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GLENGARRY GLEN ROSS Written by David Mamet Presented by Special Arrangement with SAMUEL FRENCH

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GLENGARRY GLEN ROSS Written by David Mamet Presented by Special Arrangement with SAMUEL FRENCH PROGRAM VENUS IN FUR Written by David Ives Presented by special arrangement with Dramatists Play Service, Inc., New York. Directed by Talena Kelln ()nymalK produced by Classic Stage Company, (Brum Kulick, Artistic Director; Jessica R Jcncn, Executive Director). Originally produced on Broadway by the Manhattan Theatre Hub (Lynnc Meadow, Artistic Director; Barry Grove, Executive Producer) by special arrangement with Jon B I'latt, Scott Landu and ( lassie Stage (Company. at the Samuel J. Friedman Theatre on ()ccober I J, 2011. The Broadway producers of VENUS IN FUR are [on B. Piatt, Scott I.andls. MTC Productions Inc. Lynne Meadow, Barrv drove, |csslca R. Icnen, Scott M. Dclman, and Classic Stage Company. Lead producer |on B. Piatt's producing credits include some of the most honored dramatic work m Broadway history: Angels in America: Millent uni Approaches (Pulitzer Prize Winner), Perestroika, The Book of Mormon, Wicked, Copenhagen, God of Carnage, Death of a Salesman and Qyboume Park (Pulitzer Prize Winner). In addition 10 his _ 1 on] Awards, Mr. Plan has received 10 New Vock Drama Desk Awards and f) New York Outer Critics Circle Awards, and the Rol>crt Whitehead Award for Distinguished Producing in the Commercial Theatre in 2012. Tony award winning producer Scott Landis' credits include 'ITie Children's Hour (West find), La Bete, The Pajama C lame and Nice Work If You Can C let It Manhattan Thea­ tre ( lul), led by Artistic Director Lynnc Meadow and Executive Director Barn Grove, is one of the nation's leading noil profit theatres producing innovative and diverse work by playwrights at all stages of their careers, at its Broadway and Off Broadway theatres Plays that debui at MTC arc performed across the country and around the world, and 6 of them have won Pulitzer Prizes: Doubt, Proof, Ruined, Rabbit Hole, Crimes of the Heart, and The Piano Lesson; Jessica R. Jcncn produced An Evening with Patti Lupone & Mandy Patinkin, and while Executive Director of < lassie Stage Company, produced the world premiere of Venus in Fur, as well as I hree Sister-;, I III ck Vanya, 1 he Tempest, among others. Classic Stage Company is the premiere Ofl Broadway theatre dedicated to rcimagim; the classical repertorj for a contemporary American audience Scon M. Dclman is a pnvate equity investor: at DGZ Capital who has co produced "llic- Book of Mormon, American Idiot, Mary Smart and Ragnme. Reproduction of any kind, including for personal use, is also strictly prohibited GLENGARRY GLEN ROSS Written by David Mamet Presented by special arrangement with SAMUEL FRENCH. INC. Directed by Caroline Rourke THE VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RE­ CORDINGS OF THIS PRODUCTION OR DISTRIBUTING RECORDINGS ON ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIBITED, A VIOLATION OF THE AUTHOR'S RIGHTS AND ACTIONABLE UNDER UNITED STATES COPYRIGHT LAW. FOR MORE INFORMATION, PLEASE VISIT: DRAMATISTS PLAY SCHV1CE, INC. £ SAMUEL * FRENCH FOUNDED 1830 Director's Notes Venus in Fur Isn't it interesting, how, when we think of powerful female figures in literature or film, their power is inexplicably linked to a command of their own sexuality? The most powerful women I can think of are in heels, for example. They are strong, domineering, and have lots of cleavage. They tell men what to do, and what's more, men tend to like it. Is there a problem with this7 After all, a powerful woman who finds fulfillment in her sexuality is something worthy of admiration, I think. But what Venus In Fur has taught me is that this notion of the "dommatrix" is rarely so self-fulfilling. The dommatrix idea actually began as a fantasy imposed on women by men who found the idea of being powerless thrilling -just so long as they had the real power back at the end of the day. That's a problem And yet, here is my leading lady, walking around the stage in thigh high boots and a dog collar Why'? Right now, we are inundated with ideas and expectations about what it means to be a woman and in control of sexuality - or rather, to be a woman and in control of anything. The recent global obsession with "Fifty Shades of Grey" will no doubt ring a few bells We are suddenly fascinated with these taboo ideas of whips and chains, and we need to carefully consider what kinds of implications these fascinations might have on the social relations between power and gender. Now, I would like to stress that this is not a play about demonizing the male species. This is not a play about S&M. It is not about sex. It is not about pitting one gender against the other. This play is a comedy about justice and truth, and that's it. My hope is that you will begin this journey with us full of questions, and that you will leave with many more. This text is gorgeously layered and fraught with intention, but I would implore you to enjoy it all with an open heart and make the message your own. Thank you. Talena Kelln Talena is a junior majoring in Theatre Arts with a Performance concentration and a minor in Writing. Previous GU stage credits include The Big Meal (Woman #2). Almost, Maine (Gayle), Jesus Christ Superstar (Pontius Pilate), Much Ado About Nothing (Beatrice) and many more She previously directed Play by Samuel Beckett Glengarry Glen Ross Until I came across Glengarry Glen Ross during my freshman year at Gonzaga, I had never encountered a play that lived, almost entirely, through its language. Caustic, "gutter English'' that still catches me off guard at times. It's incredible, really. A testament to David Mamet's unique style of writing, and to a lifestyle that, for many, was a grim and uncomfortable reality. 'Death of a F***ing Salesman', they call it. Yikes. But, what a fascinating perspective it provides on humanness! "A man's his job," says Shelley Levene. It's no longer 1984. and real estate salesmen don't go door to door anymore, but he s got a point, no? How often do we define ourselves within the realm of our work? How frequently do we associate worth or value with an occupation? Consider it this way and perhaps the lying, cheating salesmen become relatable, if for no other reason than the shared human experience of desperation. If my job was the primary source of my self-understanding and perceived worth, how far would I go to keep it? Directing Glengarry has been an experiment, at times requiring me to get comfortable with discomfort. But, this is where I think drama truly flourishes. It's gritty, it's vulgar, but every profanity uttered is intentional. It has been my supreme pleasure to work with a cast and crew that somehow managed to bring my often-inexplicable vision to fruition. Enjoy. Caroline is a senior majoring in Broadcast Studies with a minor in Criminal Justice. Previous GU credits include A Chorus Line. Death, The Golden Age of Radio, Frozen Dinner and Boone Street Hooligans. This is her directorial debut. Production Team Briar Burt designed the lighting for Venus in Fur. She is a senior majoring in History and Theatre Arts with a concentration in Technical Theatre. She previously designed the scene and lighting for The Big Meal. Rachel Carlson designed the costumes for Glengarry Glen Ross and is the Props Master for Venus in Fur. She is a sophomore majoring in Broadcast Studies and Theatre Arts with a Technical Theatre concentration. She previously designed the costumes for Dido & Aeneas: An English Baroque Dance Opera. Regina Carrere is the stage manager for Venus in Fur. She is a sophomore majoring in English with a Writing concentration and minoring in Criminal Justice and Theatre Arts. She previously designed the costumes for The Big Meal. This is her first stage management production. Madison Hendricks designed the costumes for Venus in Fur. She is a sophomore majoring in Theatre Arts with a concentration in Technical Theatre and minoring in Dance. Previously she was a crew member for Alice. This her first costume design production. Veronica Murray is the stage manager for Glengarry Glen Ross. She is a senior majoring in Broadcast Studies and Theatre Arts with a concentration in Technical Theatre. Previously she was the stage manager for Much Ado About Nothing and the di­ rector of The Big Meal. Nathan Patrick Nelson designed the lighting for Glengarry Glen Ross. He is a sophomore majoring in Theatre Arts with an Education certification. This is his first lighting design production. Madeline Sloan designed the scenes for Venus in Fur and Glengarry Glen Ross. She is a junior majoring in Art with a minor in Promotions. This is her first GU production. VENUS IN FUR—CAST In Order of Appearance Kevin McCarthy (Thomas Novacheck) is a sophomore majoring in Psychology with a minor in Theatre Arts Previous GU stage credits include Book of Hours (Ensemble), Play (Woman #2's Demon) and Almost, Maine (Phil). Olivia Roberts (Vanda Jordan) is a freshman studying in the College of Arts and Sciences. She was previously on the GU stage in Weaving Our Sisters' Voices (Ensemble). GLENGARRY GLEN ROSS—CAST In Order of Appearance Martin Sisk (Shelly Levene) is a junior majoring in Theatre Arts with a concentration in Technical Theatre and a minor in Economics. Previous GU credits include Jesus Christ Superstar (Caiaphas). Reed Viydo (Richard Roma) is a senior majoring in Broadcast Studies and a minor in Theatre Arts. Previous GU credits include The Big Meal (Man #2), Jesus Christ Superstar (Peter), and Noises Off! (Gary).
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