To our guest directors, designers and stage managers,

Welcome! We are delighted that you have chosen to be a part of our 31st Season. We are looking forward to a year full of new challenges, rewards, and friendships.

We hope to make your time with us enjoyable and productive, and to this end we have provided you with this informational packet. Please take the time to browse the packet and learn a bit about us.

Included in your handbook are production calendar(s), contacts (as current) for your production’s artistic team, information about the shops and the design deadlines, and much more. Please take the time to review our prelim and final design deadline materials requirements.

Please contact the production office, or the respective production department head(s) for the most current drawings, inventories and information as this info is updated more often than our handbook.

We will all have to work hard to realize your vision within a tight and conservative financial structure. We have had to cut back after our 30th Anniversary season with it’s $1 million dollar supplemental gift to budgets that are more reflective of the new normal of these leaner times. Last season our average show budget was over $160,000. This year the average is less than $100,000.

Please consider yourself forewarned that we want your help. We need you to adhere to design deadlines, return those phone calls and emails as soon as you can, in order that we get the most bang for the buck. Sometimes we start a little early in order make the best use of our labor resources. Our schedule is tight - we’re busy. You are too. The better we can plan ahead, the more satisfying the onstage result. Enough said.

We’ve got a great team of technicians, artists and craftspeople, from top to bottom. Our audiences expect great work from us, our national profile has grown, and we take pleasure in delivering great production values.

If you are ever in need of further information, have questions, need assistance… please give any of us a call.

Sincerely,

Todd D. Williams, Production Manager IN RESIDENCE AT BOSTON UNIVERSITY

DAVID LINDSAY-ABAIRE CHRISTOPHER SHINN HAROLD PINTER OREN JACOBY / RALPH ELLISON LORRAINE HANSBERRY GOOD PEOPLE BETRAYAL RYAN LANDRY NOW OR LATER “M” GINA GIONFRIDDO INVISIBLE MAN THORNTON WILDER

A RAISIN IN THE SUNPLUS, AN EXTRAORDINARY THEATRICAL EVENT OUR TOWNPRODUCTION RAPTURE, BLISTER, BURNDESIGN PACKET 2012 - 2013 SEASON TABLE OF CONTENTS

QUICK REFERENCE 2 CONTACT INFORMATION 2 LOCATIONS 2 MAILING ADDRESS 2 BUSINESS HOURS 2 WEBSITE AND INTERNET RESOURCES 2 PRODUCTION STAFF CONTACT SHEET 3

DESIGN PRODUCTION DEPARTMENT INFORMATION 4 DEADLINE DEFINITIONS 4 PRODUCTION MEETINGS 7 FIRE RULES AND REGULATIONS 8 SCENERY/ PAINTS/PROPERTIES 9 LIGHTING 12 SOUND 13 COSTUMES 15 STAGE MANAGEMENT 17 TYPICAL TECH WEEK EXAMPLE 18

INFORMATION FOR OUR GUEST ARTISTS 19 COMPANY MANAGEMENT 20 WHO WE ARE 20 WHAT WE DO 20 ABOUT THE HUNTINGTON THEATRE COMPANY 21 HISTORY OF THE BOSTON UNIVERSITY THEATRE 22 ABOUT THE CALDERWOOD PAVILION 24 OUTREACH AND SPECIAL PROGRAMS 25 SERVICE PLEDGE 27 SAFETY COMMITTEE 28 FULL STAFF PHONE/EMAIL DIRECTORY 29

APPENDICES 33 APPENDIX A: THE BOSTON UNIVERSITY THEATRE 33 APPENDIX B: THE VIRGINIA WIMBERLY THEATRE 53 APPENDIX C: THE NANCY AND EDWARD ROBERTS STUDIO THEATRE 63 APPENDIX D: PRODUCTION HISTORY 69

1 QUICK REFERENCE

CONTACT INFORMATION Main Line: 617-266-7900 Fax: 617-353-8300 Scene Shop Fax: 617-358-2575 Box Office: 617-266-0800

Boston University Police: 617-353-2121 Boston Fire, Police, Ambulance: 911

LOCATIONS 252 Huntington Ave. – Paint Department 254 Huntington Ave. – Rehearsal Hall, Stage Management, Company Management 258 Huntington Ave. – Scenery, Properties, and Sound Departments 264 Huntington Ave. – BU Theatre, Production Offices, Costume and Lighting Depts. 281 Huntington Ave. – Administration 527 Tremont Street – The Calderwood Pavilion at the Boston Center for the Arts: the Virginia Wimberly Theatre and the Nancy and Edward Roberts Studio Theatre.

MAILING ADDRESS Administration, Production Facilities, Box Office and BU Theatre:

Huntington Theatre Company 264 Huntington Avenue Boston, MA 02115

Calderwood Pavilion at the Boston Center for the Arts: Huntington Theatre Company 527 Tremont St Boston, MA 02116

Ask for Fed Ex or UPS accounts

BUSINESS HOURS Monday – Friday, 9am-5pm During this time there is someone at the main switchboard, after 5pm all calls are handled by the voicemail system.

WEBSITE and INTERNET RESOURCES Institutional information is available on our website: www.huntingtontheatre.org Up-to-date ground plans, sections, stock inventories and more available at: www.bu.edu/scenery DropBox available for file sharing PicassaWeb available for photo sharing

2 QUICK CONTACTS *Please note: Huntington Ave numbers are 617-273-1xxx. Calderwood Pavilion numbers are 617-933- 86xx.

PRODUCTION OFFICE Production Manager Todd Williams 1650 [email protected] Assoc Production Manager Bethany Ford 1602 [email protected]

SCENERY Technical Director Dan Ramirez 1583 [email protected] Assoc Technical Director Adam Godbout 1566 [email protected] Asst Technical Director Dan Oleksy 1587 [email protected] Scene Shop Fax 617-358-2575

PROPERTIES Prop Master Kristine Holmes 1586 [email protected] Props Assistant Justin Seward 1569 [email protected]

COSTUMES Costume Director Nancy Brennan 1648 [email protected] Asst Costume Director Virginia Emerson 1647 [email protected]

PAINTS Charge Scenic Artist Kristin Krause 1541 [email protected] Assistant Charge Artist Kate Bosch 1542 [email protected]

ELECTRICS Master Electrician Kat Herzig 1644 [email protected] Asst Master Electrician Michael Wellman 1643 [email protected] Pav House Electrician Mercedes Roman-Manson *8615 [email protected]

SOUND Sound Supervisor Ben Emerson 1572 [email protected] Sound Engineer J Jumbelic 1641 [email protected] Pavilion House Sound Op Jesse McKenzie *8615 [email protected]

STAGE MANAGEMENT BUT Stage Management 1606 BUT Asst. Stage Manager 1544 Pavilion Stage Management Office *8658 Stage Manager Hotline – Voicemail ONLY VM1020

MANAGEMENT Managing Director Michael Maso 1526 [email protected] Asst to the Managing Dir Allison McDonough 1530 [email protected] General Manager Sondra Katz 1527 [email protected] Assoc General Manager Justin Haslett 1501 [email protected] Company Manager Anna Kohansky 1545 [email protected]

ARTISTIC Artistic Director Peter DuBois 1529 [email protected] Asst to the Aristic Director Vicki Schairer 1531 [email protected] Producing Director Christopher Wigle 1521 [email protected] Associate Producer Bevin O’Gara 1528 [email protected]

MARKETING Director of Marketing Temple Gill 1560 [email protected] Communications Manager Rebecca Curtiss 1537 [email protected]

3 PRODUCTION DEPARTMENT INFORMATION

DESIGN DEADLINE DEFINITIONS: Timely design information and regular communication help us to provide high quality work at a smooth pace. Deadlines are set in order to allow us time to thoughtfully review a project, make revisions as necessary, provide you with samples, give us time to purchase materials, and allow us to complete your project without expensive overtime. Better planning allows us to maximize our budgets, and the time our staff is available to work on any given project.

Production Design God of Meeting #1 – Designers are Carnage required to meet with the 2012 director, other designers, production manager, and Huntington artistic and production staff for an early production design meeting. Ideally this meeting will take place in Boston as we feel there is nothing more valuable than a face-to-face meeting to get a project rolling. We’ll schedule this meeting as early in the season as possible, as soon as the artistic team is assembled and we can find a date. The meeting agenda is to discuss concept, schedules and budgets, to visit our theatres and shops, and to encourage open collaboration.

Prelims – (or bids) We look for sufficient information here to allow for a realistic estimate of expenses and outline a construction plan. As soon as preliminary designs are ready we can advise on the physical and financial viability of the design. If we are on target for the show budget, we can proceed to final designs quickly. If the estimates exceed the budget, possible cost saving areas are discussed with all parties, and adjustments are made. Prelims are best presented in a meeting between the designer and shop staff.

Scenery requires a ½” ground plan, scene breakdowns, and/or shift plot, section, elevations, details, molding and soft goods selections (including preferred supplier and catalog pages and numbers), research, and a white model. For Paints, please submit research, a written description of style and concept, and your thoughts on color, finish sheen and texture/dimensionality. Color elevations for soft goods should be provided at this time to avoid schedule problems later. We require Props research, including furniture and dressing, a prelim props list, and Prelim drawings for any built props items.

4 For lighting and sound designers, we are looking for a list of line sets you are planning to use, additional equipment rental requirements, set mount or practical information, special rigging requirements or customized set pieces. Anything that could be considered out of the ordinary and require additional labor or materials expense. We would also expect any rehearsal music or sound cues to be provided at this time since this deadline generally occurs during our first week of rehearsal.

The costume designer and the costume director will discuss the scope of the production, and determine the number of costumes that can be built, rented or contracted out. Costume sketches, rough costume plot, and hair and wig information are also due. Research information is very important to include at this time.

Again, the more available information (i.e. research, drawings, and prop/pieces lists), the more accurately the show can be bid, thus making the most of the budget.

You may be using your own staff to assist you. Too many times, sadly, an assistant has given us notes or information that has not been what the designer wanted. We rely on the information you and your employees provide us and count on you to make sure your employees accurately represent your vision.

Approvals (Scenery/Props/Paints only) - is intended to be the theatre’s sign off on the design in terms of budget and feasibility, as well as approval from our Artistic leadership. The Theatre may request changes for any number of reasons including budget, engineering issues, sightline concerns, etc. We will work together with our designers during this period and find a way to implement the Artistic Team’s vision within our given resources.

Finals – A formal bid is completed at this time, and any outstanding design or financial issue should be resolved before construction/prep begins. We rely on all designers and directors to communicate regularly with their colleagues. We expect that the final designs you submit to us will have appropriately incorporated input from the director and your fellow designers. Any changes or additions after this point may require additional approval.

SCENERY/PROPS/PAINTS: All final scenery drafting and elevations are due, including the painted model. All properties design decisions, fabric and furniture choices should be made by this deadline. The designer should coordinate with the scenery, props, and paint shop to arrange up to 2 visits during the build period to give sample approvals, deliver any additional elevations and information, and to provide input during the build and paint process. One of these visits is often combined with 1st rehearsal day.

5 Please discuss with the Technical Director, Charge Scenic Artist, and Props Master specifically what information they need. These requirements will be based on the presentation of preliminary designs and work done during the approvals process. If not required earlier, all material choices are due with finals to allow enough time for the purchase of goods, specialty products, moldings, soft goods and fire sample testing.

LIGHTING: Final lights plot and complete hookup is due. Specific drawings usually include a 1/2" light plot including onstage electrics, front of house and any booms or set mounts you might require and a section with all electrics at their trim. Light plots can be in Auto Cad, Vector Works, or can be hand drafted. We prefer your paperwork be in Light Wright, as that is what we use to maintain and manage your design.

SOUND: We require any functional and/or schematic diagrams deemed necessary by the Designer and the Sound Supervisor for the installation of the equipment. Playback cue information should also be available, whenever possible, so that preprogramming can commence.

Additional equipment may be rented as needed within the budget discussed at prelims. The designer should prepare the bid and vendor list in conjunction with the Sound Supervisor. The Designer is responsible for final equipment tests at the rental shop where necessary.

COSTUMES: A complete set of design renderings with fabric swatches, costume plot and piece list is due at this time.

Production Design Meeting #2 – We will hold a second production design meeting 4-6 weeks prior to the beginning of rehearsals with the full artistic team Sons of the Prophet and Huntington staff on site in Boston. Final Scenic 2011 designs have usually been submitted by this time, while Costumes, Lights and Sound are closer to their finals. This is an opportunity to have a more in depth talk through of the show and share the details of the design with your colleagues and our staff. We usually talk through the show from start to finish to get an idea of how it will all work together. This meeting provides an opportunity to eliminate those first rehearsal week surprises by examining the show in detail together and addressing any outstanding issues. These meetings tend to run about four hours.

Costume Spec – The costume designer meets with all of the costume shop staff, usually a week before rehearsals begin, to discuss the concept and look of

6 the production and to spec each costume. Designer must bring any additional research necessary to begin the draping process.

First Rehearsal – It is ideal for all of the designers to join us for the first rehearsal. If available, this allows for a design presentation to the acting company, participation in read-through and table work, and shop visits to check in on construction progress. We may also hold a full production meeting, with a separate meeting following to review props with the set designer and director.

PRODUCTION MEETINGS Regular production staff meetings are held on Tuesdays at 10AM, barring a change in schedule, in addition to our Production Design and 1st Rehearsal Meetings. Usually present are HTC Production Department Heads, Stage Management, the General Manager, the Producing Director and the Production Manger. You can also call in to the meetings if you are not able to be in Boston.

These weekly meetings are held in the conference room at our Administrative offices.

7 FIRE RULES AND REGULATIONS

Boston enjoys strict regulation and enforcement of The 39 Fire Safety Codes. The Fire Department performs Steps regular quarterly inspections of the facility and 2007 performs spot checks occasionally. How does this effect production design? • All Scenic Materials must be flame retardant. All scenery is back painted, and drops, drapery, curtains, upholstery fabric, and carpeting must have certifications or be submitted to the Fire Department for testing. Materials must be in house at least three weeks prior to First Preview so that all permits can be processed. These costs are part of the materials budget provided for each production. • Live Flame (candles, lamps, lanterns) can pose a safety threat and require special permits. We encourage the use of battery operated effects whenever possible. • Cigarettes, cigars, and other smoking material are allowed but strongly discouraged. • We follow the rules regarding smoke and haze use as determined by the LORT/AEA agreement, per provided time distance calculations. Onsite testing is cost prohibitive. Smoke and Haze effects are rarely allowed at the Calderwood Pavilion due to the presence of particulate sensors. • We cannot break the fire curtain line with scenery. Occasionally we can accommodate small differences in level by providing a skirt on the fire curtain. Please speak with the Production Manager or Technical Director regarding your specific needs. • Sufficient aisle clearances must be maintained in the theatre. If you are planning an extension, please ask us what sizes and shapes works well in our theatres. We generally do not like to remove theatre seating, but exceptions can be made with advance warning. • Use of pyrotechnics is discouraged, as cost is most prohibitive. We are required to have a licensed pyrotechnician (of which there are less than 10 in the state) and a fire detail officer present at all performances for fx as simple as flash paper or a sparkler.

HAZARDOUS MATERIALS

The Huntington will not use toxic materials, dyes, organic solvents and other dangerous substances when less hazardous options are available. The health and welfare of our staff is very important to us! Ventilation is minimal in our facilities therefore spray paints, lacquers, and other caustic processes are used with caution.

8 SCENERY / PAINTS / PROPERTIES

Personnel The scenic staff consists of the Technical Director, Associate TD, Assistant Bus Stop TD/Procurer, Shop Foreman, Master Carpenter, Scenery God of Mechanic, Stage Carnage Carpenter, Pavilion House 2012 Carpenter, and three scenic carpenters.

Paint Staff consists of the Charge Scenic Artist, Assistant Charge Artist and a Scenic Artist.

The prop shop staff consists of a full time Prop Master, a full time Assistant, and a props run-crew position. The strengths of this shop are thrift and problem solving. We are able to build a large variety of styles of furniture and have skills for upholstery as well. Given a reasonable amount of incoming information, we can stretch the prop dollar pretty far. We are fairly accomplished in Photoshop. We share photos of research and shopping on Picassa Web. We are proficient in upholstery and draping, woodworking, plastics, resins and foam carving.

Additional freelance labor, including BU design and production students, are hired depending on the requirements of the production and budget. There is a wide range of talent and skills available in the local labor pool.

Schedule Build begins 5-6 weeks prior to load-in. Final Drawings are due approximately 3 weeks prior to build start, with prelims due several weeks prior to finals.

The scene, paint, and prop shops are all shared facilities with Boston University, who construct their productions and teach production and design classes here. There are 7-9 student productions which use the facilities in some capacity during the academic year, in addition to the 7 productions constructed by the Huntington.

The scene shop workday is generally 7:30 AM to 4:30 PM, with lunch from 12-12:45 PM Monday through Friday. The University productions generally build 4:30PM to 10:30PM and on weekends. Summer Hours vary.

9 Paint Shop hours are generally 7:30AM to 4:00PM, with lunch from 12:30-1:15 PM Monday through Friday. Whenever possible, any soft goods such as drops, portals or painted masking are created first, to make use of rehearsal spaces and time prior to constructed scenery arrivals.

The prop shop is open from 9 AM to 5:00 PM with lunch from 12:00-1:00 PM Monday through Friday. Properties staff are on duty during tech week from 9AM through the end of rehearsal.

Our goal is to provide fully functioning scenery by 1st tech and complete the majority of cosmetic notes by 1st preview. During tech week the AM onstage work call hours are a combined notes session with scenery, props, paints, lighting and sound. Schedules and priorities are discussed at the previous night’s post rehearsal production meeting.

No work calls are typically scheduled over preview weekend(s), and the scenery, paint and props shops are closed. Staff will be on call in if needed. Notes from the weekend are completed during the day on Monday AEA day off. The stage run-crew can handle minor notes and repairs.

Materials Budget Private Lives Scenic – Materials budget 2012 includes all materials costs, expendables, shipping, rentals and any outsourced engineering or construction. Prices in Boston are comparable or less than in NYC.

Paints – Materials budget includes all paint, supplies, research, samples, flameproofing and any other production related expenses.

Props – Materials budget includes all supplies, rental, shipping, travel, and all production related expenses. Locally, Art Deco and Nouveau are rather expensive and hard to find. We tend to build a lot of this style. Greenery and fabric are priced competitively with the rest of the country.

Labor Budget The labor budgets for the scenery, props and paints departments pay for staff overtime, casual and outsourced labor for builds, load-in, tech, and strike.

10 Props Inventory Huntington stores a number of items on the premises. We’ve a nice chair selection and growing table stock. Locally, a fair amount of Federal, Victorian, and Early American is available. We have very little in the way of modern furniture. Several stores featuring modern furniture have been willing to rent floor models at reasonable rates. Through a reciprocal agreement between A.R.T., North Shore, Boston Lyric Opera, Long Wharf, and Trinity Rep, there are quite a number of items at your disposal. We’ve plenty of rustic items in house and some Louis XIV. A picture prop inventory is available for most items we have in stock. We try to update this inventory regularly. Equipment and Materials Lumber and steel are purchased in bulk and kept in stock. All standard hardware is on hand. Specialty hardware and architectural detail are available locally.

The following is a brief list of preferred vendors: • Molding: Brosco (a catalog can be provided upon request) & Outwater Plastics • Soft Goods: Rosebrand • Specialty Hardware: Outwater Plastics, Van Dykes, McMaster Carr, and Home Depot

Once again, please remember to keep in mind that molding, hardware, soft goods and specialty orders can take up to three weeks to receive.

We have the capacity to fabricate in wood, steel, and aluminum using standard industry building practices. Foam and fiberglass work is also possible. We prefer to use 1/4" LEXAN for all window glazing.

We own a stock raked deck with a 5/8” per foot rise.

The Huntington has in stock both fixed and swivel 3 ¼” height casters, which work nicely on a 6” tall wagon. We also have some airlift and triple swivel casters in stock.

Our motion control system allows for up to 11 axes of movement using 10 electric winches, and one hydraulic pump. Additional winches and control can be had, but only through the rental of additional equipment, which comes out of the materials budget.

We own automation equipment for a turntable – the deck of which must be constructed for each production. It fits in a 9” minimum deck which must be taken into considerations for sightlines. Circle Mirror

11 LIGHTING

Personnel The Electrics staff consists of the Master Electrician, Asst ME/Board op and a lighting intern. The Huntington Theatre Company will also provide a Lighting Design Assistant from the BU Theatre Lighting Design program. This is an Internship program to allow the University students to work in a professional setting. Please use this assistant as much as you need to. They are a good resource as they are usually familiar with our staff and operations. The electricians are a mixture of BU Lighting Design students and local area freelance labor.

Schedule The Electrics Department workday is generally Captors from 10:00 AM to 6:00 PM, with lunch from 1-2 2011 PM, Monday through Friday. The Electrics department does not work on the Monday AEA day off during tech and previews. Electrics department shares the AM onstage work call hours with the scene shop, paints, and props. Schedules and priorities are discussed at the previous night’s post rehearsal meeting.

Lighting Systems Our Lighting Systems are ETC dimmers and Obsession II control consoles, with a Source 4 based inventory. Please see appendices for inventory and systems description in the appendices. Rental budgets are minimal.

Focus All My Sons We focus from ladders, focus tracks, scaffold and Genie Lift depending on which space we’re in. The Genie lift can NOT be moved with the basket up, and ALL 4 out-riggers must be used at all times. We usually have 7 electricians on for a focus call. One will run the light board and you will have one runner and 5 electricians to focus. We will focus as many different positions at a time as you would like. Please let us know if you have special requirement for focus and we will try to accommodate them.

Materials Budget: This budget includes all materials costs, expendables, shipping, rentals and any outsourced engineering or construction. We maintain large inventories of templates, and cut and sheet color on site. Copies of the templates inventories are available upon request. Prices in Boston are comparable or less than NYC.

12 Labor Budget: The labor budget pays for staff overtime, as well as casual labor for prep, load-in, tech, run maintenance beyond show calls and strike. We pay $12-$20 per hour for labor as needed.

Smoke and Fog Effects As per Current Equity contracts we are required to monitor and control the amount of the different types of smokes, Fog, and Hazes used. We use the AEA Time/Distance tables to set our exposure limits. Fog and smoke effects, as well as open flame and pyro are classified as special effects and require permits.

Practicals Most practical lighting fixtures, chandeliers, wall sconces, and table lamps are acquired and hung by the properties department in conjunction with the scenic designer. The electrics department then electrifies these fixtures.

SOUND

Personnel Ma Rainey’s Black Bottom Our staff consists of a Sound 2012 Supervisor, a Sound Engineer and an intern. The Sound Supervisor works with the Designer to be sure all needs are met, and will assist the process as necessary during technical rehearsals. The Sound Engineer runs and maintains the show, performs all programming duties, and helps supervise casual labor as necessary. All assist with load-in.

The Huntington Theatre Company will also provide a Design Assistant from the BU Theatre Sound Design program. This is an Internship program to allow the University students to work in a professional setting. Please use this assistant as much as you need to. They are a good resource as they are very familiar with our staff and operations. Additional labor is a mixture of BU Sound Design students and local area freelance labor.

Schedule The regular daily schedule is 9AM –5 PM, Monday through Friday. Load-in and tech schedules are arranged to best suit the needs of the production. The Sound department does not work on the Monday AEA day off during tech and previews.

13

Equipment load-in is approximately one week prior to 1st Tech. “Quiet time” can be scheduled in advance of tech week for level set-up, etc. The department shares the AM onstage work call hours during tech week with the scene shop, paints, props and lighting departments. Schedules and priorities are discussed at the previous night’s post rehearsal meeting.

Budget Materials: The Materials budget includes equipment rentals, shipping and trucking, batteries and other expendables. Additional costs may be identified for specific applications, such as recording studio fees. The Sound Supervisor will assist in identifying these costs.

Labor: The Labor budget includes staff overtime, casual labor, and any musician or studio tech labor required.

Inventory Floor plans and elevations for the auditorium and stage house, and scenic designs (as they are available) will be provided. A “stock” audio system is usually in use; a system riser and a complete equipment inventory will be provided.

Production Space A production studio is available, however time must be shared with student designer and productions. This space is useable for voiceover or some recording and includes a sound effect library of about 200 CDs. There is a mixer, monitoring facilities for 4 channel surround, and microphones from the inventory in Appendix A can be used. Please direct questions about this facility to the Sound Supervisor.

Additional Information Radio Shack is located about 2 blocks from the Huntington. Some “last minute” equipment and electronic musical instruments can be rented locally. There are a number of recording studios in the vicinity. An FM system is in use for assistive listening and audio description. Architectural modification and rigging (i.e. speaker cluster hangs) must be approved by the Technical Director and Production Office.

14 COSTUMES

Personnel Candide The staff consists of 2011 a Costume Director, Assistant Costume Director, Costume Design Assistant, 2 Drapers, First Hand, Craft Artisan, Wardrobe Supervisor, Dresser, Wig Run, Casual labor is contracted as needed per show.

The craft shop staff is highly skilled in dyeing, painting, distressing, millinery, leatherwork, mask and jewelry making and armor fabrication. The two staff drapers are expert in men’s and women’s period costuming, modern dressmaking and some modern men’s wear. Men’s tailored suits are generally outsourced to tailors. We do not have a wig designer/stylist on staff. This work is contracted out to various wig masters. Haircuts and colorings are done by local stylists in their salons. The local casual labor pool is small, consisting mostly of stitchers of various skill levels, and one or two first hands and drapers. The Boston University costume students are sometimes available for overhire.

Schedule The shop works a 40-hour week. Shop hours are from 9 AM – 6 PM, with lunch from 1-2 PM, Monday through Friday.

The Costume Designer is expected to be here on the Monday of the week previous to the first rehearsal to spec the show, dress/tech week, and two or three times between those two periods, depending on the fittings and designer information needed to complete production.

Materials Budget – The materials budget includes: 1. All fabrics, materials, clothing and accessory pieces purchased for the production 2. Costume rentals 3. Wig rentals 4. Purchased custom made wigs and facial hair for production 5. Hair cuts, color and any other kind of hair processing 6. Shipping 7. Dry Cleaning

15 8. Travel expenses for design assistant and any costume staff for production purposes

Labor Budget – The labor budget includes staff over time and casual labor.

Build, Buy or Rent? The number of built costumes depends on the number of costumes in the show and the period and complexity of design. Each table is given a number of both built costumes and costumes to be pulled and altered. Generally speaking, a table can build up to three/four costumes and alter approximately 10 costumes. The Huntington employs two staff drapers and one first hand per show.

Stock The costume stock is small, but of a relatively high quality. Most of the costume stock is late Victorian through 1950’s, with lots of shoes and accessories. There is little pre- Victorian or modern costume stock. All stock is on site. General shop supplies consist of the usual sewing notions and tailoring supplies. We have a supply of draping fabrics, lining, interfacing and fashion fabrics.

Shop Specs The costume shop has all of the equipment that any good professional shop has – domestic and industrial sewing machines, a marrow machine, industrial steam irons, dye and crafts facilities (including a Vulcan dye vat) and a large assortment of dress forms in many sizes.

Other Information Boston has fewer shopping resources than New York, Ma Rainey’s Black Bottom but is similar in cost. We 2012 purchase a majority of fabrics and trims used in our productions in New York.

Costumes are typically introduced into the tech process at first tech for modern shopped shows or productions where costume changes are integral to the action of the play. For built shows we generally add costumes to tech for the 2nd half of the second day. The Artistic team and production teams should discuss the needs of the show at Production Design meetings.

16 STAGE MANAGEMENT:

This page under construction – stay tuned!

Personnel: Production Assistant(s)

Schedule: Typical rehearsal hours

Budget:

Resources: Computers, Printers, Office Supplies, Spike Tape, First Aid, etc. SM Handbook

17 TYPICAL TECH WEEK

18 INFORMATION FOR OUR GUEST ARTISTS Company Management

If you have any questions about your travel plans, itinerary, or housing, please contact us.

You will receive information about your stay in Boston directly from Company Manager Anna Kohansky under separate cover

Anna Kohansky [email protected] Office (617) 273-1545 Cell (617)383-7407

WHO WE ARE Over the past 30 years, the Huntington Theatre Company has developed into Boston’s leading theatre company. Bringing together superb local and national talent, the Huntington produces a mix of exciting new works and classics made current.

WHAT WE DO

Create Each season we create world-class theatre productions for an audience of more than 130,000.

Champion Whether mentoring playwrights in our Playwriting Fellows program or providing Boston-based companies with discounted audience services and facilities, we cultivate, celebrate, and champion theatre as an art form.

Engage Through our nationally recognized education and community programs, we bring theatre to youth and underserved audiences throughout Boston.

Celebrate During our 30th anniversary season- and every season – our productions celebrate our city, our commitment to both entertain and provoke, and the joyous, transformative power of theatre.

20 About the Huntington Theatre Company

The Huntington Theatre Company, led by Artistic Director Peter DuBois and Managing Director Michael Maso, is Boston’s largest and most popular theatre company. In residence at and in partnership with Boston University, the Huntington is renowned for presenting seven outstanding productions each season, created by world-class artists and the most promising emerging talent, and reaching an annual audience of over 130,000. The Huntington has transferred over a dozen shows to Broadway, more than any other theatre in Boston, including the Broadway hit and Tony Award-winner Alfred Hitchcock’s The 39 Steps.

In 2004, the Huntington opened the state-of-the-art Stanford Calderwood Pavilion at the Boston Center for the Arts, which includes 370-seat and 200-seat theatres to support the company’s new works activities and to complement the company’s 890- seat, Broadway-style main stage, the Boston University Theatre. By operating the Calderwood Pavilion at the BCA, the Huntington provides first-class facilities and audience services at significantly subsidized rates to dozens of Boston’s most exciting small and mid-sized theatre companies. The Huntington also operates BostonTheatreScene.com, which provides all productions at the BCA or the B.U. Theatre with box office and online marketing services. The Huntington is a national leader in the development and support of new plays, producing more than 50 New England, American, or world premieres in its 27-year history. The Huntington’s nationally-recognized education programs have served more than 250,000 middle school and high school students in individual and group settings and community programs bring theatre to the Deaf and blind communities, the elderly, and other underserved populations in the Greater Boston area.

21 History of the Boston University Theatre

Designed and constructed as America's Boston University Theatre Exterior first civic playhouse, the building today known as the Boston University Theatre was the first tax-exempt theatre established in the nation. Construction having begun in 1923, it was formally opened with Sheridan's The Rivals on November 10, 1925. The architect was J. Williams Beal Sons.

Originally named the Repertory Theatre of Boston, the theatre was built to be a permanent home for the Henry Jewett Players, a Boston-based repertory theatre company. In choosing to locate the theatre across from Symphony Hall and near the Museum of Fine Arts and the old Boston Opera House, the theatre's creators intended to signify its character as a major cultural institution of Boston and its difference from the commercial playhouses in the Boylston/Washington/Tremont streets area of the city.

Henry Jewett, a native of Australia, whose portrait as Macbeth hangs today in the main stairwell leading to the theatre's balcony, was a distinguished actor and director. Born in 1862, he moved to the United States around the turn of the century and became the leading man for Julia Marlowe. He settled in Boston shortly after 1900 and organized the Henry Jewett Players. The Jewett Company first offered Shakespeare productions at the Boston Opera House; in 1916 it moved to the Copley Theatre where it performed until the early 1920s.

But Jewett's ambition was to have a permanent home for his company, and he and his wife Frances vigorously pressed for a facility built by the community. In 1923, the Jewett Repertory Fund was started; many prominent Bostonians, including Calvin Coolidge and A. Lawrence Lowell, president of Harvard University, were on the roster of sponsors. Almost immediately from its opening the Repertory Theater was beset by difficulties. There was much theatrical competition, and soon an even more serious problem was posed by the advent of talking movies, which lured audiences from all types of live entertainment. In 1930, Mr. Jewett's company disbanded. Jewett himself died in the same year. As the theatre was being closed, Jewett's widow remarked prophetically: "You can't have a repertory theatre without subsidy -- lots of subsidy." The prescience of this view was proven thirty years later in the 1960s as the American regional theatre movement became increasingly significant and revived the pattern of resident theatre companies.

During the 1930s and 1940s, the theatre was known as the Esquire Theatre and was mainly used as a movie house. The Esquire specialized in art films, and it was here that Boston audiences first saw Laurence Olivier's Henry V. During these same years,

22 the theatre occasionally reverted to its original purpose, as in 1941 when Louis Calhern and Dorothy Gish played in Life with Father.

In October 1953, Boston University purchased the facility, and the vision that had initially created the theatre again began to be realized. The School of Theatre at Boston University's College of Fine Arts has now used the theatre as its primary facility for performance, design, and technical production for five decades. The theatre arts program presented its first production, Nicholas Evreinoff's The Chief Thing, in December 1954. Its students and faculty annually present approximately seven productions in the theatre's main auditorium and in the upstairs space, now called Studio 210, which was originally the Repertory Theatre's ballroom.

In 1972-74, the theatre was extensively restored and modernized. Generous funding was contributed by the Shubert Foundation, Inc., the Committee of the Permanent Charity Fund, the John A. McCarthy Foundation, and the Trustees of Boston University. This refurbishing included a new stage lighting system, air-conditioning, exterior and interior painting and the replacement of all carpets and seats. Beginning in the late 1970s, the University opened the theatre to limited engagements by outside professional performing arts organizations. Such groups as the Twyla Tharp Dance Becky Foundation, the Boston University Celebrity Series, the Opera Company of Boston, Sh and the Theatre Company of Boston used the building successfully and reminded Bostonians of the existence of a resource that many had forgotten and many others had never known about.

Between 1978 and 1981, the University, moving toward creating a major drama center serving New England, with the goal of developing a superior performance home for a university-affiliated theatre company that could link professional production and school training, purchased the two adjoining buildings -- the Junior Achievement Building (formerly the Old France Restaurant) and the Symphony Cinema. These structures were renovated into a production center for the theatre and rehearsal and administrative space. Further improvement and the equipping of the main performance space, including renovation of the scenery flying system, were also realized at this time.

In 1981-82, the Huntington Theatre Company was founded. The Huntington opened on October 23, 1982, with Tom Stoppard's Night and Day. It now presents four major productions per season as the Boston University professional theatre in residence at Theatre Interior Boston University, as well as three productions at the Virginia Wimberly Theatre at the Boston Center for the Arts, and also serves to complement the training experience offered by the College of Fine Arts. Thus, the Boston University Theatre is at last playing its destined leading role in the cultural life of Boston.

23

About the Calderwood Pavilion

The Calderwood Pavilion, a partnership between the Huntington Theatre Company and the Boston Center for the arts (BCA), and constructed in 2004, was the first new theatre building built in Boston in 75 years. The Pavilion houses two stages (the 370- seat Virginia Wimberly Theatre and the 209-seat Nancy and Edward Roberts Studio Theatre), rehearsal halls, and state-of-the-art backstage facilities.

In addition to providing a second stage for the Huntington, the Calderwood Pavilion provides an intimate space for new play development initiatives and a home for Boston’s finest small theatre companies. Audiences have the opportunity to get closer to the essence of theatre—both physically closer in these more intimate spaces and emotionally closer to the adventure of discovering new voices and emerging artists.

The Huntington’s new play initiative provides material with which to program the new theatre spaces. Since the arrival of Artistic Director Nicholas Martin in 2000, the Huntington has increased its efforts to develop and commission new work. In 2001, the Huntington introduced Breaking Ground, a new play reading series, which was expanded into a festival format in March 2004. In January 2002, the Huntington established the Stanford Calderwood Fund for New American Plays, providing money to commission new works. In the fall of 2003, the Huntington announced the commissioning of the Huntington Playwriting Fellows, a group of Boston-based writers who are working closely with the Huntington’s artistic staff and each other while developing their work.

24 Outreach and Special Programs

MARKETING / PUBLIC RELATIONS DEPARTMENT Requests for interviews will come to you directly from Rebecca Curtiss, Communications Manager, after she has consulted the Stage or Company Manager about the rehearsal schedule. Promotional appearance requests may come from Rebecca or from Audience Development Coordinator Adam Roberts. If you have any interview/appearance issues that we should know about (for example, you really hate doing them at all, or not in the mornings, only if there is food involved etc.) or any ideas, please talk to your Stage Manager or feel free to reach out Rebecca directly ([email protected]) 617 273-1537). If the interview or appearance is off-site, you will be provided with transportation or reimbursement.

The Huntington is committed to using social media, viral means, and video to promote our productions. We are committed to representing our artists in the most positive light, and will always edit images and interviews to do so. We hope that you will participate when asked in order to help us spread the word about your show.

When a television crew comes to the theatre for an interview and/or shooting segment, we will give you at least 24 hours notice whenever possible, depending on the television station giving us notice. Someone from the Huntington staff will always accompany TV crews in the theatre. Stations will only shoot and air footage according to Equity rules and regulations.

Production photo call will generally be on the day of final dress rehearsal – specific time to be announced. Photos from this call will be available to the company.

Our policy is to not post reviews. However, we can send you a review packet once the show has closed by request.

Student Matinees: The Huntington's core educational program introduces more than 12,000 students to professional theatre each season. Morning performances of each production are scheduled for middle and high school groups at a nominal charge of $10 per student, the amount covered by Massachusetts Cultural Council PASS funds. The Huntington also provides pre-show visits to classrooms as well as extensive study and curriculum guides to every teacher prior to their matinee visit. Teachers may elect to bring their classes to a pre-show talk and tour of the theatre. School groups are also invited to join the cast for post-matinee discussions.

Actors Forum: Did you ever want to ask an actor how he prepares for a role? Now you can, by attending Actors Forum, a post-show discussion featuring cast members from each show. Actors forum discussions follow select Thursday evening and Wednesday matinee performance.

Humanities Forum: Featuring a leading scholar from one of Boston’s many educational institutions, each forum consists of a 20-minute talk on the literary and historical context of the current play, followed by a question-and-answer session with the audience. These discussions follow select Sunday Matinee performances.

25

ASL Interpreted: The Huntington Theatre Company offers ASL interpretation for the Deaf and hard of hearing at designated performances. The Huntington works with a Deaf task force to raise the artistic level of ASL-interpreted performances through workshops and other services. The Huntington's programs for the Deaf have served as a model statewide. We have consulted with such theatres as American Repertory in Cambridge, Foothills Theatre in Worcester, New Repertory Theatre in Newton, Trinity Repertory Company in Providence and the Wang Performing Arts Center.

Audio Described: Audio Description is a carefully timed, live narration of the visual aspects of a performance. It is broadcast via a radio transmitter to patrons who wear a single headphone receive enabling them to hear both the on-stage dialogue and the describer's narration.

Out and About Night: Out & About Club, for the gay, lesbian, bisexual, and transgendered community, offers theatergoers the opportunity to mingle with each other at a pre-or post-show reception, get a behind-the-scenes peek, and meet the actors and artists from the production.

35 Below: In an effort to reach out to and retain our audience that is 35 years or younger, the Huntington hosts a few nights every season where we specifically invite our 35 Below crowd to come to a performance and stay after for a 35 Below Wrap Party. The wrap parties have free booze, food and a live band. Tickets for patrons who are 35 and under cost only $25, but they get so much more than a performance when they come on a wrap party night.

26 Service Pledge August 2011

We have adopted an institutional service pledge that outlines how we expect to treat and be treated by those we interact with, including our co-workers and guest artists. We welcome your feedback on how we are doing.

At the Huntington Theatre Company, we believe that people are our greatest assets. We are committed to providing courteous, responsive, and quality service to everyone with whom we interact. We vow to make the customer our top priority, and believe that how we treat a person is of utmost importance.

Who do we serve? Ticket buyers, donors, Calderwood Pavilion clients, community partners, education partners, and our co-workers and colleagues at the Huntington Theatre Company.

Our Service Values: • We respect all people and treat them with the dignity they deserve. • We believe all everyone deserves efficient service from knowledgeable staff. • We will be honest and straightforward. • We will listen and respond to an individual’s needs, ideas, and concerns with fairness and flexibility. • We will impress everyone with the quality and timeliness of our services in a pleasant and friendly manner. • We will challenge ourselves to make a consistent effort each day to take the time and care needed to help people. • We will aim to exceed expectations and strive to earn the right to have everyone speak highly of us.

27 SAFETY COMMITTEE The Huntington Theatre Company operates a working staff Safety Committee and is committed to creating and maintaining a safe environment for our employees and constituents.

Composition The membership of the committee shall include: one member from each of the six production areas, one student, one faculty member, one front of house staff member, one company management member, one member of the pavilion staff, one member of the box office staff, one member from the administrative staff, and one member of the professional internship program.

Advisors shall be the Production Manager, the Director of Human Resources; and one representative of Boston University’s Office of Environmental Health and Safety.

Philosophy • We (the Huntington Theatre Company and Boston University School of Theatre) are committed to creating and maintaining safe, secure workplaces and educational environments. • We are committed to supporting and adhering to the Statement of Commitment (as outlined below). • We are committed to providing safe and secure environments for our patrons, including the ongoing development of emergency preparedness procedures and attention to building safety issues. • We are committed to creating safety and security policies and procedures and are likewise committed to enforcing them. • We are committed to training personnel and students in basic emergency procedures, proper use of tools, machinery and other equipment, proper use and storage of chemicals and hazardous materials, and other tenants of workplace safety. • We are committed to perpetuating this philosophy of workplace safety with our coworkers, interns, students, classmates and patrons.

Statement of Commitment • The Huntington Theatre Company and Boston University School of Theatre are committed to the above purpose and philosophy in maintaining healthy and safe facilities. To this end, members of the Huntington and BU family should: • Consider possible environmental impact when making decisions, including those concerning facilities management and construction projects; • Reuse and recycle materials whenever it makes economic and environmental sense to do so; • Limit occupational injuries and illnesses by emphasizing safety education and safe work practices for employees; • Recognize and respond to legitimate community concerns about the environmental and health safety impact of our programs; • Provide appropriate and timely information in response to questions about environmental health and safety issues; • Use energy efficiently; • Comply with applicable environmental health and safety laws and regulations

28 Huntington Theatre Company 2010 Phone Directory Revised 05/21/2011

Administration 617-273-7900 281 Admin Fax 617-353-8300 HUNT Box Office 617-266-0800 HUNT BO Fax 617-421-9674 Pav. 2nd Fl Fax 617-424-6896 Scene Shop Fax 617-358-2575

**Please Note: Pavilion numbers are 617-933-xxxx. Huntington Ave numbers are 617-273-xxxx.

Administration Managing Director Michael Maso 1526 [email protected] General Manager Sondra Katz 1527 [email protected] Associate General Manager Justin Haslett 1501 [email protected] Assistant to the Managing Allison [email protected]. Director McDonough 1530 du Calderwood Pavilion Manager Joey Riddle *8671 [email protected] Calderwood Events Coordinator Katie Most *8653 [email protected] Administrative Assistant Sarah Williams *8673 [email protected]

Artistic Artistic Director Peter DuBois 1529 [email protected] Producing Director Christopher Wigle 1521 [email protected] Director of New Work Lisa Timmel 1502 [email protected] Associate Producer Bevin O'Gara 1528 [email protected] Assistant to the Artistic Director Vicki Schairer 1531 [email protected] Literary Associate Charles Haugland 1503 [email protected]

Company Management Company Manager Anna Kohansky 1545 [email protected] BUT Guest Director 1600 BUT Cast Phone 1601 Pavilion Company Management *8654

Human Resources Director of Human Resources Lisa Fuller 1533 [email protected] Human Resources Coordinator Michael Comey 1505 [email protected] Payroll Coordinator Kristine Laundry 1595 [email protected]

29 Finance Director of Financial Management Glenda Fishman 1534 [email protected] Accounting Manager June Zaidan 1532 [email protected] Accounting Associate Laura Casavant 1509 [email protected]

Development Director of Development OPEN 1547 Director of Major Gifts Meg White 1596 [email protected] Director of Institutional Giving Mary O'Donnell 1579 [email protected] Special Events Manager Shaine Belli 1536 [email protected] Annual Fund Coordinator Lisa McColgan 1546 [email protected] Alli Engelsma- Development Associate Mosser 1522

Education Director of Education Donna Glick 1548 [email protected] Education Department Manager Meg Wieder 1558 [email protected]

Education Associate Marisa Jones 1549 [email protected] Education and Community Associate Naheem Garcia 1564 [email protected]

Marketing Director of Marketing Temple Gill 1560 [email protected] Meredith [email protected] Marketing Manager Mastroianni 1580 du Communications Manager Rebecca Curtiss 1537 [email protected] Web and New Media Manager Thom Dunn 1512 [email protected] Audience Development Adam Roberts Coordinator 1525 [email protected] Candelaria-Silva Community Coordinator Collins VM1626 [email protected] Marketing Associate Desiree Pedrami 1518 [email protected]

Box Office Audience Services Manager Jon Slater 1657 [email protected] Tessitura & Business App Mgt Bridget Frey 1658 [email protected] Associate Audience Services Mgr Derrick Martin 1670 [email protected] Subscription Coordinator Hailey Fuqua 1671 [email protected] Subscription Associate Cheyenne Postell [email protected] *8601/167 Pavilion Box Office Coordinator Katie Catano 7 [email protected]

30 BUT Box Office Coordinator Casey Beaupre 1659 [email protected] Pav Box Office Associate Patrick Harris 1678 [email protected] 1615/*860 Box Office Associate Amy Klesert 4 [email protected] Full Time Representative Derek Fraser 1679 [email protected] Full Time Representative Ron Amorim 1682 [email protected] Box Office Line 2000

Front of House Management BUT House Manager Daniel Morris 1666 [email protected] Calderwood Pavilion House Manager Kat Alix *8672 [email protected]

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Production Office Production Manager Todd Williams 1650 [email protected] Associate Production Manager Bethany Ford 1602 [email protected]

Scenery Technical Director Dan Ramirez 1583 [email protected] Associate Technical Director Adam Godbout 1566 [email protected] Assistant Technical Director Dan Oleksy 1587 [email protected] Scene Shop Foreman OPEN 1573 Stage Carpenter Dan Walsh 1646 Scenery Mechanic Jesse Washburn 1582 Master Carpenter Larry Dersch 1582 [email protected] Carpenter Milosz Gassan 1582 Carpenter Amy Mattulina 1582 Carpenter Nick Hernon 1582 Pavilion House Carpenter Paul Mayer *8615

Props Props Master Kristine Holmes 1586 [email protected] Props Assistant Justin Seward 1569 [email protected] Props Run Andrew Deshazo 1646 [email protected]

Costumes Costume Director Nancy Brennan 1648 [email protected] Assistant Costume Director Virginia Emerson 1647 [email protected] Head Draper Anita Canzian 1538 [email protected] Draper Michelle Ross 1538 First Hand Becky Hylton 1538 [email protected] Costume Crafts Artisan/Dyer Denise Wallace 1539 [email protected] Costume Design Assistant Mary Lauve 1539 [email protected] Wardrobe Coordinator Christine Marr 1642 [email protected] Dresser Jeffrey Burrows 1642 [email protected] [email protected] Hair and Wig Run Susie Moncousky 1571 u

Paints Charge Scenic Artist Kristin Krause 1541 [email protected] Assistant Charge Artist Kate Bosch 1542 [email protected] Scenic Artist Sam Pagnotta 1542

Electrics Master Electrician Kat Herzig 1644 [email protected]

32 Assistant Master Electrician Michael Wellman 1643 [email protected]

Mercedes Roman- mroman- Pavilion House Electrician Manson *8615 [email protected]

Sound Sound Supervisor Ben Emerson 1572 [email protected] Sound Engineer J Jumbelic 1641 [email protected] Pavilion House Sound Operator Jesse McKenzie *8615 [email protected]

33 APPENDIX A BOSTON UNIVERSITY THEATRE

GROUND PLAN 36 SEATING CAPACITY 37 STAGE/ROOM DIMENSIONS 37 RIGGING 37 SOFT GOODS INVENTORY 38 LINESET SCHEDULE 46 CONTROL BOOTHS 48 LIGHTING DESCRIPTION 48 LIGHTING INVENTORY 48 SOUND SYSTEM DESCRIPTION 50 SOUND INVENTORY 50 COMMUNICATIONS 52 VIDEO 52 THE BU THEATRE REHEARSAL HALL 52

DRESSING ROOMS AND THE GREEN ROOM 52

35

Ground Plan

36

Seating Capacity Without Orchestra Pit: 883 With Orchestra Pit: 845

Stage/Room Dimensions Proscenium Width 35’-5 5/8” Proscenium Height 25’-2 3/4” Stage Depth from Plaster Line 32’-1” Stage Depth from Apron 35’-3 5/8”

Wall to Wall

Center Line to SL wall 38’-2” Center Line to SR wall 36’-0”

Wing Space Stage Left 20’-2” Stage Right 18’-0”

Grid Floor to gridiron 59’-6” Distance pipes travel from deck 58’-0”

From Stage Lip To back of orchestra level 49’-11 1/2” To balcony overhang 30’-4 5/8” To back of balcony level 73’-2 5/8”

Rigging Type Counter weight Weight 14,000 lbs. Linesets 42 Arbors 600-800 lbs. House Pipes 50’-0” 1.5 schedule 80 pipe

37

38

39

40

41

42

43

44

45

• 46

47

Control Booths • The Sound Run Position is in the back of the orchestra seating area, just house right of the center right aisle. • The light & followspot is at the rear of the theatre, above the balcony seating. The stage manager calls from backstage left.

Lighting System Description The lighting system is an ETC installation performed in 2000. There are 276 @ 2.4kw dimmers, 6 @ 5kw dimmers. We utilize ETC’s Dimmer Doubling for the Source 4 and Sound 4 Pars. The system is controlled from an Obsession II duel processor system. Distribution is handled through raceways front of house, 1st electric and galleries left and right. All of on-stage distribution is from grid to drop boxes.

Lighting Inventory Conventional Units # Unit Type Wattages Notes 320 ETC Source 4 575w 120V Body Only 20 Source 4 (10°) Lens Tube Only 110 Source 4 (19°) Lens Tube Only 126 Source 4 (26°) Lens Tube Only 70 Source 4 (36°) Lens Tube Only 64 Source 4 (50°) Lens Tube Only 95 S4 PAR w/ full lens set 575w 120V 2 Altman 3 1/2 x 6 500w 6 Selecon 90° 575w 120V 6 Arri 10" Fresnel 5Kw (10) 3 cell yokes 20 Altman Focusing Cyc 650w (25) single cell yokes (36) additional units on 20 T-3 Strip 6 cell 3 ckt 500w cyc bridge Flood - EYC 750w 6 6' 3 Ckt MR16 L&E Mini Strip per cir Flood - EYC 750w 5 8' 4 Ckt MR 16 L&E Mini Strip per cir 8 Mini Ten (work lights) 500w, 300w 4 L&E Microfill 150w 3 Par 20 (black) 150w 16 Par 20 Short Snoot 150w 3 GAM Stik ups 150w 4 3" Fresnel 150w 2 S4 City Theatrical Follow spot Yokes w/Boomerangs for 19 1 Strong Truss Trouper Follow spot (w/short throw lens (catwalk) and long throw (booth)) Special Effects: 16 Wybron CXI Color Scrollers (7.5") 16 leko (w/mounting plates for S4 & S4 Par/Parnel) 16 par

8 Wybron CXI IT Color Scrollers 1 DFX 50 Diffusion Fogger 3 High End Data Flash Strobe 8 Rosco Double Gobo Rotators 4 Rotator Power Supply (DMX) 1 Mirror ball and motor 1 Little Blizzard Snow Machines

Control 1 ETC Obsession II 1500 Dual Processor v. 5.1.0 1 High-End Hog 500 v.3.2build169 w/ key board, track ball, little lites, manual, case 1 Designer Remote Console w/ two Monitors 2 ETC Net II DMX Nodes (one permanently mounted in dimmer vault at DMX patch Bay) ETC Net II Video Nodes w/two monitors each (one permanently mounted in elex shop test 2 rack) 276 ETC Sensor 20A Dimmers (dimmer per circuit) 6 ETC Sensor 60A Dimmers (dimmer per circuit) FOH rep plot units are Dimmer Doubled. 77v 550w 180 Dimmer Doubler caps (including 100 permanent FOH units) 11 Little Lights with weighted bases for techtables Note: These are used by many depts and spaces and not all available, see ME

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Sound System Description

1. Speaker systems The sound system in the Boston University Theatre features House Left and right speakers on the proscenium to cover the orchestra and mezzanine, and on the light bridge for the balcony. Center speakers to cover all 3 areas, and delayed fill speakers cover under the balcony overhang. There are two dual 15” subwoofers in a quasi-permanent location, and there are 4 single 18” subwoofers available for additional low end. There are 12 wide dispersion speakers for side and rear surrounds, and there are a variety of available speakers for onstage use. All speakers are EAW with the exception of some small speakers available for onstage practicals or front fills. Processing for crossovers and system tuning are provided through EAW UX8800 processors for the mains and delays and fixed subs, dbx Drive Rack for the moveable subs, and the LCS Matrix for the surrounds.

2. Main Control System: The system is based around a Level Control Systems’ (LCS) Matrix-3 system featuring 32 analog outputs, 16 analog inputs. A Cue Console system provides faders, transport, and editing controls. The entire system is networkable through a dedicated Ethernet infrastructure. An Ethernet line can be set up for the Designer to move soundfiles into the playback system if desired. Playback is accomplished through SFX 6 or LCS Wild Tracks hard disk playback systems.

3. Microphones: there is a small inventory of microphones. More information is supplied in the complete list below. We have 3 Shure UHF-R Wireless systems for 6 channels of wireless Lavalier mic’s, with a variety of Sennheiser MKE-2, Countryman B3, E6 elements.

4. Mix Position: The Sound Run Position is in the back of the orchestra seating area, just house right of the center right aisle. This puts the Mix Engineer in the seats that need the most reinforcement on shows where a live mix is necessary.

Sound Inventory Front of house systems QTY Notes Proscenium Center EAW AX396 3 way, biamplified 1 QSC RMX1850 HF QSC RMX5050 LF Balcony Center EAW AX396 3 way, biamplified 1 QSC RMX1850 HF QSC RMX5050 LF Proscenium sides EAW MK2396 2 way, biamplified 4 Upper set focused for Mezzanine, lower for Orch. QSC CX702 HF QSC CX1102 LF FOH Subwoofers EAW SB250 x2 Dual 15" 2 FOH Subs QSC RMX5050 Ch.1=L, Ch.2=R

Underbalcony EAW UB42 x3 3 QSC RMX1850 Ch.1= inner (1) Ch.2= outer (2) Balcony L/R EAW MK2194 2 way full range 2 QSC MX2000 Ch.1=L, Ch.2=R

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All delay/crossover processing for above: EAW U8800

Surrounds EAW UB22 x 12 QSC CX404 4 ch. Amp Orch Side 2 Mezz Side 2 Balc. Side 2 Orch. Rear x2 4 Balc. Rear 2

Delay for surrounds handled at LCS Matrix Onstage systems General FX, F.B. EAW JF-80 8 QSC CX702 for 4 of the JF-80's 2 Small FX JBL Control-1 4 E/V S-40 2 Amps for misc. FX QSC MX700 1 Crest Ca2 1 QSC MX1500 1 Crown CE1000 Subs EAW SB180 4 Typically for onstage, or supplement FOH subs QSC SB4050 2 DBX driverack 482 used for crossover Control/Playback LCS Matrix-3 16 analog inputs 1 32 analog outputs 24 tracks Digital Audio Cue Console Faders, Meters, Transport, Editor SFX 6.2 16 track playback 1 TC Electronics M3000 reverb unit 1 Microphones Sennheiser e604 clamp-on Toms, Snare 3 e602 dynamic Kick 1 e614 pencil condenser Overheads 2 MD421 1 Audix D4 1 D6 1 Shure SM57 4 SM58 4 SM81 4 Crown PCC160 4 GLM100 2

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Countryman Isomax small cardioid 4 AKG C414 1 C3000 1 C1000 1 C451/CK9 short shotgun 2 misc 2-3 switched dynamics for VOG

Communications

We have a 4 channel Clear-Com system utilizing the SB-440 mainstation. We also have two Telex BTR-200 wireless mainstations patched into the system to provide wireless headsets for deck crew. Appendix B

Video

We have both color and black and white front shots from the balcony rail, and an infra-red illuminator for low light vision in the black and white camera. We have 3 additional cameras and a variety of 9", 13", and 19" monitors.

The BU Theatre Rehearsal Hall

• The rehearsal hall is located at 254 Huntington Avenue on the second floor. There is no elevator. • The Rehearsal Hall is 36' wide and 48' long. There is a mirror along one 36' side. • The Stage Management office, with work room for 4, is in the rear of the hall. • There is a loft used for storage on the far wall. • The ladies’ rest room is on the 2nd floor behind the stairs. The men’s room is on the third floor at the top of the stairs.

Dressing Rooms and the Green Room

• Incense and candles are not allowed backstage, in the dressing rooms, or in the green room. • Dressing Rooms are located one level below the stage. The facilities can comfortably hold approximately 33 actors. There are 10 dressing rooms that accommodate up to two people each, 2 dressing rooms that will accommodate up to 4 people and 1 dressing room for five (that includes a bathroom). Each dressing room is equipped with an individual station, mirror, lighting and chair, as well as sink (one per room). Each room is also equipped with an audio stage monitor. There are two bathrooms (separate for men and women) complete with shower stalls. • Half of the dressing rooms are air-conditioned. • The Green Room is adjoined to the Dressing Room area, also with an audio stage monitor, complete with a large refrigerator, microwave, and coffee maker. Adjoined to the dressing room area is the Wardrobe Room. • The Mainstage is one level above the Green Room. From the Green Room there is immediate access to Stage Right and Left, the trap room, and Orchestra Pit.

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APPENDIX B THE VIRGINIA WIMBERLY THEATRE

GROUND PLAN 55

STAGE DIMENSIONS 56

RIGGING 56

SEATING CAPACITY: APPROXIMATELY 360 57

STAGE SPECIFICATIONS 57

SOFT GOODS INVENTORY 57

CONTROL BOOTHS 57

ORCHESTRA PIT AND TRAPS 57

ADDITIONAL EQUIPMENT 57

LINESET SCHEDULE 58

LIGHTING DESCRIPTION 59

LIGHTING INVENTORY 59

SOUND SYSTEM DESCRIPTION AND INVENTORY 60

COMMUNICATIONS 61

CAROL G DEAN REHEARSAL HALL 61

GREENROOMS 61

DRESSING ROOMS 62

RESTROOMS 62

WARDROBE ROOM 62

LOADING DOCK 62

BUILDING ACCESS AND ALARMS 62

54

Ground Plan

55

Stage Dimensions

3 Proscenium Width 31’-11 /8 Proscenium Height 22’-2¼ Stage Depth from Plaster Line 33’-3” Stage Depth from Apron 34’-8”

Wall to Wall At plaster line Center Line to SL wall 28’-6” Center Line to SR wall 38’-6”

Wing Space Stage Left 12’-6” Stage Right 22’

Grid Floor to gridiron 29’ Distance pipes travel from deck 28’ approx.

From stage lip To back of orchestra level 38’ To balcony overhang 32’ To back of balcony level 52’

Rigging

The Wimberly does not have a full fly space. Maximum trim height is 28’, only 6’ above the proscenium opening.

Type T Bar Manual Counterweight Weight 30,000 lbs. Total Linesets 41 linesets on 8” centers Arbors 1200 lb. Capacity uniform loading House Pipes 42’ long

56

Seating Capacity: approximately 360.

Stage Specifications

• Flooring: ¼” painted Masonite over a Bio Channel sprung floor system.

• There is 1 ¼” of wood to screw or lag into floor. Maximum lag diameter is 3/8”and no drilled holes larger than ¼”are allowed.

The front of the stage is finished with mahogany veneer paneling. Set into the paneling there are two continuous uni-strut reveals running horizontally at approx. 6” above the orchestra floor and 6” below the stage floor to which scenery or soft goods may be attached.

Soft Goods Inventory 6 Borders (25 oz Black Memorable) 6’ H x 46’ W 12 Legs (25 oz Black Memorable) 25’ H x 10’ W 8 Tabs (25 oz Black Memorable) 25’ H x 10’ W 2 Two-Part Traveler (25 oz Black Memorable) 25’ H x 23’ W & 25’H x 25’ W (Total Width 46’-0”, Track for Traveler is 42 linear feet) 1 Cyclorama (Bleached White Muslin) 27’ H x 46’ W 1 Black Sharkstooth Scrim 27’ H x 46’ W 1 White Sharkstooth Scrim 27’ H x 46’ W 1 Grey RP Screen 27’ H x 46’ W

Control Booths

• Stage Managers may call their production from positions in the orchestra level booth (the standard location) or onstage. • Sound is operated only from the orchestra level booth. Live mixing can be located in the box position in the mezzanine. • Lighting is usually operated from the 3rd floor booth, but can be set up to operate from the orchestra level booth or backstage. • Follow Spots can be located in the 3rd floor booth.

Orchestra Pit and Traps

The Wimberly Theatre does not have an orchestra pit or any traps on the stage.

Additional Equipment

Additional Equipment may be available. Please see Pavilion management.

57

Lineset Schedule

58

Lighting Description • Control o 284 2.4k Dimmers (dimmer per circuit) o 2 6kw Dimmers (dimmer per circuit) o ETC Obsession II o Integrated House/Run/Work light control Throw from 3rd floor Follow Spot booth to stage lip is 46’. Lighting Inventory

Quantity Item Lamp 38 Source 4 Leko 19 Degree GE HPL 575w 120v Long Life 63 Source 4 Leko 26 Degree GE HPL 575w 120v Long Life 68 Source 4 Leko 36 Degree GE HPL 575w 120v Long Life 18 Source 4 Leko 50 Degree GE HPL 575w 120v Long Life 40 Source 4 Par w/vnsp,nsp,mfl,wfl,xwfl GE HPL 575w 120v Long Life GE FCZ 500w Frosted 2000hr 120v 6 L&E Mini Flood work lights 500T3Q 10 6' 3cir L&E Mini Strips #6560ALUM GE EYC 12v 75w 20 L&E Hanging Irons w/ Mega Clamp Aluminum - Anodized Black 20 L&E Trunions 235 C Clamp for S4 and mini Flood 19 S4 Par Concentric Ring tophat 75 S4 Leko Top hat 20 Color Extenders for S4 leko 395 S4 Leko Color Frames 100 S4 Par Color Frames 330 L&E Mini Strip Frames 150 Temp Holders A Size Sandwich 2 S4 Iris 300 Black Safety 6 50# Boom Bases 6 Boom Tie Off Caps 40 12" Side Arms 1T 10 Black Sandbags 25# Film Style 12 Wybron CXI Scroller for Leko or Par 2 24 way power supply 8 Apollo Smart Move DMX Rotator 4 2way Apollo Rotator Power Supply DMX Control ETC Obsession II 1500 Single 1 Processor v. 5.1.0 w/ two monitors 1 Obsession Wireless Remote Focus Unit 1 ETC NET II Video Node w/ two monitors ETC Net II 2 Port DMX Nodes (permanently mounted throughout 10 theatre) ETC Sensor 2.4kw Dimmers (dimmer per 284 circuit) ETC Sensor 6kw Dimmers (dimmer per 2 circuit) 1 6 circuit Cue Light System

59

Sound System Inventory and Description

Speakers: • EAW MK2194 2 way 90º Horiz.x40º vert. on the proscenium, 2 upper, 2 lower. • Proscenium Center: 2 arrayed EAW MK2164 2 way 60º Horiz.x40º vert. • Balcony Center: 2x EAW MK2194 2 way 90º Horiz.x40º vert arrayed around 1 EAW SB180 subwoofer • 2 EAW SB180 subwoofers behind grates in walls HL and HR at orchestra level Other available speakers: • 4 EAW JF-80’s • 2 EAW JF-60’s • 4 EAW SM200 monitor wedges • 4 JBL Control-1’s permanently mounted as rear fills.

System processing • MediaMatrix Xframe and Xframe Breakout Box. o The main Xframe is dedicated to the main FOH systems o the Breakout box is patched to 8 patchable amp channels

Additional Amplification: • We have 10 channels of available amplification BEYOND that required for the front of house systems. We have 8 channels of available processing.

Console: • Yamaha M2500 console o 24 mono inputs o 4 stereo inputs o 8 group outs o true LCR as an option o 8 matrix outs o 14 auxiliary outs. o Mute scene recall- 128 scenes, 8 available on buttons. Playback • SFX 6.2.7. We have 16 outputs from this system available. • CD Player • IPod connection available

Effects Processing: We have 2 Lexicon LXP-15 reverb units.

Dynamics Processing: • Presonus ACP8 8 channel compressor/limiter • dbx 1066 compressor/limiter for a total of 10 channels.

Microphones and RF: • ULXP4 Shure UHF wireless, with both a lav and a handheld mic available. • We have SM58’s, SM57’s, and can draw from our larger inventory for other microphones as necessary.

60

Communications

Clear Com four-channel system augmented by a single channel UHF wireless system for stage crew use. Four (4) wired belt packs and four (4) wireless belt packs will be available for use. (There will be a nominal charge for batteries). Backstage paging system can be implemented from Clear Com main station as well as a microphone backstage. Audio and video monitoring systems are also in place.

Carol G. Deane Rehearsal Hall

The Carol G. Deane Rehearsal Hall is located on the 2nd floor of the Calderwood Pavilion. It is an irregular rectangle with angular walls and floor to ceiling windows on the two walls overlooking Tremont Street. The west wall has an 8’ tall mirror running along its length and windows have blackout curtains. The Rehearsal Hall has vinyl flooring on top of a sprung wood floor and an irregular lighting grid that follows the line of the roof and covers the entire space to within a few feet of the walls. The walls and floor may not be painted, screwed, bolted or lagged into.

Electrical Capability: 100-amp 3-phase company switch available.

Lighting and sound equipment may be available through Pavilion Management. The lowest point on the grid is 14’.The highest point in the grid is 19’.

Dimensions: Grid Capacities:

1654 square feet Maximum Uniform Load 30 pounds North wall: 45’ per linear foot (plf) East wall: 39’ Maximum Concentrated Load South wall: 46’ 285lbs. West wall: 35’ Maximum hanger loads @ a grid loading of 30 plf 563lbs/hanger

Green Rooms

There are two green rooms located on the first floor behind the Roberts near the Wardrobe room. • Green rooms are equipped with a sink, microwave, refrigerator, and couches. • There is an on-stage monitor in each green room with both audio and video. • Pavilion management will assign the Production’s dressing rooms based on the needs of all users.

61

Dressing Rooms

• There are 6 dressing rooms as follows: o 2 dressing rooms x 3 people on the 1st floor o 2 dressing rooms x 5 people on the 2nd floor o 2 dressing rooms x 7 people on the 2nd floor • Each dressing room is equipped with counters, shelves, mirrors, lights, one sink, and between 1 and 3 wardrobe racks, depending on the size of the room. • There is an on-stage monitor in all dressing rooms.

Restrooms

• In addition to the restrooms for the public, there is one set of men’s and women’s rest rooms and separate showers backstage on the 1st floor. All Calderwood Pavilion users share these restrooms. • Please do not leave personal effects in the restrooms.

Wardrobe Room

• Users of the Wimberly and Roberts Theatres share the wardrobe room. • The wardrobe room is equipped with coin operated washers (2) and dryers (2), and all other wardrobe supplies to maintain the Huntington productions.

Loading Dock

• All Scenery must come into the theatres through the Atelier505 Loading Dock. Trucks must be 24’ or less in length and the maximum height is 12’9”. • Clearances from the loading dock into the theatre are tight and require two (2) 90° turns. All door openings are approximately 8’ high and 8’ wide. It is estimated that long items (16’-21’) will be able to make the corners depending on width.

Building Access and Alarms

You will notice that both of the main doors to the theatre buildings have a swipe card box. Arrangements will be made to greet you on arrival at the theatre on your first day, at which time you will be given a swipe card, which will be used for access to the building daily. This swipe card does not communicate with the building alarm, so please do not attempt to access the building when it is closed. The best way to determine if the building is open is to look up toward the 2nd floor at the front of the building. If you see lights on, the building is open. When entering the building outside of standard call times, please make sure that someone knows that you are in the building. If there is no crew working in the theatre, check in with house management, or the staff member covering in room 213. If you wish to be in the building at times other than the scheduled calls, please make arrangements in advance with Pavilion Management. The swipe card should be returned at the conclusion of your run.

62 APPENDIX C THE NANCY AND EDWARD ROBERTS STUDIO THEATRE

GROUND PLAN 65

SEATING CAPACITY 66

STAGE SPECIFICATIONS 66

STAGE/ROOM DIMENSIONS 66

SOFT GOOD INVENTORY 66

CONTROL BOOTHS 67

LIGHTING DESCRIPTION 67

ADDITIONAL EQUIPMENT AND SUPPORT 67

LIGHTING INVENTORY 67

SOUND SYSTEM DESCRIPTION 68

SOUND SYSTEM INVENTORY 68

VIDEO MONITORING 68

64

Ground Plan

65

Seating Capacity

• Type of Seating: Changeable seating by American Seating. • 190 or 209-seat standard configuration included in rental.

Stage Specifications

• Flooring: ¼” painted Masonite over a Bio Channel sprung floor system. • There is 1 ¼” of wood to screw or lag into floor. Maximum lag diameter is 3/8”. No drilled holes larger than ¼” are allowed.

Stage/Room Dimensions

North-South 49’ East-West 60’

Grid Floor to gridiron 18’ Grid Pattern 38’ x 46’ 4’-6” x 5’-6” grid with additional lighting positions on walls and gallery railings Maximum uniform load 30 pounds per linear foot (plf) Maximum concentrated load 380 lbs. Maximum hanger load-grid loading 580 lbs/hanger of 30 plf

Soft Good Inventory

10 Legs (25 oz Black Memorable) 17’-6” H x 10’ W 2 Two-Part Traveler (25 oz Black Memorable) 17’-6” H x 22’ W and 17’-6” H x 20’ W (Total Width 40’-0”, Track for Traveler is 40 linear feet) 1 Cyclorama (Bleached White Muslin) 19’ H x 40’ W 1 Black Sharkstooth Scrim 18’ H x 40’ W

66

Control Booths

• Stage Managers may call productions from the 2nd floor booth, or with prior arrangement, from positions onstage or in the galleries. • Sound is operated from the 2nd floor booth, or with prior arrangement, from the galleries. • Lighting is operated from the 2nd floor booth, but can with prior arrangement, be set up to operate from the galleries or backstage.

Lighting Description

• Control o 96 2.4k Dimmers (dimmer per circuit) o ETC Express 250 or equivalent o Integrated House/Run/Work light control

Additional Equipment and Support

Additional equipment and support may be available.

Lighting Inventory

Quantity Item Lamp 15 Source 4 Leko 26 Degree GE HPL 575w 120v Long Life 45 Source 4 Leko 36 Degree GE HPL 575w 120v Long Life 15 Source 4 Leko 50 Degree GE HPL 575w 120v Long Life 40 Source 4 Parnel GE HPL 575w 120v Long Life GE FCZ 500w Frosted 4 L&E Mini Flood work lights 2000hr 120v 500T3Q 6 6' 3cir L&E Mini Strips #6560ALUM GE EYC 12v 75w

12 L&E Hanging Irons w/ Mega Clamp Aluminum - Anodized Black 12 L&E Trunions 135 C Clamp for S4 and mini Flood 18 S4 par Barn Doors City Theatrical Type #2488 155 Source 4 Leko color Frame 85 Source 4 Par Color Frame 200 Color Frame for Mini Strip 40 Template Holders A Size Sandwich 180 Black Safety

Control 1 ETC Express 250 1 Remote Focus Unit 1 ETC NET II Video Node w/ monitor ETC NET II DMX Nodes (permanently 5 mounted throughout theatre) 96 ETC Sensor 2.4kw Dimmers (dimmer per circuit)

67

Sound System Description and Inventory

1. Speaker systems The sound system in the Roberts Theatre features 4 self powered Renkus Heinz loudspeakers with hanging hardware. (NOTE: Due to noise abatement requirements in the building, the hanging hardware features vibration dampeners that negate the ability to fully lock the speaker in a L-R pan position.) In addition to these, a Renkus-Heinz PN-112 powered subwoofer is available for floor use (not riggable). There are 4 E/V S-40 compact speakers powered by a QSC CX254 4 channel amplifer.

2. Playback: Playback is accomplished through a CD player or other source provided by the user.

3. Mixing console: A Yamaha MG32/14FX console is provided with the following: a. 24 mono mic/line inputs b. 4 stereo inputs c. 4 groups outs, L/R out, mono out d. 6 aux outs e. 2 onboard SPX series digital effects processors

4. Additional processing for outputs is accomplished through an Ashly Protea 4 channel digital Graphic EQ/Delay processor.

5. Intercomm: A Clear Com dual channel intercom system is available for crew use.

6. Program Monitor A program monitor mixer in the booth feeds a distribution panel in the Wimberly light booth. From there, the signal is distributed to the Green Room, Wardrobe Room, and dressing rooms as selected for each event.

Video monitoring: Wiring is available for video monitoring. One color camera is provided for a full stage shot which is distributed from the Wimberly light booth throughout the building. Additional video can be run for specific events, provided by the event. There is one 1 in 4 out VDA in the Roberts booth rack.

68 APPENDIX D PRODUCTION HISTORY 2011-2012 Luck of the Irish Candide Written by Kirsten Greenridge Music by Leonard Bernstein Directed by Melia Bensussen Lyrics by Richard Wilbur Scenic Design by James Noone Adapted and Directed by Mary Zimmerman Costume Design by Mariann Verheyen Scenic Design by Dan Ostling Lighting Design by Justin Townsend Costume Design by Mara Blumenfeld Composition/Sound Design by David Remedios Lighting Design by T.J. Gerkens Stage Management by Marti McIntosh Sound Design by Richard Woodbury Stage Management by Matt Shiner Private Lives Written by Noel Coward Before I Leave You Directed by Maria Aitken Written by Rosanna Yamagiwa Alfaro Scenic Design by Allen Moyer Directed by Jonathan Silverstein Costume Design by Candace Donnelly Scenic Design by Allen Moyer Lighting Design by Philip Rosenberg Costume Design by Michael Krass Sound Design by Rob Milburn Lighting Design by David Lander Stage Management by Leslie Sears Composition/Sound Design by David Remedios Stage Management by Carola LaCoste 2010-2011 Bus Stop Captors Written by William Inge Written by Evan M. Wiener Directed by Nicholas Martin Directed by Peter DuBois Scenic Design by Jim Noone Scenic Design by Beowulf Borritt Costume Design by Miranda Hoffman Costume Design by Bobby Frederick Tilley II Lighting Design by Philip Rosenberg Lighting Design by Russell Champa Sound Design by Alex Neumann Sound Design by M.L. Dogg Stage Managed by Leslie Sears Stage Management by Marti McIntosh Circle Mirror Transformation God of Carnage Written by Annie Baker Written by Yasmina Reza Directed by Melia Bensussen Translated by Christopher Hampton Scenic Design by Cristina Todesco Directed by Daniel Goldstein Costume Design by Bobby Frederick Tilley II Scenic Design by Dane Laffrey Lighting Design by Dan Kotlowitz Costume Design by Charles Schoonmaker Sound Design by Dave Remedios Lighting Design by Tyler Micoleau Stage Managed by Kathryn Most Sound Design by Brett R. Jarvis Stage Management by Kevin Robert Fitzpatrick Vengeance is the Lord’s Written by Bob Glaudini Ma Rainey’s Black Bottom Directed by Peter DuBois Written by August Wilson Scenic Design by Eugene Lee Directed by Liesl Tommy Costume Design by Mimi O’Donnell Scenic & Costume Design by Clint Ramos Lighting Design by Japhy Weideman Lighting Design by Marcus Doshi Composition by David Van Tieghem Original Music/Sound Design/Music Direction by Broken Sound Design by Ben Emerson Chord Stage Managed by Carola Morrone Stage Management by Leslie Sears

70 Ruined Maureen McGovern in A Long and Winding Written by Lynn Nottage Road Directed by Liesl Tommy at the Calderwood Pavilion Scenic Design by Clint Ramos Conceived by Philip Himberg and Maureen Costume Design by Kathleen Geldard McGovern Lighting Design by Lap Chi Chu Directed by Philip Himberg Original Music/Sound Design/Music Direction by Broken Musical Direction by Jeffrey Harris Chord Scenic Design by Cristina Todesco Stage Managed by Anjee Nero Costume Design by Chip Schoonmaker Lighting Design by David Lander Educating Rita Projection Design by Maya Ciarrocchi Written by Willy Russell Sound Design by Ben Emerson Directed by Maria Aitken Stage Managed by Kathryn Most Scenic Design by Allen Moyer Costume Design by Nancy Brennan A Civil War Christmas: Lighting Design by Joel Silver An American Musical Celebration Sound Design/Composition by John Gromada Written by Paula Vogel Projections Design by Seaghan McKay Directed by Jessica Thebus Stage Managed by Carola Morrone Music Supervised, Arranged, and Orchestrated by Daryl Waters Sons of the Prophet Music Direction by Andrew Resnick Written by Stephen Karam Scenic Design by Dan Ostling Directed by Peter DuBois Costume Design by Miranda Hoffman Scenic Design by Anna Louizos Lighting Design by T.J. Gerckens Costume Design by Bobby Frederick Tilley II Incidental Music by Daryl Waters Lighting Design by Japhy Weideman Stage Managed by Gail Luna Sound Design by M.L. Dogg Stage Managed by Leslie Sears All My Sons Written by Arthur Miller Propeller: Richard III & Comedy of Errors Directed by David Esbjornson Written by William Shakespeare Scenic Design by Scott Bradley Directed by Edward Hall Costume Design by Elizabeth Hope Clancy Scenic & Costume Design by Michael Pavelka Lighting Design by Christopher Akerlind Lighting Design by Original Music and Sound Design by John Emerging America Festival featuring: Gromada Psyched by Ryan Landry Projection Design by Maya Ciarrocchi The Momentum by CollaborationTown Stage Managed by Carola Morrone

2009-2010 Stick Fly Fences at the Calderwood Pavilion Written by August Wilson Written by Lydia R. Diamond Directed by Kenny Leon Directed by Kenny Leon Scenic Design by Marjorie Bradley Kellogg Scenic Design by David Gallo Costume Design by Mariann Verheyen Costume Design by Reggie Ray Lighting Design by Ann Wrightson Lighting Design by Allen Lee Hughes Sound Design by Ben Emerson Sound Design by Timothy J. Thompson Stage Managed by Leslie Sears Stage Managed by Kathryn Most

71 Becky Shaw The Corn is Green Written by Gina Gionfriddo Written by Emlyn Williams Directed by Peter DuBois Directed by Nicholas Martin Scenic Design by Derek McLane Scenic Design by Jim Noone Costume Design by Jeff Mahshie Costume Design by Bob Morgan Lighting Design by David Weiner Lighting Design by Frances Aronson Sound Design by Walter Trarbach Sound Design by Drew Levy Stage Managed by Lori Ann Zepp Stage Managed by Brandon Kahn

Prelude to a Kiss Two Men of Florence Written by Craig Lucas Written by Richard Goodwin Directed by Peter DuBois Directed by Edward Hall Scenic Design by Scott Bradley Scenic Design by Francis O’Conner Costume Design by Elizabeth Hope Clancy Costume Design by Francis O’Conner Lighting Design by Japhy Weideman Lighting Design by Ben Omerod Original Music and Sound Design by David Sound Design by Matt McKenzie Remedios Stage Managed by Gail Luna Projection Design by Maya Ciarrocchi The Miracle at Naples Stage Managed by Leslie Sears at the Calderwood Pavilion

Written by David Grimm Emerging America Festival featuring: Directed by Peter DuBois Two Emerging Voices/One Double Bill Scenic Design by Alexander Dodge at the Calderwood Pavilion Costume Design by Anita Yavich Love Song in Two Voices by Amy Herzog Lighting Design by Rui Rita Seven Minutes in Heaven by Steven Levenson Sound Design by Ben Emerson

Stage Managed by Leslie Sears 2008-2009

How Shakespeare Won the West Pirates! (or, Gilbert and Sullivan Written by Richard Nelson Plunder’d) Directed by Jonathan Moscone Written by W.S. Gilbert and Sir Arthur Sullivan Scenic Design by Antje Ellerman Adapted by Nell Benjamin Costume Design by Laurie Churba Directed by Gordon Greenberg Lighting Design by Japhy Weideman Scenic Design by Rob Bissinger Sound Design by Rob Milburn and Michael Costume Design by David Woolard Bodeen Lighting Design by Jeff Croiter Stage Managed by Bethany Ford Sound Design by Drew Levy and Tony Smolenski Boleros for the Disenchanted Stage Managed by Gail Luna at the Calderwood Pavilion Written by José Rivera Adam Pascal Live Directed by Chay Yew at the Calderwood Pavilion Scenic Design by Alexander Dodge Written by Adam Pascal Costume Design by Anita Yavich Lighting Design by Paul Whitaker Wishful Drinking Sound Design by Fabian Obispo Created and performed by Carrie Fisher Stage Managed by Lori Doyle Directed by Tony Taccone

Rock ‘n’ Roll Judy Gold is Mommy Queerest Written by Tom Stoppard at the Calderwood Pavilion Directed by Carey Perloff Written by Judy Gold Scenic Design by Doug Schmidt Directed by Damon W. Arrington Costume Design by Alex Jaegar Lighting Design by Robert Wierzel Sound Design by Jake Rodriguez Stage Managed by Kimberly Mark Webb

72 2007-2008 The Cry of the Reed Alfred Hitchcock’s The 39 Steps at the Calderwood Pavilion Original Book by John Buchan Written by Sinan Unel Original Concept by Simon Corble and Nobby Directed by Danny Goldstein Dimon Scenic Design by Eugene Lee Adapted by Patrick Barlow Costume Design by Laurie Churba Directed by Maria Aitken Lighting Design by Michael Chybowski Scenic Design by Peter McKintosh Sound Design by Eric Shim Costume Design by Peter McKintosh Stage Managed by Gail Luna Lighting Design by Kevin Adams Sound Design by Mic Pool She Loves Me Stage Managed by Nevin Hedley Book by Joe Masteroff Lyrics by Sheldon Harnick Brendan Music by Jerry Bock at the Calderwood Pavilion Directed by Nicholas Martin Written by Ronan Noone Choreographed by Dennis Jones Directed by Justin Waldman Musical Direction by Charlie Alterman Scenic Design by Alexander Dodge Scenic Design by Jim Noone Costume Design by Marian Verheyen Costume Design by Bob Morgan Lighting Design by Jeff Croiter Lighting Design by Kenny Posner & Philip Sound Design by Fitz Patton Rosenberg Stage Managed by Eileen Kelly Sound Design by Drew Levy & Tony Smolenski IV Stage Managed by Matt Silver Streamers Written by David Rabe 25 Questions for a Jewish Mother Directed by Scott Ellis at the Calderwood Pavilion Scenic Design by Neil Patel Written by Kate Moira Ryan and Judy Gold Costume Design by Tom Broeker Directed by Karen Kohlhaas Lighting Design by Jeff Croiter Scenic Design by Louis Thompson Sound Design by John Gromada Lighting Design by Jennifer Tipton Stage Managed by Stephen Kaus Sound Design by Jorge Muelle Stage Managed by Damon Arrington Third Written by Wendy Wasserstein Shakespeare’s Actresses in America Directed by Rick Seer at the Calderwood Pavilion Scenic Design by Ralph Funicello Written by Rebekah Maggor Costume Design by Bob Morgan Directed by Karin Coonrod Lighting Design by Matt Richards Costume Design by Oana Botez-Ban Sound Design by Bruce Ellman Lighting Design by Brian Scott Stage Managed by Stephen Kaus Sound Design by Tony Geballe Stage Managed by Melissa Daroff Shining City Written by Conor McPherson Huntington Presents Directed by Robert Falls The Atheist Scenic Design by Santo Loquasto at the Calderwood Pavilion Costume Design by Kay Voyce Written by Ronan Noone Lighting Design by Chris Akerlind Directed by Justin Waldman Sound Design by Obediah Eaves Scenic Design by Christina Todesco Stage Managed by Eileen Kelly Costume Design by Jessica Curtwright Lighting Design by Ben Stanton Sound Design by Alex Neumann Stage Managed by Stephen Kaus

73 Ennio! Well at the Calderwood Pavilion Written by Lisa Kron Written by Ennio Marchetto Directed by Leigh Silverman Costume Design by Sosthen Hennekam Scenic Design by Tony Walton Costume Design by Miranda Hoffman Breaking Ground: Lighting Design by Chris Akerlind New Play Readings Festival Sound Design by John Gromada Unknown Soldier Music & Lyrics Michael Stage Managed by Steve Kaus Friedman, Book & Lyrics by Daniel Goldstein Sense of an Ending by Ken Urban Persephone Thomas Repair by Mat Smart at the Calderwood Pavilion Broke-ology by Nathan Louis Written by Noah Haidle Caroline in Jersey by Melinda Lopez Directed by Nicholas Martin Scenic Design by David Korins 2006-2007 Costume Design by Jenny Mannis Radio Golf Lighting Design by Ben Stanton Written by August Wilson Sound Design by Mark Bennett Directed by Kenny Leon Stage Managed by David Lurie Scenic Design by David Gallo Costume Design by Susan Hilferty Present Laughter Lighting Design by Don Holder Written by Noel Coward Sound Design by Dan Moses Schrier Directed by Nicholas Martin Stage Managed by Marion Friedman Scenic Design by Alexander Dodge Costume Design by Mariann Verheyen Mauritius Lighting Design by Rui Rita at the Calderwood Pavilion Sound Design by Drew Levy Written by Theresa Rebeck Stage Managed by Steve Kaus Directed by Rebecca Taichman Scenic Design by Eugene Lee Huntington Presents: Kiki & Herb: Alive Costume Design by Miranda Hoffman From Broadway Lighting Design by Paul Whitaker at the Calderwood Pavilion Sound Design by Marty Desjardins Created and executed by Justin Bond and Kenny Stage Managed by Steve Kaus Mellman Scenic Design by Scott Pask Rabbit Hole Costume Design by Marc Happel Written by David Lindsay-Abaire Lighting Design by Jeff Croiter Directed by John Tillinger Sound Design by Brett Jarvis Scenic Design by Jim Noone Stage Managed by Daniel Kells Costume Design by Laurie Churba Lighting Design by Dennis Parichy Breaking Ground: Sound Design by John Gromada New Play Readings Festival Stage Managed by Thom Kauffman Alexandros by Melinda Lopez Geometry of Fire by Stephen Belber The Cherry Orchard Parallelogram by Kate Snodgrass Written by Anton Chekhov Cry of the Reed by Sinan Unel Adapted by Richard Nelson Searching for God in Suburbia by Matt Hoverman Directed by Nicholas Martin Claire Silva by John Shea Scenic Design by Ralph Funicello Costume Design by Bob Morgan Lighting Design by Don Holder Sound Design by Drew Levy Stage Managed by Steve Kaus

74 2005-2006 Love’s Labour’s Lost The Real Thing Written by William Shakespeare Written by Tom Stoppard Directed by Nicholas Martin Directed by Evan Yionoulis Scenic Design by Alexander Dodge Scenic Design by Kris Stone Costume Design by Mariann Verheyen Costume Design by Katherine Roth Lighting Design by Ben Stanton Lighting Design by Stephen Strawbridge Sound Design by Drew Levy Sound Design by Daniel Baker Original Composition by Michael Friedman Stage Managed by Thom Kauffman Stage Managed by Stephen M. Kaus

Carol Mulroney The Road Home: Re-Membering America at the Calderwood Pavilion at the Calderwood Pavilion Written by Stephen Belber Written by Marc Wolf Directed by Lisa Peterson Directed by David Schweizer Scenic Design by Rachel Hauck Scenic Design by Andrew Lieberman Costume Design by Kristin Glans Costume Design by David Zinn Lighting Design by Alexander V. Nichols Lighting Design by Peter West Original Music & Sound Design by John Gromada Sound Design by Rob Kaplowitz Stage Managed by David H. Lurie Stage Managed by Thom Kauffman

Huntington Presents: Forbidden The Sisters Rosensweig Broadway, SVU Written by Wendy Wasserstein at the Calderwood Pavilion Directed by Nicholas Martin Created, Written, and Directed by Gerard Scenic Design by David Korins Alessandrini Costume Design by Robert Morgan Musical Direction by Chatherine Stornetta Lighting Design by Rui Rita Choreography by Phillip George Sound Design by Drew Levy Costume Design by Alvin Colt Stage Managed by Stephen M. Kaus Lighting Design by Marc Janowitz Stage Managed by Jane Siebels Les Liaisons Dangereuses Written by Christopher Hampton Breaking Ground: New Play Readings Directed by Daniel Goldstein Festival Scenic Design by James Noone Kind Hearts and Coronets by Steven Lutvak and Costume Design by Erin Chainani Robert Freedman Lighting Design by Mark Stanley Persephone by Noah Haidle Sound Design by Benjamin Emerson Voyeurs de Venus by Lydia Diamond Original Music by Loren Toolajian Property by Valerie Martin Stage Managed by Stephen M. Kaus Atheist by Ronan Noone Mauritius by Theresa Rebeck The Hopper Collection Written by Mat Smart 2004-2005 Directed by Daniel Aukin Gem of the Ocean Scenic Design by Adam Stockhausen Written by August Wilson Costume Design by Kaye Voyce Directed by Kenny Leon Lighting Design by Matt Frey Scenic Design by David Gallo Sound Design by Benjamin Emerson Costume Design by Constanza Romero Stage Managed by Stephen M. Kaus Lighting Design by Don Holder Sound Design by Dan Moses Schrier Original Composition by Kathryn Bostic Stage Managed by Narda Alcorn

75 Sonia Flew Culture Clash in AmeriCCA at the Calderwood Pavilion at the Calderwood Pavilion Written by Melinda Lopez Created, Written, and Performed by Richard Directed by Nicholas Martin Montoya, Ric Salinas, and Herbert Siguenza Scenic Design by Adam Stockhausen Direction by Richard Montoya Costume Design by Kristin Glans Costume Design by Herbert Siguenza Lighting Design by Frances Aronson Lighting Design by Ken Elliott Sound Design by Drew Levy Sound Design by Gabe Wood and Richard Stage Managed by David H. Lurie Montoya Choreography by Ric Salinas Playboy of the Western World Stage Managed by Jane Siebels at the Wilbur Theatre Written by J.M. Synge Falsettos Directed by Ben Barnes Music and Lyrics by William Finn Designed by Guido Tondino Book by Rachel Sheinkin Lighting Design by Peter Mumford Conceived by Rebecca Feldman Directed by Danny Goldstein Burn This Scenic Design by David Korins Written by Lanford Wilson Costume Design by Miguel Huidor Directed by Susan Fenichell Lighting Design by Don Holder Scenic Design by James Noone Sound Design by Zach Moore Costume Design by Candice Donnelly Stage Managed by Steve Kaus Lighting Design by M.L. Geiger Sound Design by Drew Levy Laughing Wild Stage Managed by Thom Kauffman at the Calderwood Pavilion Written by Christopher Durang The Rivals Directed by Nicholas Martin Written by Richard Brimsley Sheridan Scenic Design by Jon Savage Directed by Nicholas Martin Costume Design by Jeff Mahshie Scenic Design by Alexander Dodge Lighting Design by Charles Foster Costume Design by Michael Krass Sound Design by Gabe Wood Lighting Design by Dennis Parichy Stage Managed by Jane Siebels Sound Design by Jerry Yager Stage Managed by Stephen M. Kaus Stages: Hinges Keep a City at the Calderwood Pavilion Trumbo: Red, White and Blacklisted Written by Kirsten Greenidge at the Calderwood Pavilion Directed by Judy Braha Written by Christopher Trumbo Scenic Design by Tijana Bjelajac Directed by Peter Askin Costume Design by Christine Alger Scenic Design by Loy Arcenas Lighting Design by Steve McIntosh Lighting Design by Jeff Croiter Sound Design by Ben Emerson Music and Sound Design by John Gromada Choreographed by Christine Bennett Video Design by Dennis Diamond Stage Managed by Jillian Oliver Stage Managed by Arabella Powell Breaking Ground: 36 Views New Play Readings Festival Written by Naomi Iizuka Smiler Becoming Yank by Ronan Noone Directed by Evan Yionoulis The Hopper Collection by Mat Smart Scenic Design by Adam Stockhausen Two Days at Home, Three Days in Prison by Costume Design by Teresa Snider-Stein Rebekah Maggor Lighting Design by Chris Parry Pen by David Marshall Grant Sound Design by David Budries Marvel by Joshua Scher Stage Managed by Thom Kauffman Create Fate by Etan Frankel

76 2003-2004 The Rose Tattoo Ain’t Misbehavin’ Written by Tennessee Williams Based on an idea by Murray Horwitz and Directed by Nicholas Martin Richard Maltby, Jr. Scenic Design by James Noone with music by Thomas "Fats" Waller Costume Design by Michael Krass Directed and Choreographed by Marcia Milgrom Lighting Design by Kevin Adams Dodge Sound Design by Jerry Yager Scenic Design by James Noone Stage Managed by Thom Kauffman Costume Design by Michael Krass Lighting Design by Michael Philippi Breaking Ground: Sound Design by Ben Emerson New Play Readings Festival Stage Managed by Thom Kauffman Stabbing by Stephen Belber The Ice-Breaker by David Rambo Butley Sonia Flew by Melinda Lopez Written by Simon Gray Jasper Lake by John Kuntz Directed by Nicholas Martin Pathetique by Sinan Unel Scenic Design by Alexander Dodge Lily book by Peter Flynn, music and lyrics by Costume Design by Michael Krass Brooks Ashmanskas Lighting Design by David Weiner Sound Design by Kurt Kellenberger 2002-2003 Stage Managed by Stephen Kaus A Month in the Country Adapted by Brian Friel As You Like It From Ivan Turgenev at the Wilbur Theatre Directed by Nicholas Martin Written by William Shakespeare Scenic Design by Alexander Dodge Directed by Sir Peter Hall Costume Design by Michael Krass Scenic Design by John Gunter Lighting Design by Jeff Croiter Costume Design by John Gunter Sound Design by Jerry Yager Lighting Design by Peter Mumford Stage Managed by Kelley Kirkpatrick Sound Design by Gregory Clarke Composed by Mick Sands Marty Stage Managed by Thomas Kauffman Music by Charles Strauss Lyrics by Lee Adams Bad Dates Book by Rupert Holmes Written by Theresa Rebeck Directed by Mark Brokaw Directed by John Benjamin Hickey Scenic Design by Robert Jones Scenic Design by Derek McLane Costume Design by Jess Goldstein Costume Design by Mattie Ulrich Lighting Design by Mark McCullough Lighting Design by Frances Aronson Sound Design by Kurt Fischer Sound Design by Bruce Ellman Stage Managed by James Fitzsimmons Stage Managed by Meghan Schneid

What the Butler Saw The Tale of The Alergist’s Wife Written by Joe Orton at the Wilbur Theatre Directed by Darko Tresnjak Written by Charles Busch Scenic Design by David Gordon Directed by Lynne Meadow Costume Design by Linda Cho Scenic Design by Santo Loquasto Lighting Design by Matthew Richards Costume Design by Ann Roth Sound Design by Ben Emerson Lighting Design by Christopher Akerlind Stage Managed by Thom Kauffman Sound Design by Bruce Ellman and Brian Ronan Stage Managed by Robert Witherow

77 The Blue Demon Heartbreak House Written and Directed by Darko Tresnjak Written by George Bernard Shaw Scenic Design by David Gordon Directed by Darko Tresnjak Costume Design by Linda Cho Scenic Design by Alexander Dodge Lighting Design by Rui Rita Costume Design by Linda Cho Sound Design by Kurt Kellenberger Lighting Design by Rui Rita Stage Managed by Thom Kauffman Sound Design by Jerry Yager Stage Managed by Janet Takami Breath, Boom Written by Kia Corthron Nixon's Nixon Directed by Michael John Garces Written by Russell Lees Scenic Design by Adam Stockhausen Directed by Charles Towers Costume Design by Karen Perry Scenic Design by Bill Clark Lighting Design by Kirk Bookman Costume Design by Hillary Derby Sound Design by Martin Desjardins Lighting Design by Dan Kotlowitz Stage Managed by Thom Kauffman Sound Design by Ben Emerson Stage Managed by Thomas Kauffman Springtime for Henry Written by Benn W. Levy Observe the Sons of Ulster Directed by Nicholas Martin Marching Towards the Somme Scenic Design by James Noone at the Wilbur Theatre Costume Design by Michael Krass Written by Frank McGuinness Lighting Design by David Weiner Directed by Nicholas Martin Sound Design by Kurt Kellenberger Scenic Design by Alexander Dodge Stage Managed by Stephen M. Kaus Costume Design by Michael Krass Lighting Design by Francis Aronson Cookin’ at the Cookery Sound Design by Jerry Yager Written and Directed by Marion J. Caffey Stage Managed by Alex Lyu Volckhausen Scenic and Lighting Design by Dale Jordan Costume Design by Marilyn Wall Ten Unknowns Written by Jon Robin Baitz 2001-2002 Directed by Evan Yionoulis James Joyce's The Dead Scenic Design by Adam Stockhausen Book by Richard Nelson Costume Design by Tom Booker Music by Shaun Davey Lighting Design by Donald Holder Lyrics conceived and adapted by Sound Design by Ben Emerson Richard Nelson and Shaun Davey Stage Managed by Thom Kauffman Directed by Richard Nelson Scenic Design by David Jenkins The Maiden's Prayer Costume Design by Jane Greenwood at Studio 210 Lighting Design by Jennifer Tipton Written by Nicky Silver Sound Design by Jeff Curtis Directed by Scott Edmiston Stage Managed by Julie Haber Scenic Design by Janie Howland Costume Design by Gail Astrid Buckley Betty's Summer Vacation Lighting Design by Karen J. Perlow Written by Christopher Durang Sound Design by Dewey Dellay Directed by Nicholas Martin Stage Managed by Steve Kaus Scenic Design by Tom Lynch Costume Design by Michael Krass Lighting Design by Kevin Adams Sound Design by Kurt Kellenberger Stage Managed by Grayson Meritt

78 2000-2001 The Amen Corner Dead End Written by James Baldwin Written by Sidney Kingsley directed by Chuck Smith Directed by Nicholas Martin Scenic Design by Felix Cochren Scenic Design by Jim Noone Costume Design by Birgit Rattenborg Wise Costume Design by Michael Krass Lighting Design by Robert Christen Lighting Design by Ken Posner Sound Design by Michael Bodeen Sound Design by Kurt Kellenberger Stage Managed by Thom Kauffman Stage Managed by Kelley Kirkpatrick/ Printha McCallum 1999-2000 Mrs. Warren's Profession A Fair Country Written by George Bernard Shaw Written by Jon Robin Baitz Directed by Michael Bloom Directed by Anna D. Shapiro Scenic Design by Russell Parkman Scenic Design by Mark Wendland Costume Design by Lindsay Davis Costume Design by Karin Kopischke Lighting Design by Nancy Schertler Lighting Design by Kevin Adams Stage Managed by Corrine Marrinan Sound Design by Ben Emerson Stage Managed by Thom Kauffman The Last Hurrah Adapted and Directed by Eric Simonson Fully Committed Based on the novel by Edwin O'Connor at the Wilbur Theatre Scenic Design by James Wolk Written by Becky Mode Costume Design by Karen Kopischke Directed by Nicholas Martin Lighting Design by Don Holder Co-production with Broadway in Sound Design by Mitch Greenhill Boston/SFX Theatrical Group Stage Managed by Thom Kauffman Scenic Design by Jim Noone Lighting Design by Frances Aronson Sisters Matsumoto Sound Design by Ben Emerson Written by Philip Kan Gotanda Stage Managed by Bess Marie Glorioso Directed by Sharon Ott Scenic Design by Kate Edwards Hedda Gabler Costume Design by Lydia Tanji Written by Henrik Ibsen Lighting Design by Nancy Schertler Adapted by Jon Robin Baitz Sound Design by Jeff Mockus Directed by Nicholas Martin Stage Managed by Tanya Gillette Scenic Design by Alexander Dodge Costume Design by Michael Krass Mary Stuart Lighting Design by Kevin Adams Written by Friedrich Schiller Sound Design by Jerry Yager Translated by Michael Feingold Stage Managed by Kelley Kirkpatrick Directed by Carey Perloff Scenic Design by Ralph Funicello Amphitryon Costume Design by Deborah Dryden Written by Moliere Lighting Design by Peter Maradudin Directed by Darko Tresnjak Sound Design by Garth Hemphill Scenic Design by David Gordon Stage Managed by Kimberly Webb Costume Design by Linda Cho Lighting Design by Fraces Aronson King Hedley II Sound Design by Jerry Yager Written by August Wilson Stage Managed by Grayson Merrit Directed by Marion Isaac McClinton Scenic Design by David Gallo Costume Design by Toni-Leslie James Lighting Design by Don Holder Sound Design by Rob Milburn

79 1998-1999 1997-1998 Gross Indecency: The Three The Game of Love and Chance Trials of Oscar Wilde Written by Marivaux Written by Moisés Kaufman Adapted and Directed by Stephen Wadsworth Directed by Michael Bloom Scenic Design by Tom Lynch Scenic Design by Robert Schmidt Costume Design by Martin Pakledinaz Costume Design by David Murin Lighting Design by Peter Kaczorowski Lighting Design by Nancy Schertler Stage Managed by Mary-Susan Gregson Sound Design by Ben Emerson Stage Managed by Thom Kauffman Cabaret Verboten An Evening Created by Jeremy Lawrence Jitney Directed by Martin L. Platt Written by August Wilson Scenic Design by Russell Parkman Directed by Marion McClinton Costume Design by Holly Poe Durbin Scenic Design by David Gallo Lighting Design by Robert Wiertzel Costume Design by Susan McKay Sound Design by Ben Emerson Lighting Design by Don Holder Stage Managed by Thom Kauffman Sound Design by Rob Milburn Stage Managed by Diane DiVita The Shaughraun Written by Dion Boucicault A Midsummer Night's Dream Directed by Larry Carpenter Written by William Shakespeare Scenic Design by James Youmans Directed by Mary Zimmerman Costume Design by David Murin Scenic Design by Scott Bradley Lighting Design by Phil Monat Costume Design by Mara Blumenfeld Sound Design by Stephen LeGrand Lighting Design by Scott Zielinski Stage Managed by Jennifer Lynn Brown Sound Design by Michael Bodeen Stage Managed by Thom Kauffman Collected Stories Written by Donald Margulies The Steward of Christendom Drected by Jacques Cartier Written by Sebastian Barry Scenic Design by Karl Eigsti Directed by Edward Gilbert Costume Design by Lindsay W Davis Scenic Design by James Wolk Lighting Design by Roger Meeker Costume Design by Pamela Scofield Stage Managed by Jennifer Lynn Brown Lighting Design by Tom Sturge Sound Design by Ben Emerson Nomathemba Stage Managed by Thom Kauffman at the Shubert Theatre Written by Ntozake Shange, Eric Simonson, The Mikado and Joseph Shabalala Written by William S. Gilbert and Sir Arthur Directed by Eric Simonson Sullivan Scenic Design by Loy Archnas Directed by Larry Carpenter Costume Design by Karin Kopischke Scenic Design by James Leonard Joy Lighting Design by Kenneth Posner Costume Design by Mariann Verhyen Sound Design by Michael Bodeen Lighting Design by Don Holder Stage Managed by Mary- Susan Gregson Sound Design by Duncan Edwards Stage Managed by Wendy Walker Ah, Wilderness! Written by Eugene O'Neill Directed by Kyle Donnelly Scenic Design by Scott Bradley Costume Design by Paul Tazewell Lighting Design by Scott Zelinski Sound Design by Rob Milburn Stage Managed by Thom Kauffman

80 1996-1997 1995-1996 Arcadia Seven Guitars Written by Tom Stoppard Written by August Wilson Directed by Jacques Cartier Directed by Lloyd Richards Scenic Design by Karl Eigsti Scenic Design by Scott Bradley Costume Design by Lindsay Davis Costume Design by Constanza Romero Lighting Design by Roger Meeker Lighting Design by Chris Akerlind Stage Managed by Timothy Jason Smith Sound Design by Tom Clark Stage Managed by Jane E Neufeld Journey to the West Translated by Anthony C. Yu The Young Man from Atlanta Adapted and Directed by Mary Zimmerman Written by Horton Foote Scenic Design by Scott Bradley Directed by Peter Masterson Costume Design by Allison Reeds Set Design by E. David Cosier Lighting Design by TJ Gerckens Costume Design by Teresa Snider-Stein Sound Design by Michael Bodeen Lighting Design by Christopher Akerlind Stage Managed by Joseph Smelser Stage Managed by David Hyslop

The Glass Menagerie Iolanthe Written by Tennessee Williams Book and Lyrics by William S. Gilbert Directed by Charles Towers Music by Arthur Sullivan Scenic Design by Bill Clarke Directed by Larry Carpenter Costume Design by Mariann Verhayen Scenic Design by James Leonard Joy Lighting Design by Nancy Schertler Costume Design by Mariann Verheyen Stage Managed by Jennifer Lynn Brown Lighting Design by Marcia Madeira Sound Design by John Kilgore Blues for an Alabama Sky Stage Managed by Timothy Jason Smith Written by Pearl Cleage Directed by Kenny Leon Hamlet Scenic Design by Marjorie Bradley Kellogg Written by William Shakespeare Costume Design by Susan E. Mickey Directed by Eric Simonson Lighting Design by Ann G. Wrightson Scenic Design by Robert Brill Sound Design by David Budries Costume Design by Allison Reeds Music Composed By Dwight D. Andrews Lighting Design by Nancy Schertler Pre-show Music Designed By Brian Kettler Sound Design by Michael Bodeen Stage Managed by Barbara Reo Stage Managed by Timothy Jason Smith

Company To Kill a Mockingbird Music and Lyrics by Stephen Sondheim Original Book by Harper Lee Book by George Furth Adapted by Christopher Sergel Directed by Larry Carpenter Directed by Charles Towers Scenic Design by Loren Sherman Scenic Design by Bill Clarke Costume Design by Toni-Leslie James Costume Design by Elizabeth Novak Lighting Design by Phil Monat Lighting Design by Jackie Manassee Sound Design by Duncan Edwards Stage Managed by Timothy Jason Smith Stage Managed by Jennifer Lynn Brown

81 1994-1995 The Lady From the Sea The Woman Warrior Written by Henrik Ibsen Based on the works The Woman Warrior and Directed by Sharon Ott China Men by Maxine Hong Kingston Scenic Design by Kate Edmunds Adapted by Deborah Rogin Costume Design by Deb Dryden Directed by Sharon Ott Lighting Design by Peter Marudin Scenic Design by Ming Cho Lee Stage Managed by Kimberly Mark Webb Costume Design by Susan Hilferty Lighting Design by Peter Marudin A Christmas Carol Sound Design by Stephen LeGrand Written by Charles Dickens Stage Managed by Robin Rumpf Adapted and Directed by LarryCarpenter Musical Direction by Catherine Stornetta Pterodactyls Scenic Design by James Leonard Joy Written by Nicky Silver Costume Design by Mariann Verheyen Directed by Mark Brokaw Lighting Design by Craig Miller Scenic Design by Allen Moyer Sound Design by John Kilgore Costume Design by Susan E Mickey Stage Managed by Jennifer Lynn Brown Lighting Design by Pat Dignan Stage Managed by William H. Lang The Importance of Being Earnest Written by Oscar Wilde As You Like It Directed by Jacques Cartier Written by William Shakespeare Scenic Design by Bob Morgan Directed by Edward Gilbert Costume Design by David Murin Scenic Design by Marjorie Bradley Kellogg Lighting Design by Roger Meeker Costume Design by Mariann Verheyen Stage Managed by Michael Suenkel Lighting Design by Dennis Parichy Stage Managed by Jane Rothman Ronis Bang the Drum Slowly The Guardsman Written by Mark Harris Written by Ferenc Molnar Adapted and directed by Eric Simonson Directed by Jacques Cartier Scenic Design by James Leonard Joy Scenic Design by James Leonard Joy Costume Design by Susan E Mickey Costume Design by Lindsay W Davis Lighting Design by Rita Pietraszek Lighting Design by Roger Meeker Sound Design by Rob Milburn Stage Managed by Jennifer Lynn Brown Stage Managed by Jennifer Lynn Brown

A Streetcar Named Desire A Raisin in the Sun Written by Tennessee Williams Written by Lorraine Hansberry Directed by Charles Towers Directed by Kenny Leon Scenic Design by Mark Wendland Scenic Design by Marjorie Bradley Kellogg Costume Design by Erin Quigley Lighting Design by Ann Wrightson Lighting Design by Nancy Schertler Costume Design by Susan E Mickey Sound Design by Pam Emerson Stage Managed by Jennifer Lynn Brown Stage Managed by Jennifer Lynn Brown

1993-1994 From the Mississippi Delta Written by Dr. Endesha Ida Mae Holland Directed by Kenny Leon Scenic Design by Marjorie Kellogg Costume Design by Susan E Mickey Lighting Design by Ann Wrightson Stage Managed by Jennifer Lynn Brown

82 1992-1993 Pal Joey 1991-1992 Music by Richard Rodgers The Snow Ball Lyrics by Lorenz Hart Written by A.R. Gurney Book by John O'Hara Directed by Jack O'Brien Adapted by Richard Greenberg Directed by David Warren Tartuffe Scenic Design by John Arnone Written by Moliere Costume Design byToni-Leslie James Directed by Jacques Cartier Lighting Design by Peter Kaczorowski Sound Design by Darryl Bornstein A Christmas Carol Stage Managed by Jennifer Lynn Brown Written by Charles Dickens Adapted and directed by Larry Carpenter Long Day's Journey into Night Written by Eugene O'Neill The Little Foxes Directed by Edward Gilbert Written by Lillian Hellman Scenic Design by Karl Eigsti Directed by Kyle Donnelly Costume Design by Mariann Verheyen Lighting Design by Nick Cernovitch Cymbeline Stage Managed by Renee Alexander Written by William Shakespeare Directed by Larry Carpenter A Christmas Carol Written by Charles Dickens The Way of the World Adapted and directed by LarryCarpenter Written by William Congreve Musical direction by Catherine Stornetta Directed by Sharon Ott Scenic Design by James Leonard Joy Costume Design by Mariann Verheyen 1990-1991 Lighting Design by Craig Miller H.M.S. Pinafore Sound Design by John Kilgore Written by William S. Gilbert and Sir Arthur Stage Managed by Jennifer Lynn Brown Sullivan Directed by Larry Carpenter My Mother Said I Never Should Scenic Design by James Leonard Joy Written by Charlotte Keatley Costume Design by Mariann Verheyen Directed by Charles Towers Lighting Design by Stuart Duke Scenic Design by John Fallabella Lighting Design by Jackie Mannassee Two Trains Running Costume Design by Barbara Kravitz Written by August Wilson Sound Design by David Strang Directed by Lloyd Richards

Undiscovered Country Aristocrats Written by Arthur Schnitzler Written by Brian Friel Adapted by Tom Stoppard Directed by Kyle Donnelly Directed by Jacques Cartier Scenic Design by Kate Edmunds Iphigenia Costume Design by John Fallabella Written by Euripides Lighting Design by Roger Meeker Directed by Tazewell Thompson Stage Managed by Jennifer Brown Travesties Arms and the Man Written by Tom Stoppard Written by George Bernard Shaw Directed by Jacques Cartier Directed by Larry Carpenter Scenic Design by James Leonard Joy 1989-1990 Costume Design by David Murin Hyde Park Lighting Design by Marcia Madiera Written by James Shirley Stage Managed by Jennifer Brown Directed by Kyle Donnelly 83

Boesman and Lena Animal Crackers Written by Athol Fugard Written by George S. Kaufman and Morrie Directed by Tazewell Thompson Ryskind Directed by Larry Carpenter O Pioneers! Written by Willa Cather 1986-1987 Adapted by Darrah Cloud Joe Turner's Come and Gone Directed by Kevin Kuhlke Written by August Wilson Directed by Lloyd Richards The Merry Wives of Windsor Written by William Shakespeare Heartbreak House Directed by Edward Gilbert Written by George Bernard Shaw Directed by Edward Gilbert The Lady from Maxim's Written by Georges Feydeau Awake and Sing Directed by Larry Carpenter Written by Clifford Odets Directed by Ben Levit 1988-1989 The American Clock Jumpers Written by Arthur Miller Written by Tom Stoppard Directed by Jackson Phippin Directed by Jacques Cartier

Don Juan The Diary of A Scoundrel Written by Molière Written by Alexander Ostrovsky Directed by Jacques Cartier Directed by Larry Carpenter

Les Blancs 1985-1986 Written by Lorraine Hansberry Sullivan and Gilbert Directed by Harold Scott Written by Kenneth Ludwig Directed by Larry Carpenter All's Well That Ends Well Written by William Shakespeare The Misanthrope Directed by Edward Gilbert Written by Molière Candide Directed by Edward Gilbert Written by Voltaire Music by Leonard Bernstein The Birthday Party Directed by Larry Carpenter Written by Harold Pinter Directed by Ben Levit 1987-1988 Remembrance Saint Joan Written by Graham Reid Written by George Bernard Shaw Directed by Munson Hicks Directed by Jacques Cartier

The Winter's Tale On the Verge Written by William Shakespeare Written by Eric Overmyer Directed by Sharon Ott Directed by Pamela Berlin

The Piano Lesson 1984-1985 Written by August Wilson You Never Know Directed by Lloyd Richards Music and lyrics by Cole Porter Directed by Paul Lazarus Saturday, Sunday, Monday Written by Eduardo de Filippo Directed by Jacques Cartier 84 Twelfth Night The Taming of the Shrew Written by William Shakespeare Written by William Shakespeare Directed by Thomas Gruenewald Directed by Toby Robertson

Uncle Vanya Written by Anton Chekhov Directed by Jacques Cartier

Terra Nova Written by Ted Tally Directed by Michael Murray

The Plough and the Stars Written by Sean O'Casey Directed by Pamela Berlin

1983-1984 Design for Living Written by Noel Coward Directed by Ken Ruta

Uncommon Women and Others Written by Wendy Wasserstein Directed by Larry Carpenter

Cyrano de Bergerac Written by Edmond Rostand Directed by Jacques Cartier

Plenty Written by David Hare Directed by Edward Gilbert

On the Razzle Written by Tom Stoppard Adapted from Johann Nestroy Directed by Thomas Gruenewald

1982-1983 Night and Day Written by Tom Stoppard Directed by Toby Robertson

The Dining Room Written by A.R. Gurney Directed by Thomas Gruenewald

Translations Written by Brian Friel Directed by Jacques Cartier

Time and the Conways Written by J.B. Priestley Directed by Elinor Renfield

85