The Onion Cellar Program - American Repertory Theater
The Onion Cellar Program - American Repertory Theater
The Onion Cellar Program - American Repertory Theater
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Dear Friends,<br />
Music has always been one of the theatre’s greatest tools.<br />
<strong>The</strong> relationship between music and text is elastic and begs reinvention,<br />
from the Greeks to Western opera, from Beijing Opera to<br />
Brecht/Weill to hip hop performance.<br />
During the past five seasons at the A.R.T., many directors<br />
and composers have investigated this dance between music and<br />
text. Ulzhan Baibussynova’s haunting Uzbek music in Peter<br />
Sellars’ Children of Herakles, Paul Dresher’s incorporation of<br />
Chinese motifs in his collaboration with Chen Shi Zheng on Snow<br />
in June, Rinde Eckert’s two music theatre adaptations of ancient mythology in Orpheus X and<br />
Highway Ulysses, Evan Ziporyn’s setting of fragments of Sophocles in Oedipus — in all these<br />
cases, the relationship of music and text served as the spine for drama. <strong>The</strong> <strong>Onion</strong> <strong>Cellar</strong> is an<br />
extension of this investigation.<br />
Amanda Palmer and Brian Viglione of <strong>The</strong> Dresden Dolls exist on the cusp between rock ‘n’<br />
roll and theatre. <strong>The</strong> Dolls, who bill themselves as “Brechtian Punk Cabaret,” have extended<br />
Brecht’s ideas of performance into this century. <strong>The</strong>ir music is personal and political, and a fabulous<br />
party that invites the participation of the audience.<br />
I heard the Dolls’ first album more than two years ago, and asked Amanda and Brian if they<br />
would like to create a piece for the theatre. Amanda immediately responded with the concept for<br />
<strong>The</strong> <strong>Onion</strong> <strong>Cellar</strong>. Her idea reminded me of the musicians who accompany Thai boxing, raising<br />
the intensity of the sound as the fight progresses and fueling the battle between fighters much<br />
like the performers in <strong>The</strong> <strong>Onion</strong> <strong>Cellar</strong>, who are pushed to emotional extremes by the driving<br />
rhythms of the musicians.<br />
It’s a great pleasure to welcome you to <strong>The</strong> <strong>Onion</strong> <strong>Cellar</strong>!<br />
Robert Woodruff<br />
Artistic Director<br />
Professional Company — 2006-07 Season<br />
Remo Airaldi<br />
Akiko Aizawa<br />
J. Ed. Araiza<br />
Paul Benedict<br />
Will Bond<br />
Stephen Boyer<br />
Claire E. Davies<br />
Danyon Davis<br />
Greg Derelian<br />
Thomas Derrah<br />
Ned Eisenberg<br />
Carson Elrod<br />
Jeremy Geidt<br />
Fred Goessens<br />
Leon Ingulsrud<br />
John Haynes<br />
Rebecca Henderson<br />
Elizabeth Jasicki<br />
Ellen Lauren<br />
Will LeBow<br />
Jesse Lenat<br />
Angela Lin<br />
Joan Mackintosh<br />
Karen MacDonald<br />
Kelly Maurer<br />
Hadewych Minis<br />
Barney O’Hanlon<br />
Armando Narciso<br />
Tom Nellis<br />
Kevin O’Donnell<br />
Amanda Palmer<br />
Daniel Parker<br />
Craig Pattison<br />
Stephen Payne<br />
Frieda Pittoors<br />
Mark Rosenthal<br />
Mam Smith<br />
Lucas Steele<br />
Brian Viglione<br />
Michael Wartella<br />
Stephen Webber<br />
Bernard White<br />
David Woods<br />
Max Wright<br />
Robin Young
oston ballet<br />
MIKKO NISSINEN<br />
Artistic Director<br />
VALERIE WILDER<br />
Executive Director<br />
<strong>The</strong> Wang <strong>The</strong>atre<br />
DON QUIXOTE Oct 19-29<br />
A MIDSUMMER NIGHT’S DREAM Feb 8-18<br />
NEW VISIONS March 1-4<br />
CLASSIC BALANCHINE May 3-6<br />
GISELLE May 10-20<br />
<strong>The</strong> Opera House<br />
THE NUTCRACKER Nov 24-Dec 30<br />
2006 2007<br />
s e a s o n<br />
Television Partner<br />
Telecharge.com 800.447.7400<br />
Subscriptions: 617.695.6955 • Groups: 617.456.6343<br />
Mention A.R.T. and get $20 OFF per 3, 4, or 5 ballet subscription!<br />
NUTCRACKER TICKETS<br />
<strong>The</strong> Opera House: Ticketmaster.com 617.931.2787<br />
www.bostonballet.org<br />
Principal Dancer Karine Seneca by Gene Schiavone, on location at the Museum of Fine Arts, Boston
Zero Arrow<br />
<strong>The</strong>atre<br />
Our exciting second<br />
performance space!<br />
“Boston’s Best New <strong>The</strong>atre (2005)”<br />
– Improper Bostonian.<br />
<strong>The</strong> A.R.T.’s flexible and intimate second<br />
performance space at the intersection<br />
of Arrow Street and Mass.<br />
Avenue in Cambridge is now two<br />
years old! This three hundred-seat theatre serves as an incubator for new work in addition to<br />
hosting performances by the A.R.T./MXAT. Institute for Advanced <strong>The</strong>atre Training. Performance<br />
times and dates will be updated on the A.R.T.’s website (www.amrep.org). Don’t miss the adventure<br />
of new work, young artists, and multiple disciplines all at affordable prices –– the signature<br />
mission of ZERO ARROW THEATRE.<br />
<strong>American</strong> <strong>Repertory</strong> <strong>The</strong>atre Advisory Board<br />
Philip Burling Co-Chair Ted Wendell Co-Chair Mrs. Ralph P. Rudnick Vice-Chair<br />
Joel Alvord<br />
Joseph Auerbach, emeritus<br />
George Ballantyne<br />
Carol V. Berman<br />
Page Bingham<br />
Robert Brustein<br />
Paul Buttenwieser<br />
Greg Carr<br />
Caroline J. Chang<br />
Antonia H. Chayes<br />
Clarke Coggeshall<br />
Kathy Connor<br />
Robert Davoli<br />
David Edwards<br />
Charles Gottesman<br />
Barbara W. Grossman<br />
Ann Gund<br />
Joseph W. Hammer<br />
Horace H. Irvine II<br />
Michael Jacobson<br />
Michael B. Keating<br />
Glenn KnicKrehm<br />
Myra H. Kraft<br />
Lizbeth Krupp<br />
Barbara Cole Lee<br />
Barbara Lemperly Grant<br />
Carl Martignetti<br />
Dan Mathieu<br />
Eileen McDonagh<br />
Rebecca Milikowsky<br />
Ward Mooney<br />
Anthony Pangaro<br />
Beth Pollock<br />
Jeffrey Rayport<br />
Michael Roitman<br />
Henry Rosovsky<br />
Linda U. Sanger<br />
John Shane<br />
Michael Shinagel<br />
Donald Ware<br />
Sam Weisman<br />
<strong>The</strong> A.R.T./Harvard Board of Directors<br />
Philip Burling<br />
Luann Godschalx<br />
Jonathan Hurlbert (clerk)<br />
Judith Kidd<br />
Robert James Kiely<br />
Jacqueline A. O’Neill (chair)<br />
Robert J. Orchard<br />
Robert Woodruff<br />
T O O U R A U D I E N C E<br />
To avoid disturbing our seated patrons, latecomers (or patrons who leave the theatre during the performance) will be seated at<br />
the discretion of the management at an appropriate point in the performance.<br />
By union regulation:<br />
• Taking photographs and operating recording equipment is prohibited.<br />
• All electronic devices such as pagers, cellular phones, and watch alarms should be turned off during the performance.<br />
By Cambridge ordinance, there is no smoking permitted in the building.
presents<br />
THE ONION CELLAR<br />
featuring <strong>The</strong> Dresden Dolls<br />
conceived, written, and designed by<br />
Amanda Palmer, Jonathan Marc Sherman,<br />
Marcus Stern, Christine Jones, Anthony Martignetti,<br />
and the cast of <strong>The</strong> <strong>Onion</strong> <strong>Cellar</strong><br />
director<br />
costume design<br />
lighting design<br />
sound design<br />
stage manager<br />
dramaturgs<br />
Marcus Stern<br />
Clint Ramos<br />
Justin Townsend<br />
David Remedios<br />
Jennifer Sturch*<br />
Ryan McKittrick<br />
Neena Arndt<br />
First performance December 9, 2006<br />
Production Sponsors<br />
Michael Roitman and Emily A. Karstetter<br />
Production Supporters<br />
season sponsor<br />
<strong>The</strong> <strong>American</strong> <strong>Repertory</strong> <strong>The</strong>atre and the Institute for Advanced <strong>The</strong>atre Training at Harvard<br />
are supported in part by major grants from the Andrew W. Mellon Foundation, <strong>The</strong> Harold<br />
and Mimi Steinberg Charitable Trust, the Shubert Foundation, and the Carr Foundation. <strong>The</strong><br />
A.R.T. also gratefully acknowledges the support of Harvard University, including President<br />
Lawrence H. Summers, Provost Steven E. Hyman, Dean William C. Kirby, the Committee on<br />
Dramatics, the Loeb Visiting Committee, Dean Michael Shinagel, and the School of<br />
Continuing Education. We also wish to give special thanks to our audience and to the many<br />
A.R.T. Annual Fund donors for helping us make this season possible.
Remo Airaldi*<br />
Claire E. Davies<br />
Thomas Derrah*<br />
Brian Farish<br />
Kristen Frazier<br />
Jeremy Geidt*<br />
CAST<br />
Merritt Janson<br />
Karen MacDonald*<br />
Amanda Palmer*<br />
Neil Stewart<br />
Brian Viglione*<br />
Running time is 1 hour 30 minutes with no intermission.<br />
assistant director<br />
assistant dramaturgs<br />
assistant stage manager<br />
voice and speech consultant<br />
assistant voice and speech<br />
advertising conulstants<br />
Alison Wood<br />
Sally Ollove<br />
Katie Rasor<br />
Katherine Shea*<br />
Nancy Houfek<br />
Chris Lang<br />
Stevens Advertising<br />
Additional Staff: Ed Coco, Daniel Zimmerman, Sia Balanova, Sara Walsh, Assistant Designers:<br />
Lauren Audette, Light Board Operator; Nicole Marcelli, Follow Spot Operators; Joshua Stedman,<br />
Properties; Evan Wilkinson, Interim Scene Shop Supervisor; Chris Eschenbach, Kevin Klein,<br />
Dan MacDonald, Brian McAlpine, Carpenters; Carolyn Sullivan Scenic Painter; Kristin Knutson,<br />
Scenic Intern; Amy Cole, Stage Management Intern.<br />
<strong>Onion</strong> Peeling Movie by Peter Sand.<br />
Special thanks to Summer Turner, Eric Devlin for the <strong>Onion</strong> Woodcut Logo;<br />
Robert M. Carasitti of Schirmer Engineering Corporation; Will LeBow, Amy Weissenstein, and<br />
Peter Dean. Natural Herb Cough Drops provided by Ricola U.S.A., Inc.<br />
Amanda Palmer thanks Michael Pope, Lee Barron and <strong>The</strong> Cloud Club,<br />
and her parents and sister Alyson.<br />
<strong>The</strong> A.R.T. operates under an agreement between the League of Resident<br />
<strong>The</strong>atres and Actors’ Equity Association, the union of Professional Actors and<br />
Stage Managers in the United States. <strong>The</strong> director of this production is a<br />
member of the Society of Stage Directors and Choreographers, Inc., and most<br />
of the designers are members of United Scenic Artists, both independent labor<br />
unions. <strong>The</strong> A.R.T. is also a constituent member of <strong>The</strong>atre Communications<br />
Group (TCG), the national service organization for the <strong>American</strong> not-for-profit<br />
theatre. Supporting administrative and technical staff are represented by the<br />
Harvard Union of Clerical and Technical Workers/AFSCME<br />
(*) Members of Actors’ Equity Association,<br />
the Union of Professional Actors and Stage<br />
Managers in the United States.<br />
(*) Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Actors’ Equity Association<br />
(AEA), founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster<br />
the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits,<br />
including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing<br />
arts unions. <strong>The</strong> Equity emblem is our mark of excellence. www.actorsequity.org
<strong>The</strong> <strong>Onion</strong> <strong>Cellar</strong> Acting Company<br />
THE DRESDEN DOLLS<br />
Boston based keyboard/drum duo now famous around the globe. After signing with Roadrunner<br />
Records in early 2004, the band has re-released their self-titled debut <strong>The</strong> Dresden Dolls to worldwide<br />
acclaim and recently made their Billboard debut with the equally applauded follow up Yes,<br />
Virginia. In addition, the band’s live audiences continue to grow exponentially around the planet as<br />
<strong>The</strong> Dresden Dolls have completed sold-out tours on four continents, supported Nine Inch Nails, and<br />
performed at prestigious world festivals including Reading, Leeds, Coachella, Fuji Rock, Roskilde<br />
and Glastonbury. Locally they have won numerous awards ranging from multiple Boston Music Awards to topping the Boston<br />
Phoenix/FNX Best Music Poll.<br />
REMO AIRALDI*<br />
A.R.T.: Forty-nine productions, including Island of Slaves (Arlequin), Romeo and Juliet (Peter), No<br />
Exit (Valet), Amerika (Captain, Green, Head Porter), Dido, Queen of Carthage (Nurse), <strong>The</strong><br />
Provok’d Wife (Constable), <strong>The</strong> Miser (Master Jacques), <strong>The</strong> Birthday Party (McCann), A<br />
Midsummer Night’s Dream (Francis Flute), Pericles (Fisherman), La Dispute (Mesrou), Uncle<br />
Vanya (Telegin), Marat/Sade (Cucurucu), Enrico IV (Bertoldo), <strong>The</strong> Winter’s Tale (Clown), <strong>The</strong> Wild<br />
Duck (Molvik), Buried Child (Father Dewis), Tartuffe (Monsieur Loyal), Henry IV and V (Mistress<br />
Quickly), Waiting for Godot (Pozzo), Shlemiel the First (Mottel/Moishe Pippik/Chaim Rascal), <strong>The</strong><br />
King Stag (Cigolotti), Six Characters in Search of an Author (Emilio Paz). Other: Camino Real and Eight by Tenn (Hartford<br />
Stage), productions at La Jolla Playhouse, Geffen Playhouse, <strong>American</strong> Conservatory <strong>The</strong>ater, Walnut St. <strong>The</strong>atre, Prince<br />
Music <strong>The</strong>ater, Actors’ <strong>The</strong>atre of Louisville, Serious Fun Festival, Moscow Art <strong>The</strong>atre, Taipei International Arts Festival, Boston<br />
Playwrights <strong>The</strong>atre.<br />
CLAIRE ELIZABETH DAVIES<br />
<strong>The</strong>atre credits: Waiting for Godot (Lucky, directed by Paul Zimet of the Talking Band), Hotel Blanc<br />
(Eva, directed by Amanda Palmer), A Marriage Proposal (Natalia), and Naomi in the Living Room<br />
(Johhna). Films: Sheila (Piggy, directed by Alison Bagnall,) Celestial (Neovoxer, directed by Michael<br />
Pope) and a catalog of work with <strong>The</strong> Bob collective. Founding member of the Rouged Ape<br />
Paratheatrical Ensemble and <strong>The</strong> Bob; solo artist in the underground performance art communities<br />
of Boston, New York, and London. Guest artist in writing workshops with the Talking Band (NYC),<br />
guest lecturer at Bard College. Degree in <strong>The</strong>atre and Fine Arts from Smith College, studied Growtowski and voice at the Ivy<br />
House School of Drama, London. Currently working on an EP that will be released in Spring of 2007.<br />
THOMAS DERRAH*<br />
A.R.T.: Island of Slaves (Trivelin), Three Sisters (Chebutykin), Carmen (Zuniga), Olly’s Prison<br />
(Barry), <strong>The</strong> Birthday Party (Stanley), A Midsummer Night’s Dream (Nick Bottom), Highway<br />
Ulysses (Ulysses), Uncle Vanya (Vanya), Marat/Sade (Marquis de Sade), Richard II (Richard),<br />
Mother Courage (Chaplain), Charlie in the House of Rue (Charlie Chaplin), Woyzeck (Woyzeck).<br />
Broadway: Jackie: An <strong>American</strong> Life (twenty-three roles). Off-Broadway: Johan Padan and the<br />
Discovery of the Americas (Johan), Big Time (Ted). Tours with the Company across the U.S., with<br />
residencies in New York, Chicago, San Francisco, and Los Angeles, and throughout Europe, Canada, Israel, Taiwan, Japan,<br />
and Moscow. Other: I Am My Own Wife, Boston <strong>The</strong>atreworks; Approaching Moomtaj, New <strong>Repertory</strong> <strong>The</strong>atre; Twelfth<br />
Night and <strong>The</strong> Tempest, Commonwealth Shakespeare Co.; London’s Battersea Arts Center; five productions at Houston’s<br />
Alley <strong>The</strong>atre, including Our Town (Dr. Gibbs, directed by José Quintero); and many theatres throughout the U.S. Awards:<br />
1994 Elliot Norton Prize for Sustained Excellence, 2000 and 2004 IRNE Awards for Best Actor, 1997 Los Angeles DramaLogue<br />
Award (for title role of Shlemiel the First). Television: Julie Taymor’s film Fool’s Fire (PBS <strong>American</strong> Playhouse), Unsolved<br />
Mysteries, Del and Alex (Alex, A&E Network). Film: Mystic River (directed by Clint Eastwood). He is a graduate of the Yale<br />
School of Drama.
BRIAN FARISH<br />
Second year acting student at the A.R/T//MXAT Institute; appeared in War and Peace,<br />
Zoya’s Apartment, and <strong>The</strong> Front Page. He is from Tulsa, Oklahoma, where he worked at<br />
Light Opera Oklahoma and Discoveryland. In Chicago he worked at the Noble Fool, Breadline,<br />
and drove a trolley.<br />
KRISTEN FRAZIER<br />
Second year acting student of A.R.T./MXAT Institute for Advanced <strong>The</strong>ater Training. Credits: <strong>The</strong><br />
Island of Anyplace (Great Great Grandfooler, Loeb Stage): Zoya’s Apartment (Lizanka, Moscow<br />
Art <strong>The</strong>ater), War And Peace (Natasha//Sonya, Moscow Art <strong>The</strong>ater). Born and raised in Anchorage,<br />
Alaska; before attending the Institute she studied Astrophysics and Public Policy at Cornell University.<br />
JEREMY GEIDT*<br />
Senior Actor, founding member of the Yale <strong>Repertory</strong> <strong>The</strong>atre and the A.R.T. Yale: over forty productions.<br />
A.R.T.: ninety-six productions including in Major Barbara (Undershaft), Heartbreak House<br />
(Shotover), A Midsummer Night’s Dream (Quince four times, Snug once), Henry IV (Falstaff),<br />
Twelfth Night (Toby Belch), <strong>The</strong> Caretaker (Davies) , <strong>The</strong> Homecoming (Max), Loot (Truscott),<br />
Man and Superman (Mendoza/Devil), Waiting for Godot (Vladimir), <strong>The</strong> Threepenny Opera<br />
(Peacham/Petey), Ivanov (Lebedev), Three Sisters (Chebutkin), Buried Child (Dodge), <strong>The</strong> Cherry<br />
Orchard (Gaev). <strong>The</strong> King Stag (Pantelone). Teaches at Harvard College, its Summer and Extension Schools and at the<br />
A.R.T/MXAT Institute. Trained at the Old Vic <strong>The</strong>atre School and subsequently taught there. Acted at the Old Vic, Young Vic, <strong>The</strong><br />
Royal Court, in the West End and in films and television, hosting his own show “<strong>The</strong> Caravan” for the B.B.C. for five years. Went<br />
to the U.S.A. with the satirical revue <strong>The</strong> Establishment and acted on and off Broadway, the Stratford Shakespeare Festival and<br />
the Lincoln Center Festival. Lectured on Shakespeare in India and the Netherlands <strong>The</strong>atre School. Received the Elliot Norton<br />
Award for Outstanding Boston Actor and the Jason Robards Award for Dedication to the <strong>The</strong>atre.<br />
MERRITT JANSON<br />
Second-year acting student at A.R.T./MXAT Institute for Advanced <strong>The</strong>atre Training. Institute credits:<br />
Zoya’s Apartment (Zoya); War and Peace (Natasha/Countess Rostov). Regional: Tuesday (2005<br />
Barrymore Award - Outstanding Ensemble), Amaryllis <strong>The</strong>atre Co., Philadelphia; HurlyBurly<br />
(Bonnie), Drive to a Departing Flight (Maggie), Adrienne <strong>The</strong>atre, Philadelphia. New York: Three<br />
Years from Thirty (Ashley), Pantheon <strong>The</strong>atre; Daddy Longlegs in the Evening (Kate), Chashama;<br />
Cavalleria Rusticana, Opera of the Hamptons. Film: Mail Order Wife (Best <strong>American</strong> Film - 2005<br />
Santa Barbara International Film Festival), First Independent Pictures; Otto and Anna (Anna), Hypnotic Pictures.<br />
KAREN MACDONALD*<br />
A.R.T.: founding member, fifty-eight productions. Recent seasons: Island of Slaves (Euphrosine),<br />
Romeo and Juliet (Nurse), No Exit (Estelle, Elliot Norton Award), Olly’s Prison (Ellen, Elliot Norton<br />
Award), Dido, Queen of Carthage (Anna), <strong>The</strong> Provok’d Wife (Madamoiselle, IRNE award), <strong>The</strong><br />
Miser (Frosine, IRNE award), <strong>The</strong> Birthday Party (Meg,IRNE Award), A Midsummer Night’s<br />
Dream (Hypolita/Titania, IRNE award), Pericles (Dionyza), Highway Ulysses (Circe), Uncle Vanya<br />
(Marina), Lysistrata (Kalonika), Mother Courage and Her Children (Mother Courage), Marat/Sade<br />
(Simone), Othello (Emilia, IRNE award). Director of Dressed Up! Wigged Out!, Boston Playwrights <strong>The</strong>atre. New York:<br />
Roundabout <strong>The</strong>atre, Second Stage, Playwright’s Horizons, and Actors’ Playhouse. Regional: <strong>The</strong> Misanthrope (Arsinöe),<br />
Berkshire <strong>The</strong>atre Festival; Infestation (Mother), Boston Playwrights <strong>The</strong>atre; Hamlet (Gertrude) and Twelfth Night (Maria),<br />
Commonwealth Shakespeare Company; <strong>The</strong> Beauty Queen of Leenane (Maureen) and <strong>The</strong> Last Night of Ballyhoo (Boo)<br />
Vineyard Playhouse; Who’s Afraid of Virginia Woolf (Martha, Elliot Norton Award) and Frankie and Johnny in the Clair de<br />
Lune (Frankie), Merrimack <strong>Repertory</strong> <strong>The</strong>atre; As You Like It (Rosalind), Shakespeare & Co; Shirley Valentine (Shirley),<br />
Charles Playhouse. Other: Alley <strong>The</strong>atre (Company member), the Goodman <strong>The</strong>atre, the Wilma <strong>The</strong>atre, Long Wharf <strong>The</strong>atre,<br />
Geva <strong>The</strong>atre, Syracuse Stage, Buffalo Studio Arena, Cincinnati Playhouse, Hartford Stage, Philadelphia Festival of New Plays.
AMANDA PALMER*<br />
Lead singer, songwriter, and pianist for the internationally renowned punk cabaret duo <strong>The</strong> Dresden<br />
Dolls. Inspired by the workshop and experimental theater she was exposed to by Steven Bogart<br />
while attending Lexington High School, Palmer went forth to make theater outside of the box during<br />
and after college. Directed <strong>The</strong> Shadowbox <strong>The</strong>atre’s <strong>The</strong> Last Show On Earth in 1995 and Hotel<br />
Blanc in 2002 (both collectively written workshop pieces) as well as creating the now legendary<br />
Harvard Square living statue street performer known as “<strong>The</strong> Eight Foot Bride”, who has now traveled<br />
and handed out flowers to passing strangers on three continents. She has incorporated her theatre roots and passion for<br />
directing into <strong>The</strong> Dresden Dolls’ shows both on and off stage by organizing <strong>The</strong> Dresden Dolls’ Brigade, a volunteer art corps<br />
which features everything from local street performers and living statues to butoh and physical theatre groups who often choreograph<br />
pieces and installations in conjunction with band’s live show. Most recently Palmer contributed piano and vocals to<br />
…And You Will Know us by <strong>The</strong> Trail of Dead’s recent major label release and was also named one of the most stylish in Boston<br />
by <strong>The</strong> Boston Globe.<br />
NEIL P. STEWART<br />
Second year acting student at A.R.T./MXAT Institute for Advanced <strong>The</strong>atre Training. Institute credits:<br />
Zoya’s Apartment, War and Peace, <strong>The</strong> Front Page. New York credits: Hello Herman, Death<br />
in One-Acts, Feiffer’s People (Back House Productions). Regional: I’ll Tell You What<br />
(SceneShop, Fort Worth, TX); featured several times in the Broadway <strong>The</strong>atre Project’s annual<br />
revue (Tampa Bay Performing Arts Center). Founder, former creative director of Back House<br />
Productions, in residence at the Arthur Seelen <strong>The</strong>atre at New York City’s legendary Drama Book<br />
Shop. Member of the permanent acting faculty at Tampa’s Broadway <strong>The</strong>atre Project, founded by Ann Reinking, and recipient<br />
of its Gwen Verdon Award. Film: lead in the independent short Up to the Roof (Hook Line Sinker Films), 7-11’s Operation<br />
Alert.<br />
BRIAN VIGLIONE*<br />
Introduced to the drums by his father at age five with his interest quickly deepening at age nine<br />
when rock music became a primary focus and passion. In 1992 Brian’s father brought him to see<br />
<strong>The</strong> Elvin Jones’ Jazz Machine and he witnessed his first up-close exposure to the drummer who<br />
would become his principal inspiration on the instrument. At sixteen he began playing gigs in clubs<br />
with bands around New England before moving from New Hampshire to Boston in 1999. Played with<br />
several Boston punk bands on both drums and bass guitar, before forming <strong>The</strong> Dresden Dolls in October 2000 with songwriter/pianist,<br />
Amanda Palmer. When not on tour with <strong>The</strong> Dresden Dolls, he gives drum lessons and collaborating with many<br />
other Boston musicians including <strong>The</strong> Gill Aharon Trio, Neovoxer Ensemble, Reverend Glasseye, and HUMANWINE.<br />
Artistic Staff<br />
JONATHAN MARC SHERMAN — Writer<br />
Co-founded the Malaparte theater company. His plays include Things We Want, Sophistry, Veins & Thumbtacks,<br />
Evolution, Sons & Fathers, Jesus on the Oil Tank, Serendipity & Serenity, Wonderful Time, and Women & Wallace.<br />
Dr. ANTHONY MARTIGNETTI — Consultant<br />
Writer and psychotherapist, lives in Lexington, Mass.<br />
MARCUS STERN — Director<br />
Associate Director of the A.R.T. and the A.R.T./ MXAT Institute for Advanced <strong>The</strong>atre Training. A.R.T.: Suzan Lori Parks’ <strong>The</strong><br />
America Play, Adrienne Kennedy’s <strong>The</strong> Ohio State Murders, Büchner’s Woyzeck, Sam Shepard’s Buried Child, Adam<br />
Rapp’s Stone Cold Dead Serious, and Nocturne; Christopher Durang’s Marriage of Bette and Boo (also at NYU and<br />
Harvard University). A.R.T. Institute: a stage adaptation of the film Donnie Darko. Other: Hang Ong’s <strong>The</strong> Chang Fragments<br />
and Martin Crimp’s <strong>The</strong> Treatment, <strong>The</strong> Joseph Papp Public <strong>The</strong>ater; Fellini’s Juliet of the Spirits, <strong>The</strong>ater Neumarkt, Zurich;<br />
Jose Rivera’s Marisol, Actors <strong>The</strong>atre of Louisville, Humana Festival; Mac Wellman’s Hyacinth Macaw, Primary Stages, New<br />
York; Instant Girl’s On the Run, Dance <strong>The</strong>ater Workshop; Mac Wellman’s <strong>The</strong> Land of Fog and Whistles, Whitney Museum<br />
Biennial; Neena Beber’s <strong>The</strong> Living Goddess, <strong>The</strong> Magic <strong>The</strong>ater; Erin Cressida Wilson’s Cross Dressing in the
Depression, Soho Rep; and Quincy Long’s Whole Hearted, Mark Taper Forum’s Taper Too in Los Angeles. Adaptations:<br />
Fellini’s Juliet of the Spirits, Zurich; Phoebe’s Got Three Sisters, Cucaracha <strong>The</strong>ater in New York; O’Neill’s <strong>The</strong> Great God<br />
Brown, N.Y.U. and Harvard University. Has taught at the Yale School of Drama, New York University, and Columbia University,<br />
currently teaches at Harvard University, at the Harvard’s Extension School, and the A.R.T. Institute for Advanced <strong>The</strong>atre<br />
Training.<br />
CHRISTINE JONES — Set Designer<br />
A.R.T.: Nocturne, <strong>The</strong> Merchant of Venice, <strong>The</strong> Taming of the Shrew, Man and Superman, When the World Was Green<br />
(A Chef’s Fable), Hot ‘n’ Throbbing, Picasso at the Lapin Agile; Silence, Cunning Exile, and <strong>The</strong> L.A. Plays.<br />
Broadway: Spring Awakening with music by Duncan Sheik, <strong>The</strong> Green Bird, with director Julie Taymor. Off Broadway: Much<br />
Ado About Nothing, Shakespeare in the Park; Flesh and Blood, Nocturne, New York <strong>The</strong>atre Workshop; Burn This,<br />
Signature <strong>The</strong>atre; Debbie Does Dallas, Jane Street <strong>The</strong>atre; True Love, <strong>The</strong> Zipper; Silver River, Lincoln Center<br />
Festival. Opera: <strong>The</strong> Elephant Man, Minnesota Opera; Lucia de Lammermoor, New York City Opera; Guilio Cesare,<br />
Houston Grand Opera. Faculty member at NYU and Princeton.<br />
CLINT RAMOS — Costume Designer<br />
Designs set and costumes for theatre, opera, dance and film. Recent credits include Aunt Dan and Lemon (Merrimack<br />
<strong>Repertory</strong> <strong>The</strong>ater), Romania. Kiss Me (<strong>The</strong> Play Company), Taming of the Shrew( Commonwealth Shakespeare Co.), Angels<br />
in America (Opera Boston). Other credits include References to Salvador Dali Make Me Hot (Public <strong>The</strong>ater/NYSF), And God<br />
Created Great Whales (Foundry <strong>The</strong>ater/Culture Project). New York : Public <strong>The</strong>ater, Vineyard <strong>The</strong>ater, Red Bull <strong>The</strong>ater,<br />
Dance <strong>The</strong>ater Workshop, Ma-Yi <strong>The</strong>ater, Mint <strong>The</strong>ater and others. Regional : Baltimore Center Stage, Speakeasy Stage, East<br />
West Players, Merrimack <strong>Repertory</strong> <strong>The</strong>ater, Dallas <strong>The</strong>ater Center, Opera <strong>The</strong>atre of St. Louis., Opera Boston among others.<br />
International: Noorlaand Operan (Stockholm), Teatro Pilipino ( Manila) , Kanon Dance (St. Petersburg), Stuttgarter Ballet<br />
(Stuttgart), De Nederlandse Opera ( Amsterdam) and others. Upcoming: Ah! Wilderness ( Baltimore Center Stage), Purity ( PS<br />
122), Taming of the Shrew ( Dallas <strong>The</strong>ater Center), Ophelia 3 ( Here Arts Center).<br />
JUSTIN TOWNSEND — Lighting Designer<br />
With Marcus Stern: Arabian Nights. Recent New York credits: Eve Ensler’s, <strong>The</strong> Treatment (directed by Leigh Silverman),<br />
Culture Project; BAIT festival, PS122; Bone Portraits at (directed by Lear DeBessonet), Walker Space; Learning Curve<br />
(directed by Michael Sexton) Samuel Beckett; and Savage Acts, Ohio <strong>The</strong>atre. Resident: Hartford Stage, Playmakers Rep,<br />
Portland Center Stage, <strong>The</strong> Intiman, Georgia Shakespeare Festival, Arden <strong>The</strong>atre. Member of Two Headed Calf, creating<br />
new work with Brooke O’Hara and composer Brendan Conelly. Graduate of California Institute of the Arts and a founding member<br />
of TENT.<br />
RYAN MCKITTRICK — A.R.T. Associate Dramaturg<br />
Received his M.F.A. in Dramaturgy from the A.R.T./MXAT Institute for Advanced <strong>The</strong>atre Training and his B.A. in History and<br />
Literature from Harvard. His articles on theatre have appeared in <strong>The</strong> Boston Globe, Correspondence, A.R.T. News, ARTicles,<br />
and <strong>The</strong> Boston Phoenix. Mr. McKittrick is a recipient of the TCG New Generations Award and the NTC Scholarship Award.<br />
He is also a Lecturer in <strong>The</strong>atre Arts at Brandeis University.<br />
JENNIFER STURCH* — Stage Manager<br />
Six years at Trinity <strong>Repertory</strong> Company in Providence, RI. Highlights: World Premiere of Paul Vogel’s <strong>The</strong> Long Christmas<br />
Ride Home (also at Long Wharf <strong>The</strong>atre, New Haven, CT), Homebody/Kabul, Henry V (part of <strong>The</strong> Henriad; Shakespeare’s<br />
Kings), all directed by Oskar Eustis; the premiere of Boots on the Ground; Suddenly Last Summer; Stones in his Pockets<br />
(dir. Brian McEleney); A Moon for the Misbegotten, Who’s Afraid of Virginia Woolf?, West Side Story, My Fair Lady (all<br />
directed by Amanda Dehnert).<br />
KATHERINE SHEA* — Assistant Stage Manager<br />
A.R.T.: Production Associate Island of Slaves, Desire Under the Elms. A.R.T. Institute Stage Manager <strong>The</strong> Front Page,<br />
Arabian Night, Zoya, Mayhem, A Bright Room Called Day, Island of Anyplace, <strong>The</strong> Bacchae, Spring Awakening, Donnie<br />
Darko.
ROBERT WOODRUFF — Artistic Director<br />
A.R.T.: directed Island of Slaves, Orpheus X, Olly’s Prison, Oedipus, Sound of a Voice,<br />
Highway Ulysses, Richard II, Full Circle (2000 Elliot Norton Award for Best Director) and In the<br />
Jungle of Cities (1998 Elliot Norton Award for Best Director). A.R.T. Institute: directed Charles L.<br />
Mee’s Trojan Women A Love Story. His credits include the premieres of Sam Shepard’s Curse<br />
of the Starving Class, Buried Child (Pulitzer Prize), and True West at the New York Shakespeare<br />
Festival; In the Belly of the Beast, A Lie of the Mind, and Philip Glass’s A Madrigal Opera at the<br />
Mark Taper Forum; <strong>The</strong> Comedy of Errors (with the Flying Karamazov Brothers) at Lincoln Center; David Mamet’s adaptation<br />
of Red River at <strong>The</strong> Goodman <strong>The</strong>atre; <strong>The</strong> Tempest, A Man’s a Man, and Happy Days (among others) at La Jolla<br />
Playhouse; Julius Caesar at Alliance <strong>The</strong>atre; <strong>The</strong> Duchess of Malfi and Nothing Sacred at the <strong>American</strong> Conservatory<br />
<strong>The</strong>atre; <strong>The</strong> Skin of Our Teeth at <strong>The</strong> Guthrie <strong>The</strong>ater, and Baal at Trinity <strong>Repertory</strong> Company. His work has been seen<br />
at most major U.S. Arts Festivals and abroad. Recent work includes Medea at the National <strong>The</strong>atre of Israel and Saved at<br />
<strong>The</strong>atre for a New Audience. Mr. Woodruff co-founded <strong>The</strong> Eureka <strong>The</strong>atre, San Francisco, and created <strong>The</strong> Bay Area<br />
Playwrights Festival.<br />
GIDEON LESTER — Associate Artistic Director<br />
Recent translations: Marivaux’s Island of Slaves and La Dispute (published by Ivan Dee, directed<br />
by Anne Bogart at the A.R.T.), Bertolt Brecht’s Mother Courage (directed by János Szász),<br />
Georg Büchner’s Woyzeck (directed by Marcus Stern), and two texts by the French playwright<br />
Michel Vinaver, King and Overboard (published by Methuen and staged at the Orange Tree<br />
<strong>The</strong>atre in London.) Adaptations: Wings of Desire by Wim Wenders, Peter Handtke, and Richard<br />
Reitinger, directed by Ola Mafaalani; Kafka’s Amerika (directed at the A.R.T. by Dominique<br />
Serrand), Anne Frank for the Carr Center for Human Rights at Harvard, and Enter the Actress, a one-woman show that he<br />
devised for Claire Bloom. Born in London in 1972, Mr. Lester studied English Literature at Oxford University. In 1995 he<br />
came to the US on a Fulbright grant and Frank Knox Memorial Scholarship to study dramaturgy at the A.R.T. Institute for<br />
Advanced <strong>The</strong>atre Training at Harvard. When he graduated from the Institute, Mr. Lester was appointed Resident<br />
Dramaturg. He became the A.R.T.’s Associate Artistic Director in 2002. He teaches dramaturgy at the A.R.T./MXAT Institute,<br />
playwriting at Harvard.<br />
ROBERT J. ORCHARD — Executive Director<br />
Mr. Orchard co-founded the A.R.T. with Robert Brustein in 1979 and served as the Company’s<br />
Managing Director for twenty-one years. He currently serves as Executive Director of the A.R.T.<br />
and the Institute for Advanced <strong>The</strong>atre Training, and Director of the Loeb Drama Center at Harvard<br />
University. Prior to 1979, he was Managing Director of the Yale <strong>Repertory</strong> <strong>The</strong>atre and School of<br />
Drama where he also served as Associate Professor and Co-Chairman of the <strong>The</strong>atre<br />
Administration <strong>Program</strong>. For nearly twenty years, Mr. Orchard has been active facilitating<br />
exchanges, leading seminars, and advising on public policy with theatre professionals and government officials in Russia. At<br />
the A.R.T. he has produced nearly 170 productions over half of which were new works. In addition, he has overseen tours<br />
of A.R.T. productions to major festivals in Edinburgh, Avignon, Belgrade, Paris, Madrid, Jerusalem, Venice, Sao Paulo, Tokyo,<br />
Taipei, Singapore, and Moscow, among others. Under his leadership, A.R.T. has performed in eighty-one cities in twenty-two<br />
states and worldwide in twenty-one cities in sixteen countries on four continents. Mr. Orchard has served as Chairman of<br />
both the <strong>The</strong>atre and the Opera/Musical <strong>The</strong>atre Panels at the National Endowment for the Arts, on the Board and Executive<br />
Committee of the <strong>American</strong> Arts Alliance, the national advocacy association for the performing and visual arts, and as a<br />
trustee of <strong>The</strong>atre Communications Group (TCG), the national service organization for the <strong>American</strong> professional theatre and<br />
publisher of <strong>American</strong> <strong>The</strong>atre magazine. In addition he has served on the Board of the Cambridge Multi-Cultural Arts Center<br />
and as President of the Massachusetts Cultural Education Collaborative. In 2000, Mr. Orchard received the Elliot Norton<br />
Award for Sustained Excellence.<br />
(*) Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Actors’ Equity<br />
Association (AEA), founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance,<br />
promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing<br />
a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international<br />
organization of performing arts unions. <strong>The</strong> Equity emblem is our mark of excellence. www.actorsequity.org
A History of the <strong>American</strong> <strong>Repertory</strong> <strong>The</strong>atre<br />
Robert J. Orchard Robert Woodruff Gideon Lester<br />
Co-founder / Executive Director Artistic Director Associate Artistic Director / Dramaturg<br />
Robert Brustein<br />
Founding Director / Creative Consultant<br />
<strong>The</strong> <strong>American</strong> <strong>Repertory</strong> <strong>The</strong>atre (A.R.T.) occupies a unique<br />
place in the <strong>American</strong> theatre. It is the only not-for-profit theatre<br />
in the country that maintains a resident acting company and an<br />
international training conservatory, and that operates in association<br />
with a major university. Over its twenty-six-year history the<br />
A.R.T. has welcomed <strong>American</strong> and international theatre artists<br />
who have enriched the theatrical life of the whole nation. <strong>The</strong><br />
theatre has garnered many of the nation’s most distinguished<br />
awards, including a Pulitzer Prize, a Tony Award, a Jujamcyn<br />
Award, the 2002 National <strong>The</strong>atre Conference’s Outstanding<br />
Achievement Award; and in May of 2003 it was named one of the<br />
top three theatres in the country by Time magazine. Since 1980<br />
the A.R.T. has performed in eighty-two cities in twenty-two states<br />
around the country, and worldwide in twenty-one cities in sixteen<br />
countries on four continents. It has presented one hundred and<br />
eighty-two productions, over half of which were premieres of new<br />
plays, translations, and adaptations.<br />
<strong>The</strong> A.R.T. was founded in 1980 by Robert Brustein and<br />
Robert J. Orchard, and has been resident for twenty-six years at<br />
Harvard University’s Loeb Drama Center. In August 2002<br />
Robert Woodruff became the A.R.T.’s Artistic Director, the second<br />
in the theatre’s history. Mr. Orchard assumed the new role<br />
of Executive Director, and Gideon Lester that of Associate<br />
Artistic Director. Mr. Brustein remains with the A.R.T. as<br />
Founding Director and Creative Consultant.<br />
<strong>The</strong> A.R.T. provides a home for artists from across the world,<br />
whose singular visions generate and define the theatre’s work.<br />
<strong>The</strong> company presents a varied repertoire that includes new<br />
plays, progressive productions of classical texts, and collaborations<br />
between artists from many disciplines. <strong>The</strong> A.R.T. is also<br />
a training ground for young artists. <strong>The</strong> theatre’s artistic staff<br />
teaches undergraduate classes in acting, directing, dramatic literature,<br />
design, and playwriting at Harvard, and in 1987 the<br />
A.R.T. founded the Institute for Advanced <strong>The</strong>atre Training. In<br />
conjunction with the Moscow Art <strong>The</strong>atre School, the Institute<br />
provides world-class graduate-level training in acting, dramaturgy,<br />
and special studies.<br />
<strong>The</strong> A.R.T.’s <strong>American</strong> and world premieres include among<br />
others, works by Robert Auletta, Edward Bond, Robert Brustein,<br />
Don DeLillo, Keith Dewhurst, Humberto Dorado, Christopher<br />
Durang, Rinde Eckert, Elizabeth Egloff, Peter Feibleman, Jules<br />
Feiffer, Dario Fo, Carlos Fuentes, Larry Gelbart, Leslie Glass,<br />
Philip Glass, Stuart Greenman, William Hauptman, David Henry<br />
Hwang, Milan Kundera, Mark Leib, David Lodge, Carol K. Mack,<br />
David Mamet, Charles L. Mee, Roger Miller, John Moran,<br />
Robert Moran, Heiner Müller, Marsha Norman, Han Ong, David<br />
Rabe, Franca Rame, Adam Rapp, Keith Reddin, Ronald<br />
Ribman, Paula Vogel, Derek Walcott, Naomi Wallace, and<br />
Robert Wilson.<br />
Many of the world’s most gifted directors have staged productions<br />
at the A.R.T., including JoAnne Akalaitis, Neil Bartlett,<br />
Andrei Belgrader, Anne Bogart, Lee Breuer, Robert Brustein,<br />
Chen Shi-Zheng, Liviu Ciulei, Martha Clarke, Ron Daniels, Liz<br />
Diamond, Joe Dowling, Michael Engler, Alvin Epstein, Dario Fo,<br />
Richard Foreman, Kama Ginkas, David Gordon, Adrian Hall,<br />
Richard Jones, Michael Kahn, Jerome Kilty, Tina Landau,<br />
Krystian Lupa, John Madden, David Mamet, Des McAnuff,<br />
Jonathan Miller, Nicolás Montero, Tom Moore, David Rabe,<br />
François Rochaix, Robert Scanlan, János Szász, Peter Sellars,<br />
Andrei Serban, Dominique Serrand, Susan Sontag, Marcus<br />
Stern, Slobodan Unkovski, Les Waters, David Wheeler, Frederick<br />
Wiseman, Robert Wilson, Mark Wing-Davey, Robert Woodruff,<br />
Yuri Yeremin, Francesca Zambello, and Scott Zigler, among others.<br />
A.R.T. productions were included in the First New York<br />
International Festival of the Arts, the 1984 Olympic Arts Festival<br />
in Los Angeles, the Serious Fun! Festival at Lincoln Center’s<br />
Alice Tully Hall, the Next Wave Festival at the Brooklyn<br />
Academy of Music, and the International Fortnight of <strong>The</strong>atre in<br />
Quebec. <strong>The</strong> company has also performed at international festivals<br />
in Edinburgh, Asti, Avignon, Belgrade, Ljubljana,<br />
Jerusalem, Haifa, Tel Aviv, and Venice, and at theatres in<br />
Amsterdam, Rotterdam, Perugia, and London, where its presentation<br />
of Sganarelle was filmed and broadcast by Britain’s<br />
Channel 4. In 1986 the A.R.T. presented Robert Wilson’s adaptation<br />
of Alcestis at the Festival d’Automne in Paris, where it<br />
won the award for Best Foreign Production of the Year. In 1991<br />
Robert Wilson’s production of When We Dead Awaken was<br />
presented at the 21st International Biennale of São Paulo,<br />
Brazil. <strong>The</strong> company presented its adaptation of Carlo Gozzi’s<br />
oriental fable <strong>The</strong> King Stag, directed by Andrei Serban, at the<br />
Teatro Español in Madrid in 1988, at the Mitsui Festival in Tokyo<br />
in 1990, the Taipei International Arts Festival in Taiwan (with<br />
Robert Brustein’s adaptation of Pirandello’s Six Characters in<br />
Search of an Author) in 1995, at the Chekhov International<br />
<strong>The</strong>atre Festival in Moscow — the first <strong>American</strong> company to<br />
perform at the Chekhov Moscow Art <strong>The</strong>atre (with Six<br />
Characters in Search of an Author, and Joseph Chaikin and<br />
Sam Shepard’s When <strong>The</strong> World Was Green (A Chef’s<br />
Fable); and in October 2000, sponsored in part by AT&T:On<br />
Stage, on a year-long national and international tour, with stops<br />
in twenty-seven <strong>American</strong> cities in fifteen states, ending with a<br />
three-week residency at London’s Barbican Centre in the summer<br />
of 2001. In June 1998 the company also presented two<br />
works including Robert Brustein’s new play Nobody Dies on<br />
Friday at the Singapore Festival of the Arts. Most recently, productions<br />
of Lysistrata, <strong>The</strong> Sound of a Voice, <strong>The</strong> Miser,<br />
Lady with a Lapdog, Amerika, and No Exit have been presented<br />
at theatres throughout the US, and Krystian Lupa’s 2005<br />
production of Three Sisters recently closed the 2006 Edinburgh<br />
International <strong>The</strong>atre Festival.
Annual Fund Donors<br />
<strong>The</strong> <strong>American</strong> <strong>Repertory</strong><br />
<strong>The</strong>atre is deeply grateful for<br />
the generous support of the<br />
individuals, foundations, corporations,<br />
and government agencies<br />
whose contributions make<br />
our work possible. <strong>The</strong> list<br />
below reflects gifts between<br />
August 1, 2005 and November<br />
17, 2006 to the Annual Fund<br />
and special events.<br />
Guardian Angel • $100,000<br />
and above<br />
<strong>The</strong> Carr Foundation<br />
Doris Duke Charitable<br />
Foundation<br />
<strong>The</strong> Andrew W. Mellon<br />
Foundation<br />
<strong>The</strong> President and Fellows of<br />
Harvard College<br />
<strong>The</strong> Shubert Foundation, Inc.<br />
<strong>The</strong> Harold and Mimi<br />
Steinberg Charitable Trust<br />
Archangel • $50,000 –<br />
$99,999<br />
<strong>The</strong> Educational Foundation of<br />
America<br />
<strong>The</strong> Hershey Family<br />
Foundation<br />
TIAA-CREF<br />
<strong>The</strong> Norman and Rosita<br />
Winston Foundation<br />
Anonymous<br />
Angel • $25,000 – $49,999<br />
Altria Group, Inc.<br />
Association of Performing Arts<br />
Presenters Ensemble/<br />
<strong>The</strong>atre Collaborations<br />
Grant <strong>Program</strong><br />
<strong>The</strong> Boston Globe+<br />
Philip and Hilary Burling*<br />
<strong>The</strong> E.H.A. Foundation, Inc.<br />
Ann and Graham Gund*<br />
Cassandra and Horace Irvine*<br />
Massachusetts Cultural<br />
Council<br />
National Endowment for the<br />
Arts<br />
National Corporate <strong>The</strong>atre<br />
Fund<br />
<strong>The</strong> Rockefeller<br />
Foundation/Multi-Arts<br />
Production Fund<br />
<strong>The</strong>atre Communications<br />
Group<br />
Trust for Mutual<br />
Understanding<br />
Ted and Mary Wendell*<br />
Mr. and Mrs. Byron R. Wien<br />
Anonymous<br />
Benefactor • $10,000 –<br />
$24,999<br />
Joel and Lisa Alvord*<br />
Page Bingham and<br />
Jim Anathan*<br />
Boston Investor Services, Inc.*<br />
Paul and Katie Buttenwieser*<br />
Ted and Joan Cutler<br />
Robert Davoli and<br />
Eileen McDonagh*<br />
Priscilla and Richard Hunt*<br />
<strong>The</strong> Roy A. Hunt Foundation<br />
Merrill and Charles<br />
Gottesman*<br />
Barbara and Steve Grossman<br />
Michael E. Jacobson*<br />
Lizbeth and George Krupp*<br />
Barbara and Jon Lee*<br />
Dan Mathieu/Neil Balkowitsch/<br />
MAX Ultimate Food*+<br />
Meet the Composer, USA<br />
Rebecca and Nathan<br />
Milikowsky*<br />
Cokie and Lee Perry<br />
Beth Pollock*<br />
Michael Roitman and<br />
Emily Karstetter<br />
Mrs. Ralph P. Rudnick*<br />
<strong>The</strong> Lawrence & Lillian<br />
Solomon Fund, Inc.<br />
Donald and Susan Ware*<br />
Visionary • $5,000 – $9,999<br />
George C. and Hillery<br />
Ballantyne*<br />
Bank of America*<br />
Carol and Harvey Berman<br />
Cabot Family Charitable Trust<br />
Clarke and Ethel D.<br />
Coggeshall<br />
Martha Cox and<br />
Andrew McKay<br />
Alan and Suzanne Dworsky<br />
Michael G. Feinstein and<br />
Denise Waldron<br />
Rachael and Andrew Goldfarb<br />
Joseph W. Hammer<br />
Glenn KnicKrehm<br />
Audrey Love Charitable<br />
Foundation<br />
Dr. Henry and Mrs. Carole<br />
Mankin<br />
Carl Martignetti<br />
Kako and Fumi Matsumoto<br />
Millennium Partners –<br />
Boston*<br />
Ward K. and Lucy Mooney<br />
Jackie O’Neill*<br />
Robert J. Orchard<br />
Jeryl and Stephen Oristaglio*<br />
<strong>The</strong> Bessie E. Pappas<br />
Charitable Foundation,<br />
Inc.<br />
Joan H. Parker/Pearl<br />
Productions*<br />
Polaris Capital Management,<br />
Inc.*<br />
<strong>The</strong> Polish Cultural Institute+<br />
Office of the Provost, Harvard<br />
University*<br />
Jeffrey F. Rayport
Henry and Nitza Rosovsky*<br />
Mary and Edgar Schein<br />
Tony Shalhoub and<br />
Brooke Adams<br />
<strong>The</strong> Shane Foundation<br />
Sovereign Bank<br />
Jim and Cathy Stone*<br />
William Gallagher Associates*<br />
Anonymous<br />
Associate • $2,500 – $4,999<br />
Linda Cabot Black<br />
John A. Boyd<br />
Cambridge Trust Company<br />
Terry and Catherine<br />
Catchpole<br />
Stanley and Peggy Charren<br />
Philip and Debbie<br />
Edmundson<br />
Hannelore and Jeremy<br />
Grantham<br />
Nancy P. King<br />
Wladzia and Paul McCarthy<br />
James C. Marlas<br />
Robert and Jane Morse<br />
<strong>The</strong> Netherland-America<br />
Foundation, Inc.<br />
Laurence and Linda<br />
Reineman<br />
<strong>The</strong> Abbot and Dorothy H.<br />
Stevens Foundation<br />
Sam Weisman and<br />
Constance McCashin<br />
Weisman<br />
Partner • $1,000 – $2,499<br />
Steven and Elizabeth Adams<br />
America Dural, Inc.<br />
Sheldon Appel<br />
Howard and Leslie Appleby<br />
Sharyn Bahn<br />
Martha Jane Bradford and<br />
Alfred Ajami<br />
Mr. Arthur H. Brooks III<br />
Robert Brustein and<br />
Doreen Beinart<br />
Dorothea and Sheldon<br />
Buckler<br />
Clark and Gloria Chandler<br />
Antonia H. Chayes<br />
City Schemes +<br />
Jane and Marvin Corlette<br />
Richard Donoho<br />
Diane and Joel Feldman<br />
Merle and Marshall Goldman<br />
Nicholas Greville<br />
<strong>The</strong> Harvest +<br />
Margaretta Hausman<br />
Robert P. Hubbard<br />
Steve Hyman and<br />
Barbara Bierer<br />
Karen Johansen and<br />
Gardner Hendrie<br />
Michael B. Keating<br />
Judith Kidd<br />
Bernice Krupp<br />
Jim and Lisa La Torre*<br />
Barbara Lemperly Grant and<br />
Frederic D. Grant*<br />
Ann Lenard<br />
Joy Lucas and<br />
Andrew Schulert<br />
Michael McClung and<br />
Jacqueline Kinney<br />
Robert and Janine Penfield<br />
Finley and Patricia Perry<br />
Beatrice Roy<br />
Carol J. Rugani<br />
William A. Serovy<br />
Kay and Jack Shelemay<br />
Michael Shinagel and<br />
Marjorie North<br />
Sholley Foundation<br />
Marshall Sirvetz<br />
Matthew Stuehler and<br />
Treacy Kiley<br />
<strong>The</strong> Joseph W. and Faith K.<br />
Tiberio Charitable<br />
Foundation<br />
Francis H. Williams<br />
Judith and Stephen Wolfberg<br />
Christopher Yens and<br />
Temple V. Gill<br />
Anonymous<br />
Leading Payer • $500 —<br />
$999<br />
Mark Angney<br />
Javier Arango<br />
Paul and Leni Aronson<br />
<strong>The</strong> Bay State Federal<br />
Savings Charitable<br />
Foundation<br />
William Bazzy<br />
Donald Butterfield<br />
Liz Coxe and Dave Forney<br />
Gail Flatto<br />
David Golan and Laura Green<br />
Charlotte Hall<br />
Sarah Hancock<br />
Haney Foundation<br />
Dena and Felda Hardymon<br />
Drs. Earl and Marjorie<br />
Hellerstein<br />
Stefaan Heyvaert<br />
Susan and Harry Kohn<br />
John D.C. Little<br />
Louise and Sandy McGinnes<br />
Parker Family Fund<br />
Carolyn G. Robins<br />
Elisabeth Schmidt-Scheuber<br />
David Tobin<br />
Jean Walsh and<br />
Graham Davies<br />
Mindee Wasserman<br />
Mr. and Mrs. Harry C.<br />
Wechsler<br />
Peter and Dyann Wirth<br />
Judi Ross Zuker<br />
Anonymous<br />
* includes contributions to special<br />
events<br />
+ denotes gift-in-kind
National Corporate <strong>The</strong>atre<br />
Fund<br />
National Corporate <strong>The</strong>atre<br />
Fund is a nonprofit corporation<br />
created to increase and<br />
strengthen support from the<br />
business community for 10 of<br />
this country’s most distinguished<br />
professional theatres.<br />
<strong>The</strong> following foundations,<br />
individuals, and corporations<br />
support these theatres<br />
through their contributions of<br />
$5,000 or more to National<br />
Corporate <strong>The</strong>atre Fund:<br />
THEATRE EXECUTIVES<br />
($50,000+)<br />
Altria Group, Inc.<br />
Ernst & Young<br />
Citigroup<br />
Palace Production Center<br />
BENEFACTORS ($25,000+)<br />
<strong>American</strong> Express Company<br />
Cisco Systems, Inc.<br />
KPMG<br />
Skadden, Arps, Slate, Meagher<br />
& Flom LLP<br />
PACESETTERS<br />
($15,000––$24,999)<br />
Bloomberg<br />
Goldman, Sachs & Company<br />
JP Morgan Chase<br />
Lehman Brothers<br />
Merrill Lynch & Co.<br />
Morgan Stanley<br />
Pfizer, Inc.<br />
Sharp Electronics<br />
Time Warner<br />
UBS<br />
Verizon<br />
DONORS ($10,000––$14,999)<br />
Bingham McCutchen<br />
Credit Suisse First Boston<br />
Davis, Polk & Wardwell<br />
Dorsey & Whitney Foundation<br />
Marsh & McLennan Companies,<br />
Inc.<br />
McCarter & English LLP<br />
MetLife Foundation<br />
Willkie Farr & Gallagher<br />
SUPPORTERS<br />
($5,000––$9,999)<br />
BristolMyers Squibb Company<br />
Colgate-Palmolive Company<br />
Dramatists Play Service, Inc.<br />
Newsweek<br />
New York State Council on the<br />
Arts<br />
Ogilvy & Mather New York<br />
<strong>The</strong> Frame Gallery<br />
We invite you to see for<br />
yourself why <strong>The</strong> Frame<br />
Gallery is the framer of choice<br />
to Boston’s premier architects,<br />
interior designers, museums,<br />
and, hopefully, you.<br />
<strong>The</strong> Frame Gallery<br />
2 Summit Avenue<br />
Corner of Beacon Street<br />
Coolidge Corner, Brookline<br />
617 232-2070
Robert J. Orchard Robert Woodruff Gideon Lester<br />
Co-Founder / Executive Director Artistic Director Associate Artistic Director / Dramaturg<br />
Artistic<br />
Scott Zigler<br />
Jeremy Geidt<br />
Marcus Stern<br />
Christopher De Camillis<br />
Arthur Holmberg<br />
Nancy Houfek<br />
Ryan McKittrick<br />
David Wheeler<br />
Director, A.R.T. Institute<br />
Senior Actor<br />
Associate Director<br />
Artistic Coordinator<br />
Literary Director<br />
Voice and Speech Coach<br />
Associate Dramaturg<br />
Associate Artist<br />
Administration and Finance<br />
Jonathan Seth Miller General Manager<br />
Nancy M. Simons Comptroller<br />
Angela Paquin Assistant Comptroller<br />
Julia Smeliansky Administrative Director, Institute<br />
Steven Leon<br />
Assistant General Manager<br />
Tracy Keene<br />
Company / Front of House Manager<br />
Stacie Hurst<br />
Financial Administrator<br />
Tali Gai<br />
Artistic Associate / Executive Assistant<br />
Alexander Popov Moscow <strong>Program</strong> Consultant<br />
Development<br />
Sharyn Bahn<br />
Sue Beebee<br />
Jan Graham Geidt<br />
Joan Moynagh<br />
Jessica Obara<br />
Director of Development<br />
Assistant Director of Development<br />
Coordinator of Special Projects<br />
Director of Institutional Giving<br />
Development Officer<br />
Publicity, Marketing, Publications<br />
Henry Lussier<br />
Director of Marketing<br />
Katalin Mitchell Director of Press and Public Relations<br />
Jeremy Allen Thompson Director of Audience Development<br />
Nicholas Peterson Marketing Associate<br />
Douglas F. Kirshen Web Manager<br />
Burt Sun<br />
Director of Graphic/Media Design<br />
Stevens Advertising Advertising Consultant<br />
Associates<br />
Box Office<br />
Derek Mueller<br />
Ryan Walsh<br />
Lilian Belknap<br />
Public Services<br />
Erin Wood<br />
Maria Medeiros<br />
Sarah Leon<br />
Killian Clarke<br />
Doug Fallon<br />
Shannon Matathia<br />
Nicole Meinhart<br />
Heather Quick<br />
Charlean Skidmore<br />
Matthew Spano<br />
Box Office Manager<br />
Box Office Manager<br />
Box Office Representative<br />
<strong>The</strong>atre Operations Coordinator<br />
Receptionist<br />
Receptionist<br />
House Manager<br />
House Manager<br />
House Manager<br />
House Manager<br />
House Manager<br />
House Manager<br />
House Manager<br />
Robert Brustein<br />
Founding Director / Creative Consultant<br />
Scenery<br />
Stephen Setterlun<br />
Emily W. Leue<br />
Alexia Muhlsteff<br />
Gerard P. Vogt<br />
John Duncan<br />
Peter Doucette<br />
Chris Tedford<br />
York-Andreas Paris<br />
Props<br />
Cynthia Lee<br />
Lyn Tamm<br />
Edward Morris<br />
Costumes<br />
Jeannette Hawley<br />
Hilary Hacker<br />
Karen Eister<br />
Carmel Dundon<br />
David Reynoso<br />
Bettina Hastie<br />
<strong>The</strong>adora Fisher<br />
Stephen Drueke<br />
Suzanne Kadiff<br />
Tova Moreno<br />
Lights<br />
Derek L. Wiles<br />
Kenneth Helvig<br />
David Oppenheimer<br />
Lauren Audette<br />
Sound<br />
David Remedios<br />
Darby Smotherman<br />
Stage<br />
Joe Stoltman<br />
Jeremie Lozier<br />
Christopher Eschenbach<br />
Kevin Klein<br />
Angie Prince<br />
Internships<br />
Ariane Barbanell<br />
Amy Cole<br />
Elaine Harris<br />
Nicholas Jandl<br />
Kristin Knutson<br />
Heidi Nelson<br />
William Shaw<br />
Emily Yost<br />
Technical Director<br />
Assistant Technical Director<br />
Assistant Technical Director<br />
Scenic Charge Artist<br />
Scene Shop Supervisor<br />
Master Carpenter<br />
Scenic Carpenter<br />
Scenic Carpenter<br />
Properties Manager<br />
Assistant Properties Manager<br />
Properties Carpenter<br />
Costume Shop Manager<br />
Assistant Costume Shop Manager<br />
Head Draper<br />
Draper<br />
Crafts Artisan<br />
First Hand<br />
First Hand<br />
Wardrobe Supervisor<br />
Costume Stock Manager<br />
Stitcher<br />
Master Electrician<br />
Lighting Assistant<br />
Light Board Operator<br />
Zero Arrow House Electrician<br />
Resident Sound Designer / Engineer<br />
Production Sound Engineer<br />
Stage Supervisor<br />
Assistant Stage Supervisor<br />
Production Assistant<br />
Production Assistant<br />
Props Runner<br />
Development<br />
Stage Management<br />
Administration<br />
Administration<br />
Scenery<br />
Dramaturgy<br />
Administration<br />
Production Management<br />
Production<br />
Patricia Quinlan Production Manager<br />
Christopher Viklund Associate Production Manager<br />
Skip Curtiss<br />
Associate Production Manager<br />
Amy James<br />
Assistant Stage Manager<br />
Katherine Shea Assistant Stage Manager<br />
Amanda Robbins Institute Stage Manager<br />
J. Michael Griggs Loeb Technical Director<br />
<strong>The</strong> <strong>American</strong> <strong>Repertory</strong> <strong>The</strong>atre <strong>Program</strong><br />
Loeb Drama Center • 64 Brattle Street • Cambridge, MA 02138<br />
Editors<br />
Katalin Mitchell & Ryan McKittrick<br />
For information about advertising call:<br />
Susan Bach<br />
amrep.org/ads
<strong>American</strong> <strong>Repertory</strong> <strong>The</strong>atre National Advisory Committee<br />
Dr. Stephen Aaron<br />
Donald and Lucy Beldock<br />
Alexandra Loeb Driscoll<br />
Ronald Dworkin<br />
Wendy Gimbel<br />
Stephen and Kathy Graham<br />
Kay Kendall<br />
Robert and Rona Kiley<br />
Rocco Landesman<br />
Willee Lewis<br />
JoAnne Akalaitis<br />
Laurie Anderson<br />
Rubén Blades<br />
Claire Bloom<br />
William Bolcom<br />
Art Buchwald<br />
Carmen de Lavallade<br />
Brian Dennehy<br />
Christopher Durang<br />
Carlos Fuentes<br />
Philip Glass<br />
André Gregory<br />
Stockard Channing<br />
Anthony E. Malkin<br />
James C. Marlas<br />
William and Wendy Luers<br />
Joanne Lyman<br />
James Marlas<br />
Stuart Ostrow<br />
Dr. David Pearce<br />
Steven Rattner<br />
Nancy Ellison Rollnick<br />
and Bill Rollnick<br />
Daniel and Joanna S. Rose<br />
Mark Rosenthal<br />
Mrs. John Hersey<br />
Geoffrey Holder<br />
Arliss Howard<br />
Albert Innaurato<br />
John Irving<br />
Anne Jackson and Eli Wallach<br />
Robert R. Kiley<br />
James Lapine<br />
Linda Lavin<br />
Jonathan Miller<br />
Kate Nelligan<br />
Andrei Serban<br />
Miriam Schwartz<br />
Beverly Sills<br />
and Peter Greenough<br />
Daniel Selznick<br />
William and Rose Styron<br />
Mike and Mary Wallace<br />
Seth Weingarten<br />
Byron Wien<br />
William Zabel<br />
<strong>American</strong> <strong>Repertory</strong> <strong>The</strong>atre Honorary Board<br />
Jeffrey D. Melvoin<br />
Thomas H. Parry<br />
Daniel Mayer Selznick<br />
John Shea<br />
Talia Shire<br />
Beverly Sills<br />
Meryl Streep<br />
Rose Styron<br />
Lily Tomlin<br />
Christopher Walken<br />
Mike and Mary Wallace<br />
Sam Waterston<br />
Robert Wilson<br />
Debra Winger<br />
Frederick Wiseman<br />
Visiting Committee for the Loeb Drama Center<br />
Winifred White Neisser<br />
Byron R. Wien
A.R.T./MXAT INSTITUTE<br />
FOR ADVANCED THEATRE TRAINING<br />
Scott Zigler, Director<br />
Julia Smeliansky, Administrative Director<br />
Marcus Stern, Associate Director<br />
Nancy Houfek, Head of Voice and Speech Andrei Droznin, Head of Movement<br />
Robert J. Orchard Robert Woodruff Gideon Lester<br />
Co-Founder/Executive Director Artistic Director Associate Artistic Director/Dramaturg<br />
MOSCOW ART THEATRE<br />
Oleg Tabakov, Artistic Director<br />
MOSCOW ART THEATRE<br />
SCHOOL<br />
Anatoly Smeliansky, Head<br />
<strong>The</strong> Institute for Advanced <strong>The</strong>atre Training at Harvard was established in 1987 by the <strong>American</strong> <strong>Repertory</strong><br />
<strong>The</strong>atre (A.R.T.) as a training ground for the <strong>American</strong> theatre. Its programs are fully integrated with the activities<br />
of the A.R.T. In the summer of 1998 the Institute commenced a historic new joint program with the Moscow Art<br />
<strong>The</strong>atre (MXAT) School. Students engage with two invaluable resources: the work of the A.R.T. and that of the<br />
MXAT, as well as their affiliated Schools. Individually, both organizations represent the best in theatre production<br />
and training in their respective countries. Together, this exclusive partnership offers students opportunities for training<br />
and growth unmatched by any program in the country.<br />
<strong>The</strong> core program features a rigorous two-year, five-semester period of training in acting, dramaturgy, and<br />
special studies, during which students work closely with the professionals at the A.R.T. and the MXAT as well as<br />
with the best master teachers from the United States and Russia. At the end of the program, students receive a<br />
Certificate of Achievement from the faculty of the <strong>American</strong> <strong>Repertory</strong> <strong>The</strong>atre and an M.F.A. Degree from the faculty<br />
of the Moscow Art <strong>The</strong>atre School.<br />
Further information about this new program can be obtained by calling the Institute for a free catalog<br />
(617) 617-496-2000 x8890 or on our web site at www.amrep.org.<br />
Faculty<br />
Robert Brustein<br />
Trey Burvant<br />
Thomas Derrah<br />
Elena Doujnikova<br />
Andrei Droznin<br />
Tanya Gassel<br />
Jeremy Geidt<br />
Arthur Holmberg<br />
Nancy Houfek<br />
Roman Kozak<br />
Will LeBow<br />
Gideon Lester<br />
Stathis Livathinos<br />
Karen MacDonald<br />
Alexandre Marin<br />
Ryan McKittrick<br />
Jeff Morrison<br />
Pamela Murray<br />
Robert J. Orchard<br />
Robert Scanlan<br />
Andrei Shchukin<br />
Anatoly Smeliansky<br />
Julia Smeliansky<br />
Marcus Stern<br />
János Szász<br />
Oleg Tabakov<br />
Robert Walsh<br />
Robert Woodruff<br />
Scott Zigler<br />
Staff<br />
Christopher Viklund<br />
Criticism and Dramaturgy<br />
Yoga<br />
Acting<br />
Movement<br />
Movement<br />
Russian Language<br />
Acting<br />
<strong>The</strong>atre History and Dramaturgy<br />
Voice and Speech<br />
Acting and Directing<br />
Acting<br />
Dramaturgy<br />
Acting and Directing<br />
Acting<br />
Acting and Directing<br />
Dramatic Literature and Dramaturgy<br />
Voice<br />
Singing<br />
<strong>The</strong>atre Management<br />
Dramatic Literature<br />
Movement<br />
<strong>The</strong>atre History and Dramaturgy<br />
History and Practice of Set Design<br />
Acting and Directing<br />
Acting<br />
Acting<br />
Combat<br />
Acting and Directing<br />
Acting, Directing and Dramaturgy<br />
Production Manager<br />
Acting<br />
Katia Asche<br />
Elizabeth Allen<br />
Joseph Almanza<br />
Caroline Beth Barad<br />
Sarah Baskin<br />
Jacqueline Brechner<br />
Henry David Clarke<br />
Gardiner Comfort<br />
Emmy Lou Diaz<br />
Phillip Dunbridge<br />
Jia Doughman<br />
Brian Farish<br />
Kristen Frazier<br />
Aaron Ganz<br />
Adel hanash<br />
Megan Hill<br />
Perry Jackson<br />
Sarah Jorge Leon<br />
Merritt Janson<br />
Dramaturgy<br />
Mavourneen Arndt<br />
Heather Helinsky<br />
Katie Mallison<br />
Njal Mjos<br />
Voice<br />
Carey Dawson<br />
Thomas Kelley<br />
Adam Kern<br />
Rocco LaPenna<br />
Daniel Le<br />
DeLance Minefee<br />
George Montenegro<br />
Nicole Muller<br />
Angela Nahigian<br />
Yelba Osorio<br />
Kunal Prasad<br />
Natalie Saibel<br />
Sarah Scanlon<br />
Kristin Sidberry<br />
Neil Stewart<br />
Cheryl Turski<br />
Elizabeth Wilson<br />
Tim Wynn<br />
Matthew Young<br />
Sarah Ollove<br />
Katheryn Rasor<br />
Sarah Wallace<br />
Miriam Weisfeld<br />
Christopher Lang
THE PERFECT<br />
HOLIDAY GIFT!<br />
A TASTE<br />
of the A.R.T.<br />
choose<br />
any 3 plays<br />
for only<br />
$75<br />
some restrictions apply<br />
Wings of Desire<br />
<strong>The</strong> <strong>Onion</strong> <strong>Cellar</strong><br />
<strong>The</strong> Importance of<br />
Being Earnest<br />
Britannicus<br />
Oliver Twist<br />
Elections & Erections<br />
No Man’s Land<br />
www.amrep.org<br />
617.547.8300<br />
for details<br />
D o n ’ t m i s s<br />
THE IMPORTANCE<br />
OF BEING EARNEST<br />
a trivial comedy performed<br />
by two serious people<br />
by Oscar Wilde<br />
created and performed by Ridiculusmus<br />
Dec 21 –– Jan 14 • Loeb Stage<br />
<strong>The</strong> <strong>Onion</strong> <strong>Cellar</strong><br />
featuring <strong>The</strong> Dresden Dolls<br />
Dec 9 –– Jan 13 • Zero Arrow <strong>The</strong>atre<br />
Gift certificates<br />
available<br />
in any amount.<br />
www.amrep.org<br />
617.547.8300
ARTifacts<br />
SUBSCRIPTIONS AND INDIVIDUAL TICKETS NOW ON SALE<br />
617.547.8300<br />
www.amrep.org<br />
subscribe & save!<br />
• Free and easy ticket exchange!<br />
• Create your own season —<br />
choose any 3 or more plays!<br />
• All subscriptions are discounted —<br />
save up to 26% off single ticket<br />
prices<br />
• Discounts on parking and fine dining<br />
in Harvard Square<br />
new to the A.R.T.?<br />
subscribe now with no risk<br />
We’re so sure you’ll enjoy the 2006-07<br />
season, here’s a money back guarantee:<br />
After you’ve seen your first two productions, if you’re not<br />
completely satisfied, just give us a call and we’ll refund the<br />
remainder of your season tickets. (New subscribers only.)<br />
preplay<br />
Preshow discussions one hour before 7:30 curtain<br />
led by the Literary Department.<br />
Loeb Stage plays only.<br />
playback<br />
Post-show discussions after all Saturday matinees.<br />
All ticket holders welcome.<br />
curtain times<br />
Tue/Wed/Thu/Sun evenings — 7:30pm<br />
Friday/Saturday evenings — 8:00pm<br />
Saturday/Sunday matinees — 2:00pm<br />
individual ticket prices<br />
ONION CELLAR AT ZERO ARROW<br />
table seats* stools*<br />
Fri/Sat evenings $50 $25<br />
All other perfs $38 $25<br />
Table seating is “cabaret-style”.<br />
Stool seats are located around the lip of the<br />
stage, at the bar, and at the back of the theatre<br />
$50@$15 at noon<br />
50 seats for every show only $15. On sale at noon on<br />
day of s how by phone or at the box office. Based on<br />
availability<br />
box office hours<br />
LOEB STAGE<br />
Tuesday — Sunday noon — 5pm<br />
Monday<br />
closed<br />
Performance days open until curtain<br />
ZERO ARROW THEATRE<br />
Open 1-1/2 hours before curtain<br />
new! exchanges for<br />
single ticket buyers<br />
Sometimes emergencies do arise, and you may<br />
need to change the date of your performance.<br />
Now single ticket buyers can exchange for a<br />
transaction fee of $10. As always, A.R.T.<br />
subscribers can exchange for free!<br />
A.R.T. student pass<br />
$60 gets you 5 tickets good for any combination of<br />
plays. That’s only $12 a seat!<br />
(Full-time college students only.)<br />
discount parking<br />
LOEB STAGE<br />
Have your ticket stub stamped at the reception<br />
desk when you attend a performace and receive<br />
discounts at the University Place Garage or <strong>The</strong><br />
Charles Hotel Garage.<br />
ZERO ARROW THEATRE<br />
Discount parking is available at the Harvard<br />
University lot at 1033 Mass. Ave. (entrance on<br />
Ellery Street.) <strong>The</strong>re is also valet parking availabe at<br />
the nearby Grafton Street Pub & Grill. See page 11.<br />
Go to www.amrep.org/venues/zarrow/<br />
for more information.<br />
order today!<br />
subscriptions & tickets on sale now<br />
617.547.8300<br />
www.amrep.org<br />
617.547.8300 www.amrep.org<br />
64 Brattle Street, Cambridge, MA 02138