WRITERS’ THEATRE THE BRIEF CHRONICLE I S S U E SEVENTEEN MAY 2 0 0 7

1 BACH AT LEIPZIG OTHELLO Michael Halberstam Artistic Director

Kathryn M. Lipuma Executive Director 0 3 ON STAGE: OTHELLO 04 ARTISTIC CONVERSATION 08 DIRECTOR’S SIDEBAR 09 THE PLAYERS ON SHAKESPEARE Dear Friends: 1 3 AFRICANS IN ELIZABETHAN ENGLAND 15 FROM PAGE TO STAGE We are delighted to welcome Shakespeare back to Writers’ Theatre after an absence of almost a decade. As we go to print with this magazine, we are two weeks into rehearsal for BACKSTAGE: 18 EDUCATION 19 DONOR SPOTLIGHT 20 EVENTS 24 DIRECTOR’S SOCIETY Othello and what a remarkable journey it is proving to be. Shakespeare’s plays are overflowing 2 5 2007/08 SEASON 26 CELEBRATING 15 YEARS 31 IN BRIEF 32 IN MEMORIAM with humanity and every moment of every play involves making a series of specific choices that chart the psychological journey of his text. The result is a wonderfully accessible and recognizable cast of characters who find themselves in extreme circumstances while making fascinating decisions. We can hardly wait to share this production with you!

Thank you for being with us over the course of this most exciting 15th Anniversary Season. We are looking forward to bringing you a most wonderful lineup next year! Although we have premiered many adaptations and a number of regional premieres, The Savannah Disputation, which launches the season in September, is our first world premiere play. Evan Smith, the author of The Uneasy Chair, has drawn a delicious look at a conflict between faith and understanding. We will follow with one of the world’s greatest psychological thrillers, The Turn of the Screw, adapted by Jeffrey Hatcher from the novel by Henry James. Its large cast of characters will be realized by two actors taking on a multiplicity of roles! Next we invite you into the magical Forest of Arden for As You Like It, an astonishingly sophisticated look at gender, romance, fathers and daughters and the nature of love itself. We close the season with The Lion in Winter by James Goldman. This wonderful classic of the American Theatre takes a look at the world through the eyes of history and creates a wholly recognizable modern family conflict. More about all these shows and the featured artists can be found on page 25.

2 BACH AT LEIPZIG 847-242-6000 | writerstheatre.org Outside of our regular season programming, we offer a new host of exciting adventures, May 15 – July 15, 2007 including the premiere of Crime and Punishment in New York this November, a new family production in the spring and the continuation of our highly successful outreach production Performed at 325 Tudor Court The MLK Project: The Fight for Civil Rights. Stay tuned for further details. The grandeur of Shakespeare and the signature intimacy of Writers’ As you can see, this coming season is going to be one to relish! In fact, by the time you read this letter you should have received our subscription renewal materials. If you have not Theatre combine to create the potential for theatrical nirvana. This done so already, please do send in your renewal so as to not miss our on a single moment masterpiece tells of a general led into a frenzy of jealousy and of theatrical magic. (If you have not received your notice, please let us know immediately so that we may rectify this!) insecurity by his most trusted soldier. Whispers, secrets and lies

Finally, please look carefully at the many options we are making available to you including unravel domestic bliss into shreds of insanity. Come closer to the 100% Club. As you know, tickets sales only cover half the cost of running a production. Shakespeare than you ever thought possible and fully realize the With the 100% Club, we give you the opportunity to cover the true cost of your ticket. In return, we invite you inside the creative process with a series of events especially catered glorious language, intricacies of plot and breathtakingly specific to compliment the enthusiasm of your support. characters as scribed by the world’s greatest playwright.

We look forward to seeing you at the theatre for another fifteen seasons.

Sincerely,

Michael Halberstam Kathryn M. Lipuma Artistic Director Executive Director OTHELLO BY WILLIAM SHAKESPEARE DIRECTED BY MICHAEL HALBERSTAM

THE CAST SCENIC DESIGN “The Moor is of a free, Chris Cantelmi Keith Pitts and open Nature, Kelly Cooper COSTUME DESIGN Nan Zabriskie David Dastmalchian That thinks men honest, LIGHTING DESIGN Audrey Francis Brian Sidney Bembridge that but seem to be so, Kevin Gudahl SOUND DESIGN And will as tenderly be John Judd Josh Schmidt lead by the Nose Suzanne Lang PROPERTIES DESIGN James Vincent Meredith Ross Moreno As Asses are!” Braden Moran FIGHT DIRECTOR – IAGO Karen Janes Woditsch David Woolley DRAMATURGY Martha Wade Steketee STAGE MANAGEMENT David Castellanos 3 connection to something happening the production. I like to take in any now. I also read a lot of nonfiction and production I can find whether it be video, that always filters into the work. audio or live. For Othello, I have even ARTISTIC found a magnificent comic book version Once a play is chosen, or rather, once along with five or six films. I spend most it chooses me, I usually read poems of my time with the folio (which I learned that relate to it or look at paintings about from CST), pouring through it CONVERSATION or photographs that give me a feeling for clues in the spelling, grammar and for which I am searching. Then I start punctuation that almost certainly comes talking about it to anyone who’ll listen. closest to representing the hand and Usually that means the designers and thoughts of the author. Do you protect our artistic team here at CST: Bob yourself from other productions prior to Mason, Rick Boynton and Gary Griffin. rehearsal? Or do you seek them out? It is this talking – trying to communicate ideas – that makes it all seem real to BG: In the early years I didn’t have the me and more grounded than floating opportunity to see many Shakespeare thoughts that travel thought the air. productions, so I started out each show Chocolate also helps. with a clean slate. I had never seen Barbara Gaines Michael Halberstam

For two weeks in February, Writers’ Theatre Artistic Director and Director PREPARING FOR A PRODUCTION of Othello Michael Halberstam exchanged emails with Chicago Shakespeare Theater (CST) Artistic Director Barbara Gaines about the SEEMS ALWAYS TO BEGIN process of preparing for, rehearsing and directing Shakespeare.

Michael Halberstam: Thank you so does it change from play to play? Do you much for agreeing to participate in have rituals? this “e-dialogue” with me. Nearly 20 years have passed since I was cast Barbara Gaines: Preparing for a WITH A PULSE, in your production of Cymbeline at production seems always to begin with the Ruth Page Theatre in 1989, a a pulse, a phrase, that keeps running A PHRASE THAT KEEPS seminal production in my career. It is through my head, or a visual image, or fascinating to consider that in these 20 something I’ve read in a book – that I RUNNING THROUGH MY HEAD years since, you have built one of the can’t shake. It’s always SOMETHING that most beautiful theatres in the nation won’t let me go. So, when I acknowledge MH: Chocolate is crucial to the process! Troilus and Cressida when I directed it in and I find myself celebrating the 15th that a play is calling me, I sit down at When I direct Shakespeare, I find myself 1987 or the Cymbeline that you were in Anniversary as founding artistic director my desk and just read it. Usually, if not gathering as many different editions (singing and acting, by the way). Come to of a marvelous theatre company that always, there are six or eight images of the text as I can. I am very keen to think of it, I never saw most of the early derives its inspiration from the word and that I see in my mind’s eye, most of peruse the peripheral materials and productions. That actually was helpful, the artist. which make it into the final production. the footnotes. I often try to find a piece because I was dreaming my dreams, not I can’t tell you where they come from, of music that contains the emotional being influenced by another’s work. Now Let’s start this off by discussing how to just that they come. They are triggered landscape of the play and I take great seeing someone else’s production can be prepare to direct a production. For you, by Shakespeare’s words and/or a comfort in that when dreaming of informative, inspirational or quite painful.

4 OTHELLO: ARTISTIC CONVERSATION OTHELLO: ARTISTIC CONVERSATION 5 MH: Oh my goodness, I sang! I’d something within? Or the opposite BG: Believe it or not, all of them. I can’t BG: Yes, I want to direct Porgy and Bess. forgotten about that! Do you miss happens: I could be miles away from get enough and, as my life goes on, acting? I keep my feet a little wet with my books, as I was in Czechoslovakia the plays shift. It’s like looking at a MH: I look forward to it! One of the my annual one-man performance of in the spring of 1989 when I saw diamond in the light and seeing entirely consistent wonders of CST is the A Christmas Carol. Are there any roles Russian tanks all around their country. new facets. It’s miraculous. clarity of your text work, which is that would draw you back to the stage? Lines from King John haunted me manifested in clear storytelling and throughout the trip, “When laws can MH: Do you ever long to direct something solid technical delivery. This is no small BG: There isn’t enough money in the do no right...let it be lawful that law other than Shakespeare? accomplishment! entire world to get me back to performing itself is perfect wrong.” I directed my again. I really don’t miss anything but first King John right after that trip and BG: I’m always looking...and in truth, BG: Thanks for this. My only secret here the dressing room high jinks before a it took place in Eastern Europe with every time I return to a Shakespeare, is that my brain needs to understand show. I miss the camaraderie and the plenty of barbed wire. it is a completely different play. So the every moment and the folio technique canon of 38 plays is, in a sense, infinite. is the basis for this. This and superb EACH SHOW MUST BE BORN WITH NEW IMPULSES Do you think I need an intervention? actors make it possible.

jokes, but as far as getting up on a stage and having people watch me? Oh, Michael, I’d rather clean the bathroom at a bus station first. I think that as I get older, I become shyer. I also just love the very dynamic process of directing. The ground is always shifting. NEW BREATH MH: Then let’s talk a little about process. Or, as in the case of Cymbeline, when Tell me about your design experience. the god Jupiter makes his entrance, AND A TREMENDOUS PASSION. I have found with Shakespeare that you can either cut it from the show (as it rarely helps to locate the play in a many recent productions have done), or MH: I think you’re fine! The wonderful MH: The word and the artist. Sounds specific moment of time. My concern you can make it a spectacular event. thing about Shakespeare is how the familiar. When it comes to repeating is always that the enormous universal Since I believe in Jupiter, I think you production can transform under the plays from Shakespeare that you have themes suddenly become reductively may remember his entrance in the interpretation of a single actor. In the directed or produced previously, do you about a single moment in time, and production that you were in. In any case, West End, there is usually at least one have any guiding principals that direct then the design choices often become design must come from the vision, the Hamlet a season, often two. There your approach? distractions. For instance, it’s difficult breath of the piece. was a New York Times article this past to care about the plot of Julius Caesar, weekend that discussed the notion that BG: Every new production must be of a play about a struggle for world power, MH: I must say that your productions English audiences are excited to go see the moment, fresh and new. I’ve learned if the play is set in some small remote always have a timeless quality. repeat performances of these iconic NEVER to try and duplicate anything. and crumbling South American country I suppose it’s not really a matter of plays because they know that each Each show must be born with new (as I have seen it played). Of course, temporal verisimilitude is it? It’s really experience will be like seeing a different impulses, new breath and a tremendous there are always exceptions. what you say about the personal image. play. Nonetheless, are there any non- passion. Peter Brook once said that Start there and let it grow. Shakespearean dream plays you hold “from personal discovery comes shared BG: Well, my process begins with dear to your heart? experience” – in the end we’re all reading the plays very closely for hints Which are the Shakespeare’s you still struggling and we’re all searching. It in the text: is there something hidden, lust to direct? never stops. a thought or an image that triggers OTHELLO: ARTISTIC CONVERSATION 7 THE PLAYERS ON SHAKESPEARE Shakespeare’s plays put any actor’s skill set to the test. Othello is certainly no exception. Artistic Assistant Jimmy McDermott asked some members of our accomplished cast a few questions about their experience with Shakespeare on stage, in rehearsal and as an audience member. Here are some of their insightful responses.

Jimmy McDermott: What was the first What follows is a biography of Michael’s professional affiliations with the Shakespeare production you ever saw Bard of Avon. on stage? What do you remember about that experience? In 1980, he found himself in Champaign-Urbana when his family emigrated to the United States. After graduating college, he toured Romeo and Juliet with the Virginia Shakespeare Festival. He moved to Chicago in 1986 where he was cast in Shozo Sato’s Kabuki Othello. His next production in 1987 was with now-defunct Chicago Shakespeare Company (not to be confused with Barbara Gaines’ thriving venture) where he played Lucio in Measure for Measure and Sebastian in Twelfth Night. He acted in a single performance on closing night in As You Like Braden Moran (Cassio): The first It directed by Eric Simonson at the Bailiwick Repertory Theater. He was Shakespeare I ever saw on stage was subsequently cast as the tailor in The Taming of the Shrew at Oak Park The Taming of the Shrew at American Shakespeare Festival and the following season as Launcelot Gobbo in Players Theatre in Spring Green, The Merchant of Venice. His next foray into Shakespeare in Chicago was James Vincent Meredith (Othello): Wisconsin when I was a freshman in with Barbara Gaines (when her company was still called Shakespeare I saw a production of A Midsummer high school. It was fascinating because Repertory). There he played Arviragus in Cymbeline, the show that put Night’s Dream on the Chicago I was thoroughly convinced I wouldn’t the company firmly on the map as a force to be reckoned with. He then Shakespeare Theater stage several understand a word of the show and was joined the company of the Stratford Festival in Canada for two seasons years ago. I’m sure I had seen other pleasantly surprised to discover that where he played in Macbeth, As You Like It, Timon of Athens and Much Shakespeare before that, but that was I actually “got it.” It was a revelation Ado About Nothing. Upon returning to Chicago, he founded Writers’ the first one that really sticks out in to find the show wasn’t ancient and Theatre where he appeared in Richard II in 1997. For two and a half my memory. It was the first time that inaccessible – but rather timeless and years following, he supplemented his time at Writers’ Theatre by teaching I really understood what I was seeing relevant. The characters were so fleshed Shakespeare at The Theatre School at DePaul University. He spent a few and what was being said. The set was out and the language was so playful and years in collaboration with Shakespeare on the Green at Barat College, amazing and the costumes and lighting beautiful – and the world, as different serving in an advisory capacity on their productions of Hamlet, Richard were wonderful, but the actors are and magical as it was, wasn’t so far III, The Tempest and King Lear. In 2004, he directed Hamlet at the Illinois what I remember most. They made the away from the world in which we live. Shakespeare Festival which Chicago Tribune Theatre Critic Chris Jones language clearer for me than I’d ever named one of the top ten productions of the year. He is delighted to heard it before. That’s when I began to

DIRECTOR’S SIDEBAR MICHAEL HALBERSTAM,OTHELLO DIRECTOR finally be directing Shakespeare for Writers’ Theatre. really become a fan of Shakespeare. OTHELLO: THE PLAYERS ON SHAKESPEARE 9 from a trapdoor and pranced around the JM: What is your favorite Shakespearean Theater was wonderful. It was performed stage for awhile, grabbing his crotch and production, either on film or stage? by an all-Russian cast with subtitles. making profane gestures. The audience It was hugely imaginative with a lively, was positively delighted. I learned two physical and musical ensemble. It was things that day: (a) what “bawdy” meant, the best Shakespeare I’ve seen in and (b) given the proper context, crude recent memory. potty-humor can effectively masquerade as genuine wit. When the time came SL: My favorite experience was a to leave home and go away to college, production of The Tempest in Dusseldorf, I went to Ashland. Germany. It was performed with bamboo, a trunk for props and a shadow screen Suzanne Lang (Desdemona): My first of linen, behind which the storm was Shakespeare production was also The created with the actors’ shadows. Very Taming of the Shrew at Actors Theatre Karen Janes Woditsch (Emilia): simple, with only the language and the of Louisville. I was in third grade, Kate My favorite film “experience” was company onstage. wore a black leather jacket and I was Branagh’s Henry V. When I watch it now, ready to ditch my plaid outfit for a Kate there are some things I don’t care for, JM: What do you think it takes be a coat. It was my first memory of a strong but when I saw it in the theatre I was good Shakespearean actor? female character and I loved it. Words absolutely transported. I didn’t know were flying on stage and in the audience. Shakespeare could feel so personal and KC: A great head of hair, a well-trimmed The kids were cheering for sides. I loved epic at the same time and I was on my beard and a cape. feeling as if Kate might be listening feet at the end of the film. My favorite to me. Audrey Francis (Bianca): I am theatre experiences are John Wood’s AF: And the bravery and willingness to embarrassed to say that I have only performance as Prospero in The Tempest let the language do the work for you. seen one live Shakespeare production. with the Royal Shakespeare Company When I was nine years old, my mom and Scott Parkinson’s Richard II. KJW: Exactly. Just give over to the took my sister and me to see Hamlet at fact Shakespeare did it right. If you the Colorado Shakespeare Festival. Val understand the language intimately, you Kilmer played Hamlet. All I wanted him to are enough to fill the role. So, if in real say was, “I don’t like you because you’re life you are flawed, joyful, petty, noble dangerous,” and then play shirtless and passionate, you should have no volleyball (Top Gun, 1986). problem with his characters. You just need years of training first and good breath support.

Kelly Cooper (Roderigo): I don’t recall CC: Flexibility, too. It generally has never the title of the play, but I do remember served me or anyone I’ve worked with to the experience well. It was at the Oregon have a rigid understanding of the text or Shakespeare Festival in Ashland, Chris Cantelmi (Gratiano): Declan their character. Oregon. At some point an actor emerged Donnellan’s touring production of Twelfth Night last fall at Chicago Shakespeare 10 OTHELLO: THE PLAYERS ON SHAKESPEARE OTHELLO: THE PLAYERS ON SHAKESPEARE 11 BM: I think your first care and concern say about my character. And I try to get with performing Shakespeare must be off-book as soon as I can, as it’s hard clarity of thought and action so that you to get into a character during rehearsal can translate the understanding you when I have the script in my hand. have discovered to someone who may AFRICANS IN be encountering the language, story or CC: Me too. Being reliant on the page style for the first time. for my lines is kind of like having one eye open. JM: Do you have any dream roles from Shakespeare’s canon? KJW: I go through my entire role in ELIZABETHAN the first folio edition and using folio JVM: Iago has always been a favorite of technique to help me understand the mine, though I will probably never play path of my scenes or monologues it, for obvious reasons. I’ve got to say and where best to breathe and ENGLAND that the role that I’m presently playing is other technical language stuff. Then BY MARTHA WADE STEKETEE a dream role of mine, and I’m honored somewhere in rehearsal I throw that to do it. all out and listen to the other actors. Some of the best Shakespeare actually SL: Desdemona is very close to my happens in the rehearsal process. heart as well. There’s also Queen Isabel in Richard II – and in a fantasy world, AF: I really try to find a way to make IMAGE: Leo, Africanus. A geographical historie of Africa, written in Arabicke and Italian. Richard himself, he fascinates me. His everything in the context of the play Translated by John Pory. London, 1600. Shelfmark STC 15481 copy 1. character and the story behind him are extremely personal to me. That way Race and “otherness” in Elizabethan England are not a matter of numbers but so relevant and needed right now. (hopefully) I can always bring my full self of recognition. In Shakespeare’s day, it is not a question of whether individuals to the table, no matter what the case. of color existed but how they were recognized literally and figuratively. Dr. BM: There are so many...I’d love to play Imtiaz Habib, Associate Professor of Literature at Old Dominion University Henry V (also in his younger incarnation KC: I daydream. Aside from the (Norfolk, Virginia), has examined this question in several works and lays out as Prince Hal in Henry IV, 1 & 2). It’d obvious technical work – research, be nice to get a crack at some of the memorization, text analysis, etc. – I’d many themes, including his powerfully argued conclusion that people of color big ones as I get a bit more experience say that active daydreaming plays the were differently categorized depending upon the social, cultural, religious, under my belt like Hamlet, Iago, Antony... largest and perhaps most crucial role. political and economic interests at play. At best, they were ignored; at worst, I also love some of the secondary roles Focusing attention on the character, persecuted. What follows addresses the definition and migration of persons such as Enobarbus, Banquo. the story, the feelings and longings and of color, business and political interests and literary precursors setting the unique circumstances of the play and its Elizabethan stage for Shakespeare’s Moor, Othello. JM: How do you prepare for this, or any, people – that’s what makes rehearsal a rehearsal process? joy rather than a chore. Defining Moor. The term “moor,” is derived from the country name Mauritania, an Islamic country on the shore of the Atlantic Ocean in northwest Africa. The JVM: I try to make sure that I know what word was used to refer to a range of population groups including North Africans, every word that I say means, or could West Africans and non-whites or Muslims of any origin. The term Moor was fairly mean. I listen for what other characters vague, used interchangeably with a range of terms, including “African,” “Ethiopian,” “Negro” and “Indian.”

12 OTHELLO: THE PLAYERS ON SHAKESPEARE OTHELLO: AFRICANS IN ELIZABETHAN ENGLAND 13 Population Movements. Habib notes that Blacks who appeared in European locales were not willing travelers but were kidnapped from their African coastal villages and brought back to England in the 1500s. These immigrants eventually were absorbed into English society, given new names and took on a range of roles including workers, maids and entertainers. Despite their prevalence and the general Read the book. See the play. Get involved! awareness of their presence, there was no official categorization for race, providing a primary source for the definitional confusion already discussed.

Through the presentation of Othello, special receptions, giveaways and more, Business and Politics Play a Part. Queen Elizabeth I granted Moors diplomatic recognition due to their assistance in conquering Spain in the mid-1500s and Writers’ Theatre and eight North Shore libraries have partnered to enhance trade became institutionalized with the formation of The Barbary Company in 1551 your experience and allow exclusive access to the art. These From Page to facilitate trade with Africa. In 1600, a Moroccan envoy of ambassadors was to Stage events are offered to you FREE OF CHARGE by the participating received by Elizabeth and two characterizations of the Moor arose, influenced libraries in order to further your appreciation and understanding of Othello. by business interests. The merchants who belonged to The Barbary Company Please join us for these exciting events and activities! preferred old, unregulated trade and characterized the new Moorish trading partner as unpredictable and devious. Other merchants without alliance to old business MAY 3, 7:30 P.M. MAY 17, 7:30 P.M. practices saw the Moors as good business men. A decree in 1601 expelled Moors FROM PAGE TO STAGE TWO PROFESSORS VIEW OTHELLO from Africa, citing concerns about behavior and overpopulation. The slave trade was KICK-OFF RECEPTION Wilmette Public Library firmly established later in the 1600s in direct response to this decree. Glencoe Public Library at 1242 Wilmette Avenue Writers’ Theatre, 325 Tudor Court Northwestern University professors Role of Literature. The literature of the Elizabethan era, such as John Leo Join Writers’ Theatre Artistic Director Wendy Wall and Edward Muir offer their Africanus’ A Geographical Historie of Africa, widely read in Europe in the late 1500s Michael Halberstam and actors James unique perspectives on Shakespeare’s and translated into English by John Pory in 1600, could have affected popular Vincent Meredith (Othello) and John Othello. Wall is a professor of English, perceptions of Africa. John Leo Africanus was a Spanish Morisco, one of the groups Judd (Iago) for a look at the process specializing in early modern literature often lumped in as “Moor” and oppressed by other cultures. Africanus describes of creating characters and bringing the and culture and writes extensively on the origin of Africans and Moors, writing that, because of their heritage as sons play to life. topics ranging from Shakespeare to and daughters of Cham, the cursed son of Noah in the Bible, they are condemned Martha Stewart. She will be joined by to slavery and servitude. In his descriptions of African nations, he reveals what he MAY 10, 7:00 P.M. history professor Edward Muir, whose terms the “noble” effort of the King of Portugal to colonize the Congo and bring MURDER & OTHELLO: field is Italian social and cultural history, Christianity to its people. CRIME WRITERS’ REVELATIONS with a focus on the Renaissance. Glenview Public Library Business, politics and literature offer a range of threads to follow to understand the 1930 Glenview Road MAY 24, 7:00 P.M. role of persons of color, Shakespeare’s Moor, in Elizabethan England. Habib presents Well-known Chicago writers Rick Kogan, VERDI’S OTELLO Othello as a character struggling with the competing impulses of subjugation and Maury Possley and Rich Lindberg have Northbrook Public Library assimilation versus resistance. Whether one follows the arguments of Dr. Habib or a fascinating discussion of murder and 1201 Cedar Lane others writing on this subject, people of “difference” were present in Elizabethan serial killers from their own writings and Pioneer Press classic music critic Dorothy England in significant numbers. The question for the play;s original audiences was, relating to Othello. Andries provides an entertaining and “What role should a person like Othello have in society?” The question for us today illuminating look at Verdi’s opera Otello, is the same. To register for this event, please call considered among the best adaptations 847-729-7500 ext. 112. of Shakespeare set to music.

14 OTHELLO: AFRICANS IN ELIZABETHAN ENGLAND OTHELLO: FROM PAGE TO STAGE 15 MAY 31, 7:30 P.M. at Northwestern University, about LOVE V. CHAOS IN OTHELLO Shakespeare’s approach to racism and Glencoe Public Library the depiction of evil as seen through the 320 Park Avenue eyes of the world’s greatest playwright. The action and characters in Othello create a tragedy that stems from a JUNE 21, 7:30 P.M. failure of selfless love in the face of PERSPECTIVES: EXPLORING evil. Herbert Bronstein, Rabbi-Emeritus OTHELLO THROUGH FILM and Senior Scholar at North Shore Winnetka Public Library Congregation Israel and Shakespeare 768 Oak Street scholar, will show how this relates to the Film scholar Toby Nicholson will take circumstances of our own personal lives an in-depth look at the portrayal and in a special preview of his program for interpretation of Othello in film by the Stratford Festival this summer. comparing and contrasting clips from several theatrical releases, including JUNE 7, 7:00 P.M. some of those available as part of the I KISSED THEE ERE I KILLED From Page to Stage movie viewings THEE: CLOSING ARGUMENTS IN and discussions that can be found on THE TRIAL OF OTHELLO www.frompagetostage.org. Deerfield Public Library 920 Waukegan Road JUNE 28, 7:00 P.M. Chicago-area attorneys and Deerfield SETTING THE STAGE FOR MURDER residents Perry M. Laks and Jeffrey Lake Bluff Public Library C. Blumenthal will present closing 123 Scranton Avenue arguments in the trial of Othello. This Join Dr. Richard Pettengill, Assistant mock trial will put a contemporary spin Professor of English and Theater at Lake on a classic crime. Forest College and former dramaturg at Court and Goodman Theaters in JUNE 14, 7:00 P.M. Chicago, as he interviews the designers SHAKESPEARE’S OTHELLO: of Othello to find out what it takes to INTIMATE ENCOUNTERS WITH bring the greatest playwright’s script to RACISM AND EVIL life before your eyes. Highland Park Public Library 494 Laurel Avenue Writers’ Theatre Artistic Director Michael Halberstam will engage in a dialogue with Dr. Richard Pettengill, Assistant Professor of English and Theater at Lake Forest College, and Susan Phillips, Assistant Professor of English

16 OTHELLO: FROM PAGE TO STAGE WHAT’S HAPPENING WHAT’S BACKSTAGE WRITERS’ THEATRE AT EDUCATION DONOR SPOTLIGHT

The MLK Project: The Fight for Civil Rights - The Elizabeth F. Cheney Foundation A Hit with Students and Teachers! Writers’ Theatre has benefited from a long and joyful The first year of our educational touring discussion was led by Saran Dunmore partnership with The Elizabeth F. Cheney Foundation. show, The MLK Project: The Fight for of NBC5 Chicago. For the past eight seasons, The Cheney Foundation has supported the work on our stages, including Loot Civil Rights, culminated in a special Misalliance (2002) premiere performance for a full house Beginning on January 12, 2007, The (2000), Booth (2001), Misalliance (2002), Crime & at the Chicago Cultural Center on MLK Project had 37 performances at Punishment (World Premiere, 2003), My Own Stranger February 28, 2007. The audience was more than 30 different locations in (2004), To the Green Fields Beyond (North American comprised of special guests, including and around Chicago. Performed for Premiere, 2005), The Duchess of Malfi (World the civil rights activists interviewed more than 8,700 school children over Premiere, 2006) and this year’s production of Othello. for the play, donors, trustees, media the course of six weeks, The MLK and students from four Chicago Project received rave reviews from “We are truly grateful to Elisabeth Geraghty and the Trustees of The Elizabeth F. Cheney Foundation for their belief in our work and their support of that work,” Left: Teacher and students Crime & Punishment (2003) of Peterson Elementary said Michael Halberstam, Artistic Director. “Elisabeth enjoying a performance of and her husband Bob regularly attend our Opening The MLK Project. Nights and have become part of the Writers’ Theatre

Right: Sharyon Culberson family. We are so grateful for her advocacy on our performs in the premiere behalf. Without the support of The Cheney Foundation, of The MLK Project at the our celebration of this fabulous 15th Anniversary Chicago Cultural Center. Season would not be possible.”

My Own Stranger (2004) Primarily interested in supporting artistic excellence in performance or presentation, the artistic Public Schools: Milburn Alternative students, teachers and administrators. projects supported by The Cheney Foundation are High School, Lozano Leadership After a performance at Peck intrinsically worthy as well as being essential for a Academy, Perspectives Charter School Elementary School, counselor Lorraine rich civic life. “We look for arts organizations which and Bronzeville Alternative Academy. McClowery wrote, “We thank you from are rigorously engaged with their craft and which The performance was followed by the bottom of our hearts for coming to are supported by a solid management structure. a once-in-a-lifetime opportunity to Peck School. We are so fortunate to We are proud of the organizations which we talk with a panel of those involved have seen The MLK Project.” A student support and proud of their artistic efforts. We are in the process, including playwright at Lawndale Community Academy To the Green Fields Beyond (2005) pleased to support Writers’ Theatre and extend our Yolanda Androzzo, Director Ron OJ said, “This project influenced my life,” congratulations for its 15th Anniversary Season,” Parson and interviewees Reverend and School Administrator Cassandre said Elisabeth Geraghty, Administrative Director of M. Earle Sardon, Reverend Samuel Cancilla of Blaine Elementary wrote, “It The Elizabeth F. Cheney Foundation. (Billy) Kyles, David Hernandez, Jennifer was absolutely incredible! Everyone Weinshenker and Maynard Krasne. The should see this!”

18 EDUCATION DONOR SPOTLIGHT 19

The Duchess of Malfi (2006) EVENTS

15th Anniversary Gala

On March 10, 2007, Writers’ Theatre Writers’ Theatre’s Board of Trustees held our 15th Anniversary Gala with congratulates the Gala Co-Chairs on more than 320 of our closest friends the tremendous success of the 15th and supporters in attendance. The Anniversary Gala and extends their black tie event commemorating 15 gratitude to the Sub-Committee Chairs: memorable years and celebrating Patty Becker, Auction Chair; Lorel our bright future was held at the Four McMillan, Ad Sales Chair; Barbara Seasons Hotel Chicago. The Gala Melcher, Silent Support Chair; and raised more than $300,000 in support Stanford Slovin, Raffle Chair. Every of this landmark season. year, the Gala Host Committee is the driving force behind the event, ensuring Gala Co-Chairs Carl & Mary Boyer the success of the Gala. We would Clockwise from the top: organized the evening, which featured like to recognize the following Host Board President Chris Knight, Trustee Rachel Weinstein, gourmet faire, a Live Auction and Committee members: Philip & Janice Artistic Director Michael Halberstam, Executive Director Kate Lipuma, Gala Co-Chairs Carl & Mary Boyer a rousing performance directed by Beck, Bruce & Patty Becker, Harriet Writers’ Theatre favorite Susan Hart Berlin, Michael & Deborah Cogan, Trustee Judy Cottle & Billy Cottle, Trustee Sara Cohan and performed by the cast of Bach Keith & Betsy Colburn, David & Carolyn Ed Minor, Marilyn Thoma, Board President Chris at Leipzig. Titled Sophisticated Gents, Colburn, Scott & Celia Drane, Eric & Knight & Emily Knight the performance was the highlight of Denise Macey, Phil & Nancy Miller, the evening, beautifully showcasing Brace & Suzanne Pattou, Irene Pritzker, Boots & Joe Nathan the vocal talents of the actors. Gala Merle Reskin, Avy & Marcie Stein and Robert McMillan & Trustee Lorel McMillan attendees were also treated to the Carl & Marilynn Thoma. world premiere of “These Four Walls,” PHOTOGRAPHY BY BOB CARL one of the first complete songs from the Writers’ Theatre commissioned musical of George Bernard Shaw’s Candida, currently in development to be produced during the 2008/09 season. Another highlight of the evening was the Raffle for a 2007 Toyota Prius, which successfully raised nearly $50,000!

20 EVENTS Left: Jane & Jim Esser, Donna Craven & Jim Looman

Below: Trustee Rachel Weinstein, Trustee Gillian Goodman & Ellis Goodman, Corrine Brophy, Cynthia & John Pacholick

Middle Left: John & Carol McKinnon

Middle Right: Linda Krivkovich, Louise Weiss and Carolyn Colburn

Bottom: Hal Lochner, Virginia & Gary Gerst, Rosemary Tourville

It took hundreds of generous people making donations, purchasing raffle tickets and bidding on auction packages to help Writers’ Theatre reach its Gala fundraising goals. The Board of Trustees would like to thank all those who participated in the event.

Top Left: Jan Culbertson, Artistic Director Michael Halberstam, Lloyd Culbertson, Trustee Barbara Melcher

Top Right: Alec Litowitz & Trustee Jennifer Litowitz

Above: Ginny Hilton, Kip Kelley, Elisabeth & Bob Geraghty

Right: Bobbie & Jeff Vender DIRECTOR’S SOCIETY 2007/2008 SEASON

During our 15th Anniversary The Director’s Society: Join now! THE WORLD PREMIERE OF Season members of the Director’s Society enjoyed the Intimacy is the signature of the Writers’ Theatre THE SAVANNAH DISPUTATION AS YOU LIKE IT Written by Evan Smith Written by William Shakespeare following benefits: experience. We place a premium on bringing our Directed by Michael Halberstam Directed by William Brown audiences face to face with Chicago’s finest theatre Invitations to the following events: Featuring Marilyn Bogetich, Linda Featuring Tracy Michelle Arnold • The Annual Garden Party artists and literature’s greatest creators. However, Kimbrough and Suzanne Lang and Carey Cannon • The first public reading of this intimacy comes at a price. The generosity of our The MLK Project: The Fight Director’s Society members help to bridge the gap Two elderly sisters forget all about “All the world’s a stage and all the men for Civil Rights between our limited ticket revenue and the cost of southern charm when a young door- and women merely players...” A courtship • Caviar & Conversation with to-door evangelist comes knocking. with a twist, a duke and his merry men the cast of Bach at Leipzig producing world-class theatre, and in turn, our Director’s • Open Rehearsal: Othello Society members benefit from increased access to the This world premiere comedy by the in exile, a melancholic wit, a clown and a • Breakfast & Banter art and artists of Writers’ Theatre. playwright of our smash-hit production, lovesick shepherd and the shepherdess The Uneasy Chair, beautifully blends who spurns him all swirl together in a A priority ticket order and Smith’s trademark sharpness of wit and wildly beautiful romp through the magical exchange phone line. With an annual gift of $1,000 or more, you will be welcomed into the exclusive Director’s Society. As our heartwarming depth of character, while Forest of Arden. Shakespeare brings to life Advance notice of important news way of thanking these generous supporters, members telling a story in which a crisis of faith some of the most romantic and charming at Writers’ Theatre, including of the Director’s Society enjoy unique opportunities to arises when seemingly similar beliefs are scenes ever to be scribed for the stage in the announcement of our new discovered to be worlds apart. this most perfect of comedies. Executive Director and the share in our creative process. 2007/08 Season. September 18–November 25, 2007 February 5–April 13, 2008 Next season promises to build upon the excitement of Performed at 325 Tudor Court Performed at 325 Tudor Court our 15th Anniversary Season. Your membership in the Director’s Society will allow you to experience Writers’ THE TURN OF THE SCREW THE LION IN WINTER Theatre as you never have before. Adapted by Jeffrey Hatcher from Written by James Goldman the story by Henry James Directed by Rick Snyder Save the Date! Directed by Jessica Thebus Featuring Shannon Cochran Featuring Kymberly Mellen The Annual Director’s Society Garden Party It is Christmas in England, 1183, and the On July 15, 2007, Writers’ Theatre will celebrate our Part ghost story and part psychological aging monarch, Henry II, brings together annual Director’s Society Garden Party. The event will thriller, this classic tale concerns his exiled wife, Queen Eleanor, and feature cocktails, hors d’oeurves and an exclusive sneak an unsuspecting governess hired by his three sons in order to plan for his Roger Weston, Carol Walter, Trustee preview of our upcoming 2007/08 Season! This year, a wealthy recluse to look after his succession. The ensuing power struggle Pam Phillips and John Walters we are thrilled that long-time supporters Avy & Marcie orphaned niece and nephew – two and political alliances collide with Stein will be hosting the party in their beautiful garden seemingly innocent children who soon themes of mortality and a story of fading reveal terrifying secrets. Henry James’ romance. Goldman derives fiction from overlooking Lake Michigan. spine-tingling novel brilliantly adapted for the circumstances of the past, crafting just two actors is ideally suited for the a wholly modern telling of deliciously If you are already a member the Director’s Society, intimacy of the bookstore and guaranteed historic times. Director Rick Snyder brings please watch the mail for your invitation. If not, it isn’t to keep you on the edge of your seat. touches of gritty authenticity to this too late! November 13, 2007–March 30, 2008 classic drama. For more information, or to join the Director’s Society, Performed at 664 Vernon Avenue May 27–August 3, 2008 please contact Development Manager Lindsey Becker at Performed at 325 Tudor Court 847-242-6012. Actor Larry Yando and Trustee SUBSCRIBE TODAY! PLEASE CALL 847-242-6000 TO RENEW YOUR SUBSCRIPTION! Carol Dawley BOARD PRESIDENTS/BOARD OF TRUSTEES Writers’ Theatre has had seven Board Presidents, including Chris Knight (2007), Tom Hodges (2005-06), Carol Dawley (2001-04), Judy Cottle (1998-2000), Tom Sprandel (1996-97), Elaine Fiffer (1995-96) and Betty Lilienfield (1992-95). With an army of Trustees behind them, they have led our mission and realized our commitment to the CELEBRATING Word and the Artist.

PLAYWRIGHTS 15 YEARS From the pen of co-founder Marilyn Campbell to the translations and adaptations of Curt Columbus to the sparkling stylings of George Bernard Shaw, we have enjoyed a remarkable legacy of writers in our 15 years. Special applause for the words of Noel Coward, William Shakespeare, Tennessee Williams, Lillian Hellman, Kristine Thatcher, Evan Smith, Austin Pendleton, Anne Sexton, Anton Chekhov, Thornton Wilder, Nick Whitby, Itamar Moses, John Webster, William Inge, Clifford Odets, Charles Dickens, Chaim Potok, Aaron Posner, Frank Gilroy, Michael Frayn, Simon Gray, August Strindberg, Agustin Moreto, Dakin Matthews, Russell Lees, Arthur Miller, Joe Orton, Tom Stoppard, Fyodor Dostoevsky, Austin Pendleton, Christopher Fry, John Osborne, Dorothy Bryant, Gustave Flaubert, George Sands, Ellen Lewis, Harold Pinter, John Murrell, Jerome Kilty, Elliot Hayes, William Blake, Maxim OF THE Mazumdar and Stephen MacDonald.

GALA CHAIRS The Writers’ Theatre Gala has been a major fundraising initiative over the past 15 years. WORD AND The elegant, festive evenings have been guided by many wonderful individuals (some numerous times), including Carl & Mary Boyer, Christine Pope, Pam Phillips, Emily Knight, Lorel McMillan, Bobbie Schultz, Barbara Melcher, Nancy Miller, Diane Krasnow, Gerry Silverstein, Carol Dawley, Shirley Solomon, Joan Barney, Kay Wessel, Elaine Fiffer, Kathy THE ARTIST Leck and Betty Lilienfield.

So many people, so little space! We have been blessed with JOE & JEANNE SULLIVAN a wide array of funders, artists, staff, patrons and more, the As long-time champions of Writers’ Theatre, Joe and Jeanne have provided significant list can go on and on. In trying to distill them down to a few, spiritual support and consistent financial resources since the early days of Writers’ someone is sure to be left out. We have compiled these lists Theatre. Their belief in Artistic Director Michael Halberstam has fueled their love of Writers’ with our fingers crossed and our hearts on our sleeves. All of Theatre and they have consequently been at the forefront of support at every step of the us at Writers’ Theatre are profoundly grateful for everyone’s way in both his development as an artist and the subsequent forward momentum of the unwavering belief in our work, generosity of spirit, financial company. Joe passed away in September 2006. He will be greatly missed. resources and vision. SHOW TITLE 27 15 PEOPLE WHO MADE A DIFFERENCE GILLIAN & ELLIS GOODMAN WOMAN’S LIBRARY CLUB OF GLENCOE/ Gillian Goodman joined the Board of Trustees after she and Ellis fell in love with the VILLAGE TRUSTEES jewel-box bookstore theatre while attending Private Lives. They played a significant part In 2003, Writers’ Theatre opened its state-of-the-art space in the Woman’s Library Club of in securing Writers’ Theatre’s first Managing Director, moving Writers’ Theatre into the Glencoe. This new theatre allowed us to meet the growing demand for tickets and reach Women’s Library Club and recruiting our first corporate sponsor, LaSalle Bank. new audiences. This was only possible because of the commitment of the members of the Woman’s Library Club of Glencoe and the Glencoe Village Trustees.

CRITICS VIRGINIA GERST & RICHARD CHRISTIANSEN EXECUTIVE DIRECTORS LEADING Theatrical criticism has always enjoyed an uneasy alliance with practitioners. To REMARKABLE STAFFS acknowledge critics currently writing would seem to border on pandering and flattery. We can safely say that Writers’ Theatre has been very lucky in the quality of employees However, two critics, currently in retirement, stand up and demand to be mentioned. who have labored with their love of the arts at the forefront of their hearts. In our early From the minute Virginia Gerst first stepped into our bookstore theatre she became days, we benefited greatly from the support of Ann Filmer, Judi Jeroslow and John Adams. a vociferous literary advocate for Writers’ Theatre. At a point in time when we lacked We took an enormous leap with Jennifer Bielstein and are now delighted to move forward press sophistication, she was there championing our work and drawing features out with Kate Lipuma joining Michael at the helm, to lead Writers’ Theatre to a new level of of us, coaxing us along the path to success. Within a few short years, she was joined creative possibilities. We would certainly be nowhere however without the staff support by Chicago Tribune former Chief Critic Richard Christiansen who consistently, fairly and of former employees like Joe Turske, Jennifer Amling, Chris Toft, Mark Becker, Jeff Brown, appropriately provided a vital link of communication between our production and his Dennis Hull and our current team. The art on stage wouldn’t be possible without them. considerable readership.

RICK PAUL BOOK STORE WOMEN Designing sets for 30 productions at Writers’ Theatre, Rick single handedly created and It would have never happened without Pat Rahmann, Diane Schwartz and Linda Wine defined the Writers’ Theatre design aesthetic. A pioneer of the Chicago arts scene and who started the literary dreams at 664 Vernon Avenue in 1992. And lest we forget their an artist of remarkable depth and vision, Rick never ceased in his quest to redefine the husbands, (the late) John Rahmann, Gerry Wine and Dick Schwartz, who also provided bookstore theatre. admirable support!

DESIGNING MEN AND WOMEN STARS AT WRITERS’ THEATRE Rachel Anne Healey has been costuming regularly at Writers’ Theatre since 2002. She In order of appearance: Karen Janes Woditsch, Michael Barto, Nicolas Pennell, David New, was preceded by Jen Keller, who created miracles on a shoestring and is joined by Nan Penelope Milford, David Cromer, Scott Parkinson, Aaron Alpern, Kate Buckley, Robert Scogin, Zabriske, who has clothed four of our more recent productions in her rich imagination. Gary Houston, J. R. Sullivan, Kristine Thatcher, Donald Brearley, Michael Garcia, Jenny Scenic Designers Brian Sidney Bembridge, Geoff Curley, Jack Magaw and Keith Pitts have Friedmann, Shannon Cochran, Ann Filmer, Susan Hart, P. J. Powers, Rebecca Covey, Annabel fitted varying worlds into our intimate venues, as has Linda Buchanan, who also gave Armour, Tom Kelly, Jenn Dede, Sean Fortunato, Steve Hinger, Mark Richard, Kevin Fox, Linda us her beautiful designs for our theatre at Tudor Court. Andre Pluess, Ben Sussman, Kimbrough, Larry Yando, Gary Griffin, Matt Brumlow, Linsey Page Morton, Austin Pendleton, Josh Schmidt and Andy Hansen have all created a remarkable array of soundscapes Kymberly Mellen, Deanna Dunnegan, Michael Canvan, Jonathan Weir, David Castellanos, John and musical compositions that have gently and subtly lifted our plays into your hearts. Judd, Jeff Still, LeeRoy Rogers, Howard Witt, Joel Hatch, Guy Adkins, Susan Bennett, Hollis Our design worlds would not have been complete without Rita Pietrazek who elegantly Resnick, Ora Jones, Steve Haggard, Mary Beth Fisher, Natasha Lowe, Kevin Gudahl, Janet illuminated some of the world’s greatest plays upon our stages. Ulrich Brooks, Chris McLinden, Karen Aldridge, LaShawn Banks, Matt Kozlowski, Craig Spidle, Penny Slusher, Shade Murray, Timothy Edward Kane, Greg Vinkler, Ross Lehman, Rick Snyder, Suzanne Lang, James Vincent Meredith, John Reeger, Jimmy McDermott and Larry Neumann, Jr. WILLIAM BROWN Bill came to Writers’ in 1997 performing in Private Lives and directing The Glass Menagerie. His remarkable gift for storytelling and lifting complex and difficult theatre into easily accessible forms without compromising the structure of the text has significantly contributed to the artistic landscape of Writers’ Theatre. His seminal directorial visions IN BRIEF have included Incident at Vichy, Misalliance, Our Town and Another Part of the Forest. His significant acting creations have included Candida, Nixon’s Nixon and Bus Stop. We are breathless with anticipation for his As You Like It next season.

Community Partners DAVID & MARY GREEN Please join the artists, staff and Board of Trustees of Writers’ Theatre in thanking our current community partners for their continued support by visiting their David and Mary have been remarkable philanthropists for causes ranging from politics establishments and telling them we sent you. Let them know that their support to fine arts. At Writers’ Theatre, they not only provided a significant gift towards the means as much to you as it does to everyone at the Theatre. establishment of our theatre at Tudor Court, but they also gave us the resources to launch our Literary Development Initiative. Last season, they provided Writers’ Theatre with an inspiring Challenge Grant, which generated more than $232,000 in new and increased gifts. David’s recent passing was a loss to us all.

Production Sponsor Restaurant Partner Wine Tasting Series Partner 601 Skokie Boulevard 1919 Skokie Valley Rd. YOU & I (THE AUDIENCE & MICHAEL HALBERSTAM) Northbrook, IL 60062 Highland Park, IL 60035 847-205-4433 847-433-9463 When asked if he is proud of what he has created, Artistic Director Michael Halberstam samswine.com often replies, “pride cometh before a fall,” or “not proud so much as grateful.” False humility? Not at all. Often times, one finds oneself standing still with congratulations for past accomplishments as the future slips gains distance. As Ulysses says in Special Thanks Shakespeare’s Troilius and Cressida: Writers’ Theatre would like to express our heartfelt gratitude to the Time hath, my lord, a wallet at his back, organizations that made our 15th Anniversary Gala a resounding success. Wherein he puts alms for oblivion, A great-sized monster of ingratitudes: Alinea Restaurant Those scraps are good deeds past, which are devoured Autohaus on Edens/Northbrook Toyota As fast as they are made, forgot as soon Calihan Catering As done. Carlos’ Restuarant

However, at this time, as we close our 15th Anniversary Season, we would like to take Di Pescara Restaurant a moment to recognize Michael for his accomplishments and congratulate him on the Four Seasons Resort, Nevis formation and continued success of an amazing theatrical institution. For that, all of us Froggy’s Catering are grateful. Green Zebra Restaurant Limelight: Food Illuminated In turn, when asked for what he is most grateful, Michael responded, “I’m grateful to all of Olsky Jewelers the dramatic artists, the committed staff, Trustees and the collection of philanthropists, all of whom have opened their hearts as freely as they make their resources available to us. Red Hen Restaurant Most of all, however, I’m truly, madly grateful to our audience for their undying support and SeaDream Yacht Club faith in our mission over the past 15 years. It’s been a fine odyssey of creative adventuring Sony Pictures and I can’t wait to see what the next 15 years will bring.” 30 IN BRIEF IN BRIEF 31 BOARD OF TRUSTEES THE BRIEF CHRONICLE TEAM

IN MEMORIAM Christopher Knight Kory P. Kelly President Director of Marketing & Communications Carl Boyer Editor, The Brief Chronicle Vice-President Michael Halberstam Gillian Goodman Artistic Director We are such stuff Vice-President As dreams are made on, Bruce Tranen Kathryn M. Lipuma and our little life Vice-President Executive Director Is rounded in a sleep. – SHAKESPEARE Norman Cutler Lindsey Becker Treasurer Development Manager Do not stand at my grave and cry, Barbara Melcher I am not there; I did not die. Sherre Jennings Cullen Secretary – DO NOT STAND AT MY GRAVE AND WEEP, Director of Development MARY ELIZABETH FRYE Tom Hodges Immediate Past President Jon Faris Management Associate In a very real sense, I believe David would Betty Lilienfield David Green bridle at being overly praised, as he was a Founding President Jason Held David Green was a force of nature. He was humble man. But I am confident he would a highly successful and deeply respected be happy with this expression of gratitude Development Manager businessman. David was a fine father and for his faith and support. In fact, one of his husband to his true love Mary Winton. David greatest delights was seeing the look of TRUSTEES Jimmy McDermott Green was a proud American. He advised astonishment on the faces of those who Artistic Assistant and supported a considerable collection were lucky enough to receive his generous Arthur Anderson, Jr. support, myself included. I am personally of politicians, and in later years, he was Susan Belgrad Sara M. Poorman humbled by David’s belief in me and the particularly inspired to support the cause Lorry Borowitz Marketing Associate of women in politics. This is no doubt mission I pursue at Writers’ Theatre. The a testament to his partnership with his more I got to know him, the more I realized Sara Cohan remarkable wife. that his support came with a faith and Howard Conant, Jr. LaRonika Thomas loyalty that demanded respect and provided Judy Cottle Director of Education an ever renewing source of inspiration. His He was loyal and passionate about the Carol Dawley institutions that helped to shape him, presence in my life has changed it forever. Nichole Webster Michael Halberstam including his alma mater the University of Director of Audience Services Chicago where he endowed a professorship. David lives on! He lives palpably, tangibly Larry B. Kugler He believed in the power of the arts and he and viscerally in the hearts and artistry of Kathryn M. Lipuma our Writers’ Theatre family. He will continue LOWERCASE INC provided vital foundational support for the Jennifer Litowitz institutions that gave him much happiness through the literary voice of our playwrights Design over the years. He and Mary endowed a and when you next come to a play, he will Tom Mann Chair at the Chicago Symphony Orchestra, live a little inside you. David McGranahan a curatorship at the Art Institute of Chicago Lorel McMillan I need no gravestone, but Special Contributors and a capital gift to the Stratford Festival of Jean Nerenberg Canada. They have also played a vital role in If you need one for me Martha Wade Steketee the forward momentum of Writers’ Theatre, I would like it to bear these words: Pam Phillips having been instrumental in seeing us into He made suggestions. We Christine Pope our Tudor Court theatre in 2003 and then Carried them out. Stanford R. Slovin Such an inscription would providing the resources for us to bring life to William E. Taylor our Literary Development Initiative. Honour us all. – BERTOLT BRECHT Rachel Weinstein – Michael Halberstam Pam Zdunek 32 IN MEMORIAM WRITERS’ THEATRE 15 YEARS

Glencoe Performance Venues 325 Tudor Court 664 Vernon Avenue

Box Office & Administration 376 Park Avenue Glencoe, IL 60022

Box Office 847-242-6000 Office 847-242-6001 Fax 847-242-6011 www.writerstheatre.org

Production Sponsor Restaurant Partner Wine Series Partner

The 2006/07 Season is supported, in part, by the Illinois Arts Council, a state agency.