Amazing Grace

An HB Staged Reading

Playwright: Douglas Marland Adapted to Radio Form: Marie Stroud

Director: Susan Lehman

Cast: Shirley Bodtke, Jane Altman, Jason McAuliffe, Rick Laub, Wayne Moore, Bella Jarrett, Douglas Stark, Holly Maguire, Ken McKee, James Bormann, Randall Robbins, Lynn Adams.

Lighting Designer: Douglas Murray Production Manager: Marlene Mancini Technical Director: Timothy Farmer Stage Manager: Petrina McGowen Composer: Jason McAuliffe Sound Manager: John Carle Master Electrician: Marc Burd Production Assistant: Doris Brook Poster: Robert Biro Photograph: Ken McKee Hospitality: Dawn Gallagher,Vanessa French, Rena Stavrolakes, Jan Selling

Amazing Grace was performed July 25th – 31st


Playwright: Maurice Valency

Director: Peter Maloney

Cast: W. B. Brydon, Mason Adams, John Davis, Robert B. Silver, Oz Tortora, William Robertson, Louis Bonacki, Barbara Coggin, Edmund Williams, Graham Beckel, Ellen Sandler, Tracey Walter, Chris Udvarnoky, Martin Udvarnoky, Gregory Christopher, Randy Holden, Jim Hillgartner, Jess Osuna, Louis Lembo, Rudy Bond, Wesley Addy, Jack Aaron, Paul Sparer, Kaye Kynion and Richard Bright

Lighting Designer: Marin Tudor Production Manager: Marlene Mancini Stage Manager: Louisa Anderson House Manager: Patricia French Hospitality: Rena Stavrolakes

Savonarola was performed September 25th – 28th of the year 1975.


Ain’t It Just Like the Night

An HB Studio Performance

Playwright: David Rimmer

Director: Brandwell Teuscher

Cast: Patsy Denk, Griffin Dunn, Michael Mantel, Robin Siegel

 Lighting Designer: Lyn Corno Production Manager: Marlene Mancini Stage Manager: Dana Preece Production Electrician: Julia McLaughlin House Manager: Patricia French Hospitality: Vanessa French, Rena Stavrolakes

Ain’t It Just Like the Night was performed July 15th – 24th

One Time, One Place

Playwright: Eudora Welty Adapted: Peter Maloney/Ellen Sandler

Director: Peter Maloney, Ellen Sandler

Cast: Barbara Coggin, Jayne Haynes, Dolores Kenan, Peter Maloney, Barbara Marchant, William Robertson, Ellen Sandler, Diane Stillwell, Sasha von Sherler, J. T. Walsh, Bill Wiley

Set Designer: Michael Massee Costume Designer: Barbara Gilgoff Production Manager: Marlene Mancini Stage Manager: Dana Preece Assistant Stage Manager: Julia McLaughlin Master Carpenter: Timothy Farmer Production Electricians: Jay Clark and Derek Osborne Sound Technician: Alexandra Melchi Set Construction: Achilles C. Massahos, Jr. Properties: Lyn Corno and Julia McLaughlin Production Assistant: Sherry Wright Dialect Consultant: John Scott Wilkerson House Manager: Patricia French Hospitality: Vanessa French and Rena Stavrolakes

One Time, One Place was performed May 20th – 30th of the year 1976.



An HB Studio Performance

Playwright: Petrina McGowen

Director: Carol Rosenfeld

Cast: Kathryn Breech, Wayne Moore, Michael T. Folie, Barbara Preminger, Laura Gardner, James Ramsay

Set Designer: Michael Massee Lighting Designer: Sara Schrager Production Manager Marlene Mancini Stage Manager Alexandra Melchi House Manager: Patricia French Production Assistant: Neil Richman Hospitality: Vanessa French & Rena Stavrolakes.

While… was performed April 22nd – May 1st


Playwright: Maurice Valency

Director: Susan Lehman

Cast: James Bormann, Susannah Blinkoff, Shirley Bodtke, Barbara Coggin, Robert Elston, Anita Feldman, Michael J. Hume, Marie Mariano, Joan Matthiessen, Alice McLane, Sanford Morris, Patricia O’Grady, Bruno Ragnacci, Donald May, Lelia Weston, Charles Bender, Sabrina O’Malley, Deborah Petrino, Lorraine Lazarus, Ron Cosgrove, Nadine Robiczek, Burton B. Collins, Warren Shaw, Jerry Hemmerleand Madonna Young

Set Designer: Timothy Farmer Lighting Designer: David Logan Costume Designer: Faye Fingesten Original Music: Jason McAuliffe Special Staging: Barrie L. Estes Choreography: Buck Heller Composer: Jason McAuliffe Production Manager: Marlene Mancini Assistant Stage Manager: Pamela Enz Poster Design: Janet Cornell Stage Manager: Jim Bormann and Georgann Madigan House Manager: Patricia French Production Assistants: Anita Feldman, Carol Schaye, Tom Lauritis and Michael Franks Hospitality: Vanessa French and Rena Stavrolakes

Elektra was performed January 20th – 31st of the year 1976.


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.