2015|2016 SEASON
Issue 2
TABLE OF
CONTENTS
1 Title page
3 Cast
4 Director’s Word
8 Story, Musical Numbers
and Orchestra
9 Music Director’s Word
13 About the Authors
14 The Taming of
the Screwball
18 It Takes Two
(Times Two)
24 Mapping the Play
26 Kiss Me, Kate and
Shakespeare
33 Play in Process
36 Cast Biographies
44 Artistic Biographies
48 For STC
50 Faces and Voices
52 Support
60 About STC
60 About ACA
62 Up Next: The
Critic and The Real
Inspector Hound
64 STC Staff
65 Audience Services
Dear Friend,
It has finally happened. It always
seemed that Kiss Me, Kate was the
perfect show for the Shakespeare
Theatre Company to produce. It is
one of the wittiest musical comedies
in the canon, featuring the finest
score Cole Porter ever wrote,
stuffed to the brim with songs romantic, hilarious, and
sometimes both. It is also, not coincidentally, a landmark
adaptation of Shakespeare, a work that no less a critic than
W.H. Auden considered greater than Shakespeare’s own
The Taming of the Shrew.
Recipient of the 2012 Regional Theatre Tony Award®
Artistic Director Michael Kahn
Executive Director Chris Jennings
All I can say to the multitudes who have suggested this
show to me over the past 29 years is that we waited
until the moment was right: until we knew we could do
a production that could satisfy us, with a cast that could
work wonders with this material.
Also, of course, with the right director. He doesn’t need
any introduction, having directed two classic (and
classically influenced) musicals for us—2013–2014’s
award-winning staging of A Funny Thing Happened on the
Way to the Forum and 2014–2015’s equally magnificent
Man of La Mancha—but nonetheless I am very happy that
STC Associate Artistic Director Alan Paul has agreed to
complete his trifecta with Kiss Me, Kate. This show makes
tremendous demands on a director and his entire creative
team. Along with Porter’s score, there are continuous
dance numbers, a book stuffed with tremendous gags,
and oodles of moving scenery. I know this is one of Alan’s
very favorite shows, and I am thrilled to see what he has
in store for us.
Don’t miss the rest of our season, of which I am equally
proud. In January, I get to have some fun with critics
(after they’ve had so much fun with me), directing
Jeffrey Hatcher’s brand new adaptation of Sheridan’s
The Critic together with Tom Stoppard’s The Real Inspector
Hound in the Lansburgh. In February and March at
Sidney Harman Hall, Ron Daniels directs Faran Tahir,
an extraordinary actor of Pakistani descent, in an
exciting new interpretation of Othello. Later in March,
Headlong theatre company’s stunning adaptation of
George Orwell’s 1984 comes to the Lansburgh from the
Almeida Theatre in London. Last but certainly not least,
it felt apt to revive Shakespeare’s own The Taming of the
Shrew in the season we finally decided to mount Kiss
Me, Kate. Auden may be right about the merits of the
two respective works, but I will let you be the judges
after you see Ed Sylvanus Iskandar’s enterprising
reimagination.
See you at the theatre.
Warm Regards,
music and lyrics by Cole Porter
book by Samuel and Bella Spewack
Performances begin November 17, 2015
Opening Night November 23, 2015
Sidney Harman Hall
Director
Alan Paul
Fight Director
David Leong
Choreographer
Michele Lynch
Casting Director
Laura Stanczyk, CSA
Music Director/Orchestrator
Doug Peck
Resident Casting Director
Carter C. Wooddell
Associate Music Director/Conductor
James Cunningham
Literary Manager/Dramaturg
Drew Lichtenberg
Additional Dance Music
Arrangements by
Michael Dansicker
Head of Voice and Text
Ellen O’Brien
Scenic Designer
James Noone
Costume Designer
Alejo Vietti
Lighting Designer
Paul Miller
Sound Designer
Justin Stasiw
Assistant Director
Kevin Place
Assistant Choreographer
Patch David
Production Stage Manager
Joseph Smelser*
Stage Manager
Robyn M. Zalewski*
Assistant Stage Manager
Maria Tejada*
*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.
Musicals at the Shakespeare Theatre Company are made possible by the Beech Street Foundation.
Kiss Me, Kate is sponsored by the HRH Foundation.
Restaurant Partner: Carmine’s
Michael Kahn
Artistic Director
Shakespeare Theatre Company
Kiss Me, Kate is presented by arrangement with
Tams-Witmark Music Library, Inc., 560 Lexington Avenue, New York, New York 10022.
1
CAST
KISS ME, KATE
BACKSTAGE, 1948
Lilli Vanessi .................................................................................................................................................. Christine Sherrill*
Fred Graham ........................................................................................................................................................ Douglas Sills*
Lois Lane ............................................................................................................................................................ Robyn Hurder*
Bill Calhoun ............................................................................................................................................................. Clyde Alves*
First Man ........................................................................................................................................................................... Bob Ari*
Second Man ........................................................................................................................ Raymond Jaramillo McLeod*
Harrison Howell ................................................................................................................................ Patrick Ryan Sullivan*
Paul ......................................................................................................................................................................... T. Oliver Reid*
Hattie ......................................................................................................................................................................... Zonya Love*
Ralph (Stage Manager) ............................................................................................................................... Bev Appleton*
Harry Trevor .................................................................................................................................................. Harry A. Winter*
Pops .............................................................................................................................................................................. Elliot Dash*
THE TAMING OF THE SHREW PLAYERS
Katherine (Lilli Vanessi)........................................................................................................................Christine Sherrill*
Petruchio (Fred Graham)............................................................................................................................Douglas Sills*
Lucentio (Bill Calhoun).................................................................................................................................. Clyde Alves*
Bianca (Lois Lane).......................................................................................................................................Robyn Hurder*
Hortensio (Second Suitor)................................................................................................................... Brandon Bieber*
Gremio (First Suitor).......................................................................................................................... Con O’Shea-Creal*
Baptista (Harry Trevor)......................................................................................................................... Harry A. Winter*
Ensemble....................................................................................................................Jay Adriel*, Kristen Smith Davis*,
Susan Derry*, Carl Draper*, Heidi Kershaw*,
Monette McKay*, Eliza Ohman, Alfie Parker Jr.*, Olivia Russell,
Swings........................................................ Stephanie Bissonnette, Kevin Michael Raponey, Wood Van Meter
UNDERSTUDIES
Bev Appleton* (Harrison Howell, Harry Trevor/Baptista), Elliot Dash*(First Man, Second Man),
Susan Derry* (Lilli Vanessi/Katherine), Carl Draper* (Stage Manager),
Monette McKay* (Lois Lane/Bianca), Con O’Shea-Creal* (Bill/Lucentio),
Alfie Parker Jr.* (Paul, Pops), Olivia Russell (Hattie),
Patrick Ryan Sullivan* (Fred Graham/Petruchio)
FOR THIS PRODUCTION
Dance Captain: Brandon Bieber*
Fight Captain: Con O'Shea-Creal*
Lighting Assistant: Wilburn Bonnell
Production Assistant: Rebecca Shipman
Overhire Stitchers: Michele Macadaeg,
Stephanie Goad, Belinda Haaland
Overhire Wardrobe: Ayanna Fox,
Kristina Martin, Emily Price
Overhire Wigs: LaShawn Melton
Overhire Wardrobe Prep/
Swing: Stephanie Fisher
Overhire Carpenters: Danny Benzinger,
Chris Foote
Overhire Scenic Painters: Mariana Fernandez
Laura Genson, Holly Highfill, Sam Shelton,
Follow Spot Operators: Calvin Anguiano,
Christopher Stull
A2: Eric Sherman
Overhire Run Crew: Kevin Crawford,
Reggie Fortune, Craig Gatling,
Jessica Lucey, Jess Rich
The Shakespeare Theatre Company 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, and employs members of the Stage Directors and Choreographers Society and
United Scenic Artists. The Company is also a constituent of Theatre Communications Group (TCG),
the national organization for not-for-profit professional theatre, and is a member of the Performing
Arts Alliance, the D.C. Chamber of Commerce, Association of Performing Arts Presenters (APAP),
American Alliance for Theatre and Education and DC Arts and Humanities Education Collaborative.
Copyright laws prohibit the use of cameras and recording equipment in the theatre.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.
3
DIRECTOR’S WORD
ALAN PAUL
We
started
work
on this
project
a year
ago, so
I’ve had
a long
time
to think about Kiss Me, Kate
and what precisely makes it so
special. One of the reasons it
isn’t produced often is because
it’s very hard to do. You need a
company of triple-threats who
can dance, sing, and act. Most
importantly, you need two actors
of extraordinary depth and humor
for Fred Graham and Lilli Vanessi.
And they have to be great singers.
And they have to be able to
handle Shakespeare!
When you look at The Taming of
the Shrew, it forces you to think
about gender. “Shrew-taming”
is a topic we find distasteful,
but Shakespeare looks at it
unsparingly and in surprising
ways, as he did everything.
In the case of Kiss Me, Kate,
Shakespeare gets funneled
through 1940s attitudes about
gender, and it becomes a different
kind of play, a comedy of divorce
and remarriage. I have always
thought the first scene of Kiss
Me, Kate is more like Coward’s
4
Private Lives than it is like The
Taming of the Shrew. Fred and Lilli
reconnect in the dressing room
and you watch them working
through the subtext of everything
they feel about each other. There
is a lot of passion brewing just
beneath the surface.
Lilli and Fred, unlike Kate and
Petruchio, have a very modern
relationship. They are two stars
of the stage, now divorced. She’s
gone to Hollywood and had
some success, but her temper
has gotten in the way of her own
career. They say she has such
a terrible temper that she “bit
King Kong and gave him rabies,”
and we see her temper played
out backstage and onstage.
She’s come back to be in this
production with her ex, a musical
version of The Taming of the
Shrew, which is on its out-oftown tryout in Baltimore. From
that first moment you see them,
it is crystal clear that they are
meant to be together, and yet
it takes them the length of the
musical to muster up the courage
to say it to each other. The
journey in between is fascinating,
because you see all the funny
parts of their defensiveness and
the walls they have put up.
Now, the book for Kate was
technically written by Sam
and Bella Spewack, but if you
look closely you can see Bella’s
fingerprints all over the work. Sam
had one major contribution, which
was the gangsters, those lovely
gentlemen. But Bella wrote most
of the book. And this is very much
a woman’s take on Shakespeare’s
play. Lilli is a strong and imperfect
character, every bit the equal of
Fred. The balance between them
is that of two free agents.
The other thing that makes Kate
so special is the music and lyrics
of Cole Porter. When you think
Cole Porter, you think of urbanity,
of cosmopolitan and sophisticated
tastes. You don’t necessarily
think of someone with deep
passion. Porter was, of course, a
gay man, and if you look at his
letters from the 1920s, when he
was living in Venice, he writes of
the pain in his clandestine love
affairs. The depth of passion and
tremendous longing in his letters
makes them almost excruciating
to read. Porter summons these
unexpected emotions in “So in
Love,” when Lilli sings:
[…] taunt me, and hurt me.
Deceive me, desert me,
I’m yours, till I die
So in love with you am I
There’s no question about the
depth of feeling already there,
20 minutes into the evening, and
that’s one of the things I want to
capture with this production.
The other main couple is Lois
Lane and Bill Calhoun. Lois
is a club singer making her
“legitimate” debut in the theatre.
This is her big chance, and she
doesn’t want to mess it up. Bill
is similar, but he has a vice:
he loves to gamble. They’re
both incurable flirts, and they
have a very different kind of
relationship, in counterpoint to
Fred and Lilli, much like Bianca
and Lucentio have a completely
different dynamic from Kate and
Petruchio in Shakespeare’s play.
On top of these relationships,
there is also the mise en scène:
Kiss Me, Kate is the ultimate
backstage musical. We have the
rare opportunity to show the
magic and the mystery of life
backstage: the fun and hijinks,
the drinking and flirting, the sex.
“Too Darn Hot” is going to be too
darn hot in our version. I’ve been
fascinated by the photographer
Rivka Katvan, who captures this
tone in her book Backstage:
Broadway Behind the Curtain.
(You'll see several of her photos
later in this issue of Asides.)
Kiss Me, Kate is the ultimate
valentine to the theatre and I'm
so thrilled to direct it. It's my
chance to direct an unabashedly
lush and romantic production
that harkens back to all I love
about the Golden Age of
Broadway.
Adapted from Alan Paul’s
address to the cast on the first
day of rehearsal.
5
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THE STORY
1948. Ford’s Theatre, Baltimore.
Fred Graham and Lilli Vanessi were once the greatest husband-andwife team on Broadway, but battling egos ended their personal and
professional relationship. Now, on the anniversary of their divorce, they’re
starring together as Petruchio and Kate in a musical adaptation of William
Shakespeare’s The Taming of the Shrew.
Rehearsals have begun. But when a group of gangsters show up to collect
a mysterious debt, together with the combination of Fred and Lilli’s
offstage lives and onstage characterizations, the situation looks grim. Will
noises off throw the show into hilarious disrepair?
MUSICAL NUMBERS
Act 1
Another Op’nin’, Another Show����������������������������������������������������������������������������������� Full Company
Why Can’t You Behave?�����������������������������������������������������������������������������������������������������������Lois Lane
Wunderbar..................................................................................................... Fred Graham, Lilli Vanessi
So in Love�����������������������������������������������������������������������������������������������������������������������������������Lilli Vanessi
We Open in Venice................................................................................... Bill Calhoun, Fred Graham,
Lois Lane, Lilli Vanessi
Tom, Dick, or Harry....................................................................................Bianca, Gremio, Hortensio,
Lucentio
I’ve Come to Wive It Wealthily in Padua�������������������������������������������Petruchio, Male Ensemble
I Hate Men������������������������������������������������������������������������������������������������������������������������������������� Katherine
Were Thine That Special Face����������������������������������������������������������������������������������������������� Petruchio
Cantiamo D’Amore�������������������������������������������������������������������������������������������������������������������� Ensemble
Finale Act I: Kiss Me, Kate����������������������������������������������������������������������������������������������� Full Company
Act 2
Too Darn Hot�������������������������������������������������������������������������������������������������������������������������������� Ensemble
Where Is the Life That Late I Led?�������������������������������������������������������������������������������������� Petruchio
Always True to You in My Fashion����������������������������������������������������������������������������������������Lois Lane
Bianca....................................................................................................................Bill Calhoun, Ensemble
So in Love (Reprise)����������������������������������������������������������������������������������������������������������� Fred Graham
Brush Up Your Shakespeare������������������������������������������������������������������������ First Man, Second Man
I Am Ashamed That Women Are So Simple
Katherine
Finale Act 2 Reprise: Kiss Me, Kate����������������������������������������������������������������������������� Full Company
ORCHESTRA
Conductor.................................................................................................................. James Cunningham
Reed 1 ...........................................................................................................................................Martin Nau
Reed 2 ...................................................................................................................................... Ronald Diehl
Reed 3 .......................................................................................................................................Scott Silbert
Reed 4 . ....................................................................................................................................Tia Wortham
Guitar .....................................................................................................................................Gerald Kunkel
Trumpet 1..............................................................................................................................Guericke Royal
Trumpet 2................................................................................................................................. Kieron Irvine
Trombone.................................................................................................................................. Paul Schultz
Bass......................................................................................................................................... William Hones
Percussion������������������������������������������������������������������������������������������������������������������������������� Chris Barrick
Contractor��������������������������������������������������������������������������������������������������������������������������������Bruno Nasta
8
MUSIC DIRECTOR’S WORD
DOUG PECK ON COLE PORTER
It’s funny to say about someone you don’t know, but I’m very proud of Cole Porter.
Much of his previous work before Kiss Me, Kate is from an era when people could
not care less about fitting songs to the plot. You know, “Someone will juggle, then
we’ll sing a song, then someone will swallow a sword,” and so on. He was a master
of that form, and his songs were so diverting and witty that they worked brilliantly.
As all great artists do, however, Porter wanted to keep up with the trends and
push himself. Think of how many people are going to write rap musicals now
that Hamilton is dominating the form. Some successfully, some horribly, and
I’m very much looking forward to all of it. Cole Porter—because he was a true
master—evolved with the times. Following Kern and Hammerstein, and Rodgers
and Hammerstein, he wrote a truly integrated musical. Kiss Me, Kate has elements
of the previous style, of course, and there are some songs in this score that are just
getting in by the skin of their teeth. But some of them are also among the great
book-integrated songs of the musical theatre. I’m proud of him for evolving in that
way, which is what we’re all trying to do as artists. Porter revealed so much of himself in working on this piece. We all know him as
the witty sophisticate, but there is such deep longing in this music, a strain of
bittersweet romance underneath the comedy. There can be a sophisticated, even
blasé veneer, but there’s also a whole world of passion underneath. The emotions
are sublimated beneath wit in a manner that’s very reminiscent of Shakespeare,
Wilde and other great writers of romantic comedy.
Porter was a flat-out brilliant composer. He was a Christian boy from Indiana, but
he always said the success of his melodies is how Jewish they were. Maybe he was
appropriating a little, but he knew exactly what that meant in terms of harmonic
minor melodies. When he writes in that mode, it’s delicious. He was also able to
write in two different styles for Kiss Me, Kate. He gives us the fabulous backstage
jazz world of Baltimore in the 1940s and then he writes some honest-to-God
Renaissance music for the show-within-a-show. We are going to realize what this
1940s version of a 17th-century show-within-a-show might have sounded like.
He’s also Porter the Progressive. We’re in an era where we applaud shows like
Broad City for its sex-positivity, but Cole Porter was there 70 years ago. Lois Lane
says filthy, juicy, delicious things onstage. Most of them are single entendres, not
even double entendres. And he puts them out there. He is able to write these sassy,
empowered songs. You have to give him credit. He’s up there with Noël Coward,
W.S. Gilbert, and Stephen Sondheim as one of the great lyricists of all time. I want
the audience to be able to understand and savor every word.
We’re still dealing with equality in terms of gender in our society, and this piece
from 1948 has a female book writer and a gay composer. It was very important to
them that they write about those issues explicitly in this piece. And they did. As I
said, I’m very proud of Cole Porter.
Adapted from Doug Peck's address to the cast on the first day of rehearsal.
9
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11
ABOUT THE AUTHORS
COLE PORTER
STC BOARD OF TRUSTEES
Michael R. Klein, Chair
Robert E. Falb, Vice Chair
John Hill, Treasurer
Pauline A. Schneider, Secretary
Michael Kahn, Artistic Director
Trustees
Nicholas W. Allard
Ashley M. Allen
Stephen E. Allis
Anita M. Antenucci
Jeffrey D. Bauman
Landon Butler
Dr. Paul Carter
Peter Cherukuri
Gloria Dittus
Debbie Driesman
Dr. Mark Epstein
Stefanie Erkiletian
Dr. Natwar Gandhi
Miles Gilburne
Barbara Harman
John R. Hauge
Stephen A. Hopkins
Lawrence A. Hough
W. Mike House
Jerry J. Jasinowski
Norman D. Jemal
Scott Kaufmann
Sudhakar Kesavan
Kevin Kolevar
Abbe David Lowell
Gail MacKinnon
Bernard F. McKay
Melissa A. Moss
Stephen M. Ryan
George Stamas
Lady Westmacott
Rob Wilder
Tom Woteki
Suzanne S. Youngkin
Ex-Officio Trustees
Chris Jennings, Executive Director
In 1909, Cole matriculated into Yale University, where he sang a cappella with the
Whiffenpoofs and Glee Club and wrote an estimated 300 songs, including the material for
six musical comedy revues. After graduating in 1913 as the “most entertaining” member
of his class, Porter made his Broadway debut with 1916’s See America First; it was a flop.
Crushed, Porter spent much of the next two decades in Europe. In 1919, living in Paris, he
married divorced socialite Linda Lee Thomas.
*Deceased
Production Program and Publication of the
SHAKESPEARE THEATRE COMPANY
12
Born on June 9, 1891, in Peru, Indiana, Porter had a privileged upbringing. His mother,
Catherine “Kate” Cole, was the daughter of a tycoon and doted on her son, sparing
no expense. By the age of 6, Porter could play the violin and piano; at 10, he wrote his
first song.
Emeritus Trustees
R. Robert Linowes*, Founding Chairman
James B. Adler
Heidi L. Berry*
David A. Brody*
Melvin S. Cohen*
Ralph P. Davidson*
James F. Fitzpatrick
Dr. Sidney Harman*
Lady Manning
Kathleen Matthews
William F. McSweeny
V. Sue Molina
Walter Pincus
Eden Rafshoon
Emily Malino Scheuer*
Lady Sheinwald
Mrs. Louis Sullivan
Daniel W. Toohey
Sarah Valente
Lady Wright
ASIDES
Managing Editor
Jonathan Padget
Publisher
Michael Porto
Creative Director
S. Christian Taylor-Low
Graphic Designer
Taylor Henry
Contributing Editors
Laura Henry Buda
Drew Lichtenberg
Ryan-Patrick McLaughlin
Production Assistant
Ruthie Rado
Advisors
Alan Paul
Samantha K. Wyer
Of all the giants of the American Songbook, there is perhaps no figure who united words
and music better than Cole Porter. Blending European savoir faire with an American’s
delight in monkey business, Porter’s songs are paradoxical delights: sophisticated yet
accessible and infinitely pleasurable, a world all their own. He was, as he termed himself, “a
cross between Eddie Cantor and the Duke of Windsor.”
Editorial Assistant
Catherine Shook
The 1930s were Porter’s decade. He was prolific, writing 10 Broadway and two Hollywood
musicals. The frothy books to these musicals, wildly popular in their day, are now largely
forgotten. It is the songs that have survived, a glittering list including such standards as
“Let’s Do It (Let’s Fall in Love)” (Parade, 1928), “What Is This Thing Called Love?” (Wake Up
and Dream, 1929), and “Night and Day” (Gay Divorce, 1932). Anything Goes (1934) features
a murderer’s row of the title song, “I Get a Kick Out of You,” “All Through the Night,” and
“You’re the Top.” Other modern classics include “Begin the Beguine” (Jubilee, 1935), “It’s DeLovely" (Red, Hot and Blue!, 1936), and “I’ve Got You Under My Skin” (Born to Dance, 1936).
Porter suffered a severe horse-riding accident in 1937; he would never fully recover the use
of his legs. Though he threw himself into his work, the hit songs began to dwindle. 1948’s
Kiss Me, Kate was a late-career triumph, a fully integrated musical in the new manner of
Rodgers and Hammerstein. Porter won the Tony for best composer and lyricist, and Kate
received the first-ever Tony for Best Musical. He died on October 15, 1964, having produced
an inimitable body of work.
SAM AND BELLA SPEWACK
A husband-and-wife writing team, Samuel and Bella Spewack were both born in Eastern
Europe (Bella in Bucharest, Sam in Ukraine) in 1899, both immigrated as children, and both
worked as journalists before turning to the theatre. After marrying in 1922, they moved to
Moscow, where they worked as foreign correspondents for four years.
On their return to the United States, the Spewacks found success writing romantic
comedies of the madcap variety. Their first break on Broadway was 1932’s Clear All Wires,
followed by 1935’s Boy Meets Girl. Their Hollywood screenplays include the Academy
Award®-nominated My Favorite Wife (1940), starring Cary Grant. For Kiss Me, Kate, the
couple won the Tony Award® for Best Author of a Musical. Sam Spewack died in 1971 and
Bella Spewack in 1990.
13
T
The
Taming
of the
Screwball
By Drew Lichtenberg, Literary Manager
Rendering of the Padua backdrop for Kiss Me, Kate by Scenic Designer James Noone.
he success of Kiss Me, Kate
in 1948 could not have been
more unexpected. Cole
Porter, who had experienced a
glittering string of successes in
the 1930s, was yesterday’s news
by the mid-’40s. His previous two
Broadway ventures, Seven Lively
Arts (1944) and Around the World
in Eighty Days (1945)—the former
a collaboration with Salvador
Dali, Igor Stravinsky, Benny
Goodman, and Moss Hart, the
latter with Orson Welles “in the
style of Georges Méliès”—were
both eccentric and expensive flops.
Worse, they hinted that Porter,
who had never written his own
books, had lost the magic touch of
choosing an ideal collaborator.
As luck would have it, his
next collaborators would choose
him. Sam and Bella Spewack had
worked with Porter previously,
adapting their 1932 play Clear All
Wires into the 1938 musical Leave
It to Me! Based (very) loosely
on their experiences as foreign
correspondents in Moscow, in
Porter’s hands the piece became
a sublimely nonsensical romp,
flimsily plotted but chockablock
with risqué set pieces. Most notable
is Mary Martin’s striptease in
Siberia, discarding her ermine
muff while mewling “My Heart
Belongs to Daddy.” Porter, who
had elevated doggerel rhyme to the
status of high art, topped himself
here, stringing together a line of
sexually suggestive rhymes for
“Daddy” such as “Finnan haddie”
(smoked cod), “Paddy” (for a
Saint Patrick’s Day assignation),
“the caddy” (an aroused golf
companion), and “strong undergraddy.” The original finale
consisted of Stalin leading a line
dance to “The Internationale,”
rewritten hastily after the signing
of the Nazi-Soviet Pact. Like all of
Porter’s pieces from the ’30s, Leave
It to Me! is high on fizz and fun,
and all but unrevivable today.
By 1948, the world had changed.
The success of Rodgers and
Hammerstein’s Oklahoma! in
1943, followed by Carousel and
Allegro, effectively ushered in
the era of the “book musical,” in
which all the songs and dances
were subordinated to the needs of
the story and characters. Taking
a cue from Richard Wagner,
composers were now expected
to sprinkle musical themes or
leitmotifs throughout the piece,
uniting disparate plot strands into
a contrapuntal unity. Vaudeville
was out, and Aristotle was in. It
was no longer enough to add blue
coloration to a string of ingenious
rhymes, or to wow people with
a dance number. Now one had
to write plays with music. “The
librettos are much better,” Porter
would later lament, “and the scores
are much closer to the librettos
than they used to be. Those two
[Rodgers and Hammerstein] made
15
it much harder for everybody else.”
Two stories vividly evoke the
changing of the guard. Irving
Berlin, Porter’s 1930s compatriot,
had joined the times with 1946’s
Annie Get Your Gun, a star vehicle
for Porter’s favorite 1930s naughty
girl Ethel Merman, unrecognizably
transformed as a sharpshooter
with a heart of
gold. Hitting
closer to home,
when Porter and
the Spewacks
began casting
the all-important
role of Lilli
Vanessi, Kate’s
female lead, they
thought instantly
of Mary Martin.
She turned
them down for
Rodgers and
Hammerstein’s
South Pacific.
Making
matters worse,
the Spewacks
were supported by a motley crew
of an artistic team consisting of
a brilliant set designer (Lemuel
“Lem” Ayers, who had created
the Oklahoma! plains) and a
veteran stage manager (Arnold
“Saint” Subber), both unproven
as producers. The director was
a producer, John C. Wilson,
most famous for mounting Noël
Coward’s works in America. He
had never directed a musical
before. For that matter, the
Spewacks were perceived as
playwrights, not librettists. None of
them, except for Bella, particularly
wanted Porter.
How wrong they were. Porter
worked uncharacteristically hard
on Kiss Me, Kate, taking particular
care to integrate
his songs with
the Spewacks’
book. By opening
night of tryouts
in Philadelphia,
the text of the
show was set, not
to be changed, a
phenomenon all
but unknown in
Broadway musicals.
Furthermore,
the challenge
of composing a
unified “musical
play” liberated
the erudite Porter,
resulting in the
most sophisticated
and purely musical score of his
career. The contrasting worlds
of Shakespeare’s Padua and
backstage Baltimore are drawn
in complementary musical
vernaculars, flitting from the
Renaissance madrigal of “Tom,
Dick, or Harry” to the Bowery
waltz of “Brush Up Your
Shakespeare.” The Porterian
cadence of minor to major, lending
The challenge
of composing a
unified “musical
play” liberated
the erudite
Porter, resulting
in the most
sophisticated
and purely
musical score of
his career.
16
such previous hits as “Begin the
Beguine” an exotic Middle Eastern
air, becomes a dramaturgical device
here, uniting like and unlike songs.
In Porter’s most overtly Wagnerian
moment, Fred Graham/Petruchio
sings “So in Love” at a crucial
stage in the action, picking up the
tune from Lilli Vanessi/Kate, even
though he hadn’t been onstage for
her rendition. The effect is sublime,
of a dream remembered, or of a
romantic kinship with unspeakable
depths. Porter, who for so long had
endowed lusty thoughts with double
meanings, was now letting his music
limn ineffable emotions, writing
lieder worthy of Strauss or Debussy.
“The climax comes quite a while
before the end of the song,” Porter
would say about it, elliptically, “a
situation that would never have been
accepted 20 years ago.”
But old habits die hard. The last
two songs added to the show have
proven two of the most popular,
and would not be out of place in a
1930s musical revue. Harold Lang,
who played Bill Calhoun, had
angered Porter during rehearsals,
showing up late for calls, and with
a much-too-large codpiece. Not
yet the star he would become after
the 1952 revival of Pal Joey, he was
nonetheless petulant and unhappy,
complaining about his lack of a
dance solo. One evening, Porter
invited Lisa Kirk (Lois Lane, Bill’s
counterpart) back to his penthouse
for drinks, and began whistling a
tune on the elevator, finishing it
before they reached the 41st floor.
He turned to her, and said simply,
“It’s Harold’s Number.” Sure
enough, in the show, Bill Calhoun
whistles as he wows the audience
with “Bianca,” a showstopping
dance number.
The last tune added, and one
that would strain relations with
the Spewacks (“Bella will probably
cut her throat when she gets this,”
Porter said when mailing it), is
“Brush Up Your Shakespeare.”
Unexpected, unwelcome, and
entirely ingenious, “Brush Up”
was a ribald list song for the
gangsters in the show, dotted
with doggerel rhymes, much in
the style of his greatest hits from
the 1930s. As Bella eventually
realized, incorrigibility would win
out over integration, showbiz over
Shakespeare. When Kate Cole,
Porter’s beloved mother, came
to the opening night of Kiss Me,
Kate, she sat, stone-faced, through
much of the show, letting most of
the racy lyrics pass by unnoticed.
When the company got to “Brush
Up Your Shakespeare” and Porter’s
immortal couplet, “Just acclaim a
few lines from Othello / And she’ll
think you’re a helluva fella,” she
turned to her companion and said,
smiling, “Cole is a naughty boy.”
17
IT
S
E
K
A
T
T WO
S
E
M
I
(T
)
O
W
T
By Jonathan Padget
Photos by Ruthie Rado
Love stories are lovely (and
plentiful), aren’t they? But a
great love-hate story—that’s
something else entirely, and
that’s what makes the heart of
Kiss Me, Kate beat with passion,
intensity and joy.
Like the original Broadway
production starring Alfred Drake
and Patricia Morison, or the film
adaptation with Howard Keel
and Kathryn Grayson, or the
Broadway revival that paired
Brian Stokes Mitchell and Marin
Mazzie, Shakespeare Theatre
Company’s production of Kiss
Me, Kate relies on the chemistry
between the central couple: the
actors portraying Fred Graham
and Lilli Vanessi.
So, too, does it rely on another
well-matched couple: the
director and choreographer. Let’s
see how they were all getting
along with each other in the
process of bringing Kiss Me, Kate
to vibrant life.
DOUGLAS SILLS AND CHRISTINE SHERRILL
Fred and Lilli are one of theatre’s
greatest examples of a couple who
can’t live either with or without
each other. What does it take for
actors to make that kind of passion
and complexity both entertaining
and believable?
SHERRILL: The stereotype of the
shrew can be challenging, but the
humor in this is the reality of love.
It’s funny. And it’s a torment. And
tumultuous. There’s humor in that.
There can be humor in any reality.
SILLS: I was having some trouble
18
with this, and then I watched Jeb
Bush and Marco Rubio debate each
other. I feel like I got so much from
their love and hate for each other.
[Laughs.] You want to start at the
truth, what’s honest here, what you’re
trying to achieve. And you just have
to make sure the stakes stay high.
You have to need and want the other
person very, very much. When you’re
playing a couple known for a heated
relationship, you have to avoid
focusing on just playing the fight.
When you’re dealing with “I hate you,
I’m mad at you, how dare you”—all
19
showing you how clever
he is, and at this point
in his career, he’s very
clever. And you have to
navigate the different
periods in the show, and
then there’s Shakespeare,
but it’s modified. It’s
quite a challenge.
SILLS: I love that Fred is the lead.
[Laughs.]
What do you hate about your
co-star?
What do you love about your
co-star?
SHERRILL: He has moments when
he’s like a teenage boy. Do you know
that about yourself, Doug?
SHERRILL: Ooh.
SILLS: Wait a minute before you
answer. [Covers his ears.]
SILLS: She doesn’t understand
the gloriousness that is Fred, and
Douglas. No, really, I haven’t found
anything yet!
SHERRILL: I don’t know what to say.
Since this is your first
time working together,
have you done anything
special, either in or out
of rehearsal, to get to
know each other better?
SHERRILL: When I arrived
here, Mr. Sills had sent
lilies to my apartment.
Isn’t that lovely?
SILLS: They were orchids.
SILLS: Well, figure it out!
SHERRILL: He’s a gentleman, he
believes in chivalry, which is an art
form. He is invested in this play, and
very passionate about it. He’s strong.
Oh my gosh, Doug, do you want to
get married?
SILLS: I love that fact that she’s
statuesque and beautiful. She cares
about her work. She’s a mother. And
she’s funny.
SHERRILL: You didn’t
send lilies to Lilli? What
were you thinking?
the negatives—you have to treat
them as obstacles, not the objective.
The more you need someone, the
more intense the difficulties are.
Are Fred and Lilli any harder, or any
easier, to bring to life than other
characters you’ve portrayed?
SHERRILL: Anytime you get to play
a character in love, that’s pretty easy.
Who hasn’t had that experience to
draw on? And it doesn’t hurt when you
have Cole Porter songs to convey your
feelings with. That’s icing on the cake.
SILLS: The demands are intense. The
fundamentals are the same: What
do you want? What are you afraid
of? Where are you in your life? The
hard part is the fight, the lyrics—Cole
Porter is a list writer. He’s always
20
SILLS: She’ll also tell
me after rehearsal how
exhausted she is, and how she wants
to grab a cab. But I’ll be like, “No,
let’s walk.” And she’ll see a sweet
treat in a store window, and I’ll say,
“No! We’re not having that!” It’s like
I’m starving her.
SHERRILL: He treats me just like
the shrew!
What do love about your character?
SHERRILL: Everything! I love that her
biggest weapon is her wit, and I love
her command of the language, and
how she can use that as a weapon.
But I equally love her graceful
moments, when you can see that the
two of them together is better than
either of them apart.
What happens to Fred and Lilli after
the curtain falls? What are they up
to 20 years later?
SHERRILL: They’re definitely
together.
SILLS: They’re touring, and it’s
called the Eight Grahams. It’s a
Shakespearean troupe, and they also
sing. We’ve been on The Ed Sullivan
Show, and we live in Beverly Hills.
We’ve done well. She took some
of our money and invested it in oil,
because Lord knows our career didn’t
get us there.
ALAN PAUL AND MICHELE LYNCH
Why is the chemistry between the
director and choreographer in this
production just as important as
the chemistry
between Fred
and Lilli?
the rehearsals and where the show is
going. Our attitude, collaboration and
unity strengthen them.
Lynch: Because
we’re almost like
the parents to
the cast when
we run the show.
If they feel a
disassociation
with us, it’s going
to weaken their
confidence in
the show. We
set the tone of
21
Paul: Ideally you shouldn’t know
the exact moment my work ends
and Michele’s starts. We’re trying
to create a physical world that can
allow for dance that comes out
of natural movement when we’re
backstage, especially in “Too Darn
Hot.” We both have to do the same
show, but our work usually happens
in separate rooms. Once the rehearsal
clock starts running, there’s not a lot
of time for us to sit and talk about
everything. So we had to make sure
we were completely on the same
page when we started.
Lynch: It’s like raising a kid. You have
to make sure you’re raising her the
same way.
Paul: We’re raising a Broadway baby.
Since this is your first time working
together, how did you know each
other was “The One” when it came
to working on Kiss Me, Kate?
Paul: There are very few people
who have the sensibility for a classic
musical in an old-fashioned kind
of style. I saw Show Boat at the
Kennedy Center a few years ago,
and it was obvious that no one but
Michele could have done that. This
was a perfect fit.
Lynch: In my world, the director
already has the job, and I’m always
the interviewee. It is like dating in a
way, because I can know instantly if
this is someone I want to spend hours
and hours with. I loved Alan’s energy
when I first started talking to him. It
was so fresh, enthusiastic, exciting,
passionate, smart, grounded and real.
Paul: And then she got to know me.
[Laughs.]
Are there legendary directors and
choreographers whose working
relationships inspire you?
Paul: Jack O’Brien and Jerry Mitchell.
Lynch: They were my role models.
I spent 10 years with them. I was
Jerry’s assistant and associate on
The Full Monty and Hairspray, and
Jack was the director. We worked on
remounts around the world, and they
were like my parents.
Paul: Jack is one
of my mentors
I check in with,
and I really look
up to him.
Lynch: That
was a happy
discovery for
me—learning
that we have
the same role
models.
What do love
about each
other?
Lynch: He comes
at the room with
22
a sense of authority
and vulnerability that
allows you to strip
away your mask, and
be vulnerable and
open, and bring your
best creative self.
That’s a rare gift.
Paul: I love Michele’s
enthusiasm, and her
sense of telling a story.
Some choreographers
don’t work that way,
and I’ve learned
not to take it for
granted. Besides
having incredible
choreography and
steps, it’s all in
support of a common
idea we have, or a
common thing we
want to have happen
in a scene. That’s
especially important in
the backstage part of
the musical, because
we want to capture
a slice of what life in
the back alley is like.
Then there’s also the
brilliant showmanship
of the play within a
play, which has incredible style and
is going to be different than anything
people have seen before, in some of
these dances.
What do you hate about each other?
Both: Nothing! [Laughs.]
Paul: We don’t have a love-hate
relationship. It’s just love-love.
Lynch: Unless there are underlying
things you want to get out now.
Paul: We’ll talk.
If you could pick any show or project
to work on together next, what
would it be?
Paul: Victor/Victoria, with new dance
arrangements by Michael Dansicker.
Lynch: Starring Catherine Zeta-Jones.
Paul: So if she’s reading Asides, I
hope she’ll email me.
Jonathan Padget, STC’s associate
director of communications and
public relations, serves as the
managing editor of Asides.
23
MAPPING THE PLAY
Noises Off
By Drew Lichtenberg
The backstage musical. Actors
in greasepaint, waiting for their
cue, stealing private moments
in dressing rooms. Stagehands
smoking cigarettes and killing
time. The incredible tedium of
tech rehearsal, the high anxiety
of the audition, the thrill of the
performance.
and A Chorus Line (1975),
Kate employs multiple sets,
cinematically traversing across
a range of locations. The effect
is both immediate and intimate,
personal and panoramic, an
evocation of the forgotten age
of the 1940s tryout and the
undying romance of the stage.
Unlike other musicals set
in a theatre such as Show
Boat (1928), Gypsy (1959)
and Cabaret (1966), Kiss Me,
Kate confines its action to
an evening, the opening of
Fred Graham’s new Shrew at
Ford’s Theatre in Baltimore.
Unlike later, unit-set, real-time
shows such as Follies (1971)
In the photographs of
decorated Broadway
photographer Rivka S. Katvan,
one of director Alan Paul’s
influences in working with Kiss
Me, Kate’s design team, this
world is captured indelibly.
From the furry costumes
worn by the chorus in a 1980
remount of Sugar Babies, to
24
Elizabeth Wilson's tired
dignity in Mornings at
Seven (1981), to Gregory
Hines’ uncanny calm in
a 1979 production of
Coming Uptown, to Amy
Heggins’ impromptu
split while working on
Gypsy of the Year (1999),
to Gordon Chater’s
ineffable expression
in The Elocution of
Benjamin (1979), it’s all
here: the romance and
mystery, the insouciant
professionalism, the ups
and downs of a life in
the business of show.
Photos Copyright Rivka
Katvan Studios. All Rights
Reserved. Used with
kind permission of the
photographer.
www.rivkakatvan.com
The marriage of Kate and Petruchio, The Taming of the Shrew, painting by Sir John Gilbert, 1865.
KISS ME, KATE
AND“ THE BARD OF
STRATFORDON-AVON”
C
hronologically midway
between The Boys from
Syracuse and West
Side Story lies Kiss Me, Kate,
Samuel and Bella Spewack’s
liberal adaptation of The
Taming of the Shrew with lyrics
and music by Cole Porter.
26
Although the version that
eventually appeared on
opening night, December 30,
1948, offered considerable
pilfering of Shakespeare’s lines
(compared with Syracuse and
West Side) as well as cutting
indispensable Shakespearean
SHAKESPEARE’S PLAY IS
STILL THE THING
By Geoffrey Block
plot developments, the original
May libretto draft contained still
more of Shakespeare’s language
and plot.
For George Abbott’s Boys
from Syracuse, the plot, not the
play, was the thing. Indeed, the
plot was the play. For Arthur
Laurents’s West Side Story,
Shakespeare’s plot relied too
heavily on chance, depriving
young adults of their active
agency to determine their
destinies. He also concluded
that a dead Juliet (Maria)
served no useful dramatic
27
purpose. In setting Shrew, the
Spewacks and Porter tinkered
with and shortened, but did not
fundamentally alter the essential
Shakespearean component of
the plot in their play within a
play, an abbreviated musical
version of The Taming of the
Shrew put on by characters in
then-contemporary Baltimore
who bear uncanny personal
characteristics and more
than a family resemblance to
Shakespeare’s characters.
Nevertheless, even in the
final version, much of the Shrew
plot in Kiss Me, Kate, albeit
significantly abbreviated, overall
made relatively few “unkind
cuts” and retained a fair amount
of Shakespearean dialogue.
Some of Shakespeare’s prose
inspired song titles, including
“I’ve Come to Wive It Wealthily
in Padua,” “Were Thine That
Special Face,” and “Where Is
the Life That Late I Led?” In
the case of “I Am Ashamed
That Women Are So Simple,”
Porter pilfered so liberally from
Shakespeare’s words that he
inserted the attribution “Lyrics
by Wm Shakespeare,” before
playfully adding that the Bard’s
words were “slightly altered by
Cole Porter with apologies.”
Although the erudite Porter
may have known more about
the music of the Italian
28
Renaissance than he let on,
clearly he had no intention to
flaunt this knowledge for a
Broadway audience expecting
to hear the popular musical
argot of the era. Thus, for the
most part, instead of attempting
to incorporate Elizabethan or
Italian Renaissance elements
in setting the Shrew portions
of the show, Porter elected to
bring in generically Italian
musical signifiers in order to
distinguish Shakespeare’s story
from the Baltimore backstage
story. The latter is told through
recognizable Broadway styles
of the 1940s, as in the opening
Baltimore ensemble showbiz
number, “Another Op’nin’,
Another Show,” the bluesy
“Why Can’t You Behave?”
sung by the flirty Lois in the
first act, and her jazzy “Always
True to You in My Fashion” in
the second act. Porter adopted
a more contemporary Italian
flavor by setting as tarantellas
“I Sing of Love” and the main
section of “Where Is the Life
That Late I Led?” A tarantella is
a rapid, even manic, southern
Italian dance in 6/8 meter
frequently used to embody the
Italian ethos in 19th-century
symphonic music, perhaps
most famously in the finale
of Mendelssohn’s “Italian”
Symphony and in popular
Italian songs such as “Funiculi,
Funiculà,” published in 1880
but still well-known in the late
1940s. Also, in “Were Thine That
Special Face,” Porter inserted a
more generalized Latin beguine
rhythmic accompaniment, as
he did in his durable 1930s hit
“Begin the Beguine.”
A subtler Italian appropriation
comes in the orchestral tag to
“We Open in Venice,” which
opens the Shrew play and serves
as a counterpart to the Baltimore
show opener, “Another
Op’nin.’” The tag offers a brief
but literal quotation of the
opening of the “Miserere” from
act IV of Verdi’s Il Trovatore,
perhaps as a musical pun in
reference to the “misery” of
an endless road tour for the
“troupe of strolling players”
introduced at the outset of
the song. Unfortunately, this
clever Verdi reference vanished
in the 1999 Broadway revival
and its recording, and, since
it is no longer included in
rental scores, the reference is
destined to be omitted in future
productions. Porter also offers
several quasi-Renaissance
moments, for example, when
he inserts a stylistic allusion
to an a cappella pseudomadrigal for Bianca and her
suitors in “Tom, Dick or Harry.”
Porter even unmistakably
transforms “Why Can’t You
Behave?” from a blues into a
Renaissance English dance, the
pavane, albeit with stylistically
inappropriate lush modern
harmonies and orchestrations,
in Bianca’s wedding march.
Yet another nod to Renaissance
musical style occurs in several
Shrew songs that display the
characteristic LONG-shortshort figure characteristic
of the 16th-century French
chanson and Italian canzona (e.g.,
“Tom, Dick or Harry”), and
in several chord progressions
(e.g., the introduction to “I
Hate Men”) that simulate the
modal harmonic language of
Shakespeare’s time.
Excerpted from full article published in the e-book Guide to the Season’s Plays
2015–16 available for purchase for the Kindle or Nook.
Geoffrey Block, Distinguished Professor of Music History at the University
of Puget Sound, is, in addition to Enchanted Evenings, author of Ives:
“Concord” Sonata (Cambridge University Press), Richard Rodgers (Yale
University Press) and editor of The Richard Rodgers Reader (Oxford
University). He is also the series editor of Oxford’s Broadway Legacies.
29
Official Wine of the
SHAKESPEARE
T H E AT R E C O M PA N Y
Please enjoy our wines responsibly.
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SHAKESPEARE’S EPIC ADVENTURE TALE
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33
The Washington Monument
illuminated by its scaffold
and a full moon, 2013.
© Colin Winterbottom
presented by
Thursday, January 7
Preview Night
Friday, January 8
Lecture & Luncheon
Saturday, January 9
Appraisals • Lecture
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The Katzen Arts Center
at American University
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jan. 8–10, 2016
44 outstanding dealers
guided walks & dealer talks
special events
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CAST BIOGRAPHIES
JAY ADRIEL*
Ensemble
STC: Man of La Mancha.
REGIONAL: Signature
Theatre: The Best Little
Whorehouse in Texas,
Dreamgirls; Arena Stage: Smokey Joe’s
Café. TELEVISION: House of Cards, House
Hunters. INSTRUCTOR: LA Fitness,
certified personal trainer. TRAINING:
Winthrop University: BA in dance and
theater performance; Strayer University:
MEd in leadership and supervision.
CLYDE ALVES*
Bill Calhoun/Lucentio
NEW YORK: Broadway:
On the Town (Ozzie),
Bullets Over Broadway, Nice
Work if You Can Get It,
Anything Goes, Wicked, Hairspray,
Oklahoma!, The Music Man (Tommy
Djilas); Off-Broadway: Altar Boyz (Juan).
New York City Center Encores!: Bells Are
Ringing, Anyone Can Whistle, Follies
(Kevin). NATIONAL TOURS: A Chorus
Line (Mike), Hairspray, Fame the Musical.
REGIONAL: The Muny: Oklahoma! (Will
Parker); Old Globe: Robin and the 7 Hoods;
Stratford Festival: West Side Story
(Action); TELEVISION: ABC’s The Music
Man (Tommy Djilas). AWARDS: Astaire
Award nominee for Ozzie in On the Town;
Astaire Award winner for Tommy Djilas
in The Music Man.
BEV APPLETON*
Ralph (Stage Manager)
STC: All’s Well That
Ends Well, Merry Wives
of Windsor, Coriolanus,
Wallenstein, Much Ado
About Nothing, Measure for Measure,
Henry IV, Parts 1 and 2. NEW YORK:
Off-Broadway: Manhattan Theatre
Club: Five by Tenn, The Other Side.
REGIONAL: Arena Stage: My Fair
Lady, Camelot; Arden Theatre: Twelfth
Night, Proof, Sweeney Todd; Walnut Street
36
Theatre: Of Mice and Men, Man of La
Mancha, Mr. Bailey’s Minder (American
premiere); Philadelphia Shakespeare:
King Lear; Theatre Virginia: As You Like
It (Touchstone), Much Ado About Nothing
(Dogberry), Equus (Dysart), Arms and the
Man (Nicola). INTERNATIONAL: Sibiu
International Theatre Festival (Romania)
and Edinburgh Fringe: Two Rooms; Blue
Ridge Theatre Festival (Virginia) and
Caux, Switzerland: Wenceslas Square;
Hungary, India, England. FILM: The
New World, The Contender, True Colors,
The Fields. TELEVISION: My Name Is Bill
W., The Color of Love, Traitor in My House.
AWARDS: Barrymore Award nomination
for Lead Actor in The Fantasticks;
Barrymore Award nomination for Best
Ensemble for Of Mice and Men.
BOB ARI*
First Man
NEW YORK: Broadway:
Lincoln Center: Act One;
Roundabout: The Constant
Wife; Frost/Nixon, The Man
Who Came to Dinner, Bells Are Ringing,
Laughter on the 23rd Floor. Off-Broadway:
The Late Christopher Bean, Die Mommie
Die, Jolson & Co., June Moon, Picasso at
the Lapin Agile. NATIONAL TOURS:
Frost/Nixon. REGIONAL: Cleveland
Playhouse and Arizona Theatre Co.:
Lombardi; George St. Playhouse and
Cleveland Playhouse: Red; Olney
Theatre Center: Sleuth, Witness for the
Prosecution; Fulton Theatre: Cat on a Hot
Tin Roof; Pioneer Theatre Co.: Dracula,
12 Angry Men. INTERNATIONAL: West
Side Story (tour), Guys and Dolls (tour).
FILM: Two Lovers, Wanted, Kissing Jessica
Stein, Music of the Heart, Cradle Will Rock.
TELEVISION: Elementary, Veep, The Good
Wife, Law & Order (three series), Onion
News Network. TRAINING: CarnegieMellon University: BFA, MFA; Moscow
Art Theatre School, A.C.T., the
Groundlings (improvisation), the Actors
Center (member).
BRANDON BIEBER*
Hortensio
NEW YORK: Broadway:
Side Show, Anything Goes,
Follies, Mary Poppins.
NATIONAL TOURS: Mary
Poppins, White Christmas. REGIONAL:
The Kennedy Center, La Jolla Playhouse,
the Old Globe, Houston Theatre Under
the Stars, Pittsburgh Civic Light Opera,
the Muny, Stages St. Louis. TELEVISION:
Smash, One Life to Live, The 2015 Tony
Awards. OTHER: Radio City Spring
Spectacular. TRAINING: Cincinnati-College
Conservatory of Music: BFA in musical
theatre.
STEPHANIE
BISSONNETTE
Swing
NEW YORK: OffBroadway: Dream
Street (choreographer).
REGIONAL: Riverside Theatre: West
Side Story; Seven Angels Theatre:
Footloose; Surflight: The Wizard of Oz.
INTERNATIONAL: Royal Caribbean:
Hairspray. TELEVISION: Extreme
Makeover Home Edition (dancer).
OTHER: Broadway Bares (Nick Kenkel),
Easter Bonnet (Rommy Sandhu).
TRAINING: Point Park University
Conservatory: BA in dance. WEB:
www.stephaniebissonnette.com;
@stephbizz14 on Instagram.
ELLIOT DASH*
Pops
STC: As You Like It
(Charles the Wrestler),
Hamlet (Marcellus),
Henry V (Sir Thomas
Grey), Macbeth (Caithness);
Shakespeare Theatre Young Company:
Julius Caesar (Caesar). NEW YORK:
Off-Brodway: The Acting Company:
Romeo and Juliet (Lord Capulet),
Comedy of Errors (Dr. Pinch), O Pioneers
(Marcel). NATIONAL TOURS: The
Acting Company: Schoolhouse Rock
Live! REGIONAL: Ford’s Theatre: Little
Shop of Horrors (Plant Voice), Civil War,
Christmas Carol (Ghost of Christmas
Present); Folger: Elizabeth the Queen
(Armin); Olney Theatre Center: The
Little Mermaid (King Triton); Wayside
Theatre: Othello (Othello), Driving
Miss Daisy (Hoke), Hank Williams:
Lost Highway (Rufus Payne/Tee Tot);
Northern Lights Playhouse: Showboat
(Joe), Lend Me a Tenor (Tito Mirelli),
Hello, Dolly! (Rudy), Little Shop of
Horrors (Plant Voice). TELEVISION:
Days of Our Lives, Bold and the Beautiful,
The Beat. TRAINING: University of
South Carolina; Shakespeare Theatre
Company Academy for Classical
Acting: MFA in acting.
KRISTEN SMITH
DAVIS*
Ensemble
NATIONAL TOURS: South
Pacific (Lincoln Center
revival), Evita, Irving
Berlin’s White Christmas. REGIONAL:
Arena Stage: The Music Man; Paper Mill
Playhouse: Oliver! (Bet); Sacramento
Music Circus: Fiddler on the Roof (Chava),
Show Boat (Kim), Seven Brides for Seven
Brothers (Alice), The Little Mermaid, Crazy
for You; Goodspeed Opera House: My
One and Only; Alley Theatre; Portland
Center Stage; Radio City Christmas
Spectacular. FILM: Ted 2. WEB: www.
kristensmithdavis.com.
SUSAN DERRY*
Ensemble
NEW YORK: Broadway:
Wonderful Town. New
York City Center
Encores!: 11 productions.
REGIONAL: Kennedy Center: Ragtime,
Bernstein’s Mass, Mame, Camelot, My
Fair Lady; Creative Cauldron: Turn of
the Screw; Signature Theatre: Sunday
in the Park, Sunset Boulevard, Saturday
Night, Show Boat; New Harmony
Theatre: Othello, My Fair Lady, Crimes
of the Heart, The Importance of Being
37
Earnest, I Do! I Do!; Merry-Go-Round:
Brigadoon; North Shore: A Little Night
Music; Media Theatre: West Side Story;
Pittsburgh CLO: Company; York Theatre
Co.: Regina; Portland Opera: Merchant
of Venice. INTERNATIONAL Phantom
of the Opera (Hamburg, Germany).
OTHER: New York Philharmonic,
New York Pops, BSO, co-founder
of UrbanArias. INSTRUCTOR:
American University: professor of
voice for musical theatre. TRAINING:
Northwestern University: BM in vocal
performance; Manhattan School of
Music: MM in vocal performance.
WEB: www.susanderry.com.
CARL DRAPER*
Ensemble
NATIONAL TOUR:
Monty Python’s Spamalot.
REGIONAL: Paramount
Theatre: Oklahoma! (Will
Parker), A Chorus Line (Bobby); Maltz
Jupiter: Crazy for You (Sam); Cape
Playhouse: Crazy for You (Sam); Lyric
Opera of Chicago: Carousel; Cincinnati
Playhouse: Cabaret (Bobby); St. Louis
Repertory: Cabaret (Bobby); Drury
Lane: West Side Story; West Virginia
Public: My Fair Lady, Wedding Singer,
Will Rogers Follies, Fiddler on the Roof;
Marriott Lincolnshire: Pirates of Penzance;
Interlakes Summer Theatre: Anything
Goes (Billy). AWARDS: Laurie Beechman
Award for Vocal Achievement in Musical
Theatre. TRAINING: Cincinnati-College
Conservatory of Music.
ROBYN HURDER*
Lois Lane/Bianca
NEW YORK: Broadway:
Nice Work if You Can Get
It (Jeannie Muldoon),
Grease (Marty), Chicago
(Mona), Wedding Singer (Holly u/s),
Chitty Chitty Bang Bang (Violet); New
York City Center Encores!: Paint Your
Wagon (Cherry Jourdell); Off-Broadway:
Play It Cool (Lena Starling); New York
Musical Theatre Festival: The Broadway
38
Dolls-Tour De Fierce. NATIONAL TOURS:
A Chorus Line (Cassie), Spamalot, Starlight
Express (Pearl). REGIONAL: Ogunquit
Playhouse: Victor/Victoria (Norma
Cassidy); Mason Street Warehouse:
Chicago (Roxie).
HEIDI KERSHAW*
Ensemble
REGIONAL: Washington
National Opera: Show
Boat (principal dancer);
Olney Theatre Center:
A Chorus Line (Kristine, Helen Hayes
Award). INTERNATIONAL: BB
Promotion: 50th anniversary world tour
of West Side Story (Jet Girl/Graziella;
Anybodys u/s). OPERA: Washington
National Opera: corps de ballet, soloist
and dance captain in 20 productions,
most recently in Carmen (2015); Arizona
Opera: Aida; Santa Fe Opera: Platee,
Daphne, Wozzeck, The Last Savage, Faust,
Maometto II, King Roger; Metropolitan
Opera: The First Emperor; Washington In
Series: choreogrphaer: Dido & Aeneas/El
Amor Brujo, Idomeneo, Barber & Barberillo.
OTHER: The Spanish Dance Theatre of
the Spanish Dance Society and Bowen
McCauley Dance (company member/
guest artist). INSTRUCTOR: Maryland
Youth Ballet: Early Dance Division.
TRAINING: George Mason University:
BFA in dance; NVCC: AAS, licensed
physical therapist assistant.
ZONYA LOVE*
Hattie
NEW YORK: Broadway:
The Color Purple (Celie);
Off-Broadway: Avenue
Q (Gary Coleman).
NATIONAL TOUR: Avenue Q (Gary
Coleman). REGIONAL: The Wiz
(Evilene), Blues in the Night (Lady),
Hairspray! (Dynamite), Intimate Apparel
(Mayme), Twelfth Night (Maria), Wit
(Susie). TELEVISION: Smash. OTHER:
The Broadway Inspirational Voices
(member), recorded for America’s Got
Talent and with the Ting Tings.
MONETTE MCKAY*
Ensemble
NEW YORK: Broadway:
Spider-Man: Turn Off the
Dark, Memphis, Mamma
Mia! NATIONAL TOUR:
Mamma Mia! (Ali). REGIONAL: Human
Race Theatre: Crowns (Yolanda); Penobscot
Theatre: Little Shop of Horrors (Crystal).
TELEVISION: HBO’s Crime, Law & Order:
Criminal Intent (series finale). OTHER:
Olive Garden (commercial). TRAINING:
Drill Hall (London); Wagner College
(NYC): BA in theatre and speech. WEB:
www.monettemckay.com;
@monettemckay on Instagram and
Twitter.
RAYMOND JARAMILLO
MCLEOD*
Second Man
NEW YORK: Broadway:
Jekyll & Hyde, Wonderful
Town, The Wild Party,
Dance of the Vampires, A Tale of Two
Cities; Off-Broadway: New York City
Center Encores!: Wonderful Town.
NATIONAL TOURS: Evita, Jekyll & Hyde.
REGIONAL: Annie, Evita, Zorba. OPERA:
Metropolitan Opera, Los Angeles Opera,
Santa Fe Opera. FILM: 450 soundtracks
including Aladdin, Beauty and the Beast,
Pocahontas, The Little Mermaid, Tom
and Jerry: The Movie, Nightmare Before
Christmas. TELEVISION: Law & Order:
SVU, NCIS, John Denver Christmas
Special, PBS Presents. AWARDS: Drama
Desk nomination. INSTRUCTOR: voice,
audition and musical theatre teacher.
ELIZA OHMAN
Ensemble
NEW YORK: Radio
City Christmas
Spectacular. REGIONAL:
Stages St. Louis: All That
Tap. FILM: How You Look at It, I Really
Like You, Chicago. TELEVISION: So
You Think You Can Dance, America’s
Got Talent, Tonight Show, Good Morning
America. OTHER: Commercials: Target,
Reebok, Macy’s. TRAINING: The King’s
College: BA in media, culture and the arts.
WEB: elizaohman.com; @elizaohman on
Instagram.
CON O'SHEA-CREAL*
Gremio
NEW YORK: Broadway:
Side Show, Irving Berlin’s
White Christmas. Off-OffBroadway: 92Y: Lyrics
& Lyricists: All Dancing! All Singing!
Irving Berlin in Hollywood. NATIONAL
TOURS: Mary Poppins (Bert), Irving
Berlin’s White Christmas. REGIONAL:
Kennedy Center: Side Show; Goodspeed
Musicals: Annie Get Your Gun; Lyric
Theatre of Oklahoma: 42nd Street,
Urinetown, Oklahoma!; Westchester
Broadway Theatre: Singin’ in the Rain;
Red Mountain Theatre: Mary Poppins.
INTERNATIONAL: New York Song and
Dance Company: 2010 Middle East Tour.
TELEVISION: Royal Pains. TRAINING:
Weitzenhoffer School of Musical Theatre
at the University of Oklahoma: BFA
in musical theatre performance. WEB:
www.conosheacreal.com.
ALFIE PARKER JR.*
Ensemble
NEW YORK: Broadway:
South Pacific (u/s Henri),
Chicago. NATIONAL
TOURS: Miss Saigon,
Memphis, Evita. REGIONAL: Goodspeed:
Damn Yankees; Guthrie: H.M.S. Pinafore;
Asolo Repertory Theatre (with Maltz
Jupiter Theatre): Barnum; Center
Stage: The Wiz; Lyric Theatre: Seven
Brides for Seven Brothers, Swing; Media
Theatre: Aida; Itinerant Theatre:
Godspell; University Resident Theatre
Company: A Soldier’s Play, Sweet
Charity; Boal Barn Playhouse: Brigadoon.
INTERNATIONAL: Pilobolus Dance
Company. TV: Brandermill Woods
commercial; PBS: Masterpiece Theatre,
H.M.S. Pinafore, Live at Lincoln Center:
South Pacific; a no-smoking campaign.
OTHER: Dance: Pilobolus Dance Theater,
39
Nommo Performing Arts Company.
TRAINING: Alvin Ailey American
Dance Theater; Koresh Dance Company;
Pennsylvania State University: BA in
theatre and dance.
WEB: www.alfieparkerjr.com
KEVIN MICHAEL
RAPONEY
Swing
NATIONAL TOURS:
Radio City Christmas
Spectacular, Nice Work if
You Can Get It, Legally Blonde, A Chorus
Line. REGIONAL: Paper Mill Playhouse:
Ever After; TriArts Playhouse: 42nd Street;
Armory Theatre: Guys and Dolls; Skyline
Theatre: Funny Girl. WEB:
@kevinraponey on Instagram and Twitter.
T. OLIVER REID*
Paul
NEW YORK: Broadway:
After Midnight, Sister
Act, Mary Poppins, The
Wedding Singer, Chicago,
La Cage Aux Folles, Never Gonna Dance,
Thoroughly Modern Millie, Follies, Kiss
Me, Kate. NATIONAL TOURS: Guys and
Dolls, Once on This Island. REGIONAL:
Theatre Under the Stars: Smokey Joe’s
Cafe. FILM: Jack & Diane. TELEVISION:
Sex and the City, Girls, Mercy, Kennedy
Center Honors. AWARDS: multiple MAC
and Bistro awards. INSTRUCTOR: NYU,
musical theatre for Graduate Acting
program. TRAINING: University of
North Carolina School of the Arts: BM.
WEB: Toliverreid.com; @toliverreid on
Instagram and Twitter.
OLIVIA RUSSELL
Ensemble
REGIONAL: The
Professional Center for
the Arts: Hair, West Side
Story, Romeo and Juliet;
Kennedy Center (various performances).
FILM: Fire Reds, The One. AWARDS: 2015
Suzan-Lori Parks Excellence in the Arts
Award. OTHER: I.Am.We Contemporary
40
Dance Company (dancer), Carnival
Cruise Line (dancer). TRAINING:
Howard University: BFA. WEB: Series:
Doing It Wrong.
CHRISTINE SHERRILL*
Lilli Vanessi/Katherine
NATIONAL
TOURS: Mamma
Mia! (Tanya). REGIONAL:
Signature Theatre: The
Fix (Violet); Las Vegas: Mamma
Mia! (Donna); Chicago: First Wives
Club (Elise, opposite Faith Prince, preBroadway), Sunset Boulevard (Norma
Desmond, 2013 Jeff Award), Annie (Miss
Hannigan), Xanadu (Melpomene), [title
of show] (Heidi), Legally Blonde (Paulette,
Jeff Award nomination), Million
Dollar Quartet (Dyanne); Goodman
Theatre: A Christmas Carol (Mrs.
Cratchit); Curtains (Georgia
Hendricks), Cabaret (Fraulein Kost), All
Shook Up (Miss Sandra), Once
Upon a Time in New Jersey (Celeste,
Jeff Award nomination), Into
the Woods (Witch), Urinetown
(Pennywise), Anyone Can
Whistle (Joan), Hello Again (Nurse/
Actress), Of Thee I Sing (Diana
Devereaux), Singin’ in the Rain (Lina
Lamont, Jeff Award nomination), Jekyll
and Hyde (Lucy), The King and
I (Anna). TRAINING: master’s
degree in education. WEB: www.
christinesherrillactor.com.
DOUGLAS SILLS*
Fred Graham/Petruchio
NEW YORK: Broadway:
Living on Love, Little Shop
of Horrors, The Scarlet
Pimpernel. Off-Broadway:
Manhattan Theatre Club: Moonlight
and Magnolias; Actors Fund: On the
Twentieth Century; New York City Center
Encores!: Lady Be Good, Music in the Air,
Carnival; York Theatre: My Favorite
Year. NATIONAL TOURS: The Addams
Family, The Scarlet Pimpernel, The Secret
Garden, Into the Woods. REGIONAL:
Williamstown Theatre Festival, Long
Wharf Theatre, La Jolla Playhouse,
Westport Country Playhouse, Kennedy
Center, South Coast Rep, Paper Mill
Playhouse, Hollywood Bowl, Reprise!,
and many more. FILM: The Erotic Fire of
the Unattainable, Deuce Bigelow: European
Gigolo, Funny About Love. TELEVISION:
Just in Case (series regular), CSI, Will
& Grace, Sabrina the Teenage Witch, The
Closer, Coach, Sisters, Party of Five, The
Cavanaughs, Numb3rs, Models Inc., Empty
Nest, and many more. AWARDS: Tony
Award nomination (Leading Actor),
Drama Desk Award nomination (Leading
Actor), Drama League Distinguished
Performance nomination (two times),
Los Angeles Ovation Award (Best Actor),
Carbonell Award (Best Supporting
Actor), LA Dramalogue Award (Best
Actor), Broadway.com Audience Award
(Favorite Featured Actor).
PATRICK RYAN
SULLIVAN*
Harrison
NEW YORK: Broadway:
42nd Street (Julian), Beauty
and the Beast (Gaston),
Titanic (Barrett/Farrell). REGIONAL:
Ford’s Theatre: Meet John Doe; 42nd Street,
A Midsummer Night’s Dream (Oberon),
Doubt (Flynn), Pygmalion (Higgins),
Art (Serge), Empty Plate (Victor),
Tuna Christmas (Petey), Sweeney Todd
(Sweeney Todd), Urinetown (Lockstock),
Les Misérables (Javert), Mack and Mabel
(Mack), Mikado (Mikado), Mame (Beau/
Mrs. Upson), 1776 (Rutledge), Forum
(Magnus and Senex), A Christmas Story
(Gene), I Do! I Do! (Michael), Phantom
(Phantom), Burnt Part Boys (John Wayne),
Guys and Dolls (Sky). INTERNATIONAL:
2014 Edinburgh Festival: Get Got; Macao:
Chicago (Billy); Japanese Tour: Labor
of Love; Switzerland: The Fantasticks.
OPERA: Pirates of Penzance (Pirate King).
TELEVISION: Law & Order: SVU, Starved.
WOOD VAN METER
Swing
REGIONAL: Studio
Theatre: Silence! The
Musical; Signature
Theatre: Elmer Gantry
(u/s), Cloak & Dagger (u/s); Rep Stage:
The Whale; Imagination Stage: Sinbad:
The Untold Tale; Hangar Theatre: Gypsy,
James and the Giant Peach; Weathervane
Playhouse: Les Misérables; Pittsburgh
Musical Theatre: The Sound of Music.
OTHER: Hersheypark, Busch Gardens
Williamsburg. TRAINING: Point Park
University: BFA.
HARRY A. WINTER*
Harry Trevor/Baptista
STC: The Government
Inspector, A Funny Thing
Happened on the Way to the
Forum, The Tempest (u/s
Alonso/Gonzalo). NATIONAL TOURS:
Gigi, Jolson the Musical. REGIONAL:
Signature Theatre: Allegro, 110 in the
Shade, Pacific Overtures, Xanadu; Kennedy
Center: Cat on a Hot Tin Roof, Mame;
Olney Theatre Center: Racing Demon,
Laramie Project, Bringing Up Amy;
Washington Jewish Theatre: Pins and
Needles, Forum. TELEVISION: Homicide,
The Wire. TRAINING: Midwestern
University; Edinboro University;
Berklee College of Music; Johns Hopkins
University: BA in music education.
41
BRAVO
to the Shakespeare Theatre Company for bringing
the magic and inspiration of Shakespeare to so many.
JALEO.COM
DC 202.628.7949
BETHESDA 301.913.0003
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CRYSTAL CITY 703.413.8181
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ARTISTIC BIOGRAPHIES
ALAN PAUL
Director
STC: Man of La Mancha, A Funny Thing Happened
on the Way to the Forum (2014 Helen Hayes
Award for Best Director of a Musical), The
Boys from Syracuse, The Winter’s Tale (Free For
All), Twelfth Night (Free For All), As You Like
It (Associate Director), Henry IV, Parts 1 and 2
(Associate Director), numerous galas, readings,
and special events; Assistant Director: 13 shows.
THEATRE DIRECTING: Signature Theatre:
I Am My Own Wife; Studio Theatre 2ndStage:
Silence! The Musical, The Rocky Horror Show (codirector); Catholic University: Man of La Mancha;
University of Maryland: The Matchmaker; Apex
Theatre Company: Richard II; Northwestern
University: Six Degrees of Separation; readings for
Studio Theatre, Arena Stage, Woolly Mammoth
Theatre Company, The National Academy of
Sciences, The Phillips Collection, The GoetheInstitut, Georgetown University. OPERA
DIRECTING: Washington National Opera:
Penny; Urban Arias: Blind Dates, Before Breakfast,
The Filthy Habit, Photo-Op; The In Series: Dido
and Aeneas, El Amor Brujo; Strathmore Concert
Hall: Butterfly/Saigon, Blind Dates. Finalist for the
2013 European Opera Directing Prize (Vienna,
Austria). Acting Instructor for the DomingoCafritz Young Artists Program at WNO.
MICHELE LYNCH
Choreographer
NEW YORK: Broadway: The Coast of Utopia,
Everyday Rapture; Off-Broadway: Little Miss
Sunshine, We the People. NATIONAL TOURS:
Little House on the Prairie, Happy Days, Dirty
Dancing. REGIONAL: Ford’s Theatre, Yale
Repertory, St. Louis Muny, Goodspeed Opera
House, Paper Mill Playhouse. Riverside Theatre,
Walnut Street Theatre, Mark Taper Forum,
and more. OPERA: Show Boat at Washington
National Opera (Kennedy Center), Lyric Opera
of Chicago, San Francisco Opera and Houston
Grand Opera. INTERNATIONAL: Dirty Dancing
(Sydney), Hairspray (Cologne), The Full Monty
(Melbourne). FILM: The Last Five Years, Joyful
Noise, Camp. OTHER: Dolly Parton’s Better Day
World Tour (choreographer).
DOUG PECK
Music Director
STC: Candide (dir. Mary Zimmerman).
REGIONAL: The Wallis Center for the
Performing Arts: Guys and Dolls (upcoming);
Goodman Theatre: Wonderful Town (upcoming);
Glimmerglass Festival, Huntington Theatre
Company, Long Wharf Theatre, Asolo Repertory
44
Theatre, Oregon Shakespeare Festival.
AWARDS: Joseph Jefferson Awards (The
Jungle Book, Porgy and Bess, Caroline, or Change,
Carousel, Man of La Mancha, Fiorello!), After Dark
Awards (Guys and Dolls, Hello Again), Sarah
Siddons Award (musical direction in Chicago),
Guy Adkins Award (musical direction in
Chicago). OTHER: Recordings: Bright Young
People: The Songs of Noël Coward, A Blanket of
Winter, Foiled Again Live, Loving Repeating: A
Musical of Gertrude Stein.
JAMES CUNNINGHAM
Associate Music Director/Conductor
NEW YORK: Off-Broadway: New World Stages:
Avenue Q (conductor); DR2: Bunnicula (original
cast recording); American Theatre of Actors:
Hot Mess in Manhattan; Samuel Beckett Theatre:
Happy Birthday. NATIONAL TOURS: Irving
Berlin’s White Christmas, Spamalot, Evita, Cats.
REGIONAL: Casa Mañana: Fiddler on the Roof,
Les Misérables, The Buddy Holly Story, Always…
Patsy Cline, Cats; Paper Mill Playhouse: Damn
Yankess; North Carolina Theatre: Phantom; the
Muny: Little Shop of Horrors, Cats; the Engeman: I
Love You, You’re Perfect, Now Change, A Wonderful
Life. OTHER: NYU: A Man of No Importance,
Urinetown, The Boys From Syracuse. TRAINING:
New York University: MA in piano performance;
Manhattan School of Music: BM in composition.
MICHAEL DANSICKER
Additional Dance Music Arrangements
NEW YORK: Broadway: Singin’ in the Rain
(dance music/film sequences), Dance of the
Vampires (dance/incidental music), More to
Love (dance music), Jerome Robbins’ Broadway
(reconstruction), The Times They Are A-Changin’
(arranger/orchestration), Les Lisasons
Dangereuses (music director); Iceman Cometh
(with Kevin Spacey, music supervision), Glass
Menagerie (original score, with Jessica Tandy),
Grease (music director); Man of La Mancha (music
supervisor), Carnival (music supervisor); Piaf
(arranger/orchestration), Good (music director/
additional orchestration). Off-Broadway: Book,
Music, and Lyrics: MTC: Swing Shift; WPA:
Twenty Fingers, Twenty Toes!; York Theatre:
Bobby Driscoll; All Night Strut (orchestration).
NATIONAL TOUR: Little House on the Prairie
(dance music/incidental music). FILM: Elf,
Analyze That!, Meet the Parents, Piaf, Brain
Donors, Garfield, Charlie Bookworm, Georgetown
Forever. OTHER: Concert dance: Twyla Tharp,
Jerome Robbins, Agnes de Mille, Geoffrey
Holder, American Ballet Theatre, Joffrey, Donald
McKayle, Mikhail Baryshnikov, Kenny Ortega;
Publications: Hal Leonard Music (38 music
folios, including The 16-Bar Theatre Audition and
Audition Songs for Kids); Walt Disney: Cruise Line
Studio Seven (music supervisor/dance music for
launch), MGM Studios Disney World (arranger/
orchestration); Baseball Hall of Fame: Stars and
Strikes (writing and scoring, June 2016).
JAMES NOONE
Scenic Designer
STC: affiliated artist; The Metromaniacs, A Funny
Thing Happened on the Way to the Forum, The
Government Inspector, Two Gentlemen of Verona,
The Boys From Syracuse, The Alchemist, Design
for Living, Julius Caesar, Antony and Cleopatra,
Major Barbara, The Persians, Othello, Cyrano.
NEW YORK: Broadway: Lady Day at Emerson’s
Bar & Grill, A Time to Kill, A Bronx Tale, Come
Back Little Sheba, Match, Urban Cowboy, A Class
Act, Judgment at Nuremberg, Jekyll and Hyde,
The Rainmaker, Night Must Fall, The Sunshine
Boys, Getting and Spending, The Gin Game; OffBroadway: The Persians, Three Tall Women, Fully
Committed, Full Gallop, Frankie and Johnny in
the Claire de Lune, Cowgirls, Ruthless!, Breaking
Legs, Boys in the Band, The Women in Black;
Irish Repertory Theatre, Manhattan Theatre
Club, Signature Theatre, Lincoln Center
Theater, Playwrights Horizons, Second Stage,
National Actors Theatre, Atlantic Theater
Company, Primary Stages, Roundabout Theatre.
NATIONAL TOURS: Jekyll and Hyde, Full Gallop,
The Gin Game, Stieglitz Loves O’Keeffe, Breaking
Legs, Three Tall Women, Fully Committed. OPERA:
Lyric Opera of Chicago, Washington National
Opera, Los Angeles Opera, Houston Grand,
New York City Opera, Glimmerglass, Canadian
Opera, Portland Opera. TELEVISION: Sweeney
Todd, Passion, Candide, Camelot, Company (shown
in movie theatres). AWARDS: Drama Desk
Award, American Theatre Wing Design Award,
L.A. Ovation Award, two Helen Hayes Awards.
INSTRUCTOR: Boston University.
ALEJO VIETTI
Costume Designer
NEW YORK: Broadway: Allegiance, Beautiful:
The Carole King Musical (West End, Olivier
nomination, and U.S. national tour). OffBroadway: Manhattan Theatre Club, Primary
Stages, MCC, Radio City Music Hall Rockettes,
Irish Rep, New Group, Cherry Lane, Rattlestick,
Soho Rep, Ensemble Studio Theatre, and
many more. REGIONAL: Ford’s Theatre,
Signature Theatre, Arena Stage, Hartford Stage
Company, Alley Theatre, Long Wharf Theatre,
Old Globe, Colorado Ballet, Centerstage,
Pasadena Playhouse, Cleveland Playhouse,
Cincinnati Playhouse, Guthrie, New York
Stage and Film, Williamstown Theatre Festival,
Pittsburgh Public, Saint Louis Repertory,
Goodspeed Opera House, Philadelphia Theatre
Company, 5th Avenue Seattle, and many more.
INTERNATIONAL: Edinburgh Festival Fringe,
Donetsk Opera (Ukraine). OPERA: Chicago
Lyric, New York City Opera, Minnesota Opera,
Wolf Trap, Opera Santa Barbara. AWARDS:
2010 TDF/Irene Sharaff Young Master Award.
OTHER: Ringling Brothers Barnum & Bailey
Gold Unit 07/09.
PAUL MILLER
Lighting Designer
NEW YORK: Broadway: Amazing Grace, The
Illusionists, Legally Blonde, Freshly Squeezed,
Laughing Room Only. Off-Broadway: Promising,
Clinton: The Musical, Pageant, Vanities, A New
Musical, Waiting for Godot, Addicted, Nunsense,
Balancing Act; New York City Center (Encores!):
Irma La Douce, Of Thee I Sing, Music in the Air,
Lost in the Stars, Where’s Charley. NATIONAL
TOURS: The Illusionists, Elf, Shrek, Story Time
Live, Wizard of Oz, Legally Blonde, Sweeney
Todd, Hairspray, The Producers, The Sound of
Music. REGIONAL: Stratford Shakespeare
Festival, Chicago Shakespeare Theatre, Idaho
Shakespeare Festival, Great Lakes Theatre,
Pioneer Theatre Company, Asolo Repertory,
A.C.T., Cleveland Playhouse, Pasadena
Playhouse, Goodspeed Opera House, Bay Street
Theater, Ogunquit Playhouse, Maltz Jupiter
Theatre, and many more. INTERNATIONAL:
West Side Story (Milan), Legally Blonde (London
and Vienna), Race for Love (China), Cinderella
and Saturday Night Fever (Manilla, Singapore
and Malaysia). TELEVISION: Camelot (Live from
Lincoln Center); numerous specials for Comedy
Central, Netflix and Bravo; Times Square New
Year’s Eve celebration (lighting director for
the past 15 years). OTHER: New Jersey Ballet,
Grand Rapids Ballet.
JUSTIN STASIW
Sound Designer
NEW YORK: Broadway: Something Rotten
(associate sound designer), Side Show (associate
sound designer, Drama Desk nomination), It’s
Only a Play (associate sound designer), Casa
Valentina (assistant sound designer), Outside
Mullingar (assistant sound designer), Jekyll and
Hyde (sound engineer), Hedwig and the Angry
Inch (sound engineer, sub.). REGIONAL: 59e59:
Songbird; 5th Avenue Theatre: Jasper in Deadland,
A Christmas Story; A Contemporary Theatre:
Little Shop of Horrors; Atlantis Manila: Ghost;
Casa Mañana: Sweeney Todd. OTHER: Member
of International Alliance of Theatrical and Stage
Employees and United Scenic Artists.
45
DAVID LEONG
Fight Director
STC: Man of La Mancha, Cyrano de Bergerac,
Richard III, King John, Romeo and Juliet, Macbeth,
Antony and Cleopatra, Coriolanus, Troilus and
Cressida, Henry V, Henry IV, Parts 1 and 2, King
Lear, The Witch of Edmonton, Hamlet, Julius Caesar,
and many more. NEW YORK: Broadway: Fool
for Love, Amazing Grace the Musical, A Time to
Kill, Billy Elliot, Carousel, Company, Ma Rainey’s
Black Bottom, The Civil War, The Rainmaker,
King Hedley II, Picnic, Hamlet, Macbeth, Solitary
Confinement, Sex and Longing, Conversations With
My Father, A Delicate Balance, In the Summer
House. Off-Broadway: over 50 plays and
musicals. REGIONAL: Guthrie Theater, Mark
Taper Forum, Arena Stage, Kennedy Center,
American Repertory Theater, Geva Theatre,
American Contemporary Theatre, Berkeley
Repertory Theatre, Seattle Repertory Theatre,
Denver Theatre Center, Alley Theatre, Goodman
Theatre, McCarter Theatre, Yale Repertory
Theatre, Long Wharf Theatre, Hartford Stage,
Huntington Theatre, Williamstown Theatre
Festival, and many more. INTERNATIONAL:
London: Napoleon (West End), Jitney (National
Theatre). FILM: Titus, Alien: Resurrection.
INSTRUCTOR: Virginia Commonwealth
University, professor of theatre. LAURA STANCZYK, CSA
Casting Director
STC: Salomé, The Metromaniacs, The Tempest, As
You Like It, The Winter’s Tale, Strange Interlude, Old
Times. NEW YORK: Broadway, Off-Broadway,
National Tours: Side Show, After Midnight, A
Night With Janis Joplin, Follies, Cotton Club Parade,
Lombardi, Ragtime, Impressionism, The Seafarer,
Radio Golf, Coram Boy, The Glorious Ones, Flight,
Translations, Tryst, Dirty Dancing; Atlantic Theater
Company: The Cripple of Inishmaan (also national
tour); Encores! Summer Stars: Damn Yankees,
Urinetown (also national tour); Lincoln Center
Festival: Gate/Beckett. REGIONAL: Alliance
Theatre: Bull Durham; Center Theatre Group:
Harps and Angels; Alley Theatre: Gruesome
Playground Injuries, The Monster at the Door;
Kennedy Center: Side Show, The Guardsman,
Follies, Master Class, The Lisbon Traviata, Ragtime,
Broadway: Three Generations; Philadelphia
Theatre Company: Golden Age; Royal George
Theatre: Don’t Dress for Dinner; seven seasons
of casting for McCarter Theatre Center.
INTERNATIONAL: Druid Theatre Company:
46
My Brilliant Divorce; Gaiety Theatre, Dublin/
West End: The Shawshank Redemption; Druid
Theatre Company/Dublin Theatre Festival: Long
Day’s Journey into Night; Has consulted for the
Lyric Theatre in Belfast, Rough Magic Theatre
Company in Dublin, the Gate Theatre in Dublin,
the Druid Theatre in Galway.
CARTER C. WOODDELL
Resident Casting Director
See page 49
DREW LICHTENBERG
Literary Manager/Dramatrug
See page 49
ELLEN O’BRIEN
Head of Voice and Text
See page 49
KEVIN PLACE
Assistant Director
REGIONAL: McCarter Theatre: Antony and
Cleopatra (dir. Emily Mann), Ken Ludwig’s
Baskerville: A Sherlock Holmes Mystery (dir.
Amanda Dehnert, also at Arena Stage), Sizwe
Banzi Is Dead (dir. John Kani, also at the
Market Theatre and Syracuse Stage); Eugene
O’Neill Theater Center. INSTRUCTOR:
NextStop Theatre Company teaching artist.
TRAINING: College of William & Mary: BA
in theatre and international relations; National
Theatre Institute.
PATCH DAVID
Assistant Choreographer
NEW YORK: Off-Broadway: The Anthem
(Pericles and inline skating choreographer);
Off-Off-Broadway: TV Time! (choreographer);
workshop: Severed Hand of Neverland (Peter Pan).
NATIONAL TOUR: Fiddler on the Roof (Sasha
and assistant choreographer). REGIONAL: Hope
Summer Repertory Theatre: Closer Than Ever
(choreographer), Petite Rouge (choreographer);
Broadway in Chicago: First Wives Club (actor,
pre-Broadway); Paper Mill Playhouse: The Sound
of Music (Rolf u/s), Thoroughly Modern Millie
(actor). TELEVISION: NBC’s The Best Time Ever
(premiere episode with Neil Patrick Harris) and
America’s Got Talent. OTHER: Wagner College:
Tick, Tick…BOOM! (choreographer).
WEB: www.patchdavid.com;
@iPatch4 on Instagram.
JOSEPH SMELSER*
Production Stage Manager
STC: Tartuffe, Man of La Mancha, The Tempest, A
Winter’s Tale (Free For All), Henry IV, Parts 1 and
2 (in rep), A Funny Thing Happened on the Way to
the Forum, Measure for Measure, Wallenstein and
Coriolanus (in rep), A Midsummer Night’s Dream
(Mainstage and Free For All), The Government
Inspector, The Merry Wives of Windsor, Strange
Interlude, Much Ado About Nothing, The Heir
Apparent, All’s Well That Ends Well. REGIONAL:
Arena Stage: Let Me Down Easy; Seattle
Repertory Theatre: An Ideal Husband, A Doll’s
House, Play On!, As You Like It, A Midsummer
Night’s Dream, Peter Brook’s The Tragedy of
Hamlet, Golden Child, Don Juan, Purgatorio, The
Search for Signs of Intelligent Life in the Universe
(with Lily Tomlin); American Conservatory
Theater: The Rivals, The Circle, The Government
Inspector, Edward Albee’s At Home at the Zoo,
Vigil; Berkeley Repertory Theatre: Journey to the
West, An Almost Holy Picture, Having Our Say;
Regional Tour: Let Me Down Easy, Twilight: Los
Angeles, 1992 (both with Anna Deavere Smith).
TRAINING: Oberlin College: BA.
Happened on the Way to the Forum (production
assistant), Much Ado About Nothing (Free For
All, production assistant), Hughie (production
assistant), A Midsummer Night’s Dream
(Mainstage and Free For All, production
assistant), All’s Well That Ends Well (Free For
All, production assistant), The Merry Wives of
Windsor (stage management intern), The Two
Gentlemen of Verona (stage management intern),
The Heir Apparent (stage management intern).
REGIONAL: Spooky Action Theater: Jarry
Inside Out; Sitar Arts Center: Hairspray; Abreact
Theatre: La Ronde; Magenta Giraffe Theatre
Company: Last of the Boys; Planet Ant Theatre:
Salvage, Endangered. TRAINING: Grand Valley
State University: BA in theatre and Spanish.
The designers at this theatre are represented by
United Scenic Artists, Local USA 829, of the
International Alliance of Theatrical Stage Employees.
ROBYN M. ZALEWSKI*
Stage Manager
STC: A Midsummer Night’s Dream (Free For
All), Man of La Mancha, Henry IV, Parts 1
and 2, A Funny Thing Happened on the Way
to the Forum. REGIONAL: Hartford Stage
Company: Private Lives (production stage
manager), Hamlet (assistant stage manager),
Twelfth Night (assistant stage manager), A
Christmas Carol–A Ghost Story of Christmas
(assistant stage manager), The Whipping Man
(assistant stage manager), Gem of the Ocean
(assistant stage manager); Divine Rivalry
(production assistant), Antony and Cleopatra
(production assistant), The Adventures of Tom
Sawyer (production assistant), Noises Off
(production assistant); New London Barn
Playhouse, Hangar Theatre, Northern Stage,
Saint Michael’s Playhouse. TRAINING: Saint
Michael’s College.
MARIA TEJADA*
Assistant Stage Manager
STC: The Metromaniacs (production assistant),
As You Like It (production assistant), The
Winter’s Tale (Mainstage and Free For All,
production assistant), Henry IV, Parts 1 and
2 (production assistant), A Funny Thing
47
FOR SHAKESPEARE THEATRE COMPANY
MICHAEL KAHN
Artistic Director
STC: The Metromaniacs. Henry
IV, Part 1 and 2, Wallenstein,
The Government Inspector,
Strange Interlude, The Heir
Apparent, Old Times, All’s Well
That Ends Well, The Liar, Richard II, The
Alchemist, Design for Living, The Way of the
World, Antony and Cleopatra (2008),
Tamburlaine, Hamlet (2007), Richard III (2007),
The Beaux’ Stratagem, Love’s Labor’s Lost,
Othello, Lorenzaccio, Macbeth (2004), Cyrano,
Five by Tenn (at the Kennedy Center), The Silent
Woman, The Winter’s Tale (2002), The Duchess of
Malfi, The Oedipus Plays, Hedda Gabler, Don
Carlos, Timon of Athens, Camino Real, Coriolanus,
King Lear (1999), The Merchant of Venice, King
John, A Woman of No Importance, Sweet Bird of
Youth, Peer Gynt, Mourning Becomes Electra,
Henry VI, Volpone, Henry V, Henry IV, The
Doctor’s Dilemma, Richard II, Much Ado About
Nothing (also at McCarter Theatre Center),
Mother Courage and Her Children, Hamlet,
Measure for Measure, King Lear (1991), Richard
III (1990), The Merry Wives of Windsor, Twelfth
Night, As You Like It, Antony and Cleopatra
(1988), Macbeth (1988), All’s Well That Ends
Well, The Winter’s Tale (1987), Romeo and Juliet.
NEW YORK: Broadway: Show Boat (Tony
nomination), Cat on a Hot Tin Roof, Whodunnit,
Night of the Tribades, Death of Bessie Smith,
Here’s Where I Belong, Othello, Henry V;
Off-Broadway: Manhattan Theatre Club: Five
by Tenn, Sleep Deprivation Chamber, Funnyhouse
of a Negro, The Rimers of Eldritch, Three by
Thornton Wilder, A Month in the Country, Hedda
Gabler, The Señorita from Tacna, Ten by
Tennessee; New York Shakespeare Festival:
Measure for Measure (Saturday Review
Award). Artistic Director: The Acting
Company, 1978–1988. TEACHING: Richard
Rodgers Director of Juilliard Drama Division
July 1992–May 2006, faculty member 1967–;
Shakespeare Theatre Company Academy for
Classical Acting at The George Washington
University. Previously: New York University;
Circle in the Square Theatre School; Princeton
University; British American Drama
Academy; founder of Chautauqua Theatre
Conservatory. REGIONAL: Arena Stage: A
Touch of the Poet; Signature Theatre: Pride in the
Falls of Autrey Mill, Otabenga; Guthrie Theater:
The Duchess of Malfi; American Repertory
Theatre: ‘Tis Pity She’s a Whore; American
Shakespeare Theatre: Artistic Director for 10
48
years, more than 20 productions; McCarter
Theatre Center: Artistic Director for five
seasons, including Beyond the Horizon, filmed
for PBS; Chautauqua Theatre: Artistic Director,
including The Glass Menagerie with Tom Hulce;
Goodman Theatre: Old Times (MacArthur
Award), The Tooth of Crime (Jefferson
nomination); Ford’s Theatre: Eleanor. OPERA:
Roméo et Juliette for Dallas Opera; Vanessa for
the New York City Opera (2007); Lysistrata or
The Nude Goddess for Houston Grand Opera
and New York City Opera; Vanessa for
Washington Opera and Dallas Opera; Show
Boat for Houston Grand Opera; Carmen for
Houston and Washington Operas; Carousel for
Miami Opera; Julius Caesar for San Francisco
Spring Opera. INTERNATIONAL: Love’s
Labor’s Lost at the Royal Shakespeare
Company’s Complete Works Festival; The
Oedipus Plays at the Athens Festival; Five by
Tenn for The Acting Company’s tour of
Eastern Europe; Show Boat for the National
Cultural Center Opera House in Cairo; The
White Devil for the Adelaide Festival. BOARD
MEMBERSHIPS: Theatre Communications
Group; New York State Council on the Arts;
D.C. Commission on the Arts and Humanities;
National Endowment for the Arts; Opera
America’s 80s and Beyond. AWARDS:
Commander of the British Empire (C.B.E.);
Theater Hall of Fame; seven Helen Hayes
Awards for Outstanding Director; 2011
CAGLCC Excellence in Business Award; 2010
WAPAVA Richard Bauer Award; 2007
Mayor’s Arts Award Special Recognition for
Shakespeare in Washington; 2007 Stephen and
Christine Schwarzman Award for Excellence
in Theatre; 2007 Sir John Gielgud Award for
Excellence in the Dramatic Arts; 2005 Person
of the Year from the National Theatre
Conference; 2004 Shakespeare Society Medal;
2002 William Shakespeare Award for Classical
Theatre; 2002 Distinguished Washingtonian
Award from The University Club; 2002
GLAAD Capitol Award; 1997 Mayor’s Arts
Award for Excellence in an Artistic Discipline;
1996 Opera Music Theater International’s
Bravo Award; 1990 First Annual
Shakespeare’s Globe Award; 1989
Washingtonian Magazine Washingtonian of the
Year; 1989 Washington Post Award for
Distinguished Community Service; 1988 John
Houseman Award. HONORARY
DOCTORATES: University of South Carolina;
Kean College; The Juilliard School; The
American University.
CHRIS JENNINGS
Executive Director
STC: Joined the Company in
2004. ADMINISTRATION:
General Manager: Trinity
Repertory Company (1999–
2004), Theatre for a New
Audience (1997–1999); Associate Managing
Director: Yale Repertory Theatre; Assistant to
the Executive Producer: Manhattan Theater
Club; Founder/Producing Director: Texas
Young Playwrights Festival; Manager:
Dougherty Arts Center. MEMBERSHIPS:
Currently serves on the Board of the Theatre
Communications Group, D.C. Downtown
BID, THE ARC, D.C. Arts Collaborative, the
Penn Quarter Neighborhood Association,
Theatre Washington, and is a member of
the League of Resident Theatres (served on
AEA and SSDC Negotiating Committees);
has served as a panelist for the NEA, D.C.
Commission on the Arts and Humanities, Mid
Atlantic Arts Foundation and Pew Theatre
Initiative. AWARDS: Arts Administration
Fellowship: National Endowment for the Arts.
TRAINING: University of Miami: BFA in
Theatre/Music; Yale School of Drama: MFA in
Theatre Management.
ALAN PAUL
Associate Artistic Director
See page 44
DREW LICHTENBERG
Literary Manager
STC: Salomé, Tartuffe, Man of La Mancha,
The Metromaniacs, The Tempest, As You Like
It, Private Lives, Henry IV, Part 1 and 2, The
Importance of Being Earnest, A Funny Thing
Happened on the Way to the Forum, Measure
for Measure, Coriolanus, Wallenstein, Hughie,
A Midsummer Night’s Dream, The Government
Inspector, The Merry Wives of Windsor, The
Servant of Two Masters, Strange Interlude, The
Two Gentlemen of Verona, Much Ado About
Nothing, The Heir Apparent. REGIONAL:
STC/McCarter Theatre Center: The Winter’s
Tale; Center Stage: Caroline, or Change,
Cyrano, Around the World in 80 Days; Yale
Repertory Theatre: Lulu (dir. Mark Lamos);
Williamstown Theatre Festival: The Front
Page, The Physicists, The Corn Is Green; New
York Shakespeare Festival: Macbeth (dir.
Moisés Kaufman); OTHER: Yale School of
Drama: Tarell McCraney’s In the Red and
Brown Water (U.S. premiere); TEACHING:
Catholic University of America; Eugene Lang
College at the New School. TRAINING: Yale
School of Drama: MFA in Dramaturgy &
Dramatic Criticism.
ELLEN O’BRIEN
Head of Voice and Text
STC: More than 50 productions over 11
seasons. ACADEMY FOR CLASSICAL
ACTING: 22 productions of Shakespeare and
Jacobean plays. REGIONAL: Ford’s Theatre,
Arena Stage, Charlotte Repertory Company,
Aurora/Magic Theaters; People’s Light
and Theatre Company; Shakespeare Santa
Cruz; North Carolina Shakespeare Festival.
PUBLICATIONS: Articles in The Voice and
Speech Review, Shakespeare in the Twentieth
Century, Shakespearean Illuminations, Shakespeare
Survey, Shakespeare Quarterly, Shakespeare
and the Arts, The Voice and Speech Review:
Associate Editor for Heightened Text, Verse
and Scansion. TRAINING: Yale University:
MA, MPhil, PhD (English); Central School
of Speech and Drama/ The Open University
(London): Advanced and Post-Graduate
Diplomas in Voice Studies. TEACHING:
Academy for Classical Acting; University
of California, Santa Cruz; Guilford College;
Kirkland College.
CARTER C. WOODDELL
Resident Casting Director
STC: Salomé, A Midsummer Night’s Dream
(Free For All), Tartuffe, Man of La Mancha,
The Metromaniacs, The Tempest, As You Like
It, The Winter’s Tale, The Merry Wives of
Windsor, Two Gentlemen of Verona, Much Ado
About Nothing, The Merchant of Venice. Other
Casting Experience (McCorkle Casting, Ltd.):
NEW YORK: Broadway: Belasco Theatre:
End of the Rainbow (dir: Terry Johnson),
Booth Theatre: High (dir: Rob Ruggiero);
Off-Broadway (partial): Barrow Street
Theatre: Tribes (dir: David Cromer), Our Town
(dir: David Cromer), The Acting Company,
Marjorie S. Deane Little Theater: Freud’s
Last Session (dir: Tyler Marchant), Cherry
Lane Theatre: A Perfect Future (dir: Wilson
Milam), SoHo Playhouse: The Irish Curse (dir:
Matt Lenz), Beckett Theatre: An Error of the
Moon (dir: Kim Weild); NYC Other: Lincoln
Center Institute: Hamlet, Fly, Sheila’s Day.
NATIONAL TOURS: The Acting Company,
Riverdance. REGIONAL: Alley Theatre,
Center Stage, Barrington Stage Company,
The Broad Stage, Contemporary American
Theater Festival, Crossroads Theatre
Company, George Street Playhouse, The
Guthrie Theater, Pittsburgh Public Theater,
TheaterWorks Hartford. RADIO: BBC
Radio: The Piano Lesson (dir: Claire Grove).
TELEVISION: Sesame Workshop: The Electric
Company, Pilot: 27 East. FILM: Columbia
Pictures: Premium Rush (dir: David Koepp),
Choice Films: Junction (dir: Tony Glazer).
49
FACES AND VOICES
STORIES FROM BACKSTAGE
MORE TIMES WHEN THE SHOW
ALMOST DIDN’T GO ON . . .
Douglas Sills
backstage at The
Scarlet Pimpernel
on Broadway,
1998. Photos by
Rivka Katvan.
www.rivkakatvan.
com
CAN YOU TELL
US ABOUT A TIME
WHEN THE SHOW
ALMOST DIDN’T
GO ON?
“There was a time in the national tour of The Addams Family when one
wonderful actor was watching the Super Bowl with such great interest
that he missed his entrance and his partner in the scene was forced
to vamp for what felt like a 30-year mortgage. The stage manager
screamed in panicked tones, ‘Mr. so-and-so to the stage. Mr. so-and-so
to the stage,’ while a poor actress died a thousand deaths adlibbing
a passionate argument with her husband, on her own, like a character
out of Cuckoo’s Nest.
Douglas Sills
Fred Graham/Petruchio
50
“I did a show once where a girl got
caught in the curtain and lifted
into the air by her foot; she was
dangling 30 feet in the air upside
down. We stopped the show to
retrieve her. Needless to say the
show did not go on for her, but
the rest of us resumed after a brief
moment of shock and horror.”
Carl Draper
Ensemble
“Summer stock doing Wait Until
Dark. Near the end of the show
I was pulling myself across the
stage, digging a knife into the floor,
and the knife slid through my fist
and sliced up my hand. Blood was
running pretty fierce at first. The
ASM whispered to me that she
was going to stop the show, and I
whispered (adamantly) NO! About
10 minutes later, the curtain came
down, and I went to the emergency
room and got sewed up.”
Bev Appleton
Ralph (Stage Manager)
“I had a show canceled on opening
night because of a dispute with the
writers. A replacement show was
cobbled together in six days that
was much better than the original.”
Harry A. Winter
Harry Trevor/Baptista
WHAT’S YOUR FAVORITE THING
ABOUT WORKING BACKSTAGE/
BEHIND THE SCENES?
“I love seeing the show develop
from conception to realization.
Working with the actors to
maximize their vocal contributions
is deeply rewarding.”
Ellen O’Brien
Head of Voice and Text
“I love the rehearsal process—trying
things one way, assessing what
works and what doesn’t, making
changes, etc. The creative team gets
to connect with the actors and bring
the vision of the writers to life. It is
truly a beautiful moment when it all
comes together.”
Patch David
Assistant Choreographer
DO YOU HAVE ANY BACKSTAGE
RITUALS?
“I don’t like to lower the curtain at
the end of the closing performance.
In an art form that is ephemeral, it’s
a gesture that says we won’t shut
the door on the experience of doing
the show. We’ll keep it alive in our
memories."
Alan Paul
Director
“I’m extremely superstitious! I have
my ‘good luck’ scarf from when
I played Peggy Sawyer in 42nd
Street that is always in my bag. I
usually listen to my favorite song
and eat a little piece of cookiesand-cream chocolate for one extra
little boost of energy! I also like to
say a few prayers and take a second
to remember how lucky I am to be
doing what I love as my career.”
Stephanie Bissonnette
Swing
51
SUPPORT
We gratefully acknowledge the following donors that currently
support the work of the 2015–2016 Season.
This list is current as of October 2, 2015.
$100,000 and above
Anonymous
Beech Street Foundation
The Erkiletian Family
Foundation T
The Harman Family
Foundation T
John and Meg Hauge T
HRH Foundation
T
Michael R. Klein and
Joan I. Fabry T BA
The Robert P. and Arlene R.
Kogod Family Foundation
Share Fund
Robert H. Smith Family
Foundation
Suzanne and Glenn Youngkin T
$50,000 to $99,999
Paul M. Angell Family
Foundation
Anita M. Antenucci T
The Morris and Gwendolyn
Cafritz Foundation
Dr. Paul and Mrs. Rose Carter T
D.C. Commission on the Arts &
Humanities
Debbie Driesman and
Frank F. Islam T BA
Dr. Mark Epstein and
Amoretta Hoeber T
Mr. and Mrs. Robert Falb T
Mr. and Mrs. Andrew Florance
The Philip L. Graham Fund
Pamela and Richard Hanlon
Mr. Jerry Knoll
National Capital Arts & Cultural
Affairs Program/US Comm.
of Fine Arts
The Shubert Foundation
$25,000 to $49,999
Anonymous
William S. Abell Foundation
Anne and Ronald Abramson
Nick and Marla Allard T BA
Stephen E. Allis T
Debevoise & Plimpton LLP
James A. Feldman and
Natalie Wexler
Nina Zolt and Miles Gilburne T
Catherine Held
Mr. and Mrs. Stephen A.
Hopkins T
Jerry and Isabel Jasinowski T
Mr. and Mrs. Kevin Kolevar T
Abbe David Lowell and
Molly A. Meegan T BA
Jacqueline B. Mars
Ann K. Morales
Alan and Marsha Paller
Toni A. Ritzenberg
Stephen and Lisa Ryan T BA
Shakespeare for a New Generation
Fredda Sparks and
Kent Montavon
Tom and Cathie Woteki T AMB
The Max and Victoria Dreyfus
Foundation
Patricia and Miguel Estrada
Helen Clay Frick Foundation
Sue and Leslie Goldman
Hogan Lovells US LLP
Mike and Gina House T BA
Humana Inc.
Ms. Elaine Economides Joost 1616
Helen Kenney AMB
The Jacob and Charlotte
Lehrman Foundation
James J. Lynch
Michelle Newberry
Steve and Diane Rudis
Vicki and Roger Sant 1616
Pauline A. Schneider T BA
Judi Seiden AMB
Solon E. Summerfield
Foundation
WilmerHale
Lynn and Jonathan Yarowsky
Turner & Goss
$15,000 to $24,999
Anonymous (2)
Altria Group, Inc.
The Theodore H.
Barth Foundation
British Council
Brown-Forman Corporation
The Carmen Group
Computer and Communications
Industry Association
The Dallas Morse Coors
Foundation for the
Performing Arts
52
$10,000-$14,999
Anonymous (2)
Esthy and Jim Adler
Aflac
Sheila and Kenneth Berman BA
Peter A. Bieger
Bill Bodie
Booz Allen Hamilton
CBRE Group, Inc.
Mr. Peter Cherukuri T
The Clark-Winchcole Foundation
CLS Strategies
Douglas Development Corporation
Nina Laserson Dunn and
Eric C. Rose BA
E. and B. Family Trust
Arthur and Shirley Fergenson ACA
Gould Property Group
Grossberg, Yochelson, Fox &
Beyda LLP
Scott Kaufmann T
Margot Kelly
Roger W. Langsdorf
David Lawson
Eleanor Merrill
Hazel C. Moore
Morgan Stanley
Morningstar Foundation
Melissa Moss T
Tom Mounteer and Bobby Zeliger
Clarke Murphy and
Heather Hammond
Nissan North America, Inc.
Theodore B. Olson and
Lady Booth Olson BA
PwC
Victor Shargai and Craig Pascal
The Honorable Robert E. Sharkey
and Dr. Phoebe Sharkey AMB
Doug and Gabriela Smith
Clarice Smith
Sovereign Strategy Limited
US Trust Company
Velasquez Group, LLC
Vornado/Charles E. Smith LP
Patricia and David Vos Foundation
Clark Construction Group, LLC
Vulcan Materials Company
Foundation
$5,000-$9,999
Anonymous (6)
Alston & Bird LLP
Amazon Web Services
Peter and Joan Andrews
Kyle and Alan Bell
Barbara Bennett
Don and Nancy Bliss
Katherine B. and David G. Bradley
Robert Crawford Carlson
The Honorable Joan Churchill BA
Richard H. Cleva and
Madonna K. Starr
Mary Cole AMB
Comcast NBCUniversal
Jeffrey P. Cunard BA
DAVIS Construction
Louis Delair, Jr.
Tom and Krista Di Iaconi BA
Beverly and Richard Dietz
The Dimick Foundation
DirecTV
Craig Dunkerley and
Patricia Haigh ACA
Ernst & Young LLP
Marietta Ethier
ExxonMobil
Denise Ferguson
First Potomac Realty Trust
Anne and Burton Fishman BA
Tim and Susan Gibson ACA AMB
Scott and Lauren Gilbert BA
Lee Goodwin and
Linda Schwartzstein
Donald H. Goodyear, Jr.
Graham Holdings
David and Jean Grier
Mr. and Mrs. Woolf P. Gross
Pamela and Corbin Gwaltney
H&R Block
Kevin T. Hennessy AMB BA
The Mark & Carol Hyman Fund
The International Union of
Bricklayers and Allied
Craftworkers
K&L Gates LLP
Daniel F. Katz BA
Irene and Lou Katz
David and Anne Kendall BA
Barry Kropf
Marcel C. LaFollette and
Jeffrey K. Stine ACA
Bill Lands and Norberta Schoene
Richard Levi and Susan Perry
Wm Gary and Phoebe Mallard ACA
Kathleen Matthews
Hilary B. Miller and
Dr. Katherine N. Bent BA
Kristine Morris
Rita Mullin
National Cable &
Telecommunications Association
Madeline Nelson
The Nora Roberts Foundation
Oracle America Corporation
Mr. and Mrs. Carl F. Pfeiffer
William Pugh and Lisa Orange
Reset Public Affairs
Gerri and Murray Rottenberg 1616
Securities Industry and Financial
Markets Association
SIGAL Construction Corporation
Software and Information Industry
Association
Southern Company
Stoiber + Associates, Architects
Story Partners T
STUDIOS Architecture
Terra Nova Title and Settlement
Services, LLC
Mr. Derek Thomas and
Mr. Ernesto Abrego
TPG Capital
Mark Tushnet and
Elizabeth Alexander
Evan J. Wallach and
Katherine Tobin BA
Marvin F. Weissberg
Wells Fargo Philanthropy
Carolyn L. Wheeler BA
Alan and Irene Wurtzel
Mike Wyckoff and Aida Gatell
Chris and Carol Yoder
Judy and Leo Zickler
$2,500-$4,999
Anonymous (3)
Miriam and Robert Adelstein
AECOM
Airlines for America
Amanda K. Allexon BA
Sunny and Bill Alsup
Dean Amel and Terry Savela
Tony Anderson and Kevin Lorei
Mr. Decker Anstrom and
Ms. Sherron Hiemstra
Stephen P. Anthony BA
Celia and Keith Arnaud
AT&T Services, Inc.
Bank of America
Drs. Hilda and William O. Bank
Linna Barnes and Chris Mixter
Brent J. Bennett
Bob, Kathy and Lauren
Dr. Bill and Evelyn Braithwaite
Mr. and Mrs. Jere Broh-Kahn ACA
Claudyne Y. Brown BA
Roger and Nancy Brown
The Family of Marion and
Charles Bryce 1616 AMB
Mr. and Mrs. I.T. Burden III
Capitol Counsel LLC
Dawn and James Causey
Audrey Chang and Michael Vernick
Ellen MacNeille Charles
Charter Communications
Monica Rose Chodur
The Clearing House
Linda and John Cogdill
Jeff and Jacky Copeland
Cornerstone Government
Affairs, LLC
Marshall B. Coyne Foundation
Douglas W. Crandall
The Charles Delmar Foundation
Dorchester Towers and Dorchester
Apts on Columbia Pike in
Arlington
Edison Electric Institute
Emily, Susannah and Michael Eig
Helaine G. Elderkin BA
Raymond S. Eresman and
Diana E. Garcia
Michael Evans BA
Rob and Anne Faris BA
Julie M. Feinsilver 1616 ACA
Mr. and Mrs. Ralph C. Ferrara
Leo Fisher and Sue Duncan
Barry and Marie Fleishman
Forest City Washington
Claire Frankel
Franklin Square Group
Paige Franklin and David Pancost
Rhona Wolfe Friedman and
Donald J. Friedman BA
FTI Consulting
Burton Gerber
Carol and Ken Gideon BA
Josh Goldfoot BA
Alice and John Goodman
John E. Graves RIA and Hanh Phan
The Greczmiel Family
Nicole Alfandre Halbreiner
Karen L. Hawkins BA
Dr. and Mrs. Stephen Hersh
Charlotte Hollister and
Donald Clagett
James and Marissa Huttinger
Larry and Georganne John
John Edward Johnson
Jody Katz and Jeffrey Gibbs
Michael and Michelle Keegan
Joel and Mary Keiler
Thomas and Bridget Kluwin
Mary Hughes Knox
David A. Lamdin AMB
Dr. Mark T. Lewellyn
Marjorie and John Lewis
Freddi Lipstein and
Scott Berg 1616 ACA AMB
LMO Advertising
Longview Strategies, LLC.
James and Barbara Loots BA
Nick and Alyssa Lovegrove
53
Amanda Machen
Heidi and Bill Maloni
Drs. Daniel and Susan G. Mareck
Linda Matthews
Mr. and Mrs. Gregory May
Mary McCue ACA AMB
The McGwin/Bent Family
Thomas and Ingrid McPherson
Foundation
Rajesh, Radhika and Karan Murari
National Association of Realtors
National Credit Union Foundation
National Multifamily Housing Council
National Rural Electric Cooperative
Association
Navigators Global
Louisa and Bill Newlin
Melanie and Larry Nussdorf
The OB-C Group, LLC
James Oldham and
Elizabeth Conahan BA
Dr. and Mrs. Kenneth Oscar
Mr. and Mrs. David Osnos
Sydney M. Polakoff and
Carolyn Goldman
Lutz Alexander Prager
Mr. and Mrs. Bruce F. Press
QGA Public Affairs
Rasky Baerlein Prism
Robert and Nan Ratner
Red Hat
Steven and Beverly Schacht
In Memory of Matteson Scott
Shalom Baranes Associates
Harriet and Howard Shapiro
Linda and Stanley Sher
Patricia Sherman and Terry Murphy
Richard Simpson
Martin Skea and Christopher Mondini
The Smith-Free Group LLC
Janet W. Solinger and
Jacob K. Goldhaber
Mark Sucher and Jane Lyons
Professor Philip Tirpak
Kathy Truex
Ralph C. Voltmer and Tracy A. Davis BA
Rob Wilder T
Margot and Paul Zimmerman
Dr. and Mrs. Purnell Choppin
Mr. and Mrs. Anthony C. Collins
Mr. and Mrs. Thomas B. Cormack
Francis and Julia Creighton
Ms. Suzanne Cremins BA
Mr. and Mrs. Mark Darnell
William and Sandra Davis
E.R. Dolly Dieter
Ms. D. Chris Downey
Claudia H. Dulmage BA
Anita Dunn
Becky and Alan Dye
Fynnette Eaton and James E. Miller
Dr. James Ellzy and
Mr. Franc O’Malley
Ms. Catherine B. Elwell
Garrett Epps BA
Diana Erbsen BA
John Estes and Veronica Angulo BA
Joelle Faucher and David Webber
Mr. and Mrs. Alan M. Fern
Mr. Joseph Z. Fleming BA
Julian W. Fore and Beverly A. Sauer
The H.O. Peet Foundation In Memory
of Margot Peet Foster
Brenda and David Friend
Aaron and Susan Fuller
Charles and Amy Gardner
Dr. Laura J. George AMB
Dr. Douglas E. Gill and
Mrs. Karen S. Vartan
Ruth Bader Ginsburg
JoAnne Glisson
Alisa M. Goldstein and Lee Blank
Tom Goldstein BA
Kevin Gowen and Robert Wilkinson
Mr. and Mrs. David L. Gray
Ms. Linda L. Griggs and
Mr. William J. Swedish
Lisa Grosh and Donald Names BA
Merle Haberman
Kenneth G. Hance
Barbara and Thomas Harr
James T. and Vicky Sue Hatt
Robert and Margaret Hazen 1616
Ms. Andrea L. Heithoff
Mr. Mark E. Herlihy and
Ms. Ann M. Kappler
Cheryl R. Hodge
$1,500-$2,499
Fran and Bill Holmes
Anonymous (10)
David H. Holtzman
Ernest and Dianne Abruzzo
Ms. Ann Homan BA
The Ada Harris Maley Memorial Fund William L. Hopkins 1616
Gisela and Thomas Ahern
International Brotherhood of
Sanford K. Ain, Esq. BA
Boilermakers
Patricia Arnold
Maxine Isaacs
Keith and Sherry Babb
Mr. Steven Janssen
Galen and Carolyn Barbour
John, Pam and Kim Jaske
Robert B. Barnett and Rita Braver BA Birdie Johnson BA
Josh and Vicky Bashof BA
Eric Kadel BA
James and Carmella Bell
Michael Kades and Mary Giovagnol BA
Judge James A. Belson
Stephanie Kanwit
Carol Benedict and Paul Ashin
Rick Kasten
Dr. and Mrs. James E. Bernhardt
Candace and Hadrian Katz
Mr. and Mrs. John H. Birdsall
Elizabeth Keeley
Cathleen E. Blanton
Joe and Joanne Kelly
BA
Lisa and David Blatt
Thomas R. and Laurie S. Kelly
Martha Blaxall and Joe Dickey
Elizabeth L. Kendall, Esq. BA
Ronald Bottomly
Frank Kendall and Beth Halpern BA
Michael Boyd
Ms. Melinda Kimble
Thomas C. Brennan
Dana and Ray Koch
Chris H. and James D. Bridgeman
Sara Dunham Kraskin and
Stephen G. Kraskin
Howard M. Brown ACA
BA
Mr. and Mrs. William Kristol
Ms. Carol E. Bruce, Esq.
Mr. Sanjiv Kumar and
Ms. Elizabeth Buchbinder
Ms. Mansoora Rashid
Mr. Michael Butterfield and
L. L. Lanam
Ms. Hallee Morgan BA
Steven Lieberman
Cherrie and Matthew Chalifoux
54
Jessie K. Liu BA
David Lloyd, Realtor
Lorraine S. Dreyfuss Theatre
Education Fund
Christopher and Lane MacAvoy
Rev. Frederick MacIntyre and Mickey
MacIntyre
Hardee Mahoney and Juan Vegega
David and Martha Martin
John and Connie McGuire BA
Ms. Beverley McKee and
Mr. William McKee
In Memory of
Patrick Michael McMurphy who
loved Shakespeare
Brenda Metzger
Ms. Kristin Millay
Roger and Robin Millay
Dr. Jeanne-Marie A. Miller
Nancy and Herbert Milstein
Carl W. Stephens
Dee Dodson Morris BA
Michael Nannes and Nancy Everett BA
Ralph and Gwen Nash
National Commercial Development
Inc.
Philip B. Nelson and Anne Parten
Ms. Beth Nolan and
Mr. Charles Wright
Mr. and Mrs. Lawrence O’Connor
Mrs. Jean Oliver
Timothy P. O’Toole
Mr. and Mrs. Gerald W. Padwe
Karishma and Jonathan Page
Barbara A. Patocka and Everett
Mattlin
Barbara Van Gelder and
Oliver Patton BA
Thomas Pauls and Eleanor Pelta
Ms. Penelope Payne
Robert and Lillian Philipson
Foundation BA
Sheldon Pratt ACA
Ms. Elise Rabekoff and
Mr. Christopher Gladstone
Lloyd and Claudia Randolph 1616 BA
Susan and Ronald Rappaport
Raymond James Financial, Inc.
Steven and Anne Reed
Peter S. Reichertz
Phillip Reiman and Leslie Binns
Molly and Joe Reynolds BA
Alberto J. Rivera BA
Steve and Diane Rothman AMB
Ron and Sharon Salluzzo
Richard and Rochelle Schwab
Elizabeth and Carl Seastrum
Kannon and Victoria Shanmugam BA
Dan Sherman
Mark and Joan Siegel
Mrs. Vivien K. Silber
Patricia L. Sims, Esq. and David M.
Sims, Esq. BA
Ed and Andy Smith
William Stein and Victoria Griffiths BA
Lynne M. Stephens and
Kenneth Larson
Elizabeth and George Stevens
Lawranne Stewart and Mark Kantor
Susan and Brian Sullam
Alice W. Thomas
Peter Threadgill
David Tone
Truetheatergoer LLC
Mr. Clifton Hyde Tucker, Jr.
Tessa van der Willigen and
Jonathan Walters
John H. Vogel BA
Mr. and Mrs. L. Von Hoffman
Mr. Jeffrey Wall and
Ms. Porter Wilkinson
Thomas and Molly Ware AMB
A. Shuanise Washington
In Memory of Dorothy B. Watkiss BA
In Memory of Mary Weathers
Weinreich Family
Dr. Arthur Weinstein and Ellen Spin
Sonia and Dale West
Laura and Paul Weidenfeld BA
Mr. Alan F. Wohlstetter
Julian Yap BA
The Honorable and
Mrs. Dov S. Zakheim
$1,000-$1,499
Anonymous (7)
Mr. and Mrs. Gregory Ballentine
Mr. Joel Balsham
Dan and Nancy Balz
Mr. and Mrs. Albert H. Barclay, Jr.
Barnett Sivon & Natter, PC
R. Joseph Barton and Tricia Placido
Brian Bayliss and Athena Caul
Nan Beckley
The Dorothy G. Bender Foundation
Dr. Donna W. Blake and
Mr. Bruce E. Eckstein
James Blum
Elizabeth Boyle
The Honorable Susan G. Braden and
Thomas M. Susman
Jill and Jay Brannam
Candice C. Bryant
Jayne Bultena
Lora and Stan Burgess
Michael L. Burke and Carl W. Smith
Capitol Hill Community Foundation ACA
James M. Carr
Rita A. Cavanagh and
Gerald A. Kafka
Sarah Cavitt
The Center
Thomas and Robin Clarke
Barbara and John Cochran
Mr. Timothy Cole and Ms. Kathy
Galloway
William and Sara Coleman
JoEllen and Michael Collins
Mr. and Mrs. John Dillon
Richard and Patricia Draper
Susan and Dorsey Dunn
Donna Z. Eden
Fierce Government Relations
Scott Fine
Sandy and Jim Fitzpatrick
Donald and Cathy Fogel
Jeff Franzen
Candida Fraze Moskovitz and Peter
Moskovitz
Ms. Elizabeth Galvin
Angela and Dan Goelzer
Grant Thornton LLP
Ms. Dorothy Haldeman
Frona Hall
Hamilton Place Strategies
Hines Interests Limited Partnership
Fred Philip Hochberg
Judy G. Honig and Stephen W. Robb
Mr. and Mrs. Paul M. Honigberg
Lorna Jaffe
Jones Lang LaSalle
Mark Kearney
Mr. Jeffrey D. Kirkwood
Ray Kogut
BuckleySandler LLP
Polly Kraft
Lincoln Financial Group
Shirley Loo1616
Steven M. Rosenberg and
Stewart C. Low III
Bruce and Virginia MacLaury
Alice S. Mandanis
Winton E. Matthews, Jr.
Jon and Belinda McKenzie
Susan Milligan and Philip McGuire
Mr. Peter G. Mirijanian
NewTrends Publishing
Mr. and Mrs. P. David Pappert
James D. Parker
Mark Perry and Adele Mouzon
Julie Phillips
Podesta Group
Polinger Shanon & Luchs
The John and Marcia Price Family
Foundation
Susan and Donald Rappaport
Mr. and Mrs. Bernie Robinson
John Forest Roemer
Nancy and Miles Rubin
Mr. and Mrs. James P. Schaller
Roy Schwartz
Richard Scott
In Memory of Betty F. Shepard
John and Roma Sherman
Kelly S. Shoop BA
Jerry and Judith Shulman
Gary and Libby Stanley
Robert and Virginia Stern
Alan Asay and Mary Sturtevant
David and Sarah Tate
United Airlines
Allen Unsworth
Carole and John Varela
Thomas and Karen Vartanian
Washington Resource Associates
Sally and Richard Watts
Mr. and Mrs. Rosanne Weber
Gerry Widdicombe
Ms. Kelly Wilcox
Dr. Frederick W. Wolff and
Dr. Catherine Chura
Deborah Yaffe
Penny S. Younce
$500-$999
Anonymous (21)
George and Polla Abed
Actors’ Equity Foundation, Inc.
Donald Adams and Ellen Maland
Vickie and David Adamson
Ms. Emily L. Aitken
Maqbool Aliani
Tom and Kathy Altizer
Eric Amick
Wolfram Anders and Michele Manatt
Jerome Andersen and June Hajjar
Richard and Rosemarie Andreano
Edward M. Andrews and
John H. McCrary
Mary Antoun
Judy Areen and Richard Cooper
Mrs. Martin Atlas
Mr. Vince M. Auletta
Leonard Bachman
Kathy and Bob Baer
Beverly Baker
Jonathan H. Barber
Margaret and Gordon Bare
Michael F. Barrett, Jr. and
Danielle Beauchamp
Joan Barron and Paul Lang
Nancy and Ed Barsa
Dan and Linda Bartlett
Danielle L.C. Beach
Rev. John P. Beal III
Julianne Beall
Ms. Mary Ellen Bergeron
Robert C. and Elissa B. Bernius
Sue E. Berryman
Mr. Bowen Billups
Darwin Bingham
Vaughn and Marian Bishop
William D. Blair Charitable
Foundation
Mary C. Blake
Harriet and Bruce Blum
Thomas Booth
Dick and Sarah Bourne
Dr. Ronald Brady
Robert and Lucy Bremner
Henry J. Brothers II
Christopher Brown
Dana E. Brown
Perry L. Brown
The Brueggeman Family
Harold R. Bucholtz
Ms. Beverly J. Burke
Colonel and Mrs. Lance J. Burton
Susan and Dixon Butler
Cesar A. Caceres MD
Patty and Len Campbell
Mr. Robert J. Campbell
Peggy Canale
Ann Cardoni
Caroline Willis Book Appraisals
Nicholas and Mary Jeanne Carrera
Marge Carrico and Jim Traylor
Connie Carter
Ann Castiglione-Cataldo and
Walt Ennaco
Wallace Chandler
Edward Chmielowski
Tim and Glenda Christenson
Ms. Janice L. Clark
John Clark and Ana Steele Clark
Matthew B. Coffey and
Sharon West Coffey
Lillian H. Collins
John and Sheila Compton
Jack and Julia Corrado
Ronald Costell, MD and
Marsha E. Swiss
Robert W. Cover
Michael and Sue Crane
Bill Cross and Dr. David McCall
Mr. and Mrs. Richard Daniels
Mr. and Mrs. Scott W. Davis
Matthew and Mike Dazé
Tony and Nancy DeCrappeo
Mary des Jardins
Dr. Marjorie Deutsch and
John Broadbent, JD
Caroline M. Devine
Mr. David Dorsen and
Mrs. Kenna Dorsen
Mr. and Mrs. Alan and
Susan Dranitzke
Jean and Paul Dudek
David Dunn
Sayre Ellen Dykes
Barbra Eaton and Ed Salners
Stephen and Magda Eccles
Stuart and Joanna Edwards
Mr. Paul Ehrenreich
Roberta Ellington
Ellen Epstein and Will Guthrie
Colonel and
Mrs. Charles F. Feldmayer
Gary and Naomi Felsenfeld
Dorothy E. Fickenscher
Louise A. Fishbein
55
Ms. Christine Fisher and
Mr. Oscar Goldfarb
Anne and Al Fishman
Rev. and Mrs. Frederick Foltz
Robert and Carole Fontenrose
Pamela Frazier and Michael Finan
David Freeman
Allan D. Friedman
Jean Fruci
Mr. and Mrs. Davis R. Gamble, Jr.
Nancy Garruba and Chris Hornig
Mr. and Mrs. Charles Gary
Lewrene Glaser
Ellen and Michael Gold
Burton Goldberg
Richard Goldie and
Jacqueline Tibbetts
Jinny and Michael Goldstein
Karen and Hal Gordon
Eloise Gore and Allen Hile
Ms. Lynn M. Gowen
Ms. Patricia D. Graham
Mr. Robert Greenfield and
Ms. Eileen Lawrence
Judy and Sheldon Grosberg
Margaret S. Grotte
Bruce and Georgia Sue Guenther
Tom Gusdorff and Ed Dennison
Cliff Hackett
Jack E. Hairston, Jr.
Dr. Sara Hale Henry and
Mr. Austin Henry
Kathryn Halpern
CDR Lars Hanson and RADM
Rosanne Levitre
Frank and Lisa Hatheway
Doris Hausser
Dr. James A. Heath
Terry and Jenny Heiland-Luedtke
Shawn C. Helm and
J. Thomas Marchitto
Margaret Hennessey
Robert J. Herbert
George Higgins
Bernardo Hirschman
Melissa Hodgman and Peter Strzok
Stanley and Vicki Hodziewich
Laura L. Hoffman and David E. Colin
David Hofstad
Ambassador Richard Holwill
Silvia M. Hoop and Alfred Kammer
John K. Hoskinson and
Ana I. Fàbregas
Mr. and Mrs. Timothy Howard
Lois Howlin
Veronica Hubbard
Dave Hughes
Stanley Alan Hurwitz
Susan Immelt and Amelie Immelt
Mr. Loring J. Ingraham and
Ms. Dale Rubenstein
Mr. Eric R. Jablow
Mr. Kurt Jaeger
Cynthia and Jason Johnson
Dixie Porter Johnson
Stacy Johnson and Charles Corbin
Catherine Jordan
Maryanne and David Kane
Daniel Kaplan and
Kay Richman Gift Fund
Arthur Katz and Sima Osdoby 1616
Ashok and Stuti Kaveeshwar
Msgr Francis Kazista
Andrea and Joseph Kerr
Robert L. Kimmins
Stephen and Mary Sue Kitchen
Dr. Prudence Kline and
Dr. Paul Kimmel
56
Sara Koury
Howard Krauss
Karen E. Krueger
Robert L. Larke
Frances and Emery Lee
Dr. and Mrs. Stanley Legum
Mr. and Mrs. Tracy Leigh
Mrs. Sandra Levenbook
Shirley J. and William S. Levine
Charles S. Levy and Yvonne E.T.G.B.
Zoomers
Michael and Bianca Levy
Marcia Litwack
Mr. and Mrs. Joseph Livingston
Nancy and Dan Longo
Kenneth and Joan Lorber
Mrs. Joan Lorr
Lucinda A. Low and
Daniel B. Magraw
Janice Louise Lower and
Paul R. Berger
Linda L. Lum
Julianna Mahley
David and Claire Maklan
Dr. Jack Malgeri
In Honor of Sidney Moore Margolis
John and Liza Marshall
Catherine McClave
Ms. Elizabeth A. McGrath
David and Saran McMeans
Susan McNabb and Brent Hillman
Katy Mead
Beverly Melani and Bruce Walker
Madalene Mielke
Daniel Mintz and Ellen Elow-Mintz
Jane and Paul Molloy
Ms. Kate L. Moore
Mr. and Mrs. Timothy P. Mulligan
Carl and Undine Nash
Linda S. Neighborgall
Ms. Julie Neuber
Jo-Ann Neuhaus
Elizabeth and John Newhouse
Eugene Nojek
Ms. Kathleen J. Norvell
Oliver Ocean
Warren S. Oliveri, Jr. and
McGennis Williams
A. Orza
Mr. and Mrs. Ernest T. Oskin
Mr. and Mrs. Mack Ott
Rodney and Deborah Page
Mary Ann Palka
Julia Perlman
Mark and Nina Perry
Randolph Perry
Gary and Trudy Peterson
Ms. Mary I. Pett
Victoria Phipps
Col. and Mrs. Scott Pinckney
Elizabeth A. Piotrowski
Chris Poppe and Teresa Channon
Ms. Lisa Poulin
Mr. Michael Warren Proffitt
Drs. Dena and Jerome Puskin
Alice Rand
Wendy and John Daniel Reaves
Mr. and Mrs. Thomas J. Reckford
John and Sue Renaud
Sheldon and Barbara Repp
Resch Family
In Memory of Richard J. Ricard, Jr.
William L. Ritchie Jr.
Philip and Peggy Rodokanakis
The Honorable John T. Rooney
Linda O. Rosenfeld and Fred Krosner
Peter D. Rosenstein
Lynn N. Rothberg
Burton Rothleder
Peggy and Bud Rubin
Charles B. Saunders, Jr.
Linda B. Schakel
Jennifer M. Schlener
Eugene & Alice Schreiber
Philanthropic Fund
Jane G. Schubert and
Robert W. Woolfolk
Dr. and Mrs Frank and
Susan Schuster
Amy Schwartz and Eric Koenig
Phil Sharp
Adele Z. Silver
Donald M. Simonds
In Memoriam Brenda S. Smitth
Dr. and Mrs. Delbert D. Smith
Ms. Kitty Smith
Elizabeth Hilder and
W. Randolph Smith
Nick and Robbie Snow
Mr. and Mrs. William Spellbring
Cecile and James Srodes
Dr. William and Vivienne R. Stark
Mr. and Mrs. Ronald W. Steele
Mr. Edward Steinhouse
Janice Sterling
Crawford Feagin Stone
Dorothy and Donald Stone
Judi and Richard Sugarman
Maureen Sullivan
Alice J. Sziede
Carol and Harry Tabak
Drs. Sheila and Steven Taube
Charles E. Taylor
John Taylor
Jonathan Taylor and
Dianne Shaughnessy
Carol Thayer
William J. Tito and Debra J. Duncan
Maryellen Trautman and
Darrell Lemke
Lynn Trundle
Michael Tubbs
AL and Jacqueline Tucker
Diana M.L. Tucker
James and Cynthia Tuite
Jocelyn and David Turkel
Dr. Kazuko Uchimura
Drs. Stephen and Susan Ungar
Marilyn and Roderick Uveges
Dr. Richard Valachovic
Joan and Lyman Van Nostrand
Fernando and
Stephanie van Reigersberg
Dwight and Carrie Vaughn
Martin and Susan Wald
Libby and Herb Ware
Robert Warren and Jane Grayson
Robert and Isabel Wein
Ms. Judith Weintraub
Jack and Ruth Ellen Wennersten
Dr. Marjorie Williams ACA
C. Lawrence Wiser
George Wishon
Neville Withington and
Kerry Kingham
Anita Woehler
Julie and David Zalkind
$250-$499
Anonymous (42)
Jean Abinader
Elias Aburdene and
Annette Aburdene
Jon and Kate Aikman
Allison L. Aitken
Mr. and Mrs. Charles T. Alexander
Mr. and Mrs. Theodore E. Allison
Ambassador and
Mrs. Frank Almaguer
Ruth and Sam Alward
Gabriela Anaya and Bruce Tanzer
Kirsten Anderson and Jeff Harris
Nancy P. Anderson
Ms. Jerrilyn Andrews and
Mr. Donald Hesse
Jean W. Arnold
John Ausink
Dr. James Babcock and
Mrs. Carol Ann Babcock
Mary Anne and Charlie Bacas
Tovey Bachman
Jane H. Bachner
Sheila Eddy Baker
Dr. Sheryl D. Baldwin
Joaquin and Maite Ballestero
Douglas Balz and Jane Scholz
Michaele and Phil Battles
In Honor of Jeff Bauman
Mr. Michael J. Beck
Marion and Rand Beers
Joyce and Bob Bennett
Mr. and Mrs. J. David Benson
Marguerite Benson
Ms. Kathleen Bergin
Gilbert R. Berglass
Jane C. Bergner
Sharon L. Bernier
Claire and Tom Bettag
Drs. Nancy and Ernst Billig
Anita Bizzotto
Elizabeth G. Blakeslee and
Michael J. Blakeslee
Mary Josie and Bruce Blanchard
Carl Blaurock
Mr. Robert L. Bleimann and
Dr. May Chin
John W. Blouch
Donald J. and Carol L. Bobby
Rick and Burma Bochner
Kaye and Andrew Boesel
Mr. Douglas G. Bonner
Lillibeth Boruchow, MD
Jennifer Boulanger and Bruce Schillo
Mrs. Mary Bowie
Cindy and Dennis Brack
Drs. James and Jean Braden
Susan Bradshaw and Gerald Kauvar
Liz and Cornelius Bronder
Adrianne Brooks
Steve Broughman
Betti Brown and Bob Ramsey
Lorraine Brown
Buckley/Palmore/Hind Family
Jan Burchard
Mr. Jeffrey Burton
Kimberly Camp
Kim and Glenn Campbell
Louis Cannon
Margaret Capron
Patrick and Katharine Carney
Ms. Barbara Carr
Ms. Tommie Champ
Shu Hui Chen, PhD
J. M. Rowe and Nancy J. Chesser
Mr. Don Christensen
Heidi Christensen
Ricky and Joy Christie
Lily L. Chu and Gerald W. Weaver II
Mrs. Nancy B. Clark
Ray Clark, Rhonda Starkey and Alex
Mr. and Mrs. Robert L. Clark
Anna Cochrane
William Conklin and Barbara Conklin
Susan E. Connors
Rachel Conway
Jovana Cooke
John F. Copes
Ms. Victoria Cordova
William Coston
Edward E. Cragg
Paul Crain
Stephen T. Cramolini
Alan T. Crane
Drs. Joanne and Frank Crantz
Ms. Carolyn Crooks
Joseph Cross
Matt Crouch
Suzanne and Gregory Curt
Ms. Donna Dana
Dr. Dolores and
Dr. Lawrence D’Angelo
Mr. Gerald P. Dargis
Paul J. and Faith B. Davis
Ms. Deanna Dawson
Donna J. Dean and John L. Meyer
Beverly Dickerson
Peter Dickinson
Yin’ying Djuh
Carol Doherty
Ms. Suzzane Domaruk
Tom and Carol Donlan
Ms. Margaret Dotseth
Deborah Downey
Dr. Richard Drawbaugh and
Suzanne Drawbaugh
Dr. and Mrs. John V. Dugan, Jr.
Dutch and Brenda Dunham
Mark and Laura Duvall
Mary and Bob Eccles
Dr. Stephen Ehrmann
Gerry Elliott
Sarah G. Epstein and
Donald A. Collins
Mr. William Erdmann
Connie Ericson
William E. Faragher
Anne and Marc Feinberg
Tracy Fisher
James and Isabelle Fitzwilliam
Barbara Formoso
Elizabeth France
Ms. Leslie A. Frantz
Molly Frantz
Jim Fraser
Dr. Helene Freeman
Friend
Ted and Kathryn Frison
Mary B. Fuson
Carol Galaty and Ken Shuck
Mary Alice Garber
Carlos and Lucinda Garcia
George Washington University Office
of Alumni Relations
Dennis Gerrity
Gersony Family
Scott Glabman
Anne-Marie Glynn
Kathleen and Greg Gohn
Amnon and Sue Golan
David M. Goldberg
Mrs. Lawrence Goldmuntz
David Goldston
Jeff and Carla Golimowski
Brent Gordon and Susan Miller
Sheffy Gordon and Aimee Smart
Chris Gottbrath
Dr. and Mrs. John Grausz
Eldon and Emily Greenberg
Ms. Kathryn L. Greenspan
Mr. Bruce Gregory and
Ms. Paula Causey
Susan and David Gries
Melanie Grishman and Herman Flax
David Grover
Gail J. Gulliksen
Tom Hamilton
John Harman
Valorie Harrison
Peter D. and Florence R. Hart
Ted and Mary Hartz
Spedden and Linden Hause
Judith A. Hautala
Mr. and Mrs. Neil F. Hawks
Joseph F. Heaps
Constance and Richard Heitmeyer
Alda Herold
Dr. Roger E. Herst and
Dr. Judith L. Bader
Frederick S. Hird
Amanda and Lawrence Hobart
Dee Ann Holisky
Andrew Hollinger and Niki Holmes
Charles Horn and Jane Luxton
Donald M. and Barbara S. Hoskins
Charlotte Hrncir
Ms. Margaret Huber
Dr. and Mrs. Carl E. Hunt MD
Carol Ireland
Paul and Susan Irwin
Will, Amanda and Fran Irwin
Jacqueline L. Jackson
Katherine B. Jameson
Elizabeth Janthey
Edward and Victoria Jaycox
W. Luther Jett
Mary Frances Jetton
Mr. and Mrs. Donald Johnson
George and Ayah Johnson
Maj. Jeff Johnson
Linda Johnson
Mr. and Mrs. James M. Johnstone
Fred Jones
Ms. Margaret Jones
Terri and Phil Jordan
Mark Joseph
Marvin and Madeleine Kalb
Richard Kane
Patricia Karp
Nancy Kasler
Colleen and Jack Katz
Sheila Kautt
Mr. and Mrs. Robert Keatley
Mr. Thomas C. Keenan
B. Keller
John and Tommie Kelley
Brian G. Kennedy
Don and Alison Kerr
Janet Kim and Keely O’Malley
Michael and Carolyn Kirby
Susan and Bill Kirby
Frank D. Kistler
Marilyn (Mickey) Klein
Dr. Randall Knack and Misty Knack
Kathleen Knepper
In Memory of Robert Knouss
Tom and Kathy Knox
Jeffrey and Barbara Kohler
Michael W. Kolakowski
Robert Kopp
Mary Kotz
Sally Weinbrom Kram
Mark A. Kukuruga
Mr. Michael Lainoff
Margaret Lane
Ms. Debbie Lansford
Eileen Lawrence and
Bobby Greenfield
L. L. Lawson
57
John W. Layman
Lisa and Chris Leinberger
Ms. Sharon Leiser
Herman D. Levy
Carol A. Lewis
Craig and Stephanie Lewis
Ms. Donna Lewis
Ms. Elizabeth H. Lewis and
Mr. Thomas J. Saunders
Meg Lewis
Erik Lichtenberg and Carol Mermey
Barbara Liggett and
Augustine Matson
Sandy Liotta
Dr. Richard F. Little
Mrs. Sandra Lotterman
Mr. Richard J. Lovell
Anne and Walter Lukens
Ms. Margot E. Machol and
Mr. Mark C. Bisnow
The Vincent A. Maffeo Family
Steven Magel
Ellie and Chris Maginniss
Tom and Sylvia Mahaffey
Mr. Vaughn Carlton Maley, Jr.
Robert and Ida May Mantel
Daniel and Maeva Marcus
Dr. Alexander Sasha Mark, MD and
Mrs. Thais Mark
Maury and Beverley Marks
Mr. Thurgood Marshall, Jr.
Rita and Paul Marth
Donald Martin and Tammy Wiles
Dr. and Mrs. Robert Martin
Stephanie Martin
Mr. Michael S. Maurer and
Ms. Rachel L. Sher
Mr. and Mrs. James W. McBride
Matt and Peggy McCarty
Carol McGarry
Anna Therese McGowan
In Memory of
Patrick Michael McMurphy
W. Bruce McPherson
Michael and Kimberly Mehalick
Henry Mendeloff
Corinne and John Metz
Susan and Harry Meyers
Lisa Mezzetti
JoAnn and Skip Mican-Mahon
M. Elaine Mielke
Drs. Rolf and Lee Anna Mielzarek
Iris and Larry Miller
Jack and Barbara Miller
Nicole and Stephen Minnick
Bobbe and Herb Mintz
Ryland and Mary L. Mitchell
Les and Bonnie Miyaoka
Ms. Jessine Monaghan
Dr. Allen Mondzac
Kathryn A. Morrical
William Mullinix
Elisabeth Murawski
Susy Elder Murphy
Ms. Viola S. Musher
Mr. and Mrs. Robert W. Mustain, Jr.
Donald and Lynne Myers
Stanley and Marianne Myles 1616
Dr. Valerie Neal
Elizabeth Neblett
Amy Nelson
Winkle Nemeth
D.W. and Martha Newman
Melissa Nielson and Edward Yawn
Marjorie and Stephen Nordlinger
Alice L. Norris
Russ and Ellen Notar
Geraldine Novak
58
Paul and Beth Nyhus
Ms. Carol S. O’Connell
Edward and Susan Oldfield
Judy Olmer
Joe and Margot Onek
Jennifer Ormson
Amy N. Orr
Dr. Betty Ann Ottinger
Patricia Overmeyer
Ms. Ruth Oyen
Thomas and Yates Palmer
Susan Papp-Lippman
In Memory of Michael E. Patten
Donald D. Pealer
Laurence Pearl and Anne Womeldorf
Kevin and Sherry Pearson
Rick Peters
Geraldine Fogel Pilzer
Jim and Mims Placke
Diane and Arnold Polinger
Maria Proestou and
Savana Hadjipanteli
Colonel Terry C. Quist
Alfred S. Raider
Andrea and Bo Razak
Julie and Sam Rea
Michael Rebain
Clark and Maggie Rheinstein
Margaret Rice and Bill Sette
Joan Rineberg
David and Sandy Robinson
Gail A. Robinson
Dwight and Laurie Rodgers
Dr. and Mrs. Robert L. Rosenberg
Eugene and Shirley Rosenfeld
Loretta Rosenthal
Paul and Katy Rosenzweig
Ms. Pamela Russ and
Ms. Nancy Stutsman
Lelia and Robert Russell
Margaret L. Ryan
Barbara Ryland
Mr. and Mrs. Albert L. Salter
Sandall Family
Mary A. Sanders
Chris Savage and Lisa Hemmer
Patricia Ann Scace
Christy Schmidt and
Tony and Peter Bayne
Steve and Rhonda Schonberg
Geane and Richard Schubert
Joyce and Richard Schwartz
Don G. Scroggin and
Julie L. Williams
Joan Searby
Dr. Barbara Searle
Jeffrey and Patricia Sedgwick
Ellen Seidman and Walter Slocombe
Seema Shah
In Honor and Appreciation of the
Staff of STC
Patrick Shannon and Gita Maitra
Desta Shaw
Jennifer Shea and Peter Bruns
Louise I. Shelley
Mr. Andrew Shepherd
Dr. and Mrs. Thomas G. Sinderson
Dr. Stephen R. Sleigh and Ms. Ann
C. Greiner
Michael R. Smith and Holly A. Larisch
Steve and Diane Sockwell
Cathy and Bob Solomon
Barbara Spangenberg
Mr. Richard E. Spear and
Ms. Athena Tacha
Arthur Spitzer and Elisabeth Boas
John and Eleanor Spoor
James and Sue Sprague
Joseph Starnes and
Jacqueline Bowie
Helene and Michael Stein
S. and C. Stoiber
Barbara Stout
Elizabeth A. Taylor 1616
O. Miller Taylor
Grant P. and Sharon R. Thompson
Jill and Scott Thompson
Mr. and Mrs. Lawrence H. Thompson
Walter and Elizabeth Tinling
Silvia B. Trumbower
Mr. Glenn Tuttle
Ms. Cori E. Uccello
Mr. and Mrs. Stewart Umphrey
Dr. Arina van Breda
Eli and Zahava Velder
James M. Verdier
James Vollman
Dr. and Mrs. A. Vourlekis
Thomas Walko
Jonathan H. Waxman and
Laura Dekoven Waxman
Mr. Peter Q. Weeks - ElderCaring
Thomas and Elizabeth Wehr
Peggy and Ted W.
David Wentworth
Karen M. Whaley and Jim Magner
Michael Williams
Ms. Beth Anne Wilson
David and Myra Wilson
Scott and Lucy Wilson
Linda Winslow
Ellis Wisner
Betsy L. Wolf
Kathryn Wood
Mendelle P. Woodley
Anne and Tom Wotring
Irving and Carol Yoskowitz
John and Bucci Zeugner
Permanent support through the
establishment of endowment funds
The Leading National Theatres
Program, a joint initiative of the
Doris Duke Charitable Foundation
and the Andrew W. Mellon
Foundation
Helen Harris Spalding and Herman
Bernard Meyer Shakespeare
Memorial Fund
Gizella Moskovitz Fund
Additional Members of the
Society of 1616
Anonymous
Helen Alexander and Roland Weiss
Mr. John Ball
Lorraine E. Chickering
Anne Coventry
Donald Flanders
Peter and Linda Parke Gallagher*
In memory of Angelique Glass
Ms. Claudia J. Greer
Michael Kahn T
Lt. Col. and Mrs. William K. Konze
Dr. Richard M. Krause*
Estate of Gwenneth Lavin*
Mrs. R. Robert Linowes
Dorothy and Bill McSweeny
Marian Mlay
Judith E. Moore
Susana and Roberto Morassi*
Mr. and Mrs. Richard J. Park
Suzy Platt*
Jennie Rose
Henry J. Schalizki
Anne and Daniel Toohey
* Deceased
In Kind
American Printing Company
Asia Nine
Austin Grill
Bakers & Baristas
BridgeStreet Worldwide
Carmine’s
Cedar Restaurant
China Chilcano
Constellation Brands, Inc.
Corner Bakery Cafe
Kenneth, Dodie and Douglas Dewhirst
FUEL Pizza
Gordon Biersch Brewery
The Greene Turtle
The Hill
Jaleo
Knightsbridge, Inc.
LaTasca
Lavagna
Chris Lewton at Arena Stage
Luke’s Lobster
MAC Cosmetics
Metro Weekly
Moet & Chandon
Nando’s Peri Peri
Old Town Shoe & Luggage Repair
Oyamel
Pitango Gelato
Red Velvet Cupcakery
Rosa Mexicano
SEI
TDF
Teaism
ThinkFoodGroup
U Street Cleaners
Washington Metropolitan Area
Transit Authority
The Washington Post Company
West Wing Writers Group
Zaytinya
Zengo
Matching Gifts
Bank of America
Computer Associates International,
Inc.
ExxonMobil Foundation
Freddie Mac Foundation
IBM International Foundation
International Monetary Fund
Qualcomm
T. Rowe Price Foundation, Inc.
Verizon Foundation
Wiley Rein LLP
YourCause, LLC
OFFICIAL 2015–2016 SPONSORS
Hotel
Make-Up
Wine
Airline
Costume &
Garment Care
Shoe Repair
KEY TO SYMBOLS
1616 Members of the Society of 1616, the Theatre’s
BA
planned giving society
ACA Supporters of the Academy for Classical Acting
AMB Ambassadors of the Theatre, generous donors
who help to develop and enhance our patrons’
relationship with the Theatre. To join, please contact
Eric C. Bailey at 202.547.3230 ext. 2312.
T
*
Members of the Bard Association, dedicated
supporters of the Theatre who are members
of the legal community. To join, please contact
Eric C. Bailey at 202.547.3230 ext. 2312.
Members of the Board of Trustees
Deceased
Every effort has been made to ensure that this list is accurate. If your name is misspelled or omitted, please
accept our apologies and inform Arielle Katz in Member Services at 202.547.1122, option 7,
or email SupportSTC@ShakespeareTheatre.org.
59
F
ABOUT STC
STC is the recipient of the 2012 Regional
Theatre Tony Award® as well as 84 Helen
Hayes Awards and 342 nominations.
Presenting Classic Theatre
The mission of the Shakespeare Theatre
Company is to present classic theatre of
scope and size in an imaginative, skillful
and accessible American style that honors
the playwrights’ language and intentions
while viewing their work through a 21stCentury lens.
Promoting Artistic Excellence
STC’s productions blend classical traditions
and modern originality. Hallmarks
include exquisite sets, elegant costumes,
leading classical actors and, above all, an
uncompromising dedication to quality.
Fostering Artists and Audiences
STC is a leader in arts education, with a
myriad of user-friendly pathways that
teach, stimulate and encourage learners
of all ages. Meaningful school programs
are available for middle and high school
students and educators, and adult classes
are held throughout the year. Michael Kahn
leads the Academy for Classical Acting,
a one-year master’s program at The
George Washington University. Beyond the
classroom, educational opportunities like
Creative Conversations are available to all in
the community.
Supporting the Community
STC has helped to revitalize both the Penn
Quarter and Capitol Hill neighborhoods and
to drive an artistic renaissance in Washington,
D.C. Each season, programs such as Free For
All and Happenings at the Harman present
free performances to residents and visitors
alike, allowing new audiences to engage with
the performing arts.
Playing a Part
STC is profoundly grateful for the support
of those who are passionately committed to
classical theatre. This support has allowed
STC to reach out and expand boundaries,
to inform and inspire the community
and to challenge its audiences to think
critically and creatively. Learn more at
ShakespeareTheatre.org/Support or call
202.547.1122, option 7.
ABOUT ACA
The Academy for Classical Acting (ACA),
the Shakespeare Theatre Company’s
premier MFA training program run
jointly with The George Washington
University, is starting its 16th year!
Fourteen professional actors from all
over the United States and abroad join
the Shakespeare Theatre Company’s
remarkable faculty to immerse themselves
in a rigorous, one-year, conservatory-style
training program especially dedicated to
mastering the complexities of heightened
text and classical acting. In the past 16
years, the ACA has trained 224 actors
of all ages. Some go on to NYC and to
Broadway, some return to their places
of origin, such as San Francisco, Seattle,
or Toronto, and many make new homes
for themselves right here in Washington,
D.C. On any given night, dozens of
ACA graduates can be seen on stages
throughout the D.C. metro area, and the
ACA can boast several recipients of the
coveted Helen Hayes Award. Already, at
60
the beginning of STC’s 2015–2016 season,
four ACA grads can be seen on our own
stages. More are sure to return.
In January and February, the audition
team of ACA faculty will conduct
auditions in New York, Washington,
Chicago, and Seattle, looking for actors
who already have professional experience
and are looking to advance their skills
when it comes to Shakespeare and
classical theatre. The training is deep
and it’s broad, with classes in Acting,
Alexander Technique, Movement, Voice
& Speech, Stage Combat, Masks, Clown,
and Text, to name a few. If you’re
interested, or know someone who might
be interested in receiving training from
some of the top professionals in the field,
including Michael Kahn, please visit our
site: ShakespeareTheatre.org/Academy.
REE
CREATIVE
CONVERSATIONS
HAPPENINGS HAPPY HOUR
Thurs., Nov. 19 and Dec. 10, 6 p.m.
Forum at Sidney Harman Hall
November 17-January 3 Sidney Harman Hall
PAGE AND STAGE
Sun., Nov. 22, 5 p.m.
Forum at Sidney Harman Hall
SUN
WED
17
7:30
REFLECTIONS
Sat., Dec. 12, 5 p.m.
Forum at Sidney Harman Hall
22
23
7:30 P
7:45 O
29
30
2:00
7:30
2:00
7:30
ASL-INTERPRETED
CONVERSATION
Tue., Dec. 15, 6:30 p.m.
Mezzanine Lobby at
Sidney Harman Hall
THUR
6
25
12:00
7:30
1
FRI
SAT
14
20
21
9
27
2:00
7:30
28
7:30
15
16
7:30 B
22
23
2:00
7:30
29
7:30
27
3
8:00
7:30 S
2:00
7:30
26
2
8
20
8:00
8:00
7:30 Y
7
2:00
A
B
C
D
O
24
19
8:00
7:30
13
2:00
7:30
18
7:30
7:30
2:00
BOOKENDS
Wed., Dec. 16, 2015
5:30 p.m. and post-show
Forum at Sidney Harman Hall
ShakespeareTheatre.org
202.547.1122
TUES
NOVEMBER/DECEMBER/JANUARY
HAPPENINGS HAPPY HOUR
Thurs., Dec. 10, 6 p.m.
Forum at Sidney Harman Hall
SPECIAL EVENT
NSO IN YOUR NEIGHBORHOOD
Fri., Jan. 8, 2016, 7 p.m.
Forum at Sidney Harman Hall
National Symphony Orchestra
musicians perform a free concert
of Cole Porter’s music.
MON
30
7:30
4
8:00
10
11
8:00 C
8:00 Y
17
8:00
18
8:00
24
25
31
1
8:00
2:00
8:00
2:00
8:00
2:00
8:00
21
28
5
12
2:00 A
8:00 R
2:00
8:00
2:00
8:00
2:00
8:00
19
26
2
3
AUDIO-DESCRIBED
BOOKENDS
OPEN CAPTION
POST-PERFORMANCE DISCUSSION
OPENING NIGHT
P
R
S
Y
PAGE AND STAGE
REFLECTONS
SIGN-INTERPRETED
YOUNG PROSE NIGHT
Open Caption performances
made by possible by a grant from
CAMP SHAKESPEARE
Summer 2016
Ages 7-18
Registration begins December 1
202.547.5688
ShakespeareTheatre.org/camp
UP NEXT: THE CRITIC AND
THE REAL INSPECTOR HOUND
AN INTERVIEW WITH STC ARTISTIC DIRECTOR MICHAEL KAHN,
DIRECTOR OF THE CRITIC AND THE REAL INSPECTOR HOUND
Are you a fan of critics?
I’m a director who’s actually known
to be friendly with critics. I basically
like them. However, they regularly
have a chance to tell me what they
think of my work, and sometimes it’s
happy, and sometimes it’s hurtful,
and sometimes it’s annoying, and
sometimes it makes me mad. So I
thought I’d have a really good time
doing these plays about them.
Why these plays?
Richard Brinsley Sheridan’s The
Critic, an 18th century play, and
Tom Stoppard’s The Real Inspector
Hound, a 20th century play, are
both about critics, and they’re both
beastly about critics, on one level.
I’ve been so nice to them for years,
and these plays are wonderful ways
to have some fun with them. They’re
terribly funny plays. And they’re not
just beastly about critics, they’re
pretty satirical about very bad
writing and particular theatre styles.
The Critic is normally a two-act
play, but has rather famously
been done as a one-act play,
originally by Laurence Olivier, who
paired it with Oedipus Rex. We’ve
commissioned Jeffrey Hatcher, who
did a wonderful adaptation of The
Government Inspector, to rethink
how you do The Critic in one act,
which he’s done a brilliant job with.
It’s a truly funny script.
What are the theatre styles
satirized in these plays?
The Critic mocks 18th century
overacting, and The Real Inspector
Hound makes fun of English countryhouse murder mysteries that were so
popular in the 1940s and ’50s.
I’ve certainly done my research on
these eras and styles, and I can draw
on my own experience, too, since I
did an Agatha Christie play with Joan
Fontaine, The Unexpected Guest,
early in my career. But the most
important thing for audience
members to know is that
these works are there for them
to have fun with. I think they’re
really terrific plays.
After STC presented your
adaptation of The Government
Inspector in 2012, you were
approached by Michael Kahn to
adapt Sheridan’s The Critic. How
familiar were you with the play?
What did you think about it?
It seemed like a great choice. A title
that a lot of people in theatre know
but very few had seen performed.
I knew of the famous production
from the 1940s with Olivier, on a
double bill with Oedipus Rex. Kind
of a crazy “Look, Ma, no hands”
show-off event.
I had read it sometime in the 1980s.
It’s very funny, very funny. But a
lot of the comedy isn’t relevant
anymore. I knew that either I’d
have to make things clear or cut
things that only the cognoscenti
from 1780 could remember.
How did you approach
the adaptation?
We are doing it on a
double bill so I had to cut
about 50 percent of the
original script. It forces you to
make choices.
The Critic and
The Real Inspector Hound
begin January 5, 2016, at
the Lansburgh Theatre.
ShakespeareTheatre.org
202.547.1122
62
AN INTERVIEW WITH JEFFREY HATCHER,
ADAPTOR OF THE CRITIC
Sheridan himself said that the
first half of The Critic was the
best writing he’d ever done. I was
very hesitant about what to cut
and trim there. But Michael and
[Dramaturg] Drew Lichtenberg
have encouraged me to keep
adapting.
The first point is trying to
find a way for the audience to
understand what it was to be a critic
in the 18th century. It’s not exactly
the way it is now. It had a different
impact. It was like being a spy: you
don’t know who the critic is.
Of all the critics working in
London, we come upon Mr. Puff
who not only writes reviews but is
paid by playwrights to write good
reviews, and doesn’t even see the
plays. He has become so adept
at reviewing that decides he can
write his own play.
The second half of the play is all
about a performance that goes
wrong, and there’s nothing more
entertaining in a play about theatre
than to watch something go wrong.
People often joke about theatre
people being unable to enjoy a play
because we’re too critical—we don’t
go to be entertained, we go to find
out what went wrong.
Trust us, the play must go on but
show must fall apart.
As a playwright, how do you feel
about critics?
There was a time when I thought it
would be fun to be a critic, there’s
a part of your brain that functions
critically. Imaginatively/creatively
you think one way, critically
intellectually another. It’s how you
look at a second draft.
If you’re a playwright you can’t help
but have a few critics you want to
murder, who got it wrong or they
got it right and you’re upset they
told everybody.
63
SHAKESPEARE THEATRE COMPANY
STAFF
Artistic Director
Executive Director
Michael Kahn
Chris Jennings
Executive Assistant to the Artistic Director
and Executive Director David Lloyd Olson
ARTISTIC
Associate Artistic Director
Alan Paul
Head of Voice and Text
Ellen O’Brien
Resident Casting Director
Carter C. Wooddell
Literary Manager
Drew Lichtenberg
Artistic Associate
Craig Baldwin
Artistic Fellow
Ryan-Patrick McLaughlin
Affiliated Artists
Keith Baxter, Avery Brooks,
Helen Carey, Veanne Cox, Aubrey Deeker,
Colleen Delany, Franchelle Stewart Dorn,
Cameron Folmar, Adam Green, Edward Gero,
Philip Goodwin, Jane Greenwood, Michael Hayden,
Simon Higlett, Christopher Innvar, Naomi Jacobson,
Stacy Keach, Floyd King, Andrew Long,
Ethan McSweeny, Jennifer Moeller, David Muse, Hugh Nees,
James Noone, Patrick Page, Robert Perdziola,
Nancy Robinette, David Sabin, Miriam Silverman,
Derek Smith, Walt Spangler, Tom Story,
Rebecca Taichman, Ted van Griethuysen,
Craig Wallace, Adam Wernick, Gregory Wooddell
ADMINISTRATION
Director of Administration
James Roemer
Associate Managing Director
Anne S. Kohn
Human Resources Manager Lindsey Morris
Human Resources Coordinator
Ryn Weil
Accounting Manager
Mary Margaret Finneran
Staff Accountant
Marco Dimuzio
Company Manager
Mackenzie Douglas
Receptionist
Ursula David
General Management Fellow
Kathryn Atkinson
Company Management Fellow
Averill Corkin
Director of Operations
Timothy Fowler
Operations/IT Assistant
Sloane A.L. Spencer
Theatre Building Engineer
Dave F. Henderson
Theatre Monitors
Milton Garcia, Jeff Whitlow
Facilities Custodian
Jorge Ramos Lima
Harman Custodians
Dennis Fuller, Mirna Guzman,
Roderick Proctor
Lansburgh Custodians
Zulma I. Bonilla,
Izilma Membreno, David Guzman
Director of Information Technology Brian McCloskey
Systems Administrator
Patrick Hayes
Database Administrator
Brian Grundstrom
DEVELOPMENT
Chief Development Officer
Ed Zakreski
Senior Associate Director of Development Amy Gardner
Major Gifts Officers
Eric Bailey
Betsy Purves
Special Events Manager
Moriah Lemming
Development Operations and
Membership Manager
Kristina Williams
Development Operations Coordinator
Sara Seidler
Membership Coordinator Arielle Katz
Associate Director of Development
Noreen Major
Corporate Giving Manager
Katie Burns-Yocum
Director of Foundation and
Government Relations
Meghann Babo-Shroyer
Institutional Fundraising Coordinator
Michael Trottier
Development Fellow
Elena Robertson
64
MARKETING AND COMMUNICATIONS
Chief Marketing Officer
Michael Porto
Associate Marketing Director
Austin Auclair
Associate Director of Audience Development
and Promotions
Teddy Rodger
Audience Services Director
Joy Johnson
Ticket Service Manager
Tim Helmer
Sales Associates
Zindzi Ali, Evelyn Chester,
Heather Hart, Christopher Hunt, Jessica Kaplan,
Andre McBride, Izetta Mobley, Kristin Nam,
Sarah Kate Patterson, Christopher Pearson,
Carmelitta Riley, Marie Riley, Kieran Shaw,
Crystal Stewart, Lauren Ward, Michael Wharton,
Genevieve Williams
Interim Call Center Director
Gary McKain
Teleservices Associates
Bill Billante, Kelly Carson,
Jade Davis, Valerie Ekhato,
Eric Garvanne, Miles Gheesling, Cheryl Kempler,
Stephanie King, Amy Kitchin, Isabelle Mahoney,
Jill McAfee, Joanna Morgan, Cynthia Perdue,
Amy Sloane, Chris Soto, Robert Vierick
Associate Director of Event Sales
and Partnerships
Shaun Hart
Theatre Services Manager
Dora Hoyt
House Manager
Robert Montenegro
Lead House Managers
Stephanie Atkinson,
Jeremy Blunt. Erica Brown,
Addie Gayoso, Marie Riley
Assistant House Managers Melissa Adler, Kathryn Atkinson,
Ron Hoekstra, Chris Hunt,
Donald Jones, Susan Koenig,
Jamel Levine, Jessie Mornero, Molly Nevola,
April Powell, Carmelitta Riley, Shaun Russell,
Bridget Sheaff, Alex Zeese
Retail and Concessions Manager
Kristra Forney
Assistant Retail Manager
Tiara Copeland
Concessions Associates Amelia Brookins, Joy Falzarano,
Adrianne Glover, Justin Lane, Freddy Mancilla,
Thanh Nyugen, Chris Pearson, Elena Robertson,
Petrice Roman, Robert Russell, Catherine Shook,
Christine Strassner, Kara Tesch, Eric Woods
Retail Associates
Amelia Brookins, Quintin Cary,
Tiara Copeland, Joy Falzarano, Elena Robertson,
Christine Strassnet, Kara Tesch
Harman Receptionist and Usher CoordinatorAmy Veloz
Associate Director of
Communications and PR
Jonathan Padget
Web and Media Programmer
Brien Patterson
PR/Marketing Fellow
Catherine Shook
Visual Communications
Manager
S. Christian Taylor-Low
Junior Graphic Designer
Taylor Henry
Graphics Fellow
Ruthie Rado
Photographers
Kevin Allen, Margot Schulman,
Scott Suchman
EDUCATION
Director of Education
Samantha K. Wyer
Associate Director of Education
Dat Ngo
Audience Enrichment Manager Hannah Hessel Ratner
Community Engagement Manager Laura Henry Buda
School Programs Manager
Vanessa Hope
Training Programs Manager
Brent Stansell
Resident Teaching Artist
Renea Brown
Education Coordinator
Emily Marcello
Education Fellow
Thanh Nguyen
Affiliated Teaching Artists
Elizabeth Alman,
Tonya Beckman, Kevin Brown, Dan Crane, Katie deBuys,
Jim Gagne, Brit Herring, Paul Hope, Naomi Jacobson,
Joy Jones, Manu Kumasi, Alina Collins Maldonado,
Chelsea Mayo, Brenna McDonough,
Victoria Reinsel, Paul Reisman, Melissa Richardson,
Robert Bowen Smith, Stephen Spotswood, Latia Stokes,
Khaleshia Thorpe-Price, Katie Tkel,
Michele Vicino, Eva Wilhelm, Gregory Wooddell
THE ACADEMY FOR CLASSICAL ACTING
The Academy for Classical
Acting Director Gary Logan
ACA Program Coordinator
Bekah Eichelberger
Faculty Members
Isabelle Anderson,
Christopher Cherry, Dody DiSanto, Edward Gero,
Leslie Jacobson, Lisae Jordan, Michael Kahn, Floyd King,
Gary Logan, Ellen O’Brien, Roberta Stiehm, Brad Waller
PRODUCTION
Director of Production
Tom Haygood
Associate Directors of Production
Kimberly Lewis,
Gordon Nimmo-Smith
Production Administrator
Emmy Landskroener
Resident Production Stage Manager Joseph Smelser
Stage Managers
Cynthia Cahill, Laura Smith
Assistant Stage Managers
Elizabeth Clewley,
Maria Tejada, Robyn M. Zalewski
Production Assistant
Rebecca Shipman
Stage Management Fellows
Eric Michael Batts,
Micaela Cirimeli
Costume Director
Wendy Stark Prey
Floor Manager
Julie Rose
Resident Design Assistant
Lynda Myers
Drapers
Denise Aitchison, Randall Exton,
Tonja Petersen
First Hands
Jennifer Rankin, Sandra Thomas,
Sara Cardwell
Stitchers
Kathryn Hansen, Michele Ordway,
Donna Sachs
Lead Crafts Artisan
Joshua Kelley
Design Assistant/Crafts Artisan
Kara Tesch
Wardrobe Supervisors
Jeanette Lee Porter,
Monica Speaker
Wig Master
Dori Beau Seigneur
Costume Design Fellow
Amelia Brookins
Costume Production Fellows
Natalie Flango
Mackenzie Malone
Technical Director
Mark Prey
Assistant Technical Director
Kelly Dunnavant
Scene Shop Foreman
David Stock
Scene Shop Administrator
Jessica Noones
Carpenters
John Cincioni, Jr., Justin Carnes,
Carrie Cox, Christian Sullivan
Charge Scenic Artist
Sally Glass
Scenic Artist
Jose Ortiz
Scenic Painter
Kelly Rice
Prop Shop Director
Elaine Sabal
Assistant Prop Shop Director
Guy Palace
Lead Props Artisan
Chris Young
Props Painter/Sculptor
Eric Hammesfahr
Soft Goods Artisan
Rebecca Williams
Master Electrician
Sean R. McCarthy
Assistant Master Electrician Lauren A. Hill
Harman Electrician
Brian Flory
Lansburgh Electrician Samantha Brewer
Audio/Video Supervisor
Brian Burchett
Assistant Audio/Video Supervisor Roc Lee
Live Mix Engineer
Ryan Gravett
Lansburgh Board Operator
Kurt Davis
Stage Operations Supervisor
Louie Baxter
Assistant Stage Operations SupervisorFran Hopkins-Maxwell
Stage Carpenters
Derek Antoine, Nick Custer
Run Crew
Rachel Wolf
AUDIENCE SERVICES
LANSBURGH THEATRE
450 7th Street NW
SIDNEY HARMAN HALL
610 F Street NW
TICKET AND GROUP SALES:
Tickets: 202.547.1122
Toll-free: 877.487.8849
Group Sales: 202.547.3230 ext. 3405
Box Office fax: 202.608.6350
Bookings: 202.547.3230 ext. 2321
BOX OFFICE PHONE HOURS (both theatres):
Daily: noon–6 p.m.
(Box Office window open until curtain time)
The Lansburgh Box Office is closed on the
weekends if there is no performance at the
Lansburgh Theatre.
CONCESSIONS AND GIFT SHOPS:
Food and beverages are available one hour before
each performance. Pre-order before curtain for
immediate pick-up at intermission.
Lansburgh Theatre and Sidney Harman Hall
gift shops are open before curtain, at intermission and
for a short time after each performance.
CONNECT WITH US:
Facebook.com/ShakespeareinDC
Twitter @ShakespeareinDC
YouTube.com/ShakespeareTheatreCo
Flickr.com/ShakespeareTheatreCompany
Instagram @ShakespeareinDC
Latecomers will be seated at management’s discretion.
ACCESSIBILITY
Our theatres are accessible to persons with disabilities.
Please request special seating at time of ticket
purchase and arrive 30 minutes before curtain for
priority seating.
Open-captioned performance of Kiss Me, Kate:
Thursday, December 10 at 8 p.m.
Audio-described performance of Kiss Me, Kate:
Saturday, December 12 at 2 p.m.
Sign-interpreted performance of Kiss Me, Kate:
Tuesday, December 15 at 7:30 p.m.
An audio-enhancement system is available for all
performances. Both headset receivers and neck loops
(to use with hearing aids outfitted with a “T” switch)
are available at the coat check on a first-come basis.
Program notes in Braille and large print are available at
the coat check.
Support for the Shakespeare Theatre Company’s
Accessibility Program provided by
Support for open captioning provided by
The video and/or audio recording of this performance
by any means whatsoever are strictly prohibited. As a
courtesy, turn off pagers, telephones, watch alarms and
all other electronic devices during the performance.
Audience members may be reached during a
performance by calling house management at
202.547.3230 ext. 2517. Specify seat location.
65
Acting • Movement • Mask • Voice • Speech
Text • Stage Combat • Alexander Technique
Located in the heart of Washington, D.C.,
at The George Washington University
UPCOMING AUDITIONS
Jan. 30
Feb. 6
Feb. 13
Feb. 20
•
•
•
•
Washington, D.C.
New York
Seattle
Chicago
TO APPLY
ShakespeareTheatre.org/Academy
AskACA@shakespearetheatre.org
Kelly Lynn Hogan and Rafael Untalan in The Maid’s Tragedy (ACA)
“If you can
perform
the
classics,
you can
perform
anything.”
Michael Kahn
Artistic Director, STC