Asolo Repertory Theatre FSU/Asolo Conservatory for … · of the cruel world of adults. Romeo and...

NEW STAGES TOUROctober 3, 6:00PM and 8:30PM in the Cook Theatre

Touring October 1 - November 15, 2013

Asolo Repertory Theatre p r e s e n t s a n

FSU/Asolo Conservatoryfor Actor Training

p r o d u c t i o n

Asolo Repertory Theatre

presents an FSU/Asolo Conservatory for Actor Trainingproduction

Producing Artistic Director Michael Donald Edwards • Managing Director Linda DiGabrieleFSU/Asolo Conservatory Director/Associate Artistic Director of Asolo Rep Greg Leaming • Education & Outreach Director Kathryn Moroney

By William ShakespeareAdapted by

Lauryn E. Sasso & Dmitry TroyanovskyDirected by Dmitry Troyanovsky

Romeo & Juliet will be performed without an intermission. Please join us for a post-show discussion.

+ Appears courtesy of Actors’ Equity AssociationThe video and/or recording of this performance by any means whatsoever is strictly prohibited.

TEAM MONTAGUE 6:00PM CURTAINCALE HAUPERT......................Benvolio/Prince/CapuletMAXEY WHITEHEAD................Tybalt/Nurse/BalthasarZLATOMIR MOLDOVANSKI..........Montague/Mercutio/ Friar Laurence/ApothecaryJEFFERSON MCDONALD.................................RomeoLUCY LAVELY.....................................................Juliet

TEAM CAPULET 8:30PM CURTAINTORI GRACE HINES.................. Benvolio/Friar Laurence BRIAN NEMIROFF+....................Tybalt/Nurse/BalthasarREGINALD ROBINSON, JR.............Montague/Mercutio/ Apothecary BENJAMIN WILLIAMSON...................................Romeo AMANDA LYNN MULLEN........................Prince/Capulet KRISTEN LYNNE BLOSSOM..................................Juliet

CASTi n o r d e r o f a p p e a r a n c e

SPONSORED BY

The award-winning New Stages tour is sponsored in part by: Charles Henry Leach II Foundation; Asolo Repertory Theatre Guild; Cordelia Lee Beattie Foundation; Mandell and Madeleine Berman Foundation; Linnie E. Dalbeck Memorial Foundation Trust;

Andrew R. Ferrell Foundation; Harold C. and Jacqueline F. Bladel Foundation; Plantation Community Foundation

Major individual support provided by: Anonymous; David and Betty-Jean Bavar; Lisa Carlton; Carole Crosby, Ruby E. and Carole Crosby Family Foundation; Susan Dweck; Bill and Christine Isaac

Additional Support provided by Bob and Pat Baer, Bob and Beverly Bartner, Deborah and Walton Beacham, Len and Judy Brown, Christine and John Currie, Wendy and Jerry Feinstein, Debbie and Larry Haspel, Steve and Maureen Horn, Lynne and Robert Huff,

Allen Jelks, Jack Kesler and Maurice Richards, Carolyn Keystone and Jim Meekison, George Kole and Judy Zuckerberg, Beverly L. Koski, Ashley Kozel, Terrance McKee, Melanie and Sean Natarajan, Jill and Scott Ramsey, Skip and Gail Sack, Ted and Mary Ann Simon

New StagesSix seasons ago, Asolo Repertory Theatre and the FSU/Asolo Conservatory for Actor Training launched New Stages as a part of Asolo Rep’s Education and Outreach programming. The program is designed to engage young audiences with stimulating theatre that connects to core Education standards. Four years ago, New Stages began touring schools in the Sarasota/Manatee area with the goal of serving as many students as possible. New Stages is now bringing Shakespeare to nine counties, with more than 50 performances scheduled as of this opening.

The PartnershipThe FSU/Asolo Conservatory for Actor Training, ranked as one of the top ten actor training programs in the country, moved to Sarasota 40 years ago to partner with Asolo Repertory Theatre. Since that time, both programs have grown in complexity. Twelve students a year are chosen to take part in the intense three-year training program, which combines high-caliber classroom work, guest artist workshops, and professional production experiences. In the third year of training, before joining Asolo Rep’s mainstage company as full-time members, third-year students take part in New Stages, forming their own touring company and performing throughout the region for school groups and the general public. The program is not only an invaluable part of the sophisticated training offered by the FSU/Asolo Conservatory for Actor Training; it also represents the ongoing and ever-developing partnership between Asolo Rep and Florida State University.

The Vision

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Phot

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Dan

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Costume DesignJUNE ELISABETH TAYLOR

Sound DesignMATTHEW PARKER

Voice & Dialect CoachPATRICIA DELOREY

Fight DirectorBRUCE LECURE

Resident DramaturgLAURYN E. SASSO

Properties ManagerMARLENN MAROTTE WHITNEY

Stage Manager (Team Capulet)LAUREN BATSON

Stage Manager (Team Montague)JANELL WILLIAMS

Literary ApprenticeAUSTEN ANDERSON

Assistant to the DirectorDANIEL KELLY

Technical Director FSU/Asolo ConservatoryCHRIS McVICKER

Stage Management ConsultantERIN MACDONALD

Movement CoachELIZA LADD

Romeo and Juliet, more than any other Shakespearean text, comes to us with a suitcase full of accumulated platitudes and expectations. Whether influenced by a high school English teacher, Franco Zeffirelli’s photogenic youths, Baz Luhrmann’s dazzling visuals, Sergei Prokofiev’s rapturous ballet score, the Broadway pizzazz of West Side Story, or the fantasies of Shakespeare in Love, we bring to the play prefabricated views about how it should feel, look, and sound. In my view, one of the most harmful and commonplace notions proclaims the play to be the tragic love story to end all love stories, a transcendent romance of two brave, defiant youths. When the play is discussed, words about “beauty” and “poetry” crop up like poisonous mushrooms after a rainy day in Verona. Nothing deadens theatre like these ideas. By sentimentalizing Romeo and Juliet, we rob them of their most human essence. We get emblems instead of people. Let’s remember that the first half of Shakespeare’s play runs as a slightly sardonic comedy about teenagers who are not overly graceful, nor especially idealistic. Sophisticated lovers or heroes these kids are not. But neither are they naïve victims of the cruel world of adults. Romeo and Juliet are hormonal teenagers who do what normal teenagers do: fall head over heels for each other. They desire to touch, to caress, and to explore the potential of their physical selves. And they make choices that get them into trouble because the universe does not come with a set of guarantees. Love, it turns out, may be just as perilous as hatred. The fatal events, which give Romeo and Juliet their tragic halo, sneak up on the audience abruptly and heart-wrenchingly. Shakespeare masterfully shows us how two ordinary adolescents, surrounded by inept adults and hapless caregivers, can self-destruct due to a series of disastrous, if understandable, choices. This should, in no way, make us see the story in cynical terms. Stripped of lofty clichés, Romeo and Juliet becomes a story about real people – touching, funny, awkward, self-dramatizing, rash, confused, and tenderly alive. And that is plenty lyrical.

From Director & Co-AdapterDmitry Troyanovsky

Romeo and Juliet are hormonal teen-agers who do what normal teenagers do: fall head over heels for each other.

“”

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My first experience with Romeo and Juliet was – as I’m sure it is for many people – in high school freshman English. The memory of that initial encounter has remained incredibly vivid to me, as even when I was fourteen – not much older than Juliet, or many of the students who will see this touring production – the power of the play’s language to captivate and transport was undeniable.

Shakespeare’s beloved play ranks among the most iconic of all theatrical works. Our challenge was to mold a piece that was initially designed to be roughly two hours long and involve 34 characters into a form that allows a maximum of a half a dozen actors to portray 13 characters in 45 minutes or less. The cutting process forces you to ask yourself difficult questions. Does the plot really require this character? How much of that famous poetic passage can I remove before I’ve completely killed the scene? What is truly necessary from a particular moment in order to convey Shakespeare’s original intent? Like a sculptor, you’re constantly taking a little here and a little there, and honing in more and more closely on the heart of the story.

Creating such a concise adaptation has allowed us to highlight the most dynamic and exciting elements of the play, and take a story that is familiar and illuminate it in a completely new way. Returning to the play with an adapter’s eye revealed nuances and shadings that I might previously have taken for granted. Ultimately, we’ve attempted to distill the most vital essence of the original play and keep what is truly indispensible. We’ve taken what is possibly one of the best known, most performed plays in the Shakespearean canon – a play that on some level, almost everybody knows something about – and tried to remain true to the spirit of Shakespeare’s story while enlivening it for a contemporary audience.

It’s a very delicate balancing act between remaining true to the original and putting your own stamp on the final product. The process has been a constant evolution, but hearing the actors bring the adaptation to life under Dmitry’s direction has been thrilling. It’s sometimes difficult during the adaptation process to know if you’ve sculpted the “right” shape, but when it all clicks in rehearsal it’s simply electric.

From Co-AdapterLauryn E. Sasso

“It’s a very delicate balancing act between remaining true to the original and putting your own stamp on the final product.”

AsoloRep.org Romeo & Juliet 5

LUCY LAVELY (Juliet) Fire meet fire. Lucy meet Juliet.

CALE HAUPERT (Benvolio, Prince, Capulet)Benvolio: Reluctant sword, compassionate counsel, undying friend.

Prince: Protect the peace with stern hand.

Capulet: Forgiving host, blinded power, loving father.

TEAM MONTAGUE in order of appearance

MAXEY WHITEHEAD (Tybalt, Nurse, Balthasar)Tybalt: Vengeance and stature aren’t mutually exclusive.

Nurse: My life is to love her.

Balthasar: Maybe I should have double checked.

JEFFERSON MCDONALD (Romeo)Italian. Dreamer. Fighter. Son. Friend. Lover.

ZLATOMIR MOLDOVANSKI (Montague, Mercutio, Friar Laurence, Apothecary)

Montague: Honor and legacy challenge the heart.

Mercutio: I charge the indecency of protocol.

Friar Laurence: The spirit knows no family ties.

Apothecary: One deprived witch under God Almighty.

AMANDA LYNN MULLEN (Prince, Capulet)Prince: Make love not war, or else.

Capulet: Commander of fortune. Victim to misfortune.

BRIAN NEMIROFF+ (Tybalt, Nurse, Balthasar)Tybalt: Alpha. Stalk. Burn. Red. Thrust. Mine.

Nurse: Why are there so many stairs?

Balthasar: Balancing heavy conscience with hopeful intent.

REGINALD ROBINSON, JR (Montague, Mercutio, Apothecary)Montague: McCoy, father, concerned, plagued, preoccupied, stubborn.

Mercutio: Free, loyal, scintillating, entertaining, loud, mercurial.

Apothecary: Paranoid, surreptitious, ascetic, desperate, starving, chemist.

KRISTEN LYNNE BLOSSOM (Juliet)On your mark, get set, go.

TORI GRACE HINES (Benvolio, Friar Laurence)Benvolio: By giving liberty unto thine eyes.

Friar Laurence: To turn rancor to pure love.

BENJAMIN WILLIAMSON (Romeo)Impulsive. Lover. Dreamer. A heart’s intent.

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TEAM CAPULET in order of appearance

IN the spirit of

Romeo & Juliet ’s CONDENSED

TAKE on Shakespeare’s original work, we asked

the TWO CASTS to tell us about their

characters and/or themselves

in just s ix words.

+ Appears courtesy of Actors’ Equity Association

Follow the casts of Romeo & Juliet as they tour the state by becoming their friends on Facebook!

You’ll get a behind-the-scenes look at the tour and performances through photos, videos and more. Log in to discuss the play, engage

with the cast and hear what students have to say about Romeo & Juliet.

Team Montague - https://www.facebook.com/randjteammontagueTeam Capulet - https://www.facebook.com/randjteamcapulet

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LAUREN BATSON FIRST SEASON (Stage Manager, Team Capulet) Recent credits include: The Comedy of Errors (Chicago Shakespeare Theater), This is Not Shakespeare’s Macbeth (NoExit Performance), The Flying Dutchman (Indianapolis Opera), A Little Night Music (Indiana Repertory Theatre), Amahl and the Night Visitor (Indianapolis Opera), and the 2011 & 2012 Seasons at the Williamstown Theatre Festival as a Stage Management Intern. Lauren graduated from Butler University with a BA in Theatre with a stage management focus.

PATRICIA DELOREY ELEVENTH SEASON (Resident Voice and Dialect Coach) holds an MFA in Voice & Speech from MXAT/American Repertory Theatre Institute for Advanced Theatre Training at Harvard University. She taught voice at the Moscow Art Theatre School in Russia, the University of Bologna in Italy, and Harvard University. She currently teaches Voice & Dialects at FSU/Asolo Conservatory for Actor Training. Patricia works extensively as a voice and dialect coach including Bonnie & Clyde directed by Jeff Calhoun, Twelve Angry Men, and 1776 directed by Frank Galati, Studio Six’s Plasticine directed by Dmitry Troyanovsky, and the world premiere of Adam Rapp’s Nocturne directed by Marcus Stern.

ELIZA LADD FIRST SEASON (Movement Coach) is a performer, director, stage writer and choreographer from NYC. She has taught Acting at Marymount Manhattan College, The Function of Theater at Kingsborough Community College, Ensemble Body Practice at Terry Schreiber Acting Conservatory, and Movement for the Actor at Naropa University and Shakespeare & Company. In NYC Eliza has created original performance at PS 122, Dixon Place, Movement Research, the Knitting Factory, Joyce Soho. She has performed at La Mama, the Kitchen, NY Theater Workshop, St. Ann’s Warehouse and with Shakespeare & Company in MA. Eliza has received the Franklin Furnace Award for Performance, a Puffin Foundation Grant for her Live Sound Action theater training, and the Audience Encore Award for her musical Elephants and Gold. Most recently Eliza performed On est déshabillé, a comedy about death for the United Solo Theatre Festival and The Berkshire Fringe. Eliza holds a BA in Comparative Religion from Harvard University, an MFA in Theater: Contemporary Performance from Naropa University, and she is a certified Body Dynamics™ educator of Movement for the Actor.”

WHO’S WHO IN THE CREATIVE TEAM

BRUCE LECURE FOURTH SEASON (Fight Director) Past Asolo Rep credits include: Hamlet, Prince of Cuba; Deathtrap; You Can’t Take It With You; Macbeth; Hamlet Redux. Bruce has directed fights in productions at The Shakespeare Theatre, The Papermill Playhouse, Coconut Grove Playhouse, Caldwell Theatre Company, Florida Grand Opera, GableStage, Stage West, Opera of Omaha and many others. Mr. Lecure holds the title of Professor and Head of Movement Training in the Department of Theatre Arts at the University of Miami. He is a Certified Teacher and Fight Director in the Society of American Fight Directors (SAFD) and a past President of the Association of Theatre Movement Educators (ATME).

ERIN MACDONALD THIRD SEASON (Stage Management Consultant) is thrilled to be back for her third year at the FSU/Asolo Conservatory. She previously spent two seasons working at Asolo Rep as an Assistant Stage Manager. She has also worked at Syracuse Stage in New York, Mill Mountain Theatre in Roanoke, VA, and numerous summer theatres. Erin graduated from the University of Evansville with a BFA in Technical Theatre with an emphasis in Stage Management. Erin is originally from Tennessee and she and her boyfriend have been enjoying the past several years in the Sunshine State.

MATTHEW PARKER TWENTY-FIRST SEASON (Resident Sound Designer) Previous Asolo Rep credits include God of Carnage, Yentl, and Fallen Angels. Matt received his BFA in Theatre Production Design and Technology from Ohio University, where he designed the sound for Heartbreak House, Luann Hampton Laverty Oberlander, The Importance of Being Earnest and The Hot L Baltimore. While resident sound designer at the Monomoy Theatre on Cape Cod, he designed South Pacific, Dracula, Private Lives, Richard III and others. He has worked sound and special effects at The Flat Rock Theatre in North Carolina on such shows as I Hate Hamlet, the world premiere of Gilligan’s Island: The Musical and many others. Since 1993, Mr. Parker has designed sound for most of Asolo Rep’s productions. In addition, he wrote and performed the musical scores for The Count of Monte Cristo and Nicholas Nickleby.

LAURYN E. SASSO EIGHTH SEASON (Co-Adapter; Resident Dramaturg) received her BA in Theatre Studies from Wellesley College and her MFA in Dramaturgy from UMass Amherst. She has also studied with Shakespeare & Company in Lenox, MA and the National Theater Institute at the O’Neill Theater Center in Waterford, CT. Previously, she has worked at Perishable Theatre in Providence, RI and with the SPF Summer Play Festival in NYC. This season she is the co-adapter for Romeo & Juliet, and is serving as dramaturg for Romeo & Juliet, Show Boat, and all rep season productions.

JUNE ELISABETH TAYLOR THIRTY-FIFTH SEASON (Costume Designer) has been employed by the Asolo Theatre Company for over 30 years in multiple capacities. She is currently Assistant to the main stage designers. June was resident costume designer for the Riverfront Theatre in Bradenton, FL for eight years, designing over 50 productions. She has also been the resident costume designer for the FSU/Asolo Conservatory for Actor Training, as well as designing for the Asolo Rep main stage. She has designed for the Sarasota Youth Opera for four seasons and designed for the Sarasota Opera Youth Touring Company. She served as assistant to the costume designer for the Sarasota Opera, and was assistant to the costume designer and draper for Ringling Brothers Barnum and Bailey Clown College in Sarasota. DMITRY TROYANOVSKY SIXTH SEASON (Director/ Co-Adapter) His recent credits include Carlo Gozzi’s The King Stag at the Duanjun Theatre in Shanghai and Asolo Rep’s New Stages productions of Macbeth and Hamlet Redux (both w/Stephanie Fleischmann). Other notable projects: The FSU/Asolo Conservatory for Actor Training’s production of Antigone Now, Sophie Treadwell’s Machinal, and Euripides’ The Bacchae. Other productions include: Presnyakov Brothers’ Terrorism, The Discreet Charm of Monsieur Jourdain (based on Molière’s work), Strings Attached: Serenade for Two (a new play/concert commissioned by the 92 Street Y in New York), Vassily Sigarev’s Plasticine, Alexander Ostrovsky’s The Forest, Nikolai Erdman’s The Suicide, Frank Wedekind’s Spring Awakening, Doctor Caligari is Coming to Town (w/Gabe Geltzer), Andrey Bely’s Petersburg (w/ Stephanie Fleischmann), and Dürrenmatt’s The Visit, and the Russian language premiere of Shepard’s Fool for

WHO’S WHO IN THE CREATIVE TEAM

Love at the famed Pushkin Theatre in Moscow. He led workshops and developed new material at institutions such as the Segal Theatre Center (CUNY), Baryshnikov Arts Center, American Repertory Theatre Institute, SoHo Rep Summer Camp, St. Petersburg State University (Russia), Fisher Arts Center at Bard College, Brown University, and Shanghai Theatre Academy and American Lyric Theatre. In addition to theatre, he’s created installation and performance art projects such as Herzstuck at the Rose Art Museum at Brandeis University. He is an MFA graduate of the American Repertory Theatre Institute for Advanced Theatre Training/Moscow Art Theatre School at Harvard University. Dmitry taught at NYU’s Tisch School for the Arts, Fordham University, and Bard College. Currently, Dmitry teaches acting and directing at Tulane University in New Orleans. He’s also the co-director of the NewGeneRussian educational workshop (NY), promoting Russian theatre heritage and the Stanislavsky-based approach to acting.

JANELL WILLIAMS FIRST SEASON (Stage Manager, Team Montague) is a student at the University of South Alabama pursuing her BFA in Technical Theatre, where she has stage managed several shows including The Burial at Thebes and Cyrano de Bergerac. Her professional credits include production assistant for Ring of Fire at the Alabama Shakespeare Festival.

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10 Romeo & Juliet AsoloRep.org To reserve tickets contact the Box Office at 941-351-8000.

Students attend professional performances at Asolo Rep through our student matinee program, which includes subsidized student tickets and transportation, post-show discussions with the cast, and resource materials that directly connect each production to curriculum standards.

The Grapes of Wrath by John SteinbeckAdapted by Frank Galati Directed by Michael Donald EdwardsMar 21, April 4 & 8 at 10:30amRecommended for Grades 8-12

Antigone by Jean AnouilhDirected by Andrei Malaev-BabelApril 16 at 10:30amRecommended for Grades 8-12

College Nightwith

FSU/Asolo Conservatory for Actor Training productionThe School for Lies by David Ives Adapted from Molière’s The MisanthropeDirected by Greg Leaming

November 5th, 2013 7:30pm

$5 tickets for college students

For more information about these or other Education & Outreach Programs Call 941-351-9010 ext. 3307 • Education@asolo.org

Performance followed by a discussion with the artists

ACCESS TO THEARTS November 24th, 2013 at 7pm

Oscar Hammerstein II helped to create many of America’s best-loved musicals, and while his work as a humanitarian and political activist is less well-known, his candid lyrics speak for themselves. In 1949 South Pacific sang to a still-segregated country, “You’ve got to be taught to hate and fear; you’ve got to be taught from year to year.” Join us for an evening of performances of Hammerstein’s songs as we examine the serious social issues embedded in his creative work.

SAVE YOUR SPOT!

November 30th, 20131pm to 2pm | Pre-Show Activities on the Mezzanine2pm | Matinee Performance in the Mertz TheatrePost-performance discussion with members of the cast

SHOW BOAT FAMILY DAY is a special matinee performance that offers theatre-loving families with young people ages 10 to 18 an affordable way to see Show Boat, the Great American Musical! Families can purchase four tickets for $50.00 – provided that two members of the group are under age 18. With the purchase of a family pack, additional tickets for patrons age 18 and younger can be purchased for $10 each.

AT SHOW BOAT

join us for

family day

stagepageFROM THETO THE

SHOW BOATmusic by Jerome Kernbook and lyrics by Oscar Hammerstein IIbased on the novel by Edna FerberNovember 15–December 29 Previews November 12–14Directed by Rob RuggieroChoreographed by Noah Racey

TheHomeTeamLOCAL NEWS

Give students the gift of live theatre. Your support enables Asolo Rep’s New Stages program to continue enriching the lives of students in the Sarasota/Manatee area with stimulating theatre that engages and inspires beyond the classroom. A return envelope is enclosed for your convenience. A gift in any amount directly supports our award winning educational programs and initiatives!

WANT TO BRING ROMEO & JULIET TO YOUR SCHOOL OR VENUE?

Performances can still be scheduled, contact 941-351-9010 ext. 3306 or education@asolo.org.

As of printing, Romeo & Juliet is currently scheduled to perform at the following schools and other venues: Academy of the Holy Names, Bayshore High School, Bonita Springs Middle Center for the Arts, Booker High School, Booker Middle School, Charlotte High School, Clearwater Central Catholic High School, Clearwater High School, Edison Collegiate High School, Florida State University, Glenridge Per-forming Arts Center, Harvard Club of Sarasota, Island Village Montessori School, Lemon Bay High School, New College, Nolan Middle School, North Port High School, The Out-of-Door Academy, Pine View School, Port Charlotte High School, Punta Gorda Middle School, Ritz Carlton, Riverview High School (Riverview, FL), St. John’s Episcopal Parish Day School, Santa Fe College (Florida Theatre Conference), Sarasota Bay Club, Shorecrest Preparatory School, Sarasota Military Academy, South Miami-Dade Cultural Arts Center, State College of Florida Collegiate School, State College of Florida Venice, Suncoast Polytechnical High School, Sunnyside Village, Venice High School, Wiregrass Ranch High School, Zephyrhills High School.

YOUR DONATION CAN HELP UNDERWRITE A PERFORMANCE! Contact Tricia Mire at 941-351-9010 ext. 4700.

The great AMERICAN musical”

NEW YORK TIMES

“

TICKETS ARE LIMITED, SO CALL NOW!

A family of 4 just $50!

““CAREFULLY

taught CABARET

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pShow BoatNovember 12–December 29book and lyrics by Oscar Hammerstein II,based on the novel by Edna Ferber

Philadelphia, Here I Come!January 7–April 12by Brian Friel

Other Desert CitiesJanuary 15–February 27by Jon Robin Baitz

Vanya and Sonia and Masha and SpikeJanuary 22–April 13by Christopher Durang

The Grapes of WrathMarch 12–April 19Adapted by Frank Galati based on the novel by John Steinbeck

4000 MilesApril 2–27by Amy Herzog

Hero: The MusicalApril 29–May 31book and concept by Aaron Thielenmusic and lyrics by Michael Mahler

Summer Productionto be announced

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w Romeo and JulietOctober 3 in the Cook TheatreTouring October & Novemberby William ShakespeareAdapted by Lauryn E. Sassoand Dmitry Troyanovsky

The School For LiesOctober 29–November 17by David Ives Adapted from Molière’s The Misanthrope

LootDecember 31–January 19by Joe Orton

How I Learned To DriveFebruary 18–March 9by Paula Vogel

AntigoneApril 8–27by Jean Anouilh

13-14season941-351-8000 or 800-361-8388

AsoloRep.org

Subscriptions and single tickets now available.

OUR LIVES ON STAGE