DOCSLIB.ORG

AUGUST: OSAGE COUNTY Is Presented by Special Arrangement with Dramatists Play Service, Inc., New York

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
AUGUST: OSAGE COUNTY Is Presented by Special Arrangement with Dramatists Play Service, Inc., New York Historic Arcade Theatre • Fort Myers River District Robert Cacioppo, Producing Artistic Director AUGUST:PRESENTS OSAGE COUNTY BY TRACY LETTS SPONSORED BY ROBB & STUCKY INTERIORS • FLORIDA WEEKLY STARRING RACHEL BURTTRAM*, MEGAN CARR, MARK CHAMBERS*, CHRIS CLAVELLI* JOHN-PATRICK DRISCOLL*, GREG LONGENHAGEN*, CARRIE LUND*, RAY McDAVITT* SARA MORSEY*, ASHLEY PRICE, STACEY SCOTTE*, DAVID SITLER*, JAN WIKSTROM* DIRECTED BY ROBERT CACIOPPO** SET DESIGNER COSTUME DESIGNER LIGHTING DESIGNER JIM HUNTER*** ROBERTA MALCOLM DAVID M. UPTON*** SOUND DESIGNER STAGE MANAGER DIALECT COACH/FIGHT CHOREOGRAPHER KATE SMITH AMY L. MASSARI* GREG LONGENHAGEN AUGUST: OSAGE COUNTY is presented by special arrangement with Dramatists Play Service, Inc., New York. AUGUST: OSAGE COUNTY premiered in June 2007 at Steppenwolf Theatre Company in Chicago, IL, Martha Lavey, Artistic Director; David Hawkanson, Executive Director. Steppenwolf’s production of AUGUST: OSAGE COUNTY opened on Broadway at the Imperial Theatre on December 4, 2007. It was produced by Jeffrey Richards, Jean Doumanian, Steve Traxler, Jerry Frankel, Ostar Productions, Jennifer Manocherian, The Weinstein Company, Debra Black/Daryl Roth, Ronald & Marc Frankel/Barbara Freitag, and Rick Steiner/Staton Bell Group. 2010-11 GRAND SEASON SPONSORS Arthur Zupko • John & Marjorie Madden • Cheryl & David Copham Gholi & Georgia Darehshori • City of Fort Myers Public Art Committee This entire season sponsored in part by in part by the State of Florida, Department of State, Division of Cultural Affairs, the Florida Council on Arts and Culture. Florida Repertory Theatre is a fully professional non-profit LOA/LORT Theatre company on contract with the Actors’ Equity Association that proudly employs members of the national theatrical labor unions. *Member of Actors’ Equity Association. **Member of the Stage Directors and Choreographers Society. ***Member of United Scenic Artists. THETHE CASTCAST Beverly Weston ............................................................................................ Ray McDavitt* Violet Weston ............................................................................................... Sara Morsey* Barbara Fordham ....................................................................................... Jan Wikstrom* Bill Fordham .............................................................................................. Chris Clavelli* Jean Fordham ................................................................................................ Megan Carr* Ivy Weston ................................................................................................ Stacey Scotte* Karen Weston ........................................................................................ Rachel Burttram* Steve Heidebrecht ............................................................................. Greg Longenhagen* Mattie Fae Aiken ............................................................................................. Carrie Lund* Charlie Aiken .......................................................................................... Mark Chambers* Little Charles Aiken ......................................................................... John-Patrick Driscoll* Johnna Monevata ......................................................................................... Ashley Price* Sheriff Deon Gilbeau ...................................................................................... David Sitler* “The child comes home and the parents put the hooks in him. The old man, or the woman, as the case TIME & PLACE may be, hasn’t got anything to say to the child. All he August 2007. wants is to have the child sit in a chair for a couple of hours then go off to bed under the same roof. It’s not A large country home outside love. I am not saying that there is not such a thing Pawhuska, Oklahoma, as love. I am merely pointing to something which sixty miles northwest of Tulsa. is different from love but which sometimes goes by the name of love. It may well be that without this There Will Be One 15-Minute and One thing which I am talking about there would not be 10-Minute Intermission. any love. But this thing in itself is not love. It is just something in the blood. It is a kind of blood greed, The use of any photographic or and it is the fate of a man. It is the thing which man recording devices is strictly prohibited! has which distinguishes him from the happy brute creation. When you get born your father and mother lost something out of themselves, and they are going to bust a hame trying to get it back, and you are it. They know they can’t get it all back but they will get as big a chunk out of you as they can. And the good old SPECIAL THANKS TO family reunion, with picnic dinner under the maples, THE VERANDA RESTAURANT is very much like diving into the octopus tank at the aquarium.” —Robert Penn Warren, All the King’s Men *The Actors & Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Actors’ Equity Association (AEA) was founded in 1913 as the first of the American Actor unions. Equity’s mission is to advance, promote and foster the art of theatre as an essential component of our society. Today, Equity represents more than 40,000 actors, singers, dancers and stage managers working in hundreds of theatres across the United States. Equity members are dedicated to working in the theatre as a profession, upholding the highest artistic standards. Equity negotiates wages and working conditions and provides a wide range of benefits including health and pension plans for its members. Through its agreement with Equity, this theatre has committed to the fair treatment of the actors and stage managers employed in this production. AEA is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. For more information, visit www.actorsequity.org. AUGUST: OSAGE COUNTY The Weston Family of AUGUST: OSAGE COUNTY Beverly Weston Violet Weston Mattie Fae Aiken Charlie Aiken Patriarch Matriarch Aunt Uncle Ray McDavitt Sara Morsey Carrie Lund Mark Chambers Bill Fordham Barbara Fordham Ivy Weston Karen Weston Steve Heidebrecht Little Charles Aiken Barbara’s Husband Eldest Daughter Middle Daughter Youngest Daughter Karen’s Fiancé Cousin Chris Clavelli Jan Wikstrom Stacey Scotte Rachel Burttram Greg Longenhagen John-Patrick Driscoll THIS PLAY IS DEDICATED TO THE LOVING MEMORY OF DAVID H. LUND (12/10/1927-2/3/2011) AND Jean Fordham GEORGE CACIOPPO (10/13/1917-2/11/2011) Johnna Monevata Sheriff Deon Gilbeau Granddaughter Housekeeper Sheriff Megan Carr Ashley Price David Sitler THETHE CREATIVECREATIVE TEAMTEAM RACHEL BURTTRAM (Karen Weston) is over the moon to be back at the Rep. You may remember Rachel from her job as an Associate Director, or from the numerous roles she has played here including: Gaslight, Trying, Dancing at Lughnasa, The Glass Menagerie, Doubt, Rabbit Hole, Proof, Amy’s View (opposite Carol Lawrence) and Mousetrap to name a few. Since her departure, Rachel has worked opposite Tony-nominated Daniel Sunjata at Actors’ Studio in NYC on the new play Pushkin. Israel Horovitz directed her in his new play Inconsolable at Gloucester Stage. She performed Almost, Maine at the oldest summer stock theatre in the nation, Barnstormers’ Theatre. Look for Rachel on a TV near you in USA’s Burn Notice, national Wal-Mart and HH Gregg commercials. She is a proud member of Equity and is eligible for the Screen Actor’s Guild. Thanks to my Florida Rep fam for all your love and support! MEGAN CARR (Jean Fordham) is a recent graduate of Greensboro College in North Carolina with a BA in Acting and is jumpstarting her career through the acting internship at Florida Repertory Theatre. Megan can currently be seen with Florida Rep’s Children’s Touring Theatre as Jenny Jacobs (How I Became a Pirate), Amelia Earhart (Amelia Earhart), and Eva Geiringer Schloss (And Then They Came for Me). Some of her recent credits include Juliet (Romeo and Juliet), Marela (Anna in the Tropics), Colin (The Secret Garden), Betty (The Crucible), and Marcy (God Sees God). Her professional credits include Liesl (The Sound of Music) and Margaret (Much Ado about Nothing) at Parkway Playhouse and Ensemble U/S Cara (The Einstein Project) at the Berkshire Theatre Festival. She is thrilled to be a member of the Florida Rep Family! MARK CHAMBERS (Charlie Aiken) was last seen in the Rep’s “biggest hit of Season Twelve, Boeing-Boeing”. He has appeared in Enchanted April, The Rainmaker, Scapino, Sherlock Holmes and the West End Horror, his debut at the rep, Breaking Legs, A Funny Thing Happened On The Way To The Forum, and opposite Greg Longenhagen in Rounding Third. Mark may be seen in the movie Baby Jane?, which goes into distribution this March, and in I Want to Get Married which will make the festival circuit this spring/ summer. www.mark-chambers.com CHRIS CLAVELLI (Bill Fordham) is the Associate Artistic Director of Florida Repertory Theatre. Directing Credits: here at The Rep, Trying, The Santaland Diaries, Sideman, Almost Maine, Alone Together, Six Dance Lessons, Rounding Third, The Foreigner, Glass Menagerie, and Alone Together. Other credits: The Actors Studio, The NY Fringe, Virginia Stage Company, Two River Theatre, Chenango River Theatre, Symphony Space; New York City, The Depot Theatre and Solo Mio at Actors Theatre of Louisville. Chris collaborated with The South West Florida
Load more

Recommended publications
  • <I>Twenty-First Century American Playwrights</I>
    The Journal of American Drama and Theatre (JADT) https://jadt.commons.gc.cuny.edu Twenty-First Century American Playwrights Twenty-First Century American Playwrights. Christopher Bigsby. Cambridge: Cambridge University Press, 2018; Pp. 228. In 1982, Christopher Bigsby penned A Critical Introduction to Twentieth-Century American Drama. What was originally planned as a single volume expanded to three, with volume 2 being released in 1984 and Volume 3 in 1985. Although Bigsby, a literary analyst and novelist with more than 50 books to his credit, hails from Britain, he is drawn to American playwrights because of their “stylistic inventiveness…sexual directness…[and] characters ranged across the social spectrum in a way that for long, and for the most part, had not been true of the English theatre” (1). This admiration brought Bigsby’s research across the millennium line to give us his latest offering Twenty-First Century American Playwrights. What Bigsby provides is an in-depth survey of nine writers who entered the American theatre landscape during the past twenty years, including chapters on Annie Baker, Frances Ya-Chu Cowhig, Katori Hall, Amy Herzog, Tracy Letts, David Lindsay-Abaire, Lynn Nottage, Sarah Ruhl, and Naomi Wallace. While these playwrights vary in the manner they work and styles of creative output, what places them together in this volume “is the sense that theatre has a unique ability to engage with audiences in search of some insight into the way we live…to witness how words become manifest, how artifice can, at its best, be the midwife of truth” (5). This explanation, however vague, does little to provide a concrete rubric for why these dramatists were included over others.
    [Show full text]
  • Poetic Connections in Tracy Letts's "Man from Nebraska," "August: Osage County," and "Superior Donuts."
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2011 How to Get from Here to There: Poetic Connections in Tracy Letts's "Man from Nebraska," "August: Osage County," and "Superior Donuts." Deborah Ann Kochman University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Literature Commons, and the Theatre and Performance Studies Commons Scholar Commons Citation Kochman, Deborah Ann, "How to Get from Here to There: Poetic Connections in Tracy Letts's "Man from Nebraska," "August: Osage County," and "Superior Donuts."" (2011). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/3187 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. How to Get from Here to There: Poetic Connections in Tracy Letts‘s Man from Nebraska, August: Osage County, and Superior Donuts by Deborah Ann Kochman A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of English College of Arts and Sciences University of South Florida Major Professor: Sara Munson Deats, Ph.D. Lagretta Lenker, Ph.D. Susan Mooney, Ph.D. Date of approval: November 3, 2011 Five key words: Drama, Narrative, Poetry, Middle-aged men, American Dream Copyright © 2011 Deborah A. Kochman Dedication I dedicate this thesis to my children, Kristina and Michael, in apology for teaching too much narrative and not enough poetry.
    [Show full text]
  • Family Carnage Tracy Letts' August: Osage County
    FAMILY CARNAGE TRACY LETTS’ AUGUST: OSAGE COUNTY GABRIELA GLĂVAN University of Timişoara Abstract : One of the most widely known contemporary plays of today’s American theater, Tracy Letts’ “August: Osage County”(2007), is a literary and dramatic nexus that reunites a significant Western cultural heritage coming from authors such as Eugene O’Neill, Arthur Miller or Federico García Lorca. The paper follows the connections between Tracy Letts’ play and other remarkable dramas of Western theater, while also exploring its thematic structures and characters from a comparative perspective. Keywords : addiction, crisis, contemporary American theater, death, family reunion, intergenerational conflict 1. Introduction: A recipe for disaster Revolving around the family events triggered by the disappearance and death of a patriarchal figure, Tracy Letts’ August: Osage County (2007) has been acknowledged by the vast majority of its critics as an exemplary play of family crisis and disintegration. The play premiered at the Steppenwolf Theatre in Chicago in 2007, and was awarded the Pulitzer Prize for Drama in 2008. Five years later, in 2013, John Wells directed a cinematographic version of the play, receiving a significantly less enthusiastic critical response. My paper will carry out a close inspection of the major thematic structures in Letts’ play, trying to reveal some clear similarities with other important plays that explore the same dramatic spectrum. As Edward Sobel, Steppenwolf Theater’s director of play development, points out, Tracy Letts seems to be engaged in dialogue with the pantheon of American playwrights, from Eugene O’Neill to Edward Albee, as “their handprints are very much deliberately present in August ” (Sobel qtd.
    [Show full text]
  • At Play Spring-Summer 06.Indd
    rating Seventy Y representing the american theatre by eleb ears publishing and licensing the works C of new and established playwrights 70th Anniversary Issue D ram 06 ati – 20 sts Play Service, Inc. 1936 Issue 12, Spring/Summer 2006 AN INTERVIEW WITH Austin Pendleton Director of Professional Rights Robert Lewis Vaughan and Director of Publications Michael Q. Fellmeth talk with Austin Pendleton about his New York hit, Orson’s Shadow, and his life as a consummate man of the theatre. ROBERT. Orson’s Shadow had an amazing run here in New York at The Barrow Street Theatre following Tracy Letts’ fantastic Bug (also represented by DPS). Tracy was in your play, in the role of Kenneth Tynan. Two hits in a row — two actor/playwrights in a row — one theatre. What do you have to say about that? AUSTIN. There’s more to it than that. Tracy Letts caused this to happen. He told our producers (Scott Morfee, Chip Meyrelles, Tom Wirtshafter) about Orson’s Shadow. He put together a reading with the Chicago cast, directed by the Chicago director, in Chicago, for Scott, Chip and Tom to come and see and hear … Continued on page 3 NEWPLAYS Serving the American Theatre Since 1936: A Brief History of Dramatists Play Service, Inc. Rob Ackerman DISCONNECT. Goaded by the women they love “The Dramatists Play Service came into being at exactly the right moment and haunted by memories they can no longer for the contemporary playwright and the American theatre at large.” suppress, two men at a dinner party confront the —Audrey Wood, renowned agent to Tennessee Williams lies of their lives.
    [Show full text]
  • FOR IMMEDIATE RELEASE CONTACTS: November 21, 2014 Dafina Mcmillan [email protected] | 212-609-5955 Gus Schulenburg [email protected] | 212-609-5941
    FOR IMMEDIATE RELEASE CONTACTS: November 21, 2014 Dafina McMillan [email protected] | 212-609-5955 Gus Schulenburg [email protected] | 212-609-5941 TCG Announces Top 25 Best-Selling Books of 2014 August: Osage County by Tracy Letts Tops List NEW YORK, NY – Theatre Communications Group (TCG) is excited to introduce the inaugural list of the year’s Top 25 Best-Selling Books published by the TCG Books program. Much in the same vein as the widely-anticipated American Theatre’s Top 10 Most-Produced Plays and the new American Theatre’s Top 20 Most-Produced Playwrights lists released annually in October, TCG is now happy to present the most-frequently purchased print and electronic copies of these books over the course of 2014. “The Top 25 Best-Selling Books list reveals the diversity of our publications, with perennial best- selling plays like Angels in America and Topdog/Underdog joined by training favorites like The Viewpoints Book, as well as new hits like the recent Pulitzer Prize-winning titles The Flick and Water by the Spoonful,” said Teresa Eyring, executive director of TCG. “We hope this list will spark conversation and prove a useful guide to educators, theatre-lovers and play-readers everywhere.” The 2014 Top 25 Best-Selling Books Published by TCG: 1. August: Osage County by Tracy Letts 2. Angels in America: A Gay Fantasia on National Themes by Tony Kushner 3. Doubt by John Patrick Shanley 4. The Flick by Annie Baker 5. Into the Woods by Stephen Sondheim and James Lapine 6. Topdog/Underdog by Suzan-Lori Parks 7.
    [Show full text]
  • George S. Kaufman and Moss Hart
    Premier Sponsor Show Sponsor Media Sponsor by George S. Kaufman and Moss Hart AUGUST 22–31, 2019 Scenic Design Costume Design Lighting Design Matthew B. Kornegayǂ Vicky Butlerǂ Caitlin E. Brownǂ Sound Design Production Stage Manager Production Manager Tommy Truelsenǂ Matthew Luppino* Adam Zonder Director Bob Moss+ You Can’t Take It With You is presented by special arrangement with SAMUEL FRENCH, INC. * Member of Actor’s Equity Association, the Union of Professional Actors and Stage Managers in the United States. ‡ 2019 Hangar Theatre Design Fellow + CAST (in order of appearance) PENELOPE SYCAMORE ...........................................................................................................................................................CELIA MADEOY* ESSIE CHARMICHAEL ............................................................................................................................................................ HELEN T. CLARK* RHEBA .......................................................................................................................................................................................EMMA BOWERS* PAUL SYCAMORE ............................................................................................................................................................................DANE CRUZ MR. DE PINNA........................................................................................................................................................................MICHAEL ANTICO ED
    [Show full text]
  • Drama Winners the First 50 Years: 1917-1966 Pulitzer Drama Checklist 1966 No Award Given  1965 the Subject Was Roses by Frank D
    The Pulitzer Prizes Drama Winners The First 50 Years: 1917-1966 Pulitzer Drama Checklist 1966 No award given 1965 The Subject Was Roses by Frank D. Gilroy 1964 No award given 1963 No award given 1962 How to Succeed in Business Without Really Trying by Loesser and Burrows 1961 All the Way Home by Tad Mosel 1960 Fiorello! by Weidman, Abbott, Bock, and Harnick 1959 J.B. by Archibald MacLeish 1958 Look Homeward, Angel by Ketti Frings 1957 Long Day’s Journey Into Night by Eugene O’Neill 1956 The Diary of Anne Frank by Albert Hackett and Frances Goodrich 1955 Cat on a Hot Tin Roof by Tennessee Williams 1954 The Teahouse of the August Moon by John Patrick 1953 Picnic by William Inge 1952 The Shrike by Joseph Kramm 1951 No award given 1950 South Pacific by Richard Rodgers, Oscar Hammerstein II and Joshua Logan 1949 Death of a Salesman by Arthur Miller 1948 A Streetcar Named Desire by Tennessee Williams 1947 No award given 1946 State of the Union by Russel Crouse and Howard Lindsay 1945 Harvey by Mary Coyle Chase 1944 No award given 1943 The Skin of Our Teeth by Thornton Wilder 1942 No award given 1941 There Shall Be No Night by Robert E. Sherwood 1940 The Time of Your Life by William Saroyan 1939 Abe Lincoln in Illinois by Robert E. Sherwood 1938 Our Town by Thornton Wilder 1937 You Can’t Take It With You by Moss Hart and George S. Kaufman 1936 Idiot’s Delight by Robert E. Sherwood 1935 The Old Maid by Zoë Akins 1934 Men in White by Sidney Kingsley 1933 Both Your Houses by Maxwell Anderson 1932 Of Thee I Sing by George S.
    [Show full text]
  • Sunset Playhouse Production History 2020-21 Season Run for Your Wife
    Sunset Playhouse Production History 2020-21 Season Run for your Wife by Ray Cooney presented by special arrangement with Concord Theatricals for Samuel French 9 to 5, The Musical by Dolly Parton presented by special arrangement with MTI Elf by Thomas Meehan & Bob Martin presented by special arrangement with MTI 4 Weddings and an Elvis by Nancy Frick presented by special arrangement with Concord Theatricals for Samuel French The Cemetery Club by Ivan Menchell presented by special arrangement with Concord Theatricals for Samuel French Young Frankenstein by Mel Brooks presented by special arrangement with MTI An Inspector Calls by JB Priestley presented by special arrangement with Concord Theatricals for Samuel French Newsies by Harvey Fierstein presented by special arrangement with MTI _________________________________________________________________________________________________________ 2019-2020 Season A Comedy of Tenors – by Ken Ludwig presented by special arrangement with Samuel French Mamma Mia – presented by special arrangement with MTI The Game’s Afoot – by Ken Ludwig presented by special arrangement with Samuel French The Marvelous Wonderettes – by Roger Bean presented by special arrangement with StageRights, Inc. Noises Off – by Michael Frayn presented by special arrangement with Samuel French Cabaret – by Joe Masteroff presented by special arrangement with Tams-Witmark Barefoot in the Park – by Neil Simon presented by special arrangement with Samuel French (cancelled due to COVID 19) West Side Story – by Jerome Robbins presented by special arrangement with MTI (cancelled due to COVID 19) 2018-2019 Season The Man Who Came To Dinner – by Moss Hart and George S. Kaufman presented by special arrangement with Dramatists Play Mary Poppins - Original Music and Lyrics by Richard M.
    [Show full text]
  • Revision, Nostalgia, and Resistance in Contemporary American Drama Sinan Gul University of Arkansas, Fayetteville
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2017 Persistence of Memory: Revision, Nostalgia, and Resistance in Contemporary American Drama Sinan Gul University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the American Literature Commons, and the Theatre History Commons Recommended Citation Gul, Sinan, "Persistence of Memory: Revision, Nostalgia, and Resistance in Contemporary American Drama" (2017). Theses and Dissertations. 2404. http://scholarworks.uark.edu/etd/2404 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Persistence of Memory: Revision, Nostalgia, and Resistance in Contemporary American Drama A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English by Sinan Gul Ege University Bachelors of Art in English Language and Literature, 2005 Dokuz Eylul University Master of Fine Arts in Stage Arts, 2010 August 2017 University of Arkansas This dissertation is approved for recommendation of the Graduate Council. _________________________ Robert Cochran, PhD Dissertation Director _________________________ _________________________ Dorothy Stephens, PhD Les Wade, PhD Committee Member Committee Member Abstract This dissertation focuses on the usages of memory in contemporary American drama. Analyzing selected mainstream and alternative dramatic texts, The Persistence of Memory is a study of personal and communal reflections of the past within contemporary plays. The introduction provides examples from modern plays, major terms, and vital concepts for memory studies and locates their merits in dramatic texts.
    [Show full text]
  • THE PLAY THAT GOES WRONG Tuesday, January 28, 2020; 2 & 7 Pm Wednesday, January 29, 2020; 2 & 7 Pm
    THE PLAY THAT GOES WRONG Tuesday, January 28, 2020; 2 & 7 pm Wednesday, January 29, 2020; 2 & 7 pm THE CORNLEY UNIVERSITY DRAMA SOCIETY PRESENTS CAST INSPECTOR CARTER – CHRIS BEAN CHARLES HAVERSHAM – JONATHAN HARRIS THOMAS COLLEYMOORE – ROBERT GROVE PERKINS – DENNIS TYDE FLORENCE COLLEYMOORE – SANDRA WILKINSON CECIL HAVERSHAM – MAX BENNETT ARTHUR THE GARDENER – MAX BENNETT CREATIVE WRITER – SUSIE H.K. BRIDESWELL PRODUCER – WAYNE BLEXT DIRECTOR – CHRIS BEAN DESIGNER – CHRIS BEAN COSTUME DESIGNER – CHRIS BEAN PROP MAKER – CHRIS BEAN BOX OFFICE MANAGER – CHRIS BEAN PRESS & PR – CHRIS BEAN DRAMATURGY – CHRIS BEAN VOICE COACH – CHRIS BEAN DIALECT COACH – CHRIS BEAN FIGHT CHOREOGRAPHER – CHRIS BEAN REHEARSAL ROLE ‘MR FITZROY’ – CHRIS BEAN STAGE MANAGER – ANNIE TWILLOIL LIGHTING & SOUND OPERATOR – TREVOR WATSON THIS PRODUCTION WAS MADE POSSIBLE BY THE BRITISH-AMERICAN CULTURAL EXCHANGE PROGRAM 34 2019-2020 PROGRAM GUIDE www.harriscenter.net THE PLAY THAT GOES WRONG continued A LETTER FROM THE PRESIDENT Hello and welcome to The Murder at Haversham Manor. We are thrilled that the Cornley University Drama Society is performing in the USA. We can only apologise to those involved in the production of Equus originally scheduled for this week, which due to a clerical error, is now being performed in the Cornley University Gymnasium. We hope there are no hard feelings and we’ve left the vaulting horse out for you. The question everyone at Cornley has been asking is: are we ready for a venue of this size? The answer is “yes.” The cast and I rehearsed for weeks using only the best acting teachings to inspire us. We read that Sanford Meisner once said, “Acting is behaving truthfully,” so we immediately changed all the names in the play to our own names and cut the murder, the manor house setting and any other element that we hadn’t personally experienced.
    [Show full text]
  • AUGUST: OSAGE COUNTY the Story That Tracy Letts Has Brought to Life in August: Osage County
    To wn and Co untry Playe rs Bucking ham, PA Copyright © 2016 Playbill Online Inc. All m arks us ed by perm is s ion. Copyright © 2016 Playbill Online Inc. All m arks us ed by perm is s ion. Town and Count ry Playe rs FROM THE DIRECTOR PRESENTS Dysfunction, guilt, fear and love are all words that describe AUGUST: OSAGE COUNTY the story that Tracy Letts has brought to life in August: Osage County. On the surface it may appear that the by Westons are the extreme version of dysfunctionality and Tracy Letts misery all rolled up into one family but, as we watch this troubled group wade through their muck and point the with finger of blame, it will become a very relevant story and Amy Fiscus And y O'Ne ill Danie lle Malat one to which all audiences will relate because we all have a Tim And e rso n Elaine Wallace Caitlin Rile y certain degree of dysfunction in our lives. This slice of life Larry Kre vitz Susan Fo wle r Ro b Ro sie llo To ri Vo uk Brian Jame s Ke lly that Mr. Letts has presented to us is hilarious at times and Ale xis Fe d e rman Ke n Ste p ho n turns on a dime into heartbreak. Asst. Stag e Manag e r Pro d uce r Se t De sig n/Carp e ntry Arie lle DuBo se Jim Wo lfe Jo n Knap p The set, as you may have noticed, is something quite apart Lig hting De sig n Stag e Manag e r So und De sig n from the norm as usually seen here at our theater.
    [Show full text]
  • Download 2018–2019 Catalogue of New Plays
    Catalogue of New Plays 2018–2019 © 2018 Dramatists Play Service, Inc. Dramatists Play Service, Inc. A Letter from the President Dear Subscriber: Take a look at the “New Plays” section of this year’s catalogue. You’ll find plays by former Pulitzer and Tony winners: JUNK, Ayad Akhtar’s fiercely intelligent look at Wall Street shenanigans; Bruce Norris’s 18th century satire THE LOW ROAD; John Patrick Shanley’s hilarious and profane comedy THE PORTUGUESE KID. You’ll find plays by veteran DPS playwrights: Eve Ensler’s devastating monologue about her real-life cancer diagnosis, IN THE BODY OF THE WORLD; Jeffrey Sweet’s KUNSTLER, his look at the radical ’60s lawyer William Kunstler; Beau Willimon’s contemporary Washington comedy THE PARISIAN WOMAN; UNTIL THE FLOOD, Dael Orlandersmith’s clear-eyed examination of the events in Ferguson, Missouri; RELATIVITY, Mark St. Germain’s play about a little-known event in the life of Einstein. But you’ll also find plays by very new playwrights, some of whom have never been published before: Jiréh Breon Holder’s TOO HEAVY FOR YOUR POCKET, set during the early years of the civil rights movement, shows the complexity of choosing to fight for one’s beliefs or protect one’s family; Chisa Hutchinson’s SOMEBODY’S DAUGHTER deals with the gendered differences and difficulties in coming of age as an Asian-American girl; Melinda Lopez’s MALA, a wry dramatic monologue from a woman with an aging parent; Caroline V. McGraw’s ULTIMATE BEAUTY BIBLE, about young women trying to navigate the urban jungle and their own self-worth while working in a billion-dollar industry founded on picking appearances apart.
    [Show full text]