GINGOLD THEATRICAL GROUP presents BERNARD SHAW’S

THE DEVIL’S DISCIPLE

Starring     NADIA BROWN, SUSAN CELLA, TINA CHILIP, TERESA AVIA LIM, FOLAMI WILLIAMS
with FIONA MAGUIRE & LAUREN ZBYLSKI

Scenic Designer LINDSAY GENEVIEVE FUORI Costume Designer TRACY CHRISTENSEN
Lighting Designer JAMIE RODERICK Sound Designer JULIAN EVANS
Prop Designer NICOLE ROZANSKI Production Stage Manager APRIL ANN KLINE
Assistant Stage Manager DAVID VANDERVLIET Production Management AURORA PRODUCTIONS

Casting Director GEOFF JOSSELSON, CSA Press Representative PRINT SHOP PR
Marketing KEVIN SPRAGUE | STUDIO TWO

Assistant Director NATALIE KANE GTG Managing Producer ISAIAH JOSIAH
Directed and Adapted by DAVID STALLER

OCTOBER 15 – NOVEMBER 23, 2024
GINGOLDGROUP.ORG

Scenic Designer
LINDSAY GENEVIEVE FUORI

Costume Designer
TRACY CHRISTENSEN

Lighting Designer
JAMIE RODERICK

Sound Designer
JULIAN EVANS

Prop Designer
NICOLE ROZANSKI

Production Stage Manager
APRIL ANN KLINE

Assistant Stage Manager
DAVID VANDERVLIET

Production Management
AURORA PRODUCTIONS

Casting Director
GEOFF JOSSELSON, CSA

Press Representative
PRINT SHOP PR

Marketing
KEVIN SPRAGUE | STUDIO TWO

Directed and Adapted by
DAVID STALLER

CAST

Richard “Dick” Dudgeon………………….NADIA BROWN
Mrs. Annie Dudgeon, General Burgoyne………………….SUSAN CELLA
Reverend Anthony Anderson, Major Swindon………………….TINA CHILIP
Christy Dudgeon, Essie Dudgeon, The Sergeant………………….TERESA AVIA LIM
Narrator, Judith Anderson, Lawyer Hawkins………………….FOLAMI WILLIAMS

UNDERSTUDIES
Understudies never substitute for the listed players unless
a specific announcement is made at the time the appearance.
Understudy……………………….FIONA MAGUIRE
Understudy……………………….LAUREN ZBYLSKI

WHO’S WHO IN THE CAST

NADIA BROWN (Richard “Dick” Dudgeon) she/her. Broadway credits include: Harry Potter and the Cursed Child (Lyric Theatre). Television credits include: Law & Order (NBC), Succession (HBO), American Horror Stories (FX), New Amsterdam (NBC), The Green Room (Ovation Network). Training: B.F.A. from Marymount Manhattan College and Royal Academy of Dramatic Art, London, U.K.
IG: @naughtya_or_nice

SUSAN CELLA (Mrs. Annie Dudgeon, General Burgoyne) is absolutely thrilled to be making her Gingold Group debut with her long time friend, David Staller. BROADWAY: The Rose Tattoo, The Graduate, Crazy He Calls Me, Me and My Girl (opposite Robert Lindsey and Jim Dale) Evita, On the Twentieth Century, and Allegro and Lady in the Dark for ENCORES!  NATIONAL TOURS: Fiddler on the Roof (opposite Topol, Theo Bikel and Harvey Fierstein), Hairspray, 42nd ST, La Cage Aux Folles, Me and My Girl (opposite Tim Curry), Can Can.  OFF-BROADWAY: Babylon Line, Hello Muddah….Hello Fadduh, Mayor, Jacques Brel….Cut Throat.  REGIONAL: Steel Magnolias, Shear Madness, A Comedy of Tenors, The Sound of Music, Murder on the Orient Express, The Wizard of Oz, Oklahoma, Barefoot in the Park, Gypsy, It Shoulda Been You, On the Town, Veronica’s Room, Funny Girl, Vanya Sonia Masha and Spike, Other Desert Cities, White Christmas, Anything Goes, Mary Poppins, Witness for the Prosecution, Noises Off, Gaslight, Bye Bye Birdie, Hollywood/Ukraine, Thoroughly Modern Millie, SideMan, Taking Leave, Voir Dire, Company.  TV AND FILM: Madam Secretary, Search Party, Elementary, Person of Interest, Law and Order (2 episodes), The Sopranos, Hi Honey I’m Home (series regular), All my Children, and Follies and A Sondheim Celebration for PBS.

TINA CHILIP (Reverend Anthony Anderson, Major Swindon). Off-Broadway: Knight of the Burning Pestle (Red Bull) and Twelfth Night (Classic Stage Company), both co-productions with Fiasco Theater; A Delicate Balance (Transport Group); Mothers (Playwrights Realm); Golden Child (Signature Theater); House Rules, Flipzoids (Ma-Yi Theater); A Dream Play (NAATCO). Regional: Yale Rep, Old Globe, Huntington Theatre, Guthrie, Hudson Valley Shakespeare, Actors Theatre of Louisville, Portland Center Stage, Berkeley Rep, Cincinnati Playhouse, Syracuse Stage, Trinity Rep. TV: Law & Order: SVU, Jessica Jones, It’s Bruno!, Law & Order: Criminal Intent, FBI: Most Wanted, Good Fight, Elementary, Deception, Madam Secretary. Feature Films: Nonnas, Miguel Wants to Fight, Doctor Doctor. Training: MFA, Brown/Trinity Rep. Proud company member of Fiasco Theater, and The Actors Center.

TERESA AVIA LIM (Christy Dudgeon, Essie Dudgeon, The Sergeant). Broadway: Ayad Akhtar’s JUNK at Lincoln Center. Other works: Shakespeare in the Park’s all female production of Taming of the Shrew, NAATCO’S Awake and Sing, Macbeth, and Call and Response at the Public Theater, Knight of the Burning Pestle with Fiasco and Redbull, Once Upon a Korean Time with Ma-Yi and Snow in Midsummer at Classic Stage, Caesar and Cleopatra with Gingold Group and The Moors with Playwrights Realm. Teresa originated her roles in Galilee 34, Peerless, Water by the Spoonful, Edith Can Shoot Things and Hit Them, and Concerning Strange Devices From the Distant West. TV: BUPKIS on Peacock, Monsterland (Hulu), The Code (CBS), Ray Donovan (Showtime), Blue Bloods (CBS), Limitless (CBS), Unforgettable (CBS), Law & Order: Criminal Intent (NBC). Film: The Woods Are Real, Moonskin Fever, Group, All Rise. She is a graduate of the Yale School of Drama and an inaugural Recipient of the Jerome L. Greene Foundation Scholarship.

FOLAMI WILLIAMS (Narrator, Judith Anderson, Lawyer Hawkins) is an actor and teaching artist currently based in Brooklyn, New York.  She has an MFA in Acting from Columbia University  She also holds a BA in Drama from the University of Virginia. Most recently she could be found on stage at Buck County Playhouse, in Noises Off.  Other  select theatre includes: Harry Potter and the Cursed Child, Skeleton Crew (Portland Stage Company), Comedy of Errors (Shakespeare Theatre Company, Helen Hayes Award nom.), Julius Caesar, Othello (Classic Stage Company), Smart People (Kitchen Theatre Company), The Maids (INTAR/One-Eighth Theater), Blue Window (Columbia  University) Romeo & Juliet (Manhattan Shakespeare Project), Auto de Fe (International WOW Company). As a physical actor and practitioner of experimental theatre, Folami has had the opportunity to workshop and develop new works with companies such PigPen Theatre Company, Colt Coeur, The New Ohio Theatre, New York Theatre Workshop, Squeaky Wheelz Productions; as well with organizations such a NACL and Mercury Store. Select TV: The Blacklist (NBC), Younger (TV LAND), Bull (CBS), She’s Gotta Have It (Netflix; dir. Spike Lee) @folamiwill 

FIONA MAGUIRE (Understudy) she/they. New York: Charlotte, Pride and Prejudice (Chautauqua); Luke, Hanukkah Palace (Ars Nova Ant Fest). Regional: Margaret 1, By the Queen; u/s Sheila/Wendy, Prince of Providence (Trinity Rep); Beatrice/Dogberry, Much Ado About Nothing; Electra, Electra; Betty 2, Collective Rage; Coleen/Lisa 2, Mr. Burns: A Post-Electric Play; and Player 2, On the Y-Axis (Brown/Trinity); Arkadina, The Seagull; Rosaura, Life is a Dream; and Trinculo, The Tempest (Stanford TAPS); Henry IV, Henry IV Part I (Royal Academy of Dramatic Art); Cod, Slaughter City (Stanford Repertory Company). Readings/Workshops: Liberation, Archduke, and Data (Roundabout); Give Me Your Answer Do! (Irish Rep); Cannabis Passover (Chautauqua); Singularity (Leviathan Lab); The Creature (Writing is Live); and the Red Bull Short New Play Festival. Other: BA Stanford University, Theater&Performance Studies and Human Biology concentrating in Narrative Neuroscience; MFA Brown/Trinity, Acting. Website: www.fiona-maguire.com IG: @fiona._.maguire

LAUREN ZBYLSKI (Understudy). Born and raised just outside of Denver, Colorado, Lauren is a New York-based actor and the Artistic Director of MAD Company Theatre. Theatre credits: Hamlet in Hamlet (Theatre Row), Mercutio in Romeo & Juliet (Abrons Arts Center), Richard II and The Merry Wives of Windsor (Kingsmen Shakespeare), Animal Farm (Theatricum Botanicum), The Taming of the Shrew (The Porters of Hellsgate), Henry VI, Part I (Antaeus Theatre Company). Education: MA in Classical Acting from LAMDA, BFA in Theatre from Southern Methodist University. www.laurenzbylski.com

THE DEVIL’S DISCIPLE by Bernard Shaw, 1897.

Some thoughts from director, David Staller.

This play was life-changing in several ways for its celebrated author, George Bernard Shaw. It was the play that finally brought him public respect as a playwright, it cemented his reputation as an entertainingly complex modern theatrical commentator, it personally encouraged him to feel justified in his chosen field, and it even resulted in his getting married!

When Shaw wrote this play, he was clearly using it as a thinly veiled call for a Free Ireland. Set amidst an actual historical event during the American Revolution, this story takes us to New Hampshire in 1777 over a 24-hour period. Due to a lack of communication between the British troops stationed in the colonies and the English crown and government, the tide finally turned in our favor.  If the American Colonies could do it, Shaw reasoned, why not Ireland? The British Empire had become such a massive global phenomenon (“The sun never sets on the British Empire”, it was said), that the notion of an empowered Irish government pushing back seemed impossible. However, particularly after the Great Starvation (also known as The Famine), Shaw insisted the time was now. So, it’s no surprise that getting the play produced in Britain took several years.

But the play was instantly recognized as a winner by famed theatre manager, Richard Mansfield, so it was first produced in 1897 right here in New York City. Mansfield also famously originated the role of Richard Dudgeon. It was not only a smash hit, but it was also Shaw’s first genuine financial success. New York audiences couldn’t get enough of it. Lampooning the British has always been a popular pastime for us here, and nobody did it with more rascality than Shaw.

Those who know of Shaw often assume was well-born, educated at the elite schools, and lived a life of entitlement. He was Dublin-born, poor, uneducated, and repeatedly told that he was an inconvenient addition to the Shaw family. His mother had never aspired to be either married or a mother and left as soon as she could. His father was an abusive alcoholic who offered his son little respect.  Still, Shaw secretly knew he had a spark worth honoring. Finally, when 19 years old, he left his mind-numbing job at the telephone company and moved to London, determined to figure out how best to live his life in a meaningful and contributive way. As if being Irish in London at the time weren’t enough to make him an outsider, having no impressive scholastic resume and no social connections, unlike fellow Dubliner Oscar Wilde, it’s even more impressive that he conquered London society.  He went daily to the London Library and museums to self-educate, becoming both his own Eliza and Higgins as eager teacher and pupil. He infiltrated the intellectual and artistic communities, winning friends and admirers with his dazzling wit and astonishingly adept insights into the socio-political world climate of the day. He eventually ensured his entrée into London Society by gaining fame first as a music critic, before he proceeded to redefine the world of arts criticism moving into the world of literature and, finally, the theatre. It was not, he reasoned, the critic’s job to voice a personal opinion but to assess the artists’ intent and then attempt to interpret how successful they were at achieving that intent. He viewed himself as a helpful collaborator, not a judge. After exposure to Ibsen’s revolutionary and groundbreaking modern method of theatrical storytelling with A DOLL’S HOUSE, he began encouraging the playwrights of the day to become an English-speaking voice of the present. Finally, he opted to try it himself. Believing that serving complex thoughts and political issues were best served through comedy, every one of his 65 plays are built as entertaining examinations of human nature.

This was Shaw’s 8th play, having already written CANDIDA, MRS. WARREN’S PROFESSION, and ARMS AND THE MAN. With each play, he continued discovering new and lively ways to address issues of the day.

Championing human rights and free speech became his call to arms with a special life-long focus on women’s rights. All of his plays, in fact, seek to illustrate the absurdity of disempowering women. The one play where he seemed to create a truly male-dominated world was this one. Judith Anderson, the leading lady, becomes very much a secondary character. Determined to embrace Shaw’s mission to empower women and to examine this play through a fiercely female sensibility, I’ve adapted the play to be presented by an all-female cast.

Though we’d originally planned on bringing you this play during the 2020 elections, the pandemic precluded that particular plan, which is why we’re presenting it for you today. The fight for our human rights has never seemed more vitally important. How annoyingly relevant Shaw’s work continues to be as we all continue to struggle toward finding a way to live in a world that is equitable for all.

Oh, and how did this play figure into his personal life? Shaw had been actively wooed by the Irish heiress, Charlotte Payne Townsend. She and Shaw had negotiated a loving friendship. She kept proposing. She had the money, the belief in his genius, and wanted to offer him the opportunity to give up his ‘day job’ as a journalist and be a full-time playwright. Shaw, however, insisted they wait until he had an income generating hit play, thinking it would never actually happen. Then this play opened to tremendous public and critical acclaim. So, in short, she wired him to ‘put a ring on it.’ He did. And they lived a deeply committed partnership for 40 years.

Clearly, the theatre holds magic for us in ways we may never expect. We look forward to sharing our production with you!

Post Script note from David Staller:

In the late 1940s, my late pal, actor Maurice Evans, was working on his production of this play. Shaw, aware of the political turbulence of the McCarthy era, sent Evans suggestions for a revised script. Despite warnings from governmental agencies that these additions might be controversial, Shaw included them, and I have done the same in this adaptation.

In one of the play’s most powerful moments, as Richard Dudgeon stands at the gallows, moments from execution, he calls out:

“I stand here looking into the future. I see a country, a new country, built on hope and freedom and determined to learn from the past to build for the future. A land where we will never again open the door to tyranny, and every person’s life holds the promise of purpose and value and an open heart. A land that will never be home to kings or tyrants or demagogues! We are a country of belief in the best of what we can be, of education, of understanding, of opportunity, but most importantly, of respect: for others and for ourselves. My life for the world’s future! That is my prayer. Amen!”

In the play, Dudgeon is saved in the nick of time! And I believe, like him, we too will persevere and save ourselves. On behalf of all of us at Gingold Theatrical Group, we promise to uphold this hope. Together, through the power of Art and our collective will, we will navigate even the darkest of times and find new, nurturing paths forward.

CREATIVE / PRODUCTION BIOS

GEORGE BERNARD SHAW 26 July 1856–2 November 1950 (Playwright). A free-thinking humanist, Shaw fought tirelessly for the rights of women, men, gays, children and even for animal rights. He was awarded both a Nobel Prize for his contribution to literature and an Oscar for his Pygmalion screenplay. He encouraged all people to forge individual paths in life, taking responsibility for their own choices. His humanitarian precepts are the key to what inspired the creation of Gingold Theatrical Group. “I rejoice in life for its own sake. Life is no ‘brief candle’ to me. It is a sort of splendid torch, which I have got hold of for the moment; and I want to make it burn as brightly as possible.” (Please click this link for more information on our website.)

DAVID STALLER (Director, Script Adaptation, GTG Artistic Director) is the founding artistic director of Gingold Theatrical Group, now in its 19th year. He directed the Off-Broadway productions of Arms and the Man, Candida, Mrs. Warren’s Profession, Caesar & Cleopatra, Heartbreak House, Man and Superman, Major Barbara, You Never Can Tell and Widowers’ Houses. He oversees all of GTG’s programs, has produced and directed many plays and special events around the world and is frequently invited upon the international stage as a speaker about equal human rights and all things Shaw. Member: SDC, AEA, SAG/AFTRA. 

LINDSAY GENEVIEVE FUORI (Scenic Designer) is a Brooklyn based Scenic Designer. Recent credits include: Wish You Were Here (Gloucester Stage), Inspired by True Events (Out of the Box Theatrics), and Arms and the Man (Gingold Theatrical). Lindsay was nominated for an AUDELCO Award for her design of Candida (Gingold Theatrical 2022) and an Elliot Norton Award for her work on Parade (Moonbox Productions 2019). She received a Henry Award from the Colorado Theatre Guild for her work on Hazardous Materials (CRT 2019). Lindsay holds a BFA in Scenic Design from Boston University. lindsayfuori.com

TRACY CHRISTENSEN (Costume Designer). Collaborations with David Staller: Pearl Theatre’s Major Barbara (2014) and GTG’s Arms and the Man (2023) and Caesar and Cleopatra (2019). Credits include: Broadway revival of Sunset Boulevard starring Glenn Close, the premiere of Beaches, the Musical (Theatre Calgary), Ragtime 25th reunion concert, Lady Day at Emerson’s Bar and Grill (HBO film with Audra McDonald), Souvenir (Broadway), Sweeney Todd starring Emma Thompson, Scotland, PA (Roundabout), and the New York premiere of Kate Hamill’s Pride & Prejudice. Faculty: Purchase College SUNY.

JAMIE RODERICK (Lighting Design). Off-Broadway: Stalker, Empire, Make Me Gorgeous, Small, ¡Americano!, Disney’s Winnie The Pooh, Emjiland, Stranger Sings, Midnight at the Never Get (Drama Desk Nomination), Arms and The Man, Candida, Mrs. Warren’s Profession, Caesar & Cleopatra, Safeword., Accidentally Brave, We Are The Tigers, Red Roses, Green Gold, The Woodsman, Afterglow, A Dog Story. London: Afterglow, It Happened in Key West. Regional: Super You, Denis DeYoung’s Hunchback Of Notre Dame, The Bikinis!, Romeo & Juliet, Twelfth Night, Midsummer, Macbeth, Hamlet.  JamieRoderick.com

JULIAN EVANS (Sound Designer). Off-Broadway: Desperate Measures (New World Stages), Arms & the Man (Gingold), Vanities; Stardust Road; Cheek to Cheek (The York), Nutcracker Rouge; Queen of Hearts; Seven Sins; Cocktail Magique (Company XIV), Felix Starro (Ma-Yi); Tick, Tick…BOOM! (Keen Company). Cruise: Scarlet Night (Virgin Voyages). “With great responsibility comes great inconvenience.” www.julianevans.info IG: SpliceSoundNYC

NICOLE ROZANSKI (Prop Designer) is a New York based Props Designer, Manager, and Artisan. She is very excited to be working on her first show with Gingold Theatrical Group! She can also be found working as Props Lead for the Year 2 Graduate Program at NYU Tisch, having worked on shows there such as The House That Will Not Stand, The Doctor’s Dilemma, Fifth of July, Fabulation, Yerma, and Major Barbara. Since graduating from Rollins College in 2021, Nicole has freelanced in various states before moving to New York City in November 2022. Past credits include: Off Broadway: The Beacon, Philadelphia Here I Come!, Aristocrats (Props, Irish Repertory Theater); The Fires (Props Artisan, Soho Repertory Theater); Manahatta (Props Artisan, The Public); Regional: Double Helix, Dial M for Murder (Props Designer, Bay Street Theater); The Karate Kid: the Musical, In the Heights, A Chorus Line (Props Supervisor, STAGES St. Louis); Educational: Fall Scenes (Props Manager, Yale Opera, School of Music). Nicole would like to thank her mom, dad, sister, grandparents, and friends for all their incredible support and love through the years. Website: nicolerozanski.com, IG: @nicolemarierose.

APRIL ANN KLINE (Production Stage Manager). April is excited to work with Gingold Theatrical Group again for NY 4th show. Some NYC credits include: Gingold Theatrical Group (Arms and the Man, Mrs. Warren’s Profession, Caesar & Cleopatra); Gingold Theatrical Group & The Pearl (You Never Can Tell, Major Barbara); Irish Repertory Theatre (Philadelphia, Here I Come, Dear Liar, Chester Bailey, The Butcher Boy, A Touch of the Poet, The Streets of New York); Origin Theatre (A Kid Like Rishi); Red Bull Theatre (Arden of Faversham); My Life On A diet with Renee Taylor at St. Clement’s Theatre. Some regional credits include: Bucks County (Tommy and Me), Bay Street Theatre (Lend Me A Tenor, The Mystery of Irma Vep). April is a member of Actors’ Equity.  

DAVID A. VANDERVLIET (Assistant Stage Manager) has been a Stage Manager and Production Manager for over 15 years. NYC: Drift, Ms.Trial, Medicine (PM), Sex Tips for Straight Women from a Gay Man, Fly Me to the Moon, Tiny Dynamite, Evolution, As You Like It (Pulse Ensemble), A Separate Peace (Fringe Fest), Billboard (Reverie Productions), world premiere of Construction, NY premiere of The Book of the Dun Cow (Prospect Theatre Co.), Stumps (Nicu’s Spoon). Regional: The Book of Will (Phoenix Theatre Co), Ernest Shackleton Love Me (Skylight Theatre Company), Urban Arias (DC), The Weathervane Theatre (NH), The Wayside Theatre (VA), The Lycian Centre (NY). Tours: The All Hands on Deck! Show (PM), Sex Tips for Straight Women from a Gay Man, The National Theatre of the Deaf, TheatreworksUSA, Pushcart Players. David is a proud alum of the University of Michigan.

AURORA PRODUCTIONS (Production Management). Back To The Future (Broadway & Tour); The Book of Mormon; Drag The Musical; Frozen (Germany, London, Tour); Tammy Faye; The Hills Of California; The Play That Goes Wrong; Yellow Face. Aurora has been providing technical supervision and production management to the entertainment industry since 1989. 

GEOFF JOSSELSON, CSA (Casting Director). Broadway credits include: Into the Woods (Artios Award), Sweeney Todd, Spamalot, The Velocity of Autumn. Off-Broadway includes: Kinky Boots, Dracula: A Comedy of Terrors, Altar Boyz, Southern Comfort, Yank!  Select Regional and Off-Broadway Theatre companies: Alley Theatre, Arena Stage, Baltimore Center Stage, The Civilians, The Irish Repertory Theatre, Kennedy Center, Long Wharf Theatre, Old Globe, Oregon Shakespeare Festival, Paper Mill Playhouse, Pasadena Playhouse, Pittsburgh CLO, Pittsburgh Public Theatre, Repertory Theatre of St. Louis, Seattle Repertory Theatre, Signature Theatre, Studio Theatre, Village Theatre, Woolly Mammoth Theatre, and the York Theatre Company.

Isaiah Josiah (GTG Managing Producer) is thrilled to be working on his first production with Gingold Theatrical Group since joining earlier this year as Managing Producer. His career includes collaborations with leading arts organizations such as Lincoln Center for the Performing Arts, The American Theater Wing, and Jujamcyn Theaters. He has also supported the Broadway productions of Pass Over, Dana H, Is This A Room, and Into The Woods (2022 Revival).

NATALIE KANE (Assistant Director) is a director and dramaturg passionate about bringing resonant plays to new audiences. Recent Directing: Fools in the Forest, All the Daughters of Viola’s House (Ladies & Fools), Dinosaur on the Moon (Natl Women’s Theatre Festival). She has assistant directed at Gloucester Stage and Shakespeare Theatre of NJ, currently coordinates research for Hedgepig Ensemble Theatre’s Expand the Canon, and is an alumna of Kenyon College.
@nataliekane1323  nataliekanedirector.com

OPENING NIGHT: NOVEMBER 3, 2024

STAFF FOR THE DEVIL’S DISCIPLE

Artistic Director
David Staller

Managing Producer
Isaiah Josiah

PRESS REPRESENTATIVES
PRINT SHOP PR
Matt Ross
Claire Wojciechowski Grace Walker

MARKETING
STUDIO II
Kevin Sprague

CASTING
Geoff Josselson, CSA

PRODUCTION MANAGEMENT
AURORA PRODUCTIONS
Ben Heller, Liza Luxenberg, Joshua Bernard, Nic Forero, Kyle Schuller, Delaney Teehan, Joe Trainor, Jesse Youngstein, Cori Gardner

FINANCIAL MANAGEMENT SERVICES
Arts FMS
Production Stage Manager: April Ann Kline
Assistant Stage Manager: David Vandervliet
Assistant Costume Designer: Risa Ando
Wardrobe Supervisor: Rebecca Carriel
Accountant: Richard Terrano, Marks Paneth LLP
Legal: Ethan Litwin
Rehersal Studio: A.R.T/NY
Production Photography: Carol Rosegg
Videographer: Alex Pearlman
House Manager: Joe Grisanzio

GTG BOARD OF DIRECTORS
Pamela Singleton, Chair
Richard G. Weinberg, Vice Chair
Richard Terrano, Treasurer
Fareeda Ahmed, Secretary
Maggie Buchwald
James A. Fenniman
Mary Henninger
Ethan E. Litwin
Kathleen Masterson
David Revere McFadden
David Staller

GTG ADVISORY BOARD
Barrett Brown-Fried, Stephen Brown-Fried, Andrew M. Flescher, Andrew Hamingson, Lisa Rimelli Litwin, Brian Saltzman, Frank Skillern, Fran Smyth, Marylee Martin Terrano, Tom Viola

SPECIAL THANKS
A.R.T./NY, Eric Colton and the team at artsFMS, Buchwald Family Foundation, Department of Cultural Affairs in NYHerman Goldman Foundation, Marta Heflin Foundation, Golden Globe Foundation, Sir Michael Holroyd, Ethan E. Litwin, National Endowment for the Arts, The New York State Council of the arts with the support of Governor Kathy Hochul & the NY State Legislature, Dr. Brian Saltzman, The Shubert Foundation, Mary Pamela Singleton, Mary & Frank Skillern, Ted Snowdon, Michael Tuck Foundation, Weinberg Family Foundation, Material for the Arts and all of our many invaluable volunteers.

VISIT gingoldgroup.org online

This production would not be possible without the gift from the Merle Debusky Foundation.

 

The Actors and Stage Managers employed in this production are members of the Actors’ equity association, the union of professional actors and stage managers in the United States.

United Scenic Artists Local USA 829
of the I.A.T.S.E represents
The Designers & Scenic Artists
For the American Theatre