University Musical Society

SIPAEFORD FESTIVAL Oscar Wilde's The Importance of Being Earnest Tbesday Evening, November 16,1993 at 8:00 Wednesday Afternoon, November 17,1993 at 1:00 Wednesday Evening, November 17,1993 at 7:00 Power Center for the Performing Arts Ann Arbor, Michigan

The Cast (in order of appearance)

Algernon Monoieff ...... LORNE KENNEDY Lane, a manservant ...... BRIAN TREE John Worthing J.P...... COLM FEORE Lady Bracknell ...... PAT GALLOWAY Hon. Gwendolen Fairfax ...... LUCY PEACOCK Miss Prism, agoverness ...... BARBARA BRYNE Cecily Cardew ...... MARION DAY Merriman, a butler...... WILLIAM NEEDLES Rev. Canon Chasuble D.D...... RICHARD CURNOCK Footmen ...... MARCRUEL FRANK ZOTTER

UNDERSTUDIES MARC RUEL (John Worthing J.P.), BRIAN TREE (Rev. Canon Chasuble D.D.), FRANK ZOTTER (Algernon, Lane, Merriman)

A special thanks to David William, Artistic Director, Stratford Festival and Debra Hansoa Head of Design, Stratford Festival, for their Philips Educational Presentations. Immediately following all performances of the Importance of Being Earnest, audience members are invited to join cast members for an informal chat in the Power Center. (Please note that due to technical considerations, Wednesday night's post-performance chat will be held in the Power Center Green Room.)

Large print programs are available from your usher upon request. 18th, 19th, and 20th Performances of the 115th Season 23rd Annual Choice Series Production Credits

Directed by ...... DAVID WILLIAM Costumes Designed by ...... MOLLY HARRIS CAMPBELL Sets Designed by ...... GARY THOMAS THORNE Lighting Designed by ...... JOHN MUNRO 1993 Stage Manager...... JHLARY GRAHAM Board of Governors Assistant Stage Managers...... ANN STUART MAXWELL T. WILSON Founder Production Stage Manager...... HILARY GRAHAM Mr. Tom Patterson Assistant Designer ...... DAVID GRIFFITH Assistant Lighting Designer ...... LINDA BABINS President Mr. Thomas C. O'Neill, Toronto Wardrobe Mistresses - SHARON PARKER, GATL HOMERSHAM- ROBERTSON, Stage Carpenter - JEREMY LACK, Master Officers Electrician - TIMOTHY HANSOM, Property Master - LES Vice-President MacLEAN, Sound - DAVID BERWICK, Mrs. Julia Foster, Toronto Stage Crew - ART FORTIN, NEIL DENNISON, Wigs - GERALD Hanourary Treasurer ALTENBURG DAVE KERR, Production Carpenter - NEE. R. CHENEY Mr. Robert E. Mountain, Stratford Honourary Secretary ACKNOWLEDGEMENTS Mrs. Sandra Pitblado, Toronto Special Thanks To: MAVIS THEATRICAL SUPPLIES, MARILYN DALLMAN. Governors: We are grateful to Eveready Canada Inc., Mr. Louis Applebaum, Toronto JOT their generous donation ofEnergizer Ms. Suzanne McDonald Aziz, London Batteries to the Stratford Festival. Mr. Paul Beeston, Toronto Mr. Raphael Bernstein, New York Mr. E.S. (Ted) Blowes, Stratford THERE WILL BE ONE 15 MINUTE INTERMISSION. Ms. Adrian Burns, Ottawa Mr. Navin Chandaria, Toronto Ms. Molly Copus Christie, Stratford Mr. F. A. Comper, Toronto Mrs. H. Nicki Douglas, Toronto Mr. Hugh Edighoffer, Mitchell Mr. Rowland W. Fleming, Toronto Mr. John S. Hayes, Stratford Mrs. Patti Hnatiw, Oakville Dr. Ronald lanni, Windsor Ms. Linda Intaschi, Toronto Mr. Martin A. Jones, Montreal Mrs. Sherry Kelley, Glenview Mr. Anthony H. Little, London Mss. Theresa Masterman, Kitchener Dr. Edward McGee, Waterloo Mr. Michael H. McGregor, Chatham Mr. lan H. McLeod, Toronto Mr. Grant McPherson, Stratford Mr. Robert McTavish, Stratford Sen. Michael A. Meighen, Toronto Mr. James C. Preston, St. Louis Mr. Jonas J. Prince, Toronto Mrs. Muriel Sherrin, Toronto Mr. George S. Taylor, St. Marys Mr. William L. Wallace, Oakville Mr. Andy W. Werner, Stratford Ex Officio Member Design scketches for Lady Bracknell His Worship Dave Hunt, by Molly Harris Campbell. Mayor of Stratford University Musical Society

STRATFORD FESIWAL Underwriters* Ameritech Ann Aibor Area Community Foundation Arts Midwest Nancy Bishop, Associate Broker, Edward Surovell Co./Realtors Chelsea Milling (Mr. and Mrs. Howard Holmes) City of Ann Arbor Mr. Ralph Conger (in memory of his brother, Graham) Detroit and Canada Tunnel Corporation Dobson-McOmber Agency, Inc. First of America Ford Motor Company Benard L. Maas Foundation Charlotte McGeoch Michigan Council for Arts and Cultural Affairs Michigan National Bank Miller Canfield Paddock and Stone Mosaic Foundation (of Rita & Peter Heydon) Paideia Foundation Millard and Jerry Pryor Republic Bank Ann Arbor Herbert Sloan Edward Surovell Co./Realtors Estelle Titiev TriMas Other generous friends and supporters of the University Musical Society

The University Musical Society has been blessed with supporters who, when funding for this Stratford Festival residency was in question last spring, stepped forward as guarantors to assure the achievement of the required funding level. We are grateful to:

Catherine S. Arcure Maurice and Linda Binkow Ron and Sheila Cresswell Ken, Penny and Matt Fischer Charlotte McGeoch Richard and Susan Rogel Drs. Irving and Carol Smokier Mrs. Elizabeth Stranahan Ed Surovell Estelle Titiev and several other wonderful friends who wish to remain anonymous

This list represents underwriting commitments received as of November 5, 1993. We regret the omission of names of supporters whose underwriting support came after that date. The Importance of Being Earnest by Oscar Wilde

Jack Worthing has been leading a double life, posing as Ernest in town so that he can attribute his escapades to a fictitious broth­ er. His friend Algernon dis­ covers the deception at the same time he discovers that Jack has been hiding a pretty young ward, Cecily, on his country estate. Jack wants to marry Algernon's cousin, the lovely Gwendolen Fairfax. Gwendolen arrives at Algernon's flat, accompanied by her mother, the formida­ ble Lady Bracknell. Jack's proposal is accepted by Gwendolen, who reveals that she has had a lifelong passion for the name Ernest, which she believes is Jack's true name. Lady Bracknell rebuffs him, however, when she leams that Jack is adopted, having been found as an infant in a handbag at Victoria Station. Gwendolen is forced to leave but not before she secretly notes Jack's country address. Algernon arrives at the country estate and introduces himself as the wicked brother Ernest. He meets and falls in love with Cecily, who confesses that she has worshipped him from afar since first learning that Jack had a brother named Ernest, as she has always wanted to marry someone of that name. His proposal follows instantly and is eagerly accepted. Jack arrives dressed in deepest mourning and, meeting Cecily in the garden, announces his brother's demise, only to hear from her that Ernest, far from being dead, is in good health and waiting inside the house. Gwendolen arrives and is entertained by Cecily. Exchanging pleasantries, the girls are dismayed to find that they are both engaged to Ernest Worthing. Confronted by their respective fiancees, Jack and Algernon are forced to explain and are forgiven, providing they both agree to be rechristened Ernest. The cere­ mony is arranged for the same day but before it can take place, Lady Bracknell arrives. After learning of Cecily's potential wealth she agrees to permit her mar­ riage to Algernon, but still rejects Jack as a possible husband for Gwendolen. All ends happily, however, when Cecily's governess, Miss Prism, arriving to witness the baptism, is recognized by Lady Bracknell as a former employee of her own family. It is learned the baby absent-mindedly mislaid at Victoria Station is none other than the son of Lady Bracknell's sister. Not only does Jack have impeccable family credentials, his real name is Ernest. Oscar Wilde

Oscar Fingal O'Flahertie Wills Wilde was born into a distinguished Dublin family in 1854. Following a brilliant academic career at Trinity College, Dublin, and Magdalen College, Oxford, he settled in London and became a major spokesman for the Aesthetic art for art's sake Movement. Satirized mercilessly by Punch and by Gilbert and Sullivan in Patience, he rapidly became an international celebrity, announcing to amazed U.S. Customs officers in New York in 1882 that "I have nothing to declare but my genius." That same year, after a futile In 1884 he married Constance attempt to sue the Marquis of Wilde was Lloyd, beautiful daughter of a promi­ Queensberry for libel, nent Irish barrister; their two children, brought into court on charges of being Cyril and Vyvyan, were bom in 1885 homosexual - a criminal offence. The in and 1886. To support his family Wilde first jury failed to reach a verdict but and turned to journalism, first as reviewer a second trial he was found guilty in for the Pall Mall Gazette and later as sentenced to two years hard labour editor of The Woman's World. During Reading Gaol. He lived just three and these years he produced a wide variety a half years after his release from of prose works, from fairy tales such as prison and this time was spent on the The Happy Prince to "decadent" novels continent, mainly in France. He died November 30, 1900, such as The Picture of Dorian Gray. His in a Paris hotel on first successful play, Lady Windermere's of cerebral meningitis. Fan was put on stage in 1892, beginning a brief but dazzling theatrical career which culminated with The Importance of Being Earnest, in 1895. the premiere of Under Milk Wood (Albery THE COMPANY Theatre, England); Sweet and Low revues (Ambassadors Theatre, England); and BARBARA BRYNE Roberto Le Diam/Bob in Irma La Douce Seventh season: Starveling in A (Lyric Theatre, England). He has also Midsummer Night's Dream, Miss Prism in The appeared extensively in regional theatres Importance of Bring Earnest; Chorus Leader throughout Canada and the United States, in Sacchae and performs in the Words and and several times both on and off- Music Concert Infinite Variety. STRAT­ Broadway. Nominated for a Dora Mavor FORD: 1992: Juno in The Tempest, The Moore Award for his role in Quartermaine's Nurse in Romeo and Juliet and Kath in Terms (Theatre Plus) and for a Joseph Entertaining Mr. Sloanc, 1991: Rose in Les Jefferson Award. FILM/TELEVISION: Belles Soeun, Bonnie to Homeward Round and Passion of the Patriots, The Tempest (CBC); and Katherine Stockmann hi An Enemy of the Paradise. People; 1990: First Witch in Macbeth, Kathleen in Home and Lily in Ah. MARION DAY Wilderness!; 1968: Puck in A Midsummer Second season: Cecily Cardew in The Night's Dream and Mme. Pemelle in Tartuffe; Importance of Being Earnest and Chorus 1967: Duchess of York in Richard HI; 1966: Member in Bacchae. STRATFORD: 1992: Maria in Twelfth Night. Recipient of the Moth in Love's Labour's Lost and appeared in 1990 Derek F. Mitchell Artistic Director's The Tempest and Romeo and Juliet. Recipient Award, given annually to an individual of a 1992 Tyrone Guthrie Award. THE­ chosen by the Artistic Director as having ATRE: Includes Little Red in Little Red made an outstanding contribution during Riding Hood (Limelight Dinner Theatre); the course of the Festival season. THE­ Marion Day Lome Beauty in Beauty and the Beast, Her Highness Kennedy ATRE: Canadian stage credits Include hi Puss and Boots and Briar Rose in The Smereldina in The Servant of Two Masters Sleeping Beauty (Theatre 5, Kingston); and Des-Neiges in Les Belles Soeurs; 1990: (Royal Alexandra Theatre); Mrs. Lena in A Good Baby (Caravan Farm Marjorie in Home, Sarah in Memoir and The Biederman in The Firebugs (The Canadian Theatre). National Theatre School credits Citizen's Wife in The Knight of the Burning Players); and Ginnie Gogan in The Plough include Minette in The Cat, Nina Calanl in Pestle (which she also co-directed); 1989: and the Stars (Manitoba Theatre Centre). On Pil a la pane, Belly/Edward in Cloud 9, Le Margery Eyre in The Shoemakers' Holiday, Broadway Ms. Bryne created the roles of Beau/Amiens in As You Like It and Beatrice 1987: Ranyevskaya in The Cherry Orchard; George's Mother and Blair Daniels in Joanna in The Changeling. FILM/TELEVI­ 1982: Queen Elizabeth in Mary Stuart; 1980: Sunday in the Park with George and Jack's SION: Equal Opportunity (NFS). TRAINING: Tamora in Titus Andronicur, 1976 & 1975: Mother in Into the Woods and appeared in Graduate of the National Theatre School. Gwendolen in The Importance of Being the television versions and on the RCA Earnest; 1975: Joan in Saint Joan-,1974: recordings of these shows. She also played COLM FEORE Rosaline in Love's Labour's Lost; 1972: Clara in Hayfever at the Music Box Theatre. 12th season: Oberon in A Midsummer Lorenzo de Medicci in Lorenzaccio; 1971: She spent 10 seasons with the Cuthrie Night's Dream, Dionysus in Bacchae, John Lady Macbeth in Macbeth and the title role Theatre, where she played such roles as Worthing in The Importance of Being Earnest in The Duchess ofMalf. Toured to Denmark, Amanda Wingfield in The Glass Menagerie, and performs in the Words and Music Holland, Poland and Russia hi 1973 (Kate Dolly Lev! in The Matchmaker, Paulina in Concert My Shakespeare. An Associate in The Taming of the Shrew, Goneril in King The Winter's Tale, and Queen Elizabeth I in Director of the Stratford Festival. Lear); and hi 1974 to Australia (Toinette in Mary Stuart, for which she won a Kudos STRATFORD: Includes 1992: Merculio in The Imaginary Invalid). THEATRE: Spent Award. Received a 1981 Drama Desk Romeo and Juliet, Berowne in Love's Labour's several seasons with the Manitoba Theatre Award nomination for her performance as Lost and Angelo in Measure for Measure; Centre and Shaw Festival and has played Kath in Entertaining Mr. Shane, in New 1991: the title role in Hamlet, Benedick in in numerous Canadian and American the­ York. She repeated the role in 1987 at the Much Ado About Nothing and Horace in The atres. Mark Taper Forum in Los Angeles, where School for Wives; 1990: Frank Ford in The she won a Drama Loge Award. Merry Wives of Windsor, Valentine in Love for LORNE KENNEDY FILM/TELEVISION: The movies Amadeus Lovt, Hippolytus in Phaedra and Cassius in llth season: Algernon Moncrieff in The and The Bostonians; The Best of the West Julius Caesar, 1988: the title role in Richard Importance of Being Earnest, Chatillon hi King (ABC); SvengaS, Maid in America and Mystery m, Petruchio in The Taming of the Shrew and John and Diomedes hi Antony and Cleopatra. at Fire Island (CBC); and Love Sydney series Alhos in The Three Musketeers; 1987: lago in STRATFORD: Acting credits include (NEC).______Othello, Joseph Surface in The School for 1992: Tybalt in Romeo and Juliet: Provost in Scandal and Yasha in The Cherry Orchard; Measure for Measure and Sebastian in The RICHARD CURNOCK 1986: lachimo in CymbeHne and Leontes in Tempest; 1991: Don John in Much Ado About 18th season: Tiresias in Bacchae and The Winter's Tale; 1985: Orsino hi Twelfth Nothing, Dr. Livesey in Treasure Island and Chasuble in The Importance of Being Earnest. Night and Charles Marlow in She Stoops to Poet hi Timon of Athens: 1989: Hammon in STRATFORD: Includes 1990: Svetlovidov Conquer, 1984: Romeo in Romeo and Juliet. The Shoemakers' Holiday, 1988: Aramis in in Swan Song; 1989: Sir Tunbelly Clumsey THEATRE: Valmonl in Les Liaisons The Three Musketeers, Fourth Tempter/ in The Relapse and Quince in A Midsummer Dangereuses (Theatre Calgary); Edmund Fourth Knight in Murder in the Cathedral; Night's Dream; 1988: Bob in Irma La Douce, Tyrone in Long Day's Journey into Night 1987: Dr. Rank in Nora; 1986: Horatio in Colonel Pickering in My Pair Lady and Hamlet; 1980: Dauphin in Henry V, (Citadel Theatre); and James Tyrone in A Sebastian in Twelfth Night; Lafew in All's Well That Ends Well; 1987: Moon for the Misbegotten (Grand Theatre). Directing credits Crabtree in The School for Scandal, Chaplain FILM/TELEVISION: Beautiful Dreamers include 1989: The Proposal; 1990: Forever in Mother Courage and Herr Schultz in (Cinexus); Yours, Marie-Lou. THEATRE: Acting credits Bethune, The Making of a Hero include Brother Martin in Cabaret; 1986: Polonius in Hamlet, 1982: (Film Line); Iron Eagle U (Alliance Films); St. Joan (National Pistol in The Merry Wives of Windsor, 1981: Actors Theatre, Lyceum Theatre, New Friday the nth and War of the Worlds York); Max Brod in Kafka's Dick, The Banks in Wild Oats; 198ft Medvyedenko in (Triumph Entertainment); Diamonds (CBS/ Historical The Seagull and Dogberry Event in How I Got That Story (The in Much Ado About CTV); and A Nest of Singing Birds, Skate, Citadel Theatre); the title Nothing; 1979: Lane in The Importance of Adrienne Clarkson's Artemisia (CBC); role in Nicholas Being Earnest; Nickleby, Ferdinand hi The Duchess ofMalfi, 1978: Clcomines in The Beyond Reality and Francois Girard's Thirty- Marchbanks in Candida, Touchstone in As Winter's Tale; 1977: Snout in A Midsummer Two Short Films About Glenn Could Night's Dream; You Like It, Malcolm hi Macbeth; Max in 1976: Kulygin in Three Sisters; (Rhombus). Bent; John Merrick in The Elephant Man; 1975: Sir Eglamour in The Two Gentlemen of Banjo in The Man Who Came to Dinner Verona; Diafoirus in The Imaginary Invalid; PAT GALLOWAY (Manitoba Theatre Centre); the title role in 1973: Pandarus/Escanes hi Pericles; 1971: 25th season: Lady Bracknell in The Dracula and Oscar in Doc (Neptune Vatelin in There's One in Every Marriage; Importance of Being Earnest. STRATFORD: Theatre); Joseph Surface in The School for 1970: Roland in The Friends. THEATRE: Includes 1992: Liesl in World of Wonders, Scandal and Curley in Of Mice and Men Made his stage debut as a boy actor in the Lucienne in Bonjour, la, Bonjour and per­ (Vancouver Playhouse); Clive/Cathy in 1934 London Palladium production of Peter formed hi Words and Music 3: The Female of Cloud 9 (Bayvicw Playhouse, Toronto). Pan. Further credits include appearances in the Species; 1991: Melissa in Love Letters and Directing credits include Scaramouche (Mount Royal College, Calgary); Alice in MARC RUEL Wonderland and Shine Boy (Neptune Second season: First Guard in Antony and Theatre); and Cloud 9 (Manitoba Theatre Cleopatra, Lysander in A Midsummer Night's Centre). Dream and Footman in The Importance of Being Earnest. STRATFORD: 1992: Serge in Bonjour, la, Bonjour, Busker in World of WILLIAM NEEDLES Lost. in Wonders and appeared in Love's Labour's 34th season: Pop in Gypsy and Merriman THEATRE: C.D. in Stark and Estragon in The Importance of Being Earnest. STRAT­ Waiting for Godot (Generic Theatre Inc.); The FORD: Includes 1992: Alonso in The Duke in Man of La Mancha and Jeffrey to Tempest and Sir Nathaniel in Love's Labour's Godspell (Association of Producing Artists, Lost; 1991: Heavenly Friend in Carousel, Quebec/Theatre Lac Brome); DCS in Thin Ice Slimson in Our Town and Morten Kill in An and The Monster to Night Light (Geordie Enemy of the People-, 1990: Justice Shallow in Productions Inc.); Stephen to Line (Line The Merry Wives of Windsor, David Productions), for which he received the McCombcr in Ah, Wilderness!; 1989: Most Promising Young Performer Award, Ferapont in Three Sisters, Dr. Baugh in Cat on 1988 Quebec Drama Festival. Concordia a Hot Tin Roof, and the Chorus in Henry V; University credits include Herr Gabor in 1988: The Pedant in The Taming of the Shrew, Spring Awakening, Le Vieux Monsieur to Les Louis XIII in The Three Musketeers and Sir Chaises, Peter in The Zoo Story, The Robert Brackenbury/Keeper in Richard HI; Policeman in Blood on a Cat's Neck and 1987: Pandarus in Troilus and Cressida, Firs Balthasar in Much Ado About Nothing. in The Cherry Orchard and the Old Colonel FILM/TELEVISION: Map of the Human in Mother Courage. Has performed in every Heart (Working Title Films); SnakeEaters ffl Marc Ruel play of Shake-speare's cannon except The (Cineplex Productions); Pagan the Ungodly Two Gentlemen of Verona. Toured Denmark, (Shalites Inc.); Starting from Scratch Holland, Poland and Russia with King Lear (Molstar); The Classic (Telescinema Taurus); and The Taming of the Shrew in 1972. Toured and Sacred Land (Lande Film). TRAINING: Australia with The Imaginary Invalid in 1974. B.F.A. from Concordia University. DEC to (Touchstone Theatre/Arts Club); Fred to A THEATRE: British debut at Edinburgh, Music, CEGEP St. LaurenL Christmas Carol (Theatre Calgary); Lupu to with Christopher Plummer in Henry V in Baal (The Banff Festival); Byron to Bloody 1956. Debuled in London in The Glass Cage BRIAN TREE Poetry, Arnold to The Cat (Western National (Piccadilly Theatre, in 1957). Has per­ Seventh season: Euphronius in Antony and tour); Betty/Edward in Cloud 9 , Touch­ formed in major theatres across Canada and Cleopatra, Peter Quince in A Midsummer stone in As You Like It, De floreas to The the United States between Stratford Night's Dream and Lane in The Importance of Changeling and Myshkin in The Idiot engagements. Credits include leading roles Being Earnest. STRATFORD: 1992: Telegin (National Theatre School); Pugachev to The in Next Time I'll Sing to You, Moby Dick and to Uncle Vanya and Elbow in Measure for Suicide (York University Theatre); and Gary Hadrian VII (on Broadway); Box Mao Box Measure, 1991: Verges in Much Ado About in No Earthy Business (Kawartha Summer (Studio Arena, Buffalo); Butley, Le Bourgeois Nothing, Israel Hands in Treasure Island and Theatre). Played Mike to Peacekeeper (CBC- Gentilhomme and Equus (University of Painter in Timon of Athens; 1990: Radio's Sunday Matinee Series). TRAIN­ California, Irvine Campus); The Merchant of Seyton/Third Murderer in Macbeth, ING: National Theatre School, York Venice and played Leonato in Much Ado Trapland in Love for Love, Cecil Slocker in University and Banff Advanced Actor's About Nothing (South Coast Repertory Co., One Tiger to a Hill and Nym in Henry V; 1989: Workshop. Costa Mesa, California). Appointed Artist Tubal in The Merchant of Venice and Hodge in in Residence with the Drama Department The Shoemakers' Holiday, 1988: Gremio in The of the University of California, 1974. Taming of the Shrew, Coquenard in The Three DIRECTOR Musketeers and Lord Mayor in Richard HI; LUCY PEACOCK 1987: Agamemnon to Troilus and Cressida DAVID WILLIAM Ninth season: Titania in A Midsummer and a Sergeant in Mother Courage. THE­ 16th season: Fourth season as Artistic Night's Dream, Gwendolen Fairfax in The ATRE: Includes Jim in Passion (The Grand Director of the Stratford Festival Director Importance of Being Earnest, Chorus Member Theatre and The Bastion Theatre); Derek of Bacchae and The Importance of Being Earnest. in Bacchae and performs in the Words and Meadle to Quartermaine's Terms and Bob Devised and directed the Words and Music Music Concert The Beat Goes On. STRAT­ Cratchit in A Christmas Carol (Theatre Concert My Shakespeare. STRATFORD: FORD: 1992: Princess of France in Love's Calgary); Bri in A Day in the Death of Joe Egg 1992: Directed The Tempest and Entertaining Labour's Lost, Yelena in Uncle Vanya and per­ (Citadel Theatre). Spent three consecutive Mr. Sloane. Played Serebryakov in Uncle formed in Words and Music 1: Family seasons with the National Arts Centre, Vanya and performed in Words and Music 5: Experience, 1990: Rosalind in As You Like It, where his roles included Nick Bottom in A Satire; 1991: Directed Love Letters, Treasure Aricia in Phaedra and Lady Macduff in Midsummer Night's Dream, Lord Hastings to Island and Hamlet; 1990: Love for Love, Macbeth; 1989: Masha in Three Sisters, Richard III, Lieutenant Trotter in Journey's Macbeth (co-directed) and As You Like It (also Lavinia in Titus Andronicus, Luciana in The End, Charles Condomine to Blithe Spirit and played Jaques); 1989: The Shoemakers' Comedy of Errors and Titania in A Midsummer Dad in Trafford Tanzi (National Arts Holiday, 1988: Murder in the Cathedral; 1987: Night's Dream; 1988: Eliza Doolittle in My Centre/Toronto Free Theatre). Troilus and Cressida; 1986: The Winter's Tale, Pair Lady, Lady Anne in Richard III and TRAINING: Trained in England under 1985: She Stoops to Conquer and Antigone; Helena in All's Well That Ends Well; 1987: the Joan Littlewood. Started his career as a 1984: Separate Tables; 1977: Romeo and Juliet; title role in Nora, Olga Knipper in Intimate stunt driver for British television before 1973: Othello; 1972: King Lear, 1971: Volpone, Admiration and Cassandra in Troilus and working for repertory theatres in England. 1967: Albert Herring and The Merry Wives of Cressida; 1986: Singing Gentlewoman in Windsor, 1966: Twelfth Night. THEATRE: Henry vnf, Ophelia in Hamlet and Ophelia FRANK ZOTTER International career spans 25 years, both Dead; and acting and directing. Productions to Britain in Rosencrantz and Guildenstern are Stratford debut: Eros in Antony at the National Theatre, London's West 1985: Gaoler's Daughter in The Two Noble Cleopatra, Puck in A Midsummer Night's Dream Theatre, and the Chichester Mrs. Sullen in The Beaux Stratagem in The Importance of Being End, Mermaid Kinsmen, and appears and Edinburgh festivals. Founder and first and Second Messenger in Antigone; 1984: Earnest. THEATRE: Bobby in the world Artistic Director of the Ludlow Festival. Lucetta in The Two Gentlemen of Verona. THE­ premiere of George F. Walker's Tough! Has been Artistic Director of the Glasgow ATRE: Mina in Dracula (Young People's (Green Thumb Theatre); The Beast in Citizens' Theatre, the Nottingham Theatre). Theatre credits throughout Beauty and the Beast (Young People's Playhouse, the New Shakespeare Company Canada include appearances at Centaur Theatre); Paul/Gelutio in Power Play in London and the National Theatre of Theatre Company, Globe Theatre (Regina), (Mulroney Prod.); Allan to Flesh and Blood Israel. U.S. credits include New York, Phoenix Theatre (Edmonton) and Toronto (Theatre Direct); Seymour to Dead Serious Washington, D.C. (Arena Stage and Free Theatre. FILM/TELEVISION: Street (Arts Club/Western Canada Theatre Kreeger Theater), San Francisco (A.C.T.) Legal, The Road to Avonlea and Material World Company); Cleante to The Miser (Vancouver and Stratford, Connecticut. Opera credits (CBC). TRAINING: Graduate of the Playhouse); Kane in Unidentified Human include Director of the world premieres of National Theatre School Remains and the True Nature of Love Therese (Royal Opera House, Covent LIGHTING DESIGNER ANN STUART Garden); The Lighthouse (Edinburgh 12th season: Stage Manager of A Festival); as well as Iphigenie en Tauride and Midsummer Night's Dream, The Hlusion.and the The Fairy Queen (Lisbon); Lit Traviata JOHN MUNRO Variety. (Camden Words and Music Concert Infinite (Scottish Opera); // Re Pasture Sixth season: Lighting Designer of Bacchae Assistant Stage Manager for Ann Arbor Festival); and Albert Herring (Aldeburgh and The Importance of Being Earnest. STRAT­ residency of The Importance of Being Earnest. Festival). Has taught extensively in the FORD: 1992: Entertaining Mr. Sloane; 1991: include Stage the Army he STRATFORD: Credits U.S., Canada and Britain. In Treasure Island; 1990: One Tiger to a Hilt 1989: Manager of 1992: The Tempest and The Two achieved 27 marks out of a pos­ Three Sisters and Henry V; 1987: The Cherry Hamlet and bicycle. Gentlemen of Verona; 1991: sible 30 for "rough-riding" a motor Orchard and Intimate Admiration. THEATRE: Homeward Bound; 1990: Macbeth and Phaedra; Has been responsible for the design and 1989: The Proposal and The Changeling; 1980: DESIGNERS execution of hundreds of touring musical Virginia (which transferred to the presentations at the National Arts Centre Haymarket Theatre in London, England); since 1969. Extensive design credits at the 1979: Barren/Yerma and Ned and Jack. MOLLY HARRIS CAMPBELL NAC include Henry V, The Oresteia of 13th season: Costume Designer of The Assistant Stage Manager of 22 productions Aeschylus, Duet for One; The Tempest, Waiting including Romeo and Juliet, Antigone and The Importance of Being Earnest. STRATFORD: for the Parade, The Floating World, Blood 1992: Costume Designer of World of Winter's Tale directed by David William; The Relations, The Wood Demon, Beatrice and Guardsman, King Lear and Cymbeline directed Wonders; 1981: The Visit; 1975: Designer of Benedick, Julius Caesar, A Gift to Last, Map of The Importance of Being Earnest; The Two by Robin Phillips; and Richard II directed the World and M. Butterfly. Further credits by Zoe Caldwell. Won the Artistic Gentlemen of Verona. Trained in the include Fire, The Dreamland, Singer and To Wardrobe Department for nine seasons. Director's Award in 1980. THEATRE: Grandmother's House We Go (Canadian Stage Member of the 1983/84 Grand Theatre THEATRE: Theatre Calgary credits include Company); Hank Williams The Show He Costume Designer of Amis and the Man, Irma Company, where she stage managed The Never Gave (Canada/U.S./Euro-pean tour); A Doctor's Dilemma and assisted on four pro­ La Douce, Private Lives, The Alchemist and Black Walk in the Woods (The Citadel Comedy and While Lies. Costume Designer of ductions including Arsenic and Old Lace and Theatre/NAC/The Grand Theatre); and The DearAntoine, and later stage managed 'Night Made In America (Mark Taper Forum, Los Stone Angel (Neptune Theatre). Designed Angeles); and Costume Co-ordinator of The Mother, directed by Martha Henry. Other lighting for the 1987,1990 and 1992 Canada credits include Stage Manager of Wendy Playboy of the Western World (Vivian Dance Festivals and numerous new works Beaumont Theater, New York). Assistant to Lill's The Occupation of Heather Rose, Don for Ottawa Ballet. Opera credits at (he NAC Hannah's In the Lobster Capital of the World, Desmond Heeley for Cymric and to Alan include The Marriage of Figaro, Don Giovanni, Barlow for There's One In Every Marriage Daniel Maclvor's somewhere i have never trav­ Carmen, Madatna Butterfly, Cosi fan tutte. The elled and John Murrell's Wailing for the (Broadway). FILM/TELEVISION: Magic Flute and La Boheme. Member of the Women's Costume Supervisor of LA. Law Parade (Tarragon Theatre); The Recruiting Associ-ated Designers of Canada and IATSE. and Our Country's Good (Royal Court 1992/1993 (NEC); Assistant Costume ty College in Edmonton. Officer Designer of Passenger 57 (Warner); Costume Theatre at Canadian Stage); The Idler Designer of Lambchop's Play Along Show (Theater Plus); and Robertson Davies' (PBS); Love and Bullets (Lorimar); Amen STAGE MANAGEMENT Leaven of Malice (Hart House Theatre, (NEC series); Dear John (Paramount); Mr. Toronto). President (Fox); and Have You Tried Talking to Patty (CBS). Costume Supervisor of Night HILARY GRAHAM MAXWELL T. WILSON Court, Scarecrow ef Mrs. King (Warner); and Eighth season: Production Stage Manager Fourth season: Assistant Stage Manager of Remington Steele (MTM). Has been nominat­ at the Avon Theatre and Stage Manager of Antony and Cleopatra, A Midsummer Night's ed for Academy of Television Arts and The Importance of Being Earnest. Assistant Dream, Gypsy and The Imaginary Invalid. Sciences Emmy Award on six occasions Stage Manager for Ann Arbor residency of Assistant Stage Manager for Ann Arbor and was recipient of an Emmy for A Midsummer Night's Dream. STRATFORD: residency of The Importance of Being Earnest. Outstanding Achievement in Costuming Stage management credits include 1992: STRATFORD: Assistant Stage Manager of for a Special for The Babe Ruth Story (NEC), Stage Manager of Love's Labour's Lost and 1992: Uncle Vanya, Shirley Valentine and The September 1992. TRAINING: Graduate of Measure for Measure, 1991: Love Letters and Two Gentlemen of Verona; 1991: Timon of Waterloo Lutheran University. Timon of Athens; 1990: Forever Yours, Marie- Athens, The Rules of the Game, The Knight of the Lou; 1989: Love's Labour's Lost; 1987: The Burning Pestle (also 1990) and Love Letters; GARY THOMAS THORNE School for Scandal and Assistant Stage 1990: Forever Yours, Marie Lou, Phaedra and Fifth season:Sel Designer of The Importance Manager of Cabaret; 1986: Stage Manager of the double bill of The Grand Inquisitor/Swan of Being Earnest STRATFORD: 1992: Pericles and Assistant Stage Manager of Swij.THEATRE: Credits include Stage Designer of Entertaining Mr. Sloanc, 1991: Cymbeline; 1985: Assistant Stage Manager of Manager of The Rich Man (Work-shop West Twelfth Night (Sets), An Enemy of the People The Government Inspector. Production Stage Playwrights Theatre); Assistant Stage (Costumes) and Knight of the Burning Pestle Manager of the Avon Theatre in 1988, the Manager of Dialogues of the Carmelites (Sets); 1990: Designer of Knight of the Third Stage from 1989 to 1990 and the Tom (Manitoba Opera); Albert Herring and Romeo Burning Pestle and Assistant Designer of Love Patterson Theatre in 1991. THEATRE: et Juliette (Canadian Opera Company); Die For Love; 1989: Three Sisters and The Stage Manager of the Belgrade Theatre, Fledermaus, The Flying Dutchman, Eugene Shoemakers' Holiday. THEATRE: London Coventry; Assistant Stage Manager of Onegin and The Marriage of Figaro (Edmonton exhibitions include the Royal Academy Marlene Diclrich's 1973 British tour; and Opera); and A Midsummer Night's Dream, The Summer Exhibition and The Mall Gallery also worked in stage management with the Crucible and The Lion, The Witch and The (Trafalgar Square). British theatre credits Royal Shakespeare Company for seven Wardrobe (Citadel Theatre). Other credits include design of six premiere productions years on such productions as The Comedy of include Stage Management Co-ordinator of with Pop Up Children's Theatre Co.; The Errors, Henry IV, Part I and Part II, Much Ado the 1989 Edmonton Teen Festival of the Twist (Unicom Theatre); and West Side Story, About Nothing, Uncle Vanya, Piaf, Richard III, Arts and Production Co-ordinator of the The Importance of Being Earnest, The Railway Babies Grow Old, Macbeth and The Merchant of 1989 EdmontOH Children's Festival (Citadel Children, Peter Pan, Murder in the Cathedral Venice. Was Casting Co-ordinator of the Theatre); as well as numerous productions and Intimate Exchange (Mercury Theatre). World University Games in Edmonton and for the Edmonton Fringe Festival. TRAIN­ Designer of The Seagull and The Threepenny has also worked at the Citadel Theatre, ING: B.A. from the University of Opera (University of Newfoundland); where she was Production Stage Manager Lethbridge, Alberta, and also studied ZastrozB and Reckless (Costumes) as well as for the Young Company (1990) as well as Theatre Production at Grant MacEwan Designer of four productions at the Stage Manager of Jacob Two-Two and the Community College in Edmonton. Playrites Festival in 1992 (Costumes) and Dinosaur (Citadel Theatre/Young People's 1993 (Sets). (Alberta Theatre Projects). Theatre). Other stage management credits TRAINING: Studied at the Alberta College include Peter Pan, Long Day's Journey into of Art prior to study in Sydney, Australia, Night, King Lear, Guys 0 Dolls and Amadeus London, England and Florence, Italy. Has (Citadel Theatre); Shirley Valentine, A Change completed the Byam Shaw Diploma of Fine of Mind and Panther and Jaguar (Alberta Art, London Diploma of Art and Design Theatre Projects); and A Christmas Carol and and the Margaret Harris (Motley) Theatre Les Liaisons Dangereuses (Theatre Calgary). Design Course, all in England. TRAINING: London Academy of Music and Dramatic Art, England. The Story Behind the Stratford Festival Residency in Ann Arbor by Ken Fischer, UMS Executive Director

It's the spring of 1991. University Presentations, and our opera and dance Musical Society Development Director programs for young people. They also Catherine Arcure and I are having lunch learned of our desire to be working more with Canadian Consul General Anne closely with area schools and with Charles and members of her staff in Detroit. University academic units in collaborative Whenever a Canadian artist or ensemble projects that would benefit students and appears under the auspices of the Musical faculty. Society, Ms. Charles supports the perfor­ Stratford Artistic Director David mance by inviting special guests and hosting William and Producer Colleen Blake visited social events. She loves the performing arts Ann Arbor in the fall of 1991 to become and is proud to introduce local leaders in familiar with the theaters, to meet with business, politics, education, and the media community and University representatives, to outstanding Canadian artists. Anne and to meet with leaders of the UMS Board Charles has boundless energy and enthusi­ of Directors and staff to discuss next steps. asm and is a joy with which to work. There was much excitement about the On this bright spring day, we're looking prospect of the residency and the planning over offerings for the the upcoming 1991/92 continued. It was determined that the pro­ season and beginning to make preliminary ductions would be mounted in the Power plans for the November visit by the Center. Canadian Brass. Anne recounts recent During the 1991/92 season, the UMS conversations she has had with the people was developing a long-range plan. Among at the Stratford Festival in Ontario centering its many objectives, the plan called for the on their interest in developing new Society to explore new art forms, to reach audiences and in developing new relation­ out to new audiences, and to find new ways ships with presenters. Anne says, "I think to work collaboratively with the University you two ought to talk with the folks at and community. The Stratford Residency Stratford." And before we know it in would fit these objectives perfectly. But typical Anne Charles fashion we adjourn there was one other critical factor: all of to Anne's office where she places a call to the above must be accomplished in a fiscally Stratford...and, as they say, the rest is responsible manner. To make it's last history. objective very clear, the plan required "up- Conversations began with our front" funding for any new artistic ventures. colleagues at Stratford. We spoke by phone The belief was that if the new venture held and learned about their commitment to enough promise for developing new audiences for their work. success, then the Society should be capable We learned that 15% of Stratford's audience of finding sufficient outside support for it. comes from the state of Michigan and that We were willing to take risks with new they'd like to see that figure grow. We dis­ ventures, but we were not in a position to cussed then- past week-long residency sustain heavy losses if the venture failed. . at Dartmouth College and the educational Board and staff agreed that before we could activities that supplemented the perfor­ announce the Stratford residency, we would mances. Stratford learned about the Musical need to raise $150,000. Society's interest in exploring new genres of Fund-raising efforts began in earnest presentations beyond music and dance. in the summer of 1992. We began conversa­ They discovered that while there is good tions with a major corporation which had resident theater in Ann Arbor, there is very expressed interest in the Stratford Residency little touring theater. We told them of our as an exclusive underwriter. The corpora­ new educational initiatives including the tion would not be able to commit, however, Michigan MozartFest, Philips Educational until after January 1993. In July of 1992, six members of the expected us to deliver on our end. What a UMS staff visited Stratford to learn as refreshing new approach to have artists much about theater presentation as possible, express as deep a commitment to high- recognizing that theater was a new art form quality education as to high-quality for us to present. Arts Midwest, an inter­ performance. state consortium that supports the arts in The third feature was how we docu­ the midwest, provided an "arts exploration" mented "the deal." It was all done on the grant that enabled us to see performances, back of a Bentley's napkin. We determined observe the technical crew at work, visit the what the two shows would be, when they'd production shops, and meet with key be performed, and agreed to a fee, noting Stratford staff. We had known of Stratford's everything on the napkin. Then we signed reputation for producing the highest quality it. With all the attention that the Bo of theater, and our site visit helped us Schembechler/Tom Monaghan napkin deal understand how they do it through had gotten in the press. Colleen and I agreed talent, hard work, teamwork, and a to photograph the napkin just in case we commitment to excellence in everything needed to check the details later. they do. They are also creative, positive, In the fall of 1992, UMS hosted our and fun-lov­ Stratford ing people. colleagues I returned over the in September Michigan- of 1992 to /Hlinois foot­ negotiate the ball week­ final terms end. The with producer weekend Colleen began Friday Blake. I will afternoon always with a meet­ remember ing to intro­ three special duce the features of Stratford this negotia­ team to key tion, because faculty from it speaks vol­ the English umes about University Musical Society Executive Director Ken Fischer and Stratford department, our wonder­ Producer Colleen Blake with "the deal. " Residential ful colleagues College, from Canada. First of all, we held our dis­ Theater Department, School of Music, cussion not in Colleen's office, but at Humanities Institute, and other campus Bentley's, a favorite gathering place for cast units. Our Stratford friends urged the faculty and crew (and audience, too) to unwind to begin thinking about how cast and crew after performances. (A warm and friendly members could assist with classes, work­ place, reminiscent of the Pretzel Bell in the shops, seminars, and other activities during late 60s.) the residency. The next day, the technical Second, Colleen put on the negotiating people from Stratford, with clipboards firmly table the expectation that UMS would orga­ in hand, thoroughly examined the stage of nize a sufficient number of educational the Power Center to see what changes activities to engage Stratford cast and crew would be required to enable our space to an additional five hours per week, per per­ accommodate the Stratford sets. We did find son, during the residency. "By the way, Ken, time to catch a few tailgate parties and to see we're offering this service at no extra cost. the game, too. It's part of our investment in audience It is now mid-February of 1993, and we development." I was totally disarmed. More are eager to hear from our prospective spon­ often than not, I have had to beg touring sor. The 1993/94 season brochure must go artists to create extra time for educational to press at the latest by mid-March to be activities. But with Stratford, they were available for mailing to patrons in early offering their extra time as a gift to the April. But before we can announce the University and community and letting us Stratford Residency as part of the upcoming know in no uncertain terms that they season, the UMS Board must approve a business plan for the residency that includes A week before the deadline we had $150,000 in underwriting. We have a raised in cash and pledges only about half four-week window. of what we needed. We then invited special The prospective sponsor calls. But friends to consider becoming guarantors, instead of a "yes," we learn that the meaning individuals who, if we were not company has had a particularly difficult successful in raising all of the funds by quarter and does not feel it can participate in November's curtain time, would together the Stratford Residency as the exclusive contribute what would be required to reach sponsor. $ 150,000. Twelve guarantors made such a What happened in the next four weeks commitment. When the deadline arrived, was truly remarkable and demonstrated we had, in hand, cash, pledges, and just how extraordinary this community is. guarantor commitments totaling $150,000. We began to talk with local corporations, The Board approved the business plan at foundations, and individuals about the the March meeting, and the Stratford Stratford Residency project and our need to Festival project became part of our season raise $150,000 in 28 days. We found them announcement in early April. (A list of all excited to learn that the Stratford Festival contributors to the Stratford Residency is an organization that everyone knew by included in this program book.) reputation to be one of the finest theater Visits back and forth continued companies in the world would be coining throughout the spring and summer of 1993. to Ann Arbor. What particularly impressed The two productions Stratford chose to bring them, however, was the offer of each to Ann Arbor received excellent reviews member of the Stratford company to give during Stratford's season. Ticket sales for the an additional five hours during the week Ann Arbor performances are strong enough to educational activities in the university that we have added another performance and community. Checks and pledges began of A Midsummer Night's Dream on Saturday to come in. Every gift that came in during afternoon, November 20, in spite of the this time was a critically important gift, competing Ohio State game. We sold 400 but one stand out because of the level of student-priced tickets to that performance commitment and the hundreds of people in the first 24 hours. the gift represents. As of this writing, the educational The Ann Arbor Area Community component of the Stratford Residency has Foundation is a thirty-year-old philanthropic become a virtual mini-semester. More than institution that makes grants to non-profit 35 artists from the Stratford company are organizations in the community and whose sharing their time and expertise with Board is made up of leading citizens in the students from the University of Michigan Ann Arbor area. Over the years, hundreds as well as with pupils in the Ann Arbor of individuals, families, local businesses, and Schools. University students will participate other organizations from the community in discussions on all aspects of theater have made gifts to the Foundation and have production from acting to text interpreta­ entrusted it to invest and utilize the income tion, from stage design to actual production for the betterment of the community. The methods. In addition, Ann Arbor public and Foundation's Board and staff learned of our private schools will be visited by Stratford project on one day and realizing that we Festival artists who will present several were under enormous time constraints programs including the Festival's famous invited us to submit a proposal by noon of "Stratford in a Trunk" presentation for the next day so that they could consider it younger children. The enthusiasm and immediately and not wait until the next generosity of the Stratford participants is grant period which was several months only equalled by the joyous anticipation away. In less than a week, the Foundation of the students as they await the arrival put our proposal through its rigorous of Stratford on Ann Arbor. evaluation process and notified us that we Thank you for coming to this perfor­ would receive a grant of $25,000 which mance. By your wonderful support of this up to that time was the largest grant the project, we hope to be able to make the Foundation had ever awarded. That the Stratford Residency an annual occurrence. AAACF grant came so early in our intensive And please thank the underwriters whose fund-raising effort and at such a significant support at a critical time assured that the level encouraged other organizations and project could be realized. individuals to make gifts to us. ARTISTIC DIRECTOR David William Amanda Doone Sharrie-Ann Dial Charity Doone Wardrobe Buyer GENERAL MANAGER Gary Thomas Andrea Eraser Dawn Jantzi ARTISTIC DIRECTOR DESIGNATE Richard Monette Andrew Doughs Stock Co-ordinator Linda Sparks PRODUCER Colleen Blake cafota MOT. Wardrobe Assistant ErikNowak Sheila Mallon DIRECTOR OF MUSIC Berthold Carriers Jodi Williams Warehouse Co-ordinator DIRECTOR OF MARKETING 3ar Manager Robin McGibbon ^estival/Avon Assisted by AND COMMUNICATIONS Janice Price vlargo Mair Madonna Decker DIRECTOR OF DEVELOPMENT Shawn St. Michael bartenders Rick Sickinger Adam Mair Resident Cutter HEAD OF DESIGN Debra Hanson Chantell Morion Enid Larson Paul Bree Cutters Staff David Griffitn Corporate Membership Christine Audet 11 Karin Jones Philip Chown IHAININu ft OUAUHta Brenda Clark ASSOCIATE DIRECTORS John Leberg Development Assistant ^ Jr. Volce Cynthia MacLennan Colm Feore Douglas Paraschuk Diane Robinson William Hurt Bill Rasmussen Tailors Nora Polley Carolyn Smith Terri Dans SSiH3'* i^§fe£!nssisidiii vuitje uud(/n eonriATC Gayle Tribick Tenny Nigoghossian Linda Grandmaitre AooUUIAIt ' Janine Pearson DIRECTOR LAUREATE MUSIC Development Associate, Marvin Schlichting Tanya Moiseiwitsch Co-ordinator Corporate Sponsorship & Cutter's Assistant Foundations Joac/i DIRECTOR OF THE Marilyn Dallman John Broome Maren Drees YOUNG COMPANY Rehearsal Pianists Heather Rumball First Hands Assistant Movement Coach Joanne Davies Marti MaradenMararipn Marj|Laura BurtonMman (elly Arnsby AVON OFFICE: Alexander Technique Susan E. Dick LITERARY MANAGER Stephen Woodjetts Office Supervisor (elly McEvenue Clara Eusebi Elliott Hayes Fanfare Leader Trudy Tompkins StevenGlassman Shirley Lee RESIDENT DIRECTOR * James Ford Accounts/Administration Ann Penistan Rosemary Schaefer Robert Beard Fanfare Musicians Joyce Airhart Debbie Stiles David Campion Data Processor Text Consultant Marianne Wesche PRODUCTION DerekConrod Lee Brown Leslie O'Dell Christine Yundt Production Manager Jerry Johnson Development Assistant Spec/a/ Thanks to Wilfrid Seamstresses Paul Shaw Holly Shephard Michelle Purdy Laurier University Deanna Anthony Technical Director Orchestra Supervisors Development Assistant STAGE MANAGEMENT Kathleen Babcock RonKresky Holly Shephard Christine Tucker estival Theatre Vivian Baumann Technical Director -Avon rjon sweete Telemarketing Office: Production Lise Belanger Paul Bates Copyist GayAllison ^fa/rp Manan/>r'c ^9" Mamger R?!H Wiknn" Jean Southgate Elizabeth Copeman Technical Buyer ^fw f°$er Rod Wilson Maxwell T.Wilson Joyce Critchlow ADMINISTRATION Apprentice Luciana Dassie Technical Co-ordinator, Services Manager Secretary to the Stage Manager Amanda Davis Tom Patterson Theatre Christopher Loudon Foundation Andrew North Jeanne de Bretan Andrew Ball Education Liaison Noreen Ollivier Avon Theatre Carolyn Embree Exhibits Co-ordinator p.^ ,Qu!S eV Comptroller Production Anne Gagnon Robert Ihrig ArchMSt Evelyn Mueller Stage Manager Dolores Gummow Secretary to the n8?, . Accounting Supervisor Hilary Graham Angela Horner Artistic Director £«**«*' Marian Workman Stage Manager Domenica lacobellis Susan Lemenchick AJltt (j?tlnfy , Marion Isherwood . Assistant to the Artistic Marketing Associates: Accounting Assistants Marylu Mover Dianne Matt Assistant Stage Managers C. Arlene Innes Director Designate LisaBrudy Cheryl McCorquodale Stephen M. Grasset Laurie Krempien-Hall SeanTrotin , ^ucation Payroll Assistants LisaGoueffic Mary Ellen Kroetsch Assistant to the Janetdmonds Shirley Bell Apprentice Lmda Kukulski . Production Manager **«*>toff Serv'°es Heather Marriott Stage Manager Denyse Lagace Cheryl Bender Ra£hel Hl lon Cheryl McCorquodale Chris Hidalgo Vera Lambert Secretary to the Promotions Company Manager Tom Patterson Theatre Hanh Hao Le Directors' Office Jill Savage Ron Nicnol Production Annette Lenze Jennifer Coooer Special Events Receptionist Stage Manager Carote-Diane Levesque Production Listant ??blioa!i°f!s c°-°rdina«>r Rosemary Linseman Janelle Hutchison Elizabeth Cooper Dianne Doone Catherine Russell Manager, Stage Managers Sharon Louttit (The services of Janelle Graphic Designer Information Services Anne Murphy Laura Magagnin Hutchison were made DOS- , an. e J°nnso.n Wendie Schmidt Janet Sellery Vera Magi sible by the Professional ,, rf Asslstant Systems Operators Ann Stuart Rosina Mazzanti Thsstrs Joining Prognunme Matte uowney Julie P. McGill of Theatre Ontario, funded Communications Assistant Jacqueline MacDonald Assistant Stage Managers Joy Wishart Bruno Gonsalves Trish McNalty by the Ontario Arts Council.) Sandra Uanlm Joanne Wreford Theresa Malek Lily Messerhuber nremu Mailing Room Debbie O'Rourke DESIGN Supervisor/Purchasing Night Operator Corinne Richards Mary Crocker Production Assistant Luci Pottle Resident Joyce Peters Susan Rainsford Lighting Designer Mailing Room Clerks Company Bradley Dalcourt Accommodations WARDROBE Andrea Richardson Michael J.WhMiekt Candy Neumeister Marianne B. Riehl Assistant Ara Jane Ready RuKevens 8 Costumes made Olive Robinson Li&^WnT"" DEVELOPMENT Crppn Pnnm Mansner in tlle Festival workrooms Joan Scheerer Bonnie Beecher TORONTO OFFICE: Ruth Klahs n and executed bv: Lynette Schlichting Oliver Merk Development Associate, Sous Chefs iedu ui ndimvoe Alison Scott James Milburn Individual Giving Lora Pretty ouise Champion Christine Smith Assistant Designers KateBrundage Susan Smith Andrea Grainger Development Associate, Joanne Venart Jessica Blackmore Diane Whomersley PROPERTIES Byron Williams Jodi McDonald Steve Wolfgram Joanne Zegers Made in the Festival work­ with Suzanne Millar Additional costumes by shops under Gord Balmain Julie Moore Ascot Uniforms & the supervision of: Dan Bingeman Valerie Moreton AVON THEATRE Regalia Ltd. Festival Theatre John Currie Lisa Parker FRONT OF HOUSE Sharon Purdy Costumes Frank Holte Ted Derry House Manager Tom Patterson Isabelle Inc. Avon Theatre Michael Ellsworth Susan Rolph Reinnart Hook Werner Russold Roy Brown Gary Gekjer Melinda Ruston Assistant House Manager Avril Stevenson Malabar Tom Patterson Theatre Lance Hinds Jen Savage Aline Ollivier Costume Decorating Roy Brown Paul Hughes Nikki Savage Ushers Mary Fulford Assisted by Les Maclean Karen Scholz Elsie Clark Tanya Etienne / on "E" Ruth Abernethy David McDonald Manjeet Sehra Marlene Cossey Cvetka Fujs Beverly May Adam Walter Sugden Joan Smith Ann Marie Davis Kathi Posliff Ken Dubblestyne Geoff Taylor Stacey Smithers Jean Garner-Dearing Bonnie Steinman Glenn Elliot) with special thanks to Lesley Spencer Betty Holland Karen McVey Robert Fenwick the Sarducci Brothers Kelly Strasler Rob Illman Costume Painting Carolyn Horley Scenic Artists Maureen Vankesteren Amy Krug Lisa Hughes Jennifer Macdonald Karen P. Hay Julie Viani Mary MacPherson Additional Painting by Brian McLeod Richard Gordon Stephanie Voigt Tyler MacNaughton No. 1 Brush, Stratford Mark Ostien Assisted by Janet Wilson Veronica Marcellissen Dyeing Stewart Robertson Janet Cormack Yootha Neller Kendra Gadzala Lorraine Senecal Leslie Furness FESTIVAL THEATRE Lois Pogson Julie Graham The Stratford Festival Kevin Kemp FRONT OF HOUSE Rob Robinet Andrea Jenkins would like to acknowledge BlairYeomans House Manager Valerie Robinson Jewellery Mr. Doug Grass, Senior Transportation Ron Nichol Barb Scholz Polly Scranton Properties Maker, who Andrew Douglas Assistant House Manager Elfrieda Zimmerman Bohdanetzky passed away this Sue Graff Robert McKenzie Cloakroom Attendants Jennifer Scott year while working on our Harry Finlay Ushers Joyce Chapel Leatherwork & Shoes 1993 productions. Adam Mair Brack Appel Mary Doering Margaret Hubley Dougie, we miss you. Rekf Appel Michael Earnie Taylor Madeline Bain TOM PATTERSON Fredmike Comrie THEARE Manon de Gagne STAGE STAFF FESTIVAL BOOK SHOP Heather Balmain Festival Theatre Merchandising Manager Mary Bennewitz FRONT OF HOUSE Mark Fetter House Manager Millinery Stage Carpenter Marline Becu Elvycorene Bentley David Martin Administrative Assistant Melanie Andrew Douglas Nancy Hastings-Trew Douglas Ushers Leslie Norgate Master Electrician Nancy Ranney Joann Eldridge Alec Cooper Customer Service Joyce Eusebi Mary Bennewitz Jan Shipway Celina Desando assisted by Property Master Jennifer Bingham Frances Farquharson Ted Derry Katiadu Pena lan Ferguson Sarah Flanagan Lynda Kirby Betty Holland Rena Tuer Sound Nolan Jennings Lynn Gould David Berwick Elizabeth Simpson Joan Greenfield Dons Hussey Lois Zurell Beth Kollman Wardrobe Mistress Crew Aline Ollrvier Rebecca Hill John Currie Mary Ellen Lamont Evelyn Huffman Dorothy Micks Festival Theatre Brett Monteith Gail Homersham Neil Dennison Beverley St. Louis Matt Huffman Art Fortin Doris Belland Lillian Parker Robertson Alia Hussey Jeremy Schlotzhauer Avon Theatre Les MacLean Heather Sansom Doris Hussey Sharon Parker Ehrhard Nowak Glen Crumback Christian Johnson OPERATIONS Tom Patterson Theatre Walter Sugden Vincent Berns Beth Kollman Operations Manager Helen Basson Gerald Van Sickle Betty McCreadie Lisa Kresky Clare Downey Wardrobe Avon Theatre Chera Francoeur-Fox Steven Kydd Chief Engineer A ttendants Stage Carpenter Melanie Bradley BOX OFFICE Heidi Lang Simon Cahill Ina Brogan Jay Klassen Jennifer Lee Shift Engineers Master Electrician Box Of/ice Manager Margie Bruer Gerry Rehberg Jil Loughrey Robert Anderson Alex Gushing Bruno Hacquebard Matt Loughrey John Luesink Property Master Customer Service Cvetka Fujs Manager Margaret Mark Richard Morris Connie Heinbuch John Hoodless Doris McCauley Head Gardener Sound Susan Benton Angela Horner Accommodation Dorothy Micks Dennis Washburn Maxine Houston Chris Shaw Ruth-Ann Miller Assistant Gardener Flyman Co-ordinator Michael Karn Susan Erb Marion O'Hara John Campion Jeffrey Kilbreath Jeremy Lach Lillian Parker Maintenance Carpenters Crew Media Secretary William C. Krafi Jo-Anne Jordan Julie Patterson Richard Graul Gord Balmain Ted Patterson Frank Krauskopf Annette Lenze Mark Fisher Schools & Groups Sharmon Luchuck Assistant Allison Read Head of Maintenance Sheila Mallon Dan Hoodless Dave Reath Ron Brown Martin Penner Janice Kastner Terrianne Miller Box Of/ice Supervisor Dolores Riehl Maintenance David Kent Newcomb Harry Van Keuren Marie Sanchioni Bernie Baker Gerald Van Sickle Michele Keutsch Angela Peres Special Orders Manager Jean Schenck Roy Brown Luci Pottle Tom Patterson Theatre Ingrid Schmekies MarkCzajkowksi Stage Carpenter Marion Neigh Eric Semak Mailing Barbara Scott William Johnson Christine Smith Michael Ellsworth Muriel Poole Megan Shore Tom Jordan Master Electrician Stephanie Shore LarryShurrie WIGS Timothy Hanson Exchanges Marg Simons Catherine Sinkins Seasonal Maintenance Made in the Festival Sound Pamela Spencer Michael Chilton workshops under the Jim Stewart Schools & Groups Supervisor Rita Van Heyningen Jim MKchell supervision of: Property Master Jocelyn Ventrcek Ken Baumbach Festival Theatre Alan Hughes Cheryl Teeple Customer Service Stephen Vogan Steven Price Clayton Shields Crew Trine Wolf Gordon Wilson Avon Theatre Steve Cassaubon Susan Adair Jane Bex Traffic Attendant Brenda Rich Gerald Altenburg Josh Kukulski Stage Door Guards Tom Patterson Theatre SCENIC CARPENTRY Pamela Brenneman constructed by: Nathaniel Campbell Cloakroom Attendants Harry Smith Richard Jarvie With Mary Doering Blair Holden Constance Grayson Head Carpenter Andrew Chung Neil R. Cheney Ellen Charendoff Mary Gonczol Brent Holden Dave Kerr Parking Lot Supervisor Michael Thomas Chris Vaughan Assisted by Adam Fleming Mike Izma Kimberley Foster Andrew Douglas Melissa Veal Stall RazZemitis William Malmo Chris Frank John Muxlow Elaine Hardie John Kastner Makeup Supervisor Andrew Nickel Clayton Shields Michael Ryan Brian Hollohan Vie Ryan Shawn Malvern Matt Nickel The University Musical Society thanks the following individuals, departments, and businesses for their assistance in making the Stratford on Ann Arbor performances possible.

Gregg Alf Linda French Tom Mull Kathy M. Anderson Jennifer Haines Deb Katz Very Special Thanks to... Carol Amster Margo Halsted Karen Koykka O'Neal Herb Amster Dora Hampel Connie Osier The Staff at the Gandy Dancer Martha Ause Esther Heitler Marysia Ostafin Restaurant for their infectious Barbara Bach Loma Hildebrandt Mary Price enthusiasm at staging the Wassail Milli Baranowski Kathleen Treciak Hill Rosemary Rathe Dinner on Thursday night Linda Bennett Chen-Oi Hsieh Maya Savarino Anne Benninghoff JoAnne Hulce Pam Schultz Sara Billmann June Hutchings Mary Sexton Ellie and Dennis Serras of Maude's Polly Binder Janelle Hutchison Janet Shatusky Restaurant and Mainstreet Ventures Carmel Borders Institute for the Humanities Aliza Shevrin for welcoming the Stratford Company Janice Stevens Botsford Alice Irani Leslie Stainton at late night hours Enoch Brater Perry Irish Katie Stebbins Nancy Briggs Maureen Isaac Katherine Steffek Ava Brown Frances Jelinek Ellen Stress Ede Bookstein for hosting the "Farewell Jeannine Buchanan Mary Kahn James Telfer, MD Brunch" for the Stratford Company. Letitia Byrd Heidi Kerst Katharine Uhle Betty Byrne Leah Kileny Sue Ullrich Alice Irani for her pro bono legal counsel. Pauline Coleman Beatrice Kueng Harlan Underbill Evelyn Collins Nat Lacy Jerry Weidenbach Peter H. deLoof Kathleen Maly Robert Weisbuch Special thanks to all the actors and Don Faber Annette Masson Shelly Williams members and of the Stratford Festival Wendy Feigner Many McClatchey Phyllis Wright Company who participated in the Philips Leslie Feret Charlotte McGeoch James Winn Educational Presentations throughout Robben Fleming Bernice Merte Elizabeth Yhouse the week. Phyllis Flory Clyde Metzger Nancy Zimmerman Erik Frederickson Rosalie Moore

f*e $0W >/•»"«.,,. dO*te To

I Artistic Director Richard Monette Join us for an outstanding 1994 Season May 9 - November 13

FESTIVAL THEATRE TWELFTH NIGHT by William Shakespeare THE PIRATES OF PENZANCE by W.S. Gilbert and Arthur Sullivan CYRANO DE BERGERAC by Edmond Rostand, in a new translation by John Murrell THE SCHOOL FOR HUSBANDS/ THE IMAGINARY CUCKOLD a Moliere double-bill, translated by Richard Wilbur

______AVON THEATRE______OTHELLO by William Shakespeare ALICE THROUGH THE LOOKING GLASS a new adaptation for the stage by James Reaney from the classic children's book by Lewis Carroll

TOM PATTERSON THEATRE LONG DAY'S JOURNEY INTO NIGHT by Eugene O'Neill HAMLET by William Shakespeare IN THE RING a new play by Jean-Marc Dalpe, translated by Robert Dickson THE COMEDY OF ERRORS by William Shakespeare

Festival Member orders will be processed beginning Decembe 1, 1993. Previous ticket buyers will receive their brochure and mail order priority information in mid-January. Box office telephone lines open February 26, 1994. To receive your season brochure call 1-519-273-1600.

uoseas

JRlinf) .limning

,xi|' 'ssn,|

'\ '\ l_ S : '§^-p^ ::: ' Xrps'?ni - ipjnp\ 'KM

uiKippnfl uinuoiipnv 'Xijpu.i-Xnpsjnm ipJiW 'f—k 8 •KM

jpl>iy jpl>iy *iqts\od liq v lUOjftftS

"Xi!pjnii;j; Xjrniinf 'SI X •KM

^/^iv fy o ifi3 uiojf ^n/*

iurq^nn}[ iurq^nn}[ mnijoiipny

i AiioqdiuAs .«u|s.>q.xi<> inn inn lunuoiipnv

(Ii|iq,| 'Aijsiiiuqns; jsuinid

-Xnpu.1 qo.it!i\i 'Sf 8 •wj

n.|. 1 'X"p.'-'-' ipJ"J\ '8 8 •KM

tui!ip|."ii!>] tui!ip|."ii!>] tunuoiipny

I1!H uinuonpny

*pof\ Jiqnsod itj a ifiS uiojf

XjnnUKf 'HC-9r x "KM

j j^-. um;>snj\ J" UV

'Xnpjnicv; Xjimuiif 'fie x "KM

• ipj"l\ I 'I 8 •iv.i

iump|.->i:}| lunuoiipny

AIILIAJ^ 'IAJRC jo|.inpiio.i

iMfruit iMfruit ptumldiK MI/; si \

JJlWy JJlWy tin 'JIIOJ ,1lfl f//r/.VJ,W/JH^/ I///-H

itntfnnw Jt>ftu,nti,HO[>H:j ptui <"// <"// 's/Jt' JO|.tnplIIO ||!H umuoiipny

.np .np pun uu.Yii/ji|y uu.Yii/ji|y ) I .V;./(/JO//;.)«HO

•£ x 'KM

iui'i|>(.in)] iunijo]|pnv

-wld.wni;) 'nodcnuv; jopnptio.i

-Xcpfliics Xji:rdq.->,j 71 8 •IVM H!H uinuoiipny

X"pu.| - ipi"l\ '81 s •iv.i

Arpunv; Ajriut|,xj i -^ (- Tivt

A'KJAJ ,J |RA(JS3

||!H ||!H uinuoiipnv

Xitpsjim[ — rpjuiiiv;

W ! *' ~cl '1-1 1-661

IpIByW JOJ jS|IKU->p lUEipiacy mnuojipnv

• uuv IW'Joqjv 0£?L-60t8f