2016/2017 SEASON IN THIS ISSUE MAY 2017 Title Page 2 Cast 3 About the Play 4 The Cast Bios 5 The Creative Team Bios 8 ATC Artistic Director 12 About Arizona Theatre Company 13 ATC 2016/17 Season Artists 14 ATC Board of Trustees 16 Donors 17 ATC Staff 26 Theater Information 28 The Herberger Theater Center, Arizona Theatre Company’s home in downtown Phoenix Cover art by: ESSER DESIGN 1 David Ira Goldstein Artistic Director HOLMES AND WATSON BY JEFFREY HATCHER WORLD PREMIERE David Ira Goldstein . Director John Ezell . Scenic Designer Mathew J . LeFebvre . Costume Designer Don Darnutzer . Lighting Designer Roberta Carlson . Composer Brian Jerome Peterson . Sound Designer Jeffrey Elias Teeter . Projection Designer David Barker . Fight Choreographer David Morden . Dialect Coach Elissa Myers Casting, Paul Fouquet, CSA . Casting Gene Friedman . Associate Scenic Designer Glenn Bruner . Production Stage Manager Timothy Toothman . Assistant Stage Manager On this original Arizona Theatre Company production, the ATC Production Staff is responsible for scenic construction, costume construction, lighting, projections, sound, props, furniture, wigs, scene painting and special effects Holmes and Watson was commissioned by Arizona Theatre Company The videotaping or other video or audio recording of this production is strictly prohibited . 2016/2017 SEASON SPONSORS: PHOENIX CONVENTION CENTER & VENUES PRODUCTION SPONSOR: 2 2016/2017 SEASON CAST (IN ORDER OF APPEARANCE) R . Hamilton Wright . John Watson Philip Goodwin . Dr . Evans Stephen D’Ambrose . Orderly Carrie Paff . Matron James Michael Reilly . Patient 1 Noah Racey . Patient 2 Remi Sandri . Patient 3 Other roles played by members of the company . The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States TIME: Spring, 1894 . PLACE: Dr . Watson’s Surgery, London . The Asylum, Scotland . HOLMES AND WATSON IS PERFORMED WITHOUT AN INTERMISSION . UNDERSTUDIES David Morden . Orderly, Patient 1, Patient 2, Patient 3 ADDITIONAL STAFF Emma DeVore . Assistant to the Stage Manager Amy Richman . Rehearsal Production Assistant Aeni Domme . Prosthetic Makeup Artist Karie Koppel . Casting Associate To learn more about Holmes and Watson, please visit the Learning & Education page on our website at arizonatheatre org for a comprehensive free Play Guide The Play Guide contains historical information, cultural context, and more Cell phones and other devices that make a noise can greatly disturb your fellow audience members and the performers . PLEASE TURN THEM OFF before the performance . 3 2016/2017 SEASON HOLMES X ? A NOTE FROM PLAYWRIGHT JEFFREY HATCHER . The question, “Who is the least the same type. But a Scrooge must look Sherlock Holmes?” has like Scrooge. A Fagin must appear as Fagin is been asked countless described as appearing. Bond has that cruel lip times since the character and the comma of black hair that falls onto his first appeared in Arthur forehead (Sean Connery’s comma was part of a Conan Doyle’s A Study in toupee starting with Goldfinger.) “Scarlett O’Hara Scarlet. Sometimes the was not beautiful,” wrote Margaret Mitchell, but question has to do with who would cast a “not beautiful” actress in Gone Holmes’ character or With the Wind? Vivien Leigh may have been the personality. Sometimes it’s most beautiful woman in motion pictures. She about his background and upbringing. And, since wasn’t American, she wasn’t from the South, she Holmes quickly became one of the most depict- wasn’t of Irish background. She was an English ed characters in modern fiction, the question also rose. Yet she was the perfect Scarlett. has to do with how is he drawn, what features do the illustrators emphasize, who plays him on And Holmes? Holmes allows a certain amount stage, in film, on television? I’ve wondered “Who of leeway, but he had better be tall, he had better is Sherlock Holmes?” dozens of times. On occa- be trim, with aquiline features not soft ones, and sion the question shifts to “Who should portray God help the actor with a pug nose. His voice Sherlock Holmes in a play or film script I’ve must have the authority of intellect and empire, written?” and his diction must cut through diamonds. Sherlock Holmes, like James Bond, Scarlett The idea for Holmes and Watson was the result of O’Hara, Harry Potter and a very few others, is this kind of thinking. It’s difficult to write much one of those imagined characters that gets such more about the play without giving away the a firm grip on the imagination that the reader game. It’s a stage thriller, like the ones that used believes he possesses the man, at least his own to print in the program: “For the enjoyment of version of him. We read a book, a character is future audiences, we ask you not to reveal the described, we form a mental picture: how she surprising plot twists that occur in Holmes and moves, the timbre of her voice, the look in her Watson.” I know what it’s like to sit in the theater eye. Some descriptive power is so vivid – theatrical and try to out-guess the writer, but if you know even – that it gives the casting department little even one or two details about the plot, you’ve got wiggle room. Charles Dickens describes Scrooge an unfair advantage. and Mr. Micawber and Fagin with such specific- ity and relish that one must search for an actor So try not to get ahead of H&W. It’s more fun to fillthe role. It’s not the same with Hamlet, not to know anything before the curtain goes up. Oedipus, Willy Loman, George and Martha, or You’ll get a bigger kick out of it if you haven’t been Mama Rose. Actors as disparate as Ethel Merman, clued in. I can attest to that. I never read a word Angela Lansbury and Patty LaPone all played about the The Sixth Sensebefore I saw it, and I Rose in Gypsy without being similar to one was delighted to be fooled. Although Sherlock another in any way. The same goes for Laurence Holmes probably wasn’t. Olivier, David Tennant and Simon Russell Beale, all three are splendid Hamlets without being in Jeffrey Hatcher 4 2016/2017 SEASON CAST BIOS Stephen D’Ambrose (Orderly) is a 40-year stage veteran, and has previously ap- peared at ATC in Molly’s Delicious and Dr. Jekyll & Mr. Hyde. Mr. D’Ambrose has performed at theatres across the country, including the Guthrie, The Old Globe, San Jose Repertory Theatre, The Children’s Theatre Company, The Jungle Theater, and The Folger Shakespeare Theatre in D.C. National Tours include the Guthrie Theater’s Great Expectations and the Broadway Tour of Tracy Letts’ acclaimed August: Osage County. Philip Goodwin (Dr Evans) has previously appeared as Malvolio in Twelfth Night, Timon in Timon of Athens, Mayor Stockbridge in An Enemy of the People (Helen Hayes Awards); King John, Henry VI, The Tempest, Volpone, and others (Shakespeare Theatre Company, Washington, DC). Broadway: The Diary of Anne Frank, The School for Scandal, Tartuffe.Off-Broadway: Cymbeline, Pericles, Macbeth, and as the Fool in King Lear with Kevin Kline (Public Theatre); Henry VI in Henry VI (Drama Desk nomination), The Broken Heart, Troilus and Cressida (Theatre for a New Audience);Grace (MCC Theater);Drowning (Signature Theatre); The Trestle at Pope Lick Creek(New York Theatre Work- shop); Richard III, Double Falsehood (Classic Stage Company); Celebration (Atlantic Theatre Company). Regional: Kenneth Tynan in Tynan, The Lisbon Traviata, The Puppetmaster of Lodz, The Seafarer(Studio Theatre, DC); Dr. Tambourri in Passion, Golden Child (The Kennedy Center). Other regional appearances include Hartford Stage, Cleveland Playhouse, Great Lakes Theatre Company, Guthrie Theatre, Portland Stage, Shakespeare Theatre of New Jersey, Intiman Theatre, Williamstown Theatre Festival, Two River Theater and The Acting Company. Film: The Pink Panther, The Pink Panther 2, Diary of a City Priest. Television: Law and Order, Law and Order: Criminal Intent, Gotham and Hamlet for PBS. David Morden (Understudy and Dialect Coach) is an Assistant Professor of Voice and Movement in the University of Arizona School of Theatre, Film and Televi- sion, where he recently appeared in Proof. Locally, he has appeared in many productions with The Rogue Theatre, including Shipwrecked, Waiting for Godot, and Hamlet, among many others, as well as with Arizona Opera, Arizona Onstage Productions and Green Thursday Theatre Project. Nationally, Mr. Morden has appeared at ACT Theatre, Shakespeare Theatre Company, the Utah and Colorado Shakespeare Festivals and Wooden O Productions. In the summers, he serves as Voice and Text Coach for Santa Cruz Shakespeare 5 2016/2017 SEASON CAST BIOS Noah Racey (Patient 2 and Fight Captain) is honored to make his Arizona Theatre Company debut in Holmes and Watson. Broadway: Curtains, Never Gonna Dance, Thoroughly Modern Millie, Follies.Off-Broadway: Earnest in Love (Irish Repertory Theatre). Recent credits: Pastor Manders in Ibsen’s Ghosts (ArtsWest, Seattle); Wilson Mizner in Steven Sondheim’s Road Show (D.C.’s Signature Theatre, dir. Gary Griffin); Bridges of Madison County (Arkansas Repertory Theatre), The Odd Couple(Geva Theatre Center, Cape Playhouse); Greater Tuna (Theatre by the Sea); Crazy for You, West Side Story (The Muny, St Louis). TV: Boardwalk Empire, Person of Interest, Are We There Yet?Mr. Racey also conceived, wrote, staged, and starred in the world premiere of Noah Racey’s: Pulse (Asolo Repertory Theatre, dir. Jeff Calhoun). He is a product of – and strong proponent for – arts funding in public schools. James Michael Reilly (Patient 1) is making his Arizona Theatre Company debut. Mr. Reilly has appeared Off-Broadway, in the international tour of West Side Story, and in major roles at Geva Theatre Center, Pioneer Theatre Company, Denver Center, Shakespeare Theatre of New Jersey, Indiana Repertory Theatre, Delaware Theatre Company, and many others.