OFFICIAL PROGRAM for BROADWAY in DETROIT at the FISHER THEATRE the BEST GIFT YOU CAN GIVE HER DOESN’T COME Opportunities in a BOX
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OFFICIAL PROGRAM FOR BROADWAY IN DETROIT AT THE FISHER THEATRE THE BEST GIFT YOU CAN GIVE HER DOESN’T COME Opportunities IN A BOX. as unique as This holiday season give the gift of education. snowflakes. • Open an account or contribute to a child’s 529 savings plan • Easy for family and friends to open an account or contribute • Manage your account and make payments online This holiday season give the special child in your life the gift that lasts a lifetime – an education. To learn more visit www.MIsaves.com or call 1-877-861-MESP Consider the investment objectives, risks, charges and expenses before investing in the Michigan Education Saving Program. Please visit www.MIsaves.com for a Program Disclosure Booklet with this and more information. Read it carefully. Investments in the Program are neither insured nor guaranteed and there is the risk of investment loss. TIAA-CREF Tuition Financing, Inc., Plan Manager. Before investing in a 529 plan, consider whether the state where you or your Beneficiary resides has a 529 plan that offers favorable state tax benefits that are available if you invest in that state's 529 plan. C13175a Porgy & Bess—an American masterpiece, a global phenomenon. orgy and Bess first stretched its legs DeMain and seventy-six years ago in Boston with the Jack O’Brien Plargest all-black cast seen on an Ameri- snipped away can stage. After its premiere at the Colonial reprises and Theatre on September 30, 1935, George Ger- short lines and shwin received a fifteen-minute ovation. finished with a When the first national tour launched in production that 1936, the show ignited social change. After ran two hours touring the country the opera was sched- and fifty-eight uled to finish at Washington, D.C.’s National minutes. The show, the only opera to re- Theatre. Todd Duncan (Porgy) knew that the ceive a Tony Award, was hailed in the New Theatre had long refused entry to non-white York Daily News as “the most musical, mov- patrons. Anne Brown (Bess) recalled, “As ing, and profoundly beautiful production expected we were told that the National The- playing in New York.” atre would be a segregated house. Todd and Since then, Porgy and Bess has been fea- I refused to perform and we were threatened tured by almost every major opera company by the Theatre Guild. We cared less. We and, as a concert, symphony orchestra in the were adamant.” After much heated discus- world. Many operatic productions have taken sion Duncan and Brown remained steadfast experimental approaches to the story, includ- and theatre management conceded. Whites ing setting it in Apartheid South Africa, and and blacks sat side by side for the first time South Central Los Angeles, and hurricane in the theatre’s history. Katrina-ravaged New Orleans. In March of 1943, at the height of World Its current incarnation coming to the De- War II, the Danish Royal Opera premiered troit Opera House in March has taken a more the work in Copenhagen. Despite its enthu- faithful approach to the original intent of siastic audiences, the Nazis tried to close the the story, yet has adapted it for the conven- production. The show became a symbol of tions of contemporary musical theatre. “Ev- resistance to the Nazi occupation of Den- ery so often a project comes along that is so mark. When the Nazis threatened to bomb astonishing that one has to drop everything the theatre, managers ended the run. Later, and just say I’m going to do it. That’s what I amidst a jungle of Cold War hostility, a pro- felt when I was asked to do The Gershwins’ duction of Porgy and Bess travelled to the Porgy and Bess,” said Tony Award-winning Soviet Union in 1955. Audiences in Moscow director Diane Paulus. “The epic sweep of adored the production, the first show per- the story, the immense history of the musical formed by Americans since the Bolshevik itself and the unforgettable Gershwin score, Revolution. highlighted by ‘Summertime,’ ‘I Got Plenty In 1976, the Houston Grand Opera assem- of Nothing’ and ‘It Ain’t Necessarily So’ bled the first production using Gershwin’s make this unquestionably one of the greatest original score. However, with the show run- American masterpieces.” ning more than three hours, directors John • Tickets on sale now for The Gershwins’ Porgy and Bess at 2012 Original Broadway Revival Cast. Photo: Michael J. Lutch the Detroit Opera House March 4–9; see ad PAGE 21. 4 Bob Boyett National Theatre of Great Britain Ostar Productions Ken Gentry under the direction of Nicholas Hytner and Nick Starr Chris Harper Tim Levy Broadway Across America Roger Berlind Roy Furman Richard Willis Daryl Roth Debbie Bisno Jane Bergère Remmel T. Dickinson Dede Harris Stewart F. Lane/Bonnie Comley Thomas L. Miller Carl Moellenberg Raise the Roof Shorenstein-Hays Nederlander Theatre Douglas G. Smith present National Theatre of Great Britain production based on the novel by Michael Morpurgo adapted by Nick Stafford in association with Handspring Puppet Company First presented in the United States at Lincoln Center Theater, 2011 with Michael Stewart Allen Mairi Babb Harlan Bengel Brooks Brantly Brian Robert Burns Ka-Ling Cheung Michael Wyatt Cox Adam Cunningham Caden Douglas James Retter Duncan Gene Gillette Catherine Gowl Aaron Haskell Jon Hoche David Hurwitz Curt James Chad Jennings Jessica Krueger Nick LaMedica Andrew Long Megan Loomis Gregory Manley Andrew May Tim McKiernan John Milosich Brendan Murray Joe Osheroff Patrick Osteen Maria Elena Ramirez Jon Riddleberger Dayna Tietzen Andy Truschinski Spiff Wiegand Danny Yoerges sets, costumes & drawings puppet design, fabrication & direction original lighting additional lighting & adaptation Rae Smith Adrian Kohler with Basil Jones for Paule Constable Karen Spahn Handspring Puppet Company director of movement & horse choreography animation & projection design Toby Sedgwick 59 Productions artistic associate creative associate Samuel Adamson Mervyn Millar music songmaker sound additional sound & adaptation Adrian Sutton John Tams Christopher Shutt John Owens Thespis, considered the first Greek actor, music director production stage manager company manager casting painted his face with white lead. Greg Pliska Seth F. Barker Steve Varon Daniel Swee associate director associate puppetry director associate director of movement fight director Sarna Lapine Matthew Acheson and horse choreography Tom Schall Thankfully, the performers Adrienne Kapstein you see today don’t have to. NT technical producer director of marketing marketing manager Katrina Gilroy Heather Epple Karl Westworth That’s because of innovators in the pharmaceutical industry, specifically tour booking, engagement management national tour press press & marketing The Hartman Group those in the field of cosmetic science. The University of Toledo is a new Broadway Booking Office NYC site for this unique bachelor’s degree program, which trains students executive producer general manager production manager Seth Wenig Gregory Vander Ploeg Steven Ehrenberg in developing, formulating and producing cosmetics and personal care Gentry & Associates Eberg Stage Solutions products – just one major among 250 plus others. original co-direction by Marianne Elliott and Tom Morris US tour directed by Bijan Sheibani visit utoledo.edu and National Theatre is supported by Arts Council England search “cosmetic science.” 7 CAST OF CHARACTERS THE HORSES Joey as a foal ............................................................................ MAIRI BABB, CATHERINE GOWL, NICK LAMEDICA Joey ................... BRIAN ROBERT BURNS, ADAM CUNNINGHAM, JAMES RETTER DUNCAN, AARON HASKELL, JON HOCHE, CURT JAMES, JESSICA KRUEGER, GREGORY MANLEY, PATRICK OSTEEN, JON RIDDLEBERGER, DAYNA TIETZEN, DANNY YOERGES Topthorn ............ BRIAN ROBERT BURNS, ADAM CUNNINGHAM, JAMES RETTER DUNCAN, AARON HASKELL, JON HOCHE, CURT JAMES, JESSICA KRUEGER, GREGORY MANLEY, PATRICK OSTEEN, JON RIDDLEBERGER, DAYNA TIETZEN, DANNY YOERGES Primavera Collection Coco .................. BRIAN BURNS, ADAM CUNNINGHAM, CURT JAMES, AARON HASKELL, JESSICA KRUEGER GREGORY MANLEY, PATRICK OSTEEN, DAYNA TIETZEN Heine ............................................................................................................CADEN DOUGLAS, BRENDAN MURRAY THE PEOPLE (in order of speaking) Song Man (Instrumental) ....................................................................................................................SPIFF WIEGAND Song Man (Vocal) .............................................................................................................................. JOHN MILOSICH Chapman Carter ............................................................................................................................... CHAD JENNINGS Allan ................................................................................................................................. MICHAEL STEWART ALLEN Lieutenant James Nicholls ...........................................................................................................BRENDAN MURRAY Arthur Narracott ..................................................................................................................................ANDREW LONG Billy Narracott.....................................................................................................................................DAVID HURWITZ Albert Narracott ........................................................................................................................MICHAEL WYATT COX Ted Narracott .....................................................................................................................................