DIFFERENT STAGES’ REPERTORYBegun as Small Potatoes Theatrical Company

1981: August Strindberg’s Creditors and The Stronger. 1982: William Shakespeare’s The Tempest and A Midsummer Night’s Dream. 1983: George Bernard Shaw’s Candida; Anton Chekhov’s The Brute, Swan Song, and Celebration. 1984: Luigi Pirandello’s Right You Are (If You Think You Are); Jane Martin’s Talking With… 1985: Caryl Churchill’s Cloud 9; William Shakespeare’s As You Like It; Carl Sternheim’s The Underpants; Michael Weller’s Moonchildren. 1986: Amlin Gray’s How I Got That Story; William Shakespeare’s The Winter’s Tale; Eugene O’Neill’s Beyond the Ho-rizon. 1987: Michael Weller’s Loose Ends; Aristophanes’ The Wasps; Larry Kramer’s The Normal Heart; Arthur Schnitzler’s Anatol. 1988: Wallace Shawn’s Aunt Dan and Lemon; Dylan Thomas’ Under Milk Wood; Moss Hart’s Light Up the Sky; Jean Racine’s Phaedra; Jean-Baptiste Molière’s The Misanthrope. 1989: Caryl Churchill’s Fen; Charles Ludlam’s The Artificial Jungle; William Shakespeare’s The Merchant of Venice. 1990: Eric Overmeyer’s On the Verge; Eugene O’Neill’s Long Day’s Journey Into Night; Milan Kundera’s Jacques and His Master; Tom White’s The Trouble with Tofu; William Shakespeare’s Titus Andronicus. 1991: George Kelly’s The Show-Off; George Bernard Shaw’s Mrs. Warren’s Profession; Keith Reddin’s Life and Limb; Mozart/Lorenzo da Pon-te’s Così fan Tutte; Jean-Baptiste Molière’s The Learnèd Ladies. 1992: Alan Ayckbourn’s Woman in Mind; Carlo Gozzi’s The Raven; Henrik Ibsen’s The Wild Duck; Charles MacArthur’s Johnny on a Spot; George Farquhar’s The Recruiting Officer. 1993: Timberlake Wertenbaker’s Our Country’s Good; Charles Ludlam’s The Secret Lives of the Sexists; Tennessee Williams’ Orpheus Descend-ing. 1994: Constance Congdon’s Tales of the Lost Formicans; William Shakespeare’s Cymbeline; George M. Cohan’s The Tavern; Marlayne Meyer’s Etta Jenks. 1995: Pierre Marivaux’s The Tri-umph of Love; Tom Stoppard’s Travesties; Larry Kramer’s The Destiny of Me; Alexander Ostro-vsky’s The Diary of a Scoundrel. 1996: Caryl Churchill’s Mad Forest; Agatha Christie’s Black Coffee; William Congreve’s The Way of the World. 1997: Terrence McNally’s A Perfect Ganesh; Dorothy Parker’s Here We Are; Alan Ayckbourn’s Drinking Companion; Terrence McNally’s Noon; George M. Cohan’s Seven Keys to Baldpate; Sean O’Casey’s Juno and the Paycock. 1998: Tom Stop-pard’s Arcadia; Aeschylus’ Agamemnon; Giles Havergal’s Travels with my Aunt; Arthur Miller’s All My Sons. 1999: Edit Villareal’s My Visits with MGM; Jean-Baptiste Molière’s The Hypochondriac (tr. Martin Sorrel); Edward Percy and Reginald Denham’s Ladies in Retirement; Anton Chek-hov’s Uncle Vanya. 2000: Peter Parnell’s The Rise and Rise of Daniel Rocket; Ann Ciccolella’s Fruits and Vegetables; George S. Kaufman and Marc Connelly’s Merton of the Movies; Martin McDonagh’s The Cripple of Inishmaan. 2001: Milcha Sanchez-Scott’s Roosters; George Bernard Shaw’s The Devil’s Disciple; J. B. Priestly’s Dangerous Corner; Tennessee Williams’ Summer and Smoke. 2002: Ann Ciccolella’s Madame X; David Linsay-Abaire’s Fuddy Meers; Agatha Christie’s The Unexpected Guest; Federico Garcia Lorca’s The House of Bernarda Alba. 2003: Christopher Durang’s Betty’s Summer Vacation; Horton Foote’s The Traveling Lady, William Shakespeare’s Two Gentlemen of Verona; Oscar Wilde’s An Ideal Husband. 2004: John Patrick’s The Hasty Heart; Tom White’s The Misses Overbeck; Brian Friel’s Molly Sweeney, George Bernard Shaw’s Arms and the Man. 2005:William Shakespeare’s Pericles, Prince of Tyre; Edit Villareal’s Marriage is Forever; Agatha Christie’s Appointment with Death; John Millington Synge’s The Playboy of the Western World. 2006: Two into War (The Gifts of War and The Retreating World); Amy Freed’s The Beard of Avon; Agatha Christie’s The Hollow; Christopher Durang’s Mrs. Bob Cratchit’s Wild Christmas Binge. 2007: Edward Albee’s The Goat or Who is Sylvia?, Peter Shaffer’s Lettice and Lovage, W. Sommerset Maugham’s The Constant Wife. 2008: Tennessee Williams’ Garden District: Something Unspoken & Suddenly Last Summer, Diana Son’s Stop Kiss; Tom White’s What I Want Right Now; George Bernard Shaw’s Getting Married. 2009: Christopher Durang’s Miss Witherspoon; Caryle Churchill’s A Number; J.B. Priestley’s An Inspector Calls; Thornton Wilder’s The Skin of Our Teeth; 2010: Sarah Ruhl’s Eurydice; Horton Foote’s The Carpetbagger’s Children; Agatha Christie’s Spider’s Web; Paul Osborn’s Morning’s at Seven; Charlotte Jones’ Humble Boy; Tennessee Williams’ The Night of the Iguana

Too Many Husbands•❦•

Different Stages Presents W. Somerset Maugham’s

June 24 – July 16, 2011The Vortex, 2307 Manor Blvd Thursday – Saturday 8 PM, Sunday 7 PM“Pick your Price: $15, $20, $25, $30”

For tickets and information call 478-5282

Different Stages presents

Too Many Husbandsby W. Somerset Maugham

Director ........................................................................................Norman BlumensaadtAssistant Director ............................................................Nikki Zook, Phoebe GreeneStage Manager ................................................................................................Josey LoganSet Design ....................................................................................................Elaine JacobsLight Design .......................................................................................... Patrick AnthonyCostume Design ........................................................................................Tiffany Harris

CHARACTERS AND CAST

Victoria, a dear little thing ................................................................Martina OhlhauserMiss Dennis, a manicurist ............................................................................. Amy LewisTaylor, a parlor maid ...............................................................................Phoebe GreeneMrs. Shuttleworth, a mother-in-law.......................................................... Lydia BlancoMr. Leicester Patton, a wangler ..................................................................Tony SalinasFrederick Lowndes, a hero .........................................................................Joe HartmanWilliam Cardew, another hero ..............................................................Brian VillalobosNannie, a nurse ................................................................................... Ashley McNerneyMrs. Pogson, a respectable woman ................................................ Paula Ruth GilbertMr. A.B. Raham, a solicitor ............................................................................Philip ColeMiss Montmorencey, a maiden lady ........................................ Julie Winston-ThomasClarence, a boy ...............................................................................................Wade Belew

The action of the play takes place at Victoria’s house inWestminster, towards the end of November, 1918.

ACT ONEVictoria’s bedroom

Intermission

ACT TWOThe drawing room at Victoria’s house

Intermission

ACT THREEThe kitchen

FUNDING AND DONATIONS

Director Level $5000+The City of Austin

Actor Level $1000 - $5000Karen Jambon & Jennifer Underwood,

Jack Grimes, Ameriprise Financial

Stage Manager Level $500-$999Craig Kanne, AMD Foundation/Paul Arndt

Designer Level $250-$499Irene Dubberly, Sarah & David Seaton, Royce Gehrels, Bruce McCann, Emily and Kent Erington, Connie McMillan, Harvey Guion, Ann Bower

Stage Hand Level $100-$249Steven Kinslow, Diane Herrera, John & Betty Wood, Andy & Renee Brown, Roy & Leona Kaskin, Annette Sherman, Keith Yawn, Pamela Bates, Marla Boye, Melanie & Travis Dean, The Pfizer Foundation, Bonnie & Frank Cahill, Tom White, David Smith, Paula & Bill Kemp, Anonymous.

Audience Level $20-$99Mary Alice Carnes, Patricia Bennett, Cade & Al Minder, Ger-ald Moore, Paula Gilbert, Richard Collins, Kelly Slupek, Cecilia Berg, Rebecca Robinson, Reba Gillman, Charles Ramirez Berg, Dianne & Donna Le Roy, Richard Collins, Miriam & Larry Ru-bin

In-Kind DonationsMary Alice Carnes, Sarah Seaton

This project is funded and supported in part by the City of Austin through the Cultural Arts Division and by a grant from the Texas Commission on the Arts and an award from the National Endowment for the Arts, which believes that a great nation deserves great art.

PRODUCTION STAFF

Light/Sound Operator ............................................................................Adrian ArriagaSet Construction ................................................Ann Marie Gordon, Michael Coslett,............................................................................. Charlie Saenz, Wade Belew, ThursdayProperties .....................................................................................Norman BlumensaadtWebmaster ..........................................................................................Martina Ohlhauser Photography ............................................................................................Bret BrookshireProgram Design ......................................................................................Emily EringtonPublicity .................................Carol Ginn, Norman Blumensaadt, Martina Olhauser

ACKNOWLEDGMENTS AND SPECIAL THANKSLorella Loftus, Douglas Kelly, Zimmer, Bonnie Collum, Phoebe Greene, Elaine Ja-cobs, Paula Gilbert, Dougherty Arts Center, Austin Creative Alliance, Nikki Zook, Carol Ginn, Jeff Miller - Acorn Design, LLC, and The University of Alabama Department of Theatre

ABOUT DIFFERENT STAGESDifferent Stages, Inc. has been a community-based organization since its incep-tion in 1981 and incorporation in 1984. It produces works by playwrights whom we believe to be defining forces in theatre. We seek to entertain with perfor-mances that reveal life in all its comedy, tragedy and intensity; and we hope to educate by choosing plays that provide exceptional insight into the human con-dition. By challenging ourselves as artists, and our audiences as participants, we endeavor to provide the community with vigorous and exciting live theatre.

Producing Artistic DirectorNorman Blumensaadt

Board of Directors

Karen Jambon, T.J. Moreno, Norman Blumensaadt

Operating Board

Norman Blumensaadt, Sarah Seaton, Royce Gehrels, Paula Ruth Gilbert

ABOUT THE PLAYWRIGHT

William Somerset Maugham was born in the British Embassy in Paris, France on January 25, 1874, where his father, Robert Ormond Maugham, a wealthy solicitor, worked. By the age of ten, both William’s parents were dead and he was sent to live with his uncle, the Rev. Henry Maugham, in Whitstable, Kent.

After an education at King’s School, Canterbury, and Heildelberg University in Germany, Maugham became a medical student at St. Thomas Hospital, London. While training to be a doctor Maugham worked as an obstetric clerk in the slums of Lambeth. He used these experiences to help him write his first novel, Liza of Lambeth (1897).

The book sold well and he decided to abandon medicine and become a full-time writer. Maugham achieved fame with his play Lady Frederick (1907), a comedy about money and marriage. By 1908 Maugham had four plays running simultaneously in London.

On the outbreak of World War I, Maugham, now aged forty, joined a Red Cross ambulance unit in France. While serving on the Western Front he met the 22 year old American, Gerald Haxton. The two men became lovers and lived together for the next thirty years. During the war Maugham was invited by Sir John Wallinger, head of Britain’s Military Intelligence (MI6) in France, to act as a secret service agent. Maugham agreed and over the next few years acted as a link between MI6 in London and its agents working in Europe.

Maugham had sexual relationships with both men and women and in 1915, Syrie Wellcome, the daughter of Dr. Thomas Barnardo, gave birth to his child. Her husband, Henry Wellcome, cited Maugham as co-respondent in divorce proceed-ings. After the divorce in 1916, Maugham married Syrie but continued to live with Gerald Haxton

During the war, Maugham’s best-known novel, Of Human Bondage (1915) was pub-lished. This was followed by another successful book, The Moon and Sixpence (1919). Maugham also developed a reputation as a fine short-story writer, one story, Rain, which appeared in The Trembling of a Leaf (1921), was also turned into a success-ful feature film. Popular plays written by Maugham include The Circle (1921), East of Suez (1922), The Constant Wife (1926) and the anti-war play, For Services Rendered (1932).

In his later years Maugham wrote his autobiography, Summing Up (1938) and works of fiction such as The Razor’s Edge (1945), Catalina (1948) and Quartet (1949).

William Somerset Maugham died in 1965.

CAST BIOGRAPHIES

WADE BELEW (Clarence) was born in Austin and has also lived in Hawaii, Dallas, and Lockhart. He went to Blinn Jr. College in Brenham Texas. When he attended Blinn he was in Miss Nelson is Missing, Good Women of Setzuan, Little Shop of Horrors, and Aladdin or the Wonderful Scamp. He would like to thank his family, friends, and mentors though this process

LYDIA BLANCO (Mrs Shuttleworth) was born in Albuquerque, New Mexico and raised in Corpus Christi, Texas. Graduated with a Bachelor of Arts from Texas A&M University – Corpus Christi where she studied Theater, Television, and Film. After graduating from college, she made herself at home in the Austin market where she began her on-camera career in such independent films as The Right Girl and Beyond Words. She was also honored with a B. Iden Payne nomination for best leading actress for her work in My Visits with MGM. Shortly after moving to Los Angeles in 2001, she began a successful television and film career. She has been fortunate enough to work with Steven Spielberg and Tom Hanks in The Terminal; Kate Winslet and Jack Black in Nancy Meyer’s film The Holiday; as well as Mark Ruffalo in his directorial debut in Sympathy for Delicious. Most currently, she worked with Ivan Reitman in his film No Strings with Natalie Portman and Ashton Kutcher. Most notable television roles include Prison Break, Southland, Desperate Housewives, Better Off Ted, Monk and The Shield, to name a few. She is most recognized for her role as Maria, Larry David’s housekeeper, in HBO’s Curb Your Enthusiasm.

PHILIP COLE (Mr. A.B. Raham) got his start at Second City in Chicago. In ad-dition, he appeared in several productions with the Loop Players, as Stanley Kowal-ski in A Streetcar Named Desire and as Charles Condomine in Blithe Spirit. Locally, he has performed in Don DeLillo’s Valparaiso and Dream One with The Search Party, The Skin of our Teeth with Different Stages, and in The Shadow Box with North by Northwest.

PAULA RUTH GILBERT (Mrs. Pogson) and Norman Blumensaadt began working together in 1981 with The Tempest. Some of her favorite roles in Differ-ent Stages shows where she was cast as leads and support roles alike include Wasp Chorus in The Wasps, Lady in Orpheus Descending, Caro the snake handler in Talking With..., and various characters such as Agatha Christie Aged Aunts and Mothers. Paula has worked for other groups in Austin such as the Vortex, Zachary Scott Theatre, among others. She occassionally directs a play, is a professional union wardrobe hand, and currently Vortex board member. Life is good.

PHOEBE GREENE (Taylor/Assistant Director) holds degrees in History and Radio/Television/Film from The University of Texas at Austin. She previously

JOSEY LOGAN (Stage Manager) has been involved with theatre in the Austin area for five years now. This is her first show at The Vortex and with Different Stages. Stage managing Too Many Husbands has been a very fun and educational experience.She hopes to continue with her involvement in theatre for many years to come.

NIKKI ZOOK (Assistant Director) is excited to be working with Different Stages again. Last summer, she played Clarissa in Spider’s Web (B. Iden Payne nomination). This is the second time she has served as Norman’s assistant director. The first was on Getting Married. Her directing credits include a scene from Austin Shakespeare Festival’s Will Power: Your Imaginary Forces and short plays in three incarnations of Loaded Gun Theory’s Slapdash Flimflammery. Nikki has appeared on stage in many productions for numerous theatre companies in and around Austin. Some of her most cherished roles include Feste in Twelfth Night (Austin Critics Table win), Dr. Sarah King in Appointment with Death (Austin Critics Table win), Pegeen Mike in The Playboy of the Western World (B. Iden Payne nomination), and Tiny Tim in Mrs. Bob Cratchit’s Wild Christmas Binge. Nikki would like to thank her family for their never-ending love and support, and the cast and crew for making this so much fun!

Different Stages2011 - 2012 Season

Wellby Lisa Kron

Nov-Dec

The Children’s Hourby Lillian Hellman

January

Saint Joanby George Bernard Shaw

March-April

Murder on the Nileby Agatha Christie

June-July

performed in numerous productions with The Violet Crown Radio Play-ers, notably as Doris Walker in Mir-acle on 34th Street, Hazel in Dorothy Parker’s Big Blonde and as an audio en-gineer for King Kong, which garnered a B. Iden Payne Awards Nomination for Outstanding Sound Design. She recently appeared as Frau Fahren-kopf in Different Stages’ The Night of the Iguana, and is delighted to work with this talented ensemble in her second Different Stages production.

JOE HARTMAN (Frederick Lowndes) marks his second appear-ance with Different Stages with this production. Previous performanc-es in Austin include Lord Henry Wriothsley in Different Stages’ The Beard of Avon (B. Iden Payne nomi-

nation), Linda the Chicken in Milkmilklemonade, Sandy Tyrell in Hay Fever, Prince Durante Ole in The Page and The Caterpillar (B. Iden Payne nomination) Ruth For-rester in Psycho Beach Party (B. Iden Payne nomination), and all the underdogs in his one-man show Overwhelming Underdogs (B. Iden Payne nomination). He has also per-formed in a number of musicals in town including Stephen Sondheim’s Company, When Pigs Fly (B. Iden Payne nomination) Annie, Guys and Dolls, My Favorite Year (B. Iden Payne nomination), and The Music Man. Joe also appeared in and co-wrote the Frontera Fest commisioned piece International House of Perception with Kirk German (Winner- Best of Fest). LA credits include: Reverend Joseph Dale in Showtime Television’s Great Commission, Mrs. Mackelravey in The Tune Timers (TV pilot), and Wally in ITC’s 1940’s Radio Hour.

AMY LEWIS (Miss Dennis) is a graduate of McMurry University with a BFA in Theatre. She is very active in the Austin theatre community as both an actor and a lighting designer. Amy’s Austin area acting credits include, Sordid Lives, Human Sketches, Picasso at the Lapin Agile, Romeo and Juliet, Shakespeare in Hollywood, Time Flies, Babels in Arms, and All in the Timing at Sam Bass Community Theatre, Dracula at the Bastrop Opera House, The Laramie Project at City Theatre, Bitten! A Zombie Rock Odyssey, The Automat, Bride of Slapdash, Slapdash Cinco de Flimflam, Slapdash Live Six Show, and Seven Deadly Circles of Slapdash with Loaded Gun Theory, of which she is also a member and resident lighting designer. Past productions with Different

tory Dance Theatre, and In a Garden (UA Opera). At Texas State she served as Costume Designer for Big Love (2009). She would like to thank Becky Freeman at the University of Alabama for all of the wonderful borrowed costumes, Lindsay Jones for helping to fill in the last minute costume gaps, and her amazing family (especially her mother) for putting up with the make-shift “costume shop” that took over half of the house during production; “I could not have done this with-out you guys!!”

ELAINE JACOBS (Set Design) After taking this project on, then reading the script, Elaine thought - uh oh, there are three different sets! How can I possibly fit all this into a space for one, and with no wings? Ah, the magic of theatre, and a lot of puzzling. Elaine’s set design credits include: Humble Boy produced by Differ-ent Stages earlier this year; The Wife of Bath’s Tale, a Chaucer adaptation by Lorella Loftus & Shekhar Govind; and technical design and construction of two revolving circular stages for Vortex Repertory’s Sleeping Beauty. She is grateful to Norman and Different Stages for this worthy challenge, and wants to thank all who helped put it together, especially the uber-talented Ann Marie Gordon for unfailing support.

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Stages include The Skin of Our Teeth, An Inspector Calls, What I Want Right Now, Mrs. Bob Crachit’s Wild Christmas Binge, The Hollow, and Playboy of the Western World. She was also recently in The Last Days of Judas Iscariot with the Royal Pretenders.

ASHLEY MCNERNEY (Nurse) recently graduated from East Carolina Uni-versity in Communication and has been living in Austin for a little over a year. Since moving to Austin she has become active in the local theatre scene. Ashley was last seen at the Curtain Theatre during Austin Shakespeare’s Shakespeare Birthday celebration. This is her second Different Stages production. Her first being an understudy for Hilda in The Night of the Iguana. Over the winter Ashley was a Chin Puppet in There is No Us or Them, a Frontera short fringe play at Hyde Park Theatre. Her favorite role she has played is Juliet in Romeo and Juliet. Ashley is a proud mem-ber of A Working Group-a two year Meisner training program taught by Richard Robichaux. She also attends weekly Artist’s Way sessions lead by Ann Ciccolella.

MARTINA OHLHAUSER (Victoria) marks her third production with Differ-ent Stages, having played feisty, young things in The Constant Wife and The Playboy of the Western World. She has also appeared the NxNW production of Hay Fever, a staged performance of an episode of Beverly Hills 90210 by The Institution The-ater, and Zilker Summer Theatre’s production of Annie. She expresses her sincerest thanks to Norman for allowing her to play such a delicious character and to Nikki Zook and the brilliant cast for all their help, inspiration, and kinship.

TONY SALINAS (Leicester Paton) is very excited and happy to be a part of this production. His other theater credits include: Crumpet in Santaland Diaries, San Miguel in La Pastorela, Walker Harris in Two Rooms, Bottom in A Midsummer Night’s Dream, Sefton in Stalag 17, Adam Trainsmith in Comic Potential; The Ringmaster in Wilhelm Reich in Hell. Tony hopes you enjoy the show!

BRIAN VILLALOBOS (William Cardew) is grateful, and very happy besides, for this opportunity to work with Norman and Different Stages; he has wanted to for some time now. He is delighted further, and uniquely blessed, to share a stage with such a singularly merry and remarkably talented group of folk. Thanks for the fun. He is thankful to God, and to his wife, Akasha. He owes her one. He hopes you enjoy the show.

JULIE WINSTON-THOMAS (Miss Montmorencey) is an actress, director and occasional playwright who earned a BA in Theatre at UT. She is a Co-Artistic Director and the Business Manager for Loaded Gun Theory, for whom she most recently acted in Slapdash 7. Julie thanks Norman for the chance to spend another summer on stage at the Vortex; last summer she was the Inspector in Spider’s Web. Other Different Stages shows she has appeared in are Appointment with Death, Two

Gentlemen of Verona, Betty’s Summer Vacation, and Fuddy Meers. Other (relatively) re-cent productions include Shrewd’s Feast of Fools, Gnap!’s 69 Love Scenes, Vestige Group’s Marisol and Anton in Show Business, and Loaded Gun Theory’s Little Murders. Thanks to Tim, her husband, who she hopes thinks she is a great card player, and her kids Stella and Etta for all their love and support!

DIRECTION AND DESIGN BIOGRAPHIES

PATRICK ANTHONY (Light Design) has been designing lights in Austin Texas for two years. He graduated Loyola: New Orleans with a BA in theatre and promptly moved back home. Too Many Husbands is his third production with Dif-ferent Stages, having previously lit Eurydice and Spider’s Web.

NORMAN BLUMENSAADT (Director) is the Producing Artistic Director for Different Stages. As an actor he has worked in Shakespeare Festivals in Odessa, Texas, Madison, New Jersey and Dallas, Texas. For Different Stages, he has recently appeared in Humble Boy, Eurydice, A Number, The Miser, Arms and the Man and The Playboy of the Western World. Among the numerous shows that he has directed are The House of Bernarda Alba, An Ideal Husband, The Beard of Avon, The Hollow, The Constant Wife, The Skin of Our Teeth, and The Carpetbagger’s Children. In celebration of his long and outstanding work in the Austin theater scene, the Austin Circle of Theaters bestowed upon Norman the 1998 Deacon Crain/John Bustin Award. His productions of The Hasty Heart and The Goat or Who is Sylvia won ACOT Awards for Best Production of a Drama. Different Stages was also the first theatre compa-ny in Austin to produce Arcadia by Tom Stoppard; that production won the Austin Theater Critics Award for Best Comedy.

TIFFANY M. HARRIS (Costume Design) is a graduate of Texas State Uni-versity with a BFA in Costume Design and Technology. She is currently working towards a masters in Theatrical Costume Design and Technology at The University of Alabama, from which recent design credits include Screwtape, Alabama Reper-