The Kingfisher Theater is proud to present

Sir Patient Fancy

By Aphra BehnDirected by Kevin Dedes

April 22nd - May 6th

South Wedge Mission125 Caroline StreetRochester, NY 14620

Welcome.

Welcome and thank you for being in your chair, right now, holding this piece of paper.

You are one of the first ever people to participate in our new artistic community. A community of theater artists whose intent is to create thrilling theater. A community that aims to expand the scope and abilities of local artists. A community that aims to provide a fertile space for artists of many disciplines to flourish. A theater that aims to entertain Rochester.

Our motto is ‘Classic Plays in New Ways’ because we aim to forge into the future while respecting the great works of the past.

Our name, The Kingfisher Theater, is inspired by the myth of the Kingfisher birds, who, according to legend, nest peacefully in stormy seas.

Of course, none of this would be worth a damn if it weren’t for you: our audience. So again, thank you. Thank you and welcome.

Welcome to The Kingfisher Theater.

Steve Dedes Agency

Kevin Dedes, licensed real estate salesperson

SHAWN MILLER

PATTIE & TED KATCHMAR

STEVE & CAROL DEDES

SHEILA LERNER

THE SOUTH WEDGE MISSION

WELCOME TO THE KINGFISHER THEATER

SPECIAL THANKS

CAST - IN ORDER OF APPEARANCE

ADRIANA RIANO - LUCRETIAJESSICA THURSTON - ISABELLA

AMY CANFIELD - LADY KNOWELLJOEY CHACON - LEANDER

JAMES LOCKHART - LODWICKKRISTY BARR - LADY LUCIA FANCYKATHARINE SANFORD - MAUNDY

VINCE DALBA - WITTMORERAY SALAH* - SIR PATIENT FANCY

XAVIER HUCKS - SIR CREDULOUS EASY

CREW

LIGHTING AND SOUND DESIGN - BEN MEYERLEAD COSTUME DESIGN - JESSICA THURSTON

COSTUME DESIGN & SEAMSTRESS - ROSE VERCOLENPROGRAM & GRAPHIC DESIGN - AMBER GARTUNG

SET DESIGN & BUILDING - JOEY CHACON, JESSICA HAMILTON

The Kingfisher Theater is proud to present

Sir Patient FancyBY APHRA BEHN

DIRECTED BY KEVIN DEDES

*Member of Actors' Equity Association, the Union of Professional Actors and Stage Managers, appearing under a special

agreement with the Actors' Equity Association.

Sir Patient Fancy was first produced in London in 1678, just after the ban on theatre–along with dancing and drinking–had been lifted. It was first imposed 18 years earlier under Oliver Cromwell’s Puritan regime.

Enter Aphra Behn: government spy, prolific writer, and England’s first professional woman playwright. Taking advantage of the Crown’s new permissiveness and the people’s thirst for entertainment, Behn wrote over 16 plays including this farcical satire about the self-righteous and hypochondriacal Sir Fancy and his conniving wife, Lucia.

The flagrant innuendo and bawdy sexcapades evident in this comedy about marriage rights, religious rivalries, male ego, and ‘a woman’s place’ was quite scandalizing to audiences at the time. In fact, Behn’s impact on the culture was so complete that hundreds of years later, another great writer-who-also-happens-to-have-been-a-woman* wrote, “All women together ought to let flowers fall upon the tomb of Aphra Behn, for it was she who earned them the right to speak their minds.”

It seemed appropriate that we should give Sir Patient Fancy our typical “Classic Plays in New Ways” treatment, and set the play in San Francisco, California, circa 2005. Our own country was still reeling from the first major attack from foreign religious fundamentalists, and our own puritanical past was exerting influence again.

Not that people in San Francisco seemed to care. Between tech bubbles and bubble tea, the world was exploding with new ideas about identity politics, sexual freedom, and relationships. And yes, powerful women were once again speaking their mind about the world around them. It was a wild time, with boundaries being pushed in every direction.

We hope you’ll be able to push your own boundaries--and buttons--and loosen your collars a little for Behn’s wonderfully complex and hilariously indecorous exploration of the workings of ladies and gentlemen, which it seems haven’t changed all that much since the time of petticoats and pantaloons.

- Kevin Dedes *Virginia Woolf, A Room of One’s Own, 1929

DIRECTOR'S NOTE

By Sir John Suckling (1609 – 1642)

I AM confirmed a woman canLove this, or that, or any man:This day she’s melting hot,To-morrow swears she knows you not;If she but a new object find, Then straight she’s of another mind.Then hang me, ladies, at your door,If e’er I doat upon you more.

Yet still I love the fairsome—why?For nothing but to please my eye: And so the fat and soft-skinned dameI’ll flatter to appease my flame;For she that’s musical I’ll long,When I am sad, to sing a song.Then hang me, ladies, at your door, If e’er I doat upon you more.

I’ll give my fancy leave to rangeThrough everywhere to find out change;The black, the brown, the fair shall beBut objects of variety;

I’ll court you all to serve my turn,But with such flames as shall not burn.Then hang me, ladies, at your door,If e’er I doat upon you more.

HANG ME, LADIES, AT YOUR DOOR

Researched and provided by Amy Canfield

Restoration Wedding Contracts

For wealthy families, settling the marriage contract before the wedding was a significant part of the ritual. This set out the financial terms of the arrangement and included such elements as the dowry and the jointure, which were necessary for the financial security of both the bride and groom.

The dowry, or “marriage portion,” was the amount of money, goods, and property the bride brought to the marriage. The jointure, on the other hand, was a guarantee by the groom’s family of money, property and goods that would go to the bride if her husband died before she did.

In Sir Patient Fancy, as often in real lives of the time, dowries and jointures were much more significant indicators of what made an acceptable match than if the parties had any feelings of love for one another.

Restoration Medicine

When this play was first performed, “swarmes of quackes, mountebacks, chymists, Apothacaries, [and] surgions” (Thomas Warton, College of Physicians) toiled to convince the populace that their remedies--cordials, pills, and powders--were cure-alls. Sir Patient Fancy would have been one of their best customers. Under continual physic (medical treatment) for twenty years, he’s been subjected to enemas, bleeding, and purging, but is still just this close to dying. There was a lot of money to be made off of the gullibility of the rich and/or distressed, and the lack of knowledge about how the body worked made it likely as not that you wouldn’t have been cured of what ailed you.

Alarm Watch

Believe it or not, watches with an alarm were in existence during the English Restoration!

LIFE IN RESTORATION ENGLAND

KRISTY BARR (Lady Lucia Fancy) is proud to be involved in her third Kingfisher Theater production with this great group of people. Favorite credits include Oedipus (Oedipus Rex), Lula (Dutchman), Clytemnestra (The Libation Bearers), Fiona (Shrek: The Musical), and Rona (The 25th Annual Putnam County Spelling Bee). She works as Payroll Manager at Lake Beverage Corp., sings with the Rochester Metropolitan Jazz Orchestra, and is studying to obtain her Master's in Liberal Studies from SUNY Empire State.

AMY CANFIELD (Lady Knowell) is happy to be a company member of The Kingfisher Theater. In its first season, she directed and co-wrote The Devil, the Witch, and the Blacksmith and appeared as Jocasta in Oedipus Rex. She played Lancaster this past summer in Henry IV, Parts I and II and has also performed in Rochester in such productions as The Libation Bearers, King Lear, The Tempest, Much Ado About Nothing and Hamlet. Prior to moving to Rochester, she acted, stage managed, and directed at a number of venues in Chicago and elsewhere. Amy holds a Ph.D. in Theatre History from The Ohio State University.

JOEY CHACON (Leander) is appearing in his second performance with The Kingfisher Theater after playing the titular blacksmith in The Devil, the Witch, and the Blacksmith earlier this season. His first theatrical role was as Lucky in Waiting for Godot, after which he pursued studies in acting in MCC's Fine Arts department. Also at MCC, he has appeared in Much Ado About Nothing, Pirates of Penzance, Once on This Island, and Picasso at the Lapin Agile. Last year, he was delighted to be hired as a zombie at Nightmare Manor. He is thrilled to participate in this production with such a wonderful cast and crew.

VINCE DALBA (Wittmore) is excited to be in his first production with The Kingfisher Theater. Vince has acted with theatre and improv troupes in Rochester and Los Angeles. Favorite roles include The Old Man in Fool for Love, George Kittredge in The Philadelphia Story, Hal in Proof, Dromio of Ephesus in The Comedy of Errors, and Pfc. Louden Downey in A Few Good Men. Vince is also a proud member of Impact Interactive, which uses interactive theatre to promote understanding and dialogue about social issues. And, so he doesn’t get bored, is also a Standardized Patient for the University of Rochester, helping to train doctors in patient interaction. He graduated from SUNY Brockport with a B.S. in Theatre.

ABOUT THE COMPANY

XAVIER HUCKS (Sir Credulous Easy) is only one year into his acting career and is quite thrilled to be continuously working on such challenging shows. He has had a few scattered roles as extras, but entertaining and performing has been a part of his life for many years. Through working with The Kingfisher Theater, he has learned to expand his talents into other platforms such as music and short film. Xavier aims to progress with being a creator through the wonderful guidance and support of his fellow cast and crew. Xavier is a recent graduate of Monroe Community College with an Associate’s Degree in Cinema and Screen Studies.

JAMES LOCKHART (Lodwick) is a Rochester-born actor who began acting at the age of five. Lockhart recently returned to the stage after a six-year break and has since tackled roles such as Clifford Anderson in Death Trap! and Master Ford in Merry Wives of Windsor. He is also known for his local performances in The Shadow Box, The Glass Menagerie, and Twelfth Night. Lockhart has trained in theatre, singing, and dance at The School of Performing Arts at Eastridge and RAPA, and has received awards and scholarships for his performances, such as The Distinguished Male Acting Award in 2008. Recently, Mr. Lockhart tackled his most difficult role as Daniel de Bosola in Wallbyrd Theatre Co.’s presentation of The Duchess of Malfi and received rave reviews. He holds his Associate’s Degree in Theatre from Finger Lakes Community College.

ADRIANA RIANO (Lucretia) is new to the theatre community and feels overjoyed to be a part of The Kingfisher Theater. Her acting debut was as Shep in Oedipus Rex, followed by a variety of roles in The Devil, the Witch and the Blacksmith. Ever since childhood, she always had an interest in the performing arts, but has now finally mustered up the courage to pursue her dreams of being an artist. She looks forward to be in more theater productions and will continue to pursue her creative endeavors in acting, singing, and art. Adriana graduated from Keuka College with a B.A in psychology and minor in Philosophy. She also has an M.A. in Psychology from SUNY Brockport. She is currently in the process of setting up an art and spiritually-based business.

RAY SALAH* (Sir Patient Fancy) Mr. Salah is delighted to make his debut with The Kingfisher Theater as Sir Patient Fancy in the production of the same name. He wishes to thank the cast and crew for such a wonderful experience. Some of Mr. Salah’s past performances are: Shylock in The Merchant of Venice (Robert’s Wesleyan College Theatre); Sheridan Whiteside

in The Man who Came to Dinner (Geva’s Fielding Stage); and Mr. De Pinna in You Can’t Take It With You (Geva’s Mainstage). He can currently be seen in the docu-film Signs of the Time in the role of Hall of Famer Umpire, Bill Klem, airing currently on PBS.

KATHARINE SANFORD (Maundy) is happy to be appearing with The Kingfisher Theater again after playing Solokha the Witch in The Devil, the Witch and the Blacksmith and Teiresias in Oedipus Rex. She has appeared in various productions in the Rochester area including roles in Macbeth, The Merchant of Venice, The Tempest, Much Ado About Nothing, Twelfth Night, and King Lear with the Rochester Community Players; several melodramas with the Penfield Players; and Lysistrata, The Importance of Being Earnest, and Widowers’ Houses at Black Sheep Theatre.

JESSICA THURSTON (Isabella) has written, directed, and performed in theatre of all genres since first appearing onstage as the mayor of Munchkinland at age 8. Notable past productions include Messiah College Theatre’s The Bald Soprano, Pizzazz, and the experimental new play Fertile Ground. In 2011, she worked as the supervisor of background talent on the set of the motion picture King's Faith where she appeared on screen as a nurse. At Roberts Wesleyan College she founded Muse Creative Arts Ministry and directed the student-written play, The Chains. She's thrilled to be with The Kingfisher Theater again after appearing as Sophia in their inaugural production of Oedipus Rex and as Oksana in The Devil, the Witch, and the Blacksmith. Jessica has a B.A. in Communication Theory from Roberts Wesleyan College.

KEVIN DEDES (Director) is beyond proud to be directing the season finale of The Kingfisher Theater's inaugural season. He began his career as an actor here in his hometown of Rochester, acting at local institutions like The Shipping Dock Theater, JCC Centerstage, RCP’s Irish Players, and Geva’s Fielding Nextstage. He moved to New York City in 2003, where he played at New York’s UCB Theatre, The Flea and The Gallery Players. In 2005, he began his formal training at San Francisco's prestigious American Conservatory Theater, and later went on to perform on regional stages such as San Jose Rep, ACT, and CalShakes. Other work includes stand-up comedy, music, and writing. His most recent new play, The Kookaburra, was performed at the 2015 First Niagara Rochester Fringe Festival. This show also marks his debut as a dance choreographer! He is extremely grateful to have found such a talented group of theater artists with which he can work to manifest the shared dream of creating Rochester’s newest professional conservatory theater, The Kingfisher Theater.

ARTISTIC DIRECTOR - KEVIN DEDESPRODUCTION STAGE MANAGER - BEN MEYERTECHNICAL DIRECTOR / IT CONSULTANT - BEN MEYERADMINISTRATIVE DIRECTOR - KRISTY BARRLITERARY MANAGER/DRAMATURG - AMY CANFIELD

THE KINGFISHER THEATER STAFF

FOR THE PRODUCTION OF SIR PATIENT FANCY

TECHNICAL DIRECTOR - BEN MEYERASSISTANT DIRECTOR - AMY CANFIELDSCENIC CHARGE - KEVIN DEDES, BEN MEYER, JOEY CHACONSET PAINTING - JESSICA HAMILTON

BOARD OF DIRECTORS

KEVIN DEDES, JOHN J. ZIMMER, PATTIE KATCHMAR

BEN MEYER (Stage Manager, Lighting and Sound Designer) is originally from Portland, Oregon, where he began stage managing for his middle school production of Annie. Since then he has SM’d Grease and Oklahoma. In high school he was the stage manager and technical director for Twelve Angry Men, Comedy of Errors, and Much Ado About Nothing. Blue Monkey Theatre Company of Portland, OR hired him as the Technical Director and Stage Manager for their show of Speech and Debate. The last show he worked on before coming to Rochester was Dying City for The Portland Playhouse where he was the Assistant Stage Manager. Most recently, he exhibited his lighting, sound design, and stage managing skills on Bread and Water Theatre’s production of The Libation Bearers. This is his third show with The Kingfisher Theater, working on Oedipus Rex and The Devil, the Witch and the Blacksmith before this. In May, he will be graduating from Rochester Institute of Technology with a Bachelor’s of Science in Computer Security.

PATTIE KATCHMAR (Board Secretary) grew up in Rochester, New York. She has always loved the arts, as demonstrated by acting in her high school senior play Li’l Abner; being a current member and past president of the Penfield Art Association; and member of the Downstairs Cabaret Theatre. Pattie is a graduate from the State University of New York at Geneseo with a B.S. in Education. She also has a Master’s in Business from the Rochester Institute of Technology. She worked at Eastman Kodak for thirty two years and is now working at Rotork Controls, Inc. Pattie is very excited to be not only Board Secretary, but an active member of The Kingfisher Theater.

JOHN J. ZIMMER (Board Treasurer) is a Certified Public Accountant and Senior Vice President of Finance and Chief Financial Officer at Transcat, Inc. John has been a finance and accounting professional in the Rochester area for 30 years. He also serves on the Board of the Rochester Society for the Protection and Care of Children.

LINDA J. KENNEDY (Tax and Financial Consultant) is a licensed NYS C.P.A. with over 20 years of experience. She has worked with a variety of organizations in and around the Rochester area in both the public and private sectors. Linda graduated with a B.S. in Accounting from St. John Fisher College and began her career in public accounting in the tax department of KPMG Peat Marwick where she was regularly engaged to work with many Rochester Charitable Organizations. In her spare time, she and her domestic partner, Jay, enjoy golfing and camping. She also has a love of fine arts, music and the theatre. She has two children, Alicia and Tanner, and two beautiful grandchildren, Lily and Hudson.

TEAM & BOARD MEMBERS

Sir Patient Fancy poster art by Amber Gartung

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