sign in sign up
<<
Home , Ahmanson Theatre, Akenfield, Bianca Amato, Bob Martin (comedian), Casey Nicholaw, Center Theatre Group

FIRST PRODUCTION Dead End BY Sidney Kingsley DIRECTED BY Nicholas Martin August 28 - October 16, 2005

SECOND PRODUCTION MUSIC AND LYRICS BY and BOOK BY and Don McKellar DIRECTED AND CHOREOGRAPHED BY November 10 - December 24, 2005 U.S. Premiere

THIRD PRODUCTION The Importance of Being Earnest BY DIRECTED BY Sir January 17 - March 5, 2006

FOURTH PRODUCTION The Black Rider: The Casting of the Magic Bullets DIRECTED BY MUSIC AND LYRICS BY Tom Waits TEXT BY William S. Burroughs April 22 - June 11, 2006

FIFTH PRODUCTION MUSIC BY LYRICS BY ADDITIONAL LYRICS BY John Kander AND BOOK BY Rupert Holmes BASED ON ORIGINAL MATERIAL BY July 18 - September 3, 2006 World Premiere

FIRST BONUS PRODUCTION ’s MUSIC BY Tchaikovsky DIRECTED AND CHOREOGRAPHED BY Matthew Bourne March 8 - 19, 2006 TION BY SCOTT MCKOWEN SECOND BONUS PRODUCTION

ILLUSTRA Dame Edna: Back With A Vengeance! March 28 - April 9, 2006

Center Group 39th Season/2005-2006

Center Theatre Group L.A.’s Theatre AHMANSON THEATRE | | THEATRE Michael Ritchie, Artistic Director Charles Dillingham, Managing Director Gordon Davidson, Founding Artistic Director Presents

IN OSCAR WILDE’S

THEATRE ROYAL BATH / PETER HALL COMPANY

DIRECTED BY Sir Peter Hall

WITH Bianca Amato James Waterston Geddeth Smith James A. Stephens Greg Felden Margaret Daly Diane Landers

PRODUCER FOR THEATRE ROYAL BATH Danny Moar

ASSOCIATE DIRECTOR/PRODUCER Trish Rigdon

PRODUCTION DESIGN SOUND DESIGN Kevin Rigdon and Trish Rigdon Rob Milburn and Michael Bodeen

CASTING GENERAL MANAGEMENT Deborah Brown TOUR MARKETING & PRESS CAPA

PRODUCTION STAGE MANAGER COMPANY MANAGER/ John McNamara ASSISTANT STAGE MANAGER Brian J. L’Ecuyer

January 17 - March 5, 2006 Ahmanson Theatre

P2 PERFORMANCES MAGAZINE CAST (In order of appearance.)

Lane ...... James A. Stephens Algernon Moncrieff ...... Robert Petkoff Jack Worthing ...... James Waterston Lady Bracknell ...... Lynn Redgrave Gwendolen Fairfax ...... Bianca Amato Miss Prism ...... Miriam Margolyes Cecily Cardew ...... Charlotte Parry Reverend Canon Chasuble ...... Terence Rigby Merriman ...... Geddeth Smith Footman ...... Greg Felden

UNDERSTUDIES For Lady Bracknell / Miss Prism: Margaret Daly For Algernon Moncrieff / Jack Worthing / Merriman: Greg Felden For Gwendolen Fairfax / Cecily Cardew: Diane Landers For Reverend Chasuble / Lane: Geddeth Smith

THE SCENES OF THE Act I Algernon Moncrieff’s Flat in Half Moon Street, W. Act II The Garden Room at the Manor House, Woolton. Act III Morning-Room at the Manor House, Woolton. Time 1890s

There will be an intermission between Act I and Act II.

PERFORMANCES MAGAZINE P3 A Message from Michael Ritchie BOARD OF DIRECTORS COMING TO THIS NEW CITY has its share of joys (driving) and challenges (driving!): among them the adventure of discovering fellow theatre artists and 2005/2006 OFFICERS BOARD MEMBERS entrepreneurs who are along for this thrill-ride known as making theatre. HONORARY CHAIRMAN Mara Brock Akil Lew R. Wasserman † Harold Applebaum As I get to know the work of some of the brighter lights in the far-flung Ronald J. Arnault L.A. theatre district – companies who exist as far north as North CHAIRMAN and as far south as Costa Mesa, I plan to take the opportunity to share my Phyllis Hennigan Pamela Beck Judith Beckmen enthusiasm about the and artistry they offer. We can grow stronger and PRESIDENT Sheri J. Biller bolder through active knowledge of one another in this geographically Richard Kagan Marcy Carsey unwieldy community. VICE PRESIDENTS Geoffrey Cowan Many of these you already know and support. Some may be new Susan Grode Gordon Davidson* to all of us. At this moment, at a time when the Ahmanson is presenting John Ohanesian Charles Dillingham the classic Oscar Wilde’s The Importance of Being Earnest, I’d like to give SECRETARY Barbara Fodor this space to a respected classical theatre company already well-known Martin C. Washton Shelley Freeman in , as well as back East. The Antaeus Company has high Ava Fries aspirations and meaningful goals for the future of theatre. Here is what ASSISTANT SECRETARY they can tell you about themselves. Ernest M. Hiroshige Eric R. Garen Patricia Glaser TREASURER Brindell Gottlieb O. Kit Lokey J. David Haft* ASSISTANT TREASURER Brian Hargrove Darell L. Krasnoff Tommy Hawkins * PAST PRESIDENTS Stephen F. Hinchliffe, Jr. Lew R. Wasserman† Leonard Hirshan* THE ANTAEUS COMPANY – an ensemble of over Marshall Berges† 100 classically trained actors — exists to keep James B. Hunt* Armand S. Deutsch† classical theatre alive in ourselves and in our Andrew Kane Walter Mirisch community. The Antaeus experiment that began Samuel X. Kaplan* in 1991 at Center Theatre Group was and is to Henry C. Rogers† Charles R. Kenis* build an ensemble of some of the finest classically Richard E. Sherwood† Diane Kessler trained actors in America, developing a common J. David Haft* Joanne Corday Kozberg aesthetic and shared vocabulary, with a big emphasis on process over results. Lawrence J. Ramer* Our formation was a response to the breathtaking work of long-established Nancy Olson Livingston* Stephen F. Hinchliffe Jr. ensemble companies who flourish around the world, but much less so in the Michael Lynton U.S., especially in Los Angeles. Phyllis Hennigan Carol Mancino *Director Emeritus Antaeans meet over weeks, months, and sometimes years to tackle the Martin Massman †Deceased challenging language and ideas of classics great and small. Chekhov’s Walter Mirisch The Wood Demon, presented in 1993 at the Mark Taper Forum, marked the first Diane Morton* public presentation of our big experiment of ENSEMBLE, with two to three Jo Muse actors versed in every role and casts changing nightly. (The experiment also Susan M. Palm helped to solve a problem — how do actors in L.A. commit to doing theatre Lawrence J. Ramer* when the TV/film world so convincingly pays the bills?) Michael Ritchie Over the years, Antaeus has developed education and outreach programs, Sanford C. Sigoloff as well as The Antaeus Academy, an acting training program for the next genera- Louise Taper tion of classical actors. And our recent acclaimed productions of Chekhov x 4, Pera Palas and Mother Courage and her Children, are the encouraging results James A. Thomas of our company’s 15-year commitment to in-depth exploration and process. Corina Villaraigosa Frederick R. Waingrow But now Antaeus is at a crossroads: our base of operations of the last 10 years, Hugh Waters in North Hollywood’s Noho Arts District, has been sold. At the end of March 2006, we’ll be homeless. Michael Ritchie’s vigorous support of L.A.’s smaller theatres gives us hope for our future. We’re aiming to raise five million dollars to build a Classical Theatre Center in the heart of the NoHo Arts District, creating performance and profes- sional training facilities, offering symposia and classes for the community, and establishing L.A.’s first classical theatre library. Because you are here at the Ahmanson tonight, we know that quality theatre matters to you — and Antaeus Center Ahmanson Theatre needs people like you now more than ever. Consider becoming involved — as a Theatre Mark Taper Forum donor, a board member, a volunteer. Find out more about The Antaeus Company Group by visiting our website at www.antaeus.org. Thank you. L.A.’s Theatre Company —JOHN APICELLA and JEANIE HACKETT, Antaeus Co-Artistic Directors Photo from the Antaeus Company production of Chekhov x 4. Jeremy Lawrence as Luka, Harry Groener as Smirnov in The Bear. Photo by Elaina McBroom

P4 PERFORMANCES MAGAZINE Oscar Wilde and The Importance of Being Earnest Sir Peter Hall introduces his new production of Wilde’s classic play. and Margaret Rutherford in the 1951 film of The Importance of Being Earnest.

THE ILLUSTRATED POLICE JOURNAL critical mockery of society and his Where would Wilde have led us had in June 1895 noted that Oscar Wilde ability to show up hypocrisy. he been able to go on writing? Perhaps might have become “as great as into realms of the absurd where Shakespeare….” It nonetheless All Wilde’s characters are extrava- Ionesco and even Beckett might concluded that his destruction was gantly emotional and are naturally seem restrained. in the public interest: “if the moral to egocentric. But they never, never be drawn from Wilde’s downfall and show their feelings: that would be The Importance of Being Earnest has fate only deters others from following fundamentally un-English. So they a plot which is fantastic and it is in the same line, the law will at least utter witticisms instead. The more shown by a series of events which are be revenged and the public satisfied.” emotional they become, the more they emotionally alarming. Is it comedy? Presumably they were. cover their feelings with extravagant Or is it farce? Is it melodrama or is Oscar Wilde’s obituary in wit. It is a type of English “stiff-upper- it — like all the other major Wilde found that all his work had the same lip,” and it informs all of Wilde’s plays — a social drama? Truth to qualities — “a paradoxical humour theatre. Beneath the wit there is tell, it defies category. It is a master- and a perverted outlook on life always an intense emotional reality. piece which heralds the coming of being the most prominent.” Solitary And if the actor doesn’t create that surrealism — which I would define confinement in Reading gaol and reality every night, then the plays as the representation of reality at eight hours a day on the treadmill may look facetious, even pointless: such a high pitch that it becomes soon destroyed Wilde. After three as if the actor has only one function more than real as it verges on the months his health was broken — this — to stand on the stage and utter absurd. But when the laughter was the treatment for homosexuals in witticism after witticism and obscure subsides we are left with Wilde’s Britain just over a century ago. what the play is really about. humanity and warmth. And it is the warmth more than the wit that still Never was an author’s philosophy This defense by wit is of course ensures the popularity of his plays. of compassion more cruelly tested abundant in Wilde’s surrealistic It is good to spend an evening with by the punishment he was forced masterpiece The Importance of Being an author so markedly generous and to endure. He clung desperately to Earnest. It is a completely original whose sense of the ridiculous is so his belief in love and forgiveness farce. There is no play like it in extreme that it prevents him ever and avoided — just — the bitterness English before nor (thanks to our being sentimental.• that could have afflicted lesser men. brutal treatment of its author) is His courage was incredible. there any play like it after. It looks at society and particularly the material “The speech we hear is an indication of what And it is this spirit that continues excesses of the marriage market in we don’t hear. It is a necessary avoidance, a violent, sly, anguished or mocking smoke-screen to attract audiences. To Wilde, care young girls with an unblinking eye. which keeps the other in its place...One way and understanding were integral The satire is tough and the criticism of looking at speech is to say it is a constant parts of love. So was tolerance and merciless. But it is offset with a sense stratagem to cover nakedness.” – so — above all — was self sacrifice. of the absurd which might well have Far from finding his plays “perverted” come straight from Edward Lear or the public from the first enjoyed his Lewis Carroll. —Sir Peter Hall

PERFORMANCES MAGAZINE P5 “Heeeeeeeeeere’s Oscar!” Talking the Talk

by Frank Dwyer

ATTEMPTING TO PUT HIS JOB as Bill Clinton’s communications director into proper context, George Stephanopoulos observed that “We’re a celebrity culture and the president is the celebrity in chief.” Stephanopoulos’ insight about our culture is confirmed by most of what is said in our living rooms, family rooms, and even sometimes bedrooms – said by those intimates, of course, who pop up whenever we turn on one of our companion TVs. Americans can’t seem to get enough of the Stars, the Rich and Famous, the Winners, the World Record Holders, the Best of whatever (Hot Dog Eater, Domino Engineer, Butter Artist, dog, cat). Imagine the trade in Homes of the Stars maps if we could travel out past Beverly Hills and through time, elbowing our way alongside the news crews and the paparazzi to gawk at the Stars of the Past.

I’d do it. I might not go to Stratford, because I like the mystery and don’t want to be disappointed by mere mortality, but I wouldn’t mind a good look at Helen of Troy and a song or two from the Sirens. On the other hand, unlike poor Faust, I’m not signing anything, and I’ll skip being tied to a mast, writhing, like poor Odysseus. Isn’t there a Past Best of Something that would be at least as much fun and not at all dangerous to visit? Sure: I could go listen to Oscar Wilde.

By all accounts, strongly supported by the evidence that survives in the aphoristic brilliance of his essays and the dazzling dialogue of his plays, Wilde was the Best Talker of his time, perhaps the Best Talker ever.

He had to be. Wilde had no other capital but his genius. “To get into society nowadays,” he said, “one has either to feed people, amuse people, or shock people.” He was already shocking and amusing his contemporaries while he was still at Oxford. He carefully cultivated his reputation as a high aesthetic poseur (a late Victorian hippie), and he had already begun to turn himself into a celebrity, the new profession or category he more or less invented. “I find it harder and harder every day,” he proclaimed, “to live up to my blue china.” This was a sentiment so shocking to the bourgeoisie (the Philistines) that sermons were actually preached against it in English pulpits. “Somehow or other, aricature by Max Beerbohm

C I’ll be famous,” he told his friends, “and if not famous, notorious.” It didn’t take him long to be famous: he talked his way into it.

P6 PERFORMANCES MAGAZINE

Where did he get his gift of gab? I could talk like you,” he said, adding Dreams. But we could at least have That’s a clue: Oscar Fingall O’Flahertie tartly, “I’d keep my mouth shut and some recordings! What we have Wills Wilde was an Irishman. “We are claim it as a virtue!” “Ah!” Wilde replied, instead are different sorts of miracles: a nation of brilliant failures,” he with beatific innocence, “that would the still-alive, still-dazzling bits and said to W. B. Yeats, “but we are the be selfish! I could deny myself the pieces of self-discovering self-expres- greatest talkers since the Greeks.” pleasure of talking, but not to others sion that come down to us in his And yet he stands out even among the pleasure of listening.” works. There are priceless examples his eloquent countrymen, for talk on almost every page he wrote. Here If only we could have been there in that was somehow wilder, more is a random sample of highlights. Gilbert’s place. If we could only have spontaneous, more shocking, more heard that conversation, live. amusing, sillier, more dangerous. “There is no such thing as a moral Was it always “true”? That’s the With a little more luck, for Wilde or an immoral book. Books are wrong sort of question for Wilde. and for us, we might have. Toward well written, or badly written. For him the purpose of any form of the end of his novel, The Picture of That is all.” self-expression was not to pontificate Dorian Gray, Lord Henry says to –Preface, The Picture of Dorian Gray (1891) about the “Truth” but to learn about Dorian, “You must come and dine “There’s nothing in the world like the self. In “The Truth of Masks” he with me, and afterwards we will look admitted that he didn’t even agree the devotion of a married woman. in at the Opera. It is a Patti night, It’s a thing no married man knows with everything he had written in the and everybody will be there.” anything about.” essay. “There is much with which I –Cecil Graham, Lady Windermere’s Fan (1892) entirely disagree,” he went on. “The A Patti night. They were going to hear Adelina Patti, the first international essay simply represents an artistic “I can resist everything standpoint, and in aesthetic criticism operatic superstar. She was a big star except temptation.” in the 1890s. Thirty years earlier she attitude is everything.” –Lord Darlington, Lady Windermere’s Fan had sung “Home, Sweet Home” at He went even further in “The Critic the White House for Abraham and “Wickedness is a myth invented as Artist,” in his praise of the art of Mary Lincoln, who were in mourning by good people to account for the dialogue, which he called “that for their little Willie. That’s a long curious attractiveness of others.” wonderful literary form.” “To arrive time ago —but I can still hear Patti, –Phrases and Philosophies for the at what one really believes,” he myself. She lived and sang long Use of the Young (1894) wrote, “one must speak through enough to make recordings. And “The old believe everything; the lips different from one’s own.” if I can hear Patti, I could, theoretically, Wilde’s characters talk, as he did, middle-aged suspect everything; hear Lord Henry, or Dorian — the young know everything.” to hear themselves talk, or at least or Oscar. –Phrases and Philosophies for the for the playwright to hear them talk. Use of the Young They don’t talk to proclaim what Wilde was born in 1854. If he had they know or think or feel, but to not been hounded to an early death, “To love oneself is the beginning discover it, a strategy Wilde apparently he might very well have lived into of a life-long romance.” followed in his life. “Only the shallow the 1930s and been a guest — the –Phrases and Philosophies for the know themselves,” he said. What he all-time, world-champion, Best in Use of the Young heard himself say helped him to Show guest — on the early radio talk “The English country gentleman shows. He would only have been 75 know himself. We are what we say. galloping after a fox – the unspeakable or 80. And if he’d hung on to 99 in full pursuit of the uneatable.” Not everyone listened to Wilde’s (it’s possible!), there might be a tape –Lord Illingworth, A Woman of conversation with unalloyed pleasure. of him at the Museum of Broadcasting No Importance (1895) Richard Ellman, Wilde’s biographer, chatting about conformity and Art tells the story of a dinner and the Red Menace in the NBC LORD ILLINGWORTH: All women party at which a fellow-guest, the premiere of Steve Allen’s Tonight become like their mothers. That is great comic-opera librettist W. S. Show. “Heeeeeeeeere’s Oscar!” their tragedy. Gilbert, was less than amused. MRS. ALLONBY: No man does. After Wilde had monopolized How would Steve or Jack or Johnny That is his. the conversation for half an hour, or Dave or Jay ever have topped that Gilbert finally broke in. “I wish first show? –A Woman of No Importance

PERFORMANCES MAGAZINE P7 “Moderation is a fatal thing, “The truth is rarely pure “The good ended happily, and Lady Hunstanton. Nothing and never simple.” the bad unhappily. That is what succeeds like excess.” –Algernon, The Importance of fiction means.” –Lord Illingworth, A Woman of Being Earnest (1895) –Miss Prism, The Importance of Being Earnest No Importance “The amount of women in London Even at this late date, and with Wilde “I delight in men over seventy. who flirt with their own husbands only virtually alive in his deathless They always offer one the is perfectly scandalous.… It is simply repartee, it is still probably not a devotion of a lifetime.” washing one’s clean linen in public.” good idea to get on his bad side. –Mrs. Allonby, A Woman of –Algernon, The Importance of Being Earnest No Importance At a party after the opening night of “I do not approve of anything that Lady Windermere’s Fan, his first “Children begin by loving their tampers with natural ignorance. London production, he was asked parents. After a time they judge Ignorance is like a delicate exotic how things had gone. “Oh, the play them. Rarely, if ever, do they fruit; touch it and the bloom was a great success,” he replied, forgive them.” is gone.” “but the audience was a total failure!” –Lord Illingworth, A Woman of –Lady Bracknell, The Importance Consider yourselves warned.• No Importance of Being Earnest

“Women are never disarmed by “I keep a diary in order to enter —Frank Dwyer and Nicholas Saunders compliments. Men always are. the wonderful secrets of my life. have now translated 17 Russian plays, That is the difference between If I didn’t write them down I should including twelve by Chekhov. Frank directed the two sexes.” probably forget all about them.” their co-translation of Chekhov’s The Wood –Mrs. Cheveley, An Ideal Husband (1895) –Cecily, The Importance of Being Earnest Demon at the Taper.

Lynn Redgrave, one of the most honored actresses of our time, performs her newest work, the story of a woman whose voice, like the small brown bird of the title, can only be heard in the dark. Told with wit and compassion, Nightingale is an exploration of family, friendship and the savagery of time. Inspired by memories of Redgrave’s maternal grandmother. An extraordinary, intimate event. ONE-NIGHT ONLY! Monday, February 27 at 7pm $40 per person. Tickets available at CenterTheatreGroup.org or 213.628.2772. Photo by Marina Rice Bader for LA Stage. Special seating for CTG Donors, call 213.972.7532.

P8 PERFORMANCES MAGAZINE “A Trivial Comedy for Serious People”

by Christopher Breyer Illustrated by Max Beerbohm

THE TERM “INSTANT CLASSIC” IS, mores and manners of the elite. in the English language”). The one of course, an oxymoron: time alone Earnest was a farce, indeed, almost aspect of the work that has not can determine if something has the a parody and satire of his previous traveled is its title: the Earnest/Ernest enduring worth to be called a classic. plays. As Wilde said of what he pun does not translate to many But we can in hindsight recognize himself considered his masterpiece, languages so foreign productions creations that had triumphant debuts “It is exquisitely trivial, a delicate are often called Bunbury, after the and went on to grow even more bubble of fancy, and it has its play’s imaginary invalid. beloved and revered. Oscar Wilde’s philosophy . . . that we should treat The Importance of Being Earnest The Importance of Being Earnest is all the trivial things of life seriously, has been so consistently popular for certainly such a work. Its opening and all the serious things of life with so long that it is hard to even imagine was at the St. James’s Theatre in sincere and studied triviality. ” how often it has been produced. Quite London’s fashionable West End apart from eight Broadway productions (the very neighborhood which the play’s and many, many more on the West upper-class bachelor protagonists End, the play has been a staple of consider the center of the world) on off-Broadway and regional theatres, a snowy Valentine’s Day in 1895. professional and amateur rep It was the theatrical, and social, event of the season. Wilde was already the companies, colleges, community author of three enormously success- theatres, and even high schools. It is ful plays – Lady Windermere’s Fan, quite possibly the most popular and A Woman of No Importance and performed English play of the last An Ideal Husband, which had opened century. And its critical reputation a month earlier and was playing to is as great as its popularity. It is packed houses a few blocks away at regularly described by scholars and the Haymarket Theatre. Far more critics as the greatest comedy of than Britain’s preeminent playwright, manners ever, the finest English Wilde was almost single-handedly comedy since the 18th century, and – responsible for having revived more simply and with astonishing after a century of The Importance of Being Earnest frequency – a “perfect” play. A decade decline and doldrums and had made was a monumental success in into its second century, Oscar Wilde’s it once more the equal of poetry and London, in two months “delicate bubble of fancy” seems to the novel. later, and eventually around the have lost neither its luster nor its world – an international popularity incomparable ability to delight. But even for Wilde, The Importance of that is somewhat surprising given It remains a true classic.• Being Earnest was special. His previous the play’s Englishness and distinctly verbal wit (the great poet W.H. Auden hits had been “society dramas,” witty —Christopher Breyer is a frequent plays about serious issues and the called it “the only pure verbal opera contributor to Taper programs.

PERFORMANCES MAGAZINE P9 OSCAR WILDE (1854 - 1900)

Oscar Wilde was born in 1854, the Wilde earned a living by writing son of a celebrated ear surgeon and reviews and short stories and a an Irish nationalist mother who successful lecture tour of America wrote poetry and literary tracts. enhanced his reputation as a wit. Educated at Trinity College Dublin He married Constance Lloyd in 1885 and Magdalen College Oxford, he and they had two sons. But soon was a brilliant student whose early homosexuality became central to his poems were quickly published. life. In 1891 he began a relationship Wilde became a leading light in the with Lord Alfred Douglas whose Aesthetic Movement — a romantic vindictive and erratic father, the reaction against the commonplace Marquis of Queensberry, was to be art of the period. As his notoriety the cause of Wilde’s tragic downfall increased he attended all the best and ultimate imprisonment. salons, and frequently escorted Between 1892 and 95 Wilde reached famous actresses of the time the height of his success as a play- including Lily Langtry, Sarah wright. It was hard to believe that by Bernhardt and Ellen Terry. 1900 he would be dead.

Who’s Who

PETER HALL (Director). In 2003, Peter Hall with ; ’ ; and Lyndhurst and Julian Glover. In 2003 the celebrated 50 years as a director. He made with and Peter Hall Company gave its first Summer his debut at Windsor in 1953 and was . In 2002 he returned to Residency at the Theatre Royal Bath where Director of the 1954-55. the RNT with an acclaimed production of productions included Pinter’s , He ran the London 1954-59 Euripides’ Bacchai which was also seen on Coward’s Design for Living, a rare DH where his productions included the tour in the UK and at the Athens Festival Lawrence, The Fight for Barbara, (directed English language premiere of Beckett’s in Epidaurus. He has directed at many of by ), Shakespeare’s As You , celebrating its 50th the world’s leading opera houses including Like It, and Manfridi’s Cuckoos in an anniversary this year. In the 1957-59 House, The Metropolitan English version by Colin Teevan. Betrayal seasons he was at Stratford on Avon where Opera, Bayreuth (a celebrated production transferred to the Duchess Theatre, and his productions included with of Wagner’s Ring Cycle), Lyric Opera of was seen on an acclaimed , with Laurence , and nine-week tour of the USA. Also in 2003 Olivier and Edith Evans, and A Midsummer Geneva. From 1984-90 he was Artistic Peter Hall directed a new production of Night’s Dream with . Director of Glyndebourne Festival Opera, Beckett’s Happy Days starring Felicity Peter Hall created the Royal Shakespeare producing some 20 operas. In 1988 Kendal at the Arts Theatre. In 2004 the Company in 1960 and opened the RSC’s he launched the Peter Hall Company Peter Hall Company returned again to first London home at the . with productions of Bath for another Summer Residency. The Productions for the RSC included The Wars with and The Merchant season included the rarely seen full-length of the Roses, ’s ; The of Venice with . The version of Shaw’s , and Government Inspector with Paul Scofield Company has mounted more than 40 the world premiere of Timberlake Werten- and premieres of plays by Pinter (The productions in London, New York, Europe baker’s Galileo’s Daughter. The 2005 Peter Homecoming and ), Albee and and including a landmark season Hall Company Summer Residency included . He became Director of the at including Waiting for Godot, acclaimed new productions of Shakespeare’s in 1973, spending Waste and . Recent productions ; Shaw’s You 15 years with the Company and moving have included starring Never Can Tell (currently playing in the it into the new theatres on the South Bank. Judi Dench, Lady Windermere’s Fan starring West End at the Garrick Theatre) and the Prominent productions for the NT included Vanessa Redgrave and Joely Richardson, 50th Anniversary celebratory production Pinter’s No Man’s Land (with Mrs Warren’s Profession with Brenda of Beckett’s Waiting for Godot. In 2003 and ); the Blethyn, and Rebecca Peter Hall was appointed Director of Rose Great with , Bedroom Farce by Hall, Whose Life is it Anyway starring Kim of Kingston, a new theatre in Kingston upon , ’s Cattrall, and starring Nicholas Thames. In December 2004 he directed an

P10 PERFORMANCES MAGAZINE

inaugural season which included his Theatre (1999) and Exposed by the Mask The Old Neighborhood, Buried Child, The production of As You Like It with Rebecca (2000). His latest book, Shakespeare’s Rise and Fall of Little Voice, The Song of Hall, , Michael Siberry and Advice to the Players published in America Jacob Zulu, , The . This production then toured by TCG was recently issued in paperback. Grapes of Wrath, Speed the Plow, Our Town, to the USA visiting New York, Los Angeles Peter Hall is Chancellor of Kingston Glengarry Glen Ross, The Caretaker and and San Francisco. Peter Hall has directed University and lectures regularly on Ghetto. Off-Broadway Mr. Rigdon has regularly in America since 1957. Recent theatre both in the UK and abroad. designed Distant Fires, Unidentified Human productions there include ’s Remains and the True Nature of Love, Four Baboons Adoring the Sun; two TRISH RIGDON (Associate Director/ Orphans, Lemonade, Picasso at the Lapin productions of Peter Shaffer’s Amadeus; Producer, Costume Designer). Ms. Rigdon’s Agile, American Buffalo, Oleanna, Edmond, the formation of a Shakespeare Company work with the Peter Hall Company as Danger/Memory, Prairie Du Chein and The in Los Angeles where productions between Associate Director includes Much Ado Shawl. Road: of the Body, Balm 1999-2001 included , About Nothing, and You Never Can Tell in Gilead, And a Nightingale Sang... and A Midsummer Night’s Dream and Romeo (West End), Man and Superman and True West. He was the resident designer and Juliet, as well as a new production of Galileo’s Daughter, As You Like It (The for Steppenwolf Theatre from 1976 to 1997 for TFANA in New York Rose at Kingston and U.S. tour). Credits as during which he designed the scenery, also in 2001. His celebrated production of Director include Breakfast at Eight, LaLlorna costumes, and lighting for more than 110 ’s ten-hour epic Tantalus was (Express Theatre, Houston); The Laramie productions. He is currently the Associate premiered by the Denver Center for the Project, Antigone, Spike Heels (Rice Director/ Design for Houston’s Alley Performing Arts in association with the University, Houston); as Assistant Theatre where he has designed 50 RSC in 2001 prior to a season at the Director: 2003 production of As You Like It productions. Other theatre credits include Barbican in 2002. Peter Hall has directed (Peter Hall Company, Theatre Royal Bath, productions for The Old Vic, The Royal more than 300 major theatre productions UK tour, and U.S. tour); National Theatre, The Barbican, the Mark including 30 of Shakespeare’s plays, and (with Sir Peter Hall, Ahamanson, Los Angeles); Taper Forum, The Kennedy Center, American premieres of plays by , Romeo and Juliet (Houston Shakespeare Repertory Theatre, , Harold Pinter (nine world premieres), Festival); God’s Man in Texas (Stages Cincinnati Playhouse In The Park, The , , Jean Repertory, Houston). As Lighting Designer, Cleveland Playhouse, The Virginia Museum Anouilh, Peter Shaffer, , theatre and dance includes: Texas Theatre, , The Goodman , Simon Gray, Contemporary Dance Initiative, City Dance Theatre, The Ford’s Theatre, The Festival and Alan Ayckbourn. His upcoming Company (Miller, Houston 2000 - 2005), of Perth, The Festival of , The productions in 2006 include Coward’s Chrysalis Dance. As Costume Designer Cameri Theatre of Tel-Aviv. Mr. Rigdon is starring Judi Dench; Shakespeare’s theatre and dance includes Waiting for the recipient of two Tony Award nomina- Measure for Measure and ’s Godot, Much Ado About Nothing, Man and tions, seven Joseph Jefferson Awards, Habeas Corpus both of which will be seen Superman, Galilieo’s Daughter, Don Juan two Design at the Theatre Royal Bath. A recipient of (Peter Hall Company, Theatre Royal Bath); Awards, and the Drama-Logue Award. many arts awards and nominations Open House/Open Book (Rice University Mr. Rigdon is Professor of Design at the including two (for The Home- with Choreographer Stephen Koplowitz); University of Houston. coming and for Amadeus) and an Olivier Chrysalis Dance Company. As Assistant Award for Lifetime Achievement in 1999, Lighting Designer, theatre includes: One ROB MILBURN & MICHAEL BODEEN Peter Hall was Knighted in 1977 for his Flew Over the Cuckoo’s Nest (Broadway, (Sound Designers). Broadway credits include services to the British Theatre. Other Barbican, and Steppenwolf, Chicago); music composition and sound for One recent Awards include the New York American Buffalo (Off-Broadway, Donmar Flew Over the Cuckoo’s Nest and The Speed Shakespeare Medal and Membership Warehouse); Topdog/Underdog (Steppenwolf of Darkness, music for My Thing of Love of the Athens Academy in Greece for Theatre/ co-production Hous- and sound for A Year with Frog and Toad, his outstanding contribution to Greek ton and Dallas); Edward Albee’s The Goat, Ma Rainey’s Black Bottom, Hollywood Arms, Classical Drama. In January, Peter Hall Of Mice and Men, As Bees in Honey Drown, King Hedley II, Buried Child, The Song of is to be inducted into the Theater Hall of Comedy of Errors (Alley Theatre, Houston); Jacob Zulu and The Grapes of Wrath. Off- Fame in New York in recognition of his Lemonade (Alley, Houston, Off-Broadway). Broadway credits include music and sound Lifetime Service to the theatre. Peter Hall’s Mrs. Rigdon holds a Master of Fine Arts for Boy Gets Girl, Red, Space and Marvin’s films for cinema and TV include Work is a in Theatre from University of Houston Room. They have created music and sound Four Letter Word (1968), A Midsummer and is the Director of Theatre at Rice at many of America’s resident theatres Night’s Dream (1969), Three into Two University, Houston where she teaches (often with Chicago’s Goodman and Step- Won’t Go (1969), Perfect Friday (1971),The acting, directing, and design. penwolf Theatres), the Comedy Theatre in Homecoming (1973), (1974 and London’s West End, The Barbican Center, in November 2004 given a special 30th KEVIN RIGDON (Production Designer). the National Theatre of Great Britain, the Anniversary showing at the NFT), She’s Credits include the Peter Hall Company Cameri Theatre in Tel Aviv, the Subaru Been Away (1989), Orpheus Descending productions of You Never Can Tell, Waiting Acting Company in Japan, and festivals in (1990), The Camomile Lawn (1991), The For Godot, Much Ado About Nothing, , Dublin, Galway, Perth and Sydney. Final Passage (1996). His books include Galileo’s Daughter, Man and Superman, Peter Hall’s Diaries (1983); Making an and Don Juan. On Broadway his credits DEBORAH BROWN (Casting) has cast for Exhibition of Myself (1993); The Necessary include One Flew Over the Cuckoo’s Nest, Broadway, off-Broadway and many of the

PERFORMANCES MAGAZINE P11 leading regional theatres in the country. production of Company at the Kennedy Judi Dench and ) and Dolly Currently casting director for Theatre Center. Film: debut in Tom Jones (1963); in Being Julia with Annette Bening. She was For a New Audience in New York and the Georgy Girl (1966 Oscar nomination, Golden the voice of Fly in Babe and The Match- Westport Country Playhouse. Shared an Globe, N.Y. Film Critics awards); Gods and maker in Mulan and her work in audio Emmy Award for HBO’s series From the Monsters (1999 Golden Globe, Independent recordings has won many awards. In 2002, Earth to the Moon. Other television Spirit Award, Oscar nomination); Shine she was awarded the O.B.E. for her services projects include The Days and Nights (BAFTA and SAG nominations); PJ Hogan’s to Drama. of Molly Dodd and New York casting Peter Pan; Kinsey, written and directed by on Band of Brothers. Bill Condon (OutFest Award), among TERENCE RIGBY many other credits. Most recent film: (Reverend Chasuble) JOHN MCNAMARA (Production Stage Merchant/Ivory’s The White Countess Film work includes: Manager) was the Production Stage (with Vanessa and niece Natasha Mona Lisa Smile, Acci- Manager for Peter Hall’s acclaimed Richardson). Most recent stage: The dent, Get Carter, Eliza- production of As You Like It and for last Constant Wife on Broadway. Twice Emmy beth, Dogs of War, year’s U.S. tour of the Abbey Theatre’s nominated. Member of Equity since 1967. Tomorrow Never Dies, centenary production of The Playboy of the Ms. Redgrave has also written the text The Young Americans, Mrs. Cauldicotts Western World. Broadway: Riverdance on for Journal, A Mother and Daughter’s Cabbage War and due for release in Paris Broadway, Wizard of Oz, , Camelot, Recovery From Breast Cancer, featuring 2006, with John Shimada, Welcome to the Club and Teddy photographs by her daughter, Annabel Malkovich (directed by Brian Cook). Has and Alice. On Tour: Bubblin’ Brown , Clark, currently in its third printing from recently played Pozzo in Waiting for Godot, West Side Story and Ain’t Misbehavin’. Umbrage Editions. Davies in The Caretaker at the Old Vic in Five years as resident Stage Manager Bristol, ’s Skylight in Chester, at Westchester . MIRIAM MARGOLYES MA, Pinter’s The Birthday Party at ART Production Supervisor for the transfer (Miss Prism) is one of Harvard and filmed with Julia Roberts in of Woman in Black from the West End Britain’s best-loved and Mona Lisa Smile in New and for its U.S. Premiere. busiest character actress- Maryland. Further work in the USA es working on both sides includes: premieres of Pinter’s plays BRIAN J. L’ECUYER (Company Manager/ of the Atlantic. Born in , No Man’s Land, both Assistant Stage Manager) just completed the Oxford and educated at on Broadway directed by Sir Peter Hall; U.S./ Japan tour of the critically acclaimed Newnham College, Cambridge, she started also on Broadway, Hamlet with Ralph Deaf West production of . Other her professional life on BBC Radio and from Fiennes and Amadeus, as well as, in New stage management credits include Edgar there graduated to theatre, television and York, Richard III with Ian McKellen, Saved Allan Poe – Once Upon A Midnight (w/John films. In the West End, she was first seen by , Troilus and Cressida, Astin; national/ international touring in The Threepenny Opera (with Vanessa Smelling a Rat, an early play – productions); Doctor Dolittle, Baby Redgrave), in Orpheus Descending and She and at Seattle The Last True Believer by (recent Paper Mill prod.); Jerry’s Girls; Stoops To Conquer (both for Sir Peter Hall) Robert W. Sherwood. Television is What The Butler Saw; ; ; and The Killing of Sister George. In Los dominated by Softly Softly, The Biederbeck and numerous Shakespeare classics. Angeles, she was the Nurse in Sir Peter Series, Tinker Tailor Soldier Spy, Born to Run With many thanks to family, friends, Hall’s production of Romeo and Juliet, with , Great Expectations and Susan, Debbie and Steve for their which she had previously filmed with Baz Who Bombed Birmingham? Trained at encouragement, help and support! Luhrmann in . In Australia, she was RADA, his first job was Anthony and Madame Arcati in and Lady Cleopatra at the Old Birmingham Rep LYNN REDGRAVE (Lady Wishfort in The Way of the World. Her one- directed by Bernard Hepton, later playing Bracknell) was born in woman show, Dickens’ Women, in which in Dublin directed by Vincent Dowling, London into a family she plays 23 characters from Charles Dick- Jack Dowling and John Franklyn before of actors. Stage debut: ens’ novels, was nominated for an Olivier seasons at the RSC, National Theatre and Helena in A Midsummer Award and has been presented in Edin- London’s West End including Henry V, Night’s Dream (1962). burgh, New Delhi, Sydney, Jerusalem and , Plunder, State of Founding member of Johannesburg. Her film career blossomed Revolution, Man Beast and Virtue, The Royal National Theatre. West End: after her appearance in Little Dorrit which Man and Superman, Bajazet, The Wild (with sister Vanessa), Noises won her a Best Supporting award from the Duck, , The Man Himself. Off. Broadway: Black Comedy, My Fat L.A. Film Critics’ Association. She then Friend, Mrs. Warren’s Profession (Tony appeared in Yentl, Pacific Heights, End of BIANCA AMATO nomination), Aren’t We All, Moon Over Days, Magnolia, Sunshine and James and the (Gwendolen Fairfax). Buffalo and Strike up the Band. Author of Giant Peach, and won a Best Supporting Bianca migrated from Shakespeare for My Father (Tony nomination), BAFTA for The Age of Innocence (for Martin South Africa to the United also national and world tours. Off-Broadway: Scorsese). Most recently, she was Professor States in 2002. Theatre: Miss Fozzard in Alan Bennett’s Talking Sprout in Harry Potter and the Chamber of New York– Off-Broadway: Heads (Drama Desk, Obie and Outer Secrets, Peter Seller’s mother in The Life and Mr. Fox: A Rumination Critics Circle Awards); (also Death of Peter Sellers (with ), (with ), Signature Theatre; Glance National Tour). Sondheim Celebration Dorcas in Ladies in Lavender (with Dames At New York, Directors Lab.

P12 PERFORMANCES MAGAZINE Minneapolis: The : As You More Stately Mansions (directed by Ivo van Road: Player King in Like It (Rosalind, Dir. ), Hove) which also played at the Edinburgh Hamlet (Woodfall-Twain (Eliza Doolittle), Pride And Theatre Festival. Regional: The roles of production with Nicol Prejudice (Elizabeth Bennet), Topgirls Achilles, Neoptolemus, Aegisthus and Williamson), Davison (Marlene). South Africa: Theater on the Orestes in Sir Peter Hall’s production of in Mary Stuart (Tyrone Bay: Proof (Catherine). The Baxter Theater: John Barton’s Tantalus with The Denver Guthrie production with Kindertransport; Greek (Fleur Du Cap Center Theatre Company and The Royal Eva LeGallienne and award), A Doll’s House; Under Milkwood Shakespeare Company. Other credits: Title Signe Hasso). Off-Broadway: The Shaugh- (Vita award). Film/Television: Sex and roles in Sunday In The Park With George raun; Shadow of a Gunman; recently Ben The City, The Adventures of Sinbad (After Dark award for Principal Role in a Burton in Philadelphia, Here I Come, Irish (U.S./), Gegen Den Wind (Germany), Musical), Hamlet, Romeo and Juliet, Troilus Repertory Theatre. Regional: Matt Hafigan Isidingo - The Need (South Africa’s leading and Cressida, and Compleat Female Stage in John Bull’s Other Island, Geva Theatre television series - Principal.), A Fatal Beauty (Robby Award for Best Actor in a Center; Boltzman in Restoring the Sun Game. Training: Performer’s Diploma Play). Regionally Robert has played at (world premiere), Cleveland Playhouse, in Speech and Drama (with Distinction), the Mark Taper Forum, The Old Globe Elder Piper in The Sons of Ulster, Hunting- University of Cape Town, South Africa. Theatre, The Shakespeare Theatre in D.C., ton Theatre Company; also Hartford Stage the Hartford Stage, and the Chicago Company, Walnut Street Theatre, and CHARLOTTE PARRY Shakespeare Theatre, among others. others. Over 50 roles in Shakespeare’s (Cecily Cardew) Robert received a Joseph Jefferson plays, recently John of Gaunt in Richard II made her American nomination for his most recent work in at Shakespeare Theatre of . debut in the highly- Chicago as Mercutio in Mark Lamos’ Television: Man Without a Country, acclaimed Broadway production of Romeo and Juliet. Film: Milligan, Blue Hotel and others. revival of Stoppard’s Milk and Money, Gameday, Vice Versa Affiliate Artist, Bloomsburg Theatre The Real Thing, playing and Loverboy. Television: Chapelle’s Ensemble, author of two biographies of Debbie opposite and Stephen Show (Comedy Central), Law & Order (NBC), nineteenth-century actors, The Brief Career Dillane. The production won three Tony Hack (CBS), (NBC), of Eliza Poe and Thomas Abthorpe Cooper, awards. She returned to this country Married…With Children (FOX), the TV pilot America’s Premier Tragedian. last season as Phebe in Sir Peter Hall’s Mona and the role of young Liberace in the production of As You Like It, which movie of the week Liberace (ABC). JAMES A. STEPHENS performed at the Ahmanson in Los (Lane) is a native of the Angeles, toured the United States, and JAMES WATERSTON UK and has lived in the played the Brooklyn Academy of Music (Jack Worthing). U.S. for the last 22 years. to rave reviews from the New York critics. New York theatre He was last seen on Among her other major roles have been includes As You Like stage in New York as Eleanor in Northanger Abbey and Constanze It (directed by Mark Master Boyle in the in Amadeus at the Theatre Royal, York, Lamos), New York recently acclaimed production of Philadel- Nina in The Seagull at the Theatre Royal, Shakespeare Festival; phia, Here I Come. He has appeared on Norwich, Kitty in a national tour of Ashley Montana Goes Ashore in the Caicos Broadway in ’s 45 Seconds From Charley’s Aunt, Irina in a tour of The Three (directed by Jim Simpson), The Flea; Broadway, and in Alan Ayckbourn’s House Sisters, Helena in A Midsummer Night’s Another Time (AJT, with Malcolm McDowell and Garden at the Theatre Dream, Young Sally in Follies, Swallow and Marian Seldes). Regional theatre Club. In London he has appeared at the in Whistle Down The Wind and Madame includes (directed by Daniel Old Vic and Prospect Theatre companies, De Tourvel in Les Liaisons Dangereuses. Sullivan), Old Globe Theatre; The National Theatre, London’s West End She has appeared on British television (directed by Jack O’Brien), Old Globe and many of Britain’s repertory theatres. in The Safe House, and most recently Theatre; Proof (West Coast premiere In musicals he played The Doctor in The Extreme Ghost Stories and in film in The production, South Coast Rep.); , Broadway International tour of Bench. Ms. Parry trained at LAMDA Our Town, The Seagull, Ah, Wilderness!, Hotel. Off-Broadway credits include (post-graduate) and at the National Youth Long Day’s Journey Into Night (with father God Hates the Irish (musical comedy) Theatre and National Youth Music Theatre Sam Waterston) and three seasons with the The Country Boy, Don Juan in Hell, The of Great Britain. Williamstown Theatre Festival’s Greylock Hostage and Peg O My Heart. Regional Project. Film and television credits include theatre credits - Malcolm in Ten Unknowns ROBERT PETKOFF Six Feet Under (recurring), Live From Baghdad, (Jon Robin Baitz), George in Who’s Afraid (Algernon Moncrieff) Dead Poets Society, ER. James is a founding of , Captain Scott in Terra Broadway: Fiddler On member of the Malaparte Theater Company Nova, Pastor Manders in Ghosts and Owen The Roof with Alfred and enjoys playing New Orleans piano. in the American premiere of Michael Molina (directed by Frayn’s Clouds. Television credits include ), Perchik; GEDDETH SMITH Law & Order, Another World, General Epic Proportions (directed (Merriman/Understudy: Reverend Chasuble, Hospital and All My Children. Film: Descent by ). London’s West End: The Lane). Broadway: Waiting in the Wings, (2006), Little Black Dress (2005), Britannia Royal Family with Judi Dench (directed by Alice in Wonderland, The Imaginary Invalid, Hospital (Lindsey Anderson), and The Hard Sir Peter Hall). Off-Broadway: Avow and Tonight at 8:30, and A Touch of the Poet. Way (John Boorman Prod.)

PERFORMANCES MAGAZINE P13 GREG FELDEN Arin Arbus), HERE; Ars Nova (directed by As You Like It played in New Haven, (Footman/Understudy: Michael John Garces). Television: Ed (NBC). Columbus and Boston. As You Like It Algernon Moncrieff, Jack Diane is a graduate of Fordham University. returned to the U.S. in 2004 for a 16-week Worthing, Merriman). tour performing at the Brooklyn Academy Regional: A Midsummer THEATRE ROYAL BATH of Music in New York, Los Angeles and Night’s Dream (directed Widely considered to be one of the most San Francisco. by Mark Lamos), The beautiful theatres in Britain, the Theatre Shakespeare Theatre, Washington, D.C.; Royal Bath has enjoyed an illustrious history. FOR THEATRE ROYAL BATH Wilfred Owen in Not About Heros, Play- In 1768 the original playhouse was granted makers Repertory Theatre; Rough Magic, a Royal Patent to become the first theatre CHAIRMAN Greg Ingham The Hangar Theatre. New York: Golden outside London to be called ‘Royal’. The Age, The Kraine; Say You Love Satan, New current theatre opened in 1805 just nine DIRECTOR Danny Moar York Fringe Festival 2003, Naked Will, days before the Battle of Trafalgar. When PS 122. Greg’s original, one-man show, much of the original exterior was destroyed FINANCE DIRECTOR State of the Union, premiered in August at by fire in 1862 an architectural competition Simon Payne The American Living Room Festival at was held to choose a new design. The GENERAL MANAGER HERE. Yale: Zanna, Don't!, The Merchant winner was a young Bathonian, C J Phipps, Eugene Hibbert of Venice, The Rocky Horror Show, Macbeth, who went on to become the leading Sincerity Forever. Awards: New York Fringe theatre designer of the late Victorian FOR THEATRE ROYAL BATH Festival 2004: Excellence in Directing for period. Theatre Royal Bath is one of the PRODUCTIONS Rolin Jones’ The Jammer. Training: Yale most successful theatres in Britain with School of Drama, MFA. many productions visiting Bath either CHAIRMAN directly from or immediately prior to a Roy Griffiths MARGARET DALY London West End run. The addition of the MANAGING DIRECTOR (Understudy: Lady Ustinov Studio in 1997 and The Egg – Danny Moar Bracknell, Miss Prism) a theatre for children and young people – PRODUCTION ADMINISTRATOR Regional: The Time in 2005 hugely extended the Theatre’s Nicky Palmer of Your Life, A Mother repertoire. In addition to its weekly (world premiere), productions, the Theatre Royal Bath CAPA (General Management) is one Juno and the Paycock, presents a range of celebrated Festivals: of America’s most respected theatre (American Conservatory The Bath Shakespeare Festival; The Bath managers and producers. In addition Theatre); The Winter’s Tale, Twelfth Night, International Puppet Festival, Britain’s to managing the legendary Shubert She Stoops to Conquer, The Sea Gull, The biggest celebration of the art of adult Theater (New Haven, CT), CAPA is Merry Wives of Windsor (Shakespeare Santa puppetry; and The Wild and Wacky owner/operator of downtown Columbus, Cruz); , Festival of Theatre for Children. In the Ohio’s magnificent historic theatres (Berkeley Repertory Theatre); , Summers of 2003, 2004, 2005 the Peter (Ohio Theatre, Palace Theatre, Southern Hedda Gabler (Oregon Shakespeare Hall Company presented an acclaimed Theatre) and manager of the contemporary Festival); Hay Fever, Eleemosynary, The season of plays at the Theatre Royal Bath. Riffe Center Theatre Complex. CAPA is a Golden Age, Relative Values (The Chamber A further summer season is being planned not-for-profit, award-winning presenter. Theater); Spinning Into Butter (TheatreWorks); for 2006. In 1998 Theatre Royal Bath Now in its 36th year, CAPA presents 200 Kissing the Witch (Magic Theatre); and Productions was formed to create high live events and classic films a year, includ- others. Television: Law & Order, Law & quality drama for the Theatre Royal, to ing concerts throughout Columbus and Order: Criminal Intent, Nash Bridges. tour it to other regional theatres, and Ohio. CAPA’s website address is to transfer it to the West End. West End www.CAPA.com. DIANE LANDERS credits include Harold Pinter’s The Birth- (Understudy: Gwendolen day Party (), Joe Orton’s ACTORS’ EQUITY ASSOCIATION Fairfax, Cecily Cardew). Entertaining Mr Sloane (Arts Theatre), (AEA), founded in 1913, represents New York credits: GIRL Ron Hutchinson’s The Beau (Theatre Royal more than 45,000 actors and stage (directed by Chris Haymarket), David Williamson’s Up For managers in the United States. Equity McGarry), NY Fringe/ Grabs (Wyndham’s Theatre), Mike Leigh’s seeks to advance, promote and foster LAByrinth Theater Co.; Abigail’s Party (New Ambassadors/ White- the art of live theatre as an essential Prince Hal (directed by Elysabeth Klein- hall Theatre), Shakespeare’s R and J (Arts component of our society. Equity hans), Primary Stages/45th Street Theater; Theatre), Harold Pinter’s Betrayal negotiates wages and working conditions, Bodega Lung Fat by Mike Batistick (directed (Duchess Theatre), Samuel Beckett’s providing a wide range of benefits, by ), /New Happy Days (Arts Theatre), Noel Coward’s including health and pension plans. AEA Work Now!; Third Floor, Second Door on the Blithe Spirit (), Ronald is a member of the AFL-CIO, and is Right with Allan Arbus (directed by Arin Harwood’s The Dresser (Duke of York’s affiliated with FIA, an international Arbus), Cherry Lane/NY Fringe; Macbeth Theatre) and Bernard Shaw’s You Never organization of performing arts unions. (directed by Kevin Moriarty); Beckett’s Can Tell (Garrick Theatre). In 2003 the The Equity emblem is our mark of Company, Rude Mechanicals; Port Authority Theatre Royal Bath/Peter Hall Company’s excellence. www.actorsequity.org Throwdown by Mike Batistick (directed by acclaimed production of Shakespeare’s

P14 PERFORMANCES MAGAZINE PRODUCTION STAFF FOR NEEL KEELER (Associate ing director of the Brooklyn Academy of THE IMPORTANCE OF BEING EARNEST Producer) has been an Music Theatre Company, general manager associate producer at of ACT in San Francisco, and an independ- GENERAL MANAGEMENT CTG since 2003. He ent producer. He served on the board of John F. Fisher, CAPA will direct Pyrenees LA Stage Alliance and on theatre advisory later this season at the panels at the Arts Council and PRODUCTION MANAGER Kirk Douglas Theatre. Mark Carey, Venture Events Ltd. the NEA. Previously at CTG, he PRODUCTION STAGE MANAGER directed Stones In His Pockets at the Taper DOUGLAS C. BAKER John McNamara and the world premiere of Good Thing for (General Manager) is Taper, Too. Outside of CTG, Neel has directed COMPANY MANAGER/ now in his 15th season at theatres across the country and has ASSISTANT STAGE MANAGER at CTG. Previously, he Brian J. L’Ecuyer served, in wildly varying capacities, on the managed Broadway and staffs of , Williamstown touring productions RELIGHTS (COLUMBUS, NEW HAVEN, PHOENIX) Theatre Festival, Remains Theatre, Lincoln Mark Carey, Venture Events Ltd. including Tru, Born Yes- Center Theater, the American National terday, The Gospel at Theatre and ’ Broadway. UK COSTUME SUPERVISOR Colonus, , , Working, The Wiz and Legends! starring Joan Hughes MICHAEL RITCHIE and which premiered at (Artistic Director). PRODUCTION SOUND the Ahmanson Theatre in 1986. From Earnest… marks the Philip G. Allen 1982-85, Baker was executive director of third production Booking Office in New PROPERTIES MASTER selected by Michael Karin Rabe York City. He is a graduate of Albion Col- at the Ahmanson in lege, serves on the board of ATPAM and is ASSISTANT COSTUME DESIGNER his capacity as CTG’s a founding trustee of Elizabeth Flauto new artistic director. Works, devoted to the development of new For the 2005-2006 season he has also ASSISTANTS TO MR. RIGDON American musicals. Anthony Contello, planned 21 other productions for CTG’s three theatres. A former stage manager, Kevin Holden, Clint Allen GORDON DAVIDSON Michael served as producer of the (Founding Artistic CREDITS Williamstown Theatre Festival in Director) led the Taper Scenery built by Ravenswood Studios; from 1996 to 2004, during throughout its first 38 Costumes provided by Barbara Matera which time the mission of the theatre seasons, guiding over Ltd., Angels the Costumier, CosProp; evolved towards a diverse repertory of new 300 productions to its Wigs designed and provided by plays, U.S. premieres, major revivals and stage and winning rediscoveries of American classics. The Paul Huntley; Sound equipment by countless awards for Williamstown Theatre Festival was the Jon Sound; Lighting equipment by himself and the theatre — including the recipient of the 2002 Regional Theatre Hollywood Rentals Production Services. Tony Award for theatrical excellence, Tony Award. SPECIAL THANKS TO Margo Jones Award, The Governor’s The Alley Theatre, Houston Award for the Arts and a Guggenheim CHARLES fellowship. The Kentucky Cycle and Angels DILLINGHAM in America (Part One) won the Pulitzer in (Managing Director) consecutive years and, in 1994, three of supervises all develop- the four plays nominated for the Tony ment, marketing, Award for Best Play were from the Taper administrative and ( won). In 1989 Gordon financial aspects of took over the Ahmanson and, in 2004, he CTG’s three theatres. produced the inaugural season in the Kirk Prior to CTG, he was CEO of The Enter- Douglas Theatre. tainment Corporation USA, which present- ed the Bolshoi Ballet, Bolshoi Opera, Kirov Ballet, Kirov Opera and Royal Ballet at the House and on tour. He was executive director of ABT, manag-

WEBSITE Stylists Local 706. The managers and Center Theatre Group is a member www.CenterTheatreGroup.org press agents of this theatre are of the American Arts Alliance, the members fo the Association of League of Resident Theatres (LORT) Theatrical Press Agents and Managers. Independent Producers’ Network, The following employees League of American Theatres and are represented by the United Scenic Artists Producers and LA Stage Alliance, International Alliance of The- represents the designers and is a constituent of Theatre atrical Stage Employees, Moving Pic- and scenic painters for the Communications Group (TCG), the ture Machine Operators, Artists and American Theatre. national service organization for Allied Crafts of the United States, its the non-profit professional theatre. Territories and Canada, AFL-CIO, CLC: The director/choreographer Stage Crew Local 33, Treasurers and is a member of the Society of Ticket Sellers Local 857, Wardrobe Crew Stage Directors and Choreographers, Local 768, Make-Up Artists and Hair Inc., an independent labor union.

PERFORMANCES MAGAZINE P1

CENTER THEATRE GROUP OF LOS ANGELES MICHAEL RITCHIE, Artistic Director CHARLES DILLINGHAM, Managing Director DOUGLAS C. BAKER, General Manager

ASSOCIATE PRODUCERS NATALIE BERGESON ...... Telefunding Manager NEEL KELLER CHRISTINE BERNARDI ...... Manager of Individual Giving KELLEY KIRKPATRICK BECKY BIRDSONG ...... Donor Relations Manager ANN E. WAREHAM TRACY MIZRAKI ...... Associate Director of Corporate Giving CHARITY WU ...... Associate Director of Special Events PERFORMING FOR LOS ANGELES YOUTH (P.L.A.Y.) JEAN LAMBORN ...... Manager of Institutional Support COREY MADDEN ...... P.L.A.Y. Producing Director JAMIE KROEZE ...... Corporate Fund Assistant KIMIKO L. BRODER ...... Educational Programs Manager ERICA LOTZER ...... Special Events Coordinator CELESTE THOMPSON ...... Department Manager HELEN OTA ...... Executive Assistant to the Development Director RACHEL FAIN ...... Department Coordinator and Editorial Manager JENNY SONG ...... Communications Associate STEPHEN ROBERTSON ...... School and Enrollment Coordinator SANDRA SULLIVAN ...... Grants Associate DAN HARPER ...... Educational Programs Coordinator HOLLY RAMOS ...... Telefunding Supervisor CORKY DOMINGUEZ ...... Resident Teaching Artist MANDY RATLIFF ...... Telefunding Assistant NEW PLAY PRODUCTION JASON BASS, AL BERMAN, JOHN CARDELLO, GINA EAST, DIANE RODRIGUEZ ...... Associate Producer JULIETTE GARRISON, JUSTINE KLINEMAN, JESS STROUP, PATRICK VARON, ELEANOR WHITLEDGE ...... Telefunding Representatives LITERARY PIER CARLO TALENTI ...... Literary Manager MARKETING & COMMUNICATIONS MICHAEL SABLONE ...... Literary Associate JIM ROYCE ...... Director of Marketing and Communications MANAGEMENT & ADMINISTRATION NANCY HEREFORD ...... Press Director SUSAN BARTON ...... Associate General Manager PHYLLIS MOBERLY ...... Senior Press Associate JENNIFER OLIVER ...... Assistant General Manager JASON MARTIN ...... Press Associate PATRICIA WOLFF ...... Executive Assistant to Mr. Ritchie KEN WERTHER ...... Press Associate EMILIE BECK ...... Executive Assistant to Mr. Dillingham DELPHINE VASKO ...... Press Assistant LINDSAY ALLBAUGH ...... Assistant to Mr. Dillingham CHRISTOPHER KOMURO ...... Art Director SUZANNE HEE ...... Assistant Manager IRENE KANESHIRO ...... Senior Designer KATIE BRUNER ...... Administrative Assistant to the General Manager CHARITY CAPILI, NISHITA DOSHI ...... Graphic Designers IGNACIA DELGADO ...... Company Manager (Douglas) TONY ROMAN ...... Theatre Manager (Douglas) NAUSICA STERGIOU ...... Audience Development Director MICHAEL ANDERSON ...... Advertising & Promotions Director PRODUCTION MANAGEMENT JEREMY GREEN ...... Marketing Events Manager JONATHAN BARLOW LEE ...... Production Manager C. RAUL ESPINOZA ...... Marketing Associate ALYS E. HOLDEN ...... Technical Director ERIC SIMS ...... Marketing Production Manager MATTHEW S. CARLETON ...... Assistant Technical Director MARCUS GUALBERTO ...... Advertising Assistant CELESTE SANTAMASSINO ...... Associate Production Manager (Douglas) ART PRIROMPRINTR ...... Marketing Assistant JESSE AASHEIM ...... Assistant Production Manager JUSTIN O’NEILL, EVANIA LEE ...... Marketing Interns DANA VASQUEZ-EBERHARDT ...... Production Office Administrator EDWARD E. HAYNES JR ...... Resident Scenic Designer TICKET SALES AND AUDIENCE SERVICES DAWN HOLISKI ...... Prop Coordinator JOSEPH CARTER ...... Ticket Sales Director MICHELLE PHIPPS ...... Assistant Prop Coordinator LLOYD “SKYPP” CABANAS ...... Assistant HEATHER KULIBERT ...... Warehouse Supervisor SANDY CZUBIAK ...... Audience Services Manager GUSTAVO MENDOZA ...... Transportation Director JENNIFER BAKER, CHERYL HAWKER, AFLAMU JOHNSON, MATHIAS GARCIA ...... Drivers SCOTT TAYLOR ...... Audience Services Supervisors CASTING ALICE CHEN ...... Audience Services Asst. Supervisor AMY LIEBERMAN ...... Director RICHARD RUBIO, ANN SIMMONS, ERIKA SELLIN ...... Associate JERRY TRAINOR ...... Donor Services Associates MICHAEL BETTS ...... Assistant SAM AARON, LIZ ALAN, ZAND BROUMAND, CARLOS D. CHAVEZ, JR., HESPER COLOHAN, MICHAEL HURLEY, KAY LOCHARD, PRODUCTION FRANCISCO MAGDARAOG, SARAH MEARS, WILLIAM ANDERSON ...... Master Carpenter WILL MOORE, LEX SAVKO ...... Audience Services Representatives TERRY CALLAWAY ...... Master Electrician STAN STEELMON ...... Master Propertyman DANUTA SIEMAK ...... Subscriber Services Supervisor ROBERT SMITH ...... Master Soundman CHRISTINA GUTIERREZ ...... Subscriber Services Asst. Supervisor SHAWN ANDERSON ...... Flyman LIGIA PISTE, CELIA RIVAS ...... Subscriber Services Senior Representatives DENNIS SEETOO ...... Production Wardrobe Supervisor SARAH K. GONTA ...... Box Office Treasurer WALTER DOUGLAS ...... Wardrobe Supervisor KISHISA ROSS, GISELE FRAZEUR ...... Assistant Treasurers MICHELE ARVIZO ...... Hair Supervisor YULIZA BARRAZA, ANGELICA CERDA, CHRISTINE L. COX ...... House Manager LEROY PAWLOWSKI, DAVID LEE PERKINS, FINANCE, INFORMATION AND HUMAN RESOURCES MICHAEL SALTZMAN, GEORGE SOVIAK, MATTHEW VASKO . . . . Box Office Staff EDWARD L. RADA ...... Chief Financial Officer NADJAH DOVONEY, LINDA FONSECA, MICHAEL F. THOMPSON ...... Controller NIIKA TANIGUCHI ...... Group Services Sales Agents JANIS BOWBEER ...... Assistant Controller JENNIFER HARTMAN ...... Education Services Agent FELICISIMA LAPID ...... Accounts Payable Supervisor ALEGRIA SENA ...... Staff Accountant KERRY KORF ...... Priority Services Director DANNY LAMPSON ...... Staff Accountant SUSAN F. TULLER ...... Priority Services Manager CLAUDIA COTE ...... Administrative Assistant PAUL CUEN ...... Priority Services Supervisor BETH HARTMAN ...... Priority Services Assistant MILES TEVES ...... Human Resources Manager CAROLE BAXTER, JIM BOHLIN, JAY BURNS, STAN GRUSHESKY ...... Director of Information Systems MARC “BYRON” DROTMAN, LOU GEORGE, TOM GULAGER, RANDOLPH LIM ...... Senior System Administrator ANDREA HERRON, JACQUELINE HODGINS, JERRY JOHNSTON, EDWIN KLEIN, SCOTT LANDES ...... Web/Network Administrator PAUL “JOSEPH” MARCOUX, KARA MUNRO, CAROL “” PORETZ, KEN SALLEY, KIMLEIGH SMITH, MICHAEL SMITH, JEFFREY STUBBLEFIELD, VIVIAN ELLIFF ...... Office Manager INGER TUDOR, DERIK VAN DERBEKEN ...... Representatives DAMON JOSEPH ...... Office Services SINGER LEWAK GREENBAUM & GOLDSEIN, LLP ...... Auditor CTG COSTUME SHOP MICHAEL C. DONALDSON ...... Legal Counsel CANDICE CAIN ...... Director GIBSON, DUNN & CRUTCHER ...... Legal Counsel DIAN CAMARILLO ...... Costume Shop Assistant KATHY CHRISTIANSEN ...... Draper DEVELOPMENT MARTHA ADAMS ...... Shopper YVONNE CARLSON BELL ...... Director of Development DIANNE K. GRAEBNER ...... Milliner/Crafts/Dyer PATRICK OWEN ...... Deputy Director of Development KEN TAMBE ...... Business Manager LIZ LIN ...... Director of Donor Communications JULIO A. CUELLAR ...... Custodian BRUCE W. RISE ...... Director of Major Gifts SARAH LYDING ...... Associate Director of Individual Giving

P16 PERFORMANCES MAGAZINE