Playbills

UNIVERSITY THEATRE / SOCK AND BUSKIN presents

the World Premiere of

Las Meninas
by Lynn Nottage

October 23-26, Oct.30-Nov. 1, 1997 8 pm

November 2, 1997 3 pm STUART THEATRE

CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Directed by John Emigh

Set and Lighting Design by John R. Lucas

Costume Design by Phillip Contic

Sound Design by David P. Crowley

Choreography by Michelle Bach-Coulibaly

Technical Direction by William C. Roche

CAST

LOUISE MARIE THERESE Robyn C. Neblett

MOTHER SUPERIOR Kate Weisburd

KING LOUIS XIV OF FRANCE Dan O'Brien

DOCTOR FAGON Ryan Wulff

PAINTER Michael Crane

LADY IN WAITING Susanna Harris

LADY IN WAITING Serena Merriman

QUEEN MARIA THERESA OF FRANCE, Julie Fei-Fan Balzer

AND DAUGHTER TO THE KING OF SPAIN NABO SENSUGALI Justin Bernstine

ANNE OF AUSTRIA,QUEEN MOTHER OF FRANCE Jill A. Samuels

AND SISTER TO THE KING OF SPAIN THE DUCHESS DE LA VALLIERE Helene Sevaux LOUISE DE LA BAUM LA BLANC

Time: 1695
Place: The Moret Convent, outside of Paris

There will be a ten-minute intermission between Acts I and II

LAS MENINAS is presented by arrangement with The Gersh Agency NY, Inc.

DIRECTOR'S NOTE

A Yoruba proverb states that "The White man who made the pencil also made the eraser."

How does one recapture an erased history?

In the library of St. Genevieve in the Latin Quarter of Paris, there is a simple unsigned portrait of an African woman in nun's habit: Louise Marie Therese, the Black Nun of Moret (1664-1732). Cloistered all her life, this African-featured nun took the veil at the late age of 31 in 1695. Journals and diaries attest to her having been visited throughout her life by important personages from the royal Court. A folder at St. Genevieve bears the title, "Documents Concerning The Princess Louise Marie, Daughter of Louis XIV and Marie Theresa." The folder is empty.

On November 1664, after a pregnancy marked by "dark forebodings," Maria Theresa, the pious and devoted Queen of the notoriously philandering Louis XIV, gave birth to a baby daughter. Laughter is said to have greeted her birth. Rumors ran wild in the court. The child was said to have been born "black as ink from head to toe," covered with hair, a monster. Shortly after birth, the child was pronounced dead by a grief-stricken King.
It was rumored at Court that the child was fathered by an African dwarf named Nabo, a young man from Dahomey presented to the Queen by relatives in Spain. Soon after his arrival, Nabo had become the Queen's favorite companion. Perhaps, it was discretely suggested, a penetrating glance from this slave had corrupted the royal womb. Nabo was sent for by the King. He disappeared.
Joseph Roach, in his recent Cities of the Dead: Circum-Atlantic Performance, (Routledge 1996), suggests that such disappearances are frequent in the annals of European history. The following lines are cobbled together with apologies from various chapters of his book, representing one of the several through lines of thought in an elegant argument.

Memory is a process that depends crucially on forgetting. [There are] persistent Atlantic occasion[s] particularly subject to forgetting: encounters between and among white, red, and black peoples. In representations of such encounters, at least one of the parties seems fated to disappear from the selective memory of another. On the one hand, forgetting is an opportunistic tactic of whiteness. Such disappearances are necessary to ensure the untroubled performance of a dominant trope: that of genealogical succession, imagined as a stately procession, as an everlasting club whose members succeed one another as if on parade. On the other, the vast scope of the project of whiteness?and the scope of the contacts amongst cultures that it required?limited the degree to which its foils could be eradicated from the memory of those who had the deepest motivation and the surest means to forget them. In a world continuously reinvented by intercultural propinquity?and that is precisely what the circum-Atlantic world was and is?the order of any procession may be threatened with interruption or usurpation. There is a pressure exerted by this implicit menace of usurpation. The fear that blood will be mixed, a fear that intensifies the ritual expectation that blood must be shed, haunts these representations like a vengeful ghost: the specter of future generations threatening to be born.

How does one recapture a history erased in "the project of whiteness"? One way is by refiguring it as fiction, in the subjunctive, as fantasy and play?piecing together bits and pieces of dialogue noted in journals and diaries, restaging encounters noted but not described, and letting imagination, humor, and rage flood into the spaces left empty by the human shredding machines of history's spin doctors.

And why name a play about events that may have taken place in a French Court after a Spanish masterpiece painted by someone who never even visited France? Perhaps, because Diego Velázquez, too, was concerned with the backstage to history, with what is revealed, what is hidden, and what gets seen in a distorted mirror. Perhaps, because Maria Theresa and Louise Marie?close kin of the Spanish royal family being prepared for history in Las Meninas (which has sometimes been translated as The Ladies in Waiting)?are themselves ladies in waiting: each waiting for love, for personal narrative, for her story to be lived and performed.
Lynn Nottage graduated from Brown in 1987 and received an MFA in playwrighting from Yale in 1989. Her plays have since been produced in New York and at regional theatres around the country. Her newest play, Mud, River, Stone, is being rehearsed for presentation at Playwrights Horizon this fall. It is an honor and a pleasure to present the world premiere of Las Meninas. On Tuesday, October 2nd, while this production was in rehearsal, Lynn and her husband, Tony Gerber (also Brown 1987) brought their own daughter into the world: Ruby Gerber. The production is dedicated to her. -- JE

PRODUCTION STAFF

Stage Manager Megan C. McCrudden
Assistant Technical Director David P. Crowley
Technical Assistants Annabelle Heckler, Christina Nicosia, Joshua Saulle, Matthew F. Woods
Assistant Stage Managers James Hayward, Nathan Wilson
Dimmerboard Operator Melanie Rawlins
Sound Operator Aya Morton
Set Crew TA25, TA3
Costume Shop Manager Ann S. Smith
Assistant Costume Designer Justin Bernstine
Costume Shop Assistants Naomi Bernstein, Justin Bernstine, Jenny Ekberg, Amy Hofer
Wardrobe Tom Gray, Jessica L. Guarino, Jennifer Johung Wig and Milinery Mistress Thea Grant
Wig and Milinery Construction Sharon Goldwater, Sara Grady, Thea Grant, Abigail Joseph, Adi Segal, Emily Spivack, Rebecca White
Costume Special Effects Tom Carruthers
Fabric Painting Delari Johnston
Costume Construction Kay Lee, Katherine McBroom, TA27
Dramaturg Naima Lowe
Cultural Consultant Seydou Coulibaly
Front of House/Box Office Manager Karen Longest
Box Office Assistants Joanne Chapman, Kristie Lynn Roldan
Poster Design Jonathan Fortmiller
Publicity Photographer Jess Brakeley

ACKNOWLEDGMENTS

Eric Emigh, Ulrike Emigh, Tony Gerber, Ed Shea, Bacchus Mask by Uwe Thaler

Music from the works of Hildegard of Bingen, Ahrweil Antiphone, Jean-Baptiste Lully, Christoph Forster, and traditional sources, performed by Anonymous 4, The London Oboe Band, Peter Damm, The Bata Ensemble of Sakete, Benin, Ousmane Sacko and Yakare Diabate, and Lazaro Ros Poster adapted from a study of Las Meninas by Pablo Picasso, 1957

SOCK & BUSKIN BOARD

Christina Nicosia (Chair), Lisa Arkin (Vice-Chair), David Pressman (Secretary), Valerie Bernstein, Seth Goldberger, Eric Green, Alexandra Litow, Margaret Marx, Megan McCrudden, Michael Schreiber, Rebecca White, Taylor White, Jonathan Wolanske

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DANCE ENSEMBLE
FALL CONCERT

December 3-6, 1998 ASHAMU STUDIO

CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Produced by Julie A. Strandberg

Assistant Producer: Annamaura Silverblatt

IN MEMORIAM PRINCESS GRACE
Choreography by Michelle Bach-Coulibaly
Music by Anthony Burgess
Sculpture and Costumes by Michelle Bach-Coulibaly and Matthew Cottam
DANCERS:
Joshua Asen, Juliette Berg, Lila Rose Kaplan, Jon Martin, Jenna Smith Millman, Caden Williamson

NUMBER FIVE
Choreography by Alison Friedman, Rajeev Goyal, Jennifer Livaudais, Emily Bartholomew, Leigh Fitzgerald, Miriam Friedel, and Jessica Zenk
Music: "Follow Me" by Bahia Black
DANCERS:
Kimberly Barclay, Juliette Berg, Emily Bartholomew, Leigh Fitzgerald, Miriam Friedel, Alison Friedman, Rajeev Goyal, Monica Herrera, Jennifer Livaudais, Irene Klien, Bridget Picano, Alicia Wolcott, Jessica Zenk, Sara Kaplan

PICTURE PERFECT
Choreography by Nancy Rimmer
Music/text by L. Gerrard, V. Woolf
DANCERS:
Wendy Rein, Nancy Rimmer

CLOSETED OVERTURE
In dedication to SIG
Choreographed and performed by Jessica Gaynor
Music: Armenian Rhapsody No.3 by Alan Houhaness
Special thanks to my friends and family for their encouragement and support.

TRAILS AND TURNS (1997)
Choreography by Laura Bennett (Brown ‘92) and Amy Kail Music by Tom Farrell
Costumes by Debbie Mall
DANCERS:
Lauren Hale, Cara Murray

BUT
and women lit sabbath candles
and we were transported like cattle
and men prayed
and women and men loved
But they could not clip the wings of our hopes
Choreography by Annamaura Silverblatt
Music by Gideon Klein, composed in Theresienstadt
Dance Captains: Miriam Ryvicker and Victor Holtcamp
DANCERS:
Juliette Berg, Corinna Chun, Erin Enlock, Andrea Frias, Miriam Friedel, Victor Holtcamp, Kate James, Rainy LaVenture, Johnathan Marlin, Mike Platz, Tiffany Reese, Wendy Rein, Nancy Rimmer, Miriam Ryvicker, Cory Stephenson, Caden Williamson
These are fragments from a full evening work dealing with the Holocaust to be presented in May during Commencement week. Special thanks to Miriam Ryvicker for her unbound dedication to my work.

RECOGNIZE YOU
Choreography by Christopher Elam
Music by Nate Stumpff
Musicians: Dan Restuccsa, Christine Coletta, Corey Byrnes, Nate Stumpff
DANCERS:
Christopher Elam, Wendy Rein, Andros Zins-Browne
Choreographed for Misnomer Dance Theater
Thank you to the Theatre, Speech and Dance Department, the Brown Community, and especially to the dedicated dancers who live in Ashamu and have brightened my time here.

A LITTLE DIVERSION
Choreography by Michelle Bach-Coulibaly
Music: Divertimento in D Major , Wolfgang Amadeus Mozart I. Allegro II. Andante III. Presto
Costumes by Michelle Bach-Coulibaly
DANCERS:
Hannah Blitzblau, James Brown, Corinna Chun, Jessica Gaynor, Lauren Hale, Alison Harris, Felice Le, Cara Murray, Sarah Nolan, Katie Rhodes, Nancy Rimmer, Daryl Springer, Cory Stephenson, Dana Turken
Special thanks to Paul Phillips for bringing this music to my attention and sharing it with us, and to my dancers who have brought it to life.

I N T E R M I S S I O N

REQUIEM (1990)
Choreography by Colin Connor
Music: "Requiem" by Gabriel Faure
Costumes by Deb Newhall
Costume reconstruction by Janna Pederson
Reconstruction by Wendy Rein, Nancy Rimmer, Cara Murray, and Miriam Ryvicker
DANCERS: (in order of appearance)
December 3 & 5
Jordana Starr, Thea Grant, Felice Le, Cara Murray, Wendy Rein, Nancy Rimmer
December 4 & 6
Hannah Blitzblau, Ama Codjoe, Sara Nolan, Katie Rhodes, Miriam Friedel, Miriam Ryvicker

FRONT
Choreography by Kate James
"Cloud" by Sandra Cisneros
Read by Anna Fox-Cheney
DANCERS:
Kate James, Sarah Leddy, Rainy LaVenture, Jesse Fisher
To my beautiful brave dancers for their dedication.

FLOW FORM (1986)
Choreography by Ruth Andrien
Music: "Flow Form" by Mike Ford
Costumes by Debbie Mall
Reconstruction by Laura Bennett
DANCERS:
December 3 & 4
Jessica Gaynor, Nancy Rimmer, Miriam Ryvicker, Ryan Smith
December 5 & 6
Victor Holtcamp, Felice Le, Leta Malloy, Cara Murray

section 1
Choreography by Cara Murray
Music: Moby-Unloved Symphony (djd custom edit)
DANCERS:
Thea Grant, Kate James, Sara Pollack, Daryl Springer, Dana Turken
Note: This is a work in progress, thanks to the dancers generosity.

TENANT OF THE STREET (1938)
Choreography by Eve Gentry
Music: Street sounds
Costume Reconstruction by Phillip Contic
Reconstruction by Mary Anne Newhall
DANCER: Jessica Gaynor

THE ORACLE
Choreography by Anita Gonzalez
Music by Tiye Giraud
DANCERS:
THE SATYR James Brown
WOMEN Jessica Gaynor, Alison Harris, Brandeis Johnson, Leta Malloy, Daryl Springer, Jessica Zenk, Michelle Bach-Coulibaly
Choreographer's Note:
"THE ORACLE" deals with man's quest to understand the paradox of life and death, our fear and attraction to sexuality and our communion with the unknown power that drives us. It was inspired by the oracle at Delphi in Greece, a cave where deities were consulted.
(Lyrics by Tiye Giraud)
I am the caller
I have always been there
Asking the same questions
Giving the very same answers
TECHNICAL CREW
Lighting Designer Timothy Cryan

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BROWN UNIVERSITY THEATRE / SOCK AND BUSKIN presents

the Senior Director's Showcase production of

THE BACCHAE
by Euripides
translated by C. K. Williams

February 18-22, 1998 AT 8 pm

LEEDS THEATRE

CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Director Dana Edell

Master Painter Emily Jan

Costume Designer Thea Grant

Lighting Designer Kristie Lynn Roldan

Sound Designer Scott Pagano

Technical Director/Property Designer Owen Fink

Original Music by Srinivas Reddy

CAST

DIONYSUS Hunter K. Eastburn

BACCHANTS:

eldwra (ELDORA) Sara Ciarelli

derkoma (DERKOMA) Iris Bar-Ziv

elkaisa (HELKAISA) Kelina Gotman

zalh (ZALI) Gina Hirsch

koilia (KOILIA) X-ina Nicosia

PENTHEUS Jess Ramsey Howell

FELIX Christopher Hayes

CADMUS Brian Zimbler

TIRESIAS Adrian Jevicki

AGAVE Jess Ramsey Howell

Zeus

Ares = Aphrodite

Harmonia = Cadmus

Echion = Agave Ino Autonoe Semele = Zeus

Pentheus Dionysus

DIRECTOR'S NOTE

how sweet to the body
you enter me whole
hollow me through . i am possessed
unbinding from the mountain revels
i collapse to the ground
encircled in fawnskin . gutted with radiance
how sweet the kill
the honey . smelling blood
sticky milky carress my lips
the sacramental sacred
luminescent relishing
of tender peach raw flesh
oh . blaze tmolos with your river of flames
golden waters . streams of crystal honey
rechildize with songs of DIONYSUS
the rippling crash of drums
vibrant surge possess
my heart
dance the mountain in spirals
on the breath of ecstasy
then in that moment . a girl
a girl like me . a girl like you
saturated with pleasures
breathing with fires
she dances with dangers
in fields without fences
unbound
bacchae. euripides
translated by dana edell

The first production of Euripides' BACCHAE was performed in the Theater of Dionysus, Athens, Greece, two-thousand, four-hundred and six years ago

PRODUCTION STAFF

Stage Manager/Assistant Director Megan Sandberg-Zakian
Production Manager Giselda Beaudin
Dramaturg Jasmine Syedullah
Assistant Technical Director Jesse Kocher
Assistant Stage Managers Maria Goyanes, Monique Schumacher
Master Electrician Jesse Chan-Norris
Dimmerboard Operator Jarret Byrnes
Sound Operator Scott Pagano, Benj Gerdes (2/19)
Set Crew TA26, TA3
Light Crew Devin Borland, Marty Lichtman, Jarret Byrnes, Jonathan Doughty, Brian Herschkopf, Rose Schuman, Sarah Osten, Michael Tarantino
Costume Shop Manager Ann S. Smith
Costume Design Assistant Kay Lee
Costume Construction Naomi Bernstein, Justin Bernstine, Xochitl Gonzalez, Amy Hofer
Wardrobe Assistants Julie Cramer, Sarah Petersiel Makeup Krishna Hathaway
Faculty Advisor John Emigh
Front of House/Box Office Manager Karen Longest
Box Office Assistants Joanne Chapman, Kristie Lynn Roldan
Poster Design/ Graphics Lucas Fleischer, Emily Jan
Publicity Photographer Jess Brakeley

ACKNOWLEDGMENTS
Steven and Miriam Edell, Fred Ahl, Ev Corum, Deborah Boedeker, John Emigh, PW, Charles Mee, Phillip Contic, John Lucas, Bill Roche, Victor Marchiaro, Ann Gellert, Henry, Dave Crowley, Lailah Robertson, Sarah Leonard, Carson, Seth Goldberger, Richard Harris, Tower C Suite 210, Erica Trumpower, Mr. & Mrs. Roldan

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Sock and Buskin and The Department of Theatre, Speech and Dance
and
The Brown University Orchestra and The Department of Music
present

SWEENEY TODD
The Demon Barber of Fleet Street
A Musical Thriller
Music and Lyrics by Book by
STEPHEN SONDHEIM
Book by
HUGH WHEELER

March 5-8, 12-14 1998 8 pm

March 15, 1998 3 pm

STUART THEATRE

CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

CAST

ANTHONY HOPE John Lloyd Young

SWEENEY TODD Adam Arian

BEGGAR WOMAN Alison Hlavaty Cimmet

MRS. LOVETT Shana Harvey

JUDGE TURPIN Tom Balamaci

THE BEADLE Matt Garrett

JOHANNA Rebecca Bellingham

TOBIAS RAGG Tom Neely

PIRELLI Joseph M. Pinto

JONAS FOGG Noam Katz

TOWNSPEOPLE: Daniel J. Acheson, Angela Arnold, Elizabeth Audley, Lauren Bass, Rick Bettan, Jenn Cash, Nick Collins, Sara Fontes, Diana Hofshi, Isaac Robert Hurwitz, Noam Katz, Peter Cobb Niles, Phillip Curtis Pierce, Jerome Saibil, Rachel Spaulding, Barbara K. Swartz

Time: 1846
Place: London, England

There will be a ten-minute intermission between Acts I and II

Sweeney Todd is presented through special arrangement with and all authorized performance materials are supplied by Music Theatre International, 421 West 54th Street, New York, NY 10019

MUSICAL NUMBERS
Act I
"The Ballad of Sweeney Todd" COMPANY
"No Place Like London" ANTHONY, TODD, BEGGAR WOMAN
"The Barber and His Wife" TODD
"The Worst Pies in London" MRS. LOVETT
"Poor Thing" MRS. LOVETT
"My Friends" TODD, MRS. LOVETT
"Green Finch and Linnet Bird" JOHANNA
"Ah, Miss" ANTHONY, BEGGAR WOMAN
"Johanna" ANTHONY
"Pirelli's Miracle Elixir" TOBIAS, TODD, MRS. LOVETT, COMPANY
"The Contest" PIRELLI
"Wait" MRS. LOVETT
"Kiss Me" JOHANNA, ANTHONY
"Ladies in Their Sensitivities" THE BEADLE
"Kiss Me" JOHANNA, ANTHONY, THE BEADLE, JUDGE TURPIN
"Pretty Women" TODD, JUDGE TURPIN
"Epiphany" TODD
"A Little Priest" TODD, MRS. LOVETT
Act II
"God, That’s Good!" TOBIAS, MRS. LOVETT, TODD, BEGGAR WOMAN, CUSTOMERS
"Johanna" ANTHONY, TODD, JOHANNA, BEGGAR WOMAN
"By the Sea" MRS. LOVETT
Wigmaker Sequence TODD, ANTHONY, QUINTET
"The Letter" TODD, QUINTET
"Not While I’m Around" TOBIAS, MRS. LOVETT
"Parlor Songs" THE BEADLE, MRS. LOVETT
"City on Fire" LUNATICS, JOHANNA, ANTHONY
"Searching" MRS. LOVETT, TODD, BEGGAR WOMAN, ANTHONY, JOHANNA
Final Sequence MRS. LOVETT, TODD, BEGGAR WOMAN, JUDGE TURPIN
"The Ballad of Sweeney Todd" COMPANY

BROWN UNIVERSITY ORCHESTRA

Paul Phillips, Music Director/Conductor

Violin
Rebecca Roback, concertmaster
Keith Bocian
Elizabeth Maloney
Michelle Ko
Elisabeth Hausrath
Whitney Boon

Viola
Emilie Stander
Erin Suzuki

Cello
Colleen Dalton
Erica Klein

Bass
Tara Anthes

Flute/Piccolo
Rebecca Sun
Manya Rubenstein

Oboe/English Horn
Barry Jordan
Brian Tallevi

Clarinet
Aaron Chow
Matthew Romaine

Bassoon
Elizabeth Hayes

Horn
Erin Weeks

Trumpet
Rachel Harris
Tobias Monte
Jamison Moeser

Trombone
Jonathan Lee
Louis Pezzullo
Louis Ricci

Percussion
Brian Ferrell-Locke
Jonah McBride

Harp
Michelle Wong
Leah Corson

Organ/Celesta
Stephen DeCesare

DIRECTOR’S NOTE

Theatre is a collaborative process, and the production of a full-scale musical of the magnitude of Sweeney Todd demonstrates that truism to the maximum. In this collaboration we have been blessed with talented actors/singers, musicians, scenic and costume artists, technicians, and all of the other positions necessary to make this performance a reality. And perhaps most significantly, this effort has been possible because of the equal support of the Departments of Music and Theatre, Speech and Dance. All of us are indebted to the unflagging support of our chairs, Nancy Dunbar (Theatre) and Gerald Shapiro (Music). We were also extraordinarily fortunate to have as part of our team the phenomenal designer Eugene Lee, not only a local theatre treasure (he has been Resident Designer at Trinity Rep for 30 years and is now a visiting member of the Brown theatre faculty) but a national and international presence with designs for the recent revival of Show Boat and the current Ragtime (see display in the lobby), as well as landmark productions of Candide and, of course, the original Sweeney Todd, among many other credits. It was great fun giving Eugene another go at Todd on a stage so dramatically different from that of Broadway’s Uris Theatre (now the Gershwin). Thanks Eugene!

Now a note on Sweeney Todd. The original story, dating back to 14th century French legends, became part of British lore via early 19th century British ballads. Despite popular belief, there is no evidence that there ever was a real Sweeney. In 1847 George Dibdin Pitt turned the story of a murderous barber and his meat-pie baker neighbor into a popular melodrama, which in turn was based on a horror story (“The String of Pearls”) by Thomas Peckett Prest published the year before in The People’s Periodical, a “penny dreadful”. At least seven other theatrical versions of the tale have been seen in England since Pitt’s first text.

Among twentieth-century treatments of the tale the best know are William Latimer’s 1900 play, a 1936 British film, and a ballet choreographed in 1959 by John Crank. In most instances, versions after 1973 chose to make fun of the exaggerated horror and romance. British playwright Christopher Bond, however, chose in 1973 to return the story to its original, serious intent, making Sweeney an ordinary man whose happiness has been destroyed by a corrupt social order, rather than simply a greedy murderer. It was this version that inspired Stephen Sondheim to adapt the work for the musical stage in collaboration with director Harold Prince and librettist Hugh Wheeler.

The original production won eight Tony awards. A simplified 1989 revival Off Broadway was especially notable for its focus on the dark heart of the text. Sweeney Todd is now a staple for opera companies around the world, and its reputation has risen to that of an acknowledged classic. And, I might add, an extraordinary challenge for an academic theatre to produce. --DBW

MUSICAL DIRECTOR’S NOTE

As a student in New York, I had the very good fortune to see Sweeney Todd on Broadway a few days after it opened at the Uris Theatre on March 1, 1979. The intensity of the story, the grandeur of the stage production, and above all, the beauty and power of the music had a tremendous impact upon me. I recall walking 60 blocks uptown back to my upper West Side apartment afterwards in a kind of daze, dazzled by Stephen Sondheim’s brilliant score. Now, almost exactly 19 years later, it is a long-awaited pleasure to help bring this great work to the stage here at Brown.

With masterly concision, the music of Sweeney Todd precisely conveys the nature of each of the main characters - Anthony’s optimism and confidence, Sweeney’s darkly cynical world view, Mrs. Lovett’s gossipy chatterbox personality, and so on - but it does far more than this. The use and recurrence of musical motifs adds a richness to the musical language that one usually associates with opera rather than Broadway musicals. In this “musical thriller”, as Sondheim called it, the music even more than the words provides the “clues” that reveal the plot, so listen carefully!

The score, deftly orchestrated by longtime Sondheim associate Jonathan Tunick, resonates with the many musical styles from which Sondheim has drawn - English music hall (“Pirelli’s Miracle Elixir”, “God, That’s Good!”, “By The Sea”), English folk ballad (“Parlor Songs”), Italian verismo opera (“The Contest”), and Strauss waltz (“A Little Priest”) - not to mention Richard Wagner, Bernard Herrmann, and Igor Stravinsky. The most seminal musical motif in the score is taken from the ancient Dies irae (“day of wrath”) plainchant from the Requiem mass for the dead. As Stephen Banfield has shown in his authoritative study of Sondheim’s musical language, it forms the core of “The Ballad of Sweeney Todd” and is present virtually throughout the score.
I wish to acknowledge the tremendous contribution of stage director Don Wilmeth, set designer Eugene Lee, and everyone in the Department of Music and the Department of Theatre, Speech and Dance who has played a part in this production, and to thank all of the marvelously talented students in the cast who have made working on this production such a joy. Finally, I especially want to thank those wonderful students in the Brown University Orchestra who have lent their time and talent so generously to this production. --Paul Phillips

EUGENE LEE, SET DESIGNER

Eugene Lee has been Resident Designer at Trinity Rep for 30 years. He has a BFA from the Art Institute of Chicago, a BFA from Carnegie Mellon University, an MFA from Yale Drama School, and an honorary Ph.D from both DePaul University and Rhode Island College. Mr. Lee has won two Tony Awards for his work on Broadway, for Leonard Bernstein’s Candide and Stephen Sondheim’s Sweeney Todd. He is the production designer for Saturday Night Live on NBC. Other New York theater work includes: Slaveship, Alice in Wonderland, The Normal Heart, Agnes of God, Grandchild of Kings, and Uncle Vanya. His film work includes Easy Money, Francis Ford Coppola’s Hammett, John Huston’s Mr. North, and Louis Malle’s Vanya on 42nd Street. Mr. Lee was the 1994 recipient of the Pawtucket Arts Council’s Hidden Treasure Award. He is represented on Broadway by Showboat, for which he won the 1995 Outer Critics Circle Award and the 1995 Drama Desk Award. His current work includes Ragtime, which is now playing in Los Angeles and opened in New York in January, 1998. Mr. Lee was recently featured in The New Yorker, in an article entitled “Skeleton of the New” by John Lahr.

PRODUCTION STAFF

Stage Manager Kay Cleaves
Assistant Technical Director David P. Crowley
Technical Assistants Annabelle Heckler, Jonathan Doughty, Joshua Saulle, Matthew F. Woods
Assistant Stage Manager Alex Aixala
Dimmerboard Operator Sarah Kingan
Running Crew Sarah Johnson, Thao Nguyen, Elizabeth Norris, Melanie Rawlins, Jason Yust
Set Crew TA26, TA3
Costume Shop Manager Ann S. Smith
Costume Shop Assistants Naomi Bernstein, Justin Bernstine, Xochitl Gonzalez, Amy Hofer
Wardrobe Abigail Joseph, Michelle Stefano, Matthew F. Woods
Makeup, Hair and Wig Design Xochitl Gonzalez
Makeup and Hair Assistant Heather Wilson
Millinery Xochitl Gonzalez
Fabric Dying Amy Hofer
Costume Construction TA28, TA129
Movement Assistance Lauren Bass
Rehearsal Pianists Jessica Ciralsky, Sasha Gordon
Box Office Manager/Front of House Karen Longest
Box Office Assistants Joanne Chapman, Kristie Lynn Roldan
Poster Design Lucas Fleischer
Publicity Photographer Jess Brakeley
Shaving Advisor: Angelo of Action Hair Cutters, Providence

EUGENE LEE’S STUDIO

Harry Matheu
Emily Jan
Lee Savage

ACKNOWLEDGMENTS

John F. McHugh, Pippin, Eoin Sprott Studios, Rose Brands, Trinity Repertory Theatre, Oskar Eustis, Hal Prince, Kathryne Jennings, Bruce Owensby at Wayland Square Shoe Repair, Valerie Bernstein, Alexandra Litow, Blake Zeff, Rutgers University Theatre Department

SOCK & BUSKIN BOARD

Christina Nicosia (Chair), Lisa Arkin (Vice-Chair), David Pressman (Secretary), Valerie Bernstein, Seth Goldberger, Eric Green, Alexandra Litow, Margaret Marx, Katharine Powell, Michael Schreiber, Christy White, Rebecca White, Taylor White, Jonathan Wolanske

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UNIVERSITY THEATRE / SOCK AND BUSKIN
presents

GHOSTS
by Henrik Ibsen
Adapted by Joel Tompkins

with

Michael Crane

Paul Grellong

Annie McNamara

Bonnie K. Schiff-Glenn

Rufus Tureen

Lisa Arkin

Rachel Lissy

James Hayward

and

Ed Shea

April 9-12, 16-18, 1998 - 8 pm

April 19, 1998 - 3 pm

LEEDS THEATRE

CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Directed by Ed Shea

Set Design by Emily Jan

Lighting Design by John R. Lucas

Costume Design by Phillip Contic

Technical Direction by William C. Roche

CAST

JAKOB ENGSTRAND Rufus Tureen

REGINA ENGSTRAND Bonnie K. Schiff-Glenn

PASTOR MANDERS Paul Grellong

HELEN ALVING Annie McNamara

OSWALD ALVING Michael Crane

GHOSTS will be performed in three acts with two brief ten-minute intermissions.

"The past is never dead; it's not even past."
- William Faulkner

PRODUCTION STAFF

Stage Manager - James Hayward
Assistant Directors - Lisa Arkin, Rachel Lissy Adapter Joel Tompkins
Assistant Technical Director - David P. Crowley
Technical Assistants - Annabelle Heckler, Jonathan Doughty, Joshua Saulle, Matthew F. Woods
Dimmerboard/Sound Operator - James Hayward Set Crew TA26, TA3
Costume Shop Manager - Ann S. Smith
Costume Shop Assistants - Naomi Bernstein, Justin Bernstine, Xochitl Gonzalez, Amy Hofer
Women’s Costume Construction - Naomi Bernstein, Justin Bernstine, Sharon Goldwater, Xochitl Gonzalez, Thea Grant, Amy Hofer, Kay Lee
Costume Construction - TA28, Rainy Laventure
Wardrobe - Judith Blocq
Box Office Manager/Front of House - Karen Longest
Box Office Assistants - Joanne Chapman, Kristie Lynn Roldan
Poster Design - Lucas Fleischer
Publicity Photographer - Jess Brakeley

ACKNOWLEDGMENTS

Lowry Marshall, Charles Kroll, Brook Street Antiques, Warren Antique Center, George Hamrah, Arnold Weinstein, Pat Hegnauer, Matt Kelley, Barbara Bell, Pam Parmal of the Clothing and Textiles Division of the RISD Museum, Georgia O’Keefe

SOCK & BUSKIN BOARD

Christina Nicosia (Chair), Lisa Arkin (Vice-Chair), David Pressman (Secretary), Valerie Bernstein, Seth Goldberger, Eric Green, Sarah Gurfield, Alexandra Litow, Margaret Marx, Katharine Powell, Michael Schreiber, Christy White, Rebecca White, Taylor White, Jonathan Wolanske

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DANCE ENSEMBLE
FALL CONCERT

December 3-6, 1998 ASHAMU STUDIO

CATHERINE BRYAN DILL CENTER FOR THE PERFORMING ARTS

Produced by Julie A. Strandberg

Assistant Producer: Annamaura Silverblatt

TECHNICAL CREW
Lighting Designer Timothy Cryan

I N T E R M I S S I O N

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Theatre Speech and Dance