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SPECIAL THANKS Wyncote Foundation
The Samuel S. Fels Fund The Charlotte Cushman Foundation The Philadelphia Cultural Fund
Arts & Business Council of Greater Philadelphia The Greater Philadelphia Cultural Alliance
Earl Wilcox ~ Plannerzone Ben Doranz
Villanova University Theater Department Eileen Cunniffe/The Arts & Business Council of Greater
Philadelphia June Washikita O’Neill
Seth Rozin/InterAct Theater Robin Rodriguez
Bill Brock Liam Brock
Bob and Pat Schmidt Gail Furman
Alyson Filippone/Ernst and Young, LCC. The IRC Board of Directors
P. O. Box 63872 Philadelphia, PA 19147
www.IdiopathicRidiculopathyConsortium.org
January, 2015
“If politics and religion and morality and even reason have proved sterile and corrupt, if they have brought us down the wrong road, or if they have simply become the tools of selfish men, the solution is not to throw them on the dust heap, but to make them work for the good of humanity.”
--Robert F. Whitman, Shaw and the Play of Ideas Welcome! George Bernard Shaw’s seldom-performed, delightfully witty Misalliance written in 1909, is an oh-so-relevant inspection of potentially unsuitable unions: parents and their children, aristocracy and the nouveau riche, truth and honor, love and money (as reasons for marriage), youth and age, the ineptitude of government, the benefits of physical exercise, the paucity of ideas in theater and the necessity of maintaining good drains in English country houses. Shaw introduced Misalliance as a controversial, new form, a “discussion play,” in which he proposed no clear heroes or villains as he considered the social function of drama in the beginning of the 20th century. As we forge into Year Nine of intelligent, unusual, seldom-performed and hopefully, often hilarious theater, we have you to thank for our sustenance. Over 60% of the IRC’s annual budget comes from ticket sales and individual contributions. Help us continue our small but mighty endeavor by spreading the word to a like-minded friend? We continue to blossom each year because of the unflagging support of our loyal audience. Enjoy your Superabundant Vitality!
Tina Brock Producing Artistic Director
How Little We Know About Our Parents ($1.00 - $49.99)
Lee Arnold Michael and Barbara Lefkoe John and Alberta Chiaravalloti Margaret Lonzetta Henrik Eger Jane Moore Gertrude D. Furman Lois Shestack Jean R. Haskell Bertram and Lynne Strieb Fred Jackes & Judy Adamsom Mark Szybist Moe and Sandy Lebo Lori Walsh
Plannerzone helps businesses see things from a customer’s perspective. For over 20 years, our unique approach to market
research has helped our clients make more informed decisions about marketing, products and distribution.
Direct clients include:
3M, Aflac, Ameriprise, Nestlé and Proctor &
Gamble.
Are you as curious as we are? Email
Plannerzone is proud to sponsorThe Idiopathic Ridiculopathy Consortium.
Many thanks to those who made Misalliance possible:
The Rewards and Risks of Knowledge ($1000.00 and above)
Wyncote Foundation The Samuel S. Fels Fund
The Philadelphia Cultural Fund The Pennsylvania Partners in the Arts program of the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of
Pennsylvania and the National Endowment for the Arts, a federal agency with support also provided by PECO and administered regionally by the
Greater Philadelphia Cultural Alliance Arts & Business Council of Greater Philadelphia
The Charlotte Cushman Foundation Earl Wilcox ~ Plannerzone
The Common Sense of Toleration
($500.00 - $999.99) Andy Lamas & Ginny Vanderslice Christa Williford
Why We Loathe Learning & Love Sport
($250.00 - $499.99) Anonymous Paul Rathblott & Carol Saline Benjamin Doranz Susan Zawislak Stephen Field
The Horror of the Perpetual Holiday
($100.00 - $249.99) Fred Allen Barfoot Debra Miller & Ray Costello Pat and Stacey Bishop Dr. Steve Peitzman Noel Carroll & Sally Banes Stephen Platt & Robin Schaufler Susan Coleman Kirsten Quinn & Ari Benjamin Bank Norman and Carolyn Ellman Carla Sarett Gail Furman Bob and Pat Schmidt Mary L. Goldman & Debbie Weiner Dr. Robert J. Wallner Geri Lincoln & Gordon Bermant Askold Zagars & Marie Feehan
What We Do Not Teach and Why
($50.00 - $99.99) Jonathan Burton Michael Lynch Deborah Curtiss John and Dorothy McElwee Jesse Delaney David Penkower John D'Alonzo Thomas and Kathleen Quinn Roseann Gill Christopher & Jennifer Rule Roberta Kangilaski Dr. Stephen & Mrs. Johnne Tint
MISALLIANCE by
George Bernard Shaw
Directed by Tina Brock
Set Design
Anna Kiraly
Costume Design Janus Stefanowicz
Lighting Design Andrew Cowles
Sound Design Adam Vidikis
Stage Manager/Light and Sound Operator Katie Sink
Technical Director Joe Daniels
Assistant Costumer Courtney Boches
Props Tina Brock
Photoshop Magic Bill Brock
Production Manager Bob Schmidt
Photography Johanna Austin
(www.AustinArt.org)
MISALLIANCE by
George Bernard Shaw
CAST Bentley Summerhays …………………………………….Andrew Carroll John Tarleton, Jr. (Johnny).………….……..…………..David Stanger Hypatia Tarleton…………………………………………….…Heather Cole Mrs. Tarleton………………………………………………..Emily Schuman Lord Summerhays…………………………………………...Paul McElwee John Tarleton…………………………………………….……David Bardeen* Joseph Percival……………………………………………….John D'Alonzo Lina Szczepanowska………………………………………..Kristen Norine Julius Baker (“Gunner”)…………………….…………..Langston Darby
Setting The House of John Tarleton in Hindhead, Surrey,
the beginning of Summer, 1909.
Misalliance is made possible in part by generous grants from Wyncote Foundation; The Samuel S. Fels Fund;
The Philadelphia Cultural Fund; Arts & Business Council of Greater Philadelphia; The Pennsylvania Partners in the Arts
program of the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National
Endowment for the Arts, a federal agency with support also provided by PECO and administered regionally by the Greater
Philadelphia Cultural Alliance; The Charlotte Cushman Foundation; Plannerzone and by YOU: over 60% of our annual
budget comes from ticket sales and individual contributions.
Produced by arrangement with Samuel French, Inc. Running time is approximately 2 hours and 25 minutes;
There will be one ten minute intermission.
Restrooms are located on the Fourth Floor, at the end of the hall.
*Member Actors Equity Association
The Idiopathic Ridiculopathy Consortium presents
Exit the King
by
Eugenè Ionesco
SEPTEMBER 2015
www.IdiopathicRidiculopathyConsortium.org
and generosity in the IRC’s 9th year. The "Philanthropic Way Above and Beyond Award" goes to IRC Board President Susan Feagin, Strategic Planner Extraordinaire Ben Doranz, Board President Emeritus Gail Furman, IRC co-founder Bob Schmidt, and the IRC Board for helping us Bring Good Nothingness to Life. Thank you, Mr. Shaw, for the language and the lessons. Misalliance is dedicated to son Liam, for whom parenting continues to be a privilege, a joy and an adventure dropped from the sky. Bob Schmidt (Production Manager) is a founding member of the IRC and has appeared in many productions since the company's founding in 2006: Eugène Ionesco’s Rhinoceros, The Chairs, Victims of Duty, The Leader and Foursome; Jean Giraudoux’s Ondine and The Madwoman of Chaillot; Charles Mee’s Paradise Park; Witold Gombrowicz’s Ivona, Princess of Burgundia; Max Frisch’s The Arsonists, Boris Vian’s The Empire Builders, Christopher Durang's The Actor's Nightmare and Wanda's Visit; Samuel Beckett's Catastrophe and numerous Raw Onions. Many thanks to the cast for attacking the show and making it their own, to Mark for making it all look and sound good, to Tina for making it all possible and to YOU for supporting The IRC!
The Idiopathic Ridiculopathy Consortium Board of Directors
Susan Feagin - President Tina Brock - Vice President
Alyson Filippone, CPA - Treasurer Bill Brock
Kirsten Quinn Bob Schmidt
Advisory Committee Ben Doranz, Strategic Plan Consultant
Ken Berman, Esq., Legal Consultant Gail Furman
Robin Rodriguez Earl Wilcox
CAST
David Bardeen (John Tarleton) is thrilled to be working at IRC for the first time with old friends and new. THEATRE: Yale Rep., South Coast Rep., Walnut Street Theatre, Independence Studio on 3, Arden Theatre, Wilma Theatre, Lantern Theatre, InterAct Theatre (2001 Barrymore Award, Supporting Actor in a Play), Theatre Horizon, Azuka Theatre, Eclectic Theatre Company, Delaware Theatre Company, Boarshead Theatre, Totem Pole Playhouse, Dorset Theatre Festival, Hedgerow
Theatre. TV: Weeds, Medium, Numb3rs, Related, Dirty Sexy Money, 86'd. FILM: Cherchez La Femme, The Dismissal, Seduction of the Will. David received his M.F.A. from the Yale School of Drama. Thank you to Tina, Bob, Katie and Jeff. Next up: Taming of the Shrew at the Lantern Theatre.
Andrew Carroll (Bentley Summerhays) is thrilled to be back in his fourth show with the IRC. You may remember him as a whole slew of characters in A Streetcar Named Durang, or as the knight errant Hans in last year's Ondine. Andrew has performed locally with Commonwealth Classic Theatre Co, Plays and Players, The Arden, and White Pines just to name a few. Love to Jenn and the wee beasties. Next up, Noises Off with Curio.
Heather Cole (Hypatia Tarleton) loves her IRC family and is so happy to return: past shows with IRC include Ivona in Ivona, Princess of Burgundia and Darling in Paradise Park. Heather has been currently heavily involved with both the Philadelphia and NYC film scene, and is currently the lead in the web series The Weirdness. She is so excited to continue her journey as an artist with her move to NYC this summer. Much love to cast and crew. Tina, thank you for not only being a fabulous director, but
having faith in me to do the impossible. Thanks to my family, poms and Steve for your unconditional love and support. Xoxo Idiopathic Ridiculopathy Consortium
IRCTheaterCo
John D'Alonzo (Joseph Percival) is very honored to be working with the IRC again! Previous productions include The Gnadiges Fraulein, The Madwoman of Chaillot, The Arsonists, Marriage, two Raw Onions, Impassioned Embraces, Ivona, Princess of Burgundia, Paradise Park and The Castle. John would like to thank Tina, the Cast, the Crew, Lauren, Alexander, Family, Friends and You for supporting the Arts.
Langston Darby (Gunner/Julius Baker) in Philly by way of Mississippi, (BFA, University of Southern Mississippi) not only has Langston worked with companies such as 1812 Productions, Shakespeare in Clark Park, and the Walnut Street Theatre, but he is also a member of ComedySportz Philadelphia and Bright Invention, the White Pines Productions ensemble. Up next: The Hairy Ape with EgoPo Classic Theatre (April). Also in: The Stinky Cheese Man... (downstairs, bring children). Paul McElwee (Lord Summerhays) is happy to return to the world of IRC having portrayed the Old Gentleman and Dudard in Rhinoceros last fall. Recent credits include Gabriel Conroy in James Joyce's The Dead, Herbie, Mazeppa, et al in Gypsy and Dr. Parker in Batboy with City Theater, Melvin in Waiting for the Boss with Smokey Scout Productions, Bill in August: Osage County and Lawrence in Dirty Rotten Scoundrels with the Ritz Theatre Company and Norbert in The Great
American Trailer Park Musical with 11th Hour. By day, Paul is the Director of Programs & Education for The Garden State Discovery Museum.
Kristen Norine (Lina Szczepanowska) is a graduate of the University of the Arts with a BFA in Musical Theatre. She has performed with the IRC, Simpatico Theatre Company, Plays and Players Theatre, The Hear Again Radio Project, Forearmed Productions, White Pines Productions, and other local companies. Thanks to Tina, Bob, the cast, and crew for all of their hard work. Love to Mom and Dad. For David, kocham życie, bo życie dało mi ciebie.
Janus Stefanowicz (Costume Design) is happy to be designing for IRC. She has designed for numerous theatre companies in NYC and Philadelphia. Janus is the resident Costume Designer and shop manager for Villanova University's Theatre Department. Since 1996, she has been nominated for 16 Barrymore Awards and has won three: the 2006 Barrymore Award for Best Costume for Intimate Apparel at Philadelphia Theatre Co., the 2003 Barrymore Award for Big Love and 1998 Award for On the Razzle both at the Wilma Theater. Adam Vidiksis (Sound Design) is a composer, conductor, percussionist, and technologist based in Philadelphia. His music has been heard in venues around the world. Critics have called his music “mesmerizing”, “dramatic”, “striking” (Philadelphia Weekly), “interesting”, “special” (Percussive Notes), and capturing “a deep-colored radiance” (Philadelphia Inquirer). His music often explores sound, science, and the intersection of humankind with the machines we build. Vidiksis currently serves on the composition faculty at Temple University, where his research in music technology focuses on techniques for realtime audio processing, designing gestural controllers for live digital performance, and machine improvisation. His music often explores sound, science, and the intersection of humankind with the machines we build. [www.vidiksis.com] Tina Brock (Misalliance Director, IRC Producing Artistic Director) is a founding member of the IRC. Directing projects: Eugène Ionesco’s Rhinoceros; Franz Kafka’s The Castle; Charles Mee’s Paradise Park; Witold Gombrowicz’s Ivona, Princess of Burgundia; Nikolai Gogol’s Marriage: An Utterly Improbable Occurrence in Two Acts; Max Frisch’s The Arsonists, Boris Vian’s The Empire Builders, Jean Giraudoux's The Madwoman of Chaillot, Eugène Ionesco's The Chairs, The Lesson, Frenzy for Two, Foursome, The Leader and Victims of Duty; Samuel Beckett's Ohio Impromptu, Catastrophe, and Come and Go; Edward Albee's The Sandbox; Harold Pinter’s Trouble in the Works; Christopher Durang’s Wanda’s Visit, For Whom the Southern Belle Tolls, Desire Desire Desire, A Stye of the Eye and The Actor’s Nightmare, and Tennessee Williams' The Gnädiges Fraulein. Acting projects: Philadelphia Theater Company, Act II Playhouse, Luna Theater, Azuka Theater, Theatre Exile, Arden Theater Company. Tina studied Journalism and Dance at University of Maryland; Speech Communication at West Chester University, and Graduate work in Psychology, Rutgers University. Over the past several decades she has worked as a freelance producer and writer, including associate producer credits on the NPR radio series A Chef's Table with Jim Coleman, and in the development, public information and fundraising departments at PBS affiliate WHYY-TV12. Abundant thanks to the Misalliance design consortium for illuminating Shaw’s ideas and to the IRC’s stalwart crew of performers for commitment to the cause, unflagging sense of humor,
CREW
Anna Kiraly (Set Design) Recent projects include set and video for UBU (with S. Fogarty for Columbia/Barnard), set design for Walk Across America (with Taylor Mac/The Talking Band), Saint Hollywood (Ideal Glass NYC), Terrible Things (Pearl/D’Amour at PS 122/COIL), Dog and Wolf (J. Randich at 59E59), production design and video for Flip Side (The Talking Band), costumes for Kafka Fragments (P. Sellars) and set design for Chekhov Lizard-brain, Isabella, and Pay Up with Pig Iron Theatre Company. She is a recipient of the Arts Link Grant, the NEA/TCG Program for Designers and the TCG New Generations (with the Talking Band). Her "noir" multimedia pieces The Quake (at Ideal Glass), Slow Ascent and UFO (St. Ann’s Warehouse) won the Jim Henson Foundation’s support. Anna is excited to collaborate with the IRC for the third time. [www.annakiraly.com] Courtney Boches (Assistant Costume Design) is a recent graduate of Villanova University’s Masters in Theatre program. Costume design credits include Everyman (Villanova Theatre), Court Martial at Fort Devens (Steel River Playhouse), Twelfth Night (Commonwealth Classic), and others. She recently completed an internship in New York with Tony-winning designer William Ivey Long on the new musical Little Dancer. She also runs the summer workshop program at Firebird Theatre, where she directs and designs two children’s musicals each summer. [www.courtneyboches.com] Andrew Cowles (Lighting Design) is a Barrymore Nominated Lighting Designer and has designed over 150 productions around Philadelphia. Favorites include: The Brothers Size (Simpatic Theatre Project), Gagarin Way & Bedbound (Inis Nua Theatre Co.) 70 Scenes of Halloween, Grace, & Breathing Corpses (Luna Theatre Co.). He has designed for such companies as Theatre Horizon, Inis Nua Theatre Company, Luna Theater Company, Curio Theatre Company, Simpatico Theatre Project, Tiny Dynamite Productions, and many more. Love to Lauren Katie Sink (Stage Manager/Light & Sound Operator) graduated from DePauw University and moved to Philadelphia for the Arden Theatre Apprenticeship. Since her time at the Arden, Katie has worked as a free lance artist primarily in marketing, education, and stage management. As a teaching artist, Katie has worked with local theatres such as Arden Theatre, Theatre Horizon and Philadelphia Young Playwrights. Katie is a proud member of Broad Street Beat, one of Philadelphia’s premier a cappella groups.
Emily Schuman (Mrs. Tarleton) is thrilled to be making her IRC debut. Last seen in FringeArts Festival show Fando y Lis. Emily moved to Philadelphia in 2013 to be an Arden Professional Apprentice and has fallen in love with the theatre community here. In addition to performing, Emily is also a freelance theatre artist/props designer around the city. She has worked with such companies as 1812 Productions, Applied Mechanics, Arden Theatre Company, Pig Iron, and 11th Hour. All the love to
Mom, Dad, and Nats. I wouldn't be here without your love and support! David Stanger (John Tarleton, Jr.) feels wonderful to be back with the IRC, having most recently been seen as Jean in Rhinoceros and an assortment of characters in A Streetcar Named Durang. Also with the IRC; Franz Kafka's The Castle (K), Ivona, Princess of Burgundia (Prince Philip) and Marriage (Kochkaryov). Elsewhere in Philadelphia, he has worked at the Walnut, the Arden, Flashpoint Theater Company and the Luna Theater Company to name a few. You may also know his work as a
voiceover artist (cue shameless plug- www.davidstangervo.com). Thanks to Tina and this wonderful cast and crew. For Kristen -- high flying acrobat of my heart.
Actors' Equity Association (AEA) was founded in 1913 as the first of the American actor unions. Equity’s mission is to advance, promote and foster the art of live theatre as an essential component of our society. Today, Equity represents more than 40,000 actors, singers, dancers and stage managers working in hundreds of theatres across the United States. Equity members are dedicated to working in the theatre as a profession, upholding the highest artistic standards.
Equity negotiates wages and working conditions and provides a wide range of benefits including health and pension plans for its members. Through its agreement with Equity, this theatre has committed to the fair treatment of the actors and stage managers employed in this production.
AEA is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. For more information, visit www.actorsequity.org.
CREW
Anna Kiraly (Set Design) Recent projects include set and video for UBU (with S. Fogarty for Columbia/Barnard), set design for Walk Across America (with Taylor Mac/The Talking Band), Saint Hollywood (Ideal Glass NYC), Terrible Things (Pearl/D’Amour at PS 122/COIL), Dog and Wolf (J. Randich at 59E59), production design and video for Flip Side (The Talking Band), costumes for Kafka Fragments (P. Sellars) and set design for Chekhov Lizard-brain, Isabella, and Pay Up with Pig Iron Theatre Company. She is a recipient of the Arts Link Grant, the NEA/TCG Program for Designers and the TCG New Generations (with the Talking Band). Her "noir" multimedia pieces The Quake (at Ideal Glass), Slow Ascent and UFO (St. Ann’s Warehouse) won the Jim Henson Foundation’s support. Anna is excited to collaborate with the IRC for the third time. [www.annakiraly.com] Courtney Boches (Assistant Costume Design) is a recent graduate of Villanova University’s Masters in Theatre program. Costume design credits include Everyman (Villanova Theatre), Court Martial at Fort Devens (Steel River Playhouse), Twelfth Night (Commonwealth Classic), and others. She recently completed an internship in New York with Tony-winning designer William Ivey Long on the new musical Little Dancer. She also runs the summer workshop program at Firebird Theatre, where she directs and designs two children’s musicals each summer. [www.courtneyboches.com] Andrew Cowles (Lighting Design) is a Barrymore Nominated Lighting Designer and has designed over 150 productions around Philadelphia. Favorites include: The Brothers Size (Simpatic Theatre Project), Gagarin Way & Bedbound (Inis Nua Theatre Co.) 70 Scenes of Halloween, Grace, & Breathing Corpses (Luna Theatre Co.). He has designed for such companies as Theatre Horizon, Inis Nua Theatre Company, Luna Theater Company, Curio Theatre Company, Simpatico Theatre Project, Tiny Dynamite Productions, and many more. Love to Lauren Katie Sink (Stage Manager/Light & Sound Operator) graduated from DePauw University and moved to Philadelphia for the Arden Theatre Apprenticeship. Since her time at the Arden, Katie has worked as a free lance artist primarily in marketing, education, and stage management. As a teaching artist, Katie has worked with local theatres such as Arden Theatre, Theatre Horizon and Philadelphia Young Playwrights. Katie is a proud member of Broad Street Beat, one of Philadelphia’s premier a cappella groups.
Emily Schuman (Mrs. Tarleton) is thrilled to be making her IRC debut. Last seen in FringeArts Festival show Fando y Lis. Emily moved to Philadelphia in 2013 to be an Arden Professional Apprentice and has fallen in love with the theatre community here. In addition to performing, Emily is also a freelance theatre artist/props designer around the city. She has worked with such companies as 1812 Productions, Applied Mechanics, Arden Theatre Company, Pig Iron, and 11th Hour. All the love to
Mom, Dad, and Nats. I wouldn't be here without your love and support! David Stanger (John Tarleton, Jr.) feels wonderful to be back with the IRC, having most recently been seen as Jean in Rhinoceros and an assortment of characters in A Streetcar Named Durang. Also with the IRC; Franz Kafka's The Castle (K), Ivona, Princess of Burgundia (Prince Philip) and Marriage (Kochkaryov). Elsewhere in Philadelphia, he has worked at the Walnut, the Arden, Flashpoint Theater Company and the Luna Theater Company to name a few. You may also know his work as a
voiceover artist (cue shameless plug- www.davidstangervo.com). Thanks to Tina and this wonderful cast and crew. For Kristen -- high flying acrobat of my heart.
Actors' Equity Association (AEA) was founded in 1913 as the first of the American actor unions. Equity’s mission is to advance, promote and foster the art of live theatre as an essential component of our society. Today, Equity represents more than 40,000 actors, singers, dancers and stage managers working in hundreds of theatres across the United States. Equity members are dedicated to working in the theatre as a profession, upholding the highest artistic standards.
Equity negotiates wages and working conditions and provides a wide range of benefits including health and pension plans for its members. Through its agreement with Equity, this theatre has committed to the fair treatment of the actors and stage managers employed in this production.
AEA is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. For more information, visit www.actorsequity.org.
John D'Alonzo (Joseph Percival) is very honored to be working with the IRC again! Previous productions include The Gnadiges Fraulein, The Madwoman of Chaillot, The Arsonists, Marriage, two Raw Onions, Impassioned Embraces, Ivona, Princess of Burgundia, Paradise Park and The Castle. John would like to thank Tina, the Cast, the Crew, Lauren, Alexander, Family, Friends and You for supporting the Arts.
Langston Darby (Gunner/Julius Baker) in Philly by way of Mississippi, (BFA, University of Southern Mississippi) not only has Langston worked with companies such as 1812 Productions, Shakespeare in Clark Park, and the Walnut Street Theatre, but he is also a member of ComedySportz Philadelphia and Bright Invention, the White Pines Productions ensemble. Up next: The Hairy Ape with EgoPo Classic Theatre (April). Also in: The Stinky Cheese Man... (downstairs, bring children). Paul McElwee (Lord Summerhays) is happy to return to the world of IRC having portrayed the Old Gentleman and Dudard in Rhinoceros last fall. Recent credits include Gabriel Conroy in James Joyce's The Dead, Herbie, Mazeppa, et al in Gypsy and Dr. Parker in Batboy with City Theater, Melvin in Waiting for the Boss with Smokey Scout Productions, Bill in August: Osage County and Lawrence in Dirty Rotten Scoundrels with the Ritz Theatre Company and Norbert in The Great
American Trailer Park Musical with 11th Hour. By day, Paul is the Director of Programs & Education for The Garden State Discovery Museum.
Kristen Norine (Lina Szczepanowska) is a graduate of the University of the Arts with a BFA in Musical Theatre. She has performed with the IRC, Simpatico Theatre Company, Plays and Players Theatre, The Hear Again Radio Project, Forearmed Productions, White Pines Productions, and other local companies. Thanks to Tina, Bob, the cast, and crew for all of their hard work. Love to Mom and Dad. For David, kocham życie, bo życie dało mi ciebie.
Janus Stefanowicz (Costume Design) is happy to be designing for IRC. She has designed for numerous theatre companies in NYC and Philadelphia. Janus is the resident Costume Designer and shop manager for Villanova University's Theatre Department. Since 1996, she has been nominated for 16 Barrymore Awards and has won three: the 2006 Barrymore Award for Best Costume for Intimate Apparel at Philadelphia Theatre Co., the 2003 Barrymore Award for Big Love and 1998 Award for On the Razzle both at the Wilma Theater. Adam Vidiksis (Sound Design) is a composer, conductor, percussionist, and technologist based in Philadelphia. His music has been heard in venues around the world. Critics have called his music “mesmerizing”, “dramatic”, “striking” (Philadelphia Weekly), “interesting”, “special” (Percussive Notes), and capturing “a deep-colored radiance” (Philadelphia Inquirer). His music often explores sound, science, and the intersection of humankind with the machines we build. Vidiksis currently serves on the composition faculty at Temple University, where his research in music technology focuses on techniques for realtime audio processing, designing gestural controllers for live digital performance, and machine improvisation. His music often explores sound, science, and the intersection of humankind with the machines we build. [www.vidiksis.com] Tina Brock (Misalliance Director, IRC Producing Artistic Director) is a founding member of the IRC. Directing projects: Eugène Ionesco’s Rhinoceros; Franz Kafka’s The Castle; Charles Mee’s Paradise Park; Witold Gombrowicz’s Ivona, Princess of Burgundia; Nikolai Gogol’s Marriage: An Utterly Improbable Occurrence in Two Acts; Max Frisch’s The Arsonists, Boris Vian’s The Empire Builders, Jean Giraudoux's The Madwoman of Chaillot, Eugène Ionesco's The Chairs, The Lesson, Frenzy for Two, Foursome, The Leader and Victims of Duty; Samuel Beckett's Ohio Impromptu, Catastrophe, and Come and Go; Edward Albee's The Sandbox; Harold Pinter’s Trouble in the Works; Christopher Durang’s Wanda’s Visit, For Whom the Southern Belle Tolls, Desire Desire Desire, A Stye of the Eye and The Actor’s Nightmare, and Tennessee Williams' The Gnädiges Fraulein. Acting projects: Philadelphia Theater Company, Act II Playhouse, Luna Theater, Azuka Theater, Theatre Exile, Arden Theater Company. Tina studied Journalism and Dance at University of Maryland; Speech Communication at West Chester University, and Graduate work in Psychology, Rutgers University. Over the past several decades she has worked as a freelance producer and writer, including associate producer credits on the NPR radio series A Chef's Table with Jim Coleman, and in the development, public information and fundraising departments at PBS affiliate WHYY-TV12. Abundant thanks to the Misalliance design consortium for illuminating Shaw’s ideas and to the IRC’s stalwart crew of performers for commitment to the cause, unflagging sense of humor,
and generosity in the IRC’s 9th year. The "Philanthropic Way Above and Beyond Award" goes to IRC Board President Susan Feagin, Strategic Planner Extraordinaire Ben Doranz, Board President Emeritus Gail Furman, IRC co-founder Bob Schmidt, and the IRC Board for helping us Bring Good Nothingness to Life. Thank you, Mr. Shaw, for the language and the lessons. Misalliance is dedicated to son Liam, for whom parenting continues to be a privilege, a joy and an adventure dropped from the sky. Bob Schmidt (Production Manager) is a founding member of the IRC and has appeared in many productions since the company's founding in 2006: Eugène Ionesco’s Rhinoceros, The Chairs, Victims of Duty, The Leader and Foursome; Jean Giraudoux’s Ondine and The Madwoman of Chaillot; Charles Mee’s Paradise Park; Witold Gombrowicz’s Ivona, Princess of Burgundia; Max Frisch’s The Arsonists, Boris Vian’s The Empire Builders, Christopher Durang's The Actor's Nightmare and Wanda's Visit; Samuel Beckett's Catastrophe and numerous Raw Onions. Many thanks to the cast for attacking the show and making it their own, to Mark for making it all look and sound good, to Tina for making it all possible and to YOU for supporting The IRC!
The Idiopathic Ridiculopathy Consortium Board of Directors
Susan Feagin - President Tina Brock - Vice President
Alyson Filippone, CPA - Treasurer Bill Brock
Kirsten Quinn Bob Schmidt
Advisory Committee Ben Doranz, Strategic Plan Consultant
Ken Berman, Esq., Legal Consultant Gail Furman
Robin Rodriguez Earl Wilcox
CAST
David Bardeen (John Tarleton) is thrilled to be working at IRC for the first time with old friends and new. THEATRE: Yale Rep., South Coast Rep., Walnut Street Theatre, Independence Studio on 3, Arden Theatre, Wilma Theatre, Lantern Theatre, InterAct Theatre (2001 Barrymore Award, Supporting Actor in a Play), Theatre Horizon, Azuka Theatre, Eclectic Theatre Company, Delaware Theatre Company, Boarshead Theatre, Totem Pole Playhouse, Dorset Theatre Festival, Hedgerow
Theatre. TV: Weeds, Medium, Numb3rs, Related, Dirty Sexy Money, 86'd. FILM: Cherchez La Femme, The Dismissal, Seduction of the Will. David received his M.F.A. from the Yale School of Drama. Thank you to Tina, Bob, Katie and Jeff. Next up: Taming of the Shrew at the Lantern Theatre.
Andrew Carroll (Bentley Summerhays) is thrilled to be back in his fourth show with the IRC. You may remember him as a whole slew of characters in A Streetcar Named Durang, or as the knight errant Hans in last year's Ondine. Andrew has performed locally with Commonwealth Classic Theatre Co, Plays and Players, The Arden, and White Pines just to name a few. Love to Jenn and the wee beasties. Next up, Noises Off with Curio.
Heather Cole (Hypatia Tarleton) loves her IRC family and is so happy to return: past shows with IRC include Ivona in Ivona, Princess of Burgundia and Darling in Paradise Park. Heather has been currently heavily involved with both the Philadelphia and NYC film scene, and is currently the lead in the web series The Weirdness. She is so excited to continue her journey as an artist with her move to NYC this summer. Much love to cast and crew. Tina, thank you for not only being a fabulous director, but
having faith in me to do the impossible. Thanks to my family, poms and Steve for your unconditional love and support. Xoxo Idiopathic Ridiculopathy Consortium
IRCTheaterCo
Unique, Reclaimed & Affordable: Arts/craft supplies & fabrics
Green building/home improvement materials Housewares/decor
Classroom & office supplies Salvaged film & theatre scenery
reMADE items and gifts
1701 N. 2nd Street Philadelphia, PA 19122 267-997-0060
www. theresourceexchange.org
The Idiopathic Ridiculopathy Consortium supports The Resource Exchange’s reSETS
(Setting Entertainment Towards Sustainability) program by repurposing or recycling our sets and
scenic material whenever possible.
Unique, Reclaimed & Affordable: Arts/craft supplies & fabrics
Green building/home improvement materials Housewares/decor
Classroom & office supplies Salvaged film & theatre scenery
reMADE items and gifts
1701 N. 2nd Street Philadelphia, PA 19122 267-997-0060
www. theresourceexchange.org
The Idiopathic Ridiculopathy Consortium supports The Resource Exchange’s reSETS
(Setting Entertainment Towards Sustainability) program by repurposing or recycling our sets and
scenic material whenever possible.
George Bernard Shaw (1856-1950) was born in Dublin, the son of a civil servant. His education was irregular, due to his dislike of any organized training. He moved to London as a young man (1876), where he established himself as a leading music and theatre critic in the eighties and nineties and became a prominent member of the Fabian Society, for which he composed many pamphlets. He began his literary career as a novelist; as a fervent advocate of the new theatre of Ibsen (The Quintessence of Ibsenism, 1891) he decided to
write plays in order to illustrate his criticism of the English stage. His earliest dramas were called appropriately Plays Pleasant and Unpleasant (1898). Among these, Widower's Houses and Mrs. Warren's Profession savagely attack social hypocrisy, while in plays such as Arms and the Man and The Man of Destiny the criticism is less fierce. Shaw's radical rationalism, his utter disregard of conventions, his keen dialectic interest and verbal wit often turn the stage into a forum of ideas, and nowhere more openly than in the famous discourses on the Life Force, Don Juan in Hell, the third act of the dramatization of woman's love chase of man, Man and Superman (1903).
In the plays of his later period discussion sometimes drowns the drama, in Back to Methuselah (1921), although in the same period he worked on his masterpiece Saint Joan (1923), in which he rewrites the well-known story of the French maiden and extends it from the Middle Ages to the present.
Other important plays by Shaw are Caesar and Cleopatra (1901), a historical play filled with allusions to modern times, and Androcles and the Lion (1912), in which he exercised a kind of retrospective history and from modern movements drew deductions for the Christian era. In Major Barbara (1905), one of Shaw's most successful discussion plays, the audience's attention is held by the power of the witty argumentation that man can achieve aesthetic salvation only through political activity, not as an individual. The Doctor's Dilemma (1906), facetiously classified as a tragedy by Shaw, is really a comedy the humor of which is directed at the medical profession. Candida (1898), with social attitudes toward sex relations as objects of his satire, and Pygmalion (1912), a witty study of phonetics as well as a clever treatment of middle-class morality and class distinction, proved some of Shaw's greatest successes on the stage. It is a combination of the dramatic, the comic, and the social corrective that gives Shaw's comedies their special flavor.
A Guide to Shaw’s World
K.C.B. Knight Commander of Most Honourable Order of the Bath turnspit a small dog specifically bred to run on a wheel that turned meat on a
spit so it would cook evenly. Modern Currency Equivalent multiply all references to British pounds by
111 for the current value in US Dollars (1£ in 1909 = $111.00 in 2015). Weismann concluded that many biological facts can be explained by
evolutionary theory, but are puzzling if considered through creationism. Coleridge founder of the romantic movement in literature Herbert Spencer believed that Darwin’s theory of evolution could be applied
to social structures; he coined the phrase “survival of the fittest.” Browning/Caliban In Robert Browning’s Caliban Upon Setebos,
Shakespeare’s native heathen reflects upon the nature of God and man’s place in the natural order.
Ibsen Henrik Ibsen's plays examine underneath the surface of society, revealing much that was disquieting to contemporary morality.
Chesterton G.K. Chesterton was called the “prince of paradox.”;"Truth is sacred; and if you tell the truth too often nobody will believe it."
Mill John Stuart Mill’s enormously influential On Liberty addresses the limits of power that society can legitimately exercise over the individual.
Whatshisname Friedrich Nietzsche described the Übermensch, or Superman, as a goal that humanity should set for itself in his book Thus Spoke Zarathustra.
Kipling The words “Lest We Forget” form the refrain of Kipling’s poem Recessional. The phrase became popular as a warning about the perils of hubris and the inevitable decline of imperial power.
Shelley/Mrs. Browning In Aeschylus’s Prometheus Bound, Prometheus is chained to a rock as punishment for giving fire to mankind.
Welsh rabbit a dish made with a savory sauce of melted cheese over toast, but no actual rabbit.
Lombroso Cesare Lombroso was an Italian criminologist who believed that “criminality” was inherited and could be identified by physiological traits.
Tennyson Tennyson’s 1842 poem, Ulysses, presents a hero who hungers “To strive, to seek, to find, and not to yield,” perhaps betraying Lord Tennyson’s own advocacy of imperialism.
Pepys’ Diary Samuel Pepys kept a detailed diary from 1660 to 1669 that was first published in the 19th century.
The Master Builder In Ibsen’s The Master Builder, a young woman claiming to have shared a romantic past with the protagonist dares him to climb to the top of a tower; he does and subsequently falls to his death.
Potiphar’s wife became furious at Joseph for resisting her attempts to seduce him, and falsely accused him of attempting to rape her.
Coins: Shilling = $42.00 today, farthing =$0.12 today, tuppence =$1.00 today, penny =$0.50 today
Dr. Watts the author of Divine Songs For Children, a tool for teaching theology and morality to young children.
Marcus Aurelius Roman emperor and Stoic philosopher, his Meditations influenced many who came after him.
George Bernard Shaw (1856-1950) was born in Dublin, the son of a civil servant. His education was irregular, due to his dislike of any organized training. He moved to London as a young man (1876), where he established himself as a leading music and theatre critic in the eighties and nineties and became a prominent member of the Fabian Society, for which he composed many pamphlets. He began his literary career as a novelist; as a fervent advocate of the new theatre of Ibsen (The Quintessence of Ibsenism, 1891) he decided to
write plays in order to illustrate his criticism of the English stage. His earliest dramas were called appropriately Plays Pleasant and Unpleasant (1898). Among these, Widower's Houses and Mrs. Warren's Profession savagely attack social hypocrisy, while in plays such as Arms and the Man and The Man of Destiny the criticism is less fierce. Shaw's radical rationalism, his utter disregard of conventions, his keen dialectic interest and verbal wit often turn the stage into a forum of ideas, and nowhere more openly than in the famous discourses on the Life Force, Don Juan in Hell, the third act of the dramatization of woman's love chase of man, Man and Superman (1903).
In the plays of his later period discussion sometimes drowns the drama, in Back to Methuselah (1921), although in the same period he worked on his masterpiece Saint Joan (1923), in which he rewrites the well-known story of the French maiden and extends it from the Middle Ages to the present.
Other important plays by Shaw are Caesar and Cleopatra (1901), a historical play filled with allusions to modern times, and Androcles and the Lion (1912), in which he exercised a kind of retrospective history and from modern movements drew deductions for the Christian era. In Major Barbara (1905), one of Shaw's most successful discussion plays, the audience's attention is held by the power of the witty argumentation that man can achieve aesthetic salvation only through political activity, not as an individual. The Doctor's Dilemma (1906), facetiously classified as a tragedy by Shaw, is really a comedy the humor of which is directed at the medical profession. Candida (1898), with social attitudes toward sex relations as objects of his satire, and Pygmalion (1912), a witty study of phonetics as well as a clever treatment of middle-class morality and class distinction, proved some of Shaw's greatest successes on the stage. It is a combination of the dramatic, the comic, and the social corrective that gives Shaw's comedies their special flavor.
A Guide to Shaw’s World
K.C.B. Knight Commander of Most Honourable Order of the Bath turnspit a small dog specifically bred to run on a wheel that turned meat on a
spit so it would cook evenly. Modern Currency Equivalent multiply all references to British pounds by
111 for the current value in US Dollars (1£ in 1909 = $111.00 in 2015). Weismann concluded that many biological facts can be explained by
evolutionary theory, but are puzzling if considered through creationism. Coleridge founder of the romantic movement in literature Herbert Spencer believed that Darwin’s theory of evolution could be applied
to social structures; he coined the phrase “survival of the fittest.” Browning/Caliban In Robert Browning’s Caliban Upon Setebos,
Shakespeare’s native heathen reflects upon the nature of God and man’s place in the natural order.
Ibsen Henrik Ibsen's plays examine underneath the surface of society, revealing much that was disquieting to contemporary morality.
Chesterton G.K. Chesterton was called the “prince of paradox.”;"Truth is sacred; and if you tell the truth too often nobody will believe it."
Mill John Stuart Mill’s enormously influential On Liberty addresses the limits of power that society can legitimately exercise over the individual.
Whatshisname Friedrich Nietzsche described the Übermensch, or Superman, as a goal that humanity should set for itself in his book Thus Spoke Zarathustra.
Kipling The words “Lest We Forget” form the refrain of Kipling’s poem Recessional. The phrase became popular as a warning about the perils of hubris and the inevitable decline of imperial power.
Shelley/Mrs. Browning In Aeschylus’s Prometheus Bound, Prometheus is chained to a rock as punishment for giving fire to mankind.
Welsh rabbit a dish made with a savory sauce of melted cheese over toast, but no actual rabbit.
Lombroso Cesare Lombroso was an Italian criminologist who believed that “criminality” was inherited and could be identified by physiological traits.
Tennyson Tennyson’s 1842 poem, Ulysses, presents a hero who hungers “To strive, to seek, to find, and not to yield,” perhaps betraying Lord Tennyson’s own advocacy of imperialism.
Pepys’ Diary Samuel Pepys kept a detailed diary from 1660 to 1669 that was first published in the 19th century.
The Master Builder In Ibsen’s The Master Builder, a young woman claiming to have shared a romantic past with the protagonist dares him to climb to the top of a tower; he does and subsequently falls to his death.
Potiphar’s wife became furious at Joseph for resisting her attempts to seduce him, and falsely accused him of attempting to rape her.
Coins: Shilling = $42.00 today, farthing =$0.12 today, tuppence =$1.00 today, penny =$0.50 today
Dr. Watts the author of Divine Songs For Children, a tool for teaching theology and morality to young children.
Marcus Aurelius Roman emperor and Stoic philosopher, his Meditations influenced many who came after him.
MISALLIANCE by
George Bernard Shaw
CAST Bentley Summerhays …………………………………….Andrew Carroll John Tarleton, Jr. (Johnny).………….……..…………..David Stanger Hypatia Tarleton…………………………………………….…Heather Cole Mrs. Tarleton………………………………………………..Emily Schuman Lord Summerhays…………………………………………...Paul McElwee John Tarleton…………………………………………….……David Bardeen* Joseph Percival……………………………………………….John D'Alonzo Lina Szczepanowska………………………………………..Kristen Norine Julius Baker (“Gunner”)…………………….…………..Langston Darby
Setting The House of John Tarleton in Hindhead, Surrey,
the beginning of Summer, 1909.
Misalliance is made possible in part by generous grants from Wyncote Foundation; The Samuel S. Fels Fund;
The Philadelphia Cultural Fund; Arts & Business Council of Greater Philadelphia; The Pennsylvania Partners in the Arts
program of the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National
Endowment for the Arts, a federal agency with support also provided by PECO and administered regionally by the Greater
Philadelphia Cultural Alliance; The Charlotte Cushman Foundation; Plannerzone and by YOU: over 60% of our annual
budget comes from ticket sales and individual contributions.
Produced by arrangement with Samuel French, Inc. Running time is approximately 2 hours and 25 minutes;
There will be one ten minute intermission.
Restrooms are located on the Fourth Floor, at the end of the hall.
*Member Actors Equity Association
The Idiopathic Ridiculopathy Consortium presents
Exit the King
by
Eugenè Ionesco
SEPTEMBER 2015
www.IdiopathicRidiculopathyConsortium.org
Many thanks to those who made Misalliance possible:
The Rewards and Risks of Knowledge ($1000.00 and above)
Wyncote Foundation The Samuel S. Fels Fund
The Philadelphia Cultural Fund The Pennsylvania Partners in the Arts program of the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of
Pennsylvania and the National Endowment for the Arts, a federal agency with support also provided by PECO and administered regionally by the
Greater Philadelphia Cultural Alliance Arts & Business Council of Greater Philadelphia
The Charlotte Cushman Foundation Earl Wilcox ~ Plannerzone
The Common Sense of Toleration
($500.00 - $999.99) Andy Lamas & Ginny Vanderslice Christa Williford
Why We Loathe Learning & Love Sport
($250.00 - $499.99) Anonymous Paul Rathblott & Carol Saline Benjamin Doranz Susan Zawislak Stephen Field
The Horror of the Perpetual Holiday
($100.00 - $249.99) Fred Allen Barfoot Debra Miller & Ray Costello Pat and Stacey Bishop Dr. Steve Peitzman Noel Carroll & Sally Banes Stephen Platt & Robin Schaufler Susan Coleman Kirsten Quinn & Ari Benjamin Bank Norman and Carolyn Ellman Carla Sarett Gail Furman Bob and Pat Schmidt Mary L. Goldman & Debbie Weiner Dr. Robert J. Wallner Geri Lincoln & Gordon Bermant Askold Zagars & Marie Feehan
What We Do Not Teach and Why
($50.00 - $99.99) Jonathan Burton Michael Lynch Deborah Curtiss John and Dorothy McElwee Jesse Delaney David Penkower John D'Alonzo Thomas and Kathleen Quinn Roseann Gill Christopher & Jennifer Rule Roberta Kangilaski Dr. Stephen & Mrs. Johnne Tint
MISALLIANCE by
George Bernard Shaw
Directed by Tina Brock
Set Design
Anna Kiraly
Costume Design Janus Stefanowicz
Lighting Design Andrew Cowles
Sound Design Adam Vidikis
Stage Manager/Light and Sound Operator Katie Sink
Technical Director Joe Daniels
Assistant Costumer Courtney Boches
Props Tina Brock
Photoshop Magic Bill Brock
Production Manager Bob Schmidt
Photography Johanna Austin
(www.AustinArt.org)
January, 2015
“If politics and religion and morality and even reason have proved sterile and corrupt, if they have brought us down the wrong road, or if they have simply become the tools of selfish men, the solution is not to throw them on the dust heap, but to make them work for the good of humanity.”
--Robert F. Whitman, Shaw and the Play of Ideas Welcome! George Bernard Shaw’s seldom-performed, delightfully witty Misalliance written in 1909, is an oh-so-relevant inspection of potentially unsuitable unions: parents and their children, aristocracy and the nouveau riche, truth and honor, love and money (as reasons for marriage), youth and age, the ineptitude of government, the benefits of physical exercise, the paucity of ideas in theater and the necessity of maintaining good drains in English country houses. Shaw introduced Misalliance as a controversial, new form, a “discussion play,” in which he proposed no clear heroes or villains as he considered the social function of drama in the beginning of the 20th century. As we forge into Year Nine of intelligent, unusual, seldom-performed and hopefully, often hilarious theater, we have you to thank for our sustenance. Over 60% of the IRC’s annual budget comes from ticket sales and individual contributions. Help us continue our small but mighty endeavor by spreading the word to a like-minded friend? We continue to blossom each year because of the unflagging support of our loyal audience. Enjoy your Superabundant Vitality!
Tina Brock Producing Artistic Director
How Little We Know About Our Parents ($1.00 - $49.99)
Lee Arnold Michael and Barbara Lefkoe John and Alberta Chiaravalloti Margaret Lonzetta Henrik Eger Jane Moore Gertrude D. Furman Lois Shestack Jean R. Haskell Bertram and Lynne Strieb Fred Jackes & Judy Adamsom Mark Szybist Moe and Sandy Lebo Lori Walsh
Plannerzone helps businesses see things from a customer’s perspective. For over 20 years, our unique approach to market
research has helped our clients make more informed decisions about marketing, products and distribution.
Direct clients include:
3M, Aflac, Ameriprise, Nestlé and Proctor &
Gamble.
Are you as curious as we are? Email
Plannerzone is proud to sponsorThe Idiopathic Ridiculopathy Consortium.
SPECIAL THANKS Wyncote Foundation
The Samuel S. Fels Fund The Charlotte Cushman Foundation The Philadelphia Cultural Fund
Arts & Business Council of Greater Philadelphia The Greater Philadelphia Cultural Alliance
Earl Wilcox ~ Plannerzone Ben Doranz
Villanova University Theater Department Eileen Cunniffe/The Arts & Business Council of Greater
Philadelphia June Washikita O’Neill
Seth Rozin/InterAct Theater Robin Rodriguez
Bill Brock Liam Brock
Bob and Pat Schmidt Gail Furman
Alyson Filippone/Ernst and Young, LCC. The IRC Board of Directors
P. O. Box 63872 Philadelphia, PA 19147
www.IdiopathicRidiculopathyConsortium.org
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