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PROLOGUE "Julie, Jean & Kristin": A Music-Dance Interpretation of Strindberg's Miss Julie Choreography & Costumes by Betsy Abts Julie •.••••..•.•...•. Angie Jones Jean ••••..•••• ..... ••• Betsy Abts Kristin ••• ; •.••. .•••• Jan Arnold Music by Dan Burlando Oboes •. Leon Burton Dan Burlando Bassoon •• Judy Carlson Flute .... Mary Morr?w When O'Neill won the Nobel Prize for Literature in 1936, he acknowledged his debt to the Swedish playwright, August Strindberg: "It was reading his plays •.. that, above all else, first gave . me the vision of what modern drama could be, and first inspired me with the urge to write for the theatre myself. If there is .. anything of lasting worth in my work., k is due to that original . impulse from him, which has continued my inspiration down all ' the years since then." "l · * * * - * * T H E D I S P 0 S S E S S E D An Exploration into the American Character Through Various Plays by Eugene O'Neill Scene Selection and Arrangement by James Donohue THE COMPANY Ellen Boggs, Harold Brown, James Donohue, Beverly Farrington (chanter), Kathy Foley, Hal Glatzer(guitarist), Leo Neil Jones, Dando Kluever, Jerome Smith, and Debra Van Hoosen. *There will be one intermission at the end of Part One

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PROLOGUE

"Julie, Jean & Kristin": A Music-Dance Interpretation of Strindberg's Miss Julie

Choreography & Costumes by Betsy Abts Julie •.••••..•.•...•. Angie Jones Jean ••••..••••.....••• Betsy Abts Kristin ••• ; •.••. ~ .•••• Jan Arnold

Music by Dan Burlando Oboes •. Leon Burton

Dan Burlando Bassoon •• Judy Carlson Flute •.... Mary Morr?w

When O'Neill won the Nobel Prize for Literature in 1936, he acknowledged his debt to the Swedish playwright, August Strindberg:

"It was reading his plays •.. that, above all else, first gave . me the vision of what modern drama could be, and first inspired

me with the urge to write for the theatre myself. If there is .. anything of lasting worth in my work., k is due to that original

. impulse from him, which has continued a~ my inspiration down all ' the years since then." • "l ·

* * * - * *

T H E D I S P 0 S S E S S E D

An Exploration into the American Character Through Various Plays by Eugene O'Neill

Scene Selection and Arrangement by

James Donohue

THE COMPANY

Ellen Boggs, Harold Brown, James Donohue, Beverly Farrington (chanter), Kathy Foley, Hal Glatzer(guitarist), Leo Neil Jones, Dando Kluever, Jerome Smith, and Debra Van Hoosen.

*There will be one intermission at the end of Part One

Long Day's Journey Into Night (written in 1941; produce~ in 1956)

Probably the most autobiographical of O'Neill's plays, Long Day's Journey is also one of the best American plays ever written.

Mary Tyrone(Debra Van Hoosen), James Tyrone(Jim Donohue), Jamie Tyrone(Leo Neil Jones), Edmund Tyrone(Jerome Smith).

The Hairy Ape (produced in 1922)

The title refers to Yank, a stoker caged within the bowels of an ocean liner. For O'Neill, Yank was "a symbol of a man who has lost his old harmony with nature" once the outside civiliz.ed world has confronted him with his own image.

Aunt(Be~ Farrington), Mildred(Ellen Boggs), 2nd Engineer (Dando Kluever), Yank(Harold Brown), Paddy(Leo Neil Jones), Stoker~Jerry Smith), the furnace(company me~rs).

The Iteman Cometh (written in 1939; propuce&:tn· 1946)

Perhaps O'Neill's most pessimistic work, -Iceman is also a sonata for that particularly American instrument, the salesman. A study on the "pipe dream", this play reveals O'Neill's vision of the human lot on the eve of World War II.

Hickey(Leo Neil Jones), Hope(Ellen Boggs), Larry(Dando Kluever), c • Parritt(Jerry Smith), prostitute(Debra Van Hoosen), Jimmy Tomorrow

. (Jim Donohue), Cora(Kathy Foley), Rocky(Bev Farrington), Moran (Harold Brown) •

The Great God Brown (produced in 1926)

Defending his use of masks in Brown, O'Neill wrote: "For what, at bottom, is the new psychological insight into human cause and effect but a study in masks, an exercise in unmasking?"

,Dion(Dando Kluever), Cybel(Kathy Foley), Brown(Jim Donohue). 'Margaret(Debra Van Hoosen), the boys(Leo Neil JOnes, Ellen Boggs, Jerry Smith).

* * * * *

PRODUCTION STAFF

Workshop Director--James Donohue Lighting Designer--Mark Boyd Costumer--Sandra Finney Production Manager--Kathryn Yashiki Director's Assistant--Lynn Nakamura Masks by--Robert Maeda Make-up--Charles E. Martin Lighting Crew--Theresa Wong, David Furumoto, John McShane Properties--Kathryn Yashiki Costume Construction--Gail Stewart, crew-head; Casey Cameron,

Susan Murakoshi , Anna Hikai, Linda Bredin Scene Shop Summer Crew--Theresa Wong, Gerald Kawaoka, John Young Photographer--Philmund Lee Publicity--Sara Jo Edlin, Charles E. Martin, Gail Stegmaier,

. Judy Irwin · Program--Sara Jo Edlin, Gail Stegmaier·, ludy Irwin House Manager--Charles E. Martin · ~'· Ushers--Ren~e Leton, Michele Martin; Noelani Steele Box Office--Karen Brilliande, David~urumoto, Lester Mau Program Cover--Gwynne Lee

ACKNOWLEDGEMENTS: Michael Tamaru for . the poster design and Masao Miyamoto{UH photographer).

SUMMER SESSION FACULTY AND STAFF

Mark Boyd, Linda Bredin, Louise Burns, Art Caldeira, Carol Cameron, Glenn Cannon{Acting Chairman), James Donohue, Sara Jo Edlin, Sandra Finney, Sandra Hammond, John Hu, Betty Jones, Gerald Kawaoka, Terence Knapp, Edward Langhans, Kermit Love, Christopher Lyle, Fritz Ludin, Takeo Miji, Karen Mullin, Gail Stewart, Nancy Takei, Carl Wolz, Theresa Wong, John Young.

NOTICE: Smoking is not atlob1ed in the auditozoi:urn nol' rrr:zy photogztaphs Ol' zoecoztdings be made du.tting the pel'foZ'fTICtnOS. Thank you.