Todd rosenthal

Download 153.57 Kb.
Size153.57 Kb.

ROBERT FALLS, Artistic Director | ROCHE SCHULFER, Executive Director


THE little foxes


lillian hellman

Directed by

henry wishcamper

Set Design by


Costume Design by

jenny mannis

Lighting Design by

david lander

Original Music and Sound Design by

richard woodbury

Casting by

Adam Belcuore, CSA


neena arndt

Production Stage Manager

joseph drummond*

Stage Manager

briana j. fahey*

cast in alphabetical order

William Marshall ………………………………………Michael Canavan*

Regina Giddens………………………………………Shannon Cochran*

Birdie Hubbard……………………………………….Mary Beth Fisher*

Alexandra “Zan” Giddens ……………………………………Rae Gray*

Horace Giddens…………………………………………………John Judd*

Oscar Hubbard…………………………………………Steve Pickering*

Addie…………………………………………………………Cherene Snow*

Leo Hubbard……………………………………………………Dan Waller*

Benjamin Hubbard…………………………………………Larry Yando*

Cal…………………………………………………………Dexter Zollicoffer*

Assistant Director: Greg Allen

Dialect Coach: Eva Breneman

Fight/Movement Consultants: Chuck Coyle and Matt Hawkins
The scene of the play is the living room of the Giddens house, in a small town in the South.
Act One: The spring of 1900, evening

Act Two: A week later, early morning

Act Three: Two weeks later, late afternoon
The Little Foxes is presented by arrangement with Graham Agency, New York.
Understudies never substitute for a listed player unless an announcement is made at the beginning of the play.
John Victor Allen—Leo Hubbard; Hayley Burgess—Alexandra “Zan” Giddens; Patrick Clear*—Horace Giddens; Taylar Fondren*—Addie; Brandon Greenhouse—Cal; Andy Luther—Oscar Hubbard; Hollis Resnik*—Regina Giddens/Birdie Hubbard; Craig Spidle*—Benjamin Hubbard/William Marshall
The video and/or recording of this performance by any means whatsoever are strictly prohibited.
Goodman productions are made possible in part by the National Endowment for the Arts; the Illinois Arts Council, a state agency; and a CityArts 4 program grant from the City of Chicago Department of Cultural Affairs and Special Events.
Goodman Theatre is a constituent of the Theatre Communications Group, Inc., the national service organization of nonprofit theaters; the League of Resident Theatres; the Illinois Arts Alliance and the American Arts Alliance; the League of Chicago Theatres; and the Illinois Theatre Association.
Goodman Theatre operates under agreements between the League of Resident Theatres and Actors’ Equity Association, the union of professional actors and stage managers in the United States; the Society of Stage Directors and Choreographers, Inc., an independent national labor union; the Chicago Federation of Musicians, Local No. 10-208, American Federation of Musicians; and the United Scenic Artists of America, Local 829, AFL-CIO. House crew and scene shop employees are represented by the International Alliance of Theatrical Stage Employees, Local No. 2.
*Denotes member of Actors’ Equity Association, the union of professional actors and stage managers in the United States.
Why The Little Foxes?
Take us the foxes, the little foxes, that spoil the vines; for our vines have tender grapes.
Song of Solomon, ii.15
In an era that spawned some of the great classics of the American stage, Lillian Hellman’s The Little Foxes is one of the most enduring works of its time. Premiering in 1939 with a cast headed by Tallulah Bankhead, the play was hailed by critics for its mesmerizing plot and memorable characters, and was almost immediately made into an even more successful film, with Bette Davis as the villainous Regina Giddens. Stage revivals have been frequent, featuring some of the greatest stars of modern times: Anne Bancroft, Maureen Stapleton, George C. Scott, Stockard Channing and Elizabeth Taylor, whose first stage appearance came in a much-heralded 1981 Broadway remounting. Hellman’s searing family drama has been a staple of community and college theaters, and has seen a variety of acclaimed regional productions. Why does this story of greed, betrayal and monumental family dysfunctionality continue to fascinate us 75 years after its debut?

Hellman’s play is set in a time and place that were particularly alluring to its first audiences: the old South at the turn of the 20th century, a society still emerging from the ravages of the Civil War and the turbulent years of Reconstruction. Faced with the final collapse of plantation economy, southern entrepreneurs fought to wrest industry from the urban centers of the North, offering cheap land, cheaper labor and the promise of replenished fortunes. The greed that accompanies (or fuels) such economic movements would not have been unfamiliar to the Depression-era audiences of 1939, as would Hellman’s depictions of other social and political challenges in the world of 1900: the restrictions that confronted women, especially before liberation movements of the 1960s and ‘70s; the perceived victimization of the lower economic classes by a tiny minority of the wealthy; and the continued nightmare of racial prejudice which had persisted unabated into mid-century American society. Although The Little Foxes was on one hand a glimpse at a bygone era of our country’s history, the underpinnings of that period were still ominously evident to the play’s first audiences—and remain so today, bringing an unexpected and unnerving topicality to the story’s melodramatic twists and turns.

In fact, many elements of The Little Foxes may be more shocking to viewers in 2015 than they were originally—the disturbingly casual domestic violence, the equally casual (and often offensive) racist language and actions of the Hubbard clan, the “greed is good” mentality that belies the elegance of the play’s environs. Although these elements may offend the politically correct sensibilities of our own times, they are crucial to the continuing power of the play. Hellman’s story may have taken place a century ago, but it still contains warnings that must be heeded today, of how the heady prospect of success and wealth can infect and distort the human principles that are vital to our survival.

Robert Falls,

Artistic Director

Avarice, Economy and Lillian Hellman’s Depiction of the American South
By Neena Arndt

Lillian Hellman sets The Little Foxes in a small southern town in the spring of 1900. The well-to-do Hubbard siblings—Benjamin, Oscar and Regina—aim to compound their wealth by investing in a cotton mill in their community. Their desire for riches overshadows all; Regina especially won’t mind if she exploits hundreds of workers and alienates her own family members, so long as the profits allow her to wear the latest fashions from Europe. While The Little Foxes is a work of fiction, the environment and culture it depicts were part of Hellman’s formative years. Born in New Orleans in 1905, Hellman spent her childhood shuttling between the South and New York City. Her mother’s family served as inspiration for the Hubbards. Hellman biographer Dorothy Gallagher wrote, “As a girl she had listened intently to their dinner table conversations: Intense, lively, competitive discussions about money and business deals. The family table talk provided her with the source material for the slashing, angry wit and rapaciousness of the Hubbards: Money—how it is made, how it is used, how the love of it is the root of social and personal evil—is the idea that powered her play.”

The Hubbards’ proposed business—a cotton mill—will exploit local workers who are desperate for any job in the South’s post-bellum economic slump. Tobacco and cotton, for years the South’s greatest economic assets, proved less financially advantageous without the “free labor” that had previously sustained the South’s economy. And because the South had for so long prospered via an economic system that relied primarily on agriculture, it had not developed cities comparable to those in the North. Its sprawling landscape, punctuated by now-understaffed and crumbling plantations, proved an inadequate infrastructure for rebuilding the economy. By the turn of the century, the South still had not developed the industries that had shaped the North’s economy since 1850. Cotton mills, like most factories, had been built primarily in northern states, so bringing “the machine to the cotton, and not the cotton to the machine” seemed a revolutionary idea that would save on transport costs and provide jobs to a population sorely in need.

But the Hubbards, like many of their real-life historical counterparts, are not aiming to create living-wage jobs that will buoy their town’s economy; they are aiming to make a profit. They know that Southerners expect less compensation than industrial workers in the northern states: one character notes that while the average wage for mill workers in Massachusetts is eight dollars per week, in their area “there ain’t a mountain white or a town nigger that wouldn’t give his right arm for three silver dollars every week.” Indeed, between 1900 and 1920, many businessmen opened cotton mills in the South, and they proved so profitable that the mills in New England soon went out of business.

The play’s central idea—that greed can rot community, family and human beings—transcends the decades that separate us from Hellman’s characters. In their society, antecedent to our own, we can surely recognize what has not changed. And in those characters, flawed as they are, we can see ourselves mirrored back, perhaps improved, but with some faults still intact.


MICHAEL CANAVAN* (William Marshall) makes his Goodman Theatre debut. Chicago credits include Hamlet, The Lion in Winter and The Father (Writers Theatre); Mizlansky/Zilinsky (Steppenwolf Theatre Company) and The Dying Gaul (Apple Tree Theatre). New York credits include Bug (Barrow Street Theatre); Bang Bang Blues (The Public Theater) and As You Like It (Riverside Shakespeare Company). Regional and international credits include The Best Brothers and A Moon for the Misbegotten (Merrimack Repertory Theatre); Reckless, Driving Around the House, Jitters, Haut Gout, Prelude to a Kiss, Cold Sweat, Ghost in the Machine and Oleanna (South Coast Repertory); One Flew Over the Cuckoo’s Nest and Twelfth Night (Pittsburgh Public Theater); De Donde? (New Mexico Rep) and Three Sisters (Teatro Popular de Bogota in Colombia). Film credits include Flags of Our Fathers, The Island, Hidalgo, Murder by Numbers and Striking Distance. Recent television credits include Grey’s Anatomy, Mad Men, Bones, Criminal Minds and Entourage. His work as a voice actor spans narrating the Bible for Warner New Media and voicing the Marquis de Sade for the History Channel.

SHANNON COCHRAN* (Regina Giddens) returns to Goodman Theatre, where her credits include Pal Joey (Jeff Award), Riverview: A Melodrama with Music, Twelfth Night, A Flea in Her Ear, A Funny Thing Happened on the Way to the Forum and A Christmas Carol. She was recently seen at Writers Theatre in The Dance of Death (Jeff Award), A Little Night Music (Jeff nomination) and Hamlet. Other Chicago credits include work at Steppenwolf Theatre Company, Court Theatre, Victory Gardens Theater, Marriott Theatre and Drury Lane Theatre. Ms. Cochran created the role of Agnes in Tracy Letts’ Bug, debuting in London and recreating her role off-Broadway, where she received Obie and Theatre World Awards. She appeared on the national tour of August: Osage County (Helen Hayes Award nomination), as well as the recent radio recording of the play for NPR/LA Theatreworks’ The Play’s the Thing. Regional work includes productions at the Mark Taper Forum, Long Wharf Theatre, The Old Globe, South Coast Repertory, Cincinnati Playhouse in the Park and Geffen Playhouse. Film credits include The Ring, The Perfect Family, Star Trek: Nemesis and The Babe. Television credits include Scandal, Star Trek: Deep Space Nine, NYPD Blue, The Office, NCIS, Law and Order: SVU and Grey’s Anatomy.

MARY BETH FISHER* (Birdie Hubbard) returns to Goodman Theatre, where her credits include Marvin’s Room, The Night of the Iguana, Light up the Sky, Design for Living, Spinning Into Butter, Boy Gets Girl, The Guys, The Rose Tattoo, Heartbreak House, Dinner with Friends, The Clean House, Frank’s Home, Rock ‘n’ Roll, The Seagull, God of Carnage and Luna Gale. Chicago credits include Dead Man’s Cell Phone, The Dresser and The Memory of Water (Steppenwolf Theatre Company); Angels in America, Three Tall Women, The Year of Magical Thinking (Jeff Award), The Wild Duck, What the Butler Saw, Arcadia, Travesties and The Importance of Being Earnest (Court Theatre); The Taming of the Shrew (Chicago Shakespeare Theater); The Laramie Project, The Little Dog Laughed and Theatre District (About Face Theatre); The Marriage of Figaro (Remy Bumppo Theatre Company); My Own Stranger (Writers Theatre) and White Guy on the Bus and Away (Northlight Theatre). New York credits include Frank’s Home (Playwrights Horizons); Boy Gets Girl (Drama League honoree, Drama Desk and Lucille Lortel nominations), The Radical Mystique and By the Sea, By the Sea, By the Beautiful Sea (Manhattan Theatre Club); The Night of the Iguana (Roundabout Theatre Company); Extremities (Westside Arts) and Are You Now or Have You Ever Been? (Promenade Theatre). Regional credits include the West Coast premiere of the Goodman Theatre production of Luna Gale (Kirk Douglas Theatre); the world premiere of Sarah Ruhl’s Dear Elizabeth (Yale and Berkeley Repertory Theatres) and Vanya and Sonia and Masha and Spike (Kansas City Repertory Theatre). Television and film credits include Chicago Fire, Chicago Code, State of Romance, Without a Trace, Numb3rs, Prison Break, NYPD Blue, Profiler, Early Edition, Formosa Betrayed, Dragonfly and Trauma. Ms. Fisher received the 2010 Chicago’s Leading Lady Award from the Sarah Siddons Society and was named Best Actress in Chicago magazine’s “Best of Chicago” issue (2010). She was an inaugural Lunt-Fontanne Fellow at the Ten Chimneys Foundation representing Goodman Theatre and was a Beinecke Fellow at Yale University.

RAE GRAY* (Alexandra “Zan” Giddens) returns to the Goodman, where she appeared in A Christmas Carol (2000 and 2003). Chicago credits include Slowgirl, The Book Thief and Wedding Band (Steppenwolf Theatre Company); The Real Thing (Writers Theatre); Circle Mirror Transformation (Victory Gardens Theater); The North China Lover (Lookingglass Theatre Company); Sunday in the Park with George (Ravinia Festival); Inherit the Wind (Northlight Theatre); The Crucible and Cry of Players (TimeLine Theatre); Oliver and State Fair (Marriott Theatre) and Meet Me in St. Louis (Drury Lane Theatre). She served as an understudy in The Real Thing (Roundabout Theatre Company) on Broadway. Regional credits include Slowgirl (Geffen Playhouse). Television credits include Boardwalk Empire, CSI: Cyber, Shameless, Chicago Fire and Betrayal. She is a graduate of the University of Chicago.

JOHN JUDD* (Horace Giddens) returns to Goodman Theatre, where he has appeared in Measure for Measure, Sweet Bird of Youth, The Iceman Cometh, A Christmas Carol, Magnolia and Shining City. Chicago credits include Death and the Maiden (Victory Gardens Theater); Three Sisters, Clybourne Park, Last of the Boys, The Dresser, Orson’s Shadow and The Butcher of Baraboo (Steppenwolf Theatre Company); Romeo and Juliet and The Feast: An Intimate Tempest (Chicago Shakespeare Theater); The Price, Crime and Punishment and Othello (Writers Theatre); Wrecks (Profiles Theatre); The Cripple of Inishmaan and The Lieutenant of Inishmore (Northlight Theatre); Gross Indecency: The Three Trials of Oscar Wilde and Lettice and Lovage (Court Theatre); Gagarin Way (A Red Orchid Theatre); Execution of Justice (About Face Theatre); Come Back, Little Sheba (Shattered Globe Theatre) and Great Men of Science Nos. 21 and 22 (Lookingglass Theatre Company). New York credits include Orson’s Shadow and An Oak Tree (Barrow Street Theatre) and Crime and Punishment (59E59 Theaters). Regional and international appearances include Tribes (Philadelphia Theatre Company and Pittsburgh’s City Theatre); American Buffalo (McCarter Theatre); Orson’s Shadow (Williamstown Theatre Festival, Westport Country Playhouse and the Beaver Creek Theatre Festival); Shining City (Huntington Theatre Company) and Long Day’s Journey into Night (Town Hall Theatre in Galway, Ireland).

STEVE PICKERING* (Oscar Hubbard) returns to Goodman Theatre, where he previously appeared in Dartmoor PrisonAsk Aunt Susan (New Stages Amplified), The Tempest, Landscape of the Body, On the Open Road, Death of a Salesman (also on Broadway, the national tour and in London’s West End), Long Day’s Journey into Night, King Lear, The Seagull, Romeo and Juliet and A Midsummer Night’s Dream. Chicago credits include A Girl with Sun in Her Eyes (Pine Box Theater); Macbeth and Coriolanus (Next Theatre); Fatboy (A Red Orchid Theatre) and Othello (Court Theatre and Chicago Shakespeare Theater). Regional credits include Wallenstein (Helen Hayes Award nomination) and Henry IV, Parts 1 and 2 (both at Shakespeare Theatre Company), as well as The Crucible (Indiana Repertory Theatre). Regional credits include work with Arena Stage, Milwaukee Repertory Theater, Pittsburgh’s City Theatre Company, San Diego’s Old Globe, New York Shakespeare Festival, Clarence Brown Theatre and the Illinois and Alabama Shakespeare Festivals. In 1997, he was named Actor of the Year by Chicago magazine. Formerly an artistic associate with Chicago’s Organic Theater Company and artistic director for Next Theatre in Evanston, Mr. Pickering is currently project manager for Shanghai Low Theatricals, whose new adaptation of Animal Farm opened the 2014 Steppenwolf Young Adult Program.

CHERENE SNOW* (Addie) makes her Goodman Theatre debut. Chicago credits include The Good Times are Killing Me (City Lit Theater Company) and Playboy of the West Indies (Court Theatre). She appeared on Broadway in Cat on a Hot Tin Roof. Off-Broadway credits include Walking Down Broadway (Mint Theater Company) and Last of the Thorntons (Signature Theatre). Regional credits include Fata Morgana (Boise Contemporary Theatre); Brownsville Song: b-side for Tray (Actors Theatre of Louisville); Civil War Voices (Barter Theatre and on tour); Gee’s Bend (Cincinnati Playhouse in the Park, Acclaim Award); Black Pearl Sings (Merrimack Repertory Theatre); Doubt (Cleveland Play House, Times Newspaper Theatre Tribute Award); To Kill a Mockingbird (Ford’s Theatre) and Coyote on a Fence (Contemporary American Theater Festival). She has received Drama-Logue Awards for Flyin’ West, A Piece of My Heart and Home. Film credits include Arthur, City of Angels and The Long Walk Home. Television credits include Law & Order, Law & Order: SVU, Third Watch, Chappelle’s Show, Caroline in the City and The Drew Carey Show.

DAN WALLER* (Leo Hubbard) returns to Goodman Theatre, where he previously appeared in Sweet Bird of Youth, The Good Negro, Ghostwritten and Talking Pictures. Chicago credits include The Night Alive and Three Sisters (Steppenwolf Theatre Company); Lay Me Down Softly, The Seafarer, Mojo Mickybo, Our Father, A Whistle in the Dark and Journey’s End (Irish Theatre of Chicago/Seananchaí Theatre Company); The Pitmen Painters (TimeLine Theatre Company); Coast of Chicago (Walkabout Theater Company/Lookingglass Theatre Company); To the Green Fields Beyond and Our Town (Writers Theatre); MOJO (Mary-Arrchie Theatre Co.); The Killer Angels (Lifeline Theatre) and The Cider House Rules Parts I & II (Famous Door Theatre Company). Regional credits include At the Vanishing Point and GNIT (Actors Theatre of Louisville) and The Grapes of Wrath (Cardinal Stage Company). Film credits include Barefoot to Jerusalem, Repetition, Of Boys and Men, Devil’s Dominoes, Witless Protection, Transformers: Dark of the Moon, At Any Price and Precious Mettle. Television credits include Science Story, Leverage, The Beast, Chicago Code, Crisis, Chicago P.D. and Empire.

LARRY YANDO* (Ben Hubbard) returns to the Goodman, where he previously appeared as Ebenezer Scrooge in seven productions of A Christmas Carol, The Jungle Book and Candide (Jeff Award). Chicago credits include Titus Andronicus (Defiant Theatre); King Lear, Julius Caesar, The Two Noble Kinsmen, Cymbeline, The Tempest, Timon of Athens, All’s Well That Ends Well, Henry IV Parts I and II, Antony and Cleopatra and The Two Gentlemen of Verona (Chicago Shakespeare Theater); Angels in America (Jeff Award), Travesties, An Ideal Husband, Ghosts, Electra, Measure for Measure, The Importance of Being Earnest and Travels with My Aunt (Court Theatre); Fake and Mother Courage and Her Children (Steppenwolf Theatre Company); The Dance of Death (Jeff Award), Bach at Leipzig, As You Like It, Hamlet, Nixon’s Nixon and Rocket to the Moon (Writers Theatre); Kiss of the Spider Woman (Pegasus Players, Jeff Award) and I Hate Hamlet and Jacques Brel is Alive and Well and Living in Paris (Royal George Theatre). Regional credits include Angels in America, Arcadia and Amadeus at Milwaukee Repertory Theater. Mr. Yando performed as Scar in the national tour of The Lion King for three years. He was honored as Chicago magazine’s Best Actor in Chicago and received DePaul University’s Excellence in the Arts Award. Mr. Yando has taught advanced acting classes at the Theatre School at DePaul, Northwestern University, Columbia College Chicago and Chicago Shakespeare Theater’s Classical Training Program. In 2010 he was one of nine actors chosen for the Lunt-Fontanne Fellowship Program, an acclaimed program serving regional theater actors and the future of American theater.

DEXTER ZOLLICOFFER* (Cal) returns to Goodman Theatre, where he has appeared in Dartmoor Prison, The Odyssey, Blues for an Alabama Sky and A Christmas Carol. Chicago credits include Water by the Spoonful and The Mystery Cycle (Court Theatre); To Kill a Mockingbird, A Lesson Before Dying and Pudd’nhead Wilson (Steppenwolf Theatre Company); Relatively Close, Knock Me a Kiss and The Sutherland (Victory Gardens Theater) and The Overwhelming (Next Theatre). Regional credits include Blues for an Alabama Sky (Alabama Shakespeare Festival); The Odyssey (McCarter Theatre Center and Seattle Repertory Theatre); Our Country’s Good (Berkeley Repertory Theatre); The Recruiting Officer and Our Country’s Good (Madison Repertory Theatre) and Voice of Good Hope (BoarsHead Theater). Television credits include Chicago Fire and Detroit 1-8-7, and the upcoming film Who Gets the Dog? He is also an administrator at the Theatre School at DePaul University. He received Best Director and Best Ensemble nominations for his original work Ma Fille, Ma Naturelle at the International Festival of University Theatre in Tangier, Morocco.

LILLIAN HELLMAN (Playwright, 1905 – 1984) was an acclaimed playwright whose celebrated works include The Children’s Hour; Watch on the Rhine; Another Part of the Forest; The Autumn Garden; Toys in the Attic (Tony Award); My Mother, My Father and Me; Montserrat; The Searching Wind and Days to Come. She also wrote the book of the musical Candide. Her many accolades include the New York Drama Critics Circle Award, the Gold Medal for Drama from the National Institute of Arts and Letters and the National Book Award for her memoir An Unfinished Woman. She also subsequently wrote two more volumes of her memoir, Pentimento and Scoundrel Time. Ms. Hellman was born in New Orleans and attended New York University and Columbia University.

HENRY WISHCAMPER (Director) is a member of the Goodman’s Artistic Collective. His Goodman Theatre directing credits include the world premiere of Ask Aunt Susan, his own adaptation of Animal Crackers (Jeff Award nomination), A Christmas Carol (2013 and 2014 productions), Other Desert Cities, Talking Pictures and the upcoming The Matchmaker. Other Chicago directing credits include The Dance of Death (Jeff nomination) at Writers Theatre and The Night Alive at Steppenwolf Theatre Company. His New York directing credits include Spirit Control (Manhattan Theatre Club); Graceland (LCT3); Port Authority (Atlantic Theater Company); Elvis People (New World Stages); The Polish Play (Katharsis Theater Company) and Pullman Car Hiawatha (Keen Company, Drama Desk Award nomination for Outstanding Revival of a Play). Regional theater and other directing credits include Animal Crackers (Williamstown Theatre Festival); the American premiere of Conor McPherson’s The Birds (Guthrie Theater); Engaging Shaw and The Mystery of Irma Vep (The Old Globe) and The Seafarer and Speech & Debate (TheaterWorks). He served as the assistant director of the Broadway productions of August: Osage County and Shining City. His adaptation of Animal Crackers has been produced by the Denver Center Theatre Company, Baltimore Center Stage, Oregon Shakespeare Festival and Lyric Stage Company. Mr. Wishcamper was the artistic director of Katharsis Theater Company in New York and the Maine Summer Dramatic Institute (MSDI) in Portland, Maine. At MSDI, he founded Shakespeare in Deering Oaks Park, a free Shakespeare festival in Portland’s primary public park featuring students from MSDI’s education program. Mr. Wishcamper is a Drama League directing fellow and a graduate of Yale University.

TODD ROSENTHAL (Scenic Designer) has designed scenery for productions at the Goodman that include The Upstairs Concierge, Luna Gale, Venus in Fur and more. He received a Tony Award for August: Osage County, a Tony nomination for The Motherfu**er with the Hat and also designed Who’s Afraid of Virginia Woolf at the Booth Theatre. His many other credits include The Qualms (Steppenwolf Theatre Company); Born Yesterday (Guthrie Theater); The Beauty Queen of Leenane (Theatre Royal in Ireland); Domesticated (Lincoln Center Theater); August: Osage County (Sydney Theatre Company in Sydney, Australia and the National Theatre in London); Tribes (Berkeley Repertory Theatre); Stephen King and John Mellencamp’s Ghost Brothers of Darkland County (Alliance Theatre); A Parallelogram (Mark Taper Forum) and Mother Courage (Arena Stage). Mr. Rosenthal was an exhibitor at the 2007 Prague Quadrennial International Exhibition of Scenography and Theatre Architecture in the Czech Republic. He also designed the museum exhibits MythBusters: the Explosive Exhibition and Sherlock Holmes: the Science of Deduction. His many accolades include the Laurence Olivier Award, Ovation Award, Helen Hayes Award, Los Angeles Backstage Garland Award, Jeff Award and a Michael Merritt Award for Excellence in Design and Collaboration. He is an associate professor at Northwestern University and a graduate of the Yale School of Drama.

JENNY MANNIS (Costume Designer) returns to the Goodman, where she previously designed costumes for The World of Extreme Happiness, Venus in Fur, Teddy Ferrara and Animal Crackers. Her New York credits include How I Learned to Drive, The Talls, Year Zero, 10 Things to Do Before I Die and Swimming in the Shallows (Second Stage); Don’t Go Gentle, Wild Animals You Should Know, Spain and In a Dark Dark House (MCC Theater); Urge for Going (The Public Theater); Spirit Control (Manhattan Theatre Club); Edgewise (The Play Company); Port Authority and The Intelligent Design of Jenny Chow (Atlantic Theater Company); The Drunken City (Lucille Lortel Award nomination), Pen and Manic Flight Reaction (Playwrights Horizons) and Something You Did and The Right Kind of People (Primary Stages). Regional credits include productions at Guthrie Theater, Hartford TheaterWorks, Barrington Stage Company, Two River Theater Company, The Studio Theatre, Huntington Theatre Company, Williamstown Theatre Festival, Bay Street Theatre and Yale Repertory Theatre. Her costume designs have appeared on film in Beloved and All Saints Day. Ms. Mannis holds an MFA from the Yale School of Drama (Lerman Fellowship in Design).

DAVID LANDER (Lighting Designer) returns to the Goodman, where he previously designed lighting for Other Desert Cities and I Am My Own Wife. Other Chicago credits include Muscle by James Lapine and William Finn (Pegasus Players) and the workshop production of I Am My Own Wife (About Face Theatre). Broadway credits include The Heiress with Jessica Chastain and Dan Stevens, The Lyons with Linda Lavin, Master Class with Tyne Daly, Bengal Tiger at the Baghdad Zoo with Robin Williams (Drama Desk, Tony and Outer Circle Critics Award nominations), 33 Variations with Jane Fonda (Tony and Outer Critics Circle Award nominations), A Man for All Seasons with Frank Langella, I Am My Own Wife (Drama Desk and Outer Critics Circle Award nominations), Dirty Blonde (Drama Desk Award nomination) and David Henry Hwang’s Golden Child. Off-Broadway credits include The Lady from Dubuque with Jane Alexander, King Lear with Kevin Kline, Macbeth with Liev Schreiber and Jennifer Ehle, Address Unknown with Jim Dale and Modern Orthodox with Molly Ringwald and Jason Biggs. Regional credits include Master Class (Berkeley Repertory Theatre with Rita Moreno); Venecia (George Street Playhouse with Chita Rivera, directed by Arthur Laurents) and Fiddler on the RoofFunny Girl and Dear World (Sundance Theatre). His designs have been seen at the St. Louis Muny, The Old Globe, Long Wharf Theatre, the Alley Theatre, Huntington Theatre Company, Arena Stage, Kennedy Center and La Jolla Playhouse. International credits include productions in London, Dublin, Caracas, Sydney, Melbourne, Singapore and Japan.

RICHARD WOODBURY (Composer/Sound Designer) is the resident sound designer at the Goodman, where his credits include music and/or sound design for Rapture, Blister, Burn; Ask Aunt Susan; Luna Gale; Measure for Measure; Teddy Ferrara; Other Desert Cities; Crowns; Camino Real; A Christmas Carol; Red; God of Carnage; The Seagull; Candide; A True History of the Johnstown Flood; Hughie/Krapp’s Last Tape; Animal Crackers; Magnolia; Desire Under the Elms; The Ballad of Emmett Till; Talking Pictures; The Actor; Blind Date; Rabbit Hole; King Lear; Frank’s Home; The Dreams of Sarah Breedlove; A Life in the Theatre; Dollhouse; Finishing the Picture; Moonlight and Magnolias; The Goat or, Who is Sylvia?; Lobby Hero and many others. Steppenwolf Theatre Company credits include Slowgirl; Belleville; Middletown; Up; The Seafarer; August: Osage County; I Just Stopped By to See the Man; Hysteria; The Beauty Queen of Leenane; The Memory of Water; The Libertine and others. Broadway credits include original music and/or sound design for Desire Under the Elms; August: Osage County; Talk Radio; Long Day’s Journey into Night; A Moon for the Misbegotten; Death of a Salesman and The Young Man from Atlanta. Mr. Woodbury’s work has also been heard at Stratford Shakespeare Festival in Canada; London’s Lyric and National theaters; in Paris and at regional theaters across the United States. Mr. Woodbury has received Jeff, Helen Hayes and IRNE Awards for Outstanding Sound Design and the Ruth Page Award for Outstanding Collaborative Artist, as well as nominations for Drama Desk (New York) and Ovation (Los Angeles) Awards. Mr. Woodbury has composed numerous commissioned scores for dance and has performed live with the Bill T. Jones/Arnie Zane and Merce Cunningham Dance companies. He is an associate professor and distinguished faculty fellow at Columbia College Chicago, where he serves as music director in the dance department.

NEENA ARNDT (Dramaturg) is the associate dramaturg at Goodman Theatre. In six seasons, she has served as production dramaturg for more than 20 productions, including Robert Falls’ productions of Measure for Measure, The Iceman Cometh and The Seagull, David Cromer’s production of Sweet Bird of Youth and the world premiere of Rebecca Gilman’s Luna Gale. She has also worked with the American Repertory Theater, Milwaukee Repertory Theater, Actors Theatre of Louisville, the New Harmony Project and Actors Shakespeare Project, among others. Ms. Arndt has taught at Boston University and DePaul University. She holds an MFA in dramaturgy from the A.R.T./MXAT Institute for Advanced Theatre Training at Harvard University, and a BA in linguistics from Pomona College.

JOSEPH DRUMMOND* (Production Stage Manager) is in his 41st season with Goodman Theatre, where earlier this season he stage-managed Smokefall as well as the Goodmans productions of The White Snake in China and The Iceman Cometh at Brooklyn Academy of Music. Other Goodman credits include Luna Gale, Pullman Porter Blues, The Iceman Cometh, Race, Red, House and Garden, Death of a Salesman (also on Broadway and at the Ahmanson Theatre in Los Angeles), Candide, Turn of the Century, Desire Under the Elms, Rock ’n’ Roll, Animal Crackers, Passion Play, King Lear, The Clean House, Finishing the Picture, The Rose Tattoo, The Beard of Avon, Drowning Crow, The Visit, The Odyssey, All the Rage, Arcadia, Another Midsummer Night, The Night of the Iguana, On the Open Road, Book of the Night, Landscape of the Body, The Gospel at Colonus and 12 productions of A Christmas Carol. In December 2011, he received the Del Hughes Award for Lifetime Achievement from the Stage Managers’ Association. He is included in the 2012 edition of Marquis’ Who’s Who in America. Mr. Drummond is the recipient of the Joseph Jefferson Award for Lifetime Achievement after 25 years of stage management at the Goodman. He is a 43-year member of Actors’ Equity Association.

BRIANA J. FAHEY* (Stage Manager) is in her second season with Goodman Theatre, where she most recently stage managed Rapture, Blister, Burn. Other Goodman credits include Smokefall, The White Snake, Luna Gale, Pullman Porter Blues and Pedro Páramo. Her regional credits include stage managing at Milwaukee Repertory Theater, California Shakespeare Theater, Magic Theatre, Center REP Theatre and the Utah Shakespeare Festival.

Robert Falls (Goodman Theatre Artistic Director) has been the artistic director of Goodman Theatre since 1986. From 1977 to 1985, he was the artistic director of Wisdom Bridge Theatre. Most recently, Mr. Falls reprised his critically acclaimed production of The Iceman Cometh,
featuring the original cast headed by Nathan Lane and Brian Dennehy, at the Brooklyn Academy of Music. Last fall, he directed Rebecca Gilman’s Luna Gale at the Kirk Douglas Theatre in Los Angeles, as well as a new production of Mozart’s Don Giovanni for the Lyric Opera of Chicago. Other recent productions include Measure for Measure and the world and off-Broadway premieres of Beth Henley’s The Jacksonian. Next season at the Goodman, Mr. Falls and Goodman Playwright-in-Residence Seth Bockley will co-direct their world premiere adaptation of Roberto Bolaño’s 2666, and Mr. Falls will also direct the Chicago premiere of Rebecca Gilman’s Soups, Stews, and Casseroles: 1976. Among Mr. Falls’ other credits are The Seagull, King Lear, Desire Under the Elms, John Logan’s Red, John Robin Baitz’s Three Hotels, Eric Bogosian’s Talk Radio and Conor McPherson’s Shining City; the world premieres of Richard Nelson’s Frank’s Home, Arthur Miller’s Finishing the Picture (his last play), Eric Bogosian’s Griller, Steve Tesich’s The Speed of Darkness and On the Open Road, John Logan’s Riverview: A Melodrama with Music and Rebecca Gilman’s A True History of the Johnstown Flood, Blue Surge and Dollhouse; the American premieres of Alan Ayckbourn’s House and Garden; and the Broadway premiere of Elton John and Tim Rice’s Aida. Mr. Falls’ Broadway productions of Death of a Salesman and Long Day’s Journey into Night received seven Tony Awards and three Drama Desk Awards.

ROCHE EDWARD SCHULFER (Goodman Theatre Executive Director) is in his 35th season as executive director. On September 4, 2013, his 40th anniversary with the theater, Mr. Schulfer was honored with a star on the Goodman’s “Walkway of Stars.” In 2014, he received the Visionary Leadership Award from Theatre Communications Group. During his tenure he has overseen more than 335 productions, including close to 130 world premieres. He launched the Goodman’s annual production of A Christmas Carol, which celebrated 37 years as Chicago’s leading holiday arts
tradition this season. In partnership with Artistic Director Robert Falls, Mr. Schulfer led the
establishment of quality, diversity and community engagement as the core values of Goodman Theatre. Under their tenure, the Goodman has received numerous awards for excellence, including the Tony Award for Outstanding Regional Theater, recognition by Time magazine as the “Best Regional Theatre” in the US, the Pulitzer Prize for Lynn Nottage’s Ruined and many Jeff Awards for outstanding achievement in Chicago area theater. Mr. Schulfer has negotiated the presentation of numerous Goodman Theatre productions to many national and international venues. From 1988 to 2000, he coordinated the relocation of the Goodman to Chicago’s Theatre District. He is a founder and two-time chair of the League of Chicago Theatres, the trade association of more than 200 Chicago area theater companies and producers. Mr. Schulfer has been privileged to serve in leadership roles with Arts Alliance Illinois (the statewide advocacy coalition); Theatre Communications Group (the national service organization for more than 450 not-for-profit theaters); the Performing Arts Alliance (the national advocacy consortium of more than 18,000 organizations and individuals); the League of Resident Theatres (the management association of 65 leading US theater companies); Lifeline Theatre in Rogers Park and the Arts & Business Council. He is honored to have been recognized by Actors’ Equity Association for his work promoting diversity and equal opportunity in Chicago theater; the American Arts Alliance; the Arts & Business Council for
distinguished contributions to Chicago’s artistic vitality for more than 25 years; Chicago magazine and the Chicago Tribune as a “Chicagoan of the Year”; the City of Chicago; Columbia College Chicago for entrepreneurial leadership; Arts Alliance Illinois; the Joseph Jefferson Awards Committee for his partnership with Robert Falls; North Central College with an Honorary Doctor of Fine Arts degree; Lawyers for the Creative Arts; Lifeline Theatre’s Raymond R. Snyder Award for Commitment to the Arts; Season of Concern for support of direct care for those living with HIV/AIDS; and the Vision 2020 Equality in Action Medal for promoting gender equality and diversity in the workplace. Mr. Schulfer is a member of the adjunct faculty of the Theatre School at DePaul University, and a graduate of the University of Notre Dame where he managed the cultural arts commission.

FOR the little foxes:

amanda clegg lyon

Assistant Lighting Designer

Stage Management Intern

Antique lighting supplied by Chris and Cindy Allen, Allen's Antique Lighting, Harvard, MA

Rugs provided by Oscar Isberian Rugs, Downtown Chicago, Evanston, Highland Park

Download 153.57 Kb.

Share with your friends:

The database is protected by copyright © 2023
send message

    Main page