Seize the Day

Playwrights: Saul Bellow and Mary Otis

Director: Herbert Berghof

Cast: Charles Nelson Reilly, Walt Witcover, Alexander Scourby, David Hurst, Carol Pearce, George Mathews, Lou Gilbert, Brooks Rodgers, Ling Chang, Jeremy Stevens, Tom Johnston, Oliver Berg, Marlene Mancini, Don Berry, Elizabeth Dillon, Michael Corder, Shirley Bodtke, Kathryn Scott, William Hickey and Uta Hagen

Lighting Designer: Tony Quintacalla Production Manager: Henri Caubisens Assistants to Herbert Berghof: Marlene Mancini and Edith Emmet House Manager: John Matthiessen

Seize the Day was performed in February of the years 1967-1968.


This is a play about a man with a corrupt life of balancing the difficulties of money and women trouble. He seeks advice from his father which leads to disappointment being that he wanted to hear advice different from what he was just hearing. He’s in a tough predicament which results in unhappiness and drug use.


Playwright: Eric Bentley

Director: Herbert Berghof and Uta Hagen

Cast: Joanne Bayes, Josephine Lemmo, Olga Bellin, Beverly Luckenbach, Oliver Berg, Salem Ludwig, Herbert Berghof, Edward Morehouse, Don Bishop, Richard Morse, Kent Broadhurst, James Patterson, Shirley Cox, Fern Sloan, Angus M. Duncan, Augustus Sultatos, Michael Higgins, William Traylor, Arthur Hill, Fritz Weaver, Michael Holmes and George Welbes

Designer: Lester Polakov Men’s Costume Designer: Kathe Berl Female’s Costume Designer: James Dukes Composer: Richard Peaslee Technical Director: Philip Lerman Assistant to Mr. Berghof: Marlene Mancini Stage Manager: Erin Fleming Production Assistant: Albert Amateau Production Assistan

t: Don Berry Production Assistant: Patrika Brown Production Assistant: Michael Corder Production Assistant: Frank Crocitto Production Assistant: Pennie duPont Production Assistant: Linda Geiser Produ

ction Assistant: Tom MacCready Production Assistant: Tony Quintavalla Production Assistant: Lesley Secomb Production Assistant: Andre Sedriks Production Assistant: Albert Settimio Production Assistant: Meira Shore Production Assistant: Lorry Wynne Production Assistant: Karen Ludwig

Commitments was performed in March.

Battle of Angels

Playwright: Tennessee Williams

Director: William Hickey

Cast: Gerald Black, Betty Pelzer, Elizabeth Newitt, Ellen Welch, Jeffrey Klein, Erica Evans, Ed Shavitz, Jane Holzer, Joyce Barker, Michael Beckett, Alice Spivak, Andrea Fooner, Diane Simkin, Pat Finnegan, George Augustus, Herbert Jefferson, Jeremy Stevens, Tom McCready, Craig Corder, Michael Corder, Jim Cashman and Sandy Sprung

Lighting Designer: Anthony Quintavalla Costume Designer: Joanne Bayes Stage Manager: Trent Gough House Manager: Pennie duPont Assistant Stage Manager: Andrea Fooner Production Assistant: Gwen Saska Assistant Director: Michael Beckett

Battle of Angels was performed November 28th – December 3rd of the year 1967.


The plot surrounds a migrant worker Val who arrives in a small town and takes a job in a general store. He piques the interest of an unmarried woman Cassandra (whose failure to marry has made a notorious figure in the community). Their date goes badly when she seems to expect sex from Val. Val later falls in love with the married manager of the store, Myra. Myra’s husband is old and dying and she is attracted to Val so they eventually become lovers. Val has a past. He fled Waco due to accusations of rape (he is apparently innocent but we really only has his claim that the woman from Waco was slighted by Val’s regrets the next day). During his employment, Val comes to the aid of an unemployed black man who is threatened with arrest for vagrancy. These four characters are bound by legal expectations. Val, like Caleb Williams or Jean Valjean, is being chased throughout the country for alleged crimes. This makes it impossible for him to settle in one place. The opposite is the fate of Loom, the black migrant, who by not being tied to the employment of a white man is considered a dangerous element in the small town. Cassandra is scorned by the other women in the town for her sexual liberty. Myra is bound to a banal and lifeless marriage. She is so desperate to escape that she has to lock the backroom door at one point and hide the key so as not to be driven to adultery with Val, who she is quickly falling in love with.