The Fall of the House of Usher The Hypocrites

SOLD OUT - Additional performances 9/15 at 3pm and 9/20 at 730p


"...terrific adaptation is quite brilliantly conceived" - Chris Jones, Chicago Tribune 8/20/12

Zany ‘Usher’ is giddy journey to madness - Hedy Weiss, Chicago Sun Times 8/20/12

Party House of Usher: Sean Graney blows a hole through Poe's dismal, compelling short story
- Justin Hayford, Chicago Reader 8/22/12

"...a breathtaking synthesis of violence, ritual and  precipitation" - Zac Thompson, TimeOut Chicago 8/30/12


Fri, Sat at 730pm; Sun 3pm; Mon 730pm until September 23


Tix $28 - Box office 773.989.7352

08/14/12 - 09/23/12

Fri-Sat 730p; Sun 3p; Mon 730p

Graney's adaptation is a trip to Poe's gothic 'House of Usher' - Chris Jones, Chicago Tribune 8/21/12. "Although best known as a director, Sean Graney actually is becoming a most intriguing (and admirably prolific) adapter of classic literary works — from Sophocles to Shakespeare to Edgar Allan Poe. His talents in that arena aren't unlike his talents in stage direction, really — his skills include audacity, intensity, brevity and, most notably, a kind of insouciant creativity that feels like some maverick just squirted some air freshener on fetid texts. Purists always have to get the past the slight chemical residue, but the new aroma is quite  intoxicating.

In the case of Graney's new version of "The Fall of The House of Usher,"  a smart-eyed take on the classic 1839 Poe yarn for The Hypocrites,  the adaptation is far, far more successful than the actual premiere  production.

In essence, Graney has taken a leaf out of the book of "The Mystery  of Irma Vep," the well-loved Charles Ludlam satire of Alfred Hitchcock' s "Rebecca" and other gothic potboilers. In that 1984 camp classic, two actors played eight different characters, rapidly switching gender and costume. In Graney's 75-minute poke at Poe, three women (Christine Stulik, Halena Kays and Tien Doman) share all four of the roles, switching back and forward without regard, obviously, to gender.   In the best moments, you find yourself briefly wondering which actress  is in which role now.

One of Poe's big themes here, of course, is the physical manifestation of emotional anguish. Set in a classic lonely house, the macabre story  deals with at least one character who is not very good at staying dead  — although in the grotesque world inhabited by Roderick Usher, his guest and his residence, life and death are relative and unreliable narrative terms.

Along with his gifted set designer, the re-emergent Joey Wade, Graney  is quite eye-poppingly successful at creating a sentient theatrical environment: Wades' set seems to ooze water (and various other fluids)  from its very pores. At other moments, you swear you can see it pulse.   In Poe's story, the Usher mansion actually seems break apart before your
 eyes; Wade and Graney come up with a pretty remarkable approximation of  that, given that we're all in a Wicker Park basement. And Alison Siple's  costumes manage to be both macabre and rather beautiful.

If only the actual storytelling functioned better in this rich theatrical world. The issues with this production are common problems  that have tripped up countless other shows — the style-bound actors aren't able to root us in the kind of truth that's sufficiently believable for its subsequent warping to actually matter. And, as so often happens with campery of this type, the actors all start out at  such a level of intensity and artifice, they leave themselves nowhere  to go. None of the characters really seems to change; none seems vulnerable. The trajectory and pacing is mostly monotone — which is
crippling for any show with at least one foot in the world of the thriller.

The other curious omission is the total absence of any kind of erotic  charge, which is a big part of the Poe appeal, especially in terms of the interwoven relationships of family, intimacy and death. This show feels almost asexual in nature, which is a big problem with this  material. These lapses are, frankly, irritating, because the good stuff is so darn potent.

I'd venture die-hard Poe fans will find much of interest (maybe annoyance) in this most distinctive and intellectually
rich take. Still, Graney's big failing is that he doesn't manage to invest the viewer in the creepy narrative itself, on that
all-important, moment-by-moment basis. It's a simple matter of paying more attention to the acting; this terrific adaptation is quite brilliantly conceived. But without truth and a trip we each can take, all the high style in the world can't fully deliver any  house of horrors".

Zany ‘Usher’ is giddy journey to madness - Hedy Weiss, Chicago Sun Times 8/20/12
  "Director Sean Graney has orchestrated the chaos and calamity in a good number of grand but imploding households — from the royal families of  ancient Greece (in “Sophocles: Seven Sicknesses”), to the cross-dressing inhabitants of Mandacrest Estate (in “The Mystery of  Irma Vep”).

Now, Graney, founding father of the Hypcocrites, is having his antic  way with Edgar Allan Poe’s 1839 short story “The Fall of the House of Usher,” giving us an 80-minute adaptation that plays fast and furiously with this ghoulish tale about the mental and physical breakdown of the Ushers, the incestuous twin brother and sister who are the last of their line, and the equally frazzled visitor who is summoned to their fittingly “fractured” estate, and drawn into the frenzied last gasps of their existence. (A maid with a heavy brogue and a great tolerance for dealing with madness completes the picture.)

Employing shifts of gender, identity and perception, Graney gives us a vampy, campy, horror-filled, funhouse mirror interpretation  of Poe’s gothic tale. It’s not exactly what Mel Brooks did in  “Young Frankenstein,” but close. In the process, he also has created breathtaking challenges for his cast of three wholly  bravura actresses — Tien Doman, Halena Kays and Christine Stulik — who, in tour de force fashion rotate through four characters, two (maybe more) genders, multiple psycho-sexual  maladies, a slew of accents and vocal pitches, much gin, some very tart lemons, a brief riff on ‘Annabel Lee” and no end of costumes, wigs, beards, haberdashery and  frightful storms.

Poe purists might take issue with this zany yet brainy Victorian penny-dreadful approach, and accuse Graney of hammering a nail  through the very text he has turned to. But maybe it’s the only  way to deal with Poe’s wildly hallucinatory world these days.   And in any case, it’s delicious fun, with Graney seeming to be  winking as he suggests that the very acts of theater and storytelling  are a sort of giddy journey into madness.

On the heels of his brilliant set for the TUTA production of Harold Pinter’s “The Dumb Waiter,” designer Joey Wade has devised another  ingenious environment here. The audience is seated on two sides  of a stage, with the action unfolding within a weather-beaten and  very leaky wooden mansion whose gilded mirrors and doors are crucially positioned at either end of the room. Alison Siple’s  mad hatter costumes, Jared Moore’s eerie lighting, Rick Sims’  classic sound effects and Maria DeFabo’s goofy prop design all  add to the nuttiness. And it is worth noting that stage manager Justine Palmisano gets a much deserved bow, suggesting the high  anxiety seen on stage is nothing compared to what must be going
 on backstage.

Party House of Usher: Sean Graney blows a hole through Poe's dismal, compelling short story - Justin Hayford, Chicago Reader 8/22/12. - "It's difficult to think of a more influential bad writer than Edgar Allan Poe.   He moved Gothic romance from the faraway castle to the house next door,  replacing the terrors of the sublime with the neurasthenic spasms of the diseased modern imagination. While Emerson was busy championing pragmatism,  Poe zeroed in on everything we routinely deny in ourselves: the perversions, degradations,  and deformities Harold Bloom calls "the uncanny unanimity in our repressions."

But he achieved his effects using heavy, florid prose so rigged with repetitive imagery that you'd think he considered his readers morons.   Yeats called Poe's style "tawdry." Eliot called it "slipshod." And D. H.  Lawrence, of all people, described it as "meretricious." If you're over  the age of 13, reading Poe is either an exhausting ordeal or a guilty  pleasure.

Or both. In the end, Poe had such a genius for constructing vivid,  profoundly disturbing images—the best of which reverberate with myriad psychological and mythic meanings—that the stories galvanize in spite of  themselves. As Bloom writes, "The tale somehow is stronger than the telling,  which is to say that Poe's actual text does not matter."

Some might argue that director Sean Graney has built a career out of  treating texts like they don't matter. Setting Sophocles in an emergency  room, Strindberg in a junk pile, Maria Irene Fornes in a big aquarium—Graney
 has made a habit of treating canonical scripts like promising suggestions,  jettisoning whatever he chooses and filling the gaps with whatever tumbles  from his overripe imagination. At his best he creates something provocative,  timely, compelling, and entirely new. At his worst he concocts a mess.

And that's what makes him the perfect guy to blow a hole through Poe's hoary, dreary, inert 1839 short story "The Fall of the House of Usher."

The tale is narrated by an unnamed gentleman who's been summoned to the  dilapidated home of his boyhood friend Roderick Usher. Poe gives six long  paragraphs to the visitor's description of the Usher estate as he approaches
 it; everything is "dull," "dark," "bleak," "melancholy," "desolate," "rank,"  "decayed," "lurid," "ghastly," "pestilent," and/or "leaden-hued."   Roderick himself is a hypersensitive nervous wreck —not unlike the majority  of Poe's antiheroes—who hasn't left the house in years, eats only bland  foods, and can't bear the smell of flowers or the sound of anything but  his guitar. The two men sit around doing almost nothing while Roderick's  ghostly sister, Madeline, molders away somewhere upstairs. When she finally  dies, the men bury her in the basement—aka the "region of horror"—where she stays put only until the grand, you've-got-to-be-fucking-kidding-me  finale.

Graney applies a heavy dose of ridicule in this adaptation for the Hypocrites. Three women play the four characters (Roderick, the visitor,  Madeline, and the family maid) as outsize parodies of Gothic stereotypes.   They lampoon the story's creaky horror conventions with a farcical aplomb reminiscent of Mel Brooks's Young Frankenstein—there's even wolf's howl  every time anyone says "house of Usher." And they switch roles every few minutes, a conceit requiring not only quick costume changes but lightning -fast applications and removals of muttonchops.

The script absorbs the lion's share of Poe's original text, but Graney  also invents much out of whole cloth. Roderick expresses his melancholia,  for example, by nailing books to the wall, and the maid speaks in a nearly impenetrable Scottish accent. The visitor is portrayed as a woman,  fond of pounding back tumblers of gin and sucking lemons. Most
significantly, Graney invents a sexual relationship between Usher and his  sister; when she dies, he transfers his desires to the now-traumatized  visitor.

Once the sexual undercurrents start rising to the surface, Graney follows  in the queer, campy footsteps of Charles Ludlam, who often inverted  classic tales to dissect contemporary gender politics. Trouble is,  Graney hasn't found much worth dissecting. Neither the cross-dressing nor the sexual indiscretions lead to meaningful complications—theatrical,
 psychological, political, or otherwise. It's never clear what's at stake  here beyond making fun of Poe, which is neither difficult nor novel.

Still, the show roars through like a freight train, clocking in at almost  exactly an hour. Joseph Wade's wooden-slat set is fittingly battered and claustrophobic. And the cast (Tien Doman, Halena Kays, and Christine Stulik)  are precise, bold, and indefatigable. As an exercise in style, the show  is quite an accomplishment. But as an act of literary or cultural
engagement, it's disappointingly thin".


The Fall of the House of Usher - Zac Thompson, TimeOut Chicago 8/30/12.  - ""Tales don’t come much creepier than Edgar Allan Poe’s 1839 short story  about twins Roderick and Madeline Usher and their ultra-gloomy, possibly  homicidal mansion. The story’s power to unsettle lies in its atmosphere of uncertainty and unaccountable dread. Reading it, you know something bad  is happening at the family manse, but what, exactly?

Writer-director Sean Graney and his cast of three dilute the tale’s power  by playing it for laughs. Graney doesn’t adapt the text—he burlesques it.   He turns the unnamed narrator into a fluttery Victorian prude with a  bronchial ailment and a weakness for gin. She’s come to the house in  hopes of marrying the moody, morbid Roderick, in spite of his
semi-incestuous fascination with his ghostlike sister. Graney also adds  an earthy maid with an exaggerated Scottish accent.

Performed with stylized soap-operatics and punctuated with comically  timed thunderclaps, the show calls to mind Carol Burnett’s campy movie  parodies. All the roles are played by three women, who rapidly alternate  among the four parts (everybody takes a turn playing each character).  This could be intended to suggest Usher’s fractured psyche or, more
likely, it could be an excuse for Graney to revive the quick-change  routine he devised for his staging of The Mystery of Irma Vep for  Court Theatre in 2009. Here, it’s only in the last two minutes—a breathtaking synthesis of violence, ritual and  precipitation—that Graney matches Poe’s intensity and terror.


The Fall of the House of Usher - Johnny Oleksinski, New City - "“Surely, man had never before so terribly altered, in so brief a period,  as had Roderick Usher!” says the all-too-curious narrator as his eyes  befall a boon friend, Roderick, in Edgar Allan Poe’s gothic short story  “The Fall of the House of Usher.” Reuniting with his pal, he observes,  not only a change in Roderick’s demeanor, but a stunning physical  transformation–a person familiar, but mysteriously altered. Perhaps  “stunning” is not a strong enough word to describe the visitor’s initial  impression of Mr. Usher in The Hypocrites’ new staging of the tale, however. For, in director Sean Graney’s hour-long adaptation, Usher is
 portrayed by a woman in top-hatted drag. Well, three women actually, in breathtaking rotation.

So, why a cast of three formidable ladies? After all, “The Fall of the House of Usher” is a rather masculine read. Two of the three literary  main characters are men, and the sole female character, Lady Madeline, is written to be completely silent. Past onstage efforts have been made  to feminize Poe’s exercise in Romanticism. One such production occurred
in 2006, when Steppenwolf for Young Adults presented a musically luscious,  but meandering production of “Lady Madeline” with the horror story told  from the sister’s perspective. But never have women played so integral
 a role as they do here.

Graney has gone so far as to alter the Visitor from a man to a woman  reminiscent of Bram Stoker’s Lucy Westenra, offering compelling justification as to why the character remains so long in the spooky  Usher home–romantic love. He has also contributed a Scottish-brogued Maid–perhaps inspired by a fleeting valet’s appearance in the original–who
 spreads out the author’s wordy exposition. With three face-painted women  obscured under ghoulish lighting inspiring visions of the watery tarn  below, the audience is coolly absorbed into the same phantasmagorical  discombobulation as the visitor. Who is he? Who is she? And what in  tarnation is this house? Graney’s device does not resonate as purposeless
 gimmickry or as commentary on sexual politics, but as sumptuous visual  illusion.

Poe’s elaborate descriptions, dripping with melancholic splendor, are occasionally quite silly when spoken aloud and are well suited to Graney’s stagey sense of humor. A frantic sequence depicting the passing evenings that Usher and his Visitor spend together is a particularly  clever riff on Poe’s own speedy narrative. But a few recurring motifs–the howling wolves at every utterance of “The House of Usher!”  and the heightened emphasis on the words “terror!” and “beauty!”– are  not startling enough to find harmony with the whole. Both the recorded wolf howls and the spoken exclamations are a touch too restrained to garner  an uproarious response. However, Graney’s intelligent and energetically  brisk adaptation clearly expatiates Poe’s most famous story in a manner  super fun and deliciously decadent, only descending into the bowels of  confusion when it absolutely must.

Hypocrites Artistic Director Halena Kays and company members Tien Doman and Christine Stulik play Usher, the Maid, the Visitor and Lady Madeline.  Yes, each actress plays each role, typically more than once. Their quick shifts in costume, posture, voice and movement are astonishing in aerobic  heft, yet also peculiarly appropriate for an adaptation of a book reliant  largely on lofty symbolism and unraveling madness. The character changes,  though initially farcical, all at once become entrancing—the joy of humor  replaced by the shock of wonderment.

Kays has a natural gothic magnetism about her persona that pervades each  one of her sickly characterizations. Kays’ ease with “Usher” is  unsurprising as she so brilliantly directed the similarly macabre “Six  Characters In Search of An Author” for The Hypocrites last season.   A side effect of viewing three interpretations of a single role in an  hour is the unplanned exploration of a character’s multifaceted  personality—and in Usher’s case, a fractured personality. Kays’
smoky-voiced Usher is awash in curt paranoia, whereas Doman’s lets loose an imposing air of chauvinism and Stulik’s is overwhelmed by  big-eyed, crippling fear. The three actresses’ interpretations of the  Visitor are similarly dynamic and complementary, but the Maid—an expository fool—smartly stays the wise crackin’ course.

Any adaptation of “The Fall of the House of Usher” worth its salt must pay  tribute to the story’s most terrifying character: the grand dwelling itself.  Poe says “House of Usher” is a phrase encapsulating both the crumbling home and the incestuous family line–giving them equivocal weight and intrinsic kinship. In Graney’s production, the treacherous house is granted life by no-holds-barred spectacular design in the downstairs theater of the creepy Chopin. The Hypocrites, already the most reliably entertaining theater company in Chicago, with “Usher,” are experiencing a technical renaissance.

Alison Siple’s deeply hued, grandiose costumes each tell their own ornate  story of loss and lust. How such liberally layered costumes are adorned at madcap pace baffles the mind and is a thrill to experience.   Jared Moore’s lighting is pale and directional, allowing the costume’s  colors to excitedly burst forth and giving the impression of a mile-wide
 vacant hallway. Sound designer Rick Sims’ original gothic compositions  are as water droplets on a still pond. And Joey Wade’s two-doored set is  functional, but the cracks and crevices in its many loose boards foreshadow its infamous demise. As the House of Usher falls, so too will  your lower jaw.

The Fall of the House of Usher Turns a Classic Into Creatively Creepy Camp Robert Bullen, - "Welcome to the House of Usher, where  not everything is as it seems and you may  find yourself buried alive if you're not careful.

The Fall of the House of Usher, a compact, macabre one act adapted from  the Edgar Allan Poe short story by director Sean Graney and produced by The Hypocrites, is all delicious style and atmosphere. Every element has  been designed to create a delirious world of over-the-top 19th century  Gothic melodrama.

In other words, the scenic, lighting and costume designers (Joey Wade,  Jared Moore and Alison Siple, respectively) all have their work cut out  for them -- and, for the most part, they deliver.

With the sadistic charm of a Strange Tree show (if you're not familiar  with their work, you should be) mixed with a large dose of The Mystery  of Irma Vep (a madcap, macabre romp filled with quick costume changes  and a two-person cast which Graney directed at Court Theatre a few seasons  back), Usher clips along with wit and whimsy, with just the right amount  of foreboding danger.

Graney has taken a smart step by employing three gifted actresses (newly appointed Hypocrites Artistic Director Halena Kays along with Tien Doman  and Christine Stulik) to play four key roles, one of them Usher himself,  with each actress changing costumes, wigs and beards with mind-boggling timing. In fact, they did such a seamless job, I thought there were actually four actresses in the show, and was floored when the curtain call revealed my error.

Yet, there are some issues. Things start off with such stylized, Carol  Burnett Show-esque camp, there's only so much further it can go before it grows tiresome. As a result, the action never really gets whipped up  into the frenzy that this style of the show demands. Yes, this trio of  actresses works hard, but Graney's direction keeps the action firmly
 rooted on the boxed in stage (though a concluding scenic element does  make for a chilling final moment). And on a technical note, the seating  arrangement combined with the lighting design resulted in me looking into  a bright spotlight for the entire 80 minute running time.

Aside from the momentary blindness, this curious little show certainly captured my imagination".

"The Fall of the House of Usher" (The Hypocrites): Continues the Rise of the Era of Graney! - Katy Walsh, - "A mysterious letter has prompted a woman to visit her childhood friend, Usher.  He wrote  that he is inflicted with medical maladies and requests her in-person assessment.  Upon arrival, the woman gets sucked into the enigma of Usher’s  home life.  The house is plagued with a creepy vibe.  Thunder, lightning and howling shroud this den of secrets.  What is a guest to do?  Drink it up! Luckily, there is gin by the spot and then by the pot.  THE FALL OF THE HOUSE OF USHER continues the rise of the era of Graney. The gothic meets burlesque is scary great!

Adapter and director Sean Graney exploits Edgar Allen Poe’s dramatic short  story for melodramatic humor.  Words like *terror* and *suspense* are  overemphasized for a laugh.  Graney poe-lverizes this classic into clever  pulp fiction. The thriller-like premise becomes a farcical mystery under  Graney’s tutelage.  To heighten the lampoon aspect even more, Graney utilizes three actors rotating roles throughout the show.  Usher goes out  the door.  Usher comes back in the door and it’s a different actor.    Multiple versions of the same wigs (Designer Mieka Vanderploeg) and exquisite costumes (Designer Alison Siple) make the shift in casting  continually engaging.  I’m not always sure who is playing which role.
I use the distinct voice and presence of an always hilarious Halena Kays  as my directory to uncover the mystery.  Kays, along with Tien Doman and Christine Stulik, energetically attack each role and wardrobe change with  makeover mastery. 


The synchronized anonymity is both funny and unsettling.

And this house… wow!  Set Designer Joey Wade knows how to build intrigue.   The stage is a crickety, wooden diorama.  The ceiling is low.  The stage  is high.  Doors and stairs are on the sides going somewhere.  The illusion  is real. Siple even adds in various size top hats to twist perception. Designers Jared Moore (lighting), Rick Sims (sound/composer) and Maria DeFabo (properties) bring the special effects to disturb and amuse.  And when it starts to rain… so cool!

THE FALL OF THE HOUSE OF USHER is part fun-house, part haunted-house, part mad-house all under one roof. You should visit Sean Graney's HOUSE!"

Sean Graney falls hard for Poe’s ‘House of Usher’  - Mary Houlihan, Chicago Sun Times 8/8/12.  "When it comes to creating for the stage, Sean Graney has become a master at taking already established plays — most recently “The Pirates of Penzance,” “Romeo and Juliet,” the Greek classics — and reworking them with his own unique vision into critically acclaimed productions.

 But back in 2009, Graney had a less successful experience with his adaptation of Mary Shelley’s novel Frankenstein.

I didn’t enjoy that one very much,” Graney says with a knowing laugh. “It was the first piece of non-dramatic literature
that I adapted for the stage and there was just a huge learning curve. I learned a lot from that experience but I just didn’t
 have enough tools at my disposal to make it work.”

Now Graney is taking another stab at the literature end of things with Edgar Allan Poe’s short story “The Fall of the House  of Usher,” which opens the season for The Hypocrites. First published in 1839, it is among the author’s most famous works and set the standard for American Gothic horror.

For someone who’s so grounded in the world of words, Graney admits that growing up “we never read anything and we never talked  about books or literature in my house.” But he does remember his sister reading “The Fall of the House of Usher” for school and suggesting he read it too. He did, and it stuck.

“It’s just so well written and so concise,” Graney notes. “It’s unlike any other story in how affective it is in achieving a
 sense of chilling horror. It was just plain spooky.”

As the dark and unsettling story unfolds, the narrator has been asked to visit his childhood friend, Roderick Usher, at his
bleak and desolate mansion. The visit will be therapy for a mental disorder afflicting the sullen and nervous Usher whose only companion is his beloved sister, Madeline. Long in declining health, she now appears to be dying. There is a constant sense of  dread hovering over every word of this story.

Of course, in a Graney adaptation there’s always a twist. Here he uses three female actors — Halena Kays, Tien Doman and Christine  Stulik — who alternate in the roles throughout the play’s three scenes. In addition, he also makes the visiting narrator (presumed  to be a man) a woman.

“I like this rotation because I think the story is about the fracturing of a personality,” Graney says. “So you have this idea of  a psychological breakdown of a person and what happens when they can’t hold onto their identity anymore.”

Kays has played a number of characters in a single production but not a number of characters that other people are also playing.  Graney’s creations always come with unique challenges, she says.

“When he first came to me with the idea, I was surprised but then it sparked my curiosity,” says Kays, who a year ago, took over  the reins as Hypocrites artistic director from Graney. “Sean uses much of the actual story in the adaptation so actually I think  the biggest surprise is having to create a uniformity between those different characters on top of what has turned out to be the most difficult language in a play that I’ve ever worked on.”

Graney also is keen on exploring how to effectively portray horror on stage.

“I’ve never seen a really scary play, and I don’t know if it’s possible to do,” Graney explains. “How do you do in live theater  what they do so well in literature and movies? How do you really scare an audience? I’m fascinated with figuring that one out.”

GREEK UPDATE: Graney also is deep into what will probably be the biggest adaptation of his life: Honing the 32 classic Greek  tragedies into one, epic,1,000-page script. A recent reading took 12 hours.   “I don’t know what’s going to happen with it,” Graney admits. “It’s been an amazing journey, and I’ll get it done someday.”  For the time being, he’ll teach classes related to the Greek adaptation at both the University of Chicago and Lake Forest College  this fall: “It’s an opportunity to work with students in developing the script and also help them look at the Greek plays via a
different perspective.”

Edgar Allen Poe

Sean Graney

Tien Doman, Halena Kays, Christine Stulik

Scenic Design - Joey Wades; Light Design - Jared Moore; Sound Design - Rick Sims; Costume Design - Alison Siple; Properties Design - Maria DeFabo; Wig Master - Mieka VanderPloeg; Technical Director - Mike Smallwood; Production Manager - Miranda Anderson; Stage Management - Justine Palmisiano; Asst Stage Managers - Nicole Kutcher, Bridgid Danahy; Asst - Director - Ellenor Riley-Condit; Photography

Tags: Theater, American, 2012