LOOKING OVER The President’s SHOULDER

Presents

Tabard Theatre29 N. San Pedro Street • Downtown San Jose

July 24 - August 9, 2020

Welcome

Presents

The Tabard TheaTre company

From Jonathan Rhys Williams, Executive Artistic Director

Iiam excited that Looking Over The President’s Shoulder, the show that The Tabard Theatre Company originally opened in March of this year with only one performance before the iCOVID-19 shutdowns, is now back as our first livestream performance. I can’t help but think

about how much our world has changed in the last four months. Now you will be experiencing this entertaining and enlightening story from the comfort of your own living room, but the content resonates with me now more that ever before. Alonzo Fields began his tenure at the White House in 1931, prior to the civil rights movement and in an era where U.S. senators from the South regularly addressed him as “boy.” FDR himself tried to remove racial tensions among the White House staff by making it all black. We know that in many ways things have changed for the better in our modern United States, but as we have watched the events of the last several months, I have to ask myself, “How much has it really changed? How much do we still have to accomplish and what do we need to do as a society to find our blind spots, large or small, and do everything in our power to make the world a better place for all Americans?” All change starts with a conversation. I am so glad that you have chosen to join us in this particular conversation. James Still, in his playwright’s notes in the forward to the printed version of his play (reprinted in this program) writes, “I remember thinking that there was something wonderfully subversive and bold about a one-man play whose character hadn’t been allowed to talk on the job.”

For this production of Looking over the President’s Shoulder, in the spirit of Alonzo Fields, whose dream it was to be a singer, we are proud to have Silicon Valley Gay Men’s Chorus as our designated non-profit for the work they do providing singing opportunities for all people, regardless of gender, ethnicity, or orientation and for creating gorgeous vocal music to enrich our lives and uplift our spirits.

by James Still

Produced by special arrangement with The Dramatic Publishing Company of Woodstock, Illinois.

This play was originally commissioned and produced by the Indiana Repertory Company, Indianapolis, Indiana: Janet Allen, artistic director; Daniel Baker, managing director.

Setting

Lafayette Park, Washington, D.C.(directly across from the White House)

1953

Starring James Creeras Alonzo Fields

Theatre is more than a show. Tabard.Journey of the heart. Tabard.

https://tuxedofashions.com/

producTion STaff

Producers Cathy Spielberger Cassetta and Jonathan Rhys Williams

Director Doug BairdProduction Manager Nicole Jacobus

Technical Director Carsten Koester Technical Consultant Joe Cassetta

Stage Manager / Light Board Op. Joan RubinSound Designer / Sound Board Op. Robert Lewis

Lighting Designer Darbus OldhamCostume Coordinator Marilyn Watts

Tuxedo provided by Tuxedo Fashions Scenic Painter Jennifer Hart

Program Layout Barbara Reynolds

Tabard offers its sincere and grateful appreciation to... WVLO Musical Theatre Company, as well as

all our season subscribers, donors, sponsors, and community partners who helped make this production possible.

We apologize for any omissions due to our print deadline.

The Tabard Theatre Company is a proud and active member of:

The Tabard Theatre Company is grateful for support provided by agrant from The City of San Jose Office of Cultural Affairs.

Supported by SV Creates in partnership with the County of Santa Clara.

A portion of donations made during this livestream will go

to: https://svgmc.org/

There will be a 15-minute intermission.

meeT The arTiSTS

James Creer (Alonzo Fields) returns to Tabard for this revival of Looking Over The President’s Shoulder. A Bay Area resident actor and vocal soloist, James studied at Sam Houston State University and has played principal roles in many local theater productions. Recently he debuted with Sunnyvale Players as the Lion in The Wiz, Shelton Theatre in San Francisco with Juke Joint Juke Box, Mountain View Performing Arts Center in Jive, and Hillbarn Theatre as Horse in The Full Monty. For Tabard he has appeared in I Do! I Do!; Crowns; Tuesdays with Morrie; The Duke, The

Count, and Me; Driving Miss Daisy; Stompin’ at the Savoy; and Bandstand Beat. He appeared in South Bay Musical Theatre’s Broadway By The Decade, Finian’s Rainbow, Mack and Mabel, Ain’t Misbehavin’, and Guys and Dolls, and in Ragtime for both Broadway by the Bay and Children’s Musical Theatre’s marquee production. James has been guest soloist for Schola Cantorum of Los Altos, San Jose Jazz Festival with jazz band Nineteen, and debuted Brian Holmes’ operetta Fashion God in San Francisco. James is president of the Silicon Valley Gay Men’s Chorus; he is a member of Campbell United Methodist Church and sings in the Chancel Choir.

Doug Baird (Director) is a Tabard associate artistic director and has previously directed Snapshots; Adrift in Macao; Mom’s Gift; Musical of Musicals (The Musical!); I Do! I Do!; Tuesdays With Morrie; and Driving Miss Daisy. Other recent directing credits include The Will Rogers Follies; Irene; Bells Are Ringing; Mame; and My Fair Lady at WVLO Musical Theatre. Doug is also an award-winning actor, having appeared in Hairspray; Cabaret; Hello, Dolly!; and 42nd Street, to name a few.

Cathy Spielberger Cassetta (Producer), with a theater career that spans over 50 years, has produced all of Tabard’s shows (this one is #95! — and that’s just with Tabard). As you may know, Cathy retired as executive artistic director on June 30. Not one to be idle, she has already begun writing the next chapter of her life. She is a certified myofascial release therapist and yoga teacher (mat and aerial), with over 700 hours of training, focusing on yoga for older bodies and bone health. Truly, a new beginning. :)

Jennifer Hart (Scenic Painter), a San Jose resident since 1996, returns to Tabard after working on The 39 Steps, A New Brain, A Taffeta Christmas, The Tin Woman, Sherlock Holmes, Queen of the Mist, Beau Jest, Snapshots, and The Explorers Club. With a B.F.A. from the University of Georgia, she has San Jose scenic painting experience including five seasons with Angels on Stage. When not painting sets, she works as an artist: painting, sculpting, illustrating, and generally being creative.

Robert Lewis (Sound Designer) designed the sound for Tabard’s Beau Jest and Evelyn in Purgatory and stage-managed A Taffeta Christmas, Death Takes A Holiday, Homeward Bound, and Holiday at the Savoy after working in technical roles for most of the shows in the last five seasons. A New Jersey native and electrical engineer by education, Robert is now nearing three decades as a resident of the Bay Area (with stops in Dallas, Boston, and Tokyo along the way) and software consultant.

Time well spent. Tabard.

In honor of the passing of our long-time mixologist and dear friend, Tabard’s bar will now be known as “Josh’s Bar.”

Josh Michael Salans, 1957 - 2020

Darbus Oldham (Lighting Designer) is excited to be lighting a mainstage show at Tabard for the first time, having done the lighting design for last summer’s mentor show Beauty and the Beast, Jr. Past design credits include Starmites (Evergreen Valley High School), Ramayana, and The Winter’s Tale (San Francisco Shakespeare Festival). Darbus is the Master Electrician for San Jose Stage Company and an electrician for TheatreWorks, West Bay Opera, and Palo Alto Players.

Joan Rubin (Stage Manager) has stage-managed a number of Tabard shows including The Tin Woman; Snapshots; Love Letters; Adrift in Macao; Mom’s Gift; Musical of Musicals (the Musical!); Edith Stein; I Do! I Do!; Tuesdays with Morrie; Starting Here, Starting Now; and Making God Laugh. She has also stage-managed a dozen shows for Woodside Players and Woodside Community Theatre, as well as many for Saratoga Drama Group / South Bay Musical Theatre. She notes that it is a most pleasurable experience working with these actors and staff of Tabard.

James Still (Playwright) has had his award-winning plays produced throughout the United States and abroad. Three of his plays have received the Distinguished Play Award from the American Alliance for Theatre & Education, and his work has twice been nominated for the Pulitzer Prize. In addition to writing for theatre, Still also works in television and film; he has been nominated for five Emmy awards and an award from the Television Critics Association. He grew up in a small town in Kansas, graduated from the University of Kansas, and lives on the West Coast.

Marilyn Watts (Costume Coordinator) has costumed most of Tabard’s shows since the second season; she has costumed countless shows for Children’s Musical Theatre and local dance companies, for which she has received many awards for excellence. She additionally serves Tabard as Audience Services Director and Marketing Manager.

Jonathan Rhys Williams (Producer) is Tabard’s new executive artistic director. A professional theatre artist working in all aspects of live performance for more than 30 years, he co-founded Capital Stage Company in Sacramento in 2002, serving in various capacities from director of production to producing artistic director, helping grow the company into an arts leader before leaving in 2015.

meeT The arTiSTS

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hiSTorical background

The America Alonzo Fields Knew

Tlhe America Alonzo Fields knew in 1931 bears passing similarity to our country today. Then as now,

Americans were struggling to cope with the effects of a global financial crisis and skyrocketing unemployment. Then as now, the actions of the banks and the stock market squeezed small business owners like Alonzo Fields, whose grocery store had gone bankrupt in 1925. Then as now, protesters camped in public parks and vacant lots. Then as now, the rich and famous rarely mingled with the common citizen. Then as now, making a living in the arts was a long shot, especially for an African-American like Alonzo Fields. That’s where the similarity ends.

Theaters and concert halls were racially segregated. Commonly, parts for dark-skinned actors or singers were played by whites wearing make-up. While the strong black church community had nurtured hundreds of African-American choirs, and Harry Lawrence Freeman had a successful run on Broadway with an all-black opera (Voodoo) in 1923, the first African-American opera company was not formed until 1941, in Pittsburgh. Although George Gershwin succeeded in casting African-Americans for Porgy and Bess in 1935, it took until 1955 to break the color barrier at a major white opera company when Alonzo Fields’ idol, the renowned contralto Marian Anderson, sang at the Metropolitan Opera in New York. William Grant Still was the first African-American to conduct a major orchestra in 1936, but it wasn’t until 1949 that he had the first opera by an African-American (Troubled Island) performed by a major company. Scott Joplin’s 1920 all-black opera masterpiece Treemonisha sat untouched until 1972.

Of course, discrimination in the arts was merely a tiny piece of the difficulty faced by African-Americans in the early 20th century. In addition to segregated schools, buses, restrooms, and other public accommodations, voting ranged from difficult to impossible. Lynchings were still commonplace, mostly in the South, but not unheard of in former Union states. An infamous 1930 lynching in Marion, Indiana, Alonzo Fields’ home state, later inspired the Billie Holiday hit song “Strange Fruit.” As Alonzo Fields himself notes, even an outspoken advocate of equal rights such as Eleanor Roosevelt did not dare to integrate the domestic staff in the White House or at Hyde Park.

By the time Alonzo Fields completed his duties in the White House, much had changed, and he had been in the front row of history as it happened. He looked on as FDR planned New Deal programs to employ African-Americans and poor whites, many of whom had come north in The Great Migration. He looked on as World War II was planned and eventually won, in part thanks to thousands of brave African-American soldiers, seamen, and pilots. He proudly looked on when President Truman met with early leaders of the civil rights movement and in 1948 signed Executive Order 9981 desegrega-ting the U.S. military. The White House Alonzo Fields knew had gone from the frowning formality of Hoover and noblesse oblige of Roosevelt to the instinctive egalitarianism of Truman and Eisenhower — and the America he knew had adjusted itself in similar fashion. The days of Martin Luther King, Jr. — not to mention President Barack Obama! — were still a distant dream, but progress had been made.

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auThor’S noTe

Looking Over the President’s Shoulder is a one-person show. Why? It was my ninstinct from the beginning to write

this play for one actor. There is something intimate and exhilarating about watching one character tell his or her story. As an audience, we feel close to that character, we feel as though we’ve been cast as his partner, we feel essential to the experience. And on a technical level, there is something dangerous and thrilling about watching one actor bravely inhabit the stage for two hours. But secretly, there was more to it than that.

As the chief butler in the White House, Alonzo Fields was required to be silent, to stare straight ahead, to not smile or acknowledge any of the conversations taking place. As an African-American in the White House from 1931 to 1953, he stood behind four presidents as the country struggled with its complicated history of racism and classism. I remember thinking there was something wonderfully subversive and bold about a one-man play whose character hadn’t been allowed to talk on the job. Finally, Alonzo Fields would get to tell his story.

If you’re like me, you might never have heard of Alonzo Fields. I first ran across his name while doing research for my play Amber Waves at the Indiana Historical Society in 2000. On that fateful day, I happened upon a small, fragile newspaper clipping which said that Alonzo Fields was an Indiana native and that he had been the chief butler at the White House for twenty-one years.

That was the beginning of my fascination and obsession with Alonzo Fields. For the next two years I would make phone calls to the Harry S. Truman Library in Independence, Missouri, to the White House, to the Smithsonian, to National Geographic Television. I would travel to Boston and spend time with Alonzo Fields’ second wife, Mayland. I would travel to Washington, D.C., and tour the White House, including the

kitchen, the butler’s pantry, and the back stairs. I would also walk across Pennsylvania Avenue and look back at the White House just as Alonzo Fields does in the play. It really is a beautiful old house.

The first production was at the Indiana Repertory Theatre in Indianapolis — a city that Fields called home until he took off for Boston to study music at the New England Conservatory of Music. The late (and great) John Henry Redwood originated the role of Alonzo Fields and played it through the first seven productions.

Eventually, the play found its way to the famous Ford’s Theatre in Washington, D.C. — and it was a perfect kind of circle, bringing Alonzo Fields back to Washington, back to another city that he loved. On opening night at Ford’s in early 2004, there were many guests from the White House in the audience. But the most special guests that evening were the current butler staff of the White House — seven men who joined actor Wendell Wright on stage for a final curtain call. It was a moment I will always cherish.

Working on Looking Over the President’s Shoulder has reminded me why I feel so privileged to do what I do both as a writer and director. It’s an opportunity to immerse myself in another man’s world, to peek into another man’s soul, to give voice to another man’s story.

Alonzo Fields died in 1994, so I’ll never know what he might have thought about this play, about our production. If he were here, there are things I’d like to ask him. But honestly, mostly I’d just want to say thank you. Thank you for teaching me about living a life with grace and elegance, about doing a job with a sense of purpose and pride, and about being an artist who served dinner to four presidents and their families — but served his country, too.

— James Still

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‘tab’ard: \’tab- erd also -ärd\ n: 1. An ancient London inn featured in Chaucer’s Canterbury Tales, from which pilgrims began their journey to Canterbury Cathedral and at which the innkeeper offered a free meal to the best storyteller. 2. A tunic worn by a knight over his armor and emblazoned with his sovereign’s arms. 3. The name appropriated by numerous contemporary collegiate literary fraternities. 4. A dynamic and imaginative theatre company in Silicon Valley, CA

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Administrative Office: 29 N. San Pedro Street, Suite 200 San Jose, CA 95110408-679-2330 info@tabardtheatre.org www.tabardtheatre.org

Our Mission Statement: Tabard provides live entertainment experiences that are enlightening, appropriate, and affordable for audiences of all ages, championing unique works in an inclusive environment, with educational programs and altruistic outreach to the underserved.

A 501(c)(3) public benefit corporationExecutive Artistic Director: Jonathan Rhys Williams