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JIHIHHP The School of Fine and Performing Arts Department of Theatre presents Purdue-Indiana Theatre's 30th Anniversary Season 1995-96 Mainstage Productions (Williams Theatre) "One Singular Sensation!" Equus by Tennessee Williams by Peter Shaffer The classic This beautifully realized autobiographical of sensitive American play. A tender perceptions Is one of and haunting portrait of the most exciting and the Wingfield family visually arresting living In St. Louis during contemporary plays. A psychological the 1930s. A story with a magnificent mystery concerning a boy who has blinded breadth of spirit, told In a quiet voice, about six horses and a psychiatrist who must the great reach of small lives. Williams untangle the puzzle and alleviate the boy's called this a "memory play," and it Is a pain. A compelling and deeply moving memory of his mother and sister and his evening In the theatre that confronts the early years with them. This production will drives that lead human beings to crucify feature a guest artist In the role of Amanda, themselves. This production will contain Purdue-Indiana Theatre will offer special full nudity. school matinees of this production. For Feb. 23, 24, March 1, 2 at 8 p.m. Information call the Department of Theatre at 219-481-6551. A Chorus Line Oct. 6, 7,13,14 at 8 p.m.; school matinees, by James Kirkwood, Oct, 11,12 at 2:30 p.m. , , and Edward A Flea in Her Kleban Ear A brilliant, shimmering finale by Georges to our 30th anniversary Feydeau season! A Chorus Line is A very sexy, perhaps the greatest of comic valentine. contemporary American This play Is the musicals. It is certainly a celebration of the original bedroom farce featuring unfaithful American musical and the unsung heroes husbands, illicit liaisons, mistaken Identity, of the musical show—the chorus dancers, and a mad Spaniard running wild with a those valiant, overdedicated, underpaid, pistol. One of the most astounding and highly trained performers who back up the hilarious farces ever written. A delightful star. A Chorus Line is about competition evening of fun and mayhem that gallops and about anyone who has, at one time or madly about the stage and leaves the another, put their life on the line. We all audience breathless with surprise and compete for attention, promotion, approval, laughter. and love. This will be the first locally Nov. 17, 18, 24, 25 at 8 p.m. produced production of this show. April 12, 13, 19, 20, 26, 27 at 8 p.m.

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Arena Dinner Tlieatre 1995- 1996 Season

Chicago No Sex Please, We're British Sept. 8, 9, 15, 16, 22, 23, 29, 30 March 22, 23, 29, 30, April 12, 13

Arsenic and Old Lace Night Watch Oct. 20, 21, 27, 28, Nov. 3,4 May 3,4, 10,11,17, 18

Everybody Loves Opal Once Upon a Mattress Dec. 1, 2, 8, 9, 15, 16 June 14, 15, 21, 22, 28, 29, July 5, 6

Black Comedy Feb. 9, 10, 16, 17, 23, 24

For Reservations Call 219-493-1384 Arena Tlieatre, 719 Rockhill, Fort Wayne, IN 46802 Sctiool of Fine and Performing Arts Department of Thieatre presents a Purdue/Indiana Thieatre Mainstage Production (Williams Theatre) of ^ke ena0eue

by Tennessee Williams directed by Larry L. Life

Scenic Designer ,...» ,„,,„..Robert M. Koharchik Costume Designer , ,,„,.,Craig A. Humphrey Lighting Designer , .,,„,„..,Ryan M. Koharchik Stage Manager ,,„ ,„,,„,,,Klrby Voltz

October 1995

Warning The photographing or sound recording of any performance or the possession of any device for such photographing or sound recording inside this theatre, without the written permission of the management, is prohibited by law. Violators may be punished by ejection, and violations may render the offender liable for money damages. in the Spotlight Featuring

Lead Actress Ranae Butler Ranae Butler teaches theatre at Canterbury School and is an associate faculty member in the IPFW Department of Theatre. She received her M.F,A. in acting from Brandels University. She earned her B.A. In theatre from IPFW, where she will be remembered for her outstanding performances as Juliet in Romeo and Juliet (1981), and Mary In The Children's Hour (1978), among many others. She has appeared as Maggie in and Puck in A Midsummer Night's Dream for the Fort Wayne Civic Theatre. During the summer of '94, Butler appeared as Flo in PIT'S American Classics Summer Theatre Series production of Picnic and this past summer, she directed The Rainmai^er. Scenic Designer Robert l\/l. Koharciiik Robert M. Koharchik has spent the past year designing for Indianapolis Civic Theatre as well as the Red Barn Playhouse in Saugutuck, Mich. His design credits include Show Boat, The Giass Menagerie, The Pajama Game, The AH Nite Strut, Rumors, Pump Boys and Dinettes, Steei Magnoiias, Nunsense, A Funny Thing Happened on the Way to the Forum, i'm Not Rappaport, A Midsummer Night's Dream, Cabaret, and The Cmcibie. Some of Koharchik's designs have been exhibited at New York's Lincoln Center. This past summer he designed the sets for Damn Yankees and The Rainmaker for the American Classics Summer Theatre Series. Lighting Designer Ryan M. Koharchik Ryan M. Koharchik, after receiving his Master of Fine Arts in lighting design from Boston University, returned to the Midwest in spring 1993 as a guest faculty artist for Ball State University's 1993 summer season. Since that time, he has worked as a lighting designer in Chicago, Indianapolis, Columbus (Ohio), and Michigan. Some of his credits include designing Tom Leopold's world premiere of Henry and the 2nd Gunman at the Griffin Theatre in Chicago, the New World Theatre's production of Death and the Maiden, the Red Barn Playhouse's 1994 summer season, and The Giass Menagerie at the Indianapolis Civic Theatre. Koharchik has also worked at the Goodman Theatre and Dance Kaleidoscope. Last season he designed lights for the Mainstage production of Romeo and Juliet and this past summer, Damn Yankees and The Rainmaker, for the American Classics Summer Theatre Series. Director's Notes "TENNESSEE AND ME"

I think that many directors have their favorite playwrights. I also believe that when you have a favorite playwright, over the years you begin to consider him a close and personal friend. Tennessee Williams, as many people who know me are aware, is that playwright for me. I never met the man but I feel I have known him all of my adult life. That there are so many parallels in both of our lives, while mere coincidences, strike me as nevertheless uncanny. Several years ago on a trip to , I asked a cab driver to take me to Tennessee Williams' home. He didn't know the address. Fortunately I did, but he couldn't understand why I wanted to go to an uninhabited house far off the beaten track and have him photograph me in front of the house. Similarly, many dismayed friends in and New York continue to wonder why I want to be photographed in front of hotels and apartment buildings that were the haunts of Tennessee and his friends. I suppose it is my way of living somewhat vicariously and attempting to be a part of the life of a man I consider to be America's greatest playwright and my friend. Doing a Tennessee Williams play is a great honor and an enormous responsibility. In the 1950s, when the eminent theologian Paul Tillich was asked to define Existentialism, he replied, "Read the plays of Tennessee Williams." Williams believed that, as Tlie Glass Menagerie so beautifully reveals, human beings pity and love each other more deeply than they permit themselves to know. As he himself said, "Fear and evasion are the two little beasts that chase each other's tails in the revolving wire-cage of our nervous world." Williams teaches us through his plays that we have too successfully disguised from ourselves the intensity of our own feelings and the sensibility of our own hearts. A play by Williams always carries with it the social conscience of its writer. Williams felt, and exhibited in his work, that contemporary American society seemed to be no longer inclined to hold itself open to very explicit criticism from within ("...Their eyes had failed them, or they had failed their eyes, and so they were having their fingers pressed forcibly down on the fiery braille alphabet of a dissolving economy." Act I, Scene 1). He felt that society went to the harshest extreme of completely suppressing any dissident voices. This suppression, he believed, led to the fearful isolation of the individual being. In short, extreme spiritual dislocation. All of Williams' plays speak, indeed scream, of these issues. It is difficult and painful terrain for the theatre artist to venture into, and certainly not to be passed off or taken lightly when attempting one of Tennessee's plays. So, all of this and more, is why I love the man and the artist. He had an obsessive interest in human affairs, plus compassion and moral conviction. He firmly believed that purity of heart is the one success worth having. "In the time of your life—live! That time is short and it doesn't return again. It is slipping away while I write this and while you read it, and the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition." Thank you Tenn. Facts about me by Tennessee Williams

I was bom in the Episcopal rectory writer was going to be something of Columbus, Miss., an old town on the similar to the defense of a stockade Tombigbee River which was so against a band of savages. dignified and reserved that there was a When I was about 12, my father, a saying, only slightly exaggerated, that traveling salesman, was appointed to you had to live there a whole year an office position in St. Louis and so before a neighbor would smile at you we left the rectory and moved north. It on the street. As my grandfather, with was a tragic move. Neither my sister whom we lived, was the Episcopal nor I could adjust ourselves to life in a clergyman, we were accepted without midwestem city. The school children probation. My father, a man with the made fun of our Southern speech and formidable name of Comelius Coffm manners. I remember gangs of kids Williams, was a man of ancestry that following me home yelling "sissy!," came on one side, the Williams, from and home was not a very pleasant pioneer Tennessee stock and on the refuge. It was a perpetually dim little other from early settlers of Nantucket apartment in a wilderness of identical Island in New England. My mother brick and concrete structures with no was descended from Quakers. Roughly grass and no trees nearer than the park. there was a combination of Puritan and In the South we had never been Cavalier stains in my blood which may conscious of the fact that we were be accountable for the conflicting economically less fortunate than impulses I often represent in the people others. We lived as well as anyone I write about. I was christened Thomas else. But in St. Louis we suddenly Lanier Williams. It is a nice enough discovered there were two kinds of name, perhaps a little too nice. It people, the rich and the poor, and that sounds like it might belong to the sort we belonged more to the latter. If we of writer who turns out sonnet walked far enough west we came into a sequences to spring. As a matter of region of fine residences set in fact, my first literary award was $25 beautiful lawns. But where we lived, from a Woman's Club for doing to which we must always return, were exactly that, three sonnets dedicated to ugly rows of apartment buildings the spring. I hasten to add that I was still color of dried blood and mustard. If I pretty young. Under that name I had been bom to this situation I might published a good deal of lyric poetry not have resented it deeply. But it was which was a bad imitation of Edna forced upon my consciousness at the Millay. When I grew up I realized this most sensitive age of childhood. It poetry wasn't much good and I felt the produced a shock and a rebellion that name had been compromised so I has grown into an inherent part of my changed it to Tennessee Williams, the work. It was the beginning of the justification being mainly that the social-consciousness which I think has Willamses had fought the Indians for marked most of my writing. I am glad Tennessee and I had already that I received this bitter education for I discovered that the life of a young don't think any writer has much purpose back of him unless he feels correct chronology for the last ten bitterly the inequities of the society he years of my life are a dizzy lives in. I have no acquaintance with kaleidoscope. I don't quite believe all political and social dialectics. If you that has happened to me, it seems it ask what my politics are, I am a must have happened to five or ten other Humanitarian. people. That is the social background of my My first real recognition came in life! 1940 when I received a Rockefeller I entered college during the great fellowship and wrote "Battle of American depression and after a couple Angels" which was produced by the of years I couldn't afford to continue at the end of that year but had to drop out and take a clerical with Miriam Hopkins in the leading job in the shoe company that employed role. It closed in Boston during the try- my father. The two years I spent in the out run but I have rewritten it a couple corporation were indescribable torment of times since then and still have faith to me as an individual but of immense in it. My health was so impaired that I value to me as a writer for they gave landed in 4F after a medical me first hand knowledge of what it examination of about five minutes' means to be a small wage earner in a duration. My jobs in this period hopelessly routine job. I had been included mnning an all-night elevator writing since childhood and I in a big apartment-hotel, waiting on continued writing while I was tables and reciting verse in the Village, employed by the shoe company. When working as a teletype operator for the I came home from work I would tank U.S. Engineers in Jacksonville, Fla., up on black coffee so I could remain waiter and cashier for a small awake most of the night, writing short restaurant in New Orleans, ushering at stories which I could not sell. the Strand TheaU-e on Broadway. All Gradually my health broke down. One the while I kept on writing, because I day coming home from work, I found no other means of expressing collapsed and was removed to the things that seemed to demand hospital. The doctor said I couldn't go expression. There was never a moment when I did not find life to be back to the shoe company. Soon as that immeasurably exciting to experience was settled I recovered and went back and to witness, however difficult it was South to live with my grandparents in to sustain. Memphis where they had moved since my grandfather's retirement from the From a $17 a week job as a movie Ministry. Then I began to have a little usher I was suddenly shipped off to success with my writing. I became self- Hollywood where MGM paid me $250 sufficient. I put myself through two a week. I saved enough money out of more years of college and got a B.A. my six months there to keep me while I degree at the in wrote "The Glass Menagerie." I don't 1938. Before then and for a couple of think the story from that point on, years afterwards I did a good deal of requires any detailed consideration. traveling around and I held a great number of part time jobs of great diversity. It is hard to put the story in © Copyright 1952 by Tennessee Williams Cast

The Narrator Earl W. Campbell The Mother Ranae B. Butler Her Son Joel T Moorman Her Daughter Sarah A. Forbing The Gentleman Caller Scott S. Frey

Scene: An alley in St. Louis

Part I: Preparation for a gentleman caller. Part II: The gentleman calls.

Time: 1945 and 1933

There will be one 15-minute intermission Production Staff Director Larry L. Life Assistant Director Sheila McCrea Scenic Designer Robert M. Koharchik Costume Designer Craig A. Humphrey Lighting Designer Ryan M. Koharchik Technical Director Timothy A. Byers Stage Manager Kirby Voltz Sound Designer/Sound Board Operator David W. Schoeff Light Board Operator Walter Kyles, Jr. Property Master Heath R. Hays Costume Shop Supervisor Sandra McNeil Costume Construction Belinda Buckler, Tommy D'Annunzio, Vicki J. Myers Wardrobe Crew Sara Brockhoff, Gavino Olvera, Elizabeth Wager Props Clarissa DuBois Poster Design Mary E. Dwyer Resident Box Office Manager Gregory C. Stieber Box Office Staff Maria Kladis, Simone Runyan Resident House Manager Bill Kercheval Photographer Bill Kercheval Lobby Pianist Jason W. Arbogast Department of Theatre Secretary ..Marlene S. Breit Lobby Flowers Lanternier-Vesey

Acl(nowledgments Bill Carlton of Ttie News-Sentinet, Harriet Howard Heithaus of The Journal-Gazette; Fort Wayne Civic Theatre; IPFW Learning Resource Center; Gail Ehinger for graciously allowing us to borrow the glass animals for Laura's menagerie. €n€ on the Aisle

Newsworthy Notes from Purdue-Indiana Theatre The Glass Menagerie Student l\/latinees Tickets are selling fast for the special student matinees of The Glass Menagerie. There are three matinees: Oct. 11 at 10:30 a.m. and 2:30 p.m.; and, Oct. 12 at 2:30 p.m. Tickets are $3, with teachers admitted free and seating is on a first- come, first-served basis. Schools bringing groups will be seated together as space permits. Study guides are available at no cost for schools requesting them. Please stop at the box office for Information on student matinees or call the Department of Theatre at 219-481 -6551.

Halloween Costume Sale Purdue-Indiana Theatre will once again have its semi annual Halloween costume sale. The sale will be on Wednesday, Oct. 18 from 10 a.m. until 6 p.m. in the Williams Theatre Lobby. Featured will be many items from our costume storage. Come design your own Halloween costume from our stock or look for that unique item of clothing that's missing from your wardrobe.

New theatre majors and returning majors The Department of Theatre is proud to announce our new majors in the program and our returning majors. New majors are: Sara Brockhoff, John Cantey Jessica Cook, Thomas D'Annunzio, Clarissa DuBois, Traci Douglass, Malissa Excalante, Aliki Filippou, Carmen Green, Angela Hicks, Greg Jackson, Erin Kuhnle, Walter Kyles, Sarah Lankenau, Nicholas Michell, Gavino Olvera, Simone Runyan, Mark Smith, Elizabeth Wagar, and Sue Winners. Returning majors are: Amy Ball, Andrew Bork, Ted Brown, Belinda Buckler, Shannon Clark, Robert Clinton, Noelle Davis, Sarah Forbing, Scott Frey, Heath Hays, Jennifer Horner, Amy Koenemann, Val Landrum, Nellie Lohrig, Maria Moore, Joel Moorman, Anna Mossburg, Vicki Myers, Rod O'Connor, Jennifer Parkerson, Christine Penick, Gary Reed, William Rudolph, Jonathan Sandmaier, Sarah Snyder, Gregory Stieber, Heidi Warfel, Mary Ann Woof, and Thomas Wolf.

Scholarships for the 1995-96 Academic Year The following are department majors who received Theatre Scholarship Awards for this academic year: O. Franklin Kenworthy Scholarship - Heidi B. Warfel; returning students - Belinda R. Buckler, Sara J. Snyder, Noelle E. Davis, Sarah F. Forbing; new students - Sarah Brockhoff, Tommy D'Annunzio, Sarah Lankenau.

A Flea in Her Ear, next Mainstage performance in Williams Theatre Vincent Canby of wrote that farce is: "The Breathe of fresh air that re-connects us to humanity and restores our sanity." IPFW Mainstage Theatre, Williams Theatre presents A Flea in Her Ear— indisputably one of the greatest farces of all time. In an opulent surrounding of gorgeous costumes and scenery, an incomparable cast and crew cooks up to perfection a sexy play without sex, a wildly madcap evening producing not profound philosophy but robust and side-splitting laughter. Nov. 17, 18, 24, and 25 at 8 p.m. Box office hours 1:30-5:30 p.m. EAT LODGING VALUE FOR NESS OR LEISURE In Room Mr. Coffee Makers illuu Showtime, ESPN, CNN, Pay-Per-View Movies

Free Room-Delivered Continental Breakfast

Free Local Calls

Road Runner Club for Frequent Grand Wayne Center Travelers Lincoln Museum Nonsmoking Rooms Available Public Library and Genealogy Extra Long Beds Many Excellent Restaurants Memorial Coliseum Nearby

Ft. Wayne's Children's Zoo Just 5 Minutes from the Largest Shopping Mall in Indiana

All of the guest artists for Mainstage Theatre stay at Budgetel. Budgetel Inns. 1005 W. Washington Ctr. Rd. Ft. Wayne, Ind. 46825 219-489-2220 Toil-Free Reservations 1-800-4-BUDGET

Present this ad at check-in for a special discount rate. and the generosity of thousands on and off stage... this is Broadway Cares/Equity Fights AIDS today:

The mission of BC/EFA t$ to fnobfllze the unique abilities within the entertainment industry to mitigate the suffering of individuals affected by HIV/AIDS, To achieve this, BC/EFA will

* ensure direct support to indtviduais In the entertainment Industry affected by HIV/AIDS; BROADWAY * provide assistance to organizations nationwide that directly serve all others EQUITY affected by HIV/AIDS; FIGHTS *. promote international awareness about H(V/A1DS;

* provide assistance to support advocacy that affects public policy, education for preventfon^ and research for a cure of HfV/AIDS; and

* generate the funds to fulfilt the mission and achieve these goals.

You can help by generously responding to the audience appeals and fundraising sales taking place at this performance.

For more Information on how you can make a further contribution to help people with AIDS, write: Broadway Cares/Equity Fights AIDS 165 W. 46th St., #1300, New York, NY 10036

Rodger McFariane/executive director • Tom Viola/managing director PURDUE-INDIANA THEATRE Purdue-Indiana Theatre gratefully acknowledges the special contributions of the following individuals whose continued support ensures our ability to provide quality theatrical experiences. They make it possible ifor us to encourage the cultivation of awareness, imagination, wisdom, and delight. Purdue-Indiana Theatre acknowledges the continued generosity and support of Indiana-Purdue '^'RlGtt'^^ Student Government Association.

1995-96 Benefactors

GTE Data Services Incorporated Ms. Mary K. Perkins David and Janice Fairchild Nancy M. and Phillip R. Grote J.J. Contracting, Inc. Professor Shirley R. Rickert James and Dorothy Wrixon Ms. Susan D. Skekloff Joan Kelham Professor Ronald D. Emery Ms. Rachel Cook SRS Publications, Inc. Mr. James J. Solon Barbara Gibbens Mrs. Pauline J. Hunsberger Mark Masterson Ms. Carolyn C. Kachmann Doreen Crunk Ms. Kathleen K. Artherhults Larence J. Gemmill Thomas A. and Lois E. Eubank Beverly Stewart Ms. Erica E. Tobolski Blix Frederick Frank L. Borelli Robert and Louise Pruse Ms. Hildreth E. Williams Norma Korte Interim Dean David A. McCants Ms. Jan Ruling Ms. Margaret A. Howard Jan Baker Mr. John Bell Lewis and Amanda Delagrange Ms. Julia Vandenberg Beth Mix Ms. Rikki Goldstein Ross N. Moyer Ms. Laura L. Stieglitz Ms. Constance L. Shanks Theatre Department Donations

Please make a tax-deductible contribution for the Department of Theatre. Your contribution works this year and will continue to work, helping us to upgrade our academic program, enhance our productions, and attract talented theatre students.

Please make check payable to: Indiana-Purdue Foundation at Fort Wayne—note theatre fundon your memo line.

Purdue-Indiana Theatre School of Fine and Performing Arts Indiana University-Purdue University Fort Wayne 2101 Coliseum Boulevard East Fort Wayne, Indiana 46805-1499

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City State Zip Fine Arts Exhibits Exhibits can be viewed in the foyer of the Fine Arts Building Mondays-Saturdays, 9 a.m.-6 p.m.; Sundays, noon-6 p m Free admission. Call 219-481-6705.

Oct. 9«Nov. 11,1995 Photography by Dixie Bradley

Nov. 19'~Dec. 31,1995 Drawir^gs and Ceramics Suzanne Gaiazka and Richard Tuck

Music Concerts Call 219-481-6713 for tickets or information. All concerts in Neff Recital Hall.

IPFW Trio Masson L. Robertson, piano Carole Tafoya Evans, violin Mark Evans, cello OcM5, 7:30 p.m.

IPFW Community Orchestra David B. Cooke, conductor Oct. 29, 7:30 p.m.

TrI-State Honor Band George A. Cavanagh, conductor Nov. 4,7:30 p.m.

Faculty Artist Series James D. Ator saxophone recital Nov; 5, 2:30 p.m. Celebrating Creativity and the Arts...

To The N^i^ Degree

Fort Wayne 478-6904

© 1994 Norwest Bank Indiana. NA Meml)erFDIC

BEE Window Challenges Williams Theatre STRIVE FOR EXCELLENCE! FAERBER'S i« Custom l\/lanufactured ; For You! DOW., • Replacement Windows • Entry Doors • Custom Sunrooms • Vinyl Siding

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Peier Rabbit and Me Fort Wayne Youtheatre Oct. 14, 15, 1995

Arsenic and Old Lace Arena Dinner Theatre Oct. 20, 21, 27, 28, Nov. 3, 4, 1995

Become a member of the IPFW alumni team! Join your alumni association, and you'll receive a lot in return. These are just a few examples:

• Invitations to university and association events, such as the annual alumni golf outing; • Special privileges at the IPFW Helmke Library; • Aid from Career Services for investigating and obtaining new career opportunities; • A chance to network with other alumni for career advancement and social purposes; • Tickets for athletic events at a discounted rate, $1, available at the alumni office.

If you're an alumnus/alumna or student, stop by the alumni office in Kettler Hall 112 or call us at (219) 481-6807. Ask for information about the IPFW alumni team that's making a difference at IPFW. * fJUICKACKER H^heni theoccasbn caOsfor somMng special, calL CUSTOM BAKERY FORMALWEAR Men's Formalwear Specialists Wedding Cakes 3518 S.Broadway Candies Fort Wayne, Cookies Indiana 46807 Phone 744-5100 Catering Party Foods Locally Owned... And Many Other Items! In-Stock Service... Rental & Sales Delivery Available 1314 Garfield 219-422-4550

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Dr. Mona Dewart Family Optometry 5915 Stoney Creek Drive Ft. Wayne, IN 46825 219-484-2631 A salute to Purdue-Indiana Tlieatre.

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Welcome [o Fort Wayne « Here's Fort Wayne Past & Present Fort Wayne Area Dinmg, entertainment & Lodging Guide Here's Fort Wayne Calendar • Fort Wayne/Allen County Map Fort Wayne Sports Yesterday & Today • Are you bored with that same old look? Well now you're in luck Because Joyce Brown is running A SPECIAL just for you with DISCOUNT PRICES on all services "Call me and we'll talk." That's All-In-The-Mix Beauty Salon 2155 Fairfield Ave. Fort Wayne. In 46802 219-456-5527 (Limited time only—^Expires May '96)

CHORAL • VOCAL • KEYBOARD Recycle GUITAR* INSTRUMENTAL Let your castaway items be HANDBELL part of the cast. As you clean your attics, closets, and garages, remember that Purdue-Indiana Theatre is always in need of used SHEET MUSIC AND MUSICAL GIFTS furniture, clothing, and ACCOMPANIMENT TAPES housewares. All such Celebrating our tenth year of business donations are eagerly accepted and tax-deductible. Phone: 219482-236S 1-800-852-6883 Call 219-481-6551 for additional information. Hobson Road at East State Fort Wayne, IN 4680S oLJautz Zrtorat

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Live. .FORT WAYNE PHUHARNOraC Pops! Edvard Tchivzhel, Music Director The J 995-96 Pops Season slioivcasesI f/ie Fort Wayne Philharmonic with great entertainers at a great value. Performances are Friday and Saturday evenings at 8:OOpm in the Embassy Theatre. November 3 & 4 Helen Reddy December 8 & 9 Holiday Pops Special family matinee Saturday at 2:OOpm January 12 & 13 Dave Brubeck February 23 & 24 Doc Severinsen April 12 & 13 Kingston irio

Single tickets are $19, $26, and $31. Call the Embassy Box Office at 424-5665 to reserve your seat today.

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536 West Main Street 426-0531 - info line The School of Fine and Performing Arts Department of Theatre presents Purdue-Indiana Theatre's 30th Anniversary Season 1995-96 Studio Theatre Productions (Kettler Hall G32) "Try to Remember" Tent Meeting The Fantasticks by Rebecca Wackier, by Tom Jones and Larry Larson, and Levi Harvey Schmidt Lee The lyrical style and A wildly funny, universality of The sometimes irreverent, Fantasticks have made and totally original study it the longest running of a flamboyant musical in the world revivalist preacher and with over 10,000 Off- his outlandish progeny. The play earned Broadway international attention in its production by performances. It is as fresh and appealing the Actors Theatre of Louisville. An today as on the day it opened. May 3, outrageously hilarious examination of 1960. With whimsy and poignancy, it religious hypocrisy. The Reverend Ed reveals the folly and fragility of young love, Tarbox is a bullying, Bible-thumping age, and human nature. This is truly a redneck preacher. His son Ed is a World musical for everyone as we recognize a bit War II vet who claims that the scar from his of ourselves in its characters and hernia operation came from a Nazi situations, and smile at what we once were, bayonet. The reverend's hapless daughter, what we are, and, perhaps, what we Becky, stuffs cotton in her ears to muffle always will be. the celestial music which plays incessantly Feb. 8, 9,10 at 8 p.m. inside her head. This trio of Southern eccentrics, along with Becky's baby, whom An Evening of the reverend has christened Jesus O. Fractured Tarbox, head off to the Promised Land in Shakespeare their mobile home. This one will Sept. 21, 22, 23 at 8 p.m. have the Bard turning in his A Piece of My Heart grave! The by Shirley Lauro evening of two This is a powerful and true one act plays features The Fifteen-Minute drama of six women who l-lamlet by Tom Stoppard (Yes, they do went to Viet Nam. The play Ham/eMn 15 minutes) and All's Well That portrays each young woman Ends as You Like It by Michael Green. It is before, during, and after her nonstop hilarity as Shakespeare gets tour in the war-tom jungle massacred with over-acting and under­ and ends as each leaves a achieving. personal token at The Wall in Washington. March 21, 22,23 at 8 p.m. A riveting, rending, dramatic experience. Oct. 26, 27, 28 at 8 p.m. rURDUE-INDIANA THEATRES AMERICAN CLASSICS SUMMER THEATRE III -1996- "A 3-D SEASON!' James Dean: The Boy from Fairmount by Harvey Cocks

A loving and tender portrait of Indiana's greatest movie idol. This original play, written by Fort Wayne's own Harvey Cocks, examines James Deans early years and development on his way to becoming one of America's greatest legends. June 12,13,14 Hello Dolly! Book by Michael Stewart Music and lyrics by Jerry Herman

The irresistible story of one of the most fabulous characters ever to grace the musical stage— Dolly Gallagher Levi!

June 28,29, July 5,6,12,13

by Hamilton Deane and John L. Balderston

Laugh, scream, shreik, and quake as the famous Transylvanian vampire is set loose on the stage of the Williams Theatre! July 26,27, August 2,3,9,10 HHHHHHHHHHHHHHHH

September 12, 1995

Dear Fellow Educator,

As Purdue-Indiana Theatre moves into its 30th Anniversary Season, I would like to bring to your attention a series of student matinee performances of the great American classic, The Glass Menagerie. This autobiographical play by Tennessee Williams is a tender and haunting portrait of family relationships and the eternal ties that bind family members to each other. It is a story with a magnificent breadth of spirit, told in a quiet voice, about the great reach of small lives. Williams called this a "memory play," and it is a memory of his mother and sister and his early years with them. Our production will feature IPFW theatre department graduate and associate faculty member, Ranae Butler, in the role of Amanda.

The school matinee dates and times for The Glass Menagerie aie Wednesday, Oct. 11, at 10:30 a.m. and 2:30 p.m. and Thursday, Oct. 12, at 2:30 p.m. Tickets are $3 per person, with teachers admitted free of charge. Seating is on a first-come, first-served basis. Your group will be seated together as reservations and space permit. Please use the attached form for ordering tickets or call the Theatre Department office at 219-481-6551 or the WiUiams Theatre box office at 219-481-6555.

We are also happy to offer study guides on the production to you and your students at no cost. Following each of the matinee performances, the director and cast will be happy to meet with your group to discuss the play and production. Tours of the Williams Theatre can also be arranged if requested in advance. Purdue-Indiana Theatre wants to be actively involved with your school's theatre and literature programs. We are happy to offer help in any way that we can and welcome your suggestions as to how we can better our school outreach.

We look forward to hosting you and your group al our productions.

Cordiallv-yours,

Artistic Director Department of Theatre

HHHHHHBlHHHIHieiaHHHffl 9-95-02 piiiBBBBiiiiiiiLiiiiiiiiiBiiiHiiiiaBBBiiiiBiiiiBBiBiiiiiiBi^BiiiB SCHOOL MATINEE ORDER FORM FOR THE GLASS MENAGERIE

Performance preferred (circle): Oct. 11, 10:30 a.m. Oct. 11,2:30 p.m. Oct. 12, 2:30 p.m.

School Name

Address

City and State

Zip. .Phone (_

Faculty sponsor.

Number of students attending.

Number of teachers attending.

I would would not .like a study guide.

We will will not .remain after the performance to talk with the director and cast.

We would would not like a tour of the Williams Theatre.

I enclose a check(payable to Purdue-Indiana Theatre) in the amount of $ for # tickets. (No individual tickets will be issued. You will be sent a letter verifying receipt of your check and guaranteeing your seats.)

Please return form with payment to: The Glass Menagerie Matinees IPFW Department of Theatre Williams Theatre 128 2101 Cohseum Blvd. East Fort Wayne, IN 46805-1499 JllillLliBBBBBBIigllllLliBJIilllBBBBBBBBBBBILgilL^BBIliBBBBBBB THE GLASS MENAGERIE

by Tennessee Williams

DIRECTED BY LARRY LIFE

Oct 6, 7, 13, and 14 at 8 p.ni. Mainstage Williams Theatre Oct 11 at 10:30 a.ni.; 11 and 12 at 2:30 p.m. Purdue/Indiana Theatre 2101 Coliseum Blvd. East Fort Wayne, IN 46805-1499

Synopsis

(Menagerie: n. a place where animals are kept for exhibition)

Tom Wingfield narrates a play about a time in his life when, as a young man, he lived with his mother, Amanda, and his sister, Laura. Their roguish father, whose portrait still hangs on the wall, had long since deserted them and left them in near-poverty in Depression-era St. Louis. The younger Tom, who works in a shoe warehouse, dreams of becoming a poet or a merchant marine and getting out, like his father had. He escapes the family life by running out to the movies and drinking. His mother, Amanda, struggles to keep the family together and to provide a ftiture for herself and her daughter Laura; however, retreats to a world of nostalgia for the old days at her childhood home in Blue Mountain when she was the belle of the ball and had many "gentleman callers." Laura is a recluse who lives in a world of revery and illusion, as symbolized by her collection of glass animals, the Glass Menagerie of the title. The action of the play centers around Tom's invitation to an old school friend who works at the warehouse with him. Tom invites him to dirmer with the intention of introducing him to Laura and providing her with a potential suitor, her own "gentleman caller." About Our Production About The Play

Because The Glass Menagerie represents the older Tom's Termessee Williams' first full-length play. The Glass attempt to come to terms with his guilt, it is often done as a Menagerie, was first produced in Chicago in 1944, and bleak play. We, however, emphasize the warmth, tenderness thereafter on Broadway in 1945. Over the next twenty years, and love that the family shows toward each other. Tom's Termessee Williams wrote a series of plays that have made him rebellion, and his faithfulness in memory, both raise the central one of the greatest American playwrights, along with Eugene question: What responsibility does one have to one's family? O'Neill, , and others. How far does it reach? The two biggest influences on Williams' playwriting career In Tom's memory (see Memory and Time, page 3), the were his agent Audrey Wood, who he met in 1939, and the rebellion of youth is tinged with melancholy and guilt. But great director . Through Kazan, Williams became everyone hates his or her own parents at some point in their associated with the Actors Studio, one of the most influential lives. Are any of Tom's rebellions usefiil rebellion? Don't we acting centers in American theafre. Kazan is said to have have to break ft-ee from our parents if we want to become foimded the Actors Studio in part to train actors to play independent adults? What, if anything, could Tom have done Williams' characters, "epitomized by in his for Laura if he had stayed? performance as Stanley " in (Boxill 16). Since this play is so much about the present and the past, we have also decided to double the role of Tom into the older His plays have attracted the greatest actors of the last fifty Tom, who serves as a narrator, and the younger Tom, who is years, including Marlon Brando, Ben Gazarra, , in the main action of the play. Each character will be played , , , Jessica by a separate actor, one playing the older and one the younger Tandy, and Helen Hayes. Tom. Amanda is one of the great female roles in theatre history, Amanda is a fascinating character who combines a as are Williams' other female leads like Blanche DuBois (from romantic, almost other-worldly imagination with practical, very A Streetcar Named Desire), Alma Winemiller (from Summer worldly means ~ see how she sells her magazine subscriptions. and Smoke), and Hannah Jelkes (from The Night of the Although Amanda is a compelling figure who often dominates Iguana). productions, it should not be forgotten that this is Tom's memory, and especially his memory of Amanda, that creates In 1948, Helen Hayes, the grandame of American theatre, this larger-than-life character. portrayed Amanda in a London production directed by John Gielgud. The 1950 film of The Glass Menagerie starred Finally, since this is a play that takes place in memory, as Amanda, Jane Wyman (Ronald Reagan's much of the play is non-realistic. Termessee Williams called first wife) as Laura, Arthur Kermedy as Tom, and Kirk for "a new, plastic theatre" (see , page 5), and Douglas as Jim. In 1966, Shirley Booth played Amanda in a his stage directions call for specific, non-realistic effects, which TV production, followed by in 1973 and we have utilized. The family begins the play eating, but there Jean Stapleton (best known as Edith Bunker) and Rip Tom is no food on the table, a picture glows, the rooms have no (now on The Larry Sanders Show) in 1975. walls. What other elements of non-realistic expressionism appear? What do they emphasize?

What role does the most obvious symbol, the glass menagerie itself, serve? What does the fragility of the figures tell us? What is Laura's favorite? Does that animal have any symbolic associations? What happens to the figure? When?

Some critics have spotted Christian imagery throughout the play. What might that be? What other elements in the play seem symbolic in Tom's memory? Memory and Time Amanda constantly invokes her genteel past in This is a memory play, which means that the main Blue Mountain. Within the action of the play, this is action of the play takes place in the memory of Tom, ironically compared to their current situation in St. who serves as the play's narrator. Because Tom is an Louis. As in much of Williams' work, an idealized aspiring poet, the older Tom's speeches are flowery (and therefore imreal) past plays off against a debased and literary. present. According to Williams' stage directions: How much of Amanda's stories do we believe? The scene is memory and is therefore non- Since this is Tom's memory play, how much is realistic Memory takes a lot of poetic license. It Tom's exaggerated recollection of Amanda's omits some details; others are exaggerated, monologues? And even if accurate, how realistic are according to the emotional value of the articles it Amanda's expectations in their present situation? touches, for memory is seated predominantly in the heart You might notice that the gentleman caller Jim, the only one in the play outside the family, looks to In this production, for example, even though the future with hope and excitement. The rest are either action takes place over a period of days, or even weeks and months, Amanda's dress doesn't change caught in the present or casting back into the past: because Tom would remember her in one particular dress. the older Tom looking back to the action of the play What other non-realistic elements do you see (for Tom feeling hopeless about his prospects more, see Expressionism page 5)? What function do they serve in the play? Why does Tom's memory • Amanda reminiscing about her days as a focus on these objects in this way? Southern belle in Blue Moimtain

• Laura playing old records, thinking about high school sweethearts and lost in her imaginary world of the glass menagerie.

In many of Williams' plays, the distance between aspiration and disappointment, between romance and reality, leads to sadness and devastation in the lives of the characters. Look at how Tom and Laura look wistfully across to the appropriately named Paradise Dance Hall.

According to Roger Boxill, "The action is contained in the dashing of Laura's hope for romance, anticipated in the break-up of Amanda's marriage, and echoed in the failure of Tom's effort to Because this play is about memory, and therefore become a writer." about the meaning of the past, time serves an important function in the play.

The elder Tom who narrates the play speaks in a present that is after World War II, the action of the play takes place in the 1930s Depression, and Amanda remembers to time back before the First World War, in the post-Civil War South. Family and Autobiography

The major issue this play raises is that of Too much can be made of these parallels, responsibility to the family versus responsibility to however. Some elements are clearly different- oneself. Tom is torn between his desire to protect his Williams had two other brothers, but Tom and Laura sister and care for his mother and his desire to go out do not. Williams, not his sister, suffered from a into the world and make something of himself, childhood disease which made him weak and semi- whether that means being a poet or a merchant invalid for much of his childhood and contributed to marine. a bookish and dreamy nature. Most important is Within the frame of how these problems memory, Tom and questions about struggles to reconcile family get raised his guilt over leaving within the play and his sister and mother how the characters are behind. portrayed in the production. Many of the elements of this family Williams had left struggle have parallels his family to pursue in Williams' his career as a writer. contentious How does he feel relationship with his about this decision? own family. Williams' family It should come as no had been an unhappy surprise, then, to one, torn apart by the discover that before he two strains in Southern adopted the name life, the Puritan, "Tennessee" Williams, represented primarily Williams was called by by Williams' mother, his given name, Edwina, and the Thomas, or Tom, like Cavalier, represented his narrator. Also like primarily by Williams' the narrator of his first father, C.C. Williams full-length play, he had grew up caught lived in St. Louis, between these forces where he worked in a of repression and sTioe warehouse, he was an aspiring poet, he often ran passion. His plays often focus on the distance to the movies to escape from his family, and so on. between a painful present and an idealized past, between revery and reality. Other elements from this play that parallel Williams' include a mother who was once a Southern belle, a sister who was reclusive and mentally unbalanced, and a father who was often absent.

Probably each of the characters—Amanda, Laura, Tom, and even Jim—represents part of Williams' own personality, just as they each represent a part of Tom in his memory. Expressionism The Southern Renaissance

(Expressionism: An artistic movement from Germany Beginning in the 20s and on into the 40s, many that attempted to portray inner psychological states great writers emerged from the American South. rather than external physical realities.) Beginning with The Fugitive magazine published at Vanderbilt University in Tennessee, these writers have In his production notes for The Glass Menagerie, been grouped together into a literary movement Williams called for "a new, plastic theatre" to replace known as the Fugitives or the Southern Renaissance. the older realism of conventional theatre (Boxill 68). Probably it was no mere coincidence that Thomas Here Williams is using the term "plastic" in the Lanier Williams adopted "Tennessee" as his name technical, artistic sense, which means malleable or when he began pursuing a career as a writer. capable of being molded. In his attempt to make a The Fugitives included such writers and critics as more expressive theatre, one that shed light on the Allen Tate, John Crowe Ransom, Robert Penn inner emotions of the characters rather than adhering Warren, and Laura Riding. Other writers associated strictly to realistic action, Williams was clearly with the Southern Renaissance include William influenced by the then-new art of film. Faulkner, Carson McCullers, , Horton Williams had grown up watching movies as a Foote, Flannery O'Connor, and Erskin Caldwell, as means of escaping his often-hostile family (see well as Tennessee Williams. Family and Autobiography, page 4), and was among the first generation of American playwrights to have grown up with the movies. In fact. The Glass Menagerie was originally Other plays by Tennessee Williams: written as a film script called The Gentleman Caller while Williams was on a week-to-week contract as a A Streetcar Named Desire screenwriter with MGM (for more on this life, see the similarly non-realistic film. Barton Fink). Along the way, Williams was influenced by the films of the German Expressionists like FW Mumau, Cat on a Hot Tin Roof whose 1927 Hollywood film Sunrise, for example, had won several Oscars and whose Nosferatu (the Vampire) spawned an entire film genre [see also Cabinet of Dr. Caligari with sets by Dali, the "purest German Expressionist film"]. Their films, sets, costumes, lighting, and even action were distorted to portray the effects of action on character, not the other way around. Thus, in The Glass Menagerie, plot is much less the point than the characters, locked as they are in Compiled and Written by W.L. Keeney time and memory (see About Our Production, page 2). Sources: Tennessee Williams by Roger Boxill (St. Martin's: NY), 1987. Tennessee Williams by Signi Falk (Twayne Pub.: NY), 1961. /<0^5-^^5- A^. ICOIVIICS/9-10T IH0R0SC0PE/9T ICR0SSW0RD/9T ITELEVlSION/llT 12TTHE NEWS-SENTINEL Thursday, Oct. 5, 1995 IDEARABBY/9T IWHIERETOGO/2-3T PLAYS: Works by Williams, Simon hit stages ^ From Page IT Williams, RIGHT: Sarah Forbing, front, anguish and pain looking back on plays the painfully shy sister his Ufe and trying to find himself." who asks her brother to find In the play, Tom Wingfield Simon plays her a husband in Purdue-In­ looks back on his early life in the diana Theatre's "The Glass 1930s in a run-down tenement in Menagerie." Ranae Butler, St. Louis. behind, plays her mother. He lived with his mother, hit stages Amanda, a Southern belle who BELOW: Grey Lite Theatre abandoned her class by marrying a By WUJAM CARLTON telephone man who eventually de­ of The News-Sentinel cast members Luke Han­ serted the family, and with his r • 1 heatergoers can use their hankies to wipe cock, left, Melissa painfully shy sister, Laura, who has I away tears of longing or laughter at two'clas- Hershberger and Pat Garrett a crippled leg and collects fragile 1 sic productions opening tomorrow. prepare to ambush a prowl­ glass figurines. "^ Tennessee Williams peers through the windows of memory in "The Glass Menagerie" at Pur; er in their home in "God's Laura asks her brother to help due-Indiana Theatre, while offers a hilari­ Favorite." her find a husband, and he sum­ mons a suitor in a co-worker ous modem take on tfie old Book of Job at Grey Lite Photos by BRIAN T0MBAU6H of The Theatre. Here are more details. named Jim from the warehouse. A News-Sentinel date from hell follows. Other directors often present a 'The Glass Menagerie' harder, more literal interpretation Director Larry Life takes a kindler, gentler ap­ of the poignant drama, but Life proach to Williams' moody "memory play" of 1945 believes his "more delicate, senti­ about a poet who works in a warehouse to support his mental" approach is more in line family and longs to escape. with the playwright's intent. "It's not your traditional "Menagerie,'" Life says. "I life also plans to heighten Wil­ want the audience to see it through a softer filter of liams' script directions with an memory and years, through the eyes of a man fiill of expressionistic set that has no walls See PUVYS, Page i2r^ and uses glowing lighting to illimii- nate developments. "Everybody gets so literal with this play," he says. "We want to be more Ihe Glass Menagerie' suggestive." • When: 8 p.m. tomorrow, Saturday, Oct. 13 and 14 The cast includes invited com- (additional perfomnances for students Oct. 11-12). mimity artist Ranae Butler • Where: Purdue-Indiana Theatre at Williams Theatre, (Amanda), Earl W. Campbell II IPFW, 2101 Coliseum Blvd. E. (narrator), Sarah Ann Forbing • Cost $11 general, $7 senior citizens and non^PFW (Lain«), Scott S. Frey (Jim) and students, $4 IPFW students with ID cards. Joel T. Moorman (Tom). Call 481-6555. • IISI CD I y\ INI A. '<£^«^

-30tk Ann,iii?ersary Season- MAINSTAGE PRODUCTIONS Featuring guest artist Kanae Butler, presents associate faculty and FIT graduate, as Amanda. the classical autobiographical Tennessee Williams play

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Oct. 6,7,13, and 14 at 8 p.m. in Williams Theatre. Student matinees Oct. II, at 10:30 a.m. and 2:30 p.m., and Oct 12, at 2:30 p.m.

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