trinity square | spring 2013

1 the trinity square • sPrinG 2013 neXt PaGe PreViOus PaGe

Spring 2013

thetrinity square

neXt PaGe


trinity repertory company (401)521-1100•BoxOffice(401)351-4242

201WashingtonStreet,Providence,RI02903

www.trinityrep.com

SPRING 2013

in this issue

3 On the Cover: Trinity Rep’s First Home3 In the SquarewithChairmanoftheBoardJonathanDuffy.4 Fun on the Run:acandidtalkabouttheproductionchallengesof

House & Garden —twoshows,twotheaters,onecast!6 A Fast and Funny Fête: theveryEnglishrootsofHouse & Garden.6 Hungry for More: aheapinghelpingofBrit-comfun.7 Tickets, Dates & Times8 We’re Fifty!MoreexcitingdetailsaboutTrinityRep’s50thanniversaryseason

andthereturnoftwoTrinityRepfavorites.8 The Plays of Our 2013–2014 Season9 Happy Birthday, Trinity Rep! FiftyyearsoldasofMarch19,2013!10 Postcards from the MFA Showcase: Brown/TrinityRepMFAactingstudents

struttheirstuffinLAandNYC.11 Romeo and Juliet:thisspring’sMFAthesisproductiongoesonstage.12 There Are No Small Parts, Just Small Actors:YoungActorsSummer

InstituteJr.,forkidsingrades1–4,isjustaroundthecorner.13 Pomp & Circumstance: staging OthelloatNathanBishopMiddleSchool.14 Write Here, Write Now!Highschoolplaywrightscompeteforachanceto

havetheirscriptsreadonTrinityRep’sstage.15 A Rose by Any Other Athenaeum:aminiatureRomeo and Julietexplores

loveandtragedyinProvidence’shistoriclibrary.16 Celebrating Legacy: rememberingthepastandhonoringinvestments

inthefuture.17 All Eyes Are On:YoungActorsStudiostudentElvisArtigas.18 2013 Pell Awards: actorJohnKrasinskijoinsKateBurtonandlocalhonorees

tobecelebratedatthePellAwardsinJune.20 Coming Home:GeneralManagerKatieByrnesreturnstoRhodeIsland.21 Around the Rep:EventsofnoteatTrinityRep.22 Subscribe Today!

Dear Friends,

Springhas (finally) sprung! In celebrationofthis fantastic seasonof blooming flowersandshort-sleeveshirts,ofdiningalfrescoatsunset,wehereatTrinityRep inviteyou toanold-fashionedEnglishgardenparty.From

theauthorofAbsurd Person Singular andThe Norman Conquests comes the kindofover-the-top soirée thatcouldonlybecookedupbyoneofour funniest livingplaywrights,AlanAyckbourn.

Joinus ineither theHouse or in theGarden for ahilariousduoofplaysthatcanbeseeninanyorderandconcludeour49th season. Layingbare the secretsoftwoseeminglyperfectcoupleswhoarehostingalavishneighborhoodparty,thesetwointerlockingcomediesareperformedsimultaneouslybyonecast.Itisa“two-story”tale,ifyouwill,withourcompanyracingfromonetheatertotheother.House & Gardenareliketwooppositesidesofatheatricalpuzzle—thepicturegetsclearer,funnierandmoreprofound,whenyoureturntoseethesecondsideofthestory.

Producing these rarely doneplays in tandem isdefinitelyanepicundertaking inproblemsolvingandstagingforouractors, thedesignandproductionstaff,andforthestagemanagementteam…buttheexcitementthroughoutthebuildingispalpable!Wecouldnotbemoreexcitedtosharethistheatricaleventwithyou—itfigurestobeoneofthoseshowsthatwillleaveyoulaughinguntilyoursideshurt,thinking,“OnlyatTrinityRepcouldtheydosomethinglikethis.”

Insidethismagazine,you’llfindlotsmoreinformationaboutourproductionofHouse & Gardenaswellasmoreinformationaboutoursummerprogramsforyoungactors,asneakpeekatnextyear’s50thanniversaryseason,pluslotsandlotsofothergreatinformation.Ihopeyouenjoyit!

Allthebest,

—Tyler Dobrowsky, Associate Artistic Director


In the Square

I can’t believe Trinity Rep’s 50thanniversary is finally upon us. As aboard,webeganhavingconversationsabout the 50th over three years ago

whenwewereplanningourTheater forEveryGenerationCampaign.Wewantedto

havethecampaignculminateduringthe50thanniversary.Thecampaignisgoingwellandwill,infact,endnextyear—ifyouhaven’tgiven,pleaseconsideragift;ifyouhavegiven,thankyousomuchforyoursupport.Thepointbeing,wehavebeentalkingaboutthisanniversaryforquiteawhilearoundthetheater,andtheannouncementofthe50thseasonisthefirstrealtangible,publicexamplethatwehaveactuallymadeit.

“Makingit”isnosmallachievement.TrinitySquareRepertoryCompanystartedin1963intheTrinityUnitedMethodistChurch.Fromthisveryhumblestart,thetheaterhasgrowntobecomeoneofthemostrespectedregionaltheatersinthecountry.AplacethatinspiredRoccoLandesman,formerchair-manoftheNationalEndowmentfortheArts,tostate,“Tome,TrinityRepisoneofthefewplaces inthecountrythat’scarryingontheresidenttheaterideal—the ideaofcompany…acommunityofpeople that relate toeachother,thatdoabodyofplaysthatrelatetoeachother,andintersectwiththecommunitythey live in.”TrinityRepisaveryspecialplacewhichhashadatremendousimpactonourcommunity.

Soitistimetobeginthecelebration.The50thseasonthatCurthasputtogetherfeaturesalloftheelementsthathavemadeusfallinlovewithTrinityRep—greatwriters,greatstories,andgreatactorscomingtogethertocreateauniqueTrinityRepexperience.StartingwithSteinbeck’sThe Grapes of Wrath andincludingTrinityRep’s63rdworldpremiere,Veronica Meadows,bycompanymemberStephenThorne,itwillbeagreatridefortheTrinityRepaudience.

Theseasonisjustoneelementofourcelebration.WewillhaveakickoffeventforthecommunityinAugust—muchmoreonthatwillbeannouncedshortly.Therewillbemuchmoreduring thecourseof this symbolicyear. IhopeyoujoinusincelebratingTrinityRep’s50th.It’sgoingtobeagreatyear.

—Jonathan Duffy, Chairman of the Board

THE TRINITy SquARE Issue26May2013

The Trinity Square is publishedquarterlyanddistributedfreeofchargebyTrinityRepertoryCompany,201WashingtonSt.,Providence,RI,02903.

on the cover: Trinity Rep’s first home

FiftyyearsagothispastMarch19th,TrinityRepcameintobeingwiththeincorporationoftheFoundationforRepertoryTheaterofRhodeIsland(seepage9formoreaboutthat).Andwhileitwasalmostafullyeartothedaybeforethelightscameuponourfirstproduction(The Hostage byBrendanBehan),theinterveningmonthswerefilledwith,amongmanyotherthings,afrustratingsearchforaspacetocallhome.Finally,inSeptember1963,anarticlebyTedHolmberginThe Providence JournalaboutthechallengesfacingthefledglingtheatergroupspurredReverendRonaldStahloftheTrinityUnitedMethodistChurchinProvidencetoofferthemeetinghallattachedtohischurch.LocatedatTrinitySquareattheintersectionofElmwoodAvenueandBroadStreet,thehallhadbeenusedby thepreviousminister to stagechurch-relatedplaysforabout100audiencemembersseatedinstraight-backchairsarrangedinasemi-circle.Threeof theFoundation’s incorporatingmembers—BarbaraOrson,MiltonStanzlerandNormanTilles—lookedatthespaceanddecidedthatwithsomecreativity,hardworkandcash,theycouldcallithome.

Not only a home, but a name!From1964–1966thetheaterwasknownastheTrinitySquarePlayhouse.Beginningwiththe1966–1967season,duringwhichperformanceswerealsoheldat theRhode IslandSchoolofDesignAuditorium,webegan tocallourselvesTrinitySquareRepertoryCompany.Squarewasdroppedfromthenamein1985,atwhichpointTrinityRephadbeeninitspresenthomeintheLedererTheaterforoveradecade.

—Michael Guy

PHOTOBYWILLIAML.SMITH


ILLUSTRATIO

NBYM

ICHAELG

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house & gardenFun on the run

This spring, Trinity Rep will take on a rarely-produced theatrical tour-de-force, Alan Ayckbourn’s House&Garden. Taking full advantage of our two theaters, these two interlocking comedies are performed at the same time with a single cast. While the audience stays put enjoying just one play (which they can see in either order between May 16 and June 30), the actors

must navigate between interior scenes in House, which is upstairs in the Chace Theater, and outdoor scenes in Garden, downstairs in the Dowling Theater. Recently Lauren Ustaszewski sat down with Trinity Rep’s production director Laura Smith, resident acting company member Joe Wilson, Jr. and stage manager Chris Borg to find out what the challenges are that an adventure like this presents.

Lauren ustaszewski:What part of theseshowsareyoumostexcitedabout?

Joe Wilson, Jr.: Theeventofitall—ofhavingthesamecompany in twostand-aloneshows intwodifferentspacesinthesamebuildingwithtwodifferentaudiences. I thinkwe’reoneof the fewtheatersinthecountrythatcanpullthisoff.Andit’sonlybeendoneIbelievethreeothertimes—onceinLondonandtwiceintheU.S.

Chris Borg: I’mexcitedabouttheeverydaydiscoveries thatwehadno ideawerecoming. Ihavetothinkaboutwheremystaffisinawaythatyou’veneverhadtodobefore.It’snotharderreally;it’sjustadifferentwayofprocessing.

Laura Smith: Youcan readwebsiteswhereAlanAyckbournwrites aboutwhatworked inLondon.Inordertogetsomeonefromonetheatertoanother,hewrote in thesevamps to stall fortimeandallowanactortomakeit…it’sgoingto

Teddy and Trish are hosting a big garden party for the town. Friends, family, a London writer, and a French movie star — what could go wrong? Anything and everything!


by Alan Ayckbourn directed by Brian McEleney

set design by Eugene Leecostume design by William Lane

lighting design by Bryon Winnsound and video design by Peter Sasha Hurowitz

speech and voice direction by Thom Jones

with resident acting company members Angela Brazil, Janice Duclos, Phyllis Kay, Barbara Meek,

Anne Scurria, Fred Sullivan, Jr., Stephen Thorne and Joe Wilson, Jr.

with guest artists Mary C. Davis and Barry Press

and Brown/Trinity Rep actors Catherine Dupont ’14, Steven Jaehnert ’14, Ted Moller ’14 and Bridget Saracino ’14

May 16 – June 30, 2013 in the Chace and Dowling Theaters

house & garden

betricky.Lu: Whatkindofexperienceisitforyou,Joe,

toplayoneroleintwoseparateplaysrunningatthesametime?

JW: Well the character,GavinRyng-Mayne—“spelledwithaY”—is interestingbecauseinoneshowheisthebadguyandintheothershowhe’sdescribedasacharming,benign,goodguy.IthinkthewayI’mdescribedinGardengivesmeaperspectiveonhowIshouldapproachHouse. Ican’tplayagoodguyorabadguy.TheotherplayremindsmethatI’msomuchmorethanjustthewayI’mbehavinginHouse.

LS:It’sinterestingyousaythatbecausethere’salwaysabackstoryforacharacter.Thingshappenonstageinaplayandthenacharactergoesoffstageandotherthingshappenthatyou,asanaudiencemember,never see,buthere,youdo. Insteadoftheactorsjustgoingbackstageandintothedress-ing roomwhileaction in thegarden supposedly happens, theactors areactuallygoing into thegardenandtheactionisactuallyhappening.

Lu: Howdoyou rehearse two interlockingplaysthataretobeperformedsimultaneously?

CB: When [director] BrianMcEleney and Ifirsttalkedaboutit,hewantedtogothroughallofHouse, finish it, and thenmoveon toGarden. Abouttwodaysintotableworkwesaid,“That’sabadidea,let’stryingdoingthisonesceneatatime.”So,we rehearse sceneoneofHouse, thensceneoneofGardenandthenweputthemtogether.Thesamewithscenetwo,andsoon.Ithinkwewouldhavebeenblind-sidedhadwewaitedfourweeksbefore trying toput thewhole thing together.My stagemanagement team is continuouslystrugglingwiththeconceptof,“Isthisoneshoworisthistwoshows?”It’snotalwaysgoingtobeastraightforwardanswer.You’renotgoingtolookatjustoneortheother.

Lu: Joe, would you consider it to be an“immersive”experience?

JW: Yes,extremely.Firstofallbecausenoneofushave time togooffstage andplay cards.(Laughter) But it’s really refreshing tobe in anenvironmentalexperiencewheretheactoftravel-

ingbetweenthetheatersisyourpreparationasyoumoveintothenextspace.

Lu: What happens if an actormisses anentrance?

CB: That’s one of the thingswe’re strug-glingwith! (Laughter) LikeLaura saidearlier, theplaywrighthasbuiltinthesevamps.Andwehavesomedancemusic and things thatwe can justextenda littlebit ifweneed thatextracushion,butit’saquestionofhowweusethosewell-craftedvampseffectively.

LS: Wewillhavea“commandcentral”setupinthepitleveloftheChaceTheater.Atthatcommandcenter,whicheverstagemanagerisassignedwillhavevideoofboththeaters,aswellasthelobbyspaces,sowecantrackwherepeoplearewalking,soweknowwheretheyareintheirpath.Thetimingwillbealsobeveryspecific.Eachplayneedstobe

ataspecificlineataspecifictime,andif it’snot,howdoweleteverybodyknow,youknow,“Slowdown,”or“Speedup!”dependingonthesituation.

Lu: Howdoesanactorcopewithgoingfromoneaudiencetoanotherwithperhapsadifferentenergy?

JW: Youhavetotrusttherhythmsthatyou’veestablished for the scenes in rehearsalbecausethey’reverydifferentplaysintermsofhowthey’restructuredandhowtheyfeel.Ithinkit’sgoingtorequireacertainamountofdisciplineonthepartof theactorbecauseweknowwehaveanotherentrancetomakeintheothertheater.

CB: Andwe’retryingtotakethatburdenawayfromtheactorsothatwecanmakethosedecisionssoJoedoesn’thaveto.

JW: The beauty of the way the play isconstructedwithGarden,there’salotmoreroomintermsofchoreographywithsettingupthegardenparty.Brianalsowantstofindawaytoremindtheaudiencesthatthere is indeedanotheraudiencewatching.

LS:Brian’sreallytryingtofigureoutthetransi-tions fromscene tosceneandhowdowebringtheorchestratedchaosofperformingtwoshowsatthesametimetotheaudience.That’sprobablythetrickiestparttofigureout.

Lu: Lastly,howareyouhandlingcurtaincall?LS:Everyonehastheirownideasaboutwhat

wecando,butIthinkwecanincorporatethekidsinthecastinsomeway.ButIthinkyoucanbecreativeasfarasthecurtaincallgoestoallowthemajorityofeveryonetobowineachplace.

JW: Goingintoour50thanniversaryseason,I also think that sometimeswe all need tobereminded that this is aprocess. Forallofus. Todowhatwe do in this building takes a lot ofcollaboration,alotofhardwork,creativityandweareafamily.AndIthinkthe50thanniversaryisawonderfuloccasiontoreflectonthefactthatwe’reateamandthoughwemayworkatdifferentlevelsandwemaynotseeeachotherallthetime,we’realllinkedinextricablyatthehip.Tomethat’sthemostexcitingthing.

I think we’re one of the few theaters in the country that can pull this off.


a Fast and Funny Fête by Emily MacLeod Inthe1970s,AlanAyckbournwasthekingof

Britishcomedy.FiveofhisplaysranontheWestEndandfourplayedonBroadway,allatthesametime.Absurd Person Singular,seenatTrinityRepin2010,played inboth locations.Ayckbourncouldhaverestedonhislaurels,asarecordbreaker,awardwinner and critical darling. Insteadhedevisedanevenmoreambitiousproject: twoplayswiththe samecast that could run simultaneously inadjoiningtheaters.In1999,hefinallyaccomplished

thisseeminglyimpossibletaskbywritingHouse & Garden,atour-de-forcethatdramatizesaquintes-sentiallyEnglishevent:thegardenfête.

Originatingabout100yearsago,thegardenfêtetraditionallybringstogetherboththevillagersandthenobilityofatowntoraisefundsforlocalcharities.Farmersandcraftsmensetupstallstoselltheirwares,andchildrendancearoundthemaypole.Morrisdancing,afolktraditiondatingbacktothefifteenthcentury,isalsopopular.Performersdressintraditionalgarments,sometimeswearingbellsontheirlegsandcarryhandkerchiefsandstickstodancewith.GilesMace,thevillagedoctorinHouse & Garden,ispartofaMorrisdancingteam,andhedescribesthetraditionas“allpartofourcommonculturalandsocialheritage.Unitesusallinafunnyway.Greatleveler,thedance.”

Gamesareanotheressentialcomponentofthefete.Theseactivitiesincludethecoconutshy,where

playersattempttoknockovercoconutsbalancedonposts,andthehoop-la,whereparticipantstosshoopsandwinwhateverobject theyareable toencircle.Raffles, foodstalls, animaldisplaysandcricketmatchesalsoformpartoftheday’scelebra-tions.ScholarMichaelBracewellcomparesittoanAmericancustom:“Americahastherodeo,wheremanandbeastpitstrengthandwits;Englandhaspotsofgooseberryjamandthechancetothrowawetspongeatascoutmaster.Ultimately,bothdefineanationaltic.”

Itwas this “tic” thatAlanAyckbourn, artis-tic director at the Stephen Joseph Theatre inScarborough (a venuewith two performancespaces)decided touseas thesubjectofagreatexperiment.Sincehistheaterwasperfectforthetwointerlockingcomedies,hewrotebothplaysatthesametime,jumpingfromonesceneinHouse tothecorrespondingoneinGarden.Thisway,hecouldkeep trackofeachcharacter’smovement,andthetimetheywouldhavetoswitchbetweenthetwostages.Heinstructedastagemanagertotimethewalkfromonevenuetotheother—about37 seconds. Theplays literallyhave to run likeclockwork:Ayckbournallowseachactorabout90secondsbetweenexitononestageandentranceonanother.TheseparameterswerefittedexactlytotheStephenJosephTheatre,andtheplaywrightdidn’tdreamthatanothertheaterwouldattemptit.

Hedidn’tcountonTrevorNunn, theartisticdirectoroftheRoyalNationalTheatre inLondonatthetime,whowastakenwiththewholeeventwhenhesawtheplaysinScarborough.TheLondonproduction premiered at theNational in thesummerof2000andledtoanAmericanpremiereattheGoodmanTheaterinChicagothenextyear.

Whiletheplay’ssubjectmattermightbemorefamiliar to English audiences, Americans haveapplaudedAyckbourn’sworkforthesheeringenu-ityofitsstructureanditsuniversalthemesoflove,marriageandfamily.Giventhegreatdemandsoftheshow,fewtheatersareabletoproduceHouse & Garden.WeatTrinityReparethrilledtoembracethischallenge, letting theaudiencesitbackandrelaxwhile theactorsandproduction teamturnmayhembackstageintomagiconstage.

If House & Garden spark your interest, sample these related television shows and plays…

The Norman ConquestsBefore therewasHouse & Garden, therewasThe Norman Conquests.Another theatricallyambitiousproject, in1973Ayckbournwrotethreeplaysforthesamecast,playingthesamecharacters and showingeventsof a singleweekend.Theplays,entitledTable Manners, Living Together and Round and Round the Garden,eachtakeplaceinadifferentlocation— the kitchen, living roomandgarden—and theaudienceseeseachplayseparately,sometimesallinonedayasamarathon.WhenthetrilogywasrevivedinNewYork in2009,BenBrantleywroteanunqualifiedrave:“Mr.Ayckbourn[manipulates]theconventionsoftheaterwithanabstractmathematician’scoldgeniusandapoet’sbrokenheart.”

Downton AbbeyEveryoneseemstolovetheBritishtelevisionphenomenon, Downton Abbey, the thirdseasonofwhichjustairedthiswinteronPBSonoursideofthepond.Onememorableepisodeinthefirstseasonhastheservantsgettingararenightofftogotoavillagefair,minglingwith someof their “superiors,” andplayinggameslikethoseseeninHouse & Garden.Thedynamicsofthisupper-classfamilyandtheirservantsaremuchlikeAyckbourn’splay,withromantic rendezvous,will-they-won’t-theytensionandgrumpyhousekeepers.

The Vicar of DibleyThistelevisionshowwhichairedfrom1994to2007starredtheinimitableBritishcomedienneDawnFrenchasanunconventional“ladyvicar,”whocomes to the straight-lacedvillageof

Hungry for More?


ticketstimes & dates TIckeTS for House and Garden PREVIEWS: FirstThurs.,Fri.,Sat.7:30pm.....$22–$34 REGULAR: Wed.matinee2pm......................$22–$58 Sun.–Thurs.7:30pm ....................$22–$58 Fri.–Sat.7:30pm ............................$22–$68 Sat.&Sun.matinees2pm .........$22–$68

AN ADDITIONAL $5.00pertickethandlingfeeappliestophoneandonlineorders.

DIScounTS: Calltheboxofficefordiscountsforeducators,military,police,firefighters,students,andseniors.Rushtickets($22mainseating,$28primeseating)areavailableatboxofficetwohourspriortoshow(excludingA Christmas Carol).

SubScRIbeRS:Save20%onadditionalticketswithhandlingfeeswaived.Call(401)351-4243.

MeMbeRShIp:Save10%onticketswithhandlingfeeswaived.Call(401)351-4242.

GRoup DIScounTS:call(401)351-4242box oFFIce: (401)351-4242•Fax:(401)831-1612

E-mail:[email protected]@trinityrep.com Walk-uphours:noon–8pm,Tuesday–Sunday Phonehours:noon–8pm,Monday–Sunday 201WashingtonSt.,Providence,RI02903 Orderonlineatwww.trinityrep.com

PRICES, TIMES AND DATES SuBJECT TO CHANgE. Ticketssubjecttoavailability.

pRojecT DIScoveRy:Forreservationstostudentmatinees,contact(401)[email protected].

TALkbAckS:Audiencemembersareinvitedtojoinusfora20-minutediscussionaboutissuesraisedbytheplay,heldaftereveryperformance.

KEY TO CALENDARS $ Pay What you Can:limitednumberof ticketsonsale1hourbeforecurtain, limit1perperson First Look Thursday:talkbackwiththe artistsafterplay Open Captioned performance Noperformance Previewperformance

DATESANDTIMESSUBJECTTOCHANGE

houSe • May 16 – June 30, 2013 in the Chace SUNDAY MONDAY TUESDAY WED. THURS. FRIDAY SATURDAY

MaY 12 13 14 15 16 17 $ 18 7:30 PM 7:30 PM 7:30 PM

19 20 21 22 23 24 25

26 27 28 29 30 31 June 1 7:30 PM 7:30 PM

2 3 4 5 2 PM 6 7 8 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM

9 2 PM 10 11 12 13 14 15 2 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM

16 2 PM 17 18 19 2 PM 20 21 22 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM

23 2 PM 24 25 26 27 28 29 2 PM 7:30 PM 7:30 PM 7:30 PM

30 2 JuLY 1 2 3 4 5 6 7:30 PM

GARDen • May 26 – June 30, 2013 in the Dowling SUNDAY MONDAY TUESDAY WED. THURS. FRIDAY SATURDAY

MaY 26 $ 27 28 $ 29 30 31 June 1 7:30 7:30 PM 7:30 PM 7:30 PM 7:30 PM

2 3 4 5 2 PM 6 7 8 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM

9 2 PM 10 11 12 13 14 15 2 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM

16 2 17 18 19 2 PM 20 21 22 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM

23 2 PM 24 25 26 27 28 29 2 PM 7:30 PM 7:30 PM 7:30 PM

30 2 PM JuLY 1 2 3 4 5 6 7:30 PM

Dibleyandprovestobejustwhatthetownneeds.Sheisacompassionate,kindanduproariouscharacter,whoputsupwiththeinsanevillagersonherparishboard,butcopeswithitbyhidingchocolateineverycornerofherhouse.Oneofthefunniestepisodesinthefirstseasonrevolvesaroundthevillagefeteandtheirattemptstogetacelebrity,thecousinofoneofthevillagers(whomayormaynotbeEltonJohn),toopenthefete.

JerusalemJezButterworth’s2009play,whichplayedontheWestEndandBroadway,featuredMarkRylance’ssensationalportrayalofRoosterByron,aFalstaffianmisleaderofyouthwho isbeingevicted fromhismobilehome inthewoodswherelocalteenagerscometoescapetheirmundanelives.TheactionalltakesplaceonSt.George’sDaywhenthevillageholdsanannualfair,whichincludesMorrisdancingandotheractivitiesreferencedinHouse & Garden.ThetitlealludestoWilliamBlake’spaeantoEngland’s“greenandpleasantland,”whichissungatthestartoftheplaybyamysteriousgirlinfairywings.HeridentityandthefateofRoosterByronunfoldinaheartrending,hilariousportraitofcontemporarylife.

A sampling of Alan Ayckbourn’s playsHow the Other Half Loves, 1969Absurd Person Singular, 1972Confusions, 1974Bedroom Farce, 1975Just Between Ourselves, 1976Season’s Greetings, 1980Intimate Exchanges, 1982The Revengers’ Comedies (pt. 1 and pt. 2), 1989Wildest Dreams, 1991Communicating Doors, 1994Haunting Julia, 1994Comic Potential, 1998Sugar Daddies, 2003Private Fears in Public Places, 2004My Wonderful Day, 2009

STEPHENBERENSONANDTIMOTHYCROWEINABSURD PERSON SINGULAR (2010) BYALANAYCKBOURN,DIRECTEDBYBRIANMcELENEY.SETDESIGNBYMICHAELMcGARTY,COSTUMEDESIGNBYWILLIAMLANE&LIGHTINGDESIGNBYJOHNAMBROSONE.PHOTOBYMARKTUREK.


THE 2013–2014 SEASONJohn Steinbeck’s The Grapes of Wrath adapted for the stage by Frank Galati directed by Brian McEleney

Naturaldisasters.Rampantforeclosures.Corporategreedandrecordjoblessness.Written inthewakeof theGreatDepression,Steinbeck’sclassic speaks

tothesameharshrealitiesthatAmericafacestoday.Thisevocativeanddeeplyaffectingstageversionlifts

thenovel tonewheightsof theatricalurgency,visceralstorytellingandpureemotionalimpact.Thestoryofanationis

toldthroughtheeyesofoneOklahomaclan—theJoads—drivenofftheirfarmandforcedwesttofindworkinCalifornia’s“promisedland.”Partnaturalisticepic,partroadnovel,partinspirationalgospel,The Grapes of Wrath isperhapsthedefinitiveAmericantaleof thestrengthof thehumanspirit.

Vanya and Sonia and Masha and Spike by Christopher Durang

FreshfromaTony-nominatedNewYorkrun,wearethrilledtobringyoutheNewEnglandpremiereofthenewestplayfromtheoutrageouscomicmindofChristopherDurang.SiblingsVanyaandSoniaarelivinginahazeofChekhovianregretintheirBucksCountyfarmhousewhentheirsister,Masha,aglamorousactressabitpastherprime,arrivesunexpectedlywithSpike,herhandsomenewboytoy.Inthishilarioussatire,thefamilybattlesoverlong-heldresentmentswhileignoringthepropheciesoftheirhousekeeper,Cassandra.WillVanyaandSonia’slivesbechangedforever?IsSpikegoingtorunoffwithNina,theaspiringactressnextdoor?AndwhoisHootiePie?“Alaugh-out-loudnewcomedy.”(The Record)

Intimate Apparel by Lynn Nottage • Rhode Island Premiere

Lace,silk,satinandbeads.Thesearethematerialsthatquietandunassum-ingEstherMillsusestocreatetheexquisitecorsetsforfashionablebrides(andother, less virtuous clientele) in turn-of-the-centuryManhattan.Approachingspinsterhoodat35,Estherhasyetunfulfilleddreams—love,marriageandonedayopeningherownbusiness.Aletterfromafarawaystrangerchangeseverything,andEsthermustdecidewhethershecanfinallyopenherheartandtrytocraftafutureforherselfasbeautifulasoneofhercreations.Audiencesacross thecountryhave fallen in lovewith thisnewAmericanclassic fromPulitzerPrize-winningplaywrightLynnNottage.

We’re Fifty! by Tyler Dobrowsky Trinity Rep Celebrates Its Golden Anniversary

Next seasonmarks Trinity Rep’s 50th—aremarkableachievementforanyorganization,letalonea frisky,non-profit theaterwhich startedperforminginachurchmeetinghall.Therehavebeenmanyhighlights throughout thepast 50years,fromAdrianHall’sfirstseasonasartisticdirec-tor,tothecreationofourhistoricstudentmatineeprogramProjectDiscovery,tothepurchaseoftheEmery’sMajestic theater (which stillhousesourChaceandDowlingTheaters),towinningtheTonyAwardforbestregionaltheater, tothefoundingoftheConservatorywhichhasbecometheBrownUniversity/TrinityRepMFAprogram,tothetenuresofnationally-andinternationally-esteemedartisticleaders likeAnneBogart,OskarEustis,AmandaDehnertand,currently,CurtColumbus.It’sbeenablessed,rich50years.

We’llhaveanumberofeventsthroughouttheyear,includingablockpartyandpaneldiscussionsfeaturing someofRhode Island’sbest scholars,aswell as a few surprises along theway…buthere’soneparticular surprisewecanannouncenow:RichardandSharonJenkinswilldirectandchoreographnextseason’sproductionofOliver!

Richard Jenkins was a long-time actingcompanymemberwhowasalsoartisticdirectorfrom1990–1994.Hehasgoneontofindgreatsuccess in film and television,particularlyontheHBOseriesSix Feet UnderandwithhisAcademyAward-nominatedroleinthe2007filmThe Visitor,alongwithfrequentrolesinfilmsbytheCohenbrothersandDavidO.Russell.SharonJenkinshasbeenachoreographerforTrinityRepnumerous times,most recentlyfor Cabaret andCamelot.We couldnotbemore thrilled tohaveRichardandSharonworking togetheron thiswonderfulmusical aswe roar intoour

50thseason.Additionally,wewanted

to celebrate our subscribersandtheProvidencecommunityfor their continued support ofthe theater,while alsohonoringtheuniquelyRhodeIslandspiritthatallowed Trinity Rep to flourish in thefirstplace.Theideathattheartsshouldbeacrucialpartofour social fabric, that theartsarenecessary, isboundup inour identityasRhodeIslanders— likeDel’s lemonade in thesummer.It’s this spirit, this insistenceongreatart,whichhasinspiredsomanyartistsandorganizationstotakeroothereinthesmalleststate.JustlookattheRhode IslandPhilharmonic,TheGammTheatre,AS220,andFestivalBallettonameonlyafractionoftheexcellentworkdonealloverRhodeIsland!

To that endwe’re inviting one and all—families, friends, subscribers, ProjectDiscoverystudents,anyoneandeveryone—toafreeblockpartyandopenhouseincelebrationofour50thbirthdayonAugust17! Itwill startatnoonandrunintotheevening,withavarietyofquick,funperformances throughout theday fromtheaters

fromall over the state. Therewillalsobetoursofourhistoricbuilding,workshopswith our educationstaff, food trucks,minglingwithour resident actors, andotherfunactivities. Itwillbeablast,andwehopetoseeyouthere!

juST AnnounceD! Richard and Sharon Jenkins are set to direct and choreograph our production of Oliver!, sure to be a highlight of our 50th anniversary season.

PHOTOBYMICHAELGUY


Oliver! book, music and lyrics by Lionel Bart based on Charles Dickens’ OliverTwist directed and choreographed by Richard & Sharon Jenkins

Kick up your heelswith Lionel Bart’sbeloved familymusicalOliver!, basedonthenovelOliver Twist byCharlesDickens.Thisboisterous,high-energyshowbrimswithfamiliar songs such as “Food,Glorious Food,”“ConsiderYourself,“ and “I’dDoAnything.”ThisnewTrinityRepadaptationof the classicwill vividlybring to lifeDickens’timelesscharacters,fromtheorphanboywhodarestoaskfor“more”totheArtfulDodger, thekind-heartedNancy,mischievousFaginand thesinisterBillSykes.JoinOliverashenavigatesthestreetsof19th-centuryLondon,onasearchforloveandfamilyandhisplaceintheworld.WinnerofthreeTonyAwards. Veronica Meadows by Stephen Thorne • World Premiere

GirldetectiveVeronicaMeadowsandhergalpalGinnyhavebeensleuthingandsolvingsmalltowncrimesforaslongasanyonecanremember.Timeandagain,theystoptheevil-doersintheirtracksandsavetheday.Thatis,untilthedayourpluckygirldetectivestopsfollowingherpredicablehabitsandtakesadangerousturnintotheunknown.AdarklycomicgemfromStephenThorne,residentactorandplaywrightofThe Completely Fictional — Utterly True — Final Strange Tale of Edgar Allan Poe,whichpremieredtwoseasonsagoatTrinityRepandrecentlyplayedatBaltimore’sCenterstage.“Thornecanwritelinesthatsing,startleandamuse.”(Baltimore Sun)

A Lie of the Mind by Sam Shepard • directed by Brian Mertes

Hailed recentlyby theNew York Times as theplaywright’s “richestandmostpenetratingplay,a20th-centurymasterworkofafamilyportrait,”SamShepard’sstorytellingisathismostpoetic,mostpoignantandmoststriking.Brimmingwithenormousvitalityandhumor,theplayalternatesbetweentwofamilies joinedtogetherbymarriageandtornapartbyalife-changingincident.ExcavatingourideasoftheAmericanfamily,theplayasksustolookdeeperintothehumanheartandthedestructivepoweroflove.“SamShepardissurelytheonlydramatistalivewhocouldtellastoryassadandfrighteningasthisoneandmakesuchafunnyplayofitwithouteverskimpingonitsemotionaldepth.”(The New Yorker)

Plays subject to change.

“Itdidnothappenbecausea‘leader’oran‘artisticdirector’orateamof‘director-managers’soughtoutProvidenceorthestateofRhodeIsland.ItdidnotbeginbecauseitwasaplacewheresomeProvidence,RhodeIslandtheaterprofessionalsneededtoestablishatheaterasanoutletfortheirtheatricalinclinations,thoughsomeoftheearlyparticipantsmaywellhavehadthatinmind.

Ithappenedratherbecausein1962and1963someresidentsofthearea—somepeopleinthecommunity—felttheneedtoseeprofessionalperformancesofsomeofthenewdramas,aswellastheclassics,withouthavingtotakeweeklyormonthlyorannualtripstoBostonorNewYork.”

—Excerpted from ProvidenceIsNoLongerJustaTrainStop by Milton Stanzler

The Foundation for Repertory Theater of Rhode Island InCoRpoRaTeD MaRCh 19, 1963 by BetsyArgoProfessorJamesBarnhillLawrenceGoldbergRobertKaplanBarbaraOrsonNormanTillesMiltonStanzler,Coordinating Chairman FounDInG TRuSTeeSBettyAllenHeleneBernhardtProfessorJamesBraschDr.AlbertBush-BrownProfessorArlanCoolidgeJosephDoughertyWilliamEdwards,Esq.HarryFreemanMichaelGamminoLawrenceGoldbergRosalynGoldbergHenryHart,Jr.MerrillHassenfeldDr.FrancisHorn

RobertKaplanSusanKaplanIsabelleLeedsJudgeWilliamMackenzieBarbaraOrsonSenatorClaibornePellEdithPotterJamesRheaBruceRuttenbergJosephSinclairLawrenceSpitzPhyllisStanzlerNormanTillesSofiaVervenaJudgeJosephWeisberger

Happy Birthday, Trinity Rep!


PosTCard

FroM The MFA SHOWcASEby Stephen berenSon

The ninth graduating class of Brown/TrinityRepMFAactorsperformedtheiryearlygraduateshowcaseinLosAngelesonMonday,April1andinNewYorkCityonMonday,April8.Theshowcase isaseriesofbrief two-person scenes that

arepresented toprofessionalagents,managers,andcastingdirectorstohelpintroducetheactorstomembersoftheindustry.Lastingapproximatelyonehour,thereareperformancesintheafternoonandeveninginbothcities.

ItraveledtoLosAngelesandNewYorkwithThomJones,Brown/TrinityRep’sdirectorofvoiceandspeechandourvocal coach forTrinityRep.WeflewoutofProvidenceearlySaturdaymorning,alongwithfiveofthe13actors.Ahighlightoftheflightwaswhenthestudentsrevealedtotheflightattendantsthatitwasmybirthday.Anannounce-mentwasmadetoclosealltheshadesintheplaneandturnonalltheoverheadlightssothatallthepassengerscouldsing“HappyBirthday”tome.

OnceinLA,ThomandIspenttimewithsomeofourgraduateswhoare livingandworking inCalifornia now, and on Sunday afternoonwerehearsedtheshowcase.

Mondaymorningwewereabletogetintothetheaterforthefirsttime.Wehadonly90minutestoworkonstagebeforereadyingtheauditoriumforour first audience. Thatbrief rehearsalwassharpandfocused,sincetherewasagreatdealtobedone.Thomstoodintherearofthetheatertobecertainthattheactorscouldbeheard.Iworkedclosertothestage,adjustingentrancesandexits,workingwiththestagemanagertoputspikemarksdowntoclarifyfurnitureplacement,andtogooveranyparticularlydifficultblocking.

Theturnoutatbothperformanceswasgreat.Althoughit’swonderfulwhenthereareagentsintheaudiencewhoapproach thestudentsaboutsigningexclusivelywitha company, I think thegreaterandmorelastingbenefitsoftheeventoftencomefrombeingseenbycastingpeople,whowillbeworkingonvariousprojectsformanyyearsintothe future.Theopportunity tobeseenby thesebusinesspeople is invaluable inmovingforwardayoungartist’scareer.Asidefromthedozensof

agentsandmanagerswhoattended,executivesfromABC,CBS,Disney,andWarnerBrothers,amongothers,sawtheLAgraduateshowcase.

AlthoughthestudentsstayedinLAformostoftheweek,ThomandIflewbacktoProvidenceonTuesdaymorning.ThefollowingweekendwewenttoNewYork,wherethewholeprocessstartedagainandculminatedinMondayperformancesforanaudiencethatincludedcastingdirectorsfromLincolnCenter,RoundaboutTheatre,ManhattanTheatreClub,TheActingCompany,andManhattanClassCompany,aswellasdozensofagentsand

managers.Most universities participate in graduate

showcases,butweare fortunate tohaveoneofthe largest andmost prestigious audiences atourpresentations,whichisacredittoourgradu-ates,our faculty,and the renownofbothBrownUniversityandTrinityRep.

—In addition to being a member of Trinity Rep’s resident acting company, Stephen Berenson is

Director of the Brown/Trinity Rep MFA Programs in Acting and Directing, where he also teaches acting.

The bRown/TRInITy Rep MFa Class oF 2013 • back row from left:AubreySnowden(MFADirect-ing),LizMorgan,LeicesterLandon,CaitlinDavies,AmandaDolan,PeterMarkKendall,LeahAnderson,GrantChapman,BarrieKreinik,BrandonJ.Vukovic;middle row: RyanGuzzoPurcell(MFADirecting),DrewLedbetter,JaimeRosenstein,AlstonBrown;seated in front:DanielDuque-Estrada.


romeo and Julietby William Shakespearedirected by Ryan Purcell ’13

May 7–19, 2013

The classic tale of forbid-denpassion inaworldfilledwith violence, jealousy andultimately, loss. Two teensunexpectedlymeet and fallin love— and then realizethattheirfamiliesarethemostviolentofenemies.

TIckeTS:$12generaladmission,$6forstudents(withvalidID)andseniors(62andolder)

Fortickets,call(401)351-4242orvisittrinityrep.com.

ALL peRFoRMAnceSattheCitizensBankTheater,PellChafeePerformanceCenter,87EmpireSt.,Providence

Brown/TriniTY reP MFA PROgRAMS IN AcTINg & DIREcTINg

PHOTO

&POST

ERD

ESIG

NBYST

EPHANIEBULL

ARD


PHOTOBYMARKTUREK

There Are nosmall Parts There Are Just small actorsYoung Actors Summer Institute Jr. 2013

by Jordan Butterfield

Youmay already knowabout Trinity Rep’sYoungActorsSummer Institute (YASI),ourfive-weekprogramforstudentsenteringgrades5–12,butdidyouknowthatwekickoffthesummerwithaprogram forchildrenenteringgrades1–4? It’scalledYASI Jr.andstudentsasyoungasfivecanjoinTrinityRepteachingartistsforafullweekoffunandcreativeplay.IttakesplaceinTrinityRep’smain rehearsal space— the same roomwhereourprofessionalactorscreatetheaterforourmainstages.

Theyoungperformerslearnthefundamentalsof acting through improvisation,movement,characterwork anddesign. At the end of theweek, familyand friendsare invited towatchanopen-classperformance. In thepast,ourYASI Jr.studentshaveadapted classic children’sbookssuchasHow I Became a PiratebyMelindaLongandDavidShannon,Don’t Let the Pigeon Drive the Bus!byMoWillems,andThe Little Baby Snoogle-FleejerbyJimmyCarter.Studentscreatepropsandcostumesfortheircharacters,exploretheworldoftheplaythrough improvisation and usemovement tounlocktheirimaginationsandbringthestorytolife.

Manyof the studentswho takepart in theYASI Jr.programgraduate toour larger summerprogram, theYoungActorsSummer Institute,aswellasourmoreadvancedafter-schoolclassesthattakeplacethroughouttheyear.

Our excellent staff creates a curriculumcateringtochildrenofalldifferentbackgrounds.It’sperfect forexperiencedyoungactorsor shynewcomersandeveryoneinbetween.Givethegiftoftheatertothedramaticchildinyourlife.

yASI Jr. runs from Monday, June 24 to Friday, June 28. The morning session from 9am–noon is for rising 1st and 2nd grade students. The afternoon session from 1–4pm is for rising 3rd and 4th grade students. The tuition for the week is $200 and you can register your child by calling (401) 521-1100 ext. 114 or by visiting www.trinityrep.com/education.

PHOTOSBYCAROLINEAzANO

“My child loves acting and dancing but sometimes is a bit timid at first until he starts to feel comfortable. YASI Jr. touched on that and allowed him to be himself and he embraced it.”

—PARENT, yASI JR. 2012

“He felt very comfortable with the teachers and came home every day talking about what he learned.”

—PARENTyASI JR. 2012


Inthefall,NathanBishopMiddleSchoolEnglishteacherTheresaFoxapproachedTrinityRep’seducationdepartmentwithonemaninmind:William Shakespeare. Her seventh gradestudentswereplanningtoseeourproduction

ofKing Lear,andinfacthadsecuredgrantmoneytofundthefieldtripthankstoRepresentativeGordonFox,buttheschool’stestingscheduleforcedthemtocancel.Even thoughtheentire seventhgradehadalreadyreadKing Lear,theyandtheirteacherswerenotdiscouraged,andmovedontoanotherprojectandanothertragedy:Othello.

Withafieldtripnolongeranoption,Theresaandoureducationstaffbrainstormedways theycould collaborateon anOthello project. ItwasdecidedthatfourTrinityRepteachingartistswoulddirectatruncatedproductionofOthellofeaturingtheentireseventhgrade.TrinityRep’seducationdepartmenthasworkedwiththousandsofstudentsin schools throughout the state, frequentlyonShakespeare,butthisparticularprojectwasmoredauntingthaneverbefore.Therewereeightdiffer-entEnglishclassesinvolved,totaling170students.Further,timewasoftheessence:thestudentshadthreeweekstoreadtheplay,analyzethescenes,

figureouttheblockingandperformtheplayforfriends,fellowstudentsandfamily.

Itwastimeforsomecreativethinking.In theend, therewere15differentOthellos,

13Desdemonas,andover30Iagos—allstudentswere required to participate,with numerousstudentsperformingthesamecharacterindiffer-ent scenes, andmany students takingonmanylinesandcomplexmonologues.FourTrinityRepteachingartists,withthehelpoftwoNathanBishopMiddleSchoolteachers,helpedbringthismassiveundertakingtolife.

Notonlydidthestudentstacklethechalleng-ingShakespearean language, they added theirownvoicestotheplay,andtheywereencour-agedtoputtheirownexperiencewith theracism and genderprejudice intowords.This resulted in twostudentresponsesandsomepowerful theat-rical moments, andshowedonceagainnotonly the relevancyofShakespeare’sbeauti-fultextbutthepoweroftheateraswell.

Pomp & CircumstanceStaging Othello at Nathan Bishop Middle School

by Jordan Butterfield

PHOTOSBYLAURAGOLDSTEIN


write here, write now!

by Camron Parker

Aftera successful inaugural run in2012,Trinity Rep’s education departmenthosted its secondWrite Here,WriteNow!StudentPlaywritingCompetition.

HighschoolstudentsfromallacrossNewEnglandsubmittedplays inhopesofbeing selected asoneofthethreewinners,whosescriptswerethenproducedinaone-nightfestivalofnewworks.Over75scriptswerereceivedandeachplaywasreadbyapanelofTrinityRepstaff,boardmembers,and vo lunteers tonarrowthepooldownto thefinal three.Thesubmissionswere, likelastyear,awe-inspiring,as somany talentedyoung playwrightsbravelysubmittedtheworks theyhadspentmanyhours carefullycrafting.

T h e w i n n i n gplays were Bloom in December by K irbyKochanowsk i f romRogersHighSchoolinNewport,RhodeIsland;RevisionbyAndyLetaifromMedfield HighSchoolinMedfield,Massachusetts;andRevelation by BonnieAtterstrom fromFraminghamHighSchool in Framingham,Massachusetts.Honor-ablementionawardswent toCarrieMiller fromFraminghamHighSchoolforChoo Choo Me Home andAhmerKidwaifromTheMosesBrownSchoolinProvidenceforThe Gospel of Thad.Theplaywrights

spentonemonthhoningtheirdrafts,workingwithdramaturges fromTrinity Rep’s education andliterarydepartmentsbeforethefinalscriptsweresubmittedfortheperformance.

Finally,onApril8, residentactingcompanymemberStephenThorne,YoungActors Studioparticipant ElliotPeters, andBrown/TrinityRepMFAactingstudentsBillyFinn,IanMcNeely,SophieNetanel,WhitneyWhite, andMaxWolkowitz,alongwithatalentedcrewofproducers,directors,and technicians, brought thewinningplays tolifeduringaneveningof staged readings in theDowlingTheater.

The combination of student playwrightsseeingtheirscriptscometo life forthefirsttimepairedwiththemeticulousplanningdonebyTrinity

Rep’s interns, showcased themany remarkableopportunitiespresentedtoyoungartiststhroughTrinityRep’seducationdepartment.Asa theaterthatpridesitselfonitscommitmenttodevelopingnewwork, itwasanight thatmeantsomuchtoTrinityRepaswell as to thenextgenerationofplaywrights.

STANDINg FROM LEFT: Stephen Thorne, Ian McNeely, Whitney White, Sophie Netanel, co-producer Michael Williams, Elliot Peters, Max Wolkowitz, Billy Finn, and co-producer Camron Parker.

SEATED FROM LEFT: Bonnie Atterstrom, Kirby Kochanowski, and Andy Letai.

PHOTOSBYANNEL.HARRIGAN

FROM LEFT: Brown/Trinity Rep MFA class of 2015 students Max Wolkowitz, Billy Finn, Ian McNeely, and Sophie Netanel

STANDINg FROM LEFT: Stephen Thorne with Brown/Trinity Rep MFA class of 2015 students Whitney White and Ian McNeely. SEATED: Young Actors Studio student Elliot Peters

FROM LEFT: Playwright Kirby Kochanowski with resident acting company member Stephen Thorne


The Trinity Rep education departmentbegana fruitfulpartnershipwiththeProvidenceAthenaeum earlier this yearwhenwe stagedanabridgedversionofRomeo and Juliet on thelibrary’smain floor,with16 youngactors fromaroundRhodeIsland,allingradesthreethroughsix.TrinityRepandtheAthenaeumhavecollaboratedbefore—oftenactorsandplaywrightswill visittheAthenaeumasguestsatoneoftheirwonderfulsalons—butthiswasthefirsttimewehadbroughtouryoungstudentstothisincredible,world-classlibrary.

WhenIwalkedintotheProvidenceAthenaeumforthefirst time, it felt like Iwasstepping intoachildhooddream.Therewerestacksuponstacksofbooks,littlenooksandcranniesperfectforcurlingupwithabookandgettinglostinyourimagination—itwaseverythingyoucouldwantalibrarytobe.Icouldfeeltheinstitution’svibranthistoryintheair,morethan150yearsofprovidingProvidencecitizensaccesstothelibrary’sextensivecollection,creatingastrongintellectualcommunity.

I alsonoticedhowsimilar the spacewas toanElizabethan theater, likeShakespeare’sGlobefoldedinonitself.Therewasaplayingspaceinthecenter,withroomforactionaboveandaperfectplace for a balcony scene, and awindow thatopenedouttolookoverthemainlibraryfromthespecial collections room. (For theperformancesweevenhad “groundlings,”meaning, audiencememberswhostoodforthedurationoftheshow—luckilyitwasonlyahalfhour’strafficonthestage.)

WhenIwalkedintoourmakeshiftclassroomthefirsttime,acoupleofearly-birdstudentsgreetedmewithexcitement.Theywerealreadyporingoveran illustrated versionofRomeo and Juliet, andeagerlyshowedmetheotherShakespearebookstheyhad.When Iaskedthemwhattheir favorite

playwas, they answered, inunison: “Hamlet.” Ithoughttomyself,“Well,Ibetterstepupmygame.Thesekidsaresmart.”Aswestartedtoreadtheplayanddelve into Shakespeare’slanguage,theyoungactorsreadcarefullyandthoughtdeeply.Whenweput theplayonitsfeet,theyrealizedhowcomicalthefirsthalfis.“Whyisthissofunny?”Theywouldask.“Isn’titsupposedtobeatragedy?”

“Hey, the jokes are inthere,”Iwouldsay.“Charac-ters likeMercutioand theNursestealtheshowmostofthetimewiththeirwittyremarks.Findingthehumorin the first halfwill onlymake the tragedymoreunexpected,morepainful.”Theywouldnod thought-fullyandcontinueworking,

PHOTOSBYSTEPHANIEBULLARD

a rose by any other athenaeum

inevitablycomingupwithanotherquestionwithinafewseconds.

Ourfinalperformanceon April 4th played to apacked house of friendsandfamily,standingintheback, tucked into nooks,squeezedintocorners,andabletoenjoythehardworkof almost fourmonthsoflearningtextandblocking(includingswordfights!)andexpressingthebigemotionsthatShakespeare’s charac-tersoffereveryminuteoftheplay.We look forwardtocontinuingthiscollabora-tionwithsuchavenerableProvidence institutionandhopetobringmoreShake-spearetoyoungstudentsinthecomingyear!

by Emily MacLeod


March 18th celebration remembered the past, honored investments in the future

OnMarch18,Trinity Rephonoreditspastandcelebratedpatronswho have

invested in its futureby par ticipating inthe theater’s legacygivingprogram.Heldthe night before the

50th anniversary ofthe formal incorpo-ration of Trinity Rep(March 19, 1963), theevening beganwiththe unvei l ing of aplaquehonoringoneofTrinityRep’sfound-ers, Milton Stanzler,who passed away in2012. Mr. Stanzler ’snephew,ArthurRichter, sharedhis recollectionsof his uncle’s passion for live theater and theStanzlerfamilyhistoryinRhodeIsland.TheMiltonStanzlerplaquenowhangsinthefirstfloorlobbyofTrinityRep.

The theater announced the creation ofthreenamedfundswithinitsendowment,whichismanagedby The Rhode Island Foundation.Established throughbequests, thesenew fundshonor thememoriesof subscriberVictoria IreneBall (formerly of Providence and Pittsburgh),TrinityRep’s former resident composerRichard“DeeDee”Cumming,andformeractingcompanymemberMargoSkinner.Thesefundswillsupport

theprogramsandactivitiesthatwereimportanttothemduringtheirlives.

Ms.Skinner’snephew,NewYorkactor JohnCalvin Kelly, shared stories about his aunt’smentorship.Inaddition,formerTrinityReptrusteeHarrisN.“Hershey”Rosengaveanoverviewofhisforthcomingbook,Creating a Guide So Your Partner Can Go on Living!,whichwill bepublished thisspring.TrinityRepannouncedthatMr.Rosen’sbookwillbeofferedasathank-yougifttoanyonewhodocumentsaplannedgifttothetheaterbetweennowandDecember31,2013.

AlsopresentwereSusanKaplanandBetsyArgo,whowerebothinvolvedintheoriginalforma-

tionofthecompanyanditsincor-poration, and longtime residentactingcompanymembersBarbaraMeekandAnneScurria.

“Events like these are theheartofTrinityRep,”saidKathrynA.Calnan,Direc-

Be a Part of Trinity rep Forever! And get a free copy of Hershey Rosen’s book, Creating a guide so your Partner Can go on Living.

Mr.Rosen’sbookwillbeofferedasa

thank-yougifttoanyonewhodocumentsaplannedgifttothetheaterbetweennowandDecember31,2013.Plannedgiftscanbemadeinseveralways,includingnamingTrinityRepinawillorasabeneficiaryofan insurancepolicy.Thecurrentvalueoftheseplannedgifts counts towardsourTheaterforEveryGenerationCampaign,an$18millionfundraisingefforttoensurethetheatercontinuestoservethecommunityforgenerationstocome.Formoreinforma-tion,contactIndividualandLegacyGivingOfficerCarolDrewesat(401)453-9285.

LEFT TO RIgHT FROM TOP LEFT:

Betsy Argo, Selma Stanzler, Arthur Richter,

Anne Scurria, Susan Kaplan and Harris

“Hershey” Rosen with the plaque honoring

founder Milton Stanzler; Barbara

Meek, Katie Venezia, and John Calvin Kelly,

who traveled from New York City to pay

tribute to his aunt, the late Margo Skinner;

John Harpootian, Joan Countryman

and Edward Jakmauh; Russell Field, Joanna

Coppola and Anne Jencks; Myrna and

Harris “Hershey” Rosen with the poster

for his book.

PHOTOSBYANNEL.HARRIGAN

Celebrating Legacy torofDevelopment. “Asweapproachour50thseason,it’simportanttoremembereveryonewhohasensuredthetheaternevergoesdarkandthatthedialogueneverends.Bytakingthetimetosaythankyou,wehopefullyinspirethenextgenerationtoalsoseehowtheirsmallactionshavelong-lastingreverberationsinourcommunity.”

by Carol Drewes


AgE: 17, junior at the Paul Cuffee School inProvidence.

BEEN PART OF THE TRINITy REP FAMILy:…since the summerof 2012,whenhe joined theYoung Actors Summer Institute (YASI) at theurgingofhis teachers.Elvis,whowasn’t surehewasinterestedinanarts“camp,”decidedtogivetheprogramachanceafterspeakingwithafriend,whoreferredtoitasa“dreamland.”SinceendinghisfirstYASIexperiencewithamemorableturnasTybaltintheYASIShakesproductionofRomeo and Juliet,he’sgottenaboutas involvedaspossible,takingafter-schoolactingclassesandparticipat-ing inAmbassadorsPlus, anoutreachprogramspecificallygeared towardhighschool studentsinterestedingoingbehind-the-scenesandlearningmoreaboutthe innerworkingsofaprofessionaltheatercompany.ElvissaysthatbeforeattendingYASI,hewasn’treallyawarethatsuchanestablishedtheatercommunityexistedinProvidence,buthisexperienceinoureducationprogramshasmadehimfeel“enlightened”andinstilledadeepdesiretocontinuelearninganddiscoveringmoreabouthiscraft.Whenaskedifthethingshe’slearnedatTrinityRephavehelpedhimdecidewhathewantstodointhefuture,heansweredfirmly,withahugesmile,“Iwanttobeanactor.NowIcanseethatit’spossibleforme,anditwillhappen.”

BECkONED By THE BARD: Elvis loves Shake-speare. In 2012, he representedPaulCuffee atTheEnglish-SpeakingUnionoftheUnitedStates’annual Shakespeare Recitation Competition,whichdetermineswhich talentedhigh schoolstudent fromRhode Islandwill represent thestateat theNational ShakespeareCompetition,placingan impressive third.HisfirstexperiencewithShakespeare,however,wasperforming inRomeo and JulietthroughtheShakespeareintheCityprogram,whichhecalls“reallyfun.”WhatElvis

ABOVE: Elvis in Trinity Rep’s education offices, before heading to a Young Actors Studio rehearsal. PHOTOBYKATEKATAJA

BELOW: Performing (front left) during the YASI Shakes performance of RomeoandJuliet in August 2012. PHOTOBYMARKTUREK

likesbestaboutShakespeare’swork,hesays,isthelanguage.“Hewritessomeofthemostbeautifulthingsyoucansay,”heexplained,addingthathe“loveschallenges”andnowprefers readingandperformingShakespeareaboveanythingelse.

SPEAkINg OF CHALLENgES:EachyoungactortakessomethingdifferentawayfromTrinityRep’seducationprograms.ForElvis,thebestpartofYASIandtheYoungActorsStudiohasbeenexposuretonewthings.HecitesdialectclasswithJohnTracey(Brown/TrinityRepMFA’10)withgivinghimanewwaytolookatscripts;stagecombatwithzdenkoMartin(Brown/TrinityRepMFA’14)withharnessinghisphysicality;andscenestudywithresidentactingcompanymemberMauroHantman forpushinghimasanactor, sayinghewas “cockygoing in,”but learned fromthechallengesofbeinggivencharacterswhowerecompletelyoppositeofhisownpersonality

Elvisalso talkshighlyof themutual respectbetween the studentsand teachingartists thatisapparent inTrinityRep’seducationprograms.He says that seeing thismodelhashelpedhimtogrowasaperson,becoming less judgmentalandmoreacceptingofthepeoplearoundhim.“Iusedtobekindofatroublemaker,butbeingherehashelpedmechangemybehaviorandbecomemoremature.”Hementionsthathenowtriestobeinspiringtootherkidswho“mightnothaveashototherwise.”Enlightenment,indeed.

For information on how you can support Trinity Rep’s education programs, contact kate kataja, Donor Programs and Individual giving Officer, at [email protected] or (401) 521-1100, x172. For information on participating in education programs, contact Jordan Butterfield, Education Programs Manager, at [email protected] or (401) 521-1100, x114.

all eyes are on… ElvIS ARTIgASby Kate Kataja


ThisJune,TrinityRepwillcelebratetheachievementsoffiveindividu-alswhohavemadelastingimpactson the local andnational levelsthrough theirwork in thearts atthe17thannualPellAwardsGala.Establishedin1997,thePellAwardsare named for the late Senator

ClaibornePell,whosponsoredthelandmarklegisla-tionthatestablishedtheNationalEndowmentsfortheArtsandHumanitiesin1965.

Trinity Rep’s Richard L. Bready Artistic Director Curt Columbus talks about the award recipients and their contributions to the arts.

KaTe BurTonPellAwardforLifetimeAchievementintheArtsActor,TV:Scandal, The Good Wife, Grimm, Veep.Film: 2 Days in New York, 127 Hours, The Ice Storm

“Kate is one ofthegreatactorsofhergeneration, awomanof range, intelligence,andpassionwhohasfew equals in theAmerican Theater,”says Columbus. “Herwork on Broadway,t h r o u g h o u t t h ecountryintheregionaltheater, her numer-ousfilmandtelevisionappearances alonewouldmeritarecogni-

tionasoneofthegreatactorsofhergeneration.Justasimportantasherillustriouscareer,however,hasbeenherserviceinpromotingthearts,educa-tion,andartseducationforBrownUniversity,theAmericanTheatreWing, and theWilliamstownTheaterFestival,amongotherboardsandnationalorganizations.IamdeeplypleasedtopresentKatewiththeLifetimeAchievementhonorthisyear.”

John KrasinsKiPellAwardforDistinguishedAchievementin

theArtsActorandWriter,TV:The Office.Film:Promised

Land, Big Miracle, Away We Go, Brief Interviews with Hideous Men

“Since graduat-ing f rom Brown in2001, John’s comedictalentshaveendearedhim to millions. Hisaward-winningworkon NBC’s The Office hasmadehimoneofthemost immediatelyrecognizable actorsworking in televisionand film today,” saysColumbusofthenativeNew Englander. “Butheisseriouslytalentedbehind the cameraas well. His work ischaracter-driven, trueto its inspiration, and

john krasinski joins kate burton and local winners for the 17th annual pell awards

you’Re INvIted to

the2013 pell awards

Monday, June 10

VIPreceptionat6pm

Ceremonyat7pm

Cocktailreceptionfrom8to10pm

HonoraryChair:Mrs.NualaPell

Co-Chairs:JoeandMicheleMadden

Elizabeth“Beppie”Huidekoper

Tickets:VIPTicket$500,GalaTicket$250

Sponsorshipsavailable

Call401-453-9237formoreinformation.

T.CHARL

ESERI

CKSO

N


craftedwithakeenearandeyefordetail.WeareexcitedtocelebrateJohn’scareertodatewiththePellAwardforDistinguishedAchievementintheArts.”

Tony esTrellaRhodeIslandPellAwardforExcellenceintheArtsArtisticDirectorandActor,TheGammTheatre

ColumbuscallsTony, “an immensely skilledandmulti-facetedartist: asuperbactoranddirector,avenerableartisticleader,andatrueadvocatefortheartsonbothalocalandnationallevel.”HeaddsthatunderEstrella’svision-aryleadership,TheGammhastransformedintoanationallyrenownedandrespectedcompany;aplacewherechallengingnewworkandstill-trenchantclassicsaregivenvibrantlife—winning,alongtheway,threeprestigiousElliotNortonAwardsandattractingagrowingsubscriberbaseandfansfromacrossNewEnglandandbeyond.“Inmanyways,”saysColumbus,“muchofthissuccesscanbedirectlyattributedtoTony’stalent,hardworkandhisdoggedpursuitofartisticexcellence.”

Joseph a. Chazan, M.D.PellAwardforOutstandingLeadershipintheArtsArtCollectorandBenefactor

“Joe’skindofphilanthropyfullyexpressesandfurthersSenatorClaibornePell’soriginalintentiontosupportlocalartistsincommunities.HehasspentdecadespromotingvisualartistsandotherartisticinstitutionsinRhodeIsland,throughthecommissioningofartforcommunityspacesaroundthecityandstateandbyworkingtobringarttopublicawarenessinanaccessibleway.HeisnotonlyadedicatedpatronoftheartsinRhodeIsland,butoneofitsmosttirelessbehind-the-sceneschampions.”

MarTha Douglas-osMunDsonCharlesSullivanAwardforDistinguishedServiceintheArtsEnglishandTheatreTeacher,TheLincolnSchool;creatorofShakespeare

intheCity

“Marthanotonlyisafearlesseducator,buthasworkedtirelesslyontheShakespeareintheCityprogramoverthepastfiveyears.Fewpeoplecouldhavebroughtanysuchbold,newprogramintoexistence,muchlessonefocusedonusingShakespearetoconnectchildrenandteachersfromurbanpublicandprivateschools.Throughbeliefinthevitalityofhermissionandaspecialkindofdetermination,Marthahaspositively influenced theartisticgrowthandeducationalfutureofsomanyyoungpeopleinourcommunity—andthatissomethingweatTrinityRepcouldnotbehappiertocelebrate.”

This spring, help us get our HOUSE in order by making a gift to Trinity Rep’s Annual Fund before the close of our fiscal year.

Between now and June 30, Alan and Marie Weiss will match up to $10,000 in new or increased gifts to the Annual Fund. If you’re already a donor, the amount by which you increase

your gift will be matched. If you’re a new donor, your gift will be doubled! Make a gift online at www.trinityrep.com/give, by calling Kristen Orall at (401) 453-9235, or print out and return this form with your gift.

q Enclosed please find my gift of $________ for the 2013 Annual Fund

q I’ve included Trinity Rep in my estate plans.

q I’d like to learn more about legacy giving and The Stanzler Society.

q My employer has a matching gifts program.

q Form enclosed. Company name ____________________________

NAME __________________________________________________________________ (AS yOu WISh TO bE RECOgNIzEd IN dONOR lISTINgS)

AddRESS _______________________________________________________________

CITy____________________________STATE______zIP ______________________

PhONE______________________EMAIl ____________________________________

q Enclosed is a check payable to Trinity Repertory Company.

q Please charge my q Visa q MC q AmEx q discover

NAME ON CARd __________________________________________________________

CARd # _________________________________________________________________

SECuRITy COdE____________________ EXP. dATE ___________________________

SIgNATuRE _____________________________________________________________

q Please bill me for the balance.

q I would like to set up automatic payments. Please contact me.I would like to take advantage of donor benefits: q yes q NoPlease return to: Trinity Rep, 201 Washington St., Providence, RI 02903.


Last fallwewelcomedKatie Byrnes as our newgeneralmanager,andshehasquicklymadeherselfathome.Ofcourse,it’seasyforhertofeelsoateaseconsideringherarrivalatTrinityRepwassomethingofahomecoming.Katie isaRhodeIslandnative,andspentmanyofherearlyyearsworkingatTrinityRepuntilshelefttheOceanStatein1990topursueanMFAattheUniversityofCaliforniaatSanDiego.

Still,shealwayshadaspecialplaceinherheartforTrinityRep,andsinceherreturnhasbeenpinchingherselfthatshe’shelpingtoleadthetheaterwhereshefirststartedhercareer.

We sat downwith Katie toaskhera fewquestionsaboutherformativeyearsatTRC,what she’sbeenuptosincesheleft,andwhatbroughtherbacktoRhodeIsland.

katie, you have quite a long association with this wonderful theater. Tell us about your first memories of Trinity Rep.

Istartedoffasanusherinhighschool.While I can’t tell you thenameofeveryshowIsawhere,there

aresomanyimagesthathavebeenpermanentlysearedontomybrain. Someof themost vividmemories come fromBetrayal,Glengary Glenn Ross,andThe Real Thing.Thosememoriesarejustfrommyfirstseasonofusheringalone!IdistinctlyrememberRichardJenkinsinA Flea in Her Ear;itwasabrilliantperformance.MybrotherandIwouldseealmosteveryshowatleastthreetimes.Iusheredthrough1982beforeIleftforSaintMary’sCollegeinSouthBend,Indiana.

AfterIgraduatedfromcollegeIhadthat“what

am Igoing todo”crisisandalmost immediatelyappliedtoTrinityRep.Ibecamethebulkmailinggirl and alsowas the education coordinator,creatingeducationpackets forProjectDiscoveryperformances. I helddown thosepositions forseveral seasonsand thenbecametheboxofficemanagerforoneseasonduringAnneBogart’syear.

What impression did Trinity Rep make on your early theater career?

It’samazingtorealizehowmanythingsIdoasamanagerarethingsIlearnedhereinthefirstfewyearsoutofcollege.Firstandforemost,Ilearnedhowtobeacautiousbudgeter—TrinityRep isamazingatwhattheydogiventheirrelativelysmallbudget.Thoseskillsareincrediblyvaluableineveryartsorganization.Frugalandsmartspendingiskeytoanon-profit’ssuccess.

AnotherincrediblyimportantthingIlearnedatTrinityRepisanappreciationforactorsandforcompaniesofactors.FromyearsofwatchingTrinityRep’s resident company continually challengethemselves,Ibegantounderstandthecraft.Thetransformationeachofour companymembersgoes throughwas, and still is, amazing to see.Witnessing the journeyof artists and their artthroughout the years is anopportunity that isuniquetoTrinityRep.

We love to joke that Curt poached you from Centerstage when he went to direct Stephen Thorne’s play, The Completely Fictional — Utterly True — Final Strange Tale of Edgar Allan Poe. What had you been doing at Centerstage and what made you decide to come back?

When ImetCurt Iwasworkingas theartis-tic administrator at Centerstage in Baltimore,Maryland.Myprimaryjobwasmanagingvisitingartists, actors,directors, andplaywrights. IwasoftenthefirstpersonatCenterstagethattheyheardfrom,andwasthelastonetowavegoodbyeaftertheshowhadclosed.Ihadanamazingtimeandmetsomewonderfulpeople,butafter13yearsit

wastimeforachange.Honestly,itneveroccurredtomethatIwouldcomebacktoTrinityRep.ItwasashocktogetthecallandinsomewaysIamstillinshock.

I loveRhode Islandand I lovethework thatTrinityRepdoes.Yousay“TrinityRep”andalmostimmediatelypeoplehaveastoryaboutthisplace.Maybe it’s the fondmemories of the residentcompany,ormaybeit’sonlyoneperformanceofA Christmas Caroltheysawasachild,buttheyhaveastory.TrinityRepisundeniablywovenintotheheartofRhodeIslandandImissedbeingapartofthatextraordinarilyuniquecommunity. It’s importantforusasanorganization to remember that thistheaterisresponsibleforsomanymemoriesoverits50-yearhistoryandthatwemustpreservethosememorieswhile creatingnewmemories for 50yearstocome.

Speaking of 50 years of history, one of your tasks is to plan our 50th birthday party. Can you give us any secrets about the year-long soiree?

Onesecretwouldbethatwewillbehostinga fabulousevent inAugustcelebratingallof thetheaterinRhodeIsland.RhodeIslanderslovetheirdrama,andwhileTrinityRepplaysan importantroleinbringingtheatertothestate,itiscertainlynottheonlytheaterdoingwonderfulthingsinourcommunity.Wewanttocelebratealltheaterandnotjustwhatwe’vedoneoverthepast50years.TheeventinAugustwillgiveusachancetorecognizesomanyotherrermarkabletheatercompanies.

Oneother secret is a terrificcampaign thatwill give everyone in the state anopportunitytocontribute to the legacyofTrinityRep. I can’tdivulge toomuchyet,but stay tuned formoreinformation. Itwillbeachancetorecognizeandappreciate Trinity Rep’s part in the life of ourcommunityandwhatourcommunityhasdone,andcontinuestodo,tosupportTrinityRep.It’sabeautifulrelationship!

Coming Homeby Camron Parker


Arou

nd

the R

epAspartofTrinityRep’snewunder35@TRCprogram,peopleundertheageof35canseeshowsforonly$25,plusreceiveacomplimentarycocktail.Soundslikeaprettynicedeal,right?Well,inadditiontothediscountandthedrink,membersofUnder35@TRCarealsoinvitedtofuneventsatthetheater,liketheonewehadonApril4.Thethemewas“Zombie Prom” (inconjunctionwithourproductionofSocial Creatures)andthecrowdofabout70wastreatedtoapre-showreceptionwithaDJ,specialdrinksfromSonsofLiberty(alocaldistillery)andcateringfromThe Bradford,agreatrestaurantonFederalHill.Aftertheshow,Under35@TRCmoveddownWashingtonStreet toBlake’s Tavern for apost-showpartysponsoredbyThe Onion,wheretheymingledwiththecastandcrewoftheshowanddrankreduced-priceNarragansetts.Itwasafunnightforall!TojoinUnder35@TRC,calltheboxofficeat(401)351-4242orvisit www.trinityrep.com/templates/default/forms_popup/under35.php.

OnApril24,TrinityRepeducationoutreachcoordinatorMichael WilliamsandteachingartistFrancesca Montanile (back row, far right) wereamong thosehonoredat theannual Victims’ Grove Ceremony inMemorial Park inProvidence.HostedbytheRhode Island Attorney general aspartofNational Crime Victims’ Rights Week, thisevent recognizes individuals,projectsandorganizationsthatadvocateforvictimsofabuseandcrime.WilliamsandMontanilespentthefallof2012workingwith15survivorsofdomestic violence to create aplay crafted from thesurvivors’wordsandperformedbythewomenthemselves.The resulting play,Behind Closed Doors, whichwasperformedatTrinityRep lastDecember, sought toshedlightonissuesofdomesticviolencewhiledispellingmyths.BothTrinityRepandourpartnerorganization,theRhode Island Coalition Against Domestic Violence,representedbymembersofthecastandPauline Siebens(above),werehonoredattheceremony.

TrinityRep isalwaysworkingtobringthepublicsquaretoyou—andonMarch20,associateartisticdirectorTyler DobrowskyandproductiondirectorLaura SmithwenttotheNorth kingstown Free Library tochatwith the library’spatronsaboutSocial Creatures,theimportanceofproducingnewwork,andtheupcoming50thseason.

OnApril 10, Local 121 hostedTrinityRep for aspecialpre-showreceptionbeforethatevening’sperformanceofSocial Creatures.Asguestsenjoyeddinner, artistic director Curt Columbus andactorNance Williamsonspokeaboutthefunofworkingwithnew,youngplaywrights likeJackieSibbliesDrury, theoriginof the “zombie,” andwhat’supnextforNance(hint,it’safamiliartaleofstar-crossedloverssoontobebackonBroadway!).

On April 28, donors weretreatedtoanexclusiveinsiderlook atBrown/Trinity Rep MFA’sproductionofRomeo and Juliet!After joining thetalented3rd-yearactors forrehearsal, guests enjoyeddinner atBravo Brasserie anda livelytalkwithassoci-ate artistic director Tyler Dobrowsky (far left) andboth MFA directors fromthe class of 2013,Aubrey SnowdenandRyan Purcell,Romeo and Juliet’sdirector.

Trinity Rep is grateful to its many community partners who provide food and venues for our events!

PHOTOBYKATEKATAJA

PHOTOBYKATEKATAJA

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one last look…ALEXANDERPLATT&D’ARCYDERSHAMINJACKIESIBBLIESDRURY’SSOCIAL CREATURES, DIRECTEDBYCURTCOLUMBUS.SETDESIGNBYEUGENELEE,COSTUMEDESIGNBYOLIVERAGAJIC&LIGHTINGDESIGNBYJOSHEPSTEIN.PHOTOBYMARKTUREK

thetrinity square

Issue 26, Spring 2013

A publication of Trinity Repertory Company 201 Washington St., Providence, RI 02903 (401)521-1100•www.trinityrep.com

Editor TylerDobrowsky

Graphic Designer/Illustrator Michael Guy

ContributorsStephen Berenson Jordan ButterfieldTylerDobrowsky CarolDrewesJon Duffy Kate Kataja EmilyMacLeod CamronParkerLaurenUstaszewski MichaelWilliams PhotographersCaroline Azano Stephanie Bullard JenCanole T.CharlesEricksonLaura Goldstein Michael Guy Anne L. Harrigan Kate Kataja MarkTurek

Trinity Repertory CompanyCurt Columbus, The Richard L. Bready Artistic DirectorMichael Gennaro, Executive DirectorTylerDobrowsky,AssociateArtisticDirectorLaura Smith, Production DirectorKatie Byrnes, General ManagerMarilynBusch,DirectorofMarketingandPRKathy Calnan, Director of Development

Board of Trustees (Officers)Jonathan Duffy, ChairPaul Choquette, Vice Chair Suzanne Magaziner, SecretaryJohn Lombardo, Treasurer

Trinity Rep’s Season Sponsor

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Our best seats, your best value — up to 30% off individual ticket prices!• Guaranteed,reservedseating foreverysubscriptionshow,yoursto

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per-tickethandlingfees • free ticket date exchanges—online,

byphone,byfaxorinperson •discountsonadditionaltickets •discounted nearby parking & dining •early access to our digital magazine

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• Plus,you’refirstinlinefor A Christmas Carol.

Lastyear’sshowssoldout—be sure to lock in your seats early!

by phone: (401) 351-4242onLIne: www.trinityrep.com by e-MAIL: [email protected] In peRSon: 201 Washington st., Providence, ri

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