Press enter after choosing selection

UMS Concert Program, November 16-17, 1993: Stratford Festival --

UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image UMS Concert Program, November 16-17, 1993: Stratford Festival --  image
Day
16
Month
November
Year
1993
Download PDF
Rights Held By
University Musical Society
OCR Text

Season: 115th
Concert: 18th, 19th, and 20th
Power Center For The Performing Arts Ann Arbor, Michigan

University Musical Society
STRATFORD KESIWAL Oscar Wilde's
The Importance of Being Earnest
TUesday Evening, November 16,1993 at 8:00
Wednesday Aftemooa November 17,1993 at 1:00
Wednesday Evening, November 17,1993 at 7:00
Power Center for the Performing Arts Ann Arbor, Michigan
The Cast
(in order of appearance)
Algernon Moncrieff......................................................LORNE KENNEDY
Lane, a manservant.................................................................BRIAN TREE
John Worthing J.P..............................................................COLM FEORE
Lady Bracknell................................................................PAT GALLOWAY
Hon. Gwendolen Fairfax ................................................LUCY PEACOCK
Miss Prism, a governess..................................................BARBARA BRYNE
Cecily Cardew .....................................................................MARION DAY
Merriman, a butler......................................................WILLIAM NEEDLES
Rev. Canon Chasuble D.D......................................RICHARD CURNOCK
Footmen ................................................................................MARC RUEL
FRANK ZOTTER
UNDERSTUDIES MARC RUEL (John Worthing J.P.), BRIAN TREE (Rev. Canon Chasuble D.D.), FRANK ZOTTER (Algernon, Lane, Merriman)
A special thanks to David William, Artistic Director, Stratford Festival and Debra Hansoa Head of Design, Stratford Festival, for their Philips Educational Presentations.
Immediately following all performances of the Importance of Being Earnest, audience members
are invited to join cast members for an informal chat in the Power Center.
(Please note that due to technical considerations, Wednesday night's post-performance chat
will be held in the Power Center Green Room.)
Large print programs are available from your usher upon request. 18th, 19th, and 20th Performances of the 115th Season 23rd Annual Choice Series
Production Credits
Directed by............................................DAVID WILLIAM
Costumes Designed by .......MOLLY HARRIS CAMPBELL
Sets Designed by......................GARY THOMAS THORNE
Lighting Designed by................................JOHN MUNRO
Stage Manager......................................HILARY GRAHAM
Assistant Stage Managers.............................ANN STUART
MAXWELL T. WILSON
Production Stage Manager...................HILARY GRAHAM
Assistant Designer ................................DAVID GRIFFITH
Assistant Lighting Designer......................LINDA BABLNS
Wardrobe Mistresses SHARON PARKER, GAIL HOMERSHAM-
ROBERTSON, Stage Carpenter JEREMY LACH, Master
Electrician TIMOTHY HANSON, Property Master LES
MacLEAN, Sound DAVID BERWICK,
Stage Crew ART FORTIN, NEIL DENNISON, Wigs GERALD
ALTENBURG DAVE KERR, Production Carpenter NEIL R.
CHENEY
ACKNOWLEDGEMENTS
Special Thanks To: MAVIS THEATRICAL SUPPLIES,
MARILYN DALLMAN.
We are grateful to Eveready Canada Inc.,
for their generous donation of Energizer
Batteries to the Stratford Festival.
THERE WILL BE ONE 15 MINUTE INTERMISSION.
Design scketches for Lady Bracknell by Molly Harris Campbell.
STR&TFORD FESTIVAL
1993 Board of Governors
Founder Mr. Tom Patterson
President Mr. Thomas C. O'Neill, Toronto
Officers
Vice-President Mrs. Julia Foster, Toronto
Honourary Treasurer Mr. Robert E. Mountaia Stratford
Honourary Secretary Mrs. Sandra Pitblado, Toronto
Governors:
Mr. Louis Applebaum, Toronto Ms. Suzanne McDonald Aziz, London
Mr. Paul Beeston, Toronto Mr. Raphael Bernstein, New York Mr. E.S. (Ted) Blowes, Stratford
Ms. Adrian Burns, Ottawa
Mr. Navin Chandaria, Toronto
Ms. Molly Copus Christie, Stratford
Mr. F. A. Comper, Toronto
Mrs. H. Nicki Douglas, Toronto
Mr. Hugh Edighoffer, Mitchell
Mr. Rowland W. Fleming, Toronto
Mr. John S. Hayes, Stratford
Mrs. Patti Hnatiw, Oakville
Dr. Ronald Ianni, Windsor
Ms. Linda Intaschi, Toronto
Mr. Martin A. Jones, Montreal
Mrs. Sherry Kelley, Glenview
Mr. Anthony H. Little, London ?
Mss. Theresa Masterman, Kitchener
Dr. Edward McGee, Waterloo Mr. Michael H. McGregor, Chatham
Mr. Ian H. McLeod, Toronto
Mr. Grant McPherson, Stratford
Mr. Robert McTavish, Stratford
Sen. Michael A. Meighen, Toronto
Mr. James C. Preston, St. Louis
Mr. Jonas J. Prince, Toronto
Mrs. Muriel Sherria Toronto
Mr. George S. Taylor, St. Marys
Mr. William L. Wallace, Oakville
Mr. Andy W. Werner, Stratford
Ex Officio Member
His Worship Dave Hunt,
Mayor of Stratford
University Musical Society
STRATFORD FESTIVAL
Underwriters
Ameritech Ann Arbor Area Community Foundation
Arts Midwest
Nancy Bishop, Associate Broker, Edward Surovell Co.Realtors Chelsea Milling (Mr. and Mrs. Howard Holmes)
City of Ann Arbor
Mr. Ralph Conger (in memory of his brother, Graham)
Detroit and Canada Tunnel Corporation
Dobson-McOmber Agency, Inc.
First of America
Ford Motor Company
Benard L. Maas Foundation
Charlotte McGeoch Michigan Council for Arts and Cultural Affairs
Michigan National Bank
Miller Canfield Paddock and Stone
Mosaic Foundation (of Rita & Peter Heydon)
Paideia Foundation
Millard and Jerry Pryor
Republic Bank Ann Arbor
Herbert Sloan
Edward Surovell Co.Realtors Estelle Titiev
TriMas Other generous friends and supporters of the University Musical Society
The University Musical Society has been blessed with supporters who, when funding for
this Stratford Festival residency was in question last spring, stepped forward as guarantors
to assure the achievement of the required funding level. We are grateful to:
Catherine S. Arcure
Maurice and Linda Binkow
Ron and Sheila Cresswell
Ken, Penny and Matt Fischer
Charlotte McGeoch
Richard and Susan Rogel
Drs. Irving and Carol Smokier
Mrs. Elizabeth Stranahan
Ed Surovell
Estelle Titiev
and several other wonderful friends who wish to remain anonymous
This list represents underwriting commitments received as of November 5, 1993. We regret the omission of names of supporters whose underwriting support came after that date.
The Importance of Being Earnest
by Oscar Wilde
Jack Worthing has been leading a double life, posing as Ernest in town so
that he can attribute his escapades to a firtitious broth?er. His friend Algernon dis?covers the deception at the same time he discovers that Jack has been hiding a pretty
young ward, Cecily, on his country estate.
Jack wants to marry Algernon's cousin, the lovely Gwendolen Fairfax. Gwendolen arrives at Algernon's flat, accompanied by her mother, the formida?ble Lady Bracknell. Jack's proposal is accepted by Gwendolen, who reveals that she has had a lifelong passion for the name Ernest, which she believes is Jack's true name. Lady Bracknell rebuffs him, however, when she leams that Jack is adopted, having been found as an infant in a handbag at Victoria Station. Gwendolen is forced to leave but not before she secretly notes Jack's country address.
Algernon arrives at the country estate and introduces himself as the wicked brother Ernest. He meets and falls in love with Cecily, who confesses that she has worshipped him from afar since first learning that Jack had a brother named Emest, as she has always wanted to marry someone of that name. His proposal follows instantly and is eagerly accepted.
Jack arrives dressed in deepest mourning and, meeting Cecily in the garden, announces his brother's demise, only to hear from her that Ernest, far from being dead, is in good health and waiting inside the house.
Gwendolen arrives and is entertained by Cecily. Exchanging pleasantries, the girls are dismayed to find that they are both engaged to Ernest Worthing. Confronted by their respective fiancees, Jack and Algernon are forced to explain and are forgiven, providing they both agree to be rechristened Ernest. The cere?mony is arranged for the same day but before it can take place, Lady Bracknell arrives. After learning of Cecily's potential wealth she agrees to permit her mar?riage to Algernon, but still rejects Jack as a possible husband for Gwendolen.
All ends happily, however, when Cecily's governess, Miss Prism, arriving to witness the baptism, is recognized by Lady Bracknell as a former employee of her own family. It is learned the baby absent-mindedly mislaid at Victoria Station is none other than the son of Lady Bracknell's sister. Not only does Jack have impeccable family credentials, his real name is Ernest.
Oscar Wilde
Oscar Fingal O'Flahertie Wills Wilde was bom into a distinguished Dublin family in 1854. Following a brilliant academic career at Trinity College, Dublin, and Magdalen College, Oxford, he settled in London and became a major spokesman for the Aesthetic-art for art's sake--Movement. Satirized mercilessly by Punch and by Gilbert and Sullivan in Patience, he rapidly became an international celebrity, announcing to amazed U.S. Customs officers in New York in 1882 that "I have nothing to declare but my genius."
In 1884 he married Constance Lloyd, beautiful daughter of a promi?nent Irish barrister; their two children, Cyril and Vyvyan, were bom in 1885 and 1886. To support his family Wilde turned to journalism, first as reviewer for the Pall Mall Gazette and later as editor of The Woman's World. During these years he produced a wide variety of prose works, from fairy tales such as The Happy Prince to "decadent" novels such as The Picture of Dorian Gray. His first successful play, Lady Windermere's Fan was put on stage in 1892, beginning a brief but dazzling theatrical career which culminated with The Importance of Being Earnest, in 1895.
That same year, after a futile attempt to sue the Marquis of Queensberry for libel, Wilde was brought into court on charges of being homosexual a criminal offence. The first jury failed to reach a verdict but in a second trial he was found guilty and sentenced to two years hard labour in Reading Gaol. He lived just three and a half years after his release from prison and this time was spent on the continent, mainly in France. He died in a Paris hotel on November 30, 1900, of cerebral meningitis.
THE COMPANY
BARBARA BRYNE
Seventh season: Starveling in A Midsummer Sight's Dream, Miss Prism in The Importance of Being Earnest; Chorus Leader in Bacchae and performs in the Words and Music Concert Infinite Variety. STRAT?FORD: 1992: Juno in The Tempest, The Nurse in Romeo and Juliet and Kalb in Entertaining Mr. Sloanr, 1991: Rose in Us Belles Soeurs, Bonnie in Homeward Bound and Kalherine Stockmann in An Enemy of the People; 1990: First Witch in Macbeth, Kathleen in Home and Lily in Ah, Wilderness!; 1968: Puck in A Midsummer Night's Dream and Mme. Pemelle in Tarluffr, 1967: Duchess of York in Richard lit 1966: Maria in Twelfth Night. Recipient of the 1990 Derek F. Mitchell Artistic Director's Award, given annually to an individual chosen by the Artistic Director as having made an outstanding contribution during the course of the Festival season. THE?ATRE: Canadian stage credits include Smereldina in The Servant of Two Masters (Royal Alexandra Theatre); Mrs. Biederman in The firebugs (The Canadian Players); and Ginnie Gogan in The Plough and the Stars (Manitoba Theatre Centre). On Broadway Ms. Bryne created the roles of George's Mother and Blair Daniels in Sunday in the Park with George and Jack's Mother in Into the Woods and appeared in the television versions and on the RCA recordings of these shows. She also played Clara in Hayfcver at the Music Box Theatre. She spent 10 seasons with the Guthrie Theatre, where she played such roles as Amanda Wingfield in The Glass Menagerie, Dolly Levi in The Matchmaker, Paulina in The Winter's Tale, and Queen Elizabeth I in Mary Stuart, for which she won a Kudos Award. Received a 1981 Drama Desk Award nomination for her performance as Kath in Entertaining Mr. Shane, in New York. She repeated the role in 1987 at the Mark Taper Forum in Los Angeles, where she won a Drama Loge Award. FILMTELEVISION: The movies Amadeus and The Bostonians; The Best of the West (ABC); SvengaH, Maid in America and Mystery at Fire Island (CBC); and Love Sydney series (NBC).
RICHARD CURNOCK
18th season: Tiresias in Bacchae and Chasuble in The Importance of Being Earnest. STRATFORD: Includes 1990: Svetlovidov in Swan Song; 1989: Sir Tunbelly Clumsey in The Relapse and Quince in A Midsummer Night's Dream; 1988: Bob in Irma la Douce, Colonel Pickering in My Fair Lady and Lafew in All's Well That Ends Well; 1987: Crabtree in The School for Scandal, Chaplain in Mother Courage and Herr Schuliz in Cabaret; 1986: Polonius in Hamlet; 1982: Pistol in The Merry Wives of Windsor, 1981: Banks in Wild Oats; 1980: Medvycdenko in The Seagull and Dogberry in Much Ado About Nothing; 1979: Lane in The Importance of Being Earnest; 1978: Cleomines in The Winter's Talc, 1977: Snout in A Midsummer Night's Dream; 1976: Kulygin in Three Sisters; 1975: Sir Eglamour in Tk Two Gentlemen of Verona; Diafoirus in The Imaginary Invalid; 1973: PandarusEscanes in Pericles; 1971: Vatelin in There's One in Every Marriage; 1970: Roland in The Friends. THEATRE: Made his stage debut as a boy actor in the 1934 London Palladium production of Peter Pan. Further credits include appearances in
(he premiere of Under Milk Wood (Albery Theatre, England); Sweet and Low revues (Ambassadors Theatre, England); and Roberto Le DiamBob in Irma La Douce (Lyric Theatre, England). He has also appeared extensively in regional theatres throughout Canada and the United States, and several times both on and off-Broadway. Nominated for a Dora Mavor Moore Award for his role in Quartemaine's Terms (Theatre Plus) and for a Joseph Jefferson Award. FILMTELEVISION: Possum of the Patriots, The Tempest (CBC); and Paradise.
MARION DAY
Second season: Cecily Cardcw in The Importance of Being Earnest and Chorus Member in Bacchae. STRATFORD: 1992: Moth in Love't Labour i Lost and appeared in The Tempest and Romeo and Juliet. Recipient of a 1992 Tyrone Guthrie Award. THE?ATRE: Includes Little Red in Little Red Riding Hood (Limelight Dinner Theatre); Beauty in Beauty and the Beast, Her Highness in Puts and Boots and Briar Rose in The Sleeping Beauty (Theatre 5, Kingston); and Lena in A Good Baby (Caravan Farm Theatre). National Theatre School credits include Minelte in The Cat, Nina Galant in Fil a la pane, BettyEdward in Cloud 9, Le BeauAmiens in As You like It and Beatrice Joanna in Tte Changeling. FILMTELEVI?SION: Equal Opportunity (NFB). TRAINING: Graduate of the National Theatre School.
COLM FEORE
12th season: Oberon in A Midsummer Night's Dream, Dionysus in Bacchae, John Worthing in The Importance of Being Earnet and performs in the Words and Music Concert My Shakespeare. An Associate Director of the Stratford Festival. STRATFORD: Includes 1992: Merculio in Romeo and Juliet, Berowne in Love's Labour's Lost and Angelo in Measure for Measure 1991: the title role in Hamlet, Benedick in Much Ado About Nothing and Horace in The School for Wives-, 199(h Frank Ford in Tie Merry Wives of Windsor, Valentine in Love for Love, Hippolytus in Phaedra and Cassius in Julius Caesar, 1988: the title role in Richard III, Petruchio in The Taming of the Shrew and Alhos in The Three Musketeerr, 1987: Iago in Othello, Joseph Surface in The School for Scandal and Yasha in The Cherry Orchard; 1986: Iachimo in CymbeHne and Leonles in The Winter's Talc, 1985: Orsino in Twelfth Night and Charles Marlow in She Sloops to Conquer, 1984: Romeo in Romeo and Juliet. THEATRE: Valmont in Us Liaisons Dangereuses (Theatre Calgary); Edmund Tyrone in Long Day's Journey into Night (Citadel Theatre); and James Tyrone in A Moon for the Misbegotten (Grand Theatre). FILMTELEVISION: Beautiful Dreamers (Cinexus); Bethune, The Making of a Hero (Film line); Iron Eagle II (Alliance Films); Friday the llth and War of the Worlds (Triumph Entertainment); Diamonds (CBS CTV); and A Nest of Singing Birds, Skate, Adrienne Clarkson's Artemisia (CBC); Beyond Reality and Francois Girard's Thirty-Two Short Films About Glenn Gould (Rhombus).
PAT GALLOWAY
25th season: Lady Bracknell in The Importance of Being Earnest. STRATFORD: Includes 1992: Liesl in World of Wonders, Lucienne in Bonjour, la, Bonjour and per?formed in Words and Music }: 77k Female of IheSpaies; 1991: Melissa in Love Letters and
Des-Neiges in Let Belles Soeurs; 1990: Marjocic in Home, Sarah in Memoir and The Citizen's Wife in The Knight of the Burning Pestle (which she also co-directed); 1989: Margery Byre in The Shoemakers' Holiday, 1987: Ranyevskaya in The Cherry Orchard; 1982: Queen Elizabeth in Mary Stuart, 1980: Tamora in Titus Andronicur, 1976 fr 1975: Gwendolen in The Importance of Being Earnest; 1975: Joan in Saint Joan; 1974: Rosaline in Love's Labour's Lost; 1972: Lorenzo de Medicci in Lorenzacdo; 1971: Lady Macbeth in Macbeth and the title role in The Duchess ofMalfi. Toured to Denmark, Holland, Poland and Russia in 1973 (Kale in The Taming of the Shrew, Goneril in King Lear); and in 1974 to Australia (Toinette in The Imaginary Invalid). THEATRE: Spent several seasons with the Manitoba Theatre Centre and Shaw Festival and has played in numerous Canadian and American the?atres.
LORNE KENNEDY llth season: Algernon Moncrieff in The Importance of Being Earnest, Chalillon in Kin) John and Diomedes in Antony and Cleopatra. STRATFORD: Acting credits include 1992: Tybalt in Xomee and Juliet; Provost in Measure for Measure and Sebastian in The Tempest 1991: Don John in Much Ado About Nothing, Dr. Livesey in Treasure Island and Poet in Timon of Athens: 1989: Hammon in The Shoemakers' Holiday, 1988: Aramis in The Three Musketeers, Fourth Tempter Fourth Knight in Murder in the Cathedral; 1987: Dr. Rank in .v.tj; 1986: Horatio in Hamlet; 1980: Dauphin in Henry V, Sebastian in twelfth Night, Directing credits include 1989: The Proposal; 1990: Forever Yours. Marie-Lou. THEATRE Acting credits include Brother Martin in St. Joan (National Actors Theatre, Lyceum Theatre, New York); Max Brod in Kafka's Dick, The Historical Event in How I Got That Story (The Citadel Theatre); the title role in Nicholas Nickleby, Ferdinand in The Duchess ofMalfi, Marchbanks in Candida, Touchstone in As You Like It, Malcolm in Macbeth; Max in Boil; John Merrick in The Elephant Man; Banjo in The Man Who Came to Dinner (Manitoba Theatre Centre); the title role in Dracula and Oscar in Doc (Neptune Theatre); Joseph Surface in The School for Scandal and Curley in Of Mice and Men (Vancouver Playhouse); CliveCalhy in Cloud 9 (Bayview Playhouse, Toronto).
Barbara Bryne Colm Feore
Richard Cumock Pat Galloway
Marion Day Lome
Kennedy
Directing credits include Scaramouche (Mount Royal College, Calgary); Alice in Wonderland and Shine Boy (Neptune Theatre); and Cloud 9 (Manitoba Theatre Centre).
WILLIAM NEEDLES 34th season: Pop in Gypsy and Merrim.ni in The Importance of Being Earnest. STRAT?FORD: Includes 1992: Alonso in The Tempest and Sir Nathaniel in Love's Labour's Losf, 1991: Heavenly Friend in Carousel, Slimson in Our Town and Morten Kill in An Enemy of the People; 1990: Justice Shallow in The Merry Wives of Windsor, David McComber in Ah. Wilderness!; 1989: Ferapont in Three Sisters, Dr. Baugh in Col m a Hot Tin Roof, and the Chorus in Henry V; 1988: The Pedant in The Taming of the Shrew, Louis XIII in The Three Musketeers and Sir Robert BrackenburyKeeper in Richard Ub 1987: Pandarus in Troilus and Cressida, Firs in The Cherry Orchard and the Old Colonel in Mother Courage. Has performed in every play of Shakespeare's cannon except The Two Gentlemen of Verona. Toured Denmark, Holland, Poland and Russia with King Lear and The Taming of the Shrew in 1972. Toured Australia with The Imaginary Invalid in 1974. THEATRE: British debut at Edinburgh, with Christopher Plummcr in Henry V in 1956. Debuted in London in The Class Cage (Piccadilly Theatre, in 1957). Has per?formed in major theatres across Canada and the United States between Stratford engagements. Credits include leading roles in Next Time I'll Sing lo You, Moby Dick and Hadrian VII (on Broadway); Box Mao Box (Studio Arena, Buffalo); Butley, Le Bourgeois Gentilhomme and Equus (University of California, Irvine Campus); TTtf Merchant of Venice and played Leonato in Much Ado About Nothing (South Coast Repertory Co., Costa Mesa, California). Appointed Artist in Residence with the Drama Department of the University of California, 1974.
LUCY PEACOCK
Ninth season: Titania in A Midsummer Night's Dream, Gwendolen Fairfax in The Importance of Being Earnest, Chorus Member in Bacchae and performs in the Words and Music Concert The Beat Goes On. STRAT?FORD: 1992: Princess of France in Love's Labour's Lost, Yelena in Uncle Vanya and per?formed in Words and Music 1: Family Experience; 1990: Rosalind in As You Like It, Aricia in Phaedra and Lady Macduff in Macbeth; 1989: Masha in Three Sisters, Lavinia in Titus Andronicus, Luciana in The Comedy of Errors and Titania in A Midsummer Night's Dream; 1988: Eliza Doolittle in My Fair Lady, Lady Anne in Richard III and Helena in Alls Well That Ends Welt 1987: the title role in Nora, Olga Knipper in Intimate Admiration and Cassandra in Troilus and Cressida; 1986: Singing Gentlewoman in Henry 17; Ophelia in Hamlet and Ophelia in Rosencrantz and Guildenstem are Dead; 1985: Gaoler's Daughter in The Two Noble Kinsmen, Mrs. Sullen in The Beaux Stratagem and Second Messenger in Antigone, 1984: Lucella in The Two Gentlemen of Verona. THE?ATRE: Mina in Dracula (Young People's Theatre). Theatre credits throughout Canada include appearances at Centaur Theatre Company, Globe Theatre (Regina), Phoenix Theatre (Edmonton) and Toronto Free Theatre. FILMTELEVISION: Street Legal, The Road to Avonlea and Material World (CBC). TRAINING: Graduate of the National Theatre School.
MARC RUEL
Second season: First Guard in Antony and Cleopatra, Lysander in A Midsummer Night's Dream and Footman in The Importance of Bang Earnest. STRATFORD: 1992: Serge in Bonjour. la, Bonjour, Busker in World of Wonders and appeared in Love's Labour's Lost. THEATRE CD. in Stark and Esiragon in Waiting for Godot (Generic Theatre Inc.); The Duke in Man of La Mancha and Jeffrey in Godspett (Association of Producing Artists, QuebecTheatre Lac Brome); Des in Thin Ice and The Monster in Night Light (Geordie Productions Inc.); Stephen in Line (Line Productions), for which he received the Most Promising Young Performer Award, 1988 Quebec Drama Festival. Concordia University credits include Hen Gabor in Spring Awakening, Le Vieux Monsieur in Us Chaises, Peter in The Zoo Story, The Policeman in Blood on a Cat's Neck and Balthasar in Much Ado About Nothing. FILMTELEVISION: Map of the Human Heart (Working Title Films); SnakeEaters 111 (Cineplex Productions); Pagan the Ungodly (Shalites Inc.); Starling from Scratch (Molslar); The Classic (Telescinema Taurus); and Sacred Land (Lande Film). TRAINING: B.F.A. from Concordia University. DEC in Music, CEGEP St. Laurent.
BRIAN TREE
Seventh season: Euphronius in Antony and Cleopatra, Peter Quince in A Midsummer Night's Dream and Lane in The Importance of Being Earnest. STRATFORD: 1992: Telegin in Uncle Vanya and Elbow in Measure for Measure, 1991: Verges in Much Ado About Nothing, Israel Hands in Treasure Island and Painter in limon of Athens; 1990: SeytonThird Murderer in Macbeth, Trapland in Love for Love, Cecil Stocker in One Tiger to a Hill and Nym in Henry V; 1989: Tubal in The Merchant of Venice and Hodge in T)k Shoemakers' Holiday, 1988: Gremio in The Taming of the Shrew, Coquenard in The Three Musketeers and Lord Mayor in Richard III; 1987: Agamemnon in Troilus and Cressida and a Sergeant in Mother Courage. THE?ATRE: Includes Jim in Passion (The Grand Theatre and The Bastion Theatre); Derek Meadle in Quartermaine's Terms and Bob Cratchit in A Christmas Carol (Theatre Calgary); Bri in A Day in the Death of Joe Egg (Citadel Theatre). Spent three consecutive seasons with the National Arts Centre, where his roles included Nick Bottom in A Midsummer Night's Dream, Lord Hastings in Richard III, Lieutenant Trotter in Journey's End, Charles Condomine in Blithe Spirit and Dad in Trafford Tanzi (National Arts CentreToronto Free Theatre). TRAINING: Trained in England under Joan Litilewood. Started his career as a stunt driver for British television before working for repertory theatres in England.
FRANK ZOTTER Stratford debut: Eros in Antony and Cleopatra, Puck in A Midsummer Night's Dream and appears in The Importance of Being Earnest. THEATRE: Bobby in the world premiere of George F. Walker's Tough! (Green Thumb Theatre); The Beast in Beauty and the Beast (Young People's Theatre); PaulGetutio in Power Play (Mulroney Prod.); Allan in Flesh and Blood (Theatre Direct); Seymour in Dead Serious (Arts ClubWestern Canada Theatre Company); Cleante in The Miser (Vancouver Playhouse); Kane in Unidentified Human Remains and the True Nature of Love
(Touchstone TheatreArts Club); Fred in A Christmas Carol (Thealxe Calgary); Lupu in Baal (The Band Festival); Byron in Bloody Poetry, Arnold in The Cat (Western National tour); BettyEdward in Cloud 9 , Touch?stone in As You Like It, De floreas in The Changeling and Myshkin in The Idiot (National Theatre School); Pugachev in I he Suicide (York University Theatre); and Gary in So Earthy Business (Kawartha Summer Theatre). Flayed Mike in Ptaukecprr (CBC-Radio's Sunday Matinee Scries). TRAIN?ING: National Theatre School, York University and Banff Advanced Actor's Workshop.
DIRECTOR
DAVID WILLIAM
16th season: Fourth season as Artistic Director of the Stratford Festival. Director of Baahae and The Importance of Being Earnest. Devised and directed the Words and Music Concert My Shakespeare. STRATFORD: 1992: Directed 77k Tempest and Entertaining Ur. Shane. Played Serebryakov in Uncle Vanya and performed in Words and Music 5: Satire, 1991: Directed Love Letters, Treasure Island and Hamlet; 1990: Love for Love, Macbeth (co-directed) and As You Like It (also played Jaques); 1989: The Shoemakers' Hobday, 1988: Murder in the Cathedral; 1987: Troilus and Cressida; 1986: The Winter's Talc 1985: She Stoops to Conquer and Antigone, 1984: Separate Tables; 1977: Romeo and Juliet; 1973: OthelUr, 1972: King Lear, 1971: Vobpme; 1967: Albert Herring and 77k Merry Wives of Windsor, 1966: Twelfth Night. THEATRE: International career spans 2 years, both acting and directing. Productions in Britain at the National Theatre, London's West End, Mermaid Theatre, and the Chichesler and Edinburgh festivals. Founder and first Artistic Director of the Ludlow Festival. Has been Artistic Director of the Glasgow Citizens' Theatre, the Nottingham Playhouse, the New Shakespeare Company in London and the National Theatre of Israel. U.S. credits include New York, Washington, D.C. (Arena Stage and Kreeger Theater), San Francisco (A.C.T.) and Stratford, Connecticut. Opera credits include Director of the world premieres of
William Needles Brian Tree
Lucy Peacock Frank Zottcr
Marc Kin-
Therese (Royal Opera House, Covent Garden); The Lighthouse (Edinburgh Festival); as well as Iphigenie en Tauride and The Fairy Queen (Lisbon); La Traviata (Scottish Opera); II Re Pastore (Camden Festival); and Albert Herring (Aldeburgh Festival). Has taught extensively in the U.S., Canada and Britain. In the Army he achieved 27 marks out of a pos?sible 30 for "rough-riding" a motor bicycle.
DESIGNERS
MOLLY HARRIS CAMPBELL
13th season: Costume Designer of The Importance of Being Earnest. STRATFORD: 1992: Costume Designer of World of Wonders: 1981: The Visit-, 1975: Designer of The Importance of Being Earnest; The Two Gentlemen of Verona. Trained in the Wardrobe Department for nine seasons. THEATRE Theatre Calgary credits include Costume Designer at Arms and the Man, Irma La Douce, Private Lives, The Alchemist and Black Comedy and White Lies. Costume Designer of Made In America (Mark Taper Forum, Los Angeles); and Costume Co-ordinator of The Playboy of the Western World (Vivian Beaumont Theater, New York). Assistant to Desmond Heeley for Cyrano and to Alan Barlow for There's One In Every Marriage (Broadway). FILMTELEVISION: Women's Costume Supervisor of LA. Law 19921993 (NBC); Assistant Costume Designer of Passenger 57 (Warner); Costume Designer of Lambchop's Play Along Show (PBS); Love and Bullets (Lorimar); Amen (NBC series); Dear John (Paramount); Mr. President (Fox); and Have You Tried Talking to Patty (CBS). Costume Supervisor of Night Court, Scarecrow e Mrs. King (Warner); and Remington Steele (MTM). Has been nominat?ed for Academy of Television Arts and Sciences Emmy Award on six occasions and was recipient of an Emmy for Outstanding Achievement in Costuming for a Special for The Babe Ruth Story (NBC), September 1992. TRAINING: Graduate of Waterloo Lutheran University.
GARY THOMAS THORNE
Fifth season:Sel Designer of The Importance of Being Earnest STRATFORD: 1992: Designer of Entertaining Mr. Sloanr, 1991: Twelfth Night (Sets), An Enemy of the People (Costumes) and Knight of the Burning Pestle (Sets); 1990: Designer of Knight of the Burning Pestle and Assistant Designer o( Love For Love, 1989: Three Sisters and The Shoemakers' Holiday. THEATRE: London exhibitions include the Royal Academy Summer Exhibition and The Mall Gallery (Trafalgar Square). British theatre credits include design of six premiere productions with Pop Up Children's Theatre Co.; The Twist (Unicom Theatre); and West Side Story, The Importance of Being Earnest, The Railway Children, Peter Pan, Murder in the Cathedral and Intimate Exchange (Mercury Theatre). Designer of Tte Seagull and The Threepenny Opera (University of Newfoundland); Zastrom and Reckless (Costumes) as well as Designer of four productions at the Playrites Festival in 1992 (Costumes) and 1993 (Sets). (Alberta Theatre Projects). TRAINING: Studied at the Alberta College of Art prior to study in Sydney, Australia, London, England and Florence, Italy. Has completed the Byam Shaw Diploma of Fine Art, London Diploma of Art and Design and the Margaret Harris (Motley) Theatre Design Course, all in England.
LIGHTING DESIGNER
JOHN MUNRO
Sixth season: Lighting Designer of Bacchic and The Importance of Being Earnest. STRAT?FORD: 1992: Entertaining Mr. Shane; 1991: Treasure Island-, 1990: One Tiger to a Hilt 1989: Three Sisters and Henry V; 1987: The Cherry Orchard and Intimate Admiration. THEATRE: Has been responsible for the design and execution of hundreds of touring musical presentations at the National Arts Centre since 1969. Extensive design credits at the NAC Include Henry V, T Oresteia of Aeschylus, Duet for One, The Tempest, Waiting for the Parade, The Floating World, Blood Relations, The Wood Demon, Beatrice and Benedick, Julius Caesar, A Gift to Last, Map of the World and M. Butterfly. Further credits include Fire, The Dreamland, Singer and To Grandmother's House We Go (Canadian Stage Company); Hank Williams ? The Show He Never Gave (CanadaU.S.Euro-pean lour); A Walk in the Woods (The Citadel TheatieNACIlie Grand Theatre); and The Stone Angel (Neptune Theatre). Designed lighting for the 1987, 1990 and 1992 Canada Dance Festivals and numerous new works for Ottawa Ballet. Opera credits at the NAC include The Marriage of Figaro, Don Giovanni, Carmen, Madama Butterfly, Cosi fan tutte. The Magic Flute and La Bohemc. Member of the Associated Designers of Canada and IATSE. ty College in Edmonton.
STAGE MANAGEMENT
HILARY GRAHAM
Eighth season: Production Stage Manager at the Avon Theatre and Stage Manager of The Importance of Being Earnest. Assistant Stage Manager for Ann Arbor residency of A Midsummer Night's Dream. STRATFORD: Stage management credits include 1992: Stage Manager of Love's Labour's Lost and Measure for Measure, 1991: Love Letters and Timon of Athens-, 1990: Forever Yours, Marie-Lou; 1989: Love's Labour's Lost; 1987: The School for Scandal and Assistant Stage Manager of Cabaret; 1986: Stage Manager of Pericles and Assistant Stage Manager of Cymbeline; 1985: Assistant Stage Manager of The Government Inspector. Production Stage Manager of the Avon Theatre In 1983, the Third Stage from 1989 to 1990 and the Tom Patterson Theatre in 1991. THEATRE: Stage Manager of the Belgrade Theatre, Coventry; Assistant Stage Manager of Marlene Dietrich's 1973 British tour; and also worked in stage management with the Royal Shakespeare Company for seven years on such productions as The Comedy of Errors, Henry IV, Part I and fart II, Much Ado About Nothing, Uncle Vanya, Piaf, Richard III, Babies Grow OU, Macbeth and The Merchant of Venice. Was Casting Coordinator of the World University Games in Edmonton and has also worked at the Citadel Theatre, where she was Production Stage Manager for the Young Company (1990) as well as Stage Manager of Jacob Two-Two and the Dinosaur (Citadel TheatreYoung People's Theatre). Other stage management credits include Peter Pan, Long Day's Journey into Night, King Lear, Guys t Dolls and Amadeus (Citadel Theatre); Shirley Valentine, A Change of Mind and Panther and Jaguar (Alberta Theatre Projects); and A Christmas Carol and La Liaisons Dangereuses (Theatre Calgary). TRAINING: London Academy of Music and Dramatic Art, England.
ANN STUART
12th season: Stage Manager of A Midsummer Night's Dream, The Illusion.,ind the Words and Music Concert Infinite Variety. Assistant Stage Manager for Ann Arbor residency of The Importance of Being Earnest. STRATFORD: Credits include Stage Manager of 1992: The Tempest and The Two Gentlemen of Verona; 1991: Hamlet and Homeward Bound; 1990: Macbeth and Phaedra; 1989: The Proposal and The Changeling; 1980: Virginia (which transferred to the Haymarkel Theatre in London, England); 1979: BarrenlYerma and Ned and Jack. Assistant Stage Manager of 22 productions including Romeo and Juliet, Antigone and The Winter's Tale directed by David William; The Guardsman, King Lear and Cymbeline directed by Robin Phillips; and Richard II directed by Zoe Caldwell. Won the Artistic Director's Award in 1980. THEATRE: Member of the 198384 Grand Theatre Company, where she stage managed The Doctor's Dilemma and assisted on four pro?ductions including Arsenic and Old Lace and DearAntoine, and later stage managed 'Night Mother, directed by Martha Henry. Other credits include Stage Manager of Wendy Lill's The Occupation of Heather Rose, Don Hannah's In the Lobster Capital of the World, Daniel Maclvor's somewhere i have never trav?elled and John Murrell's Waiting for the Parade (Tarragon Theatre); The Recruiting Officer and Our Country's Good (Royal Court Theatre at Canadian Stage); The Idler (Theater Plus); and Robertson Davies' Leaven of Malice (Hart House Theatre, Toronto).
MAXWELL T. WILSON Fourth season: Assistant Stage Manager of Antony and Cleopatra, A Midsummer Night's Dream, Gypsy and The Imaginary Invalid. Assistant Stage Manager for Ann Arbor residency of The Importance of Being Earnest. STRATFORD: Assistant Stage Manager of 1992: Uncle Vanya, Shirley Valentine and The Two Gentlemen of Verona; 1991: Timon of Athens, The Rules of the Game, The Knight of the Burning Pestle (also 1990) and Love Letters; 1990: Forever Yours, Marie Lou, Phaedra and the double bill of The Grand InquisitorSwan s,-n,THEATKE: Credits include Stage Manager of The Rich Man (Work-shop West Playwrights Theatre); Assistant Stage Manager of Dialogues of the Carmelites (Manitoba Opera); Albert Herring and Romeo a Juliette (Canadian Opera Company); Die Fledermaus, The Plying Dutchman, Eugene Onegin and The Marriage of Figaro (Edmonton Opera); and A Midsummer Night's Dram, The Crucible and The Lion, The Witch and The Wardrobe (Citadel Theatre). Other credits include Stage Management Co-ordinator of the 1989 Edmonton Teen Festival of the Arts and Production Co-ordinator of the 1989 Edmonton Children's Festival (Citadel Theatre); as well as numerous productions for the Edmonton Fringe Festival. TRAIN?ING: B.A. from the University of Lethbridge, Alberta, and also studied Theatre Production at Grant MacEwan Community College in Edmonton.
The Story Behind the Stratford Festival Residency in Ann Arbor
by Ken Fischer, UMS Executive Director
It's the spring of 1991. University Musical Society Development Director Catherine Arcure and I are having lunch with Canadian Consul General Anne Charles and members of her staff in Detroit. Whenever a Canadian artist or ensemble appears under the auspices of the Musical Society, Ms. Charles supports the perfor?mance by inviting special guests and hosting social events. She loves the performing arts and is proud to introduce local leaders in business, politics, education, and the media to outstanding Canadian artists. Anne Charles has boundless energy and enthusi?asm and is a joy with which to work.
On this bright spring day, we're looking over offerings for the the upcoming 199192 season and beginning to make preliminary plans for the November visit by the Canadian Brass. Anne recounts recent conversations she has had with the people at the Stratford Festival in Ontario centering on their interest in developing new audiences and in developing new relation?ships with presenters. Anne says, "I think you two ought to talk with the folks at Stratford." And before we know it -in typical Anne Charles fashion -we adjourn to Anne's office where she places a call to Stratford...and, as they say, the rest is history.
Conversations began with our colleagues at Stratford. We spoke by phone and learned about their commitment to developing new audiences for their work. We learned that 15 of Stratford's audience comes from the state of Michigan and that they'd like to see that figure grow. We dis?cussed their past week-long residency at Dartmouth College and the educational activities that supplemented the perfor?mances. Stratford learned about the Musical Society's interest in exploring new genres of presentations beyond music and dance. They discovered that while there is good resident theater in Ann Arbor, there is very little touring theater. We told them of our new educational initiatives including the Michigan MozartFest, Philips Educational
Presentations, and our opera and dance programs for young people. They also learned of our desire to be working more closely with area schools and with University academic units in collaborative projects that would benefit students and faculty.
Stratford Artistic Director David William and Producer Colleen Blake visited Ann Arbor in the fall of 1991 to become familiar with the theaters, to meet with community and University representatives, and to meet with leaders of the UMS Board of Directors and staff to discuss next steps. There was much excitement about the prospect of the residency and the planning continued. It was determined that the pro?ductions would be mounted in the Power Center.
During the 199192 season, the UMS was developing a long-range plan. Among its many objectives, the plan called for the Society to explore new art forms, to reach out to new audiences, and to find new ways to work collaboratively with the University and community. The Stratford Residency would fit these objectives perfectly. But there was one other critical factor: all of the above must be accomplished in a fiscally responsible manner. To make it's last objective very clear, the plan required "up-front" funding for any new artistic ventures. The belief was that if the new venture held enough promise for
success, then the Society should be capable of finding sufficient outside support for it. We were willing to take risks with new ventures, but we were not in a position to sustain heavy losses if the venture failed. Board and staff agreed that before we could announce the Stratford residency, we would need to raise $150,000.
Fund-raising efforts began in earnest in the summer of 1992. We began conversa?tions with a major corporation which had expressed interest in the Stratford Residency as an exclusive underwriter. The corpora?tion would not be able to commit, however, until after January 1993.
In July of 1992, six members of the UMS staff visited Stratford to leam as much about theater presentation as possible, recognizing that theater was a new art form for us to present. Arts Midwest, an inter?state consortium that supports the arts in the midwest, provided an "arts exploration" grant that enabled us to see performances, observe the technical crew at work, visit the production shops, and meet with key Stratford staff. We had known of Stratford's reputation for producing the highest quality of theater, and our site visit helped us understand how they do it -through talent, hard work, teamwork, and a commitment to excellence in everything they do. They are also creative, positive.
and fun-lov?ing people.
I returned in September of 1992 to negotiate the final terms with producer Colleen Blake. I will always remember three special features of this negotia?tion, because it speaks vol?umes about our wonder?ful colleagues
from Canada. First of all, we held our dis?cussion not in Colleen's office, but at Bentley's, a favorite gathering place for cast and crew (and audience, too) to unwind after performances. (A warm and friendly place, reminiscent of the Pretzel Bell in the late 60s.)
Second, Colleen put on the negotiating table the expectation that UMS would orga?nize a sufficient number of educational activities to engage Stratford cast and crew an additional five hours per week, per per?son, during the residency. "By the way. Ken, we're offering this service at no extra cost. It's part of our investment in audience development." I was totally disarmed. More often than not, I have had to beg touring artists to create extra time for educational activities. But with Stratford, they were offering their extra time as a gift to the University and community and letting us know in no uncertain terms that they
expected us to deliver on our end. What a refreshing new approach -to have artists express as deep a commitment to high-quality education as to high-quality performance.
The third feature was how we docu?mented "the deal." It was all done on the back of a Bentley's napkin. We determined what the two shows would be, when they'd be performed, and agreed to a fee, noting everything on the napkin. Then we signed it. With all the attention that the Bo SchembechlerTom Monaghan napkin deal had gotten in the press. Colleen and I agreed to photograph the napkin just in case we needed to check the details later.
In the fall of 1992, UMS hosted our
Stratford colleagues over the Michigan-Illinois foot?ball week?end. The weekend began Friday afternoon with a meet?ing to intro?duce the Stratford team to key faculty from the English department. Residential College,
Theater Department, School of Music, Humanities Institute, and other campus units. Our Stratford friends urged the faculty to begin thinking about how cast and crew members could assist with classes, work?shops, seminars, and other activities during the residency. The next day, the technical people from Stratford, with clipboards firmly in hand, thoroughly examined the stage of the Power Center to see what changes would be required to enable our space to accommodate the Stratford sets. We did find time to catch a few tailgate parties and to see the game, too.
It is now mid-February of 1993, and we are eager to hear from our prospective spon?sor. The 199394 season brochure must go to press at the latest by mid-March to be available for mailing to patrons in early April. But before we can announce the Stratford Residency as part of the upcoming season, the UMS Board must approve a
University Musical Society Executive Director Ken Fischer and Stratford Producer Colleen Blake with "the deal."
business plan for the residency that includes $150,000 in underwriting. We have a four-week window.
The prospective sponsor calls. But instead of a "yes," we learn that the company has had a particularly difficult quarter and does not feel it can participate in the Stratford Residency as the exclusive sponsor.
What happened in the next four weeks was truly remarkable and demonstrated just how extraordinary this community is. We began to talk with local corporations, foundations, and individuals about the Stratford Residency project and our need to raise $150,000 in 28 days. We found them excited to learn that the Stratford Festival -an organization that everyone knew by reputation to be one of the finest theater companies in the world -would be coming to Ann Arbor. What particularly impressed them, however, was the offer of each member of the Stratford company to give an additional five hours during the week to educational activities in the university and community. Checks and pledges began to come in. Every gift that came in during this time was a critically important gift, but one stand out because of the level of commitment and the hundreds of people the gift represents.
The Ann Arbor Area Community Foundation is a thirty-year-old philanthropic institution that makes grants to non-profit organizations in the community and whose Board is made up of leading citizens in the Ann Arbor area. Over the years, hundreds of individuals, families, local businesses, and other organizations from the community have made gifts to the Foundation and have entrusted it to invest and utilize the income for the betterment of the community. The Foundation's Board and staff learned of our project on one day and -realizing that we were under enormous time constraints -invited us to submit a proposal by noon of the next day so that they could consider it immediately and not wait until the next grant period which was several months away. In less than a week, the Foundation put our proposal through its rigorous evaluation process and notified us that we would receive a grant of $25,000 which -up to that time -was the largest grant the Foundation had ever awarded. That the AAACF grant came so early in our intensive fund-raising effort and at such a significant level encouraged other organizations and individuals to make gifts to us.
A week before the deadline we had raised in cash and pledges only about half of what we needed. We then invited special friends to consider becoming guarantors, meaning individuals who, if we were not successful in raising all of the funds by November's curtain time, would together contribute what would be required to reach $150,000. Twelve guarantors made such a commitment. When the deadline arrived, we had, in hand, cash, pledges, and guarantor commitments totaling $150,000. The Board approved the business plan at the March meeting, and the Stratford Festival project became part of our season announcement in early April. (A list of all contributors to the Stratford Residency is included in this program book.)
Visits back and forth continued throughout the spring and summer of 1993. The two productions Stratford chose to bring to Ann Arbor received excellent reviews during Stratford's season. Ticket sales for the Ann Arbor performances are strong enough that we have added another performance of A Midsummer Night's Dream on Saturday afternoon, November 20, in spite of the competing Ohio State game. We sold 400 student-priced tickets to that performance in the first 24 hours.
As of this writing, the educational component of the Stratford Residency has become a virtual mini-semester. More than 35 artists from the Stratford company are sharing their time and expertise with students from the University of Michigan as well as with pupils in the Ann Arbor Schools. University students will participate in discussions on all aspects of theater production from acting to text interpreta?tion, from stage design to actual production methods. In addition, Ann Arbor public and private schools will be visited by Stratford Festival artists who will present several programs including the Festival's famous "Stratford in a Trunk" presentation for younger children. The enthusiasm and generosity of the Stratford participants is only equalled by the joyous anticipation of the students as they await the arrival of Stratford on Ann Arbor.
Thank you for coming to this perfor?mance. By your wonderful support of this project, we hope to be able to make the Stratford Residency an annual occurrence. And please thank the underwriters whose support at a critical time assured that the project could be realized.
ARTISTIC DIRECTOR David William
GENERAL MANAGER Gary Thomas
ARTISTIC DIRECTOR DESIGNATE Richard Monette
PRODUCER Colleen Blake
DIRECTOR OF MUSIC Berthold Carriere
DIRECTOR OF MARKETING
AND COMMUNICATIONS Janice Price DIRECTOR OF DEVELOPMENT Shawn St. Michael HEAD OF DESIGN Debra Hanson
Staff
ASSOCIATE DIRECTORS
Colm Feore William Hutt Nora Polley
ASSOCIATE DIRECTOR LAUREATE
Tanya Moiseiwitsch
DIRECTOR OF THE YOUNG COMPANY
Marti Maraden
LITERARY MANAGER
Elliott Hayes
RESIDENT DIRECTOR
Robert Beard
PRODUCTION
Production Manager Paul Shaw Technical Director Ron Kresky
Technical Director Avon Paul Bates
Electronics Technologist Christopher Wheeler Resident Sound Designer Keith Handegord Sound Design Ryan Araki Michael Famsworth John Hazen Evan Turner Technical Buyer Robert McKennitt Technical Co-ordinator, Tom Patterson Theatre Andrew Ball Exhibits Co-ordinator Robert Ihrkj Secretary to the Artistic Director Susan Lemenchick Assistant to the Artistic Director Designate Sean Trolin Assistant to the Production Manager Cheryl Bender Secretary to the Directors'Office Jennifer Cooper Production Assistant Janelle Hutchison (The services of Janelle Hutchison were made pos?sible by the Professional Theatre Training Programme of Theatre Ontario, funded by the Ontario Arts Council.)
DESIGN
Resident
Lighting Designer Michael J. WhrHield Assistant Lighting Designers Linda Babins Bonnie Beecher Oliver Merk James Milburn Assistant Designers Andrea Grainger
David Griffith Karin Jones John Leberg Douglas Paraschuk Bill Rasmussen Carolyn Smith Gayle Tribick
MUSIC
Co-qrdinalor Marilyn Dallman Rehearsal Pianists Laura Burton Marilyn Dallman Stephen Woodjetts Fanfare Leader A James Ford Fanfare Musicians David Campion Derek Conrad Jerry Johnson Holly Shephard Orchestra Supervisors Holly Shephard Don Sweete Copyist Don Sweete
COMMUNICATIONS
Marketing Manager Alex Mayer Group Sales & Tourism Manager Laurel Armstrong Graphic Design Manager Andy Foster Publications & Editorial Services Manager Christopher Loudon Education Liaison Pat Quigley Archivist Lisa Brant Publicist Anita Gaffney Marketing Associates: Lisa Brudy
Education Jane Edmonds
Marketing Services Rachel Hilton
Promotions Jill Savage
Special Events Publications Co-ordinator Elizabeth Cooper Graphic Designer Diane Johnson Archives Assistant Matte Downey Communications Assistant Sandra Dahlin Mailing Room SupervisorPurchasing Joyce Peters Mailing Room Clerks Candy Neumeister Ara Jane Ready
DEVELOPMENT TORONTO OFFICE:
Development Associate, Individual Giving Kate Brundage Development Associate.
Corporate Membership Philip Chown Development Assistant Yan Chuen Lee Development Associate, Special Events Tenny Nigoghossian Development Associate, Corporate Sponsorship & Foundations Heather Rumball
AVON OFFICE:
OHice Supervisor Trudy Tompkins AccountsAdministration Joyce Airhart Data Processor Lee Brown
Development Assistant Michelle Purdy Development Assistant Christine Tucker Telemarketing OHice: Gay Allison Tammie Burley Anne Cleland Carol Curry Erin Grootnurs Donald Hughes Sandy Salisbury Julie Scott Annette Spencer Karen Wilson Rod Wilson
ADMINISTRATION
Secretary to the Foundation Noreen Ollivier Comptroller Evelyn Mueller Accounting Supervisor Marian Workman Accounting Assistants Dianne Matt Cheryl McCorquodale Payroll Assistants Shirley Bell Heather Marriott Cheryl McCorquodale Company Manager Ron Niciiol Receptionist Dianne Doone Manager,
Inlormation Services Wendie Schmidt Systems Operators Jacqueline MacDonald JoyWishart Joanne Wrelord Night Operator Mary Crocker Company Accommodations Gillian de Bues Ruth Stevens Green Room Manager Ruth Klahsen Sous Chefs Lora Pretty Robert Smith Staff
Amanda Doone Charity Doone Andrea Fraser Andrew Douglas Dana Gibbings Carolyn Morris Erik Nowak Jodi Williams Bar Manager FestivalAvon Margo Mair Bartenders Adam Mair Chantell Morlog Paul Bree
TRAINING & COACHES
Head of Voice Ann Skinner Associate Voice Coach Barney Hammond Assistant Voice Coach Janine Pearson Resident Movement Coach
John Broome Assistant Movement Coach Kelly Arnsby Alexander Technique Kelly McEvenue Steven Glassman Ann Penislan
Text Consultant Leslie O'Dell
Special Thanla to Wilfrid Laurier University______
STAGE MANAGEMENT
Festival Theatre
Production
Stage Managers
Margaret Palmer
Nora Polley
Stage Managers
Janine A Ralph
Ann Stuart
Assistant Stage Managers
Brenda Henderson
Janet Sellery
Jean Southgate
Maxwell T. Wilson
Apprentice
Stage Manager
Andrew North
Avon Theatre
Production
Stage Manager
Hilary Graham
Stage Manager
Marylu Mover
Assistant Stage Managers
Stephen M. Grasset
Lisa Goueffic
Apprentice
Stage Manager
Chris Hidalgo
Tom Patterson Theatre
Production
Stage Manager
Catherine Russell
Stage Managers
Anne Murphy
Janet Sellery
Ann Stuart
Assistant Stage Managers
Bruno Gcnsalves
Theresa Malek
Corinne Richards
Production Assistant
Bradley Dalcourt
WARDROBE
Costumes made in the Festival workrooms and executed by Head of Wardrobe Louise Champion Assistant Heads of Wardrobe Jessica Blackmore
Shame-Ann Dial Wardrobe Buyer Dawn Jantzi Stock Co-ordinator Linda Sparks Wardrobe Assistant Sheila Mallon Warehouse Co-ordinator Robin McGibbon Assisted by Madonna Decker Rick Sickinger Resident Cutter Enid Larson Cutters
Christine Audet Brenda Clark Cynthia MacLennan Diane Robinson Tailors Tern Dans Linda Grandmaitre Marvin Schlichting Cutter's Assistant Maren Dress First Hands Joanne Davies Susan E. Dick Clara Eusebi Shirley Lee Rosemary Schaeler Debbie Stiles Marianne Wesche Christine Yundt Seamstresses Deanna Anthony Kathleen Babcock Vivian Baumann Lise Belanger Wendy Bendle Johanna Billings Isabel Bloor Edith Bochynek Denise Bon Kathryn A. Budge Mary Carrington Betty Chow Pauline Cober Elizabeth Copeman Joyce Critchlow Lucana Dassie Amanda Davis Jeanne de Bretan Carolyn Embree Anne Gagnon Dolores Gummow Angela Horner Domenica lacobellis Marion Isherwood C. Arlene Innes Laurie Krempien-Hall Mary Ellen Kroetsch Lincfa Kukulski . Denyse Lagace Vera Lambert Hanh Hao Le Annette Lenze Carole-Diane Levesque Rosemary L ins em an Sharon Louttit Laura Magagnin Vera Magi Rosina Mazzanti Julie P. McGill Trish McNally Lily Messerhuber Debbie O'Rourke Luci Ponle Susan Rainslord Andrea Richardson Marianne B. Riehl Olive Robinson Joan Scheerer Lynette Schlichting Alison Scott Christine Smith Susan Smith Joanne Venart
Diane Whomersley Joanne Zegers Additional costumes by Ascot Uniforms &
Regalia Ltd. Sharon Purdy Costumes
Inc.
Werner Russold Avril Stevenson Malabar Costume Decanting Mary Fulford Tanya Etienne on "E" Cvetka Fujs Kathi Posliff Bonnie Steinman Karen McVey Costume Painting Lisa Hughes Additional Painting by No. 1 Brush, Stratford Dyeing
Kendra Gadzala Julie Graham Andrea Jenkins Jewellery Polly Scranton Bohdanetzky Jennifer Scott Leathenmrk & Shoes Margaret Hubley Fredmike Comne Manon de Gagne Mark Fetter Millinery
Nancy Hastings-Trew Leslie Norgate Jan Shipway assisted by Lynda Kirby Rena Tuer Lois Zurell Wardrobe Mistress Festival Theatre Gail Homersham Robertson Avon Theatre Sharon Parker Tom Patterson Theatre Helen Basson Wardrobe Attendants Melanie Bradley Ina Brogan Margie Bruer AlexCushing Cvetka Fujs Connie Heinbuch Angela Horner Maxine Houston Michael Karn Jeffrey Kilbreath William C. Kraft Annette Lenze Sharmon Luchuck Sheila Mallon Terrianne Miller David Kent Newcomb Angela Peres Luci Pottle Eric Semak Christine Smith
WIGS
Made in the Festival workshops under the supervision of: Festival Theatre Clayton Shields Avon Theatre Gerald Altenburg Tom Patterson Theatre Richard Jarvie With Constance Grayson Dave Kerr Chris Vaughan Melissa Veal RazZemitis Makeup Supervisor Clayton Shields
PROPERTIES
Made in the Festival work?shops under the supervision ol: Festival Theatre Frank Ho lie Avon Theatre Roy Brown
Tom Patterson Theatre Roy Brown Assisted by Ruth Abernethy Beverly May Adam Ken Dubblestyne Glenn Elliott Robert Fenwick Caroyn Horley Jennifer Macdonald Brian McLeod Mark Ostien Stewart Robertson Lorraine Senecal The Stratford Festival would like to ackno niedge Mr. Doug Grass, Senior Properties Maker, who passed away this year while working on our 1933 productions Dougie, we miss you.
STAGE STAFF
Festival Theatre Stage Carpenter David Martin Master Electrician Alec Cooper Property Master Ted Derry Sound
David Berwick Crew
John Currie Neil Dennison Art Fortin Les MacLean Ehrhard Nowak Walter Sugden Gerald Van Sickle Avon Theatre Stage Carpenter Jay Klassen Master Electrician Bruno Hacquebard Property Master John Hoodless Sound Chris Shaw Flyman Jeremy Lach Crew
Gord Balmain Mark Fisher Dan Hoodless Martin Penner Harry Van Keuren Gerald Van Sickle Tom Patterson Theatre Stage Carpenter Michael Ellsworth Master Electrician Timothy Hanson Sound Jim Stewart Property Master Alan Hughes Crew Steve Cassaubon
SCENIC CARPENTRY
constructed by: Head Carpenter Neil R. Cheney Assisted by Mike Izma William Malmo John Muxlow Michael Ryan Vic Ryan
Byron Williams with
Gord Fjalmain Dan Bingeman John Currie TedDerry Michael Ellsworth Gary Geiger Lance Hinds Paul Hughes
David McDonald Walter Sugden Geoff Taylor with special thanks to the Sarducci Brothers Scenic Artists Karen P. Hay Richard Gordon Assisted by Janet Cormack Leslie Furness Kevin Kemp Blair Yeomans Transportation Andrew Douglas Sue Graff Harry Finlay AdamMair Michael Earnie Taylor
FESTIVAL BOOK SHOP
Merchandising Manager Marline Becu Administrative Assistant Nancy Ranney Customer Service Jennifer Bingham Kaliadu Pena Nolan Jennings Elizabeth Simpson Aline Ollrvter Mary Ellen Lamont Beverley St. Louis Dons Belland Heather Sansom Glen Crumback Vincent Berns Betty McCreadie Chera Francoeur-Fox
BOX OFFICE
Box Office Manager
Gerry Rehberg
Customer Service
Manager
Susan Benlon
Accommodation
Co-ordinator
Susan Erb
Media Secretary
Jo-Anne Jordan
Schools & Groups
Assistant
Janice Kastner
Box Office Supervisor
Michele Keutsch
Special Orders Manager
Marion Neigh
Mailing
MuriefPoole
Exchanges
Marg Simons
Schools i Groups
Supervisor
Cheryl Teeple
Customer Service
Susan Adair
Jane Bex
Pamela Brenneman
Nathaniel Campbell
Andrew Chung
Ellen Charendoft
Warn Fleming
imberley Foster
Zhie Frank
Elaine Hardie
3nan Hollohan
Shawn Malvern
Jodi McDonald Suzanne Millar Julie Moore Valerie Morelon Lisa Parker Tom Patterson Susan Rolph Melinda Ruston Jen Savage Nikki Savage Karen Scholz Manjeel Sehra Joan Smith Stacey Smithers Lesley Spencer Kelly Strasler Maureen Vankesteren Julie Viam Stephanie Voigt Janet Wilson
FESTIVAL THEATRE FRONT OF HOUSE
House Manager
Ron Nichol
Assistant House Manager
Robert McKenzie
Ushers
Brock Appel
Reid Appel
Madeline Bain
Heather Balmain
Mary Bennewilz
Elvycorene Bentley
Melame Douglas
Joann Eldridge
Joyce Eusebi
Frances Farquharson
Ian Ferguson
Lynn Gould
Joan Greenfield
Rebecca Hill
Evelyn Huffman
Matt Huffman
Alia Hussey
Doris Hussey
Christian Johnson
Beth Kollman
Lisa Kresky
Steven Kydd
Heidi Lang
Jennifer Lee
Jil Loughrey
Matt Loughrey
Margaret Mark
Doris McCauley
Dorothy Micks
Ruth-Ann Miller
Marion O'Hara
Lillian Parker
Julie Patterson
Ted Patterson
Allison Read
Dave Reath
Dolores Riehl
Marie Sanchioni
Jean Schenck
Ingrid Schmekies
Barbara Scott
Megan Shore
Stephanie Shore
Catherine Sinkins
Pamela Spencer
Rita Van Heyningen
Joceryn Ventrcek
Stephen Vogan
Trine Wofl
Traffic Attendant
Josh Kukulski
Cloakroom Attendants
Mary Doering
MaryGonczol
Parking Lot Supervisor
Andrew Douglas
Stall
John Kastner
Andrew Nickel
Matt Nickel
Steve Wolfgram
AVON THEATRE FRONT OF HOUSE
House Manager
Isabelle Remhart Hook
Assistant House Manager
Aline Ollnier
Ushers
Elsie Clark
Marlene Cossey
Ann Marie Davs
Jean Garner-Dearing
Betty Holland
Rob Illman
AmyKnjg
Mary MacPherson
Tyler MacNaughton
Veronica Marcellissen
Yootha Neller
Lois Pogson
Rob Robinet
Valerie Robinson
Barb Scholz
Ellneda Zimmerman
Cloakroom Attendants
Joyce Chapel
Mary Doenng
TOM PATTERSON
THEARE
FRONT OF HOUSE
House Manager Andrew Douglas Ushers
Mary Bennewitz Celina Desando Sarah Flanagan Betty Holland Dons Hussey Beth Kollman Dorothy Micks Brett Monteith Lillian Parker Jeremy Schlotzhauer
OPERATIONS
Operations Manager Clare Downey Chief Engineer Simon Cahill Shift Engineers Robert Anderson John Luesink Richard Morris Head Gardener Dennis Washburn Assistant Gardener John Campion Maintenance Carpenters Richard Graul Frank Krauskopf Head of Maintenance Ron Brown Maintenance Bernie Baker Roy Brown Mark Czajkowksi William Johnson Tom Jordan Larry Shurrie Seasonal Maintenance Michael Chilton Jim Mitchell Ken Baumbach Steven Price Gordon Wilson Brenda Rich Stage Door Guards Harry Smith Blair Holden Brent Holden Michael Thomas
The University Musical Society thanks the following individuals, departments, and businesses for their assistance in making the Stratford on Ann Arbor performances possible.
Gregg Alf
Kathy M. Anderson Carol Amster Herb Amster Martha Ause Barbara Bach Milli Baranowski Linda Bennett Anne Benninghoff Sara Billmann Polly Binder Carmel Borders Janice Stevens Botsford Enoch Brater Nancy Briggs Ava Brown Jeannine Buchanan Letitia Byrd Beuy Byrne Pauline Coleman Evelyn Collins Peter H. deLoof Don Faber Wendy Feigner Leslie Feret Robben Fleming Phyllis Flory Erik Frederickson
Linda French Jennifer Haines Margo Halsted Dora Hampel Esther Heitler Loma Hildebrandt KathleenTreciakHill Chen-Oi Hsieh JoAnne Hulce June Hulchings Janelle Hutchison Institute for the Humanities Alice Irani Perry Irish Maureen Isaac Frances Jelinek Mary Kahn Heidi Kerst Leah Kileny Beatrice Kueng Nat Lacy Kathleen Maly Annette Masson Marty McClatchey Charlotte McGeoch Bemice Merte Clyde Metzger Rosalie Moore
Tom Mull Deb Katz
Karen Koykka O'Neal Connie Osier Marysia Ostafin Mary Price Rosemary Rathe Maya Savarino Pam Schultz Mary Sexton Janet Shatusky Aliza Shevrin Leslie Stainton Katie Stebbins Katherine Steffek Ellen Stross James Telfer, MD Katharine Uhle Sue UUrich Harlan UnderhiU Jerry Weidenbach Robert Weisbuch Shelly Williams Phyllis Wright James Winn Elizabeth Yhouse Nancy Zimmerman
Very Special Thanks to...
The Staff at the Gandy Dancer Restaurant for their infectious enthusiasm at staging the Wassail Dinner on Thursday night
EUie and Dennis Serras of Maude's Restaurant and Mainstreet Ventures for welcoming the Stratford Company at late night hours
Ede Bookstein for hosting the "Farewell Brunch" for the Stratford Company.
Alice Irani for her pro bono legal counsel.
Special thanks to all the actors and members and of the Stratford Festival Company who participated in the Philips Educational Presentations throughout the week.
1993 94 Winter Season
ItiirodiiiString Quurtr
Trio Tchaikovsky Saturday. January 15. X P.M. Kackham Auditorium
Mm-1-.ikinith Siring (Jinirlii Cycle Hiinxlin Siring Quartet Tuesday. January 25. X P.M.. R.n.'kh.im Auditorium Wednesday Friday. January 26-2X. X i-.m.. I --M Museum of Art Saturday. January 2l). K I'.M.. Kackham Auditorium Wiiic pttwiblr by a gift from KJwanl Surorrlt CoJReallors
Miisciiw irliiM-i Vladimir Spivakuv, conductor Thursday, hrbruary .. X p.m. Kackham Auditorium
Hungarian Stale Folk Knsi-mhlr
1 ridus. Ivhruary. II. K KM. I'ower Center
Pilar Rinju and Company Saturday. Fehpiary 12. X km. I'ower 'enter
James (ialway. flutist " ChrislopnerO'KiKy. pianist Sunday. February IJ, 4 p.m. Hill Auditorium
I i in "In Center Jaw Orchestra Tuesday. I-'ehniary 15. X p.m. Hill Auditorium
Vw Yiirk City Ipi-ra National Company Puccini's Mtulwmi Butterfly
Ihursday-l-riday. March -4. X p.m. Saturday. March 5. 2 P.M. Power ('enter
Made possible by a gift from Joe O'Xeal and O 'Seal Construction
Chicago Symplmny rchi'stra" Kt'iuu-th Ji'iin. conductiir Philip Sahransky, pianist
Tuesday. March X. X KM. Hill Audiuirium Made possible by a gift from Jacobson's
Lrhun Kush Women
Iriday. March ll.SpJU. Power Center
This prujt'ct is supfnrWiI In Arts MUliii-iitiwinhcrs iuuifriends in partnenhip ith Pance mi Turn, Ktmminl EnJuv mail for the Arts, imJ tin' Mirhintw ('tntnvtl for Arts mitl Culttmil AJuits.
KriHios String Quarlt-t
with Hirnulo Pascoal el (irupo
Saturday. March 12. K i-.m. Power ('enter
Moscow Philharmonic Vassily Sinaisky, conductor (iil Shuliam, violinist
Iriday. March IX. X km. Mill Auditorium
I -M School (if Music Faculty Artists Concert Sunday. March 20, 4 p.m. Kackham Auditorium
(uilar Summit Pope Konu-ro, Ln Kottke, Joe Pass, I'aco I'tTi:i Monday. March 21. K P.M.
K.ukhain Auditorium Made powihle by a gift from Regency Travel
Murray I'erahia, pianist Wednesday. March 23. 8 p.m. Hill Auditorium
Kmerson String Quartet
Friday. March 25. 8 p.m. Kackham Auditorium
Joshua lull, violinist Tuesday. April 5. X p.m. Kackham Auditorium
Detroit Symphony Irthestra Niiiiif Jam,conductor University Choral Union Thomas Sheets, music director
Sunday. April 17. 4 P.M. Hill Auditorium
ltvaux Arts Trio
Monday. April IK. 8 p.m. Kackham Auditorium
Dresden Staalskapellv' (?iuseppe Sinupoli, conductor
Thursday. April 21.8 p.m. Hill Auditorium
101st Ann Arbor May Festival
lhursday Saturday May 12-14. 1994 Watch lor details!
Philips Educational Presentation offered in conjunction with this performance Free and open to the public Sec page 21 for details
For more information, call or write:
University Musical Society
of the University of Michigan Burton Memorial Tower Ann Arbor, Ml 481091270
313.764.2538

Download PDF