Through the generous support of the University’s College of Liberal Arts, Project Success is able to offer Twin Cities teenagers and their families free tickets to our shows. For more information about Project

Success and its programs, visit www.projectsuccess.org.

April 8 - 16, 2011

a creative collaboration led by

WARNING: Atmospheric haze and fog will be used in this production

April 8 @ 8pmApril 9 @ 8pm

April 10 @ 2pm(AD performance)

April 13 @ 7:30pmApril 14 @ 7:30pmApril 15 @ 8pmApril 16 @ 8pm (ASL performance)

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based on the works of Upton Sinclair

Supporting undiscovered

bands one rent check at a time.

Online at RadioK.org

RK_Mar10Ad_UMThtrDpt_1.indd 1 3/17/10 12:34 PM

OIL! & THE JUNGLE

theatre.umn.edu 612.624.2345

understand

think

understand

engageengage

think

makemake

Imaginative performance since1930

theatre.umn.eduFor more info on

UMTAD’s 10-11

Season please visit

Kym Longhi & Karla Grotting

bring this ad to Baldy’s BBQ

BUY ONE SANDWICH, GET ONE HALF PRICE!

MAYDAY BOOKSNot making a profit since 1975!

Come in and pick up a book on labor, or a copy of The Jungle or Oil!

Progressive Independent bookstore located in the heart of the West Bank. We carry fiction, non-fiction and periodicals, including those on

labor. All books are 15% off.

301 Cedar Ave (under The HUB Bike Co-Op)

www.maydaybookstore.blogspot.com or http://maydaybookstore.org

music credits“Unknown Gypsy Dance” Traditional , © E Muzeki, 2005 on Sindh (cd); E Muzeki.“Sugarfoot Stomp” by Melrose Walter and Oliver Joseph, © Edwin Morris & Co.; (ASCAP) on Ken Burns Jazz: Fletcher Henderson (cd); Sony. “The Kiss” by Trevor Jones and Dougie MacLean, © E Muzeki, 2005 on Sindh (cd) E Muzeki.“I’ll Build a Stairway to Paradise” by George and Ira Gershwin and B.G. DeSylva, © 1922, New World Music; (ASCAP). Performed by Savoy Havana Band on The Great British Dance Bands Play George Gershwin 1920-1928 (cd); EMI.

“Galaliu geguzine” Traditional, © Dainava, 2001 on Songs and Dances from Lithuania (cd); Arc Music.“Big Ship Home” by Matt A. Thorne, © Matt A. Thorne, 2005 on Around the World with Mr. Griddles (cd); Skin and Barrel Music.“Zeppelin Ride” by Matt A. Thorne, © Matt A. Thorne, 2005 on Around the World with Mr. Griddles (cd); Skin and Barrel Music.“Congratulations” by Coleman Goetz, Bud Green, Maceo Pinkard and Sam H. Stept; © Chappell Music, 1930; on The Dorsey Broth-ers and their Orchestra (lp); Banner.“Wang, Wang Blues” by Henry Busse, B. Johnson, Gus Mueller and Leo Wood, © 1920; on Study in Frustration: The Fletcher Henderson Story (cd) Columbia.

“Singin’ the Blues” by Dorothy Fields and Jimmy McHugh, © EMI Robbins (ASCAP); on Best of Ken Burns Jazz: Various Artists (cd); Columbia Legacy.

“When You’re Smiling” by Mark Fisher, Joe Goodwin and Larry Shay, © EMI Mills Music, 1928 (ASCAP).“The Man I Love” by George & Ira Gershwin. © New World Music, 1924 (ASCAP).“Me and My Shadow” by Dave Dreyer, Al Jolson and Billy Rose © 1927 Bourne Company (ASCAP).“Guilty” by Harry Akst, Gus Kahn and Richard A. Whiting; © 1931 B & G Akst Publishing Company (ASCAP).“I’ll Build a Stairway to Paradise” by George & Ira Gershwin and B. G. DeSylva; © 1922, New World Music (ASCAP).“Tanguedia II” by Astor Piazzolla © 1984 by author (SACEM); on The Sound of Tango Greatest Hits (cd); France Inter.“Tanguedia III” by Astor Piazzolla ©1984 by author (SACEM); on The Sound of Tango Greatest Hits (cd); France Inter. “Duo de Amor” by Astor Piazzolla © 1998 by the Author; on The Best of Astor Piazzolla (cd); BMG/Milan.“Por Una Cabeza” by Carlos Gardel and Aldredo LePera; © 1935 by the Authors; on The Tango Project (cd); Nonesuch Records.“A Media Luz” by E. Donato and Carolos C. Lenzi; © 1925 by the Authors; on The Tango Project (cd); Nonesuch Records.“Biserica Neagra” Traditional; © E Muzeki, 2005 on Sindh (cd); E Muzeki.

UNIVERSITY THEATRE SUBSCRIBER SERIES OIL! & THE JUNGLE

artistic teamDIRECTOR Kym Longhi CHOREOGRAPHER Karla GrottingSCENERY/PROPERTIES DESIGN Jonathon OffuttCOSTUME DESIGN Jonathan Singer, Alissa McCourtLIGHTING DESIGN Mary MontgomerySOUND DESIGN Kym Longhi, Peter BakerMEDIA DESIGN TH 5554 Multimedia Class

production teamASSISTANT TECHNICAL DIRECTOR Collin O’BrienASSISTANT SCENE DESIGN Zeina Khalife, Sean CreeganPAINT CHARGE ARTIST Amanda WambachPROPERTIES MANAGER Meg KisselHOUSE SCULPTURES Katherine ClantonPROPERTIES / SET CONSTRUCTION David Pitchford, Katrina Daby, Alex Steine, Sara Huebschen, Elizabeth Eitel, Amanda Pyfferoen, Ann Nelson, Jang Wooyeon, Elias Arkham, Sylvia Bay, Natercia Pacheco, Jan Thomas, Katherine Toutin, Alex Jones, David Flohr, Amanda Waldhoff, Satchell Mische-Richter, Lindsey Kort, Katherine Clanton ASSISTANT LIGHTING DESIGNER Jesse CogswellHEAD ELECTRICIANS Mark Larson, Alex StrnadLIGHTING Tyler Schaefer, Chelsea Wallace, Majid Mokhtari, Drew Rosenow, Elias Arkham, Hannah Smiltneek, Kevin Klein, Teresa Phung, Kevan AhlquistTH 5554 MULTIMEDIA CLASS Dylan Olson, Kate Jandric, Amanda Wambach, Audrey Donahue, Megan Johnson, Jerry Hsiao, Sasha Gibbs, Sarah Mauritz, Meegan Johnson MULTIMEDIA OPERATOR/PROGRAMMER Sarah MauritzCOSTUME CONSTRUCTION Ryan Pandl, Kelly Scott, Dani Pazurek, Annie Feenstra, Abbie Gobeli, Winter Kucharski, Emily Duea, Amanda Waldhoff, Emily Jannusch, Ger Vang, Kristen Martin, James Kennedy, Anthony Wong, Jenna Frankenfield, Grace Christenson, Emily Macy, Pauline Johnson, Mykee Schinderling, Justin Grubbs, Megan Rudell, Rachel PollackRUNNING CREW Kacie Galyon, Alex ProcknowLIGHT BOARD OPERATOR Abigail CridelichDECK ELECTRICIAN Joseph PyfferoenSOUND BOARD OPERATOR Jerry HsiaoCOSTUME CREW Emily Brady, Nicole Kopfmann, Haley Carneol, Daniel FeldSET-UP / STRIKE Amy Hart, Jenn Schorn, Emily Ehlert, C.J. Holmes, Lee Johnson, Yefei Jin, Kacie GalyonHOUSE MANAGEMENT Peter Rusk, Helena OsswaldJenna Frankenfield, Michael Fell, Ann EricksonMARKETING & AUDIENCE SERVICES Ashley Berkenpas, Catherine Andrews-Jackson, Erin Phipps, Derek Homer, Grace Holthaus, Danie Feld, Shante Zenith, Hannah Mohan, Jacob Vyskocil, Ian Macomber, Molly Shebeneck, Brittany Falkers, Maria Gagnon, Maisie Twesme, Brooke Kilgarriff, Ann Erickson, Stuart Wiberg, Whitney Clemens, July Vang, Melanie Day

PRODUCING DIRECTOR Thomas Proehl

MARKETING AND AUDIENCE SERVICESCOMMUNICATIONS COORDINATOR Jennie GermainMARKETING LEAD Peter RuskMARKETING ASSOCIATES Ann Erickson, Helena Osswald,Jenna Frankenfield, Michael FellGRAPHIC DESIGN Cody Baldwin

COSTUMESRESIDENT COSTUME DESIGNER Mathew J. LeFebvreCOSTUME SHOP MANAGER Susan Binder-PettigrewCUTTERS/DRAPERS Annie Cady, Taylar Kuzniar, Jonathan SingerFIRST HANDS Molly Corkins, Zeina Khalife, Lucie Biros, Katrina Zahradka, Peter Cairns, Sara Huebschen

SOUND & MEDIARESIDENT SOUND/MEDIA DESIGNER Martin B. GwinupSOUND/MEDIA SUPERVISOR Montana JohnsonAUDIO ENGINEERS Josh Adrian, Aaron Newman

SCENERY & PROPERTIESRESIDENT SCENIC DESIGNER C. Lance BrockmanRESIDENT TECHNICAL DIRECTOR Martin B. GwinupSCENE SHOP SUPERVISORS Jonathon Offutt, Amanda WambachCARPENTERS/TECHNICIANS Megan Koester, Collin O’Brien, Samantha Stephens, Sean Creegan, Maria GagnonPROP SHOP SUPERVISORS Rob Jensen, Meg KisselPROPS ARTISANS Kathrine Clanton, Nathaniel Stanger

STAGE MANAGEMENTPRODUCTION STAGE MANAGER Christine M. SwartwoutPRODUCTION ASSISTANT Brianna Lopez

LIGHTINGRESIDENT LIGHTING DESIGNER Marcus DilliardLIGHTING SUPERVISOR Bill HealeySTAFF ELECTRICIANS Mark Larson, Jesse Cogswell, Mary Montgomery, Alex Strnad, Monica Rojas, Samantha Stephens

department faculty & staffDEAN, COLLEGE OF LIBERAL ARTS James ParenteCHAIR Carl FlinkFACULTY AND STAFF Ginni Arons, Judy Bartl, Lou Bellamy, David Bernstein, Lance Brockman, Steve Cardamone, Lisa Channer, Ananya Chatterjea, Jessica Crary, Marcus Dilliard, Rochelle Emmel, Carl Flink, Cindy Garcia, Jennie Germain, Martin Gwinup, Bill Healey, Lucinda Holshue, Nora Jenneman, Montana Johnson, Michal Kobialka, Sonja Arsham Kuftinec, Diyah Larasati, Matthew LeFebvre, Megan Lewis, Marcella Lorca, Marge Maddux, Elizabeth Nash, Deb Pearson, Susan Pettigrew, Thomas Proehl, Bruce Roach, Toni Pierce-Sands, Luverne Seifert, Jeffery Sherman, Joanie Smith, Michael Sommers,Christine M. Swartwout, Dominic Taylor, Margaret Werry, Katie Willer

university theatre staffthe cast

JADVYGA MARCINKUSJUOZAS RACZIUSLITTLE KOTRINAANIELEONAPAUL WATKINSJURGISALENA BERCZYNSKASJOKUBAS SZEDVILASTAMOSZIUS KUSZLEIKADEDE ANTANASTETA ELZBIETAMARIJA BERCZYNSKASMIKOLAS RACHEL MENZIES

Katie EngevikEdward Euclide

Suzi GardJohanna Gorman-Baer

Kelly HansenAlex Hathaway

Kevin KleinMegan Koester

Jacob MillerMajid Mokhtari

Tim MurrarySadie PlendlAddy Salami

Nico SwensonMaggie Williams

The use of electronic devices (cell phones, pagers, audio/video recording, cameras, and other photographic equipment) is

strictly prohibited and will be confiscated by House Manage-ment if used during the performance. Interference with any

part of this event will not be tolerated.

VOCAL DIRECTOR Natalie NowytskiASSISTANT VOCAL DIRECTOR Johanna Gorman-BaerMUSIC DIRECTOR Peter BakerORIGINAL COMPOSITION Natalie Nowytski, Peter BakerACCORDIAN/KEYBOARD/DULCIMER Peter BakerCELLIST Ben Yela

ASSISTANT DIRECTORS Zoe Wilson, Billy Mullaney,Ariel Donahue, Beth Margolis-Brooks DRAMATURGS Rita Kompelmahker, Carra Matinez, Michael MellasSTAGE MANAGER Eric HoweASSISTANT STAGE MANAGERS Samantha Stephens, Rachel Pollack

a note from the directorTHE DEVILTHE WILDCATVEE TRACY/MRS. NORMANBERTIEDAD/BUNNYELI WATKINSANNABELLE AMESVERNON ROSCOEHARVEY MANNING

Cody BaldwinMolly Corkins

Sasha GibbsLaura Hickey

Kalen KeirSam Kruger

Madelyne RileyJustin Spooner

Jared Zeigler

OIL!

THE JUNGLE

TH 4380 CREATIVE COLLABORATION FALL 2009Peter Baker, Cody Baldwin, Stephanie Bertumen, Alycia Corbo, Molly Corkins, Ariel Donohue, Sasha Gibbs, Brent Grihalva, Nicole Herbenson, Anna Hickey, Kalen Keir, Nicholas Marcoullier, Billy Mullaney, Andria Schumann, Stella (Hyun-Joo) Song, Maggie Williams

dedicationThis production is dedicated to Mohammad Mokhtariand all those who have lost their lives in the fight for justice.

In creating this production, I was inspired by Jerzy Grotowski’s notion of theater as an encounter:

“Not merely a confrontation with thoughts, but one involving the whole being… the important thing is not the words but what we do with these words, what gives life to the inanimate words of the text, what transforms them…”

I began this creative “encounter” in a 6-week process with my collaborator and choreogra-pher Karla Grotting and 17 students in a class entitled “TH4380 -Creative Collaboration.” We had nothing but our bodies and imaginations, two 500-page novels, a handful of props and some improvisation structures. We had to dig down into the creative muck, slide around in the text, and engage our bodies and minds fully to bring out the essence of each book as living action in a crude potent form. We worked primarily on our feet, thinking with our bodies first, later processing the information in discussion and writing. Gradually we carved the massive texts down to the guts of the performance text while developing a physical score of images and action.

We created the two separate worlds first, and then brought them together to see what their collision might reveal. The result of this series of encounters is what we offer you. Two novels, two separate worlds, two classes of people in a political and economic system that only seems to divide them more - this is the essential encounter between Upton Sinclair’s “Oil!” and “The Jungle” - and yet as theatre, it is more than that. It is also the encounter of a moment from America’s past with our tumultuous present. We are excited to be poised on the verge of the final essential encounter - that is with you, our audience. In the most important sense, you will be our final collaborator. I look forward to what this theatrical encounter will yield.

special thanksErik Hoover, James Peitzman, Carl Thomsen

Upton Sinclair’s novels – The Jungle (1906) and Oil! (1927) – confront the issue of class and labor in US society at a specific historical junction. Rapid industrialization and mass migration in the first quarter of the twentieth century constructed an urban landscape of people who could inhabit the same city, but nevertheless live within drastically different conditions. The two worlds of The Jungle and Oil! in this play – respectively set in Chi-cago and Southern California – create a composite image of the contradictions between the lives of those who work in the meat-packing industry and those who control the “big” business of oil and entertainment. From the mechanizations of the factory line to the producer’s couches in Hollywood, the bodily acts of labor that fuel industry are made visible in all their different forms.

Today, nearly 100 years after Sinclair published The Jungle, issues of labor remain at the forefront of social consciousness in this country. This is not to say that workers conditions today are the same as those presented here. However, as recent events and subsequent protests in Wisconsin have showed us, issues concerning labor rights are still hotly contested and extremely prevalent in our contemporary society. And while Wisconsin may have generated the most press for various reasons, numerous states have recently reduced or removed collective bargaining rights for state employees including Ohio, Tennessee, and Michigan. In light of America’s history of labor issues and in the wake of the countless recent events, it is important to consider the stakes of staging Oil!/The Jungle today.

Finally, how do we watch a show like Oil! and the Jungle where the narrative is not told through dialogue or exposition, but through the labor of the body? Hasn’t it always been about bodies in the theater? This production draws particular attention to the labor of creating a work of art and challenges you to look at a play through this prism – constantly remembering that the body is implicated, and central to, our knowledge. At a time when there is increasing talk of virtualized information and communication, we would like to remind you that the act of going to the theater is an inherently embodied one. As an audience member, we invite you to pay attention to your own bodily re-sponse to experiencing this production of Oil! and the Jungle. What are you watching? Where do your eyes travel? What affect does this have on you?

a note from the dramaturgs

DAD PUPPET Alissa McCourt