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Home , Gertrude Lawrence, Set to Music

ISSUE twenty-seven november 2009

1 oh coward!: On Stage Table of Contents Dear Friends...... 3 “I was born On Stage:

Oh Coward! ...... 5 Noël Coward: The Master ...... 6 into a world that Reviewing the Musical ...... 9 Musical Minds ...... 11 To Broadway and Back ...... 12 Acting Coward ...... 14 Why Here? Why Now? ...... 16 Setting the Scene for Oh Coward! ...... 18 took light

Backstage: Recent Events: Garden Party ...... 20 The MLK Project—A Closer Look ...... 22 Sponsor Salute: NES Rentals ...... 24 2009 Stratford Tour ...... 25 Writers' Theatre Welcomes ...... 26 In The Know ...... 27 Audience Enrichment ...... 28 Performance Calendar ...... 29 music seriously.” - Noël Coward

2 oh coward!: On Stage oh coward!: On Stage 1 Michael Halberstam THE BRIEF CHRONICLE Artistic Director the official Newsmagazine of writers’ theatre Kathryn M. Lipuma Issue twenty-SEVEN NOVEMBER 2009 Executive Director

Michael Halberstam Kathryn M. Lipuma Artistic Director Executive Director EDITOR Eleanor Berman Director of Marketing & Communications Dear Friends: the brief chronicle team

Amber Bel' Nicole Gilman Oh Coward! represents a number of firsts for the Books on Vernon theater. This Development Manager Director of Education production is the first musical to be staged in our extraordinarily intimate venue and Ian Belknap Bobby Kennedy Development Manager Producing Assistant/Literary Associate Oh Coward! marks the first time we have the pleasure of working with director Jim Jaron Bernstein Sarah Ostman Corti. Furthermore, for the first time in five years, the seating configuration has been Development Assistant Development Manager re-imagined, transforming the theatre into a 1930's . Stuart Carden Sara M. Poorman Associate Artistic Director Marketing Associate This production celebrates Noël Coward, who you probably know as a playwright, Jon Faris Rachel Weinstein screenwriter, actor and director of the early 20th century. But what may surprise you General Manager Director of Institutional Advancement is that he is also a remarkable and prolific songwriter. It is truly no wonder that he DESIGN was known as “The Master” throughout his career. This issue of The Brief Chronicle LOWERCASE, INC. explores the fascinating life of Noël Coward, offers you a closer look at the nature of the musical revue and the life of the artists involved with the production. THE WRITERS’ theatre BOARD OF TRUSTEES Officers Behind the scenes, we have had a busy summer and fall at Writers' Theatre! Christopher Knight, President Besides hosting a beautiful garden party in July, we have toured to ’s Stratford Lawrence M. Adelman, Vice-President Festival and we are delighted to welcome several new Trustees. We are also excited Carol Dawley, Vice-President Gillian Goodman, Vice President to launch our fourth annual production of The MLK Project: The Fight for Civil Rights Dave McGranahan, Treasurer this winter and reach even more students across Chicago and the North Shore. Mary Pat Studdert, Secretary Trustees As always, we are grateful to present yet another one-of-a kind experience. In Arthur Anderson, Jr. Nelson Levy, Ph.D, M.D. the intimacy of our bookstore theater, Oh Coward! takes you on a journey into the Janice Beck Kathryn Lipuma past. Through the magic of music, we bring you a rare opportunity to wile away an Susan Belgrad Jennifer Litowitz Lorry Borowitz Thomas Mann hour or two with one of the world’s most versatile and prolific entertainers—truly a Amy Pope Brock Lorel McMillan master of his form. Deborah Cogan Barbara Melcher Sara Cohan Pam Phillips Howard Conant, Jr. Christine Pompizzi Yours Sincerely, Judy Cottle Stanford Slovin Joseph G. Dillon William E. Taylor Michael Halberstam Elaine Tinberg Linda Havlin Yelena Vayner Dagmara Kokonas Pam Zdunek Larry B. Kugler Michael Kate

2 oh coward!: On Stage oh coward!: On Stage 3 Oh Coward! A Musical Comedy Revue Words and Music by Noël Coward Devised by Roderick Cook Musical Direction by Doug Peck Directed by Jim Corti

November 17, 2009 – March 21, 2010 Performed at 664 Vernon Avenue

You’re invited to a marvelous party! Oh Coward! celebrates one of the theatre’s greatest entertainers—Noël Coward. Best known for his comic masterpieces , and Hay Fever, Coward was one of the most prolific songwriters of his day. Now, acclaimed director Jim Corti brings his effervescent music, satirical quips and witty repartee to life. With the intimate Books on Vernon venue transformed into a 1930's nightclub, Oh Coward! is a must-see evening of the most memorable tunes of the 20th century!

The Cast: Kate Fry, Rob Lindley and John Sanders Scenic Design: Kevin Depinet Costume Design: Rachel Anne Healy Lighting Design: Jesse Klug Sound Design: Ray Nardelli Property Design: Meredith Miller Stage Management: Richard Lundy

Production Sponsor This program is partially supported by a grant from the Illinois Arts Council, a state agency.

4 oh coward!: On Stage oh coward!: On Stage 5 "There are probably greater painters was drafted into the Artist Rifles, a than Noël, greater novelists than Noël, volunteer regiment of the British Army. greater librettists, greater composers However, he was discharged because of music, greater singers, greater danc- of his health nine months later without ers, greater comedians, greater trage- ever seeing combat. Noël Coward: dians, greater stage producers, greater film directors, greater artists, Coward’s career truly started to take greater TV stars. If there are, they are off in 1923 when he wrote a string of fourteen different people. Only one man successful plays and musical . combined all fourteen different labels— With his play The Young Idea, in which The Master." – Lord Mountbatten he also played one of the leading roles—a Coward trademark—and his The Master Noël Peirce Coward was born in revue London Calling, Coward started By Bobby Kennedy, Producing Assistant/Literary Associate December 1899, the second child in a his ascent to the celebrity status he financially struggling suburban London family. The Cowards moved frequently, which prevented the children from regularly attending any educational “He dabbled institution. Even when he was enrolled in a school, Coward would regularly be in all forms pulled out by his mother in order to attend a play or take dance lessons. of musical In 1910, Coward’s mother saw an theatre.” advertisement in the newspaper seeking boys for a production of The Goldfish. His audition impressed the would hold unchallenged for the next producers and he earned his first pro- two decades. His next play, The Vortex, fessional West End role, even though became his first great critical and the show was not a success. However, financial success, creating a demand the part did lead to a succession of for more of his work in both London roles for young Coward, ranging from and New York. He obliged with the Peter Pan in the West End to a D.W. plays Fallen Angels and Hay Fever, with Griffith film, Hearts of the World. At the latter becoming Coward’s first to this time he also began to meet some enter the perennial theatre canon with of his future collaborators, includ- its portrayal of an eccentric English ing Esmé Wynne (with whom Coward family and their weekend guests. wrote his first plays), Charles Hawtrey At one point in 1925, Coward had (the actor-manager who took Coward three plays and one revue running in under his wing) and actors/singers Ivor London’s West End simultaneously. Novello and Gertrude Lawrence. This However, this frenetic ascent took a ascendance to fame was briefly inter- toll on Coward’s health, leading to rupted by World War I when Coward a collapse onstage in 1926 and an

6 Rosencrantz and guildenstern are dead: On Stage oh coward!: On Stage 7 extended rest in Hawaii. public and doing his best to bring the Americans into the war on the side of Despite this setback, Coward returned the allies. He also continued to write to the entertainment world to create plays, premiering one of his most some of his most timeless pieces. enduring works, the dark comedy Blithe Reviewing the With , he tackled operet- Spirit (1941) in repertory with two ta—a musical form that was quickly other gems, Present Laughter and This falling out of fashion—managing to Happy Breed. make it a huge success upon its 1929 premiere. He followed this up with two Following the war, Coward found him- more canon-worthy plays: Private Lives self in a world whose values and (1930), where he co-starred with the tastes had been significantly altered. inestimable Gertrude Lawrence and He continued to write plays and musi- Musical A Design for Living, which premiered cals but they fell short of his pre-war in New York to avoid censorship by material. However, he found new life as England’s Lord Chamberlain’s office a cabaret performer, having honed this for sexually risqué content. Most of craft entertaining the troops. Theatre his best known songs were written critic Kenneth Tynan once said, “to see during this period (1929-1939), as he him whole, public and private person- dabbled in all forms of alities conjoined, you must see him in including revues (Words and Music and cabaret.” During the 1950’s and 60’s, Set to Music), operetta (Conversation he also acted in a number of memo- Piece), conventional musicals rable supporting roles in films such as () and one-act play cycles with Around the World in Eighty Days (1956) Revue music (Tonight at 8:30). and The Italian Job (1969). Oh Coward! employs one of the the- on theatrical acts, disregarding the atre’s most unique styles, the musical more obscure novelty acts of vaude- In 1973 at the age of 73, Noël Coward revue, which combines music, dance ville. The streamlined format allowed passed away at his home in Jamaica and comedy sketches into a night for greater sophistication and higher “You must with his long-time partner Graham of playful theatrical entertainment. production values. As a result, revues Payn by his side. Over the course of Although they can sometimes follow generally catered to the upper classes see him in his lifetime he had published more a theme, revues do not rely on a nar- of society, appearing in the largest than fifty plays and written hundreds of rative unlike “book musicals” that Broadway houses. cabaret.” songs. He had also been knighted and dominate the current musical theatre elected a fellow of the Royal Society of landscape. In a musical revue, songs With revues, American musical the- When Britain declared war on Germany Literature. In 1970, an Honorary Tony and sketches are compiled from mul- atre usurped the live entertainment in 1939, Noël Coward attempted to Award was bestowed upon him “for his tiple sources or exclusively feature monopoly long held by Europeans. serve his country by managing the multiple and immortal contributions to works from one writer, as in the case The late 19th century was dominated British war propaganda office in . the theatre” and he was inducted into of Oh Coward!. by continental operettas (Jacques However, the government soon decided the Songwriters Hall of Fame in 1988. Offenbach and Johann Strauss II) his best contribution to the war effort Fittingly, Oh Coward!—a glorious tribute Immensely popular between World War and British comic opera (Gilbert and would be his talent to entertain. Using to all The Master’s many talents—was I and the Great Depression, the revue Sullivan). Pioneering this new art form his celebrity status, Coward toured the last production of his work that was born out of vaudeville entertain- was producer Florenz Ziegfeld, whose the world, entertaining a despairing Noël Coward ever saw. ■ ment. However, they focused entirely Ziegfeld Follies symbolized the excess

8 oh coward!: On Stage oh coward!: On Stage 9 “The innovation of American theatre was unmatched.” Musical and spectacle of early American musi- When the stock market crashed cal theatre and was quickly imitated. in 1929, expensive theatre tickets Incorporating new popular trends such became a luxury few could afford. as jazz and ragtime, the innovation of Revues, in their prevailing form with American theatre was unmatched by lavish sets and costumes, were the Old World. impractical to produce in such turbu- lent economic times. Instead of let- Revues attracted premiere talent ting the form die, songwriters began from across the globe because of adapting their music for and their popularity and financial success. smaller performance venues. Removed minds Fanny Brice, Eddie Cantor, W.C. Fields from the Broadway stages, the revue Esteemed director Gary Griffin, seasoned music director Richard Carsey (who and Bert Williams all made a name found new life, relying on superior lent his talents to last season's A Minister’s Wife) and Oh Coward! musical direc- for themselves starring in revues. songwriting and performances instead tor Doug Peck reflect on the unique format and opportunities presented by Oh Additionally, most popular music of of the glitz and glamour that were once Coward!. the early 20th century originated in its lifeblood. Gary Griffin: I love Oh Coward! because I believe it achieves a complete whole. the theatre. New York’s Tin Pan Alley Audiences are completely immersed in the breadth and depth of Coward's talent and world songwriters (including Irving Berlin, While most modern revues excise the view. Revues are fiendishly difficult because they must survive on the development of an idea rather than a story and structure becomes crucial to the experience. Oh Coward! , George M. Cohan, comedy aspect and present a collection has been crafted to carefully take us on the journey of what it means to be human as Jerome Kern and ) all of songs in a structured order (what is expressed by one very clever and observant artist. had their songs featured and even called a “song cycle”), Oh Coward! is wrote revues of their own. The great unique in that it celebrates both the Richard Carsey: In the best revues of the last 30 years—Ain’t Misbehavin’, The World Goes Round and Oh Coward! to name a few—there is a palpable sense of discovery in the composer/lyricist team of Richard infamous Noël Coward and the revue evening. Most audience members arrive knowing some of the material being presented, Rodgers and Lorenz Hart also began itself. By embodying the classical revue but the revelations of the evening are in finding music that is unfamiliar or finding familiar their prolific career writing revues. structure (song, dance and comedy) music presented in a different context. Meanwhile, British songwriters such as while at the same time assembling The music of Noël Coward is ripe for such discovery. His lyrical dexterity and his unerring and Noël Coward enjoyed content from all of Coward’s best dramatic and comedic talents make most of his songs into lovely mini-plays. His songs a similar level of success with their works, Roderick Cook (who devised Oh live “on the word” in much the way that Stephen Sondheim’s music or Cole Porter’s music revues continually spawning popular Coward!) has given the world a piece of does. In other words, his songs are the perfect vehicle for the revue format! The challenge for director, actor and musical director alike is to mine the music for all of its variety and music hits. However, their writing musical theatre that honors a legendary theatricality—working hand in hand to bring the music alive in the moment. tended to be either more contemporar- theatrical form using the greatest hits ily satirical or traditionally sentimental, from one of the 20th century’s most Doug Peck: Musical revues like Oh, Coward! continue to fascinate us because they cel- appealing more to British audiences revered entertainers. ■ ebrate the author. When we see a specific play or musical, we are celebrating the author through the lens of plot and character development. When we watch a revue, we experience than Americans. the author's personality in a more focused way. Noël Coward is such a strong personality; it will be thrilling to feel his spirit in the room through a collection of his finest material.

10 oh coward!: On Stage Prince and with music by Leonard Company production that transferred to Bernstein, Corti’s first Broadway expe- New York. He was also nominated for rience surrounded him with the best a Helen Hayes award for Outstanding in the business and was the perfect Choreography for Dancing at Lughnasa, environment to fine-tune his perfor- a Goodman Theatre production mance skills. After his turn in Candide, that transferred to Arena Stage in Corti was cast as Paul San Marco in Washington D.C. Additionally, he started the Chicago leg of the Broadway tour his long-standing relationship with Drury of A Chorus Line, eventually moving Lane Theatre, choreographing Singin’ in with the show to New York to perform the Rain and directing Damn Yankees for nearly two years as Al DeLuca in and Bye Bye Birdie. Corti’s hot directing the Broadway production. All of these career was interrupted only briefly by high-caliber Broadway experiences were a turn back on Broadway performing in preparing him for his next role working the world premiere of Ragtime as Harry under the direction of Broadway legend Houdini and for the Broadway national DIRECTOR'S SIDEBAR: Jim Corti Bob Fosse in Dancin’. tour of Urinetown, performing as Old Man Strong/Hot Blades Harry. Dancin’ combined Bob Fosse’s quintes- sential choreography into a dynamic It was just after Corti completed the revue celebrating American music. national tour of Urinetown that Drury Eliciting each dancer’s strengths to Lane Theatre called on him to direct the To Broadway best serve his choreography, Fosse The Full Monty, the inaugural production both challenged and excited the danc- at their brand new downtown Chicago ers. “It was a thrill being a part of that Water Tower Place venue. It was while experience and knowing that you were working on The Full Monty that Corti doing the best Broadway choreography realized his passion was for directing. that existed at the time,” recalls Corti. “Acting no longer consumed me. The “I learned so much from Bob Fosse: work that consumed me was directing,” precision, dancing artfully and the recalls Corti, "my work was reaching so and Back duality of making hard work look effort- many more people and focusing my pur- Oh Coward! director Jim Corti has worn packed his bags for San Francisco. less.” suits on directing was a prospect that many hats throughout his impressive He continued his studies at American really thrilled me.” and wide-ranging career. Over the last Conservatory Theatre, eventually teach- After two years on the road with 35 years he’s been an actor, dancer, ing classes there, but what he really Dancin’, Corti returned to Chicago to Since directing The Full Monty, Jim singer, teacher, choreographer and now wanted to do was answer the call of direct and choreograph the musical, Corti’s work has been seen at numer- has settled in as an acclaimed director. the Great White Way and try his talents Your Move, at Victory Gardens, mark- ous Chicago institutions and most His work has taken him from Chicago to on Broadway. ing his professional directing debut. recently directing Cabaret at Drury Broadway and back again and Writers' He subsequently directed and choreo- Lane Oakbrook to significant critical Theatre is delighted to welcome him to Despite being a rookie, Corti was graphed at different theatres throughout acclaim. Writers' Theatre is honored the Books on Vernon venue. snapped up after his third New York Chicago and across the country. Corti to welcome such a seasoned theatre audition for an ensemble role in garnered his first Broadway choreog- artist and looks forward to him bringing A Chicago native, Corti graduated the Broadway premiere of Candide. raphy credit with The Rise and Fall of his unique perspective to Oh Coward! from Loyola University Chicago and Produced by the venerable Harold Little Voice, a Steppenwolf Theatre and future collaborations. ■

12 oh coward!: On Stage oh coward!: On Stage 13 Acting Coward The cast of Oh Coward! welcomes back Kate Fry and John Sanders, fresh from performing on the Tudor Court stage in A Minister’s Wife as well as Bach at Leipzig alumnus Rob Lindley. Here they share their thoughts on Oh Coward! and performing in a musical revue. John Sanders Rob Lindley Kate Fry

K.F.: I have never done any Coward except make each song quite personal, but I sup- What excites you about Oh Coward!? about this style and this author. a star turn opposite Tom Mula as Mrs. pose that should always be the case. Bradman in Blithe Spirit at Peninsula John Sanders: Working with this fantastic R.L.: My early performance career in Players. For all three of you, this will be group of artists who are all at the top of Chicago was based heavily in the cabaret your first performance at the their game. world. I have performed many, many times In what way will your approach to Books on Vernon venue. What do in musical revues, and cabaret is in many this piece be different than the way you think will be the benefits and Rob Lindley: I love researching music ways what I feel most comfortable doing. you approach other musicals or a challenges of working in such an of this era. I feel like I know lots of Cole straight play? intimate space? Porter, Johnny Mercer, Harold Arlen, Ira K.F.: No, this will be my first! Gershwin, Frank Loesser—but I have shock- J.S.: The biographical nature of this piece will J.S.: I actually love performing in small ingly little familiarity with Noël Coward's Do you have any experience with mean basing performances largely on actual spaces, as it opens up the possibilities for work. The minute I was cast I put every Noël Coward’s work, musical or people, so that may affect the preparation subtlety and connection. otherwise? What do you think of piece of Coward music I could on my iTunes and approach. However, the stark contrast him and his writing? and have been enjoying reading his plays from traditional musicals or most straight R.L.: I love working in a small venue. Doing and various biographies. Besides being plays is the way we will directly include the a show in a huge theatre is fun, but there's J.S.: I have absolutely no experience with such a gifted composer, lyricist and play- audience in our journey. In this respect, I nothing better than being close to the audi- his music and was astonished to find how wright, he was an amazing performer. I'm think we will be served beautifully by the inti- ence. The exchange of energy is so much much I enjoy his songs, but I have per- excited to bring this material to an audi- macy of the Books on Vernon stage. more pronounced in an intimate space, and formed in Design for Living. What I appreci- ence. It’s a real privilege. it’s the perfect space for a show like this. ate most about Noël Coward is the pathos R.L.: Character is probably the biggest differ- underneath the sparkling veneer of his Kate Fry: Basking in the glow of two tal- ence when doing a revue. In this instance, K.F.: The benefits: not having to shout and language and persona. ented and handsome men. Really, is there I have more creative power to figure out my really being able to have the musicians be any girl luckier than I am? character. It is nothing like playing a char- part of the action. The challenges: trying to R.L.: I have never performed any of Noël acter with a life and a backstory that might mask the ravages of having two young chil- Coward's work. I'm excited to have a com- Have you ever performed in a musi- be spelled-out in the script. We will have dren without looking like a drag queen. pletely fresh crack at his wonderful, witty, cal revue before? the opportunity to explore relationships and touching material. Plus, I love satire that character building that isn't on the page. uses comedy to point out society's weak J.S.: I did I Love You, You’re Perfect, Now points, and I think that Coward's music and Change a year and a half ago, but overall K.F.: I would say that not having a char- sketches do that brilliantly. my musical revue experience is pretty lim- acter's journey to chart would push us to ited. I’m looking forward to learning all I can

14 oh coward!: On Stage oh coward!: On Stage 15 Why are Writers’ Theatre and the J.C.: Coward dove into World War II to Books On Vernon stage wonderfully make up for his honorable discharge suited for this production? after a head injury during training, and when Britain declared war on Germany J.C.: Writers' Theatre patrons are in in 1939, he actually became a secret for a stunning surprise at Books on agent! Distracting the public from the Why Here? Vernon. The doorway to the theatre war was the effect of his plays writ- becomes a threshold to an art deco ten at the time: Present Laughter, This nightclub, designed especially for this Happy Breed and Blithe Spirit. production and custom tailored to the style and sophistication of The There's more to the man than I think Master's realm. It's my hope that Oh most people ever imagined. In his Why Now? Coward! will be experienced with rare autobiography, Future Indefinite, he intimacy and immediacy so that audi- wrote about the celebration of the ences really feel a part of the produc- surrender of Germany in 1945 with a tion. Writers' emphasis on the word cautionary tone, "there was, as in all The Brief Chronicle series continues exploring what brings a director and a will be given the focus audiences have celebrations of victory, an inevitable particular production together with Jim Corti and Doug Peck, director and grown to expect and will shine in this undertow of sadness. Parades gener- musical director of Oh Coward!. new environment. They'll discover what ate only a superficial gaiety, because makes Coward an incomparable artist, we all know they cannot last, and The late Noël Coward continues to be Writers’ Theatre audiences have been up close and personal. though this was the end of the war it one of the most widely produced writ- delighted by the plays of Noël Coward was far from the end of the world's ers in the theatre. Why do you think with Private Lives in 1998, followed by D.P.: Hearing Noël Coward sung by troubles." It’s fascinating—the sober- he still captivates audiences? Fallen Angels in 1999. What does this Kate Fry, Rob Lindley and John Sanders ing depth of this composer, lyricist, musical revue offer audiences that on the Books on Vernon stage will be actor, director, novelist, painter—it’s Jim Corti: I have found that his they have not previously enjoyed? an unforgettable experience. Being so not difficult to understand why he is writings have very succinct insights close to three witty, heartfelt performers called, "The Master." regarding the hopes, fears and frus- J.C.: I think audiences will enjoy how will help us hear each word that The trations shared by people universally. his words and music marry hilarity to Master wrote. I'm excited to accompany Coward was born into a poor working precision and his portraits of love lost them at the grand piano and tailor class family and his formal education and found. The songs he composed arrangements to fit each actor's unique entailed only a few years. What he have a singular beauty and loveliness responses to the material. lacked in schooling he made up with and reach a poignancy as great as any voracious reading and a keen sense of of his peers. During World War II, Noël Coward observation. helped raise British morale by using D.P.: When you see a Noël Coward play, his unparalleled wit to distract the Doug Peck: Noël Coward's writing is you get to hear a few of his brilliant public from the horrors of war. Sixty as powerful as ever! The social com- songs, which often serve as divertisse- years later, do you think he can once mentary and wit boil as if he were ment from the main entertainment. again entertain and temporarily dis- speaking the words right now. When you watch Oh Coward! you will tract us from the difficult time our enjoy the music as the main course. country has been facing?

16 oh coward!: On Stage oh coward!: On Stage 17 Setting what’s

the Scene backstage happeningat writers’ theatre

You’re in for an exciting treat! For the first time in many years, the Books on Vernon performance space has been completely reconfigured and transformed into a 1930's nightclub complete with cocktail tables, a baby grand piano and a new seating configuration giving us general admission seating!

The creative team behind Oh Coward! always knew they wanted to try something new and unexpected at Books on Vernon. To better serve the musical, they devel- oped a scenic design based on a three-quarter thrust seating arrangement. This new layout allows the actors to better connect with the music and the audience while performing this cabaret-style revue.

Completely re-imagining the performance space has resulted in general admis- sion seating, giving patrons a chance to try a new location in the theatre from their regularly assigned seats and get even closer to the action. Audiences will be transported back in time as they enter the Books on Vernon venue and we know they’ll enjoy the ride!

To learn more about Oh Coward! VISIT writerstheatre.org.

18 oh coward!: On Stage oh coward!: Backstage 19 The Director’s Society Annual Garden Party

On July 12, 2009, 100 of Writers’ Theatre’s closest friends gathered at a private home in Winnetka for the Director’s Society 2009 Garden Party. A stunning English garden and cloudless sky provided the perfect backdrop for the afternoon. Guests, many donning festive garden hats, savored elegant hors d’oeuvres and sipped refreshing Pimm’s Cups with Writers’ Theatre staff and artists while enjoying the lovely summer day. The highlight of the party was 2 a special performance of Tom Stoppard’s 15 Minute Hamlet, a comedic prelude to the season 3 opener Rosencrantz and Guildenstern are Dead. The much-anticipated event was generously 1 sponsored by Premier Landscape Contractors, 6 5 who designed the fabulous garden.

The Annual Garden Party is just one of the exclusive events offered to members of the Director’s Society, a group of Writers’ Theatre’s most generous supporters. Director’s Society members provide a secure financial foundation for the Theatre through annual contributions of $1,000 or more.

For information on becoming a Director’s Society member, please contact Development Manager Amber Bel'cher at 847-242-6012. 4

1: Barry Weinstein, Dorie Sternberg, Hilary Weinstein, Trustee Susan Belgrad and Donald Belgrad 2: Linda and Brian O'Toole 3: Board President Christopher Knight with Betsy and Dale Pinkert 4: Matthew Means and Beth Kronfeld 5: William and Amalia Mahoney 6: Garden Party hostess Amy Brock with Executive Director Kate Lipuma

20 oh coward!: Backstage oh coward!: Backstage 21 The MLK Project A Closer Look

Photo of Tawny Newsome in The MLK Project: The Fight for Civil Rights by Michael Brosilow.

This year, Writers' Theatre is thrilled to a few questions about what draws her to Science Academy were really touching and a useful teaching method. I love Northside present the fourth annual tour of The MLK The MLK Project and her unique perspective at times, hilarious. They happened to be College Prep—at that school it's definitely Project: The Fight for Civil Rights. This cross- on student audiences. one of our youngest audiences and some of hip to be bright. cultural, multi-media performance, written them had written poems and other respons- by Yolanda Androzzo, interweaves the What excites you about working on The es to the material beforehand and then What was the funniest interaction personal interviews of Chicago-based Civil MLK Project? asked to read them during our post-show with a student? Rights Activists, including both celebrated Tawny Newsome: I think the idea of bring- discussion. That was very cool. T.N.: I'd love to narrow it down to one and unsung heroes of the Movement. In a ing this type of theatre into schools and instance but it happened at nearly every tour-de-force performance, a solo performer non-traditional performance spaces is really How does this piece challenge you show: inevitably, someone wanted to know gives voice to Reverend Jesse Jackson, great. It's a different way to tell a story than as an artist? where my shoes came from! Our costume Puerto Rican poet and activist David perhaps many people in these audiences T.N.: A lot of the challenge lies in what designer presented us with a lot of great Hernandez and Founder of the DuSable are used to seeing. makes the piece so powerful—the juxtapo- shoe options, and we chose some really hot Museum of African American History sition of the weighty and poignant informa- kicks. They were a definite hit! In addition Margaret Taylor Goss Burroughs—among How is a student audience unique? tion being presented, with the casual habits to lots of great shoe comments and compli- many others. The play weaves together T.N.: Students, and young people in gen- and nature of teenage life. It’s a difficult ments, I think it helped them identify with poetry, hip-hop and history as students eral, are far less predictable than adult balance to strike. me rather than some unreachable actor in follow a young girl searching for truth and audiences. When you've done a lot of an outreach program. self-discovery as she learns about the Civil theatre, you feel as though you can read What is your favorite part in the script? Rights Movement. an audience pretty easily. A younger crowd T.N.: I have a soft spot for Dr. Margaret To bring The MLK Project to your school, keeps you on your toes because you never Taylor Goss Burroughs...I really enjoy or to underwrite a performance for another Writers' Theatre has been touring The MLK know what's going to land, what might reso- her poem. school, contact Nicole Gilman, Director of Project to schools in January and February nate with them or what might seem boring. Education at 847-441-6840 or ngilman@ for the past three years. In that time, the It reminds me to focus on communicating What was your favorite interaction writerstheatre.org. production has reached more than 75 effectively in each moment. with a student? schools and 20,000 students throughout T.N.: We had lots of great comments dur- Writers' Theatre would like to recognize the follow- ing education sponsors: Bank of America, Credit Chicagoland. ing our last two shows at Northside College What was your favorite moment from last Suisse, The Elizabeth Morse Charitable Trust, Polk year's tour of The MLK Project? Prep High School. I spoke with a few stu- Brothers Foundation, Target, Dr. Scholl Foundation, This year, we are thrilled to welcome back T.N.: It's tough to isolate a single moment dents after the show and had a great dis- and three anonymous foundations. actress Tawny Newsome, who performed in as being my favorite. I can say that some cussion with them about the power of hip- The MLK Project last year. We asked Tawny of the comments from Sheridan Math and hop poetry and whether we thought it was A Carol Marks Jacobsohn Arts & Education Program

22 oh coward!: Backstage oh coward!: Backstage 23 SPONSOR SALUTE Stratford Tour Summer 2009

Several times a year, Writers’ Theatre invites our patrons to explore the best theatres outside of Glencoe on one of our unique theatre tours. This summer, 16 friends joined Artistic Director Michael Halberstam and Richard Christiansen, former chief theatre critic for the Chicago Tribune, on a four-day getaway to The Stratford Festival in Ontario. The tour packed five performances into three days—the highlight of which was a seminal production of West Side Story directed by Writers’ Theatre alum and Chicago’s own Gary Griffin. The productions were enhanced Andrew P. Studdert, Chairman and CEO of NES Rentals and his wife and Writers' Theatre Trustee, by daily educational seminars, including Mary Pat Studdert a private Q & A with Mike Shara, one of 1 Stratford’s leading actors. Writers' Theatre is delighted to welcome NES Rentals back as Production 2 Sponsor for Oh Coward!. This marks NES Rentals’ third consecutive year collabo- In their free time, patrons enjoyed exploring rating with Writers’ Theatre, following successful partnerships on our critically the picturesque town and meandering along acclaimed productions of Picnic and The Lion in Winter. We are tremendously the river before meeting up for gourmet grateful to NES for its sustained and enthusiastic endorsement of the daring meals at Stratford’s finest restaurants. All work Writers' Theatre seeks to present. in all, it was a fabulous weekend filled with good food, great company, glorious weather "NES is pleased once again to support the artistry and imagination of Writers’ and excellent theatre! Theatre. We’re happy to partner with an organization that always strives for excel- lence and that contributes to the vibrancy and prosperity of the community,” says For information about future tours Andrew P. Studdert, Chairman and CEO of NES Rentals. Writers' Theatre com- at Writers’ Theatre, please contact mends NES for its vision and generosity, and for its invaluable help in making 1: Mary Jane Pollack and Marilyn Alsdorf 2: Barry Amber Bel’cher, Development Weinstein, Hilary Weinstein, Trustee Mary Pat Studdert, Writers' Theatre a cultural anchor of Chicago’s North Shore. Linda Cornell Weinstein, Director of Institutional Manager, at 847-242-6012 or Advancement Rachel Weinstein and Jill Schield enjoy a [email protected]. picnic before a matinee performance

24 oh coward!: Backstage oh coward!: Backstage 25 writers’ theatre in the know welcomes Save-The-Date:

Writers’ Theatre is delighted to welcome the following people to Word the Board of Trustees: Play Gala Friday, April 16, 2010 The Peninsula Chicago Co chairs: Jan and Lloyd Culbertson & Sara and Christopher Pfaff Amy Pope Brock Shall we be merry? -William Shakespeare Amy is on hiatus from practicing law, and has law and undergraduate degrees from Northwestern University. Raised in Glencoe, followed by a stint in Milwaukee, Don’t miss out on what has become one of the most fun and Wisconsin, Amy now resides in Winnetka with her husband Clay and their three talked-about events of the Chicago social season! children. Amy serves on the Board of Willow Wood Preschool, the Women’s Board of the Winnetka Community House, the Guild of the Chicago Botanic Garden and Last year’s Gala sold out two months in advance of the event so be sure to reserve your place early by calling 847-242-6012. the Associate Board of the Rehabilitation Institute of Chicago.

Christine Farrell Pompizzi Shop to support Writers’ Theatre Christine (Tina) was raised in Philadelphia, Pennsylvania. She attended Penn at Igive.com State and worked in banking management for 11 years in the Philadelphia area. She has resided in Glencoe for 21 years with her husband Michael and their four When shopping online, did you know that you have the opportunity to direct a por- children. Tina previously served on the school board of Sacred Heart School in tion of the money you spend to Writers' Theatre? At iGive.com/writerstheatre Winnetka where she presided as President for one year. She was also President you have access to 700+ online stores including Amazon, Pottery Barn and of Sacred Heart’s Parent Teacher Organization and chaired the annual fundraiser Nordstrom—and each vendor will contribute a percentage of the proceeds from Nite Lites (which generates approximately $250,000 for the school). Tina also your purchase to Writers’ Theatre. It’s simple, and best of all, there’s no extra served on the board of the Glencoe Newcomer's Club. Currently, Tina serves as cost to you! Plus, you’ll receive all kind of other terrific benefits, like coupons, a member of the Winnetka Community Associates of the Art Institute and heads free shipping deals and secret sales exclusively available through iGive. the Sacred Heart Women's Group. Tina joins the Board after co-chairing the Writers' Theatre annual WordPlay Gala for the last two years. While completing your holiday shopping (or any time of year), you can support Writers’ Theatre and give the additional gift of superb theatre to the entire com- munity! To join, create your free iGive account, select Writers' Theatre as your charitable cause and then start shopping. Visit iGive.com/writerstheatre to register today!

26 oh coward!: Backstage oh coward!: Backstage 27 Audience Enrichment oh Coward! Join us for the pre-show lectures and post-show november february discussions for Oh Coward! sun mon tue wed thu fri sat sun mon tue wed thu fri sat 1 2 3 4 5 6 17 18 19 20 21 7:30 7:30 8:00 8:00 4:00/8:00 7:30 2:00 8:00 8:00 4:00/8:00

Pre-show lectures give you an opportunity to learn more about the play, 22 23 24 25 26 27 28 7 8 9 10 11 12 13 playwright and artists by exploring the time period, context, and history. Post- 2:00/6:00 7:30 2:00/7:30 8:00 4:00/8:00 2:00 /6:00* 7:30 7:30 8:00 8:00 4:00/8:00 show discussions allow you to engage with the artists involved in the production 29 30 14 15 16 17 18 19 20 2:00/6:00 2:00/6:00 7:30 7:30** 8:00 8:00 4:00/8:00 by asking questions following the performance. Both are great ways to enrich 21 22 23 24 25 26 27 your experience in the theatre! December 2:00/6:00 7:30** 7:30** 8:00 8:00 4:00/8:00 sun mon tue wed thu fri sat

28 1 2 3 4 5 2:00/6:00 7:30 7:30 7:30 Private Event 4:00/8:00

OH COWARD! Pre-show lectures: 6 7 8 9 10 11 12 MARCH 2:00/6:00 7:30 2:00/7:30** 8:00 8:00 4:00/8:00 sun mon tue wed thu fri sat Sunday, January 3, 2010 at 5pm 13 14 15 16 17 18 19 1 2 3 4 5 6 2:00 7:30 7:30** 8:00 8:00 4:00/8:00 7:30** 7:30 8:00 8:00 4:00/8:00 Sunday, January 31, 2010 at 5pm 20 21 22 23 24 25 26 7 8 9 10 11 12 13 Sunday, February 7, 2010 at 5pm 2:00/6:00 7:30** 7:30 4:00/8:00 2:00/6:00 2:00/7:30 8:00 8:00 4:00/8:00 27 28 29 30 31 14 15 16 17 18 19 20 2:00/6:00 7:30 7:30 2:00/6:00 2:00/7:30 8:00 8:00 4:00/8:00

JANUARY 21 2:00 OH COWARD! Post-show discussions: sun mon tue wed thu fri sat featuring actors from Oh Coward!, will take place immediately 1 2 following the performance on the following dates: 4:00/8:00 3 4 5 6 7 8 9 Wednesday, December 9, 2009 2:00/6:00* 7:30** 2:00/7:30 8:00 8:00 4:00/8:00 10 11 12 13 14 15 16 Wednesday, December 16, 2009 2:00 7:30 7:30 8:00 8:00 4:00/8:00

Tuesday, December 22, 2009 17 18 19 20 21 22 23 2:00/6:00 7:30 7:30 8:00 8:00 4:00/8:00 Tuesday, January 5, 2010 24 25 26 27 28 29 30 Wednesday, February 17, 2010 2:00/6:00 7:30 7:30 8:00 8:00 4:00/8:00

Tuesday, February 23, 2010 31 2:00/6:00* Wednesday, February 24, 2010 Tuesday, March 2, 2010 *Pre-Show Lectures **Post-Show Discussions

28 oh coward!: Backstage oh coward!: Backstage 29