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June – August 2013
The Jungle Sings and Sways:
Music and Dance in The
Jungle Book
The Sights and Sounds
of India: Reimagining The
Jungle Book
Albany Park Theater Project
Presents the Latino Theatre
Festival Finale

June – August 2013
CONTENTS
In the Albert
2 The Jungle Sings and Sways: Music and Dance in The Jungle Book
6 The Sights and Sounds of India: Reimagining The Jungle Book
8 The Laureate of the Jungle: Rudyard Kipling
At the Goodman
9 Insider Access Series
In the Owen
10 Albany Park Theater Project Presents the Latino Theatre Festival Finale
In the Wings
12 STEM to STEAM: Integrating the Arts into Science Learning
At the Goodman
13 The 2012/2013 Playwrights Unit
Off Stage
14 The Goodman Theatre Gala is a Great Success!
By the Way, Meet Vera Stark Opening Celebration
15 The Happiest Song Plays Last Opening Celebration
The 9th Annual Estate Planning Seminar
16 Women’s Night 2013, Featuring By the Way, Meet Vera Stark
Business Council Spring Reception
For Subscribers
17 Calendar
Volume 29 #5
Co-Editors | Lesley Gibson, Lori Kleinerman,
Tanya Palmer
Graphic Designer | Amanda Good
Production Manager | Lesley Gibson
Contributing Writers/Editors | Nazihah
Adil Siddiqui, Neena Arndt, Jeff Ciaramita,
Lisa Feingold, Katie Frient, Lesley Gibson,
Lori Kleinerman, Dorlisa Martin, Julie
Massey, Tanya Palmer, Teresa Rende, Victoria
Rodriguez, Denise Schneider, Steve Scott,
Willa J. Taylor, Kate Welham.
OnStage is published in conjunction with
Goodman Theatre productions. It is
designed to serve as an information source
for Goodman Theatre Subscribers. For ticket
and subscription information call
312.443.3810. Cover: Image design and
direction by Kelly Rickert.
Goodman productions are made possible
in part by the National Endowment for
the Arts; the Illinois Arts Council, a state
agency; and a CityArts grant from the City
of Chicago Department of Cultural Affairs
and Special Events.
Written comments and
inquiries should be sent to:
The Editor, OnStage
Goodman Theatre
170 North Dearborn Street
Chicago, IL 60601
or email us at:
OnStage@GoodmanTheatre.org

IN THE ALBERT
From the Artistic Director
Photo by Dean LaPrairie.
Why The Jungle Book?
Few works of literature have become as lodged in popular culture as The Jungle Book. First published in
1894, Rudyard Kipling’s tales of the “man-cub” Mowgli and his adventures among the animals in the wilds
of India have captivated generations of readers young and old, and, perhaps not surprisingly, have spawned a
variety of critical responses as well. Some have seen the stories as thinly disguised metaphors expressing
Kipling’s own dissatisfaction with the excesses of British imperialism; others view them as a celebration of
British supremacy. A number of analysts have embraced the stories as timeless parables of innocence and its
power over oppression and cynicism; others have seen them as remnants of a social system long since discarded.
But no one has denied the power of Kipling’s poetry and imagination, the sheer beauty and mystery
of its jungle setting and the delightfully anthropomorphic beings that he created: the wisely noble panther
Bagheera, the slyly seductive snake Kaa, the terrifying tiger Shere Khan or Mowgli’s gregarious mentor, Baloo
the bear. Kipling’s tales have been adapted into dozens of different versions in different media, from comic
books and children’s plays to a variety of film versions. Probably the best known of these, of course, was the
masterful Disney animated 1967 film, personally overseen by Walt Disney himself (the final such project
before his death) and featuring a classic song score by Richard M. Sherman and Robert B. Sherman.
When the Goodman’s Mary Zimmerman was approached to create a new stage version of The Jungle Book,
she immediately responded to several elements in both the film and the original stories: the journey taken by
Mowgli and Baloo as they discover the dangers lurking in the jungle; the compelling blend of human and animal
characteristics that mark the story’s unforgettable characters; and the delightful songs, based in American
jazz and swing. But even more than these, Mary was drawn by the beauty of India itself, a land of grace and
enchantment that permeates all of these tales. She and her collaborators (including music director Doug Peck
and Tony Award–winning choreographer Christopher Gattelli) have steeped themselves in the sights and sounds
of South Asia, creating a lush and beguiling environment that contains elements of both Disney and Kipling.
Mary’s new book is a blend of fanciful humor and Kipling’s stirring poetry. The musical score (containing songs
from the film as well as unused pieces created by the Sherman brothers for other movies) skillfully melds the
rhythmic traditions and sounds of Dixieland and India. The result is a beautiful new interpretation of The Jungle
Book, capturing the power, wonder and humor that have made these stories immortal.
This new retelling of the story of Mowgli and his friends features a dynamic multiethnic group of performers
and musicians. It is imaginative enough for family audiences yet told with the wit and sophistication that has
become a hallmark of Mary’s work. The Jungle Book is a beautiful production with which to bring our
2012/2013 Season to a close—and a work that I am extremely proud to bring to our Goodman audiences.
Robert Falls
Artistic Director

IN THE ALBERT
The Jungle Sings and Sways:
Music and Dance in The Jungle Book
By Neena Arndt
Years after his uncle Walt’s death,
Roy E. Disney commented, “With The
Jungle Book, he certainly got hooked
on the jungle and the characters that
lived there.” Indeed, Walt Disney
became fascinated with the anthropomorphic
dwellers of Rudyard Kipling’s
jungle (based on the region surrounding
the Pench River in central India)
who cavorted and crooned in the last
animated feature that he personally
oversaw. And when the movie was
released in 1967, ten months after
his 1966 death, audiences worldwide
were enthralled by characters who
ranged from a wide-eyed “man cub” to
a barbershop quartet of mop-topped
vultures, to a blithe bear with a laissezfaire
worldview. The Jungle Book, with
its rollicking tunes and dynamic animation
of nonhuman characters, was an
immediate hit, and in the four-and-ahalf
decades since, has become a cherished
family classic.
The songs in the film (with the exception
of “The Bare Necessities”) were
written by Walt Disney’s favorite
songwriting duo, brothers Richard M.
Sherman and Robert B. Sherman. By
the time they worked on The Jungle
Book in 1966, the prolific brothers had
already won two Academy Awards for
their work on Mary Poppins (for Best
Original Score and Best Original Song
“Chim Chim Cher-ee”), and had also
penned the buoyant “It’s a Small World
(After All)” and countless other popular
tunes. Nearly half a century after
composing The Jungle Book, Richard
M. Sherman enthusiastically recalls
his days working with Mickey Mouse’s
creator. “My brother Bob and I were
staff songwriters, and Walt brought in
a whole bevy of animators and story
men—the concept people—and we
had a meeting. The first thing he said
was ‘How many of you have read The
Jungle Book, by Rudyard Kipling?’ And
nobody raised their hand; it was like a
bunch of guys in school that didn’t do
their homework. He said, ‘Well that’s
good, because I’m going to tell you
a story, and it’s based on The Jungle
Book, but it’s the Disney version.’”
Richard explains that Walt Disney’s
concept of The Jungle Book was less
“spooky and scary” than Kipling’s
“All the musical styles were born of
Walt’s concept and Walt’s desire to
have fun.”
—Richard M. Sherman
original. And even at that initial meeting,
Disney had specific ideas about
his characters. “He acted out what
the characters looked like—Walt was
a great actor and a remarkable storyteller,”
Richard says. “I remember he
started looking the way King Louie is
supposed to look, drooping his arms.
2

“I want to stay true
to the culture and
the form.”
—Christopher Gattelli
He said, ‘King Louie is the king of the
apes, and he’s a ferocious guy, but he’s
funny!’ And he talked about all the various
characters.” Once they understood
Walt’s vision, the Sherman brothers
brought the motley collection of characters
to life using a wide variety of musical
styles, from swing to jazz to barbershop
quartet. “All the styles were born
of Walt’s concept and Walt’s desire
to have fun.” The versatile Shermans
remained undaunted by the challenge.
“You name a style and I know it and
I can do it,” Richard laughs. “I’m a
songwriter; it’s something I’ve done all
my life. Walt liked us because we could
do anything.” Richard explains that
his brother Robert (who passed away
in 2012) and he collaborated on both
music and lyrics, though Richard took
the lead in composing. “I’m the musician
of the two of us, but I’ve also been
a lyricist all my life. My brother was a
very strong lyric writer, and he also had
a great opinion about music. So we sat
in a room together and ironed it out.
We’d throw lines out, I’d play it on the
piano. It was a collaboration, with both
of us working on the idea for the song.”
Now Disney’s The Jungle Book is reimagined
and reinterpreted for the
stage, and, once again, the artists
involved must be stylistically versatile.
While many aspects of the work
are based on the animated classic,
the creative team and cast have also
worked with Rudyard Kipling’s original
text—and have collaborated with Indian
artists to infuse the work with sounds,
images and movements that are native
to its setting. Sherman, who counts
The Jungle Book among his greatest
professional achievements, leapt at the
chance to revisit his work. He visited
rehearsals frequently, provided unpublished
Sherman brothers music, and
wrote new lyrics to help bring to life
director Mary Zimmerman’s vision for
the show. His new collaborators include
Mary and dozens of artists both on and
off stage, all of whom lend their distinctive
talents and skills. These artists—
especially music director Doug Peck and
choreographer Christopher Gattelli—
spent countless hours creating a music
and dance vocabulary that brings Walt
Disney’s and Rudyard Kipling’s adored
characters to life and gives The Jungle
Book a fresh, stirring vivacity.
Doug Peck, who previously collaborated
with Mary Zimmerman on
the Goodman’s 2010 production of
Candide, found that The Jungle Book
presented specific challenges. “We have
seven songs from the original movie,
OPPOSITE: The Wolf Pack (L-R) Govind Kumar, Timothy
Wilson, Victor Wisehart, Nehal Joshi (front), Anjali
Bhimani (as Raksha, Mother Wolf) and Geoff Packard
in rehearsal for The Jungle Book. ABOVE: Mary
Zimmerman, Richard Sherman and Christopher Gattelli
in rehearsal for The Jungle Book. Photos by Liz Lauren.
Featured Sponsor:
Allstate
“In The Jungle Book, Kipling wrote ‘For the
strength of the Pack is the Wolf, and the
strength of the Wolf is the Pack.’ From its
inception, Goodman Theatre has demonstrated
its conviction that individual diversity is a societal
strength, and it also relies on the support
of partners like Allstate that share its passion
for world-class multicultural arts programming
and outreach to diverse communities.
Allstate is proud to be a premier sponsor of the
Goodman’s production of The Jungle Book—
just one example of the company’s longstanding
commitment to diversity, youth programs
and involvement in the Chicago community, our
hometown for more than 80 years.”
-Patty VanLammeren, Senior Vice President of
Agency Sales, Allstate Insurance Company;
Goodman Trustee
3

IN THE ALBERT
RIGHT: Music Director Doug Peck in
rehearsal. Photo by Liz Lauren.
as well as one song from the straightto-DVD
sequel The Jungle Book 2,” he
explains. “We may also use two other
songs the Sherman brothers wrote
for an unproduced sequel, and the
Shermans gave us access to all of their
trunk songs that haven’t found homes
in shows yet; there’s one that was cut
from The AristoCats.”
As if this jazzy array of tunes didn’t
provide Peck (who is arranging and
orchestrating the music plus serving as
musical director) with enough creative
fuel, he also worked with material
that was, for him, considerably less
familiar: Indian music. “I didn’t know
anything about Indian music before this
started—but I’ve been to India twice
now for music festivals, focusing on
both North Indian and South Indian
music, because we’re pulling from both
cultures,” he explains. “We’re not doing
authentic Indian music or authentic
jazz; we’re fusing the two and making
a new thing. There are six Indian
musicians and six jazz musicians in
our 12-person orchestra. All musicians
know that music is just music—the
categories are the categories, but it’s
the same concept of everyone playing
together.” On this process, Doug has
been working with such instruments
as tablas, or toned Indian drums, an
Indian violin (which is played under the
chin, pointed straight down towards the
knees), a sitar-like instrument called the
veena, and the harmonium, a Western
instrument that is often played in India.
“The music is in many ways the sounds
of the jungle,” Peck muses. “Each animal
will have its own visual style, and
the Sherman brothers already gave each
animal a different musical style—jazz,
blues, Dixieland, swing. We’re using
the Indian instruments to amplify those
differences.” The orchestra is on stage
throughout the show, allowing the audience
to experience, both aurally and
visually, instruments that they may have
never seen or heard before.
The movement vocabulary, too, will
for most audiences merge familiar
and foreign elements. Choreographer
Christopher Gattelli trained in Western
dance forms, beginning with tap at
age eight and later adding ballet, jazz
and modern dance. His choreography,
seen in such Broadway productions
as Newsies (for which he won a Tony
Award for Best Choreography) and
revivals of South Pacific and Godspell,
reflects both his extensive technical
knowledge and an intrinsic appreciation
for narrative. “I try to lead with
storytelling all the time; I find what
makes sense physically that will help
further the story,” Gattelli explains. For
The Jungle Book, he is collaborating
with consultant Hema Rajagopalan,
the artistic director of Chicago’s Natya
Featured Sponsor:
JPMORGAN CHASE
“With our Chicago roots stretching back to
1863, JPMorgan Chase has always focused on
serving our customers and serving the communities
where we live and work. Our relationship
with Goodman Theatre is a great example of our
commitment; through our partnership, we’ve
helped bring vibrancy and diversity to our communities.
During our long-standing relationship,
we have supported numerous productions,
including the iconic Christmas Carol performances
and the Student Subscription Series
that brings arts education to schools. This year
is our 150th anniversary in Chicago, and we are
celebrating with our partner, Goodman Theatre,
by sponsoring the world premiere of the musical
The Jungle Book. We couldn’t be prouder of our
association with this Chicago cultural gem.”
-Anthony Maggiore, President, Midwest Middle
Market Banking, Chase; Goodman Trustee
4

“Each animal will have its own visual
style, and the Sherman brothers already
gave each animal a different musical
style—jazz, blues, Dixieland, swing.
We’re using the Indian instruments to
amplify those differences.”
—Doug Peck
Dance Theatre. Her company performs
Bharata Natyam, a major classical
dance form that emerged in the courts
of India centuries before Italian and
French courtiers began to formalize the
dance style that eventually developed
into ballet. Like ballet, Bharata Natyam
requires years of training to master and
calls for both sinuous and sharp movements;
unlike ballet, it relies heavily
on expressive, specific hand gestures.
Gattelli says, “I’ll have ideas and I’ll
come up with movements, and I’ll ask
Hema, ‘Is this appropriate?’ And it’s
great to have someone there who will
say, ‘Yes’ or, ‘We wouldn’t really use
this hand gesture for this.’ I want to
stay true to the culture and the form.
Yet, at the same time we’re tapping
and we’re doing swing and acrobatics,
so it’s going to be a nice mesh of
styles.” To achieve this variety, Gattelli
sought dancers with both exceptionally
strong technique and lightningfast
adaptive skills. “We’re going to
be trying things, and we’ll keep some
things and throw away some things,
so I sought people who are malleable.
They have to tap and partner, and have
to adapt to picking up the Indian style
quickly. It’s a tall order!”
In addition to exploring new styles,
both Gattelli and Peck needed to be
able to work flexibly and quickly, as
Mary Zimmerman’s process calls for
writing, rewriting, envisioning and reenvisioning
within the period of rehearsal.
“My associate, Lou Castro, and I
come up with a bunch of vocabulary,
a bunch of steps,” Gattelli says. “We
make a sort of mess so we have all the
tools. When we have to put something
up quickly we can just dig into our
tool chest and then fine-tune it.” Peck
declares, “I love working with Mary. My
response to things is to plan them; you
figure it out and check things off the list.
Mary’s process is the opposite of that—
you don’t know what you’re going to
do every day. It’s about in-the-moment
creation, which is perfect for the style of
the music of the show because jazz and
Indian music are both heavily improvised.
I’ve learned from her, both as a
person and as an artist, to just be in the
moment and respond to things.”
For both Gattelli and Peck, The Jungle
Book provides ample opportunity to
expand their already formidable skills,
creating a brand new work that nonetheless
retains pieces of the Disney
classic. “The Jungle Book was the very
last picture personally produced by
Walt Disney,” Richard Sherman recalls.
“And he poured himself into it. The
movie’s gigantic success saved animation
pictures; they were dying at the
time and this revived the whole idea.
He’s very much a part of this production,
even though he’s been gone for
half a century.”
Adopt a Jungle
Book Character!
You can join the fun this summer by
“adopting” a character from Mary
Zimmerman’s world premiere musical,
The Jungle Book. Your donation
will ensure Mowgli, Bagheera, Baloo,
Shere Khan and a host of others
come to life on stage. You’ll receive
VIP tickets to the show, discounts on
Jungle Brunch (page 9) tickets—and
so much more! Adopt-a-character
sponsorship levels start at $1,000,
and only a handful of adoptions are
available per character—so you’ve got
to move fast!
To learn more or to pledge your
support, contact Molly McKenzie
at 312.443.3811 ext. 597 or
MollyMcKenzie@GoodmanTheatre.org.
Individual Support for
The Jungle Book
Goodman Theatre is proud to acknowledge the
following individuals for their support of The
Jungle Book.
Efroymson Family Foundation Fund
Leadership Sponsors
Patricia Cox
W. Clement & Jessie V. Stone Foundation
Trustee Emeritus Grant in Honor of Barbara
Stone Samuels
Producer’s Circle Sponsors
John and Caroline Ballantine (Mowgli &
Bagheera)
Gery and Sunny Chico in Honor of David
Abello (Baloo)
Adnaan Hamid and Elissa Efroymson (Mowgli
& Shere Khan)
Linda Hutson (Mowgli & Bagheera)
Joan and Rik Lewis (Bagheera)
Ann O’Brien (Mowgli)
Rebecca Ford Terry and Don Terry
Kimbra and Mark Walter (Baloo and Shere Khan)
Sallyan Windt (Mowgli, Baloo and Bagheera)
The Wynne Family (Bagheera)
Adopt-a-Character Sponsors
Commitments as of May 1, 2013
5

IN THE ALBERT
journeys, undertaken by a central character
who embarks on both a physical
journey and a journey of the soul. Often,
the texts are lush and imaginative, and
feature fanciful elements—like flying carpets,
talking animals or swift changes in
scene—that pose particular challenges
to live theater staging.
The Sights and Sounds of
India: Reimagining The
Jungle Book
By Lesley Gibson
When Disney Theatrical Group conceived
of a stage version of the classic 1967
film The Jungle Book, they easily could
have set out to create a replica of the
movie, which for decades has captivated
generations of children with its celebratory
music and lovable characters.
Instead, they tapped Tony Award winner
and Goodman Resident Director Mary
Zimmerman, one of theater’s most innovative
directors, to reimagine their hit
as a wholly original new work designed
to be felt and experienced live at the
theater. For Zimmerman, who is known
for her visually stunning adaptations of
classic texts, the project offered a oncein-a-lifetime
opportunity to fuse one of
film’s most beloved musicals and the
stories upon which that film was based
into a new work that comes alive in her
singular and vibrant aesthetic.
In many ways, The Jungle Book is a
natural fit with Mary Zimmerman’s body
of work: for the past 20 years, she has
dazzled audiences with her imaginative
adaptations of classic texts and
ancient literature. Many of her works
are drawn from either epic or episodic
texts—collections of stories, myths or
books like Metamorphoses, The Odyssey
and Candide that chronicle large-scale
To work through these challenges,
Zimmerman has adopted an atypical and
exploratory writing process, a process
that begins with the physical design of
each piece rather than a script. Instead
of using the blueprint of the script as
a foundation for the visual world of the
play, each production starts with the
creation of the set and the actors, who
are cast before a single word is written.
Once rehearsals begin, Zimmerman
launches into the playwriting process,
writing the script piece-by-piece each
night after rehearsal and bringing in the
new pages in the morning. This process
allows her to customize the words
and the movements to the particular
strengths of the individual actors, and to
work the story into the confines of the
physical set as an “organic development
of the whole.” Each production itself is
completed entirely during the rehearsal
period—usually about a month or so—
leading up to the show’s opening.
The Jungle Book, with its anthropomorphic
cast of singing, dancing jungle
animals, has many of the hallmarks of
a Mary Zimmerman adaptation. But
this production posed additional complexity
for the adaptation, as this version
draws not from one text but from
two sources—both the 1894 Rudyard
Kipling stories and the 1967 Disney
animated film. Though the film is based
on the stories, the two are distinctly
6

“We’re going for inspiration in forms,
colors, pattern, shape and volume of
things—it penetrates the design at
every level and in every scene.”
–Mary Zimmerman
different in tone and structure, and
present dissimilar visions of the Indian
jungle. While Kipling’s stories jump
back and forth from life in the jungle to
civilization, the movie is firmly rooted
in the animal kingdom and chronicles
young Mowgli’s adventures in the wild.
Tonally, Kipling’s stories are poetic and
his jungle at times dark and violent,
while in contrast, the Disney movie,
set to the jubilant sounds of American
swing and jazz, is fun and celebratory.
In the process of exploring how to balance
the divergent elements of her two
sources, Zimmerman found inspiration
in Kipling’s personal biography: Kipling
was born in Bombay to English parents,
and lived in India until he was six years
old when his parents sent him back in
England. There, they left him in the care
of a woman who ran a school out of
her home, and, unbeknownst to them,
physically and emotionally abused him
until he left at age 10. Years later, when
Kipling was a newly married adult living
in Vermont, he wrote the stories in The
Jungle Book. “There is an almost desperate
energy behind the creation of this
world that was psychologically necessary
for him,” Zimmerman said. “The romanticization
and exoticism of India that
he’s come to be criticized for, he’s come
about in a well-earned way: he was
born there and he lost it. He lost India
as a child, and a child about the age of
Mowgli.” Zimmerman drew from the
stark contrast between Kipling’s happier
early childhood in India and his fraught
later years in England to establish the
emotional tenor of the production, which
will balance the humor and jubilation
in the Disney film while confronting the
somber themes of the loss of childhood
and innocence. “I want the audience to
experience the joy of that music and of
living in a world where you are one with
nature and the animals—even with all
its dangers and its troubles. And also the
recognition that you can’t stay there.”
In order to create her living jungle,
Zimmerman and her team plunged into
their design process, which is researchheavy,
immersive and highly collaborative.
She almost always works with
the same design team—set designer
Daniel Ostling, costume designer Mara
Blumenfeld and lighting designer T.J.
Gerckens—who often travel together to
the far-off locales where her productions
are set, taking photographs and gathering
inspiration for their designs. When
creating The Jungle Book, Zimmerman
immediately recognized the need to
honor its setting through design. “My
very first impulse when this idea came
up was to take the forms of Indian representation—visual
and musical—seriously
within the aesthetic of doing the
show.” In order to capture the sights and
sounds of Kipling’s India, the team spent
two and a half weeks traversing the
country—visiting 10 cities in one trip—
listening to music on the streets, gathering
textiles at markets, interacting with
indigenous animals and taking “thousands
and thousands” of photographs.
The world that appears on stage will be
infused with the spirit of its setting as
filtered through the eyes of the design
team. “We’re not hoping to create a
museum-like replication, because it’s
a work of intense imagination—almost
florid imagination—on both Kipling’s
and Disney’s part,” Zimmerman said.
“We’re going for inspiration in forms,
colors, pattern, shape and volume of
things—it penetrates the design at every
OPPOSITE: The creative team in shadow at the Taj Mahal
in Agra, Uttar Pradesh, India. ABOVE: A real life “Colonel
Hathi,” the Indian elephant character of The Jungle Book.
Photos by Mary Zimmerman.
level and in every scene.” And though
The Jungle Book sprang out of a familiar
film with iconic animation and music,
this new version promises its own unforgettable
experience, alive with the spirit
of its inspiration and saturated with the
sights and sounds of India.
Featured Sponsor:
comed
“ComEd is proud to be the Official Lighting
Sponsor for Goodman Theatre. At ComEd,
we believe it’s important to support arts and
cultural organizations, which are integral
to the vitality of the communities we serve.
Local music and movie festivals, as well as
theater productions and other artistic pursuits,
enhance our understanding of other cultures
and contribute to our education in fun and
interactive ways. The art brings us together.
Enjoy the show.”
-Anne Pramaggiore, President and CEO, ComEd
7

IN THE ALBERT
The Laureate of the Jungle:
Rudyard Kipling
By Steve Scott
Rudyard Kipling was one of the most
celebrated British writers of the Victorian
era: a prolific writer of poems and
short stories, he achieved international
acclaim in 1894 for his vibrant collection
of children’s stories, The Jungle
Book, and was the youngest writer ever
to win the Nobel Prize in 1907. But he
was also a complex figure in history, a
man born to English parents in India and
raised at the height of British imperialism,
remembered as much for his complicated
relationship with the East as for
his timeless work.
Kipling was born in Bombay, British
India, in 1865; he and his sister, Alice
(“Trix”), spent their early years absorbing
Indian stories and nursery songs until
1871, when they were taken back to
England for exposure to “proper” British
manners at Lorne Lodge in Southsea
under the care of Captain and Mrs.
Holloway. But Mrs. Holloway proved
to be an abusive foster parent, and her
combination of bullying and mental
abuse drove the young Rudyard to a
nervous breakdown. He came to literature
as an escape: he and Trix created
stories in a secret language developed
from Hindi, and devoured the tales of
the Grimm brothers and Hans Christian
Andersen, Lewis Carroll’s Alice books,
and James Greenwood’s King Lion
(which would later be a source for The
Jungle Book).
Rudyard left the Holloway’s care at
age 10, was eventually admitted to the
United Services College in Devon, and
later joined his parents in Lahore (now
in Pakistan). He secured a job at a small
local newspaper and quickly developed
a reputation as a prodigious reporter and
creative writer, contributing news items,
poetry and short fiction to the publication.
After publishing several volumes of
short stories he set off in 1889 to make
his way to the center of the British literary
world, London. There, he quickly
found critical and popular acclaim as
well as romance with the American sister
of a close collaborator. The two were
married in 1892 and settled down near
the bride’s family estate in Vermont.
There, Kipling completed a collection
of short stories, the novel Captains
Courageous, a collection of verses called
Barrack-Room Ballads, and in 1893,
The Jungle Book.
The Jungle Book is a collection of fables
relating the experiences of a human
child, Mowgli, as he is adopted and
raised by wolves in an Indian jungle.
Using everything Kipling “heard or
dreamed about the Indian jungle,” the
stories were accompanied by evocative
illustrations by Kipling’s father, and
offered both a look at a land unknown to
most readers and guides to moral behavior.
Though an unquestioningly imaginative
and compelling work of literature,
over the years The Jungle Book has garnered
mixed interpretations for both its
writer’s intentions and its perceived political
commentary: some critics saw the
stories as metaphors in support of British
imperialism, while others have argued
that Kipling intended them as attacks on
imperialism’s excesses. Although Kipling
at times referred to native Indians (as he
did all non-Britons) as “lesser breeds,” he
was also vocal in his admiration for the
Indian people, as expressed in the poem
“Gunga Din” in the immortal line, “You’re
a better man than I am, Gunga Din.”
After writing The Jungle Book, Kipling
and his wife returned to England in
1896, where Rudyard used his newly
acquired fame to expand his own ideas
concerning enlightened empire-building.
A series of family vacations in South
Africa resulted in his founding a newspaper
there, The Friend, in support of
Britain in the Second Boer War. In 1907
he became the first British writer to be
awarded the Nobel Prize for Literature;
but he declined both a knighthood and
the office of Poet Laureate, spending his
later years as a traveling correspondent
for the British press. He died in 1936,
and his ashes were interred in Poets’
Corner at Westminster Abbey.
Although subsequent events have
brought criticism to some of Kipling’s
perceived political views, his love and
reverence for the land of his birth has
never been questioned; in 2007, his
birthplace, now located on the campus
of Mumbai’s JJ School of Art, was designated
a museum to celebrate his life
and works.
LEFT: Rudyard Kipling.
Featured Sponsor:The
Efroymson Family Fund
The Goodman would like to thank the
Efroymson Family Fund, a CICF Fund, and
Board of Trustees Vice President Adnaan
Hamid for their Leadership Sponsorship of
The Jungle Book. This crucial funding will
help underwrite education and community
engagement programming around the production,
including Diversity Night on June 28,
the free Community Day celebration on July
23, the Jungle Book Days in partnership with
the Chicago Public Library, and a special
installment of the CONTEXT: Discourse and
Discussion series.
8

AT THE GOODMAN
Want to Learn More About The Jungle Book?
Discover the Insider Access Series.
Insider Access is a series of public programs that provide insight into the Goodman’s artistic process. Take advantage of these fun
and informative Jungle Book events to enrich your Goodman experience.
Press Pass: Breakfast with DISNEY
SONGWRITER Richard M. Sherman &
Chicago Tribune Chief Theater Critic
Chris Jones
Saturday, June 29 | Goodman Theatre
Breakfast 10 – 11am, Conversation 11am – 12noon
Join us for breakfast and a once-in-a-lifetime coversation with
Academy Award-winner songwriter Richard M. Sherman, who
co-wrote the music of The Jungle Book, and Chicago Tribune’s
Chris Jones. For tickets and pricing visit GoodmanTheatre.org.
Jungle Brunch
Sunday, June 30 | 12noon brunch, 2pm performance
Filled with games, food and fun—followed by a performance
of The Jungle Book. All proceeds will help underwrite The
Jungle Book Community Day on July 23, a free performance
for underserved Chicagoland young people and their families.
Learn more at GoodmanTheatre.org/JungleBrunch.
Artist Encounter: The Jungle Book
Sunday, June 30 | 5 – 6pm
$10 general public, $5 Goodman Subscribers, Donors and
students with ID
Healy Rehearsal Room, Goodman Theatre
Join us for an in-depth conversation with The Jungle Book
adapter and director Mary Zimmerman, moderated by Steve
Edwards. Call 312.443.3800 to reserve your seats.
Chicago SummerDance
Friday, July 5
Dance lesson: 6 – 7pm
Live music and dancing: 7:30 – 9:30pm
Grant Park, Spirit of Music Garden | FREE
The City of Chicago and Goodman Theatre bring you a celebration
of Indian music and dance styles with musicians
from Karsh Kale Collective and Kalapriya Center for Indian
Performing Arts. ChicagoSummerDance.org.
Jungle Book Days
Thursday, July 11 | 6:30pm | FREE
These interactive story sessions will bring Kipling’s
tales to life through story, music and dance at Chicago
Public Library branches and other venues across the
Chicagoland area. For families and kids of all ages. Visit
GoodmanTheatre.org for a complete listing of locations.
Millennium Park Film Series
With The Jungle Book
Tuesday, July 23 | 6:30pm | FREE
Millennium Park, Pritzker Pavilion
Grab a seat under the stars in Millennium Park for a free
screening of the original 1967 animated Walt Disney classic
The Jungle Book.
Playback: The Jungle Book
FREE
Following each Wednesday and Thursday performance of The
Jungle Book, Albert Theatre audiences are invited to attend
free PlayBacks, post-show discussions with members of the
artistic team.
summer street festivals
Look for us at local street festivals: Midsommarfest, Summer
on Southport, Taste of Chicago, Custer’s Last Stand, Taste of
Randolph and Taste of Lakeview. For a complete listing of
events, visit GoodmanTheatre.org/JungleBook.
King of the
Jungle Raffle
ESCAPE TO A SPECTACULAR
SAFARI GETAWAY
You can support Goodman Theatre while entering
the raffle for a chance to win a fantastic Walt
Disney World Resort vacation!
For every $100, you receive one entry to win. The more
you give, the better your odds! Funds raised from the raffle
will help underwrite Community Day, an opportunity for
underserved young people and families to attend a special
performance of The Jungle Book free of charge.
Package includes the following:
• Two Nights at Disney’s Animal Kingdom Lodge
• 12 Park Hopper Passes (equal to 3 days for a family of 4)
Goodman Theatre will notify the winner of the drawing,
which will be held on August 31, 2013.
Make your gift by visiting GoodmanTheatre.org/
JungleRaffle or calling the Development Office at
312.433.3811 ext. 566 or by mailing your gift to
Goodman Theatre, Attn: King of the Jungle Raffle, 170
North Dearborn, Chicago, IL 60601.
9

IN THE OWEN
Albany Park Theater Project
Presents the Latino Theatre
Festival Finale
By Steve Scott
A brother sings his sister to sleep with
the tale of a glorious tree whose roots
have grown on both sides of a border.
A pair of young lovers dance on their
wedding night, then wade across the
Rio Grande hand-in-hand as their honeymoon.
A father and son rehearse new
identities for a new life. These are just
a few of the haunting scenes in Home/
Land, the critically acclaimed portrait of
the human effects of American immigration
laws, devised and performed by
Albany Park Theater Project (APTP), an
ensemble of teen theater artists who create
and stage all original work. Home/
Land is the result of a year-long process
during which APTP’s youth ensemble
and affiliated adult artists conducted
interviews, attended rallies and examined
the ramifications of these laws
on their own families. The production
comes to the Owen Theatre from a soldout
run last summer in the company’s
Northwest side Laura Wiley Theater, and
concludes the Goodman’s 2013 Latino
Theatre Festival.
Founded in 1997, APTP has created
more than 50 performance works integrating
theater, music and dance, performed
for more than 25,000 people in
its own theater and at venues throughout
Chicago. The Albany Park community is
one of the most diverse in the country;
more than half of its 57,000 residents
were born outside the US. Despite the
eroding forces of gentrification, the community
remains predominantly workingclass.
The productions created by APTP
focus on the stories of these residents,
bringing to the stage an array of voices
too often absent from the theater. All of
the teens in the ensemble are from the
Albany Park community; in addition to
their work on theater productions, they
participate in book discussion groups,
college counseling programs and a variety
of other activities designed to further
their commitment to social change. The
results are astonishing: 90 percent of
APTP ensemble members graduate from
high school and enter college (compared
to a graduation rate of less than 50 percent
overall in the Chicago public school
system), and are eight times more likely
to earn a college degree by age 25 than
their peers.
Since Home/Land came out of a political
climate of “real despair,” according to
APTP founder and artistic director David
Feiner, it is perhaps surprising that the
show emphasizes hope and resilience
rather than defeat. “When we began
working on this piece, about a third
of our ensemble were undocumented
themselves, and at least half had family
members who were,” says Feiner.
“So we wanted to make a play that was
brutally honest about the unfairness of
the system as it now stands, but that
would focus on people whose resilience
and optimism provided us with hope.”
Featuring a cast of 23 young performers,
Home/Land is in some ways a “people’s
history” of the immigration story, according
Feiner, with each scene a “chapter in
a book, to be retold by future generations
at a time when, hopefully, things are better.”
Home/Land fuses powerful visual
images with unforgettable first-person
narrative, resulting in a piece whose eloquence
prompted Congresswoman Jan
Schakowsky to exclaim, “If you brought
this play to Washington and performed
it for the House and Senate, you could
change history.”
Home/Land runs July 18 through 28
in the Owen Theatre. For tickets and
information, visit GoodmanTheatre.org
or call 312.443.3800.
ABOVE: An ensemble member of Albany Park Theater
Project performing their critically acclaimed show Home/
Land, written collectively by the Albany Park Theater
Project teen ensemble. Photo by Amy Braswell.
Featured Sponsor:
Chicago Community
Trust
“The Trust is proud to help Goodman Theatre
and Albany Park Theater Project give voice to
the immigrant experience through this compelling
portrayal by extraordinarily talented teens.
Home/Land touches us with its depiction
of the human cost and personal nightmares
endured by children caught in immigration
policy that tears at the fabric of family and
community. Confronting hardship, the indomitable
spirit of youth illuminates the imperative
of a way forward that reconciles the human
needs with national policy.”
–Terry Mazany, President and CEO, The
Chicago Community Trust
10

Join Us for These FREE Home/Land Events
Readings from the US/Mexico
Playwright Exchange Program
Presented in association with the Lark Play Development Center
July 13 – 14, 2013 | Goodman Theatre Healy Rehearsal Room
Join us for free readings of three brand-new plays by Mexican
playwrights. FREE
Support for the Latino Theatre Festival
Goodman Theatre is grateful to the following additional institutional donors for
their generous support for Home/Land and the 2013 Latino Theatre Festival:
Saturday, July 13, 3pm
Pork Kidneys to Soothe Despair by Alejandro Ricaño,
translated by Daniel Jáquez. Presented in association with
Halcyon Theatre.
Saturday, July 13, 6pm
Mestiza Power by Concepcion Leon Mora, translated by Virginia
Grise. Presented in association with Teatro Luna.
Festival Partner
Contributing Sponsors of
The Happiest Song Plays Last
NIJC Event Sponsor for Home/Land
Spanish Print Media Sponsor
for the Latino Theatre Festival
Sunday, July 14, 3pm
Alaska by Gibrán Portela, translated by Migdalia Cruz.
Presented in association with 16th Street Theater
The reading of Alaska will be followed by a panel discussion
focused on new translation and international exchange.
Reservations are required for all readings; reserve tickets at
GoodmanTheatre.org.
CONTEXT: Home/Land
The Price We Pay: The Costs of
Deportation and Mass Incarceration
Wednesday, July 17, 7pm
Rumble Arts Center, 3413 West North Avenue
Join us as we look at the intersections of immigration and criminalization
policies, in Chicago and around the world.
FREE; reservations required. RSVP at GoodmanTheatre.org
LIT LIVE!
Story Hour with Goodman Theatre at Chicago Public libraries
June 18, 22, 25 and 29
Goodman Theatre’s Latino Theatre Festival comes to life—in
Español and English! Perfect for families with children ages 3 to 6.
Free; For information on locations and times visit
GoodmanTheatre.org/LatinoTheatreFest
PANEL DISCUSSION ON IMMIGRATION REFORM
July 19, 9:45pm | FREE
The Goodman, APTP and the National Immigration Justice
Center host a panel discussion following an 8pm performance
of Home/Land on the status of the US Immigration
Reform Legislation.
2009 Joyce Award for
The Happiest Song Plays Last
Major Production Support for
The Happiest Song Plays Last
Consortium Partners for
the Latino Theatre Festival
Individual Support for the Latino
Theatre Festival
Goodman Theatre is proud to acknowledge the following individuals for their
support of the 2013 Latino Theatre Festival.
María C. Bechily and Scott Hodes
Joe and Palma Calabrese
Gery and Sunny Chico
Patricia Cox
Shawn M. Donnelley and
Christopher Kelly
Harry J. Harczak, Sr. Memorial
Organization
Eva Losacco
Digital Media Sponsor for the
Latino Theatre Festival
Broadcast Media Sponsor for
the Latino Theatre Festival
Commitments as of May 1, 2013
Amalia and William Mahoney
Shaw Family Supporting
Foundation
Latino Theatre Festival Sponsors
Linda and Peter Krivkovich
Latino Theatre Festival Education
and Community Engagement
Sponsors
Commitments as of May 1, 2013
ALBANY PARK THEATER PROJECT’S HOME/LAND
2:00pm
7:30pm
2:00pm
7:30pm
Sun Mon Tue Wed Thu Fri Sat
7/21
7/28
7/22 7/23 7/24
7:30pm
7:30pm
7:30pm
7/18
7/25
8:00pm
8:00pm
7/19
7/26
JULY 2013
2:00pm
8:00pm
2:00pm
8:00pm
7/20
7/27
11

IN THE WINGS
STEM to STEAM: Integrating the Arts
into Science Learning
By Teresa Rende
“But I don’t teach drama” is a phrase
we often hear from teachers learning
about the Goodman’s Education and
Community Engagement department.
We tell them, “That makes you perfect
for our program.” The Goodman’s
Student Subscription Series, now in its
27th year, offers participant schools
free tickets to Goodman shows for students,
teachers and parents, as well
as scripts, study guides, a plethora of
online resources and regular professional
development workshops for teachers.
During the series, the Goodman’s
education staff works with teachers to
design specific lesson plans and focused
classroom integration, creating a program
that not only gives students a rich
theatergoing experience but also develops
critical thinking skills and sparks
curiosity and enthusiasm for learning.
The program is designed for teachers
of all subjects, with math, science and
other non-humanities teachers actively
encouraged to work in teams with
drama, English and history teachers
on a curriculum that integrates theater
across all subject areas.
In an effort to develop even more crosscurricular
lesson plans and add nonhumanities
teachers to our program, the
Goodman’s education department has
been immersed in the STEM to STEAM
movement. STEM generally refers to science,
technology, engineering and math,
and the classes at any grade level that
fall into those categories. STEAM is a
relatively new concept in education,
calling for the arts to be incorporated
with science, technology, engineering
and math learning. By drawing the arts
into science learning, we provide practical
applications and examples of math
and science and illuminate connections
between subjects for students—an
increasingly important twenty-first century
learning skill.
To develop our STEAM initiatives we
have been attending conferences, meeting
with other STEAM practitioners and
partnering with the Illinois Institute of
Technology to create lesson plans in
conjunction with A Christmas Carol. And
this summer, we hope to do our largest
STEAM program yet: Stage Chemistry.
Stage Chemistry will be available to
select Chicago area high school teachers
and partner Chicago Public Library
branches, and will focus on STEM learning
applications evident in our summer
production of The Jungle Book. It’s not
easy to bring a jungle to life on stage.
It takes imagination, creativity—and a
lot of math and science! Participants
in Stage Chemistry will learn how
Goodman artists and technicians create
the magic of the jungle for every performance
with a lively demonstration of
stagecraft. The Chicago Public Library
will follow up this experience with
hands-on set construction activities in
select local library branches.
Stage Chemistry will provide a great
summer exploration of STEAM curricula,
and will serve as a model for our larger
STEAM push. During the 2013/2014
school year, the Goodman’s education
and community engagement department
plans to broaden the STEAM initiative
by partnering with three local high
schools to conduct a year-long Stage
Chemistry program. Partner schools will
attend a demonstration of stage craft
and complete hands-on set construction
activities, integrate theater into multiple
classrooms at their school, and present
a year-end performance actively
applying what they’ve learned to a real
production. This is only the beginning of
STEM to STEAM initiatives in our partner
Illinois high schools!
ABOVE: Education and Community Engagement
Director Willa Taylor (far right) leads professional development
workshop for teachers and school administrators
at the Goodman.
Goodman Theatre would like to thank all Education
and Community Engagement donors for their help in
making programs like STAGE CHEMISTRY possible.
12

AT THE GOODMAN
The 2012/2013 Playwrights Unit
Since September, four Chicago-based playwrights have been meeting twice a month with members of the Goodman’s artistic staff
to read and engage with each other’s work as part of the 2012/2013 Goodman Playwrights Unit. Out of this process four brand
new plays have emerged, and this summer audiences will have a chance to hear these new works read by some of Chicago’s most
talented actors. These readings are free but reservations are required; visit GoodmanTheatre.org or call the Goodman Box Office at
312.443.3800 to reserve your seats.
Prowess
By Ike Holter | Directed by Marti Lyons
Saturday, July 20, 2:30pm | Healy Rehearsal Room
Zora wants to change the world—or at least Chicago—but
working for her alderman isn’t all it’s cracked up to be. So
she starts looking for a way to take more direct action, and
for some co-conspirators to help her do it. This take-no-prisoners
new play by Ike Holter is about citizens rising up and
kicking ass, no matter what the consequences.
IKE HOLTER’s plays have been workshopped
at The Kennedy Center, the Eugene O’Neill
Theater Center and the Playwrights’ Center,
and produced at Steppenwolf’s Garage
Theatre, LiveWire Chicago Theatre, Nothing
Without a Company (where he is the associate
artistic director), Collaboraction’s Sketchbook Festival, Route 66
Theatre Company and The Inconvenience, where he is a founding
member and resident writer.
Sleeping with the Prince of Darkness: The
Imagined Pillow Talk of FBI Agent John O’Neill
By Greg Allen | Directed by Henry Wishcamper
Saturday, July 20, 7:30pm | Healy Rehearsal Room
FBI Agent John O’Neill was a counterterrorism expert who
sounded the alarm about Al Qaeda long before it became a
household name—but politics and his own personal failings
pushed his warnings aside. In this inventive and incisive new
play, Greg Allen charts the history of terrorism through a series
of intimate conversations between O’Neill and his many lovers.
GREG ALLEN is the founding director of The
Neo-Futurists and the creator of Too Much
Light Makes The Baby Go Blind (30 Plays in
60 Minutes), which has been running continuously
in Chicago since 1988 and in New York
City since 2005. Last spring he penned his
28th production for The Neo-Futurists.
F(law) . less
By christopher oscar peña | Directed by Henry Godinez
Sunday, July 21, 2:30pm | Healy Rehearsal Room
Denia arrives in Chicago from far away, looking to create a place
for herself in this unfamiliar land. Monique has never left Chicago
but is feeling more and more like a stranger in her own home. A
chance encounter between them transforms their lives forever in
this lyrical and arresting new play about identity and perception.
CHRISTOPHER OSCAR PEÑA’s work has
been developed or seen at The Public Theater,
Two River Theater Company, Ars Nova, INTAR
Theatre, Rattlestick Playwrights Theater, The
Flea Theater, Ontological-Hysteric Theater,
Rising Circle, Pavement Group, Son of Semele
Ensemble and New York Theatre Workshop.
Ninth Man Out
By Alice Austen | Directed by Wendy C. Goldberg
Friday, August 16, 7:30pm | Polk Rehearsal Room
Ninth Man Out is inspired by the life of Elmer Gedeon, a multisports
star from the University of Michigan who went on to play
professional baseball before being drafted into World War II.
Alice Austen examines the cost of competition and the relentless
pursuit of excellence for an individual and his country.
ALICE AUSTEN is a resident playwright at
Chicago Dramatists and a member of Shanghai
Low Theatricals. She is a past recipient of
a residency from the Royal Court Theatre in
London and a 2007 Jeff Award nominee for
Water (Best New Work). Her plays have been
seen at theaters across the country and in Europe. She is a
member of the Dramatists Guild.
Time Warner Foundation Supports
New Play Development at the
Goodman
Goodman Theatre is pleased to recognize Time Warner Foundation for its
generous support during the 2012/2013 and 2013/2014 Seasons as the
Major Supporter of New Play Development.
For more than three decades, Goodman Theatre has made new play production
a key institutional priority. In that time, the Goodman has produced over
100 world premieres, 33 written by playwrights of color and 32 by female
playwrights. With the support of Time Warner Foundation, the Goodman is
able to nurture and celebrate the next generation of storytellers and theater
artists by fostering the creation, development and production of work that
reflects diverse voices and perspectives.
The Goodman salutes Time Warner Foundation for its commitment to sustaining
art that is rich, relevant and essential to the vibrancy of our society.
New Work Fast Fact
The Goodman has premiered 13 new musicals in the past three decades,
including this summer’s The Jungle Book.
13

SCENE AT THE GOODMAN
The Goodman Theatre Gala is a Great Success!
The Goodman Theatre Gala on May 18 was a great success,
raising over $1 million for the theater’s education and community
engagement programs. Guests attending the fabulous
event were treated to an exclusive sneak peek at the songs
from The Jungle Book. Congratulations to Gala Co-Chairs
Amalia Perea Mahoney and Christine Pope, Gala Trustee Chair
Adnaan Hamid, Gala Corporate Chair Anthony F. Maggiore,
Honorary Gala Corporate Chair Glenn F. Tilton and Jungle Book
Leadership Committee Trustee Dia Weil. Special thanks to Gala
Sponsor Partners Allstate; Sharon and Charles Angell; Joan and
Robert Clifford; Exelon, Ellen and Paul Gignilliat; Ruth Ann M.
Gillis and Michael J. McGuinnis; Albert and Maria Goodman;
Adnaan Hamid and Elissa Efroymson; Sherry and Peter John;
JPMorgan Chase; Amalia and William Mahoney; Michael and
Christine Pope; Alice and John J. Sabl; Splash, a Wrapports
publication; Dia S. and Edward S. Weil, Jr.; and American
Airlines, Exclusive Airline of Goodman Theatre.
We would like to acknowledge Michael and Jacky Ferro, the
Sun-Times Foundation and The Chicago Community Trust for
providing the Goodman with a generous matching gift opportunity
to support the theater’s education programs. For more
information on their matching gift challenge, contact Katie
Frient at 312.443.3811 ext. 586.
LEFT (top to bottom): Russ and Tracy Scurto, Joan and Bob Clifford. Adnaan Hamid
(Gala Trustee Chair), Christine Pope (Gala Co-Chair), Sherry John (Women’s Board
President), Roche Schulfer (Executive Director), Amalia Perea Mahoney (Gala Co-Chair)
Dia Weil (The Jungle Book Trustee Leadership Committee Chair), Ruth Ann M. Gillis
(Board of Trustees Chairman) and Anthony F. Maggiore (Gala Corporate Chair). Marc
Jackson and Patty VanLammeren. Photos by John Reilly Photography.
By the Way, Meet Vera Stark Opening Celebration
Sponsors and guests celebrated the opening of Lynn Nottage’s
By the Way, Meet Vera Stark, directed by Goodman Theatre
Resident Director Chuck Smith, on Monday, May 6. Attendees
enjoyed cocktails and dinner at Club Petterino’s, followed
by the performance in the Albert Theatre. The Goodman
gratefully acknowledges all of the sponsors who made this
production possible—Major Production Sponsors Albert and
Maria Goodman and the Goodman Theatre Women’s Board,
Corporate Sponsor Partner Illinois Tool Works, Media Partner
WBEZ 91.5FM, Leadership, Principal and Artistic Collective
Sponsors, Director’s Society Sponsors Sherry and Tom Barrat,
Don and Rebecca Ford Terry, Kimbra and Mark Walter and
Randy and Lisa White, Student Subscription Series Sponsors
Julie M. Danis and Paul F. Donahue, the Harry J. Harczak, Sr.
Memorial Foundation and Event Sponsor Petterino’s.
LEFT (clockwise from top to bottom): Major Production Sponsor and Life Trustee Albert
Goodman and Maria Goodman with the director of By the Way, Meet Vera Stark, Chuck
Smith. Business Council member Dana Rice (Grosvenor Capital Management) with
Director’s Society Sponsor/Vice President Rebecca Ford Terry, Women’s Board member
Cynthia Levin, Women’s Board President Sherry John and Executive Director Roche
Schulfer. Photos by John Reilly Photography.
14

The Happiest Song Plays Last
Opening Celebration
On April 22, guests gathered at Club Petterino’s to celebrate the
opening of The Happiest Song Plays Last, produced in association
with Teatro Vista. The Happiest Song Plays Last was created
with a prestigious 2009 Joyce Award for Theater. Guests
were treated to cocktails and dinner, followed by the world
premiere performance. Special thanks to all of the sponsors
who made this production possible—The Joyce Foundation, the
National Endowment for the Arts, Contributing Sponsors Baxter
and Blue Cross Blue Shield of Illinois, Leadership, Principal and
New Work Season Sponsors, Director’s Society Sponsors Kevin
and Eliza Cole, Cindy and Andrew H. Kalnow and Sara F. Szold
and the Latino Theatre Festival Sponsors listed on page 11.
RIGHT (top to bottom): Playwright Quiara Alegría Hudes and Executive Director Roche
Schulfer. Maria Tortolero, Ellen Alberding (The Joyce Foundation) and Carlos Tortolero
(National Museum of Mexican Art). Eliud Hernández (Illinois Arts Council), director
Edward Torres, William Sharp (Blue Cross Blue Shield of Illinois) and Ricardo Gutierrez.
Photos by John Reilly Photography.
The 9th Annual Estate
Planning Seminar
On April 30, the Spotlight Society Advisory Council starred in
The Stark Truth About Estate Planning. The seminar was hosted
in the style of a late-night show, and included a humorous
“Top Ten Reasons to Have an Estate Plan” and insightful
information on the new tax laws, estate planning fundamentals
and best practices for charitable giving. Before breaking for
lunch, Associate Producer Steve Scott led a discussion with
Resident Director Chuck Smith and By the Way, Meet Vera
Stark actress Tamberla Perry. Offered annually, the seminar
is coordinated by the Spotlight Society Advisory Council for
Spotlight Society members and patrons interested in leaving a
legacy at the Goodman.
RIGHT (top to bottom): Spotlight Society Advisory Council members and cast of The Stark
Truth About Estate Planning—Tom Karaba, Anita Tyson, Eileen Trost, Lucy Park and Robert
Hamilton. Dr. Angelique Sallas, Spotlight Society member, and fellow Estate Planning
Seminar guest. Longtime Goodman Theatre patrons and Subscribers Gloria Walton, Sheila
Turetzky and Volar Marsh. Photos by John Reilly Photography.
Leave a Legacy
We sincerely appreciate your commitment to Goodman Theatre and invite you to be a part of its future. The Spotlight Society
is a group of passionate supporters who have designated a special gift to benefit Goodman Theatre through a planned giving
vehicle. Formalizing your commitment to the Goodman allows us to thank you today for your future generosity and comes with
significant benefits.
If you have questions about Spotlight Society membership or estate planning at the Goodman, go to GoodmanTheatre.org/
Spotlight or contact Amber Bel’cher in the Development Office at 312.443.3811 ext. 220 or AmberBelCher@GoodmanTheatre.org.
15

SCENE AT THE GOODMAN
Women’s Night 2013, Featuring By the Way, Meet Vera Stark
On May 8, the Goodman was proud to celebrate the dynamic
women of Chicago at the highly anticipated annual Women’s
Night. Nearly 200 fabulous women from across the city enjoyed
a festive evening of camaraderie and networking at Club
Petterino’s, including a lively reception and compelling artistic
presentation followed by a performance of Pulitzer Prize winner
Lynn Nottage’s new comedy, By the Way, Meet Vera Stark.
We would like to recognize all of those who made this evening
possible: Diversity Initiatives Champion Charter One/
RBS Citizens, Diversity Initiatives Partners Allstate Insurance
Company, Ernst & Young, Exelon Corporation, Fifth Third Bank,
Loop Capital Markets, Macy’s, Mesirow Financial, Ringold
Financial Management Services Inc. and Walgreens, Women’s
Night Event Sponsors Holland Capital Management, INTREN,
Leo Burnett and United Scrap Metal, and Women’s Night Media
Sponsor Today’s Chicago Woman. A special thanks to Julie
Danis, Vicki V. Hood, Elizabeth Raymond and Maria E. Wynne
for their personal support of Women’s Night.
LEFT (clockwise from top to bottom): Goodman Trustee Maria Green (Illinois Tool Works),
with Chairman of the Board Ruth Ann M. Gillis. JeNyce Boolton (Champion Charter One/
RBS Citizens). Goodman Trustee Maria Holmes (center) and colleagues (Fifth Third Bank),
with Patrick Clear from the cast of By the Way, Meet Vera Stark. The dynamic women of
Holland Capital Management LLC. Photos by John Reilly Photography.
Business Council Spring
Reception
On Thursday, April 25, Goodman Business Council members,
Trustees and guests gathered for cocktails and hors d’oeuvres
in the Goodman Lounge before a performance of The Happiest
Song Plays Last in the Owen Theatre. Director Edward Torres
and the Goodman’s Director of New Play Development Tanya
Palmer offered behind-the-scenes insights on the evolution and
production of the play. Business Council Co-Chair Bob Wislow,
U.S. Equities Realty, joined Goodman Theatre Executive Director
Roche Schulfer in welcoming the Council’s newest members,
including Kate S. Gaynor, Marsh Private Client Services; Dana
Rice, Grosvenor Capital Management; and Marsha Serlin,
United Scrap Metal, Inc.
RIGHT (clockwise from top to bottom): Business Council member Kate S. Gaynor (Marsh
Private Client Services), Goodman Trustee Alice Sabl. Business Council member Peter John
(Williams, Montgomery & John) and Business Council Co-Chair Bob Wislow (U.S. Equities
Realty). Michael Mayo (Crowe Horwath), Business Council member Michelle Ringold and
Rick Ringold (Ringold Financial Management Services, Inc.). Erich Tengelsen (Rangelight
LLC); Joe Calabrese, President, Goodman Board of Trustees; Lisa Feingold, Senior Director
of Institutional Giving and Roche Schulfer, Executive Director of Goodman Theatre; and
Jennifer Tengelsen. Photos by John Reilly Photography.
16

Center Stage
In the Albert
THE JUNGLE BOOK JUNE/JULY/AUGUST 2013
Sun Mon Tue Wed Thu Fri Sat
8:00pm
6/21
8:00pm
6/22
Goodman Business Council
Member Marsha Serlin,
United Scrap Metal, Inc..
How did you become involved with the Goodman?
When I was just starting out my career I had the
privilege of working for a lawyer who, whenever
traveling, would ask me if I wanted his symphony
tickets. Because of his generosity and encouragement,
I have been a supporter of the Chicago
Symphony Orchestra for over 30 years. My appreciation
for the symphony carried over to the Lyric
Opera and to the Goodman. His simple act of sharing
nurtured a real passion for the arts within me.
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I decided I wanted to pay it forward to my
employees at United Scrap Metal. Last year, I
was invited to sponsor Women’s Night featuring
Crowns, and I was delighted to bring a group of
women who might not otherwise have such an
opportunity to see the play. They loved it, were
moved by it, and have been inspired to get out
and experience more theater!
On being a Business Council member:
I decided to join the Business Council to continue
being an advocate for theater. I believe that when
you love something, you should share it. I look forward
to introducing more folks to the Goodman—
more employee nights at the theater, as well as
nights with clients, colleagues and friends. I also
know that my support helps the Goodman to remain
not only a part of a tremendous Loop Theater
District, but an essential and world-class cultural
institution in Chicago.
What sets the Goodman apart?
I really appreciate all that the Goodman does for
the broader community, particularly Women’s Night
and the many terrific diversity initiatives of the
theater. There is truly something for everyone in a
season—stories that will resonate with folks from
every corner of the city.
Which Goodman Theatre production has been
your favorite in our recent history?
I thought Robert Falls’ Measure for Measure this
season was brilliant. I loved his interpretation
of this Shakespeare play and thoroughly enjoyed
the performance!
PREFERRED HOTEL SPOTLIGHT: CHICAGO KIMPTON HOTELS
Goodman Theatre patrons receive exclusive rates, ranging from $145 to $205,
at Hotel Allegro, Hotel Burnham and Hotel Monaco, all just steps away from the
theater. At each of the boutique hotels, guests enjoy complimentary morning
coffee and tea service and a daily hosted wine reception from 5 to 6pm. During
the summer, complimentary bikes, neighborhood runs led by hotel managers
and city scavenger hunts for kids are offered to enhance guest experiences. And
adjacent to each hotel is a signature restaurant, known for seasonal, locally sourced ingredients and notable chefs.
For more information on rooms and Goodman rates at all three hotels, call 312.325.7211 to access the Chicago VIP
reservations desk based at the Hotel Allegro. Mention promo code GMT to access special rates. You can also find
information on each hotel at GoodmanTheatre.org/Visit/Where-to-stay. All rates are based on availability.
PREFERRED RESTAURANT SPOTLIGHT: THE MELTING POT
The Melting Pot, Chicago’s premier fondue eatery, brings the kitchen to the
table with its rich interactive fare. The cozy fondue house offers a sensuous
dining atmosphere, where diners nestle into plush booths under dim lighting
and dip into course after course of savory and sweet fondues. Cheesy fondues
typically begin each meal, followed by entrées of shrimp, beef, chicken and
veggies. At The Melting Pot you’ll uncover hand-picked wines, stellar cocktails,
and of course, world famous chocolate fondue.
Present your Goodman ticket stub or Subscriber card and receive a complimentary chocolate fondue for two with
purchase of an entrée. The Melting Pot is located at 609 North Dearborn Street at Ohio. For reservations, call
312.573.0011.
PREFERRED PARTNER SPOTLIGHT: Trattoria No. 10
For a taste of Tuscany, try the Michelin-rated Trattoria No. 10, a Goodman preferred
partner restaurant. Dubbed “one of the Loop’s premier dining spots” by
Chicago Tribune, Trattoria No. 10 boasts a menu that changes seasonally and
includes gluten-free options and offerings for kids. There’s always a reason to
come back to this downtown Chicago favorite.
Goodman patrons who present their ticket stub will receive a complimentary
dessert with the purchase of an entrée. Offer is valid only on the date shown on the ticket.
Trattoria No. 10 is located at 10 North Dearborn Street, and also offers cozy private dining areas for groups of up to 250.
For reservations, call 312.984.1718 or visit TrattoriaTen.com. Be sure to ask them about the Special Occasions Club.
17

WHAT GREAT THEATER SHOULD BE
170 North Dearborn
Chicago, Illinois 60601
Non-profit Org.
U.S. Postage
P A I D
Chicago, IL
Permit No. 2546
Save the Date
Season Opening night celebration featuring
Tuesday, September 24, 2013
5PM
Cocktails and Dinner, The Standard Club
performance, Goodman Theatre
BY Cheryl L. West
DIRECTED BY CHUCK SMITH
HONOREES:
Roche Schulfer
Executive Director,
Goodman Theatre
Robert FallS
Artistic Director
Chuck Smith
Resident Director,
Goodman Theatre
roche Schulfer
Executive Director
Ruth Ann M. GillIS
Chairman, Board of Trustees
lester N. Coney
Season Opening Chair
Sherry John
President, Women’s Board
elaINE LEAVENWORTH
Season Opening Corporate Chair
LAUREN BLAIr
President, Scenemakers Board
Tickets start at $500
Abbott is a Sponsor Partner for the
Season Opening Night Celebration and
Abbott Fund is a Corporate Sponsor
Partner for Pullman Porter Blues
Exelon is a Guarantor for the
Season Opening Night Celebration
and ComEd is the Official Lighting
Sponsor for Pullman Porter Blues
Corporate Sponsor Partner
for Pullman Porter Blues
JPMorgan/Chase is the
benefactor for the Season
Opening Celebration
Exclusive Airline
of Goodman Theatre
Commitments as of
May 10, 2013
For more information contact Katie Frient
at KatieFrient@GoodmanTheatre.org or
312.443.3811, ext. 586.