for such
companies as, Walnut St. Theatre, The Acting Company, The
Guthrie Theater, Arden Theatre Company, InterAct Theatre
Company, Theatre Exile, 1812 Productions, Headlong Dance
Theatre, Pig Iron Theatre Company, People’s Light and Theatre, Philadelphia Theatre Company, Yale Repertory Theatre,
and Berkeley Repertory Theatre. Under the Whaleback is
Matt’s seventh show at the Wilma, which is becoming an
artistic home for him. Mr. Saunders holds an MFA in Design
from the Yale School of Drama, and is the Assistant Professor of Design in the Department of Theater at Swarthmore
College. www.mattsaunders.net.
OANA BOTEZ (COSTUME DESIGNER) is a native of Romania and has designed for major theater, opera, and dance
companies, including The National Theater of Bucharest,
and was involved in different international theater festivals
such as the Quadrennial Scenography Show in Prague.
Oana is part of the first Romanian theater design catalogue,
Scenografica. Since 1999, when she moved to New York,
her collaborators in theater, opera, film, and dance include
Robert Woodruff, Richard Foreman, Maya Beiser, Richard
Schechner, Andrei Serban, Blanka Zizka, Brian Kulick, Zelda
Fichandler, Annie-B Parson and Paul Lazar, Razvan Dinca,
Karin Coonrod, Jay Scheib, Rebecca Taichman, Kristin Marting, Evan Ziporyn, Eduardo Machado, Gus Solomon Jr. &
Paradigm, Carmen De Lavallade, Jackson Gay, Dusan Tynek,
Rania Ajami, Gisela Cardenas, Tony Speciale, Pavol Liska
and Kelly Cooper, Matthew Neenan, Molissa Fenley, Zishan
Ugurlu, Michael Sexton, Michael Barakiva, Pig Iron Theatre
Company, Play Company, Charles Moulton, Ripe Time,
among others. MFA in Design from NYU/Tisch School of the
Arts. Princess Grace Recipient, NEA/TCG Career Development Program. Barrymore Award.
ALLEN HAHN (LIGHTING DESIGNER) has designed productions at City Opera, Santa Fe Opera, Glimmerglass, and the
Lincoln Center Festivals, here in Philadelphia for the Curtis
Institute of Music, and world premiere operas at Juilliard
and at the Royal Danish Opera. His work has been seen in
a number of other European countries as well as in Hong
Kong and Bogota. Recent theater credits include Henry V for
Two River Theater Company, Three Sisters and Ivanov for
Pittsburgh Irish & Classical Theater, and Three Tall Women
for Seattle Rep. He has been a member of The Builders
Association, a NY-based cross-media theater company,
since its inception in 1994, and has worked with artist Tony
Oursler on installations at the Metropolitan Museum of Art
and ARoS Kunstmuseum in Denmark. His designs for several
productions were exhibited in the 2007 Prague Quadrennial
and he served as US Lighting Design Curator for the 2011
Quadrennial.
DANIEL PERELSTEIN (COMPOSER AND SOUND DESIGNER) is a freelance sound designer, composer, and musical
director in Philadelphia. At the Wilma, Daniel previously designed Macbeth, and served as composer and musical director for Our Class. Recent designs at Arden, Live Arts, Walnut,
People’s Light, Kimmel Center, PlayPenn, Azuka, Lantern,
Theatre Horizon, Flashpoint, others. Daniel is the resident
sound designer for the Bearded Ladies Cabaret. Education:
B.S. Engineering, B.A. Music, Swarthmore College. Thanks
Blanka, Clayton, Iain, Ashley, Pat, Jamie; Chris, Nick, Rob;
Mom & Sarah. In 2012, Daniel’s work was recognized with
three Barrymore Award nominations in the categories of
outstanding sound design and best original music. His collaboration with Christopher Colucci won the 2012 Barrymore
Award for sound design. As a 2013 Independence Foundation
Fellow, Daniel will be reinforcing his sound art with an 18
month study in the visual arts. Every moment is in loving
memory of Dad. Samples at www.danielperelstein.com.
JEAN-RENÉ TOUSSAINT (VOICE COACH) is a Frenchborn director, actor, and voice teacher. He is the creator of
a distinct school of vocal training for performing artists and
therapists – a technique he has dubbed Stemwerk in Dutch –
and is the founder and head of a training center in Rotterdam
in the Netherlands and in Avanos-Cappadocie in Turkey. He
has been professionally active in theater since 1973, and has
worked with major theatrical companies and artists such
as Living Theatre, Roy Hart Theatre, Robert Wilson, and
Polish Laboratory Theatre. His vocal theory and technique
are inspired by the work of Antonin Artaud, Jerzy Grotowski,
and Roy Hart, which are all defining figures in contemporary
theater and, in the cases of Grotowski and Hart, of voice
technique. Toussaint has traveled through parts of Asia and
India, studying diverse ancient vocal practices, from Afghan
Sufi to Mongolian, Tibetan, and Japanese vocal traditions.
LYNNE INNERST (DIALECT COACH) joined the theater
faculty at Temple University in 2006 and has been working
in the lively and exciting professional Philadelphia community since she arrived. Lynne’s most recent Wilma credits
include Angels in America, Parts One and Two, My Wonderful
Day, and In the Next Room, or the vibrator play. Lynne has
served on the faculties of Carnegie Mellon University, The
University of New Mexico, California State University at Long
Beach, and Southern Illinois University at Carbondale. She is
a master teacher and founding member of the Fitzmaurice
voice group. She has worked as an actress and coach in film,
television, regional, repertory, theater, and voice-overs. She
holds an MFA from The University of Southern California.
She is delighted to be back at the Wilma once again; out of
all of her work with the Wilma, Under the Whaleback has
been the most fun of all.
DAVID STRADLEY (CASTING) is the Artistic Director of
Delaware Shakespeare Festival. As a casting director,
he has also worked for Philadelphia Young Playwrights
and Delaware Theatre Company. As a director, David has
directed for Delaware Theatre Company (eight productions),
Walnut Street Theatre, Delaware Shakespeare Festival, and
Philadelphia Shakespeare Theatre. As an educator, David
has worked for all of the above companies as well as for the
Wilma, Folger Shakespeare Library, and People’s Light &
Theatre Company. BFA Theatre Performance, University of
Evansville; MFA Acting, Asolo Conservatory/Florida State
University. Many thanks to Blanka and Jamie for the opportunity. Much love to Michelle. For more information, please
see www.davidstradley.com.
WALTER BILDERBACK (DRAMATURG/LITERARY MANAGER) is in his ninth season with The Wilma Theater. Over his
quarter-century career, he has worked across the country at
theaters large and small, non-profit and Broadway, on plays
of every style imaginable. In the 2010/2011 Season, he and
Matt Neenan created the acclaimed Wilma Theater/Ballet X
collaboration Proliferation of the Imagination.
PATRESHETTARLINI ADAMS (RESIDENT STAGE MANAGER/AEA) has been the production stage manager at The
Wilma Theater since the theater made its new home on the
Avenue of the Arts in 1996. She has captained all but three
productions in her tenure here and is very happy to be a part
of the Philadelphia theater community. “Pat” is celebrating season #17 at the fabulous Wilma! Prior to her coming
home to Philly, Pat was stage manager at the Tony Awardwinning Crossroads Theatre in New Brunswick, NJ. In past
years, Pat has worked the National Black Arts Festival
in Atlanta, GA and the National Black Theater Festival in
Winston-Salem, NC. When not at the Wilma, she has found
herself traveling the world with critically-acclaimed dance
company Noche Flamenca! Most recently, she is using all
her free time to spoil her grandsons, Isaiah and Elijah. God
Is Good!
CLAYTON TEJADA (PRODUCTION MANAGER) is in his
second year as Production Manager after serving the Wilma
as Technical Director for the previous seven years. Clayton
started his professional career as an Apprentice at the
Arden Theatre, and then worked there for several years as
Stage Supervisor. Before coming to the Wilma, he worked
as a freelance Technical Director or Production Manager for
1812 Productions, Mum Puppettheatre, Lantern Theater, and
Azuka Theatre. Clayton is a graduate of the Theater Arts
program at The University of Puget Sound. He is proud to
make Philadelphia his professional and artistic home. Many
thanks to his sweet Kate and Alex the rascal.
JAMES HASKINS
(MANAGING DIRECTOR) joined the staff
of The Wilma Theater
as Managing Director
in June 2006. He
began his work in
theater administration
at Circle Repertory
Company and went on
to work with a number
of theaters in New York
and Seattle. Upon moving to Philadelphia, James worked
as Managing Director of InterAct Theatre Company and
then Executive Director of the Theatre Alliance of Greater
Philadelphia before coming to the Wilma. Also an actor
and director, James holds an MFA from the University of
Washington and a BA from The College of Wooster (Ohio),
where he currently serves as President of his alumni class
and as a member of the Alumni Board. James is honored
to serve on Philadelphia Mayor Michael Nutter’s Cultural
Advisory Council and Pennsylvania Ballet’s 50th Anniversary
Advisory Council.
*PRODUCTION CREW
Fight Coordinator............................Michael Cosenza
Movement Consultant.......................Steve Hoffman
Assistant Director...................................Ilya Simakov
Assistant Stage Manager..........Leonard J. Luvera
Assistant Set Designer.....................Colin McIlvaine
Assistant Costume Designer..............Karen Boyer
Assistant Lighting Designer...............Oona Curley
Properties Master...................Kimitha Anne Cashin
Light Board Programmer
& Operator ........................................... Ashley W. Mills
Sound and Video Operator...........Ashley D. Turner
Wardrobe Supervisor............................Regina Rizzo
Makeup Consultant...............................Maggie Baker
Running Crew..........George R. Spencer, Ben Henry
Carpenters..................Ben Henry, Elliot Greer, Phil Haberek, Alison Levy, Alyssa Cole, Steven Grav-
elle, Melanie Leeds, Ivan Dillinger, Aaron
Roberge Electricians...................Nicole Rolo, Melanie Leeds, Catherine Lee, Michael Hamlet, Nate Morgan, Josh Samors, Jill Klecha
Figure Sculptor..................................Kenneth Deprez
Figure Sculptor
Assistants........................Krista Schaefer, Jill Trager
Figure Models..........George Spencer, Justin Bauer,
Aaron Immediato, Javier Mojica
Scenery
Construction.............Center Line Studios, Inc., New Windsor, New York
*STAFF
ARTISTIC DIRECTOR: Blanka Zizka
MANAGING DIRECTOR: James Haskins
ARTISTIC
Dramaturg/Literary Manager - Walter Bilderback
Literary/Artistic Assistant - William Steinberger
Literary Interns - Charlotte Dow, Sebastián Bravo,
William Connell
EDUCATION
Education Director - Anne K. Holmes
Education Assistant - Ashley Alter
Teaching Artists- Ashley Alter, Ross Beschler, Kate
Czajkowski, Mike Dees, Liz Filios, Katharine Clark
Gray, Elizabeth Greene, John Jarboe, Ed Swidey
MARKETING
Marketing Director - Aaron Immediato
Public Relations Manager - Johnny Van Heest
Group Sales Manager - Jennifer R. Burrini
Public Relations Intern - John Lachtaw
DEVELOPMENT
Development Director - Iain Campbell
Grants Manager - Justin Bauer
Development Assistant - Debby Lau
Development Intern - Megan O’Donnell
BUSINESS
General Manager - Maggie Arbogast
Office Manager - Andrea Sotzing
Marketing & Administrative Coordinator/BalletX Patricia Sabin
*SPECIAL THANKS
Richard Bean, Dr. Gene Bishop, Sebastian Born, Kathleen Foster, Brian Hainstock, Gail Harrity, David Howey, Gareth
Tudor Price, JT Rogers, Harry Smith,
Dr. Andrew Stone, Jim Williams
er.
*HOW TO REACH US
The Wilma Theater
265 S. Broad Street
Philadelphia, PA 19107
Box Office: 215.546.7824
Admin: 215.893.9456
Fax: 215.893.0895
wilmatheater.org
BUSINESS (Continued)
Tessitura Application Systems Analyst Catherine Lachance-Duffy
Tessitura Services and Support Specialist Stephen Dombkoski
Tessitura Training and Support Specialist Andy Werther
PRODUCTION
Production Manager - Clayton Tejada
Technical Director - Matthew Zumbo
Resident Stage Manager - Patreshettarlini Adams
Facilities Manager - Kenneth Deprez
Master Electrician - Ashley W. Mills
Sound Engineer - Ashley D. Turner
Wardrobe Supervisor - Regina Rizzo
Production Fellow - George R. Spencer
Stage Management Fellow - Leonard J. Luvera
Custodian - Fetteroff F. Colen
FRONT OF HOUSE
Box Office Manager - James Specht
Assistant Box Office Manager - Hilary Asare
Box Office Staff - Amanda Grove, Rich Rubin,
Samantha Tower, Catherine Perez
House Manager - Javier Mojica
SERVICES
Photographer - Alexander Iziliaev
Catering - Chef’s Table
Technology Services - Tech Impact
Auditors - Horty & Horty, P.A.
Insurance Brokers - Gallagher Benefits Services,
SKCG Group, Inc.
BY WALTER BILDERBACK
OPEN STAGES
Under the Whaleback takes place in a now-lost world: the
sidewinder trawlers that sailed out of Hull and nearby
ports between the 1880s and 1980s, providing generations of Britons with cod and haddock for their beloved
fish and chips. The industry created a class of blue-collar
aristocrats along Hessle Road – “blasphemous saints and
splendid drunken heroes,” as a Hull song put it. Then, the
industry disappeared, a victim both of its own success and
international competition.
The first sidewinder was launched in Hull in 1881. Powered
first by steam and then diesel engines, these ships could
pull much larger nets, increasing their hauls. They were
called “sidewinders” because they hauled their nets off
the starboard side of the ship. The fish were gutted on the
open fishdeck, often in sub-freezing weather and Force 8
winds (60-65 mph). In order to provide some protection for
the fishdeck, the trawlers developed “whalebacks” – raised
bows. Sometimes, as in this play, the crews’ quarters were
located under the whaleback.
The sidewinders, with their crews of 15 to 20, were so
effective at catching fish that they decimated the nearby
North Sea banks within 20 years, and began making threeweek voyages, north of Scandinavia and west to Iceland
and Greenland, where the fishing was better.
Fishing has always been very dangerous work. In 1816,
Walter Scott reported hearing a fishmonger say, “It’s no
fish ye’re buying: it’s men’s lives.” Between 1946 and 1975,
32 Hull trawlers either sank or ran aground, with a loss
of nearly 200 lives. The worst year was 1968, which saw
the famous Triple Trawler Tragedy, when three ships sank
between January 11 and February 4, with only one survivor
among the 60 crewmen: everyone in Hull knew at least
one man who’d died. These figures don’t count the numerous deaths and injuries that occur in the regular course of
operations.
Museum reconstruction of crew’s quarters.
The Ross Cleveland, which sank Feb. 4, 1968. The Whaleback is the raised bow.
Fishing remains the deadliest occupation: in Great
Britain, the fatality rate remains seven times that of
mining; in the U.S., 200 in every 100,000 commercial
fishermen died in 2010, far worse than forestry, the
next highest contender. But, as anyone along Hessle
Road, the neighborhood where most of the trawlermen and their families lived, knew, the danger could
be matched by the pay. If you had a good catch on the
three-week voyage, a “deckie’s” pay made him a “three
day millionaire” for his short time ashore, with most of
the money often going for ale at Rayner’s and ordering
a fancy new suit at Waistell’s or Len Pearson’s to wear
when the next trip was over.
But other nations began buying and building sidewinders as well, and the Icelandic banks might have
been stripped bare by mid-century, if it hadn’t been
for the near cessation of North Atlantic fishing during
the two World Wars. Then Iceland began expanding
its territorial waters to 12, 50, 100, and finally 200
miles offshore, making the remaining stocks Icelandic
property. This led Iceland and Great Britain to three
Cod Wars between 1958 and 1976. By the end of the
third Cod War, Hull’s good years were past. Two-thirds
of wholesale merchants closed shop between 1973
and 1976. The last sidewinder to sail from Hull was
the Arctic Corsair in 1988. By 2002, there were 10,000
vacant homes in a city of about a quarter-million.
The Corsair is now preserved as a museum in Hull,
which director Blanka Zizka visited in April, 2012 for
research.
*READ MORE OF THIS ESSAY AT
WILMATHEATER.ORG/BLOG
*ONSTAGE
CONVERSATIONS
03/14 - MEET THE
PLAYWRIGHT!
Stay after the performance to discuss the play with
playwright Richard
Bean.
03/21 - Stay after
the performance
to discuss the play
with the cast.
04/03- Stay
after the matinee
performance to
discuss the play
with a member of
the Wilma’s artistic
staff in the lobby
with complimentary
coffee from
Starbucks.
FOLLOW US
BY WALTER BILDERBA
CK
WITH RICHARD BEAN
EXCERPTS FROM AN INTERVIEW
Illustration of St. Andrew’s Dock, Hull. 1960s.
“It’s a tough town, Hull, but we are mad and
proud”
Richard Bean is one of the most important playwrights to emerge in
Britain in this century. He’s best-known for his farce One Man, Two
Guvnors, which ran on Broadway last year in 2012. Here are some
excerpts from his interview with Wilma Dramaturg Walter
Bilderback.
Walter Bilderback: Under the Whaleback is set in Hull, which is your
hometown. You grew up right as the fishing industry started to decline.
Can you tell us a little about Hull?
Richard Bean: I was born into a big industrial, rough, smelly town of
about 300,000 people. Smelly? You might question – but the dominant industry was fishing and I remember one Hull Daily Mail headline
when I was growing up which cited a consultant surgeon at the hospital
having to stop an operation because the smell from the fish docks was
so bad. It’s a tough town, Hull, but we are mad and proud. We claim we
ended slavery because our Member of Parliament, William Wilberforce,
pushed through the legislation that ended British involvement in the
slave trade.
The Fish Deck, iced-up after an Arctic Storm.
Nowadays we are a depressed town struggling, a little like Detroit I guess, the
industry has gone, only the women can get service jobs, there are no jobs for
hairy blokes without finesse.
WB: Something that attracted us to the play is that it’s about a workplace and
how people support themselves. It seems that what people do to support themselves is important in almost all your plays.
RB: I love work plays. Work has hierarchy, hope, ambition, need, compromise,
tragedy, and comedy. Work is society touching the individual. Work is the individual engaging in society. Often the language is richer, saltier for sure, but also
more revealing.
WB: Under the Whaleback covers a period of nearly 40 years, from 1965 to
2002. Many of your plays span large periods of time. What draws you back to this
strategy?
RB: Time adds depth. Time reveals patterns, repetition, tropes of humanity. It
also makes the audience work, and if they’re working, and willing to work, you’re
ok, they’re on board.
WB: You spent six years as a stand-up comic before becoming a playwright.
What impact has stand-up had on your playwriting? Even in your most serious
work, there are plenty of laughs. In one interview you said, “I aspire to tell tragedies with comedy.”
RB: There is something of a technique of telling a tragedy with jokes. I think
Mamet does it well, though you would never call what he does jokes – it’s more
character with him, but I do jokes with heavy full stops, and it’s very satisfying
when the tragedy is told in this way, because the audience is entertained and
then hit with the humanity, the tragedy. It’s dangerous territory because too
many laughs, and one’s writing will be dismissed as an entertainment.
*READ THE FULL INTERVIEW AT
WILMATHEATER.ORG/BLOG
St. Andrew’s Dock, Hull in the 1960s.
BOARD OF DIRECTORS
Officers
David U’Prichard, PhD, Chair
David E. Loder,
Vice Chair
Clare D’Agostino, Esq.,
Secretary
Thomas Mahoney, Treasurer
Chair’s Council
Mark S. Dichter, Esq.
Herman C. Fala, Esq.
Peggy Greenawalt
Jeff Harbison
Lewis H. Johnston
John D. Rollins
A.E. (Ted) Wolf
Board Members
Arjun Bedi
Kathryn Doyle
Janice Giannini
Linda Glickstein
Robert E. Linck
Sissie Lipton
James F. McGillin
Reginald J. Middleton
Marlene S. Molinoff
Donald F. Parman
Brian Seaman, Esq.
Dianne L. Semingson
Ellen B. Solms
Gillian Wakely
Mark Wennell
Jeanne P. Wrobleski, Esq.
Florence Zeller
Ex-Officio
James Haskins
Blanka Zizka
Emeritus
Harvey Kimmel
Evelyn G. Spritz
Dr. R. J. Wallner
A Special Note to Our Donors
This list acknowledges all donations of $150 or above from December 1,
2011 – February 1, 2013. If your name has been omitted or misprinted,
please accept our apologies. Notify us of any changes by contacting Iain
Campbell, Development Director, at 215.893.9456 x109.
FOUNDATION,
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The Premiere Circle is a
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The Wilma Theater’s
in-school residency
program WILMAGINATION
is made possible with the
support of
Student Sunday
Evenings
This program is generously
underwritten by the Virginia
and Harvey Kimmel Arts
Education Fund of the
Philadelphia Foundation
and provides $10 tickets to
students.
And
The Virginia and Harvey
Kimmel Family campaign
to Build the Audiences of
Tomorrow, providing positive
early theater experiences for
Philadelphia area students.
Exceptional Value, Exceptional
LIVING
Features:
•
•
•
•
Fantastic location
Amazing views
Eco-chic
Innovative architecture, elegant fixtures,
and world class amenities
• On site best-in-class property management
• 24 hour emergency maintenance
• Pet friendly property with off leash dog run
and dog washing room
Contact us today to schedule your personal tour of one of our luxurious apartments.
633 West Rittenhouse Street • Philadelphia, PA 19144
215-586-4110 • rent@postrents.com
www.postrents.com
912
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