B Y W I L L I A M S H A K E S P E A R E

D I R E C T E D B Y B L A N K A Z I Z K A

Dear Audience Members,Welcome to our 2010/2011 Season, which, I believe, is going to be

thrilling, new, and unlike any previous season at the Wilma.Tonight you will see Macbeth, the Wilma’s very first production of a

Shakespeare play. As I was working on a concept for Macbeth, I be-came interested in exploring how ancient values, traditions,

beliefs, and superstitions can creep into modern life at times ofchange. Our production starts at a moment when a modern country is

at war with itself and—through the cracks in the thin veneer of civilization—old sentiments, beliefs, and superstitions come to life.

Three off-beat new comedies will follow Macbeth. We will be produc-ing two plays in the season directed by free-lance directors.

The Understudy by Pulitzer Prize Nominee Theresa Rebeck will be directed by David Kennedy who is Associate Artistic Director of West-port Country Playhouse. My Wonderful Day by Tony® Winner Alan Ay-ckbourn will be directed by Richard Hamburger, who is the first Artistic

Director Emeritus of Dallas Theater Center. I’m very pleased to beable to introduce their work to the Wilma’s audiences.

This season will also mark our third production of Pulitzer NomineeSarah Ruhl’s work—and you can expect some wonderful surprises

from my production of her delightful comedy In the Next Room, or the vibrator play.

Enjoy tonight’s venture into Shakespeare’s text.Sincerely,

Blanka ZizkaArtistic Director

From the Artistic Director

From the Managing Director

Thank you for joining us!With the beginning of the new season now upon us, I wish to sharenews from the summer here at the Wilma. Co-Artistic Director JiriZizka moved into a consulting relationship with the theater in orderto allow himself time to pursue other artistic endeavors. In recogni-tion of Jiri’s contributions to the Wilma and the Philadelphia commu-nity over the past 31 years, he has been given the title of FoundingArtistic Director. I look forward to working with Blanka, the staff, and the Board of Directors in the season to come as we work together to explore newpossibilities for the Wilma while remaining true to the vision estab-lished by Blanka and Jiri. We face an exciting year of planning,brainstorming, perhaps even fantasizing about the future of the the-ater, and you, our audience members, play a vital role. Please con-tinue to share your thoughts and comments, and above all, allow thework we produce on stage to continue to live in your consciousnessand incite conversation.We will keep you informed as we make plans for the future, but fornow, thank you for being with us for our ambitious production ofMacbeth. Blanka has been talking about this play almost since thetime I started working at the Wilma more than four years ago. I amthrilled that we are able to share her daring vision with you today.

Sincerely,

James HaskinsManaging Director

featuring

The Wilma Theater deeply appreciates the generous support of Daniel Berger, Honorary Producer, for this production.

*Member of Actors' Equity Association, theUnion of Professional Actors and StageManagers in the United States.This theater operates under an agreementbetween the League of Resident Theatresand Actors’ Equity Association, the Unionof Professional Actors and Stage Managers in the United States.

under the direction ofBlanka ZizkaArtistic Director

James HaskinsManaging Director

presents

Set DesignerMimi Lien

Costume DesignerOana Botez-Ban

Lighting DesignerTyler Micoleau

Sound DesignerDaniel Perelstein

Fight DirectorJ. Alex Cordaro

DramaturgWalter Bilderback

New York CastingLaura Stanczyk Casting

Philadelphia CastingRichard W. Kotulski

Production ManagerIain Campbell

Resident Stage ManagerPatreshettarlini Adams

DirectorBlanka Zizka

ComposerPavel Fajt

ChoreographerBrian Sanders

Ames Adamson*, Nako Adodoadji*, Jacqueline Antaramian*, Krista Apple*,Mark Cairns, Antonio J. Dandridge, Robert DaPonte, Joshua Dingle, AveryGarlic, John Greenbaum, John Jarboe, Rachael Joffred, Albert Jones*,

Kevin Meehan, Michael Rudko*, Luigi Sottile*, Lindsay Smiling*, Ian Sullivan, Ed Swidey*, CJ Wilson*

THANK YOU TO OUR2010/2011 SPONSORS

Season Sponsors

Opening Night Sponsors

The Wilma Theater is grateful for significant support

provided by:

THEHORACE GOLDSMITH

FOUNDATION

Building the Audiences

of Tomorrow Sponsor

Production Sponsor

Macbeth has been supported by The Pew Centerfor Arts and Heritage through The Philadelphia

Theatre Initiative.

Cast

Children PolicySome subject matter may be deemed objectionable for children; therefore, children under 12 will not bepermitted in the theater.Distracting Noise and LightThe noise of cellular phones and candy wrappers, and the light from electronic devices are distracting to bothaudiences and actors. Please turn off all cellular phones and electronic devices. Also, please be sure thatyour watch alarm does not sound during the performance.Smoking, eating, and drinking are prohibited inside the theater.

Please notePhotography or sound recording inside the theater, without the written permission of the management, is prohibited by law. Violators may be asked to leave the theater and may be liable for financial charges.

The Wilma Theater proudly participates in the Barrymore Awards for Excellence in Theatre, Philadelphia's premier professional theatre awards program. The Wilma Theater is a member of thefollowing organizations: Greater Philadelphia Cultural Alliance, League of Resident Theatres,Rittenhouse Row, Theatre Alliance of Greater Philadelphia, and Theatre Communications Group, Inc.

Ross/Porter..................................................................................Ames AdamsonWeird Sister..................................................................................Nako AdodoadjiLady Macbeth..................................................................Jacqueline AntaramianWeird Sister/Lady Macduff.................................................................Krista AppleDonalbain/Messenger..................................................................Robert DaPonteBloody Sergeant/Seyton....................................................................John JarboeWeird Sister/Waiting Lady............................................................Rachael JoffredMacduff/Murderer..............................................................................Albert JonesLennox............................................................................................Kevin MeehanDuncan/Doctor/Old Man................................................................Michael Rudko Banquo........................................................................................Lindsay SmilingMalcolm/Murderer...............................................................................Luigi SottileAngus....................................................................................................Ed SwideyMacbeth.................................................................................................CJ Wilson

EnsembleAntonio J. Dandridge, Avery Garlic, Mark Cairns, Joshua Dingle,

John Greenbaum, Ian Sullivan

There will be one 15-minute intermission.

Meet the ArtistsBlanka Zizka (Director,Artistic Director) hasbeen Founding ArtisticDirector of The WilmaTheater since 1981.Blanka most recently di-rected Yussef El Guindi’sLanguage Rooms andAthol Fugard’s ComingHome. She previously

directed Wajdi Mouawad’s Scorched and Tom Stop-pard’s Rock ’n’ Roll, which received a combined totalof 17 Barrymore Award nominations. She directedEurydice, the opera Kát’a Kabanová by LeošJanáček for the Academy of Vocal Arts, Age ofArousal, The Life of Galileo, My Children! My Africa!,Ariel Dorfman’s The Other Side starring RosemaryHarris and John Cullum at Manhattan Theatre Club,and Cloud 9 by Caryl Churchill. In 2002 she directedthe World Premiere of Dael Orlandersmith’s Yellow-man at Manhattan Theatre Club, McCarter TheatreCenter, Long Wharf Theatre, ACT in Seattle, and atThe Wilma Theater. She was awarded the first Bar-rymore Award for Best Direction of a Play forCartwright’s Road. She directed Jiler and Leslee’sAvenue X (Barrymore Winner, Best Overall Produc-tion of a Musical and Best Direction of a Musical),Wright’s Quills (Barrymore Winner, Best Overall Pro-duction of a Play), the East Coast Premiere of TheInvention of Love by Tom Stoppard (Barrymore Win-ner, Best Overall Production of a Play and Best Di-rection of a Play), and Jesus Hopped the ‘A’ Train byStephen Adly Guirgis (Barrymore Winner, BestOverall Production and Best Director).

Ames Adamson(Ross/Porter) is makinghis Wilma debut. He is acompany member at theNew Jersey RepertoryCompany and also theShakespeare Theatre ofNew Jersey, where thispast summer he playedNicola in Arms and the

Man. Recent regional credits include Hamlet, It’s aWonderful Life, King Lear, A Christmas Carol, G.B.Shaw in Engaging Shaw, Circumference of a Squir-rel, The Mousetrap, On Golden Pond, and Henry V.Philadelphia credits include Little Lamb at InterAct,PlayPenn, and several staged readings. Next springhe will be playing in Hamlet and As You Like It at thePhiladelphia Shakespeare Theatre. He lives in his-toric Germantown and West Exeter, NY.

Nako Adodoadji (WeirdSister) is thrilled to bemaking her Wilma The-ater debut. Credits in-clude Court Martial atFort Devens (The Uni-versity of the Arts/FringeFestival), SleepingBeauty (The Arden The-atre Co.), Dreamgirls

(Prince Music Theater), Writing Aloud (InterAct The-atre Co.), The Vagina Monologues (Flashpoint The-atre). Nako has also been featured in commercials,print ads, and industrials. Through her interdiscipli-nary company, MasterBuilder Productions, she re-cently wrote, produced, and co-directed The IbsenProject: A Lonely Light in the 2009 PhiladelphiaFringe Festival. Proud UArts Alum/B.F.A in Theater.Thanks to God, my loving family and friends, andmuch gratitude to the Macbeth cast and the entireWilma team for their effort, energy, and hard work.Thank you, Blanka and Richard, for this amazingopportunity. Enjoy the show, everyone!

Jacqueline Antaramian (Lady Mac-beth). Broadway: MaryStuart, Coram Boy,Julius Caesar (with Den-zel Washington), NewYork: Iphegenie en Tau-ride (Met), Pride’s Cross-ing (Lincoln Center); TheImmigrant, The Seagull

in the Hamptons (McCarter). She has performedleads in over 60 productions regionally, includingover 10 years as leading company member at theDenver Center Theatre. Regional roles includeGertrude in Hamlet (Shakespeare Theatre New Jer-sey), Regina in The Little Foxes (ACT San Fran-cisco), Cleopatra in Antony and Cleopatra, Serafinain The Rose Tattoo, and the title roles in Miss Julie,Candida, and Hedda Gabler. Jacqueline won a Bar-rymore Award for her performance in the Wilma’s 9Parts of Desire in 2006. Television: Fringe, LipstickJungle, The Sopranos, Third Watch, Law & Order,and Diagnosis Murder. Film: The Siege.

Krista Apple (Weird Sis-ter/Lady Macduff) isthrilled to be back at theWilma, where she haspreviously worked on Va-clav Havel’s Leaving andBrecht’s Life of Galileo.Other Philadelphia creditsinclude: Romeo & Julietand Our Town (ArdenTheatre); Dark Play, or

Stories for Boys (Theatre Exile); The Taming of theShrew (Commonwealth Classics); and Mary Hamil-ton's We Three at the 2009 PlayPenn DevelopmentConference. Regional: Proof (Cape May Stage).Film/TV: Law & Order: Criminal Intent, ConqueringSoceraphobia, and the_source. Also a writer andteaching artist, Krista is a regular contributor to Ameri-can Theatre Magazine and a resident teaching artistwith Theatre for a New Audience in New York City andNorthwestern University’s National High School Insti-tute in Evanston, IL. She’s a founding member of thePhiladelphia Artists’ Collective, and a proud graduateof Kenyon College (BA, English/Theatre) and TempleUniversity (MFA, Acting). For the DFH.

Robert DaPonte (Donal-bain/Messenger) is veryproud to be making hisdebut on the Wilma stage.Robert is originally fromRhode Island and studiedtheater at Bradford Col-lege (Haverhill, MA) andThe National Theater In-stitute (Waterford,CT ). In

Philadelphia he has performed for Theatre Exile, Inter-Act, Flashpoint, PlayPenn, Philadelphia Young Play-wrights, EgoPo, Luna, Shakespeare in Clark Park, aswell as multiple productions in the Philadelphia FringeFestival. Favorite roles include Larry in Mr. Marmalade(Theatre Exile, Barrymore Nomination for Best En-semble), Estragon in Waiting for Godot (EgoPo), Prof.Broom in The Giant Squid (2008 Philly Fringe Festi-val) and Warren in This Is Our Youth (Hartford, CT).See him next in Theatre Exile's production of MartinMcDonagh's The Lieutenant of Inishmore. Manythanks to Blanka and the talented cast and crew and,as always, all his love to his family.

John Jarboe (BloodySergeant/Seyton) isthrilled to be making hisWilma debut. A graduateof the University of Michi-gan's BFA Acting pro-gram, John now works asan actor and singer inPhiladelphia. He has re-cently been seen as Joe in

Act II's production of Burt and Me and as Jan in Ap-plied Mechanics' Portmanteau: An Invasion Play. Lon-don: The Roommate (The Old 100th) at Theatre RoyalDrury Lane. Philadelphia: Lysander (A MidsummerNight's Dream) and Malcolm (Macbeth) with thePhiladelphia Shakespeare Theatre, Forest Dweller

(Ses Voyages Sauvages) and Young Clown (It's HardTimes at the Camera Blanca) with Applied Mechan-ics', Frank (Showboat) and Scarecrow (The Wizard ofOz) at The Media Theatre, Julia (Inside Julia Child) forPhilly Fringe, and Jason (Bare: The Pop Opera) withPGLTF. Look for John at Society Hill Playhouse inNovember when he will be performing his originalcabaret Back In The Army, an hour of Barrack Bal-lads, Longing Love Songs, and Riotous Revelry fromthe Soldiers of Yesteryear.

Rachael Joffred (WeirdSister/Waiting Lady) ex-citedly makes her Wilmadebut. Previous creditsinclude: Grace, or The Artof Climbing and Love,Jerry (Nice People The-atre), Henry IV, Part 1(Lantern Theater), TheMiser (CommonwealthClassic Theatre), Big

Love (Columbia Stages), As You Like It, The Tamingof the Shrew, and King Lear (PA Shakespeare Festi-val). Love to friends and family, old and new.

Albert Jones(Macduff/Murderer).Broadway: Henry IV (Lin-coln Center Theater). Off-Broadway: Oroonoko(TFANA, Audelco Nom.),Pericles (TFANA at BAM),Iphigeneia at Aulis,Richard III (Pearl The-ater). Regional: Battle of

Black And Dogs (Yale Rep), A Midsummer Night’sDream (Shakespeare on the Sound),The BrothersSize (City Theatre), A Raisin in the Sun (HartfordStage Co.), Intimate Apparel (The Intiman Theatre),The Piano Lesson (Cleveland Play House), Flag Day(CATF), Much Ado About Nothing (Portland CenterStage), Arms and the Man (Barrington Stage), EdwardII, The Threepenny Opera ( ACT), As You Like It,Scapin (California Shakespeare Theater). Film & TV:Salt, Cadillac Records, The Magnificent, Cooly-T,American Gangster, The Bourne Ultimatum, Proud ,White Collar, Minimum, Army Wives, Law & Order:SVU, Criminal Intent, Rescue Me, Kidnapped, LoveMonkey. MFA, American Conservatory Theater.

Kevin Meehan(Lennox) is ecstatic tobe making his Wilmadebut. He is a nativePhiladelphian with hisBFA in Acting from Adel-phi University. He haspreviously worked withPlayPenn, Inis Nua The-atre Company, Philadel-

phia Theatre Workshop, Society Hill Playhouse, NicePeople Theatre Company, New City Stage Produc-tions, Philadelphia Dramatists Center, Simpatico The-atre, Project, Curio Theatre, Hedgerow Theatre, andAzuka Theatre. Roles include Edmund Tyrone

(Long Day's Journey Into Night), Tom (Gagarin Way),Mick (Grace, Or The Art Of Climbing), Kane (Unidenti-fied Human Remains...), Sigurd Rossdale (516 (fivesixteen)), and Foley Artist (Kid Simple). Much loveand thanks to his friends and family, and deepest grat-itude to Blanka and the whole Wilma family.

Michael Rudko (Duncan/Doctor/OldMan) is pleased to be re-turning to the Wilma,where he previously ap-peared in Tom Stoppard'sNight and Day. Germany:We Are Not These Hands(Dusseldorfer Schauspiel-haus). London: True

West (Donmar Warehouse); Antony and Cleopatra,Julius Caesar (Shakespeare's Globe). Broadway:Mary Stuart, Gore Vidal's The Best Man, Timon ofAthens, Serious Money. Off-Broadway: King Lear,Serious Money (Public Theater); Titus Andronicus, AsYou Like It, Henry V, Love's Labour's Lost (Theatre fora New Audience). Regional: Tartuffe (McCarter/YaleRep); iWitness (Mark Taper Forum); Taming of theShrew, The Woman in Black, The Investigation (Balti-more CENTERSTAGE); Twelfth Night, The Tempest,Lorenzaccio (The Shakespeare Theatre); ParadiseLost (A.R.T.); The Faith Healer (Old Globe); Proof(Arena Stage).

Lindsay Smiling (Ban-quo) is thrilled to return tothe Wilma stage after ap-pearing in ResurrectionBlues and Jesus Hoppedthe ‘A’ Train 7 seasonsago. Other Philadelphiaarea credits include: Defi-ance (Bristol RiversideTheatre), Twelfth Night

(Pennsylvania Shakespeare Festival), Lobby Hero(Walnut Street Theatre), Richard III (Lantern The-ater), and Of Mice and Men (Walnut Street Theatre).Other credits include: Blue Door (Victory GardensTheater), His Daddy (Ensemble Studio Theatre), AMidsummer Night’s Dream (Shakespeare on theSound), The Winter’s Tale (Shakespeare Theater ofNew Jersey), The Mojo and the Sayso (ACT/TheHansberry Project), Take Me Out (Mixed Blood The-ater & Human Race Theater), and The Sunset Limited(Human Race Theater). Mr. Smiling proudly receivedhis Bachelor of Science from Illinois State Universityand a Master of Fine Arts from Temple University.

Luigi Sottile(Malcolm/Murderer) isvery happy to be back atthe Wilma working withsuch a wonderful cast. Heis a Philadelphia-basedactor and a graduate ofTemple University's The-atre Program. He washere last Spring in Leav-

ing as Victor and has been seen at People's Light and

Theatre (Nathan the Wise - Templar, Snow White: AMusical Panto - Smith, King Lear - France), LanternTheater (The Lonesome West - Fr. Welsh, The Schoolfor Wives - Horace, Othello - Cassio, The Hothouse -Lush, The Government Inspector - Khlestakov), AzukaTheatre (Whiskey Neat - Handsome), and Shake-speare in Clark Park (The Comedy of Errors - Antipho-lus of Syracuse). Next, Luigi will be seen at People'sLight in Kidnapped! and right back here at the Wilmain In the Next Room or the vibrator play. Thank you somuch to Blanka for this opportunity. Love to Victoria!

Ed Swidey (Angus) isthrilled to be performingat the Wilma for the firsttime. A local actor, Ed re-cently performed as Gun-ther in At This Evening’sPerformance at theHedgerow Theatre,Hamm in Endgame withEgoPo Classic Theatre,

The Guard in Hum as part of PlayPenn at the Adri-enne Theatre, Roger in She Stoops to Conquer andRio Rita in The Hostage with the Resident EnsemblePlayers at the University of Delaware, and JazzboHeywood in It’s A Wonderful Life: A Live Radio Playwith Delaware Theatre Company. He is also a pas-sionate teacher of young actors in the Summer OnStage program at Delaware Theatre Company. Ed isan MFA graduate of the University of Delaware andcurrently lives in Media, PA with his amazing wife Jen,a dedicated second grade teacher.

CJ Wilson (Macbeth).Broadway: A SteadyRain, Festen, Henry IV,Long Day’s Journey intoNight, The Best Man. Off-Broadway: Happy Now?(Lucille Lortel, nominatedoutstanding featuredactor, Primary Stages),Offices, The Voysey In-

heritance (Atlantic Theatre), Race (Classic StageCompany), Home of the Brave (Jewish Repertory),Stop Kiss, The Cripple of Inishmaan, The Merry Wivesof Windsor (Public). Regional: Berkshire Theatre Fes-tival, Shakespeare Theatre, Old Globe, McCarter The-atre, Fulton Opera House, Chautauqua Theatre, ACTin Seattle, Syracuse Stage, Hartford Stage,Williamstown Theatre Festival, and The Acting Com-pany. Television: Onion Sports Pilot, Brotherhood,Without a Trace, Third Watch, Law & Order, Law &Order: SVU, Law & Order: CI, New Amsterdam, Ed,Deadline, All My Children, One Life to Live, As theWorld Turns. Honors: Fox Fellow.

Antonio J. Dandridge (Fleance) is thrilled to be apart of the production of Macbeth. Hailing fromVoorhees, NJ, Dandridge’s previous Wilma credit in-cludes Mannetjie in Coming Home in 2009. Avery Garlic (Macduff’s Son) is excited for his firstproduction at The Wilma Theater. Avery has receiveda number of awards in school and is active in a widerange of activities including music, sports, and acting. Mark Cairns (Ensemble) is thrilled to be back at theWilma for a third season. Previous performances in-clude Rock 'n'Roll (Milan) and Leaving (Albin). Shoutout to his best girl Aileen, and to his brother Mike,keeping us safe overseas. Ian Sullivan (Ensemble) is an Artistic Associate ofthe Maryland Shakespeare Festival and is currentlytouring local schools with the Philadelphia Shake-speare Theatre – performing the role of Hamlet. Ianwould like to thank Blanka for the opportunity and hisparents and The Adventure Team for their continuedlove and support. John Greenbaum (Ensemble). Recent credits: AStreetcar Named Desire at The Walnut Street The-atre, Little Hotel on the Side at Theater At Monmouth,and A Midsummer Night’s Dream at the PhiladelphiaShakespeare Theatre. Joshua Dingle (Ensemble) is a native of Philadel-phia and a 2006 graduate of the Philadelphia HighSchool for the Creative and Performing Arts. Alongwith acting, Josh is active in dance and graphic de-sign. Mimi Lien (Set Designer) has been designingsets/environments for theatre, dance, and opera sincedefecting from the field of architecture 12 years ago.Previous Wilma productions: Outrage, Cloud Nine, ANumber, The Life of Galileo, Eurydice, Hysteria, andBecky Shaw. Recent work includes: Cankerblossom(Pig Iron/Live Arts), Judgment Day (Bard Summer-scape), Strange Devices (Berkeley Rep), Enjoy (PlayCompany), and Neighbors (Public Theater). Herwork has also been presented at the Signature The-atre, Alliance Theatre, Williamstown Theatre Festival,Berkshire Theatre Festival, Chicago Museum of Con-temporary Art, Pennsylvania Ballet, The Kitchen, andThe Joyce Theater, among others. Her work hasbeen recognized by a Barrymore Award, four Barry-more nominations, and an American Theatre WingHewes Design Award nomination. She was a semifi-nalist in the Ring Award competition for opera designin Graz, Austria, and a recipient of the 2007-2009NEA/TCG Career Development Program.Oana Botez-Ban (Costume Designer), a native ofRomania, has designed for major theater and dancecompanies including The National Theater ofBucharest, and was involved in international theaterfestivals such as the Quadrennial Scenography Showin Prague. Oana is part of the first Romanian theaterdesign catalogue, Scenografica. Since 1999, when

she moved to New York, her collaborators in theater,opera, film and dance include Robert Woodruff,Richard Foreman, Maya Beiser, Richard Schechner,Blanka Zizka, Brian Kulick, Zelda Fichandler, Annie-BParson & Paul Lazar, Karin Coonrod, Jay Scheib,Evan Ziporyn, Eduardo Machado, Gus Solomon Jr. &Paradigm, Carmen De Lavallade, Razvan Dinca,Dusan Tynek, Rania Ajami, Gisela Cardenas, TonySpeciale, Pavol Liska & Kelly Copper, MatthewNeenan, Molissa Fenley, Zishan Ugurlu, Michael Sex-ton, Pig Iron Theatre Company, Play Company,Charles Moulton, and Ripe Time. MFA in Design fromNYU/Tisch School of the Arts. Princess Grace Recipi-ent, NEA/TCG Career Development Program 2009-2011.Tyler Micoleau (Lighting Designer)Wilma Theater:The Life of Galileo, Eurydice (both Barrymore nomi-nated). Other Philadelphia area credits: Death of aSalesman (Univ. of Delaware); Mary’s Wedding(Delaware Theatre Co, Barrymore nom.); Love Un-punished, Isabella (Pig Iron); A Night in the Old Mar-ketplace, Bright Lights Big City (Prince MusicTheater). Notable New York Off-Broadway credits:That Face; The Aliens, When the Rain Stops Falling(Lucille Lortel Award), Blasted (American TheatreWing Hewes Award); Hell House (Hewes nom.); Bug(Lucille Lortel and OBIE Awards); God’s Ear, Orson’sShadow, Underneath the Lintel and MOJO. Regionalcredits: Spoleto Festival USA, American RepertoryTheatre, Trinity Rep, Old Globe, Dallas Theater Cen-ter, Shakespeare Theatre, Chautauqua, Long Wharf,among others. 2010 Village Voice OBIE for SustainedExcellence. Daniel Perelstein (Sound Designer) is a freelancesound designer, composer, and musical director inPhiladelphia. Recent work: Love, Jerry and Grace orthe Art of Climbing (Nice People Theatre Company),All-Victorious Ocean (Joanna Rotté), Between Trains(assistant sound designer, Gas and Electric Arts), AMidsummer Night’s Dream (accordionist, Shake-speare in Clark Park). Upcoming: Neighborhood 3(Azuka Theatre), The Early Bird (Inis Nua), Xmas Hol-iday Pageant (Berzerker Residents & Theatre Hori-zon), A Passing Wind (Seth Rozin’s new musical). Hehas been fortunate to work with and learn from otherprominent designers and composers including TroyHerion, Chas Marsh, Andrew Nelson, and especiallyNick Kourtides. Daniel holds a BS in Engineering anda BA in Music from Swarthmore College. Hear sam-ples of his work at www.danielperelstein.com.

Pavel Fajt (Composer) has been one of the mostprominent musicians on the Czech alternative rockscene. As a drummer, a composer, and a bandleader,he has been instrumental in the shaping of a distinc-tive Czech rock identity. Back home, he first got no-ticed among the seminal group Dunaj. Internationally,he is best-known for his duo with Iva Bittová and forhis appearance in the film and on the soundtrack StepAcross the Border about avant-garde guitar hero FredFrith. Fajt released his first solo album, Drum Trek, in2001. In 2008 Fajt released a CD titledAutopilote..IDO (EMI) and worked on the MAJ Theaterproject, composing music and performing based onreading poetry by Miroslav Wanek. In 2009, he re-leased the CD Santini Constellation, a collection ofsolo compositions inspired by churches built byBaroque architect Jan Aichel Santini. Also in 2009,Fajt was a member of improvised band Mia ZabelkaTrio including Mia Zabelka (violin) and JohannesFrisch (bass) and in 2010 Fajt established Pavel Fajt& Free, a new multiethnic band based on rhythms andgrooves.Brian Sanders (Choreographer) received his BFA inmodern dance from Philadelphia’s University of theArts. Brian Sanders was invited to join Moses Pendle-ton’s famed MOMIX dance company. Sanders soonbegan choreographing for MOMIX, working as an as-sistant to Pendleton on two evening-length works. Ac-knowledging Sanders’ choreographic talent, MOMIXcommissioned four of his individual works. His pieceshave been performed extensively throughout theworld. Sanders choreographs annually for the dancersof the Pennsylvania Ballet’s Shut Up & Dance, a ben-efit for the Metropolitan AIDS Neighborhood NutritionAlliance (MANNA). Sanders received a Barrymorenomination in 2003 for his choreography in The WilmaTheater’s presentation of Big Love. Sanders currentlyserves on the modern dance faculty at the Universityof the Arts, choreographing new works for the bi-an-nual concerts at the Merriam Theater. J. Alex Cordaro (Fight Director) has directed fightsfor the Wilma, McCarter Theatre Center, Actors The-atre of Louisville, Pennsylvania Shakespeare Festival,Philadelphia Shakespeare Theatre, Three RiversShakespeare Festival, Lantern Theater Company,Theatre Exile, Inis Nua Theater Company, Arden The-atre Company, Philadelphia Artists Collective, NewCity Stage Company, Philadelphia Opera Company,Freedom Theatre, Prince Music Theater, PhiladelphiaArea Rep Theater, Forensic Files on TRU TV, and oth-ers. Alex has directed numerous fights for Philadel-phia area dance companies and colleges. As ateacher, Alex has worked with the North CarolinaSchool of the Arts, University of the Arts, Temple Uni-versity, Arcadia University, and The University ofDelaware. Alex is also an instructor for the Philadel-phia Cheesesteak Stage Combat Workshop. Alex is atwo time Barrymore Award Nominee, was featured onThe Discovery Channel’s Project Discovery Series:Day in the life of a Fight Director, and his choreogra-phy is on file at The Lincoln Center in New York.

Walter Bilderback (Dramaturg/Literary Manager)Walter is happy to be working on Shakespeare again,with his third production of Macbeth as dramaturg ordirector. He has been the Wilma’s Dramaturg since2004. Walter has worked as a dramaturg for morethan 20 years, working at regional theaters across thecountry and on Broadway. He has served as a nomi-nator for the Barrymore Awards and has worked withPhiladelphia Young Playwrights, mentoring work byhigh school playwrights the past four years. Walter isalso a consultant to Atlanta’s innovative Out of HandTheater.Laura Stanczyk (New York Casting) Broadway:Ragtime, Impressionism, The Seafarer, Coram Boy,Translations, Radio Golf, Who’s Afraid of VirginiaWoolf, and Urinetown. Previously for the Wilma:Becky Shaw, Coming Home. Other: The ShawshankRedemption (Gaiety, Dublin, Wyndam’s Theatre, WestEnd), The Cripple of Inishmaan (Atlantic, Irish Tour),Ragtime (Kennedy Center), Dirty Dancing (NationalTour), Broadway Three Generations (Kennedy Cen-ter), National Anthems (Old Vic), Tryst (Promenade),Damn Yankees (Encores! Summer Stars), Gate/Beck-ett (LCF), Don’t Dress for Dinner (Royal George), TheGlorious Ones (LCT), Long Day’s Journey Into Night(Druid Theatre, Galway). She is also the resident cast-ing director for McCarter Theatre and regularly workswith the Alley, ACT, Goodman, and Huntington The-atres in the United States.Richard W. Kotulski (Philadelphia Casting Direc-tor) is a playwright, dramaturg, and director. Castingcredits for the Wilma include: Eurydice, Rock ’n’ Roll,Schmucks, Scorched, Hysteria, Coming Home, BeckyShaw, Language Rooms, Leaving, and Macbeth. Di-recting credits include: Cabaret, Urinetown: The Musi-cal, and Some Assembly Required. Dramaturgicalcredits include: Becky Shaw and Schmucks. Plays in-clude: Your Ex-Lover Is Dead, A Fresh Goodbye, In-tersections, There Was A Little City, Year of the Windand Subsequent Longing. He is a Board Member ofthe Philadelphia Dramatists Center, a BarrymoreAwards voter, a member of LMDA, and FoundingArtistic Director of Portland Theatre Works in Portland,Oregon.

Patreshettarlini Adams (Resident StageManager/AEA) has been the production stage man-ager at The Wilma Theater since the theater made itsnew home on the Avenue of the Arts in 1996. Shehas captained all but three productions in her tenurehere and is very happy to be a part of the Philadelphiatheater community. “Pat” is celebrating two milestonesthis year -- season #15 at the fabulous Wilma and her20th anniversary as an Equity stage manager! Prior toher coming home to Philly, Pat was stage manager atthe Tony Award winning Crossroads Theatre in NewBrunswick, NJ. In past years, Pat has worked the Na-tional Black Arts Festival in Atlanta, GA and the Na-tional Black Theater Festival in Winston-Salem, NC.When not at the Wilma, she has found herself travel-ing the world with critically-acclaimed dance companyNoche Flamenca! Most recently, she is using all herfree time to spoil her grandson, Isaiah. God Is Good!Andrew Wade (Voice and Text Consultant)has consulted for 11 productions at the Guthrie The-ater since 2002. Wade served as the head of voice atthe Royal Shakespeare Company between 1990–2003 and was assistant voice director between 1987–90. Film/television credits include Shakespeare inLove, Into the Night Garden, and Triple Sensation. In2005, he wrote Working Shakespeare, a series offilmed workshops and Sourcebooks Editions ofShakespeare. Wade lectures and leads masterclasses with theater companies in Africa, Asia, Aus-tralia, Europe, North America and South America.Iain Campbell (Production Manager) is in his thirdyear as Production Manager for The Wilma Theater.Prior to arriving in Philadelphia, Iain served as theManaging Director for Buffalo’s Studio Arena Theatre,taught at the Studio Theatre School, and served asthe Secretary for the Theatre Alliance of Buffalo. Iainhas also been involved with production managementat Baltimore’s Everyman Theatre, San Jose RepertoryTheatre, and Chicago’s Court Theatre. While inChicago, he freelanced in production managementwith companies such as European Repertory Theatrein the Steppenwolf Studio and Chicago Opera The-atre. In addition to freelancing, he has also worked asa facility consultant in San Jose and as a ProductionConsultant for the Clarice Smith Performing Arts Cen-ter on the University of Maryland campus. Iain is agraduate of the Theatre Arts Management program atIthaca College.

James Haskins (Manag-ing Director) joined thestaff of The Wilma The-ater as Managing Direc-tor in June 2006. Hebegan his work in theateradministration as Box Of-fice Manager of CircleRepertory Company andwent on to work with anumber of New York the-

aters, including National Shakespeare Company,Symphony Space, Provincetown Playhouse, Actor’s

Playhouse, Triplex Performing Arts Center and AstorPlace Theatre. In Seattle, he served as BusinessManager of Seattle Group Theatre and worked forTicket/Ticket, Seattle’s half-price ticket booth. In 1999,James moved to Philadelphia and worked as Manag-ing Director of InterAct Theatre Company, while alsoserving for three years on the Board of the Theatre Al-liance of Greater Philadelphia as Chair of the Barry-more Awards Oversight Committee. He later movedinto the Executive Director position of the Theatre Al-liance. Also an actor and director, James holds anMFA from the University of Washington and a BA fromthe College of Wooster (Ohio), where he currentlyserves as President of his alumni class. James ishonored to serve on Philadelphia Mayor Michael Nut-ter’s Cultural Advisory Council.

Jiri Zizka (FoundingArtistic Director) wasborn in Prague and edu-cated at Charles IV Uni-versity, became an Artistin Residence at theWilma in 1979 and co-Artistic Director in 1981,where he directed over70 productions. Some of

the highlights included Orwell’s Animal Farm, Camus’The Stranger, Brecht’s Mother Courage, Capeks’ TheInsect Comedy, Weiss’ Marat/Sade, his own adapta-tion of Wilde’s The Picture of Dorian Gray,Brecht/Weill’s Happy End, Orwell’s 1984 (also at theKennedy Center and Off-Broadway), Fo’s AccidentalDeath of an Anarchist and the U.S. Premiere ofHavel’s Temptation (a co-production with JosephPapp’s New York Shakespeare Festival). Jiri also di-rected a feature film of Václav Havel’s LargoDesolato, adapted by Tom Stoppard, starring F. Mur-ray Abraham, for PBS’s Great Performances. Hewrote and directed Inquest of Love, a film nominatedfor an Emmy® Award. He also directed a co-produc-tion between the Wilma and The Philadelphia Orches-tra of Tom Stoppard’s and André Previn’s Every GoodBoy Deserves Favor, a play for actors and a philhar-monic orchestra, at The Kimmel Center’s Verizon Hall.Jiri directed, among others, Mark Saltzman’s The TinPan Alley Rag (Carbonell Award for Best Director),Martin McDonagh’s The Pillowman (six Barrymorenominations), Peter Shaffer’s Amadeus, Terry John-son’s Hysteria, and most recently, the U.S. Premiereof Václav Havel’s Leaving. In 2010, Jiri moved into aconsulting relationship with the Wilma in order to pur-sue other artistic endeavors.

How to contact us

The Wilma Theater 265 South Broad Street, Philadelphia, PA 19107Box Office: 215.546.7824 Admin: 215.893.9456 Fax: 215.893.0895

Wilma Theater Staff (cont’d)

Marketing Marketing Director - Aaron ImmediatoGroup Sales & Special Events Manager - Julie CassidyPublic Relations Manager - John Van HeestTelemarketing Manager - Mark A. Dahl Telemarketing Representatives - D’esiree Hines, Rachel Gordon, Dennis Leo, Jeff AlnuttDevelopment Development Director - Amanda DitskyGrants Manager - Justin BauerDevelopment and Special Events Intern - Niki IanniEducationEducation Director - Anne K. HolmesEducation Fellow - Ashley AlterTeaching Artists- Bobbi Block, Mike Dees, Elizabeth Greene,Kathryn MacMillan, Aaron Oster, Tom Reing,Emily Peters, Jay Wahl, Davon WilliamsBusinessGeneral Manager - Maggie ArbogastOffice Manager - Beth BannonProductionProduction Manager - Iain CampbellTechnical Director - Clayton TejadaResident Stage Manager - PatreshettarliniAdamsFacilities Manager - Kenneth DeprezMaster Electrician - Ashley W. MillsSound Engineer - Andrea SotzingWardrobe Supervisor - Regina RizzoProduction Fellow - Alyssa ColeStage Management Fellow - Katharine WennellProduction Management Interns - Nicole Falcone, Kathryn MacIlvainFront of HouseBox Office Manager - James SpechtAssistant Box Office Manager - Crystal WhybarkBox Office Staff - Amanda Grove, Lorna HowleyHouse Manager - Javier MojicaServicesGraphic Designer - Caren GoldsteinPhotographer - Jim Roese, Christopher GabelloCatering - Chef’s Market, J. Cabot Catering Co.Technology Services - NPower PAAuditors - Horty & Horty, P.A.Cleaning Service - 1010 Cleaning, SqueakyCleanand GreenInsurance Brokers - Gallagher Benefits Services, SKCG Group, Inc.

MACBETHProduction Crew

Voice and Text Consultant…..................Andrew WadeWig and Make-up Designer....................Maggie BakerAssistant Director......................................Justin PooleSamuel S. Fels Fund Intern...........…....David GardnerAssistant Stage Manager............... Katharine WennellAssistant Set Designer…....................... Brett BanakisAssistant Costume Designer................Brieanna LewisAssistant Lighting Designer…................Maria ShaplinProp Master.................................Kimitha Anne CashinLight Board Operator........................... Ashley W. MillsSound and Video Operator.................. Andrea SotzingWardrobe Supervisor...............................Regina RizzoRunning Crew...Elliot Greer, Alyssa Cole, Matt ZumboMaster Carpenter.......................................Matt ZumboCarpenters................ Nelson Barre, Scott Cocchiarro,

Timothy Harbeson, Jefferson Haynes, Melanie Leeds, Lance Kniskern, Georgia Schlessman, Christopher Seegel

Electricians............... Nelson Barre, Josh Carazo,Andrew Cowles, Nathan C. Gray, Kelsey Harro, Debby Lau,Nicole Rolo, Christine Richards,Georgia Schlessman, Elliot Greer

Costume Construction...........................Glenda Beck, Andrea Seidel

Dresser……......................................Rebecca KanachStage Crew Intern….....................Rachel ChristiansenProperties Intern….................................Melanie FurthScenery Construction by................. Scenery First, Inc.

Special Thanks to:Joseph Hibbs and Mapex Drums, Patrick Richardson,

Adam Riggar, Drew Billiau, Perry Fertig,

Wilma Theater Staff

Artistic Director - Blanka ZizkaManaging Director - James HaskinsArtisticDramaturg/Literary Manager - Walter BilderbackLiterary Programming Assistant/Casting Director - Richard W. KotulskiLiterary InternsWilliam Steinberger, Rebecca LeVine, DeAnna Supplee, Michael Silverstein, Kati Zaylor, ElizabethHumphrey

open stageswritten by walter bilderbackand richard w kotulski

designed by john van heestmore on the web @ wilmatheater.org

Macbeth is one of Shakespeare’s best-known and most-produced plays, whichmakes it one of the best-known and most-produced plays in the English lan-guage. Certain key images and phrases permeate our consciousness as the playhas been adapted and parodied in almost every manner and style imaginable. In

the 1960s, in Barbara Garson’s Macbird, it be-came an expression of distrust for government fol-lowing John F. Kennedy’s assassination. In theSouth African uMabatha it was a vehicle to portraythe fall of the Zulu Empire. In addition to versionsof the play itself, films have turned it into a samu-rai tragedy (Akira Kurosawa’s Throne of Blood),gangster power struggles in Brooklyn and Mel-

bourne, Australia, and a fight to control a fast food outlet in rural Pennsylvania.Stage productions in the past year have used the plot to portray power strugglesin a Dutch chimpanzee enclosure and a Botswanan baboon troop. It has beenparodied on The Simpsons and turned into a one-man show using TheSimpsons’ characters’ voices for Shakespeare’s thanes. And this only scratchesthe surface.As a result of this, almost all of us have an ingrained familiarity with what feel likethe “bullet-points” of the play, making it difficult for us to hear the play’s actuallines and images amid all the popculture clutter. Most of us are re-markably more sure of the play’sworld than its characters seem tobe: something almost all closereaders have noted is the turbu-lence and uncertainty of the play.Questions abound, starting withthe first words of the play. Informa-tion is received as hearsay muchmore often than fact, and all “facts”seem to have doubled, or doublyredoubled, meanings. The Shakespearean scholar G. Wilson Knight remarkedon the “continual surprise” within the play. Time, that most human of concepts, re-sounds through the play, complicated by a velocity that gives a sense of sleep-less delirium. Large stretches of the play unfold in almost real time, thensuddenly jump unclear intervals – days, weeks, or much longer?

Marvin Rosenberg, in The Masks of Macbeth,his encyclopedic study of the play’s interna-tional life up to the mid-1970s, stresses theplay’s “polyphony,” “the sense of the manynotes in the character designs, and their dy-namic, changing patterns.” Almost anythingthat can be asserted as an attitude of the playcan be met with a counter-assertion within theplay’s text. Rosenberg urges the attempt to“recapture the bewilderment and mystery of

the unfolding oracular promises” made in the play.This production has tried to emphasize that polyphony, rather than shoehorningthe play into a specific rigid interpretation. The costume design aims to capturean unspecified “Western” feeling of the late 20th century, because Blanka Zizkafelt the play’s sensibility of uncertainness is shared so much with that period fromwhich we may (or may not) be emerging.In other aspects of this production, atten-tion has, almost organically, gone in the di-rection of exploration withoutpre-determined interpretation. Rosenberg’spolyphony dovetails very nicely into the ap-proach Cicely Berry and Andrew Wadetake toward exploring Shakespeare’s lan-guage, which in turn dovetails surprisinglywell with Gaston Bachelard’s The Poeticsof Space, a major influence in the design ofthe abstract stage space. Rosenberg says“A drama as polyphonic as Macbeth cannotbe described from the hindsight of whathappened. It must be re-experienced interms of what happens from moment-to-moment, in terms of its process. Macbethis about all that goes on in it.” Similarly, thevoice guru Cicely Berry urges actors toavoid “the tendency to swamp the lan-guage with emotion without letting the thought to impact or, more crucially, to besurprised by it.” And Bachelard, seeing space as a poetic act, speaks of poeticacts as a “doublet of resonances and repercussions,” where the “resonances aredispersed on the different planes of our life in the world, while the repercussionsinvite us to give greater depth to our own existence.”

Finding the

turbulent

polyphony of

OF MACBETH

These photographs from Ron Haviv'sBlood and Honey (which documents theBalkan wars) were very influential inthinking about the disintegration of nor-malcy for our production of Macbeth.

Aboutthe

images

To read the full article,

including discussion of fear, evil

and civilization, visit

wilmatheater.org

AW: I believe it was the poet Louis MacNe-ice who said, “the shape is half the mean-ing.” So beginning to trust that is important.You have to find the shape of the words inorder to find the shape of your thoughts.And sometimes the pattern, or just thesound, is as important as “meaning.” Wecan sometimes laugh at a piece of Shake-speare and not quite know why welaughed. We probably laughed at the patterns, therhythms, the nuance, and that is all part ofunderstanding communication. We can be

listening to apiece of Shake-speare, and weseem to be ableto follow it at thetime. But if westopped, and hadto analyze it, weprobably wouldhave trouble ana-lyzing it. Just thewhole area of

what it is to understand something, I thinkis very interesting. Even the very word,“under-stand.” We all seem to use it, but it’sa very, bit of an odd word, isn’t it, to “standunder” something. WB: It’s early in the process, and much ofthe work we’ve done with you has been ontexts that aren’t from Macbeth, but with thework we’ve done on some scenes, andfrom your previous work on Shakespeare,are there things about the language ofMacbeth you think audiences should beaware of, that feel more peculiar to thetragedies or to this play?AW: I’m not sure how much an audienceshould be more aware of, coming into theplay, but we’ve observed this week thatthere are huge amounts of what we mightcall “shared lines” between characters, in-stances where one thought seems to end,and a new one begins in the middle of theline of verse.

There’s no direct answer to what thatmeans, but it’s very important to keep beingalert to that as the rehearsals go on, and tohear what energy and rhythm that gives.There’s a lot of speed in other ways aboutthe play, which I think the form reveals interms of the shared lines and so forth. Per-haps thesecond partof the verseline is moreimportant,or how acharacter isinterruptinganothercharacter orcoming in very quickly: all of that is all partof the stakes, or part of the temperature inthe play. Shakespeare is crafted spontane-ity. There’s a “double-ness” to many ofShakespeare’s lines, and that seems par-ticularly true in this play, and appropriatelyso. Like any Shakespeare play, there is aworld of vocabulary specific to the play.And there are a lot of words that seemed tocome up an awful lot in rehearsal this weekin relationship to time, both literal andmetaphorical. Even the first word takes usinto that: “when,” and it’s repeated threetimes in the first few lines. So how doesthis cast bring me into their world from thebeginning? WB: It seems like the play’s language isvery turbulent.AW: Very turbulent language. Even oftenwhen you beat it out, it’s quite hard to find ameter, so your understanding of the senseis often very, very restless, along with themeter, isn’t it? There’s not one definitive an-swer of what that implies. Uh, but yes, it’squite turbulent. “The multitudinous seas in-carnadine, Making the green one red.” It’srestless, isn’t it, in its very meaning?

Walter Bilderback: What is the importanceof language to doing Shakespeare? Andrew Wade: The importance is that thewhole storyline is driven through the lan-guage. It’s very easy to talk about text-dri-ven plays, because most plays have wordsin them. But in Shakespeare, the wholenarrative is driven by how the languageworks, how we relate to that language, andtherefore how a story is told to an audi-ence. Shakespeare is verbalized thought.WB: What are some of the ways in whichyou help actors to get a feel of that lan-guage?AW: We are always having to find our rela-tionship to form, so the work always seemsto be changing, decade to decade, genera-tion to generation, in how we relate to formand writing. How do you react to the formof the text? When I started teaching in thelate ‘70s, working with a group in a dramaschool on the Romeo and Juliet prologue,

an actor came in, and brought a sword, andran around and jumped around the stage.And when I said, “Well what about theshape of it,” he said, “Oh, ____ the shape. I

just wanted to be creative with it.” And Ithink in England during the MaggieThatcher years everything became aboutqualifications and rules. There was a wholegeneration who just wanted answers onhow to speak Shakespeare. Wanted toknow what the rules were.WB: Interesting.AW: I may be wrong, but it seems to methat politics has a huge impact. And now Ithink the need is to open it out again. In away that is not just about having answers.That it’s about what do I personally hearfrom it, as opposed to what I should do withit. The work I do is designed to give actorsthe opportunity to listen to the possibilitiesin a language – how does the meaning of aword or phrase change when I speak italoud? – as opposed to imposing a mean-ing on the text before we’ve heard what theshape of it can carry and contribute. An ex-ample might be the size of words. In a soci-ety where most communication is through

the written word, I think we start tothink that the most important wordsare the longest. In a spoken culture,this isn’t necessarily the case.Some words that are short whenwritten are actually long when spo-ken. Look at the word “if.” It’s full ofpotential, it’s a huge word!WB: During the workshop you saidsomething about relating the shape

of words and the shape of thoughts.

AN INTERVIEWWITH

Andrew WadeVoice and Text Consultant for MacbethListening to the possibilities in a language.

Like any Shakespeareplay, there is a

world of vocabulary

specific to theplay.

by Walter Bilderback

You have tofind the shapeof the wordsin order to

find the shapeof your

thoughts.

A Woman in Berlin is the journal of a young woman recounting her experiences in the firsteight weeks of the Soviet occupation ofBerlin, starting in April, 1945. It was a majorinspiration for director Blanka Zizka’s visionof the world in which the Wilma’s Macbeth isset. Historian Antony Beevor praises AWoman in Berlin for “its courage, its stunningintellectual honesty, and its uncommon pow-ers of observation and perception. It is one of

the most important personal accounts ever written about the effects of war and defeat.”“Our radio has been dead for four days. Once again we see what dubious blessing tech-nology really is. Machine with no intrinsic value, worthless if you can’t plug them in some-where. Bread, however, is absolute…But radios, gas stoves, central heating, hot plates, allthe gifts of the modern age - they’re nothing but dead weight if the power goes out. At themoment we are marching backwards in time. Cave dwellers. I have been preoccupied, forced to cope with my fearof death. The symptoms are always the same. Firstthe sweat beads up around my hairline, then I feelsomething boring into my spine, my throat getsscratchy, my mouth dry, my heart starts to skip. I’vefixed my eyes on the chair leg opposite and am mem-orizing every turned bulge or curve. It would be nice topray. The brain clings to set phrases, fragments ofsentences: “Pass lightly through this world, for it isnothing…and each one falls as God desires…Nolitimere.”What’s clear is that every threat to your life boosts your vitality. My own flame is stronger;I’m burning more fiercely than before the air raids. Each new day of life is a day of tri-umph. You have survived once again. You’re defiant. On the one hand you stand taller, butat the same time you’re planted more firmly on the ground.”

join us in the conversationwilmatheater.org/blog

twitter.com/thewilmatheaterfacebook.com/thewilmatheater

ONSTAGE CONVERSATIONS

EXPLORING MACBETH

FREE FOR ALL SUBSCRIBERS AND Macbeth TICKET HOLDERS.FOR TICKETS, PLEASE CALL THE BOX OFFICE AT 215.546.7824

OR EMAIL TICKETS@WILMATHEATER.ORG

THR Oct. 710:00pm

THR Oct. 1410:00pm

SUN Oct. 174:30pm

WED Oct. 274:30pmJoin a member of theWilma artistic staff foran informal conversa-tion in the lobby withfree coffee!

Join Dramaturg WalterBilderback and threedistinguished guestsfor a wide-rangingconversation on theWilma's production ofMacbeth.

Stay after the performance for aninformal chat withthe cast.

Stay after the performance to discuss the play witha member of theWilma's artistic staff.

I was struck by Bachelard’s notion that the different physical localities of thehouse are imbued with particular psychologies/memories/fears/desires...in ourfirst conversations, Blanka mentioned that she was interested inmaking this a very visceral produc-tion of Macbeth – one that makesthe text really palpable, and the ac-tors' physicality totally present. Iimmediately thought of the spatialequivalent, which is when a spaceactually makes you feel something.There’s a wonderful quote in the book: "Great images have both a history and aprehistory: they are always a blend of memory and legend, with the result thatwe never experience an image directly." There are localities that are more heavilyimbued with these feelings than others – hallways, closets, attics, basements.

These spaces are somehow repositories formemories, physical memories, and this makesthem particularly potent for a play about fear.There’s another quote about the impact of apoem that’s very appropriate to this play, as well,in terms of the relationship of language to space:"The resonances are dispersed on the differentplanes of our life in the world, while the repercus-sions invite us to give greater depth to our ownexistence. In the resonance we hear the poem,in the reverberations we speak it, it is our own....It is as though the poem, through its exuberance,awakened new depths in us." I think the play’s

reverberations must be experienced both emotionally and spatially. It is throughthe simultaneous experience of these two that the actual reverberation occurs.

From A WOMAN INBERLIN: EIGHT WEEKSIN THE CONQUERED

CITY, by Anonymous

Set designer MimiLien was asked to

share a few thoughtsabout the

development of herscenic ideas and the influence of Gaston

Bachelard’s The Poetics of Space.

On the set of

Macbeth:MIMI LIEN

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A Special Note to Our DonorsThis list acknowledges all donations of $150 or above from July1, 2009 through August 24, 2010. If your name has been omit-ted or misprinted, please accept our apologies. Notify us of anychanges by contacting Amanda Ditsky, Development Director,at 215.893.9456 x109. Thank you for all your kind support.

ON STAGE

November 2010

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Old Wicked Songs

Front Row Seat*

Annie*

Caesar’s Palace O’Fun

A Christmas Carol

Annual FundA plus sign (+) denotes five-year consecutive donors.

$750 to $999Arthur Caplan and Margaret B.O'Shea Caplan

Gordon and Karen Rose+$500 to $749

Anonymous+James and Sandra Andrews+Peter H. ArgerMs. Marilyn Benshetler+Al and Marilyn BlatterRuth E. BrownMr. James BrysonMs. Doris Casper+Carol and Bruce Caswell+Allitia DiBernardoSheryl and Steve Durham+Alan Folsom and Kitty RuchJohn R. and Karen S. FultonMr. Arnold GalmanDrs. Mark and Vivian GreenbergMr. Robert Kirkwood+William Lake Leonard+Mr. William A. Loeb+Mr. Robert Macbeth+Mr. and Ms. David Miller+Frank and Fiona Murray+Quan A. Nguyen and JessicaLynn Geyer+

Elizabeth and Jerome Pontillo+Mr. and Mrs. Guadalupe andDorothy Romanko Rojo

Karen ScholnickGary R. Segal+Sallie and James Warden+Wendy, Larry and MiriamWhite+

Ms. Wendy E. Wilson and Mr.Bruce McKittrick+

$250 to $499Anonymous+Howard AaronsonNatalie AbbottPhyllis and Charles Adams+Mr. and Mrs. Jack R. BershadBarry and Marilyn Bevacqua+Bob and Marilyn BirnhakMr. and Ms. John K. BurnsMary E. ChomitzTony and Harriet Crane+Mr. and Mrs. Granville CrothersMr. and Mrs. Alan N. DabrowRichard D. Stoy and Doris J.Dabrowski+

Matthew and Mary Kate D'An-nunzio

Henry and Kathy Donner

Robert S. DuPlessis and RachelBlau DuPlessis

Mr. David W. DurhamJoel Edelstein and Betsy McK-instry+

Susan J. Ellis+Stephen Falchek M.D.+Robert and Priscilla Foley GiftFund

Daniel GannonHarry and Jeanne Gelman+Dr. Steven and Mrs. SusanGlauser+

Ms. Joan Gmitter+Michele Goldfarb and Tony Ros-tain+

Susan V. Greene and KathleenSheridan+

Anne and Michael Greenwald+Mr. Mark H. Haller+Mr. James HaskinsMs. Elizabeth HigginbothamMr. and Mrs. Ralph S. Hirshorn+Ms. Terry Hirshorn+Joseph Holman+Mrs. Madeline Janowski+Paul H. Kahn and Janet AldenKahn+

Mr. Kenneth D. Kopple+Peg and Michael Kramer+Eva and Michael Leeds+David Lerman and Shelley Wallock+

Ann T. Loftus, Esquire andEileen M. Talone+

Drs. Frank and Sally MalloryGordon and Louise Marshall+Ilene W. McCaffrey+Ms. Joanne MeyersMr. and Mrs. Edward J. MitchellMr. and Mrs. Ronald J. NaplesDr. and Mrs. Andrew Newman+Ms. Barbara Oldenhoff+Mr. and Mrs. Philip Paul+Dr. and Mrs. Joel Porter+Harriet PotashnickBill and Mary Jo PotterMs. Mary Jo ReillyKurt and Mary-Ann Reiss+Kathryn Ames DMD and JosephRoberts DDS

Joan and Joel RosenbloomAndrew Sacksteder and ColleenMurphy+

James and Jenny SantangeloMr. Samuel J. Serata, Esq.+David and Gayle SmithDr. Stanton and SaraKay Smullens

Harold and Emily Starr+

Mr. Stephen A. Stumpf+Pat and Elaine Sweeney+Ms. Nina E. Tafel+Sherryl Kuhlman and LouisThompson+

Jim TonerUnited Way of SoutheasternPennsylvania

Hella and Lewis Volgenau+Richard and Beatrice WernickBarbara and Peter Wester-gaard+

Ms. Mary Ann Woodcock+Mr. F. Gordon Yasinow$150 to $249Anonymous (2)Ms. Alison AndersonMs. Ann Auerbach+Dirk and Charlotte AveDr. Donald Bakove and Mar-garet G. McLaughlin

Richard and Eileen Bazelon+Amy Branch and Jeff BenolielMr. and Mrs. Peter A. BenolielMr. Frank A. BernardMr. Torsten BernewitzIo and Tom BetleyFrancisco and Denise MejiaAnn and Tom Blackburn+Joan S. BlaineBurton Blender and Libby Har-witz

Chris Bozman and Merri LeeNewby

Mr. and Mrs. Stephen BremanNorman and Elaine BrumbergDon and Monica CamhiScott and Anne CampbellVincent CangelosiMr. William H. Chandlee+Dr. Ronnie CimprichMr. and Mrs. Mark Cipolone+Ms. Joan I. CoaleRabbi and Mrs. Henry Cohen+Renate and David ColtonMarilyn J. ConwellMr. James D. CrawfordBarbara A. DaneluzziRobert M. DeverMr. William DowlingMs. Anna EnsorMr. and Mrs. Leonard Evelev+Dr. and Ms. Miguel FicherJanet and Edward FieldingAlfred and Phyllis Ford+Pam and Rod GagneM. GendronGindin ConsultingPhilip K. and Karen S. Glick+

OPENING NIGHTDONORS

Barefoot WineCabot CheeseHatboro BeveragesRuth’s Chris Steakhouse

MATCHING GIFTDONORS

ACE INA FoundationAir Products FoundationCovidienExxonmobil FoundationGlaxoSmithKline FoundationGMACIBM Matching GiftsJohnson & Johnson Family ofCompanies

Merck Partnership for GivingNorfolk Southern FoundationPfizer FoundationProQuestPrudential Foundation MatchingGifts

The Pew Charitable TrustsMatching Gift Program

The Robert Wood JohnsonFoundation

Verizon Foundation

INDIVIDUAL DONORSThe Premiere CircleThe Premiere Circle is a groupof our area’s leaders whodemonstrate their love of theperforming arts through theirgifts of $1,000 or more. Thebenefits of the Premiere Circleare designed to bring memberscloser to the artists whose workthey make possible. For moreinformation please contactAmanda Ditsky, DevelopmentDirector, at 215.893.9456 x109.A plus sign (+) denotes five-yearconsecutive donors.

$5,000 and aboveValerie A. Arkoosh and Jeffrey T.Harbison+

Daniel Berger+Mark and Tobey Dichter+Michael J. Finney+Linda and David Glickstein+Peggy and Rich Greenawalt+Phoebe W. Haas CharitableTrust "A" recommended byCarole Haas Gravagno+

Hirsig Family Fund of ThePhiladephia Foundation+

Harvey and Virginia Kimmel+Mrs. Patricia Kind+Josephine Klein+Mr. and Mrs. Robert E. Linck+The Suzanne F. Roberts Cul-tural Development Fund+

Ronald and Janet Rock +John and Theresa Rollins+Ellen Solms+Wyncote Foundation+The Wyncote Foundation rec-ommended by Leonard C.Haas+

$2,500 to $4,999Mrs. Valla Amsterdam+Ms. Autumn R. BaylesAdelaide Beacham and JackAdler, Jr.

Arjun BediClare D'Agostino, Esq.+Mr. Joseph Dante+Herman and Helen Fala+Matthew and Marie Garfield+Mr. and Mrs. Richard V.Holmes+

Lewis and Ellen Johnston +Erin and Joseph Kuhls +Sissie and Herb Lipton+Tom and Betsy Mahoney+James and Eleanor McGillin+Sam and Charles FoundationDianne Semingson and CraigLewis+

Ms. Evelyn Spritz+Gillian Wakely+Dr. R. J. Wallner+Andy and Sally Williams+Mr. and Mrs. Richard WolfingtonLaura Wood and Dr. LawrenceQuartana

Jeanne P. Wrobleski, Esq.+The June and Steve WolfsonFamily Foundation+

$1000 to $2,499Ms. Susan BasilePeter Benoliel and Willo CareyBuzz and Lisa BissingerLouis Bluver+Lois and Julian Brodsky+Kathleen and Nicholas Chimi-cles

John and Priscilla Clement+Elizabeth H. Gemmill+Eduardo Glandt+Jane and Joe GoldblumNaomi Grabel and Neil Kutner

James Haskins and MichaelWhistler

Richard and Dortha HaskinsRobert and Sally HuxleyGay and Donald Kimelman+Kenneth and Eve KlothenDavid E. Loder+Megan and Lou Minella+Antonio Muniz and Bill Felty+Russell Palmer and StephenJanick

Annette and Chuck PennoniMr. Mark PoorAllen C. SabinsonCarol and George Sabochick+Dr. Nathan and Dolly BeechmanSchnall+

Brian SeamanMr. Mark SteinMr. and Ms. Stephen ShellerKathleen StephensonCharles and Melissa Thorne+Robert and Barbara Tiffany+Mr. and Dr. Richard WoodsStephen and Florence Zeller+Blanka Zizka+

Ovation is a proudsponsor of The Wilma

Theater. Ovation turns great artand culture into great television. All day, everyday, Ovation showcasesmovies, biographies anddocumentaries about

actors, musicians, artistsand creators of all kinds. Tune-in to Ovation inPhiladelphia on

Comcast Channel 155or visit OvationTV.com

for channel and program information.

The Wilma Theater�s

in-school

residency

program

WILMAGINATION

is made

possible with

the support of

Annual Fund continuedScott and Margie GormanPeggy Grip+Ira and Jane Grushow+John and Mary Ellen HagnerKaren Harkaway M. D.+Peter and Donna Hasselmo+Marion Heacock+In Memory of Chris HayesFred Slack and Patricia Henriques

Ms. Joyce E. HenryPeg HertrichEdward J. Hochreiter+Ms. Claire HoffmanMr. Wallace HussongMr. and Ms. Donald JohnsonMr. Eli KaufmanKaren and Daniel KesslerTodd and Cathy KilpatrickCharles and Lucinda Landreth+Mr. and Mrs. Robert H. Lee, Jr.Diane and Eric LeichterDr. Rafael and Nancy Levites+Mr. and Mrs. Howard H. Lewis+Greg and Cyndi LineBrett and Lori LinsonWill and Sandra LockNadine and Mike Lomakin+Marc Lowenstein and DeborahDavies

Christine Lussier and RobertHamill

Kenneth and Susan MarguliesMr. and Mrs. Wallace S. Martindale III

Lynne Maxwell+Linda JonesJoe McGrew and Dot McGrew+Lawrence Meehan and SusanTomita

Mr. and Ms. Thomas Mollen+

Noah and Annette L. Osnos+Mr. and Mrs. Aaron J. OwensMr. Arthur Panfile+Milton and Ruth Parnes+Guido and Aileen PasquelMarcelle Pick+Ms. Claudia Pine-Simon+Ms. Rhoda Polakoff+Mr. David RasnerDr. and Mrs. Wolfram RiegerMr. and Ms. Milton RisemanClaire RoccoJoseph and Meryl RodgersMr. Joseph RonanRandi and Michael Rothmel+Barbara and Dan RottenbergMr. and Ms. Leon Rozinsky+Ms. Patricia SaddierMs. Nora Salzman+Mr. John F. Sanford+Laurada Byers and MichaelSanyour

Randall SaponaroMs. Emma Jane Schneck+Lee and Linda Jean SchneiderElliot and Phyllis SchreiberMs. Adeline R. Schultz+Ms. Libby SchwartzAntoninette F. Seymour+Sharon and Irv Shapiro+Ms. Dea C. SilbertrustRobert and Susan SimonSimon and Nicola SinclairDavid and Rebecca SinklerMr. Stephen SmithEdward J. Speedling and JaneIsaacs Lowe

Ms. Louisa Spottswood+Peter StamblerJonathan and Judith Stein+Walt VailDavid VanHouten and KimOlthoft

Edward WallaceWilliam and Ilene Whitehead+Bernard and Elizabeth Witter+Neil YoungPeter Zutter and Tom Murphy+

OfficersLewis H. Johnston, ChairAutumn Bayles, Vice ChairDavid E. Loder, Esq., ViceChairClare D'Agostino, Esq. SecretaryThomas Mahoney, TreasurerChair’s CouncilMark S. Dichter, Esq.Herman C. Fala, Esq.Peggy GreenawaltJeff HarbisonJohn D. RollinsA. E. (Ted) Wolf

Board MembersArjun BediLinda GlicksteinAmy LeisRobert E. LinckSissie LiptonJames F. McGillinDonald F. ParmanRonald RockMary RucciAllen SabinsonBrian Seaman, Esq.Dianne L. SemingsonEllen B. Solms Evelyn G. SpritzDavid C. U’Prichard, Ph.D.Gillian Wakely

Andrew B. WilliamsKelly WolfingtonLaura WoodJeanne P. Wrobleski, Esq.Ex-OfficioJames HaskinsBlanka ZizkaEmeritusHarvey KimmelDr. R. J. Wallner

Subscribe NOW and receive FREE PARKING!215.546.7824 wilmatheater.org

Student SundayEvenings

This program is generously underwritten by the

Virginia and Harvey Kimmel Arts Education

Fund. This program provides $10 tickets to students.

By Theresa Rebeck

Directed by

David Kennedy

dec 29, 2010 -

jan 30, 2011

By Sarah Ruhl

Directed by

Blanka Zizka

mar 2 - apr 3, 2011

By Alan Ayckbourn

Directed by

Richard Hamburger

may 18 - jun 19,

2011

Where You Want to Be

4000 Fox Hound Drive, Lafayette Hill, PA 19444www.thehillatwhitemarsh.org

Perfect Time…Perfect Place…Perfect Plan.

Find it at The Hill at Whitemarsh, one of Delaware Valley’s newest lifecare communities, where you can easily enjoy the energy and culture ofthe city, yet escape to country living in a beautiful community setting.

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