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by film chan the n Bu rom Joh w f l by arlo ove s ck B he n niel atri on t Da by P sed Sean ted k ba by dap coc cted A itch Dire ed H Alfr

P.L.A.Y. (Performance = Literature + + You) Student Matinee Series 2013-2014 Season

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Table of WDearelcome back! Educators, It’s the start of a fresh school year full of new faces and possibilities, the Contents autumn air is cool and crisp, the scenery outside is shifting, and there’s a world of surprises and unknowns on the horizon. And just in time too. In the last few weeks of any Who, What, season, even summer, I find myself feeling restless and ready for a change of pace or a new When & Where...... 2 adventure….much like our story’s hero, Richard Hannay, a man who finds himself mixed up in an escapade more epic than he bargained for. “This show is “Engage students through rigorous and relevant instruction” – have you heard that saying a puzzle ...”. . . . 3 before? During the first two weeks of the rehearsal process, I sat in on rehearsals a handful of times. The two phrases I heard most from the show’s director, Sean Daniels, were “Is there a funnier way to do this?” and “Why are you doing that?” Buchan, Hitchcock This show, as actor Aaron Muñoz told me, is a mental workout. “It’s built to break,” added & Barlow...... 4 Daniels. And because the show is so astonishingly rigorous, no two performances are going to be exactly alike. The actors - and the audience - really have to use their brains and stay From Page on their toes, which is precisely the fun of it. to Screen Rigorous we’ve got covered, but how is this show relevant, especially to our student to Stage ...... 5 audiences who (presumably) are not accidental pseudo secret agents dashing across Scotland, wrongfully accused of murder and handcuffed to their worst nightmare? As Borrowing Daniels puts it, “It’s easy to identify with these characters, feeling bored with life, and then Style ...... 6 feeling as though things are happening out of your control while you try to regain who you are.” Does this sound like the start of the school year for anyone you know? Hitchcock’s Humor also helps us make relevant connections. Comedy is universal. If we can find a Storytelling funnier way to do things onstage, we can also find a way into the minds and memories of Essentials . . . . . 6 our student audiences. We relate to things that make us laugh and things we understand. That’s why it’s essential that Sean continue to pepper the actors with “How can we make Espionage in this funnier?” and the almighty “Why?” the 1930s. . . . . 7 Concise, well-established motivations lead to clarity, understanding, and humor - which lead to increased rigor and relevance - which lead to memorable connections and learning. Where in the And I think is an awfully fun way to learn about adaptations, style, inventive World is Richard problem solving, and Europe in the 1930s! Hannay? ...... 8 At the first rehearsal, Sean said, “As the director, it’s not my job to have the best idea in the room. It’s my job to hear the best idea in the room.” This philosophy of collaboration seems Celebrating to have produced quite the rigorous and relevant show on our stage, and we can’t wait to Theatricality . . . 8 share it with you! Wishing you and your students a school year full of rigor, humor, clarity, understanding, relevance, collaboration, and excellent learning. We’ll see you From the Costume at the theatre. Designer ...... 9 Sincerely, Participation in this production From the Scenic and supplemental activities Designer ...... 9 suggested in this guide support the following Lara Rhyner From the Stage NYS Learning Standards: Manager . . . . 10 Associate Director of Education [email protected] A: 1, 2, 3, 4; SS: 2, 3; (585) 420-2058 ELA: 1, 2, 3, 4; CDOS: 1, 2 Resources. . . 10

“There’s a dangerous conspiracy against this island and we’re the only people who can stop it.” – Richard Hannay 2 Words to Know Who, What, When & Where * Biscuit – cookie Time: 1935 * Blimey – British expression of Location: England and Scotland excitement or alarm * Communication cord – Synopsis: Richard Hannay, a man bored with the world, attends the Mr. a pull cord that Memory show on London’s West End. At the theatre, gunshots ring out stops the train in and a mysterious woman pleads with Hannay to take her back to his an emergency apartment. The woman, Annabella, a secret agent, reveals the basis of her * Compere – host of highly confidential espionage mission to Hannay, leaving him with a variety show * Corker – something several vital clues – the 39 Steps and Alt-na-Schallach - before she is remarkable murdered by two thugs during the night. Accepting the challenge of the * Crikey – expression dire situation at hand, Hannay flees London by way of a train to Scotland. of surprise * Crofter – a tenant who Aboard the train Hannay meets Pamela, under less than John Gregorio as… works a small farm in * Richard Hannay ideal circumstances. She turns Hannay in to the police, the Scottish Highlands who are misguidedly on his trail for the murder of Annabella. Hannay * Flat – apartment escapes the train, taking refuge in a cottage with a tenant farmer and his * Haddock and Herring wife, Margaret, who believes in his innocence and helps him flee again – types of fish * Hymn book – book when the police show up, still in vigilant pursuit of him. containing religious Upon finally reaching Alt-na-Schallach to continue Annabella’s mission, songs of praise Hannay realizes he has walked into a trap. He is arrested, escapes from * Impertinent – rude * Inveterate – having Monica West as… the police, and is accidentally mistaken for a prominent public official in a persistent habit * Annabella an assembly hall where he encounters Pamela again, much to her great * Itinerant – traveling Schmidt * Pamela dismay. Pamela turns Hannay over to the authorities once more - this time from place to place * Margaret to two heavies posing as policemen. They insist that Pamela accompany * Lavatory – bathroom Hannay to the police station to identify him. As it * Liverish – ill, unhappy, bad tempered becomes apparent to Hannay that these are not real police men and that * Loch – lake they are not headed to a real police station, the heavies decide to * Manacled - handcuffed handcuff Pamela to Hannay for safe-keeping when they are stopped by a * Mein Leibling – flock of sheep in the road. At this opportune moment of chaos, Hannay German for “my dear” forces Pamela to run from the heavies, crossing an obstacle-laden moor, * Moors – broad expans- es of uncultivated land while still handcuffed to him. * Old Country – England The pair rent a hotel room for the night, posing as a runaway couple. * Pound note – English Aaron Muñoz as… While Hannay sleeps, Pamela slips out of the handcuffs and attempts to currency equivalent * Mr. Memory of a dollar bill * Milkman leave, but upon overhearing the two heavies, in the lobby of the hotel, * Rouge – blush speaking on the phone about the nefarious 39 Steps plot, she realizes * Salesman 1 * Paperboy makeup for cheeks Hannay has been telling the truth. Pamela returns to the room and * Policeman 1 * Shakedown – Hannay decides he must stop at nothing to clear his name and expose the * Radio Announcer 2 improvised bed criminals before it is too late. Clues lead the pair to the London Palladium * Crofter * Scotland Yard – * Pilot 1 headquarters of the to unravel the mystery. u * Sheriff London Police * Mrs. Jordan * Tara – British slang Joel Van Liew * Mr. McQuarrie * Heavy 1 for “goodbye” as… * Radio Announcer * Professor Jordan * Tidy pile – money * Compere * Pilot 2 * Sheep * Mrs. McGarrigle * Mrs. Higgins * Inspector * Mr. McGarrigle * Reindeer * Vertigo – dizzy feeling * Salesman 2 * Master of * Detective * Usherette * Vicinity – * Porter Ceremonies Superintendent * Baby 2 surrounding area * Policeman 2 * Heavy 2 * Baby 1 * Wunderbar – German for “wonderful”

“The Thirty Nine Steps? I tell you Mr. Hannay. You will never EVER KNOW!” - Professor Jordan 3 “This show is a puzzle ...” Director Sean Daniels, actor Monica West, costume of a show where you have to figure out how to create designer Jen Caprio, and stage manager Frank Cavallo moment after moment, continually topping yourself. It’s share some of their insights into Geva’s The 39 Steps ... also a great play for designers as it asks them to solve scene after scene, and keep reinventing the show at …on what is most exciting and unique about each scene. Geva’s production of The 39 Steps JC: The challenge in this play lies more with doing what JC: Comedy. Comedy is important. Comedy is smart. is unexpected, and how. The quick changes and what Comedy is hard work. Sean’s creative energy as a props and other materials are needed have been figured comedic director is unmatched, and it's rare to have out, so we have a bit of a roadmap. The part that is someone that takes comedy so seriously. Find joy in the creative for us is what that roadmap gets to look like. element of surprise. FC: Specifically plotting every movement of the actors, SD: Our production is a real celebration of theatrical crew, scenery, and dozens upon dozens of props and ways of presenting cinematic ideas. Lots of us figuring costume pieces from the top of the show, through 35 out how to tell the story of certain movie moments scenes, to the end, while working out how it can through the lens of what works in a theatre. It’s a great all occur smoothly and quickly has been quite a show for Rochester because it gets a look at everything challenge. But it’s amazing that a group of people can that we love about cinema and about theatre. Rochester put their heads and talents together to turn a book, is so well-educated about the history of cinema so we’re a movie, an idea, into what we ultimately experience as trying to work in as many Hitchcock references as a full production. possible – obvious and obscure. There’s tons of ‘Easter eggs’ in this production. ….on this show’s relevance MW: An exciting and unique surprise, for me, has been SD: It’s easy to identify with these characters – feeling Margaret. She’s usually played as a dowdy simpleton, bored with life and then feeling as though things are but between Jen’s fantastic costume design and a table happening out of your control while you try to regain with wheels that punctuates Margaret’s major who you are. These are all things we struggle with. movements, she’s become quite a firecracker. I’m I think Richard Hannay is an incredibly likeable excited to hear what people think of her. Our character, and it will be easy for students to see production is both an homage to Hitchcock and a spoof. themselves in him. FC: The most exciting thing is seeing how many fun, MW: The same for the girls, too. What girl wouldn't crazy, inventive ideas come out of the collaboration want to look totally between cast, director, designers, and production folks. glamorous and get to be ridiculous at …on challenge and collaboration the same time, like SD: This show is a puzzle, an intensely collaborative Annabella, Margaret process. It’s not my job to have the best idea in the and Pamela? I think room. It’s my job to hear the best idea in the room. I share my love of MW: I should mention that Sean is an incredible puzzle laughter with many solver. He came to the table with such great ideas, and people. Laughing can has allowed us, the actors, to add our ideas as they bring people of all came. We’ve really enjoyed putting the pieces of this ages together -- espe- puzzle together. A scene that’s surprised me in its cially physical comedy. difficulty is when Hannay and Pamela are stuck in their Everyone understands room at the McGarrigle’s Hotel, trying to eat sandwich- how funny it is to see es while handcuffed to one another. It actually took us one person play two, about 45 minutes to figure out how to let the comedy of or five, different char- those few minutes within that scene work. acters at the same time. SD: It’s a great playground for artists, a great challenge Above: Joel Van Liew and Aaron Muñoz Comedy is universal. u rehearse a scene from The 39 Steps.

“May I ask what earthquake caused your brain to work at last?” - Richard Hannay 4 Buchan, Hitchcock & Barlow

John Buchan

John Buchan was born the son Alfred Hitchcock was born on Patrick Barlow was born in of a clergyman in Perth, August 13, 1899, in London, the Scotland in 1875. He attended son of a poultry dealer. In 1920 he England on March 18, 1947. Glasgow and Oxford began to work in the motion- He is an actor, playwright Universities before becoming a picture industry, designing silent and comedian as well as the barrister and a successful Civil movie title cards for the Famous founder of the National Theatre Servant. He was later appointed Players-Lasky Corporation. Governor-General of Canada of Brent in 1980 under his alter and honored with the title Soon after, Hitchcock became a ego, Desmond Olivier Dingle. Baron Tweedsmuir. scenario writer and an assistant He has appeared in such films director before directing his first In 1914, bed-ridden from an as Shakespeare in Love, illness which kept him from film in 1925. In 1926 he directed joining Britain’s military efforts The Lodger, a silent film about a Notting Hill, Bridget Jones’s in World War I, Buchan began family who mistakenly suspect Diary and Nanny McPhee. work on The Thirty-Nine Steps. their roomer to be Jack the In addition to the stage, Completed the following year, Ripper. During the 1930s he Barlow has written for the The Thirty-Nine Steps saw directed classic films such as the introduction of Richard The Man Who Knew Too Much screen, radio and television. Hannay, a character who and The 39 Steps. Following his His adaptation of The 39 would appear in many Steps premiered at West of his later novels. move to Hollywood in 1939, Hitchcock directed Rebecca, which Yorkshire Playhouse As an experienced diplomat, went on to win the 1940 Academy in June of 2005. Buchan was acutely aware of Award for Best Picture. the atmosphere of mistrust during a period of war. His Over the next thirty years, experiences informed The Hitchcock would go on to Seven Hitchcock movies Thirty-Nine Steps. Buchan, produce and direct some of the are playfully alluded to in by his own admission, wrote most popular films of all time, The 39 Steps: “tales of a culture on the verge including Strangers on a Train, of savagery” as the British Vertigo, Psycho and The Birds. * Empire sought to make sense of a rapidly changing world. Hitchcock produced two popular * The Birds American television series in * Vertigo Buchan died in 1940 from injuries sustained in a fall. He the 1950s and '60s. His name * Psycho was fortunate enough to also appeared on a series of * Strangers on a Train witness The Thirty-Nine Steps mystery-story anthologies. He * adapted into a well-received received the American Film film by Alfred Hitchcock in Institute's Life Achievement * The Wrong Man 1935. A John Buchan Centre Award in 1979 and was knighted Were you able to catch each and The John Buchan Society by Queen Elizabeth II in 1980. reference as it happened during now exist to honor his Hitchcock died on April 29, 1980 the show? In what way was lifetime of achievements. in his Bel Air, California home. He was 80 years old. each film referenced?

“Keep your seats please! No need for panic ladies and gentlemen! Bring on the dancing girls!” - Mr. Memory 5

After you attended The 39 Steps, From Page to Screen to Stage were you able to identify any There are three well-known versions of The 39 Steps story, two of which are specific moments in the produc- adaptations – John Buchan’s 1915 novel which was followed by Alfred tion that were reminiscent of one Hitchcock’s film version in 1935 and, much later, Patrick Barlow’s 1996 stage or more of the following styles? adaptation. Each adaptation, of course, filters the source material through Farces feature broad humor and distinct sets of criteria in order to accommodate a new telling of the story. complicated, highly improbable Adaptations are often designed to isolate specific elements of the original story plots. and then embellish those particular elements – it may be to develop the story of Modern comedies showcase a minor character or to highlight the ways in which an older story may have an clever dialogue, plot twists, famil- unforeseen relevance for a new audience. Some adaptations are quite faithful to iar scenarios, physical humor, excellent timing, and a happy end- the original material, keeping much of the dialogue or story structure. Other ing. adaptations may be only loosely based on the source material. Pastiche is a work that imitates When Hitchcock adapted Buchan’s novel, he chose to make a significant other existing works, usually in a amount of changes. Hitchcock, for example, removed or altered some referential, ironic, or funny way. characters and introduced entirely new characters, such as Mr. Memory. Satire is humor that shows the Barlow, in his stage adaption, made several major changes as well. The most weaknesses or poor qualities of a notable change in Barlow’s adaptation of The 39 Steps is, perhaps, the use of a person, government, or society. cast of four to play all of the roles, with two of those actors portraying the vast Slapstick comedies are often majority of those parts, sometimes within seconds of one another. Barlow’s plot characterized by boisterous line is essentially the same as Hitchcock‘s, but where Hitchcock’s version action, obvious farcical situations is suspenseful with humorous elements, Barlow’s adaptation is much more or jokes, physical comedy and horseplay. comedic and played for laughs. Spoofs are good-humored Note, below, some of the many similarities and differences between the three mocks, imitations, or parodies major versions of The 39 Steps. u of something.

THE NOVEL THE FILM THE PLAY * Set in 1914 * Set in 1935 * Set in 1935 * Opens with Hannay’s * Opens with Hannay * Opens with Hannay‘s speech speech about boredom at Mr. Memory’s performance about boredom, then Mr. * Hannay has been * Hannay has been in Canada Memory’s performance in Rhodesia * The Secret Agent is * Hannay has been in Canada * The Secret Agent is Annabella Schmidt * The Secret Agent is Franklin P. Scudder * Hannay and Pamela subplot Annabella Schmidt * No romantic subplot * Authentic Spy Thriller * Hannah and Pamela * Authentic Spy Thriller romantic subplot * Tongue-in-cheek Spy Thriller

“Beautiful mysterious woman pursued by gunmen. Sounds like a spy story.” - Richard Hannay 6 Borrowing Style The stage adaptation of Patrick Barlow’s The 39 Steps borrows its clever, madcap style from many sources. Commedia dell’arte was an Italian style of traveling comedy, popular in the 16th-18th centuries, where stock characters and standard plot scenarios were featured in improvised storylines. One stock character in particular, a physically agile, witty, acrobatic servant who switched roles frequently, called Arlecchino, reminds us of the two clowns in The 39 Steps, who play multiple rapidly changing roles and exercise highly comedic, inventive, slapstick styles of movement. From Commedia dell’arte we also borrow lazzi, short dramatic or overly exaggerated shticks that are funny, but often have nothing to do with the story itself. For example: a character who pretends to be a statue and moves only when another character’s back is turned, or an actor playing two different characters at the same time. Be on the lookout for these lazzi moments, and many more, in The 39 Steps. Elizabethan Theatre was characterized by a bare stage, allowing the show’s language and audience’s imagination (rather than a detailed set) to create the world of the play. Additionally, young men, whose voices had not yet changed, played female roles because women were not allowed to perform onstage in England until the 1630s. In The 39 Steps, the male clowns play four female roles, and much of the action on the stage is brought to life by language and imagination, with the exception of a few choice set pieces, props, or costumes that come and go as necessary. Film Noir is a style of 1940s-50s film, usually about crime, that uses dark shadows and stark lighting, ominous atmospheres, cynical characters, and foreboding background music to show the complicated moral nature of a subject. While this style is certainly more prevalent in Hitchcock’s film, hints of film noir – especially the use of shadows, stark lighting, and silhouette – can be seen as an influence in the comedic stage adaptation as well. Mystery, Spy Thrillers, and Suspense featuring espionage, secret agents, perilous adventures, ordinary and relatable characters, disguises to camouflage identity, heroes on the run, daunting tasks, impossible situations, withholding important information from other characters or the audience, providence (being in the right place at right time), narrow escapes with trickery or luck, and chase scenes, were popular during World War I when John Buchan wrote his novel The Thirty-Nine Steps. Each of these qualities is present in the Hitchcock film and in Barlow’s stage adaptation as well. Vaudeville was a style of wild and over-the-top comedic entertainment that was popular in North America in the late 1800s and early 1900s and showcased a variety of performances including song, dance, dialogue, magic, pantomime, acrobatics, tricks, and other fascinating people or feats. The West End Mr. Memory show featuring Mr. Memory and the Compere in The 39 Steps is a type of variety performance that would have likely been on the vaudeville circuit. u Hitchcock’s Storytelling Essentials The following themes explored in The 39 Steps were reoccurring favorites of Alfred Hitchcock in his films: * The wrong man – a man on the run to prove his innocence * The ordinary person – an average, relatable (yet often unqualified) person who is thrust into the position of hero * The MacGuffin – the intentionally vague thing, person, or secret information that everyone is after * The smooth villain – a charming, handsome, articulate, likeable, upper crust scoundrel * Train sequences – this closed-in location provokes suspense and only a slim chance of escape * Blonde women with cool exteriors and warm hearts – beautiful and standoffish at first, but ultimately lovely * Eruptions of chaos in a theatre – disguise, identity, role-playing and illusion are all common suspense themes and common theatrical conventions; when pitted together in a theatre, they form the perfect storm * The pursuit or disclosure of a hidden person – nothing is as it seems * Music as a story element – used as a prominent storytelling contribution or to advance the plot in some way

Are any of these motifs suggestive of one or more of the styles discussed above or on the opposite page? u

“I don’t doubt you’ll be able to convince Scotland Yard of your innocence as easily as you’ve convinced me.”- Sheriff 7 Espionage in the 1930s The practice of espionage, or the obtaining of secret or confidential information without the knowledge of the holder of the information, has been utilized by militaries and governments for centuries. In ancient Japan, for exaple, ninjas were used to gather intelligence. During the Cold War era, both the United States and the Soviet Union employed the use of human sources to gather information. Both countries also utilized the option of researching “open sources” – essentially, studying common or public knowledge in an effort to uncover underlying information. The United States, in addition, exhibited a preference for the use of technological methods of intelligence gathering. While it is rarely openly discussed and is in violation of many international laws, many nations still conduct espionage against other countries and their governments, whether allies or enemies. Espionage is employed for many reasons, but most commonly to assess national strategic capabilities, warn about military or security concerns and, increasingly, to monitor the financial dealings of other nations. ANNABELLA: I am being pursued by a very brilliant secret agent of a certain foreign power who is on the point of obtaining highly confidential information VITAL to your air defense. The espionage organization that Richard Hannay encounters in The 39 Steps is one of many Above: Costume Designer Jen Caprio’s that existed during the early part of the twentieth-century, many of which are still in concept for Professor operation today. Espionage played an increasingly prominent role for most governments and Jordan, seen here militaries following the end of World War I in 1917. The war effectively ended with the as portrayed by Joel Van Liew signing of the Treaty of Versailles, which placed the vast majority of the blame for the war on Germany and imposed a number of humiliating punishments on the country including the Research the secession of large areas of land, significant cuts in the strength of their military, the demand espionage to reimburse its enemies for costs incurred during the war and, finally, a public admission of efforts of guilt for setting in motion the events which ultimately led to the war. Adolf Hitler and the Nazi several countries Party in Germany would use the frustration of the German people to build popular support during the for their rise to power and the eventual restoration of their political and military aims. It is 1930s. How did Hitler’s gathering strength which would, in part, lead to the start of World War II. This their methods and identification of Germany as an active enemy of England is notable in Barlow’s adaptation, goals compare but much less so in Hitchcock’s, and is non-existent in Buchan’s novel. to one another? The 39 Steps takes place in August of 1935, a few years prior to the beginning of World War Consider II but well into Hitler’s reign as Germany’s determined leader. In its quest to once again be espionage in considered a dominant world power, the German government used every available means to the 21st century. decipher the motives, movements and strengths of its enemies, including England. One such Which methods means was to pay very close attention to the workings of England’s vaunted Royal Air Force, of surveillance considered by many to be one of the best air defenses in the world. Such information could from the past aid the Germans in not only better understanding an enemy but in also potentially restoring are still in use? the German military to its former glory. It is into this world of secrecy, deception How have they and military aspirations that Richard Hannay unwittingly stumbles and in which he must been updated repeatedly attempt to survive. u or modified? How has that impacted their Portions of this page have been adapted with kind permission from effectiveness? the City Theatre’s Educator Resource Guide for The 39 Steps.

“Sharp. Intellegent. Utterly ruthless. When the war comes these will be the exact qualities we need.” – Professor Jordan 8 Where in the World is Richard Hannay? Five modes of transportation are shown onstage in The 39 Steps, including: train, plane, police car, a reindeer, and good old fashioned feet (with a little bit of swimming thrown in there as well!). Six primary outdoor locations are represented onstage in The 39 Steps, including: trains, the Forth Bridge, outside of the crofter’s cottage, the Scottish moors, the streets, and the outside of Alt-na-Schallach. Eight primary indoor locations are represented onstage in The 39 Steps, including: Hannay's flat, the music hall, the crofter's cottage, the professor's study in Alt-na- Schallach, the sheriff's office, the assembly hall, the McGarrigle’s hotel lobby and hotel bedroom, and The London Palladium.

How do we create all of these locations and modes of transportation on stage? Keep reading as several members of the design and production team explain their process. u

Celebrating Theatricality Director Sean Daniels describes The 39 Steps as a “celebration of all things theatrical and cinema.” Hitchcock pioneered the use of light- ing, shadows, and particular camera angles to inform the action and suspense of his films. In turn, our production will also use “cinematic lighting in a theatrical setting” to create a similar effect. Typically, designers try to avoid the appearance of shadows onstage since we want the audience to see everything that is happening. However, for this production, we actually want there to be some shadows, like you’d find in a Hitchcock film, and we’ll also be using plenty of silhouette and puppetry to achieve that look as well. Our production is all about celebrating theatricality. At the performance, you will never forget that you are in a theatre, Above: The cast and crew of The 39 Steps rehearse the watching a play. Audience members will see the crew moving puppet scene and adjust its mechanics in the rehearsal hall. around the stage and, on occasion, interacting with the actors. Costume changes and character doubling will occur before your eyes. At the first rehearsal, Daniels referred to this as a “torture play” where we see the mechanics as they happen, and we watch the actors sweat and navigate a show that was “built to break.” Through the mighty efforts of the show’s designers, director, stage manager, and crew, everything is created to ensure that the actors are safe, comfortable, and able to focus on their characters and the telling of this story (for example, the use of knee pads beneath costumes, soft pads on the insides of handcuffs, and conveniently placed, easily changeable costume pieces). While everything is intended to be meticulous and consistent, with so much chaos occurring onstage, each performance is also bound to be unique in its challenges and successes. One of the greatest, most intricate, and most fun tasks of producing The 39 Steps is the collaborative invention and creative problem solving required by the production team and the actors to make seemingly impossible feats not only work, but work in a way that is smooth, funny, and true to the story. u

“Police are closing in with specialist squads in fugitive apprehension by foot, road, and - by air!” - Radio Announcer 9 From the Costume Designer A few words from costume designer Jen Caprio: Geva: Where did you draw your inspiration in creating the costumes for The 39 Steps? Jen Caprio: Many different places - the 1930s in general, film noir, and Hitchcock, of course. I've always 1 2 3 been a fan of his films and the design of them. I listened to a lot of 1930s music while researching as well - that was helpful. Annie Leibovitz did a great series called "Killers Kill, Dead Men Die" which I looked at for modern "period" inspiration. 4 5 6 Geva: Do you have a favorite design from the show? Jen Caprio: The sheep are my favorite costume. And I won’t say why – it’ll give it away. 7 8 9 (Check out more of Jen’s costume renderings and 1. Annabella inspiration; 2. Annabella costume rendering inspiration photos on her Pinterest page for The 3. Clowns inspiration; 4. Pamela inspiration 39 Steps: http://www.pinterest.com/jennifercaprio/ 5. Pamela costume rendering; 6. Clowns base costume rendering; 7. Richard Hannay inspiration; 8. Richard Hannay costume rendering; 39-steps/) u 9. Clowns dressed costume rendering

From the Scenic Designer “Because the play is essentially a story-telling piece, it was easy to let the words do most of the work. Other productions of The 39 Steps have been done with as little as a few trunks to full blown location sets. We landed somewhere in the middle. We wanted a fun environment that spoke to the spirit of the piece, but was not a literal ‘location’ in the play. The spirit of this piece was drawn from graphics from Hitchcock films. How that translated to the space was abstract research from an architectural publication. In our case, the set is a sophistocated playground with the sense of richness of an old movie theatre that everything else moves within. We have gone through a great 1 2 effort to recreate the feel of the original days of the building Geva is in now. Then, as the big red curtains draw back, you see a bit of a topsy-turvy world that feels like the graphics from Hitchcock's Vertigo, decorated with candles, because so much of Hitchcock's imagery comes from shadows, and you’ve got to have light to have shadows! This 3 4 whole piece is a dance on and off stage. You will be surprised by the combination of 1. & 2. Scenic design inspirations;3 3. Scenic model rendering; 4 4. Actual scenic model with portable furniture pieces imaginative locations, and how the whole space comes together to help tell the story.” – Michael Raiford, Scenic Designer u

“Well - is it true that the ladies paint their toe-nails? And put rouge and lipsticks on their faces?” - Margaret 10 From the Stage Manager In a production with frequent, rapid costume changes, numerous scenic elements entering and exiting the stage throughout the show, multiple lighting, sound, and special effects cues, and four actors who play over 40 characters and are onstage practically the entire time, a clever and precise stage manager and crew is absolutely crucial. Frank Cavallo, Stage Manager for The 39 Steps explains some of what his job entails: Staff “Because this production is such a physical piece and so dependent on the tech elements (sets, costumes, lights, sound, special effects, etc.), the stage management team’s job is to Skip do our best to improvise and help imagine (in the rehearsal hall) what the actual environ- Greer ment will be like once we get onstage because we have so little time to rehearse in that Director of actual environment. Once we’re into performances the crew has to be meticulous and very Education/ consistent in maintaining that environment – that all scenery, props, and costume pieces Artist in are where they belong. The same applies to any lighting and sound cues or special effects. Residence The actors have to be able to trust that everything that surrounds them will be consistently there and consistently accurate, so they can focus on what they do so well.” u Lara Rhyner Resources Associate Books Director of Hitchcock’s Notebooks by Dan Auiler Education The Thirty-Nine Steps by John Buchan Hitchcock Piece by Piece by Laurent Bouzereau Eric Find the Director and Other Hitchcock Games by Thomas M. Leitch Evans Education The Encyclopedia of Alfred Hitchcock by Thomas Leitch Administrator A Year of Hitchcock: 52 Weeks with the Master of Suspense by Jim McDevitt and Eric San Juan Alfred Hitchcock: A Life in Darkness and Light by Patrick McGilligan Jean Gordon The Art of Alfred Hitchcock: Fifty Years of His Motion Pictures by Donald Spoto Ryon Tortured Artists by Christopher Zara Dramaturg

Websites Mark http://thefw.com/10-things-you-didnt-know-about-alfred-hitchcock/ Cuddy http://moviesdrop.com/alfred-hitchcock-interesting-facts/ Artistic Director http://voices.yahoo.com/presenting-ten-things-didnt-know-alfred-5173555.html?cat=2 http://www.tasteofcinema.com/2012/20-facts-you-dont-know-about-alfred-hitchcock/2/ Tom Parrish Miscelllaneous Executive The 39 Steps film by Alfred Hitchcock Director http://www.dictionary.reference.com (for defintions of British slang used in The 39 Steps)

Book titles and DVD available through the Monroe County Public Library System

[Stage direction: Glares into the wings. Hisses under his breath.] “PUT IT DOWN!” - Richard Hannay Tickets on sale now for ...

By Charles Dickens | Adapted by Mark Cuddy | Music & Lyrics by Gregg Coffin Dec. 4th, 5th, 10th, 11th, 12th, 17th & 18th | All performances at 10:30 a.m. Recommended for all audiences (age 5 and up)

By Bruce Norris By Neil Simon February 25th, 27th May 1st at 10:30 a.m. and March 6th at 10:30 a.m. Recommended for Recommended for mature middle school and up high school audiences

To reserve seats please call (585) 420-2035

Education Partners Thank you to our corporate and foundation donors who support our education programs. (Donors are listed for the time period 8/1/2012 through 10/7/2013)

Ames-Amzalak Memorial Trust Mr. & Mrs. John F. Lausin P.L.A.Y. Student Matinee Series Sponsor in Memory of Henry Ames, Semon M&T Bank Canandaigua National Bank Amzalak and Dan Amzalak David & Sharon Mathiason Passport Program Sponsor Canandaigua National Bank Guido & Ellen Palma Foundation Excellus BlueCross BlueShield Cornell/Weinstein Family Foundation Target Stores Donald F. & Maxine B. Davison Foundation Mr. & Mrs. Michael & Ellen Tuohey Leadership support for the Passport Louise W. Epstein Elaine P. & Richard U. Wilson Foundation Program provided by The Elaine P. Excellus BlueCross BlueShield Louis S. & Molly B. Wolk Foundation and Richard U. Wilson Foundation Feinbloom Supporting Foundation Wollner Charitable Trust

Summer Curtain Call Supporters

Thank you to the supporters of the 2013 Summer Curtain Call Event, our annual gala in support of our education programs.

Executive Producer Assistant Producer LaBella Associates, PC LeChase Construction Nocon & Associates, The Cannan Group Lawley Associates Leo's Bakery & Deli A private wealth advisory COMIDA LLD Enterprises Moonlight Creamery practice of Ameriprise Kenron Industrial Air Mengel, Metzger, Julie Emily Petit Financial Services, Inc. Conditioning, Inc Barr & Co. LLP The Simon School of Business REDCOM Laboratories, Inc. Joshua Stubbe & Associate Producer Director Rochester Red Wings Katherine Baynes Dawn & Jacques Lipson, MD Dixon-Schwabl Tasteful Connections Catering Time Warner Cable ESL Federal Credit Union With additional support from USA Payroll Elaine P. and Richard U. Suzanne Gouvernet Conolly Printing Wilson Foundation Joanna & Michael Grosodonia Fioravanti Florist Home Properties Full Belly Deli Jack & Barbara Kraushaar Harold & Christine Kurland, MD

75 Woodbury Boulevard Interested in sponsoring Rochester, New York 14607 Geva’s Educational Box Office: (585) 232-Geva (4382) programming? Contact Education Department: (585) 420-2035 Bonnie Butkas at (585) 420-2041 www.gevatheatre.org