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January 2 – february 3 , 2013

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I’m thrilled to bring Wilma audiences the work of energetic, high-minded, and darkly funny writer Leslye Headland, who in spite of her youth (She’s only 32!) has become a successful playwright, screen writer, and film director. I heard about Leslye in January 2012 when the local Luna Theater Company produced her hit play Bachelorette, which has since been adapted into a critically praised film (directed by Leslye) starring Kirsten Dunst, Adam Scott and Isla Fisher. The next month a friend called and urged me to go to New York and see Assistance, then at Playwrights Horizons. He believed that the play was the right fit for the Wilma. He was correct.

I found in this rambunctious comedy darker tones that reveal the harsh reality of how absurdly competitive and merciless today’s job market is and how young people’s values can be easily shaped by an earnest need to please a detestable boss. According to the Pew Research Center’s recent study of Millennials (teens and twenty-somethings), this is the most educated generation in history, yet 37% of 18 to 29 year olds are out of work and 53% of recent college graduates are underemployed. In this economy, keeping even a miserably paying job with sufferably long hours takes work.

The office Leslye has created is a fierce battlefield, where her smart, crackling language shows us how these bright young people strive to keep their dreams of money and fame alive at least for a while longer. Although the assistants torture each other and are tortured by their off-stage boss, Leslye told the Wilma, “I’m a slave to my characters. I love them and care about them so much.” Leslye is particularly caring towards her female characters. As with Bachelorette, Leslye takes on contemporary femininity with comedic bite.

I am particularly happy that two of Philadelphia’s most talented young actors play Headland’s leads, Nick and Nora. You will recognize Kevin Meehan (Our Class, Macbeth) and Kate Czajkowski (Angels in America, Our Class, In the Next Room) from previous Wilma productions. I am also pleased that Assistance is in the very talented hands of director David Kennedy, who beautifully directed Theresa Rebeck’s The Understudy here two years ago.

I hope you enjoy David’s production of Assistance. I am so pleased to welcome him back to the Wilma.

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Is there a future audience for theater?

In conversations and at conferences of non-profit theater professionals, this particular concern always comes to the forefront. With all of the distractions of electronic media and the robust restaurant and club scene in Philadelphia, how do we encourage young people to value the unique art and entertainment form we have to offer?

Truth be told, the same question was asked a century ago when moving pictures came onto the scene. And then again, when moving pictures came into the home with the invention of television.

Theater thrives through the ages because it tells living stories about human experiences.

For the past few years, we have focused our attentions on building our student audience with a goal to continue the theater-going tradition, but then discovered that we had nothing in place to give post-graduates ongoing access to our productions. And so, we created our popular Young Friends program, added an In-Your-20s discount, and con-tinue to discuss new and innovative programs throughout the organization to bring in new audiences. Now, we have a play for you that speaks directly to the experience of young professionals.

When I saw Assistance at Playwrights Horizons last year, I realized that Leslye Headland’s smart, funny, and in-sightful script was an ideal production to help bridge the gap from student attendance to young professionals. Not only does Headland’s work cross mediums – Bachelorette was a successful motion picture and now Assistance is being piloted for a new television series – it also speaks to the ambition, anxiety, intimidation, and personal sacrifice of young ladder-climbers in the workplace. Funny? Yes. A little bit scary? Of course. True? Absolutely!

When you talk about this play – and I can guarantee you will – please tweet, text, or just tell someone in their 20s to check out what’s happening at the Wilma.

EMILY ALTHAUS*, JAKE BLOUCH, KATE CZAJKOWSKI*, MICHAEL DOHERTY*, KAHYUN KIM*, KEVIN MEEHAN*.

featuring

under the direction ofBlanka Zizka

Artistic Director

The Wilma Theater is grateful for significant support provided by:

Wyncote Foundation

The Horace Goldsmith

Foundation

*SEASON SPONSORS

*OPENING NIGHT SPONSORS

EMILY ALTHAUS*, JAKE BLOUCH, KATE CZAJKOWSKI*, MICHAEL DOHERTY*, KAHYUN KIM*, KEVIN MEEHAN*.

featuring

Set DesignerLee Savage

Lighting DesignerThom Weaver

Philadelphia CastingDavid Stradley

Choreographer Jaye Allison

Resident Stage Manager Patreshettarlini Adams*

Costume DesignerRosemarie McKelvey

Sound DesignerNick Kourtides

New York CastingLaura Stanzyck

DramaturgWilliam Steinberger

Production Manager Clayton Tejada

under the direction ofBlanka Zizka

Artistic DirectorJames Haskins

Managing Director

ASSISTANCE is presented by special arrangement with Dramatists Play Service, Inc., New York.

This theater operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Profes-sional Actors and Stage Managers in the United States.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

presents

Children PolicySome subject matter may be deemed objectionable for children; therefore, children under 12 will not be permitted in the theater.

Distracting Noise and LightThe noise of cellular phones and candy wrappers, and the light from electronic devices are distracting to both audiences and actors. Please turn off all cellular phones and electronic devices. Also, please be sure that your watch alarm does not sound during the performance.

Smoking, eating, and drinking are prohibited inside the theater.

Please notePhotography or sound recording inside the theater, without the written permission of the management, is prohibited by law. Violators may be asked to leave the theater and may be liable for financial charges.

The Wilma Theater is a member of the following organizations: Greater Philadelphia Cultural Alliance, League of Resident Theatres, Rittenhouse Row, and Theatre Communications Group, Inc.

CASTEmily Althaus...................................................................................Jenny Jake Blouch ......................................................................................VinceKate Czajkowski.................................................................................NoraMichael Doherty...............................................................................JustinKahyun Kim...................................................................................HeatherKevin Meehan......................................................................................Nick

TIME Scene 1:A Friday night in February, 8 pm.

Interlude:Vince

Scene 2:One year later, 11 pm.

Interlude:Heather

Scene 3:Another year later, 7 am.

Interlude:Justin

Scene 4:One month later, 6 pm.

Epilogue:Jenny

Place: The Office of Daniel Weisinger, Manhattan, somewhere below Canal Street

This play performs without an intermission.

LESLYE HEADLAND (PLAYWRIGHT) is the writer/director of the “Seven Deadly Sins” se-ries, which was produced by and premiered at the IAMA Theatre Company in Los Angeles. The series includes Cinephilia (lust), Bachelorette (gluttony), Assistance (greed), Surfer

Girl (sloth), Reverb (wrath), and The Accidental Blonde (envy). Bachelorette enjoyed a sold-out, extended run at Second Stage Theatre Uptown in July 2010, which the New York Times called “vivid, entertaining and witheringly funny.” Other New York credits include Cinephilia at Theatre Row and Assistance, which recently premiered Off-Broadway at Playwrights Horizons. Ms. Headland is currently working on her final play for the series (pride), as well as commis-sions for Second Stage Theatre and South Coast Repertory. On film, Leslye directed the feature adaptation of her play Bachelorette with Gary Sanchez Productions (Adam McKay and Will Ferrell), starring Kirsten Dunst, Isla Fisher, Lizzy Caplan, James Marsden, and Adam Scott, which premiered as a selected feature at the 2012 Sundance Film Festival and has received rave reviews. On television, she wrote for the first and only season of Terriers, created by Ted Griffin and produced by Shawn Ryan, on FX. She holds a B.F.A. in Drama from New York University’s Tisch School of the Arts and studied at Playwrights Horizons Theatre School where she was awarded the Robert Moss Prize.

DAVID KENNEDY (DIRECTOR) has served as Associate Artistic Director of Connecti-cut’s Westport Country Playhouse since March 2009. For the Playhouse, he has directed Tartuffe, Suddenly Last Summer, Beyond Therapy, and Dinner With Friends.

Upcoming projects for the Playhouse include Loot. Prior to Westport, he was on the artistic staff of Dallas Theater Center, first as Associate Artistic Director (2004-2007) and then as Acting Artistic Director (2007-2008). For DTC he directed The Misanthrope, Glengarry Glen Ross, Moonlight and Magnolias, Thom Pain (based on nothing), I Am My Own Wife, and The Violet Hour, as well as readings of new plays by Denis Johnson, Peter Morris, and Marcus Gardley. David was a founding Artistic Director for Milkman Theatre Group of Halifax, Nova Scotia (1992-1999), with whom he directed the original theatre works Oedipus: The Medium is the Mes-sage, Extract, and FAUST/Perpetual Motion Machine. In 2005 he wrote and directed Brighter Than the Light of the Sun, a co-production with Nova Scotia’s Ship’s Company Theatre

and Toronto’s The Lunar Society. In addition, his directing work has been seen at The Wilma Theater (The Understudy), Clarence Brown Theatre Company, Shakespeare Theatre of New Jersey, Hangar Theatre, Kitchen Dog Theater, Prospect Theater Company, 78th Street Theatre Lab, and The Sum-mer Cabaret in New Haven (1998 Artistic Director). David is a former Phil Killian Fellow at the Oregon Shakespeare Festival, a Drama League Directing Fellow, and a graduate of the Yale School of Drama.

EMILY ALTHAUS (JENNY)is proud to be making her Wilma Theater debut in As-sistance. Broadway: Harvey (Roundabout Theatre Company). Off Broadway: Three Sisters (Classic Stage Company). Emily is one half of the sketch comedy duo, THE

VENZIN-ALTHAUS EXPLOSION, and can be seen regularly in NYC performing their award-winning original show “A Night of Well-Adjusted Ladies”. Emily is a graduate of Western Kentucky University.

JAKE BLOUCH (VINCE) is thrilled to be making his Wilma Theater debut. Philadelphia: The Liar, Romeo and Juliet, New Jerusalem, A Skull in Connemara (Lantern Theatre), Superior Donuts (Arden Theatre), The Walworth Farce (Inis Nua Theatre), Run Mourner,

Run (Flashpoint Theatre), The Duchess of Malfi (Philadel-phia Artists Collective), The Importance of Being Earnest (Quintessence Theatre Group), A 24-Hour The Bald Soprano (Brat Productions), A Winter’s Tale (Delaware Shakespeare Festival) Pyretown (Simpatico Theatre Project), Golden Age (Philadelphia Theatre Company, understudy). DC: Golden Age (The Kennedy Center, understudy). For Reuben, who taught me how to ask for assistance.

KATE CZAJKOWSKI (NORA) previously ap-peared on the Wilma’s stage as Harper in Angels in America, Rachelka/Marianna in Our Class, and In The Next Room, or the vibrator play as Sa-brina Daldry, a role that earned her a Barrymore nomination for Best Sup-

porting Actress. Regional credits include: Sissy Hankshaw in Even Cowgirls Get the Blues (world premiere)

*THE ARTISTS

CAST

Place: The Office of Daniel Weisinger, Manhattan, somewhere below Canal Street

This play performs without an intermission.

at Book-It Rep, Marina in Pericles at Seattle Shakespeare Co., Annamae Dickie in Louis Slotin Sonata (world premiere) at Empty Space, and Annie Sullivan in The Miracle Worker (national tour) for Montana Rep. A recent graduate of the MFA Acting program at Temple University, Kate played several roles in Temple Rep’s two summer seasons: Masha in Three Sisters, Elmire in Tartuffe, and Marianna in Measure for Measure.

MICHAEL DOHERTY (JUSTIN) is honored to be making his Wilma debut. He is a proud gradu-ate of The University of the Arts. Recently, he finished a successful run of an original Philly Fringe piece entitled Jeff Coon and Ben Dibble Must Die (Los Jarochos).

Off-Broadway: Dublin By Lamplight (Inis Nua/59E59; Winner, Best Ensemble 1st Irish Fest. Awards). Regional: Next to Normal, The History Boys (Arden Theatre) Mr. Hart and Mr. Brown, Treasure Island (People’s Light), The 25th Annual… Spelling Bee (Theatre Horizon; Barrymore- Supporting Actor/Ensemble), The Great American Trailer Park Musical (Montgomery Theater/11th Hour), Our Show of Shows, and Laughter on the 23rd Floor (1812 Productions), and more. Up next: To Fool the Eye with 1812 Productions. Thank you Blanka, David K, and David S. Love to Mom and Dad. RIP Reuben; Miss you, pal.

KAHYUN KIM (HEATHER) Born and raised in South Korea, Kahyun is thrilled to make her debut at The Wilma Theater. Kahyun is an actor based out of Los Angeles and a recent graduate of the Juilliard Drama Division. She is currently studying Improv

at the Groundlings and loving every moment of it. Some of her favorite roles include Judith Bliss in Hay Fever, Lauren in Circle Mirror Transformation, and last but not least, Bottom in A Midsummer Night’s Dream. She recently made her Hollywood film debut in A Many Splintered Thing, which she also dialect-coached Korean for Chris Evans and Michelle Monaghan.

KEVIN MEEHAN (NICK) is grateful to the whole Wilma family for welcoming him back yet again. Previous Wilma credits include Rysiek in Our Class and Lennox in Macbeth. Kevin has also participated in the

Wilma’s master classes with internationally-acclaimed voice and movement coach, Jean-René Touissant. Cheers to Reuben. Dedicated to Big Al.

LEE SAVAGE (SET DESIGN) Wilma: Satchmo at the Waldorf, My Wonderful Day. NYC: Rx (Primary Stages); All-American (LCT3); The Dream of the Burning Boy, and Ordinary Days (Roundabout); Oohrah! (Atlantic Theater); The Bereaved (Partial Comfort); punkplay (Clubbed Thumb); End Days (EST). Regional: Alliance, Baltimore CENTERSTAGE, Berk-shire Theatre Festival, Cleveland Playhouse, Dallas Theater Center, George Street Playhouse, Glimmerglass Festival, Guthrie, Long Wharf, Milwaukee Rep, Old Globe, Shake-speare Theatre Company, Trinity Rep, Two River, Westport Country Playhouse, and Yale Rep. Awards: Helen Hayes (Much Ado About Nothing, Richard III (nom.) ); Connecticut Critics Circle (The Intelligent Design of Jenny Chow). Mem-ber of Wingspace Theatrical Design. B.F.A., RISD; M.F.A., Yale School of Drama (currently on faculty).

ROSEMARIE MCKELVEY (COSTUME DESIGN) is delighted to be designing costumes for Assistance. Last season Rosemarie designed Body Awareness for the Wilma. Locally Rosemarie designs costumes for Arden Theatre, People’s Light & Theatre Company, The National Constitution Center, New Paradise Laboratories, Theatre Exile, and InterAct. Rosemarie is on the teaching staff of The University of the Arts and Moore College of Art & Design. Rosemarie was awarded the 2007 and 2009 Barrymore Award for Costume Design. Currently Rosemarie’s designs from the Arden’s 2010 production of The Threepenny Opera are exhibited at the McNay Museum of Art in San Antonio, Texas. For more, visit rosemariemckelvey.com

THOM WEAVER (LIGHTING DESIGN) Previously for the Wilma: Body Awareness, In the Next Room, Coming Home, Scorched, Becky Shaw. In the area, his work has been seen at the Arden, Delaware Theatre Company, Peoples’ Light, Azuka, Theatre Exile, Curtis Opera, New Paradise Laborato-ries, Headlong, Lantern, 1812, and Flashpoint Theatre Com-pany, where he is also Artistic Director. Other theatre cred-its include: Teller’s Play Dead in New York, CENTERSTAGE, Syracuse Stage, Milwaukee Rep, Shakespeare Theatre, Asolo, Theatre J, Berkshire Theatre Festival, Williamstown, Signature Theater Company, Folger Theatre, Cleveland Play- house, Round House Theatre, Cincinnati Playhouse, Hangar, York Theatre, Lincoln Center Festival, Summer Play Festival, 37 ARTS, Spoleto Festival USA, City Theatre, Virginia Stage, Pittsburgh Public Theatre, and Yale Rep. Awards include 14 Barrymore nominations, winning in 2011 and 2012, two Helen Hayes nominations, the 2007 Best Lighting Design AUDELCO Award for Signature Theater’s King Hedley II, and the 2003 Entertainment Design Magazine Tyro Talent award. He received his B.F.A. from Carnegie Mellon University and his M.F.A. from Yale School of Drama.

NICK KOURTIDES (SOUND DESIGN) designs for musical theatre and creates sound environments for collaborative ensemble works. He’s thrilled to make his Wilma debut with Assistance. New York: Elephant Room (St. Ann’s), The Aeneid (Red Bull), Carson McCullers’ Talks About Love (Rattlestick), Jomama Jones * RADIATE (Soho Rep), Chekhov Lizard-brain (Soho Think Tank). International: Lublin Konfrontacje Teatralne, Paris Quartier d’Ete, London Barbican, Edinburgh Festival. Regional: Center Theater Group, Arena Stage, Folger Theatre, Milwaukee Rep, La Jolla Playhouse, Flat Rock Playhouse, PTC, Walnut Street Theatre, Prince Music Theater, Arden Theatre, 1812, Azuka Theatre, Inis Nua, Pas-sage Theater, Villanova University, Swarthmore College, and many others. Original ensemble works with Pig Iron Theatre Company: Cankerblossom, Isabella, Chekhov Lizardbrain, Mission to Mercury. With Rainpan43: Elephant Room, Flesh and Blood & Fish and Fowl. Nick was the Visiting Instructor in Sound Design at Swarthmore College in 2010 and received a Barrymore award in 2006 for his work on Mission to Mer-cury. nickkourtides.com

NEILL HARTLEY (DIALECT COACH) is an actor, director and educator. He has acted with many companies including the Arden, InterAct, People’s Light, and The Philadelphia Shakespeare Theatre. He has six one-man shows that he presents and can be seen and heard in many voice-overs, commercials, and films. He is the Artistic Director for Act-ing Without Boundaries, a theater company for physically disabled performers, and he has directed for many local colleges and theaters. Most recently he directed Some Enchanted Evening for AWB and The House of Blue Leaves for Isis Productions. He is on the theater faculty at The Uni-versity of the Arts and has been a speech/dialect coach for several university and professional productions. Neill holds an MFA from Temple University.

DAVID STRADLEY (CASTING) is the Artistic Director of Delaware Shakespeare Festival. As a casting director, he has worked for Philadelphia Young Playwrights and Delaware Theatre Company. As a director, David has directed for Dela-ware Theatre Company (eight productions), Walnut Street Theatre, Delaware Shakespeare Festival, and Philadelphia Shakespeare Theatre. As an educator, David has worked for all of the above companies as well as for the Wilma, Folger Shakespeare Library, and People’s Light & Theatre Com-pany. BFA Theatre Performance, University of Evansville; MFA Acting, Asolo Conservatory/Florida State University. Many thanks to Blanka and Jamie for the opportunity. Much love to Michelle. For more information, please see davidstradley.com.

LAURA STANZYCK (NEW YORK CASTING) Broadway: Rag-time, Impressionism, The Seafarer, Coram Boy, Translations, Radio Golf, Who’s Afraid of Virginia Woolf, and Urinetown. Previously for the Wilma: Body Awareness, Macbeth, Lan-guage Rooms, Becky Shaw, Coming Home. Other: The Shaw-shank Redemption (Gaiety, Dublin; Wyndam’s Theatre, West End), The Cripple of Inishmaan (Atlantic, Irish Tour), Ragtime (Kennedy Center), Dirty Dancing (National Tour), Broadway Three Generations (Kennedy Center), National Anthems (Old

Vic), Tryst (Promenade), Damn Yankees (Encores! Summer Stars), Gate/Beckett (LCF), Don’t Dress for Dinner (Royal George), The Glorious Ones (LCT), Long Day’s Journey Into Night (Druid Theatre, Galway). She is also the resident cast-ing director for McCarter Theatre and regularly works with the Alley, ACT, Goodman, and Huntington theatres in the United States.

JAYE ALLISON (CHOREOGRAPHER) Founder New LEJA Dances, Philly TAP Challenge Tap Festival, JADA DanceTap Ensemble, continues 30+ years as an independent dance artist. Original musical/choreographic credits include: The-resa Rebeck’s The Understudy at The Wilma Theater, LEJA’s I AM and Carols In Color. Member of the 2nd Generation Silver Belles. Performing credits include: directorial debut of Stephanie Mills’ The Gate Called Straight, USA’s series Political Animals. Companies: Marc/Charles Dancers, Power 99FM Dancers, Philadelphia Civic Ballet Company (also Program Dir.), TapTeam II & Co., Dancefusion. Education: CAPA, UArts, Arts Management Certificate - University of MA Amherst via PA Council on the Arts internship. Grants: Dance Advance – Pew Center for Arts & Heritage, Leeway Foundation. Earned recognition as a Phillyist and Rocky Awardee.

WILLIAM STEINBERGER (DRAMATURG) is a director and dramaturg who works as the Wilma’s Literary/Artistic As-sistant. He dramaturged the Wilma’s Curse of the Starving Class last season and has assisted with dramaturgy for several other recent Wilma productions. Will is co-founder and Artistic Director of Philadelphia’s InVersion Theatre, for which he has recently directed Amiri Baraka’s Dutchman, a site-specific production of Strindberg’s Miss Julie, and Shepard/Beckett, an evening of short plays by these two authors. His work has also been seen at Berkshire Theatre Festival, The Painted Bride, Quince Productions, Ugly Rhino (NYC) and University of Pennsylvania.

WALTER BILDERBACK (DRAMATURG/LITERARY MANAG-ER) is in his ninth season with The Wilma Theater. Over his quarter-century career, he has worked across the country at theaters large and small, non-profit and Broadway, on plays of every style imaginable. In the 2010-11 Season, he and Matt Neenan created the acclaimed Wilma Theater/Ballet X collaboration Proliferation of the Imagination.

PATRESHETTARLINI ADAMS (RESIDENT STAGE MAN-AGER/AEA) has been the production stage manager at The Wilma Theater since the theater made its new home on the Avenue of the Arts in 1996. She has captained all but three productions in her tenure here and is very happy to be a part of the Philadelphia theater community. “Pat” is celebrat-ing season #17 at the fabulous Wilma! Prior to her coming home to Philly, Pat was stage manager at the Tony Award winning Crossroads Theatre in New Brunswick, NJ. In past years, Pat has worked the National Black Arts Festival in Atlanta, GA and the National Black Theater Festival in Winston-Salem, NC. When not at the Wilma, she has found herself traveling the world with critically-acclaimed dance company Noche Flamenca!

Most recently, she is using all her free time to spoil her grandsons, Isaiah and Elijah. God Is Good!

CLAYTON TEJADA (PRODUCTION MANAGER) is in his second year as Production Manager after serving the Wilma as Technical Director for the previous seven years. Clayton started his professional career as an Apprentice at the Arden Theatre, and then worked there for several years as Stage Supervisor. Before coming to the Wilma, he worked as a freelance Technical Director or Production Manager for 1812 Productions, Mum Puppettheatre, Lantern Theater, and Azuka Theatre. Clayton is a graduate of the Theater Arts program at The University of Puget Sound. He is proud to make Philadelphia his professional and artistic home. Many thanks to his sweet Kate and Alex the rascal.

JAMES HASKINS (MANAGING DIREC-TOR) joined the staff of The Wilma Theater as Managing Director in June 2006. He began his work in theater administration at Circle Repertory Company and went on to work with a number of theaters in New York

and Seattle. Upon moving to Philadelphia, James worked as Managing Director of InterAct Theatre Company and then Executive Director of the Theatre Alliance of Greater Philadelphia before coming to the Wilma. Also an actor and director, James holds an MFA from the University of Washington and a BA from The College of Wooster (Ohio), where he currently serves as President of his alumni class and as a member of the Alumni Board. James is honored to serve on Philadelphia Mayor Michael Nutter’s Cultural Advisory Council and Pennsylvania Ballet’s 50th Anniversary Advisory Council.

BLANKA ZIZKA (FOUNDING ARTISTIC DIRECTOR) has been Founding Artistic Director of The Wilma Theater since 1981. In the fall of 2011, Blanka received the Zelda Fichandler Award from the Stage Directors and Choreographers Foundation, which recog-

nizes an outstanding director or choreographer transforming the regional arts landscape. Most recently, Blanka directed Tony Kushner’s Angels in America, Tadeusz Słobodzianek’s Our Class, Sarah Ruhl’s In the Next Room, which received eight Barrymore awards, and Macbeth, which included an original score by Czech composer and percussionist Pavel Fajt. Blanka has directed over 60 plays and musicals at the Wilma. Her recent favorite productions are Wajdi Mouawad’s Scorched, Tom Stoppard’s Rock ’n’ Roll, Sarah Ruhl’s Eu-rydice (which featured an original score by composer Toby Twining, now available from Cantaloupe Records), Brecht’s The Life of Galileo, Athol Fugard’s Coming Home and My Children! My Africa!, and Caryl Churchill’s Cloud 9. She col-laborated closely with Dael Orlandersmith on her plays Raw Boys and Yellowman, which was co-produced by McCarter Theatre and the Wilma and also performed at ACT Seattle, Long Wharf, and Manhattan Theatre Club. Blanka was also privileged to direct Rosemary Harris and John Cullum in Ariel Dorfman’s The Other Side at MTC. For the Academy of Vocal Arts, she directed the opera Kát’a Kabanová by Leoš Janácek. She has collaborated with many playwrights including Yussef El Guindi, Doug Wright, Sarah Ruhl, Tom Stoppard, Linda Griffiths, Polly Pen, Dael Orlandersmith, Laurence Klavan, Lillian Groag, Jason Sherman, Amy Freed, Robert Sherwood, and Chay Yew. Her favorite productions are, even after all these years, Tom Stoppard’s The Invention of Love and Jim Cartwright’s Road.

ARTISTIC DIRECTOR: Blanka ZizkaMANAGING DIRECTOR: James Haskins

*STAFF

ARTISTICDramaturg/Literary Manager - Walter BilderbackLiterary/Artistic Assistant - William SteinbergerLiterary Interns - Charlotte Dow, Nicole McGarry, Anna Russell, Sebastián Bravo, William Connell

EDUCATIONEducation Director - Anne K. HolmesTeaching Artists- Ashley Alter, Kate Czajkowski, Mike Dees, Katharine Clark Gray, Elizabeth Greene, John Jarboe, Ed Swidey

MARKETINGMarketing Director - Aaron ImmediatoPublic Relations Manager - Johnny Van HeestGroup Sales Manager - Jennifer R. BurriniPublic Relations Intern - Jacquelin Grillo

DEVELOPMENTDevelopment Director - Iain CampbellGrants Manager - Justin BauerDevelopment Assistant - Debby LauDevelopment Intern - Megan O’Donnell

BUSINESSGeneral Manager - Maggie ArbogastOffice Manager - Andrea Sotzing

Assistant Director............................Michelle FennellAssistant Stage Manager..........Leonard J. LuveraProperties Master...................Kimitha Anne Cashin Assistant Prop Master............................Alyssa ColeLight Board Programmer & Operator ........................................... Ashley W. MillsAssistant Master Electrician.....................................................Nicole RoloSound and Video Operator...........Ashley D. TurnerWardrobe Supervisor............................Regina RizzoRunning Crew.........George R. Spencer, Elliot GreerCarpenters........................Elliot Greer, Phil Haberek, Benjamin Henry, Melanie LeedsElectricians.........................................Andrew Cowles, Michael Hamlet, Kelsey HarroSound Technicians...................Toby Petit, Cameron Stuckey, Zachary BrownScenic Painter............ Sharri Jarue, Brooke MurrayScenery Construction..........................Britt Plunkett

The Wilma Theater 265 S. Broad Street Philadelphia, PA 19107

*SPECIAL THANKS

*HOW TO REACH US

*PRODUCTION CREW

BUSINESS (Continued)Marketing & Administrative Coordinator/BalletX - Patricia SabinTessitura Application Systems Analyst -Catherine Lachance-Duffy Tessitura Application Support Coordinator - Stephen Dombkoski

PRODUCTIONProduction Manager - Clayton TejadaTechnical Director - Matthew ZumboResident Stage Manager - Patreshettarlini AdamsFacilities Manager - Kenneth DeprezMaster Electrician - Ashley W. MillsSound Engineer - Ashley TurnerWardrobe Supervisor - Regina RizzoProduction Fellow - George R. SpencerStage Management Fellow - Leonard J. LuveraProduction Intern - Jill Klecha Custodian - Fetteroff F. Colen

FRONT OF HOUSEBox Office Manager - James SpechtAssistant Box Office Manager - Hillary AsareBox Office Staff - Amanda Grove, Rich Rubin, Samantha TowerHouse Manager - Javier Mojica

SERVICESPhotographer - Alexander IziliaevCatering - Chef’s Table Technology Services - NPower PAAuditors - Horty & Horty, P.A.Insurance Brokers - Gallagher Benefits Services, SKCG Group, Inc.

Post Brothers

Box Office: 215.546.7824 Admin: 215.893.9456 Fax: 215.893.0895wilmatheater.org

Theater Lovers FêteMonday, April 8, 2013

Save the Date

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ESCALLING A LINE CROOKEDBY WILLIAM STEINBERGER

Leslye Headland, author of Assistance, spoke with Assistance dramaturg William Steinberger about the play.

Will Steinberger: Assistance, subtitled “Greed,” is part of your Seven Deadly Sins series. What led you to apply this moral lens to writing about your gen-eration?

Headland: I’ve always been very interested in the Seven Deadly Sins. Being brought up Catholic and raised Christian, C. S. Lewis was a big influence of mine – his idea that you can’t call a line crooked unless you know what a straight line looks like re-ally stuck with me. And I just loved the idea of using allegory to explore morality.

The question is always: can I create a character that on the outside would not appear to be suffering from this sin, but actually is? The classic idea of greed is, ‘I’ve got money and I need more money,’ of course. And in Assistance you’ve got the Daniel character, who represents the old idea of greed, and then these younger characters that don’t have any money to speak of, but they keep coming back for more.

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CALLING A LINE CROOKEDBY WILLIAM STEINBERGER

To me, greed begins with having a nebulous idea of what you want, and then really settling and grabbing for whatever you can get.

Steinberger: Something that really excited the Wilma about the play is that it focuses on the workplace (as does the next play in the Wilma season, Richard Bean’s Under the Whaleback), and does so almost as an anthropological study.

Headland: Studs Terkel’s Working was another big jumping off point for me. In the introduction, he writes that his book, ‘being about work, is, by its very nature, about violence – to the spirit as well as to the body.’ It is about the subjugation of the human spirit. Work is not just what you do to make money or what you do to put food on the table, it’s actually an ordeal that you put yourself through and a lot of people make their work their life.

Steinberger:The names of the two main char-acters, Nick and Nora, recall The Thin Man. What led you to name your leads after these two? Headland: I love the idea of a partner in crime. It’s a romantic relationship in The Thin Man; they’re married, but there’s a camaraderie and a partnership there that’s even deeper than romance. And I think that’s the point. A lot of people get tripped up on it and say ‘Well, you know, they’re not solving a crime, why did you name them that?’ I think my reasoning behind it was that they should be a couple but they’re not. They should be partners, but they’re not. They have this wedge between them of this invisible boss. And, obviously, their own defects as people are keeping them from fulfilling their destiny to be together.

*ONSTAGE CONVERSATIONS

01/10 - Stay after the performance to discuss the play with a member of the Wilma’s artistic staff.

01/17 - Stay after the performance to discuss the play with the cast.

01/30- Stay after the matinee performance to discuss the play with a member of the Wilma’s artistic staff in the lobby with complimentary coffee from Starbucks.

FOLLOW US

*PhotosPage One: His Girl Friday, 1940

Page Three: The Apartment, 1960

Page Four: How to Succeed in Business Without Re-ally Trying, 1961

The Office (UK), 2001-2003

*READ MORE OF THIS INTERVIEW AT WILMATHEATER.ORG/BLOG

In a 1995 article, “The Age of Social Transformation,” the management guru Peter F. Drucker wrote, “No century in re-corded history has experienced so many social transformations and such radical ones as the twentieth century.” The nature and structure of work was “qualitatively and quantitatively different not only from what they were in the first years of this century but also from what has existed at any other time in history.” Most surprising for Drucker is that these rapid social changes have produced “hardly any stir.” A century ago, farming was the largest source of employment in every country, as it had been since the invention of agriculture, followed by industrial workers. Since the end of the 1950s, both categories have been supplant-ed by new types: the service worker and the “knowledge worker” (a term coined by Drucker in 1959). Knowledge workers can take all sorts of shapes, but an important number of them have always worked in offices, the ancestors of Leslye Headland’s characters in Assistance.

In the 1950s this type was “The Organization Man” or “The Man in the Grey Flannel Suit.” He was followed in the 1960s by the ubiquitous “junior executive,” whether with Bob Newhart’s “buttoned-down mind,” the reluctant conscience of Jack Lemmon’s “Buddy Boy” Baxter in The Apartment, or the amoral charm and WASP chutzpah of Bobby Morse’s J. Pierpont Finch in How to Succeed in Business Without Really Trying. These men (women were mostly swimming in the steno pool) diligently per-formed tasks that were nebulous but apparently essential to the functioning of firms such as How To Succeed’s Worldwide Wicket Company. The very successful could rise to the top of their en-terprise. The price of mediocrity was plateauing somewhere

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in “middle management,” with job security, a nice house in the suburbs, and a guaranteed pension.

Today, much about these workplaces is different. There is more gender equity, give or take, and academic credentials are essential even for unpaid internships. Job security is usually a thing of the past: the successful know how to move, vertically or laterally, between related jobs and companies. The mind (and job uniform) is no longer “buttoned-down,” but constantly connected to the workplace via cellphone, email, texts, etc. And the prod-uct of much of this labor is so intangible as to make Worldwide Wickets feel consequential.

Leslye Headland brings the 21st century workplace to the stage drawing upon the brio of screwball comedy (she’s likened the play to “His Girl Friday meets No Exit”). Her well-educated, ambitious Millennials may not be succeeding like J. Pierpont Finch, but they’re really, really trying.

*READ MORE OF THIS ESSAY AT WILMATHEATER.ORG/BLOG

BOARD OF DIRECTORS

OfficersDavid U’Prichard, PhD, ChairDavid E. Loder, Vice ChairClare D’Agostino, Esq., SecretaryThomas Mahoney, Treasurer

Chair’s CouncilMark S. Dichter, Esq.

Herman C. Fala, Esq.

Peggy GreenawaltJeff HarbisonLewis H. JohnstonJohn D. RollinsA.E. (Ted) Wolf

Board MembersArjun Bedi Kathryn DoyleJanice Giannini Linda GlicksteinRobert E. Linck Sissie LiptonJames F. McGillinReginald J. MiddletonMarlene S. Molinoff

Donald F. Parman Brian Seaman, Esq. Dianne L. Semingson Ellen B. SolmsGillian Wakely Mark WennellJeanne P. Wrobleski, Esq.

Florence Zeller

Ex-OfficioJames Haskins Blanka Zizka

EmeritusHarvey Kimmel Dr. R. J. Wallner

FOUNDATION, GOVERNMENT & CORPORATE DONORSAnonymousArronson FoundationThe Barra FoundationThe Corrine and Henry Bower Trust of the PNC Charitable TrustsThe Louis N. Cassett FoundationCharlotte Cushman Foundation The CHG Charitable Trust Connelly FoundationCozen O’ConnorThe Dolfinger-McMahon FoundationDoubleTree by Hilton, Philadelphia Center City Ernst & YoungThe Hamilton Family FoundationThe Jacob and Malka Goldfarb Charitable FoundationGarfield Refining CompanyThe Horace W. Goldsmith FoundationIndependence FoundationVirginia and Harvey Kimmel Arts Education Fund of The Philadelphia Foundation Lincoln Financial Foundation Christian R. and Mary F. Lindback FoundationLobro AssociatesNorfolk Southern FoundationPennsylvania Council on the Arts, a state agencyThe Pew Charitable TrustsThe Pew Center for Arts & Heritage through the Philadelphia Cultural Management InitiativeThe Pew Center for Arts & Heritage through the Philadelphia Theatre InitiativeThe Philadelphia Cultural FundPricewaterhouseCoopers

The Rosenlund Family FoundationReinhold ResidentialThe Sam and Charles FoundationThe Caroline J. Sanders Trust #2The Shubert Foundation, Inc.Ethel Sergeant Clark Smith Memorial Fund The Sporting Club at the Bellevue, the preferred fitness center of The Wilma TheaterThe TJX FoundationUnited Way of Greater Philadelphia and Southern New JerseyThe Victory FoundationVirginia Brown Martin Fund of The Philadelphia FoundationWells Fargo FoundationWalter J. Miller TrustThe William Penn FoundationThe Wyncote Foundation The Zeldin Family Foundation IN-KIND DONORSAcademy of Natural SciencesMr. Heath AllenAnthropologieBarefoot WineCabot CreameryClear Day Creative, LLCCollege of Physicians of PhiladelphiaCozen O’ConnorDoubletree by Hilton Hotels Philadelphia Center CityDruid Consulting, LLCFISH RestaurantPeggy and Rich GreenawaltHatboro BeveragesJay Michael Salon and Spa and Mr. Bruce duBoisJewish ExponentLoews Philadelphia HotelLive NationMarathon GrillMorgan Lewis & Bockius, LLP

Opera Company of PhiladelphiaMr. and Ms. Donald F. Parman People’s Light and Theatre CompanyRembrandt’s Restaurant and BarThe Rock School of Dance EducationThe Sporting Club at the BellevueTRIAVictorian Savories BakeryWXPN 88.5

OPENING NIGHT DONORSBarefoot WineCabot CheeseHatboro BeveragesVictorian Savories Bakery

MATCHING GIFT DONORSACE INA FoundationAlly Easy MatchExxonMobil FoundationFMC CorporationMr. Eugene M. Fluder Jr. FMC Corporation GlaxoSmithKline FoundationIBM Matching Gifts Johnson & Johnson Family of CompaniesMerck Partnership for GivingMoody’s FoundationNorfolk Southern FoundationThe Pew Charitable Trusts Matching Gift ProgramPNC FoundationProQuestPrudential Foundation Matching GiftsVerizon Foundation

A Special Note to Our DonorsThis list acknowledges all donations of $150 or above from 6/1/11-12/1/12. If your name has been omitted or misprinted, please accept our apologies. Notify us of any changes by contacting Iain Campbell, Development Director, at 215.893.9456 x109.

INDIVIDUAL DONORS

The Premiere Circle is a group of our area’s lead-ers who demonstrate their love of the performing arts through their gifts of $1,000 or more. The benefits of the Premiere Circle are designed to bring members closer to the artists whose work they make possible. For more information please contact Iain Campbell, Development Director, at 215.893.9456 x109. A plus sign (+) denotes five-year consecutive donors.

$5,000 and aboveValerie A. Arkoosh and Jeffrey T. Harbison+Daniel Berger, Esq.+Mark and Tobey Dichter+ Kathryn Doyle and Maureen AlexanderMichael J. Finney+Linda and David Glickstein+Peggy and Rich Greenawalt+Harvey and Virginia Kimmel+Mrs. Patricia Kind+, In memory of Jiri ZizkaJosephine Klein+Mr. and Mrs. Robert E. Linck+Tom and Betsy Mahoney+Don and Barbara Parman+The Suzanne F. Roberts Cultural Development Fund+John and Theresa Rollins+Ellen B. Solms+David and Lisa U’PrichardTed and Stevie Wolf+Wyncote Foundation recommended by Leonard C. Haas+Blanka Zizka+

$2,500 to $4,999AnonymousMs. Autumn R. Bayles+Paula and Arjun BediClare D’Agostino, Esq.+Herman and Helen Fala+Jane and Joe GoldblumMr. and Mrs. Richard V. Holmes+Lewis and Ellen Johnston+Gay and Donald Kimelman+Sissie and Herb Lipton+David E. Loder+Tom and Betsy Mahoney+James and Eleanor McGillin+Marlene S. MolinoffDon and Barbara Parman+Dianne L. Semingson and Craig Lewis+Mr. and Mrs. Jeffrey M. SparlingMs. Evelyn G. Spritz+Gillian WakelyDr. R. J. Wallner+Andy and Sally Williams+The June and Steve Wolfson Family Foundation+Jeanne Wrobleski, Esq.+

Stephen and Florence Zeller+

$1,000 to $2,499Barbara and Todd Albert David Anstice Peter Arger+Theodora Wheeler Ashmead, in honor of Jiri ZizkaMs. Susan Basile+Peter Benoliel and Willo Carey+Louis Bluver+ Amy Branch and Jeff BenolielLois G. Brodsky+Tom Bunting and Sallie GreismanMr. Joseph Dante +Matthew and Marie Garfield+Eduardo Glandt+Naomi Grabel and Neil KutnerJames Haskins and Michael Whistler+Dortha HaskinsMr. and Mrs. Alan HirsigRobert and Sally Huxley+Kenneth and Eve Klothen+Megan and Lou Minella+ Annette and Chuck PennoniMary RucciAllen C. SabinsonVesna and Howard SacksDr. Patricia SaddierThe Estate of Harold and Stella SadofskyDr. Nathan and Dolly Beechman Schnall+Brian Seaman and Jeffrey KummerMr. Lou Seitchik and Ms. Kanani TitchenMari and Peter ShawMs. Patricia Henriques and Mr. Fred P. Slack+Kathleen Stephenson+Charles and Melissa Thorne+Robert and Barbara Tiffany+Mr. and Ms. Mark Wennell

Annual FundA plus sign (+) denotes five-year consecutive donors.

$750 to $999Ms. Marilyn Benshetler+Mr. William Hanson

$500 to $749Anonymous+Al and Marilyn BlatterMrs. Jacqueline BodinRuth E. BrownMr. James BrysonAbbie and Patrick DeanMr. Robert Kirkwood+Chris and Becky LeiseWilliam Lake Leonard+David Lerman and Shelley Wallock+Ms. Lenore Steiner and Mr. Perry LernerMr. William A. Loeb+Frank and Sally MalloryEdward J. and Regina I. Mitchell

Frank and Fiona Murray+Mr. Jerome Napson+Quan A. Nguyen and Jessica Lynn Geyer+Ms. Barbara Oldenhoff+Elizabeth and Jerome Pontillo+Jerry Rojo+Gordon anf Karen RoseKaren ScholnickChristine J. Shamborsky+The Sheller Family Foundation,David and Gayle SmithGene Bishop and Andrew Stone+Mr. and Mrs. Stuart A. TaylorSallie and James Warden+Richard and Dr. Barbara Woods+

$250 to $499Anonymous+ (2)Anonymous (3)Howard A. AaronsonPhyllis and Charles Adams+Charlotte and Dirk Ave Frank A. BernardMr. and Ms. Barry Bevacqua+Chris Bozman and Merri Lee Newby David L. BuchbinderDonald E. and Hana CallaghanNona and Darrell CiraHarriet and Tony Crane+Mr. and Mrs. Granville Crothers Sr. Dr. John A. Detre and Ms. Wendy BeetlestoneRobert M. DeverDr. Joel K. Edelstein and Ms. Elizabeth McKinstry+Susan J. Ellis+John Erickson and Harry ZaleznikFelipe Figueroa and Kenneth CirkaRalph and Carol FloodJack and Karen Fulton+W. Roderick & Pamela GagneDan GannonDrs. Mark and Vivian Greenberg Marion V. Heacock+Elizabeth HigginbothamMs. Terry Hirshorn+John Hogan and Kathy QuinnMike and Lis KalogrisIan KirschemannMr. Kenneth D. Kopple+Mr. Allen J. Kuharski, Ph.D. Mr. and Mrs. Robert H. Lee, Jr.Eva and Michael Leeds+Mrs. Kimberly LeichtnerBrett and Lori LinsonSaifuddin and Robin Mama+ Peter Manus and Susan SchiroGordon and Louise Marshall+Julia Mayer and Barry JacobsMr. and Ms. David Miller+Dr. Ruth MorelliRuth PerlmutterHarriet PotashnickMs. Mary Jo ReillyKurt and Mary-Ann Reiss+Milt and Judy Riseman

Dr. Joel and Joan RosenbloomBarbara and Dan RottenbergAndrew Sacksteder and Colleen Murphy+Ms. Judy SciakyGerald and Linda Senker+Dr. William Sigmund and Mr. Vito IzzoDea Silbertrust and Wayne WelshMr. David Slovic and Ms. Ligia Reva-SlovicMs. Gretchen SnethenCarol Baker and Mark Stein+Pat and Elaine Sweeney+ Ms. Eileen TalanianThe Toner FamilyHella and Lewis Volgenau+Arnold Weiss+Barbara Westergaard+Wendy, Larry and Miriam White+Ms. Wendy E. Wilson and Mr. Bruce McKittrick+Harry and Mary Ann Woodcock+Askold ZagarsThomas and Jacqueline Zemaitis+

$150 to $249Anonymous (6)Anonymous +(3)Mr. and Ms. Reid AddisJames and Sandra Andrews+Dr. Donald Bakove and Margaret G. McLaughlinMr. Richard Banyard Dr. William F. BarrMs. Catherine BeathMs. Sandra M. BerwindDenise Billen-MejiaDr. Martin Black and Dr. Hester SonderAnn and Tom Blackburn+Stephen Strahs and Kathleen BlandfordAllen BonnerThe Borowsky Family FoundationMr. Michael Boyle+Markie BriggsRoo BrownAnn and David BrownleeMs. Carol BuettgerSusan Davidson and John V. R. BullBarbara and Bruce Byrne+ Katie and Iain Campbell Mr. Patrick CassidyMrs. Carol Caswell+Mr. Frank CebulaMr. and Mrs. Nick Cernansky+Mr. and Mrs. Scott Childress+Joan I. Coale+Mr. and Mrs. Blaise H. Coco Jr.Ms. Renate ColtonBruce Conrad+James F. ConwayJames D. Crawford and Judith N. DeanMr. Paul Curci and Ms. Liza HerzogDr. Leah Erickson

John and Audrey Lee FatulaGilbert Feinberg and Nadeen Van TuyleBarbara FrazierMr. Charles FullerPhilip K. and Karen S. Glick+Dr. and Mrs. Stephen GluckmanJudy and Alan GordonRebecca Hutto and David GottliebMichael and Anne Greenwald+Peggy Grip+Bill and Helen GroftIra and Jane Grushow+Mr. and Mrs. L. GuercioLaurent Guy and Pamela DukeKenneth HallahanErike De Veyra Stephen D.D. HamiltonJohan and Susan Hansen-Flaschen Dr. Karen Harkaway and Mr. Michael GraceKaren and Bruce HarrisonMs. Birgitte HaselgroveMr. Richard HeckenbergerJim HeenehanMr. Edward Hillis Mr. and Mrs. Ralph S. HirshornMarjorie E. Johnson and Edward J. Hochreiter+Kathy Hopkins and Connie LloydMr. Wallace HussongMrs. Madeline Janowski+Erik Jensen and Jessica BlankAgency LTD, Moorestown NJMr. Ross Kardon+Ms. Margaret A. KellerMr. Walter KernaghanMr. Larry KirschnerCharles and Lucinda Landreth+Daniel T. LeeMrs. Kathryn LeeEric and Diane LeichterDr. and Ms. Rafael LevitesMr. and Mrs. Howard H. Lewis+Greg and Cyndi LineWill and Sandra LockChristine Lussier and Robert HamillRichard and Sandra MalkinMr. and Mrs. Joseph MankoWarren and Hitomi MatthewsRosalie MatzkinLynne Maxwell+ Julia Mayer and Barry JacobsIlene W. McCaffrey+Richard McCracken and Ed BradleyLarry Meehan and Susan Tomita+Carol B. MoodyJim and Joan MooreSue and Steve Munzer Paul Neuwrith and DelaneyMs. Joyce NievesDr. Alan B. PalmerVirginia PappasMilton and Ruth Parnes+Mr. and Ms. Guido PasquelMr. and Ms. Philip Paul+

Robert and Margaret PelosoMarcelle Pick+Ms. Emily Pigeon Bill and Mary Jo Potter Dr. and Mrs. Wolfram Rieger Milt and Judy RisemanClaire RoccoBarbara and Tony Rooklin+Mr. and Ms. Leon Rozinsky+Mr. John F. Sanford+Lee and Linda Jean Schneider Mr. and Mrs. William Schwarze Toni ScialloMr. Evan ScottTom and Elinor Seaman+Mr. Christopher SerataMr. Samuel J. Serata, Esq.+Ms. Edith SerioAntoinette Seymour+Paul and Nancy ShallersSharon and Irv Shapiro+Parvin and Jean SharplessMary and Tom ShortBarbara and Robert SollyLiz and Rich SoltanPeter StamblerHarold and Emily Starr+Jonathan and Judith Stein+Mark Steinberger and Ann Lebowitz+Kathleen Ross and Daniel SzyldMs. Nina E. Tafel+Karen Tidmarsh+Mr. and Ms. Harold S. TorranceWalt Vail Bob Weinberg and Eleanor WilnerDrs. James and Jenette Wheeler+Loretta WidmaierMerry and Bob Woodruff F. Gordon YasinowBarrie and Eugene ZenonePeter Zutter and Tom Murphy+

Student Sunday Evenings

This program is generously underwritten by

the Virginia and Harvey Kimmel Arts Education Fund

of the Philadelphia Foundation. This program

provides $10 tickets to students.

The Wilma Theater’s in-school residency

program WILMAGINATION is made possible with the

support of

4000 Fox Hound Drive | Lafayette Hill, PA 19444 | 215-402-8725 | thehillatwhitemarsh.org

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