Video | Departmental Tour of Publicity

Another new video post this summer is the Departmental Tour. Our first one is with the Publicity Department. Meet them now!

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Video | It's Jewdy's Show Audience Reactions

A new addition to our blog posts, audience reactions to the shows. Here's It's Jewdy's Show!

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Video | Forum Actor, Chris Fitzgerald

Check out this video interview with Forum Actor, Chris Fitzgerald

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Video | Forum Director, Jess Stone

Check out this video interview with Forum Director, Jess Stone.

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Dramaturgy | Snapshot: Rome 200 BCE

by Rachel Lerner-Ley, Dramaturg

City of Rome: At this point in time, Rome is over 500 years old. The city sits along the Tiber River and contains the famous 7 hills on which sit the homes of the elite, temples, and government buildings. Streets are paved with raised stones. Living quarters are made of stone and are either 1-2 story private houses or multi-level apartment buildings. Oftentimes, the ground floor is occupied by a store. These stores pour out onto the streets, which are filled with people selling their wares. There are no street numbers so you have to rely on description to find a residence.  The forum is the center of the city, home to religious and government institutions as well as large open air market.  Aqueducts—at this point mainly underground—deliver water to the city, allowing for many fountains and bath houses. Like any city, graffiti of all sorts appears on buildings.

Slavery and Prostitution: Slaves are ubiquitous. Almost every household, rich and poor, has at least one slave (some estimate that the ratio of free to slave was 1:3 by the end of the republic!). Slaves are typically former prisoners of war that were sold at markets held in the forum.  Children of slaves automatically became slaves.  Slaves could buy their freedom by saving up the small allowance doled out by their master or could be granted it by their master as a reward for good service. Slave-owning is a status symbol, and so many ex-slaves go on to purchase slaves of their own. Slaves wear brown tunics made of coarse fabric. Like slavery, prostitution is accepted as a necessary social institution with its own set of laws (social and governmental). Prostitutes are of the lowest social order.

Father Knows Best: The Roman family is dictated by the notion of patria potestas. The father has complete control over all members and aspects of his family: wife, children, children-in-law, grandchildren, slaves, and property. A father may emancipate his son, allowing him to become the paterfamilias of his own family.

Midlife Crisis at 20? Average female life expectancy is 34. Average male life expectancy is 46.5.

Marriage: Girls are married off between the ages of 12 and 14. Their future husbands can be as young as 14 and as old as…well, there’s no upper limit. The girl is given away by her father with a dowry that can be returned if there is divorce. The marriage is a signed contract, and weddings include feasts and processions. An important custom: the groom must carry the bride over the threshold of their home.

Drink up!: Wine is the beverage of choice for everyone and is served at almost all meals.  A typical dinner for Romans is an egg dish served with sweet wine followed by a main entrée (usually fish or poultry) served with wine. Dessert is fruit served with—you guessed it—wine!

TOGA! TOGA! Men wear knee length white tunics covered by white togas. If a man holds a position of power, he has a purple stripe along his tunic and toga. Women wear long white tunics with sleeves. Over the tunics, they wear a stola: a draped dress dyed in a solid color. Togas are always worn in public; not necessarily worn in the home. Sandals are casual, at-home wear; shoes are outdoor, proper attire.

V’s are W’s: Latin is the language of the day. When spoken, “v” is pronounced as “w.”

Sources: Ecce Romani IA,IB,IIA,IIB. White Plains, NY: Longman Publishing Group, 1995. Hornblower, Simon and Antony Spawforth, eds. The Oxford Classical Dictionary, 3^rd edition revised. New York: Oxford University Press, 2003.

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Interview | Cathy Parrott, FORUM Costume Designer

ramaturg, Rachel Lerner-Ley, sat down with A Funny Thing Happened on the Way to the Forum Costume Designer, Cathy Parrott, to discuss inspiration, collaboration, and the magic of elastic. 

Rachel Lerner-Ley: First of all, I’m so excited you have your binder with you because that was actually going to be one of my first questions.

Cathy Parrott: Oh good!

RLL: Which is: you get the FORUM script, you read it, you laugh a lot—I certainly did. And then how do you start to approach it as a costume designer?

CP: Working very closely with the director. We’re doing an all-male cast. Jess’ vision was going to be a little different than past productions. So it was really seeking out her vision and seeing where she wanted to take it. And the biggest piece of the puzzle has been figuring out the courtesans. How are we going to shape our men into women?  So it was about really nailing down the concept of the production.

Jess and I worked really close for the first month. We kept sending images back and forth to each other. We’d literally be e-mailing images everyday. Because she’s been working for months on the idea, I really wanted to pick her brain to see if there was anything that she was thinking visually even before I came on board. I wanted to jump on her bandwagon.

RLL: And what kind of sources did you use for research? Where did you start looking?

CP: We started looking online and, funny enough, I actually started looking at a lot of modern influences to inspire me and not necessarily get locked into Roman togas. We wanted to have a little bit of freedom especially with our courtesans. My first month was internet research and then I had access to the university library where I was. And the costume designer there has her own fabulous costume book library so I was able to pull images and resources from there. And send that back to Jessica.  We were able to tie all that in, from actual period garments from drawings or pictures of sculptures to modern day influences to have a slight little twist on our courtesans.

Back in New York, I went to the Met, as Jess had done a week or so before me, as they have this huge wing on Roman and Greek statues so I could see the detailing in the costumes and jewelry. It’s a wonderful primary research source which doesn’t happen most of the time. We are very lucky, to have this collection of Roman art right in our backyard.

RLL: Can you walk me through your binder?

CP: So this is my bible that I’ve been working from. (Flips to a section with sheets of measurements) So about a month and a half ago all the actors came in for body measurements and I was able to get a good sense of their height, weight, and you know every other measurement from there. Anything the shop may need as these people are making custom-made garments. (Flips to a new section with photos) Then we take body shots. We take a front view and a side view and a back view and then we take the headshots and send them off to the wig designers. (Flips to next section with sketches, photos, images) And then we came up with our research board. So for each of the characters I come up with an inspiration board through my collaboration with Jess. I’d send her an image and she’d respond negatively or positively or we’d put something together like “Oh, I really like the drape on that.”  “Let’s do the simplicity of this one.”  Then we come up with our own color palates. And color theory—in terms of what different colors mean to a modern day audience. So that’s where the magic happens.    

RLL: Now, there are so many characters in FORUM and also we’re doing it with doubling so I can imagine that there are many, many costume pieces that are flying on and off. So do you have to make charts for that? How do you keep track of it all?

CP: We do. That’s what I’m wrapping up today. I’ve been working on it for about a month. (Cathy pulls out many sheets of charts) But this is kind of the short version. It’s broken down by act and scene and then character. So here’s act one. It’s broken down by act and scene. In terms of some of the characters like Jeremy Shamos’s who’s playing Vibrata and Senex, he’s Vibrata and then several scenes later, Senex. But then at the end here you can see how he has to change…

RLL: Oh my goodness. That’s all in one scene!

CP: And then in Act 2, it’s just as crazy for him. On, off, on, off, on, off. So that’s kind of how we set-up the tracking so everybody can see it visually how many changes there are in one scene.

RLL: And how many dressers do you have working backstage on the show to help? Or is it happening on stage?

CP: All the changes happen off-stage, well most of them. So you won’t see all that. And I believe that we have 7 dressers at the moment. It’s what we were shooting for.

RLL: An army of dressers! And because there are so many fast changes happening, do you want to give our audiences a little peek into the magic that happens? Can you give me an example of how one of the fast changes works? Or would you rather keep that a secret?

CP: The magic of snap tape and zippers. (Laughter) And a little bit of underdressing. So if you see something shiny and blue underneath a costume…

Laughing

RLL: But of course they won’t be seeing any of that.

CP: Of course they won’t because we’ll have it all figured out by then!

RLL: It always just amazes me how quick changes happen.

CP: In addition to zippers and snap tape there’s a lot of elastic.

Laughter.

And that obviously wouldn’t have been the case in Ancient Rome but in order for our theatre magic to work it allows them to pull it up really quick and rip it off really fast.

RLL: Oh that’s so smart.

CP: And all their drapes are nailed at a point so all they have to do is lift their arms up, the dressers put it on, and send them on out.

RLL: And do the guys have basic costumes that are underneath everything? That everything is piled on top of?

CP: The courtesans will because of our quick changes. So everything is built off of that. And then the rest of the silhouettes are tweaked to adapt to the costumes underneath. So there are some of the base costumes that have some shoulder decorations so we have to put a shoulder pad on the side of the other costumes so he doesn’t look like a hunchback.

Laughter

So there’s definitely theatre magic happening backstage. It’s not fashion. It’s not a runway show. It’s making everything functional for our actors.

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Fridays@3 | 2010

Fridays@3 is Williamstown Theatre Festival’s annual reading series presented to showcase the new works of emerging playwrights. Each Friday from July 2 – August 13, join us at the Paresky Center at 3pm to listen to these new works read aloud by Williamstown Theatre Festival actors. Admission is $5. Call the box office at 413-597-3400 for reservations.

July 2

HOW. WHAT. NOW. written and performed by Michael Warner

Directed by Campbell Scott

How. What. Now. Stories of Redemption and Hope, Killing Gophers, and how Bubble Gum Pop can save your life.

July 9

THE SUBSTANCE OF BLISS by Tony Glazer

2009 Weissberger Award Winner

In The Substance of Bliss by Tony Glazer, 2009’s L. Arnold Weissberger Award winner, a couple, Donna and Paul, wait up for their troubled son to come home. What they learn about yard fairies, neighborhood cats, the grouchy lady next door, Mrs. Johnston, their son, each other and ultimately, their relationship will change them forever.

July 16

GOOD ON PAPER by Michele Lowe

For a community service credit, 16 year-old Miles returns to the daycare center in his father’s work where he was cared for as a small boy. Even though he has never really understood why his dad left him and his mom, Miles knows it has something to do with this place, once a revolutionary program for children of working parents.  Michele Lowe’s Good On Paper asks us to question when we feel—and when we actually are—safe.

July 23

MIDNIGHT SUN by Chris Eigeman

In association with the Williamstown Film Festival

Chris Eigeman's screenplay Midnight Sun dawns on a cold morning in 1943. When Max Coleman and Jack Priest, two doctoral candidates at Columbia get selected to participate in a secret project, they drop their jazz-filled lives in New York City and move to a remote makeshift village of physicists in the desert. There they begin working on the biggest bomb ever known to mankind. But is it a glorious testimony to the capabilities of mankind and the greatest peacekeeping tool ever invented or a weapon of mass destruction?

July 30

ELEMENO PEA by Molly Smith Metzler

Directed by Amanda Charlton

When Simone invited her older sister, Devon, for a weekend at her boss’ house in Martha’s Vineyard, she never could have anticipated Devon’s reaction to the expensive luxuries which Simone enjoys daily.  Not one to get caught up in this world, Devon points to the men in “pink pants” as just one example of the outrageous values to which the Kells subscribe. Molly Smith Metzler’s Elemeno Pea explores what one must give up in order to have “everything.”

August 6

KNOCK DOWN DRAG OUT by Kyle Jarrow

Directed by John Rando

After losing his job as an accountant, Will, with much urging from his wife, Macy, digs out the old screenplay. The local drama teacher thinks it brilliant, a student of his now L.A. actress, Chloe, thinks its genius, together they will make a short to pitch to Chloe’s connections in L.A. Knock Down Drag Out by Kyle Jarrow brings the cutthroat world of Hollywood to Cleveland, OH where Macy, even though she has always wanted her husband to pursue his dreams, begins to resent the fact that everything she’s ever done, she’s done it for him.

  

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Weekly Preview | June 28 - July 4

A Funny Thing Happened on the Way to the Forum Opens July 1st

June 30 – July 11
book by Burt Shevelove and Larry Gelbart
music & lyrics by Stephen Sondheim
choreography by Denis Jones
directed by Jessica Stone

The Romans are coming! With a nod and a wink to Plautus, director Jessica Stone helms an all-male troop of actors into the comic fray with this fresh, “old” take on American master and Pulitzer Prize winner Stephen Sondheim’s raucous musical classic. With Tony nominee Christopher Fitzgerald leading the charge as Pseudolus, a slave who must win his freedom by playing matchmaker for his master, this toe-tapping, zany romp through ancient Rome is a paean to the Gods of Comedy.

Cast

Kevin Cahoon
Paul Castree
David Costibile
Christopher Fitzgerald
Zackary Grady
Josh Grisetti
Adam Lerman
Chivas Michael
Bryce Pinkham
Joe Aaron Reid
Graham Rowat
Jeremy Shamos
David Turner
Jon Patrick Walker

Scenic Design | Alexander Dodge
Costume Design | Catherine A. Parott
Lighting Design | Jeff Croiter
Sound Design | Drew Levy and Tony Smolenski
Production Stage Manager | Gregory T. Livoti
Production Manager | Joel M. Krause
Casting | MelCap Casting


It's Jewdy's Show Final Week

Performances run through July 4th, so get you tickets while you still can!


Fridays @ 3 Begins July 2

HOW. WHAT. NOW. written and performed by Michael Warner

Directed by Campbell Scott

How. What. Now. Stories of Redemption and Hope, Killing Gophers, and how Bubble Gum Pop can save your life.

   

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It's Jewdy's Show Opening Night!

Everyone had an amazing time last night celebrating the opening of our first show on the Nikos Stage - It's Jewdy's Show: My Life as a Sitcom  Take a look at our photos from the evening!

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Special Feature | Our Lives as a Theme Song

by Kristin Idaszak

It’s Jewdy’s Show: My Life as a Sitcom chronicles Judy Gold’s quest for a second bathroom, aka her own sitcom, aka the perfect theme song—because the theme song is the secret to a successful sitcom. At least that was what Sherman Schwartz, the creator of The Brady Bunch and Gilligan’s Island, maintained.

Recounting his pitch of Gilligan’s Island to CBS, he explained the necessity of a good theme song: “There would have to be...so much exposition explaining what the hell these seven people were doing on the island and it would be so dull before you ever got to the comedy. [I said,] I will have a song written that will take care of all the exposition in one entertaining minute. That's all you were allowed in those years. Sixty seconds was your limit. I said in 60 seconds I will tell the whole background story so there won't be any exposition. I myself have a saying: ‘Exposition is the enemy of entertainment.’ That's the truth. If you have to keep explaining what people are saying and doing, and why they're where they are, you never get to the story.”

In honor of Judy’s raison d’etre I polled the team behind It’s Jewdy’s Show about their personal theme songs. My findings are best introduced by a song (to be sung to the tune of The Brady Bunch):

Here’s the story of a theatre called Williamstown

That was putting up eight very lovely shows

One of them was about a Jewish lesbian

In search of her own sitcom
But the one day when this lady met her production team

They decided to put on a play instead

All of them have their own theme songs too

Which we’ll now share with you:

Kate Moira Ryan, Playwright – “If Love Were All” by Noel Coward

Judy Gold, Playwright and Performer – “There’s Gotta Be Something Better Than This” from Sweet Charity

Amanda Charlton, Director – “Don’t Stop Believin’” by Journey

Kalyn Lummis, Wardrobe Supervisor – “Pink” by Aerosmith

Alex Neumann, Sound Designer – “I Think It Is Beautiful That You Are 256 Colors Too” by Black Moth Super Rainbow

Wilburn Bonnell, Lighting Supervisor – The Price is Right theme song

Adam Dworkin, Assistant Director – “Harder Better Faster Stronger” by Daft Punk

Sam Hough, Photographer – “Teen Angst” by M83

Marisa J. Barnes, Assistant Sound Designer – “Caterpillar Girl” by The Cure

Phil Tokarsky, Assisstant Set Designer – “Give Me Love” by George Harrison

Josh Hacket, Associate Properties Master – Sanford and Son theme song

Caitlin Griffin, Company Management – “There She Goes” by Sixpence None the Richer

Andrew Layton, Scenic Design Dept Supervisor – “Happy Birthday” by Stevie Wonder

Jeanette Lee Porter, Assistant Scenic Designer – “I Wear My Sunglasses at Night” by Corey Hart

Kristin Idaszak, Dramaturg – “Twentysomething” by Jamie Cullum

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Dramaturgy | A Brief History of Situation Comedy

by Kristin Idaszak, Dramaturg

Lucy and Ricky, Mary Tyler Moore, Archie Bunker, Rachel and Ross, Jerry, George and Elaine—every week America turns on the television to see what shenanigans its fictional friends have gotten into.

Situation comedies developed from popular radio shows—like the Jack Benny Program—and were originally recorded live every week. In 1951, Lucille Ball shook up America with her riotous antics while Desi Arnaz, the co-creator of I Love Lucy, revolutionized the genre by recording the show on film every week, using a live studio audience, and multiple sets. Early sitcoms tended to focus on families, like Three’s Company and The Honeymooners.

By the 1970s, sitcoms increasingly dealt with real world events. All in the Family was particularly groundbreaking for its frank treatment of racism, homosexuality, women’s liberation, and sexuality. The seemingly-bigoted protagonist, WWII veteran Archie Bunker, is considered to be one of the greatest protagonists in television history. Norman Lear, who in addition to All in the Family, created Maude, The Jeffersons, Diff’rent Strokes and The Facts of Life later said, “My shows were not that controversial with the American people. They were controversial with the people who think for the American people.” Lear also considered the sitcom a 26-minute one-act play, and was consternated that it had to get interrupted so frequently for commercial breaks.

In the 1980s and 90s, standup comedians began getting their own shows. Bill Cosby’s sitcom The Cosby Show “revived a television genre (situation comedy), saved a beleaguered network (NBC), and sparked controversy about race and class in America” (http://www.museum.tv). Seinfeld, on the other hand, was acclaimed for the exact opposite reason: its creator Jerry Seinfeld “found comic brilliance in the exploration of ‘nothing’ [and] penetrated pop culture as no sitcom had done before” (http://www.boston.com/news/globe/magazine).

Ultimately, “the idea of the sitcom is for viewers to form a long-term relationship with the characters and return to view them repeatedly” (http://www.life123.com/arts-culture/television/sitcoms/tv-sitcoms.shtml). So we all share these friends and families every week when they enter into our living rooms, join our dinnertime conversations. They share with us their triumphs and tribulations, so we can feel a little less alone in our own struggles and achievements.

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Video | The Last Goodbye

The Last Goodbye creator, Michael Kimmel, and music director, Kris Kukul talk about the show.

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Video | After the Revolution

Another video interview! This one is with After the Revolution playwright, Amy Herzog.

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Video | Samuel J. and K.

Check out this video interview with Mat Smart, playwright of Samuel J. and K.

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Video | It's Jewdy's Show

Check out this video interview with writer and actor, Judy Gold and director, Amanda Charlton.

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Interview | Kate Moira Ryan and Judy Gold of ITS' JEWDY'S SHOW

Kristin Idaszak, Dramaturg, had a chance to interview Kate Moira Ryan, playwright, and Judy Gold, co-writer and performer about the creation of It's Jewdy's Show.

Kate Moira Ryan: So are you Jewish?

Kristin Idaszak: No, I was raised very Roman Catholic.

KMR: Me either. But it’s kind of like Stockholm’s Syndrome. So what do you want to know about us?

KI: First I’d love to know how you two started working together.

Judy Gold: We’re friends. Years ago, she met my ex at a party—

KMR: When Henry was eight months old—

JG: And my ex said, I met these really cool people, we’re going out to dinner with them. We went out for Mexican food and had like 400 margaritas. So that’s when I knew Kate and I were going to be friends.

KMR: If we didn’t have alcohol, we wouldn’t be friends.

[laughter]

KMR: We were in Chicago—

JG: And I was doing the clubs and Kate was in town—and we were at this party, where there were free martinis, but I was working so I wasn’t drinking, and I said, Kate, I can’t do the clubs anymore—

KMR: You’d had a martini. You were done for the night.

JG: I’d had a martini.

KMR: And I said, why don’t you do a one-person show—

JG: No I said, I want to do a one-person show.

KMR: And I said, let’s do it about Jewish mothers.

JG: No, you asked what my act was about. It was about my mother, and I was getting ridiculed by the Jewish press for playing into stereotypes.

KMR: So I had another martini and said, well, why don’t we interview Jewish mothers and find out if the stereotype is real. We came up with 25 questions on the back of a cocktail napkin. So she called me the next morning and said, I’m so excited to get started. I asked, on what? Because I’d had too many martinis—

JG: And I’d only had one! But then we started working on 25 Questions for Jewish Mothers, and that was very successful.

KMR: It played in New York for nine months and toured around the country for three years.

JG: We just finished that a year ago. Then I started this project—and this is more standup-y—with my friends Eric and Bob.

KMR: Then Judy called me and said, "I want to go in a different direction." I asked her what she wanted it to be. She said, "I want it to be about my quest for a sitcom and why it didn’t work out." And her relationship with comedy and how that transformed her life. As a child she was bullied because she was different—she was very tall at a very young age, and a little geeky, right?

JG: A little geeky?

[laughter]

KMR: And she wanted her own sitcom because when she was a kid she really lived in this world inside the tv set. I said, let’s write about that. We took the structure that Bob and Eric had come up with and then I stripped it down and we really made it into what she wanted it to be about. And it’s great because every process is really that, a process. A lot of cooks went into the pot. And we worked furiously to rewrite the show for three months.

KI: So what is that process like? Obviously, Judy, it’s your life. What’s it like for you, Kate, to write about someone else’s life—how do you do that?

KMR: Judy and I are so connected. I provided the structure but Judy was really interested in helping shape it. We write really well together. She’ll get up and do something and I’ll watch, so the writing really takes place in the rehearsal room. And we’re always cracking jokes together and having a great time. I love writing with her, and I love writing for her. Of course sometimes we want to kill each other, but that’s not often. I mean, we had such a great time at Stop n’ Shop last night—but we’re also rather demented. I was chasing her down the aisles trying to run her over with the shopping cart. It’s not that we don’t have deep conversations—sometimes we do—but mostly we really just enjoy each other’s company.

KI (laughing): That’s fantastic. And you’re also a well-known playwright in your own right. How does this compare to your other work?

KMR: I’m really eclectic. I’ve written several adaptations—I wrote an adaptation called BeeBo Brinker Chronicles based on lesbian pulp novels from the 40s and 50s, and a play about four women rehearsing Chekhov before they’re executed, called OTMA. I do travel a lot to Eastern Europe, mainly Russia. That’s my fascination. But I do really almost anything. Sometimes it’s successful, and sometimes it’s not. But that’s what a life in the theatre really is. You put it out there and you keep moving forward.

KI: Is this your first time at WTF?

KMR: I was actually here with Bart Sher—about ten years ago now—we did readings for a of a few of my plays.

KI: And you were here last summer at the cabaret, right Judy?

JG: Yes. It’s a very creative, productive, positive atmosphere. You really feel like you’re in the middle of major creativity. And I love the apprentices—they’re so wide-eyed and eager—

KMR: They’re so enthusiastic—

JG: And I just want to go up to them and whisper into their ears, “Get out.”

KMR: “Get out while you still can.”

KI: So I have one last question for you—what’s your drink of choice?

KMR: What is your drink? You like red wine.

JG: Coffee. Black.

KMR: That’s not a drink.

JG: Yes it is. She asked what my drink of choice is. Any drink, right?

KI: Right.

JG: Coffee. Black, strong coffee. I also like ice water. Ice water and coffee.

KMR: Well I like Diet Coke. And I like tequila. But I don’t drink tequila during the day.

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Weekly Preview | June 21st-27

This week we kick off our season with the opening of It's Jewdy's Show: My Life as a Sitcom

June 23 – July 4 by Judy Gold and Kate Moira Ryan
original music by Judy Gold
lyrics by Kate Moira Ryan and Judy Gold
additional material by Eric Kornfeld and Bob Smith
directed by Amanda Charlton

Building on the success of her show 25 Questions for a Jewish Mother, funny-woman Judy Gold returns to the stage in this hilarious look at her amazing life through the lens of the classic sitcoms of her youth. With multimedia, original music, laughter, and love, Judy shows us how she balances family and ambition in a world where she sometimes does not fit. Festival Artistic Associate Amanda Charlton directs.

Scenic Design Andrew Boyce
Lighting Design Marcus Doshi
Sound Design Alex Neumann
Production Stage Manager Libby Unsworth
Production Manager Joel M. Krause


New Nikos Q & A Series begins Saturday, June 26th

This Saturday, Judy Gold and special guest, Rabbi Joshua Boettiger will participate in a new Q & A series, hosted by Sarah Slight, Literary Associate.

Check out the remainder of this series, offered after the first Friday performance of every Nikos show.

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Welcome to WTF Summer 2010

Welcome back to the Williamstown Theatre Festival Blog! As we gear up for this summer’s season of shows, beginning performances on June 23^rd with It’s Jewdy’s Show: My Life as a Sitcom by Judy Gold and Kate Moira, we’ll be bringing you some preview info on all the shows of the season.

Look for our usual weekly schedule devoted to the show opening that week—Monday | Preview, Tuesday | Interview, Wednesday | Dramaturgy, Thursday | Special Feature and Friday | Opening Night Photos—beginning on June 21^st.

Also, remember that aside from the exciting season of shows on the Main and Nikos stages, the Workshop will produce the Fellowship Play and Musical, Directing Assistant Projects, Directing Intern Projects, and the Greylock Theatre Project. Aside from Fridays @ 3 and the Tuesday Talkback, Literary will also host a Friday Q & A for all of the Nikos shows. The playwright along with a special guest will converse with audience on the new work at WTF this summer. Don’t miss this exciting new addition to the first Friday performance of each Nikos show.

More information about all of the events at WTF (don’t forget the Free Theatre and the Cabarets) will be posted each week, so be sure to check us out regularly. Its bound to be another busy and exciting summer!

Sarah Slight, Literary Associate

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