Download Kalita Humphreys Theater Kalita Humphreys Theater

February 19 - March 29, 2015
Down Center Stage | Kalita Humphreys Theater
Kalita Humphreys Theater
d allas t h e ate r ce n te r
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D a l l a s T h e ater Ce nter
2014-2015 SEASON
Medea..................................... 5
Cast/Musicians/
Creative Team........................ 7
The School for Wives............ 9
Cast/Musicians/
Creative Team...................... 11
Artist Bios..............................12
Stages through the Ages...... 17
Chamblee Ferguson and
the Delightfully Challenging
Rhythm of Rep....................... 20
Next on Stage: Colossal...... 22
Board of Trustees.................. 24
The Benefactors................... 27
Friends@DTC..................... 28
Impact Creativity................. 30
corporate contributors...... 32
institutional contributors.... 33
Staff....................................... 34
Guild...................................... 35
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d allas t h e ate r ce n te r
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D a l l a s T h e ater Ce nter
Kevin Moriarty
Heather M. Kitchen
Artistic Director
Managing Director
and
MEDEA
Robinson Jeffers
freely adapted from Euripides
by
with
Kieran Connolly
Daniel Duque-Estrada
Reed Emmons
Chamblee Ferguson
Chris Hury
scenic design
Jo Winiarski
Liz Mikel
Dennis Raveneau
Skyler Thomas
Sally Nystuen Vahle
Christie Vela
costume design
Jennifer Caprio
lighting design
Paul Toben
voice / speech coaching
fight coordination
Thom Jones
production manager
Barb Hicks
sound design
Brian McDonald
Jeff Colangelo
stage manager
Leslie S. Allen
casting
Travis Ballenger
directed by
Kevin Moriarty
medea (jeffers, trans.) is presented by special arrangement with samuel french, inc.
dallas theater center’s production staff is responsible for the sets, costumes, lighting,
props, furniture, scenic painting, sound, special effects and wigs used in this production.
d allas t h e ate r ce n te r
5
Heather M. Kitchen
Managing Director
Robinson Jeffers
freely adapted from Euripides
by
with
fight coordination
Jeff Colangelo
medea (jeffers, trans.) is presented by special arrangement with samuel french, inc.
dallas theater center’s production staff is responsible for the sets, costumes, lighting,
props, furniture, scenic painting, sound, special effects and wigs used in this production.
6
D a l l a s T h e ater Ce nter
cast/c REatI VE tEaM
cast
The Nurse, Medea's nurse in childhood, now her devoted servant ........................................... LIZ MIKEL*
The TuTor, an older man, tutor to Medea's children ...............................................DENNIS RAVENEAU*
The ChilDreN, Jason and Medea's sons ................................... REED EMMoNS, SKyLER THoMAS
Chorus, a Corinthian woman................................................................................... CHRISTIE VELA*
MeDea .....................................................................................................SALLy NySTUEN VAHLE*
CreoN, the ruler of Corinth ................................................................................. KIERAN CoNNoLLy*
JasoN, famous hero and explorer, now settling toward middle age ..........................................CHRIS HURy*
aegeus, ruler of Athens, visiting Corinth ........................................................CHAMBLEE FERGUSoN*
YouNg MaN, a servant of Jason's .......................................................... DANIEL DUQUE-ESTRADA*
creative team
Assistant Director ............................................................................................................ JAKE NICE
Assistant Scenic Designer......................................................................................... JASoN LAJKA
Assistant Lighting Designer ................................................................................... ISABELLA ByRD✢
Stage Manager ..................................................................................................... LESLIE S. ALLEN*
Production Assistant .......................................................................................... CHEyNEy CoLES
SCENE: In front of Medea's house in Corinth.
* Member of Actors’ Equity
Association, the Union of
Professional Actors and Stage
Managers in the United States.


✢
Member, Brierley Resident Acting Company
Student, SMU Meadows School of the Arts
USA Designer
The scenic, costume, lighting and
sound designers in LORT Theatres
are represented by United Scenic
Artists, Local USA-829 of the IATSE.
This theater operates under an agreement with Actors’ Equity Association, the Union of Professional Actors & Stage Managers in the United States. DTC is a member
of the League of Resident Theaters; a constituent of Theatre Communications Group (TCG), the national organization for the nonprofit professional theater; the Dallas
Chamber of Commerce; and the Dallas Convention & Visitors Bureau.
d allas t h e ate r ce n te r
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D a l l a s T h e ater Ce nter
Kevin Moriarty
Heather M. Kitchen
Artistic Director
Managing Director
and
THE SCHOOL FOR WIVES
Molière
translated into english verse by Richard Wilbur
by
with
Kieran Connolly
Daniel Duque-Estrada
Chamblee Ferguson
Chris Hury
scenic design
Jo Winiarski
Morgan Lauré
Liz Mikel
Dennis Raveneau
Sally Nystuen Vahle
costume design
Jennifer Caprio
lighting design
Paul Toben
voice / speech coaching
fight coordination
Thom Jones
production manager
Barb Hicks
sound design
Brian McDonald
Jeff Colangelo
stage manager
Chris “Waffles” Wathen
casting
Travis Ballenger
directed by
Kevin Moriarty
the school for wives is presented by special arrangement with dramatists play service, inc., new york.
dallas theater center’s production staff is responsible for the sets, costumes, lighting,
props, furniture, scenic painting, sound, special effects and wigs used in this production.
d allas t h e ate r ce n te r
9
Heather M. Kitchen
Managing Director
THE SCHOOL FOR WIVES
Molière
translated into english verse by Richard Wilbur
by
with
fight coordination
Jeff Colangelo
the school for wives is presented by special arrangement with dramatists play service, inc., new york.
dallas theater center’s production staff is responsible for the sets, costumes, lighting,
props, furniture, scenic painting, sound, special effects and wigs used in this production.
10
Da l l a s The ater Ce nter
cast/c REatI VE tEaM
cast
Arnolphe, also known as Monsieur de la Souche ..........................................CHAMBLEE FERGUSON*
Agnès, an innocent young girl, Arnolphe's ward .......................................................... MORGAN LAURÉ
horAce, Agnès' lover, Oronte's son ......................................................... DANIEL DUQUE-ESTRADA*
AlAin, a peasant, Arnolphe's manservant ............................................................................CHRIS HURY*
georgette, a peasant woman, servant to Arnolphe .............................................................. LIZ MIKEL*
chrysAlDe, a friend of Arnolphe's ..................................................................... KIERAN CONNOLLY*
Angelique, Chrysalde's sister-in-law, Agnès' mother .....................................SALLY NYSTUEN VAHLE*
oronte, Horace's father and Arnolphe's old friend ..................................................DENNIS RAVENEAU*
A notAry ........................................................................................................DENNIS RAVENEAU*
creative team
Assistant Director ..................................................................................................... DYLAN GUERA
Assistant Scenic Designer......................................................................................... JASON LAJKA
Assistant Lighting Designer ................................................................................... ISABELLA BYRD✢
Stage Manager ................................................................................... CHRIS"WAFFLES" WATHEN*
Production Assistant .......................................................................................... CHEYNEY COLES
The scene is a square in a French provincial city.
* Member of Actors’ Equity
Association, the Union of
Professional Actors and Stage
Managers in the United States.


✢
Member, Brierley Resident Acting Company
Student, SMU Meadows School of the Arts
USA Designer
The scenic, costume, lighting and
sound designers in LORT Theatres
are represented by United Scenic
Artists, Local USA-829 of the IATSE.
This theater operates under an agreement with Actors’ Equity Association, the Union of Professional Actors & Stage Managers in the United States. DTC is a member
of the League of Resident Theaters; a constituent of Theatre Communications Group (TCG), the national organization for the nonprofit professional theater; the Dallas
Chamber of Commerce; and the Dallas Convention & Visitors Bureau.
d allas t h e ate r ce n te r
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AR T IsT B I Os
Kieran Connolly (Creon, Medea /
Chrysalde, The School for Wives) is
a member of the Brierley Resident
Acting Company. DTC credits include:
Sherlock Holmes: The Final Adventure
(Dr. Watson); A Christmas Carol
(Scrooge); Red (Rothko); Next Fall
(Butch); Dividing the Estate (Bob); Ella (Norman); The
Laramie Project Revisited (Dennis Shepard); The Seagull
(Sorin). Kitchen Dog Theater: King Lear (Lear); Who’s Afraid
of Virginia Woolf? (George). The Dallas Opera: Dallas Opera
Family Concert (Papa Haydn); Bluebeard’s Castle (Narrator).
Chris hury (Jason, Medea / Alain,
The School for Wives) DTC: God of
Carnage. Other DFW credits include:
Cyrano de Bergerac, Macbeth
(Shakespeare Dallas); The Taming
of the Shrew (Stage West); The
Tempest, The Comedy of Errors (Trinity
Shakespeare Festival); Enron (Theater Three); Venus in
Fur (Circle Theater); Slasher, 3 Foote, Charm (Kitchen Dog
Theater). Chris is a former member of the Circle Repertory
Company in New York City and is represented locally by
the Mary Collins Agency.
Daniel Duque-estraDa (Young
Man, Medea / Horace, The School for
Wives) is a member of the Brierley
Resident Acting Company, where his
credits include: A Christmas Carol;
Les Misérables; Sherlock Holmes: The
Final Adventure; and Oedipus el Rey.
Other theaters include: Shakespeare Santa Cruz; California
Shakespeare Theater; Trinity Repertory Company; Bridge
Repertory Theater; Shotgun Players; and Campo Santo
Theatre Company. MFA Brown University/Trinity Repertory
Company. Para mi familia. Como siempre.
morgan lauré (Agnes, The School
for Wives) DTC: A Christmas Carol.
Morgan realized after years in the
Dallas theater scene that she needed
technique and training commensurate
with her passion and love of the craft.
The strength of the arts and the sheer
talent within Dallas has been a source of particular inspiration.
She is a MFA candidate for Acting at SMU (2016). She’d like to
thank her mom and dad for all their love and support, Eugene
Cook for literally pushing her into this beautiful life, and her
professors for the inspiration and tools to “play.”
reeD emmons (One of the Children,
Medea) is thrilled to return to DTC
after appearing as Tiny Tim in A
Christmas Carol. He is 10 years old
and a fifth grader at DFW Performing
Arts Conservatory. Previous credits
include: The Nerd and Blitzen! at Theater
Coppell and numerous productions with Texas Creative Arts
Academy. Special thanks to his family and DTC for this
amazing opportunity.
liz miKel (The Nurse, Medea /
Georgette, The School for Wives) is a
member of the Brierley Resident Acting
Company. Selected DTC: The Rocky
Horror Show; A Raisin in the Sun;
Joseph and the Amazing Technicolor®
Dreamcoat; The Wiz; Dividing the
Estate; A Christmas Carol; Death of a Salesman; Give It
Up!; A Midsummer Night’s Dream (2009, 1991); In the
Beginning; The Who’s Tommy; and Crowns. Broadway
and Off-Broadway: Lysistrata Jones. Regional: American
Repertory Theater; The MUNY; Cape Playhouse; A
Contemporary Theater; Arkansas Repertory Theater. Local:
Casa Mañana Theatre; Dallas Children’s Theater; Jubilee
Theater; Theatre Three; WaterTower Theatre. Tours: Blind
Lemon Blues (Geneva and Paris); Blues in the Night. TV/Film:
Get On Up; Dallas; The Secret Life of Walter Mitty; Straight
A’s; Past Life; Friday Night Lights; Sordid Lives: The Series;
and Welcome Home, Roscoe Jenkins. Awards: Leon Rabin,
DFW Theater Critics Forum, D Magazine, Dallas Observer,
Dallas Voice, and multiple Column Awards.
Chamblee Ferguson (Aegeus,
Medea / Arnolphe, The School for
Wives) is a member of the Brierley
Resident Acting Company where he
has most recently been Scrooge, RiffRaff, and Sherlock Holmes. Other DTC
shows include Clybourne Park; FLY;
The Odd Couple; Joseph and the Amazing Technicolor®
Dreamcoat; The Tempest; Cabaret; and A Midsummer
Night’s Dream. He has worked at numerous theaters
nationally and locally including: Trinity Rep.; Florida Stage;
Stage West; Lyric Stage; Circle Theater; Casa Mañana,
and Dallas Children’s Theater. Film/TV credits include:
Revolution; Parkland; Friday Night Lights; The Chase; Prison
Break; A Scanner Darkly; Walker,Texas Ranger; and PBS’s
Wishbone. He is a DFW Theater Critic’s Award recipient and
received his MFA from SMU.
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Da l l a s The ater Ce nter
Dennis raveneau (The Tutor, Medea
/ Oronte, Notary, The School for Wives)
Regional credits include: Ma Rainey’s
Black Bottom and Knock Me A Kiss
(Jubilee Theatre); Diamond Dick: The
Tulsa Race Riot of 1921 (Project X
and La MaMa, NY); The Comedy of
ARTI sT B I Os
Errors, The Taming of the Shrew, As You Like It, and Hamlet
(Shakespeare Dallas); The Gin Game (CrossOver Arts); Time
In Kafka (Undermain Theatre); Of Mice and Men (Theatre
Arlington); The Gifts of the Magi (AART). Dennis currently
serves as Artistic Director for CrossOver Arts Theatre in
Desoto and is represented by the Kim Dawson Agency.
sKyler thomas (One of the Children,
Medea) is excited to make his debut at
DTC as the boy in Medea. Skyler is a
very energetic 7-year-old who loves
acting and singing. He has starred in
the movie One Heart and has been
on several TV commercials. He looks
forward to following in his big brothers footsteps and taking
on roles with theater. He would like to thank his mom, dad
and DTC for this opportunity.
sally nystuen vahle (Medea,
Medea / Angelique, The School for
Wives) is a member of the Brierley
Resident Acting Company and for
the past 25 years, Sally has been
fortunate to act in a wide range of
roles at DTC. Favorite recent shows/
roles at DTC include: Death of A Salesman (Linda Loman),
God of Carnage (Annette), and Clybourne Park (Bev/Kathy.)
Sally is a 2011 Lunt-Fontanne Fellowship Award recipient,
Co-Founder of Dallas’ Kitchen Dog Theater, and she works
extensively in broadcast/voice over. Sally is proud to serve
the University of North Texas Department of Theater as
Associate Professor of Acting and Voice. She is represented
by the Mary Collins Agency.
Christie vela (Chorus, Medea) is a
member of the Brierley Resident Acting
Company. DTC acting credits include:
The Book Club Play; A Christmas Carol;
Les Misérables; Sherlock Holmes: The
Final Adventure; King Lear; God of
Carnage; Joseph and the the Amazing
Technicolor® Dreamcoat; and The Beauty Plays. Christie is
also a member of Dallas’ Kitchen Dog Theater Company
where she was last seen in The MotherF*&^%er With The
Hat and where she has directed many shows including
PEN Award winner Se Llama Cristina by Octavio Solis; The
Turn of the Screw; Boom; and The Pillowman. Christie will
proudly make her Second Thought Theatre directing debut
in February with BULL as part of the Elevator Series. Christie
is represented by the Mary Collins Agency.
robinson JeFFers (Author, Medea) was a poet and
author born in 1887 in Allegheny, Pennsylvania, (now part
of Pittsburgh). His father, a professor of Old Testament
Literature and Biblical History, supervised his education,
and Robinson began to learn Greek at the age of five.
His early lessons were soon followed by travel in Europe,
which included schooling at Zurich, Leipzig, and Geneva.
When the family moved to California, Jeffers, at age 16,
entered Occidental College as a junior. He graduated at 18
and immediately entered graduate school as a student of
literature at the University of Southern California, where,
in a class on Faust, he met another strong influence on his
intellectual development: Una Call Kuster, who would later
become his wife. After marrying in 1913, Jeffers and Kuster
moved to Carmel, California, and in 1919 Jeffers began
building a stone cottage on land overlooking Carmel Bay
and facing Point Lobos. Near the cottage, he built a 40-foot
stone tower. Both the structures and the location figure
strongly in Jeffers’s life and poetry. Jeffers’ verse, much
of which is set in the Carmel/Big Sur region, celebrates the
awesome beauty of coastal hills and ravines. His poetry
often praises “the beauty of things” in this setting, but also
emphasizes his belief that such splendor demands tragedy.
As Euripides had, Jeffers began to focus more on his own
characters' psychologies and on social realities than on
the mythic. The human dilemmas of Phaedra, Hippolytus,
and Medea fascinated him, and his adaptation of Medea
was a great success when it was produced in New York in
1948. Robinson Jeffers died in 1962.
riCharD Wilbur (Author, The School for Wives) was
born in New York City and received his B.A. from Amherst
College and an M.A. from Harvard. He has taught on the
faculties of Harvard, Wellesley, Wesleyan, and Smith. Mr.
Wilbur’s publications include six volumes of poetry and two
collections of his selected verse, a volume of his collection
verse, translations of Molière’s four most outstanding verse
plays, the musical Candide, for which he supplied most
of the lyrics, a collection of his prose, and two books for
children. His highly praised verse translations of Molière’s
plays The Misanthrope, Tartuffe, The School for Wives, and
The Learned Ladies have all been performed in New York
and are frequently presented by resident theater companies
throughout the United States, Canada, Australia, and Great
Britain, including productions at Stratford, Ontario, and
the National Theatre in London. He has also completed
verse translations of two of Racine’s great tragedies,
Andromache and Phaedra. Among Mr. Wilbur’s awards are
two Pulitzer Prizes, a National Book Award, Edna St. Vincent
Millay Award, Bollingen Award, Ford Foundation Award,
Guggenheim Fellowship, and Prix de Rome Fellowship.
He has served as both Chancellor and President of the
American Academy of Arts and Letters. In 1987 he was
named the second Poet Laureate of the United States,
succeeding Robert Penn Warren.
d allas t h e ate r ce n te r
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aR t Ist B I Os
Jo WiniarsKi (Scenic Designer) DTC: The Wiz. OffBroadway: Love, Loss, and What I Wore; multiple shows with
The Pearl; The Jewish American Princess of Comedy; I Love You
Because. Other New York design credits include: New Georges;
The New Group; Keen Company; Clubbed Thumb; Relentless
Theater Company; The Roundtable Ensemble. Regional design
credits include eight seasons at the Utah Shakespeare Festival;
Oregon Shakespeare Festival, Geva Theatre; Hangar Theatre;
and Virginia Stage Company. Jo is the art director on Late Night
with Seth Meyers. She received an Emmy nomination for A
Colbert Christmas: The Greatest Gift of All.
JenniFer Caprio (Costume Designer) is proud to be back
for her fifth and sixth projects at DTC. Broadway: The 25th
Annual Putnam County Spelling Bee. National Tours: Joseph
and the Amazing Technicolor® Dreamcoat; The 25th Annual
Putnam County Spelling Bee; The Great American Trailer
Park Musical. Selected NYC: Tail! Spin! (Culture Project);
The Lion (Manhattan Theater Club); Little Miss Sunshine
(Second Stage); In Transit (Primary Stages); Fugitive
Songs (Dreamlight); and Striking 12 (Daryl Roth). Opera:
Florida Grand Opera, Minnesota Opera, Opera Colorado,
Opera Boston, Mill City Summer Opera. Designs at over
50 American regional theaters.
paul toben (Lighting Design) DTC: The Book Club Play,
FLY. Broadway: The Story of my Life. Off-Broadway: The
Judy Show: My Life as a Sitcom (DR2 Theatre); Saturn
Nights (Incubator Arts Project); Electra in a One-Piece;
The Realm (The Wild Project); Romeo and Juliet (Columbia
Stages), Futurity (HERE); When in Disgrace (haply I think on
thee) (Examined Man Theatre); and The Redheaded Man
(FringeNYC). London: Daddy Long Legs (St. James Theatre)
and Fly By Night at TheatreWorks’ New Works Festival. His
work has been seen at the Williamstown Theatre Festival,
Walker Art Center, Cincinnati Playhouse in the Park, The
Magic Theatre, Flat Rock Playhouse, Cleveland Play House,
Arizona Theatre Company and others. paultoben.com
brian mcDonalD (Sound Designer) is currently the Sound
Supervisor at the DTC where he recently completed sound
design for The Book Club Play. He previously served as the
production manager and technical director for Shakespeare
Dallas and technical director for the University of North
Texas Opera Theater. Design Work: Kitchen Dog Theater,
Project X, and The Festival Ballet of North Central Texas.
Brian spent several years working in higher education,
holding positions at the University of North Texas and Texas
Woman’s University. He also works as a recording engineer
and producer with releases on Idol Records, GIA, Vandan
Records, Elba Records, Drop6 Media, Equilibrium and more.
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Da l l a s The ater Ce nter
thom Jones (Vocal Coach) is Head of Voice/Speech
with the Brown University/Trinity Repertory MFA Program
and in his fourteenth season as Voice/Speech Director at
Trinity Repertory Company. He’s worked extensively as a
voice and speech consultant in theater, film, and television.
Theater: The Public Theater, The New York Shakespeare
Festival (Amy Adams), Yale Repertory Company (Mandy
Patinkin), DTC, and more. Film/TV: Rabbit Hole (Nicole
Kidman, Academy Award Nomination, Best Actress); The
Paperboy, (Nicole Kidman, Golden Globe, SAG Nomination,
Best Supporting Actress); Bleed For This (Miles Teller, Aaron
Eckhart, Katey Segal, Ciaran Hinds).
JeFF Colangelo (Fight Director) DTC: Stagger Lee;
Les Misérables; Sherlock Holmes: The Final Adventure;
Oedipus el Rey; King Lear. DFW choreography credits
include: Dallas Opera; Second Thought Theatre; Undermain
Theatre; Theatre Three; Shakespeare Dallas; Southern
Methodist University; and Cara Mía Theatre Co. Favorite
DFW choreography credits include: Fairytale Lives of
Russian Girls (Undermain Theatre); Will Power’s The Seven
(Southern Methodist University); and Romeo and Julieta
(Cara Mía Theatre Co.). Jeff Colangelo is also a proud cofounder of PrismCo, an ensemble member of Cara Mia and
Stage Combat Dallas. He would also love to thank Caitlin.
leslie s. allen (Stage Manager, Medea) DTC: A Raisin
in the Sun (SM); A Christmas Carol (’14 & ’12); The Rocky
Horror Show; Fly By Night; King Lear; Death of a Salesman;
The Who’s Tommy (ASM). Regional: Titanic; The Human
Comedy; Blue Roses (PSM, Lyric Stage); Rudolph the
Red-Nosed Reindeer®, The Musical (PSM, Wishing Star
Productions); Camelot (PSM, Casa Mañana); The Best
Christmas Pageant Ever; The NeverEnding Story; And
Then They Came for Me; Click Clack Moo: Cows That Type;
Madeline’s Christmas (SM, Dallas Children’s Theater);
Forever Plaid; A Christmas Carol (ASM, The Walnut Street
Theatre, Philadelphia). Tours: Barney: Let’s Go Live!; Kelly
Clarkson’s Addicted; George Strait, 2007. BFA, Southwest
Texas State University.
Chris “WaFFles” Wathen (Stage Manager, The School
for Wives) Select DTC: The Rocky Horror Show, The Odd
Couple, A Christmas Carol (2012, 2014), and The Beauty
Plays (Stage Manager); Les Misérables; The Fortress of
Solitude; FLY; Joseph and the Amazing Technicolor®
Dreamcoat; The Wiz; The Misanthrope; The Who’s Tommy;
A Christmas Carol (2007-2010, 2013); Sarah, Plain and
Tall; and A Midsummer Night’s Dream (ASM). NY Readings/
Workshops: The Fortress of Solitude, The Circus Winter.
Regional: Wanted; The Glass Menagerie; Something
Intangible; The Complete Works of William Shakespeare
[abridged] (SM). Ball State University: Production Stage
Manager (18-show season), Adjunct Instructor of Stage
Management.
Dtc LEaDERsHI P
Kevin moriarty (Director,
Medea and The School for Wives)
is the artistic director of Dallas
Theater Center, where his work as
a director includes: It's a Bird... It's
a Plane... It's Superman; The Who's
Tommy; The Wiz; A Midsummer
Night’s Dream; Henry IV; The
Tempest; Fat Pig; Next Fall; his
original adaptation of A Christmas
Carol; Oedipus el Rey; and most recently, Sherlock Holmes:
The Final Adventure. Since 2007 he has led DTC through
many new initiatives, including the move into the Wyly
Theatre; the creation of the Brierley Resident Acting
Company; an extensive series of new play productions;
community collaborations with North Texas Food Bank, Dallas
Holocaust Museum, Dallas Museum of Art, and most of the
region's theater companies; and multi-year partnerships
with Booker T. Washington High School for the Visual and
Performing Arts and SMU Meadows School of the Arts.
Before joining DTC, Kevin served as the artistic director
of the Hangar Theatre in Ithaca, NY, for seven years. From
2002-2007 Kevin was the Head of Directing for the Brown
University/Trinity Rep MFA Program in Providence, RI, and he
was an Associate Artist at Trinity Rep Company. He made his
operatic directing debut with The Lighthouse for The Dallas
Opera in 2012, and is directing The Marriage of Figaro in their
2014-2015 season. Kevin has served as a public school music
teacher at La Crescent High School in La Crescent, MN, and
as an Associate Professor at Brown University. Kevin is the
Vice-Chair of the Dallas Arts District; a member of the Boards
of Trustees for the Booker T. Washington Advisory Board,
Theatre Communications Group, and the National Alliance
for Musical Theatre; a member of the Dallas Assembly; a
recipient of a Drama League directing fellowship; and a
graduate of the University of Wisconsin.
heather m. KitChen joined
D a ll a s T h e a t e r C e n t e r a s
managing director in 2011.
She is now beginning her 41st
season of professional theater.
Before joining DTC she served
as executive director of American
Conservatory Theater in San
Francisco for 14 seasons where
she oversaw the growth of the
budget from $11 million to more than $19 million. Heather
led A.C.T.’s first endowment campaign, which surpassed
its $25 million goal by more than $6 million. She served
as general manager of The Citadel Theatre in Alberta,
Canada, production manager at Theatre New Brunswick,
and worked as a stage manager and / or a production stage
manager at many major theaters across Canada including
The Stratford Shakespearean Festival, The Citadel
Theatre, The Neptune Theatre, Theatre Plus, The New Play
Centre and Canadian Stage Company. Heather has guest
lectured about stage and general management extensively
throughout her career at more than a dozen universities
including Stanford University, UC Berkeley, SMU, and the
Universities of, Waterloo, Western Ontario and Guelph. Her
consulting career has centered on education accreditation
and theatre management. Clients have included Presidio
Graduate School and Bay Area TheatreSports, and The
University of Western Ontario. Heather holds an Honours
Bachelor of Arts from the University of Waterloo and a
Masters of Business Administration from The University
of Western Ontario’s renowned Richard Ivey School of
Business. Heather is also an avid amateur musician who
plays piano, flute and classical guitar.
PLeAse nOte
the use of photography and recording devices is only permitted when actors
are not present. the video and/or electronic recording of this performance
by any means whatsoever is strictly prohibited. Please turn off all electronic
devices such as pagers, cellular phones, watches, etc. The Kalita Humphreys
theater is equipped with state-of-the-art assisted listening equipment
for patrons with special hearing needs. Please see the House Manager for
more information.
d allas t h e ate r ce n te r
15
16
Da l l a s The ater Ce nter
StaGeS
through
the
aGeS
Greece, c. 400 BC
In 2015, staging Euripides’ Medea in the basement of a theater is a little unconventional
compared to other contemporary productions. But compared to the way it would have
been presented in Ancient Greece, the differences in staging are even more striking.
While no two Ancient Greek
theaters were exactly alike, there
are certain things that we have
found to be common factors over
centuries of archeological research.
First and foremost, we know that
most Greek theater was performed
outdoors in a structure called an
“amphitheater.” The amphitheater
featured a circular stage known as
an “orchestra” and was surrounded
on three sides by auditorium seating
called the “theatron.” On the fourth
side of the orchestra would be
the “skene,” a small house-like
structure that served to hide actors
from the audience, house props
and machinery, and possibly even
act as a dressing room.
Overhead view of an amphitheatre.
Dionysius Theater
d allas t h e ate r ce n te r
17
The Ancient Greeks obviously did not have the ample scenic technology that we have
today, but what they were able to accomplish was not unimpressive. Many theaters had
rolling platforms, known as “eccyclemae,” that could move actors or pieces of scenery
on and offstage. Another interesting innovation were the “periaktoi,” which were tall,
three-sided platforms that had different scenery painted on each side and would rotate
to indicate a change of location. A version of this technology is actually still used today
on some billboards. Most notably, however, was the “machina,” a machine that could
raise and lower a basket or platform from the orchestra to the top of the skene, and vice
versa. As many plays at some point or another included intervention from the gods, this
machine allowed them to physically ascend and descend. Or, for a more immediate
example, productions of Medea typically ended with Medea appearing above the stage
in the chariot of the sun god Helios.
France, 1662
Almost two-thousand years later and as many miles away, Molière’s The school for Wives
premiered to great acclaim at the Theatre du Palais-Royal in Paris. The theater had opened
just twenty years earlier after being commissioned by Cardinal Richelieu, and Molière’s
troupe was one of the first to perform there.
Performance spaces had evolved quite a bit since the days of Ancient Greece, and the
Theatre du Palais-Royal was no exception. The theater was indoors, ornately decorated,
and designed much like the theater we are still familiar with today—a rectangular stage
framed by a proscenium arch at one end of the building, with the audience facing the
stage from the other end. Stages in those days, however, were raked, or on an angle.
The farther upstage (away from the audience) a performer walked, the more elevated
they would be. Scenery, in a similar vein, was designed in perspective. Moveable drops,
wings, and borders would frame the stage, depicting scenery that receded away from the
audience as it traveled upstage, giving the illusion of greater depth. Because of this design,
18
Da l l a s The ater Ce nter
however, the majority of the action had to take place on the very front of the stage, or the
apron – not only for increased visibility, but also to maintain the illusion of perspective.
If the actors travelled too far upstage, they would appear giant next to scenery that had
been painted to look very small and far away.
Most plays in this era took place in one of several locations: libraries, courtyards, palaces,
etc. Because these locations were so common, many theaters simply kept stock scenery
to reuse for every show. Although DTC’s set is not recycled from older shows (we promise!),
you will notice that The school for Wives does set itself in some of these “stock” locations.
Dallas, 2015
Both onstage and below the stage, bold new productions of Ancient Greek and 17th
century French classics are being presented at the historic Kalita Humphreys Theater.
Home to the Dallas Theater Center for over fifty years, the Kalita was designed by Frank
Lloyd Wright, one of the most influential American architects in history. Wright valued the
unification of form and function and the aesthetic relationship between a building and its
natural surroundings, and consequently created a very unique theater space—and not
only because it was one of only three theaters he ever designed. The building, set right
next to the lovely Turtle Creek and William B. Dean Park, takes a cue from the nature
around it and contains absolutely no right angles (the only exceptions being where the
walls meet the ceiling and the floor).
The theater space itself, currently housing our production of The school for Wives, made
the bold move of eliminating the proscenium arch and thrusting the stage out into the
audience, thus uniting the stage and the auditorium and creating an intimate relationship
for the performers and audience. The basement below, where Medea is being presented,
was originally designed with two large ramps that were meant for the ease of transportation
of large pieces of scenery. Today, only one ramp remains in use, and has in fact been
transformed into a stage.
Cast members of The Who's Tommy,
DTC's 2008-2009 season.
Brandon Thibodeaux
d allas t h e ate r ce n te r
19
CHAMBLEE FERGUSON
and the
DELIGHTFULLY
CHALLENGING
RHYTHM OF REP
Brierley Resident Acting Company member and
Dallas audience favorite ChAMBlee FeRguSOn
is very busy these days. not only is he playing
Aegeus in euripides’ Medea, but he is also—
simultaneously—undertaking one of the biggest
roles of his career: Arnolphe in Molière’s The School
for Wives. DTC education and Community Programs
Apprentice laura Colleluori sat down with him to
talk about working in repertory, confronting the
classics, and learning all of those lines.
Laura: As an actor, I’m assuming it’s different to work in repertory as opposed to only focusing on one
show. Could you speak a little bit to how it’s different, or how your job changes?
Chamblee: Well, this is not exactly the typical repertory situation, at least in my experience. I’ve got such
a huge role in one show and a very small role in the other, so I’m really just concentrating more or less
on one show. But traditionally, I’ve worked in rep a number of times over the years, and it’s delightfully
challenging because you have to work fairly quickly. You’ve got half a day for one show and half a
day for the other show, usually. So you have to really keep on your toes with regard to your mind and
your study and your memorization and all of that kind of stuff, but it does keep you fresh. And actually,
because it’s been a number of years since I’ve done rep, I think it’s really much more well-suited for
when you’re young than when you’re old.
Laura: So when you’re working in rep, in terms of workload, it’s a lot because you’re working on two
shows at once in the amount of time that you would typically have for just one show. But do you find
that in terms of content, or your relationship to or understanding of the shows, that you are finding
connections between the two shows as you’re working on them?
Chamblee: Constantly. We’re doing that here. Kevin has even said that these two shows weren’t
consciously chosen because there were rich, interlaced tapestries between the two of them, but we’re
finding them every single day. And you’re just like, “Wow, I never thought of that! We’re wise, aren’t we,
to have chosen to put these plays together!”
Laura: I know you guys take a little bit of a break before you move from one show to the next, but is it
challenging to switch gears between the two plays every day?
Chamblee: It is challenging. I’ve found that, for me, going from Medea to School for Wives is more difficult.
It takes some time to find the rhythm and the sense of it because we were in a totally different style,
totally different flavor, totally different mood in the previous show. Sometimes it takes me an entire
scene before I’m like, “Oh, I remember this now.”
Laura: That’s interesting—I wasn’t even thinking about mood, but that must be strange as well to start
with something as heavy as Medea and then have to elevate yourself to a much more comic place for
School's Arnolphe.
Chamblee: Yeah. I suspect that when we move to our regular schedule we will probably rehearse School
for the first part of the day and Medea in the evening.
Laura: So when you switch from The School for Wives to Medea, is it almost a relief in some ways?
Chamblee: Oh yeah, it’s definitely a relief for a number of reasons. One is obviously that it’s smaller, but two
is that I think that role is actually closer to me than Arnolphe is. Arnolphe is a little more elevated, I think
the rhyme and verse does that, and the elevation detaches you a little bit from it. I think that Aegeus, who
20
Da l l a s The ater Ce nter
I play in Medea, is a little closer to me and doesn’t take quite as much energy—it’s not rhyming meter, so
I can take more time with my lines. Now, it is still structured differently, because [Brierley Resident Acting
Company member Sally Vahle, playing Medea] and I have a lot of shared lines—she’ll begin a line and I have
to come in right on top of that. So that rhythm does need to be pretty crisp. But it will definitely be a relief.
Laura: What is the biggest challenge for you this time around, particularly with the huge role of Arnolphe?
Chamblee: Just the amount of lines. I think this is the biggest line load I’ve ever had in my career. I think
it’s more than Prospero in The Tempest, or Tranio in Taming of the Shrew, who actually has more lines than
any other person in the play, even though he is just a servant. I really think that’s it: just the sheer amount of
lines. That and, if it was in contemporary language—people are different, but for me contemporary language
is much easier to memorize. The thoughts are so much clearer to me, and it’s in my vocabulary, it’s in my
body, it’s the way I think. Other actors, [fellow Brierley Resident Acting Company member] Steven Walters
for example—he claims that he can memorize Shakespeare better than he can contemporary stuff because
it’s in iambic pentameter, like the Molière, and so it’s like music to him. He can memorize it like music. I’m
not that way; verse is much more difficult for me. Years ago I did a production of Copenhagen by Michael
Frayn, and while it’s got three people, it’s basically just two guys doing all the talking. And it’s talking about
physics, heavy-duty theory and stuff, and that was easier to memorize than this is for me.
Laura: How does having the rhyme factor in for you?
Chamblee: The rhyme actually kind of helps, because if you get the first part of the rhyme you know you
have to match the second part to it. So in that sense, this is easier for me to memorize than Shakespeare.
Laura: Have you worked with Molière before?
Chamblee: Yes. This is the third or fourth Molière that I’ve done. I think the last time I did it was 2007,
though, so it’s been a few years. One of the differences, in my experience, between this play and the other
Molière plays that I’ve done, is that this one has more monologues and soliloquies—moments when you
are standing onstage by yourself giving big, long speeches. Arnolphe does that almost at the beginning,
middle, and end of every act. When I did The Imaginary Invalid, which again, was a lot of lines in rhyming
pentameter, it still didn’t have these huge speeches.
Laura: What are you most excited about
or looking forward to sharing with the
people who come to see these shows?
Chamblee: I’m hoping—and we
haven’t even gotten on our feet yet in
rehearsal—that Kevin will be giving me
a little bit of permission to do a lot of
direct address. The soliloquies kind of
call for it, but beyond just giving a direct
address to the audience, maybe even
going out into the audience, walking
in the aisles of the Kalita, and actually
giving some stuff to very specific people
in the audience. I think that would be a
lot of fun. There’s also some beautiful
poetry in both of these shows—some
beautiful thoughts and really wisdom
in the text. (Laughing) As long as I can
remember my lines.
Chamblee Ferguson as Prospero
in The Tempest, DTC's 2011-2012 season.
Photo by Karen Almond.
d allas t h e ate r ce n te r
d allas t h e ate r ce n te r
21
21
22
Da l l a s The ater Ce nter
DTC6
d allas t h e ate r ce n te r
23
BOa R D Of tR ust E E s
Rebecca Fletcher*
Chair
Tina Barry*
president
Julie Hersh*
executive Vice president
James Waters*
secretary
Curtis M. FitzGerald*
Treasurer
Kenneth Bernstein*
past president
Drew Alexandrou
Jennifer Altabef*
Stephanie Anderson
Larry Angelilli
Ashley Berges
John F. Bergner
Missy Boone
Beverly Bowman
Jeff Bragalone*
Diane M. Brierley^*
Randy Brown
LaRhonda Brown-Barrett
Barrett N. Bruce*
Nan-Elizabeth Byorum‡
Molly Byrne
Ramir Camu
Mrs. W. Plack Carr^
Kay Cattarulla
Jeanne Marie Clossey
‡ Auxiliary Member
Thomas W. Codd
Chad B. Cook
Paul M. Cooke, Jr.
Linda P. Custard^*
William A. Custard^
Arlene J. Dayton^
Rusty Duvall
Lauren Embrey
Mrs. Robert Ted Enloe III^
Robert Ferguson
Don Glendenning*
William Douglas Graue*
Eric Harmon
Craig Haynes
Pilar Henry*
Matt Hickey*
Ann Hobson
Roger Horchow
John E. Howell
Paul M. Howell
Kate Crosland Juett^
Susan Kaminski
Suzan Kedron
Heather M. Kitchen
Maya Leibman
Brett Levy
Larry Mandala
Ronald M. Mankoff
Rosemarie Marshall‡
Mrs. Eugene McDermott^
Deborah McMurray
Kevin Moriarty
Lyn Muse
Dawn Neufeld
Brent J. Nicholson
Dan Odom
Scott Orr
yvette Ostolaza
* executive Committee Member
Tracy Preston
Terri Provencal
Kersten Rettig
Frank A. Risch^*
Deedie Rose^
Larry Schoenbrun
Kim Sheffield*
Bart Showalter
Andy Smith*
Alex Smith*
Hamilton Sneed
Melissa Stewart
Stewart Thomas
Robert Tonti
Dan Waldmann
Sarah Warnecke
James E. Wiley, Jr.*
Donna M. Wilhelm*
^ life Member | Members as of 1/31/15.
DTC's Project Discovery Wins the National Arts and
Humanities youth Programs Award from the White House!
Project discovery, DTC’s signature education program, provides in-depth theater experiences for thousands of
teens (many of whom are considered "at-risk") from 35 North Texas high schools. Since 1986, Project Discovery
has helped over 265,000 students and teachers to experience and study the finest in live, professional theater.
Dallas Theater Center provides this program in full, at no charge to the school (including tickets, teacher training,
study guides, student pre-show workshops and buses) for every production during the school year.
“Through these programs,
young people are discovering
their creative voices,
developing a stronger sense of
who they are as individuals,
and gaining a deeper
understanding of the world
around them...”
© Ralph Alswang
–First Lady Michelle Obama
(pictured at right with Project Discovery participant
Emily Sanchez and Rachel Hull, DTC’s Director
of Education and Community Enrichment, at the
National Arts and Humanities youth Program Award
presentation ceremony)
dallas theater Center needs your support to fully fund our award-winning
educational programming. to make a donation, or to sponsor a participating
school, please contact dtC's development office at (214) 252-3912.
24
Da l l a s The ater Ce nter
I may not know you,
but I will help save your life
WE ALL HAVE TO LOOK OUT FOR EACH OTHER.
WHEN YOU HELP THE AMERICAN RED CROSS, YOU HELP AMERICA.
THROUGH HER INVOLVEMENT WITH THE AMERICAN RED CROSS,
PATTI LABELLE HELPS TO SAVE LIVES EVERY DAY.
TO LEARN HOW PATTI LABELLE IS HELPING,
OR TO FIND OUT WHAT YOU CAN DO TO HELP, VISIT REDCROSS.ORG.
d allas t h e ate r ce n te r
25
Did You Know?
Young people who participate in the arts
for at least three hours on three days each
week through at least one full year are:
• 4 times more likely to be
recognized for academic achievement
• 3 times more likely to be elected
to class office within their schools
• 4 times more likely to participate
in a math and science fair
• 3 times more likely to win an award
for school attendance
• 4 times more likely to win an award
for writing an essay or poem
26
Da l l a s The ater Ce nter
t HE B ENEfactORs
THE BENEFACTORS are the heart of Dallas Theater Center’s family of contributors.
For more than 30 years, members have enjoyed special events and behind-the-scenes opportunities.
direCtOrs' CirCLe
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siLver
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* Founding Member
• Co-Chairs, Individual Giving
Member, Gay and Lesbian
Fund for Dallas
✦
Members of all Individual
Contributor groups as of
12/31/14. Thank you for
all gifts received after
the print deadline.
d allas t h e ate r ce n te r
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Tammy Beaty
Leslie and Robert Beatty
Dr. and Mrs. Steven A. Bell
Kathy Bellinger
Dan Berebitsky*
Laurie Berger
Almudena Bernardo
Paul Bernardy
David Billings
John Birch
Jennifer Bishop
Brendan Blackwell
Cindy Blue
Lisa Bohannon
and Jeffrey Underwood
Cindy and Barry Bowens
Denise and Gregory Boydston
Terrance Boykin
Nancy Braden
Leslie Bradford
Beth Bradley
Shimon Braff
Darla Braun
Betty and George Briggs
Jill Brooks
Carolyn and Colon Brown
Douglas Brown
Mary Brown
Sue Brown
Ted Brown
Pam Buchmeyer and Shellie Crandall*
Barbara Buehler
Carol and Edward Burger
Kimberly Burke
Theresa Burkhalter
Alicia and Herb Burkman
Patti Burks
Suzanne and Nicholas Buss
Matthew Byrd
N.E. Byorum
Keith Callahan and Gary Wester*
Patsy and Roger Camp
Henry Campbell
Kathleen Campbell
Polly and Mike Campbell
Garry Cantrell
John Carlo
Nancy and Clint Carlson
Robert Carpenter
Kelly Carr
Betty and Don Carter
Bitsy and Harold Carter
T'Anya Carter
Paul Castanon and Bill Magnuson
Eric Cerny
Zohra Choudhry
Michael Clark
Angela Clayborn
Frederic Clifford
Jenifer Cline
Joshua Coffie
Carole Cohen
Brenda Cole and John McManus
Craig Collins
Dustin Collis
Crystal Coley
LaDawn Conway
Kevin Paul Cook
Howard Cooke
Gail Cope
David Copeland
Luis Cornejo
Jorge Corona
Brandi Crawford
Jan Crespi
Richard Crownover
David Danish
Ann and Charles Dannis
Charlotte Darrah
Annette Davis
Susan and Douglas Davis
Tammy Davis
Clare and Larry DeBoever
Deborah Deitsch-Perez
and Steven Goldfine
Marsha Dekan
Patra Della Valle
Suzan and James DeLoach
Pauline and Amon DeNur
Bernadette D. Depta
George and Ina Derr
Cynthia DeVies
Kimberly Dickson
Christopher Dodd
Mark Donald
Kari Dossett
Daniel Driscoll
Kathy Duda
Shirley Dunbar
Rita Langley Duncan
Debbie Eberts
Donna Economu
Patti Elliott
Jeffrey Elmer
Kevin Engl
Auvern Ernst
Christian Espinoza
Kelly Ethridge
Laura and Douglas Evans
Cindy D. Everson
John Ezell
Janice Fandrick
Kristy and Raymond Faus
Regen and Jeff Fearon
Megan and Bryan Fears
John Fehan
Robert Ferguson
Margaret Filingeri
Lois and Ross Finkelman
Wayne Finley
Cindy Ford
Robert Forner
Julia P. Forrester
Faynetta Fort
Shirley and James Francis
Lynn Frank
Carrie and Andrew Freundlich
Phyllis and Fred Fulton
Allen and Dolores Fuqua
Jamie Galis
Colleen Garcia
Ryan Gifford
W. John Glancy
Godwin Lewis P.C.
Heather Goines
Leslie and Hawkins Golden
Mrs. Haia Goldenberg
* Member of the Gay and Lesbian Fund for Dallas
Barbara Goldfarb
Julie Goldfarb
Ruth Gonzalez
Belinda Grant-Anderson
Francisco Guemes
John Guffrey
Larry Hackett
Kristina Haisten
Lynette and Mark Hall
Dr. and Mrs. Tom L. Hampton
Angela Harris
Michael Harris
Molli Harris
Rita P. Harvey
Becky and Rodney Hauth
Bert Headden
Chris Heinbaugh
Marjorie W. Henderson
Alicia and Matt Henry
Julie and Bob Herman
Kathy and John Herring
Matthew Herzog
Cynthia Hicks
Robert Hicks
Marilyn Hicks
Charles Higdon
Carol and Henry Hill
Sharon Hirsch
Chris Hite
Jeff Hodges
Derrick Hodges
Megan Hodges
Yvonne and J Hogan
Wanda Holcomb
Cathleen and Michael Holmes
Vivian Holmes
Heather Holt
Carolyn Hood
Dr. and Mrs. Jay Hoppenstein
Stephanie Hopper
Holly Horni
Laura and Paul Hornung
Deborah and Jeffrey Horswell
Sherry Howard
Stephanie and Ed Howard
Sherrie Hudson
Ahamed Idris
Chip Izard
Jean and Ted Ingersoll
Mark Jacobs
Erika Jaeggli
Leila and B.V. James
Marla and Howard Janco
William Jesse
Jeanne M. Joglar, M.D.
Debra H. Johnson
Jody Johnson
Mimi Johnson
Diane and Daryl Johnston
Ellen and Charlie Johnston
Nora B. Jones
John Kalan
Melissa Kaulbach
Betty Keefe
Betty Kelly
Thomas Kelly
Amanda Kendall
Kyle King
Pamela and Eddie King
Laura Kirklen
Gene Klassen and Jay Scott
Patricia Kleckner
Janet Klosterman
Curtis Kockler
Harold Korin
Pat Kozak
Joahna Kuiper
Dona Lach
Kelly Lane
Britten LaRue
Lawrence Lassiter
Kathleen and Frank Lauinger
Eileen Lavine
Beverly Leake
Dorothea Lee
Alicia and Greg Lensing
Sidney Lenz
William LeRoy
Rob Lewin
Betsy Lewis
Debra Lewis
JoNell and Jody Lindh
Robert and Ginger Loshelder
Mike Luckock
Meyling Ly
Patricia Lyle
Jill and Edward Lynch
Kate Lyon
Lynne Mabry
Lora Machkovech
Kristi Madden
Nathan Mallory
Marty Marks
Sonia Marlow
Gail and Guillermo Marmol
Jean and Dave Marshall
Lisa Marshall
Jamie Martin
Louisa and Charles Martin
Nancy and Tom Mason
Jimmie Mayhew
Eileen and Don McAleenan
Terri and Randy McClellen
Randall McComas
Kerry McCormick
Mary and Mike McDonough
Wayne McHenry
Holly McKinney
Gwendolyn McMillan-Lawe
Nancy Meier
James Meyer
Phyllis Meyerson
Robert and Jo Milbank
Gilbert Miller
Sharon Moffett
Janet and Herb Moltzan
Maria Monteverde
Nancy Montgomery
Sheila and Eugene Moore
Ron Moore
Kenneth Mooter
Caroll and James Moriarty
Deb and Ron Moss
Guru and Shashi Motgi
James Mullins
Eric Nadler and Anh-Hong Tran
Melanie Nance
Judy Nash
Mary Nawrocki
Jim Neitzel
Kathryn Nelson
Victoria and Christopher Newell
Carol and James Newman
Margaret and Leo Newport
Spaulding Newton
Nick Nicholas
Jana Nobles and Colin Martin
Mike Northrup
Martha Norton
Sybil and Lyle Novinski
Gloria Olive
Chad Oswald
Faith and Mike O’Neill
Christianne and Gerard Papazian
d allas t h e ate r ce n te r
29
$25,000+
Wells Fargo
CONTRIBUTORS AS OF JANUARY 2015
impact Creativity is an urgent call to action to save theatre
education programs in 19 of our largest cities. Impact
Creativity brings together theatres, arts education experts and
individuals to help over 500,000 children and youth, most of
them disadvantaged, succeed through the arts by sustaining
the theatre arts education programs threatened by today’s
fiscal climate. For more information on how “theatre education
changes lives,” please visit www.impactcreativity.org
$100,000+
CMT/ABC
The Hearst Foundations
Friends: $75 - $199 (continued)
Karen and Harry Parker
Petey Parker
Debra and Steve Pascoe
Sally Peden
Chris and William Peirson
Benjamin Pena
Rick Perdue
Jesusita and Armando Perez
Vincent Perini
Karen Person
Carol and Jon Pettee
Nancy Phillips
Luis Pina
Billy Pinson Jr
Annette and Steven Pipes
Joe Pizzurro
Dr. and Mrs. Melvin R. Platt
D.K. Pollard
Jeffrey Pollock
Wendell Potts
Phyllis and Jerome Prager
Cori Pratt
Barbara Presnall
Glenda Priolo
Stacy Pritt
Kelly Proctor
Paul Railsback
Reed Randel
Terri Ravnik
Cinde Rawn
Van M Reed
Crispin Reedy
Craig Reese
Bradley Reid
Lynne Richardson
Ann and Marc Richman
Becky and Bill Riggins
Jose Rios
Rusty Rippamonti
Ann and Duane Roberts
30
Da l l a s The ater Ce nter
$50,000+
AOL
Schloss Family Foundation
John Roberts
Stella and James Robertson
Michelle Rodriguez
William "Billy" Rodriguez*
Mr. and Mrs. Dick Rogoff
Patricia Rooney
Donna and Richard Rose
James Rosenberg
Robert Rosenberg
Barbara and Randall Rosenblatt
Carolyn Ross
Mary and Donald Rossman
Jesse Roth
Jennifer Royall
Charles Russell
TJ Russell
Russell Tether
Gretchen and William Ryan
Patricia Sabin
Hernan Saenz
Rodolfo Salas and Patricia Pace
William Sallee and Rebecca Brady
Mary and Stephen Sallman
Katrice Sally
Linda Salton
Brian Sanford
Brandi and Robert Sarfatis
Ravi Sarode
Sue Sayah
Susan and Jow Schackman
Mary Schafer
Caryn Schniederjan
Marie-Anne Schiffmann
David Schiller
Catherin Schroth
Alan Seay
Betty Secker
Bill Sehnert
Solomon Sekyere
Dana Serafine
Pamela Shamblin
Patricia and Daniel Sherman
Shirley and Pamela Schlueter
Carl Schulze
Diane and Corky Sherman
Jarvis Shockey
Julia and Andrew Shoup
Ralph Sloan
Randi Smerud
Christie Smith
Cozette Smith
$10,000+
Steven and Joy Bunson
Lisa Orberg
Southwest Airlines
$5,000+
Frank and Bonnie Orlowski
Edison Peres*
$2,500+
Buford Alexander
and Pamela Farr
Jennifer Bielstein*
Cathy Dantchik*
Paula A. Dominick*
Howard and Janet Kagan*
Diedra Smith
Kim Smith and Janet MacPherson
Jude Smith
Michael Smith
Lita Snellgrove
Shelley Snyder
Karen and Martin Sosland
Marian and Jack Spitzberg
Bill St. John
Sharon Stack
Laurie and James Stanco
Marilyn G. Stewart
Sherry Stewart
Anne and Steven Stodghill
Greta Stogner
Fiona Stokes
Warren Stoltzfus
Ann Stordahl
The Stowe Family
Lynn and Kathryn Surls
Eleanor Sutherland
Lindsley and Bruce Swenson
John Swope
Barbara and George Tallman
Ken Tapscott Jr
Helene Terry
Leesa Thomas and George Branning
Jennifer and James Thompson
Joanne and Robert Tobey
Thomas Tomlinson
Larry Totty
Kathryn Treece
Susan Treptow
Lark Tribble
Sandee Treptow
Susan Trotter
Peg and Stephen Trowbridge
Jo Denton Tuck
Suzanne Tuckey
Frank Turner
Jannae Tunnell
Cynthia and Timothy Uebele
Douglas Unger
Linda Valentine
Pat Vaughan
Claudia Vazquez
Melody Vincent
Laura Wallace
James Wallenstein
Dawna and John Walsh
Charles Walters
Michael Lawrence
and Glen Gillen*
Seth Newell*
Laurie Podolsky*
RBC Wealth Management
George S. Smith, Jr.*
Isabelle Winkles*
$1,000+
Pamela Curry*
Jon Dorfman
and Melissa Kaish*
Bruce Ewing*
Donna Fontana*
Alan and Jennifer Freedman
* Silent Auction Support
 In-kind support
Ruth and Thomas Wardlaw
Donald Washington
Alyson and Daniel Watson
Bruns A. Watts, Jr.
Devri Weakley
Pat Wehmeyer
Linda Weinberg
Patti and Craig Weinbrenner
Joseph Weinschenk
Helga and Gerardo Weinstein
Krista and Craig Weinstein
Jeff Weinstein
Steven Welch
Joel Wellnitz
Donald Wesson
Karen Westergaard
Paul Wharton
Michael Wheeler
Ruth and Bob Whelan
Gae Whitener and Michael Connolly
Janis White and Kim Wood
Karen and Tom Wiese
Robert Wiley
Linda and James Willson
Margaret and Herchel Wilonsky
Rebecca and Benjamin Wilson
Wheelice Wilson
Linda and Ken Wimberly
Carol Winkelmann
Ellen and Don Winspear
Mandi Wofford
Carole and Joram Wolanow
Christian Womble
John Wood
Robert and Karina Wooley
Christina and Jerry Worden
Susan Worthy
Carol and Doug Wright
Karen Wright
Karen and Shelby Wyll
Kathryn Yates
Sarah Zoller
Karen and Jerry Zvonecek
Friends@DTC as of 12/31/14.
d allas t h e ate r ce n te r
31
cO R PO RatE cON tR IButOR s
COrPOrAte COntriBUtOrs
Support for Artistic, Educational and Outreach Programs and Event Sponsors
$50,000+
Pioneer Natural Resources
$30,000+
brierley+partners
Kimberly-Clark Corporation
Pier 1 Imports
$15,000+
Dr Pepper Snapple Group
Godwin Lewis PC
Highland Park Village
MoneyGram
Northern Trust
Wells Fargo
$10,000+
Brown-Forman
Deloitte
Gardere Wynne Sewell LLP
Hallett & Perrin, P.C.
Haynes and Boone, LLP
Jackson Walker, L.L.P.
K&L Gates LLP
Locke Lord LLP
Luther King Capital Management
Macy's Foundation
Munck Wilson Mandala, LLP
NCH Corporation
Neiman Marcus
PwC
Sidley Austin, LLP
Tenet Healthcare Corporation
Thompson & Knight Foundation
Vinson & Elkins, L.L.P.
Westwood Trust
Wiley Property Ltd.
Winstead PC
$5,000+
Baker Botts, L.L.P.
Citi Private Bank
Ernst & young LLP
ExxonMobil
Grant Thornton LLP
Lincoln Property Company
Mercury One
Mitchell Gold + Bob Williams
National Corporate Theatre Fund
SunTx Capital Partners
Texas Oncology
$2,500+
Akin Gump Strauss
Hauer and Feld LLP
Ben E. Keith Company
Higginbotham
Schweickert & Company
TravisWolff
Whole Foods Market
$1,000+
Cartier
Catapult Health
Gold Metal Recyclers
t. howard + associates
architects inc.
Target
seAsOn sPOnsOrs
in-Kind & MediA dOnOrs
BDO USA, LLP
Cartier
Chocolate Secrets
Choice Technologies
Combes & Associates, P.C.,
Certified Public Accountants
Deborah McMurray Associates
Enterprise Rent-a-Car
Equinox Highland Park
32
Da l l a s The ater Ce nter
Highland Park Village
HyATT house
Komali
M.A.C
McKinsey & Company
Mr. and Mrs. John P.
McNaughton and Family
Modern Luxury
The Original Cupcakery
PaperCity
Patron Magazine
Philips Vari-Lite
Salum
The 4th Wall Gallery
The Boardroom
The Crescent Club
WRR
INst It ut ION aL cO NtRI B utO Rs
Dallas Theater Center is supported, in part, by the City of Dallas Office of Cultural Affairs,
TACA, the Texas Commission on the Arts and the National Endowment for the Arts.
$25,000+
City of Dallas Office of Cultural Affairs
Carl B. & Florence E. King Foundation
The Sapphire Foundation, Inc.
Texas Commission on the Arts
Virginia B. Toulmin Foundation
$300,000+
Hoblitzelle Foundation
The Moody Foundation
$200,000+
The Meadows Foundation
Ted and Shannon Skokos Foundation
$10,000+
Chiles Foundation
Dallas Tourism Public Improvement District
The Stemmons Foundation
$100,000+
Embrey Family Foundation
Hillcrest Foundation
The Andrew W. Mellon Foundation
The Shubert Foundation, Inc.
TACA
$5,000+
The Theodore and Beulah Beasley Foundation
Harry S. Moss Foundation
National Alliance for Musical Theatre
$75,000+
Harold Simmons Foundation
$50,000+
Communities Foundation of Texas
The David M. Crowley Foundation
National Endowment for the Arts
TACA Donna Wilhelm Family New Works Fund
$1,000+
Dramatists Guild Fund
Louise W. Kahn Endowment Fund
of the Dallas Foundation
endOWMent FUnd
Art i s ti C
The Charles Peter Bock Fund
The G. B. Dealey Fund
edU C Ati O n &
OU treAC H P r O g r A M s
The Theodore and Beulah Beasley Foundation, Inc.
William Randolph Hearst Fund
Meadows Foundation
g e n erAL
Sara Birge Fund
The Wyly Fund for Administrative Excellence
Diane and Hal Brierley Fund
The Roberta Coke Camp Fund
Joan and Coley Clark Fund
Lyndhurst Foundation
Mr. and Mrs. William A. Custard Fund
Arlene J. and John W. Dayton Fund
The Dallas Theater Center Guild Fund
Bess and Ted Enloe Fund
Hamon Fund
Heldt Fund
Mr. and Mrs. Richard C. Johnson Fund
Carol and John Levy Family Fund
Eugene McDermott Foundation
Anonymous Fund
The Paul Raigorodsky Fund
Mr. and Mrs. Robert C. Stack Fund
The Waldo E. Stewart Fund
Theater Support Fund
Luther King Capital Management
sCHOLA rsHiP
Winifred D. Caldwell Scholarship Fund
The Dr. Anson L. Clark Memorial Scholarship Fund
Johnny George Scholarship Fund
Preston Jones Scholarship Fund
Carl B. and Florence E. King Scholarship Fund
The Zelma Naylor Scholarship Fund
The Edythe W. and Henry X. Salzberger
Scholarship Fund
Dora and Robert D. Stecker Scholarship Fund
Shakespeare Study Club Scholarship Fund
Ot H er
The Frank Nick Scholarship for Creative Greatness
The Alan M. May Fund
d allas t h e ate r ce n te r
33
sta ff
L e A d e r s H i P : A r t i s t i c D i re c t o r, K e v i n M o r i a r t y ; M a n a g i n g D i re c t o r, H e a t h e r M . K i t c h e n ;
Manager of Board Relations, Diversity Initiatives and Executive Operations, Martha-elena López
AdMinistrAtiOn: General Manager, Alfred Butler; Associate General Manager, dhyana Colony; Company
Manager, Zarinah Washington; HR Consultant, Patty stone; Operations Manager, darrell niedert; Facilities
Maintenance Technician, Albert gonzales; Intern to the Managing Director, Cathy Bencivenga; Administrative
Intern, taylor Logan; Computer Consultants, Choice technologies
ArtistiC, edUCAtiOn And COMMUnitY enriCHMent: Associate Artistic Director, Joel Ferrell; Playwrightin-Residence / SMU Meadows Prize Commission, Will Power; Director of New Play Development, Lee trull; Local
Casting Director/Artistic Assistant, travis Ballenger; Director of Education and Community Enrichment, rachel Hull;
Manager of Community and Audience Engagement, dayron J. Miles; Master Teacher, Christie vela; Community
Artists, daniel duque-estrada, Hassan el-Amin; Education and Community Programs Apprentice, Laura Colleluori;
Lead Project Discovery Teaching Artist, Leah Harris; Commissioned Playwrights, roberto Aguirre-sacasa, Kristoffer
diaz, Aaron Loeb, Kim rosenstock
diAne And HAL BrierLeY resident ACting COMPAnY: Michael (Kieran) Connolly, daniel duque-estrada,
Hassan el-Amin, Chamblee Ferguson, Liz Mikel, sally nystuen-vahle, Alex Organ, Brandon Potter, Christie
vela, steven Michael Walters
deveLOPMent: Director of Development, Antay Bilgutay; Manager of Corporate Relations and Events,
robin rose; Manager of Foundation and Government Relations, Jill Underwood; Annual Fund Manager,
Blair Crane; Donor Services Associate, Patricia Kirven; Development Office Coordinator, daniela diBenedetto
FinAnCe And ACCOUnting: Assistant Controller, Leia vanLue; Staff Accountant, stephanie galanos;
Independent Audit Firm, BdO UsA, LLP
MArKeting And COMMUniCAtiOns: Director of Marketing and Communications, Brad Pritchett;
Associate Director of Marketing and Communications, darcy Koch; Director of Publications,
Amy L. Webber; Director of Public Relations, Kelsey guy; Patron Services Manager, dr Hanson; Digital
Media Manager, eric Martinez; Marketing Coordinator, shannon Jones; Tessitura Analyst, traci McKinney;
PR / Social Media Intern, Ally van deuren; Web Developer, Chris Koller / idealgrowth; Production Photographer,
Karen Almond, Ticketing Services, At&t Performing Arts Center
PrOdUCtiOn: Production Manager, Barb Hicks; Associate Production Manager, Joshua scherr; Production
Management Assistant, samantha goessner; Technical Director, Matthew McKinney; Associate Technical
Director, rick Miller; Shop Foreman, Zac goodwin; Carpenter, Bruce nuttall; Stage Operations Manager,
squeak Henderson; Deck Carpenter, nyla Walker; Interim Production Stage Manager, Megan Winters; Stage
Management Apprentice, elle tausch; Costume Shop Manager, Jennifer Ables; Assistant Costume Shop Manager,
Chris spencer; Draper, Amanda Hendrickson; First Hand, Kyle everett; Stitcher, Melissa Perkins; Wardrobe
Supervisor, Mattie O’neal; Head Dresser, Alett gray; Wig and Make-Up Technician, nicole Alvarez; Properties
Master, John slauson; Assistant Properties Master, nicole gaignat; Properties Carpenter, Michael Chemycz;
Paint Charge, sergey Chernomorets; Master Electrician, Aaron Johansen; Assistant Master Electrician, Meike
schmidt; Kalita Humphreys Master Electrician, soren Haroldson; Sound Supervisor, Brian Mcdonald; Microphone
Technicians, erik James, Ashton McWhirter
sKOKOs LeArning LAB: dylan Asher; Mikaela Brooks; Ailyah Christian; Madison Chu; dante Flores;
Kelsey Ford; taylor grant-gates; tyra Harris; Audrey Keen; nasya King; victoria Lennox; Brandi Mcleain;
Lindsey Meyers; Joan Milburn; Michael Orazco; Annabel Puff-Heffernan; sterling ross; Chancy Wiggins;
Carson Wright; tatum Zeko
FOr tHis PrOdUCtiOn: Technical Director, rick Miller; Stage Ops, nyla Walker; Costume Shop Floor Manager,
Leila Heise; Drapers, Olivia Kennedy, roy Kirkpatrick; Stitcher, Alisan Heath; Dresser, Jackie Barrett; LX/
Audio, soren Haroldson
COME
EARLY
34
34
Da
Da ll ll a
as
s The
The ater
ater Ce
Ce nter
nter
before each play, join us for a free 30-minute informative talk
designed to enhance your play-going experience. given one hour
before every performance join a member of the cast as they
share details about the play’s origins and context, as well as
insight into the creative process behind the production.
sponsored
by
Learn about play
development “from
page to stage,” interact
with DTC actors and
staff, and maybe even
act in a Guild-produced
performance! Enjoy
long-term and new
friends at themed events in elegant private homes and
other interesting locales, and through service projects
benefiting Dallas Theater Center! Membership levels begin
at $60.00. Please visit www.dtcguild.org for more
about “life beyond the stage.”
Life beyond the stage
President
Rosemarie Marshall
vice Presidents
VP Finance, Treasurer
Don Warnecke
VP Membership, Yearbook
Vicki Newsom
Sarah Warnecke
VP General Meetings
Michelle Mew
VP Special Events
Kathleen “Al” Lohr
VP Media/Newsletter
Susan Gregory
VP Theater Services
Sue Brown
Recording Secretary
Karen Zvonecek
Corresponding Secretary
Pat Pace
Historian
Robert Drechsler
Parliamentarian
Madeline Freberg
Producer ($1,000)
Rosemarie Marshall
Vicki and Kent Newsom
Kimberley and Scott Sheffield
Mary Ann Staab
Sarah and Don Warnecke
Patron ($500)
Diane and Hal Brierley
Molly Byrne
Linda and Bill Custard
Dorothy and Steve Davis
Julie and Ken Hersh
Carol and John Levy
Judy and J.C. Mathis
Stephanie and David Russakov
supporter ($250)
Anne and Larry Angelilli
Tina and John Barry
Ken Bernstein and Barbara Clay
Missy and David Boone
Suzanne Caruso
Patti and John Cody
Benita and David Dick
Rebecca and Barron Fletcher
Madeline and Michael Freberg
Belinda and Lance Hancock
Alicia and Paul Howell
Angela and John Howell
Kate and Dana Juett
Susan and Bob Kaminski
Desni Kramer and Anthony Kuehler
Betsy and Steve Myers
Pam and Brent Nicholson
Karol Omlor
Sherry and David Sivils
Anne and Alex Smith
Jean Stoner
Karen and Jerry Zvonecek
As of 1/31/15.
Thank you for all gifts received after the print deadline.
after each play, stick around for a free, brief, post-show
conversation with a member of the cast. engage with other
patrons, learn about the production, and share your insights
about the play in a lively discussion.
presented
by
Advocate ($125)
Joe Abbey
Jill and Al Anderson
Beth and Don Averitt
Judy Birchfield
Trey Birkhead
April and Michael Bosworth
Mickie and Jeff Bragalone
Deborah and Nigel Brown
Sue Brown
Nan-Elizabeth Byorum
Paula Clancy
Florence Cox
Mary Lee Cox
Susan Gregory and Robert Drechsler
Marsha and John Durney
Susan Falvo
Barbara and Larry Florer
Rocky Ford
Tila Tuimalealifano Foss
Jane Gardner
Barbara and Abe Goldfarb
Lorraine and John Gurun
Marilyn Halla
Harriet Halsell
Sue and Phil John
Sylvia and David Kidd
Laurie and Bob Kidder
Teresa and Luther King
Betsy and Keith Kinney
Martha and Ken Latimer
Kristie Leatherberry
and Greg Konstans
Kathleen “Al” and Richard Lohr
Camile Long
Leria and Greg McConeghy
Mrs. Eugene McDermott
Barbara and Sam McKenney
Deborah McMurray
Kathy Messina and Gary Goodwin
Carol Meyer
Dave Moskowitz
Jay Oppenheimer
Barbara and Jon Page
Judy Pollock
Sue Prather
Glenda Priolo
Andrea and Keith Redmon
Sarah Roby
Martin Rubin and William Dooley
Betty Secker
Andy Smith and Paul von Wupperfeld
Venise and Larry Stuart
Brenda Truitt
Leigh and Bob Webb
Donna Wilhelm
Ginger Wilhelmi
STAY
LATE
d
d allas
allas t
th
he
e ate
ate rr ce
ce n
n te
te rr
35
35
36
Da l l a s The ater Ce nter