ROBERT FALLS, Artistic Director | ROCHE SCHULFER, Executive Director
vanya and sonia and masha and spike
Set Design by
Costume Design by
Lighting Design by
Original Music and Sound Design by
Adam Belcuore, CSA
Production Stage Manager
donald E. claxon* Stage Manager
kathleen petroziello *
cast in order of appearance
Janet Ulrich Brooks*
E. Faye Butler *
Mary Beth Fisher*
Assistant Director: Adrian Abel Azuedo
Setting: A Farmhouse in Bucks County, Pennsylvania
There will be one 15-minute intermission.
Understudies never substitute for a listed player unless an announcement is made at the beginning of the play.
Wesley Daniel—Spike; LaNisa Frederick—Cassandra; Meighan Gerachis*—Sonia; Ted Hoerl—Vanya;
Meghan Reardon—Nina; Hollis Resnik*—Masha
Vanya and Sonia and Masha and Spike is presented by special arrangement with Dramatists Play Service, Inc. New York.
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 Vanya and Sonia and Masha and Spike?
I first encountered the unique talents of Christopher Durang more than four decades ago, when he was a graduate student at the Yale School of Drama and I was an undergraduate at the University of Illinois. I was 20 years old; Durang was 24. A friend of mine was a new grad student at Yale, and I went to New Haven, Connecticut to visit. While I was there, I dropped in on a performance of one of Durang’s early cabaret pieces, one in which he was also performing. It was a strange, surreal and altogether captivating experience—intensely smart, wildly funny and unlike anything I’d ever seen before. I was impressed and intrigued, and immediately read a number of his student plays, including The Idiots Karamazov, which he had written with Albert Innaurato and which later became one of his first hits. Years later, as the artistic director of the Wisdom Bridge Theatre in Rogers Park, I produced The Idiots Karamazov as well as another of his early works, Sister Mary Ignatius Explains It All for You.
Since then, Durang has amassed a sizeable critical and popular following for a body of work that has been variously described as absurdist, iconoclastic and hilariously surreal. Although he has found success (as both an actor and a writer) in the worlds of film and television, it is in the theater where he has thrived. Like many great comic writers, his greatest works (which include Beyond Therapy, The Marriage of Bette and Boo, Baby with the Bathwater and Betty’s Summer Vacation) are comprised of equal parts devastating wit and impending darkness; but there is also a pervasive hope and guileless innocence that lifts his work out of the merely absurd into the palpably human. Durang himself cites a wide variety of writers and genres as his inspirations: Bertolt Brecht, Noël Coward, Tennessee Williams, Federico Fellini, James Thurber, Lewis Carroll, the musicals of Stephen Sondheim and Frank Loesser and the films of Charlie Chaplin and Billy Wilder. But these disparate sources have created a playwright who is authentically, proudly offbeat—and has become one of the great playwrights of the contemporary American theater.
His latest play, the Tony Award-winning Vanya and Sonia and Masha and Spike, has brought him widespread acclaim, and deservedly so; it contains much of the loopy wit and idiosyncratic vision that marked his early works, but uses those elements to explore the universal themes of sibling rivalries, middle-aged regret and the complexities of a culture evolving faster than the people it surrounds. My longtime Goodman associate Steve Scott has assembled a dream cast for this Chicago premiere production, and I am delighted to once again introduce audiences to an artist who is a true original and to the off-kilter, absurdly funny yet peculiarly recognizable world of Christopher Durang.
Laughing it Off: the Life and Work of
By Neena Arndt
“I like to mix the serious with laughter,” explained Christopher Durang in a 1998 interview—and indeed, “zany” and “offbeat” are the sorts of adjectives most commonly applied to Durang’s plays; since the 1980s the 66-year-old playwright has been known as one of theater’s most idiosyncratic comic writers. The characters in his plays—which include a woman who claims to have invented cheese, a boy who spends his days examining a collection of glass cocktail stirrers and a woman who keeps a hedgehog in her privates—may seem either extreme or non-realistic. But beneath these undeniable oddities, Durang’s people are alternately hopeful and despairing; pointedly ironic and gleefully open-hearted; and achingly, often hilariously, human.
Born in New Jersey to an architect father and stay-at-home mother, Durang met with sorrow and dysfunction early in life. Due to an Rh incompatibility between Durang’s parents’ blood types, the couple’s three subsequent children died hours after birth; in typical 1950s fashion the
couple buried their grief and attempted to move on from the tragedies. Perhaps as a result, Durang’s
father’s drinking escalated, as did his mother’s daily admonishments for him to stop. This resulted
in constant household tension and eventually (when Durang was 13 years old) a separation, which
Durang experienced as “a relief.” His parents formally divorced six years later.Fortunately, the brighter moments of his childhood included trips to New York to see plays and musicals with his mother, writing a two-page riff on an I Love Lucy episode that was performed by his second grade class and collaborating with an eighth grade friend to write a musical that his school (much to his surprise) produced. Later, while pursuing a degree in English at Harvard University, Durang penned the ambitiously titled The Nature and the Purpose of the Universe, which earned him a spot at the Yale School of Drama. While pursuing an MFA in playwriting at Yale, he co-wrote The Idiots Karamazov (with Albert Innaurato), which was produced professionally by Yale Repertory Theatre. It starred Durang’s classmate Meryl Streep as the 80-year-old translator Constance Garnett, who tries to translate Dostoyevsky’s The Brothers Karamazov, but in her senility conflates it with Anton Chekhov, Eugene O’Neill and 20th century pop culture. Shortly after his Yale graduation, Durang collaborated with composer Mel Marvin to write the musical A History of the American Film. For this work, the young Durang was honored with a Tony Award nomination for Best Book of a Musical. During the late 1970s, Durang also collaborated with Yale classmate Sigourney Weaver to co-author and co-perform a satiric cabaret, Das Lusitania Songspiel, which simultaneously lampooned and honored the work of theater and cabaret legends Bertolt Brecht and Kurt Weill, among others. Das Lusitania Songspiel became a late-night cult hit, earning Durang and Weaver Drama Desk Award nominations.
In the early 1980s, Durang scored one of the biggest hits of his career: Sister Mary Ignatius Explains It All for You. In the play, Sister Mary Ignatius, assisted by her seven-year-old student Thomas, explains the tenets of Catholicism. The arrival of several of Sister’s former students—who, like the Catholic school-educated playwright, learned their catechism in the 1950s and ‘60s and are now adults—soon proves Sister’s teachings had little effect on her classes: one student had two abortions, another a child out of wedlock, a third abuses both alcohol and his wife and the fourth is gay. In the ensuing action, Durang examines what he perceives as the gap between Catholic doctrine and the practicalities of real life.
Critics lavished praise on the production. The New York Times’ Frank Rich wrote that the play “remains funny and controlled even in its most savage moments.” Some hardline Catholics were not amused, however, and the Catholic League for Religious and Civil Rights attempted to shut down productions in a number of cities. Such national figures as Phil Donahue and Charles Kuralt explored the controversy, and news coverage of the dispute came from such disparate organizations as The New York Times and Entertainment Tonight. Ticket sales soared due to the ensuing publicity. Durang himself remarked that the play “is often viewed gratefully by lapsed Catholics. And more secure believing Catholics can accept the play as criticism and agree with much of it, even all of it.”
The prolific Durang wrote steadily through the 1980s, penning such works as Beyond Therapy, Baby with the Bathwater, The Marriage of Bette and Boo and Laughing Wild. He also worked periodically in television and film as both an actor and writer, creating a sketch for Carol Burnett, writing (with Wendy Wasserstein) the screenplay for House of Husbands and playing a put-upon executive in The Secret of My Success. In 1994 he was invited to co-chair, with playwright Marsha Norman, the Playwriting Program at the Juilliard School. He still teaches at the highly selective program today, and now boasts former students with noteworthy playwriting successes, including David Lindsay-Abaire (Rabbit Hole, Good People), Katori Hall (The Mountaintop) and Noah Haidle, whose play Smokefall opened the Goodman’s 2014/2015 Season. In the late 1990s and 2000s, Durang’s new works included Betty’s Summer Vacation, Miss Witherspoon, Mrs. Bob Cratchit’s Wild Christmas Binge and Why Torture is Wrong, and the People Who Love Them. His earlier plays became staples in high school and college theater departments; students appreciated his cheerful unconventionality, absurd humor and slightly loopy outlook.
In his latest play, Vanya and Sonia and Masha and Spike, which won the Tony Award for Best Play in 2013, Durang makes use of the same distinctive wit that made him famous, but these dramatic tools now serve as a means of addressing such sobering ideas as middle-aged regret, the prospect of aging alone, the travails of being a has-been and the arguably worse scenario of being a never-was. While these may seem like prime ingredients for tragedy, in Durang’s deft hands they transform seamlessly into hilarity.
JANET ULRICH BROOKS* (Sonia) returns to Goodman Theatre, where she previously appeared in The Seagull, A True History of the Johnstown Flood and Teddy Ferrara. She is a company member of TimeLine Theatre, where her credits include the Apple Family plays That Hopey Changey Thing and Sorry, The How and the Why and Jeff Award-nominated performances in 33 Variations, A Walk in the Woods, All My Sons, When She Danced, Not Enough Air and Weekend. Other Chicago credits include To Master the Art at Broadway Playhouse; South of Settling at Steppenwolf Theatre Company; Ten Chimneys at Northlight Theatre; The Original Grease and Speech & Debate at American Theater Company; Failure: A Love Story at Victory Gardens Theater; Golda’s Balcony (Jeff Award) at Pegasus Players and work with About Face Theatre, Writers Theatre and Strawdog Theatre Company. Television credits include Chicago Fire, the ABC pilot Doubt, Boss, Underemployed and The Playboy Club. Film credits include Divergent, Conviction, Polish Bar, One Small Hitch, I Heart Shakey, Fools, Market Value and the shorts For a Good Time and Kanzler. Ms. Brooks was the first recipient of the Ed See Outstanding Theatre Alumnus Award from the University of Central Missouri.
JORDAN BROWN* (Spike) returns to Goodman Theatre, where he previously appeared in Brigadoon (Jeff Award nomination) and the 2012 production of A Christmas Carol. Chicago credits include White Guy On The Bus (Northlight Theatre); Iphigenia in Aulis (Court Theatre); In the Company of Men (Profiles Theatre); The Fall of Heaven (Congo Square Theatre Company); The Pitmen Painters (TimeLine Theatre) and Sense and Sensibility (Northlight Theatre). Off-Broadway, he played Claudio in Much Ado About Nothing (Theatre Row in the Beckett Theatre). In Baltimore, he appeared in A Skull in Connemara (Centerstage Theatre). Mr. Brown’s television credits include Sirens and Crisis. He is a graduate
of the University of the North Carolina School of the Arts.
REBECCA BULLER* (Nina) returns to Goodman Theatre, where her previous credits include The Seagull and an understudy role in A True History of the Johnstown Flood. Chicago credits include Hesperia (Writers Theatre); Iphigenia 2.0 (Next Theatre); All My Sons and Dolly West’s Kitchen (TimeLine Theatre Company); The Cherry Orchard (Strawdog Theatre Company); Boys & Girls (Theatre Seven of Chicago) and Cut to the Quick (Side Project). Regional credits include The Diary of Anne Frank (co-production with Indiana Repertory Theatre and Pioneer Theatre in Utah); Metamorphoses (Swine Palace) and Ariel View (New York International Fringe Festival). Television and film credits include The Playboy Club, Sirens, Man of Steel, and the upcoming Batman V. Superman: Dawn of Justice.
E. FAYE BUTLER* (Cassandra) returns to Goodman Theatre, where she most recently appeared in Pullman Porter Blues during the 2013/2014 Season. Previous Goodman credits include Crowns, Ain’t Misbehavin’, A Christmas Carol and Purlie. Chicago credits include An Issue of Blood at Victory Gardens Theater; Hairspray and Thoroughly Modern Millie at Marriott Theatre; The Little Foxes, La Bête and Caroline, or Change at Court Theatre; Crumbs from the Table of Joy at Steppenwolf Theatre Company; Seussical! at Chicago Shakespeare Theater; Could It Be Magic? The Barry Manilow Songbook at Mercury Theater; Hello, Dolly!, Hot Mikado and Sophisticated Ladies at Drury Lane Theatre and Black Pearl Sings, Ella and Dinah Was at Northlight Theatre, among others. National and regional tours include Mamma Mia!,Dinah Was, Ain’t Misbehavin’, Nunsense, Don’t Bother Me and I Can’t Cope. Regionally, she has appeared in Trouble in Mind, Polk County, Oklahoma! and Pullman Porter Blues at Arena Stage in Washington, D.C.; Dancing with the Holy Ghosts at the New York Film and Play Festival; Saving Aimee and The Gospel According to Fishman at Signature Theatre; The Wiz at La Jolla Playhouse; Once on This Island at Baltimore’s Centerstage; Purlie at Pasadena Playhouse and Pullman Porter Blues at Seattle Repertory Theatre. She is the recipient of six Jeff Awards, four Black Theater Alliance Awards, a Kathryn V. Lamkey Award, an After Dark Award, a John Barrymore Award, a Rockford Area Music Industry Award, two Helen Hayes Awards, an Excellence in the Arts Award, a Black Excellence Award for Pullman Porter Blues and an Ovation Award. Ms. Butler was the recipient of the 2011 Sarah Siddons Society Leading Lady Award; was named a 2012 Lunt Fontanne Fellow and was inducted into the National Women in the Arts Museum in Washington, D.C., in November 2012.
MARY BETH FISHER* (Masha) most recently appeared at the Goodman in The Little Foxes. Ms. Fisher made her Goodman Theatre debut in Marvin’s Room in 1993. Since then, she has been a frequent collaborator at the Goodman, appearing in 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) and the world premiere of Sarah Ruhl’s Dear Elizabeth (Yale and Berkeley Repertory Theatres). 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.
ROSS LEHMAN* (Vanya) returns to Goodman Theatre, where he appeared in A Christmas Carol, Stage Kiss, The Rover, Wings, ’Tis Pity She’s a Whore and A Funny Thing Happened on the Way to the Forum (Jeff Award). Chicago credits include the Major General in The Pirates of Penzance, Tevye in Fiddler on the Roof, Edna Turnblad in Hairspray, Max Bialystock in The Producers and Ko-Ko in Hot Mikado (Jeff Award) at Marriott Theatre; Ragueneau in Cyrano De Bergerac, Ford in The Merry Wives of Windsor, Jacquesin As You Like It, Feste in Twelfth Night and Dudley/Dromio in The Comedy of Errors at Chicago Shakespeare Theater; She Loves Me, As You Like It, and Bach at Leipzig at Writers Theatre; Mizlansky/Zilinsky Or Schmucks, The Man Who Came to Dinner and One Flew Over the Cuckoo’s Nest at Steppenwolf Theatre Company and Uncle Vanya, A Man of No Importance (Jeff Award), The Dresser (After Dark Award), Syncopation, Sugar, Waiting for Godot, Amadeus and Where’s Charley? (Jeff Award) at Apple Tree Theatre. He appeared as Captain Andy in Show Boat at the Lyric Opera. On Broadway, Mr. Lehman appeared as Trinculo in The Tempest (with Patrick Stewart), Harding in One Flew Over the Cuckoo’s Nest, Hysterium in A Funny Thing Happened on the Way to the Forum and in Epic Proportions. He teaches acting at Loyola University.
Christopher Durang (Playwright) won the 2013 Tony Award for Best Play for Vanya and Sonia and Masha and Spike. His works include A History of the American Film (Tony nomination, Best Book of a Musical); The Actor’s Nightmare; Sister Mary Ignatius Explains It All For You (Obie Award); Beyond Therapy; Baby with the Bathwater (Playwrights Horizons); The Marriage of Bette and Boo (The Public Theater, Obie Award and Dramatists Guild Hull Warriner Award); Laughing Wild (Playwrights Horizons); Durang/Durang (an evening of six plays at Manhattan Theatre Club); Sex and Longing (Lincoln Center Theater); Betty’s Summer Vacation (Playwrights Horizons, Obie Award); Mrs. Bob Cratchit’s Wild Christmas Binge (City Theatre in Pittsburgh); Adrift in Macao (a musical written with composer Peter Melnick,at Philadelphia Stage Company); Miss Witherspoon (McCarter Theatre and Playwrights Horizons, Pulitzer Prize finalist) and Why Torture is Wrong, and the People Who Loved Them (The Public Theater). Mr. Durang has a BA from Harvard University and an MFA in playwriting from the Yale School of Drama. Since 1994, he and Marsha Norman have been co-chairs of the playwriting program at the Juilliard School. He is a member of the Dramatists Guild’s council and lives in Pennsylvania.
STEVE SCOTT (Director) is the producer of Goodman Theatre, where he has overseen more than 200 productions; he is also a member of the Goodman’s Artistic Collective. Goodman directing credits include Horton Foote’s Blind Date; Rabbit Hole; Binky Rudich and the Two-Speed Clock and No One Will Be Immune for the David Mamet Festival; Dinner with Friends; Wit; the world premiere of Tom Mula’s Jacob Marley’s Christmas Carol; A Midsummer Night’s Dream (co-directed with Michael Maggio) and the 2011 and 2012 editions of A Christmas Carol. Other recent directing credits include Yellow Face, The DNA Trail and Yohen (Silk Road Rising); American Myth (American Blues Theatre); The Mandrake (A Red Orchid Theatre); Red, Clybourne Park, Elemeno Pea, Elling, A Delicate Balance,Lettice and Lovage and Shadowlands (Redtwist Theatre); Souvenir and Black Pearl Sings (Northlight Theatre); The Beauty Queen of Leenane, Buried Child and Dealer’s Choice (Shattered Globe Theatre); Frozen (Next Theatre Company); A Midsummer Night’s Dream and Much Ado About Nothing (St. Lawrence Shakespeare Festival); The Teapot Scandals of 1923 and Falsettos (Porchlight Theatre); The Grapes of Wrath, A Streetcar Named Desire, Execution of Justice,Ah, Wilderness!, God’s Country and Judgment at Nuremberg (Theatre Conservatory at Roosevelt University’s College of Performing Arts, where he is a faculty member); and a number of productions for Eclipse Theatre (where he is an ensemble member) including Lynn Nottage’s Intimate Apparel, Alan Ayckbourn’s Woman in Mind, Arthur Miller’s After the Fall, John Guare’s Six Degrees of Separation, Rebecca Gilman’s Boy Gets Girl, Keith Reddin’s Big Time, Neil Simon’s Plaza Suite and Lanford Wilson’s The Moonshot Tapes. He has directed for a variety of other companies including Theatre Wit, the Buffalo Theatre Ensemble, National Jewish Theatre, Theatre at the Center, Lifeline Theatre, Organic Touchstone Theatre and the Lyric Opera Center for American Artists. Mr. Scott has served on panels for Theatre Communications Group, the Society of Stage Directors and Choreographers, United States Artists, the Eugene O’Neill Theatre Center, the Chicago Council on Fine Arts, the Illinois Arts Council, National Endowment for the Arts and the Pew Charitable Trust/Philadelphia Theatre Initiative. He is a member of the Jeff Committee’s Artist and Technical Team, a board member of Season of Concern, artistic advisor for Silk Road Rising and an associate artist with Chicago Dramatists and Collaboraction theater companies. He was one of six resident directors for WBEZ’s series Stories on Stage, and has contributed articles to a variety of publications including the Encyclopedia of Chicago. Mr. Scott is the recipient of six Jeff Award nominations, an After Dark Award, the Illinois Theatre Association’s Award of Honor and Eclipse Theatre Company’s Corona Award. As an actor, he most recently appeared in the Next Theatre’s production of Are You Now or Have You Ever Been…? (Jeff Award for Outstanding Ensemble).
CHARLIE CORCORAN (Scenic Designer) returns to Goodman Theatre, where he previously served as associate scenic designer for Finishing the Picture and Other Desert Cities. Off-Broadway credits include Billy and Ray (Vineyard Theatre); The Emperor Jones (Hewes Design Award nomination),Port Authority,The Weir, The Freedom of The City and The Field (Irish Repertory Theatre); Craving for Travel (Peter J. Sharp Theatre); Smash (Julliard School); The Last Smoker in America (Westside Theatre); A Perfect Future (Cherry Lane Theatre); The Late Christopher Bean (TACT); Sophistry, The Black Monk and The Bully Pulpit (Beckett Theatre) and Entrances and Exits (Primary Stages). Regional credits include The Barber of Seville and The Marriage of Figaro (McCarter Theatre); Absurd Person Singular (Two River Theatre); The Night Watcher and Without Walls (Center Theatre Group) and Fallen Angels (Shakespeare Theatre of New Jersey). Opera credits include Fidelio (Santa Fe Opera); The Bartered Bridge and Cosi Fan Tutte (co-production of Metropolitan Opera and Julliard Opera); Don Giovanni and The Marriage of Figaro (Julliard Opera) and The Magic Flute (Music Academy of the West). Television credits include Believe and Madam Secretary.
AMY CLARK (Costume Designer) Broadway costume designs include A Night with Janis Joplin and Chaplin (Drama Desk Award and Outer Critics Circle Award nominations). Other recent designs include Heathers the Musical (New World Stages); the 145th and 144th editions of Ringling Bros. Barnum and Bailey Circus; Chaplin (St. Petersburg, Russia); My Life is a Musical (Bay Street Theater); Hello Dolly (The MUNY); Kiss Me Kate (Barrington Stage Company); Noises Off (Pittsburgh Public Theater); Somewhere (Hartford Stage); On Your Toes (City Center Encores!) and The Little Mermaid (Paper Mill Playhouse). Ms. Clark received the 2012 Theatre Hall of Fame Emerging Artists Fellowship. She holds an MFA in costume design from NYU’s Tisch School of the Arts.
ROBERT PERRY (Lighting Designer) previously collaborated with Goodman Theatre on Drowning Crow during the 2001/2002 Season. Other Chicago credits include Love’s Labor’s Lost (Chicago Shakespeare Theater, Jeff Award nomination). Off-Broadway credits include Lost Lake directed by Dan Sullivan(Manhattan Theatre Club); Crowns (Second Stage, Vivian Robinson Audelco Award); Boston Marriage (The Public Theater); Reefer Madness (Variety Arts Theatre); Iphigeneia at Aulis (Pearl Theatre Company); An Adult Evening with Shel Silverstein, The Water Engine (Drama Desk Award nomination), Sexual Perversity in Chicago and The Hothouse (Atlantic Theater Company); For Colored Girls Who Have Considered Suicide when the Rainbow is Enuf (American Place Theatre) and Kingdom of Earth (The Drama Dept.). Regional credits include Vanya and Sonia and Masha and Spike (Arena Stage); Coriolanus (The Shakespeare Theatre); A Doll’s House (Hartford Stage); The Night of the Iguana (Dallas Theater Center); The Skin of Our Teeth (California Shakespeare Festival, Dean Goodman Choice Award) and The Glass Menagerie and Crumbs from the Table of Joy (Yale Repertory Theatre). Mr. Perry holds an MFA from the Yale School of Drama and BFA from North Carolina School of the Arts.
RICHARD WOODBURY (Composer/Sound Designer) is the resident sound designer at the Goodman, where his credits include music and/or sound design for The Little Foxes; stop. reset.; 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.
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.
ALDEN VASQUEZ* (Production Stage Manager) has stage-managed 24 productions of A Christmas Carol and more than 70 productions at Goodman Theatre. His Chicago credits include 14 productions at Steppenwolf Theatre Company, including the Broadway productions of The Song of Jacob Zulu (also in Perth, Australia) and The Rise and Fall of Little Voice. His regional theater credits include productions at American Theater Company, American Stage Theater Company, Arizona Theatre Company, Ford’s Theatre, Madison Repertory Theatre, Manhattan Theatre Club, Northlight Theatre, Peninsula Players Theatre, Remains Theatre, Royal George Theatre, Trinity Repertory Company and the Weston Playhouse. He teaches stage management at DePaul University, is a 31-year member of Actors’ Equity Association and a US Air Force veteran.
KATHLEEN PETROZIELLO* (Stage Manager) returns to the Goodman Theatre, where she was previously a stage manager for Two Trains Running,Brigadoon, Venus in Fur, A Christmas Carol (2013 and 2014), Sweet Bird of Youth and Joan Dark (performed in Linz, Austria). Other credits include The Wheel, The Birthday Party, Time Stands Still, Sex with Strangers, Fake and Of Mice and Men at Steppenwolf Theatre Company; The Great Fire, The Last Act of Lilka Kadison, Trust, Our Future Metropolis, Argonautika and Nelson Algren: For Keeps and a Single Day at Lookingglass Theatre Company; Death of a Salesman, Avenue Q and A Number at the Weston Playhouse Theatre Company; Panic and Final Curtain at the International Mystery Writers Festival and the Chicago
productions of Altar Boyz and Million Dollar Quartet.
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 May 18, 2015 he received the Lifetime Achievement Award from the League of Chicago Theatres. In 2014, he received the Visionary Leadership Award from Theatre Communications Group. To honor his 40th anniversary with the theatre, Mr. Schulfer was honored with a star on the Goodman’s “Walkway of Stars.” 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 vanya and sonia and masha and spike:
dana stringer, Stage Management Intern; michelle benda, Assistant Lighting Designer; Adrian Aguilar, People’s Champ Personal Training; marlee Lgarner, Production Assistant