ROBERT FALLS, Artistic Director | ROCHE SCHULFER, Executive Director
presents
THE LITTLE FOXES
By
LILLIAN HELLMAN
Directed by
HENRY WISHCAMPER
Set Design by
TODD ROSENTHAL
Costume Design by
JENNY MANNIS
Lighting Design by
DAVID LANDER
Original Music and Sound Design by
RICHARD WOODBURY
Casting by
ADAM BELCUORE, CSA
Dramaturg
NEENA ARNDT
Production Stage Manager
JOSEPH DRUMMOND*
Stage Manager
BRIANA J. FAHEY*
cast
IN ALPHABETICAL ORDER
William Marshall………………………………………Michael Canavan*
Regina Giddens………………………………………Shannon Cochran*
Birdie Hubbard……………………………………….Mary Beth Fisher*
Alexandra “Zan” Giddens……………………………………Rae Gray*
Horace Giddens…………………………………………………John Judd*
Oscar Hubbard…………………………………………Steve Pickering*
Addie…………………………………………………………Cherene Snow*
Leo Hubbard……………………………………………………Dan Waller*
Benjamin Hubbard…………………………………………Larry Yando*
Cal…………………………………………………………Dexter Zollicoffer*
Assistant Director: Greg Allen
Dialect Coach: Eva Breneman
Fight/Movement Consultants: Chuck Coyle and Matt
Hawkins
The scene of the play is the living room of the Giddens
house, in a small town in the South.
Act One: The spring of 1900, evening
Act Two: A week later, early morning
Act Three: Two weeks later, late afternoon
The Little Foxes is presented by arrangement with Graham
Agency, New York.
Understudies never substitute for a listed player unless an
announcement is made at the beginning of the play.
John Victor Allen—Leo Hubbard; Hayley Burgess—
Alexandra “Zan” Giddens; Patrick Clear*—Horace
Giddens; Taylar Fondren*—Addie; Brandon Greenhouse—
Cal; Andy Luther—Oscar Hubbard; Hollis Resnik*—Regina
Giddens/Birdie Hubbard; Craig Spidle*—Benjamin
Hubbard/William Marshall
The video and/or recording of this performance by any
means whatsoever are strictly prohibited.
Goodman productions are made possible in part by the
National Endowment for the Arts; the Illinois Arts Council,
a state agency; and a CityArts 4 program grant from the
City of Chicago Department of Cultural Affairs and Special
Events.
Goodman Theatre is a constituent of the Theatre
Communications Group, Inc., the national service
organization of nonprofit theaters; the League of Resident
Theatres; the Illinois Arts Alliance and the American Arts
Alliance; the League of Chicago Theatres; and the Illinois
Theatre Association.
Goodman Theatre operates under agreements between the
League of Resident Theatres and Actors’ Equity
Association, the union of professional actors and stage
managers in the United States; the Society of Stage
Directors and Choreographers, Inc., an independent
national labor union; the Chicago Federation of Musicians,
Local No. 10-208, American Federation of Musicians; and
the United Scenic Artists of America, Local 829, AFL-CIO.
House crew and scene shop employees are represented by
the International Alliance of Theatrical Stage Employees,
Local No. 2.
*Denotes member of Actors’ Equity Association, the union
of professional actors and stage managers in the United
States.
notes
Why The Little Foxes?
Take us the foxes, the little foxes, that spoil the vines;
for our vines have tender grapes.
—Song of Solomon, ii.15
In an era that spawned some of the great classics of the
American stage, Lillian Hellman’s The Little Foxes is one of
the most enduring works of its time. Premiering in 1939
with a cast headed by Tallulah Bankhead, the play was
hailed by critics for its mesmerizing plot and memorable
characters, and was almost immediately made into an even
more successful film, with Bette Davis as the villainous
Regina Giddens. Stage revivals have been frequent,
featuring some of the greatest stars of modern times:
Anne Bancroft, Maureen Stapleton, George C. Scott,
Stockard Channing and Elizabeth Taylor, whose first stage
appearance came in a much-heralded 1981 Broadway
remounting. Hellman’s searing family drama has been a
staple of community and college theaters, and has seen a
variety of acclaimed regional productions. Why does this
story of greed, betrayal and monumental family
dysfunctionality continue to fascinate us 75 years after its
debut?
Hellman’s play is set in a time and place that were
particularly alluring to its first audiences: the old South at
the turn of the 20th century, a society still emerging from
the ravages of the Civil War and the turbulent years of
Reconstruction. Faced with the final collapse of plantation
economy, southern entrepreneurs fought to wrest industry
from the urban centers of the North, offering cheap land,
cheaper labor and the promise of replenished fortunes. The
greed that accompanies (or fuels) such economic
movements would not have been unfamiliar to the
Depression-era audiences of 1939, as would Hellman’s
depictions of other social and political challenges in the
world of 1900: the restrictions that confronted women,
especially before liberation movements of the 1960s and
‘70s; the perceived victimization of the lower economic
classes by a tiny minority of the wealthy; and the
continued nightmare of racial prejudice which had persisted
unabated into mid-century American society. Although The
Little Foxes was on one hand a glimpse at a bygone era of
our country’s history, the underpinnings of that period
were still ominously evident to the play’s first audiences—
and remain so today, bringing an unexpected and
unnerving topicality to the story’s melodramatic twists and
turns.
In fact, many elements of The Little Foxes may be more
shocking to viewers in 2015 than they were originally—the
disturbingly casual domestic violence, the equally casual
(and often offensive) racist language and actions of the
Hubbard clan, the “greed is good” mentality that belies the
elegance of the play’s environs. Although these elements
may offend the politically correct sensibilities of our own
times, they are crucial to the continuing power of the play.
Hellman’s story may have taken place a century ago, but it
still contains warnings that must be heeded today, of how
the heady prospect of success and wealth can infect and
distort the human principles that are vital to our survival.
Robert Falls,
Artistic Director
Avarice, Economy and Lillian Hellman’s Depiction of
the American South
By Neena Arndt
Lillian Hellman sets The Little Foxes in a small southern
town in the spring of 1900. The well-to-do Hubbard
siblings—Benjamin, Oscar and Regina—aim to compound
their wealth by investing in a cotton mill in their
community. Their desire for riches overshadows all; Regina
especially won’t mind if she exploits hundreds of workers
and alienates her own family members, so long as the
profits allow her to wear the latest fashions from Europe.
While The Little Foxes is a work of fiction, the environment
and culture it depicts were part of Hellman’s formative
years. Born in New Orleans in 1905, Hellman spent her
childhood shuttling between the South and New York City.
Her mother’s family served as inspiration for the Hubbards.
Hellman biographer Dorothy Gallagher wrote, “As a girl she
had listened intently to their dinner table conversations:
Intense, lively, competitive discussions about money and
business deals. The family table talk provided her with the
source material for the slashing, angry wit and
rapaciousness of the Hubbards: Money—how it is made,
how it is used, how the love of it is the root of social and
personal evil—is the idea that powered her play.”
The Hubbards’ proposed business—a cotton mill—will
exploit local workers who are desperate for any job in the
South’s post-bellum economic slump. Tobacco and cotton,
for years the South’s greatest economic assets, proved
less financially advantageous without the “free labor” that
had previously sustained the South’s economy. And
because the South had for so long prospered via an
economic system that relied primarily on agriculture, it had
not developed cities comparable to those in the North. Its
sprawling landscape, punctuated by now-understaffed
and crumbling plantations, proved an inadequate
infrastructure for rebuilding the economy. By the turn of
the century, the South still had not developed the
industries that had shaped the North’s economy since
1850. Cotton mills, like most factories, had been built
primarily in northern states, so bringing “the machine to
the cotton, and not the cotton to the machine” seemed a
revolutionary idea that would save on transport costs and
provide jobs to a population sorely in need.
But the Hubbards, like many of their real-life historical
counterparts, are not aiming to create living-wage jobs
that will buoy their town’s economy; they are aiming to
make a profit. They know that Southerners expect less
compensation than industrial workers in the northern
states: one character notes that while the average wage
for mill workers in Massachusetts is eight dollars per week,
in their area “there ain’t a mountain white or a town nigger
that wouldn’t give his right arm for three silver dollars
every week.” Indeed, between 1900 and 1920, many
businessmen opened cotton mills in the South, and they
proved so profitable that the mills in New England soon
went out of business.
The play’s central idea—that greed can rot community,
family and human beings—transcends the decades that
separate us from Hellman’s characters. In their society,
antecedent to our own, we can surely recognize what has
not changed. And in those characters, flawed as they are,
we can see ourselves mirrored back, perhaps improved,
but with some faults still intact.
profiles
MICHAEL CANAVAN* (William Marshall) makes his
Goodman Theatre debut. Chicago credits include Hamlet,
The Lion in Winter and The Father (Writers Theatre);
Mizlansky/Zilinsky (Steppenwolf Theatre Company) and
The Dying Gaul (Apple Tree Theatre). New York credits
include Bug (Barrow Street Theatre); Bang Bang Blues
(The Public Theater) and As You Like It (Riverside
Shakespeare Company). Regional and international
credits include The Best Brothers and A Moon for the
Misbegotten (Merrimack Repertory Theatre); Reckless,
Driving Around the House, Jitters, Haut Gout, Prelude to a
Kiss, Cold Sweat, Ghost in the Machine and Oleanna
(South Coast Repertory); One Flew Over the Cuckoo’s Nest
and Twelfth Night (Pittsburgh Public Theater); De Donde?
(New Mexico Rep) and Three Sisters (Teatro Popular de
Bogota in Colombia). Film credits include Flags of Our
Fathers, The Island, Hidalgo, Murder by Numbers and
Striking Distance. Recent television credits include Grey’s
Anatomy, Mad Men, Bones, Criminal Minds and Entourage.
His work as a voice actor spans narrating the Bible for
Warner New Media and voicing the Marquis de Sade for the
History Channel.
SHANNON COCHRAN* (Regina Giddens) returns to
Goodman Theatre, where her credits include Pal Joey (Jeff
Award), Riverview: A Melodrama with Music, Twelfth Night,
A Flea in Her Ear, A Funny Thing Happened on the Way to
the Forum and A Christmas Carol. She was recently seen
at Writers Theatre in The Dance of Death (Jeff Award), A
Little Night Music (Jeff nomination) and Hamlet. Other
Chicago credits include work at Steppenwolf Theatre
Company, Court Theatre, Victory Gardens Theater,
Marriott Theatre and Drury Lane Theatre. Ms. Cochran
created the role of Agnes in Tracy Letts’ Bug, debuting in
London and recreating her role off-Broadway, where she
received Obie and Theatre World Awards. She appeared on
the national tour of August: Osage County (Helen Hayes
Award nomination), as well as the recent radio recording of
the play for NPR/LA Theatreworks’ The Play’s the Thing.
Regional work includes productions at the Mark Taper
Forum, Long Wharf Theatre, The Old Globe, South Coast
Repertory, Cincinnati Playhouse in the Park and Geffen
Playhouse. Film credits include The Ring, The Perfect
Family, Star Trek: Nemesis and The Babe. Television
credits include Scandal, Star Trek: Deep Space Nine,
NYPD Blue, The Office, NCIS, Law and Order: SVU and
Grey’s Anatomy.
MARY BETH FISHER* (Birdie Hubbard) returns to
Goodman Theatre, where her credits include Marvin’s
Room, The Night of the Iguana, Light up the Sky, Design
for Living, Spinning Into Butter, Boy Gets Girl, The Guys,
The Rose Tattoo, Heartbreak House, Dinner with Friends,
The Clean House, Frank’s Home, Rock ‘n’ Roll, The Seagull,
God of Carnage and Luna Gale. Chicago credits include
Dead Man’s Cell Phone, The Dresser and The Memory of
Water (Steppenwolf Theatre Company); Angels in America,
Three Tall Women, The Year of Magical Thinking (Jeff
Award), The Wild Duck, What the Butler Saw, Arcadia,
Travesties and The Importance of Being Earnest (Court
Theatre); The Taming of the Shrew (Chicago Shakespeare
Theater); The Laramie Project, The Little Dog Laughed and
Theatre District (About Face Theatre); The Marriage of
Figaro (Remy Bumppo Theatre Company); My Own
Stranger (Writers Theatre) and White Guy on the Bus and
Away (Northlight Theatre). New York credits include
Frank’s Home (Playwrights Horizons); Boy Gets Girl
(Drama League honoree, Drama Desk and Lucille Lortel
nominations), The Radical Mystique and By the Sea, By the
Sea, By the Beautiful Sea (Manhattan Theatre Club); The
Night of the Iguana (Roundabout Theatre Company);
Extremities (Westside Arts) and Are You Now or Have You
Ever Been? (Promenade Theatre). Regional credits include
the West Coast premiere of the Goodman Theatre
production of Luna Gale (Kirk Douglas Theatre); the world
premiere of Sarah Ruhl’s Dear Elizabeth (Yale and Berkeley
Repertory Theatres) and Vanya and Sonia and Masha and
Spike (Kansas City Repertory Theatre). Television and film
credits include Chicago Fire, Chicago Code, State of
Romance, Without a Trace, Numb3rs, Prison Break, NYPD
Blue, Profiler, Early Edition, Formosa Betrayed, Dragonfly
and Trauma. Ms. Fisher received the 2010 Chicago’s
Leading Lady Award from the Sarah Siddons Society and
was named Best Actress in Chicago magazine’s “Best of
Chicago” issue (2010). She was an inaugural LuntFontanne Fellow at the Ten Chimneys Foundation
representing Goodman Theatre and was a Beinecke Fellow
at Yale University.
RAE GRAY* (Alexandra “Zan” Giddens) returns to the
Goodman, where she appeared in A Christmas Carol (2000
and 2003). Chicago credits include Slowgirl, The Book
Thief and Wedding Band (Steppenwolf Theatre Company);
The Real Thing (Writers Theatre); Circle Mirror
Transformation (Victory Gardens Theater); The North
China Lover (Lookingglass Theatre Company); Sunday in
the Park with George (Ravinia Festival); Inherit the Wind
(Northlight Theatre); The Crucible and Cry of Players
(TimeLine Theatre); Oliver and State Fair (Marriott
Theatre) and Meet Me in St. Louis (Drury Lane Theatre).
She served as an understudy in The Real Thing
(Roundabout Theatre Company) on Broadway. Regional
credits include Slowgirl (Geffen Playhouse). Television
credits include Boardwalk Empire, CSI: Cyber, Shameless,
Chicago Fire and Betrayal. She is a graduate of the
University of Chicago.
JOHN JUDD* (Horace Giddens) returns to Goodman
Theatre, where he has appeared in Measure for Measure,
Sweet Bird of Youth, The Iceman Cometh, A Christmas
Carol, Magnolia and Shining City. Chicago credits include
Death and the Maiden (Victory Gardens Theater); Three
Sisters, Clybourne Park, Last of the Boys, The Dresser,
Orson’s Shadow and The Butcher of Baraboo (Steppenwolf
Theatre Company); Romeo and Juliet and The Feast: An
Intimate Tempest (Chicago Shakespeare Theater); The
Price, Crime and Punishment and Othello (Writers
Theatre); Wrecks (Profiles Theatre); The Cripple of
Inishmaan and The Lieutenant of Inishmore (Northlight
Theatre); Gross Indecency: The Three Trials of Oscar
Wilde and Lettice and Lovage (Court Theatre); Gagarin
Way (A Red Orchid Theatre); Execution of Justice (About
Face Theatre); Come Back, Little Sheba (Shattered Globe
Theatre) and Great Men of Science Nos. 21 and 22
(Lookingglass Theatre Company). New York credits include
Orson’s Shadow and An Oak Tree (Barrow Street Theatre)
and Crime and Punishment (59E59 Theaters). Regional
and international appearances include Tribes (Philadelphia
Theatre Company and Pittsburgh’s City Theatre); American
Buffalo (McCarter Theatre); Orson’s Shadow (Williamstown
Theatre Festival, Westport Country Playhouse and the
Beaver Creek Theatre Festival); Shining City (Huntington
Theatre Company) and Long Day’s Journey into Night
(Town Hall Theatre in Galway, Ireland).
STEVE PICKERING* (Oscar Hubbard) returns to
Goodman Theatre, where he previously appeared
in Dartmoor Prison, Ask Aunt Susan (New Stages
Amplified), The Tempest, Landscape of the Body, On the
Open Road, Death of a Salesman (also on Broadway, the
national tour and in London’s West End), Long Day’s
Journey into Night, King Lear, The Seagull, Romeo and
Juliet and A Midsummer Night’s Dream. Chicago credits
include A Girl with Sun in Her Eyes (Pine Box Theater);
Macbeth and Coriolanus (Next Theatre); Fatboy (A Red
Orchid Theatre) and Othello (Court Theatre and Chicago
Shakespeare Theater). Regional credits include
Wallenstein (Helen Hayes Award nomination) and Henry
IV, Parts 1 and 2 (both at Shakespeare Theatre Company),
as well as The Crucible (Indiana Repertory Theatre).
Regional credits include work with Arena Stage, Milwaukee
Repertory Theater, Pittsburgh’s City Theatre Company,
San Diego’s Old Globe, New York Shakespeare Festival,
Clarence Brown Theatre and the Illinois and Alabama
Shakespeare Festivals. In 1997, he was named Actor of
the Year by Chicago magazine. Formerly an artistic
associate with Chicago’s Organic Theater Company and
artistic director for Next Theatre in Evanston, Mr. Pickering
is currently project manager for Shanghai Low Theatricals,
whose new adaptation of Animal Farm opened the 2014
Steppenwolf Young Adult Program.
CHERENE SNOW* (Addie) makes her Goodman Theatre
debut. Chicago credits include The Good Times are Killing
Me (City Lit Theater Company) and Playboy of the West
Indies (Court Theatre). She appeared on Broadway in Cat
on a Hot Tin Roof. Off-Broadway credits include Walking
Down Broadway (Mint Theater Company) and Last of the
Thorntons (Signature Theatre). Regional credits include
Fata Morgana (Boise Contemporary Theatre); Brownsville
Song: b-side for Tray (Actors Theatre of Louisville); Civil
War Voices (Barter Theatre and on tour); Gee’s Bend
(Cincinnati Playhouse in the Park, Acclaim Award); Black
Pearl Sings (Merrimack Repertory Theatre); Doubt
(Cleveland Play House, Times Newspaper Theatre Tribute
Award); To Kill a Mockingbird (Ford’s Theatre) and Coyote
on a Fence (Contemporary American Theater Festival). She
has received Drama-Logue Awards for Flyin’ West, A Piece
of My Heart and Home. Film credits include Arthur, City of
Angels and The Long Walk Home. Television credits include
Law & Order, Law & Order: SVU, Third Watch, Chappelle’s
Show, Caroline in the City and The Drew Carey Show.
DAN WALLER* (Leo Hubbard) returns to Goodman
Theatre, where he previously appeared in Sweet Bird of
Youth, The Good Negro, Ghostwritten and Talking Pictures.
Chicago credits include The Night Alive and Three Sisters
(Steppenwolf Theatre Company); Lay Me Down Softly, The
Seafarer, Mojo Mickybo, Our Father, A Whistle in the Dark
and Journey’s End (Irish Theatre of Chicago/Seananchaí
Theatre Company); The Pitmen Painters (TimeLine Theatre
Company); Coast of Chicago (Walkabout Theater
Company/Lookingglass Theatre Company); To the Green
Fields Beyond and Our Town (Writers Theatre); MOJO
(Mary-Arrchie Theatre Co.); The Killer Angels (Lifeline
Theatre) and The Cider House Rules Parts I & II (Famous
Door Theatre Company). Regional credits include At the
Vanishing Point and GNIT (Actors Theatre of Louisville) and
The Grapes of Wrath (Cardinal Stage Company). Film
credits include Barefoot to Jerusalem, Repetition, Of Boys
and Men, Devil’s Dominoes, Witless Protection,
Transformers: Dark of the Moon, At Any Price and Precious
Mettle. Television credits include Science Story, Leverage,
The Beast, Chicago Code, Crisis, Chicago P.D. and Empire.
LARRY YANDO* (Ben Hubbard) returns to the Goodman,
where he previously appeared as Ebenezer Scrooge in
seven productions of A Christmas Carol, The Jungle Book
and Candide (Jeff Award). Chicago credits include Titus
Andronicus (Defiant Theatre); King Lear, Julius Caesar,
The Two Noble Kinsmen, Cymbeline, The Tempest, Timon
of Athens, All’s Well That Ends Well, Henry IV Parts I and
II, Antony and Cleopatra and The Two Gentlemen of
Verona (Chicago Shakespeare Theater); Angels in America
(Jeff Award), Travesties, An Ideal Husband, Ghosts,
Electra, Measure for Measure, The Importance of Being
Earnest and Travels with My Aunt (Court Theatre); Fake
and Mother Courage and Her Children (Steppenwolf
Theatre Company); The Dance of Death (Jeff Award), Bach
at Leipzig, As You Like It, Hamlet, Nixon’s Nixon and
Rocket to the Moon (Writers Theatre); Kiss of the Spider
Woman (Pegasus Players, Jeff Award) and I Hate Hamlet
and Jacques Brel is Alive and Well and Living in Paris
(Royal George Theatre). Regional credits include Angels in
America, Arcadia and Amadeus at Milwaukee Repertory
Theater. Mr. Yando performed as Scar in the national tour
of The Lion King for three years. He was honored as
Chicago magazine’s Best Actor in Chicago and received
DePaul University’s Excellence in the Arts Award. Mr.
Yando has taught advanced acting classes at the Theatre
School at DePaul, Northwestern University, Columbia
College Chicago and Chicago Shakespeare Theater’s
Classical Training Program. In 2010 he was one of nine
actors chosen for the Lunt-Fontanne Fellowship Program,
an acclaimed program serving regional theater actors and
the future of American theater.
DEXTER ZOLLICOFFER* (Cal) returns to Goodman
Theatre, where he has appeared in Dartmoor Prison, The
Odyssey, Blues for an Alabama Sky and A Christmas Carol.
Chicago credits include Water by the Spoonful and The
Mystery Cycle (Court Theatre); To Kill a Mockingbird, A
Lesson Before Dying and Pudd’nhead Wilson (Steppenwolf
Theatre Company); Relatively Close, Knock Me a Kiss and
The Sutherland (Victory Gardens Theater) and The
Overwhelming (Next Theatre). Regional credits include
Blues for an Alabama Sky (Alabama Shakespeare
Festival); The Odyssey (McCarter Theatre Center and
Seattle Repertory Theatre); Our Country’s Good (Berkeley
Repertory Theatre); The Recruiting Officer and Our
Country’s Good (Madison Repertory Theatre) and Voice of
Good Hope (BoarsHead Theater). Television credits include
Chicago Fire and Detroit 1-8-7, and the upcoming film Who
Gets the Dog? He is also an administrator at the Theatre
School at DePaul University. He received Best Director and
Best Ensemble nominations for his original work Ma Fille,
Ma Naturelle at the International Festival of University
Theatre in Tangier, Morocco.
LILLIAN HELLMAN (Playwright, 1905 – 1984) was an
acclaimed playwright whose celebrated works include The
Children’s Hour; Watch on the Rhine; Another Part of the
Forest; The Autumn Garden; Toys in the Attic (Tony
Award); My Mother, My Father and Me; Montserrat; The
Searching Wind and Days to Come. She also wrote the
book of the musical Candide. Her many accolades include
the New York Drama Critics Circle Award, the Gold Medal
for Drama from the National Institute of Arts and Letters
and the National Book Award for her memoir An Unfinished
Woman. She also subsequently wrote two more volumes of
her memoir, Pentimento and Scoundrel Time. Ms. Hellman
was born in New Orleans and attended New York
University and Columbia University.
HENRY WISHCAMPER (Director) is a member of the
Goodman’s Artistic Collective. His Goodman Theatre
directing credits include the world premiere of Ask Aunt
Susan, his own adaptation of Animal Crackers (Jeff Award
nomination), A Christmas Carol (2013 and 2014
productions), Other Desert Cities, Talking Pictures and the
upcoming The Matchmaker. Other Chicago directing credits
include The Dance of Death (Jeff nomination) at Writers
Theatre and The Night Alive at Steppenwolf Theatre
Company. His New York directing credits include Spirit
Control (Manhattan Theatre Club); Graceland (LCT3); Port
Authority (Atlantic Theater Company); Elvis People (New
World Stages); The Polish Play (Katharsis Theater
Company) and Pullman Car Hiawatha (Keen Company,
Drama Desk Award nomination for Outstanding Revival of
a Play). Regional theater and other directing credits
include Animal Crackers (Williamstown Theatre Festival);
the American premiere of Conor McPherson’s The Birds
(Guthrie Theater); Engaging Shaw and The Mystery of
Irma Vep (The Old Globe) and The Seafarer and Speech &
Debate (TheaterWorks). He served as the assistant
director of the Broadway productions of August: Osage
County and Shining City. His adaptation of Animal Crackers
has been produced by the Denver Center Theatre
Company, Baltimore Center Stage, Oregon Shakespeare
Festival and Lyric Stage Company. Mr. Wishcamper was
the artistic director of Katharsis Theater Company in New
York and the Maine Summer Dramatic Institute (MSDI) in
Portland, Maine. At MSDI, he founded Shakespeare in
Deering Oaks Park, a free Shakespeare festival in
Portland’s primary public park featuring students from
MSDI’s education program. Mr. Wishcamper is a Drama
League directing fellow and a graduate of Yale University.
TODD ROSENTHAL (Scenic Designer) has designed
scenery for productions at the Goodman that include The
Upstairs Concierge, Luna Gale, Venus in Fur and more. He
received a Tony Award for August: Osage County, a Tony
nomination for The Motherfu**er with the Hat and also
designed Who’s Afraid of Virginia Woolf at the Booth
Theatre. His many other credits include The Qualms
(Steppenwolf Theatre Company); Born Yesterday (Guthrie
Theater); The Beauty Queen of Leenane (Theatre Royal in
Ireland); Domesticated (Lincoln Center Theater); August:
Osage County (Sydney Theatre Company in Sydney,
Australia and the National Theatre in London); Tribes
(Berkeley Repertory Theatre); Stephen King and John
Mellencamp’s Ghost Brothers of Darkland County (Alliance
Theatre); A Parallelogram (Mark Taper Forum) and Mother
Courage (Arena Stage). Mr. Rosenthal was an exhibitor at
the 2007 Prague Quadrennial International Exhibition of
Scenography and Theatre Architecture in the Czech
Republic. He also designed the museum exhibits
MythBusters: the Explosive Exhibition and Sherlock
Holmes: the Science of Deduction. His many accolades
include the Laurence Olivier Award, Ovation Award, Helen
Hayes Award, Los Angeles Backstage Garland Award, Jeff
Award and a Michael Merritt Award for Excellence in Design
and Collaboration. He is an associate professor at
Northwestern University and a graduate of the Yale School
of Drama. Toddar.com
JENNY MANNIS (Costume Designer) returns to the
Goodman, where she previously designed costumes for The
World of Extreme Happiness, Venus in Fur, Teddy Ferrara
and Animal Crackers. Her New York credits include How I
Learned to Drive, The Talls, Year Zero, 10 Things to Do
Before I Die and Swimming in the Shallows (Second
Stage); Don’t Go Gentle, Wild Animals You Should Know,
Spain and In a Dark Dark House (MCC Theater); Urge for
Going (The Public Theater); Spirit Control (Manhattan
Theatre Club); Edgewise (The Play Company); Port
Authority and The Intelligent Design of Jenny Chow
(Atlantic Theater Company); The Drunken City (Lucille
Lortel Award nomination), Pen and Manic Flight Reaction
(Playwrights Horizons) and Something You Did and The
Right Kind of People (Primary Stages). Regional credits
include productions at Guthrie Theater, Hartford
TheaterWorks, Barrington Stage Company, Two River
Theater Company, The Studio Theatre, Huntington Theatre
Company, Williamstown Theatre Festival, Bay Street
Theatre and Yale Repertory Theatre. Her costume designs
have appeared on film in Beloved and All Saints Day. Ms.
Mannis holds an MFA from the Yale School of Drama
(Lerman Fellowship in Design).
DAVID LANDER (Lighting Designer) returns to the
Goodman, where he previously designed lighting for Other
Desert Cities and I Am My Own Wife. Other Chicago credits
include Muscle by James Lapine and William Finn (Pegasus
Players) and the workshop production of I Am My Own
Wife (About Face Theatre). Broadway credits include The
Heiress with Jessica Chastain and Dan Stevens, The
Lyons with Linda Lavin, Master Class with Tyne
Daly, Bengal Tiger at the Baghdad Zoo with Robin Williams
(Drama Desk, Tony and Outer Circle Critics Award
nominations), 33 Variations with Jane Fonda (Tony and
Outer Critics Circle Award nominations), A Man for All
Seasons with Frank Langella, I Am My Own Wife (Drama
Desk and Outer Critics Circle Award nominations), Dirty
Blonde (Drama Desk Award nomination) and David Henry
Hwang’s Golden Child. Off-Broadway credits include The
Lady from Dubuque with Jane Alexander, King Lear with
Kevin Kline, Macbeth with Liev Schreiber and Jennifer
Ehle, Address Unknown with Jim Dale and Modern
Orthodox with Molly Ringwald and Jason Biggs. Regional
credits include Master Class (Berkeley Repertory Theatre
with Rita Moreno); Venecia (George Street Playhouse with
Chita Rivera, directed by Arthur Laurents) and Fiddler on
the Roof, Funny Girl and Dear World (Sundance Theatre).
His designs have been seen at the St. Louis Muny, The Old
Globe, Long Wharf Theatre, the Alley Theatre, Huntington
Theatre Company, Arena Stage, Kennedy Center and La
Jolla Playhouse. International credits include productions in
London, Dublin, Caracas, Sydney, Melbourne, Singapore
and Japan.
RICHARD WOODBURY (Composer/Sound Designer) is
the resident sound designer at the Goodman, where his
credits include music and/or sound design for Rapture,
Blister, Burn; Ask Aunt Susan; Luna Gale; Measure for
Measure; Teddy Ferrara; Other Desert Cities; Crowns;
Camino Real; A Christmas Carol; Red; God of Carnage;
The Seagull; Candide; A True History of the Johnstown
Flood; Hughie/Krapp’s Last Tape; Animal Crackers;
Magnolia; Desire Under the Elms; The Ballad of Emmett
Till; Talking Pictures; The Actor; Blind Date; Rabbit Hole;
King Lear; Frank’s Home; The Dreams of Sarah Breedlove;
A Life in the Theatre; Dollhouse; Finishing the Picture;
Moonlight and Magnolias; The Goat or, Who is Sylvia?;
Lobby Hero and many others. Steppenwolf Theatre
Company credits include Slowgirl; Belleville; Middletown;
Up; The Seafarer; August: Osage County; I Just Stopped
By to See the Man; Hysteria; The Beauty Queen of
Leenane; The Memory of Water; The Libertine and others.
Broadway credits include original music and/or sound
design for Desire Under the Elms; August: Osage County;
Talk Radio; Long Day’s Journey into Night; A Moon for the
Misbegotten; Death of a Salesman and The Young Man
from Atlanta. Mr. Woodbury’s work has also been heard at
Stratford Shakespeare Festival in Canada; London’s Lyric
and National theaters; in Paris and at regional theaters
across the United States. Mr. Woodbury has received Jeff,
Helen Hayes and IRNE Awards for Outstanding Sound
Design and the Ruth Page Award for Outstanding
Collaborative Artist, as well as nominations for Drama
Desk (New York) and Ovation (Los Angeles) Awards. Mr.
Woodbury has composed numerous commissioned scores
for dance and has performed live with the Bill T.
Jones/Arnie Zane and Merce Cunningham Dance
companies. He is an associate professor and distinguished
faculty fellow at Columbia College Chicago, where he
serves as music director in the dance department.
NEENA ARNDT (Dramaturg) is the associate dramaturg at
Goodman Theatre. In six seasons, she has served as
production dramaturg for more than 20 productions,
including Robert Falls’ productions of Measure for Measure,
The Iceman Cometh and The Seagull, David Cromer’s
production of Sweet Bird of Youth and the world premiere
of Rebecca Gilman’s Luna Gale. She has also worked with
the American Repertory Theater, Milwaukee Repertory
Theater, Actors Theatre of Louisville, the New Harmony
Project and Actors Shakespeare Project, among others.
Ms. Arndt has taught at Boston University and DePaul
University. She holds an MFA in dramaturgy from the
A.R.T./MXAT Institute for Advanced Theatre Training at
Harvard University, and a BA in linguistics from Pomona
College.
JOSEPH DRUMMOND* (Production Stage Manager) is in
his 41st season with Goodman Theatre, where earlier this
season he stage-managed Smokefall as well as the
Goodman’s productions of The White Snake in China and
The Iceman Cometh at Brooklyn Academy of Music. Other
Goodman credits include Luna Gale, Pullman Porter Blues,
The Iceman Cometh, Race, Red, House and Garden, Death
of a Salesman (also on Broadway and at the Ahmanson
Theatre in Los Angeles), Candide, Turn of the Century,
Desire Under the Elms, Rock ’n’ Roll, Animal Crackers,
Passion Play, King Lear, The Clean House, Finishing the
Picture, The Rose Tattoo, The Beard of Avon, Drowning
Crow, The Visit, The Odyssey, All the Rage, Arcadia,
Another Midsummer Night, The Night of the Iguana, On
the Open Road, Book of the Night, Landscape of the Body,
The Gospel at Colonus and 12 productions of A Christmas
Carol. In December 2011, he received the Del Hughes
Award for Lifetime Achievement from the Stage
Managers’ Association. He is included in the 2012 edition
of Marquis’ Who’s Who in America. Mr. Drummond is the
recipient of the Joseph Jefferson Award for Lifetime
Achievement after 25 years of stage management at the
Goodman. He is a 43-year member of Actors’ Equity
Association.
BRIANA J. FAHEY* (Stage Manager) is in her second
season with Goodman Theatre, where she most recently
stage managed Rapture, Blister, Burn. Other Goodman
credits include Smokefall, The White Snake, Luna Gale,
Pullman Porter Blues and Pedro Páramo. Her regional
credits include stage managing at Milwaukee Repertory
Theater, California Shakespeare Theater, Magic Theatre,
Center REP Theatre and the Utah Shakespeare Festival.
ROBERT FALLS (Goodman Theatre Artistic Director) has
been the artistic director of Goodman Theatre since 1986.
From 1977 to 1985, he was the artistic director of Wisdom
Bridge Theatre. Most recently, Mr. Falls reprised his
critically acclaimed production of The Iceman Cometh,
featuring the original cast headed by Nathan Lane and
Brian Dennehy, at the Brooklyn Academy of Music. Last
fall, he directed Rebecca Gilman’s Luna Gale at the Kirk
Douglas Theatre in Los Angeles, as well as a new
production of Mozart’s Don Giovanni for the Lyric Opera of
Chicago. Other recent productions include Measure for
Measure and the world and off-Broadway premieres of
Beth Henley’s The Jacksonian. Next season at the
Goodman, Mr. Falls and Goodman Playwright-in-Residence
Seth Bockley will co-direct their world premiere adaptation
of Roberto Bolaño’s 2666, and Mr. Falls will also direct the
Chicago premiere of Rebecca Gilman’s Soups, Stews, and
Casseroles: 1976. Among Mr. Falls’ other credits are The
Seagull, King Lear, Desire Under the Elms, John Logan’s
Red, John Robin Baitz’s Three Hotels, Eric Bogosian’s Talk
Radio and Conor McPherson’s Shining City; the world
premieres of Richard Nelson’s Frank’s Home, Arthur Miller’s
Finishing the Picture (his last play), Eric Bogosian’s Griller,
Steve Tesich’s The Speed of Darkness and On the Open
Road, John Logan’s Riverview: A Melodrama with Music
and Rebecca Gilman’s A True History of the Johnstown
Flood, Blue Surge and Dollhouse; the American premieres
of Alan Ayckbourn’s House and Garden; and the Broadway
premiere of Elton John and Tim Rice’s Aida. Mr. Falls’
Broadway productions of Death of a Salesman and Long
Day’s Journey into Night received seven Tony Awards and
three Drama Desk Awards.
ROCHE EDWARD SCHULFER (Goodman Theatre
Executive Director) is in his 35th season as executive
director. On September 4, 2013, his 40th anniversary with
the theater, Mr. Schulfer was honored with a star on the
Goodman’s “Walkway of Stars.” In 2014, he received the
Visionary Leadership Award from Theatre Communications
Group. During his tenure he has overseen more than 335
productions, including close to 130 world premieres. He
launched the Goodman’s annual production of A Christmas
Carol, which celebrated 37 years as Chicago’s leading
holiday arts
tradition this season. In partnership with Artistic Director
Robert Falls, Mr. Schulfer led the
establishment of quality, diversity and community
engagement as the core values of Goodman Theatre.
Under their tenure, the Goodman has received numerous
awards for excellence, including the Tony Award for
Outstanding Regional Theater, recognition by Time
magazine as the “Best Regional Theatre” in the US, the
Pulitzer Prize for Lynn Nottage’s Ruined and many Jeff
Awards for outstanding achievement in Chicago area
theater. Mr. Schulfer has negotiated the presentation of
numerous Goodman Theatre productions to many national
and international venues. From 1988 to 2000, he
coordinated the relocation of the Goodman to Chicago’s
Theatre District. He is a founder and two-time chair of the
League of Chicago Theatres, the trade association of more
than 200 Chicago area theater companies and producers.
Mr. Schulfer has been privileged to serve in leadership
roles with Arts Alliance Illinois (the statewide advocacy
coalition); Theatre Communications Group (the national
service organization for more than 450 not-for-profit
theaters); the Performing Arts Alliance (the national
advocacy consortium of more than 18,000 organizations
and individuals); the League of Resident Theatres (the
management association of 65 leading US theater
companies); Lifeline Theatre in Rogers Park and the Arts &
Business Council. He is honored to have been recognized
by Actors’ Equity Association for his work promoting
diversity and equal opportunity in Chicago theater; the
American Arts Alliance; the Arts & Business Council for
distinguished contributions to Chicago’s artistic vitality for
more than 25 years; Chicago magazine and the Chicago
Tribune as a “Chicagoan of the Year”; the City of
Chicago; Columbia College Chicago for entrepreneurial
leadership; Arts Alliance Illinois; the Joseph Jefferson
Awards Committee for his partnership with Robert Falls;
North Central College with an Honorary Doctor of Fine Arts
degree; Lawyers for the Creative Arts; Lifeline Theatre’s
Raymond R. Snyder Award for Commitment to the Arts;
Season of Concern for support of direct care for those
living with HIV/AIDS; and the Vision 2020 Equality in
Action Medal for promoting gender equality and diversity in
the workplace. Mr. Schulfer is a member of the adjunct
faculty of the Theatre School at DePaul University, and a
graduate of the University of Notre Dame where he
managed the cultural arts commission.
FOR THE LITTLE FOXES:
AMANDA CLEGG LYON
Assistant Lighting Designer
LARISA BOCKA
Stage Management Intern
Antique lighting supplied by Chris and Cindy Allen, Allen's Antique Lighting,
Harvard, MA
Rugs provided by Oscar Isberian Rugs, Downtown Chicago, Evanston,
Highland Park