20/21 Department of Theatre/Dance

uww.edu/cac/theatre-dance th e mi sa n thro pe

by Moliere adapted by Neil Bartlett directed by Bruce Cohen

November 24 - 29, 2020 UW-Whitewater is accredited by the National Association of Schools of Theatre. LE MISANTHROPE by Moliere, adapted by Neil Bartlett directed by Bruce Cohen CAST

Alceste Celimene Oronte Kory Friend Ivy Steege Jon Lotti

Philante Eliante Arsinoe Bryce Giammo Natalie Meikle Lindsay Bland

CREATIVE TEAM

Director Bruce Cohen

Stage Manager Assistant Stage Manager Alden Swanson* Abigail Brandt*

Technical Director Ruth Conrad-Proulx

Scenic Designer Costume Designer Lighting Designer Brandon Kirkham Jordan Meyer** Samuel Hess

Props Master Heather Wallman

* mentored by Ruth Conrad-Proulx ** mentored by Tracey Lyons

Licensed by arrangement with The Agency (London) Ltd, 24 Pottery Lane, London, W11 4LZ; [email protected] PRODUCTION CREW Scene Shop Technical Assistants Samuel Hess Abby Smith-Lezama Nicolas Sole Mary Sportiello

Costume Shop Assistants Natalie Meikle Lydia Oestreich Carlee Wuchterl

Construction Crew Abigail Brandt Trevor Brilhart Gabby Dever Kate Diedrich Abby Frey Michael Garcia Nakia Gardison Bryce Giammo Katie Griepentrog Joelle Hackney Allison Indermuehle Dyamond Jackson Arizona Kohler Bee Marean Eric McKee Maggie McNulty Samantha Ness Lexi Novak Evan Stormowski Gwen Swanson Miranda Vincent Ashlynn Vlcko artist profiles KORY FRIEND Craig, Andy Serkis, Tim, Josh, Rob, (Alceste) is a Brandon H, Simon McGhee, Alex senior BFA Theatre Carey, Alexa Broege, Robert de Niro, Performance major. Brandon and Leslie Talley, Sara J. Their previous Griffin, The Office, Aleks Knezevich, UW-Whitewater OCF, George M. Roesler, Shakespeare credits include and Co., his incredible advisor Vanity Fair (Actor Marshall Anderson and his faithful 5), The Addams Family (Pugsley), dog Josie. Twelfth Night (Malvolio), and Resort 76 (Yablonka). This is Kory's last BRYCE GIAMMO show at UW-Whitewater and they (Philante) is hope to pursue acting and writing a freshman professionally after they graduate in BFA Theater December. Performance major in his second show IVY STEEGE at UW-Whitewater. (Celimene) is a He most recently junior BFA Theatre was involved in Vanity Fair (Actor 3 Performance major Understudy). He would like to thank and is so excited to his family, his directors and his fellow be working on Le cast members for their constant Misanthrope. In the support. past, Steege has participated in other UW-Whitewater NATALIE MEIKLE shows such as The Addams Family (Eliante) is a (Renaissance Ancestor), Resort Sophomore 76 (Esther), and Devon's Hurt BFA Theatre (Stephanie). Steege would like Performance major, to attend graduate school after and is excited to graduation but is unsure as to where be working on Le Misanthrope yet. She would like to thank her family . and everyone viewing the show! Previous UW-Whitewater performances include: Vanity Fair JON LOTTI (Becky understudy), The Addams (Oronte) would Family (Medieval Ancestor), Twelfth like to thank God, Night (Malvolio, Valentine, Priest Dad, Mom, Fiona, and Soldier understudy), and Resort Marcus, Maria, 76 (Anya). Natalie would also like to Nicola and the rest, thank her family and friends for all of UST Crew, Sam their support. Enjoy the show! Rockwell, SNL, artist profiles LINDSAY BLAND professional theatre companies (Arsinoe) is a including the award-winning Utah junior BSE Theatre Musical Theatre. Professor Cohen Education major and holds a Bachelor of Fine Arts Degree is looking forward in Acting from Adelphi University to working with the and a Master of Fine Arts Degree rest of the cast of in Directing for the Stage from Le Misanthrope. The University of Alabama. http:// As a transfer last year, Lindsay was bruceevancohen.wixsite.com/ also seen as Viola in Twelfth Night, portfolio and has been in numerous other high school productions. Lindsay would ALDEN SWANSON (Stage Manager) like to thank all of her friends and is a senior BFA Stage Management family who have taken the time to major who is excited to finally show view the show and show their support the skills he has learned whilst for the arts. She hopes everyone attending UW-Whitewater. He thanks enjoys the show as much as she does! his family for their constant support. He hopes you enjoy the show BRUCE COHEN (Director) teaches ABIGAIL BRANDT (Assistant Stage Directing for the Manager) is a freshman BFA Theatre Stage, Theater Stage Management major. In high History and leads school, she was a part of stage crew the BSE-Theater for three out of the four years, one of Education track. them being the stage manager. He has taught for RUTH CONRAD-PROULX Denison University, Weber State (Technical Director) Ruth has been a University, the New World School professional theatre manager and of the Arts and was Director of the technician specializing in production Department of Theater at Arkansas management and technical direction State University-Beebe. A director, in producing theatrical venues for actor and produced playwright for the past 20 years. She has worked close to three decades; Professor alongside professionals and students Cohen is a full member of the Stage alike to meet the ever present Directors and Choreographers challenges each production presents, Society, holds affiliation with finding learning experiences Actors Equity Association and is everywhere. At UW-Whitewater she a former Arkansas State Chair of oversees the stage management the Kennedy Center American program, the scene shop, electrics, College Theater Festival. Prior to sounds and run crew labs in the his career as a university professor Department. and administrator, Bruce ran several artist profiles

BRANDON KIRKHAM (Scenic Guild, American Folklore Theatre, Designer) is a freelance designer, UW– Madison Music Department puppet builder, and artisan. From and many other theatres. She has 2010 to 2019 Brandon worked at toured internationally with Sesame First Stage,where he served as Street Live. Her professional scope Design Supervisor, Costume Crafts includes classical and contemporary Artisan, and Properties Artisan, and theatre, dance, opera, and musicals. designed more than fifty productions She authored Sewing Techniques for for that company. Brandon has also Theatre and co-authored Teaching designed for Milwaukee Chamber Introduction to Theatrical Design Theatre, Skylight Music Theatre, (Focal Press). During the summer of Hope Summer Repertory Theatre, 2017, she directed Rounding Third. Florentine Opera Company, and Her MFA is in Costume Design others. Brandon received his MFA in and Technology from Wayne State Theater Design from Ohio University, University and BA from CSB/SJU. a BS in Theatre Design & Technology from the University of Evansville SAMUEL HESS (Lighting Designer) and holds a graduate certificate in Samuel is a senior BA Theatre major Puppet Arts from the University of here at UW-Whitewater. Samuel has Connecticut. worked on multiple projects with the Theate Department, notably JORDAN MEYER (Costume his designs for Mary, Mary and Designer) This is Jordan’s BFA senior Blithe Spirit as well as multiple years project, the culmination of her years with DanceScapes. Outside of the of study. Her focuses are in costume university Samuel is the Associate design and construction. She is also Director of the Fort Atkinson accomplished in hair and makeup High School Theater as well as the design. In one or more capacities, Assistant Technical Director at Young she worked on Angel Street, Triumph Auditorium. Samuel looks forward to of Love, Ghosts, Devon’s Hurt and how we can continue to develop live several years of DanceScapes. Jordan theater to all forms of media. is excited for the opportunities ahead of her after she graduates in HEATHER WALLMAN (Props Master) December, including furthering her is a senior BFA Theatre Performance education and professional work. major who is propping a show for the first time. Heather thanks the TRACEY LYONS (Costume Design department for giving students the Mentor/Costume Shop Manager) opportunity to immerse themselves has designed for the CBC, Lincoln in all facets of a show and then Theatre Guild, The Huron Playhouse, displaying that knowledge in a Madison Ballet, Madison Theatre constructed performance. ADAPTED BY NEIL BARTLETT Neil Bartlett was born to address the AIDS – who was later to run in 1958. He grew up crisis. He also created the Lyric Hammersmith in Chichester, West his first original theatre with him – composer Sussex, and now lives project, Dressing Up, a Nicolas Bloomfield and in Worthing and London triptych depicting three choreographer Leah with his partner of centuries of London’s Hausman. The company thirty-one years, author gay subculture, at created and toured and archivist James London’s Cockpit – fourteen projects over Gardiner. his first collaboration ten years. The shows with visual artist Robin ranged in form from In 1982 he set up his Whoitmore. revivals of classical first company, the plays ( Twelfth Night at theatrical collective Other early works were the Goodman, Chicago; THE 1982 THEATRE staged at the ICA, the Marivaux’s The Game COMPANY ; other early Drill Hall and Battersea of Love and Chance at work included street Arts Centre, as well as the National Theatre, performances with touring to arts centres London ) to original Simon McBurney as part (and the occasional devised performance of THE BEECHBUOYS, nightclub) across the ( the queer history a clown act influenced country. “trilogy” A Vision by the teaching of of Love Revealed in In 1985 he worked as Phillipe Gaulier. They Sleep, Sarrasine and a director for Theatre appeared together Night After Night ). de Complicite, helping at the first London Throughout the work, to create More Bigger International Festival there was a deliberate Snacks Now, the show of Theatre in 1981, and challenge to accepted that won the company also (memorably) as divisions of genre the Perrier Award and support act to the Goth between high and low, first brought them to band Bauhaus at the between “radical” and national attention. In Hammersmith Palais. “traditional” theatrical 1988, he published practice. The pieces In 1983, Bartlett worked his first book, Who were often shown in the as an administrator for Was That Man? a unlikeliest of venues; gay community theatre groundbreaking study Sarrasine toured to company Consenting of Oscar Wilde, and the populist Edwardian Adults in Public, helping set up the collective splendours of the 1500- to stage and tour company GLORIA, seat Blackpool Grand; Louise Parker Kelley’s together with long- the second version Anti Body, the first play term colleagues of Night After Night produced in Britain producer Simon Mellor took musical comedy- NEIL BARTLETT CONT'D complete with tap-dancing chorus boys and a technicolour dream ballet – to the main stage of the notoriously literary and puritan Royal Court ; the queer autobiographical monologues of Seven Sacraments were performed first in a lecture theatre in the London Hospital, then in front of the high altar of Southwark Cathedral. The pieces also often featured unlikely and innovative casting, providing surprising new contexts for established mainstream performers such as Sheila Hancock and Maggie Steed as well as outsider artists and artistes such as Francois Testory, Bette Bourne and Regina Fong.

Throughout the 1980’s and 1990’s one of the most respected theatres Bartlett was also busy as an activist, in London, combining an eclectic and speaking at the Sex and the State consistently challenging programme conference in Toronto in 1985, working with a radical pricing policy to slowly behind the scenes on London’s first build a genuinely diverse audience. International AIDS Day ( 1986), working The range of his directing work at on the campaign against Clause 28, Hammersmith, which included popular and appearing at benefits and rallies Christmas shows and music-theatre as everywhere from the Piccadilly Theatre well as radically reconceived revivals to Trafalgar Square, Hyde Park and the ( notably of Maugham, Rattigan, Albert Hall. He also created a series Kleist, Genet and Marivaux as well of short polemic television and video as of Dickens and Shakespeare) and pieces( That’s How Strong My Love Is, collaborations with other leading That’s What Friends Are For, Now That theatre makers of his generation such It’s Morning, Pedagogue), worked as as Robert Lepage and Improbable an Artist In Residence at Newcastle Theatre again deliberately confounded Polytechnic and published two the categories of the experimental acclaimed novels, the first of which, and the mainstream. In addition, he Ready To Catch Him Should He Fall invited emerging new companies such ,was Capital Gay’s Book of the year as Kneehigh and Frantic Assembly for 1990 and the second of which, Mr. to share the main stage with his own Clive and Mr. Page, was nominated for work. In recognition of this work at the Whitbread prize in 1996. the Lyric, he was awarded the O.B.E. in 2000. The transformation of the In 1994 he was controversially building was completed by a major appointed Artistic Director of the rebuild of the front of house areas by Lyric Hammersmith, with Simon architect Rick Mather in 2004. Mellor as Chief Executive .Over a ten year period they transformed Don Juan Bartlett left the Lyric in this previously run-down venue into November 2005, bringing the curtain NEIL BARTLETT CONT'D down with a suitably across the English- have included a theatrical staging of speaking world; his third marathon six-hour Moliere’s Don Juan novel, Skin Lane, was reading of Oscar Wilde’s . Since then, he has shortlisted for the Costa De Profundis from the resumed his career Award and his fourth, chapel of Reading as an independent The Disappearance Boy, Jail , a one-night-only theatre-maker and earnt him a nomination revival of his signature author, creating work as Stonewall Author 1987 solo performance with leading cultural of the Year in 2014. piece A Vision of Love producers such as the He has created several revealed in Sleep Royal Shakespeare large-scale online and at Tate Britain, and Company, the American interactive projects, his twenty-four-long Repertory Theatre, The including Letter an performance piece and Abbey in Dublin, the Unknown Soldier live radio broadcast for Aldeburgh Festival , ( 2014), a new war Remembrance Sunday The Brighton Festival, memorial created by 2019, TWENTY FOUR the Manchester twenty-two thousand HOURS OF PEACE. In International Festival members of the public 2008 he was awarded , the Edinburgh – and the then Prime an honorary doctorate International Festival, Minister. As a director, by Brookes University the Holland Festival, his most recent works Oxford in recognition LIFT, the National were an acclaimed of his body of work and Theatre, the Bristol Old staging of Albert of his pioneering and Vic, the Arcola and the Camus The Plague and continuing commitment Royal Vauxhall Tavern a sensational new one- to gay culture and civil – amongst others. man re-telling of the rights, and in 2012 he His plays, translations legend of Medea ; as was awarded a second and adaptations are a performer, he most honorary doctorate performed widely recent appearances by the University of Brighton.

Special Thanks to Our Media Sponsors DIRECTOR’S NOTES BY BRUCE COHEN

Moliere is known to be a writer of comedies. Much of his body of work is broad slapstick, particularly influenced by the flamboyant lazzi of the Italian Commedia d'ell Arte. This is very apparent in plays like the Doctor in Spite of Himself, Scapin and even Tartuffe. But there is a portion of Moliere's canon that offers a more complex treatment of character and scenario. The Misanthrope is of this portion and is, arguably, his most sophisticated and emotionally dimensional play.

Neil Bartlett's translation/adaptation retains the playful, verse structure and updates the language and setting, reinforcing our modern connection. In this take on Moliere's original, Bartlett highlights the melancholy and, ultimately, pitiable state of his titular Misanthrope.

Stylistically, my approach is pedagogical. We are an institution of higher education. A Moliere (even an adaptation) benefits our students' training. We are without our brick and mortar theaters, so I have focused in on those elements of The Misanthrope that a camera can be so good at capturing; the wealth of psychological and emotional tumult that vibrates through the core of this play.

This is a play that always spoke to me as social critique. We are concerned with these characters and should sympathize, but, the point of the play is a much larger question about our alternating need for human connection and frustration with interpersonal gamesmanship. It is the terribly bifurcated nature of our civic discourse that prompted my selecting the play. And since then, The Misanthrope has become more current. The COVID pandemic has driven us even further apart and now, along with the ideological dissection of our country, we've acculturated to almost a year of physical distancing, isolation and suspicion.

Is our ideology stronger than our need for society?

This is what I think the play is about... especially here, especially now. We love your community support! When you purchase tickets to Theatre/Dance Department productions, it helps us continue our mission to provide high quality educational experiences for our students, as well as high quality productions for our audience. Ticket revenue is an important part of our budget, and we appreciate your support. Another way for you to support the Theatre/Dance Department is through tax-deductible donations. Donations to the Department Scholarship fund help us continue recognizing extraordinary talent in acting, design and management, and make a huge difference to our students. In addition, script royalties, costumes and sets are all costly and direct financial support or donated goods and services help us stretch our budgets further. There are also opportunities to help with our annual regional theatre and dance festival trips, where students attend workshops and compete in design, choreography and performance, with the possibility of continuing on to the Kennedy Center in Washington D.C. Without an audience, the stage is a lonely place. Whether it be through buying tickets and sharing the evening with us, or through donations to scholarships, production costs and travel for students, community support is important to us. You are important to us. If you have questions about supporting this good work, feel free to contact the Director of Philanthropy at 262-472-5472.

THEATRE/DANCE DEPARTMENT FACULTY AND STAFF

Marshall Anderson, Department Chair Linda Allegretti, Academic Department Associate Office: CA2076 Phone: 262-472-1566

Eric Appleton Sara J. Griffin Piper Hayes Bruce Cohen Barbara Grubel Tracey Lyons Ruth Conrad-Proulx Amy Slater

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