BLOODY BLOODY

ANDREW

JACKSON

Written by Alex Timbers Music & Lyrics by Michael Friedman Directed by Jeffery Matthews

November 14 - 23, 2014

Bloody Bloody Andrew Jackson is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI.

421 West 54th Street, New York, NY 10019 Phone: 212-541-4684 Fax: 212-397-4684

www.MTIShows.com

Bloody Bloody Andrew Jackson was originally produced by Center Theatre Group/Kirk Douglas Thea-tre: Michael Ritchie Artistic Director; Charles Dillingham, Managing Director/Los Angeles, CA New York Premiere produced by the Public Theater: Oskar Eustis, Artistic Director; Andrew D.

Hamingson, Executive Director/Bloody Bloody Andrew Jackson was developed in association with Les Freres Corbusier. Find PAD on Facebook and Twitter!

"Populism, Yea Yea" is the emotional cry of the opening number of Bloody Bloody Andrew Jackson, in which our seventh President is portrayed as an emo rocker in a growing, churning, adolescent America. If the country was a new born baby at the time of its founding, the Jacksonian era represents its turbulent teenage years - “It’s the early nineteenth century and we’re gonna take this country back!”

Andrew Jackson was a hot tempered fighter, a duelist, a populist, and an autocratic ruler. He loved and cared for his family and close friends, while bitterly hating and often abusing those who opposed him. He demanded the strictest discipline of others, while behaving very badly himself. He could be deeply kind, and horrifically cruel. As a soldier he greatly expand-ed the nation’s territory, and as President he was responsible for much of the destruction and death of the Native American population.

Long before the term “Manifest Destiny” was coined, Jackson embodied that very notion. He wanted to expand and claim, for the country, the land across the continent. I think the most potent message in the play relates to Manifest Destiny, in the ballad, Second Nature:

"The grass grows, a prairie, a wilderness across the continent. And we take it, we clear it out and make it in our image...The grass grows, we take it. We want it. It’s second nature to us.”

This show is about Jackson’s legacy of taking. It is also about us, for we are the inheritors of all this acquisition.

BBAJ has not been produced without controversy. Concerns have been ex-pressed regarding the portrayal of Native Americans in this play, and the potential glorification of a man who was responsible for the devastation of the Native American people. Playwright Alex Timbers, and composer/lyricist Michael Friedman, wrote:

“While the show is not politically correct by any measure, the depiction of Native Americans throughout the musical should be done tastefully and respectfully. One of our intentions in writing Bloody Bloody Andrew Jackson was to explore our collective national responsibility towards a genocide that most Americans seem to forget, ignore, or perhaps worst, have collectively come to peace with. To portray the Native Americans as cartoons or old Hollywood stereotypes undermines the message of the show.”

I certainly hope we are successful in presenting this aspect of the produc-tion appropriately.

Jeffery Matthews, Director

Bloody Bloody Andrew Jackson, originally premiered in 2008 in Los Angeles, has carved its place in performance history: an emo-rock musical with the power to question historical narratives and remain politically relevant throughout a changing nation. This play is reminiscent of history repeat-ing itself, telling the story of a president who tried his hardest to please everyone and as a result, pleased no one. Workshopped in 2006 and 2007, the performance was meant to reflect a historic-political arc following the George W. Bush presidency and leading into the Barack Obama – John McCain electoral campaign. Reminiscent of Clinton’s popular appeal and sensationalized presidency, Bush’s maverick diplomacy, and Obama’s fight to save a country, and all three’s inability to fix the problems of the presidents before; a political legacy that has lasted well over a century. After its showcase on Broadway in 2010, Bloody Bloody Andrew Jack-son wound its way through the country, bringing to light the notion that perhaps no matter what time period one sees it, the political messages are relational because the status of the country, from a Jacksonian era to pre-sent day, hasn’t truly changed.

Recently, a student group at Stanford University planned to stage Bloody Bloody Andrew Jackson in their upcoming season. However, after several groups protested and several conversations between both the student group as well as activist groups on that campus came to pass, the show was cancelled. Not only are conversations surrounding this production culturally relevant, but the show has also been able to spark discussion amongst newer generations. That is the power of theater and the power of Bloody Bloody Andrew Jackson – as we progress as a nation, the political force of performance remains strong.

Danee Conley, Dramaturg

Shakespeare at the Globe

Summer Study Abroad Program

Andrew Jackson Jon Freeman Martin Van Buren Danny Marshall Rachel Jackson Caroline Leffert The Storyteller Kiki Milner John C. Calhoun Alex Felder Henry Clay Ben Harvey James Monroe Noah Weiner John Quincy Adams Eric Chao Lyncoya Jackson Wellmon Bandleader Mitchell Manar Male Soloist Alex Mason Black Fox Matthew Goldkind Ten Little Indians Soloist, Ensemble Katie Greenberg Announcer, Ensemble Casey Lane Cheerleader, Ensemble Hannah Marias Tour Guide, Ensemble Talia Reich Cheerleader, Ensemble Alessandra Silva Florida Woman, Ensemble Namrata Vakkalagadda

Music Director/Keyboard Henry Palkes Bandleader/Guitar Mitchell Manar Bass Holden Thorp Drums Wyatt Forhan

Jeffery Matthews (Director) is Professor of the Practice in Drama, serves as Coor-dinator of Acting for the PAD, and has been on the Washington University fac-ulty since 1988. Jeffery was the Artistic Supervisor of The Imaginary Theatre Company, the touring company of The Repertory Theatre of St. Louis, for twen-ty years. He is currently enjoying his new life on campus as the Faculty Fellow for the William Greenleaf Eliot Residen-tial College on the South 40.

Kiki Milner (The Storyteller) is a senior from Palo Alto, California majoring in drama. Much love to Suspicious of Whis-tlers, Thyrsus, Sigma Kiki, and her fami-ly.

Henry Palkes (Music Director/Keyboard) is currently a lecturer for the Performing Arts Department and has been a member of the Washington Uni-versity teaching community since 1998.

Talia Reich (Tour Guide, Ensemble) is a senior from Los Angeles pursuing ma-jors in drama and math. During her “free time,” she also sings in one of the many a cappella groups on campus.

Sean M. Savoie (Lighting Designer) is a member of the design/tech faculty as the resident lighting designer, production manager, and design coordinator. Sean is also an active freelance designer in the St. Louis theater community. Recipient of the 2009 USITT Rising Star Award.

Alessandra Silva (Cheerleader, Ensem-ble) is pumped to be a part of this sassy cast! She is in her freshman year study-

ing drama, psychology, dance, and biol-ogy.

Cecil Slaughter (Choreographer) is Pro-fessor of the Practice in Dance in the Performing Arts Department. Found-ing Director of The Slaughter Project.

Melanie Stern (Assistant Stage Manag-er) is a senior majoring in urban studies and minoring in architecture and Span-ish. She previously worked on Spring Awakening (fall 2013) and In the Next Room (spring 2013).

Holden Thorp (Bass) grew up in the theater and has been the bass player, guitar player, piano player, lighting de-signer, musical director or stage manag-er (sometimes more than one at a time) for hundreds of shows. He has backed up Carl Anderson of Weather Report in Jesus Christ Superstar; Aileen Quinn (of the first movie Annie) in The Wizard of Oz; Josh and Reva of Guiding Light; Lisa Layne, who sang “All I Want for Christ-mas Is You”; and been a musical director at the Yale Summer Cabaret. By day, he is the provost of Washington University.

Namrata Vakkalagadda (Florida Wom-an, Ensemble) is a freshman studying in the philosophy-neuroscience-psychology program with a love for drama and mu-sic.

Noah Weiner (James Monroe) is a fresh-man from Westchester, New York. He is interested in studying drama.

Jackson Wellmon (Lyncoya) is from St. Louis, in fourth grade and excited to be in his first play.

would like to thank this amazing cast for a great show experience.

Casey Hunter (Sound Designer) is pleased to make his debut with the Washington University Performing Arts Department. Since 1994 Casey has been a partner at Spectra Audio Systems LLC, where he has designed audio systems and toured with dozens of events and artists. Casey also teaches audio at Web-ster University.

Chloe Karmin (Co-Costume Designer) is a junior studying drama design with a minor in fine arts.

Kayla Kroot (Scenic Designer) is a senior in the College of Architecture with a pas-sion for theater and figure skating. She is so excited to have designed her first show and grateful for the opportunity. A big thanks to everyone for their support and encouragement.

Bonnie Kruger (Costume Design Super-visor) is Professor of the Practice in Dra-ma and Costume Director for the PAD. She holds an MFA from the University of Illinois and has designed costumes for over 200 productions in theater, opera, dance and film for companies through-out the United States and Europe.

Robert Landis (Stage Manager) is a sen-ior from The Woodlands, TX studying drama and human resources manage-ment. He has loved every minute spent on the show, and would like to thank the PAD for being his family over the past four years. Much love and gratitude to Gina and Jeffery for allowing him this opportunity, Melanie and Ahnji for keeping him sane, and Claire and Abby for the constant support.

Casey Lane (Announcer, Ensemble) is a freshman from Colorado. She is major-ing in … undecided, though she plans to

focus on Spanish and drama.

Caroline Leffert (Rachel Jackson) is a senior from Dallas, TX majoring in inter-national studies and minoring in drama and French. She is so grateful for the opportunity to play around on stage with this b!@$%in’ cast and crew!

Vivienne Liu (Hair/Makeup Designer) is a senior majoring in fine arts with mi-nors in art history & archeology and marketing. She is also a playwright and director for the first Chinese stu-dent theater production on campus.

Michael Loui (Technical Director/Scene Shop Foreman) is currently the Scene Shop Foreman and the Technical Direc-tor for the Performing Arts Department here at Wash. U. He is also a union sce-nic artist and set designer.

Mitchell Manar (Bandleader/Guitar) is a senior from OKC, OK studying com-puter engineering. He is thrilled to be working with Jeffery again, and wants to thank his mother for her love and sup-port and Gary Riley for teaching him how to play rock n’ roll guitar.

Hannah Marias (Cheerleader, Ensemble) is a freshman who isn’t sure what she will study yet, but she knows drama will be involved.

Danny Marshall (Martin Van Buren) is a sophomore from Jericho, NY. You may have seen him in last semester’s You Can’t Take it With You or Rumors. He is also a member of K.A.R.L Improv. Thanks to the cast, crew, family, friends, and arch-nemeses for helping him get to this point in his life.

Alex Mason (Male Soloist) is a freshman from Mount Laurel, NJ majoring in mathematics. In addition to theater, he is also a member of the crew team and The Ghostlights a capella group.

Ji Hyun Ahn (Assistant Stage Manager) is a sophomore from South Korea study-ing drama and marketing.

Eric Chao (John Quincy Adams) is a sophomore from New Jersey studying biomedical engineering.

Danee Conley (Dramaturg) is a graduate student working towards her Master’s degree in theater and performance stud-ies at Washington University.

Alani Douglas (Co-Costume Designer) is a junior engineer with a minor in dra-ma. While she spent a significant part of freshman year causing a general ruckus in the costume shop, this is her first show with the PAD as a student design-er and she is so excited to have the op-portunity to work with this cast and crew.

Sallie Durbin (Costume Shop Manager) has designed and built costumes for nu-merous theaters and companies includ-ing the PAD, Lindenwood University, ANNONYarts, Triaxon Music, and The Muny Children’s Chorus.

Alex Felder (John C. Calhoun) is a junior from San Diego majoring in English with a creative writing concentration. This is his first time being involved in a PAD production, and he is so excited to rock everyone’s socks off. He is grateful to his family and friends for all of their love and support, and the opportunity to be a part of this awesome show!

Wyatt Forhan (Drummer), age 14 and a freshman at St. Dominic, plays the bass trombone and piano. Studies trombone with Dave Dickey, Director of Bands at St. Charles Community College, and Gerry Pagano, bass trombonist of the St. Louis Symphony. Studies jazz piano with Carolbeth True, and has studied percussion with Alan Schilling. He is in

his third year with the Jazz St. Louis pro-gram, JazzU. He has performed at The Sheldon Concert Hall, Jazz at The Bistro, and The Pageant. Most recently, under the direction of Henry Palkes, he was the trombonist in the band for the theater production of Tennessee Williams’ Stairs to the Roof. He has been a member of the St. Louis Metro District 8 Honor Jazz Band in 2012, 2013, and 2014.

Jon Freeman (Andrew Jackson) is a jun-ior from Tampa, Florida studying envi-ronmental policy and English. He started his informal career as a singer-songwriter and was soon drafted into the PAD to play Andrew F*&$#IN’ Jackson.

Emily Frei (Scenic Charge Supervisor/Properties Designer) is a scenic artist for many of the theaters in and around St. Louis, including The Muny and Opera Theatre of St. Louis.

Melissa Freilich (Fight Director) is a di-rector, fight choreographer, and teacher working in Cleveland. She is an Ad-vanced Actor Combatant in the Society of American Fight Directors and an Ap-prentice Instructor for Dueling Arts In-ternational. She graduated from Wash. U. in 2013 with a degree in drama and classics.

Matthew Goldkind (Black Fox) is a sophomore from Potomac, Maryland studying international area studies and business economics. He is so apprecia-tive to take part in such an unorthodox musical with such a unique cast.

Katie Greenberg (Ten Little Indians So-loist, Ensemble) is a sophomore from Evanston, Illinois. She plans on studying psychology.

Ben Harvey (Henry Clay) is a junior from England living in Chicago. He is studying drama and anthropology. He