Playwright: Willa Cather, Henry James, Jonathan Levy, Ted Pezzulo and Mark Twain
Director: Herbert Berghof
Cast: Tamara Bliss, James Carruthers, Leona Johnson, Tari Pardini, Ellin Ruskin, William Werner, Martha Schlamme, Hal Holden, Christine Lavren, Timothy Farmer, James Carruthers, Martha Schlamme, Roberta Vatske, Kay Christian Wulff, James Burger and Ted Pezzulo
Composer: Tamara Bliss Set Designer: Marc Berenson Costume Designer: Myrna Lee Lighting Designer: Martin Tudor Production Manager: Marlene Mancini Stage Manager: James Burger Stage Manager: Tari Pardini Literary Researcher: Micky Levy Technical Director: Timothy Farmer Production Electrician: Douglas Murray Assistant to Ms. Lee: Arlene Witt House Manager: Rick Shiner Assistant House Manager: Earl Imbert
Aspirations was performed July 20th – 27th of the year 1974.
Cast: Douglas Houston, Margot Head, Yvonne Lynn, John A. Murray
Music Designer: J. Ray Goodwin Set Construction: Timothy Farmer Lighting Designer: Martin Tudor Costume Designer: Kay Stuntz Production Manager: Marlene Mancini Production Electrician: Douglas Murray Stage Manager: Joe Connolly House Manager: Rick Shiner Poster Designer: Ann Raychel Hospitality: Tova Beiser Hospitality: Bobbi Owens
Cast: Jason McAuliffe, Kathryn Harrold, Christine Lahti, Frank Geraci, Shirley O’ Key and Frank Hamilton
Composer: Joe Bousard Set Design and Costumes: Michael Massee Lighting Designer: Martin Tudor Choreography: Brian Webb Stage Manager: John Carle Production Manager: Marlene Mancini Assistant Stage Manager: Steven Kaplan Assistant to the Director: Alex Van Riper Production Electrician: Doug Murray Hospitality: Dawn Gallagher andMickie Gallager
Happiness is No Laughing Matter was performed June 3rd – 10th of the year 1974.
Cast: Michael Higgins, Karen Leslie and Larry Block
Set Design: Lester Polakov Lighting: Martin Tudor Costumes: Carol Oditz Production Manager: Marlene Mancini Technical Director: Richard Talcott Assistant to Mr. Tudor: Janet Hemdal Production Electrician: Doug Murray Stage Manager: Thomas Butler Assistant Stage Managers: Ralph Cabello and Karyn Cohen Hospitality: Mickey Gallagher and Dawn Gallagher Announcer’s Voice: Mason Adams
Dear Mr. Giordano was performed March 23rd – April 1st of the year 1974.
Cast: Bernard Pollock, Beege Barkett, William Carr, Rik Pierce, Chuck Bergansky and Mason Adams
Assistant Director: Linda Poskanzer Set Designer: Jeannean Babcock Lighting Designer: M. Lee Tudor Costume Designer: Carol Oditz Production Manager: Micky Levy Master Carpenter: William Carr Production Electrician: Doug Murray Choreographer: Barrie L. Estes Stage Manager: Nancy Rothman Assistant Stage Manager: Ralph Cabelo Hospitality:Dawn Gallagher Hospitality: Mickie Gallagher Production Manager for Foundation: Marlene Mancini
The Golden Land was performed March 2nd – 10th of the year 1974.
Cast: Stefan Schnabel, Peter Maloney, James Carruthers, Brandwell Teuscher, Thayer David, Alice McLane, Tim Farmer, Bruno Ragnacci, Kay-Christian Wulff, Thomas Butler, Pete Sanders, Rick Shiner, Mickie Gallagher, Brandalynne Rae, Rondi Silva, Chris Udvarnoky, Martin Udvarnoky, Jeff Cannon, Walter Adams, Richard A. Hall, Edmund Williams
Set Designer: Kathe Berl Costume Designer: Carol Oditz Lighting Designer: Jeannean Babcock Assistant to Miss Babcock: M.Lee Tudor Production Manager: Marlene Mancini Stage Manager: Julia Rand Assistant Stage Manager: Camilla Dickinson Assistant Stage Manager: Thomas Butler House Manager: Dawn Gallagher House Manager: Susan Lehman
Thou Shalt Not Lie was performed October 26th – November 4th
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 MusicalDirector: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 MusicalDirector: 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.
Synopsis:
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.
At HB I was able to…explore the importance of using what's already inside to bring it to the work on stage.
