VILLANOVA THEATRE PRESENTS APRIL 14-26, 2015
book and lyrics by Bertolt Brecht english adaptation by Marc Blitzstein music by Kurt Weill directed by Valerie Joyce
PC front 2014.indd 4 9/3/14 2:51 PM
About Villanova University
Since 1842, Villanova University’s Augustinian Catholic intellectual tradition has been the cornerstone of an academic community in which students learn to think critically, act compassionately and succeed while serving others. There are more than 10,000 undergraduate, graduate and law students in the Univer- sity’s six colleges – the College of Liberal Arts and Sciences, the Villanova School of Business, the College of Engineering, the College of Nursing, the College of Professional Studies and the Villanova University School of Law. As students grow intellectually, Villanova prepares them to become ethical leaders who create positive change everywhere life takes them.
In Gratitude The faculty, staff, and students of Villanova Theatre extend sincere gratitude to those generous benefactors who have established endowed funds in support of our efforts: Marianne M. and Charles P. Connolly, Jr. ’70
Dorothy Ann and Bernard A. Coyne, Ph.D. ̓55 Patricia M. ’78 and Joseph C. Franzetti ’78 The Donald R. Kurz Family Peter J. Lavezzoli ’60 Msgr. Joseph F.X. McCahon ’65
Mary Anne C. Morgan ̓70 and Family & Friends of Brian G. Morgan ̓67, ̓70 Anthony T. Ponturo ’74 For information about how you can support the Theatre Department, please contact Heather Potts-Brown, Director of Annual Giving, at (610) 519-4583. Villanova Theatre gratefully acknowledges the generous support of its many patrons & subscribers. We wish to offer special thanks to our ‘14- ‘15 Benefactors: TAN This list is updated as of April 1, 2015 TANGGOO A Running Friend Delia Mullaney Martin Myers HH PP John L. Abruzzo, M.D. Peggy & Bill Hill Bill & Mimi Nolan OO Donna Adams-Tomlinson Nancy & Joseph Hopko Beverly Nolan Loretta Adler Kerri L. Huntsman Dr. & Mrs. Bruce Northrup Marion Angelini John Immerwahr & Dot Plantholt Daphne Apostolidis Kathy Byrnes Tom Plavcan Nancy Arthur in Honor of Fran and John Ricciutti Dr. Joan Baker Jim Christy Joe Schick & Phoebe Baxter Edward Kaier Michael Williamson Thomas Blackburn Carolyn Klock Louis Sirico Joe & Miriam Blimm Martha & Leo Kob Mary & Bill Schremp Donald & Phyllis Born Joan & Jack Kramer Barry & Laura Selinsky Carol Boslet Edward & Gloria Kresch Sheila Shannon Robert & Kathleen Campbell Dr. Sarvesh & Elaine Sharer Bonnie Cook Priscilla Kulkarni Bill & Cathy Siple Diane D’Angelo Bob & Mary Lawler Norman K. Smith Dr. Mary Desmond Ken & Fran Leider Terry & Joe Sousa Valerie Downing Patricia Loudis Robert Stokes Bud Drago Dave & Karen Mainhart Gay Strickler Mary Jane Fullam Dorothea D. Martin Joyce Swoyer Karen Gaffney James Matthews Tangerine Honorable John & Dr. & Mrs. Edward McAssey Lloyd B. Tepper Anne Gartland Barbara Ann McCarraher Joseph & Susame Thompson Stan Gibbell Layne & Terry McHugh Joanne & Paul Tierney Thomas & Mary Jane McKenna Mary Ellen Trainer Josephine Gudowicz Mary Ann McPherson Barbara Wall Sonja Haggert Mary Beth Miller James Weeks Dick & Carolyn Hammond Suzanne Mills Seth & Becky Whidden Jane & Walter Harrington Peg & George Murphy Patricia Wood John A. Hermann & Jane Mullany Gifts of $25 and above are acknowledged in the program. If your name has been misprinted or omitted, or if you are interested in supporting Villanova Theatre, please contact: Kimberly Reilly, Director of Marketing & PR at (610) 519 - 7454 Every Second Saturday TTAANNGGOO a monthly event HHOOPP where every bunny's dancing FREE Tango Jam at 6 PM FREE Tango Lesson at 8 PM Dancing at 9 PM and into the wee hours for only $12 www.tangohop.com Sangha Space • 610-869-2323 116 W. Baltimore Pike • Media, PA Villanova Theatre Presents THE THREEPENNY OPERA
Book and Lyrics by Music by BERTOLT BRECHT KURT WEILL
English Adaptation by MARC BLITZSTEIN
Musical Director Scenic Design PETER A. HILLIARD DANIEL P. BOYLEN
Costume Design Lighting Design JANUS STEFANOWICZ JEROLD R. FORSYTH
Sound Design Dramaturgy JOHN STOVICEK HALLIE MARTENSON
Directed & Choreographed by VALERIE JOYCE, Ph.D.
APRIL 14 - 26, 2015
Vasey Hall, Villanova Theatre
THE THREEPENNY OPERA is presented through special arrangement with R & H Theatricals: www.rnh.com.
The video or audio recording of this performance by any means whatsoever is strictly prohibited. SETTING: London, England. 1838 CAST (in order of appearance) Street Singers...... ………....Christen Mandracchia, Mikal Odom, Cari Brezina J. J. Peachum………………….....………………….....……..Mitchell Bloom Mrs. Peachum…………………….....………………………..Meghan Winch Filch…………………………………...……………………….John McGraw Polly Peachum……………………...... …………………….Allyce Morrissey Macheath……………………...... ……………………….Stephen Tornetta Jenny…………………………………...... ……………....Megan Rose Reverend Kimball………………………...... ……………Barry Brait* Tiger Brown (Commissioner of Police)………………………John K. Baxter Smith (Warden)…………...... ………………………………....Kyle Fennie Lucy Brown……………………...... …………………………….Jill Jacobs Matt………………………………………...... ………...…Christopher Dayett Jake………………………………….…………………..Brendan Kortenhaus Bob……………………………………………………………..Chris Monaco Walt……………………..……………………………………….Dan Gorman Betty…………………….………………………………………Meg Trelease Dolly………….……………………………………….Rebecca Jane Cureton Molly………………………………..……………………Elizabeth Campbell Coaxer………………...…………………………………..Samantha Simpson Beggars...……………...………………Rebecca Jane Cureton; Jim Hawkins *Appearing Courtesy of Actors’ Equity Association
PRODUCTION CREW Stage Manager...... Amanda Coffin Assistant Stage Managers...... Elise D’Avella, Kristin Miller, Jessica Otterbine Stage Management Consultants...... Brian Klinger, Kate Hanley Fight Choreographer...... Kyle Fennie Tango Instructor...... Lori Coyle Dance Captain...... Meghan Trelease Master Electrician...... Michael Hamlet Cutter/Draper...... Jennifer Lanyon Scenic Painter ...... Kate Coots, Kristina Chadwick Carpenter ...... Seth Thomas Schmitt-Hall Sound Board Operator...... Sarah Ochocki Light Board Operator ...... Kristin Miller
The Threepenny Opera runs approximately two and a half hours, with a 15 minute intermission. Please silence all cell phones and electronic devices.
THE THREEPENNY OPERA Musical Numbers
Overture...... ACT I Ballad of Mack the Knife...... Street Singers Morning Anthem...... Peachum Instead of Song...... Mr. & Mrs. Peachum Wedding Song...... Macheath’s Gang Pirate Jenny...... Polly Army Song...... Macheath, Tiger Brown & Gang Wedding Song (Reprise)...... Macheath’s Gang Love Song ...... Macheath & Polly Ballad of Dependency...... Mrs. Peachum First Threepenny Finale- The World is Mean ...... Polly, Mr. & Mrs. Peachum
Overture...... ACT II Melodrama & Polly’s Song...... Polly & Macheath Ballad of Dependency (Reprise)...... Mrs. Peachum Tango Ballad...... Macheath & Jenny Ballad of the Easy Life...... Macheath Barbara Song...... Lucy Jealousy Duet...... Lucy & Polly Second Threepenny Finale- How to Survive...... Macheath, Mrs. Peachum & Chorus
Overture...... ACT III Useless Song...... Peachum and Beggars Useless Song (Reprise)...... Chorus Solomon Song...... Polly, Lucy, Jenny Call from the Grave #1...... Macheath Call from the Grave #2...... Macheath Death Message...... Macheath Third Threepenny Finale- The Mounted Messenger...... Chorus, Filch, Polly, Jenny, Lucy, Macheath, Mr. & Mrs. Peachum
Orchestra
Reed 1...... Marybeth Kern Trombone...... Gail Glass Reed 2...... Dylan J. Principi Guitar...... Tom Zaneski Trumpet 1...... Bob Wagner Drums/Percussion...... Kevin Stahl Trumpet 2...... Andrew Hoesl VILLANOVA COLLEGE OF ENGINEERING The College of Engineering congratulates the Villanova Theatre on a successful 2014-2015 season!
Expand Your Horizons Explore Villanova University’s Graduate Programs in Arts and Sciences
• More than 60 graduate and certificate programs • Full- or part-time; evening classes available • Small, seminar classes and personal attention • Outstanding faculty dedicated to meeting your educational goals • Competitive tuition rates, with assistantships available
Villanova has been ranked #1 by U.S.News and World Report as the best regional University in the North for two decades.
Visit gradartsci.villanova.edu for more information and a complete list of graduate programs in the liberal arts and sciences. CAST AND CREW
JOHN K. BAXTER (Tiger Brown) School for Lies); Death (Everyman); and is a second-year graduate stu- Underling (The Drowsy Chaperone). In dent. John has appeared on the addition to his graduate work at Villa- Villanova stage in Michael & Edie nova, Mitchell is the Development and (John), Big Love (Kostas), The Light in Communications Associate at Philadel- the Piazza (Ensemble), The School for phia Young Playwrights. He also serves Lies, (Dubois/Basque) and Everyman as the Director of Development for (Confession.) John also co-founded Mauckingbird Theatre Company, with and appeared in The Shakespeare Ini- whom he has performed as Borachio tiative production of Twelfth Night last (Much Ado About Nothing) and Mer- summer (as Malvolio). John appeared riman (The Importance of Being Ear- several times at The Media Theatre for nest). He is a proud recipient of the Bri- the Performing Arts, favorites include an G. Morgan Memorial Theatre Award. Alistair Lane in Death on the Sixteenth Fairway, Baron Elberfeld and Franz BARRY BRAIT* (Reverend, Beggar) (u/s, performed) in The Sound of Music, is a part-time first year graduate student ensemble for Annie with Wanda Sykes at Villanova University in Theatre. For and Lord Savage in Jekyll & Hyde: The the past eight years, he directed the Epis- Musical. John has a B.A. from Neu- copal Academy Community Players’ mann University and appeared in many productions including Orwell’s Animal shows there. Favorite roles include Offi- Farm, Feydeau’s An Absolute Turkey, cer Lockstock in Urinetown, Miles Glo- How to Succeed . . . Without Really Try- riosus in A Funny Thing Happened on ing, and A Funny Thing Happened on the Way to the Forum, Jerry in The Zoo the Way to the Forum. As mentor to the Story (also co-directed) and The Direc- Drama Society at Central High School, tor in Six Characters in Search of an Au- he directed God’s Favorite, The Cru- thor. John was the 2010 recipient of the cible, and Lend Me a Tenor. For Classic Stephanie Marek Award for Excellence Theatre Productions, Barry produced in the Performing Arts at Neumann. and directed Jacques Brel.., Owl and the Pussycat, and An Evening of Damon Ru- MITCHELL BLOOM (J. J. Pea- nyon. Barry has appeared in many films chum) is a second-year graduate act- in Philadelphia including Silver Linings ing scholar. Mitchell earned his B.A. in Playbook. On stage, Barry appeared as English from Temple University, where Phillip Gellburg (Broken Glass) for Isis he appeared in numerous Temple The- Productions, Bernie Madoff for The- aters productions. Most recently, he was atre at KI’s (Imagining Madoff), Barry seen on the Vasey stage in the role of Mi- holds an Annual Film Audition for the chael in Michael & Edie. Previously at Philadelphia Film Community, and was Villanova: Nikos (Big Love); Fred Ster- Staff Director for the Brick Playhouse roll (Fallen Angels); Giuseppe Nacarelli for 15 years where he directed many (The Light in the Piazza); Philinte (The new premier plays for new playwrights. CARI BREZINA (Street Singer) is Dickens’ A Christmas Carol with Jar- a first-year costume assistant in the ed Reed, and The Belle of Amherst graduate Theatre program at Villa- with Penelope Reed. Rebecca is also nova. Previous credits include And an original creator of Hedgerow The- So it Goes and Desdemona: A Play atre’s Storytime!, a series of interactive about a Handkerchief (Celebration children’s stories adapted for the stage Theatre, Lansdowne), and Mack and to encourage creativity and learning. Mabel (Players Club of Swarthmore). CHRISTOPHER DAYETT (Matt) is ELIZABETH CAMPBELL (Molly) a first-year graduate assistant in the set is a first-year graduate theatre student shop. He is thrilled to be back on stage pursing a certificate in nonprofit- man and making his Villanova Theatre de- agement. She earned her B.A. in Psy- but after a 7 year break from acting to chology with a minor in Theatre from concentrate on directing, teaching, play- Southern Illinois University. Since writing, and song writing. He earned moving to Philadelphia to pursue a pro- his B.A. in Theatre, B.S. in Marine Bi- fessional career in the arts, Elizabeth ology, and a minor in Music from the has worked at the Philadelphia Museum University of North Carolina at Wilm- of Art and the Curio Theatre Company. ington. Favorite acting credits: Peter Her passion for Arts Education brought Pan (Smee), Disney’s High School Mu- her Camp Sojourner, a leadership camp sical (Ryan), Pompeii: A New Musical for girls, based in Philadelphia where (Julius - World Premiere). Favorite di- she has taught for the past four summers. recting credits: Disney’s Beauty and the Beast, The Music Man Junior, G2K... REBECCA JANE CURETON (Dolly, Oklahoma!, A Year With Frog and Toad Beggar) is a first-year Marketing and Kids. Chris is a 2010 Grand Finale Win- PR graduate assistant at Villanova The- ner of the American Idol Experience atre. She was last seen as Julia Sterroll at Disney’s Hollywood Studios, and a in Villanova’s Fallen Angels. Rebecca member of ASCAP and the Dramatists earned her B.A. in Classical Civiliza- Guild of America. He has written over tion from Loyola University Maryland. 200 songs, psalms, acclamations, and She is a company alumna of Hedge- Mass settings in English and Spanish, row Theatre in Rose Valley where she as well as several plays and musicals. worked as an actress and Marketing Coordinator for four years. Her favor- KYLE FENNIE (Smith) is a first- ite Hedgerow credits include Annabella year graduate acting scholar. This is his Schmidt, Pamela, and Margaret in The fourth production at Villanova after Mi- 39 Steps, Elizabeth Bennet in Pride and chael & Edie (Ben), Big Love (Constan- Prejudice, Lady Macduff and Second tine) and Fallen Angels (Willy). Kyle Witch in Macbeth, Governess, Married earned his B.F.A. from the University of Woman, and Actress in The Good Doc- the Arts with a focus in Stage Combat tor, and Adriana in The Comedy of Er- and has worked in the Philadelphia area rors. Technical theatre credits include since 2006. His previous roles include: Love Letters with Barbara McCulloh, John Patrick Shanley’s Doubt (Father Flynn), Agatha Christie’s The Mouse- was a member of the Northwestern Uni- trap (Sergeant Trotter u/s) and Wil- versity Marching Band (NUMB), mak- liam Shakespeare’s Macbeth (Macbeth) ing him a proud NUMBalum. Jim and his among others. Fight Directing cred- wife Kathleen live in Smyrna, Delaware its include: Macbeth, Beauty and the with their son Peter and Scooter, their Beast, Crazy For You, and Oklahoma. assertively loving Labrador Retriever.
DAN GORMAN (Walt) is a first-year JILL JACOBS (Lucy Brown) is a sec- graduate history scholar. He received ond-year graduate assistant in the cos- an honors B.A. in History and Religion tume shop. She most recently served as from the University of Rochester and Dramaturg for Villanova’s Big Love and studied cello at the University’s East- was last seen in Fallen Angels as Jane man School of Music. While at Roches- Banbury and in Everyman as Knowl- ter, Dan actively participated in histori- edge/God. Jill received her B.F.A. in cal research, interfaith programming, Acting and Minor in Music from Arca- the Campus Times, music performance, dia University, with semesters abroad and ballroom dance. Dan is a recipient in both England and Australia. While at of the Beinecke Scholarship and a mem- Arcadia she performed as Toad in Wind ber of Phi Beta Kappa. His past shows in the Willows and as Audrey II in Little include Bye Bye Birdie (Randolph), The Shop of Horrors. Her band, Jill and The Boy Friend (Ensemble), A Funny Thing Know How, has performed in Phila- Happened on the Way to the Forum (Er- delphia at venues such as World Café ronius), Joseph and the Amazing Tech- and The Trocadero and has an album nicolor Dreamcoat (stage crew), Sugar: available on iTunes. Since graduating Some Like It Hot (Osgood Fielding), in 2009, Jill developed and taught arts- Grease (Johnny Casino), and The Music based curriculum, and has delivered Man (Barbershop Quartet). Additional- workshops for Villanova’s “Creativ- ly, Dan is Editor-in-chief of Tangents, a ity and Innovation” engineering stu- journalism and creative writing website. dents developing product commercials.
JIM HAWKINS (Beggar) is a second- BRENDEN KORTENHAUS (Jake) year graduate theatre student who was is a first-year graduate Theatre and almost in Villanova Theatre’s produc- Nonprofit Management student. -Bren tion of Big Love as Leo, but broke his den received his B.S. in Mathematics ankle during tech weekend. Jim was and Minor in Theatre from Villanova last seen on the Villanova stage as The University in May 2014. He was the Priest in The Light in the Piazza. He Stage Manager for Villanova Theatre’s served as Assistant Stage Manager for production of Big Love this fall. As a the Villanova Theatre production of member of Villanova Student Musical Red Herring. He is a graduate of North- Theatre, some of his favorite roles in- western University (Evanston, Illinois) clude Andrew Lippa’s The Wild Party and Wesley Theological Seminary (Eddie), The Pajama Game (Joe), The (Washington, DC). Jim has worked as a Producers (Scott the Choreographer), newspaper reporter, a pastor and a free- Urinetown (Robbie the Stockfish), and lance writer. While at Northwestern, Jim Children of Eden (Storyteller). He also directed and choreographed their an- such shows as Merrily We Roll Along nual Spring Cabaret in April, 2013. (Joe Josephson), Spring Awakening Brenden works for The Premier Theatre (Melchior Gabor), The Crucible (Rev- Company in Asbury Park, NJ, having erend Hale), Urinetown (Caldwell B. performed and helped produce shows Cladwell), Pudd’nhead Wilson (Cecil/ there for the last eight years. Some of Man #2), and David Ives’ A Flea in Her his favorite roles include Hairspray Ear (Camille Chandebise). He is an ac- (Fender/Assistant Director/Choreogra- tive member of the Upper Darby Sum- pher), Joseph and the Amazing Tech- mer Stage program, and has been seen nicolor Dreamcoat (Reuben/Featured in their past few mainstage productions, Dancer), Fiddler on the Roof (Fyedka/ including Shrek the Musical (Lord Bottle Dancer), Hello Dolly (Ambrose Farquaad), Fiddler on the Roof (Per- Kemper) and Cabaret (Kit Kat Boy). chik), and Titanic (Thomas Andrews).
CHRISTEN MANDRACCHIA JOHN MCGRAW (Filch) is a part- (Street Singer) is a second-year gradu- time graduate student in the Theatre ate set assistant. She most recently ap- Department. He was last seen at Vil- peared as Saunders in Fallen Angels, lanova in The Comedy of Errors. A Franca Nacarelli in The Light in the graduate of the West Chester Univer- Piazza, and Five Wits in Everyman at sity Theatre Program, John is now a Villanova Theatre and served as Stage full-time English and Theatre teacher at Manager for The School for Lies and Downingtown East High School. Some Assistant Stage Manager for Red Her- of his favorite productions he has di- ring. She earned her B.A. in Theatre rected at his school are Into the Woods, from Ursinus College with a minor in The Bald Soprano, Noises Off, and A History. In college she appeared as Mrs. Midsummer Night’s Dream. In 2013, VanDaan in The Diary of Anne Frank, John was named Teacher of the Year. Mrs. Six in The Adding Machine, Re- becca Moore in Jekyll and Hyde, and ALLYCE MORRISSEY (Polly Pea- the Goddess Ishtar in Gilgamesh for chum) is a sophomore undergraduate which she received an Irene Ryan student at Villanova. She is an Eng- Nomination. She has worked as a light- lish major pursuing an Honors thesis ing designer in New York City, Phila- track and minors in Theatre and Hu- delphia, and New Jersey and served as manities. She was seen in Villanova the lighting designer for TLC’s Buddy Theatre’s The Light in the Piazza (En- the “Cake Boss” for his Pennsylva- semble). She has also appeared in Vil- nia stop on the National Tour in 2011. lanova Student Musical Theatre’s The Pajama Game (Mae), The Wild Party CHRIS MONACO (Bob) is in his fi- (Nadine), and Merrily We Roll Along nal year at Temple University, where (Mary Flynn). This past fall she co-di- he is steadily working toward a B.A. rected Villanova Student Musical The- in Musical Theatre. No stranger to Vil- atre’s The Mystery of Edwin Drood. She lanova Theatre, Chris was last seen is a native of Glens Falls, New York. on this stage in The School for Lies (Oronte). At Temple, Chris has been in MIKAL ODOM (Street Singer) is a STEPHEN TORNETTA (Macheath) graduate of Temple University’s B.A. in is a first-year graduate acting scholar Film & Media Arts and American Uni- and is performing in his fourth show versity’s M.A. in Producing Film & Vid- with Villanova Theatre. Stephen earned eo programs. Mikal is an accomplished a B.S. in Business Management with writer, director, producer, and burgeon- a focus in International Business from ing actor. He looks forward to debuting Penn State University, University Park. his first feature film LUV Don’t Live He has appeared on the Villanova stage Here Anymore in the summer of 2015. in Big Love (Giuliano), Fallen Angels A current student in Villanova’s M.A. (Maurice Duclos) The Light in the in Theatre program, Mikal was previ- Piazza (Ensemble. Other credits in- ously featured in Everyman in the role clude: All Shook Up (Chad), Lucky Stiff of Five Wits. http:/vimeo.com/mkofilm. (Harry Witherspoon), A Chorus Line (Mark), Cabaret (Kit-Kat Boy), Guys MEGAN ROSE (Jenny) is a first- & Dolls (Sky Masterson), West Side year graduate steward scholar who ap- Story (Tony) and Bye Bye, Birdie (Hugo peared earlier this season as Eleanor in Peabody). In addition to attending Vil- Big Love. Megan has lived and worked lanova, Stephen works full-time for in Los Angeles, California since 2009 Citizens Bank in Plymouth Meeting. where she worked in film, television, and theatre. Favorite credits include Ju- MEG TRELEASE (Betty) is a first- lia in the short film Hugo Julia, Sarah year graduate Theatre and Nonprofit in the feature film Barmy, Lisa in the Management certificate student. She world premiere of The Rainbow Room, was last seen as Bella in Big Love. and as a performer in An Artist’s Life Meg received a B.A. in Theatre from Manifesto by Marina Abramovic at the Holy Cross in Worcester, MA, and has 2011 MOCA Gala. Megan received worked as a theatre and dance educa- her B.F.A. in Acting and B.A. in Span- tor, choreographer and director. Meg ish from Lindenwood University in was the Coordinator of the Gifted and Saint Charles, Missouri. She is also Talented Musical Theatre program at an active member of SAG-AFTRA. Somerset County Vo-Tech in Bridge- www.facebook.com/meganroserules water, NJ, where she wrote the pilot musical theatre curriculum for New SAMANTHA SIMPSON (Coaxer) Jersey and directed three full-length is a second-year graduate theatre stu- musicals each year. Most recently, Meg dent at Villanova University. In May choreographed A Year with Frog and 2012 she graduated from Washington Toad at the University of Scranton (dir. College with her B.A. in Drama where Bob E. Gasper), and directed and cho- she was inducted into the Phi Beta reographed Under a Rest for the Penn Kappa honor society. Favorite cred- Glee Club at the Annenberg Center. its include Sally in The Voice of the Turtle, Viola in Twelfth Night, Corie MEGHAN WINCH (Mrs. Peachum) in Barefoot in the Park, and Ilse/Ina/ is a second-year research scholar in Vil- Masked Being in Spring’s Awakening. lanova’s M.A. in Theatre program. She has appeared on the Villanova stage in Theatre earlier this season. Amanda Big Love (Olympia), The School for Lies earned her B.A. in Theatre Studies (Eliante), and Everyman (Angel), and with an emphasis in Directing and was the dramaturg for Villanova’s Fall- Dramaturgy from Emerson College in en Angels and the Lantern Theater Com- Boston, MA. Emerson Stage credits in- pany’s Arcadia. She earned her B.A. clude: Six Characters in Search of an in Theatre and English from Muhlen- Author (Assistant Director), Bat Boy: berg College, where her favorite roles The Musical (Dramaturg), Newfest: included Lebensraum (Actor 3), Into Paint (Dramaturg). Amanda recently the Woods (Granny/Giant), and Lud- served as Artistic Intern at Roundhouse low Fair (Rachel). She also performed Theatre in Bethesda, MD where she in a number of shows in Washington, was Assistant Director on Becky Shaw D.C., including The Fat and Greasy and Dramaturg for Glengarry Glen Citizens Brigade’s inaugural produc- Ross and How to Write a New Book tion of As You Like It (Celia). Meghan for the Bible. She spent two summers is a proud recipient of this year’s Brian at Plimoth Plantation in Plymouth, G. Morgan Memorial Theatre Award. MA as their Museum Theatre/Public Programs Intern and Dramaturg for DANIEL P. BOYLEN (Set Designer) the Plimoth Players, a summer Shake- Mr. Boylen received an A.B. in English speare Troupe. Other Washington, DC from Yale University, studied Anglo- credits include The Tempest (Director, Irish Literature for a year in Dublin and Aldersgate Community Theatre), Som- then went on to receive an M.F.A. in ersaulting (Director, Field Trip The- Scenery and Lighting from UW Madi- atre), Fallbeil (Dramaturg, Field Trip son. He taught 45 years in the M.F.A. Theatre), Anne of Green Gables (Direc- program at Temple University. Mr. tor, Aldersgate Community Theatre). Boylen has designed extensively for regional theater including Goodspeed JEROLD R. FORSYTH (Lighting Opera House, McCarter Theatre, Phila- Designer) has designed over 300 pro- delphia Drama Guild, Delaware Theater ductions to date. Philadelphia credits Company, Williamstown Theatre Festi- include designs for The Wilma Theater, val, Pennsylvania Ballet, American Mu- Villanova Theatre, Amaryllis Theatre, sic Theater Festival, Theatre Exile, Act Philadelphia Shakespeare Theatre, II and InterAct. University productions Simpatico Theatre Project, Arden The- include University of Pennsylvania, atre Company, Walnut Street Theatre, Princeton, Yale, numerous productions InterAct Theatre Company, American at Villanova and, of course, Temple. Music Theatre Festival, People’s Light His most recent scene design for Villa- & Theatre Company, Bristol Riverside nova were Big Love and Muswell Hill. Theatre, Venture Theatre, Philadelphia Festival Theatre for New Plays, and AMANDA COFFIN (Stage Manager) Philadelphia Drama Guild. Additional is a first-year graduate assistant in the East Coast credits: Kennedy Center, set shop. She was an Assistant Stage New York Shakespeare Festival, Lin- Manager for Big Love at Villanova coln Center Theatre, York Theatre Company, Village Theatre Company, cal Theatre Writing from NYU. His Opera Ebony - New York, and Palm musicals, Don Imbroglio, and Going Beach DramaWorks. Jerold has been Down Swingin’, appeared in the New nominated thirteen times for Barrymore York Musical Theatre Festival, and Awards, twice receiving the Barrymore his opera The Filthy Habit was a final- Award for Outstanding Lighting De- ist in the National Opera Association sign. In addition, he has twice received Chamber Opera Competition. It will “Most Notable Lighting Design” cita- receive its 7th production this fall in tions from The Philadelphia Inquirer. the Chicago Fringe Festival. His new opera Blue Viola opened last month at NEILL HARTLEY (Voice and Dia- Urban Arias in Arlington, VA with ris- lect Coach) is involved in several as- ing star Alicia Olatuja and will be fea- pects of professional theater. As an ac- tured at the Opera America Conference tor, he has appeared in many regional in May. His music was featured in the companies including the Arden Theatre York Theatre’s Neo 4 concert, where Company, InterAct Theatre Company, he accompanied Christiane Noll. Peter Philadelphia Theatre Company and the is an active orchestral and choral com- Philadelphia Shakespeare Theater. He poser, and has music directed on both shared a Philadelphia Barrymore award coasts and Off-Broadway. He was as- for best ensemble (Batboy: The Musi- sistant music director for a reading of cal) with 1812 Productions. He has six Saturnalia by Susie Ibarra and Yusef one-man shows that he regularly pres- Komunyakaa at Music-Theatre Group. ents, and his work can be seen and heard His new performing edition of Victor in many voice-overs, commercials and Herbert’s 1911 opera Natoma, crafted films. Neill is the Artistic Director for using the original parts at the Library Acting Without Boundaries, a theater of Congress was heard in a full orches- company for physically disabled teens tra reading in New York in 2014 for and young adults. He has also directed the first time in over 80 years. Opera for Philadelphia Young Playwrights, News wrote that Natoma “turns out to the University of the Arts, Ursinus be a real piece of buried treasure. Her- College, Arcadia University, LaSalle bert’s score is gorgeous.” Hilliard is University, New City Stage Company the music director of the Savoy Com- and Luna Theater. Most recently he pany and the Abington Choral Club. has directed Oliver for AWB and Ac- complice for Isis Productions. He is an VALERIE JOYCE (Director) has assistant professor of Voice and Speech been performing, directing, or design- at the University of the Arts and has ing on stage at Villanova Theatre for acted as a speech/dialect coach for sev- more than 20 years. Villanova credits eral professional theater productions, include: The Light in the Piazza, Car- including many for Villanova Theatre. ousel, Batboy: The Musical, Annie Get Your Gun, Cabaret, and Talley’s Folly. PETER A. HILLIARD (Music Di- Other credits include: The Meat Opera rector/Conductor) holds degrees in and Up Your Ante for the New York Composition from the San Francisco and Philadelphia International Fringe Conservatory of Music and in Musi- Festivals, and Thank You for Sharing with Amaryllis Theatre Company. Val- Pennsylvania Shakespeare Festival, erie has also worked as a professional the 2013 Philadelphia International costume designer for local and regional Theatre Festival, The Lantern Theatre productions including Six Story Build- Company, Theatre Horizon, and the ing (Off Broadway), The Real Thing Hedgerow Theatre Company. Janus (Arden Theatre Company), Moon for has received sixteen Barrymore Award the Misbegotten (Venture Theatre), nominations for Outstanding Costume True West and Waiting for Godot (Lan- Design, for Villanova Theatre’s The tern Theatre Company), Billy and Zelda Tempest, Parade, Chicago, Children (Opera Delaware), and The Comedy of of Eden, Into the Woods, Candide, and Errors (Princeton Repertory), as well Evita; Cheltenham Center for the Arts’ as many university productions. She The Illusion; Philadelphia Theatre has also written a one-woman show Company’s Intimate Apparel (2006 dramatizing the lost stories of Afri- Barrymore Award winner); The Wilma can American women pre-emancipa- Theater’s The Invention of Love, Magic tion entitled I Will Speak for Myself. Fire, Big Love (2003 Barrymore Award winner), Galileo and Age of Arousal. HALLIE MARTENSON (Drama- turg) is thrilled to have contributed to JOHN STOVICEK (Sound Designer) this production, her last at Villanova. For Villanova Theatre: Michael & Hallie attended Hobart and William Edie, Big Love, Fallen Angels, Every- Smith Colleges, where she received a man, Red Herring, School for Lies, B.A. in Dramatic Literature. She has The Light in the Piazza, How I Learned previously appeared as an actor in Vil- to Drive, Muswell Hill, The Drowsy lanova Theatre’s productions of Big Chaperone, Three Days of Rain, The Love (Thyona) and Everyman (Every- Cherry Orchard, Bat Boy: The Musi- man), and stage managed the 2014 cal (Set Design), Annie Get Your Gun, musical The Light in the Piazza. Prior The Chairs, Three Sisters, Incorrupt- to attending Villanova, she worked ible, Prayers of Sherkin, Urinetown, with New Haven Theater Company in Big River. Other regional credits in- a leadership capacity, where she ap- clude: Twain Unplugged, Angels in peared in Odets’s Waiting for Lefty America : Millennium Approaches, Any (Edna) and Steve Martin’s Picasso at Given Monday, Boeing-Boeing, Chasin’ the Lapin Agile (Germaine), as well as Dem Blues, Blithe Spirit, Sylvia, The directed Talk Radio by Eric Bogosian Tempest, The 12 Dates of Christmas, and Urinetown by Hollmann and Kotis. Lend Me A Tenor, I Am My Own Wife.
JANUS STEFANOWICZ (Costume Designer) is Villanova Theatre’s resi- dent costume designer and Costume Shop Manager. She has designed cos- tumes for the Arden Theatre Company, Delaware Theatre Company, People’s Light & Theatre Company, Philadelphia Theatre Company, The Wilma Theater, THE EVOLUTION OF THE BEGGAR’S OPERA Jonathan Gay writes this seminal satirical ballad opera in 1728 to lam- poon Whig politician Robert Walpoole. Parodying the Italian opera – quite popular at the time among the upper classes – Gay replaces grand operatic music with popular tunes the audience could sing along with, and the traditional courtly cast with a troupe of thieves and beggars.
ELISABETH HAUPTMANN Elisabeth Hauptmann, Bertolt Brecht’s longtime col- laborator, poet, and playwright, sees The Beggar’s Opera in London in 1927 and is immediately attract- ed to its themes of hypocrisy and corruption at all levels of society. She translates the play into German and encourages Brecht to take a look. While Haupt- mann was billed as a co-author in the program for the 1928 premiere, she has not been so since.
BERTOLT BRECHT AT LUNCH In a chance meeting at his favorite lunch spot Schlichter’s, Brecht finds himself chatting with neophyte pro- ducer Ernst-Josef Aufricht, who is interested in a collaboration. Brecht pitches another play, and in a dramat- ic gesture to demonstrate his indif- ference, Aufricht asks for the check. “Wait!” says Brecht. “I’ve been work- ing on something else. It’s an adaptation of The Beggar’s Opera. I call it Rabble.”
“We denied ourselves nothing. We wrote our own texts . . . or sliced up other people’s in all directions, then stuck them together quite differently till they were unrecognizable . . .we made comedy out of what had original- ly been tragic, and vice versa. We had our characters burst into song at the most uncalled-for moments. In short we thoroughly muddled up people’s ideas of the drama.” -Bertolt Brecht THE THREEPENNY OPERA
“THE GENTLE LITTLE MAN WITH THE GLASSES” Aufricht is so concerned about avant-garde compos- er Kurt Weill’s involvement in their newest produc- tion that he hires popular dance band composer Theo Mackaben to secretly prepare arrangements of The Beggar’s Opera’s original score. But then Kurt Weill sits down to play for him. Aufricht writes about the experience in his memoirs:
“The gentle little man with the glasses began to play and sing in a soft, metallic voice that expressed precisely what he wanted. I think we were not quite sure how to respond at first, but then Vambery came over and whispered in my ear: ‘The music is as likely as the play to be a great suc- cess.’ The more Weill played, the more my prejudices faded away. In spite of its strangeness, this music had something naïve about it, but also re- fined and exciting, that touched me.”
“EVERY NOTE, EVERY LINE WAS A SUCCESS.” After a problematic rehearsal process, which involved one ac- tor quitting, one actor refusing to “sing those filthy words,” and one actor suffering from appendicitis, opening night of The Threepenny Opera finally arrives. The curtain rises and the Street Singer opens his mouth to sing “Mack the Knife.” The audience freezes, having no idea how to react. They remain silent until Brown and Mack’s rowdy duet “The Canon Song.” They leap to their feet, de- manding an encore. The cast obliges – three times. “From then on,” writes Aufricht, “every note, ev- ery line was a success.” By the time Ber- tolt Brecht left Germany, fleeing the Nazis in 1933, The Threepenny Opera had been translated into 18 languages and performed over 10,000 times at nearly every major the- atre in the world. A LEGENDARY CRIMINAL RIVALRY The character of Macheath his gang out to steal ex- taps into a deep human pensive belongings, wait impulse to celebrate and for a reward to be posted, revere criminals. Ocean’s and return them for the Eleven, Pulp Fiction, The cash. To maintain his im- Usual Suspects, The God- peachable innocence, he father, The Departed - the would turn in members of list of movies that touches his own gang to the police that same vicarious, thrill- to win favor, and soon be- seeking nerve is virtually came known as “Thief-Tak- endless. This is no new de- JACK SHEPPARD er General” in London. He velopment. Take Jack Shep- won so much respect from pard, the inspiration for Macheath law enforcement that they asked in The Beggar’s Opera, for instance. him for advice on how to quell the surge of house-breakings all over Jack Sheppard was a notorious the city. He suggested that they 18th century thief that captured the raise the reward for returned stolen hearts and imaginations of the Lon- goods, thus giving himself a raise. don working classes. Extraordinari- ly handsome, non-violent and cun- Wild learned of Sheppard’s prowess ning, he was the perfect hero for a and approached him to join his gang class of people with no clear oppor- of thieves. Sheppard, turned off by tunities to change their lots in life. Wild’s tendency to turn on his own He managed four spectacular es- men, scoffed in his face. Enraged, capes from prison through various Wild became hell-bent on Shep- means, including cutting through pard’s downfall. After a series of cell bars, climbing chimneys, and failed attempts, he managed to pro- descending massive walls using vide enough information to see Jack ropes made from provided blankets. Sheppard put to death. Sheppard He lived the romantic life of a heroic was executed as a hero, his hanging thief until he was finally betrayed at Tyburn Prison attended by a re- by his rival Jonathan Wild. ported 200,000 people. As a result of this rivalry, Wild Jonathan Wild – the inspi- became as hated as Shep- ration for Peachum - could pard had previously been be classified as a fence, adored. He was eventu- meaning an individual who ally revealed to be Lon- sells stolen goods to un- don’s crime boss and was witting dupes, but he be- executed before a crowd came famous for working of jeering Sheppardites on both sides of the law. on the very same gallows. His specialty was to send JONATHAN WILD WHY VICTORIAN LONDON? When Bertolt Brecht and Kurt Weill first sat in front of a house of producers and dramaturgs to play their new Threepenny music, Brecht, seated ca- sually stage right, read a set of titles to introduce the songs – which would later become the Street Singer’s signs. In his early versions of The Three- penny Opera, he set the play in roughly the same period as Gay’s Beggar’s Opera. However, by the time The Threepenny Opera premiered in August of 1928, it was staunchly set in the week preced- ing the coronation of Queen Victoria. We can deduce that this- deci sion was deliberate, especially when one takes into account the rela- tive accuracy of his dates, places, and references. So what was his angle?
In 1838, London was experiencing massive growth. New railroads facili- tated the migration of an enormous number of people into the city center to watch the Queen’s procession through Westminster, making it the most highly attended coronation in history. Square in the midst of theIndus- trial Revolution, thousands of manual laborers had been replaced by ma- chines and forced into the streets to beg for their meals. This created a mighty convergence in a single week, when hoards of beggars encountered thousands of fresh, untapped wallets. As Peachum calls it in The Three- penny Opera, “the few days in a lifetime when real money can be earned.” WHY NOW? Have things changed much since 1838?
Superficially? Of course. Technology and globalization have vastly changed the way we live, work, and communicate. But the disparity between the rich and poor has largely stayed the same. In fact, technology and globalization has actually widened that gap. Adjusted for inflation, the typical male work- er in the United States makes less today than in 1978, while the top 1% of wage earners makes nearly twice as much. In 2013, just 400 Americans had more wealth than half the population of the United States. With a homeless population of nearly 3.5 million - 23% of whom are military veterans – the streets of the United States and those of Victorian London aren’t inherently dissimilar.
How many destitute have you walked past on the sidewalks of Philadelphia? Have we made progress? Or have we simply become better at ignoring evi- dence to the contrary? MACK THE JAZZ PHENOMENON By far the most famous of Weill’s songs to come out of The Threepenny Opera is “The Ballad of Mack the Knife.” It has gone on to be recorded by scores of vocalists, including Frank Sinatra, Bobby Darin, Dean Mar- tin, Louis Armstrong, and Ella Fitzgerald, just to name a few.
So what’s the draw? “Mack the Knife” is written as a moritat, an ad- monitory song that relates the daring deeds of notorious criminals, sung by a balladeer who travels from town to town. It serves a dual purpose: to warn people about the dangers and consequences of crime, and also allow the listener to live vicariously through the thrilling tales of dishon- est lives.
Oddly enough, this legendary tune was the last to be written for the show, hastily composed only one week out from opening. When Harald Paulsonn - the original Macheath - insisted on wearing what later became the iconic Mack the Knife costume – bowler, spats, cane – it dawned on Brecht that they needed a song to introduce his character appropriately. After all, Macheath doesn’t look the criminal. “Just a jackknife has Macheath, dear, and he keeps it out of sight.”
THE GREAT BIG CAPITALIST JOKE Ever hear the one about Mack the Knife?
So the King of Beggars and the King of Thieves walk into a Soho brothel . . . How does the joke end?
You’ll never see the punch- line coming! BERT THE KNIFE There are no good guys in The tramarital affairs. While he married Threepenny Opera. There are only Helene Weigel in 1929 (eight short bad guys who hate bad guys who months after the premiere of The take advantage of stupid guys. Af- Threepenny Opera) and remained ter all, this is the only way a truly married to her until his death in successful capitalist society can 1956, he engaged in intellectual function: if human beings swallow and sexual relationships with Ruth their goodness to survive. Berlau, Margarete Steffin, and Elis- abeth Hauptmann. All were artists So why do we like them so much? in their own right, and much of Why do we giggle at Peachum and their work was wrongly attributed root for Macheath? Maybe be- to Brecht for decades. Magnetic, cause Bertolt Brecht wrote them genius, visionary – he was hard to with such affection. Despite his resist. As Brechtian scholar John workman’s overalls and passionate Fuegi puts it in his controversial proletarian voice, Brecht had more exposé/biography Brecht and Co., in common with both of his villains “Brecht is very much a part . . . of than he might like to admit. the charismatic, irrational yet- ef fective Pied Piper powers that Like Peachum, Brecht hoarded ev- could . . . lure hundreds of millions ery penny he ever earned and died of supposedly intelligent beings to with millions in the bank. Indeed, embrace their butchers.” he conveniently cheated Kurt Weill out of all but 12% of the profits Seem familiar? May as well call from both The Threepenny Opera him Bert the Knife. and The Rise and Fall of the City of Mahagonny, their two most signifi- cant collaborations. Not stopping there, he asked his collaborator Elisabeth Hauptmann to write to Weill to ask for additional money to support Brecht during his exile from Germany after 1933. And she did. Because women would do just about anything for Bert.
Like Macheath, Brecht could never be with just one woman. With five children by three different moth- ers, he was never shy about his ex- WILLIAM MASTALSKI, CFP Villanova ‘78 M.A
CERTIFIED FINANCIAL PLANNER •Unbiased, objective advice for comprehensive wealth management •Committed to providing thoughtful guidance and personalized service •Client-centered approach to investment and retirement strategies •Philadelphia Magazine Multi-Year “5-Star Wealth Manager”
William J. Mastalski First Vice President/Wealth Management Janney Montgomery Scott 40 Morris Avenue, Suite 200 Bryn Mawr, PA 19010 [email protected] 9th Annual Philadelphia Theatre Research Symposium
REVEALING HISTORIES: Rewriting the Past in the Plays of Sarah Ruhl April 29, 2015 Keynote Speaker Sarah Ruhl, playwright
This year’s PTRS seeks to highlight the work of new scholars while exploring how play- wrights reveal the otherwise hidden histo- ries that are often not included in domi- nant historical chronicles. This symposium offers the opportunity to present work in progress and to share ideas with other re- searchers. We are seeking papers which en- gage a broad range of topics in theatre and drama studies including but not limited to the work of Sarah Ruhl, historical revisionism, gender and history, race and history, and mythology and contemporary playwriting.
The goal of the Philadelphia Theatre Research Symposium is to pro- vide a forum for theatre scholars and practitioners to share their re- search and enter into a dialogue about current trends in theatrical practice and scholarship.
PTRS is FREE and OPEN to the public Keynote Address, 4:00 PM, Bartley Hall 1011 For more information, email: [email protected] Join us online!
Like Villanova Theatre on Facebook!
Follow Villanova Theatre on Twitter @VillanovaTheatr
Follow Villanova Theatre on Instagram @villanovatheatre
Find VillanovaTheatre on Tumblr!
DELAWARE COUNTY SYMPHONY Tim Ribchester, Music Director 2014-2015 Concert Season
Symphony Series Sundays at 3:00 P.M. March 1, 2015 Arturo Márquez Danzon No. 2
Peter Tchaikovsky Violin Concerto in D Major Nina Vieru, violin Robert Schumann Symphony No. 3 in E-flat
Major, “Rhenish” Chamber Series April 12, 2015 Domenico Cimarosa Quartet for Oboe and String Trio Bernhard Crusell Quartet for Clarinet and String Trio Volkmar Andreae Quartet for Flute and String Trio
Neumann University, Meagher Theatre The Thomas A. Bruder, Jr. Life Center One Neumann Drive, Aston, PA 19014 (1/4 mile West of Concord Rd. & Rt. 452) Call (610) 879-7059 or visit– our web site at dcsmusic.org for information or tickets. The Delaware County Symphony is a Non-Profit Organization
VILLANOVA THEATRE FACULTY David Cregan, Ph.D., O.S.A...... Chairperson; Gender, Politics and Performance; Modern Irish Drama; Acting; Voice & Movement Earl Bader, Ph.D...... Dramatic Vision and Form Michael Hollinger, M.A...... Solo Performance; Playwriting; Songwriting James Ijames, M.F.A...... Acting, Collaborative Theatre Valerie Joyce, Ph.D...... Musical Theatre; Script Analysis; Teaching of Theatre; Acting Harriet Power, M.F.A...... Directing; Acting/Directing Styles; Creativity Raymond Saraceni, Ph.D...... Dramaturgy; Acting Professors Emeriti...... James J. Christy, Joanna Rotte´
VILLANOVA THEATRE STAFF Parris Bradley ...... Production Manager Elisa Loprete Hibbs ...... Business Manager Michael Hollinger ...... Associate Artistic Director Kimberly Reilly ...... Director of Marketing & Public Relations Janus Stefanowicz ...... Costume Shop Manager Ashley Leamon...... Office Manager Sharri Jerue ...... Properties Master & Scenic Charge Rajiv Shah...... Technical Director
GRADUATE ASSISTANTS AND SCHOLARS Costume Construction...... Cari Brezina, Jill Jacobs, Sarah Ochocki, Alix Rosenfeld Properties Construction & Scenic Artists ...... Sarah McAfee, Julia Salvo Set Construction ...... Lauren Davenport, Christen Mandracchia, Amanda Coffin, Christopher Dayett Marketing/Public Relations ...... Rebecca Cureton Acting Scholars ...... Mitchell Bloom, Kyle Fennie, Stephen Tornetta Research Scholar...... Meghan Winch Merit Scholar...... Hallie Martenson
PRODUCTION ASSISTANTS Academic Office Staff...... Megan Rose, Meghan Winch Business & Production Assistants...... Daniel Cluskey, Brenden Kortenhaus, Emily Zvosec Media & Events Coordinator...... Hallie Martenson Box Office Manager ...... Sophia Barrett Assistant Box Office Manager...... Julie Kurtz Box Office Assistants...... Raymond Dengler, Norbert Joseph Dengler, Daniel Doris, Carlos Galardo, Chris Gelardi, Karen McConarty, Sarah McMahon, Aimee Lee Russell, Austin Wild Assistants to Costume Designer...... Jill Jacobs, Alix Rosenfeld Wardrobe Managers...... Gabby Bettaglio, Megan Hopkins, Anastasia Rose Schweiger, Mary Rose Makoski Costume Technicians...... Megan Rose Wieder, Maggie Franzetti, Sidonie Cypher, Anira Jones, Arianne Wilson, Devon Carroll, Kasey Lynch, Victoria Ung, Kellie Joyce Set Construction...... Mark Bowers, Indigo Brunson, Christian Cilley, Kyle Fennie Anthony Griffin, John Griffin, Austin Haitos, Brenden Kortenhaus, Lauren Webb Properties Construction & Scenic Artists...... Courtney Lees, Mary Pat Norton, Luke Hensley, Elizabeth Campbell, Ali Laird, Meghan Trelease