D is c G o v u e id r e y

WRITTEN by ADAPTED by JEFFREY HATCHER

DIRECTED by DAVID IRA GOLDSTEIN

P.L.A.Y. (Performance = Literature + Art + You) Student Matinee Series 2014-2015 Season 1 Table of Contents Dear Educators, Synopsis . . . . . 2 America Welcome to the new season and the new school year. in 1944 . . . . . 5 One of the main challenges in preparing students for a play with Frederick any sort of historical context is to help them to realize that even Knott and The Con though a story may be set seventy years ago, it can still have any Jeffrey Man ...... 5 number of relevances to their own lives and situations today. I have Hatcher...... 2 an eighteen-year-old son and know full well that something from twenty years ago may seem like yesterday to me but, to him, it may “You Can Even as well have happened during the days of the Roman Empire. Setting Wait Finish Him Off Until Dark Here If You And so it is with . How does a play set in a in 1944...... 2 Want To ...” . . 6 basement apartment in Greenwich Village at the height of World War II in 1944 matter at all to a teenager in Rochester in 2014? What do the lives of a recently-blind woman, her war-damaged The Wait Until “You Have To husband and a group of con men have to do with how we live our Dark Cast . . . . 2 Be Brave.” . . . 7 lives now? The answer, in a word, is plenty. “This play,” says Wait Until Dark director David Ira Goldstein, “is Wait Until Dark: Coping With about darkness and light, about the hidden and the seen.” And when A Production The Loss are any of those things ever absent from our lives? “By setting the play History ...... 3 Of Sight . . . . . 8 during the war,” Goldstein continues,” the characters have an outside pressure ... the threat of sudden death from the war hangs over Photography in Designing several of them.” Again, how many of us have lives devoid of outside Wait Wait Until pressures? Perhaps not as life-and-death as on the battlefield, but Until Dark . . . . 3 Dark: pressure nonetheless. And a quick glance at any newspaper headline The Set...... 9 will tell you that the world is full of pressure right now. Post-Traumatic We know, of course, that your students are facing their own pressures Stress Designing —educational, personal, familial, financial — and are just learning Disorder . . . . . 3 Wait Until how to withstand those pressures, how to understand the nuances and Dark: The learn to make them work in their favors. It’s an understanding that Costumes . . . 10 Wait Until Dark’s Susan Hendrix displays over and over. We could all Elements of learn a thing or two from her about dealing with pressure. Film Noir . . . . . 4 Resources. . . 10 As always, we thank you for bringing your students to Geva and for affording them the experience of live theatre. We can’t wait for them The Draft and to see this show. Rationing . . . . 5 Sincerely,

Participation in this production and supplemental activities suggested in this guide support the following NYS Eric Evans Learning Standards: Education Administrator A: 2, 3, 4; ELA: 1, 2, 3, 4; SS: 1 [email protected] (585) 420-2035 Cover image: Scenic Designer Vicki Smith’s renderings for Wait Until Dark.

“The world’s a dangerous place. I’m holding out my hand for you.” – Sam 2 The Cast SYNOPSIS Susan and Sam Hendrix are a married couple living in Greenwich Village in City. Susan is recently blind, the result of a car accident just over a year and a half earlier. Sam, a photographer who had served overseas in the Marines during World War II, seems to suffer from a form of Post- Traumatic Stress Syndrome from his time in the militray. The couple met in a hospital (she was there after her car accident; he was in the psychiatric ward.) They married and now live fairly ordinary lives – that is, until they get swept up into a sinister situation. Sam accidentally acquires a seemingly ordinary doll that is the object of desire of some very menacing people. A mysterious woman slipped the doll into Sam’s bag during a train ride. She is later murdered in Sam and Susan’s apartment when she goes to retrieve the doll. The next day, three con men (Roat, Mike Talman and Carlino) work together to retrieve the doll from the apartment. Roat orchestrates the con and poses as a crazy old man (and later the man’s son.) Mike is a con man who poses as an old Marine friend of Sam’s. Carlino is an ex-cop who uses his badge to commit cons. The con men call Sam away from home under the guise of business, leaving Susan in the home alone. They manipulate her into trusting Mike and convince her that the police have implicated Sam in the murder because of a doll in his possession. Susan works with Mike to find the doll. Susan becomes suspicious of the men and teams up with a Gloria, a 12 year old girl who lives in an upstairs apartment. Gloria often comes to their apartment to help with chores and to escape her alcoholic mother. Susan and Gloria strategize to catch the men in their con. When Susan sends Gloria to safety, she is left alone in the apartment and works on a plan to protect herself. She ends up in a game of cat and mouse with one of the con men and must fight for her life. u FREDERICK KNOTT AND JEFFREY HATCHER Frederick Knott did not write many plays — Write Me a Murder (which would eventually become ’s film ) is the only other play aside from Wait Until Dark listed in his recent Playbill biography — but his work is regularly seen in stock, amateur, regional and touring productions around the world. Frederick Knott died Dec. 17, 2002. Jeffrey Hatcher is a playwright, adapter and screenwriter. He wrote the stage play Compleat Female Stage Beauty, which he later adapted into a screenplay, shortened to just Stage Beauty. He co-wrote the stage adaptation of Tuesdays with Morrie with author Mitch Albom. He is also the author of Dr. Jekyll and Mr. Hyde, Ella and a large number of other plays and adaptations. u SETTING WAIT UNTIL DARK IN 1944 When asked why he chose to set his adaptation of Wait Until Dark in 1944 as opposed to the original’s 1966 setting, playwright Jeremy Hatcher replied, “There’s something wildly white and Above, from top suburban about the people who live there [Susan and Sam’s neighborhood]. It doesn’t have any of to bottom: the 60s vibe at all. Once we decided it should take place in the mid-1940’s, then a lot of men are away Brooke Parks (Susan); Remi at war and the men who are left behind…some are broken and some are dangerous. It opened up a Sandri (Sam); lot of possibilities.” The director Matt Shakman, who headed up the first production of Hatcher’s Ted Koch script, added, “The whole world of women at this time are left alone, with the criminals and the (Roat); Peter Rini (Mike); draft dodgers, so it heightens that sense of the men are away and who’s there to protect? So it’s the Craig Bockhorn story of this woman who seems to be your ultimate victim. Then, by the end of the play, she’s the (Carlino); Lauen Schaffel (Gloria) ultimate survivor.” u

“Find that doll. Before they do.” – Susan 3 WAIT UNTIL DARK : A PRODUCTION HISTORY Wait Until Dark, opened in February, 1966, at the in before moving to a number of other theatres and concluding its run of 374 performances. Another production enjoyed a two year run on London’s West End. The play received a Broadway revival in 1998, at the , where it ran for 97 performances. A subsequent 2003 London revival was then followed by a UK tour, where the setting was changed to London’s Notting Hill district. On October 16, 2013, a revised version by Jeffrey Hatcher opened at the Geffen Playhouse in Los Angeles. The story was backdated to 1944. Wait Until Dark was also adapted into a film version in 1967 starring , , , Efrem Zimbalist Jr. and . Hepburn was nominated for both the Academy Award and Golden Globe for Best Actress, and Zimbalist was nominated for a Golden Globe in the supporting category. u PHOTOGRAPHY IN WAIT UNTIL DARK The use of photography equipment - cameras as well as film developing materials - in Wait Until Dark serves a number of different roles. It allows Sam to continue to persue his love of photography in a much less hostile and dangerous atmosphere than the battlefields of World War II while simultaneously providing a theraputic outlet for him to manage the Post-Traumatic Stress Disorder (or PTSD) that he experiences as a result of his military service. He has gone from capturing horrific war-related images to offers to shoot beautiful Italian actresses. The photography equipment proves equally as important to Susan who has learned how to use the various devices in her time with Sam, particularly the brightness and power of the various flashes. As Susan contends with Mike Talman, Carlino, and Roat, pay attention to how she employes the photography equipment. Then consider how this situation would be different if Susan were to confront these men today. What new tactics would she need to use? What new equipment would be at her disposal? And what equipment from the 1940s would she now be without? u

Above, right: A photo developing laboratory; At left: photo enlarging equipment. POST-TRAUMATIC STRESS DISORDER “Sam isn’t the same man you knew in Italy. He went over there to take pictures but ... the things he was taking pictures of ... he couldn’t look through the camera lens anymore, so he ended up in Ward 7, across the way from me.” This is how Susan describes the lingering effects of her husband’s time in the military during World War II. It puts him in stark contrast to those who actively avoided war-time service, such as Roat, for example, who boasts of his successful bid to be declared unfit to serve. Sam would now, most-likely, be diagnosed as sufferering from some form of Post-Traumatic Stress Disorder (or PTSD.) In earlier wars, phrases such as “shell shock,” “battle fatigue,” and “combat stress reaction” were used to describe the difficuties that many servicemen experienced in their efforts to reacclimate to a non-combat setting. u “Sam Hendrix. Used to take pictures for the magazines, saw some acion overseas, maybe too much ...” – Carlino 4 ELEMENTS OF FILM NOIR Wait Until Dark includes themes of fear, mistrust, and darkness – all of which are staples in the cinematic style of film noir. In the 1940s, film noir emerged in Hollywood as a popular way to approach crime dramas. Wait Until Dark is similar to the film noir style in many ways including plot, characters and lighting, embodying www.fimsite.org’s description of a typical film noir setting: “interiors with low-key (or single-source) lighting, venetian-blinded windows and rooms, and dark, claustrophobic, gloomy appearances.” The theme of mistrust is often found in film noir – a crime has taken place and the protagonist doesn’t know who they can trust, just like in Wait Until Dark. The senses (specifically sight) are also important to film noir as much of the suspense is built by withholding information with shadows and darkness. The five senses are an important theme in Wait Until Dark as even the character who cannot see strives to control the lighting. Here are some of the film noir themes that you’ll see in Wait Until Dark. Darkness vs. Light With a title like Wait Until Dark, light and darkness are going to play a significant part in this show. Light versus dark compares to the good versus evil dynamic which is characterized by Susan (good) versus Roat (evil.) This struggle between the two

Above: An example of chiaroscuro primary opposing characters is one of the driving forces of the play. lighting in film noir, this still from Light and dark are manipulated throughout the show to further the characters’ Double Indemnity features harsh lighting contrast created by blinds objectives. Susan and Sam’s underground apartment receives little natural light (also found in Wait Until Dark.) (making it an ideal darkroom for Sam’s photography purposes) which predisposes the room to darkness. Throughout the show, lights are often being turned on and off by characters for specific reasons. When Susan is in trouble, for instance, she strives to make the room as dark as possible. Controlling access to light is one of the primary ways the characters gain power over one another. One of Wait Until Dark’s many shared qualities with film noir is lighting. Film noir often employs the use of chiaroscuro, a style of lighting that emerged in film during German Expressionism of the 1920s. The function of chiaroscuro is to emphasize the contrast of light and dark. Wait Until Dark often uses stark contrast of light versus dark, especially in Susan’s final battle with Roat. The Five Senses

When Susan loses her sight, she pays more attention to her other senses in Above: The Cabinet of Dr. Caligari, one of order to compensate for her loss. This makes her immensely capable of the first German Expressionist understanding situations and people. Whereas most sighted people may not be films to use chiaroscuro. able to decipher many subtle things that the con men do throughout the show, Susan picks up on these situations right away. Susan attempts to level the playing field in her fight against Roat when she temporarily stifles his sense of sight. Even though they are both functioning now on four senses instead of five, it puts her at a huge advantage as she has adapted to blindness and he has not. Roat is unable to compete with her with only four senses, so he searches for a way to regain his sense of sight. Trust Trust is a key element to pulling off a con. The con men work quickly to gain Susan’s trust as Carlino poses as a figure of authority and Mike suggests a history with Sam. They secure her trust by providing a system of support against Roat, the crazy old man who breaks into her apartment. After acquiring her trust, they work to make Susan distrust her husband. They imply that he had an affair and then murdered the mistress. The con men inadvertently bring Gloria and Susan to trust each other; although they did not like each other at the beginning, they work together to fight the con artists. u

“Excuse me, Mrs. Hendrix, it’s a little dark in here.” - Carlino 5 The Con Man THE DRAFT AND RATIONING The phrase “con man” is short for On September 16, 1940, the United States instituted the Selective Training and Service Act of 1940, which required all men between the ages of 21 and 45 to register for the draft. This “confidence man.” was the first peacetime draft in the United States’ history. Those who were selected from the The phrase was draft lottery were required to serve at least one year in the armed forces. Once the U.S. popularized in an entered World War II, draft terms extended through the duration of the fighting. By the end 1849 New York of the war in 1945, 50 million men between eighteen and forty-five had registered for the Herald article draft and 10 million had been inducted in the military. detailing the arrest of William Although the United States had not yet entered World War II, many people believed that the Thompson, a man United States would eventually be drawn into the wars that were being fought in Europe and of ‘genteel East Asia. Isolationism, or the belief that America should do whatever it could to stay out of appearance’ who the war, was still strong. However, many Americans believed that the American military was woefully unprepared to fight a global war should it be called upon to do so. National polls for months had showed a growing majority in favor of instituting a draft. The only way to avoid military been approaching service was to be classified IV-F (“4-F”) or rejected for “physical, mental, or moral reasons.” strangers on the street and As the war progressed, a multitude of challenges confronted the persuading them to American people. There were many shortages, so the government trust him with their found it necessary to establish rationing programs in order to watches until the limit the purchase and use of food, gas, metal, and even clothing next day. Conmen during that time. Anything saved via rationing could then be Above: A ration coupon take advantage of redistributed to the war effort. In the spring of 1942, the from World War II. their victims by government instituted the Food Rationing Program. Rationing was introduced in part to gaining their avoid public anger with shortages and to make sure that not only the wealthy were able to purchase commodities. Government-sponsored ads, radio shows, posters and pamphlet confidence and campaigns urged the American people to comply. With a sense of urgency, the campaigns then convincing appealed to Americans to contribute by whatever means they had, without complaint. them to assist u them in some way. Roat, Carlino, and Mike take AMERICA IN 1944 advantage of both In the dramaturgical packet for Wait Until Dark, dramaturg Jean Gordon Ryon writes that Sam and Susan by “1944 was a year of many contrasts, a time of vast change and turmoil ... it represents a time promising rewards far enough into the war (three years) that the social effects are being keenly felt, and not so in hopes of getting close to the end that victory is a foregone conclusion. On the one hand, people were united the doll from them. by a sense of purpose and patriotism. Everyone wanted to ‘do their part’ for the war effort. What types of Conversley, swift changes in daily life and in the social structure, coupled with fear about rewards were the outcome of the war, brought on anxiety and uncertainty. The nation’s focus was on the Susan and Sam progress of the war, and most homefront activities were organized around the war effort. offered? How do Many household goods were rationed; people planted Victory Gardens and conducted scrap you think these metal drives. Since most of the young and able-bodied men were absent, work that had once con men would been the male domain was now done by women, who entered the work force in record operate if they numbers. Many of the men who were left behind were considered unfit for service: with tried to con Sam some physical or moral weakness, or too old or too young, or racially not preferred (mili- and Susan today? tary troops were segregated.) Opportunities for employment opened up as munitions facto- How would they ries and manufacturers of other wartime supplies expanded to meet the need. The prospect have to change of employment also drew large numbers from the rural populations and from minorities to their strategies? urban centers. The result was a boom in the economy coupled with a rise in the crime rate. When Sam says ‘The world is a dangerous place,’ he is reflecting these realities.” u

“You can be likeable and still be a thief. It’s kind of a requirement, actually.” - Mike 6 “YOU CAN EVEN FINISH HIM OFF HERE IF YOU WANT TO ...” Jenni Werner, Geva’s Literary Manager and Resident Dramaturg recently spent some time in the rehearsal room as the Wait Until Dark director, cast members and fight director coordinated the play’s climactic fight scene. She then shared her observations in a blog post. Here are Jenni’s reflections on her experince of watching a “fight” unfold right before her eyes. When the first words you hear on entering the rehearsal room are “You can even finish him off here if you want to,” you know you’re in for a treat. If you’ve seen either the film version of Wait Until Dark or the play it’s based on (or if you have ever seen a thriller of any kind…), you know to expect a pretty terrifying fight between the bad guy and our heroine. Yesterday, director David Ira Goldstein and fight director Adriano Gatto were working with Brooke Parks and Ted Koch on a moment near the end of the play, and I was invited to observe. I promise not to spoil the ending, so you’ll still feel every adrenaline-filled scream at the theatre! Imagine, if you will, a nearly empty rehearsal room. There are a few pieces of furniture – a table, a couch, a stove and a sink, and a shelf standing in as a refrigerator. Tape on the floor indicates walls, steps and other changes in level, but you have to work hard to imagine these things, as well as the locked door at the top of the “stairs.” Not only does the company need to create the scenery in their minds, but they also need to find a way to tell a dangerous story, while keeping the actors completely safe. So where do they start? First, they take into account what kind of training these characters would have – how would they know how to fight? Ted’s character, Roat, is a con man. He knows how to fight because he learned it the hard way – on the street. Brooke’s character, Susan, is a blind woman in the 1940’s. Knife fights are Above: Actors rehearsing for a physical confrontation on stage. Note the knife held to the actress’ neck. something with which she would have very little experience. They talk about the timing of each movement in great detail, including the moment before. The preparation for an action tells us almost as much about the impact as the action itself. The angle of an actor’s arm tells the story of where that arm will end up in the next moment, and whether or not it will hit its target. While observing today, I learned a new use for the word CRAFT – as an acronym for the steps in an act of stage violence: Cue – Reaction – Action – Follow-Through. The actors have to know what the cue for each movement is – is it seeing the weapon? Or is it seeing the other actor draw back in preparation for a strike? Then there’s a reaction to that cue: does the actor attempt to move out of the way to avoid being hit? The reaction and the action – a fist moving forward, a knife swipe, etc. – might happen almost simultaneously. Then, here’s the crucial thing: follow-through. It’s crucial to making an impact look real. Without follow through, stage violence doesn’t look like it hurts, it doesn’t appear to cause any damage. With this show, there are even more details to consider. How dark is it onstage at this moment? Will the couch block the audience from seeing parts of the choreography? Above: Scene from a production of How does this action match with the dialogue in the script, and does it keep the Wait Until Dark. Note the knife in the actor on the right’s hand. tension mounting as the fight progresses? Even though I watched them painstakingly work through every movement in this fight, when they ran it again at the end of rehearsal, I promise you, the answer to that last question was undeniable. Oh, yes, it does…u

“And a threat must be considered equal to the act itself lest the threat have no meaning.” – Roat 7 “YOU HAVE TO BE BRAVE.” Lisa Helen Hoffman is Geva’s Audio Described Theatre for the Blind Series Coordinator and Consultant. Lisa works with our Audio Describers to create clear and detailed descriptions of a production’s visual aspects. This allows people who are blind to enjoy theatre by providing them with live audio during the show, in between characters’ spoken dialogue, that describes the costumes, sets, lighting, and onstage action into a microphone that then transmits these descriptions to individual earphone receivers that our blind patrons check out from the box office. By using the Audio Description program, blind patrons can still hear the play and develop an awareness of the visual world that the story takes place in. The following is an interview with Lisa about her schooling experiences as a blind student, some of the most common misconceptions about being blind, and some of her thoughts about Wait Until Dark. About schooling: I was born with retinoblastoma (cancer of the eye.) I have been blind since the doctors removed my eyes when I was a toddler so that the cancerous tumors wouldn’t travel to my brain. I took regular classes but also had a “Braille teacher” who would talk with my teachers about how to make lessons accessible, gathered my materials and made them available to me in Braille, and who met with me for one period a day to help me do my lessons with adaptive equipment. Aside from this, my learning experience was normal. I took art, studied violin and orchestra, learned the parallel bars in P.E., and did swimming, aerobics, cross country skiing, and archery. If I had a companion with me, it would be a fellow student or a friend. Before the school year started we’d have a mobility training orientation so I would know the layout of the school building and didn’t need to use my white cane to get around the school. About schooling for children with disabilities today: I think the disability world is way behind in letting children be children without an aide constantly following them around, which can inhibit friendships - among other things. I notice that some parents insist on helping their children with disabilities a little too much. We all have to be independent Above: A white cane. eventually. I took a mobility kitchen class as a child that taught me how to cook, clean, and work with knives safely. But now many blind people are not taught to use knives at all. I’m glad that education and learning is now mainstreamed for people with disabilities, but it’s still behind and needs improvement. About Susan: I like Susan. She’s smart and she trusts her intuition. I feel that some of Susan’s fears and insecurities come from her husband Sam. Susan asking someone to help her do something (like find a dropped pencil) is not a bad thing or a failure – it’s just practice and the process of learning. I saw myself a lot in Susan. She wants to do things on her own, but sometimes questions whether she is ready or capable of it…and then she proves later on, to herself and to others, that she is. Susan’s fears are partly a result of her blindness but they’re also, partly, just normal human fears. And I do think Susan overcomes her fears. Her journey felt familiar to me. She just overcomes them by actually doing them. About stereotypes: I’ve never understood the whole “face touching to create a mental image of a person” thing. Much more useful to me is knowing a person’s hands and voice. When you shake hands with someone, you get much more useful information like height, age, or body structure, and we know people by their voice as well. Sighted people tend to identify people by facial images, but that’s not how all blind people do it. I also think it’s strange when people assume that I have superpowers in my hearing or smelling abilities that compensate for my lack of vision. The idea of “heightened senses” isn’t true. Here’s what it is: Blind people are not distracted by sight and have more energy to focus on the rest of their senses. Like many blind people, Susan is just able to train her attentions differently – her other senses don’t

Above: A blind woman innately grow stronger because of it. with her seeing eye dog. (continued on the next page)

“Sam says that I’m not supposed to do things you can do yourself.” - Gloria 8

About the take-away: I want everyone who sees Wait Until Dark to pick up on Susan’s independence. She acknowledges her fears and mistakes, but I see her as a character that learns and moves forward. It’s integral for anyone living with a disability to figure out how to do things on their own and then actually DO it rather than always accepting a ride from that well-meaning neighbor who offers to drive you so you don’t have to take the bus on your own. I want people to come away with an appreciation that, if you come in contact with someone with a disability, not to smother them. And I think this goes for everyone, sighted or non-sighted, and with or without disability. Let people try things – mistakes aren’t bad things. You have to be brave. u COPING WITH THE LOSS OF SIGHT When a person who is born sighted loses their vision later in life through an accident (as Susan does in Wait Until Dark), medical condition, or other means, the person may initially struggle with a sense of insecurity, and loss of skills, communication, occupation, or financial status. Detailed on this page are twenty losses of blindness. After you see Geva’s Student Matinee performance of Wait Until Dark, consider if you think Susan had to cope with any of these losses. Were there any that seemed to affect her more strongly than others? In the course of the play, were there any she was able to acknowledge and overcome? Do you think there are any she is still struggling with?

Twenty losses: * Physical integrity * Visual perception of the pleasurable * Confidence in remaining senses * Visual perception of the beautiful * Contact with the environment * Recreation * Visual background * Career, vocational goal, job opportunity * Light security * Financial security * Mobility * Personal independence * Techniques of daily living * Social adequacy * Ease of written communication * Obscurity or privacy * Ease of spoken communication * Self-esteem * Informational progress * Personality (strengths and weaknesses)

Visit this online PDF from our Wait Until Dark dramaturgical packet via the link below. The information on its pages provides useful information for both blind and sighted individuals about how a person who is blind might learn to accomplish many daily tasks – from dialing a phone to doing their laundry to indentifying kitchen equipment. Consider a task you might need to re-learn how to do if you were Susan. Discuss with a partner the ways in which you might adapt the task to suit your abilities and needs. u http://www.gevatheatre.org/wp-content/uploads/2014/08/CopingwithBlindness.pdf

At left: A blind man using a white cane. Consider this photo and the one on the previous page and how they may conform to the ways that we often think of people who are blind or visually impaired.

“Most people say ‘You’re blind.’ Like, this is what you are, not this is what you can’t do anymore.” - Susan 9 DESIGNING WAIT UNTIL DARK : THE SET Have you ever looked at a scenic model or sketch and considered how exactly it came to be? A quick glance at Vicki Smith’s scenic design depicts a 1940s Greenwich Village, New York apartment comprised of a kitchen, living room, stairs, and doors leading to other parts of the home. Just one look at the set gives you a pretty precise idea about where and when in history we are. That’s the designer’s job, after all. But take a closer look at that refrigerator or sink or sofa or stair rail or any number of other furnishings on the set and you’ll see that quite a lot of detail goes into designing and selecting just the right details to make this apartment real. A designer’s job is so much more than just choosing to put a table and chairs onstage because kitchens usually have those things. It’s about creating an authentic environment where everything has a place, a reason for being the way it is, Above: Scenic designer Vicki Smith’s model for the set of Wait Until Dark. and a purpose. Check out Smith’s research photos below for items that would have been found in this home. An audience member may not notice the intricate details and specifics of a scenic designer’s vast array of choices as they watch the performance, but they sure would notice their absence and feel a certain lack of authenticity without them! u

“Yeah, two sets of blinds is good. Signal Corps stuff.” – Carlino 10 DESIGNING WAIT UNTIL DARK : THE COSTUMES Gloria Mike Carlino Staff Skip Greer Director of Education/ Artist in Residence

Lara Rhyner Associate Director of Education

Eric Evans Education Administrator

Shannon Toot Walker Zupan Education Interns

Jean Just as a scenic designer does deliberate research and makes careful choices about the Gordon Ryon world of the story, costume designers follow suit with a similar process of research, choice, and decision. In the columns above you’ll see costume designer Marcia Dixcy Jory’s Dramaturg research images, sketches, and final sketches for the characters Gloria, Mike, and Carlino. The costume designer vigilantly considers each outfit’s color palette, fabric selection, tex- Mark ture, style, fit, shoes, accessories, makeup, hairstyle, and other logistics like how much Cuddy wear and tear each costume is liable to get and if the actor has any quick costume changes that may require a zipper, Velcro, or snaps rather than buttons. Law enforcement and mili- Artistic tary uniform costumes require an additional level of care and research to ensure that each Director detail, pin, and cap is accurate. u Tom Parrish For a list of resources used in the creation of the Wait Until Dark Discovery Executive Guide, please go to www.gevatheatre.org/programs-for-students/ Director

“Come on. Show me that badge again. You’re dying to.” – Roat Upcoming Geva P.L.A.Y. 2014-15 Student Matinees

October 29 December 4, 5, 9, 10, 11, 16 and 17

Januar y 21 April 8, 9 and 15 and Febr uar y 12 Tickets on sale now. For more information, please call (585) 420-2035

Education Partners Thank you to our corporate and foundation donors who support our education programs. (Donors are listed for the time period 1/20/2014 through 9/3/2014)

Ames-Amzalak Memorial Trust in Memory M&T Bank of Henry Ames, Semon Amzalak Guido & Ellen Palma Foundation Printing Sponsor and Dan Amzalak Mr. & Mrs. Richard Poduska Excellus BlueCross BlueShield Howard & Marilyn Berman Eric & Elizabeth Rennert Geva at Teen Central Sponsor Canandaigua National Bank Rochester Area Community Foundation M&T Bank Cornell/Weinstein Family Foundation Dr. Lynn Rosen & Bradley Rosen Donald F. & Maxine B. Davison Foundation Target Stores Leadership support for the Louise W. Epstein Elaine P. & Richard U. Wilson Foundation Passport Program provided Excellus BlueCross BlueShield Louis S. & Molly B. Wolk Foundation by The Elaine P. and Feinbloom Supporting Foundation Wollner Charitable Trust Richard U. Wilson Foundation David & Sharon Mathiason The Xerox Foundation Summer Curtain Call Supporters Thank you to the supporters of the 2014 Summer Curtain Call Event, our annual gala in support of our education programs.

Executive Producer The Elaine P. & Richard U. Pamela Giambrone Fioravanti Florist Nocon & Associates, Wilson Foundation Suzanne Gouvernet Hedonist Artisan Chocolates A private wealth advisory Gray Locey, CPA, P.C. LiDestri Foods practice of Ameriprise Assistant Producer Mengel, Metzger, The Melting Pot Financial Services, Inc. Clark Patterson Lee Barr & Co. LLP Moonlight Creamery Sergio & Mary Ann Esteban REDCOM Laboratories, Inc. Nolan’s Rental Services Associate Producer Kenron Industrial Air Rochester Area Community ROC Brewing Co. Ted & Peggy Boucher* Conditioning Foundation Tasteful Connections Catering COMIDA Writing Solutions Group Dawn & Jacques Lipson, MD Director With additional support from Kim & Janet Tenreiro Anonymous Black Button Distilling *Honorary Co-Chairs Ames Amzalak Memorial Trust Conolly Printing

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