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LEON WILSON CLARK SERIES

SHEPHERD SCHOOL OPERA

and the

SHEPHERD SCHOOL CHAMBER ORCHESTRA

present

DON GIOVANNI

An opera in two acts by Wolfgang Amade Mozart Libretto by Lorenzo DaPonte

Richard Bado, conductor Vera Lucia Calabria, stage director

Thursday, March 19, and Saturday, March 21, 2009 8:00 p.m. Stude Concert Hall I

RICE UNIVERSITY ( DON GIOVANNI ., Dramma Giocoso in two acts by Wolfgang Amade Mozart (1756-1791). Libretto by Lorenzo DaPonte. Based on the legend of Don Juan. Premiere on October 29, 1787, National Theatre, Prague. Act I j INTERMISSION (30 minutes) Act II

The performance is approximately 3 hours and 20 minutes with intermission.

CAST (in order of vocal appearance) Lepore/lo, Don Giovanni's servant . . Michael Sumuel Donna Anna, betrothed to Don Ottavio . Annamarie Zmolek Don Giovanni, an extremely licentious nobleman . . Brian Haase II Commendatore, Donna Anna's father. . David Keck Don Ottavio, betrothed to Donna Anna . . Aaron Blake Donna Elvira, lady of Burgos, . . Amanda Grooms abandoned by Don Giovanni Zerlina, a peasant girl . Lauren Snouffer Masetto, betrothed to Zerlina . . Adam Lau

CHORUS Geordie Alexander, Shelley Cantrick, Abbey Curzon, Zachary Devin, Maria Failla, Rebecca Henderson, Rebecca Henry, Sara Lemesh, Eric Longo, Julie Marx, Joseph Quigley, Stephen Ray, Erica Schoelkopf, Samuel Schultz, Paul Wilt

COVERS Donna Anna. . Julia Bell Don Giovanni Stephen Ray , Don Ottavio . Zachary Devin Donna Elvira . . Mary-Jane Lee Zerlina. . Ann Marshall Masetto . . Samuel Schultz

Members of the SHEPHERD SCHOOL CHAMBER ORCHESTRA Larry Rachleff, music director

Violin I Viola Flute Trumpet Heidi Amundson, Nicholas Mauro, Catherine Ramirez Kevin Lynch concertmaster principal Natalie Zeldin Robert Zider Kaoru Suzuki Marissa Winship Sarah Ludwig Hillary Schaap Oboe Trombone Analise Kukelhan Katherine Curatolo Jayne Drummond Caitlin Hickey SoJinKim Molly Gebrian Erin I-Ling Tsai Travis Sheaffer ' Hannah Dremann Cello Benjamin Zilber Yennifer Correia Clarinet Jacob Fowler, Luke Hsu Benjamin Mitchell principal Timpani Cayce Curtis Vega Andres Pichardo Violin II Cara Cheung Keith Thomas Eric Siu, Bassoon ~ principal Meredith Bates Mandolin David Richmond Amalia Bandy Mary Jeppson Double Bass Robert Trussell Tudor Dornescu Evan Ha/loin, Orchestra Manager Creston Herron principal Horn and Librarian Hye-Youn Lee Matthew Muehl-Miller Edward Botsford Kaaren Fleisher Joanna Park Annabella Leslie Nicholas Hartman 1 Tonight we honor the members of The Shepherd Society for their generous scholarship support with a champagne and dessert reception. Please join us for this celebration during an extended intermission in the Grand Foyer.

ARTISTIC STAFF

Conductor. . Richard Bado Stage Director . Vera Lucia Calabria Lighting Designer . . David Gipson Choreographer . . Debra Dickinson Fight Director . . Brian Byrnes Costume Supervisor . . Barbara Dolney Wig and Makeup Supervisor . David Woody Musical Preparation Grant Loehnig, Youn Ju Namkoong Italian Diction Coach . Corradina Caporello Assistant Conductor Cristian Macelaru Properties Master Alex Stutler Surtitles . . Scott Heumann

PRODUCTION STAFF

Technical Director . . Troy McLaughlin Stage Manager I Assistant Director . . Alex Stutler Surtitle Operators . . Alison Campagna, Sarah Larsen Running Crew . Julia Bell, Sishel Claverie, Alexandra Ford, Mary-Jane Lee, Corissa Leonard, Ann Marshall, Sarah Mesko, Stephen Ray Shepherd School Production Staff Production Manager . . Megan Manning Assistant Production Manager. . Mandy Billings Assistant Production Manager Francis Schmidt Audio Engineer . . Andy Bradley

ACK.NO WLEDGEMENTS

This production is made possible by a generous endowment from the late Dr. Leon Wilson Clark, and in part by financial support from The Cullen Trust for the Performing Arts and The Humphreys Foundation. Special thanks to , Cypress Bible Church, and Jodi Bobrovsky and Stages Repertory Theatre.

SYNOPSIS Act I Leporello is waiting for his master, Don Giovanni, outside the home of Donna Anna. Suddenly, Don Giovanni is chased out of the house by Donna Anna, who wants to know the identity of the man who forced his way into her room and attempt­ ed to seduce her. Her father, the Commendatore, awakes and challenges the intruder to a duel. Meanwhile, Donna Anna has gone for her fiance, Don Ottavio. When they return together, they find her father dead. The killer has fled, and the two swear # vengeance upon the murderer. Leporello is upset by his master's crime and urges him to mend his ways. But just then, Don Giovanni spots a beautiful woman complaining about her faithless lover. He approaches her, and is surprised to discover that she is his wife, Donna Elvira, whom he deserted after three days of marriage. Don Giovanni runs away, leaving Lepore/lo to distract Donna Elvira. Lepore/lo and Don Giovanni pass by a wedding celebration for two villagers, Zerlina and Masetto. Don Giovanni is immediately interested in the bride. He con­ trives to be alone with her by suggesting that the party be moved to his palace near­ by, but he himself remains behind with Zerlina. She is prepared to give herself to him when Donna Elvira arrives and spoils Don Giovanni's plan. Donna Anna and Don Ottavio run into Don Giovanni. They ask for his assistance to clear up the terrible events of the night. From his tone, voice and bearing, Donna Anna realizes that it was Don Giovanni who forced his way into her room and killed her father. The marriage celebration continues at Don Giovanni's palace. Donna Elvira has joined forces with Don Ottavio and Donna Anna against Don Giovanni. They arrive at the palace, masked, in order to expose him. Don Giovanni succeeds in drawing Zerlina into an adjoining room, but when she cries out, he pretends Lepore/lo assault­ ed her. The masked guests reveal their identities and accuse Don Giovanni. He runs away, followed by Lepore/lo. Act II Don Giovanni is now interested in Donna Elvira's chambermaid. To protect his identity while he woos her, he changes clothes with Lepore/lo. Lepore/lo, pretending to be the Don, distracts Donna Elvira. Don Giovanni's plans are spoiled again, this time by Masetto and his friends. They are searching for the Don to exact their revenge. Still disguised as Lepore/lo, Don Giovanni gets rid of the friends, beats up Masetto, and runs off Zerlina arrives and consoles Masetto. Don Giovanni and Lepore/lo meet each other in a graveyard, in front of a statue of the Commendatore. They jokingly tell each other of their adventures in disguise, but suddenly the statue comes to life and speaks, warning Don Giovanni to renounce his wicked ways. With bravado, Don Giovanni forces the terrified Lepore/lo to invite the statue home for supper. The statue accepts. Don Giovanni begins to eat by himself, but soon the statue arrives to pass judg­ ment. Don Giovanni is given one last chance to repent, but he refuses to admit to any crime. He is condemned and perishes. Don Ottavio, Donna Anna, Donna El­ vira, Masetto and Zerlina arrive - but Don Giovanni has ceased to exist. Donna Elvira vows to enter a convent. Donna Anna asks Don Ottavio to wait another year for her. Lepore/lo considers going to the nearest inn to find himself a better master. Masetto and Zerlina go home - finally united. - Courtesy of Houston Grand Opera

DIRECTOR'S NOTES The Rake Punished or Don Giovanni, K. 527 (Dram ma giocoso) Don Giovanni is probably the greatest opera ever written; ifpeople dispute this, they counter that Le nozze di Figaro is the greater composition, but two facts remain: both are written by WA. Mozart, and his genius is unsurpassed until today. What makes him this genius? His music and melodies seem quite simple at first glance. He stays within the classical style - but try to sing his melodies, and you will be confronted with innumerable challenges ifyou want to get it "right." You will stumble over slight variations of the same music, in the melody, the rhythm, or the tempo, in the dynamics, in the orchestra accompaniment, and some­ times by combining all of these elements, or different combinations of them - and here we encounter Mozart's genius, as his reason for applying these means in his music is always profoundly character and story driven, showing him to be a most brilliant dramatist. As if this were not enough, he uses yet another means to describe human trials and errors: he combines the "dram ma" with the "giocoso." Adding comedy gave him two more tools: he could entertain better, and use exaggeration. Commedia dell'Arte, the Italian street theatre that gave us servants and lovers like Arlecchino and Columbina, old men like Bartolo and Basilio, and noble lovers like Isabella and Ottavio, also gave us something else: archetypes - or prototypes ifyou will - of human nature. These characters and their specific names were so well known at the time that composers, singers, and the audience knew immediately what kind ofpersonality a role name represented. For a singer this meant a specific way of interpreting and acting. Mozart's uniqueness, though, lies in how superbly he combines all these means, and how he applies them : he uses the commedia archetypes, but through his music makes them all real human beings with tremendous depth, giving us nuanced pic­ tures of their hearts and souls, their thoughts, and actions. For singers this means no hiding is possible behind a role; to sing Mozart well and captivate an audience they will have to open up their innermost souls - scary, but rewarding for the singers as Mozart will teach them about themselves along the way. It is immensely gratifying for you, as Mozart and their interpreters take you on an journey into the depth of human existence, offear, joy, trials - but al­ ways, always Mozart has a smile in his eyes as if saying, "Accept that you are not perfect, just keep learning, and trying, and fighting, and enjoy life while you are experiencing all of this I " My deepest thanks to Robert Yekovich, Dean of The Shepherd School of Music. Your wisdom and good hand in leading this school filled with the most wonderful students is apparent everywhere. Thanks also to Troy McLaughlin, the Technical Director, who built our wonderful set pieces, and to Alex Stutler and Karen Reeves, for their endurance, competence, and smiles - you are a joy to work with. Thank you Debra Dickinson for your help with the dances I And I cannot describe enough the pleasure it has been to work on Don Giovanni with Richard Bado, Director of the Opera Studies Program: Mozart and Richard come very close to heaven on earth ... Enjoy the show I - Vera Lucia Calabria

BIOGRAPHIES

A native ofPittsburgh, Pennsylvania, RICHARD BADO made his professional conducting debut in 1989 leading Houston Grand Opera's acclaimed production of Show Boat at the newly restored Cairo Opera House in Egypt. Since then, Mr. Bado has conducted at Teatro alla Scala, Opera National de Paris, Houston Grand Opera, New York City Opera, the Aspen Music Festival, the Tulsa Opera, the Florida Phil­ harmonic, the Montreal Symphony, Wolf Trap Opera, and Houston Ballet, and has conducted the Robert Wilson production of Virgil Thomson's Four Saints in Three Acts at the Edinburgh Festival. He appears regularly in recital with Renee Fleming and has also accompanied , Frederica von Stade, Denyce Graves, Susan Graham, Marcello Giordani, Ramon Vargas, Samuel Ramey, and Nathan Gunn. Mr. Bado, who holds music degrees from the Eastman School ofMusic , where he received the 2000 Alumni Achievement Award, andfrom West Virginia University, has studied advanced choral conducting with Robert Shaw. Currently, this season is Mr. Bado's twentieth season as Chorus Master at Houston Grand Opera. In the fall of 2005, Mr. Bado joined the faculty at Rice University's Shep­ herd School ofMusic as Director ofthe Opera Studies Program. He has been on the faculty ofthe Aspen Music Festival and Schoo/for thirteen summers and has served on the music staff ofthe , Seattle Opera, Opera Austra­ lia, Opera Theater of St. Louis, Chautauqua Opera, and Wolf Trap Opera. Mr. Bado regularly judges for the Metropolitan Opera National Council Auditions and served as Houston Grand Opera's Head ofMusic Stafffor fourteen seasons. Stage director and arts administrator VERA LUCIA CALABRIA has over twenty years of experience in opera and classical music. Born in Brazil, she began at the Bayerische Staatsoper Munich in 1977, and at in 1979 as as­ sistant to Jean-Pierre Ponnelle. Productions staged for San Francisco Opera from 1983 to 2001 include Carmen, Cavalleria rusticana/Pagliacci, Laforza de[ des­ tino, Der fliegende Hollander, and . Other credits include Madama Butter­ fly in Strasbourg and Cologne, Manon in Vienna, Munich, and at the Metropolitan Opera, in Barcelona, Falstaff in Chicago, in Montpellier, Tannhau­ ser in Honolulu, and Carmen in Zurich, Cologne, Chicago, and Tel Aviv. She now divides her time between big productions and work with young singers. In the last six years she directed La finta giardinera and L'Enfant et Les Sortileges/ L'Heure Espagnole for UCLA, Der fliegende Hollander for , II barbiere di Siviglia for San Francisco Opera Center, and Cavalleria rusticana/ Pagliaccifor San Francisco Opera, The Queen of Spades at the Teatro Real, Madrid (Spain), ldomeneo and for LA Opera, II barbiere di Sivigliafor Opera Indiana­ polis, Opera Scenes at Yale University, for Israeli Opera, and Bluebeard's Castle/L'Heure Espagnole at Yale University. She also teaches Commedia dell'Arte, and how its characters are used in opera, in workshops at CSULA, UC Santa Barbara, and UCLA , and is co-director of Israeli Opera's Young Artist Program. Calabria has also collaborated on several video productions with Brian Large (II Trittico, Andrea Chenier, and from Milan's ; Der fliegende Hollander from Bayreuth, and Lear from Munich) and Derek Bailey (Aida and Ma­ dama Butterfly from La Scala). DAVID GIPSON, lighting designer, has been designing for over twenty-five years and is a company member with Infernal Bridegroom Productions in Houston, Tea­ tro Vista Theatre Company in Chicago, and is a Resident Artist at Unity Theatre in Brenham, Texas. His credits include many productions in several cities. In New York City he designed Runt of the Litter at 37 Arts and MCC Theater. In Houston , Mr. Gip­ son has designed over twenty-five productions for Stages Repertory, Infernal Bride­ groom Productions, Main Street Theater, and The Ensemble Theater. He has designed 4 for the Contemporary American Theatre Festival and, in Chicago, has designed over one hundred productions for many theaters, with two nominations for a Joseph Jeffer­ son Citation . David Gipson is a member of United Scenic Artists Local 829. DEBRA DICKINSON, choreographer, has directed productions of Gianni 1 Schicchi, L'elisir d'amore, Rinaldo, Street Scene, La finta giardiniera, La Calisto, Hansel and Gretel, The Turn of the Screw, Werther, Albert Herring, Cosifan tutte, Le nozze di Figaro, and A Midsummer Night's Dream at The Shepherd School of Music. Other opera directing credits include at Florida State Uni- versity, Trouble in Tahiti for the apprentice program of the Connecticut Opera, and The Tender Land at the Monteux Opera Festival. Ms. Dickinson was the assistant director ofNaughty Marietta and The Pajama Game at the New York City Opera under Beverly Sills. A member ofActor 's Equity Association, Ms. Dickinson's per­ forming credits include Guenevere in Camelot opposite both Richard Burton and Richard Harris, and Jellylorum in Cats at in Vienna . Ms. Dic­ kinson teaches the Opera Workshop classes at The Shepherd School ofMusic. BRIAN BYRNES,fight director, has staged fights for New York theatres, regional theatres, Shakespeare festivals, opera, ballet, and "motion capture" animation com­ panies in the United States and Sweden. In Houston, work includes the Houston Grand Opera, Alley Theatre, Stages Repertory Theatre, Houston Ballet, Houston Shakespeare Festival, Theatre Under the Stars, and Dominic Walsh Dance Theatre, among others. Society ofAmerican Fight Directors credentials include Certified Teacher, Fight Director, and Fight Master. Mr. Byrnes is also a director, AEA actor, and a playwright. He staged fights for The Shepherd School of Music's production of Rinaldo in 2008. He is an Associate Professor (Movement, Stage Combat) at the University of Houston School of Theatre and Dance. BARBARA DOLNEY, costume supervisor, was the Wardrobe Assistant for Hous­ ton Ballet for over ten years. She received the Bachelor of Fine Arts degree in The­ atre from Southwest Texas State University in 1990 and her Master of Fine Arts in Theatre (Costume Design) from the University of Houston in 1994. She has designed costumes for such theatres as the University of Houston , Stages, College of the Main- land, and the University of Houston at Clear Lake. Some of the shows she has de- signed include A View From A Bridge, The Lion In Winter, A Lovely Afternoon For Creve Creur, and Crimes Of The Heart. She has taught the Costume Design class for the Ben Stevenson Academy Summer Program for the last several years. DA VJD WOODY, Makeup and Wig Supervisor, has worked for over fifteen years l with performing companies here in Houston, such as Houston Grand Opera and Houston Ballet. Most recently, he has been on the road with the touring productions of Rent and The Lion King. , RICE CAST

Tenor AARON BLAKE (Don Ottavio) received his bachelor's degree from The Juilliard School of Music. Currently a student of Dr. Stephen King, he has won many competitions, including First Prize in The Florida Grand Opera Competition and the Verdi Concerto Competition of the Aspen Music Festival. He was a finalist in the Chicago Lyric Opera Ryan Opera Center auditions and the 2008 Metropoli­ tan Opera Auditions in the Southwest Region. Mr. Blake has portrayed Tamino in Die ZauberjWte at the Juilliard School, Arturo in Lucia di Lammermoor at the Aspen Music Festival, and Ernesto in the Santa Fe Opera's spring tour of Doni­ zetti's Don Pasquale. While at Rice he has performed ii Contino Belfiore in La finta giardiniera, Sam Kaplan in Street Scene, Nemorino in L'elisir d'amore, and Rinuccio in Gianni Schicchi. This summer, Mr. Blake will be an apprentice with the Santa Fe Opera, singing the role of Evandre in , and covering the role ofNemorino in L'elisir d'amore. Saint Louis native AMANDA GROOMS (Donna Elvira) is a second-year grad­ uate student. While at the Shepherd School, she has performed the roles ofAdina in L'elisir d'amore and Armida in Handel's Rinaldo. Ms. Grooms has performed with the Aspen Music Festival, Opera Theatre Saint Louis, Opera Birmingham, Sarasota Opera, Milwaukee Opera Theatre, and Opera Vivente. In addition to opera, she has made concert appearances in Salzburg, Vienna, Milan, Milwaukee, Chicago, and Saint Louis. Her recent awards include second place in the Young Patronesses of the Opera Competition, finalist in the West Palm Beach Opera Competition, the 2006 Encouragement Prize from the Sullivan Foundation, and the Top Prize Scholarship from the Arleen Auger Memorial Fund. Ms. Grooms is a student of Dr. Stephen King. BRIAN HAASE (Don Giovanni),from Minneapolis, graduated with a Bachelor ofMusic degree from Northwestern College in Roseville, Minnesota. Mr. Haase be­ gan his graduate studies last year at Denver University's Lamont School of Music, where he studied with Kenneth Cox and performed his first operatic role, Gugliel­ mo in Cosi fan tutte. He created the role of Conte Palmieri in the world premiere of Dodici personaggi in cercare di una voce this past summer in Chiari, Italy. Last fall Mr. Haase performed the role ofMarco in the Shepherd School produc­ tion of Gianni Schicchi. Mr. Haase currently studies voice with Dr. Stephen King. DAVID KECK (Commendatore), a native of Vermont, has explored many fields of vocal performance, from musical theater and opera to song recital and contem­ porary vocal performance art. Last season he sang the role of Dulcamara in the Shepherd School's production of L'elisir d'amore, and this past fall performed the role ofBetto in Gianni Schicchi. Two years ago, Mr. Keck made his debut with Opera Theatre ofSaint Louis in La Traviata and has recently been seen as Nerbu­ lone in the North American premiere of Cavalli 's Eliogabalo, as Superintendent Budd in Albert Herring and Sarastro in Die ZauberjWte. Mr. Keck received his Bachelor ofArts degree at Columbia College in English and Comparative Litera­ ture, and followed this with diploma studies at The Juilliard School. Mr. Keck is a student of Dr. Stephen King.

ADAM PAUL LAU (Masetto) is a first year master's student at Rice University ~here he studies with Dr. Stephen King. Earlier this fall he performed the role of Simone in the Shepherd School's production of Gianni Schicchi. Mr. Lau earned a bachelor's degree at Whitman College. Recent credits include Figaro in Le nozze di Figaro at the Symphony and Opera Academy of the Pacific, Bartender in A Wed­ ding at Music Academy of the West, and a Baobab/Hunter in The Little Prince with San Francisco Opera. He placed second in the Western Regional finals of the 2007 Metropolitan Opera Auditions. He has won several competitions, including the Encouragement Award from the Marilyn Horne Foundation and a Full Fellowship in Voice from the California Federation of Music Clubs. Last month he sang in the Martin Katz master class at , sponsored by the Marilyn Horne Foun­ dation. This summer Mr. Lau will sing the role of Lepore/lo in Don Giovanni at the Aspen Music Festival. A native ofAustin, soprano LAUREN SNOUFFER (Zerlina) is a fourth year undergraduate at The Shepherd School of Music, and studies with Dr. Stephen King. Since she began her studies here, she has performed in the choruses of La 1 Calisto, dStreet Sce~e, a~hd ShavRit~i, aCnhd as GiandneSthta inh L'delsisihr d'amorhe. She ~a. . appeare as a so 101st wit t e ice ora 1e an ep er c oo 1ore estras in their performances of Handel's Messiah and Mozart's Vesperae Solemnae, as well as Faure's Requiem and Saint-Saens' Christmas Oratorio. Last summer, she performed the role of the Dew Fairy in Hansel and Gretel at the Aspen Musi Festival, and she will return this summer to sing the role of Lucia in The Rape oJ Lucretia.

MICHAEL SUMUEL (Leporello) is a second-year graduate student at Rice University, originally from Odessa, Texas. Mr. Sumuel received his Bachelor of Music degree in Vocal Performance from Columbus State University in May 2007. Mr. Sumuel's operatic roles include Figaro in Le nozze di Figaro, the Christian Magician in Rinaldo, Dulcamara in L'elisir d'amore and Gianni Schicchi in Gian­ ni Schicchi. In the spring of2008 , Mr. Sumuel covered the role of the Bosun in Billy Budd with Houston Grand Opera (HGO). In February of 2009, Mr. Sumuel placed third in the Eleanor McCollum Vocal Competition at Houston Grand Opera. He will join the Houston Grand Opera Studio in August of 2009. Upcoming roles in the HGO 2009-10 season include Dulcamara in the alternate cast of L'elisir d'amore, Third Noble in , Sciarrone in Tosca, and Narumoff in The Queen of Spades. This summer Mr. Sumuel will participate in the San Francisco Opera's Merola Program, covering the role of Guglielmo in Cosifan tutte. Mr. Sumuel currently studies voice with Susanne Mentzer.

ANNAMARIE ZMOLEK ( Donna Anna) is a first year master's student at Rice University, where she studies with Kathleen Kaun. As an undergraduate sJudent at the Eastman School of Music, she portrayed Mrs. Gleaton in Susannah, Night­ ingale in Nightingale, and Lisette in La Rondine. A Colorado native, she has sung the roles of the Countess in Le nozze di Figaro and Frasquita in Carmen with Opera Theatre of the Rockies. She studied with Martile Rowland at the Vocal Arts Symposium. In her summers there, she appeared in scenes as Lucia in Lucia di Lammermoor, Gilda in Rigoletto, Beth in Little Women, and Elvira in I Puritani. She won first prize in the 2008 Denver Lyric Opera Guild Competition. This sum­ mer Ms. Zmolek will be an apprentice with Central City Opera, where she will sing the student performance of the title role in Lucia di Lammermoor.

SHEPHERD SCHOOL OPERA DEPARTMENT AND VOICE DEPARTMENT

Richard Bado, Professor of Opera Studies and Director of the Opera Studies Program Stephen King, Professor of Voice and Chair of the Voice Department Janet de Chambrier, Artist Teacher of Opera Studies Debra Dickinson, Artist Teacher of Opera Studies for Acting and Movement Susan Lorette Dunn, Lecturer in Voice Thomas Jaber, Professor of Music, Director of Choral Activities, and Vocal Coach Kathleen Kaun, Professor of Voice Grant Loehnig, Artist Teacher of Opera Studies Susanne Mentzer, Professor of Voice Youn Ju Namkoong, Staff Pianist Karen Reeves, Opera Program Administrator Troy McLaughlin, Technical Director Alex Stutler, Assistant Director/Stage Manager