N TRE THEAANY VENUE OF THE ARTS HUNTINGTO A SOUTH END COMP & FALL 2011 - 2012 SPOTLIGHT CELEBRATING 30 YEARS OF TIMELESS THEATRE

CANDIDE P.4 BEFORE I LEAVE YOU P.8 CAPTORS P.12 ANNOUNCING THE CHAIRMAN’S CHALLENGE P.16 STICK FLY HEADS TO BROADWAY P.22 PERFORMANCE CALENDARS P.23 JOIN US FOR OUR 2011-2012 SEASON MOST 30TH BIRTHDAY PARTIES LAST A NIGHT. OURS RUNS GLORIOUS MUSICAL ALL SEASON LONG. SEPT.10-OCT. 16 SUBSCRIBE NOW – LOVE STORY FOR GROWNUPS SPECIAL INTRODUCTORY OFFER BEFORE I LEAVE YOU 7-Play Package 4-Play Package OCT.14-NOV.13 See the entire season! Choose any 4 shows! THRILLING TRUE STORY YOUR Price Full Price YOUR Price Full Price $420 $581 $240 $365 CAPTORS NOV.11-DEC.11

SUBSCRIBING IS EASY! SCATHING HIT COMEDY See all 7 shows for $420 or choose any 4 for $240. Sit in the BEST SEATS and save up to 34% off our single ticket prices. GOD OF CARNAGE PICK your day of the week, and get the BEST SEATS JAN.6-FEB.5 available! Plus free and easy ticket exchanges, missed performance insurance, and much more. POWERFUL & MOVING DRAMA This is a limited time offer! MA RAINEY’S BLACK BOTTOM MAR.9-APR.8 CONSIDER A FLEXPASS! Looking for more flexibility? Purchase at least 4 tickets COMPELLING BOSTON STORY ($55 each) and use them however you want: split them up across multiple shows or use them all for one show. You’ll THE LUCK OF THE IRISH get the best seats available when you’re ready to redeem your Flex tickets and still get all of our great subscriber MAR.30-APR.29 benefits, like ticket exchanges! SPARKLING COMEDY huntingtontheatre.org/packages PRIVATE LIVES 617 266 0800 MAY 25-JUNE 24 WE WANT YOUR HUNTINGTON STORIES! Help us celebrate our anniversary by sharing your Huntington memories with us. What is your favorite production? Who introduced you to the Huntington? Do you have a ritual for each time you come? Visit huntingtontheatre.org/30 or email [email protected] with your written or video recollection or with a request for us to help record it.

WELCOME TO OUR 30TH ANNIVERSARY SEASON! Over the past 30 years, the Huntington Theatre Company has established itself as a major force on the Boston cultural scene. Known for productions of groundbreaking new works and classics made current, the Huntington brings together the most talented theatre artists from the Boston area and throughout the United States.

YOU’RE INVITED TO OUR 30TH ANNIVERSARY OPEN HOUSE! MONDAY, OCTOBER 10, 2011 11AM - 12PM light brunch for subscribers only 12PM - 3PM open to the general public Activities include backstage tours, technical demonstrations, discussions with artists, giveaways, and more — families welcome! • Take the stage like an actor • Interact with our world-class staff and artists • Explore the production shops where our award-winning designs are brought to life RSVP by September 30 at huntingtontheatre.org/openhouse. LYRICS BY RICHARD WILBUR

MUSIC BY LEONARD BERNSTEIN DIRECTED BY

GLORIOUS MUSICAL

PRODUCTION SPONSORS GERRY AND SHERRY COHEN PRODUCTION CO-SPONSOR CANDIDE SHIRLEY SPERO

“Gorgeously imagined, Candide is a garden of delights!” SEPT. 10 - OCT. 16 — SUN-TIMES AVENUE OF THE ARTS Tony Award and MacArthur “Genius” BU THEATRE Grant-winning director Mary Zimmerman’s ADDITIONAL LYRICS BY breathtaking new production features a soaring , JOHN LATOUCHE, LILLIAN HELLMAN,score and lyrics from the wittiest writers of our DOROTHY PARKER, AND LEONARD BERNSTEINtime. Bernstein’s Candide enchants with some of the most memorable music ever written for Broadway including “Glitter and Be Gay” and “Make Our Garden Grow.” Lauren Molina (Cunegonde), Geoff Packard (Candide), and Director Mary Zimmerman in rehearsal; photos: Liz Lauren ENTERTAINED AND ENCHANTED VISIONARY DIRECTOR/ADAPTOR MARY ZIMMERMAN ON CANDIDE “Mary Zimmerman is a true genius. Her production will blow the doors off of the theatre and will kick off our 30th Anniversary Season with ambition, imagination, and glorious music.” – PETER DuBOIS

I’ve always been drawn to adapt thorny, difficult, epic old texts. Voltaire’s What makes the play funny and absurd, I hope, is the way in which chance Candide has that epic sweep and broad range of feeling that I like, and it is and mischance pile up so fast and furious, while the characters’ views of full of difficult things to stage, which I like as well. And then Bernstein’s music the world as “all for the best” remain absolutely unchanged in the face of all is so glorious. evidence to the contrary.

It’s the story of a young man named Candide who is the illegitimate nephew of Candide is a tougher text than people realize. It challenges some of our most a Baron in a small province called Westphalia. Along with the Baron’s daughter, cherished ideas – ideas about one’s own virtue and the virtues of one’s own he is tutored by a professor named Doctor Pangloss, who claims that Westphalia home. I think this play is challenging in whichever country it is performed, is “the best possible place in all the world.” When Candide falls in love with because every country thinks it is the best in the best of all possible worlds. Cunegonde, his benefactors kick him out of the kingdom without a penny. The The novel and the play ask people to think about the fact that life is really rest of the story follows Candide making his way in the world, having adventure complicated and that random, tragic things happen all the time. It suggests that after adventure. He is candid and honest and innocent, and he is mistreated blind optimism, or the idea that everything is part of a grand plan and that all is and swindled over and over again. Cunegonde and her family also meet great for the best, is not only absurd but also an excuse for inaction in the face of social SEPT. 10 - OCT. 16 misfortune in a war, so some of Candide’s adventures involve reuniting with her. injustice. Yet it also rejects blind pessimism, through the figure of Martin, the scholar who is as consistently cynical and depressed as Pangloss is buoyant. AVENUE OF THE ARTS I read all the previous adaptations – the scripts for the musical – about three or four years ago, and then I stopped reading because I wanted to I hope that audiences are swept away by the production, that they are BU THEATRE go back to Voltaire’s original novel. Some of the versions have big changes extremely entertained and enchanted, but also attentive to Voltaire’s satire. from the original structure of the novel, and the primary challenge for me in Candide has gorgeous music that is incredibly witty, both lyrically and adapting it anew is that some of the songs have lyrics that are tied to events musically. Voltaire’s and Bernstein’s works are both achievements of such or circumstances that don’t exist in the novel. We want to preserve these high order that when combined, they remind us what people are capable of songs in a context that makes sense, while trying to be as trusting as possible at their best at the very same moment they are showing us what is worst. of Voltaire’s original structure and story. And in this way, the work manages to be affirmative – even transcendent – in the face of its own cynicism and satiric edge. Finding the tone is the most difficult key toCandide because terrible things happen to the characters, yet the novel is hilarious. - MARY ZIMMERMAN

LEARN MORE ONLINE VISIT THE LEARN & EXPLORE SECTION OF HUNTINGTONTHEATRE.ORG/CANDIDE TO LISTEN TO THE CANDIDE OVERTURE, READ AN INTERVIEW WITH CHOREOGRAPHER DANIEL PELZIG, AND EXPLORE REHEARSAL AND PRODUCTION PHOTOS.

HUNTINGTONTHEATRE.ORG 5 The cast of Candide; photo: Liz Lauren Geoff Packard as Candide; photo: Liz Lauren

In the world of musical theatre, Leonard Bernstein’s Candide is the mother of all do-overs, continuing to evolve long after its original creators’ deaths. Longtime Huntington Theatre Company subscribers will be familiar with the 1973 version (produced here in 1989) and may be wondering why we are giving Candide our own do-over. Simply put, the “most labored-over show in theatre history” has been an irresistible challenge for generations of theatre artists. In the visionary hands of Mary Zimmerman, it has come to rest after an epic and improbable journey.

THE BEST OF The idea for adapting Candide came to Lillian Hellman in 1953. She considered Voltaire’s 1759 novella to be “a great book, full of laughter, wisdom, comment, satire, and bite,” and thought it to be the perfect piece for her long-awaited collaboration with Bernstein. From the start, the project was wrought with tribulations: Bernstein initially refused ALL POSSIBLE the project, and the pair dropped their lyricist before even starting the second act. After tryouts at Boston’s Colonial Theatre, Candide was mounted on Broadway in 1956, only to close after just 73 performances. The initial production’s unfavorable reviews inspired several different revisions, adaptations, and concert versions of Candide across the country CANDIDES and around the world as different artists tried to solve the book’s inability to compete with, or effectively complete, the score.

These subsequent productions incited new interest in Bernstein, who approached poet, playwright, and lyricist Richard Wilbur about continuing work. Wilbur agreed that there was so much “life in the show, so much that [was] good and finished, that it would be a shame to abandon it.” In 1973, director Harold Prince and book writer Hugh

DEDICATED TO SUSAN F. SPOONER We were all saddened over the summer by the death of our dear friend, Susan Spooner, a Huntington Trustee, generous supporter, and true theatre enthusiast. Any memory of Susan is invariably filled with one of two attributes: joy or admiration. Sharing private time with Susan was to know someone who lived life deeply and enjoyed every minute of it. To watch her in action as a deeply engaged Huntington Trustee, whether chairing the Nominating Committee or strategizing about a Huntington problem at a Board meeting, was to admire her clear-headed insight and intelligence. One of the things that Susan was looking forward to was the Huntington 30th Anniversary Season opener, Candide. While she will not be in her usual seat on opening night, we will honor Susan by dedicating our production to her memory. - MICHAEL MASO, MANAGING DIRECTOR

6 BOX OFFICE 617 266 0800 CURTAIN CALLS

NAME McCAELA DONOVAN ROLE PAQUETTE HOMETOWN BETHLEHEM, NEW YORK WHAT IS YOUR FAVORITE PHILOSOPHY IMPARTED IN CANDIDE? I’m drawn to Candide’s interminable belief that all human beings are innately good. I love that. WHAT IS YOUR FAVORITE LEONARD BERNSTEIN MUSIC? I love Bernstein’s score for the ballet Fancy Free (which later became On the Town), but the Candide overture is one of the best pieces of music ever written for the theatre.

NAME LAUREN MOLINA ROLE CUNEGONDE HOMETOWN , MICHIGAN Lauren Molina as Cunegonde; photo: Liz Lauren WHAT HAS BEEN YOUR FAVORITE MOMENT WHILE PERFORMING IN CANDIDE? Mary Zimmerman’s blocking of “Glitter and be Gay” involves me singing one of the hardest arias in musical Wheeler opened a scaled-down version of Candide, with “Words, Words, theatre while going from naked in a bathtub to tightened in a corset to fully dressed in a gown. It’s an acrobatic Words,” a new song by Bernstein. This version replaced Lillian Hellman’s tightrope walk that is both thrilling and terrifying. original adaptation. Up until that production, Bernstein’s Candide was the HOW ARE YOU LIKE OR NOT LIKE YOUR CHARACTER? stuff of legend. The 1973 Chelsea Theatre version madeCandide , and its She’s spunky and knows what she wants, which is very potential for success, a reality. much like me. She wants happiness and love. However, I’m not a gold digger, nor a spoiled brat. But the revisions didn’t stop in 1973, and there were several versions of Candide “kicking around,” in the words of Chicago theatre critic Chris Jones, NAME GEOFF PACKARD by the time Mary Zimmerman was drawn to the piece. A longtime observer ROLE CANDIDE of Zimmerman’s groundbreaking theatrical adaptations (Metamorphoses, HOMETOWN CONCORD, MASSACHUSETTS The Notebooks of Leonardo Vinci), Jones notes that unlike most musicals, WHAT IS YOUR FAVORITE LEONARD BERNSTEIN MUSIC? Candide fits nicely into Zimmerman’s aesthetic, complete with “literature, I love West Side Story, as well as his Mass. I think my storytelling, simplicity, nondramatic texts, metaphor, moral dilemmas, and favorite song other than the ones in Candide is “Simple Song.” a theatrical journey with life-and-death stakes.” Undaunted by the many challenges, Zimmerman revamped the book by returning to the original HOW ARE YOU LIKE YOUR CHARACTER? I look just like him (kidding.) I like to think I see the world text, a blend of biting satire and good-humored comedy. Luckily for us, as genuinely positive. Sometimes that has served me the risk paid off, andCandide’s new book pays real tribute to the still fresh, wrong, mostly it has served me right, but at the end of smart, and effervescent score. Garnering Zimmerman praise inVariety and the day I am responsible for my own happiness and love elsewhere, this new version just might be “the best of all possible Candides.” (as Candide also understands).

- CHEYENNE POSTELL NAME JESSE PEREZ ROLE CACAMBO HOMETOWN WASHINGTON HEIGHTS, NY WHAT HAS BEEN YOUR FAVORITE MOMENT WHILE PERFORMING IN CANDIDE? My favorite moment in Candide is the final song when we end the show together. We have the opportunity to look at everybody in the cast and in the orchestra and realize we have just accomplished something special. WHAT IS YOUR FAVORITE LEONARD BERNSTEIN MUSIC? I love West Side Story. I rarely do musicals, and you would not believe how many non-musical actors use the songs from West Side Story to warm up before a show.

LEARN MORE ONLINE VISIT HUNTINGTONTHEATRE.ORG/CANDIDE FOR EXPANDED INTERVIEWS WITH THE CAST. SEE PAGE 23 FOR SHOW PERFORMANCE CALENDAR AND EVENT LISTINGS

HUNTINGTONTHEATRE.ORG 7

DIRECTED BY JONATHAN SILVERSTEIN

BY ROSANNA YAMAGIWA ALFARO YOU LOVE STORY FOR GROWNUPS BEFORE I LEAVE

“A terrific and fearless playwright with an individual and astute voice.” SOUTH END — THE HARVARD CRIMSON CALDERWOOD PAVILION AT THE BCA In a blink, Emily’s Harvard Square world falls apart. Her husband Koji suddenly embraces his OCT.14-NOV.13Asian roots. Her friend Jeremy’s work on his novel gets interrupted by a health scare and his sister Trish moving in. Four longtime friends face too much past and too little future in this moving new comedy. A map of the Harvard Square area

NEW PLAYS, NEW CHAPTERS A CAMBRIDGE PLAYWRIGHT TELLS A STORY OF REDISCOVERY “Rosanna’s play tells a beautiful, seldom told middle-age love story, unfolding in our own backyard, with the freshness and smart sensibility of a young independent filmmaker.” –PETER DuBOIS

A new play can spark from anything – an idea, an evocative image, a single line walls. You meet for teas and lunches and dinners. You bump into someone you of text. Cambridge writer Rosanna Yamagiwa Alfaro’s new play Before I Leave know every time you run an errand in the Square.” You started with a tumble. “A few years ago, I was preparing paella for guests, The possibility of shaking up that long-held balance held real dramatic lifted up the heavy skillet, and, propelled by unseen forces, tumbled backwards potential for Alfaro. What if there was a new chapter in our lives, just about to and landed on the kitchen floor,” she says. “For no real reason I felt this was the begin? Disrupting the status quo started with a bump in Jeremy’s health, an beginning of the end.” unexplained shortness of breath. “This is the first time anything like this has The play that Alfaro wrote shows few traces of that particular situation, but happened,” Jeremy says in the play. “It’s funny – when you are young ‘the first it captures the moment we intuit that everything could change and that our time’ means something great, but when you’re our age ‘the first time’ means a comfortable, set lives may hold new and unsettling discoveries just around the heart attack or a stroke.” “A terrific and fearless corner. As Alfaro started to turn her real-life scare into a play, it crystallized Alfaro, in her seventies, views the inner emotional lives of the retired and playwright with an around four fictional friends, each with their own particular concerns. Jeremy, retiring with a candor and a sense of vigor rarely seen on American stages individual and a 64-year-old Jewish writer, works on his next great novel; his spike-heeled where characters past a certain age are often relegated to supporting parts. astute voice.” sister Trish is just out of work as a realtor; his best friend Koji is angling to Alfaro instead puts characters in their sixties front and center, emphasizes direct King Lear; Koji’s wife Emily is trying to maintain ties with their — THE HARVARD CRIMSON their intelligence and sexuality, and isn’t afraid to show them in unsympathetic increasingly estranged son. moments. These qualities make Alfaro a surprising and fresh voice on a field The quartet has been friends for decades, making their careers, raising a child, cluttered with “emerging” playwrights in their twenties and thirties. and meeting often for boisterous conversation at the Royal East, a Chinese For those Cantabrigians who know Alfaro, though, she has a particularly restaurant in Central Square. They are satisfied with the consistent pleasures personal appeal. “I’m a very good listener and not above stealing my friends’ of their routine lives and have accepted the compromises they made years ago. best lines and putting them in my plays,” she says. “I tell all my friends I’ve OCT.14-NOV.13 As Alfaro says of her own Harvard Square life, “I could never consider leaving based my characters on them so they better come to the show.” Cambridge because of my friends. When you’ve lived in a place for so long, you have your friends’ books in your bookcases, their paintings on your - CHARLES HAUGLAND

LEARN MORE ONLINE VISIT THE LEARN & EXPLORE SECTION OF HUNTINGTONTHEATRE.ORG/BEFOREILEAVEYOU TO LISTEN TO AN INTERVIEW WITH ROSANNA YAMAGIWA ALFARO AND EXPLORE A MAP OF HARVARD SQUARE.

HUNTINGTONTHEATRE.ORG 9 UNEXPECTED CAMBRIDGE: AN INTERVIEW WITH ROSANNA YAMAGIWA ALFARO

PLAYWRIGHT ROSANNA YAMAGIWA ALFARO HAS BEEN WRITING PLAYS FROM HER HOME IN HARVARD SQUARE FOR OVER FORTY YEARS, A FACT THAT COMES IN HANDY SINCE HER LATEST IS SET THERE. SHE RECENTLY TALKED WITH US ABOUT WRITING, HER TOWN, AND THE SURPRISES IT HOLDS. PLAYWRITING FELLOWS AT THE HUNTINGTON Since 2003, the Huntington Theatre Company has fostered the talent of WHEN DID YOU MOVE local Boston-area playwrights at all stages of their careers through the TO CAMBRIDGE? Huntington Playwriting Fellow program. Each year, local playwrights are awarded a two-year residency at the Huntington during which they I started college at Radcliffe in 1956. receive a modest stipend, participate in a writers’ collective with the I grew up in Ann Arbor so I’ve always been Rosanna Yamagiwa Alfaro; artistic staff, and receive support through readings and the other photo: Paul Marotta fond of living in college towns, not that resources of the Huntington. The HPF community includes many leaders Cambridge is just a college town, but we of the Boston theatre scene whose plays have been produced on the live in Harvard Square so it feels that way. My husband Gustav and I met Huntington’s stages and throughout the country. Plays produced at the here as students in 1958; our two children Anna and Pablo grew up here. Huntington by HPFs include: We’ve lived in Berkeley, Stanford, Halifax, Salamanca, and London, but we’ve been in Cambridge 46 years and counting. PLAY PLAYWRIGHT SEASON WHEN DID YOU START WRITING? SONIA FLEW Melinda Lopez 2004 - 2005 I’ve always liked to write. In many ways, it seems more natural to me THE ATHEIST Ronan Noone 2007 - 2008 than talking. BRENDAN Ronan Noone 2007 - 2008 SHAKESPEARE’S WHO INFLUENCED YOU? WHO FORGED YOU AS A WRITER? ACTRESSES My parents were a little sad I didn’t go into science, but they weren’t IN AMERICA Rebekah Maggor 2007 - 2008 unhappy that I majored in English instead. After all, my father was a THE CRY OF professor of Japanese literature. I wish they were still alive to see THE REED Sinan Ünel 2007 - 2008 Before I Leave You at the Huntington. Two of my creative writing STICK FLY Lydia R. Diamond 2009 - 2010 teachers at Harvard left their mark – Monroe Engel because of his PSYCHED Ryan Landry 2010 - 2011 warmth and encouragement and John Hawkes because he was a BEFORE I strong advocate for bold metaphors and subtle violence. John’s LEAVE YOU Rosanna Yamagiwa Alfaro 2011 - 2012 office was always full of cigarette smoke, and his writing class was THE LUCK OF affectionately called “S Squared,” referring to sex and sadism. I’m sure THE IRISH Kirsten Greenidge 2011 - 2012 none of his students has ever quite been able to shake the notion that, in writing, perhaps that was the way to go. To learn more about the HPF program and the Huntington’s WHAT IS YOUR PROCESS LIKE? ARE YOU EVER BLOCKED? other new work initiatives visit huntingtontheatre.org/newwork. I write in bed in the morning with my papers and books spread out in front of me. I always write first in longhand, which matches the speed of STICK FLY IS HEADED TO BROADWAY! my thoughts. I’ve never been blocked for long. I find most problems can SEE PAGE 22 FOR MORE INFORMATION. be solved by a nap or a good night’s sleep. WHAT ARE YOUR HOBBIES? I play the piano about ten minutes a day. I belong to an Asian-American women’s book club, which is much more about eating and gossiping Zabryna Guevara and Will LeBow in Sonia Flew; photo: T. Charles Erickson than reading books. I religiously watch the University of Michigan football games on television. WHAT DON’T MOST BOSTONIANS KNOW ABOUT YOUR NEIGHBORHOOD? Most think of Cambridge as a place full of college kids, but it’s the perfect city for the old. Our friends in their sixties and seventies are still painting, playing chamber music, birding, sailing, and kayaking when they’re not traveling to remote corners of the world. I’m afraid I do none of those things, but it makes one think the world is still full of endless possibilities.

SEE PAGE 23 FOR SHOW PERFORMANCE CALENDAR AND EVENT LISTINGS

HUNTINGTONTHEATRE.ORG 11 DIRECTED BY PETER DUBOIS

BY EVAN M. WIENER BASED ON PETER Z. MALKIN & HARRYEICHMANN STEIN’S MEMOIR IN MY HANDS

THRILLING TRUE STORY CAPTORS

“One of history’s great manhunts.”

— THE NEW YORK TIMES

1960 . Covert Israeli agents have NOV.11-DEC.11just nabbed , the world’s most AVENUE OF THE ARTSwanted war criminal. The agents hold “the architect of ” in a safe house, BU THEATRE but bringing him to justice means getting his consent to stand trial. One of his captors and Eichmann, the infamous mastermind, compete in a thrilling battle of wills. Eichmann in his jail cell, 1961 Eichmann on trial, 1961

DRAMATIC HISTORY INSPIRES HISTORICAL DRAMA “Evan illuminates a piece of fascinating, little-known history about power, obedience, retribution, and justice. This is an incredibly important story, one I’m so glad we will be telling.” – PETER DuBOIS

The story surrounding Captors may sound familiar. In its broadest strokes, it Shakespeare, of course, is known for his “history plays” and the tragedies starts with an elite undercover team covertly hunting an enemy in a foreign Julius Caesar and Antony and Cleopatra. In contemporary drama, British writers country and ends with a burial at sea. Most of us know something about the have successfully mined stories about physicists (), American capture in Argentina of the notorious Nazi Adolf Eichmann and his subsequent politicians (Frost/Nixon), and the Iraq war (Stuff Happens). Interestingly, there trial in Jerusalem, however, most of us do not know that before leaving for are few enduring historical dramas of American provenance, being Israel, the Mossad agents who abducted Eichmann – all of whom lost family the best-known exception. Wiener considers the topical familiarity of historical members or themselves survived the Holocaust – were confined in a safe house drama an asset: “I think in a good historical drama, familiarity with the subject is in a town outside of Buenos Aires for ten days with the man most responsible only the point of entry, like the call of the carnival barker. Once the show starts, for the implementation of the Final Solution. it’s all about finding the unfamiliar – some perception-altering or expanding approach to the official record or to conventional wisdom.” Playwright Evan M. Wiener was drawn to this little-known piece of the story. He writes, “When I read the book that inspired Captors (the memoir Eichmann “Contemporary relevance is obviously essential,” explains Wiener. When he in My Hands), I found myself riveted by a small but absolutely crucial slice of started the play, he had no way of knowing that US forces would capture history. Eichmann’s name has become a kind of cultural shorthand. But the story and execute Osama bin Laden months before it premiered or that its first of those ten days is not familiar, and the prospect of interpreting those events production would coincide with the 50th anniversary of Eichmann’s trial, nor NOV.11-DEC.11 for the stage, with a living, breathing Eichmann sharing space in real time with was that a goal. “I’d be leery of any writer who began a play thinking outside- AVENUE OF THE ARTS both his captors and the audience, seemed to open limitless possibilities.” in, who consciously started by saying something like, ‘I’ll use the Irish potato In Captors, Wiener cunningly examines the fraught realities of sharing space famine to comment on Fox News.’ Ideally it’s more organic: a great true story BU THEATRE with a moral monster, a man who was literally the stuff of nightmares. compels you – you might not even be quite sure why – and as you write about ‘back then’ from a perspective of ‘right now,’ the parallels and resonances begin Writers in every literary form have long turned to history for inspiration. One can to emerge and evolve.” argue that Western drama begins with a history play, The Persians by Aeschylus, which tells the story of the Persian war from the point of view of the defeated. - LISA TIMMEL

LEARN MORE ONLINE VISIT THE LEARN & EXPLORE SECTION OF HUNTINGTONTHEATRE.ORG/CAPTORS TO LEARN MORE ABOUT ADOLF EICHMANN, WATCH A VIDEO OF HIS TRIAL, AND SEE MORE OF MALKIN’S ARTWORK.

HUNTINGTONTHEATRE.ORG 13 In Evan M. Wiener’s provocative and suspenseful new play Captors, Peter Z. Malkin, a young Israeli agent, captures and guards Adolf Eichmann, the architect of the Nazi party’s “Final Solution to the Jewish Question.” The play itself is based on Malkin’s memoir Eichmann in My Hands (now out of print). The agent’s surprising capacity for empathy made him the perfect man to crack Eichmann, and a series of formative experiences led him to the moment of opportunity.

Malkin’s family moved from Poland to Palestine in 1933 when he was a small child. Because of restrictive immigration policies, his oldest sister Fruma was unable to get a visa and stayed behind with her husband and children. While his parents and older brother worked long hours, a scrappy, adventurous, and unsupervised Malkin grew up in a chaotic and dangerous environment, stealing and street fighting in the blind alleys of Haifa. At 12, Malkin joined the Haganah, an underground army fighting the British for the establishment of a Jewish state in Palestine. His career as a youthful offender prepared him well for his life in the Underground. Instead of candy, he now stole ammunition and could escape any patrol. For Malkin, as much The cover of Malkin’s memoir The face of Eichmann over a map of South America as sketched by Malkin during his as he believed in the cause, it was also great fun. assignment in Buenos Aires Shortly before Malkin graduated from high school, World War II came to a close, and his family learned that Fruma had been killed in the Holocaust. Malkin vowed to his mother that he would kill three Germans, one for each CAPTORS’ HERO: PETER Z. MALKIN’S EARLY YEARS

of his sisters. After training in the army as an explosives specialist, Malkin applied to work with the Mossad, stating on his application as his reason for applying, “I like adventure.” He was hired to train Israeli Embassy personnel in detecting and disarming letter bombs. Malkin became a trusted agent by the time his superior Uzi informed him that the two would travel to Buenos Aires to capture Adolf Eichmann. “Evil does not exist in isolation. It is a product of amorality by After Eichmann’s capture, Malkin’s mother suspected he had been involved consensus. Could it happen again? Who can say? I only know it is and pestered him about where he had been. Ever the professional, he a question we must never stop asking.” insisted he was in . He kept his secret until he went to see his mother on her deathbed: - PETER Z. MALKIN

I knelt beside her bed and took her hand. “Mama,” I whispered. “Mama, it’s me, Peter. Mama, I want to tell you something. What I promised, I have done. I have captured Eichmann.” There was no response. “Mama, Fruma was avenged. It was her brother who captured Adolf Eichmann.” I repeated it. But suddenly her hand began to squeeze mine. “Do you understand, Mama? I captured Eichmann.” Her eyes were open now. “Yes,” she managed in a whisper. “I understand.”

- LILIA RUBIN

SEE PAGE 23 FOR SHOW PERFORMANCE CALENDAR AND EVENT LISTINGS

14 BOX OFFICE 617 266 0800 EICHMANN UNDERGROUND

1945 Adolf Eichmann flees to Berlin and then to Austria where he leads a guerilla unit into the Alps only to receive word the war is over. Fearing prosecution, he disguises himself as a low-ranking soldier and destroys his identification papers. Captured by US forces, he gives his name as “Adolf Barth.” On the German border, he is stopped again by Americans who discover his SS tattoo. He then calls himself “Otto Eckmann.” Eichmann is moved from camp to camp, hiding in plain sight.

1946-1947 Eichmann learns that investigators have identified his position in the SS as instrumental in the deportation of Jews to death camps. Unsure whether he will be discovered, he escapes again. As “Otto Heninger,”he hides in a small, remote town working as a lumberjack and chicken farmer.

1948 He obtains a landing permit for Argentina through the extensive Nazi underground.

1950 He leaves Germany for Italy, where he is sheltered by a sympathetic priest. In Italy, he takes his last alias, “Ricardo Klement,” and is given a Cross passport. On July 17, he boards a ship for Argentina.

1950-1960 Eichmann works several odd jobs in the Buenos Aires area. His family joins him in 1952.

1957 Lothar Hermann, a German man of Jewish descent who lost his sight from a beating, realizes his daughter Sylvie’s boyfriend is Eichmann’s son. He contacts a German war crimes prosecutor. He and Sylvie begin investigating Eichmann. Eichmann meets with a Dutch journalist to work on his memoirs.

1959 The Mossad confirms Eichmann is in Buenos Aires and begins surveillance. Eichmann buys a modest parcel of land on Garibaldi Street in an undeveloped district.

1960 On May 11, Eichmann is captured by a team of Mossad and Shin Bet agents.

1961 On April 11, Eichmann’s trial begins in Jerusalem. He is convicted and sentenced to death in December.

1962 On May 31, Eichmann is hanged and cremated, the only person to be executed by Israel. On June 1, his ashes are scattered over the Mediterranean Sea in international waters.

A collage of photos from Peter Z. Malkin and Harry Stein’s book Eichmann in my Hands, clockwise from top left: Malkin’s surveillance map of Buenos Aires; Malkin in Israel, 1960; Eichmann’s son Haasi, 1960; Malkin’s sketch of the safe house where Eichmann was kept; Malkin’s sketch of Eichmann; Adolf Eichmann in his SS uniform; Malkin’s parents in Palestine in the 1940s

HUNTINGTONTHEATRE.ORG 15 30TH ANNIVERSARY GIFT CREATES THE CHAIRMAN’S CHALLENGE: HAVE YOUR GIFT MATCHED TWO-FOR-ONE

AS WE EMBARK ON THE HUNTINGTON THEATRE COMPANY’S Huntington Board Chairman Carol G. Deane values the Huntington and 30TH ANNIVERSARY SEASON, WE ARE CELEBRATING especially appreciates its history of creating timeless theatre. Carol wanted to ensure that the Huntington could celebrate this landmark season in ways 30 YEARS OF TIMELESS THEATRE WHILE PLANNING FOR THE NEXT 30. that honor our artistic values and traditions, including our commitment THROUGHOUT THE SEASON, YOU WILL HEAR ABOUT SPECIAL to producing classics made current, new plays, and musical theatre. As a ACTIVITIES AND EVENTS TO CELEBRATE THIS AUSPICIOUS ANNIVERSARY. longstanding Trustee, she also knows the real financial needs that a season ONE WE WANT TO SHARE WITH YOU NOW COMES THROUGH THE this ambitious requires, and as a person of action, she has created a way to to help: a challenge to our community that will raise an additional GREAT GENEROSITY OF OUR CHAIRMAN, CAROL G. DEANE. $1.5 million this season.

“The Huntington has played such a special role in Boston theatre history,” Carol said, “bringing world-class theatre to Boston and reaching hundreds of thousands through innovative and award-winning education and community programs. I hope that everyone in our audience will join with me and my fellow Board members to ensure that we celebrate this great tradition and ensure that it continues for the next 30 years and beyond.”

The Chairman’s Challenge will match all new and increased annual fund gifts – regardless of their amount – two for one. We must raise $500,000 this year in new and increased gifts from individuals like you in order to receive Carol’s $1 million match.

FOR EXAMPLE Never donated before? Make a gift of $30, and it will be matched with $60 from the Chairman’s Challenge, increasing its value to $90. Are you a current donor who contributed $1,000 last year? Increase your support to $1,500, and the additional $500 will be matched two-to-one with $1,000, making your gift value $2,500.

We are extremely grateful to Carol for her extraordinary generosity, but to realize its full impact, we need your help. Whether you are a longtime Huntington supporter or are considering making your first donation, we hope that you will be excited by this rare opportunity.

You play a vital role in the Huntington family by being part of our audience and for the vital financial support you have provided. Maximize the impact of your gift today by making a generous annual fund commitment in support of the Chairman’s Challenge.

Artistic Director Peter DuBois and Board Chairman Carol Deane; photo: Laura Wulf

For additional information about the Chairman’s Challenge, please contact Lisa McColgan at 617 273 1546 or [email protected]. Interested in having an even larger impact by joining the Huntington Circle with a gift of $1,500 or more? Please contact Meg White at 617 273 1596 or [email protected].

16 BOX OFFICE 617 266 0800 Abbe Young (left) with members of the Young family, celebrating Abbe’s birthday together at a performance of last season.

THE HUNTINGTON COULD NOT HAVE LAUNCHED ITS 30TH ANNIVERSARY SEASON WITHOUT THE VITAL SUPPORT OF MANY ENTHUSIASTIC AND GENEROUS DONORS WHO HELP US CREATE WORLD-CLASS THEATRE. WHY ABBE YOUNG SUPPORTS THE HUNTINGTON The Huntington is fortunate to have supporters like Abbe and Jerry Young who are longtime subscribers and donors. They have made their nights at the Huntington family affairs by sharing them with two adult children and their spouses. Last spring, the Youngs invited their extended family to the Huntington to celebrate Abbe’s birthday. Abbe shares her reasons for making the Huntington such an important part of her life: WHAT BROUGHT YOU TO THE HUNTINGTON, AND WHAT HAS WHAT IS YOUR FAVORITE HUNTINGTON PERFORMANCE? KEPT YOU COMING BACK? I love the productions, but my favorite performance was an education program called Know the Law!, performed by students. Amazing. I don’t We saw a few great productions early on and decided to subscribe. It just think people know how much of a difference the Huntington makes in made more sense; we knew we were going to want to see everything, and the community. subscribing gives us a great value. The best part is the flexible exchange policy. It’s incredible! We’ve stayed on as subscribers and supporters WHAT ELSE? because we love the variety of shows in each season. There’s always a Jerry and I value the Huntington not only for its fantastic staged mix of tried and true classics and original work. productions but also for its extensive work with kids. We know they could WHEN DID YOU START BRINGING YOUR CHILDREN? not produce those programs without additional financial help, and that’s why we support them. We need to make sure that the Huntington is around My children always loved live theatre. When they were growing up, for our family, but also for the community around us. we would take them to performances frequently, especially for any special occasion. Theatre was great for them because it’s participatory. That’s still why I like being in the audience. When the kids got married, I got them each subscriptions as wedding gifts, so we still get to attend performances together.

WELCOME TO OUR NEW OVERSEERS On May 25, 2011, the Huntington’s Board of Trustees elected five new members to the Council of Overseers: Eleanor Devens, Lydia R. Diamond, JoAnne Dickinson, David Leathers, and Roberta Woeltz. We are thrilled to have their commitment, support, and guidance as we embark on our 30th Anniversary Season, and we welcome them to the Huntington Board family.

HUNTINGTONTHEATRE.ORG 17 THE 2011 SPOTLIGHT SPECTACULAR! On May 9, 2011, Huntington Board Members, friends, and guests gathered history. The proceeds help to support and sustain the Huntington’s to honor Bill McQuillan and Lydia R. Diamond with Wimberly Awards wide array of youth, education, and community programs that serve at our annual Spotlight Spectacular! Bill is a Trustee, our immediate over 25,000 students and adults each year. past Board President, and a longtime supporter who notably led the Our Spectacular! host, the dynamic actor, writer, and director Zach Huntington’s campaign to build the Calderwood Pavilion. Playwright Braff, entertained us with a “surprise duet” from Les Misérables with Lydia R. Diamond became a Huntington Playwriting Fellow in 2006. special guest Lauren Molina, star of this fall’s Candide. Huntington She penned the Huntington’s 2010 smash hit Stick Fly, which will open on staff and volunteers joined the pair, with Managing Director Michael Broadway in early December. Lydia continues to be a passionate advocate Maso leading the charge in the Huntington’s first-ever flashmob. for the Huntington, and was recently elected to our Council of Overseers. (Visit huntingtontheatre.org/flashmob to see!) Other entertainment The Wimberly Award, the Huntington’s highest honor, was established included a powerful performance by Huntington education student nine years ago and is given in recognition of excellence and commitment and August Wilson Monologue Competition runner-up Denver Petit- to the organization. Honne, from English High School in Jamaica Plain, who performed a This year’s gala, chaired by Huntington Overseers Bryan Rafanelli (event piece from Wilson’s The Piano Lesson. planner for the stars) and Fancy Zilberfarb (one of Boston’s own stars), raised more than $800,000, more than any previous event in Huntington

To those who celebrated the 2011 Spotlight Spectacular! with us we thank you for your support. Join the fun again next year! The 2012 Spotlight Spectacular! will be held on Monday, April 2 at The Boston Park Plaza Hotel and Towers. For more information, please contact Shaine Belli at 617 273 1536 or [email protected].

A collage of photos from the 2011 Spotlight Spectacular!; photos: Laura Wulf. ANNOUNCING OUR 2011-2012 STUDENT MATINEE SEASON! All student matinee performances start at 10am and include a lively post-show Actors Forum with members of the cast. Student groups are also welcome at regularly scheduled performances. TICKETS: $15 per student. For more information and to reserve tickets, please contact Meg Wieder, Education Manager, at 617 273 1558 or [email protected]. Seats fill quickly, reserve today!

CANDIDE OCTOBER 6, 2011 CAPTORS DECEMBER 8, 2011 GOD OF CARNAGE JANUARY 19, 2012

MA RAINEY’S BLACK BOTTOM MARCH 29 AND APRIL 5, 2012

THE LUCK OF THE IRISH APRIL 13, 2012 EDUCATION AND ACCESS PARTNER: PRIVATE LIVES JUNE 7, 2012

Students at Marshall Simonds Middle School in Burlington during a pre-show workshop LEARN MORE ONLINE VISIT HUNTINGTONTHEATRE.ORG/STUDENTMATINEE with Propeller Theatre Company member Richard Frame; photo: Sue Rogers

20 BOX OFFICE 617 266 0800 POETRY OUT LOUD 2012 REGISTRATION OPEN! In April 2011, Michaela Murray (John D. O’Bryant School of Mathematics and Science) traveled to Washington, DC to compete in the Poetry Out Loud National Finals. As our Massachusetts State Champion, Michaela performed brilliantly, finishing the competition as one of the country’s top nine finalists. We are extraordinarily proud of her accomplishments and continue to be inspired by the talent and artistry displayed by the more than 19,000 students throughout the Commonwealth who participated in Poetry Out Loud.

Registration is now open for the seventh annual Poetry Out Loud National Recitation Contest! This is a free program open to all high schools (grades 9-12) in Massachusetts. Visit huntingtontheatre.org/pol for more information and to register your school today. CELEBRATING AUGUST WILSON: CODMAN SUMMER THEATRE INSTITUTE This summer marked the 6th annual Huntington/Codman Academy Summer Theatre Institute, an extension of our school-year collaboration with the Codman Academy Public Charter School in Dorchester. Associate Director of Education Lynne Johnson directs the Institute and its annual production.

A Tribute To August Wilson celebrated the Codman students’ relationship to Wilson’s work, a key component of their Humanities curriculum at Codman. The piece included scenes and monologues from each of Wilson’s 10 plays, performed in chronological order. The cast, made up of current Codman Academy students and alumni, explored the theatrical production process in depth, were instilled with the values of individual focus and commitment necessary for success, and experienced a safe environment – particularly significant during the summer’s wave of urban youth violence.

“The students revealed extensive talent, creativity, knowledge, and depth in their acting and production contributions,” says Johnson. “The community we build during this program is an invaluable complement to their academic-year work with the Huntington. Most rewarding, it is clear that our collaboration is enriching their lives.” AUGUST WILSON MONOLOGUE COMPETITION The 2010 - 2011 Season included the Huntington Theatre Company’s inaugural participation in the August Wilson Monologue Competition, run nationally by Kenny Leon’s True Colors Theatre Company in Atlanta, Georgia. (Leon directed our recent productions of Stick Fly and Wilson’s .) The first year was a huge success!

Mariah Watkins (Edward M. Kennedy Academy for Health Careers), Tyler Jackson (Boston Adult Technical Academy), and Nehemie Auguste (Fenway High School) were the top three winners selected from 120 Boston Public School students. Representing Boston, the three students traveled to to compete with finalists from across the country at the August Wilson Theatre on Broadway.

We will begin the competition again in October, introducing students from eight Boston high schools to Wilson’s life and his powerful work. Huntington teaching artists will visit classrooms to introduce monologues and (Top to bottom) Derek Butterton, 2011 MA Poetry Out Loud participant, photo: Kalman Zabarsky; coach the students, who will compete for the title of school winner. One winner from each school will compete in the Summer Theatre Institute cast and crew; Boston Regional Finals at the Huntington Theatre Company in February 2012. Mariah Watkins, 2011 MA Champion, August Wilson Monologue Competition, photo: Sheppard Ferguson ACCESS FOR ALL The Huntington continues its commitment to accessible theatre by offering American Sign Language interpretation for select performances of Candide and Ma Rainey’s Black Bottom and Audio Description for select performances of Captors and God of Carnage.

Tickets are $15 for each patron and one guest to any of our ASL-Interpreted or Audio-Described performances. To purchase tickets, or for more information, please contact Meg Wieder, Education Manager and Access Coordinator, at 617 273 1558 or [email protected].

HUNTINGTONTHEATRE.ORG 21 HUNTINGTON NEWS STICK FLY HEADS TO BROADWAY! HUNTINGTON ARTISTIC DIRECTOR PETER DUBOIS IS IN DEMAND! In addition to directing the Huntington’s world premiere production of Captors this fall, Peter DuBois directs three high-profile New York productions this season: SUMMER 2011: the world premiere of All New People by Zach Braff Garden( State, “Scrubs”) at Second Stage Theatre. OCTOBER 2011: Sons of the Prophet, which had its world premiere at the Huntington last spring, by Stephen Karam (Speech & Debate) at Roundabout Theatre Company. SPRING 2012: the world premiere of Rapture, Blister, Burn by Gina Gionfriddo at Playwrights Horizons. Nikkole Salter as Taylor, Jason Dirden as Kent, Billy Eugene Jones as Flip, and Rosie Benton as Kimber in Stick Fly; photo: Scott Suchman If you’re in the New York area, be sure to check them out!

We’re thrilled that Huntington Playwriting Fellow Lydia R. Diamond’s Stick Fly, the hit of the Huntington’s 2009 - 2010 Season, will move to Broadway this coming November. Kenny Leon (Stick Fly, Fences) will helm the production, which is produced by Grammy Award winner Alicia Keys as well as Reuben Cannon and Nelle Nugent.

Performances at the Cort Theatre begin November 18. To learn more or purchase tickets, visit StickFlyBroadway.com.

Joanna Gleason in Sons of the Prophet; photo: Paul Marotta THE HUNTINGTON LAUNCHES SCRIPT CLUB Last year, the Huntington launched SCRIPT CLUB, a new benefit for Annual Fund donors of $250 or more. Styled like a book club, SCRIPT CLUB gives participants the opportunity to read scripts from the Huntington’s season and then discuss them in a group setting led by a member of our artistic staff. In its inaugural year, the SCRIPT CLUB met to discuss and hear inside information about Sons of the Prophet and Richard III.

SCRIPT CLUB meetings are held midday. Beverages and dessert are provided, and we encourage members to bring a bag lunch. At press time, this season’s SCRIPT CLUB dates are not yet finalized, but will be soon. For information, please contact Vicki Schairer, Assistant to the Artistic Director, at [email protected].

22 BOX OFFICE 617 266 0800 N TRE HUNTINGTON THEA THEATREANY COMPANYPERFORMANCE 2011-2012 SEASON CALENDARS HUNTINGTONHUNTINGTONHUNTINGTO THEATRE THEATRE COMPANY COMPANYSEPTEMBER 2011-2012 2011-2012 -SEASON SEASONDECEMBER 2011 CANDIDE COMP BEFORE I LEAVE YOU CANDIDECANDIDE S M T W T F S BEFOREBEFORE S I MLEAVE I LEAVE T YOU YOU W T F S 10 14 15 S S M M T T W W T T F F S S•2PM S S M M T T W W T T F F S S AVENUE OF THE ARTS / BU THEATRE •8PM SOUTH END / CALDERWOOD PAVILION AT THE BCA •8PM •8PM 10 10 2PM 2PM 14 14 15 15 11 12 13 142PM 15 16 17• •2PM 16 17 18 19 20 21 22 2PM AVENUEAVENUE OF THE OF THE ARTS ARTS / BU / THEATREBU THEATRE• 8PM•8PM SOUTHSOUTH END END / CALDERWOOD / CALDERWOOD PAVILION PAVILION AT THE AT THE BCA BCA 8PM 8PM 8PM•8PM •2PM •7:30PM T7:30PM •8PM • •8PM •7PM •7:30PM •7:30PM 7:30PM • •8PM • •8PM 11 11 1212 13 13 14142PM 2PM 15 15 16 16 17 17 2PM 2PM 16 16 17 17 1818 19 19 20 20 21 21 22 222PM 2PM 18 19 20 21• • 22 23 24• •2PM 23 2PM 24 25 26 27 28 29• •2PM •2PM•2PM •7:30PM•7:30PMT7:30PMT7:30PM •8PM•8PM 8PM•8PM •7PM•7PM •7:30PM•7:30PM •7:30PM•7:30PM 7:30PM7:30PM •8PM•8PM 8PM•8PM h2PM •7:30PM *7PM •7:30PM •8PM 8PM 7PM •7:30PM *7PM •7:30PM •8PM 8PM 18 18 19 19 2020 21 21ROSH HASHANAH 22 22ROSH HASHANAH 23 23ROSH HASHANAH 24 24 2PM 2PM 23 232PM 2PM24 24 2525 26 26 27 27 28 28 29 292PM 2PM 25 2PM 26 27 28 29 30 1 • •2PM 30• • 31 123452PM • •2PM h2PM•h2PM 7:30PM7:30PM 7PM 7PM 7:30PM7:30PM 8PM 8PM 8PM•8PM 7PM 7PM 7:30PM7:30PM 7PM•7PM 7:30PM7:30PM 8PM 8PM 8PM•8PM •7PM • •7:30PM *•7:30PM* • • d7:30PM • •8PM 8PM •2PM • •7:30PM *•7:30PM* • • d7:30PM • •8PM 8PM ROSH HASHANAHROSH HASHANAH ROSH HASHANAHROSH HASHANAH ROSH HASHANAHROSH HASHANAH 25 25 2PM 2PM26 26 2727 28 28 29 29 30 30YOM KIPPUR 1 1 YOM2PM KIPPUR 2PM 30 30 31 31 12345123452PM 2PM VETERANS DAY 2PM 2PM 2• •2PM 3 45678@ds10AM • •2PM 6 7 8 9• •d2PM 10 11 12• •2PM 7PM•7PM 7:30PM7:30PM 7:30PM7:30PM d7:30PM d7:30PM 8PM 8PM 8PM•8PM 2PM 2PM 7:30PM7:30PM 7:30PM7:30PM d7:30PM d7:30PM 8PM 8PM 8PM•8PM • •7PM • •7:30PM • •7:30PM •7:30PM • •@8PM• 8PM • •h2PM • •7:30PM • •7:30PM •7:30PM • •8PM 8PM YOM KIPPURYOM KIPPUR YOM KIPPURYOM KIPPUR VETERANS DAYVETERANS DAY COLUMBUS 2 2 2PM 2PM3 3 DAY 4567845678@ds10AM@ds10AM 2PM 2PM 6 6 7 7 88 9 9d2PMd2PM 10 10 11 11 12 12 2PM 2PM 9• • 10 11 12d2PM 13 14 15• •2PM 13 • • 7PM 7PM 7:30PM7:30PM 7:30PM7:30PM 7:30PM7:30PM @8PM@8PM 8PM•8PM h2PMh2PM 7:30PM7:30PM 7:30PM7:30PM 7:30PM7:30PM 8PM 8PM 8PM 8PM •2PM • •7:30PM • •7:30PM • •7:30PM • ••8PM 8PM 2PM • • • • • • • • COLUMBUS COLUMBUS OCTOBER - NOVEMBER 2011 DAY 9 169 10 10 DAY 1111 12 12d2PMd2PM 13 13 14 14 15 15•2PM•2PM 13 13 •2PM•2PM •7:30PM•7:30PM •7:30PM•7:30PM •7:30PM•7:30PM •8PM•8PM 8PM 8PM 2PM 2PM 2PM OCTOBEROCTOBER - NOVEMBER - NOVEMBER 2011 2011 16 16 SEPTEMBER - OCTOBER 2011 2PM 2PM SEPTEMBERSEPTEMBER - OCTOBER - OCTOBER 2011 2011 CAPTORS GOD OF CARNAGE CAPTORSCAPTORS S M T W T F S GODLISTEDGOD EVENTS SOF OF CARNAGE ARE MCARNAGE FREE WITH T THE PURCHASE W OF TA TICKET. F S S S M M T T W W T T 11 F VETERANS F DAY 12 S S S S M M T T W W T T 6 F F 7 S S AVENUE OF THE ARTS / BU THEATRE •p8PM •p8PM (•)AVENUE POST-SHOW OF THE ARTS CONVERSATIONS / BU THEATRE Join us for dynamic •post-showp8PM •p8PM 11 VETERANS11 DAYVETERANS DAY 12 12 conversations with fellow audience members and Huntington6 6 staff7 7after 13 14 15 16 17 18 19 2PM 8most every9 performance10 (except 11 select Saturday 12 and Sunday 13 evenings).14 2PM AVENUEAVENUE OF THE OF THE ARTS ARTS / BU / THEATREBU THEATRE •p8PM•p8PM •p8PM••p8PM AVENUEAVENUE OF THE OF THE ARTS ARTS / BU / THEATREBU THEATRE •p8PM•p8PM •p8PM••p8PM •p7PM •p7:30PM •7:30PM 7:30PM *8PM 8PM •p7PM •p7:30PM *7PM 7:30PM •8PM 8PM 13 14 15 16 17THANKSGIVING 18DAY 19 8 9 MLK, JR.10 11 12 13 14 13 14 15 16 17 18 19 2PM 2PM o 8 9 DAY 10 11 12 13 14 2PM 2PM 202PM 21 22 23 24 252PM 26• •2PM ( ) 15 35 BELOW2PM 16 WRAP17 PARTY 18A special evening 19ds10AM for young 20 21• •2PM p7PM•p7PM p7:30PMp7:30PM 7:30PM7:30PM 7:30PM 7:30PM 8PM•8PM 8PM•8PM p7PM•p7PM p7:30PMp7:30PM 7PM7PM 7:30PM~ 7:30PM 8PM 8PM 8PM•8PM • • 7PM •7:30PM• ••7:30PM • • * •*8PM 8PM •professionals• 7PM aged• 21• •–7:30PM 35 complete*•7:30PM *with a post-show•7:30PM party.• • 8PM 8PM THANKSGIVINGTHANKSGIVING DAY DAY MLK, JR. MLK, JR. Visit huntingtontheatre.org/35belowDAY for more information. 20202PM 2PM 21 21 22 22 2323 24 24 25252PM 2PM 26 262PM 2PM 15 15 2PM 2PM16 16 DAY 1717 18 18 19ds10AM 19ds10AM 20 20 21 21 2PM 2PM 27• • 28 29 30d2PM 1 2• • 3• •2PM 22• • 23 24 252PM ~ 26~ 27 28• •2PM 7PM 7PM7:30PM7:30PM 7:30PM7:30PM 8PM 8PM 8PM•8PM 7PM 7PM 7:30PM7:30PM 7:30PM7:30PM• 7:30PM7:30PM 8PM 8PM 8PM•~8PM •2PM• • • •7:30PM •7:30PM d7:30PM • •8PM 8PM •2PM • •7:30PM • •7:30PM• • d7:30PM • •8PM 8PM (t) OUT & ABOUT CLUB A post-show party for GLBT audience 27 27 28 28 2929 30 30d2PMd2PM 1 1 2 2 3 3 2PM 2PM 22 22 23 23 2424 25 252PM 2PM 26 26 27 27 28 282PM 2PM 4 5 6 7 8ds10AM 9 10• •2PM 29members. Use30 code31 OUT to purchase 1• •d2PM discounted 2 tickets 3 to this •~ 4 •~2PM 2PM 2PM 7:30PM7:30PM 7:30PM7:30PM d7:30PM~ d7:30PM 8PM 8PM 8PM•~8PM 2PM 2PM 7:30PM7:30PM 7:30PM7:30PM d7:30PM d7:30PM 8PM 8PM 8PM•8PM • •h2PM • •7:30PM • •7:30PM •7:30PM • •8PM 8PM •performance•h2PM online.• •7:30PM • •7:30PM •7:30PM • •8PM 8PM 4 114 5 5 66 7 7 8~ds10AM 8~ds10AM 9 9 10 •~ 10 2PM•~2PM 29 529 30 30 3131 1 1d2PMd2PM 2 2 3 3 4 4•2PM•2PM h2PMh2PM 7:30PM7:30PM 7:30PM7:30PM 7:30PM7:30PM 8PM 8PM 8PM 8PM h2PMh2PM 7:30PM7:30PM A post-performance7:30PM7:30PM 7:30PM7:30PM talk on the8PM historical8PM and8PM 8PM 2PM • • • • • • • • (h) HUMANITIES2PM FORUM• • • • • • • • literary context of the show featuring a leading local scholar. 11 11 NOVEMBER - DECEMBER 2011 5 5 JANUARY - FEBRUARY 2012 2PM 2PM 2PM 2PM NOVEMBERNOVEMBER - DECEMBER - DECEMBER 2011 2011 (d) ACTORS FORUMJANUARYJANUARY Participating members - FEBRUARY - FEBRUARYof the cast answer 2012 2012 TICKETS Start at $25 your questions following the performance.

35 BELOW $25 for those 35 and under at every performance (@) ASL-INTERPRETED For Deaf and hard-of-hearing audience MA RAINEY’S BLACK BOTTOM THEmembers. LUCK Call 617 273OF 1558 THE for more IRISH information. GROUPS S (10+) M Save 20%! T Behind-the-scenes W Taccess and on-site F reception S S M T W T F S MAspaceMA RAINEY’S available. RAINEY’S Contact BLACK 617 BLACK 273 1665 BOTTOMor [email protected]. BOTTOM THE(~)THE AUDIO-DESCRIBED LUCK LUCK OF OF THE THEFor blindIRISH IRISH and low-visioned audience members. 9 10 Call 617 273 1558 for more information. 30 31 Subscribers S S M receive M $10 T off T any additional W W tickets T Tpurchased. F F S S S S M M T T W W T T F F S S AVENUE OF THE ARTS / BU THEATRE •p 8PM •p8PM SOUTH END / CALDERWOOD PAVILION AT THE BCA •8PM •8PM Prices include a $2 per ticket Capital Enhancement fee. 9 9 10 10 30 30PASSOVER BEGINS31 31 11 12 13 14 15 16 17 2PM (s) 1 STUDENT2 MATINEE34567 For groups of students in grades 6-12. 2PM AVENUEAVENUE OF THE OF THE ARTS ARTS / BU / THEATREBU THEATRE •p 8PM•p 8PM •p8PM••p8PM SOUTHSOUTH END END / CALDERWOOD / CALDERWOOD PAVILION PAVILION AT THE AT THE BCA BCA •8PM•8PM •8PM•8PM CALL•p7PM 617 266 0800•p7:30PM OR VISIT HUNTINGTONTHEATRE.ORG*7PM 7:30PM •8PM 8PM Call •6177PM 273 1558 for more•7:30PM information.•7:30PM 7:30PM •8PM 8PM PASSOVER BEGINSPASSOVER BEGINS 11 11 12 12 1313 14 14 15 15 16 16 17 17 2PM 2PM 1 1 EASTER 2 2 3456734567PASSOVER2PM ENDS2PM 18 2PM 19 20 212PM 22 23 24• •2PM 8 9 10 11 HUNTINGTONTHEATRE.ORG 12 13ds10AM 14 • •232PM •p7PM••p7PM •p7:30PM•p7:30PM 7PM•7PM 7:30PM 7:30PM •8PM•8PM 8PM•8PM •7PM•7PM •7:30PM•7:30PM •7:30PM•7:30PM 7:30PM 7:30PM •8PM•8PM 8PM•8PM 7PM •7:30PM *•7:30PM* •7:30PM •8PM 8PM •2PM •7:30PM *7PM •7:30PM •8PM 8PM EASTER EASTER PASSOVER ENDSPASSOVER ENDS PATRIOTS’ 18 18 2PM 2PM19 19 2020 21 212PM 2PM 22 22 23 23 24 24 2PM 2PM 8 8 9 9 DAY 1010 11 11 12 12 13ds10AM 13ds10AM 14 14 2PM 2PM 25• • 26 27 28• • 29@ds10AM 30 31• •2PM 15 16 17 182PM 19 20 21• •2PM 7PM 7PM 7:30PM7:30PM 7:30PM7:30PM 7:30PM7:30PM 8PM 8PM 8PM•8PM 2PM 2PM 7:30PM7:30PM 7PM•7PM 7:30PM7:30PM 8PM 8PM 8PM•8PM h2PM • •7:30PM • •7:30PM • •7:30PM• @8PM• 8PM • •2PM • •7:30PM *•7:30PM* • • d7:30PM • •8PM 8PM PATRIOTS’ PATRIOTS’ DAY 25 25 26 26 2727 28 28 29@ds10AM 29@ds10AM 30 30PASSOVER BEGINS 31 31 2PM 2PM 15 15 16 16 DAY 1717 18 182PM 2PM 19 19 20 20 21 21 2PM 2PM 1 23 4567d2PM ds10AM • •2PM 22 23 24 25• •d2PM 26 27 28• •2PM h2PMh2PM 7:30PM7:30PM 7:30PM7:30PM 7:30PM7:30PM @8PM @8PM 8PM•8PM 2PM 2PM 7:30PM7:30PM 7:30PM7:30PM d7:30PM d7:30PM 8PM 8PM 8PM•8PM •2PM • • • •7:30PM • •7:30PM •8PM 8PM • •h2PM • • • •7:30PM •7:30PM • •8PM 8PM PASSOVER BEGINSPASSOVER BEGINS 1 1 EASTER 232345674567d2PMd2PM ds10AMds10AM 2PM 2PM 22 22 2323 24 24 2525d2PMd2PM 26 26 27 27 28 282PM 2PM 8 • • 29 2PM • • 2PM 2PM 7:30PM7:30PM 7:30PM7:30PM 8PM 8PM 8PM 8PM h2PMh2PM 7:30PM7:30PM 7:30PM7:30PM 8PM 8PM 8PM 8PM • •2PM • • • • • • 7PM • • • • • • EASTER EASTER MARCH - APRIL 2012 MARCH - APRIL 2012 8 8 29 292PM 2PM 2PM 2PM MARCHMARCH - APRIL - APRIL 2012 2012 7PM 7PM MARCHMARCH - APRIL - APRIL 2012 2012 PRIVATE LIVES CALENDAR KEY PRIVATEPRIVATE S LIVES M LIVES T W T F S CALENDARCALENDAR = 35 Below KEY KEY Wrap Party S S M M T T W W T T 25 F F 26 S S @ = ASL-Interpreted AVENUE OF THE ARTS / BU THEATRE •8PM •p8PM = 35 = 35Below Below Wrap Wrap Party Party MEMORIAL 25 25 26 26 = Audio-Described 27 28 DAY 29 30 31 1 2 2PM @ =@ ~ ASL-Interpreted = ASL-Interpreted AVENUEAVENUE OF THE OF THE ARTS ARTS / BU / THEATREBU THEATRE •8PM•8PM •p8PM••p8PM •p7PM •p7:30PM *7PM 7:30PM •8PM 8PM d = Actors Forum MEMORIAL MEMORIAL = Audio-Described = Audio-Described DAY 27 27 28 28 DAY 2929 30 30 31 31 1 1 2 2 2PM 2PM ~ ~ 3 2PM 4 56789ds10AM • •2PM p7PM•p7PM p7:30PMp7:30PM 7PM7PM 7:30PM 7:30PM 8PM 8PM 8PM•8PM h = Humanities Forum • • 7PM • ••7:30PM *•7:30PM* •7:30PM • •8PM 8PM d = d Actors = Actors Forum Forum 3 3 2PM 2PM4 4 5678956789ds10AMds10AM 2PM 2PM T = Out & About Club 10• • 11 12 132PM 14 15 16• •2PM h = h Humanities = Humanities Forum Forum 7PM 7PM 7:30PM7:30PM 7:30PM7:30PM• 7:30PM7:30PM 8PM 8PM 8PM•8PM h2PM • •7:30PM • •7:30PM• • d7:30PM • •8PM 8PM T = T• Out = OutPost-Show & About & About Club Conversation Club 10 10 11 11 1212 13 132PM 2PM 14 14 15 15 16 16 2PM 2PM 17 18 19 20• •d2PM 21 22 23• •2PM h2PMh2PM •7:30PM•7:30PM •7:30PM•7:30PM d7:30PM d7:30PM •8PM•8PM 8PM•8PM = Press Opening Night •2PM •7:30PM •7:30PM •7:30PM •8PM 8PM • = •* Post-Show = Post-Show Conversation Conversation 17 17 18 18 1919 20 20 21 21 22 22 23 23 24 d2PMd2PM •2PM•2PM = p Press = PressPreview Opening Opening Night Night •2PM•2PM •7:30PM•7:30PM •7:30PM•7:30PM •7:30PM•7:30PM •8PM•8PM 8PM 8PM * * 2PM MAY - JUNE 2012 s = Student Matinee 24 24 p = p Preview = Preview 2PM 2PM MAYMAY - JUNE - JUNE 2012 2012 s = s Student = Student Matinee Matinee NON-PROFIT N ORGANIZATION US POSTAGE TRE PAID BOSTON, MA PERMIT # 52499 MAIN BOX OFFICE

THEAANY MICHAEL MASO 264 HUNTINGTONBOSTON,617 266MA617 AVENUE02115-46067900 266 0800huntingtontheatre.org MANAGING DIRECTOR VENUE OF THE ARTS HUNTINGTO A SOUTH END COMP & IN RESIDENCE AT BOSTON UNIVERSITY PETER DUBOIS NORMA JEAN CALDERWOOD ARTISTIC DIRECTOR

MOST 30TH BIRTHDAY 2011 - 2012 CANDIDE PARTIES LAST A NIGHT. OURS RUNS ALL SEASON SEASON LONG. LEONARD BERNSTEIN CAPTORS BEFORE I LEAVE YOU CALL 617 266 0800 OR CELEBRATING VISIT HUNTINGTONTHEATRE.ORG EVAN M. WIENER

ROSANNA YAMAGIWA ALFAROGOD OFYASMINA CARNAGE REZA 30 YEARS

AUGUST WILSON OF TIMELESS MA RAINEY’S BLACK BOTTOM THE LUCKKIRSTEN OF THE GREENIDGEPRIVATE IRISH LIVES NOËL COWARD THEATRE