By Oscar Wilde Adapted and Directed by Alan Stanford July 11-27, 2013 the Charity Randall Theatre Pittsburgh Irish & Classical Theatre World War I Has Just Ended

PITTSBURGH IRISH & CLASSICAL PITTSBURGH THEATRE

by Oscar Wilde adapted and directed by Alan Stanford July 11-27, 2013 The Charity Randall Theatre Pittsburgh Irish & Classical Theatre World War I has just ended. Don Juan, presents shell-shocked and repentant, returns to Berlin, which is as damaged as he is. On a quest to Lady Windermere’s Fan find the love he left at the altar, he finds himself by Oscar Wilde increasingly at odds with the man he used to adapted and directed by Alan Stanford be. After years of abstinence, can he resist the Lady Windermere Jodi Gage* debauchery that once made his name? Lord Windermere Leo Marks* Lord Darlington John DeMita* Mrs. Erlynne Nike Doukas* The Duchess of Berwick Helena Ruoti* Lord Augustus Lorton Martin Giles* Mr. Dumby James FitzGerald* Mrs. Cowper-Cowper Lily Davis Lady Plymdale Lisa Ann Goldsmith* Mr. Cecil Graham Casey Jordan Mr. Guy Barkley Jordon Ross Weinhold Lady Agatha Carlisle Heidi Friese Mr. Hopper Luke Halferty Sir James Royston Dylan Marquis Meyers Lady Jedburgh Colette Freiwald Parker the Butler David Whalen* Ms. Graham/Rosalie Hannah R. Morris Scenic Designer Lighting Designer Costume Designer Michael Thomas Essad Cat Wilson Joan Markert Sound Designer Production Manager Technical Director Steve Shapiro Gianni Downs Aaron Bollinger Props Master Stage Manager Scenic Charge Artist Johnmichael Bohach Cory F. Goddard* Jennifer Kirkpatrick Voice & Dialects Assistant Stage Manager Master Electrician By Odon Von Horvath in a new English version by Duncan MacMillan Natalie Baker Shirer Joanna Obuzor* Madeleine Steineck U.S. Premiere starring David Whalen as Don Juan. August 8–31 Assistant Stage Manager Henry Heymann Theatre in the Stephen Foster Memorial, Oakland Garrett Kerr

PLEASE NOTE: The video and/or audio recording of any of the performances in Tickets at picttheatre.org or call 412.561.6000 x207 Lady Windermere’s Fan by any means whatsoever is strictly prohibited.

Professional Theatre in Residence at *Member of Actors’ Equity Association, the University This production runs approximately 2 hours and the Union of Professional Actors and THEATRE of Pittsburgh 20 minutes including one intermission. Stage Managers in the United States. Lady Windermere’s Fan Production Staff & Crew

Asst. Technical Directors...... Jacob Rothermel, Luke Foco Asst. Master Electrician...... Duncan Lynch Apprentices in Electrics...... Douglas Roberts, Regina Tvaruzek Light Board Operator...... Douglas Roberts Sound Engineer...... Stephen Tipton Sound Board Operator...... Stephen Tipton Carpenter...... Vincent Lobello Wardrobe...... Ali Roush Stitchers...... Michael Montgomery, Kate Bagin would like to thank Apprentice in Stage Management...... Stephen Brakey Intern in Painting...... Natalie Flango Intern in Properties...... Pia Marchetti our 2013 Media Sponsors! Education Consultants...... Mimi Botkin, Mona Rush Dramaturg...... Emily Anne Gibson Box Office...... Helen Radkoff Volunteers in Production...... Peter Landwehr, Mieke Boubjerg

Special Thanks

Bob & Mary Ann Wittig, Sara Steelman, Peter Landwehr, Mieke Boubjerg, Heather Helinsky, Emily Anne Gibson, Jon Ward, Nick Wright, Carnegie Mellon School of Drama, Point Park Playhouse, Prime Stage Theatre, Pitt Repertory Theatre, Artifacts.

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twitter.com/PICTPlays About the Playwright Timeline: the Life of Oscar Wilde

Oscar Wilde was an Anglo-Irish novelist, 1854: Oscar Fingal O’Flahertie Wills Wilde is born into a respectable and well- connected Irish family. playwright, poet and critic, and a celebrity in late 19th century London. 1871: Wilde starts studying classics at Trinity College in Dublin. 1874: Wilde moves to Oxford where he continues his study of classics and begins Oscar Fingal O’Flahertie Wills Wilde was writing poetry. born in Dublin on 16 October 1854. His father was a successful surgeon and his mother a 1881: Wilde publishes his first collection of poetry. writer and literary hostess. Wilde was educated 1882: Wilde goes on a year-long lecture tour in the United States. He also produces at Trinity College, Dublin and Magdalen Col- his first play, Vera, or The Nihilists, in New York City, but it receives little lege, Oxford. While at Oxford, Wilde became favorable attention. involved in the aesthetic movement. After he 1883: Wilde lectures throughout England and writes his second failed drama, The graduated, he moved to London to pursue a Duchess of Padua. literary career. 1884: Wilde marries Constance Lloyd. In the following two years, his sons are born. His output was diverse. A first volume of his 1887: Wilde writes for Women’s World and helps to rejuvenate the magazine. poetry was published in 1881 but as well as 1888: Wilde publishes a collection of fairy tales called The Happy Prince and Other composing verse, he contributed to publica- Tales. tions such as the ‘Pall Mall Gazette’, wrote fairy stories and published a novel 1891: Wilde publishes several works, including a book of short stories, essays on The Picture of Dorian Gray (1891). His greatest talent was for writing plays, and aestheticism, and The Picture of Dorian Gray. This is also the year he meets he produced a string of extremely popular comedies including Lady Windermere’s Lord Alfred Douglas (“Bosie”), with whom he becomes infatuated. Fan (1892), An Ideal Husband (1895) and The Importance of Being Earnest (1895). Salomé was performed in Paris in 1896. 1892: Lady Windermere’s Fan is produced in London and becomes Wilde’s first success in the theatre. He also writes Salomé, which is banned from production Drama and tragedy marred Wilde’s private life. He married Constance Lloyd in England due to its depiction of Biblical characters. in 1884 and they had two sons, but in 1891 Wilde began an affair with Lord 1893: Wilde returns to the London West End with A Woman of No Importance, which Alfred Douglas, nicknamed ‘Bosie’. In April 1895, Wilde sued Bosie’s father, the receives similar acclaim to Lady Windermere’s Fan. Marquis of Queensberry, for libel, after the Marquis has accused him of being 1894: Though it remains unproduced, Salomé—originally written in French—is homosexual. Wilde lost and, after details of his private life were revealed during published in English for the first time. the trial, was arrested and tried for gross indecency. He was sentenced to two 1895: Following the West End openings of An Ideal Husband (in January) and The years of hard labour. While in prison he composed a long letter to Douglas, post- Importance of Being Earnest (in February), Wilde enters a legal battle with the humously published under the title De Profundis. His wife took their children to Marquis of Queensberry, Lord Alfred Douglas’s father. Queensbury accuses Switzerland and adopted the name ‘Holland’. Wilde was released with his health Wilde of sodomy, and Wilde sues for libel. Queensbury is acquitted and Wilde irrevocably damaged and his reputation ruined. He spent the rest of his life in is arrested, tried, and found guilty of “gross indecency” – homosexuality. He Europe, publishing The Ballad of Reading Gaol in 1898. He died in Paris on 30 is sentenced to two years hard labor. November 1900. 1897: Wilde is released from prison, lacking both money and good health. He lives out the rest of his life exiled in France. 1900: Wilde converts to Catholicism on his deathbed and passes away from “Oscar Wilde,” from the BBC website, http://www.bbc.co.uk/history/historic_figures/wilde_ meningitis. oscar.shtml Lady Windermere’s Fan Acting Company

Lily Davis (Mrs. Cowper-Cowper) graduated from Point Park University’s acting program just this past May! She couldn’t be more grateful to be working for PICT as her first professional job. Lily worked with Alan Stanford in her last show, The School for Scandal, at PPU as Lady Teazle. Before that Lily was seen LEVINFURNITURE as Elizabeth Proctor in The Crucible, also at PPU. Other credits levinfurniture.com include Jane in 800 Words with Caravan Theatre Group, for which she was mentioned in the Pittsburgh Post-Gazette this past year; Cassie in A Chorus Line; Her Sidekick in The Time of Your Life; a & few student-directed one-acts (all at PPU); and Miss Sandwich in The Elephant Man at PrimeStage Theatre last year. She also had the pleasure of being a part of the 2013 New York Senior Showcase in May. Thank you to Alan for all of the inspiration and opportunities, as well as to James FitzGerald, Marty Giles, and Jodi Gage, who have strongly influenced me in the past year in the classroom and in rehearsals. Thank levinmattress.com you also to the entire cast and crew of Lady W; I couldn’t be more excited!

John DeMita* (Lord Darlington) returns to PICT, where he previously played Jack Lawson in David Mamet’s Race in 2011. Additional acting credits include the world premieres of Liberty Inn and A Magic Christmas (Andak Stage Company) and shows at Proud to The Hollywood Bowl, Geffen Playhouse, American Conservatory Theater, Intiman Theater, Oregon Shakespeare Festival, and Pacific Resident Theatre, of which he is a founding member. Directing credits include The Elephant Man, Betrayal, and The Misanthrope for Andak Stage Company in North Hollywood, as well as productions at El Camino College, Citrus College, Santa Ana College, Cal State Long Beach, and College of the Canyons. John has performed on television, most Support recently in All My Children, Medium, Dirt, Without a Trace, CSI, and four seasons on JAG. He is an accomplished voice actor and director for animation, video games and live action, with credits that include Mad Men, The Great Gatsby, Rectify, Zero Hour, RED 2, Pacific Rim, Now You See Me, Binary Domain, The Invincible Iron Man, The Animatrix, Lilo and Stitch, Princess Mononoke, Naruto, and the voice of Jet Li in 12 movies. John is a graduate of Yale University and the American Conservatory Theatre in San Francisco. In addition to this Great Theatre other work, this fall he will begin teaching at the USC School of Dramatic Arts. in Pittsburgh

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Lady Windermere’s Fan Acting Company

Nike Doukas* (Mrs. Erlynne) returns to PICT, where she most recently appeared in The School for Lies as Celimene and with the Chekhov Celebration as Olga in Three Sisters, Anna in Ivanov, and Popova in The Bear, as well as directing The Proposal. Previous productions at PICT: House and Garden, Betrayal, Celebration, and An Ideal Husband. Other regional credits include South Coast Repertory Theatre, The Mark Taper Forum, The Old Globe, The Pasadena Playhouse, Shakespeare Festival LA, Berkeley Repertory Theatre, The American Conservatory Theatre, A Contemporary Theatre, Shakespeare Santa Cruz, and The Berkeley Shakespeare Festival. Television credits include a recurring role on Desperate Housewives. She has an MFA from The American Conservatory Theatre and is a recipient of the 2011 Lunt Fontanne Fellowship.

James FitzGerald (Mr. Dumby) is most happy to return for his sixth season with PICT. Other Pittsburgh appearances include productions for Pittsburgh Public Theater, Quantum Theater, and Bricolage. James has performed sixteen seasons with Chicago Shakespeare Theater, as well as making numerous appearances at Marriot’s Lincolnshire Theater, Chicago’s Second City, ETC., The Royal George, Apple Tree, and many other Chicago-area theaters. Regionally he has performed at Baltimore Shakespeare Festival; Cape May Stage, NJ; Milwaukee Rep; the Nebraska Shakespeare Festival; and the North Carolina Shakespeare Festival; he was also a member of the Off-Broadway Company of Rose Rage directed by Edward Hall. James is the recipient of two of Chicago’s Joseph Jefferson Awards (Best Supporting Actor), a Jeff Citation (Best Actor) and Chicago’s After Dark™ Award as Author - Best New Work and was cited by the Pittsburgh Post-Gazette for his work in their listing of the Best of Pittsburgh 2011 and 2012.

Colette Freiwald (Lady Jedburgh) is returning for her second season at PICT, last appearing as Anfisa in Three Sisters and a Party Guest in Ivanov. She recently played Mrs. Partridge in Walk Two Moons for Prime Stage. Colette graduated from Point Park University, where her many roles included Hilda Manney in Room Service and Theresa in The Hostage with Obie Award winner Geoff Garland. Other credits include Winifred in Once Upon A Mattress Get real Provider Ratings from real Highmark members, and Leona in Do I Hear a Waltz? at the St. Lawrence Summer before you decide where to get care. Explore this and other Playhouse. Colette has done numerous voice-overs, commercials, powerful new tools built to save you time and money. and industrial training films as well as independent films. She is thrilled to be back at PICT.

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*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. 13-02712 City Theatre 6x9_B&W_GYM.indd 1 3/20/13 4:25 PM Lady Windermere’s Fan Acting Company Proud Supporters of the Heidi Friese (Lady Agatha Carlisle) is a recent graduate of Point Park University, where she received a BA in theatre arts. Past PITTSBURGH IRISH & CLASSICAL THEATRE conservatory productions include Evita, Peter and the Wolf (Bird), A Chorus Line (Connie), M33 ( June Havoc), and The Producers 2013 Season Our Class (Usherette). For the Christmas season, she will be playing Phyllis The Kreutzer Sonata Who in the non-Equity tour of How the Grinch Stole Christmas. A Lady Windermere’s Fan Don Juan Comes Back From the War special thank-you to Alan for all his continued love and guidance. A Skull in Connemara Mark 5:36 Sherlock Holmes and The Crucifier of Blood

Jodi Gage* (Lady Windermere) is in her first season with PICT. Most recently, she was seen as Becky in Becky’s New Car at The REP. Past credits include A Musical Christmas Carol (Soloist) at Pittsburgh CLO; Dutchman (Lula) Workshop Production; Crimes of the Heart (Meg) with Theatre Factory; and Working (Housewife) in Hamilton, Forensic Accounting | Litigation Support | Scotland. Last summer she participated in SITI Company’s summer Valuations | Fraud & Risk Management | training program, in which she studied with Anne Bogart as well as Corporate Governance | International Consulting other SITI company members. Jodi is a performing artistic affiliate Fabian O’Connor, CPA and managing director of Mozawa, an international company that www.fvl.us.com creates original works of interdisciplinary art. She is also a current 412-201-7530 MFA candidate at Point Park University and a proud member of Actors’ Equity Association.

Martin Giles* (Lord Augustus Lorton) is in his twelfth season with PICT. Last season he appeared in Ivanov and Afterplay in the Chekhov Celebration, and in The School for Lies. This season he has previously appeared in The Kreutzer Sonata. Other recent work includes two shows for Quantum Theatre, as director of John Gabriel Borkman and as actor in Dream of Autumn. This past semester, he taught acting at Carnegie Mellon University.

Connecting People’s Resources with People’s Needs Lisa Ann Goldsmith* (Lady Plymdale) is thrilled to be returning to In the past 55 years, 146 countries have been received PICT, where she appeared previously as Arte O’Neal in The Shaughraun, Caroline Bingley/Mrs. Gardiner in Pride and Prejudice, and Bertha aid from the various programs of BBF. Over 97,400 tons Rochester in (and assistant director of ) Jane Eyre. Off-Broadway of medical supplies and equipment, pharmaceuticals, credits: Manhattan Ensemble Theatre, Primary Stages, Protean Theatre textbooks and humanitarian relief have been shipped Company, and HERE Theatre. Regional credits: Theatre by the Sea, via land, sea and air to those in need. Ivoryton Playhouse, Human Race Theatre Company, Tulsa Shakespeare in the Park, River Rep, and Queens Theatre in the Park. Pittsburgh credits: Pittsburgh Public Theater, PICT, Unseam’d Shakespeare, Pittsburgh CLO, Quantum Theatre, and The REP. Film credits: The 1200 Galveston Avenue, Phone: 412-321-3160 Lifeguard (Dramatic Competition Nominee - Sundance Festival 2013), The Next Three Days, Love Pittsburgh PA, 15233 Fax: 412-321-3325 and Other Drugs, One for the Money, Mombies, and the upcoming Progression and The Umbrella www.brothersbrother.org [email protected] Man. She is a proud member of AEA, SAG-AFTRA, and SDC. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Lady Windermere’s Fan Acting Company "…remembering is essentially not only an act of retrieval but a creative thing, it happens in the moment, Luke Halferty (Mr. Hopper) is extremely excited to be making it’s an act, an act…of the imagination.” his PICT debut! Currently pursuing a BFA in acting from Point Park University, Luke is extremely humbled to be joining such an amazing cast. Point Park credits include The Crucible (Rev. Parris), The School for Scandal (Rowley), The Outsiders (Dallas), and Afternoon of the Elves (Mr. Lennox). He has also worked with St. Vincent Summer Theatre in Too Many Cooks. Luke would like to thank Alan, as well as the rest of the cast and production team, for making this such a great learning experience. He also sends a special thanks to his friends and family for their love and support.

Casey Jordan (Mr. Cecil Graham) is a recent graduate of Wright State University in Dayton, Ohio. Recent professional credits include The Admirable Crichton, the world premiere of Louisa May Alcott’s Little Men, Ancestral Voices, Dr. Knock, and Stuart Little. University credits include Bassanio in Merchant of Venice, Lord Evelyn Oakleigh in Anything Goes, and the title role in Andrew Lloyd Webber’s The Phantom of the Opera. He is thrilled to be making his Pittsburgh debut with PICT.

Leo Marks* (Lord Windermere) is in his fourth season at PICT. Previous PICT credits include Robert in Betrayal, Gibbs in The Hothouse, Algernon in The Importance of Being Earnest, Gavin Ring-Mayne in House & Garden, Tuzenbach in Three Sisters, Smirnov in The Bear, Lvov in Ivanov, and Frank in The School for Lies. He also directed Swansong as part of last summer’s Chekhov Celebration. He recently originated the role of Footnote in Noah Haidle’s Smokefall at South Coast Repertory. Other stage credits include Berkeley Rep, Seattle Rep, D.C.’s Shakespeare Theatre Tickets: $36-$49; $18 Student Company, the Intiman, the Kirk Douglas, the Ahmanson, the Call Quantum at 412-362-1713 Geffen Playhouse, the Old Globe, the Pasadena Playhouse, Actors Theater of Louisville, or visit www.quantumtheatre.com and Playwrights Horizons. He was a founding member of New York’s acclaimed Elevator Repair Service theater company. Awards include an Obie, several LA Weeklies and a Bay Area Critics Circle nomination, and he was named a Pittsburgh Post-Gazette Performer of the Year last year, along with the fabulous Mary Rawson and Tami Dixon.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Lady Windermere’s Fan Acting Company

Dylan Marquis Meyers (Sir James Royston) is in his second NEVER UNDERESTIMATE season with PICT and will be a senior theatre arts major at Pitt this fall. He is a graduate of the Stella Adler Studio of Acting (NYC) THE POWER OF A 2012 Summer Conservatory. Previous productions: Kynaston in Compleat Female Stage Beauty (Pitt Rep), Senator Vaughn in wish on GREAT PERFORMANCE. the sun (Oakland Shakespeare Company), Q in prayer for death and We are proud to support the bicycle (OSC), assistant director for Cleansed (Pitt Rep Lab), Bob in Pittsburgh Irish & Classical Theatre. Lloyd’s Prayer (Band of Brothers Shakespeare), Cecily-Understudy/ waiter in The Importance of Being Earnest (PICT).

Hannah Morris (Miss Graham, Rosalie) is a rising junior acting major at Point Park University. She recently worked with Alan in The School for Scandal at the Pittsburgh Playhouse. Many thanks to everyone involved in the show. Enjoy the performance!

Helena Ruoti* (The Duchess of Berwick) returns for her seventh season with PICT, where she last appeared as Arsinoe in The School for Lies and in the Chekhov Celebration. Most recently, Helena appeared as Polly in Other Desert Cities at the Pittsburgh Public Theater. Previous PICT credits include House & Garden, Antony and Cleopatra, The Seagull, Hamlet, Heartbreak House, King Lear, Rock ‘n’ Roll, and What the Butler Saw. Helena is a former Pittsburgh Post-Gazette Performer of the Year and a recipient of the Pittsburgh Cultural Trust’s Achievement Award for Established Artist. She has also been awarded City Theatre’s Robert M. Frankel Award for outstanding commitment to new play creation and support of the arts.

Jordon Ross Weinhold (Mr. Guy Barkley) is excited to be making his PICT debut! Favorite credits include Bottom in A Midsummer Night’s Dream, Roger in The Producers, Sweeney in Sweeney Todd, The Baker in Into the Woods, Matt in The Fantasticks, and most recently, Sir Peter Teazle in The School For Scandal (directed by Alan Stanford). He has proudly directed his own adaptation of Manuel Puig’s Kiss of the Spider Woman at Point Park University. Jordon recently graduated with a BA in musical theatre at Point Park University. A big thank-you to Mr. Stanford for this opportunity. Affiliated with the University of Pittsburgh School of Medicine, UPMC is ranked among the nation’s top 10 hospitals by U.S. News & World Report.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Lady Windermere’s Fan Acting Company / Artistic & Production Staff

David Whalen* (Parker the Butler) is marking his eighth season with PICT. He will also be appearing in Don Juan Comes Back from the War and reprising the title role in Sherlock Homes & The Crucifer of Blood. Among his 20 performances for the company, favorites include the Chekhov Celebration, Pinter Celebration, Julius Caesar, Stuff Happens, Doubt, Salome, King Lear, Pride and Prejudice, and The Lieutenant of Inishmore. Elsewhere in Pittsburgh, he has been seen in Good People, God of Carnage, As You Like It, and The Royal Family (Pittsburgh Public Theater); The Monster in the Hall, Opus, and Speak American (City Theatre); Cymbeline (Quantum); and August: Osage County (The Rep) and directed Take Me Out for barebones productions. In 2012, he was named the MVP Performer by the Pittsburgh Post-Gazette as well as being recognized as Performer of the Year for 2007. He has appeared across the country and in Europe in productions at The Roundabout, South Coast Rep, Alley Theatre, Philadelphia Theatre Company, Arden Theatre, Hartford Stage, Center Stage, Laguna Playhouse, Peoples Light & Theatre, Venice’s Bienalle Festival, and Playmakers Rep, among others. TV and film credits include Jack Reacher, Black Dahlia, Without Warning, Three Rivers, All My Children, and The Guiding Light.

Johnmichael Bohach (Props Master) is on staff at the University of Pittsburgh as Pitt Repertory Theatre’s prop shop supervisor as well as the props coordinator at the Pittsburgh Opera. He also works locally with Prime Stage Theatre, Microscopic Opera, Pittsburgh CLO, Carnegie Mellon’s School of Music and Drama, Renaissance City Choirs, and Stagedoor Manor of Loch Sheldrake, NY in capacities including scenic design, props, and scenic painting. Select design credits include The Great Gatsby, Fahrenheit 451, The Elephant Man, The Glass Menagerie (Prime Stage), Riders to the Sea, Lizbeth, Three Decembers (Microscopic Opera), and Dido and Aeneas (Renaissance City Choirs). Johnmichael is a graduate of the University of Pittsburgh with BAs in theatre arts and architectural studies. www.jmbsetdesigns.com

Aaron Bollinger (Technical Director) is also the head of technical theatre at Point Park University in Pittsburgh. He is an MFA graduate of Yale School of Drama’s technical design and production department. Previously, Aaron was assistant professor of technical production at FSU’s School of Theatre. His research focuses on efficiency of use and design of dynamic scenery, both projected and automated. His research and work has given him the opportunity to hold many unique positions: database designer for Spiderman-Turn off the Dark’s immense automated scenic design on Broadway; draftsman as a subcontractor for The Lion King’s Pride Rock built by Hudson Scenic; production manager and technical director for Pennsylvania Shakespeare Festival; illustrator for the books Control Systems for Live Entertainment: Third edition and Show Networks and Control Systems by John Huntington; video/media supervisor for the Arts + Ideas Festival in New Haven, CT; assistant technical director at Elon University, Maine State Music Theatre, and Orlando Shakespeare Festival; and many other positions. He would like to thank his wife, son, and daughter for their support and patience.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Lady Windermere’s Fan Artistic & Production Staff

Gianni Downs (Production Manager/Resident Scenic Designer) is pleased to be returning to PICT for his eighth season to design Our Class, The Kreutzer Sonata, and A Skull in Connemara. While in Pittsburgh, he has designed over 45 plays for PICT, including House & Garden, Race, Pinter Celebration, Crime and Punishment, The History Boys, The Lieutenant of Inishmore, Playboy of the Western World, and The Mask of Moriarty. Regionally, he has had the pleasure of designing for The Repertory Theatre of Saint Louis, Merrimack Repertory Theatre, City Theatre, Prime Stage Theatre, The Stoneham Theatre, and the Point Park The best offense is . . . 412.338.4750 www.mbo-pc.com Playhouse REP among others. Gianni is the recipient of a Kevin Kline Award in Excellence A law firm dedicated to defending healthcare professionals in Scenic Design for In the Next Room or the vibrator play and has been nominated for Crime and Punishment and The Lieutenant of Inishmore, as well as a nomination for an Independent Reviewers of New England Award for Stoneham Theatre’s The Dazzle. Academically, Gianni received an MFA from Brandeis University, taught at Point Park University, served as a member of the special faculty in scenic design at the Carnegie Mellon University School of Drama, was an assistant professor of theatre at Westminster College, and will be joining the faculty of the University of Pittsburgh in the fall. His portfolio can be viewed online at www.giannidesigns.net.

Michael Thomas Essad (Scenic Designer) is thrilled to be designing for PICT for the first time. A Pittsburgh native, Michael has worked as a technical director and scenic designer for more years than he cares to admit. He is currently the technical director and a resident scenic designer at The Pittsburgh Playhouse and Point Park University. More than twenty- five design credits for the Playhouse include The School for Scandal, The Producers, Light in the Piazza, Buried Child, That Championship Season, Hair, Thoroughly Modern Millie, The King of Hearts, Reefer Madness, Ah, Wilderness!, Can Can, and She Loves Me. Career highlights also include a production of Contact at the Asolo Theater in Sarasota, Florida; scenic design and technical direction for a live bird show at Pittsburgh’s National Aviary; and being a technical supervisor for the Disney half-time show for Super Bowl XXIX. Other career credits include technical director at the Pittsburgh Public Theater and the Coconut Grove Playhouse in Miami, Florida, from which he sent several shows to Broadway. Other WHO’SWHO’S theater credits include Berkeley Repertory Theater, California Shakespeare Festival, Actors Playhouse in Miami, and the California Theater Center in Sunnyvale. Cory F. Goddard* (Production Stage Manager) is in his ninth season with PICT. A YOURYOUR MAMA?MAMA? graduate of Baldwin-Wallace College in Cleveland, he is happy to call Pittsburgh his home now. Cleveland area stage management credits include Parade, The Laramie Project, The 24- Hour Theatre Project, Grey Gardens, and the non-Equity premieres of Brooklyn, Phantom of the Opera, and [title of show]. In Pittsburgh his credits include Neighborhood 3: Requisition of Doom for Bricolage and August: Osage County for The REP. Past PICT credits include BeckettFest, the Synge Cycle, the Pinter Celebration, the Chekhov Celebration, Heartbreak House, Othello, House & Garden, Antony and Cleopatra, The Lieutenant of Inishmore, Jane Eyre, The History Boys, Doubt, In the Next Room or the vibrator play, Stones in his Pockets, Private Lives, Stuff Happens, Boston Marriage, Our Class, The Kreutzer Sonata, and Salome. He would FOR RESERVATIONS: (412) 621.SAUCE like to thank Alan, Rebekah, Vicky, Jo, Alicia, Phill, Liz, The Wetness, and Gianni. “I am a man of simple tastes, I am easily satisfied by the best” --Oscar Wilde. under the clock at Forbes & Oakland *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Our 2013-2014 Season Lady Windermere’s Fan Artistic & Production Staff

Garrett Kerr is currently a senior stage manager at Point Park University and he is so excited to be working with PICT this summer! Assistant stage management credits at the Pittsburgh Playhouse include La Ronde, A Child’s Guide to Heresy, Evita, Pittsburgh’s Mr. Aviation, and Chess. His stage management credits include the Raymond Lane One-Acts Festival, Seven Guitars, and Honk! Jr. Garrett will be working with Carrnivale Theatrics later in the summer on a production of In The Heights.

Jennifer Kirkpatrick (Scenic Charge Artist) is pleased to be joining PICT for her first season. She holds a BFA in production design and technology from Ohio University and has also worked for three seasons as an apprentice with the Santa Fe Opera. She more recently has worked as scenic charge artist for companies including University of Pittsburgh Theatre Arts Department, Guiding Star Dance Foundation, Lincoln Park Performing Arts Center, and CLO Academy, and as scenic artist for GALA Hispanic Theater Company and West Allegheny High School.

Joan Markert (Costume Designer) is pleased to be designing for PICT Theatre. Previous designs and costumes for PICT include The School For Lies, The School for Scandal, Hobson’s Choice, The Importance of Being Earnest, and The Mask of Moriarty. Joan is in her thirty- second season with the Pittsburgh Playhouse. Her designs have been seen in productions for all four of the Playhouse companies. Some of her favorite projects include The School For Scandal, Carousel, Les Liaisons Dangereuses,City of Angels, Tartuffe, Anything Goes (twice), and Contact with the Conservatory Theatre Company; Yo, Vikings!, The Hobbit, Kira:The Young Hunter, Six Canterbury Tales, and Pinocchio with Playhouse Jr.; Counter Pulse, Twelve Dancing Princesses, The Little Mermaid, and Cinderella (twice) with the Conservatory Dance Company; and A Child’s Guide to Heresy, Riddley Walker, Breaker Morant, Threepenny Opera, and Eastburn Avenue with The REP. Joan has also worked with theatres in the Pittsburgh region including the Jewish Theatre of Pittsburgh, where she lent her talents to I’m Not Rappaport and Lebensraum; and PrimeStage, where she costumed The Snow Girl and A Little House Christmas. A graduate of Grinnell College in speech and theatre and CMU with a MFA degree in costume design, she has lived in Pittsburgh since 1978.

Joanna Obuzor* (Assistant Stage Manager) is happy to be back with PICT for her third season. She has stage-managed for several theatres including City Theatre, Texture Contemporary Ballet, Carnegie Mellon University, Opera Theater of Pittsburgh, TriArts Sharon Playhouse, University of Pittsburgh, Prime Stage Theatre, Attack Theatre, South Park Theatre, and the Kennedy Center American Theatre Festival. Some favorite credits include Sam Bendrix at the Bon Soir (City Theatre), Blackbird (City Theatre), Blur (Texture), and Porgy and Bess (Opera Theater), as well as her time with The Pittsburgh Tap Ensemble. Joanna has also toured internationally to France, Belgium, and Mexico. Joanna is a proud member of Actors’ Equity.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Three Great Shows - One Fantastic Season www.primestage.com Lady Windermere’s Fan Artistic & Production Staff

Steve Shapiro (Sound Designer) currently serves as resident sound designer and engineer for The Pittsburgh Playhouse at Point Park University, where he has designed almost every production since his arrival in 2010, including last April’s The School For Scandal, directed by Alan Stanford. Before moving to Pittsburgh, Steve had spent 20 years in south Florida, 16 of those as sound designer for The Coconut Grove Playhouse , designing over 85 productions and working with such disparate artists as Jimmy Buffet, Jack Klugman, Tony Randall, Len Cariou, Anthony Newley, and Bea Arthur. Other theaters Steve has designed for include Palm Beach Dramaworks, Syracuse Stage, The 92nd Street Y in NYC, The Cleveland Playhouse, The Caldwell Theater, and The George Street Playhouse. He has helmed the sound board for the National tour of Menopause The Musical from 2006 to 2010, and has also toured with The Ramones, The Replacements, and Pia Zadora. Other credits include the Russian language premiere of The Skin Of Our Teeth in Novosibirsk, Russia; helming the sound board for the 1995 South American Tour of Phantom Of The Opera; and the score composition and sound design of Alan Ginsburg’s only play, Plutonian Ode.

Natalie Baker Shirer (Voice & Dialects) Having become associated with PICT at its founding, Natalie is delighted to be starting her seventeenth season as its resident voice and dialect coach and is guided by PICT’s mission of actor-centered, text and language-driven theatre. As associate professor of speech, accents, and dialects at Carnegie Mellon School of Drama, she also collaborated with the Open Learning Initiative at CMU, creating an online learning course, American English Speech, currently in use by students worldwide. Her outreach program, My True Voice, has brought thousands of at-risk children the benefit of instruction in standard American English by selected student volunteers at the CMU School of Drama.

Alan Stanford (Director) was for the past 30 years a principal director and leading actor with the renowned Gate Theatre, Dublin. He founded Ireland’s Second Age Theatre. For the past five years, Alan has been a part of the PICT family and moved to Pittsburgh permanently two years ago. He most recently directed The Kreutzer Sonata for PICT and The School for Scandal for Point Park Conservatory, and his previous directing credits include works by Shakespeare, Molière, Noel Coward, Oscar Wilde, Shaw, and Brecht. He directed PICT’s record-breaking production of the Sherlock Holmes mystery The Mask of Moriarty in 2011, and will direct Sherlock Holmes & The Crucifer of Blood this December. Next, he will direct Don Juan Comes Back from the War, opening August 8th.

Cat Wilson (Lighting Designer) is honored to be working with PICT for the first time. A Chicago-based designer for theatre, opera, dance, and live events, she received her MFA in lighting design from Carnegie Mellon University. She has recently worked with companies such as Opera Theatre Pittsburgh, Hiawatha Project, Li Chiao-Ping Dance Company, Jackalope Theatre Company, The Hangar Theatre, and The Den Theatre, where she is the technical manager. She also recently received the 2013 Joseph Jefferson Award for Lighting Design. www.catwilsondesigns.com

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Oscar Wilde: 20th Century Playwright -- by Alan Stanford

“The world was my oyster, but I used the wrong fork.” --- Oscar Wilde Bravo! UPMC Health Plan is proud to support the Oscar Wilde was fascinated by Pittsburgh Irish & Classical Theatre. corruption. Corruption in all its forms. And not merely by the acts of corruption themselves but by the effect they had on other people’s thinking. He himself was no stranger to several corrupt practices - as his own time might have viewed them - and he was an eager observer of the corrupt world in which he walked and worked. Late Victorian English society was a world of double standards. It was a world of beauty, art and culture; of industry and scientific achievement. It was also a world in which a political and commer- cial empire had been built on the oppression of various races all over the globe, as well as at home. While the vast number of workers earned appallingly little and lived in the most basic of accommodation, with little hope and less education, those of privilege and rank occupied a world of plenty and power. The very heart of this particular world, with all its self-regard, self-centeredness, and sheer snobbery, was Mayfair. It was within this tiny area of central London that half the world’s wealthiest people resided when ‘in town’, and otherwise would retire to their country estates to shoot innocent game and chase foxes: “the unspeakable in full pursuit of the inedible” as Wilde described them. The very fabric of social manners and behaviors as we now know them were established in the Victorian period, much of it a result of the somewhat puri- tanical attitudes of Albert, the prince consort. This was the man who changed the rather vivacious and bubbly Princess Victoria into the dreadnought queen we remember her as being. His attitude to education was surprisingly modern; his attitude to morals led to stockings being placed on the legs of pianos. In Victorian society the rules of what was right and what was wrong were laid down with such rigor that they remained rigidly in place right through the first half of the twentieth century. Edwardian attitudes may have softened them a Oscar Wilde: 20th Century Playwright -- by Alan Stanford Oscar Wilde: 20th Century Playwright -- by Alan Stanford little, but the basic moral attitude of the leaders of society changed little for always been a deep-rooted social belief in the guilt of women. Ever since Eve nearly a hundred years – in public at least. Indeed, when we nostalgically look offered Adam the apple, woman has been generally viewed as the catalyst for back to a stricter time when the lower classes knew their place and children sin. This is almost certainly due to the prevalence of male-dominated societies, were seen and not heard, we still speak of Victorian values. and Victorian England was a world ruled by men. The fact that the monarch But the pillars of the community who established this social order were, to the was a woman did nothing to benefit womankind. The queen lived always by the young and brilliant Irish writer Oscar Wilde, a source of endless fascination standards of her late husband. and amusement. Wilde was most proud of his Irish identity. “I am not English. The perfect Victorian woman was quiet, submissive, loving, loyal, and - most I am Irish, which is quite another thing.” The English had for years stereo- important – obedient; such an attitude continued long into the twentieth typed the Irish in a similar, but somewhat more brutal, way to the manner in century. Women were, rather like their children, meant to be seen and not which they stereotyped the Scots. The classic representation of an Irishman heard. The outrage that writers like Ibsen and Strindberg created when their was of a blackthorn-wielding moron with a broken nose, a thick neck, and a feminist plays were first presented was extreme, to say the least. Indeed, Ibsen’s brutal expression. The Englishman - in this evaluation - was proper, pure, and A Doll’s House was considered by English male-dominated society as little short privileged. He had distinction, he had class, and above all he had high moral of obscene. Women were to be protected, not consulted, sheltered from the evil values. He was, of course, a complete myth. of the world – and from the sins of the men. Not that there weren’t decent people in the upper echelons of Victorian society, Wilde not only saw the abuse of women by a corrupt male society but, by his but they were fighting an unenviable and uphill battle against those who used own illicit conduct, engaged in such abuse as well. But Constance Wilde was and abused their privileges: privileges acquired by birth, not by bank account. not the only deceived wife in late Victorian London. The prevalence of both Wilde saw, indeed moved in, this society of double standards. He enjoyed male and female prostitution in his time was supported not merely by the lower much of the privilege himself, or at least as much as his amused supporters classes, but right up to and including those at the very pinnacle of the social and admirers would indulge him in. But he also saw an opportunity to benefit tree. Not only sexual corruption but also drug abuse and marital violence, as artistically from his associations, and from his awareness of the corrupt under- well as the usual financial, industrial, and political corruption were rife in a belly of this ‘perfect’ world. society that prided itself on its reputation for decency and morality. Rather like the present day. In this rarefied social order, the rules of public conduct were absolute. Any fall from grace was followed by complete social ostracism. Even the suspicion Wilde also saw the future and wrote for it. From Salomé to Mrs. Erlynne, his of a social or sexual misdemeanour could banish the accused to the level of a women were modern. We can still recognize them today. They were intelligent, social outcast. More than one member of the ruling classes ended his social and they were determined to survive. If they were weak and submissive to be- career at the wrong end of a shotgun. Indeed, the elder son of the Marquis gin with, they learned from the experience that men tried to deny them, and of Queensbury (Oscar Wilde’s nemesis and father of Bosie Douglas, Oscar’s developed awareness and assuredness that made those pillars of the community, lover) suffered a tragic shooting accident when rumours abounded about a their menfolk, quake in their hand-made shoes. relationship he had engaged in with Lord Rosebery, the prime minister. By a subtle and gentle mockery of the very class whose members would eventu- Many members of the social class that condemned Wilde for his sexual in- ally destroy him he exposed their frailties and made them laugh at themselves. discretions were as guilty of them as he was. Indeed, on the very night of his He created a series of plays attacked the very fabric of society’s foundations. He arrest at the Cadogan Hotel, dozens of young gentlemen from good families mocked their beliefs and made them absurd. embarked on the night boat to Dieppe, France, where they were safe from From each of these plays, women emerge who are both the victims and the prosecution. conquerors of the very society that tries to subdue or reject them. Wilde, the For a woman to gain a bad reputation in society was the end of all possible very Irish satirist, knew that nothing ever remains the same. That society can future for her in their closed world. A woman with a past had no future. The and does change, but only at a rate that it is prepared to tolerate. But he also woman – not the man - was always the vile and wicked perpetrator of sin. understood, as any great artist does, that a little mockery can help it along the And such an attitude continued long after the days of Oscar Wilde. There has way. V Dramaturg’s Note -- by Emily Anne Gibson Dramaturg’s Note -- by Emily Anne Gibson

“Paradox though it may seem—” The Marquis of Queensbury famously accused Wilde of “posing as Somdomite Oscar Wilde wrote, “and [sic]” in 1895. Wilde sued Queensbury for libel, but he lost the case when paradoxes are always dangerous evidence suggested Queensbury’s allegation was true. The effect was swift and things—it is none the less true complete: Theatres stripped Wilde’s name from their billings. Wilde’s wife left that Life imitates Art far more the country with the sons he would never see again. And he suffered through than Art imitates Life.” three very public trials before being sentenced for “gross indecency.” His life was destroyed because one social misdemeanor was publicized. Consider: the figures on stage are actors, playing prescribed parts. Yet it was not only public figures like Wilde who were at risk of social suicide. Their words and actions are A similar fate awaited women who left their husbands or men who were dictated not only by Wilde’s one- revealed to have conducted scandalous business transactions. There could be hundred-twenty-year-old play, no ignoring or forgiving these crimes, regardless of whether the individual but by the advice and instruction in question had good reasoning behind their actions. Admitting a flawed or of their director and their own fallen person to continue to be part of good society would be a rejection of choices—how to behave in a the values, the ideals, that each aristocrat so greatly treasured. These ideals, as unique way while remaining Lady Windermere argues in Wilde’s play, are more important than the reality within the boundaries of the “rules.” Their characters, representations of real- of flawed humanity: life archetypes, must do the same in order to support the established social order. LADY WINDERMERE. We all have ideals in life, at least we all should have. Mine is my mother. The society for which Wilde wrote his plays (and the society which he depicts) is made up of aristocrats and well-connected members of the upper class. MRS ERLYNNE. Ideals are dangerous things. Realities These people are from wealthy and reputable families. Each member of this are better. They wound, but they are better. elite knows everything there is to know about the others—their families and LADY WINDERMERE. If I lost my genealogy, their estates, any known scandals of the past or present. Such a ideals, I should lose everything. society can only persist if each member acknowledges and accepts a kind of code, a promise to adhere to the traditions and customs of their class. So they MRS ERLYNNE. Everything? host exclusive parties, manage their affairs, and arrange the marriages of their daughters to respectable sons. LADY WINDERMERE. Yes.

But their existence, though firmly present and preceded by a long history, is Society needs steadfast examples and uncompromising values in order to fragile. The society they so carefully craft and cultivate can be shaken, even remain unaltered and pure. shattered, by a single individual dismissing the intrinsic rules. To prevent ruin, Throughout the early 1890s, Wilde criticized this aristocratic mindset the upstanding guardians of society must prune the undesirable elements and through his plays. While his Norwegian contemporary Henrik Ibsen was cast out those who fail to live up to society’s standards, those who cannot play criticized by the British for his dark social dramas, Wilde basked in the the role which they are assigned. A fallen man or woman is disgraced, exiled, praises that accompanied one West End hit after another. Why were Wilde’s and shamed—for accepting them could mean the collapse of society itself. social commentaries lauded by his upper-class audiences, while Ibsen’s were Wilde experienced this defense mechanism firsthand. It wasn’t his art that considered controversial and even banned? brought about his ruin; his controversial essays and novel were ultimately The key was humor. Wilde’s mastery of language and satirical wit allowed him accepted, and his social comedies were instant successes on the London stage. It to criticize his audience while eliciting praise and laughter instead of outrage was one particular aspect of his social life that appalled society: homosexuality. and jeers. Although Wilde’s plays have a lightness to them, his humor does Dramaturg’s Note -- by Emily Anne Gibson Director’s Notes to the Cast not dull his criticism but sharpens it—an insult from Wilde could stab into the It is always a joy to work with highly professional actors who understand the meaning heart of the aristocracy, leaving a clean, barely perceptible wound; and all the of both style and class. Those engaged in this production of Lady Windermere’s Fan while, the audience laughed. Wilde once proposed that “we should treat all the have been no exception. trivial things of life seriously, and all the serious things of life with sincere and We have attempted, by moving the play forward in time to the year 1947, to studied triviality.” The lightness of his plays reflect this sentiment, and indeed demonstrate that Oscar Wilde was most certainly a 20th century playwright who his dandy characters voice such philosophies. He got away with his criticism happened to live in the latter part of the 19th century. But the prejudices of the class on serious topics—including marriage and divorce, lineage and orphans, fallen upon which his characters were based were as true to their nature and attitudes well women and social exile—because he presented his views in a simple and trivial into the middle of the last century, and indeed, still survive to the present day. manner. Here are a few of my observations on the manners of these upper class denizens of Wilde also deals with truth in an unusual way. In some cases—such as The London Society that informed the cast’s approach to performance. Importance of Being Earnest—the truth does come out in the end. In Lady Windermere’s Fan, however, more secrets are kept than revealed. The satisfaction • Manners are the dance of balanced relationship between people. of watching comes from the dramatic irony of knowing the lies and—better • Manners are an acceptable barrier between people. yet—knowing which characters are privy to which truths. Audience members • Good manners are the Vaseline of social intercourse. must wait, watch, and wonder who will discover what by the end of the play, • Behaviour is appropriate or inappropriate. while managing all the secrets themselves. • People are property, especially women. So what does Wilde propose to do about the secrets, lies, and façades that society • That which is appropriate respects the barriers that demands? He puts the upper classes on stage. He gets them to pay for tickets protect property, including people. to see themselves as others see them. And as they sit in their theatre seats, he • That which is inappropriate threatens property. quietly proposes—beneath the witty dialogue and circumstantial humor—that • All who break the rules of a well-mannered society are a threat to order. perhaps there is another way, a better way, to deal with one another. While the • Order is the glue that holds society together. times change, human behavior remains the same—in 1892, in 1947, in 2013. • Society is the result of order, as is power. Through his plays, Wilde puts forth a simple argument that has yet to be fully • Society is a house of glass. It looks sparkling but can easily be shattered. accepted: “No one should be entirely judged by their past.” V • A reputation is a dangerous thing. It indicates non-normal behaviour. Emily Anne Gibson is a rising senior at Carnegie Mellon University, where • Normality is an indication of order. she studies history, English, and dramaturgy. She is currently a new work • And society is dependent on order. dramaturg with Pittsburgh playwright Maureen McGranaghan, and next • Non-normal behaviour threatens order. season at Carnegie Mellon she will be working on You Can’t Take It With You. • Non-normal behaviour threatens society and one’s position in it. • Good society is based on breeding. • Breeding in society comes from the landowning principle of stock-breeding. “Nowadays people know the price of everything and the value of nothing.” • In well-ordered society, the breeding of good stock --- Oscar Wilde must be guaranteed, controlled and protected. • Women of rank are the breeders of the future of society. • Women of rank who fall are generally unforgiven. • They have broken the order of things. • They have weakened the glass. 2013 PICT Sponsors

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Coffey Patricia Halverson John & Suzanne Graf Sally Levin Marla Perlman Dr. & Mrs. Albert Treger Frances Cohen Judith & Gerard Hamill Laurie Graham Claire & Larry Levine John Peters Nancy Vogeley Computer Associates Kathleen & Fred Hann * in-kind Pittsburgh Irish & Classical Theatre Annual Fund Donors Pittsburgh Irish & Classical Theatre Annual Fund Donors Jane Haskell Chari Mitchell Belinda & Dave Shlapak Special Gifts: Jana & Fil Hearn Daniela & Jo Shores Anonymous, in honor of Anne Mullaney Linda & Robert Heithoff Marcello Moschella Francis B. Simko, Jr. Maurice B. Cohill, in memory of my wife, Anne D. Mullaney Ronald Heller Deborah Moss Joan Smith Jamini Vincent Davies in honor of Andrew Paul & Gale McGloin Richard & Carol Heppner Earl Mounts Wilbur Snyder Mary Davitt, in memory of my father, J. Alan Davitt Carol Hochman & Samuel & Scilene Mraz James & Roberta Sosa Harvette & Richard Dixon, in honor of Richard Miller Stuart & Mary Staley William Lafe Gregory Murman Francine George, for Clara & Donald Allyson Holtz & Brian Koski Sharon Murphy Barbara Story Jeffrey & Rachel Lowden, in honor of Robert Levin Marianne Hooker Nancy Noyes Bill & Margie Strait Patrick Hughes & Peter Oanes & Dick Strojan Milton & Lois Michaels, in honor of Andrew S. Paul Wanda Wilson Lorraine Starsky Peter Ten Eyck Margaret Mima, in memory of Joseph Mima Linda & Orlando Jardini Jack & Phyllis Ochs Todd Tomasic Thomas Pandaleon & Faith Schantz, in memory of Lila Schantz Kenneth & Leota Jones Martha Oliver Patricia Ulbrich & Jeffrey Pollock, in honor of former PICT Board member, Mark Clayton Southers Perry L. Jubelirer Kristen L. Olson, Ph.D Claus Makowka Mona Rush, in memory of Renee Huff-Moody: A mother who never gave up hope that her lost son Rosalind Kaliden Scott O’Neal Barbara Van Fossen would one day be found Mary Jane Kanyok Rochelle Packard Margaret & Elaine Sadowski, in honor of Eric Nelson John Karg Marilyn Painter Christopher Vincent Anchor Fund of The Pittsburgh Foundation in honor of Cynthia Berger Lorna & Kevin Kearns Timothy Palucka Mark Weakland & J. Crilley Kelly Thomas Pandaleon & Beth Good Mary Kenny Faith Schantz Andrew Webber Dennis & Marge Kerr Elizabeth & Todd Pascuzzi Marvin & Dot Wedeen Contributions from January 1, 2012 -May 2, 2013. For corrections or information about mak- Ellen Kight Cynthia Pennington & Annie & Larry Weidman ing a tax-deductible gift to PICT, call Terry Moss at 412-561-6000. Don’t forget to see if your Michael Kirlin C. Liam Donohue Richard Weinberg & Gloria & Al Klein Joel Platt Christine Miller employer has a gift-matching program. Marcia & Glenn Klepac Jeffrey Pollock Susan Weinzierl Many thanks to the following companies for supporting PICT by matching Jeffry & Catharine Kloss Cheryl & Thomas Potance Irving Wender & their employees’ contributions: Bank of America, BNY Mellon, The Buhl Hanita & Ram Kossowsky Jack & Jill Preston Jean Gershon Foundation, Chevron, Computer Associates Inc., Gap Stores, Google, Barbara L. Widdoes Corinne Krause Rocky & Barbara Raco HJ Heinz Co. Foundation, Highmark Blue Cross Blue Shield, IBM, Macy’s Elizabeth & James Krisher Martin Regan Phil & Sarah Wildenhain Kudas Industries Douglas & Terri Reiss Rev. Phillip Wilson Foundation, Microsoft Corp., PNC Foundation, PPG Industries, Inc., UBS. Steffanie & Dennis Labate Kenny Resinski Merlyn & Jim Williams Patty & Stan Levine Chuck & Julia Reynolds Herbert & Sharyn Wolfson Frank Lieberman & Robert Richardson Terry & Janet Woodcock Beverly Barkon Anne Robb Mark & Barb Yacovone “Be yourself. Everyone else is taken.” Katherine & Lewis Lobdell Donald & Kathleen Roberts Patricia Yeager -- Oscar Wilde Peter Longini & Janet Roberts Barbara & Marc Yergin Marget Lubet Deborah Robinson Mr. & Mrs. Michael Zawoyski Jeffrey & Rachel Lowden Deborah Rosen and Molly Sinclair Judith Lydon Michael & William Zeiger Donna Macsuga Linda Rosenbaum Norma Sue Madden Donald Rosenthal & Joyce Magill Linda Tuite-Rosenthal Martha Malinzak Reva Rossman William & Doris Malter Christine & James Rupp Lou Martinage Ruth & Russell Sacco Kenneth Mason & Ms. Sylvia Sachs Marilyn Roberts Beatrice Salazar & David Maxwell Luis Motles Eleanor Mayfield David Salgarolo & PICT Theatre and The Michelle McClendon Frances Savoia Carnegie Library of Pittsburgh Christine McClure Virginia Schatz work together to provide our David & Ann McFadden Dr. & patrons with the best materials Maureen McHugh & Mrs. Harold Scheinman to enhance your enjoyment of Fran Barret Virginia Schick the show. Visit our website for Robert & Christiana Mendoza Michael Schneider more information. Brian & Karen Merritt Judy & Tony Schryer PICT Board of Directors INTRODUCING Eugene O’Sullivan, President Kevin R. Gieder, Vice-President Cynthia Berger, Secretary V. Sue Molina, Treasurer Alan Baum Richard Miller Michael Burns Charles Moellenberg Steve Cuden Fabian O’Connor Dina Fulmer Richard E. Rauh Joseph Karas Erin Shannon-Auel Justin Krauss Advisory Board Members D.L. “Larry” Brophy, E. Bruce Hill, Paul Homick, Robert Levin, Kristen Olson, PhD., Alberta Sbragia, John Sotirakis, Wanda Wilson

Honorary Board Members U.S. Representative Mike Doyle, Charles Gray, Thomas Kilroy, David Norris–Seanad Eireann, Bingo O’Malley, Stephanie Riso PICT Staff Alan Stanford, Interim Producing Artistic Director Stephanie Riso, Operations Director Therese Dillman Moss, Director of Revenue Michelle Belan, Sales & Marketing Director Gianni Downs, Production Manager & Resident Scenic Designer Carolyn Ludwig, Office Administrator Tegan McCune, Office Assistant Jess MacFeater, Telesales Campaign Manager Katie Wagner, Marketing Assistant oALn’ Mt uNQ dI I dETnAI eCHely.cM Many thanks to our Phone Representatives for all their hard work! Eric Anderson • Matthew Colecchia • Tim Hibbard • Jess MacFeater Kim McCartney • Leslie McCartney • Kathleen Plummer • Matthew Voyer Thank you to all of our patrons who speak kindly to them when they call you.

Pittsburgh Irish and Classical Theatre, Inc. PO Box 7964, Pittsburgh, PA 15216 Tel: 412-561-6000, Fax: 412-561-6686

PICT is a Constituent of Theatre Communications Group (TCG), the national organization for the American theatre. To order tickets:

VISIT OUR WEBSITE: www.picttheatre.org All photography by Laura Petrilla. www.misslphotography.com ThePorchAtSchenley.com OR CALL 412-561-6000 x. 207 Need help? Email [email protected] Building Intelligently Saving Energy

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