WINTER/SPRING SEASON
Jan 23–24 eighth blackbird Hand Eye ______Jan 28–30 Toshiki Okada/chelfitsch God Bless Baseball ______Feb 4 and 6–7 Ingri Fiksdal, Ingvild Langgård & Signe Becker Cosmic Body ______Feb 11–14 Faye Driscoll Thank You For Coming: Attendance ______Feb 18–27 Tim Etchells/Forced Entertainment The Notebook, Speak Bitterness, and (In) Complete Works: Table Top Shakespeare ______Mar 5–6 Joffrey Academy of Dance Winning Works ______Mar 25–26 eighth blackbird featuring Will Oldham (Bonnie “Prince” Billy) Ghostlight ______Mar 31–Apr 3 Blair Thomas & Co. Moby Dick ______Apr 7–10 Teatrocinema Historia de Amor (Love Story) ______Apr 12 and 14–16 Taylor Mac The History of Popular Music ______Apr 28–May 1 Kyle Abraham/ Abraham.In.Motion When the Wolves Came In
Museum of Contemporary Art Chicago Mar 31–Apr 3, 2016 Technical director Jim Moore Hurdy-gurdy coffin and Erik Newman Blair Thomas & Co. wind machine constructor Puppet builder and Tyler Culligan Moby Dick set constructor or The Brotherhood of the Monastic Costume constructor Uber Costume ______Order of Ancient Mariners Purges Additional puppet and set construction by Hannah Chavez, Eryka Dellenbach, Max McDermott, Erik Newman, Lucinda the Ills of Society Through a Reading Sponholz, and Chris Wooten. of the Tales of Moby-Dick ______SPECIAL THANKS From the book Conceived by Blair Thomas by Herman Melville and created in collaboration The production crew at the Moss Arts Center in Blacksburg, with the company Virginia, David Catlin, Shawn Pfautsch, Derek Matson, ______Angel Ysaguirre, Danny Thompson, Robin Young, Sheri Doyel, THE MONASTIC ORDER OF ANCIENT MARINERS Tom and Carolyn Doyel, Dan Kerr-Hobert, Sarah Fornace, Julia Miller, Lizi Briet, Sam Deutsch, Max Callahan, Matthew Puppeteer Michael Montenegro Duvall, Julia Rhoads, and Peter McDowell ______Balladeer Michael Smith The performance runs approximately one hour and twenty minutes without intermission. Puppeteer Blair Thomas Blair Thomas & Co. developed Moby Dick, or The Brotherhood Musician Michael Zerang of the Monastic Order of Ancient Mariners Purges the Ills of Society ______Through a Reading of the Tales of Moby-Dick in part through PRODUCTION STAFF the MCA Stage New Works Initiative, which provided commis- sioning support and a production design residency in August Director and co-adaptor Greg Allen 2015. Established in 2014, the New Works Initiative meaningfully expands MCA Stage’s ongoing commitment to supporting Production designer Blair Thomas artists and bringing important new performances to audiences. and co-adaptor ______Lead support for the MCA Stage New Works Initiative is provided by Elizabeth Codesigner Michael Montenegro A. Liebman. Additional lead commissioning support for this production is provided by Songwriter Michael Smith The Boeing Foundation, The Jim Henson Foundation, Elizabeth A. Liebman, Rick Stoneham, Nina and Steve Schoeder and Ellen Stone Belic. Sound score composer Michael Zerang Moby Dick, or The Brotherhood of the Monastic Order of Ancient Mariners Purges the Ills of Society Through a Reading of the Tales of Moby-Dick is a National Costume designer Ana Kuzamic Performance Network (NPN) Creation Fund/Forth Fund Project co-commissioned by the Museum of Contemporary Art Chicago in partnership with Virginia Tech University, College of St. Ben’s/St. John’s University and NPN. The Creation Lighting designer Sarah Hughey Fund is supported by the Doris Duke Charitable Foundation, Ford Foundation, and the National Endowment for the Arts (a federal agency). The Forth Fund is Projection designer John Boesche supported by the Andrew W. Mellon Foundation. For more information, Projections assistant Joe Burke visit npnweb.org. Production stage manager Madeleine Borg who decides to attempt an amazing magical feat—to pull a ABOUT THE ARTIST bull out of a hat by the ring in its nose. Melville’s singular achievement in writing Moby-Dick was Moby Dick, or The Brotherhood of the Monastic Order of Ancient articulating a prescient vision of the American experience that Mariners Purges the Ills of Society Through a Reading of the Tales resonates with us today. The thirty men of the Pequod represent- of Moby-Dick is Thomas’s latest exploration of the implications of ed a nation-state driven by the charismatic Captain Ahab, who storytelling and how the attempt becomes a path to enlight led a righteous mission to rid the world of evil, as Ahab perceived it to exist in the white whale Moby Dick. Melville’s book abounds with biblical themes, principally a central theme from the book of Job: if God exists, how is there evil in the world? This question leads Ahab to challenge the authority of God by going after his agent of chaos, the great Leviathan Moby Dick. But Ahab could not have acted without his crew. Our play imagines a time after the rescue of Ishmael, when a group of men who are still wrestling with the issues raised by Ahab attempt to liberate themselves from torment by forming a Monastic Order of Ancient Mariners. Their performance—part ritual, part religious service—functions as the rhythm recounted by Coleridge’s famous poem “The Rime of the Ancient Mariner.” Ahab’s story is a cautionary tale, but the stories of the other sailors of the Pequod resonate anew in the performance by members of this new devotional order. I am very grateful to Peter and Yolanda and the performance staff at the MCA who have supported the fruition of this project over the past year. —Blair Thomas
BLAIR THOMAS & CO. AND THE MCA
Thomas’s contemporary interpretation of Herman Melville’s classic overflows with seemingly impossible-to-stage symbolism. Blair Thomas & Co., Moby Dick He began the exploration in 1990 as a large-scale retelling Photo: Kipling Swehla of the story on North Avenue Beach, conceived and designed by Thomas with Redmoon Theater and Greg Allen as Ahab. enment. In the book, Melville searches for words to describe the whale; for Ishmael, the whale can never be seen because once MCA Stage first presented work by Thomas with Pierrot Lunaire it is caught and pulled from the ocean, it is no longer what it (2006), his collaboration with the Grammy Award–winning was, and when it is swimming below the surface of the water it sextet eighth blackbird. His subsequent MCA presentation, The is too vast to be conceived. Thomas uses puppet theater to stage Ox-Herder’s Tale (2008), featured music direction by Michael this paradox and to also unsettle our trust in what the eye sees. Zerang, who performed with fellow percussionist Hamid Drake. MCA has supported the development of Moby-Dick with two The Ox-Herder’s Tale, based on the ancient Zen-Buddhist teaching commissions and a design residency in August 2015, provided in parable, was Thomas’s interpretation set in a contemporary part by the New Works Initiative. The creative team performed Western world. It followed the story of a washed-up magician a public work-in-progress on August 21. playwriting at University of ABOUT Chicago, the Theatre School Apr 7–10 THE ARTISTS at DePaul, and the National at MCA Stage Theater Institute at the O’Neill GREG ALLEN Center in Connecticut, as is the founding director of the well as at the Neo-Futurarium Neo-Futurists and creator of and in several residencies across Too Much Light Makes The North America. Teatrocinema Baby Go Blind and more than fifty other productions. JOHN BOESCHE His award-winning work as has created media and scenic director and playwright has designs for more than 120 been produced in Chicago at professional theater, opera, the Goodman, Steppenwolf, and dance productions. Northlight, Court, and dozens His Broadway credits include of other theaters, as well as The Glass Menagerie directed throughout the United States by Frank Galati at Roundabout and internationally. His current Theatre, and his off-Broadway productions are running in credits include Beyond Glory New York, San Francisco, Italy, directed by Robert Falls at Taiwan, Australia, Tanzania, Roundabout Theatre, among and Norman, Oklahoma. others. Regionally, his work His adaptations include The has been seen at Chicago Strange and Terrible True Tale Shakespeare Theater, Geffen of Pinocchio (the Wooden Boy) Playhouse (Los Angeles), as Told by Frankenstein’s Monster Goodman Theatre (Chicago), (the Wretched Creature), Lookingglass Theatre Company Jokes and Their Relation to the (Chicago), McCarter Theatre Unconscious, The Last Two (Princeton), Milwaukee Minutes of the Complete Works Repertory Theatre, New York of Henrik Ibsen, and K., his Shakespeare Festival (NYC), award-winning version of Remy Bumppo Theatre Kafka’s The Trial. His play (Chicago), Seattle Repertory What Happened in Pinkville? (A Theatre, Shakespeare at Cubist Dialectic on the Massacre the Folger (Washington DC), at My Lai) was a finalist for the Steppenwolf Theatre National Playwright’s Con (Chicago), Theater On ference in 2015. Allen directed The Square (San Francisco) and adapted Ibsen’s Ghosts and Victory Gardens Biograph for Mary-Arrchie’s final season Theatre (Chicago), and last winter. He is adapting elsewhere. He has designed the works of Edgar Allan Poe for dance companies including for Blair Thomas & Co. and the Joffrey Ballet in Chicago, the works of Kafka with Cincinnati Ballet, Liz Lerman Photo: Montserrat Quezada A. Michael Montenegro. He is also Dance Exchange (Washington, arranging an international tour DC), and Lucky Plush Produc- of his seven-hour production tions (Chicago), as well as in nine acts of Eugene O’Neill’s Erica Mott (Chicago). His Historia de Amor Strange Interlude, and creating design work has been recog- a Harold Pinter festival for nized with three Joseph Tickets at mcachicago.org the spring of 2017. In addition, Jefferson Awards, a Metro DC Allen teaches performance and Dance Award, and a Los Angeles Drama Critics Circle Chicago Children’s Theatre, has been the resident designer Milwaukee Repertory Theater, Award, among others. Fox Valley Rep, Teatro Vista, at Silk Road Rising, and is a Berkeley Repertory Theatre, Boesche is the chair of digital The House, Lifeline Theatre, collaborator with the perfor- McCarter Theatre Center, the media for live performance A Red Orchid Theatre, and the mance collective Yellow House. Shakespeare Theatre Company, at the University of Illinois at Chicago Symphony Orchestra. She holds an MFA in stage Trinity Repertory Company, Urbana-Champaign. Regionally she has designed design from Northwestern the Geffen Playhouse, and the at Kansas City Rep, City University, and has taught Oregon Shakespeare Festival. SARAH HUGHEY Theatre (Pittsburgh), St. Louis lighting design at Northwest- Kuzmanic is the recipient of a has designed lighting for Black Rep, and Ash Lawn ern, Columbia College Chicago, Jeff Award for The Comedy of numerous Chicago productions, Opera (Charlottesville, VA). and North Central College. Errors at Chicago Shakespeare including Northlight Theatre, She is the recipient of a Jeff Theater and a Drama Desk Theatre Wit, Victory Gardens Award (Scorched, Silk Road ANA KUZMANIC nomination for August: Osage Biograph Theatre, About Rising) and a Jeff Nomination is a native of the former County on Broadway. She has Face Theatre, Griffin Theatre, (The Iron Stag King, The Yugoslavia and a prolific a BFA in costume and fashion Remy Bumppo Theatre, Haven House). She was the 2013 costume designer for theater Theatre, Writers’ Theatre, recipient of Chicago’s Maggio and opera. Her upcoming Steep Theatre, Next Theatre, Emerging Designer Award. projects include Disgraced, Two Pence Theatre, the Hughey is an Artistic Affiliate directed by Marcela Lorca at Gift Theatre, Court Theatre, of American Blues Theatre, the Guthrie Theater in Minneapolis, Wonderful Town, LEFT AND BOTTOM directed by Mary Zimmerman Blair Thomas at the Goodman Theatre, & Co. Moby Dick and Peter Grimes, directed by Video still © MCA Robert Falls at the Lyric Opera. Chicago This season she designed RIGHT costumes for the Goodman Blair Thomas & Co. Theatre production 2666, an Moby Dick adaptation of Roberto Bolaño’s Photo: Kipling Swehla novel directed by Robert Falls and Seth Bockley, and Treasure Island, directed by Mary Zimmerman at the Looking- glass Theatre Company. Other Chicago credits include The Lyric Opera (Don Giovanni, directed by Robert Falls), and numerous productions at The Goodman Theatre, from Faculty of Applied Arts Steppenwolf Theatre Compa- in Belgrade and an MFA in ny, Court Theatre, Chicago stage design from North Shakespeare Theater, and the western University. She is also House Theatre of Chicago. an associate professor of Costume designs for Broadway costume design at Northwest- include Tony Award–winning ern University. August: Osage County, Robert Falls’s Desire Under the Elms, MICHAEL MONTENEGRO and Superior Donuts directed is artistic director of Theatre by Tina Landau. Kuzmanic’s Zarko which has produced off-Broadway credits include numerous original puppet The Jacksonian, directed by theater works including He Robert Falls. Regionally, she Who, Haff (The Man), Sublime has designed costumes for Beauty of Hands, Klown Kantos, and Iktu Blas. Over the past BLAIR THOMAS International Puppet Theater to thirty-five countries. He twenty years, Montenegro is a puppeteer and director/ Festival in partnership with founded and was artistic has developed a unique style designer working in Chicago presenters and venues across director of Link’s Hall Perfor- of puppet and mask theater for the past thirty years. He Chicago, including the MCA. mance Series in Chicago in the Chicago community as cofounded and was codirector He was the first Jim Henson from 1985–89, presenting more a solo artist and a collaborator. of Redmoon Theater from artist-in-residence at the than 300 music concerts. His projects include com 1989–98. Following his tenure, University of Maryland and He also presented concerts at missions by the Lookingglass he staged Manuel de Falla’s has been an adjunct faculty Cafe Urbus Orbis (1994–96) Theatre Company for puppet opera Master Pedro’s member at the School of the and at the Candlestick Maker Argonautica, directed by Mary Puppet Show with Chicago Art Institute of Chicago in Chicago’s Albany Park Zimmerman; by Next Theatre Opera Theater and served since 1991. He has a BA from neighborhood (2001–05). for The War With the Newts as a curator for the City of Oberlin College. He was a board member of and The Long Christmas Ride Chicago’s International Puppet Links Hall from 1989 to 2013. Home; and by Writers’ Theatre Theater Festivals in 2000 MICHAEL ZERANG Zerang has taught perfor- for The Puppetmaster of Lodz, and 2001. He is founder of is a Chicago native and a first- mance technique, sound which garnered a Jeff Award Blair Thomas & Co. and in its generation American of design, and sound/music as for puppet design. fourteen-year history has Assyrian descent. He has been a guest artist at the School of created The Vinegar Works, a a professional musician, the Art Institute of Chicago; MICHAEL PETER SMITH toy theater staging of Edward composed and performed the Gorey’s little books; Cabaret music for the Tony Award– of Desire, an adaptation of winning Steppenwolf produc- short works by Federico Garcia tion, directed by Frank Galati, Lorca; and The Ox-Herder’s of John Steinbeck’s The Grapes Tale, an interpretation of of Wrath. He wrote and the ten Buddhist paintings of performed in Michael, Margaret, enlightenment. For young Pat & Kate at Victory Gardens audiences, Blair Thomas & Co. Biograph Theatre, a production has adapted Oscar Wilde’s that won four Joseph Jefferson The Selfish Giant and staged a Awards. With Jamie O’Reilly fantasy inspired by Modest he wrote and performed Mussorgsky’s Pictures at an Pasiones at Theater On The Exhibition. Recent company Lake and Hello Dali at Victory collaborations include creating Blair Thomas & Co., Moby Dick Gardens. He adapted, com- puppets and visual design Photo: Kipling Swehla posed, and performed songs for the Chicago Symphony in the Victory Gardens’s Orchestra, Chicago Children’s composer, and producer since rhythmic analysis for dancers production of Hans Christian Theater, Victory Gardens 1976, focusing on improvised at Columbia College Chicago, Andersen’s The Snow Queen, Biograph Theatre, and the music, free jazz, contemporary Northwestern University, Smith’s first collaboration Trinity Repertory Company of composition, and collaborations and MoMing Dance and Arts with Blair Thomas. He also Providence Rhode Island. on puppet theater, experi Center; and composer/ collaborated with Thomas mental theater, dance, and choreographer collaborations in creating, writing, and In 2014, the Ballard Institute multidisciplinary work. He at Northwestern University. performing the songs for the and Museum of Puppetry has received three Joseph He has taught music to children Chicago Children’s Theater in Connecticut presented an Jefferson Awards for Original at the Jane Adams Hull production of Oscar Wilde’s exhibition of Thomas’s stage Music Composition in Theater House. Zerang tours and holds Selfish Giant. Smith also renderings for solo works in collaborations with Red- workshops in improvisational played the role of Captain from the past fifteen years. His moon Theater (1996, 1998, music and percussion Harry Pedersen in Eastland at upcoming collaborations and 2000). As a percussionist technique, and teaches private Lookingglass Theatre Company. include designing puppets for and composer, Zerang has lessons in rhythmic Lookingglass Theatre Company more than ninety titles in his analysis, music composition, and the Lyric Opera. In 2015, discography and has toured and percussion technique. Thomas founded the Chicago nationally and internationally BLAIR THOMAS & CO. Eva Silverman and Sandi and Eric Tenfelde ______Charles Kite Virginia Warren and Ken BOARD OF DIRECTORS ______Lewis Apr 28–May 1 $500–999 Cheryl Lynn Bruce Ellen Stone Belic We also gratefully acknow- at MCA Stage Claire Rice, Chair Big Delicious Planet ledge donors for their Andrea Saenz John and Lisa Jensen support of Creative Partners, Colleen Sims Ingeborg Kohler a collaborative effort to Asheley Smith Paul Levy provide professional Rick Stoneham Asheley B. Smith fundraising for three Chicago Chuck Thurow Rick Stoneham nonprofit arts organizations: Angel Ysaguirre Dene and Gordon Thomas eighth blackbird, Lucky Kyle Abraham/ ______Chuck Thurow Plush Productions, and Blair STAFF Peter and Carol Trobe Thomas & Co. Angel Ysaguirre Artistic Director ______Elizabeth Liebman Abraham.In.Motion Blair Thomas $200–499 John D. and Catherine T. Joanie Friedman MacArthur Foundation Interim Managing Director Kerry James Marshall and Sandy Gerding Cheryl Lynn Bruce Matthew and Margaret Patricia Tuomey Martin and Duvall Director of Development Christopher Martin Maggie Kast Anne Cauley Maureen Mizwicki Russell and Yonah Klem Claire Rice Barbara Koenen Development Associate David Rudman Jim Lasko and Tria Smith Sarah Augusta Frank and Kathleen Thometz Lasko ______Melynda Lopin Grants Manager $100–199 Kerry James Marshall and Deidre Huckabay Liz Aviles Cheryl Lynn Bruce ______John Boesche and Jeanne Susan Rossen BLAIR THOMAS & CO. Uzdawinis-Boesche Julie Volchenboum GRATEFULLY David Carlson ACKNOWLEDGES ITS 2015 Sandy Smith Gerding Every effort was made AND 2016 SUPPORTERS. Lawrence Grimm to ensure the accuracy of Tom Goodman this list. If you notice $20,000+ Laura Goone an error, please accept our Alphawood Foundation Jane Hillis apology and contact City of Chicago Department Chris and Sara Julsrud Sarah Augusta at Sarah@ of Cultural Affairs Jan E. Kallish CreativePartnersArts.org. and Special Events Stephanie Konkol The Reva and David Logan Susan Manning and Douglas Foundation Doetsch John D. and Catherine T. Cathleen R. Marine MacArthur Foundation Ann Nathan Gallery National Performance D. Elizabeth Price Network David Shapiro ______$15,000–19,999 $1–99 Bloomberg Philanthropies Laura Botwinick ______Kathleen Butera $10,000–14,999 Christopher Carson MacArthur Funds for Arts Faith Dusek and Culture at the Jane and Mark Epstein Richard H. Driehaus Milton Esbitt Foundation Miriam Ex Jentes Family Foundation Joseph and Dominica Fisher Elizabeth Liebman Dinesh Goburdhun Pritzker Pucker Family Mark Gullickson Foundation Michael Hans and Ellen ______Damilich $5,000–9,999 Cynthia Ho Gaylord and Dorothy Jay Kelly and Alicia Gonzalez Donnelley Foundation Elise Kerr Sam Pratt, Catherine Ellis Kirk ______Bert Menco Photo: Tim Barden $2,500–4,999 William Padnos and Margy Illinois Arts Council Kaye Agency John and Haidy Peterson Jane Nicholl Sahlins Lynn and Jerry Powell When the Wolves Steve and Nina Schroeder Michael Presser ______Julia Rhoads and Alex $1,000–2,499 Brenneman Sara Farr and Lin Brehmer Jeremy Rosenberg Came In Scott Hughes Christopher and Hisae Shea Dan Kuruna and Justine Mark Sherman Jentes Keith Smith Bob Shapiro and Ginger Miriam Socoloff Tickets at mcachicago.org Farley Jonny Stax and Scott Bradley The MCA’s newest FOUNDING MEMBERS THANK YOU affinity group, Enact, OF ENACT: Dr. Bruce and Sally Bauer Lead support for the 2015-2016 season of MCA Stage is provided by gives longtime Julie and Shane Campbell Elizabeth A. Liebman. performance fans and Patricia O. Cox Shawn M. Donnelley* Generous support for MCA Dance is provided by David Herro and Jay Franke. newcomers alike the and Christopher M. Kelly opportunity to meet Lois** and Steve Eisen and Additional generous support is provided by Caryn and King Harris; Shawn M. The Eisen Family Foundation Donnelley and Christopher M. Kelly; Lois and Steve Eisen and The Eisen Family artists, discuss ground- Ginger Farley and Bob Shapiro Foundation; Ginger Farley and Bob Shapiro; the Martha Struthers Farley breaking directions David Herro and Jay Franke and Donald C. Farley Jr. Family Foundation; Mary E. Ittelson; Sharon and Lee Sarai Hoffman and Stephen Pratt Oberlander; Maya Polsky; Carol Prins and John Hart/The Jessica Fund; with leading curators, Cynthia Hunt and Philip Rudolph Ellen Stone Belic; Amphion Foundation, Inc.; Leigh and Henry Bienen; Mark and choose key Mary E. Ittelson Light; Melynda Lopin; Maecenas; Herbert R. and Paula Molner; Elizabeth Anne L. Kaplan Price and Lou Yecies; and Ms. Patricia F. Sternberg. performers to sponsor. Anne and John Kern Lisa Yun Lee The MCA is a proud member of the Museums in the Park and receives major Join Enact, a group of MCA Circle Elizabeth A. Liebman support from the Chicago Park District. Donors dedicated to supporting and Susan Manning and Doug Doetsch learning more about the renowned Herbert R. and Paula Molner programs on the MCA Stage. Sharon and Lee Oberlander Foundation Membership in Enact enhances your Maya Polsky Season Sponsor MCA experience by offering you Elizabeth Price and Lou Yecies backstage access to artists and Carol Prins and John Hart/ insider information about our The Jessica Fund Preferred programs and the current state of Mr. and Mrs. John Seder Hotel Partner the field. Ms. Patricia F. Sternberg Ellen Stone Belic Each year, Enact members choose— Richard and Ann Tomlinson through discussion and voting—one performance to sponsor, thereby increasing the impact MCA Stage programming has on the community. ADDITIONAL BENEFITS OF ENACT MEMBERSHIP INCLUDE:
� Members-only programming throughout the MCA Stage season � Pre and post-performance discussions with artists � Behind-the-scenes access to select rehearsals � An annual preview of the upcoming season � Recognition as the Enact Sponsor of a select program All benefits of Circle Donors � MUSEUM OF Enact dues: $1,000 annually CONTEMPORARY ART Circle Donor contribution: From CHICAGO $1,500 annually 220 E Chicago Ave For more information, contact * Enact Chair us at [email protected]. ** Enact Cochair Chicago, IL 60611 As of March 2016 As an internationally renowned institution Anne L. Kaplan, Chair of devoted to contemporary culture, the Museum the Board of of Contemporary Art Chicago presents the Trustees most thought-provoking visual art and Madeleine Grynsztejn, performing arts of our time. MCA Stage is a Pritzker Director vibrant series presenting theater, dance, Teresa Samala and music by leading artists from the United de Guzman, Deputy States and around the world in the MCA’s Director three-hundred-seat Edlis Neeson Theater. Michael Darling, James W. Alsdorf MCA Stage’s groundbreaking performances are Chief Curator an integral part of the MCA’s artist-activated, audience-engaged programming. Along PERFORMANCE with the museum’s exhibitions and educational PROGRAMS initiatives, they encourage a broad and Peter Taub, Director diverse community to experience and discuss Yolanda Cesta Cursach, the work and ideas of living artists. Associate Director John Rich, Manager Isabel Dieppa, PARKING Coordinator Validate your ticket at the coat check for $12 Richard Norwood, parking in the MCA garage (220 East Chicago Theater Avenue) or the Bernardin garage (747 Production North Wabash). Discounted parking is limited Manager to six hours on the date of performance. Meghan Claire Coppoletti, Intern LOST AND FOUND Udita Upadhyaya, Intern To inquire about a lost item, call the museum at 312-280-2660. Unclaimed articles are held HOUSE MANAGEMENT for thirty days. Kevin Brown, Associate Phill Cabeen, Associate SEATING Quinlan Kirchner, Please switch off all noise-making devices Associate while you are in the theater. BOX OFFICE Patrons are seated at the management’s Matti Allison, Manager discretion. Food and open beverage containers Phongtorn Phongluantum, are not allowed in the seating area. Assistant Manager Molly Laemle, REPRODUCTION Coordinator Unauthorized recording and reproduction Lucas Baisch, Associate of a performance is prohibited. Stephanie Branco, Associate GENERAL INFORMATION Nora Carroll, Associate 312-280-2660 Emma Dwyer, Associate Wright Gatewood, BOX OFFICE Associate 312-397-4010 Julie Kriegel, Associate Laura Volkening, Associate VOLUNTEER FOR PERFORMANCES 312-397-4072 Program notes compiled [email protected] by Yolanda Cesta Cursach MUSEUM HOURS Tuesday: 10 am–8 pm Wednesday–Sunday: 10 am–5 pm Closed Mondays, New Year’s Day, Thanksgiving, and Christmas