Chelsea Theater Center is a free professional th eater d es igned to serve and d evelo p unkn own writers w hile simultaneously de veloping new audiences for the theater. It is conce rn ed w ith any play of contemporary interest; f rom plays of protest to kitchen drama, from commercial come dies to po litica l satire-if it has a bag, it is an eclectic o ne. Established in 1965 off off-Broad way, the Chelsea Theater Center, 3 yea rs an d 39 plays later, takes up res idence in a new theate r at the Brooklyn Aca demy of M usic Chelsea Theater Center for its fourth season, 1968-69. ®~ ~lfu~ mrr©©fullWfffi &©@cdl~iliillW ©~ Mun~n~
The Chelsea Theater Center Pla ys-in Workshop program se rves as a testing ground for author, director, performers and audience-a place w here an artist, wel l-known or unknow n, may work, w ithout press ure, on a project of in terest. The program is directly related to CTC's policy of discovering and de veloping new works. In w orkshop , physical production is minimal and re hearsal time for each work is limited. The au thor has a chance to 5ee his play mounted , utilizing professional actors, sound and lights. From a Play-in-Work shop, the script, reworked during or after the production, may then mov e Robert Kalfin to a more complex presentation. In th e Artistic Director past, CTC has mounted the same work Michael David as a reading, a workshop and then a Executtve D irector fu ll production, sometimes w ith a year or more in between. Chelsea Theater BOARD OF DIRECTORS Ol1ver Rea, Chairman Center is interes ted in developing play Robert E. Armstrong wrights as well as plays. George A. Bari HONORARY Susan Bloch ADVISORY COMMITTEE The over-all p rogram gives CTC, and Ben Edwards Harold Clurman everyone el se, a chance to become Henry Guettel Barbaralee D. Diamonstein fam iliar with a work and its problems, Robert Kalfin j ohn Houseman several times, if necessary, and hope Omar K. Lerman Jules Irving fully without the pressure of sleepless Ernest Levenstein Richard Kirschner nights in New Haven and thousands of Helen \.~errill Sidney Lanier Anthony Perkins Lav.rence Schubert Lav. renee, Jr. dollars going down the drain if the Oliver Rea \1ilton Lyon author doesn't crea te by tomorrow's Ira T. Wender Robert Whitehead opening. \~ rs. Charles Yearwood Fred Will1ams THE JUDAS APPLAUSE Chelsea Theater Center . ·' An Entertainment in Two Acts by Gary Munn Directed by Robert Kalfin
SPRING SERIES Fourth Season 1968-69 Choreography Incidental Music Rhoda Levine Ernest McCarty RobP.rl Kalfin ArttstK Dtr{'Ctor Michoel David Executi\ e Director Scenery Lighting Robert U. Taylor Spencer Masse AU perfprmances are on Friday and Saturday Evenings Sound Costumes ADMISSION FREE Helmuth Lesold Susan Buck CAST March 21, 22 /28. 29 Curtain Time 8:30P.M. (in the order in which they speak) CHRONICLE JOHN WILKES BOOTH .•...... Nicholas Kepros * by Florence Stevenson PETER TALTUVAL ...... Herman Arbeit* Apnl 4, 5/11,12 PET ...... John Glover* Curtain Time 8:30P.M. LITTLE DAVID ...... Arnold Wilkerson* THE INNOCENT PARTY PARKER ...... Tom McDermott* AND THE WAX MUSEUM JUNIUS BRUTUS BOOTH ...... Robert Bannard by john Hawkes MARY BOOTH ...... Lois de Banzie * BOOTH CHILDREN: Shep, Kate & Sally Faison; Apnl 25, 26/ May 1, 3 Curtain Time 8:00P.M. Christopher Jerome; Peter Hamburger. A BLACK QUARTET ELLA ...... Marilyn Chris* Four new black plays presented ASIA BOOTH ...... Kelly Swartz in cooperation with Woodte King by BESSIE ...... Linda Parrish*
BULLINS, CALDWELL MINSTREL GIRLS: June Jerome~ Andrea Lang, JONES and MILNER Allison Palmer, Kelly Swartz. May 9,10/16,17 BAR CROWD: Tom Alaimo, Jason Halle, John Curtain Time 8:30P.M. Jankowsky, Allan Jeffers, June Jerome, John THE JUDAS APPLAUSE Jerome, Andrea Lang, Tina Mann, Marshall by Gary Munn Nunlist, Allison Palmer, Rick Petrucelli, The Third Theater Gary Smith . in the Brooklyn Academy of Music 30 Lafayette Ave., Brooklyn, New York Drums: Joe Rivera Banjo: Jack Wilkins Reservations. ST 3-5111 Face Masks: Gail Fuller
STAFF FOR CHELSEA THEATER CCNTER Pro
Stage Manager ~ ynthia Barrington Ass' t Sta~...: · ·anager l1ary Lou Lehman Ass' t Stage i ianager Suzette Dewey Production Assistants Greg i~ lacosko Carmen Parker Cynthia Towne Chris Jarratt House Manager .C on Britton
GARY HUNN - (Playwright) -! onight' s play is an outgrmvth of experimenta
tion in The Playwrights' Workshop 1 a group formed by the author in Seattle Washington, June 15, 196'. Jl.JDAS APPLAUSE was lvritten the following January. This is its first production. tlr. l.-tunn now resides in Portland, Oregon as broadcast director for an advertising agency. He is a graduate of The Yale School of Drama and was the first recipient of The P}lyllis Anderson Playwriting Fellowship.
ROBERT KALFIN - (Director) - his bio appears on the inside cover of t~is program. RHODA LEVINE - (Choreography) - choreographer for the APA productions of PANTEGLAISE, EXIT THE KING and WAR AND PEACE and also for the ;;etropolitan Opera National Company, she is one of t~e directors for the National Theater Of The Deaf. As a choreographer, her Off-Broad way c:redits include THE '!AD SHQ\·,r, SERJEANT ilUSGRAVJ:'S D:.':CE and FASHION , on Television~ ~HE BEGGAR'S OPERA for Channel 13, NDC OPERA and The DUPONT Sl-;OWS OF TI1E '!ONTII. :· ;iss Levine'.; choreography vJas also seen at The Festival of Two Worlds in Spoleto, ~ taly. ERNEST :kCARTY - (Incidental ifusic) - in music from age 15, he entered sym phonic work , playing bass with fue Youth Orchestra of Chicago. tte later played with the Civic Orchestra, The Lyric Opera and The Grant Park symphonies of Chicago. He has done close to 45 TV shows as accompaniast and ousical director to Oscar Brown, Jr.; Noel Harrison; Odetta and many others, and is currently writing for Buddy Greco. ~lr. McCarty recently finished the music, scoring and some lyrics for I DREM1T I DWELT IN BLOOtliNGDALES, an Off-Broadway musical opening in the Fall. His music can also be heard in the showcase production of FP~NKENSTEIN atthe i~ e'"' 54th Street Theatre on liay 27th. He has do-e one film score and will Jo two more this year. ROBERT U. TAYLOR - (Scenery) - as studied at Yale University where he de Jigned THE BACCHAE, ENRICO IV, and the premi rc of Joseph Heller's WE BOi1BED IN NEt'J HAVEN. l!e tau~ht Theater Design for two years at St. Cloud College in :Iinnesota where designed UNDER l:IILKWOOD at the Tyrone~ Guthrie Theater. i~ recent designs include TROILUS AND CRESSIDA and THE BALCONY at Loeb Drama Center at Harvard and THE BENCH, f f- . roadlvay. NIC~IOLAS KEPROS - (John Wilkes Booth) - began his New York career as a member of the Phoenix Theatre Company wh~re, two years later, he played Hamlet. He has since played many Shakespearean roles including Richard I I, hngelo, !•lac beth, Henry V, ~ lalvolio and Octavius in the New York, Great Lakes and San Diego Festivals. Off -Broadway, he lvas seen as Henry VI in THE WHITE ROSE AND THE RED and, earlier this season, as the Egyptian Doctor in Shaw 1 s THE i-IILLIONAIRESS. HEffi.lAN 0. ARBEIT - (Peter Taltuval) - studied at the Neighborhood Playhouse with Sanford ;.Jeisner, also with Robert Lewis, ;.Jorris Carnovsky and currently is attending classes with Aaron Frankel at Berghof Studios. He appeared as Leo Herman (Chuckles) in A TIIOUSAND CLOWNS and The Prisoner in THE PRISONER at the Erie Civic Center in Pennsylvania and as Sgt. Carlino in WAIT UNTIL DARK and Brabantio in OTHELLO at the Corning Summer Theater. 11is New York credits include Peter Stockmann in ENHIY OF THE PEOPLE at the Equity Library Theater. He Nas also seen as Amos Babcock Bellamy in TUE FANTASTICKS in Bermuda, Grand Bahamas.
JOHN GLOVER - (Pet) - has appeared at Stage West Theatre in Springfield, ~lass; Lhe Studio Arena, Buffalo, New York; the 1'-iummers Theatre, Oklahoma City; the Woodstock Playhouse, Woodstock, N.Y.; . nd the Barter Theatre, Abington, Va. He l1as appeared twice before at Chelsea Theatre Center in JUNEBUG GRADUATES TONIGHT! and CHRONICLE. ARNOLD WILKERSON - (Little David) - went from San Francisco to London, where he studied at the Royal Academy of Dramatic Art, Ninning the Peter 0_ 1 Toole Scholarship and the Sir Kenneth Barnes Scholarship. At graduation, he won the Lord Lurgian Prize for movement. New York audiences first saw him last season in the New York Shakespeare Festival production of !fAIR . His Broadway debut this season in Jrt.E·- IY SIIINE followed a summer stock production of WHAT DID WE DO WRONG? TQi.l MCDER: lOTT - (Parker) - appeared on Broadway with Katherine Cornell in THREE SISTERS, as well as in the Broadway productions of THE BEST 1-IAN, 1 IGER AT TilE GATES, ..r·:NE EYRE and THE HOSTILE WITNESS. Ilis Off-Broadway credits include the American Place Theater productions of TilE OLD GLORY and !lOGAN 1 S GOAT, and Captain Vere in BILLY BUDD. He has also been seen in repertory at both the Globe Theater in San Diego and Tl1e Barter Theatre of Virginia. ROBERT ANDREW BONNARD - (Junius Brutus Booth) - actor, director, playwright; was recently nominated Best Director for the Sl1ow Business Award for superior artistry in the world of entertainment for his direction of THE WATCH-PIT, presented by Chelsea Theater Center earlier this season .• Ir. Bannard received an Obie ANard in 1967 for his performance of the Old ~Ian in the Off-Broadway production of Ionesco 1 s TilE CIIAIRS. His own t• IY FRIEND WEISSi-IANN IS BACK! appeared Off-Broadway (it premiered at Chelsea Theater Center), ~nd his THEY SAW TIIE WHOLE ZOO has appeared around the country. He has played classic leads under the direction of E. Wartin Browne and Glynne Wickham of the Bristol Old Vic, and toured with the Heritage and Washington Civic Theatres. LOIS DE BANZIE - (1-lary Booth) - has just returned from touring Florida with the Asolo State Theater productions of THE 1·iiSANTHROPE and ARMS AND THE !'>IAN . ..ast summer she toured in THE ODD COUPLE with i•like Kellin, George Gobel, Dan 1 Dailey, Tom Poston, etc. :!iss de Banzie has also appeared in APA ,_; ~·1AN AND SUPERliAN and at City Center .in ELIZABETH TilE QUEI::N with Dame Judith Anderson as well as in many other theatre, TV and r adio productions in the U.S., ~lexica and Britain. i'IARILYN CHRIS -(Ella) - will be seen as i·lyrtle Young in the soon-to-be- rcl ... ased film, DEAR iiARTHA . She went on as .i\lyrtle Kane (for Estelle Parsons) in the Broadway production of Tennessee Wi lliams' THE SEVEN DESCENTS OF ~~RTLE. She docs TV, TV commercials, s a former member of The Living Theater and has done too much regional theatre. She last appeared in the ~haracter of America in CTC's production JUNEBUG GRADUATES TONIGHT! LINDA PARRISH - (Bessie) - 1·eccntly stood-by for the role of Angel in the Broadway musical CELEBRATION. She toured nationally Hith STOP THE WORLD-I WANT TO GET OFF and appeared recently on TV's HIDDEN FACES. She studied drama for four years at the University of Oklahoma and is presently with Ann HeyHood Burton. Currently Miss Parrish is working on the role of the Young Heroine in a production of STREETS OF NEW YORK to be toured in the fall.
TOM ALAI:IO - (Bar Crowd) - ·n English teacher and graduate of Fordham U., he has appeared in several nationally distributed Television commercials, and was last seen at Chelsea Theater Center in this season's CHRONICLE. JASON HALLE - (Bar Crmvd) - is a former student of the American Academy of Dramatic Arts, and is currently studying at the Senior Dramatic Workshop.
JO~IN JANKOWSKI - (Bar Crowd) - is a caseworker for N.Y.C. Department of Social Services and a graduate of Queens College. He trained with the St. John's University Players, and played roles including Stanley in TilE BIRTHDAY PARTY and l>lalvolio in TWELTH NIGHT. ALLAN JEFFERS - (Bar Crowd) - actor and vocalist, was seen in New York with the St. John's Theater Guild and at Fordham University. In London he·appeared at the Royal Lancaster Hotel, and in Czechoslavakia at the Bratislava Song Festival. Recorded on Philips Records, He has also recorded the theme songs to two films, uELLISH10 NOVHIBRE and TilE GREAT SILENCE. JUNE JEROME - O,linstrel Girl, .. ar Crmvd) - ..ras seen on Broadway with Joan Bennett and Donald Cook in LOVE i·IE LITTLE and at Circle-in-the-Square in OUR TOWN. She appeared on TV for one and one half years on SEARCH FOR TOI,IORROW, ( pposite Walter i'-lat tau in TALLAHASSEE 7000 and in CAR 54, WHERE ARE YOU? JOHN JERmlE - (Bar Crowd) - is a praticing attorney and first appeared at Chelsea Theater Center in this season ' ..> CHRONICLE. ANDREA LANG - (j\Jinstrel Girl, Bar Crowd) - is presently attending the High School of the Performing Arts; sltc played Kim in SHOWBOAT at the Lambertville Music Tent, Llara in IIEIDI at Judson Hall, Mineola Theater and OF INNOCENCE AND CHANGE at the 92nd St. YMHA.
TINA !!ANN- (Bar Crmvd) - studying with ~lilton h.atselas, _,he appeared Off Broadway with The Young People' ~ Repertory Theatre in ANTIGONE and AS YOU LIKE IT. She was a member of the touring company of TOBACCO ROAD. 1-lARSIIALL NUNLIST- (Bar CroHd) -received her BFA from Ohio University; ..... he ha~ played Olga in THREE SISTERS; Toinette, THE Il-IAG INARY INVALID; Mary , CRUCIBLE. ALLISON PAU-IER - (;Iinstrel girl, Bar Cro\vd) - has studied with Dustin Hoffman, John Lehne, Lewis Galterio and Danial Nagrin. An understudy for THE PINTER PLA) she appeared in ODD COUPLE, TllE IilPORTANCE OF BEING ERNEST tl PERIOD OF ADJUSTt-11
RICK PETRUCELLI - (Bar Crowd) - ~ een in the Fordham Summer Theatre FIORELLO, in the Riverdale Showcase of TilE SORCERER OF LOS ALAJ.fOS, and with the Repertor) Company of Lincoln Square, Vernon Actor's Theatre and Oswego Dinner Theatre.
ARY £liTH - (Bar Crowd) - is a graduate of ~est Virginia University; he ap peared in major productions including :iUSIC ;JAN, TIIEIVES CARNIVAL & UNDER i·lilk· .OOD. CHELSEA THEATER CEl-.ITER
ROBERT KALFIN - Artistic Director and Founder of tj1e Chelsea Theater Center, i1e initiated the project in 1965. Prior to directing CTC Is production of John Gay I·' CHRISTOPliE' f·lr. Kalfin stagea Thornton Wilder's T11E SKIN OF OUR TEETH for a touring Scandinavian production starring E.G.:larshall, Sada Thompson and Thelma Oliver. Other productions include Robert Bonnard' s MY FRIEND \iEISSJ.IANi~ IS BACK! and Archie Shepp' , JUNbBUG GRADUATES TONIGHT! for Chelsea Theater Center, and the American premiere of J3recJ1t' s PUt TILA AND IllS lliRED ~· iAN for the 1 1ilwaul~ee Repertory Theater. As Associate Director for the Equity Foundation's Department to Extend the Professional Theater , he spent a year a~d a l1alf as consultant for the development of new American regional tl1eaters. A native New Yorker, his Off-Broad,·Jay credits include directing the 1959 pro duction of THE GOLE:I> and adapting THE GOOD SOLDIER SCI-H·JEIK. ~Ir. Kalfin'~ academic background includes an M.F.A. degree in direc ting from the Yale Drama School. IHCliAEL DAVID - _s currently spending his first season with the Chelsea Theater Center as its Executive Director. He formerly co-conceived the Third Party project, a summer theatrical coalition at t~te Long l'iharf Theater in i~e'·' 1laven, and Has its Press and Community Rela tions Director. ln 1967, iir . David co-conceived ti1e> noN model, Hill Arts Cooperative project, developed to utilize Yale University and New lfaven financial and cultural resources in forming a center for communication arts in the ghetto . Prior to this) ~ir . David had served as Product ion ; ianager for the Yale Repertory Company premiere production of Joseph Ileller Is WE BO;\IBED IN NEl'J HAVEN and in the same capacity for ti1e Ford Foundation American Drama Festival in Dearborn, ;.richigan. 1 n 1966 , he represented the Yale -Harvard Southern Teaching Program to advise on theater curriculum and guest instruct in creative writing at black colleges in North Carolina. A resident noH of Brooklyn, J.lr. David ' s background inc luues an 1·1. F. A. in Production, Design and Administration form the Yale School of Drama.
GEORGE BARI - Production ~lanager and Founder of the Chelsea Theater Center, has worked in many capacities Hith CTC since its inception. ~tr. Bari was with the APA Company for the first five years of its existence, and his credits witl1 that company include productions of THE SCHOOL FOR SCANDAL, THE TAVERN, THE LOWER DEPTHS, A MIDSillfilER NIGHT'S DREAil and TilE SEAGULL. Off-Broadway, ~ir. Bari has been active both as actor and stage manager since 1956, working for many years at the Sullivan Street Playhouse and appearing in such off Broadway productions as IVANOV, BORAK, THE llALD SOPRANO and JACK, OR THE SUBMISSION. Born in Erie, Pennsylvania, he received l1is formal theater training at Carnegie Tech. 3 years and 39 plays later ... It is one of my regrets that it is not possible for the Manitoba Theatre Centre to concentrate on the presentation of new plays to the extent that I would wish. It is most vital to all of us working 'An unknown playwright must have in theater, that new writers are en some place to make mistakes that es couraged and provided with opportun tablished writers commit in out-of-town ities to see their work pass through a previews. But producers ignore them, rehearsal period and stand the chal Jflfu® ~rrnit®rr~ maintaining time-tested stand-bys in a lenge of confrontation by an audience.' 'A writer, in order to gain the perspec sort of in-breeding which leads to com Edward Gilbert, Artistic Director, Mani tive, energy, resilience and momentum placency and, perhaps, sterile theater. toba Theatre Centre necessary to keep writing, must work As a struggling playwright ... 'it had within a realistic context and environ occurred to me to give the whole thing 'The kind of work Chelsea Theater ment-a stage upon which he can test up. What a shocker it was when CTC Center is doing with playwrights is so his vision or fantasy against the hard announced MY play was selected for vital that one almost dare say the fu reali ty and discipline of a public show performance before an audience. I was ture of the theater depends on it.' ing. It was this that the Chelsea Theater supplied with a top-notch director, ex Sidney Lani er , President, American provided.' Edward Pomerantz, Kid cellent cast and dedicated crew. The Place Theater care and attention to detail amazed 'Sometimes it is an immense relief for me. (Without costing me a cent). a playwright to discover-without the Of course, there were many pro ®fill@ @itlfu®rr~ burden of fi nancial loss to others or ducers in the house but that was not 'Familiar with the work of the Theater injury to good actors' careers that a fu ll the only advantage. The audience re Center, I must say that I will do every production might entail-that he is a action and my own reaction of this thing in my power to see that it is per novelist. That's a service too, you know spectacle enabled me to make revisions mitted to continue its good work.' -at least to the theater, and perhaps that never would have occurred to me John V. lindsay, · to literature in general. This is the ser on the flat pages of the script. Shortly Mayor, City of New York vice Chelsea Theater Center rendered after ... a letter came expressing pos me, and I am deeply grateful. ' Ru ss sibility of a Broadway production. One 'En suma total el Chelsea Theater Vliet, Sweetly Sings the Mocker of the factors that clinched the pro Center merece nuestra gratitud por ducer's interest- the fact that the play haber seleccionado una obra que, como 'As a result of your production, several appeared to be in the final stage of LAS \'ENTANAS, es representative del people have shown definite interest revision. For that I thank Chelsea. Jean alcance de Ia literatura teatral puerto in producing my play.... ' James Maljean, Psalms are Psung on Psundays rriquena.' El Diario, ueva York- re Spencer, The Captain's Marbles viewing a workshop production pre sented in Spanish by a new Puerto 'The facilities are admirable: lighting, Jflfu® ~ff©~®~~ll©fffi Rican playwright. a hell of a lot better than another play 'We in the resident theater movement, of mine received at a midtown Off with all the best intentions in the world, 'The Chelsea Theater Center vibrantly Broadway theater; the production as are finding it difficult to give the fulfilis one of the theater's chronically sistant was dedicated and resourceful; proper attention to new playwrights. neglected functions.. .. Although one the rest of the staff entirely helpful; Certainly we hope that, before long, of the newer off-off Broadway theaters, and last, but hardly least, the large the situation will be rectified. But, CTC has moved the fastest and most group of patrons who come to view until that time organizations such as deftly toward securing a solid institu the final result were all that an audience yours must carry the ball.' Pirie Mac tional footing.' Ro bert Pasolli, The should be in their response, in their Donald, Associate Director, Seattle Nation comments: thoughtful, honest and in Repertory Theater volved.' Coleman Dowell, The Eve of Chelsea Theater Center is a free, professional, the Green Crass 'Hearing that you aired the works of 26 non-profit, producing organization. It is sup new playwrights at Chelsea Theater ported solely by contributions from private in 'Ever since my play was produced at Center last year, I can only express dividuals, foundations, corporations, government CTC, I have been devoting myself to great envy an d even greater compli agencies as well as voluntal) donat1ons from its writing as never before. Your organi ments. Quite clearly this is the only v.ay audiences. Partial support is current!\ being re ceived from The Ford Foundat on The Special this country will develop the new play zation has injected me with new en Projects Program oi the 'e\\ York State Council thusiasm. I hope you can continue to wrights we desperately need.' Pe t er on the Arts. the Dramatists Guild Fund and in do the same for others. Dennis Selby, C ulman, Executive Director, Center dividuals to be pubhshE'd later dunng the season. The Island of Symmetrical People Stage, Baltimore All contributions are tax deductible. TWO IFs ...
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2ndIF YOU HAVE NOT ALREADY OONE SO TIUS SEASON, Would you take two minutes at intermission to give us some important information and advice as we plan our new season. (Our mailing list will receive the results). 1. Where is your current home? (check one) Brooklyn_ Manhattan_ Queens_ Bronx_ Oth~-, I 2. What is your approximate age? (check one) I under 18 18-25 26-35 36-49 over 50 I 3. Have you attended any other Chelsea Theater Cntr. I productions this season at the Academy? yes_ no_ I 4. In the last 12 months •.• did you ever attend another event (not including CTC) at the Brooklyn Academy? i yes_ no_ I
Which would you prefer to attend? (check one) A free "workshop.. _ A paid, full-scale Off.. Broad'\W.y _ 6. How did you hear about this production? (check one) Mailing piece_ The press_ Academy program_ A frien~word-of-mouth)_ Other______CHELSEA THEATER CENTER at The Brooklyn Academy of Music 30 Lafayette Avenue . Brooklyn, New York 11217 Memberships in the Chelsea Theater Center AUDIENCE- IN -RESIDENCE Participating $ 5 Sustaining $ 100 Associate 10 Sponsoring 250 Supporting 25 Patron 500 Contributing 50 Charter 1000 All contributions of $5 or more will be receipted Enclosed is my tax deductible donation of $ _____ payable to Chelsea Theater Center. NAME ______ ADDRESS·------·------C/TY ______STATE ______ ZIP CODE ______PHONE ______ I am already on your mailing list. ____ (CTC's· list is separate from BAM's). ~82