DIFFERENT STAGES’ REPERTORY

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 Win-ter’s Tale; Eugene O’Neill’s Beyond the Horizon. 1987: Michael Weller’s Loose Ends; Aris-tophanes’ 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 Ponte’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 Descending. 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 Triumph of Love; Tom Stop-pard’s Travesties; Larry Kramer’s The Destiny of Me; Alexander Ostrovsky’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 Stoppard’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 Chekhov’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. Priest-ly’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 Gentle-men of Verona; Oscar Wilde’s An Ideal Husband; Moliere’s The Miser. 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 Mil-lington 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; Moliere’s The Miser. 2008: Tennessee Williams’ Garden District: Some-thing 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; Caryl 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 Carpet-bagger’s Children; Agatha Christie’s Spider’s Web; Paul Osborn’s Morning’s at Seven. 2011: Charlotte Jones’ Humble Boy; Tennessee Williams’ The Night of the Iguana; W. Somerset Maugham’s Too Many Husbands; Lisa Kron’s Well. 2012: Lillian Hellman’s The Children’s Hour; Agatha Christie’s Murder on the Nile; Lennox Robinson’s Is Life Worth Living?; George S. Kaufman & Moss Hart’s You Can’t Take it With You. 2013: Doug Wright’s Quills; David Lindsay-Abaire’s Good People; Emlyn Williams’ Night Must Fall; Joseph Ket-terling’s Arsenic and Old Lace; Julia Cho’s The Language Archive; Preston Jones’ The Last Meeting of the Knights of the White Magnolia; George Bernard Shaw’s Pygmalion; Jay Presson Allen’s The Prime of Miss Jean Brodie; Theresa Rebeck’s Mauritius

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 Win-ter’s Tale; Eugene O’Neill’s Beyond the Horizon. 1987: Michael Weller’s Loose Ends; Aris-tophanes’ 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 Ponte’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 Descending. 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 Triumph of Love; Tom Stop-pard’s Travesties; Larry Kramer’s The Destiny of Me; Alexander Ostrovsky’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 Stoppard’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 Chekhov’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. Priest-ly’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 Gentle-men of Verona; Oscar Wilde’s An Ideal Husband; Moliere’s The Miser. 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 Mil-lington 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; Moliere’s The Miser. 2008: Tennessee Williams’ Garden District: Some-thing 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; Caryl 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 Carpet-bagger’s Children; Agatha Christie’s Spider’s Web; Paul Osborn’s Morning’s at Seven. 2011: Charlotte Jones’ Humble Boy; Tennessee Williams’ The Night of the Iguana; W. Somerset Maugham’s Too Many Husbands; Lisa Kron’s Well. 2012: Lillian Hellman’s The Children’s Hour; Agatha Christie’s Murder on the Nile; Lennox Robinson’s Is Life Worth Living?; George S. Kaufman & Moss Hart’s You Can’t Take it With You. 2013: Doug Wright’s Quills; David Lindsay-Abaire’s Good People; Emlyn Williams’ Night Must Fall; Joseph Ket-terling’s Arsenic and Old Lace; Julia Cho’s The Language Archive; Preston Jones’ The Last Meeting of the Knights of the White Magnolia; George Bernard Shaw’s Pygmalion; Jay Presson Allen’s The Prime of Miss Jean Brodie; Theresa Rebeck’s Mauritius

Different Stages presents

Charley’s Auntby Brandon Thomas

Director ..............................................................................................Karen JambonStage Manager ......................................................... Jonathan Urso and Cary UrsoSet Design ................................................................................. Ann Marie GordonLight Design ...................................................................................Patrick AnthonySound Design .....................................................Acorn Design LLC / Jeff MillerCostume Design ..........................................................................Stephanie Dunbar

CAST

Stephen Spettigue, Solicitor, Oxford................................................. Andy BrownColonel Sir Frances Chesney, Bart; Late Indian Service ............... Skip JohnsonJack Chesney, Undergraduate at St. Olde’s College, Oxford .......................................................Curtis AllmonCharles Wykeham, Undergraduate at St. Olde’s College, Oxford ...................................................... Grayson LittleLord Fancourt Babberley, Undergraduate at St. Olde’s College, Oxford ............................................................Isto BartonBrassett: A College Scout ........................................................................... Ian KingDonna Lucia D’Alvadorez; from Brazil ................................ Carrie H. StephensKitty Verdun; Spettigue’s Ward ..........................................................Sarah DankoAmy Spettigue; Spettigue’s Niece ..................................................Sarah ZeringueEla Delahay; An Orphan ...................................................................Frances BelloMaid...................................................................................................Emily Villarreal

Commemoration Week Oxford, 1892

~ Act I ~Rooms in College - morning

~ Act II ~Garden outside Jack Chesney’s Rooms - afternoon

~ Act III ~Drawing Room at Spettigue’s House

Produced by special arrangement with Samuel French, Inc.

This project is funded and supported in part by the City of Austin through

the Cultural Arts Division believing an investment in the Arts is an invest-ment in Austin’s future.

Visit Austin at:NowPlayingAustin.com

ACKNOWLEDGEMENTS AND SPECIAL THANKSNikki Zook, Bernadette Nason, Andrea Smith, Binita Lamsal,

Douglas Kelley, Royce Gehrels, Elain Jacobs, Joe Mastropieri

FUNDING AND DONATIONS

Director Level $5000+The City of Austin

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

Stage Manager Level $500-$999Ann Bower, Connie McMillan, Harvey Guion

Designer Level $200-$499Bobby and Larry Oliver, Steve Chapman, Bruce McCann

Stage Hand Level $100-$199Brian Graham-Moore, Katy Rose Center, Diane Herrera, Katherine Schroeder,

Laurei Stiggers, Jerrold Buttrey, Sarah Seaton, Peggy Little, Robert Tolaro, Tristin Caramiho, Kyle Evans, Ann Blumensaadt, Miriam & Larry Rubin, Emily & Kent

Erington, Tom Chamberlain, Craig Kanne

Audience Level $10-$99Kirstin Fern Johnson, Debbie Torres, Bernadette Nason, Martin J. Reyes, Pam Fri-day, Charles Stevens, Suzanne Balling, Katherine Sangster, Melissa Vogt, Inge Rider,

Margaret Hoard, Jennifer Rogers, Trevor Bissell, Nancy Elder, Karen Roe, Amy Lewis, Tom Chamberlain, Craig Kanne, Diana Phillips, Circe Sturm. Miriam Segura,

Jeff Miller, Mura McIlvain, Mary Alice Carnes, Lisa Schepps, Bethany Harbaugh, Marcia Evers, Linda Stade, Paula Gilbert, Lou Ann Looney

In-Kind DonationsBonnie Cullum and The VORTEX, Anne Marie Gordon, Karen Jambon, Mary

Alice Carnes, Douglas Kelley

Different Stages presents

Charley’s Auntby Brandon Thomas

Director ..............................................................................................Karen JambonStage Manager ......................................................... Jonathan Urso and Cary UrsoSet Design ................................................................................. Ann Marie GordonLight Design ...................................................................................Patrick AnthonySound Design .....................................................Acorn Design LLC / Jeff MillerCostume Design ..........................................................................Stephanie Dunbar

CAST

Stephen Spettigue, Solicitor, Oxford................................................. Andy BrownColonel Sir Frances Chesney, Bart; Late Indian Service ............... Skip JohnsonJack Chesney, Undergraduate at St. Olde’s College, Oxford .......................................................Curtis AllmonCharles Wykeham, Undergraduate at St. Olde’s College, Oxford ...................................................... Grayson LittleLord Fancourt Babberley, Undergraduate at St. Olde’s College, Oxford ............................................................Isto BartonBrassett: A College Scout ........................................................................... Ian KingDonna Lucia D’Alvadorez; from Brazil ................................ Carrie H. StephensKitty Verdun; Spettigue’s Ward ..........................................................Sarah DankoAmy Spettigue; Spettigue’s Niece ..................................................Sarah ZeringueEla Delahay; An Orphan ...................................................................Frances BelloMaid...................................................................................................Emily Villarreal

Commemoration Week Oxford, 1892

~ Act I ~Rooms in College - morning

~ Act II ~Garden outside Jack Chesney’s Rooms - afternoon

~ Act III ~Drawing Room at Spettigue’s House

Produced by special arrangement with Samuel French, Inc.

This project is funded and supported in part by the City of Austin through

the Cultural Arts Division believing an investment in the Arts is an invest-ment in Austin’s future.

Visit Austin at:NowPlayingAustin.com

ACKNOWLEDGEMENTS AND SPECIAL THANKSNikki Zook, Bernadette Nason, Andrea Smith, Binita Lamsal,

Douglas Kelley, Royce Gehrels, Elain Jacobs, Joe Mastropieri

FUNDING AND DONATIONS

Director Level $5000+The City of Austin

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

Stage Manager Level $500-$999Ann Bower, Connie McMillan, Harvey Guion

Designer Level $200-$499Bobby and Larry Oliver, Steve Chapman, Bruce McCann

Stage Hand Level $100-$199Brian Graham-Moore, Katy Rose Center, Diane Herrera, Katherine Schroeder,

Laurei Stiggers, Jerrold Buttrey, Sarah Seaton, Peggy Little, Robert Tolaro, Tristin Caramiho, Kyle Evans, Ann Blumensaadt, Miriam & Larry Rubin, Emily & Kent

Erington, Tom Chamberlain, Craig Kanne

Audience Level $10-$99Kirstin Fern Johnson, Debbie Torres, Bernadette Nason, Martin J. Reyes, Pam Fri-day, Charles Stevens, Suzanne Balling, Katherine Sangster, Melissa Vogt, Inge Rider,

Margaret Hoard, Jennifer Rogers, Trevor Bissell, Nancy Elder, Karen Roe, Amy Lewis, Tom Chamberlain, Craig Kanne, Diana Phillips, Circe Sturm. Miriam Segura,

Jeff Miller, Mura McIlvain, Mary Alice Carnes, Lisa Schepps, Bethany Harbaugh, Marcia Evers, Linda Stade, Paula Gilbert, Lou Ann Looney

In-Kind DonationsBonnie Cullum and The VORTEX, Anne Marie Gordon, Karen Jambon, Mary

Alice Carnes, Douglas Kelley

PRODUCTION STAFF

Set Crew ......................................................... Ann Marie Gordon, Kevin Squires,...................................................................... Elaine Jacobs, Norman BlumensaadtProperties ............. Karen Jambon, Norman Blumensaadt, Elaine Jacobs, CastWebmaster ..................................................................................Martina Ohlhauser Photography ....................................................................................Bret BrookshireGraphic Artist ......................................................................................Dean SchultzProgram Design ..............................................................................Emily EringtonPublicity ..........................................................Carol Ginn, Norman Blumensaadt

ABOUT DIFFERENT STAGESDifferent Stages, Inc. has been a community-based organization since its in-ception in 1981 and incorporation in 1984. It produces works by playwrights who we believe to be defining forces in theatre. We seek to entertain with per-formances 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 condition. 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 BlumensaadtBoard of Directors

Karen Jambon, T.J. Moreno, Norman BlumensaadtOperating Board

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

ABOUT THE PLAYWRIGHT

Walter Brandon Thomas (24 December 1848 – 19 June 1914) was an English actor, playwright and song writer, best known as the author of the farce Charley’s Aunt.

Born in Liverpool to a family with no theatrical connections, Thomas worked in commerce, and as an occasional journalist, before achieving his ambition of becom-ing an actor. After a succession of minor roles, he became increasingly sought after as a character actor. He also wrote more than a dozen plays, the most celebrated of which, Charley’s Aunt (1892), broke all historic records for plays of any kind, with an original London run of 1,466 performances and numerous subsequent productions all around the world, film, and musical theatre adaptations.

Although Thomas never repeated the prodigious success of Charley’s Aunt, he main-tained a career as an actor and dramatist until his death, acting mostly in comedy, but with occasional serious roles in the plays of Shakespeare and others.

Charley’s Aunt was written for his friend, the actor W. S. Penley. Later the two disagreed (and went to court) about how much, if any, of the plot was Penley’s invention rather than Thomas’s. Penley told a journalist in 1894, “The play was my idea and Brandon Thomas wrote it. Later on, we went down into the country and worked at it. Then we worked it out on the stage.” Penley produced the play and took the star role of Lord Fancourt Babberley, an undergraduate whose friends Jack and Charley persuade him to impersonate the latter’s aunt. The early performances of the play were given on tour in the English provinces, beginning at Bury St. Edmunds on 29 February 1892. The Royalty Theatre in London became unexpectedly vacant, and Penley took it, opening Charley’s Aunt there on 21 December 1892. For the first few weeks in Lon-don, Thomas played the role of Sir Francis Chesney, the benevolent father of one of the undergraduates; he regularly played the part in later revivals until shortly before his death. The play was an immediate success and transferred to the larger Globe Theatre on 30 January 1893. It ran for a record-breaking 1,466 performances across four years, closing on 19 December 1896. It was simultaneously toured by seven com-panies in the United Kingdom.

Thomas continued to write plays; his later titles included Marriage, 1892; The Swords-man’s Daughter (an adaptation of a French play, with Clement Scott), 1895; 22a Curzon Street, 1898; Women Are So Serious, 1901; Fourchette & Co., 1904; and A Judge’s Memory, 1906.

Thomas died at his home in Bloomsbury, London, in 1914, aged 65, after a brief ill-ness. He was buried in Brompton Cemetery. In its obituary notice, The Times quoted him as saying, “I hoped to go down to fame as a great actor. If I go at all it will be as the author of Charley’s Aunt.”

~Wikipedia

PRODUCTION STAFF

Set Crew ......................................................... Ann Marie Gordon, Kevin Squires,...................................................................... Elaine Jacobs, Norman BlumensaadtProperties ............. Karen Jambon, Norman Blumensaadt, Elaine Jacobs, CastWebmaster ..................................................................................Martina Ohlhauser Photography ....................................................................................Bret BrookshireGraphic Artist ......................................................................................Dean SchultzProgram Design ..............................................................................Emily EringtonPublicity ..........................................................Carol Ginn, Norman Blumensaadt

ABOUT DIFFERENT STAGESDifferent Stages, Inc. has been a community-based organization since its in-ception in 1981 and incorporation in 1984. It produces works by playwrights who we believe to be defining forces in theatre. We seek to entertain with per-formances 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 condition. 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 BlumensaadtBoard of Directors

Karen Jambon, T.J. Moreno, Norman BlumensaadtOperating Board

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

ABOUT THE PLAYWRIGHT

Walter Brandon Thomas (24 December 1848 – 19 June 1914) was an English actor, playwright and song writer, best known as the author of the farce Charley’s Aunt.

Born in Liverpool to a family with no theatrical connections, Thomas worked in commerce, and as an occasional journalist, before achieving his ambition of becom-ing an actor. After a succession of minor roles, he became increasingly sought after as a character actor. He also wrote more than a dozen plays, the most celebrated of which, Charley’s Aunt (1892), broke all historic records for plays of any kind, with an original London run of 1,466 performances and numerous subsequent productions all around the world, film, and musical theatre adaptations.

Although Thomas never repeated the prodigious success of Charley’s Aunt, he main-tained a career as an actor and dramatist until his death, acting mostly in comedy, but with occasional serious roles in the plays of Shakespeare and others.

Charley’s Aunt was written for his friend, the actor W. S. Penley. Later the two disagreed (and went to court) about how much, if any, of the plot was Penley’s invention rather than Thomas’s. Penley told a journalist in 1894, “The play was my idea and Brandon Thomas wrote it. Later on, we went down into the country and worked at it. Then we worked it out on the stage.” Penley produced the play and took the star role of Lord Fancourt Babberley, an undergraduate whose friends Jack and Charley persuade him to impersonate the latter’s aunt. The early performances of the play were given on tour in the English provinces, beginning at Bury St. Edmunds on 29 February 1892. The Royalty Theatre in London became unexpectedly vacant, and Penley took it, opening Charley’s Aunt there on 21 December 1892. For the first few weeks in Lon-don, Thomas played the role of Sir Francis Chesney, the benevolent father of one of the undergraduates; he regularly played the part in later revivals until shortly before his death. The play was an immediate success and transferred to the larger Globe Theatre on 30 January 1893. It ran for a record-breaking 1,466 performances across four years, closing on 19 December 1896. It was simultaneously toured by seven com-panies in the United Kingdom.

Thomas continued to write plays; his later titles included Marriage, 1892; The Swords-man’s Daughter (an adaptation of a French play, with Clement Scott), 1895; 22a Curzon Street, 1898; Women Are So Serious, 1901; Fourchette & Co., 1904; and A Judge’s Memory, 1906.

Thomas died at his home in Bloomsbury, London, in 1914, aged 65, after a brief ill-ness. He was buried in Brompton Cemetery. In its obituary notice, The Times quoted him as saying, “I hoped to go down to fame as a great actor. If I go at all it will be as the author of Charley’s Aunt.”

~Wikipedia

Stage Hand Level $100-$199 Brian Graham-Moore, Katy Rose Center, Diane Herrera, Katherine

Schroeder, Laurei Stiggers, Jerrold Buttrey, Sarah Seaton, Peggy Little, Robert Tolaro, Tristin Caramiho, Kyle Evans, Ann Blumensaadt,

Miriam & Larry Rubin, Emily & Kent Erington, Tom Chamberlain, Craig Kanne

Audience Level $10-$99 Kirstin Fern Johnson, Debbie Torres, Bernadette Nason, Martin J. Reyes, Pam Friday, Charles Stevens, Suzanne Balling, Katherine

Sangster, Melissa Vogt, Inge Rider, Margaret Hoard, Jennifer Rogers, Trevor Bissell, Nancy Elder, Karen Roe, Amy Lewis, Tom

Chamberlain, Craig Kanne, Diana Phillips, Circe Sturm. Miriam Segura, Jeff Miller, Mura McIlvain, Mary Alice Carnes, Lisa Schepps, Bethany Harbaugh, Marcia Evers, Linda Stade, Paula Gilbert, Lou

Ann Looney

In-Kind Donations Bonnie Cullum and The VORTEX, Anne Marie Gordon, Karen

Jambon, Mary Alice Carnes, Douglas Kelley

This project is funded and supported in part by the City of Austin through the Cultural Arts Division believing an investment in the

Arts is an investment in Austin’s future. Visit Austin at: NowPlayingAustin.com

PRODUCTION STAFF Set Crew................................................Ann Marie Gordon, Kevin Squires, ..............................................................Elaine Jacobs, Norman Blumensaadt Properties...............Karen Jambon, Norman Blumensaadt, Elaine Jacobs Cast Webmaster................................................................Martina Ohlhauser Photography............................................................................Bret Brookshire

Graphic Artist.............................................................................Dean Schultz Program Design......................................................................Emily Erington Publicity..................................................Carol Ginn, Norman Blumensaadt

ABOUT DIFFERENT STAGES

Different Stages, Inc. has been a community-based organization since its inception in 1981 and incorporation in 1984. It produces works by playwrights who we believe to be defining forces in theatre. We seek to entertain with performances 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 condition. By challenging ourselves as artists, and our audiences as participants, we endeavor to provide the community with vigorous and exciting live theatre.

Producing Artistic Director Norman Blumensaadt

Board of Directors Karen Jambon, T.J. Moreno, Norman Blumensaadt

Operating Board Norman Blumensaadt, Sarah Seaton, Royce Gehrels, Paula Ruth

Gilbert

603 Williams

Austin, Texas 78752 Robert White - Owner

(512) 459-5337 Fax: 450-0093 Austin's one stop service and repair shop for Jeeps® since 1988

www.JustJeepsAustin.com

CAST BIOGRAPHIES

CURTIS ALLMON (Jack Chesney) is pleased to be making his return with Different Stages. He previously appeared with Different Stages as Freddie in their production of Pygmalion. Other past credits include multiple roles at Mary Moody Northen Theater, including: Merrily We Roll Along (Ensemble), Tartuffe (Officer), Blood Wedding (Boy #2), Museum (Will Willard), The Importance of Being Earnest (Lane), Measure for Measure (Lucio), and The Crucible (Willard). He holds a B.F.A. in Theatre with a performance emphasis. He is thankful for every minute he is given doing this job. He would like to thank those who made it possible for him to be here on this stage and in this moment in his life. “Fellow actors, my director, all who touched this production, my friends, my family, I love you all.”

ISTO BARTON (Lord Fancourt Babberley) is working with Different Stages for the first time. Previously, he played Amadine in Mucedorus as a part of The Hidden Room Theatre’s Apocrypha Project. He has performed in a number of plays through the University of Texas’ Shakespeare at Winedale program, as well as various readings for the New Russian Drama Festival.

FRANCES BELLO (Ela Delahay) is thrilled to be working with Different Stages again! Her most recent work was for Different Stages’ production of The Prime of Miss Jean Brodie and Loaded Gun Theory’s original production, The Metal Queen: Kneel Before Her Dark Majesty. She also acted all throughout high school starring in a variety of plays, including Dracula, The Diary of Anne Frank, and Steel Magnolias.

ANDY BROWN (Stephen Spettigue) is pleased to be working with Differ-ent Stages again. His recent work with Different Stages includes Alfred Doo-little in Pygmalion, Officer Brophy in Arsenic and Old Lace, and Kholenkhov in You Can’t Take It With You. Andy would like to thank the cast and crew for another fun and rewarding experience.

SARAH DANKO (Kitty Verdun) is so happy to be a part of Charley’s Aunt. Her past credits include Elaine Harper in Arsenic and Old Lace, Clara Einsford-Hill in Pygmalion, Tzeitel in Fiddler on the Roof (B. Iden Payne Award nomination for Best Musical), and Woman in Piece of the Puzzle. She is also involved in film. Sarah loves singing, art, puppets, and cooking, and one day she will keep bees.

CAST BIOGRAPHIES

CURTIS ALLMON (Jack Chesney) is pleased to be making his return with Different Stages. He previously appeared with Different Stages as Freddie in their production of Pygmalion. Other past credits include multiple roles at Mary Moody Northen Theater, including: Merrily We Roll Along (Ensemble), Tartuffe (Officer), Blood Wedding (Boy #2), Museum (Will Willard), The Importance of Being Earnest (Lane), Measure for Measure (Lucio), and The Crucible (Willard). He holds a B.F.A. in Theatre with a performance emphasis. He is thankful for every minute he is given doing this job. He would like to thank those who made it possible for him to be here on this stage and in this moment in his life. “Fellow actors, my director, all who touched this production, my friends, my family, I love you all.”

ISTO BARTON (Lord Fancourt Babberley) is working with Different Stages for the first time. Previously, he played Amadine in Mucedorus as a part of The Hidden Room Theatre’s Apocrypha Project. He has performed in a number of plays through the University of Texas’ Shakespeare at Winedale program, as well as various readings for the New Russian Drama Festival.

FRANCES BELLO (Ela Delahay) is thrilled to be working with Different Stages again! Her most recent work was for Different Stages’ production of The Prime of Miss Jean Brodie and Loaded Gun Theory’s original production, The Metal Queen: Kneel Before Her Dark Majesty. She also acted all throughout high school starring in a variety of plays, including Dracula, The Diary of Anne Frank, and Steel Magnolias.

ANDY BROWN (Stephen Spettigue) is pleased to be working with Differ-ent Stages again. His recent work with Different Stages includes Alfred Doo-little in Pygmalion, Officer Brophy in Arsenic and Old Lace, and Kholenkhov in You Can’t Take It With You. Andy would like to thank the cast and crew for another fun and rewarding experience.

SARAH DANKO (Kitty Verdun) is so happy to be a part of Charley’s Aunt. Her past credits include Elaine Harper in Arsenic and Old Lace, Clara Einsford-Hill in Pygmalion, Tzeitel in Fiddler on the Roof (B. Iden Payne Award nomination for Best Musical), and Woman in Piece of the Puzzle. She is also involved in film. Sarah loves singing, art, puppets, and cooking, and one day she will keep bees.

high school starring in a variety of plays, including Dracula, The Diary of Anne Frank, and Steel Magnolias. ANDY BROWN (Stephen Spettigue) is pleased to be working with Different Stages again. His recent work with Different Stages includes Alfred Doolittle in Pygmalion, Officer Brophy in Arsenic and Old Lace, and Kholenkhov in You Can’t Take It With You. Andy would like to thank the cast and crew for another fun and rewarding experience. SARAH DANKO (Kitty Verdun) is so happy to be a part of Charley’s Aunt. Her past credits include Elaine Harper in Arsenic and Old Lace, Clara Einsford-Hill in Pygmalion, Tzeitel in Fiddler on the Roof (B. Iden Payne Award nomination for Best Musical), and Woman in Piece of the Puzzle. She is also involved in film. Sarah loves singing, art, puppets, and cooking, and one day she will keep bees. She hails from Latrobe, Pennsylvania, where Palmer Tea comes from. Love to Eric, my handsome.

UNIVERSAL PUBLISHERS Special Event Advertising

www.upstages.com ● 512.478 -6306




She hails from Latrobe, Pennsylvania, where Palmer Tea comes from. Love to Eric, my handsome.

SKIP JOHNSON (Colonel Sir Francis Chesney) is pleased to be working again with Different Stages for the 3rd time. This is also his third appearance in a row on City Theatre’s stage. His recent work with City Theatre was in Farce of Nature and before that he was in The Last Meeting of the Knights of the White Magnolia for Different Stages. He is a BFA graduate in theatre from Texas State and has been working as a professional actor in Austin since 2007. He started acting in Illinois at Western Illinois University in 1997. He would like to thank Karen Jambon for this opportunity and the cast for being a fun and wonderful bunch of chaps to work with. He really enjoyed being a part of this produc-tion.

IAN KING (Brassett) is a member of Loaded Gun Theory, a theatre com-pany that has been producing new work here in Austin since 1998. He’s most recently been seen in The VORTEX production of Cuchulain and Loaded Gun Theory’s collaboratively-written original productions The Brothers Merlin and An Apocalyptic Dream. Charley’s Aunt is Ian’s first experience with Different Stages.

GRAYSON LITTLE (Charles Wykeham) is thrilled to be back with Dif-ferent Stages. Previous Different Stages credits: Milo Crawford in The Last Meeting of the Knights of the White Magnolia, and Officer Kline in Arsenic and Old Lace. Grayson was nominated for a B. Iden Payne Award for his role as the wheeling, dealing “Sven Gali” in the Center Stage Texas’ production of The Emperor’s New Shows. Grayson hosts the podcast Saturday Night Curtain Jerkers, which is available in iTunes.

CARRIE H. STEPHENS (Donna Lucia D’Alvadorez ) is thrilled to be in her third production with Different Stages, having previously appeared in Night of the Iguana and Murder on the Nile. Other credits include Lysistrata (Silver Stage Players); The Crucible (City Theatre); Internet Casanova (Weird City The-atre); The Tempest Project, Car Wash Caper (Sam Bass Community Theatre); Scrubs Live! (The Institution Theater); and Chaotic Theatre’s No Exit and Betrayal (Austin Critic’s Table Nominee).

EMILY VILLARREAL (Maid) is mighty pleased to working again with Different Stages. She just finished her first original work: The Screaming Soul,

Inbetweeners and The Dragonfly Queen, all premiere works recently presented by the VORTEX.

STEPHANIE DUNBAR (Costume Design) is excited to be working for the first time with Different Stages. Her recent work includes Austin Com-munity College’s production of The Wiz, and upcoming productions include Antigone with Austin Community College and Chapter Two with Unity Theatre.












DIRECTION AND DESIGN BIOGRAPHIES

KAREN JAMBON (Director) most recently directed The Language Archive for Different Stages. Also for Different Stages she has directed Good People, Fuddy Meers, Betty’s Summer Vacation (B. Iden Payne nominations for Best Play), and Playboy of the Western World (Critic’s Circle nomination for best play), as well as Morning’s at Seven, Stop Kiss, and Mrs. Bob Cratchit’s Wild Christmas Binge. Karen has also directed for The VORTEX Repertory Company, Paradox Players, Sam Bass Theatre, Loaded Gun Theory, and Scottish Rite Children’s Theatre. She was most recently seen as Martha in Different Stages’ production of Arse-nic and Old Lace. Karen wants to thank the cast and crew for their talent, faith, and commitment.

PATRICK ANTHONY (Light Design) is a freelance lighting designer and master electrician based in Austin, Texas. He holds a Bachelor of Arts in The-atre from Loyola University: in New Orleans, and is an MFA candidate at Trin-ity College Dublin. Patrick has worked with Different Stages for several years, most recently on The Prime of Miss Jean Brodie, Quills, and Night Must Fall. He is a member of the VORTEX Repertory Company and Shrewd Productions, and the recipient of the 2012 B. Iden Payne award for Outstanding Lighting Design. In addition to his freelance carrier, Patrick teaches stagecraft at South-western University’s Sarofim School of Fine Arts.

ACORN DESIGN, LLC / JEFF MILLER (Sound Design) is pleased to be working again with Different Stages. Jeff has over 35 years of experience and has served as sound engineer on Broadway and National Tours of A Cho-rus Line, South Pacific, Zorba, Singin’ in the Rain and The Mystery Of Edwin Drood, as well as shows at Radio City Music Hall, numerous films, videos, and com-mercials. His regional credits include sound design for over 150 productions at Zachary Scott Theatre, Capitol City Playhouse, Austin Theatre for Youth, Second Youth Theatre, Different Stages, Summer Stock Austin, Abby Produc-tions, Trinity Episcopal School, St. Andrews Episcopal School, Leander High School, Theatre at the J, AJRT, and Aguddas Arts.

ANN MARIE GORDON (Set Design) is pleased to be working again with Different Stages. Her recent work with Different Stages includes Mauritius, The Prime of Miss Jean Brodie, Pygmalion, The Last Meeting of the Knights of the White Magnolia, Good People, Is Life Worth Living?, The Children’s Hour and A Num-ber, which was nominated for a Critics Table Award. She is a member of the VORTEX Repertory Company, where she designed the sets for Oceana, The

in Frontera Fest 2015, and shortly before that starred in The Prime of Miss Jean Brodie (Jenny) with Different Stages. She was also seen in The Metal Queen (Seven) with the Loaded Gun Theory Theatre Company in the fall of 2014. Emily would like to thank Karen for this wonderful opportunity, Frances and Skip for the friendly transportation, and the rest of the cast for such a lovely experience.

SARAH ZERINGUE (Amy Spettigue) is excited to be working with Dif-ferent Stages for the first time. Credits include: Fiddler On the Roof with Aus-tin Jewish Repertory Theatre/Trinity Street Players; Triumph of Love (Leonide) with Austin Playhouse; White Christmas (ensemble, u.s. Betty) with Zach The-atre; Chess (ensemble) with Austin Playhouse; Blood Brothers (Linda) with Trinity Street Players; West Side Story (Maria) with Summerstock Austin, and various other productions in Oklahoma and New York.

Phot

o by

Dar

kFla

me

Stud

ios

Forbidden FruitKeeping Austin Kinky Since 1981

108 E North Loop Blvd.453-8090www.forbiddenfruit.com

Vibrators, Leather Toys, Corsets, Bachelorette Party Supplies, Lubes, Edible Oils,

WorkshopsHome Party Sales and locally made products!AIBA member discount!








Phot

o by

Dar

kFla

me

Stud

ios




WorkshopsHome Party Sales and locally made products!

AIBA member discount!








Phot

o by

Dar

kFla

me

Stud

ios




WorkshopsHome Party Sales and locally made products!AIBA member discount!








Phot

o by

Dar

kFla

me

Stud

ios




WorkshopsHome Party Sales and locally made products!

AIBA member discount!









Documents

DIFFERENT STAGES’ REPERTORY