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Kettler HalJ 2 l 9-482-5343 THE MANY MANIFESTATIONS OF MAME

In 1955, Auntie Marne burst upon an unsuspecting America in the novel Auntie Marne: An Irreverent Escapade. Written by Edward Everett Tanner under the pen name of Patrick Dennis, the novel was on best-seller lists for over two years and sold well over two million copies. Given the histrionic nature of the delightful terror of Beekman Place, it was not surprising that Marne Dennis soon found herself the center of a theatrical adventure. Working with material from the novel, playwrights Jerome Lawrence and Robert E. Lee fashioned a triumphant star vehicle for Rosalind Russell, the first Auntie Marne. The play opened at New York's Broadhurst Theatre on Halloween, 1956, and audiences found it such a treat that it ran for 639 performances. Several road companies took Auntie Marne on tour to the forbidding areas beyond Broadway. In 1958, the show opened in London with Beatrice Lillie in the title role. That same year, a film version of the play, with a screenplay by Broadway greats Betty Camden and Adolph Green, brought Rosalind Russell's Auntie Marne to millions of viewers. For her bravura comedic skills in this film, Miss Russell received an Academy Award nomi­ nation for Best Actress. In 1966, Auntie Marne returned to Broadway, this time with bells, whis­ tles, songs, and dances. Marne, based on the Lawrence and Lee script and with music and lyrics by Jerry Herman of Hello, Dolly! fame, opened at the Winter Garden Theatre for a run of over 1,500 perfor~ances. Angela Lansbury won an Antoinette Perry (Tony) Award forJ:terperformance in the title role. Since 1956, the roster of Mames has included Rosalind·Ru$sell, Beatrice Lillie, Greer Garson, Constance Bennett, Eve Arden, Angela Lansbury, Ginger Rogers, Janis Paige, Jane Morgan, Ann Miller, Celeste Holm; Susan Hayward, and Janet Blair. In 197 4, an unfortunate film version of Marne was made, featuring Lucille Ball as the last of a long line of famous actresses who have been attracted to the character of Auntie Marne Dennis. A MAME CHRONOLOGY 1955- Auntie Marne; An Irreverent Escapade (novel) 1956- Auntie Marne (play) 1958 -Auntie Marne (film) Around the World with Auntie Marne (novel) 1966- Marne (musical) 1974- Marne (film)

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GLASSWARE Marne: The Multi-person

Perhaps Marne is a symbol of this century. Since the time Mr. Coolidge started getting his shirts laundered on Pennsylvania Avenue, anyone truly perceptive could absorb more interesting stimuli in an hour than a Victorian aunt might encounter in a month of bank holidays. From all the recent miracles of communication and mobility, a new kind of human being has emerged: the multi-person. And because Marne is the multi-person personi­ fied, w~ could no more squeeze her into a single set than a single snapshot could portray the limitless panorama of her life and adventures. In his novel, Patrick Dennis barely nodded in the direction of the Aristotelian unities. We determined to toss Mr. Aristotle's pronunciamentos squarely in the ash can. We deliberately set out to design an entertainment that had the scope and ubiquity to match Marne's multi-personality.

Jerome Lawrence and Robert E. Lee "Introduction" to the play Auntie Marne, 1957.

One Fine Perfonnaf1Ce DeserPes A not her y

SerPe You Better 1~11 ColdrPaler Rd. THE DEPARTMENT OF COMMUNICATION Cafe BREAK AND THEATRE presents a John ell A PURDUE INDIANA THEATRE PRODUCTION LEG. AUNTIEMAME Tonight. by Jerome Lawrence and Robert E. Lee Ne'l'tr has there been a better time for Based on the best-selling novel by Patrick Dennis C!fe Johnell. The award-winning. four· st.ar rcst.'!urant that made fort Wayne ~ Director: Larry L. Life famous for restaurants. Tree parking. ,..., attendant on duty. w.,....o., IOtC Set Design: Stuart Sweet, Jr. Call for reservations today. 4S6·1939. Lighting Design: P. Scott Holtz Costume Design; 461-7111 (In partial completion of THTR 590) Patricia DeAiteris Sweet Home of the CAST Auntie Marne ...... Suzie Weaver Every Tuesday Account. Norah Muldoon ...... '. Marty Macke Patrick Dennis, as a boy ...... Bret Scappucci Ito ...... Brian Wagner 2529 So!Jth Calhoun Stred Vera Charles ...... Jaynee Vandenberg Osbert ...... Mark Summers Ralph Devine ...... John Swinehart Bishop Eleftharosees ...... Kirby Volz M. Lindsay Woolsey ...... Jim Hodgin Mr. Waldo, a paper hanger ...... Alan Crill Mr. Babcock ...... Cal Couch Radcliffe ...... Lisa Haram Charles ...... Brad Beauchamp Edna ...... Brenda Tressler Courleay of Al Linden, the stage manager ...... Kirby Volz A Theatre Manager ...... AI Peters A Maid ...... Felicia Simler A Butler ...... Brad Beauchamp Leading Man ...... Alan Crill Sunny Schick Lord Dudley ...... David Yarnelle A Customer ...... Myra M. McFarland A Customer's Son ...... Scott Gillan Mr. Loomis ...... Brad Beauchamp 219/424-1.525 Beauregard Jackson Pickett Burnside ...... Wayne Schaltenbrand Cousin Jeff ...... Kirby Volz Cousin Fan ...... Myra M. McFarland Cousin Magnolia ...... Flynn Lundh Cousin Scarlett ...... Felicia Simler Cpusin Melanie ...... Brenda Tressler 40'7 W W•l•t-CYO.,. .,..,. Fo•t w ..... ,, ltotD. •••oz C .R. 3-84-77 CAST (Can't.) 121 W. Jefferson in Downtown Fort Wayne Invites You To Attend It's Performances Of The 1983-84 Season Film Classics, Travelogs, CBICIID IT ILIIN BEEF Pop Entertainers, Opera, Jazz, Broadway Shows, and Philharmonic Concerts DUlCIE

CALL (219) 424-5665 VEGGIE SINDWICBES between 11:30 am & 5:30pm for Current Information

I~DIANA S LARGEST HISTORIC Breakfast Daily THEATRE Tours Available by Appointment BroadwaJ & Taylor Hungry Hunter.

We af the l-tu nqrq ~ unfe.r hope IJOU enjoy toniqh-Fs peformance. Remember ... Save lJour ticket 5fub! lhis entitles you to :/> 5oo o/Tdinner for lJDU and Lfour quest. Atferward:; step info our lounqe for more Jive enter+arnmQh+.

Expires December 3, 1983 Offer not valid in conjunction with any other special. CAST (Con't.) Cousin Moultrie ...... Alan Crill Sally Cato ...... Erica Tobolski Emory ...... Scott Gillan Mother Burnside ...... Susan Horine Fred, a groom ...... Brad Beauchamp Dr. Shurr, a Vet ...... John Swinehart Patrick Dennis, a young man ...... David Yarnelle Agnes Gooch ...... Becky Niccum Brian O'Bannion ...... AI Peters Gloria Upson ...... Flynn Lundh Doris Upson ...... Maryamber Bosk Claude Upson ...... Orion Toepfer Pegeen Ryan ...... Lisa Haram Michael Dennis ...... Brett Scappucci A Tibetan Actor ...... Sonam Tashi and a great many friends of AUNTIE MAME

The play is performed in two acts with a fifteen·minute intermission.

SYNOPSIS OF SCENES The action of the play takes place in Auntie Marne's Beekman Place apartment and various other locales from 1928 to 1946.

Auntie Mame is produced by special arrangement with Darmatists Play Service, Inc.

PRODUCTION STAFF Assistant Directors ... Leslie Hammer, Nicholas Moisica, P. Scott Holtz Assistant Designer and Technical Director ...... Max Lydy Scenic Construction ...... Jim Hodgin, Calvin Swangin, Bruce Mercer, Deanna Reynolds, Students of THTR 155, 158, and 201. Costume Construction ...... Cutter: Mark Anthony Summers Construction Head: Erica E. Tobolski Crew: P. Scott Holtz, Sara Weaver, Susan Horine, Flynn Lundh, James Hodgin, Bruce Mercer, Sharon L. Seabold, David A Yarnelle Properties/Floor Manager ...... Dennis Applegate Sound Operator ...... David Sittler Dressers ...... Jim Nelson, Nan Yake Production Photographer ...... Bill Nichols Light Board Operator ...... Mike Walda Publicity and Promotion ...... Mel Stewart, Learning Resource Center Box Office ...... Beth Huffman, Maria Pilarski

ACKNOWLEDGEMENTS Daseler Furs Nobbson Tammey Jewels Mrs. Helen Verse INDIANA UNIVERSITY-PURDUE UNIVERSITY AT FORT WAYNE THE DEPARTMENT OF COMMUNICATION AND THEATRE

Robert Adams ...... Assistant Professor Director of Forensics Randy Bardonner ...... Instructor Audio and Television Production Michael Bishow ...... Assistant Professor Coordinator, Communication Fundamentals Program Robert Bresnick ...... Assistant Professor Directing, Acting, and Criticism Anthony Ferri ...... Assistant Professor Mass Communication Theory and Scriptwriting Cecele Goldman ...... Instructor Applied Communication Donald Grose ...... Assistant Professor Theatre History and Criticism Richard Hess ...... Associate Professor Political Communication 0. F. Kenworthy ...... Associate Professor Theatre History and Management Larry L. Life ...... Assistant Professor Acting and Movement David McCants ...... Professor and Chair History and Criticism of Public Discourse Janet Roncelli ...... Assistant Professor Oral Interpretation and Rhetorical Theory Patricia D. Sweet ...... Costume Designer Stuart Sweet, Jr ...... Assistant Professor Technical Theatre and Design David Switzer ...... Associate Professor Organizational Communication Marjorie Siebold ...... PIT Secretary Betty Kendall ...... Department Secretary 1------'\ (~) -~ c:

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The best ideas are the ideas that help people. ITT BOX OFFICE· 424-5220 ivi.c Thea-t"Re Patrick Dennis on the Dramatization of Auntie Mame Having had nothing to do with writing the play Auntie Marne, it is easy for me to be quite detached and objective about it. And I can say, right along with the critics and the thousands of people who have seen it, that it makes a wonderfully entertaining evening in the theatre ... . Like Marne herself, Auntie Marne is in no way conventional as a play. Nor could it be, because my novel, Auntie Marne, from which the play is derived, isn't even a novel, really. It is, instead, a couple of dozen episodes that take place in a couple of dozen localities over a couple of dozen years. I can't quite label it myself, but the matchless Rosalind Russell, who originated the role of Marne, who is Marne, calls this offering "a review without music," and her definition is better than any I can supply. Both novel and play are freaks, then - but such popular freaks that their lavish eccentricities cannot be entirely despised. Not every episode in rny book is in the play .... But an astonishing number of the episodes in the book are in the play; enough so that the casual reader is convinced that every word of the novel has been translated to the stage. If that isn't catching the "spirit" of a book, I don't know what is. And Jerome Lawrence and Robert E. Lee have gone yet a step further in their dramatization, for they have caught - far better than I - the moments of heartbreak that are also in Auntie Marne and placed them on the stage so deftly that, between the guffaws and giggles, snickers and snorts, there are audible sobs and visible tears at each and every perfor­ mance. That is what I meant to do in the novel and, I am afraid, failed. To me, comedy is measured not only by its laughs, but by its tears. With every pratfall the heart should also ache. In this play it does, and I still cry just as hard when I drop into the Broadhurst Theatre now as I did on the night the play was out in Wilmington. Two handkerchiefs are par for the course. But enough of the clown longing to play Hamlet. To quote from Hamlet itself, "The play's the thing something, something, something the king." And here it is, a warm, rich, sprawling, unorthodox comedy that I am proud and happy to have inspired. Patrick Dennis, "Foreword" to the play Auntie Marne, 1957. Personal advice on personal computers.

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