Woman and Scarecrow by Marina Carr Directed by Alan Stanford NEVER UNDERESTIMATE the POWER of a GREAT PERFORMANCE

Woman and Scarecrow By Marina Carr Directed by Alan Stanford NEVER UNDERESTIMATE THE POWER OF A GREAT PERFORMANCE.

UPMC is proud to support the PICT Theatre.

Affiliated with the University of Pittsburgh School of Medicine, UPMC is ranked among the nation’s best hospitals by U.S. News & World Report.

SYS411939_gh_upmc_pict_theatre_ad_color.indd 1 4/16/14 12:41 PM PICT Classic Theatre presents Woman and Scarecrow by Marina Carr

Directed by Alan Stanford

Karen Baum* Nike Doukas* Sharon Brady* James FitzGerald*

Scenic Designer Costume Designer Lighting Designer & Gianni Downs Lindsay Tejan Master Electrician Sound Designer Production Manager Keith A. Traux Joe Pino George DeShetler, Jr. Stage Manager Props Master Technical Director Cory F. Goddard* Johnmichael Bohach Jesse Van Swol Assistant Stage Manager Scenic Charge Artist Assistant Master Electrician Rachel Wyatt Jennifer Kirkpatrick Regina Tvaruzek Master Carpenter Assistant Sound Designer Dramaturg Samuel Karas Emma Present Tyler Crumrine

WOMAN AND SCARECROW is presented by special arrangement with Dramatists Play Service, Inc., New York.

WOMAN AND SCARECROW was first performed on June 16, 2006 at the Royal Court Jerwood Theatre Upstairs, Sloane Square, London.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. CAST Woman...... Nike Doukas* Scarecrow...... Karen Baum* Him...... James FitzGerald* Auntie Ah...... Sharon Brady*

PLACE: Woman's bedroom, Ireland TIME: Now

A very special thank-you to our Featured Artist Sponsors: Sara Steelman, Dina Fulmer, and Robert Levin (sponsoring James FitzGerald), and John Miclot, Gene O'Sullivan, and Richard Rauh (sponsoring Karen Baum). For more information about Featured Artists Sponsorship, call Ryan Ferrebee at 412-561-6000.

WOMAN AND SCARECROW WILL BE PERFORMED IN 2 HOURS AND 15 MINUTES INCLUDING ONE 15-MINUTE INTERMISSION

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, are strictly prohibited. Please turn off all electronic devices such as cellular phones, beepers, and watches. LETTER FROM THE BOARD PRESIDENT

To our guests,

As you can tell from this season’s theme, “Something Wicked This Way Comes,” PICT Classic Theatre is not afraid to tackle difficult, at times uncomfortable, topics. We aim to present provocative theatre in order to educate and challenge our audience in an entertaining way.

While there is plenty of wickedness this season, from ghosts, to witches, to global war and assassination, I am an eternal optimist. In my view, a common theme this year is to find meaning in life and fulfill our expectations. To me, the message of Woman and Scarecrow is to live life to the fullest and not approach the end of life with regret. Sometimes people are lost and can see only the hope of salvation in another life, as in Waiting for Godot. Sometimes people fear death because they come to regret their tragic decisions, as in Macbeth. But I continue to hold great expectations for all of us.

Our plays show us how to find meaning in life through family, friends, and community. We find meaning by making a difference in the lives of others, and others give meaning to our lives every day as well.

This year’s Tony Awards show celebrated the tenth anniversary of Wicked. The two not-so-wicked witches, Glinda and Elphaba, sang my favorite song, always sure to bring a wistful tear to the eye: “I do believe I have been changed for the better… And because I knew you, I have been changed for good.” How many family and friends should have heard, and would like to hear, the same words from us!

I hope that each of you believes, because you have come to know PICT, that you have been changed for the better. That is our mission. As you think of how you can make a difference and how you can continue to grow your legacy, please take a moment to remember how PICT has touched your life.

Sincerely,

Chuck Moellenberg

PRODUCTION TEAM Director...... Alan Stanford Scenic Designer...... Gianni Downs Costume Designer...... Lindsay Tejan Lighting Designer & Master Electrician...... Keith A. Traux Sound Designer...... Joe Pino Resident Stage Manager...... Cory F. Goddard* Assistant Stage Manager...... Rachel Wyatt Production Manager...... George DeShetler, Jr. Technical Director...... Jesse Van Swol Scenic Charge Artist...... Jennifer Kirkpatrick Props Master...... Johnmichael Bohach Assistant Master Electrician...... Regina Tvaruzek Assistant Sound Designer...... Emma Present Master Carpenter...... Samuel Karas Dramaturg...... Tyler Crumrine Wardrobe Mistress...... Ali Roush Lighting Board Operator...... Kelly Ganley Sound Board Operator...... Reid Moffatt Properties Assistant...... Alexis Retcofsky

SPECIAL THANKS: Sara Steelman, Joan Markert, The University of Pittsburgh, Point Park University, Carnegie Mellon University, Theresa Baughman, and Tyler Drass LEVINFURNITURE levinfurniture.com &

levinmattress.com Proud to Support Great Theatre in Pittsburgh WHO'S WHO IN THE CAST

Karen Baum (Scarecrow) is honored to return to PICT as a featured artist for the 2014 season. PICT credits: Blithe Spirit, Don Juan Comes Back from the War, King Lear, Boston Marriage, and The Shaugraun. Pittsburgh credits: Saint Vincent Summer Theatre, Pittsburgh Public Theater, Playhouse REP, Off The Wall, UnSeam'd Shakespeare, NoName Players, Bricolage, Squonk Opera, Pitt's Shakespeare in the Schools, and CMU Interactive. Regional credits: Crimes of the Heart (Public Theater of KY), Theatre54 NYC, and many Chicago venues. Film credits: Promised Land, The Road, My Bloody Valentine 3D, KillPoint, The War That Made America, the TV pilot series Ghosthunters, PSI, and A Fancy Piece of Homicide (2014). Karen was most recently seen in Noises Off at Pittsburgh Public Theater. She is a Point Park BFA graduate and she teaches for PICT, the Pittsburgh Public, Civic Light Opera, and Hope Academy. Thanks to this inspiring team of artists and to family.

Sharon Brady (Auntie Ah) is delighted to be back for her second season at PICT. PICT credits: Maryjohnny in A Skull in Connemara. Other credits: Mattie Fae in the acclaimed August, Osage County and Lady in Superior Donuts (Pittsburgh Public Theater). Sharon is a twenty-year veteran of New York's Off- Broadway scene, most notably as a founding member of the OBIE Award-winning Cucaracha Theatre. In addition to her stage work here in Pittsburgh, she can be spotted in numerous commercials, films, and industrials. Sharon holds an MFA from Yale School of Drama and serves as an adjunct associate professor on the faculty of Point Park University teaching theatre arts. She is mother to Oona and wife to Vidya.

Nike Doukas (Woman) returns to PICT, where she most recently appeared as Mrs. Erlynne in Lady Windermere's Fan and the Mother in Don Juan Comes Back From the War. Other PICT credits: The School for Lies, Three Sisters, Ivanov, The Bear, House and Garden, Betrayal, Celebration, and An Ideal Husband. She also directed The Proposal for PICT's Chekhov Festival. Regional credits: South Coast Repertory Theatre, The Mark Taper Forum, The Old Globe, The Pasadena Playhouse, Shakespeare Festival LA, Berkeley Repertory Theatre, The American Conservatory Theatre, A Contemporary Theatre, Shakespeare Santa Cruz, and The Berkeley Shakespeare Festival. Television credits: Modern Family and a recurring role on Desperate Housewives. She has an MFA from the American Conservatory Theatre and was a recipient of a 2011 Lunt-Fontanne Fellowship. We would like to thank our media sponsors for their generous support! WHO'S WHO IN THE CAST

James FitzGerald (Him) is a featured artist for the 2014 season and is in his fourteenth production for PICT. Other Pittsburgh credits: Charles Ives in Charles Ives Take Me Home (City Theatre), End of the Affair and Mouth to Mouth (Quantum Theatre), 1776, Royal Family, Born Yesterday, Midsummer Night's Dream, and Our Town (Pittsburgh Public Theater), Candide (Opera Theatre), and Heads (Pittsburgh Playhouse). Chicago credits: Marriot's Lincolnshire Theater, Chicago's Second City, ETC., The Royal George, Apple Tree, and other Chicago venues including 16 seasons with Chicago Shakespeare Theater. Regional credits: Cape May Stage, Milwaukee Rep, the Nebraska Shakespeare Festival, North Carolina Shakespeare Festival, and Baltimore Shakespeare Festival. Off Broadway: Rose Rage, directed by Edward Hall. Awards: Recipient of two Joseph Jefferson Awards (Best Supporting Actor), a Jeff Citation (Best Actor), and an OE Award Nomination (Best Supporting Actor).

Marina Carr (Playwright) was born in 1964 and was brought up in County Offaly. She graduated from University College, Dublin, in 1987. Her plays include Marble, Ullaloo, The Mai, Portia Coughlan, By the Bog of Cats, Ariel, Meat and Salt, On Raftery's Hill, Low in the Dark, Woman and Scarecrow, The Cordelia Dream, and The Giant Blue Hand. Her awards include the Macaulay Fellowship, the Susan Smith Blackburn Prize, and the E.M. Forster Prize from the American Academy of Arts and Letters. A member of Aosdána, Marina has been Writer-in- Residence at the Abbey Theatre and Trinity College, Heimbold Professor at Villanova University, and a Class of 1932 fellow at Princeton for 2008. Marina lives in County Kerry with her husband and four children.

Alan Stanford (Director) is in his seventh year at PICT. He was for more than thirty years a principal and leading actor with the renowned Gate Theatre, Dublin, where he recently directed his adaptation of Pride and Prejudice. He founded Ireland's Second Age Theatre Company. PICT credits: Pozzo in Waiting for Godot, Blithe Spirit, Don Juan Comes Back from the War, Lady Windermere's Fan, and The Kreutzer Sonata. Other credits: The School for Scandal (Point Park Conservatory), works by Shakespeare, Molière, Noël Coward, Oscar Wilde, Shaw, Beckett, and Brecht. WHO’SWHO’S YOURYOUR MAMA?MAMA?

FOR RESERVATIONS: (412) 621.SAUCE under the clock at Forbes & Oakland

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412.338.4750 www. mbo-pc.com WHO'S WHO ON THE PRODUCTION TEAM

Johnmichael Bohach (Props Master) is now in his second season with PICT as props master and has also provided the set designs for Blithe Spirit and Sherlock Homes and the Crucifer of Blood. Other design credits: The Devil's Arithmetic, The Importance of Being Earnest, Turn of the Screw, The Great Gatsby, The Elephant Man, The Glass Menagerie, and Tuesdays with Morrie, (Prime Stage), Riders to the Sea, Lizbeth, and Three Decembers (Microscopic Opera), and Letters to Sala, Tartuffe, Bare, and Jekyll & Hyde (Stagedoor Manor, Loch Sheldrake, NY). Johnmichael is a graduate of the University of Pittsburgh with BAs in theatre arts and architectural studies. www.jmbsetdesigns.com

Tyler Crumrine (Dramaturg) is in his first season at PICT. He is a Pittsburgh-based dramaturg and the editor of Plays Inverse Press, a small press publishing company for dramatic literature. His writing on Irish playwright Martin McDonagh has been recognized nationally by the John F. Kennedy Center for the Performing Arts, where he has also studied as New Play Dramaturgy - Intensive Fellow. His most recent work has appeared in the education and accessibility materials for Pittsburgh's City Theatre.

George DeShetler, Jr. (Production Manager) is in his third season at PICT. He began at PICT as the props master in 2012 and came on in July 2013 as production manager. Other Pittsburgh credits: Production manager at Prime Stage Theatre and temporary staff carpenter at CMU School of Drama. Regional credits: Arena Stage, Imagination Stage, Contemporary American Theater Festival, and Indiana Repertory Theatre. George graduated from Otterbein College in Westerville, Ohio, with a BFA in theatre design and technology.

Gianni Downs (Scenic Designer) is based in Pittsburgh, PA, and is currently on the faculty of the University of Pittsburgh Department of Theatre Arts. Regional credits: City Theatre, Merrimack Repertory Theatre, PICT Classic Theatre, The Repertory Theatre of St. Louis, and Stoneham Theatre, as well as many others. Awards: Kevin Kline Award for In the Next Room or the vibrator play (Repertory Theatre of St. Louis), two Kevin Kline nominations for Crime and Punishment and The Lieutenant of Inishmore (Repertory Theatre of St. Louis), and an Irene Ryan nomination for his design for The Dazzle (Stoneham Theatre). Gianni received his MFA from Brandeis University and has had the pleasure of being an assistant professor of theatre at Westminster College, a special faculty member in scenic design at Carnegie Mellon University's School of Drama, a visiting professor of lighting design at the University of Pittsburgh, and an adjunct faculty member at Point Park University. His portfolio can be viewed at his website, www.giannidesigns.net.

Cory F. Goddard (Resident Stage Manager) is in his tenth season with PICT. PICT credits: Heartbreak House, Stuff Happens, Lieutenant of Inishmore, House & Garden, Salome, In the Next Room or the vibrator play, and the Beckett, Synge, Pinter, and Chekhov festivals. Other Pittsburgh credits: Quantum Theatre, Bricolage, Kelly Strayhorn Theater, and The REP. Cleveland credits: Parade, The Laramie Project, Grey Gardens, and the non-Equity premieres of Brooklyn, Phantom of the Opera, and [title of show]. Cory is a graduate of Baldwin Wallace College. He would like to thank Rebekah, George, Vicky, Phill, Alicia, Liz, and the Wetness. A STRONG COMMUNITY TAKES THE SUPPORT OF MANY.

UPMC is proud to support the PICT Theatre and its 2014 season.

Affiliated with the University of Pittsburgh School of Medicine, UPMC is ranked among the nation’s best hospitals by U.S. News & World Report. WHO'S WHO ON THE PRODUCTION TEAM Jennifer Kirkpatrick (Scenic Charge Artist) is in her second season at PICT. PICT credits: Waiting for Godot, Blithe Spirit, Sherlock Holmes and the Crucifer of Blood, A Skull in Connemara, Don Juan Comes Back from the War, and Lady Windermere's Fan. Other credits: scenic artist for Lives of the Saints and You Can't Take It With You (Carnegie Mellon University) and scenic artist for Stage Door (Lincoln Park Performing Arts Center). Jennifer is a graduate of Ohio University with a BFA in production design and technology.

Samuel Karas (Master Carpenter) is in his first full season at PICT Classic Theatre.PICT credits: PICT intern 2011, Young Katurian in Pillowman, and Lucius in Julius Caesar. Academic credits: scenic designs for The Fantasticks, Noises Off, and The Best Christmas Pageant Ever. He is also acting as the Technical Director for Opera Theater of Pittsburgh for the 2014 Summer Festival. Samuel graduated from California University of PA with a BA in theater and a BS in technology education.

Joe Pino (Sound Designer) began designing sound for theater in 1981. Recent Pittsburgh designs: Sherlock Holmes and The Crucifer Of Blood, Don Juan Comes Back From The War, and A Skull In Connemara (PICT), Hope And Gravity and Vanya and Sonia and Masha and Spike (City Theatre), and Dream Of Autumn, Mnemonic, and The Golden Dragon (Quantum). He curated digital audio exhibits for the Prague Quadrennial in 2007 and 2011 and was awarded the gold medal in sound design at the 2005 World Stage Design exhibition in Toronto. Joe is the head of the OISTAT (Organisation Internationale des Scénographes et technicians de Théatre) Sound Design Group and an associate professor and co-coordinator of the design program at the Carnegie Mellon University School of Drama.

Emma Present (Assistant Sound Designer) is in her first season at PICT. Recent credits: Assistant sound designer for Lives of the Saints, sound designer for Dance/Light, and master electrician for Albert Herring (CMU), and lighting designer for Conscious (CMU Playground) Education: Carnegie Mellon University BFA sound design 2016. Thank you to Joe for giving me this opportunity and to the Pittsburgh bus system for always keeping me on my toes.

Lindsay Tejan (Costume Designer) is in her sixth season at PICT. PICT credits: Waiting for Godot, Sherlock Holmes and the Crucifer of Blood, Our Class, The School for Lies, In the Next Room or the vibrator play, and Jane Eyre. Previous credits: The Great Gatsby, Walk Two Moons, Turn of the Screw (Prime Stage), Women of Troy (Veritas Vita Collaborative), Talk to Me Like the Rain, Let Me Listen, Torrent, and The Fog (Raymond Laine One Act Festival), and Once on This Island (Perry High School). Costume design/ wardrobe supervisor credits: Room Service (Point Park), Arsenic and Old Lace (Geneva College), and Medea and Man of La Mancha (Palm Beach Atlantic University). Upcoming project: Day Room Window with Bonnie Cohen. Timeless theatre is worthy of a timeless gift.

Keep classic theatre alive for future generations by making a bequest to PICT in your will or living trust today.

For more information about giving options or PICT’s new planned giving circle, contact the Development Office at 412-561-6000 or [email protected]

picttheatre.org 412.561.6000 WHO'S WHO ON THE PRODUCTION TEAM Keith A. Truax (Lighting Designer & Master Electrician) is in his first season with PICT. Credits: Production manager for Buyer and Cellar (Off Broadway), production manager/ lighting designer (LaGuardia High School of Music & Arts), production manager for Chix 6 (Queens Theatre), production design/production manager for My Sinatra (Sofia’s Downstairs Theatre), lighting design/production manager for Time Step (New Victory Theatre), and lighting and sound design for Hedwig and the Angry Inch (Asbury Park).

Regina Lee Tvaruzek (Assistant Master Electrician) is in her second season at PICT. PICT credits: Blithe Spirit and Waiting for Godot and lighting intern for Kreutzer Sonata, Lady Windermere's Fan, A Skull in Connemara, and Don Juan Comes Back from the War. Other Pittsburgh credits: Assistant light designer for Pittsburgh Opera's La Boheme and Prime Stage Theater's The Devil's Arithmetic. She designed for the Young Playwrights Festival at City Theater, and in NYC for Middle Voice Theater Company's workshop of Room For One by Alec Silberblatt. Regina holds a BA from Seton Hill University and thanks her professors, family, colleagues, and friends for being the greatest teachers there are.

Jesse Van Swol (Technical Director) is a third-generation theatre carpenter and has worked in theatre for almost 20 years. PICT credits: Waiting for Godot, House & Garden, The Importance of Being Earnest, and The School for Lies. Other Pittsburgh credits: shop foreman at City Theatre and technical director for Prime Stage, and has worked with Bricolage, barebones, Quantum Theatre, and several other companies throughout Pittsburgh. Jesse's work has been featured in American Theatre Magazine on multiple occasions, and playwright Christopher Durang has told him, "I'm glad you stayed in theatre." He would like to thank his wife Naima and son Damien for their continued support and understanding.

Rachel Wyatt (Assistant Stage Manager) is a junior theatre arts student at Point Park University. While at Point Park she was assistant stage manager for the Student One-Acts and Hush: An Interview with America; however, she has been working in theatre since she was in middle school. She would like to thank PICT for the opportunity to intern this season.

PICT STAFF & BOARD OF DIRECTORS Board Officers Charles Moellenberg, President Dina J. Fulmer, Secretary Erin Shannon-Auel, Vice President Michael Burns, Treasurer Directors Advisory Board Alan S. Baum D.L. “Larry” Brophy Cynthia Berger Paul Homick Eileen Clancy James J. Lamb Steven Cuden Robert Levin Gail Gerono Kristen Olson, PhD Kevin R. Gieder Alberta Sbragia, PhD Joseph Karas John Sotirakis Justin Krauss Wanda Wilson Diane Lazzaris Richard Miller Honorary Board Fabian O’Connor Congressman Mike Doyle Eugene O’Sullivan Charles Gray Richard E. Rauh Thomas Kilroy Chuck Reynolds David Norris–Seanad Eireann Pauline Taylor-Raiff Bingo O’Malley Stephanie Riso PICT Staff Alan Stanford Kim McCartney Artistic & Executive Director Customer Relations & Sales Representative Stephanie Riso Leslie McCartney Managing Director Customer Relations & Sales Representative Ryan Ferrebee Jennifer Braun Development Manager Customer Relations & Sales Representative Michelle Belan Marketing & Communications Director PICT Interns George DeShetler, Jr. Production Manager Reid Moffatt, Sound & Administrative Intern Carolyn Ludwig Vira Shao, Box Office & Production Intern Customer Relations Director & Sales Manager Emily Welsh, Writing & Operations Intern Katie Wagner Kelly Ganley, Lighting Intern Operations Assistant Rachel Wyatt, Stage Management Intern Jennifer Trehar Fundraising & Event Manager Alexis Retcofsky, Properties Intern Cassidy Adkins Ben King, Production, Production Intern Production & Sales Assistant Tim Hibbard Customer Relations & Sales Representative

PICT Classic Theatre PO Box 7964, Pittsburgh, PA 15216 Tel: 412-561-6000, Fax: 412-561-6686 PICT is a constituent of Theatre Communications Group (TCG),the national organization for the American theatre, and a member of Greater Pittsburgh Arts Council and BoardsWork! To order tickets, visit our website (www.picttheatre.org) or call 412-561-6000 Need help? Email [email protected] Find unique, authentic Irish Fashions & Gifts for all your special occasions!

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The Shops at Station Square 412-471-0700 Monday - Saturday: 10am - 7 pm [email protected] Sunday: 12 noon - 3 pm NOTES FROM THE DRAMATURG by Tyler Crumrine It’s said that time heals all wounds. The wickedness of life, however, is that there’s so little time to go around. A person’s time on this earth is finite, and like most limited resources, scarcity drives up the price. As such, people’s time is frequently bought, sold, worked for, wasted, or given away. The question is how you invest it, and how much you leave for yourself.

The same is true with love. Love takes time, and with only so much time to go around, it can come at a premium. You have to ask yourself how much you value it, how much you’re willing to invest in it, and how much, or how little, you need in return to know whether an investment was worth it.

Woman and Scarecrow is a play about death, but it’s also a play about accounting. It’s about knowing when an investment has gone bad, assessing your credits and your debts, and sometimes having no option but to default. It’s about how well you’ve kept track of your assets, and if you’ve been able to learn from your mistakes and triumphs or not.

It’s also about being held accountable—whether to yourself, others, or some higher power. Who relies on you, to whom do you give authority, and what, if anything, do you owe them before moving on? Will you be able to die peacefully, or are there debts that need to be settled beforehand?

Time may be finite, but love at least has the advantage of being transferable. It costs you, but you can pass it on. Do you invest it in lovers? Children? Strangers? God? Are you saving enough love for yourself, or giving it all away in hopes that someone else’s will sustain you? And when you’re gone, how much of it left in storage will go to waste?

This isn’t to say death is something to worry about constantly—sometimes it’s better to live day to day than paralyzed with the fear of making a poor choice. But there can be advantages to budgeting too—to setting goals, moving on from failures, and doing your best to make sure you don’t die before the world has “yielded all that you had hoped of it.”

Scarecrow tells us that the first law of the world, the law that should be “nailed to every cot,” is that “the world’s job is take everything from you. Yours is not to let it.” What have you lost already? What healing have you invested your time in? And what are you doing to balance your Theaccounts Giving before your own Tree reckoning? Because time is running out, and death is just beyondYour Generosity the wardrobe Ensures that PICT door. Theatre can Continue to Provide High Quality, Thought Provoking Theatre that Stirs the Soul.

Select a Tag from the Tree

Tags Represent Giving Levels Ranging from $50 - $500

Giving Levels Represent Support of the Various Educational, Professional and Artistic Programs and TheServices that PICT Theatre Giving Needs to Survive Tree Your Generosity Ensures that PICT Theatre can Continue to Provide Fill out a Donor Form and Envelope with YourHigh NamePlease Quality, and Payment visit Thought Information our Provoking Giving Theatre Tree that Stirswhen the Soul. We Couldattending Not Exist PICTWithout the events and give a gift Generous Support of Donors Like You! Select a Tag from the Tree that PICT has been hoping for. Tags Represent Giving Levels Ranging from $50 - $500

Giving Levels Represent Support of the Various Educational, Professional and Artistic Programs and Services that PICT Theatre Needs to Survive

Fill out a Donor Form and Envelope with Your Name and Payment Information We Could Not Exist Without the Generous Support of Donors Like You! An Interview with Marina Carr by Tyler Crumrine, Dramaturg

Tyler: In prior interviews, you’ve said you’re interested in the transition or “shadow areas” between life and death. Could you talk with us about that some?

Marina: Well, I think it’s always there. I don’t know if I’d define it as between life and death first of all… it’s almost like the other world. The other world that we have access to at very extreme moments or when we’re asleep in dreams, whether we remember them or not. That sense of déjà vu… that sense of things happening again and again or having happened before and will happen again. All the stuff that reason tells us not to believe in, basically. All the stuff that the rational mind denies. Essentially what you’re talking about is mystery… a feeling that there’s more. And you stretch that into belief and faith if one does, and that there’s some kind of benign hand in all of our lives, but that’s taking it a step further. I think just experiences that occur that cannot be easily explained… I’m very interested in that. And the presence of that in all of our lives and how much space, time, and respect we give to that.

Tyler: And so do you see the final moments of someone’s life as one of those mysterious moments?

Marina: Well it is a sacred moment, isn’t it? Someone’s leaving… and leaving this earth and this sky. And then it’s down to who the person is who’s leaving. I presume one’s parting will be informed by one’s sojourn here. So, I imagine the leave-taking can be quite prosaic and still carry the mystery. Of course for some it could be completely mysterious and I imagine for others it’s just like opening a door and entering another room. But I think there is a sense of reckoning. I think there is kind of a balance sheet, whether we’re aware of it or not, that has to be kind of sorted before you’re allowed to part. Whether that’s in suffering or peacefully or whatever it is… there are all kinds of different ways that people leave. I’m not sure, but I think that would be a heightened moment. One would hope it would be anyway.

Tyler: Speaking of our sojourn here on earth, and everything leading up to that kind of reckoning, there’s a line in Woman and Scarecrow where Woman claims “The whole point of living is preparing to die,” and asks why no one ever taught her that. Do you necessarily agree with that statement? Is there truth to the fact that life is all just leading up to this final moment?

Marina: Well it’s one philosophy, isn’t it? I mean, I think if I could go on and live in a cave and just sit there contemplating I think I’d come around to that [laughs]. But most of us are so busy! We don’t have five minutes to think without stuff coming in on us, you know? It’s just life, the stuff of life. I think if we had enough time that would probably occur to most of us… not to say it’s all a valley of tears here because it certainly isn’t… but if you take all the busyness and the ephemera away I think that’s essentially what you’re left with.

There’s something beautiful about the arc of the life, you know? I love reading biographies because you can see life from birth to death… you can see progression in other people’s lives. We don’t remember our birth and we can’t tell anyone about our death, really, because it’s happened and we’ve moved on… whether into the grave or the great beyond depending on what your belief system is. In a sense we’re just kind of dropped, with neither beginning nor end. So I think it’s very satisfying for the human mind to be able to imagine that there is some kind of journey that makes sense. Now that’s where the whole belief thing comes in… do you believe that there is a guiding principle in your life or are these just stories we tell ourselves to put the beginning, middle, and end there to make sense, because most things don’t make sense.

Tyler: Yeah, definitely.

Marina: I’m glad you agree! [laughs] The thing is, I hardly think about these things you’re asking me… I don’t have time! It’s moments. Moments. And they’re important moments as well… you kind of kind of carry a bit with you as you go along… you learn things and you feel things. Sensory memory is very fleeting, and there’s a sense that things happen to us and then we die. If we were more content with it, if that was valued more in the culture, that contemplative thinking and that esoteric thinking, then these things would take on a lot more import. But there’s very little space or room. Mostly they’re treated with ridicule to be honest. It’s a very material, temporal path we live on, especially in the West right now. It’s very difficult.

And a lot of people, you know, they’re talking about their soul on every page. Tolstoy for example… this person’s soul and that person’s soul… and they speak unapologetically about their souls. Now you almost have to preface anything about belief or faith or anything that can’t immediately be explained rationally. You have to preface almost with an apology. Which is very disheartening… you feel like you’re banging against people who are brought up on equations. And yet I think there is that in each of us. That when we stop, and think, there is that side.

Tyler: Do you think there’s an appropriate response to death? Is it something that should be feared, or approached with humor, or reverence, or irreverence? Is there a place we should hold death in our minds that is better than others?

Marina: Well you mentioned fear. I think fear is the greatest thing. If you’re afraid to die in a sense you’re afraid to live, because all of your life then is staying alive and staving off death. We all fear death… I think it’s dishonest to say we don’t… I don’t know anyone who doesn’t. I think a huge thing of it is just passion for living and that we love our lives and we’re attached to people and we have loved ones… but then a whole lot of the fear comes from not being around them and imagining them without us. It’s a complete ego position, but it’s there. Is there a better way? I imagine there absolutely is. I haven’t found one, but I imagine it’s not to fear one’s death.

You look at the Greeks and they’re all dead by 20… you look at the Renaissance or you look at the time of Shakespeare… the average life expectancy was 25 in London. It was fast and furious… life was lived at a fiercer pitch and far more intensely. And I think part of this thing where we’re always minding ourselves and worrying about ourselves and all this hypochondria and this health fanaticism is a huge disguise or a cover for our basic fear… that we’re not going to live forever.

I read a lot of American stuff and a lot of American interviews around writers and it’s even crept into the contemporary American fiction. Nobody says that someone died, they say that somebody passed. Which is a very interesting way of describing death. I prefer the brutal “someone’s dead” rather than “someone passed”… It’s like saying someone “fell pregnant” instead of someone “got pregnant.” Fall pregnant? I don’t know what that means, I really don’t [laughs]. It’s just a bizarre explanation… it’s almost something shameful, to fall pregnant or to pass. Say someone is dead. Give it its weight and its respect. To say someone passed? It seems to me like, “I’m not going there, I’m not going to talk about death.” And to say someone fell pregnant… it’s so perverted and convoluted, and they’re beginning to say it here as well. 25+ years of impactful ideas.

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einhornmediagroup.com 412 488 3900 They’re indicative of the culture and how we look on these grave rituals. Which, you know, they happen to all of us. It seems like a bit of fudging. You look at the burial rituals of various countries and it tells you a lot, I think, about what’s going on. You look at the funerals, you look at the mourning, how people mourn, how people die… all of that is, I think, really paramount. Out in the Aran Islands, 100 years ago, 150 years ago, they had professional mourners. They had head choruses and side choruses and they would weep and wail and gnash their teeth all night but it was song and there was a melody to it and a rhythm to it and it was orchestrated. And it wouldn’t have been unknown to lift the corpse out of the coffin and pass it around, arm to arm. You know, stuff like that, which is really powerful, and all of that has vanished from our culture now. We still do great funerals, but more and more the funeral home is taking over and it’s the quiet burial and not the big party or the big lament for the person going. I think all of that is a great loss.

I don’t know what it’s like in the States, I’ve never attended a funeral there, and I imagine it’s all different depending on what your background is, but I hear the funeral parlor is paramount or at least is pretty big. I don’t know whether you let the dead person [be viewed at home] and mourn in the house they’re in, or if they’re carted off. In England they’re put into storage for two to three weeks… everyone’s forgotten about them practically by the time they’re buried. France they just don’t do mourning. If you’re dead you’re dead. It’s interesting. It’d be an interesting play… how people do death. How to mourn, or not to.

Tyler: In Woman and Scarecrow there are a lot of people criticizing how Woman is dying. The speed, the tenor… Is there such a thing as dying well? A respectful way to die? You also said in an interview once that we’re all leads in our own drama… can we really be blamed if we make our final moments theatrical?

Marina: First part of your question—is there a proper way to die. That’s the interesting one, isn’t it? Woman is clearly not behaving herself. She’s not going politely to her doom. I imagine there are as many ways to die as there are people on the earth… and we are the leads of our own dramas, and in our own lives, not in anyone else’s. So if not in death, when are you ever going to declare yourself? You’ve nothing to lose really. And I think it’s not just for the sake of it as well. I think it’s the reckoning and the regrets and the mistakes, and I think that any life worth living is going to have huge regrets in it and huge mistakes. And how you deal with them as you’re exiting I think is very interesting, I really do. I think if you have transgressed hugely… if you’ve done irreparable damage, it’s probably going to haunt you on your deathbed. It would affect the nature of your dying, I would imagine, I don’t know. I imagine it would be a thing that would keep at you.

I remember reading this great book on this hospice by a French woman… I can’t remember her name now but she worked in a hospice for the dying. People would come in and most [would] be dead within days. If you went to the hospice, it would be for your last two weeks max, really, and she describes some of the different people who came through her hands while they were dying. And some of them would be so ill they should be dead, but they’re not because they’re hanging on to something. And whatever it is, it is a thing in their life that won’t allow them to leave until it’s resolved that they’re clinging on to. It’s not that they want to live, it’s that they can’t die, because they’re so ill at this point that the body has given up and it’s pure will or soul or whatever it is that’s keeping them alive.

For example, there was one man and all that was keeping him alive was he had always been haunted by his mother because he believed his mother didn’t love him, and she’d told him. There was some instance in his youth that his mother told him she’d never wanted him and tried to abort him and she’d never loved him. And he never told anyone there and this had haunted him his whole life. Then he told this woman, the psychologist/psychotherapist, and he died peacefully a few hours later. There are examples like that, that are just kind of very… they’re just so personal.

And you don’t realize what goes on in anyone’s life really. What makes them tick, what makes them get up in the morning, what haunts them. The details of the stories are so specific.

She was also saying that it’s a bit like being born. That you have to have them to die… it’s as physical as that. You have to. Some of them if they aren’t resolved, they won’t go. It’s like a woman giving birth, having to tell her to push, and you have to tell them it’s okay and let go let go let go and stuff like that. All of it’s very physically draining at times for the person that’s dying because they’re clinging on. It’s so… fierce. And that kind of stuff just really opened my eyes… you know, to hear that. The hospice.

Tyler: Lastly, so many artists have portrayed death over the years, and in Woman and Scarecrow you evoke Hamlet and Caravaggio’s "The Death of the Virgin." Were you inspired by those pieces before going in or did they come up while writing?

Marina: Well Hamlet is the ur-text for any playwright. I try and read it every year a couple of times a year. I think a lot of playwrights would have that same confession. The constant unfolding of it, the language of it, the drama of it, the beauty of it. To say anything more… it’s just one of those huge ones. Lear is also present in Woman and Scarecrow. Less so than Hamlet, but it’s also there.

The Caravaggio painting, I wrote the first draft of Woman and Scarecrow when I was in Paris. I was staying in an Irish cottage that used to be the old priest college in Paris. Napoleon gave to the Irish state… or the church, or it came down to the Irish state, but now it’s owned by the Irish state. So I would go to The Louvre quite often and have a look at the paintings, and my husband came over for a few days and it was the painting he was particularly struck by. Then it was just talking about it. We also have our own Caravaggio here in our National Art Gallery. The betrayal of Jesus by Judas in the Garden of Gethsemane… that one. I can’t remember the exact title of it, but we’re very proud of it. [Ireland]’s not a nation that could afford many Caravaggios, but the Jesuits I think found it in someone’s hallway, or it had been given by some lady to the Jesuits, and then someone came along and discovered it. The experts looked at it, and there it was. So as a nation, we’ve very proud to have that, and it has a proud place in The National Gallery and we have all gone to see it several times and stuff like that. So Caravaggio yeah would be there.

And [Caravaggio] was such a… devil isn’t the right word… but a wild man to be given these gifts. This wonderful gift of painting. It kind of goes against the whole Christian tradition of being good and moral [laughs]. These Renaissance painters were fairly wild, and he was particularly. His way of life and, you know, stabbing people, and then I think he was murdered in the end. I can’t remember the exact details, and yet he painted some of the greatest religious paintings that we have. I find that fascinating.

I keep saying I’m not a Catholic, and I’ve denied at times that I’m a Christian, but I think I probably am one, you know, despite all of my denials. It’s very hard growing up in a country like Ireland to avoid the residue of Catholic imagery and certainly growing up in the West Christian imagery is everywhere. It’s there; it’s in the hard wiring. And you use it. It’s there unconsciously, and it’s actually very comforting to have it there, but it’s a great backdrop to take from. The way Hamlet is, you know? It’s just there, and you’re allowed to take from it what you need to get you a bit further on.

For more information about Marina Carr or for details about her visit to Pittsburgh, please call 412-561-6000 or visit www.picttheatre.org. This means war. A play for the guys, the history buffs, fans of the military, and all who love and honor them. So grab your guys, your vets, and those who still serve. Make it a memorable night or matinée.

• Groups of ten or more friends, family, and colleagues receive special recognition • Packages can be arranged to include a pre- or post-show reception with PICT artists and special performance- related activities.

Make your memories at PICT Classic Theatre. Please contact Michelle Belan at [email protected] to schedule your event.

Observe the Sons of Ulster Marching Towards the Somme by Frank McGuinness opens September 4, 2014 at PICT Classic Theatre

ad: karen moellenberg picttheatre.org 412.561.6000 PICT Theatre and The Carnegie Library of Pittsburgh work together to provide our patrons with the best materials to enhance your enjoyment of the show.

Woman and Scarecrow: Further Reading How will you face your death? Do you have your own “Scarecrow” figure to help you through the darkest times? Explore more by and about this playwright at Carnegie Library of Pittsburgh. Go to www.carnegielibrary.org to reserve a copy today!

By the Bog of Cats, Marina Carr Debuting in 1998, this play took its inspiration from the Greek myth of Medea and Euripides’ play of the same name.

New Plays From the Abbey Theatre, 3 vols. This three-volume collection reprints the best work to come out of Ireland’s most famous theater between 1996 and 2003, including Marina Carr’s By the Bog of Cats.

Our Lady of Sligo, Sebastian Barry Like Woman and Scarecrow, this play by fellow Irish playwright Sebastian Barry explores death and our struggle with it. It debuted in 1998.

Modern and Contemporary Irish Drama, edited by John P. Harrington This volume, which includes the complete text of fourteen Irish plays, also includes three essays on Marina Carr’s work and an introduction to her work written by Carr herself.

The Cambridge Companion to Twentieth Century Irish Drama Edited by Shaun Richards Of note in this collection of essays is the piece by Cathy Leeney on Marina Carr and fellow female Irish playwright Theresa Deevy titled “Ireland’s ‘Exiled’ Women Playwrights." Also of note is “The Ideology of the Abbey Theatre” by Adrian Frazier and “Staging Contemporary Ireland: Heartsickness and Hopes Deferred” by Vic Merriman.

Modern Irish Drama, edited by Sanford Sternlicht This book examines the lives of Ireland’s major modern and contemporary playwrights, including Marina Carr. It also delves into the political and social forces that drive Irish theater.

Did you know? Perhaps thoughts of mortality inspire you to explore your own ancestry. You can begin your genealogical research right at the library. Your library card gives you free access to Ancestry.com while visiting the library. Our Pennsylvania Department is home to the Western PA Genealogy Society’s collection. Our research experts can help you start your own search using the census, birth & death records, and more.

2014 PICT SPONSORS

SEASON SPONSOR: Philip Chosky Charitable & Educational Foundation

PRODUCTION SPONSOR: Richard Rauh

SEASON MEDIA SPONSORS: WESA Radio 90.5 FM and WYEP 91.3 FM

OPENING NIGHT SPONSOR: UPMC

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Many thanks to the following companies for supporting PICT by matching their employees’ contributions: Bank of Ameri- ca, BNY Mellon, The Buhl Foundation, Chevron, Computer Associates Inc., Gap Stores, Google, HJ Heinz Co. Foundation, Highmark Blue Cross Blue Shield, IBM, Macy’s Foundation, Microsoft Corp., PNC Foundation, PPG Industries, Inc., UBS. Contributions from January 1, 2013 -July 2, 2014. For corrections or information about making a tax-deductible gift to PICT, call Ryan Ferrebee at 412-561-6000. Don’t forget to see if your employer has a gift-matching program. SAVE THE DATES

What's the BIG DEAL... about Woman and Scarecrow?

Join us for dinner and conversation before this show to talk about its unique mythology, the gorgeous language and imagery, and some translation of those unique Irish turns of phrase to enhance your experience of this compelling and powerful play. Our BIG DEAL package includes a voucher for a buffet, a short presentation, and your ticket to the 8 p.m. performance! The event begins at 5 p.m. at Joe Mama's on Thursday, July 31. Call 412-561-6000 or visit picttheatre.org to purchase your ticket today! Witches & Wizards Thursday, October 30, 2014

A scene from PICT Plays...with Mystery & Mayem (2013 Gala). From Left to Right: James FitzGerald, David Whalen, Karen Baum, Alan Stanford, special guest Jack Gleeson, and Gayle Pazerski. Tea for Teachers Thursday, November 6, 2014 at 4 p.m. Teachers are invited to join us for tea, crumpets, and conversation! Please call 412-561-6000 for more information or to reserve your seat. I’M BETTER WITH BLUE Fifty years ago, Ken Kuhn’s dad opened for business. He chose a craft he loved, great people to make it successful, and Highmark as his company health plan. Now, a generation later, Ken Kuhn still believes in Highmark. Because he knows what business owners large and small have known for generations — when it comes to protecting your most valuable assets on the job and o , you’re better with Blue.

Real Member Ken Kuhn

Highmark Blue Cross Blue Shield is an independent licensee of the Blue Cross and Blue Shield Association. Subject to the terms of your beneﬁ t plan. HighmarkBCBS.com Up next at PICT... Observe the Sons of Ulster Marching Towards the Somme By Frank McGuinness Directed by Matt Torney

September 4–20

starring: Tony Bingham as Nat McIlwaine Justin Holcomb as Christopher Roulston Jonathan Visser as George Anderson Quinn Patrick Shannon as William Moore A question of war... Dylan Marquis Meyers as Martin Crawford Jason McCune as Davis Craig Raife Baker as Young Kenneth Pyper Ciaran Byrne as Millen Martin Giles as Kenneth Pyper

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