Our Town - Geva Theatre

P.L.A.Y.
(Performance = Literature + Art + You)
Student Matinee Series
By Thornton Wilder
Directed by Mark Cuddy
Sponsored by
Student Matinee
2006-2007

Table of
Contents
Setting . . . . . . . . 3
Synopsis . . . . . . . 3
About the
Playwright . . . . . . 4
Theatrical
Archaeology . . . . 5
Wilder’s Theatre: In
His Own Words . . 6
Wilder’s Theatre:
At Geva . . . . . . . 7
Redefining
Community . . . . . 8
Further
Explorations . . . 10
Dear Educators,
Our Town is an enduring American classic, a play that has been performed
worldwide in theatres, community groups and schools in every
decade since its premiere. It’s tempting to think of it as “dangerously”
classic: a piece we stamp as one of those familiar, earnest and
accessible works we already know and know well. But what makes it a
classic, and why is our interest renewed?
“Do I believe in it?” While reading about Our Town I’ve been struck by
the recurrence of this phrase. In one of Thornton Wilder’s letters
describing his progress writing the play and the “difficult cactus-spined”
third act, he asks himself “First of all: do I believe it?” In Thornton
Wilder’s final script we hear, “But you believe in it, don’t you?” and “Do
I believe in it? I don’t know.”
While few if any since Wilder have called the play “cactus-spined,” it is
valuable to remember that Our Town is universal and accessible, but
also challenging. The play takes the time to exmaine the familiar in
order to provoke essential, unanswerable questions. If we – students,
teachers, artists, audience and community – slow down to “look at
everything hard enough,” we can connect with much more than our
daily routines. I hope that this play can start that process for your
classroom.
As always, please contact our Education Department with any questions
about the play’s content or context, classroom workshops, talkbacks,
artist visits or curriculum connections. I also encourage you and your
students to share your thoughts, questions, and responses after your
visit to Geva. We look forward to sharing Our Town with you.
Sincerely,
Kathryn Moroney
Associate Director of Education
From the Albert R. Stone Negative Collection, Rochester Museum & Science Center
“Do any human beings ever realize life
while they live it?- Every, every minute?”
Emily Webb
2
Cast of
Characters
Stage Manager
Dr. Gibbs
Joe Crowell
Howie Newsome
Mrs. Gibbs
Mrs. Webb
George Gibbs
Rebecca Gibbs
Wally Webb
Emily Webb
Professor Willard
Mr. Webb
Man in the Balcony
Man in the
Auditorium
Lady in the Box
Simon Stimson
Mrs. Soames
Constable Warren
Si Crowell
Baseball Players
Sam Craig
Joe Stoddard
Assistant Stage
Managers
People of the Town

3
If you were
the tour
guide for your
neighborhood,
what would
you show to
visitors? What
are the popular
destinations?
What are
the historic
landmarks?
What locations
are important
to understand
daily life?
Pick a birthday
you would like
to revisit. Why
would you
choose that
year? How
do you think
your perspective
on that day
would be
different now
than it was at
the time?
Setting
The fictional town of Grover’s Corners, New
Hampshire, is based in part on Peterborough,
New Hampshire, where Wilder spent several
summers at the MacDowell Colony. He had
previously used the name for an Ohio town in
his short play Pullman Car Hiawatha. The
coordinates given by the Stage Manager,
“Latitude 42 degrees 40 minutes; Longitude
70 degrees 37 minutes,” actually place the
town off the coast of Cape Cod in the Atlantic
Ocean. Wilder ensured that Grover’s Corners
could not be pinpointed as an existing city,
but is truly “our town,” created as much in
the mind of the audience as in his own.
Synopsis
The first act begins on May 7, 1901, just before dawn. Establishing
the layout of the town, the Stage Manager focuses on the homes
of the Gibbs and Webb families. As the day unfolds we hear bits
of gossip and news about Grover’s Corners. By the second act, the
Stage Manager tells us that "Nature's been pushing and
contriving," and many young people in town are planning
weddings - George Gibbs and Emily Webb among them. It's July
7, 1904, just after high school commencement. Over breakfast Dr.
and Mrs. Gibbs fret that George may not be old enough for
marriage, and they reminisce about their own wedding day. The
Stage Manager takes us back one year to visit a pivotal exchange
between Emily and George when they both realize how much
they care about each other. The second act ends as George and
Emily run up the aisle as husband and wife. The stage changes for
the final act, with rows of chairs representing graves in the
cemetery. Among the dead are several characters introduced in
the previous acts. It's nine years later, the summer of 1913. Emily
has just died in childbirth, and at first she begs for the chance to
revisit her life. She chooses to relive the morning of her twelfth
birthday, but finds it unbearable to see how little her family
appreciated the life they had. Emily says goodbye to Earth and
watches as George grieves at her grave. The Stage Manager
announces that almost everyone is asleep in Grover's Corners. He
takes one final look at the stars and wishes us a good rest, too.
On the wedding
day we hear
some characters’
inner thoughts.
Choose a
character
(fictional or
historic) and
an event that
would make
that person
nervous, and
write the
character’s
thoughts while
preparing for
the occasion.
“Anything serious goin’ on in the world since Wednesday?”
Dr. Gibbs
Peterborough, N.H.

Can you find
elements of
Wilder’s real-life
experiences
in this play?
What might be
informed by his
experiences on
New England
farms? Which
characters or
ideas may
have been
influenced by
his travels
abroad?
About the Playwright
In his quiet way, Thornton Niven Wilder was a revolutionary writer
who experimented boldly with literary forms and themes, from the
beginning to the end of his long career. Deeply immersed in
classical as well as contemporary literature, he often fused the
traditional and the modern in his novels and plays, all the while
exploring the cosmic in the commonplace. In a January 12, 1953,
cover story, Time took note of Wilder’s unique “interplanetary mind”
– his ability to write from a vision that was at once American and
universal.
A pivotal figure in the history of twentieth-century letters, Wilder
was a novelist and playwright whose works continue to be widely
read and produced. He is the only writer to have won the Pulitzer
Prize for both fiction and drama. His second novel, The Bridge Of
San Luis Rey, received the fiction award in 1928, and he won the
prize twice in drama, for Our Town in 1938 and The Skin Of Our
Teeth in 1943.
Wilder was born in Madison, Wisconsin, in 1897. The second of five
children, Wilder spent his childhood traveling back and forth to the
Far East, where his father was posted as the United States Consul
General to Hong Kong and Shanghai. A strict Congregationalist with
a Ph.D. in economics from Yale, their father read to his children from
the classics and insisted that they spend their summers working on
farms. Wilder's mother was a cultured, educated woman who
instilled a love of literature, drama and languages in her children.
She was the first woman elected to public office in Hamden,
Connecticut.
In 1915, Wilder enrolled at Oberlin College, where he studied the
Greek and Roman classics. When the family moved to New Haven,
Connecticut, two years later, Wilder followed, transferring to Yale
University. Wilder left school for eight months to serve as a
corporal in the Coast Guard Artillery Corps in World War I. He
returned to complete his B.A. in 1920 and then proceeded to Rome,
where he studied archaeology at the American Academy. Wilder
received his final degree, a master's in French literature, from
Princeton University in 1926, but retained his intellectual curiosity
throughout his life, reading widely in English, French, and German
and conversing in Italian and Spanish. He went on to teach French at
the Lawrenceville School in New Jersey, lecture on comparative
literature at the University of Chicago, serve as a visiting professor
at the University of Hawaii, and teach poetry at Harvard University.
Even after he'd achieved publishing success, Wilder considered
himself a teacher first and a writer second.
Sources:
“Afterword” to Perennial Classics Edition of Our Town
http://www.pbs.org/wgbh/masterpiece/americancollection/ourtown/ei_wilder.html
“Whenever you come near the human race
there’s layers and layers of nonsense”
Stage Manager
4
What writers
have you studied
who wrote in
multiple forms?
Consider fiction,
drama, journalism,
essays and screenplays.
What skills
are needed for
each form?
Thornton Wilder starring
as the Stage Manager
(College of Wooster)

5
Watch for how
the play moves
from small
details to a
wider view
and back.
Look for large
numbers: when
does Wilder
mention tallies
of hundreds,
thousands, or
millions in
his play?
What would you
place in a time
capsule to share
the important
elements of your
life with a future
archaeologist?
Take a true
personal story
or an example
from history
or literature
and trace
the causeand-effect
of distinct
moments that
led up to
an important
event.
Theatrical Archaeolgy
For a while in Rome I lived among archaeologists, and ever since I
find myself occasionally looking at the things about me as an
archaeologist will look at them a thousand years hence…
An archaeologist’s eyes combine the view of the telescope with the
view of the microscope. He reconstructs the very distant with the
help of the very small.
It was something of this method that I brought to a New Hampshire
village. I spent parts of six summers tutoring at Lake Sunapee and
six at the MacDowell Colony at Peterborough. I took long walks
through scores of upland villages.
And the archaeologist’s and the social historian’s points of view
began to mingle with another unremitting preoccupation which is
the central theme of the play: What is the relation between the
countless unimportant details of our daily life, on the one hand, and
the great perspectives of time, social history, and current religious
ideas, on the other?
Thornton Wilder, A Preface for Our Town
Juxtaposing the small and the immense, the Stage Manager provides
us with a morning scene showing how many bottles of milk each
family takes from the milkman, and minutes later invites Professor
Willard to share that New Hampshire is composed of Devonian
basalt, a rock hundreds of millions of years old. We’re aware of the
world moment to moment, and know that each moment fits in a
picture much larger and older. A time capsule is to be buried in
Grover’s Corners, and the play Our Town will be placed inside, so
that “people a thousand years from now” can see “the way were – in
our growing up and in our marrying, and in our living and in our
dying.”
In one of his letters Thornton Wilder describes Our Town: “It’s a
little play with all the big subjects in it; and it’s a big play with all the
little things of life lovingly impressed into it.” He writes that the play
attempts “to find a value above all price for the smallest events in our
daily life.” We are invited to look at the play as an archaeologist
might, piecing together the significance of daily rountines and
common events to unearth larger patterns and values. Director Mark
Cuddy says, “What lifts the play up from a mundane look at every day
life is a quiet celebration of the interconnectedness of us all. Our
Town makes a simple Human Truth out of the Newtonian Scientific
Truth of cause and effect.” The Stage Manager agrees: “You see, we
want to know how all this began – this wedding, this plan to spend a
lifetime together. I’m awfully interested in how big things like
that begin.”
“the life of a village against the life of the stars”
Thornton Wilder on Our Town
Photos from the Albert R. Stone
Negative Collection, Rochester
Museum & Science Center

Wilder’s Theatre: In His Own Words
“I’m really stage struck. The stage is
the greatest of all art forms – one in
which society sits shoulder to shoulder
and sees an imaginary story about the
human condition.” Thornton Wilder’s
writing describes both the esteem he
felt toward the theatrical form and the
mistrust he felt toward the productions
of his day.
“The trouble began in the nineteenth
century,” Wilder tells us. “They loaded
the stage with specific objects,
because every concrete object on the
stage fixes and narrows the action to
one moment in time and place… When
you emphasize place in the theatre,
you drag down and limit and harness
time to it. You thrust the action back
into past time, whereas it is precisely
the glory of the stage that it is always
‘now’ there. Under such production
methods the characters are all dead
before the action starts. You don’t
have to pay deeply for your heart’s
participation. No great age in the
theatre ever attempted to capture the
audience’s belief through this kind of
specification and localization. I
became dissatisfied with the theatre
because I was unable to lend credence
to such childish attempts to be ‘real.’”
Source: Thornton Wilder’s American Characteristics and Other Essays
“In its healthiest ages the theatre has
always exhibited the least scenery.”
Wilder references the theatre of the
Greeks, where performers wore large
masks specially designed to project
their voices and tall platform shoes.
He references the Elizabethan stage,
where settings changed without
scenery, and a placard might notify the
audience of the location. He also cites
the conventions of the Chinese stage,
in which established gestures were
interpreted by the audience; for
instance, an actor might stand astride a
stick and it was understood that he had
just mounted a horse. Wilder explains
“I tried to restore significance to the
small details of life by removing
scenery. The spectator through
lending his imagination to the action
restages it inside his own head.”
“The theatre has lagged behind the
other arts in finding the ‘new ways’ to
express how men and women think
and feel in our time. I am not one of
the new dramatists we are looking for.
I wish I were. I hope I have played a
part in preparing the way for them. I
am not an innovator but a re-discoverer
of forgotten goods and I hope a
remover of obtrusive bric-a-brac.”
Model of the set design for Geva Theatre Center’s production
“There’s some scenery for those who think they
have to have scenery”
Stage Manager
6
Compare: what
do you think
each art form
communicates
about the human
condition?
Consider a novel,
a painting, a
piece of music
or a play, each
taken from
the same
approximate
time period.
Imagine a
production of
Our Town staged
with all the
period set
pieces and
props suggested
by the text.
Imagine Our
Town staged
with contemporary
scenic elements.
Imagine the
production staged
with no props
or scenery at
all. What is
gained and
lost in each
version?

7
Thornton Wilder
posed the
question: “As
an artist (or
listener or
beholder) which
“truth” do you
prefer – that of
the isolated
occasion, or
that which
includes and
resumes the
innumerable?
Which truth
is more worth
telling?...The
theatre is
admirably fitted
to tell both
truths.” How
does your
class divide?
Split into
groups and
argue for
“both truths.”
In how many
separate time
periods does
this play
exist? In how
many separate
realities? Do
they ever
blur together?
Why would that
serve the play?
Wilder’s Theatre: At Geva
The configuration of the walls and flooring that has been designed
for the Geva Theatre Center production is meant to evoke an aging
public space, perhaps a theatre, or perhaps a town hall. The only
scenery moved on stage are those items of furniture Wilder
requested in his script: tables, chairs, ladders, and a pair of trellises.
In order to master the requirements of staging real life routines
without using real objects, Geva’s cast first practiced all their
activities with the appropriate props. By the time the actors
switched to performing without the objects, they had carefully
studied the sequences of their behavior and the details that would
help them to mime their actions accurately and effectively. The
sound designer also provides information about objects that are not
present on stage, such as the newspapers and milk bottles delivered
in the morning scenes.
Director Mark Cuddy reminds us that, to this
day, “Our Town is an experimental play –
breaking down stage conventions, playing with
time and space, and connecting the audience in
the present with the characters of the dawning of
the twentieth-century through the theatrical
device of an unnamed interlocutor, the Stage
Manager.” In Geva’s production the Stage
Manager and his assistants are costumed in
clothing of the late 1930s, the period when
Wilder wrote the play and it was first performed.
Meanwhile, the inhabitants of Grover’s Corners
are dressed for the earlier years the Stage
Manager describes, beginning in the first act
with 1901.
Designer G.W. Mercier explained that he chose to
costume the cast in a relatively neutral palate of
matching earth tones, keeping in mind that
families in the early part of twentieth-century
might sew countless garments from a single bolt
of fabric. In the same way that memory can
restore color to a photograph taken in black and
white, he hopes that as the audience responds to
the play, the characters will become more and
more vivid.
above right: costume rendering for the Stage Manager;
left: costume rendering for Mrs. Gibbs
“My, wasn’t life awful - and wonderful.”
Mrs. Soames
Who is the
Stage Manager?
What role
does he fill?
What might he
represent?
When you look
at old photos
or watch a
film in black
and white,
does your
mind supply
the colors?

Aside from
your geographic
community, of
how many other
communities are
you a member?
Trace the
geography of
your family
tree. Which
generations
immigrated,
which moved
and which
spent their
lives in
one spot?
Redefining Community
Until fairly recently, any definition of
community was almost entirely
governed by the boundaries of
geography. The physical community
of buildings, landmarks, stores and
streets was what pulled together the
various strands of work and home,
school and play, family and marriage,
birth and death. People in a given
community went to the same schools,
frequented the same stores and
worked in many of the same
vocations. They interacted with one
another on an almost daily basis, playing
as much a part in each others
routines as their own. Such steady
proximity often resulted in neighbors
drawing from a shared collective of
events, both joyous and tragic, as the
basis of many of their memories – in
such small places, words spread
quickly. The citizens of many communities often shared
demographics as well. In Our Town, Mr. Webb, the editor and
publisher of The Grover’s Corners Sentinel, breaks the population
of the town down into easily-defined categories. Mr. Webb states
that the town is mostly “lower-middle class [with a] sprinkling of
professional men” and then proceeds to neatly divide the town into
political and religious affiliations, divisions most likely similar to any
number of other like-minded towns.
“I guess new people aren’t any better than old ones.”
George Gibbs
From the Albert R. Stone Negative Collection,
Rochester Museum & Science Center
As small towns have become cities and cities have grown
increasingly larger, the concept of a community and what it means
has changed as well. No longer are communities based entirely on
such central physical entities as schools or businesses. As people
move from one area to another with greater frequency – be it out of
economic necessity or for personal preference – the make-up of the
area is altered as well. Where once a place like Grover’s Corners,
New Hampshire might have been “86% Republicans; 6% Democrats;
4% Socialists; rest, indifferent,” it could now, conceivably, be
populated by any number of people who don’t fit into any of the
three identified groups – the “rest” no longer indifferent but rather
larger in number and much more difficult to categorize.
8
Compare the
vital statistics
of Grover’s
Corners with
your town
and with
the nation.

9
The period
Rochester photographs
featured
throughout the
study guide and
in Geva’s lobby
are from the
Albert R. Stone
Negative Collection
at the Rochester
Museum & Science
Center. In 1904,
Stone became the
first staff newspaperphotographer
in Rochester; his
son Daniel joined
him at the
Herald in 1928.
The Rochester
Museum &
Science Center’s
Stone collection
houses 13,000 of
their images,
digital access to
which is now
possible on two
sites: the
Rochester Images
site at the
Rochester Public
Library,
http:/www.libraryweb.org/rochimag,
and the new
Rochester Museum
& Science Center
library catalog,
http://rmsc.
libcat.org.
With the pace of modern life
steadily quickening, the world
seems to have contracted
and expanded simultaneously.
Communication with almost
anyone, anywhere and anytime
– via e-mail or phone, for
example – is an everyday
occurrence, something taken
for granted by most of us. This
ease of access has, in many
ways, reconfigured how people
identify themselves and the communities in which they claim
membership. There is the ability, through the internet and its
seemingly infinite number of websites, to seek out others with
similar values, interests and experiences, regardless of
geographic constraints. Virtual communities exist for any
political persuasion or religious belief; for those who have
experienced serious illness; for people who enjoy specific types
of movies or music or books; for those seeking out a romantic
partner or mate. Entrance into these communities is as simple as
a request.
The vastness of the size of the group, however, and the far
reaches of the members’ addresses, often has the dual effect of
uniting people based on their commonalities and yet preventing
them from ever actually meeting one another. What the virtual
communities offer in terms of interests and information they may
lack in the interdependence and empathy found in a physical
community. This anonymity may allow for the sharing of
information otherwise felt to be too personal - necessary,
perhaps, for the connections sought - but also carries with it the
potential discarding of a civility more common to a physical
setting. The citizens of Grover’s Corners may not all truly
appreciate the depth of
choir master Simon
Stimson’s pain, but they
understand it enough to
afford him the courtesy of
handling it in his own way –
a balancing, it seems, of the
private and the public, the
foundation of any
community, physical or
otherwise.
“I never felt so alone in my whole life.”
Emily Webb
From the Albert R. Stone Negative Collection,
Rochester Museum & Science Center
an internet cafe for community use
Are you a
member of an
on-line community?
Do you think
of it differently
than a physical
communinty?
Which one
are you more
likely to consult
when making
a decision?

WILDER’S SHORT PLAYS
Further Explorations
Three of Thornton Wilder’s short plays are particularly useful to explore alongside any study of Our Town.
These “literary exercises in compressed expression” reveal his bent toward experimentation as well as his
efforts “to capture not verisimilitude but reality.” Both the themes and methods of theatrical expression
prefigure his work in Our Town.
The Happy Journey from Trenton to Camden utilizes a Stage Manager figure. Ordinary chairs serve as the
family’s Chevrolet, while a cot suffices for the indoor furnishings. The Stage Manager suggests that, in
viewing this car trip, we are witnessing quintessential family life at its most daily moments. The journey has
its short stops, to observe death, to take stock, and to make sure of its direction. The destination is a home
where a life has been lost, but family life goes on; the journey is happy because it continues.
Pullman Car Hiawatha also uses a Stage Manager, who draws outlines of a train car and its compartments
on the stage floor with chalk and passengers enter carrying their own chairs which substitute for berths on
the train. The themes of time, size – from the tiniest town to the entire solar system – death, and repeating
cycles of human activity are all found in this short play. A young woman, Harriet, dies onboard the train,
and her farewell to the earth is a forerunner of Emily’s.
The Long Christmas Dinner, describes the Bayard family’s Christmas gatherings over a period of ninety
years. The play reveals not only the ritual of the holiday, but the patterns and repetitions of successive
generations. Characters are born, age at the dinner table with simple costume adjustments, and leave the
stage when death comes, and mime is used to consume the entire holiday meal.
OTHER SELECTED WORKS
The Bridge of San Luis Rey, Wilder's breakthrough novel, is an examination of the fate of five travelers who
fall to their deaths from a bridge in 18th-century Peru. Seeking to discover meaning in the lives lost, a
scholarly monk named Brother Juniper explores the lives of the five victims. The book earned Wilder his
first Pulitzer Prize. (Originally filmed in 1929, The Bridge of San Luis Rey was released as a new film in
2004 starring Robert De Niro, Kathy Bates, and Harvey Keitel.)
Theophilus North was the last of Wilder's works published during his lifetime. The novel is partly
autobiographical and partly the imagined adventure of his twin brother who died at birth. Setting out to see
the world in the summer of 1926, Theophilus gets as far as Newport, Rhode Island, before his car breaks
down. Theophilus takes jobs in the elegant mansions along Ocean Drive, just as Wilder himself did in the
same decade. Geva Theatre Center premiered the novel’s stage adaptation by Matthew Burnett during
the 2002-03 season.
The Skin of Our Teeth is the story of a family whose members are simultaneously typical Americans living
in a present-day New Jersey suburb and Adam, Eve, Lilith, Cain and a daughter who survive the Ice Age, the
Flood (as in the book of Genesis in the Bible) and War (as in WWII). Wilder compresses long expanses of
time to establish the ongoing struggles of humanity. As in Our Town, characters address the audience,
backstage crew enter and speak, and the set is minimal or symbolic.
American Characteristics and Other Essays provides Wilder’s own insights into the observations and
motivations that informed much of his writing.
10

11
Staff
Skip Greer
Director of
Education/Artist
in Residence
Kathryn Moroney
Associate Director
of Education
Eric Evans
Education
Administrator
Arthur Brown
Christopher Gurr
Conservatory
Associates
Arthur Brown
Jack Langerak
Brigitt Markusfeld
Our Town
Artist Educators
Marge Betley
Literary
Manager/Resident
Dramaturg
April Donahower
Associate
Dramaturg
Mark Cuddy
Artistic Director
John Quinlivan
Managing Director
Nan Hildebrandt
Executive Director
OUR TOWN ON FILM
1940: The first film version features members of the original stage
cast and an altered ending in which Emily lives.
1977: This version features Hal Holbrook and is the version
excerpted in the OT: our town documentary.
1989: This film documents the Broadway production that won the
Tony Award for best revival. Spalding Gray leads the cast.
2003: The most recent film features a Tony-nominated stage
production captured for television, with Paul Newman in the role
of the Stage Manager.
OT: our town (2002) features a performance of Wilder’s play by
students of Dominguez High School in Compton, California, which
had not produced a play in 20 years. This documentary chronicles
the month and a half before their opening night. In the process it
records the students’ own daily rituals and relationships with their
families and communities, love, marriage and death and discovers
the enduring resonances of Wilder’s work.
LITERARY CONNECTIONS
Any study of Elizabethean, Greek, Noh or Chinese drama will
provide an opportunity to compare and contrast the theatrical
conventions that Wilder employs in Our Town. Luigi Pirandello’s
drama Six Characters in Search of an Author breaks the
conventions of realism in theatre and also provides fruitful
comparison. Among the many writers that Wilder read and admired,
Dante, Jane Austen, Gertrude Stein and James Joyce are
particularly notable relative to his work on Our Town. For more
background on connections to their work, please contact Geva’s
Education Department.
Geva Theatre Center
gratefully acknowledges donors supporting
Student Matinee performances of
Our Town &
Our Town in the Classroom
The Conable Family Foundation
Barbara & Jack Kraushaar
Rochester Area Community Foundation
Fine and Performing Arts Fund
Sherwin Weinstein & Linda Cornell Weinstein
St. John Fisher College
Louis S. and Molly B. Wolk Foundation
“The morning star always gets wonderful bright
the moment before it has to go, doesn’t it?”
Stage Manager
Education
Partners
Major Support From:
Ameriprise Financial
Services, Inc.
Cornell/Weinstein
Family Foundation
The Davenport-Hatch
Foundation
The Fine and Performing
Arts Fund at RACF
The Flanders Group
Gannett Foundation
Dawn & Jacques Lipson,
M.D
Hon. Elizabeth W. Pine
Williams Saunders
Time Warner Cable
Xerox Corporation
With Additional
Support From:
Ames-Amzalak
Memorial Trust
Mr. and Mrs. Allen Boucher
Joe Eduardo
Michael and Joanna
Grosodonia
Insero & Company
Ann M. Mayer
Mrs. Eleanor Morris
Panther Graphics, Inc.
Riedman Foundation
Fred and Floy Willmott
Foundation

Tickets Available for
Public Performances
February 13th thru March 25th
Recommended for ages 12+
Tickets available by calling (585) 232-Geva (4382)
or online at www.gevatheatre.org
75 Woodbury Boulevard
Rochester, New York 14607
Box Office: (585) 232-Geva (4382)
Education Department: (585) 232-1366, ext. 3058
www.gevatheatre.org