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A FUNNY THING HAPPENED on the WAY to the FORUM ILLINOIS THEATRE Music and Lyrics by Stephen Sondheim Book by Burt Shevelove and Larry Gelbart J.W

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A FUNNY THING HAPPENED on the WAY to the FORUM ILLINOIS THEATRE Music and Lyrics by Stephen Sondheim Book by Burt Shevelove and Larry Gelbart J.W A FUNNY THING HAPPENED ON THE WAY TO THE FORUM ILLINOIS THEATRE Music and lyrics by Stephen Sondheim Book by Burt Shevelove and Larry Gelbart J.W. Morrissette, director Michael Tilley and Justin M. Brauer, music directors Thursday-Saturday, October 18-20, 2018, at 7:30pm Thursday-Saturday, October 25-27, 2018, at 7:30pm Sunday, October 28, 2018, at 3pm Colwell Playhouse three overlapping audiences, and that our departmental mission of inclusion is enacted on and behind our stages. We have to serve our own students, the people who’ve come to receive the education to make a career as professional theatre makers. We have an obligation to train them to become working designers, actors, technicians, playwrights, stage managers, directors, scholars, and teachers. We also serve the other 44,000+ students on the campus, many of whom take our classes and enjoy our productions. POWER + PLEASURE We have to serve the University of Illinois I think a lot about the enormous privilege at Urbana-Champaign. As part of a I have as Head of Illinois Theatre. I have Research I university, we are obligated the very great pleasure of working with to create new knowledge and to pass it incredibly talented and committed faculty, on. Our productions must take part in students, and staff in the Department broad conversations and reflect the goals of Theatre, the College of Fine and and strategic plan of the university as a Applied Arts, and Krannert Center for the whole. We must make connections across Performing Arts. I have the power to shape disciplines and across campus. what we show you on our stages through We have to serve the community. We collaboration with those colleagues. are a part of this vibrant, micro-urban, I’ve spent this past year meeting many Midwestern space and place. We must of you. I am very grateful to those of you return the passion, time, and money you who’ve taken the time to talk to me in the offer with a balanced season that reflects lobby, to send an email or make a phone our shared values and interests. We have call, to connect with me at other events. a responsibility to question power and We have an audience who is passionate authority as well as an equal responsibility to about our productions, our students, and entertain and please you. our role as a university theatre. Please You—our audiences from the community, continue to make those connections. Theatre 101 classes, campus partners, or Those conversations are opportunities our own classrooms and shops—are our to talk about my understanding of the privilege to serve. Thank you for being here. relationship between our production season Dr. Kirsten Pullen and the world around us. I believe we serve Professor and Head, Department of Theatre 2 3 PROGRAM A FUNNY THING HAPPENED ON THE WAY TO THE FORUM ILLINOIS THEATRE Music and lyrics by Stephen Sondheim Book by Burt Shevelove and Larry Gelbart J.W. Morrissette, director Michael Tilley and Justin M. Brauer, music directors Thursday-Saturday, October 18-20, 2018, at 7:30pm Thursday-Saturday, October 25-27, 2018, at 7:30pm Sunday, October 28, 2018, at 3pm Colwell Playhouse ACT I 20-minute intermission ACT II 4 DIRECTOR’S NOTE An ancient Roman walks into a bar, holds up two at one time but are now offensive? Is offense fingers, and says “I’ll take five beers.” an innate risk of comedy? How does comedy change when traditional representations of stock Go ahead. Hold up two fingers. You’ve probably characters are challenged with the diversity just made a “V” and a “V” shape is the Roman available to modern theatre making? These numeral for—wait for it—five. I’ll pause here for questions, and a great many more, emerged as laughter. we developed our concept for this particular Unless you hold an affectionate place in your work. What also developed was an understanding heart for jokes about Roman numerals, it is quite of how we, a contemporary group of artists, likely you found this joke lacking comedic effect. might perform this work for you, a present-day Maybe it made you chuckle or maybe it frustrated audience. We, again, discovered that comedy you or maybe it simply confused you. You may involves risks. question why a director begins in such an informal This is not to say we limited ourselves to a cold, and seemingly unscholarly way. clinical investigation of this piece of comedic Such are the risks of comedy. theatre—quite the contrary. We embraced silliness, we laughed ourselves into oblivion, we Our production of A Funny Thing Happened found joy in the absurdity and inconsistencies of on the Way to the Forum is filled with comedic so many parts of human existence. The work of risks—the best comedy usually is. We did not training our professional skills disguised itself in embark on this production lightly or without the spirit of abandon and freedom. We learned consideration of how an American musical based so very, very much, and now you, the audience, on the works of an ancient Roman playwright has arrived to join us on our journey. We hope premiering on Broadway in 1962 would resonate you’ll find the joy, discovery, and celebration ofA with an audience in 2018. We knew there Funny Thing Happened on the Way to the Forum were inherent risks in our exploration, and we in much the same way we did by embracing risk. embraced those risks as an opportunity to As Prologus is about to tell you in just a few examine how comedy has changed over the past moments, “We shall employ every device we 2200 years. know in our desire to divert you.” What do we find funny? Are there jokes that are —J.W. Morrissette eternally funny? Are there things that were funny 5 A FUNNY THING HAPPENED ON THE WAY TO THE FORUM MUSIC AND LYRICS COSTUME DESIGNER Stephen Sondheim Melissa Hall BOOK LIGHTING DESIGNER Burt Shevelove and Larry Gelbart Stuart Wilson DIRECTOR SOUND DESIGNER J.W. Morrissette Brandon Reed CO-MUSIC DIRECTOR PROPERTIES MASTER Michael Tilley Haley Borodine CO-MUSIC DIRECTOR HAIR/MAKEUP COORDINATOR Justin M. Brauer Melissa Hall CHOREOGRAPHER WIG MASTER Philip Johnston Lisa Lillig FIGHT CHOREOGRAPHER STAGE MANAGER Zev Steinrock Kayla Uribe CO-SCENIC DESIGNER TECHNICAL DIRECTOR Regina García Bobby Reynolds CO-SCENIC DESIGNER DRAMATURG Villale Song Alison Stake 6 CAST PSEUDOLUS GEMINAE Lisa Gaye Dixon* Dane Brandon DOMINA VIBRATA Katie Feeley Zoe Repllingerˆ HERO GYMNASIA Brian Kim Sky Arend HYSTERIUM PHILIA Kevin Woodrow Tafadzwa Diener ERRONIUS PROTEAN Alejandro Mata† Zoe Branch MILES PROTEAN Kyle Norbut Charlee Amacher LYCUS PROTEAN Robert Bradley Emma L. Anderson SENEX PROTEAN Fabian Guerrero Stasia Kasimos TINTINABULA PROTEAN Jacklyn Ovassapian Emily Naud PANACEA STATUE Melody Contreras Brittney McHugh *Appears through the courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. ˆDance Captain †Fight Captain 7 ORCHESTRA KEYBOARD/CONDUCTOR TROMBONE Michael Tilley Michael Beltran KEYBOARD VIOLIN Justin M. Brauer Noah Larson REEDS CELLO Kavi Naidu Kutasha Silva Nate Bishop Laura Bauer BASS Andrey Junca Goncalves TRUMPETS Donny Albrecht DRUMS Will Schmalbeck Jackson Barnett 8 DRAMATURG’S NOTE In staging A Funny Thing Happened on the Oscar Hammerstein II had mentored Sondheim Way to the Forum (1962), we have challenged to believe a song should function like a scene, ourselves to take an old play, adapt it for a moving the plot forward while the character modern audience, remain true to the original experiences an emotional change. With this work, and amplify its hilarity. In 1958, Burt perspective, Rodgers and Hammerstein rejected Shevelove and Larry Gelbart faced a similar earlier traditions of songs “savoring the moment,” challenge: to create a musical comedy based on mostly dwelling on action that had just happened. the works of Roman playwright Titus Maccius However, Shevelove and Gelbart’s script is a true Plautus (c. 250-185 BCE). The show took multiple farce: the stock characters leave little room for revisions and four years to write. Shevelove and complicated emotions and plot development Gelbart meticulously wove their comedy inspired through song. Songs, then, give the audience by Plautus’ 20 surviving plays, capitalizing on his a respite from frenetic action. Importantly, time-proven farcical foundations: stock characters Shevelove and Gelbart’s view mirrors the way like “the braggart-warrior” and the “cunning musical interludes functioned in Plautus’ day. slave;” disguise and mistaken identity; and broad Ultimately, to keep things fast-paced, Sondheim physical comedy. These coalesced with a 1960s placed most of the songs in the first act, before touch of music, vaudeville, and burlesque. While the plot really starts to tangle. To justify the use Shevelove and Gelbart didn’t intend for Forum of music, he rewrote many songs to make them to be political, emerging societal freedoms in the especially clever. 1950s and 1960s conceptually relate to the show, specifically in the presentation of the courtesans Forum’s tryout in New Haven opened to mixed and Pseudolus’ quest for freedom. reviews and reserved audiences. The artistic team thought the show was utterly comical, so Stephen Sondheim joined the team, in his debut as how did it miss the mark? They consulted Jerome both composer and lyricist. Although he thought Robbins, celebrated director and choreographer, the script hilarious, he wasn’t initially convinced it who suggested rethinking the original opening should be a musical. He believed that the rising number, “Love is in the Air,” which implied a tension of farce is undercut by musical interruptions. charming romance rather than a farce.
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