America: Boom, Bust, & Baseball

Your guide to guide Your AMERICA: BOOM, BUST, & BASEBALL Clifford Odets’s powerful American drama JOHNNY BASEBALL premierethe new musical about the Red Sox of World PLUS: TO THE ROOF STAIRS THE SKIN OF OUR TEETH & OF THE AMERICAN FILM A HISTORY GATZ Every word The Great of Gatsbybrought to life LOST PARADISE

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Photo: Dario Acosta Photography the Red Sox. Tracing the origin the Red Sox. Tracing of the Curse, Johnny Baseball packs a thoughtful commentary into a on American social history that will fun and spirited musical to baseball bring cheers and tears fans everywhere. Institute A.R.T. for the festival’s featuring the work productions twentieth-century great of three American playwrights: Stairs to Williams, the Roof by Tennessee by The Skin of Our Teeth and A History Thornton Wilder, of the American Film by Christopher Durang. the bleachers of Fenway Park, America: Boom, Bust, and Baseball will take you on a the victories thrilling ride through and challenges of life in America I look during the past century. to seeing you at the forward theater and taking this journey with you. Diane Paulus Artistic Director A.R.T. u u

Bust, and Baseball! Bust, America: Boom, Boom, America: Welcome to Welcome We celebrate “baseball” with celebrate “baseball” We Following the “boom” of the Our festival begins with Baseball, a new musical about in 1935. of Johnny the world premiere today as it did when it premiered today as it did when it premiered this play resonates as profoundly as profoundly this play resonates visionary director Daniel Fish, visionary director of financial crisis. Staged by the dreams of a country in the throes country in the throes of a dreams suffering, hope, and shattered suffering, hope, and shattered Gordon family and voices the family Gordon chronicles the struggles of the the chronicles Lost, a powerful drama that with Clifford Odets’s Paradise Odets’s with Clifford “bust” of the Great Depression Depression “bust” of the Great roaring twenties, we explore the we explore twenties, roaring Upstairs on the Square. dine out at our restaurant partner dine out at our restaurant buy tickets, or you can choose to Chez Henri are available when you Chez Henri are lobby. Boxed meals catered by Boxed meals catered lobby. for discussion over dinner in our experience that gives you time whole production in one day, an in one day, whole production I encourage you to see the Great Gatsby to life on the stage. Great Fitzgerald’s exquisite novel The Fitzgerald’s brings every word of F. Scott of F. brings every word audacious tour de force, Gatz audacious tour de force, once-in-a-lifetime experience. An this brilliant production is a this brilliant production innovative theater companies— Service—one of New York’s most Service—one of New York’s . Created by Elevator Repair Gatz. Created American dream. the ever-changing face of the triumphs of the past century and hopes, disappointments, and hopes, disappointments, a theatrical exploration of the a theatrical exploration is Boom, Bust, and Baseball our 2009/10 season. America: kicked off the second festival in Square, where we have just where Square, Director of the A.R.T. in Harvard in Harvard of the A.R.T. Director I’m Diane Paulus, the Artistic American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 FESTIVAL AT Created byElevatorRepair A GLANCE Boom Directed byJohnCollins Starts January 7, 2010 Loeb DramaCenter America GATZ Service Endowment for the Arts. Burling. Funded bytheNational Sponsored byPhilipandHilary experience. once-in-a-lifetime theatrical this internationallyacclaimed, Gatsby isbrought tolifein Every word ofTheGreat Starts February27,2010 Starts PARADISE Bust Directed byDanielFish Loeb DramaCenter By Clifford Odets LOST Endowment fortheArts. Funded bytheNational 2010. re-conceived for and love,strikingly on family, business, the impactofmoney playabout powerful Clifford Odets’s American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 e President and Fellows e President of Harvard College is being made possible through a generous a generous is being made possible through Mellon Foundation. W. Andrew The grant from Our institutional partners help make the possible: programs theater’s ge Antrobus: man of the house, pillar of the ge Antrobus: By Tennessee Williams By Tennessee by Mike Donahue Directed February 4–6, 2010 Agassiz Theater Williams’s is Tennessee This untamed fantasy-romance for the wild at heart, which he “dedicated youthful dream to all the little wage-earners of the world.” THE SKIN OF OUR TEETH By Thornton Wilder by Scott Zigler Directed 19–27, 2010 March OBERON Meet Geor and inventor of the wheel. Join his modern community, epic Stone Age family as they survive history’s disasters...by the skin of their teeth. OF THE AMERICAN FILM A HISTORY By Christopher Durang Thomas Derrah by Directed May 21–29, 2010 Loeb Experimental Theater A technicolor odyssey of American films in which no satire. movie is safe from The A.R.T. Institute for Advanced The A.R.T. Theater Training presents work by great American playwrights. TO THE ROOF STAIRS EMERGING AMERICA FESTIVAL AMERICA EMERGING May 14–16,2010 Company Theatre with the Huntington joins forces The A.R.T. Emerging Art of Contemporary and the Institute to create festival of performanceAmerica, an annual and readings supportingdevoted to voices the new American and launching and creativity imagination, the energy, Experience of tomorrow. performers, hottest emerging the country’s of some of during a weekend filled with directors writers, companies, and excitement and drama. Sponsored by Paul and Katie Sponsored and Lisbeth Tarlow Buttenwieser, Funded by the and Stephen Kay. Edgerton Foundation/New Play Awards. An exhilarating new musical musical new exhilarating An of source the explores that the and Curse infamous the blending by end its to secret mystical the and fact, fiction, game. the of power World Premiere World Loeb Drama Center JOHNNY Lyrics by Willie Reale Lyrics Starts May 14, 2010 Story by Diane Paulus Music by Robert Reale

BASEBALL

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triumphs of the past century. triumphs of disappointments, and disappointments, Baseball exploresBaseball the hopes, America: Boom, Bust, and Bust, and Boom, America: A new musical about the Red Sox Red the about musical new A American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 hc u u RF RWLS n ENTERTAINMENT at: SCHEDULE and LIST BREW CRAFT our out Check rf Beer. Craft aiae akn nUiest akHtlgrg.Sm etitosapply. restrictions Some garage. Park/Hotel University in Parking Validated www.ClassicIrish.com ieEntertainment. Live abig,M 67 577-9100 (617) • MA Cambridge, MIT), & Sq. Central (Between Ave. Mass. 350 oCover. No American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 continued on pg 8> Jim Fletcher as Jim. Photo: Chris Beirens GATZ by Elevator Repair Service Created by John Collins Directed Loeb Drama Center u u PAGE TO STAGE: PAGE Service Elevator Repair reimagines The Great Gatsby or Elevator Repair Service (ERS), pleasure comes from problems. “We’re not a theater company “We’re problems. comes from or Elevator Repair Service (ERS), pleasure A shows making a theater company.” John Collins, “we are making shows,” says Artistic Director scavenger at heart, Collins forages outside the theater for works to stage. The challenges of turning The dramatic canon, Collins says, raises fewer problems to solve. “Someone’s already done the work already to solve. “Someone’s The dramatic canon, Collins says, raises fewer problems to language and length arose. focus on novels, challenges related recent With the company’s F material from outside of the theater into stage magic inspire ERS to create their exhilarating work. With ERS to create outside of the theater into stage magic inspire material from , the Gatsby novel The Great Scott Fitzgerald’s of F. the success of Gatz, their theatrical interpretation company has exploded internationally. that doesn’t yet have of imagining how it will fit on the stage,” he explains. “I like picking up something like Gatz, The Sun Also Rises, and The Sound and the Fury, a way of existing on stage.” In productions ERS, Indian musicals, Betty Boop cartoons, innovation. In other works by the ensemble’s novels spurred served as inspiration. and documentaries film noir, complex than spoken language. But intended for the eye is usually longer and more Written prose to listen to.” Collins says excessive different to listen to. It’s harder Collins contends, “I don’t buy that it’s process, rehearsal style. ERS’s in a dull reading-out-loud works can result prose veneration for great into stage dialogue. The company begins by solutions for translating literary prose generates however, by Sara Bookin-Weiner American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 Photo: GenePittman Nick andAnnieMcNamaraasCatherine. Laurena AllanasMyrtle,ScottShepherd as Jim FletcherasJim.Photo:ChrisBeirens Scelsa asLucille.Photo:ChrisBeirens u

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0 American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 15 continued on pg 16 > PARADISE LOST PARADISE Odets Written by Clifford by Daniel Fish Directed Loeb Drama Center Odets’s career is bound up with the rise of the Group Theatre. Theatre. is bound up with the rise of the Group career Odets’s In 1935, Clifford Odets began a new era in American drama. With In 1935, Clifford for Waiting plays running simultaneously on Broadway— three Lefty, Awake and Sing!, and Until the Day I Die—Odets dazzled pushing aside the heroes with his innovative language, New York for his down-and- of 1920s sentimental theater to make room outers. Depicting the destitute, Odets transformed the despair of new to the American stage. into a lyrical realism the Depression of New York, burst onto the boards Theatre In 1931, the Group by bringing a new style of acting to the American stage. Inspired emphasized the Group Stanislavsky and the Moscow Art Theatre, performances in for months to create ensemble work, rehearsing and theme interacted not as autonomous text, which character, pieces, but as an intertwined, cohesive unit. Their detailed examinations of character and tightly knit ensemble elevated the craft of American acting. Waiting for Lefty —Waiting by Whitney Eggers STRIKE, STRIKE, STRIKE!!!”

The Group Theatre. Seated on the steps, clockwise from the front: the front: clockwise from Seated on the steps, Theatre. The Group

Number One Boy u Sylvia Feningston, Harold Leverett, Lewis Bromberg, J. Edward Clurman, Phoebe Brand. Standing on grass to left of stairs (l to r): Philip Morris Carnovsky, Mary Morris, Odets, Paula Miller, Robinson, Clifford Walter stairs: Clement Wilenchick, right of Friendly Ford, To Stella Adler. Alixe Walker, Barker, (l to r): Margaret On the porch Coy, Gerritt Craber. Cheryl Crawford, Franchot Tone, Meisner, Patten, Sanford Dorothy Lee Strasberg, Ruth Mab Maynard, Robert Lewis, Virginia Farmer, Ratner. Art Smith, Herbert Nelson, William Challee, Eunice Stoddard, “HELLO AMERICA! HELLO. WE’RE STORMBIRDS OF

The Revolution’s THEWORKING-CLASS. WORKERS OF THE WORLD. . . . 16 American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 u

royal flush.Then royal stacked forallof Clifford Odets giving youand us. Themoney pair oftensor man dealing himself ahot “The cards is “The cards me aphony –Waiting forLefty something.” hand likea prowess leadsnowhere. she willnevergive; andinBen,whoseathletic practices Beethoven sonatasfortheconcert as he’s poisedforbankruptcy;inPearl,who Gordon, whogiveshisworkersaraiseeven American dream andwhattheyget,inLeo between whattheyhopeforfrom the the chasmbetweenaspirationand reality, Gordons inParadiseLost.Odetspresents the doorsofmiddle-classfamilieslike The Depression stretched on,bangingon by circumstances” and“falsevalues.” class” strugglingagainsta“lifenullified enemy, but“theentire American middle an individualstrugglingagainstaknown he calledhisfavoriteplay, thehero wasnot the middleclassinParadiseLost.Inwhat for Leftytoamore of nuancedportrayal from thenewspaper-likereporting ofWaiting and despair, promise andpain. “life printedondollarbills.”Heshowedhope the languageofrevolt—the fightagainsta theater speechonBroadway.” Odetsspoke but never flat, brilliantly authentic like no other stage wasfurious.thewords, alwaysreal over andexplosive..Everybodyonthat the criticAlfred Kazindescribedas“boiling Odets’s characters andlanguage—language voice.” of joyousfervor. .[O]uryouthhadfoundits STRIKE!,” andsurged tothestagein“akind audience leapttotheirfeet,crying“STRIKE! night, theatercriticHarold Clurmanwrote, the like apairoftensorsomething.”Onopening flush. Thengivingyouandmeaphonyhand The moneymandealinghimselfahotroyal America: “Thecards isstackedforallofus. Lefty’s rawdialogue captured theangerof a group ofcabbiesonthebrinkstrike, premiered onJanuary5,1935.Depicting and directed byOdets,Waiting forLefty for Lefty(1935).Writteninthree days him screaming intotheworldwasWaiting Boy (1937).Buttheplaythatlaunched (1935), ParadiseLost(1935),andGolden most famousproductions—Awake andSing! in-residence oftheGroup, scriptingtheir ensemble. Odetsbecametheplaywright- characters todisplaythechemistryof creatingsix toeightequalparts, agalleryof without starringroles. Instead,hepenned of thecompany, hebegantowriteplays Enrapturedplaying bitparts. bytheenergy Odets hadjoinedtheGroup asanactor, of theGroup Theatre, Odetsfoundhisvoice. playwright wasneeded.Undertheinfluence As hisstyledeveloped,Odetsmoved Audiences sawtheirlivesreflected in anewstyleofacting, With kicking. riotous legacyofClifford Odets is aliveand beginnings ofMamet’s ellipticalstaccato.The Savetime.”—onecanseethe sweetheart. And inOdets’s fast-talk—“Cutyourthroat, American, andyetamazinglypositive.” Odets character—male,poor, anddesperate, onceclaimed,“Iam very muchan Williams Lomans, andMamet’s bedeviledsalesmen. inflected speechofOdets’s families,Miller’s distanceliesbetweentheYiddish- a short Shepard, DavidRabe,andMamet.Only Tennessee Edward Williams, Albee,Sam stage language,influencingwriterslikeMiller, onstage oroff.” neverheardof imageryasort before, was apoet’s invented diction,withslashes turning dialogueintohispersonaljazz.it Miller wentfurther, declaring“Odetswas call asongcycleongiventheme.”Arthur writing. “Eachofmyplays,”hesaid,“Icould composer andmusicalstructure shapeshis “I’m inyoulikeatapeworm”(ParadiseLost). (AwakeandSing!)or five-cent earthquake” idiom: “Whatthiscountryneedsisagood rise totheterm“Odetsianline,”asad,funny and symbolism,irony andwisecrackgave of NewYork.” Odets’s blendofnonsequitur and rough restaurants. .[I]tisthespeech street, indrugstores, arenas, bars,sports lyric. Itiscomposedofwords heard onthe “is ungrammaticaljargon—and constantly poetic, hisdialogue,according toClurman, innovative useoflanguage.Unrefined yet one constantinOdets’s oeuvre washis story ofaHollywoodsellout. Big Knife(1949),asemi-autobiographical (1950); TheFloweringPeach(1954);and Clash byNight(1941);TheCountryGirl several timestowriteGoldenBoy(1937); surprisingly, then,hereturned tothestage “For Odets.HollywoodwasSin.”Not emasculate me.”Harold Clurmannotes, producers, hetoldTime,“Theywantto a senseofunease.ConcerningHollywood continuously forthescreen, hedidso with adaptations ofhisplays.Thoughhewrote The SweetSmellofSuccess,aswellfilm General DiedatDawn,Humoresque, and writing filmsforHollywoodsuchasThe This linguisticjazzchangedAmerican The youngOdetswantedtobea Though hissubjectoftenchanged,the After ParadiseLost,Odetsbegan MXAT InstituteforAdvanced Theater dramaturgy studentatthe A.R.T./ Whitney Eggersisasecond-year Training at Harvard University. American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 17 18 American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 like tohave tomoveyour familyoutofthe Hickok, “Lady, youjustcan’tknowwhat it’s man inPittsburgh toldthejournalist Lorena for middle-class Americans. Anunemployed replies listlessly. did notsaveforarainyday. “Idid,”theman squirrel asksamanonparkbenchwhyhe from Inacartoon the1930s,a misfortune. and manyblamedthemselvesfor their proud peoplefelthumiliatedbytheirplight, that nolongerhadaplaceforthem.These found themselvesflounderinginasociety and middle-classfamilieswhosuddenly were joinedbyformerlysolidworking-class varied lot.Peoplewhohadalwaysbeenpoor psychological legacythe“invisiblescar.” hard timesended.Caroline Bird calledthis behind closeddoors—andforyearsafter private kindofdespairthatoftensimmered deprivation. StilltheDepression causeda consisted of“makingdo”ratherthanstark homemaker. Lifewasnoteasy, butitusually pay cuttokeepit,andthewifewasstilla still hadajob,althoughheprobably tooka a typicalfamilyofthe1930s,husband going onrelief orlivinginashantytown.In fancy boarding schools,nordiditmean market crashorpullingchildren outof losing thousandsofdollarsinthestock Americans, theDepression didnotmean during the1930s.Forvastmajorityof sums uptheexperienceofmanyfamilies “We didn’tgohungry, butwelivedlean” Downward mobilitywasespeciallyhard The victimsoftheDepression were a Depression The F F aces the experienced theDepression differently. Men spare change. could getameal, anoldcoat,orsome to telloneanotheratwhichback doorthey elaborate systemofsidewalkchalk marks the neighborhood.Hoboesdeveloped an truck, hewascontributingtothe welfare of thebackofhis load ofcoalororangesoff When adriver“accidentally”dumped a found thattheywere allinthesameboat. families andcommunitiessurviveaspeople Camaraderie andcooperationhelpedmany as possible,wasanessentialstrategy. appearances, keepinglifeasclosetonormal (in fact,hepaintedittwice).Keepingup spent twoyearspaintinghisfather’s house was tomaintainone’s self-respect. Oneman alternative. of need,butsometimesthere wasno churches, andmutual-aidsocietiesintimes patterns ofturningtorelatives, neighbors, people’shurt prideanddisruptedtraditional Seeking assistancefrom thegovernment faced thehumiliationofgoingonrelief. credit hadbeenexhausted,somefamilies overalls togowork.Aftersavingsand white-collar worker, putonhisfirstpairof broke intotearswhenherhusband,aformer until finallyyouendupintheslums.”Awife worse neighborhood,down, smallerandina into anotherapartment, paid for, down downintoanapartment, nice houseyouhadinthesuburbs,part Great amil In manywaysmen andwomen One keytosurvivingtheDepression by SusanWare y of some catastrophe suchas accidentor economies andconstant anxietyforfear on women’s lives:“Itmeansendless little oftheDepressiondescribed theeffects keeping theextrapenny. EleanorRoosevelt of hamburger andtookturns foraquarter every penny. Two friendssplittwopounds a loafbuthousewivesstillhadto watch and breadfor 10centsaquart for7cents lowered thecostoflivingsothatmilksold treat likegoingtothemovies.Deflationhad shelter forherfamily, plusanoccasional to $25aweekfeed,clothe,andprovide $1,160, atypicalmarriedwomanhad$20 thenationalmedianannual incomeat With family survivalduringtheDepression years. housewife lostherjobintheDepression. absorbing.” To putitanotherway, no and mendingbecameifanythingmore and theround ofcooking,housecleaning, the women’s world remained largely intact dully aboutthestreets; whileinthehomes sense oftimeanddawdledhelplessly from theirusualroutine, lostmuchoftheir published in1937:“Themen,cutadrift this trend inastudyofMuncie,Indiana andHelenLyndSociologists Robert noticed as theyjuggledtomakeendsmeet. saw theirroles inthehouseholdenhanced their families.Women, ontheotherhand, failures becausetheycouldn’ttakecare of saw theirincomesreduced, theyfeltlike breadwinners; whentheylosttheirjobsor were socializedtothinkofthemselvesas Women made manycontributionsto American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 19 to esponses Special event: Special Creative R imes Hard T 2, 2010, 4:30 to 6 p.m. March Art Museum, Harvard Cambridge MA 485 Broadway, Join the American Repertory Art Theater and the Harvard Museum for an exploration to of how artists respond times. challenging economic This discussion and participatory four experience will feature gallery events: • A discussion about the artist Ben Depression-era photographs, New York Shahn’s published in their day under the the headline “Scenes from led by Harvard Living Theatre,” Art and Museum Head Curator L. Menschel Curator of Richard Photography Deborah Martin Kao. • A living newspaper workshop led by members of the Living Newspaper Company of New City. York • A discussion about the A.R.T.’s of Paradise Lost, production 1935 drama Odets’s Clifford about the suffering, hopes, and of a country dreams shattered of a financial in the throes Dramaturg crisis. Led by A.R.T. Ryan McKittrick and production Whitney Eggers. dramaturg • A short Living Newspaper by the performance, inspired headline stories. day’s and open This event is free to the public on a first-come, first-served basis. Please note limited availability. is that there All participants will receive a discount to the A.R.T.’s Paradise Lost. of production The Great Depression The Great

u of Notable American Women: Women: American Notable of Completing the Twentieth Century. Completing the Twentieth Almost all our impressions of the 1930s Almost all our impressions Hughes noted, “The Depression brought brought Hughes noted, “The Depression everybody down a peg or two. And the had but few pegs to fall.” Farm Negroes families struggled with declining agricultural and in the Midwest, prices, foreclosures, that contributed to the a terrible drought Dust Bowl migrations immortalized in John The Grapes of Wrath (1939). Steinbeck’s of the Mexican- perhaps a third In the West American population, mainly immigrants, to Mexico when work ran out and returned to extend agencies refused local relief assistance. black and white, in part widely because are distributed photographs taken by New Deal photographers etched this stark visual image on the popular consciousness. And was not on everyone’s yet the Depression As the novelist mind twenty-four hours a day. was “an Josephine Herbst observed, there almost universal liveliness that countervailed universal suffering.” again The home once with an activity, became a center of leisure aloud from evening by the radio or reading a cheap form of family books providing entertainment. Columnist Russell Baker mainstay: Depression-era a final recalled pastime. Depression was the Great “Talking Unlike the movies, talk was free.” , as well as the editor the as well as , Holding Their Own: American Women in the 1930s and is the author of Holding Their Own: American Women Susan Ware Beyond Suffrage: Women in the New Deal New the in Suffrage:Beyond Women The Depression directly affected directly The Depression 21 million times hit the nation’s Hard as African-Americans, For such groups illness which may completely swamp the family budget.” in the 1930s. The demographic trends rate, marriage rate fell, as did the divorce the legal because people could not afford expense of dissolving failed unions. The birth factor most rate was the demographic times, as couples debated affected by hard to raise a child. whether they could afford The birth falling steadily since rate had been to 1930 to 1933 it dropped 1800, but from a a level that, if maintained, would have led to population decline. young people aged sixteen to twenty-four often Although children especially hard. escaped the sense of bitterness and failure that gripped their elders, adolescents and young adults knew that making do usually meant doing without. The writer Maxine Davis, who traveled 10,000 miles in 1936 youth, described to interview the nation’s them as “runners, delayed at the gun … a of time and opportunity, generation robbed left the world its heritage War just as the Great of a lost generation.” farmers, and Mexican-Americans, times had and during the 1930s they always been hard As the poet Langston just got a lot harder. 20 American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 of others.Odetsconnectstothistension. out hell-for-weatherforyourselfandamoralresponsibility totakecare This playtapsintotheAmericanpsyche—thetensionbetweenbeing DF: He’s writtenaplayaboutloss,familythatloseseverything. previously directed RockettotheMoon.WhydoyoulikeOdets? WE: Thiswillbeyoursecondtimedirecting Odets—you’ve A.R.T. wasmyfirsttime,soit’s goodtobeback! A PityShe’s AWhore, directed the byMichaelKahn.Longstoryshort, A.R.T. wasknownfordoingthemostexcitingwork.Iworkedon’Tis Diane [Paulus,theA.R.T.’s current Director] Artistic wasatHarvard. The DF: IinternedwiththeA.R.T. twentyyearsago—around thesametime America? WE: Howdidyougetinvolvedintheregional theaterin that to fed myobsessionwiththeirrational.Andforbetterorworse,Ibring work onallplays,howIapproach languageandacting.Hisplayshave DF: Shakespeare. Working onShakespeare’s howI playshasaffected vision? WE: Whathasshapedyourartistic Brook andAndrei Serban. ever sinceIwasfour. AsakidIsaweverythingfrom musicalstoPeter American musicals.Formeitwasboth.Ifascinatedwiththeater theater eithergotintothebecauseofBrecht orbecauseof Daniel Fish:Someoneoncesaidtomethatpeoplewhoworkin Whitney Eggers:Howdidyougetinterested intheater? DanielFish Paradise Lostdirector WhitneyEggersinterviews Dramaturg AMERICAN PSYCHE TAPPING ITOTHE everything Iworkon. that. Itcreates atensionIlike. ability toseeanactorplayforthestageandhavecameracapture actors closeup.OneofthethingsIfindexcitinginusingvideois is really allowstheaudiencetosee the aboutthepeopleinit.Video or costumetext.ParadiseLosthasahugescope,buttheplay will besomevideo.Theuseofvideoislikethelightorscenery living room. Ijustwanttoshootmyself.Mysetisveryspare, there than comingtothetheater, goingupona andseeingthecurtain And yetweallacceptitasreal. more Nothingmakesmyheart sick DF: There’s nothingmore fakethanthree wallswithonewallremoved. WE: Howare youapproaching therealism ofParadiseLost? contemporary. It’s aplaythatmatters. aboutthehousingmarket,foreclosures.articles Soit’s totally When webeganworkingontheproduction, newspaperswere fullof they loseeverything.Andthat’s goingoninthecountryrightnow. dreams, whocare abouttheirchildren. Through nofaultoftheirown, DF: Theplaydealswithpeoplewhohaveworkedhard, whohave ParadiseLostspeaktoaudiencesnow? WE: Will a far more poetic writer than people may give him credit for. family melodramas, but I don’t think that’s what the plays are. Odets is work, they respond positively. Producers dismiss these plays as dusty with producers! When audiences are given the chance to experience his DF: of favorwithaudiences? WE: Odetsisn’toftenproduced anymore; whyhashe fallenout He hasn’t fallen out of favor with audiences, he’s fallen out of favor Whitney Eggers is a second-year dramaturgy student at the A.R.T./ MXAT Institute for Advanced Theater Training at Harvard University. u Paradise Lostsetmodels. American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 21 22 American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 23 continued on pg 24 > I think there’s a lot more more a lot I think there’s Loeb Drama Center Directed by Diane Paulus Directed Story by Richard Dresser and Willie Reale Willie and Dresser Richard by Story Book by Richard Dresser Dresser Book by Richard Lyrics by Willie Reale Lyrics rt Reale: JOHNNY BASEBALL Red Sox A new musical about the Music by Robert Reale Robe passion. I don’t think you could write this musical about any team but the Red Sox. RD: People all over New England got more in the team over the invested and more was a There course of the twentieth century. people who many different bond among real the same questions: “Why not all asking were pulled us? Why can’t we ever win?” That really people together. like army vets who WR: Red Sox fans are We war together. through have suffered found their collective experience more dramatic than any other fan base because so great. their tragedies were . I was with five Red Sox Red five with was I . th fans. I remember sitting at the end of the row sitting at the end of the row fans. I remember and looking at these guys all hunched over, unable to watch. I said, “Hey guys, lighten up, I think you’ve got this one.” And as if they move had practiced some choreographed film, they all did this slow burn a 1930s from coming?” you know what’s “Don’t as if to say, right. Little leaves And, of course, they were tie it and journeyman Yanks in. The Pedro homers to win it in the eleventh. Boone Aaron things took a turn for the worse Even before for the Red Sox in that game, my friends had It was collapse. to a predestined surrendered so compelling to watch. other from fans different Red Sox RM: Are the country? baseball fans around I was at the Aaron Boone Willie Reale: I was at the Aaron up against the game in 2003. The Sox were 8 the in 5-2 Yankees (l to r) Writer Richard Dresser, lyricist Willie Reale (photo: Stephen Daldry), lyricist Willie Reale (photo: Stephen Daldry), Dresser, Richard (l to r) Writer

u Gay Reboli). composer Robert Reale (photo: Annabelle There’s something valuable something There’s

k Dresser:

musical as a kind of Greek tragedy. musical as a kind of Greek ways. In fact, we always spoke about this consistently defeated in these inspired, tragic consistently defeated in these inspired, following this one team so closely and getting and closely so team one this following idea that this whole region of the country was idea that this whole region things that drew us to this project was the us to this project things that drew heartbreak is really compelling. One of the is really heartbreak rooting for an underdog. Something about underdog. for an rooting of rooting for winners is very different than winners is very different for of rooting won the World Series in 2004, but the idea Series in 2004, won the World winning. I’m thrilled that the Red Sox finally getting defeated is more interesting than interesting getting defeated is more Sox, because coming close to winning and Ric have written about the Red writers of great write a musical about the Boston Red Sox? deep passion. A lot in anything that inspires Ryan McKittrick: Why did you want to Ryan writer Richard Reale. Dresser, composer Robert Reale, and lyricist Willie A.R.T. DramaturgA.R.T. Ryan McKittrick speaks with the creators of Johnny Baseball: DRAMA ON THE DIAMOND: DRAMA ON 24 American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 RR: Becausethere’s somuchpassion a musical? RM: Whatmadeyouwanttotellthisstoryas the championship. twoyearstheRedSoxwon in 2002.Within feeling whenthenewmanagementtookover bad management.There wastrulyadifferent in thattheyfoundwaystolosebecauseof RD: IbelievedthattheRedSoxwere cursed RM: Didyoubelieveinthecurse? meant before wecouldtellthestory. to understandforourselveswhatthatcurse passion andtragedyjoy, butwereally had We knewthisstorycontainedsomuch were thelastmajorleagueteamto integrate. meant toeachofus,andhowtheRedSox RD: Bytalkingthrough whatthecursereally major leaguebaseball? on theintegrationofAfrican-Americansinto RM: Howdidyoubeginfocusingthemusical

American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 (l tor)Elijah“Pumpsie” Ever ybody’s Game Pastime Truly National Pastime Truly Making theNational by Brendan Shea major leaguebaseball sincethe1880s,andwithin adecadethe civil rightsmovement. Blackshadbeenbarred from playing America, baseballfellunderthescrutiny ofthenewlygalvanized are abletostopbullets,whynotballs?”Asaculturalsymbolof soldiers. Oneprotester’s signatYankee stadiumread: “Ifwe whenvictory belonged tobothblackandwhite particularly abroad whilepracticingsegregation at homebecameapparent, changed enormously. Thehypocrisyoffightingaracistregime everybody’s game. those whosawhimplay. America’s nationalpastimewasnotyet Negro Leagues,Gibson’s deedsliveonlyinthememoriesof Gibson rookie card. Likehisfellowballplayersinthesegregated Ruth wasactually“thewhiteJoshGibson.”Butthere isnoJosh ball-playing career, though manybaseballfanshaveinsistedBabe glove. Theumpire yelled:“You’re out,Gibson!Yesterday!” city. Abaseballfelloutofthesky, right smackintoanoutfielder’s The nextday, thesametwoteamswere playinginadifferent of themwassohighanddeepthatitdisappeared intotheclouds. Josh Gibsonissaidtohavehitover800career homeruns;one Following theendofWorld War II,theperception ofrace He wascalled“theblackBabeRuth”duringhis1930–1946 continued onpg28> American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 27 28 American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 u not even watching. Others say a Red Sox official yelled a racial epithet Sox, reflected onthetryout: prove impossible.Years later, JoeCronin, thenmanageroftheRed The firstwaseasyforthetalentedyoungathlete;secondwould face atFenwayPark:oneinthediamondandclubhouse. to thebackofanarmybus.Heknewthere were twochallengesto prior, whenherefused henarrowly tomove avoidedacourt-martial Jackie Robinson. 16, 1945.Oneofthehopefulswasayoungarmylieutenantnamed league tryoutsforblackplayerswere heldatFenwayParkonApril would dealasevere financialblowto theclubhouse.Thefirstmajor the ownerofRedSox,conceded—losingSundaydoubleheaders consider somepromising Negro Leagueballplayers.Tom Yawkey, Muchnick threatened towithholdhis ballotunlesstheclubagreed to This permitrequired aunanimousvotefrom theBostonCityCouncil. baseball. Atthetime,SoxneededapermittoplayonSundays. Boston RedSoxthechancetobefirstintegratedteamin pastime intoasegregated institution. establishment oftheNegro turnedthenational Leagues officially

Ted atbat Williams Some say Cronin and Eddie Collins, the general manager, were they were. feeling existedaboutit.We justacceptedthingstheway manager. Robinsonturnedouttobeagreat player. Butno rule atthattimeagainsthiringblackplayers.Iwasjustthe general managerdidthehiringandthere wasanunwritten themajob..The big leagues.Iwasinnopositiontooffer We tryoutsinthose daystoplayinthe didn’tsignplayersoff Robinson wasskepticalasheentered FenwayPark.Ninemonths In 1945,acitycouncillornamedIsadore Muchnickgavethe recalled theday: to integrate.JackieRobinsonwasalready three yearsretired. Green the firsttimeonJuly21,1959,RedSoxbecamelastteam “Pumpsie” Green. WhenGreen steppeduptotheplateatFenwayfor clear forchangetocomeFenwayPark. Sox tobecomepresident oftheAmericanLeague.Thepathwas guard whenEddieCollinspassedawayandJoeCronin lefttheRed became institutional. was elected.TheantagonismbetweenblackandIrishBostonians zealots—was toppledin1905,whenthefirstIrishmayorofBoston Irish population.Boston’s Yankee rulingclass—theabolitionist two marginalized groups: African-Americansandtheimmigrant century, however, thestruggleforafootholdturnedfierce for for anew, lifeinBoston. Bytheturnoftwentieth comfortable neighborhood gaveemancipatedslavesaround thecountryhope and theemergence ofasmallblackmiddleclassintheBeaconHill nineteenth century, whenBostonhadledtheabolitionist movement reputation forhostilitytoblacks.This wasindramaticcontrasttothe integrating. By1957,theRedSoxandBostonhadacquired a greatest players of all time. he left back in Birmingham, Willie Mays, turned out to be one of the of rain, Woodall lost his patience and departed. The center fielder down from Boston to check out a supposed dynamo. After three days League team was fielding a superstar. Larry Woodall, a scout, flew team in Birmingham, the Barons, caught wind that the local Negro Dodgers signed Jackie Robinson, and together they made history. at Robinson as he left the field. Eighteen months later, the Brooklyn That changecameintheformofautilityinfieldernamedElijah In 1959,theRedSoxclubhouseexperiencedachangingof One byone,alloftheothermajorleagueteamswere Robinson wasn’t the only one who got away. The Red Sox farm American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 29 “Jackie Robinson and the Integration of Baseball.” Bob Edwards. Morning Edition. National Public Radio. 10 October 2002. Online. Williams, Hall “Ted mlb.com. of Famer.” 29 September 2009. Online. Harvard University. Harvard Riley, Dan, ed. The Red Riley, Sox Reader. Boston: Houghton Mifflin, 1991 Baseball. Dir: Ken Films, Burns. Florentine 1994. “The Boston Red Sox and Racism.” Juan Williams. Morning Edition. National Public Radio. 11 October 2002. Online. A.R.T./MXAT Institute for Advanced Theater Training at Institute for Advanced Theater Training A.R.T./MXAT Brendan Shea is a second-year dramaturgy student at the is a second-year dramaturgy Shea Brendan Baseball gives every American a chance to excel. Not just Baseball gives every American a chance to is This to be as good as anybody else, but to be better. Paige and the name of the game. I hope some day Satchel as symbols Josh Gibson will be voted into the Hall of Fame only because not here players who are Negro of the great given the chance. they weren’t Green’s entrance into Fenway signaled that the national pastime entrance Green’s Green’s transition to the major leagues was not easy. He was to the major leagues was not easy. transition Green’s I went and got my bat, and on my way up to home plate, I went and got my bat, and whites, they stand up and the whole stands, blacks A standing ovation, my first give me a standing ovation. luck, Pumpsie.’ That said, ‘Good time up! And the umpire in. was it. . .that was some kind of breaking (l to r) Josh Gibson, Babe Ruth (l to r) Josh Gibson, Babe

Williams expressed in his Hall of Fame induction speech in 1966: Williams expressed make decisions based on good baseball, not prejudice, a shift Ted a shift Ted prejudice, make decisions based on good baseball, not was now officially national. Managers nationwide were beginning to was now officially national. Managers nationwide were every game—Ted Williams. every game—Ted One player, however, made a point to warm up with Green before before made a point to warm up with Green however, One player, integrated team, Green was often left out at pre-game warm-ups. was often left out at pre-game integrated team, Green team bonding, as no bar in the area would serve him. Even on an would serve him. Even team bonding, as no bar in the area closest hotel that accepted blacks. Green was also excluded from from was also excluded closest hotel that accepted blacks. Green was housed seventeen miles away from the rest of the team in the the rest was housed seventeen miles away from experienced segregation at Sox spring training in Florida, where he he where at Sox spring training in Florida, experienced segregation a good player, but not a superstar like Robinson or Mays. He but not a superstar like Robinson or Mays. He a good player, “Green Scott. “Green Ostler, looks back on breaking barrier 50 years ago.” San Francisco Chronicle 21 July 2009. Online. Bryant, Howard, Shut Bryant, Howard, Out: A Story of Race and Baseball in Boston. Boston: Beacon Press, 2002. u Sources: 30 American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 formed. as weknowitis and thegame Knickerbockers, for theNewYork of baseballrules establishes aset Cartwright Alexander 1845 compiled byBrendan Shea Histor Blue Stockings. for theToledo baseball player, professional African-American becomes thefirst “Fleet” Walker Moses Fleetwood 1884 y ofIntegration inBa seball Giants. the NewarkLittle league team,the moved toaminor Fleet Walker is black players. contracts with bans future league owners between major agreement” “gentlemen’s An unwritten 1887 poor attendance. two weeksdueto and foldswithin League isformed Colored Baseball The National 1887 country. clubs around the professional ball and semi- against amateur “barnstorming” independently, to play teams continue Black baseball 1888 –1920 League. Negro National 1900s, formsthe players ofthe African-American successful one ofthemost Rube Foster, 1920 Johnson, Cool Players Judy the 1940s. popularity through tremendous Crawfords enjoy and Pittsburgh City Monarchs, Grays, Kansas Homestead teams likethe League Negro National 1930s –1940s American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 31 1971 Satchel Paige is the first Negro League player by the honored Baseball Hall of Fame. 1962 Buck O’Neil, a former Negro League star, becomes the first African-American coach of a major league team: the Chicago Cubs. 1959 The Boston Red Sox sign African- American player Elijah “Pumpsie” becoming Green, the last major league team to integrate. 1948 The Negro National League dissolves. 1957 Jackie Robinson retires. 1947 the wins Robinson first Rookie of the Award. Year 1947 – 1959 One by one, major league baseball teams nationwide integrate. 1946 African-American player Jackie Robinson debuts with the Brooklyn Dodgers, the breaking color line established in 1887. Brendan Shea is a second-year dramaturgy student at the A.R.T./MXAT Institute for Advanced Theater Training at Harvard University. at Harvard Training Theater for Advanced Institute the A.R.T./MXAT student at dramaturgy second-year Shea is a Brendan passes away. an alleged racist, Mountain Landis, Kenesaw Commissioner Baseball Major League 1944 own lifetime. legends in their Gibson become Paige, and Josh Papa Bell, Satchel Bell, Papa 32 American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 David Greggory, c.1943 u Tennessee with Williams stage, throwing theplay’s ordered worldintodisarray. In them,phantasmagoriccharactersburstontothe hallmark style—amagicalblendofrealism andpoetry. removed from thescript.TheycontainWilliams’s Roof ifthesescrawled-outsceneshadactuallybeen demons, fightingthewords hehadjust written. and CatonaHotTinRoofwaswrestling withinner us TheGlassMenagerie,AStreetcar NamedDesire , searched whohadyettogive forhisvoice.Theartist they showtheyoungplaywright’s struggleashe Roof. Thesegraymarksare valuablebits ofgraffiti: Tennessee Williams’s manuscriptforStairstothe An angrypencilhasscratchedouthugechunksof by JosephE.M.Pindelski Tennessee Williams’s StairstotheRoof A SurrealPra When herejected theplay, legendaryproducer It wouldbehard totellwhowrote Stairstothe David Merrickwrote tothefledglingplaywright, “I don’tthinkaproducer wouldbelikely to riskamore thanaverageamount Benjamin D.Murphy, worker anoffice recreated himselfintheplay’s hero: To exorcise thosememories,Williams of production moneyonafantasy.” the Continental Shoemakers offices. the ContinentalShoemakersoffices. confessed tohisdiarythathewas trapped insidethecelotexinteriorof doubtful theplaywouldsucceed.But TheyoungTennesseeto Williams. Merrick’s criticisms were unsurprising it remained oneofhismostcherished as eighteenmonthsspentinhell, say itrightnow.” Said aboutaswellIamableto pieces: “ItisallIreally havetosay. reflecting onwhathedescribed in 1940, Williams was the Roofin1940,Williams for the Continental Shirtmakers. for theContinentalShirtmakers. When hewrote Stairsto Ben was part poet, part poet,part Ben waspart revolutionary, andall Williams; Ben’sWilliams; world, though, wasunlike anything Williams had anything Williams ever penned. with robotic precision, the lifefrom their executives grind employees. Human Workers move u

Tennessee c.1938 (27yearsold) Williams, Joseph E.M.Pindelski isafirst-yeardramaturgy studentat the A.R.T./ MXAT InstituteforAdvanced TheaterTraining atHarvard University. that Williams himselfnearlysilencedit. that Williams for change,andonethatringsso loudlyandclearly of Williams’s work:itisoneofyouthfulhope.Itacall rebellion isafuryofactionthatunlikeanyotherinall and hisrebellion explodedontothestage.That D. Murphywastherevolutionary intended, thatWilliams the Roofwasactuallystagedinitsentirety. Benjamin ability asawriter, andmadehimanationalsensation. opened inChicago.ItssuccessconfirmedWilliams’s did: twoyearslater, in1944,TheGlassMenagerie around towantingsomethingbetter.” Theyeventually your present form.Let’s justhopethatsoonthey’llget you writesowellandwithmuchgenuinefeelingin about more commercial subjects becauseIfeelthat following: “Idon’tthinkIshouldadviseyoutowrite letter turningtheplaydown,Merrickincluded voice; however, histalentwasnotunnoticed.In his playproduced, strangledhis theyoungWilliams heroic revolt dwindlesintoatantrum.Inorder toget thewhimsyofhisnocturnaladventure,Without Ben’s phantasmagoric characters:gone. then cuthislyricalcarnival.Thelights,themusic, be cut,whenandiftheplayiseverproduced.” He reader. whichmight Ihave[indicated]someparts in thisplay, someofwhichwillprobably burden the “I knowthatthere isagooddealofdidacticmaterial prefacedWilliams hispencil-markswithanapology: appease thefinancialinterests ofproducers. offeredWilliams toeliminatethisrevelation inorder to values aboveallelse—freedom. Itisironic that in cages,”anditssurreal chaosreveals whatWilliams Williams’s thatare “prayerforthewildatheart kept become animalsofgraceandbeauty. Theplayis players andwildanimalsrunamokawkward lovers family. Throughout thisall-nightextravaganza,masked spills ontothestageasBenbreaks away from joband nocturne ofmusicandmayhem.Ajoyouscarnival moments thatWilliams’s playcutsloosefrom reality. to theRoof,anditisfrom theseheavy, opening there opensStairs isnoescape.ThishowWilliams are crushedbeneaththefinancialburdens oflife,and reality Athome,families ofContinentalShirtmakers. value isreduced tosupplyanddemand—this isthe When itwasfinallyproduced in1945,Stairsto The ruinofWilliams’s editsisinstantaneous. Preparing potentialproducers forthemanuscript, unleasheshiscalltorevoltWilliams inalyrical yer

American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 33 34 American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 not only saw theirfuture; in the characterof building newhomes from oldstones. began again,sweeping theirstreets and Schiller, Beethoven and Brahms—they strength and intheirbestartists—Goethe intheircultural past.Finding sought comfort diarrhea.’” ‘recipe forgrasssoupthatdidnotcausethe was ofabsorbinginterest thatthere wasa meant thelossofamealandforwhomit with audienceswhosepriceofadmission and beerhallsthatwere servingastheaters, were mounted“intheshattered churches ruins ofwar. wrote Wilder thatproductions hit inacountrydiggingitselfoutfrom the on apainfulreality. The playwasasmash stage In them,hefindsthewilltosurvive. Aristotle—these writersgiveGeorge hope. the worldanew. Shakespeare, Spinoza, believes thatwecanandmustcreate collapsed. Stirred bytheirwords, George trying tomakeitbetterthantheonethathas Their ideasinspire himtorebuild theworld, war, George whisperstheirwords tohimself. lullaby. Atnight,aloneinthewreckage of books ofcivilizationare George Antrobus’s endure inthelegacyofpast.Thegreat and famine.Howdotheyit? by plagueandlocusts,floodsfires, wars they havesurvivedformillennia,bombarded are alsoAdamandEve.Againstallodds, Antrobus aren’t justNewJerseynatives;they catastrophe iscommonplace.Mr. andMrs. Thornton Wilder’s TheSkinofOurTeeth, family todo? frozen tothesidewalk.What’s aNewJersey bulldozed Bostonandababymammothis The worldisending—again.Glaciershave by LauraHenry at theApocalypse Wilder’s MadLook Thornton End oftheWorld: Laughing at the In TheSkinofOur Teeth, Germans Like George Antrobus, theGermans When TheSkinofOurTeeth was suggeststhatwefindthewillto Wilder For theAntrobuses, heroes of d inGermanyafterWorld War II,ittook u

Cartoon from theplay’sNewYork premiere atthePlymouthin1942 living room, herpetdinosaur trotting by, Maggie asks,standing inherNewJersey absurdity: “Didyou milk themammoth?”wife time, andmodern day, creates Wilder By overlappingprehistoric ages,biblical mix oftheseriousandslapsticktoo strange. incomprehensible. Whysuchdisgust? for you.”Theatergoers foundtheplay has gonethrough, there’s asubject - allaboutthetroubles thehumanrace understand asingleword ofit,anyway, agreed withMissSomersetinActI:“Idon’t fleeing spectators.Playgoersapparently every nightafterthefirstacttopickup that cabsgathered infront ofthetheater The audienceresponse wassoterrible with criticalapproval butpublicdisdain. the PlymouthTheaterinNewYork Citymet shoulder. Itsworldpremiere in1942 at Wilder’s play, Americansgaveitacold chance toburstout. that evilhidesinallofus,waitingfora Antrobuses, Germanshadtoacknowledge Henry represented Hitler’s Germany. Likethe From wasaskedif thebeginning,Wilder books hisfatherlovesandrevels incarnage. with themurder ofhisbrother. Heburnsthe a whim,enactingthestoryofCainandAbel Henry theyalsosawtheirpast.killson Perhaps audiencesthoughttheplay’s wholeheartedly embraced wholeheartedly While Germans role ofMr. Antrobus u

Thornton Wilder inthe Wilder Thornton essential tosurvival. to graspideasthatscare us.Laughteris understood thatcomedyistheonly way and nuclearweaponsinhostilehands.Wilder ecological meltdown,recession, terrorism, living thenextactofAntrobuses’ story: TWENTY-FOUR HOURS.”Today, we’re still and postponedthearrivalofthateventfor World at oncewentintoaspecialsession the End ofthe The SocietyforAffirming Island, whopromptly telephonedthemayor. Mrs. Dorothy StetsonofFreeport, Long This gratifyingeventwasfirstreported by “The sunrose thismorningat6:32a.m. succeed inthecontextofcomedy. playful, TheSkinofOurTeeth canonly saidthatallseriousworkmustbe Wilder into theground withmorallessons.Since missing itshumoranddrivingtheaudience productions taketheplaytooseriously, comic energy. According toZigler, many Zigler, however, turnstotheplayforits and mostproduced plays.Director Scott Our Town, oneofAmerica’s mostpopular been neglectedincomparisonwithWilder’s As aresult, TheSkinofOurTeeth has balance betweensolemnityandsilliness. police outofthehouse.” accident, anditwasveryhard gettingthe wasanunfortunate say that!—butitcertainly bird toanolderbrother—Oh! Ididn’tmeanto aim;hecanhitanythingfroma perfect a “Henry, whenhehasastoneinhishand, the maid,jokesaboutHenry’s murder: complaining ofthecold.Likewise,Sabina, All lessonsaside,theplayisfunny: In production, itishard tostrikea MXAT InstituteforAdvanced Theater dramaturgy studentatthe A.R.T./ Training atHarvard University. Laura Henryisafirst-year American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 35 BOSTON

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Present this coupon for $3 off one general admission CRAFT Seaport World Trade Center • 200 Seaport Blvd • Boston, MA A A SHOW OF CONTEMPORARY CRAFTART, & DESIGN 36 American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 PS: AHistoryoftheAmericanFilmshowshow World War IImovies,andendtheplaywithdisastermovies. and thegolddiggersmovies.ThenIthrew inCitizenKane comedies, especiallyMyManGodfrey.ThenBusbyBerkeley despair. Also gangster movies like American resolve. Theywere intheDepression butnotin a shantytown,soIfounditromantic. Italsosaidalotabout Man’s Castle pointwasanobscureCD: Thejumping-off filmcalledA PS: WhatfilmsinfluencedAHistoryoftheAmericanFilm? attractions—the filmsare madeforfifteen-year-oldboys. When Igotothemoviesnowgetsodepressed bythecoming Cities. Theywere abletonegotiatehighculture andpopculture. films basedonbookslikeDavidCopperfield the business.Thesemenrespected literature andmadegreat old timemovieswere pickedbyimmigrantmenwhocreated Today, decisionsare madebybusinessschoolgraduates.The Christopher Duang:Ithas,andIfinditdepressing. the role offilmchangedinAmericanculture? Paul Stacey: Y PS: I in films. she thinksthewritingontelevisionisfarsuperiorto I don’tkeepupwithTV, butIteachwithMarshaNorman,and American characteranymore. Onemightfindthatintelevision. generation. Idon’tfeellikethemoviesare areflection ofthe CD: Peoplenolongergotothemovieswaytheydidinmy say aboutthenationalzeitgeist? creates itsidentitythrough film.Whatdocurrent movies was excitingtosee howtheywere discoveringthemedium. Most ofthemovies thenwere really wellmade.Inthe1930s it So thenostalgia was forthefilmliterature Iwatched asachild. CD: Growing upIwatchedthemoviesof1930sand1940s. are younostalgicfor? A History of the American Film author ChristopherDurang Film American PaulStaceyinterviews dramaturg the of History A THE SCREENONTAGE detectastrong noteofnostalgiaintheplay. What . Thecharacterswere pennilessandlivingin ote this play thirty years ago.Has ote thisplaythirty ou wr Public Enemy orA Tale ofTwo . And screwball America , MXAT Institute for Advanced Theater Training at Harvard University. Paul Stacey is a second-year dramaturgy student at the A.R.T./ American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 37 Y! Kathleen Connor Robert Davoli Hammer W. Joseph Horace H. Irvine, II Michael E. Jacobson Glenn KnicKrehm Barbara Lemperly Grant Dan Mathieu Eileen McDonagh Michael Roitman Linda U. Sanger John A. Shane Michael Shinagel Sam Weisman .y ANNUAL pA.R.T FUNDRAISING GALA Save the date: May 3, 2010 THE DONKEY SHOW Extended by popular demand! summer Now booking through 2010. emerging performers, writers, emerging during companies, and directors a weekend filled with excitement at and drama. Learn more americanrepertorytheater.org/ emergingamerica. Loeb Drama Center at at Center Drama Loeb . 09/10 .R.T Diane Paulus Diana Sorensen Lisbeth Tarlow A Board of Advisors Co-chair: Barbara Wallace Grossman Co-chair: Kathy Connor Joseph Auerbach Page Bingham Jr. William H. Boardman, Robert Brustein Carr Greg Chang Caroline Antonia Handler Chayes Clarke Coggeshall ffice: americanrepertorytheater.org/groups O ox ox B merging America, merging . 09/10 ok a group: a ok all: 617.547.8300 o isit the the isit … this spring the A.R.T. Also at A.R.T Board of Trustees Chairman: Don Ware Phil Burling Paul Buttenwieser Michael Feinstein Lori Gross Ann Gund Sarah Hancock Steven Hyman Provost Jonathan Hulbert, Ex-Officio Fumi Matsumoto Rebecca Milikowsky Mooney Ward Jackie O’Neill , Institute shows (Stairs to the Roof, The Skin of Our Teeth A History of the American Film): $10 general admission. Paradise Lost, Show, Gatz, Paradise The Donkey Tickets for startand Johnny Baseball at just $25! Buy online: americanrepertorytheater.org/tickets C 64 Brattle Street, Cambridge, MA. MA. Cambridge, Street, Brattle 64 noon - 5 p.m. or until - Sunday, Hours: Tuesday curtain. 1/2 hour before B V EMERGING AMERICA FESTIVAL May 14-16, 2010 with the joins forces The A.R.T. Company and Huntington Theatre the Institute of Contemporary Art E to create an annual festival of performance devoted to and readings supporting and launching the new American voices of Experience the tomorrow. imagination, and creativity energy, hottest of some of the country’s YOUR ORDER TODA S TICKET | (enter on Ellery St.)

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Restaurant Partners Festival HEZ HENRI IALTO niversity Place Garage RS ON THE SQUARE PSTAI Ch Ha Many bus routes also stop in Harvard Square. also stop in Harvard Many bus routes U 124 Mt, Auburn St.: Ask for a discount voucher at the theater. See americanrepertorytheater.org/planyourvisit for details. See americanrepertorytheater.org/planyourvisit your parking ticket at the theater. 1 Bennett St. Validate details and to order. Red line to Har MBTA Box Office at 617.547.8300 for vegetarian options – call the for details. https://www2.uos.harvard.edu/cgi-bin/permit/purchase.pl C . Fish, beef, and of Gatz break upstairsonthesquare.com site during the hour-long dinner within the hour. 617.576.2800 | within the hour. $15 boxed meals served on- to have you back at the theater St., Cambridge 1 Shepard break of Gatz; they guarantee break during the hour-long dinner perfect out option for dining Upstairs on the Square is the Upstairs on the Square U first course and main course. GATZ: $35 two-course meal with a set com Sq. St., Harvard 91 Winthrop 617.661.5050 | rialto-restaurant. R ticket holders. menu for A.R.T. BASEBALL FESTIVAL: $40 fixed price Three-course AMERICA: BOOM, BUST, AND AMERICA: BOOM, BUST, Sq. 1 Bennett St., Harvard production you are attending. you are production and mention the A.R.T. and the and mention the A.R.T. restaurant offers. for details Call restaurant visit to the A.R.T. with these great with these great visit to the A.R.T. Add to your enjoyment of your Add to your enjoyment 38 Calendar subjectto change. Check americanrepertorytheater.org for current schedule. * Pre-performance discussion held onehourbefore performance ✝ GaTZ2 7:30 GaTZ1 3:00 2/7 u O u e H r SaT FrI THu WeD Tue MON SuN /542 /742 /94/30 4/29 4/28 4/27 4/9 4/26 4/8 4/25 4/7 4/6 4/5 4/4 /141 /341 /54/16 4/15 4/14 4/13 4/12 4/11 /841 /042 /24/23 4/22 4/21 4/20 4/19 4/18 2 +7:30 3/14 2 +7:30 3/7 2:00 2/28 Our TeeTH SKIN OF 7:00 3/21 LOST ParaDISe LOST ParaDISe LOST ParaDISe /122 /322 /52/26 2/25 2/19 2/24 2/18 2/23 2/17 2/22 2/16 2/21 2/15 2/14 aPrIL February AmericanTalkback Discussion after performance Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 SEE ITEVERY FRIDAY AND SATURDAY THROUGH SUMMER2010 THE DONKEY SHOW EXTENDED BY POPULAR DEMAND! * / / /021 2/12 2/11 2/10 2/9 2/8 2/2 2/1 /53/16 3/15 /232 /43/25 3/24 3/23 3/22 3/9 3/8 3/2 3/1 MarCH GaTZ1 7:30 7:30 LOST ParaDISe LOST ParaDISe LOST ParaDISe 7:30 7:30 GaTZ1 7:30 2/3 LOST ParaDISe 7:30 3/17 LOST ParaDISe 7:30 3/10 LOST ParaDISe 7:30 3/3 * STaIrS 7:30 2/4 / 4/2 4/1 7:30 3/11 Our TeeTH SKIN OF LOST ParaDISe 7:30 3/18 LOST ParaDISe LOST ParaDISe 7:30 3/4 7:00 * DSHOW 8:00 DSHOW 8:00 STaIrS GaTZ2 7:30 GaTZ1 3:00 2/5 DSHOW 8:00 DSHOW 8:00 DSHOW 8:00 DSHOW 8:00 DSHOW 8:00 8:00 3/5 DSHOW 10:30 Our TeeTH SKIN OF 7:00 3/26 DSHOW 10:30 LOST ParaDISe 8:00 Our TeeTH SKIN OF 7:00 3/19 DSHOW LOST ParaDISe 8:00 3/12 DSHOW LOST ParaDISe DSHOW 8:00 DSHOW 8:00 DSHOW 8 +10:30 2/13 DSHOW 8 +10:30 STaIrS GaTZ2 7:30 GaTZ1 3:00 STaIrS 2:00 2/6 DSHOW 8 +10:30 4/3 DSHOW 8 +10:30 4/10 DSHOW 8 +10:30 4/17 DSHOW 8 +10:30 4/24 Our TeeTH SKIN OF DSHOW 10:30 LOST ParaDISe 2 Our TeeTH SKIN OF DSHOW 8 +10:30 LOST ParaDISe DSHOW 8 +10:30 LOST ParaDISe DSHOW 8 +10:30 LOST ParaDISe DSHOW 10:30 7:00 3/27 7:00 3/20 2 3/13 2 3/6 8:00 2/27 DSHOW 8 +10:30 2/20 ✝ ✝ ✝ +8 +8 +8 u O u e H r SaT FrI THu WeD Tue MON SuN / /051 /251 5/14 5/13 5/12 5/11 5/10 5/9 2 +7:30 5/23 baSebaLL JOHNNy baSebaLL JOHNNy baSebaLL JOHNNy baSebaLL JOHNNy baSebaLL JOHNNy baSebaLL JOHNNy aM. FILM HISTOry 7:30 baSebaLL JOHNNy 2 +7:30 aMerICa eMerGING All Day 5/16 5/3 5/2 2 +7:30 6/20 2 +7:30 6/13 2 +7:30 5/30 2 +7:30 6/6 2 +7:30 6/27 May /75/18 5/17 /16/22 6/21 6/15 6/14 6/8 6/7 5/31 /45/25 5/24 Gala annual pa.r.T.y baSebaLL JOHNNy 7:30 6/1 baSebaLL JOHNNy baSebaLL JOHNNy baSebaLL JOHNNy baSebaLL JOHNNy baSebaLL JOHNNy 7:30 7:30 7:30 7:30 7:30 / / / 5/7 5/6 5/5 5/4 JuNe it’s timeto baSebaLL JOHNNy 7:30 6/2 baSebaLL JOHNNy 7:30 5/19 baSebaLL JOHNNy 7:30 6/23 baSebaLL JOHNNy 7:30 6/16 baSebaLL JOHNNy 7:30 6/9 baSebaLL JOHNNy 7:30 5/26 baSebaLL JOHNNy 7:30 6/3 baSebaLL JOHNNy 7:30 5/20 baSebaLL JOHNNy 7:30 6/24 baSebaLL JOHNNy 7:30 6/17 baSebaLL JOHNNy 7:30 6/10 aM. FILM HISTOry baSebaLL JOHNNy 7:30 5/27 baSebaLL JOHNNy DSHOW 8:00 6/4 baSebaLL JOHNNy DSHOW 8:00 aM. FILM HISTOry 7:30 5/21 baSebaLL JOHNNy DSHOW 8:00 aMerICa eMerGING baSebaLL JOHNNy DSHOW 8:00 6/25 baSebaLL JOHNNy DSHOW 8:00 6/18 baSebaLL JOHNNy DSHOW 8:00 6/11 baSebaLL JOHNNy DSHOW 8:00 aM. FILM HISTOry 7:30 5/28 All Day DSHOW 8:00 DSHOW 8 +10:30 baSebaLL JOHNNy 2 6/5 DSHOW 8 +10:30 baSebaLL JOHNNy DSHOW 8 +10:30 baSebaLL JOHNNy DSHOW 8 +10:30 baSebaLL JOHNNy DSHOW 8 +10:30 aM. FILM HISTOry 7:30 baSebaLL JOHNNy DSHOW 8 +10:30 aM. FILM HISTOry 7:30 baSebaLL JOHNNy 2 6/26 2 6/19 2 6/12 2 5/29 2 5/22 aMerICa eMerGING All Day 5/15 DSHOW 8 +10:30 5/8 DSHOW 8 +10:30 5/1 ✝ ✝ ✝ ✝ ✝ ✝ +8 +8 +8 +8 +8 +8 American Repertory Theater Season 2010 americanrepertorytheater.org 617.547.8300 39

CHARlES PlAYHOuSE St. Boston Warrenton 74 “A SENSATION!” “A