UNIVERSITY THEATER ARTS STAFF & FACULTY

Dean of Humanities .................. Father Louis Brusatti, CM Artistic Director/Assistant Professor ............... Ev Lunning Jr. Theatre Business Manager ....................... . Annie Suite Administrative Assistant .......................... Phillip Owen Costume Shop Manager ........................ T'Cie Mancuso Technical Director ............................. . Chase Staggs Master Electrician ............................. Natalie George Costume Shop Assistant ....................... Michelle Heath Associate Professor ......................... Susan Loughran Assistant Professors .............................. David Long

Michael Massey Sara Medina Pape

Adjunct Instructors .............................. Brooks Barr Ann Mary Carney

Bhagirit Crow Todd Dellinger Diana Duecker

Bill McMillin Michael McKelvey

Patricia Pearcy JoAnn Schatz

Annie Suite Gary van der Wege

Actors' Equity Association (AEA), founded in 1913, represents more than 45,000 actors and stage managers in the United States.

"

Equity seeks to advance, promote and foster th_e art of li_ve theater as an essential component of our society. Eqmty

negotiates wages and working conditions, providin_g a ACTORS' wide range of benefits, including health a~d pe~s1on EQUITY plans. AEA is a me~ber of the ~~-CI O and 1s a~fihated .-,ssociAnON 111J with FIA, an international orgamzanon of performing arts

unions. The Equity emblem is our mark of excellence. www.actorsequity.org

THE WAY OF WHOSE WORLD? (Notes written and edited by Kathleen Cobb, Kirsten Yingling, and Dr. Brooks Barr)

Those characters which are meant to be ridiculed in most of our comedies are of fools so gross, that in my humble opinion they should rather disturb than divert the well-natured and reflecting part of an audience. This reflection moved me to design some characters which should appear ridiculous not so much through a natural folly (which is incorrigible, and therefore not proper for the stage) as through an affected wit: a wit which, at the same time that it is affected, is also false. As there is some difficulty in the formation of a character of this nature, so there is some hazard which attends the progress of its success upon the stage: for many come to a play so overcharged with criticism, that they very often let fly their censure, when through their rashness they have mistaken their aim. William Congreve, Dedication to The Way of the World Congreve's play comes at a particular juncture in English theatrical history-the waning days of the Restoration , widely known as the bawdiest and most licentious period in the history of the English stage. Like any good playwright and astute observer, Congreve sought to reflect accurately the society around him, and his plays were written specifically for that particular and peculiar audience-upper class society of late seventeenth century England. The milieu and social mores of the play may seem so foreign to our contemporary observers that some background is in order. The Restoration dates from 1660, when, after over a decade of disastrous rule by Cromwell's Commonwealth and its Puritan supporters , the English Parliament begged the son of their recently executed King Charles I to return from exile and resume the throne as Charles II.

"The arrival of Charles II in England in 1660 celebrated the return of an old order - a restoration of former ways and prior certainties. The previous two decades of political experiment and religious innovation were to be firmly canceled by the restoration of the monarch and the Church of England, bringing with them political stability and settled order. Politically and culturally, the Restoration was a period of change, dynastic uncertainty, and intellectual inquiry." English Restoration Theater The above quote understates the spirit of carnival which attended Charles' return. The citizens had just lived for years under a Protestant nation that was anything but accepting of human delights and imperfections. They readily embraced this new period of celebration with a tolerant and jubilant attitude and a zeal for enjoying the finer indulgences in life, especially with women. Amidst the return of this "merry troop of comedians," as one observer refers to the new king and his retinue, Bishop Burnet speaks of "the general joy which overran the whole nation upon his majesty's restoration, but was not regulated with that sobriety and temperance, that became a serious gratitude to God for so great a blessing." The citizenry , particularly the cavaliers of the restored royalist class , took its cues from the personality of the king. As Krutch has remarked of him and his followers, whereas the Puritans were inclined to see all pleasure as sinful, Charles was determined to regard no pleasure as such .

"No monarch in history, born in the purple, has had so good a lesson in democracy as Charles, and it is doubtful if any other would have profited as much as he did from such a lesson. His natural kindliness was deepened, his liberality of temperament broadened, by his experiences as a fugitive and an exile .... To be easy oneself and to make everybody else so, was his definition of a gentleman, and his own behavior encouraged the courtiers to be free as well as easy .... Sometimes he got drunk with a few choice spirits, but he perceived that drink and women did not blend, and he knew which he preferred." Hesketh Pearson from Merry Monarch: The Life and Likeness of Charles II

Charles II, because of his unusual character in combination with the unique road he took to the crown, was greatly affected in his behavior for the rest of his life. Charles himself had spent considerable time under the tutelage of Scottish Presbyterians, and he chafed under the smothering discipline of endless prayers and sermons and stifled pleasures. Consequently he led his people in rebelling against such restrictions-not so much an advocacy of wantonness as it was a reaction against stultifying and hypocritical rectitude-an affirmation of the joys of life.

Wife and servant are the same, But only differ in the name When she the word 'obey' has said, And man by law supreme has made, Fierce as an Eastern Prince he grows And all his innate rigor shows Then shun, oh shun that wretched state And all the fawning flatterers hate. Value yourselves and men despise: You must be proud if you'll be wise

Poem, 1703 The sexual liberality of the period is seen most clearly in the plays attitude toward the wedded state. Marriage during the period of the Restoration was a very different institution than the one that is at the center of such contentious debate in the first decade of the twentieth century. With the rise of Protestant theology preceding the Restoration , there was a shift in family structure with a focus on the central and immediate family. It was now up to the household to serve as the means for teaching moral and religious control. The marriage liturgy sets forth the purpose of marriage as the Church understood them , following closely to the contract of indissoluble marriage , and "till death us do part". The first Parliamentary divorce was only granted in 1698, leaving no means to escape an abusive or loveless marriage as the norm for the period. This provided married couples with no outlet of escape; having a love affair on the side was common, and in many cases , a social standard. Again, Charles' example led the way or at least exemplified it. No fewer than thirteen of his mistresses are known to us by name, including the most famous actress of the period, Nell Gwynn. Curiously, during the endless affairs he remained unexpectedly fond of and loyal to his wife, herself a political alliance with Spain . Marriage remained an institution whose primary purpose was to achieve economic and political gain. It was agreed that both physical desire and romantic love were unsafe bases for an enduring marriage, since both were violent mental disturbances that would inevitably be of only short duration. There was a rise of femininity as well; women embracing sexuality were not afraid to cuckold their husbands for sex. The Way of the World serves as social commentary to the contrasting views of relationships and marriage between those who marry for status , and those who marry for love. The play offers for our inspection at least three marital pacts , and they present us with a cross-section of marital arrangements in contemporary society. Marriage marked a great divide in Restoration society. As Joseph Krutch observed in Comedy and Conscience, "Far from being debauched , the middle and lower class was permeated with a spirit of somewhat crude and narrow piety." On the other hand, "any comedy of manners which depicted the actual life of the upper class of the times had to be in one sense corrupt if it was to be true." In that tension was the hypocrisy that was the obsession of the fashionable class and the subject of Congreve's play. A public indulgence in the rituals of Wit was the cavalier's response to the hypocrisy of middle class morality, not so different from the revulsion one sees against the rhetoric of "moral values" today. Congreve focuses his sharp eye on the hypocrisy of the wit itself-a false wit and self-promotion that puts reputation before respect, in any guise. Is that a world so far from our own?

Written by

WILLIAM CONGREVE DAVID YEAKLE

Guest Director

DICK PRICE Guest Composer & Musician

CHASE STAGGS Scenic Designer

TARA COOPER Guest Make-up Designer

DIANA DUEKER Guest Lighting Designer

AUSTIN SHEFFIELD Asst. to Lighting Designer

ALLISON LOWRY Principal Wig Designer & Stylist

ANN MURPHY Ensemble Wig Stylist

AERIN HOLMAN Guest Costume Designer

BENJAMIN TAYLOR RIDGWAY Asst. Costume Designer

BROOKS BARR Dramaturg

KATHLEEN COBB KIRSTEN YINGLING

Asst. Dramaturgs

JEROME JOSEPH BENSON Stage Manager

ROSS BAKER HELYN MESSENGER

LILA BARNHART DUNCAN COE

AMANDA ROSE HARTLEY Asst. Stage Managers

SHELBY DAVENPORT, BABS GEORGE, STEVE SHEARER Equity Guest Artists

gu;;;eni6mc 9- ,90, 2005

CAST Mirabel ......................... .. 0 •••••••••• • Shelby Davenport* Sir Wilful/ . . ....................................... Steve Shearer* Lady Wishfort .................................... . . Babs George* Mrs. Millamant . ........................... . ..... Bianca Malinowski Mrs. Marwood ................. . ................... Jamie Hamrick Faina/I ......................... .. ............... David Gallagher Mrs. Faina/I ........ . . . ...... . ............... . ... Jessica Rae Akin Foible . .................... . ..................... Kristen Dietrich Mincing ................... . ....................... Caroline Dees Petulant . .... . ... . .................................. . John Lopez Witwoud ................... · ....... .............. Joseph M. Parks Waitwe/1/Sir Rowland . . . ............................ Sesar Sandoval Coachman . ...... . ................................. Nigel O'Hearn Footman ........................................... Nick Harkins Messenger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maarouf Naboulsi Peg ............................................. Sarah Fletcher Betty .......................................... Tamekia Jackson Ensemble ......... . ............................. Zach Pettichord

Nathan Osborn Julia Trinidad Kate Eminger

Joie Gracey Harpsichord . . ... . .......... . .. ... .... . . .. ............ . Dick Price

There will be one 10-minute intermission during this performance .

ACT ONE Scene 1 : A Chocolate House, London

Scene 2: St. James Park, London

Scene 3: Lady Wishfort's House

ACTTWO Lady Wishfort's House

*Denotes membership in Actors' Equity Association EMC denotes membership in Equity Membership Candidacy Program

PRODUCTION CREW Stage Manager ....... . .. . .................... . Jerome Joseph Benson

Assistant Stage Managers . ............... . Ross Baker, Helyn Messenger, Lila Barnhart, Duncan Coe, Amanda Rose Hartley

Assistant Dramaturgs ................. Kathleen Cobb, Kirstin Yingling

Scene Shop Staff . . Jess Akin, Brittany Potter, Mandy Sommers, Shawn Golan

Stitchers . ......... Elissa Duquette, Kathy Lang, Toni Sales, Sara Lankenau

Costume Shop Staff ................ Miranda Wideman, Miriam Jurgenson, Saige Hilton, Kimberly Barrow, Kristen Bennett

Box Office Staff . ............. Katie McManus, Joseph Parks, Dani L. Pruitt, Nick Harkins, Kate Eminger, Jennifer Pyburn

Prop Masters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kate Eminger, Nick Harkins

Hair & Make-up Crew ...... Aaron Alexander, Ashley DeVille, Sarah Fletcher

Costume Crew . ............ Kris Baker, Wiltson Samson, Audrey Campbell, Kathryn Currin, Dana Dixon, Katherine Kampschroeder, Aisha Melhem,

Andrew Aguilar, Lisa Chirboga, Brian Egelhoff, Ilana Ellison, Amanda Hartley, Helen Hutka, Katie Kraul, Sherry Mauch, Steffanie Mortis,

Jonathan Sanders, Madeline Schmidt, Elizabeth Shortall, Allison Towell, Ashley Wisenant, Lacey Wiseman, Daniel Adams, Kimberly Barrow, Kristen

Bennett, Libby Dees, Dana Dixon, Patricia Greenwell, Laurana Kuhlman, John Lopez, Brittany Potter

Scenic Crew ...... Austin Alexander, Christopher Fey, Micaela Garcia-Baab, Adam ~o~zales, Liana Hinojosa, Jarrett King, Valerie Lara, Austin Lowery,

Ka,thn Maclauchlan, Maarouf Naboulsi, Scott Nelson, Nigel O'Hearn, Doug Pena, Julia Trinidad, Amber Weir, Eric Cardona, Nichole Clemons, Tomas Contreras, Cody Coppin, Patricia Greenwell, Miriam Jurgenson,

Helyn Messenger, Nate Osburn, Keith Swallow, Anna Trevino, Jonathan Zarrella, Rachel Adams, Jess Akin, Jerry Joe Benson,

Clay Cartland, Angela Flowers, Nick Harkins, Shelby Johnson, Bonnie King, Jenn Pyburn, Will Solarski

Lighting Crew ............ ..... Jess Akin, Yadira Gonzales, Holly Jackson, Kat Laurent, Lacey McNeely, Rex Rizk, Jessica Towns

House Manager .... . .. . ..... . . . ....................... Sarah Orlando

House Crew . .............. Lauren Riley, Jolene Chiha, Kelllibrooke Green, Austin Sheffield, Robert Burkhalter, Miranda Wideman

Lightboard Operator ............................ . ....... Holly Jackson

Wardrobe Supervisor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristen Bennett

Dressers ....................... Kate Kampschroeder, Kimberly Barrow, Lacey Wiseman, Ashley Wisenant, Brian Egelhoff

Laundry . ............. .. ................ Kellibrooke Green, Kathy Lang

EV LUNNING, JR., artistic director, has been an ac­tor, a teacher, and an administrator at St. Edward's since 1990. He first ap­peared at MMNT as an Equity Guest Art­ist in a production of The Drunkard direct­ed by Prof. Susan Loughran for the sum­mer season of 1990. Ev began teaching as an adjunct in the fall of 1991 and served as theater business manager from 1992 until 1997. He has appeared often as a Guest Artist, most recently in Amadeus. In 2003 he received an Austin Critics' Table award for Best Supporting Accor for his role in MMNT's production of The Kentucky Cycle, directed by Melba Martinez. Ev has directed several MMNT productions, the most recent being Cesar & Ruben. He is a company member of the Austin Playhouse and the Austin Shakespeare Festival. Ev's voice can be heard in many anime dubbed into English by Austin's ADV Films, in­cluding the voice of Captain Nemo in Nadia: The Secret of Blue Wtzter. A long­time volunteer narrator for the Texas State Library's "Talking Book" Program, Ev has narrated four volumes which have been chosen for circulation by the National Li­brary Service.

DAVID YEAKLE, director, has been the producing artistic director of Tongue and Groove Theatre since 1995, and for 15 years he was artist in residence with Fort Worth's innovative Hip Pocket Theatre. He has been on the Texas Commission on the Arts Artist-in­Education roster for 20 years. Currently he is an instructor in the drama department at

Austin Community College. Since 1973, David has performed in, choreographed, or directed over one hundred productions throughout the United States and Great Britain. Last summer, he directed Bill Irwin's adaptation of The Three Cuckolds for Tongue and Groove. David studied Commedia Dell Arte at Dell Arte School of Physical Theatre in California, and Mask technique at Centro Maschere in Abano Terme, Italy. David holds a BFA in modern dance from Texas Christian Uni­versity and an MFA in directing from the University of Texas. Next month, David will perform the role of Herr Drosselmey­er for Twin City Ballet's The Nutcracker.

SHELBY DAVENPORT*, Mirabel, is returning co the stage in his hometown after spending several years training and working in other parts of the country. Most recently he spent two years with the Tony Award-winning Utah

Shakespearean Festival. As an associate artist in the acting company he played in Othello, As You Like It, Cymbeline, Measure for Measure, The Comedy of Errors and The Importance of Being Earnest. With the North Carolina Theatre he played in Shenandoah, Big River, and a national tour of The Diary of Anne Frank. Locally he has been seen in the State Theatre's Gross Indecency: The Three Trials of Oscar Wilde, A Christmas Carol, and The Taming of the Shrew. Last year Shelby was a member of the faculty at St. Edward's teaching voice/diction and acting. He earned his B.F.A. from the University of Texas and his M.F.A. from the Professional Theatre Training Program at the University of Delaware.

BABS GEORGE*, Lady Wishfort, has been seen over the years on the MMNT

J J

Stage in School for Scandal The Night of the Iquana, Trojan Women, Barefoot in the Park and All My Sons. She is a professional actress and has been a member of AEA and SAG, (stage and screen actors' unions), for 25 years, and this past year completed her MFA in Classical Acting at The Shake­speare Theatre and George Washington University in Washington, D.C. George has worked in regional theaters across the country, and played Lady Macbeth in Scot­land at the world renowned Edinburgh Fringe Festival. She has studied with such prestigious teachers as Uta Hagen, Ann Bo­gart & SITI Co. (Viewpoints & Suzuki); Tina Packer and Dennis Krausnick (Shake­speare and Co., Lennox, Mass.), and Mas­ter Teacher Michael Kahn, Artistic Direc­tor ofThe Shakespeare Theatre and head of drama at Juilliard . In addition co her work in theater, George has worked steadily in film, TV, commercials and industrials. She is active in Austin with Austin Playhouse and Austin Shakespeare Festival, (both professional theaters), and teaches acting at the school she originated, the State Theatre School of Acting (now in association with ACC), and at Texas State University. She has taught in past years with St. Edward's University and has always loved working with MMNT and the students. "They're always an inspiration co me."

STEVE SHEARER*, Sir Wilfoll, has been performing on Austin stages since the early 1980's. He spent 14 years as a member of the Equity acting company of Live Oak/State Theatre. While there he played the tide role in Macbeth, Petruchio in Taming of the Shrew, Gerry in Dancing at Lughnasa, John Proctor in The Crucible, Uncle Louie in Lost in Yonkers, and (many

years ago) Chance Wayne in Sweet Bird of Youth. Steve has ap­peared in over a dozen television movies, most recently CBS's "Madam's Family" playing opposite Ellen Burstyn, as Swoozie

Kurtz's husband in CBS's "A Promise co Caroline," and Sonny Liston's manager in the ABC movie "King of the World."

BROOKS BARR, production drama­turg, is delighted co begin his second sea­son as a resident dramaturg at MMNT. He has contributed his efforts co Cesar & Ruben, You Can't Take It With You and Honk! Before teaching theater history at St. Edward's, he taught for a decade at uni­versities in Texas and Oklahoma and has worked as an actor and stage manager in Equity theatres.

TARA COOPER, makeup designer, is a makeup artist and current costume crafts and technology student at UT-Austin. She has designed makeup for many films, pro­ductions, fashion shows, and photo shoots, including Hugo Boss and Toni and Guy. She just finished designing for the production of Flesh and the Desert at UT and is currently working with Fabrizio Photography.

DIANA DUEKER, lighting designer, is a Salvage Vanguard Theatre company mem­ber and received her Master of Fine Arts from UT-Austin in May of 2003. This fall she is teaching Stage Lighting here at St. Edward's University and has also taught at Texas State University. Highlights from Diana's Austin resume include years of designs for Salvage Vanguard Theatre as well as designs for FronteraFest, Rude Mechanicals, Kids Acting, dirigo group, One World Theatre, Dash Mammoth and Sharir+ Bustamante Danceworks. Outside

Austin she has worked with the Richmond Ballet, and designed for Henrico Center for the Performing Arts, Upbeat and Up­sidedown, De-Light in Costa Rica, and Royal Caribbean Cruise Lines.

AERIN HOLMAN, costume designer, is an Austin area costumer who has worked at various theaters in town including the Vortex, the State Theater, Zachary Scott Theater and Austin Lyric Opera. Aerin graduated from Oregon State University with a BS in apparel design. She'd like to thank Danny and her friends and family for all their support. ·

ALLISON LOWERY PULLER, wig designer, is the current wig and makeup specialist for UT -Austin. Previously, she served as the wig master for the Alabama Shakespeare Festival. In Austin, she has created wigs for the Zilker Park Musical and the State Theatre. She has also cre­ated wigs for the lyric opera of Chicago, Utah Shakespeare Festival, American Players Theatre and the Atlanta Opera, among others. She holds an MFA in Wig and Makeup Design from North Carolina School of the Arts.

CHASE STAGGS, scenic designer, is tech­nical director at St. Edward's University, and resident scenic designer for Salvage Van­guard Theater. In Austin he has worked with Rude Mechanicals, Physical Plant, Fron­tera@Hyde Park Theater, Refraction Arts, Tongue and Groove, Austin Shakespeare Co. and the somewhat defunct Shirkwork­ers Union, to name a few. Regionally he has worked with American Repertory Theatre, The Berkshire Theatre Festival, The Lincoln Center, Infernal Bridegroom Productions and Stages Repertory. Chase has designed for the stage since 1988 and has recently been art director and set designer for film and television. He worked as puppet master for The 2000-2001 tour of Julie Taymor's

The King Stag and has designed puppets for companies in Houston and Austin. Chase has concocted several musicals including the hit The Tower Massacre Musical He was just honored by the Austin Critic's Table as Outstanding Scenic Designer for his work in 2004 and 2005, and he has received two nominations for the B. Iden Payne awards for his work with Salvage Vanguard. He taught himself to tie his shoes and ride a bike at ages three and four.

JESSICA RAE AKIN, '07, Mrs. Fain­all, is a junior at St. Edward's and was pre­viously seen here in The House and Ama­deus. She attended the SITI Co. Intensive at Skidmore College in New York during Summer 2005, and

has been an active part of MMNT since 2003. She would like to thank the cast and crew for the experience of this show, her family for being her family, and her friends for their inspiration. "Every experi­ence, positive or negative is a story waiting to be told." EMC

KRISTOPHER ROSS BAKER, '07, assistant stage manager, is thrilled to be working with such a terrific stage manager as Jerry Joe. This has been a wonderful experience and he would like to thank his madre, padre and Leslie. Ross loves some Mary Moody.

LILA BARNHART, '08, assistant stage manager, is ecstatic to be working on her first show at MMNT. She would like to thank her friends for their support and hopes you enjoy the show.

JEROME JOSEPH BENSON, '07, stage manager, is excited about stage man­aging his first play at MMNT. He was last

seen in You Can't Take it With You, and One Flew Over the Cuckoo's Nest. Jerry would like to thank his loving mom and dad and es­pecially his paw paw and grandmother.

DUNCAN COE, '08, assistant stage manager, is honored to be working with such a well-rounded cast. He is overjoyed to be engulfed in the beautiful language of the text day in and day out.

LIBBY DEES, '08, Mincing, is excited to be a part of this produc­tion. She was recently in Honk! (Austin Crit­ics' Table nominee), Footloose and Cesar & Ruben. Thanks to fam­ily and friends for their support. EMC

KRISTEN DIETRICH, '06, Foible, 1s

blessed to be here, sur­rounded by her "fam­ily." She would like to

thank Mama, Brad, Li­ebe, Babs, Ben, Jennifer, Amanda, Lanella and Annie for their love, support and wisdom.

KATE EMINGER, '08, ensemble, is very proud to be involved in this production. She was recently seen in Honk!, Summer­stock Austin's Much Ado About Nothing and Cesar & Ruben. She would like to thank her family, as always. EMC

SARA FLETCHER, '07, Peg, is ecstatic to be returning to the MMNT stage this season. Sara performed in A Midsummer Night's Dream and A Raisin In The Sun, and she has worked countless hours on other productions such as Cesar & Ruben. She would like to give her infinite thanks to her loving family and friends for their continuous support. EMC

DAVID GALLAGHER, '08, Fainall, is making his seventh appearance on the MMNT stage. He was last seen in Sum­merstock Austin's pro­duction of Footloose and Much Ado About Nothing. David would like to thank David

Yaekle for this wonderful opportunity. He would also like to thank the cast for a great time, and his mom, pops, Aaron, Sarah and Bianca for putting up with him. God bless. EMC

JOLE GRACEY, '08, dance captain/en­semble, has been seen as Donna Jianna in Much Ado About Nothing, and Irene in Footloose for Summerstock Austin. She would like to thank her amazing parents, godparents, Bill, and friends for their un­wavering support. EMC

JAMIE HAMRICK, '06, Mrs. Marwood, is delighted to be a part of The Way of the World. She thanks you for gracing her with your presence, and prays you enjoy yourselves. Grace and peace! EMC

NICK HARKINS, '08, Footman/ensem­ble, was last seen on the MMNT stage as Rev. Moore in Sum­merstock Austin's pro­duction of Footloose.

Nick was also a member of Oberon's Fairy Train in A Midsummer Night's Dream and Drake in Honk! Nick would like to thank the cast and crew for making this such a wonderful experience; and Mom, Dad, Patrick, and Shannon for all their love and support. EMC

AMANDA ROSE HARTLEY, '09, assistant stage manager, is excited to be working on The Way of The World, having previously been a dresser for Cesar & Ruben. She is a Theater Arts major with an acting emphasis who hopes to some day introduce children to the wonders of theater through drama therapy.

TAMEKIA JACKSON, '08, Betty, makes her return to the MMNT stage, hav­ing been seen previously in Oberon's Fairy Train in A Midsummer Night's Dream. She has worked backstage on Honk! and Cesar and Ruben. She has enjoyed working here and looks forward to many more appear­ances on the MMNT stage. She would like to thank La Wanda and Anthony for their undying love and support and her parents for their help. EMC

JOHN LOPEZ, '05, Petulant, is thrilled and excited to be in The Way of the World. This marks his final show on the MMNT stage, as he graduates this De­cember. He would like to thank all who have made this four-and-a­half years at MMNT memorable and amazing. Thank you, Mom and Grandma. Great show all. EMC

BIANCA MALINOWSKI, '07, Mrs. Mil­lamant, has been seen in Cesar & Ruben, A Midsummer Night's Dream, The Hilltop Expe­rience, Amadeus and A Raisin in the Sun. She thanks the MMNT faculty, David Yeakle,

and the cast/ crew for making this such a delightful experience. Mom, Dad, Bro, Gaby and David. Thank you for your constant sup­port and love, you are the reasons for all my success. XOXO EMC

HELYN RAIN MESSENGER, '09, as­sistant stage manager, is very excited for her years to come at St. Edward's. She would like to thank Ev for this opportunity and Jerry Joe for being the best.

MAAROUF NABOULSI, '09, Messen­ger, is very excited to be making his debut on the MMNT stage and would like to thank everyone involved in making this wonderful opportunity possible. EMC

NIGEL O'HEARN, '09, Coachman/en­semble, is excited to be appearing in his first MMNT production. He thanks David Yeak­le, the cast and crew, and all who worked to put the show together, as well as his parents and friends for all of their support, J to the Z, and the wonderful music of J-cup.

NATHAN OSBURN, '09, ensemble, is making his debut at MMNT. Return­ing from two years at the United World College in Canada, Nathan is happy to be back on stage.

JOSEPH MITCHELL PARKS, '06, Witwoud, is honored to be a part of this production. Last sea­

. son he appeared in You Can't Take It With You, Metamorphoses, A Midsummer Nights Dream, and most re­cen dy played RFK

m Cesar & Ruben. He wishes to thank

Mr. Yeakle for this opportunity and Ms. George, Mr. Davenport, and Mr. Shearer for their example. He would also like to thank his friends, family, and cast mates/ crew for their support. EMC

ZACHARY PETTICHORD, '08, en­semble, is exhilarated to be making his stage debut at MMNT Most recently he was seen as a guest artist in Vitro! and Vio­lets playing George S. Kaufman. He thanks his parents for being generally amazing, and his roommate for putting up with him, a daunting task. EMC

BENJAMIN TAYLOR RIDGWAY, '06, assistant costume designer, has been onstage in A Flea in Her Ear i

and The House. Back­stage he has stage man­aged You Can't Take It With You and has as­sistant stage managed Amadeus, Ladee Leroy, and One Flew Over The Cuckoo's Nest. As a designer, Ben was assistant costume

designer for Cesar & Ruben and assistant sound designer for A Midsummer Night's Dream. Ben would like to thank his friends and family for all their love.

SESAR SANDOVAL, '07, Waitwell, is blessed to be part of this production. You have seen him in Cesar & Ruben, Sum­merstock Austin, and A Midsummer Night's Dream. He thanks his loving family, beauti­ful friends, supportive

crew and cast, and God. EMC

JULIA TRINIDAD, '09, ensemble, is happily making her debut at MMNT, having just completed a seven-year run at the Lone Star Theatre of Wimberley. She would very much like to thank the cast and crew of The Way of the World, as well as the wonderful audience members who have made the experience unforgettable.

SPECIAL THANKS

Texas State University Theatre, UT-Austin Theatre Department, Fabrizio Photography, Zachary Scott Theatre Center,

The State Theatre, Zilker Theatre Productions

MARYMOODY NORTHEN THEATRE S~CIETY

PRESIDENT'S ASSOCIATES Ola Bell

The Reverend Louis T. Brusatti, CM Lewis Meyers and Mary Campbell

Tracy Manier and Daniel Floyd Everett Lunning Jr.

Mr. and Mrs. Fred Rizk Dr. J. Felipe & Mrs. Janet Wright Santos

DEAN'S CLUB Hamilton Beazley, PhD

Barbara and C. Brian Cassidy William and Alice Higgins

THE HILLTOP CLUB Karen Korzenko Bowen

Charles Gembinski Marianne Hopper

Tammy Jaso Jimmy Mills

Leo B. Osterhaus

THE 1885 CLUB Gary Blomquist

Nancy Brumback Abby Caswell Ben Chomiak

Brian Graham-Moore Lauren Henry Curtis D. Hirsh Karen Gibson

Pamela G. McGrew Kim Livingston

Angela Mccown Bill McMillin Lori Najvar

Richard Orton Michael Primrose

Marvela L. Pritchett Marilyn Schultz

Brenda and Michael Stone Lance D. Texter

C. Robert Watson-Hemphill

CONTRIBUTOR Alan Altimont

Robert Apthorpe Rev. Ralph Brennan

Gina Cross Brother Richard P. Daly, CSC

Sharon Defresche Dot and Nina Productions LLC

Dana Fischer Mary Helton Ora Houston

Loretta Hughes Kevin Jones Dinah Kinard

Mr. and Mrs. Patrick Liddy Kelly Luna

Frances Macconnell Rachel and Michael Marks

Gina M. Seidel Marshall Staphanie Martinez Michael C. Massey

Michele Moragne e Silva Brother Malcolm O'Neil

Phillip Owen Mr. and Mrs. Mac Payne

Andrew Pelegreen Janet Perry

Patricia K. Perry Mr. and Mrs. Albert Pfaff

Diana Phillips Marisa Pisano Kevin Prince

Belinda Sandoval Lisa Schwarzwald

Juanita Servin Karen Shaughnessy

Jill Singletary Mr. & Mrs. Kenneth Thomas

Linda Wiest Mary Jane Winslow

Mr. and Mrs. Ronald Young

To donate to the Theatre Society, please contact Rachel Elder at 512-233-1401 or rachelr@admin.stedwards.edu