ARTS. Plot synopsis. the winter s tale. Prologue Time evokes a tale from Mamillius.

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1 Plot synopsis Plot synopsis Prologue Time evokes a tale from Mamillius. Act 1, scene 1. Antechamber in Leontes palace. Archidamus compliments Camillo on the magnificence of Sicilia and hopes that Camillo will visit Bohemia in the future. Act 1, scene 2. Leontes palace. Leontes attempts to convince his childhood friend, Polixenes, to extend his visit that has already lasted nine months. Both discuss their remarkable sons. Unable to persuade Polixenes, Leontes elicits the help of his wife, Hermione, who is nine months pregnant. When Hermione succeeds in persuading Polixenes to stay, Leontes becomes jealous of the affection between Hermione and Polixenes. Convinced they are having an affair, Leontes orders a reluctant Camillo to poison Polixenes. Camillo knows that Polixenes and Hermione are innocent, warns Polixenes of Leontes intent, and escapes to Bohemia with Polixenes and his train of servants. Act 2, scene 1. Leontes palace. Hermione s women attendants play with Mamillius and Hermione asks him to tell a story. Leontes discovers that Polixenes and Camillo have fled and believes they had been plotting against Leontes life. Leontes publicly accuses Hermione of adultery and Camillo of treason. Antigonus and his Lords defend Hermione. Leontes tells them that he has sent Cleomenes and Dion to the oracle in Delphos to confirm his suspicions. Act 2, scene 2a. Prison in Sicilia. Paulina is denied access to Hermione, but speaks with Emilia and discovers that Hermione has delivered a daughter while in prison. Paulina plans to present the baby to Leontes to calm his unfounded anger. Act 2, scene 2b. Between Delphos and Sicilia. Cleomenes and Dion recount their experiences with the oracle in Delphos. They are returning to Sicilia with the oracle s revelation, which they have not read. Act 2, scene 3. Leontes palace. Leontes inquires about Mamillius, who has been ill since Hermione was accused. Paulina presents the baby to Leontes, but he believes it is Polixenes child and orders the baby be burned. At the appeal of his Lords and Antigonus, Leontes then orders Antigonus to take the baby to a remote place and abandon it. A servant announces Cleomenes and Dion have returned to Sicilia. Act 3, scene 3. Leontes palace. Hermoine is placed on trial and maintains her innocence. The oracle is read, proclaiming that Hermione, Polixenes, and Camillo are innocent and that Leontes will not have an heir if the banished baby is not found. Leontes rejects the oracle. A servant announces that Mamillius has died. Hermione faints and is taken out. Leontes repents. Paulina reenters and pronounces that Hermione has died and rages at Leontes. Leontes vows to mourn eternally. Act 3, scene 3. The shores of Bohemia. Antigonus recounts a dream he had of Hermione and names the baby Perdita. Antigonous leaves the baby, but is then pursued and killed by a bear. The Old Shepherd, looking for his lost sheep, finds Perdita. The Shepherd s son enters and recounts Antigonus death and the wreck of the Sicilian ship. The Shepherd and his son discover gold with the baby and take her home with them. Act 4, scene 1. Time announces that 16 years have passed since the last scene and that we are now in Bohemia. Leontes has shut himself up and Perdita has grown in grace as a shepherd s daughter. Act 4, scene 2. Polixenes palace. Camillo admits that he is homesick and he and Polixenes discuss the recent absence of prince Florizel. Polixenes decides to go in disguise to the Old Shepherd s home to confirm rumors that Florizel has been spending time there. Act 4, scene 3. A road near the Shepherd s cottage. Autolycus, a rogue, was recently unemployed and is seeking income. He encounters the Clown, learns of the sheep-shearing festival, and picks his pocket. Act 4, scene 4. The Shepherd s cottage. Florizel, known as Doricles to all but Perdita, woos Perdita, hostess of the feast. Polixenes and Camillo, disguised, come to the feast as guests and are taken with Perdita s beauty. There is much music, singing, and dancing and Autolycus comes to sell his wares. Polixenes discovers that Florizel and Perdita are in love and plan to marry and warns Florizel that he owes loyalty to his father. When Florizel casts offs this duty, Polixenes removes his diguise and forbids Florizel from seeing Perdita again. Camillo advises Florizel to flee to Sicilia with Perdita, predicting that Leontes, seeking forgiveness, will welcome them there. Autolycus enters, having sold all his wares and picked every pocket. Camillo has Florizel disguise himself by changing clothes with Autolycus. Autolycus intercepts the Shepherd and the Clown on their way to Polixenes to reveal how they found Perdita. Autolycus convinces them that the king is on board the ship that Florizel has just boarded and that they will be severely punished. The Shepherd agrees that Autolycus should act as their agent in presenting their case to the king and they go to board the ship. Act 5, scene 1. Leontes palace. Cleomenes and Dion attempt to convince Leontes that he has mourned enough and should marry again. Paulina reminds them of past events and the oracle. Leontes, still in mourning, yields to Paulina. Florizel and Perdita arrive at the palace. Florizel invents a story to explain Perdita s birthplace, their journey, and his lack of attendants. As Leontes welcomes them, a servant announces that Polixenes and Camillo have arrived in Sicilia. Leontes discovers the truth of Florizel s journey and goes to meet Polixenes ARTS 11

2 plot synopsis and program notes program notes Act 5, scene 2. Before Leontes palace. Prompted by Autolycus, two Gentlemen recount the revelation of Perdita s true identity, the reunion between Leontes and Polixenes, Paulina s reaction to Antigonus fate and meeting Perdita, and Perdita s reaction to the story of her mother. The Gentlemen report that all are going to see Hermione s statue, which had been secretly kept by Paulina. Autolycus blames himself for the good fortune of others and laments his honesty. The Clown and Shepherd comfort him and all go to see the statue. Act 5, scene 3. A chapel in Paulina s house. Paulina reveals Hermione s statue. As all marvel at the statue, Paulina claims that she can make the statue move. Calling on their faith, she awakens the statue with music and Hermione moves and speaks. Leontes begs her forgiveness. Hermione, Leontes, and Perdita are reunited. To comfort Paulina, lamenting the loss of Antigonus, Leontes pairs her with Camillo. All exit to recount further details of their parts in this tale. PROGRAM NOTES Discovering the truth requires articulating untruth. The heart of drama is that. The heart of life is that. Les Murray, Australian poet The jurisdiction of the stage begins where the territory of the worldly court of justice ends. Friedrich Schiller, German dramatist, poet, and historian With the title The Winter s Tale, our play announces its fantastical construction. Certainly, some of its extraordinary turns ask us to rely on more than what is logically explainable. In the opening of our production, the personified figure of Time demands: It is required you do awake your faith. A certain faith is necessary to enter and maneuver through The Winter s Tale, but faith in what? What sort of faith did Shakespeare require? Was it a faith shaped by doctrines of an organized religion? Or was it more of an all encompassing faith? In Shakespeare s time, organized religion involved more than a personal choice of spiritual devotion and expression. It was fused with moral, political, and social convictions that were bound to legal obligations to serve God, monarch, and country. However, these laws of faith, which determined property rights as well as the statutes of punishment and treason, constantly changed along with the monarchs who enforced them. The Catholic monarch, Bloody Mary, persecuted Protestants during her reign ( ) while her successor, Elizabeth I ( ), punished subjects who refused to attend weekly services of the Church of England. Faith was a matter of life and death. Catholic bishops established their official system of belief at the Council of Trent in 1545 while many Protestant sects such as Henry VIII s Church of England, Calvinists, Arminiamists, Anabaptists, Parliamentarian Puritans, separatist Puritans (Brownists, Familists, etc.), Presbyterians and Anglicans were founded to reform corrupt practices of the Catholic Church and attempted to implement their own doctrines of faith, predestination, individual freedom, sin, and salvation not only as the dominant belief system, but as sovereign law. When he assumed the throne in 1603, James I was tolerant of both Protestant and Catholic practices. However, after a failed assassination attempt by a small band of Catholics in 1605, James became increasingly paranoid, especially of the predominantly Puritan House of Commons. In 1611, the speculated year in which The Winter s Tale debuts, James I dissolved Parliament, underscoring his adamant belief in the Divine Right of Kings. Despite riotous debates among the various Christian sects, James was both terrified and fascinated by Cabbalism, the faith of magic and devil conjuring. In 1597, he published Daemonologie, a dialogue about witchcraft and believed that witches had thwarted his marital rendezvous with Anne of Denmark by conjuring a tempest during her journey. While Shakespeare wrote The Winter s Tale, English subjects adjusting to their new monarch continued to recall the life, legacies, and death of Queen Elizabeth and both religious and secular literature contained reflections on mortality and the afterlife. Both Christian and pagan belief systems were also being influenced by new geographical and scientific discoveries. In 1607, Jamestown, the first permanent English settlement in the New World, was founded. And in 1609, Galileo s invention of the telescope confirmed Copernicus theory that the sun, not the Earth, was the center of the universe. It was in this historical moment that Shakespeare wrote about the dangers of absolute sovereign power, the extent of human control in the world, ventures to rough and rural lands, mysticism and the supernatural, death, and rebirth. Among this fractious arena of various competing faiths, what faith was Shakespeare requiring? Scholars have suggested that near the end of his career, Shakespeare was also reflecting on his own appeal to theatre audiences to suspend their disbelief and have faith that the shadows before them are real inhabitants in the fictional worlds he was creating. In The Winter s Tale, regardless of our religious or spiritual affiliation, Time asks our permission to o erthrow law and o erwhelm custom to work on our imaginary forces. In our production, full of fantastical beings, we challenge and invite you to awake your faith and journey with us through this tale. This journey, however, is far from painless. This winter s tale involves harsh cruelty, unexplainable rage, and the most incomprehensible anguish the death of a child. Why does Shakespeare demand our theatrical faith and confront us with such tragedy? Why must we experience the biting chill of winter? Perhaps some insight can be gained from Steve Hamilton, a father in North Carolina who spoke of the untimely death of his 18-year-old daughter, Jessica. He recounted, within a millisecond of her death, I was screaming with doubt What do I really believe? Slowly, we turned more and more to our faith, and choosing to believe she can be in a better place or is in a better place and I ll see her there. In times of tragedy, we turn to our faith for survival, revitalization, and renewal. 13

3 program notes and director s notes In The Winter s Tale, we feel the weight of tragic agony through the theatrical faith that Shakespeare demands. Unlike the tragedies of Hamlet or Romeo and Juliet, however, Shakespeare turns our winter s tale towards spring and offers us a way to experience relief, reconciliation, restoration, and forgiveness by instructing us: It is required you do awake your faith. Theatre director and theorist Augusto Boal maintains that living through the repressive nature of tragedy is crucial to achieving the enormous efficacy of the transformations that take place before [our] eyes. Theater is change and not simple presentation of what exists: it is becoming and not being. Theatre involves and requires a faith in something beyond what actually exists. In company with Time, it is how cruelty can be forgiven and a family torn apart can reunite. As we endure what President Obama called in his inauguration speech the winter of our hardship, Shakespeare tells us an old tale of joys mixed with sorrows, where faith can heal and restore the world. Gina Pisasale, Dramaturg Daniel MacLean Wagner Producing Director The Winter s Tale by William Shakespeare DIRECTOR S NOTES A winter s tale is a story told by a warm fire on the coldest, darkest and most unbearable days of the year. It is a tale that breathes life into the imagination and into the ember of hope that will become the fire of spring and summer. In Shakespeare s The Winter s Tale, King Leontes son, Mamillius, whispers a tale of sprites and goblins in his mother s ear as if acknowledging the madness he has witnessed in his father s behavior and the uncanny knowing that children possess. Imagine, if you will, that his tale, like Shakespeare s play, is full of danger, passion, betrayal, jealousy, untimely death, bear attacks, shipwrecks, young lovers, disguises, thievery, clowning, wonder and the miraculous transcendence of death. Shakespeare, the most psychologically astute playwright of our time, links Time, seasons, the human emotional geography and the imaginative soul in a fantastical and dangerous journey of very real passion and human frailty. The action of the play begins in winter and, moves over a passage of 16 years to fulgent spring through the character of Time Time the enigma, Time the healer, Time the trickster, Time the unknowable. With the swift passage of Time comes the renewal of life and love and hope. Time changes the characters both in appearance, and in a deeper more internal sense of who each character becomes. Perhaps nothing changes perception and inner geography more than the loss of a beloved. Yet, as in many a tale, the characters are allowed to heal, and like spring after a long cold harsh winter, renewal of life emerges. Changed. We are not, in fact, the same. Director Leigh Wilson Smiley Choreographer Alcine Wiltz Scenic Designer Sean Urbantke Lighting Designer Brian Engel Costume Designer Franklin Labovitz Sound Designers Matthew Lipsky & Zach Werner Mask and Puppet Designer Aaron Cromie Dramaturg Gina Pisasale As The Winter s Tale is both psychologically familiar and wonderfully fantastical, it is our hope that you will engage in the suspension of disbelief. That you will allow cynicism to go on vacation, that you will invite your own sense of spring and joy to find their roots and move toward the sun. Leigh Wilson Smiley, Director February 26 March 7, 2009 INA & JACK KAY THEATRE 15

4 cast production staff cast Matt Balleza John Barkmeyer Jayme Bell Madeline Bell Frank Cervarich Kyra Corradin Lex Davis Thembi Duncan* Zachary Fernebok Ann Fraistat Eterrnanda Fudge Tracy Haupt Katie Jefferies Kathryn Lerner Thony Mena David Olson Alyson Tucker Parker Dorthée Polanz Dylan Roche Matt Sparacino+ Stephanie Taylor Roni Tessler+ Greg Twomey Scott Whalen Ensemble Antigonus, lord of Sicilia Autolycus, a rogue; Gaoler Paulina, lady of Sicilia and Antigonus wife Clown, the Old Shepherd s son Dorcas, a shepherdess; Lady Old Shepherd, foster father to Perdita; Fight Captain Hermione, Queen of Sicilia Dion, lord of Sicilia; Gentleman Mopsa, a shepherdess; Lady Perdita, daughter of Leontes and Hernione Emilia, lady of Sicilia; Ensemble Mamillius, Prince of Sicilia Ensemble; Dance Captain Camillo, lord of Sicilia Cleomenes, lord of Sicilia Ensemble Mariner; Ensemble Florizel, Prince of Bohemia Ensemble; Leontes understudy Ensemble Leontes, King of Sicilia Polixenes, King of Bohemia Archidamus, lord of Bohemia; Gentleman ASSISTANT DIRECTORS AND DESIGNERS Assistant Directors Brittany Graham, Valerie Jonkoff, Natalie Tenner Assistant Lighting Designers Jonathan Dillard, Andrew Dorman Assistant Costume Designers Chelsey Schuller, Ivania Stack Assistant Sound Designer Peter Park PRODUCTION AND STAGE MANAGEMENT Production Coordinator Cary Gillett Stage Manager Advisor David Kriebs Stage Manager Bridget Woodbury Assistant Stage Managers Shana Ferguson, Patti Kalil COSTUMES Costume Shop Manager Costume Shop Supervisor Drapers Puppet Costumes and Tattoos Stitchers Wardrobe Wig Maintenance Stephanie Shaw Susan Chiang Lisa Burgess, Susan Chiang, Emily Hoem Kristy Leigh Hall Liz Brown, Angela Campbell, Shana Ferguson, Tzveta Kassabova, Maeve Kelly, Chelsea Kerl, Jackie Littman, Peter Park, Lindsey Walters, Allison Weaver, Courtney Wood, Students of THET 384, THET 479 and THET 114 Pallas Baine Roni Tessler UNDERSTUDIES Chase Helton, Deborah Lubega *Appears courtesy of Actors Equity Association. +On Friday, February 27 and Friday, March 6 - The role of Leontes, normally played by Roni Tessler, will be played by Matt Sparacino. SETTING The mythical locations of Sicilia and Bohemia. ELECTRICS Assistant Manager of Electrics Laura MacAdam Electrics Coordinator Jeff Reckeweg Electricians Students of THET 114 Light Board Operator Sarah Wilby Follow Spot Operator Kara Tinch Projections Technician/Operator Tarythe Albrecht PROPERTIES Properties Master Overhire Properties Crew Properties Construction Crew Tim Jones Andrea Moore Madison Bahr, Devorah Gabai, Beverly Ginley, Cloin McIlvaine, Jose Nunez, Taylor Osborne-Smith and Students of THET 114 There will be one 15-minute intermission ARTS 17

5 production staff biographies PAINTS Scenic Charge Artist Overhire Paint Crew Paint Crew Ann Chismar Cory Ryan Frank, Marisa Johns, Mariana Fernandez Justin Fair, Zach Fernebok, Eternanda Fudge, Talia Henderson, Clare Jackson, Jessica Johnstone, Sam McMenamin, David Olson, Matt Sparacino, Matt Reckeweg, Mandy Yu and Students of THET 114 Aaron Cromie (mask and puppet designer) Washington DC credits: Folger Theatre, Studio Theatre, The Shakespeare Theatre, solo show Punch s Progress at the Capital Fringe Festival. Philadelphia design credits include: The Wilma Theater, Arden Theatre, Azuka Theatre, University of the Arts, Bryn Mawr College, among others. Awards: Barrymore Awards for Choreography/Movement and Music Direction, Grant/Fellowship support from the Independence Foundation, Philadelphia Theatre Initiative, Jim Henson Foundation. Graduate of the Dell Arte School of Physical Theatre. SCENE SHOP Technical Director Assistant Technical Director Scene Shop Supervisor Overhire Set Construction Crew Set Construction Crew SOUND Sound Design Supervisor Matthew Nielson Audio Shop Manager Kristine Eckerman Audio Coordinator James O Connell Sound Board Operator Peter Park Sound Technician Josef Mensah Sound Crew Students of THET 114 RUN CREW Stage Operations Manager Run Crew Rick Weinard Andrew Wallace Steve Cosby Shane Wallis, Chris Insley Lex Davis, Sarah Wilby, Theresa Beuchler, Hector Norman, Lee Gerstenhaber, Hannah Swirnow, Jacob Cigna, Thembi Duncan, Rachel Parks, Diesel Bauman, Lydia Johnson, Claire Burson, Izzy Izzard, Jayme Bell, Kevin Maresca, Aaron Holmes, Roni Tessler and Students of THET 114 Bill Brandwein Emerald Brooks, Will Voorhies, Devin Mahoney, Mandy Yu Brian Engel (lighting designer) is a third-year MFA candidate in lighting design. Recent work includes lighting designs for To Be Young, Gifted and Black, Filthy Rich and The Physicists. Assistant lighting design credits include UM: The Ash Girl, Machinal; Arena Stage: The Mystery of Irma Vep; The Studio Theatre: My Children! My Africa!; Olney Theatre Center for the Arts: Stuff Happens, Brooklyn Boy, Godspell, Democracy; Round House Theatre: Orson s Shadow. Franklin Labovitz (costume designer) is a second-year MFA candidate in costume design. Washington DC area credits include costumes designs for The Olney Theatre Center, Imagination Stage, Studio Theatre Second Stage, Theatre J, Theatre Alliance, Catalyst Theatre Company, Rorschach Theatre, The Potomac Theatre Project, Solas Nua and The National Players. Upcoming shows include Fever/Dream (Woolly Mammoth Theatre Company). Matthew Lipsky (sound designer), sophomore marketing and communication major. This is his first large-scale UM sound design. He is also an employee of the Clarice Smith Center s audio shop. UM: The Ash Girl (sound technician), Marisol (sound board operator). Outside productions: East Brunswick High School: Up the Down Staircase, A Midsummer Night s Dream and Picnic; Chimera Productions: An Evening of Short Plays and Wild Abandon. Gina Pisasale (dramaturg) is a third-year PhD student and performance instructor. Her research focuses on Asian American theatre and Korean diasporic performance. She received her BA from the University of Richmond and her MA from Villanova University. Gina has worked professionally as a director, designer, actor, and dramaturg for companies such as the Arden Theatre Company, 1812, Hedgerow Theatre, Media Theatre, A&E Biographies, Harrisburg Shakespeare Festival, and Oregon Shakespeare Festival. Leigh Wilson Smiley (director) teaches acting and voice at UM and is a coach and designer of voice, dialect, text and presentations for theatre. Research includes work with Ford s Theatre, Shakespeare Theatre, Folger Shakespeare, JFK Center for the Performing Arts, Signature, Two River Theatre Company, Michael Weller Theatre (New York City), Shakespeare and Company (Lenox), Arena Stage, Philadelphia Shakespeare, International Festival for Making Theatre (Greece), Giving Voice Festival (Wales), Voice Symposium (Philadelphia), Georgetown University, George Washington, Fordham Lincoln Center, Emerson, People s Light, University of Pennsylvania, New York University and University of the Arts. Leigh is a member of AEA, SAG, AFTRA, ATHE and VASTA. 19

6 biographies biographies Sean Urbantke (scenic designer) is a third-year MFA candidate in scenic design. He has designed The Ash Girl in the Kay Theatre and Locus in the Department of Dance. Professional Assistant Design: Stunning and Martha, Josie, and the Chinese Elvis at Woolly Mammoth Theatre; The Long Christmas Ride Home at Studio Theatre; Macbeth, adapted by Teller, at the Two River Theatre, New Jersey. Alcine Wiltz (choreographer) is a Professor Emeritus and former Chair of the Department of Dance, University of Maryland ( ). At Southern Illinois University Edwardsville he served as Artist-In-Residence and founding Director of Dance ( ). He co-founded and directed the Mid America Dance Company, a professional touring, contemporary dance company in St. Louis, Missouri. Wiltz has directed/choreographed more than 60 musical theatre productions and created in excess of 50 concert dance works, receiving prestigious awards for his choreography. His fifty-year career has combined academic and professional endeavors emphasizing dance performance, teaching, and choreography. ACTORS AND PRODUCTION STAFF BIOGRAPHIES Matthew Balleza (Ensemble), freshman undecided major. This is Matthew s first UM production. John Barkmeyer (Antigonus), senior psychology, English, and theatre performance major. Kay Theatre: Urinetown (Bobby Strong), The Green Bird (Brighella), The Crucible (Parris). Kogod Theatre: Between Trains (assistant director), Machinal (Ensemble). Other UM productions: Picasso at the Lapin Agile (Gaston), co-artistic director of the Weekday Players. Jayme Bell (Autolycus), junior theatre performance major. Kay Theatre: The Ash Girl (Otter). Other UM productions: The Polish Joke (Mr. O Flanagan, Officer Gaelic, Priest), Keepers of Shoppe (Vinyet Impenna), Sketchup. Outside productions: Measure for Pleasure (Male Servant). Madeline Bell (Paulina), UM theatre performance graduate December Kay Theatre: The Piano Lesson (wardrobe crew). Outside productions: Uncle Vanya (Nanny), Levitation (Ada), Ludlow Fair (Agnes), Savage in Limbo (Savage). Madeline is the Artist Services Coordinator at the Clarice Smith Performing Arts Center. Frank Cervarich (Clown), senior theatre performance and English double major. Other UM productions: Keepers of Shoppe (Ox), Bus Stop (Will), The Weir (Jack), Third (Third), member of Erasable Inc. Kyra Corradin (Dorcas, Lady), junior theatre and philosophy major. Kogod Theatre: Between Trains (Traveler). Kogod Theatre: Filthy Rich (understudy Anne). Other UM productions: Alice in Wonderland (Queen of Hearts). Lex Davis (Old Shepherd, Fight Captain), senior theatre performance major, Creative and Performing Arts Scholarhip. Kay Theatre: The Green Bird (Puff- Puff Devil). Kogod Theatre: The Physicists (Sievers, fight captain), Machinal (Ensemble). Other UM Productions: Weekday Players (co-artistic director), The Froegle Dictum (Director), OWP (fight choreographer), Night School (director). Outside productions: Hamlet (Laertes). Thembi Duncan (Hermione), senior theatre performance major, Creative and Performing Arts Scholarship. Kay Theatre: To Be Young, Gifted and Black (assistant director). Kogod Theatre: Marisol (Angel), The Physicists (Inspector Voss). Shana Ferguson (assistant stage manager), sophomore theatre production major. Kogod Theatre: Filthy Rich (sound board operator). Other UM productions: Cosi Fan Tutte (wardrobe crew). Outside productions: The Burial at Thebes (stage manager), West Side Story (assistant stage manager). Zachary Fernebok (Dion, Gentleman), senior theatre performance major. Kay Theatre: The Ash Girl (Pridefly). Kogod Theatre: Between Trains (Professor, et al). Other UM Productions: Keepers of Shoppe (writer, co-director). Outside Productions: Mad Breed (Wilkes). Ann Fraistat (Mopsa, Gentlewoman), junior English and theatre performance major. Kay Theatre: To Be Young, Gifted and Black (understudy Ensemble). Other UM Productions: Polish Joke (Multiple Roles), Variations on the Death of Trotsky (Mrs. Trotsky). Eternanda Fudge (Perdita), senior theatre performance major. Kogod: The Colored Museum. Outside productions: The Theatre Lab Honors Conservatory. Tracy Haupt (Emilia, Ensemble), junior theatre performance major. Kay Theatre: The Ash Girl (Puppeteer, understudy Slothworm), To Be Young, Gifted and Black (projections operator), Urinetown (wardrobe run crew), Other: Polish Joke (Magda/Edith/Mrs. Flanagan/Olga) and summer singer/dancer at Six Flags America. Katie Jefferies (Mamillius), senior theatre performance major. Kogod Theatre: Between Trains (wardrobe). Other UM productions: The Complete Works of William Shakespeare (Abridged), Twelfth Night (Fabian), and Keepers of Shoppe (Beatrice). Outside productions: The Naked Party (Vanessa), Twelfth Night (Olivia), and The Pyramid Effect (Lulie). Valerie Jonkoff (assistant director), junior theatre performance and English double major. Kogod Theatre: Between Trains (wardrobe crew), The Physicists (electrician). Other UM productions: Kennedy Center Showcase (Soloist). Outside productions: Flight of the Lawnchair Man (Blaire), Sideshow (Violet), Joseph and the Amazing Technicolor Dreamcoat (Narrator) ARTS 21

7 biographies biographies Patti Kalil (assistant stage manager), sophomore theatre production and design major. Kogod Theatre: Between Trains (assistant stage manager), The Physicists (run/props crew). Kay Theatre: The Ash Girl (light board operator). DC Capitol Fringe Festival: Through the Looking Glass (stage manager). Kathryn Lerner (Ensemble, Dance Captain), sophomore dance and English double major. This is Kathryn s first UM production. She has played in The Riversdale House Museum Gothik Night, and was an extra in the movie, Step Up 2. Deborah Lubega (understudy), theatre performance major. Kay Theatre: To Be Young, Gifted and Black (Ensemble), The Ash Girl (Lust), Urinetown (Robbie The Stockfish/UGC Executive #2), Outside productions: Big River (Alice/Betsy), A Whitewash (Black College Professor), Dido and Aeneas (Belinda) The Marriage of Figaro (Cherubino). Thony Mena (Camillo), junior theatre performance major. Kay Theatre: To Be Young, Gifted and Black (Ensemble). Other UM productions: Kreativity. Outside productions: UM Film Club Presents: Etiology (Elijah), UM Film Club Presents: Hollow (Dan). David Olson (Cleomenes), sophomore theatre performance and government and politics double major, Creative and Performing Arts Scholarship, Terry Margulis Dunlap Scholarship. Kay Theatre: To Be Young, Gifted and Black (understudy Ensemble), The Ash Girl (Owl). Other UM productions: Lebensraum (Actor #1). Alyson Tucker Parker (Ensemble), sophomore theatre performance and environmental science and policy double major. Kay Theater: To Be Young, Gifted and Black (wardrobe head). Outside productions: Twelfth Night (Fabian), Macbeth (Lady MacDuff). Dorothée Polanz (Mariner, Ensemble), Doctoral Fellow French Department. Kay Theatre: The Turn of the Screw (assistant stage manager). Outside productions: Parades (Léandre, Isabelle), Electre (Euménide, director), Antigone (Ismène, director), Cabaret (dancer, director), Once Upon a Time (director). Dylan Roche (Florizel), senior English major. Other UM productions: Weekday Players. Matt Sparacino (Ensemble, Leontes understudy), senior theatre performance major, President s Scholarship. Kogod Theatre: Machinal (Ensemble), The Physicists (Policeman), The Colored Museum (sound board operator), Marisol (follow spotlight operator). Other UM productions: Keepers of Shoppe (co-director), The Lab: An Experiment in Grand Guignol (Enesco). Stephanie Taylor (Ensemble), senior theatre major. Outside Productions: Tonda Traditional Bunraku Puppet Troupe (internship), Sanbaso (Priest s Left Hand). Natalie Tenner (assistant director), second-year PhD student in theatre and performance studies. Focus: Shakespeare Performance in England and Germany in the Nineteenth Century. Outside productions: Chesapeake Shakespeare Company s The Comedy of Errors (dramaturg). Roni Tessler (Leontes), senior theatre performance major. Kay Theatre: The Green Bird (paint crew), The Piano Lesson (scene crew). Kogod Theatre: Machinal (scene crew). Other UM productions: Picasso at the Lapin Agile (Freddy), Closer (Dan), Poker Faces (director), Weekday Players. Greg Twomey (Polixenes), junior theatre performance major. Kogod Theatre: Between Trains (Kris), Filthy Rich (Stackhouse), Marisol (Golf Club/Ice Cream Man/Lenny/Scar Tissue). Outside productions: Montgomery College: Cinderella (Prince Charming), Heaven (Jimmy), Romeo and Juliet (Tybalt), Steel Pier (Bill Kelly); Olney Theatre: Big River and Godspell. Graduate of Montgomery College with an AA degree. Scott Whalen (Archidamus, Gentleman), junior theatre performance major, Theatre Patron Funds Scholarship. Kay Theatre: The Ash Girl (Puppeteer, understudy Amir). Kogod Theatre: Marisol (assistant stage manager, understudy Lenny), The Physicists (costume crew), The Colored Museum (costume crew). Bridget Woodbury (stage manager), junior theatre production major. Kay Theatre: Urinetown (assistant stage manager). Kogod Theatre: Between Trains (wardrobe head), Filthy Rich (stage manager), The Distance From Here (assistant stage manager). Other UM productions: La Dispute (stage manager), The Weir (stage manager). Chairman of the Board of Wildwood Summer Theatre. Chelsey Schuller (assistant costume designer), first-year costume design graduate assistant. Kogod Theatre: Anton in Show Business (assistant costume designer). Outside productions: Doubt (costume designer), Shakespeare in Hollywood (costume designer), Light up the Sky (costume designer). the winter s footer tale 23

8 acknowledgements department of theatre Produced by special arrangements with Samuel French, Inc. The lighting design for this production, under the supervision of Harold Burgess, is in partial fulfillment of the thesis requirement for the Master of Fine Arts degree in Theatre. The scenic design for this production, under the supervision of Daniel Conway, is in partial fulfillment of the thesis requirement for the Master of Fine Arts degree in Theatre. The videotaping or other video or audio recording of the production is strictly prohibited. SPECIAL THANKS Gene Carl Feldman Andrew Borthwick Leslie Tim Petrie Sarah Stonesifer Scot Reese Goddess Gillett Aaron Posner Leslie Felbain Dan Hoffman Michael Starobin Chris Hull Kyle Kweder The productions of the Department of Theatre offer training opportunities for all students. Casting is decided on the basis of ability, not race, ethnicity, or gender, except in those instances where these elements are essential to the play or the character s development. Chair, Department of Theatre FACULTY Harold Burgess Faedra Carpenter Daniel Conway Walter Dallas Leslie Felbain Laurie Frederik Meer Mitchell Hébert Franklin J. Hildy Helen Q. Huang Misha Kachman David Kriebs Heather S. Nathans Scot Reese Doug Reside Korey Rothman Catherine Schuler Leigh Wilson Smiley Daniel MacLean Wagner Patti P. Gillespie Roger Meersman William V. Patterson Rudolph E. Pugliese ADJUNCT FACULTY Susan Chiang Kyle Kweder Raye Leith STAFF Cary Gillett Sandra Jackson Marguerita Phelps Sarah Stonesifer Daniel MacLean Wagner Lighting Design Theatre History and Diversity Scene Design Acting and Directing Movement for Actors and Acting Performance Studies Acting and Directing History and Theory Costume Design and History Costume and Scene Design Stage Management and Technical Direction History and Theory, Associate Chair Directing, Black Theatre, and Musical Theatre Technology in the Arts Theatre History History and Theory Voice for the Actor and Acting Lighting Design Professor Emerita Professor Emeritus Associate Professor Emeritus Professor Emeritus History of Fashion Lighting Technology Figure Drawing Production Coordinator Director of Business Operations Coordinator of Student Services Administrative Assistant GRADUATE ASSISTANTS AND FELLOWS Ara Beal, Ariel Benjamin, Tracey Chessum, Karalee Dawn, Jonathan Dillard, Andrew Dorman, Ashley Duncan, Brian Engel, Kristy Hall, Jessica Holman, Carissa Huizenga, Daniel Iwaniec, Franklin Labovitz, Chris Martin, Daniel Pinha, Gina Pisasale, Annmarie Saunders, Chelsey Schuller, Matthew Shifflett, Ivania Stack, Erin Bone Steele, Natalie Tenner, Robert Thompson, Aaron Tobiason, Emily Townsend, Sean Urbantke, Deborah Wheatley 25