hood · dallas t heater c enter 5 dallas theater center’s production staff is responsible for the...

HOOD

June 29 - August 6, 2017 Dee and Charles Wyly TheatreAT&T Performing Arts Center

DTC FY17 Hood Onstage.indd 1 6/19/17 11:37 PM

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This program is published in association with OnStage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. OnStage Publications is a division of Just Business, Inc. Contents ©2017. All rights reserved. Printed in the U.S.A.

HOOD: The Robin Hood Musical Adventure................. 5

Cast,.Musicians,..Creative.Support,..Stage.Management............... 7

Artist.Bios............................... 8

DTC.Leadership................... 14

Papi,.Read.Us.A.Story............ 18

Robin.Hood.Man.or.Myth.... 22

The.Art.of.Puppetry............. 26

Board.of.Trustees/Guild...... 28

The.Benefactors.................. 29

Friends@DTC....................... 30

Corporate.Contributors/.Theatre.Forward.................. 32

Institutional.Contributors.... 33

DTC.People.......................... 34

Diane.and.Hal.Brierley.Resident.Acting.Company..... 35

2016-2017 SEASON

Dallas Theater Center 5

Dallas Theater Center’s Production Staff is responsible for the sets, costumes, lighting, props, furniture, scenic painting, sound, special effects and wigs used in this production.

Created at the American Academy of Dramatic Arts • Developed by the Scranton Shakespeare Festival

THE BRIERLEY GROUP / DIANE AND HAL BRIERLEY • THE SAPPHIRE FOUNDATION GAY AND LESBIAN FUND FOR DALLAS • MONA AND BILL GRAUE/GRAUE FAMILY FOUNDATION

BDO • Dallas Theater Center Guild • Gardere Wynne Sewell LLPHaynes and Boone, LLP • Munck Wilson Mandala, LLP • Vinson & Elkins LLP

with

Billie Aken-Tyers Nick Bailey

Jacob ben WidmarRicco Fajardo

Ian FergusonTiana Kaye Johnson

Beth Lipton Luke Longacre

Ashley ParkChris RamirezAustin Scott

Alysha Umphress

CAST, MUSICIANS, CREATIVE SUPPORT, STAGE MANAGEMENT

Kevin Moriarty, Artistic Director and Jeffrey Woodward, Managing Director

present the world premiere of

book by Douglas Carter Beane music and lyrics by Lewis Flinn

directed by

Douglas Carter Beane

wig design

Tom Watsonpuppet design

James Ortizpuppetry direction

James Ortiz Stefano Brancato

fight coordination

Jeff Colangelo

scenic design

John Lee Beatty costume design

Gregory Galelighting design

Philip Rosenberg sound design

John Shivers

producer

Lee Trullnew york casting

Adam S. Caldwell, CSA regional casting

Tiffany Nichole Greene

associate puppet design

Stefano Brancatodirector of production

Rebecca Cribbin production stage manager

Eric Lee Tysinger

choreography

Robert Bianca Joey Pizzi

orchestrations

Lewis Flinnmusic direction & supervision

Brad Simmons

HOOD: The Robin Hood Musical Adventure

Thank You to our Partners


6 Dallas Theater Center


with

CAST(IN ALPHABETICAL ORDER)

Much ...............................................................................................................BILLIE AKEN-TYERS*Robin / Robert ..........................................................................................................NICK BAILEY* Will Scarlett ..................................................................................................JACOB ben WIDMAR*Gamble Gold ...................................................................................................... RICCO FAJARDO*Alan A'dale ........................................................................................................... IAN FERGUSON*Lady Jane ............................................................................................... TIANA KAYE JOHNSON*

Lady Anne .................................................................................................................BETH LIPTON*Little John / Prince John ............................................................................... LUKE LONGACRE*Marian ..................................................................................................................... ASHLEY PARK*Friar Tuck ............................................................................................................ CHRIS RAMIREZ*Sheriff of Nottingham ......................................................................................... AUSTIN SCOTT*Meg ................................................................................................................ ALYSHA UMPHRESS*

MUSICIANSPiano / Conductor ..................................................................................................KWINTON GRAYBass ............................................................................................................................ PETE MILLERDrums ................................................................................................................. JACKIE WHITMILLCello ........................................................................................................................ KELSEY SMITHGuitar ..........................................................................................................................FELIX TELLEZ

CREATIVE SUPPORT

Assistant Director .............................................................................................. KAYLYN BUCKLEYAssistant Choreographer .............................................................................HARRY NATHAN FERILAssociate Music Director ................................................................................ VONDA K BOWLINGAssociate Set Designer ...................................................................................... KACIE HULTGRENAssistant Costume Designer ................................................................................. DANA BURKARTAssistant Lighting Designer ............................................................................... CLAY VAN WINKLEAssociate Sound Designer / Front of House Engineer ......................................BRETT ROTHSTEINDialect Coach ...................................................................................................... ANNE SCHILLINGDance Captain .............................................................................................. JACOB ben WIDMAR*Fight Captain ...................................................................................................... RICCO FAJARDO*Local Copyist ........................................................................................................ KYLE GORDONMusic Preparation .................................................................................. MIKE and LORI CASTEEL

STAGE MANAGEMENT

Stage Manager ............................................................................................... ERIC LEE TYSINGER*Assistant Stage Managers ................................................ CHEYNEY COLES*, MEGAN WINTERS*Production Assistant ................................................................................................ EMILY BURKE

CAST, MUSICIANS, CREATIVE SUPPORT, STAGE MANAGEMENT

The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE.

This theater operates under an agreement with Actors’ Equity Association, the Union of Professional Actors & Stage Managers in the United States. DTC is a member of the League of Resident Theaters; a constituent of Theatre Communications Group (TCG), the national organization for the nonprofit professional theater; the Dallas Chamber of Commerce; and the Dallas Convention & Visitors Bureau.

Member, Diane and Hal Brierley Resident Acting Company

Partial support for open captioning provided by Theatre

Development Fund.

* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

music direction & supervision

Brad Simmons

Title Page:1. Per the author agreement Lewis should be: Music and Lyrics by: Lewis Flinn (Please make sure there is an "and" there)2. Stefano Brancato needs to be on the title page for Associate Puppet Design (I checked and this is in his contract) Sorry I missed this before.3. The choreography line is perfect!

Page 2:Do we need to add dance captain and fight captain? I am not sure...Dance Captain: Jacob ben WidmarFight Captain: Ricco Fajardo

For this Production:1. Stage Management Interns: Maddie Louviere is spelled incorrectly, just add a "u"



B I L L I E A K E N - T Y E R S (Much ) O f f -B roadway : The Commedia Rapunzel, The Commedia Cinderella (Roset ta ) . NY Thea tre : Fairycakes (Mustardseed); Macbeth (First Witch); The

Tempest (Ariel); Hair (Tribe); Almost Maine (Rhonda/ Sandrine); As You Like It (Audrey). Regional: Much Ado About Nothing (Hero); A Funny Thing Happened on the Way to the Forum (Tintinubula). Artistic Director at Ophelia Theatre. Your Alice, written and directed by Billie premiered in NYC this spring. Special thanks to Doug, Lewis, Tessa Faye, and OTG family. This one is for you Mum and Dad! billieakentyers.com @billieakentyers

NICK BAILEY (Robin / Robert) Tarheel, youngest of six, Uncle to 16. Broadway: Casa Valentina. Off-Broadway: Hit the Wall. Regional Theater: The Bridges of Madison Coun t y (W i l l i ams to wn

Theatre Festival, World Premiere); A Sign of the Times (Goodspeed Musicals); Hedwig and the Angry Inch (No Rules Theatre Co.); and Into the Woods (Theatre Under the Stars). Film: A Most Violent Year, The Outcasts, Splitting Image. Television: The Americans (FX), Red Oaks (Amazon), The Get Down (Netflix), Bull (CBS). Thanks to Adam Caldwell, Doug, and Lewis. Always for MPP. There’s a hero in YOUR heart. Follow @NicholousBailey

JACOB ben WIDMAR (Will Scarlett, Dance Captain) is thrilled to be working with Douglas Carter Beane again! Broadway/ NYC: New York Spectacular (Mad Hatter) directed/choreographed by Emmy winner Mia Michaels;

Book of Mormon (u/s Elder McKinley); Xanadu (u/s Whoopi Goldberg); Irving Berlin’s White Christmas (u/s Mike Nulty); No, No, Nanette (Encores!). Recently originated the role of Bobby Sherin in Mrs. Miller Does Her Thing written and directed by Tony® and Pulitzer Prize winner James Lapine. Other credits include Paper Mill Playhouse, Goodspeed, and originating Teddy in Dancing in the Dark at Old Globe Theatre. Love to Chad.

RICCO FAJARDO (Gamble Gold, Fight Captain) is excited to be returning to DTC to work on Hood! For my love- “To you I am nothing more than a fox like a hundred thousand other foxes. But if

you tame me, then we shall need each other. To me, you will be unique in all the world. To you, I shall be unique in all the world.”

IAN FERGUSON ( A l an A’dale) is overjoyed to be making his debut on DTC’s stage. Selected theatrical appearances include: The Gospel According to Thomas Jefferson, Charles Dickens

and Count Leo Tolstoy: Discord, The Lieutenant of Inishmore (WaterTower Theatre); A Kid Like Jake, Bull, Booth (Second Thought Theatre); Mr. Burns, a Post-Electric Play (Stage West); The Arsonists (Kitchen Dog Theater); On the Eve, The Farnsworth Invention (Theatre Three); Romeo and Juliet, The Winter’s Tale, Twelfth Night (Shakespeare Dallas); and more. In addition to theatre work, Ian is a musician playing in Dallas-based bands: Mur, and Veteran Children.

TIANA KAYE JOHNSON (Lady Jane) is an MFA g radua te o f Sou the rn Methodist University and is the Linda and Bill Custard SMU Meadows Actor of the Diane and Hal Brierley

Resident Acting Company Member. DTC: Electra; A Christmas Carol; Dreamgirls; The Mountaintop; The Book Club Play. SMU: Look Homeward, Angel (Eliza Gant). Prairie View A&M University: Once on This Island (Madame Armand/Andrea/Storyteller), To Be Young, Gifted and Black (Lorraine Hansberry), and Jelly’s Last Jam (Anita). Tiana is a proud company member of Progress Theatre Touring Ensemble based in Houston, Texas. She enjoys serving the community and inspiring social change through the arts.

ARTIST BIOS



RICCO FAJARDO (Gamble Gold, Fight Captain) is excited to be returning to DTC to work on Hood! For my love- “To you I am nothing more than a fox like a hundred thousand other foxes. But if

you tame me, then we shall need each other. To me, you will be unique in all the world. To you, I shall be unique in all the world.”

IAN FERGUSON ( A l an A’dale) is overjoyed to be making his debut on DTC’s stage. Selected theatrical appearances include: The Gospel According to Thomas Jefferson, Charles Dickens

and Count Leo Tolstoy: Discord, The Lieutenant of Inishmore (WaterTower Theatre); A Kid Like Jake, Bull, Booth (Second Thought Theatre); Mr. Burns, a Post-Electric Play (Stage West); The Arsonists (Kitchen Dog Theater); On the Eve, The Farnsworth Invention (Theatre Three); Romeo and Juliet, The Winter’s Tale, Twelfth Night (Shakespeare Dallas); and more. In addition to theatre work, Ian is a musician playing in Dallas-based bands: Mur, and Veteran Children.

TIANA KAYE JOHNSON (Lady Jane) is an MFA g radua te o f Sou the rn Methodist University and is the Linda and Bill Custard SMU Meadows Actor of the Diane and Hal Brierley

Resident Acting Company Member. DTC: Electra; A Christmas Carol; Dreamgirls; The Mountaintop; The Book Club Play. SMU: Look Homeward, Angel (Eliza Gant). Prairie View A&M University: Once on This Island (Madame Armand/Andrea/Storyteller), To Be Young, Gifted and Black (Lorraine Hansberry), and Jelly’s Last Jam (Anita). Tiana is a proud company member of Progress Theatre Touring Ensemble based in Houston, Texas. She enjoys serving the community and inspiring social change through the arts.

BETH LIPTON (Lady Anne) is positively euphoric to be a part of this incredible team with DTC’s Hood. This is her first time onstage with DTC at the Wyly, but you may have seen her with Pegasus Theatre; House Party

Theatre; Mainstage Irving-Las Colinas; Contemporary Theatre of Dallas; Runway Theatre; Denton Community Theatre; or Plano Children’s Theatre. Choreography: Greater Lewisville Community Theatre, Onstage In Bedford, and The Firehouse Theatre. Thanks to friends and family for their encouragement beyond measure. Thanks to Alex Krus and Tim Brawner (whatever). 12 seconds left.

LUKE LONGACRE (Little John / Prince John) DTC: I nher i t the Wind , The Who's Tommy. Local: Casa Mañana, Amphibian Stage Productions, WaterTower Theatre, Uptown Players

Other favorties: The Frogs (Lincoln Center); West Side Story (The MUNY); Seven Brides For Seven Brothers (Papermill Playhouse, 5th Avenue Theatre); The Producers (film). Luke is an MFA candidate for Acting at SMU. Favorite credit: father to Eleanor and Ruby, husband to Lindsay.

ASHLEY PARK (Marian) c o m e s s t r a i g h t f r o m Broadway’s rev iva l o f Sunday in the Park With George. Other Broadway: Lincoln Center Theater’s Ton y Award ®-w inn ing

revival of The King and I (Tuptim, Grammy® nominee); Mamma Mia!. National Tour: Rodgers + Hammerstein's CINDERELLA (Gabrielle). TV/Film: Nightcap (Pop TV/Lionsgate); Open House; The V Card. NYC readings/labs with Roundabout, Disney Theatricals, Ars Nova, Second Stage, amongst others. Regional: Pasadena Playhouse’s Fantasticks (Luisa); PCLO, MTW. Proud University of Michigan graduate. Especially grateful to BRS/Gage, Station3, Douglas, Lewis, family and friends. @ashleyparklady

CHRIS RAMIREZ (Friar Tuck) is honored to return to the DTC stage after appearing in The Tempest (Public Works Dallas). He is also taking a leave of absence as DTC’s Education Coordinator in

order to participate in this world-premiere musical! Past credits: It Shoulda Been You, Titanic (Uptown Players); Hands on a Hardbody (Theatre Three); The Winter's Tale, Pericles, The King’s Face (Shakespeare Dallas); Zoot Suit (Cara Mía Theatre Co.); and assistant director of RENT (Junior Players). BFA, Baylor University. Chris would like to thank his family, friends, and students for their support.

AUSTIN SCOTT (Sheriff of Nottingham) is thrilled to be a part of this wonderful new production! Select theater credits include the new musical Gotta Dance (world premiere at Chicago's Bank

of America Theater);One Day: The Musical (Off-Broadway); In the Heights (Hangar Theatre); and Choir Boy (LA's Geffen Playhouse). Select Film/TV credits include Prep School and They Found Hell, which are both currently streaming on Hulu and Amazon. Austin thanks his parents for their undying love and support. Love you, mom and dad.

ALYSHA UMPHRESS (Meg) Broadway: On the Town (Hi ldy) ; American Idiot (Original Broadway Cast); On a Clear Day You Can See Forever; Priscilla, Queen of the Desert; Bring it On!. Off-

Broadway: Make Me a Song: The Music of William Finn. Regional: Pump Boys and Dinettes (Rhetta Cupp, Paper Mill Playhouse), Beaches (Cee Cee Bloom, Signature Theatre)*Helen Hayes nomination Best Leading Actress in a Musical. TV: Law and Order SVU, Nurse Jackie, Royal Pains. Solo album: I’ve Been Played; Alysha Umphress swings Jeff Blumenkrantz (available on iTunes and Amazon). Upcoming: Wonderful Town (Ruth, London Symphony Orchestra). @cristalzheat

ARTIST BIOS



ARTIST BIOSDOUGLAS CARTER BEANE (Book Writer / Director) is so happy to be back in Dallas! He has received five Tony Awards® nominations for his six Broadway shows including Lysistrata Jones, which premiered at DTC as Give It Up!. Broadway shows: Xanadu (Drama Desk Award); Sister Act; Rodgers + Hammerstein’s Cinderella; and The Little Dog Laughed (Olivier Award nomination); and The Nance, starring Nathan Lane. Off-Broadway: Shows for Days (Lincoln Center, starring Patti Lupone and Michael Urie); As Bees In Honey Drown (Outer Critics Circle); Mr. & Mrs. Fitch (starring John Lithgow and Jennifer Ehle); Music From A Sparkling Planet; Mondo Drama; The Country Club; Advice From A Caterpillar; The Cartells. Librettist for the Metropolitan Opera’s production of Die Fledermaus and screenplay writer for the film To Wong Foo, Thanks For Everything, Julie Newmar. He is married to Lewis Flinn and has two children, Cooper and Gaby.

LEWIS FLINN (Composer / Lyricist / Orchestrator) wrote music and lyrics for Lysistrata Jones (Give It Up!), with a book by Douglas Carter Beane, which premiered at DTC, then Off-Broadway with Transport Group at The Gym at Judson, and opened on Broadway in 2011. Other musicals include Other Girls, with Steven Sater; Like Love with Barry Jay Kaplan (NYMF); The Winner, with Joe Sutton (The Lyric Stage, Dallas). Flinn has also composed scores and songs for over 50 productions, including the Tony® nominated The Little Dog Laughed on Broadway and often collaborates with NY playwright/performer Charles Busch (The Divine Sister, Die Mommie Die and The Tribute Artist (2014 Drama Desk nomination, best music). Other theaters include: La Jolla Playhouse; The Geffen Playhouse (LA); The Cleveland Play House; Hartford Stage; Lincoln Center Theater; Second Stage (NYC); and Playwright’s Horizons. Originally from Richmond, Virginia, he lives in New York City with husband Douglas Carter Beane, their two children, Cooper and Gaby, and two dogs, Lucky and Albert. lewisflinn.com for more info.

JOEY PIZZI (Choreographer) most recently wrapped as Co-Choreographer for the upcoming Disney feature Mary Poppins Returns starring Emily Blunt, Lin-Manuel Miranda and Meryl Streep. Other film credits as choreographer include Burlesque (Astaire Award nomination), Lucky Stiff (Astaire Award

nomination), It’s Complicated and The Secret Life of Walter Mitty. Select films as Associate Choreographer include Chicago, Dreamgirls, Hairspray, Nine, and Into the Woods. On Broadway, Joey choreographed Douglas Carter Beane’s The Nance (LCT). Some other theater credits as choreographer include Of Thee I Sing (Papermill Playhouse), Jukebox Jackie (LaMama), Broadway 68 (LaMama), and The Most Fabulous Story Ever Told (NYTW).

ROBERT BIANCA (Choreographer) Choreography:The It Girl (York Theatre, directed by BT McNicholl and Jerry Zaks). At the Drama Department headed by Playwright Douglas Carter Beane, Mr. Bianca choreographed the Christmas Show, the Thanksgiving Show, and the Jackie Hoffman Chanukah show as well as directing and choreographing Tapestry: The Songs of Carole King, The Tupperware Party, and The Night of Burlesque. Choreography: A Solder’s Tale for The Philadelphia Orchestra and the Boston Symphony; Twenty Fingers, Twenty Toes, and The Downtown Plays (Tribeca Theatre Festival); A Night at the Palace (Stamford, CT); The Paisley Sisters, The Kids Left, The Dog Died, Now What? (NY Musical Festival); Once Upon a Mattress (New Acting Company); The Music Man (Hartt School). Director/Choreographer: Hair (Theatre Works); West Side Story (Cape Fear Regional Theatre); Evita ( Foothills Theatre); the Astaire Awards 2002,and Broadway By The Year, the Shows of 1948 at Towne Hall (NYC). BRAD SIMMONS (Music Director / Supervisor) has performed with many of Broadway's leading ladies including Leslie Uggams, Donna McKechnie, Tonya Pinkins, Carolee Carmello, Rebecca Luker, and recording artists Sandi Patty and The B-52’s Kate Pierson. He regularly performs with Alice Ripley, Eric Bergen and Christina Bianco. Brad has worked closely with Douglas Carter Beane and Lewis Flinn, including Lysistrata Jones; Mr. & Mrs. Fitch (with John Lithgow); Me and the Girls (with Alan Cumming); Like Love; Fairy Cakes and Hood. All other productions, recordings and a concert schedule can be found at thebradsimmons.com

JOHN LEE BEATTY (Set Designer) returns to DTC after working on Moonshine: That Hee Haw Musical. He has designed over 110 Broadway productions, among them: Sweat; Disgraced; The Nance; Doubt;



ARTIST BIOSOther Desert Cities; Proof; Rabbit Hole; Good People; The Sisters Rosensweig; Burn This; Talley’s Folly; Crimes of the Heart; A Delicate Balance; The Heiress; The Last NIght of Ballyhoo. Musicals: Chicago; Ain’t Misbehavin’; The Color Purple; After Midnight; How the Grinch Stole Christmas. Designed seasons at Lincoln Center Theater; Manhattan Theatre Club; Shakespeare in the Park; and City Center Encores!. Awards: Tony Award®, Obie, Outer Critics Circle, Drama Desk. He is a member of Theater Hall of Fame.

GREGORY GALE (Costume Designer) Broadway: Cyrano de Bergerac, Tony Award® nomination, Henry Hewes Design Award nomination, PBS Great Performances; Rock of Ages (plus London, Las Vegas, U.S. Tour, Toronto, Australia), Tony Award® nomination, Henry Hewes Design Award nomination; Arcadia; The Wedding Singer (and U.S. National Tour), Drama Desk nomination; Urinetown, Lucille Lortel nomination (also U.S. tour, Toronto); Band in Berlin. Off-Broadway: The Voysey Inheritance, Lucille Lortel Award, Henry Hewes Design Award nomination (Atlantic); The Milliner, Lucille Lortel nomination; The Third Story, Henry Hewes Design Award nomination (MCC); Country Club, Drama Desk Nomination; The Torch-Bearers (Drama Dept). Opera: The Prince of Players (world premiere, Houston Grand Opera); La Rondine (Opera Theater of St. Louis); The Magic Flute (Chicago Opera Theater); Camelot (Virginia Opera). Irene Sharaff Young Master Award. gregorygale.com instagram.com/gregory_gale

PHILIP ROSENBERG (Lighting Designer) DTC: MOONSHINE: That Hee Haw Musical. Broadway: The Elephant Man, A Gentleman’s Guide to Love and Murder, and It’s Only a Play. Off-Broadway: The Ruins of Civilization, The Explorer’s Club, and Cactus Flower. Regional: Kennedy Center; La Jolla Playhouse; Ford’s Theatre; The Guthrie Theater; The Old Globe; TheatreWorks; Hartford Stage; Huntington Theatre Company; Chicago Shakespeare Theatre; Shakespeare Theatre Company; Denver Center Theatre; The Alley Theatre, Arena Stage, The McCarter Theatre, Manhattan School of Music, Portland Stage Company, TACT, Barrington Stage Company, Williamstown Theatre Festival, Dorset Theatre Festival, among others.

JOHN SHIVERS (Sound Designer) DTC: MOONSHINE: That Hee Haw Musical. Credits include: Pretty Woman; Cirque du Soleil’s Paramour; The Muny, St. Louis (2015 - 2017 seasons); Kinky Boots (2013 Tony Award® recipient); Hugh Jackman: Back on Broadway; Bonnie & Clyde; Sister Act; 9 to 5; Cat on a Hot Tin Roof; The Little Mermaid; Tarzan; In MyLife; and Billy Crystal’s 700 Sundays. International: The Secret; Tarzan; Das Wunder Von Bern; The Lion King (Shanghai and Singapore). Regional: Born for This; Harmony; The Nutty Professor; Tales of the City; Emma; Robin and the 7 Hoods. Associate credits: The Lion King; Mary Poppins; The Producers; Hairspray; Aida; Titanic; How to Succeed in Business… (’95); The Who’s Tommy; Guys and Dolls; and The Buddy Holly Story. Other credits include: Savion Glover, Dionne Warwick, Burt Bacharach, Gregory Hines and engineering at Electric Lady Studios. John has a gem of a daughter, Ruby.

JAMES ORTIZ (Puppet Designer) is a New York based director, actor, writer, designer, and puppeteer. Most recently, he was the recipient of the 2016 OBIE Award for Puppet Design for his critically acclaimed Off-Broadway show, The Woodsman. James has directed and designed for shows On and Off-Broadway as well as regionally. He is the recipient of the 2014 Jim Henson Foundation grant and recently became the 2017 Eugene O’Neill residency recipient. James is also the Co-Founder and Co-Artistic Director of the devised theatre group, Strangemen & Co. strangemencompany.com

ERIC LEE TYSINGER (Production Stage Manager) Broadway: The Last Ship. DTC: Electra, Deferred Action; Moonshine: That Hee Haw Musical; FLY; The Elaborate Entrance Of Chad Deity; Giant; Joseph and the Amazing Technicolor® Dreamcoat; The Wiz. Off-Broadway: Elvis People. Regional: The Sunshine Boys starring Dick Van Dyke; Tonight At 8pm, Light Up the Sky, Hedda Gabler starring Kate Burton (Williamstown); Steel Magnolias, Evita, Dreamgirls, Peter Pan, Hello, Dolly!, The Producers, Annie Get Your Gun, The Sound of Music, West Side Story (North Carolina Theatre). Love to my family, miss you Granny, and many thanks to Megan, Cheyney, Emily and Team Stage Management for everything.



LEE TRULL (Producer) is the Director of New Play Development at DTC where he's produced world premiers by Samuel D. Hunter, Will Power, Rajiv Joseph, Kirsten Childs, Regina Taylor, Michael Friedman and many more. He is co-writer (w/ David Lozano) of Deferred Action (world premiere, DTC) and is directing DTC's 2017 production of A Christmas Carol. His work has been seen at Kitchen Dog Theater (company member), Second Thought Theatre, Stage West, Dallas Comedy House, University of Oklahoma, Goodspeed Opera House, the NAMT Festival, the Colorado New Play Summit, and in the web series Submissions Only. He is a former member of DTC's Brierley Resident Acting Company. He is currently developing the musical 20k Leagues Under the Sea with Kate Hamill and Shawn Magill. leetrull.com

REBECCA CRIBBIN (Director of Production) began her theater career in sound production and design at The Royal Exchange Theatre in Manchester, England, where her work included James Baldwin's Blues for Mr. Charlie (Manchester Evening News award, best design team). Five fruitful years later, she joined the Royal Shakespeare Company in Stratford-upon-Avon, She moved into Production Management in 2001, working with the RSC in Stratford-upon-Avon, London, both nationally and internationally. World Premieres while there include David Greig's Dunsinane, and stage adaptations of Hilary Mantel's Booker prize-winning novels, Wolf Hall and Bring up the Bodies. Rebecca then worked with Park Avenue Armory in New York, and is thrilled to be now leading Dallas Theater Center's talented production team.

VONDA K. BOWLING (Associate Music Director) Recent work includes: Public Works Dallas - The Tempest; The Christians; Bella: An American Tall Tale, Dreamgirls, A Christmas Carol (2016, 2015), MOONSHINE: That Hee Haw Musical, The Rocky Horror Show (DTC); Rudolph the Red-Nosed Reindeer (Wishing Star Productions); Assassins, The Drowsy Chaperone, Crazy for You, A Dog’s Life, Lost in the Stars, I Love You, You’re Perfect, Now Change, Blankity-Blank, A Catered Affair (Theatre Three); Les Misérables, In the Heights, Big River, Little Women, Rent, The Drowsy Chaperone, Cabaret (Collin Theatre Center); Alexander and the Terrible, Horrible, No Good, Very Bad Day, Pinkalicious, Rapunzel (Dallas Children’s Theater). Much love to Jeffrey, Harrison and Mason. For TD.

CHEYNEY COLES (Assistant Stage Manager) DTC: Electra (ASM, replacement SM); The Christians (replacement ASM); Constellations (SM); Dreamgirls (ASM); A Christmas Carol 2016, 2015 (ASM) and 2014, 2013 (PA); MOONSHINE: That Hee Haw Musical (PA); Medea (ASM); The School for Wives (ASM);The Rocky Horror Show (PA, IMAG); The Fortress of Solitude (PA). Cheyney also served as SM for the Brierley Resident Acting Company’s Greek Classics workshop with Academy Award® winner Olympia Dukakis. Second Thought Theatre: Grounded, The Great God Pan (SM). Shakespeare Dallas: The Compleat Wrks of Wllm Shkspr (abridged) [revised] (SM). Other recent credits include: Titanic (ASM; Lyric Stage); Too Many Cooks (ASM; Circle Theatre). Proud AEA member. Eric, Megan and Emily, you are heroes in my heart. Love to Mom, Dad, Sally and Wylie!

MEGAN WINTERS (Assistant Stage Manager) DTC: The Christians; A Christmas Carol (2016,2015); Dreamgirls; Romeo and Juliet; Colossal; The Book Club Play; Driving Miss Daisy; Sherlock Holmes: The Final Adventure; Oedipus el Rey; Clybourne Park; Red; Tigers Be Still (SM); Bella: An American Tall Tale; FLY; The Elaborate Entrance of Chad Deity; The Tempest (ASM); Dividing the Estate; The Trinity River Plays; A Christmas Carol (PA). NYC Workshop: FLY (ASM). She worked the grand opening of the AT&T Performing Arts Center and has enjoyed working for Second Thought, Shakespeare Dallas, the Ogunquit Playhouse, Olney Theatre Center and the Seaside Rep. Love to the fam for always supporting me on this crazy journey.

ADAM S. CALDWELL, CSA (New York Casting) works with Cindy Tolan, and is thrilled to be at DTC again. Theater: The Curious Incident of the Dog in the Night-Time; Betrayal; Cock; Cinderella; The Performers; Lysistrata Jones; Relatively Speaking; That Championship Season; A View from the Bridge; All My Sons; Avenue Q; and Xanadu. Productions with Two River; Bay Street; The Vineyard; Lincoln Center. Select Film: This Is Where I Leave You; The Place Beyond the Pines; Beasts of the Southern Wild; Blue Valentine; It’s Kind of a Funny Story; The Darjeeling Limited. Selected TV: Odd Mom Out; Deadbeat; Curb Your Enthusiasm; Flight of the Conchords. Member of CSA.

ARTIST BIOS

MEGAN WINTERS (Stage Manager) DTC: A Christmas Carol (2016,2015); Dreamgirls; Romeo and Juliet; Colossal; The Book Club Play; Driving Miss Daisy; Sherlock Holmes: The Final Adventure; Oedipus el Rey; Clybourne Park; Red; Tigers Be Still (SM); Bella: An American Tall Tale; FLY; The Elaborate Entrance of Chad Deity; The Tempest (ASM); Dividing the Estate; The Trinity River Plays; A Christmas Carol (PA). NYC Workshop: FLY (ASM). She worked the grand opening of the AT&T Performing Arts Center and has enjoyed working for the Second Thought, Shakespeare Dallas, Ogunquit Playhouse, Olney Theatre Center and the Seaside Rep. Love to the fam for always supporting me on this crazy journey.



ARTIST BIOSTIFFANY NICHOLE GREENE (Regional Casting) is in her first season of Regional Casting for Dallas Theater Center. She received her MFA in Acting from Brown University/Trinity Rep and now shares her artistry as an actor, director, and casting director. Tiffany is a Lincoln Center Directors Lab alum and Soho Rep Directors Lab alum. When not working with local artists along with the artistic staff of DTC, she is directing and acting at regional theatres across the country.

THE AMERICAN ACADEMY OF DRAMATIC ARTS is the proud birthplace of Hood: The Robin Hood Musical Adventure. The Academy is the first and foremost conservatory for actors in the English-speaking world and its legacy of nurturing talent and contributing to the arts has remained constant for 133 years. With a history interwoven with the entertainment industry, its illustrious roster of alumni includes Cecil B. DeMille, Grace Kelly, Robert Redford, Jessica Chastain, Danny DeVito, Paul Rudd and Douglas Carter Beane. Academy alumni have earned 106 Oscars, 283 Emmys and 93 Tony® nominations. For information visit aada.edu

The use of photography and recording devices is only permitted when actors are not present. The video and/or electronic recording of this

performance by any means whatsoever is strictly prohibited. Please turn off all electronic devices such as pagers, cellular phones, watches, etc.

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Kyle Roark • Photo by Elizabeth Boyce

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Diane and Hal Brierley along with The Brierley Group congratulate Dallas Theater Center on the world premiere of

HOOD THE ROBIN HOOD MUSICAL ADVENTURE

BP_11317_DTC_Hood_Ad_CL1.indd 1 5/23/17 2:23 PM

DTC LEADERSHIPKEVIN MORIARTY (Director) is the artistic director of Dal las Theater Center, where his work as a director includes: It’s a Bird ... It’s a Plane ... It’s Superman; The Who’s Tommy; The Wiz; A Midsummer Night’s Dream; Henry IV; King Lear; The

Tempest; Fat Pig; his original adaptation of A Christmas Carol; Oedipus el Rey; Medea; Electra; Colossal; All the Way and Inherit the Wind. Since 2007 he has led DTC through many new initiatives, including the move into the Wyly Theatre; the establishment of the Brierley Resident Acting Company; the creation of Public Work Dallas; an extensive series of new play productions; community collaborations with North Texas Food Bank, Dallas Holocaust Museum, Dallas Museum of Art, and most of the region’s theater companies; and multi-year partnerships with Booker T. Washington High School for the Visual and Performing Arts and SMU Meadows School of the Arts. Before joining DTC, Kevin served as the artistic director of the Hangar Theatre in Ithaca, NY, for seven years. From 2002-2007 Kevin was the Head of Directing for the Brown University/Trinity Rep MFA Program in Providence, RI, and he was an Associate Artist at Trinity Rep Company. He made his operatic directing debut with The Lighthouse for The Dallas Opera in 2012 and directed The Marriage of Figaro in 2014. Kevin has served as a public school music teacher at La Crescent High School in La Crescent, MN, and as an Associate Professor at Brown University. Kevin is the Chair of the Dallas Arts District; President of the Board for Theatre Communications Group; a member of the Booker T. Washington Advisory Board and the Dallas Assembly; a recipient of a Drama League directing fellowship; and a graduate of the University of Wisconsin.

J E F F R E Y WO O DWA R D j o i n e d D a l l a s T h e a t e r Center in July 2015 as the managing direc tor. For seven years prior to that he served as the managing director of Syracuse Stage, a professional theater-in-residence at Syracuse

University. From 1991-2008, he was the managing director of the McCarter Theater Center in Princeton, New Jersey. During his tenure, the McCarter was honored with the Tony Award® for Outstanding Regional Theater. He has also held administrative positions with Hartford Stage, Mark Taper Forum, Northlight Theatre, the Oregon Shakespeare Festival and has served as a consultant to a number of theaters. Woodward has been a member of the board of Theater Communications Group; president of ArtPride New Jersey, a statewide arts advocacy organization; panel chair and an on-site evaluator for the National Endowment for the Arts; and an adjunct professor of theater management at Syracuse University. He holds a BA from Pomona College and an MBA from New York University.

STAY LATEAfter the play, stick around for a free, brief, post-show conversation with Hood cast member CHRIS RAMIREZ. Engage with other patrons, learn about the production, and share your insights about the play in a lively discussion.

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COME EARLY Before the play, join us for a free 30-minute informative talk designed to enhance your play-going experience. Moderated by Hood cast member JACOB ben WIDMAR, who will share details about the play’s origins and context, as well as insight into the creative process behind the production.



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Diane and Hal Brierley along with The Brierley Group congratulate Dallas Theater Center on the world premiere of

HOOD THE ROBIN HOOD MUSICAL ADVENTURE

BP_11317_DTC_Hood_Ad_CL1.indd 1 5/23/17 2:23 PM

J E F F R E Y WO O DWA R D j o i ne d D a l l a s T he a t e r Center in July 2015 as the managing direc tor. For seven years prior to that he served as the managing director of Syracuse Stage, a professional theater-in-residence at Syracuse

University. From 1991-2008, he was the managing director of the McCarter Theater Center in Princeton, New Jersey. During his tenure, the McCarter was honored with the Tony Award® for Outstanding Regional Theater. He has also held administrative positions with Hartford Stage, Mark Taper Forum, Northlight Theatre, the Oregon Shakespeare Festival and has served as a consultant to a number of theaters. Woodward has been a member of the board of Theater Communications Group; president of ArtPride New Jersey, a statewide arts advocacy organization; panel chair and an on-site evaluator for the National Endowment for the Arts; and an adjunct professor of theater management at Syracuse University. He holds a BA from Pomona College and an MBA from New York University.

Before the play, join us for a free 30-minute informative talk designed to enhance your play-going experience. Moderated by Hood cast member JACOB ben WIDMAR, who will share details about the play’s origins and context, as well as insight into the creative process behind the production.



I’m falling in love as fast as they are. The Merry Men, whom I always think of as affable boobs, I now find to have great dignity. From Little John, who joins Robin when his neighbors have their land stolen, to Will Scarlett and Gamble Gold – all are aristocrats who give up everything they own to aid their fellow man. By the fourth day I notice Gaby has taken an old piece of green cloth and made a tabard and bent a discarded wrapping paper tube with some string and had fashioned a bow and arrow. What is our human need to keep this character alive?

No sooner do I mention Robin Hood to Lewis then with enthusiasm we are gathering stories and characters that we love and coming up with outlines. I have a commitment to my alma mater, the American Academy of Dramatic Arts, to create something with their graduating company. These wonderful kids influence the show in two exciting ways. First, they’re young – all between 22 and 25. It forces the story to be about Hood’s beginnings in the first summer of his life as a bandit. Secondly, and God bless ‘em, not a lot of them are singers. They are an acting school and not a musical school, so we need to just have simple melodies. That turns into a blessing.

Word began to leak that Lewis and I had found our new project and the response was one of bewilderment. Why those old stories?

By the next summer my friends at the Scranton Shakespeare Festival (no that’s real, don’t laugh) invite us to do a free workshop presentation, and wow, does the audience really go for it. This is hitting a core with people. Theater folk not so much right off, but regular people, yes.

Before any of this was in the works, Lewis the kids and I planned to take a sabbatical year in London, and what a wonderful opportunity that proved to be with us spending time in Sherwood Forest and the Castle of Nottingham.

We even receive a gorgeous offer from a friend at the Royal Academy of Music to do a concert version. This allows Lewis to go a little nutty with the vocal arrangements. And as our time was winding down in ole blighty, Lewis and I felt it was time for us to find a good and fitting first home for the musical we now called Hood. Sitting in Hyde Park we knew the first person to call.

Now, we like a guy that likes an icon. One of the many exciting things Kevin Moriarty has done here in Dallas has been to explore and examine mankind’s infatuation with the great iconic figures. From Superman to Electra, all are on display for Dallas to dissect and salvage what they can to find a way in the world. All in all, a lovely community service provided along with some pretty thrilling theater. We are delighted when he connects with the show. We had a home for Hood.

As our drafts get tighter and tighter we realize we need to see Prince John less and less yet make a large impression. A notion for puppetry sends me to the wonderful talent of James Ortiz. What a delight to find out he is originally from Dallas!

And then the magic starts to happen. After Brexit, after the last American election, suddenly people get why we’re interested in the wronged nobleman who wants to help those who are struggling in this world. People want to see Robin Hood, they need to know that the hero lives in all of us.

And as for that lunch in London... As soon as I mention the stories I love about Robin Hood and what they mean to people today, Lord Lloyd Webber is chuckling and wishing me luck.

Sometimes you just have to take the luck of a Lord.

– Douglas Carter Beane



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You’d be hard pressed to find someone who’s never heard of Robin Hood, that staple of English folklore known for taking from the rich to give to the poor. Tales of this friendly fugitive have been told and retold in books and music, on stage and screen. Yet, the historicity of such a figure is uncertain; no one knows exactly when or even if the real Robin Hood existed. This elusiveness is fitting for such a cunning character, and has made him all the more intriguing to bygone and contemporary audiences alike.

The earliest explicit reference to the “rhymes of Robin Hood” appeared in 1377, in a Middle English narrative allegorical poem called “Piers Plowman.” Literature surrounding Robin Hood (or Robyn Hood) became more popular in the following centuries, but offered no reference to a specific time period in which he may have existed. The most solid touch point we have is a mention of “Edward our comely king,” which most historians believe refers to England’s King Edward II, placing Robin Hood in the early 1300s.

However, some historians maintain that the original Robin Hood was wandering the Sherwood Forest as early as the 1190s during the reign of King John. Robin Hood’s theft from the rich made it difficult for John to collect his notoriously heavy taxes, and for this John wanted Robin Hood dead. However, the story goes, before John could kill him, he was forced to sign the Magna Carta, which expressly forbid the killing or exile of any free man, “except by the lawful judgment of his peers.” By the letter of the law, Robin Hood was saved. The historical evidence for this version of the story is minimal, save for records of a man who by the early 1200s had become an outlaw: Robert Hod.

Robin HoodMan or Myth?

by Laura Colleluori



In any case, by the late thirteenth century, many outlaws were adopting names that seemed to be a tribute to the man who was already becoming legend; Robehods and Robynhods were popular pseudonyms that began appearing in the 1260s. Some believe this was in tribute to a particular man, while others believe it was simply a stock pseudonym for criminals. In any case, the myth of Robin Hood was already taking on a life of its own. In the 1300s he began appearing in poems and ballads, and by the 1400s in stage plays. The first prose about Robin Hood was published in 1678, and he has been a popular figure in film and television since its invention.

We may never know the truth of Robin Hood’s beginning, but that has done nothing to hinder his wild popularity. How can we account for the timeless appeal of this man and his band of merry men? Reporting for the BBC, Mike Ibeji offers this analysis of our fascination with an outlaw story:

“What is striking about these stories is that they reveal that, in an age when the Rule of Law was respected as the foundation of good government, those who put themselves outside the law had become popular heroes. This… shows that the existing order had come to be regarded as tyrannical. Tyranny was the abuse of law.

“If the existing order was founded on the arbitrary will of evil men who could twist the law to their own ends, then it was the role of the outlaw to seek redress and justice by other means. In a violent age, these means were invariably violent. Robin Hood and his contemporaries were cunning, merciless and often brutal… but by the codes of their time, they were also honourable.”

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Having originated well over three thousand years ago, puppetry is an ancient art form that remains popular to this day. Of course, over the years, it has taken many different forms. Here is just a small sampling of important moments in puppetry.

Some historians date puppetry back to Ancient Egypt, finding evidence for the existence of puppet shows in hieroglyphs. Others see it beginning in Ancient Greece, in the works of Herodotus and Xenophon.

Japanese Bunraku is a sophisticated form of puppetry that originated in Shinto temples. Performers wear all black to blend into the background and make their puppets stand out.

Forms of shadow puppetry have rich histories in India and the Middle East. In India, it is known as Tholpavakoothu, and is a highly ritualistic art form that tells stories of verses from the Kamba Ramayana.

What started as a way to present morality plays became a raunchy predecessor to Commedia dell’Arte in the puppetry of the Italian Middle Ages. This tradition of vulgar marionettes spread throughout Europe, perhaps taking its most well-known form in the bawdy Punch and Judy, who still perform to this day.

Puppetry also inspired a lot of avant-garde western theater in the nineteenth century. Alfred Jarry’s notoriously bizarre Ubu Roi implemented puppet-inspired costumes and set pieces as a distancing technique.

The Vermont-based Bread and Puppet Theater, running now for over fifty years, began in the 1960s, when it was very active in its opposition to the war in Vietnam. To this day, the radical theater group uses puppetry to tell political stories. (True to its name, it also serves bread to its audiences at each performance.)

Julie Taymor’s The Lion King is perhaps most responsible for bringing puppetry back into mainstream theater. Her 1997 Broadway production uses artful puppets to portray the many birds and beasts that roam the Sahara. Taymor had been interested in puppetry since her post-college travels to Japan and Indonesia.

In recent years, plays like War Horse have used puppetry as a moving and elegant component of their storytelling, while shows like Avenue Q and Hand to God have taken a slightly more profane approach, showing puppets getting drunk, having sex, and even being possessed by the devil.

The Art of Puppetryby Laura Colleluori


above: Bread and Puppet Theater

above right: Punch and Judy

right: Tholpavakoothu shadow

puppetrybelow:

Alfred Jarry's Ubu Roi below right: Avenue Q

left: War Horseabove: Japanese Bunraku



Julie Hersh* Chair

Jeffrey R. Bragalone*President

Rebecca Fletcher*Past Chair

Drew AlexandrouJennifer Altabef*Irvin Ashford, Jr.John F. Bergner

Mickie Bragalone‡Diane M. Brierley^*

Randy BrownLaRhonda Brown-Barrett

Molly ByrneNancy Carlson

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Representing DTC at the Tony Award® ceremony were Managing Director Jeffrey Woodward, Board Chair Julie Hersh, Artistic Director Kevin Moriarty, and Board President Jeff Bragalone.



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THEATRE EXECUTIVES ($50,000-$99,000)The Schloss Family FoundationWells Fargo

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Theatermania/ Gretchen ShugartGeorge S. Smith, Jr.

DONORS ($10,000-$14,999)Lisa OrbergRBC Wealth ManagementDaniel A. SimkowitzTD Charitable FoundationIsabelle Winkles

SUPPORTERS ($2,500-$9,999)Mitchell J. AuslanderPaula A. DominickDorfman and Kaish Family Foundation, Inc. John R. Dutt

Bruce R. and Tracey EwingMason and Kim GrangerBrian J. HarkinsGregory S. HurstHoward and Janet KaganJoseph F. KirkJohn R. Mathena Jonathan Maurer and Gretchen ShugartJohn Thomopoulos

Theatre Forward's Staging Success initiative is supported by AT&T.

† Includes in-kind support Theatre Forward supporters are former supporters of National Corporate Theatre Fund and Impact Creativity. For a complete list of funders visit theatreforward.org

Theatre Forward advances the American theatre and its communities by providing funding and other resources to the country's leading

non-profit theatres. Theatre Forward and our theatres are most grateful to the following Educating Through Theatre funders:

CURRENT FUNDERS AS OF AUGUST 2016



$300,000+The Hersh FoundationThe Moody Foundation The O'Donnell Foundation

$200,000+Embrey Family Foundation The Meadows Foundation Ted and Shannon Skokos Foundation

$100,000+The Andrew W. Mellon FoundationThe Shubert Foundation, Inc.TACA

$50,000+City of Dallas Office of Cultural AffairsJean Baptiste (Tad) Adoue III Fund of the Dallas FoundationDallas Tourism Public Improvement District Edgerton FoundationThe Sapphire Foundation, Inc.TACA Donna Wilhelm Family New Works Fund Theatre Communications Group

$25,000+Carl B. & Florence E. King Foundation Communities Foundation of Texas The David M. Crowley FoundationLaurents / Hatcher FoundationNational Endowment for the Arts Shakespeare in American CommunitiesHarold Simmons Foundation TACA Bowdon & Embrey Family Foundations Artist Residency FundTexas Commission on the Arts TurningPointFoundation

$10,000+Dallas Theater Center GuildThe Carlson FoundationThe Stemmons Foundation Theatre Forward

$5,000+The Theodore and Beulah Beasley Foundation, Inc. Harry S. Moss FoundationHumanities TexasNational Alliance for Musical Theatre

$1,000+Dallas Arts District FoundationLouise W. Kahn Endowment Fund of the Dallas FoundationNew Mount Gilead Baptist Church

ARTISTICThe Charles Peter Bock FundThe G. B. Dealey Fund

EDUCATION & OUTREACH PROGRAMSThe Theodore and Beulah Beasley Foundation, Inc.William Randolph Hearst FundMeadows Foundation

GENERALSara Birge FundThe Wyly Fund for Administrative ExcellenceDiane and Hal Brierley FundThe Roberta Coke Camp FundJoan and Coley Clark FundLyndhurst FoundationMr. and Mrs. William A. Custard FundArlene J. and John W. Dayton FundThe Dallas Theater Center Guild FundBess and Ted Enloe FundHamon FundHeldt FundMr. and Mrs. Richard C. Johnson Fund

Carol and John Levy Family FundEugene McDermott FoundationAnonymous FundThe Paul Raigorodsky FundMr. and Mrs. Robert C. Stack FundThe Waldo E. Stewart FundTheater Support FundLuther King Capital Management

SCHOLARSHIPWinifred D. Caldwell Scholarship FundThe Dr. Anson L. Clark Memorial Scholarship FundJohnny George Scholarship FundPreston Jones Scholarship FundCarl B. and Florence E. King Scholarship FundThe Zelma Naylor Scholarship FundThe Edythe W. and Henry X. Salzberger Scholarship FundDora and Robert D. Stecker Scholarship FundShakespeare Study Club Scholarship Fund

OTHERThe Frank Nick Scholarship for Creative GreatnessThe Alan M. May Fund

Dallas Theater Center is supported, in part, by the City of Dallas Office of Cultural Affairs, TACA, the Texas Commission on the Arts and the National Endowment for the Arts.

ENDOWMENT FUND

Dallas Theater Center is a participant in the Leadership U: Continuing Ed program, funded by The Andrew W. Mellon Foundation and administered by Theatre Communications Group, the national organization for the professional not-for-profit American theatre.

CORPORATE CONTRIBUTORS/THEATRE FORWARD INSTITUTIONAL CONTRIBUTORS



DTC PEOPLELEADERSHIP: Art ist ic Director, Kevin Moriarty; Managing Director, Jeffrey Woodward

ADMINISTRATION: General Manager/CFO, Alfred Butler; Manager of Board Relations and Diversity Initiatives, Martha-Elena Howard; Office Manager, Markus Harris; Operations Manager, Darrell Niedert; Facilities Maintenance Technician, Albert Gonzales; Computer Consultants, Choice Technologies; Administrative Intern, Dalia Lopez

ARTISTIC: Associate Artistic Director, Joel Ferrell; Director of New Play Development, Lee Trull; Playwright-in-Residence, Will Power; Artisitc Producing Fellow, Christian Black; Regional Casting Director, Tiffany Nichole Greene; Commissioned Playwrights, Roberto Aguirre-Sacasa, Kristoffer Diaz, Rajiv Joseph, Boo Killebrew, Aaron Loeb, Matt Lyle, Jonathan Norton, Kim Rosenstock, Steven Michael Walters, Kate Wetherhead

DIANE AND HAL BRIERLEY RESIDENT ACTING COMPANY: Ace Anderson, Kieran Connolly, Chamblee Ferguson, Tiana Kaye Johnson, Liz Mikel, Alex Organ, Sally Nystuen Vahle, Steven Michael Walters

DEVELOPMENT: Director of Development, Rhealyn Carter; Associate Director of Development, Robin Rose; Manager of Foundation and Government Relations, Dionne Davis; Donor Services Associate, Patricia Kirven; Development Office Coordinator, Daniela DiBenedetto

EDUCATION: Director of Education, Morgana Wilborn; Manager of Education Programs, Gloria Benavides; Education Coordinator, Devin Christor

FINANCE AND ACCOUNTING: Accounting Manager, Angeliana Blackmon; Accounts Payable/Payroll Coordinator, Sherene English; Independent Audit Firm, BDO USA, LLP

MARKETING AND COMMUNICATIONS: Director of Marketing and Communications,Brad Pritchett; Associate Director of Marketing and Communications, Darcy Wallace; Director of Publications, Amy Lacy; Patron Serv ices Manager, DR Hanson ; Tess i tu ra Ana lyst , Traci McKinney; PR Manager, Katherine Betts; Digital Media Manager, Ray Alva; Group Sales Manager, Robin Witcher; Marketing Coordinator, Debbie Crawford; Web Developer, Chris Koller/Idealgrowth; Production Photographer, Karen Almond; Ticketing Services, AT&T Performing Arts Center

PRODUCTION: Director of Production, Rebecca Cribbin; Associate Production Manager, Phil Baranski; Production Management Assistant, Janel Villatoro; Company Manager/Interim Artist Contracting Manager, Theresa Zicolello; Technical Director, Ian Owens; Assistant Technical Director, Jacob Palmer; Carpenters, Jorge Lanuza, George Meek, Bruce Nuttall; Stage Operations Manager, Squeak Henderson; Assistant Stage Operations Manager, Chris Wyatt; Production Stage Manager, Eric Tysinger; Stage Management Apprentice, Emily Burke; Costume Shop Manager, Jennifer Ables; Assistant Costume Shop Manager, Chris Spencer; Draper, Amanda Hendrickson; First Hand, Kyle Everett; Stitcher, Alisan Heath; Wardrobe Supervisor, Mattie O’Neal; Assistant Wardrobe Supervisor, Rebecca Holt; Hair and Make-Up Supervisor, Nicole Alvarez; Properties Master, John Slauson; Assistant Properties Master, Nicole Gaignat; Properties Carpenter, Matt Duvall; Paint Charge, Sergey Chernomorets; Master Electrician/Lighting Supervisor, Nicole Iannaccone; Assistant Master Electrician/Programmer, Meike Schmidt; Staff Electrician, Chris Martin; Sound Supervisor, Brian McDonald; Lead Production Audio Technician, Ashton McWhirter; Production Audio Technician, Liz Sokolak

PUBLIC WORKS DALLAS: Director, Dayron J. Miles; Manager, Leah Harris; Artists: Leah Harris (Jubilee); Ivan Jasso (Bachman Lake Together); Lydia Mackay (VMLC); Liz Mikel (City of Dallas); Ace Anderson (LIFT); Volunteer Coordinator, Kaylyn Buckley; Assistant to the Director, James Michael Williams; Teaching Assistants, Kassy Amoi (LIFT), Grace Cuny (VMLC), Christina Sittser (Bachman Lake, Jubilee); Community Liaison, Leslie Ballart

FOR THIS PRODUCTION: Draper, Olivia Kennedy; First Hands, Cassandra Paine, Melissa Perkins; Stitchers, Anaïs Jaquez, Claire Spigel; Costume Shop Observers, Cherish Cox, Edgar Flores, Van Hamilton; Stage Crew, Jonathan "Batman" Hill, Chris Rollins; Stage Management Interns, Madeleine Ash, Maddie Louviere, Jordana Roet, Grace Shaw; Wardrobe, John Leos, Meagan Wintz; Hair and Make-up, Nikki Mac; Follow Spot, Hilary Gregory-Allen

Custom Fabric Painting by Jeff Fender Studio.

DTC wishes to thank TDF Costume Collection and OSF Costume Rentals for their assistance with this production.

Family Saver Sundays Parking provided by the AT&T Performing Arts Center.


Great acting is at the center of all

great theater. In 2009, with the generous

support of Diane and Hal Brierley, Artistic

Director Kevin Moriarty reinstated Dallas

Theater Center’s resident acting company.

His intent was to develop and nurture

professional actors within the North Texas

community and enable them to make

Dallas their artistic home. At the same

time, he sought to enhance DTC’s artistic

profile and create ongoing collaborative

relationships. The eight-member Diane and

Hal Brierley Resident Acting Company

has since become a signature component

of DTC’s presence in the Dallas Arts District.

DallasTheaterCenter.org

Diane and Hal Brierley

Resident Acting

CompanyAce Anderson

Chamblee Ferguson

Liz Mikel

Sally Nystuen Vahle

Kieran Connolly

Tiana Kaye Johnson

Alex Organ

Steven Michael Walters


hood · dallas t heater c enter 5 dallas theater center’s production staff is responsible for the...

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