February 16- 19, 2011 • Mendelssohn TheatreDepartment of Theatre & Drama

Noises Off

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The University of Michigan, School of Music, Theatre & Dance,Department of Theatre & Drama presents

by Michael Frayn

DirectorScenic Designer

Costume DesignerLighting Designer

Sound DesignerVocal Coach

Assistant DirectorFight Choreographer

Stage Manager

John Neville-AndrewsGary DeckerKatelyn RouseAndrew LottColin FultonAnnette MassonOlivia LloydNate MitchellLaura Beth Cohen

Noises Off will be performed with two intermissions.

This production is dedicated to the memory of Professor Glenda Dickerson.

Noises Off is presented through generous support from the Office of the Vice President for Research, the School of Music, Theatre & Dance, and the Department of Theatre & Drama.

The play produced by special arrangement with Samuel French, Inc., NYC.

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

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

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

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Ex Machina The Andersen ProjectWritten and directed by Robert LepageStarring Yves JacquesThursday \ March 15 \ 7:30 pmFriday & Saturday \ March 16 & 17 \ 8 pm Power Center

The Andersen Project keenly explores unraveling relationships, personal demons, the thirst for recognition, and compromise that comes too late. Content appropriate for mature audiences only. Performed in English and French (with projected titles). A strobe light is used in this performance.

This event is part of Pure Michigan Renegade.

Funded in part by an award from the National Endowment for the Arts. Art Works.

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Professor Glenda Dickerson (1945 - 2012)

Glenda Dickerson, director, writer, folklorist, educator and actor, is one of those people who refuses to die. Her body rests in peace but her soul lives on in the art she created, in the students she has inspired over the years and in her writings that continue to enlighten us. Her book, African American Theater: A Cultural Companion, is, she wrote, a combination of history, fiction, drama and myth. In that book she invites us to learn how to fly, how to continually strive to unchain the long suppressed inner-

selves that were burdened with 256 years of slavery and 100 years of slavery after slavery in a country that claimed to be Christian, but often fell far short of that noble goal due to the desire for the wealth that slavery generated. To me her book is her way of continuing the Underground Railroad. It’s an encouragement, a challenge to run away from self-denigration, to escape the severity of continuing racial and gender biases that nurture self-doubt and that lead to political unrest and social decay. She resuscitates the cultural stories that recall, inform and revive the internal African souls that yet linger in the deepest recesses of the African-American psyche. Instead of dis-membering African-American cultural history, she “re-members” that history, gives it wings to soar beyond the centuries old racially inspired stereotypes, to fly free at last, free at last, thank God almighty, free at last. Thank you, Glenda. Amen.

— OyamO, Professor, Dept. of Theatre & Drama

Cast of CharaCters (in order of appearance)

Dotty Otley ............................................................................................... Naz Edwards‡Lloyd Dallas .............................................................................................Reed CampbellGarry Lejeune ..........................................................................................Philip MaxwellBrooke Ashton ......................................................................................... Sophie HindleyPoppy Norton-Taylor ................................................................................ Shannon EagenFrederick Fellowes ....................................................................................... Casey HanleyBelinda Blair .................................................................................................Zoe KantersTim Allgood ..............................................................................................Eric KrawczykSelsdon Mowbray .................................................................................... Avery DiUbaldo

‡ Ms. Edwards appears courtesy of Actors Equity Association, the Union of Professional Actors and Stage Managers in the United Sates.

UnderstUdiesUnderstudies never substitute for listed performers unless an announcement is made at the time of the performance.

Tim Allgood/Frederick Fellowes Elliot Cruz • Brooke Ashton/Poppy Norton-Taylor Carrie Fisk Garry Lejeune/Selsdon Mowbray Jackson Pierce • Lloyd Dallas Devin Rossinsky

Belinda Blair/Dotty Otley Ariel Sobel

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synopsis

It is only hours before the opening of a British adult farce, Nothing On, and the touring company is hurriedly running through a final dress rehearsal in the Grand Theatre, Weston-super-Mare, before the first audience arrives.

ACT I (Grand Theatre, Weston-super-Mare, Monday, January 14th)During the first act, we are an audience to this production of a play within a play. The

Nothing On cast is lovable, but mainly inept; however, we cheer for them under our breath and hope that they can pull it together and get the show on the road. Trying to pull this all together into some semblance of a presentable show is the director, Lloyd Dallas, who is sitting in the darkened auditorium shouting out directions and trying to get everybody ready for opening.

ACT II (Theatre Royal, Aston-under-Lyne, Wednesday matinee, February 13th)For this act, we, the audience, are sitting backstage; the entire set has been turned 180

degrees. We can hear the actors performing out front, but what we see is the back side of the scenic flats, the stage manager trying to keep the action flowing and everybody happy, and the various antics of the actors offstage between their exits and entrances. The play has been on the road for one month now, and relationships between cast members, as well as the quality of Nothing On, have deteriorated. Most of the company is in a continual state of agitation, and this disorder is carrying over into the play, causing missed entrances, flubbed lines, and general hilarity. Act 3 is even more frenetic.

ACT III (Municipal Theatre, Stockton-on-Tees, Saturday, April 6th)It is seven weeks later, and the tour is reaching an end. We, the audience, are out front

again, watching a performance of Nothing On that has reached the point of complete and hilarious deterioration. The business of performing the show has become subordinate to the business of solving personal problems. Ultimately, however, they carry off the show—in some semblance.

— Synopsis courtesy of and excerpted from the Utah Shakespeare Festival

IF IT’S TUESDAY IT MUST BE SCUNTHORPE!After having been involved as an actor and director with numerous productions of

Noises Off, I can quite safely say it is one of the most complex and difficult shows to perform or direct. However, the reward for all the arduous work, pitch perfect timing and the flawless precision required to make the show appear effortless is the audience’s reaction, frequently continuous and uproarious laughter. Even though I have sworn more than once never to be involved with this grueling show again, there is more than one reason I would plunge right in “one more time.” Apart from being a joy to perform or direct, Noises Off was where I first met my wonderful, brilliant, and beautiful wife, Pamela. When we returned to the Olney Theatre in Maryland for a tenth-anniversary revival of the show, I proposed to her on stage, during the curtain call, in front of four hundred patrons. I’m immensely pleased she didn’t say no. — John Neville-Andrews

from the direCtor

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WESTON-SUPER-MAREProprieters: Grand Theatre (Weston-super-Mare) LIMITED

General Manager: E. E. A. Gradshaw

The Grand Theatre Weston-super-Mare is a Member of the Grand Group Evenings at 7:45 Matinee: Wednesday at 2:30 Saturday at 5:00 and 8:30

Otstar Productions Ltd. present

DOTTY OTLEY BELINDA BLAIR GARRY LEJEUNE in

Nothing Onby Robin Housemonger

with

Selsdon Mowbray Brooke Ashton Frederick Fellowes

Designed by Lighting by Costumes by Gina Boxhall Rod Wray Patsy Hamming

Directed by Lloyd Dallas

World Premiere prior to National Tour!

GRAND THEATRE

SMOKING IS NOT PERMITTED IN THE AUDITORIUM The use of cameras and tape recorders is forbidden. The management reserves the right to refuse admission, also to make any alteration in the cast which may be rendered necessary by illness or other unavoidable causes. From the Theatre rules “All exits shall be available for use during all performances,” “The fire curtain shall be lowered during each performance.”

Mrs. Clackett .........................................................Dotty OtleyRoger Tramplemain ........................................... Garry LejeuneVicki .................................................................Brooke AshtonPhilip Brent .................................................Frederick FellowesFlavia Brent ..........................................................Belinda BlairBurglar .........................................................Selsdon MowbraySheikh .........................................................Frederick Fellowes

The action takes place in the living room of the Brents’ country home, on a Wednesday afternoon.

for Otstar Productions LTD Company and Stage Manager ........................................ Tim AllgoodAssistant Stage Manager ...................................Poppy Norton-Taylor

Cast

Sardines by Sardine Services. Miss Ashton’s lenses by Double Vision Optical Ltd.

Antique Silverware and cardboard boxes by Mrs. J. G. H. Norton-Taylor. Stethoscope and hospital trolley by Severn Surgical Supplies.

Straitjacket by Kumfy Restraints Ltd. Coffins by G. Ashforth and Sons.

We gratefully acknowledge the generous support of EUROPEAN BREWERIES in sponsoring this production.

Production Credits

DOTTY OTLEY (Mrs. Clackett) makes a welcome return to the stage to create the role of Mrs. Clackett after playing Mrs. Hackett, Britain’s most famous lollipop lady (‘Ooh, I can’t ‘ardly ‘old me lolly up!’) in over 320 episodes of TV’s On the Zebras. She was born in Malta, the only daughter of Lt. Cdt. Clive Otley, R.N., D.S.M., and trained at the Estelle Birkwood School of Drama and Allied Arts, winning the Bronze Medal, and going on to the Embassy Theatre, Swiss Cottage, where she gained invaluable experience as Assistant Stage Manager in successful productions of As You Desire and Starched Aprons. Understudying Bee Duffell in Haddock’s Eyes at the New Lindsey Theatre, Notting Hill Gate, and Margaret Lockwood in Peter Pan at the Scala, was followed by The King’s Theatre, Peebles for a season, and then the Duke’s Players at Lyme Regis for the better part of two seasons, and this in turn led to a prolonged stay in Australia, where she enjoyed some of the biggest successes of her career. When she gets the time she intends writing her memoirs, she says.

BELINDA BLAIR (Flavia Brent) has been on the stage since the age of four, when she made her debut in Sinbad the Sailor at the old Croydon Hippodrome as one of Miss Toni Tanner’s Ten Tapping Tots. She subsequently danced her way round this country, Southern Africa, and the Far East in shows like Zippedy-Doo-Da! and Here Come Les Girls! A damaged tendon led to her first straight parts in Good Time Girl, Ladies of the Night and Ring Twice for Rita. More recently, she has been seen in such comedy hits as Don’t Mr. Duddle!, Who’s Been Sleeping in My Bed? and Twice Two Is Sex. She is married to scriptwriter Terry Wough, who has contributed lead-in material to most of TV’s chat shows. They have two sons and three retrievers.

GARRY LEJEUNE (Roger Tramplemain) was twice winner of the Rose Bruford Medal for Effort. His many successful tours have brought him to Weston-super-Mare only once before, when he was starring in The Adventures of a Window Dresser. He has made innumerable television appearances, but is perhaps best known as Cornetto, the ice-cream salesman who stirs the hearts of all the lollipop ladies in On the Zebras. He recently made his ‘big screen’ debut in Up the Virgin Soldiers, for which he was nominated as Best Male Newcomer Under Forty in any British Low-Budget Comedy Film by readers of the Sun newspaper.

Bios

SELSDON MOWBRAY (Burglar) first ‘trod the boards’ in A Midsummer Night’s Dream with the Ben Greet Players, with whom he toured for three years, playing, among other roles, Moth, Mustardseed and Nerissa (!). After war service in the Artists’ Rifles, outstanding seasons with various repertory companies across the length and breadth of Great Britain led to his first West End play, Kelly’s Eye. Then ‘alfresco’ in Regent’s Park for several seasons, playing leads. To Stratford thence for Mercutio, King John, and the Porter in Macbeth. To Hollywood for several good supporting roles, including stand-in to Robert Newton. Back home he played King Lear in Portsmouth, and joined the BBC Rep for two months in 1938. Great War No. Two saw him back in khaki. Invalided out in 1940 he continued to serve by joining Ensa, and performing all over the world in many different ‘Theatres of War.’ To Dublin in 1946, where he set up his own touring company playing the Classics, and rivaling the great Agnew Macmaster. Returned to England in 1952 and set up his own tour — a revival of Mr. Cinders. Since then, apart from an occasional excursion to ‘tread the green,’ he has been busy writing his autobiography, which he is thinking of titling Hanging on the Wall.

BROOKE ASHTON (Vicki) is probably best known as the girl wearing nothing but ‘good, honest, natural froth’ in the Hauptbahnhofbrau lager commercial. But she has enjoyed a flourishing stage career, extending from a widely acclaimed Dandini in Hull to six months in Lebanon with Pixie Pearls. Her television appearances range from Girl at Infants’ School in On the Zebras to Girl in Strip Joint in On Probation. Cinemagoers saw her in The Girl in Room 14 where she played the Girl in Room 312.

FREDERICK FELLOWES (Philip Brent) comes from a theatrical family — his parents were a popular speciality dance act of the thirties and forties, The Funny Fellowes. He taught at a prep school near Hayward’s Health before bowing to family tradition and joining the Osmosis Players. There followed successful seasons in Nairobi, Ventnor, and Southwold, and he was most recently seen in the controversial all-male version of The Trojan Women. He is happily married, and lives near Crawley, where his wife breeds pedigree dogs. “If she ever leaves me,” he says, “it will probably be for an Irish wolfhound!”

Bios

ROBIN HOUSEMONGER (Author) was born in Worcester Park, Surrey, into a family “unremarkable in every way except for an aunt with red hair who used to sing all the high twiddly bits from The Merry Widow over the tea-table.” He claims to have been the world’s most unsuccessful gents hosiery wholesaler, and began writing “to fill the long hours between one hosiery order and the next.” He turned this experience into his very first play Socks Before Marriage, which ran in the West End for nine years. Several subsequent plays have been produced, and at least one of them broke box office records in Perth, Western Australia. Nothing On is his seventeenth play.

LLOYD DALLAS (Director) read English at Cambridge, and stagecraft at the Salisbury. A Commonwealth Scholarship took him to Princeton, where he spent his time “commuting to New York City to see Miller and musicals on Broadway, and Lee Strasberg and Tallulah Bankhead at a party on East 10th Street.” Since then Lloyd has directed plays “in most parts of Britain,” winning the South of Scotland Critics’ Circle Special Award in 1968. In 1972 he directed a highly-successful season for the National Theatre of Sri Lanka. In recent years Lloyd has probably become best-known for his brilliant series of “Shakespeare in Summer” productions in the parks of the inner London boroughs.

TIM ALLGOOD (Company Stage Manager) trained for a career in Market Research, and became interested in the theatre only through a chance holiday visit to a local production of There’s a Girl in My Soup. He had got himself taken on by the company as Assistant Stage Manager before he realized that the girl in question was not only in the soup, but also married, with two growing children! During a production of Hamlet at the Lyceum, Portsmouth, he took over the part of Polonius at short notice, but subsequently found himself more in demand on the technical side. His most recent job was with Betrothed, a thriller by Sam Brennicle, both on the tour prior to its West End opening in December 1980, and again on the tour which followed the conclusion of its successful West End run in January 1981.

POPPY NORTON-TAYLOR (Assistant Stage Manager) is from a family found more often on the Boards of leading companies than on the boards with touring companies. Her father is chairman of European Breweries, but has been “terribly sweet about it all — so far!” After schools in Cheltenham and Montreaux she found life far too full to leave time for work. So this is her first job and she is enjoying the challenge enormously. Her hobbies include riding, skiing, tennis, reading good books, and loving anything small and furry.

Bios

A GLIMPSE OF THE NOUMENALEros Untrousered — Studies in the Semantics of Bedroom Farceby JG Stillwater

The cultural importance of the so-called ‘bedroom farce,’ or ‘English sex farce,’ has long been recognized, but attention has tended to centre on the metaphysical significance of mistaken identity and upon the social criticism implicit in the form’s ground-breaking exploration of cross-dressing and trans-gender role playing. The focus of scholarly interest, however, is now beginning to shift to the recurrence of certain mythic themes in the genre, and to their religious and spiritual implications.

In a typical bedroom farce, a man and a woman come to some secret or mysterious place (cf. Beauty and the Beast, Bluebeard’s Castle, etc.) to perform certain acts which are supposed to remain concealed from the eyes of the world. This is plainly a variant of the traditional ‘search’ or ‘quest’, the goal of which, though presented as being ‘sexual’ in nature, is to be understood as a metaphor of enlightenment and transcendence. Some partial disrobing may occur, to suggest perhaps a preliminary stripping away of worldly illusions, but total nudity (perfect

truth) and complete ‘carnal knowledge’ (i.e. spiritual understanding) are perpetually forestalled by the intervention of coincidental encounters (often with other seekers engaged in parallel ‘quests’), which bear a striking resemblance to the trials undergone by postulants in various esoteric cults (cf. The Magic Flute, Star Wars, etc).

According to evidence given to the Royal Commission on Procedures and Practice in the Sale of Real Estate, approximately 17% of estate agents admit to having on at least one occasion passed off a property they were selling as their own.

In 63% of these cases the intention was to impress a member of the opposite sex, and/or to make accommodation for illicit sexual activity — though some witnesses had at one time or another used properties to secure a loan or other business advantage from gullible victims. One agent boasted that he had managed to have intercourse in the master bedroom, then sell his partner the property — and help himself to a case of champagne from the cellar and a pound and a half of strawberries from the garden.

A recurring and highly significant feature of the genre is multiplicity of doors. If we regard the world on this side of the doors as the physical one

The common sardine. 13.4 million are eaten daily in Great Britain alone. The word is derived from the French, sardine.

in which the mortal men are condemned to live, then the world or worlds concealed behind them may be thought of as representing both the higher and more spiritual plane into which the postulants hope to escape, and the underworld from which any moment demons may leap out to tempt or punish. When the doors do open, it is often with great suddenness and unexpectedness, highly suggestive of these epiphanic moments of insight and enlightenment which give access to the ‘other,’ and offer us a fleeting glimpse of the noumenal.

Another recurring feature is the fall or loss of trousers. This can be readily recognized as an allusion to the Fall of Man and the loss of primal innocence. The removal of the trousers traditionally reveals a pair of striped underpants, in which we recognize both the stripes of the tiger, the feral beast that lurks in all of us beneath the civilised exterior suggested by the lost trousers, and perhaps also a premonitory representation of the stripes caused by the whipping which was formerly the traditional punishment for fornication.

The confusion of identity caused by chance resemblance has always played a significant part in human affairs. Edward IV had a notorious lookalike, Leofric Leadbetter, a tallowboiler from Stony Stratford, who fooled many courtiers and heads of state. Not even their wives could tell them apart. On one occasion Leadbetter gave the royal assent to three statutes and probably fathered the future King Edward V before the imposture was detected. Some historians believe that in the subsequent confusion it was

in fact the king, not Leadbetter, who was hanged.

Farce, interestingly, is popularly categorized as ‘funny.’ It is true that the form often involves ‘funny’ elements in the sense of the strange or uncanny, such as supposedly supernatural phenomena, and behavior suggestive of demonic possession. But in the meaning of ‘funny’ here is probably

also intended to include its secondary sense, ‘provocative of laughter.’

This is an interesting perception. It scarcely needs to be said that laughter,

An early pair of famous doubles – Edward IV and Leofric Leadbetter

The first item of background information in a theatre program is believed to have appeared in 1599, for a revival of The Two Gentlemen of Verona. It provided a brief history of the rise and fall of the North Italian city states, and an inset panel containing a list of useful Italian phrases for travelers.

involving as it does the loss of self-control and the spasmodic release of breath, a vital bodily fluid, is a metaphysical representation of the sexual act. But it can also occasion the shedding of tears, which suggests that it may in addition be a sublimated form of mourning.

Indeed we recognize here a symbolic foretaste of death. If sneezing has been widely feared because it is thought that during a sneeze the soul flies out of the body, and may not be recaptured (whence ‘Bless You!’ or ‘Gsundheit!’), then how much more dangerous is laughter. Not once but over and over again the repeated muscular contractions and expulsions of breath drive the ‘soul’ forth from the body. The danger of laughter is recognized in such expressions as ‘killingly funny’ and ‘I almost died.’ There is a lurking fear that even more spectacular violence may ensue, and that a farce may end with a bloodletting as gruesome as in Oedipus or Medea, if people are induced to ‘split their sides’ or ‘laugh their heads off.’

Fear of the darker undertones of bedroom farce has sometimes in the past led to its dismissal as ‘mere entertainment.’ As the foregoing hopefully makes clear, though, financial support by the Arts Council or a private sponsor for the tour of a bedroom farce would be by no means out of place.

POSSET (milk curdled with ale or vinegar) was one of the first foods to be processed by industrial methods. In the sixteenth century virtually every village had its posset-mill, though few have survived. Their functioning was based on the common observation that milk tends to curdle more readily on thundery summer days. In a posset-mill production was maintained throughout the year by allowing the milk to run into a heated curdling chamber where the flow of incoming ale or vinegar was ingeniously harnessed to operate a kind of simple theatrical thundersheet. The product was then packed in small ‘yoggy pots,’ made from the scrota of wild yogs. — Janet Thrice: The Tudor Food Industry

Sardines are even more plagued than their human cousins by the problem of doubles and look-alikes.

aboUt the play

Where Are They Going?Enough clues are provided in Michael Frayn’s script to allow us to get at least a general idea of the circuitous journey undertaken by the cast and crew of Robin Housemonger’s Nothing On as they peddle their farcical wares to the far corners of the kingdom.

1.2.

3.

4.

11.

12.

1. WESTON-SUPER-MARE - setting for Act I of Noises Off and Week #1 for the Nothing On tour. The fastest growing municipality in Europe during the 1980s, this now-faded seaside resort town is home to the world’s largest helicopter collection and John Cleese.

5. ASHTON-UNDER-LYNE - setting for Act II of Noises Off and Week #5 for the Nothing On tour. This prehistoric peat bog, once home to the deepest coal mine in the world (now Snipe Retail Park), today triumphantly displays the tallest IKEA store in Britain. 6.

7.8.

9.10.

5.

E N G L A ND

S C O T L A ND

2. YEOVIL – site of Week # 2 for the Nothing On tour. The glove-making capital of Britain in the 19th century, Yeovil’s most inexplicable landmark is a stone archway and turret topped by a statue of Jack the Treacle Eater.

4. WORKSOP - site of Week #4 for the Nothing On tour. Located on the northern edge of Sherwood Forest and lovingly depicted in a popular children’s tv show as a gigantic mud hole, Worksop is known for the manufacture of Super Noodles, boullion cubes and dried gravy.

12. STOCKTON-ON-TEES - setting for Act III of Noises Off and Week #12 for the Nothing On tour. This ancient market town is not only home to the world’s oldest railway station building but is also the birthplace of John Walker, inventor of “Sulphurata Hyper-Oxygenata Frict” (in other words, what we now call “matches”).

11. LOWESTOFT Probable site of Week #11 for the Nothing On tour. Settled and named by Vikings, this bellicose and bloodthirsty village defended its citizens during the English Civil War with a rope stretched across the High Street and one unmanned, unloaded cannon.

— Reprinted with permission of South Coast Repertory

aboUt miChael frayn

miChael frayn (Author) Playwright, novelist, and translator Michael Frayn was born in London on September 8, 1933. After two years of National Service, during which he learned Russian, he read Philosophy at Emmanuel College, Cambridge. He worked as a reporter and columnist for The Guardian and The Observer, publishing several novels including The Tin Men (1965), winner of a Somerset Maugham Award, The Russian Interpreter (1966), which won the Hawthornden Prize, and Towards the End of the Morning (1967). Other novels include A Landing on the Sun (1991) and Headlong (1999), the story of the

discovery of a lost painting by Bruegel, shortlisted for the Booker Prize for Fiction. Spies (2002), a story of childhood set in England during the Second World War, won the 2002 Whitbread Novel Award and the 2003 Commonwealth Writers Prize, and was shortlisted for the Whitbread Book of the Year. Michael Frayn is the recipient of the 2002 Heywood Hill Literary Prize. His plays include Alphabetical Order (1975), Clouds (1976), Donkeys’ Years (1977), Make or Break (1980), Noises Off (1982) and Benefactors (1984). Copenhagen (1998), about the 1941 meeting between German physicist Werner Heisenberg and his Danish counterpart Niels Bohr, first staged at the Royal National Theatre in London, won the 1998 Evening Standard Award for Best Play of the Year and the 2000 Tony Award for Best Play. His play Democracy (2003) is set in 1960s Berlin. His latest play for the Royal National Theatre is Afterlife (2008). Recent books are Stage Directions: Writing on Theatre 1970-2008 (2008), and Travels with a Typewriter (2009). A book of memoir, My Father’s Fortune: A Life, was published in 2010, was shortlisted for the 2010 Costa Biography Award, and won the 2011 PEN/Ackerley Prize. He has also translated a number of works from Russian, including plays by Chekhov and Tolstoy. His films for television include First and Last (1989), for which he won an Emmy, and an adaptation of his 1991 novel A Landing on the Sun. He also wrote the screenplay for the film Clockwise (1986), a comedy starring John Cleese. Frayn is married to the biographer and critic Claire Tomalin.

CongratUlations to oUr winning stUdents at this year’s Kennedy Center/ameriCan College theater festival

The aim of KC/ACTF is to identify and promote quality in college-level theater productions. All UM productions are entered and are eligible for a response by a regional representative. Seven students attended and competed at this year’s regional finals in January at the University of Illinois Urbana/Champagne.

Regional Design Projects (unrealized projects) Scenic Design: Catherine Cornell, Hamlet

Lighting Design: Aaron Tacy, Hamlet

laUra beth Cohen (Stage Manager) is a junior BFA Design and Production candidate concentrating in stage management. She is also working on her BA in American Culture and plans to apply to medical school. UM: Ragtime (ASM), Little Women (Opera - 1st ASM). MUSKET: Aida (SM), Cabaret (SM).

gary deCKer (Scenic Designer) has designed more than 100 productions. In Michigan, he has worked at the Gem, Attic, Birmingham, Boarshead, and Purple Rose Theatres. Recent designs include the national tours of The Sunshine Boys and Same Time, Next Year. His scenic design for Fully Committed at The Century Theatre earned the Detroit Free Press 2002 Theatre Design Excellence Award. He has designed interiors or lighting for commercial projects including: The Elwood Grill in Detroit, The Fashion Cafe in New York, and The Arndale Centre in Manchester, UK. Theatre Department faculty member since 1984.

naz edwards (Dotty Otley) is a New York actor now living in Ann Arbor. Ms. Edwards has performed on Broadway, Off-Broadway, in regional theaters across the United States and Canada, in national tours, on television and in voice animation. Some roles include Zorba, Anna Karenina, Ken Hill’s Phantom of the Opera, Dennis De Young’s Hunchback of Notre Dame, The Baker’s Wife, The Drowsy Chaperone, She Loves Me, Once Upon a Mattress, Funny Girl, The Clean House, Woman Before a Glass, and Coming of Age. Thank you, John, cast, and crew for a wonderful journey.

Colin fUlton (Sound Designer) is a senior Interarts Performance major focusing on sound, new media and music. UM: Soundscape: Dancelucent; Composer/Foley Artist: The Beaux’ Stratagem; Sound Designer: Suddenly Last Summer, The Crucible, Pentecost.

aboUt the artists

aboUt the Cast Reed Campbell (Lloyd Dallas) senior, BFA Perf., San Francisco, CAElliot Cruz (Understudy) sophomore, BFA performance, Ann Arbor, MI,Avery DiUbaldo (Selsdon Mowbray) first-year, BFA Performance, Aurora, COShannon Eagen (Poppy Norton-Taylor) junior, BFA Performance/BA Communication

Studies, Southfield, MINaz Edwards (Dotty Otley) See About the ArtistsCarrie Fisk (Understudy) junior, BFA Performance, Grosse Pointe, MICasey Hanley (Frederick Fellowes) senior, BFA Perf., Mill Valley, CASophie Hindley (Brooke Ashton) study abroad student, Warwick University, UKZoe Kanters (Belinda Blair) sophomore, BFA performance/BA Communications, Vulcan, MIEric Krawczyk (Tim Allgood) first-year, BFA Performance, Portage, MIPhilip Maxwell (Garry Lejeune) sophomore, BFA Perf., Kalamazoo, MIJackson Pierce (Understudy) first-year, BFA Performance, Naperville, ILDevin Rossinsky (Understudy) junior, BFA Performance, Roslyn Heights, NYAriel Sobel (Understudy) junior, BFA performance, Encinitas, CA

Special thanks to Robin Payne and the Denver Center Theatre Company. This production is entered in the Kennedy Center

American College Theater Festival (KC/ACTF).

aCKnowledgments

Student Productions:  Cabaret (SD), Zealous Whig  (SD, LD, TD, sets),  Fat Men in Skirts  (SD),  Tender  (SD),  And Baby Makes Seven  (SD),  Placebo  (FoH),  Animal Farm  (composer),  After Ashley  (LD).  Off Broadway:  Dreams in the Witches House (SD). Regional Theatre: God Bless You Mr. Rosewater (FoH). Other: AVS Sound Systems (audio engineer), Duderstadt Video Studio and Groundworks (technician). 

andrew lott (Lighting Designer) is a junior BFA Design & Production candidate concentrating in lighting design. UM: The Crucible (Assoc. LD), Into the Woods (Asst. LD), Ragtime (Asst. ME). Lighting Designer — Senior Directing Theses: Tender, And Baby Makes Seven, The Diver, O Lovely Glowworm; MUSKET: Man of La Mancha; Rude Mechanicals: Self Defense. Regional Theatre: Spoleto Festival USA, apprentice electrician (2011); Westport Academy of Dance (LD); Just Dance Studios (LD); Downtown Cabaret Theatre, general technician.

annette masson (Vocal Coach) Associate Professor of Voice, Dept. of Theatre & Drama, has taught and coached actors and public speakers both nationally and abroad. She has worked on theatre productions at Harvard’s American Repertory Theater, Indiana Repertory Theatre, Huntington Theatre, Western Australia Academy, Drama Studio London, and The Purple Rose Theatre.  Her “public speaking techniques” have been used by political candidates, film, radio, and television personalities, as well as CEOs for Polaroid, GM, Lilly, and Pfizer.

John neville-andrews (Director) Professor and head of performance, Dept. of Theatre & Drama. UM: Director: Uncommon Women and Others, Our Lady of 121st Street, She Stoops to Conquer, A Flea in Her Ear, In Arabia We’d All Be Kings, The Nutcracker, Don’t Dress for Dinner, The Secret Rapture, Measure for Measure. Acting: The Tempest, The Male Animal, Major Barbara. Regional Theatre: Former Artistic Producer, Michigan Shakespeare Festival and The Shakespeare Theatre, Washington, D.C.; he has directed and acted for numerous regional theatres. He is now the Co-Artistic Director of the American Shakespeare Collective.

Katelyn roUse (Costume Designer) is a senior BFA in design & production concentrating in costume design. UM: Little Women, the Musical; Our Country’s Good. Senior Directing Thesis: Far Away. Regional Theatre: Alliance Theatre, Costume Shop Intern (2008).

aboUt the artists

CHRISTOPHER KENDALL, DEANPaul Boylan Collegiate Professor of Music

DEPARTMENT OF THEATRE & DRAMAChair ...............................................................Priscilla LindsayDepartment Administrator ............................... Jennifer KnappStudent Services ...........................................Becky SeauvageauAdministrative Asst ............................................... Tim AbbottPerformance/Directing ..............................Sarah-Jane Gwillim, Philip Kerr, Annette Masson, Janet Maylie, Nate Mitchell, John Neville-Andrews, Jerry Schwiebert, Christina Traister, Malcolm TulipDesign/Production ................... Toni Y. Auletti, George Bacon, Mark Allen Berg, Gary Decker, Douglas Edwards, Jessica Hahn, Richard W. Lindsay, Jr., Vincent Mountain, Rob Murphy, Christianne Myers, Henry Reynolds, Arthur Ridley, Nancy UffnerTheatre Studies/Playwriting ...............Mbala Nkanga, OyamO, E.J. Westlake, Leigh WoodsArts Mgmt. ....... Jeffrey Kuras, Greg Poggi, Kerianne M. TupacInterarts..................................... Holly Hughes, Malcolm TulipProfessors Emeriti ....................... Jack E. Bender, Alan Billings, John Russell Brown, Peter W. Ferran, Erik Fredricksen, Zelma Weisfeld

UNIvERSITY PRODUCTIONSADMINISTRATIvE STAFFDirector ................................................................Jeffrey KurasDepartment Administrator ............................. Fatima AbdullahOffice Assistant III/Usher Coordinator .................Shelda SmithMarketing & Communications Dir. ........... Kerianne M. TupacGraphic Design ..............................Chris Purcell, CAP DesignsPhotographer .................................... Peter Smith PhotographyInformation Systems Manager .........................Henry ReynoldsFacilities Manager ................................................Shannon RiceHouse Manager ............................................ Dianne WidzinskiSenior Backstage Operations Mgr. .........................Barry LaRueBackstage Operations Mgrs. ........Mark Gordon, David Pickell, Kurt Thoma, Donald C. WatkinsAdministrative Office Assistants ........................ Allison Brown, Abrielle Case, Sara Shvartzman, Kevin Tan Theatre 386 ...Lindsay Alexis, Jason Kovacs, Meaghan McLaughlin PRODUCTION STAFFProduction Manager .....................................Amanda MengdenProduction Stage Manager...................................Nancy UffnerProduction Office Assistants .....David Lee, Brandon PenbertonProduction Office Practicum ...........................Kathryn PamulaTechnical Dir. (Power) ................................... Douglas EdwardsMaster Carpenter (Power) .................................Michael BraicoCarpenter (Power) ......................................... Brandon CarruthTechnical Dir. (Walgreen) ......................Richard W. Lindsay, Jr.Charge Scenic Artist ...........................................Toni Y. AulettiScenic Artist .....................................................Beth Sandmaier

Properties Master ................................................Arthur RidleyAsst. Properties Master ........................................Patrick DroneMaster Electrician............................................Mark Allen BergSound Engineers .......................Roger Arnett, Henry ReynoldsCostume Shop Manager ......................................Laura BrinkerAssoc. Costume Shop Manager .......................... George BaconCutter/Drapers ...........................................Virginia R. Luedke, Lea M. Morello, T J WilliamsonCrafts Artisan ...........................................Elizabeth GundersonCostume Stock Administrator .............................. Renae Skoog

PRODUCTION CREwFirst Asst. Stage Manager .........................................Sarah KornAsst. Stage Managers ....................... Lucy Briggs, Chelsea MostAsst. Sound Designer ............................... Bradley D. BergeronAsst. Technical Director .....................................Michael BraicoAsst. Master Electrician ...............................Yemisi OdetoyinboScenery (Walgreen)...........Ashley Ahr, Lucy Briggs, C J Eldred, Daniel Estrella, Elisabeth Griebel, Max Kauffman‡, AJ Klopach, Laura Reed, Eli Schlatter, Elliott Skylis‡, Samantha Vettrus, Julia Vis, students of Theatre 250 & 252Paint ........................... Janine Woods Thoma, Michael Barbour, Carisa Bledsoe, Steven Eddy, Max Kaufman, Neal Kelley, Cara Laban, Jordan Schroeder, students of Theatre 250 & 252Professional Props Artisan ....................................Sarah TannerProps ........ Rachael Albert, Daniel Belnavis, Kerry Concannon, Elana Lantry, Conor Ryan, Eli Schlatter, Katherine Thomas, Daniel Wilfred, Ryan Vasquez, students of Theatre 250 & 252Professional Stitchers ..Patty Branam, Corey Davis, Rene PlanteCostumes .......... Leslie Bates, Amalea Chininis, Aleah Douglas, Carrie Fisk, Sam Lips, Michael Popielarz, Emily Shimskey, Mary Claire Sullivan, Meryl Waldo, students of Theatre 250 & 252Lighting ................Robert Ariza, Carisa Bedsoe, Colin Bianchi, Mary Claire Blake-Booth, Andrew Burkhardt, Nicole Gellman, William Hack, Jennifer Jacobs, Alyssa Loiacano, Andrew Lott, David Moiseev, Clarissa Ortiz, Alexandra Pulgini, Aaron Tacy, William Welch, Andrew Wysocki, students of Theatre 250 & 252

RUNNING CREwHead Carpenter .............................................Samantha VettrusScenery Tom Cilluffo, Emma Gebhard, Jenna Hane, Justin HillProps ........................................... Maggie Byrne, Caitlin Chou, Emma Jeszke, Steven RiskoLight Board Operator ............................................ Teagan RoseLighting ...............................................................Matt DanielsSound....................................................................Eric SzkarlatWardrobe .................................................... Amalea Chininis‡, Rachel Eskenazi-Gold, Megan Murphy

‡ Upper Division Practicum Student

for yoUr information

lateComer poliCy

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

pagers, CellUlar phones, watCh alarms

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

smoKe free CampUs

Smoking is not permitted in University buildings or on

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

emergenCy proCedUre

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

Cameras and reCording deviCes

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

food and drinK

No food or drink is allowed in the theatre.

Children

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

large print programs

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

aCCessibility

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

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

soUnd enhanCement

The theatre is equipped with an infrared listening system for

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

parKing

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

tiCKet sales and information

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

tiCKet exChanges

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

groUp disCoUnts

Discounts are available for groups of 15 or more.

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

RECENT NEwS FROM THEATRE & DRAMA ALUMS

Sandra Abrevaya ’00 Press Secretary at Department of Education, Washington D.C.

Elijah Alexander (Steve Memram) ’00 Film: Amazing Love (2012).

Mark Alhadeff ’97 Broadway debut: covering several performances for Hugh Dancy, Venus in Fur, March, 2012.

Mikala Bierma ’06 New York based comedian. Her work has been featured on Jezebel, Dan Savage’s Slog, Buzzfeed, The Awl, Perez Hilton, Queerty, Logotv.com and The Huffington Post.

Zachary Booth (Dorff) ’04 Starring in feature films, The Blue Eyes and Keep the Lights On (2012). Originated role in Edward Albee’s Me Myself and I, Playwrights Horizons. Series regular on Damages and What Goes On.

Sophina Brown ’98 Recently appeared on The Good Wife, NCIS: Los Angeles. Many other television roles including series regular on Numb3rs, Shark, Chappelle’s Show. Broadway: The Lion King, National Tour: Fame.

Jessie Cantrell ’03 Film: A Thousand Cuts (2012), Animation voiceover: Robotomy.

Heather Chockley ’01 Current Stage Mgr. for Les Miserables National Tour.

Alix Claps ’02 Production Stage Mgr. and Production Mgr., NYU Steinhardt School.

Darren Criss ’09 Broadway: How to Succeed in Business Without Really Trying. Film/TV: Imogene, with Annette Benning and Kristin Wiig, series regular on Glee.

Bernardo De Paula ’98 Shakespeare Theatre: King Lear, Midsummer Night’s Dream, The Country Wife; National Shakespeare –NYC: Othello. Television: The Castle, Without a Trace, CSI Miami, Detroit 1-8-7, Medium, The Unit. Animation Voiceover: Rio, Marmaduke.

Heather Dilly ’96 Off Broadway: Walk Two Moons, Lucille Lortel Theatre; Bag Fulla Money, The Clurman Theatre. Regional:

Natural Selection, Actors Theatre of Louisville Humana Festival.

Alex Farino ’95 Production Stage Mgr. for Minnesota Opera.

Maggie Ferguson-wagstaffe ‘09 will play Rose in Enchanted April at the Harlequin Theatre (2012), Seattle, WA.

Cassandra Flowers ’09 Asst. Stage Mgr. for Minnesota Opera.

Jenn Gazdecki ’08 is an entertainment technician at Walt Disney World Resorts.

Mandy Heuermann ’04 Asst. Stage Mgr. for Joffrey Ballet.

Mitch Hodges ’10 Asst. Stage Mgr. for Les Miserables National Tour.

Andres Holder ’10 Production Mgr. for GALA Hispanic Theatre, Washington, D.C.

Beth Hoyt ’05 Film/TV: The Bachelorette (2012);The Reggie Watts Show, Comedy Central. Off-Broadway: two projects with Christopher Durang at 59E59 and The Flea Theatre; benefit performance with Sigourney Weaver and Bill Murray.

Chris Jamros ’99 Digital Design for The Today Show. Former Production Stage Mgr., Stage Mgr., Asst. Stage Mgr. of Wicked.

Marc Kamler ’01 Vice President, Alternative and International Television, APA Talent and Literary Agency, Los Angeles.

Angela Kiessel ’09 Stage Mgr. for Starkid Productions in Chicago.

Benjamin Endsley Klein ’02 Assoc. Director, West End: Love Never Dies; Assoc. Dir. for The Coast of Utopia parts 1-3; Asst. Dir. for Dirty Rotten Scoundrels.

Rachel Laritz ’02 Joseph Jefferson Award for The Voysey Inheritance at Remy Bumppo Theatre. Nominated for Joseph Jefferson Award for The Philadelphia Story. SMTD Emerging Artist Award, 2011.

Matt Letscher ’92 Starring in Teacher of the Year (2012). Also many other film and television roles including The Good Wife, Amish Grace, Entourage, Eli Stone, Straightjacket, Gods and Generals, The Mask of Zorro. Broadway: The Rivals, Proposals.

Angela Lewis ’00 Recently starred with Tonya Pinkins in Milk With Sugar at Playwrights Horizons. She also appeared at The Public Theatre, Roundabout Theatre, The Cherry Lane Theatre, The Vineyard Theatre, The McCarter Theater, The O’Neill Festival, and received a Best Leading Actress nomination for the Audelco Award.

Margo Martindale won a 2011 Emmy for Outstanding Supporting Actress in a Drama Series in the FX drama, Justified.

Shawn McCulloch ‘11 is assisting Tony-Award-winning costume designer and U-M alumnus, Martin Pakledinaz.

Katie McKee ’06 Current Asst. Stage Mgr. for Hair National Tour.

Tedra Millan ’10 Resident member, The Flea Theatre, New York: The Bats, She Kills Monsters.

Seth Moore ‘09 The Flea Theatre, New York: performed in Future Anxiety; wrote for, performed in The Connectors.

Dominique Morisseau ‘00 Author of two NAACP Image Award-winning plays; participated with six other writers at the 2010 O’Neill Center’s Nat’l Playwrights Conference.

Matt Oberg ‘99 Feature Film: Bert and Arnie’s Guide to Friendship (2012). Television: 30 Rock, Delocated, series regular The Onion News Network, Ugly Americans. Nat’l commercials: ESPN, Coke, McDonald’s.

Caitlin O’Rourke ’09 Stage Mgr. Intern for Actors Theatre of Louisville, KY.

Robin Quick ’99 Professor of Theater at Towson University; Elliott Hayes Award for Excellence in Dramaturgy by the Literary Mgrs and Dramaturgs of the Americas.

McKean Rand (Scheu)’10 Television: Awakening.

Alex Reed ’07 Clash of the Titans 2, (2012). Jonathan Rosen ‘03 Sportscaster for LA Kings.

Michael Rubenstone ’00 Film: Joshua Tree, 1951: A Portrait of James Dean.

Yuriy Sardarov ‘10 will have a principal role in the new Ben Affleck movie, Argo (2012).

Chris Shand ‘05 Film: Escapee, Growth. Television: Entourage, 10 Things I Hate About You, True Blood. Miriam Shor ‘93   Starring in feature film, That’s What She Said (2012), series regular in Good Christian Belles (2012).

Mandy Siegfried ’94 Film: That’s What She Said (2012); Television: Hung, Bones, Eli Stone, Grey’s Anatomy.

Stephen Siercks ’07 Production Mgr. and Stage Mgr. for Universal Studios.

Joel Silver ’02 Associate Lighting Designer, National Tour: American Idiot.

Jennifer Slimko ’00 Film: Trim, The Flyboys, Yesterday Was a Lie, Television: The Game, Judging Amy.

Matthew Smith ‘06 wrote Endoftheworld Lovesong which was produced at the Flea Theatre.

Rachel Soglin ’07 Television: The United States of Tara, Nat’l commercials for Kelloggs, Verizon.

Stephen Sposito ‘07: Associate Director for current Broadway production of How to Succeed in Business Without Really Trying; Asst. Director: Promises, Promises and Shrek The Musical, also on Broadway.

Erin whipkey ’05 Production Mgr. and Production Stage Mgr. for Opera Memphis.

James wolk ’07 Starring in For a Good Time, Call. . . (2012). Also starred in CBS/Hallmark Hall of Fame’s Front of the Class, Solving Charlie, Lonestar, You Again. He will be seen in A&E’s Shameless in 2012.

U-M Friends of Theatre & Drama Annual Gifts from July 1, 2010 - January 19, 2012

Gifts provide scholarship support, funding for guest artists, and important performance opportunities for students.

GIFTS OF $50,000 & ABOvERalph P. Beebe EstateNafe E. Katter, Ph.D.

GIFT OF $5,000 - $49,999Joseph & Julie Learner

GIFTS OF $1,000-$4,999AnonymousRichard & Mona AlonzoDr. Kathleen F. ConlinAnne & Jim DuderstadtPriscilla Lindsay & Richard Ferguson-WagstaffeP. LaMont & JoAnn King OkeyOra Hirsch Pescovitz, M.D.Gregory & Allison PoggiStuart Erwin SacksDr. William W. TaylorStephen Zuckerman & Darlene Kaplan

GIFTS OF $500 to $999Carol L. AmsterWilliam & Ilene BirgeH.D. CameronBarbara GalvinAgusta GunnarsdottirJames B. Harris Jr.John & Gretchen Neal JacksonDiane KirkpatrickAlan & Jean KrischLockheed Martin CorporationRobert & Pearson MacekMary & Chandler MatthewsNorma J. Verhey

GIFTS OF $250 TO $499Frank & Valerie BernackiGary Decker & Shelley MacMillanEdison InternationalPatrick K. ElkinsJanet & David FritschRobert Green & Martha Sullivan Green

Larry HauptmanAnn Martin & Russell LarsonPeggy McCracken & Douglas AndersonJohn Neville-Andrews & Pamela LewisJoseph A. PlacekRobert & Denise RichterJudith & Donald RumelhartClifford & Ingrid SheldonBrent WagnerJack & Jerry Weidenbach

GIFTS OF $100 TO $249Tim & Leah AdamsLois J. AndersonHarry & Kathryn BenfordEric & Doris BillesJoan A. BinkowMichael E. BrillConstance & Dennis BurkePeter & Grace DurenEdison InternationalKaren & John FergusonKathleen & James FiskErik & Janet FredricksenSteve & Karen GeiringerDr. & Mrs. Thomas D. GelehrterSteven & Joyce GerberJ. Martin Gillespie Jr.Sandra & Gerald GimelstobEdward B. & Mona L. GoldmanSusan Gratch & Patrick GleasonRobert & Irita GriersonCharlotte HansonJeffrey HeathNorman & Deborah HerbertAlbert & Jolene HermalinErich J. JungwirthCharles A. KellyJerold & Judith LaxDr. Kathryn Louise LongLeslie & Susan LoomansMarjory S. Luther

For online giving, visit www.giving.umich.edu, e-mail Jeffrey Cotnoir at jcotnoir@umich.edu or call 734-763-9769School of Music, Theatre & Dance • Development Office • 2005 Baits Drive • Ann Arbor, MI 48109-2075

I want to support the Dept. of Theatre & Drama with a gift to the: ❏ Friends of Theatre & Drama (364139) ❏ Friends of Theatre & Drama Endowment (796749)In the amount of: ❏ $1,000 ❏ $500 ❏ $250 ❏ $100 ❏Other ______

EID AGOP BvX12 MUSS Code: (364139/796749)

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

Acct. #: ________________________________________ Exp. Date: ________________

Signature ________________________________________________________________

Name _________________________________________________________________

Address _________________________________________________________________

Home Phone: ( ) _____________________ E-mail: ____________________________

Dr. & Mrs. Edwin L. MarcusAnn Martin & Russell LarsonMargaret McKerrow, Ph.D.MetLife FoundationWalter Mugdan & Vivienne LenkDonald & Mabelle MurrayColin & Nancy OatleyMelissa H. Olken, M.D., Ph.D.P & G FundJames J. PiperJohn Romani & Barbara AndersonBonnie R. SchaferCharles M. Sutherland Jr.George & Mary TewksburyVirginia O. VassMargene WagstaffJ. Norman & Dorothy WilkinsonRobin B. WrightJames & Gladys Young

GIFTS UNDER $100Laurie G. AtwoodJohn & Nancy Webb BabingtonDr. Elizabeth S. BishopElise A. BryantJonathan W. & Gertrude BulkleyDr. James CavalcoliJeffrey CotnoirMarylee Dalton

Elizabeth B. DexterLillian G. DruryLaura & Thomas DurkinBarbara Eisler-Campbell & Tim CampbellNiels & Suzy EnglebergSpencer Ford & Susan GoldsmithDr. & Mrs. James E. FrounfelterJanice R. GeddesMary Sue GrantDon Haefner & Cynthia StewartRuth Brown JonesElaine M. KaiserBonnie S. KerschbaumJudy & Robert KiesselMarvin M. Kirsh, M.D.Max LeplerMelvin & Jean ManisAnnette A. MassonN. Harris & Margaret McClamrochBill & Diana PrattRobert T. ProuseDylan M. SaundersMaureen Schafer & David KlerkxDr. & Mrs. Eugene M. SilvermanDr. & Mrs. Jeoffrey K. StrossCharlotte B. SundelsonCarl & Beth WilliamsDr. Leigh A. Woods

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