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Edward Albee's Seascape

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Edward Albee's Seascape The American Century Theater presents About The American Century Theater The American Century Theater The American Century Theater was founded in 1994. We are a presents professional nonprofit theater company dedicated to presenting great, important, and worthy American plays of the twentieth century—what Henry Luce called “the American Century.” The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to Edward Albee’s surrender the moorings to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins, and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. July 30–August 22, 2009 Board of Directors and Staff Gunston Theatre II 2700 South Lang Street Chair Wendy Kenney Vice-Chair Ann Marie Plubell Arlington, Virginia Treasurer Kimberly Ginn Secretary Peri Mahaley Director Producer Stage Manager Board David T. Austern, Rebecca Barton, Steven Scott Mazzola Karen Currie Zachary W. Ford Elizabeth Borgen, Rebecca Christy, Set Design Lighting Design Costume Design Vivian Kallen, Jack Marshall HannaH J. Crowell Andrew F. Griffin Melanie Clark Jack Marshall CEO and Artistic Director Sound Design Properties Design Technical Director Steven Scott Mazzola Associate Artistic Director Matt Otto Suzanne Maloney Norman Lee, IV Rhonda Hill Production Projects Coordinator Rebecca Hunger Director of Operations Setting Jason Beagle Volunteer Manager Midday on a dune on the Northeastern Shore of Long Island Rip Claassen Outreach Manager Brian Crane Communications Manager Seascape will be presented with one 15-minute intermission. Deborah Rinn Critzer Volunteer Manager Karen Currie Production Associate/Inventory Control Ellen Dempsey Controller Kate Dorrell Publications Manager Tom Fuller General Counsel/Resident Musical Director Edward Albee’s Seascape is produced by special arrangement with Sherri L. Perper Director of Outreach and Volunteers Dramatists Play Service, Inc. Ginny Tarris Director of Development Please—Silence cell phones and other sound producing devices. Robert McElwaine Resident Playwright The use of recording equipment and/or the taking of photographs during the performance are strictly prohibited. Cast, in order of appearance Nancy ................................................................................. Annie Houston Charlie .................................................................................... Craig Miller AD’s Notes Leslie ...................................................................................... Brian Crane Sarah ................................................................................... Mundy Spears Edward Albee’s Seascape (1974) Production staff Seascape marks a critical point in the career of Edward Albee—the point Director ................................................................... Steven Scott Mazzola at which most successful playwrights choose a path dictated by finances Stage Manager ................................................................ Zachary W. Ford and creative realities. Albee chose a different one. Producer ................................................................................ Karen Currie The American Century Theater focuses most of its attention on the Set Design ................................................................... HannaH J. Crowell Lighting Design ............................................................. Andrew F. Griffin very best American playwrights, yet even these suffer from a fate that Sound Design ............................................................................. Matt Otto seems grafted to the commercial creative career: they can’t escape their Costume Design .................................................................. Melanie Clark own successes. Once a playwright has had a well-received play, there Properties Design .......................................................... Suzanne Maloney are overwhelming pressures to stay close to the themes and style that Makeup ........................................................................ Lynn Sharp-Spears have brought fame, riches, and favor. Tennessee Williams found himself Technical Director ........................................................... Norman Lee, IV returning repeatedly to the travails of lonely Southern spinsters. Arthur Scenic Artist ................................................................... Meaghan Toohey Miller explored similar moral dilemmas in different settings. Many Board Operators .................................... Michael Clark, Christine Millette playwrights staged brief rebellions: Philip Barry, hailed for his comedies, Electrics ............................................................................... Michael Clark tried periodically to sneak a drama past the critics, who would have none Set Construction .............................................................. Norman Lee, IV of it. Both Miller and Williams attempted light-hearted fare that had Costume Construction ................... Jennifer Tardiff, Kingsley Gbadegesin audiences telling them to go back to what they did best. Usually, that’s what Production Intern ............................................................... Brendan Haley the great writers end up doing. It’s safer, and it’s easier on both their bank Marketing and Publicity ........................ Yvonne Hudson, Jennifer Adams accounts and their reputations. Program Design and Cover Art ..................................... Michael Sherman Production Photography ......................................................... Micah Hutz Still, they make this compromise at a price. Researchers on the mysteries Display and Design Intern ...................................................... Lana Hasou of the human brain have learned that human creativity comes from forging new neural pathways. When an artist uses the same neural pathway over Special thanks and over, it becomes exhausted, like a mine’s vein of a precious metal Jeffrey S. Akman Jessica Karasia that gets depleted. After that, nothing really new or interesting comes out. Elise Bernadoni and the Sarah LaRue and Signature Theatre A few artists have both the courage and the depth of talent to abandon National Zoo Patrick Lord the old pathways that have been successful before they reach this point, Vanessa Bradchulis Cam Magee go searching for new ones, and find them. The Beatles. Steve Martin. Jared Davis Nancy McCabe Philip Roth. Among playwrights, it is a very short list, almost beginning Mike DeBlois Katherine Mielke Anar Garibov and the Roxann Morgan and ending with Eugene O’Neill. But Edward Albee also belongs on this Center for Digital Imaging Arts Lorraine Osinski list—and has the scars to prove it. George Mason University Bob Rogerson Seascape is called the second of Albee’s Pulitzer Prize–winning plays, but Arts Management Program Shakespeare Theatre Company it was really the third. Who’s Afraid of Virginia Woolf?, by acclamation his Michael Kahn Jonathan Stricks masterpiece, was selected by the Pulitzer Prize drama panel for the 1963 and all others whose names were not available as this program went to press. prize, but the stodgy Pulitzer Committee vetoed the choice on the grounds that the play did not represent “a wholesome view of American life.” They awarded no drama prize that year, and half of the drama jurors resigned Cast in protest. Albee had to wait until 1967 for his first officially sanctioned Brian Crane (Leslie) last appeared at The American Century Theater Pulitzer—for A Delicate Balance. Between these two domestic, emotional- as Reverend Lloyd in Life with Father. Other TACT appearances disembowelment plays, Albee had been trying out new neural pathways have included Woodly in Happy Birthday, Wanda June, the Producer like mad: the book for a musical comedy, Breakfast at Tiffany’s; a dense in Hellzapoppin’, the Egg of Head in MacBird!, Harris in Tea and intellectual allegory, Tiny Alice; experimental one-acts. The musical closed Sympathy, and Felix/Williams in Paradise Lost. Roles at Washington before it got to Broadway, the allegory was roundly hated by critics, and the Shakespeare Company include Steve in Small Craft Warnings, War in Peace, Le Grue in Red Noses, Lepidus in Caligula, Lodowick in Edward experimental one-acts were, well, experimental one-acts, the kind of thing III, and De Nizza and Manco in The Royal Hunt of the Sun. Brian has that established playwrights are supposed to leave behind with their one- also appeared as Clotaldo in Life Is a Dream with Journeymen Theater. room garrets and their pile of rejection slips. So with another Broadway Brian has been an understudy for several Studio Theatre productions: hit and a second celebrated play from the original mother lode, what did Man (u/s) in The Long Christmas Ride Home, Teddy Lloyd/Gordon Edward Albee do? Lowther (u/s) in The Prime of Miss Jean Brodie, and Ralph (u/s) in Frozen for Studio Theatre Secondstage. He went back to looking for a new vein. Seven years later, after several Annie Houston (Nancy) has appeared at The American Century Theater more failed digs, he found himself back at the original
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