the piano lesson program

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Dear FrienDs,

Welcome to August Wilson’s The Piano Lesson.

This production represents Syra-cuse Stage’s ninth production of Wilson’s plays. To date we have produced: Fences (1991, direc-tor Claude Purdy), The Piano Lesson (1996, director Claude Purdy), Jitney (2002, director Timothy Douglas), Gem of the Ocean (2007, director Timothy Douglas), Ma Rainey’s Black Bottom (2008, director Timo-thy Bond), Fences (2010, direc-tor Timothy Bond), Radio Golf (2011, director Timothy Bond), Two Trains Running (2013, director Timothy Bond), and now the Pulitzer Prize-winning The Piano Lesson again.

Of the ten plays that constitute Wilson’s Century Cycle—the decade-by-decade chronicle of African American life in the 20th century—we have completed seven. The remaining plays and their corresponding decades in-clude Joe Turner’s Come and Gone (1910s), Seven Guitars (1940s), and King Hedley II (1980s).

In the course of his ten-play chronology, Wilson explores the impact of the catastrophic events that have disrupted the lives of the descendants of the Africans torn from their homes and enslaved in this country. The legacies of that enslave-ment, and the subsequent trials of Jim Crow, the Great Migra-tion, and the plethora of injus-tices and indignities born of racial prejudice and endured by generations of African Ameri-cans are contained and con-veyed in Wilson’s Cycle. But for Wilson, the plays do not consti-tute a history. In dramatic form they speak of cultural identity and greater purpose.

The playwright addressed this in a preface to King Hedley II written in 2000:

The cycle of plays I have been writing since 1979 is my attempt to represent [African American] culture in dramatic art. From the beginning, I decided not to write about historical events or the pathologies of the black commu-nity. The details of our struggle to survive and prosper, in what has been a difficult and sometimes bitter relationship with a system of laws and practices that deny us access to the tools necessary for productive and industrious life, are available to any serious stu-dent of history or sociology. Instead, I wanted to present the unique particulars of black Ameri-can culture as the transformation of impulse and sensibility into codes of conduct and response, into cultural rituals that defined and celebrated ourselves as men and women of high purpose. I wanted to place this culture on stage in all its richness and fullness and to demonstrate its ability to sustain us in all areas of human life and en-

deavor and through profound mo-ments of our history in which the larger society has thought less of us than we have thought of ourselves.

King Hedley II was the eighth play Wilson wrote for the Cycle. Later in the preface, he equates the process of writing the Cycle with a journey, one that has left him “a different person than when I started.”

He continues: “As with any journey, the only real ques-tion is: ‘Is the port worthy of the cruise?’ The answer is a re-sounding ‘Yes.’”

We agree, and we are thrilled that you are here to join us as we continue our journey through these remarkable plays.

warm regarDs,

Timothy BondProducing Artistic Director

letter from the producing artist ic director

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August Wilson’s the piAno lessonDirected by Timothy BondCo-produced with Seattle Repertory TheatreOctober 22 - November 9Pulitzer Prize-Winning Drama

hAirsprAyBook by Mark O’Donnelland Thomas MeehanMusic by Marc ShaimanLyrics by Scott Wittman and Marc ShaimanDirected by Bill FennellyChoreography by David WanstreetMusical Direction by Brian CimmetCo-produced with SU DramaNovember 28 - January 4Tony Award, Best Musical

in the next room or the vibrator play By Sarah RuhlDirected by May AdralesJanuary 28 - February 15It's the 1880s and Electricity is all the Rage

sizWe BAnzi is DeADBy Athol Fugard, John Kani, and Winston NtshonaDirected by John KaniCo-produced with South Africa’s Market Theatre &McCarter Theatre CenterFebruary 25 - March 15Tony Award-Winning South African Classic

other Desert citiesBy Jon Robin BaitzDirected by Timothy BondCo-produced with Portland Center StageApril 8 - 26Are There Secrets that Should Always be Kept?

season sponsor

tickets AnD seAson pAckAgesBox office: 315.443.3275group services: 314.443.9844WWW.syrAcusestAge.org

14/15seAson

Peter O'Connor and Jeff Locker in Chinglish. Photo: Patrick Weishampel.


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season sponsormedia sponsors

presenting sponsor sponsors

c o s t u m e d e s i g n e r

Helen Q Huang

The Piano Lesson is presented by special arrangement with Samuel French, Inc.Originally produced by Yale Repertory Theatre, Lloyd Richards, Artistic Director.

The video and/or audio recording of this performance by any means whatsoever are strictly prohibited. The videotaping or making of electronic or other audio and/or visual recordings of this production is a violation of United States copywright

law and an actionable federal offense.

October 22 - November 9, 2014

p r e s e n t s


Jeffrey WoodwardManaging Director

s ta g e m a n a g e r

Laura Jane Collins*

L i g h t i n g d e s i g n e r

Geoff Korfc o m p o s e r

Michael G. Keck

d i r e c t e d b y

Timothy Bond

s c e n i c d e s i g n e r

William Bloodgood

c a s t i n g

Harriet Bassd r a m at u r g

Kyle BassF ight choreographer

Felix Ivanov

c o - p r o d u c e d w i t h

Seattle Repertory Theatre

Braden AbrahamSRT Artistic Director

Jeffrey HerrmannSRT Managing Director

Daniel Bingham & Gail Hamner

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August Wilson’s The Piano Lesson is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.† Student, Syracuse University Department of Drama

c a s t

(in order of appearance)

Derrick Lee Weeden*......................................................DoakerStephen Tyrone Williams*..........................................Boy WillieYaegel T. Welch*..............................................................LymonErika LaVonn*..............................................................BernieceMarcea Bond.................................................................MarethaKen Robinson*..................................................................AveryG. Valmont Thomas*..............................................Wining BoyAllison Strickland*.............................................................Grace

There will be one fifteen-minute intermission.

a d d i t i o n a L c r e d i t s

Stage Management Apprentice: Marisa M. AndrewsStage Management Intern: Praycious Wilson-Gay†

Electrics Apprentice: Ann ArcherChild Supervisors: Judy Evans, Anita Robinson

Deck Crew: Christopher GreenWardrobe Supervisor: Sarah StarkSound Apprentice: Jade Taggart

Official Hotels for Guest Artists: The Genesee Grande Hotel, Parkview Hotel

setting

Pittsburgh, 1936

u n d e r s t u d i e s

Alani Simone Henderson (Maretha)

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by joseph whelan

In a 1999 interview with George Plimpton pub-lished in The Paris Review, August Wilson described the primary influences on his work as a playwright, what he called his “four Bs”: the blues, Borges, Ba-raka, and Bearden. He came to the blues via a Bessie Smith record-ing of “Nobody in Town Can Bake a Sweet Jelly Roll Like Mine” that he bought in a charity shop and proceeded to play 22 times straight. “The uni-verse stuttered and every-thing fell to a new place,” he once wrote.

With Jorge Luis Borges, it was the “wonderful gau-cho” stories that impressed upon Wilson that a writer could be “specific as to a time and place and culture and still have the work resonate with the univer-sal themes of love, honor, duty, betrayal, et cetera.” From the poet and play-wright Amiri Baraka, Wil-son learned that all art is political. And from the painter Romare Bearden, Wilson took this: “the fullness and richness of everyday ritual life can be rendered without compromise or sentimentality . . . through Bearden I realized that you

could arrive at the univer-sal through the specific. Every artist worth his salt has a painting of a woman bathing. So Bearden’s Har-lem Woman Bathing in Her Kitchen is no different as a subject than you would find in Degas, but it is in-formed by African Ameri-can culture and aesthet-ics.” Bearden is best known for the collages that dominated his output for twenty-five years. These are mixed media works that incorporate photos, painting, fabric, and found objects and that celebrate the quotidian and the ritual of African Ameri-

RomaRe BeaRden

august

an

d

Wilson

[opposite above] Romare Bearden. Photo: Frank Stewart. [below] August Wilson. AP., 2003.

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can culture. Born of his involvement with the Civil Rights movement of the 1960s, the collages afforded Bearden through the end of his career a chance to redis-cover “the value of his own life and culture,” as Mary Schmidt Campbell wrote for a retrospective of the artist’s work at the Studio Museum in Harlem. His subject matter ranged from street scenes to images of Caribbean conjure women to scenes recalled from his childhood in North Caro-lina and Pittsburgh. In the collages, Bearden once said, he sought to “establish a world through art in which the validity of my negro experience would live and make its own logic.” If Wilson drew inspira-tion from Bearden’s work and ideas, his approach to playwriting contains ele-ments of the artist’s collage approach. Bearden once described his process: “. . . people start coming into my work, like opening a door. One day, these people came walking into my work and seemed to know just where to go within the painting.” As he worked on each play, Wilson embraced a similar relationship with his characters: “In the way my plays are structured, plot grows out of characteriza-tion,” he told Plimpton. In a 1987 interview with

David Savran, he put it this way: “Someone says some-thing to someone else, and they talk, and at some point I say, ‘Well, who is this?’ and I give him a name. But I have no idea what the story line of the play is. It’s a process of discovery.” Wilson was more explicit when he spoke with play-wright Suzan-Lori Parks for a 2005 American Theatre in-terview: “I work like this—in collages. I just write stuff down and pile it up, and when I get enough stuff I spread it out and look at it and figure out how to use it. You get enough stuff and you start to build the scene and you don’t know where the scene’s going, and you don’t have any idea what’s going to follow after that . . . So, very much like Ro-mare Bearden, you move your stuff around on the pages until you have a com-position that satisfies you, that expresses the idea of something and then—bin-go—you have a play.” Bearden and Wilson were also linked by an unshakable conviction that, as Wilson told Parks, “the black expe-rience is inexhaustible.” He added, “There was no idea that couldn’t be contained by black life.” For Bearden, this convic-tion meant recognizing that his experience of the world as an African American was

the equal of what could be found in classical art and literature. In an interview with Henri Ghent he ex-plained: “If you equate a lot of the things that happened in Negro life you see there’s a continuity with many of the great classical things that have happened before. And this is what I tried to find in my work, this connotation of many of the things that have happened to me with the great classical things of the past.” And he explained to his biographer Myron Schwartzman: “It is not my aim to paint about the Negro in America in terms of propaganda. It is pre-cisely my awareness of the distortions required of the polemicist that has caused me to paint the life of my people as I know it—as passionately or dispassion-ately as Breughel painted the life of the Flemish people in his day.” Bearden achieved this goal in his collages and in so doing created “works filled with cryptic figures and a dense symbolism that looked like nothing else in American art,” as Mary Schmidt Campbell noted. The same certainly may be said of August Wilson, whose ten-play Century Cycle is a singular achieve-ment unlike any other in American Theatre.

[opposite above] Romare Bearden. [below] August Wilson. Photo: David Cooper, 2004.

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In 1965, as a twenty-year-old poet living in a room-ing house in Pittsburgh, I discovered Bessie Smith and the blues. It was a wa-tershed event in my life. It gave me a history. It pro-vided me with a cultural response to the world as well as the knowledge that the text and content of my life were worthy of the highest celebration and occasion of art. It also gave me a framework and an aesthetic for exploring the tradition from which it grew. I set out on a continual search for ways to give expression to the spiritual impulse of the African-American culture which had nurtured and sanctioned my life and ul-timately provided it with its meaning. I was, as are all artists, searching for a way to define myself in re-lation to the world I lived

in. The blues gave me a firm and secure ground. It became, and remains, the wellspring of my art. In 1977, I made another discovery which changed my life. I discovered the art of Romare Bearden. I was then a thirty-two-year-old poet who had taken his aesthetic from the blues and was unsure how to turn it into a nar-rative that would encom-pass all the elements of culture and tradition—what Baldwin had so elo-quently called “the field of manners and ritual of intercourse” that sustains black American life. My friend Claude Purdy* had purchased a copy of The Prevalence of Ritual, and one night in the Fall of 1977, after dinner and much talk, he laid it open on the table before me. “Look at this,” he said.

FoReWoRdIn 1990 August Wilson contributed a foreword to a biogra-phy of Romare Bearden called Romare Bearden: His Life and Art by Myron Schwartzman, published by Harry N. Abrams, Inc., New York. The following is Wilson’s foreword.

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FoReWoRd “Look at this.” The book lay open on the table. I looked. What for me had been so difficult, Bearden made seem so simple, so easy. What I saw was black life presented on its own terms, on a grand and epic scale, with all its richness and fullness, in a language that was vi-brant and which, made attendant to everyday life, ennobled it, affirmed its value, and exalted its pres-ence. It was the art of a large and generous spirit that defined not only the character of black Ameri-can life, but also its con-science. I don’t recall what I said as I looked at it. My response was visceral. I was looking at myself in ways I hadn’t thought be-fore and have never ceased to think of since. In Bearden I found my artistic mentor and sought, and still aspire, to make my plays the equal of his canvases. In two instances his paint-ings have been direct in-spirations. My play Joe Turner’s Come and Gone was inspired by Bearden’s Mill Hand’s Lunch Bucket, a boardinghouse setting

Romare Bearden's The Piano Lesson, 1984,Silkscreen, 29.25" x 20.25". Private collection.

In Bearden I found my artis-tic mentor and sought, and still aspire, to make my plays the equal of his canvases.

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in Pittsburgh. I tried to incorporate all of the ele-ments of the painting in the play, most notably the haunting and brooding figure at its center, whom I named Harold Loomis. The names of the char-acters, Seth and Bertha, were taken from another Bearden painting, Mr. Seth and Miss Bertha. The title of my play The Piano Lesson was taken from a painting of the same title. I never had the privi-lege of meeting Romare Bearden. Once I stood outside 357 Canal Street in silent homage, daring

myself to knock on his door. I am sorry I didn’t, for I have never looked back from that moment when I first encountered his art. He showed me a doorway. A road marked with signposts,with sharp and sure direction, chart-ing a path through what D. H. Lawrence called the “dark forest of the soul.” I called to my courage and entered the world of Ro-mare Bearden and found a world made in my image. A world of flesh and mus-cle and blood and bone and fire. A world made of scraps of paper, of line

What for me had been so dif-ficult, Bearden made seem so simple, so easy. What I saw was black life presented on its own terms, on a grand and epic scale, with all its richness and fullness, in a language that was vibrant and which, made attendant to everyday life, en-nobled it, affirmed its value, and exalted its presence.

and mass and form and shape and color, and all the melding of grace and birds and trains and gui-tars and women bathing and men with huge hands and hearts, pressing on life until it gave back some-thing in kinship. Until it gave back in fragments, in gesture and speech, the colossal remnants of a spirit tested through time and storm and the lash. A spirit conjured into be-ing, unbroken, unbowed, and past any reason for song—singing an aria of faultless beauty and un-bridled hope. I have often thought of what I would have said to him that day if I had knocked on his door and he answered. I probably would have just looked at him. I would have looked, and if I were wearing a hat, I would have taken it off in tribute.

august wilsonSaint Paul, Minnesota

*Editor’s note. Claude Purdy has directed two August Wilson plays at Syracuse Stage: Fences (1991) and The Piano Lesson (1996).

[opposite] Romare Bearden in his studio, 1940s. Archives of American Art, The Smithsonian Institution, Washington, D.C.

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Of course, I had known about August Wilson. I had seen Joe Turner’s Come and Gone my first year at the drama school. He was a really important play-wright working at Yale. I never imagined that I would be chosen to work on one of August’s produc-tions. It just happened that I was in a class of all set de-signers, though I had done a lot of costume design as well. My teachers chose me, and the importance of that was huge for me. Even before I started working, I knew that, if it followed the previous plays, this one

was going to tour around the country, and eventu-ally open on Broadway. At that time I didn’t really understand the full scope of what August was trying to do, writing the Ameri-can Century Cycle, one play for every decade of the 20th century. I knew his voice and his work were important. Also, Lloyd [Richards], who was the head of the Yale Drama School, was going to be directing the play. I was so excited! The play, however, was not fully developed yet. With each

old FRiendsCostume designer Constanza Romero was in her final year as a graduate stu-dent at Yale School of Drama when she was assigned to work on the Yale Rep-ertory Theatre’s world premiere production of August Wilson’s The Piano Les-son. The production opened at Yale in November of 1987, moved to Boston’s Huntington Theatre in January of 1988, and opened on Broadway on April 16, 1990. This was how Ms. Romero and Mr. Wilson met. They married in 1994, and had a daughter, Azula, in 1997. Mr. Wilson passed away in 2005. Ms. Romero is the executor of the August Wilson Estate. Recently, she spoke with Joseph Whelan and shared some recollections of that time and production.

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production along the way, I got to witness the play be-come a fully realized piece. The end, that you’ll see tonight, didn’t exist until we opened in Chicago, the third stop of the repertory theatre tour, incidentally, when the great S. Epatha Merkeson joined the cast as Berniece. This pro-cess speaks to the August Wilson/Lloyd Richards relationship. Instead of August having the whole play planned out in his mind, he shaped it watch-ing the actors at work. (At Yale Rep the role of Boy Willie was played by Samuel L. Jackson. By the time of the opening in Boston, Charles (Rock) S. Dutton had joined the cast as Boy Willie.) Once Rock was on stage it all fell into place for Au-gust. Rock Dutton was al-ways the actor that August saw as Boy Willie. I had never seen him on stage before, but suddenly here was an actor with the force of a hurricane, and the sly, irresistible wink of a rascal. Without giving away the ending of the play, these were the qualities that Au-

gust was looking for in or-der to resolve the conflict between brother and sister over the fate of the piano. (Design inspirations) August evokes such vivid images in his plays. For example, the exchange be-tween Lymon and Bernice:

Starletta DuPois and Lou Myers in The Piano Lesson at Yale Repertory Theatre. Photo: Gerry Goodstein, 1987.

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LYMON: You got on that nightgown. I likes women when they wear them fancy nightclothes and all. It makes their skin look real pretty.

BERNIECE: I got this at the five-and-ten-cents store. It ain’t so fancy.

LYMON: I don’t too often get to see a woman dressed like that. So, what is that nightgown going to look like? I said, well it is going to be very simple, (this the 1930’s, the Great Depression) but it should also be something that makes her look pretty,

and more vulnerable than we’ve seen her before. She has been warring with Boy Willie over the piano, she has been standing up for herself saying she doesn’t need a man to define her. But in this scene she has her guard down. One of the main resources for re-searching that period is the old Sears & Roebuck catalogue. I looked for a very simple cotton night-gown with just a little bit of lace. In those days they cut a lot garments on the bias, the clothes hugged the body in a very soft way. It really was a very simple gar-ment, but it worked beau-

tifully. Those are the kinds of details that really allow the designer to participate in the poetry of the text. (Meeting August Wilson. Pants rolled up) My sketch for Boy Willie showed that he rolled his pants up slightly. I started by thinking he’s a farmer, so I wanted to feature his working boots, which would really stand out in a city like Pittsburgh. Boy Willie is not thinking about staying, like Lymon is. He’s thinking he’s going to sell the piano and come back south and start his work

Lou Myers, Rocky Carroll, Charles S. Dutton and Carl Gordon in the Broadway production of The Piano Lesson. Photo: Gerry Goodstein, 1990.

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on the farm. With all the drawings under my arm, the other designers and I went to meet August and Lloyd in New York City. They were having auditions—this was the first time I met August. As they were look-ing at the costume sketches, August said, “I don’t think that Boy Willie would be rolling his pants up.” So I said, OK, and I redrew it. Lo and behold, the very first time Rock Dutton came on stage, the very first time, he rolled his pants up. He had done it on his own, August came up to me and said, “I can’t believe it!” and I said, “Yes, he did it on his own. I had nothing to do with it.” (Want to buy a suit?) At that same meeting, I asked August what color the suit is that Wining Boy sells to Lymon. He said, “green”. I gulped and said, “Green! O-kay?” As I thought about it later in my studio, it dawned on me that this was the perfect thing. You know, Win-ing Boy is a blues man, a “Rambling Man”. His hey-day was in the 1920s. He probably had a lot of custom suits made for him, which is what a lot of the jazz greats did. To have a suit like that would be like walking around with cash, you can trade it or put it in

the pawn shop. But in the 30s, that shiny, flashy look is no longer in style. So I made the cut of the suit be from the 20’s. I had it made in a wool/silk combination to survive through all the different performances we were scheduled for. When Wining Boy walked in with that suit on a han-gar, seeing that flashy odd green, the audience started to laugh right away. They know that there is going to be a story behind that suit, it is going to play a re-ally big part later, but they don’t yet know what. In the hands of a great story teller this is gold! To this day I speak of that laughter, that costume moment as one of the most rewarding mo-ments in my design career. (Opening on Broadway)

Oh my goodness, it was amazing. For those design-ers who got to have the ex-perience I had: you know, going to the Yale School of Drama, and getting into a whole lot of debt; it’s a mo-ment when you say “this is totally worth it!” At the same time, the August Wilson shows were sup-posed to come into New York with all the costumes done. The producers were stubborn about spend-ing more money. Rock Dutton went through his

clothes really fast, he was very physical on stage. I had made a whole new ver-sion of his costume for the Broadway opening, but it hadn’t been distressed yet. His clothes looked brand new, while he is supposed to look like a hard working farmer from the south. So I’m in a Broadway theatre, thinking this is the apex of my career as a designer thus far, while at the same time, I’m in a dark alley doing all the spraying and distressing by myself. At once, it was the bottom and the top! (Old friends) Of all the ten plays in the Cycle, The Piano Lesson had the most stops along the way. After the play closed on Broadway, the producers brought the production, along with the set and costumes to the Seattle Rep. There was a different set actors, so we had to re-shape the clothes, some we made new. Then that same show went on tour. After that, the costumes ended up in the storage of Seattle Rep where I’m the resident art-ist. Many times, as I have been down there pulling costumes for other shows, I run into original pieces from the show on Broad-way, and it’s like, oh, these are old friends.

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Marcea Bond (Mare-tha) is an eighth grade student at Christian Brothers Academy. She is an avid horse rider and jumper. She also loves skiing, basketball, swim-ming, softball, camping, fishing, hiking, and throwing pots. This is her third year playing cello and she plays in the orchestra at school. At Syracuse Stage she has performed in A Christmas Carol, and in el-ementary school in Jungalbook, Willy Wonka, and Honk. She also loves to travel.

Erika LaVonn (Berniece)is pleased to return to Syracuse Stage having previously been seen here as Risa in Two Trains Running. The Piano Lesson marks her fifth pro-duction from August Wilson’s body of work. Most recently, Erika em-bodied Camae from The Mountain-top in a four city tour that stretched from Arizona, to North Carolina, to the Guthrie stage in Minnesota. She’s had the privilege of working overseas and across the country in other productions that include, The Comfort Team (world premiere), A Raisin in the Sun, Nobody (world premiere), The Fall of the House (world premiere), Jitney, Seven Gui-tars, Metamorphoses, Gee’s Bend, Things of Dry Hours, Crowns, A Christmas Carol, and a three and a half year run on Broadway in The Lion King. Other credits include War of the Worlds (Spielberg), Law

& Order: SVU, A.T.W.T., One Life to Live, and she will return to the small screen in the 2015 PBS pre-sentation, LBJ: The Forty Acres Club.

Ken Robinson (Avery)is honored to be a part of this amazing cast, bringing life to one of the greatest American plays ever written. He was last at Syracuse Stage in 2012 supporting his wife, who played Radio 2 in Caroline, or Change. Ken was seen on Broadway in the musicals Memphis and Baby It’s You! Last season, he was featured in the world premiere of The Unfortunates, and in My Fair Lady as Freddy Eynsford-Hill both at the Oregon Shakespeare Festival. Ken received his MFA from the Yale School of Drama in 2009.

Allison Strickland (Grace)recently appeared in Strawberry Theatre Work-shop’s production of Black Comedy and in the West Coast premiere of In the Book Of at Taproot Theatre. Select-ed credits include: The Walworth Farce (New Century Theatre Com-pany); Antony and Cleopatra and A Midsummer Night’s Dream (Seattle Shakespeare Company); My Wonder-ful Day (Seattle Public Theatre); The Cider House Rules (Book-It Reperto-ry Theatre, Gregory Award-winner for Outstanding Production). Alli-son studied at the Royal Academy of Dramatic Art in their Acting Shake-speare program.

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G. Valmont Thomas (Wining Boy) has pre-viously appeared at Syracuse Stage in Radio Golf (Roosevelt) and Two Trains Running (Memphis, dir. Tim Bond). G. Val-mont also performed at: Geva The-atre in Radio Golf (Roosevelt), West Of Lenin in Master Harold… and the boys (Sam, dir. M. Burke Walk-er), Huntington Theatre Company in Ma Rainey’s Black Bottom (Cut-ler, dir. Liesl Tommy), the Seattle Repertory Theatre in The Cherry Orchard (Yasha, dir. Dan Sullivan), and The Oregon Shakespeare Fes-tival (OSF) in Seven Guitars (Red Carter, dir. Kenny Leon). In the acting company of OSF for 13 sea-sons, credits include Blue in Party People, Macbeth in Macbeth, Falstaff in The Merry Wives of Windsor, Feste in Twelfth Night, Lincoln in TopDog/UnderDog, and Solly in Gem of The Ocean. Film and television credits: Child in the Night, Singles, and I Love You to Death. G. Valmont served on the faculty of The Johnny Carson School of Theatre and Film at The University of Nebraska-Lincoln.

Derrick Lee Weeden (Doaker). At Shakespeare Theatre Company, DC: Henry IV pts 1 and 2 (with Stacy Keach), Kolibas in Wallenstein, Nothumberland in Richard II, Ex-eter in Henry V, Sicinius in Corio-lanus; Berkeley Repertory Theater: Agamemnon in The Oresteia; Chi-cago Shakespeare Theater: Othello

in Othello (dir. Marti Maradan); PCPA Solvang: Cyrano in Cyrano de Bergerac. In 21 seasons at the Or-egon Shakespeare Festival, title roles in Antony and Cleopatra (2015), Othello, Coriolanus, Pericles Prince of Tyre, Death and the King’s Horseman, and The Philanderer. Others include Prospero in The Tempest, Tshembe Matoseh in Les Blancs, Caesar in Gem of the Ocean (dir. Tim Bond), Hedley in Seven Guitars (dir. Kenny Leon), Herald Loomis in Joe Turner’s Come and Gone, Brutus in Julius Caesar, Duke in Measure for Measure, Ver-shinin in Three Sisters, among others. Also Milwaukee Repertory Theatre, Alabama Shakespeare Festival, Great Lakes Theatre Festival. The Conti-nental Divide Tour: Mothers Against and Daughters of the Revolution at La Jolla Playhouse; The Barbican The-atre London, UK; Birmingham Rep. Birmingham, UK; Berkeley Rep.

Yaegel T. Welch (Lymon)was most recently seen as Leroy/Herb in By the Way, Meet Vera Stark at The Everyman Theatre in Baltimore. Other credits include: Ogun in The Broth-ers Size at the Everyman Theatre and the Seattle Rep; the PlayMak-ers Rep production of Fences; Jit-ney at Kenny Leon’s True Colors Theatre and Alliance Theatre; the Studio Theatre’s production of In the Red and Brown Water; and the Alabama Shakespeare Festival’s Bear Country. Off-Broadway he has been seen in Lincoln Center’s Fly, with The Crossroads Theatre. Additional

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William Bloodgood (Scenic Design-er). William Bloodgood’s work was seen last season in The Whipping Man and The Glass Menagerie. Among his many previous designs for Syracuse

Stage are recent productions of Ra-dio Golf, Irving Berlin’s White Christ-mas, Red, and Caroline, or Change. Well known in American regional theatres, he has worked in many, in-

a r t i s t i c s ta F F

credits: The Revenger’s Tragedy at Red Bull Theatre and Of Mice and Men and As You Like it with The Acting Company. Regionally, he has appeared in The Piano Lesson at The Arden Theatre (Barrymore Award nomination); My Children! My Af-rica! at The Studio Theatre and Wil-ma Theatre; Fences at the Arkansas Repertory Theatre; A Midsummer Night’s Dream with the Bridgeport Free Shakespeare Festival; Fences with Ruben Santiago-Hudson at Boston’s Shubert Theatre; Cobb at the Chautauqua Institution; and Professional Skepticism at the Well-fleet Harbor Actors Theatre. Re-cently he was also seen on NBC’s hit show The Blacklist. Mr. Welch has a B.A. in Theatre Arts from More-house College, an M.F.A. in Acting from Brandeis University, and an M.F.A. from The Shakespeare The-atre’s Academy for Classical Acting. Twitter@yaegelwelch

Stephen Tyrone Williams(Boy Willie) made his Broadway debut last spring as Abner Louima in Nora Ephron’s Lucky Guy. He has appeared Off-Broadway in Harper Regan (Atlan-tic Theatre Company), My Children! My Africa! (Signature Theatre Company

- Clive Barnes nomination and Drama League Award), Burning (New Group), and The Hallway Trilogy (Rattlestick Playwrights). Other regional theatre credits include Gem of the Ocean (Hart-ford Stage), Fences (Seattle Repertory/Syracuse Stage - SALT nomination), Ruined (Intiman/Geffen Playhouse), Topdog/Underdog (Actors Theatre of Louisville), and Measure for Measure (Shakespeare Theatre of New Jersey). Select film and TV credits include Chil-dren of God, Greetings from Tim Buckley, Elementary, Person of Interest, Unforget-table, Restless City, The Knick, and Spike Lee’s The Sweet Blood of Jesus.

Alani Simone Henderson(u/s Maretha) is a 10 year old fifth grader in the Fay-etteville-Manlius School District. Alani made her theatre debut with the lead role of Beauty in The Enchantment of Beauty and The Beast, a Syracuse Chil-dren's Theatre production in the spring of 2014. When Alani is not rushing from school to theatre rehearsal, tap, ballet, jazz, drama, or ice skating lessons, she enjoys dancing, singing, swimming and play-ing Minecraft on the computer. Alani is a student of The Ballet & Dance Cen-ter. She spends creative downtime writ-ing songs and perfecting new dramatic accents to debut for family and friends.

c a s t

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cluding Arena Stage in Washington, DC, Arizona Theatre Company, the Berkeley Repertory Theatre, the Al-ley Theatre in Houston, Chicago Shakespeare Theatre, Denver Center Theatre Company, Indiana Repertory Theatre, Intiman Theatre in Seattle, the Old Globe Theatre in San Diego, Portland Center Stage, Seattle Reper-tory Theatre, and the Oregon Shake-speare Festival where he has designed the scenery for 150 productions. In 2011 he was honored to design the Unites States national exhibit for the Prague Quadrennial of Performance and Space Design. He is the recipi-ent of many awards for his designs, including the Oregon Governor’s Award for the Arts in 2002. Current-ly, he is a professor of scene design at the University of Texas at Austin.

Helen Q Huang (Costume Designer) has designed at Syracuse Stage for Ma Rainey’s Black Bottom and Two Trains Running. Design credits: Classic Stage Company, New York; The Washing-ton Ballet; Woolly Mammoth Theatre Company; The Studio Theatre; Ford’s Theatre; Shakespeare Theatre Com-pany; Arena Stage; Signature Theatre Company; Folger Theatre; Guthrie Theatre; Oregon Shakespeare Festi-val; The Children’s Theatre Company, Minneapolis; Milwaukee Repertory Theatre; Philadelphia Theatre Com-pany; Utah Shakespearean Festival; Disney Entertainment; PlayMakers Repertory; Boston Lyric Opera. In-ternational: Set and costume design at National Opera House of China and the Central Television of China. Awards: Helen Hayes Award and Ivey Award. Other credits include costume

design works in exhibition Curtain Call: Celebrating a Century of Women Designing for Live Performance at The New York Public Library, Lincoln Center, and the Prague Quadrennial. Huang is a professor in the MFA Cos-tume Design Program at University of Maryland, College Park.

Geoff Korf (Lighting Designer) has de-signed the lighting for more than 300 productions over the past 30 years. His work has appeared on Broadway, at the Oregon Shakespeare Festival, Seattle Repertory, Playwrights Hori-zons, the Mark Taper Forum, Cor-nerstone Theater, La Jolla Playhouse, The Old Globe, South Coast Reper-tory, the Alley Theatre, the Guthrie Theatre, the Goodman Theatre, Long Beach Opera, and San Francisco Opera. He lit the world premieres of August Wilson’s Two Trains Run-ning, Sarah Ruhl’s The Clean House, and Disney’s High School Musical. Geoff is a member of the Ensemble of Cornerstone Theater and serves as the head of design at the University of Washington in Seattle. He is a gradu-ate of California State University, Chico and the Yale School of Drama.

Michael G. Keck (Composer). The Bacchae (Portland Center Stage); Death of a Salesman, A View from the Bridge, The Great White Hope, Derek Walcott’s: The Odyssey, Community Carol, I AM A MAN (Arena Stage); Jitney, Escape From Happiness, Crimi-nal Genius, The Norman Conquest, Co-penhagen, Intimate Apparel, The Glass Menagerie (Milwaukee Rep); Othello (Idaho Shakespeare Festival and Great Lakes Theatre Festival); It Ain’t Noth-


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Over 15,000students in CnY will attend sYraCuse stage eduCatiOn PrOgrams this seasOn.

thank you to the following sponsors

The John Ben Snow Foundation, Inc.

Children’s Tour Annabel Drudge

ArtsEmerging Sponsor

Education Programs 2014/2015

33

ing but the Blues (Prince Music The-ater – Barrymore Nomination); Doubt (People's Light & Theatre Co – Barry-more Nomination); Young Lady from Rwanda (People's Light & Theatre Co - Barrymore Nomination); An Ideal Husband (Idaho Shakespeare Festival and Great Lakes Theatre Festival); The Piano Lesson, TopDog/UnderDog, Gem of the Ocean, Fences, Death and the Kings Horseman, Measure for Mea-sure, Henry IV pt1, Ma Rainey’s Black Bottom, Intimate Apparel (Oregon Shakespeare Festival); Intimate Ap-parel (Guthrie Theatre); As You Like It, Looking Over the Presidents Shoulder, Gem of the Ocean, Searching for Eden, Dr. Jekyll and Mr. Hyde, Rabbit Hole (Indiana Repertory Theatre); A Vil-lage Fable - AATE Distinguished Play Award (Mark Taper Forum); Fences, Ma Rainey’s Black Bottom, The Broth-ers Size, Gem of the Ocean (Syracuse Stage); Miss Evers Boys (Cincinnati Playhouse); A Dolls House, Wit, Din-ner with Friends (Alliance Theatre); Holidays For Children Video Series, Writer/Host/Composer (Fabian-Bab-er Productions). International: The Brothers Size (Market Theatre – Johan-nesburg, South Africa and Baxter The-atre Center - Cape Town, South Af-rica); A Streetcar Named Desire, Death of a Salesman (The National Theatre of Croatia); Miss Evers Boys (Barbican Theatre Center and Bristol Old Vic). AEA, SAG-AFTRA, ASCAP, PEN and the Dramatists Guild.

Felix Ivanov (Fight Choreographer) is a graduate of the prestigious Schukin Theatre School at the Vakhtangov Academy Theatre and the Stasov

Musical School (violin) in Moscow, Russia. He has choreographed the combat, movement and character dance scenes for over three hundred Russian drama and puppet theatres, motion pictures and television. Pres-ently, Felix is an assistant professor at the Drama Department of Syracuse University. He has previously taught at The Juilliard School, The Actors Center, Brooklyn College, and SUNY Purchase, NY; Rutgers University, NJ; The Hartt School, Hartford, CT; and The North Carolina School of the Arts, Winston Salem, NC. His stage movement and combat choreography has been seen at many American ven-ues including The Acting Company, Lincoln Center Theatre, The Metro-politan Opera, The New York The-atre Workshop, The Wooster Group, The Cherry Lane Theatre in NYC; The Guthrie Theatre in Minneapo-lis, MN; The Shakespeare Theatre Festival in Cleveland, OH; and The Shakespeare Theatre in Washington, D.C., among others.

Kyle Bass (Dramaturg) is resident dramaturg for Syracuse Stage where he has served as production drama-turg for 17 shows, including last sea-son’s The Whipping Man, Scorched, and The Glass Menagerie. As script dramaturg, Kyle collaborated closely with writers Ping Chong and Sara Zatz in the creation of Tales from the Salt City and also served as script dra-maturg on Lauren Unbekant’s plays Woman in the Blue Dress and Anna-bel Drudge…and the Second Day of School. Among other works, Kyle is the author of Carver at Tuskegee, a


34

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35

one-man play about George Wash-ington Carver which toured as part of Syracuse Stage’s Backstory! program. With Ping Chong, Kyle is co-writer of Cry for Peace: Voices from the Congo, which had its world premiere at Syra-cuse Stage in September 2013 and was produced at La MaMa Experimental Theatre in New York City, and he has been commissioned by the Onondaga Historical Association to write a play about a fugitive enslaved woman in Syracuse. Kyle is on the faculty at God-dard College in Vermont, where he teaches in the MFA Creative Writing program. He also teaches playwriting in Syracuse University’s Department of Drama, at Colgate University, and is drama editor for the journal Stone Canoe. Kyle is a two-time recipient of the New York Foundation for the Arts (NYFA) Fellowship including the 2010 fellowship in playwriting. He holds an MFA in Playwriting from Goddard College.

Laura Jane Collins (Stage Manager) is happy to return to Syracuse for the 2014-2015 season and this production of The Piano Lesson. Regional credits include: Chinglish, Scorched, Good People, Two Trains Running, Moby Dick, Red, The Boys Next Door, and No Child... (Syracuse Stage); Around the World in 80 Days, 4000 Miles, Last of the Red Hot Lovers, Lend Me A Tenor, and Full Gallop (The Hangar The-atre). New York credits include: Hil-lary: A Modern Greek Tragedy with a Somewhat Happy Ending (New Georges). Dance production cred-its include: The Who’s TOMMY—A Rock Ballet (Christopher Fleming), In

Search of a Goddess (Dalia Carella). LJ is a graduate of the Stage Management program in Syracuse University’s De-partment of Drama, and is now based in New York City.

Harriet Bass (Casting Director) has been an independent New York cast-ing director since 1989, casting for the-atre, film, and television. In New York City Harriet has cast for ABC/TV, Fox Television Studios, Joseph Papp’s Pub-lic Theatre: NEW WORK NOW, The Minetta Lane Theatre, The Women’s Project, La MaMa, E.T.C., New York Women in Film and Television, and The Jewish Repertory Theatre. She has cast the last three of the late August Wilson’s ten part play series: the origi-nal and touring productions of Radio Golf, the Broadway production of Gem of the Ocean, and the Off-Broadway production of Jitney. Selected region-al casting credits include: Syracuse Stage, Mark Taper Forum, Hartford Stage, Arena Stage, Trinity Repertory Theatre, San Jose Repertory Theatre, Geva Theatre Center, Indiana Reper-tory Theatre, Pittsburgh Public, Mer-rimack Repertory Theatre, Longwharf Theatre, Alliance Theatre Company, The Goodman Theatre, Kansas City Repertory Theatre, Baltimore Center Stage, Huntington Theatre Company, Virginia Stage Company, Dallas The-atre Company, Berkeley Repertory Theatre, Portland Center Stage, and PlayMakers Repertory Theatre. Feature film credits include: Pushing Hands di-rected by Ang Lee, Underheat, starring Lee Grant, First We Take Manhattan, produced by Golden Harvest Inc., and Graves End, directed by Sal Stabile.


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August Wilson (April 27, 1945- October 2, 2005). August Wilson authored Gem of the Ocean, Joe Turner’s Come and Gone, Ma Rainey’s Black Bottom, The Piano Lesson, Seven Guitars, Fences, Two Trains Running, Jitney, King Hedley II, and Ra-dio Golf. These works explore the heritage and experience of African-Americans, decade-by-decade, over the course of the twentieth century. His plays have been produced at regional theatres across the country and all over the world, as well as on Broadway. In 2003, Mr. Wilson made his professional stage debut in his one-man show, How I Learned What I Learned. Mr. Wilson’s works garnered many awards including Pulitzer Prizes for Fences (1987) and for The Piano Lesson (1990); a Tony Award for Fences; Great Britain’s Olivier Award for Jitney; as well as eight New York Drama Critics Circle Awards for Ma Rainey’s Black Bottom, Fences, Joe Turner’s Come and Gone, The Piano Lesson, Two Trains Running, Seven Guitars, Jitney, and Radio Golf. Addition-ally, the cast recording of Ma Rainey’s Black Bottom received a 1985 Grammy Award, and Mr. Wilson received a 1995 Emmy Award nomination for his screen-play adaptation of The Piano Lesson. Mr. Wilson’s early works included the one-act plays The Janitor, Recycle, The Coldest Day of the Year, Malcolm X, The Homecom-

ing, and the musical satire Black Bart and the Sacred Hills. Mr. Wilson received many fellowships and awards, including Rockefeller and Guggenheim Fellow-ships in Playwriting, the Whiting Writers Award, 2003 Heinz Award, was awarded a 1999 National Humanities Medal by the President of the United States, and received numerous honorary degrees from colleges and universities, as well as the only high school diploma ever issued by the Carnegie Library of Pittsburgh. He was an alumnus of New Dramatists, a member of the American Academy of Arts and Sciences, a 1995 inductee into the American Academy of Arts and Let-ters, and on October 16, 2005, Broad-way renamed the theatre located at 245 West 52nd Street - The August Wil-son Theatre. Additionally, Mr. Wilson posthumously received the Dramatists Guild Award for Lifetime Achievement; was inducted into the Theatre Hall of Fame; and is the chosen namesake for Pittsburgh’s August Wilson Center for African American Culture. Mr. Wilson was born and raised in the Hill District of Pittsburgh, Pennsylvania and lived in Seattle, Washington at the time of his death. He is immediately survived by his two daughters, Sakina Ansari and Azula Carmen Wilson, and his wife, costume designer Constanza Romero.

p L ay w r i g h t

Seattle Repertory Theatre was found-ed in 1963 and is currently led by acting artistic director Braden Abraham and managing director Jeffrey Herrmann. One of America’s premier non-profit resident theatres, Seattle Repertory The-atre has achieved international renown for its consistently high production and

artistic standards, and was awarded the 1990 Tony Award for Outstanding Re-gional Theatre. With an emphasis on entertaining plays of true dramatic and literary worth, Seattle Rep produces a season of plays along with educational programs, new play workshops, and special presentations.

c o - p r o d u c e r

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Jeffrey Woodward be-came the managing di-rector of Syracuse Stage in 2008. For 17 years he served as the managing director for the McCarterTheatre Center in Princeton, NJ.During his tenure, McCarter washonored with the Tony Award for Outstanding Regional Theatre. Woodward teaches Theatre Management in Syracuse University's Department of Drama and is a member of the board of the University Hill Corporation, the

East Genesee Regent Association and CNY Arts. He has served on the Board of Trustees of Theatre Communications Group and as President of ArtPride New Jersey. He has also served as a panel chairman, panelist, and on-site evaluator for the National Endowment for the Arts. He has worked for Hartford Stage, the Mark Taper Forum, Northlight Theatre and the Oregon Shakespeare Festival, and served as a consultant to a number of organizations. He holds a BA from Pomona College and a MBA from New York University.

m a n a g i n g d i r e c t o r

Timothy Bond is in hiseighth season as pro-ducing artistic director of Syracuse Stage and the Syracuse University Department of Drama. For Syracuse Stage he has directed The Whipping Man, August Wilson’s Two Trains Running, The Brothers Size, The Boys Next Door, Radio Golf, No Child..., Fences, The Price, The Diary of Anne Frank and Ma Rainey’s Black Bottom. He has 27 years experience in leading regional theatres throughout the country. Previously, he served for 11 years as associate artistic direc-tor of the famed Oregon Shakespeare Festival where he directed 12 produc-tions, including works by Shakespeare, August Wilson, Suzan-Lori Parks, Edward Albee, Lorraine Hansberry, Lynn Nottage, Octavio Soliz and Pearl Cleage. Prior to that, Bond spent 13 years with the Seattle Group Theatre, serving as artistic director from 1991 – 1996. While there he directed more

than 20 plays including a number of world and West Coast premieres, and he oversaw the largest capital campaign in the company’s history, culminating in the completion of a new theatre complex in the Seattle Center. Bond has also directed at such prestigious theatres as The Guthrie, Arena Stage, Seattle Repertory Theatre, Actors Theatre of Louisville, Milwaukee Repertory Theatre, The Cleveland Play House, A Contemporary Theatre, Indiana Repertory Theatre and Geva Theatre. Bond received a Theatre Communications Group/National Endowment for the Arts Directing Fellowship Award and has twice won Backstage West’s Garland Award for Outstanding Direction for Les Blancs (1998) and Blues for an Alabama Sky (1997). He served on the board of directors of the Theatre Communications Group from 1993 to 1997. Bond holds a BFA from Howard University and an MFA in directing from the University of Washington.

d i r e c t o r / p r o d u c i n g a r t i s t i c d i r e c t o r

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Syracuse Stage is Central New York’s premier professional theatre. Founded in 1974, Stage has produced more than 300 plays in 41 seasons including a number of world, American, and East Coast premieres. Each season 70,000 patrons enjoy an adventurous mix of new plays and bold interpretations of classics and musicals featuring the finest theatre artists. In addition, Stage main-tains a vital educational outreach pro-gram that annually serves over 15,000 students throughout Central New York. Syracuse Stage is a member of The League of Resident Theatres (LORT), the largest professional theatre asso-ciation in the country. America’s leading actors, directors and design-ers work and/or have worked at Stage including: Tony Award-winners Lillias White, Chuck Cooper and Elizabeth Franz, Emmy recipient Jean Stapleton, Sam Waterston, John Cullum, James Whitmore, Ben Gazzara and Ping Chong.

These visiting artists are supported by a staff of artisans, technicians, educators, and administrators who are responsible for all facets of the theatre from build-ing sets, props and costumes to mar-keting, development, and box office. A solid core of subscribers and sup-porters helps keep Syracuse Stage a vibrant artistic presence in Central New York. Year after year their support and patronage contribute to the success of the theatre. Additional support from gov-ernment, foundations, corporations and Syracuse University helps to ensure the continued role of Syracuse Stage as a val-ued cultural resource for the community. Syracuse Stage is a constitu-ent of the Theatre Communications Group (TCG), the national organiza-tion for the American theatre, and a member of the Arts and Cultural Leadership Alliance (ACLA), the University Hill Corporation and the East Genesee Regent Association.

i n t h e c o m m u n i t y

An important aspect of the Syracuse Stage mission is to be an active partner and resource in the Central New York com-munity. Each season Syracuse Stage is pleased to partner with a diverse group of community organizations in sponsoring and facilitating various programs, benefits and events. Ongoing and past partnerships include Arc of Onondaga, The Burton

Blatt Institute, ARISE, IRC’s Community Wide Dialogue to End Racism, Hospice of CNY, SUNY Upstate Medical/St. Joseph’s Hospital Health Center, Big Brothers/Big Sisters of Onondaga County, The Learning Place, AIDS Community Resources, Syracuse Homes, The Chadwick Residence, The Child Care Council of Onondaga County, and Vera House, among others.

a b o u t s y r a c u s e s ta g e

Mission: Syracuse Stage is a global village square where renowned artists and audi-ences of all ages gather to celebrate our cultural richness, witness the many truths of our common humanity, and explore the transformative power of live theatre. Celebrating our 42nd season as a pro-fessional theatre in residence at Syracuse University, we create innovative, adven-

turous, and entertaining productions of new plays, classics and musicals, and offer interactive education and out-reach programs in Central New York.

Vision: Syracuse Stage illuminates the many truths of our common humanity through the transformative power of live theatre.

m i s s i o n / v i s i o n

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n e x t at s y r a c u s e s ta g e

In the Next Room,or The Vibrator Playby sarah ruhldirected by may adralesJanuary 28 - February 15

It’s the 1880s and electricity is all the rage. In a quiet home office, a doctor experi-ments with a new instrument for treating “hysteria.” The device? A vibrator. In this genuinely touching, original, and wickedly funny play, Sarah Ruhl (The Clean House) explores relationships and sexual fulfill-ment while managing to stay discreetly beneath the crisp white sheets of Victorian propriety. Recommended for ages 14 and up.

Hairspraybook by mark o’donnelland thomas meehanmusic by marc shaimanLyrics by scott wittman and marc shaimandirected by bill Fennellychoreography by david wanstreetmusical direction by brian cimmetco-produced with su dramanovember 28 - January 4

Bubbling with joy and 60s era music and dance, Hairspray delights with the plea-sures of a classic American musical. Tra-cy Turnblad is a teen whose life revolves around dancing on the Corny Collins TV show. Who knew that a teenybopper TV show could be a catalyst for integra-tion? You can’t stop the beat, and truth be told, you won’t want to once the all-singing and dancing cast takes the stage. Recommended for all ages.

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n e x t at s u d r a m a

Stepping Outby richard harrisdirected by timothy davis-reednovember 14 – 22opening night: november 15

This comic gem of a play follows the ups and downs of nine women and one man who meet each week in a church hall for a beginning tap class. Led by Mavis, a pa-tient and talented dancer, and accompa-nied by the acerbic Mrs. Fraser on piano, the students struggle to learn basic tap with varying degrees of success. Through-out, playwright Richard Harris explores the shifts in the lives of the characters as they work together to rehearse and per-form a polished routine at a charity fund-raiser. This delightful play ran for three years when it premiered in London in the 1980s and remains an insightful look at friendship and the joy that can be found in Stepping Out, if only once a week.

Lips Together, Teeth Apartby terrence mcnally directed by gerardine clarkFebruary 20 – march 1opening night: February 21

Playwright Terrence McNally excels at making wild and witty comedy out of very serious and thoughtful matters. In this 1991 off-Broadway triumph, two couples grapple with the mundane (burgers and kites) and the momentous (illness and infidelity) as they try (very hard) to celebrate the 4th of July at a beach house. A touch of Chekhov with the sly wickedness of McNally. What’s up with that bug zapper?

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ChairRobert Pomfrey*President & CEOPOMCO Group

PresidentLouis Marcoccia*Executive VP & Chief Financial

OfficerSyracuse University

ViCe ChairJanet Audunson*Senior CounselNational Grid

ViCe ChairFran Nichols*Vice ChairEric Mower + Associates

ViCe ChairMelvin T. Stith*Professor, Whitman School of

ManagementSyracuse University

treasurerBea Gonzalez*Dean, University CollegeSyracuse University

seCretaryRod McDonald*Bond, Schoeneck & King

Dan BermanPartnerHancockEstabrook, LLP

Timothy J. Bond**Producing Artistic DirectorSyracuse Stage & SU Dept. of

Drama

Lorraine BranhamDean/Professor, S.I.

Newhouse School of Public Communications

Syracuse University

Sandra BrownPresidentGrandma Brown’s Beans, Inc.

Nancy ByrneCommunity Volunteer

Brian CimmetProfessor of Practice/Music

DirectorSU Department of Drama

Ann Clarke*Dean, College of Visual and

Performing ArtsSyracuse University

Pat ColabufoHuman Resource ManagerWegmans Food Markets

Richard DriscollGroup ManagerCommercial Real Estate LendingM&T Bank

Ellen Kimatian Eagen

Sandra Fenske VP & General CounselLockheed Martin Corporation

Helene GoldPrivate Voice & Piano Instructor

Nancy GreenInvestment AdvisorEdward S. Green & Associates

Larry HarrisSr. VP & CFO & SecretarySaab Sensis Corporation

Jeffrey HooneExecutive Director, Coalition of

Museum & Arts CentersSyracuse University

Brian HowardPrivate Bank Market ManagerKey Bank

John HuhtalaRelationship ManagerMiddle Market Commercial

BankingChase

Gregg LambertDean’s Professor of the

HumanitiesSyracuse University

Larry LeathermanPresidentMOST

Vincent LovePresident100 Black Men of Syracuse Inc.

Kevin R. McAuliffePartnerHiscock & Barclay

Suzanne McAuliffeRetired Educator

Samantha MillierAssociate AttorneyMackenzie Hughes LLP

Kevin O’ConnorSr. Resident Director & Sr. VP

InvestmentsMerrill Lynch

Virginia Parker*Retired Educator

Annette PetersMarketing DirectorSyracuse Media Group

Linda PitonzoSyracuse Stage Guild President

James ReedSr. VP Marketing & SalesExcellus BlueCross BlueShield

Michelle SchultzSenior Director, HR Business

PartnerHuman ResourcesAXA

Richard ShirtzRegional PresidentNBT Bank

Sharon Sullivan*Community Volunteer

Wanda ThompsonSr. VP of OperationsUpstate Medical University

Phil TurnerPastorBethany Baptist Church

Jeffrey Woodward**Managing DirectorSyracuse Stage

Ralph Zito**ChairSyracuse University Department

of Drama

Michael ZoanettiVP Senior Wealth AdvisorTompkins Financial Advisors

*Executive Committee**Ex-Officio

s y r a c u s e s ta g e b o a r d o F t r u s t e e s

47

President

Linda Pitonzo

exeCutiVe ViCe President

Sara Lowengard

ViCe President, MeMbershiP

Julia Martin

ViCe President, fundraising

Jacki Goldberg

ViCe President, PubliCity

Kelly Gardner

treasurer

Ray Abdella

reCording seCretary

Mary O’Hara

CorresPonding seCretary

Gretchen Goldstein

Deborah BorensteinElaine CardoneRoxanna CarpenterTerry DelavanSandi DiBiancoMarsha FerraraGrace FluscheDonna Green

Jessica HumphrevilleBarbara IanuziLauren KochianEllen LautzAmy McHaleCarol MinksteinBeverly ShortMarian StantonJean StraubMelissa VassenelliMaryam WasmundGinny Yerdon

s y r a c u s e s ta g e g u i L d b o a r d

Eddie GreenJoan GreenElizabeth Hartnett

Claude IncaudoJack MannionMargaret Martin

Eric MowerJudy MowerMichael Shende

Jack Webb

s y r a c u s e s ta g e e m e r i t u s c i r c L e

Sara BambinoCiCero-north syraCuse high sChool

Todd BenwareChristian brothers aCadeMy

Elizabeth DefurionottinghaM high sChool

Kimberly Doanauburn high sChool

Patricia FarringtonCiCero-north syraCuse high sChool

Joe GoldbergJaMesVille-dewitt high sChool

Fred MontasManlius Pebble hill

Kathleen Pickardbaker high sChool

William PrestonManlius Pebble hill

Jennifer SabatinoCato-Meridian Middle sChool

syracuse stage educat ion advocacy board

y o u n g a d u Lt c o u n c i L

Kristina Bell10th grade, JaMesVille-dewitt high sChool

Katherine Benware10th grade, Christian brothers aCadeMy

Hayley Bermel12th grade, CiCero-north

syraCuse high sChool

Lily Byrne9th grade, Cato-Meridianhigh sChool

Anna Capria11th grade, baker high sChool

Brennan Carman11th grade, Christian brothers aCadeMy

Rose Collins11th grade, Christian brothers aCadeMy

Michel Dadey12th grade, lafayette big PiCture sChool

Molly North12th grade, JaMesVille-dewitt high sChool

Alizah Smith11th grade, lafayette big PiCture sChool

Dana Tooney11th grade, Christian brothers aCadeMy

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a u g u s t w i L s o n ’ s t h e p i a n o l e s s o n s p o n s o r s

s e a s o n s u p p o r t e r s *

Richard Mather Fund

the John Ben snow foundation, inc.

*Corporate, Foundation and Government support received in the last 12 months from $3,000 - $100,000 and above.

Grandma Brown Foundation

Lockheed Martin is pleased to sponsor this season’s produc-tion of August Wilson's The Piano Lesson. Lockheed Martin and its Central New York based employees congratulate and thank Syracuse Stage for its commitment to bringing the very best of theatrical entertainment to Central New York and as a result, contributing to our high quality of life.

The Humanities Center in the College of Arts and Sciences is pleased to support Syracuse Stage in its efforts to bring live theatre to our community. Whether by staging canonical drama or the most innovative and avant grade performance pieces, Syracuse Stage shares the mission to explore and enrich human experience in all its diversity that is the cornerstone of humanities education.

The Dorothy and Marshall M. Reisman Foundation is happy to support the Syracuse Stage production of August Wilson's The Piano Lesson. We value what Syracuse Stage brings to the cultural fabric of Central New York, mak-ing it a better place to live and work. Congratulations on another exciting season of diverse plays.

Daniel Bingham & Gail Hamner. We honor Timothy Bond and the artistic experts he gathers around him at Syracuse Stage for challenging audiences with the best work of contemporary and classical playwrights.

Daniel Bingham & Gail Hamner

50

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$14,000 - $24,999M&T Bank POMCO Group - Presenting

Sponsor, Vanya and Sonia and Marsha and Spike

$7,500 - $13,999Bank of America – Children’s

Tour, Annabel DrudgeBusiness Journal News

NetworkHiscock & Barclay iHeart MediaKeyBank N.A. – HairsprayLockheed Martin MST

– August Wilson’s The Piano Lesson and Military Initiatives

NBT Bank – Vanya and Sonia and Marsha and Spike

Syracuse New TimesSyracuse Stage Board of

Trustees WAERWRVO

$5,000 - $7,499Carrier Corporation Exelon GenerationExcellus BlueCross

BlueShield – HairsprayLockheed Martin Employees

Federated Fund National Grid Scherzi Photography + VideoThe SU Humanities Center

presents as part of the 2014 Syracuse Symposium™ on Perspective – August Wilson’s The Piano Lesson

Syracuse Stage Guild – In the Next Room (or the vibrator play)

Tompkins Financial Advisors Wegmans –Educational

Programs

$2,800 - $4,999Urban CNY

$1,500 - $2,799Bristol-Meyers Squibb

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Dennis & Judy HebertReeves FarmsSmith Contemporary

Furniture/Smith Interiors Ltd The Mid-York Press, Inc.

$75 - $249Brady SystemFulton Savings BankGiarrusso Building SuppliesMauro-Bertolo Therapy

Services, P.T., P.C.Sheats & Bailey PLLCL. & J.G. Stickley Urist Financial & Retirement

PlanningVisual TechnologiesAnn Wolfson Associates

s y r a c u s e s ta g e a n n u a L g i F t s

Syracuse Stage depends on the generosity of contributions from individuals, corpora-tions, businesses, foundations and government agencies. It is with much gratitude that we recognize the following donors to our annual campaign. Contributors listed below represent donations received in the past twelve months. For information regarding levels of contribution and benefits of each please contact the Development office at 315.443.3931 or visit syracusestage.org

= InCreased GIFt, * = staGe BOard MeMBer, staGe eMerItus BOard MeMBer, = In-kInd COntrIButIOn

Contributors listed have provided support in the past 12 months.

53

e n d o w m e n t & p L a n n e d g i F t d o n o r s

$5,000 - $7,499Mary Louise Dunn Fund

Founders Circle$7,500 - $24,999Paul Phillips, MD & Sharon*

Sullivan

Playwrights’ Circle$5,000 - $7,499Daniel Bingham & Gail

Hamner - August Wilson’s The Piano Lesson

Mary & Larry* LeathermanJudy & Eric Mower*Sandra Lee Fenske* & Joe

SilberlichtElinor Spring-Mills &

Darvin Varon

Producers’ Circle$2,800 - $4,999Bill & Nancy* ByrneMargaret, Amy & Bob

CurrierHelene* & Neil GoldLouis* & Susan MarcocciaSuzanne* & Kevin*

McAuliffeJudith Sayles & David

MurrayFrederick & Virginia* ParkerMrs. Sherwin RadinNancy & Steve RogersThe Spina FamilyDr. & Mrs. Thomas R.

Welch

Directors’ Circle $1,500 - $2,799Janet* Audunson & David

YoulenJoan Christy & Thomas

BersaniNancy Seward & Tim Bond Cathy & Jim BreuerSandra L. Brown*Laurie Clark Kristin & Sidney CominskyDana & Peggy DudarchikJames Eagen & Ellen*

Kimatian EagenBarbara & Michael FlintropJoan & Eddie Green* Winifred E. Greenberg

i n d i v i d u a L g i F t s

F o u n d at i o n & g o v e r n m e n t h o n o r r o L L

$50,000 - $99,999County of Onondaga,

Administered by CNY Arts - Hairspray

The Dorothy and Marshall M. Reisman Foundation - Presenting Sponsor, The Piano Lesson, In the Next Room (or the vibrator play), Other Desert Cities and Founders Circle Member

$25,000 - $49,999Allyn FoundationCentral New York

Community Foundation, Inc. John F. Marsellus Fund

Robert Sterling Clark Foundation - Sizwe Banzi is Dead

The Richard Mather FundNew York State Council on

the ArtsShubert Foundation

$14,000 - $24,999The John Ben Snow

Foundation, Inc. - ArtsEmerging

$7,500 - $13,999AXA Foundation The Gifford Foundation The Green Family

Foundation National Endowment for

the Arts

$5,000 - $7,499Grandma Brown FoundationTheatre Development Fund,

Inc. - Hairspray

$2,800 - $4,999The Gladys Krieble Delmas

Foundation - The Piano Lesson

Melvin & Mildred Eggers Family Charitable Foundation

$1,500 - $2,799Price Chopper’s Golub

Foundation - Education Initiatives

$1,000 - $1,499Henry A. Panasci, Jr.

Charitable Trust

$500 - $999Peter & Wendy Blanck

Family Foundation Frank & Frances Revoir Foundation

All new and increased gifts this season are matched dollar for dollar by the Richard Mather Fund.

54

august wilson’sthe piano lessonSat. Nov. 1, 3:00 sSat. Nov. 8, 3:00 aD

Wed. Oct. 29, 2:00 oSun. Nov. 9, 2:00 o

hairspraySat. Dec. 13, 3:00 sSat. Dec. 20, 3:00 aD

Sun. Dec. 21, 2:00 oTue. Dec. 23, 2:00 o

in the next room, or the vibrator playSat. Feb. 7, 3:00 sSat. Feb. 14, 3:00 aD

Wed. Feb. 4, 2:00 oSun. Feb. 15, 2:00 o

sizwe banzi is DeaDSat. Mar. 7, 3:00 sSat. Mar. 14, 3:00 aD

Wed. Mar. 4, 2:00 oC

Sun. Mar. 15, 2:00 oC

other Desert CitiesSat. Apr. 18, 3:00 sSat. Apr. 25, 3:00 aD

Wed. Apr. 15, 2:00 oSun. Apr. 26, 2:00 o

American Sign Language = ssign Language Interpreted Performance series supported in part by Welch allyn, in memo-ry of susan thompson. an american sign Language Interpreted performance is offered for every production. For the most advantageous viewing, be sure to mention your interest in sign interpretation when reserving tickets.

Open Captioned Performances = oOpen Captioning is provided for two matinee performances of every production. a small screen, placed to the side of the stage, displays text corresponding to the play’s dialogue and other sounds. Open Captioning can be viewed from most seats in the theatre. How-ever, for the most advantageous viewing, please contact the Box Office. Open Captioning is supported by grants from theatre development Fund’s taP Plus Praagram, nYsCa and donations from individuals and corporations.

Audio-Described Performances = aDsimultaneous live narration and pre-show description for blind and visually impaired pa-trons. Please call the Box Office in advance to reserve headsets.

Audio Enhancement:syracuse stage offers an infrared hearing system for patrons with up to 70% hearing loss. Headsets can be reserved free of charge through the Box Office or at the Coat room before curtain.

Wheelchair Seating and Accessibility:syracuse stage is wheelchair accessible. Please call the Box Office at 315-443-3275 to arrange wheelchair seating.

ac c e s s i B i l i t Y p e r f o r m a n c e s 2 0 1 4 / 1 5

August Wilson’s The Piano Lesson published Oct. 22, 2014The Syracuse Stage program is published seven times a year. For advertising rates and information contact the development office at 315.443.2709.Printed by Midstate Printing Corporation.

Publications Director Joseph WhelanGraphic Designer Jonathan HudakAdvertising Katherine KeeneyProgram Cover Art Jonathan Hudak

p r o g r a m b o o K

55

Ann & Larry* HarrisBetsy Hartnett* Barbara & Brian* HowardMr. & Mrs. Claude* IncaudoTamara Jacobs & David

EpsteinPeter Cannavo & Helen

JacobyMr. & Mrs. Dudley JohnsonRandy & Elizabeth KalishBea Gonzalez* & Michael

LeonardMr. John F.X. Mannion* &

Mayor Stephanie A. MinerNancy Green* & Tony

MarschallMargaret* & Don MartinSally Lou & Fran* NicholsKevin* & Michelle

O’ConnorJohn & Sheila ParkerWilliam & Rosemary PoolerBob* & Kellie PomfreyDene A. SarasonElaine & Michael* ShendeLeslie Kohman & Jeffrey

SmithDr. & Mrs. Sam SpaldingJames Sprague Gies &

Kenneth Gies SpraguePatricia & Melvin* StithCindy Sutton & FamilySally & Bob TheisEileen & David ThompsonCherry & Peter ThunLinda & Jack* WebbGlenda & Larry WetzelLaurie & Michael* Zoanetti

Benefactors$1,000 - $1,499Marya & John Frantz

and Sutton Real Estate Company, LLC

Joyce HomanSusan Beth Burgess &

Michael S. NilanSandra Hurd & Joel PotashAthenia RogersGeorge & Rita Soufleris

Stars$500 - $999Dr. & Mrs. Richard AubryMarion & Bob BarberoDaniel* & Sarah BermanLouise BirkheadPatti & Frank BorerCraig & Kathy ByrumDr. & Mrs. Paul S. Cohen

Ann Clarke*Frank N. DeckerDonald Blair & Nancy DockRichard & Therese DriscollLew & Elaine DubroffClay & Dora ElliottMichael & Jacki GoldbergBonnie & Gary GrossmanDeb & Sam Haines Theodore C. & Antonia M.

HansenDonna Mahar & David

HeisigDella & Philip HoltzappleJohn & Gloria KennedyStephen & Janet KimatianGregg Lambert*Barbara Beckos & Arthur

McDonaldJohn P. & Elizabeth Y.

McKinnellJane MerrillJohn MacAllister & Laurel

MoranzJustin Sawyers & Jeffrey T.

Morehead Anne MorfordMark Re & Nancy Pasquale Jane Burkhead & Robert

SarasonGracia & Rick SearsWalter & Nancy ShepardBrian & Kathy SischoCorinne & Lynn Smith James & Vicki SmithRaymond & Linda StraubNancy Kramer & Doug

Sutherland Wanda Thompson*Tiso FamilyLeah WeinbergLorraine* Branham & Melvin

WilliamsLori Ott & Jeffrey Woodward

Angels$250 - $499George & Sandra AbbottMr. Timothy Atseff & Ms.

Margaret G. OgdenAnne BarashJoanne & Jim Beckman Diane & Orville BodenAnthony & Nancy BottarDick Bowman Susan & Thomas BrettMrs. William L. Broad Walter D. and Angel W.

BroadnaxMark & Maren Brown

Sarah B. Alden in memory of Jacqueline Coley

In Memory of Arlene AlpaughAllene Ayling in honor of

Don AylingRose Erma Angotti in honor

of Nancy DavenhauerMrs. Gwynne Bellos in honor

of Dr. Neal S. BellosSherly Day-Bernthal in tribute

of Murray BernthalDr. Stuart Bretschneider

in tribute to Cindy Bretschneider

Carol Bryant in honor of Virginia Parker

Susan G. Dorn in memory of Phillip K. Dorn

June M. Estes in honor of Gerald L. Estes

Mrs. Blanche & Ms. Carol Everingham, in honor of WWII, Purple Heart Veteran, Robert I. Everingham

Barbara Genton in honor of Donna Perricone

Peggy Ginniff in honor of my parents Harold & Mildred Ginniff

Jacki & Michael Goldberg - in tribute of Natalie Goldberg Syracuse MT Student

Tom & Christine Hafner in tribute of Peter Hafner

Patti & Bill Haggerty in mem-ory of Marilyn Parratt

Kip & Terri Hargrave in honor of Gus Hargrave & Rick Menke

Kathlyn Heaton in honor of Sharon Waletzko

Drs. Timothy & Lisa Izant in honor of the Izant Brothers

Linda & Bob Jackson in honor of Kevin Crewell

Doris King in memory of Austin Hoffman II

Richard & Joan Kollgaard in honor of Don Buschmann & Tracey White

Robert & Ellen LaBerge in tribute of Daniela Varon

Lorraine LaDuke in honor of Mrs. Cecile LaDuke

Janet W. Lowe in honor of Bob Moss

Mary S. Mahoney in honor of

In Tributeontributions have been made to syra-

cuse stage to honor someone, celebrate a special occasion or offer an expression of sympathy in memory of a loved one.

56

Marlene A. BrownMarion L. BurkeDr. & Mrs. R. J. CassadyDrs. Alexander* & Margaret

ChartersAnn & Steve ChasePat Colabufo*Goodwin CookeThomas & Deborah CoyleMr. W. Carroll CoyneMr. & Mrs. Anthony

DannibleSandra Marie DiBiancoAlan B. DolmatchJonathan & Rosanne EckerMarsha & Benjamin J.

FerraraMaryann FinnMichael & Grace FluscheAnita & Allen FrankDavid & Sylvia FryCharles R. GallagherAllan & Nirelle GalsonPenny & Ernie GiraudDavid Jacobs & Douglas

GoldschmidtMarie & Joseph E. GrassoJean Jeffery GreeneJerry & Beth GroffEllen & Dave HardyDr. & Mrs. Donald M.

HaswellNancy & Bud HaylorDrs. Joe & Paula

HimmelsbachMr. & Mrs. Alexander

HolsteinAnne Barash & Eric

HolzwarthRandall LaLonde & Patricia

HomerCarrie Mae Weems &

Jeffrey* HooneDr. Peter & Mary

HuntingtonNorma KelleyPenelope J.M. & Stephen

M. KleinMary Rose KottLinda & Dan Lowengard Candace & John MarsellusAlbert MarshallPhilip & Kim MazzaAmy & Myles McHale, Jr.Sam & Margaret

McNaughtonBernard P. & Leslie A.

MolldremAlejandro Amezcua & David

Murray

Betty Jane & Larry MyersLinda & Donald NapierMaria Maniscalco & James

NellisMike & Maggie O’ConnorPhyllis & Chuck Olmsted David and Susan PalenJanice & David PanasciRobert & Teresa ParkeRobert & Jane PickettMarilyn PinskyKathy & Dan RabuzziRissa & Michael RatnerJames* & Theresa ReedArnie & Libby RubensteinEllen & Lome RungeLois & Ted SchroederMarilyn & Mike SeesJames W. ShultsRhoda SikesLaurence SovikSharon Springer, MDHelene & George StarrDr. J. Martin & Jackie TalcikRobert & Rosemarie TenneyCynthia G. TracyElizabeth A. TumbridgePastor Phil M. Turner/

Bethany Baptist Church Sara & Jay WasonMarylou & Kurt WatsonLynda & Terry WheatJohn & Mitzi WolfMary Jane WoodwardKathy, Tony, Victoria &

Lukas Zappala

Supporting Cast$100 - $249Dr. & Mrs. Jerrold AbrahamJudy & Bud AdamsBev & George AdamsSally AldenHoward & Sara AlexanderDavid & Amy AllynKal AlstonKristi AndersenRobert & Jeanne AndersonAlice & Bob AndrewsNathan AndrewsJames & Nancy AsherHolmes & Sarah BaileyGeorge S. BainEd & Joan BangelNancy BarnumGerhard & Carole BauleAndrew & Margot BaxterMs. Gwynne BellosMr. & Mrs. Ronald BergerDr. & Mrs. William Berkery

John Francis MahoneyJohn Huppertz & Diane

Mastin in honor of Fran & Sally Lou Nichols

Carl Peterson & Margaret Maurer in memory of Jacqueline Coley

Richard Midlam in tribute of Barbara Midlam

Lois Moran in honor of Joan & Raymond Lee

Janice Nelson in honor of Bea & Irving Solomon

Pamela K. Reisman Monaco in tribute of Dorothy & Marshall Reisman

Mark Cywilko & Marianne Moosbrugger in honor of Isabell A. Cywilko

In honor of Kathryn MulliganLiz Nguyen in tribute of Jack

P. BleichJoy & Al Oliver in honor of

Rebecca Oliver & Hillary Gale

Joan & Lawrence Page ñ in tribute of the musicians of the orchestra who accom-pany some productions

Susan A. Parker in honor of Virginia B. Parker

Karleen Preske in tribute of Kathleen Wilkinson

Anita Rathbun in honor of Mildred Rathbun

David Relyea in tribute of Paula Relyea

Nancy Remchuk ñ in honor of Tim Bond, for a job well done

Terry & Marilyn Ryan in honor of Shirley Gersony

Nancy Scheutziw in tribute of Syracuse Stage Staff/Volunteers

Mr. & Mrs. Jacob H. Schuhle in memory of William Whiting

Mansukh L. Shah in memory of Indira M. Shah

John W. Sivak, Jr. in memory of Phoebe P. Sivak

Vivan Summerville, June 7, 1968 Darcie Bowden

Judy & Jim Sweet in memory of Kara Sweet Gobron

Peter & Hanora Vander Sluis in memory of Hildegarde B. Vander Sluis

Ron Theel in memory of Karen Theel

Gary Walters in memory of Patti Grycka

Carol Bryant & Richard Ward in honor of Virginia & Fritz Parker

Terry & Lynda Wheat in memory of Kathy Goldfarb-Findling

Octavia Wilcox in honor of Ethel May Pierce

Janet & Larry Wolf in memo-ry of Frederick I. Wolf

57

Wanda Warren BerryCynthia A. BlumeGary & Fran BockusKatherine & Jack BoyceMary BradyBernard B. & Ona Cohn

BregmanRobert Moss & Michael

Brennan James & Joyce BresnahanRachel May & Tom

BrockelmanG. Martin & Kathleen

BroganPhilip & Helen BuckRobert & Mary BurdickMary & Bill ButlerFrank & Kathy CampagnaFran & Larry CampbellRonald M. CaponePeter CarneyTom & Maryann CarrantiRobert E. & Dorothy C.

ChambersSteve & Mary ChapinJoseph L. & Janice L. CharlesJoan CincottaMalcolm ClarkR. Peter & Janet H. ClarkeCarolyn & Sam ClemenceJames A. ClintonMr. & Mrs. Craig CobbGregory CohenMartha ColeMilt & Miggs ColemanBob & Sue CongelMr. & Mrs. Robert D.

ConineRoger & Judy CorwinMr. & Mrs. Richard CoteMr. & Mrs. Douglas L.

CottonMike & LaRae CottrellOrazio & Genevieve CovelliElizabeth CowanTracy CrompGeorge W. CurryPeter & Margaret DarbyJohn S. & Catherine J.

DaviesClive & Sandra DavisArthur & Juleen DelaneyPaula A. DendisMr. & Mrs. Robert H.

DerrenbackerDavid C. DickinsonDelores R. DixonElizabeth & Evan DreyfussDavid & Robin DruckerWalter & Linda Dudas

Lynn Cleary & David Duggan

Nancy & Tony EbersoleDr. Nabila A. Elbadwi/

Radiotherapy Associates of Upstate NY

Betsy & Bill ElkinsSusan A. EstabrookCissie FairchildsLori & Christopher FarrellTom & Jane FergusonJames & Barbara FinlonJoseph & Lillian FischerDan & Colleen FisherKaren & William FisherKatherine FlackRobert & Terry Flower Theresa FlynLen FontePhilip & Marilyn FrankelDrs. Tess & Jeff FreedmanEllie & Cyril FreemanMr. & Mrs. Kenneth FreerMartin & Daisy FriedMelanie & Mark FullertonEdgar & Eva GalsonDavid & Bernice GaynorMargaret GelfusoBarbara W. GentonDr. & Mrs. Henry George IIIMr. & Mrs. John GersonMichele GildemeyerFrank & Anne GirardiPeggy GinniffJames GodleskiSheila GoldieRobert & Karen GoldmanGretchen & Jeff GoldsteinAnnette GoodmanLinda Fabian & Dennis

GoodrichLawrence & Dorothy

GordonDrs. Michael & Wendy

GordonDavid GrahamStephen & Julia GrazianoRoger & Vicki GreenbergJames M. HahnElaine & Gregory HallettMr. & Mrs. Daniel HalseyRuth HancockKevin & Denise HanlonCarole & Mark HansenMilena HansenBill & Kathy HarmandDavid & Lib HayesLionel Lee HectorAlan & Dorothy HellerLee & Nancy Herrington

Mary HershbergerCelaine & Victor

HershdorferJudy & John HoepnerMarcia Hayden-Horan &

Philip HoranPatricia & John HottensteinMr. & Mrs. Richard HoveyGuy & Patricia HowardKaren Heitzman & James

HoweDr. Anne HuntJim & Sherri HylaPam HylandJohn & Linda IsaacJanet & John IsabelleElaine & Steven JacobsMr. & Mrs. JastrzabDaniel & Rhea JezerSisters Janet & JoanJames Aiello & Pam JohnsonDr. & Mrs. Howard C.

JohnsonMr. & Mrs. Stephen L.

JohnsonMr. & Mrs. Thomas

JohnstonMichael & Lynette JozefczykMarjorie T. & Joseph V.

JulianJan & James Kaplan Phil & Judy KaplanRobin & Mark KasowitzJohn & Jane KeeganDavid & Noel KeithScott & Cheryle KelleyJean KimberBarbara & Richard KimmRussell & Joan KingSally & Dick KinseyRichard & Joan KollgaardBarbara Sutton & Liz

KolodneyDr. Sylvia Betcher & Martin

KornDonald & Margo KotenKathy & Scott KrellMargaret KufelStephen & Cheryl

LadenheimHume & Peggy LaidmanJay & Linda LandPhyllis & Harlan LaVineLinda & Jim LeMessurierMark & Jeannette LevinsohnBonnie LevyElizabeth D. LiddyEdward & Carol LipsonBrian & Susan LisonK.B. Lloyd

58

Paul Brown & Susan Loevenguth

Harlan London, Ph.D.Betsy LongJohn & Marian LoosmannNick & Cathy LozoponiEugene & Christine LoznerThomas LuckTom Miller & Mary

MacBlanePatricia & James MacKillopJohn & Janet MallanJ.R. ManierJon M. MaloffLouis & Nancy MarescaMary K. MassadFred & Virginia MartyElizabeth G. MasciaGrace & Richard MasonJohn & Gloria MandlyRick ManierAnn M. MarshallNancy & Tony MarshallFrederick & Virginia MartyMary K. MassadMr. & Mrs. Peter MazzaferroDrs. Toni & Bob McCormickDon & Rena McCrimmonMichael McGrathPat McGrathBrian & Cheryl McIntyreBev & Dave McKayMarilyn McKnightDiane Cass & Tim

McLaughlinDr. & Mrs. James L. MegnaMary & Eckart MeisterfeldClifford & Marjorie MellorAnn R. MelvinSis MerrellDavid Michelo & Peggy

RuzzieMr. & Mrs. Charles MillerDan &Terry MillerMerrill L. Miller, M.D.David & Beth MitchellGail & Peter MitchellJune M. Mitchell James MitscherRobert & Barbara MooreJohn Palmer & Liz

MorgentheinJanet S. MunroRichard & Barbara NatoliDorothea & Douglas NelsonStephen W. NevinsJohn & Joan NicholsonDouglas & Gail NielsenDennis & Doren NorfleetNeil Novelli

Robert & Beth OddyHoward McLaughlin & Mary

O’Hara Sally O’HerinDonna & Richard O’NeilTimothy & JoDean OrcuttCathy L. PalmConnie & Peter PalumbFrancis McMillan ParksDavid & Cynda PenfieldMr. & Mrs. Ralph PennerKenn & Annette* PetersDavid & Susan PickardMary & Barry PickardRichard & Neva PilgrimDavid & Linda PitonzoJoe & Karen PorcelloHoward & Ann PortTom & Camille PotterDavid & Linda RezakMr. & Mrs. David A. A.

RidingsBrian & Chris RiegerAvard & Patricia RogersHoward J. RoseNancy Machles RothschildElaine RubensteinMaria & Richard A. RussellLinda & Bob RyanDon & Florence SalehRichard & Jill SargentKelly & Tony ScalzoM. Gelfuso & P. ScheibeKeith SchroederJanice ScullyJeffrey & Abby ScheerNancy Mudrick& Eric SchiffGeorge & Sharon SchmitHerbert & Hillery

SchneidermanMargaret SchuhleEllen SchwartzRuth SeamanConstance SemelDrs. Peter Cronright & Judy

SetlaRick & Betsy SeveranceRob & Cheryl ShallishMark Watkins & Brenda

SilvermanBarbara and David SimonDr. & Mrs. Robert SlavensDr. & Mrs. L. Ryan Smart Craig & Martha SmithDebbie & David SmithJudith B. SmithRobert & Sheila SmithHarold & Ruth SmulyanCarol & Dirk SonnebornMarcene Sonneborn

at&tallied-signal, Inc.american express Companyavon Products, Inc.aXa equitableBank of americaBorden, Inc.Bristol-Meyers squibb FoundationCIGna CorporationCna FoundationChemical BankChubb Group of Insurance CompaniesCiticorp & Citibank, n.a.Coopers Industries FoundationCrouse Hinds Co. – Cooper Industriesdeluxe Corporationdigital equipment Corporationemerson electric Co.equitable Life assurance societyFarmer & traders Life Ins. Co.Fireman’s Fund InsuranceGe FoundationGeneral Foods CorporationGlaxosmithklineJohn Hancock Mutual Life Insurancethe Home depot FoundationHoneywellIBM CorporationJ.P. Morgan Chase & Co.Johnson & Johnsonkemper national P&C Co.key FoundationLever Brothers CompanyMarine Midland Bank, n.a.Mcdonald’s CorporationMerrill LynchMobil Oil Corporationthe MOnY GroupMutual Life Insurance Co.nCr Corporationnational Grangenew York telephoneniagara Mohawk FoundationOwens-Illinois, Inc.Pitney Bowesthe Prudential FoundationCharles schwabradio shackrockwell automation trustsmithkline Beecham Labsthe st. Paul’s Companiesthe travelers Companiesunited Parcel serviceunited technologies Corp.VerizonWelch allynXerox Corporation

MatchingGift Program

he following companies will match gifts of

their employees, retirees and spouses with a gift of their own to syra-cuse stage. ask your personnel office for a matching gift form, send the completed form with your gift – and we’ll do the rest!

59

Rosemary Baker & Stu Spiegel

Helen E. StacyAnne StagnittiDr. & Mrs. Dennis J.

StelznerDeborah & Jim StewartNona StewartJill & Ron StrattonNan StricklandThomas TalbotJoan & Gene TarolliLaura M. TerpeningDr. & Mrs. James A. TerzianJim & Terry TooleDr. Richard & Mavis

TornatoreMarguerite Conan & James

A. TraverJean & John TromansTom & Mollie TuckerMarc & Susan ViggianoDina & Gershon VincowMeghan & T.J. VitaleFred & Patricia von MechowFrank & Alice VreelandBarbara VuralAnita S. & Robert L. WagnerKashi & Kameshawar WaliDr. & Mrs. Donald

WashburnWilbur & Linda Webb -

Audio DescriptionSally WebsterMiriam WeinerSteven Shahan & Elizabeth

WeinsteinRuth S. WeinstockMargaret Harding & Joseph

WhelanEvelyn D. WhiteStacey WhiteElizabeth R. WigginsPauline & Robert WilliamsonAlex & Lola WinterTina Winter

Ivan & Bonnie WolfTom & Carol WolffKelly WypychCynthia A. ZacharekJudy & Steve Zdep, DDS

Friends$75 - $99Al & Jane ArrasJohn & Mary Ann BaichiGail & Dennis BaldwinTheresa & Dennis BardenettJon & Trish BoothDr. & Mrs. Denis F. Branson Bob & Kathy BrownDr. & Mrs. Deane CadySharon F. CampanelliTimothy McLaughlin &

Diane CassTim CassidyGary & Shannon CominsPaula derBoghosianMary Ellen DrabotJames & Marlene DunfordMolly FitzpatrickCliff & Jane ForstadtJudith FoxN. Gordon GrayWilliam J. GrayJane GuilesHolly S. HartRobert & Denise HeaterElizabeth B. HumphreysJanet JaffeNancy Freeborough-KaczmarKankus FamilyAlexander & Joan KeilenJohn & Susan KlineMr. & Mrs. Sheldon KruthRobert & Lauren LalleyLois M. Easterday & Susan J.

LamannaEileen & James Lantier Joanne LloydPatricia & Donald

MacLaughlin

Thomas A Brisk & Gerald M. Mager

Doug & Randi MatousekRyan & Alyson McDermottNancy & John MerrillRobt & Maureen MinichVerner & Jane MizeRobert MooreDavid & Janet MuirDr. & Mrs. Charles MuniakDeirdre NeilenBrenda NeussEllen O’ConnorKaren OrrAnita PisanoBrian Silfer & Amy RomanoBarbara RothschildDr. & Mrs. Bernard

SchneiderJohn SteinburgDr. Lawrence StewartLennie & Elizabeth TurnerMarc & Marcy WaldauerJoAnn WallaceMrs. Barbara WanamakerLarry Volan & Sara WarnerDianne D. WebbAnna Giacobbe & Peter

Welge

e endeavor to provide a com-

plete listing of all donors in all individual giving categories. However, if your gift is not listed or is listed incorrectly, please accept our apologies, and contact the develop-ment Office at (315) 443-9848.

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Producing Artistic Director..........................................................................................Timothy BondManaging Director..................................................................................................Jeffrey WoodwardResident Dramaturg.............................................................................................................Kyle BassArtistic Assistant...............................................................................................................Chris BotekDirector of Educational Outreach...........................................................................Lauren Unbekant Education Outreach Manager.................................................................................Kate M. Laissle Education Assistant.........................................................................................................Len Fonte

p r o d u c t i o n s ta F F

Director of Production Operations...........................................................................Don Buschmann Assistant Production Manager..................................................................................Dianna Angell Company Manager/Production Management Assistant...............................................Brian Crotty Production Management Intern...........................................................................Bridget Anderson Student work study..................................................................................................Araceli AquilarTechnical Director.......................................................................................................Randall Steffen Assistant Technical Director...................................................................................Rebecca Schuetz Scene Shop Foreman..................................................................................................Michael King Master Carpenter..............................................................................................Elizabeth Nosewicz Carpenters...........................................................................................Mike Kuhla, Simone Scalici Graduate Assistant............................................................................................Christopher Zacher Scene Shop Intern......................................................................................................Alex Petersen Student work study.....................................................................Emma Antenen, Mylene QuijanoScenic Charge Artist................................................................................................Holly K. LaGrow Assistant Scenic Artist..............................................................................Kristen Prescott-Ezickson Graduate Assistants...............................................................Loren Bartnicke, Carlie Miller SherryProperties Coordinator................................................................................................Mary Houston Props Carpenter.....................................................................................................Tammy Goetsch Props Artisan.................................................................................................................Lisa Letson Graduate Assistant.....................................................................................................Chelsea Jones Student work study.............................................................Ashley Kyker, Emily Mae Timmerman Prop Shop Volunteer.......................................................................................................Ryan RossCostumer.....................................................................................................Gretchen Darrow-Crotty Assistant Costumer..................................................................................................Meggan Camp Cutter-Drapers...........................................................................Catherine Hennessy, Jennifer Peet First Hand...............................................................................................................Victoria Lillich Stitchers...................................................................................Amanda Moore, Cynthia Papworth Craftsperson/Shopper................................................................................................Sandra Knapp Wardrobe and Wig Supervisor.......................................................................................Sarah Stark Hair Stylist.............................................................................................................Kristina Scalone Student work study.................................Kathryn Bailey, Kiersten Kozbial-Wu, Charity Van TasselMaster Electrician.................................................................................................David M. Bowman Electrician...............................................................................................................Miles Dudgeon Electrics Apprentice......................................................................................................Ann Archer Student Assistants....................................................Gregory Folsom, Ryan Gibson, Anna LiDestriResident Sound Designer/Audio Engineer............................................................Jonathan R. Herter Assistant Audio Engineer......................................................................................Kevin O’Connor Sound Apprentice........................................................................................................Jade Taggert Graduate Assistant......................................................................................................Stefan Zoller

s y r a c u s e s ta g e s ta F F

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Production Stage Manager........................................................................................Stuart Plymesser Stage Manager....................................................................................................Laura Jane Collins Stage Management Journeyman..................................................................................Erin C Brett Stage Management Apprentice...............................................................................Marisa Andrews

a d m i n i s t r at i v e s ta F F

Administrative Director...................................................................................................Diana ColesDirector of Marketing and Communications...............................................................Patrick Finlon Publications Director/Assistant Marketing Director................................................Joseph Whelan Group/Corporate Sales Manager................................................................................Tracey White Public Relations Manager....................................................................................Kristina Starowitz Graphic Designers.......................................................................Jonathan Hudak, Brenna Merritt Group Sales Assistants...........................................................................Amanda Kurey, Julia Slater Production Photographer.........................................................................................Michael DavisDirector of Development............................................................................................Barbara Beckos Assistant Director of Development......................................................................Katherine Keeney Development Assistant.........................................................................................Meggan Madden Development Intern...............................................................................................Shantel BobbittComptroller...................................................................................................Mary Kennett Morreale Human Resources Administrator/Assistant Business Manager..................................Kathy Zappala Student Assistant...............................................................................................Emily BuonsignoreDirector of Information Management & Technology................................................Garrett Wheeler Student Assistant........................................................................................................Justin RamerDirector of Ticketing & Subscription Services...............................................................Sandra Boyer Assistant Director of Ticketing & Subscription Services.............................................Ben Murphy Assistant Box Office Managers...................................Lisa Doerle, Stasya Erickson, Miguel Tarrats Angel Appeal Telefunding Manager..........................................................................Kathy Zappala Patron Sales and Services...........................................Brian Balamut, Jasmin Fink, Dennis Lennox Box Office Assistants..............Justin Cangiano, Madeline Corliss, Tatiana Fenner, Amy Gleitsman

Dolores Pereira, Jesse Roth, Adam Segrave, Maggie Siciliano Interpreters for the Deaf.....................Brenda Brown, Angelo Coppola, Mikki Evans Sue Freeman

Joanne Jackowski, Sarah Korcz, Zenna Preli, Shaun Standford Open Captioning.........................................................................................................Chris Botek Audio Description.........................................................................Kate M. Laissle, Joseph WhelanDirector of Audience Services................................................................................Wayne Yaddow, Jr. S.U. Main Stage House Manager..........................................................................Tammy Goetsch Student Assistant House Managers..............Katie Ball, Hannah Daly, Betty Etheredge, Jesse Roth Bartender.......................................................................................................................Meg PuseyCommunity Services Officer......................................................................................Stacey EmmonsCustodians........................................................................Kitty Ashby, Delores Bachus, Tony Rogers

s y r a c u s e s ta g e s ta F F

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SyracuSe Stage820 East Genesee StreetSyracuse, NY 13210-1508Administration: 315/443-4008Box Office: 315/443-3275www.SyracuseStage.org

Single ticket PriceSOpening Night: $54, $50, $30Evenings: Fri., Sat.: $51, $48, $30Sun., Tues., Wed., Thurs.: $40, $37, $30Matinees: Wed., Sat., Sun.: $47, $43, $30Previews: $35, $32, $30All tickets can be purchased at the Syracuse Stage Box Office or online anytime at www.SyracuseStage.org. Prices may vary for opening nights and for Hairspray.

DiScountSAvailable for senior citizens and students. Call the Box Office for prices.

grouP DiScountS availableAvailable for groups of 10 or more; additional discounts for student/senior citizen groups. Call Tracey White: 315/443-9844.

ruSh ticketSRush tickets are available for purchase at a discounted rate on the day of the show for all performances by cash or check. Limited availability.

box office hourSThe Box Office is open Monday through Friday, 9 a.m. noon to 6 p.m., and two hours before each performance. Box Office phone: 315/443-3275. Box Office fax: 315/443-1408.

gift certificateSCall the Box Office or visit us online at www.SyracuseStage.org.

ParkingEntrance to the enclosed parking garage on Irving Avenue is on the corner of Madison Street and Irving, next to the Madison-Irving Medical Building. For hours of operation and parking costs, call (315) 475-4742. There is an open parking lot between Phoebe’s Garden Cafe and the garage maintained by Syracuse University.

beePerS anD cell PhoneSFor the actors’ safety and in consideration of the audience please turn off all cell phones; check your beeper and leave your seat number with an usher at the Coat Room prior to the performance. They will monitor your beeper and notify you if there is an emergency.

fire noticeThe exit indicated by a red sign nearest the seat you occupy is the shortest route to the street. In the event of an emergency, walk to that exit and follow the house staff ’s directions.

Smoking PolicySmoking is not permitted in this building or any public building in accordance with Syracuse University and New York State policy. We ask that our patrons who smoke do so outside of our theatre.

Quiet chilDrenQuiet children over the age of five are welcome at Syracuse Stage performances. We do ask that adults remove disrup-tive children to the lobby.

ticket exchangeAll tickets may be exchanged. Please call the Box Office 24 hours prior to the earliest performance involved in the exchange. Single ticket exchanges carry a $5 fee per ticket. 6Pack holders may make one free exchange per show. Subscribers may make unlimited free exchanges; upgrade charges may apply. Subscribers who missed a scheduled perfor-mance and did not exchange may use their Extra Value Ticket or purchase a missed performance pass for $5.

latecomerSIn order to ensure the safety and concentration of the actors and the uninterrupted enjoyment of our patrons, latecomers will be seated at the earliest, appropriate break in the performance in the closest available seats.

buy it if you like it!Many of the items featured in our productions are available for purchase. For information contact Mary Houston, Props Master: (315) 443-2437.

to volunteer aS an uSherIf you would like to get a backstage view of Syracuse Stage, or would like to expand your social circle, this is the ideal opportunity for you. All we ask for is a positive attitude, a smil-ing face and the willingness to commit a few hours a month. Please call our House Manager at (315) 443-3219 for more information.

oPen caPtioningWe are pleased to offer two open captioned performances for each mainstage play. Open captioning provides a simultaneous display of the play’s dialogue on a screen next to the stage.

auDio-DeScribeD PerformanceSSimultaneous live narration and pre-show description for blind and visually impaired patrons. Please contact Box Office in advance to reserve headsets.

auDio enhancementWe offer an infrared listening system for patrons with up to a 70% hearing loss. Headsets can be reserved free of charge through the Box Office or at the Coat Room before curtain.

SigneD interPreteD PerformanceSTuesday evenings, the third or fourth week of each production, we offer performances for the hearing impaired.

Wheelchair accommoDationSSyracuse Stage is wheelchair accessible. Please call the Box Office to arrange wheelchair seating.

emergency telePhone contactTo be reached in an emergency, please leave your name and seat location at the Coat Room when you arrive. This is the only way we can locate you. In case of an emergency you may be reached at (315) 443-9922.

WWW.SyracuSeStage.orgSubscribe, purchase 6Packs and single tickets 24-7. Information, schedules, reviews and more.

PleaSe . . .The use of cameras and recording devices is not permitted. Please do not bring drinks and/or food into the theatre.

aDvertiSer SuPPortSyracuse Stage encourages audience members to support the businesses advertised in our program.

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BEFORE AFTER

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SponSored by InterFaIth WorkS, the duck race to end racISm IS a Free, Fun-FIlled FamIly FeStIval attended by people oF many colorS, dIFFerent backgroundS and varI-ouS WalkS oF lIFe Who demonStrate What the World Would be lIke IF racISm dId not exISt.

Home means differentthings to different people. to the hundreds of refugees who come from all over the globe to resettle in Cen-tral new York, home is the welcom-ing staff and safe refuge provided by the Center for New Americans. to those who strive to build understand-ing among those of different faiths, ethnicities and beliefs, home is the Ahmad and Elizabeth El-Hindi Center for Dialogue. for those in prisons, in hospitals and in nursing facilities, home is the calm reassur-ance of a chaplain. and, for frail seniors who want to remain inde-pendent, the assistance provided by a senior companion helps them to stay just where they want to be—at home.

now located at 1010 James St., in-terfaith Works’ new home provides valuable operational efficiencies and the space to expand our Center for new americans, Center for dia-logue as well as spiritual Care and senior services programs. most importantly, it is a welcoming place where our community is invited to join together as we build dignity, understanding and hope.

InterFaith Works of Central New York, through education, service and dialogue, affirms the dignity of each person and every faith community and works to create relationships and understanding among us.

1010 James St., Syracuse, ny 13203 | 315-449-3552 | www.inter faithworkscny.org

the piano lesson program

Documents

director timothy bond

director timothy douglas

wilsons cycle

production of wilsons

director timothy bond

piano lesson

remarkable plays

remaining plays