September – December 2009

The InvenTIon anD aScenSIon of The marx broTherS

a conversation with Stoop Stories’ Playwright and Performer Dael orlandersmith

alan Gross, High Holidays and becoming a man in a Suburban Wasteland

Co-Editors | Lara Ehrlich, Lori Kleinerman, Tanya PalmerGraphic Designer | Tyler Engman Production Manager | Lara Ehrlich

Contributing Writers/Editors | Neena Arndt, Ashley Echols, Lara Ehrlich, Jeffrey Fauver, Lisa Feingold, Katie Frient, Lori Kleinerman, Carly Leviton, Dorlisa Martin, Julie Massey, Elizabeth Neukirch, Tanya Palmer, Scott Podraza, Victoria Rodriguez, Denise Schneider, Steve Scott, Jenny Seidelman, Chris Tiffany, Willa J. Taylor, Jennifer Whittemore

OnStage is published in conjunction with Goodman Theatre productions. It is designed to serve as an information source for Goodman Theatre Subscribers. For ticket and subscription information call 312.443.3810. Cover: Photo of Joey Slotnick, Molly Brennan and Jonathan Brody by Brian Warling. Image design and direction by Kelly Rickert.

Goodman productions are made possible in part by the National Endowment for the Arts; the Illinois Arts Council, a state agen-cy; and a CityArts 4 program grant from the City of Chicago Department of Cultural Affairs; and the Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation.

Written comments and inquiries should be sent to:The Editor, OnStage Goodman Theatre 170 North Dearborn Street Chicago, IL 60601or e-mail us at: OnStage@GoodmanTheatre.org

September – December 2009

CONTENTSIn the Albert 1 Why Animal Crackers?

2 The Invention and Ascension of the Marx Brothers

6 The Marx Brothers in Chicago

7 The Clowning Director of Animal Crackers

9 Meet the Cast of Animal Crackers

In the Owen 10 A Conversation with Stoop Stories’ Playwright and Performer Dael Orlandersmith

12 Alan Gross, High Holidays and Becoming a Man in a Suburban Wasteland

13 The Tradition of Bar Mitzvah

Scene at the Goodman 14 Quite the Crowd Pleaser

15 An Enchanted Evening

Off Stage 16 Trustee News

17 Goodman Theatre Gala

18 Stars Revealed

In the Wings 19 The 2009 General Theater Studies Program

For Subscribers 20 Tickets Now on Sale to A Christmas Carol

20-21 Calendars

Volume 25 #1

Goodman Theatre Artistic Director | ROBERT FALLS Goodman Theatre Executive Director | ROChE SChuLFER

DEAR SuBSCRIBERS AND DONORS,You may have noticed our new mailing format. This allows us to offer you the same high-quality OnStage publication—sent to your home—and provides important savings for the theater. If you have comments or thoughts, we welcome hearing from you. Please contact The Editor at OnStage@GoodmanTheatre.org.

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FROM ThE ARTISTIC DIRECTOR

Why Animal Crackers?Widely remembered as one of the first in the series of now-classic Marx Brothers films, Animal Crackers began its leg-endary life as one of the great Broadway musical successes of the 1920s. The stage version of Animal Crackers pre-miered on October 23, 1928, featuring a score by Bert Kalmar and harry Ruby and a book by George S. Kaufman and Morrie Ryskind (which gave the Marxes some of their most memorable lines and comic bits). The production’s original cast also featured the great Margaret Dumont (who had already achieved some fame as the Brothers’ favorite foil) and future hollywood choreographer hermes Pan. The production toured the country and was then captured on celluloid in 1930. The film’s immense success completed the ascension of the Marx Brothers to worldwide fame, but ironically ended their stage careers; they moved to hollywood the following year, never to return to Broadway. The stage version of Animal Crackers was consigned to the archives, considered to be unproduceable without its original stars.

More than 50 years would pass before theater audiences would again see the play, via a major revival at Arena Stage in Washington, D.C. The show’s brashness and charm bowled over audiences and critics, and the success of the Arena production led to other productions in Boston, Connecticut and finally London, where a 1999 revival at the West End’s Lyric Theatre was greeted rhapsodically. More than a year ago, director henry Wishcamper (fresh from his success with the Goodman’s production of Talking Pictures, one of the centerpieces of our horton Foote Festival) came to me with the idea to stage Animal Crackers at the Goodman, but with one significant conceptual change: an ensemble of just nine actors would play the dozens of society swells, butlers, attendants and miscellaneous party guests in the original script, ramping up the farcical madness at the center of the play. It was an irresistible idea, and I know that henry and his energetic young collaborators—including musical director Doug Peck, clowning direc-tor Paul Kalina from Chicago’s famed 500 Clown company and choreographer John Carrafa, whose slyly satirical dances for the Broadway production of Urinetown were among the key ingredients to that show’s success—will bring contemporary vitality to what is now considered a classic in the musical farce genre. As an added bonus, this team will be incorporating material from the 1928 script for the first time in recent productions, bringing more of the original production’s signature humor to this Goodman revival.

Animal Crackers became a hit in the dawning days of the Great Depression, a time when audiences desperately needed an escape from the grim world that surrounded them. If laughter is the best medicine for curing the ills that plague us, there is no better time to revisit the collective genius of Kaufman, Ryskind and the Marx Brothers—and no better way to laugh our troubles away.

Robert FallsArtistic Director

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ThOSE ARE MY PRINCIPLES, AND IF YOu DON’T LIKE ThEM…WELL, I hAVE OThERS.—Groucho Marx

From the backwaters of the American vaudeville circuit to Broadway to the silver screen, four madcap brothers slugged, mugged and shrugged their way to hard-earned show business success. By the dawn of the Great Depression, Groucho, Chico, harpo and Zeppo Marx had created three hit shows on the Great White Way, and the aplomb with which

they perpetrated their trademark lunacy would soon catapult them to stardom during hollywood’s “golden era.”

MY MOThER LOVED ChILDREN—ShE WOuLD hAVE GIVEN ANYThING IF I hAD BEEN ONE.—Groucho Marx

Born in New York City between 1887 and 1901, the Marx Brothers grew up with immigrant parents—and names that didn’t end in “o.” Their French father Simon Marrix (later known as Samuel

Marx) was “the worst tailor in New York, including Chicago and LA,” according to Groucho. Their German mother Minnie, the daughter of music hall perform-ers, masterminded and managed the brothers’ early careers in vaudeville. There were five brothers in all: Leonard (later Chico), Adolph (harpo), Julius (Groucho), herbert (Zeppo) and Milton (Gummo), who briefly performed in vaudeville before becoming a talent agent. Groucho, harpo and Chico would become the best-known brothers; legend has it that Gummo’s young son told his classmates that his father was harpo Marx. When Gummo confronted him about the lie the child exclaimed, “Well, who’s ever heard of Gummo Marx?”

Poverty-stricken but filled with seem-ingly limitless energy, the young Marxes dropped out of school early, worked unsuccessfully at odd jobs and got into fights. But Minnie and her brother, the

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Hilarity for Posterity: The Invention and Ascension of the Marx BrothersBy Neena Arndt

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noted vaudeville singer and writer Al Shean, soon found a way to turn the brood’s wild energy into bread. Groucho was already a successful juvenile singer and song plugger. In 1907, he and Gummo joined forces with an alleg-edly cross-eyed singer named Mabel O’Donnell to form an act called The Three Nightingales. Other family mem-bers and friends soon joined the act, necessitating frequent name changes to indicate the accurate number of singing birds. The act toured the small vaude-ville houses of the Midwest and the South without notable success.

I’VE hAD A PERFECTLY WONDERFuL EVENING—BuT ThIS WASN’T IT.—Groucho Marx

Legend has it that one night in 1912, as the Nightingales (now known as The Mascots) harmonized in Nacogdoches, Texas, their act was interrupted by a commotion on the street. A local mule was on the lam, and the audience hot-footed out to witness the excitement. Furious that a mule had made asses of them, the brothers flew into a fitful (and

fateful) rage, lambasting the crowd for leaving during the act. “Nacogdoches,” growled Groucho, “is full of roaches.” Rather than taking offense, the crowd laughed—and the Marx Brothers turned from singing to comedy.

Their first comic act, Fun in Hi Skule (later known as Home Again) featured Groucho as a teacher with a German accent and Gummo, Chico and harpo as his hapless students. uncle Al Shean helped the brothers by doctoring the script, although the real key to the act’s health was a strong dose of improvisa-tion. Years later, Groucho would recall an impromptu question he shouted out dur-ing a mock grammar lesson: “What are the principal parts of a cat?” to which Gummo responded, “Eyes, ears, nose, cheeks and tail.” During this period the brothers also evolved the distinctive characters they would play for the rest of their lives: Groucho acquired glasses, a greasepaint mustache and a cigar; Chico took on a phony Italian accent and rapid-fire piano playing; and harpo stopped talking, began wearing a red wig and took up the harp. Eventually Gummo, who often played the straight man, left the act. he was replaced by Zeppo, who would forev-er be known as “the fourth Marx Brother.”

The brothers’ uninhibited clowning became increasingly popular on the vaudeville circuit until their act was finally booked at New York’s Palace Theatre, the crown jewel of vaudeville houses. In 1924, the Marxes staged

their first “legitimate” Broadway show, a revue entitled I’ll Say She Is. Replete with songs, shtick and the ever-present chorus of pulchritudinous dancing ladies, their first foray onto the Great White Way led to another show more tailored to the brothers’ unique comic style: The Cocoanuts (1925), featuring music and lyrics by Irving Berlin and a book by George S. Kaufman and Morrie Ryskind. The plot revolved around a crooked Florida hotel proprietor (Groucho) whose schemes were abetted and thwarted by Silent Sam (harpo) and Willie the Wop (Chico). Zeppo played Jamison, the hotel desk clerk. The Cocoanuts was an out-and-out smash hit and established the Marx Brothers as the premier comic act in America.

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Abbott Sponsors Goodman TheatreGoodman Theatre is delighted to recog-nize Abbott, a global, broad-based health care company, as a Corporate Sponsor Partner of its season-opening musical Animal Crackers. As a longstanding patron of the arts, Abbott is pleased to partner with the Goodman to bring this musical to the stage.

“Abbott’s support of Goodman Theatre is part of our ongoing commitment to support the vitality of the communi-ties so many of our patients, customers

and employees call home,” said Elaine Leavenworth, Vice President, Government Affairs, Abbott and member of the Goodman Theatre Board of Trustees.

Goodman Theatre sincerely thanks Abbott for its continuing generosity, reflecting the company’s commitment to support world-class arts and culture in Chicago.

LEFT: The Four Nightingales in 1909 (Groucho is in the

white apron with the basket). BOTTOM: Groucho with his

uncle, Al Shean, in a film still from At The Circus, 1939.

BELOW RIGhT: The Marx Brothers with their leading lady,

Lotta Miles in I’ll Say She Is in 1924. Photos courtesy of

the Paul G. Wesolowski collection.

Their next stage collaboration with writers Kaufman and Ryskind, Animal Crackers, debuted in 1928. Groucho cavorted as African explorer Captain Jeffrey T. Spaulding; harpo capered qui-etly as The Professor (of what subject, it’s never clear); Chico hammed it up as Signor Emanuel Ravelli; Margaret Dumont (who had first appeared with the Marxes in The Cocoanuts) estab-lished herself as Groucho’s eternal foil as Mrs. Rittenhouse; and Zeppo played a character named Jamison.

TIME FLIES LIKE AN ARROW. FRuIT FLIES LIKE A BANANA.—Groucho Marx

During the five-month run of Animal Crackers, the Marx Brothers made their first feature film, The Cocoanuts, at Paramount’s Long Island Studios. The laborious process by which films were made in the “talkies” era (particularly given the unwieldy sound equipment) at first seemed antithetical to the improvi-sational energy of the Marxes, and the brothers had to work to keep their perfor-mances fresh through endless takes. But despite a few hiccups, The Cocoanuts was a resounding success, bringing the brothers’ comic genius to a mass audience. The following year, the Marx Brothers committed Animal Crackers to film and themselves to life as cinematic performers; they would never again

appear on Broadway. In the early 1930s they would create such comic gems as Monkey Business, Horse Feathers and Duck Soup with Paramount Pictures.

Zeppo soon followed in Gummo’s foot-steps and left the act. his exit proved as unremarkable as his tenure as a per-forming Marx Brother; the press and his brothers scarcely noticed his departure. In an interview four decades later, Zeppo expressed his distaste for his straight-man status: “I always wanted to do comedy, but I never had the opportunity because with three boys doing comedy there wasn’t room for another comedian.” In fact, Zeppo had been an adept under-study for his brothers and even went on once for Groucho in Animal Crackers. “he was so good as Captain Spaulding,” remarked Groucho, “that I would have let him play the part indefinitely, if they had let me smoke in the audience.” But Zeppo put his quick wit to better use and joined Gummo as a theatrical agent. he also owned a company that manufactured the clamping devices used to hold the atomic bomb inside the B-29 bomber plane as it passed over Japan in 1945.

hELLO, I MuST BE GOING.—Groucho Marx

After a falling out with Paramount, Groucho, Chico and harpo fell in with Metro-Goldwyn-Mayer (MGM), where

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PricewaterhouseCoopers Celebrates the Fun On StageThe Goodman greatly appreciates PricewaterhouseCoopers (PwC) stepping up once again as a Corporate Sponsor Partner, this time for Animal Crackers. Thanks to the generous support of the firm, audiences of all ages will be delighted by this rarely staged Marx Brothers’ musical.

PwC Partner and Goodman Trustee Cherie Pixler said, “I feel incredibly honored to continue to serve on the board of an organization that delivers

culture, encourages diversity and brings laughter to our community. Rest assured that Animal Crackers does just that. PricewaterhouseCoopers is proud to kick off the 2009/2010 Goodman Season with this big stage hit.”

The Goodman recognizes PwC’s gener-ous support and salutes the firm’s com-mitment to making a positive difference in Chicago and worldwide.

they made their best-known films: A Night at the Opera, A Day at the Races, At the Circus, Go West and The Big Store. The brothers soon announced their retirement from the screen, although they would later renege on that promise when Chico gambled himself into bankruptcy. In the late 1940s, A Night in Casablanca and Love Happy would complete the Marx Brothers’ cin-ematic oeuvre.

By the time the brothers passed away in the 1960s and ’70s, film and televi-sion had long since replaced vaudeville as America’s primary entertainment, and specialty acts had been traded for plot-driven shows. But the Marx Brothers’ films preserve their distinctly vaudevillian performance style. It is this chaotic yet controlled style that inspires director henry Wishcamper as he adapts Animal Crackers for the Goodman audience.

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In 1930, the Marx Brothers committed Animal Crackers to film and themselves to life as cinematic performers; they would never again appear on Broadway.

OPPOSITE (top to bottom): Chico, Zeppo, Groucho and

harpo in the 1925 stage version of Cocoanuts. The Marx

family in New York in the 1930s: Groucho’s wife Ruth,

Sam “Frenchie” Marx, harpo holding Chico’s daughter

Maxine and Groucho holding his son Arthur. RIGhT (top

to bottom): Margaret Dumont, Chico, Groucho and harpo

in Animal Crackers, 1930. Chico, Zeppo, Groucho and

harpo in a scene from the finale of Duck Soup, 1933.

harpo (with his trademark horn cane but without his wig)

as “Banjo” in a rare speaking role in George S. Kaufman

and Moss hart’s The Man Who Came to Dinner in 1941.

Photos courtesy of the Paul G. Wesolowski collection.

Women’s Board Sponsors Animal CrackersThe Women’s Board of Goodman Theatre continues a long tradition with its sponsorship of Animal Crackers. For more than 30 years, the Women’s Board has made it part of their mission to sponsor a production every season, in addition to supporting the Goodman’s education programs.

Goodman Theatre gratefully acknowledg-es the Women’s Board as a Major Production Sponsor of Animal Crackers and appreciates the hard work, dedica-tion and generocity of its members.

Few things could seem more quintessen-tially New York than the Marx Brothers’ rapid-fire comic antics; however, it was during the decade the Marx Brothers spent in Chicago that their act acquired many of its renowned characteristics. Their indefatigable mother/manager Minnie moved the brothers (then part of a musical act known as The Six Mascots) to the Windy City in 1910 on the advice of her brother, noted vaudevil-lian Al Shean. here the Mascots played the small-time vaudeville houses that proliferated in the city and ventured forth into the rough-and-tumble Midwestern and Southern vaudeville circuits.

To augment their income the family pur-chased a farm in then-rural La Grange, Illinois, raising chickens and, improb-ably, guinea pigs which they tried to sell (unsuccessfully) to scientific organizations for research. When the brothers began spending more time at Wrigley Field and Comiskey Park than on the farm, the fam-ily moved to a house on the South Side’s Grand Boulevard. Minnie also established the Minnie Palmer Agency, representing a variety of marginal vaudeville acts.

In an effort to spark response from audi-ences unimpressed by the Mascots’ musical prowess, the brothers began using ad-libbed humor in their act; their

uninhibited improvisation attracted atten-tion. In 1914 in Rockford, Illinois, the Mascots were officially rechristened the Marx Brothers.

After a successful engagement of their act Home Again at Chicago’s Wilson Avenue Theatre, the brothers hit the big time: a 30-week contract on the Orpheum Circuit, culminating in a book-ing at the famed Palace Theatre in New York. By 1919, the act’s success was assured, and the brothers returned to New York where their stage triumphs would soon be eclipsed by their success in a new medium: talking pictures.

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The Windy City Years: The Marx Brothers in ChicagoBy Steve Scott

Individual Sponsors Keep the Laughter AliveGoodman Theatre thanks the generous individuals who bring joy and laughter to our patrons with their kind support of the boisterous Marx Brothers’ musical comedy Animal Crackers.

merle reskinrichard and Sheryl WeisbergProducer’s Circle Sponsors

Commitments as of August 24, 2009

TOP: The four Marx Brothers in 1912 while living in

Chicago (note the Chicago photographic studio). LEFT:

The Six Mascots in 1910. This was an evolution of The

Four Nightingales, with the addition of their Aunt hannah

(left) and their mother, Minnie (right). Photos courtesy of

the Paul G. Wesolowski collection.

It takes a village to put on a musical, from actors, dancers and musicians, to choreographers, designers and tech-nicians, to stage management and administrative staff. For the 2009/2010 Season’s production of Animal Crackers, a new citizen has joined the village: a clowning director. To discover what a clowning director is and why Animal Crackers has one, the Goodman’s Lara Ehrlich sat down with director Henry Wishcamper and clowning director Paul Kalina of Chicago’s acclaimed physi-cal theater company 500 Clown to talk about their original take on this Marx Brothers’ classic.

Lara Ehrlich: henry, what first attracted you to clowning and the Marx Brothers, and why do you think this production will appeal to Goodman audiences?

henry Wishcamper: The Marx Brothers were so quick and so funny. They devel-oped their acts in front of live audiences and were constantly ad-libbing and riffing off of each other and the audience. The discoveries they made each night in per-formance informed their material, which never stopped growing and changing until

they printed the films. Musical theater is full of spontaneity and virtuosity and excitement. I hope families come—I can’t imagine something I’d rather have my kids see than a show like this.

LE: Could you tell us a little bit about the art of clowning?

Paul Kalina: Clowning encompasses a great many styles, just as theater encom-passes a great many forms. Clowns follow their own logic, which takes circumlocu-tions to do even simple things. If I’m going to pick up a water bottle on the table, for instance, I wouldn’t just ask you to pass me the water bottle or reach across the table—I’d probably go under the table.

LE: henry, in the last issue of OnStage, you told us that you met the great mime Tony Montanaro when you were growing up in Maine in the ’70s. What did you learn from him, and how did he impact your work?

hW: Tony was a protégé of [legendary mime] Marcel Marceau. he was the most accomplished American mime and people came from around the world to this teeny town in Maine just to study with him. he opened a school for mimes and jugglers and clowns and storytellers called Celebration Barn Theater, and they started a camp for ten-year-olds. I talked my way into it when I was six years old and created a little clown routine about a very messy boy. I’m sure it didn’t make a lick of sense, but I thought it was very fun and exciting. I wouldn’t be doing what I’m doing now if it wasn’t for Tony.

LE: Paul, when did you discover the Marx Brothers?

PK: I grew up on the Marx Brothers. While I didn’t necessarily get the jokes, I heard my parents laugh at them, so

I would laugh. That’s how I began to understand rhythm and comic timing and verbal repartee.

LE: how did you become involved in clowning?

PK: I actually wanted nothing to do with clowning. It was one of the sec-tions at the Dell’Arte School in Northern California, and I tried to get out of it because my only knowledge of clowning at the time was its negative reputation in our culture. I said, “hmm, no. No rain-bow wigs for me.” But I started to watch the Marx Brothers, Buster Keaton, Charlie Chaplin, Grock and Bill Irwin—and Robin Williams and Jim Carrey. And I suddenly realized that they were all clowns, and the world just opened up for me.

LE: henry, what made you realize that you needed a clowning director for Animal Crackers, and why did you choose Paul?

hW: There are two types of comic busi-ness that we have to create for the show: the familiar comic routines from the film and new comic routines that

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What’s a “Clowning Director,” and Why Does Animal Crackers Have One?

TOP: Paul Kalina. RIGhT: henry Wishcamper in rehearsal

for Talking Pictures. Photo by Michael Brosilow.

don’t exist in Animal Crackers or in any of the other Marx Brothers films. Both have a unique set of challenges: how do you make iconic scenes fresh, and how do you create new routines from scratch?

We needed somebody who had the exper-tise and the ingenuity to be able to create both kinds of comic business and to be comfortable working with actors—some of whom have a great deal of experience clowning, and some of whom have none. The Goodman’s casting director Adam Belcuore suggested that I meet with the 500 Clown folks. We all had a meeting, and Paul and I had similar ideas about how we could blow this script open and make the clowning routines really dynam-ic and surprising, while remaining true to the Marx Brothers’ icons.

LE: Paul, could you tell us how you’ll develop these new routines for the Marx Brothers?

PK: We don’t want audiences to think, “Did they get that right from the movie?” or “That’s not like the movie.” So right off the bat, we’re going to go, “Bam! This is not the movie you know. We’re going to give you a little bit of the show you know, but we’re also going to give you something new.”

When you see a Marx Brothers movie, you’re seeing what the cameras caught on that particular day on that particular take. If you were to watch a different take, the Marx Brothers would be doing something different. They were notorious for playing and spinning out from the script. My job

is to get our actors to be able to play on stage so that they can find moments to spin out. We want the audience to think, “This is a special night. I’m the only one who gets to see this.”

LE: It sounds like the stage could easily become chaotic. henry, would you say that part of your job as director will be to rein in the clowning?

hW: There’s no question. A musical can be one step away from spiraling out of control, but always has logic to it. The sense of control over chaos is what makes Animal Crackers so spectacular and special and surprising. There is a unique and exciting danger in the Marx Brothers’ routines. When you have a cast of actors as accomplished as our cast, chaos is never simply chaos.

PK: henry is describing a very fine line between order and chaos. If the chaos

ends in complete destruction, then that’s not clowning. One of the funda-mental qualities of a clown is resilience, so when a clown is knocked down he doesn’t stay down—he gets back up. If everything is chaotic, there’s nothing to be learned, there’s nothing to be gained and it’s really not any fun. LE: So you will have to trust your actors quite a bit.

PK: A lot. But they’re amazing. I’m really excited about the actors playing the three Marx Brothers.

hW: Joey Slotnick will be playing Groucho playing Captain Spaulding. his perfor-mance won’t simply be a carbon copy of Groucho’s performance. Instead, Joey will play Groucho in the same way that dozens of actors have played Elvis Presley over the course of the years—nobody’s ever done it exactly the same way. Joey’s own unique personality and intelligence will inform the way that he plays Groucho. My hope is that as an audience mem-ber, you’ll have a relationship with Joey Slotnick and with the Groucho icon and with the character of Captain Spaulding—all of which comes together to make something really fresh and new and alive.

LE: Could you tell us a little about the actors who will be playing harpo, Chico and Mrs. Rittenhouse?

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Goodman Theatre is proud to salute Mayer Brown for its generous support as a Corporate Sponsor Partner of Animal Crackers. Mayer Brown is a leading global law firm founded in Chicago in 1881. As a new production sponsor, Mayer Brown is pleased to partner with the Goodman to bring a fresh version of this Marx Brothers classic to Chicago audiences.

Libby Raymond, Mayer Brown partner and a new member of Goodman Theatre’s Board of Trustees, said “I’m pleased to

represent my partners in supporting the Goodman. Mayer Brown is committed to improving the quality of life in all our communities by supporting arts and culture, public interest legal groups and other charitable organizations.”

The Goodman gratefully acknowledges Mayer Brown’s commitment to support-ing the arts and culture in Chicago and around the world.

Mayer Brown Makes the Case for Comedy

hW: Molly Brennan of Chicago’s acclaimed 500 Clown and Chicago favorite Ora Jones will play The Professor (the harpo role) and Mrs. Rittenhouse (originally played by Margaret Dumont) respectively. These two great comic actresses share the ability to capture the essence of the iconic performances of harpo Marx and Margaret Dumont while simultaneously making the roles uniquely their own.

Many of the Marx Brothers’ routines were achievable only because they had worked together for so long. Paul and Molly have years of experience working together, which is a huge advantage. It’s their comfort with each other that has allowed their routines to happen.

PK: Jonathan Brody, who plays Chico, can play the piano just like Chico could. he’s phenomenal and he has Chico’s rhythms. Clowning is not just about mak-ing people laugh, it’s also about virtuosi-ty. Each of the Marx Brothers had a great ability to play instruments. For example, harpo’s skill with his harp provides pathos that gives their comedy greater weight. That is one thing we looked for in the casting process. Everybody in this cast has phenomenal skills.

LE: What are some of their other skills?

PK: We have tap dancing, guitar-playing, acrobatics, tumbling, ukulele and so many more. having actors with skills like these is like having a toy chest that you open up and say, “What can we play with?” The goal is to get these actors playing together so comfortably that they can pull anything out of their toy chest at any moment.

hW: Every member of this nine-person company is a star. It will be fun!

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molly brennan* (The Professor) makes her Good-man debut. She has appeared in productions at Step-penwolf Theatre Company, The Second City, Lifeline Theatre, Chicago Children’s Theatre, Barrel of Mon-keys, The Factory Theatre and The House Theatre of Chicago. She received a Jeff Award for her portrayal of Mikako in Curse of the Crying Heart at The House Theater. Her off-Broadway credits include Lady Mac-beth and the Porter in Macbeth at The Mirror Reper-tory Company. As a company member of 500 Clown, Ms. Brennan has performed in 500 Clown Macbeth, 500 Clown Frankenstein, 500 Clown Christmas and 500 Clown and the Elephant Deal at various venues in Chicago, as well as touring nationwide.

Jonathan brody* (Emanuel Ravelli) was last seen in Chicago in Theda Bara & the Frontier Rabbi in 1992. Mr. Brody has appeared on Broadway in Monty Py-thon’s Spamalot and the original companies of Titan-ic, Me and My Girl and Sally Marr…and Her Escorts opposite Joan Rivers. His off-Broadway credits include Gimpl Tam (in Yiddish), Eating Raoul and the Pirate King in Pirates of Penzance. Mr. Brody has toured with Spamalot, Funny Girl and My Fair Lady. He has ap-peared regionally in Hamlet, I Hate Hamlet, The Dyb-buk, Irma Vep, Urinetown, Groucho: A Life in Revue and many productions of Forever Plaid. His television credits include Guiding Light on CBS, Sondheim: A Celebration at Carnegie Hall, An Evening With Alan Jay Lerner and as George Gershwin in Porgy and Bess: An American Voice on PBS. Mr. Brody has been a proud member of Actors’ Equity for 27 years.

ora Jones* (Mrs. Rittenhouse) returns to the Goodman, where her credits include A Christmas Carol, The Good Person of Setzuan, Proof and Marvin’s Room. She most recently appeared as Maria in Twelfth Night at Chi-cago Shakespeare Theater, where she also appeared as Lucienne in A Flea in Her Ear (After Dark Award) and Mistress Ford in The Merry Wives of Windsor. Ms. Jones is a member of the Steppenwolf Theatre Company Ensemble, where her credits include Jessie Brewster in The Violet Hour (Jeff Award nomination), Aunt Mimi in The Unmentionables and Marilyn in Carter’s Way (Jeff Award nomination). Other Chicago credits include the Stage Manager in Our Town for Writers’ Theatre (After Dark Award), Turtle in A Year With Frog and Toad at Chicago Children’s Theatre and Gwen in Execution of Justice at About Face Theatre. Ms. Jones’ film credits include The Weatherman, Stranger Than Fiction, Save the Last Dance and Were the World Mine.

Joey Slotnick* (Captain Jeffrey T. Spaulding) is an ensemble member of Lookingglass Theatre Company, where his credits include Our Town co-directed by Anna D. Shapiro and Jessica Thebus, Wants & Needs, Great Men of Science Nos. 21 & 22 directed by Tracy Letts, Hard Times, Arabian Nights directed by Mary Zimmerman, The Master and Margarita, Up Against It and The Third Voyage. He appeared in Slotnick Katz & Lehr at Steppenwolf Theatre Company and Fun and Nobody at Next Theatre Company. Mr. Slotnick’s New York credits include Ethan Coen’s Offices at Atlantic Theater Company and Mr. Coen’s world-premiere play Almost an Evening off-Broadway at The Theatres at 45 Bleecker Street following a sold-out extended run at the Atlantic. His other New York credits include The Cartells at Comix and Nicky Silver’s The Altruists at The Vineyard Theatre. Mr. Slotnick’s film credits in-clude Brief Interviews With Hideous Men, Made in Romania, Jesus Cooks Me Breakfast, I Want Someone to Eat Cheese With, Hollow Man, Blast From the Past, Dinner and Driving, Twister, Since You’ve Been Gone, Judas Kiss and A League of Their Own. His television credits include Pushing Daisies, Law & Order: Special Victims Unit, Entourage, Curb Your Enthusiasm, Bos-ton Legal, The Office, TNT’s Pirates of Silicon Valley, CSI, Medium, Ghost Whisperer, Alias, nip/tuck, Bos-ton Public and The Single Guy. Mr. Slotnick received his BFA from Southern Methodist University.

Meet the Cast of Animal CrackersGET TO KNOW ThE TALENTED CAST OF ThIS OuTRAGEOuS, LAuGh-OuT-LOuD MuSICAL COMEDY:

molly Brennan

ora Jones

Jonathan Brody

Joey slotnick

OPPOSITE: Bruce (Adrian Danzig), Shank (Paul Kalina)

and Kevin (Molly Brennan) create the heath in the opening

sequence of 500 Clown Macbeth. Photo by Michael Brosilow.

* Denotes member of the Actors’ Equity Association, the union of professional actors and stage managers in the United States.

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harlem looms large in playwright Dael Orlandersmith’s work. She grew up there and although her play Yellowman was set amid the Gullah culture of South Carolina, early solo works like Monster, Beauty’s Daughter and The Gimmick are all set on the streets of her youth. These plays are haunted by the financial and cultural poverty, addiction and violence that pervaded her childhood. “heroin was at its height then,” she says. “I remember people would carry an extra five dollars in case a junkie came up to them, so they wouldn’t lose their life.”

A voracious reader, Orlandersmith remembers being “really angry” about

having to travel below 96th Street for a decent library. “I always wanted to leave,” she says. And she did escape, finding a voice and a sense of commu-nity through art. She went downtown to hear music at clubs like CBGB and Max’s Kansas City, and she was writing and performing poetry at the Nuyorican Poets Café on the Lower East Side from an early age. She turned to acting and, exasperated by the lack of roles for large black women, started writing parts for herself. An aspiring painter and rock guitarist, she strove to write “like a guitar lick or a slash of paint,” and the result has been a body of muscular, vivid, lyri-cal work that gives voice to characters whose stories are rarely heard.

In a recent conversation with Goodman Literary Manager Tanya Palmer, Orlandersmith reflects on how Stoop Stories fits into her body of work, and why she returns again and again to the streets of her childhood—and the people who live there.

Tanya Palmer: Can you talk a bit about the origin of your latest solo piece, Stoop Stories?

Dael Orlandersmith: There are a few places where people really pour out their souls: beauty shops, barber shops and stoops. I grew up in harlem and the South Bronx, and hung out on the Lower East Side and the East Village. In those places you’d hear a lot of different voices and see different communities, back-grounds and races. All of these people unite on the stoop. That’s where you find out who they are as individuals. Many

people who live there are stuck. They want to connect to someone but they don’t necessarily know how, so they try to connect by talking about themselves. They talk about where they came from and how they ended up on the stoop. There’s a whole world that happens on a stoop. I wanted to look at that world in this play.

TP: When did you start working with director Jo Bonney?

DO: I had performed part of this piece at under the Radar [an annual performance festival held at The Public Theater in New York] and New York Times critic Jason Zinoman saw it. he mentioned me to his mother, Joy Zinoman, who runs The Studio Theatre in Washington, D.C., and she offered me a production. So I started looking for a director. I wanted someone who knows music because I’m really driven by music—specifically rock ’n’ roll.

TP: how did rock ’n’ roll influence Stoop Stories?

DO: The beginning of the play has the feel of Radiohead’s song “Karma Police” mixed with Keith Richards of The Rolling Stones—especially his solo in “Stray Cat Blues.” I needed a director who could understand what I meant by that. A friend recommended Jo Bonney, and I’d always loved her work. So we got togeth-er and jammed on stuff, and we began to talk about the universal experience of going back to your old neighborhood, like the character in Stoop Stories who goes back to harlem. She looks at the neighborhood she once knew and meets the ghosts of the people who lived there.

A Conversation with Stoop Stories’ Playwright and Performer Dael Orlandersmith

TP: Another striking part about this piece—and your work in general—is that you not only write characters that are very different from you—like the 81-year-old holocaust survivor in Stoop Stories—but you also perform them. What attracts you to writing and per-forming these characters?

DO: I’m interested in the people no one notices—the invisible people you pass by every day, like the people sitting out on the stoop. I notice these people because it’s part of my DNA. I remember someone I met on a train the day before Thanksgiving when I was 15. I was on my way to Connecticut to visit some relatives. It was mad late and there were very few people on the train, so the conductor was keeping me company. he asked me where I was going, and I said, “I’m going to visit my family for Thanksgiving. You gonna go to your fam-ily?” he just looked at me and smiled. So I said, “Yeah, my aunt’s got turkey and she does this and that…” And he’s just looking at me and smiling. I ask him about his family again, and he changes the subject. I finally get to my station and my cousins are there to pick me up. I tell the conductor, “You have a great Thanksgiving.” And he says, “You too.”

It wasn’t until 20 or 30 years later when I looked back on that conversation that I realized the man didn’t have anyone. I’m interested in people like him.

TP: how did that revelation influence your work?

DO: I realized that one moment can affect someone’s life. In the play, herman the holocaust survivor meets Billie holiday at the end of her life, and they impact each other’s lives. Both of these people share knowledge of racism—and a love of music. Music does something indelible. You don’t have to talk; it’s just there.

TP: Is there a musician with whom you feel a connection like herman’s connec-tion with Billie holiday?

DO: I was 14 the first time I heard the singer Édith Piaf in a documentary on TV. She was wearing a little black dress and singing “La Foule.” I didn’t understand the words, but I understood their meaning. I could relate to her. In life, we constantly concentrate on what separates us, but you’d be surprised at what connects us.

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Individual Support for New Work The generous support of our World Premiere Season Sponsors and our New Works Season Sponsors helps make possible our commitment to developing new works for the American theater. New Works Season Sponsors and World Premiere Season Sponsors will assist in producing Stoop Stories, High Holidays and The Long Red Road. World Premiere Season Sponsors will also provide sup-port for A True History of the Johnstown Flood. The Goodman is truly grateful to the sponsors who make possible our dedication to nurturing and producing new works of art.

m. ann o’brienrandy and Lisa WhiteWorld Premiere Season Sponsor

Julie and roger baskesJoan and robert cliffordPatricia coxJulie m. Danis and Paul f. Donahueeva and michael Losaccoalice rapoport and michael Sachs/Sg2Shaw family Supporting organizationorli and bill StaleyNew Work Season Sponsors

Commitments as of August 24, 2009

“ In life, we constantly concentrate on what separates us, but you’d be sur-prised at what connects us.” —Dael Orlandersmith

OPPOSITE: Dael Orlandersmith. RIGhT: Dael Orlandersmith

in Studio Theatre’s 2009 world-premiere production of

Stoop Stories. Photo by Matt Goldenberg and provided by

The Studio Theatre, Washington D.C.

Corporate Sponsor Partner for Stoop Stories

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Chicago playwright Alan Gross’ latest play is a darkly funny coming-of-age story about a boy preparing for his Bar Mitzvah in the fall of 1963. This was a pivotal year in American cultural and political history; it was the year Reverend Martin Luther King Jr. marched on Washington and delivered the famous “I have a Dream” speech, the year Civil Rights leader Medgar Evers was assas-sinated and the year four young girls were killed when the Ku Klux Klan bombed Birmingham’s Sixteenth Street Baptist Church. It was the year feminist author Betty Friedan published her seminal work, The Feminine Mystique. And it was the year that John F. Kennedy, the charis-matic young president, was assassinated. The changes that are roiling the Roman family in High Holidays are more person-al and mundane, but no less earth-shat-tering for those involved. Billy is terrified

by the prospect of reciting his Torah portion at his upcoming Bar Mitzvah and desperate to find a way out of it. his older brother Robbie, home from college for a visit, is equally desperate to find an escape from a different sort of ritual: higher education. Instead of taking a traditional path (school, job, marriage, children), he embraces the growing counterculture that would come to define the 1960s. Billy and Robbie’s parents, Essie and Nate, feel they have sacrificed everything to provide a decent life for their children—but are now trapped between the expectations of their own immigrant parents and their children’s disdain for their suburban lifestyle. Though set in a fictional “Iroquois, Illinois,” the play is clearly inspired by Gross’ experience growing up in a Jewish section of north suburban Skokie in the 1960s. In an article published in Chicago magazine in 1981, Gross reflected on his ambivalence about his childhood home: “I didn’t like Skokie. I was painfully aware of the white-on-white poodles on white-on-white rugs, the plastic furniture

covers, vinyl flowers and Melmac dishes. I needed texture in my life. My God, the real writers were growing up on the Lower East Side and in the honeysuck-led South, and here I was in a milieu of lawn mowers and sectional sofas.” While he may have bristled at the trap-pings of middle-class suburban prosper-ity, he understood its significance for his parents. his grandparents and their contemporaries had fled Eastern Europe and struggled to make a life for themselves in the united States, often in immigrant enclaves like the west side of Chicago where Gross’ family owned a business. Their children, like Gross’ father, grew up during the Great Depression, watching what little their families had been able to amass melt away. Gross explains that during the Depression, “My grandparents moved into the back of a store and lived in the storeroom. My father spent his teen-age years on an army cot beneath a row of boxes. Is it any wonder that he wanted a home of his own, a backyard, a ping-pong table and wall-to-wall carpeting?”

The migration of Gross’ parents from Chicago’s northwest side to Skokie in

Alan Gross, High Holidays and Becoming a Man in a Suburban Wasteland By Tanya Palmer

Though set in a fictional “Iroquois, Illinois,” the play is clearly inspired by Gross’ experience growing up in a Jewish section of north suburban Skokie in the 1960s.

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the 1950s reflected a broader exodus: young families were moving out of the city in droves to new communities whose development was fueled by the post-war boom. For couples like Essie and Nate the suburbs meant a safe place to raise their kids, upward mobility and escape from the cramped conditions of the city. But for their children the suburbs meant discon-nection and isolation. Robbie responds by building a new identity, taking his cues from a burgeoning counterculture defined by artists like Bob Dylan. For Billy, who is literally on the precipice of becoming a man, the next steps are far more confus-ing. unable to decipher the language of his forefathers, he must look for clues to his identity within himself.

Gross holds up a miror to himself and his experiences in High Holidays. Written in the years following his mother’s death, the play is as much a self portrait as it is a family drama.

“When my mother died, we had the shards of our family kind of given to us,” Gross explains. “her collections, our pho-tographs, our books of vacations, my Bar Mitzvah book. I started to put these things together and I found that to be interest-ing. I wanted to try a family play while I was still…not senile. Freud said that work and family are the two great things that the twentieth century is about. I hadn’t yet written about family and probably wouldn’t have if my mother hadn’t passed away. Although, I must say, the character of Essie is not my mother. Like Flaubert said that he is Madame Bovary, I am Essie. I am all four of the characters.”

The Tradition of Bar MitzvahBar Mitzvah is a Jewish religious ritual and family celebration commemorating the religious adulthood of a boy on his 13th birthday. The boy, now deemed personally responsible for fulfilling all the commandments, may henceforth don phylacteries (religious symbols worn on the forehead and left arm) during the weekday-morning prayers and may be counted an adult whenever ten male adults are needed to form a quorum (minyan) for public prayers.

In a public act of acknowledging religious majority, the boy is called up during the religious service to read from the Torah. Following the 13th birthday, this event may take place on any occasion at which the Torah is read but generally occurs on the Sabbath. The liturgy of the day thus permits the boy to read the weekly text from the prophets, called haftara. This is sometimes followed by a hortatory discourse [or persuasive speech]. After the religious ceremony, there is often a festive kiddush, or prayer over a cup of wine, with a family social dinner or banquet on the same or the following day.

Although records of the second century mention 13 as the age of religious manhood, most elements of the Bar Mitzvah celebration did not appear until the European Middle Ages. After 1810, Reform Judaism replaced Bar Mitzvah with the confirmation of boys and girls together, generally on the feast of Shavuot. In the twentieth century, however, many Reform congregations restored Bar Mitzvah, delaying confirmation until the age of 15 or 16. Numerous Conservative and Reform congregations have insti-tuted a separate ceremony to mark the adulthood of girls, called Bat Mitzvah.

Excerpted courtesy of Encyclopaedia Britannica, Inc., copyright 2009; used with permission.

OPPOSITE: Photo of Alan Gross by On Location Creations.

RIGhT: Burton hochberg (left) becomes a Bar Mitzvah

on September 22, 1962, at Albany Park hebrew

Congregation in Chicago.

Quite the Crowd PleaserOn June 1, the Goodman celebrated the opening night of Rebecca Gilman’s The Crowd You’re In With at Club Petterino’s. Guests gathered for din-ner and conversation while enjoying a selection of brews from the production’s Official Beverage Sponsor, Goose Island Beer Company. Afterward, guests moved to the Owen Theatre for Ms. Gilman’s provocative new play.

The Goodman would like to thank the follow-ing sponsors for their support of The Crowd You’re In With: Major Production Sponsor The

Edith-Marie Appleton Foundation; Owen Season Sponsor Sara Lee Foundation; New Works Season Sponsors Roger and Julie Baskes, Patricia Cox, Eva and Michael Losacco, Kenneth and harle Montgomery Foundation, Michael and Kay O’halleran, Alice Rapoport and Michael Sachs, Sg2, Mr. and Mrs. Robert E. Shaw, Beth and Alan Singer, Orli and Bill Staley and helen and Sam Zell; Contributing Sponsor Baxter International and Director Society Sponsors M. Ann O’Brien and Merle Reskin.

RIGhT (top to bottom):

Director’s Society Sponsor Merle Reskin, playwright Rebecca Gilman, honorary Chairman

Albert I. Goodman, director Wendy C. Goldberg, Executive Director Roche Schulfer, Chairman

Patricia Cox, Maria Goodman and New Works Sponsors Roger and Julie Baskes.

Beth Noonkester, Elaine Salewske, Celene Peurye and Tarsis Lopez of Baxter International Inc.

Photos by Mike Greer.

Women’s Night On June 9, approximately 250 of Chicago’s most dynamic women enjoyed a festive evening of camaraderie and network-ing at Club Petterino’s. Following the reception, guests attended a performance of Rebecca Gilman’s hit new play, The Crowd You’re In With (the final production of our very successful Strong Women, Strong Voices season in the Owen Theatre).

Thanks to all who made this event possible: Lead Corporate Sponsor Abbott; Contributing Sponsor Macy’s; Event Sponsors Allstate, CDW, Exelon, Fifth Third Bank, Leo Burnett and u.S. Cellular and Beverage Sponsor Goose Island Beer Company. Also, a special thanks to Trustees Kristin Anderson-Schewe, Shawn M. Donnelley, Vicki V. hood, Beth Bronner Singer, Dia S. Weil and Susan J. Wislow for their sponsorship of Women’s Night.

The Co-Chairs of the event deserve a standing ovation: Goodman Trustees Kristin Anderson-Schewe, Julie M. Danis and Elaine R. Leavenworth.

Cheryl Cooke, Rudi Lyons and Karen uhler (all from Allstate).

holly hollub (uBS), Lisa haag and Elizabeth Sanders. Photos by Abby Emo.

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An Enchanted EveningOn June 29, sponsors and guests gathered to celebrate the open-ing of José Rivera’s Boleros for the Disenchanted. After dining at Club Petterino’s, guests moved to the Albert Theatre to enjoy Mr. Rivera’s poignant love story.

We would like to thank Major Production Sponsor The Chicago Community Trust; Director Society Sponsors Thomas and Sherry Barrat, María C. Bechily and Scott hodes, Russell N. Johnson and Mark D. hudson, M. Ann O’Brien, J. Kevin and Jeanne Poorman, Robert Kohl and Clark Pellett and Linda and Mitchell Saranow and Latino Theatre Civic Committee members Pastora San Juan Cafferty, Julie M. Danis and Paul F. Donahue, Shawn M. Donnelley, Margie and Wayne Janus, Carmen h. Lonstein, Mr. and Mrs. John McKinnon, Alice and John J. Sabl and Rodrigo and Elizabeth Sierra and Sons. We are also grateful to the Media Sponsors univision Chicago and 106.7 FM Mi Musica, Hoy, Chicago Latino Network and La Raza.

RIGhT (top to bottom):

Trustee Linda hutson, Artistic Director Robert Falls, Chairman Patricia Cox, Goodman Vice

President Julie M. Danis and Trustee Alice Rapoport.

Director’s Society Sponsors Thomas Barrat, Goodman Trustee Sherry S. Barrat, Executive

Director Roche Schulfer, Trustee M. Ann O’Brien, Boleros for the Disenchanted director

henry Godinez, Robert Kohl and Clark Pellett.

Director’s Society Sponsors Mitchell Saranow and Women’s Board member Linda Saranow

with Goodman Resident Artistic Associate henry Godinez.

Michelle Bibbs (Chicago Department of Cultural Affairs) with Eliud hernández (Illinois Arts

Council) and his wife Frieda hernández. Photos by Abby Emo.

Celebrating DiversityOn July 1, sponsors and invited guests enjoyed a reception in the Goodman’s upstairs lobby, followed by a performance of José Rivera’s Boleros for the Disenchanted. Goodman Theatre’s Diversity Nights unite sponsors, government officials, business professionals, civic leaders and artists from the Chicagoland area to celebrate the work of Goodman artists and the theater’s commit-ment to showcasing a wide range of diverse works.

We would like to thank the event’s host Committee Co-Chairs Trustees Rodrigo Sierra and Maria E. Wynne, Women’s Board member Linda Saranow and Scenemakers Council member Elena Reinert for a putting together such a wonderful evening. We extend a big thank you to the Diversity Night Sponsors Allstate, Dominick’s, Fifth Third Bank, Peoples Gas, u.S. Cellular and Beverage Sponsor Goose Island Beer Company. And a very spe-cial thanks to The Joyce Foundation, the Principal Supporter of Artistic Development and Diversity Initiatives at the Goodman.

Women’s Board Member Margie Janus, Soraida Gutiérrez, Trustee and Event Co-Chair

Rod Sierra (Peoples Gas), Congressman Luis Gutiérrez, Trustee and Event Co-Chair Maria

Wynne (Girl Scouts of Greater Chicago and Northwest Indiana), Goodman Theatre Resident

Artistic Associate henry Godinez.

host Committee Members Pepe Vargas (International Latino Cultural Center), Scenemaker

Elena Reinert (Chicago Opera Theater), José Peña (Fifth Third Bank), Martin Castro

(Aetna), Gina Santana (Café Media), Goodman Theatre Resident Artistic Associate henry

Godinez, Trustee Maria Wynne (Girl Scouts of Greater Chicago and Northwest Indiana),

Trustee Rod Sierra (Peoples Gas), Alejandro Escalona (Hoy) and Jaime Viteri (Chicago

Latino Network). Photos by Abby Emo.

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Trustee NewsGOODMAN NAMES NEW ChAIRMAN

Goodman Theatre’s Board of Trustees named Patricia cox its new Chairman. Ms. Cox, whose involvement with the Goodman spans two decades, has worked with a wide range of nonprofit arts organizations in Chicago and across the country. She began her Chairmanship on September 1, when Immediate Past Chairman Shawn M. Donnelley concluded her two-year tenure.

ThE GOODMAN WELCOMES NEW TRuSTEESkathy Brock co-anchors the ABC 7 News. She has received numerous awards, including two Chicago Emmy Awards, the Edward R. Murrow Award and two prestigious national awards for a documentary on humanitarian aid in Mali. She is involved in a number of Chicago philan-thropic endeavors, including Deborah’s Place

and the Erikson Institute. She holds a journalism degree from Washington State university, resides in the northern suburbs and is the mother of two sons.

elizabeth raymond is a partner at Mayer Brown LLP, focusing on corporate and securi-ties law, including mergers and acquisitions and capital markets transactions. She holds a JD from New York university School of Law and an MA from Clare College, Cambridge university. She earned a BA summa cum

laude from Princeton university in comparative literature.

Celebrating Arts Champion Stanley M. FreehlingOn June 8, the Goodman recognized Founding Chairman and Life Trustee Stanley M. Freehling for his contributions to the City of Chicago. Mr. Freehling served as a leader of many of the city’s major cultural institutions and was instrumental in the negotiations that led to the formal separation of the Goodman from the Art Institute in 1977, as well as in recruiting the theater’s first trustees.

Invited guests enjoyed an intimate reception celebrating Mr. Freehling and his wife Joan, a founding member of the Goodman’s Women’s Board and an arts advocate in her own right.

Executive Director Roche Schulfer and Life Trustee Paul h. Dykstra shared personal stories and Chairman Patricia Cox read from a commemorative plaque that will be installed in the Goodman’s lobby.

In tribute to outstanding cultural leaders like Mr. Freehling, the Goodman has established the Founders Fund, which will sup-port the Goodman’s endowment to maintain the beautiful com-plex in the Loop Theatre District so future generations can enjoy all that our founding family members have built.

FIRST ROW: Life Trustees Stanley M. Freehling and Albert I. Goodman. SECOND ROW:

Paul h. Dykstra, Sondra healy, James F. Oates and Carol Prins. Photo by Abby Emo.

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Toasting the Goodman Theatre GalaOn May 30, approximately 600 guests gathered at The Fairmont Chicago for the signature event of the season: the Goodman Gala. The CARNIVALE-themed event featured a performance by televi-sion and Broadway star Mandy Patinkin. Guests wore exquisite masks and danced to lively Latin music into the morning hours.

The event raised more than $700,000 in support of the Goodman’s Education and Community Programs. We extend a tremendous thank you to our Gala Co-Chairs Sondra healy, Cynthia Scholl and Corporate Chair Keith Green. We would also like to recognize our Sponsor Partners Allstate, Sharon and Charles Angell, Joan and Robert Clifford, Shawn M. Donnelley, Ellen and Paul Gignilliat, Albert I. Goodman/The Edith-Marie Appleton Foundation, Sondra and Denis healy/Turtle Wax, Inc., McDonald’s Corporation, Karen and Dick Pigott, J.B. and M.K. Pritzker Family Foundation and Alice and John J. Sabl.

Premiere PreviewGoodman Theatre invited Premiere Society and Spotlight Society members to a special event for an exclusive sneak peek at the Goodman’s 2009/2010 Season. Guests enjoyed cocktails and dinner at Club Petterino’s while Associate Producer Steve Scott provided a taste of the new season with scenes from High Holidays, The Good Negro and

Animal Crackers. At the conclusion of the evening guests received a special gift, a book about the life and times of Groucho Marx. This event is available to donors who make an annual Premiere Society gift of $1,500 or more. If you are interested in making a gift at this level and receiving invitations to exciting events like Premiere Preview, please contact Melissa hard at 312.443.3811 ext. 597 or Melissahard@GoodmanTheatre.org.

Premiere Society Members Audrey and E. Leonard Rubin. Photo by Abby Emo.

Rockin’ Through the YearsOn May 13, the Spotlight Advisory Council held its 5th Annual Estate Planning Seminar. Guests enjoyed a reception at Club Petterino’s with an estate planning presentation that included helpful and current information on taxes, college savings, retire-ment funds and transferring values.

During dinner guests participated in an artistic discussion with Rock ’n’ Roll actor Stephen Yoakam and Goodman Associate Producer Steve Scott. After dessert, guests attended a perfor-mance of Tom Stoppard’s Rock ’n’ Roll. This informative and fun event is available each year to our Spotlight Society mem-bers. For information on how to become a member, contact Senior Director of Major Gifts Kim Swinton at 312.443.3811 ext. 575 or KimSwinton@GoodmanTheatre.org.

Spotlight Advisory Council members Gwen Cohen (Morgan Stanley), David handler

(Kirkland & Ellis LLP), Sandra Newman (K&L Gates LLP), Robert Gibson (Clifton

Gunderson LLP) and Anita Tyson (JPMorgan Private Bank). Photo by Abby Emo.

ABOVE (Clockwise from top): Gala Sponsor Partner Denis healy, Mandy Patinkin and

Gala Co-Chair Sondra healy. Photo by Michael Brosilow. Gala Sponsor Partners Maria and

Albert I. Goodman. Photo by Violet Dominek. Women’s Board members Margie Janus,

Linda Aylesworth, Jennifer Yalowitz and Joan Clifford. Photo by Violet Dominek. Gala

Co-Chair Cynthia Scholl and Gala Corporate Chair Keith Green. Photo by Violet Dominek.

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Joyce Foundation Dinner

Goodman Trustee Lester N. Coney, Acting Chairman of the NEA Patrice Walker Powell and

Goodman Executive Director Roche Schulfer celebrate at a dinner hosted by the Joyce

Foundation in conjunction with the Foundation’s Annual Meeting on April 15. After dinner,

guests attended a performance of Naomi Iizuka’s Ghostwritten, commissioned through a

2004 Joyce Award. Photo by Mike Greer.

Stars RevealedOn June 29, Immediate Past Chairman Shawn M. Donnelley and Artistic Director Robert Falls were each honored with a plaque on the Goodman’s “Walkway of Stars.”

Ms. Donnelley, the youngest Chairman ever to serve at the Goodman, was honored for her extraordinary support of the theater’s endowment as well as her steadfast leadership in the philanthropic community of Chicago. Mr. Falls was honored for the outstanding artistic leadership and vision he has brought to the Goodman for more than two decades.

Guests gathered in the Patrons’ Lounge following the ribbon-cut-ting ceremony for an intimate reception to toast Ms. Donnelley and Mr. Falls for their stellar achievements.

Immediate Past Chairman Shawn M. Donnelley and Artistic Director Robert Falls.

Photo by Abby Emo.

Shubert Foundation Provides Historic SupportIn May, the Shubert Foundation awarded Goodman Theatre an unprecedented $275,000 gift, the largest annual general oper-ating support grant in the theater’s 84-year history.

“The Goodman’s artists, staff and trustees are incredibly grate-ful to the Shubert Foundation for its extraordinary support of Goodman Theatre,” said Executive Director Roche Schulfer. “The Foundation’s visionary longstanding commitment to unre-stricted general operating support is unprecedented, unrivaled and extremely generous—and has had an enormous impact on the growth of the American theater over three decades. We thank the Shubert Foundation for enabling our artists to create at the highest stan-dards of excellence.”

Vicki Reiss (The Shubert Foundation)

and Goodman Executive Director

Roche Schulfer at the opening of

Desire Under the Elms on Broadway.

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A Standing Ovation for the 2009 General Theater Studies Program!

This summer, 77 students from across Chicago filled the theater for the Goodman’s General Theater Studies (GTS) program’s most successful season to date.

GTS offers students ages 14 through 19 an intensive introduction to theater production. With a focus on critical literacy and sto-rytelling, the summer program is designed to validate the voices of its participants, inspire students to examine their potential for creativity and introduce them to all elements of the creation of theater, both onstage and behind the scenes.

utilizing techniques from oral history and personal storytell-ing, the 2009 program explored the violence that threatens our world and examined our struggles—both individually and col-lectively—to find peace amid that chaos. The theme, suggested by the students themselves, unfortunately hits close to home for many young people in Chicago. For six weeks, the students worked in small groups to create personal narratives, scenes and monologues that explored their feelings about the violence they see in their everyday lives. They wove together their own stories and the stories that were collected from guest speakers and interviews with family members to create an intensely emo-tional production. The program culminated in three standing-room-only performances.

RIGhT (top to bottom): high school student Sam Blobaum (left) in Domino Effect, the GTS

final performance. high school students stage a rally against violence during Domino Effect.

We would like to thank the sponsors whose support made this program possible: Gaylord

and Dorothy Donnelley Foundation, uBS, The Field Foundation of Illinois, Anonymous and

the Elizabeth Morse Charitable Trust.

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Join us for an eVening of animal crackers at the music Boxmonday, september 21 | 7pm the music Box theatre | 3733 n. southport ave.Join us at the Music Box for a special screening of the classic 1930 film Animal Crackers, followed by “You Bet Your Life: Marx Brothers Mayhem from Stage to Screen,” a panel discus-sion featuring members of the Goodman’s production and other experts. This event is part of Goodman’s CONTEXT series.

tickets are $10 ($5 for goodman subscribers and students with subscriber card/student id) and are available day-of-show at the music Box.

go Behind the scenes with the new artists talk seriesanimal crackers artists talkwednesday, september 23 | 6-7pm | goodman theatreThe Goodman is pleased to announce our new Artists Talk series, featuring conversations with members of the creative team of each production in the 2009/2010 Season. The Artists Talk for Animal Crackers on Wednesday, September 23 will fea-ture a panel discussion with director henry Wishcamper, chore-ographer John Carrafa and clowning director Paul Kalina. admission is free for subscribers and $5 for the general pub-lic; call 312.443.3800 for reservations.

Don’t Miss These Animal Crackers Special Events

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Tickets NOW on Sale to the Goodman’s Beloved Classic, A Christmas CarolCharles Dickens’ classic story, the exceptional actors and the miraculous stagecraft have made A Christmas Carol a beloved Chicago tradition for more than three decades. Every year, audiences look forward to the “Bah humbugs,” the arrival of the ghosts, the music and dancing and Scrooge’s joyful discovery of life and love. This timeless play is sure to put the magic in your holiday season!

get your seats today: 312.443.3800 or goodmantheatre.org why organize a grouP?A Christmas Carol is the perfect show for your group of friends, family, clients or co-workers.• group rates for 15 or more start as low as $25• group rates for 10 or more are available for some performances• dinner packages for lawry’s the Prime rib are available for some dates• one free ticket per 50 purchased• special incentives for leisure travel groups• customized packages to fit your needs and budget!

get your seats today by contacting kim furganson at 312.443.3820 or kimfurganson@goodmantheatre.org.

Major Corporate Sponsor Corporate Sponsor Partner

Photo of Larry Yando by Brian Warling.

Design and direction by Kelly Rickert.

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Show Us Your Best Groucho Impression—and WIN!here’s your shot at the limelight. Post your best and most original Groucho impression on YouTube for the chance to win two tickets to Animal Crackers, a backstage pass to meet the cast after the show and dinner at a fabulous downtown restaurant. The contest will be judged by Goodman Associate Producer Steve Scott. for more information about how to submit your video, visit goodmantheatre.org and click the “groucho contest” link. deadline for submission is 12 noon on october 15.

What’s Your Favorite Marx Brothers’ Moment? ANIMAL CRACKERS ACTRESS MOLLY BRENNAN SPEAKS OuT! “Gloria and Mike Stivic dressed as harpo and Groucho for halloween on All in the Family, and I thought Gloria was so funny. It was only when the VCR was invented that I saw Horsefeathers and Duck Soup, then I watched Day at the Races and Animal Crackers when I started working with 500 Clown. Now I’m playing The Professor in Animal Crackers—the part originally performed by harpo Marx!” have a story to share? Visit the goodman’s blog at goodman-theatre.blogspot.com to read more favorite marx Brothers’ moments from the animal crackers cast and crew—and to share your own marx Brothers memories.

We Want to Hear From YOU!

Non-profit Org.U.S. PostageP A I DChicago, ILPermit No. 2546

170 NORTh DEARBORNChICAGO, ILLINOIS 60601

WhaT GreaT TheaTer ShoULD be

Join us as we kick off the 2009/2010 Season with a celebration invoking the glamour of Hollywood’s golden era. First, enjoy cocktails and dinner at Palmer House, then head to the Goodman for a performance of the season’s opening production, Animal Crackers.

Individual tickets: $1,000 | Tables: $10,000 and $25,000

SeaSon opening Benefit Featuring

friday, sePtemBer 25, 2009Dinner at Palmer house and performance at Goodman Theatre.

Book By george s. kaufman and morrie ryskindMusic and Lyrics By Bert kalmar and harry ruBydirected By henry wishcamPer

for tickets and information, please contact katie frient at 312.443.3811 ext. 586 or at katiefrient@goodmantheatre.org.

Corporate Sponsor Partners for Animal Crackers

Corporate Sponsor Partner for Animal Crackers and Benefit Sponsor Partner Event Sponsor

Commitments as of August 24, 2009.

Goodman Theatre Women’s boardMajor Production Sponsor for Animal Crackers

merle reskinrichard and Sheryl Weisberg

Sponsors for Animal Crackers

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