Playwright: Michael Straight

Director: Edward Morehouse

Cast: Edward Greer, Edward Moorehouse, Ken Chapin, Jeffrey Koppel, Kurt H. Levister, Gary Enck, Tom McCready III, Austin Pendleton, Paul Thomas, Michael Moody, Robert Giarrtimo, Thomas McCready, Edward Horton, Renos Mandis, James Norman, Antonio Canal, Brandwell Teuscher, Eddy Grove, Gary Swartz, Terry Deck, Christopher Scott, Raymond Alvin, James Norman, Robert Giarratano, John Le Grand, Edward Garrabrandt, Rik Pierce, Robert Vervoordt, George Bartenieff, Earle Hyman, Michael Mullins, Ronald Silver, Ron Vaad, John Gillespie and Rosemary De Angelis

Lighting Designer: Tony Quintavalla Guitarist: Hyman Gubernick Production Assistant and Lighting Technician: Claudia J.Dobkins Stage Manager: John Gillespie Assistant Stage Managers: Claudia Dobkins and Michael Mullins

Caravaggio was performed October 18th – 26th of the year 1969.


Caravaggio is a play about an artist of genius. He could be one of a number of men, if the play has any general validity; he is, in fact, drawn wholly, and I hope faithfully, from one man.


Playwright: Peter Handke

Director: Herbert Berghof

Cast: E. G. Marshall, Jess Osuna, Frank Geraci, Brandwell Teuscher, Stephen Levi, Ronald Silver and Tom McCready

Translator: Michael Roloff Lighting and Set Director: Jennifer Tipton Costumes: Whitney Blausen Masks and Supervision: Bill Baird Mozart Cannons: Hyman Gubernick Production Manager: Marlene Mancini Secretary for the Playwrights Foundation: Peggy Penniman

Kaspar was performed May 11th – 20th of the year 1970.


Kaspar is based on the historical case of a 16-year-old boy who appeared from nowhere in Nuremberg in 1828 and who had to be taught to speak from scratch . . . Handke’s play is a downright attack on the way language is used by a corrupt society to depersonalize the individual.

Goodbye Howard and the Broofer

Playwright: Romulus Linney

Director: Herbert Berghof

Cast: K. Callan, Suzanne Smith, Dorothy Von Muchow, Eddy Grove, Edward Morehouse, James Bulleit, Tom McCready, Jess Osuna, Ronald Silver, Stephen Levi, Brandwell Teuscher, Anne Ashcraft, Andrea Gruen, Virginia Arrea, Maria Manay, Frank Geraci, Jaime Sanchez, Antonio Canal, Michael Mullins, Craig Dalzell, Peter Von Berg, Bruce Copeland, Edward Horton, Peter Von Berg, Joanne Bayes, Leigh Burch, Jean Francis, Naomi Riordan, Shirley Bodtke, Lily Lodge, Justine Herman, Mary Briggs, John F. Boylan, Herbert Berghof, Jack Axelrod, Leigh Burch, Paul Thomas

Lighting and Set Director: Jennifer Tipton Costumes: Barbara Baretta Production Manager: Marlene Mancini Technical Director: Brandwell Tuscher Secretary to the Playwrights Foundation: Peggy Penniman Stage Manager: Bruce Copeland Stage Manager: Justine Herman Lighting Technician: Marsha Appet Lighting Technician: Faye Kleinhaus Production Assistant: Mary Briggs Production Assistant: Craig Dalzell Production Assistant: Bill Freedman

Goodbye Howard and the Broofer was performed March 23rd-April 12th

Salute a Distant Man

Playwright: Robert Sugarman

Director: Frank Geraci

Cast: Donna Pizzi, Kristin Helmore, Jack Axelrod, Rudy Caringi, James Kiernan, Richard Meibers, Brandwell Teuscher and Charles Cilona

Set: Robert Joel Schwartz Lighting: Tony Quintavalla Costumes: Michele Cohen Production Stage Manager: Marsha Appet Stage Managers: Bruce Copeland and Peggy Penniman Technical Director: Brandwell Teuscher



Playwright: Joanna Glass

Director: Austin Pendleton

Cast: Sylvia Burnell, Elinor Ellsworth, Frank Geraci, Michael Higgins, Marlene Mancini, Paul Thomas, Katina Commings and Robert Elston

Set and Costume Designer: Charles D. Tomlinson Lighting Designer: Walter Uhrman Production Manager: Marlene Mancini Stage Manager: Lynn Grossman and Elizabeth Hoover Understudy: Edith Greenfield Poster: Ann Raychel and Kathryn Stein Technical Director: Brandwell Teuscher Lighting Technician: Arlene Siegel Production Assistants: Ed Horton, Jim Boyle, James McMahon, Stephen Levi, Fran Gerardi, Justine Herman and Michael Hanks House Assistants: Andrea Gruen, Marsha Appet, Ed Horton and Marian Cates

Santaqua was performed December 12th – 21st of the year 1969.



The Second Shepherd’s Play

Playwright: John Gassner

Director: Marlene Mancini

Cast: Program #1 Mathilda DeDios, Ruomi Lee Hampel, Liz Newman, Matthew Tischler, Eva DePaola, Aurora Kaschner, Cirkl Piper, Monique Ellis, Rachel Kavish, Sara Rice, Heather Haggerty, Jamie Marsh, Jasmine Savio, Daniel B. Wooten JR Program #2 Alexa Angel, Vanessa Flores, Tara La Dore, Jethro Redstone, May Talman, Antonia Cucciara, Yvonnne Flores, Abby Lester, Ghana Smith, Matthew Tishcler, Mathilda Dedios, Sasha Graff, Shelly McCoy, Christopher Sturge, Dana Wright, Judy Zimbler, Monique Ellis, Sarah Krupnick, Makesha Oucre, Maude Sutherland and Jason Zimbler

Program #1 Director: Marlene Mancini Set & Costumes: Kathe Berl Lighting: Rick Butler Technical Director: Steven Cook Musical Director:Hope Albrecht Original Music:Carol Hall Stage Manager: Ann Day Production Electricians: Anton Graham, Kenji Larsen Program#2 Director: Marlene Mancini Set and Costumes: Kathe Berl Lighting: Rick Butler Musical Director: Michelle Grace Assistant Musical Director: Hope Albrecht Costume Assistant: Lydia Hamza Original Music: Carol Hall Production Manager: Brad Waller Technical Director: Steven Cook Stage Manager: Ann Day

The Second Shepherd’s Play was performed December 19th – 30th of the year 1968.


The play’s first speaker is Coll, who begins his soliloquy complaining of the cold weather. He is “ill happed” (badly covered) no matter the weather, since whether “in storms and tempest” he must still tend to his flock. He also complains about his poverty, which he blames on the rich landowners, “these gentlery-men,” who keep him “so hammed, / Fortaxed, and rammed” (hamstrung or confined, overtaxed, and beaten down) that he cannot escape poverty. Coll continues his list of complaints, which he then directs to the rich landowner’s overseer, who interferes with the work on the farm. Coll uses the word “husbands” at line 33, not to mean a spouse, but in the archaic use of the word, as one who takes care of the land. Coll does not own the land on which he shepherds the sheep, and he feels himself oppressed by the wealthy. He is brought near to “miscarry” or ruin and thus will never be in a position to work his own land. Coll continues to lament his lack of power and that he dare not complain to anyone about how he is treated, since the landowner’s servant has too much power. Coll concludes his soliloquy with the more cheerful expectation that he will soon meet with other shepherds who also share his lonely life.

Gib soon enters the stage. He does not initially see Coll and begins to grumble about the terrible weather. It is so cold and the wind so fierce that his eyes water from the misery. Between the snow and sleet, his shoes have frozen to his feet, and he laments that life “is not all easy.” Gib also whines that his wife nags him. According to Gib, “she cackles” and thus “Woe is him” since “he is in the shackles,” imprisoned in marriage. The rest of Gib’s soliloquy continues to articulate his argument that men would be better off forgoing marriage. Men have no will after marriage, says Gib, because their wives control them, whether “in bower nor in bed.” Gil has learned his lesson about marrying, but he does note that some men marry a second time, some even a third time. At this point, Gil offers a warning and tells young men that there is little point in later saying, “Had I wist” (wished), since that serves no purpose. It is best for young men to “be well ware of wedding.” Gil describes his wife as one who has brows like a pig’s bristle and a bitter look on her face. She also has a loud voice and is as “great as a whale.” Had he known that she has so much “gall” he would have run until “I lost her” before marrying. At this point in Gib’s complaining, Coll finally speaks up and asks that God watch over the audience, who have had to endure Gib’s increasingly vicious harangue about his wife and marriage, in general. When Gib realizes that he is not alone he asks if Coll has seen the third shepherd, Daw.

Daw enters and does not see Coll and Gib. Like the others, he begins his soliloquy with a complaint about the miserable weather. The rain and wind is so fierce that Daw compares it to Noah’s flood. Daw, though, has faith that God will “turn all to good!” The floods afflict everyone, those in town and those who watch over the sheep and cattle in the fields. The weather creates equality among all men. When Daw greets Coll and Gib they tell him that they have already eaten and since he is late, he has missed the evening meal. His reply is that he will work as little as he is paid. This section of the play ends with Coll, Gib, and Daw singing together to cheer themselves.