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UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --

UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - 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Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - 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Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image UMS Concert Program, Tuesday Nov. 15 To 20: University Musical Society: 1994-1995 Fall - Tuesday Nov. 15 To 20 --  image
Day
15
Month
November
Year
1994
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Rights Held By
University Musical Society
OCR Text

Season: 1994-1995 Fall
The University Of Michigan, Ann Arbor

University Musical Society
The L'nhYTitt) ofMtctugan Bimim Mrninnjl Tower Ann Arbor, Michigan 4S109-I270
Dear UMS Patrons,
Thank you very much for attending this event and for supporting the work of the University Musical Society. By the time this 1994-95 season comes to a close in May, the UMS will have brought to the community 65 performances featuring many of the world's finest artists and ensembles. In addition, the UMS will have sponsored more than 100 educational events aimed at enhancing the community's understanding and appreciation of the performing arts. Your support makes all of this possible, and we are grateful to you.
My colleagues throughout the country are continually amazed at how a midwest community of
110.000 can support the number and quality of performances that the UMS brings to Ann Arbor. They
want to know how we do it, and I'm proud to tell them. Here's what I say:
First, and most important, the people of Ann Arbor and the surrounding region provide great support for what we do by attending events in large numbers and by providing generous financial support through gifts to the UMS. And, according to our artists, they are among the most informed, engaged, and appreciative audiences in the country.
It has been the tradition ot the University Musical Society since its founding in 1879 to bring the greatest artists in the world to Ann Arbor, and that tradition ccntinues today. Our patrons expect the best, and that's what we seek to offer them.
Many years ago enlightened leaders of both the University of Michigan and the University Musical Society determined that the UMS could best serve the community if the UMS had a measure of artistic and financial independence from the University. While the UMS is proudly affiliated with the University, is housed on the campus, and collaborates regularly with many University units, it is a separate not-for-profit organization with its own Board of Directors and supports itself solely from ticket sales, other earned income, and grants and contributions. This kind of relationship between a presenting organization and its host institution is highly unusual, but it has contributed significantly to our being able to be creative, bold, and entrepreneurial in bringing the best to Ann Arbor.
The quality of our concert halls means that artists love to perform here and ate eager to accept return engagements. Where else in the U-S. can Yo-Yo Ma, James Gatway, Kathleen Battle, Itzhak Periman, or Cecilia Bartoli perform a recital before 4,300 people and know that their pianissimos can be heard unamplified by everyone
Our talented, diverse, and dedicated Board ot Directors, drawn from both the University and the regional community, provides outstanding leadership for the UMS. The 200-voice Choral Union, 35-member Advisory Committee, 275-member usher corps, and hundreds of other volunteers contribute thousands of hours to the UMS each year and provide critical services that we could not afford otherwise.
Finally. I've got a wonderful group of hard-working staff colleagues who love the Musical Society and love their work. Bringing the best to you brings out the best in them.
Thanks again for coming. And let me hear from you if you have any complaints, suggestions, etc. Look for me in the lobby or give me a call at (313) 747-1 74.
Sincerely.
Thank You Corporate Underwriters
On behalf of the
University Musical Society. I ant privileged to recognize the companies whose support ofUMS through their major corporate underwriting reflects their position as leaders in the Southeastern Michigan business community.
Their generous support provides a solid base from which we are better able to present outstanding perfor?mances for the varied audiences of this part , of the state.
We are proud to be associated with these companies. Their significant participation in our underwriting program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the Musical Society and for the help they provide to serve you. our audience, better.
Kenneth C. Fischer Executive Director
University Musical Society
A Salute To Our Corporate Angels ..
ANDERSON ASSOCIATES
ItALTO-KI
James W. Anderson, Jr. President. The Anderson Associates Realtors
"The arts represent the bountiful fruits of our many rich cultures, which should be shared with everyone in our community, especially our youth. The UMS is to be commended for the wealth of diverse talent they bring to us each year. We are pleased to support their significant efforts."
Carl A. Brauer, Jr.,
Owner
Brauer Investment
Company
"Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
Chelsea Milling Company
Howard S. Holmes
President Chelsea Milling Company
"The Ann Arbor area is very fortunate to have the most enjoyable and outstanding musical entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
Curtin & Alf
Joseph Curtin and Greg Air
Owners, Curtin & Alf
"Curtin & Alfs support of the University Musical Society is both a privilege and an honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excellence across the land."
Donald M. Vuchetich, President
Detroit & Canada Tunnel Corporation
"The Detroit and Canada Tunnel Corporation is proud to be a partner with the University of Michigan Musical Society in their success of bringing such high quality performances to the Southeast Michigan region."
Douglas D. Freeth
President
First of America
Bank-Ann Arbor
"We are proud to help sponsor this major cultural group in our community which perpetuates the wonderful May Festival."
A Salute To Our Corporate Angels...
Conlin -Faber Travel
L. Thomas Conlin
Chairman of the Board and Chief Executive OfficerConlin-Faber Travel
"The University Musical Society has always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
William E. Odom
Chairman
Ford Motor Credit
Company
"The people of Ford Credit are very proud of our continuing association with the University Musical Society. The Society's long-established commit?ment to Artistic Excellence not only benefits all of Southeast Michigan, but more importantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
Alex Trotman
Chairman, Chief Executive Officer Ford Motor Company
"Ford takes particular pride in our longstanding associa?tion with the University Musical Society, its concerts, and the educational programs that contribute so much to Southeastern Michigan. The Society's May Festival, now entering its second century, has become one of our region's major assets, and last year, we were pleased to underwrite its centenary."
Robert J. Delonis
President and Chief Executive Officer Great Lakes Bancorp
"As a long-standing member of the Ann Arbor community, Great Lakes Bancorp and the University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
Jnc
John Psarouthakis Ph.D.
Chairman and Chief Executive Officer JPEinc.
"Our community is enriched by the University Musical Society. We warmly support the cultural events it brings to our area."
Jacobson's
Mark K. Rosenfeld
President, Jacobson Stores Inc.
"We are pleased to share a pleasant relationship with the University Musical Society. Business and the arts have a natural affinity for community commitment."
Dennis Serras Presideni Mainstreet Ventures, Inc.
"As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing high level talent to the Ann Arbor community."
John E. Lobbia
Chairman and Chiel Executive Officer Detroit Edison
"The University Musical Society is one of the organizations that make the Ann Arbor community a world-renowned center for the arts. The entire commu?nity shares in the countless benefits of the excellence of these programs."
Ronald Weiser Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University Musical Society and the cultural contribution it makes to the community."
Joe E. O'Neal
President, O'Neal Construction
"A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
PEPPER, HAMILTON & SCHEETZ
ATTCRNEY5 AT LAW
Michael Staebler
Managing Partner Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our plea?sure to be among your supporters."
Iva M. Wilson
President, Philips Display Components Company
"Philips Display Components Company is proud to support the University Musical Society and the artistic value it adds to the community."
Society
George H. Cress
Chairman, President, and Chief Executive Officer Society Bank, Michigan
"The University Musical Society has always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commit?ment to excellence."
tDWARD VgJROVELL
k-CO (REALTORS
Edward Surovell
President The Edward Surovell Co. Realtors
"Our support of the University Musical Society is based on the belief that the quality of the arts in the community reflects the quality of life in that community."
R?GENCr"TRAVaiNC
Sue S. Lee, President
Regency Travel Agency, Inc.
"It is our pleasure to work with such an outstanding organization as the Musical Society at the University of Michigan."
Ronald M. Cresswell, Ph.D.
Vice President and
Chairman
Pharmaceutical
Division,
Warner Lambert
Company
"Warner-Lambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employ?ees in Ann Arbor."
Dr. James R. Irwin Chairman and CEO. The Irwin Group of Companies Presidenl. Wolverine Temporary Staffing Services
"Wolverine Staffing began its support of the Universitiy Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
The University Musical Society
of the University of Michigan
Board of Directors
Herbert S. Amster President
Norman G. Herbert Vice President Carol Smokier Secretary Richard H. Rogel Treasurer
Maurice S. Binkow Paul C. Boylan Carl A. Brauer, Jr. Lctilia J. Byrd Leon Cohan Jon Cosovich
Advisory Committee
Elizabeth Yhouse Chair
Gregg Alf Paulett Banks Milli Baranowski Janice Stevens Botsford Jeannine Buchanan Letitia Byrd Betty Byrne Pat Chatas Chen Oi Chin-Hsieh Phil Cole Peter H. deLoof Rosanne Duncan Don Faber Penny Fischer Barbara Gelehrter Margo Halsted Esther Heitler Lorna Hildebrandt Kathleen Treciak Hill Matthew Hoffman JoAnne Hulce
Staff
Kenneth C. Fischer Executive Director
Catherine S. Arcure Edith Leavis Bookstein Betty Byrne Yoshi Campbell Sally A. Cushing Erika Fischer Judy Johnson Fry Adam Glaser Michael L. Gowing Philip Guire Deborah Halinski Jonathan Watts Hull
Ronald M. Cresswell James J. Duderstadt Walter L. Harrison Thomas E. Kauper F. Bruce Kulp Rebecca McGowan George I. Shirley Herbert E. Sloan Edward D. Surovell Eileen L. Weiser Iva Wilson
Gail W. Rector President Emeritus
Alice Davis Irani Perry Irish Heidi Kerst Leah Kileny Nat Lacy Maxine Larrouy Doni Lystra Kathleen Beck Maly Charlotte McGeoch Margaret McKinley Clyde Metzger Ronald G. Miller Karen Koykka O'Neal Marysia Ostafin Maya Savarino Janet Shatusky Aliza Shevrin Ellen Stross James Telfer, M.D. Susan B. Ullrich Jerry Weidenbach Jane Wilkinson
Judy Fry, Staff Liaison
Erva Jackson John B. Kennard, Jr. Michael J. Kondziolka Thomas Mull R. Scott Russell Thomas Sheets Helen Siedel Jane Stanton
Morning Bishop
Arts Midwest Minority Arts
Administration Fellow
Donald Bryant Conductor Emeritus
The University Musical Society is an Equal Opportunity Employer and provides programs and services without regard to race, color, religion, national origin, age, sex, or handicap.
The University Musical Society is supported by the Michigan JVl Jjlv Council for Arts and Cultural Affairs, and Arts Midwest VC S3 and Friends in Partnership with the National Endowment for the Arts.
General Information
University Musical Society Auditoria Directory and Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east
and west sides of the main lobby and are open only
during the winter months.
Rackham Auditorium: Coat rooms are located on
each side of the main lobby.
Power Center: Lockers are available on both levels
for a minimal charge. Free self-serve coat racks may
be found on both levels.
Michigan Theater: Coat check is available
in the lobby.
Drinking Fountains
Hill Auditorium: Drinking fountains are located
throughout the main floor lobby, as well as on the
east and west sides of the first and second balcony
lobbies.
Rackham Auditorium: Drinking fountains are
located at the sides of the inner lobby.
Power Center: Drinking fountains are located on the
north side of the main lobby and on the lower level,
next to the restrooms.
Michigan Theater: Drinking fountains are located
in the center of the main floor lobby.
Handicapped Facilities All auditoria now have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 313.764.2538.
Parking
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to members at the Guarantor, Leader, Concertmaster, and Bravo Society levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible public
telephone is located at the west side of the outer
lobby.
Rackham Auditorium: Pay telephones are located
on each side of the main lobby. A campus phone is
located on the east side of the main lobby.
Power Center: Pay phones are available in the
ticket office lobby.
Michigan Theater: Pay phones are located in
the lobby.
Refreshments
Refreshments are served in the lobby during intermis?sions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Restrooms
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby.
Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby. Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level. Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Smoking Areas
University of Michigan policy forbids smoking
in any public area, including the lobbies and restrooms.
Tours
Guided tours of the auditoria are available to groups by advance appointment only. Call (313) 763-3100 for details.
UMSMember Information Table
A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the lobby of each auditorium. Volunteers and UMS staff can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
Concert Guidelines
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts
The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
Children
We welcome children, but very young children can be disruptive to a performance. Children under three years of age will not be admitted to any performance. Children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket, regardless of age.
A Modern Distraction
Please turn off or suppress electronic beeping
and chiming digital watches or pagers during
performances.
Cameras and Recorders
Cameras and recording devices are strictly prohibited in the auditoria.
Odds and Ends
A silent auditorium with an expectant and sensitive audience creates the setting for an enriching musical experience. To that desired end, performers and patrons alike will benefit from the absence of talking, loud whispers, rustling of program pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
Ticket Services
Phone Orders and Information:
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
313.764.2538
From outside the 313. area code, call toll-free 1.800.221.1229. Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
Fax Orders 313.747.1171
Visit Our Box Office in Person At our Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 90 minutes before performance time.
Gift Certificates
Tickets make great gifts for any occasion. The Musical Society offers gift certificates available in any amount.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time. You will be given a receipt for an income tax deduction as refunds are not available. Please call (313) 764-2538, 10 a.m. to 6 p.m. Monday Friday and 10 a.m. to 1 p.m. Saturday.
University Musical Society
of the University of Michigan
Now in its 116th season, the University Musical Society ranks as one of the oldest and most highly-regarded performing arts presenters in the country.
The Musical Society began in 1879 when a group of singers from Ann Arbor churches gathered together to study and perform the choruses from Handel's Messiah under the leadership of Professor Henry Simmons Frieze and Professor Calvin B. Cady. The group soon became known as The Choral Union and gave its first concert in December 1879. This tradition continues today. The UMS Choral Union performs this beloved oratorio each December.
The UMS Choral Union led to the formation in 1880 of the University Musical Society whose name was derived from the fact that many members were affiliated with the University of Michigan. Professor Frieze, who at one time served as acting president of the University, became the first president of the Society. The Society comprised the Choral Union and a concert series that featured local and visiting artists and ensembles. Today, of course, the Choral Union refers not only to the chorus but the Musical Society's acclaimed ten-concert series in Hill Auditorium.
Through the Chamber Arts Series, Choral Union Series, Choice Events, and the annual May Festival celebration, the Musical Society now hosts over 60 concerts and more than 100 educational events each season featuring the world's finest dance companies, chamber ensembles, recitalists, symphony orchestras, opera, theater, popular attractions and presenta?tions from diverse cultures. The Musical Society has flourished these 116 years with the support of a generous musicand arts-loving commu?nity, which has gathered in Hill and Rackham Auditoria and Power Center to experience the artistry of such outstanding talents as Leonard Bernstein, Vienna Philharmonic Orchestra, Sweet Honey in the Rock, Enrico Caruso, Jessye Norman, James Levine, the Philadelphia Orchestra, Urban Bush Women, Benny Goodman, Andres Segovia, the Stratford Festival, Beaux Arts Trio, Alvin Ailey, Cecilia Bartoli, and the Chicago Symphony Orchestra. In May of 1993, the Musical Society celebrated
its 100th Ann Arbor May Festival with performances by the Metropoliatan Opera Orchestra led by Maestro James Levine, Itzhak Perlman, Eartha Kitt, the Detroit Symphony Orchestra, the University Choral Union, and other artists.
Under the leadership of only five directors in its history, the Musical Society has built a reputation of quality and tradition that is maintained and strengthened through educational endeavors, commissioning of new works, programs for young people, and collaborative projects.
While it is proudly affiliated with the University of Michigan and is housed on the Ann Arbor campus, the Musical Society is a separate, not-for-profit organization, which supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
Throughout its 116-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orches?tras and conductors.
The chorus has sung under the direction of Neeme Jarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson Thomas, Seiji Ozawa, Robert Spano, and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles. In 1993, the UMS Choral Union was appointed the resident large chorus of the Detroit Symphony Orchestra.
A highlight of the UMS Choral Union's 1993 1994 season was the performance and recording of Tchaikovsky's Snow Maiden with the Detroit
Symphony Orchestra conducted by Neeme Jarvi, to be released this November by Chandos International.
During this season the UMS Choral Union will join the Detroit Symphony Orchestra and conductor Neeme Jarvi in performances of Ravel's Daplinis et Chloe, present A Celebration of the Spiritual with Dr. Jester Hairston, and perform the Mahler Symphony 2 (Resurrec?tion), again with the DSO, under conductor Jerzy Semkow. In April 1995, the Choral Union will join the Toledo Symphony Orchestra in commemorating the 50th Anniversary of V-E Day, performing Britten's War Requiem in Toledo under the direction of Andrew Massey.
Established in 1879 when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, the ambitious founders of the Choral Union went on to form the University Musical Societythe following year. Representing a mixture of townspeople, students, and faculty, members of the UMS Choral Union share one common passion -a love of the choral art.
Hill Auditorium
Completed in 1913, this renowned concert hall was inaugurated by the 20th Annual Ann Arbor May Festival and has since been home to thousands of Musical Society concerts, including the annual Choral Union series, throughout its distinguished 80-year history.
Former U-M Regent Arthur Hill saw the need at the University for a suitable auditorium for holding lectures, concerts, and other university gatherings, and, with his bequest of $200,000, construction of the 4,169-seat hall commenced. Charles Sink, then UMS president, raised an additional $150,000.
Upon entering the hall, concertgoers are greeted by the gilded organ pipes of the Frieze Memorial
Organ above the stage. UMS obtained this organ in 1894 from the Chicago Columbian Exposition and installed it in old University Hall (which stood behind the present Angell Hall). The organ was moved to Hill Auditorium for the 1913 May Festival. Over the decades, the organ pipes have undergone many changes of appearance, but were restored to their original stenciling, coloring, and layout in 1986.
Currently, Hill Auditorium is part of the U-M's capital campaign, the Campaign for Michigan. Renovation plans for Hill Auditorium have been developed by Albert Kahn and Associates to include elevators, green rooms, expanded bathroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
Power Center for the Performing Arts
The dramatic mirrored glass that fronts the Power Center seems to anticipate what awaits the concertgoer inside. The Power Center's dedication occurred with the world premiere of Truman Capote's The Grass Harp in 1971. Since then, the Center has been host to hundreds of prestigious names in theater, dance, and music, including the University Musical Society's first Power Center presentation --Marcel Marceau.
The fall of 1991 marked the twentieth anniversary of the Power Center. The Power Family -Eugene B. Power, a former regent of the University of Michigan, his wife Sadye, and their son Philip -contributed $4 million toward the building of the theater and its subsequent improvements. The Center has seating for 1,414 in the auditorium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit.
UMS now hosts its annual week-long theater residency in the Power Center, welcoming the esteemed Shaw Festival of Canada, November 15-20,1994.
Rackham Auditorium
For over 50 years, this intimate and unique concert hall has been the setting for hundreds of world-acclaimed chamber music ensembles presented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semi-circular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and presented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The present-day Chamber Arts Series was launched in 1963. The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 1,129-seat auditorium was designed by architect William Kapp and architectural sculptor Corrado Parducci.
University Musical Society ,
of the University of Michigan Fall Season
Event Program Book
Tuesday, November 15, 1994
through
Sunday, November 20, 1994
116th Annual Choral Union Series Hill Auditorium
t
32nd Annual Chamber Arts Series Rackham Auditorium
24th Annual Choice Events Series
The Shaw Festival
George Bernard Shaw's
Arms and the Man
Tuesday, November 15, 1994 at 8:00 pm Thursday, November 17, 1g.g4.at 8:00 pm Saturday, November 19, 1994 at 8:00 pm Sunday, November 20, 1994 at 2:00 pm Power Center
Ben Hecht and Cfiarles McArthur's
The Front Page i 3
Wednesday, November 16, 1994 at 8:00 pm Friday, November 18, 1994 at 8:00 pm Saturday, November 19, 1994 at 2:00 pm Power Center
Company Biographies 24
General Information
We welcome children, but very young children can be disruptive to some performances. When required, children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time
Every attempt is made to begin con?certs on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and scat location and ask them lo call University Security at 763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other VMS per?formances included in this edition. Thank you for your help.
Shaw Festival
Artistic Director Christopher Newton
Administrative Director Colleen Blake
Directors
Carol Anderson
Choreographer Tadeusz Bradecki Susan Cox Christopher Donison
Director of Music Sally Han Paul Lampert Glynis Leyshon Jim Mezon Neil Munro
Resident Director Christopher Newton
Designers Cameron Porteous
Head of Design Tania Etienne Leslie Frankish Peter Hartwell Eduard Kochergin Yvonne Sauriol Vy'illiam Schmuck
Lighting Designers Robert Thomson
Associate Head of Design Elizabeth Asselstine Scott Henderson Kevin Lamotte Graeme Thomson
The Ensemble
David Adams Ann Baggley Michael Ball Guy Bannerman Neil Barclay Anthony Bekenn Robert Benson Richard Binsley Simon Bradbury Elizabeth Brown Norman Browning Joyce Campion
Donald Carrier Nicola Cavendish Robert Clarke Jillian Cook Susan Cox Diane D'Aquila Craig Davidson Bruce Davies George Dawson Richard Farrell Tracey Ferencz Sharry Flett Herb Foster Paul Gatchell Andrew Gillies Marion Gilsenan
1 Donna Goodhand Allan Gray Gail Hakala Matt Handy Mary Haney Terry Harford Corrine Hebden Brian Hill David Hogan Irene Hogan Roger Honeywell Stuart Hughes Peter Hutt Patty Jamison Janejohanson Gabrielle Jones Al Kozlik Peter Krantz
Deborah Lambie Paul Lampert Lee MacDougaJl Barry MacGregor Sam Mancuso Patric Masurkevitch Sherri McFarlane Weston McMillan Jack Medley Jim Mezon Peter Millard Kiri-Lyn Muir Dick Murphy Christopher Newton Duncan Ollerenshaw Joan Orenstein Sarah Orenstein William Orlowski Jennifer Phipps Gordon Rand Fiona Reid Roger Rowland Christopher Royal David Schurmann Goldie Semple Stephen Simms Ian Simpson Karen Skidmoce Jan Alexandra Smith Sherry Smith Greg Spottiswood Susan Stackhouse Steven Sutcliffe Helen Taylor
Wendy Thatcher Tony Van Bridge Ian VandeBurgt Sven Van De Ven William Vickers Todd Wake Richard Waugh Sandy Webster William Webster Peter Wilds Blair Williams Alison Woolridge
Not appearing this season
In Memoriam
Leonard Chow Jeffrey Dallas Nancy Kerr Larry Lillo Richard March John Ormerod Paul Reynolds Richard Vriens Susan Wright
Associate Companies Bolshoi Drama Theatre,
St. Petersburg, Russia Stary Teatr,
Krakow, Poland
University
Musical
Society
with
TriMas and
Detroit & Canada Tunnel Corporation
present
The Shaw Festival
Christopher Newton Artistic Director
Program
Tuesday Evening, November 15, 1994 at 8:00
Thursday Evening, November 17, 1994 at 8:00
Saturday Evening, November 19, 1994 at 8:00
Sunday Afternoon, November 20, 1994 at 2:00
Power Center
Ann Arbor, Michigan
Simon Bradbury, Tracey Ferencz, Norman Browning anrf Andrew Gillies in the Centennial Production of
Arms and The Man
by George Bernard Shaw
with Sarah Orenstein, Jim Mezon, and Wendy Thatcher
Directed by
Jim Mezon
Designed by
Eduard Kochergin
Ligkting Designed by
Robert Thomson
Sixteenth, Eighteenth, Twenty-first and Twenty-second performances of the 116th Season
24th Annual Choice Series
Thanks to Ronald Bryden, Literary Advisor to the Shaw Festival, speaker for the November ij, 1994 Philips Educational Presentation.
Special thanks to Brian P. Campbell, President and CEO of TriMas, and Donald M. Vuchetich, President of Detroit & Canada Tunnel Corporation for helping to make these performances possible.
The Cast
Raina Petkoff Catherine Petkoff Louka Captain Bluntschli
Major Plechanaff (A Russian Officer)
Bulgarian Soldiers
Nicola
Major Paul Petkoff
I Major Sergius Saranoff
In Order of Appearance
Tracey Ferencz Wendy Thatcher Sarah Orenstein Simon Bradbury
Donald Carrier .
Matt Handy Weston McMillan
Jim Mezon Norman Browning Andrew Gillies
Production Stage Manager Stage Manager
Assistant.Stage Manager Assistant Director
Assistant to the Designer (Costumes)
Assistant Designers Assistant Lighting Designers
Laurie Champagne Charlotte Green Michelle Lagasse David Oiye Ina Gabai
Tania Etienne Andrew Holland
Scott Henderson Christopher L. Dennis
Act I
Night: A lady's bedchamber in Bulgaria, in a small town near the Dragoman Pass, late in November in the year 1885
Intermission
Act II
The sixth of March, 1886.
In the garden of Major Petkoff's house
( Intermission
Act III
In the library after lunch
Understudies
Donald Carrier: Major Paul Petkoff, Major Sergius Saranoff
Robert Clark: Russian soldiers
Jillian Cook: Catherine Petkoff
Malt Handy: Major Plechanoff
Weston McMillan: Captain Bluntschli, Nicola
Alison Woolridge: l.onka, Raina Petkoff
Director's Notes
by Jim Mezon
ast year I directed an Agatha Christie play. I believe one of the major reasons for her longevity and popularity is her faith I in absolutes. Her charac-I ters are instantly recogniz?able; her conflicts are Good versus Evil; and her endings are relatively happy -much like a fairy tale.
tShaw once wrote, 'The obvious conflicts of unmistakable good with unmistakable evil can only supply the crude drama of villain and hero in which some absolute point of view is taken. In such cheap wares I do not deal.'
Very well. Let us move from the com?forts of the bargain basement to the colder realities of the penthouse.
Shaw described Arms and The Man as an anti-romantic comedy. I looked up the word, 'romantic'. In part the definition reads: 'Having no foundation in fact, having no real existence, imaginary, purely ideal, quixotic'
Throughout his life, Shaw, the socialist and educator, would do battle against these romantic windmills. Giants with the names. War, Money, Power, Sex, Religion and Romance. This battle is a constant through?out his plays--the dismantling of false ideals. Through it he enabled his characters to exist in a new world that lacked absolutes -to see what is real around them and to f
begin to work towards a more human society based on those natural realities.
A hundred years later, with our Information Highways and Global Villages, we now know that war is hell and that money is the root of all evil.
Of course, we stiH fight the one and sell our souls for the other. And Miss Christie is as popular .is ever.
Exit the Hero, Enter the Superman
by Ronald Bryden
For each of our productions, the Shaw Festival commissions an original essay for our house pro?gram. The essayists are-chosen for their special expertise regarding either the play or the issues with which it deals.
For Aims and The Man, our program essay is written by Ronald Bryden, Literary Advisor to the Shaw Festival. Professor Bryden was formerly dramaturge to the Royal Shakespeare Company in Britain, drama critic ofThe Observer, and head of the University of Toronto's Graduate Centre for Study of Drama.
The word 'Superman' has a special meaning in Shavian studies. In a semi-religious doctrine whidi Shaw called 'Creative Evolution', men and women find themselves in the grip of a Life Force whose purpose is to create a better species of human being. Those who have evolved further than others toward this higher being, this Superman, have a responsibility to advance the whole human race; and not to be dragged back into mediocrity by those who haven't yet evolved as far.
There's a famous story about the first night of Arms and The Man. On April 21,1894, George Bernard Shaw stepped before the curtain of the Avenue Theatre in
response to cries of 'Author!' and was met by wild applause and a single loud 'Boo!' from the gallery. Raising his eyes toward his invisible critic, Shaw said dryly, 'My dear fel?low, I quite agree with you. But what are we two against so many'
The rest of the story is not so famous. Shaw meant what he said. The evening had been both triumph and torture for him. He knew it had made his reputation as the most brilliant and ruthless new wit on the London stage. He knew also that this was the wrong reputation for him to make. 'I had the curious experience,' he wrote to his fellow dramatist Henry Arthur Jones, 'of witnessing an appar?ently insane success, with the actors and actresses almost losing their heads with the intoxication of laugh after laugh, and of ? going before the curtain to thunderous applause, the only person in the theatre who knew that the whole affair was a ghastly failure.'
It was a failure, to Shaw's mind, because the audience in its headlong laughter had failed to recognize the serious argument and emotions on which he had built his comedy. He found it ghastly that this riotous success could saddle him for life with th
public image of a heartless joker, a satirist with the smile of a cut-throat razor, in the manner of W.S. Gilbert. To make it ghastlier, that comparison was made by his friend, the critic William Archer, in a review that accused Shaw of draining all the red corpuscles from his characters' veins.
'Gilbert is simply a paradoxically humor?ous cynic,' Shaw wrote furiously to Archer. 'He accepts the conventional ideals implicidy, but observes that people do not really live up to them. This he regards as a failure on their part which he mocks bitterly. This posi?tion is precisely that of Sergius in the play . . . I do not accept the conventional ideals . . . My whole secret is that I have got clean through the old categories of good and evil, and no longer use them even for dramatic effect. Sergius is ridiculous through the breakdown of his ideals, not odious from his falling short of them.' Elsewhere he described Sergius as 'a movingly human figure whose tragi-comedy is the true theme-of the play.' Shaw was pardy to blame for misreadings of his play. Before it opened, he published an imaginary interview with himself in which he pretended to have written it first as a time?less, placeless comic theorem, then taken the advice of his Fabian friend Sidney Webb to set it during die Serbo-Bulgarian War of 1885-86. The story will not hold water. Shaw's allegedly placeless first draft bore the tide Alps and Balkans. The whole strategy of die first act depends on die audience discovering that a scene of apparent Dumas romance is happening during Europe's most recent war. In any case, it's impossible to believe that Shaw's start on the play, recorded in his diary on November 26, 1893, owed noth?ing to the lengthy newspaper reports a week earlier of the death of Alexander of Battenberg, first prince of Bulgaria. The Prince died on November 18, die eighth anniversary of the batde of Slivnitza in which he had led his nation to victory over the Serbs. Sergius' tragi-comedy is a domestic distillation of that of poor Sandro Battenberg.
The Battenbergs now are better known by the name their English branch adopted during World War I: Mountbatten. They descend from a spirited Grand Duchess of Hesse who, bored with her husband, set up a separate domicile managed for her by her Swiss master-of-horse. There she gave birth to two children, Marie and Alexander, whose good looks bore little resemblance to their Hessian siblings but a marked one to the handsome Switzer.
Marie's Cinderella beauty caught the eye of the Tsarevitch Alexander of Russia, touring the courts of Europe in search of a bride.-Her brother accompanied her to Moscow for her wedding, but had to be sent home in disgrace for beguiling an imperial princess and then seducing an imperial lady-in-waiting. As consolation prize for mar?rying her, he was granted the title Prince of Battenberg, and it was their string of hand?some, penniless sons who made the name known and feared in every European palace housing marriageable daughters.
Louis, the eldest, married Queen Victoria's granddaughter and became Britain's First Lord'of the Admiralty. Henry, the idlest, outdid him by snaring Victoria's youngest-daughter, and never worked again. But Sandro, the handsomest, found himself a throne. His uncle the Tsar Alexander II nominated him as first ruling prince of Bulgaria, wrested by Russia from the Turks in 1878. The Tsar's plan was to establish a Balkan puppet who would help Russia to . corner Balkan railway construction and Danube trade. But Sandro, a newly minted Bulgarian, had discovered the pleasures of patriotism. When he turned on his patron to befriend British and German interests, the enraged Tsar recalled the Russian officers who commanded Bulgaria's tiny untrained army. Seizing his chance, the king of neigh?boring Serbia ordered three divisions to cross the Bulgarian border.
The Serbo-Bulgarian war was Sandro's finest hour. He led his army, commanded
now by inexperienced young Bulgarians, on a forced march from the Turkish border over the Balkan mountains to defend Sofia, the capital. Sandro himself rode at their head to meet the oncoming Serbs before the village of Slivnitza. For two days the batde swayed back and forth. On the third, the Bulgarian cavalry led by Captain Benderev broke through the Serbian line, triggering the panic retreat over the Dragoman Pass which opens Shaw's play. With his advance guard, Sandro crossed the Serbian frontier and prepared to march on Belgrade. Before he could do so, Austria's ambassador to Serbia arrived at Sandro's command post. Any further Bulgarian advance, he warned, would be met by Austrian troops and artillery.
Piece by piece Sandro saw his victory takenfromhim. The Powers were not pre?pared to see him upset their balance of influence in the Balkans. Bismarck and the new Tsar Alexander III, who had never liked his matinee-idol cousin, agreed that Sandro must go. In August 1886 a group of Russian-paid officers, Benderev among them, kid?napped the prince from his palace, bundled him down the Danube in the royal yacht, and handed him over to the Tsar's police at the nearest Russian port. Given the choice of yielding up his throne or seeing Bulgaria disappear, Sandro abdicated. He returned to life as a cavalry officer in the Austrian army, happily, married to an attractive com?moner. His death in 1893 was caused by a .burst appendix. In his deathbed delirium, he believed he was back on the field of Slivnitza, and died crying "Victory! Victory!"
Shaw in Arms and The Man pointed die moral of Sandro's war: patriotism and gallantry count for nothing in modern warfare beside armaments, power politics, and political cal?culation. Did this mean he found Sandro, or his theatrical representative Sergius, ridiculous as wel] as pitiful Not, surely, when Sergius recognizes the tragedy "into which his inhu?manly romantic ideals have led him.
But it took forty years for Shaw's criticism to reach the insight of Edmund Wilson's, essay in The Triple Thinkers, which argues that what made the playwright great was his ability to hold two contradictory truths in his mind at the same time. Arms and The Man is the first of the great plays in which Shaw does this. It is at once a comedy of a perfect rationalist--Shaw's first Superman--who points where the world must go, and the tragedy of a heroic romantic who embodies what the world will lose by going there.
For the rest of his life, Shaw harangued actors and managers abdut the casting of his play; urging Richard Mansfield to play Sergius rather than Bluntschli, begging Firmin Gemier to find for the first Paris pro?duction a Sergius as superb, magnetic and ' handsome as the leading tragedian of the Comedie-Franfaise, Mounet-Sully. It's not clear whether Florence Farr believed Shaw, when he persuaded her to play Lquka, that she was abandoning the feminine lead to play the strongest part-in the script. But one need only compare the precision of Shaw's details with the fairy tale that Anthony Hope wove around Sandro's kidnapping in The Prisoner of Zenda (published some weeks after the play opened) to see that Shaw was interested in, human realities, not Balkan romance. Perhaps with a real Balkan war to shed its light on Arms and The Man on its hundredth birthday, we may have a better chance to see the play as Shaw intended.
The Author .
George Bernard Shaw, the acclaimed dramatist, critic, and social reformer was born in Dublin in 1856, where he grew up in an atmosphere of genteel poverty. He attended four schools
and was tutored by a clerical uncle, but left his formal education behind him at the age of fifteen. He developed a wide knowledge of music, art, and literature, under the influ?ence of his mother, a singer and vocal music teacher, and as a result of his visits to-the National Gallery of Ireland. In 1876 he moved to London, where he spent his after?noons in the British Museum, and his evenings pursuing his informal education in the form of lectures and debates. Shaw declared himself a socialist in 1882 and joined the Fabian Society in 1884; toward the end of the decade he distinguished him?self as a fluent and effective speaker, and as an incisive and irreverent critic of music, art, and drama.
, Widowers' Houses, Shaw's first play, was produced privately in 1892 for the members of the Independent Theatre Society. It was followed by The Philanderer and Mrs. Warrer's Profession: These form the Plays Unpleasant, and reflect Shaw's admiration for the 'new drama' of Ibsen. More palatable, though rich with tongue-in-cheek challenges to con?ventional dramatic values, were the Plays Pleasant (1898), including Arms and The'
Man, Candida, The Man of Destiny, and You Never Can Tell. In 18g8 Shaw married Charlotte Payne-Townshend, an Irish heiress and friend of Beatrice and Sidney Webb, the 'original Fabians'.
The actor-manager Harley Granville Barker helped to advance Shaw's popularity in London with his memorable perfor?mances in several Shaw plays at the Royal Court Theatre, including Marchbanks in Candida (1904), Peter Kegan in John Bull's Other Island (1904), John Tanner in Man and Superman (1905), Cusins-in Major Barbara (1905) and Dubedat in The Doctor's Dilemma (1906). Shaw's comedic masterpiece and his most popular play, Pygmalion, was first performed in 1913.
Shaw's anti-war speeches, and a contro?versial polemic Common Sense About,the War, made him notorious and the target of much criticism. In Heartbreak House {performed 1920) Shaw exposed, in a country-house setting on the eve of war, the spiritual bankruptcy of the generation responsible for the war's bloodshed. He followed it with Back to Methuselah, his 'metabiological Pentateuch', in 1922. Saint Joan (1923) is considered by many critics his finest play, acclaim for which led to the awarding of the Nobel Prize for Literature for 1925. Shaw continued to write plays and essays until his death in 1950 at the age of 94.
Music Credits Arms and The Man
Title of Selection
Title of CD. or Tape
Label & Call Number
Composer Performer
l. Zabranena Pesen
Gospodi Pomiluj
Balkan; Les Voix Bulgares de L'Ensemble Radio Sofia
2-9163 Virgin Records America, Inc.
(as above)
Music by Philippe Eidel & Arnaud Devos
(as above)
2. Pritouritze Planinata
Le Mystere des Voix Bulgares '
AsylumNonesuch Explorer scries
(song from the Thracian Plain)
3Ergen Diado
Le Mystere des Voix Butgares
"2 -Elektra AsylumNonesuch Explorer series
(song of Shopsko)
4Dve Tourlaski Pcsen (Shopsko)
Lc Mystere des Voix Bulgares -Volume II
9 792?-2 -Elektra AsylumNonesuch Explorer series
Vocal Quartet
5. Homeland
Devoiko
Dancing to the bagpipe
Le Mystere des Voix Bulgares -A CathedralConcert
Le Mystere des Voix Bulgares -From Bulgaria with Love
(as above)
. 842 232"2 -Philips New Impression series
Ra 79049 -Mesa
(as above)
Christo Todorov
Vladimir Ivanoff and TranccFormation
Vladimir Ivanoff and TranceFormaiion (original song by Lyondev)
u n i v e.rs i t y
Musical
Society
with
TriMas
and
t)etroit & Canada Tunnel Corporation
present
The Shaw Festival
Christopher Newton Artistic Director
Program
Wednesday Evening, November 16, 1994 at 8:00
Friday Evening, November 18, 1994 at 8:00
Saturday Afternoon, November 19, 1994 at 2:00
I
Power Center
Ann Arbor, Michigan
Stuart Hughes, Michael Ball, Peter Hutt, Al Kozlik and Sandy Webster in
The Front Page
by Ben Hecht and Charles MacArthur
with Guy Bannerman, Neil Barclay, Robert Benson, Norman Browning, Richard Farrell, Andrew Gillies, Mary Haney, Irene Hogan, Peter Millard and David Schurmann
Directed by
Neil Munro
Designed by
Cameron Porteous
Lighting Designed by
Kevin Lamotte
Seventeenth, Nineteenth and Twentieth performances of the 116th Season
24th Annual Choice Series
Thanks to Neil Munro, Director of The Front Page, speaker for the November 18, 1994 Philips Educational Presentation.
Special thanks to Brian P. Campbell, President and CEO of TriMas, and Donald M. Vuchetich, President of Detroit & Canada Tunnel Corporation for helping to make these performances possible. _
The Cast
Endicott (Post) Schwartz (Daily News) Murphy (Journal) Wilson (American) McCue (City Press)
Kruger
(Journal of Commerce)
Bensinger (Tribune) Mrs Myrtle Schlosser Woodenshoes Eichorn Diamond Louis
Hildy Johnson (Herald Examiner)
Jennie
Mollie Malloy Sheriff Hartman Peggy Grant Mrs Grant The Mayor Mr Pincus Earl Williams Walter Burns Tony
Carl, a Deputy Frank, a Deputy
Policeman 1
i
Policeman 2
In Order of Appearance ?
Guy Bannerman Andrew Gillies Norman Browning David Schurmann Al Itazlik Neil Barclay
Peter Millard Jillian Cook Robert Benson Peter Hutt Stuart Hughes
Irene Hogan Mary Haney Richard Farrell Alison Woolridge
Wendy Thatcher
i . Sandy Webster
Dick Murphy . William Vickers Michael Ball Matt Handy -Gordon Rand Robert Clarke Ian VandeBurgt Matt Handy
Production Stage Manager Assistant Stage Manager
Assistant Director 1 Fight Director Assistant Designer
Assistant Lighting Designers
Laurie Champagne Meredith Macdonald
Luisa Appolloni John Nelles TaniaEtienne
Scott Henderson Christopher L. Dennis
Acts I, II and III
Tfle Press Room of the Criminal Courts Building, Chicago
There will be two intermissi'ons
V t
Understudies
Neil Barclay: Sheriff Hariman, The Mayor
Donald Carrier: Endicott
Robert Clarke: Schwartz, Mr Pincus
Jillian Cook: Mrs. Grant; Peggy Grant
Tracey Ferencz: Molly Malloy
Matt Handy: Wilson, Kruger, Earl Williams, Carl
Dick Murphy: Woodenshoes Eichorn, Walter Burns
Gordon Rand: Murphy, McCue, Bensinger
Ian VandeBurgl: Diamond Louis, Hildy Johnson, Tony
Director's Notes
i
by Neil Munro
"" m ci lit and la Ailhm's characters scurry through The Front Page hoping against hope that Life still has meaning, that True Love still has
the power to redeem, that Justice for all is still an inalienable right, and of course that Crime and Corruption do not pay. Unfortun?ately for them, Hecht and MacArthur's characters have got it all wrong.
Farce feeds on insurrection, and i characters stand outside the boundaries of civilized behavior. Farce also contains elements of rage -rage at the inability to better one's circumstances, rage at the deceit of false friendships, rage at why Right seems Wrong and the other way around. All of this is usu?ally coupled with a healthy dose of domestic violence and almost always capped with the power of True Love to rise above all and serenely conquer. However, in applying their own twists and turns to the old formula, Hecht and MacArthur (likeia couple of malicious schoolboys) deal a withering blow to the Happy Ending, thrdwing in doubt whether True Love can manage to make it from Chicago to New York, never mind a blending of spirits and a breeding of the brave new world.
Ennui may be described as the effect of the disparity between the individual and The Infinite (i.e. God Goodness Compassion -some sense of a larger purpose outside one's own existence). If, as Schopenhauer
suggests, ennui is the basis of all human action, then The Front Page becomes some?thing more than just an outdated appreciation of male bonding and a depressing study of the principlescof misogyny. When Life has nothing larger than itself to assuage the dread of Existence, ennui sets in. Social intercourse becomes meaningless; and cruelties, both large and small, become the order of the day.
The Front Pageisa celebration of Chaos. It pictures a society in the boisterousness of decline. It blows a raspberry in the face of broken dreams, bad behavior and social inequality, refusing to give in to the swampy stagnation that is at the heart of creeping -ennui. This famous old play stands dangling its male protuberance over the edge of the Abyss, grinning and gleefully urinating into the wind for all to see. The Front Page grins back at us across the span of sixty-odd years, every bit as vital, angry, and funny (not to mention politically incorrect) as it ever was. Hecht and MacArthur are .a pair of dark clowns, speaking up for the disappointed, the disenfranchised and the spiritually muddled. It's impossible to tell who is the straight man and who is the coTnic, who the ventriloquist and who the dummy. They both led fairly outrageouslives -to the hilt! -from the literary elite of the Chicago Renaissance, to New York's Ires chic Algonquin Round Table, to the fabled golden age of Hollywood excess. Who better to sum up their prodigious talent than Hecht himself: "Would that our writing had been as fine as our lunches;"
Realism, Racism and Misogyny in The Front Page
by Christopher Newton Artistic Director, The Shaw Festival
1 e at The Shaw place great value on know?ing one's own past, and such knowledge is the keystone of our mandate. We believe that the plays of the past throw a revealing light on the problems of the present, and provide a perspective quite different from that of contemporary play writing. We think that The Front Page is an excellent piay--abrasive, occasionally repulsive, and very funny. We do not propose, however, to.-hold up its characters as models of appropriate behavior. In.the best kinds of theatre, such judgments are left to the audi?ence.
People may be shocked by some of the language and incidents in The Front Page This shock is unlikely to be triggered by the coarse language in the play. Although the occasional "goddamn" and "son-of-a-bitch" would have threatened the. boundaries of theatrical convention in the 1920s, such expletives are mild by today's standards.
What is shocking by today's standards 'are the ethnic slurs, racist slang and misogynist incidents in the play. More shocking still, we believe, is the nonchalant acceptance of such language by the characters Who inhabit the aggressively selfish world of The Front Page. The characters use works like "polack", "nigger" and "pickaninny" m casual conver?sation, and no one remarks on the inappro-priateness of such use.
The Chicago Literary Renaissance was based on realism, and this kind of language was realistic for its time and place. We could have cut all such references from our pro?duction. We certainly thought about doing so. But finally, we-decided we ought not to par?ticipate in this kind of historical laundering. We feel there is only a small step between denying the_authenticity of such language, and the attitudes it represents, and denying the realities of ethnic cleansing, genocide, the Holocaust, and tribal warfare in Rwanda.
Every newscast today is full of such examples of human beings' difficulties in coping with racial and cultural differences. Our hope is that plays from the past such as The Front Page, produced with integrity and commitment, will help us to better under?stand the challenges ahead..
Essay on The Front Page
by Douglas Fetherling
For each of our shows, the Shaw Festival commissions an original essay on the play for our house program. The essayists are chosen for their special expertise regarding either the play or the issues inscribed in it.
After try-outs in Atlantic City, Ben Hecht and Charles MacArthur's play The Front Page opened in New York on August 14, 1928. Since that first night
this madcap comedy about Chicago newspaper life has become one of the most frequently produced (and filmed) plays in American theatre. One reason it has remained alive is that it is the best known critique and cliche of American journalism, a work which news?paper people have spent almost 70 years try?ing to live down or live up to. There are still editors who enjoy behaving like the play's Walter Burns in front of their young reporters, who in turn delight in perpetuating Hildy Johnson for an audience of mere civilians.-This has created a kind of ethical schizophrenia whereby journalists are expected to talk like . cynical scoundrels while behaving with the exaggerated conscientiousness of seminarians.
As early as 1934, one nationally known editor, Stanley Walker, counseled young hopefuls to ignore everything the play told them about journalism. Such warnings have only increased, as changes in the news busi?ness have made the milieu of The Front Page look more and more antique. Yet homage to
the tradition persists. It is bolstered by all the later plays, films and novels about the press that somehow entrench rather than debunk the stereotypes Hecht and MacArthur created. The Front Page and its progeny have thus gen?erated healthy suspicions about journalism and its servants in the minds of millions of people who otherwise have no real knowledge of either. In at least a couple of ways, then, The Front Page, in its effect on popular culture, is one of the most powerful and lasting works in American literature.
What most pepple don't know, however, is that the play is a piece a clef. Not only is the whole flavor actually that of a frantic and long-vanished age of American journalism, but some of the names of characters and institutions, some situations, even some bits of dialogue, were, taken from real life, even though the co-authors felt they had to tone down what they knew to be the truth.
For one thing, the language of the streets was diluted, to be restored to some?thing like its original vulgarity only in Billy Wilder's 1974 film version (the third movie adaptation). Still, the famous curtain-closer -of cunning editor Walter Burns ('The son of a bitch stole my watch') created a stir, much more than the sprinkling of goddamns and such in the rest of the play. The New York police wanted to arrest the cast; and even in the movie version, released in 1931, a well-placed clatter from a typewriter obscured the coarsest part of the line. As late as 1970, when the second Broadway revival was adapted for television, one critic commented:
'This particular production marks a break?through for TV profanity because the play's classic last line, which is the essence of the character of Walter Bvirns, is intact.'
The character of Earl Williams, the con?demned prisoner, is a composite of various radicals, but his escape from the Cook County Jail derives from the case of Terrible Tommy O'Connor, a 35-year-old Irish immi?grant convicted in 1921 of killing a night watchman during the robbery of the Illinois Central Railroad's downtown station. He broke out days before he was sentenced to hang but, unlike Williams, was never recap?tured. One rumor had it that he returned to Ireland and perished Fighting the British. For decades, the gallows in Chicago remained intact in the event he should ever be caught. The year before The Front Page appeared, Hecht had used the O'Connor escape in his script for Josef von Sternberg's Underworld, the first of the Hollywood gangster films.
As for the reporters, the Canadian writer Vincent Starrett, who knew Hecht and MacArthur when he worked on the Chicago dailies, recalled years later, 'There was no newspaper slave in Chicago but swore he
recognized every figure on the boards.1 Certainly the most obvious of the shanghai , victims is the ace reporter Hildy Johnson. ' He's based on a Swedish immigrant named Hildingjohnson, who once broke into a jury room with a deadline pressing, learned of the verdict by going through old ballots in the waste-paper basket, then left phony evi?dence for a competitor he knew would be breaking in later. 'Poor Hildy!' wrote Starrett. 'He died a few years after the play was pro?duced (in 1931, at age 45) -I saw him laughing in his box opening night -and it was said that his determined effort to approx?imate his re.ckless counterpart on the stage had hastened his untimely end.'
In fact, the eccentricity of the characters was considerably de-emphasized jn the paste-pot process by which Hecht and MacArthur fashioned their finished product. As Hecht remarked, no one in the audience would have believed the real thing. The character of Walter Burns is a case in point. It was based on Walter Crawford Howey, for whom MacArthur had worked on both the Tribune and the Herald-Examiner and who possessed one of the most robust personal
legends in Chicago journalism. One of his early triumphs was a series of muckraking articles that drove Mayor Fred Busse (according to notes in The Front Page script, the original owner of Bensinger's rolltop desk) out of office. As city editor of the Tribune, Howey became notorious for a style of news-gathering'which included intimidating witnesses and blackmailing municipal, county and state authorities, whose signed but undated resignations he kept in his desk fcjr use in emergencies. He and a few of.his rivals came to symbolize daily journalism in the 1920s when each big story was a melodrama.
In 1910, Howey blew up at the owners of the Tribuneand transferred his allegiance to Hearst's Herald-Examiner, 'the Madhouse on Madison Street.' Dion O'Bannion, the notorious gangster later shot down in his flower shop by Al Capone's henchmen, was the Her-Ex circulation manager. His job was to persuade vendors to carry the Hearst paper in preference to the Tribune. Soon full-blown circulation wars developed. Howey had only one eye. Some said he lost the other one fighting in such wars. Others contended that he lost it by falling on a copy spike while sitting drunkenly at his desk. Whatever the case, Hecht remarked that he could tell the glass eye from the natural one. The glass eye, he said, had warmth.
The Herald-Examiner folded in 1939, and Howey's career declined steadily. He died in 1955 at age 73. In a last tribute to his old boss, MacArthur visited him in hospi?tal during his final illness and gave him a watch engraved 'To the Best Newspaperman I Know' --just like the one in the play.
Douglas Fetherling is a Toronto poet and writer whose many non-fiction books include The Five Lives of Ben Hecht sand, most recently, Travels by Night: A Memoir of the Sixties.
The Authors
The success of The Front Page made Ben Hecht (1894-1964) and Charles MacArthur
(1895-1956) famous as literary collaborators. Together they wrote Twentieth Century and other plays, as well as many screenplays. Later, they briefly became writer-directors with one of their films, The Scoundrel (1935), winning Oscars for them both (Hecht's second and MacArthur's only). '
Hecht's more serious work -as novelist, as autobiographer, as propagandist for the cause of a Jewish homeland -was done on his own. After the First World War, as European correspondent for the Chicago Daily News, he became involved with German expressionist elements of Weimar culture, and later wove them into his early fiction, such as Erik Dorn (1921) and .1001 Afternoons in Chicago (1922). These books made him, for a while, one of America's most promising literary figures. Hecht is best remembered for his labors in Hollywood, where he wrote over 100 screenplays (including a couple of the best Hitchcocks) and helped invent several genres, such as the gangster film and the madcap comedy.
Charles MacArthur wrote plays with Edward Sheldon and Sidney Howard as well as with Hecht. His own play Johnny on a Spot, a political satire, was a recent success of the Royal National Theatre in London; In general, however, MacArthur's solo reputation has survived even less well than Hecht's. Aside from being the co-author of The Front Page, MacArthur is most widely remembered today as the husband of actress Helen Hayes.
MICHAEL BAIL
SHAW 199.1: The Front Page and Sherlock Holmes. (Selected Credits) For the Shaw: Saint Joan, And Then There Were None, Pygmalion, Counsellor-at-Law, The Doctor's Dilemma, Lulu, Village Wooing, Iresent Ijiughter, Man and Superman, Geneva, Marathon 33, Fanny's First Play, Cavalcade, CiHmore, The Devil's Disciple, Arms and 'Pie Man. Most RECENTLY: Rough Crossing, Canadian Stage Company. Elsewhere: Democracy, Tarragon Theatre; Bordertown Cafe, Theatre New Brunswick; Doc, Noises Off, Of Mice and Men, Season's Greetings, Vancouver Playhouse; The Bourgeois Gentleman, Yesteryear, Canadian Slage Company; Macbeth, The Taming of the Shrew; Democracy, Death and the Maiden, Manitoba Theatre Centre; Master Class, Citadel Theatre.
GUY BANNERMAN
Shaw 1994: The Front Page and Busman's Honeymoon. (Selected Credits) For the Shaw: 16 productions since 1986 including Saint Joan, The Silver King, And Then There Were Xone, Drums in the Night, This Happy Breed, I'rler Pan, Ceneva. Most Recently: Three in the Hack Titio in the Head, Tarragon Thealre, National Arts Centre. ELSEWHERE! Marhiaveili in Love, MCU Productions; ljsl Innocence, Kacja d'Dance; Rigoletto, Theatre Passe Muraille. Director for The Royal Pardon, Dalliousic University; Orphans, On a Wing and a Prayer Theatre, Arms ami The Man. University of Guclph. Performances with Vancouver Playhouse, Theatre Calgary, Manitoba Theatre Centre, Grand Theatre, Si Lawrence Centre, Stratford Festival. Television: Street Isgal,Judge, Danger Bay, Ijtve and Hate, voice of 'Mr Bear' on Rupert Hear. ' Pi 111 ications: 'Hitting the Wall' (1991), 'I-ouderThan Words' (19S8), both in Canadian Theatre Review.
NEIL BARCLAY
Shaw 1994: The front Page and Busman's Honeymoon. (Selected Credits) For the Shaw: Saint Joan, The Silver King, Pygmalion, Chariey'i Aunt. I.ulu, A Connecticut Yankee, Misalliance, Ubu Rex. Most Recently: Some Assembly Required, Saint Frances of Hollywood, Alberta Theatre Projects playRitcs '94. Elsewhere: Lilies, Rigoletto, Thealre Passe Muraille; The Isgend of the Avro Arrow, National Arts Centre, Canadian Stage Company; The Comedy of Errors, Canadian Stage Company; The Importance of Being Earnest, Geordie Productions; Berliner Songspiel, Lcs Productions dc la Lime Vcrle; Romeo and Juliet, Toronto Free Theatre; The Threepenny Opera, Association of Producing Artists. Television: Street legal, CBC. Graduate of National Theatre School of Canada.
ROBERT BENSON
Shaw 1994: The Front Page and Sherlock Holmes. (Selected Credits) For the Shaw: over 25 productions since 1981, including The Silver King, Ten MiAute Alibi, Drums in the Night, The Doctor's Dilemma, Lulu, Nymph Errant, Ubu Rex, Peer Gynt, You Never Can Tell, Hay Fever, Cavalcade, Cyrano de Bergerac, Androcles and the Lion, Heartbreak House, Saint Joan. Most Recently: Some Assembly Required, Sitint Frances of Hollywood, Alberta Theatre Projects playRites '94; Democracy, Manitoba Theatre Centre. Elsewhere: directed Other People's Money, Alberta Theatre Projects; assistant director for The Ugly Man; appeared in Odd Fish, playRites '92; performances with Vancouver Opera, Stratford Festival, Repertory Company of Lincoln Center. Television: Street Legal, Love and Hate, Matrix.
SIMON BRADBURY
Shaw 1994: Arms and The Man and Too True To Be Good. (Selected Credits) For THE Shaw: Saint Joan, The Silver King, Charley's Aunt, Point Valaine, A Cuckoo in the Nest, The Millionairess, Misalliance, Trelavmy of the "Wells', Ubu ? Rex, Getting Married, Peer Gynt. Most Recently: Rough Crossing, Canadian Stage CompanyNational Arts Centre; King tear, Walking Shadow Theatre Company. Elsewhere: Woman in Mind, The Grand Theatre; The Importance of Being Earnest, Canadian Stage Company; Hunger, Ziggurat Theatre; The Threepenny Opera, Banff Centre; Three Men on a Horse, Citadel Theatre; Decadence, Factory Theatre; performances with the Stratford Festival, Neptune Theatre, Magnus Theatre; wrote and produced Screwed, Blued and Tattooed, Ziggurat Theatre. Television: The Valour and the Horror, Street IjegaU CBC; Counterstrike, CTV.
NOR1AN BROWNING
Shaw 1994: Arms and The Alan and The Front Page. (Selected Credits) For the Shaw: And Then There Were None, The Unmentionables, Heartbreak House, Hay Fever, One for the Pot, On the Rocks, Cjivalcade. Most Recently: The Relapse, Lips Together Teeth Apart, Ijtve and Anger, The Miser, Pygmalion, Vancouver Playhouse; IJend Me a Tenor, Twelfth Night, Talking Dirty, Journey's End, Arts Club Theatre. Elsewhere: Henry V, Servant of Two Masters, The Seagull, Stratford Festival. Television: Street Justice, MacGyver, Bordertown, Wise Guy, Jack's Place, The Commish; several feature films and many radio plays for CBC. Awards: ACTRA Award, best performance radio drama; 3 Jessie Awards, best aftor; 1992 Vancouver Sun People's Choice Award.
DONALD CARRIER
Shaw ! 994: Arms and The Man and Too True To lie Good. (Selected Credits) For The Shaw: Candida, The Marrying of Ann leete. Most Recently: Hamlet, Lovers and Madmen Theatre Company. Elsewhere: Unidentified Human Remains, Crow's Theatre (Mexico City) and Manitoba Theatre Centre; Stephen and Mr Wilde, Persephone Theatre; lilies. Mother Moon, The Return of John Fnm, National Arts Centre; The Dresser, The Mousetrap, Neptune Theatre; Little Women, Absurd Person Singular, Sndbury Theatre Centre; The Misfit, Horizontal 8. Also performances with Theatre Francais de Toronto, Great Canadian Theatre Company, Thousand Islands Playhouse. FilmTelevision: ENG, CTV; Boogies Diner, Ready or Not, Global; Street Legal, Road to Avonlea, CBC.
LAURIE CHAMPAGNE Production Stage Manager Shaw 1994: Production stage manager, stage manager for The Front Page and Annajanska, The Bolshevik Empress. (Selected Credits) For The Shaw: production stage manager since 1988; stage manager for The Silver King, Pygmalion, TheT)octor's Dilemma (and NAC), The Waltz of the Toreadors, Mrs Warren's Profession, Man and Superman, Peter Pan, Night of January 16th, Arms and The Man, Tonight We Improvise, On the Rocks. Elsewhere: productions with the National Arts Centre, Stratford Festival, Theatre Calgary, Grand Theatre, Theatre New Brunswick, Blyth Festival and Festival Ottawa.
ROBERT CLARKE
Shaw 1994: The Front Page and Busman's Honeymoon. (Selected Credits) Most Recently: One Flew over the Cuckoo's Nest, Leah Posluns Theatre; A Bedful of Foreigners, .Rainbow Theatre; Help Wanted, Toronto and Atlantic Fringe. Elsewhere: The Mystery of Edwin Drood and The Good Person of Szechwan, George Brown Theatre. '92 Graduate, George Brown Theatre School.
RICHARD FARRELL
Shaw 1994: The Front Page and Sherlock Holmes. (Selected Credits) For The Shaw: Saint Joan, Blithe Spirit, The Doctor's Dilemma, Press Cuttings, Misalliance, Night Must Fall, Fanny's First Play, Night of January 16th, One for the Pot, John Bull's Other Island. Most Recently: Breaking Legs, Stage West. ELSEWHERE: The Speckled Band, Manitoba Theatre Centre; I'll Be Back Before Midnight, The Rainmaker, Theatre Aquarius; Murder Game (premiere), Theatre New Brunswick; performances with Toronto Arts Productions, Theatre Passe Muraille, Theatre Calgary, Citadel Theatre, Bastion Theatre. Television: The Baty Maker, CBS; Learning the Ropes, LTV; Dead Ringers, Mande Productions; Street Legal, Mackenzie King, Birds of a Feather, CBC.
ANDREW GILLIES
Shaw 1994: The Front Page and Arms and The Man. (Selected Credits) For The Shaw: over 20 productions since 1980, including Pygmalion, Ten Minute Alibi, You Never Can Tell, Peter Pan, Marathon 33, Cavalcade, Back to Methuselah; Arms and The Man, Heartbreak House, Camille, Too True To Be Good, Cyrano de Bergerac, Misalliance, The Cherry Orchard. Most Recently: Henceforward, Theatre Calgary and MTC; television appearances in Top Cops and Hidden Room. ElsewHERE: Cyrano de Bergerac, Separate Tables, Royal Alexandra Theatre; two seasons with the Stratford Festival; performances for Toronto Free Theatre, Canadian Stage, Tarragon Theatre, duMaurier Festival, NAC. Numerous film and television appearances.
TRACEY FERENCZ
Shaw i 994: Arms and The Man, Rococo and Ivona, Princess ofBurgundia. (Selected Credits) For The Shaw: And Then There Were None, TKe Unmentionables, Pygmalion, Ten Minute Alibi, Mrs Warren's Profession, The Waltz of the Toreadors, Dangerous Corner, War and Peace, Fanny's First Play, Marathon 33, Once in a Lifetime, Cavalcade, The Madwoman ofChaillot, One for the Pot. Most Recently: Opening Night, Persephone Theatre. Elsewhere: She Stoops to Conquer, Magnus Theatre.
CHARLOTTE GREEN Stags Manager Shaw 1994: Stage manager for Arms and The Man and Too True To Be Good. (Selected Credits) For The Shaw: stage manager for Gentlemen Prefer Blondes, The Man of Destiny, On the Town, Overruled, Lulu, Hedda Gabler, Present iMUghter, Trelavmy of the 'Wells', When We Are Married, On)re in a Lifetime, War and Peace. Elsewhere: playRites '94, Alberta Theatre Projects; productions with Theatre Calgary, Manitoba Theatre Centre, Banff Centre, Guthrie Theater, Cricket Theater (Minneapolis), Indiana Repertory Theater.
MATT HANDY
Shaw 1994: The Front Page and Arms and The Man, (Selected Credits) Most Recently: As You Like It, George Brown Theatre; The legend of Sleepy Hollow, Niagara Symphony. Elsewhere: Suddenly Shakespeare, Shakespeare in Action; The Watchspring, Wild Pendulum; Lamb's Tales from Shakespeare, Edinburgh Festival; The Shadow Stealer, Youn? People's Theatre; Almighty Voice, Under the Coolabah Tree, Carousel Players; A Flea in Her Ear, Hamlet, Cover Your Assets, Cry of the Loon, New Canadian Kid, George Brown Theatre School; The Caucasian Chalk Circle, Niagara College. Graduate, George Brown Theatre School.
MARY HANEY ,
Shaw 1994: The Front Page and Busman's Honeymoon. (Selected Credits) For The Shaw: Saint Joan, Blithe Spirit, Counseltor-at-Law, Overruled, A Cuckoo in the Nest, This Happy Breed, Trelawny of the "Wells', When We Are Married (and tour to NAC), Berkeley Square, Once in a Lifetime, You Never Can Tell, The Voysey Inheritance, Banana Ridge, The Cherry Orchard, Major Barbara. Elsewhere: Translations, Toronto Free Theatre (Dora nomination for best actress); Farther West, Tarragon Theatre; A Midsummer Night's Dream, Henry TVPart I, Macbeth, Ijjve's labour's Lost, As You Uke It, The Rivals, Stratford Festival; performances' with The Grand Theatre, Theatre New Brunswick, Centaur Theatre, Theatre Calgary, YPT. Graduate, National Theatre School.
IRENE HOGAN
Shaw 1994: The Front Page and Sherlock Holmes. (Selected Credits) For The Shaw: Point Valaine, A Cuckoo in the Nest, The Millionairess, When We Are Married, Major Barbara, Night of January 16th, The Madwoman of Chaillot, The Women, Cavalcade, Rookery Nook, The Suicide, Camille. Most Recently: The Secret Garden, The Globe Theatre; The Miser, MTC Elsewhere: resident director Manitoba Theatre Centre; director Warehouse Theatre at MTC; directed Oh, Coward, The Seahorse, En Pieces Detachers, MTC; Les Belles Soeurs, St Lawrence Centre; School for Scandal, Theatre New Brunswick; Equus, Leonce and Lena, Vancouver Playhouse; Les Belles Soeurs, Theatre London.
STUART HUGHES
Shaw 1994: The FrontPage and Sherlock Holmes. (Selected Credits) For The Shaw: The Silver King, the Man of Destiny, John Bull's Other Island, Tropical. Madness No. 2, The Skin of Our Teeth, Androcles and the Lion, The Ijst letter, Caesar and Cleopatra, Cyrano de Bergerac. Most Recently: A Streetcar Named Desire, Theatre New Brunswick; The Baltimore Waltz, Tarragon Theatre. Elsewhere: Medea, Macbeth, Manitoba Theatre Centre; Oedipus, King Ijar, Stratford Festival; Romeo and Juliet, Toronto Free Theatre; Kiss of the Spider Woman, -Singer, Canadian Stage; The Crucible, The Glass Menagerie, A Midsummer Night's Dream, Citadel Theatre; The Collected Works of Billy the Kid, On the Verge, Unexpected Moves, Tarragon Theatre; The Castle, Necessary Angel; perfor?mances with Theatre Direct, Factory Theatre, National Arts Centre, Perth Theatre, Scotland. Television: Skate, Welcome to Hell, Ijnte Clinic, Ijnte and Hate.
PETER HU IT
Shaw 1994: The Front Page and Sherlock Holmes. (Selected Credits) For The Shaw: Saint Joan, And Then There Were None, CounsellorH-ljiw, Overruled, Present iMUghter, Trelawny of the 'Wells', When We Are Married, Berkeley Square, Dangerous Corner, War and Peace, Patria I, Night of January 16th, Playing with Fire, Cavalcade, One for the Pot, The Com Is Green. Most Recently: A Christinas Carol, TheDining Room, The Grand Theatre. Elsewhere: A Walk in the 'Woods, The Cocktail Hour, The Grand TheatreCitadel Theatre; Jacob's Wake, The National Arts Centre; The Foreigner, Royal Alexandra; Souvenirs, Factory Theatre; Cloud Nine, La Ronde, Encore Theatre; As You Like It, The Taming of the Shrew, The Comedy of Errors, Stratford Festival.
EDUARD KOCHERGIN Designir Shaw 1994: Designer for Arms and The Man. (Selected Credits), For The Shaw: Man and Superman. Elsewhere: member of the Russian Academy of Arts; chief set designer for St Petersburg Bolshoi Academic Drama Theatre; designed scenery for over 200 produc?tions in Russia, Finland, FraTicc, Germany, Yugoslavia, tile United Stales, Canada and Japan; teaches design at I.Y. Repin Academy of Fine Arts in St Petersburg; inter?national awards for stage and costume design; graduate of St Petersburg Theatre, Music and Cinema Art University. One-Man Shows: Moscow (1990), St Catharines, Canada (1989), Guare, France (1988), Sayonlinna, Finland (1980), Tbilisi, Georgia (1977), Warsaw, Poland (ig76),St Petersburg, Russia (1976).
AL KOZLIK.
Shaw 1994: The Front Page and Sherlock Holmes. (Selected Credits) For The Shaw: Saint Joan, The Marrying of Ann Leete, .Man and Superman, Peter Pan, Geneva, He Who Gets Slapped, Major Barbara, Night of January 16th. Most Recently: The Goodbye People, Summer and Smoke, Theatre Plus. Elsewhere: Hamlet, Theatre Plus; One Crack Out, Tarragon Theatre; The Blaclt, Bonspiel of Wullie MacCrimmon, Citadel Theatre. Television: The Campbells, CTV; Home Fires, CBC; Night Heat, Alliance. Film: Friday the 13th, Variety Artists; Mrs SoffeL MGMUnited Artists; The Ijmg Road Home, Dreamspeaker.
MICHELLE LAGASSE Assistant Stage Manager Shaw 1994: Assistant Stage Manager for Arms and The Man and Too True To Be Good (Selected Credits) For The SHAWJ-Assistani Stage Manager for Ten Minute Alibi, Drums in the Night, The Doctors Dilemma, Press Cuttings, Ubu Rex, Village Wooing, stage manager for Woyzeck, 1990 Directors Project. Most Recently: Tosca, Nabucco, Manitoba Opera. Elsewhere: Eugene Onegin, The Marriage of Figaro, Don Giovanni, The Daughter of the Regiment, Manitoba Opera; Noises Off, Master Class, Kiss of the Spider Woman, Lifeskills, B-Movie: The Play, Manitoba Theatre Centre; tour of Montreal, James Bay and Northern Ontario for Theatre de l'Oeill.
KEVIN LAMOTTE Lighting Designer Shaw 1994: Lighting designer for The Front Page and Sherlock Holmes. (Selected Credits) For The Shaw: The '. Silver King, Gentlemen Prefer Blondes, Candida, Counsellor-at-Ijiw, On the Town, Drums in the Night, The Doctor's Dilemma, Henry I', Night Must Fall, When We Are Married, An Inspector Calls, Nymph Errant, Peer Gynt, Dark Ijidy of the Sonnets, He Who Gets Slapped. Most Recentj.v: ha Bete, Centaur Theatre; If We Are Women, Vancouver Playhouse and Canadian Stage. Elsewhere: Dancing at Lughnasa, Manitoba Theatre Centre and National Arts Centre; The Nightingale, Young People's Theatre; Im Tragedie de Carmen, Don Giovanni, Banff Centre; Arms and The Man, Centaur Theatrcr M Butterfly, Alberta Theatre Projects; lighting designs for Theatre Plus, MTC, YPT, Canadian Stage, Prairie Theatre Exchange, Vancouver Opera, Opera Hamilton, Univ. of Rochester, NAC, Tarragon. Winner, 1990 Pauline McGibbon Award; 5 Dora nominations; Lighting Design Associate for Cats (Canada) and Aes Miserables (Canada and Australia). Member, Associated Designers of Canada.
MEREDITH MACDONALD Assistant Stage Manager Shaw i 994: Assistant stage manager For Arms and The Man, Tlie Front Pagrand Sherlock Holmes. (Selected Credits) For Tiif, Shaw: The Silver King, Gentlemen Prefer Blondes, On the Toion, Overruled; apprentice stage manager for Lulu, The Millionairess, Hedda Gabler, Present Laughter. Elsewhere: ASM for A Fertile Imagination, Theatre Passe Muraille; The Write Horse Inn, Toronto Operetta Theatre; stage manager for Screioed, Blued and Tattooed, Ziggurai Theatre.
weston McMillan
Shaw i 994: Anns and The Man and Too True To lie Good. (Selected Credits) Elsewhere: The Glass Menagerie, ? Open Stage; Saint Joan, Brighton Beacfy Memoirs, Orphans, Citadel Theatre; Lilies, Studio Theatre, Edmonton; Romeo and Juliet, As You Like It, Stratford Festival; A Midsummer Nights Dream,.Theatre Calgary; Much Ado about Nothing, Vancouver Playhouse; The Night of the Iguana, EMCS; Nothing Sacred, The Ugly Man, Alberta Theatre Projects; Burn This, Arts Club Theatre; Homeioard Bound, Belfry Theatre. Film: Iegends of the Fali Mortal Sins. Television: The Campbells, 21 Jump Street, Katz and Dog, Top. of the Hill. Training: Bachelor of Fine Arts, University of Alberta. .
JIM MEZON
Shaw 1994: Director for and appearing in Arms and The Man; appearing in Sherlock Holmes. (Selected Credits) For The Shaw: director for And Thai There Were None, Widowers' Houses; appeared in Candida, The Marrying of Ann Ijeete, Counsellor-at-lMw, Hedda Gabler, Peer Gynt, Rookery Nook, The Cherry Orchard, A Flea in Her Ear, You Never Can TelL Major Barbara, Peter Pan, Back to Methuselah, Arms and The Man, John Bull's Other-Island, Cyrano de ' Bergerac, The Devil's Disciple, Private Lives, Candida. Most Recently: appeared in The Winslmo Boy, Memoir, Neptune Theatre; Transit of Venus, Manitoba Theatre Centre. ELSEWHERE:appcarcd in The Stone Angel, 1949, . Neptune Theatre; Burn This, Saint Joan, Theatre Plus; The Tempest, Translations, Stratford Festival; The Real "Thing, Hedda Gabler, Speed-the-Plow, Studio Arena Theatre; The Woman in Black, Centaur Theatre; Romeo and Juliet, Henry TV, Twelfth Night, King Ijear, Vancouver Playhouse; directed Tub, Faith Healer, Theatre Plus; B-Movie: The1 Play, MTC.
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PETER MILLARD
Shaw 1994: The Front Page and Sherlock Holmes. (Selected Credits) For The Shaw: And Then There Were None, The Unmentionables, Ten Minute Alibi, Drums in the Night, Lulu, A Connecticut Yankee, Present Laughter, Nymph Errant, Good News, Once in a Lifetime, Peter Pan, War and Peace, Patria 1, Not in the Book. Elsewhere: fallen Angels, Canadian Stage; Hitter Friends, Ix'ah Posluns; Fire, Theatre Passe Muraille and Canadian tour; The Normal Heart, Bathurst Street Theatre; Fool for Ijjve, Citadel Theatre; The Foreigner,
? Royal Alexandra Theatre; Death of a Salesman, The Country Wife, Stratford Festival; The Dream in High Park, Toronto Free Theatre; Ten Lost Years, Toronto Workshop Productions, Canadian and European tours; performances with Tarragon Theatrp, MTC, Alberta Theatre Projects, YPT. Television: KungFu The legend Continues, The Truth about Alex, Adtterley, .Top Cops, Family Matters, Kand and Abel. Film: Thirty-two Short Films about Glenn Gould, Perfectly Normal. S "
NEIL MUNRO Director
Shaw 1994: Director for The Front Page and Rococo. (Selected Credits) For The Shaw: directed Saint Joan, The Marrying of Ann Ieete, Counsellor-at-lMw, Berkeley Square, The Voysey Inheritanceand appeared in Widowers' Houses. Most Recently: Dora Award best director, Hamlets Room, Dora Award best new play, Bobs Kingdom; author and direc?tor, Bob's Kingdom, Factory Theatre; performed in the Emmy winning film Beethoven IJves Upstairs; author and performer, The Jonah lixik, CBG-TV; author, Crossing Over, Factory Theatre; Extreme Close Up, Toronto Free Theatre (Chalmers Award); Robert Burns: Out of Print, Winter and Rough Weather, .National Arts Centre; Bob's Jungle, CBC Radio, Numerous television and radio roles. Recipient of two ACTRA awards, 1987 and 1988. Elsewhere: directed Hamlet's Room, Theatre Plus; Speed-t he-Plow, Canadian Stage Company; Summer, Toronto Free Theatre; productions for Theatre Calgary, NAC, and Arbour Theatre; performed Richard III, Henry V, and Hamlet (national tour), NAC; The Collected Works of Billy the Kid, Stratford FestivalNeptune Theatre (Nordi American tour).
DICK MURPHY
Shaw 1994: The Front Page and Sherlock Holmes. (Selected Credits) For The Shaw: Saint Joan, The Silver King, And Then There Were None (holdover). Most Recently: Once a Cop (movie-of-the-week); Richard III, Canadian Stage Company. Elsewhere: King Jear, Walking Shadow Theatre; Twelfth Night, Theatre Etobicokc; A Man for All Seasons, The Hand That Cradles the Rock, Village Playhouse; Blood and Guts, Melvin Simon Productions; The Silver Tasste, Gaiety Theatre. Television: Road to Avonlea, Kids in the Hall, CBC; Ttpn Awareness, TVO. Radio: Radio Noon, CBC; Murphy's Open Door, Radio Eireann.
SARAH ORENSTEIN
Shaw 1994: Arms and The Man and Too True To Be Good. (Selected Credits) For The Shaw: Blithe Spirit, The Marrying ofAnn Leete, Counsellor-at-lMW, Widowers'Houses, The Millionairess, The Dark iMdy of the Sonnets, The Voysey Inheritance. Most Recently: Mrs Klein, Tarragon Theatre; Cat on a Hot Tin Roof, The Winter's Tale, Theatre New Brunswick. Elsewhere: The Hope Slide, The Collected Works of Billy the Kid, Tarragon Theatre; Our Country's Good, Centaur Theatre; Dracula, Theatre New Brunswick; Memories of You, Amadeus, Neptune Theatre; performances with Western Canada Theatre, Prairie Theatre Exchange, Firehall Theatre, Vancouver Playhouse. Television: Street UgaU Scales of Justice, CBC. Various CBC Radio programs.
CAMERON PORTEOUS Designer Shaw 1994: Head of Design; designer for The Front Page. (Selected Credits) For The Shaw: designed over 35 productions as Head of Design since 1979. Most Recently: designed the Emmy Award winning film Beethoven Lives Upstairs. Elsewhere: The Barber of Seville, Vancouver Opera; The Importance of Being Earnest (set), Rough Crossing, Canadian Stage Company; Farther West, Tarragon Theatre; Great Expectations, A Christmas Carol, Young People's Theatre; designs for Citadel Theatre '. ?Vancouver Playhouse, National Arts Centre. Awards: Queen's Jubilee Medal, 1977. Exhibitions in Canada, Czechoslovakia and St Petersburg, Russia. Member, Associated Designers of Canada.
GORDON RAND
Shaw 1994: The Front Page and Busman's Honeymoon, (Selected Credits) For The Shaw: Saint foan, The Silver King, In the Zone (1993 Directors' Project). Most Recently: The Party, Helen,Gardiner Phelah Playhouse, University of Toronto. Elsewhere: appeared in The Winter's Tale, The'Green Bird, directed Aleji's Business, Helen Gardiner Phclan Playhouse, University of Toronto; Terror, Harbourfront Studio Theatre.
DAVID SCHURMANN
Shaw 1994: The Front Page and Busman s Honeymoon. (Selected Credits) For The Shaw: over 20 productions since 1981, including Blithe Spirit, The Marrying of Ann Ijeete, Point Valaine, Henry IV, This Happy Breed,' War and Peace, Marathon 33, Fanny's First Play, One for the Pot (and tour), Cavalcade, Camille. Most Recently: DialMfor ''Murder, Grand Theatre; The Diary of Anne Frank, Citadel Theatre. Elsewhere: Macbeth, Equity Showcase; The Diary ofAnneFrank, Theatre Aquarius; TheFaOier, Tarragon Theatre; Season's Greetings, Alberta Theatre ProjecLs; per?formances with Toronto Free Theatre, Neptune Theatre, MTC, Arts Club, Persephone Theatre, Stratford Festival, Vancouver Playhouse, Theatre London..Director at MTC, Persephone, Neptune, City Stage, Citadel, MST.
WENDY THATCHER
Shaw 1994: The Front Page and Arms and The Man. (Selected Credits) For The Shaw: over 20 productions since 1981, including And Then There Were None, The , Unmention-abls, Druriis in the Night, A Cuckoo in the Nest, This Happy Breed, Village Wooing, Present iMughter, Peer Gynt, Marathon 33, Cavalcade, Heartbreak House, Tons of Money. Most Recently: California Suite, I'm Herbert, ' Beckett's Greatest Hits, Regent Cruise Line; MachiaVelli in Ijwe, Berkeley St Theatre; The Ends of the Earth, Tarragon Theatre. Elsewhere: Bordertown Cafe, Theatre New Brunswick; The Real Thing, Theatre Calgary; Blithe Spirit, Vancouver Playhouse; performances with Toronto Free Theatre, Centaur Theatre, Theatre Plus, Tarragon Theatre, CentrcStage, Factory Theatre Lab, YPT. TelevisionFilm: productions with CBC, TV Ontario, CITY-TV and Atlantis Films.
ROBERT THOMSON Lighting Designer Shaw 1994: Associate Head of Design, lighting designer for Arms and The Man, Too True To Be Good and Jvona, Princess of Burgundia. (Selected Credits) For The Shaw: lighting designer for Saint Joan, The Marrying of Ann Leete, Pygmalion, Point Valaine, Lulu, Misalliance, Man and Superman, Peter Pan, Cyrano de Bergerac. Most Recently: Bluebeards Castleand Ewartung (directed by Robert Lepage), Katya Kabanova, Canadian Opera Comparty; La Sylphide, Taming of the Shrew, The Miraculous Mandarin, National Ballet of Canada. Elsewhere: Resident Lighting Designer for the National Ballet of Canada since 1988; lighting designs for Vancouver Opera, Canadian Opera Company, Tarragon Theatre, Manitoba Theatre Centre, The Grand Theatre, NAC, Theatre Plus, Canadian Stage Company. Awards: four Dora Mavor Moore Awards. Member, Associated Designers of Canada.
IAN VANDEBURGT
Shaw 1994: The Front Page and Busman's Honeymoon. (Selected Credits) For The-Shaw: Saint Joan, The Silver King. Most Recently: Arms and The Man, Theatre Junction; Western, Garry Theatre; Democracy, Belfry Theatre and Alberta Theatre Projects. Elsewhere: Les Liaisons Dangereuses, A Christmas Carol, A Midsummer Night's Dream, Theatre Calgary; Summit Conference, Live Arts "Theatre Alberta; Not About Heroes, Two Gentlemen of Verona, New Century Stage. Graduate, University of Calgary.
WILLIAM VICKERS
Shaw 1994: The Front Page and Sherlock Holmes. (Selected Credits) For The Shaw: And Then There Were None, The Unmentionables, The Doctor's Dilemma, Lulu, Trelaumy of the 'Wells', Nymph Errant, Man and Superman, Once in a Lifetime, Peter Pan, War and Peace, Anything Goes, Marathon 33. Most Recently: Peter Pan, Theatre Aquarius. Elsewhere: Bag Babies, Hedda Gabler, School for Wives, Quartet for Three, Cyrano de Bergerac, Measure for Measure, Globe Theatre; Love's Ijibour's ljst, World of Wonders, She Sloops to Conquer, All's Well That Ends Well A Midsummer Night's Dream, Twelfth Night, King tear, Stratford Festival; Billy Bishop Goes to War, The Real Thing, Persephone Theatre; performances with the Manitoba Theatre Centre, Piggery Theatre, Theatre New Brunswick, Young People's Theatre, Grand Theatre.
SANDY WEBSTER
Shaw 1994: The Front Page and Sherlock Holmes. (Selected Credits) For The Shaw: Candida, The Marrying of Ann ljeete, Mrs Warren's Profession, Waltz of the Toreadors, Getting Married, Peer Gynt, You Never Can Tell, Major Barbara, Arms and The Man. Most Recently: The Goodbye People,-Theatre Plus; All My Sons, Theatre Aquarius; The Cherry Orchard, Tarragon Theatre. Elsewhere: Yesteryear, Canadian Stage Company; Uncle Vanya, Tarragon Theatre; Y6u Can't TakeH With You, Grand Theatre. Radio And Television: Numerous CBC radio and TV dramas.
ALISON WOOLRIDGE Shaw 1994: TheFront Page. (Selected Credits) Most Recently: The Winsloui Boy, Fiddler on the Roof, 1949, Health, The Musical, Neptune Theatre. Elsewhere: Educating Rita, Trafford Tanzi, Rising Tide Theatre; Macbeth, Invitation to the Dance, Theatre Newfoundland and I.abrador; Nunsense, Ijs Belles Soeurs, Jacques Brel, Nicholas Nickleby, Slephenville Festival; From Fogarty's Cove, Mulgrave Road Co-op and Ireland's International Theatre Festival. Television: Street ljegal, CBC. Radio: writerperformer for CBC in Newfoundland.
1 This weeks residency and performances mark the
debut of The Shaw Festival Company under UMS auspices.
Scott McKowen:
Posters and Drawings for the Theatre
Scott McKowen, Art Director for the Shaw Festival, creates posters and graphics for theatres across the United States and Canada. He began his career in Ann Arbor, designing posters for all University of Michigan Theatre Department productions from 1975 to 1978, while he was a student at the U of M School or Art. An exhibition of Scott McKowen's theatre posters and illustrations is on view in the Power Center Lobby during the Shaw Festival Residency.
? Scotr McKowen received his'Bachelor of Fine Arts magna cum laucle from the University of Michigan School of Art in 1978. He moved from Ann Arbor to Stratford, Ontario in 1980 and became a permanent resident in Canada the following year. He has combined his skills as a graphic designer with a strong talent for drawing and a long?time theatre background to establish a career specializing in theatre posters and graphics for the performing arts.
Mr. McKowen has designed publications for the Shaw Festival since 1985, and in 1990 was named Art Director. His Shaw assignments each season include brochures
and posters, the house programmes and the 3' advertising campaign: in 1990, a fanciful topiary garden illustrated in scratchboard; in 1991 a series of cubist portraits using the symmetrical numerals of the date as the eyes and ears; and in 1992 a pygmalion-like G.B.S. at the beach, sculpting an idealized Eliza Doolittle in the sand.
His freelance clients over the past decade have included The Grand Theatre in London, Ontario, where he created pqsters for each production for eight seasons (under diree artistic directors); The Roundabout Theatre on Broadway, where he is the resident poster designer; The New York Times, The Juilliard String Quartet and John Houseman's Acting Company in New York; Arena Stage in Washington, D.C.; The National Ballet of Canada, Theatre Francais de Toronto, and The Canadian Stage Company in Toronto; and in his own backyard, the Stratford Festival.
Mr. McKowen was commissioned by Newsweek Magazine to illustrate the front cover of their August 9, 1993 issue -it appeared internationally with a circulation of 3.1 million.
The Board of Governors
Staff
Joseph M. Pigott, Q.C.
Chairman Anthony R. Graham
ViceJJhairman
(Chairman Designate) Bernard Ostry, O.C.
Past Chairman A. Charles Braille . Treasurer Ada Slaight
Secretary
Gail Appel
Robert Aylesworth
President of The Shaw Guild John C. Barber, Jr. James R. Bullock
Gary Burroughs
Lynn Clappison
Susan Crerar
Thomas M. Daly ?
HarryJ. Daniel, Q.C.
Michael Dietsch -Lord Mayor of Niagara-on-the-Lake
Donald Jackson
Nona MacDonald Heaslip
Richard H. McCoy
William J._McNally
Nancy Mouget
Graham Parsons
Calvin G. Rand Founding Chairman
Brian Segal
Richard C. Stackhouse, F.CA.
Philip E. Taylor
Barbara Watson John Wiens Joan B. Williams
William L. Young
Founder
Brain Doherty, CM. (1906-1974)
National Governors The Honourable
Lincoln M. Alexander,
O.C., P.C., Q.C. Catherine Boericke James W. Burns, O.C. Walter Carsen John Graham Michael Holroyd Sir Edwin Leather, K.C.M.G
K.C.V.O., LL.D. Jim Meekison
Honorary Patrons
The Right Honourable
Jean Chretien The Honourable Bob Rae
Christopher Newton
Artistic Director Colleen Blake
Administrative Director Cameron Porteous
Head of Design
Production
Douglas Lcmcke
Director Cate Baldwin
Assistant Director Scot Whitham
Technical Director JeffScollon John Stephenson
Assistant Technical
Directors
Jason Woodgate ' Production Buyer Susan Steel
Secretary Receptionist
Touring Crew
David Edwards
Head Carpenter Kevin McGuire
Assistant Carpenter Paul McManis
Head Electrician Robin Farmer
Assistant Electrician Walter Lawrence
Head of Audio Andrew Mestern
Head of Props Bonita Turnbull
Head of Wardrobe Sherry Nasmith
Head of Wigs
'Audio
Walter Lawrence
Head of Audio Kirk Palmquist
Festival Audio Operator
Design
Robert Thomson
Associate Head of Design Tania Etienne
Assistant Designer Scott Henderson
Assistant Lighting Designer Christopher L. Dennis
Jeffrey Dallas Lighting Assistant Trevor Stoddart Dean Tedesco
Set Design Apprentices
Electrics
John Bobrel
Hfad ofEUctrics Bruce Johnston
Construction Electrician Wright Staines
Festival Electrician John Marshall
First Festival Electrician Gerald Pynn
Changeover Electrician
Music
Christopher Donison
Director Bruce Kellett
Associate Director Christopher Mounteer
Rehearsal Pianist
Properties
Dona Hrabluk
Head of Properties Gordon Lawson
Senior Properties Buyer Jennifer Stevens
Properties Buyer _ Rob Brophy Terry Eldon Martina Erskine Kathryn Kerr Jim Peacock Wayne Reierson Larry Rosnuk
Properties Builders Jeff Bingley
Properties Apprentice
Scenery Construction Murray Morrison
Heajd of Scenery
Construction Paul Jenkins
Assistant Head of Scenery
Construction Robin Farmer David Gale Len Luciani Leo Talving Lesslie Tunmer Ed Witvoet
Scenic Construction Crew
Scenic Art
Janet Shearn
Head of Scenic Art
Jane E. Hill
Karyn McCallum
Gwyneth Stark
Michael J.Turner Scenic Art
Festival Stage Crew Ronald A. Epp
Head Stage Carpenter Dave Grierson
Festival Stage Carpenter Michael Barratt
Running Crew Flyman Tony Paul Joy Learn .
Festival Properties Runners Phil Butchart Joy Learn
Festival Stage Hands Kevin McGuire
Changeover Crew Head RobGrindlay
Changeover Flyman Gino Defilippo Scott Furminger Larry Swiercz
Changeover Stage Hands
Stage Management Laurie Champagne
Production Stage
Manager Charlotte Green Carolyn Mackenzie Ron Nipper Randy Thiessen
Stage Managers Todd Bricker Ellen Flowers Michelle Lagasse Meredith MacDonald Season Osborne Allan Teichman
Assistant Stage Managers
Wardrobe
Sharon Secord
Head of Wardrobe Elizabeth Raap-Wolski
Assistant Head
of Wardrobe Pamela Gallop
Buyer
Margie Berggren
Milliner Nancy Harwood
Assistant Milliner Tamara Rigby
Accessories Katy Berggren
Boots Shoes Krystyna Munro
Dyer Vincenzo Gardone
Senior Tailor Joanna Carbone
Tailor Rita Brown ? .
Senior Cutter Jill Braybrook
Cutler
Ramona Crawford Hindred Hughes Harry Knauer -
Pat Nuell
First Hands Joanne Dovi Pat Elliott Rita Frcna ?Sue Furlong Christine Grosskurth Maria Nespeca Rachelle PaSto Jennifer Purcell
Tailors' Assistants Maria Bartel Audrey Bergsma Glenda Campbell Carol Farnan Sandra Gordon Samantha Greves Paulette McCollum
Stitchers
Wardrobe Running
Debra Yiindl
Head of 'Wardrobe
Running
Margaret Molokach Judy Perehinchuk
Festival Wardrobe
Attendants
Wigs
Sherry Nasmith Jones
Head of Wigs Christine Smith
Festival Wigs Attendant
The Academy
Paul Lampert
Principal Ronald Bryden
Literary Advisor Carol Nesbitt
Academy Assistant Susan Stackhouse
Consulting Voice Coach Ann Penistan Steven Classman
Alexander Technique Charles Conwell
Stage Combat
Administration
Gie Roberts
Pla n n ing Director Paul Lampert
Assistant to the
Artistic Director Lynn DeSantis
Management Secretary Denis Johnston
Publications Editor Jean German
Publications Assistant
Housing
Lone Abernethy
Manager Kathy Winstanley
Co-ordinator Gerry Nebel
Maintenance Superintendent
Audience Services K.E. Lyn Royce Director
Box Office
Jan Van HelVert
Assistant Manager Lori Ens
Ticke{ing Manager Sarah Lynch Nadine Duncan
Event and Internal
Ticketing Lenore Denby Lissa MacMaster
Floor Supervisors
Front of House Ann Taylor
Head House Manager Jean Rodgers
Associate House Manager Kay Graham
House Manager:
Royal George David Satterthwaite
House Manager:
Court House
Retail Services Kilby Dickinson
Retail Co-ordinator Mike Parker
Food & Beverage Services
Coordinator
Development
Ann Brookes f
Assistant Director s Carol Ann Ruscica
Corporate Associate Helen Stone
Special Events Associate Sara Wilbur
Governors' Council Associate Darlene West
Administrative Associate Mavis Condina
Development Coordinator
Finance & Systems Roxane Fast Director
Accounting Lynne Raybould
Manager Cathy Condina
Senior Accountant Terry Cochrane
Payroll Officer Allison Hildebrandt
Accounts Payable Officer
Computer Operations & Communications Sarah Fabiani Systems Manager John Christian
Systems Analyst Mary Kolbuc
Receptionist Jean Gent Susan Moule Mary Pollock Heather Stevenson
Part-time Receptionists
Distribution Laurie Cairns
Co-ordiriator Margaret Cumming
Supervisor Sherry Brown
Mailroom Assistant Sue Sims
Print Shop Assistant
Marketing
Marilyn Jackson,
Director Nathalie Ivany
Marketing Co-ordinator Odette Yazbeck
Publicist Candice Turner-Smith
Public Relations Co-ordinator Stephanie III.us
Group Sales Co-ordinator Heidi Hanna Jane Mclntyre
Group Sales Assistants Scott McKowen
'Art Director Janet Beatty
Graphic Designer David Cooper
Company Photographer Elizabeth Feryn I .niM Harder
Photographers.
Operations
Paddy Parr'
Director
Landscaping Ingrid Riedke Head Gardener
Housekeeping Maintenance Barb Nauta ' Head of Housekeeping Sieve Penner Irene McKay Pat Franken
Full-time Sylvia Grossman Mike Reid Cheryl Cairns Christine Playfair
Seasonal Dave McCarthy
Head of Maintenance Jason Hollingworth
CrewSecurity
Shaw Librarians Nancy Butler Carol Gray Helen Lothian
Theatre Physician Dr. T. Jamieson Theatre Chiropractor Dr. D. Leprich . Theatre Dentist Dr. J.W.Clark
The Michigan Theater
The historic Michigan Theater opened its doors January 5, 1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior were then as now a marvel practically unrivaled in Michigan. As was the custom of the day, the Theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country.
Over the years, the Theater has undergone many changes. "Talkies" replace silent films just one year after the Theater opened, and vaudeville soon disappeared from the stage. As Theater attendance dwindled in the '50s, both the interior and exterior of the building were remodeled in a style which was architecturally inappropriate. Through the '60s and '70s the 1800-seat theater struggled against changes in the film industry and audiences until the non-profit Michigan Theater Foundation stepped in to operate the failing movie house in 1979.
After a partial renovation which returned much of the Theater to its prior glory, the Michigan Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. The Michigan Theater is also the home of the Ann Arbor Symphony Orchestra.
Burton Memorial Tower
A favorite campus and Ann Arbor landmark, Burton Memorial Tower is the familiar mailing address and box office location for UMS concertgoers.
In a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles, be built in the center of campus to represent the idealism and loyalty of U-M alumni. Burton served as president of the University and as a Musical Society trustee from 1920 until his death in 1925.
In 1935 Charles M. Baird, the University's first athletic director, donated $70,000 for a carillon and clock to be installed in a tower dedicated to the memory of President Burton. Several organizations, including the Musical Society, undertook the task of procuring funds, and nearly 1,500 individuals and organizations made contributions. The gift of the UMS totalled $60,000.
Designed by Albert Kahn, Burton Memorial Tower was completed in 1940, at which time the University Musical Society took residence of the first floor and basement.
A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, the UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses contributed to this project.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may observe the carillon chamber and enjoy a live performance from noon to 12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15 to 10:45 a.m.
Group Tickets
It's easy to impress your group when you take them to a UMS event! No matter what your group -company, family, club, religious congregation -the University Musical Society has an event to make you smile. And when you purchase your tickets through the UMS Group Sales Office, you'll be smiling all the way to the bank, with terrific discounts available for nearly every performance:
? Adult Groups of 20 to 46 receive a 15 discount per ticket and 1 complimentary ticket
? Adult Groups of 47 or more receive a 20 discount per ticket and 2 complimentary tickets
? For select performances, adult groups of 20 or more and student or senior groups of 10 or more receive a 25 discount per ticket and 1 complimentary ticket
? Senior groups (65+) of 10 or more receive a 20 discount per ticket and 2 complimentary tickets.
? College Student Groups of 10 or more receive a 20 discount per ticket and 2 complimentary tickets.
Your Group Sales representative offers many benefits to your group including block seating, free promotional materials, assistance with group dining arrangements, free bus parking, Philips Educational Presentations, and more. During its five-year history, the UMS Group Sales Program has brought more than 500 groups numbering over 10,000 people to UMS performances at Hill Auditorium, Rackham Auditorium, and the Power Center. Estimated Savings: $50,000. Now that's a discount! For information, call your UMS Group Sales Coordinator at (313) 763-3100.
Arts Midwest Minority Fellow
The University Musical Society is pleased to have been selected as a host site for its second Arts Midwest Minority Arts Administration Fellow. Morning Bishop, founder and director of the Morning Bishop Theater Playhouse in Gary, Indiana, is spending four months at UMS this fall to enhance her present arts administra?tion skills, to develop a network of new contacts, and to increase her awareness of the challenges facing persons of color in the field of arts administration. Arts Midwest works in partnership with private and public arts supporters throughout the Midwest to translate human and financial resources into enriching arts experiences for Midwestern residents.
Volunteers & Internships
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings, ushering for the Philips Educational Presentations, staffing the Information Table in the lobbies of concert halls, distributing publicity materials, assisting with the Youth Program by compiling educa?tional materials for teachers, greeting and escorting students to seats at performances, and serving as good-will representatives for UMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call (313) 747-1175 or pick up a volunteer application form from the Information Table in the lobby.
Internships with the University Musical Society provide experience in performing arts manage?ment, marketing, journalism, publicity, and promotion. Semesterand year-long internships are available in many aspects of the University Musical Society's operations. Those interested in serving as a UMS Intern should call (313) 764-6199 for more information. We look forward to hearing from you!
UMS Ushers
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function of assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individu?als who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer. Bravi Ushers!
"Desert Island Discs"
Co-produced by the University Musical Society and Michigan Radio. Desert Island Discs is heard every Saturday morning from 8:00 a.m. to 10:00 a.m. Each program features a distinguished castaway who is asked, "If you were stranded on a desert island, which recordings would you like to have with you and (perhaps most revealingly) why" Tune in Saturday mornings.WUOM-91.7 FM, Ann Arbor; WVGR-104.1 FM, Grand Rapids; WFUM-91.1, Flint.
College Work-Study
Students working for the University Musical Society as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and production. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 764-2538.
19941995 Season
Concert Schedule
The Chick Corea Quartef+
Saturday, October 1, 8pm
Guarneri String Quartet
Sunday, October 2, 4pm
Made possible by a gift from Edward Surovell CompanyRealtors.
The Michael Nyman Band'
Saturday, October 8, 8pm
Made possible by a gift from Drs. Carol and Irving Smokier
The Philadelphia Orchestra
Wolfgang Sawallisch, conductor Tuesday, October 18, 8pm
Made possible by a gift from First of America Bank-Ann Arbor. This concert is presented in honor of Dr. and Mrs. Harlan Hatcher
Uptown String Quartet+
Friday, October 21, 8pm
Made possible by a gift from Mary Sreffek-Blaske and Thomas Blaske and a gram from CHAMBER MUSIC AMERICA'S Presenter-Community Residency Program. This project is also supported by Arts Midwest members and friends in partnership with the National Endmtnentfor tlie Arts.
Michigan Chamber Players Faculty Artists Concert'
The Music of Martha Graham Sunday, October 23, 4pm
In the American Grain:
The Martha Graham Centenary Festival
The Martha Graham Dance Company
Friday, October 28, 8pm (Program I)'
Saturday, October 29, 8pm (Program II)
Sunday, October 30, 2pm"
(Program III -Appalachian Spring: Celebration
of an American Masterwork)
Saturday, October 29, 2pm (Family Show)'
This project is made possible in part by a grant from the Lila
Wallace-Reader's Digest Arts Partners Program which is
administered by the Association of Performing Arts Presenters.
This project is also made possible by grants from The Grayling
Fund and support by Arts Midwest members and friends in
partnership with the National Endowment for the Arts. In addition,
we are grateful to the Ford Motor Company for making possible the
Saturday. October 29. afternoon family show which is a part of the
Ford Family Series.
Whirling Dervishes of Turkey"
Friday, November 4, 8pm
A Celebration of the Spiritual' Jester Hairston, conductor
with the UMS Choral Union Sunday, November 6, 4pm
Made possible by a gift from The Anderson AssociatesRealtors In addition, we are grateful to the Ford Motor Company for making possible the Sunday. November 6. afternoon family show which is a part of the Ford Family Series.
Tnuatron Dance Troupe
Tuesday, November 8, 7 pm
This program is part of the Mid EastWest Fesl International
Community Exchange sponsored by Lufthansa and the W. K. Kellogg
Foundation, major sponsors, and Hudson's and the Dayton-Hudson
Foundation.
In addition, we are grateful to the Ford Motor Company for making
possible this performance which is a part of the Ford Family Series.
Ute Lemper, vocalist
Friday, November 11, 8pm
Frederica von Stade, mezzo-soprano
Martin Katz, piano Sunday, November 13,4pm
The 2nd Annual
UMS Theatre Residency:
The Shaw Festival
The Front Page
Wed., November 16,8pm
Friday, November 18, 8pm'
Saturday, November 19, 2pm
Arms and the Man
Tuesday, November 15, 8pm
Thursday, November 17, 8pm'
Saturday, November 19, 8pm
Sunday, November 20, 2pm
Made possible by gifts from TriMas and the
Detroit & Canada Tunnel Corporation.
Oslo Philharmonic Mariss Jansons, conductor Yefim Bronfman, piano
Tuesday. November 29, 8pm
Roberto Aussel, guitar
Friday, December 2, 8pm
Handel's Messiah
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, music director
and conductor
Saturday, December 3, 8pm
Sunday, December 4, 2pm
Made possible by a gift from Wolverine
Temporaries Inc
Sweet Honey in the Rock'
Friday, January 6, 8pm
Made possible by a gift from Great Lakes
Bancorp
The Complete Piano Music of Frederic Chopin, Part I
(1st of 3 installments) Garrick Ohlsson, piano
Friday, January 13, 8pm'
Ruth Brown' +
Saturday, January 14, 8pm
Part of the University of Michigan's 1995 Re
Dr. Martin Luther King, Jr. Day Symposium.
Spiritual Ensemble of Harlem
Sunday, January 15, 7pm Free and open to the public. Tickets required.
Co-presented with the University of Michigan Office of the Vice Provost for Academic and Multicultural Affairs as part of the University 1995 Rev. Dr. Martin Luther King. Jr. Day Symposium.
Academy of SL Martin-in-the-Fields Iona Brown, conductorviolinist
featuring Vivaldi's The Four Seasons Sunday, January 22, 7pm Made possible by a gift from British AirwayslConlin-Faber Travel
Jean-Pierre Rampal, flute'
John Steele Ritter, piano Wednesday, January 25, 8 pm
The Romeros, guitar family'
Friday, January 27, 8pm
Noa, vocalist, and Gil Dor, guitar'
Thursday, February 9, 8pm This program is part of the Mid EastWest Fesl International Community Exchange sponsored by Lufthansa and the W. K. Kellogg Foundation, major sponsors, and Hudson s and the Dayton-Hudson Foundation.
The Society Bank Cleveland Orchestra Weekend
The Cleveland Orchestra
Christoph von Dohnanyi, music director
Friday, February 3, 8pm'
Special Performance!
The Cleveland Orchestra Christoph von Dohnanyi, music director Emanuel Ax, piano Saturday. February 4, 8pm
Chamber Music with Members of the Cleveland Orchestra
Sunday, February 5, 4pm Made possible by a gift from Society Bank. Michigan. This project is also supported by Arts Midwest members and friends in partnership with the National Endowment for the Arts.
Anne-Sophie Mutter, violin
Lambert Orkis. piano Saturday, February 11, 8pm Made possible by a gift from Parke-Davis Pharmaceutical Research.
Freiburg Baroque Orchestra Drew Minter, countertenor
Sunday. February 12, 7pm
Kodo Drummers'
Monday, February 13, 8pm Tuesday, February 14, 8pm
Hagen String Quartet'
Thursday. March 2, 8pm
Made possible by a gift from Curtin tt Alf
iolinmakers.
New York City Opera National Company
Rossini's II Barbiere di Siviglia (The Barber of Seville) Tuesday, February 28, 7pm (Family Show) Wednesday, March 1, 8pm Friday, March 3, 8pm" Saturday, March 4, 8pm Sunday, March 5, 2pm Made possible by a gift from JPEinc. We are grateful to the Ford Motor Company for making possible the Tuesday, February 28. family show which is a part of the Ford Family Series.
Warsaw Sinfonia'
Krzysztof Penderecki, conductor
Allison Eldredge, cello
Saturday, March 11, 8pm
The Complete Piano Music of Frederic Chopin, Part I
(2nd of 3 installments) Garrick Ohlsson, piano
Sunday, March 12, 4pm'
Lincoln Center Jazz Orchestral-Wednesday, March 15, 8pm
Presented in conjunction with U-M Office of Major Events (MEO).
Berlin Philharmonic Woodwind Quintet
Friday, March 17, 8pm
Maurizio Pollini, piano
Monday, March 20, 8pm
Bill T. JonesArnie Zane Dance Co. --StillHere"
Friday, March 24, 8pm Saturday, March 25, 8pm
Cleveland String Quartet'
Giora Feidman, clarinet
Sunday, March 26, 4pm
Made possible by a gift from Edward Surovell
CompanylRealtors
Michigan Chamber Players Faculty Artists Concert
Tuesday, March 28, 8pm
The Complete Piano Music of Frederic Chopin, Part I
(3rd of 3 installments) Garrick Ohlsson, piano
Friday, March 31, 8pm
Anonymous 4, vocal quartet'
Saturday, April 1, 8pm
Royal Concertgebouw Orchestra
of Amsterdam'
Riccardo Chailly, conductor
Thursday, April 6, 8pm
Julian Bream, guitar
Tuesday. April 25. 8pm
Detroit Symphony Orchestra'
Jerzy Semkov, conductor Edith Wiens, soprano Florence Quivar, mezzo-soprano UMS Choral Union Sunday, May 14, 4pm
Indicates Philips Educational Presentation in conjunction with this performance. Call 313.764.2538 for details. +The UMS Jazz Directions Series is presented with support from WEMU, 89.1 FM. Public Radio from Eastern Michigan University.
Advertising with the University Musical Society
Four years ago, UMS began publishing expanded program books that included advertising and detailed information about UMS programs and service. As a result, advertising revenue now pays for all printing and design costs.
UMS advertisers have written to tell us how much they appreciate advertising in the UMS program books to reach you, our world-class audience. We hope that you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general information that illuminate each UMS presentation. For informa?tion about how your business can become a UMS advertiser, call (313) 764-6199.
Acknowledgements
In an effort to help reduce distracting noises and enhance the concertgoing experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dispensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1994 Lincoln Town Car to provide transportation for visiting artists.
UMSCard
Subscribers who purchase at least $100 worth of tickets and supporters at the $100 level and above receive the UMSCard. The UMSCard is your ticket to savings all season for discounts on purchases at the following fine stores and restaurants:
Amadeus Cafe Maude's
Gandy Dancer SKR Classical
Kerrytown Bistro The Earle
Tower RecordsBooksVideo Cafe Marie
Gift Certificates
What could be easier and more welcome than a University Musical Society gift certificate The perfect gift for every occasion worth celebrating. Give the experience of a lifetime -a live performance -wrapped and delivered with your personal message.
Available in any amount, just visit or call the UMS box office in Burton Tower, 313.764.2538.
Youth Program
Thousands of school children annually attend UMS concerts as part of the UMS Youth Program, which began in 1990 with special one-hour performances for local fourth graders of Puccini's La Boheme by the New York City Opera National Company.
Now in its sixth year under the Education Depart?ment, the UMS Youth Program continues to expand, with a performance by the Martha Graham Dance Company for middle and high school students, a performance by the Shaw Festival for high school students, and two fourth-grade opera performances, as well as discounted tickets to nearly every concert in the UMS season.
As part of the Martha Graham Dance Company's Ann Arbor residency and the four-day multidisciplinary program entitled "In The American Grain: The Martha Graham Centenary Festival," the Graham Company presents a special youth program to middle and high school students on Friday, October 28.
Friday, November 18, area high school students will experience a full-length performance of the Shaw Festival's production of Shaw's Arms and the Man.
On Friday, March 3, 1995 2700 fourth-graders will visit the Power Center for abbreviated one-hour performances of Rossini's Barber of Seville. These performances allow children to experience opera that is fully-staged and fully-costumed with the same orchestra and singers that appear in the full-length performances.
Discounted tickets are also available for UMS concerts as part of the Youth Program to encourage students to attend concerts with their teachers as a part of the regular curriculum. Parents and teachers are encouraged to organize student groups to attend any UMS events, and the UMS Youth Program Coordinator will work with you to personalize the students' concert experience, which often includes meeting the artists after the performance. Many teachers have used UMS performances to enhance their classroom curriculums.
The UMS Youth Program has been widely praised for its innovative programs and continued success in bringing students to the performing arts at affordable prices. To learn more about how you can take advantage of the various programs offered, call Education Coordinator Helen Siedel at 313.936.0430.
The 19941995 UMS Education Program is underwritten in part by the McKinley Foundation, ER1M, the Bernard L. Maas Foundation, the Anderson Associates, Ford Motor Company, David and Tina Loesel, Thomas H. and Mary Steffek Blaske, and the Michigan Council for the Arts and Cultural Affairs.
Advertiser's Index
28 After words Bookstore
24 Ann Arbor Symphony
Orchestra
19 Argiero"s Italian
Restaurant
36 Austin Diamomd
33 Beacon Investment
12 BenefitSource
25 Bodman. Longley &
Dahling
9 Border's Books and
Music
3 Briarwood Mall
37 Butzel Long
25 Charles Reinhart
Company
11 Chelsea Community
Hospital
12 Chris Triola Gallery
14 Comerica
34 Detroit Edison
11 Dobson-McOmber
Agency
34 Dough Boys Bakery
1(1 Ed Surovell Realty Co.
36 Environmental Research
Institute of Michigan
32 First Martin Corporation
19 First of America Bank
2') Ford Motor Company
13 Fraleigh's Landscape
Nursery
16 General Motors
36 Glacier Hills
18 Great Lakes Bancorp
13 Hagopian World of Rugs
32 Harmony House
19 Heikkinen Piano Shop
9 Interior Development
2 Jacobson's
37 JC Penney Co.

32 John Leidy Shops 15 [Catherine's Catering & Special Events
8 Kerrytown Marketplace
19 Kerrytown Shops
26 King's Keyboard House
38 Lewis Jewelers 30 M-Care
24 Malthaei Botanical Gardens
40 Matthew C. Hoffman Jewelery Design
27 Maude's
11 Michigan Group Realtors
28 Miller, Canfield, Paddock & Stone Mundus & Mundus, Inc. Overture Audio Persian House of Imports Professional Automotive Technicians
34 Red Hawk Bar & Grill 15 Schlandercr Jewelry
20 SKR Classical 17 Society Bank
9 Sweetwalers Cafe 37 The Toledo Museum
of Art
Top Drawer U.M. Cancer Center Ufer & Co. Insurance UM Museum of Art 17 University Productions
35 WEMU
23 Whole Foods Market
39 Woodbridge Investment Management
22 WQRS 26 WUOM
25 Zingcrman's Next Door

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