University Opera Theatre | University Philharmonia Orchestra

March 22 - 25, 2012 | Lydia Mendelssohn Theatre

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The University of Michigan, School of Music, Theatre & Dance,University Opera Theatre presents

Music by Igor StravinskyLibretto by W. H. Auden and Chester Kallman

after the series of etchings by William HogarthThe Rake’s Progress premiered on September 11, 1951 at Teatro La Fenice in Venice.

DirectorConductor/Music Director

Assistant ConductorScenic Designer

Projection DesignerCostume DesignerLighting Designer

Wig DesignerDiction

Chorus MasterRepetiteurs/Harpsichord

Stage Manager

Robert SwedbergMartin KatzYaniv Segal ‡Russ JonesLisa BuckChristianne MyersCharles MalottErin Kennedy LunsfordTimothy CheekGeorge CaseSahar Nouri, Kathryn TremillsKelsy Durkin

The Rake’s Progress will be performed with two intermissions.

‡ Yaniv Segal will conduct the performance on Sunday, March 25, 2012.

The performers in this production are students in the SMTD. The designers are undergraduate students, guests, and faculty in the Dept. of Theatre & Drama. Scenery, costumes, properties, sound, and lighting were realized by the students and staff of University Productions, the producing unit of the SMTD. Ticket sales assist in providing SMTD students with practical training experience before live audiences. Thank you for supporting our educational mission.

Latecomers will be seated at a suitable break. As a courtesy to others, please set cellular phones and pagers to silent mode and refrain from texting during the performance. Photography, audio recording and videotaping of any kind are not permitted.

A very special thanks to the Friends of Opera for their support and purchase of the student performer’s vocal scores for these performances.

The School of Music, Theatre & Dance acknowledges the generosity of McKinley Associates, Inc. whose support has helped make this production possible.

Media Sponsorship by WRCJ.

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Joshua Bell leader and violin Academy of St. Martin in the FieldsSunday \ April 22 \ 4 pmHill Auditorium

PROGRAMBeethoven Coriolan Overture, Op. 62 (1807)Beethoven Violin Concerto in D Major, Op. 61 (1806)Beethoven Symphony No. 7 in A Major, Op. 92 (1811-12)

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Cast of CharaCters

University Philharmonia orChestra

marCh 22 & 24, 2012 marCh 23 & 25, 2012Father Trulove ..........................Benjamin Sieverding .....................................Ben BradyAnne Trulove, his daughter ....................Hailey Clark ......................Anne Jennifer NashTom Rakewell, her sweetheart ...............Kevin Newell ................................Jonas HackerNick Shadow ....................................... Isaac Droscha ..................................Steven EddyMother Goose, a brothel-keeper ......Jayme Kelmigian ..........................Amanda O’TooleBaba the Turk, bearded lady ................... Sarah Davis ................ Stephanie SchoenhoferSellem, an auctioneer ...............................Alan Nagel .......................... Justin Berkowitz

Ensemble ...................................... Stephanie Aboukasm, Nora Burgard, Bradley Goad, Zachary Goldman, Paul Grosvenor, Jordan Harris, Glenn Healy, Lauren Jacob, Imani Mchunu, Pavitra Ramachandran, Francesco Salpietro, Jonathan Schechner, James Schmid, Alexandra Shaw, Alexandria Strother, Jillianne Tucker

Violin ............. Gunnhildur Dadadottir‡, Lindsey Bordner*, Immanuel Abraham, Alexander Carney, Alexis Choi, Melvin Diep, Sharon Lee, Forrest McKinney, Carina Remmel, Davis WestViola .................................... Amy Pikler*, Alex Fox, Jack MobleyVioloncello ...........................Victor Huls*, Amy Kim, Daniel PocetaDouble Bass ................ Kohei Yamaguchi*, Charles ReischlFlute ......Shun Tien Hsu, Emily WespiserOboe ............ Travis Blume, Laura GobenClarinet ................. Nonna Aroutiounian, Natalie Grata

Bassoon ..........................Nathaniel Hoshal, Tim McCarthyHorn ......... Mark Kennedy, Jordan MillerTrumpet ..Bryce Schmidt, Stephanie TuckTimpani .........................Jonathan BrownHarpsichord ..Sahar Nouri (March 23 & 25) .....Kathryn Tremills (March 22 & 24)

‡ Concertmaster * Principal

Director of Orchestras .......Kenneth KieslerUPO Conductor ..Christopher James LeesDir. of Ensemble Operations .... Emily AversMgr. of Ensemble Operations ..David AderentePersonnel Manager .............. Christina LiuEquipment ..Matthew Anderson, Li Kuang

aCknowledgments Supertitles by Robert Swedberg.

Special thanks to U-M Flint, Western Michigan University, Eastern Michigan University, and Opera Memphis.

This production is entered in the Kennedy Center American College Theater Festival (KC/ACTF).

June 14-17June 14-17BohemeLa `BohemeLa `

LydiaMendelssohn

Theatre

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synoPsis Setting: 18th century England

ACT I Tom Rakewell is courting Anne Trulove outside her father’s house in the country. Trulove has doubts about his daughter’s proposed marriage and tries to arrange a regular job for Tom; but he resists the idea and, left on his own, declares his intention to “live by my wits and trust to my luck”. When Tom expresses his wish for money, Nick Shadow appears and tells him that an unknown uncle has left him a substantial fortune. He then invites Tom to employ him as a servant and go with him to London to sort out his inheritance. The second scene, set in Mother Goose’s brothel, shows Shadow introducing his new master to the sleazy aspects of London life. But Tom is uneasy and laments his betrayal of love, yet accepts Mother Goose’s invitation to spend the night with her. Meanwhile, back in the country, Anne wonders why she has not heard from Tom. She decides to go and look for him.

ACT II Tom is bored with his dissolute life. He utters his second crucial wish, for happiness, whereupon Nick makes the odd suggestion that he demonstrate his freedom by marrying Baba the Turk, the bearded lady at a fair. Soon afterwards Anne finds Tom’s London house, only to see him emerge from a sedan chair which also contains Baba, whom he has just married. Tom tells Anne to leave, yet genuinely regrets what has happened. In the next scene Tom is clearly finding his eccentric marriage intolerable, as Baba is a chatterbox with a fiery temper. He silences her, then falls asleep. Waking from a strange dream, he sees Nick making the dream come true by setting up a “fantastic baroque machine” to turn stones into bread - hinting that if such machines were mass-produced Tom could become a savior of mankind.

ACT III The plan has failed - the act starts with the auction of the ruined Tom’s property. The objects for sale include Baba, who has remained immobile since being silenced months earlier. When unwrapped, she resumes her tantrum, but calms down when Anne enters. Baba advises her to find Tom and “set him right”, then returns to her life in the fairground. In a graveyard, Nick reveals his identity and demands Tom’s payment - with his soul - for a year and a day of service; but as midnight strikes, Nick offers him an escape in the form of a game of cards, which Tom wins, thanks to the benign influence of thoughts of Anne. Defeated, Nick sinks into the ground, condemning Tom to insanity as he goes. Consigned to Bedlam, Tom believes he is Adonis. Anne (“Venus”) visits him, sings him to sleep, then quietly leaves him. When he realizes she has gone, he dies. Five characters point the simple moral: that the Devil finds work for idle hands.

— Courtesy San Francisco Opera

aboUt the ComPoser igor feodoroviCh stravinsky (Composer) was born near St. Petersburg, on June 17, 1882. Stravinsky’s musical education began with piano lessons at home when he was ten; he later studied law at St. Petersburg University and music theory with Fyodor Akimenko, Vassily Kalafati, and Nikolay Rimsky-Korsakov.

The Firebird, a ballet commissioned by Sergei Diaghilev and premiered by his Ballets Russes in Paris in 1910, followed by

Petrushka (1911), brought Stravinsky into sudden international prominence. His next major score – a third ballet commission from Diaghilev – is one of the major landmarks in the history of music: The Rite of Spring marked the coming of modernism in music and was met with a mixture of astonishment and hostility. A rapid succession of works followed – The Nightingale, an opera, in 1914, Renard (1915), The Soldier’s Tale (1918), the Symphonies of Wind Instruments (1920). Stravinsky settled in France in 1920, taking French citizenship in 1934. The explicitly Russian flavour of his music – played out in the Symphonies, Mavra (1922) and Les Noces (1923) – gave way to a more refined neo-classicism, beginning with the ballet Pulcinella (1920). In a mere eight months starting in November 1938, Stravinsky suffered the deaths of his daughter, mother, and wife. Faced with an imminent war in Europe, Stravinsky and his second-wife-to-be emigrated to the United States.

Pulcinella turned out to be only the first of many works in which Stravinsky subsumed the music of the past to his own purposes, among them The Fairy’s Kiss and Apollon Musagète. Two choral-orchestral works – Oedipus Rex (1927) and the Symphony of Psalms (1930) – showed that he could also work on an epic scale; and it was not long before he tackled a purely orchestral Symphony in C (1938), which was followed by the Symphony in Three Movements. With Perséphone (1934), Jeu de Cartes (1936) and Orpheus (1946), his series of ballets continued, generally in collaboration with George Balanchine. Stravinsky’s neo-classical period culminated in 1951 in his three-act opera The Rake’s Progress, to a libretto by W. H. Auden and Chester Kallman. One of the most unexpected stylistic volte-faces in modern music came in 1957, with the appearance of the ballet Agon. Hitherto, he had ignored Schoenbergian serialism, but in 1952 he began to study Webern’s music intensely and Agon was the first work in which he embraced serialism wholeheartedly. The chief works from Stravinsky’s late serial flowering are Threni, (1958), The Flood (1962), Abraham and Isaac (1963), Variations for Orchestra (1964) and Requiem Canticles (1966).

Stravinsky was also active as a performer of his own music, initially as a pianist but increasingly as a conductor. The first among contemporary composers to do so, he left a near-complete legacy of recordings of his own music. His conducting career continued until 1967, when advancing age and illness forced him to retire from the concert platform. Stravinsky died on April 6, 1971, in New York, and his body was flown to Venice for burial on the island of San Michele, near to the grave of Diaghilev.

— Excerpted and reprinted by kind permission of Boosey & Hawkes

aboUt the librettists

w. h. aUden and Chester simon kallman (Librettists)Wystan Hugh Auden (February 21, 1907 - September 29, 1973) exerted a major influence on the poetry of the twentieth century. Auden grew up in Birmingham, England and was known for his extraordinary intellect and wit. His first book, Poems, was published in 1930 with the help of T. S. Eliot. Auden won the Pulitzer Prize in 1948 for The Age of Anxiety. Of all the mid-

20th-century poets, Auden was the most actively concerned with music; the third part of his Collected Poems (1945) consists of 38 ‘songs and other musical pieces’, including the five lyrics set in Benjamin Britten’s cycle On this Island (1938), his Song for St Cecilia’s Day (1941) and arias from his ‘choral operetta’ Paul Bunyan (1941). With Britten he collaborated on films (Coal Face, 1935; Night Mail, 1936), broadcasts (Hadrian’s Wall, 1937; The Dark Valley, 1940), and plays (The Ascent of F.6, 1937; On the Frontier, 1938). Just before World War II broke out, Auden emigrated to the United States where he met Chester Kallman, who became his lifelong lover. Kallman (January 7, 1921 – January 18, 1975) was an American poet, librettist, and translator. Born in Brooklyn, Kallman received his B.A. at Brooklyn College and his M.A. from the University of Michigan. He published three collections of poems, Storm at Castelfranco (1956), Absent and Present (1963), and The Sense of Occasion (1971).

In 1948, Auden declared himself an ‘opera addict’; stating Kallman ‘was the person who was responsible for arousing my interest in opera’. In that year Kallman and Auden collaborated on the libretto for Stravinsky’s The Rake’s Progress (1951). They collaborated on two librettos for Henze, Elegy for Young Lovers (1961) and The Bassarids (1966), and on the libretto of Love’s Labour’s Lost (based on Shakespeare’s play) for Nicolas Nabokov (1973). Kallman and Auden also wrote a libretto “Delia, or, A Masque of Night” (1953), intended for Stravinsky, but never set to music. Their last libretto, The Entertainment of the Senses, was an antimasque for insertion into the Gibbons-Locke Cupid and Death. It was posted to its composer, John Gardner, a few days before Auden’s death. About half of The Rake’s Progress and, by Auden, ‘about 75%’ of Elegy has been credited to Kallman – though, in a joint essay, the collaborators described themselves as a ‘corporate personality’. Kallman was the sole author of the libretto of The Tuscan Players for Carlos Chávez (1953, first performed in 1957 as Panfilo and Lauretta). He and Auden collaborated on a number of libretto translations, notably Die Zauberflöte and Don Giovanni. Kallman also translated Verdi’s Falstaff (1954), Monteverdi’s The Coronation of Poppea (1954), Donizetti’s Anna Bolena, Mozart’s Die Entführung aus dem Serail, and Bartók’s Bluebeard’s Castle.

aboUt the Cast stePhanie aboUkasm (Ensemble) junior, BM Vocal Perf., Grosse Pointe Park, MIJUstin berkowitz (Sellem) grad student, MM Vocal Perf., Edina, MNben brady (Father Trulove) junior, BM Vocal Perf., Denver, COnora bUrgard (Ensemble) first-year, BM Vocal Perf., Chapel Hill, NChailey Clark (Anne Trulove) grad student, MM Vocal Perf., Cary, NCsarah davis (Baba) grad student, MM Vocal Perf., Ashburn, VAisaaC drosCha (Nick Shadow) grad student, DMA Vocal Perf., Mason, MIsteven eddy (Nick Shadow) grad student, Specialist Vocal Perf., Laurel, MDbrad goad (Ensemble) senior, BM Vocal Perf., Christiansburg, VAzaChary goldman (Ensemble) sophomore, BM Vocal Perf., Great Neck, NYPaUl grosvenor (Ensemble) junior, BM Vocal Perf., Brooklyn, NYJonas haCker (Tom Rakewell) grad student, MM Vocal Perf., Lake Delton, WIJordan harris (Ensemble) junior, BM Vocal Perf., Evanston, ILglenn healy (Ensemble) sophomore, BM Vocal Perf., Los Altos, CAlaUren JaCob (Ensemble) junior, BM Vocal Perf., Grosse Pointe Park, MIJayme kelmigian (Mother Goose) senior, BM Vocal Perf. w/Teaching Cert., Farmington

Hills, MIimani mChUnU (Ensemble) sophomore, BM Vocal Perf., New York, NYalan nagel (Sellem) junior, BMA Vocal Perf./BA Philosophy, Johnston, IAanne Jennifer nash (Anne Trulove) grad student, DMA Vocal Perf., Pittsford, NYkevin newell (Tom Rakewell) grad student, MM Vocal Perf., Edgar, WIamanda o’toole (Mother Goose) junior, BM Vocal Perf., Mechanicsville, VAPavitra ramaChandran (Ensemble) sophomore, BM Vocal Perf., Naperville, IL

The University of Michigan School of Music, Theatre & Dance is honored to have been selected by the estate of Blanche Thebom, one of the twentieth century’s great mezzo-sopranos, to help continue Ms. Thebom’s legacy through the establishment of the Blanche Thebom Opera Scholarship Fund for voice students pursuing a career in opera performance. Ms. Thebom helped to firmly establish the operatic tradition in the United States. In addition to her renowned career on opera stages throughout the world, she dedicated much of her career to nurturing operatic talent in young singers. The SMTD is grateful to be recognized for its long tradition of cultivating operatic talent and is proud to be linked to the legacy of Blanche Thebom.

Blanche Thebom as Amneris in Aida, photo by Sedge LeBlang, courtesy of the

Metropolitan Opera Archives.

Blanche Thebom Opera Scholarship Fund

aboUt the artists lisa bUCk (Projection Designer) Projection Design: Orlando Opera: Pagliacci and Carmina Burana with Cirque du Soleil, La clemenza di Tito, Don Giovanni, L’enfant et les sortilèges. UM Opera Workshop: The Tales of Hoffmann, The Magic Flute. Mad Cow Theatre: Anton in Show Business. Scenic Design: With Robert Swedberg - Don Pasquale, Gianni Schicchi, HMS Pinafore, Abduction from the Seraglio. Charge Scenic Artist: Mole’s Homecoming, Galileo, Frankie & Johnny in the Claire de Lune, Les Liaisons Dangereuses, Cinderella, Archy & Mehitabel, Urinetown, Later Life with Martin Charnin and Cary Wong’s The Magic Flute.

kelsy dUrkin (Stage Manager) is a senior BFA candidate in the Dept. of Theatre & Drama concentrating in stage management. UM: Little Women, the Musical, Arms and the Man, All’s Well That Ends Well (SM); Into the Woods, Tartuffe (1st ASM); 42nd Street (ASM). Basement Arts: Altar Boyz, Placebo (SM). MUSKET: The 25th Annual Putnam County Spelling Bee (SM), Parade (ASM). Regional Theatre: Weston Playhouse, A Funny Thing Happened on the Way to the Forum, Charlie and the Chocolate Factory (ASM).

rUss Jones (Scenic Design) has designed over 120 productions for theatre, opera, and television. Recent work: Comedy Sportz, Chicago; Death and the Maiden, Centaur Theatre, Montreal; The Nutcracker, RiverPark Center, Kentucky; River of Time, (world premiere) Lexington Opera House; Quartet, Hudson Village Theatre, Quebec; Big Ten television programs: The Danny Hope Show, The Matt Painter Show, and The Sharon Versyp Show, Learfield Communications; and, the 2009 Purdue Christmas Show. Awards: Joseph Jefferson Citation for Outstanding Achievement in Scenic Design. Other: Associate Professor at Purdue University since 1998. In 2009, he was an invited lecturer at the Beijing Dance Academy and the Central Academy of Drama in Beijing. MFA, Northwestern University.

martin katz (Conductor/Music Director) Professor & Chair of Collaborative Piano for SMTD since 1984. He has enjoyed a 40+ year career as partner to celebrated singers here and abroad. Unabashed opera fan, from Handel to Stravinsky and beyond. For UM, more than a dozen productions, including Eugene Onegin, La Traviata, L’elisir d’amore, La Boheme, Falstaff, and Don Giovanni.

franCesCo salPietro (Ensemble) junior, BM Vocal Perf., Pittsburgh, PAJonathan sCheChner (Ensemble) sophomore, BM Vocal Perf. w/Teaching Cert., Port

Washington, NYJames sChmid (Ensemble) first-year, BM Vocal Perf., Lake Bluff, ILstePhanie sChoenhofer (Baba) grad student, MM Vocal Perf. Lima, OHalexandra shaw (Ensemble) ) sophomore, BM Vocal Perf., Burlingame, CAbenJamin sieverding (Father Trulove) grad student, Specialist Vocal Perf., Sioux Falls, SDalexandria strother (Ensemble) first-year, BM Vocal Perf./BSE Electrical Engineering,

Ann Arbor, MIJillianne tUCker (Ensemble) sophomore, BM Vocal Perf., NY, NY

aboUt the Cast

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aboUt the artists erin kennedy lUnsford (Wig Designer) Recent NYC: The Hallway Trilogy (Rattlestick Playwrights Theater); The Witch of Edmonton (Red Bull Theater); Ghosts in the Cottonwoods (The Amoralists); The Metal Children (The Vineyard Theater). Her work has also been seen at Playwrights Horizons, Signature Theatre, The Flea, MCC,The MINT, Atlantic Theatre Co., Second Stage, Century Center, Primary Stages, The Acting Company, Columbia Univ., Carnegie Hall and the Guggenheim, among others. Regional Theatre: Yale School of Drama, Univ. of Michigan, New York Stage & Film, Westport Playhouse, Philadelphia Theater Company, Two Rivers, Syracuse Stages. She is also a Hair Supervisor on Broadway. Upcoming: Die Fledermaus (NYU).

Charles malott (Lighting Designer) is a junior BSE Computer Science. UM: Lighting Designer - Trumpets & Raspberries, Our Country’s Good, Asst. Master Electrician - Much Ado About Nothing, Gibson Fleck, Pentecost; Senior Thesis: Lighting Designer - Fat Men in Skirts; Basement Arts: Lighting Designer - Zombie Farm, Search for Signs of Intelligent Life in the Universe. Regional Theatre: Detroit Ballet Russe (Master Electrician, Gala 2011, Gala 2010).

Christianne myers (Costume Designer) is an Asst. Professor in the Dept. of Theatre & Drama. UM: Suddenly Last Summer, Dancing Americas, The Elixir of Love, Our Town, The Marriage of Figaro, Tartuffe, Ella Minnow Pea, and Rent among others. New York: Running Man, Oedipus, American Dreams: Lost & Found; Theatreworks/ USA; The Public Theatre & Ma-Yi Ens.; Irondale Ens.; Lincoln Center Institute; The Juilliard School. Regional Theatre: Purple Rose Theatre; Indiana Rep; Vermont Stage Co.; Clarence Brown Theatre; Syracuse Stage; Pine Mountain Music Festival; Florentine Opera; Opera Memphis. Other: BFA, Pace Univ.; MFA, New York Univ.

yaniv segal (Assistant Conductor) concurrently pursuing a doctorate in conducting and a master’s in composition at UM, is a founder and conductor of the Chelsea Symphony in New York City. During the 2011-2012 season he will debut with the Illinois Symphony Orchestra, Orchestra Sinfonica Siciliana, the Macon Symphony, and at Lincoln Center. He has performed as a violinist, actor, singer and conductor. Last season he made his professional European debut at the Ludwig Van Beethoven Festival in Poland. Segal is a recipient of the Paul and Daisy Soros Fellowship for New Americans.

robert swedberg (Director) Associate Professor of Music at UM; director of opera studio; instructor: Yoga For Performers; Business of Music. UM: Little Women, The Marriage of Figaro, Albert Herring. Previously: General Director, Orlando Opera, Syracuse Opera. Stage direction: over 125 productions in the US, including: Carmina Burana with Cirque du Soleil, Abduction from the Seraglio, The Tales of Hoffmann,(Seattle) The Coronation of Poppea, Don Pasquale, The Magic Flute, L’Enfant et les Sortilèges. (Orlando) International Opera: The Magic Flute, Macau & Beijing Music Festivals, China; La Sonnambula, Spain; La Bohème, Le Nozze di Figaro, Nabucco, Germany; Walton’s The Bear, Italy.

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CHRISTOPHER KENDALL, DEANPaul Boylan Collegiate Professor of Music

UNIVERSITY OPERA THEATREVoice Chair .........................................................Freda Herseth Opera ................. Martin Katz, Joshua Major, Robert SwedbergVoice ................................Caroline Helton, Stephen Lusmann, Carmen Pelton, Melody Racine, Rico Serbo, Martha Sheil, Daniel Washington, Stephen WestDiction .............................................................Timothy CheekProf. Emeritus ................................................... George Shirley

UNIVERSITY PRODUCTIONSADMINISTRATIVE STAFFDirector ................................................................Jeffrey KurasDepartment Administrator ............................. Fatima AbdullahOffice Assistant III/Usher Coordinator .................Shelda SmithMarketing & Communications Dir. ........... Kerianne M. TupacGraphic Design ......................................................... Lisa BuckPhotographer .................................... Peter Smith PhotographyInformation Systems Manager .........................Henry ReynoldsFacilities Manager ................................................Shannon RiceHouse Manager ............................................ Dianne WidzinskiSenior Backstage Operations Mgr. .........................Barry LaRueBackstage Operations Mgrs. ........Mark Gordon, David Pickell, Kurt Thoma, Donald C. WatkinsAdministrative Office Assistants ........................ Allison Brown, Abrielle Case, Sara Shvartzman, Kevin TanTheatre 386 ...Lindsay Alexis, Jason Kovacs, Meaghan McLaughlin

PRODUCTION STAFFProduction Manager .....................................Amanda MengdenProduction Stage Manager...................................Nancy UffnerProduction Office Assistants .....David Lee, Brandon PenbertonTechnical Dir. (Power) ................................... Douglas EdwardsMaster Carpenter (Power) .................................Michael BraicoCarpenter (Power) ......................................... Brandon CarruthTechnical Dir. (Walgreen) ......................Richard W. Lindsay, Jr.Charge Scenic Artist ...........................................Toni Y. AulettiScenic Artist .....................................................Beth SandmaierProperties Master ................................................Arthur RidleyAsst. Properties Master ........................................Patrick DroneMaster Electrician............................................Mark Allen BergSound Engineers .......................Roger Arnett, Henry ReynoldsCostume Shop Manager ......................................Laura Brinker

Assoc. Costume Shop Manager .......................... George BaconCutter/Drapers ...........................................Virginia R. Luedke, Lea M. Morello, T J WilliamsonCrafts Artisan ...........................................Elizabeth GundersonCostume Stock Administrator .............................. Renae Skoog

PRODUCTION CREWFirst Asst. Stage Manager ...................................... Kelsey SochaAsst. Stage Managers ..............Angela Alvarez, Mirian MichaelsAssistant Director ...................................................Juan PereiraProjections ........................................................... Rob MurphyAsst. Master Electrician .........................................Liz WilliamsScenery (Power) ....... Erica Nagy, Kyle Timson, Evan VanbeelanPaint ........................... Janine Woods Thoma, Michael Barbour, Carisa Bledsoe, Danielle Cohn, Steven Eddy, Max Kaufman, Neal Kelley, Cara Laban, Jordan Schroeder, Sam Yabrow, students of Theatre 250 & 252Professional Props Artisan ....................................Sarah TannerProps ........ Rachael Albert, Daniel Belnavis, Kerry Concannon, Elana Lantry, Conor Ryan, Eli Schlatter, Katherine Thomas, Ryan Vasquez, students of Theatre 250 & 252Professional Stitchers .. Patty Branam, Rene Plante, Suzanne YoungCostumes .......... Leslie Bates, Amalea Chininis, Aleah Douglas, Carrie Fisk, Sam Lips, Michael Popielarz, Ximone Rose, Emily Shimskey, Mary Claire Sullivan, Meryl Waldo, students of Theatre 250 & 252Lighting ........... Robert Ariza, Alyssa Batteersby, Carisa Bedsoe, Colin Bianchi, Mary Claire Blake-Booth, Andrew Burkhardt, Nicole Gellman, William Hack, Jennifer Jacobs, Alyssa Loiacano, Andrew Lott, Miriam Michaels, David Moiseev, Clarissa Ortiz, Alexandra Pulgini, Aaron Tacy, William Welch, Andrew Wysocki, students of Theatre 250 & 252

RUNNING CREWSupertitles ............................................................. Sara BonnerProjectionist .....................................................Wesal AstephanProps ..........................................Jordan Barrow, Eric KrawczykLight Board Operator ........................................ Danielle CohnWardrobe ........................... Aleah Douglas ‡, Elana Gantman, Ryan Lucas, Jocelyn WebergWigs and Make-up ................Alyssa Battersby, Emily Shimskey

‡ Crew Head

for yoUr information

lateComer PoliCy

Latecomers will be seated at a suitable break or scene change.

Pagers, CellUlar Phones, watCh alarms

Please set pagers to silent mode. Cellular phones should be deactivated. Please deactivate your electronic watch alarm so it will not interrupt the performance. Please refrain from texting during the performance.

smoke free CamPUs

Smoking is not permitted in University buildings or on

University grounds. Smoking is permitted only in personal vehicles or on the sidewalks of major thoroughfares.

emergenCy ProCedUre

In the event of fire or severe storm, you will be instructed by an announcement from the stage indicating the best method of exit. Please notice the multiple red exit signs in the theatre. For your safety, please exit in a calm and orderly manner.

Cameras and reCording deviCes

The use of cameras — with or without a flash — recorders, or other electronic devices inside the theatre is strictly prohibited.

food and drink

No food or drink is allowed in the theatre.

Children

As a courtesy to our audience and the performers, children under the age of three will not be admitted to performances. All children must have a ticket. If your child proves disruptive or excessively restless, you may be asked to leave by House Management.

large Print Programs

Large print programs are available free of charge from House Management.

aCCessibility

Accessible ramps, elevators, parking, restrooms, and wheelchair seating are

available for patrons with disabilities. Accessible restrooms are located off the main lobby.

soUnd enhanCement

The theatre is equipped with an infrared listening system for

listening enhancement. Lightweight, wireless headsets are available free of charge from House Management.

Parking

For your parking convenience, we recommend arriving early. Prepaid parking passes are also available at the League Ticket Office. For parking information: Grant Winston, Parking & Transportation Services, 734-615-9067.

tiCket sales and information

Hours: Monday – Friday: 9 am – 5 pm Saturday: 10 am - 1 pm Performances: 1 hour prior to curtainPhone: (734) 764-2538Online: tickets.music.umich.eduAddress: 911 N. Univ., Ann Arbor, MI 48109

tiCket exChanges

Subscribers may exchange their tickets by mail or in person at no charge. Non-subscribers may exchange their tickets by mail or in person for a small processing fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance and are made only for another performance of the same play.

groUP disCoUnts

Discounts are available for groups of 15 or more.

Comments? write Us at: University Productions, Attn.: Jeffrey Kuras911 N. University Ave., Ann Arbor, MI 48109-1265

Since 1974, Friends of Opera members have supported the School of Music, Theatre & Dance’s distinguished opera program, allowing opera students at the University

of Michigan to experience the greatest opportunities for study and performance. Gifts to the Friends of Opera provide funding for a cash prize to the winner of its annual vocal competition, opera scores for student opera productions, and general support for the opera workshop program. Gifts to the Friends of Opera Endowment provide significant student scholarships for gifted singers.

The following opera enthusiasts have made a recent gift of support to the Friends of Opera. You have made a difference here at the School of Music, Theatre & Dance, and also throughout the opera world, by ensuring that our students develop the skills, artistry, and experience they need to become the next generation of great opera singers. Thank you for your support!

Friends of Opera Annual Gifts from July 1, 2010 - February 23, 2012

GIFTS OF $5,000 & ABOVESteven Schwartzberg FoundationBlanche Thebom Estate

GIFTS OF $1,000-$4,999Anne & Jim DuderstadtAdult Learning Institute

GIFTS OF $500-$999Lawrence Berlin & Jean McPhailDr. Michael N. BucciJohn & Gretchen Neal JacksonDiane KirkpatrickAlan & Jean KrischRichard LeSueurJohn & Mary PedleyBradley & Simone Taylor

GIFTS OF $250-$499Dr. & Mrs. Dale E. BriggsRichard & Jo Ann DionneWilliam & Sarah HuffordJanet & John KnappPeggy McCracken & Douglas AndersonJoseph A. PlacekJohn Romani & Barbara AndersonEdie & Richard RosenfeldJack & Jerry Weidenbach

GIFTS OF $100-$249Carolyn AustinWilliam & Patricia AustinGretchen Batra

Gerald & Marceline BrightH.D. CameronMr. & Mrs. Nicholas G. Chapekis, Sr.Mimi Chapman & Dietmar WagnerJoyce E. DelamarterDr. Charles H. DuncanRobert Green & Martha Sullivan GreenKatherine & Tyrell HarrisAlbert & Jolene HermalinProf. Peter G. HinmanMarlane Paxson Fairleigh HodgesDr. Ralph M. HulettBelle JaniszewskiDr. Warren W. JaworskiDouglas & Jean KahlProf. & Mrs. Gordon KaneAdrienne Kaplan & Harold BorkinH. David KaplanWilliam & Betty KnappDr. Louis E. LoebKenneth & Jane LucasDr. Lisa MazziaKittie Berger MorelockColin & Nancy OatleyWendell E. OrrP & G FundSuzanne & Sinclair PowellGene & Harry J. RegenstreifRobin & Douglas RichstoneBarbara RitterSherry RootSally RutzkyAlbert & Jane Sayed

For online giving, visit www.giving.umich.edu, e-mail Jeffrey Cotnoir at jcotnoir@umich.edu or call 734-764-4453School of Music, Theatre & Dance • Development Office • 2005 Baits Drive • Ann Arbor, MI 48109-2075

EID AGOP BVX12 MUSS Code: (306965/728240)

❏ Enclosed is my employer (or my spouse’s) matching gift form.❏ My check is made payable to the University of Michigan.❏ Charge my gift to ❏ VISA ❏ Master Card ❏ Discover ❏ Amer. Exp.

Acct. #: ________________________________________ Exp. Date: ________________

Signature ________________________________________________________________

Name _________________________________________________________________

Address _________________________________________________________________

Home Phone: _______________________ E-mail: ____________________________

I want to support the U-M Opera Program with a gift to the: ❏ Friends of Opera (306965) ❏ Friends of Opera Endowment (728240)In the amount of: ❏ $1,000 ❏ $500 ❏ $250 ❏ $100 ❏ Other _______

Terry SheaMary C. SicilianoJoan Stark & Malcolm LowtherLois A. TheisDuane Thomas & Judith LobatoAlvan & Katharine UhleDr. & Mrs. Jack I. WayneMichael WellmanRobert & Marina WhitmanJames & Gladys Young

GIFTS UNDER $100AnonymousDorothy C. BarnesGorman & Andrea BeauchampCatherine & James BehrendtFrances Frey BenedictCantor Norman F. BrodyHugh & Ella May BrownVirginia BurckhalterJonathan E. ChristopherShirley CoeBeck & David BeckCarla Connors & Timothy HoekmanJeff Cooper & Peggy DaubJeffrey CotnoirStephen & Ann DonawickStuart & Susan DonesonLillian G. DruryDr. Kathleen DvorakPeter T. EkstromNiels & Suzy EnglebergJean FineMillicent V. FossHoward P. FoxJanice R. Geddes

Robert Glassman & Jennie LiebermanAnita & Albert GoldsteinJanita Onolea HaukWilliam C. HelferIllinois Tool Works FoundationFrederick & Luise KienzleVicki J. KondelikMargaret & Damon KvammeDr. Robert L. LarsenMax LeplerJean E. LongMelvin & Jean ManisMr. & Mrs. Timothy H. MarvinDr. & Mrs. John H. MatleN. Harris & Margaret McClamrochEileen S. McIntoshConstance & Charles OlsonPfizer FoundationEdward & Rhoda PowsnerQuentin J. WestrickMr. & Mrs. Nooraldeen RidhaMaureen Schafer & David KlerkxInga & Courtland SchmidtGary & Deborah SieverdingShirley & Jack SirotkinIrma J. Sklenar, Ph.D.Virginia E. SteinRuth Orr StephensonJenny Lynn StewartLeslie & Nancy Yakes StoneDorothy S. ThorneAnne-Marie & Thomas VoiceRobert & Sandra WeitzJames & Mary WhiteCharlotte A. Wolfe

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