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 Horizon. 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 Shake-speare’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 Ber-nard 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 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; Moliere’s The Miser. 2004: John Pat-rick’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 Vil-lareal’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; Moliere’s The Miser. 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; 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 Carpetbagger’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

Different Stages Presents

Lennox Robinson’s

Is Life Worth Living?June 22 – July 14, 2012

The Vortex, 2307 Manor main.org/diffstages

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 Horizon. 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 Shake-speare’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 Ber-nard 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 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; Moliere’s The Miser. 2004: John Pat-rick’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 Vil-lareal’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; Moliere’s The Miser. 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; 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 Carpetbagger’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

Different Stages Presents

Lennox Robinson’s

Is Life Worth Living?June 22 – July 14, 2012

The Vortex, 2307 Manor main.org/diffstages

Different Stages presents

Is Life Worth Living?by Lennox Robinson

PRODUCTION STAFFDirector ...................................................................................................... Norman BlumensaadtAssistant Director .................................................................................................Phoebe GreeneStage Manager ......................................................................................................Tamara L. FarleySet Design .......................................................................................................Ann Marie GordonLight Design..........................................................................................................Patrick AnthonyCostume Design ........................................................................Paula Gilbert & Douglas Kelley

CASTLizzie Twohig ...........................................................................................................Mary KennellyHelena ............................................................................................................... Bethany HarbaughChristine Lambert ...............................................................................................Alexandra RussoEddie Twohig ..............................................................................................................Gabriel PeñaJohn Twohig ................................................................................................................Andy BrownConstance Constantia ..............................................................................................Lorella LoftusHector de la Mare ......................................................................................................Mick D’ArcyAnnie Twohig ..............................................................................................................Jean BudneyPeter Hurley, T.D. ....................................................................................................Freddy CarnesMichael “the boots” ............................................................................................Denver SurgenerJohn Hegarty .......................................................................................................Benjamin WeaverWilliam Slattery ...............................................................................................................Steven FayTom Mooney ........................................................................................................... Jonathan Urso

The scene is a small sitting room in the Seaview Hotelat Inish, a small seaside resort in Ireland.

Act I:A July morning.

Act II:Scene 1: Early evening, ten days later.

~Intermission~

Scene 2: A few hours later.Act III:

Morning, a week later.

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 THANKS

Karen Jambon, Bob Tolaro, Bonnie Cullum,Lucy Lister, The School at Waller Creek

FUNDING AND DONATIONS

Director Level $5000+The City of Austin

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

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

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

Jack Grimes, Ameriprise Financial

Designer Level $250-$499Irene Dubberly, Sarah & David Seaton, Royce Gehrels, Bruce McCann, Emily & Kent

Erington, Connie McMillan, Harvey Guion, Ann Bower

Audience Level $20-$99Mary Alice Carnes, Patricia Bennett, Cade & Al Minder, Gerald Moore, Paula Gilbert,

Kelly Slupek, Cecilia Berg, Rebecca Robinson, Reba Gillman, Charles Ramirez Berg, Di-anne & Donna Le Roy, Richard Collins, Miriam & Larry Rubin

In-Kind DonationsKaren Jambon, Bill Peeler

PRODUCTION STAFF

Light & Sound Technician ...................................................................Tamara L. FarleySet Crew ...................................Ann Marie Gordon, Elaine Jacobs, Denver SurgenerProperties .....................................................................................Norman BlumensaadtWebmaster ..........................................................................................Martina Ohlhauser Photography ............................................................................................Bret BrookshireGraphic Artist ...............................................................................................Matthew IngProgram Design ......................................................................................Emily EringtonPublicity ..................................................................Carol Ginn, Norman Blumensaadt

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

Esmé Stuart Lennox Robinson (4 October 1886 - 15 October 1958) was an Irish dramatist, poet and theatre producer and director who was in-volved with the Abbey Theatre.

Robinson was born in Westgrove, Douglas, in County Cork and raised in a Protestant and Unionist family in which he was the youngest of seven children. His father, Andrew Robin-son, was a middle-class stockbroker who in 1892 decided to become a cler-gyman in the Church of Ireland in the small Ballymoney parish, near Bal-lineen in West Cork. A sickly child, Robinson was educated by private tu-tor and at Bandon Grammar School. In August 1907, his interest in the theatre began after he went to see an Abbey production of plays by W. B. Yeats and Lady Gregory at the Cork Opera House. He published his first poem that same year. His first play, The Cross Roads, was performed in the Abbey in 1909 and he became manager of the theatre towards the end of that year. He resigned in 1914 as a result of a disastrous tour of the United States but returned in 1919. He was appointed to the board of the the-atre in 1923 and continued to serve in that capacity until his death.

As a playwright, Robinson showed himself as a nationalist with plays like Patriots (1912) and Dreamers (1915). On the other hand, he belonged to a part of Irish society, which was not seen as fully Irish. This division be-tween the “pure” Catholic Irish on one

side and the Anglo-Irish on the other can be seen in a play such as The Big House (1926), which depicts a burn-ing of such a Protestant manor by Ir-regulars, or extreme Republicans.

Robinson’s most popular play was The Whiteheaded Boy (1916). Other plays included Crabbed Youth and Age (1924), The Far Off Hills (1928), Dra-ma at Inish (1933), and Church Street (1935). Drama at Inish, which was presented in London and on Broad-way as Is Life Worth Living?, was re-vived as part of the 2011 season at the Shaw Festival (Niagara-on-the-Lake, Ontario, Canada). Robinson’s fiction includes Eight Short Stories (1919). In 1931 he published a biography of Bryan Cooper, who had recently died. In 1951, he published Ireland’s Abbey Theatre, the first full-length history of the company. He published an edited edition of Lady Gregory’s diaries in 1947.

Robinson was married to the daughter of spiritualist Hester Dowden, daugh-ter of the Irish literary scholar Edward Dowden.

- -Wikipedia

ABOUT THE PLAYWRIGHTPRODUCTION STAFF

Light & Sound Technician ...................................................................Tamara L. FarleySet Crew ...................................Ann Marie Gordon, Elaine Jacobs, Denver SurgenerProperties .....................................................................................Norman BlumensaadtWebmaster ..........................................................................................Martina Ohlhauser Photography ............................................................................................Bret BrookshireGraphic Artist ...............................................................................................Matthew IngProgram Design ......................................................................................Emily EringtonPublicity ..................................................................Carol Ginn, Norman Blumensaadt

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

Esmé Stuart Lennox Robinson (4 October 1886 - 15 October 1958) was an Irish dramatist, poet and theatre producer and director who was in-volved with the Abbey Theatre.

Robinson was born in Westgrove, Douglas, in County Cork and raised in a Protestant and Unionist family in which he was the youngest of seven children. His father, Andrew Robin-son, was a middle-class stockbroker who in 1892 decided to become a cler-gyman in the Church of Ireland in the small Ballymoney parish, near Bal-lineen in West Cork. A sickly child, Robinson was educated by private tu-tor and at Bandon Grammar School. In August 1907, his interest in the theatre began after he went to see an Abbey production of plays by W. B. Yeats and Lady Gregory at the Cork Opera House. He published his first poem that same year. His first play, The Cross Roads, was performed in the Abbey in 1909 and he became manager of the theatre towards the end of that year. He resigned in 1914 as a result of a disastrous tour of the United States but returned in 1919. He was appointed to the board of the the-atre in 1923 and continued to serve in that capacity until his death.

As a playwright, Robinson showed himself as a nationalist with plays like Patriots (1912) and Dreamers (1915). On the other hand, he belonged to a part of Irish society, which was not seen as fully Irish. This division be-tween the “pure” Catholic Irish on one

side and the Anglo-Irish on the other can be seen in a play such as The Big House (1926), which depicts a burn-ing of such a Protestant manor by Ir-regulars, or extreme Republicans.

Robinson’s most popular play was The Whiteheaded Boy (1916). Other plays included Crabbed Youth and Age (1924), The Far Off Hills (1928), Dra-ma at Inish (1933), and Church Street (1935). Drama at Inish, which was presented in London and on Broad-way as Is Life Worth Living?, was re-vived as part of the 2011 season at the Shaw Festival (Niagara-on-the-Lake, Ontario, Canada). Robinson’s fiction includes Eight Short Stories (1919). In 1931 he published a biography of Bryan Cooper, who had recently died. In 1951, he published Ireland’s Abbey Theatre, the first full-length history of the company. He published an edited edition of Lady Gregory’s diaries in 1947.

Robinson was married to the daughter of spiritualist Hester Dowden, daugh-ter of the Irish literary scholar Edward Dowden.

- -Wikipedia

ABOUT THE PLAYWRIGHT

CAST BIOGRAPHIES

ANDY BROWN (John Twohig) is pleased to be making his debut with Different Stages. He wants to thank the cast and crew for a fun, frenzied experience, and his wife Renee for letting him out to play. Select roles include Mark Styler in Mindgame, Lennie in Of Mice and Men, Hugo Taney in God’s Man in Texas, and numerous roles in Slapdash Flimflammery.

JEAN BUDNEY (Annie Twohig) is pleased to be making her Austin debut with Different Stages. A graduate of Boston Conservatory of Music, Jean performed in many stage productions, along with singing in nightclubs and doing jingle and voice-over work in New York City for many years. Predominantly a musical theatre performer, some of her favorite roles have included the title character in Mame, Amy in Company, Ruby in Dames at Sea, and Sharon McLonergan in Finian’s Rainbow. She has participated in several Dramatists Guild performances, as well. She is de-lighted to have arrived in Austin in time for Norman Blumensaadt to introduce her to the Austin theatre community.

FREDDY CARNES (Peter Hurley, T.D.) is pleased to be working with Differ-ent Stages for the first time. He has been an admirer for many years and is honored to be working with the company. He has his own company (Freddy Carnes Produc-tions) and has written many original musicals including The Odyssey: A Rock Musical based on Homer’s epic poem. During the day he works for Theatre Action Project as a teacher and a performer. He wants to thank his lovely wife Olga for her love and support.

MICK D’ARCY (Hector de la Mare) most recently appeared as Gen. Humpty in :Humpty at the VORTEX. Other recent shows include Romeo and Juliet and Imaginary Invalid (City Theatre), and Lear (VORTEX). His last Different Stages production was Black Coffee and his next after this will be directing You Can’t Take It With You in the fall, for which Mick thanks Norman for the opportunity to do so. Mick has received four B. Iden Payne nominations as an actor, two as a playwright, and one Critics’ Table nomination as an actor.

STEVEN FAY (William Slattery) appears in his 20th Different Stages produc-tion. He was last seen injecting himself into the plot of Murder on the Nile. In other DS shows, he has quoted Torah in The Skin of Our Teeth and grilled suspects in Ap-pointment With Death (B. Iden Payne nomination). He was last seen at the VORTEX in You Can’t Take It With You (B. Iden Payne nomination).

BETHANY HARBAUGH (Helena) is pleased to be working again with Differ-ent Stages. Her recent work includes The Children’s Hour (Different Stages), Symphony

of Clouds (a co-production with Ballet Austin and Pollyanna Theatre), and she will be appearing next in City Theatre’s production of She Stoops to Conquer. Bethany is a company member of Pollyanna Theatre and Weird City Theatre. This fall she will be making her second silver screen appearance in Masters of the Universe: The Fountain of Life.

MARY KENNELLY (Lizzie Twohig) is sincerely delighted to be making her Austin debut with such a fine Different Stages director and cast. She recently left southern California where she gave award-winning performances as Kate in All My Sons, Arrie in Mornings’ at Seven, Ethel in Barefoot in the Park, and Ida in Over the River and Through the Woods. Other beloved roles include Charmian in Antony and Cleopatra, and E.M. Ashford in Wit. As a founding Member, she actd and stage managed for the Redlands Shakespeare Festival and was the Production Director for Redlands Footlighters Community Theater, where she also assistant directed. This one’s for you, Chris – inspiration!

LORELLA LOFTUS (Constance Constantia) is delighted to be working with Different Stages for the first time. Lorella is a member of VORTEX Repertory Company, and has been acting, directing, producing and writing in the Austin the-atre community for the past eleven years. She has worked with several different companies and organizations, including City Theatre and the Austin Celtic Festival. She most recently directed and acted in a workshop production of a play she wrote called Elizabeth: Heart of a King (about Queen Elizabeth I) at the VORTEX, to be fully produced in January of 2013. Favorite parts include Susan in Good Things by Scots playwright Liz Lochhead (B. Iden. Payne nomination for Best Lead Actress in a Comedy), Alisoun in Chaucer’s The Wife of Bath’s Tale, which Lorella adapted with Shekhar Govind (Austin Theatre Examiner nominations for Best Script and Best Lead Actress in a Comedy), and Maureen in Martin McDonagh’s The Beauty Queen of Leenane (B. Iden Payne award for Outstanding Cast).

GABRIEL PEÑA (Eddie Twohig) is pleased to be working for the first time with Different Stages. A fairly new face in Austin, he has performed in various works in North Carolina and California. His last work (and first one in town!) was Paper Moon Repertory’s The 21 Would-Be Lives of Phineas Hamm (Phineas Hamm), which has been nominated for two Critics Table Awards. He is excited to be sharing the stage with such an animated group and wants to thank the company and Austin for being so welcoming!

ALEXANDRA RUSSO (Christine Lambert) is a graduate of the University of Texas, where she obtained her degree in Theatre and Dance. She is happy to be making her Different Stages debut. Favorite past roles include Angeliqué, in City Theatre’s Imaginary Invalid, Ginger in The 1940’s Radio Hour, and Baker’s Wife with

FOUR SONS’

QUALITY CLEANERS

MR COOL SAYS

“For Quality

Four Sons”

3001 Guadalupe 477-2969

4300 N. Quinlan Park 266-2754

3601 W. Wm Cannon 899-3577

7301 RR 620 N 249-9692

3111 West 35th 452-0842

9600 Escarpment Blvd 288-8824

U N I V E R S A L P U B L I S H E R S• Special Events Advertising • (512) 478-6306 •

www.upstages.com

DOUGLAS KELLEY (Costume Design) has worked for many years with Dif-ferent Stages. You will have seen his work in many of the antique furniture res-torations that were used in past Different Stages shows. This is Douglas’ second collaboration with Paula Gilbert for a Different Stages production. Douglas is ac-complished in many areas: antique restoration and reproduction, sewing, painting, auto repair and a host of other things that make life interresting.

of Clouds (a co-production with Ballet Austin and Pollyanna Theatre), and she will be appearing next in City Theatre’s production of She Stoops to Conquer. Bethany is a company member of Pollyanna Theatre and Weird City Theatre. This fall she will be making her second silver screen appearance in Masters of the Universe: The Fountain of Life.

MARY KENNELLY (Lizzie Twohig) is sincerely delighted to be making her Austin debut with such a fine Different Stages director and cast. She recently left southern California where she gave award-winning performances as Kate in All My Sons, Arrie in Mornings’ at Seven, Ethel in Barefoot in the Park, and Ida in Over the River and Through the Woods. Other beloved roles include Charmian in Antony and Cleopatra, and E.M. Ashford in Wit. As a founding Member, she actd and stage managed for the Redlands Shakespeare Festival and was the Production Director for Redlands Footlighters Community Theater, where she also assistant directed. This one’s for you, Chris – inspiration!

LORELLA LOFTUS (Constance Constantia) is delighted to be working with Different Stages for the first time. Lorella is a member of VORTEX Repertory Company, and has been acting, directing, producing and writing in the Austin the-atre community for the past eleven years. She has worked with several different companies and organizations, including City Theatre and the Austin Celtic Festival. She most recently directed and acted in a workshop production of a play she wrote called Elizabeth: Heart of a King (about Queen Elizabeth I) at the VORTEX, to be fully produced in January of 2013. Favorite parts include Susan in Good Things by Scots playwright Liz Lochhead (B. Iden. Payne nomination for Best Lead Actress in a Comedy), Alisoun in Chaucer’s The Wife of Bath’s Tale, which Lorella adapted with Shekhar Govind (Austin Theatre Examiner nominations for Best Script and Best Lead Actress in a Comedy), and Maureen in Martin McDonagh’s The Beauty Queen of Leenane (B. Iden Payne award for Outstanding Cast).

GABRIEL PEÑA (Eddie Twohig) is pleased to be working for the first time with Different Stages. A fairly new face in Austin, he has performed in various works in North Carolina and California. His last work (and first one in town!) was Paper Moon Repertory’s The 21 Would-Be Lives of Phineas Hamm (Phineas Hamm), which has been nominated for two Critics Table Awards. He is excited to be sharing the stage with such an animated group and wants to thank the company and Austin for being so welcoming!

ALEXANDRA RUSSO (Christine Lambert) is a graduate of the University of Texas, where she obtained her degree in Theatre and Dance. She is happy to be making her Different Stages debut. Favorite past roles include Angeliqué, in City Theatre’s Imaginary Invalid, Ginger in The 1940’s Radio Hour, and Baker’s Wife with

FOUR SONS’

QUALITY CLEANERS

MR COOL SAYS

“For Quality

Four Sons”

3001 Guadalupe 477-2969

4300 N. Quinlan Park 266-2754

3601 W. Wm Cannon 899-3577

7301 RR 620 N 249-9692

3111 West 35th 452-0842

9600 Escarpment Blvd 288-8824

U N I V E R S A L P U B L I S H E R S• Special Events Advertising • (512) 478-6306 •

www.upstages.com

DOUGLAS KELLEY (Costume Design) has worked for many years with Dif-ferent Stages. You will have seen his work in many of the antique furniture res-torations that were used in past Different Stages shows. This is Douglas’ second collaboration with Paula Gilbert for a Different Stages production. Douglas is ac-complished in many areas: antique restoration and reproduction, sewing, painting, auto repair and a host of other things that make life interresting.

Award. His productions of The Normal Heart and The Goat or Who is Sylvia won ACOT Awards for Best Production of a Drama. Different Stages was also the first theatre company in Austin to produce Arcadia by Tom Stoppard; that production won the Austin Theater Critics Award for Best Comedy.

PHOEBE GREENE (Assistant Director) reprises her role as Assistant Direc-tor for Is Life Worth Living? Previous she served as Assistant Director in Differ-ent Stages’ Well and Too Many Husbands, in addition to the acting role of Taylor. Other recent acting credits include Frau Fahrenkopf in Different Stages’ The Night of the Iguana, Miranda in Smoke Screen , and numerous productions with The Vi-olet Crown Radio Players. Notably she portrayed Doris Walker in Miracle on 34th Street, Hazel in Dorothy Parker’s Big Blonde and as an audio engineer for King Kong, which garnered a B. Iden Payne Awards Nomination for Outstanding Sound Design. She holds degrees in RTF and History from UT Austin and is delighted to work with this talented ensemble in her fourth Different Stages production.

ANN MARIE GORDON (Scenic Design) is pleased to be working again with Different Stages. Her recent work with Different Stages include The Children’s Hour, and A Number, 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 Inbetweeners, and The Dragonfly Queen, all premier works recently presented by the VORTEX.

PATRICK ANTHONY (Light Design) has been designing lights in Austin for three years. His previous designs include VORTEX Repertory Company’s Air, Sky Candy’s The Red Shoes and Different Stages’ Eurydice, Spider’s Web and Murder on the Nile, and is delighted to continue designing with Different Stages’ Is Life Worth Liv-ing?

PAULA GILBERT (Costume Design) is a Different Stages alumna. As an ac-tress, she performed in many of Different Stages’ past shows including Orpheus Decending, Talking With, The Tavern, Suddenly Last Summer and many of the Agatha Christie summer shows. Paula’s most recent directing venture was Second Act Troupe’s The Last Act Was a Solo. This is the second organized venture with Douglas Kelley for a Different Stages show as costumer. When not working with Different Stages, Paula is on the board of Vortex, and works at odd jobs such as stagehand, babysitter, exam proctor, and other items that pay more than mere satisfaction. Thank you to special consultant, make-up and hair, Kaye Brown. Thank you to Lia Haisley for costume assistance. Thanks to Lucy for putting up with a costume shop in the living room and the coming-and-going at all hours. Thanks to Mesko for perseverance.

the Roundabout Players’ Into the Woods. Other notable productions include Christina in Fefu and her Friends, Julie in Crank Collective’s Antarctica, Loaded Gun Theory’s The Automat, plus several Slapdash Festivals and City Theatre’s The Miracle Worker. Her next gig is choreographer for ASMC’s production of Alice in Wonderland, opening in August at the Boyd Vance Theatre. Many thanks to her supportive theatre widow hubby, Matt!

DENVER SURGENER (Michael “the boots”) is a newcomer to the Austin theatre scene and is thrilled to be working with Different Stages. While attending Oakland University in Michigan, he performed in such plays as Chekhov in Yalta, A Flea in Her Ear, The Cripple of Inishmaan, and the award winning Come, Beauty. He’d like to thank the wonderful cast for welcoming him on such short notice. Slainte!

JONATHAN URSO (Tom Mooney) is pleased to be working with Different Stages again. Earlier Different Stages credits include playing Homer in Morning’s At Seven and directing Humble Boy. He has also enjoyed stage-managing several produc-tions. Other recent credits include the role of Ken Gorman in Rumors, Gooper in Cat on a Hot Tin Roof, and he directed Of Mice And Men, all with City Theatre Com-pany. Some of the other companies he has had the pleasure of working with are VORTEX Repertory Company, Blue Lapis Light, Capital City Men’s Chorus, and ONSTAGE Theatre Company, just to name a few. He has also directed Butterflies Are Free and Lunch Hour for ONSTAGE Theatre Company. Many thanks to the cast, crew and Norman. And to Cary for her patience, love and support.

BENJAMIN WEAVER (John Hegarty) has been acting locally since 2008. He has performed numerous times at Sam Bass Community Theatre (Picasso at the Lapin Agile, The Last Days of Judas Iscariot, Waiting For Godot, Secondary Cause of Death and A Company of Wayward Saints). Earlier this year, he made his debut at the VORTEX in Elizabeth: Heart of a King.

DIRECTION AND DESIGN BIOGRAPHIES

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, The Carpetbagger’s Children, and Too Many Husbands. 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 Normal Heart and The Goat or Who is Sylvia won ACOT Awards for Best Production of a Drama. Different Stages was also the first theatre company in Austin to produce Arcadia by Tom Stoppard; that production won the Austin Theater Critics Award for Best Comedy.

PHOEBE GREENE (Assistant Director) reprises her role as Assistant Direc-tor for Is Life Worth Living? Previous she served as Assistant Director in Differ-ent Stages’ Well and Too Many Husbands, in addition to the acting role of Taylor. Other recent acting credits include Frau Fahrenkopf in Different Stages’ The Night of the Iguana, Miranda in Smoke Screen , and numerous productions with The Vi-olet Crown Radio Players. Notably she portrayed Doris Walker in Miracle on 34th Street, Hazel in Dorothy Parker’s Big Blonde and as an audio engineer for King Kong, which garnered a B. Iden Payne Awards Nomination for Outstanding Sound Design. She holds degrees in RTF and History from UT Austin and is delighted to work with this talented ensemble in her fourth Different Stages production.

ANN MARIE GORDON (Scenic Design) is pleased to be working again with Different Stages. Her recent work with Different Stages include The Children’s Hour, and A Number, 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 Inbetweeners, and The Dragonfly Queen, all premier works recently presented by the VORTEX.

PATRICK ANTHONY (Light Design) has been designing lights in Austin for three years. His previous designs include VORTEX Repertory Company’s Air, Sky Candy’s The Red Shoes and Different Stages’ Eurydice, Spider’s Web and Murder on the Nile, and is delighted to continue designing with Different Stages’ Is Life Worth Liv-ing?

PAULA GILBERT (Costume Design) is a Different Stages alumna. As an ac-tress, she performed in many of Different Stages’ past shows including Orpheus Decending, Talking With, The Tavern, Suddenly Last Summer and many of the Agatha Christie summer shows. Paula’s most recent directing venture was Second Act Troupe’s The Last Act Was a Solo. This is the second organized venture with Douglas Kelley for a Different Stages show as costumer. When not working with Different Stages, Paula is on the board of Vortex, and works at odd jobs such as stagehand, babysitter, exam proctor, and other items that pay more than mere satisfaction. Thank you to special consultant, make-up and hair, Kaye Brown. Thank you to Lia Haisley for costume assistance. Thanks to Lucy for putting up with a costume shop in the living room and the coming-and-going at all hours. Thanks to Mesko for perseverance.

the Roundabout Players’ Into the Woods. Other notable productions include Christina in Fefu and her Friends, Julie in Crank Collective’s Antarctica, Loaded Gun Theory’s The Automat, plus several Slapdash Festivals and City Theatre’s The Miracle Worker. Her next gig is choreographer for ASMC’s production of Alice in Wonderland, opening in August at the Boyd Vance Theatre. Many thanks to her supportive theatre widow hubby, Matt!

DENVER SURGENER (Michael “the boots”) is a newcomer to the Austin theatre scene and is thrilled to be working with Different Stages. While attending Oakland University in Michigan, he performed in such plays as Chekhov in Yalta, A Flea in Her Ear, The Cripple of Inishmaan, and the award winning Come, Beauty. He’d like to thank the wonderful cast for welcoming him on such short notice. Slainte!

JONATHAN URSO (Tom Mooney) is pleased to be working with Different Stages again. Earlier Different Stages credits include playing Homer in Morning’s At Seven and directing Humble Boy. He has also enjoyed stage-managing several produc-tions. Other recent credits include the role of Ken Gorman in Rumors, Gooper in Cat on a Hot Tin Roof, and he directed Of Mice And Men, all with City Theatre Com-pany. Some of the other companies he has had the pleasure of working with are VORTEX Repertory Company, Blue Lapis Light, Capital City Men’s Chorus, and ONSTAGE Theatre Company, just to name a few. He has also directed Butterflies Are Free and Lunch Hour for ONSTAGE Theatre Company. Many thanks to the cast, crew and Norman. And to Cary for her patience, love and support.

BENJAMIN WEAVER (John Hegarty) has been acting locally since 2008. He has performed numerous times at Sam Bass Community Theatre (Picasso at the Lapin Agile, The Last Days of Judas Iscariot, Waiting For Godot, Secondary Cause of Death and A Company of Wayward Saints). Earlier this year, he made his debut at the VORTEX in Elizabeth: Heart of a King.

DIRECTION AND DESIGN BIOGRAPHIES

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, The Carpetbagger’s Children, and Too Many Husbands. 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