2013/2014 SEASON
MARCH 19 THRU
APRIL 20, 2014

When Jiri and I became members of Křesadlo
Theatre in Prague, we worked as a company, collectively, to develop new work. Our first production in Philadelphia, an adaptation of
Animal Farm by George Orwell, was created in the same spirit. However, as the Wilma kept growing, becoming an Equity house and starting to pay real salaries to actors, time became expensive. We were forced to abandon this company model and adopt a more traditional process. We reduced our rehearsals to what everyone around us was doing: four to five weeks of rehearsals and a five-week run.
Two years ago the grants we received from the
Pew and Independence Foundations made it possible for me to return to the idea of creating a new piece collaboratively and to bring the playwright, Paula Vogel, into the midst of a theater company. In January 2013, we organized a reading of Ödön von Horváth’s play Don Juan
Returns from the War, which was an inspiration for our project. At the same time Paula, Walter Bilderback (the Wilma’s Dramaturg), and I began reading and viewing materials about the wars in Iraq and Afghanistan and their consequences. We also interviewed many veterans of the two wars in
Philadelphia and Washington, D.C. In April, we held a week-long vocal and physical movement workshop with Jean-René Toussaint for twenty
Philadelphia actors. Out of this group, Paula, Jean-René, and I chose a company of nine. Paula wrote the play for these actors and their voices. She told me that she heard them when she wrote. She had never had that experience before in her entire career.
When Paula decided that she was going to situate this play in Philadelphia,
Walter arranged for the two of us to tour different neighborhoods and meet with several Philadelphians who shared with us their expert knowledge of the city’s history. Paula was working on the script, writing it in her head, as she said, and by the time we had our first two-week workshop in October, we had forty pages of text. By the time of our December workshop, we were close to having a play, with only a few scenes missing. During these two workshops, we were also working to develop an acting company through unifying physical and vocal exercises and improvisations. Simultaneously, our designers were developing the world of the play before it was completely written. Matt Saunders and I imagined a set that was metaphysical and non-literal, expressing internal stages of Don Juan: his PTSD. Like the bodies and voices of the actors, design elements, too, influenced Paula’s script-inprogress.
Paula felt very strongly that we had to reciprocate veterans’ generosity and offer something to them. She led four different playwriting workshops for veteran writers over the past year. Paula is an extraordinary teacher. In her workshops everybody, including me, as well as the actors, had to become writers. Through writing together, we developed a network of veterans who became our advisers, making sure that we had our facts right and that our actors fully understood the experiences they’d be portraying. It has been an unexpectedly strong collaboration. You can hear some of the veterans’ writing created during these workshops at a reading at the Wilma on
Tuesday, April 8 at 7:30 PM.
As you can imagine, this project has been a great artistic risk. We scheduled the play in our season before it was written. The process was daring, stimulating, creative, and purposeful. The last step in creating a production is an encounter with an audience. This encounter is another unknown. We are excited, terrified, and hopeful that our production will create a strong response from you. Thank you for attending. Let us know what you think.
Warmly,
Paula Vogel and Blanka Zizka on the roof of The Divine Lorraine

Bold. Inventive. Subversive. Provocative. Engaging.
Worldly. Collaborative. Artistic. All words to describe the work produced here on the Wilma stage.
And soon we will add one more: Affordable.
For the next three seasons, we will engage in a bold initiative to make the theater we produce available to a much broader audience. Based on the belief that artistic encounters are meant to be experienced by all; that we have a responsibility and a desire to reach more deeply into the communities around us; that we wish the makeup of our audience and our organization to more accurately reflect these communities; and that our productions will continue to represent a range of voices, viewpoints, and styles, we are very pleased to introduce
“ Wilma WynTix – Big Theater. Small Prices.
Subsidized tickets by the Wyncote Foundation.
”
With deepest gratitude to Leonard C. Haas for recommending a subsidy grant from the Wyncote
Foundation, all tickets for the full four-week mainstage run of Wilma productions starting with the 2014/2015
Season will be subsidized so that the general public can enjoy $25 tickets and $10 for students and members of the theater industry. It’s as simple as that. The Wilma will continue to bring you the same quality productions and explore the same topical subjects. The only difference is that the barrier of cost will be greatly diminished for those who are on a budget. Big Theater. Small Prices.
At a time when The New York Times is reporting significant increases in ticket prices – even for non-profit theaters – just to cover costs and attempt to overcome deficits, the Wilma has decided to adopt a very different strategy. We recognize that the arts have been subsidized throughout the ages in order to encourage the highest artistic quality experiences for all.
In your Wilmabill, you will find more information about the Wilma WynTix program. For those who have means, we invite you to join with Leonard in making theater affordable and available for all.
Sincerely, under the direction of
Blanka Zizka James Haskins
Artistic Director Managing Director presents
March 19 - April 20, 2014 featuring
Keith J. Conallen*, Kate Czajkowski*, Melanye Finister*, Yvette Ganier*, Sarah
Gliko*, Hannah Gold, Kevin Meehan*, Brian Ratcliffe, Lindsay Smiling*
Set Designer
Matt Saunders
Lighting Designer
Thom Weaver
Dramaturg
Walter Bilderback
Hair & Makeup Designer
David Bova
Voice Coach
Jean-René Toussaint
Costume Designer
Vasilija Zivanic
Composer & Sound Designer
Daniel Perelstein
Fight Coordinator
Michael Cosenza
Production Manager
Clayton Tejada
Resident Stage Manager
Patreshettarlini Adams*
*Members of Actors Equity Association, the Union of Professional Actors and
Stage Managers in the United States.
This theater operates under an agreement between the
League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the
United States.
The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists,
Local USA-829 of the IATSE.

Keith J. Conallen ........................................................................ Don Juan
Kate Czajkowski .........................................................................Cressida
Melanye Finister ..................Sister Verinda, Cashier, Recruiting Officer,
Duda (Tigress 3), Mother, Colonel Mother
Yvette Ganier .........................Sheila, Levy (Tigress 1), Daughter, Jennie,
Grandmother
Sarah Gliko ............................. Aggie, The Curator, Lucinda (Bartender),
Homeless Woman
Hannah Gold ....................................Sister Ellie, Ashley Gold (Tigress 2)
Kevin Meehan ..............................MacQuilken (Marine 2), Policeman 1,
Robert Mullen, Grave Robber
Brian Ratcliffe .......................Malone (Marine 3), Policeman 2, Assistant
Lindsay Smiling ................ Tracey (Marine 1), John Africa, Ben Franklin
The Wilma Theater is a member of the following organizations: Avenue of the Arts, Inc., Greater
Philadelphia Cultural Alliance, League of Resident Theatres, Rittenhouse Row, and Theatre
Communications Group, Inc.
Please note
Photography or sound recording inside the theater, without the written permission of the management, is prohibited by law. Violators may be asked to leave the theater and may be liable for financial charges.
Children Policy
Some subject matter may be deemed objectionable for children; therefore, children under 12 will not be permitted in the theater.
Distracting Noise and Light
The noise of cellular phones and candy wrappers, and the light from electronic devices, are distracting to both audiences and actors. Please turn off all cellular phones and electronic devices. Also, please be sure that your watch alarm does not sound during the performance.
Smoking, eating, and drinking are prohibited inside the theater.

Paula Vogel’s play, How I
Learned to Drive, received the 1998 Pulitzer Prize for Drama, the Lortel
Prize, Drama Desk, Outer Critics Circle and New York Drama Critics
Awards for Best Play, as well as winning her second Obie. It has been produced all over the world. Other plays include The Long Christmas
Ride Home, The Mineola Twins, The Baltimore Waltz, Hot ‘N’ Throbbing,
Desdemona, And Baby Makes Seven, The Oldest Profession and A Civil
War Christmas. In 2004-5 she was the playwright in residence at Signature Theatre in New York which produced three of her works. Second
Stage produced a revival of How I Learned to Drive directed by Kate Whorisky in 2012, and
New York Theatre Workshop produced a new draft of A Civil War Christmas, directed by Tina
Landau, in December 2012. Her ongoing project with Rebecca Taichman, The Vengeance
Project, has been commissioned by Oregon Shakespeare Festival and Yale Repertory. Theatre Communications Group has published four books of her work, The Mammary Plays, The
Baltimore Waltz and Other Plays, The Long Christmas Ride Home, and A Civil War Christmas.
Most recent awards include the Theatre Hall of Fame, Lifetime Achievement Award from the
Dramatists Guild (2011), and the 2010 William Inge Festival Distinguished Achievement in the
American Theatre Award. She is most honored to have two awards for emerging playwrights named after her: the Paula Vogel Award in Playwriting, created by the American College
Theater Festival in 2003, and the Paula Vogel Playwriting Award, is given annually by the
Vineyard Theatre since 2007. Ms. Vogel won the 2004 Award for Literature from the American
Academy of Arts and Letters, the Obie for Best Play in 1992, the Rhode Island Pell Award in the
Arts, the Hull-Warriner Award, The Laura Pels Award, the Pew Charitable Trust Senior Award, a Guggenheim, an AT&T New Plays Award, the Fund for New American Plays, the Rockefeller
Foundation’s Bellagio Center Fellowship, several National Endowment for the Arts Fellowships, the McKnight Fellowship, and the Bunting Fellowship from Radcliffe College. She is a fellow of the American Academy of Arts and Sciences. She was recently awarded a Thirtini, a most coveted award, from 13P in New York. She has been a fellow at the MacDowell Colony, the Double UCross Colony, as well as Yaddo. She has taught for 24 years at Brown University and for five years at the Yale School of Drama where she was the Eugene O’Neill Professor
(adjunct) of Playwriting. Paula is honored by Philadelphia Young Playwrights and Quiara
Hudes, who is curating the Paula Vogel Mentors Project. And she would like to thank Virginia and Harvey Kimmel and Richard and Peggy Greenawalt for their hospitality during the writing process for this play.
has been Founding Artistic
Director of The Wilma Theater since 1981. In the fall of 2011, Blanka received the Zelda Fichandler Award from the Stage Directors and Choreographers Foundation, which recognizes an outstanding director or choreographer transforming the regional arts landscape. Most recently,
Blanka directed Richard Bean’s Under the Whaleback, Tony Kushner’s
Angels in America, Tadeusz Słobodzianek’s Our Class, Sarah Ruhl’s In the Next Room, which received eight Barrymore awards, and Macbeth, which included an original score by Czech composer and percussionist
Pavel Fajt. Blanka has directed over 60 plays and musicals at the Wilma. Her recent favorite productions are Wajdi Mouawad’s Scorched, Tom Stoppard’s The Invention of Love and Rock
’n’ Roll, Sarah Ruhl’s Eurydice (which featured an original score by composer Toby Twining, now available from Cantaloupe Records), Brecht’s The Life of Galileo, Athol Fugard’s Coming
Home and My Children! My Africa!, and Caryl Churchill’s Cloud 9. She collaborated closely with Dael Orlandersmith on her plays Raw Boys and Yellowman, which was co-produced by
McCarter Theatre and the Wilma and also performed at ACT Seattle, Long Wharf, and Manhattan Theatre Club. Blanka was also privileged to direct Rosemary Harris and John Cullum in Ariel Dorfman’s The Other Side at MTC. For the Academy of Vocal Arts, she directed the opera Kát’a Kabanová by Leoš Janácek. She has collaborated with many playwrights including Yussef El Guindi, Doug Wright, Sarah Ruhl, Tom Stoppard, Linda Griffiths, Polly Pen, Dael
Orlandersmith, Laurence Klavan, Lillian Groag, Jason Sherman, Amy Freed, Robert Sherwood, and Chay Yew. Her favorite productions are, even after all these years, Tom Stoppard’s The
Invention of Love and Jim Cartwright’s Road.
, a Philly native – so you know he hasn’t seen any of the tourist spots – is thrilled for this opportunity to take you on this journey with such an amazingly gifted cast.
Favorite/recent credits: Ibsen’s Ghosts, People’s Light; Sedaris’ The
Santaland Diaries, Flashpoint; Richard Bean’s Under the Whaleback,
Wilma. Thanks to Blanka for being brave; Paula for her genius and trust; the bevy of designers for creating this beautiful and tumultuous world;
Kate and the rest of the cast for their trust and generosity; and to you for listening. Be kind to one another.
previously appeared on the Wilma’s stage as Nora in Assistance, Harper in Angels in America,
Rachelka/Marianna in Our Class, and In the Next Room, or the vibrator play as Sabrina Daldry, a role that earned her a Barrymore nomination for
Best Supporting Actress. Regional credits include: Sissy Hankshaw in
Even Cowgirls Get the Blues (world premiere) at Book-It Rep, Marina in
Pericles at Seattle Shakespeare Co., Annamae Dickie in Louis Slotin Sonata (world premiere) at Empty Space, and Annie Sullivan in The Miracle
Worker (national tour) for Montana Rep. A recent graduate of the MFA
Acting program at Temple University, Kate played several roles in Temple Rep’s two summer seasons: Masha in Three Sisters, Elmire in Tartuffe, and Marianna in Measure for Measure.
has been a company member at People’s Light and Theatre since 1991 and has appeared in many plays there including The Winter’s Tale, Seven Guitars, Doubt, Six
Characters in Search of an Author, Something You Did, Fabulation, and
Member of the Wedding. Melanye has also worked for Flashpoint Theatre ( Run, Mourner, Run), Philadelphia Theatre Company (Third), Arden
Theatre ( Romeo and Juliet, Midsummer Nights Dream), as well as Inter-
Act, Venture, and Walnut Street Theatre. She is a longtime supporter and proud Board Member of PlayPenn and Stockton Rush Bartol Foundation, and holds a BFA from Carnegie Mellon University. D, meet me at Mutter.
Philadelphia credits include the Wilma, PTC, the Arden, InterAct and Freedom Theatre. Broadway:
The Miracle Worker; King Hedley II. London: Jitney (National Theatre –
2002 Olivier Award). Off-Broadway credits include Breath Boom (2002
Obie, Playwrights Horizons) and Jitney (Second Stage). Regional credits include Steppenwolf, Actors Theatre of Louisville, Goodman (originated
Black Mary in Gem of the Ocean by August Wilson), Mark Taper, Intiman, Seattle Rep, Pittsburgh Public (originated Rena in Jitney by August
Wilson), and Baltimore Centerstage (US premiere of Elmina’s Kitchen by Kwame Kwei-Armah). Film/TV credits include Evolution of a Criminal – Darius Monroe, director; Must Be the Music – Charles Dutton, director; Lifetime’s For One Night directed by
Ernest Dickerson, and ABC’s All My Children. Awards: Obie, LA Ovations Award, Audelco, and
NAACP Image Award. Twitter: yganier. Instagram: yvetteganier.

This is Sarah’s Wilma debut. Favorite credits include: The Screwtape Letters (Passage Theatre), Parade,
Charlotte’s Web (Arden Theatre Co.), My Dinner With Dito (Bearded
Ladies Cabaret), The Liar (Lantern Theater), Around the World in 80
Days, Love Story, The Ugly One (Walnut St. Theatre), Pumpgirl (Inis Nua
Theatre), John & Jen (Act II Playhouse), and Untitled Project #213 (Philadelphia Fringe Festival). Special thanks to Blanka, Paula, Walter, Pat, and everyone at the Wilma. Humbly dedicated to all who have served.
is thrilled to be making her Wilma debut! Hannah has worked locally with Shakespeare in Clark Park,
InterAct Theatre, InVersion Theatre, and People’s Light and Theatre. She has also performed with City Theatre Company, FullStop Collective, the
Communal Spaces Project, and the National Playwrights Conference.
Hannah graduated from Vassar College with a BA in English and studied at the National Theater Institute. Many thanks to Blanka, Paula, and this stellar team. Next up: the Wilma’s The Real Thing. For Dad, always.
is extremely grateful to be collaborating with such an incredible group of artists. Many thanks to the whole Wilma family for welcoming him back, Blanka and Paula for this wonderful opportunity, his family for their support, and of course all the troops and veterans for their service.
is ecstatic to be back at the
Wilma after appearing as Darrel in Under the Whaleback last year. Brian is a native of Salt Lake City and a graduate of Swarthmore College, where he studied Chemistry, Chinese, and Theater. Locally he has worked with
1812 Productions, The Philadelphia Artists’ Collective, Azuka Theatre,
Applied Mechanics, and others. He is a founding member of Murmuration Theater, and a keyboardist for ComedySportz Philadelphia.
Enormous gratitude to Blanka, Paula, Jean-René, and this unbelievable cast. Next up: The Real Thing here at the Wilma, then Henry IV with
Shakespeare in Clark Park.
is thrilled to return to the
Wilma after appearing in Macbeth, Jesus Hopped the A Train, and Resurrection Blues. Recent credits include North of the Boulevard, Othello,
Superior Donuts, Blue Door, and Treasure Island (Off-Broadway). Mr.
Smiling has performed at The Shakespeare Theatre of NJ, Milwaukee
Rep, Theatre Exile, Walnut Street Theatre, People’s Light and Theatre
Co., Pittsburgh Public, Two River Theatre, Victory Gardens, ACT, Dorset
Theater Festival, Human Race Theatre, Pennsylvania Shakespeare
Festival, Mixed Blood Theater, Bristol Riverside Theatre, Brave New
World Rep, Ensemble Studio Theater, and Shakespeare on the Sound. He earned an MFA from
Temple University in 2003.
is thrilled to be designing his eighth show at the Wilma. Recent Off-Broadway work includes Good Person of Szechwan at the Public
Theater, The Tempest for the Public Theater at the Delacaorte, and As You Like It for the Acting Company at The New Victory and Lincoln Center. Regionally, Matt has designed for The
Guthrie Theater, Huntington Theatre Company, Berkeley Rep, Actor’s Theatre of Louisville,
Children’s Theatre Company in Minneapolis, Yale Rep, Arden Theatre Company, Pig Iron Theatre Company, People’s Light and Theatre, Theatre Exile, Walnut Street Theatre, Philadelphia
Theatre Company, and here at the Wilma. Mr. Saunders holds an MFA from the Yale School of Drama, is the Associate Artistic Director of New Paradise Laboratories, and the Assistant
Professor of Design at Swarthmore College.
For the Wilma: Assistance, Body
Awareness, In the Next Room, Coming Home, Scorched, and Becky Shaw. In the area: Arden,
Delaware Theatre Company, People’s Light, Azuka, Theatre Exile, Curtis Opera, New Paradise
Laboratories, Headlong, Lantern, 1812, and Flashpoint Theatre Company, where he is also
Artistic Director. Other credits: CenterStage, Syracuse Stage, Milwaukee Rep, Shakespeare
Theatre, Theatre J, Berkshire Theatre Festival, Williamstown, Signature Theatre Company,
Folger Theatre, Cleveland Playhouse, Roundhouse Theatre, Cincinnati Playhouse, Hangar,
York Theatre, Lincoln Center Festival, Summer Play Festival, 37 ARTS, Spoleto Festival USA,
City Theatre, Virginia Stage, Pittsburgh Public Theatre, and Yale Rep. Awards: 2011 and 2012
Barrymore Awards (14 nominations), 3 Helen Hayes nominations, 2007 AUDELCO award.
Education: Carnegie Mellon and Yale.
Recipient of the Kahn Career
Award for Exceptional Talent, Ms. Zivanic’s credentials include Leaving by Václav Havel (The
Wilma Theater), The Daughters of the Mood (Edinburgh Festival), Cosi Fan Tutte (Huntington
Theatre), Venus, Necessary Targets, Godspell, La Lorona (The Beckett Theatre, NYC), and The
Magic Flute; fabric painter for leading New York studio Parson Meares on Broadway including
The Lion King, Wicked, Spamalot, Dracula, and Disney’s Finding Nemo, Monsters, Inc., and
Aladdin. In addition to costume design, Ms. Zivanic works as a fashion designer and illustrator for various clients in the US and Europe. She is Professor at Parsons and FIT in NYC. Some of her work is published in The Big Book of Contemporary Illustration by M. Dawber and
Fashion Drawing by M. Bryant.
is a freelance sound designer, composer, and musical director in Philadelphia. At the Wilma, Daniel previously designed sound for Under The Whaleback and Macbeth, and served as composer and musical director for Our Class. Recent designs include Arden, Live Arts, Walnut, Peoples Light, Annenberg
Center, Kimmel Center, PlayPenn, Azuka, Lantern, Theatre Exile, others. Daniel is the resident sound designer for the Bearded Ladies Cabaret. In 2012, Daniel’s collaboration with Christopher Colucci won the Barrymore Award for best sound design. He has been nominated for additional Barrymore Awards in multiple categories. As a 2013 Independence Foundation Fellow, Daniel is reinforcing his work in sound and music with an 18 month study in the visual arts. Education: B.S. Engineering, B.A. Music, Swarthmore College. In memory of Dad.
Samples at www.danielperelstein.com.
David’s credits as Hair and Makeup Designer include: Good Person of Szechwan and The Tempest: The Public,
Little Miss Sunshine and My Name is Asher Lev: Off-Broadway, Guys and Dolls: Great Lakes
Theater Festival, Rich Girl: George Street Playhouse, Central City Opera Summer 2012 and
2013, Classic Stage Company, Orchid, Santa Fe Opera, Goodman, Steppenwolf, Dallas Theater
Center, Wilma, Utah Shakespearian Festival, Barrington Stage, North Shore Music Theatre,
Chitty Chitty Bang Bang (1st National Tour), and The Chautauqua Institute. Wig Construction
(Broadway and the National Tours): Wicked, Motown, Memphis, The Miracle Worker, Jersey
Boys, Guys and Dolls, Xanadu, Spamalot, Jekyll and Hyde, and Cirque Du Soleil. Thank you
Zevie for all your support and love.

is a French-born director, actor, and voice teacher. He is the creator of a distinct school of vocal training for performing artists and therapists – a technique he has dubbed Stemwerk in Dutch – and is the founder and head of a training center in Rotterdam in the Netherlands and in Avanos-Cappadocie in Turkey. He has been professionally active in theater since 1973, and has worked with major theatrical companies and artists such as the Living Theatre, the Roy Hart Theatre, Robert Wilson, and the
Polish Laboratory Theatre. His vocal theory and technique are inspired by the work of Antonin
Artaud, Jerzy Grotowski, and Roy Hart, which are all defining figures in contemporary theater and, in the cases of Grotowski and Hart, of voice technique. Toussaint has traveled through parts of Asia and India, studying diverse ancient vocal practices, from Afghan Sufi to Mongolian, Tibetan, and Japanese vocal traditions.
is happy to return to The
Wilma Theater. He has choreographed over 16 productions on this stage including The Convert and Angels in America. Recently, he worked with Luna Theater (The Pillowman), Theater
Exile ( North Plan, Behanding in Spokane), InterAct (Assassin, Some Other Kind of Person), the last 6 seasons with The Philadelphia Shakespeare Theatre, Tribe of Fools ( Antihero, Heavy
Metal), and others. He has taught and choreographed productions at local universities including his alma mater Temple University, Arcadia University, DeSales, Swarthmore College,
Lehigh University, and Lasalle. He would like to thank Blanka for the opportunity, the actors for all their hard work, and of course, Natalie for her love and support.
is honored to have been involved in the development of Don Juan Comes Home from Iraq for the past three years. Walter has worked as a dramaturg for three decades at regional theaters across the country and on Broadway; he has also been a theater educator, director, playwright, and movement artist at points in his career. His essay on the Naomi Wallace Festival in Atlanta appears in the new book, The Theatre of Naomi Wallace: Embodied Dialogues. He is grateful to all the veterans, their spouses, and advocates who have given their time to help us in the attempt to get the story right.
has been the
Production Stage Manager at the Wilma since the theater made its new home on the Avenue of the Arts in 1996. She has captained all but three productions in her tenure here and is very happy and proud to be a part of the Philadelphia theater community. “Pat” is celebrating season #18 at the fabulous Wilma! Prior to her coming home to Philly, Pat was stage manager at the Tony Award- winning Crossroads Theatre in New Brunswick, NJ. In past years, Pat has worked the National Black Arts Festival in Atlanta, GA and the National Black Theater Festival in Winston-Salem, NC. When not at the Wilma, she has found herself traveling the world with critically-acclaimed dance company Noche Flamenca! Most recently, she is using all her free time to spoil her grandsons, Isaiah and Elijah. God Is Good!
is in his third year as Production Manager after serving the Wilma as Technical Director for the previous seven years.
Clayton started his professional career as an Apprentice at the Arden Theatre, and then worked there for several years as Stage Supervisor. Before coming to the Wilma, he worked as a freelance Technical Director or Production Manager for 1812 Productions, Mum Puppettheatre, Lantern Theater, and Azuka Theatre. Clayton is a graduate of the Theater Arts program at
The University of Puget Sound. He is proud to make Philadelphia his professional and artistic home. Thanks and love to his sweet Kate, Alex the rascal, and our new child whose name we will know before you read this.
joined the staff of The Wilma Theater as Managing Director in 2006. He began his work in theater administration at Circle Repertory Company and went on to work with a number of theaters in New York and Seattle. Upon moving to Philadelphia, James worked as Managing Director of InterAct Theatre
Company and then Executive Director of the Theatre Alliance of Greater
Philadelphia before coming to the Wilma. Also an actor and director,
James holds an MFA from the University of Washington and a BA from
The College of Wooster (Ohio), where he currently serves as President of his alumni class and as a member of the Alumni Board. James is honored to serve on Philadelphia Mayor Michael Nutter’s Cultural Advisory Council and Pennsylvania Ballet’s 50th
Anniversary Advisory Council.
The Wilma Theater is grateful for significant support provided by:
The Horace Goldsmith
Foundation
The Wilma Theater’s in-school residency program WILMAGINATION is made possible with the support of
Wyncote Foundation
Student Sunday Evenings
This program is generously underwritten by the Virginia and Harvey
Kimmel Arts Education Fund of the Philadelphia Foundation and provides $10 tickets to students. The Virginia and Harvey Kimmel Family
Campaign to Build the Audiences of Tomorrow provides positive early theater experiences for Philadelphia area students.

ARTISTIC DIRECTOR: Blanka Zizka
MANAGING DIRECTOR: James Haskins
ARTISTIC
Dramaturg/Literary Manager - Walter Bilderback
Artistic Assistant - Nell Bang-Jensen
Literary Interns - Sophie Peyton & Kate Herzlin
EDUCATION
Education Director - Anne K. Holmes
Education Assistant - Lizzy Pecora
Teaching Artists - Kate Czajkowski, Mike Dees,
Elizabeth Filios, Katharine Clark Gray, Liz
Greene, John Jarboe, Brian Ratcliffe, Ed Swidey,
Tasha Milkman
MARKETING
Marketing Director - Aaron Immediato
Community Relations Manager - Sara Madden
Group Sales Manager - Alexa Smith
DEVELOPMENT
Development Director - Iain Campbell
Grants Manager - Justin Bauer
Development Assistant - Debby Lau
Development Intern - Miljenka Sakic
FRONT OF HOUSE
Box Office Manager - James Specht
Assistant Box Office Manager - Hilary Asare
Box Office Staff - Arianna Gass, Richard Rubin,
Chelsea Sanz, Alexa Smith
House Manager - Javier Mojica
Sports Therapy Consultant - Steve Hoffman
Assistant Director - Amber Emory
Assistant Stage Manager - Philip J. Vonada
Assistant Set Designer - Colin McIlvaine
Assistant Lighting Designer - Joseph Glodeck
Assistant Sound Designer - Patrick Lamborn
Vocalist - Liz Filios
Properties Master - Kimitha Anne Cashin
Light Board Programmer & Operator -
Ashley W. Mills
Assistant Master Electrician - Nicole Rolo
Sound & Video Operator - Zachary Beattie-Brown
Costume Supervisor - Regina Rizzo
Dressers - Alyssa Cole, Anya Loverdi
BUSINESS
General Manager - Maggie Arbogast
Office Manager - Andrea Sotzing
Marketing & Administrative Assistant -
Megan O’Donnell
Tessitura Application Systems Analyst -
Catherine Lachance-Duffy
Tessitura Services & Support Specialist -
Stephen Dombkoski
Tessitura Training & Support Specialist -
Andy Wertner
PRODUCTION
Production Manager - Clayton Tejada
Assistant Production Manager/Master Electrician -
Ashley W. Mills
Technical Director - Ethan M. Mimm
Resident Stage Manager - Patreshettarlini Adams
Facilities Manager - Kenneth Deprez
Sound Engineer - Zachary Beattie-Brown
Costume Supervisor - Regina Rizzo
Production Fellow - Tessa Young
Stage Management Fellow - Philip J. Vonada
Custodian - Fetteroff F. Colen
SERVICES
Catering - Chef’s Table
Technology Services - Liberty Technology Solutions
Auditors - Horty & Horty, P.A.
Insurance Brokers - Gallagher Benefits Services,
SKCG Group, Inc.
Running Crew - Elliot Greer, Ben Henry, Alison
Levy, Tessa Young
Carpenters - Alyssa Cole, Elliot Greer, Ben Henry,
Lance Kniskern, Melanie Leeds, Alison Levy,
Georgia Schlessman, Matthew Zumbo
Rigger - Terry Smith
Electricians - Ali Blair Barwick, Michael Hamlet,
Catherine Lee, Nate Morgan, Nicole Rolo, Rachel
Sampley, Georgia Schlessman
Sound Technicians - John Koblinski, Brad Pouliot
Draper - Colin Jones
Stitchers - Alyssa Cole, Anya Loverdi
Scenery Construction - American Repertory
Theater Scene Shop
The Kimmel Center, Jay Wahl, University of the Arts, Joanna Settle, Janet Embree, Troy Martin-O’Shia
The Wilma Theater
265 South Broad Street
Philadelphia, PA 19107
Box Office: 215-546-7824
Admin: 215-893-9456
Fax: 215-893-0895
Email: tickets@wilmatheater.org
www.wilmatheater.org
August 4 - 15

Here is an excerpt of their conversation about meeting and working with veterans:
Blanka Zizka: I was very worried at first, because I felt I was so disconnected from what they went through. Only one percent of our population has gone to war – they are carrying the burden – they come back and it often seems that nobody here gives a damn. So my first fear was that I was so isolated from their experience that there would be no bridge between us - my experience, and theirs. What was kind of amazing in the writing workshops is that through the work we were all able to write about our own little dramas and I realized, “Oh my God, my life is also filled with discontinuity.” And in a different way, veterans’ lives were also about leaving one place and going to another place where the normal becomes abnormal and abnormal becomes normal.
Paula Vogel: It’s been profoundly moving. But it brings me back to something else which I often say that I feel as a writer. I will only understand a tiny smidgen of experience. I’m a civilian. I can’t represent it. But the fact that I want to understand it is my primary charge. So there are two things always that I say. One is, “I’m sorry because I will always get it wrong.” And the second thing is to say, “I’m sorry, and thank you.” Because I’m thinking about all of the time that these veterans have given us – to go back and revisit their experiences with us is incredibly generous.
photo by Dan Winters
Don Juan Comes Home From Iraq is the result of two years of development, beginning with a conversation between Paula Vogel and Blanka Zizka during a playwriting “boot camp” led by Ms. Vogel in January 2011, where they discovered a mutual love of the Weimar Era playwright Ödön von Horvath.
The conversation continued when Ms. Vogel spoke on the Wilma stage with her protégée Sarah Ruhl during the run of In the Next Room. This led to a decision, months later, to write a new play inspired by Horvath’s Don Juan
Comes Home From the War. What followed was a process very unusual in the American theater: months of conversations between the artistic collaborators expanded to include encounters with veterans of Iraq and
Afghanistan in interviews and playwriting workshops led by Ms. Vogel in
Philadelphia, DC, and New York; the play was cast nearly a year ago, at a point when only a few pages of text existed, and the full script grew out of work with the actors in two workshops. During the December workshop,
Paula and Blanka sat down for a conversation about the project. The full transcript is available on the Wilma’s Don Juan blog at wilmatheater.org.
photo by Luis Sinco, Los Angeles Times

Trying to capture even a small fragment of the experience of deploying and returning from Iraq and Afghanistan is a daunting task. On the one hand, much of the experience of combat and its aftermath has not changed since the beginning of recorded history: the experiences of Achilles, Ajax,
Odysseus, and Penelope continue to speak to contemporary warriors and their families. On the other hand, as veterans stressed to us in our earliest interviews, every veteran’s story is different. The range of experiences is well-documented: the wars of the last 13 years have produced a number of first-rate memoirs and reportage, as well as some very good poems, fiction, and yes, plays (both by veterans and civilians).
As David Finkel writes in his recent book Thank You For Your Service, the men and women who fought have become soldiers, Marines, and sailors for a wide range of reasons: “because they were patriotic or starry-eyed or heartbroken or maybe just out of work.” They are male, female, transgendered; straight, gay; high school dropouts and holders of graduate degrees. They come from all ethnicities and the full spectrum of political belief. Their experience returning has had similar diversity. Finkel points out that “two million Americans were sent to fight in Iraq and Afghanistan.
Home now, most of them describe themselves as physically and mentally healthy. They move forward. Their war recedes. Some are even stronger for the experience.” Many veterans see themselves as part of a new “greatest generation,” and our limited experience has connected us to young people whose devotion to service and community is genuinely awe-inspiring.
“But then,” as Finkel writes, “there are the others, for whom the war endures.
Of the two million, studies suggest that 20-30 percent have come home with post-traumatic stress disorder – PTSD – a mental health condition triggered by some type of terror, or traumatic brain injury – TBI – which occurs when the brain is jolted so violently that it collides with the inside of the skull and causes psychological damage. Depression, anxiety, nightmares, memory problems, personality changes, suicidal thoughts: every war has its afterwar, and so it is with the wars of Iraq and Afghanistan, which have created photo courtesy of McClatchy-Tribune some 500,000 mentally wounded American veterans.” Anthropologist
Kenneth MacLeish notes that “war persists in the lives, bodies, and social worlds it has touched . . . . sitting with you at home in your living room or bed, in the touch of a familiar person, in your bones and muscles and brain, in your feelings and dreams.”
Like combat, the phenomenon now called PTSD has been around as long as war has. The psychologist Jonathan Shay, whose books Achilles in Vietnam and Odysseus in America are classics on the subject, has hypothesized that a function of Athenian tragedy was a form of public therapy. It’s gone by many names – soldier’s heart, shell shock, battle fatigue, PTSD (or PTS, for some, including former President George W. Bush, who object to the stigma of
“Disorder”). The documentary Wartorn, produced by the late James
Gandolfini, shows some of the devastation of PTSD. Many veterans with
PTSD/TBI manage their invisible wounds, but the Veterans Administration continues to deal with a large backlog of cases. David Finkel captures a worst-case scenario in the description of Adam, a sergeant who was broken by his own acts of heroism: “Once, long ago, just back from the war and trying to figure out what had happened to him, Adam had said, ‘I was a normal guy who got sent to Iraq and became crazy, so they sent me to America to become sane, and now it’s America that’s driving me crazy.’ ”

photo by Russell Boyce, Agence France Presse
Something else made this war different for Americans: women in combat.
This became clear within days of the invasion of Iraq, on March 23, 2003, when a unit of the 507th Maintenance Company made a wrong turn near
Nasiriyeh and was ambushed. Americans became familiar with Jessica
Lynch, who was wounded and captured in the ambush. Less media attention was paid to Shoshana Johnson, Lynch’s Panamanian-born comrade who was also captured (and later released), or to Lori Piestewa, a Hopi soldier who tried to drive her Humvee (in which Lynch was a passenger) to safety and became the first female service member killed in Iraq.
Between 2001 and 2013, 300,000 female service members were deployed to
Iraq and Afghanistan: 11% of US forces. More than 130 women have died in the two conflicts and more than 800 have been wounded. Two have received the Silver Star, the third-highest medal for valor. As the website of Iraq and
Afghanistan veterans of America explains, “Although excluded from official ‘combat roles,’ there is no clear front line in the current conflicts.
Many female troops in Iraq and Afghanistan have been exposed to direct fire while serving in support roles...Even those who don’t travel outside the security perimeter of a military base are constantly threatened by mortars and rockets. As one female veteran put it, ‘Life in Iraq and Afghanistan is combat.’”
Compounding this is a perception on the part of many civilians that women
“don’t serve.” Stories from female veterans of being ignored or assumed to be a girlfriend, sometimes while male soldiers who haven’t deployed are being bought drinks for their “service,” are common.
An additional challenge of the current war is that in many regions of Iraq and
Afghanistan, cultural traditions prohibit men from touching or searching local women. As a result, female service members have frequently been
“attached” to combat teams, despite being officially banned from combat.
Now called Female Engagement Teams (FET), the first women attached to combat teams were called Team Lioness, members of which came under fire in Ramadi in April 2004. Their experiences, documented in the 2008 documentary, Lioness, were an inspiration for the female soldiers in Don
Juan Comes Home from Iraq. In 2012, there were more than 40 FETs in
Afghanistan, often consisting of a handful of women attached to combat bases with 150 to 200 men.
Rape has always accompanied war; it has often been treated as policy toward defeated populations. Now, it is also a problem within the ranks. As the number of women in the armed forces has increased, more attention has been paid to rape and sexual assault (under the term Military Sexual
Trauma). The documentary film The Invisible War highlights the problem.
According to the film’s website, “more than 95,000 service members [female and male] have been sexually assaulted in the U. S. military” with less than 5% of those assaults prosecuted and less than 2% resulting in imprisonment. In most cases the alleged perpetrator is superior in rank to the victim (often in a command situation) and under current regulations all investigations have to flow up the regular chain of command. Department of Defense (DoD) estimates that 20% of all active-duty female soldiers are victims of sexual assault; the estimates are higher for women in combat zones. In a November 2013 article in The New York Times,
DoD reported a 50% increase in sexual assault complaints from October 2012 to June 2013, and officials said “the numbers had continued to rise.”
-Walter Bilderback

The Experience of War:
The Good Soldiers, David Finkel
What It Is Like to Go to War, Karl Marlantes
PTSD:
Thank You For Your Service, David Finkel
Odysseus in America, Jonathan Shay
Women in Combat and After:
The Lonely Soldier, Helen Benedict
The Girls Come Marching Home, Kirsten
Holmstedt
Love My Rifle More Than You, Kayla Williams
Fiction:
Sand Queen, Helen Benedict
Billy Lynn’s Long Half Time Walk, Ben
Fountain
Fire and Forget, Edited by Matt Gallagher and
Roy Scranton
The Yellow Birds, Kevin Powers
Poetry:
Phantom Noise, Brian Turner
After Action Review, Warrior Writers
Further Viewing:
Wartorn, Jon Alpert, Ellen Goosenberg Kent,
and Matthew O’Neill (2010)
Hell And Back Again, Danfung Dennis (2011)
The Invisible War, Kirby Dick (2012)
Lioness, Meg McLagan and Daria Sommers
(2008)
Veterans, Spouses & Supporters:
Kevin Basl
Eric Began
Dan Berschinski
Alex Buffington
Jacqueline Miller Byrd
Lovella Calica and Warrior Writers
Ron Capps and the Veterans Writing Group,
George Washington University
Madison Cario
Justin and Dahlia Constantine
Alecc Costanzi
Maurice Decaul
Jack Eubanks
Ray and Naomi Facundo
Cassondra Flanagan
Fred Foote
Thomas Gibbons-Neff
Nicole Goodwin
Jason Gunn
Kate Hoit
Jennifer Hunt
Mariette Kalinowski
Jim Mathews
Judith Britt McNeely
Rod Merkley
Kate Otto & Service Women’s Action Network
Jenny Pacanowski
Bryon Reiger
Susanne Rossignol
Sal Ruibal
KJ Sanchez
Steve Scuba
Sr. Mary Scullion & Jeanne Ciocca, Project
Home
Jacob Siegel
Renee Smith, Veterans’ Center, Philadelphia
Dr. Andrew Stone
Clayton Swansen
Lawrence Thompson
Michael Toner
Gala True
Kayla Williams
Actors in workshops leading to
Don Juan Comes Home from Iraq:
Krista Apple
Mary Lee Bednarek
Carla Belver
Ross Beschler
David Blatt
Jake Blouch
Keith Conallen
Kate Czajkowski
Aubrey Deeker
Maia De Santi
Melanye Finister
Yvette Ganier
Sarah Gliko
Hannah Gold
Dan Hodge
Aime Donna Kelly
Brian Klinger
Karen Peakes
Brian Ratcliffe
Danielle Skraastad
Catherine Slusar
Lindsay Smiling
Cindy Spitko
Ed Swidey
Mary Tuomanen
The following individuals and institutions provided space for writing workshops with veterans:
Emily Cronin & John B. Hurford ’60 Center for
the Arts & Humanities, Haverford College
Allen Kuharski & Swarthmore Project in
Theater, Swarthmore College
Sunil Freeman & The Writers Center,
Bethesda, MD
Other:
Benjamin Cromie
Robert Drury
Murray Dubin
Bob Gollwitzer, EB Realty Management
Corporation, Inc.
Mickey Herr
Lorna Howley
Mike Ladd
Walter Licht
Patricia MacGregor
Christopher Morris
Janice Paran
Steve Silver
Will Steinberger
Jean-René Toussaint
Arts and culture organizations have an impact of more than $1 billion on our local economy. Through PECO-sponsored programs we help people of all ages and backgrounds enjoy and experience the arts throughout our region.
PECO is pleased to support The Wilma Theater and the production of Don Juan Comes Home from Iraq.
Find out more at www.peco.com/community
© PECO Energy Company, 2014

A Special Note to Our Donors
This list acknowledges all donations of $150 or above from December 15, 2012
– February 15, 2014. If you have been omitted or misprinted, please accept our apologies. If you have any questions about your support, wish to join the
Wilma as a contributor, or wish to notify us of changes to this list, please contact Iain Campbell, Development Director, at 215-893-9456 x109.
FOUNDATION, GOVERNMENT &
CORPORATE DONORS
Anonymous
Arronson Foundation
The Barra Foundation
The Corinne and Henry Bower
Memorial Trust of the PNC
Charitable Trusts
The Louis N. Cassett Foundation
Charlotte Cushman Foundation
The CHG Charitable Trust
Cooke & Bieler
Cozen O’Connor
The Dolfinger-McMahon Foundation
DoubleTree by Hilton, Philadelphia
Center City
Drexel University
Ernst & Young
Friends of the Wissahickon
The Hamilton Family Foundation
The Honickman Foundation
Garfield Refining Company
The Linda and David Glickstein Fund
of the Philadelphia Foundation
The Horace W. Goldsmith Foundation
Independence Foundation
Virginia and Harvey Kimmel Arts
Education Fund of The Philadelphia
Foundation
Legg Mason Investment Counsel
Lincoln Financial Foundation
Christian R. and Mary F. Lindback
Foundation
Lobro Associates
Walter J. Miller Trust
Miller-Worley Foundation
Opera Philadelphia
PECO
The William Penn Foundation
Penn Museum Docents
Pennsylvania Council on the Arts, a
state agency
The Pew Charitable Trusts
The Pew Center for Arts & Heritage
The Philadelphia Cultural Fund
Reinhold Residential
Ross Family Fund
The Sam and Charles Foundation
The Caroline J. Sanders Trust #2
The Shubert Foundation, Inc.
Ethel Sergeant Clark Smith Memorial
Fund
The Sporting Club at the Bellevue,
the preferred fitness center of The
Wilma Theater
The TJX Foundation
United Way of Greater Philadelphia
and Southern New Jersey
Wells Fargo Foundation
Wyncote Foundation
The Zeldin Family Foundation
INDIVIDUAL DONORS
The Premiere Circle is a group of our community’s leaders who demonstrate their love of living, adventurous art through their gifts of $1,000 or more. The benefits of the Premiere Circle are designed to bring members closer to the artists whose work they make possible. For more information, please contact Iain
Campbell, Development Director at
215-893-9456 x109. A plus sign(+) denotes five year consecutive donors.
$5,000 and above
Dennis Alter
Valerie A. Arkoosh and Jeffrey T.
Harbison+
The Estate of Stanley D. Baurys
Daniel Berger, Esq.+
Sheldon and Jill Bonovitz
Lois G. Brodsky
Mark and Tobey Dichter+
Kathryn Doyle and Maureen
Alexander
Michael J. Finney+
Linda and David Glickstein+
Carole Haas Gravagno and Emilio
Gravagno
Virginia and Harvey Kimmel+
Mrs. Patricia Kind+
Josephine Klein+
Kenneth Klothen and Eve Biskind
Klothen
Gerry Lenfest
Mr. and Mrs. Robert E. Linck+
Tom Mahoney
John Medveckis
Joseph Neubauer and Jeanette
Lerman-Neubauer
Don and Barbara Parman+
The Suzanne F. Roberts Cultural
Development Fund+
John and Theresa Rollins+
Martha McGeary Snider
Ellen B. Solms+
David and Lisa U’Prichard+
In Memory of Gillian Wakely
Mr. and Mrs. Mark Wennell
Ted and Stevie Wolf+
Stephen and Florence Zeller+
$2,500 to $4,999
Anonymous
Paula and Arjun Bedi
Barbara B. and Theodore R. Aronson
Mr. and Mrs. Granville Crothers
Joseph Dante
Clare D’Agostino, Esq.+
Herman and Helen Fala+
Mr. and Mrs. Matthew I. Garfield
Janice Giannini
Eduardo Glandt+
Jane and Joseph Goldblum
Mr. and Mrs. Richard V. Holmes+
Lewis and Ellen Johnston+
Gay and Donald Kimelman+
Sissie and Herb Lipton+
David E. Loder
James and Eleanor McGillin+
Marlene S. Molinoff
Dianne L. Semingson+
Gillian Wakely
Dr. Robert J. Wallner+
Andy and Sally Williams+
The June and Steve Wolfson Family
Foundation+
Jeanne Wrobleski, Esq.+
$1000 to $2,499
Anonymous
Barbara and Todd Albert
David W. Anstice
Peter Arger+
Carol Baker and Mark Stein+
Ms. Susan Basile+
Peter Benoliel and Willo Carey+
Louis Bluver+
Amy Branch and Jeff Benoliel
Ira Brind and Stacey Spector
Jacqueline Bodin
Penny and Bob Fox
Elizabeth H. Gemmill, Esq.
Jane and Joseph Goldblum
Naomi Grabel and Neil Kutner
James Haskins and Michael
Whistler+
Dortha Haskins
Nancy and Al Hirsig+
Robert and Sally Huxley+
Charisse Lillie
Megan and Lou Minella+
Edward J. and Regina I. Mitchell
Quan A. Nguyen and Jessica Lynn
Geyer
Noah and Annette Osnos
Annette and Chuck Pennoni
Mark E. Rubenstein
Allen C. Sabinson
Vesna and Howard Sacks
Dr. Patrica Saddier
Dr. and Mrs. Nathan Schnall
Brian Seaman and Jeffrey Kummer
Mr. Louis Seitchik and Ms. Kanani
Titchen
Mari and Peter Shaw
Fred P. Slack and Patricia Henriques+
Dr. William Sigmund and Mr. Vito
Izzo
David and Gayle Smith
Mr. and Mrs. Jeffrey M. Sparling
Ms. Evelyn G. Spritz+
Kathleen Stephenson, Esq.+
Barbara Yaseen Tiffany Fund of the
Philadelphia Foundation
John and Joan Thalheimer
Charles and Melissa Thorne+
Constance H. Williams
Blanka Zizka+
The Annual Fund are donors who are essential to the continuation of the Wilma’s work and mission. We rely on the support of these members of the community who support bold, original, well-crafted productions.
A plus sign(+) denotes five year consecutive donors.
$750 to $999
Ms. Marilyn Benshetler+
William Hanson
Elizabeth Higginbotham+
David Lerman and Shelley Wallock+
Mr. Jerome Napson+, in memory of
Annie Richardson
Antoinette Fauar Seymour+
Sallie and James Warden+
$500 to $749
Anonymous+
Charles Arnao and Rosemary Watt
Gene Bishop and Andrew Stone+
Al and Marilyn Blatter
Ruth E. Brown
Carole and Bruce Caswell+
Robert M. Dever
David Dye and Karen Heller
John Erickson and Harry Zaleznik
Michael and Nancy Evans
Jaimie Field
W. Roderick and Pamela Gagne
Gretchen Hall
Mr. Robert Kirkwood+
Allen J. Kuharski
William Lake Leonard+
Frank and Sally Mallory+
Jason McDonough
Ms. Barbara Oldenhoff+
Elizabeth and Jerome Pontillo+
Mr. Jerry Rojo+
Dr. Patricia Saddier+
Karen Scholnick
Mr. and Mrs. Stuart Taylor+
Barbara Westergaard+
Richard and Dr. Barbara Woods+
Thomas and Jacquelin Zemaitis+
$250 to $499
Anonymous+ (2)
Anonymous
Howard A. Aaronson
Phyllis and Charles Adams+
Dr. William F. Barr
Frank A. Bernard
Dr. Martin Black and Dr. Hester
Sonder
David L. Buchbinder
Barbara and Bruce Byrne
Dr. Ronnie Cimprich
Nona and Darrell Cira
Harriet and Tony Crane+
Dr. John A. Detre and Ms. Wendy
Beetlestone
Dr. Joel K. Edelstein and Ms.
Elizabeth McKinstry+
Robert T. Foley
Dan Gannon
Anne and Michael Greenwald+
Dr. Karen Harkaway and Mr. Michael
Grace
Dr. and Mrs. Murray Grossman
Katherine Hayden and John Houle
Marion V. Heacock+
Jim Heenehan and Carolyn Guss+
Mr. and Mrs. Ralph S. Hirshorn+
Ms. Terry Hirshorn
Joseph Holman
Barbara J. Kaplan
Mr. Ross Kardon+
Mr. and Mrs. Robert H. Lee, Jr.
Eva and Michael Leeds+
Will and Sandra Lock+
Mr. William A. Loeb+
Ann T. Loftus, Esq. and Eileen M.
Talone
Christine Lussier and Robert Hamill
Peter Manus and Susan Schiro
Kimberlee Marino
Julie Mayer and Barry Jacobs
Joseph and Ilene McCaffrey+
Jane Nelson
Dean and Zoe Pappas
Ruth Perlmutter
Dr. and Mrs. Joel Porter+
Bill and Mary Jo Potter
David and Susan Rattner
Ms. Mary Jo Reilly
Dr. and Mrs. Wolfram Rieger+
Milt and Judy Riseman
Barbara and Dan Rottenberg
Gordon and Karen Rose+
Andrew Sacksteder and Colleen
Murphy
Mr. John F. Sanford+
Mr. and Mrs. William Schwarze
Gerald and Linda Senker+
Christopher Serata
Mr. Samuel J. Serata, Esq.+
Christine J. Shamborsky+
Gretchen Snethen
Jonathon and Judith Stein+
Pat and Elaine Sweeney+
Eileen Talanian
The Toner Family
Hella and Lewis Volgenau+
Sandra and Joseph Weicher
Bob Weinberg and Eleanor Wilner+
Susan West
Wendy, Larry, and Miriam White+
Ms. Wendy E. Wilson and Mr. Bruce
McKittrick+
Harry and Mary Ann Woodcock+
F. Gordon Yasinow
Thomas and Jacquelin Zemaitis+
Askold Zagars and Marie Feehan
$150 to $249
Anonymous+ (3)
Anonymous (4)
Ann and Reid Addis
James and Sandra Andrew
Dr. Donald Bakove and Maragert G.
McLaughlin
Richard Banyard
John and Julie Bartlett
Ms. Catherine Beath
Julie and Henry Berkowitz
Torsten and Katrin Bernewitz
Ms. Sandra M. Berwind
Ann and Tom Blackburn+
Dr. and Mrs. Benjamin Blank+
Allen Bonner
Mr. Michael Boyle+
Dede and Tony Brown, in honor of
Flo Zeller
Ann and David Brownlee
Ms. Carol Buettger
Katie, Iain, and Malcolm Campbell
Pearl Carpel
Mr. Frank Cebula
Mr. and Mrs. Nick Cernansky+
Mr. and Mrs. Scott Childress+
Mr. and Mrs. Blaise H. Coco, Jr.
James D. Crawford and Judith N. Dean
Mr. Paul Curci and Ms. Liza Herzog
Angela and Jason Duckworth
Jane and Steve Heumann
Mr. Daniel C. Drecksage and Ms.
Leslie Sudock
Jay Federman and Sylvia Beck
Gilbert Feinberg and Nadeen Van
Tuyle
Elizabeth Fillo and Christopher
Coucill
Peter and Pamela Freyd+
Galilea Family
Dr. Charles Gear
Andrew Gelber
Anne and John Gerbner
Deborah E. Glass
Philip K. and Karen S. Glick+
Dr. and Mrs. Stephen Gluckman
Ms. Roseanne and B. David Grant
Susan V. Greene and Kathleen
Sheridan+
Bill and Helen Groft
Ira and Jane Grushow
Mr. and Mrs. Guercio
Maureen Hall
Stephen D. D. Hamilton
Libby S. Harwitz and Dr. Burton
Blender+
Ms. Birgitte Haselgrove
Kathy Hopkins and Connie Lloyd
Michael J. Hozik and Margaret L. Rea
William Hunt and Dale Cranmer
Marjorie E. Johnson and Edward J.
Hochreiter+
Linda Jones+
Ian Kirschemann
Scott Kushner+
Charles and Lucinda Landreth+
Daniel T. Lee
Eric and Diane Leichter
Mrs. Kathryn Lemmon
Lynn and Douglas Lessie
Dr. and Ms. Rafael Levites
Mr. and Mrs. Howard H. Lewis
Greg and Cyndi Line
Brett and Lori Linson
Richard and Sandra Malkin

Mr. and Mrs. Joseph Manko
Fran Martin
Ms. Joanne Meyers
Mr. and Ms. David Miller+
Muriel Moore
Joyce and John Munro
Sue and Steve Munzer
Paul Neuwirth and Delaney
Larry F. Pace
Dr. Alan B. Palmer
Milton and Ruth Parnes+
In Memory of Michael Perelstein
Michael and Pauline Phillips
Marcelle Pick+
Claudia Pine Simon+
Kurt and Mary-Ann Reiss
Barbara and Tony Rooklin+
Dr. Joel and Joan Rosenbloom
Mr. and Ms. Leon Rozinsky+
Ms. Nora Salzman
G. Craig Schelter
Toni Sciallo
Tom and Elinor Seaman+
Christopher Serata
Paul and Nancy Shallers
Sharon and Irv Shapiro+
Daniel Sharfman
Parvin and Jean Sharpless
Robert and Susan Simon
Robert and Barbara Solly
Miriam and Arthur Spector
Howard Spodek
Bruce and Christina Tarkoff+
Mr. and Ms. Harold S. Torrance
Annis Lee Townsend
John and Terry Trudeau
Monica Vachher and Jerry Selitto
Clifford Wagner and Ann Mintz
Andrea and David Wasser
Ellen Weisberg
Arnold Weiss+
Drs. James and Janette Wheeler+
Barrie and Eugene Zenone
Peter Zutter and Tom Murphy+
MATCHING GIFT DONORS
ACE INA Foundation
Ally Easy Match
ExxonMobil Foundation
FMC Corporation
GlaxoSmithKline Foundation
IBM Matching Gifts
Johnson & Johnson Family of
Companies
Merck Partnership for Giving
Moody’s Foundation
Norfolk Southern Foundation
The Pew Charitable Trusts Matching
Gift Program
PNC Foundation
ProQuest
Prudential Foundation Matching
Gifts
Tripos International
UBS Employee Giving Program
Verizon Foundation
OPENING NIGHT DONORS
Barefoot Wine
Cabot Creamery
Duel Piano Bar
Victorian Savories Bakery
Yards Brewing Company
IN-KIND DONORS
BalletX
Barefoot Wine
Cozen O’Connor
David and Lisa U’Prichard
DoubleTree by Hilton, Philadelphia
Center City
Good Dog Bar
Hatboro Beverages
Independence Seaport Museum
J. Sima Salon
Jay Michael Salon and Spa
Jewish Exponent
Kimmel Center, Inc.
Kramer Protraits
La Famiglia
Le Bec Fin
Long Wharf Theatre
Manhattan Theatre Club
Mann Center For The Performing
Arts
Marathon Grill
Marlene Molinoff
Mercato Restaurant
Morgan Lewis & Bockius, LLP
Nancy Evans
Neiman Marcus
Philadelphia 76ers
Philadelphia Center City
Philadelphia Film Society
Philadelphia Phillies
Philly Power Yoga & Thrive Pilates
Ristorante La Buca
Rittenhouse Needlepoint
Roundabout Theatre Company
Russet
Ruth’s Chris Steak House salon @ 5th
Serafina Restaurant
Sprout
Studio 1831
The Capital Grille
The Chamber Orchestra of
Philadelphia
The Rock School for Dance
Education
The Sporting Club at the Bellevue,
the preferred fitness center of The
Wilma Theater
Tiramisu Restaurant
TITAN Outdoor, LLC
TRIA
Valanni Social
Walnut Street Theatre
Water Works Restaurant
Officers
David U’Prichard, PhD,
Chair
David E. Loder,
Vice Chair
Clare D’Agostino, Esq.,
Secretary
Thomas Mahoney,
Treasurer
Chair’s Council
Mark S. Dichter, Esq.
Herman C. Fala, Esq.
Peggy Greenawalt
Jeff Harbison
Lewis H. Johnston
John D. Rollins
A.E. (Ted) Wolf
Board Members
Arjun Bedi
Daniel Berger, Esq.
Kathryn Doyle
Janice Giannini
Linda Glickstein
Jerry Goldberg
Jane Hollingsworth
Kenneth Klothen
Robert E. Linck
Sissie Lipton
James F. McGillin
Reginald J. Middleton
Marlene S. Molinoff
Donald F. Parman
Dianne L. Semingson
Ellen B. Solms
Mark Wennell
Jeanne P. Wrobleski, Esq.
Florence Zeller
Ex-Officio
James Haskins
Blanka Zizka
Emeritus
Harvey Kimmel
Evelyn G. Spritz
Dr. R. J. Wallner
July 9-13
At The Wilma Theater
A World Premiere by mAttheW
NeeNAN
Original music by award-winning
New Zealand composer
Rosie Langabeer
Jul.
Artistic Directors: Christine Co
9-
13
TickeTs
VisiT ≥ Balletx.org
CALL ≥ 215-546-7824
Box office
The Wilma Theater
265 s. Broad st.
Philadelphia
“[Matthew Neenan is] one of today’s foremost dance poets.”
The New York TimeS x & M atthe w N eenan
Philadelphia’s
Premier
Contemporary
Ballet

MOZART
D O N G I O V A N N I
A P R I L 2 5 – M A Y 4 , 2 0 1 4
A C A D E M Y O F M U S I C
A L L H E WA N T E D WA S E V E R Y T H I N G
T I C K E T S O N S A L E N O W
O P E R A P H I L A . O R G | 2 1 5 . 8 9 3 . 1 0 1 8
P E R F O R M E D I N I TA L I A N W I T H E N G L I S H S U P E R T I T L E S
OPERA034_DonGiovanni_Wilma_FNL.indd 1 2/10/14 2:05 PM

Mayannah, a reclusive wealthy young woman, annually invites two strangers to join her feast commemorating the death of her parents, but her purpose remains unclear. All that will change tonight when two damaged souls find their way to her table. If they are able to last till the end of the meal, each will receive $20,000, but of course there is a catch. Taking place in a not-so-distant future, the sounds of war-torn Los Angeles fill the air.; tensions rise, true colors are revealed and the main course is not the only thing with claws.

MAY 21 THRU
JUNE 22, 2014
A Tony® Award-winner for Best Play, THE REAL THING combines Tom
Stoppard’s characteristically brilliant wordplay, wit, and insight, illuminating the nature – and the mystery – of love. Henry is a brilliant and celebrated playwright. With his wife Charlotte in the starring role, his new play examines the complexity of love and infidelity. But when passions ignite and his own marriage becomes entwined with that of Charlotte’s co-star, Henry’s reality and fiction blur. As he struggles to write a new work, the players in this game of deceit and lust are all searching, but can any of them find ‘the real thing’? This will mark the Wilma’s 10th production of Stoppard’s work (ROCK ‘N’ ROLL, THE
INVENTION OF LOVE). “Nobody in Philadelphia does Tom Stoppard better than
The Wilma Theater!” (PHILADELPHIA WEEKLY)