Different Stages Presents
Arms and the Man
by George Bernard Shaw
Director Karen
Jambon
Set Design Adam
Kluth
Lighting Design Fallon
Lindsey
Costume Design Douglas
Kelley
Paula
Gilbert
Stage Manager Irene
Dubberley
Sound Frank
Benge
CHARACTERS AND CAST
(in order of appearance)
Catherine
Petkoff....................... Jennifer Underwood
Raina, her
daughter.................................. Nikki Zook
Louka, Servant
girl............................. Emily
Erington
Russian
Officer.......................................... Jon
Berry
Captain
Bluntschli, a Swiss officer
in the Serbian Army........................ Jon
Boatwright
Nicola,
Man-Servant................................. Jim Arnold
Major Paul
Petkoff .................... Norman Blumensaadt
Sergius
Sarannof,Major in the Bulgarian army,
and Raina's fiancé......................... Charles
P. Stites
The play is performed in Three Acts
With two intermissions.
Action takes place at the Petkoff's home
in a small town in Bulgaria from
November 1885 to March 1886.
THE PRODUCTION COMPANY
JIM ARNOLD (Nicola) This is Jim's fifth Different Stages appearance and he will
also be in in their upcoming production of Shakespeare's Pericles, Prince of
Tyre. Jim is ever so grateful to Karen, the cast, the crew, the heartless
one, whoever nominated him for those B. Iden Payne Awards, Yogayoga North and
Kathy. Namaste.
JON BERRY (Russian Officer) Jon
was a newcomer to Austin Theatre last year. He began the 2003-2004 season under
Norman Blumensaadt's direction, playing an extra in Different Stages'
production of Oscar Wilde's An Ideal Husband. He then went on to play
Patrick in Sam Bass Community Theatre's production of Auntie Mame and
Anthony Marston in the Agatha Christie murder mystery Ten Little Indians.
Thrilled to get another chance to continue new and cherished friendships, Jon
has made his way back to Different Stages for their first show of the new
season.
JON BOATWRIGHT (Captain
Bluntschli) Jon studied with
Stella Adler in Los Angeles and knocked around Hollywood too long looking for
an open door. He's proud to find an
open door with this production. Thank
you Karen.
NORMAN BLUMENSAADT (Major Paul
Petkoff) is the Producing
Artistic Director for Different Stages. Recent acting roles include: Millet in Fuddy
Meers, Aunt Augusta/Henry Pulling in Travels With My Aunt and Vanya
in Uncle Vanya. He was given the Austin Circle of Theaters’ Deacon
Crain/John Bustin Award in 1998 for his work with Different Stages. For
Different Stages he has directed: An Ideal Husband, Two Gentlemen of
Verona, The House of Bernarda Alba, and Summer and Smoke.
Next year, he will direct plays by Tennessee Williams and Shakespeare.
EMILY
ERINGTON (Louka) has been in
Austin theatre since 1990 and has performed in shows for Different Stages,
Subterranean Theatre Company, The Company, Zachary Scott Theatre, Capital City
Playhouse, Hyde Park Theatre and ONSTAGE Theatre Company. Her work has been
honored twice with B. Iden Payne nominations and a Critics' Table Award.
PAULA
GILBERT (Costume Design) With a mind
within the range of normal and a loud clear voice, Paula’s usual role is as an
actress. The ability to memorize lines being a challenge, sometimes, she
branches out from time-to-time and performs other theater jobs. Her association
with Different Stages dates from the January 1981 production, The Tempest.
She has worked with various costumers, sometimes as assistant, sometimes as the
titular head of the wardrobe crews, all of her adult life. She has worked with
Austin Lyric Opera, The Vortex, Actor's Theatre of Austin (the original group
in the 80's), Word of Mouth Women's Theatre, Zachary Scott Theatre Center,
Different Stages, and many others. She met Douglas Kelley and they began their
working relationship in the early 1990's. Their first design collaboration was
with The Company's Arsenic and Old Lace. They had so much fun that they
decided to continue the partnership. Thanks to Norman and Karen for their
support and suggestions. Thanks to a wonderful cast for patience.
KARON JAMBON (Director) This is Karen’s 7th show with Different Stages,
having previously directed The Rise and Rise of Daniel Rocket, Fuddy
Meers, and Betty’s Summer Vacation. She has appeared in The
Cripple of Inishman, An Ideal Husband and The Misses Overbeck.
She would like to thank the cast and crew for all of their passion and
commitment to this production.
DOUGLAS KELLEY (Costume Design) got his start in Austin theatre at the Vortex doing sound
for As the Beaver where he met Paula Gilbert and they have worked together off
and on since. He also worked on such productions as Jeffrey at the
Capitol City Playhouse, and wardrobe/costumes for Jose Greco. Since then he has
worked briefly in Houston at The Alley Theatre, and opened specialty haunted
house with Philip Nichols of Facades FX Make-Up. Douglas has designed numerous
shows in both the Austin and Houston area over his years in theatre. This is
his return to the theatre genre after several years absence.
ADAM KLUTH (Set Designer) is currently working as the Technical Director at Sam Bass
Community Theatre. He is glad to be working with Different Stages for the first
time, and would like to thank Karen and Norman for the opportunity. He would
also like to thank his parents David and Carol Kluth for the support they have
given.
FALLON LINDSEY (Light Design) graduated from the University of Texas at Austin in 2004.
She has worked at the Santa Fe Opera and the Lensic Performing Arts Center in
Santa Fe, New Mexico, as well as the UT Performing Arts Center. Some of her
Lighting Designs include: Dance Action (2003) and E.A.R.S. and Feet (2004) at
the University of Texas.
JENNIFER UNDERWOOD (Catherine
Petkoff) Jennifer’s last
Different Stages production was as Norma in The Misses Overbeck. Other
Different Stages productions include Mrs. Siezmagraff in Betty’s Summer
Vacation for which she won the B. Iden Payne Award as Outstanding Actress
in a comedy, the title role in The House of Bernarda Alba, Gertie in Fuddy
Meers, Mrs. Dudgeon in The Devil’s Disciple, Kate in The Cripple
of Inishmann, and Kate in All My Sons. Other Austin area productions
include Bessie in Marvin’s Room, Elizabeth in The Petition, Betty
in The Effect of Gamma Rays on Man-in-the-Moon-Marigolds, Evie in The
Gingerbread Lady and Big Mama in Cat on a Hot Tin Roof.
CHARLES P. STITES (Sergius
Sarannoff) is a University of
Texas graduate and the veteran of numerous Austin productions. A three-time B. Iden
Payne nominee, he won the 2002 award as Outstanding Featured Actor in a Comedy
for his performance in Fools. Charles was also a member of the Improv
troupe at the Velveeta Room for three years. As a playwright, he won first
prize at the 2001 Judy and A.C. Greene Literary Festival, and his first
full-length play, Diamonds, was runner-up for the 2002 Stanley Drama
Award. Arms and the Man marks his third appearance with Different
Stages.
NIKKI ZOOK
(Raina) is a
native Austinite who is excited to be playing "Raina" in her first
show with Different Stages. Earlier this year, she had the privilege to play
some of Shakespeare's most beloved ladies in Will Power: The Course of Love
with the Austin Shakespeare Festival. She also relished playing multiple roles in
Julius Caesar, which was nominated for an Austin Critics Table Award for
Best Ensemble Cast. Nikki would like to thank her husband and her family for
their support as she continues to pursue this "acting thing." She
knows she is blessed to be surrounded by so much love.
PRODUCTION STAFF
Light/Sound Operator..........................................
Irene
Dubberley
Set Construction...................... Adam Kluth,
Norman Blumensaadt,
Karen
Jambon, Jim Arnold, Jon Boatwright
Costumes......................................... Paula
Gilbert, Douglas Kelley
Hair............................................................................ Kay Brown
Electricians............................................ David Grafe ,
Roy Young
Graphic Artist............................................... Sarah Hauck
Seaton
Photographer....................................................... Brett
Brookshire
Program...................................................... Norman
Blumensaadt
Properties .......................................................... Irene
Dubberley
Publicity .................................... Carol
Ginn, Norman Blumensaadt
ACKNOWLEDGEMENTS AND SPECIAL THANKS
TeraQuest, for
Rehearsal Space, Dougherty Arts Center for Rehearsal
Space, Laura Sandberg and Second Youth Family Theatre, Douglas Kelly, David
& Carol Kluth, Paula Gilbert, Austin Circle of Theatres, Joe Bowen, Mike
Mesko, Anita Kelley, Russ Kelley, Janice, Buffy Manners, Clare at UT, Michael
Hite, Trinka Withers, Vince Herod, Phil Judah
Different
Stages, Inc. has been a
community-based organization since its inception in 1981 and incorporation in
1984. It produces works by playwrights
whom we believe to be defining forces in theatre. We seek to entertain with performances that reveal life in all its
comedy, tragedy and intensity; and we hope to educate by choosing plays that
provide exceptional insight into the human condition. By challenging ourselves as artists and our audiences as
participants, we endeavor to provide the community with vigorous and exciting
live theatre.
Board of
Directors: Karen Jambon Henry V. Fitzgerald, Jr. &
Randolph Stripling.
Operating
Board: Norman E. Blumensaadt, Mike Groblewski,
Royce Gehrels & Paula Ruth Gilbert.
DIRECTOR’S NOTES
ABOUT THE PLAYWRIGHT
G. Bernard Shaw (he hated the "George" and never used
it, either personally or professionally) was born in 1856 in Dublin, in a lower-middle
class family of Scottish-Protestant ancestry. His father was a failed
corn-merchant, with a drinking problem and a squint (which Oscar Wilde's
father, a leading Dublin surgeon, tried unsuccessfully to correct); his mother
was a professional singer, the sole disciple of Vandeleur Lee, a voice teacher
claiming to have a unique and original approach to singing.
When Shaw was just short of his sixteenth
birthday, his mother left her husband and son and moved with Vandeleur Lee to
London, where the two set up a household, along with Shaw's older sister Lucy
(who later became a successful music hall singer). Shaw remained in Dublin with
his father, completing his schooling (which he hated passionately), and working
as a clerk for an estate office (which he hated just as much as school).
In 1876, Shaw left Dublin and his father and moved to London,
moving in with his mother's menage.
There he lived off of his mother and sister while pursuing a career in journalism
and writing. The first medium he tried as a creative writer was prose,
completing five novels (the first one appropriately titled Immaturity) before any of them were published. He read voraciously,
in public libraries and in the British Museum reading room. And he became
involved in progressive politics. Standing on soapboxes, at Speaker's Corner in
Hyde Park and at socialist rallies, he learned to overcome his stagefright and
his stammer. And, to hold the attention of the crowd, he developed an energetic
and aggressive speaking style that is evident in all of his writing.
With Beatrice and Sidney Webb, Shaw founded the Fabian Society, a
socialist political organization dedicated to transforming Britain into a
socialist state, not by revolution but by systematic progressive legislation,
bolstered by persuasion and mass education. The Fabian society would later be
instrumental in founding the London School of Economics and the Labour Party.
Shaw lectured for the Fabian Society, and wrote pamphlets on the progressive
arts, including The Perfect Wagnerite,
an interpretation of Richard Wagner's Ring cycle, and The Quintessence of Ibsenism, based on a series of lectures about
the progressive Norwegian playwright, Henrik Ibsen. Meanwhile, as a journalist,
Shaw worked as an art critic, then as a music critic (writing under the
pseudonym "Corno di Bassetto"), and finally, from 1895 to 1898, as
Theatre Critic for the Saturday Review,
where his reviews appeared over the infamous initials "GBS."
In 1891, at the invitation of J.T. Grein, a merchant, theatre
critic, and director of a progressive private new-play society, The Independent
Theatre, Shaw wrote his first play, Widower's
Houses. For the next twelve years, he wrote close to a dozen plays, though
he generally failed to persuade the managers of the London Theatres to produce
them. A few were produced abroad; one (Arms
and the Man) was produced under the auspices of an experimental management;
one (Mrs Warren's Profession) was
censored by the Lord Chamberlain's Examiner of Plays (the civil servant who,
from 1737 until 1967, was empowered with the prior censorship of all spoken
drama in England); and several were presented in single performances by private
societies.
In 1898, after a serious illness, Shaw resigned
as theatre critic, and moved out of his mother's house (where he was still
living) to marry Charlotte Payne-Townsend, an Irish woman of independent means.
Their marriage (quite possibly sexually unconsummated) lasted until Charlotte's
death in 1943.
In 1904, Harley Granville Barker, an actor,
director and playwright twenty years younger than Shaw who had appeared in a
private theatre society's production of Shaw's Candida, took over the management of the Court Theatre on Sloane
Square in Chelsea (outside of the "Theatreland" of the fashionable
West End) and set up it up as an experimental theatre specializing in new and
progressive drama. Over the next three seasons, Barker produced ten plays by
Shaw (with Barker officially listed as director, and with Shaw actually
directing his own plays), and Shaw began writing new plays with Barker's
management specifically in mind. Over the next ten years, all but one of Shaw's
plays (Pygmalion in 1914) was
produced either by Barker or by Barker's friends and colleagues in the other
experimental theater managements around England. With royalties from his plays,
Shaw, who had become financially independent on marrying, now became quite
wealthy. Throughout the decade, he remained active in the Fabian Society, in city
government (he served as vestryman for the London borough of St. Pancras), and
on committees dedicated to ending dramatic censorship, and to establishing a
subsidized National Theatre.
Cary
M. Mazer, University of Pennsylvania
ABOUT THE PLAY
Ostensibly,
Arms and the Man is about the
relative significance of valor and efficiency in battle. As we shall see, Shaw
did indeed have a serious interest in the psychology of soldiers. But the
character contrast between Sergius and Bluntschli which is central to the play
was not suggested to him by his reading of military history. Rather, it was
based on his personal acquaintance with two London socialists of radically
different temperaments. The first of these was Robert Bontine Cunninghame
Graham, Shaw’s model for Sergius. Graham, who looked as dashingly handsome and
impressive as a Spanish grandee in a portrait by Velázquez, was in every way a
remarkable, not to say incredible, personality. A revolutionary socialist by
conviction, Graham was by birth a nobleman who claimed descent from a
thirteenth-century king of Scotland. At sixteen he ran off to South America,
became famous as a gaucho horseman and had a town in Argentina named after him;
later he ran a fencing academy in Mexico City and became the toast of Paris
salons for his literary talents. His sympathy for the British poor led him to
enter parliament, where he championed their rights so obstreperously that he
won the epithet “Don Quixote.” It was during this parliamentary career that he
uttered his famous defiance of the House –“I never withdraw”—which Shaw put in
the mouth of Sergius. Joseph Conrad, like Shaw, was also fascinated by him, and
indeed, Graham’s romanticism made him look at times like a character out of a
Conrad novel. Conrad saluted him as a “hopeless idealist,” and called his
outlook on human life “the philosophy of unutterable scorn.” On less
imaginative and sympathetic people, Graham understandably made a much less
favorable impression. Exasperated by his flamboyance and his unwillingness to
compromise, Beatrice Webb denounced him in her diary as a poseur, an enthusiast, and “an unmitigated fool in politics.”
Graham,
for his part, never joined the Fabian Society, and would have found such a
humdrum body, with its passion for research and its belief in slow progress,
totally alien to his personality. It was entirely appropriate, then, that Shaw,
looking for a foil for Graham-Sergius, should have chosen his own lifelong
friend and admired Fabian colleague, Sidney Webb. In striking contrast to
Graham, Webb came from the dullest of middle-class backgrounds, his forebears
being inn-keepers and petty tradesmen. Even his adoring wife Beatrice had to
admit that he was “undistinguished and unimpressive in appearance” and totally
lacking in any capacity for self-dramatization. Where Graham, a believer in the
beau geste, had distinguished himself in the annals of British socialism
by leading a charge against the police in Trafalgar Square on “Bloody Sunday”
(November 13, 1887), Webb scoffed at all heroes, preached gradualism, and
filled his books not with fiery denunciations of capitalism, but with
statistical tables in support of municipal hospitals and housing, and cheaper
gas and water. Webb’s prosaic efficiency and formidable industry appear in Bluntschli’s
quarter-masterly talents, his self-possession in the Swiss soldier’s
anticlimatctic repartee. The Sergius-Bluntschli contrast in Arms and the Man is thus a dramatization
of the split in the British socialist movement between the so-called “barricade
revolutionists” who reincarnated the spirit of the Commune, and the new
permeationists who favored peaceful step-by-step progress towards their aims.
But such a conflict is by no means exclusively peculiar to Victorian socialism.
Dramatically inclined firebrands and judicious moderates are part and parcel of
any struggle for reform, as the civil rights movement in mid-twentieth-century
America has amply demonstrated.
THE BULGARIAN BACKGROUND
Though
two socialists provided Shaw with his chief male characters, the immediate
subject of Arms and the Man is not
politics but warfare. In his comedy Shaw tries to debunk the romantic notions
of war the Victorian public had absorbed, first from the popular military
melodramas presented at the Adelphi theatre, and secondly from the idealized
battlepieces reproduced in magazines like the Illustrated London News. To counteract them, Shaw had recourse to
histories and memoirs of the Napoleonic, Crimean, and Franco-Prussion Wars, and
to essays on the psychology of military courage by the American Civil War
general, Horace Porter, and the British army commander, Viscount Wolseley. In
addition, he studied Zola’s La Débâcle,
with its mordant juxtaposition of the swashbuckling, chauvinistic French
officer corps and the phlegmatic, devastatingly efficient German war-machine at
the battle of Sedan. What use he made of these sources in his play, we may let
Shaw himself tell us in his essay in defense of the authenticity of its
military details.
On
the basis of this reading and some eyewitness accounts, Shaw composed a
nameless and placeless satire:
…in the original MS, the
names of the places were blank, and the characters were called simply The
Father, The Daughter, The Stranger, The Heroic Lover, and so on. The incident
of the machine gun bound me to a recent war: that was all. My own historical
information being rather confused, I asked Mr. Sidney Webb to find out a good
war for my purpose. He spent about two minutes in a rapid survey of every war
that has ever been waged, and then told me that the Servo-Bulgarian was what I
wanted. I then read the account of the war in the Annual Register with a modern
railway map of the Balkan peninsula before me, and filled in all my blanks,
Making all the action take place in Servia, in the house of a Servian family. I
then read the play to Stepniak, and the Admiral who commanded the Bulgarian
fleet during the war, who happens to reside in London just now. He made me
change the scene from Servia to Bulgaria, and the characters from Servians to
Bulgarians, and gave me descriptions of Bulgarian life and ideas which enabled
me to fit my play exactly with local color and character. I followed the facts
he gave me as closely as I could, because invented facts are the same stale
stuff in all plays, one man’s imagination being much the same as another’s in
such matters, whilst real facts are fresh and varied. Ж
But
why, one may wonder, did Shaw and Webb regard the Servo-Bulgarian contest of 1885
as ideal for a play debunking war? The answer lies in the different attitudes
towards Balkan politics adopted by English political parties in the nineteenth
century. During this period, the Turkish Empire in Europe was in a state of
septic dissolution, and the Christian peoples within its borders, after four
centuries of torpid enslavement, had begun to demand their freedom. Tory
imperialists, like Disraeli, frightened that Russia would fall heir to the
disintegrating sultanate and establish herself as a rival to England in the
Near East, favored bolstering “the sick man of Europe,” which meant, in effect,
preserving the status quo. But popular religious and political sympathy in
England for the Greeks, Serbs, and Bulgars frequently reacted against this
policy. Gladstone, in particular, fought one of his most emotional election
campaigns in opposition to Conservative pro-Turkism in 1876, the year after the
Turks had bloodily suppressed a Bulgar uprising. His pamphlet, Bulgarian Horrors, set the tone for a
generation of fervent Liberal protest against the domination of small nations
by great in Europe, whether the former were Bulgars, Macedonians, Finns, or
Irishmen. Since this romantic worship of nationalism as the great good to be
pursued for its own sake ignored fundamental economic problems, Shaw criticized
it as unreal, or “idealistic,” as he calls it in his Pre-Britain’s slums
immediately before them, regarded this Liberalmania as at best self-indulgent
emotionalism, and at worst as a calculated attempt to deflect the attention of
the electorate from urgent economic problems at home. Hence, Shaw was nothing
loath to poke a little good-natured fun at thos darlings of the middle-class
Evangelical churchgoer-the Bulgarians.
The
events of the War of 1885 itself can be quickly summarized. Under the Treaty of
Berlin which had ended the Russo-Turkish War of 1877-78, Bulgaria had
essentially achieved its independence, only one province, East Rumelia,
remaining under Turkish control. In 1885 the Remelians rebelled and joined
Bulgaria. Kind Milan of Serbia, jealous of the newly acquired prestige of
Serbia’s Balkan neighbor and historic rival, invaded Bulgaria from the west. In
four days’ time, the Serbians had crossed the Dragoman Pass in the Balkan
mountains and encamped at Slivnitza within a day’s march of Sofia. But at this
point the Bulgarian army under Prince Alexander rallied, beat the Serbs, pushed
them back over the border, and were stopped at Pirot only by the threat of
Austrian intervention on Serbia’s side. An armistice was signed a few days
later. The English, who were inclined to cheer the Bulgars as underdog heroes,
felt a warm glow of satisfaction at their unexpected victory. Shaw’s play opens
immediately after the first Serbian reverses at Slivnitza on November 17.
Shaw’s
candid portrait of Bulgarian manners gave offense to English Bulgarophiles and
even led to diplomatic difficulties when the play was produced in European
capitals. But if one reads the writings of contemporary travelers, the impression
one receives is that Shaw, if anything, seems to have flattered the Bulgarians
of the eighties. After half a millennium of serfdom under Turkish rule, the
Bulgarian nation had been reduced to an all but featureless peasant level. The
mere decade of freedom it had enjoyed at the time of the war with Serbia was
not sufficient to produce anything more than a veneer of westernization, half
encouraging, half comic in effect. Outside the small court circle in Sofia,
hardly any group aspired even to middle-class manners. One not unsympathetic
observer, writing in the year Shaw’s play appeared, declared: “The Bulgarians
are not, I admit freely an engaging or a particularly attractive people; they
have no literature, no artistic tastes, no great intellectual culture, and no
dramatic qualities. They are simply a race of peasants with all a peasant’s
meannesses and prejudices, but also with all the peasant’s virtues of industry
and frugality.”ф Shaw himself
thought his estimate of the semi-barbarism of Bulgarian society amply borne out
by the grisly murder of ex-Premier Stambouloff in 1895 and the riots that
attended hi s sensational funeral.
Ж From a letter to the editor of To-Day, dated April 19, 1894, in the
form of answers to questions about his practice as a playwright. This was
published on April 28 under the heading, “Ten Minutes with Bernard Shaw”; only
the part quoted here deals substantially with Arms and the Man.
фEdward
Dicey, The Peasant State: An Account of Bulgaria in 1894 (London, 1894), p. 55.
CONTRIBUTORS
The City of Austin, AT&T Foundation, Tera Quest Metrics,
Inc.
Connie McMillan, Norman S. Blumensaadt, Paula Ruth Gilbert,
Norman E. Blumensaadt, Steve Chapman, Martin J. Reyes, Karen Kuykendall, Irene
Dubberley, Scott K. Schroeder, John Jennifer Underwood, Karen Jambon, Harvey
Guion, Corina Del Toro, Don Howell,
Deanna Abshire, Tom White, David Smith, Royce Gehrels
Different Stages’ Repertory
Begun as Small Potatoes Theatrical Company
1981: August
Strindberg’s Creditors and The Stronger. 1982: William Shakespeare’s The Tempest and
A Midsummer Night’s Dream. 1983:
George Bernard Shaw’s Candida; Anton Chekhov’s The Brute, Swan
Song, and Celebration. 1984:
Luigi Pirandello’s Right You Are (If You Think You Are); Jane
Martin’s Talking With… 1985:
Caryl Churchill’s Cloud 9; William Shakespeare’s As You Like
It; Carl Sternheim’s The Underpants; Michael Weller’s Moonchildren. 1986: Amlin Gray’s How I Got That Story;
William Shakespeare’s The Winter’s Tale; Eugene O’Neill’s Beyond the
Horizon. 1987: Michael Weller’s Loose
Ends; Aristophanes’ The Wasps; Larry Kramer’s The Normal Heart;
Arthur Schnitzler’s Anatol. 1988:
Wallace Shawn’s Aunt Dan and Lemon; Dylan Thomas’ Under Milk
Wood; Moss Hart’s Light Up the Sky; Jean Racine’s Phaedra;
Jean-Baptiste Molière’s The Misanthrope. 1989: Caryl Churchill’s Fen; Charles
Ludlam’s The Artificial Jungle; William Shakespeare’s The Merchant of
Venice. 1990: Eric Overmeyer’s On
the Verge; Eugene O’Neill’s Long Day’s Journey Into Night; Milan
Kundera’s Jacques and His Master; Tom White’s The Trouble with Tofu;
William Shakespeare’s Titus Andronicus.
1991: George Kelly’s The Show-Off; George
Bernard Shaw’s Mrs. Warren’s Profession; Keith Reddin’s Life and Limb;
Mozart/Lorenzo da Ponte’s Così fan Tutte; Jean-Baptiste Molière’s The
Learnèd Ladies. 1992:
Alan Ayckbourn’s Woman in Mind; Carlo Gozzi’s The Raven;
Henrik Ibsen’s The Wild Duck; Charles MacArthur’s Johnny on a Spot;
George Farquhar’s The Recruiting Officer. 1993: Timberlake Wertenbaker’s Our Country’s
Good; Charles Ludlam’s The Secret Lives of the Sexists; Tennessee
Williams’ Orpheus Descending. 1994:
Constance Congdon’s Tales of the Lost Formicans; William
Shakespeare’s Cymbeline; George M. Cohan’s The Tavern; Marlayne
Meyer’s Etta Jenks. 1995:
Pierre Marivaux’s The Triumph of Love; Tom Stoppard’s Travesties;
Larry Kramer’s The Destiny of Me; Alexander Ostrovsky’s The Diary of
a Scoundrel. 1996: Caryl Churchill’s Mad
Forest; Agatha Christie’s Black Coffee; William Congreve’s The
Way of the World. 1997: Terrence
McNally’s A Perfect Ganesh; Dorothy Parker’s Here We Are; Alan
Ayckbourn’s Drinking Companion; Terrence McNally’s Noon; George
M. Cohan’s Seven Keys to Baldpate; Sean O’Casey’s Juno and the
Paycock. 1998: Tom Stoppard’s Arcadia;
Aeschylus’ Agamemnon; Giles Havergal’s Travels with my Aunt;
Arthur Miller’s All My Sons. 1999:
Edit Villareal’s My Visits with MGM; Jean-Baptiste Molière’s The
Hypochondriac (tr. Martin Sorrel); Edward
Percy and Reginald Denham’s Ladies in Retirement; Chekhov’s Uncle
Vanya. 2000: Peter Parnell’s The
Rise and Rise of Daniel Rocket; Ann
Ciccolella’s Fruits and Vegetables; George S. Kaufman and Marc
Connelly’s Merton of the Movies; Martin McDonagh’s The Cripple of
Inishmaan. 2001: Milcha Sanchez-Scott’s Roosters; George Bernard Shaw’s
The Devil’s Disciple; J. B. Priestly’s Dangerous Corner; Tennesee
Williams’ Summer and Smoke. 2002:
Ann Ciccolella’s Madame X; David Linsay-Abaire’s Fuddy
Meers; Agatha Christie’s The Unexpected Guest; Federico Garcia
Lorca's The House of Bernarda Alba. 2003: Christopher
Durang's Betty's Summer Vacation; Horton Foote The Traveling Lady, William
Shakespeare Two Gentlemen of Verona; Oscar Wilde's An Ideal
Husband; 2004: John Patrick's The Hasty Heart; Tom
White's The Misses Overbeck; Brian Friel's Molley Sweeney, George
Bernard Shaw's Arms and the Man; 2005: William Shakespeare Pericles,
Prince of Tyre, Edit Villareal's Marriage is Forever, Tennesse
William's Something Unspoken and Suddenly Last Summer
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