WHEN THE RAIN STOPS FALLING - Wilma Theater · and damaging wounds behind another layer of a white paint? ... When The Rain Stops Falling has received numerous produc- ... Richard

by Andrew Boveldirected by Blanka ZizkaOctober 12 – November 6, 2016

WHEN THE RAIN STOPS FALLINGby Andrew Bovelldirected by Blanka ZizkaOctober 12 – November 6, 2016

WHEN THE RAIN STOPS FALLING

Taysha Marie Canales

& Brian RatcliffePhoto by Matt Saunders

ARTISTIC DIRECTORFROM THE

“Love takes off the masks that we fear we cannot live without and know we cannot live within. I use the word ‘love’ here not merely in the personal sense but as a state of be-ing, or a state of grace – not in the infantile American sense of being made happy but in the tough and universal sense of quest and daring and growth. “

– James Baldwin, The Fire Next Time

After a summer acting workshop, one of the participants, Edward Snyder, sent me the quotation above with the comment “I came across it as I was reviewing some of my notes from the workshop, and I was struck by a kind of lightning storm of dense, varied, and intricate connections between these words and the work we did together over the last several days.”

In my work with actors I insist they take off the masks that represent attitudes, habits, and clichés, and open up to generosity and daring. Instead of merely rationally deciding how to build a character, actors, in their search for the truth, engage in a process that consists of peeling off layers to find the core of energy underneath the text.

Andrew Bovell’s When the Rain Stops Falling invites us to question what masks we are hiding beneath in our current era, the age of the Anthropocene. The wall that you’ll see on the stage has been painted over numerous times. The white paint masks the neglect, pain, and unresolved past that the characters pass on to the future generations. The wounds don’t heal; under the mask of paint they grow deeper. The violence grows gradually and seems unstoppable.

In the age of the Anthropocene, Andrew Bovell suggests it’s necessary to change our ways. He says, “The play is a provocation. Are we prepared to pass on the damage from the past to our children?” Are we going to keep hiding the neglect and damaging wounds behind another layer of a white paint? Or, are we going to, as James Baldwin advocates, take off the mask that we fear to live without and dare to search for that state of being, of grace, of love?

BLAN KA ZIZKA

Blanka Zizka

MANAGING DIRECTORFROM THE

During the infamous election of 2000, when I was Managing Director of InterAct Theatre Company, we were producing Russell Lee’s political drama Nixon’s Nixon. At the same time, the Wilma was producing Robert William Sherwood’s political thriller Spin. The Wilma gave us a call to inquire about cross-promoting our politically themed plays while presidential politics were at the forefront of everyone’s minds. The media picked up on the pitch and our PR coverage of theater during election season was a big success!

Fast-forward sixteen years. Whether this election will ultimately go down in infamy is yet to be seen, but once again, the media is pursuing every pos-sible angle. We received this message from one of our national theater organizations: “The New York Times is looking for examples of theaters that are presenting works or events this fall that relate to the election season, and also for examples of works that have either been adjusted (new jokes, for example) or are being interpreted differently (may-be an existing element resonates with audiences in a new way) in light of the ongoing campaigns.”

I forwarded the message along to our Community Relations and Marketing Director, questioning whether When the Rain Stops Falling really fit with what the Times was looking to cover. Yes, the play uses climate change as a very real backdrop to a multi-generational look at one family’s evolution. But it seemed to me that there was greater interest in sound bites and Twitter-like comments rather than substantive conversation around the issues. Sound familiar?

As a theater company that professes to reflect on “the complexities of contemporary life”,I often times struggle with how we adapt to the 140 character of today’s media culture. Perhaps the answer is that we don’t. We encourage healthy, substantive conversation around the plays we produce and When the Rain Stops Falling along with our lobby display provide great source material for ongoing dialogue.

We welcome you to stay for a while after the show. With our new liquor license, the lobby and concessions stand will remain open for one hour following each performance. And next season, when we transform our lobby into a full-service café, we look forward to being a hub of activity and conversation for audiences, artists, and members of our community to congregate, debate, socialize, and simply meditate with a nice cup of coffee. Please join us!

Many Thanks,

James Haskins

JAMES HASKINS

Season Sponsors

Opening Night Sponsor

The Wilma Theater is grateful for significant support provided by:

The Horace Goldsmith Foundation

Wyncote Foundation

Mari Shaw

HonoraryProducer

Media Sponsor

under the direction of

Blanka ZizkaArtistic Director

James HaskinsManaging Director

presents

Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE.

Set & Projection DesignerMatt Saunders

Lighting DesignerYi Zhao

DramaturgWalter Bilderback

Production Manager Clayton Tejada

Costume DesignerVasilija Zivanic

Sound DesignerChristopher Colucci

Casting DirectorNell Bang-Jensen

Resident Stage Manager Patreshettarlini Adams

featuring

Nancy Boykin, Taysha Marie Canales, Keith Conallen, Melanye Finister, Sarah Gliko, Anthony Martinez-Briggs,

Brian Ratcliffe, Steven Rishard, and Lindsay Smiling.

Opening Night Sponsor

Director Blanka Zizka

Commissioned and originally produced by Brink Productions in Australia in 2008. Produced by Lincoln Center Theater in 2010, New York City.

“WHEN THE RAIN STOPS FALLING” is presented by special arrangement with Dramatists Play Service, Inc., New York.

by Andrew Bovell

WHEN THE RAIN STOPS FALLING

The Wilma Theater is a member of the following organizations: Avenue of the Arts, Inc., Greater Philadelphia Cultural Alliance, League of Resident Theatres, Midtown Village Merchants Association, and Theatre Communications Group, Inc.

Please notePhotography or sound recording inside the theater, without the written permission of the manage-ment, is prohibited by law. Violators may be asked to leave the theater and may be liable for financial charges.

Children PolicyThe Wilma Theater’s productions contain strong language and adult themes that may be unsuitable for patrons 12 and younger

Distracting Noise and LightThe noise of cellular phones and candy wrappers, and the light from electronic devices, are distracting to both audiences and actors. Please turn off all cellular phones and electronic devices. Also, please be sure that your watch alarm does not sound during the performance.

Smoking, eating, and drinking are prohibited inside the theater.

Nancy Boykin............................................................. Older Elizabeth Law

Taysha Marie Canales........................................ Younger Gabrielle York

Keith Conallen.........................................................................Henry Law

Mel anye Finister........................................................Older Gabrielle York

Sarah Gliko.............................................................Younger Elizabeth Law

Anthony Martinez-Briggs....................................................Andrew Price

Brian Ratcliffe........................................................................Gabriel Law

Steven Rishard............................................................................Joe Ryan

Lindsay Smiling.....................................................................Gabriel York

Cast of Characters

This production will be performed without an intermission.

Place: London to Australia Time: 1959 -2039

Who’s WHOANDREW BOVELL (PLAYWRIGHT) is a celebrated writer for both stage and screen. Andrew’s plays have won numerous awards in Australia. Equally successful are his films, which include Lantana, which won over ten major awards in Australia in 2001 and was critically acclaimed internationally. It won Best Screenplay at the 2003 London Critics’ Circle Film Awards. Andrew also co-wrote the original screenplay of Strictly Ballroom with Baz Lurhmann and Craig Pearce. Other film work includes Edge of Darkness (2010) and A Most Wanted Man (2014). In 1998 his AWGIE award-winning play Speaking in Tongues was produced in Sydney and Melbourne and then toured to the remaining state capital cities in Australia. In 2000, the play received its U.K. premiere

at Derby Playhouse before transferring to Hampstead Theatre in London where it was widely praised by critics and audiences alike. This success was mirrored in 2001 at Roundabout Theatre in New York when they presented the U.S. premiere. In 2002, Speaking in Tongues premiered in France at the Comedie des Champs Elysees and also played in Romania. When The Rain Stops Falling has received numerous produc-tions internationally and was named “Best Play of the Year” by Time magazine in 2010. More recent work for the stage includes The Secret River (2013) and Things I Know To Be True, which premiered in Australia and London in 2016.

BLANKA ZIZKA (DIRECTOR) has been Artistic Director of The Wilma Theater since 1981. In January, The Vilcek Foundation announced Zizka as recipient of the 2016 Vilcek Prize, which is awarded annually to immigrants who have made lasting contributions to American society through their extraordinary achievements in biomedical research and the arts and humanities. She received the Zelda Fichandler Award from the Stage Directors and Choreographers Foundation in 2011, and was a Fellow at the 2015 Sundance Institute/LUMA Foundation Theatre Directors Retreat. For the past four years, she has been developing practices and programs for local theater artists to create working condi-tions that support creativity through continuity and experimentation.

She has directed over 70 plays and musicals at the Wilma. Most recently, Blanka directed Tom Stoppard’s U.S. premiere of The Hard Problem, Rosencrantz & Guildenstern Are Dead, Hamlet, Paula Vogel’s World Premiere Don Juan Comes Home from Iraq, Richard Bean’s Under the Whaleback, Tony Kushner’s Angels in America, Tadeusz Słobodzianek’s Our Class, Sarah Ruhl’s In the Next Room, and Macbeth, which included an original score by Czech composer and percussionist Pavel Fajt. Her recent favorite productions are Wajdi Mouawad’s Scorched, Tom Stoppard’s The Invention of Love and Rock ’n’ Roll, Sarah Ruhl’s Eurydice (which featured an original score by composer Toby Twining, now available from Cantaloupe Records), Brecht’s The Life of Galileo, Athol Fugard’s Coming Home and My Children! My Africa!, and Caryl Churchill’s Cloud 9. She collaborated closely with Dael Orlandersmith on her plays Raw Boys and Yellowman, which was co-produced by McCarter Theatre and the Wilma and also performed at ACT Seattle, Long Wharf, and Manhattan Theatre Club. Blanka was also privileged to direct Rosemary Harris and John Cullum in Ariel Dorfman’s The Other Side at MTC. For the Academy of Vocal Arts, she directed the opera Kát’a Kabanová by Leoš Janácek. She has collaborated with many playwrights including Paula Vogel, Richard Bean, Yussef El Guindi, Doug Wright, Sarah Ruhl, Tom Stoppard, Linda Griffiths, Polly Pen, Dael Orlandersmith, and Laurence Klavan.

NANCY BOYKIN (OLDER ELIZABETH LAW) happily returns to the Wilma, having been seen in Rapture, Blister, Burn; Les Li-aisons Dangereuses; and Raw Boys. Her recent Philadelphia work includes Circle Mirror Transformation (Theater Horizon); The Spectacularly Lamentable Death of Miz Martha Washington (Flashpoint); Endgame (Arden); The Importance of Being Earnest (Mauckingbird). Ms. Boykin worked for years in regional theaters including Long Wharf, New York Shakespeare Festival, Alabama Shakespeare Festival, the Alley, Arena Stage and LA’s Interact Theater Company where she won the LA Drama Critics Circle Award for her portrayal of Juno in Juno and the

Paycock. Next up is John at the Arden. Ms. Boykin is keenly interested in the development of new work and is a long time participant in and supporter of PlayPenn.

TAYSHA MARIE CANALES (YOUNGER GABRIELLE YORK) is excited to be back on the Wilma stage! Wilma credits: Dido in An Octoroon. Julia in The Hard Problem. Philadelphia credits: All My Sons (People’s Light); La Bête, The Jungle Book, Wayside Stories From Wayside School (Arden The-atre), Moon Cave (Azuka Theatre), The Most Spectacularly Lamentable Trial of Miz Martha Washington, Slip/Shot (Flashpoint Theatre). She is a Wilma Theater HotHouse member. BFA in Acting from Arcadia University.

KEITH CONALLEN (HENRY LAW) Keith has been seen previously at the Wilma in Rosencrantz & Guildenstern are Dead, Don Juan Comes Home From Iraq (Don Juan); also Under The Whale-back, Curse of The Starving Class; Flashpoint Theatre Co.:The Santaland Diaries, Slip/Shot, Run, Mourner, Run; Azuka: Kid Simple, Long Christmas Ride Home; Theatre Exile: Gruesome Playground Injuries, Red Speedo; People’s Light and Theatre Co.: Ghosts; Lantern Theater Co.: Taming of The Shrew; Maukingbird Theatre Co.: The Misanthrope. Thanks to Blanka, Pat, and the cast & crew. Keith is a member of the Wilma HotHouse.

MELANYE FINISTER (OLDER GABRIELLE YORK) Melanye is happy to return to the Wilma, where she last appeared in Don Juan Comes Home from Iraq. Other credits include The Most Spectacularly Lamentable Trial of Miz Martha Washington and Run, Mourner, Run at Flashpoint; Third at Philadelphia Theater Company; and Romeo and Juliet at the Arden. A company member of People’s Light and Theatre since 1991, she has appeared in many plays there, including All My Sons, Fences, The Winter’s Tale, Seven Guitars, Six Characters in Search of an Author, and Fabulation. Melanye is a member of the Wilma HotHouse, and is a long-time supporter and board member of PlayPenn. She holds a BFA from Carnegie Mellon University.

SARAH GLIKO (YOUNGER ELIZABETH LAW)Wilma productions include: The Hard Problem, Antigone, Hamlet/Rosencrantz & Guildenstern are Dead, and Paula Vogel’s world premiere Don Juan Comes Home From Iraq. Other credits include: The Secret Garden, Parade, Charlotte’s Web (Arden Theatre Co.); My Dinner With Dito (Bearded Ladies Cabaret); The Screwtape Letters, The Liar, (Lantern Theatre); Around the World in 80 Days, Love Story, The Ugly One (Walnut St. Theatre); Pumpgirl (Inis Nua Theatre), and John & Jen (Act II Playhouse). Sarah is a member of the Wilma HotHouse.

BiosANTHONY MARTINEZ-BRIGGS (ANDREW PRICE) is eternally grateful for the support of his loved ones; without love none of this would be possible. It’s a blessing to be invited so openly into The Wilma Theater family. Resident Artist with the Wilma HotHouse company, teaching artist (Phila-delphia Young Playwrights, Wilmagination, Arden Theater), actor (recently seen in Brownsville Song (B-Side for Tray) with Philadelphia Theatre Company and Sideways Stories from Wayside School with the Arden Theatre) director, writer, and a proud member/owner of the band ILL DOOTS. ILL DOOTS has been seen recently at The Wilma Theater in An Octoroon and in Flashpoint Theater’s pro-

duction of Hands Up: 6 testaments, 6 playwrights for which they received a Barrymore for Original Music. They recently completed their sixth independently funded tour, the “Unify Tour (We All We Got)”, to great success. It’s not just art, it’s a movement. Join the #ILLMOVEMENT at www.illdoots.com

BRIAN RATCLIFFE (GABRIEL LAW) is honored to be back on the Wilma stage to help tell this important story along-side these brave artists. Brian is a graduate of Swarthmore College, where he studied Chemistry, Chinese, and Theater. This is his seventh show at the Wilma, having appeared in Antigone, Rosencrantz & Guildenstern Are Dead, Hamlet, The Real Thing, Don Juan Comes Home From Iraq, and Under the Whaleback. Other Philly credits include Lobby Hero (Theatre Horizon), Hans Brinker and the Silver Skates (Arden Theatre), and Red Speedo (Theatre Exile). Brian is helping to fight climate change here in Philadelphia as a member of the organization

Philly Thrive. Enormous gratitude to Blanka, Pat, Walter, Nell, and the rest of his Wilma family. For Sydney and Maya, who will inherit the Earth.

STEVEN RISHARD (JOE RYAN) Steven Rishard was last seen as Matt in Single White Men at InterAct. As a Wilma Hothouse member he has been seen in The Hard Problem, Antigone, Hamlet, and Rosencrantz and Guildenstern are Dead. He was also seen in Detroit at PTC. New York credits include Luz at La Mama, P.S. Jones and the Frozen City with Terra Nova Collective, The Bacchae for Public Theater’s Shakespeare in the Park, In the Penal Colony at Classic Stage Company. With the theater company Divi-son13 Productions; Act Without Words 1, at the Brooklyn Can Factory, Cascado, and Journeys Among the Dead, at HERE. Regional credits include: Quartet and

Life’s a Dream at The Court Theater in Chicago, The Rainmaker at Triad Stage, and The Beautiful Dark at Premiere Stages. TV credits include Law & Order, Law & Order: SVU, The Americans, Kings, Unforgettable, and Treme. Film credits include Shelter, and Hal Hartley’s Meanwhile.

LINDSAY SMILING (GABRIEL YORK) is thrilled to be back on the Wilma stage where he appeared in The Hard Problem, Hamlet, Rosencrantz and Guildenstern are Dead, Don Juan Comes Home From Iraq, Macbeth, Jesus Hopped the ‘A’ Train, and Resurrection Blues. Recent stage credits include Red Velvet (Shakespeare Theatre of NJ), Metamorphoses (Arden Theatre Co.), Moon Man Walk (Orbiter 3), North of the Boulevard (Theatre Exile) and Othello (Milwaukee Rep). Mr. Smiling has performed Off-Broadway and at many regional theaters including: Syracuse Stage, Walnut Street Theatre, People’s Light and Theatre Co., Pittsburgh Public, Two River Theatre, Victory Gardens,

ACT, Dorset Theater Festival, Human Race Theatre, Pennsylvania Shakespeare Festival, Shakespeare in Clark Park, Illinois Shakespeare Festival, Mixed Blood Theater, Bristol Riverside Theatre, Ensemble Studio Theater, Lantern Theater Co, and Shakespeare on the Sound. For more info: www.lindsaysmiling.net

MATT SAUNDERS (SET & PROJECTION DESIGNER) Recent Off-Broadway includes, Futurity for Soho Rep and Ars Nova, Good Person of Szechwan at The Public Theater, The Tempest for The Public Theater at the Delacorte, and As You Like It for The Acting Company at The New Victory and Lincoln Center. Regionally, Matt has designed at the Mark Taper Forum, Huntington Theatre Company, Guthrie Theater, Berkeley Repertory Theatre, Actors Theatre of Louisville, Children’s Theatre Company in Minneapolis, Spoleto Festival, Arden Theatre Company, Pig Iron Theatre Company, Philadel-phia Theatre Company, and Yale Repertory Theatre. Matt is a long-time collaborator with Blanka Zizka, and The Wilma Theater. Recent design work at the Wilma includes The Christians, An Octoroon, The Hard Problem, Hamlet and Don Juan Comes Home from Iraq. Matt holds an MFA from Yale School of Drama. He is a 2014 Pew Fellow in the Arts, as well as 2015 Hodder Fellow at Princeton University. Matt is the Associate Artistic Director of the OBIE Award-Winning theatre company, New Paradise Laboratories; and Assistant Professor of Design in the Department of Theater at Swarthmore College. mattsaunders.net

VASILIJA ZIVANIC (COSTUME DESIGNER) Recipient of the Kahn Career Award for Exceptional Talent, Ms. Zivanic’s credentials include The Hard Problem, Hamlet, R&G Are Dead, Don Juan Comes Home From Iraq by Paula Vogel, and Leaving by Václav Havel (The Wilma Theater); The Daughters of the Mood (Edinburgh Festival); Cosi Fan Tutte (Huntington Theatre); Venus, Necessary Tar-gets, Godspell, La Lorona (The Beckett Theatre, NYC); and The Magic Flute. She has been a fabric painter for leading New York studio Parson Meares on Broadway including The Lion King, Wicked, Spamalot, Dracula, and Disney’s Finding Nemo, Monsters, Inc., and Aladdin. Ms. Zivanic works as a fashion designer and illustrator for various clients in the US and Europe. She is Professor at Parsons and FIT in NYC. Some of her work is published in The Big Book of Contemporary Illustration by M. Dawber and Fashion Drawing by M. Bryant.

YI ZHAO (LIGHTING DESIGNER) is a Beijing-born, Paris-raised and currently Brook-lyn-based lighting designer for theater, opera, music and dance. He is pleased to return to the Wilma after Hamlet and Rosencrantz and Guildenstern Are Dead in the 2014–15 season. Recent work include: the operas Madame White Snake, Naga, and Gilgamesh that form the Ouroboros Trilogy (Cutler Majestic in Boston), The Winter’s Tale (Oregon Shakespeare Festival), Revolt. She Said. Revolt Again. (Soho Rep.), Red Speedo (New York Theatre Workshop), FUTURITY (Soho Rep., Ars Nova), and Romeo & Juliet (Dallas Theater Center). Upcoming work this season include: The Death of the Last Black Man in the Whole Entire World (Signature Theatre), The Christians (Dallas Theater Center), Henry IV Part I (Oregon Shakespeare Festival), Assassins (Yale Repertory Theatre), and The Bluest Eye (Guthrie Theater). In addition to these venues, Yi’s work has been seen around the country at Huntington Theatre Company, Berkeley Repertory Theatre, Barrington Stage Company, Cherry Lane Theatre, 3LD, Performance Space 122, Ontological-Hys-teric Theater, JACK, Fisher Center for the Performing Arts at Bard College, Duke Performances, Krannert Center for the Performing Arts, and Curtis Institute of Music. Yi is the recipient of a 2016 Vilcek Prize for Creative Promise in Theatre. yi-zhao.com

CHRISTOPHER COLUCCI (SOUND DESIGNER) is a sound designer, composer and guitarist. At the Wilma: Angels in America, In the Next Room or the vibrator play, Becky Shaw. Recent work: I Will Not Go Gently (1812 Productions), Metamorphoses (Arden Theatre Company), Disgraced (Philadelphia Theatre Company), Peter and the Starcatcher (Walnut Street Theatre) and All My Sons (Weston Playhouse). Christopher has received a 2016 Pew Fellowship in the Arts, 7 Barrymore Awards for Outstanding Original Music and Sound Design as well as an Independence Foundation Fellow-ship. MA, Philosophy; Western Kentucky University. Thanks to Joe Samala for making it happen. For more sounds please visit http://soundcloud.com/cmsound and http://www.youtube.com/user/cmsound

PETER SCHMITZ (DIALECT COACH) is delighted to work again with Blanka Zizka and the talented Wilma company of actors. At the Wilma, he has previously done the dialect work for Cherokee by Lisa D’Amour and The Hard Problem by Tom Stoppard. He appeared here as the lawyer Taylor in Curse of the Starving Class in 2012. He has acted in the productions of many local theater com-panies, including the Walnut, the Arden, Act II Playhouse, InterAct, PTC, and Pennsylvania Shakespeare Festival. In addition to recently coaching dialects for student productions at Swarthmore College and University of Pennsylvania, Peter also teaches Theater History at the Ira Brind School of the University of the Arts.

PATRESHETTARLINI ADAMS (RESIDENT STAGE MANAGER / AEA) has been the stage manager at The Wilma Theater since the theater made its home on the Avenue of the Arts in 1996. “Pat” is celebrating lucky season #21 at the fabulous Wilma! Her career has included 7 seasons as stage manager at the Tony Award winning Crossroads Theatre in New Brunswick, NJ; and, in past years, Pat has worked the National Black Arts Festival in Atlanta, GA and the National Black Theater Festival in Winston-Salem, NC. She has also found herself traveling the world with critically-acclaimed dance company Noche Flamenca! Most recently, she is using all her free time to spoil her grandsons, Isaiah and Elijah. God Is Good!

NELL BANG-JENSEN (CASTING DIRECTOR) is a Philadelphia-based theater artist, writer, and educator. She joined the Wilma’s artistic staff in 2014 after working as a director, actor, and dramaturg for theater companies including Applied Mechanics, Hedgerow Theatre, Luna Theater, Plays & Players, InterAct Theatre Company, The Riot Group, and the Philadelphia Dramatists Center. Nell is an Adjunct Professor at The University of the Arts and a graduate of Swarthmore College. Since 2010, she has co-created and performed in three full-scale, original works (Makeshift/Looks Like Everyone Has Left/Road May Flood) and was awarded a 2011-2012 Thomas J. Watson Fellowship for independent study and travel in seven countries. Nell will begin her role as Associate Artistic Director of Pig Iron Theatre Company this November, through a Leadership U One-on-One Fellowship, funded by the Andrew W. Mellon Foundation and administered by Theatre Communications Group.

WALTER BILDERBACK (DRAMATURG/LITERARY MANAGER) is honored to work on this important play. He urges everyone to engage in the struggle for environmental justice, especially in your own backyard. He is starting his 13th season at the Wilma. During that time he’s helped select seasons and has worked on the vast majority of the plays produced in that time. Particular recent favorites include Our Class, Don Juan Comes Home From Iraq, and Hamlet. He’s also been fortu-nate to participate in much of the work that has led to the creation of the Wilma Hothouse, an emerging model to challenge the regional theater factory system, and is grateful for all the artists and donors who have made it possible.

CLAYTON TEJADA (PRODUCTION MANAGER) is celebrating his thirteenth season at the Wilma, serving the first seven as Technical Director. Clayton started his professional career as an Apprentice at Arden Theatre, and then worked there for several years as Stage Supervisor. Before coming to the Wilma, he worked as a freelance Technical Director or Production Manager for 1812 Produc-tions, Mum Puppettheatre, Lantern Theater, and Azuka Theatre. Clayton is a graduate of the Theater Arts program at The University of Puget Sound. He is proud to make Philadelphia his professional and artistic home. Thanks and love to his sweet Kate, and their boys Alex and Gabriel.

Email: [email protected] | Box Office: 215.546.7824 | Admin: 215.893.9456 | Fax: 215.893.0895

HOW TO REACH USw w w . w i l m a t h e a t e r . o r g

JAMES HASKINS (MANAGING DIRECTOR) is now in his eleventh season in partnership with Blanka Zizka, the Board of Directors, and staff to advance the mission of The Wilma Theater. James began his work in theater administration at Circle Repertory Company, where he learned early on the value and resonance of an artist-centered approach to running a theater company. He went on to work with a variety of theaters in New York and Seattle as an actor, director, and administrator. Upon mov-ing to Philadelphia, James worked as Managing Director of InterAct Theatre Company and then Executive Director of the Theatre Alliance of Greater

Philadelphia before coming to the Wilma. As a theater artist, he is most proud of his directorial and dramaturgical work on the plays of his husband Michael Whistler. James holds an MFA from the University of Washington and a BA from The College of Wooster (Ohio), where he currently serves as President of his alumni class.

Check out Wilma resident playwright Kate Tarkers’

FROm THE dESk OF kATE TARkER... @> BLOG.WILmATHEATER.ORG

FINd ExcLuSIvE cONTENT ONLINE AT:

STAy cONNEcTEd WITHuS ON SOcIAL mEdIA!

WILMATHEATER.ORG/BLOG

Images kate Tarkers’ “dAILY HABITS OF FAmOUS WRITERS” blog post.L to R: Günter Grass, Susan Sontag, and Hildegard of Bingen.

Assistant Director TORi MiTTELMANDialect Coach PETER SCHMiTZStunt Coach TERRY BRENNANAssistant Stage Manager RACHEL BEECHERAssistant Set Designer COLiN MciLVAiNEAssistant Costume Designer BECCA AUSTiNAssociate Lighting Designer CAiTLiN RAPOPORTProperties Master KiMiTHA C. CASHiNMaster Electrician ASHLEY W. MiLLSLightboard Programmer & Operator ALYSSA COLESound and Video Engineer JOE SAMALAVideo Programmer and Operator ZACK MCKENNACostume Supervisor BECCA AUSTiNRunning Crew BEN HENRY, SCHiRiN SCHENKERMAYRCarpenters AMANdA COFFiN, iVAN diLLiNGER, ELLiOT GREER, KATELYN MCLALLEN, SWiFT SHUKER, SCOTT TEESdALE, STEPHEN HUNGERFORd, EVAN ROCHiBAUd, ANTHONY WEiGANdElectricians JOHN ALLERHEiLGEN, ERiCK ALFiSi, AMANdA COFFiN, ALYSSA COLE, STEPHANiE diBONA, SYdNEY JUSTiCE, JACKSON KATZ, xiMENA ViOLENTE, NiCOLE ROLO Sound Technicians ZACK MCKENNA, JOHN KOLBiNSKiCostume Intern JULiA POGUEStitcher REBECCA KANACHScenery Construction GLENN PERELMAN, JUSTiN ROMEO THE SCENE SHOP AT AMERiCAN REPERTORY THEATER, CAMBRidGE, MA.

PRODUCTION CREW

STAFF

ARTISTICDramaturg/Literary Manager WALTER BiLdERBACKArtistic Associate NELL BANG-JENSENLiterary Interns SAMUEL LEOPOLd, PAiGE ZUBEL EDUCATIONEducation Director ANNE K. HOLMES Education Assistant JENNY RUYMANN Teaching Artists JESS CONdA, KATE CZAJKOWSKi, AKEEM dAViS, MiKE dEES, K.O. dELMARCELLE, JUSTiN JAiN, JOHN JARBOE, JENNiFER KidWELL, ANTHONY MARTiNEZ- BRiGGS, KEViN MEEHAN, LEE MiNORA, BRiAN RATCLiFFE, JOSH TOTORA DEVELOPMENT and MARKETINGExternal Relations Director RYANNE dOMiNGUES Development and Special Events Manager dEBBY LAUCommunity Relations and Marketing Director ALiSON EHRENREiCHDigital Communications Manager PHiLiPPE J. JEANExternal Relations Intern TiARA NOCK FRONT OF HOUSEBox Office Manager JAMES SPECHTAssistant Box Office Manager CATHERiNE PEREZGroup Sales and Patron Services Coordinator SARAH BLASK Box Office Staff ZACHARY CHiERO, TWOEY TRUONG, ALLiSON MUdd House Manager JAViER MOJiCA BUSINESSGeneral Manager MAGGiE ARBOGASTAssistant General Manager ANdREA SOTZiNGAdministrative Coordinator MEGAN O’dONNELL Tessitura Application Systems Analyst CATHERiNE LACHANCE-dUFFY Tessitura Training & Support Specialist ANdY WERTNER Tessitura Services & Support Specialist MATTHEW LAZORWiTZ PRODUCTIONProduction Manager CLAYTON TEJAdA Assistant Production Manager/Operations Manager ASHLEY W. MiLLSTechnical Director ETHAN M. MiMMResident Stage Manager PATRESHETTARLiNi AdAMSSound and Video Engineer JOE SAMALA Costume Supervisor BECCA AUSTiNProduction Fellow SCHiRiN SCHENKERMAYRStage Management Fellow RACHEL BEECHER Custodian FETTEROFF F. COLEN

Officers david E. Loder, ChairKathryn doyle, Vice Chair donald F. Parman, Vice ChairClare d’Agostino, Esq., SecretaryLewis H. Johnston, Treasurer, Former Chair Board MembersPaula M. Bedi daniel Berger, Esq. Herman C. Fala, Esq. Former ChairMark S. dichter, Esq., Former Chair

Linda GlicksteinJerry GoldbergPeggy Greenawalt, Former ChairJeff Harbison, Former ChairJane HollingsworthRobert E. LinckJames F. McGillinJohn d. RollinsTim SabolEllen B. Solmsdavid U’Prichard, Phd, Former ChairA.E. (Ted) Wolf, Former ChairFlorence Zeller

Ex-OfficioJames HaskinsBlanka Zizka

EmeritusHarvey KimmelSissie LiptonThomas Mahoneydianne SemingsonEvelyn G. Spritzdr. R. J. WallnerJeanne P. Wrobleski, Esq.

BOARD OF DIRECTORS

Arden Theatre Company, Seth Rozin, Austin Arrington, PLANT GROUP, Andrew Bovell, Eugenie Birch, Penn institute for Urban Research, Ashley dawson, Mary donofrio, Katja Gottlieb-Stier, donna Haraway, Christine Knapp, Mayor’s Office of Sustainability, City of Philadelphia, Rob NixonRoy Scranton, The Wilma HotHouse company, and the casts of the readings of When The Rain Stops Falling in 2010 and 2015.

SPECIAL THANKS

YOUNG FRIENDS COMMITTEEJACOB HARRiS BEAHM, MiLJENKA SAKiC,

THEONiE ANASTASSiAdiS, EMiLY KNiTTER

Interested in joining the Young Friends Committee?For more information, please contact Alison Ehrenreich at [email protected]

ARTISTIC DIRECTOR BLANKA ZiZKA

MANAGING DIRECTOR JAMES HASKiNS

OPENSTAGES by Walter Bilderback

“ These wonderful narrations inspired me with strange feelings. Was man, indeed, at once so powerful, so virtuous, and magnificent, yet so vicious and base? He appeared at one time a mere scion of the evil principle, and at another as all that can be conceived of noble and godlike. – Mary Shelley, Frankenstein; or, The New Prometheus

Excerpt from an interview with playwright Andrew BovellHow would you describe the relationship between the family saga and the Anthropocene?

I think the play is itself a description of the relationship between a family saga and the Anthropocene. The idea is simple - We inherit what is unresolved from the past and if we do not resolve it ourselves we pass it on to our descendants. With each generation the wound becomes deeper. The play is a provocation. Are we prepared to pass on the damage from the past to our children? But perhaps also a suggestion that we have failed to face the problem and that the future generation will have the courage to face what we could not. Rather than speaking about climate change directly, I needed to root the themes in the human experience, within the relationship between people, defined as they always are by notions of love, connection and betrayal.

How helpless do you personally, feel human civilization is in the face of climate change?

The answer to this lies in the final scene of the play. I describe the play as melancholic. Melancholia being defined as the deep thinking required before change is possible. I think we are in a melancholic age. That is we are doing the deep thinking required to change. I believe in our capacity as a species to understand the problem and to find the solutions. This is what we are engaged with at present. Perhaps this mourning will become the zeitgeist of the 21st century. It seems logical now that we will need to and should mourn what we have lost and what we have destroyed before we can move on. But at the time of writing the play.... I was reaching into what was then unformed thinking. But isn’t that what we want theatre to do... the reach forward and to articulate the ideas that we haven’t yet found a way to articulate?

(The full interview can be found online at www.wilmatheater.org)

“

By slow violence I mean a violence that occurs gradually and out of sight, a violence of delayed destruction that is dispersed across time and space, an attritional violence that is typically not viewed as violence at all. Violence is customarily conceived as an event or action that is immediate in time, explosive and spectacular in space, and as erupting into instant sensational visibility. We need, I believe, to engage a different kind of violence, a violence that is neither spectacular nor instantaneous, but rather incremental and accretive, its calamitous repercussions playing out across a range of temporal scales.

Falling bodies, burning towers, exploding heads, avalanches, volcanoes, and tsunamis have a visceral, eye-catching and page-turning power that tales of slow violence, unfolding over years, decades, even centuries, cannot match. Stories of toxic buildup, massing greenhouse gases, and accelerated species loss due to ravaged habitats are all cataclysmic, but they are scientifically convoluted cataclysms in which casualties are postponed, often for generations.

– Rob Nixon, Slow Violence and the Environmentalism of the Poor

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ADELAIDE

Mourning is about dwelling with a loss and so coming to appreciate what it means, how the world has changed, and how we must ourselves change and renew our relationships if we are to move forward from here. in this context, genuine mourning should open us into an awareness of our depen-dence on and relationships with those countless others being driven over the edge of extinction. . . . The real-ity, however, is that there is no avoiding the necessity of the difficult cultural work of reflection and mourning. This work is not opposed to prac-tical action, rather it is the foundation for any sustainable and informed response.

– Thom Van Dooren, Flight Ways

Sometime in the icy depths of prehistory . . . our species began developing advanced symbolic communication beyond anything that had ever been seen before. We learned how to make the dead speak, and to speak ourselves to the yet unborn. We learned to see into the future. We learned to abstract from the present a conceptual reality transcending time and space. Through the ice ages of the part and into the long summer of the Holocene we carried tools, furs, fire, and our greatest treasure and most potent adaptive technology, the only thing that might save us in the Anthropocene, because it is the only thing that can save those who are already dead: memory.

–Roy Scranton, Learning to Die in the Anthropocene

GOYA, Saturn Devouring His Son, c. 1819–1823. Oil mural transferred to canvas, Museo del Prado, Madrid.

Another way to think about the future:dearTomorrow is a project inspiring people to send open letters, photos and videos about climate change to loved ones living in the future. it is building an archive of the messages in order to preserve this important moment for future generations. These messages will be released in the years 2030 and 2050. For more information, or to participate, visit www.deartomorrow.org

SUggEStED rEADIng AnD VIEwIng

On the Anthropocene:Christophe Bonneuil and Jean-Baptiste Fressoz, The Shock of the Anthropocene.

Jeremy davies, The Birth of the Anthropocene.

Josh Fox, How to Let Go of the World (and Love the Things Climate Can’t Change). Available for viewing on HBO and HBO GO.

The Hidden Brain Staff, “Why Our Brains Weren’t Made to deal With Climate Change,” NPR, originally broadcast April 19, 2016

> http://www.npr.org/2016/04/18/474685770/why-our-brains-werent-made-to-deal-with-climate-change

Robert MacFarlane, “Generation Anthropocene: How humans have altered the planet forever,” The Guardian, April 1, 2016

> http://www.theguardian.com/books/2016/apr/01/generation-anthropocene-altered-planet-for-ever

George Marshall, Don’t Even Think About It: Why Our Brains Are Wired to Ignore Climate Change.

Chris Rapley and duncan Macmillan, 2071: The World We’ll Leave Our Grandchildren. The text can be downloaded for free here:

> http://www.royalcourttheatre.com/whats-on/2071

Roy Scranton, Learning to Die in the Anthropocene.

On the mt. Tambora eruption:

Ishaan Tharoor, “200 years ago the sky went dark and there was no summer,” The Washington Post, May 12, 2016

> https://www.washingtonpost.com/news/worldviews/wp/2016/05/12/200-years-ago-the-sky-went-dark-and-there-was-no-summer/

Local: Growing Stronger: Toward a Climate-Ready Philadelphia. Mayor’s Office of Sustainability, Philadelphia.

> https://alpha.phila.gov/documents/growing-stronger-toward-a-climate-ready-philadelphia/

FOUNDATION, GOVERNMENT, & CORPORATE DONORSAnonymous1919 investment Counsel*Abbot downing*AmazonSmile FoundationArronson FoundationThe Corinne R. and Henry Bower Trust of the PNC Charitable TrustsThe CHG Charitable Trust+Louis N. Cassett FoundationCozen O’Connor*The Charlotte Cushman Foundationdechert LLP*The dolfinger-McMahon Foundationdrexel University*Friends of the Wanamaker Organ*The Horace W. Goldsmith FoundationThe Hamilton Family FoundationHeart of Gold Projectindependence FoundationThe Patricia Kind Family FoundationJohn S. and James L. Knight FoundationThe Lida FoundationChristian R. & Mary F. Lindback FoundationThe National Arts ClubThe National Endowment for the ArtsThe William Penn FoundationPennsylvania Council on the Arts, a state agencyThe Pew Center For Arts & HeritageThe Philadelphia Cultural FundThe Philadelphia Foundation* Fund for Children of The Philadelphia FoundationPhiladelphia Theatre Company Board and Staff*The Caroline J. Sanders Trust #2Saul Ewing LLP*Serving Those Who Serve*The Shubert Foundation, inc.Spruce Street Real Estate Company*The TJx Foundation, incVenturous Theater FundVirginia B. Toulmin FoundationWells Fargo

The Wyncote FoundationThe Wyncote Foundation recommended by Leonard C. Haas+The Zeldin Family Foundation

INDIVIDUAL DONORSThe Premiere Circle is a group of our community’s leaders who demonstrate their love of living, adventurous art through their gifts of $1,000 or more. The benefits of the Premiere Circle are designed to bring members closer to the artists whose work they make possible. For more information, please contact the development department at 215-893-9456 x109.

$5,000 and abovePaula and Arjun Bedidaniel Berger, Esq.+Clare d’Agostino, Esq.+Mark and Tobey dichter+Kathryn doyle and Maureen Alexander+Herman and Helen Fala+Michael J. Finney+Tim Sabol and Judd FleschLinda and david Glickstein+Carole Haas Gravagno and Emilio Gravagno+Peggy and Rich Greenawalt+david Haas+Thomas W. Haas*Val Arkoosh and Jeff Harbison+Jane and Brad HollingsworthMr. and Mrs. Richard V. Holmes+Lewis and Ellen Johnston+Gay and donald Kimelman+Josephine Klein+Mr. and Mrs. Robert E. Linck+david E. Loder+Tom Mahoney+Kenneth and Moira Mumma*don and Barbara Parman+The Suzanne F. Roberts Cultural development Fund+John and Theresa Rollins+Mari and Peter Shaw+Ellen B. Solms+david and Lisa U’Prichard+in Memory of Gillian Wakely+Jeffrey and Jenifer Westphal*Ted and Stevie Wolf+

The June and Steve Wolfson Family Foundation+The Leslie Miller and Richard Worley Foundation*Stephen and Florence Zeller+

$2,500 to $4,999Amy Branch and Jeff Benoliel+Sheldon and Jill Bonovitz*Lois G. Brodsky+Mr. and Mrs. Granville Crothers, Sr.+Eduardo Glandt and George Ritchie+Mindy and Jerry GoldbergSissie and Herb Lipton+James and Eleanor McGillin+Katie McNabb*dr. Vincent Sanguineti and dr. Marion FrankLaura and Richard Vague*Nina Robinson Vitowdr. R.J. Wallner+

$1000 to $2,499dr. Peter H. Arger+Mr. and Mrs. James H. AverillPeter A. Benoliel and Willo Carey+Louis Bluver+Carol CaswellBete demeke*Robert M. dever+Robert and Priscilla FoleyGretchen Hall+Gregory and Emily Harveydortha Haskins+James Haskins and Michael Whistler+david HoffmanAndy and Valerie Kind-Rubin, in memory of Patricia Kindian Kirschemann+Kenneth Klothen and Eve Biskind Klothen+david Lerman and Shelley Wallock+Megan and Lou Minella+Jerome and Elizabeth Pontillo+Vesna and Howard Sacks+Patricia Saddier+Karen Scholnick+Salem Shuchman and Barbara Klockdr. William Sigmund and Mr. Vito izzo+Gayle and david Smith+

A Special Note to Our DonorsThis list acknowledges all donations of $150 or above as of September 1, 2016.

If your name has been omitted or misprinted, please accept our apologies and kindly notify us by contacting Ryanne Domingues at 215-893-9456 x109.

+ denotes five year consecutive donors* denotes donations to the Theater Lovers Fête 2016

Evelyn G. SpritzFred and Barbara Sutherland*Mr. and Mrs. Stuart Taylor+Charles and Melissa Thorne+Jeanne P. Wrobleski, Esq.Blanka Zizka+

The Annual Fund are donors who are essential to the continuation of the Wilma’s work and mission. We rely on the support of these members of the community who support bold, original, well-crafted productions.

$750 to $999Barbara and Bruce ByrneJohn detre and Wendy Beetlestone+Wendy Wilson and Bruce McKittrick+Quan Nguyen and Jessica Geyerdavid and Susan Rattner

$500 to $749Anonymous+Howard Aaronson+david W. Anstice and Ana-Maria V. Zaugg+Al and Marilyn Blatter+Beth Mauro and david BumkeRonald Collman and domingos Silva*Catherine Haas*dorothy Hanrahan*drew Christino and Kathy Hanrahan*darcy Hayes*Elizabeth Higginbotham+Nancy and Al Hirsig+Naomi Grabel and Neil Kutner*Frank and Sally Mallory+Joseph and ilene McCaffrey+drs. Joseph and Jane McGowanJerome Napson+, in memory of Annie RichardsonJerry Rojo+dr. Nathan and dolly Beechman Schnall+Terri Sebree*david Seltzer and Lisa RobertsF. P. Slack and Pat Henriques+Gene Bishop and Andrew Stone+Mark SweetlandThe Toner FamilyRichard H. and dr. Barbara Jacobsen Woods+Thomas and Jacqueline Zemaitis+

$250 to $499Anonymous+

Pedro Alfonsodede and Tony BrownMr. and Mrs. Nick Cernansky+Elizabeth Fillo and Christopher CoucillPatricia and Edwin CoyleTony and Harriet Crane+doris dabrowski+John Erickson and Harry Zaleznik+dan Gannondr. Charles Geardeborah GlassKaren Harkaway and Michael GraceLisa and Leonard GuercioBirgitte Haselgrove+Marion V. Heacock+Jim Heenehan and Carolyn Guss+Jane and Steve Heumann+Anne Holmes*Katherine Hayden and John HouleSampath Kannan and Patrick CoueLouise and Peter KellyJudith Kish*Allen J. KuharskiEva and Michael LeedsChristopher and Rebecca LeiseSteven and Barbara Lemberdr. Cynthia and Gregory LineMargaret and Bruce MainlandSue and Steve MunzerNassya and Aaron Owens+Monika Panger*Clifford Pearlman and Lynn MarksBill and Mary Jo Potter+Ms. Mary Jo ReillyF.L. Rodgers Family FundMichele Goldfarb and Tony RostainMichael and Randi Rothmeldan and Barbara Rottenberg+Andrew Sacksteder and Colleen Murphy+Nora SalzmanJohn F. SanfordHarriet dichter and John SchapiroTom and Elinor Seaman+dianne L. Semingson+, in memory of H. Craig LewisChristopher SerataAntoinette Fauar Seymour+Sharon and irv Shapiro+Laura and Ron SienaPat and Elaine Sweeney+Joan TartanianLinda Potemken and Randy TiffanyHella and Lewis Volgenau+

Wendy, Larry and Miriam White+Harry and Mary Ann Woodcock+

$150 to $249Anonymous (6)Phyllis and Charles Adams+Kim Armstrongdana AshMaddie and Herman Axelrod+donald Bakove and Margaret McLaughlin+diane BechMargaret Perryman and Bill BentonAnn and Tom Blackburn+Allen G. Bonner+Michael P. Boyle+dr. Liz Braun+Ann and david Brownlee+david L. Buchbinder+Carol Buettger+Frank and deb Cebula+Arthur and Marcia Chernoff+Mr. and Mrs. Scott Childress+Ronnie and Jack Cimprich+Joan CoaleMr. and Mrs. Blaise H. Coco Jr.Joan and Jay CohenRoland ColemanTim and Cathy Conahan+Cynthia CookeBob CurleyWilliam dowlingdaniel drecksage and Leslie Sudock+david durham+dr. Joel K. Edelstein and Ms. Elizabeth McKinstry+Jennifer and dwight EdwardsEstella and david EleshGil Feinberg and Nadeen Van Tuyle+Janet and Edward FieldingAlan Folsom and Kathryn Ruchdrs. Alan and Patti FriedmanCharles FullerAndrew GelberCarrie Gishdavid Glancey and Alice ReyesShawn Nesbit - Good Karma Cafe*Paul and Judy GoodeRichard Grimes+Brent Groce and donna CordnerBill Gross and Jan ClarkeGretchen Tenny Hall and david SaadahTerry Hirshorn+Marjorie E. Johnson and Edward J. HochreiterAnne and david Horndavid ingram and Melanye FinisterLinda and Peter Jonesdean Kaplan and Barbara Mattleman

daniel Lee+William Lake Leonard+dr. Rafael and Nancy Levites+Will and Sandra Lock+Ann T. Loftus, Esq. and Eileen M. TaloneRichard and Sandra MalkinSue Marinello, in honor of James HaskinsWarren and Hitomi Matthews+Lynne MaxwellJulia Mayer and Barry Jacobs+donna MayforthMark McGuire and Jo-Ann VerrierMr. and Ms. david Miller+dr. James and Jennifer Morgan+Leora and Mike NatanMichael and Jennifer NolanLarry PaceLinda Mraan and Alan PalmerMilton and Ruth Parnes+Laura Grace PattilloRuth PerlmutterMarilyn Pradodrs. Michael and Unah ProAnatol RadomySimon Richterdr. and Mrs. Wolfram Rieger+Joan and Jerry RollerTony and Barbara Rooklin+Gordon and Karen Rose+Richard and Judith RossMr. and Ms. Leon Rozinsky+Mr. and Ms. Carl Schneider

Gene Schneyer and debby AppelGerald and Linda Senker+Christine J. Shamborsky+Claudia Pine-Simon and Morton J. Simon, Jr.Anne C. SingerCorey and Jonne SmithSara Corse and Kenwyn SmithLaura and Andrew Sparks*Susan SzaboBarbara and Len TogmanBobby TowcimakCindy VeloricClifford Wagner and Ann MintzJay WahlBob Weinberg and Eleanor Wilner+Arnold M. Weiss+in Memory of Andres WeiszPeter Zutter and Tom Murphy+

MATCHING GIFT DONORSGlaxoSmithKline FoundationiBM Matching GiftsJohnson & Johnson Family of CompaniesMerck FoundationThe Moody’s FoundationPfizer Public AffairsThe Vanguard Group Foundation

IN-KIND DONORSBarefoot Wine & BubblyChef’s TabledoubleTree by Hilton Hotel Philadelphia Center CityMichael and Nancy Evans*Flying Fish Brewing CompanyFresh GrocerGiorgio on Pine and

Giorgio Pizza on PineJerry Goldberg*Hummus GrillRichard Kotulski and Julia BaldwinLive Nation Arenas*Maison Premiere*McCormick & Schmick’sMcGillin ArchitectureSusan MinichielloMorgan Lewis & Bockius, LLPPhiladelphia distillingRuth’s Chris Steak HouseSaint Benjamin Brewing CompanySaxbys CoffeeSift Bake ShopHarry SmithThe Sporting Club at the Bellevue, the preferred fitness centerStarbucks Coffee Company

STARR RestaurantsTheatre for a New Audience*Trader Joe’s CompanyVictory Brewing CompanyWaffles & WedgesThe Wawa FoundationYards Brewing Company

Create a Legacy at The Wilma Theater by including us in your estateplanning.

TO LEARN mORE:contact Wilma External Relations director Ryanne domingues [email protected] or 215-893-9456 x109

do you wish to support Philadelphia students, The Wilma Theater, and your corporate business?

When your corporation gives to our Wilmagination, Wilma Classroom, or Camp Wilma education programming, you’ll also receive a dollar-for-dollar tax credit through the Pennsylvania Educational Improvement Tax Credit (EITC)—benefitting both your corporation and Philadelphia’s students.

TO LEARN mORE:contact Wilma External Relations

director Ryanne domingues [email protected]

or 215-893-9456 x109

Sunset, o639 HoursMatthew Neenan & Rosie Langabeer’s

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