University Opera TheatreUniversity Philharmonia OrchestraMarch 24 - 27 , 2011 • Mendelssohn Theatre

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The University of Michigan, School of Music, Theatre & Dance,University Opera Theatre presents

by Mark AdamoLittle Women premiered at the Houston Grand Opera on March 13, 1998.

DirectorConductor

Assistant ConductorScenic Designer

Costume DesignerLighting Designer

Wig, Hair & Makeup DesignerDiction Coach

RépétiteursStage Manager

Robert SwedbergChristopher James LeesWarren Puffer Jones‡Corey LubowichCorey DavisSarah PettyErin Kennedy LunsfordTimothy CheekMatthew Brower, Justin SnyderJordan Braun

Little Women will be performed with one intermission.‡ Warren Puffer Jones will conduct the performance on Sunday, March 27, 2011

Little Women is presented by special arrangement with G. Schirmer, Inc., publisher and copyright owner.

The performers in this production are graduate and undergraduate students in the SMTD. The designers are undergraduates in the Dept. of Theatre & Drama. Scenery, costumes, properties, sound, and lighting were realized by the students and staff of University Productions, the producing unit of the SMTD. Ticket sales assist in providing SMTD students with practical training experience before live audiences. Thank you for supporting our educational mission.

Latecomers will be seated at a suitable break. As a courtesy to others, please set cellular phones and pagers to silent mode and refrain from texting during the performance. Photography, audio recording and videotaping of any kind are not permitted.

A very special thanks to the Friends of Opera for their support and purchase of the student performer’s vocal scores for these performances.

The School of Music, Theatre & Dance acknowledges the generosity of McKinley Associates, Inc. whose support has helped make this production possible.

Media Sponsorship by WRCJ.

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Liebeslieder Waltzes:Songs and Waltzes of LoveSylvia Schwartz sopranoBernarda Fink mezzo-sopranoMichael Schade tenorThomas Quasthoff bass-baritoneMalcolm Martineau pianoJustus Zeyen piano

Saturday, April 23 | 8 pmhill Auditorium

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Cast of CharaCters

University Philharmonia orChestra Violin .......................Christopher Jones‡, Elizabeth Wright*, Michael Bechtel, Caroline Buse, Christina Rowan, Katie Von Braun, Ian Vonwald, Kathryn WiebeViola ................................Juliet Dawson*, Daniel Brown,Andrew TuckVioloncello ........................ Britton Riley*, Lauren Peacock, Jacobsen WoollenDouble Bass ..................... Luke Nystrom*, Christopher LivesayFlute .............................Michael AvitabileOboe ................................... Katie PhillipsClarinet ........................Maureen Conway

Bassoon ...............................Jared HermanHorn ................................. Cody HalquistHarp ......................................Carla FabrisKeyboard ... Matthew Brower, Justin Snyder‡ Concertmaster * Principal

ProdUCtion staff

Director of Orchestras .......Kenneth KieslerUPO Conductor ..Christopher James LeesDir. of Ensemble Operations .... Emily AversMgr. of Ensemble Operations ..David AderentePersonnel Manager .............. Christina LiuEquipment ............. Alexander Robertson, Cody Takács

marCh 24 & 26, 2011 marCh 25 & 27, 2011Jo .......................................................Kristin Eder ..................................Elizabeth LenzLaurie .............................................. Kevin Newell .......................................Kyle StegallMeg ..........................................Christine Reinard ................................Emily GoodwinBeth ................................................... Elise Turner .............................. Kelly HedgspethAmy ..................................................Mary Martin ............................... Amy PetrongelliJohn Brooke .......................................... Carl Frank ......................................Steven EddyCecilia March ............................... Amanda Cantu ...................................... Sarah DavisAlma March ............................. Sarah Nicole Batts ........................... Maureen FergusonFriedrich Bhaer .............................. Nicholas Ward ...............................Brandon GrimesGideon March ........................... Brian Rosenblum ........................Benjamin Sieverding

Mr. Dashwood ....................................................................................... Glenn EllingtonSpirits ........................ Sarah Voice, Stephanie Hradsky, Nadya Hill, Jayme Kelmigian

synoPsis

PRoLoGuE Concord, Massachusetts - 1870The dark attic of the March house - Jo, distraught, greets her friend Laurie. He’s just married Jo’s younger sister Amy; but has he only married Amy to stay near Jo? Worse: Laurie adores Amy — nothing is as it was — and the opera spirals back in time to show why Jo tried to keep it so.

ACT IScene 1: The attic, three years before Jo and her sisters Meg, Beth, and Amy make games of their chores. Laurie tauntingly tells Jo that his tutor, John Brooke, keeps Meg’s glove because he loves her. Jo, alone, sketching a story, fearfully denies that Meg might love him too.

Scene 2: In front of the March house, weeks laterBrooke courts Meg. Jo urges the family to reject him. Cecilia, the girls’ aunt also scorns Brooke: but Meg, resolved, accepts him. Her family celebrates; but Jo accuses Meg of abandoning her.

Scene 3: The March garden, the following summerMeg and Brooke adapt their parents wedding vows. A feverish Laurie pleads for Jo’s love. She spurns him; stung, he flees. Beth, secretly ill, collapses as Meg cries for help.

ACT IIScene 1: The offices of the Weekly Volcano, a New York City fiction tabloid, one year laterA triumphant Jo sells a story; back at her boarding house, she writes her increasingly atomized family. A new acquaintance, Friedrich Bhaer, invites her to the opera.

Scene 2: Simultaneously, Jo’s boarding house; the March parlour; sunny oxford lawnJo and Bhaer engage in flirtatious debate while, in Oxford, Amy tests Laurie’s feelings for Jo. Beth rages at the piano. Bhaer ardently recites Goethe to Jo: then Alma’s desperate telegram interrupts them. Jo flees to Concord.

Scene 3: Beth’s bedroom, three sleepless nights later Beth dozes as her family keeps vigil. Jo bursts in; Beth bids her family leave. Beth urges Jo to accept her impending death.

Scene 4: The March house, the following springCecilia baits Jo with Amy’s letter about loving Laurie. Jo wearily admits Bhaer may have abandoned her. Cecilia urges Jo to choose solitude; refusing, Jo retreats to the attic.

Scene 5: The atticAs in the beginning, Jo, distraught. Laurie, appearing, again reminisces; but now Jo rejects the past. Her sisters materialize as memories: Jo, in emotional exorcism, celebrates and releases them. Bhaer — her future — appears: Jo extends her hand to him.

— Synopsis courtesy of G. Schirmer

a note from the ComPoser

Little Women, that indispensable chronicle of growing up female in post-Civil War New England, has most often materialized on screen and stage as the romance of a free-spirited young writer torn between the boy next door and a man of the world. Closer reading of Louisa May Alcott’s novel revealed to me a deeper theme: that even those we love will, in all innocence, wound and abandon us until we accept that their destinies are not ours to control. So I shaped a libretto in which Jo’s love for her sisters regained the power it wielded in the original novel; and imagined a finale in which Jo at last accepts that even sincerest love and strongest will cannot stave off change and loss.

Jo’s journey called to mind the Buddhist suggestion that a lesson unlearned will present itself over and over again until at last the pilgrim makes progress and grasps the point. It suggested to me a score in which one could clearly hear Jo’s music of resistance tangling with and finally yielding to an unstoppable music of change. In fact, I wanted two scores: a character music sounding these protagonists’ emotional journeys, and a narrative music as distinct as I could make it from the thematic foreground.

So, Jo’s resistance theme and Meg’s and Laurie’s change theme, among others, are written in a free lyric language of triad and key. But those moments driven by language and story, rather than music and psychology, take a kind of dodecaphonic recitativo secco, designed to distinguish the flavor of the non-thematic dialogue. It’s Jo’s Act One scena, “Perfect As We Are,” which portrays her divided feelings by disrupting her long-lined F-major cantilena with careening dodecaphonic comedy, which best exemplifies what I dreamed for this opera: a music in which even the most unlike materials could fuse into a single music if the ear is sensitive and the design is sound.

I am surprised, and humbled, by the critical and popular embrace Little Women has enjoyed in the thirteen years of its life. (University of Michigan’s performances mark the 72nd of 75 past or planned engagements since the opera’s Houston Grand Opera premiere in 1998.) The list of those who have been generous to this work is endless; but I would like, above all, to thank my parents, Julie and the late Romeo Adamo, to whom Little Women is lovingly dedicated.

— Mark Adamo

direCtor’s note

The Louisa May Alcott novel Little Women was not one of my favorites. It was required reading for me in middle, or high school, and as a young, male, Californian, I remember having difficulty relating to the lives of these four 19th century sisters living in Concord, Massachusetts. I’m sure I just wasn’t reading it the right way then, and perhaps I have become more sensitive over time, but it was a wonderful surprise to discover Mark Adamo’s operatic setting, which treats the relationships of the sisters lovingly, but also draws more focus to other parts of the novel that have great appeal to a broader audience. (I’ve been joking with our marketing staff that we could help promote the opera by using the tag line: “…and guys like it too.” ) But that is not really necessary, as buzz about this opera has gotten around since its premiere, and as of last year, it was the second most-produced opera in the U.S. (after Amahl and the Night Visitors).

It is easy to see the appeal. The opera Little Women is about relationships – and how they inevitably change. That the young March sisters had vibrant bonds of sisterhood is important background, but change is the theme here. Adamo has put the eight scenes in the opera together going back in time after the prologue, first cleverly re-winding time by two years, and then working forward to the same point, but with the inevitability of change (and knowledge of what had happened) guiding the action. This dramatic structure, and the device in several scenes, of having many things happening simultaneously, makes Little Women quite different from other operas. Musically too, the piece is unique; extremely difficult to learn, but ultimately very accessible.

There are also a number of flourishes in the libretto of Little Women that I find very interesting. Some text is inspired by Bronson Alcott (Louisa’s father), or Emerson, Thoreau, and Whitman, adding interesting touches of Transcendental perspective not found in the novel.

Finally, with the many roles (mostly double cast) and opportunities for our orchestra, musical staff, three student designers, stage managers, and crew, Little Women becomes an ideal vehicle for the considerable talents of our students at U-M. My wonderful new colleague – Maestro Christopher Lees – joins me in sharing with you that we all have grown in working on this piece, and I am sure you will enjoy the fruits of our efforts.

— Cordially, Robert Swedberg

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aboUt the ComPoser

mark adamo (Composer) first attracted national attention with the libretto and score to his uniquely successful début opera, Little Women, after the novel by Louisa May Alcott. Introduced by Houston Grand Opera in 1998 and revived there in 2000, Little Women has since enjoyed over seventy national and international engagements in cities ranging from New York to Minneapolis, Toronto, Chicago, San Francisco, Adelaide, Mexico City, Tokyo, and Canadian premiere in 2010 in Calgary and Banff. It is one of the most frequently

performed North American operas of the last decade. It was telecast by PBS/WNET on Great Performances in 2001 and released on CD by Ondine that same year; in autumn 2010, Naxos released the DVD of Little Women’s 2001 broadcast. Comparable acclaim greeted the premiere of Lysistrata, or the Nude Goddess, adapted from Aristophanes’ comedy but including elements from Sophocles’ Antigone. Lysistrata was commissioned by Houston Grand Opera for its 50th anniversary and premiered in March 2005 with additional performances at New York City Opera in 2006. Adamo’s first concerto, Four Angels: Concerto for Harp and Orchestra, was commissioned by the National Symphony Orchestra and introduced in June 2007. Naxos released Adamo’s dramatic orchestral song cycle Late Victorians in 2009 on an all-Adamo CD which also features Alcott Music, from Little Women, for strings, harp, celesta, and percussion; Regina Coeli, an arrangement of the slow movement of Four Angels for harp and strings alone; and the four-minute Overture to Lysistrata for medium orchestra, performed by Eclipse Chamber Orchestra. Adamo is currently at work on his next opera, entitled The Gospel of Mary Magdalene, which was commissioned by San Francisco Opera for premiere in 2013.

— Bio courtesy of G. Schirmer, photo by Martin Gram

aboUt the Cast sarah niCole batts (Alma March) grad student, MM Vocal Perf., Palmetto Bay, FLamanda CantU (Cecilia March) grad student, DMA Vocal Perf., Rowlett, TXsarah davis (Cecilia March) grad student, MM Vocal Perf., Ashburn, VAsteven eddy (John Brooke) grad student, Specialist Vocal Perf., Laurel, MDkristin eder (Jo) grad student, DMA Vocal Perf., Ypsilanti, MIGlenn ellinGton (Mr. Dashwood) grad student, MM Vocal Perf., Long Beach, CAmaUreen ferGUson (Alma March) grad student, MM Vocal Perf., Toronto, CanadaCarl frank (John Brooke) grad student, MM Vocal Perf., Normal, ILemily Goodwin (Meg) senior, BM Vocal Perf., Ann Arbor, MIbrandon Grimes (Friedrich Bhaer) senior, BM Vocal Perf., Milton, MAkelly hedGsPeth (Beth) junior, BM Vocal Perf., Louisville, KYnadya hill (Spirit) senior, BM Vocal Perf./BM Violin Perf., Littleton, COstePhanie hradsky (Spirit) senior, BM Vocal Perf., Calgary, CanadaJayme kelmiGian (Spirit) junior, BM Vocal Perf. w/Teaching Cert., Farmington Hills, MIelizabeth lenz (Jo) grad student, MM Vocal Perf., Ann Arbor, MI

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aboUt the artists

mary martin (Amy) grad student, MM Vocal Perf., Plymouth, MIkevin newell (Laurie) grad student, MM Vocal Perf., Edgar, WIamy PetronGelli (Amy) grad student, MM Vocal Perf., Harrison, MIChristine reinard (Meg) grad student, MM Vocal Perf., Copake, NYbrian rosenblUm (Gideon March) grad student, MM Vocal Perf. Roslyn, NYbenJamin sieverdinG (Gideon March) grad student, MM Vocal Perf., Sioux Falls, SDkyle steGall (Laurie) grad student, MM Vocal Perf., Columbia, MOelise tUrner (Beth) grad student, MM Vocal Perf., Liberty Township, OHsarah voiCe (Spirit) senior, BM Vocal Perf/BS Engineering, Okemos, MIniCholas ward (Friedrich Bhaer) senior, BM Vocal Perf., Pontiac, MI

aboUt the Cast

Jordan braUn (Stage Manager) is a senior BFA candidate in the Dept. of Theatre & Drama. uM: Le Nozze di Figaro (ASM), Jonesin’ (ASM.) Basement Arts: Dr. Horrible’s Sing-A-Long Blog (SM), The Diver (SM), Sideman (ASM). Regional Theatre: Fort Worth Opera, Don Giovanni (ASM).

Corey davis (Costume Designer) is a senior BFA candidate in the Dept. of Theatre & Drama studying costume design. uM: Gibson Fleck, (Re)Visionary Dances; asst. costume design, Macbeth; asst. to the costume designer, Ella Minnow Pea. MSIP: Midsummer.... MUSKET: Asst. designer, Hair, Aida.

warren PUffer Jones (Assistant Conductor) is a second-year DMA student of Kenneth Kiesler. uM: UM Campus Symphony Orchestra, UM Gilbert & Sullivan Society. Regional: Music Director, Arbor Opera Theater: La Bohème, Die Fledermaus, Dido & Aeneas, Don Giovanni, Lucia di Lammermoor, La Traviata; Music Director, Ann Arbor Cantata Singers; Detroit Medical Orchestra; Dexter Community Orchestra; Comic Opera Guild. Assistant Conductor: Opera Illinois, Battle Creek Symphony Orchestra, Plymouth Symphony Orchestra.

ChristoPher James lees  (Conductor) uM: Assoc. Director of Orchestras, 2009-2011; Music Director, Michigan Pops Orchestra, 2002-2006. Past Positions: Assoc. Conductor, Akron Symphony Orchestra; Zander Conducting Fellow, Boston Philharmonic Orchestra. Concert Appearances: National Arts Centre Orchestra, Canada; Ensemble Orchestral de Paris, France; Festival Internacional de Inverno de Campos do Jordao, Brazil; Cabrillo Festival Orchestra, CA;  Westmoreland Symphony Orchestra, PA; Cleveland Heights Chamber Orchestra, OH; Michigan Sinfonietta, MI; Grand Rapids Sinfonietta, MI. Conducting: Major symphony orchestras in Baltimore, Jacksonville, Omaha, Memphis, New Orleans.

Corey lUbowiCh (Scenic Designer) is a senior BFA design and production candidate in the Dept. of Theatre & Drama.  UM:  Costume design: Pentecost, Under Milk Wood; Ragtime (asst. costume design), The Marriage of Figaro (asst. scenic design), The Full Monty  (MUSKET, SD);  Measure for Measure  (Rude Mechanicals, SD);  Me and My Dick  (Basement Arts, SD), Dr. Horrible…Blog  (Basement Arts, Director). Regional Theatre:  StarKid Productions: Starship (SD, Chicago Premiere),  A Very Potter Sequel  (SD & CD);  ensemble113:  The Best Medicine  (SD & CD),  Election Day (SD, Chicago Premiere), Reefer Madness (Director). www.luboworks.com

erin kennedy lUnsford (Wig, Hair & Makeup Designer) Recent NYC: The Hallway Trilogy (Rattlestick Playwrights Theater); The Witch of Edmonton (Red Bull Theater); Ghosts in the Cottonwoods (The Amoralists); The Metal Children (The Vineyard Theater).  Her work has also been seen at Playwrights Horizons, Signature Theatre, The Flea, MCC,The MINT, Atlantic Theatre Co., Second Stage, Century Center, Primary Stages, The Acting Company, Columbia Univ., Carnegie Hall and the Guggenheim, among others. Regional Theatre: Yale School of Drama, Univ. of Michigan, New York Stage & Film, Westport Playhouse, Philadelphia Theater Company, Two Rivers, Syracuse Stages. She is also a Hair Supervisor on Broadway. upcoming: Die Fledermaus (NYU).

sarah Petty (Lighting Designer) is a senior BFA design and production candidate in the Dept. of Theatre and Drama studying lighting and set design. uM: Gibson Fleck (asst. scenic design), Our Town (asst. lighting design), See Rock City (lighting design); A Very Potter Sequel, Starship (Starkid Productions, lighting design); Orpheus Descending (Rude Mechanicals, lighting design); When It’s All Been Done Before (UM Senior Film Thesis, lighting design); Dead Man’s Cellphone, Summertime (Basement Arts, lighting design); Parade (MUSKET, scenic design). Regional Theatre: Steppenwolf Theatre Company, A Parallelogram (Electrics Intern). SarahPettyDesign.com

robert swedberG (Stage Director) uM: The Marriage of Figaro, Albert Herring. Regional opera: General Director, Orlando Opera, 1990-2007; General Director, Syracuse Opera; Manager and Artistic Director, North Carolina Opera; Director of special educational projects, Seattle Opera. Stage direction: Pagliacci and Carmina Burana with Cirque du Soleil, Abduction from the Seraglio, The Tales of Hoffmann, The Coronation of Poppea, Don Pasquale, The Magic Flute, L’Enfant et les Sortilèges, La Clemenza di Tito, Tosca, Don Giovanni, Nozze di Figaro, Nabucco, H.M.S. Pinafore, Trial by Jury, and Gianni Schicchi. International opera: The Magic Flute, Macau Music Festival & Beijing Music Festivals, China; La Sonnambula, Spain; La Bohème, Le Nozze di Figaro, Nabucco, Germany; Walton’s The Bear, Italy. other: Board of Directors, OPERA America, 2002-07.

aboUt the artists

staff for little women

SCHooL oF MuSIC, THEATRE & DANCEDean .........................................................Christopher Kendall

uNIVERSITY oPERA THEATREVoice Chair .......................................................Melody Racine Opera ................. Martin Katz, Joshua Major, Robert SwedbergVoice ........ Caroline Helton, Freda Herseth, Stephen Lusmann, Carmen Pelton, Rico Serbo, Martha Sheil, Daniel Washington, Stephen WestDiction .............................................................Timothy CheekProf. Emeritus ................................................... George Shirley

uNIVERSITY PRoDuCTIoNSDirector ................................................................Jeffrey KurasDepartment Administrator ............................. Fatima AbdullahOffice Assistant III/Usher Coordinator .................Shelda SmithMarketing & Communications Dir. ........... Kerianne M. TupacGraphic Design ....................................................CAP DesignsPhotographer .................................... Peter Smith PhotographyInformation Systems Manager .........................Henry ReynoldsFacilities Manager ................................................Shannon RiceHouse Manager ............................................ Dianne WidzinskiSenior Backstage Operations Mgr. .........................Barry LaRueBackstage Operations Mgrs. ........Mark Gordon, David Pickell, Kurt Thoma, Donald C. WatkinsAdministrative Office Assistants ................. Zoë Allen-Wickler, Allison Brown, Abrielle Case, Sara Shvartzman, Kevin TanTheatre 386 ....Joshua Beurer, Brian Rosenblum, Rachel Starnes

PRoDuCTIoN STAFFProduction Manager .....................................Amanda MengdenProduction Stage Manager...................................Nancy UffnerProduction Office Assistants ....... Sophie Boudreau, Bianca Lee, David Lee, Brandon Penberton, Elise WootenTechnical Dir. (Power) ................................... Douglas EdwardsMaster Carpenter (Power) .................................Michael BraicoCarpenter (Power) ......................................... Brandon CarruthTechnical Dir. (Walgreen) ......................Richard W. Lindsay, Jr.Charge Scenic Artist ...........................................Toni Y. AulettiScenic Artist .....................................................Beth SandmaierProperties Master ................................................Arthur RidleyAsst. Properties Master ........................................Patrick DroneMaster Electrician............................................Mark Allen BergSound Engineers .......................Roger Arnett, Henry ReynoldsCostume Shop Manager ................................... Lynn HolbrookAssoc. Costume Shop Manager .......................... George Bacon

Cutter/Drapers ...........................................Virginia R. Luedke, Lea M. Morello, T J WilliamsonCrafts Artisan ...........................................Elizabeth GundersonCostume Stock Administrator .............................. Renae Skoog

PRoDuCTIoN CREWFirst Asst. Stage Manager ......................................Laura CohenAsst. Stage Managers ........................ Leslie Bates, Kelsey SochaAsst. Director ......................................................Joshua BorthsScenery (Power) ............................... Ariel Halt, Justin Megrete, Megan Sawyer, Anna StotlandPaint ..................... Neha Bhat*, Carisa Bledsoe, Claire DiVizio, Steve Eddy, Austin Kozlowski, Alicia Moore, Jordan Schroeder, Trevor St. John-Gilbert*, Nicolas Ward, students of Theatre 250Props .................. Rachael Albert, Daniel Belnavis, Jane Bruce*, Kerry Concannon*, Holland Grossman, Erik Heitz, Tyler Jones, Catherine Keys, Louis King, Mary Little*, Ashley Park*, Erika Peterson*, Trevor St. John-Gilbert, Dereck Seay*, Paige Silvester*, Erik Skoog, Katherine Thomas, Danny Wilfred*, students of Theatre 250Professional Stitchers .............. Laura Kantner, Jessica McKinley Rene Plante, Suzanne YoungCostumes .......... Joshua Beurer, Amalea Chininis, Corey Davis, Elizabeth Evans*, Carrie Fisk, Catherine Herron, Austin Hoeltzel, Laura Irion, Adrienne Johnson, Shawn McCulloch, Maura Niemisto, Desiree Oakley, Yonit Olshan, Devon Perry*, students of Theatre 250 & 252Lighting ....................Rachael Albert, Mary Clare Blake-Booth, Carisa Bledsoe, Michelle Bryan, Andrew Burkhardt, Nathaniel Daly, Kimberly Hunter, Jennifer Jacobs, Claire Jaffe, Andrew Lott, Charles Malott, Adam McCarthy, Tess Nugent, Sarah Petty, Amanda Rutishauser, Aaron Tacy, William Welch, Andrew Wysocki, students of Theatre 250

RuNNING CREWSupertitles ...........................................................Michelle EliasScenery ..................................................................Dan RubensProps ...................................................Nadya Hill, Alie Reehorst, Samantha Rosenfeld, Conor Ryan, Eli SchlatterLight Board Operator .................................. Elizabeth WilliamsLighting ................................................................. Katie MuthWardrobe ...Austin Holtzel‡, Eloise Kirn, Michael Davis SmithWigs & Makeup ....................................Antonia Chekhovskaya‡ Crew Head * Practicum Student

aCknowledGments Supertitles by Tony Kostecki, courtesy of Fort Worth Opera.

This production is entered in the Kennedy Center American College Theater Festival (KC/ACTF). The aims of this national theater education program are to identify and promote quality in college-level theater productions. To this end, each production entered is eligible for a response by a regional KC/ACTF representative, and certain students are selected to participate in KC/ACTF programs involving awards, scholarships, and special grants for actors, playwrights, designers, and critics at both the regional and national levels.

for yoUr information

lateComer PoliCy

Latecomers will be seated at a suitable break or scene change.

PaGers, CellUlar Phones, watCh alarms

Please set pagers to silent mode. Cellular phones should be deactivated. Please deactivate your electronic watch alarm so it will not interrupt the performance. Please refrain from texting during the performance.

emerGenCy ProCedUre

In the event of fire or severe storm, you will be instructed by an announcement from the stage indicating the best method of exit. Please notice the multiple red exit signs in the theatre. For your safety, please exit in a calm and orderly manner.

Cameras and reCordinG deviCes

The use of cameras — with or without a flash — recorders, or other electronic devices inside the theatre is strictly prohibited.

food and drink

No food or drink is allowed in the theatre.

Children

As a courtesy to our audience and the performers, children under the age of three will not be admitted to performances. All children must have a ticket. If your child proves disruptive or excessively restless, you may be asked to leave by House Management.

tiCket sales and information

Hours: Monday – Friday: 9 am – 5 pm Saturday: 10 am - 1 pmEvening of Performance: 7 pm – 8:15 pmPhone: (734) 764-2538 Address: 911 N. Univ., Ann Arbor, MI 48109

season sUbsCriPtion disCoUnts

Discounted tickets through subscription packages are available; call for options.

tiCket exChanGes

Subscribers may exchange their tickets by mail or in person at no charge. Non-subscribers may exchange their tickets by mail or in person for a small processing fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance and are made only for another performance of the same play.

GroUP disCoUnts

Discounts are available for groups of 15 or more.

Gift CertifiCates

Perfect for all occasions, gift certificates are available in any amount.

ParkinG

For your parking convenience, we recommend arriving early. Prepaid parking passes are also available at the League Ticket Office.

aCCessibility

Accessible ramps, elevators, parking, restrooms, and wheelchair seating are

available for patrons with disabilities. Accessible restrooms are located off the main lobby.

soUnd enhanCement

The theatre is equipped with an infrared listening system for

listening enhancement. Lightweight, wireless headsets are available free of charge from House Management.

larGe Print ProGrams

Large print programs are available free of charge from House Management.

Comments? write Us at: University Productions, Attn.: J. Kuras911 N. UniversityAnn Arbor, MI 48109-1265

Since 1974, Friends of Opera members have supported the School of Music, Theatre & Dance’s distinguished opera program, allowing opera students at the University

of Michigan to experience the greatest opportunities for study and performance. Gifts to the Friends of Opera provide funding for a cash prize to the winner of its annual vocal competition, opera scores for student opera productions, and general support for the opera workshop program. Gifts to the Friends of Opera Endowment provide significant student scholarships for gifted singers.

The following opera enthusiasts have made a recent gift of support to the Friends of Opera. You have made a difference here at the School of Music, Theatre & Dance, and also throughout the opera world, by ensuring that our students develop the skills, artistry, and experience they need to become the next generation of great opera singers. Thank you for your support!

Friends of opera Annual Gifts from July 1, 2009 - March 1, 2011

Gifts of $1,000 & above

Adult Learning InstituteMaurice & Linda BinkowAnne & Jim Duderstadt

Gifts of $500-$999Lawrence Berlin & Jean McPhailMichael N. BucciJohn & Gretchen Neal JacksonAlan & Jean KrischRichard LeSueurJohn & Mary PedleyBradley & Simone Taylor

Gifts of $250-$499Dr. & Mrs. Dale E. BriggsRichard & Jo Ann DionneNorman & Debbie HerbertWilliam & Sarah HuffordHerbert E. KatzDiane KirkpatrickJanet & John KnappPeggy McCracken & Douglas AndersonJoseph A. PlacekJohn Romani & Barbara AndersonJack & Jerry WeidenbachMarina & Bob Whitman

Gifts of $100-$249Carolyn AustinWilliam & Patricia AustinGretchen BatraHarry & Kathryn BenfordGerald & Marceline BrightHoward Don CameronMr. & Mrs. Nicholas G. Chapekis, Sr.Mimi Chapman & Dietmar WagnerJoyce E. DelamarterElaine & Gordon DidierCharles H. DuncanRobert A. Green, M.D.Katherine & Tyrell HarrisAl & Jolene HermalinPeter G. HinmanRalph M. HulettBelle JaniszewskiDouglas & Jean KahlProf. & Mrs. Gordon KaneH. David KaplanHerbert & Jane M. KauferLouis E. LoebJane & Kenneth LucasMelvin & Jean ManisLisa MazziaThomas & Marilynn MiskovskyKittie Berger MorelockColin & Nancy Oatley

For online giving, visit www.giving.umich.edu, e-mail Maureen Schafer at schafema@umich.edu or call 734-763-9769School of Music, Theatre & Dance • Development Office • 2005 Baits Drive • Ann Arbor, MI 48109-2075

EID AGoP BVX11 MuSS Code: (306965/728240)

❏ Enclosed is my employer (or my spouse’s) matching gift form.❏ My check is made payable to the university of Michigan.❏ Charge my gift to ❏ VISA ❏ Master Card ❏ Discover ❏ Amer. Exp.

Acct. #: ________________________________________ Exp. Date: ________________

Signature ________________________________________________________________

Name _________________________________________________________________

Address _________________________________________________________________

Home Phone: _______________________ E-mail: ____________________________

I want to support the u-M opera Program with a gift to the: ❏ Friends of opera (306965) ❏ Friends of opera Endowment (728240)In the amount of: ❏ $1,000 ❏ $500 ❏ $250 ❏ $100 ❏ Other _______

P & G FundSuzanne & Sinclair PowellGene & Harry J. RegenstreifBarbara RitterSherry & Bill RootEdie W. & Richard Z. RosenfeldEllen H. RoweSally Rutzky & Helmut BertrandAlbert & Jane SayedMaureen Schafer & David KlerkxInga & Courtland SchmidtShirley & Jack SirotkinJoan Stark & Malcolm LowtherLois A. TheisDuane Thomas & Judith LobatoAlvan & Katharine UhleDr. & Mrs. Jack I. WayneMichael WellmanJames & Gladys Young

Gifts Under $100William F. ArmstrongDorothy C. BarnesGorman & Andrea BeauchampCatherine & James BehrendtHugh C. & Ella May BrownVirginia BurckhalterShirley CoeBeck & David BeckJeff Cooper & Peggy DaubStephen & Ann DonawickStuart & Susan DonesonLillian G. DruryKathleen Dvorak

Niels & Suzy EnglebergJean FineHeidi L. FongerMillicent V. FossJanice R. GeddesRobert Glassman & Jennie LiebermanAnita & Albert GoldsteinWilliam C. HelferAdrienne Kaplan & Harold BorkinLuise & Frederick KienzleVicki J. KondelikJean E. LongDavid P. & Catherine LucasMr. & Mrs. Timothy H. MarvinDr. & Mrs. John H. MatleN. Harris & Margaret McClamrochConstance & Charles E. Olson, Jr.Edward & Rhoda PowsnerAnna Sampson & Daniel HerbertEithel Partlow SechHarriet C. SelinGary & Deborah SieverdingIrma & Robert SklenarVirginia & Eric SteinJenny Lynn StewartLeslie D. & Nancy Yakes StoneDorothy S. ThorneAnne-Marie & Thomas VoiceMr. & Mrs. Eric D. WardenRobert & Sandra WeitzMary & James WhiteCharlotte A. Wolfe

sing.where excellence comes to

Superior conservatory training at a world-class research university. Prestigious, resident faculty and exceptional student talent. It’s all here: www.music.umich.eduThe Elixir of Love, November 2010