Playwise | Tribes

by Nina Raine directed by Stuart Carden

tR beS

at thePHILADELPHIA THEATRE COMPANY

January 24 through February 23, 2014playw se

oN StAgE AND oFF

featuring

Robin AbRAmson TAd Cooley Alex HoeffleR JoHn Judd

AmAndA KeARns lAuRie KlATsCHeR

TRIBES is produced in association with City Theatre Company, Pittsburgh, PA. Tracey Brigden, Artistic Director, Mark R. Power, Managing Director

DRANOFF PTC Ad 5x8 4C.indd 3 8/19/13 6:41 PM

Set Design nARelle sissons

Priscilla M. LucePresident

Sara Garonzikexecutive Producing Director


featuring

Robin AbRAmson TAd Cooley Alex HoeffleR JoHn Judd

AmAndA KeARns lAuRie KlATsCHeR

By

ninA RAine

Directed by sTuART CARden

TRIBES was commissioned and first presented by English Stage Companyat the Royal Court Theatre on 14 October 2010

TRIBES was presented by Barrow Street Theatre, New York, NY in 2012

TRIBES is presented by special arrangement with Dramatists Play Service

tRIbeS

THANK YOU TO OUR TRIBES SPONSORS!

.com

official Beverage Sponsor

Season Sponsor

Julia and Gene ericksenhonorary Executive Producers

TRIBES is produced in association with City Theatre Company, Pittsburgh, PA. Tracey Brigden, Artistic Director, Mark R. Power, Managing Director

Casting sTuART HowARd & PAul HARdT

PTC Dramaturg CARRie CHAPTeR

Director of ProductionRoy w. bACKes

Production Stage ManagerdAnielle Commini

Set Design nARelle sissons

Costume Design JAnus sTefAnowiCz

Lighting DesignAndRew dAvid osTRowsKi

Sound/Projection DesignmiKe TuTAJ

Dialect CoachmelAnie JuliAn

PTC Casting Amy dugAs bRown

M a r c h 8 , 2 0 1 4annual Gala

P h i l a d e l P h i a T h e a T r e c o M P a n y

Honorary Chairs David and Rhonda Cohen

Gala Chairs Jerry and Cookie Riesenbach

Honoree Elliot Schwartz

Corporate Honoree Cozen O’Connor

Saturday, March 8, 2014 6:00pm

The Hyatt at the Bellevue

200 S. Broad Street Philadelphia, PA 19102

Cocktails. Auction. Dinner. Dancing Hosted by Jessica Dean, CBS3 Anchor

Music by Rich Posmontier Proceeds from the Gala help support PTC’s

education and community outreach initiatives.

For table sponsorships, tickets or underwriting opportunities, please contact:

The Development Department 215.985.1400, x115

[email protected]

PhiladelphiaTheatreCompany.org/Gala

froM The exeCuTive ProDuCing DireCTorDear Friends,

Tribes had an auspicious 2010 debut at London’s royal Court theatre, that hot- bed of new plays and social provocation on Sloane Square, winning a raft of awards and nominations includ-ing the olivier (our tony equivalent.) the excitement continued in 2012 when a new production mounted off Broadway at the Barrow Street theater exceeded its original run, pushing past two extensions and finding a place on every critic’s “must-see” list. Since that time, Tribes has been produced in Los Angeles, La Jolla,

Boston and, even as we speak, Chicago, Washington DC and here in Philadelphia. (We are pleased to be co-producing with Pittsburgh’s City theatre, a kindred spirit, that will be running the production starting March 8th.)

It is clear that Nina raines’ drama seems to be hitting a universal chord even while it illustrates a highly unusual domestic scenario. In Tribes we meet a raucous, intellectual and dysfunctional British/Jewish family whose battles are played out nightly at the dinner table. Presided over by patriarch Christopher, meals are non-stop, high intensity debates over politics, art and any topic that can be used to win points, build alliances and strengthen the shared values of this volatile “tribe.” Everyone shouts and no one seems to be listening except son Billy, deaf since birth, who forms the quiet, churning center of this absorbing play. Tribes is Billy’s quest for identity and its enormous impact on his family.

Playwright raines, who is also a director, has created vibrant, truthful characters and a complex story, rich with metaphor, that lifts it above most domestic drama. her delin-eation of the politics and divisions within the deaf community is gutsy and revelatory, as is her portrait of a family who cannot and will not accept their son’s individuality.

We are proud to be presenting this smart, brave and beautiful play and its themes of inclusion and understanding which are core to the work we do at Philadelphia theatre Company. We also welcome director Stuart Carden, new to PtC, and a wonderful cast and creative team to our stage. For those members of our community who are deaf or hearing impaired, we will be offering ASL translated as well as open captioned performances and post-show events, all of which are listed in this Playwise.

Sara Garonzik | Executive Producing Director

CASt

ruth.........................................................................................................................................robin Abramson*

Billy......................................................................................................................................................tad Cooley*

Daniel.............................................................................................................................................Alex hoeffler*

Christopher........................................................................................................................................John Judd*

Sylvia.........................................................................................................................................Amanda Kearns*

Beth...........................................................................................................................................Laurie Klatscher*

* Denotes member of Actors’ Equity Association

Time: Present Place: London

SPECIAL thANKS

the video and/or audio recording of this performance by any means whatsoever is strictly prohibited. All electronic devices such as beepers, cell phones, and watch alarms must be turned off prior to the performance.

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Independence Foundation

Louis n. Cassett Foundation Wells Fargo Foundation

Support for philadelphia theatre Company’S Accent on Accessibility program ComeS from:

Philadelphia theatre company thanks its friends and community partners in helping to make our production of tRibes as accessible as possible:

ArtReach, deaf-Hearing Communication Centre (dHCC), geraldine d. fox, noHR foundation, Handsup, Pennsylvania school for the deaf, mimi smith, executive director, vsA Pennsylvania

Who’S Whorobin abramson (ruth) Previous Pittsburgh City theatre credits are Stephen Massicotte’s Mary’s Wedding and Blackbird by David harrower, both of which earned her 2009 Pittsburgh Post Gazette’s Performer of the Year, and were directed by Stuart Carden. Additional City theatre productions include Jordan harrison’s Maple and Vine, Time Stands Still, and Outlying Islands. robin was most recently seen portraying the role

of Annabelle in You Say Tomato, I Say SHUT UP! in Pittsburgh (CLo Cabaret), San Diego, and Philadelphia. She played Eliante in Pittsburgh Irish and Classical theatre’s produc-tion of The School for Lies by David Ives. Quantum theatre appearances include Electric Baby (Natalia), Viola in Twelfth Night, and When the Rain Stops Falling. Some of her fa-vorites are Maura in tammy ryan’s FBI Girl (Playhouse rep) Kathy in No Name Players’ production of Orange Flower Water, tzeitel in Fiddler on the Roof, and Three Sisters (olga).

Tad Cooley (billy) makes his professional stage debut at PtC. In his na-tive texas, he has appeared in numerous productions including A Fun-ny Thing Happened on the Way to the Forum, Once on This Island, Robin Hood and High School Musical, among many others. tad is currently at-tending the New York Conservatory for Dramatic Arts.

alex Hoeffler (Daniel) is thrilled to be making his Philadelphia the-atre Company debut with this exciting piece of theatre. Broadway: War Horse. New York: Happy’s Funeral. regional: Derma (Charleston, SC), The Phantom of the Alamo (the Magik theatre). training: uNCSA. thanks to Abrams. hi, Mum!

John Judd (Christopher) is an actor based primarily in Chicago. he most recently appeared in Wrecks at Profiles theatre. he has appeared at the goodman theatre (Measure For Measure, The Iceman Cometh, A Christmas Carol, Magnolia, and Shining City), Steppenwolf theatre Company (Three Sisters, Clybourne Park, Last Of The Boys, The Dresser, The Butcher Of Baraboo, Orson’s Shadow, Golden Boy, and Our Town), Chicago Shakespeare theatre (The Feast, An Intimate Tempest, and Ro-

meo And Juliet), Writer’s theatre (Othello, Crime And Punishment, and The Price), Court theatre (Lettice And Lovage, and Gross Indecency), Lookingglass theatre (Great Men Of Science, Nos. 21 & 22), Northlight theatre (The Lieutenant Of Innishmore and The Cripple Of Inishmaan), Shattered globe theatre (Come Back Little Sheba), A red orchid theatre (Gagarin Way), About Face theatre (Execution Of Justice), Next theatre (A Number and The Boarding House). Also: And Neither Have I Wings to Fly with Fox theatricals, Angels In America Parts I and II with the Journeymen, Long Day’s Journey Into Night with Irish rep of Chicago. In New York at Barrow Street theatre (Orson’s Shadow and An Oak Tree) and 59E59 theatres (Crime And Punishment). regionally and Internationally at McCart-er theatre, Princeton NJ (American Buffalo), huntington theatre, Boston (Shining City), Williamstown theatre Festival, Westport Country Playhouse , and Beaver Creek theatre Festival (Orson’s Shadow) and at town hall theatre, galway, Ireland (Long Day’s Journey Into Night). Screen appearances include: Public Enemies, Batman Begins, Mr. 3000, Road To Perdition, Ride With The Devil, Losing Isaiah, Hoffa, Chump Change, Children On Their

Birthdays, Milwaukee, Minnesota, and Cherry. tV appearances include: Boss, Chicago Code, Prison Break, ER, Early Edition, and numerous pilots.

amanda Kearns (Sylvia) is delighted to be working for the first time at Philadelphia theatre Company! A Canadian born, Boston bred ac-tress, Amanda now resides in Philadelphia and is a 2012 graduate of the BFA program at the university of the Arts. Previous credits include: tal-leyrand in Vainglorious (Applied Mechanics), Savage Love (rebelYard), Alice in Mosque (hybridge) and groupie in NPGN, a part of the 2012

Philadelphia Fringe and Manhattan rep. Fall Fest. Many thanks to everyone at PtC for the opportunity, and to my family and friends and goose for their unconditional love.

Laurie Klatscher (beth) recent theatre: Dream of Autumn, The Electric Baby (Quantum theatre); Riders to the Sea (Microscopic opera). Laurie was named Pittsburgh Post Gazette’s ”Performer of the Year 2011” for her work in Madeleine george’s Precious Little (City theatre) and tammy ryan’s Lost Boy Found in Whole Foods (Playhouse rep). other theatre: Shooting Star, The Good Body, Slavs, The Cryptogram, Temptation, Moon-

light Room, Compleat Female Stage Beauty, Red Herring, and The Baltimore Waltz (City theatre); Mad Honey and Women Beware Women (unseam’d Shakespeare); Dog Face (Festival de otono, Madrid), Candide, Closer (Quantum), Heartbreak House, and A Woman of No Importance (PICt).

nina raine (Playwright) began her career as a trainee director at the royal Court theatre after graduating from oxford. She dramaturged and directed Unprotected at the Liverpool Everyman (tMA Best Direc-tor Award, Amnesty International Freedom of Expression Award). her debut play, Rabbit, premiered at the old red Lion theatre in 2006 and transferred to the West End before going to New York. Rabbit won the

Charles Wintour Evening Standard and Critics Circle Award for most Promising Play-wright. Nina also directed her second play, Tiger Country, at hampstead theatre. She directed Jumpy at the royal Court theatre, later transferring to the West End, and Shades (Critics Circle and Evening Standard Awards for Most Promising Newcomer). her com-mission for the royal Court theatre, Tribes, directed by roger Michell, won an offie award and was also nominated for both olivier and Evening Standard Awards for best new play. Tribes opened to rave reviews and won the 2012 Drama Desk Award for Best New Play and the New York Drama Critics Circle Award for Best Foreign Play. Nina just opened Longing at hampstead theatre.

Stuart Carden (Director) makes his PtC debut with Tribes. the Associ-ate Artistic Director of Writers theatre in Chicago, Stuart most recently developed and co-directed PigPen theatre Co.’s new play with music The Old Man and The Old Moon. Stuart is a new play specialist who has helped commission, develop, and bring to the stage over twenty-five new works. Previously, he was the Associate Artistic Director at City

theatre Company. At Writers, he recently directed the uS Premiere of David greig’s Yel-

Who’S Who

low Moon, the second developmental production of randall Colburn’s Hesperia, and giles havergal’s adaptation of graham greene’s Travels with my Aunt. other recent di-recting projects include Annie Baker’s Circle Mirror Transformation, Sarah ruhl’s In the Next Room (vibrator play), Curt Columbus and Marilyn Campell’s adaptation of Crime and Punishment, and Martin McDonagh’s The Lieutenant of Inishmore at the repertory theatre of St. Louis; David harrower’s Blackbird, Stephen Massicottes’ Mary’s Wedding, Jeffrey hatcher’s A Picasso, and tristine Schyler’s The Moonlight Room at City theatre; Shishir Kurup’s The Merchant on Venice, David henry hwang’s Golden Child, and Yussef el guindi’s Back of the Throat and 10 Acrobats at Silk road theatre rising; and Martin McDonagh’s The Pillowman, Martin Crimp’s adaptation of The False Servant, and Marie Jones’ Stones in His Pockets for Pittsburgh Irish and Classical theatre. As Associate at Writ-ers theatre he helps lead the theatre’s Literary Development Initiative that establishes a dialogue between the theatre and playwrights from across the u.S. in order to commis-sion, develop, and produce new and adapted works. Stuart is a proud alum of Carnegie Mellon university, member of SDC, and dad to twin toddlers Dashiell and griffin.

narelle Sissons (Set Designer) Broadway: All My Son’s at the roundabout theatre. off-Broadway: How I Learned To Drive original production; also Stop Kiss, In the Blood, Kit Marlowe, Julius Caesar (NYSF), and Little Flower of East Orange at the Joseph Papp Public theatre. Mabou Mines Doll House at St Anne’s Warehouse. Also in NYC, many productions with LAByrinth, Light Box, Playwrights horizons, New York theatre Work-shop, Signature theatre, Epic theatre Ensemble, Classic Stage Company, Juilliard, and the Women’s Project. regional: Mark taper Forum, ACt Seattle, Seattle rep, Intiman; also productions for Long Wharf, repertory theatre of St Louis, Cincinnati Playhouse in the Park, the Shakespeare theatre, trinity rep, City theatre, Quantum, PlayMakers, and Berkley rep. International: Jesus Hopped the ‘A’ Train directed by Philip Seymour hoff-man (West End and NYC) and Mabou Mines Doll House directed by Lee Breuer (uS and world tour including the olso Festival in Norway). Also, The Syringa Tree (Vienna, Austria, and Frankfurt, germany). No Child at the Edinburgh Festival. upcoming: Sokrates at VAt theatre in tallinn, Estonia. Select opera: I Pagliacci at Mill City Summer opera, Der Ferne Klang directed by thaddeus Strassberger at Bard SummerScape, Die Schwarze Spinne directed by robin guarino for gotham opera (NYC). Nominations/awards: Drama Desk, helen hayes, American theatre Wing, Kevin Kline Award, Back Stage West Award, Elliot Norton Award, and Exhibitor at Prague Quadrennial 2007 and 2011. Ms. Sissons is De-sign option Co-coordinator and Associate design faculty at Carnegie Mellon School of Drama. She was trained in London at Central St. Martins and the royal College of Art.

Janus Stefanowicz (Costume Designer) is very happy to be part of this amazing pro-duction team. Tribes will be her 26th costume design for PtC. Past productions include: reasons to be pretty, Ruined, The Story, and How I Learned To Drive. Janus also designed the Best Costume, Barrymore Award winner Intimate Apparel in 2006. Janus has worked at numerous regional theatres, including Manhattan theatre Club, ACt theatre, McCart-er theatre Center, NY Stage & Film, Berkshire theatre Festival, Wilma theatre, Delaware theatre Company, the People’s Light and theatre Company, Arden theatre Company, and Pennsylvania Shakespeare Festival. Janus is the resident Costume Designer and shop manager for Villanova university’s theatre Department. Since 1996, she has been

Who’S Who

nominated for 16 Barrymore Awards and has won three: the above mentioned Intimate Apparel in 2006, the 2003 Barrymore Award for Big Love and 1998 Award for On the Razzle both at the Wilma theater.

andrew David Ostrowski (Lighting Designer) National credits include the National high School Musical theater Awards in NYC, the Asolo, Virginia Stage Company, North Shore Music theatre, george Street Playhouse, theatreWorks, Penn’s Landing Playhouse, New York theater Institute, Merrimack repertory Company, the Arden theatre Compa-ny, the Blumenthal Center in Charlotte, NC, Spoleto Festival uSA, Pittsburgh Public the-ater, City theatre, Pittsburgh opera, Madison opera, Pittsburgh CLo, Dallas Summer Mu-sicals, theater of the Stars at the fabulous Fox theater, as well as others. Internationally, his designs have appeared in France, Sweden, Scotland, and Ireland. From 1998-2003, Andy was the lighting director for an international tour of the gershwin opera Porgy and Bess. In 2002, he was given a national merit award from the Kennedy Center for the Performing Arts. Andy resides in Pittsburgh and is an adjunct instructor for Point Park university as well as a freelance Lighting Designer for hire. he has designed over 150 productions in Pittsburgh for many of the companies there. www.tfpld.blogspot.com

Mike Tutaj (Sound/Projection Designer) joins Philadelphia theatre Company for the first time with this production. Based in Chicago, Mr. tutaj’s recent design credits in-clude The Mountaintop (Court theatre); Pullman Porter Blues, and By the Way Meet Vera Stark (goodman theatre); Sunday in the Park with George, and Shrek - The Musical (Chicago Shakespeare theatre); Still Alice (Looking-glass theatre); Beyond the Score: The Tristan Effect, and Beyond the Score: Sym-phonie Fantastique (Chicago Symphony orchestra); Lord of the Flies, and The Book Thief (Steppenwolf theatre); Miss Sai-gon, and Fiddler on the Roof (Paramount theatre Aurora); Blood and Gifts, Con-cerning Strange Devices from the Distant West, and 33 Variations (timeLine theatre Company); and Burning Bluebeard (the ruffians). Mr. tutaj is an artistic associate with timeLine theatre Company and an adjunct professor in the theatre Depart-ment of Columbia College Chicago.

Melanie Julian (Dialect Coach) is very pleased to be back at Philadelphia the-atre Company as a dialect coach for the third time; she previously coached PtC’s productions of Grey Gardens and Ruined. She has been a member of the theater faculty at temple university since 2008, where she teaches speech, acting, and

Who’S Who

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voice. Since moving to Philly she has worked with a number of local theaters as a vo-cal coach: the Arden theatre, Passage theatre, theatre Exile, BrAt Productions, EgoPo Classic theater, Luna theater, Plays and Players, and Quince Productions. As an actress she has worked with various companies around the u.S., including Northern Califor-nia’s Mondavi Arts Center, the Soho Playhouse, EgoPo Classic theater, the Pittsburgh Playhouse, Penumbra theatre, and the Minnesota orchestra. She will appear next in Mauckingbird theatre Company’s show Beautiful Thing. She is a member of Actors’ Eq-uity Association and an Associate teacher of Fitzmaurice Voicework.

roy W. backes (Director of Production) is thrilled to have joined Philadelphia theatre Company’s senior management team as Director of Production. roy is a top honors graduate of Point Park university’s BFA conservatory theater program in his hometown of Pittsburgh. he began his career as Prop Master for the late, great Fred rogers on the landmark PBS show Mister Rogers Neighborhood. Mr. Backes has spent over three decades in the professional theater, working as a Production Stage Manager, Production Manager and general Manager both on and off Broadway and at region-al theaters throughout the country, including Pittsburgh Public theater, Philadelphia Drama guild, roundabout theatre Company, Freedom theatre, Williamstown theatre Festival, Bay Street theatre, hartmann theater, Prince Music theater, Wilma theater, Walnut Street theatre, and many more. roy is a proud member of Actors Equity and the Production Managers Forum. roy thanks his wife Lisbeth and son oliver for their love and undying support. Accept grace.

Danielle Commini (Production Stage Manager) Philadelphia theatre Company: Pro-duction Stage Manager for Nerds, 4000 Miles, Love, Loss, and What I Wore, Venus in Fur, Seminar, and Bella: The Color of Love; Assistant Stage Manager for The Mountaintop, Stars of David, reasons to be pretty, The Outgoing Tide, The Scottsboro Boys, Red, Colin Quinn: Long Story Short, Ruined, Let Me Down Easy, Race, and The 25th Annual Putnam County Spelling Bee. opera Company of Philadelphia: Stage Management Intern for Otello. Wal-nut Street theatre: Stage Management Apprentice for Fiddler on the Roof, Fallen Angels, The Eclectic Society, and Oliver!. received her B.F.A. from the university of the Arts. Spe-cial thanks to the PtC staff, especially Bridget and Annie. Much love to Mom, Dad, and Will for unending support.

Carrie Chapter (Literary Manager/ Dramaturg) is the Literary Manager and Drama-turg at Philadelphia theatre Company. A graduate of Washington College and Villanova university, her workshop and production credits include the National Music theatre Conference and the National Playwrights Conference at the o’Neill theater Center; PlayPenn New Play Development; geva theatre Center; Playwrights horizons; Primary Stages; and Inis Nua theatre Company. Ms. Chapter also provided workshop drama-turgy for Broadway’s The Book of Mormon. recently, she proudly acted as the facilitator/dramaturg for a seed grant project at temple university entitled, que[e]ry, a student-written performance piece on the experiences of LgBt youth. Ms. Chapter is a member of the Literary Managers and Dramaturgs of the Americas (LMDA).

Who’S Who

Stuart Howard & Paul Hardt (Casting) are very happy to be back at the Philadelphia theatre Company. they have previously done casting for productions here: The Outgo-ing Tide, Seminar, and the upcoming Vanya and Sonia and Masha and Spike. they also cast for Broadway, off-Broadway, National tours, and various regional theatres such as the goodspeed opera house in East haddam, Ct, the Shakespeare theatre Company in Washington, DC and the Delaware theatre Company.

amy Dugas brown (PTC Casting Director) is a casting director, director, audition coach, senior lecturer at university of the Arts, and project director for the Actors’ Proj-ect at university of Pennsylvania’s Brain Behavior Laboratory. She spent ten seasons as Associate Artistic Director at Arden theatre Company and is a graduate of Barnard Col-lege, Columbia university. She is married to Philadelphia actor Ben Dibble and together they have three children.

Sara Garonzik (executive Producing Director) has led PtC since 1982, having introduced more than 140 world or regional premieres of major new American plays and musicals to Philadelphia including new work by terrence McNally, David Ives, Bill Irwin, Jeffrey hatcher, Christopher Durang, John henry redwood, tracey Scott Wilson, Naomi Wallace and Bruce graham, among others. In 1991 she was named to the Philadelphia theatre Company Board of Directors. other service has included: Board Member of Artreach and the greater Philadelphia Cultural Alliance (gPCA); theater panels for the Pennsylvania, New Jersey and ohio State Councils on the Arts; theater panels for the Philadelphia theatre Initiative, the McKnight Foundation Advancement Awards for Playwriting, and the o’Neill Playwrights Conference; the tCg Fox Foundation Actor Fellowships, and as a judge for the Susan Smith Blackburn Prize. She is listed in “Who’s Who of American Women” and was named one of Business Philadelphia’s and Philadelphia Magazine’s “People to Watch.” She has received the Award of honor from the Alumnae Association of the Philadelphia high School for girls and the President’s Award from the Philadelphia Young Playwrights. In 2007, she received the Achievement Award from the American Association of university Women, an honor she proudly shared with Dawn Staley and terry D’Alessandro. In June 2008, she received the first Arts Pioneer Award created by Councilwoman Blondell reynolds Brown. She currently serves as an advisory Board Member of the Arts & Business Council of greater Philadel-phia, on the Board of the Philadelphia Cultural Fund (after serving 3 years as President), and on the advisory board of PlayPenn, a new play development organization.

Priscilla M. Luce (President) has a broad background that covers virtually all aspects of non-profit management, positioning, philanthropy, and volunteerism. She served 11 years as vice president of a national non-profit fund-raising and management consulting firm, guiding the boards of trustees and staff of more than 50 schools, colleges, museums, performing arts, hospitals and other organizations in raising annual, capital, endowment and deferred gifts for their institutions. Previously, she held public relations positions at the Philadelphia Museum of Art and Mount holyoke College, and spent the majority of her long career in corporate communications with trW Inc., a Fortune 100 company based in Cleveland. She also directed a $16 million fund-

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raising campaign for the Cleveland Public Schools, and is an expert in crisis management, strategic planning, marketing communications and issue communications. She has been volunteer President and Executive Director of the Albert M. greenfield Foundation in Philadelphia since 2000. under her leadership, this family Foundation is developing a leading-edge grant-making style that emphasizes collaboration with non-profit partners to implement innovative approaches addressing evolving community and social needs in Philadelphia. She is Executive Producer of a documentary film, “Mr. Philadelphia – the Story of Albert M. greenfield,” which aired on WhYY in Philadelphia. Since 2003, Luce has consulted with non-profit organizations as well as companies in the manufacturing and real estate sectors. her work has included strategic and operational planning, fundraising feasibility analysis and planning, constituency development, organizational positioning and marketing communications. Luce is a graduate of the university of Pennsylvania with a degree in English and attended executive marketing programs at the Fuqua School of Business, Duke university; the London Business School, and the J. L. Kellogg School of Management, Northwestern university. She is currently listed in Who’s Who of American Women and is a member of the union League of Philadelphia.

City Theatre Company Described by The New York Times as “Pittsburgh’s most innovative theater company,” City theatre specializes in new play development. It is the largest theatre in Pittsburgh dedicated to a full season of all new work, commissioning, and producing plays by writers including Daniel Beaty, Jessica Dickey, Christopher Durang, Michael hollinger, Willy holtzman, tarell McCraney, and theresa rebeck. under the leadership of Artistic Director tracy Brigden, Managing Director Mark r. Power, and a 45-member Board of Directors, City theatre’s mission is to provide an artistic home for the development and production of contemporary plays of substance and ideas that engage and challenge a diverse audience. Additional season initiatives include the Young Playwrights Festival, City theatre’s professional showcase of middle and high school playwrights, and “Momentum,” City theatre’s annual festival of new plays at dif-ferent stages, featuring readings of new plays and musicals at different stages of devel-opment as well as workshops, panels, and conversation about the art of play creation. Located on Pittsburgh’s historic South Side, City theatre is currently in its 39th season.

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22 September 2010

I first had the idea of writing Tribes when I watched a documentary about a deaf couple. the woman was pregnant. they wanted their baby to be deaf.

I was struck by the thought that this was actually what many people feel, deaf or otherwise. Parents take great pleasure in witnessing the qualities they have man-aged to pass on to their children. Not only a set of genes. A set of values, beliefs. Even a particular language.

the family is a tribe: an infighting tribe but intensely loyal.

once I started looking around, tribes were everywhere. I went to New York and was fascinated by the orthodox Jews in Wil-liamsburg, who all wear a sort of uniform. they were like an enormous extended family.

And just like some religions can seem completely mad to non-believers, so the rituals and hierarchies of a family can seem nonsensical to an outsider.

I learnt some sign language. I found it im-mensely tiring. Sign demands that you heighten your facial expressions – ‘like’ – you stroke your neck downwards and smile beatifically, ‘don’t like’ you stroke your neck upwards and make a face al-most as if you are throwing up. I felt like I was being made to assume a personality that didn’t fit me. I realised how much we

express our personality through the way we speak. I didn’t like having to change my personality. And sign has a different grammar. I felt stupid, slow, uncompre-hending. Was this what it might be like to be a deaf person trying to follow a rapid spoken conversation? But I was also en-vious. I loved the way sign looked when used by those fluent in it. It could be beautiful. Wouldn’t it be great to be a ‘vir-tuoso’ in sign? they must exist, like poets or politicians in the hearing world…

Finally, I thought about my own family. Full of its own eccentricities, rules, in-jokes and punishments. What if someone in my (hearing, garrulous) family had been born deaf?

All these things went into the play, which took a very long time to write. All I knew was that at the beginning we would be plunged into a family dinner. the first scene was easy to write. I wrote it with no idea of the characters’ names, or of how many siblings there were. But oddly, it is one of the scenes that has hardly changed during the writing of the play. It sat there for a very long time. And then, slowly, I wrote the rest. the crazy family was born fully formed. I just had to work out what happened to them.

Originally written and published online for The Royal Court Theatre

NINa RaINe Why I WRote TRIBES

In Tribes, the audience meets the char-acter of Billy at a crossroads, positioned between a pervasively aural family environment and the brave new world of Sign. According to the National Institute of Deafness and other Communication Disorders (NIDCD), “about 2 to 3 out of every 1,000 children in the united States are born deaf or hard-of-hearing. Nine out of every 10 children who are born deaf are born to parents who can hear.” In 1994, rob tranchin broadcast those statistics from a personal standpoint. his PBS documentary, “For a Deaf Son,” chronicled his hearing family’s struggle in deciding how his son, tommy, should be educated with regard to learning speech or learning sign language. this

is not an extraordinary predicament for hearing parents who discover their child is deaf. rather, it is a social quandary that has followed families for centuries. the decision of how to teach language to a child who is deaf has depended on two major schools of thought. one method is manualism, what is more commonly known as the teaching of sign language. In contrast, there is method of oralism or an oral education, which is instruction that relies on teaching speech and lip-reading without any practice of sign language. there are many other variants, like cued speech and signed English, but the adversarial history of Deaf education concerns the oralist tradition and the manualist tradition.

Same Land, Different Tribes:Exploring Language in the Deaf Community

by Carrie Chapter, PTC Dramaturg

Then & Now: A Deaf Education TimelineIn 18th and early 19h century, there was no formal Deaf education for the masses. But, deaf children from wealthy families were sent abroad to the highly secretive Braidwood Academy in Scotland, which provided a speech-only method to its students. however, by the 1810s, thomas gallaudet emerged as a public advocate for manualism in teaching the Deaf after visiting and observing students at the National Institution for Deaf-Mutes in Paris. he invited Laurent Clerc to come back to America to establish what would become the new American School for the Deaf in Connecticut, for which Clerc would be the first deaf teacher. gallaudet’s son, Edward, would later found gallaudet College (later university) in 1864 in Washington, D.C. Sign language – in this instance, American Sign Language (ASL) - would be the accepted and dominant language taught until the latter part of the century.

By the late 1860s, though, Darwin’s notion of “Survival of the Fittest” began to influence educators; there was the desire to strengthen the nation’s youth by way of practicing common language across physical limitations in order to encourage full social and cultural integration. the oralist method started to gain popularity again, and the manualist approach waned. the first oral schools in America were opened by this time - the most notable being the Clarke Institution for Deaf-Mutes, now known as the Clarke Schools for hearing and Speech. By 1880, the Second International Congress on Education of the Deaf convened in Milan to discuss which type of education methodology should take primacy. It was decided that both schools in the united States and in countries throughout Europe should implement speech therapy – an oral education of spoken word and

lip-reading – as the principal method and preferred language model. ASL and other forms of sign language abroad would no longer be actively practiced in educating the Deaf community.

oralism was the predominant form of instruction up until the late 1960s when the term “total Communication” was introduced by roy Kay holcomb, which advocated for a kind of balance between both methods in allowing the individual to choose which one worked best for him or her personally, and for ASL to be a viable choice in Deaf education. As a result, there were new efforts to integrate both language models by way of Simultaneous Communication or Sign-supported speech. the 1988 protest by the deaf students of gallaudet university in their advocacy for a deaf president for the university put the debate of Deaf culture and civil rights into sharper focus, determining how schools best attend to the needs of deaf students.

on this note, then, it is worth giving perspective to each methodology in order to fully and fairly recognize the process for a family looking to give their child an education.

An Auditory-Oral and Auditory-Verbal EducationInventor Alexander graham Bell was an early promoter for providing an oral education to children who are deaf. the Alexander graham Bell Academy for Listening and Spoken Language in Washington, D.C. defines the mission:

“Auditory-Verbal therapy facilitates optimal acquisition of spoken language through listening by newborns, infants, toddlers, and young children who are deaf or hard of hearing. Auditory-Verbal therapy promotes early diagnosis, one-on-one therapy, and

state-of-the-art audiologic manage-ment and technology. Parents and caregivers actively participate in therapy. through guidance, coaching, and demonstration, parents become the primary facilitators of their child’s spoken language development. ultimately, parents and caregivers gain confidence that their child can have access to a full range of academic, social, and occupational choices. Auditory-Verbal therapy must be conducted in adherence to the Principles LSLS of Auditory-Verbal therapy.”

In this methodology, parental involve-ment is vital in keeping the auditory-verbal engagement consistent, both at home and in the classroom in order for the child to feel grounded and supported. the most conspicuous benefit to an oral education is the child’s ability to communicate more directly with hearing people and their surroundings, relaxing some of the social and cultural barriers of being deaf in a hearing world. By learning speech, the average reading level of students from an auditory-oral background was in the range of a 13- or14-year-old, which is nearly double that of other children who are deaf.

As one parent notes: “We chose Auditory-Verbal because we wanted our child to speak the language of his family and culture. We wanted him to have the same educational opportunities and abilities of our other children, and we wanted him to be self-sufficient. he is not yet 3 and is already on par with his peers receptively and expressively.”

In addition to the Clarke Schools of hearing and Speech, the Central Institute for the Deaf in St. Louis, established 98 years ago, still works exclusively in the oral method from infancy to age 12, with programs designed to ready students to be mainstreamed into hearing environments and education systems.

An Education in Sign LanguageIn many circles, sign language – in this case, American Sign Language – has been viewed as an invaluable asset within the Deaf community. For its advocates, it stands as the hallmark of Deaf culture and identity – a fundamental communication tool that creates a peer group and fosters a support system of relationships. Many organizations, like the National Association of the Deaf, stand up for the primacy of sign language as the first introduction to communication and learning for a child who is deaf. As natural receivers of visual information, the immediacy of ASL is an enticing quality for families making decisions about language. the American Society for Deaf Children explains the early advantages of choosing sign language:

“the most accessible pathway for full access to linguistic information for many deaf children is through vision. Visual languages are not merely signs that represent spoken language; they function independently from spoken languages and have fully developed grammatical systems. Some innovative early intervention programs have recognized the need for early visual language learning in children receiving implants. In one such program, a study revealed that children who were exposed to sign language while waiting for cochlear implants developed receptive language: they understood comments, questions, explanations, commands, and they were signing simple phrases.”

In several cases, educators see sign language as a gateway to understanding not only spoken English but also the modes through which the child can express him or herself, opening doors for creative and intellectual expression at an early age. the most significant

issue facing sign language is the gulf it can create between the child and their hearing family; there are parents who choose not to learn ASL, even if the child is learning it as part of their education, and, for those parents who do learn, their fluency often pales in comparison with that of their child. It is worth noting, though, that even if the parents’ use of ASL is less than perfect, the child is still able to master the language with little trouble. As one parent affirms: “I don’t think it really matters which sign system you use as long as you start signing just as fast as you can. Which grammar you are using will hardly matter for the first few months, and there is no substitute for early two-way communication.”

Building an Identity with Language What brings both of the methodologies together is the imperative of time. As gallaudet professor, Sharon Baker, asserts: “...without access to a complete linguistic code during early development, it is difficult for deaf and hard of hearing children’s language acquisition to parallel that of hearing children. Fortunately, the language areas of the brain have no preference for language input.” the earlier a child is exposed to a consistent, tactical approach in learning language, the easier the experience and quicker the acquisition – and, hopefully, the more proficient the practice.

however, no child is alike. Part of the complexity of families introducing a language approach is that every child will learn differently; the experience or success rate of any given method is radically indeterminate. For example, some children try the oral method and do not progress as expected for reasons of stress and physical limitations, and then they go into a Sign form of communication – but the delay in development is there. Yet, for other children who are deaf, the oral

method works, and leads to vocational and social opportunities in both the hearing and Deaf communities. those in the sign language community flourish, too, as Deaf culture continues to expand its reach daily through social media, arts, and politics. Still, sign language, in its exclusivity, has the potential to be isolating from the general public as an accessible mode of communication. the question of which model is the preferred, most effective, or successful out of the myriad of educational options is one left open-ended.

What lives at the center of the debate, though, is community, and how language affects a sense of belonging and identity. For our family in trIBES, they have created a culture defined by those kindred ties that bind. For Billy, there is the choice of how to reconcile those bonds of familial love with his need to communicate. In decisions over language, it is the family who must first choose how their children – deaf or hearing – grow to communicate, and obtain the tools needed to define and express themselves. It is then up to the children to decide how to use those tools to shape the people they will become, and embrace the community that fits them best.

Source information and cited material courtesy of Disability Studies Quarterly archives; the Science of Learning Center on Visual Language and Visual Learning, Gallaudet University; Orel Zak of Deaf-Info; Raisingdeafkids.org; the National Association of the Deaf; the American Society for Deaf Children; NIDCD; the Alexander Graham Bell Academy for Listening and Spoken Language; Patrick Stone; Jean Sachar Moog, Oral Deaf Education; and, the Central Institute for the Deaf.

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$250+ STARAll the benefits of the Ensemble, plus: • Invitation to an exclusive technical rehearsal and reception.

$500+ IMPRESARIOAll the benefits of a Star, plus: • Preferred subscription seating. • VIP invitation to our Season Launch Party. • Invitation to one Artists Circle Salon.

$1,000+ PLAywRIghTS All the benefits of an Impresario, plus: • Concierge ticketing service. • NEW! Access to Artist Circle House Seats - premium seats exclusively held for AC Members for subscription exchanges and ticket purchases (Subject to availability, some restrictions apply). • Invitations to privately hosted salons with our actors, playwrights, and directors. • Bi-annual “On The Boards” newsletter from our Executive Producing Director and Dramaturg, featuring the latest in national theatre news.

$2,500+ DESIgNERS All the benefits of the Playwrights Circle, plus: • Customized backstage tour and champagne reception for up to 10 guests. (Must be scheduled in advance). • Invitation for two to attended an exclusive privately hosted dinner with the creative team of one of our season productions. • Invitation for two to attend one Opening Night performance and post show reception.

AnnuAl F u n dPTC

B e n e F i T s


2013

mAKE THE BIggEST impaCt - ENjOY THE ClOSEST aCCeSS

ANNuAL FuND 2013-2014Philadelphia theatre Company is deeply grateful for the support it receives from the many generous individuals, corporations, foundations and government partners who contribute

to the Annual Fund. For more information about how to support PtC’s artists, productions, and programs, please call the Development office at 215-985-1400 ext. 117.

this list acknowledges donors as of January 3, 2014.

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Tracey Weiss & Bill goldbergMr. and Mrs. harold B. Wells Jr.fran and Marvin WelschMs. Carolyn L. Whitakerevelyn WienerMr. Donald e. WilliamsConnie & Sankey WilliamsSherry Shamansky & Wallace WingLeslie Miller & richard WorleyKuna & Sam YankellMr. f. gordon Yasinowroger & Lillian YoumanBernie & Barbara ZbrzeznjMr. and Mrs. Thomas e. Zemaitis Tom and Jackie ZemaitisArnold & Barbara L. ZenkerMargo K. Zitin & Mimsye KatzJoseph S. & renee M. ZuritskyMr. and Mrs. Theodore ZutzGIFTS In MeMOry in memory of ray duval and in honor of ron hunter nicolina DiSciascio Sharon Kling PTC Production and front of house Staff Diane g. Steinbrinkin memory of laurie beechman from Dr. nathan & Dolly Beechman Schnallin memory of ken kaiserman from Arthur M. Kaplan & r. Duane Perry in memory of annie richardson from Jerome napson in memory of Carol Schwartz from Bryna & Andrew Scottin memory of donald Stanley wilf and in honor of dr. peter arger from elaine W. Baer and gloria A. Moskowitzin memory of donald Stanley wilf from Dr. Peter Arger GIFTS In HOnOrin honor of Susan meyer’s Special birthday Bruce and Sara Berger Arthur and Leslie frankel Margery and raymond reed robert Smith and Maris oggin honor of Jerry riesenbach from fred and Beth Jacobyin honor of Jerry riesenbach and Sara garonzik from Lynn and Joe Manko

Philadelphia theatre Company is grateful to the following major donors for their foresight in helping us in achieving a bright future. It is because of their commitment, goodwill and

continued generosity that PtC has grown to become one of the finest theatres in the region. thank you!

MAJor gIFtS

$1,000,000+

Suzanne f. and ralph J. roberts

$100,000 to $999,999

Dr. Peter h. Arger*Julia & eugene ericksenThe horace W. goldsmith foundationThe Kaiserman familyKaiserman Company, inc.h.f. and Marguerite Lenfest The Miller Worley foundation

$50,000 to $99,999

Dorothy J. del Bueno David and nancy Colman Priscilla M. Luce Sue Perel rosefsky**harriet & Larry Weiss Alan and Janet Widra

$20,000 to $49,999

Tracy and rick BurkeAlice L. georgeestate of ellis K. ginsbergSally Lyn KatzMonika KrugDale Penneys Levy & richard LevySusan & James MeyerCarol Saline and Paul rathblottBryna and Andrew ScottJames T. Smith and Debra Klebanoff

the aspirations of Philadelphia theatre Company have always been fueled by the generosity of theatre enthusiasts from the region. The visionary Society, named after the theatre’s founders, was formed to pay tribute to the special group of visionary supporters who have remembered Philadelphia theatre Company in their wills or in other gift plans. When you join the Society you reach past your own lifetime to ensure that PtC’s rich tradition of artistic excellence will be preserved for generations to come.

If you have included us in your plans, we hope you will let us know. Or, if you are interested in learning how simple it is to do so, please call our office:

Christine Mickletz | Director of Development | 215-985-1400, [email protected]

A LEgACY oF thEAtrE

*The Peter Arger and Donald Wilf new Play fund** Kenneth S. Kaiserman fund for Artistic excellence

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FOunDaTIOn SuPPOrTAnn B. ritt Charitable foundation The Civic foundation, inc.The Charlotte Cushman foundationDolfinger-McMahon foundationDramatists guild fundedgerton foundation new American Plays AwardLinda & David glickstein fund of The Philadelphia foundationThe Albert M. greenfield foundationThe hamilton family foundation The eleanor M. and herbert D. Katz family foundationindependence foundationKnights Arts Challenge of the John S. and James L. Knight foundationvirginia and harvey Kimmel Arts-education fundThe Lida foundation Lomax family foundationThe Miller Worley foundation Performing Arts foundation, inc.fund for Children of The Philadelphia foundationThe Suzanne f. and ralph J. roberts foundationMr. and Mrs. ralph J. robertsThe Caroline J. Sanders TrustThe victory foundationArchie D. & Bertha h. Walker foundationJune and Steve Wolfson family foundationThe William Penn foundation The Wyncote foundation

GOvernMenT SuPPOrTPhiladelphia Theatre Company receives State arts funding support through a grant from the Pennsylvania Council on the Arts, a State agency funded by the Commonwealth of Pennsylvania and the national endowment for the Arts, a federal agency.

Philadelphia Theatre Company is supported in part by an award from the national endow-ment for the Arts.

Philadelphia Theatre Company gratefully acknowledges the support of the Philadelphia Cultural fund.

This list acknowledges donors as of January 3, 2014.

PTC strives for accuracy in its donor listings. if there is a misprint or your name has been inadvertently omitted, please call 215.985.1400 x117

Make a donation through your workplace united Way Program. our Donor Choice number: 4273 Contributions made through the united Way support our educational programs

with at-risk youth in Philadelphia and the region.

increase the impaCt of your support. Ask your company about its matching gift program or contact the Development team for more information. 215.985.1400 x117

Capital Campaign ContributorsPhiladelphia theatre Company applauds these major donors for their generous

support of the campaign to help bring Philadelphia theatre Company and the Suzanne roberts theatre to the Avenue of the Arts.

LeaD DOnOrS

the Arcadia Foundation

Marilyn and J. robert Birnhak

City of Philadelphia

Commonwealth ofPennsylvania

the horace W. goldsmithFoundation

the Kaiserman Family

Independence Foundation

Marguerite and gerry Lenfest

Suzanne F. and ralph J. roberts

Weight Watchers ofPhiladelphia, Inc.

June and Steve Wolfson

the William Penn Foundation

THe FOunDerS CLub

Catherine roberts Cliftonand Anthony A. Clifton

the Comcast Family

Cozen o’Connor

the Dietrich Foundation

Linda and David glickstein

Daniel B. and Florence E.green Family Foundation

Phoebe W. haas Charitabletrust A at therecommendation of Carole haas gravagno

Mr. and Mrs. Jon harmelin

Kierantimberlake Associates

Monika Krug

richard and Dale Levy

Kim and rob roberts - the Fulcrum Foundation

Lincoln Financial Foundation Susan and James Meyer

Aileen K. and Brian L. roberts

Diane and Douglas A. roberts

Sue Perel rosefsky

Lisa S. roberts and David Seltzer

Anita and terry Steen

Shel and Karen thompson

u.S. Airways Community Foundation

harriet and Larry Weiss

Alan and Janet Widra

THe COrnerSTOneSOCIeTy beneFaCTOrS

Ken and Edna Adelberg

Valla Amsterdam

Beatrice Fox Auerbach Foundation Fund at the hartford Foundation for Public giving

Beneficia Foundation

Blank rome LLP

Connelly Foundation

Will and Lucille Daniel

Sir David Bruce Duncan andLady Deana Pitcairn Duncan

Samuel S. Fels Fund

otto haas Charitable trust#2 at the recommendationof Leonard C. haas

Sally Lyn Katz

the Lida Foundation

Jerry and Cookie riesenbach

Carol Saline and Paul rathblott

Bryna and Andrew Scott

ruth W. and A. Morris Williams, Jr. Leslie MIller and richard Worley

THe COrnerSTOneSOCIeTy PaTrOnS

Jill and Sheldon Bonovitz

tracy and rick Burke

Citibank

Michael M. Coleman

David and Nancy Colman

Dorothy J. del Bueno

roberta and Carl Dranoff

Ernst & Young

Donna and Barry Feinberg

Debbie and Bob Fleischman

Matt and Marie garfield

teresa gavigan and Larry Besnoff

hamilton Family Foundation

Independence Blue Cross

Eleanor M. and herbert D. KatzFamily Foundation

Mr. and Mrs. thomas J. Maher

richard and Alice Norman Mandel

Frank and Barbara osinki

PNC

Don and Lynne rosenblit

Kenneth M. rutherford

Neal and Sheila Schneider

Shire Pharmaceuticals

James t. Smith andDebra I. Klebanoff

Laura and richard Steel

tracey B. Weiss and William I. goldberg

special thanks to our many other donors.

Key CodeAll productions are Philadelphia premieres unless otherwise note

v World Premiere

l Co-Production

n east Coast, Professional or American Premiere

m Production moved on to nY or other regional theater.

the Suzanne robertS theatre(2007 - present)

2012 - 13vSTArS of DAviD book by Charles Busch adapted from book by Abigail Pogrebin The MounTAinToP by Katori hall SeMinAr by Theresa rebeck l venuS in fur by David ives

2011 - 12reD by John LoganThe SCoTTSBoro BoYSmusic and Lyrics by John Kander and fred ebb book by David ThompsonnThe ouTgoing TiDe by Bruce graham

reASonS To BY PreTTY by neil LaBute

2010 - 11The 25Th AnnuAL PuTnAM CounTY SPeLLing Bee book by rachel Sheinkinmusic and lyrics by William finnrACe by David MametLeT Me DoWn eASY by Anna Deavere SmithvBeLLA: The CoLor of Love by Theresa Tova and Mary Kerr ruineD by Lynn nottage CoLin Quinn: Long STorY ShorT

2009 - 10huMor ABuSe by Lorenzo Pisoni and erica SchmidtThe LighT in The PiAZZA by Craig Lucas and Adam guettel

vgoLDen Age by Terrence McnallyvreD hoT PATrioT: The

KiCK-ASS WiT of MoLLY ivinS by Margaret engel & Allison engelMA rAineY’S BLACK BoTToM by August WilsonChiCAgo’S The SeConD CiTY 50Th AnniverSArY Tour

2008 - 09vunuSuAL ACTS of DevoTion

by Terrence Mcnally25 QueSTionS for A JeWiSh MoTherby Kate Moira ryan & Judy goldreSurreCTion by Daniel BeatyAT hoMe AT The Zoo by edward AlbeegreY gArDenS book by Doug Wright, Music by Scott frankel, Lyrics by Michael Korie

vThe CiTY of nuTTerLY Loveco production with Chicago’s The Second City

2007 - 08vBeing ALive music & lyrics by Stephen Sondheim, conceived and directed by Billy Porter

M. BuTTerfLY by David henry hwangThirD by Wendy Wasserstein

vThe hAPPineSS LeCTure by Bill irwin

playS & playerS theater (1982 - 2007)

2006 - 07nMurDererS by Jeffrey hatcher

The frog BriDe by David gonzalezvnerDS://A MuSiCAL SofTWAre SATire

by Jordan Allen-Dutton, erik Weiner, music by hal goldberg

lin The ConTinuuM by Danai gurira & nikkole SalterorSon’S ShADoW by Austin Pendleton

2005 - 06vmADrifT in MACAo book & lyrics by

Christopher Durang, music by MelnickBen frAnKLin: unPLuggeD by Josh Kornbluth in collaboration with David Dower AfTer AShLeY by gina gionfriddoinTiMATe APPAreL by Lynn nottage

vmSoMe Men by Terrence Mcnally

2004 - 05TruMBo by Christopher Trumbowith Bill irwinThe STorY by Tracey Scott WilsoneLegieS: A Song CYCLe by William finn TAKe Me ouT by richard greenberg

2003 - 04ToPDog/unDerDog by Suzan-Lori ParksniCKeL AnD DiMeD by Joan holden

vACCorDing To goLDMAn by Bruce grahamThe goAT or, Who iS SYLviA? by edward Albee

2002 - 03fuLLY CoMMiTTeD by Becky ModeKing heDLeY ii by August WilsonThe LAST five YeArS by Jason robert Brown

vmA PiCASSo by Jeffrey hatcher

2001 - 02Dinner WiTh frienDS by Donald MarguliesnThe infiDeL by Bruce norrisThe PLAY ABouT The BABY by edward AlbeeBArBrA’S WeDDing by Daniel Stern

2000 - 01mCoMPLeAT feMALe STAge BeAuTY

by Jeffrey hatcher vmno niggerS, no JeWS, no DogS

by John henry redwoodThiS iS our YouTh by Kenneth LonerganThe LArAMie ProJeCT by Moisés Kaufman and Members of the Tectonic Theater Project

1999 - 00lDinAh WAS: The DinAh WAShingTon

MuSiCAL by oliver goldstickvWhiTe PeoPLe by J.T. rogers

WiT by Margaret edsonSiDe MAn by Warren Leight

1998 - 99hoW i LeArneD To Drive by Paula vogel

vmLiveS of The SAinTS by David ivesgroSS inDeCenCY: The Three TriALS of oSCAr WiLDe by Moisés KaufmanThe BeAuTY Queen of LeenAne by Martin McDonagh

1997 - 98fuLL gALLoP by Mark hamptonand Mary Louise WilsonMinuTeS froM The BLue rouTe by Tom Donaghy A QueSTion of MerCY by David rabe

nmBirDY by William Wharton, adapted by naomi Wallace

1996 - 97vmBunnY BunnY by Alan Zweibel

MoLLY SWeeneY by Brian friellSYLviA by A.r. gurney

Seven guiTArS by August Wilson

1995 - 96Three vieWingS by Jeffrey hatcheri AM A MAn by oyamoBroKen gLASS by Arthur Miller

PhILADELPhIA thEAtrE CoMPANY ProDuCtIoNS

Love! vALour! CoMPASSion! by Terrence Mcnally

1994 - 95ALL in The TiMing by David ivesKeeLY AnD Du by Jane MartinThe WooDS by David Mamet

vmMASTer CLASS by Terrence Mcnally

1993 - 94SighT unSeen by Donald Margulies The WorLD goeS ‘rounD by John Kander and fred ebb

n“2” by romulus Linney nighT SKY by Susan Yankowitz

1992 - 93PreLuDe To A KiSS by Craig LucasMounTAin by Douglas Scott with Len CariouvTinY TiM iS DeAD by Barbara Lebow

LiPS TogeTher, TeeTh APArT by Terrence Mcnally

1991 - 92nATionAL AnTheMS by Dennis McintyreMiSS everS’ BoYS by David feldshuh

nLADY-LiKe by Laura ShamasvmnAgASAKi DuST by W. Colin McKay

1990 - 91SPeeD-The-PLoW by David MametThe CoCKTAiL hour by A.r. gurney with Celeste holm

nPiLL hiLL by Samuel Kelley

1989The MiDDLe of noWheresongs by randy newman and Tracy friedman

1988 - 89eLAine’S DAughTer by Mayo SimonThe voiCe of The PrAirie by John olivefrAnKie AnD JohnnY in The CLAir De Lune by Terrence McnallygLengArrY gLen roSS by David MamethAnnAh SeneSh by Lori Wilner and David Schechter adapt: of Senesh diariesAvner The eCCenTriC with Avner eisenberg

1987 - 88vlSTAuf by eric Saltzman and

Michael Sahlco-produced with the American Music Theater festivalorPhAnS by Lyle Kessler

nSouThern exPoSure: SiSTer AnD MiSS Lexie

by eudora Welty, adapt. by Brenda Curran; and from The Mississippi Delta by endesha ida Mae holland

vmhoSPiTALiTY by Allan havisouT! by Lawrence Kelly first fully-mounted production

1986 - 87WiLLiAMS & WALKer by vincent D. Smith

vlCiTiZen ToM PAine by howard fast with richard Thomas, co-produced with The Kennedy CenterDAYS AnD nighTS WiThin by ellen McLaughlinAS iS by William M. hoffman

1985 - 86PAinTing ChurCheS by Tina howe

lSPLiT SeConD by Dennis Mcintyre. Co-produced with freedom Theatre. original commissioned from grover Washington, Jr.greAT AMeriCAn SiDeShoW: one ACTSby romulus Linney, Alan Zweibel and robert PineexTreMiTieS by William Mastrosimone

1984 - 85 TerrA novA by Ted TallygeniuSeS by Jonathan reynoldsTo giLLiAn on her 37Th BirThDAY by Michael BradyfooL for Love by Sam Shepard

1983 - 84geTTing ouT by Marsha normanTrue WeST by Sam ShepardSTrAnge SnoW by Steve MetcalfefifTh of JuLY by Lanford Wilson

1982 - 83WingS by Arthur KopitLone STAr/LAunDrY & BourBonby James McLurefinAL PASSAgeSby robert SchenkkanDYLAn ThoMASby Jack Aranson with Jack Aranson

1981 - 82When You CoMin’ BACK, reD rYDer by Mark MedoffThe vieTnAMiZATion of neW JerSeY by Christopher DurangnuTS by Tom Topor

VariouS theatreS(1975 - 1981)

1980 - 81The riMerS of eLDriTCh by Lanford WilsonALiCe Through The LooKing gLASScompany developed by Lewis Carroll hooTerS by Ted TallyJeSSe AnD The BAnDiT Queen by David freeman

geTTing ouT by Marsha norman

1979 - 80STreAMerS by David rabe

vThe inSAniTY of MArY girArD by Lainie robertsonThe eMPeror JoneS by eugene o’neill

vDeMenTiA 80 by Don Steele

1979ASheS by David rudkin

vThe exhiBiTion by Thomas gibbonsvSoMe of MY BeST frienDS Are WoMen

by Don Steele and edward earle

1978The SeAguLL by Anton ChekhovThe TrAnSfigurATion of Benno BLiMPie by Albert innaurato

vThe PerSeCuTion of eugene WATerMAn by Louis Lippa

vThe finAL ConCerT Tour of MiCKeY CoLoSSuS by Peter MattalianoA MiDSuMMer nighT’S DreAM by William Shakespeare

vCenTer CiTY SoAP by Dorothy Louise

1976 - 77vThe Lion AnD The LAMB by Joseph orazivfuTure TenSe by John SevcikvThe KeePer by Karolyn nelke

27 WAgonS fuLL of CoTTon by Tennessee Williams

vMArS by Clay gossShe STooPS To ConQuerby oliver goldsmith (Theatre in the Court)TWeLfTh nighT by William Shakespeare (Theatre in the Court)

1976 vMArLoWe by John Yinger

rAin by W. Somerset Maugham, adapted by Colton and randolph

vThe CroSSing/AS i LAY DYing A viCTiM of SPringby David rabe & Leslie Lee

vThe Three DAughTerS of M. DuPonTby e. Brieux, translation by Pauline JonesTWeLfTh nighT by William Shakespeare(newMarket)

1975The ADDing MAChine by elmer riceSArgeAnT MuSgrAve’S DAnCe by John Arden

vBeTWeen noW AnD Then by Leslie Lee

drive

E x c E l l E n c E

skillhard work

It’s realizing that being the best doesn’t come easily.You have to work for it.

That’s the spirit that drives us at CRW Graphics in printing this program.

We recognize and express our sincere thanks to Philadelphia Theatre Company for bringing to audiences 38 years of excellence in contemporary American theatre.

9100 Pennsauken Highway Pennsauken, NJ 08110 / 800.820.3000 crwgraphics.com

MTN_playwise.crw1.indd 54 1/10/13 4:05 PM

THe aLberT M. GreenFIeLD TeaCHInG arTIST FeLLOWS

thanks to the generosity and support of the Albert M. greenfield Foundation, Philadelphia theatre Company is implementing a unique fellowship program geared toward the training, nurturing and cultivation of high caliber teaching artists to serve the city of Philadelphia. through selected readings, small group discussions, classroom observations, and one-on-one mentoring, the green-field Fellowship program serves as the ideal training ground for enthusiastic, devoted and eager artists who are passionate about bringing the arts alive through education. Philadelphia theatre Company is excited to develop young teaching artists in an effort to improve the quality of arts education locally and nationally.

For more information, visit PhiladelphiatheatreCompany.org/greenfield

clockwise from top left: Allbert M. Greenfield teaching Artist Fellows christina binder, David Pershica, Adriana lopez, Jessica Wallace, and Justine brannon.


ABout our thEAtrE

the Suzanne roberts theatre, designed by Kieran timberlake Associates, is owned and operated by Philadelphia theatre Company and is the Company’s first permanent home. PtC is proud that the creation and development of its home, in partnership with Symphony house developer Carl Dranoff, has become a model for civic redevelopment; one that capitalizes on the ability of the arts to reinvigorate districts for

residential and commercial revival. the space is contemporary, elegant and urbane, and features a 160’ double height glass facade on the Avenue of the Arts. the interior is defined by a uniquely warm and sculptural 365 seat main stage auditorium with a proscenium arch of interlocking leather tiles, a spacious and contemporary mezzanine, and a planned 100 seat flexible second stage for new play development, intimate performances, and educational programming. our stage house significantly enhances our ability to respond to the most imaginative visions of our creative teams with its spacious wings, soaring fly gallery, and trapped stage. the theatre offers a full range of public amenities with an on-site box office, ample public rest rooms, a concession stand, and lobbies designed for patron comfort and engagement with the City visible through large expanses of glass. the grand staircase leads from the main floor to the double height mezzanine lobby. the theatre’s contemporary universal design makes it one of the country’s most accessible performing arts venues and supports one of PtC’s core values ensuring that our artistry is accessible to everyone in our community.

ABout SuzANNE roBErtS

Philadelphia theatre Company is honored to name its home after Suzanne roberts--actress, playwright, director, educator, producer and philanthropist. For more than 40 years, Suzanne has been a leading champion of the Philadelphia theater community. An actress by training, Suzanne has engaged as an artist in meaningful public service with projects as diverse as performing in dramas to inspire the purchase of war bonds during World War II to national appearances in plays discouraging racism and alcoholism. Demonstrating the breadth

of her artistry, Suzanne has performed on many stages throughout our region in plays from Shakespeare to A.r. gurney. She has also performed in a variety of media including radio and television and is well known to audiences as the creator and host of the Emmy Awardwinning “Seeking Solutions with Suzanne.” one of Suzanne’s lifelong passions has been using theater to improve the lives of young people. through the Suzanne roberts Cultural Development Fund, she has supported the outreach work of theater and dance companies in sharing their creativity with school children and young adults.

Portrait of Suzanne roberts by Alan Kole. Photo of Mainstage of Suzanne roberts theatre, home of Philadelphia theatre Company, by Mark garvin

For Your INForMAtIoNbox Office Hours:During ProductionsMonday - Sunday: 12:00pm to showtime

Between ProductionsMonday – Friday: 10:30am to 5:30pmSaturday & Sunday: Closed american Sign Language (aSL) Performances: three translated performances added, including post-show events: 2/1/14 at 2pm 2/4/14 at 6:30pm2/13/14 at 8pm

Open Caption Performance:2/15/14 at 2pm

For audience members who are hearing impaired. A large LED captioning screen, positioned beside the stage, scrolls text of the lyrics/dialogue in tan-dem with the lyrics/dialogue of the performance.

assisted Listening Devices:State-of-the-Art assisted listening headsets that use an infrared signal to wirelessly deliver all dialogue, music and sound from the show at a personally adjustable volume are available for free at every PtC performance through the house Manager or concessionaire. Please ask about t-coil device options that are compatible with your hearing aid.

audio Description Performance & Sensory Workshop2/8/14 at 2pm

For audience members who are blind or low vision. Assistive listening devices are provided, through which a trained audio describer fills in the visual details and action on stage, live while it is being performed. A sensory workshop is provided before the show in which teaching artists provide in depth explanations of the visual aspects of the show, with patrons often invited on stage to touch and experience the set and costumes. Large Print programs available upon special request. Contact the box office to make a reserva-tion for this workshop and/or performance.

PTC’s accessibility programming is sponsored by the Lincoln financial foundation and the Pennsylvania Council on the Arts’ Accessibility to the Arts in Pennsylvania for individuals with Dis-abilities Program. Accessibility technology in the Suzanne roberts Theatre was made possible by a grant from the Lincoln financial foundation.

Photographythe use of photographic or recording devices is strictly prohibited. Please note: the audience may be photographed by PtC staff for archival and publicity purposes. If you prefer that your likeness not appear in PtC materials, please notify the house Manager.

Group Ticketing & eventsContact PtC’s Sales Director, Carol Flannery at 215.985.0420 x104

Student Matinees, In-School Workshops, and Summer CampContact PtC’s Education Department at 215.985.1400 x111

Facility rentalsContact r. Eric thomas at 215.985.0420 x105 or [email protected]

volunteer OpportunitiesContact r. Eric thomas at 215.985.0420 x105

advertising Opportunities Contact Carol Flannery at 215.985.0420 x104 or [email protected]

Parking and Public Transportation the theatre is easily accessible by theWalnut/Locust and Lombard/South SEPtA Broad Street Subway stations, 15th/16th PAtCo station, route “C” bus, or taxi. on-site parking is available at the InterPark lot, as well as nearby garages along Broad Street. PtC Subscribers can pick up $2-off parking vouchers for the Interpark at the Box office.

rest rooms, elevator, Water FountainsLADIES’ & MEN’S rooMS are located on theorchestra level of the theatre. All rest rooms are ADA compliant. the ELEVAtor is located to the left of the concession stand which may be used to reach the mezzanine level. WAtEr FouNtAINS are located outside the restrooms.

Lost & FoundIf you have lost or found an item, please see the Box office or house Manager. PtC is not respon-sible for loss or theft of personal belongings.

LEADErShIP executive Producing Director sara garonzik

President Priscilla m. luce

ArtIStIC/ ProgrAMMINg StAFF Literary Manager & Dramaturg Carrie Chapter

Director of education maureen sweeneyAssistant Director of education will denniseducation Coordinator Rashanda freeman

Master Teaching Artists Krista Apple, david o’Connor Teaching Artists donovan Hagins, donja love,

Jarrett mcCreary, Josh yodergreenfield Teaching Artist fellows Christina binder

Justine brannon-buss, Adriana lopez david Pershica, Jessica wallace

ADMINIStrAtIVE StAFF Manager of Board & Administrative Services sharon Kling

Director of Development Christine mickletzManager of Annual giving Jessie Pasquariello

Director of Marketing & Communications Amy leboMarketing Manager Rose schnall

Sales Director Carol flanneryvenue Services Manager R. eric Thomas

Publicist deborah fleischman Audience Services Supervisors lesley

berkowitz, Alexander Rioh Audience Services Associates Adriana lopez,

Kasual owens-fields, Chelsea sanz house Managers Aaron bell, Terrell green,

Arlen Hancock, Ron Hunter, Jennifer macmillan, Rebecca vail

ProDuCtIoN StAFF Director of Production Roy w. backes Company Manager bridget A. Cook

Production/operations Manager matthew f. lewandowski ii Assistant Stage Manger Annie HallidayAssistant Director Robert Phillip smith

Technical Coordinator/Crew Chief michael l. CristaldiMaster Carpenter/rigger michael Troncone

Production electrician Terry smithSound Supervisor daniel A. little

Prop Master melissa Cristaldi littleLighting Supervisor Alyssandra docherty

Wardrobe Supervisor maxine JohnsonDressers Janet Connors, danielle Joh

video operator samuel bergeyhead video Chrus butterfield

Lighting Programmer samuel bergeyDeck Crew Jacob lyon goddard

Production Apprentice Patrick dougherty

INtErNS/ VoLuNtEErS education interns Annie block, Josh Campbell, Tre-von Coleman, Pia Convento, george mcgriff, Champagne Powell, madeline Richardson graham, Kristall smith

Development interns Abby Case, mica Taliaferrogala volunteer Reneé Rollin

Literary Assistant Rebecca Adelsheim Marketing intern samuel Chattin

SPECIAL thANKS 12th street gym

enterprise Rent-A-Car; melanie Hazzard, branch managerscenery built and painted by Center

line studios, inc., new windsor, new york

PHILaDeLPHIa THeaTre COMPany STaFF

e. gerald riesenbach, esq., ChairmanDavid L. Colman, AiA, vice PresidentJulia ericksen, Ph.D., vice President

glenn gundersen, vice PresidentBrigitte Daniel, Secretary

Marilyn BirnhakSara garonzik

Alice L. georgeSally Lyn Katz

victor KeenMonika Krug

Dale Penneys Levy Priscilla M. Luce

James M. Meyer, CfAKristen Phillips

Donald rosenblit, Chairman emeritusCarol Saline

elliot SchwartzBryna Silver Scott, esq.

James T. Smith, esq.harriet Weiss

Alan Widra MeMberS eMerITuS

Joanne harmelinSheldon L. Thompson

Bettyruth Walter, Ph.D.Tracey Weiss, Ph.D.

Kenneth Kaiserman*robert greenfield*

Thomas M.S. WheelockLewis C. ross

Carole Phillips*

John friedman Donald rosenblit

William f. o’DonnellMonika KrugCheryl green

Bernard A. Weidenaar Sheldon L. Thompson

e. gerald riesenbach, esq.Michael M. Coleman

*deceased

FOrMer bOarD PreSIDenTS

2013/14 bOarD OF DIreCTOrS

p h i l a d e l p h i a t h e a t r e C o m p a n y. o r g / p e p

our Free Patron Enrichment Programming gives the audience a chance to see behind-the-scenes of each production and discuss

the ideas and issues raised by each show.

pep eVentS

G GrOuPS OF 8+ Save! Call Carol at 215.985.0420 x104

aMerICan SIGn LanGuaGe (aSL) *three translated performances added, including post-show events: February 1, 2:00PM performance February 4, 6:30PM performanceFebruary 13, 8PM performancePartial support for ASL interpretation comes from Art-Reach and the Independence Starts Here Program. auDIO DeSCrIPTIOn February 8, 2PM performance

OPen CaPTIOnInG February 15, 2PM performance

aMerICan PLayWrIGHTS In COnTexT (aPIC) January 28PtC Dramaturg, Carrie Chapter will interview trIBES director Stuart Carden on stage post-show.

MeeT-THe-arTISTS (MTa) January 30 and February 13* Stick around right after the show for a talk-back and audience Q&A with the cast of TRIBES.

SPeCIaL TOPICS February 4* post-show Catch the on stage conversation immediately following the 6:30pm performance! “Sign on the Line: The Politics of Sign Language Today.”

baCKSTaGe TOur February 8, post-matinee Join a member of PtC’s staff for a backstage tour of the set. Learn how the set was conceived and built, and how the crew runs the show! bOOK CLub January 30 at 6:30PM Join us in the lobby alcove for snacks and a discussion of Seeing Voices by Oliver Sacks.

HaPPy HOur January 31, February 7, and 14 Mix, mingle, and enjoy great drink specials at PtC’s pre-show happy hour from 6:30pm to 7:30pm.

March 21 - april 20 PhiladelphiaTheatreCompany.org Broad & Lombard Streets • 215.985.0420


by christopher durang directed by james j. christy

and

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