FLORIDA REPERTORY THEATRE GREG LONGENHAGEN, Artistic Director • JOHN MARTIN, Executive Director 2019-2020 SEASON HISTORIC ARCADE THEATRE • FORT MYERS RIVER DISTRICT

PRESENTS

SPONSORED BY FINEMARK NATIONAL BANK & TRUST MEDIA SPONSOR: TOTI MEDIA GROUP STARRING ensemble members DAVID BREITBARTH* • KATE HAMPTON* • PATRICIA IDLETTE* • WILLIAM McNULTY* with MATTHEW GOODRICH* • BETSY HELMER*

DIRECTED BY ensemble member CHRIS CLAVELLI**

SET DESIGNER COSTUME DESIGNER LIGHTING DESIGNER JIM HUNTER*** ALICE NEFF TODD O. WREN*** ensemble member ensemble member SOUND DESIGNER PRODUCTION STAGE ASST. STAGE MANAGERS KATIE LOWE MANAGER ABBY TRUETT JANINE WOCHNA* JESSE MASSARI ensemble member Ken Ludwig’s A Fox on the Fairway is presented by special arrangement with SAMUEL FRENCH, INC.

Originally Produced at Signature Theatre, Arlington, Virginia, October 2010 Eric Schaeffer, Artistic Director; Maggie Boland, Managing Director. Any taping, filming, recording or broadcast of this play is strictly prohibited. 2019-20 GRAND SEASON SPONSORS

IN THE KNOW. IN THE NOW.

This entire season sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, and the Florida Council on Arts and Culture. Florida Repertory Theatre is a fully professional non-profit LOA/LORT Theatre company on contract with the Actors’ Equity Association that proudly employs members of the national theatrical labor unions. *Member of Actors’ Equity Association. **Member of the Stage Directors and Choreographers Society. ***Member of United Scenic Artists. ABOUT THE PLAYWRIGHT KEN LUDWIG is a two-time Olivier Award-winning playwright who has written over 26 plays and musicals, including 6 shows on Broadway and 7 in London’s West End. His first Broadway play, Lend Me A Tenor, won THE CAST two Tony Awards and was called “one (in order of appearance) of the classic comedies of the 20th Justin Hicks century” by The Washington Post. His Matthew Goodrich*† other awards include the Helen Hayes Award, the 2017 Samuel French Louise Heinbedder Award for Sustained Excellence in Betsy Helmer*† the American Theatre, the Edgar Dickie Bell Award for Best Mystery of the Year, William McNulty*† and the Edwin Forrest Award for Contributions to the American Henry Bingham Theater. His book How To Teach Your David Breitbarth*† Children Shakespeare, published by Pamela Peabody Penguin/Random House, won the Kate Hampton*† Falstaff Award for Best Shakespeare Book of the Year, and his essays are Muriel Bingham published by the Yale Review. Ken’s Patricia Idlette*† best-known works include Crazy For You (5 years on Broadway, Tony and Olivier Awards for Best Musical), TIME AND PLACE: Lend Me A Tenor, Moon Over Buffalo, The Tap Room of The Game’s Afoot, Baskerville, Quail Valley Country Club, this year. Sherwood, A Fox on the Fairway, and a stage version of Murder on A FOX ON THE FAIRWAY will be performed with one 15-minute intermission. the Orient Express, written expressly at the request of the Agatha Christie Wardrobe Supervisor: Andrew Burns Estate. His newest play, The Gods of Lighting/Sound Board Op: Drew Kobus Comedy, premieres in 2019 at The Understudies: McCarter Theater in Princeton and Hunter Clarke (Justin) • Bailey Tyler (Louise) The Old Globe Theatre in San Diego. On Broadway and the West End, The video and/or audio recording of this performance by any his plays have starred Alec Baldwin, means whatsoever is strictly prohibited. Carol Burnett, Tony Shalhoub, Lynn Redgrave and Joan Collins. He †Member of Florida Repertory Theatre’s holds degrees from Harvard, where Ensemble of Theatre Artists. See page 31 for the entire ensemble. he studied music with Leonard Bernstein, Haverford College, and * The Actors & Stage Manager employed in this production are members of Actors’ Equity Association, Cambridge University. His work has the Union of Professional Actors and Stage Managers in been performed in over 30 countries the United States. in more than 20 languages, and is ** produced somewhere in the United States and abroad every night of the year. www.kenludwig.com *** A LETTER FROM THE PLAYWRIGHT A Fox on the Fairway is a farce, and it was written in homage to the great English farce tradition that began in the 1880s and flowered in the 1920s, ’30s and ’40s.

A farce, essentially, is a broad comedy where the emphasis is more on the story and the plotting than on the emotional journey of the characters. It typically has a broad, physical, knockabout quality and is filled with recognizable characters who find themselves in precarious situations. Great farces are minutely plotted, and part of the joy we take from a great farce comes from the beauty of the play’s architecture. Ken Ludwig’s Moon Over Buffalo / Florida Rep 2006 Bruce Somerville, Barbara Bradshaw, John Felix, and When a complex story ticks Zolan Henderson along without missing a beat, then fits together perfectly at the end like a Chinese puzzle box, we leave the theater feeling exhilarated. The experience might be described as catharsis through laughter.

Farce on stage begins with Plautus in the 3rd century B.C. Twenty of his plays survive, and Shakespeare used several of them as sources of plot and character in the most overtly farcical of his own plays, including The Comedy of Errors, The Taming of the Shrew, and The Merry Wives of Windsor. Farce recurs again and again in the history of British stage drama, from Ben Jonson’s The Alchemist in the 17th century to David Garrick’s one-act curtain-raisers in the 18th. In fact, virtually all of the comic masterpieces written at the end of the 18th century, including She Stoops to Conquer by Oliver Goldsmith and The School for Scandal by Richard Brinsley Sheridan, have strong farcical elements throughout.

The particular tradition that I’m honoring in Fox is a kind of comedy that first appeared in 1885-1887 in a number of tremendously successful comedies by Sir Arthur Wing Pinero (the first playwright in history to be knighted). These include The Magistrate, The School Mistress, and Dandy Dick. They are all set in upper- middle-class England amid clerics and judges, teachers and students, youngsters and oldsters, where youth ultimately fools old age and gets what it wants. Close on the heels of these plays, in 1892, appeared what is probably the most successful farce of all time, Charley’s Aunt by Brandon Thomas. It is the zany story of an Oxford student who dresses up as his friend’s aunt in order to help the cause of true love and thwart the older generation.

Beginning in 1922 the playwright wrote over a dozen comedies known as the Aldwych Farces (because most of them were first produced at the in London), including , , , and . These featured the same group of actors from play to play, involved amorous uncles, forbidding mothers, opinionated servants and innocent ingénues, and became tremendously popular with the English public. The Travers tradition was then carried on, and indeed enriched, by many of England’s finest dramatists, such as J.B. Priestley (in ), Terence Rattigan (in When the Sun Shines) and Noel Coward (in Blithe Spirit and Look After Lulu). Along the way there were some outstanding one-offs, like Tons of Money by Evans and Valentine, and A LETTER FROM THE PLAYWRIGHT See How They Run by Philip King. (P.G. Wodehouse wrote the greatest farces of all time in this tradition, and he did it for over 75 years during the first three-quarters of the twentieth century. In Wodehouse’s case, however, they are in the form of novels and short stories.)

What the plays in this tradition have in common is not only their wildly funny stories and characters, but a firm sense of their own innocence. Their authors were very aware of the sex-fueled, often bitter French farces by Georges Feydeau written in the decades around 1900; but that is not exactly what they wanted to emulate. They wanted Feydeau’s extravagant plots, colorful characters and breathless climaxes without the adultery and the pessimism. Thus, emerged the singular tradition of British farce.

In A Fox on the Fairway I’ve tried to touch base with some of the specific characteristics of this genre in order to sustain what I consider to be an important yet endangered tradition. For example, many of the above-mentioned classics had sporting themes, probably because professional sports have a jaunty yet competitive edge that can bring out the best (and worst) in all of us. Some of the farces in this tradition revolve around bets; many of them concern marriages on the brink of disaster; some involve authority figures brought down to earth; and all of them concern young love fighting for survival.

Ken Ludwig’s Lend Me a Tenor / It is important to put this genre into its Florida Rep 2012 own context. If it is judged – wrongly – Kate Hampton in comparison to emotional comedies (say Twelfth Night or Private Lives) or intellectual comedies (say Volpone or Major Barbara), critics who don’t understand the genre will find it wanting in emotion and intellect. If it is judged in comparison to the edgy farces of Joe Orton and Alan Bennett (say Loot or Habeas Corpus), it will not be found savage enough. The joy of the farces by Travers and Priestley, Pinero and Thomas, is in their plotting, wordplay, rhythm and exuberance. They all have a breezy quality that is intentional. For me, these plays reach a genuine depth of artistic merit, but it is the kind of depth we associate with great technique – in painting, for example, with composition, brushwork, and the choice of subject matter. If a critic finds Charley’s Aunt too “frivolous,” then he has not entered the theater with the right critical tools.

Finally, I’ve written this play not only as an homage to the earlier tradition, but also as a reminder of the values that the tradition embodies, things like innocence, humor, good sportsmanship, and honor. My hope is that it is still possible to come together in a darkened theater and embrace these values with a sense of joy. If so, there may be hope for us yet. Ken Ludwig’s Lend Me a Tenor / Florida Rep 2012 Ken Ludwig Michael Satow & David Breitbarth April 2011 WHO’S WHO DAVID BREITBARTH*† Folly (Peterborough Players), Absurd Person (Henry Bingham) has Singular (Bristol Rep), Neighborhood 3: been an Ensemble Requisition of Doom (Humana Festival), Loot Member since 2012. (The Arden), The Real Thing (Olney), All My Florida Rep productions: Sons, Hard Times (Williamstown). TV: Bones, Sylvia, The Unexpected The Law & Order trifecta, The Education of Max Guest, Tribes, Social Bickford, and Sex and the City. Security, Lend Me a Tenor, and Rumors. David is 23 BETSY HELMER* (Louise years an Associate Artist at Asolo Repertory Heinbedder) is thrilled to Theatre in Sarasota where he’s appeared in be returning to Florida over 80 productions, which include Rhinoceros Repertory Theatre after (also at American Conservatory Theatre, playing Annelle in Steel SF), The Crucible, A Doll’s House, Part 2, The Magnolias. Selected Little Foxes, Both Your Houses, The Grapes of Theatre Credits: New Wrath, Glengarry Glen Ross, Clybourne Park, Stage Theatre, Pioneer , Once in a Lifetime, Twelve Theatre Company, Arrow Angry Men, The Front Page, The Immigrant, Rock Lyceum Theatre, Alabama Shakespeare world premieres of Men of Tortuga and Festival, The Kennedy Center. TV Credits: Perfect Mendacity, A Few Good Men, A Flea The Enemy Within, Shadow of Doubt, and in Her Ear, Rounding Third, , and Nicholas American Supernatural. She is a house team Nickleby. Broadway First National Tour: Spring improviser and performer at the Upright Awakening. Film and television: Frasier, Taken!, Citizens Brigade Theatre in New York City. Law & Order, and Fame. David is a proud www.BetsyHelmer.com • IG: @betsyhelmer 2013 Lunt-Fontanne Fellow, selected by the prestigious Ten Chimneys Foundation. PATRICIA IDLETTE*† (Muriel Bingham) is a local MATTHEW GOODRICH* actor, writer, and director (Justin Hicks) makes in regional theater across his Florida Rep debut. the United States and Broadway: All My Sons, Canada. She has also The Nance, Picnic. Off- worked in television, Broadway: Love’s Labor’s radio, commercials, and Lost (Food of Love voice-overs. She directed Productions). Regional For Colored Girls Who Have Considered credits include Alabama Shakespeare Festival, Suicide When the Rainbow is Enuf at Theatre TheatreSquared, Orlando Shakes, and Florida Conspiracy and Florida Southwestern College, Studio Theatre. MFA, CalArts. IG @goodie_ and also the play reading of Day Of Absence grams, actormatt.com at Florida Repertory Theatre for the 2019 MLK Jr. Day celebration. She has worked at KATE HAMPTON*† Stratford Shakespearean Festival in Stratford, (Pamela Peabody) is very Ontario and is an ensemble member at Florida glad to be back at Florida Rep where she has appeared in Doubt, The Rep. Past shows here: Little Foxes, Heart Song, To Kill A Mockingbird, The Miracle Worker, How The Miracle Worker, and Steel Magnolias. the Other Half Loves, She was awarded the distinction of ‘Women The Cocktail Hour, Social in the Arts’ in 2019 at Black Girls Rock of Security, Lend Me a Tenor. SWFL. She is a proud member of Actor’s Broadway: The Best Man, Equity Association. The Deep Blue Sea. First National Tour: Spring Awakening. More NYC: The Master Builder WILLIAM McNULTY*† (BAM), All My Sons (Roundabout), Have You (Dickie Bell) has been Seen Steve Steven? (13P), The Typographer’s an ensemble member Dream (Clubbed Thumb), Over the River at Florida Rep since and Through the Woods. Regional: A Doll’s 2013. In that time, he has House, Part 2, , Fallen Angels, God appeared in such roles of Carnage, Once in a Lifetime, Las Meninas, as Rothko in Red, Frank Boeing Boeing, La Bête, Pride and Prejudice, in Educating Rita, and Expecting Isabel (Asolo Rep), Gidion’s Bob Ewell in To Kill a Mockingbird. The bulk Knot (Florida Studio Theatre), Les Liaisons of his career has been with Actors Theatre Dangereuses (Palm Beach Dramaworks), of Louisville, dating back to 1976. With that God of Carnage, The Ladies Man, Talley’s company he has directed over 30 productions WHO’S WHO and acted in more than 150. He has also (Chicago): La Cage Aux Folles. Tours: Clear performed with other major theaters such Channel: Veggie Tales Live (National) and Wall as the Public Theatre in New York, Cincinnati Street Danceworks. AriZoni Awards in Scene Playhouse, Cleveland Playhouse, Arena Stage, Design for Thoroughly Modern Millie and and Milwaukee Rep. Representative roles Picnic. Jim is a Professor of Theatre Design at include Jamie in Moon for the Misbegotten, the University of South Carolina and serves Alceste in The Misanthrope, Charlie in The on the Board of Directors for the National Foreigner, Enobarbus in Antony and Cleopatra, Association of Schools of Theatre and Chairs and Scrooge in A Christmas Carol. He is a the NAST Commission on Accreditation. 2009 recipient of the prestigious Theatre www.jimhunterdesigns.com. Communications Group Distinguished Artist Grant. KATIE LOWE (Sound Designer) served as resident sound designer last season at Florida CHRIS CLAVELLI**† (Director) is an Ensemble Repertory Theatre. Previously, she has been an Member and Resident Director at Florida electrics intern at Florida Repertory Theatre Repertory Theatre where he has directed and sound apprentice at Endstation Theatre and performed in more than 40 productions Company after graduating from the University since 2000. Florida Rep directing credits of Kentucky. Previous credits include include Becoming Dr. Ruth, Outside Mullingar, Matilda, Spring Awakening, Disney’s Newsies The House of Blue Leaves, The Cocktail Hour, (Sound Engineer, Florida Repertory Theatre One Slight Hitch, Tribes, The Glass Menagerie, Education), Always…Patsy Cline, Romeo and and The Santaland Diaries. He has been Juliet, Hay Fever, August Wilson’s Fences, the recipient of both the Barrymore Award Tenderly: The Rosemary Clooney Musical, A (Philadelphia) and the South Florida Carbonell Christmas Carol: The Tale of Ebenezer Scrooge, for best actor and was honored with an Damascus, Steel Magnolias, Becoming Dr. Alan Schneider Directing Award nomination Ruth, Refugee, The Cat in the Hat (Sound through Theatre Communications Group. Designer, Florida Repertory Theatre), Cabaret He was a founding member and co-artistic (Florida Repertory Theatre, A2), Million Dollar director of the Neighborhood Theatre for Quartet (Endstation Theatre Company, A2), Kids in Brooklyn. Representative theatres: Sense and Sensibility (University of Kentucky, Virginia Stage Company, The Depot Theatre, Sound Designer). Katie would like to thank Chenango River Theatre, Two River Theatre, her parents and Ben for their endless support Dog Days Theatre, Off Square Theatre, The and love! Riverside in Vero Beach, and Greenbrier Valley Theatre. His one-man play, A Little ALICE NEFF (Costume Designer) is delighted More Than You Wanted to Spend, ran at The to be designing costumes at Florida Repertory All Native Garden Center • Golf Galaxy Drilling Company in New York City. He serves Theatre again. She designed A Christmas Heritage Palms Golf & Country Club on the faculty of The New York Conservatory Carol: The Tale of Ebenezer Scrooge, George for Dramatic Arts, The American Musical and Washington’s Teeth, Over the River and Renee Pesci • Noreen Raney Dramatic Academy, CAP 21/Molloy College, Through the Woods, and The Last Night of Taylor Carpet One • Trophy Case and FGCU. Ballyhoo in recent seasons at The Rep. She has designed frequently for professional JIM HUNTER***† (Set Designer) has been as well as academic companies, including designing for Florida Rep since 2000. Shows Lees McRae Summer Theatre, the outdoor include Steel Magnolias, Doublewide, To drama Horn in the West, Blowing Rock Kill a Mockingbird, The Best of Enemies, A Stage Company, Davidson College, and the Christmas Story, August: Osage County, Lend Appalachian State University Opera Program, Me A Tenor, The Glass Menagerie, Amy’s View, all in North Carolina. She has also designed and Noises Off. Folger Theatre: Julius Caesar, for 7 Stages in Atlanta, Ballet Austin, Western Richard III. Phoenix Theatre: Man of La Mancha, Carolina University, and the University of the The Full Monty, Applause, Tintypes; Charlotte Cumberlands. She has built costumes for Repertory Theatre: Jar the Floor, Other People’s Glimmerglass Opera, some of which are now Money; Theatre Virginia: Lost in Yonkers, Moon in stock for the Metropolitan Opera; for the Over Buffalo, The Sunshine Boys; Arizona Hallmark channel miniseries True Women, Broadway Theatre: The King and I; Florida and for Alvernia University. She managed the Stage: Goldie, Max, and Milk, Some Kind of ASU Theatre & Dance Department costume Wonderful; Arkansas Repertory Theatre: shop for several years, and mentored many Talley’s Folly, Foxfire; Orlando Shakespeare: students who went on to graduate schools West Side Story, Spamalot, ; The and professional careers. She holds a BFA in Lost Colony: The Lost Colony; Drury Lane costume design and construction from UT- WHO’S WHO Austin. She and her husband enjoy riding their ABBY TRUETT (Assistant Stage Manager) motorcycle cross-country, raising money for is one of the stage management interns this theatre-based charities. season. She is originally from Raleigh, North Carolina and is thrilled to be here in Fort Myers JANINE WOCHNA*† (Stage Manager) is an for her first season with Florida Rep. She ensemble member having previously stage- graduated in May from the University of North managed Hay Fever, A Christmas Carol: The Carolina at Greensboro with a BFA in Design Tale of Ebenezer Scrooge, Steel Magnolias, and Technical Production, concentrating in and many others over 15 seasons. Recent stage management. Recent credits include regional theatre credits include The Man Heathers the Musical and Shakespeare in Love of La Mancha and Who’s Afraid of Virginia (UNCG) and Gypsy, The Full Monty, Once Upon Woolf at Triad Stage. She is a graduate of the a Mattress, and The Jungle Book (McLeod University of Cincinnati College-Conservatory Summer Playhouse). of Music and a proud member of Actors’ Equity Association. JESSE MASSARI (Assistant Stage Manager) is a recent graduate from Cypress Lake TODD O. WREN***† (Lighting Designer) High School Center for the Arts. She has is delighted to participate in Florida Rep’s been a part of the Florida Rep Conservatory continued growth as an ensemble member. A Program for 8 years, since its inception. special thanks goes to you, the audience, for Most recently she was the student director your support. Todd’s theatrical credits include for Matilda. Other credits include, assistant Goodspeed Musicals, Cleveland Playhouse, directing The Curious Incident of the Dog People’s Light and Theatre Company, The in the Night-Time, directing Small World, Royal Manitoba Theatre Center, Merrimack performing as Katherine in Newsies, and Repertory, Barter Theatre, Tennessee Martha in Spring Awakening. Jesse would like Repertory, John F. Kennedy Center, Coconut to thank her incredibly supportive family, as Grove Playhouse, Charlotte Repertory, North well as Florida Rep for providing her with so Carolina Shakespeare Festival, Town and many opportunities to grow as an artist and Gown Theatre, Casa Manana, and Flat Rock a person. Playhouse. Todd is a member of United Scenic Artists, New York Local #829.

SPECIAL THANKS All Native Garden Center • Golf Galaxy Heritage Palms Golf & Country Club Renee Pesci • Noreen Raney Taylor Carpet One • Trophy Case

ACTORS’ EQUITY ASSOCIATION (AEA) was FLORIDA PROFESSIONAL founded in 1913 as the first of the American THEATRES ASSOCIATION (FPTA) Actor unions. Equity’s mission is to advance, is a statewide organization of promote and foster the art of theatre as an professional theatre companies essential component of our society. Today, and theatre professionals interested in the Equity represents more than 40,000 actors, development and promotion of professional singers, dancers and stage managers working in theatre throughout Florida. Florida Repertory hundreds of theatres across the United States. Theatre is a proud FPTA member theatre. Equity members are dedicated to working in the theatre as a profession, upholding the highest artistic standards. Equity negotiates wages and Florida Repertory Theatre working conditions and provides a wide range of is a member of THEATRE benefits including health and pension plans for COMMUNICATIONS GROUP its members. Through its agreement with Equity, (TCG), the national organization TICKETSthis theatre has committed to the fair treatment for the American Theatre. of the actors and stage managers employed in this production. AEA is a member of the AFL- CIO and is affiliated with FIA, an international Florida Repertory Theatre organization of performing arts unions. For more is a proud Associate Member information, visit www.actorsequity.org. of the NATIONAL NEW PLAY NETWORK. DRAMATURGY A Note on Golf Scoring – The Lower the Better Par is the number of shots (or strokes) a top-class golfer is expected to take to play each hole based on its length and difficulty. It also refers to an expected total of shots for the whole round of 18 holes. • Par for a course usually ranges between 70 and 72 shots but most golfers never match that. • Par for a hole is usually between three and five shots. • If you take four shots on a par-four hole you make par. • What counts is the number of shots you play on each hole, which are added together for your total score for the round.

Golf Scoring Terms • Albatross: Three shots less than par • Eagle: Two shots less • Birdie: One shot less • Bogey: One shot more • Double bogey: Two shots more • Triple bogey: Three shots more

Golf Clubs Explained WOODS: This category of golf clubs includes the driver and the fairway woods. They are called woods even though their clubheads are no longer made of wood. Clubs with the largest heads which are typically hollow, with rounded lines and with the longest shafts. Golfers can swing them the fastest, and they are used for the longest shots, including strokes played from the teeing ground.

IRONS: Irons come in numbered sets, usually ranging from 3-iron through 9-iron. They have smaller clubheads than woods, especially front to back where they are comparatively very thin. Most irons have solid heads, although some are hollow. Irons have angled faces (called “loft”) etched with grooves that help grip the golf ball and impart spin. They are generally used on shots from the fairway or tee shots on short holes. As the number of an iron goes up, the loft increases while the length of the shaft decreases.

WEDGES: The category of wedges includes the pitching wedge, gap wedge, sand wedge and lob wedge. Wedges are their own type of golf club, but also are a sub-set of irons because they have the same clubheads as irons, just more severely angled for more loft. They are the highest-lofted golf clubs. They are used for shorter approach shots into greens, for chips and pitches around greens, and for playing out of sand bunkers.

HYBRIDS: This category of club is a cross between a wood and an iron. Hybrids are numbered like irons are, and the number corresponds to the iron they replace. Many golfers find them easier to hit than the irons they replace. But if a golfer uses hybrids, it is most likely as a replacement for the long irons (2-, 3-, 4- or 5-irons).

PUTTERS: Putters are the most-specialized golf clubs, and the type of club that comes in the widest varieties of shapes and sizes. They are the clubs golfers use on the putting greens, for the last strokes played on a golf hole. There are more varieties of putters on the market than any other club.