peter pan! - argyletheatre.com · call us for any occassion! before or after the show! join us for...

The century old story of how an orphan boy becomes the legendary Peter pan!

32

As a young actor, my dreams sparked this journey, a six-year odyssey of trials and tribulations in an effort

to realize this vision. At only 18 I had a lot to learn. But what a learning experience it has been! These six years have required a herculean effort and we thank everyone who lent a helping hand. Your energy and support kept us going through even the hardest times. Now we look to the future; a time for a new beginning, and for this beautiful building, with a nearly 100-year history, to live again. We welcome you to the Argyle Theatre at Babylon Village, and invite you to be captivated by the magic of the space and the show in front of you. We thank you so much for joining us tonight and hope you are as excited to embark upon this new journey as we are.

-Dylan

As a lifelong educator and clinician, my life was heading toward a milestone. I was getting ready to retire from the Valley Stream Central HS District. I would maintain my psychology group practice in Wantagh, and finally have some time to get to the gym, sharpen my golf game, read all the books on my shelf, travel and pursue all those post-AARP items on the bucket list.

So when Dylan shared his vision, I had to dig deep to determine if I was up to the challenge. Initially uncertain, but willing to explore the idea of creating a live theatrical venue, we began to explore possible venues. Over time I found myself becoming more and more intrigued and energized. And it’s been that way for the past six years. -Mark

The ride hasn’t always been smooth, and some of the time we weren’t sure we would reach the finish line, but passion, perseverance and the support and excitement from the community, our family and friends, and our outstanding professional team has pulled us through. We are terribly excited to bring high quality theatrical productions to this wonderful venue and community, and hope to touch you with a magical, stimulating and exciting experience each and every time you grace our space. We hope your experience tonight propels you to return whenever you seek to be moved, provoked, or swept away to a different time or place. And now it’s time for the show to begin!

Mark and Dylan PerlmanManaging Partners

Producers’ letter

Join us for an exciting season of beloved classics, laugh-out-louD MUSICAL comedy and inspiring bold storytelling!

G R A N D O P E N I N G2 0 1 8 / 1 9 S E A S O N

A R GY L E T H E AT R E

NOVEMBER 8th - DECEMBER 30th 2018

JANUARY 17th - febRuary 24th 2019 MARCH 14th - APRIL 21ST 2019

SEPTEMBER 13th - OCTOBER 21st 2018

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ALL TICKETS ON SALE NOW! CALl 844-631-LIVE (5483) OR VISIT ARGYLETHEATRE.COM

54

Letter from the artistic director I love a good origin story...

enjoy the BvTaking a closer look at BabylonVillage and it’s dining scene.

Presenting peter and the starcatcher

The century old story of how an orphan boy becomes the

legendary Peter Pan!

Who’s Who?Meet the cast and team of Peter and the Starcatcher

Argyle Theatre’s Historical PastDive into the Theatre’s 100-year-old history and storied past.

from the playwright“To have faith is to have wings...”

Let Us Entertain YouThe Argyle Theatre’s

Grand Opening Season

q&ADirector Amanda Connors

& Set Designer Julia Noulin-Mérat

A New BabylonA look back at our

bayside village history.

3

9

12

29-36

22

28

40-41

48-49

What’s Inside

BABYLON

Producers’ LetterWe welcome you to the Argyle Theatre at Babylon Village, and invite you to be captivated by the magic of the space and the show in front of you.

What’s InsideWhat’s Inside

Letter from the artistic directorI love a good origin story...

enjoy the BvTaking a closer look at BabylonVillage and it’s dining scene.

Presenting peter and the starcatcher

The century old story of how an orphan boy becomes the

legendary Peter Pan!

Who’s Who?Meet the cast and team of Peter and the Starcatcher

Argyle Theatre’s Historical PastDive into the Theatre’s 100-year-old history and storied past.

from the playwright“To have faith is to have wings...”

Let Us Entertain YouThe Argyle Theatre’s

Grand Opening Season

q&ADirector Amanda Connors

& Set Designer Julia Noulin-Mérat

A New BabylonA look back at our

bayside village history.

27

29-3640-41

48-49

42

Producers’ LetterWe welcome you to the Argyle Theatre at Babylon Village, and invite you to be captivated by the magic of the space and the show in front of you.

6

ADDRESS:The Argyle Theatre34 W. Main Street Babylon, NY 11702

TELEPHONE: 631.230.3500WEBSITE: www.ArgyleTheatre.comEMAIL: [email protected]

BOX OFFICE HOURS:Monday-Sunday: 10:00am – 6:00pmExtended hours on show nights.

Theatre Information

BABYLON

ParkingPlease use the “Shea Lot” north of LIRR Railroad tracks and all municipal, commercial street or lot parking options throughout Babylon Village. Visit our website for more information on parking including a map of the area.

Coat CheckCoat Check services are available for all guests located in our lobby.

RestroomsRestrooms are located in our lobby and on the balcony level.

Concessions/BarFor your convenience, Beer, Wine and Cocktails are available for purchase at two full service bars located in our main lobby and on our balcony level. Snacks and soft drinks are also available in our main lobby.

Disabled Guest ServicesWheel Chair and companion seating is available. Please contact our Box Offi ce for information. Two handicap accessible bathrooms are located in our main lobby. An assisted Listening System is available free of charge at our Box Offi ce.

Fire SafetyPlease note the location of the GREEN EXIT signs throughout the theatre. In case of an emergency, please walk calmly to the nearest exit.

No SmokingThe Argyle Theatre is a smoke-free environment. Smoking is not permitted in the building at any time. This includes the use of electronic cigarettes.

Age RestrictionChildren under the age of four may not attend any Main Stage Production. Please call the box offi ce for age recommendations for individual shows.

GroupsDiscounts are available for groups of 15 or more. Please call our box offi ce and ask for Marty Rubin.

Advertising & SponsorshipsFor advertising space in our show programs, lounge monitors, and all other sponsorship opportunities, please call the box offi ce and ask for Trisha Viola.

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98

I love a good origin story. Whether it’s how Boy Scout Indiana Jones got his Panama hat — and fear of snakes (Indiana Jones and the

Last Crusade) or how Darth Vader got to be so…well, mean (Star Wars Episodes I, II & III), there’s nothing better than a juicy, exciting, fi ll-in-the-blanks account of how a favorite character got to be who they got to be when fi rst we met them. And I’m not alone, if the plethora of super hero remakes and prequels that have crammed our multiplexes these past few years is any indication.

Peter Pan, though no super hero, is a character that’s captured the popular imagination since author J. M. Barrie introduced him to the world in 1904. And that’s an understatement. Statues of Peter grace parks all over the world, he was one of the fi rst fi ctional characters to be extensively merchandised, and his story has been told and retold multiple times over the years (Disney’s animated classic, the 1954 musical adaptation and Steven Spielberg’s Hook being prime examples).

There have been Peter Pan radio shows, rock operas and video games. Now we’re proud and delighted to welcome director Amanda Connors and her team of imaginative actors and designers as they present to you Peter and the Starcatcher, Rick Elice’s mesmerizing, magical tale of how Peter Pan became Peter Pan. (And how, by the way, Captain Hook became Captain Hook and got to be so…well, mean.) So sit back, “think lovely, wonderful thoughts,” and let this multiple award-winning fl ight of fancy remind you of why the mischievous Boy Who Wouldn’t Grow Up, “a lovely boy, clad in skeleton leaves and the juices that ooze out of trees,” has endured for over a century.

On behalf of myself and my producing partners, Mark and

Dylan Perlman, I want to welcome you to this, the inaugural season

of The Argyle Theatre.

artistic director

“...there’s nothing better than a juicy, exciting, fi ll-in-the-blanks account of how a favorite character got to be who they got to be when fi rst we met them.”

8

argyletheatre.com | 34 w. MAIN STREET, BABYLON, NY 11702

844-631-LIVE (5483) | [email protected]

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Peter and the Starcatcher

applauds

Dominick Bonanno

2322

THE ARGYLE THEATRETHE COLORFUL LIFE OF A HISTORICAL

LONG ISLAND THEATRE

In

The Argyle Theatre has a rich history of entertainment reaching back to 1921 when a newspaper article in the Babylon Leader announced plans for a “$100,000 Theatre for Main Street.” With a 1,500-seat capacity, the new Capitol Theatre was expected to be “the fi nest theatre on the South Side.”

The new entertainment venue would not only benefi t residents, it would help Babylon become a more attractive summer resort for vacationers.A 1923 playbill advertised daily performances ranging from vaudeville to adaptations of Broadway shows such as The Hero and East Side West Side.

the Suffolk County theatre re-opened under new ownership as the Babylon Theatre, delighting audiences with its many modern improvements including a fl ashy electric marquis. An advertising campaign to surrounding communities was so successful that 500

people had to be turned away on opening night. It was obvious

that the Babylon Theatre

was poised for success. Throughout the following decades, the Babylon Theatre survived two fi res and several different owners as it continued operating as a modern cinema house. The theatre was split into a triplex in the 1980’s and remained that way until it closed its doors in 2014.

The theatre remained empty until 2017 when father-son partners Mark and Dylan Perlman privately purchased the theatre from Bowtie Cinemas beginning the process of breathing life into the vacant building. Their goal-to restore the triplex to its former glory as a single theatre with an orchestra pit and balcony.

In April 2018, the theatre re-opened as The Argyle Theatre at Babylon Village, a state-of-the-art live theatrical venue. The new 500 seat theatre producing year-round, professional Broadway-Caliber theatre with performers from Actors’ Equity as well as concerts, comedy, touring acts, children’s theatre, fi lm festivals and more is poised to become a major destination for the region and will re-establish a cultural anchor in downtown Babylon Village.

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2726

raji ahsan*nickolaus cÓlon

katrina michaels* jordan plutzer

Scenic DesignJULIA NOULIN-MERAT

Sound DesignKATHY RUVUNA

Production Stage Manager

RUTH E. KRAMER*

amara james aja*diego guevara

alex michell

eric schell

Costume DesignMATSY STINSON

Casting DirectorMICHAEL CASSARA, CSA

Press Representative: Philip Carrubba / Richard Hillman PR

Fight Director MIKE MAGLIOCCA

Musical Director/ConductorANDREW BOURGOIN

spencer bang

zach kononov

toby miller

phillip taratula*

Lighting DesignJOHN SALUTZ

Production ConsultantPEGGY SAMUELS

Assistant DirectorBRUNO BAKER

Featuring

Artistic DirectorEVAN PAPPAS

Executive ProducersMARK & DYLAN PERLMAN

Originally produced on Broadway by Nancy Nagle Gibbs, Greg Schaffert, Eva Price, Tom Smedes and Disney Theatrical Productions. PETER AND THE STARCATCHER

is presented through special arrangement with Music Theatre International (MTI).All authorized performance materials are also supplied by MTI.. www.MTIShows.com

PRESENTING

BABYLON

Directed By

AMANDA CONNORS

a play by Rick Elice

based on the novel by Dave Barry and Ridley Pearsonmusic by

Wayne Barker

Artistic DirectorEVAN PAPPAS

Executive ProducersMARK & DYLAN PERLMAN

a play by Rick Elice

2928

CAST (in alphabetical order)

Raji Ahsan*Amara James Aja*Spencer BangNickolaus CólonDiego GuevaraZach KononovKatrina Michaels*Alex MichellToby MillerJordan PlutzerEric SchellPhillip Taratula*

Amara James Aja*

Ingrid Pierson*

Conductor/Keys 1 – Andrew BourgoinPercussion – Alex Appel

Peter and the Starcatcher isApproximately two hours,including one intermission

The use of cameras, videotaping or other video or audio recording of this production is strictly prohibited.Electronic devices should be turned off or set to non-audible mode during the performance.Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons.Smoking is not permitted anywhere in the theatre.

black stachealf

peterslank/hawking clam

grempkin/fighting prawn/mackted

molly asterprentiss

lord astersmee

captain robert falcon scottmrs. bumbrake/teacher

fight captain

assistant stage manager

Musicians

*Member of Actors’ Equity Association Reprinted with courtesy of South Coast Repertory

Amara James Aja*

Nickolaus Cólon

Katrina Michaels*Alex MichellToby MillerJordan PlutzerEric SchellPhillip Taratula*

Amara James Aja*

Ingrid Pierson*

Conductor/Keys 1 – Andrew BourgoinPercussion – Alex Appel

Peter and the Starcatcher isApproximately two hours,including one intermission

The use of cameras, videotaping or other video or audio recording of this production is strictly prohibited.Electronic devices should be turned off or set to non-audible mode during the performance.Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons.Smoking is not permitted anywhere in the theatre.

black stachealf

slank/hawking clamgrempkin/fighting prawn/mack

tedmolly aster

prentisslord aster

smeecaptain robert falcon scott

mrs. bumbrake/teacher

fight captain

assistant stage manager

Musicians

BABYLON

cast of characters

This new play about our hero of old, this boy Peter, resonates with us all, and with the glorious actors and clever

designers who gave it life, fi rst of all, in La Jolla, California, then at New York Theatre Workshop, and now on Broadway. I see the characters emerging out of our island, our Neverland. Wendy has not yet appeared. Instead, we have Molly, our hero, in a time before girls were encouraged to be heroes; a generation before Wendy, name or girl, is born. We have no Captain Hook either, or rather, we have no Hook yet. Instead, we have the pirate who shall become Hook, but not until we’re through with him. He, whom the pitiful pirate kingdom calls Black Stache. We have our orphans, perpetually lost, though not quite yet Lost Boys. We have natives and mermaids and a perilously hungry crocodile. Even Tinker Bell reaches our island before we leave it, because she could not stay away. And we have a feral creature, bent low from incessant beating, afraid of his own shadow—the nameless boy at the center of our story. How ironic that he learns what it is to be a man over the course of our play, when he’s destined to stay a boy forever …When I was a boy, I wished I could fl y, and the notion of being a boy forever was pure delight. No homework, no chores, no responsibility, no sorrow. Now that I’m in the middle of my life, I understand what I’d have missed had I never grown up, or fallen in love, or stood my ground, or lost a battle—or written a play … James Barrie found his character by embracing the notion of never growing up. I found mine by realizing I had.– Rick Elice, 2012

When I came on board as playwright, [directors] Roger Rees and Alex Timbers, and Disney’s brilliant dramaturg, Ken

Cerniglia, had already hit on a great organizing principle. Act One would take place on board two ships at sea—all cramped quarters, tiny cabins, claustrophobic, dark, wet, sinister. Act Two would

take place on a tropical island, with bright sky and big, open spaces. In order to

create a simple, stark environment in which to tell a young person’s story in an adult, muscular and surprising way, the directors embraced the style of Story Theater, or Poor Theater—a favorite technique of Alex’s and the trademark of Roger’s great

Royal Shakespeare Company triumph, The Life and Adventures

of Nicholas Nickleby. The dozen actors would play everyone and everything—sailors,

pirates, orphans, natives, fi sh, mermaids, birds ... even doors, passageways, masts, storms, jungles. They would also narrate action and memory,

giving each of them a privileged relationship with the audience. This

would encourage the audience to be more than spectators; it would invite them to play

along, to participate, to imagine … I aimed to write a play seasoned with the contemporary, irreverent tone of Dave and Ridley’s Peter and the Starcatchers and the stylistic fl ourishes employed by J. M. Barrie a hundred years earlier for the original Peter Pan—high comedy and low, alliteration, puns, broad physical gags, songs, meta-theatrical anachronisms, sentiment delivered so deftly that the end of the play breaks your heart. My challenge would be to write this new play in such a way that it merged the two disparate styles … The marriage of classic and modern in the writing brings the Story Theater aspect of the play into sharper focus. And the Story Theater style gave me the freedom to create a vast landscape of far-fl ung places, physical and emotional. And the wings to take you there.– Rick Elice, 2014

boy Peter, resonates with us all, and with the glorious actors and clever

designers who gave it life, fi rst of all, in La Jolla, California, then at New York Theatre Workshop, and now on Broadway. I see the characters emerging out of our island, our Neverland. Wendy has not yet appeared. Instead, we have Molly, our

were encouraged to be heroes; a generation before Wendy,

have no Captain Hook either,

yet. Instead, we have the pirate who shall become Hook, but not until we’re through with him. He, whom the pitiful pirate kingdom calls Black Stache. We have our orphans, perpetually lost, though not quite yet Lost Boys. We have natives and mermaids and a perilously hungry crocodile. Even Tinker Bell reaches our island before we leave it, because she could not stay away. And we have a feral creature, bent low from

claustrophobic, dark, wet, sinister. Act Two would take place on a tropical island, with bright

sky and big, open spaces. In order to create a simple, stark environment

in which to tell a young person’s story in an adult, muscular and surprising way, the directors embraced the style of Story Theater, or Poor Theater—a favorite technique of Alex’s and the trademark of Roger’s great

Royal Shakespeare Company triumph,

of Nicholas Nicklebyactors would play everyone and everything—sailors,

pirates, orphans, natives, fi sh, mermaids, birds ... even doors, passageways, masts, storms, jungles. They would also narrate action and memory,

giving each of them a privileged relationship with the audience. This

would encourage the audience to be more than spectators; it would invite them to play

along, to participate, to imagine … I aimed to write a play seasoned with the contemporary,

from the playwright

3130

alex michell

raji ahsan*

jordan plutzer

amara james aja*

spencer bang

katrina michaels*

toby miller

nickolaus colÓn

diego guevara eric schell

zach kononov

phillip taratula*

*Member of Actors’ Equity Association

raji ahsan *(Black Stache)Grad: NYU/Tisch ‘13. Theater: Disgraced (Cape Fear Regional), My Heart is in the East (La MaMa), Elaborate Entrance of Chad Deity (Asolo Rep; Miami New Drama), Baskerville (Dorset Theatre); TV/Film: High Maintenance, HBO; host: “Making Brews & Paying Dues” (YouTube); love to Mom & Gram; gratitude to Danny; for Allison. ig/twitter: @rajiahsan

amara james aja*(Alf)is thrilled to make his Argyle Theatre debut. Amara’s previous credits include In The Heat of the Night (Barter Theatre), Hamlet, Love’s Labour’s Lost, and The Blameless (The Old Globe), and Much Ado About Nothing and The Tempest (Ithaca Shakespeare Company). Amara holds an MFA from The Old Globe and University of San Diego, and a bachelor’s degree in Government from Cornell University. amarajamesaja.com, @amara_james_ on Instagram. Enjoy the show!

spencer bang(Peter)Born and raised in Miami. Trained in North Carolina. Based in New York. I began acting as a child and have continued to act since then. I’m incredibly honored to be playing Peter here at the Argyle. I hope you enjoy the origin of Peter!

nickolaus cÓlon(Slank, Hawking Clam)hails from North Carolina and is a proud alumni of the Drama program at UNCSA. Credits include: Dirty Dancing National Tour (Billy Kostecki), Guys & Dolls (Nathan Detroit), Les Miserables (Thenardier), Learned Ladies (Lapine). He is thankful for the opportunity to be joining the Argyle Theater family for this magical piece.IG: NickolausColon

diego guevara(Grempkin/Fighting Prawn/Mack/Sanchez)is elated to be making his Argyle Theatre debut! Tours: Legally Blonde: the Musical 1st Asian Tour. Regional: Spring Awakening (Motif Award Winner Best Actor), In the Heights (IRNE Award Nominee Best Supporting Actor), As You Like It (Motif Award Nominee Best Supporting Actor). Thank you to Lisa, TPG, Michael, the Argyle and mi familia! @diego.guev diegoguevara.weebly.com

zach kononov(Ted)Zach could not be more excited be a part of Peter and the Starcatcher. Previous credits include the new production of Beauty and the Beast (Lefou) on Disney Cruise Lines, Loch Ness at Adirondack Theatre Festival, That Golden Girls Show! Off Broadway and the national tour of How The Grinch Stole Christmas. Many thanks to everyone involved in the production as well as HCKR, my friends and my family.

katrina michaels * (Molly Aster)is so delighted to be a part of this imaginative adventure. Her recent credits include Clown in The 39 Steps at Depot Theatre, Ruth in Tribes and Logainne in Spelling Bee at Florida Repertory, Viola in Twelfth Night, Sally Bowles in Cabaret, Hermia/Snout in A Midsummer Night’s Dream, and Daisy in Rhinoceros. For more information, visit www.katrina-michaels.com

alex michell (Prentiss)is a recent graduate from the University of Miami’s BFA musical theatre program, and is beyond excited to be a part of this company. He was recently seen in Slow Dance on the Killing Ground at Ensemble Stage in Banner Elk, NC. Much love to mom and dad.

BABYLON

cast

33*Member of Actors’ Equity Association *Member of Actors’ Equity Association 32

BABYLON

cast

toby miller (Lord Aster)Recent credits include the world premiere of Shubhra Prakash and Sonalee Hardikar’s The Music in My Blood (Hypokrit Theatre/Tamasha) and Aquila Theatre’s national tour of Much Ado about Nothing and Death on the Nile. Other credits include The 39 Steps (Sierra Rep), Tarzan (White Plains Performing Arts Center), and Talley’s Folly (Winnipesaukee Playhouse).

jordan plutzer(Smee)is thrilled to bits to be performing in his fi rst show at Argyle Theater. He holds a B.F.Afrom Carnegie Mellon in musical theater. Most recent productions include Trouble With DeadBoyfriends (SheNYC), The Drowsy Chaperone (CMU) and Floyd Collins (Front Porch Theatricals). Love to my family and friends!

eric schell(Captain Robert Falcon Scott)a Long Island native, is psyched to be a part of this company. He just recently graduated from Pace University with a degree in Musical Theatre. Favorite credits include: City of Angels (Stone), West Side Story (Tony), Jesus Christ Superstar, and Ragtime. All the love to his family and everyone at Wolf Talent Group for their endless support.

phillip taratula *(Mrs. Bumbrake/Teacher)is a New York based actor and writer. His theatre credits include Empire Travel Agency (Woodshed Collective); Taylor Mac’s Obie-winning The Lily’sRevenge (HERE Arts Center); The World is Round (Ripe Time); understudying DannyBurstein in Die Fledermaus at the Metropolitan Opera; Two Gentlemen of Verona (directedby Moritz von Steulpnagel); and several shows with the theatre company Collaboration Town,including The Deepest Play Ever (New Ohio Theatre), as well as workshops and readings at AtlanticTheatre Co., Ars Nova, Joe’s Pub, LaMama, P.S. 122, the York, etc. He is a co-book writer of the musicalBloody Bloody Jessica Fletcher, an unauthorized parody of “Murder She Wrote,” which is currently in development. Regionally, he’s appeared in productions at North Shore Music Theatre, Humana Festival, Gulfshore Playhouse, Huntington, Williamstown Theatre Festival, O’Neill Playwrights Conference, Portland Stage, Disney Cruise Line, Castleton Opera Festival. TV/fi lm: Sell By; “The Outs” (Vimeo). Follow him on Instagram @ptaratula

creative team

Evan pappas(Artistic Director) Off-Broadway; A Letter To Harvey Milk (Acorn Theatre), Liberty, Wonderful Town, DuBarry Was A Lady. Regional; The Color Purple and Sister Act (Arts Center of Coastal Carolina), Kiss Me Kate, Evita, West Side Story, The Daughter of the Regiment (Opera North), Funny Girl, Seven Brides for Seven Brothers (SF Critics Best Production Award), Lucky Stiff (Arizona Broadway Theater), Murder For Two, My Way (Depot Theater); Carousel, A Man Of No Importance (Montclair State). As an actor Evan starred On and Off-Broadway in My Favorite Year, Parade, Putting It Together, A Chorus Line, I Can Get It For You Wholesale, Café Society Swing as well as in London’s West End in Follies and Merrily We Roll Along, He has toured all over the US and Canada and Regionally he has worked extensively and won a Helen Hayes Award for Best Actor in Lucky Stiff at The Olney Theatre.@TheEvanPappas. www.Evanpappas.net

amanda connors(Director)Manhattan Theatre Club Directing Fellowship program 2016-2018, recipient of SDCF Observership, Alum of Directors Lab North and West. Won best direction for The Facebook Fighter at the SoundBites Festival at Signature as well as for Space Voyage: The Musical Frontier in Wisconsin. She has also directed at Theatre Row, MTF, and HERE and has assisted at Second Stage, Signature (Arlington), the Guthrie, the O’Neill and Cal Shakes. Training: National Theater Institute, UW-Madison, SAFD. www.amandaconnors.com. Thanks to Evan and the Argyle team for the chance to work on this magical show!

andrew bourgoin(Music Director)Broadway: Aladdin (Rehearsal Pianist); Touring Shows: The Little Mermaid, Matilda, Something Rotten (Sub Keyboards); Regional Highlights: Ordway Center for the Performing Arts (Broadway World Best Musical Direction: Jesus Christ Superstar); Chanhassen Dinner Theatre’s (Newsies); Hennepin Theatre Trust (Spotlight Showcase 2014-Present); Theater Latté Da (Cabaret); Children’s Theatre Company (World Premiere: Diary of a Wimpy Kid); College Light Opera Company (19 Productions). Training: St. Olaf College

mike magliocca(Fight Director)is a NYC-based fi ght director, actor, and stage combat instructor. FD credits include: The New Ohio Theater, Arden Theatre Company, Florida Repertory Theatre, Unseam’d Shakespeare, Pittsburgh Shakespeare in the Parks, Seton Hall University, University of Pittsburgh. Resident Fight Director and member of Hedgepig Ensemble Theatre. Adjunct Faculty and MFA candidate at Brooklyn College Department of Theater. Proud member of Society of American Fight Directors and Actors Equity Association. mikemagliocca.com

julia noulin-mérat(Set Designer)is an international production designer and the founder of Noulin-Mérat Studio, an intrepid NYC production design fi rm that specializes in Theater, Film & TV, with an emphasis in Opera and immersive site specifi c theatre. In addition to her work as Associate Producer for Boston Lyric Opera, Julia is the Director of Design and Production for Guerilla Opera, and resident set designer for the Attic Theater. She has designed over 350 opera, theater and television productions, including 16 new operas and 22 new plays. This season’s credits include, Rigoletto with Minnesota Opera, The ThreePenny Opera with Boston Lyric Opera, Falstaff and Tosca with Opera Omaha, Neverland, an immersive 13,000 square feet tour, with China Broadway. Julia is an adjunct professor at Pace University. noulinmeratstudio.com

35*Member of Actors’ Equity Association *Member of Actors’ Equity Association

matsy stinson(Costume Designer)is a Brooklyn-based artist and designer. Past costume design credits include - a horror movie produced by James Franco, a musical for developmentally different children called SUDS at A.R.T., an immersive movement piece with dancers from New York City Ballet, and a series of fashion DIY videos for Seventeen Magazine. She is the resident costume designer of Exquisite Corpse Company, a collective dedicated to creating immersive theatrical experiences. Recently, she created an art installation called |clothe| on Governors Island. Up next, her designs will be seen at the Provincetown Tennessee Williams Festival. matsystinson.com/IG: @matsine

John Salutz(Lighting Designer)is a New York based Lighting and Sound Designer working in Theatre, Dance, and Live Performance. His work has been seen and heard at Ensemble Studio Theatre, Urban Stages (NYC), Queens Theatre in the Park, The York Theatre Co., Wellfl eet Harbor Actors Theater, Poseidon Theatre Co. (NYC), Hard Sparks (NYC), Via Brooklyn (NYC), Two Headed Rep (NYC), the Tank (NYC), the Connecticut Ballet, Atlantic Acting School (NYC), Southeastern Regional Ballet Association (SERBA), Centenary Stage Co., Southeast Alabama Dance Co., and the Hartt School (Univ. of Hartford). Additional information can be found at: www.johnsalutzdesigns.com

kathy ruvuna (Sound Designer)is a third-year MFA candidate at the Yale School of Drama, where her credits include Pentecost, Much Ado About Nothing, and Tent Revival. Her work has also been heard in In the Red and Brown Water, The Meal, The Red Tent, Ni Mi Madre, Enter Your Sleep (Yale Cabaret); and Mies Julie (Yale Summer Cabaret). She holds a BFA in sound design from the Conservatory of Theatre Arts at Webster University.

Peggy R. Samuels(Production Consultant)Peggy is thrilled to be Production Manager for The Argyle Theatre inaugural season. Previous credits include FIGARO and DAMN YANKEES! At Queens College; DEAR ELIZABETH with The Womens Project Theater; DUTCH MASTER at Prospect Theater Company; TAPE with Naked Angels; HOME OF THE BRAVE at The Jewish Rep;DRAMA LEAGUE AWARDS for The Drama League of NY; THE WOMENS EVENT for The Center, and AUDUBON GALA for The Audubon Society. Peggy would like to thank, as always, Kit and Buddy for their love and support.

34

BABYLON

creative team

Michael Cassara, CSA(Casting Director)Recent credits include The Mad Ones (Prospect Theater Company, dir. Stephen Brackett), Spamilton (dir. Gerard Alessandrini – NYC and Chicago companies), Gigantic (Vineyard Theatre, dir. Scott Schwarz), Forbidden Broadway (last two editions/cast albums), Goldstein (current off-Broadway production), PAW Patrol Live! (Nick Jr./current national tours), 9 Circles (off-Broadway premiere/Sheen Center), The 12 (Denver Center/world premiere), Caroline, or Change (Tantrum Theatre), My Fair Lady (Gulfshore Playhouse), Do You Feel Anger? (Actors Theatre of Louisville/Humana Festival). Film: The Hyperglot (dir. Michael Urie, Artios nomination for excellence in casting), Grantham & Rose (dir. Kristin Hanggi). Resident Casting Director for the New York Musical Festival (NYMF) since 2007 and the National Alliance for Musical Theatre (NAMT) since 2013. Michael is native Clevelander and a member of the Casting Society of America. BFA, Otterbein University. MichaelCassara.net/ @michaelcassarafor ANNIE, MAMMA MIA, NUNSENSE & Choreographer for GREASE,THE FULL MONTY, MIRACLE ON 34th ST, PRODUCERS, A CHRISTMAS STORY, MUSIC MAN, EVITA, SOUTH PACIFIC, HAIRSPRAY and I LOVE YOU YOUR PERFECT NOW CHANGE John W. Engeman Theater ;Co-Creator/Choreographer POWERHOUSE Joyce SoHo; Choreographer Off Broadway show WITH GLEE; Choreographer for the ongoing bus tour “THE RIDE” in New York City; Associate Director for the play The Divorees Club; Director/Choreographer for a Pepsi/Grubhub/Seamless Superbowl promotion; Director for the play Art and Science starring John Tartaglia and Tony Sheldon; Director/Choreographer for ANNIE numerous theaters. www.AntoinetteDiPietropolo.com follow me @antoinettedip

ruth e. kramer *(Production Stage Manager)Past credits include Pittsburgh Public Theater (20 seasons), Alpine Theatre Project, Alabama Shakespeare Festival, Riverside Theatre, Maine State Music Theatre, Mountain Playhouse, Lyric Theatre of Oklahoma, Shakespeare Theatre Company, Arkansas Repertory Theatre, Pioneer Theatre Company, and Goodspeed-at-Chester. Ms. Kramer is an avid Geocacher, and proudly serves on the National Council of Actors’ Equity Association.

ingrid pierson * (Assistant Stage Manager)is excited to work on Starcatcher again. NYC: Dutch Masters (Partial Comfort Productions), Mornings at Seven (Out of the Box Theatre Company), Leah, the Forsaken (Metropolitan Playhouse), Surfer Girl (Animus Theatre Company). National Tour: TheaterworksUSA. Regional: Triad Stage, Mill Mountain Theatre, Theater at Monmouth, Weathervane Repertory Theatre, Seven Angels Theatre, Roxy Regional Theatre, Surfl ight Theatre, Allenberry Playhouse, North Carolina Theatre. Education: University of North Carolina at Greensboro. Proud member of Actors’ Equity Association.

bruno baker (Assistant Director)is a latinx NYC based American/Brazilian multidisciplinary stage director specializing in Theatre and Opera. At NYU, Mr. Baker has directed The Glass Menagerie, Thyestes, Strange Interlude (NYU). In addition to directing, Mr. Baker is a resident artist at the Attic Theater Company. For the past 3 years, he has enjoyed being a studio associate at Noulin-Mérat Studio where he worked on over 30 productions. Recent assisting credits include Jericho (Attic Theatre Company), The Threepenny Opera (Boston Lyric Opera), Kiss Me Kate (Summer Theatre of New Canaan).

3736

THE ARGYLE THEATRE STAFFManaging Partner: Mark PerlmanManaging Partner: Dylan PerlmanArtistic Director: Evan PappasTechnical Director: Michael KauffmanDirector of Sales: Marty RubinDirector of Advertising &Sponsorship Sales: Trisha ViolaDirector of Operations: Dan OstranderCompany Manager: Bethany SortmanAssistant Company Manager: Giselle RaphaelaDirector of Education: Kate KeatingHouse Managers: Ben Stein & Frantzley LubinDirector of Ticket Services: Jeff FarrellBox Offi ce Staff: Nicole Armyn, Danielle Cocchi, Katie O’Gara, Adriana Scheer, Brianna Ude, Samantha ViolaDirector of Security: Sean Marrero

Special Thanks toPress Representative: Philip Carrubba / Richard Hillman PRGeneral Contractor: Tom TillDesign/Content: NewBreedAdvertising.comLegal Counsel: Gary Steinberg and Diana Prevete, Esqs.,Albanese & Albanese LLP, Architect: Mario R. VergaraAccounting: Michael Chad, CPADigital Media: Jerry Allocca and Betty Ann Friedfertig, Connected CultureInsurance: John Glanzman, Newbridge Coverage CorporationTechnical Consultant: Frank DankoSound Install: Aaron GennettHVAC: Billy Gessner of Billy G’sBabylon IDA: Matthew McDonough and TeamNew York State Empire Development CorporationPSEG: Tim Harris and John Keating

Mayor Scordino, the Boards and the Babylon Village community

To our family, co-owner Kathy Perlman, Rachel Perlman-Marrero and Jonathan Perlman

PRODUCTION STAFFProduction Consultant: Peggy SamuelsProduction Stage Manager: Ruth E. Kramer*Assistant Stage Manager: Ingrid Pierson*Production Assistant: Juliana CricchioScenic Consultant: Brian WedekingAssistant Scenic Designer: Nicholas O’LearyProps Artisan: Connor O’LearyProps: Taylor MankowskiCasting Associate: Stephanie CowanWardrobe Supervisor: Bobbi MorseDresser: Morgan Moffi ttDeckhand: Tom RubinScenery Construction: Shopdog Studios Fabrication, Inc.Scenic Painting: Sabrina Lederer, Caspin Jones, Colin O’Leary, Avery PhillipsInstallation Crew: Alison Weinberger, Calvin Guevara, Chance Morgan, Dan Connor, Dylan Conforti, Dan Ostrander Sr., Frantzley Lubin, Jonathan Martinez, James Strigaro, Malcom Franklin, Sean Muzzi, Thomas Rubin, Thomas Stagnitta, William MeurerShow Run Carpenter: Thomas RubinLightboard Operator: Mark DecaterinaSound Engineer: Leonard SaburroAudio Assistant: Calvin GuevaraRehearsal Studio Special Thanks: Laurie Brown Kindred,Pace University – Production & Design Dept.

Special Thanks: Andres Robledo, Bailey Frankenberg, Andrew Baldwin, Natalie Perry, Lindsay Fabes, Maja Liwszyc, Shane Jordan, Beau McGhee, Luke Dombrowski,The Duke on 42nd St., Queens College

Ushers: Aubrey Alvino, Lynda Fittipaldi, Mike Kaplan, Matthew Lightsey, Lane Luckert,Joe Minasi, Marianne Minasi, June Tamberelli

Bartenders: Andrew Fox, Scott Johnston

PLEASE NOTE:Late comers discretion of the management. The videotaping and other video or audio recording of this production is stricly prohibited. Smoke, haze and strobe lights may be used in the performance.

staff

BABYLON

39

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Whether you are planning a family outing, coordinating a motor coach tour, entertaining clients, gathering a social group or organizing a fundraiser, a visit to the Argyle will provide a memorable experience and savings that are sure to be a “ HIT ” with your group!



Whether you are planning a family outing, coordinating a motor coach tour, entertaining clients, gathering a social group or organizing a fundraiser, a visit to the Argyle will provide a memorable experience and savings that are sure to be a “ HIT ” with your group!“ HIT ” with your group!“ HIT ”

Whether you are planning a family outing, coordinating a motor coach tour, entertaining clients, gathering a social group or organizing a fundraiser, a visit to the Argyle will provide a memorable experience and savings that are sure to be a





[email protected] // 631-230-3500




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LET US ENTERTAIN YOU ALL YEAR!ASK US ABOUT UPGRADING TO A SEASON TICKET

At the Argyle, we believe our season ticket holders are the foundation of the theatre. As such, we are delighted to offer you…the best seats at the

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May 10th - june 17th 2018Frank Loesser’s celebrated musical

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34 w. main street, babylon ny 11702 | [email protected] | argyletheatre.com

844-631-LIVE (5483) | [email protected] argyletheatre.com

42

New Babylon...

The location of our Village on the Great South Bay and it’s accessibility to the Atlantic Ocean has involved the lives of those who lived here from the beginning to the present. The area known as “A NEW BABYLON.”

Village of Babylon was purchased from the Sumpwam Indians in 1670. It was known as Huntington South. The farmers came down from Huntington to the South Bay area to harvest “salt” hay for bedding and feed for their livestock. It was a journey so the farmers would stay a period of time before returning home. Travelers would stop in Babylon on their three-day trip to Southampton from New York City, creating the need for stores and services. Flounder, blue fi sh and shellfi sh were abundant in the bay, providing income and sustenance for the settlers. Fresh streams from the north provided power for mills that produced grain, lumber and paper. By 1800, Babylon had became a hub of activity.

Nathaniel Conklin foresaw Babylon as a thriving town. He built a home for his mother on the northeast corner of Main Street and Deer Park Avenue in 1803.

Legend has it that Nat’s mother was unhappy with her home across from a tavern and compared the town with the biblical Babylon. The house now stands on the northwest side of Deer Park Avenue where it was moved in 1871, with a corner-stone that reads “New Babylon, This House Built by Nat Conklin, 1803”.

When the railroad arrived in the Village in 1867, it became a thriving resort area. A trolley ran from the depot to the steamship dock where ferries sailed to the beaches. At one time there were eleven hotels in Babylon Village.

The area called Huntington South became Town of Babylon with its own governing board in 1872. The Village of Babylon incor-porated in 1893. Following World War II, the area burst with activity, providing homes for returning veterans. With convenient train service to New York City, commuters, then like now, found Babylon a great place to live and raise a family.

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Amanda Connors

JuliaNoulin-Mérat

director

set designer

Q: What and who were your inspirations to becoming a set designer?

a: I fell in love with set design by accident. Growing up I wanted to become a psychiatrist and theatre was a hobby. In high school, I would attend the Avignon and Aix en Provence Festivals religiously and see about 40 shows a year. In undergrad one of my roommates was an actor and he encouraged me to do an internship in set design, I completely fell in love with it... and I never looked back! Over the years I have had many mentors but someone I give a lot of credit for being who I am today is John Conklin. He has been a huge inspiration to me with his drive and

passion for the dramaturgy in addition to his incredible design eye and sense of space. I am also very grateful to my students at Pace University, observing them discover the theatre making process is incredibly rewarding and I keep pushing them to seek more, and by doing so it also pushes me to be a better designer.

Q: As a designer you are a real chameleon. Where does it come from in that creative mind of yours?

a: For me everything starts from the text and the music first- I reread and listen to the show music incessantly, I never know where the inspiration will come from, i just let myself stay open to everything and anything; sometimes it’s an art piece, a research book other times it’s an ad in the subway or a graffiti on a building. I also render my shows differently for each production, I use computer renderings, collages, sketches. My favorite medium to communicate with the director is a model. I think it

feels more tangible when you can hold something in your hands and look at design in scale. I think the craziest set design I have ever done was for an opera named Gallo, we created the set out of Cheerios and went through 420 boxes of Cheerios a night!!!

Q: In a male dominated industry, how has your reaction been?

a: I have been doing theatre for a long time so I have been used to being the only woman on a creative team and having a thick skin. It is not an easy task when dealing with construction. This past season has been interesting for sure, and I applaud how fast the industry has changed in response to all the individuals who have come forward. I just wish it had happened much sooner and I hope people do not think this is a phase but really how things should be. Over the years, I have found that men are hired on their potential and women on their track record so until that mentality changes as well, there will always be different dynamics in the work place. I would of course love to work on an all female-identified team but that has yet to happen- and I have been designing for 18 years!!! It has been a real pleasure collaborating with Amanda Connors on this production and to get to know another strong brilliant woman.

Q: Peter and the Starcatcher is so unique and inspires many. What did you find about it that inspired you?

a: The story of Peter Pan is something very close to my heart and my work life. I have been doing different versions of the tale over the past 5 years including a 50,000 square feet immersive show in Beijing so I was very much looking forward to digging into the prologue version. When Amanda Connors approached me about designing this production I was immediately taken by the script. Sometimes I get inspired by the period or the environment but for this show what really resonated with me where the characters. They have a lot of depth and it really triggered my imagination with all the potential they offer in movement, comedy, sense of adventure, imagination and storytelling. The story is magical in every sense and I also love how a rope in this world can be a rope, a doorway, a mouth, and endless other possibilities! Another source of inspiration is the venue itself. The Argyle Theatre is also an incredible venue, it is larger then some Broadway houses I have worked in so it offers endless possibilities. For the first Act Amanda and I wanted the stage to feel claustrophobic like on a ship and the second act to feel wide and open as the island should be. You put that all together mix it with a little bit of pixie dust and you get our very own Peter and the Starcatcher at Babylon.

Q: Who and what were your inspirations?

a: Before I moved to New York City, a lot of my inspirations actually came from books I was reading. I love discovering how authors unfold a story and I found myself imagining what those stories would look like onstage. I enjoy early conversations with writers and helping shape new works. I am inspired by a variety of directors but am especially drawn to those who encourage collaboration in the room, work to create pieces that speak to current events and social issues, and those who fight to make room for people in the industry who don’t usually get a chance to share their stories.

Q: What do you look for in an actor?

a: I look for people that come in prepared and ready to work. I hope they have a sense of play and an excitement for the piece. I enjoy working with actors that are open to trying a lot of different things in rehearsals and interested in working as an ensemble and having fun!

Q: What do you hope to say to an audience with this piece?

a: To me, the story is about a girl who shows an orphan boy afraid of his own shadow that he can be his own hero. The play speaks to the connection and friendship formed between those two characters but also the community formed between every actor onstage as well as the audience. The actors start the show by letting the audience into our world and telling you you’re going to play a part. “Suppose all these planks and ropes are now the British empire. And we are Lords. And Captains. Mothers. Orphans. Sailors. Pirates. Tropical Kings.” This play encapsulates what I love about theatre—a sense that you’re a part of something bigger than yourself. I want the audience to leave feeling a sense of community strength and togetherness. For a few hours, we all will go on an awfully big adventure together. Ready. Set. Go!

Q: What were the joys and challenges of Peter and the Starcatcher?

a: Peter and the Starcatcher was a lot of fun to work on. It’s a show that allows you to build an ensemble and work closely to discover ways to create all of the crazy and magical moments you see on the stage with nothing but actors and a few props. The challenge was allowing that play and experimentation in a short rehearsal period. I think we ended up getting the whole show staged in eight days, which could not have been done without a cast that was fully onboard with the fast turnaround and still willing to try new things on a tight timeline!

Q: Any words of wisdom for young directors?

a: I’m definitely still figuring things out so hopefully I’ll have some better advice in a few years! My advice at the moment is to get in the room as an assistant. Watch accomplished directors and hone skills as a director both in terms of how to stage a show as well the best ways to communicate with different departments and actors. And just do work! Find a group of friends to put on a reading or raise money for a small production. There’s nothing I’ve found more helpful in my journey than learning what works and what doesn’t on my feet in a rehearsal room.

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