Love in the Wars - the richard b. fisher center for the performing arts at bard college
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the richard b. fisher center for the performing arts at bard college Love in the Wars World Premiere A new version of Heinrich von Kleist’s Penthesilea By John Banville Directed by Ken Rus Schmoll July 10–20, 2014
Welcome The Richard B. Fisher Center for the Performing Arts at Bard College
Dear Friends, Chair Jeanne Donovan Fisher
President Leon Botstein
Welcome to the world premiere production of Love in the Wars, a version of Heinrich von
Kleist’s Trojan War drama Penthesilea by the great Irish novelist John Banville. Kleist (1777–1811) presents
was a contemporary of Franz Schubert (1797–1828), whose life and work are the focus of this
year’s Bard Music Festival. Kleist is justly celebrated as one of the greatest Romantic play-
wrights, but although his comedies, history plays, and tragedies are in constant production
today in his native Germany, they are too little known in the English-speaking world.
This neglect is largely due to the difficulty of translating Kleist’s language, which can
slip from ornate, formal rhetoric to contemporary street vernacular in a single speech. Kleist
LOVE IN THE WARS
delighted in destabilizing his audience’s expectations. His plays shift from riotous comedy A new version of Heinrich von Kleist’s Penthesilea
to tragedy and back again without warning. They are littered with word games and ironies, By John Banville
and present a vision of life that is paradoxical and disconcertingly untidy. They often end
abruptly and without resolution, leaving us unsure whether to laugh or cry. It’s more or less Directed by Ken Rus Schmoll
impossible to find the right tonal equivalent in English—or it was, until John Banville began
translating Kleist. World Premiere
It is easy to see why Banville feels an affinity for Kleist, whom he has described as one
of the greatest playwrights of the Western canon. Banville, like Kleist, is a master of many Scenic Design Marsha Ginsberg
genres—he is celebrated equally for serious literary fiction, such as The Sea, which was Costume Design Oana Botez
awarded the prestigious Man Booker Prize in 2005, and for crime novels, which he writes Lighting Design Tyler Micoleau
under his pseudonym Benjamin Black. He plays frequent and disorienting games with lan- Sound Design Leah Gelpe
guage and style reminiscent of such writers as Kafka and Nabokov, and of course also Hair and Makeup Design David Bova
Kleist. Banville is an ardent admirer of Kleist and has adapted three of his plays, The Broken Fight Direction Thomas Schall
Jug and Amphitryon as well as Penthesilea. The plot of Amphitryon also formed the basis for Casting Jack Doulin
Banville’s tragicomic novel The Infinities.
Love in the Wars is an adaptation of Penthesilea, not a translation, and as Banville points
out in an essay in this program, it departs in places quite radically from the original; it is, for a Theater Two
start, much shorter. But the essence of the play is fully intact, and Banville perfectly captures Previews July 10–11 at 7:30 pm
the sometimes shockingly quixotic spirit of Kleist’s Amazonian queen. We are lucky that this July 12 and 17–19 at 7:30 pm
great Romantic playwright has met an ideal present-day interpreter in John Banville. July 13, 16, 19–20 at 2 pm
This production of Love in the Wars is staged by Ken Rus Schmoll, a leading director of Post-performance conversation with the artists following the July 13 and 16 matinees
contemporary drama. Schmoll has collaborated with some of this country’s finest play-
wrights, including Anne Washburn, Will Eno, Jenny Schwartz, and Ariana Reines. He is a mas- Running time for this concert is approximately TK minutes, with one 20-minute
ter of the nuances of genre and language, and an ideal interpreter of Banville and Kleist’s intermission.
theatrical game playing. It’s a pleasure to welcome him to SummerScape for the first time.
I hope that you enjoy the world’s first production of Love in the Wars. We look forward Love in the Wars is published by and produced by special arrangement with
to seeing you often this summer, in Sosnoff Theater and at the Spiegeltent, for the rest of The Gallery Press.
SummerScape and the Bard Music Festival.
Best wishes, The 2014 SummerScape season is made possible in part through the generous support of Jeanne Donovan
Fisher, the Martin and Toni Sosnoff Foundation, the Board of The Richard B. Fisher Center for the Performing
Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as
grants from the National Endowment for the Arts and the New York State Council on the Arts with the sup-
Gideon Lester, Director of Theater Programs port of Governor Andrew Cuomo and the New York State Legislature.
Cast Synopsis
The Amazons At the height of the Trojan War, the armies of Greece and Troy are locked in a seemingly
Penthesilea, Queen of the Amazons Birgit Huppuch* endless stalemate. Suddenly the Amazons, a fearsome nation of all-female warriors led
High Priestess Karen Kandel* by Queen Penthesilea, arrive at Troy. By seductive and violent force, the Amazons take
Prothoë Karen Pittman* many of the Greeks captive, including the mighty general Achilles. These women have
Asteria Stacey Yen* for generations sworn to live without men, but once a year they capture the strongest
Amazon Hannah Mitchell ’13 and best-bred males they can find, using them to procreate in order to further their kind.
Amazon Claire Thompson ’14 With the Amazons now involved in the mythic battle at Troy, things seem to be going
badly for the Greeks—until Penthesilea and Achilles begin to fall in love.
The Greeks
Achilles, a Greek hero Chris Stack*
Odysseus Jeffrey Binder*
Diomedes Chad Goodridge* Program Note
Agamemnon KeiLyn Jones By John Banville
Antilochus Michael Schantz*
Greek Harrison Beer ’14 If Goethe and Schiller represent the daytime of German Romanticism, then Kleist is its
Greek Antonio Irizarry ’16 night. He is one of a line that includes Georg Büchner, Friedrich Hölderlin, Franz Kafka,
Ludwig Wittgenstein, Paul Celan, Thomas Bernhard: tormented figures, lost wanderers on
Production Stage Manager Megan Smith* the earth, whose lives were all a form of extended departure. Kleist's work, the bulk of
Assistant Stage Manager Mallory Hewell* which was produced in the astonishingly short space of four years, is an ecstatic, and fright-
ening, testament to the essential strangeness of life and the world’s indifference to the
*Denotes member of Actors’ Equity Association, the union of professional actors and doings of mankind. He declared it his ambition to tear the laurel wreath from Goethe’s
stage managers in the United States brow; the aging Christoph Martin Wieland, with whom he lodged for a time in the winter
of 1802, considered him to be an amalgam of Aeschylus and Shakespeare. He is one of the
Properties Master Sydney Schatz great figures of world literature, yet he is hardly known outside his native Germany.
Assistant Director Sean B. Leo ’14
Lead Assistant Scenic Designer Jason Sherwood He was born in the autumn of 1777 at Frankfurt an der Oder in the bellicose province of
Assistant Scenic Designers Pei-Wen Huang, Kyu Shin Prussia. The Kleists were an ancient military family which, by Heinrich’s time, had pro-
Assistant Costume Designer Kendrick Haunt duced no fewer than 18 generals and, surely by a genetic mishap, one poet, Ewald von
Assistant Lighting Designer Marika Kent Kleist. Heinrich went into the army in 1792, as he was turning 15 and shortly to be an
Assistant Sound Designer Beth Lake orphan, and fought against the French on the Rhine; for the rest of his short life, Europe
Associate Casting Director Taylor “Sharky” Williams was at war, and he was a displaced person. As the great Kleist translator and scholar
Casting Assistant Rebecca Silbert ’14 David Constantine* has observed, “His personal life was characterized by a terrible rest-
lessness, the utter failure to find for more than a few weeks at a time any abiding stay.
Costumes executed by Colin Jones He seems flung to and fro in the ferment of the age itself.”
Scenery executed by Adirondack Scenic Studios and Cigar Box Studios
The age was the Age of Enlightenment. Kleist tried to find a place for himself within that
The production team wishes to thank James Leverett, TK affirmative movement, and failed. The world as the great Romantics conceived it was not
the world that he inhabited. In an extraordinary letter written to his aunt in the year
after he joined the army—he was 15, remember—he described how, after attended his
mother’s funeral, he was traveling by coach to Frankfurt am Main to rejoin his regiment
4 5when, “deep in the mountains,” he encountered a strange figure who he assumed must Kleist was to have no peace. French raids into Switzerland drove him back to Germany,
be a highwayman: where he stayed for a time at Ossmannstedt, near Weimar. The following year, 1803, he
was on the move again, returning to Switzerland and then traveling south to Italy, and
He clung on stealthily behind and when the coachman noticed and beat at then to Paris again, of all places, where he was even more unhappy than on the previous
him with the whip he sat there in silence and let himself be beaten. The occasion; it was in Paris that he destroyed part of the tragedy he had been working on,
coachman stood up on the box while the coach was moving and lashed and Robert Guiscard, Duke of the Normans, of which only a fragment survives.
lashed until the man fell off. Then in a terrible fashion the man began to
scream. Imagine the mountains, us all alone in the middle of them where He tried and failed to join the Napoleonic army as it prepared for an invasion of England
every sound is double, and the man screaming in that frightful fashion. that never took place. After that he returned to Berlin and attempted once again to secure
a post in the civil service. The authorities, who by now knew their man, packed him off to
Eventually they drove on and left him there, “still shrieking far behind.” Those shrieks and Königsberg to study political science and economics. Shortly afterwards his health failed
others like them would echo and re-echo throughout Kleist’s work. and he was given six months’ leave. In October 1806 the French defeated Prussia at the
battle of Jena—Hegel, completing The Phenomenology of Spirit, heard the sounds of fight-
Kleist left the army in 1799. Not surprisingly for such a demon-driven spirit, he found it ing and saw Napoleon ride past below his window—and Kleist, on his way to Dresden,
almost impossible to earn a living. After studying physics, mathematics, and law for a was mistaken for a spy and sent to France, where he was for six months.
brief time at a university in his hometown, he abandoned the academy and sought a
position in the civil service, with little success. The following year he became engaged to He used the time in prison to work on his masterpiece, Amphitryon, the play in which he
Wilhelmine von Zenge, the daughter of a general. came closest to achieving his ambition, which Wieland had recognized, to blend Greek
tragedy and Shakespearean burlesque. Home again, he started up a periodical, Phöbus,
It may have been the prospect of marriage that sent him on a famously mysterious journey which lasted for 12 issues—later he and a friend would found the Berlin Abendblätter,
to Würzburg, for there are hints that he was to undergo in that city a medical procedure of the city’s first daily newspaper. At this time he wrote Penthesilea, one of his greatest,
some kind. Whatever the purpose of the trip, he declared that it would be a decisive most ambiguous and captivating works.
moment in his life. We should keep in mind Kleist’s tendency toward self-dramatization—
“Was ever another poet’s case quite like mine?”—and the possibility that the flight to In March 1808 Goethe put on a production of Kleist’s rumbustious, dark comedy The
Würzburg was in reality a flight away from Wilhelmine and his terror of the married state. Broken Jug. The production was a failure. To add insult to injury, Goethe had divided the
one-act play into two without consulting the author. Kleist was furious. Goethe, for his
By then he had fallen into what he called his Kant Crisis. Having read the philosopher’s part, was not impressed by Kleist or his work, describing both as unnatürlich and throw-
Critique of Judgment, he had a sudden, horrified glimpse into the abyss. Writing to ing a copy of the playwright’s works into the fire.
Wilhelmine in March 1801 he set out the crux of the matter:
Yet Kleist knew things that Goethe would not have dared to know. The dramatist who
We cannot decide whether what we call truth is truly truth or whether it tacked a Hollywoodesque happy ending onto his greatest work, Faust, could never fully
only seems so to us. If the latter then the truth we gather here is nothing appreciate the creator of Penthesilea, of Amphitryon and Alcmene, or of the reprobate
after death—and all our striving to acquire something of our own that Judge Adam in The Broken Jug.
will go with us even into the grave is in vain—
In Berlin in 1811 Kleist met the love of his life, and of his death. She was Henriette Vogel,
A spiritual crisis it may have been, but it was probably the spur that he needed as a the wife of a government official, who was dying of cancer. On previous occasions Kleist
writer. After a brief and unhappy sojourn in Paris with his beloved sister Ulrike he moved had begged this or that young woman to join him in a suicide pact. All had, under-
to Switzerland, where he rented a house on an island in the River Aare near Thun, and standably, declined. In Henriette he found a fellow sufferer only too willing to immolate
wrote to Wilhelmine asking her to join him. She declined; one excuse was that the sun— herself with him in a last act of Liebestod. On November 21, in the garden of an inn over-
the sun in Switzerland?—gave her headaches. Obviously it was not a match that had looking the Wannsee, near Potsdam, Kleist shot Henriette, then reloaded the pistol and
been made in heaven, and Kleist ended the engagement. We cannot but think that this turned it on himself. It was a fitting apotheosis. He had looked forward to his imminent
dear, simple girl had a lucky escape. death as “most splendid and pleasurable,” and declared that death and love together
6 7were taking turns “to garland these last moments of my life with the flowers of heaven Who’s Who
and earth.” In dying, it seemed, he had at last found himself, and there had been no alter-
native to departure. “The truth is,” he wrote to his sister Ulrike at the last, “there was no
help for me on earth.” John Banville Playwright
John Banville was born in Wexford in 1945 and now lives in Dublin. His first book, Long
**** Lankin, was published in 1970 (revised edition, Gallery Books, 1984). He has published 15
novels: Nightspawn, Birchwood, Doctor Copernicus, Kepler, The Newton Letter, Mefisto, The
The story of Penthesilea, Queen of the Amazons, and her fevered love-pursuit and ulti- Book of Evidence (short-listed for the 1989 Man Booker Prize and winner of the 1989 GPA
mate destruction of the warrior Achilles, is quintessential Kleist. The play is great in many Award), Ghosts, Athena, The Untouchable, Eclipse, Shroud, The Sea (winner of the 2005
ways, one of the most striking of which is the depth of psychological insight it presents Man Booker Prize), The Infinities, and Ancient Light. He also publishes crime novels,
on the subject of the unending war between the sexes. If Penthesilea does not under- including the “Quirke” mysteries (filmed recently as a television series starring Gabriel
stand herself and her almost hysterical love for the hero of the Greeks, Achilles is so Byrne), under the pseudonym Benjamin Black. Other awards include the Allied Irish
caught up in admiration of himself and his prowess that he entirely misses the point of Banks Fiction Prize, the Macauley Fellowship, the American-Irish Foundation Literary
the Amazon queen, and suffers the terrible consequences of his self-willed blindness. In Award, the James Tait Black Memorial Prize, the Guardian Prize, the Guinness Peat
Kleist’s world, human beings engage with each other in a tempest of mutual incompre- Aviation Book Award, and a Lannan Literary Award. Recent awards include the Franz
hension, while the gods look on, by turns indifferent and amused. Kafka Prize (2011) and the 2013 Irish PEN Award for Outstanding Achievement in Irish
Literature.
Love in the Wars is a version of Penthesilea, and as such it diverges from Kleist’s original
at many points, sometimes radically. Native German speakers—and whom else can we Banville’s essays have appeared regularly in the New York Review of Books since 1990. He
trust?—insist that Kleist’s dramatic language is ultimately untranslatable. A Romantic coscripted, with Glenn Close, Albert Nobbs. The Gallery Press has published Long
he may have been, but his is a classical style, though tempered by comic turns: one thinks Lankin, Nightspawn, and his versions of plays by Heinrich von Kleist: The Broken
of a Grecian urn, exquisitely molded and decorated, that has seen occasional use as a Jug (1994), God’s Gift (2000), and Love in the Wars (2005). Conversation in the Mountains
chamber pot. Grandiloquent and mundane, delicate and coarse, passionate to the point (a radio play) was published in a limited edition, with drawings and paintings by Donald
of ecstasy and dirty-minded enough to shock even Goethe, Kleist is among the immor- Teskey, in 2008.
tals, and Penthesilea is one of his greatest and most profound achievements.
Ken Rus Schmoll Director
* All the quotations I have used are by David Constantine, from his Heinrich von Kleist: Selected Writings Ken Rus Schmoll is a two-time Obie Award–winning director, primarily of new plays,
(J. M. Dent, 1997). I must also acknowledge my debt to Martin Greenberg’s magnificent volume Heinrich von whose credits include The Grown-Up and Death Tax (Humana Festival); Grounded (Page 73
Kleist: Five Plays (Yale, 1988), and Joel Agee’s elegant and technically superb version, Penthesilea Productions); Not What Happened (BAM Next Wave); Red Dog Howls (New York Theatre
(HarperCollins, 1998), with illustrations by Maurice Sendak.
Workshop); Luther, Telethon, Amazons and Their Men, and Demon Baby (Clubbed Thumb);
The Peripherals (The Talking Band); A Map of Virtue, Mark Smith, Aphrodisiac, and The
Internationalist (13P); Seven Homeless Mammoths Wander New England (Two River
Theater); FUREE in Pins and Needles and Telephone (Foundry Theatre); Middletown and The
Internationalist (Vineyard Theatre); What Once We Felt (LCT3); Miss St.’s Hieroglyphic
Suffering (Guggenheim); October/November (Ensemble Studio Theatre); Hello Failure (PS
122); Millicent Scowlworthy and Honor and the River (Summer Play Festival); Aphrodisiac
(Long Wharf Theatre); and Cause for Alarm (New York International Fringe Festival). He
staged the world premiere of Charles Wuorinen’s cantata It Happens Like This
(Tanglewood) and the American premiere of Wolfgang Rihm’s opera Proserpina (Spoleto
Festival). He is an affiliated artist with Clubbed Thumb, a Sundance Institute Theatre
Program alum, and cochair of the Soho Rep Writer/Director Lab. Upcoming performances
include The Invisible Hand (New York Theatre Workshop) and Iowa (Playwrights Horizons).
8 9Marsha Ginsberg Set Designer Alley, Goodman, Huntington, American Repertory Theater, Trinity Rep, Old Globe, Dallas
Marsha Ginsberg is an Obie Award–winning scenic and costume designer. Previously Theater Center, and Long Wharf, among others.
with Ken Rus Schmoll, she has worked on Map of Virtue (13P); Red Dog Howls (New York
Theatre Workshop); Proserpina (Spoleto Festival); Telephone (Foundry Theatre); and It Leah Gelpe Sound Designer
Happens Like This (Guggenheim and Tanglewood). Her work has been presented region- Leah Gelpe designs sound and projections for live performance. Her New York production
ally and internationally at theaters and opera houses such as Lincoln Center, New York credits include The Big Meal and Circle Mirror Transformation (Playwrights Horizons),
Theatre Workshop, Brooklyn Academy of Music, Vineyard, Women’s Project, Mass MoCA, Slowgirl and What Once We Felt (LCT3), A Summer Day (Rattlestick Theater), You Better Sit
American Repertory Theater, Wilma Theater, South Coast Rep, New York City Opera, Down (The Civilians), God’s Ear (Vineyard Theatre), Ohio State Murders and Saved (Theatre
Glimmerglass Opera, Opera National de Bordeaux, Theater Basel, Festival d’opéra de for a New Audience), Telethon and Amazons and Their Men (Clubbed Thumb), Sixty Miles
Québec, Nationaltheater Weimar, Saarländisches Staatstheater, Nationaltheater to Silver Lake (Page 73 Productions), Walmartopia (Minetta Lane), Indian Blood (Primary
Mannheim, Theaterhaus Jena, Athens Epidaurus Festival, and MeetFactory, Prague, Stages), Untitled Feminist Show (Young Jean Lee), and Spalding Gray: Stories Left to Tell
among others. Her awards include the 2014 NYFA Architecture Fellowship; an Obie for (Naked Angels). She has also designed for the Guthrie Theater, Long Wharf, American
Habit, a theatrical installation with director David Levine; NEA/TCG Design Fellowship; Repertory Theater, Yale Rep, Berkeley Rep, Intiman, Boston Lyric Opera, Boston Pops, and
Elliot Norton Award; Watermill Center residencies, and MacDowell Colony residen- the Los Angeles Philharmonic, as well as productions in Budapest, Berlin, Salzburg, and
cies. Upcoming works include The Rake’s Progress (Staatstheater Braunschweig) with Vienna. Awards include the 2013 Lucille Lortel Award for outstanding sound design, a 2013
Christopher Alden, and Zorn (Hans Otto Theater, Potsdam, Germany) with Elias Perrig. Connecticut Critics Circle Award, and an NEA/TCG Career Development Program grant.
Oana Botez Costume Designer Thomas Schall Fighting Director
Oana Botez, a native of Romania, has designed for The National Theater of Bucharest and Thomas Schall has fight directed more than 40 Broadway shows, including Of Mice and
other major theater, opera, and dance companies, as well as international theater festi- Men, Casa Valentina, Romeo and Juliet, Lucky Guy, Death of a Salesman, Venus in Fur, War
vals such as the Prague Quadrennial scenography show. She is represented in the first Horse, The Lyons, The House of Blue Leaves, The Merchant of Venice, A Free Man of Color, A
Romanian theater design catalogue, Scenografica. Since moving to New York in 1999, her View from the Bridge, After Miss Julie, Mary Stuart, Waiting for Godot, The Seafarer, Rock ’n’
collaborations in theater, opera, film, and dance have included work with Robert Roll, Coram Boy, Journey’s End, The Woman in White, Wicked, Noises Off, and Art. Off-
Woodruff, Richard Foreman, Maya Beiser, Richard Schechner, Mikhail Baryshnikov, Andrei Broadway, he has worked extensively at the Public Theater (King Lear, Hamlet, A
Serban, Blanka Zizka, Brian Kulick, Zelda Fichlander, Annie-B Parson and Paul Lazar, Doug Midsummer Night’s Dream, Mother Courage, Richard III, and Titus Andronicus); Lincoln
Elkins, Rebecca Taichman, Eric Ting, Razvan Dinca, Karin Coonrod, Jay Scheib, Kristin Center (Disgraced, Blood and Gifts, Belle Epoque, Bernarda Alba, Dessa Rose, and A Man of
Marting, Evan Ziporyn, Eduardo Machado, and Gus Solomon Jr. and PARADIGM, among No Importance); Manhattan Theatre Club (Murder Ballad, Ruined, and Time Stands Still);
many others. She received an M.F.A. in design from New York University’s Tisch School of and Roundabout Theatre (Look Back in Anger, and Dinner with Friends). He is a proud
the Arts and is a recipient of a Princess Grace Award, an NEA/TCG Career Development longtime volunteer with the 52nd St Project.
Program grant, and a Barrymore Award.
Jack Doulin Casting Director
Tyler Micoleau Lighting Designer Jack Doulin has been the casting director at New York Theatre Workshop since 2000.
Tyler Micoleau has designed lighting for more than 350 live productions, including plays, Productions there include Fetch Clay, Make Man; Peter and the Starcatcher; Tony
dance, movement-theater, multimedia performance, and puppetry. He is the recipient of Kushner’s Homebody/Kabul; Caryl Churchill’s Far Away (Sam Shepard); A Number; Love
an American Theatre Wing Hewes Award, two Lucille Lortel Awards, two Obie Awards, and Information; Ivo von Hove’s Hedda Gabler; The Misanthrope; and The Little Foxes.
the Connecticut Critics Circle Award, four Barrymore nominations, a Helen Hayes nomi- Other New York City highlights include Blasted; two notable Uncle Vanyas (Andre
nation, a Jefferson nomination, and an NEA/TCG Career Development Program grant. He Gregory’s production with Julianne Moore and Wallace Shawn, filmed by Louis Malle as
has held visiting artist positions at Yale University and Dartmouth College, and for six Vanya on 42nd Street, and Annie Baker’s adaptation with Reed Birney, Maria Dizzia, and
years served as adjunct faculty at Sarah Lawrence College Department of Dance. Other Michael Shannon, directed by Sam Gold); and A Public Reading of an Unproduced
design collaborations with director Ken Rus Schmoll and set designer Marsha Ginsberg Screenplay about the Death of Walt Disney. His regional credits include Long Wharf, The
include Red Dog Howls (New York Theatre Workshop), A Map of Virtue (13P), Proserpina Goodman Theatre, Hartford Stage, ART, Seattle Rep, Chautauqua Theater Company, Pig
(Spoleto Festival USA), and Telephone (Foundry Theatre). His regional credits include Iron Theatre, Philadelphia Theatre Company, The Wilma Theater, and Arena Stage. Film
10 11work includes New Orleans, Mon Amour, directed by Michael Almereyda, and Jonathan played Rockwood Music Hall, Birdland, and Joe’s Pub. He is a proud recipient of the Charles
Demme’s A Master Builder. Doulin cast the speaking roles in the Metropolitan Opera’s Bowden Award from New Dramatists.
production of Le fille du regiment. He teaches at Einhorn School of Performing Arts and
in the Drama Division at Juilliard. Jeffrey Binder Odysseus
Jeffrey Binder’s Broadway credits include The Lieutenant of Inishmore (James; original
Birgit Huppuch Penthesilea Broadway cast, Lyceum Theatre); The Lion King (Zazu; also understudied and performed
Birgit Huppuch most recently performed in Pig Iron Theatre Company’s production Scar, New Amsterdam and Minskoff Theatres); Mary Poppins (George Banks; New
of Twelfth Night, Ain Gordon’s Not What Happened at BAM Next Wave, and The Debate Amsterdam Theatre); and Side Man (Clifford; also understudied and performed Al,
Society’s Blood Play at the Williamstown Theatre Festival, The Public, Bushwick Starr, and Golden Theatre). He has appeared in London at the West End in Side Man (Al; London pre-
ArtsEmerson. She received an Obie for performance for her work in the Foundry’s pro- miere at the Apollo Theater), and in New York in Romance and The New Testament (New
duction of Ariana Reines’s Telephone, directed by Ken Rus Schmoll, at Cherry Lane. Other York premieres by Neil LaBute, New York Summer Shorts 4 and 5); Birth and After
credits include A Map of Virtue (13P), Neighbors (The Public), Angel Reapers (Joyce Theatre Birth (Bill; Atlantic Theater Company); and Princess Turandot (Pantalone; Blue Light
and tour), Telethon and Dot (Clubbed Thumb), Miss St.’s Hieroglyphic Suffering Theatre), among others. He has many regional credits, including The Master and
(Guggenheim), What The Public Wants (Mint Theatre), In the Next Room or the vibrator Margarita at Bard SummerScape 2013, and has appeared on television in Damages, Law
play (Cleveland Playhouse), Isabella (Pig Iron), and Peer Gynt (Kansas City Rep, La Jolla and Order, Law and Order: Criminal Intent, Guiding Light, All My Children, and Welcome to
Playhouse). Film credits include Jonathan’s Chest (Sundance Short 2014) and The New York. He has an M.F.A. from New York University.
Sisterhood of Night (upcoming), and she appeared in the web series High Maintenance
(“Brad Pitts”). She received a B.A. from Williams College. KeiLyn Jones Agamemnon
KeiLyn Durrel Jones is honored to be a part of Love in the Wars. He is about to begin his
Chris Stack Achilles third year in the Graduate Acting Program at New York University’s Tisch School of the
Chris Stack most recently appeared in Kirk Lynn’s Your Mother’s Copy of the Kama Sutra Arts and has a B.F.A. from the University of Maryland Baltimore County. At NYU he
(Playwrights Horizons), Sarah Shaefer’s Gin Baby (IRT), David Adjmi’s Marie Antoinette appeared in the title role in Othello (directed by Lisa Benivedes-Nelson); as
(Soho Rep), and Lucy Thurber’s Killers & Other Family (Rattlestick). Some of his other theater Chebutykin/Fedotik in The Three Sisters (directed by Ken Rus Schmoll); as Writer/Sky in
credits include Arlene Hutton’s Vacuum (New York International Fringe Festival); Vieux Carre (directed by Ken Washington); and as Foigard/Sullen in The Beaux Stratagem
Stephanie Janssen’s Umbrella Plays (The Tank); Daniel Reitz’s Self Portrait in a Blue Room (directed by Mark Wing-Davey). He received a Richmond Theatre Critics Circle Award
(Ensemble Studio Theatre); Jim Christy’s Love & Communication (Passage Theatre); Allan nomination for best actor for his portrayal of Eugene in Yellowman (directed by Paul
Knee’s Last Seder (Workshop Theater Co.); and Liz Tuccillo’s Joe Fearless (Atlantic Theater). Nicholas). Other theater credits include Las Meninas (Nabo Sensugali), The Cripple of
His film and TV appearances include Law & Order: SVU, Blue Bloods, White Collar, One Life Inishmaan (Babbybobby Bennet), and A Midsummer Night’s Dream (Theseus/Oberon). He
to Live, As the World Turns, Damages, Third Watch, Conviction, The Education of Max would like to thank God, his father and family, Ken, and the cast.
Bickford; Evening, The Mini, School of Rock, Roger Dodger, Maine Story, New Media, Small
Collection, and Juke. Karen Kandel High Priestess
Karen Kandel is an associate artist with the New York–based avant-garde theater troupe
Chad Goodridge Diomedes Mabou Mines. Most recently she has appeared in New York Theatre Workshop’s New York
Chad Goodridge has appeared on Broadway and Off-Broadway in Passing Strange. Other premiere of Caryl Churchill’s Love and Information, Lee Breuer’s La Divina Caricatura (La
Off-Broadway credits include Cherry Lane, Rattlestick Theater, P.S. 122, and Naked Angels. MaMa), and Paula Vogel’s A Civil War Christmas (also with NYTW). She is the recipient of
His regional credits include Troublemaker, or the Freakin’ Kick-A Adventures of Bradley three Village Voice Obie Awards for her work in Mabou Mines Lear, Peter & Wendy, and
Boatright and Passing Strange (Bay Area Theatre Critics Circle award), both at Berkeley Carl Hancock Rux’s Talk. She is honored to be a United States Artist Fellow.
Rep; Proof, Love’s Labours Lost, Macbeth, and Once in a Lifetime (Chautauqua); The Skin of
Our Teeth (Williamstown); and Hamlet (The Geva Theatre), plus work at McCarter Theatre, Karen Pittman Prothoë
O’Neill Playwrights Conference, and The Kenyon Institute. His film and TV appearances Karen Pittman has worked in television, cinema, and Broadway. Her television credits
include Generation Um . . ., Dreaming American, Passing Strange (directed by Spike Lee; include The Blacklist, The Americans, House of Cards, and The Good Wife, among others.
Sundance, SXSW, TriBeCa), Law & Order: SVU, One Life to Live, and Romney Rock! He has also Her film credits include Begin Again, which will be released this summer; The Rewrite,
12 13also to be released later this year; The Bourne Legacy; and Last Night. She originated the program at the British American Drama Academy in London to study acting. He has been
role of Jory in the Pulitzer Prize–winning play Disgraced, and will reprise the role when seen in many shows at Bard, including program and student productions (In the Belly of
the play goes to Broadway in the fall. the Whale, I Hate Hamlet, Moby Dick–Rehearsed, and Out of Service, among others). In the
coming year he will serve as cohead of Bard’s Student Theater Collective. After gradua-
Michael Schantz Antilochus tion, Irizarry hopes to move back to New York City to pursue a career in the performing
Michael Schantz’s Off-Broadway/New York theater credits include Beyond Therapy arts. He would like to thank his family, friends, and professors for encouraging him to fol-
and The Matchmaker (The Actors Company Theatre); The Invisible Hand (New York low his love and talents in the arts.
Theatre Workshop’s 29-hour reading); The Notebook of Trigorin (The Flea Theater); The
Importance of Being Earnest (Studio Tisch); The Tutors (Attic Theatre Company); and Burn Hannah Mitchell ’13 Amazon
This (Ground Up Productions). Regional appearances include The Great Gatsby (Virginia This is Hannah Mitchell’s second appearance on the SummerScape stage, her first being
Stage Company); A Few Good Men (Alley Theatre); Arms and the Man (Guthrie in last summers’s production of The Master and Margarita. Since graduating from Bard’s
Theatre); As You Like It (Continuum Company Theatre Festival, Florence, Italy); The Theater and Performance Program in May 2013 she has been in a state of postgrad flux,
Winter’s Tale (Chautauqua Theatre Company); and Neon Mirage (Actors Theatre of spread between four cities. She now resides in New York City, where she is still acclimat-
Louisville; Humana Festival). His film and web series appearances include Sheep Skin, ing to the concrete jungle. Her recent credits include the pilot episode of Line of Sight
Autumn Whispers, Candlesticks, The Last 48, and First World Problem. Schantz received an (AMC, directed by Jonathan Demme), and readings of new plays, including Hallelujah
M.F.A from New York University’s Graduate Acting Program, Tisch School of the Arts. (Marcus Hinchey), Van Helsing of Ipswich (Michael Medeiros), and Parabola (Sarah
DeLappe). She is currently working on a filmed adaptation of Chekhov’s Three Sisters,
Stacey Yen Asteria which will hit the World Wide Web in series format this coming fall. She is grateful to be
Stacey Yen’s New York credits include Eager to Lose (Ars Nova); Enjoy (The Play back in the Hudson Valley again, doing what she loves.
Company); Yellowface (The Public); and The Wind-Up Bird Chronicle (Under the Radar
Festival). Internationally she has appeared in The Wind-Up Bird Chronicle at King’s Claire Thompson ’14 Amazon
Theater, Edinburgh, and The Esplanade, Singapore. Her regional credits include Twelfth Claire Thompson is a recent graduate of Bard College, where she majored in theater and
Night (Hartford Stage); The Arabian Nights (Arena Stage, Berkeley Rep, Lookingglass performance. Her most recent credit is directing her original show Seussnoff Presents: A
Theatre, and Kansas City Rep); Mirror of the Invisible World (Goodman Theatre); and The Daisy for the Crazy. She has been featured in As You Like It, God of Carnage, Passion Play,
Winter’s Tale and Haroun and the Sea of Stories (Williamstown Theater Festival). Her film and Machinal. Additionally, she has been trained in commedia dell’arte, clowning, and
and TV appearances include The Weekend, HBO’s Treme, Blacklist, The Secret Lives of Shakespeare. She has worked with Shakespeare on the Sound and Summer Theater of
Husbands & Wives, Gossip Girl, Unforgettable, The Good Wife, Blue Bloods, Ugly Betty, New Canaan. Love in the Wars is her Equity debut.
Nurse Jackie, CSI:NY, and Rubicon. She has a B.A. from Brown University and an M.F.A. from
New York University’s Tisch School of the Arts. Megan Smith Stage Manager
Megan Smith is thrilled to be a part of Bard SummerScape and to continue her collabo-
Harrison Beer ’14 Greek ration with Ken Rus Schmoll. Select Off-Broadway work includes Fetch Clay, Make
Harrison Beer graduated from Bard College in 2014 with a degree in theater and per- Man, and Red Dog Howls (New York Theatre Workshop); Arlington, North Pool, and Now.
formance. He appeared in Frank Wedekind’s Lulu at the Ovalhouse Theatre in London, Here. This. (Lab); Interviewing the Audience, The Scottsboro Boys, The Metal Children, The
and has created a number of original works, including a full-length musical, H2-OH, NO! Slug Bearers of Kayrol Island, American Fiesta, Mary Rose, and The Internationalist
and, most recently, a solo performance entitled True Stories. He will be appearing in (Vineyard Theatre); Look Back in Anger, Ordinary Days, Distracted, and Entertaining Mr.
Amanda Palmer’s The Bed Show (working title) this fall. His film credits include The Fly Sloane (Roundabout); Good Boys and True (2econd Stage Theatre); Ephemera (Summer
Room (Imagine Science Films) and various student projects. Play Festival); Book of Days (Signature); and Tom’s Children, Derelicts and Dreamers, and
Battle of Angels (Blue Roses Productions). Her regional credits include New York Stage
Antonio Irizarry ’16 Greek and Film, Guthrie Theater, Westport Country Playhouse, and Williamstown Theatre
Antonio Irizarry is a theater and performance major at Bard College. In this past aca- Festival. Smith is a founding member of Blue Roses Productions and has been an Equity
demic year he helped to create and perform two devised shows in the Senior Project fes- member since 1999.
tival (After/Before, Pool Party). This fall he plans to attend a four-month intensive
14 15We honor the late Richard B. Fisher for his generosity and leadership in building and supporting this
Mallory Hewell Assistant Stage Manager superb center that bears his name by offering outstanding arts experiences. We recognize and thank the
Mallory Hewell is a New York–based AEA stage manager and is thrilled to join the Bard following individuals, corporations, and foundations that share Dick’s and our belief in presenting and
team this summer. Select New York credits include Red-Eye to Havre de Grace, A Civil War creating art for the enrichment of society. Ticket sales cover less than 15 percent of our extraordinary
programs. Help us sustain the Fisher Center and ensure that the performing arts are a part of our lives. We
Christmas, Red Dog Howls, and Fetch Clay, Make Man (New York Theatre Workshop); The
encourage and need you to join our growing list of donors.
North Pool (Vineyard Theatre); A Public Reading of an Unproduced Screenplay about the
Death of Walt Disney (Soho Rep); Buddy’s Tavern and Songs for a New World (York Theatre);
Donors to the Fisher Center Frederic K. and Elena Howard Cesar Ramon Lascano
Breathing Time (Fault Line Theatre); and Craig’s Wife (TRG Productions). Regional credits Alfred J. Law and Patricia Duane Lichtenberg
Leadership Support Glenda A. Fowler Law Susan Lorence
include Found the Musical (New York Stage and Film). She is a proud alumna of Florida The Andrew W. Mellon Foundation Amala and Eric Levine Barbara L. and Arthur Michaels
State University. All the love to her friends and family for their support. Carolyn Marks Blackwood Bonnie Loopesko and Joanne and Richard Mrstik
Emily H. Fisher and John Alexander Daniel Shapiro Sky Pape and Alan Houghton
Jeanne Donovan Fisher David J. Marshall Mr. and Mrs. Frederick P. Payton
The Marks Family Foundation Barbara and Dick Schreiber Samuel and Ellen Phelan
Actors’ Equity Association Martin and Toni Sosnoff Foundation David A. Schulz Craig & Renee Snyder
Actors’ Equity Association (AEA), founded in 1913, represents more than 49,000 actors Millbrook Tribute Garden, Inc. Ted Snowdon Mark Sutton
National Endowment for the Arts (NEA) Sarah and Howard Solomon Taconic Farms, Inc.
and stage managers in the United States. Equity seeks to advance, promote, and foster Martin T. and Toni Sosnoff Illiana van Meeteren Amy Tanner
Felicitas S. Thorne Russell Willis
the art of live theatre as an essential component of our society. Equity negotiates wages True Love Productions Benefactor Irene Zedlacher
and working conditions, providing a wide range of benefits, including health and pen- Helen and Roger Alcaly
Golden Circle Dr. Miriam Roskin Berger ’56 Sponsor
sion plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international Estate of Richard B. Fisher Sandra and Dr. A. John Blair III Harriet Bloch and Evan Sakellarios
Tricia and Foster Reed Anne Donovan Bodnar and Richard Cheek
organization of performing arts unions. The Equity emblem is our mark of excellence. James L. Bodnar Jonathan A. Clark
www.actorsequity.org Director Harlan Bratcher and Jennifer and Jonathan H. Cohen
Mr. and Mrs. Lewis W. Bernard William L. Usnik Jr. Richard D. Cohen
Kay Brover and Arthur Bennett Alexandre and Lori Chemla Dr. Bruce Cuttler and
Steven M. Dawson Michael F. Dupree Joanne E. Cuttler ’99
The director and fight director of this production are members of the Stage Directors and Michael J. Del Giudice and Elizabeth W. Ely ’65 and Gordon Douglas
Choreographers Society, a theatrical labor union. Jaynne Keyes Jonathan K. Greenburg The Eve Propp Family Foundation, Inc.
Stefano Ferrari and Lilo Zinglersen Beverly Fanger and Harvey and Mary Freeman
Britton Fisher Dr. Herbert S. Chase Jr. I. Bruce Gordon
Florence & Robert Rosen Family Eliot D. and Paula K. Hawkins Nan and David Greenwood
The designers of this production are members of United Scenic Artists Local USA 829 of Foundation Susan Hendrickson Rosemary and Graham Hanson
the International Alliance of Theatrical Stage Employees (IATSE), a theatrical labor union. Dr. Terry S. Gotthelf Richard Katzman Najm Haq
King’s Fountain Susan and Roger Kennedy Kenneth P. Hodges
Doris J. Lockhart Richard Kortright Charles S. Maier
The Maurer Family Foundation, Inc. Roy and Amy Kulick Andrew McCabe
Steven Mazoh and Martin Kline Geraldine and Kit Laybourne John and Claire Reid
New York State Council on the Arts Alexandra Ottaway Mr. Randy J. Tryon
(NYSCA) Margrit and Albrecht Pichler Margo and Anthony Viscusi
Mr. and Mrs. James H. Ottaway Jr. Quality Printing Company, Inc.
Florence and Robert A. Rosen Drs. M. Susan and Irwin Richman Supporter
David E. Schwab II ’52 and Denise S. Simon and Rev. Winston L. Bath
Ruth Schwartz Schwab ’52 Paulo Vieiradacunha Marge and Ed Blaine
Thendara Foundation Sarah and Howard Solomon Gisa Botbol
Coram Williams and Darcy Stephens James C. and Pauline G. Carafotes
Juliane Fuerst Allan and Ronnie Streichler Neil and Kathleen Chrisman
Mr. Jann S. Wenner Ellen K. Coleman
Producer Margaret Coughlin
Goethe Institute New York Sustainer Mr. Kevin Curley
Barbara Lemperly Grant Roland Augustine Dr. Bruce Cuttler and
Ronald Guttman Mary I. Backlund and Virginia Corsi Joanne E. Cuttler '99
Harkness Foundation for Dance Prof. Jonathan and Jessica K. Becker Amy K. and David Dubin
Ted Ruthizer and Jane Denkensohn Ward C. Belcher Arthur and Janet Eschenlauer
Karen and Robert G. Scott Marshall S. Berland and John E. Johnson K.F. Etzold and Carline Dure-Etzold
Aida and Albert Wilder Alfred Buff and Lenore Nemeth Mr. Edward Friedman
Wilder Consolidated Enterprises Inc. Mr. Claude Dal Farra Thomas F. Froese
C. Douglas and Leslie Dienel Frances A. and Rao Gaddipati
Patron Tambra Lee Dillon Marvin and Maxine Gilbert
Fiona Angelini and Jamie Welch Martha J. Fleischman Laurie Gilmore
Dr. Leon Botstein and Frederic Harwood Jeffrey L. Glatzer
Barbara Haskell James Hayden Arthur and Judy Gold
Stuart Breslow and Anne Miller Hyman J. & Florence Hammerman Mims and Burton Gold
Bob Bursey and Leah Cox Family Foundation Dorothy and Leo Hellerman
Catskill Mountain Foundation, Inc. Mr. and Mrs. George A. Kellner Martin Holub
Thomas and Bryanne Hamill Michael Kelly Jan Hopkins and Richard Trachtman
The Harkness Foundation for Dance, Inc. Dr. Barbara Kenner Daniel Idzik
16 17Neil Isabelle Mr. and Mrs. Floyd Glinert Dr. Barbara Kenner Mr. and Mrs. Frederick P. Payton Clara Botstein Barbara A. Schoenberg
Timur Kanaatov Debby and Fred Glynn Mrs. Mortimer Levitt John and Clair Reid John C. D. and Nancy Bruno Peter Schwalbe and Jody Soltanoff
Kassell Family Foundation of the JCF Michel Goldberg The Mortimer Levitt Foundation Inc. Edwin Steinberg Ms. Joan Costa Dagni and Martin Senzel
Harold and Raquel Kleinfeld Susan and David Goldin Mr. and Mrs. James H. Ottaway Jr. Ana and J. Roberto De Azevedo John Tancock
Rose and Josh Koplovitz Steven Goldstein Denise S. Simon and Benefactor Patricia Falk Mila Tewell
Dr. Nancy Leonard and Stanley and Anne Gordon Paulo Vieiradacunha Roland Augustine Alison Granucci Robert E. Tully
Dr. Lawrence Kramer Sheryl Griffith Felicitas S. Thorne Jane R. Cottrell Fritz and Nancy Henze Arete B. S. Warren
Robert F. Kurilla Matthew M. Guerreiro and David G. Whitcomb Foundation Elizabeth D. and Robert Hottensen Miranda Wei ’12
Kirk N. Lawson Christina Mohr Golden Circle Mr. and Mrs. Gonzalo de Las Heras I.B.M. Matching Grants Program Jack and Jill Wertheim
Leon and Fern Lerner Dr. Arthur A. Guffanti Jane W. Nuhn Charitable Trust Rt. Rev. Herbert A. and Mary Donovan John and Mary Kelly Barbara Jean Weyant
Joe Lombardi Ms. Julio Guillen Edna and Gary Lachmund Laurel Durst Erica Kiesewetter Serena H. Whitridge
Janet C. Mills Richard E. Hahn Amy and Thomas O. Maggs John Geller Mr. Noel Melhado Ms. Chanel M. Wood ’08
Dr. David T. Mintz Gilbert and Mary Hales National Endowment for the Arts (NEA) David and Nancy Hathaway Gary S. Patrik
Roy Moses Johanna Hecht and Raymond Sokolov Millie and Robert Wise Helene L. and Mark N. Kaplan Emma Richter ’09 and Alex Gaudio ’10 Friend
Vernon Mosheim and Delmar D. Hendricks The Wise Family Charitable Foundation Richard Kortright Art and Jeannette Taylor Richard Armstrong and Dorsey Waxter
C. Robert Friedman HSBC Philanthropic Programs Murray Liebowitz Jessica and Peter Tcherepnine Howard and Mary Bell
Debra R. Pemstein and Dean Vallas Mark R. Joelson Director Elizabeth R. and Gary J. Munch Prof. Marina van Zuylen Madge Briggs
Susan Price Dr. Eleanor C. Kane The Ann and Gordon Getty Foundation Ms. Anna Neverova ’07 Mr. George Carrothers
George and Gail Hunt Reeke Linda L. Kaumeyer Joan K. Davidson Barbara B. Reis Supporter Mr. & Mrs. Timothy Delaney
Blanche and Bruce Joel Rubin Brenda and Stephen Kaye Elizabeth W. Ely ’65 and Barbara and Donald Tober Barbara J. Algren Floyd and Phyllis Glinert Foundation of
Ms. Myrna B. Sameth Martin Kenner and Camilla Smith Jonathan K. Greenburg Elizabeth Farran Tozer and Dr. Howard Bellin the FCGF
Michael W. Scheringer Marilyn Kirchner Matthew M. Guerreiro and W. James Tozer Jr. Khurshed Bhumgara John Foreman
Ronald Sencer Dr. Seymour and Harriet Koenig Christina Mohr UBS Matching Gift Program Harriet Bloch and Evan Sakellarios Mary Ann Free
Nevin Shalit Prof. Marina Kostalevsky Eliot D. and Paula K. Hawkins Maureen A. Whiteman and Phyllis Busell and James M. Kostell Alysha Glenn ’09
Mr. Ian Shrank Daniel Labar Alan Hilliker and Vivien Liu Lawrence J. Zlatkin Philip and Mimi Carroll Andrea E. Gross
Larry Simmons Myron Ledbetter The J. M. Kaplan Fund, Inc. Constance and David C. Clapp Frederick Fisher Hammond
Clare L. Smith Mr. Maurice Dupont Lee Marstrand Foundation Sustainer Jennifer and Jonathan H. Cohen Ms. Boriana Handjiyska ’02
Dr. Sanford B. Sternlieb Ronald Leibler New York State Council on Kathleen Augustine Gordon Douglas Tameka L. Harvey
Campbell Steward Joan Mack the Arts (NYSCA) Mr. and Mrs. Jack Auspitz Seth Dubin Susan Heath and Rodney Paterson
Mia Unson Barbara Mansell Jim and Talila O’Higgins Barbara and Donald Tober Foundation Jam and Laurie Niles Erwin Susan Hoehn
Dr. Lawrence A. Wills and D. J. Martin Ms. Phyllis Marsteller Peter Kenner Family Fund of the JCF Prof. Jonathan and Jessica K. Becker June and Peter Felix John Cage Trust
Mike and Kathy Zdeb Denise Maynard Drs. M. Susan and Irwin Richman Sandra Bendfeldt David and Tracy Finn Linda L. Kaumeyer
Joy McManigal David E. Schwab II ’52 and Sarah Botstein and Bryan Doerries Anne Stewart Fitzroy Harold and Raquel Kleinfeld
Friend Dr. Naomi Mendelsohn Ruth Schwartz Schwab ’52 Kay Brover and Arthur Bennett Laura Flax Chloe A. Kramer
Dr. and Mrs. Morton Alterman Monsanto Fund Dr. Sanford B. Sternlieb Melva Bucksbaum and Deborah and Thomas Flexner Ms. Carol Lee
Sybil Baldwin Edmund M. Murphy Charles P. Stevenson Jr. and Raymond J. Learsy Luisa E. Flynn Mr. Maurice Dupont Lee
Matthew Beatrice Dr. Abraham and Gail Nussbaum Alexandra Kuczynski Ms. Katherine Burstein ’09 Samantha R. J. Free John Robert Massie
Dr. Alvin and Arlene Becker Lucille H. Orzach Stewart’s Shops Frederick and Jan Cohen Francis Finlay and Olivia J. Fussell Steven Mazoh and Martin Kline
Frederick and Lauranne Berliner Marilyn and Peter Oswald Margo and Anthony Viscusi Willem F. De Vogel Emily Rutgers Fuller Caroline Mecartney
Lewis J. Bernstein Steven Pollak and Robin Tanenbaum Dr. Siri von Reis Ines Elskop and Christopher Scholz Joseph W. and Joyce Gelb Ms. Deborah Mintz
Susan Bienkowski Tony and Karen Porcelli Merida Welles and Chip Holman Diana Hirsch Friedman ’68 Mr. and Mrs. Harrison J. Goldin Roy Moses
Khurshed Bhumgara Neila Beth Radin Mr. Donald C. Fresne Maxwell H. and Victoria Goodwin Vernon Mosheim and
Roselee Blooston Sandra Ray Producer Laura Genero Samuel L. Gordon Jr. C. Robert Friedman
Gary Boyd Mr. Douglas Reeser Helen ’48 and Robert L. Bernstein Eric Warren Goldman ’68 Lawrence and Lorna Graev Dr. Vanessa Neumann
Madge Briggs Catherine K. Reinis Amy K. and David Dubin Dr. Eva Griepp and Dr. Randall Griepp Sandy Graznow and Jim Kearns Michael Nishball
Jerry and Brenda Brockett Ms. Esther Rosenfeld Anne E. Impellizzeri Dr. Barbara K. Hogan Ms. Maureen W. Gregory Elizabeth J. and Sevgin Oktay
David and Jeannette T. Brown Fred Sagarin Alison L. and John C. Lankenau Jack & Marion’s Fund of the JCF Sally S. Hamilton David Pozorski and Anna Romanski
Jeffrey and Ellyn Burstein Barbara A. Schoenberg Martin and Lucy Miller Murray Edith and Hamilton F. Kean James Hayden D. Miles Price
Mr. Timothy Butts Joseph Schoenberg Sarah and Howard Solomon Mr. and Mrs. Thomas W. Keesee III Emilie and William Henry Mr. Robert Schweich
Prof. Mary Ellen Caponegro ’78 Marc Sferrazza Allan and Ronnie Streichler John R. and Karen Klopp Mr. Derek B. Hernandez ’10 Elizabeth K. and James Shequine
Ellen and Mac Caputo Elisabeth A. Simon Dr. Elisabeth F. Turnauer-Derow Dr. Seymour and Harriet Koenig Juliet Heyer Susan Shine
Daniel Chu and Lenore Schiff Marcia Sprules Rosemary and Noel Werrett Cynthia Hirsch Levy ’65 Frederic K. and Elena Howard Mr. and Mrs. Charles Stukenborg
Paula T. Ciferni Alice and Tim Stroup Irene Zedlacher Lynn Favrot Nolan Family Fund Demetrios and Susan Karayannides Alexandra Tuller and Dean Temple
Robert and Isobel Clark Katrina Thomas Dr. and Mrs. Arthur Menken Robert E. Kaus Arnold S. Warwick ’58
Ms. Darrah L. Cloud Taun N. Toay ’05 Patron Mr. and Mrs. William T. Nolan Mr. and Mrs. George A. Kellner Robert and Melanie Whaley
Marshall J. Cohen Ms. Paula van der Geest Joshua J. Aronson David B. and Jane L. Parshall Fernanda Kellogg and Kirk Henckels Dr. Lawrence A. Wills and D. J. Martin
Marianthe Colakis Gerald and Grace Wapner Mary I. Backlund and Virginia Corsi Mr. and Mrs. Frederick P. Payton Charles and Katherine King Peter and Maria Wirth
Dr. Edward Conrad Monica Sarah Wieboldt Alexander and Margaret Bancroft Lucas Pipes ’08 and Diana Niles King
Richard A. Costello David and Meliza E. Woolner Dr. Miriam Roskin Berger ’56 Sarah Elizabeth Coe Paden ’09 Debra I. and Jonathan Lanman List current as of 6/6/14
Ms. Heather Croner Dr. Herbert M. and Audrey S. Wyman Lydia Chapin and David Soeiro John and Claire Reid Wayne Lawson
Ellen C. Curtis Blythe Danner ’65 Blanche and Bruce Joel Rubin Beth Ledy
Frank J. Cutolo Emily H. Fisher and John Alexander Illiana van Meeteren E. Deane and Judith S. Leonard
Estate of James Deguire Friends of the Bard Music Festival Helena and Christopher Gibbs Olivia van Melle Kamp Catherine Anne Luiggi
Joan and Wolcott Dunham Marieluise Hessel and Edwin L. Artzt Alison M. and James A. von Klemperer Claire and Chris Mann
Abby H. and John B. Dux Leadership Support Martin Holub Mr. Michael P. A. Winn ’59 Don and Evelyn McLean
David Ebony and Bruce Mundt Helen and Roger Alcaly Rachel and Dr. Shalom Kalnicki Mr. and Mrs. Seth Melhado
Susan Ezrati The Andrew W. Mellon Foundation Belinda and Stephen Kaye Sponsor Joanna M. Migdal
Floyd and Phyllis Glinert Foundation of Bettina Baruch Foundation James Klosty Jamie Albright Maury Newburger
the FCGF Michelle R. Clayman Alfred J. Law and Glenda A. Fowler Law Anonymous Encarnita and Robert Quinlan
Ann and Robert Freedman Estate of John A. Dierdorff Amala and Eric Levine Linda Baldwin Joseph M. Rinaldi and
David Gable Robert C. Edmonds ’68 The McGraw-Hill Companies Matching Saida and Sherwood Baxt Elizabeth McClintock
James J. Gebhard Jeanne Donovan Fisher Gift Program Elizabeth Phillips Bellin ’00 and Alfred J. and Deirdre Ross
Joseph W. and Joyce Gelb HSBC Philanthropic Programs MetLife Foundation Marco M. S. Bellin Ms. Phyllis Ross
Gregory F. Gilmartin Susan and Roger Kennedy Andrea and Kenneth L. Miron Marshall S. Berland and John E. Johnson John Royall
18 19Boards and Administration The Richard B. Fisher Center The Bard Music Festival SummerScape Staff Stephanie Lalonde, Spiegeltent Mallory Hewell, Assistant Stage Manager,
for the Performing Arts Electrician Love in the Wars
Board of Directors Administration and Programming Nicolas Ligong, Sosnoff Board Operator Lynn Krynicki, Stage Manager, Euryanthe
Bard College Advisory Board Denise S. Simon, Chair Susana Meyer, Producer, SummerScape Jamie Stokley, T2 Board Operator Michelle Elias, Assistant Stage Manager,
Jeanne Donovan Fisher, Chair Roger Alcaly Opera David Bull ’16, Electrician Intern Euryanthe
Board of Trustees Carolyn Marks Blackwood Leon Botstein+ Justin Vivian Bond, Curator and Host, Nicole DeCicco, Electrician Intern Paul Sieveking, Assistant Stage Manager,
David E. Schwab II ’52, Chair Emeritus Leon Botstein+ Michelle R. Clayman Spiegeltent John Dicarlo, Electrician Intern Euryanthe
Charles P. Stevenson Jr., Chair Stefano Ferrari Robert C. Edmonds ’68 Richard Suchenski, Curator, Fenna Henderson, Electrician Intern Emma Donohue ’18, Production Assistant,
Emily H. Fisher, Vice Chair Robert Martin+ Jeanne Donovan Fisher SummerScape Film Festival Mykyta Kasay ’16, Electrician Intern Euryanthe
Elizabeth Ely ’65, Secretary; Life Trustee Dimitri B. Papadimitriou+ Christopher H. Gibbs+ Zia Morter ’12, Development Assistant Claire Kedjidjian, Electrician Intern Eileen Goodrich ’16, Production Assistant,
Stanley A. Reichel ’65, Treasurer Martin T. Sosnoff Paula K. Hawkins Chiara Harrison Lambe ’15, Marketing Micayla Thebault-Spieker, Electrician Euryanthe
Toni Sosnoff Susan Petersen Kennedy Intern Intern
Fiona Angelini Felicitas S. Thorne Barbara Kenner Katherine Maysek VAP ’15, Audience Audience Services
Roland J. Augustine Gary Lachmund Services Intern Audio Mythili Ananthasayan ’15, Usher
Leon Botstein+ , Administration and Programming Thomas O. Maggs Nicholas Carbone ’14, Film Series Assistant Jimmy Jumbelic, Spiegeltent Audio Emma Barnes ’15, Usher
President of the College Debra Pemstein, Vice President for Robert Martin+ Engineer Danielle Comerford, Usher
Stuart Breslow+ Development and Alumni/ae Affairs Kenneth L. Miron Company Management Seth Chrisman, Audio 1, Sosnoff Rachel Costello, Usher
Mark E. Brossman Bob Bursey, Senior Producer Christina A. Mohr Michael Coglan, Company Manager Noah Firtel ’14, Audio 2, Sosnoff Benjamin Dranoff ’16, Usher
Thomas M. Burger+ Gideon Lester, Director of Theater James H. Ottaway Jr. Cate Cundiff, Assistant Company Manager Brandon Roe, Audio 1, Theater Two Becky Fildes, Usher
James C. Chambers ’81 Programs Felicitas S. Thorne Jackie Nguyen, Assistant Company Robin Clenard, Audio 2, Theater Two Abigail Finer ’15, Usher
David C. Clapp Erica Topple, Development Manager Siri von Reis Manager Lauren Cain ’14, Audio-Visual Intern Shelby Garcia ’15, Usher
Marcelle Clements ’69* Caleb Hammons, Associate Producer Shae Candelaria, Company Management Brandon (Jack) Lee ’15, Spiegeltent Audio Melissa Haggerty, Usher
The Rt. Rev. Andrew M. L. Dietsche, Jeannie Schneider, Business Manager Artistic Directors Staff Intern Hajar Ismail, Usher
Honorary Trustee Marla Walker, Executive Assistant Leon Botstein Naja Gordon ’16, Company Management Paul Sylvester, Audio-Visual Intern Patrick Jones ’15, Usher
Asher B. Edelman ’61, Life Trustee Christopher H. Gibbs Staff Kedian Keohan ’16, Usher
Paul S. Efron Production Robert Martin Properties Jackson McKinnon ’16, Usher
Robert S. Epstein ’63 Vincent Roca, Production Manager Spiegeltent Sydney Schatz, Prop Master Amelia Parker ’16, Usher
Barbara S. Grossman ’73* Stephen Dean, Production Coordinator, Executive Director Grace Schultz ’10, Venue Manager Patrice Escandon, Assistant Prop Master Emma Patsey, Usher
Sally Hambrecht Concerts and Lectures Irene Zedlacher Sam Miller ’15, Captain Alanna Maniscalo, Assistant Prop Master Briana Ramsey-Tyler ’16, Usher
George F. Hamel Jr. Matthew Waldron ’07, Production Mari Crawford ’15, Host Ellie Engstrom, Properties Megan Robitaille, Usher
Marieluise Hessel Coordinator, Dance and Theater Associate Director Sebastian Gutierrez ’14, Host Sarah Oziemkowski, Properties Cara Search, Usher
Maja Hoffmann Steven Michalek, Technical Director Raissa St. Pierre ’87 Sam Robotham ’16, Host Abigail Caine, Properties Intern Thatcher Snyder ’16, Usher
Matina S. Horner+ Josh Foreman, Lighting Supervisor Nicholas LaBarbera, Properties Intern Laura Thompson ’16, Usher
Charles S. Johnson III ’70 Moe Schell, Costume Shop Supervisor Scholars in Residence 2014 Production Management Sher Meyers, Properties Intern Philip Torphy ’16, Usher
Mark N. Kaplan, Life Trustee Christopher H. Gibbs Hellena Schiavo, Assistant to the Hillarie Shockley, Properties Intern Julia Vunderink, Usher
George A. Kellner Communications Morten Solvik Production Manager Maddison Wood, Properties Intern Sage Warner ’17, Usher
Murray Liebowitz, Life Trustee Mark Primoff, Director of Shannon Thomas ’13, Assistant to the Emily Weisbecker, Usher
Marc S. Lipschultz Communications Program Committee 2014 Production Manager Wardrobe AbiDemi Williams ’16, Usher
Peter H. Maguire ’88 Eleanor Davis, Media and Marketing Byron Adams Matthew Strieder, Production Assistant David Burke, Wardrobe Supervisor, Bethany Zulick ’16, Usher
Fredric S. Maxik ’86 Manager Leon Botstein Euryanthe Desi-Rae Campbell ’14, Parking Attendant
James H. Ottaway Jr., Life Trustee Joanna Szu, Associate Marketing Manager Christopher H. Gibbs Carpenters Jimmy Bennett, Wardrobe Head, Alexander D’Alisera ’15, Parking Attendant
Martin Peretz, Life Trustee Robert Martin Chris Orenstein, Assistant Technical Euryanthe Patrick Dwyer ’15, Parking Attendant
Stewart Resnick, Life Trustee Publications Richard Wilson Director Danielle Preston, First Hand Jacob Fauber ’15, Parking Attendant
Roger N. Scotland ’93* Mary Smith, Director of Publications Irene Zedlacher Paul Arebalo, Carpenter Laurel Walford, Draper Anina Ivry-Block ’14, Parking Attendant
Martin T. Sosnoff Grant Barnhart, Carpenter Thalissa Billups, Wardrobe Matthew Jantzen, Parking Attendant
Susan Weber Audience Services Director of Choruses Aubrey Ellis, Carpenter Gwen Knapp, Wardrobe Preston Ossman ’15, Parking Attendant
Patricia Ross Weis ’52 David Steffen, Audience Services Manager James Bagwell Tony Musso, Carpenter Gabrielle Laroche, Wardrobe Tekendra Parmar ’15, Parking Attendant
and Communications Coordinator Andrew Persson, Carpenter Alise Marie, Wardrobe Ashley Phan ’16, Parking Attendant
Senior Administration Nicholas Reilingh, Box Office Manager Vocal Casting/ Todd Renadette, Carpenter Blair Maxwell ’13, Wardrobe Nigel Washington ’15, Parking Attendant
Leon Botstein, President Caitlyn DeRosa, Assistant Box Office Producer, Staged Concerts Jakhu Sandeep, Carpenter Casey Morris, Wardrobe Jenny Ghetti ’13, Box Office Teller
Dimitri B. Papadimitriou, Manager Susana Meyer Sean Spencer, Carpenter Avion Pearce, Wardrobe Ethan Jones ’14, Box Office Teller
Executive Vice President Patrick King ’12, House Manager Ashley Stegner ’12, Carpenter Eleanor Robb ’16, Wardrobe Avery Lamb ’15, Box Office Teller
Michèle D. Dominy, Vice President and Alec Newell ’15, Assistant House Manager * alumni/ae trustee Margaret Allardice ’16, Carpentry Intern David Shoemaker ’16, Wardrobe Daniel Meyer-O’Keeffe ’16, Box Office Teller
Dean of the College Iana Robitaille, Assistant House Manager + ex officio Isabel Bump ’16, Carpentry Intern Emma Troisi ’14, Wardrobe Audrey Rosenblith ’16, Box Office Teller
Mary Backlund, Vice President for Student Seth Sobottka ’15, Assistant House Megan Cole, Carpentry Intern Katelyn Barrow, Stitcher Elizabeth Schmidt, Box Office Teller
Affairs and Director of Admission Manager Austin Kilpatrick, Carpentry Intern Adrienne Kirk ’13, Stitcher Jennifer Schwartz ’14, Box Office Teller
Norton Batkin, Vice President and Dean of Michael Lazarus ’15, Carpentry Intern Anna J. Le, Stitcher Fiona Steacey ’14, Box Office Teller
Graduate Studies Facilities Derek Pitcher, Carpentry Intern Ivy Nallo ’16, Stitcher Sara Yilmaz ’13, Box Office Teller
Jonathan Becker, Vice President Mark Crittenden, Facilities Manager Ryland Stevenson, Carpentry Intern Rachel Ralby, Stitcher
and Dean for International Affairs and Ray Stegner, Building Operations
Civic Engagement Manager Electrics Hair and Make Up
James Brudvig, Vice President for Doug Pitcher, Building Operations Kara Ramlow, Master Electrician David Bova, Hair and Makeup Designer
Administration Coordinator Walter Daniels, Electrician Blair Aycock, Hair and Makeup Assistant
John Franzino, Vice President for Finance Daniel DeFrancis, Building Operations Dale Gibbons, Electrician Amelia Bay, Hair and Makeup Assistant
Susan H. Gillespie, Vice President for Assistant Jameson Gresens, Electrician Chia-Chia Feng, Hair and Makeup
Special Global Initiatives Robyn Charter, Fire Panel Monitor Matt Griffen, Electrician Assistant
Max Kenner ’01, Vice President for Katie O’Hanlon, Environmental Specialist Brian Lindsay, Electrician Rachel Eastbrook, Hair and Makeup Intern
Institutional Initiatives Patricia O’Hanlon, Environmental Harold (Tony) Mulanix, Electrician Miranda Hanson, Hair and Makeup Intern
Robert Martin, Vice President for Specialist Andrew Trent, Electrician
Academic Affairs and Director of The Anna Simmons, Environmental Specialist Aaron Weininger, Electrician Stage Management
Bard College Conservatory of Music Kathleen Keating ’16, Spiegeltent Megan Smith, Production Stage
Debra Pemstein, Vice President for Electrician Manager, Love in the Wars
Development and Alumni/ae Affairs
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