Ilt;t.,_:l I I I • VI""''"'''"' c:!O Artistic Director Execut ive Director Productions Direct or ROBERT KALFIN MICHAEL DAVID BURL HASH

And MICHAEL HARVEY Present

Ly rics by Bertholt Brecht Music by Kurt Weill Original German Play by Dorothy Lane Book and Lyrics ad apted by Michael Feingold Directed by Michael Posnick Musical Numbers Staged by...... Patricia Birch Scenery Designed by ...... Robert U. Taylor Costumes Designed by ...... Carrie F. Robbins Lighting Designed by...... Jennifer Tipton Musical Director ...... Roland Gagnon Film by ...... Scott Morris Hair Designs by...... Patrik D. Moreton with Tony Azito Shirley Knight Raymond J. Barry Frank Kopyc Alexandra Borrie Christopher Lloyd John A. Coe Tom Mardirosian Donna Emmanuel Martha Miller Joe Grifasi Victor Pappas Bob Gunton David Pursley Grayson Hall Benjamin Rayson Prudence Wright Holmes Liz Sheridan Kristin Jolliff Robert Weil Production Stage Manager ...... Mark Wright

This adaptation was first produced by the Yale Repertory Theater, New Haven, Connecticut, on April6, 1972. THE CAST

THE GANG Bill Cracker ...... Christopher Lloyd Sam "Mammy" Wurlitzer ...... Benjamin Rayson Dr. Nakamura ("The Governor") ...... Tony Azito Jimmy Dexter ("The Reverend") ...... John A. Coe Bob Marker ("The Professor") ...... Robert Weil Johnny Flint ("Baby Face") ...... Raymond J. Barry A Lady In Gray ("The Fly") ...... Grayson Hall Miriam, the barmaid ...... Donna Emmanuel

THE ARMY Lieutenant Lillian Holiday ("Hallelujah Lil'') . Shirley Knight Major Stone...... Liz Sheridan Captain Hannibal Jackson ...... Joe Grifasi Sister Mary ...... Prudence Wright Holmes Sister Jane ...... Alexandra Borrie Brother Ben Owens ...... Bob Gun ton

THE FOLD Kristin Jolliff, Frank Kopyc, Tom Mardirosian Martha Miller, Victor Pappas

A Cop ...... David Pursley MUSICAL NUMBERS

Prologue Entire Company ACT ONE "The Bilbao Song" Governor, Baby Face, Bill and The Gang "Lieutenants of the Lord" Lillian and The Army "March Ahead" The Army "The Sailors' Tango" Lillian ACT TWO " Brother, Give Yourself a Shove" The Army and The fold "Song of the Big Shot" The Governor "Don't Be Afraid" Jane, The Army and The Fold " In Our Childhood's Bright Endeavor" Hannibal "The Liquor Dealer's Dream" Hannibal, Governor, Jane, The Army and The Fold ACT THREE, SCENE 1 " The Mandalay Song" Sam and The Gang "Surabaya Johnny" Lillian "Song of the Big Shot" -- Reprise Bill "Ballad of the Lily of Hell" The Fly ACT THREE, SCENE 2 "The Happy End"-- Finale Entire Company PLACE: Chicago

TIME: December 1915

ACT 1: Bill's Beer Hall. December 22

ACT II: The Salvation Army Mission, Canal St., December 23

ACT III, Scene 1: The Beer Hall. December 24

ACT III, Scene 2: The Mission. Later that night

There will be two ten-minute intermissions

Musicians: Mark Belair, David Gale, Allan Jaffee, Ronald A. Janelli, Grant (Gus) Keast, Billy Kerr, William Schimmel, Charles Sharman III

Understudies: Donna Emmanuel (Sister Jane); Bob Gunton (Bill Cracker); Kristin Jolliff (Miriam, Sister Mary); Tom Mardirosian (Baby Face, The Cop); Martha Miller (Major &one, The Fly); Victor Pappas (Dr. Nakamura, Bob Marker); David Pursley (Sam Wurlitzer, Jimmy Dexter). THE ODD HISTORY OF "HAPPY END" Following the success of THE THREEPENNY OPERA in 1928, the producer, Ernst Joseph Aufricht, was eager to have the new team of Brecht and Weill supply him with a successor. Brecht's secretary, Elisabeth Hauptmann, proposed an American short story she had come across as a suitable source. (Despite many assertions to the contrary, this short story is not Damon Runyon's "The Idyll of Miss Sarah Brown," which was not published till some years later; the actual source of HAPPY END's plot has never been unearthed.) To avoid charges of plagiarism, the story was ascribed to a nonexistent publication · "The J & L Weekly, St. Louis"· and an imaginary author · "Dorothy Lane." Brecht was credited with the lyrics only, and Hauptmann with "arranging" Dorothy Lane's work for the theatre. In later years both Brecht and Hauptmann resisted acknowledging their authorship of the script: Brecht declared that ST. JOAN OF THE STOCKYARDS, which uses the Salvation Army setting and several of Lillian's speeches (including "Lieutenants of the Lord," as a spoken tirade), was "based on Elisabeth Hauptmann's play HAPPY END;" Hauptmann herself, when the German acting version was first published in the 1950s, ascribed the whole thing to "Dorothy Lane." The present version treats Brecht and Hauptmann's work as freely as they must have treated their unknown source. HAPPY END opened at the Theater am Schiffbauerdam early in September, 1929, and might have been a success, but for an unforseen event at its conclusion. Accounts of what happened differ, but the general understanding is that something in The Fly's last speech pro­ voked an outburst from conservative sectors of the audience; the critics the next morning angrily accused Brecht of attempting to provoke a riot; and the public stayed away in droves. We do not know precisely what the provocation was: The speech as it stands in the German text is hardly more startling than any of the sentiments in THREEPENNY -- in fact, its last line is a direct quote from the earlier work. But The Fly was played by Brecht's wife, Helene Weigel, who may be assumed to have had mixed feelings about appearing in a boulevard "hit," and who is thought to have ad Jibbed lines considerably more provocative to the audience than those in the script. Whether this was done under Brecht's instructions, or without his knowledge, we don't know. At any rate, it had its desired effect: HAPPY END becam e a shambles from which Brecht and Weill's superb score has only in recent years been excavated in one piece. In setting off these jewels of songwriting, I have tried to make the script one Brecht might have written had he brought his distin ctive sensibility to America in the 1920s, giving it the shape of our theatre at the time without weakening its astringent tone. The result, I hope, is that a work which has suffered much unnecessary unhappiness will finally reach its intended HAPPY END. Michael Feingold Kurt Weill (1900 - 1950) Born in Dessau Germany, Weill next 15 years, Weill composed for began his musical career as a sym­ the Broadway stage, combining phonic composer, studying with his classical musical heritage with Engelbert Humperdink, and Busoni. the idiom of the American musical His first success was an opera, DER theatre with such successes as PROTAGONIST, in 1926, which KNICKERBOCKER HOLIDAY convinced him that musical drama (1938), LADY IN THE DARK was his forte. He collaborated (1941), ONE TOUCH OF VENUS with Bertolt Brecht on THE (1943), STREET SCENE (1947) THREEPENNY OPERA (1928), and LOST IN THE STARS (1949 ). THE RISE AND FALL OF THE Weill was married to Lotte Lenya. CITY OF MAHAGONNY (1927- 29), HAPPY END (1929) and THE SEVEN DEADLY SINS (1933). Weill also collab orated with Brecht on the opera DER JASAGER; a ballet score entitled DIE SIEBEN TODSUENDEN, THE BERLINER REQUIEM, incidental music for the 1931 production of MANN 1ST MANN and LIND­ BERGHFLUG, a celebration of Lindbergh's trans-Atlantic solo flight. Many of Weill 's musical scores were destroyed by the Nazis when he fled Germany in 1935 for New York. For the Bertolt Brecht (1898 · 1956) Born in Bavaria, Brecht began HUAC in 1947, Brecht arrived to his career as a dramatist with a testify with a prepared statement series of experimental plays heavily and a plane ticket to Europe where influenced by Expressionistic tech­ he settled in East Berlin and niques. These included BAAL founded the Berliner Ensemble (1918~, JUNGLE IN THE CITIES where the first professional prod­ (1921 and A MAN'S A MAN uction of THE CAUCASIAN (1926 . His first of many collabor­ CHALK CIRCLE in 1954 ations with composer Kurt Weill established Brecht as one of the was THE THREEPENNY OPERA leading figures iri contemporary (1928) followed by HAPPY END theatre. (1929), THE RISE AND FALL OF THE CITY OF MAHAGONNY (1927-29) and THE SEVEN DEADLY SINS (1933). In 1933 Brecht fled Nazi Germany for Scandinavia and the U.S. Between 1937 and 1945, he wrote his most enduring and important dramatic works: THE LIFE OF GALILEO (1938), MOTHER COURAGE (1938-39), THE GOOD WOMAN OF SETZUAN (1938-41), PUNTILLA (1941) and THE CAUCASIAN CHALK CIRCLE (1943-45). Called before the Tony Azito (The Governor) Raymond J. Barry was last seen on Broadway as (Baby Face) Peachum's Assistant in the New is making his Chelsea debut in York Shakespeare Festival's prod­ HAPPY END. He appeared on uction of THREE PENNY OPERA. Broadway in the Joseph Papp His other Off-Broadway credits presentation of THE LEAF include the La Mama production PEOPLE. At the Public Theatre of C.O.R.F.A.X!, (DON'T ASK), he was seen in Michael Weller's THE COTTON CLUB GALA, and FISHING, Ron Tavel's THE LAST Ben Johnson and Will Leach's CAR­ DAYS OF BRITISH HONDURAS, MILLA. A newcomer to the New Adrienne Kennedy's A MOVIE York cabaret scene, Mr. Azito STAR HAS TO STAR IN BLACK has performed with great success AND WHITE and Georg Buchner's at Reno Sweeney's and Alfredo's WOYZECK. He collaborated with Settebello. He is a student of Anna the Open Theatre in THE SER­ Sokolow and as a member of her PENT, MASQUES, TERMINAL, Player's Project appeared at the MUTATIONS and NIGHTWALK Harvard University Experimental and appeared in the Living Theatre Theatre and for the Repertory production of THE BRIG. On film Theater of Lincoln Center at the he was Herbert Fisk in Joan Micklin Forum. Silver's BETWEEN THE LINES. Alexandra Borrie (Sister Jane) John A. Coe (The Reverend) appeared as Cleo in the Pittsburgh was first seen by Chelsea audiences Civic Light Opera production of as Uncle Sam in JUNEBUG GRAD­ THE MOST HAPPY FELLA this UATES TONIGHT, and then in past summer, after which she star­ Genet's THE SCREENS. He has red in JACQUES BREL in Florida. spent his last two years with the She was last seen on Broadway O'Neill Theater Center working on in the 1976 TRIBUTE TO their SHOWBOAT project. His GEORGE ABBOT, as Maggie in Broadway credits include LA OVER HERE, as herself in Harry STRADA, SCRATCH by Archibald Chapin's THE NIGHT THAT MacLeish and THE MAN IN THE MADE AMERICA FAMOUS and GLASS BOOTH. Off-Broadway Young Phyllis in FOLLIES. She appearances include roles in THE has performed throughout the KID, DYLAN and AMERICA country in productions of DAMN HURRAH! With the Living YANKEES, MAN OF LA Theatre, Mr. Coe was seen in THE MANCHA, GYPSY and SHE CONNECTION and IN THE LOVES ME. Ms. Borrie studies JUNGLE OF THE CITIES. His acting with Warren Robertson, and regional theater credits include is a graduate of the Boston Con­ appearances in such cities as Hart­ servatory of Music. Her other ford, Cincinnati, Boston, Buffalo interests include cross-country and Houston. Mr. Coe has func­ skiing and manual labor. tioned as a teacher/director for the University of California, College of Santa Fe and Wellesley College in Massachusettes. He holds an A.B. from Tufts University and an M. F.A. from Boston U., and is from Manchester, Connecticut. Donna Emmanuel (Miriam) Joe Grifasi makes her first Chelsea appearance (Captain Hannibal Jackson) after a series of New York runs most recently appeared in the where she played Antigone in the world premiere of Sam Shepard's Equity Library Theatre's prod­ SUICIDE IN B FLAT at the Yale uction of ANTIGONE at Lincoln Repertory Theatre. For the Phoe­ Center, was in MARVIN'S nix Theatre, in New York, he has GARDEN at the Manhattan appeared in productions of Theatre Club, and played the role SECRET SERVICE, BOY MEETS of Anne in PATRICK HENRY GIRL and A MEMORY OF TWO LAKE LIQUORS, again, at the MONDAYS. His other appear­ Manhattan Theatre Club. She is ances have included roles in a resident member of the Ginger­ MARCO POLO SINGS A SOLO bread Players and Jack, a New and DRACULA with the Nan­ York area children's theatre tucket Stage Company, at the company; has done summer stock O'Neill Center Playwright's Conf­ with the St. Louis Municipal erence, the Poor Alex Theatre, in Opera, and can be seen in several Toronto, where he was in THE series for PBS in Baltimore. Ms. GROUP OF SEVEN by John Emmanuel is from Pensacola, FL, McAndrew, and this past Summer, and holds a Bachelors in Music at the American Stage Festival in from Webster College in St. Louis. New Hampshire. Mr. Grifasi holds an MFA in Aeting from the Yale School of Drama. Bob Gunton SUBWAYS ARE FOR SLEEPING, (Brother Ben Owens) THOSE THAT PLAY THE last appeared in New York in CLOWNS, Saul Bellow's THE THE KID at the American Place LAST ANALYSIS at Circle-in-the­ Theatre. He has spent the last Square, Ronald Tavel's SECRETS few seasons touring major dinner OF THE CITIZENS CORRECTION theatres, repertory and regional COMMITTEE, Edward Bond's THE theatres, in roles ranging from SEA, J.M. Barrie's WHAT EVERY WOMAN KNOWS and Dennis Cervantes in MAN OF LA Reardon's THE LEAF PEOPLE. MANCHA, Jimmy Porter in LOOK Her film credits include the John BACK IN ANGER, to Falstaff in Huston production of Tennessee THE MERRY WIVES OF William's NIGHT OF THE WINDSOR. He has just recently IGUANA, for which she received completed a long run in the Boston an Academy Award for her role area playing Curly in OKLAHOMA. of the angry tour lDARK SHADOWS and NIGHT OF DARK Grayson Hall (The Fly) SHADOWS. On television she was last appeared at Chelsea in the most recently seen in the ABC American Premiere of Jean Genet's Movie of the Week and the Wide THE SCREENS. Earlier this season World of Entertainment production she was seen at the American Place of THE TWO DEATHS OF SEAN Theatre in Jack Gelber's new play: DOLITTLE. On daytime television REHEARSAL. Some of her other she was seen in DARK SHADOWS theatre credits include LA RONDE for four years, and can be seen (her first play) at the Circle-in­ again as the show is currently being the-Square, SHOUT FROM THE repeated nationally in syndication. ROOFTOPS, THE BALCONY in which she played Madame Irma, Prudence Wright Holmes Kristin Jolliff (The Fold) (Sister Mary) was most recently seen as Emily in has been seen in POLLY and THE OUR TOWN at the North Shore CRAZY LOCOMOTIVE at Chelsea. Music Fair. Her regional credits She has worked at the Tyrone include the role of Frenchy in the Guthrie Theatre, Syracuse Stage second national tour of GREASE Company, and the Virginia Museum Despina in COSI FAN TUTTE Theatre where she appeared as and the title role of ONDINE at Frankie in A MEMBER OF THE the Irvine Repertory Theater, WEDDING. She can be seen in where she was also seen as Louisa many television commercials and in in THE FANTASTICKS. A native the upcoming film EXORCIST II. of California, Ms. Jolliff graduated A graduate of Carnegie-Mellon from the University of California prior to becoming an actress: at Irvine and is currently studying Ms. Holmes worked as a taxi voice with Tad Motykia. HAPPY driver, a Santa Claus in Grand END is her Off-Broadway debut. Central Station and as a mind­ reader in local night clubs. Shirley· Knight THE GROUP, PETULIA, and THE (Lieutenant Lillian Holiday) RAIN PEOPLE. Of some 200 won the Tony last year for her television plays, her favorites are performance in Robert Patrick's Ingmar Bergmans' THE LIE, Cliff­ KENNEDY'S CHILDREN. Her ord Odets' THE COUNTRY GIRL most recent performance was as and three plays for British tete: Blanche du Bois in A STREET­ vision, also by Mr. Hopkins. This CAR NAMED DESIRE at the is her first musical since she did McCarter Theatre in Princeton and the Los Angeles production of the Allenberg Centre in Phila­ LITTLE MARY SUNSHINE in ?elphia. Since her Broadway debut 1962. Ms. Knight has two m the Actors Studio production daughters, Kaitlin and Sophie, and of THE THREE SISTERS in 1964 spends most of her spare time she has worked extensively both working for hand gun control. on and off Broadway and in regional theatre. In England she did A TOUCH OF THE POET Sophocles' ANTIGONE, and ECON~MIC NECESSITY by her playwright husband John Hopkins. In the cinema, her performances in THE DARK AT THE TOP OF THE STAIRS and SWEET BIRD OF YOUTH won her academy award nominations, while her per­ formance in DUTCHM AN won her the coveted Golden Lion award for best actress at the Venice film fes tival. Other films include Frank Kopyc (The Fold) THE POSSESSED at the Yale was most recently seen in the title Repertory Theatre and then at the role of FIORELLO at the Equity Long Wharf Theatre as John Shand Library Theatre. His other credits in WHAT EVERY WOMAN include three seasons with the KNOWS. Other New York credits Nebraska Repertory Theatre, where include the second New York he appeared' in roles ranging from Shakespeare Festival production of Hucklebee in THE FANTASTICKS David Rabe's IN THE BOOM to Mr. Peachum in THE THREE BOOM ROOM , MACBETH at Lin­ PENNY OPERA, an appearance coln Center and THE SEA GULL at with Jack Gilford in THE the Roundabout. He has STUDENT PRINCE, and Off­ performed with the Phoenix Reper­ Broadway in the musical POP. tory Company in BIRTHDAY Mr. Kopyc hails from Schaghti­ PARTY and AMPHYTRION 38 coke, New York and attended and in Los Angeles, at the Mark Yankton College, where he studied Taper Forum in HOT L BALTI­ with Alvina Krause. His special MORE. His film credits include interests include; Theatre History, ONE FLEW OVER THE CUC­ playing piano and a mean game of KOO'S NEST, and two new films backgammon. soon to be released, THE WAR­ RIORS and A MAN - A WOMAN directed by Claude Lelouch. Mr. Lloyd's television roles include Christopher Lloyd performances on THE ADAMS (Bill Cracker) CHRONICLES, SECRET STORM was last seen at Chelsea in TOTAL and, again, the title role in I ECLIPSE and before that won Obie KASPAR. and Drama Desk Awards for his J performance in the title role of KASPAR, another Chelsea prod­ uction. Recently he has been seen as Oberon in MIDSUMMER NIGHT'S DREAM and Stavorgin in Tom Mardirosian (The Fold) Martha Miller (The Fold) most recently appeared in New has appeared in American Shakes­ York at Playwrights Horizons in peare productions of MOURNING Albert Innaurato's GEMINI, creat­ BECOMES ELECTRA and MAJOR ing the role of Fran Geminiani. BARBARA. Other repertory ap­ He has worked regionally in such pearances have been in THE IM­ theaters as the Cincinnati Play­ PORTANCE OF BEING EARN­ J house in the Park, Great Lakes EST at the Hudson Valley Rep­ Shakespeare Festival, Fulton Opera ertory Theatre, LONG DAY'S ' House, and Buffalo's Studio Arena, JOURNEY INTO NIGHT at where he played Geronte in Theatre East and as Linda in SCAPINO!, directed by Grover DEATH OF A SALESMAN at the Dale. He serves on the board of Citadel Theater in Edmonton the American Writers Theatre Canada. She toured with Hans Foundation, an organization which Conried in SPOFFORD and Sam produces both new plays and Levene in LIGHT UP THE SKY. adaptations of prose and poetry, Off-Broadway, Ms. Miller was seen and is Artistic Director of Orkid­ at the Theatre de Lys in A PLACE stra, an acting company performing WITHOUT MORNINGS, and at childrens concerts with Philharm­ the Equity Library Theatre in onic orchestras. Mr. Mardirosian HEARTBREAK HOUSE and THE has also appeared with the New RIMERS OF ELDRITCH. She Jersey Symphony at Carnegie Hall. has appeared in numerous musi­ cals out of New York including CAROUSEL, GENTLEMEN I PREFER BLONDES, ANNIE GET YOUR GUN and OKLAHOMA. J She is a graduate of Carnegie Mellon University. Victor Pappas (The Fold) David Pursley (The Cop) makes his Chelsea debut after two has been seen Off-Broadway in the years with the California Actors musicals: PEACE, THE FAGGOT, Theatre where he was in their WINGS and THE THREE MUSK­ production of HAPPY END, played ETEERS, plus numerous prod­ the title role in THE SERVANT OF uctions at the Judson Poets' Thea­ TWO MASTERS, Andrei in THE tre. His regional theater and sum­ THREE SISTERS and the Antip­ mer stock appearances include holus Twins in THE COMEDY stints at the Dallas Theater Center, OF ERRORS. Other regional the Barter Theatre and the Bruns­ theater credits include appearances wick Music Theatre in Maine, plus in CYRANO de BERGERAC, THE a year's engagement as a guest MERCHANT OF VENICE, A artist with the Istanbul Municipal DOLL'S HOUSE and THE CRU­ Theatre in Turkey. He has played CIBLE for the American Conser­ roles ranging from Lee in 1776, vatory Theatre in San Francisco, to Malvolio in TWELFTH NIGHT, and appearances at the Marin to Brian in JOE EGG, and recently Shakespeare Festival and the directed IN FASHION and AH, Oregon Shakespearean Festival. A WILDERNESS for the A.C.T. in native of New York City, Mr. Tucson, Arizona. Mr. Pursley hails Pappas taught acting at the from Lewisburg, Pa. and received American Conservatory Theatre last a B.A. from Harvard and an M.A. summer. in Theatre from Baylor Univer­ sity. Benjamin Rayson Liz Sheridan (Major Stone) (Sam Wurlitzer) recently appeared on Broadway holds a long list of distinguished as Lady Grace in SOMETHINGS credits in the musical theatre AFOOT and Mary in BEST world. He was a member of the FRIEND. Ms. Sheridan was fea­ original cast of the Broadway tured in Julius Monk's Plaza 9 production A LITILE NIGHT revue after which she appeared MUSIC and during the summer of Off-Broadway in GOD BLESS 1975 he appeared on Broadway in CONEY, BALLAD FOR A FIRING PIPPIN. Other Broadway credits SQUAD and Leonard Sillman's include featured roles in CAN-CAN, AMERICAN HAMBURGER SILK STOCKINGS and BELLS LEAGUE. She toured the country ARE RINGING. Regionally, he has in productions of DESK SET, appeared with the national ANYTHING GOES, FUNNY GIRL company of JESUS CHRIST and PRISONER OF SECOND SUPERSTAR and in the summer of A VENUE, appearing last summer at 1972, he played John Hancock in the Berkshire Theatre Festival in 1776. Mr. Rayson was a soloist UNNATURAL ACTS. Television in the production of Leonard commercials and featured roles on Bernstein's MASS and later re­ shows such as CALUCCI'S DEPT. corded the work for Columbia and KOJAK have made Ms. Sheri­ Records. He has performed 37 dan's face a familiar one to us. major roles in leading opera She makes her Chelsea debut in companies throughout the world HAPPY END. including Scarpia in TOSCA, Iago in OTELLO, Telramund in LOHENGRIN, and the title role in RIGOLETTO. Robert Weil (The Professor) was guest artist in the Stratford Shakespeare Festival (Canada) musical adaptation of Petronius' SATYRICON and the Lincoln Center Repertory Theater prod­ uction of BEGGAR ON HORSE­ BACK. A native of New York City, his featured Broadway roles include LENNY, BECKET with Sir Laurence Olivier, ARTURO Ul with Christopher Plummer and ONCE UPON A MATTRESS with Carol Burnett. In 1975, he won the Joseph Jefferson Award in Chicago for his portrayal of 'Doolittle' in MY FAIR LADY. Mr. Wei! has been featured in numerous movies including THE TAKING OF PEL­ HAM, ONE, TWO, THREE, THE HOT ROCK, RHINOCEROS and THE FRENCH CONNECTION. He will appear next in the as yet un­ titled Woody Allen Film. Mr. Wei! has written the scripts for over 82 children's records and 30 documentary films on med­ ical rehabilitation. Michael Feingold (Adaptor) Michael Posnick (Director) was born and raised in Chicago, staged the American premiere of received his MFA degree at the HAPPY END for the Yale Reper­ Yale School of Drama, and went on tory Theatre, where he also to work for five years as Literary directed Eric Bentley's ARE YOU Manager of the Yale Repertory NOW, I.B. Singer's THE MIRROR Company translating Brecht-Weill, and the Brecht-Weill LITTLE Ibsen, Moliere and others for such MAHAGONNY, also produced at directors as Alvin Epstein, Andnej the Manhattan Theatre Club. Other Wajda and Michael Posnick. His New York productions include translation of Brecht's Tom Eyen's GILDA at the Village MAHAGONNY will be published Gate, SKRONTCH: THEATRE this spring in the Random House­ SONGS OF DUKE ELLINGTON Pantheon edition of Brecht's Col­ at Theatre-at-Noon, Richard Peas­ lected Works. Mr. Feingold has lee's SONGS OF LOVE AND WAR also worked as a playwright, at the Ensemble Studio Theatre, lyricist, and director, winning as well as projects for Playwrights plaudits last year for his staging Horizons, Shirtsleeve Theatre and of poet Richard Howard's TWO­ Provincetown Playhouse. His opera pART INVENTIONS at the Circle productions include THE Repertory. He is best known to MARRIAGE OF FIGARO and New York audiences as a drama TOSCA. Mr. Posnick received his critic for the Village Voice. training and has taught at Yale. He is currently a Teaching Artist with the Lincoln Center Institute and a faculty member of the National Theatre Institute and the National Theatre of the Deaf at the O'Neill Theatre Center. Thank you, Eileen. Robert U. Taylor Patricia Birch (Choreographer) (Set Designer) has done the choreography and most recently designed the Broad­ musical staging for YOU'RE A way sets for LAMPOST REUNION GOOD MAN CHARLIE BROWN, and BOCCACCIO, and the sets for THE ME NOBODY KNOWS , the Tony Award winning musical GREASE, OVER HERE, PACIFIC RAISIN. He designed the original OVERTURES, and for the Chelsea sets for the Chelsea Theater Center Theater Center, DIAMOND STUDS productions of THE BEGGAR'S and CANDIDE. Ms. Birch has OPERA, for which he won the received three Tony nominations Maharam and the Drama Desk and three Drama Desk Awards. Awards for best scene design in New York City, and POLLY, for which he won the '74-'75 Obie Award. He has worked on and off Broadway and for many regional and repertory theatres, among them, Washington's Arena Stage, the Goodman Theater in Chicago and the McCarter Theater in N.J. His designs have been seen for several productions for the City Center Acting Company, and he has done six productions for the Colonnades Theatre Lab of NYC. Mr. Taylor has also designed many film sets and is on the faculty at Hunter College. Carrie F. Robbins productions of the Lincoln Center (Costume Designer) Repertory Theatre and the Lincoln winner of Tony nominations for Center Forum, John Houseman's City Center Acting Company, The GREASE and OVER HERE, and Drama Desk Awards for the same Tyrone Guthrie Theatre, the Kennedy Center, The McCarter two shows as well as BEGGAR'S OPERA and the James Earl Jones' Theatre in Princeton, and numerous other regional theatres. She is a THE ICEMAN COMETH; has also to her credit the Broadway musicals Phi Beta Kappa, a member of the faculty of the Design Department MOLLY with Kaye Ballard, THE of NYU, a graduate of the Yale SECRET AFFAIRS OF MILDRED Drama School, surrogate mother to WILDE with Maureen Stapleton, LOOK TO THE LILLIES with three matched calico cats, one large untrainable dog, and wife to one Shirley Booth and YENTL from very patient husband. Isaac Bashevis Singer's short story. Currently, Ms. Robbins is prep· aring two operas for Sarah Cald­ well's Opera Company of Boston. Other credits include her designs for THE MERRY WIVES OF WINDSOR at the Shakespeare Festival in the Park, and Thomas Babe's REBEL WOMEN at the Public Theatre. She has designed many plays for the Chelsea Theater Center including John Gay's POLLY for which she won the Maharam Award. In addition, Ms. Robbins' designs have been seen in several NET productions for Theatre In America, nine Jennifer Tipton Roland Gagnon (Lighting Designer) (Musical Director) is well known to the Dance world conducted FOUR SAINTS IN having designed the lighting for THREE ACTS at the Mini Met many Ballet and Modern Dance and DAUGHTER OF THE REGI­ companies. Most recently to her MENT starring Beverly Sills at credit is Mikhail Baryshnikov's Carnegie Hall. He has also THE NUTCRACKER for the Conducted for the Boston Opera American Ballet Theatre. She has Company and the Central City designed both on and off Broad­ Opera Company. He has accomp­ way. This season her work can be anied Beverly Sills in concert and seen in the New York Shakespeare has served as her vocal coach for Festival Productions of MARCO the past 15 years. He was the POLO SINGS A SOLO, FOR Musical Director of the Chelsea COLORED GIRLS WHO HAVE Theater Center production of THE CONSIDERED SUICIDE WHEN BEGGAR'S OPERA and the Bern­ THE RAINBOW IS ENUF, and stein-Lerner Broadway production most recently THE CHERRY of 1600 PENNSYLVANIA ORCHARD. A VENUE. Mr. Gagnon studied at the New England Conservatory of Music and has served on the faculty of the Julliard School of Music. Robert Kalfin DAYS ONE OF US HAS BEEN (Art is tic Director) IGNITim, THE FURTHERMOST founded the Chelsea Theater Center FINGER OF FILLMORE, MY in 1965. During the initial season FRIEND WEISSMAN IS BACK, in a Chelsea church, 27 plays were JUNEBUG GRADUATES presented in staged readings and TONIGHT, CHRISTOPHE, THE workshop productions. A graduate JUDAS APPLAUSE, AN of the Yale School of Drama EVENING WITH HUCKLEBERRY M.F.A. in Directing), Mr. Kalfin has FINN THE UNIVERSAL directed at universities, summer NIGdER, TAROT, KADDISH, theaters and major Canadian and SUNSET, TOTAL ECLIPSE, American regional theaters where YENTL THE YESHIVA BOY and his productions of THE GLASS POLLY. Mr. Kalfin directed the MENAGERIE and PUNTILA AND first offering of Chelsea's current HIS HIRED MAN received national season, the American premiere of attention. Mr. Kalfin directed Kleist's THE PRINCE OF the Scandinavian touring HOMBURG and has just production of THE SKIN OF OUR completed ~hooting the television TEETH, with E.G. Marshall and version which will be seen on the Sada Thompson. Off-Broadway, he "Theater In America" series later co-produced and directed THE this season. Mr. Kalfin is a member GOLEM, AN EVENING OF of the Faculty of the Yale School EUROPEAN THEATER, and of Drama. staged his own adaptation of THE GOOD SOLDIER SCHWEIK. Later Off-Broadway productions of TAROT and KADDISH at the Ci rcle-in-the-Sq uare originated at the Chelsea Theater Center. Mr. Kalfin staged THE LADY FROM THE SEA for the New Repertory Company and, for The Chelsea Theater Center, has staged FIVE Michael David Michael Harvey (Co-Producer). (Executive Director) Among Michael Harvey's previous productions are included Tom has been Executive Director of the Eyen's Off-Broadway success WHY Chelsea Theater Center for the HANNA'S SKIRT WON'T STAY past eight years. He has also DOWN and the Broadway musical produced concerts (from The Band version of Truman Capote's THE to Sun Ra); poetry readings (from GRASS HARP. Last season on Allen Ginsberg to Le Roi Jones)· Broadway, Mr. Harvey produced films, as well as plays; and ha~ Robert Patrick's KENNEDY'S conceived and managed arts CHILDREN for which Shirley projects in the East and Midwest. Knight won the Tony Award as As a scene designer, he was the Best Supporting Actress and also resident designer of the American Tennessee Williams' SWEET BIRD Dance Festival for two years. As OF YOUTH starring Irene Worth a teacher, he represented Yale/ who won the Tony Award as Best Harvard Southern Teaching Pro· gram in North Carolina, and is Actress of 1976. presently a member of the faculty of Yale University, where he received his M.F.A. in Production, Design and Administration.

Burl Hash (Productions Director) has been Productions Director for the Chelsea Theater Center for the past seven seasons. He is a graduate of the University of Texas and received his M.F.A. from the Yale School of Drama. Mr. Hash has most recently designed the lights for Chelsea's last production, THE CRAZY LOCOMOTIVE. Chelsea Theater Center Staff Artistic Director Robert Kalfin Executive Director Michael David Productions Director Burl Hash General Manager William Craver Administrative Offices Public Relations Director Susan Bloch Promotion Director Doug Johnson Art Director Anne Leigh Business Manager Sandra Carlson Public Relations Assoc. /Coordinator Lester Gruner Subscription Manager John Carlton Creative Services Barbrah Messing Receptionist/Script Supv. Julia M. Ervin Assistant to Business Mgr. Patricia Kelly Assistant to Business Mgr. Carlo Bruno Public Relations Assistant Sally Christiansen Public Relations Ass istant Francis X. Tobin Advertising Blaine Thompson Co., Performing Dogs Counsel Harvey Horowitz Squadron, Elenoff, Plesent & Lehrer Accountants Lutz & Carr Production Office Production Manager Sherman Warner Technical Director James Burke Property Master Denny Schwartz CET A Interns Terry Malone, Oscar Ruiz GLCA Intern John DeWitte Staff for Chelsea Westside Theater Manager Patricia Bartolotta House Manager Kevin O'Rourke Assistant House Manager Lawsann Kratz Treasurer Charles Bershatsky Assistant Box Office Treasurer M.E. Gilroy Janitor Ed Cannan

Staff for HAPPY END Stage Manager Christopher Cara Assistant Director Peter Byrne Assistant Musical Director David Krane Assistant to Ms. Robbins Wendy Pierson Assistant to Ms. Tipton Marty Tudor Wardrobe Mistress Toni Baer Yoga Instruction Martha Jacobs Production Secretary Kathy Schermerhorn Master Electrician Tom Rowe Projectionist Tom Donahue Follow Spots Paul Mowbray, Scott Peterson Master Carpenter Nelson S. Christianson Properties Betty Martin, Kevin Goldin, Cyrus Similly Dresser Gertrude Sloan Production Assistant Daniel Quinn Production Assistant Karen Gerst Credits and Acknowledgements Costumes by Eaves Electric Headdresses by Richard Tautkus Furs by Alexa Fur Wigs by Bob Kelly

Button lllumination by Robert Carratelli

Program design by Performing Dogs Artwork by Doug Johnson©1977

Mr. Feingold and Mr. Posnick would like to express their gratitude to the Yale Repertory Company for helping to nuture this work. Tile Chelsea Theater Center is a non-profit professional pro­ This event is also made possible ducing organization, solely support­ with public funds from the New ed by contributions from private York State Council on the Arts, individuals, foundations, corpora­ the National Endowment for the tions and government agencies as Arts and the New York City Office well as from our audiences. It of Cultural Affairs. operates theaters in the Brooklyn Academy of Music, and in Man­ BOARD OF DIRECTORS: hattan, at the Westside Theater Maurice Greenbaum, Chairman; on West 43 Street. Chelsea's George Bari, Greg Bergh, Patricia twelfth season is being brought to Birch, Susan Bloch, Charles Brown, you partially with the help of our Cheryl Crawford, Michael David, friends, the Exxon Corporation, Mrs. Frazer Dougherty, Wilbur S. the Ford Foundation, Goethe Duncan, Donald Elliot, Seth House, the Mellon Foundation, Faison, Mrs. George Gould, Burl the Mobil Foundation, Inc., the Hash , Mrs. Mortimer Hess Jr., Doug Noble Foundation, the Billy Rose Johnson, Robert Kalfin, Lucille Foundation, the Shubert Found­ Lortel, Helen Merrill, Stephen ation and the Brooklyn Academy Novick, Evelyn Ortner, Anthony of Music. Perkins, Oliver Rea, Howard Sctuadron, Julien Studley.

The Westside Theater is operated by the Chelsea Theater Center, Inc., a non-profit corporation. Revenue derived from the use of this theater is used to further the work of the Chelsea Theater Center. Happy End is a professional production employing members of the Actor's Equity Association. THE PRINCE MOVES TO TELEVISION

It is our pleasure to announce that our first production of the season, the American premiere of Heinrich von Kleist's THE PRINCE OF HOMBURG, has been chosen by the Public Broadcasting System for their national "Theatre In America" series. Sponsored by WNET-TV (Channel 13) and the Exxon Corporation, the PRINCE will be filmed "on location" at the Vanderbilt Estate in Asheville, North Carolina in mid-February, and will be aired on PBS stations (locally Channel 13) in mid-spring of this year. I DON'T KNOW IF IT WOULD HAVE BROUGHT YOU JOY OR GRIEF BUT IT WAS F ANTAS TIC IT WAS FANTASTIC IT WAS FANTASTIC BEYOND BELIEF! ·· from "The Bilbao Song"

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