Theatre Speech and Dance

Candide

DESIGN FOR LIVING

MOLIERE
or THE UNION OF HYPOCRITES

STRAIGHT MAN

UBU ROI

CANDIDE

OUR TOWN

SPRING DANCE CONCERT

COMMENCEMENT
SIGHT UNSEEN

Back

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* Some genders have been changed for this production
Produced by special arrangement with Samuel French, Inc.

This production is also sponsored in part by the Vicki and Peter Halmos Family Fund for Theatre Arts

"Flight is what we long for. Flight is what we long for." I wake up on Sunday morning with Tennessee William's words repeating in my brain. For several minutes, I lie in bed, determined to hold on to the dream this snatch of dialogue came from, but sunshine, streams through my window, and pries my eyes open. A miniature galaxy of dust motes orbiting my bed spins me back into the post-Apocalyptic world we live in now. I turn on CNN.

There it is again: the second plane, crashing into the World Trade Towers. I force myself to watch it once more; then I switch off the television, close my eyes, and conjure up the image of an American Bald Eagle soaring high above an untouched Alaskan wilderness. "Flight is what we long for."

But today there will be a rehearsal for Design for Living. Today my students are making British comedy in the Stuart Theatre. Whoever quipped, "Death is easy; comedy is hard," didnÕt live in 21st century America. Death is hard.
Flight is what we long for.

Out of bed and into my study, I switch on the computer. An e-mail is waiting with a quote from the Provincetown Players' 1918-19 season subscription brochure, probably written by George Cram Cook.

"Seven of the Provincetown Players are in the army or working for it in France, and more are going. Not light-heartedly now, when civilization itself is threatened with destruction, we who remain have determined to go on next season with the work of our little theatre. It is often said that theatrical entertainment in general is socially justified in this dark time as a means of relaxing the strain of reality, and thus helping to keep us sane. This may be true, but if more were not true--if we felt no deeper value in dramatic art than entertainment--we would hardly have the heart for it now. One faculty, we know, is going to be of vast importance to the half-destroyed world--indispensable for its rebuilding--the faculty of creative imagination. That spark of it which has given this group of ours such life and meaning as we have is not so insignificant that we should now let it die. The social justification which we feel to be valid now for makers and players of plays is that they shall help keep alive in the world the light of imagination. Without it the wreck of the world that was cannot be cleared away and the new world shaped."

Flights of imagination. Flights of fancy. First imagine it; then, imagine a way to do it. Imagine all the people.

I dress and review my rehearsal plans. Comedy tonight!

We offer you this somewhat unorthodox production of Noel Coward's Design for Living in the hope that it will provide you a release from the cares of the day, a few good laughs, and a reassurance that life goes on here at Brown as we continue to build the next generation of American theatre artists. -- Lowry Marshall

PRODUCTION STAFF

Stage Manager Freddy Gonzalez '03
Assistant Stage Managers Gillian Cantor '04, Jonathan Skolnick '04
Assistant Technical Director Alonzo Jones
Production Coordinator Holly Ratafia
Master Electrician/Carpenter Timothy D. Cryan
Technical Assistants Seth Bockley '03, Adam Griska, Tim Havens, Laura Jellinek '04
Scenic Charge Alicia Wolcott '02
Master Electrician Adam Griska
Dimmerboard Operator Stephen Karam '02
Sound Operator Anne Martin '04
Properties Coordinator Laura Jellinek Ô04
Props Artisan James O. Barnhill
Running Crew Alison Bodenstab '04, Sandra Chang MA '03, Garland McQuinn '05, Julia Zuckerman, Owen David
Costume Shop Managers Linda Peterson, Henry DuBois
Costume Shop Assistants Amy Komarnicki '03, Heather MacKenzie '02, Vanessa Meikle '03, Jillian Waid '04
Cutter/Draper Linda Peterson
Wigmaster/Milliner/Costume Props Henry DuBois
Makeup Henry DuBois
Wardrobe Katherine Peter Kovner '04
Costume Construction TA 27, 128
Set Crew TA25, TA3
Sock and Buskin Production Liaison Carmen Gill '02
Box Office Manager/Publicity Karen Longest
Box Office Assistants Mark Heyman '02, Stephen Kidd MA'03
Poster Designer Andy Rah '04
Publicity Photographer Mark Heyman '02

Trinity Rep. Co., University of Rhode Island Theatre Department, Phil O'Hara, Michale Shurtleff, Jim Barnhill, Spencer Golub, Sheila Hogg and the Orwig Music Library, William Slack, Richie and Nina Cantor, Tara Summers, Jessie Austrian, and Kristen Sandberg

Darius Pierce (Chair), Nick Risteen (Vice-Chair), Michele Traub (Secretary), Alex Aixalá, Jen Beckmann (on leave), Sarah DiGregorio, Jenny Gaskins (on leave), Carmen Gill, Freddy Gonzalez, Rebecca Low, Josh Shulruff, Mac Vaughey, Ian White, Emily Young

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MOLIERE
or The Union Of Hypocrites
by Mikhail Bulgakov
Adapted by Dusty Hughes

NOVEMBER 8-11, 15-17, 2000 8PM NOVEMBER 18 3PM
LEEDS THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Directed by John Emigh
Set Design by Michael McGarty
Costume Design by Phillip Contic
Lighting Design by Neil Alger '02
Hair, Wig and Makeup Design by Henry DuBois
Technical Direction by Tim Hett

The play takes place in Moscow in 1932 and in Paris between 1660 and 1673.

Produced by special arrangement with The Agency (London) Limited.

This production is sponsored in part by the Vicki and Peter Halmos Family Fund for Theatre Arts.

DIRECTOR'S AND TRANSLATOR'S NOTES

Bulgakov wrote Moliere in the early 1930s, at a time when he was struggling with the censorship of Stalin's ironhanded regime. Bulgakov had written a biography of Moliere; he knew his life well. In his play, though, the great Russian novelist and playwright condenses, rearranges, and extends events in Moliere's life occurring between 1658, his triumphant arrival back in Paris, and his death in 1673, inventing some characters and refashioning others in order to reflect more deeply the situations of his own day. Dusty Hughes, who translated this version of the play and wrote the framing scenes that we are using, wrote an alternative prologue as well. In it, he has Bulgakov (now his character) speak the following words.

"My work was banned. I wrote in desperation to Stalin, suggesting that I should leave the Soviet Union. Moliere had written to his king, too. Perhaps I could have added in Moliere's words, 'My position being what it is, where am I to find protection, Sire, except where I am now seeking it? From the just dispenser of absolute command and sovereign judge and master of all.' Not many days later, in the early hours of the morning, the phone rang. It was Joseph Stalin. We talked about the nature of a writer's commitment. Then I told him I had reconsidered my decision to leave the Soviet Union and that I considered it my patriotic duty to write. He seemed pleased with this...."

"The Moscow Art Theatre resurrected my play, The White Guard, and Stalin came to a special performance. He was moved by the play and in the following years he came to see it fifteen times. But in 1932, the Theatre decided not to push Moliere through just now. Rewrites were suggested and refused. For five years and two hundred and fifty rehearsals the game continued. As the thirties became older, life outside the theatre changed. É My two worlds grew imperceptibly into one; liveried flunkeys with powdered wigs glided over Persian rugs with canapes for the production office. Musketeers broke into Meyerhold's theatre and fired their flintlock pistols into the grid. Poets from Georgia with proletcult blouses were guillotined in the streets of Paris."

Moliere's Tartuffe eventually ran for 30 performance during his lifetime amidst periods of being banned, Bulgakov's Moliere for 7. We live in different times, but there has been ample recent evidence of the rocky relationships between the power of the state and the artist's desire to create truthful fictions. Bulgakov's play, like Moliere's Tartuffe, now stands as an ironic testament to the staying power as well as to the vulnerability of theatrical expression. The cast and I hope that you will enjoy your experience of this play as much as we have enjoyed the opportunity of giving it another life. -- JE

PRODUCTION STAFF

Stage Manager Allison Carter '04
Assistant Stage Managers Jannina Miguez '04, Natasha Wolff '03
Assistants to the Director Yann Montelle MA '01, Scott Cole MA '02, May Bend '03, Jennifer Madden MA '01
Fight Choreographer Sam Kusnetz '02
Speech Consultant Barbara Tannenbaum
Assistant Technical Director Alonzo Jones
Production Coordinator Holly Ratafia
Master Electrician/Carpenter Timothy D. Cryan
Technical Assistants Seth Bockley '03, Adam Griska '04, Tim Havens '04, Laura Jellinek '04
Master Electrician Garland McQuinn '05
Dimmerboard Operator Adam Immerwahr '05
Electrics Crew Maya Bruhns '05, Cari Cymanski '03.5, Vanessa Gonzalez '04,Adam Griska '04, Adam Immerwahr '05, Jeff Kurtz '03, Gayle MacDonald '04, Nick Rosenblum '03, Jonathan Stricks '05, Thesy Surface '04
Sound Jannina MiguezÕ '04, Jonathan Miller '05, Jessica Schwartzberg '05
Sound Operator Josh Shulruff '03
Properties Coordinator Laura Jellinek '04
Running Crew Eliza Collins MA'02, Joseph Miller '04
Costume Shop Managers Linda Peterson, Henry DuBois
Costume Shop Assistants Amy Komarnicki '03, Heather MacKenzie '02, Vanessa Meikle '03, Jillian Waid '04
Assistant Costume Designer Granger T. Simmons '05
Cutter/Draper Linda Peterson
Masks Amy Komarnicki '03, Heather MacKenzie '02
Wardrobe Nga Chiem, Hyacinth D'Costa '04, Yuki Fujimura '01.5, Rachel Melamed '02, Kerri Lynn Piznak '03, Marisa Quintanilla '02
Costume Construction TA 27, 128
Set Crew TA25, TA3
Sock and Buskin Production Liaison Michele Traub '02
Box Office Manager/Publicity Karen Longest
Box Office Assistants Mark Heyman '02, Stephen Kidd MA '03
Poster Designer Andy Rah '04
Publicity Photographer Mark Heyman '02
Banner Artist Ann Martin '04
Lobby Display Jennifer Madden MA'01

ACKNOWLEDGMENTS

Trinity Rep. Co., Phil O'Hara, Lynn Nottage, Nancy Horgan, Sally Tschantz-Dwyer, Hildegard von Bingen, Girolama Frescobaldi, Jean-Baptiste Lully, André Danican Philidor

SOCK & BUSKIN BOARD

Darius Pierce '02 (Chair), Nick Risteen '03 (Vice-Chair), Michele Traub '02 (Secretary), Alex Aixalá MA '02, Jen Beckmann '02 (on leave), Sarah DiGregorio '02, Jenny Gaskins '02 (on leave), Carmen Gill '02, Freddy Gonzalez '03, David Laibstain '02 (on leave), Rebecca Low '02.5, Josh Shulruff '03, Mac Vaughey '03, Ian White '02, Emily Young '03

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Brownbrokers's presents

This production is sponsored in part by the Vicki and Peter Halmos Family Fund for Theatre Arts.

DIRECTOR'S NOTE

Tonight I feel like a mother. This show has grown from its infancy as an idea to a full length script - complete, but only on paper. As it has matured, people have taken the place of characters, and human voices have eliminated the silence of the written word. But until now, this show has existed only for those of us who feel like mothers and fathers tonight, and trust me, there are many. We have worked together, cooperatively and collaboratively, to create for you the young adult which we now nervously watch enter the world. As you close the program that is in your hands and the lights come up on stage, what has been ours becomes yours. -- RM

PRODUCTION STAFF

Stage Manager James Egelhofer '04
Production Manager Hollie Mendillo '03
Assistant Stage Managers Allison M. Geffner '03, Jaime Green '04, Katie O'Connor '04
Assistant Musical Director Brad Naylor '03
Master Carpenter Abi Hobbs '04
Master Electrician Gayle MacDonald '04
Prop Designer Anne Martin '04
Light Board Operator Michael Linden '03
Sound Board Operator Sam Kusnetz '02
Follow Spot Operator Naomi Kenner '02
Running Crew Juliana Moreno '03
Costume Shop Managers Linda Peterson, Henry DuBois
Costume Shop Assistants Amy Komarnicki '03, Heather MacKenzie '02, Vanessa Meikle '03, Jillian Waid '04
Costume Construction TA 27
Faculty Advisors Tim Hett, Michael McGarty
Sock and Buskin Production Liaison Mac Vaughey '03
Box Office Manager/Publicity Karen Longest
Box Office Assistants Mark Heyman '02, Stephen Kidd MA '03 Poster Designer Adam Florin '04
Publicity Photographer Mark Heyman '02
Banner Artist Anne Martin '04

ACKNOWLEDGMENTS

Gabriel would like to thank: My parents, the cast, Thomas Beatty for giving me the opportunity to write this show and for teaching me a whole lot about life, James Egelhofer for being so tolerant of last minute copying, Brad Naylor, Tanja Manners, Adam Florin, Argo Thompson and Actors' Theatre of Sonoma County, Steven Abbott, Brendan Ryan, Shep Shapiro for being so generous as to lend us his piano for our show, Rose Subotnik, James Baker, David Josephson, Paul Phillips, Darius Pierce, Fred Hersch, Emily Young, Courtney Naliboff, Angela Serio, Felix Mendelssohn, Leonard Bernstein, L. von Beethoven, and my dear sister, Annie.

Thomas would like to thank: My mom and Dorothy and Blossom and Jon and my whole family and D.O.D, Gabe for creating what I could not and challenging me to do what I could, Ben Asriel, Ruth Margraff, Sarah Ruhl, Carmen Gill, and Christina Anderson for so aiding the writing process, Rebecca Melsky, Michael Sigman for being so great, the first reading cast on Perkins lawn, the Brownbrokers Board and the cast of the Brownbrokers reading, Jerry, Clara, Ellika and the Bartlett family, John Emigh, Michael McGarty, Rebecca Low, Roger Thomasson, Chris Bell, Kerry Silva, my friends and loved ones who are too numerous to name, finally, the cast and crew.
Rebecca would like to thank: Michael Linden for making me smile; my Mom, Dad, and Ben; Michael McGarty; the Brownbrokers Board; Kerry Silva; Tanja Manners; Nancy Israel and Ron Linden; James, Katie, Allison, and Jaime for being the best stage management team I could have imagined; my cast for enduring and being fabulous; and finally, my four wonderful suitemates.

Also: Trinity Rep. Co., Phil O'Hara, Shep Shapiro, Tin Hett, Metcalf Copy Center If you think we've forgotten you, we probably have, so please write your name here _____________.

BROWNBROKERS BOARD

Mac Vaughey '03, chair, Angela Serio '02, vice-chair,Rebecca Low '02.5, secretary, Jeb Havens '03, Jori Ketten '01.5, Sam Kusnetz '02, Brad Naylor '03, Darius Pierce '02, Alicia Wolcott '02, Emily Young '03

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UBU ROI
by Alfred Jarry
translation by Barbara Wright

FEBRUARY 20-23, 2002 at 8PM FEBRUARY 24, 2002 at 3 PM
LEEDS THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Directed by Gideon Arthurs '02
Set Design and Technical Direction by Nicholas Risteen '03
Costume Design by Ken Jones, Jr. '02
Lighting Design by Jarrod Fischer '02
Sound Design by Adam Goins '03
Video Design by Greg Machlin '02
Props Design by Anne Martin '04
Production Managed by Allison M. Geffner '02

CAST
(in order of appearance)

PERE UBU - Thomas Beatty '03

MERE UBU - Rachael Bibby '02

CAPTAIN BORDURE - Jonathan Martin '02

ENSEMBLE: (in order of appearance)

Alden Eagle '03

Thomas Joseph Roache '02.5

Darcy Roake '03

Kerry Silva '02

Gregory Shilling '04

Stacey Yen '03

Angela Serio '02

FRENCH MAIDS Andrea Diaz '02,Michael Gannon '02 Naomi Kenner '02,Chelsea Polis '02

Characters: King Venceslas, Queen Rosemonde, Their Sons:

Boleslas, Ladislas and Bougrelas. General Lascy, Stanislas Leczinski, Jean Sobieski, Nicolas Rensky, The Emperor Alexis, The Palotins: Giron, Pile and Cotice. Conspirators and Soldiers, Crowd, Michel Federovitch, Nobles, Magistrates, Counsellors, Financiers, Financial Lacqueys, Peasants, The Whole Russian Army, The Whole Polish Army, Mere Ubu's Guards, A Captain, The Bear, The Phynancial Horse, The Disembraining Machine, The Crew, The Captain of the Ship.

Produced by special arrangement with Samuel French, Inc.

This production is sponsored in part by the Vicki and Peter Halmos Family Fund for Theatre Arts.

DIRECTOR'S NOTES

This play is not an allegorical tale, nor a moral fable. It's not about something in particular and it is not trying to make a single point. It doesn't make anyone feel good, it's not funny, it doesn't make any sense. It's not even insane, not even bizarre, not even very entertaining.

It's a primordial scream. A nasty, angry, yell, at you, at me, at anything and everything. It hates what we do with our daily lives, it hates the T.V. we watch, the shoes we buy, the politicians we do (or don't) vote for, and the breakfast cereal we eat. It yells at everything from the court of Louis XIV to the White House to your living room EZ-Chair. It yells across a hundred years, reaching back further in time, drawing it's power from a strong whiff of the stench of some nasty rotten heap, left by a Brontosaurus, baking in the prehistoric sun. Ubu Roi sits us down only to get us to stand again, turns us around just to get us to walk backwards, and laughs at us by telling a joke. It's at once a most serious, precise indictment of societal values, and the lamest, most simple schoolboy farce. It cannot be taken seriously and it cannot be ignored.

I've realized that to mount this play is to accept defeat. I know now that it can never be controlled, never be properly executed, never be understood and never be acceptable theatre. It stands in front of me, eights years after reading all its "Shittrs" and "Hornigibolets" for the first time, eight years of thinking about it and putting it together in my head, as an enigma. All I do know is that it, and theatre as a whole, can be dangerous - for audiences, actors, producers, designers and directors alike. Because, if you let it, it will tell you something potent. If you let it inside your head, if you engage it, even if you are a little afraid of it or disgusted by it, it will tell you something true about the human condition. Ubu Roi bellows at us from those most ugly and base parts of our being, riding a Phynancial horse deep into our nightmares, bearing its teeth and its Shittrstick, ordering us to challenge everything we thought we knew about what it is to be a human being. -- G.A.

PRODUCTION STAFF

Production Stage Manager Jannina Miguez '04
Stage Manager Erica Saleh '04
Assistant Stage Managers Naomi Kenner '02
Master Carpenter Abi Hobbs '04
Master Electrician Didi Ilkson '03
Technical Assistants Alex Aixala MA '02, Neil Alger '02, Seth Bockley '03, Allison M. Geffner '03, Laura Jellinek '04, Anne Martin '04, Jannina Miguez '04, Mac Vaughey '03, Alicia Wolcott '02
Electrics Crew Blodgett '03, Maya Bruhns '05, Lila Rose Kaplan''02, Garland McQuinn '05, Lauren Robbins '05, Lauren Rubenzahl '02
Sound Operator Erica Saleh '04
Wardrobe Antonia Thompson Ô04, Ann Sulzberger '04
Costume Construction Jillian Waid '04, TA 28, 129
Sock and Buskin Production Liaison Freddy Gonzalez '03
Box Office Manager/Publicity Karen Longest
Box Office Assistants Mark Heyman '02, Stephen Kidd MA '03, Catherine Tylke '05
Poster Designer Nicholas Risteen '03
Publicity Photographer Mark Heyman '02
Banner Artists Anne Martin '04, Freddy Gonzalez '03

ACKNOWLEDGMENTS

Thank you first to the Department of Theatre, especially to John Emigh, Michael McGarty, Tim Hett, Holly Ratafia, and Gunter Berghaus for their enthusiasm, attentivness, inventivness and moral support.

Thanks to Harry, Penny and Josh Arthurs, as well as all the families involved.

Thanks also to Kaya, Dave, Elliott, Mikey, Zach, Joe, Katy, Dov Lebowitz-Nowak, Rachel Ezrine, Tim Cryan, Alonzo Jones, Blodgett, RCJ Dance for saving our knees, 150 Waterman, and all Rhode Islanders kind enough to put out their trash on Sundays.
Thanks as well to George W., for his inspiration and motivation throughout this entire process. You are a model for absurdist dramatists everywhere.
And thanks finally to the support of all of our friends, whom we know we've neglected, but love nonetheless.

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CANDIDE
The Opera House Version
With music by Leonard Bernstein
Book by Hugh Wheeler
Lyrics by Richard Wilbur ; additional lyrics by Leonard Bernstein, John LaTouche and Stephen Sondheim
Orchestration by Hershy Kay and the Composer
Additional orchestration by John Mauceri

March 7-10, 14-16, 2002 8PM March 17, 2002 3PM
STUART THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Stage Direction by Don B. Wilmeth
Musical Direction by Paul Phillips
Set Design by Michael McGarty
Costume Design by Phillip Contic, Linda Peterson and Henry DuBois
Lighting Design by Mac Vaughey ‘03
Choreography by Michelle Bach-Coulibaly
Technical Direction by Tim Hett


CAST
(in order of appearance)

VOLTAIR Joshua Landay ‘02

CANDIDE Roman Testroet ‘04

HUNTSMAN Ben Kamber ‘05

PAQUETTE Claire F. Karpen ‘04

BARON Sam Baltimore ‘05

BARONESS Kristina A. Semos ‘04

CUNEGONDE Jessie Austrian ‘03

MAXIMILLIAN Stephen Karam ‘02

MAXIMILLIAN’S SERVANT Adam Green ‘05

BULGARIAN SOLDIERS Spyridon Antonopoulos III ’03, Adam Green ‘05

WESTPHALIAN SOLDIERS David Cohen ’03, Emma Boroson ‘03

BULGARIAN SERGEANT Sam Baltimore ‘05

DON ISSACHAR Scott L. Franco ‘04

GRAND INQUISITOR David Cohen ‘03

AGENT OF THE INQUISITOR Ben Kamber ‘05

OLD LADY Rachael Miller ‘02

EXECUTIONER George Spelvin

ATTENDANT TO CUNEGONDE Leah Gordon ‘05

TAP-DANCING DON Scott L. Franco ‘04

GOVERNOR’S AIDE Jennifer Mitnick ‘02

SLAVE DRIVER Maxine Sharavsky ‘05

FATHER BERNARD Adam Green ‘05

SAILORS Adam Green ’05, Ben Kamber ’05,
Sam Baltimore ’05, Jennifer Mitnick ’02

SHEEP Emma Boroson ’03, Courtney H. Naliboff ‘02
LION Sam Baltimore ‘05

WHORES Kristina A. Semos ’04, Angelika Daskalolpoulos ‘04

POLICE PREFECT Adam Green ‘05

GAMBLERS David Cohen ’03, Maxine Sharavsky ‘05

HAREM WOMEN Angelika Daskalopoulos ’04, Leah Rae Berk ‘05

CASINO HOST Spyridon Antonopoulos III ‘03

ENSEMBLE:
Angelika Daskalopoulos ’04, Leah Gordon ’05, Courtney H. Naliboff ’02, Kristina A. Semos ’04, Leah Rae Berk ’05, Emma Boroson ’03, Jennifer Mitnick ’02, Maxine Sharavsky ’05, Spyridon Antonopoulos III ’03, Scott L.Franco ’04, Ben Kamber ’05, Sam Baltimore ’05, David Cohen ’03, Adam Green ‘05


Places: Act I: Westphalia and surroundings, Lisbon, Cadiz

Act II: Cartagena, Montevideo, Eldorado, Cartagena, a desert island, Constantinople

Time: The mid-eighteenth century

There will be one ten-minute intermission.

MUSICAL NUMBERS
Act I
“Life is Happiness Indeed" Candide, Cunegonde, Paquette, Maximillian
“Best of All Possible Worlds" Pangloss, Candide, Cunegonde, Paquette,
Maximillian, Ensemble
“Oh Happy We” Candide Cunegonde
“It Must Be So” Candide
“Glitter and Be Gay” Cunegonde
“Dear Boy” Pangloss, Ensemble
“Auto Da Fe” Ensemble
“Candide’s Lament” Candide
“You Were Dead You Know” Candide, Cunegonde
“I Am Easily Assimilated” Old Lady, Ensemble
“Quartet Finale” Candide, Cunegonde, Old Lady, Voltaire
Act II
“Ballad of the New World” Candide, Ensemble
“My Love” Governor, Maximillian
“Alleluia” Maximillian, Ensemble
“Sheep’s Song” Sheep, Lion, Paquette, Ensemble
“Bon Voyage” Governor, Ensemble
“Quiet” Candide, Paquette, Old Lady
“Best of All Possible Worlds” (reprise) Candide, Paquette, Old Lady, Sheep
“What’s the Use” Ensemble
“You Were Dead You Know” (reprise) Candide, Cunegonde
“Make Our Garden Grow” Company

By arrangement with Boosey & Hawkes, Inc. agent for Leonard Bernstein Music Publishing Co. LLC, publisher and copyright owner

This production of CANDIDE was made possible thanks to the generosity of
Perry and Marty Granoff.

This production is also funded in part by the Vicki and Peter Halmos Family Fund for Theatre Arts.

ORCHESTRA

Paul Phillips, Conductor (March 7, 9, 10, 14)
Jaemi B. Loeb ‘03, Conductor (March 8, 15, 16, 17)

Violin I: Aron Holzman ’02, Caren Lee ’03, Andrew Grover ’02, Keiko Hayakawa ‘05
Violin II: Ju Dee Ang ’02, Jennifer Hou ’02, Whitney Brim-DeForest ‘04
Viola: Sophie Heaton ’05, Jen Schwartzman ‘02
Cello: Allegra Devon ’03, Rebecca Anzalone ‘05
Bass: Melissa Zerofsky ‘03
Flute: Thomas Jerde ’03
Flute/Piccolo: Tanja Manners ‘02
Oboe/English Horn: Steven Kaell ‘04
Clarinet/E Flat Clarinet: Margie Kwoka ’02
Clarinet/Bass Clarinet: Eric Sedgwick ‘05
Bassoon: Adam Fouse ‘04
Horn: Daniel Weisholtz ’02, Julie Flood ‘03
Trumpet: Laura Jellinek ’04, Chanda Brown ‘05
Trombone: Emily Traver ’05, Inho Kim ’02, Amanda Hainsworth ‘05
Tuba: Kaolin Kinsey ‘03
Timpani: Colin Hartnett ‘04
Percussion: Tyler DeWitt ’04, Lindsey Doermann ‘04
Harp: Lexie Asrow ‘05

PRODUCTION STAFF
Stage Manager James Egelhofer ‘04
Production Manager Dov Lebowitz-Nowak ‘04
Assistant Musical Director Jaemi B. Loeb ’03
Assistant Set Designer Alicia Wolcott ‘02
Assistant Costume Designer Nicole Wei
Assistant Stage Managers Michael Perlman ’05, Anna Berman ‘05
Assistant Technical Director Alonzo Jones
Production Coordinator Holly Ratafia
Technical Assistants Seth Bockley ‘02, Adam Griska ‘03,
Abbi Hobbs ‘0, Laura Jellinek ’04, Garland McQuinn ’05,
Alicia Wolcott ’02, Natasha Wolff ‘03
Running Crew Monique Meneses ’05, Deylin Negron ’05, Janine Szczepanski ‘03
Props Mistress Natasha Wolff ’03
Master Electrician Michael Linden ‘03
Electrics Crew Neil Alger ’02, Alex Aixala MA ’02, Cari Cymanski ’03.5,
Ellen Darling ’03, Jeff Kurtz ’03, David Laibstain ’02, Garland McQuinn ’05, Rebecca Melsky ’03
Costume Shop Supervisors Linda Peterson, Henry DuBois
Costume Shop Assistants Amy Komarnicki ‘03, Heather MacKenzie ‘02,
Vanessa Meikle ‘03, Jillian Waid ‘04
Cutter/Draper Linda Peterson
Wigmaster/Milliner/Makeup Henry DuBois
Assistant Wig Mistress/Makeup Meryl Pressman ‘03
Costume Construction TA28, TA129
Stitcher Martha Plotz
Rehearsal Pianists Eric Sedgwick ’05, Janice Duchene ’04, Tanja Manners ‘02
Set Crew TA3, TA26
Box Office Manager/Publicity Director Karen Longest
Box Office Assistants Mark Heyman ’02, Steve Kidd MA’03,
Catherine Tylke ‘05
Poster Designer Kelvin Chan ‘04
Publicity Photographer Mark Heyman ‘02
Sock and Buskin Liason Rebecca Low ’02.5


SOCK & BUSKIN BOARD

Darius Pierce ‘02 (Chair), Nick Risteen ‘03 (Vice-Chair), Michele Traub ‘02 (Secretary), Jen Beckmann ‘02(on leave) , Lucy Boyle ’03, Diana Fithian ’04, Carmen Gill ‘02, Freddy Gonzalez ‘03, Laura Jellinek ’04, David Laibstain ’02, Rebecca Low ’02.5, Josh Shulruff ‘03 (on leave), Ben Sugar ’03, Mac Vaughey ‘03, Ian White ‘02, Emily Young ’03 (on leave)

ACKNOWLEDGMENTS

Harold Prince, Trinity Repertory Theatre, Scott Franco, Angelika Daskalopoulos, and Leah Berk (for dance assistance), Barbara Bell, Washington & Lee University, Sally Dwyer, University of Rhode Island Theatre Department, Williams College, Kip White, Bob Gara


Additions to the Program

Running Crew:
Ryan O'Grady '05 Darius Pierce '02
Diana Fithian '04 Carmen Gill '02
David Laibstain '02

Dressers:
Benjamin Sugar '03 Katy Moore '05
Dila Kabakci '05


Electrics Crew :
Didi Ilkson '03 Carmen Gill '02

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OUR TOWN
by Thornton Wilder
APRIL 11-14, 18-20, 2002 8PM April 21 3PM
LEEDS THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Directed by Alex Aixalá
Set Design by Michael McGarty
Costume Design by Phillip Contic
Lighting Design by Adam Griska ‘04
Sound Design by Sam Kusnetz ‘02
Technical Direction by Tim Hett


CAST
(in order of appearance)
STAGE MANAGER Didi Ilkson ‘03

DR. GIBBS Michael Linden ‘03

JOE CROWELL Rob Sand ‘05

HOWIE NEWSOME Tawal Panyacosit ‘02

MRS. GIBBS Megan Hart ‘02

MRS. WEBB Rebecca Rouse ‘04

GEORGE GIBBS Jamie Effros ‘03

REBECCA GIBBS Lucy DeVito ‘05

WALLY WEBB Ben Kamber ‘05

EMILY WEBB Rebecca Fishman ‘02

PROFESSOR WILLARD AND OTHERS Zoe Weingart ‘05

MR. WEBB Andrew W. McClain ‘03

WOMAN IN BALCONY AND OTHERS Elise Terrell ‘04

MAN IN AUDITORIUM AND OTHERS Ben Asriel ‘03

SIMON STIMSON Matt Biagini ‘05

MRS. SOAMES Sarah DiGregorio ‘02

CONSTABLE WARREN Mahdi Salehi ‘04

SI CROWELL AND OTHERS Elizabeth Anne Freudmann ‘05

SAMANTHA CRAIG AND OTHERS Vanessa Gonzalez Echarte ‘04

JOE STODDARD AND OTHERS Mac Vaughey ‘03

There will be two ten-minute intermissions.

Produced by special arrangement with Samuel French, Inc.

This production is also sponsored in part by the Vicki and Peter Halmos Family Fund for Theatre Arts.

I believe there is still something inherent in the fibre of America worth saving, and that the fortunes of the entire world may well ride on the ability of young Americans to face the responsibilities of an Old America gone mad.

- phil ochs

Knowledge is Power.

Arm Yourself.


PRODUCTION STAFF

Stage Manager Michele R. Traub ‘02
Assistant Stage Manager Benjamin N. Sugar ‘03
Assistant Technical Director Alonzo Jones
Production Coordinator Holly Ratafia
Production Manager Adam Immerwahr ‘05
Electrician/Carpenter Timothy D. Cryan
Technical Assistants Adam Griska ‘04, Abi Hobbs ‘04,
Laura Jellinek ’04, Garland McQuinn ’05,
Alicia Wolcott ’02, Natasha Wolff ‘03
Dramaturg Benjamin N. Sugar ‘03
Master Electrician Elise Graham
Electrics Crew Georgia Cohen ’04, Garland McQuinn ’05, and the cast
Properties Coordinator Natasha Wolff ‘03
Costume Shop Managers Linda Peterson, Henry DuBois
Costume Shop Assistants Amy Komarnicki ‘03, Heather MacKenzie ‘02,
Vanessa Meikle ‘03, Jillian Waid ‘04
Assistant to the Costume Designer Nicole Wee
Cutter/Draper Linda Peterson
Wigmaster/Milliner/Costume Props Henry DuBois
Makeup Henry DuBois
Wardrobe Amanda Cheung
Costume Construction TA 28, 128
Set Crew Neil Alger ’02, Nick Risteen ’03, Mac Vaughey ’03, TA26, TA3
Musical /Vocal Coach Andrew Hertz ‘04
Sock and Buskin Production Liaison Benjamin N. Sugar ‘03
Box Office Manager/Publicity Karen Longest
Box Office Assistants Mark Heyman ‘02, Stephen Kidd MA’03,
Catherine Tylke ‘05
Poster Designer Kelvin Chan ‘04
Publicity Photographer Mark Heyman ‘02

ACKNOWLEDGMENTS

All the families who made it possible for us to be here working together, Rachael Miller, Paul Grellong, Miriam Silverman, Charlie Kroll, Sebastian and Clancy, Production Workshop, Tim Hett, Andy Hertz, Gabe Kahane, Nick Risteen, Neil Alger, Zina Miller, Albert Viola, Myron Beasley, Elliott Colla, Nadia Mahdi, Brenda Foley, Trinity Rep. Co., Phil O’Hara, Alicia Wolcott, Alonzo Jones, Tim Cryan, Holly Ratafia, Gunter Berghaus, Jessie Austrian, Lucy Boyle

SOCK & BUSKIN BOARD

Darius Pierce ‘02 (Chair), Nick Risteen ‘03 (Vice-Chair), Michele Traub ‘02 (Secretary), Alex Aixalá MA’02 (on leave), Jen Beckmann ’02 (on leave), Lucy Boyle ’03 (on leave), Sarah DiGregorio ’02 (on leave), Diana Fithian ’04, Jenny Gaskins ’02 (on leave), Carmen Gill ‘02, Freddy Gonzalez ‘03, Laura Jellinek ’04, David Laibstain ’02, Rebecca Low ’02.5, Josh Shulruff ‘03 (on leave), Ben Sugar ’03, Mac Vaughey ‘03, Ian White ‘02, Emily Young ’03 (on leave)

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BROWN DANCE ENSEMBLE
SPRING CONCERT 2002
Julie A. Strandberg, Producer

May 2-4 8 p.m. May 5 3p.m. & 8 p.m.

STUART THEATRE

TANI (1988)
Originally performed at the Bienal Festival in Mali, West Africa in 1988 by Troupe District du Bamako.
Choreographed by Seydou Coulibaly
Costumes are traditional Mali dress, Jinn costumes designed by Linda Peterson
Lighting design by Alonzo Jones

MUSICIANS:
Seydou Coulibaly - Djun Djun
Issa Coulibaly - Djembe
Annie Geisinger - Djembe accompaniment

DANCERS: New Works,World Traditions
King: Andros Zins-Browne
Queen: Marcie Muscat ‘02
Princess: Yaya Johnson ‘04
Rich Man/Jinn: Jonah Rosen ‘01
Poor Boy: Erich Ludwig ‘98
Jinn: Allison Harris ‘02, Jori Ketten ‘02 Leta Malloy ‘02, Jenelle Phillip ‘05, Mia Simring ‘03
Servants: Lauren Hale ‘02, Kelly Jackson ‘05, Martha Oatis ‘03, Yara Perez ‘05
Bodyguard: Kyle Shepard ‘04
Villagers: Sarah Burns ‘04, Talisman Brolin ‘04, Krishna Hathaway ’02.5, Alexandra Fidler ‘04, Alison Friedman ‘02, Adriana Lopez ‘04, Crystal McQueen ‘04, Hannah Schwadron ‘04, Bridget Stokes ‘04, Hentyle Yapp ‘03
Trees: Talisman Brolin ‘04, Sarah Burns ‘04, Alexandra Fidler ‘04, Adriana Lopez ‘04, Hannah Schwadron ‘04

"Tani e ka tani ba ja la ma" is Bambara, meaning a space or occasion for young men and women to play, interact, dance and get to know each other. This comes from traditional Africa, before clubs, and many of the modern social institutions. Our ballet begins at a social gathering of young men and women. Here the princess of the village and a poor young man meet and fall in love.

The next scene, several weeks later, is set in the village near the house of the King. The king and queen enter their palace to receive suitors who have come asking for the princess’s hand in marriage. The first suitor is a young man from the village who likes the princess. The king refuses this suitor. The second suitor is the
aforementioned poor young man whom the princess has fallen in love with. However, the king refuses him the princess’ hand since he is poor and does not come from a suitable family. Finally, the third suitor arrives, a handsome man no one in the village knows, but who comes bearing gold, diamonds and money for the king. Little do they know that this man is actually a "jinn". Jinns are spirit beings who come from a parallel world wielding diverse supernatural powers; some good, some evil.

In his haste to marry his daughter to the rich man, the king accepts the unknown man for his daughter. After the marriage, the princess and several of her sevants accompany the rich man to his home, which is deep in the forest. Once they are deep in the forest, thejinn husband suddenly disappears. He soon reappears in his natural state as a jinn along with his band of other jinns. The servants run away in horror, leaving the princess captive, where she is tortured by the jinns.

The servants return to the village and let everyone know what has just happened. The king brings out his magic, and the village gathers to watch him work. He can tell what is going on in the forest by looking in the magic, and resolves to send one of his trusted bodyguards to rescue his daughter. A special sword is prepared with his powerful magic. All refuse to take the magic sword except the poor boy, who wishes to save his love from the evil jinn. The king is skeptical, but eventually relents and the boy heads out for the forest.

The king continues to use his magic to aid the poor boy in his fight with the jinn as the villagers look on. Eventually, the poor boy prevails and brings the princess home to her village. Upon returning to the village, she goes crazy due to the terror she was exposed to by the jinn. The king then calls upon his most powerful magic crafts to restore the princess’ sanity. She recognizes the poor boy who saved her and pleads with her father to let her marry him. He assents, decreeing that the couple should be married immediately, and hosts their union in a joyous celebration.


BURACZESKI ETUDE (2002)
Choreographed by Danny Buraczeski
Music by Peter Jones

DANCERS: The Dance Extension
1. Fives: Lauren Hale ‘02 and Ryan Smith ‘02
2. Blues: Lauren Hale ‘02, Ryan Smith ‘02, Benjamin Asriel ‘03, Caedra Scott-Flaherty ‘05
3. Swing: Lauren Hale ‘02, Ryan Smith ‘02, Caedra Scott-Flaherty ‘05, Laura Bennett ‘92, Niki Applebaum ‘05, Katharine Hoagland ‘05

Buraczeski Etude is part of the Repertory Etudes Collection directed and curated by Carolyn Adams and Julie A. Strandberg.


LISTENING (2002)
Choreographed by Jonathan Martin ‘02, Wendy Rein ‘99, Courtney Rowe ‘02, and Ryan Smith ‘02
Music: “What Sound”, Lamb
Costumes by RCJ and the costume shop staff

DANCERS: members of RCJ Dance
Kimberly Insel ‘03
Claudine Lott ‘05
Olivia Ma ‘04
Aimee Palladino ‘05
Wendy Rein ‘99
Courtney Rowe ‘02
Ryan Smith ‘02
Hentyle Yapp ‘03
Stacey Yen ‘03

Every body who has been RCJ has added its essence. We stand on this stage supported by that collective creative force.

This piece is dedicated with love to Jon.


DIMENSIONS (1983)
Choreographed by Julie A. Strandberg
Music by Luigi Nono, Michel LeGrand, Frederic Chopin,
Johann Sebastian Bach
Film by Thomas Banchoff
Costumes by Jennifer Godbee (G ’03)

DANCERS: The Dance Extension
1. Scenes From Flatland: Benjamin Asriel ’03, Lauren Hale ‘02, Katharine Hoagland ‘05, Margaret Kilroy ‘02, Caedra Scott-Flaherty ‘05, Kyle Shepard ’04 with Courtney Rowe ‘02
2. The Visitation: (In order of appearance) Alexandra Fidler ‘04, Ryan Smith ‘02, Niki Applebaum ‘05, Chad Ebesutani ‘03, Ruth Streiter ’03, Marcie Muscat ‘02
3. Dimensions: Laura Bennett ‘92, Gleb Lyamenhoff (guest), Courtney Rowe ‘02
4. Other Worlds: The Company

Special thanks to Thomas Banchoff, Professor of Mathematics at Brown University, for his generosity and enthusiasm.

Intermission

MADAME SAND (1992)
Choreographed by Donna Jewell
Music by Frederic Chopin
Rehearsal Directors: Laura Bennett ‘92 and Lauren Hale ‘02

DANCERS: The Dance Extension
Alexandra Fidler ‘04, Margaret Kilroy ‘02, Marcie Muscat ‘02, Caedra Scott-Flaherty ‘05, Ruth Streiter ‘03


FLAMMA FLAMMA: The Fire Requiem (2002)
Choreographed by Michelle Bach-Coulibaly in collaboration with
Phillip Contic and Melody Ruffin-Ward
Music composed by Nicholas Lens
Costumes by Phillip Contic in collaboration with Michelle Bach-Coulibaly
Fabric Painting and Dying by Melissa Santram’04, Amy Komarnicki ’03, Eren T. Butler ’03, Nicole Wee ’02, Heather MacKenzie ’02 and Henry DuBois
Wigs and Makeup Design by Henry DuBois
Signing coached by Alina Engelman

DANCERS: New Works, World Traditions
Melody Ruffin-Ward, Michelle Bach-Coulibaly, Alison Friedman ‘02 and
Lauren Hale ‘02


LIMON ETUDE (2001) based on dances by José Limón
Choreographed by Carla Maxwell
Music by Franz Schubert
Costumes by Julie A. Strandberg

DANCERS: The Dance Extension
Margaret Kilroy ‘02 (Friday, May 4) Ryan Smith ‘02 (Thursday, May 2 and Sunday matinee, May 5) Alexandra Fidler ‘04 (Friday, May 3), Katharine Hoagland ‘05 (Sunday evening, May 5)

Limón Etude is part of the Repertory Etudes Collection directed and curated by Carolyn Adams and Julie A. Strandberg

DISSOLUTION (Premiere 2002)
Choreographed by Kyle Shepard ‘04
Music by Ludwig von Beethoven, Piano Sonata no. 23, op. 57,
"Appassionata" Third Movement
Pianist: Richard Goode
Costumes by Phillip Contic

DANCERS:
Yipei Chen-Josephson ‘02, Alexandra Fidler ‘04, Hannah Schwadron ‘04, Caedra Scott-Flaherty ‘05, Kyle Shepard ‘04


HAPPY ENDINGS EVERY TIME (1951/2002)
Choreographed by Jack Cole; reconstructed for the stage by Danny Buraczeski
Assistants/Consultants: Joanne Horn, Judith E. James Ries
Music by Sylvia Fine Vocals by Danny Kaye
Costume Reconstruction by Jennifer Kusick

DANCERS: The Dance Extension
Benjamin Asriel ‘03, Niki Applebaum ‘05, Chad Ebesutani ‘03, Alexandra Fidler ‘04, Margaret Kilroy ‘02 (Duet), Marcie Muscat ‘02, Ryan Smith ’02 (Duet)

Sunday, May 5th at 3:00pm (4-College Dance Company)
DANCERS: (alphabetically by college)
Margaret Kilroy ‘02 (Brown University), Rebecca Askey, Autumne Montague (Providence College), Christina DiBiasio, Alicia DiMasi, Casey Harkness, Tosya Lewis, Kellie Lynch (Rhode Island College), Brandon Michael Glasgow, Jacqueline Keane, Krissy Plunkett, Gretchen Rowe (Roger Williams University)

Artistic Directors: Julie A. Strandberg (Brown), Wendy Oliver (PC) Dante DelGuidice (RIC), Kelli Wicke Davis (RWU), Rehearsal Director: Angelica Vessella

Happy Endings Every Time is the final musical number in the film On the Riviera, released in 1951 by 20th Century Fox. It was produced by Sol C. Siegel and directed by Walter Lang. The film starred Danny Kaye, Gene Tierney, Ethel Martin and Gwen Verdon.

Danny Buraczeski, artistic director of JAZZDANCE reconstructed "Happy Endings Every Time" on dancers from the four colleges, during a residency in January 2002. The 4-College Dance Company performed the piece in a lecture demonstration with JAZZDANCE and in the concerts of each of the participating colleges. The dance is also in the repertories of each of the college companies.

About the Repertory Etudes Collection
Buraczeski Etude, and Limón Etude are part of the Repertory Etudes Collection, directed and curated by Carolyn Adams and Julie A. Strandberg. Repertory Etudes, short dances based on quintessential elements of a choreographer's style, are made available to dancers for ongoing study and performance. The Collection also includes Rainbow Etude by Donald McKayle, Parsons Etude by David Parsons, Rooms Etude by Lorry May based on Anna Sokolow's Rooms, Nagrin Etude, by Daniel Nagrin, Ecce Etude, by Danny Grossman and Village Etude by Deborah Friedes based on Sophie Maslow’s Village I Knew, Israeli folk dance, and the short stories of Shalom Aleichem.

About the Dance Extension
Celebrating its 22nd season, The Dance Extension, a touring repertory company, was established by founding director of dance, Julie A. Strandberg, on the premise that the training of dancers must include the opportunity to perform, teach and revisit masterworks. While the dancers in the company are encouraged and supported to create their own work, they also have the rare opportunity to work with some of our most revered choreographers and some of our most exciting contemporary innovators.

About New Works, World Traditions
Since its inception, many members or NEW WORKS/WORLD TRADITIONS have had the opportunity to study Mande culture through travel to Mali, West Africa as participants in traditional mask and danced ceremonies of the Bamana, Wasalu and Dogon people of Mali, Guinea and Burkina Faso.

About the Guest Choreographers
Drawing on a background in ballet, modern, and jazz dance, and coupling this with a deep appreciation for America's jazz music heritage, Danny Buraczeski's formal explorations, intense musicality, and distinctive point of view distinguish him as one of the most original voices working in the form today. After a career on Broadway, appearing in such musicals as Mame with Angela Lansbury and The Act with Liza Minelli, he formed the original JAZZDANCE in 1979. The company is now based in Minneapolis/St. Paul, Minnesota.

Following Jack Cole's (1911-1974) early career performing with the pioneering modern dance companies of Denishawn and Humphrey-Weidman in the 1930’s, he began choreographing for Broadway and night clubs. In the 1940’s, he moved to Hollywood and throughout the heyday of the American musical traveled between both coasts. Recognized as a pioneer in the development of American jazz dance, his choreography on Broadway and in films for such stars as Gene Kelly, Cyd Charisse, Betty Grable, Marilyn Monroe, and Gwen Verdon is seminal. He established the first and only professional dance company on a Hollywood studio lot ?- The Jack Cole Cinema Dance Workshop at Columbia Pictures in the 1940’s. He was also one of the first choreographers given control of the camera. Mr. Cole’s choreography and direction of it maintain an integrity of intent and style rarely found in dance on film to this day.

Donna Jewell is artistic director of Jewell & Company Dance Theater which she founded in 1989. She has choreographed, performed, and taught at venues throughout the United States and Europe, including the Salzburg Experimental Academy of Dance, The Carl Orff Institute, the Mozartium College of Fine Arts, Hubbard Street Company Studios and Brown University. She has a BA in History from DePauw University and an MFA in Dance and Choreography from New York University.

Born in Culiacan, Mexico, José Limón (1908-1972), one of the major figures in American modern dance, worked throughout his career to strengthen the image of the male dancer and bring it to a new stature and recognition. Mr. Limón performed with Doris Humphrey and Charles Weidman, between 1930 and 1940 and in 1946, with Doris Humphrey as his artistic director, he formed his own company. A success from its first performances at Broadway's Belasco Theatre in early 1947, the Company remains one of America's most important modern dance institutions. Many of his works have become classics, such as The Moor's Pavane, There is a Time, and Missa Brevis. Carla Maxwell joined the Limón Dance Company in 1965 and soon became a principal dancer under Mr. Limón's direction. In 1978, Ms. Maxwell was appointed Artistic Director of the Company. Ms. Maxwell has staged Limón works for many major companies and is also responsible for many of the Company's Limón reconstructions.


PRODUCTION STAFF
Stage Manager
Production Coordinator Holly Ratafia
Lighting Designer Timothy D. Cryan
Assistant Stage Managers
Assistant Technical Director Alonzo Jones
Assistant Lighting Designer Whitney Braumstien ‘04
Technical Assistants Adam Griska ‘03,
Abbi Hobbs ‘04, Laura Jellinek ’04, Garland McQuinn ’05,
Alicia Wolcott ’02, Natasha Wolff ‘03
Costume Shop Supervisors Linda Peterson, Henry DuBois
Costume Shop Assistants Amy Komarnicki ‘03, Heather MacKenzie ‘02,
Vanessa Meikle ‘03, Jillian Waid ’04
Costume Construction TA28, TA129
Cutter/Draper Linda Peterson
Set Crew TA25
Box Office Manager/Publicity Director Karen Longest
Box Office Assistants Mark Heyman ’02, Steve Kidd MA’03,
Catherine Tylke ‘05
Poster Designer Andy Rah ‘04
Publicity Photographer Mark Heyman ‘02

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The 100th Anniversary Alumni Production of
SIGHT UNSEEN
by Donald Margulies

May 22-25, 2002 7PM
Understudy performance May 26th 4pm
LEEDS THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Directed by Lowry Marshall
Set Design by Michael McGarty
Costume Design by Phillip Contic
Lighting Design by Tim Hett
Technical Direction by Tim Hett

CAST
(in order of appearance)
JONATHAN Peter Jacobson ’87 *

NICK Andrew Borba ’87 *

PATRICIA Marin Hinkle ’88 *

GRETE Kate Hampton ’91 *

Understudy cast:
JONATHAN Abe Harry Smith ‘04

NICK Andrew Wayne McClain ‘03

PATRICIA Jessie D. Austrian ‘03

GRETE Diana Lynn Fithian ‘04

 

* The Actor appears through the courtesy of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States.

SIGHT UNSEEN by Donald Margulies is presented by arrangement with Dramatists Play Service, Inc. in New York.

Originally produced in New York City by the Manhattan Theatre Club on January 7, 1992.
Commissioned and originally produced by South Coast Repertory.

Music composed by Michael Roth

There will be one ten-minute intermission.

Act I
1. A cold farmhouse in Norfolk, England. The present
2. An art gallery in London. Four days later.
3. The farmhouse. An hour before the start of Scene 1.
4. A bedroom in Brooklyn. Fifteen years earlier.

Act II
5. The farmhouse. A few hours after the end of Scene 1.
6. The art gallery. Continued from the end of Scene 2.
7. The farmhouse. A few hours after the end of Scene 5.
8. A painting studio in an art college. New York State. Seventeen years earlier.


ABOUT THE PLAYWRIGHT
DONALD MARGULIES___________
Donald Margulies’ other works include WHAT’S WRONG WITH THIS PICTURE?, THE LOMAN FAMILY PICNIC, THE MODEL APARTMENT, FOUND A PEANUT, PITCHING TO THE STAR, RESTING PLACE, LUNA PARK, GIFTED CHILDREN, ZIMMER, BROKEN SLEEP, JULY 7, 1994, and THE GOD OF VENGEANCE. His play DINNER WITH FRIENDS won the 2000 Pulitzer Prize for Drama. He wrote a screen adaptation of SIGHT UNSEEN for HBO Films, and a screenplay based on the life of the war photojournalist Robert Capa for Warner Brothers.
A recipient of the 1991 playwriting fellowship from the National Endowment for the Arts, he is a member of New Dramatists and the Dramatists Guild. SIGHT UNSEEN was nominated for a Pulitzer Prize, the New York Drama Critics’ Circle Award, the Outer Ctitics’ Circle Award and a Drama Desk Award. It received an Obie for Best New American Play of 1992. His plays have premiered at Manhattan Theatre Club, South Coast Repertory, The New York Shakespeare Festival and the Jewish Repertory Theatre. Mr. Margulies teaches playwriting at the Yale School of Drama.


CAST BIOGRAPHIES
ANDREW BORBA_________
Andrew Borba has appeared on regional stages all over America. At the Globe Theatre in San Diego, he played Ruskin in THE COUNTESS, at the Berkeley Rep, he was Dan in CLOSER. He's performed at the Oregon Shakespeare Festival, the Long Wharf, the Portland Stage Company and Hudson Valley Shakespeare. Andrew's film credits include THE NEXT BIG THING and A BRIGHT SHINING LIE for HBO. He received his MFA from NYU's graduate acting program.

KATE HAMPTON___________
Kate Hampton appeared on Broadway in THE BEST MAN and THE DEEP BLUE SEA. She was in ALL MY SONS at the Roundabout and played Gertrude in the National Shakespeare Company's HAMLET. She had a leading role in UNDER MILKWOOD with London's Driftwood Theatre Company. Her television credits include LAW AND ORDER, SEX AND THE CITY, and THE GUIDING LIGHT. Kate was trained at Webber Douglas in London.

MARIN HINKLE________
Marin Hinkle's film credits include featured roles in I AM SAM and I'M NOT RAPPAPORT. In addition to being a series regular on ONCE AND AGAIN (Judy Brooks) and LEFTY, she's guest starred on series like SPIN CITY and LAW AND ORDER. Her Broadway credits include ELECTRA (with Zoe Wannamaker, Claire Bloom and Pat Carroll), A THOUSAND CLOWNS (opposite Judd Hirsch), and THE TEMPEST. Off Broadway, she's had leading roles in THE DYBBUK at the Public and BLUE WINDOW at the 28th Street Theatre. She's also performed at the New York Theatre Workshop along with many other New York City theatres. She is a graduate of the MFA acting program at NYU.

PETER JACOBSON_______
Peter Jacobson's film career includes roles in THE CRADLE WILL ROCK, A CIVIL ACTION, DECONTRUCTING HARRY, CONSPIRACY THEORY, and AS GOOD AS IT GETS. On television he's been a series regular on TALK TO ME and THE NEXT BIG THING. He's had guest leads on WILL & GRACE, GIDEON'S CROSSING, OZ, SPIN CITY, NYPD BLUE, COSBY, and LAW AND ORDER. In New York he's worked with The New York Theatre Workshop, The New York Shakespeare Festival, the Atlantic Theatre Company, and the Drama Department. Peter is a graduate of the Juilliard School.

LOWRY MARSHALL________
Lowry Marshall teaches acting, directing and solo performance at Brown, where she's a Professor in the Department of Theatre, Speech and Dance and a member of the Brown/Trinity Consortium faculty. Directing credits include EL GRANDE DE COCA-COLA for the ANTA national touring company, 'ART' and ALWAYS, PATSY CLINE at the Pennsylvania Centre Stage, and 2.5 MINUTE RIDE at the La Jolla Playhouse. Recently at Perishable Theatre, she directed SHOOTER, a solo show about school violence which writer/performer Miriam Silverman '01 developed at Brown last year. Lowry collaborated with performance artist Lisa Kron in the development of her Obie award-winning script for 2.5 MINUTE RIDE. FILLER UP, a solo show which she co-wrote with Deb Filler and directed at the Gloucester Stage, will be performed at the Edinborough Theatre Festival this summer and will move to Toronto for an extended run in the fall. Lowry has been a guest artist at the Williamstown Theatre Festival, the London Academy of Theater, and the Eugene O'Neill Theater Center. Her twin sons, Logan and Taylor Marshall -Green were graduated from NYU and USC this month.

BRENDA ARKO_________
Brenda Arko, Stage Manager, is excited to be a part of the "unseen team" that makes Sight Unseen. Doing all pre-production work over the phone and via e-mail has proven to be quite a challenge. Some of Brenda's credits include: 4 GUYS NAMED JOSE, STARMITES 2001, a staged reading of STORMY WEATHER with Phylicia Rashad. She has also stage managed WAITING FOR GODOT as part of the Fringe Festival at the East River Park Amphitheatre in NY. Brenda has worked at NYU for the Director's Lab production of ENRICO IV, and the 2nd year graduate acting production of MISALLIANCE. In August Brenda will be stage managing the off-Broadway production of LITTLE HAM. Thanks to Lowry for keeping the faith.

JESSIE AUSTRIAN______
Jessie Austrian will be a senior in the fall. She is a theater concentrator and a proud member of the Production Workshop and Brownbrokers boards. She is also a member of the Brown Chattertocks, and this semester has begun volunteering with 4th and 5th graders at the Asa Messer Elementary School Drama Club. Favorite roles at Brown include: Li'l Bit in HOW I LEARNED TO DRIVE, Cunegonde in CANDIDE, Bebe in A CHORUS LINE, June in EMMA and Joanne in STRAIGHT MAN. This summer she will be performing in MUCH ADO ABOUT NOTHING and HENRY V with the Commonwealth Shakespeare Company in Boston, and in the fall she will be playing Jill in Benjamin N. Sugar's production of EQUUS at Production Workshop. She'd like to give a shout out and thanks to McClain and Szczepanski, and to the board, especially the hall seniors- she will miss them much.

DIANA FITHIAN__________
Diana Fithian is a rising junior at Brown University, double-concentrating in theatre and English. A member of Sock and Buskin, Diana's favorite roles at Brown include Charlotte Corday in MARAT/SADE, Bridget in TRANSLATIONS, Mina in DRACULA, and Helen Carver in DESIGN FOR LIVING. She is very excited to be a part of this process, and wants to thank Lowry Marshall for everything, and her parents Ellen and Tom for their love and support.

ANDREW MCCLAIN??????_______
Andrew McClain was recently seen as Mr. Webb in the S & B production of OUR TOWN. As a senior next fall, he will be performing Alan in Benjamin N. Sugar’s production of EQUUS. This summer Andrew can be seen performing in Microsoft's in - house thespian troupe. Special thanks to Lowry, Ben and j.

ABE SMITH_______????????????????
Abraham Smith was originally in the class of 2001 and spent the last three years on leave in Los Angeles acting and doing stand-up comedy. At 19 he was picked up as a regular performer at The Laugh Factory, the club's youngest regular to date. He shot a pilot called Chatroom America and appeared on NBC's Friday Night and UPN's The Parkers. Since returning to Brown, Abe has appeared as Cassio in Othello and rejoined IMPROVidence, the challenging improv comedy troupe. He would like to thank Peter Jacobson for leading by example and setting the bar so high. He would also like to thank Lowry Marshall for her guidance and encouragement and her making his return to college so fun and exciting.

FREDDY GONZALEZ?????_______
Freddy Gonzalez will be a senior at Brown University in the fall. He is a Theatre, Speech, and Dance concentrator and has stage managed for Brown's mainstage and Providence's Perishable Theater. Some of the shows include TRANSLATIONS, DESIGN FOR LIVING, and most recently SHOOTER. In addition, he is a proud member of the Sock and Buskin board. Finally, Freddy will spend his third summer in a row teaching Improvisation and Public Speaking at the Explorations Summer Program at Yale University.

BENJAMIN SUGAR??????_________
Benjamin N. Sugar has assistant directed at Chicago's Steppenwolf Theatre Company on CLOSER by Patrick Marber, at the Philadelphia Theatre Company on THE INFIDEL by Bruce Norris, and will return to Steppenwolf this summer to assistant direct Bruce Norris' new play PURPLE HEART. Prior to this he was a production intern at Steppenwolf and assistant dramaturg at the Philadelphia Theatre Company. At Brown he is a member of the Sock and Buskin board and has dramaturged their most recent production of OUR TOWN. Next year, Benjamin will be a senior at Brown during which time he will be vice-chairing the Sock and Buskin board, directing Peter Shaffer's EQUUS for Production Workshop, as well as Don DeLillo's VALPARAISO for the Brown Department of Theatre, Speech and Dance's Senior Director’s Showcase.


PRODUCTION STAFF

Stage Manager Brenda Arko *
Assistant Stage Manager Freddy Gonzalez ‘03
Assistant Director Ben Sugar ‘03
Assistant Technical Director Alonzo Jones
Production Coordinator Holly Ratafia
Master Electrician Timothy D. Cryan
Assistant Lighting Designer Diana Jeffery ‘04
Electricians Sandra Chang MA’03, Gayle MacDonald ‘03
Sound Operator Andy Hertz ‘04
Running Crew Diana Jeffery ’04
Assistant Costume Designer Amy Komarnicki ‘04
Costume Shop Managers Linda Peterson, Henry DuBois
Cutter/Draper Linda Peterson
Wigmaster/Milliner/Costume Props Henry DuBois
Makeup Henry DuBois
Wardrobe Amy Komarnicki ‘04
Box Office Manager/Publicity Karen Longest
Box Office Assistant Stephen Kidd MA’03
Poster Designer Adam Florin ‘04

ACKNOWLEDGMENTS
Donald Margulies, Randall Sommer, Trinity Rep. Co., Ron Hinkle and Kirstin Moritz.

Special thanks to Ann Matthews and the Graduate Acting Program at New York University’s Tisch School of Performing Arts for their great generosity in providing SIGHT UNSEEN with rehearsal space in New York City.

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