No Man's Land Program - American Repertory Theater

Dear Friends,
Welcome to No Man’s Land, the final production of our 2006-07 season.
Incredibly this is the twenty-second show that David Wheeler has staged at the
A.R.T.— a far greater number than any other director, and an amazing legacy. No
Man’s Land is also the fourteenth play by Harold Pinter that David has staged; he
also directed memorable productions of The Homecoming and The Caretaker for
the A.R.T., as well as the American premieres of Pinter’s The Dwarfs, A Slight
Ache, and The Room. There is no director working in this country today who is
more in tune with Pinter’s stylish, enigmatic world.
David first brought No Man’s Land to our attention last year, when he held a
reading of the play with Max Wright and Paul Benedict. We were immediately seduced by the brilliance of Pinter’s
dialogue, and the complex, shifting psychology of his characters. I didn’t know the play until that reading, and I’m
so grateful to David for the introduction, because I think it’s a masterpiece.
I love the way No Man’s Land seems to start with a concrete, realistic situation, then slips into a tantalizing
abstraction, whose meaning is always just beyond our reach. These four characters locked together in a room
remind me of the inhabitants of Beckett’s Endgame and Sartre’s No Exit — indeed, it may be that this house is
also a kind of eternity, or a hell. But Pinter’s primary inspiration here is really the poet T. S. Eliot. Spooner is a
close cousin of the aging, lonely J. Alfred Prufrock, and the play is shot through with allusions to “The Waste Land”
and “Four Quartets.” Like those great poems, No Man’s Land tells of a quest, though for what we can never be
sure — for life, perhaps, or death, for love, pain, happiness, or truth. However we choose to read it, it’s a
beautiful play, and I hope you get as much pleasure from it as I do.
My colleagues and I wish you a wonderful summer, and look forward to welcoming you back in September
for the start of our 2007-08 season.
Best wishes,
Gideon Lester
Professional Company — 2006-07 Season
Remo Airaldi
Akiko Aizawa
J. Ed. Araiza
David Wilson Barnes
Paul Benedict
Will Bond
Stephen Boyer
Claire E. Davies
Danyon Davis
Gregory Derelian
Thomas Derrah
Ned Eisenberg
Carson Elrod
Jeremy Geidt
Fred Goessens
Jon Haynes
Rebecca Henderson
Jennifer Ikeda
Leon Ingulsrud
Elizabeth Jasicki
Adrianne Krstansky
Ellen Lauren
Will LeBow
Jesse Lenat
Karen MacDonald
Joan MacIntosh
Kelly Maurer
Hadewych Minis
Alfredo Narciso
Tom Nellis
Kevin O’Donnell
Barney O’Hanlon
Amanda Palmer
Daniel Parker
Craig Pattison
Stephen Payne
Frieda Pittoors
Mark Rosenthal
John Sierros
Mam Smith
Lucas Steele
Brian Viglione
Michael Wartella
Stephen Webber
Lewis D. Wheeler
Bernard White
David Woods
Max Wright
Robin Young

oston ballet
MIKKO NISSINEN
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VALERIE WILDER
Executive Director
The Wang Theatre
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Zero Arrow
Theatre
Our exciting second
performance space!
“Boston’s Best New Theatre (2005)”
– Improper Bostonian.
The A.R.T.’s flexible and intimate second
performance space at the intersection
of Arrow Street and Mass.
Avenue in Cambridge is now two
years old! This three hundred-seat theatre serves as an incubator for new work in addition to
hosting performances by the A.R.T./MXAT. Institute for Advanced Theatre Training. Performance
times and dates will be updated on the A.R.T.’s website (www.amrep.org). Don’t miss the adventure
of new work, young artists, and multiple disciplines all at affordable prices –– the signature
mission of ZERO ARROW THEATRE.
American Repertory Theatre Advisory Board
Philip Burling Co-Chair Ted Wendell Co-Chair
Joel Alvord
Joseph Auerbach, emeritus
George Ballantyne
Carol V. Berman
Page Bingham
William H. Boardman, Jr.
Robert Brustein
Paul Buttenwieser
Greg Carr
Caroline J. Chang
Antonia H. Chayes
Clarke Coggeshall
Kathy Connor
Robert Davoli
Charles Gottesman
Barbara W. Grossman
Ann Gund
Joseph W. Hammer
Horace H. Irvine II
Michael Jacobson
Michael B. Keating
Glenn KnicKrehm
Myra H. Kraft
Lizbeth Krupp
Barbara Cole Lee
Barbara Lemperly Grant
Carl Martignetti
Dan Mathieu
Eileen McDonagh
Rebecca Milikowsky
Ward Mooney
Anthony Pangaro
Beth Pollock
Jeffrey Rayport
Michael Roitman
Henry Rosovsky
Linda U. Sanger
John A. Shane
Michael Shinagel
Donald Ware
Sam Weisman
The A.R.T./Harvard Board of Directors
Philip Burling
Luann Godschalx
Jonathan Hurlbert (clerk)
Judith Kidd
Robert James Kiely
Jacqueline A. O’Neill (chair)
Robert J. Orchard
Robert Woodruff
T O O U R A U D I E N C E
To avoid disturbing our seated patrons, latecomers (or patrons who leave the theatre during the performance) will be seated at
the discretion of the management at an appropriate point in the performance.
By union regulation:
• Taking photographs and operating recording equipment is prohibited.
• All electronic devices such as pagers, cellular phones, and watch alarms should be turned off during the performance.
By Cambridge ordinance, there is no smoking permitted in the building.

presents
NO MAN’S LAND
by Harold Pinter
directed by David Wheeler
scenic design
costume design
lighting design
sound design
stage manager
voice and speech coach
dramaturg
J. Michael Griggs
David Reynoso
Kenneth Helvig
David Remedios
Amy James*
Carey Dawson
Miriam Weisfeld
First performance May 12, 2007
Director’s Sponsor
Joel and Lisa Alvord
Production Sponsor
Paul and Katie Buttenwieser
season sponsor
The American Repertory Theatre and the Institute for Advanced
Theatre Training at Harvard are supported in part by major grants from
The Andrew W. Mellon Foundation, the Doris Duke Charitable
Foundation, The Shubert Foundation, and the Carr Foundation. The
A.R.T. also gratefully acknowledges the support of Harvard University,
including Acting President Derek Bok, Provost Steven E. Hyman,
Acting Dean Jeremy R. Knowles, the Committee on Dramatics, Dean
Michael Shinagel, and the School of Continuing Education. We also
wish to give special thanks to our audience and to the many A.R.T.
Annual Fund donors for helping us make this season possible.

CAST
Hirst Paul Benedict*
Spooner Max Wright*
Foster Henry David Clarke
Briggs Lewis D. Wheeler*
Understudies:
Douglas Cochrane (Hirst, Spooner), Aaron Ganz (Foster), Neil Patrick Stewart (Briggs).
Running time is approximately two hours and fifteen minutes,
including one fifteen-minute intermission.
assistant stage manager
production assistant
advertising consultants
Joseph Stoltman*
Amanda Robbins
Stevens Advertising
Additional Staff: Adam Bellao, Properties Carpenter; Tom Stephanski, Properties Craftsperson;
Chris Eschenbach, George Kane, Dan Harrison, Carpenters; Carolyn Sullivan, Scenic Painter;
Kristin Knutson, Scenic Intern; Elizabeth Bouchard, Stage Management Intern.
Special Thanks
artwork by Sarah Leon
The A.R.T. operates under an agreement between the League of Resident
Theatres and Actors’ Equity Association, the union of Professional Actors and
Stage Managers in the United States. The director of this production is a
member of the Society of Stage Directors and Choreographers, Inc., and most
of the designers are members of United Scenic Artists, both independent labor
unions. The A.R.T. is also a constituent member of Theatre Communications
Group (TCG), the national service organization for the American not-for-profit
theatre. Supporting administrative and technical staff are represented by the
Harvard Union of Clerical and Technical Workers/AFSCME
(*) Members of Actors’ Equity Association,
the Union of Professional Actors and Stage
Managers in the United States.
(*) Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Actors’ Equity Association
(AEA), founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster
the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing 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 organization of performing
arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org

The World of NO MAN’s LAND
Cricket, England’s national pastime since the
17 th century, figures prominently in Pinter’s work.
Since his childhood, Pinter has been an avid
player and fan of the game. He has often written
about the fierce bonds and rivalries he formed
with his teammates. All four characters in No
Man’s Land are named after celebrated cricket
players from the early 1900s. Hirst recalls
attending a match at Lord’s Cricket Ground in
North West London, considered the traditional
home of cricket since 1814. In the first act of the
play, Spooner’s inquiry about Hirst’s wife includes
a barrage of cricket terminology. By asking about
legbreaks, offbreaks, and googling — which refer
to curving throws — Spooner suggests that his
host’s wife was a master of the game’s most
deceptive moves.
Hampstead Heath encompasses 800 acres of
parks, ponds, and leisure spots in North West
London. Since the 19 th century, it has been a
favorite destination of intellectuals, artists, and
lovers. Ghosts are said to haunt the piers and
bathing ponds. Highwaymen pounced on travelers
along the Heath’s roads in ages past. Jack Straw’s
Castle, a pub named for one of the Heath’s most
notorious characters, was situated at the west end.
Its back door led to a woods well-known as the site
of homosexual liaisons. To this day, evening ventures
to Hampstead Heath carry the association of gay rendezvous.
Jack Straw lent his name to a pub and hotel that operated from the 1800’s until very recently.
However, his “castle” was most likely a hole dug into the hillside where he took shelter with his
men during the 1381 Peasant Revolt. Straw headed a contingent of rebels from Essex in a shortlived
insurrection against the nobility. He and his men camped on a hillside one night in June
1381, planning to join forces with Kentish troops headed by Wat Tyler. Straw launched an attack
on the county seat, but after Tyler was killed the revolt ended and Straw was executed the next
day. The legend of Jack Straw the Highwayman lives on. Literary references to the pub called
Jack Straw’s Castle began to appear in 1882, and such writers as Charles Dickens found inspiration
there. The building was blitzed during the Second World War and rebuilt in 1963.
On Jack Straw’s Castle, from The Cabinet of Curiosities, published in 1882:
“With best of food — of beer and wines,
Here may you pass a merry day:
So shall mine host, while Phoebus shines,
Instead of straw make good his hay.”

Pinter on Pinter:
Comments by the playwright on meaning, memory,
and “the Pinter pause.”
“Someone asked me what my work was ‘about.’
I replied with no thought at all and merely to frustrate
this line of inquiry: ‘The weasel under the
cocktail cabinet.’ That was a great mistake. Over
the years I have seen that remark quoted in a number
of learned columns. It has now seemingly
acquired a profound significance, and is seen to be
a highly relevant and meaningful observation about
my work. But for me the remark meant precisely
nothing. . . . What am I writing about Not the
weasel under the cocktail cabinet . . . I can sum up
none of my plays. I can describe none of them,
except to say: That is what happened. That is what
they said. That is what they did.”
— From Harold Pinter: Plays 4
“The fact is it’s terribly difficult to define what happened
at any time. I think it’s terribly difficult to
define what happened yesterday. . . . The fact that
they discuss something that he says took place —
even if it did not take place — actually seems to me
to recreate the time and the moment vividly in the present, so that it is actually taking place before
your very eyes — by the words he is using. By the end of this particular section of the play, they
are sharing something in the present.”
— From Mel Gussow’s Conversations with Pinter
“These pauses and silences! … The pause is a pause
because of what has just happened in the minds and
guts of the characters. They spring out of the text.
They’re not formal conveniences or stresses but part
of the body of the action. I’m simply suggesting that if
they play it properly they will find that a pause – or
whatever the hell it is – is inevitable. And a silence
equally means that something has happened to create
the impossibility of anyone speaking for a certain
amount of time – until they can recover from whatever
happened before the silence.”
— From Mel Gussow’s Conversations with Pinter
Pinter with Dame Peggy Ashcroft
in 1981.

UNFORGETTABLE PERFORMANCES
by Miriam Weisfeld
Paul Eddiington and
Harold Pinter in
No Man’s Land
at the Almeida in 1993.
Martin Esslin encapsulated the original production of No Man’s Land in one line:
“Magnificent parts giving rise to unforgettable performances by two of the greatest
actors of our time — but what is Pinter saying” Director Peter Hall’s production starred
Ralph Richardson and John Gielgud. After premiering in London in 1975, the same cast successfully
toured to New York the following year. Critics adored the older actors’ performances,
but confessed utter bafflement about the play’s meaning.
The 74-year-old Sir Ralph and 72-year-old Sir John embodied the very best of English
acting. Reviews of this production celebrate their performances as wildly funny and inventive.
In The New Yorker, Brendan Gill proclaimed: “The present production is, not to mince words, perfection.
. . . It is impossible to imagine that cleverer or more winning performances will be given
in any play this year. How they relish their skills, these two! Pinter has given them superb bibulous
nonsense to speak and still more superb pauses in which to gather the strength to utter further
nonsense. . . . If need be, trade your Maserati for a pair of tickets. You won’t be sorry.”
In No Man’s Land, Pinter maintains his signature ambiguity about who these characters are
to each other and precisely what they want. Their lines imply a long acquaintance, but suggest
just as strongly that the two have never met. This elasticity of the dialogue between the older
men allows for electric performances by veteran stars. But Richardson and Gielgud themselves
coyly reported that even they could not determine the significance of the lines. The critic Harold
Clurman wrote that “when interviewed they confessed, tongue-in-cheek no doubt, that they
weren’t at all sure what the play was supposed to mean. In this they follow the author’s own
tack: a refusal to say anything that can be readily formulated.”
Although he was only 45 when he wrote the play, many critics saw his tale of a writer facing
old age as Pinter’s reflection on his own mortality. Clurman, for example, speculated that
Hirst and Spooner represented two alternate visions of Pinter’s future: that of a respected intellectual
“past his best now,” and of a ragged misanthrope clinging to the coattails of the estab-

lishment. Pinter maintained his characteristic silence in response to the interpretation. But when
he reached the age of 62, Pinter literally claimed the role of successful writer by playing Hirst in
a 1992 revival.
Pinter tackled the play once more, this time as a director in 2001. He cast Corin Redgrave
and John Wood to play the aging writers at the National Theatre in London. In The Guardian,
Michael Billington announced that the two proved “an astonishing match for past interpreters.”
Had the play itself finally emerged from the shadow of its premiere According to Billington, “The
brilliant thing about Harold Pinter’s revival of his own play . . . is that, without banishing the
ghosts, it forces us to re-examine what the work is actually about . . . Hirst . . . is trapped in the
present and plagued by inconsolable memories of the past. The tragedy of Spooner . . . is that
he has no definable past, just a series of self-invented myths. Either way, Pinter implies, we are
the victims of our own memories.” Under the direction of its writer, No Man’s Land — that puzzle
of memory and self-invention — was reinvented again.
— Miriam Weisfeld is a graduating student
at the A.R.T./MXAT Institute
or Advanced Theatre Training.
Below: John Gielgud and Ralph Richardson
in the premiere of No Man’s Land
at the Old Vic in 1975.
Right: Richardson and Gielgud rehearse
with director Peter Hall.

No Man’s Land Acting Company
PAUL BENEDICT* — Hirst
A.R.T.: Picasso at the Lapin Agile (Freddy), Journey of the Fifth Horse (Chulkaturin). Broadway:
Eugene O’Neil’s Hughie (Charlie Hughes), Meredith Wilson’s The Music Man (Mayor Shinn),
Terrence McNally’s Bad Habits, Shakespeare’s Richard III (Buckingham). Off-Broadway: Jules
Feiffer’s Little Murders, Feiffer’s The White House Murder Case, Terrence McNally’s It’s Only a
Play, John Arden’s Live Like Pigs (directed by David Wheeler). Regional: includes The Theatre
Company of Boston, Huntington Theatre, Boston’s Wilbur and Shubert Theatres, Hartford Stage,
Trinity Repertory Company, Center Stage Baltimore, Arena Stage, Cincinnati Playhouse in the Park,
Mark Taper Forum, and the Old Globe in San Diego. Directing credits include the original production of Frank Conroy’s Any
Given Day (Broadway); Terrence McNally’s Frankie and Johnny in the Claire de Lune, and Cathy Najimi and Mo Gaffney’s
The Cathy and Mo Show (off Broadway). Film credits include The Freshman, The Goodbye Girl, This is Spinal Tap, Waiting
for Guffman, Jeremiah Johnson, The Addams Family, The Man with Two Brains.
HENRY DAVID CLARKE — Foster
Second-year actor at A.R.T./MXAT Institute for Advanced Theatre Training. Credits: Zoya’s
Apartment, Kate Crackernuts, and Betty’s Summer Vacation. Four seasons with Shakespeare &
Co: A Midsummer Night’s Dream, Henry V, Richard III, and others. Has performed with
SourceWorks, Icarus, and SKT in New York City, with SpeakEasy in Boston, and on PBS television
in “Brush Up Your Shakespeare” and “Evening at Pops. “
LEWIS D. WHEELER* – Briggs
Local credits: A Number, The Glass Menagerie, Lyric Stage; Silence, New RepertoryTheatre;
Macbeth, The Taming of the Shrew, Commonwealth Shakespeare Company; Arcadia (IRNE nomination
for Best Actor), Troilus and Cressida, Publick Theatre; also Huntington Theatre, Stoneham
Theatre, Vineyard Playhouse. Film and television: Disney’s Underdog and The Game Plan,
Miramax’s Gone Baby Gone; recurring role on Showtime’s Brotherhood. Studied theatre and film at
Cornell University, received an MFA from the American Film Institute (AFI).
MAX WRIGHT* — Spooner
A.R.T.: The Inspector General. Loeb Drama Center: Arturo Ui, Arms and the Man, A Man For
All Seasons, The Time of Your Life. New York: The Great White Hope, The Basic Training of
Pavlo Hummel, Richard III, Stages, Lunch Hour, Broadway; Twelfth Night, Ivanov, The Cherry
Orchard, Lincoln Center Theatre; Once in a Lifetime, The Inspector General, Circle in the Square;
Die Fledermaus, Metropolitan Opera; The Taming of the Shrew, Henry IV, part I, Delacorte
Theatre, Shakespeare in the Park. Regional credits: Academy Festival, Actors’ Theatre of Louisville,
Arena Stage, Cherry County Playhouse, The Geffen, The Guthrie, La Jolla Playhouse, Long Wharf,
Olney, Penn State Festival, Seattle Repertory Theatre, Williamstown, Yale Repertory Theatre.
Creative Staff
DAVID WHEELER — Director
AssociateArtist of A.R.T., where he directed Harold Pinter’s The Homecoming and The Caretaker, also Othello, The Doctor’s
Dilemma, Valparaiso, How I Learned to Drive, Nobody Dies on Friday, Man and Superman, Waiting For Godot (1995),
Picasso at the Lapin Agile, What the Butler Saw, Heartbreak House, Misalliance (Eliot Norton Award), True West, Angel
City, The Day Room, Cannibal Masque, Gillette, David Mamet’s adaptation of Uncle Vanya, and Two by Korder: Fun and
Nobody. He directed The Boys Next Door both at A.R.T. and Trinity Repertory Company, where he has directed over a dozen
other productions, including Hurly Burly and Fool for Love. No Man’s Land is his 14th Pinter production, including American
premieres of The Dwarfs, A Slight Ache, and The Room. Broadway: Richard III with Al Pacino, The Basic Training of Pavlo
Hummel (Tony Award, Best Actor for Pacino). Regional: Guthrie Theater, Alley Theatre, Paper Mill Playhouse, Berkeley Rep,
Arizona Theatre Company, Pittsburgh Playhouse, and Charles de Rochefort Theatre in Paris (French premiere of Edward

Albee’s The Zoo Story). Artistic Director of the Theatre Company of Boston (TCB) from 1963–75, where he directed eighty productions.
His film The Local Stigmatic (with Mr. Pacino), adapted from the play by Heathcote Williams, will be released on DVD
in 2007. He has taught and directed at Harvard University, Boston University, MIT, Brandeis, Colorado College; he has directed
student productions at U.N.C. Chapel Hill, U.C. Irvine, Cal State Long Beach, and Evora, Portugal. After receiving his M.A. at
Harvard in Comparative Literature, Mr. Wheeler trained as a director for three years as José Quintero’s assistant at Circle-inthe-Square.
J. MICHAEL GRIGGS — Scenic Design
A.R.T.: Animals and Plants, How I Learned to Drive, Nobody Dies on Friday, and Boston Marriage. Súgán Theatre
Company: Talking to Terrorists, Women on the Verge of HRT, Sanctuary Lamp, Well of the Saints, Mojo Mickybo, Howie
the Rookie, The Lepers of Baile Baiste, Molly Maquire, Bailegangaire, The Lonesome West, This Lime Tree Bower,
Perfect Days, and St. Nicholas. Recent credits: White People, New Repertory Theatre; Design for Living, Publick Theatre;
9 Parts of Desire, Lyric Stage Company of Boston. Mr. Griggs is the Technical Director of the Loeb Drama Center and teaches
stage design at Harvard University. He is a member of United Scenic Artists 829.
DAVID REYNOSO — Costume Design
A.R.T.: The Keening. A.R.T./MXAT Institute: Abigail’s Party (set and costume), Front Page. Set and costume designer, production
designer, A.R.T.’s resident costume crafts artisan. Other credits: the world premieres of Jeffrey Hatcher’s The Fabulous
Invalid directed by Melia Bensussen, Training Wisteria by Molly Smith-Metzler (Winner Best New Play for Kennedy Center‘s
ACTF Competition), Jordan Seavey’s This is a Newspaper for CollaborationTown, NYC, and Caitlin Condy’s Little Wing, NYC
Fringe festival. Worked in New York as assistant designer to James Noone on seventeen productions nationwide
(Glimmerglass Opera, Pittsburgh Public, Manhattan Theatre Club, National Actor’s Theatre, the Guthrie, Broadway, and
Huntigton Theatre Company.) Has collaborated on over sixty productions since receiving his B.F.A. from Boston University. Film
credit: production and costume design for Mexican rock band Porter’s music video “Host of a Ghost.” Awards and nominations:
Princess Grace, Kennedy Center for the Performing Arts, Kahn Award.
KENNETH HELVIG — Lighting Design
A.R.T.: No Exit, Island of Anyplace. A.R.T. Institute for Advanced Theatre Training: Pants on Fire, Betty’s Summer Vacation.
Forestburgh Playhouse: Hair, Annie, South Pacific, Seven Brides for Seven Brothers, Victor/Victoria, Annie Get Your
Gun, Driving Miss Daisy, Witness for the Prosecution. Clear Stage Cincinnati: The Yellow Boat. University of Cincinnati:
The Mystery of Edwin Drood, On the Town, The Skin of our Teeth, One Flew Over the Cuckoo’s Nest. Assistant Lighting
Designer at A.R.T, productions include Oliver Twist, Britannicus, Orpheus X, Romeo and Juliet, Three Sisters, Carmen,
Amerika, Desire Under the Elms, Olly’s Prison. MFA from the University of Cincinnati-College Conservatory of Music.
DAVID REMEDIOS — Sound Designer
A.R.T.: Thirty-six productions, including Britannicus, Island of Slaves,Orpheus X, No Exit, Three Sisters, The Keening,
Amerika, Olly’s Prison, Desire under the Elms, Dido, Queen of Carthage, The Provok’d Wife (original music), The Miser,
A Midsummer Night’s Dream, Pericles, Absolution, Marat/Sade, Enrico IV, Othello, Antigone, Nocturne, How I Learned
to Drive, Man and Superman. Other: The Scottish Play (La Jolla Playhouse), Leap (Cincinnati Playhouse), Dressed Up!
Wigged Out! (original music and sound, Boston Playwrights Theatre), Sideways Stories from the Wayside School, All of a
Kind Family, The Fabulous Invalid (Emerson Stage), Our Town (Boston Theatre Works), Samson Agonistes (92 nd St. Y),
Nocturne (New York Theatre Workshop), Far East (Vineyard Playhouse). Dance soundscapes: Concord Academy, Snappy
Dance Theater Company, Lorraine Chapman. Awards: 2001 Elliot Norton Award (Mother Courage and Her Children); IRNE
Award nominations for ART’s Oedipus, Snow in June, and Highway Ulysses.
AMY JAMES* — Stage Manager
A.R.T.: Stage Manager Britannicus, No Exit, Carmen, Amerika, Nothing But the Truth, The Flying Karamazov Brothers,
George Gershwin Alone. Assistant Stage Manager Orpheus X, Romeo and Juliet, Three Sisters, Dido, Queen of
Carthage, The Provok’d Wife, The Miser, Birthday Party, Snow in June, Lady with a Lapdog, Pericles, Highway Ulysses
and Uncle Vanya. Production Associate Lysistrata, Stone Cold Dead Serious, Othello, Mother Courage, Three Farces and
a Funeral, and Richard II. Indiana Repertory Theatre: Production Associate Same Time Next Year, An Almost Holy Picture,
Othello.

ROBERT WOODRUFF — Artistic Director
A.R.T.: directed Britannicus, Island of Slaves, Orpheus X, Olly’s Prison, Oedipus, Sound of a
Voice, Highway Ulysses, Richard II, Full Circle (2000 Elliot Norton Award for Best Director) and In
the Jungle of Cities (1998 Elliot Norton Award for Best Director). A.R.T. Institute: directed Charles
L. Mee’s Trojan Women A Love Story. His credits include the premieres of Sam Shepard’s Curse
of the Starving Class, Buried Child (Pulitzer Prize), and True West at the New York Shakespeare
Festival; In the Belly of the Beast, A Lie of the Mind, and Philip Glass’s A Madrigal Opera at the
Mark Taper Forum; The Comedy of Errors (with the Flying Karamazov Brothers) at Lincoln Center;
David Mamet’s adaptation of Red River at The Goodman Theatre; The Tempest, A Man’s a Man, and Happy Days (among
others) at La Jolla Playhouse; Julius Caesar at Alliance Theatre; The Duchess of Malfi and Nothing Sacred at the American
Conservatory Theatre; The Skin of Our Teeth at The Guthrie Theater, and Baal at Trinity Repertory Company. His work has
been seen at most major U.S. Arts Festivals and abroad. Recent work includes Medea at the National Theatre of Israel and
Saved at Theatre for a New Audience. Mr. Woodruff co-founded The Eureka Theatre, San Francisco, and created The Bay
Area Playwrights Festival.
GIDEON LESTER — Associate Artistic Director
Recent translations: Marivaux’s Island of Slaves and La Dispute (published by Ivan Dee, directed
by Anne Bogart at the A.R.T.), Bertolt Brecht’s Mother Courage (directed by János Szász), Georg
Büchner’s Woyzeck (directed by Marcus Stern), and two texts by the French playwright Michel
Vinaver, King and Overboard (published by Methuen and staged at the Orange Tree Theatre in
London.) Adaptations: Wings of Desire by Wim Wenders, Peter Handtke, and Richard Reitinger,
directed by Ola Mafaalani; Kafka’s Amerika (directed at the A.R.T. by Dominique Serrand), Anne
Frank for the Carr Center for Human Rights at Harvard, and Enter the Actress, a one-woman show
that he devised for Claire Bloom. Born in London in 1972, Mr. Lester studied English Literature at Oxford University. In 1995
he came to the US on a Fulbright grant and Frank Knox Memorial Scholarship to study dramaturgy at the A.R.T. Institute for
Advanced Theatre Training at Harvard. When he graduated from the Institute, Mr. Lester was appointed Resident Dramaturg.
He became the A.R.T.’s Associate Artistic Director in 2002. He teaches dramaturgy at the A.R.T./MXAT Institute, playwriting
at Harvard.
ROBERT J. ORCHARD — Executive Director
Mr. Orchard served as the Company’s Managing Director for twenty-one years. He currently serves
as Executive Director of the A.R.T. and the Institute for Advanced Theatre Training, and Director of
the Loeb Drama Center at Harvard University. Previously, he was Managing Director of the Yale
Repertory Theatre and School of Drama where he also served as Associate Professor and Co-
Chairman of the Theatre Administration Program. For nearly twenty years, Mr. Orchard has been
active facilitating exchanges, leading seminars, and advising on public policy with theatre professionals
and government officials in Russia. At the A.R.T. he has produced nearly 170 productions
over half of which were new works. In addition, he has overseen tours of A.R.T. productions to major festivals in Edinburgh,
Avignon, Belgrade, Paris, Madrid, Jerusalem, Venice, Sao Paulo, Tokyo, Taipei, Singapore, and Moscow, among others. Under
his leadership, A.R.T. has performed in eighty-one cities in twenty-two states and worldwide in twenty-one cities in sixteen countries
on four continents. Mr. Orchard has served as Chairman of both the Theatre and the Opera/Musical Theatre Panels at
the National Endowment for the Arts, on the Board and Executive Committee of the American Arts Alliance, the national advocacy
association for the performing and visual arts, and as a trustee of Theatre Communications Group (TCG), the national
service organization for the American professional theatre and publisher of American Theatre magazine. In addition he has
served on the Board of the Cambridge Multi-Cultural Arts Center and as President of the Massachusetts Cultural Education
Collaborative. In 2000, Mr. Orchard received the Elliot Norton Award for Sustained Excellence.
(*) Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Actors’ Equity
Association (AEA), founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance,
promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing
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 organization
of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org

A History of the American Repertory Theatre
Robert J. Orchard Robert Woodruff Gideon Lester
Executive Director Artistic Director Associate Artistic Director / Dramaturg
Robert Brustein
Founding Director / Creative Consultant
The American Repertory Theatre (A.R.T.) occupies a unique
place in the American theatre. It is the only not-for-profit theatre
in the country that maintains a resident acting company and an
international training conservatory, and that operates in association
with a major university. Over its twenty-six-year history the
A.R.T. has welcomed American and international theatre artists
who have enriched the theatrical life of the whole nation. The
theatre has garnered many of the nation’s most distinguished
awards, including a Pulitzer Prize, a Tony Award, a Jujamcyn
Award, the 2002 National Theatre Conference’s Outstanding
Achievement Award; and in May of 2003 it was named one of the
top three theatres in the country by Time magazine. Since 1980
the A.R.T. has performed in eighty-two cities in twenty-two states
around the country, and worldwide in twenty-one cities in sixteen
countries on four continents. It has presented one hundred and
eighty-five productions, over half of which were premieres of new
plays, translations, and adaptations.
The A.R.T. was founded in 1980 by Robert Brustein, and has
been resident for twenty-six years at Harvard University’s Loeb
Drama Center. In August 2002 Robert Woodruff became the
A.R.T.’s Artistic Director, the second in the theatre’s history. Mr.
Orchard assumed the new role of Executive Director, and
Gideon Lester that of Associate Artistic Director. Mr. Brustein
remains with the A.R.T. as Founding Director and Creative
Consultant.
The A.R.T. provides a home for artists from across the world,
whose singular visions generate and define the theatre’s work.
The company presents a varied repertoire that includes new
plays, progressive productions of classical texts, and collaborations
between artists from many disciplines. The A.R.T. is also
a training ground for young artists. The theatre’s artistic staff
teaches undergraduate classes in acting, directing, dramatic literature,
design, and playwriting at Harvard, and in 1987 the
A.R.T. founded the Institute for Advanced Theatre Training. In
conjunction with the Moscow Art Theatre School, the Institute
provides world-class graduate-level training in acting, dramaturgy,
and special studies.
The A.R.T.’s American and world premieres include among
others, works by Robert Auletta, Edward Bond, Robert Brustein,
Don DeLillo, Keith Dewhurst, Humberto Dorado, Christopher
Durang, Rinde Eckert, Elizabeth Egloff, Peter Feibleman, Jules
Feiffer, Dario Fo, Carlos Fuentes, Larry Gelbart, Leslie Glass,
Philip Glass, Stuart Greenman, William Hauptman, David Henry
Hwang, Milan Kundera, Mark Leib, David Lodge, Carol K. Mack,
David Mamet, Charles L. Mee, Roger Miller, John Moran,
Robert Moran, Heiner Müller, Marsha Norman, Han Ong, David
Rabe, Franca Rame, Adam Rapp, Keith Reddin, Ronald
Ribman, Paula Vogel, Derek Walcott, Naomi Wallace, and
Robert Wilson.
Many of the world’s most gifted directors have staged productions
at the A.R.T., including JoAnne Akalaitis, Neil Bartlett,
Andrei Belgrader, Anne Bogart, Lee Breuer, Robert Brustein,
Chen Shi-Zheng, Liviu Ciulei, Martha Clarke, Ron Daniels, Liz
Diamond, Joe Dowling, Michael Engler, Alvin Epstein, Dario Fo,
Richard Foreman, Kama Ginkas, David Gordon, Adrian Hall,
Richard Jones, Ola Mafaalani, Michael Kahn, Jerome Kilty, Tina
Landau, Krystian Lupa, John Madden, David Mamet, Des
McAnuff, Jonathan Miller, Nicolás Montero, Tom Moore, David
Rabe, François Rochaix, Robert Scanlan, János Szász, Peter
Sellars, Andrei Serban, Dominique Serrand, Susan Sontag,
Marcus Stern, Slobodan Unkovski, Les Waters, David Wheeler,
Frederick Wiseman, Robert Wilson, Mark Wing-Davey, Robert
Woodruff, Yuri Yeremin, Francesca Zambello, and Scott Zigler,
among others.
A.R.T. productions were included in the First New York
International Festival of the Arts, the 1984 Olympic Arts Festival
in Los Angeles, the Serious Fun! Festival at Lincoln Center’s
Alice Tully Hall, the Next Wave Festival at the Brooklyn
Academy of Music, and the International Fortnight of Theatre in
Quebec. The company has also performed at international festivals
in Edinburgh, Asti, Avignon, Belgrade, Ljubljana,
Jerusalem, Haifa, Tel Aviv, and Venice, and at theatres in
Amsterdam, Rotterdam, Perugia, and London, where its presentation
of Sganarelle was filmed and broadcast by Britain’s
Channel 4. In 1986 the A.R.T. presented Robert Wilson’s adaptation
of Alcestis at the Festival d’Automne in Paris, where it
won the award for Best Foreign Production of the Year. In 1991
Robert Wilson’s production of When We Dead Awaken was
presented at the 21st International Biennale of São Paulo,
Brazil. The company presented its adaptation of Carlo Gozzi’s
oriental fable The King Stag, directed by Andrei Serban, at the
Teatro Español in Madrid in 1988, at the Mitsui Festival in Tokyo
in 1990, the Taipei International Arts Festival in Taiwan (with
Robert Brustein’s adaptation of Pirandello’s Six Characters in
Search of an Author) in 1995, at the Chekhov International
Theatre Festival in Moscow — the first American company to
perform at the Chekhov Moscow Art Theatre (with Six
Characters in Search of an Author, and Joseph Chaikin and
Sam Shepard’s When The World Was Green (A Chef’s
Fable); and in October 2000, sponsored in part by AT&T:On
Stage, on a year-long national and international tour, with stops
in twenty-seven American cities in fifteen states, ending with a
three-week residency at London’s Barbican Centre in the summer
of 2001. In June 1998 the company also presented two
works including Robert Brustein’s new play Nobody Dies on
Friday at the Singapore Festival of the Arts. Most recently, productions
of Lysistrata, The Sound of a Voice, The Miser,
Lady with a Lapdog, Amerika, and No Exit have been presented
at theatres throughout the US, and Krystian Lupa’s 2005
production of Three Sisters recently closed the 2006 Edinburgh
International Theatre Festival.

Robert J. Orchard Robert Woodruff Gideon Lester
Executive Director Artistic Director Associate Artistic Director / Dramaturg
Artistic
Scott Zigler
Jeremy Geidt
Marcus Stern
Christopher De Camillis
Arthur Holmberg
Nancy Houfek
Ryan McKittrick
David Wheeler
Director, A.R.T. Institute
Senior Actor
Associate Director
Artistic Coordinator
Literary Director
Voice and Speech Coach
Associate Dramaturg
Associate Artist
Administration and Finance
Jonathan Seth Miller General Manager
Nancy M. Simons Comptroller
Angela Paquin Assistant Comptroller
Julia Smeliansky Administrative Director, Institute
Steven Leon
Assistant General Manager
Tracy Keene
Company / Front of House Manager
Stacie Hurst
Financial Administrator
Tali Gai
Artistic Associate / Executive Assistant
Alexander Popov Moscow Program Consultant
Development
Sharyn Bahn
Sue Beebee
Jan Graham Geidt
Joan Moynagh
Jessica Obara
Director of Development
Assistant Director of Development
Coordinator of Special Projects
Director of Institutional Giving
Development Officer
Publicity, Marketing, Publications
Henry Lussier
Director of Marketing
Katalin Mitchell Director of Press and Public Relations
Jeremy Allen Thompson Director of Audience Development
Nicholas Peterson Marketing Associate
Douglas F. Kirshen Web Manager
Burt Sun
Director of Graphic/Media Design
Stevens Advertising Advertising Consultant
Associates
Box Office
Derek Mueller
Ryan Walsh
Lilian Belknap
Public Services
Erin Wood
Maria Medeiros
Sarah Leon
Killian Clarke
Doug Fallon
Shannon Matathia
Heather Quick
Charlean Skidmore
Matthew Spano
Box Office Manager
Box Office Manager
Box Office Representative
Theatre Operations Coordinator
Receptionist
Receptionist
House Manager
House Manager
House Manager
House Manager
House Manager
House Manager
Robert Brustein
Founding Director / Creative Consultant
Scenery
Stephen Setterlun
Emily W. Leue
Alexia Muhlsteff
Gerard P. Vogt
Evan Wilkinson
Peter Doucette
Chris Tedford
York-Andreas Paris
Jason Bryant
Props
Cynthia Lee
Lyn Tamm
Costumes
Jeannette Hawley
Hilary Hacker
Karen Eister
Carmel Dundon
David Reynoso
Stephen Drueke
Suzanne Kadiff
Lights
Derek L. Wiles
Kenneth Helvig
David Oppenheimer
Lauren Audette
Sound
David Remedios
Darby Smotherman
Stage
Joe Stoltman
Jeremie Lozier
Christopher Eschenbach
Kevin Klein
Internships
Ariane Barbanell
Elizabeth Bouchard
Amy Cole
Elaine Harris
Nicholas Jandl
Kristin Knutson
Heather McPherson
Heidi Nelson
William Shaw
Emily Yost
Technical Director
Assistant Technical Director
Assistant Technical Director
Scenic Charge Artist
Scene Shop Supervisor
Master Carpenter
Scenic Carpenter
Scenic Carpenter
Scenic Carpenter
Properties Manager
Assistant Properties Manager
Costume Shop Manager
Assistant Costume Shop Manager
Head Draper
Draper
Crafts Artisan
Wardrobe Supervisor
Costume Stock Manager
Master Electrician
Lighting Assistant
Light Board Operator
Zero Arrow House Electrician
Resident Sound Designer / Engineer
Production Sound Engineer
Stage Supervisor
Assistant Stage Supervisor
Production Assistant
Production Assistant
Development
Stage Management
Stage Management
Administration
Administration
Scenery
Administration
Dramaturgy
Administration
Production Management
Production
Patricia Quinlan Production Manager
Christopher Viklund Associate Production Manager
Skip Curtiss
Associate Production Manager
Amy James
Assistant Stage Manager
Katherine Shea Assistant Stage Manager
Amanda Robbins Institute Stage Manager
J. Michael Griggs Loeb Technical Director
The American Repertory Theatre Program
Loeb Drama Center • 64 Brattle Street • Cambridge, MA 02138
Editors: Katalin Mitchell & Ryan McKittrick
For advertising and corporate sponsorship inquiries:
please contact: ARTplaybill@aol.com

American Repertory Theatre National Advisory Committee
Dr. Stephen Aaron
Donald and Lucy Beldock
Alexandra Loeb Driscoll
Ronald Dworkin
Wendy Gimbel
Stephen and Kathy Graham
Kay Kendall
Robert and Rona Kiley
Rocco Landesman
Willee Lewis
JoAnne Akalaitis
Laurie Anderson
Rubén Blades
Claire Bloom
William Bolcom
Carmen de Lavallade
Brian Dennehy
Christopher Durang
Carlos Fuentes
Philip Glass
André Gregory
Mrs. John Hersey
Stockard Channing
Anthony E. Malkin
James C. Marlas
William and Wendy Luers
Joanne Lyman
James Marlas
Stuart Ostrow
Dr. David Pearce
Steven Rattner
Nancy Ellison Rollnick
and Bill Rollnick
Daniel and Joanna S. Rose
Mark Rosenthal
Geoffrey Holder
Arliss Howard
Albert Innaurato
John Irving
Anne Jackson and Eli Wallach
Robert R. Kiley
James Lapine
Linda Lavin
Jonathan Miller
Kate Nelligan
Andrei Serban
John Shea
Miriam Schwartz
Beverly Sills
and Peter Greenough
Daniel Selznick
Rose Styron
Mike and Mary Wallace
Seth Weingarten
Byron Wien
William Zabel
American Repertory Theatre Honorary Board
Jeffrey D. Melvoin
Thomas H. Parry
Daniel Mayer Selznick
Talia Shire
Beverly Sills
Meryl Streep
Rose Styron
Lily Tomlin
Christopher Walken
Mike and Mary Wallace
Sam Waterston
Robert Wilson
Debra Winger
Frederick Wiseman
Visiting Committee for the Loeb Drama Center
Winifred White Neisser
Byron R. Wien

A.R.T./MXAT INSTITUTE
FOR ADVANCED THEATRE TRAINING
Scott Zigler, Director
Julia Smeliansky, Administrative Director
Marcus Stern, Associate Director
Nancy Houfek, Head of Voice and Speech Andrei Droznin, Head of Movement
Robert J. Orchard Robert Woodruff Gideon Lester
Executive Director Artistic Director Associate Artistic Director/Dramaturg
MOSCOW ART THEATRE
Oleg Tabakov, Artistic Director
MOSCOW ART THEATRE
SCHOOL
Anatoly Smeliansky, Head
The Institute for Advanced Theatre Training at Harvard was established in 1987 by the American Repertory
Theatre (A.R.T.) as a training ground for the American theatre. Its programs are fully integrated with the activities
of the A.R.T. In the summer of 1998 the Institute commenced a historic new joint program with the Moscow Art
Theatre (MXAT) School. Students engage with two invaluable resources: the work of the A.R.T. and that of the
MXAT, as well as their affiliated Schools. Individually, both organizations represent the best in theatre production
and training in their respective countries. Together, this exclusive partnership offers students opportunities for training
and growth unmatched by any program in the country.
The core program features a rigorous two-year, five-semester period of training in acting, dramaturgy, and
special studies, during which students work closely with the professionals at the A.R.T. and the MXAT as well as
with the best master teachers from the United States and Russia. At the end of the program, students receive a
Certificate of Achievement from the faculty of the American Repertory Theatre and an M.F.A. Degree from the faculty
of the Moscow Art Theatre School.
Further information about this new program can be obtained by calling the Institute for a free catalog
(617) 617-496-2000 x8890 or on our web site at www.amrep.org.
Faculty
Robert Brustein
Thomas Derrah
Elena Doujnikova
Andrei Droznin
Tanya Gassel
Jeremy Geidt
Arthur Holmberg
Nancy Houfek
Roman Kozak
Will LeBow
Gideon Lester
Stathis Livathinos
Karen MacDonald
Alexandre Marin
Ryan McKittrick
Jeff Morrison
Pamela Murray
Robert J. Orchard
Robert Scanlan
Andrei Shchukin
Anatoly Smeliansky
Julia Smeliansky
Marcus Stern
János Szász
Oleg Tabakov
Robert Walsh
Robert Woodruff
Scott Zigler
Staff
Christopher Viklund
Criticism and Dramaturgy
Acting
Movement
Movement
Russian Language
Acting
Theatre History and Dramaturgy
Voice and Speech
Acting and Directing
Acting
Dramaturgy
Acting and Directing
Acting
Acting and Directing
Dramatic Literature and Dramaturgy
Voice
Singing
Theatre Management
Dramatic Literature
Movement
Theatre History and Dramaturgy
History and Practice of Set Design
Acting and Directing
Acting
Acting
Combat
Acting and Directing
Acting, Directing and Dramaturgy
Production Manager
Acting
Katia Asche
Elizabeth Allen
Joseph Almanza
Caroline Beth Barad
Sarah Baskin
Jacqueline Brechner
Henry David Clarke
Gardiner Comfort
Emmy Lou Diaz
Phillip Dunbridge
Jia Doughman
Brian Farish
Kristen Frazier
Aaron Ganz
Adel hanash
Megan Hill
Perry Jackson
Sarah Jorge Leon
Merritt Janson
Dramaturgy
Neena Arndt
Heather Helinsky
Katie Mallinson
Njål Mjøs
Voice
Carey Dawson
Thomas Kelley
Adam Kern
Rocco LaPenna
Daniel Le
DeLance Minefee
George Montenegro
Nicole Muller
Angela Nahigian
Yelba Osorio
Kunal Prasad
Natalie Saibel
Sarah Scanlon
Kristin Sidberry
Neil Stewart
Cheryl Turski
Elizabeth Wilson
Tim Wynn
Matthew Young
Sarah Ollove
Katheryn Rasor
Sarah Wallace
Miriam Weisfeld
Christopher Lang

From Moscow with Love
Young artists attending the Institute for Advanced Theatre Training enjoy an extraordinary threemonth
residency at the Moscow Art Theatre (MXAT) School during the first year of their masters
program.
Students from the Institute class of 2008 share their impressions:
I've been studying and performing in Moscow for over a month now...time flies! Moscow
itself is like a cross between Vegas, New York, Disney World, some orthodox quaint Eastern
European city, and the city in the movie Blade Runner.
The show we are performing is the Greek tragedy, The Phoenician Women by Euripides.
We had our latest performance this past Thursday. The message is beautiful, ancient and
moving. . . simple and basic . . . can't we co-exist Nothing has changed in that regard since
Euripides wrote it.
– Light & Love, Yelba Osorio
I wanted to learn Russian when I was in middle school. Ten years later, I'm in Moscow, still
wishing I could learn Russian. Despite the assertions of my classmates that everyone spoke
English, I hoped otherwise. I assumed that in Moscow, my Russian skills would blossom like
magic, my accent would perfect itself, and I would return to Boston tri-lingual. Unfortunately, that
was all American optimism.
– Sarah Ollove

Moscow in a glance . . .
Acting students DeLance Minefee and Perry Jackson.
I only brought two pairs of pants.
It's sunny in March,
snowing in April,
I told my mom
I'd be on my best behavior.
Sometimes we lieon
the steps of MXAT
or by Patriarch's ponds
obsessing over our scenes
due tomorrow for Roman.
There's so much to say,
but in only a few words,
this experience...
is far beyond what we deserve.
– Perry Jackson
Russia is fantastic! We're exploring the city and seeing lots of great theatre. Most people
are very helpful, and we're finding that it's not nearly as difficult as people forewarned us. The
Phoenician Women is going well enough. We're all wondering why a text-based show was chosen
to bring to a non-English speaking country, but we're having a great time trying to find ways
to connect with our audience now.
Classes are great, and our teachers are great. Ballet teacher Larissa likes to scream gleefully
"stretch foot!" Russian women are gorgeous, ice cream is tasty, and there are packs of dogs
everywhere.
We have a website: www.myspace.com/iatt
– Rock on and see you in the fall! Adam Kern
Early in March the sun appeared
over the capital of Russia. Muscovites
know how to appreciate their limited
days of warmth; beneath the monuments
at Muisskaya Square I found the post-
Perestroika generation skateboarding.
Overlooked by statues of young
Komsomol pioneers and revolutionary
heroes, the kids shared little in common
with their sculpted predecessors.
Adjusting to Western lifestyle, a few
scrapes from jump practice were the only
sacrifices these hipsters could make.
Yet, fearlessly grinding, ollying and flying,
eager to overdo each other, it looked
like today's young Muscovites certainly
would die to master a "triple kick-flip.”
– Njål Mjøs
Dramaturgy students Sarah Wallace, Sally Ollove,
Katie Rasor, and Njål Mjøs. (photo by Daniel Le)

The Phoenician Women
as performed in Moscow.
I’ve come to the conclusion that young Russian women simply dress like every little girl’s id:
fur, high heels, sparkly things. It’s a very fine line between absolutely fabulous and tacky. I get
jealous as I schlump around in my big down coat and uber-American Bass snow boots (even
though I rarely need the boots because the weather has been so lovely). Many of them are also
very thin and pretty; I think the boys are especially enjoying their time here!
– Katie Rasor
My first week and a half in Moscow was a whirlwind of disorientation. Between culture
shock, jet lag, and realizing that my Russian language skills were at a toddler’s level, I existed in
a constant state of tension and agitation. When my professors invited me to an art exhibit, however,
I jumped at the chance. So on an unusually warm day in March, I headed to the exhibition.
I entered the warehouse and smiled. I was home. Well, not home exactly but in an environment
not unfamiliar to me. The walls were dirty, support beams rusty, and each breath brought you
one step closer to a case of black lung. Large scale photographs, paintings, sculptures and video
installations filled the warehouse. The labyrinthine series of rooms reminded me of art spaces
throughout the United States. Even the Russian I heard, only moments earlier disconcerting,
now seemed reminiscent of the flurry of foreign languages common to the American art world.
Ironically, the specificity of the exhibition’s location seemed fundamental to its success. Infused
with a political angle, the works of art, all by different Chinese artists, acted as a dialogue
between a former socialist country and a current one. I imagine it was no coincidence that a
decaying Soviet building served as the residence for this exhibit.
– Sarah Wallace
Gifts to the American Repertory Theatre can be directed to support
the Institute students and their training in Cambridge and Moscow.

Approaching the Finish Line!
Update on challenge grant from
the Doris Duke Charitable Foundation
Four months remain for the American Repertory Theatre to complete its fundraising
for a $700,000 challenge grant from the Doris Duke Charitable Foundation to build its
endowment. The award, part of the Leading National Theatres program, must be
matched on a 1:1 basis by the end of August, 2007. The $1.4 million raised will be
used to safeguard the A.R.T.’s mission and commitment to adventurous
programming. In the long-term, the endowment will help insure, in perpetuity, the
A.R.T.’s investigative spirit in the face of whatever challenges and constraints the
future may bring.
Through the generosity of friends and supporters, including Advisory Board Members
and private foundations, the A.R.T. has raised 85% ($600,000) towards completing
the match. Donors of $2,500 or more in cash or pledges to date are acknowledged
below.
If you would like to receive information about joining this group and helping us reach
the finish line, please contact Sharyn Bahn, Director of Development at
sharyn_bahn@harvard.edu or 617-496-2000 x8838.
$75,000 and above
Philip and Hilary Burling
Robert Davoli and Eileen McDonagh
Ted and Mary Wendell
Anonymous
$25,000 - $74,999
Paul and Katie Buttenwieser
Sarah Hancock
The Hershey Family Foundation
Priscilla and Richard Hunt
Michael E. Jacobson
Donald and Susan Ware
$5,000 - $9,999
Clarke and Ethel D. Coggeshall
Merrill and Charles Gottesman
Joseph W. Hammer
Ward K. and Lucy Mooney
Beth Pollock
$2,500 - $4,999
Carol and Harvey Berman
$10,000 - $24,999
Ann and Graham Gund
The Arthur Loeb Foundation
Linda U. Sanger

The American Repertory Theatre is deeply grateful for the generous support of the individuals, foundations,
corporations, and government agencies whose contributions make our work possible. The list
below reflects gifts between August 1, 2005 and April 10, 2007 to the Annual Fund.
Guardian Angel • $100,000 and above
The Carr Foundation
Doris Duke Charitable Foundation
The Andrew W. Mellon Foundation
The President and Fellows of Harvard College
The Shubert Foundation, Inc.
Archangel • $50,000 – $99,999
The Boston Globe+
The Educational Foundation of America
The Hershey Family Foundation
The Harold and Mimi Steinberg Charitable Trust
TIAA-CREF
Anonymous
Angel • $25,000 – $49,999
Association of Performing Arts Presenters
Ensemble/Theatre Collaborations Grant
Program
Philip and Hilary Burling
The E.H.A. Foundation, Inc.
Ann and Graham Gund
Cassandra and Horace Irvine
Massachusetts Cultural Council
National Endowment for the Arts
National Corporate Theatre Fund
The Rockefeller Foundation/Multi-Arts Production
Fund
Theatre Communications Group
Trust for Mutual Understanding
Ted and Mary Wendell
Mr. and Mrs. Byron R. Wien
Anonymous
Benefactor • $10,000 – $24,999
Altria Group, Inc.
Joel and Lisa Alvord
Page Bingham and Jim Anathan
Paul and Katie Buttenwieser
Ted and Joan Cutler
Étant Donnés
Barbara W. Hostetter
The Roy A. Hunt Foundation
Merrill and Charles Gottesman
Barbara and Steve Grossman
Michael E. Jacobson
Lizbeth and George Krupp
Dan Mathieu/Neal Balkowitsch/MAX Ultimate
Food+
Meet the Composer, USA
Rebecca and Nathan Milikowsky
Cokie and Lee Perry
Michael Roitman and Emily Karstetter
Mrs. Ralph P. Rudnickº
The Lawrence & Lillian Solomon Fund, Inc.
Visionary • $5,000 – $9,999
George C. and Hillery Ballantyne
Carol and Harvey Berman
Cabot Family Charitable Trust
Citizens Bank
Clarke and Ethel D. Coggeshall
Martha Cox and Andrew McKay
Robert Davoli and Eileen McDonagh
Alan and Suzanne Dworsky
Michael G. Feinstein and Denise Waldron
Rachael and Andrew Goldfarb
Joseph W. Hammer
Glenn KnicKrehm
Barbara and Jon Lee
Audrey Love Charitable Foundation
Dr. Henry and Mrs. Carole Mankin
Carl Martignetti
Kako and Fumi Matsumoto
Robert J. Orchard
The Bessie E. Pappas Charitable Foundation, Inc.
Joan H. Parker/Pearl Productions
The Polish Cultural Institute+
Beth Pollock
Jeffrey F. Rayport
Mary and Edgar Schein
Tony Shalhoub and Brooke Adams
The Shane Foundation
State Street Foundation
Sovereign Bank
Donald and Susan Ware
Anonymous
Associate • $2,500 – $4,999
Enid Beal
Linda Cabot Black
John A. Boyd
Terry and Catherine Catchpole
Stanley and Peggy Charren

Philip and Debbie Edmundson
Hannelore and Jeremy Grantham
Wladzia and Paul McCarthy
James C. Marlas
Robert and Jane Morse
The Netherland-America Foundation, Inc.
Laurence and Linda Reineman
The Abbot and Dorothy H. Stevens Foundation
Sam Weisman and Constance McCashin Weisman
Francis H. Williams
Partner • $1,000 – $2,499
Steven and Elizabeth Adams
America Dural, Inc.
Sheldon Appel
Howard and Leslie Appleby
Sharyn Bahn
Barbara E. Bierer and Steven E. Hyman
Martha Jane Bradford and Alfred Ajami
Mr. Arthur H. Brooks III
Robert Brustein and Doreen Beinart
Dorothea and Sheldon Buckler
Cambridge Trust Company
Clark and Gloria Chandler
Antonia H. Chayes
Jane and Marvin Corlette
Draper Laboratory
Diane and Joel Feldman
Merle and Marshall Goldman
Sarah Hancock
The Harvest +
Margaretta Hausman
Robert P. Hubbard
Karen Johansen and Gardner Hendrie
Nancy P. King
Bernice Krupp
Barbara Lemperly Grant and Frederic D. Grant
Ann Lenard
Joy Lucas and Andrew Schulert
Michael McClung and Jacqueline Kinney
Judy and Paul Marshall
Arthur and Merle Nacht
Robert and Janine Penfield
Finley and Patricia Perry
Henry and Nitza Rosovsky
Beatrice Roy
Carol J. Rugani
William A. Serovy
Kay and Jack Shelemay
Michael Shinagel and Marjorie North
Sholley Foundation
Marshall Sirvetz
Matthew Stuehler and Treacy Kiley
Julie Taymor
The Joseph W. and Faith K. Tiberio Charitable
Foundation
Judith and Stephen Wolfberg
Christopher Yens and Temple V. Gill
Anonymous
Leading Player • $500 — $999
Mark Angney
Javier Arango
Paul and Leni Aronson
The Bay State Federal Savings Charitable
Foundation
William Bazzy
Donald Butterfield
Edmond duPont
The Friends of Rob
David Golan and Laura Green
Nicholas Greville
Charlotte Hall
Dena and Felda Hardymon
Stefaan Heyvaert
Michael B. Keating
Judith Kidd
Gillian and Bill Kohli
Susan and Harry Kohn
Pam and Nick Lazares
John D.C. Little
Louise and Sandy McGinnes
Susan and Joe Paresky
Parker Family Fund
Marty Rabinowitz
Renee Rapaporte
Carolyn G. Robins
Arthur P. Sakellaris
Cathy and George Sakellaris
Elisabeth Schmidt-Scheuber
Lisbeth Tarlow
David Tobin
Jean Walsh and Graham Davies
Mindee Wasserman
Mr. and Mrs. Harry C. Wechsler
Peter and Dyann Wirth
G. Mead and Ann Wyman
Judi Ross Zuker
Anonymous

Featured Player • $250-$499
A. Scott and Joan Anderson
Christina Anderson
Dorothy and John Aram
Janeen Ault
Marjorie Bakken
Sue Beebee and Joe Gagné
Leonard and Jane Bernstein
Betsy and Bob Bingham
Catherine Bird
Helene B. Black Charitable Foundation
Jeffrey Borenstein
Tom and Judy Bracken
Jacqueline Brown
Fred and Edith Byron
Katrina Carye
Iris Chandler
Caroline Chang
Richard and Dorothy Cole
John Comings and Rima Rudd
John and Maria Cox
Warren Cutler
Julianne Dow
Timothy E. Driscoll
Eric Drouart
Fabrizio Ferri
Charles Flowers
Donald and Marjorie Forté
Margalit Gai
Christine and Michael Garrity
Arthur and Younghee Geltzer
Mark Glasser
Susan Glassman
Laurie and Jeffrey Goldbarg
Richard Grubman and Caroline Mortimer
Homer Hagedorn
Saundra Haley
Robert Hardman
Drs. Earl & Marjorie Hellerstein
Petie Hilsinger Fund
Alison Hodges and Thomas Clarke
Arthur and Susan Holcombe
Laurie and Cecil Howell
Belinda M. Juran
Nada and Steven Kane
David and Meredith Kantor
Jane and Dan Katims
Karen Kelly
Michael and Jeannine Kerwin
Anna Kitzis
Allen S. and Jeanne Krieger
Ruth B. Kundsin
Bill and Lisa Laskin
Greg and Mary Beth Lesher
Judith and Stephen Lippard
Drs. Mortimer and Charlotte Litt
Stephen and Jane Lorch
Priscilla Loring
Joanne Lyman
Lucy Lynch
Barbara Manzolillo
Jane and Thomas Martin
Blanche Milligan
Jane N. Morningstar
Bob and Alison Murchison
Jean and David Nathan
Amelia B. Nychis
Nicholas Patterson
Drs. Hilda and Max Perlitsh
Steve and Carol Pieper
Susan and Robert Pierce
Shlomo Pinkas
Wendy Shattuck and Samuel Plimpton
Paul and Anna Maria Radvany
Katharine and William Reardon
Suzanne Ogden and Peter Rogers
Peter Romano
Civia and Irwin Rosenberg
Judy and David Rosenthal
Bonnie Rosse
Kim and Fernando Salazar
Mr. and Mrs. Willits Sawyer
Mark Selig
Laurel Simmons
Robert Skenderian
Sarah Slaughter
George Smith
W. Mason and Jean Smith
Rina Spence and Gary Countryman
Vincent Stanton
Wendy Stern
Robert and Nicola Swift
Wendell Sykes
Scott D. Taylor
Linda Thorsen and Mark Bernstein
Alex Valentin
Adele Viguera
Donna Wainwright
Dr. Linda Warren
Jennie Weiner and Jeremiah Jordan
David and Anna Wheeler
Wendy Wheeler

Susan and Bruce Wheltle
George Whitehouse
Nikki and Warren Zapol
William and Nancy Zinn
Anonymous
pARTy 2007 Sponsors
Gold ($10,000)
Boston Investor Services
Ann and Graham Gund
MAX Ultimate Food+
Silver ($5,000)
Joel and Lisa Alvord
Page Bingham and Jim Anathan
Philip and Hilary Burling
Paul and Katie Buttenwieser
Crystal Capital
Greg Carr
Robert E. Davoli and Eileen L. McDonagh
Barbara and Steve Grossman
Ann and Graham Gund
Michael Jacobson
Mary and Tom Lentz
MAX Ultimate Food+
Millennium Partners-Boston
Jackie O’Neill
Polaris Capital Management, Inc.
Beth Pollock and Sheldon Appel
Provost’s Fund for Arts and Culture
Henry and Nitza Rosovsky
Jean Rudnickº
Donald and Susan Ware
Ted and Mary Wendell
+ denotes gift-in-kind
º deceased
pARTy 2007 Auction Donors
Special thanks to the businesses and individuals
who donated goods or services to the auction.
The support of these donors added not only to the
success of the event, but also to the evening’s fun.
American Repertory Theatre
Archaeological Exploration of Sardis, Harvard
University Art Museums
Avila
Page Bingham and Jim Anathan
Boston Public Library
L.A. Burdick Chocolate
Maud Cabot Jewelry
Antonia Chayes
Chez Henri
Jo Anne Cooper at Mobilia Art
Davio’s
Fogg Art Museum
Jeremy Geidt
Giorgio Armani
Happy Madison Productions, courtesy of
Sam Weisman
Jeannette Hawley
Lisa Hall
Daisy and Bill Helman
Henrietta’s Table
Nancy Houfek
Michael Jacobson
The Kraft Family/New England Patriots
Charitable Foundation
Tony Kushner
LaundroMutt
Leavitt & Peirce Inc.
Tom Lentz and Harvard University Art Museums
MAX Ultimate Food, Dan Mathieu and
Neal Balkowitsch
Katherine Miller
Rebecca and Nathan Milikowsky
Michael Morse
Mt. Auburn Cemetery
Pam Murray
Joan H. Parker and Robert B. Parker
Loro Piana
Polo Ralph Lauren
Heidi Pribell
Romana Photo
Salon Mario Russo
Sandrine’s Bistro
Dr. Melissa Schneider
Tourneau Watch
Travel Dynamics International
UpStairs on the Square
Urban Oasis
Villa I Tatti
Ted and Mary Wendell
Williston Weaves
Winston Flowers

National Corporate Theatre Fund
National Corporate Theatre Fund is a
nonprofit corporation created to
increase and strengthen support from
the business community for ten of this
country’s most distinguished professional
theatres. The following foundations,
individuals, and corporations
support these theatres through their
contributions of $5,000 or more to
National Corporate Theatre Fund:
Altria Group, Inc.
American Express Company
Bingham McCutchen
Bloomberg
BristolMyers Squibb Company
Cisco Systems, Inc.
Citigroup
Colgate-Palmolive Company
Credit Suisse First Boston
Davis, Polk & Wardwell
Dorsey & Whitney Foundation
Dramatists Play Service, Inc.
Ernst & Young
Goldman, Sachs & Company
JP Morgan Chase
KPMG
Lehman Brothers
Marsh & McLennan Companies,
Inc.
McCarter & English LLP
Merrill Lynch & Co.
MetLife Foundation
Morgan Stanley
Newsweek
New York State Council on the Arts
Ogilvy & Mather New York
Palace Production Center
Pfizer, Inc.
Skadden, Arps, Slate, Meagher &
Flom LLP
Sharp Electronics
Time Warner
UBS
Verizon
Willkie Farr & Gallagher
flora
happy bar
delicious food
nice people
Chefs
Bob Sargent
Keith Cournoyer
190 Mass Ave
Arlington
781-641-1664
current dinner menu and private dining information available at www.florarestaurant.com
The Frame Gallery
We invite you to see for
yourself why The Frame
Gallery is the framer of choice
to Boston’s premier architects,
interior designers, museums,
and, hopefully, you.
The Frame Gallery
2 Summit Avenue
Corner of Beacon Street
Coolidge Corner, Brookline
617 232-2070

ARTifacts
SUBSCRIPTIONS AND INDIVIDUAL TICKETS NOW ON SALE
617.547.8300
www.amrep.org
subscribe & save!
• Subscribe now and get great seats for
the 2007-08 season
• Free and easy ticket exchange!
• All subscriptions are discounted —
save up to 26% off single ticket
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• Discounts on parking and fine dining
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new to the A.R.T.
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We’re so sure you’ll enjoy the 2007-08
season, here’s a money back guarantee:
After you’ve seen your first two productions, if you’re not
completely satisfied, just give us a call and we’ll refund the
remainder of your season tickets. (New subscribers only.)
preplay
Preshow discussions one hour before 7:30 curtain
led by the Literary Department.
Loeb Stage plays only.
No Man’s Land preplays
Wednesday, May 30
Thursday, May 31
Sunday, June 3
playback
Post-show discussions after all Saturday matinees.
All ticket holders welcome.
curtain times
Tue/Wed/Thu/Sun evenings — 7:30pm
Friday/Saturday evenings — 8:00pm
Saturday/Sunday matinees — 2:00pm
individual ticket prices
LOEB STAGE A B
Fri/Sat evenings $76 $53
All other perfs $66 $38
box office hours
LOEB STAGE
Tuesday — Sunday
Monday
Performance days
noon — 5pm
closed
open until curtain
new! exchanges for
single ticket buyers
Sometimes emergencies do arise, and you may
need to change the date of your performance.
Now single ticket buyers can exchange for a
transaction fee of $10. As always, A.R.T.
subscribers can exchange for free!
A.R.T. student pass
$60 gets you 5 tickets good for any combination of
plays. That’s only $12 a seat!
(Full-time students only.)
discount parking
LOEB STAGE
Have your ticket stub stamped at the reception
desk when you attend a performace and receive
discounts at the University Place Garage or The
Charles Hotel Garage.
ZERO ARROW THEATRE
Discount parking is available at the Harvard
University lot at 1033 Mass. Ave. (entrance on
Ellery Street.) Go to www.amrep.org/venues/zarrow/
for more information.
order today!
subscriptions & tickets on sale now
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www.amrep.org
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