Theatre Speech and Dance
THE
COLORED MUSEUM
ARCADIA
waternowater
THE ACCIDENT
FLIGHT
OUR COUNTRY'S GOOD
THE COLORED MUSEUM
by George C. Wolfe
Music by Kysia BosticDirected by Telia Andersons
September 26- 29, October 3-5, 1996 at 8 pm October 6, 1996 at 3 pm
LEEDS THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS
THE ENSEMBLE
Anitra Brooks
Charmaine P. Dennis
Guy-Mark Foster
Markita Morris
Antony Uy
Special appearance by Molly Tannenbaum as Little Girl
THE EXHIBITS
Git On Board
Cookin' With Aunt Ethel
The Photo Session
Soldier With A Secret
The Gospel According to Miss Roj
The Hairpiece
The Last Mama-On-The-Couch Play
Symbiosis
Lala's Opening
Permutations
The Party
There is no intermission in this production.
Drummer: Gigi Otalvaro
Matt McGarrell, Conductor
DIRECTOR'S NOTE
"There's madness in me and that madness sets me free. That's why when I walk down the street my hips just sashay all over the place. 'Cause I'm dancing to the music of the madness in me."
-Topsy, The Colored Museum
In this subversive tragicomic discourse, Wolfe invokes the spirit of counterhegemonic performance in a celebration of cultural madness. Topsy, from a storehouse of static iconography come-to-life, defines and delineates a performance that ruptures the boundaries and circumscriptions of societal order. Wolfe reaches for an African aesthetic creating a personal ontology of spiritual power and simultaneously forging a space of resistance using Topsy's dance. Exposing the metonymic and paradigmatic connections between madness and power, the playwright urges us to embrace the contradictions that would set us free. In our brief strut across the stage, we attempt to unsettle and de-naturalize valorized paradigms by exposing the museum for its absurdity at the same time that we recuperate its possibilities for survival.
-Telia Anderson
PRODUCTION STAFF
Stage Manager - Nicole Mylona
Assistant Technical Director - David P. Crowley
Technical Assistants - Jonathan Doughty, R. Channing Moore III, Joshua Waldman, Matthew F. Woods
Assistant Director - Brijen Shah
Assistant Stage Managers - Aatish Salvi, Hillary King
Musical Director - Kate Matsutani
Vocal Coaches - Yi-mei Chng, Kelly Mancini
Choreographic Assistance - Sumayah Taliaferro
Dance Captain - Markita Morris
Dimmerboard Operator - Lizzy Davis
Sound Operator - Mike Boilen
Slide Designer/Follow Spot Operator - Leah Williams
Assistant Slide Designer - Courtney Kemp
Set Crew - TA25, TA3 Costume Design Advisor - Phillip Contic
Costume Shop Manager - Ann S. Smith
Costume Shop Assistants - Xochitl Gonzalez, Chelsea Harper, Alexandra Huttinger, Juman Malouf
Costume Construction - TA 27
Dressers - Leah Chalofsky, Thea Grant
Front of House/Box Office Manager - Karen Longest
Box Office Assistants - Zac Cunha, Ann Gellert
Poster Design - Emily Jan
Publicity Photographer - Jess Brakeley
ACKNOWLEDGMENTS
Pearl Aiken, Lorraine Robinson, Marsha Z. West, James O. Barnhill, Lowry Marshall, Charlie Alterman, Cynthia Katz, Frank Castro, Erin McKeown, Loni Berry, Renea Henry, Sandra McDaniel, Don B.Wilmeth, Max
THE COLORED MUSEUM previewed at Joseph Papp's New York Shakespeare Festival on October 7, 1986 and opened on November 2, 1986.
Produced through special arrangement with Broadway Play Publishing Inc., 56 E 81st St., NY, NY 10028. The script to this play may be purchased through BPPI.
SOCK & BUSKIN BOARD
Ann Gellert (Chair), Peter Nachtrieb (Vice-Chair), Anitra Brooks (Secretary), Valerie Bernstein, Dana Goldberg, Amanda Margulies, Margaret Marx, Megan McCrudden, Josh Mellars, Michael Schreiber, Meredyth Smith
ARCADIA
by Tom Stoppard
October 24-27, October 31-November 2, 1996 at 8 pm November 3, 1996 at 3 pm
STUART THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS
CAST
THOMASINA COVERLY Lisa Arkin
SEPTIMUS HODGE Manou Kulukundis
JELLABY Max Finneran
EZRA CHATER David J. Pressman
RICHARD NOAKES James Ashley Stephenson
LADY CROOM Miriam Silverman
CAPTAIN BRICE, RN Norm Lee
HANNAH JARVIS Katharine Powell
CHLOË COVERLY Jessica Capshaw
BERNARD NIGHTINGALE Peter Sinn Nachtrieb
VALENTINE COVERLY Jon Wolanske
GUS COVERLY Eric Green
AUGUSTUS COVERLY Eric Green
Time: April, 1809 and the present day
Place: Sidley Park, Estate of the Earl of Croom
There will be a 10 -minute intermission between Act I and Act II.
Arcadia opened at the Lyttelton Theatre, Royal National Theatre, on April 13, 1993 and at the Vivian Beaumont Theatre in Lincoln Center on March 30, 1995.
Produced by special arrangement with SAMUEL FRENCH, INC.
DIRECTOR'S NOTE
Tom Stoppard's Arcadia premiered in England in 1993 and promptly received the Olivier, London Critics' Circle, and Evening Standard Awards for best play. In 1995, the Lincoln Center production earned the New York Critics' Circle Award. Many have noted the skill with which Stoppard has drawn together the concerns of the arts, humanities, and sciences while giving his drama its own sense of organic life. The play is hardly academic in the pejorative sense of the word — its characters are vitally engaged, its narrative intriguing, its take on humanity full of humor — but surely it deserves a staging in the academy. Welcome to our attempt to give Arcadia its life on the Stuart stage — another room with a history.
Stoppard himself described his play's unlikely genesis shortly before it premiered:
"You see, I got tremendously interested in a book called Chaos by James Gleik which is about this new kind of mathematics. That sounds fairly daunting if one's talking about a play. I thought, here is a marvelous metaphor. But, as ever, there wasn't really a play until it had connected with stray thoughts about other things
Among the "stray thoughts about other things" that found their way into the woods of Arcadia are reflections of and on the second law of thermodynamics, Byron's life and poetry, Lady Caroline Lamb's novels, feminist revisions of the literary canon, the population biology of grouse, Newcomen's improved steam pump, non-Euclidean geometry, the mathematics of fractals and iterated algorithms, the history of English landscape gardening, the clash of scientific and humanist epistemologies, the discordancy of romantic and classical sensibilities, the unrecoverable nature of the past, the thrill of the waltz, the limits of determinism, the discovery of dwarf dahlias and — that most chaotic and least assimilable element of all — human sexuality.
"The thing going wrong is people fancying people who aren't supposed to be part of the plan" — Chloë
These disparate themes are not only sounded turn and turn about in Stoppard's play; in their juxtapositions and recombinations — their iterations — they have deep and sometimes startling effects upon the characters whose lives are encompassed by its intricate, complex, and ultimately beautiful form. That this should be so is especially fitting for a play prompted by a theory that shows how seemingly unrelated events might have surprising effects — a butterfly's wings beating in Japan causing storms in London or Providence.
The root idea, of course, is not entirely new. In War and Peace, Tolstoy presents a view of history in which events on the battlefield and in the drawing room are complexly intertwined, and seemingly inconsequential decisions also have profound effects; chance encounters in the chaos of battle determine the course of human lives and loves, and what Napoleon has for breakfast counts as much, if not more, than his deployment of troops in determining the outcome of the battle of Borodino and the future shape of Europe. At the risk of thinking like Bernard, perhaps it is significant that the action of Tolstoy's epic novel takes place in the same years that Stoppard imagines Thomasina in her study.
It was around 1970, though, that a NASA scientist working on weather patterns discovered that the models for prediction he could establish in his laboratory were influenced by seemingly insignificant factors introduced at the beginnings of his experiments — hence, the "butterfly effect." The quest for a mathematics that could encompass such large and seemingly chaotic systems gave rise to chaos theory, with its interest in fractals and its attraction to the beauty of complex systems marked by secret principles of order. Are chaos and disorder constituent of a deeper order, inchoate and ineluctable? Or is that, too, an illusion, yet another act of intellectual hubris?
"It is the best possible time to be alive, when everything you thought you knew is wrong." Valentine
Arcadia is itself a complex system, seemingly chaotic, with blurred boundaries between epochs and persons, often recycling its own concerns and ideas and words in ways that resemble the computer images generated out of fractal mathematics. But for all its erudition and hidden order, its resonance is a deeply human one — involved with the imperfect, blundering, vain, and, yes, chaotic pursuit of truth and of love shared by humanists and scientists, poets and scholars, and human beings in general:
"Comparing what we're looking for misses the point. It's wanting to know that makes us matter." Hannah
Lives themselves, of course, can be viewed as chaotic narratives, and rehearsals as the shaping of theatrical form through algorithms applied to a text. The metaphor is seductive and it is hard to know where its limits are. In 1962, while picnicking on a hill in Spain, I was told by my companion (a woman from London that I dearly wanted to impress) that she had a friend who was writing a play about — well, sort of about Hamlet, but not exactly, really about Rosencrantz and Guildenstern, but not
exactly about them, either. With the arrogance of the very young, I proceeded to inform her what a hackneyed and trite idea for a play her friend had come up with. I was eloquent. I think I was intolerable. I suspect I shut off all prospects for romance. The play, of course, was Rosencrantz and Guildenstern. The author, or author to be, was Tom Stoppard. Perhaps getting to direct Arcadia is my penance. If so, I have never been presented a more pleasant way to make up for past sins. More chaos? More order?
"I write plays because writing dialogue is the only respectable way of contradicting yourself." Tom Stoppard.
Avriel Hillman, the production's dramaturg, has assembled some images and writings that illustrate the diverse and intricately interwoven strands of information in the fabric of Arcadia and these are on display for you in the lobby. Enjoy! --JE
PRODUCTION STAFF
Stage Manager - Kay S. Cleaves
Assistant Technical - Director David P. Crowley
Technical Assistants - Jonathan Doughty, R. Channing Moore III, Joshua Waldman, Matthew F. Woods
Assistant Stage Managers - Megan Heckert, Taylor D. White
Dimmerboard Operator - R. Benjamin George
Sound Operator - Rayna Deniord
Set Crew - TA25, TA3
Costume Shop Manager - Ann S. Smith
Costume Shop Assistants - Xochitl Gonzalez, Chelsea Harper, Alexandra Huttinger, Juman Malouf
Fabric Dyeing and Painting - Alexandra Huttinger
Costume Construction - TA 27
Dressers - Kacey McBroom, Rachel Meyers
Dramaturg - Avriel Hillman
Dance Instruction - Mark Cohen, Ulrike Emigh
Dialect Coach - Rosalind Clark
Front of House/Box Office Manager - Karen Longest
Box Office Assistants - Zac Cunha, Ann Gellert
Poster Design - Jonathan Fortmiller
Publicity Photographers - Jess Brakeley, Cora Goldfarb
ACKNOWLEDGMENTS
J.O. Barnhill, Thomas Banchoff, List Art Slide Library, The Huntington Theatre, Paul Weidner, Richard and Betty Simons, Joan Richards, PJ Steyer, Vanessa Zimmerman, Ann Gellert, Eric Emigh, Susan Russo, Diana Beck, Peter DuBois, Julia Kennedy, Dov Weinstein, Rhode Island Historical Society, John Hay Library, Maddock Alumni Center, Claude Lorrain, Ulrike Emigh
SOCK & BUSKIN BOARD
Ann Gellert (Chair), Peter Nachtrieb (Vice-Chair), Anitra Brooks (Secretary), Valerie Bernstein, Dana Goldberg, Amanda Margulies, Margaret Marx, Megan McCrudden, Josh Mellars, Michael Schreiber, Meredyth Smith
Brownbrokers's
presents
waternowater
book by Rob Erickson and Peter Glantz
music and lyrics by Rob Erickson
November 14-17, Nov.21-Nov. 23, 1996 at8 pm November 24, 1996 at 3 pm
LEEDS THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS
CAST
giddy deeps Lucas Fleischer
stagecrew
Erin Bradley
PJ Steyer
Chi-wang Yang
gammarus Tanya Andrews
bather one Jesse Reiswig
bather two Onna Lo
bather three Alison Cimmet
bather four Noam Katz
preacher fettum Sam Moyer
attendant Kelina Gotman
miss crystal bethany steak Cara Marcous
laura Gina Hirsch
mudboy Rebecca White
mister clem blister Marty Belafsky
ora Joy Schiff-Glenn
bro Gina Hirsch
sis Joy Schiff-Glenn
king crab Raphael LyonORCHESTRA
Carson Cohen, Conductor
Mike Tarantino Guitar
Rob Erickson Guitar
Isabella Calder Banjo
Lisa Beauchamp Keyboards
Ricky Mandel Percussion
Danny Brooks Percussion
Laurise Hwang Clarinet
Daniel Perlain Tenor Sax
Carson Cohen Additional Instruments
Orchestration by Kristin Grace Erickson
There will be a 15-minute intermission between Act I and Act II .
In memory of William "Billy" Meiklejohn
PRODUCTION STAFF
Stage Manager Lailah Robertson
Production Manager Paula Zaslavsky
Assistant Production Manager Jon Fortmiller
Assistant Stage Managers Sara Ciarelli, Sara Goldsmith, Chris Rice
Dramaturg Alice Tuan
Dimmerboard Operator Dana Edell
Master Electrician Shane Boylan
Sound Designer Leigh Marble
Sound Assistant Scott Pagano
Master Carpenter Andrew Haas
Set Crew Jesse Kocher, Danny Brooks, Sandra Barrack, Roger Bender, Matt Woods, TA25, TA3
Assistant Costume Designer Emily Reardon
Costume Shop Manager Ann S. Smith
Costume Shop Assistants Xochitl Gonzalez, Chelsea Harper, Alexandra Huttinger, Juman Malouf
Vocal Coach Sarah Gurfield
Choreographic Assistance Becky Stark, Jessica Guarnaschelli
Fight Choreographer PJ Steyer
Front of House/Box Office Manager Karen Longest
Box Office Assistants Zac Cunha, Ann Gellert
Poster Design Rob Erickson
Publicity Photographer Jess Brakeley
ACKNOWLEDGMENTS
Kristin Grace Erickson, Alice Tuan, John Clements, Hugh MacMillan, Stephanie Mankins, Daniel Culliford, Laurie Kardos, Steve O’Reilly, Ideological Rock Apparatus, Daniel and Cathy Sullivan, Erminio Pinque and Big Nazo Puppets, Phillip Contic, Ann Gellert, Mara Gerstein, Masque Sound, NY, John Lucas, Bill Roche, Rebecca Hart, David Crowley, Hubert Fortmiller, Brown University Department of Music, Brach’s Candy Corn, Ronald and Gina Glantz, Amy and Cedric Cranko, San Rafael Public Library, Brownbrokers Board (Fall 1996) Elise Keppler (Chair), Adam Arian, Stasia Blyskal, Mara Gerstein, Meredyth Smith, Paula Zaslavsky
UNIVERSITY THEATRE / SOCK AND BUSKIN presents
the Senior Director's Showcase production of
THE ACCIDENT
by Carol K. Mack
February 19-23, 1997
8 pm
LEEDS THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS
CAST
JOHN Frank Morris
BESSIE Rebecca White
BEN Rob Erickson
DOREEN Rebecca Stark
DR. GREYSON Kurt Wootton
THE "OTHER" DR. GREYSON Peter Glantz
THE ACCIDENT will be performed without an intermission.
THE ACCIDENT is produced by special arrangement with the Robert A. Freedman Dramatic Agency, Inc.
DIRECTOR'S NOTE
"But what's the Real story of the Accident?" - Bessie
The Accident is a story in progress — a play that has a strong theoretical basis, encompassing Sartrean existentialism, Freudian psychoanalysis, Taoism, feminist theories, and the surrealism of Magritte. A play that opens out to more than one interpretation using any recombination of these lenses. A play that raises questions of gender, subjectivity and identity. What happens when language literally evaporates? How can something both real and not real exist in the same location? The Accident lends itself to multiple answers, but what is important is that the play transcends these questions. As notions of “the Real” are unfolded, divided and reconfigured, it becomes evident that no single theory can provide all of the answers. You can try to rationalize an understanding of the play, as Mack stretches and breaks the bounds of reality; you can open your mind to the idea of multiple interpretations, multiple realities.
We have worked to create a world in which the only constant is its continual metamorphosis. Our goal is not the answer to the question, but the answers. The bricolage assembled is an open invitation: we invite your imagination to take over. What we see here before us are fragments; the point was never to assemble them. This is an exploration of what happens to these characters when perceptions of the truth break down. Just as Bessie’s life is a work in progress, so to is the script. After starting rehearsals we discovered that Carol Mack has now written a new, and in some ways quite different, version of these events. While I have drawn upon the new script whenever possible within the structures laid down by the production, you are invited to look at Carol Mack’s most recent shaping of these events in our Becker Library. -- ABG
THE ACCIDENT's complimentary Brown student tickets are made possible by a contribution from a Friend of Brown University Theatre.
PRODUCTION STAFF
Stage Manager - Sean Brusky
Production Manager - Paula Zaslavsky
Assistant Stage Managers - Rick Harris, Anjali Sivan
Assistant Production Manager - Paul Grellong
Dramaturg - Tricia Brick
Technical Director - R. Channing Moore, III
Assistant Technical Director - Seth Goldberger
Master Electrician - Aram Berlandi
Assistant Master Electrician - Annabelle Heckler
Dimmerboard Operator - Jennifer Bloustine
Sound Operator - Leigh Marble
Lighting Crew - Alice Dodge, Kristie Lynn Roldan, TA26
Assistant Props Designer - Julie K. Novacek
Assistant Costume Designer - Thea Grant
Costume Advisor - Phillip Contic
Costume Shop Manager - Ann S. Smith
Costume Construction - TA28
Dressers - Elena Jakubiak, Robin Romanovich
Running Crew - Rachel Bien, Eileen Connor, Lucas Fleischer, Kevin Teich
Set Crew - TA3, TA26, cast and crew
Front of House/Box Office Manager - Karen Longest
Box Office Assistants - Zac Cunha, Ann Gellert
Poster Design - Emily Jan
Publicity Photographer - Jess Brakeley
Faculty Advisor - John Emigh
ACKNOWLEDGMENTS
Anne Ursu, Robert A. Freedman, Dana Edell, Lucas Fleischer, John Emigh, John Lucas, Nancy Dunbar, Phillip Contic, Bill Roche, Karen Longest, Tori Haring-Smith, John Santos and Bread and Circus, David Crowley, John Pacheco, Bill Dunn, Kélina Gottman, Production Workshop, Sarah Faulkner, Ana Selles, Mia Pho, Connecticut Valley Biological Supply, San Francisco University High School, Aaron and his radio, Carson Cohen, The Gellert Family, Julie Seltzer, Nikola Smith, Cal Pig, Jenny Jill, Safu, and, of course, Harper
SOCK & BUSKIN BOARD
Ann Gellert (Chair), Peter Nachtrieb (Vice-Chair), Anitra Brooks (Secretary), Lisa Arkin, Valerie Bernstein, Dana Goldberg, Sarah Gurfield, Margaret Marx, Megan McCrudden (on leave), Josh Mellars (on leave), Christina Nicosia, David Pressman, Michael Schreiber, Meredyth Smith
FLIGHT
by Mikhail Bulgakov
Translated by Mirra Ginsburg
March 6-9, 13-15, 1997 8 pm March 16, 1997 3 pm
STUART THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS
CAST
ARTUR ARTUROVICH, cockroach king Bill D'Agostino
SERGEY PAVLOVICH GOLUBKOV Todd Sullivan
son of an idealist professor, fleeing from St. Petersburg
SERAFIMA VLADIMIROVNA KORZUKHINA Miriam Silverman
fleeing from St. Petersburg
PAISY, a monk Ryan Phillips
BAYEV, commander of a regiment in the Red Army Adrian Jevicki
GRIGORY LUKYANOVICH CHARNOTA Burnett Voss
a Cossack cavalryman, Major General in the White Army
DE BRIZAR, Commander of a Hussar regiment of the White Army Justin Vogt
LYUSKA, General Charnota's camp wife Jordan Roter
KRAPILIN, General Charnota's orderly Julian Davis
ARCHBISHOP OF SIMFEROPOL Max Finneran
ROMAN VALERIANOVICH KHLUDOV Michael Crane
a General in the White Army
GOLOVAN, Cossack Captain, Khludov's adjutant Andy Greenwald
STATIONMASTER Bill D'Agostino
NIKOLAYEVNA, Stationmaster's wife Joanne Chapman
PARAMON ILYICH KORZUKHIN David J. Pressman
Serafima's husband, Vice Minister of Trade
COMMANDER IN CHIEF OF THE WHITE ARMIES Max Finneran
BISHOP AFRICANUS, spiritual leader of the White Army Adrian Jevicki
TIKHY, Chief of counter-intelligence Justin Vogt
GURIN, counter-intelligence man Ryan Phillips
SKUNSKY, counter-intelligence man Adrian Jevicki
ANTOINE GRISHCHENKO, Korzukhin's valet Bill D'Agostino
COCKROACHES
Setting
First Dream: Southern Russia In October, 1920
Second, Third and Fourth Dreams: The Crimea In Early November, 1920
Fifth Dream: Constantinople In The Summer Of 1921
Sixth Dream: Paris In The Autumn Of 1921
Seventh Dream: Constantinople In The Autumn Of 1921
There will be a ten-minute intermission between Dreams Four and Five.
There will be use of firearms onstage during this production.
DIRECTOR'S NOTE
Lenin had a revolution to win in 1917 and so opposed those who thought it better to cease internal opposition to the government until the First World War could be settled. Lenin got his wish when the international war was eclipsed on the home front by a civil war which lasted from 1917 to 1921, plunging Russia into a chaos exacerbated by the opportunistic incursion of German, Austrian, and Turkish armed forces. By 1918, the anti-Bolshevik ("Red") forces were fully "White" in character — composed of nationalist, conservative, and ultimately doomed officers loyal to a deposed (March 2, 1917), then executed tsar (July 16-17, 1918). The Civil War was fought largely via railway by conscripts and professional soldiers, Hussars and Cossacks, the latter independent mercenary fighters who for the two previous centuries had been compelled to serve as the tsar's internal security force. The Reds and the Cossacks forged an uneasy alliance, based upon mutual distrust and self-interest, in order to defeat the Whites. The White forces became increasingly "friendless," and by the end of 1919 were outnumbered by the Reds by a ratio of twenty to one. The Civil War resulted in some 800,000 military deaths, but civilian casualties from disease and internal repression swelled the number of dead to between seven and ten million.
Mikhail Bulgakov was born in Kiev in the Ukraine, the son of an idealist professor (of theology), like his character Golubkov. Medically trained, Bulgakov was an early theatre (especially opera) devotee who saw his native city contested by German troops, the Ukrainian Nationalist Army, the Reds and the Russian Volunteer Army, in which he served briefly as a field doctor. In 1925, Bulgakov published his novel The White Guard which became the basis of his play The Days of The Turbins from the same year. Bulgakov offered a sympathetic treatment of White Army officers, their camp followers and allied intellectuals which in its dramatic form became a great success at the Moscow Art Theatre and a personal favorite of Stalin. The more adventurous successor (although not sequel) to "Turbins," Flight was rehearsed but never staged in Bulgakov’s lifetime. It takes its structure as well as its story from the tragic modern theme of exile and diaspora, as the Whites rush and scatter, lurch and stumble toward redemption and a vanished "home." Although Bulgakov’s great novel The Master and Margarita would not be completed until just before his death, Flight already revealed the multi-thread form and hallucinogenic surreality which he came to favor in his work. Characters and locales appear and dissapear without warning and "dreams" fade out and fade in, taking the place of scenes. In the time slips, people devolve into insects and monsters and foes are re-humanized as friends by having undergone unimaginably tragic suffering and absurd pain.
Two of Bulgakov's brothers emigrated and the second of his three wives was a returnee. After his writings were banned under Stalin, Bulgakov too contemplated leaving but was "compensated" for the loss of his creative autonomy with a position as literary adapter of other people’s works at the Moscow Art Theatre. He lived his compensatory quixotic dreams through Cervantes and Molière, in whose life and work he immersed himself and whom he hoped to meet first in the afterlife. Dying from the neurosclerosis he had diagnosed in himself, Bulgakov was surrounded by his theatre friends. One of them, the banned playwright Nikolay Erdman, had to sneak in and out of Moscow from which he had been internally exiled in order to pay his last respects to The Master."
This is for all of the exiles.
-Spencer Golub
Translation of Bulgakov's FLIGHT used by permission of New Directions Publishing Corporation.
PRODUCTION STAFF
Stage Manager - Elizabeth Seater
Assistant Stage Managers - Sarah Babcock, Elizabeth Newman
Assistant Technical Director - David P. Crowley
Technical Assistants - Jonathan Doughty, Kristie Lynn Roldan, Joshua Waldman, Matthew F. Woods
Assistant Costume Designer - Amy Hofer
Costume Shop Manager - Ann S. Smith
Costume Shop Assistants - Ayana Evans, Xochitl Gonzalez, Chelsea Harper, Juman Malouf
Costume Construction - TA28
Facial Hair - James C.Andrews
Dressers - Elanna Allen, Michelle Stefano
Set Crew - TA26
Front of House/Box Office Manager - Karen Longest
Box Office Assistants - Zac Cunha, Ann Gellert
Poster Design - Jonathan Fortmiller
Publicity Photographer - Jess Brakeley
ACKNOWLEDGMENTS
TA26, James Andrews, TA28, TA129, John Pacheco and the Grounds crew, Phil O’Hara
SOCK & BUSKIN BOARD
Ann Gellert (Chair), Peter Nachtrieb (Vice-Chair), Anitra Brooks (Secretary), Lisa Arkin, Valerie Bernstein, Dana Goldberg, Sarah Gurfield, Alexandra Litow, Margaret Marx, Megan McCrudden (on leave), Josh Mellars (on leave), Christina Nicosia, David Pressman, Michael Schreiber, Meredyth Smith
OUR COUNTRY'S GOOD
by Timberlake Wertenbaker
April 10-13, 17-19,1997 at 8 pm
April 20, 1997 at 3 pm
LEEDS THEATRE
CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS
C A S T
OFFICERS
2ND LIEUTENANT RALPH CLARK, RM Taylor D. White
MAJOR ROBBIE ROSS, RM Joshua V. Scher
CAPTAIN ARTHUR PHILLIP, RN Jonathan Emerson Kohler
CAPTAIN WATKIN TENCH, RM Jonathan W.V. Mahone
CAPTAIN DAVID COLLINS, RM Joshua Gleason
MIDSHIPMAN HARRY BREWER, RN Robert Carl Erickson III
CAPTAIN JEMMY CAMPBELL, RM Peter S. Glantz
REVEREND JOHNSON Lizzy C. Davis
LIEUTENANT GEORGE JOHNSTON, RM Lisa Arkin
LIEUTENANT WILL DAWES, RM Nehassaiu de Gannes
2ND LIEUTENANT WILLIAM FADDY, RM Dion J. Banville
CONVICTS
ROBERT SIDEWAY Joshua Gleason
JOHN WISEHAMMER Dion J. Banville
MEG LONG Jill Samuels
MARY BRENHAM Nehassaiu de Gannes
DABBY BRYANT Jill Samuels
LIZ MORDEN Lizzy C. Davis
DUCKLING SMITH Lisa Arkin
KETCH FREEMAN Jonathan Fortmiller
BLACK CAESAR Jonathan W.V. Mahone
JOHN ARSCOTT Peter S. Glantz
AN ABORIGINAL AUSTRALIAN Drew Volmert
TIME: 1788-1789
PLACE: SIDNEY, AUSTRALIA
Act I
Scene One The Voyage Out
Scene Two A Lone Aboriginal Australian Describes the Arrival of the First Convict Fleet in Botany Bay on January 20, 1788
Scene Three Punishment
Scene Four The Lonliness of Men
Scene Five An Audition
Scene Six The Authorities Discuss the Merits of Theatre
Scene Seven Harry and Duckling Go Rowing
Scene Eight The Women Learn Their Lines
Scene Nine Ralph Clark Tries to Kiss His Dear Wife’s Picture
Scene Ten John Wisehammer and Mary Brenham Exchange Words
Scene Eleven The First Rehearsal
Act II
Scene One Visiting Hours
Scene Two His Excellency Exhorts Ralph
Scene Three Harry Brewer Sees the Dead
Scene Four The Aborigine Muses on the Nature of Dreams
Scene Five The Second Rehearsal
Scene Six The Science of Hanging
Scene Seven The Meaning of Plays
Scene Eight Duckling Makes Vows
Scene Nine A Love Scene
Scene Ten The Question of Liz
Scene Eleven Backstage
There will be a fifteen-minute intermission between Acts I and II
DIRECTOR'S NOTE
barbarous adj., 1. uncivilized; primitive 2. crude; course 3. cruel; brutal capital adj., 1. punishable by death 2. of, or being, the seat of government 3. excellent
civilize vt., 1. to bring out of a condition of savagery or barbarism to a higher level of social organization, especially in the arts or sciences 2. to refine
colony n., 1. a) a group of settlers in a distant land, under the jurisdiction of their native land b) the region settled. 2. any territory ruled over by a distant state 3. a community of the same nationality or pursuits 4. Biol. a group living or growing together
country n., 1. an area, region 2. the whole territory, or the people, of a nation 3. the land of one’s birth or citizenship 4. land with farms and small towns
haunted adj., supposedly frequented by ghosts
homeland n., the country in which one was born or makes ones home
redeem vt., 1. to recover 2. to turn in 3. to pay off 4. to ransom 5. to deliver from sin 6. to fulfill a promise 7. to make amends or atone for; to restore oneself to favor - Peter DuBois
OUR COUNTRY’S GOOD is produced by special arrangement with Dramatic Publishing.
PRODUCTION STAFF
Stage Manager - Sandra L. Barrack
Assistant Technical Director - David P. Crowley
Technical Assistants - Jonathan Doughty, Kristie Lynn Roldan, Joshua Waldman, Matthew F. Woods
Assistant Stage Managers - Mark H. Killian, Christina White
Dimmerboard Operator - Jennifer Johung
Sound Operator - Mike Boilen
Set Crew - TA 26
Costume Shop Manage - Ann S. Smith
Assistant Costume Designer - Thea Grant
Makeup Design - Xochitl Gonzalez
Assistant Makeup Designe -r Heather Wilson
Costume Props - Thea Grant, Juman Malouf
Costume Shop Assistants - Ayana Evans, Xochitl Gonzalez, Chelsea Harper, Juman Malouf
Costume Construction - TA 28, TA 129
Dresser - Becky White
Dialect Coach - Rosalind Clark
Original Digeridoo Recording - Tim Svelts
Front of House/Box Office Manager - Karen Longest
Box Office Assistant -s Zac Cunha, Ann Gellert
Poster Design - Jonathan Fortmiller
Publicity Photographer - Jess Brakeley
ACKNOWLEDGMENTS
Thalia Field, Mark Cohen, Ann B. Gellert, Lowry Marshall, Alice Tuan
SOCK & BUSKIN BOARD
Ann Gellert (Chair), Peter Nachtrieb (Vice-Chair), Anitra Brooks (Secretary), Lisa Arkin, Valerie Bernstein, Dana Goldberg, Sarah Gurfield, Alexandra Litow, Margaret Marx, Megan McCrudden (on leave), Josh Mellars (on leave), Christina Nicosia, David Pressman, Michael Schreiber, Meredyth Smith
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Brown Dance Ensemble
SPRING DANCE CONCERT 1997
produced by Michelle Bach-Coulibaly
ONE DUET FOR FIVE
choreographer: Stasia Blyskal
BHARATA NATYAM (Classical Indian Dance)
choreographer: Kathy Kulkarni
IN MY MOTHER’S HOUSE, WHERE GENERATIONS DWELL
choreographer: Annamaura Silverblatt
REVERIE
choreographer: Laura Bennett ‘92
REQUIEM
choreographer: Colin Connor
ANCIENT AIRS AND DANCES
choreographer: Kate Solmssen
SING, SING, SING
choreographers: Leigh Fitzgerald and Miriam Friedel
THE RAINBOW ETUDE
choreographer: Donald McKayle
BINSOGO BO
choreographers: Michelle Bach-Coulibaly and Seydou Coulibaly