A NEW MUSICAL

2013/14 Season

Welcome to the A.R.T.!I am delighted you’ve joined us for the world premiere of Witness Uganda. It has been my great pleasure collaborating with co-creators Matt Gould and Griffin Matthews, and the immensely talented cast and creative team behind this new musical.

Witness Uganda was born out of Griffin’s real life experiences as an aid worker in Uganda. Several members of the cast and creative team also have served in Africa and around the world. Composer Matt Gould served for two years in the Peace Corps in Mauritania; choreographer Darrell Grand Moultrie spent time teaching dance in South Africa; even our production interns—many of whom are undergraduates at Harvard University—shared their own experiences abroad, in countries including Indonesia, Tanzania, and Uganda. Throughout our creative process, I have been struck by how deeply Witness Uganda probes essential questions that our generation grapples with—questions about what it means to be an American in our increasingly globalized, yet still profoundly unequal world.

One of my goals as Artistic Director of the A.R.T. has been to focus on the ways a theatrical experience can extend beyond the work on the stage. As we plan each season, I look for projects that will foster opportunities for vibrant exchange and conversation. To that end, after every performance of Witness Uganda, we will be hosting “Act III”: a post-performance discussion with artists who have contributed to the project and specialists in international aid and social justice who will discuss the themes of the show and how it relates to their own research and work. Please refer to our website for a continuously updated list of upcoming guests and topics.

Thank you for coming to the A.R.T.—and for being a part of the Witness Uganda experience!

DIANE PAULUS, ARTISTIC DIRECTOR

Artistic Director’s Welcome

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Season Sponsors

2013–2014 season through april 26617-266-1200 • bso.org

It’s your BSO.

SET DESIGN TOM PYE

COSTUME DESIGN ESOSA

CHOREOGRAPHY DARRELL GRAND MOULTRIE

DIRECTED BYDIANE PAULUS

First performance at the Loeb Drama Center on February 4, 2014Originally developed at Vineyard Arts Project, co-produced by Brooke Hardman and Ashley Melone

Winner of 2012 Richard Rodgers Award for Staged Readings, administered by the American Academy of Arts and Letters

BYMATT GOULD & GRIFFIN MATTHEWS

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AMERICAN REPERTORY THEATERPRESENTS

SEASON SUPPORT

ROSEMARIE & STEVE JOHNSON

ALISON & BOB MURCHISON

DON & SUSAN WARE

PRODUCTION SUPPORT

LIGHTING DESIGN MARUTI EVANS

MUSIC SUPERVISION, ORCHESTRATIONS, AND VOCAL ARRANGEMENTS

MATT GOULD

MUSIC DIRECTOR REMY KURS

ASSOCIATE DIRECTOR SHIRA MILIKOWSKY

CASTINGSTEPHEN KOPEL, C.S.A.

PRODUCTIONSTAGE MANAGER CAROLYN BOYD*

2014 EDGERTON FOUNDATION NEW AMERICAN PLAYS AWARD RECIPIENTAMBASSADOR SWANEE HUNT, CHAIR, HUNT ALTERNATIVES FUND

The A.R.T. is dedicating the 2013/14 season to the memory of Jeremy Geidt, beloved actor, revered teacher, and cherished friend, who was a founding member of the A.R.T.

and truly embodied its spirit through his generosity, wit, and devotion to the theater.

PROJECTION DESIGN PETER NIGRINI

SOUND DESIGNJONATHAN DEANS

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CAST (in order of speaking)

Griffin GRIFFIN MATTHEWS*Jacob MICHAEL LUWOYE*Joy ADEOLA ROLE*Ryan EMMA HUNTON*Eden NICOLETTE ROBINSON*Grace KRISTOLYN LLOYD*Ibrahim JAMAR WILLIAMS*Ronny TYRONE DAVIS, JR.*Ensemble MELODY BETTS* RODRICK COVINGTON* KEVIN CURTIS* LATRISA HARPER* AISHA JACKSON* JAMARD RICHARDSON*(*) Members of Actors’ Equity Association

Dance CaptainLaTrisa Harper*

BANDConductor/Keyboard 1 MATT GOULDKeyboard 2 BRIAN LIViola ANDREW GRIFFINDrummer NATHAN V. TERRYGuitar CHARLIE CHRONOPOULOSBass JONNY MORROWPercussion SENFUAB STONEY

Additional Orchestrations and Vocal ArrangementsAndrew Griffin, Remy Kurs, Nathan V. Terry

Electronic Music DesignJeff Marder

UNDERSTUDIES

Understudies never substitute for listed players unless a specific announcement is made at the time of the performance.

For Griffin: TYRONE DAVIS, JR.*; for Griffin and Ensemble: TYRICK WILTEZ JONES*; for Joy and Ensemble: MARTHA BOLES; for Jacob: RODRICK COVINGTON*;

for Ryan: LAUREN DOUCETTE; for Grace and Eden: AISHA JACKSON*; for Ronny and Ibrahim: KEVIN CURTIS*

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ADDITIONAL STAFF

Assistant Stage Manager Stephanie M. Holmes*Mia WalkerAmy Hall GarnerJared FineLeah LoukasDede AyiteTsubasa KameiDavid BengaliDerek WilesBrian Li

Assis Dirtant ectorAssistant Choreographer Producing Associate Wig and Hair Designer Associate Costume Designer Assistant Lighting Designer Associate Projection Designer Video Supervisor Synth Programming Assistant Dramaturgy Ryan McKittrick, Ashley Melone,

Marissa Friedman, Christian RonaldDialect Coach Charlotte FleckCopyist Andrew GriffinMusic Assistant Luke AndersonMusic Intern Khiyon HurseyProduction Assistants Allison Grant, Courtney ZieglerAssistant to Matt Gould and Griffin Matthews Greg Nobile

WITNESS UGANDA INTERNSHIP PROGRAM - HARVARD UNIVERSITY

Producing Mark Mauriello ‘15Playwriting Brenna McDuffie ‘15 ^Directing Lily Glimcher ‘14Directing Susanna Wolk ‘14Music Madeline Smith ‘14Choreography Megan Murdock ‘14 ^Stage Management Jumai Yusuf ‘16Stage Management Kyra Atekwana ‘14Marketing Selena Kim ‘15 ^

(^) Spring 2014 Harvard Arts and Museums Fellow, funded with support from the Office of Career Services

Rehearsed at the New 42nd Street Studios and the Loeb Drama Center

THERE WILL BE A 15 MINUTE INTERMISSION

SPECIAL THANKS

Susan Abbott; ASCAP; Ildiko Sragli and Barry Appelman; Hasan Askari; The Bishop Family; Clint Bond; Katie Boeck; Jane Bolster and the Richard Rodgers committee; Anne Marie Bookwalter; Dillon Bustin;

Rev. Christine Nakyeyune Busuulwa; John Buzzetti; Keith Caggiano; Vanessa Coakley; Susan Cook; Brett Cramp; Virginia Dajani; Laurie DeMarco; Robin Lafoley and Mitchell Dong; Michael Eder; Deb Fowler;

Molly Gachignard; Maria Giarrizzo; Erica Glenn; The Gould Family; The Griffin Family; David Hempton; Tim Sanford, Kent Nicholson and all at Playwrights Horizons; Brenna St. George Jones; Edward Jones;

Dean Kay; Annie Kee; Kathryn Kozlark; Joan Lader; Timothy Lappin; Timothy Longman; Mary MacLeod; Sam Martinborough; Timothy McCarthy; Kevin McCollum; Lucas McMahon; Ashley Melone; Kerry Melone; Cameron Mizell; Andrea Moore; Anne Muyanga; Greg Nobile; Leslie Odom, Jr.; The Paris Family; Julia Putnam;

Juanita Rodrigues; Michael Rose; Amy Rosenblum; Jimmy Ryan; Kyle Scatliffe; Stephen Schwartz; Molly Shoemaker; Amy Slaughter; Shannan Smith; Abigail Spencer; Summit Series; Michael Taglieri;

Maura Tighe; Nondumiso Tembe; Wilson Torres; the students of UgandaProject; Zurin Villanueva; Jonathan L. Walton; Lyle Warner; Elissa Weinzimmer; Elizabeth Woodbury; Jeanne Smith and Pam Young

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AN INTERVIEW WITH WITNESS UGANDA CREATORS

MATT GOULD ANDGRIFFIN MATTHEWSBY MARISSA L. FRIEDMAN

MARISSA L. FRIEDMAN: How did you start writing Witness Uganda?

MATT GOULD: We were talking about needing money for our nonprofit, UgandaProject, and I said to Griffin, “Why don’t we write a musical about aid work?” And he said, “That’s the worst idea I’ve ever heard!” A couple days later, we were still talking about how frustrating it can be to raise money. I recorded Griffin ranting, “It starts because it’s hard,” and began weaving it through music. The next morning I played it for him and something about it just worked. We decided to write a few songs and turn it into a kind of staged infomercial for UgandaProject. We sold out two shows, but, after paying to rent the theater, we didn’t make any money. But people were crying. They were coming up to us saying, “This is my story. I love this!” So we began to think about it as a more formal theater piece, and then we were invited to Disney ASCAP [American Society of Composers, Authors, and Publishers] and were able to do a 25-minute performance one night and a 50-minute on the second. Word got around and it sold out. The show was a mess at that time, but we knew what the heart of it was: that people want to help. But sometimes they’re not sure how to do it and sometimes they screw up.

GRIFFIN MATTHEWS: After the second performance, the composer Stephen Schwartz [Pippin, Wicked, Godspell] said to us, “Boys, this is a musical. Just figure out what story you want to tell.” That was the night we knew we should start looking at it as a musical and not just an infomercial. Stephen was and is a champion for us and for other young writers in musical theater, which is a huge gift.

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MF: What does a musical offer as a vehicle for this story that another form might not?

MG: Singing is crying. And musical theater is one of the most powerful, underappreciated, and underutilized art forms that we have. This is a story about our generation and the problems that plague our generation, not just in this country, but in other countries as well. And the themes are cry-worthy. Griffin and I always talk about how being in the theater is like going to church or to synagogue or to mosque. It is meant to be a spiritual experience. Bringing a community together and hearing the cries of our generation in a common space is the experience we want to curate. The live form feels like the best way to do it. You have to get people in a room talking. That’s what we hope this does.

MF: This musical grapples with many issues, including sexuality, race, and religion; were they always represented in the text?

GM: There are a lot of things in the script now that I didn’t want to talk about at first. Early drafts of the script did not include the character Griffin being gay. But marriage equality has pushed the gay agenda inside of the text. Five years ago there was no marriage equality—there was Massachusetts where it was ok and that was it. I felt a kind of responsibility because we see a lot of white actors coming out of the closet and not as many black ones. And as a writer, I also felt like I wasn’t ever seeing myself on stage. Create something that you want to see! Otherwise, stop complaining!

MF: The music in Witness Uganda is unlike anything I’ve ever heard before. What were the musical influences and how did you create this fusion of musical worlds?

MG: When I first lived in Mauritania, West Africa, as part of the Peace Corps, I thought the music there sounded crazy. It’s loud and didn’t make sense to my ears. But after a while, I started to love it. You realize that there is a whole other structure to it. I opened up to those ideas and to understanding that those weird-sounding patterns seemed strange because they have a different structure than I was used to. They became a part of my DNA. Most of the Africans I know listen to everything now; they listen to Beyoncé as much as they listen to Baaba Maal. And we wanted to create a sound that walked the line between those things. Griffin can tell you how I walk around the house all the time making percussive clicking sounds with my teeth. I’m constantly making that music. I think it’s just a matter of going and collecting all those little pieces everywhere and finding a way to put them together.

MF: This past October you did a tour to schools and community groups in the Greater Boston area. How did that enhance your experience of the show?

GM: The idea of the tour was to connect with community, which is what this show is about. It was a really humbling experience. Every performance was completely different, and they were all worth it. I really appreciated that there were a lot of brown kids and adults that we were able to share with. My way in to musical theater was through The Music Man—so I didn’t even know that brown people could exist in musical theater! I loved when we went to the West End House Boys and Girls Club and they cheered. It’s part of the mission, to go beyond the theater itself.

MG: I was thinking about this as we were sitting in St. Peter’s Church of Uganda in Waltham. We were living the dramaturgy of the piece right in that moment. This is the part of the show that is not about what happens on the stage. The performance itself has always been about the discussion that starts there and then gets taken out with the audience into the community.

This interview was excerpted from the A.R.T. Guide. To read the full interview, please pick up a copy in our lobby or visit americanrepertorytheater.org.

Marissa L. Friedman is a second-year dramaturgy student at the A.R.T./Moscow Art Theater School Institute for Advanced Theater Training at Harvard University.

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Founded by Griffin Matthews in 2005

To make a donation, please visit ugandaproject.com

UgandaProject is a grassroots aid organization that sponsors the education of 10 Ugandan

students.

Every dollar raised goes directly toward students’ tuition, food,

housing, and basic needs.

RESURRECT PEOPLE!

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CHRISTIAN RONALD: What first drew you to this musical?

DIANE PAULUS: Witness Uganda first landed on my desk when it was awarded the prestigious 2012 Richard Rodgers Award for Musical Theater. I listened to the music and I was knocked out by the score. It sounded like nothing I had ever heard before. Then I read the script and it was like nothing I had ever read before—especially as far as musicals go. So it was really a combination of the power of the music and the subject of the story

that hooked me. Then I remembered that when I had met with Stephen Schwartz to discuss Pippin he told me there was a musical about Uganda on the horizon that he thought would really interest me. Needless to say, it felt like fate.

CR: The mission of the A.R.T. is to expand the boundaries of theater. How do you see Witness Uganda embodying that vision?

DP: Working on Witness Uganda is about incubating a new American musical. Stretching the form and pushing the envelope of what we consider a musical to be is very much part of what it means to take on a show like Witness Uganda. It is about broaching new subject matter and telling a story that you wouldn’t normally see told on the stage. The show serves as a catalyst for a larger conversation about the American impulse to help in the world—how complicated that is, but ultimately how important that is. When I program shows for the A.R.T., I am always thinking about how the work will reach beyond the stage. I knew that this show had enormous potential to inspire dialogue and debate on crucial subjects that need to be discussed.

CR: Harvard is home to a wide array of academic departments and organizations related to international development and work in Africa. What has it been like creating a musical like Witness Uganda here in Cambridge?

DP: Having an intellectual hotbed like Harvard at our fingertips allows the A.R.T. to collaborate with some of the world’s leading scholars. With Witness Uganda in particular, we’ve been able to draw upon a huge range of the University’s resources. Throughout the development process we have been privileged to collaborate with the Divinity School, Memorial Church, the Committee on African Studies, and the Kennedy School. We have also had the opportunity to engage with Harvard undergraduates and student groups who have taken trips to Uganda and continue to do aid work there.

AN INTERVIEW WITH WITNESS UGANDA DIRECTOR AND A.R.T. ARTISTIC DIRECTOR

DIANE PAULUSBY CHRISTIAN RONALD

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CR: It is unusual for a musical to tackle such contemporary issues. What has it been like to work with material inspired by real events and why do you think that audiences need to see Witness Uganda today?

DP: It is so exciting to be working on a project that deals with the issues that we are facing in our increasingly complex global community. When we did our first workshop of this piece last year, there were so many young people who came up to me and said, “This is my story,” and they told me about similar experiences. There were also many people from the not-for-profit community who identified with the story. They understood how hard it is to run a non-profit and the challenges these organizations face on a daily basis all around the globe. I’m always interested in theater that feels like it’s speaking directly to the audience. Witness Uganda directly addresses the challenges that individuals face today as they seek to make a real change in our increasingly complex and interconnected world.

CR: You are known for assembling outstanding creative teams. Could you say a little bit about your process of collaboration on Witness Uganda?

DP: Making a musical is a huge collaborative effort—it takes a village. The work can only begin when I have the right team at the table. In this case, the team that I’ve pulled together is a particularly exciting one. I’m thrilled to have Peter Nigrini as our projection designer—I’ve been familiar with his work for years. He created the projections for Here Lies

Love, the musical based on the David Byrne and Fatboy Slim concept album. I was so impressed by his work that I immediately reached out to see if he would join us. We have Tom Pye, an internationally renowned set designer who has worked with incredible artists such as Deborah Warner, Fiona Shaw, and Simon McBurney at Complicite. Maruti Evans, whom I’ve known for years through his work with the designer Riccardo Hernandez, is our brilliant lighting designer. And of course there’s Darrell Grand Moultrie, a choreographer whose body of work spans the genres of concert dance and American musical theater. Darrell has also been to Africa, and the subject of the show really resonated with him. Designing the physical life of the show is always at the center of any production I do. The entire creative team has helped me to understand the dramaturgy of the piece through the world we are building together on the stage.

CR: As an Artistic Director, you have said that you want the theatrical experience to exist before, during, and after each performance. How will this happen with Witness Uganda?

DP: What is so exciting about this production is that the creators are in the show: Matt Gould plays in the band and Griffin Matthews plays himself. There are two acts in the musical, and we’re calling the post-show “Act III.” Act III is an opportunity at the end of the performance for Matt and Griffin and other members of the cast to speak directly with the audience—this includes asking questions and wrestling with the issues that arise throughout the show. Act III will also include curated conversations with experts from across Harvard’s campus and the Greater Boston community. Witness Uganda doesn’t end when the curtain goes down—it is at this moment when the real dialogue begins.

Christian Ronald is a first-year dramaturgy student at the A.R.T./Moscow Art Theater School Institute for Advanced Theater Training at Harvard University.

WITNESS UGANDA: ACT III

Join Matt Gould, Griffin Matthews, and members of the

cast for “Act III,” a twenty-minute post-show discussion of the

themes of the show that will be held after each performance of

Witness Uganda.

On select dates, cast members will be joined by scholars and experts who will discuss the show, as well as their own

research and work in the field.

For a complete listing of guest speakers, please visit the A.R.T.’s

website:

americanrepertorytheater.org/events/show/witness-uganda

continued from previous page

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MELODY BETTSEnsembleA.R.T.: Debut. Regional: Pinocchio, Comedy of Errors, Chicago Shakespeare Theater; The

Nativity, Congo Square/Goodman Theater; Once on This Island, The Drowsy Chaperone, Cinderella, Nunsense, Marriott Theatre; Ragtime, Thoroughly Modern Mille, Seussical the Musical, The Boys from Syracuse, Drury Lane Oakbrook; Do Black Patent Leather Shoes Really Reflect Up?, Godspell, Little Theater on the Square. TV: “Chicago Code,” “Chicago PD.” 1Jo.3:16-18

RODRICK COVINGTON EnsembleA.R.T.: Debut. Broadway: The Lion King (Banzai).  South African Tour: The

Brothers Size. National Tour: Fosse. Off-Broadway: Central Avenue Breakdown. Regional: Miss Saigon, NSMT; Pal Joey, Arkansas Rep; Venice, Kirk Douglas Theatre; The Brother/Sister Trilogy (Jeff Award Best Actor nomination), Steppenwolf; In the Red and Brown Water, Alliance Theatre. TV/Film: “Mask of the Ninja,” “Law and Order,” Dave Chappelle’s Show,” Three Verses, Memory of Running, The Warriors, Five To Life. Hebrews 10:36

KEVIN CURTISEnsembleA.R.T.: Debut. National Tour: A Chorus Line. Off-Broadway: Street Lights, Twilight in Manchego,

Maccabeat!, NYMF; Daniella Uses Dirty Words, Abingdon Theatre Company. Regional: A Chorus Line, TUTS Houston; Joseph and the Amazing Technicolor Dreamcoat, Fulton Theatre; A Chorus Line, Hairspray, The Student Prince, Pittsburgh CLO; Hairspray, High School Musical, North Shore Music Theatre; Peter Pan, Alabama Shakespeare Festival. TV/Film: Take Care, Newlyweeds, “Live from Lincoln Center: Tribute to Marvin Hamlisch.” AMDA NY; Baltimore School for the Arts. @KevinTCurtis

TYRONE DAVIS, JR. RonnyA.R.T.: Debut. National Tours: Shrek the Musical (1st National Tour), The Mystery of King Tut. Off-Broadway:

Archbishop Supreme Tartuffe, King Lear, Classical Theatre of Harlem. New York: The Loves of Mr. Lincoln, GayfestNYC; Coriolanus, The Rape of the Lock, Judith Shakespeare Company; Life on the Mississippi, WorkShop Theater Company. Regional: Amazing Grace, Goodspeed Musicals; A Civil War Christmas, Baltimore Centerstage; Ain’t Misbehavin’ (dir. André DeShields), Crossroads Theatre Company; Pure Confidence, Vineyard Playhouse; Angels in America, Colony Theater. New World School of the Arts.

LATRISA HARPEREnsembleA.R.T.: Debut. Broadway: The Color Purple, The Lion King. National Tours: The Color Purple. Regional: The

Wiz, Center Stage; Eubie, Towson Town Theatre; The Pajama Game, Little Theatre on the Corner; On Strivers Row (Cobina). Workshops: Beehive on Broadway with Debbie Allen. Was a member of Ailey II. B.F.A. Towson State University. Proud AEA member.

EMMA HUNTONRyanA.R.T.: Debut. Broadway: Spring Awakening. Off-Broadway: Rent, New World Stages. National

Tours: Next to Normal, Les Misérables. Regional: Distracted, Mark Taper Forum. Readings: Dogfight. TV/Film: “Sonny With A Chance,” “Angel,” “The Drew Carey Show,” “Taken,” “Judging Amy,” Happy Endings. Thanks to mom, everyone at A.R.T., and my Witness Uganda family. @EmmaHunton

CAST

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AISHA JACKSONEnsembleA.R.T.: Debut. Regional: Legally Blonde, Hairspray, Arvada Center for the Arts and Humanities; U Don’t

Know Me (workshop), Tyler Perry Studios; Tintypes, Chicago, Little Theatre of the Rockies; Waiting Room, Ragtime, Anything Goes, Legally Blonde, Guys and Dolls, Ruthless, University of Northern Colorado. TV: “The Kandi Factory.” B.A. in Musical Theatre from the University of Northern Colorado. Thanks to God, my family, and friends for all the love and support. Luke 1:37

KRISTOLYN LLOYDGraceA.R.T.: Debut. Theater: Heathers: The Musical, Hudson Theatre; Hairspray, Rent, Hollywood Bowl;

The Convert, Post Office, Venice, Kirk Douglas Theatre; Once On This Island, Reprise; Romeo and Juliet, As You Like It, Hello Again, Carnegie Mellon University. TV/Film: “The Bold and the Beautiful,” “Lie to Me,” “ER,” 40, The Routes of Wild Flowers. B.F.A. from Carnegie Mellon University. Love to Mommy and Daddy. Thanks to Stone Manners Salners, Trademark, and AEA.

MICHAEL LUWOYEJacobA.R.T.: Debut. Theater: Once On This Island, Hairspray, Guys and Dolls, Flat Rock Playhouse; Hair,

Big River, Show Boat, City of Angels, Chicago, Othello, Saint Joan, Moby Dick, Side Man, University of Alabama. B.A. from University of Alabama.

GRIFFIN MATTHEWSGriffin/Co-CreatorA.R.T.: Debut. Griffin Matthews graduated with a B.F.A. in musical theater from Carnegie

Mellon University, in his hometown of Pittsburgh, PA. He is a writer, director, actor, and philanthropist splitting his time between New York and Los Angeles. Griffin co-wrote and directed numerous staged readings of Witness Uganda (Richard Rodgers Award, Harold Adamson Award, and Dean Kay Award) and directed several readings of the new musical Lempicka for Yale Rep and New Dramatists. As a writer, Griffin has been commissioned by Center Theatre Group to write a new musical (The Family Project) about the ever-changing face of the American family. Acting credits include Off-Broadway: Best of Both Worlds. New York/Regional: 1776, Paper Mill Playhouse; Don’t Bother Me, I Can’t Cope, Ford’s Theatre; Once On This Island, Round House Theatre. Television: “Happy Valley” (NBC Pilot), “The Carrie Diaries,” “The Mentalist,” “Suburgatory,” “Weeds,” “90210,” “Law and Order: LA,” “Cashmere Mafia,” “Numb3rs.” He founded UgandaProject in 2005. @witnessuganda

JAMARD RICHARDSONEnsembleA.R.T.: Debut. Regional: Joseph and the Amazing Technicolor Dreamcoat (Judah), Stagger Lee

(Staged Reading), Dallas Theater Center; Tarzan (Terk), Xanadu (Terpsicore), A Chorus Line, Hairspray, Big River, Ragtime, Oliver!, Lyric Theatre of Oklahoma; Godspell (Judas), City Repertory Theatre, OK; Rent (Collins), Something Wicked This Way Comes (Mr. Dark), Seussical, University of Oklahoma. Musical Theatre B.F.A. from the University of Oklahoma. Much love to The Mine, Ou13, Mom, Dad and Morgynne for their friendship and support. BOOMER!

CAST

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NICOLETTE ROBINSONEdenA.R.T.: Debut. Theater: Once On This Island, Reprise Theater Company. Workshops: Brooklynite,

NYSAF; Lempicka, Yale Repertory Theater, New Dramatists; Post Office, Kirk Douglas Theater. TV: “The Affair,” “Hart of Dixie,” “Unforgettable,” “Perfect Couples,” “Cold Case.” Princess Grace Award-winner for Theater and a graduate of UCLA’s School of Theater, Film, & Television. Thank you Randi, Jim, and Stephen! Love to Griffin, Gould, Robinson-Odom bunch, and most of all: my Les. @Nicolettekloe

ADEOLA ROLEJoyA.R.T.: The Lily’s Revenge (Susan Stewart). A.R.T. Institute: The Boston Abolitionists

Project, The Flu Season, The Imaginary Invalid. Regional: Torture

Garden (Clara), Pearls of Shanghai: A Cockettes Revival (Wobblin’ Robin Sister), Thrillpeddlers Hypnodrome Theater. Film: Interface (Claire). M.F.A. from the A.R.T./MXAT Institute for Advanced Theater Training at Harvard University and B.F.A. University of California, Berkeley. Love to my mother and sister.

JAMAR WILLIAMSIbrahimA.R.T.: Debut. Regional: Hairspray (Seaweed), The Piano Lesson. Tours: Theatre Works USA.

Workshops/Readings: Witness Uganda, A.R.T.; Choir Boys, Manhattan Theatre Club; West Village Swing (screen play by. Vincent Mignatti). Television: 40th anniversary “Oklahoma” (dir. Terrance Mann), “Much Ado About Nothing” (Emmy nominated). University of North Carolina School of the Arts.

CAST

MUSIC AND DANCE FROM THE FAR AND NEAR CORNERS OF THE GLOBE

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CHARLIE CHRONOPOULOSGuitarA.R.T.: Prometheus Bound. Charlie Chronopoulos is an independent songwriter,

and freelance musician. He has worked in the studio and on stage with several Grammy-winning talents including multi-platinum recording artist Serj Tankian of System of a Down. Writing under his middle name, Charlie Christos, he has released two full length albums, and had a single in the top 200 national radio charts in 2010.

MATT GOULDCo-Creator/Music Supervision/Orchestrations/Vocal Arrangements/Conductor/Keyboard 1

A.R.T.: Debut. Matt Gould is working on new musical commissions for Yale Rep (Lempicka), Center Theatre Group (The Family Project), and the Japanese non-profit, Ashinaga (A Cantata) with Tony Award-winning director, John Caird. Matt’s additional credits include Twilight in Manchego, the Jonathan Larson Award-winning musical directed by Tony Award-winner Billy Porter; writing and directing Free Style for LA’s Reprise Theatre Company; and translating, adapting and directing Romeo and Juliet in Pulaar in Mauritania, West Africa. He has also composed and arranged music for Grammy winner Desmond Child, Terrence McNally, Vanessa Williams, and for Playwrights Horizons, Denison University, and Boston University. Matt is the winner of the Richard Rodgers Award and ASCAP’s Dean Kay and Harold Adamson Awards. His music has been performed at venues around the world including Jazz at Lincoln Center, Summit Series, TEDx Wall Street, and at Highland Oaks Elementary School where he lived his dream as a music teacher for seven years. Matt holds a degree in acting from Boston University’s College of Fine Arts and dedicates this show “to all my students here and abroad who continue to teach me so much.” Matt is the co-director of UgandaProject. www.witnessuganda.com

ANDREW GRIFFINViola /Additional Orchestrations and Vocal Arrangements/CopyistA.R.T.: Debut. Copyist: Blue Dress (film score, winner

of Buffalo Niagara Film Festival for best short film), commissioned string arrangements for Skillet and Papa Roach. Viola for: Alkali Ensemble (Artistic Director), Performances with Houston Symphony Orchestra, New York String Orchestra Seminar. Semi-finalist 2012 Washington International Strings Competition. Master of Music from Rice University: Shepherd School of Music, Bachelor of Music from Carnegie Mellon University.

BRIAN LIKeyboard 2/Synth Programming AssistantA.R.T.: Debut. Keyboard programming work: The Lion King, Gazelle

Tour; Aladdin, Broadway; Shrek, MUNY. Candidate for B.S. in Music Industry from Northeastern University.

JONNY MORROWBassA.R.T. Debut. Performances with theater artists Billy Porter, Shoshana Bean, Megan Hilty, Eden

Espinosa, Ty Taylor, Matt Cusson, Valarie Pettiord, Rogelio Douglas Jr., Lucy Arnaz, Lillias White, Wayne Brady, and Tracie Thoms. Jonny is the Musical Director/Bassist for Taylor Dayne and was Bassist for For The Record, A critically acclaimed theater experience in Los Angeles 2008-2012. Currently performing/Touring with Star Search “Grand Champion” Jake Simpson, Country artist Michael Austin from NBC’s “The Voice” and Latin Pop superstar Ana Barbara. Bachelor in Music Production and Engineering, Berklee College Of Music. Currently Residing in Los Angeles.

BAND

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SENFUAB STONEYPercussionA.R.T.: Debut. Broadway: A Free Man Of Color (dir. George C. Wolfe, starring Jeffery Wright and Mos

Def). Off-Broadway: RIO (featured percusionist). Senfuab has worked with Diddy, Wycleff, Shakira, Mos Def, KRS 1, Erykah Badu, The Roots, and Ankrah. He has appeared on national television on the VH1 “Hip Hop Honors Awards,” “Model City,” and on MTV’s “Making the Band 4.” He has played with groups such as Indoda Ensha, a percussion group for which he created drum arrangements; Forces of Nature; Ile Aiye; Silvana Magda at S.O.B.’s; Heritage; Asasseya; Carlinhos Brown; Timbalada. Senfuab has also taught and performed with Alvin Ailey. In addition to performing throughout the United States, he has also toured and entertained audiences in London, West Africa, Brazil, Mexico, and Amsterdam.

NATHAN V. TERRYDrummer/Additional Orchestrations and Vocal ArrangementsA.R.T.: Debut. Drummer: Goodbye Picasso,

Instrument Thieves, Ms. Nina. Volunteer Percussion Teacher: UpBeat NYC, after school music education program (upbeatnyc.org). Bachelor of Music Composition, University of the Arts, Philadelphia.

BAND

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MATT GOULDCo-Creator/Music Supervision/Orchestrations/Vocal Arrangements/Conductor/Keyboard 1See band bio.

GRIFFIN MATTHEWSCo-Creator/GriffinSee actor bio.

DIANE PAULUSDirectorDiane Paulus is the Artistic Director of the A.R.T. at Harvard University and is the 2013 recipient of the Tony Award for Best Director of a Musical (Pippin). At the A.R.T.: Pippin and on Broadway at the Music Box Theatre; The Gershwins’ Porgy and Bess and on Broadway at the Richard Rodgers Theatre (2012 Tony Award-winner for Best Revival of a Musical) and now currently on tour in the US; Death and the Powers: The Robots’ Opera; Prometheus Bound; Johnny Baseball; Best of Both Worlds; The Donkey Show. Her other recent work includes Amaluna, Cirque du Soleil’s newest creation which had its world premiere in Montreal in April 2012 and is now currently on tour in the US; The Public Theater’s Tony Award-winning revival of HAIR on Broadway and London’s West End. As an opera director, her credits include The Magic Flute, Il mondo della luna, Don Giovanni, Le nozze di Figaro, and the Monteverdi trilogy L’incoronazione di Poppea, Il ritorno d’Ulisse in patria, and Orfeo. Diane is a Professor of the Practice in Theater in Harvard University’s English Department, and was one of Boston Magazine’s 50 Most Powerful Bostonians in 2012. She was awarded the 2012 Founders Award for Excellence in Directing from the Drama League.

DARRELL GRAND MOULTRIEChoreographerA.R.T.: Debut. Staged and created work for companies including: The Juilliard School, Ailey 2, Atlanta Ballet, BalletMet Columbus, Cleo Parker Robinson Dance Ensemble, The Holland Dance Festival, Smuin Ballet. Recent: Beyonce’s “Mrs. Carter Show,” collaboration with tap legend Savion Glover on a new dance project. Broadway credits: Aida, Hairspray, Billy Elliot (original cast). Awards: Princess Grace Award.

TOM PYESet DesignA.R.T.: Debut. Broadway/West End: The Testament of Mary (Fiona Shaw); All My Sons (John Lithgow & Dianne Wiest); Top Girls, MTC; Cyrano de Bergerac (Kevin Kline); The Glass Menagerie (Jessica Lange); Fiddler on the Roof (Tony nomination); Medea (Fiona Shaw); Sinatra. Other design credits: Eugene Onegin, Met Opera; John Gabriel Borkman, BAM; The Low Road, NSFW, Royal Court; Miss Fortune, Bregenz, Royal Opera; Death in Venice, La Scala (Premio Franco Abbiati della Critica Musicale Italiana); The Cunning Little Vixen, Glyndebourne. Future projects include: The Death of Klinghoffer, Met Opera.  www.tompye.com

ESOSACostume DesignA.R.T.: The Gershwins’ Porgy and Bess, Best of Both Worlds. Broadway: Motown, The Gershwins’ Porgy and Bess (Tony nomination), Topdog/Underdog. Off-Broadway: Water by the Spoonful, By the Way, Meet Vera Stark (Lucille Lortel and NAACP Theater Awards), Second Stage; The Capeman, Juan and John, Father Comes Home from the Wars, Romeo and Juliet, Public Theater; The Misanthrope, All That I Will Ever Be, NYTW. Regional: Othello, Guthrie Theater; Ruined, Senor Discretion Himself (Helen Hayes Award nominee), Arena Stage; Twist, Alliance; Once On This Island, Centerstage. www.esosadesign.com.

CREATIVE TEAM

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CREATIVE TEAMMARUTI EVANSLighting DesignA.R.T.: Alice vs. Wonderland, Mouth Wide Open. A.R.T. Institute: Hansel and Gretel. Work includes: Else Where, Leiderabend, BAM; Master and Margarita, Bard Summer Scape; An Oresteia, Classic Stage; Crowns, Goodman Theatre; Sweeney Todd, Virginia Opera. Maruti has received the Drama Desk Sam Norkin Award 2013 for Tiny Dynamite and Pilo Family Circus and Drama Desk nominations for: In the Heat of the Night, Slaughterhouse 5, and Blindness.

JONATHAN DEANSSound DesignA.R.T.: The Heart of Robin Hood. Broadway: Pippin, Carrie, Priscilla Queen of the Desert, Spiderman, La Cage aux Folles, Young Frankenstein, The Pirate Queen, Lestat, Taboo, Follies, Seussical, The Music Man, Fosse, Parade, Candide, Ragtime. His work with Cirque du Soleil include: ONE, LOVE, KA, Believe, Zumanity, O, Mystère, La Nouba, OVO, Corteo. Nominated for Tony Awards for Pippin and La Cage aux Folles and has been presented with a USITT award for Distinguished Career in Sound Design.

PETER NIGRINI Projection DesignA.R.T.: Debut. Designs include: Here Lies Love (by David Byrne and Fat-Boy Slim); Fela!; The Elaborate Entrance of Chad Deity, Second Stage, Gore Vidal’s The Best Man. One of the founders of Nature Theater of Oklahoma and designs all aspects of their productions, including: No Dice, Rambo Solo, Romeo and Juliet, and their current decade long undertaking Life and Times. Peter has engaged in a series of collaborations with Robert Woodruff including: Autumn Sonata, In a Year of 13 Moons, and Notes From The Underground.

REMY KURSMusic Director /Additional Orchestrations and Vocal ArrangementsA.R.T.: Debut. Broadway and national tour: The Book of Mormon. Other credits include: Iron Curtain, The Hidden Sky and

more with Prospect Theater Co. in NY; Village Theater in WA; NYMF; and the NY and Edinburgh Fringe.

STEPHEN KOPEL, C.S.A.CastingA.R.T.: The Glass Menagerie, Once, Ajax, The Blue Flower, Johnny Baseball, Best of Both Worlds. Casting director for Roundabout Theatre Company. Broadway credits include: Violet, Beautiful – the Carole King Musical, Winslow Bow, The Glass Menagerie, Mystery of Edwin Drood, Harvey, Don’t Dress For Dinner, Once, Road to Mecca, On A Clear Day…, Anything Goes, The People In The Picture, Brief Encounter, Scottsboro Boys, Sondheim On Sondheim, Hedda Gabler. Off-Broadway: Violet; Getting My Act Together…; Cradle Will Rock, Encores! Off-Center; The Common Pursuit; The Milktrain Doesn’t Stop Here Anymore; The Tin Pan Alley Rag; At Least It’s Pink.

CAROLYN BOYDProduction Stage ManagerA.R.T.: Sleep No More, Let Me Down Easy. New York: Sleep No More, productions with Lincoln Center, Atlantic Theater Company. International: Death and the Powers: The Robots’ Opera. Regional: Huntington Theatre Company, Boston Ballet, Williamstown Theatre Festival, Hangar Theater. B.F.A. in Stage Management from Boston University College of Fine Arts.

STEPHANIE M. HOLMESAssistant Stage ManagerA.R.T.: The Wedding Band (reading). Broadway: Rodgers and Hammerstein’s Cinderella (Production Asst./Sub. ASM), Off-Broadway: One Night Only (Stage Manager), American Theatre of Actors. Regional: Welcome to Jesus (Stage Manager), Hartford Stage; Dreamgirls (Asst. Stage Manager), Ivoryton Playhouse; The Dining Room, Westport Country Playhouse. 2011/12 Season Production Assistant, Two River Theater Company. Stage Management B.F.A. from Syracuse University.

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SHIRA MILIKOWSKYAssociate Director A.R.T.: The Lily’s Revenge (Director), The Wedding Band (reading, Co-Directed with Hilton Als), Johnny Baseball (Associate Director), Britannicus (Assistant Director). A.R.T. Institute: Twelfth Night (May, 2014), BOB: A Life in Five Acts. Broadway: HAIR (Assistant Director). Regional: She Kills Monsters, Company One; Big Money, Williamstown Theatre Festival. New York projects include: I Hope I Die of Heart Disease! I’d Like To See You Manage Then!, Mabou Mines RAP; Cookie Crumble (by Elizabeth Meriwether); Mourn The Living Hector (Winner of a Fringe Excellence Award), NewYork Fringe; and multiple projects at Ars Nova (Director-in-Residence, 2008). Drama League Directing Fellow. M.F.A. in Directing, Columbia; B.A. in Theater Studies, Yale.

MIA WALKERAssistant DirectorA.R.T.: Pippin, The Gershwins’ Porgy and Bess, Prometheus Bound, Johnny Baseball. Broadway: Pippin, The Gershwins’ Porgy and Bess.

Graduated magna cum laude from Harvard University, B.A. in Visual and Environmental Studies (Film Production). Mia has been assisting for Diane Paulus since graduating in 2010. Mia was also a Resident Director at The Flea Theater in NYC, where she directed new works by Trista Baldwin and Israel Horovitz. Other credits include: Ensemble Studio Theater, The Berkshire Theatre Festival, American Conservatory Theater, NYU Tisch, and Vassar Powerhouse.

AMY HALL GARNERAssistant ChoreographerA.R.T.: Debut. Created work for: Ailey II, The Joffrey Ballet (trainees), The Juilliard School (summer intensive), Central Pennsylvania Youth Ballet, The Ailey School, “Law & Order: Trial by Jury,” Kidz Bop Live!, The Ohmies, and recently coached Grammy Award winner Beyoncé for “The Mrs. Carter Show” World Tour. Broadway/National Tour credits: Fosse, Contact, Thou Shalt Not, Chita Rivera: The Dancer’s Life, and Disney’s The Little Mermaid. B.F.A. from the Juilliard School.

CREATIVE TEAM

Actors’ Equity Association (AEA), founded in 1913, represents more than 49,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org

The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists Local USA-829 IATSE.

The American Repertory Theater is a proud partner of PoNY 2.0, providing an artistic home for PoNY Playwrights of New York. The American Repertory Theater is a member of ArtsBoston,

Stagesource, and Theater Communications Group.

A.R.T. Musicians are members of the Boston Musicians’ Association, Local 9-535 which has protected the interests of musicians and promoted the art of live music since 1896.

To learn more about the creative team and to read more bios, please visit our website americanrepertorytheater.org.

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The A.R.T. at Harvard University is a leading force in the American theater, producing groundbreaking work in Cambridge and beyond. The A.R.T. was founded in 1980 by Robert Brustein, who served as Artistic Director until 2002, when he was succeeded by Robert Woodruff. Diane Paulus began her tenure as Artistic Director in 2008. Under her leadership, the A.R.T. seeks to expand the boundaries of theater by programming events that immerse audiences in transformative theatrical experiences.

Throughout its history, the A.R.T. has been honored with many distinguished awards, including consecutive Tony Awards for Best Revival of a Musical for Pippin (2013) and The Gershwins’ Porgy and Bess (2012), both of which Paulus directed; a Pulitzer Prize; a Jujamcyn Prize for outstanding contribution to the development of creative talent; the Tony Award for Best Regional Theater; and numerous Elliot Norton and I.R.N.E. Awards.

The A.R.T. collaborates with artists around the world to develop and create work in new ways. It is currently engaged in a number of multi-year projects, including the Civil War Project, an initiative that will culminate in the staging of new work in the 2014/15 season. Under Paulus’s leadership, the A.R.T.’s club theater, OBERON, has become an incubator for local and emerging artists and has attracted national attention for its innovative programming and business models.

As the professional theater on the campus of Harvard University, the A.R.T. catalyzes discourse, interdisciplinary collaboration, and creative exchange among a wide range of academic departments, institutions, students, and faculty members, acting as a conduit between its community of artists and the university. A.R.T. artists also teach undergraduate courses in directing, dramatic literature, acting, voice, design, and dramaturgy. The A.R.T. Institute for Advanced Theater Training, which is run in partnership with the Moscow Art Theater School, offers graduate-level training in acting, dramaturgy, and voice.

Dedicated to making great theater accessible, the A.R.T. actively engages more than 5,000 community members and local students annually in project-based partnerships, workshops, conversations with artists, and other enrichment activities both at the theater and across the Greater Boston area.

Through all of these initiatives, the A.R.T. is dedicated to producing world-class performances in which the audience is central to the theatrical experience.

A.R.T. BOARDS BOARD OF TRUSTEES

Steve Johnson, ChairLaurie Burt

Paul ButtenwieserKevin Cole Costin

Mike DreeseZita Ezpeleta

Michael FeinsteinProvost Alan M. Garber

Lori GrossAnn Gund

Sarah Hancock Jonathan Hulbert

Alan JonesFumi Matsumoto

Thomas B. McGrathRebecca Milikowsky

Ward Mooney Robert Murchison

Andrew OryDiane Paulus

William RussoMike Sheehan

Diana SorensenLisbeth Tarlow

Donald Ware

BOARD OF ADVISORSRachael Goldfarb, Co-Chair

Ann Gund, Co-ChairFrances Shtull Adams

Yuriko Jane AntonRobert Bowie, Jr.

Philip Burling*Greg Carr

Antonia Handler Chayes*Bernard Chiu

Lizabeth CohenKathleen Connor Rohit Deshpande

Susan Edgman-LevitanJill Fopiano

Erin GilliganCandy Kosow Gold

Barbara Wallace GrossmanHorace H. Irvine II

Ethan W. LasserDan Mathieu

Travis McCreadyKaren Mueller

Ellen Gordon ReevesLinda U. Sanger

Maggie SeeligDina Selkoe

John A. ShaneMichael ShinagelSarasina Tuchen

Alfred WojciechowskiStephen H. Zinner, M.D.

*Emeriti

FOUNDING DIRECTORRobert Brustein

Aboutthe A.R.T.

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The American Repertory Theater is deeply grateful for the generous support of individuals, foundations, corporations, and government agencies, whose contributions make its work possible. The following gifts were received between July 1, 2012 and January 10, 2014.

AnonymousBarr FoundationBetsy and Edward Cohen*Doris Duke Charitable FoundationSarah Hancock*The President and Fellows of Harvard College

Rosemarie and Steve Johnson*#Janet and Howard Kagan*The Blanche and Irving Laurie FoundationRN Family FoundationThe Shubert Foundation

VISIONARY $100,000 and above

BENEFACTOR $50,000-$99,999

LEADER $25,000-$49,999

Katie and Paul Buttenwieser*The Dana FoundationLaura and Michael Dreese*#Edgerton Foundation#E.H.A. FoundationThe Hershey Family Foundation

HILT - Harvard Initiative for Learning & Teaching

Massachusetts Cultural CouncilAlison and Bob Murchison*#National Endowment for the ArtsNewbury Comics Inc.

The Harold and Mimi Steinberg Charitable Trust

Lisbeth Tarlow and Stephen Kay*Donald and Susan Ware*#

The Gregory C. Carr FoundationZita Ezpeleta and Kewsong Lee*Ann and Graham Gund*

Ambassador Swanee Hunt, Chair, Hunt Alternatives Fund#

Alan Jones and Ashley Garrett*Karmaloop

Lucy and Ward Mooney*Dr. Josephine Murray†National Corporate Theatre FundMaureen and Mike Sheehan*

Donors

PRODUCER $10,000-$24,999

PARTNER $5,000-$9,999

AnonymousAmy and David AbramsYuriko Jane Anton and Philip AntonAmy and Ed Brakeman#Hilary and Philip BurlingLaurie BurtJulia Pershan Cohen and

Jonathan CohenKevin Cole CostinTed and Joan† Cutler

Sandi and Andrew FarkasDrew FaustMichael Feinstein and Denise WaldronFresh Sound FoundationErin Gilligan and Hoil KimMarcia HeadHorace IrvineJudith and Douglas KruppLizbeth and George KruppKako and Fumi Matsumoto

Tom McGrath and Sandy MedallisThe Andrew W. Mellon FoundationStacey and Eric MindichDiane Paulus and Randy WeinerJanet and Irv PlotkinValerie Beth Schwartz FoundationDina and Greg Selkoe*Trust for Mutual Understanding

AnonymousFrances Shtull AdamsAlchemy Foundation#Lisa and Joel AlvordBDRobert Bowie jr.Joy and Steven BunsonBernard ChiuKathy ConnorRoAnn CostinPamela and Robert CutlerFoley Hoag LLPGerald Flaxer Charitable Foundation

Andrea and Marc G. GershwinKatia and Garry GinzburgCandy Gold and Martin WatersRachael GoldfarbPeggy Hanratty and Geoffrey PetersThe Office of the Provost at Harvard

UniversityCatherine Hayden and David ThurstonThe DuBose & Dorothy Heyward

Memorial FundJessica and Ethan LasserLori LesserGregory Maguire

Melinda MilbergKaren and Gary MuellerCokie and Lee PerryPatricia Romeo-Gilbert and

Paul GilbertMaggie and Jonathan SeeligThe Shane FoundationSarasina and Mike TuchenLynn and George VosMary and Edward Wendell,

in memory of Jeremy GeidtAlfred Wojciechowski and

Tammerah Martin

PATRON $1,000-$2,499Anonymous (2)Nancy Adams and Scott SchoenAlexander, Aronson, Finning & Co.,

CPAsSheldon AppelDiana and Richard BeattieCarol BeggyNancy Bernhard and David MargolinBarbara E. Bierer, M.D. and

Steven E. Hyman, M.D.Linda Cabot BlackTerrie and Bradley BloomSissela and Derek BokDiane BorgerMelinda BrownDorothea and Sheldon Buckler, M.D.The Edmund and Betsy Cabot

Charitable FoundationRonald and Ronni CastyDiane CataldoFrank CelesteHemmie and Ralph ChangCharles Cherington

Chic to ChicSusan and Mark ClarkFrances CohenLizabeth Cohen and

Herrick Eaton ChapmanNick CorleyRohit DeshpandeBarbara and Michael EisensonEllie Kai Inc.Newell Flather#Jill Fopiano and Paul BrickmanRobin FreemanVerna C. Gibbs, M.D.Perrin and Bruns GraysonMs. Laura Green and Dr. David GolanRenee GreeneMarjorie and Nicholas GrevilleAgnes Gund Melinda Hall and Larry PrattJoseph HammerPhyllis HammerMel and Brendan HanniganMegan and David Hinckley

Ruth and William HsiaoPriscilla and Richard HuntKaren Johansen and Gardner HendrieKay KaneSheridan and Jerome KassirerTheresa Kavanaugh and

John LienhardNancy P. KingLawrence KotinLars FoundationStacey Schneer LeeMarjorie Liner and

Christopher ConnollyJohn D.C. LittleJennifer and Nick LittlefieldCeline and Alastair MactaggartChris MastrangeloAnita Meiklejohn and

Vincent PiccirilliAlan MuraokaJean and David NathanMercedes Nugent-Head and

James C. Marlas

SPONSOR $2,500-$4,999Anonymous (3)Leslie and Howard ApplebyLynne and John ChuangClarke and Ethel D. CoggeshallJuliet Cozzi and Ronald GumbazSusan Edgman-Levitan and

Richard LevitanCatherine GellertPamela Haran and David S. GodkinRuth and Mark GolubJoan and Charles GrossLori E. Gross and

Robert Douglas Campbell

Barbara Wallace Grossman and Steve Grossman

Nikola and David HennesHeather and James HigginsThe Roy A. Hunt FoundationMelissa Kaish and Jonathan DorfmanBarbara H. Landreth, M.D.Jenifer Wells Megalli and

Mark MegalliHee-Jung and John MoonMarean and Thomas PompidouEllen Gordon ReevesNatasha and Umar Riaz

Lisa Sotto and Bruce SaberDr. Linda U. Sanger*Nichole Bookwalter Savenor and

Alan SavenorS. Wade Taylor, Ph.D. and

Stephen Zinner, M.D.Gillien Todd and Kingsley TaftJohn TravisFrancis H. WilliamsAnn Wozencraft and Craig Willey

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CONTRIBUTOR $500-$999

SUPPORTER $250-$499

Anonymous (3)Dianne AndersonEvelyn BarnesWilliam M. BazzyJane and Leonard BernsteinFrancis Biondi and Jamie NichollsHelen and Joe BouscarenRonnie BretholtzElaine and Eric BucherRichard CacciagraniBrian CareyAntonia H. ChayesJim ChervenakTracy ElsteinBarbara FiaccoDr. Alan Garber and Dr. Anne YahandaLeigh Gilmore and Thomas PoundsProfessors Mary Jo and Byron GoodBarbara Lemperly Grant and

Frederic D. GrantDena and Felda Hardymon

Jen Horton and Dave ReganJudy KanwalRita J. and Stanley H. Kaplan Family

Foundation, Inc., Ms. Susan B. Kaplan & Nancy and Mark Belsky

Jane Katims and Dan PerlmanMadeleine and Steven KesslerDr. and Mrs. Gilbert KlimanDenise and Ari KornLaurie LabaKatherine N. LappLiberty Mutual,

Give with Liberty ProgramHambleton LordMonique Sullivan Lowitt and Ian Lowitt Ms. Patricia Cleary MillerMary MiltonJonathan MosesEmily MoskowitzBrigette and Suok NohNSTAR Foundation

Carolyn PerelmuterRose PolidoroNancy Rappaport and Colin FlavinSally C. Reid and John D. SigelThe Reiss Family FoundationDr. Helen RiessHathaway RussellLori and Steven SaterFrank SegallWendy Shattuck and Sam PlimptonStephanie and Fred ShumanMark SlovenkaiMason and Jeannie SmithW Boston HotelRyan WestDyann and Peter WirthMs. Kelsey Wirth and Dr. Samuel Myers

AnonymousBarbara Addison and Stephen GillRavin AgrawalJames AspSybilla and Alexandre BalkanskiBarbara BogerMaud CabotRichard CarsonCris and Paul CarterBetsy Ellis Chung and Peter ChungLisa ColemanFrederica CushmanMary and Richard DanielsGloriana DavenportJane Mendelsohn Davis and

Nick DavisAlma DerricksMark DikerJulie Farkas and Seth GoldmanAnita Feins and Steven LampertAnna C. FitzloffHerbert Fox and Janet ZinnerSusan Fried and Jeffrey RudmanHoward Gardner, M.D.Kathleen and Robert GarnerMarie and Daniel GlennLaurie and Jeffrey Goldbarg, M.D.Sharon Goddard White and

David WhiteDrs. Susan Graham and

Michael HarrisonDrs. Shelly Greenfield and

Allan Brandt

Lindsay and Garth GreimannPatricia and Homer HagedornRobert HarringtonDeborah L. HicksCaroline and Fred HoppinJonathan Hulbert and Sonia HofkoshSarah Jaffe and Richard EisertCindi JonesJerry JordanBelinda Juran and Evan SchapiroCC King and Tom TarpeyEdgar KnudsonLynn KodamaDeborah and Jonathan KolbRena Krasnow and Bob MarxGrace Kyung-Sun Won and

Richard HoldenLisa and Bill LaskinDon LawMary Beth and Greg LesherLewise LucaireBarbara A. ManzolilloWendy Mariner and Toby NagurneyJames D. MarverDonna Friedman Meir and Gadi MeirAshley MeloneKimberly and Peter MulliganProfessor Suzanne P. Ogden and

Peter RogersCaren PasqualeWilliam PeakeDrs. Hilda and Max PerlitshKathryn and Richard Pershan

Tom QuintalAndree Robert and Thomas M. BurgerLeandrew RobinsonPaul RomanoGabriela and Bob RomanowBonnie RosseSarah and Gregory SandsJames ScopaLisa SternJean and Michael StrunskyKathryn Taylor and Tom SteyerHal TepferM.K. TerrellDiana Walsh and Kent WalkerKathy Williams and Douglas CarlstonMary WinslowCarolyn ZernWilliam Zinn

*Donors who provide annual operating support of $25,000 or more are members of the Artistic Director’s Circle

#Donors who provide support to the production of Witness Uganda and its education and access activities are members of the Witness Uganda Leadership Circle

† In Memoriam

PATRON (CONTINUED) $1,000-$2,499Jeryl and Stephen OristaglioPatricia and Finley PerryGerald PierJennifer and Thomas Pincince#Lia and William PoorvuJames RadoJanice Saragoni and Ben BradleeAdina SchecterNoraLee and Jon Sedmak

Dr. and Mrs. Dennis J. SelkoeChristine and Rick SheaMichael Shinagel and Marjorie NorthThe Sholley Foundation,

in memory of Jeremy GeidtDeborah Sinay and Charles J. KravetzSomerled Charitable FoundationDeborah Sweet and Steven LazarJanet Tiampo and David Parker

The Joseph W. and Faith K. Tiberio Charitable Foundation

Brad Voigt and William BurtonMindee WassermanJoanne and Daniel WeilRuth and Bill WeinsteinThe Winter, Wyman CompaniesFancy and Jeff Zilberfarb

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A.R.T. NYC is a group of donors based in New York that provides generous annual support to the American Repertory Theater. The following gifts of $250 and above were received between July 1, 2012 and January 10, 2014.

The Urban Grape/T.J. and Hadley Douglas(Wine Sponsor)theurbangrape.com

IN-KIND SUPPORTERS

Boston Beer CompanyCambridge, 1.The Charles HotelKevin Cole CostinCarol DeGiere

Event Illuminations/ Derek Wiles

GoogleGrafton StreetGrendel’s DenAnn and Graham Gund

HarvestHenrietta’s TableThe Kendall HotelMelinda MilbergRialtoSandrine’s Bistro

The SinclairTory RowToscano UpStairs on the SquareDonald and Susan Ware

The A.R.T. thanks the following individual and corporate supporters for their invaluable in-kind donations.

MAX Ultimate Food/Dan Mathieu and Neal Balkowitsch(Catering Sponsor)maxultimatefood.com

Ilex Designs/Andrew Anderson (Floral Sponsor)ilexflowers.com

NATIONAL CORPORATE THEATRE FUND

Acquis Consulting Group† • American Express • AOL† • Mitchell J. Auslander** • Bank of America • Bloomberg • BNY Mellon • James E. Buckley • Steven Bunson** • Christopher Campbell/Palace Production Center† • Christ Economos** • Cisco Systems, Inc. • Citi • Clear Channel Outdoor**† • CMT/ABC**† • Dantchik Family • Datacert, Inc. • Disney/ABC • Paula Dominick** • Dorfman and Kaish Family Foundation, Inc. • Dorsey & Whitney Foundation • Dramatists Play Service, Inc. • John R. Dutt** • Epiq Systems** • Ernst & Young • Bruce R. and Tracey Ewing** • Pamela Farr • Richard Fitzburgh • Ford Foundation* • Goldman, Sachs & Co. • John Gore for Broadway.com • Jeffrey Gural/Newmark Holdings • Mariska Hargitay** • The Hearst Foundations** • Gregory S. Hurst • Howard and Janet Kagan** • Joseph F. Kirk** • Michael Lawrence and Dr. Glen Gillen • Marsh & McLennan Companies • John R. Mathena • The Maurer Family Foundation** • Jonathan Maurer and Gretchen Shugart** • McGraw Hill Financial • MetLife • John G. Miller • Morgan Stanley • New York Life • Theodore Nixon** • Ogilvy & Mather† • Lisa Orberg** • Frank Orlowski** • Edison Peres • Pfizer, Inc. • Thomas Quick** • RBC Wealth Management** • The Schloss Family Foundation** • Sharp Electronics† • Skadden, Arps, Slate, Meagher & Flom LLC • George S. Smith, Jr.** • Southwest Airlines** • TD Bank • Theatermania.com/Gretchen Shugart • John Thomopoulos** • Time Warner • Evelyn Mack Truitt • James S. Turley** • The James S. and Lynne P. Turley Ernst & Young Fund for Impact Creativity** • UBS • Michael A. Wall • Wells Fargo** • Willkie Farr & Gallagher LLP • Isabelle Winkles**

National Corporate Theatre Fund is a not-for profit corporation created to increase and strengthen support from the business community for this country’s most distinguished professional theatres. The following foundations, individuals and corporations support these theaters through their contributions of $2,500 and above to National Corporate Theatre Fund.

*NCTF/Ford Foundation Fund for New Work **Impact Creativity †Includes In-kind Support As of January 2014

PRODUCER $10,000 and aboveJulia Pershan Cohen and Jonathan Cohen, Kevin Cole Costin, Zita Ezpeleta and Kewsong Lee, Sandi and Andrew Farkas, Alan Jones and Ashley Garrett, Janet and Howard Kagan, Rebecca Gold and Nathan Milikowsky, Stacey and Eric Mindich

PARTNER $5,000-$9,999Joy and Steven Bunson, RoAnn Costin, Andrea and Marc G. Gershwin, Lori Lesser, Melinda Milberg, Lynn and George Vos

SPONSOR $2,500-$4,999 Anonymous (2), Juliet Cozzi and Ronald Gumbaz, Catherine Gellert, Ruth and Mark Golub, Joan and Charles Gross, Ann and Graham Gund, Nikola and David Hennes, Heather and James Higgins, Melissa Kaish and Jonathan Dorfman, Barbara H. Landreth, M.D., Jenifer Wells Megalli and Mark Megalli, Hee-Jung and John Moon, Marean and Thomas Pompidou, Ellen Gordon Reeves, Natasha and Umar Riaz, Lisa Sotto and Bruce Saber, Dr. Linda U. Sanger, Ann Wozencraft and Craig Willey

MEMBER $250-$2,499Diana and Richard Beattie, Francis Biondi and Jamie Nicholls, Mark Diker, Tracy Elstein, Jane Mendelsohn Davis and Nick Davis, The DuBose and Dorothy Heyward Memorial Fund, Sarah Jaffe and Richard Eisert, Madeleine and Steven Kessler, Rena Krasnow and Bob Marx, Tom McGrath and Sandy Medallis, Ashley Melone, Mary Milton, Jonathan Moses, Brigette and Suok Noh, Mercedes Nugent-Head and James C. Marlas, Caren Pasquale, Rose Polidoro, The Reiss Family Foundation, Adina Schecter, Lisa Stern

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ASSISTIVE LISTENING DEVICES ARE AVAILABLE FOR ALL A.R.T. PERFORMANCES

BOTH THE LOEB DRAMA CENTER & OBERON ARE FULLY ACCESSIBLE

ASL INTERPRETATION IS OFFERED AT DESIGNATED PERFORMANCES. FOR TIX, EMAIL: TICKETSERVICES@AMREP.ORG

AUDIO DESCRIPTION IS OFFERED AT DESIGNATED PERFORMANCES. FOR TIX, EMAIL: TICKETSERVICES@AMREP.ORG

LARGEPRINT

LARGE PRINT PROGRAMS ARE AVAILABLE FOR USE DURING EVERY A.R.T. PERFORMANCE

DISCOUNTED PARKING IS AVAILABLE FOR BOTH VENUES

REFRESHMENTS ARE AVAILABLE FOR PURCHASE AT ALL A.R.T. PERFORMANCES

CHECK OUT: WEDNESDAY MATINEES AT THE LOEB DRAMA CENTERDON’T MISS: POST-SHOW DISCUSSIONS FOLLOWING SELECT MATINEES

Ticket Services ADDRESS: LOEB DRAMA CENTER 64 BRATTLE ST., CAMBRIDGE, MA OBERON 2 ARROW ST., CAMBRIDGE, MA HOURS: TUE-SUN, NOON-5 PM OR 1/2 HOUR BEFORE CURTAIN BOOK A GROUP: AMERICANREPERTORYTHEATER.ORG/GROUPS

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DIANE PAULUS WILLIAM RUSSOARTISTIC DIRECTOR MANAGING DIRECTOR

ARTISTICProducer Diane BorgerDirector of Artistic Programs/Dramaturg Ryan McKittrickArtistic Coordinator Chris De CamillisDirector of Special Projects Ariane BarbanellArtistic Associates Allegra Libonati, Shira MilikowskyAssistant Producer Mark LunsfordSpecial Assistant to the Artistic Director Julia KrausCompany Manager/

Hasty Pudding Institute Producing Fellow Ben Nelson

INSTITUTEDirector Scott ZiglerAdministrative Director Julia SmelianskyAssociate Director Marcus SternCo-head of Dramaturgy Anatoly SmelianskyCo-head of Dramaturgy Ryan McKittrickResident Literary Advisor Arthur HolmbergHead of Voice and Speech Nancy HoufekInstitute Associate Josh Glenn-KaydenTechnical Director Skip CurtissStudent Financial Aid Administrator Janie Rangel

OBERONProducing Consultant Randy WeinerAssociate Producer Ariane BarbanellVenue Manager Leo X. CrowleyProgramming Manager James WetzelProduction Manager Skip CurtissHouse Technician Justin PaiceSound Console Operator Alex Giorgetti

EXTERNAL AFFAIRSDEVELOPMENTDirector of Development Megan HinckleyDeputy Director of Development Jessica MorrisonGrants Manager Meghan ColemanDevelopment Information Coordinator Brendyn SchneiderDevelopment Associate Renee RoberMARKETING AND COMMUNICATIONSDirector of Marketing and Communications Anna FitzloffDirector of Press and Public Relations Katalin MitchellAssociate Director of Marketing and Communications Jared FineMarketing and Communications Manager Grace GellerGraphic Designer Joel ZayacEducation and Community Programs Manager Brendan SheaEducation and Community Programs Assistant Georgia YoungDonkey Show VIP Coordinator Christina TuckerMarketing Interns Mark Mauriello, Kendra Norton,

Rachel Stephens Education Interns Jenna Gabriel, Maria Giarrizzo,

Erica Glenn, Annie Guaghen, Shanelle VillegasPATRON SERVICESDirector of Patron Services /System Administrator Derek MuellerTicket Services Manager Alicia CurtisAudience Services Manager Stephen WuycheckTicket Services Representatives Karen Snyder, Cassandra LongWeekend Shift Supervisor Heather ConroeTicket Services Staff Taylor Hughes, Natalie Lurowist,

Amelia Mason, Janet Mwaura, Tani Nakamoto, Emma PutnamDuty House Managers Marissa Friedman, Anna Kelsey,

Megan Nussle, Adam Quinn, Eleanor Regan, Courtney Smith, Matthew Spano

Volunteer Usher Coordinator Barbara Lindstrom

THEATER AND FACILITIESTheater and Facilities Manager Tracy Keene

Receptionists Sarah Leon, Maria Medeiros

FINANCEFinancial Analyst Ann KellegherSenior Financial Analyst Kathryn RosenbergSenior Finance Accountant John JostiFinancial Administrator Stacie HurstFinancial Assistant Nira Tejada

PRODUCTIONProduction Manager Patricia QuinlanAssociate Production Managers Skip Curtiss, Jeremie LozierCOSTUMESCostume Shop Manager Jeannette HawleyAssistant Costume Shop Manager Ameera AliDraper Caitlin MenottiCrafts Artisan Jeffrey Scott BurrowsWardrobe Supervisor Alma ReyesCostume/Props Stock Manager Suzanne KadiffLIGHTSLighting Supervisor Matthew AdelmanLight Board Operator Matthew HoustlePROPERTIESProps Manager Cynthia Lee-SullivanAssistant Props Master Rebecca HelgesonProps Carpenter Stacey Horne-HarperSCENERYTechnical Director Stephen SetterlunAssociate Technical Director Chris SwetckyAssistant Technical Director Kristin KnutsonShop Supervisor David SchultzScenic Charge Artist Jerry VogtMaster Carpenter Peter DoucetteScenic Carpenters York-Andreas Paris, Kyle Moore,

Garret McEnteeSOUNDSound Supervisor Sam LernerSound Console Operator Brian WaltersTheatrical Audio Technician Katrina SistareSTAGEStage Supervisor Henning MalmAssistant Stage Supervisor Christopher EschenbachProduction Assistants Kevin Klein, Matthew Sebastian

ADDITIONAL STAFF FOR WITNESS UGANDAMicrophone Technician Bryan AtterberryASL Coach Michael KrajnakAudio Description Consultant Alice Austin Craftspersons Andrew DeShazo, Madeline Hays, Megan KinneenScenic Carpenters Tyler Brown, Justin Hamblen,

Bill Hawkins, Derek Jay, Tom Kee, Dan Lincoln, Marty Lynch, Stephen Maurer, Vinca Merriman,

Dane Palmer, Joe Parello, Andrew Remillard, Seth Shaw, Nick Stein, Nick Tosches,

Scenic Painters Paula Bird, Brian Crete, Chris Kavanah, Heather Morris, Richard Ouellette

As of January, 2014

AMERICAN REPERTORY THEATER STAFF

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PROGRAMS AND GUIDES BY DIGBOSTONPublisher Jeff Lawrence

Design Tak Toyoshima, Scott Murry

Sales Nate Andrews, Jesse Weiss

For advertising opportunities

please contact:

sales@digboston.com

NOTES + MASTHEAD

PLEASE NOTE: The photographing or sound recording

of any performance or the possession of any device for

such photographing or recording inside this theater,

without the written permission of the management,

is prohibited by law. Violators may be punished by

ejection and violations may render the offender liable for

monetary damages.

EMERGENCIES: In case of emergency, contact the House

Manager or nearest usher.

FIRE NOTICE: Please take a moment to locate the

nearest emergency exit. In the event of a fire or other

emergency, remain calm and listen for directions from

management and/or via our public address system.

36

FRONTLOBBY

WESTLOBBY

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Cross Brattle St.to Radcli�e Yard

Nearest exit routeFire extinguishers

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