December 2001 / January 2002

2001 Next Wave Festival

Denise Green, For Merce 2000

BAM Next Wave Festival sponsor:

PHILIP MORRIS ~lAGf8lll COM PAN I E 5 INC. Brooklyn Academy of Music

Bruce C. Ratner Alan H. Fishman Chairman of the Board Chairman, Campaign for BAM

Karen Brooks Hopkins Joseph V. Melillo President Executive Producer

presents Big Love Approximate BAM Harvey Lichtenstein Theater running time: Nov 30, Dec 1, 4-8, 2001, at 7:30pm 1 hour 40 Dec 2 & 9 at 3pm; Dec 8 at 2pm minutes, no intermission By Charles L. Mee Director Les Waters A Goodman Theatre Production Movement Jean Isaacs Scenic designer Annie Smart Costume designer James Schuette Lighti ng designer Robert Wierzel Sound design Rob Milburn & Michael Bodeen Production stage manager Kimberly Osgood* Stage manager Elisa Guthertz* Dance/Fight captain K.J. Sanchez Assistant director Steve Cosson Cast Lyd ia Carolyn Baeumler* Constantine Mark Zeisler* Giuliano Tony Speciale* Oed J. Matthew Jenkins* Olympia Aimee Guillot* Extra Brides Amy Landecker*, Thyona K.J. Sanchez* Lusia Strus* Bella/Eleanor LaurenKlein* Extra Grooms Adrian Danzig*, Piero/Leo J. Michael Flynn* Chuck Stubbings* Nikos Bruce McKenzie* Understudies never substitute for a listed player unless an announcement is made at the beginning of the play: Adrian Danzig*-Nikos, Giuliano; Joe Dempsey*-Groom #1, Groom #2, Piero, Leo; Amy Landecker*-Lydia, Thyona; Lisa Rothschiller-Bride #1, Bride #2, Olympia; Chuck Stubbings*-Constantine, Oed; Lusia Strus*-Bella, Eleanor.

*The stage managers and actors affiliated with this production are members of Actors' Equity Association, the union of professional actors and stage managers of the United States. World premiere: March 2000, Humana Festival of New American Plays at Actors Theatre of Louisville in Louisville, Kentucky. Original casting at the Humana Festival: Judy Bowman, Laura Richin, Richin casting

Opening night support provided by Chrysler.

BAM thanks Theatre Development Fund for its support of this season. 17 s~~ _

Location: A villa on the coast of Italy Time: The present

Big Love was inspired by what scholars consider to be the earliest surviving play of Western literature, Aeschylus' The Suppliant Women.

Fifty sisters from Greece arrive on their family's yacht and anchor off a villa on the coast of present­ day Italy. They ask the owner of the villa to take them in and protect them, for they are refugees. On the day of their arranged marriages to their 50 cousins they decided to leave their grooms at the altar and face exile instead. They need protection, too, for their grooms are pursuing them. The cousins arrive in Italy to claim their brides, but the sisters will not go down without a fight. \ALba' c::. \ALba _

Carolyn Baeumler (Lydia) appeared as Lydia in Theater, Soho Rep, the Lunar Cabaret, and Big Love at Berkeley Repertory, Long Wharf Bailiwick. He has performed at the Goodman Theatre, and the Humana Festival premiere at Theatre in 'Tis Pity She's a Whore; with Actors Theatre of Louisville. Her recent off­ Lookingglass Theater Company in Metamor­ Broadway credits include Mae West in West's phoses, (Chicago and San Francisco) and as play Sex for the Hourglass Group, In Betweens the Baron in Baron in the Trees; as Quasimodo at the Cherry Lane Theatre, and Courtney Love in Hunchback with Redmoon Theatre at in Love in the Void. She understudied both Steppenwolf Studio and the Joseph Papp Blanche and Stella in New York Theatre Public Theater; and at Gnuyak Studio in Workshop's production of A Streetcar Named Murke's Collected Silences, and as ringmaster, Desire, directed by Ivo Vov Hove. Regionally Marco Poyo in Le Cirque Nair. He teaches at she appeared as Marilyn Monroe at A Roosevelt University, and is a clown with the Contemporary Theatre in Miss Golden Dreams, Big Apple Circus Clown Care Unit at the in Life Under 30 at Actors Theatre of Louisville, University of Chicago Children's Hospital and at and in A Clockwork Orange directed by Terry La Rabida Children's Hospital. Kinney at Steppenwolf. Recent film credits include Happy Anniversary Harry, Shipping J. Michael Flynn (Piero/Leo) makes his first and Handling, and Gypsy 83. She is a found­ appearance at BAM. He has performed in ing member of the Hourglass Group, which many cities in the United States, playing every­ produced Sex and A Usual Suspect at New thing from a French aristocrat to a junkyard York Theatre Workshop. dog. Theaters include A Contemporary Theatre, American Conservatory Theatre (ACT), Adrian Danzig (ensemble) is an actor, director, Baltimore Center Stage, Berkeley Repertory and clown. Danzig created and performs in Theatre, Cleveland Play House, GeVa Theatre, 500 Clown Macbeth, which will return to Goodman Theatre, Huntington Theatre, Long Chicago this spring; produced City of Fools at Wharf Theatre, Magic Theatre, Old Globe Chicago's Clown Theater Festival; and has Theatre, the Oregon Shakespeare Festival, worked with Joanne Akalaitis, Anne Bogart, Portland Center Stage, Pittsburgh Public Yvonne Rainer, Bernie Sahlins, Bread and Theatre, San Jose Repertory Theatre, Seattle Puppet Theater, Shakespeare & Company, the Repertory Theatre, and the Sundance Institute. Neo-Futurists, Midnight Circus, and Redmoon Theater, of which he was a founding member. Aimee Guillot (Olympia) makes her BAM debut Danzig has performed his solo works at many in Big Love. She has appeared in the produc­ venues in New York and Chicago, including tions of Big Love at Berkeley Rep, the Actors The Kitchen, P.S. 122, the Ontological-Hysteric Theatre of Louisville, Long Wharf Theatre, and the Goodman Theatre. Other regional credits

18 include Cecily in The Importance of Being Amy Landecker (ensemble) appeared in Big Earnest at La Jolla Playhouse (also directed by Love at the Goodman, where she also appeared Les Waters), for which she received a Drama­ last season as Beth in Blue Surge and before Logue Award for Outstanding Performance. In that as Alice in Zoot Suit. Other Chicago credits New York she has performed with the Builders include Yodellers at Donnie's Skybox, The Duel Association in Master Builder and also with European Repertory Company; Killer Joe Xtravaganza, which appeared at the with Cole Theatricals; Steel Magnolias at Guggenheim MuseumIWorks in Process and Theatre at the Center; Danny Bouncing at the Whitney Museum Performance Space on Victory Gardens; Wolf Lullaby and A Streetcar 42nd Street. She also toured Xtravaganza in Named Desire at Steppenwolf; Bus Stop at Germany, France, Holland, and Belgium. American Theater Company; EI Paso Blue with Television and film credits include Interstate 84 Teatro Vista at Next Theatre; Hurricane at (official selection, Toronto Film Festival), So Famous Door; The Possessed with Prop What Do You Think? (New York Comedy Theatre; Victims of Duty at Red Orchid Theatre; Festival), MTV's Austin Stories, and As the The Conduct of Life, Edmond, and Coyote Ugly World Turns, among others. Guillot is a gradu­ with the Pillar Studio. Television credits include ate of the master of fine arts program at the Turks and Early Edition. Film credits include University of California, San Diego. Temporary Girl and Light It Up. She is a mem­ ber of SAG, AFTRA, and AEA. J. Matthew Jenkins (Oed) has been part of the Big Love ensemble since its premiere at the Bruce McKenzie (Nikos) appeared in Big Love Humana Festival 2000 in Louisville, and at Berkeley Rep and Long Wharf Theatre. He is makes his debut at BAM. His recent credits a co-founder of San Diego's Sledgehammer include Backstory (Humana 2000), Sister Theater, working there from 1987-95. Mary Ignatius Explains It All for You, Machinal, Performances include Endgame, Drums in the and Suddenly Last Summer. His television/film Night, Pre-Paradise Sorry Now, War to End credits include The Guiding Light and several War, The Revenger's Tragedy, the title role in independent films. He is a graduate of the Hamlet, and a solo performance of Beckett's University of Virginia. Ping, among others. As a member of Actors Theatre of Louisville'S 1998-99 company, he Lauren Klein (Bella/Eleanor) has been part of reprised the title role in Hamlet. Other regional the Big Love ensemble since its premiere. Her works include Othello, Polaroid Stories, Aloha Broadway credits are Lost in Yonkers and Say, The Pretty Girls, Noises Off, all at Actors Broken Glass (original cast member of both); Theatre of Louisville; The Tempest for La Jolla national tours include Broadway Bound and I'm Playhouse; The End of the Day at Magic Theatre; Not Rappaport; and off-Broadway credits are Krapp's Last Tape and Skin at Dallas Theatre Death Defying Acts, What's Wrong with This Center; and Albanian Softshoe, Cymbeline, and Picture?, and Passion Play. Klein's regional Heathen Valley at San Diego Rep. His New York credits include Denial (Pope Theatre), for which credits include A Streetcar Named Desire (New she won the Carbonell/Best Actress award­ York Theatre Workshop), Marlowe's Eye (Theatre 1997, The Last Night of Ballyhoo, Harvey of S1. Clements/Tectonic) and No Time Uke the (Cleveland Playhouse); Nine Armenians Present (Whitney Museum of American Art). (Intiman Theatre); and Hayfever, Another Part McKenzie was a member of the 2000 company of the Forest, and History of the American Film of the Sundance Theatre Lab. A member of the at ACT while a member of their conservatory band Maquiladora, McKenzie plays accordion, and acting company. Film and television credits upright bass, lap steel, guitar, and other instru­ include A Price Above Rubies, Snooze, and the ments. The band recently completed a seven recurring role of Judge Carla Solomon on Law & country European tour and last performed in the Order. Klein holds a master of fine arts from Bay Area at Bottom of the Hill. ACT and a bachelor of fine arts from the College of Santa Fe. K.J. Sanchez (Thyona) has been with Big Love since its premiere at the Humana Festival. This

19 ~A/bo'~ ~Albol-..--__

is Sanchez's second Chuck Mee play-she Strus has been writing and performing in Too played Tape Mouth in the premiere production Much Light Makes the Baby Go Blind since of Orestes, directed by Robert Woodruff. Her 1993. She has performed Too Much Light in favorite roles are Juliet and Ophelia, both Chicago, San Francisco, New York, Romania, directed by Jon Jory at Actors Theatre of and at the HBO-sponsored United States Louisville, and Millie in Picnic, directed by Comedy Arts Festival in Aspen. This year she Anne Bogart. For five years Sanchez was a performed her solo show, Too Busy to Be company member of the SITI Company, co­ Famous, at Donny's Skybox Theatre at Second founded by Anne Bogart and Tadashi Suzuki. City and at PSNBC in New York. Television With SITI, Sanchez taught Viewpoints training credits include Cupid (CBS) and Early Edition (NBC). Films include Stir of Echoes and Soul and co-created three original pieces: Going, Survivors (Artisan Entertainment) and the inde­ Going, Gone; Small Lives Big Dreams; and pendents The Secret, Design, Danny's Wish, Homeboys in Outer Space. She is the voice of No Sleep 'Til Madison, The Opera Lover, and many creatures on the Nickelodeon cartoon Hole in the Wall. Strus is the narrator for Dora the Explorer. She recently created and WBEZ's national broadcasts of Steppenwolf's directed an original play about Ophelia called Traffic Series and the Chicago Jazz Festival. Too Much Water for the Professional Actor Training program at the University of Chuck Stubbings (ensemble) is making his Washington, Seattle. BAM debut. His most recent productions include Betty's Summer Vacation (Roadworks), Tony Speciale (Giuliano) is making his BAM Romeo and Juliet (Chicago Shakespeare), and debut. He has previously appeared in the pro­ Baron in the Trees (Lookingglass). A Jeff Award­ ductions of Big Love at the Goodman Theatre, winning actor, director, writer, and circus artist, Berkeley Rep, Long Wharf Theatre, and Actors Stubbings has been seen in productions with Theatre of Louisville (24th-Annual Humana Roadworks, Lookingglass, Steppenwolf, Court Festival). New York credits include A Child's Theatre, Chicago Shakespeare, Lyric Opera of Garden presented by the Melting Pot Theatre Chicago, and many more. He wrote and direct­ Company (off-Broadway), Awakening presented ed Bud and Lou, which premiered at the at PS. 122 (off-off Broadway), and Theater Building last season. He has also Metamorphosis: The Myth of Rimbaud, an worked with the Ringling Brothers Circus, Big original one-person play (2000 New York Apple Circus, and the Midnight Circus as a fire International Fringe Festival). Speciale was a breather, trapeze catcher, and acrobat. member of the 1998-99 Acting Apprentice Stubbings is a resident clown doctor at Company at Actors Theatre of Louisville where University of Chicago Children's Hospital and he was seen in Intervention, A Christmas LaRabida Children's Hospital. He is a teacher Carol, Picasso at the Lapin Agile, A Murder of and resident artist at the Actors Gymnasium Crows, and Hair. Speciale has studied with and is part of the comic team the Bumblinni Anne Bogart and the SITI Company, and gradu­ Brothers. On television, he has appeared on ated from The Boston Conservatory of Music. Early Edition, Late Show with David Letterman, Lusia Strus (ensemble) last appeared at the MTV's Road Rules, and Good Morning America. Goodman Theatre as Mary Reade in A Pirate's Mark Zeisler (Constantine) is making his BAM Lullaby. Regional credits i"nclude Quake and debut. He originated the role of Constantine at Chad Curtiss: Lost Again at Actors Theatre of the Humana Festival 2000 at Actors Theatre of Louisville's 2001 Humana Festival. Her work in Louisville. He also has appeared there in Chicago includes performances at Steppenwolf Dracula, The Tempest, The Seagull, Children of in Hysteria, Whispering City, and Our Town; at the Sun, and The Strange Case of Dr. Jekyll Victory Gardens in No One As Nasty; SLAVS! and Mr. Hyde. Regional theater credits include with European Repertory; Atomic Bombers at two seasons at American Repertory Theatre, Northlight; Indiscretions with Organic plus productions at the McCarter, GeVa, Wilma, Touchstone; and Henry IV with Chicago Philadelphia Drama Guild, and Center Stage. Shakespeare. A member of the Neo-Futurists, Zeisler's Broadway credits include Alfieri and 20 ~/\lOO'c: \/\lOO _

Mike in the 1998 reviva I of A View from the (Arena Stage); Life During Wartime (Manhattan Bridge at the Roundabout and Neil Simon the­ Theatre Club); Fen, Ice Cream with Hot Fudge, aters. He created the roles of Ahmed in Acts of Rum and Coke, and Romeo and Juliet (all at Faith (Mosaic/92nd St. Y), and Val Gigante in the New York Shakespeare Festival/Public the premiere of Michael Weller's The Heart of Theater). United Kingdom credits include The Art (Hypothetical Company) and has also Skriker and Fanshen (Royal National Theatre); appeared in Measure for Measure, Romeo and Marie and Bruce, Seduced, Not Quite Juliet, and As You Like It at the NYSF. His film Jerusalem, Abel's Sister, Insignificance, Cloud credits include Random Hearts, The Thomas Nine (Royal Court Theatre); The Swan (Traverse Crown Affair, and Shaft (2000). Television Theatre, Edinburgh); Loose Ends (Hampstead appearances include New York News, New York Theatre Club); Three More Sleepless Nights Undercover, Law & Order, Law & Order: (SoHo Poly); School for Scandal (Bristol Old Special Victims Unit, Reasonable Doubts, Vic); Fen, Fire in the Lake, and Mouthful of Against the Law, and numerous soaps and Birds (Joint Stock Theatre Group); and Top Girls commercials. (Tokyo Metropolitan Arts Space). Waters is a professor in the department of theater and Charles L. Mee (playwright) was born in 1938 dance at the University of California, San Diego, and grew up in the Chicago suburb of Barrington. and is the head of the master of fi ne arts direct­ Among his other plays are Wintertime, which ing program. was developed at Sundance this past summer and will open at the La Jolla Playhouse next Jean Isaacs (movement) includes among her July before going to New York. His play First regional credits A Midsummer Night's Dream Love was performed at New York Theatre for the Globe Theatre, Blood Wedding and Workshop earlier this fall and True Love began Nora for La Jolla Playhouse, Phenomenal performing in New York mid-November. His Acceleration at Sledgehammer Theatre, Big bobrauschenbergamerica opened this past Love for Humana Festival 2000, Berkeley Rep, spring at the Humana Festival at Actors Theatre Long Wharf Theatre, and Goodman Theatre. of Louisville, and will re-open at New York Isaacs has served as artistic director of San Theatre Workshop in fall 2002. His plays Diego Dance Theatre (1997-present); Berlin Circle and Time to Burn were both per­ Isaacs/McCaleb and Dancers (1992-97); and formed recently at Steppenwolf. A Nearly Three's Company and Dancers (1974-92). Normal Life, his memoir about contracting She currently teaches in the department of the­ polio as a teenager in Barrington, was pub­ ater and dance at the University of California, lished in 1998 by Little, Brown. His complete San Diego. She is the recipient of two works are available at www.charlesmee.org. California Arts Council Choreography Mee's work is made possible by the support of Fellowships, a GLADD Award, two Tommy Richard B. Fisher and Jeanne Donovan Fisher. Awards, the UCSD Distinguished Teaching Award for 2001, California Dance Educators Les Waters (director) United States credits Association Award for 1999, and a nomination include Big Love (Actors Theatre of Louisville­ for the National Choreography Award. Isaacs Humana Festival, Berkeley Repertory Theatre, grad uated with honors from Wheaton College Long Wharf Theatre, and the Goodman with a degree in literature. Jean Isaacs' San Theatre); Glengarry Glen Ross (ACT); Nebraska, Diego Dance Theater presents A Geography of Life During Wartime, The Importance of Being Risk at Dancespace at St. Mark's Church, New Earnest, and Nora (all for La Jolla Playhouse); York City, December 14-16, 2001. Our Country's Good (Mark Taper Forum); The Designated Mourner (Steppenwolf Theatre Annie Smart (set design) has designed shows Company); Ghost on Fire and Spinning Into (usually both sets and costumes) for major Butter (Goodman Theatre); Lorca's The House theater companies including in Britain: Royal of Bernarda Alba at Guthrie Theater; Media National Theatre, the Royal Court, Bristol Amok at American Repertory Theatre; The Theatre, Royal Leicester Haymarket, and Summer Moon (ACT Seattle); Ourselves Alone Liverpool Playhouse (where she was head of 20A ~ALbo'c \Albol.....----__

design); in the United States: the Public Contemporary Dance Trust; Boston Lyric Opera, Theater, Arena Stage, ACT in San Francisco, Lost in the Stars; Deutsche Opera Berlin; Lyon Guthrie Theater, and La Jolla Playhouse; and in Opera Ballet; and London's Union Dance theaters in Germany. A major part of her work Company. Wierzel is the recipient of 1999 and has been with new plays, especially those of 1993 Dance and Performance Awards playwright Caryl Churchill. Of the classics she (Bessies) for sustained achievement in lighting has designed Othello, A Midsummer Night's design. He also has worked at the Tokyo Opera Dream, The School for Scandal, The on the world premiere of Oper Chushingura, Importance of Being Earnest, Miss Julie, The directed by Werner Herzog, and David Father, Nora, Medea, Woyzeck, The Voysey Copperfield's Dreams & Nightmares on Inheritance, Loot, Threepenny Opera, La travi­ Broadway. He has designed extensively for ata, and more. She moved to the United States leading New York and regional opera compa­ six years ago and teaches design at the master nies in the United States, including New York of fine arts level at the University of California, City Opera, Glimmerglass, Chicago Opera San Diego. Theatre, Washington Opera, Houston Grand Opera, Boston Lyric Opera, Virginia Opera, James Schuette (costume design) most Seattle Opera, and the Canadian Opera, among recently designed the costu mes for others. His extensive theater work includes pro­ Steppenwolf's production of Mother Courage ductions at the Arena Stage, Guthrie, Center and designed the scenery for their productions Stage, Roundabout Theatre, the Acting of Time to Burn, Space, and Berlin Circle. As a Company, NYSF/Public Theater, CSC, the Mark member of Anne Bogart's SITI Company, his Taper Forum, Hartford Stage, Dallas Theatre work includes Room, War of the Worlds, Bob, Center, Yale Rep, Milwaukee Rep, Berkeley The Adding Machine, Alice's Adventures, Rep, and Indiana Rep, among others. Wierzel Private Lives, Culture of Desire, and has a master of fine arts degree from the Yale bobrauschenbergamerica. Other set and School of Drama (1984) and is currently on costume designs: Floyd Collins (Old Globe, the faculty of New York University's Tisch Goodman, Prince Music Theatre, and School of the Arts. Playwrights Horizons); Lady in the Dark (Prince); Songs and Stories from Moby Dick Michael Bodeen (sound designer) composed (BAM, and international tour); and Big Love music and designed sound for the Goodman (Long Wharf, Berkeley Rep, Goodman, BAM). Theatre productions of Boy Gets Girl, The Opera credits include Transatlantic (Minnesota Odyssey, Design For Living, As You Like It, All Opera), Carmen (Santa Fe Opera), La boheme the Rage, Mirror of the Invisible World, All's (Glimmerglass Opera and New York City Well That Ends Well, Black Snow, The Opera), The Seven Deadly Sins, and the recent Baltimore Waltz, The Notebooks of Leonardo world premiere of Lilith (New York City Opera). da Vinci, and Journey to the West (Bay Area Theatre Critics Circle Award). Sound design Robert Wierzel (lighting design) has worked in credits at the Goodman Theatre include The theater, dance, new music, museums, and Visit, The Amen Corner, Zoot Suit, Oo-Bla-Dee, opera, on stages th rough out the cou ntry and Escape from Paradise, Ties That Bind, abroad, with artists from diverse disciplines Somebody Else's House, and I Am a Man. and backgrounds. He has collaborated with Bill Broadway credits for music and sound include 1. Jones/Arnie Zane Co. for more than 16 years One Flew over the Cuckoo's Nest and My Thing on numerous projects, including work on the of Love. Off-Broadway credits include music world premieres of You Walk?; We Set Out and sound for Boy Gets Girl and Red at Early, Visibility Was Poor (BAM, 1998); The Manhattan Theatre Club, Space at the Public Last Supper at Uncle Tom's Cabin/The Theater (Drama Desk Nomination), The Promised Land (BAM, 1990); and Still/Here Notebooks of Leonardo da Vinci at the Serious (BAM, 1994), to name a few. Other dance Fun! Festival as well as music for Measure for projects with Jones include The Welsh Dance Measure and Henry VIII for the New York Company, DIVERSIONS; London's Shakespeare Festival and music for From the 20B (continued on page 45) \ALba' c;. \ALba'------__

(continued from page 20B) Mississippi Delta at Circle in the Square. Carol and Luis Alfaro's Straight as a Line, as Regional credits include productions at well as Among the Thugs, Garden, Millennium Berkeley Repertory Theatre, Hartford Stage, Mambo, Schoolgirl Figure, Lillian, Mirror of the Huntington Theatre, La Jolla Playhouse, Mark Invisible World, Seeking the Genesis, Escape Taper Forum, McCarter Theatre, Milwaukee from Paradise, Gertrude Stein: Each One As Repertory Theatre, and Seattle Repertory She May, Sin, Brutality of Fact, The Notebooks Theatre. Awards include five Joseph Jefferson of Leonardo da Vinci (also at Lincoln Center's Awards-three for original music and two for Serious Fun! Festival), The Baltimore Waltz, sound design-and a Garland Award for sound The Iceman Cometh, Elliot Loves, and Marvin's design. He creates music and sound for dance, Room. Additional credits include numerous pro­ film, CD-ROM games, and civic and museum ductions for Northlight Theatre, including Jar the installations. He also teaches sound design at Floor, The School for Wives, and An Enemy of the DePaul University. People. Osgood spent eight yea rs with the Cincinnati Playhouse in the Park as director of the Rob Milburn (sound designer), composer and Intern Company and production stage manager. resident designer at the Goodman Theatre for 14 seasons, has participated in more than 60 Elisa Guthertz (stage manager) was stage productions there. Broadway credits include manager for Big Love at Long Wharf Theatre music compositions for One Flew over the and at Berkeley Rep. Other productions for Cuckoo's Nest, My Thing of Love, and The Berkeley Rep include Civil Sex, Let My Enemy Speed of Darkness, and sound designs for King Live Long!, Collected Stories, Cloud Tectonics, Hedley II, Buried Child, The Song ofJacob Zulu How I Learned to Drive, and The Caucasian (featuring Ladysmith Black Mambazo), The Rise Chalk Circle, and assistant stage manager for and Fall of Little Voice, and The Grapes of The Alchemist and The Life of Galileo. Guthertz Wrath. Off-Broadway, he composed music and has served as assista nt stage ma nager on sound for Boy Gets Girl, Space, Red, From the numerous productions with ACT, including The Mississippi Delta, Sin, and Marvin's Room and Misanthrope, Long Day's Journey Into Night, its productions in Chicago, Boston, Los Angeles, Tartuffe, Mary Stuart, and A Streetcar Named Wahsington, D.C., and London's West End; Desire. She has also stage managed many pro­ designed sound and directed music for Sam ductions with the California Shakespeare Shepard's Eyes for Consuela; and designed Festival. sound for August Wilson's Jitney. He also designed sound for the national tour of Tony Robert Falls (Goodman Theatre artistic direc­ Kushner's Angels in America. He has had a tor) has held his post since 1986 after serving long relationship with the Steppenwolf Theatre in that capacity at Chicago's Wisdom Bridge Company, designing sound or composing music Theatre from 1977-85. Last season he for more than 35 productions. His music or directed the world prem iere of Rebecca sound has traveled to many of America's Gilman's Blue Surge and the American pre­ regional theaters and to the Comedy Theatre in miere of Alan Ayckbourn's House and Garden London's West End, the Barbican Centre, for the Goodman Theatre. His production of National Theatre of Great Britain, Cameri Elton John and Tim Rice's Aida for Walt Disney Theatre in Tel Aviv, Subaru Acting Co. in Japan, Theatricals is currently running on Broadway. and festivals in Sydney and Perth. He is the His production of Arthur Miller's Death of a recipient of 14 awards for sound or music, Salesman, acclaimed by Time magazine as one including the Michael Merritt Award for Design of the 1999-2000 season's ten best and Collaboration. American productions, won four 1999 Tony Awards, including Best Direction of a Play and Kimberly Osgood (production stage manager) Best Revival of A Play, as well as four 1999 has stage managed more than 25 Goodman Joseph Jefferson Awards, including Best productions. Among them are the world pre­ Direction of a Play and Best Production of a mieres of Tom Mula's Jacob Marley's Christmas Play. His 1997 Goodman production of Horton 45 \A/~'s \A/~~~~

Foote's Pulitzer Prize-winning The Young Man advocacy coalition. Schulfer served for eight from Atlanta, which also transferred to years on the board of Theatre Communications Broadway, received a Tony Award nomination Group, the national service organization for for Best Production of a Play. In 1995 Mr. Falls more than 400 not-for-profit theaters. He has won an Obie Award for his direction of the served on the executive and negotiating com­ world premiere of Eric Bogosian's subUrbia at mittees for the industry's management associa­ Lincoln Center Theater, and his production of tion, the League of Resident Theatres. Schulfer Tennessee Williams' The Rose Tattoo for Circle was a founder and past president of the League in the Square received a Tony Award nomina­ of Chicago Theatres and the Off-Loop tion for Best Revival of a Play. At the Goodman, Producers' Association. He is currently the pres­ Falls has directed A Touch of the Poet, Three ident of the League of Chicago Theatres Sisters, The Night of the Iguana, The Iceman Foundation and a member of the Illinois Arts Cometh, Galileo, Landscape of the Body, Pal Council, the Lifeline Theatre board, the Chicago Joey, The Misanthrope, and world premieres of Central Area Committee, and advisory boards Griller, Book of the Night, The Speed of for the Chicago Foundation for Women and Darkness, On the Open Road, and Riverview: Harold Washington College. Schulfer has A Melodrama with Music. His directing credits served on grant panels for the National also include The Iceman Cometh at the Abbey Endowment for the Arts, the Illinois Arts Theatre in Dublin, On the Open Road at the Council, and the Department of Cultural Affairs. Joseph Papp Public Theater, The Night of the In 2000 both The Chicago Tribune and Iguana at the Roundabout Theatre, and Nicky Chicago magazine honored him as a Chicagoan Silver's long-running The Food Chain at the of the Year. Schulfer has received the Sidney R. Westside Theatre in New York, as well as pro­ Yates Arts Advocate Award from the Illinois Arts ductions for the Guthrie Theater, Chicago's Alliance and an Outstanding Young Citizen Remains Theatre, LaJolla Playhouse, the Lyric Award from the Jaycees. Over the years he has Opera of Chicago, and Metropolitan Opera. He consulted with many organizations and lectured is the 1999 reci pient of the III inois Arts at a number of colleges and universities. He Council's Governor's Award for outstanding currently teaches at the Theatre School of contributions by an individual artist and was DePaul University. Schulfer is a graduate of the named a Chicagoan of the Year by Chicago University of Notre Dame and was the chair­ magazine in 2000. man of its cultural arts commission.

Roche Schulfer (Goodman Theatre executive The Goodman Theatre is Chicago's oldest and director) has worked at the Goodman Theatre largest resident theater, internationally celebrat­ since 1973. He has supervised over 300 pro­ ed for its artists, productions, and community ductions and more than 80 world or American programs. Under the leadership of Artistic premieres. In 1978 Schulfer established the Director Robert Falls, Executive Director Roche Goodman Theatre's annual production of A Edward Schulfer, and General Manager Christmas Carol. With Robert Falls he accepted Katherine Murphy, the vitality and creativity of the Tony Award for Outstanding Regional the Goodman Artistic Collective pursues a Theatre on behalf of the Goodman in 1992. commitment to give full voice to a wide range From 1990-2000 Schulfer oversaw all of artists and visions, both classic and contem­ aspects of the development and construction of porary. The opening of the new Goodman the new Goodman Theatre. For the past ten Theatre, a state of the art complex in the heart years he has served on the board and as past of Chicago's North Loop, offers exciting chairman of the American Arts Alliance, the possibilities for the Goodman's artists and Washington, D.C.-based national advocacy audiences. Information is available at organization for more than 2,500 museums, www.goodman-theatre.org. theaters, dance, and opera companies. He is a past president and longtime board member of the Illinois Arts Alliance, the statewide arts

46