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23 April 2011 Music and Lyrics by Stephen Sondheim Book by George Furth Originally Produced and Directed on Broadway by Harold Prince Orchestrations by Jonathan Tunick Thursday, April 7, 2011, 7:30 p.m. Spring Gala 15,171st Concert Friday, April 8, 2011, 8:00 p.m. 15,172nd Concert Saturday, April 9, 2011, 2:00 p.m. 15,173rd Concert Saturday, April 9, 2011, 8:00 p.m. 15,174th Concert Starring Craig Bierko, Stephen Colbert, Jon Cryer, Katie Finneran, Neil Patrick Harris, Christina Hendricks, Aaron Lazar, Patti LuPone, Jill Paice, Martha Plimpton, Anika Noni Rose, Jennifer Laura Thompson, Jim Walton, and Chryssie Whitehead. Paul Gemignani, Conductor Lonny Price, Director Josh Rhodes, Choreographer Lonny Price and Matt Cowart, Co-Producers This concert will last approximately two and one-half hours, which includes one intermission. Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic Alan Gilbert, Music Director, holds The Yoko Nagae Ceschina Chair. Guest artist appearances are made possible through the Hedwig van Ameringen Guest Artists Endowment Fund. Classical 105.9 FM WQXR is the Radio Station of the New York Philharmonic. Programs are supported, in part, by public funds from the New York City Depart- ment of Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts. Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund. Steinway is the Official Piano of the New York Philharmonic and Avery Fisher Hall. Exclusive Timepiece of the New York Philharmonic Global Sponsor 04-07 Sondheim:Layout 1 3/31/11 12:40 PM Page 23

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23April 2011

Music and Lyrics by Stephen SondheimBook by George FurthOriginally Produced and Directed onBroadway by Harold PrinceOrchestrations by Jonathan Tunick

Thursday, April 7, 2011, 7:30 p.m.Spring Gala15,171st Concert

Friday, April 8, 2011, 8:00 p.m.15,172nd Concert

Saturday, April 9, 2011, 2:00 p.m.15,173rd Concert

Saturday, April 9, 2011, 8:00 p.m.15,174th Concert

Starring Craig Bierko, Stephen Colbert,Jon Cryer, Katie Finneran,Neil Patrick Harris, Christina Hendricks,Aaron Lazar, Patti LuPone, Jill Paice,Martha Plimpton, Anika Noni Rose,Jennifer Laura Thompson, Jim Walton,and Chryssie Whitehead.

Paul Gemignani, ConductorLonny Price, DirectorJosh Rhodes, ChoreographerLonny Price andMatt Cowart, Co-Producers

This concert will last approximately two andone-half hours, which includes one intermission.

Avery Fisher Hall at Lincoln CenterHome of the New York Philharmonic

Alan Gilbert, Music Director,holds The Yoko NagaeCeschina Chair.

Guest artist appearances aremade possible through theHedwig van Ameringen GuestArtists Endowment Fund.

Classical 105.9 FM WQXR isthe Radio Station of the New YorkPhilharmonic.

Programs are supported, in part, by publicfunds from the New York City Depart-ment of Cultural Affairs, New YorkState Council on the Arts, and theNational Endowment for the Arts.

Instruments made possible, in part, byThe Richard S. and Karen LeFrakEndowment Fund.

Steinway is the Official Piano of the New YorkPhilharmonic and Avery Fisher Hall.

Exclusive Timepiece of the New York Philharmonic

Global Sponsor

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New York Philharmonic

Music and Lyrics by Stephen SondheimBook by George FurthOriginally Produced and Directed on Broadway by Harold PrinceOrchestrations by Jonathan Tunick

Conducted by Paul GemignaniDirected by Lonny PriceChoreographed by Josh RhodesCo-Produced by Lonny Price and Matt Cowart

Cast(in alphabetical order)

Peter Craig Bierko†

Harry Stephen Colbert†

David Jon Cryer†

Amy Katie Finneran†

Robert Neil Patrick HarrisApril Christina Hendricks†

Paul Aaron Lazar†

Joanne Patti LuPoneSusan Jill Paice†

Sarah Martha Plimpton†

Marta Anika Noni Rose†

Jenny Jennifer Laura Thompson†

Larry Jim WaltonKathy Chryssie Whitehead†

The Vocal Minority†

Alexa Green, Fred Inkley, Rob Lorey, Jessica Vosk

EnsembleCallie Carter, Ariana DeBose, Sean Ewing, Ashley Fitzgerald,

Lorin Latarro, Lee Wilkins

New York Philharmonic24

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25April 2011

Rhythm SectionAnnbritt DuChateau, Keyboards /Organ

Andrew Schwartz, GuitarPaul Pizutti, DrumsJohn Beal, Bass

†Denotes New York Philharmonic debut

The New York Philharmonic’s recording series, AlanGilbert and the New York Philharmonic: 2010–11Season, is available through iTunes via an iTunesPass. For more information, visit nyphil.org/itunes.

Other New York Philharmonic recordings are availableon all major online music stores as well as on majorlabels and the New York Philharmonic’s own series.

The New York Philharmonic This Week, nationally syn-dicated on the WFMT Radio Network, is broadcast 52weeks per year. Radio schedule subject to change; forupdated information visit nyphil.org.

In consideration of both the artists and the audience,please be sure that your cell phones and paging de-vices have been set to remain silent.

The photography, sound recording, or videotaping ofthese performances is prohibited.

ProductionSet Designer: James Noone

Costume Designer: Tracy ChristensenLighting Designer: Kirk BookmanSound Designer: Peter Fitzgerald

Hair and Wig Designer: Paul HuntleyMake-Up Designer: Angelina Avallone

Fight Director: Rick Sordelet

Associate Director: Matt CowartAssociate Choreographer: Lee Wilkins

Production Stage Manager: Timothy R. SemonCasting Director: Kate Boka

Associate Sound Designer: Domonic SackStage Manager: Raynelle Wright

Production Associate: Laura SkolnikAssistant Conductor: Grant Sturiale

LA Vocal Coach: Ben TothAssistant Director: Michael SchwartzAssistant to the Director: Yael Itzkowitz

Assistant to the Choreographer: Bree BrankerAssistant to the Producers: Tony HumrichouserSDC Observers: Nicolas Minas, Melinda Buckley

Production Assistants: Christoph Buchegger, Stephen Gardner, Anna Hendricks, Ben Kawaller,Augie Praley, Maegen Sacco, Lauren Samuelsen

Props Supervisor: Buist BickleyProduction Electrician: Michael S. LoBueProduction Sound Engineer: Ed Chapman

Copyist: Katharine Edmonds / Emily Grishman Music PreparationAssistant Set Designers: William J. Moser, Jeremy Barnett

Assistant Costume Designer: Amy RitchingsAssistant Lighting Designer: Ed McCarthyLighting Programmer: Aland Henderson

Assistant Sound Designer: Megan HenningerWardrobe Supervisor: Kristin Gardner

Assistant Wardrobe Supervisors: Larry Callahan, Melanie SchmidtWardrobe Assistant: Pat White

Hair Dressers: Jun Kim, Joe Vitale, Vanessa AndersonMake-Up Artists: Robert Amodeo, Barry Berger, Nevio Ragazzini

Rehearsal Stand-InsChris Cooke , Jen DeRosa, Donell James Foreman, Emily Hughes, Jonathan Karsky, David Kuelz, Mikey LoBalsamo, SarahNathan, Rebeca Radoszkowicz, Andrea Ross, Cathryn Salamon, Emily Stockdale, Britton Smith, Bethany Xan Jeffery

For the New York PhilharmonicJohn Mangum, Artistic Administrator

Pamela Walsh, Manager, Artistic PlanningAlex Johnston, Operations ManagerMichèle Balm, Operations Coordinator

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26 New York Philharmonic

Musical Program

Act OneOvertureCompanyLittle ThingsSorry-Grateful

You Could Drive a Person CrazyHave I Got a Girl for YouSomeone Is Waiting

Another Hundred PeopleGetting Married TodayMarry Me a Little

Intermission

Act TwoSide by Side by Side (What Would We Do Without You?)

Poor BabyTick-TockBarcelona

The Ladies Who LunchBeing AliveBows

ScenesThe Place: New York City

The Time: 1970

The producers wish to thank EuroCo Costumes, John Kristiansen Costumes, and Capri Shoes for theirassistance in this production.

Special thanks to Sabbia in Chicago for providing Ms. LuPone’s jewelry for this production.

Additional thanks to Emily Althaus, Chris Jaehnig, Bruce Kiesling, Angela Moore, Ian Pai, Augie Praley,Alice Renier, Amy Rogers, Peter Rothbard, David Rysdahl, Steven Smith, Gerald Sternbach, Maximo Torres,and PACE University.

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27April 2011

Notes on the ProgramBy James M. Keller, Program Annotator

a narrative line entirely. Sondheim has sum-marized its “notion” thus:

A man with no emotional commitments re-assesses his life on his thirty-fifth birthdayby reviewing his relationships with hismarried acquaintances and his girlfriends.That is the entire plot.

The work’s genealogy traces back toGeorge Furth, the well-known characteractor, who, as a therapeutic exercise, hadwritten a series of 11 short, one-act playsthat mostly involved three characters. Thedramatis personae were completely unrelatedfrom play to play, but in most cases two of thecharacters were in a relationship with eachother, and the other was a “third wheel” — anoutsider. When plans for a production of agroup of the plays dissolved, Furth consultedwith Sondheim; Sondheim consulted with hisdirector-producer colleague Harold Prince,who saw in them the glimmer of a musical.To make the disparate scenes come together

Company

Stephen Sondheim

Stephen Sondheim has been Broadway’sleading composer-lyricist for half a century;he did not achieve that distinction by repeat-ing himself. He has proved to be one of mu-sical theater’s most ingenious creators,constantly confronting new challenges tosolve and uncovering novel artistic paths toexplore. Each of his major works — 15 full-scale musicals to date — has been ground-breaking in its way, each unique. His workshave often grown out of well-established tra-ditions of Broadway show writing, but, likeany master chef, he reinvents the recipes heinherits. Theatrical formulas may providepoints of departure for Sondheim, but noth-ing in the oeuvre of his maturity is habitualor formulaic.Company falls near the beginning of his pi-

oneering output, and its flavor was so unan-ticipated that it left many in the audiencewondering what to makeof the piece. Certainly itwas not a “book musi-cal” per se — the sort ofclearly scripted narra-tive play with integratedsong and dance that hadby then dominated theBroadway stage for agood 25 years, in suchworks as Oklahoma!, MyFair Lady, and Man ofLa Mancha. It struckmany viewers as lacking

In Short

Born: March 22, 1930, in New York City

Resides: in New York City

Work composed: 1970 (with preliminary work beginning the preceding year); thebook is by George Furth; Sondheim served as both composer and lyricist

World premiere: April 26, 1970, at the Alvin Theatre in New York, following tryoutsin Boston

New York Philharmonic premiere and most recent performance: the Phil-harmonic first performed excerpts from Company on May 20, 2008, Marvin Ham-lisch, conductor, and most recently on March 16, 2010, Paul Gemignani, conductor

Estimated duration: ca. 130 minutes

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into a self-standing work, Sondheim andFurth amalgamated the various “outsider”characters into a single person: Robert (or“Bobby,” “Bobby baby,” “Bobby bubi,” and soon), the glue that binds the show’s vignettes

together and whose unmarried state does notcompare unfavorably to the relationships ofthe various couples, which are portrayed ashaving both pluses and minuses.“Company does have a story,” wrote Sond-

heim in his recent book, Finishing the Hat,

[it’s] the story of what happens insideRobert. It just doesn’t have a chronologicallinear plot. As far as I know, prior to Com-pany there had never been a plotless musi-cal which dealt with one set of charactersfrom start to finish. … Audiences kept wait-ing for something to happen, some incidentthat would lead to another that would leadto another, and were baffled when nothingdid. The show takes place not over a periodof time, but in an instant in Robert’s mind,perhaps on a psychiatrist’s couch, perhapsat the moment when he comes into hisapartment on his thirty-fifth birthday.

Although it’s not a book musical, Companydid have antecedents. Sondheim has ac-knowledged that its impetus may have de-rived from Allegro, an unsuccessful 1947musical by Richard Rodgers and Oscar Ham-merstein II, which traced the life of a centralcharacter through memories of incidents thatseem almost arbitrary. Sondheim’s first job incommercial theater was as Hammerstein’sassistant for that production. Although it wassurely dispiriting for an aspiring professionalto cut his teeth on a show that was destinedto fail, the theatrical challenge that Allegrofailed to conquer may well have led him to de-vise Company. Sondheim’s show also drawsfrom the showbiz tradition of revues, the va-riety shows that grew out of vaudeville andmight typically include unrelated songs,dance numbers, comedy routines, and othersuch acts. The scenes of Company spinrevue-like around Robert, but he serves as

In the Composer’s Words

In his extraordinary book Finishing the Hat, publishedjust six months ago by Knopf, Stephen Sondheim ex-plains a challenge he needed to confront while imag-ining Company, a show in which the songs do notserve to advance a plot:

I decided to hold the score together through sub-ject matter: all the songs would deal either withmarriage in one sense or another, or with NewYork City. … That solution led to a bigger difficulty:I knew almost nothing about the primary subject.I had never married, or even been in a long-termrelationship. … How could I write about relation-ships (a buzzword in the sixties) without merelyreiterating the received wisdom I’d gleaned fromplays and movies and sitcoms? … I asked MaryRodgers, a songwriter herself, to tell me what sheknew about marriage. … She had recently begunher second attempt at it and she knew enough toknow what she didn’t know, which made her com-ments fresh, personal discoveries rather thanpredigested truisms. I took notes — literally — aswe talked. For me it may have been secondhandexperience, but it was experience nonetheless,and … enough to give me the confidence to goahead and write the score.

New York Philharmonic28

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their anchor. It was enough to convince audi-ences to give this brave new show a try — andit went on to play for 705 performances in itsinitial Broadway run.

Instrumentation: this performance em-ploys an expanded orchestration byJonathan Tunick that calls for three flutes(two doubling alto flute, one doubling pic-colo), oboe and English horn, three clarinets(one doubling bass clarinet), bassoon, alto sax-ophone, two tenor saxophones (one doublingclarinet and bass clarinet), two baritone saxo-phones (both doubling clarinet), two horns,three trumpets (two doubling flugelhorns),

two trombones, timpani, drum set, vibra-phone, scraper, cabasa, tambourine, fingercymbal, xylophone, orchestra bells, triangle,temple blocks, castanets, chime, bell tree, vi-braslap (or Flexitone), Acme siren, ratchet,police whistle, wood block, guitar (playingacoustic and electric guitars and banjo), elec-tric bass (doubling acoustic bass), synthe-sizer, and strings (without any violas ordouble basses).

Acknowledgment: Company is presentedthrough special arrangement with Music The-atre International (MTI). All authorized per-formance materials are also supplied by MTI.

Isn’t It Ironic?

In Finishing the Hat, Stephen Sondheim writes of an aspect of this show’s intellectual character that was newto audiences in 1970, although it would become endemic in the theater in ensuing decades:

Company wasmy first full immersion in evening-lengthirony — irony not merely employed as a tone for stray in-dividual songs like “Gee, Officer Krupke” [in West SideStory] and Cora’s number in Anyone Can Whistle, butas the modus operandi of an entire score. Company, infact, was the first Broadway musical whose definingquality was neither satire nor sentiment, but irony. It wasan observational musical, told at a dry remove from be-ginning to end; in that sense, it was a descendant of Al-legro, although Allegro had not a drop of irony in itsheartfelt soul. Of course, many plays, from Restorationcomedy onward, have been purveyors of irony — Brechtbuilt a body of work on it — and a number of musicalslike Cabaret contained ironic moments, but Companywas suffused with it. Most of the shows I did with Hal[Prince] had this observational aspect to them, the ex-ceptions being Sweeney Todd and, to a lesser extent, ALittle Night Music, both of which, not without signifi-cance, had been suggestions of mine. The truth is thatHal was the ironist (witness Evita and Lovemusik,among others, both of which he encouraged and di-rected), and I the romantic (Sunday in the Park withGeorge and Passion, for example), which is one of thereasons that our collaboration was so good.

April 2011 29

The Playbill program for the first Broadway run of Company

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2010–2011 SEASONALANGILBERT, Music Director, The Yoko Nagae Ceschina ChairDaniel Boico, Assistant ConductorLeonard Bernstein, Laureate Conductor, 1943–1990Kurt Masur, Music Director Emeritus

VIOLINSGlenn DicterowConcertmasterThe Charles E. CulpeperChairSheryl StaplesPrincipal AssociateConcertmasterThe Elizabeth G. BeineckeChairMichelle KimAssistant ConcertmasterThe William PetschekFamily ChairEnrico Di CeccoCarol WebbYoko Takebe

Minyoung Chang+Hae-Young HamThe Mr. and Mrs. TimothyM. George ChairLisa GiHae KimKuan-Cheng LuNewton MansfieldThe Edward and PriscillaPilcher ChairKerry McDermott+Anna RabinovaCharles RexThe Shirley Bacot ShamelChairFiona SimonSharon YamadaElizabeth ZeltserThe William and ElfriedeUlrich ChairYulia Ziskel

Marc GinsbergPrincipalLisa Kim*In Memory of Laura MitchellSoohyun KwonThe Joan and Joel I. PicketChairDuoming Ba

Marilyn DubowThe Sue and EugeneMercy, Jr. ChairMartin EshelmanQuan GeJudith GinsbergStephanie JeongThe Gary W. Parr ChairHanna LachertHyunju LeeJoo Young OhDaniel ReedMark SchmoocklerNa SunVladimir Tsypin

VIOLASCynthia PhelpsPrincipalThe Mr. and Mrs. FrederickP. Rose ChairRebecca Young*Irene Breslaw**The Norma and LloydChazen ChairDorian Rence

Katherine GreeneThe Mr. and Mrs. William J.McDonough ChairDawn HannayVivek KamathPeter KenoteKenneth MirkinJudith NelsonRobert RinehartThe Mr. and Mrs. G. ChrisAndersen Chair

CELLOSCarter BreyPrincipalThe Fan Fox and Leslie R.Samuels ChairEileen Moon*The Paul and DianeGuenther Chair

The Shirley and JonBrodsky Foundation ChairEvangeline Benedetti

Eric BartlettThe Mr. and Mrs. James E.Buckman ChairElizabeth DysonMaria KitsopoulosSumire KudoQiang TuRu-Pei YehThe Credit Suisse Chairin honor of Paul CalelloWei YuWilhelmina Smith++

BASSESEugene LevinsonPrincipalThe Redfield D. BeckwithChairOrin O’BrienActing Associate PrincipalThe Herbert M. Citrin Chair

William BlossomThe Ludmila S. and Carl B.Hess ChairRandall ButlerDavid J. GrossmanSatoshi Okamoto

FLUTESRobert LangevinPrincipalThe Lila Acheson WallaceChairSandra Church*Mindy Kaufman

PICCOLOMindy Kaufman

OBOESLiang WangPrincipalThe Alice Tully ChairSherry Sylar*Robert BottiThe Lizabeth and FrankNewman Chair

ENGLISH HORN

The Joan and Joel SmilowChair

CLARINETSMark NuccioActing PrincipalThe Edna and W. Van AlanClark ChairPascual MartinezForteza

Acting Associate PrincipalThe Honey M. Kurtz FamilyChairAlucia Scalzo++Amy Zoloto++

E-FLAT CLARINETPascual MartinezForteza

BASS CLARINETAmy Zoloto++

BASSOONSJudith LeClairPrincipalThe Pels Family ChairKim Laskowski*Roger NyeArlen Fast

CONTRABASSOONArlen Fast

New York Philharmonic

New York Philharmonic30

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HORNSPhilip MyersPrincipalThe Ruth F. and Alan J. Broder ChairStewart Rose++*Acting Associate PrincipalCara Kizer Aneff**R. Allen SpanjerErik Ralske+Howard WallDavid Smith++

TRUMPETSPhilip SmithPrincipalThe Paula Levin ChairMatthew Muckey*Ethan BensdorfThomas V. Smith

TROMBONESJoseph AlessiPrincipalThe Gurnee F. and Marjorie L. HartChairAmanda Davidson*David FinlaysonThe Donna and Benjamin M. RosenChair

BASS TROMBONEJames MarkeyThe Daria L. and William C. FosterChair

TUBAAlan BaerPrincipal

TIMPANIMarkus RhotenPrincipalThe Carlos Moseley ChairKyle Zerna**

PERCUSSIONChristopher S. LambPrincipalThe Constance R. Hoguet Friends ofthe Philharmonic ChairDaniel Druckman*The Mr. and Mrs. Ronald J. UlrichChairKyle Zerna

HARPNancy AllenPrincipalThe Mr. and Mrs. William T. Knight IIIChair

KEYBOARDIn Memory of Paul Jacobs

HARPSICHORDLionel Party

PIANOThe Karen and Richard S. LeFrakChairHarriet WingreenJonathan Feldman

ORGANKent Tritle

LIBRARIANSLawrence TarlowPrincipalSandra Pearson**Sara Griffin**

ORCHESTRA PERSONNELMANAGERCarl R. Schiebler

STAGE REPRESENTATIVELouis J. Patalano

AUDIO DIRECTORLawrence Rock

* Associate Principal** Assistant Principal+ On Leave++ Replacement/Extra

The New York Philharmonic usesthe revolving seating method forsection string players who arelisted alphabetically in the roster.

HONORARY MEMBERS OF THE

SOCIETYPierre BoulezStanley DruckerLorin MaazelZubin MehtaCarlos Moseley

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The Artists

Craig Bierko (Peter) received Tony, DramaDesk, and Outer Critics Circle award nomi-nations for his performance as Harold Hill inthe 2000 Broadway revival of The MusicMan, and played Sky Masterson in the recentBroadway revival of Guys and Dolls. On filmhe has appeared as Timothy in the 1996 ac-tion movie The Long Kiss Goodnight; MaxBaer in Cinderella Man; and Tom Ryan inScary Movie 4.Mr. Bierko’s other film and television cred-

its include Damages, Head Case, Meet Bill,Superhero Movie, Unhitched, Boston Legal(third season), For Your Consideration,Danika, Sex and the City (fourth season), AllyMcBeal, Fear and Loathing in Las Vegas, ’TilThere Was You, and Wings.

Stephen Colbert (Harry) is the host and ex-ecutive producer of The Colbert Report, theEmmy and Peabody Award–winning series onComedy Central. The series has received atotal of 18 Primetime Emmy nominations, andthe musical holiday special A Colbert Christ-mas: The Greatest Gift of All! won a Grammyfor Best Comedy Album. The Colbert Reportdeployed to Iraq in June 2009 on a USO tourtitled ”Operation Iraqi Stephen: Going Com-mando” to tape and perform in front of thetroops. The Colbert Report is the first televisionprogram in USO history to produce a week ofshows in a combat zone. Beginning in 1997,Mr. Colbert was the longest-tenured and mostdiverse correspondent on The Daily Showwith Jon Stewart. He also co-created ComedyCentral’s first-ever live-action narrative series,Strangers with Candy. His other appearanceson camera include Curb Your Enthusiasm andLaw & Order: Criminal Intent. He was a castmember and writer on ABC’s The Dana Car-vey Show, wrote for Saturday Night Live(SNL); and was the voice of Ace on the SNLanimated series The Ambiguously Gay Duo.

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He was also the voice of the President of theUnited States in the Dreamworks animatedfilm Monsters vs. Aliens. Mr. Colbert’s book, IAm American (And So Can You!), spent 29weeks on The New York Times best-seller list.Raised in Charleston, South Carolina, StephenColbert graduated from Northwestern Univer-sity and quickly made a name for himself as amember of Chicago’s famed Second City im-prov troupe, where he met Amy Sedaris andPaul Dinello. The three moved to New YorkCity, where they created and starred in Exit 57,a half-hour sketch comedy series that ran forthree seasons on Comedy Central.

Jon Cryer (David) won an Emmy Award forBest Supporting Actor in a Comedy Seriesfor his work as Alan Harper in CBS’s No. 1comedy, Two and a Half Men. He initiallygained attention on the big screen oppositeDemi Moore in No Small Affair, followed byhis performance as an endearing misfit inJohn Hughes’s Pretty in Pink. He also ap-peared as Jim “Wash Out” Pfaffenbach inHot Shots! His first foray into television wasplaying the title role in The Famous Teddy Zon CBS. In addition, he starred in two showsfor FOX — Getting Personal and Partners —and was seen on ABC’s The Trouble with Nor-mal. On stage, Mr. Cryer has hit the boards onboth sides of the Atlantic: he played David in

Harvey Fierstein’s Torch Song Trilogy, takingthe role from Broadway to Los Angeles;starred as Eugene Jerome on Broadway inNeil Simon’s Brighton Beach Memoirs; andplayed Jack in the Los Angeles premiere ofBoys Life. As a filmmaker Jon Cryer co-wrote, produced, and starred in two well-received independent films on which he col-laborated with director Richard Schenkman:The Pompatus of Love and Went to ConeyIsland on a Mission from God… Be Back byFive. He is the son of actor David Cryer andwriter/actress Gretchen Cryer.

Katie Finneran (Amy) appeared on Broad-way last season as Marge MacDougall in therevival of Promises, Promises, for which shereceived Tony, Drama Desk, and Outer CriticsCircle awards. She also won Tony, DramaDesk, and Outer Critics Circle awards for herperformance in the Broadway revival ofNoises Off! Her other Broadway appear-ances include Mauritius, Cabaret (as SallyBowles), The Iceman Cometh, Neil Simon’sProposals, The Heiress, In the Summer-house, My Favorite Year, Two ShakespeareanActors, and On Borrowed Time. Off-BroadwayMs. Finneran has been seen in Love, Lossand What I Wore; You Never Can Tell; PigFarm; Arms and the Man; Li’l Abner; Bosomsand Neglect; A Fair Country; and Edith Stein.

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She made her London debut in the West Endproduction of David Lindsay-Abaire’s FuddyMeers. In film she has appeared in Baby onBoard, Untitled Peter Farrelly Film, BrokenBridges, Firehouse Dog, Miss Congeniality 2,Bewitched, You’ve Got Mail, Liberty Heights,and Night of the Living Dead. Ms. Finneranhas been a regular on the television seriesThe Inside, Wonderfalls, and Bram and Alice.She may also be familiar to television audi-ences for her roles on Frasier, Damages,Royal Pains, Oz, and Sex and the City.

Neil Patrick Harris (Robert) made his NewYork Philharmonic debut as Tobias Ragg inthe Orchestra’s 2000 production of StephenSondheim’s Sweeney Todd. His Broadwayappearances include The Balladeer/Lee Har-vey Oswald in the Tony Award–winning mu-sical, Assassins; the Pulitzer Prize–winningproduction of Proof, opposite Anne Heche;and the emcee in Cabaret at Studio 54. Ad-ditional theater credits include All My Sons(Geffen Playhouse, Los Angeles); Amadeus,with the Los Angeles Philharmonic (Holly-wood Bowl); The Paris Letter (Kirk DouglasTheatre, Los Angeles); tick, tick…BOOM! (Me-nier Chocolate Factory, London); Romeo andJuliet (Old Globe Theatre, San Diego); andRent (Drama Desk Award; second national

tour, Los Angeles, San Diego). From his filmdebut opposite Whoopi Goldberg in Clara’sHeart and his role as the title character ofDoogie Howser, M.D., to his recent turns inthe Harold & Kumar films and Joss Whedon’sonline sensation, Dr. Horrible’s Sing-AlongBlog, Mr. Harris has enjoyed a career span-ning more than 20 years in the industry. Hewon Emmy Awards for his guest-starring roleon Glee and for hosting the 63rd Annual TonyAwards. Additionally, he hosted and co-produced the 61st Annual Emmy Awards. Hecurrently stars as Barney Stinson in CBS’sHow I Met Your Mother, earning multipleEmmy and Golden Globe Award nominationsand a People’s Choice Award for Favorite TVComedy Actor. Following his recent turn inBeastly, Mr. Harris’s upcoming film appear-ances include The Smurfs and A Very Harold &Kumar Christmas. He will soon make his filmdirectorial debut with a romantic comedyprovisionally titled Aaron & Sara, starringJosh Hutcherson and Emma Roberts. Hemade his theatrical directorial debut with thecomedy I Am Grock (El Portal Theatre, NorthHollywood), and mixed his loves of magicand theater in directing The Expert at theCard Table (2008 Edinburgh Fringe Festival).Earlier this year, he made his musical direc-torial debut with the Hollywood Bowl’s recentstaging of Rent.

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Christina Hendricks (April) appears asJoan Harris (formerly Holloway) on AMC’scritically acclaimed series Mad Men, winningher first Emmy nomination in the category ofBest Supporting Actress in a Drama Series.She has also starred in Kevin Hill on UPNopposite Taye Diggs. Her television guest ap-pearances have included Without a Trace,Cold Case, and recurring roles on Joss Whe-don’s Firefly, Notes from the Underbelly, andLife. Ms. Hendricks recently completed pro-duction on The Weinstein Company’s I Don’tKnow How She Does It, a comedy about a fi-nance executive who is the breadwinner forher husband and two kids, also starring SarahJessica Parker, Pierce Brosnan, and OliviaMunn; the film is to be released in 2012. Shecan be seen in the film Drive, starring oppositeRyan Gosling and Carey Mulligan. She re-cently finished production on Paper StreetFilms’ Detachment, opposite Adrian Brodyand James Caan, and Leonie, alongside EmilyMortimer. Other film credits include Life AsWe Know It, La Cucina, South of Pico, andDriving Lessons with Dermot Mulroney andHope Davis. Christina Hendricks began hercareer as the opportunistic, career-climbingintern on Showtime’s Beggars and Choosersbefore she signed with John Wells Produc-tions for shows that include The Big Time on

TNT, ER for NBC (in a recurring role), andThe Court, opposite Sally Field, on ABC.

Aaron Lazar (Paul) recently played the roleof prosecutor David Wilentz in Dustin LanceBlack’s J. Edgar, a film starring Leonardo Di-Caprio and directed by Clint Eastwood (late2011 release). Other film or television cred-its include The Notorious Bettie Page, UglyBetty, White Collar, New Amsterdam, and AllMy Children. Mr. Lazar has performed with theNew York Pops, led by Steven Reineke, andthe National Symphony Orchestra, with MarvinHamlisch. He has performed the role of BillyBigelow in a concert version of Carousel withthe Boston Pops conducted by Keith Lock-hart, Lt. Cable in South Pacific at The Holly-wood Bowl led by Paul Gemignani, and Gabeyin On The Town with English National Opera,among other appearances. On Broadway Mr.Lazar originated roles in A Tale of Two Cities;in the world premiere of Impressionism, star-ring Jeremy Irons and Joan Allen; the revivalof Les Misérables (for which he received aDrama Desk nomination); and in last year’s re-vival of Stephen Sondheim’s A Little NightMusic, with Catherine Zeta-Jones, AngelaLansbury, Bernadette Peters, and ElaineStritch. Aaron Lazar also heads IntegratedArts, a company that merges his passionsfor the arts and education. Current projects

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include producing an educational documen-tary film package for high school and collegestudents titled The Americana Project, andcreating and producing Broadway 101, aperformance/master class.

Patti LuPone (Joanne) has appeared onstage in Women on the Verge of a NervousBreakdown; Gypsy (for which she receivedTony, Drama Desk, Outer Critics Circle awards,and theDramaLeagueAward for DistinguishedPerformance of the Season); Sweeney Todd(Tony, Drama Desk, Outer Critics Circle nomi-nations); Passion, Candide, Can-Can, NoisesOff!, and Sweeney Todd (with the New YorkPhilharmonic and others); The Old Neighbor-hood, Master Class, and Patti LuPone onBroadway (Outer Critics Circle Award); PalJoey, Anything Goes, Oliver!, Accidental Deathof an Anarchist, The Woods, Edmond, TheCradle Will Rock, and Evita (Tony and DramaDesk Awards); and Working, The Water En-gine, and The Robber Bridegroom (TonyAward and Drama Desk nominations). In Lon-don she appeared in Matters of the Heart,Master Class, Sunset Boulevard (OlivierAward nomination), the RSC world premiereproduction of Les Misérables, and The Cra-dle Will Rock (Olivier Award for her perform-ances in both productions). Ms. LuPone’sopera performances include Jake Heggie’s

To Hell and Back, for San Francisco’s Phil-harmonia Baroque Orchestra; Weill-Brecht’sThe Rise and Fall of the City of Mahagonny,for the Los Angeles Opera (debut); and MarcBlitzstein’s Regina, at The Kennedy Center.She has appeared in the films City by theSea; David Mamet’s Heist and State andMain;Just Looking; Summer of Sam; Driving MissDaisy; Witness; and on numerous televisionshows. Her recordings include Patti LuPoneLive, Heatwave, Pal Joey, Matters of the Heart,and Sweeney Todd (on the New York Philhar-monic’s Special Editions label); the 2006 and2008 recordings of Sweeney Todd andGypsy; the Ghostlight Records release of TheLady with the Torch; and Patti LuPone at LesMouches, a digitally remastered live perform-ance CD of her now-legendary 1980 night-club act. Ms. LuPone is a founding member ofthe Drama Division of The Juilliard Schooland of John Houseman’s The Acting Com-pany. She is the author of The New York Timesbest-seller Patti LuPone: A Memoir.

Jill Paice (Susan), who recently starred inthe City Center Encores! production ofWhere’s Charley?, appeared on Broadway asAnnabella, Margaret, and Pamela in The 39Steps, and originated the roles of Niki Harrisin Curtains and Laura Fairlie in The Woman inWhite. In London she originated the roles of

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Scarlett O’Hara in Gone with the Wind andLaura Fairlie in The Woman in White, and ap-peared in Night of 1,000 Voices at Royal Al-bert Hall. She performed on the national tourof Les Misérables, and played Sophie in theoriginal company of Mamma Mia! in LasVegas. Ms. Paice received Helen HayesAward nominations for her roles in the Signa-ture Theatre productions of Chess andAce. She played Lucy in The Gig and Del-phi/Susan in Weird Romance at the York The-atre, and is featured on the original castrecordings of Curtains, The Woman in White,The Gig, and Andrew LloydWebber on Broad-way. Her television appearances include TheBeautiful Life and The Wonderful Maladys.

Martha Plimpton (Sarah) has been seen onstage, screen, and television, and is currentlystarring on the television series Raising Hope.She made her film debut in Alan J. Pakula’sRollover and went on to star in more than 30films, including The Goonies, The MosquitoCoast, Running on Empty, Beautiful Girls, Par-enthood, 200 Cigarettes, Pecker, and the in-dependent feature Small Town Murder Songs(for which she recently won the Best ActressAward at the Whistler Film Festival). Her tele-vision appearances have included Law&Order:Special VictimsUnit (Emmy nomination for Out-standing Guest Actress in a Drama Series);

Grey’s Anatomy; Fringe; The Good Wife; andHow to Make It in America. On stage Ms.Plimpton most recently starred oppositeStockard Channing in Pal Joey for the Round-about Theatre Company (a third Tony nomina-tion, Drama Desk nomination for BestFeatured Actress in a Musical, and DramaLeague nomination). In 2008 Ms. Plimptonstarred in Top Girls for Manhattan TheatreClub (Tony and Drama Desk nominations), andstarred as Imogen in Lincoln Center Theater’sproduction of William Shakespeare’s Cymbe-line. Other theater appearances have includedThe Coast of Utopia (Drama Desk and OuterCritics Circle awards and a Tony nomination),Shakespeare in the Park’s A MidsummerNight’s Dream, Shining City, False Servant(Drama League nomination), Hurlyburly, andHobson’s Choice (Obie Award, Lucille Lortellnomination). Martha Plimpton is a member ofthe Steppenwolf Theatre Ensemble and wasawarded the National Medal of Arts Award.

Anika Noni Rose (Marta) was seen most re-cently as assistant district attorney WendyScott-Carr, a surprise candidate running for of-fice opposite Chris Noth’s Peter Florrick on TheGood Wife on CBS, and she was the voice ofPrincess Tiana in Disney’s The Princess & theFrog, which received three Oscar nominations.She recently starred as Yasmine in Tyler Perry’s

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For Colored Girls, and made her first trip toAfrica for the Peabody Award–winning BBCand HBO television series The No. 1 LadiesDetective Agency, portraying secretary MaMakutsi. Ms. Rose trained at San Francisco’sAmerican Conservatory Theater, and subse-quently appeared on Broadway in Footloose.She garnered an Obie Award for the Off-Broadway Laura Nyro retrospective Eli’sComin’, and earned a Lucille Lortel Award forher portrayal of Emmie Thibodeaux in TonyKushner’s Caroline, or Change, for which shealso received a Tony Award, The TheaterWorldAward, The Clarence Derwent Award, and aDrama Desk nomination. On the big screenshe played Lorrell Robinson in Bill Condon’sDreamgirls, for which she received a nomina-tion for an NAACP award. Ms. Rose returned toBroadway as Maggie in Debbie Allen’s ac-claimed production of Cat on a Hot Tin Roof.Her vocal performances have taken her aroundthe world, including an appearance at the 79thAnnual Academy Awards, The Vatican, andCarnegie Hall. She made her solo cabaretdebut in New York as part of Lincoln Center’sAmerican Songbook this winter.

Jennifer Laura Thompson (Jenny) starredon Broadway last season in Lend Me a Tenor,following her starring role as Glinda inWicked. She originated the role of Hope

Cladwell in Urinetown (for which she receiveda Tony nomination for Best Leading Actress),and originated the role of Ariel Moore in Foot-loose. Her other productions have includedOn the Town, Of Thee I Sing, and Pardon MyEnglish, at City Center’s Encores!; Little Fish,at Second Stage Theatre; and the first na-tional tour of Carousel, as Julie Jordan. Ms.Thompson has toured Europe in concert, andplayed a murderer on Law & Order: SpecialVictims Unit.

JimWalton (Larry) most recently appearedwith the New York Philharmonic in Sond-heim: The Birthday Concert! in March 2010.He also starred in the Philharmonic’s 1985presentation of Sondheim’s Follies: In Con-cert. Among his other credits are ScrambledFeet, Perfectly Frank, Merrily We Roll Along,Stardust, 42nd Street, Sweeney Todd (in the1989 revival), And the World Goes ’Round,Crazy for You (broadcast on PBS), The MusicMan (2000 revival), Guys and Dolls (2009 re-vival), and Bye Bye Birdie (2009 revival). Heappeared with his brother, Bob Walton, in CityCenter’s Encores! production of The ZiegfeldFollies of 1936. With Bob, Jim Walton haswritten several musicals, including DoubleTrouble (A Musical Tour de Farce) andMid-Life! The Crisis Musical, both licensedthrough the Rodgers & Hammerstein Or-

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ganization. Mr. Walton was raised in Marion,Indiana, and trained at the University ofCincinnati’s Conservatory of Music.

Chryssie Whitehead (Kathy) appeared inthe Broadway revival of A Chorus Line (asKristine), The Studio (at Signature Theatre),The Producers (on the national tour), AllShook Up (at Goodspeed Opera House),Fosse (on the first national tour), Paul Mc-Cartney’s Driving Rain tour, and Gigi (as Liane,at Reprise LA!). Her television credits includeCastle, The Mentalist, Man Up! (ABC pilot),Melissa & Joey, In Plain Sight, Grey’s Anatomy,Revenge of the Bridesmaids, and Two and aHalf Men. Her films include Every Little Step(a documentary on the casting of A ChorusLine), Meet Dave, Save the Last Day, FarmGirl in New York, and Riffraff. Ms. Whiteheadis on the faculty of the American Musical Dra-matic Academy in Los Angeles and is a pri-vate dance teacher and choreographer.

Jonathan Tunick (Orchestrator) is Broad-way’s preeminent orchestrator, one of onlynine to receive the Tony, Emmy, Grammy, andAcademy awards. His collaboration withStephen Sondheim began with Company(1970) and continued with Follies, A LittleNight Music, Pacific Overtures, SweeneyTodd, Merrily We Roll Along, Into the Woods,

Passion, and, most recently, Road Show. As aconductor Mr. Tunick has appeared in concertwith the Buffalo Philharmonic, American Sym-phony Orchestra, and the Detroit SymphonyOrchestra, and on recordings with BernadettePeters, Barbra Streisand, Johnny Mathis, PaulMcCartney, Itzhak Perlman, and PlácidoDomingo. Jonathan Tunick is one of only twoorchestrators to be inducted into the Ameri-can Theatre Hall of Fame.

Paul Gemignani (Conductor) has been themusic director of more than 40 Broadwayand West End shows, including Follies, Pa-cific Overtures, Candide, A Little Night Music,Sweeney Todd, Evita, Dreamgirls, Merrily WeRoll Along, Into the Woods, On the TwentiethCentury, Sunday in the Park with George,Jerome Robbins’s Broadway, Crazy for You,Passion, High Society, and Kiss Me, Kate. In2004 he was the music director for StephenSondheim’s Assassins, The Frogs, and theJapan National Theatre Company’s produc-tion of Pacific Overtures. Mr. Gemignani hasmade recordings with the American TheatreOrchestra in addition to many cast albums;appeared as guest conductor with numerousorchestras; and is a regular guest conductorat the New York City Opera, Lyric Opera ofChicago, Royal Opera Company, and the NewYork City Ballet. His film work has included

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Sweeney Todd starring Johnny Depp,Kramer vs. Kramer, Reds, and Eyewitness.Mr. Gemignani received the 2001 Tony

Award for Lifetime Achievement in the The-ater, the Los Angeles Drama Critics Award(1994), and a special Drama Desk Award forconsistently outstanding musical directionand commitment to the theater (1989). In2003 he was awarded an honorary doctor-ate of musical arts from the ManhattanSchool of Music; in 2006 he received a PrimeTime Emmy Award for Best Musical Directionfor a Great Performances presentation ofSouth Pacific; and the Drama League of NewYork honored him for Distinguished Achieve-ment in Musical Theatre in 2008. Mr.Gemignani served as the music director ofthe New York Philharmonic’s concert per-formance of Stephen Sondheim’s Follies inSeptember 1985; in May 2008 he was theconductor and music supervisor of the Orch-estra’s semi-staged performances of Cam-elot; and in March 2010 he conducted thePhilharmonic’s production of Sondheim: TheBirthday Concert!, which aired on PBS andwas released onDVD andBlu-ray in November2010. On January 24, 2011, he was inductedinto the American Theatre Hall of Fame.

Company marks the return of Lonny Price(Director and Co-Producer) to the New YorkPhilharmonic, where he most recently directedand co-produced Sondheim: The BirthdayConcert! in March 2010. His previous Phil-harmonic collaborations include Camelot star-ring Gabriel Byrne (broadcast on Live FromLincoln Center), Candide starring KristinChenoweth and Patti LuPone (Great Per-formances, Emmy nomination), and SweeneyTodd starring Ms. LuPone and George Hearn,for which he won an Emmy Award. Mr. Pricedirected the Emmy Award–winning produc-tion of Sondheim’s Passion starring Ms.LuPone, Audra McDonald, and MichaelCerveris. On Broadway he directed Ms. Mc-Donald in 110 in the Shade for the Round-about Theatre; Danny Glover in Athol Fugard’s‘Master Harold’ … and the Boys; Joan Riversin Sally Marr and Her Escorts (which he co-wrote with Ms. Rivers and Erin Sanders); JennColella in Urban Cowboy; and himself in AClass Act, for which he also co-wrote thebook (with Linda Kline) and was nominatedfor a Tony Award. Mr. Price’s Off-Broadway di-rectorial work has included Visiting Mr. Greenstarring Eli Wallach; Jules Feiffer’s GrownUps; and Mary Pat Gleason’s Stopping Trafficfor the Vineyard Theatre. He made his operadirecting debut at the Houston Grand Opera

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directing Audra McDonald in Poulenc’s LaVoix humaine and Michael John LaChiusa’sSend. He recently finished shooting his firstfeature film, ‘Master Harold’ … and the Boys,starring Freddie Highmore and Ving Rhames,and has directed several episodes of ABC’sDesperate Housewives.Mr. Price’s association with Stephen Sond-

heim goes back to 1975, when he workedafternoons during his days at the HighSchool of Performing Arts for Hal Prince onthe Prince/Sondheim musical Pacific Over-tures. Several years later, in 1981, he origi-nated the role of Charley Kringas in MerrilyWe Roll Along on Broadway. Company wasthe first record album he ever bought withhis allowance.Lonny Price is a member of the Stage Di-

rectors and Choreographers Society, a na-tional theatrical union.

Josh Rhodes (Choreographer) worked onthe New York Philharmonic’s March 2010performances of Sondheim: The BirthdayConcert!, which was televised on PBS’sGreat Performances and released on Blu-rayand DVD; Broadway: Three Generations, atthe Kennedy Center; Annie Get Your Gun,starring Patti LuPone at the Ravinia Festival;Working, at the Old Globe Theatre and in anew production at Chicago’s Broadway Play-

house; Barnum, at Sarasota’s Asolo Reper-tory Theatre; They’re Playing Our Song, star-ring Jason Alexander at Los Angeles’sReprise Theatre Company; Academy, atFlorida’s Maltz Jupiter Theatre; 1776, at thePaper Mill Playhouse; Breaking Up Is Hardto Do, at Maine’s Ogunquit Playhouse; Chessand Dreamgirls, at the North Carolina The-atre; Bonnie and Clyde, at New York MusicalTheatre Festival; Beautiful Girls, at the Man-hattan School of Music; and All Singing, AllDancing, Legends! and Broadway by theYear–1954 at Town Hall. He created and di-rected the 2009–10 season of BroadwayBares 20 in New York. Mr. Rhodes’s Broad-way performance credits include Fosse, BellsAre Ringing, Sweet Smell of Success, UrbanCowboy, Man of La Mancha, The Boy fromOz, and Chicago.Josh Rhodes is a member of the Stage Di-

rectors and Choreographers Society, a na-tional theatrical union.

Matt Cowart (Co-Producer and AssociateDirector) served as associate director for theNew York Philharmonic’s semi-staged pro-duction of Camelot in 2008, and co-producerof Sondheim: The Birthday Concert! in March2010. He has worked with Lonny Price onnumerous other productions during the lastfour years, including Annie Get Your Gun (at

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the Ravinia Festival), starring Patti LuPoneand Patrick Cassidy; Broadway: Three Gen-erations (Kennedy Center); My FavoriteThings, a Rodgers & Hammerstein revuestarring Shirley Jones; Beautiful Girls, aSondheim revue starring Zoe Caldwell, PattiLuPone, Marin Mazzie, Donna McKechnie,and Jenn Colella; and the Broadway revivalof 110 in the Shade (as assistant director),starring Audra McDonald. Most recently, Mr.Cowart directed Camp Wanatachi, a newelectro-musical that premiered Off-Broadwayat La MaMa E.T.C. in January 2011. In thesummer of 2009 he co-wrote and co-directedwith collaborator Isaac Klein the original mu-sical DreamMachines. Other directing creditsinclude You’re a Good Man, Charlie Brown inWashington, D.C. (No Rules Theatre Com-pany); Kiki Baby (Eugene O’Neill Music The-ater Conference); the world premiere of WeThree (Clark Studio Theater, Lincoln Center);and the critically acclaimed Salacious UncleBaldrick (NYC Fringe). He was a 2004–05Kenan Directing Fellow at the Lincoln CenterInstitute, is an alumnus of the 2005 LincolnCenter Theater Directors Lab, and is a mem-ber of the Society for Stage Directors andChoreographers. Mr. Cowart is a graduate ofthe University of North Carolina School of theArts, and is currently developing a new musi-cal titled Legend of the Word with Isaac Kleinand James Stewart.

James Noone (Set Designer) has designedmany Broadway and Off-Broadway produc-tions, including Come Back, Little Sheba, ABronx Tale, Jekyll and Hyde, Three TallWomen, Full Gallop, and Fully Committed atthe Manhattan Theatre Club, Lincoln Centerfor the Performing Arts, and Playwrights Hori-zons. His regional credits include the GuthrieTheater, Center Theater Group, PittsburghPublic Theatre, Huntington Theatre Company,

Long Wharf Theatre, Shakespeare TheatreCompany, and Chicago Shakespeare Theater.Mr. Noone’s opera credits include work at theWashington National Opera, Glimmerglass,New York City Opera, Los Angeles Opera,and Canadian Opera. He has also designedmany national tours, as well as SweeneyTodd, Candide, Passion, and Camelot, whichwere broadcast on PBS. He designed thesets in the New York Philharmonic’s May2000 production of Sweeney Todd. Mr.Noone has received Drama Desk, HelenHayes, American Theatre Wing Design, andLA Stage Alliance Ovation awards.

Tracy Christensen (Costume Designer)has previously collaborated with Lonny Priceon Candide and Camelot with the New YorkPhilharmonic; Kismet at City Center’s En-cores!; Stopping Traffic at The Vineyard; andAnnie Get Your Gun at Chicago’s RaviniaFestival, starring Patti LuPone. Her other de-sign projects have included the Broadwayproduction of Souvenir at the Lyceum, TheOhmies at The Daryl Roth Theatre, Corneliaat The Old Globe, Seussical for Theatre-works USA (for which she received a LucilleLortel nomination), and Meet Me in St. Louisat the Irish Repertory Theatre. She alsoworked on Souvenir at The Brentwood The-ater (Ovation Award), Blue Horizons, the newwhale and dolphin show for Sea World Or-lando/San Diego, Richard III for the Shake-speare Festival of St. Louis, Regina at TheKennedy Center, and four seasons with theChautauqua Theater Company. Ms. Chris-tensen is a faculty member in costume de-sign at SUNY–Purchase.

Kirk Bookman (Lighting Designer) has de-signed lighting on Broadway for The Sun-shine Boys (starring Jack Klugman and TonyRandall), The Gin Game (Julie Harris and

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Charles Durning), and Gentlemen PreferBlondes. Off-Broadway credits include RightYou Are, Havana Is Waiting, Force Contin-uum, My One Good Nerve (Ruby Dee), WhatThen, The Cook, Recent Tragic Events(Heather Graham), Shangai Moon, MondoDrama, The Book of Liz (David and AmySedaris), Les MIZrahi (Isaac Mizrahi), HopeIs the Thing with Feathers, As ThousandsCheer, June Moon, The Green Heart, Bed-bound, Playboy of the Western World,Eclipsed, The Importance of Being Earnest,and Major Barbara. His work with the SanFrancisco Symphony has included TheThomashefskys, Of Thee I Sing, OedipusRex, The Nightingale, A Flowering Tree,Iolanthe, and most recently, John Adams’s ElNino. Currently, he is the lighting designer forCharles Busch’s new Off-Broadway play TheDivine Sister.

Peter Fitzgerald (Sound Designer) was thesound designer for the New York Philhar-monic’s 2007 production of My Fair Lady. Heis currently designing the sound for the newmusical Mask at the Pasadena Playhouse. Hisprevious credits include The Wiz at La JollaPlayhouse; Evil Dead, the Musical; Billy Joel’sMovin’ Out; Ring of Fire; The Great AmericanTrailer Park Musical; La Cage aux Folles; Vic-tor/Victoria with Julie Andrews; City of Angels;Gypsy; Falsettos; Paul Simon’s The Capeman;The Will Rogers Follies; M. Butterfly; BarryMann and Cynthia Weil’s Who Wrote That;Swing; Minnelli on Minnelli with Liza Minnelli;Dream; Threepenny Opera with Sting; and TheBest Little Whorehouse in Texas. In addition,Mr. Fitzgerald has worked on the plays TheOdd Couple, Stones in His Pockets, TheBeauty Queen of Leenane, and A ThousandClowns. Peter Fitzgerald is president of SoundAssociates, Inc., a premier provider of soundand video systems to the theater.

Timothy R. Semon (Production Stage Man-ager) has worked on the Broadway produc-tions of 9 to 5: The Musical; CollectedStories; the 2006 revival of A Chorus Line;High Fidelity; Three Days of Rain; Wicked;and Sondheim’s Assassins. He also workedon the first national tours of White Christmasand Wicked. He has worked on multiple Off-Broadway productions and at several re-gional theaters. Mr. Semon has worked withLonny Price and Matt Cowart on Sondheim:The Birthday Concert! with the New YorkPhilharmonic, and on Annie Get Your Gunwith Patti LuPone. He received his bachelorsin fine arts from the University of Cincinnati–College Conservatory of Music.

Kate Boka (Casting Director) has workedon the Broadway productions of The Impor-tance of Being Earnest, Bye Bye Birdie, andWaiting for Godot. She was also involved inthe national tours of Twelve Angry Men, andSweet Charity. Her regional work has in-cluded Bruce Hornsby’s SCKBSTD; 42ndStreet, The Drowsy Chaperone, Once on ThisIsland, A Chorus Line, Hairspray, BoweryBoys, The Full Monty, Les Misérables, andShenandoah in Chicago; as well as The NightSeason and Things Being What They Are atBay Street Theatre. Ms. Boka also serves ascasting associate for the Roundabout The-atre Company and Jim Carnahan Casting.Her credits as an associate include Arcadia,Behanding in Spokane, La Bête, Pal Joey,Boeing-Boeing, A Man for All Seasons, Cur-tains, and 110 in the Shade on Broadway;Camelot for the New York Philharmonic; LaBête and Deathtrap in the West End. Off-Broadway she has worked on LanguageArchive, Howard Katz, Pig Farm, EntertainingMr. Sloane, The Paris Letter, and Mr. Mar-malade (for the Roundabout). Her televisionand film contributions include the pilot for

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FOX’s Glee, Showtime’s Brotherhood, and20th Century Fox’s Flicka.

Rick Sordelet (Fight Director) has workedon 51 Broadway shows including The LionKing, The Scottsboro Boys, That Champi-onship Season, and Wonderland, as wellas on the national tours of Beauty andthe Beast, Spring Awakening, and Les Mis-érables. Internationally, he has participated in52 productions, including Tarzan, Aida, TheLion King, Beauty and the Beast, and BenHur Live. His work in opera has includedCyrano de Bergerac, starring Plácido Do-mingo, and Don Carlo, directed by NicholasHytner at The Metropolitan Opera; Heart of

the Soldier, a new opera at San FranciscoOpera; and projects for The Royal OperaHouse, Covent Garden, and Milan’s Teatroalla Scala. Mr. Sordelet’s film projects haveincluded The Game Plan, starring Dwayne“The Rock” Johnson, and Dan in Real Life,starring Steve Carell and Juliet Binoche. Fortelevision he was the stunt coordinator forGuiding Light for 12 years. Rick Sordelet isan instructor at the Yale School of Drama,The New School for Drama, and The Neigh-borhood Playhouse. He is a board memberfor the Shakespeare Theatre of New Jersey,and received the Edith Oliver Award forSustained Excellence from the Lucille LortelFoundation.

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45April 2011

The New York Philharmonic, founded in 1842by a group of local musicians led by American-bornUreli Corelli Hill, is by far the oldest symphonyorchestra in the United States, and one of theoldest in the world. It currently plays some 180concerts a year, and on May 5, 2010, gave its15,000th concert — a milestone unmatched by anyother symphony orchestra in the world.Music Director Alan Gilbert, The Yoko Nagae

Ceschina Chair, began his tenure in September 2009,the latest in a distinguished line of 20th-centurymusical giants that has included Lorin Maazel(2002–09); Kurt Masur (Music Director from 1991to the summer of 2002; named Music DirectorEmeritus in 2002); Zubin Mehta (1978–91); PierreBoulez (1971–77); and Leonard Bernstein, who wasappointed Music Director in 1958 and given thelifetime title of Laureate Conductor in 1969.Since its inception the Orchestra has champi-

oned the new music of its time, commissioning orpremiering many important works, such as Dvorák’sSymphony No. 9, From the New World; Rachmani-noff’s Piano Concerto No. 3; Gershwin’s PianoConcerto in F; and Copland’s Connotations. ThePhilharmonic has also given theU.S. premieres of suchworks as Beethoven’s Symphonies Nos. 8 and 9 andBrahms’s Symphony No. 4. This pioneering traditionhas continued to the present day, with works of majorcontemporary composers regularly scheduled eachseason, including John Adams’s Pulitzer Prize– andGrammy Award–winning On the Transmigration ofSouls; Stephen Hartke’s Symphony No. 3; AugustaRead Thomas’sGathering Paradise, Emily DickinsonSettings for Soprano and Orchestra; Esa-PekkaSalonen’s Piano Concerto; Magnus Lindberg’s EXPOand Al Largo; and Christopher Rouse’s Odna Zhizn.The roster of composers and conductors who

have led the Philharmonic includes such historicfigures as Theodore Thomas, Antonín Dvorák, GustavMahler (Music Director, 1909–11), Otto Klemperer,Richard Strauss, WillemMengelberg (Music Director,1922–30), Wilhelm Furtwängler, Arturo Toscanini(Music Director, 1928–36), Igor Stravinsky, AaronCopland, Bruno Walter (Music Advisor, 1947–49),Dimitri Mitropoulos (Music Director, 1949–58), Klaus

Tennstedt, George Szell (Music Advisor, 1969–70),and Erich Leinsdorf.Long a leader in American musical life, the Philhar-

monic has become renowned around the globe, andhas appeared in 430 cities in 63 countries on five con-tinents. In February 2008 the Orchestra, led by then-MusicDirectorLorinMaazel, gaveahistoricperformanceinPyongyang,DemocraticPeople’sRepublic ofKorea—the first visit there by an American orchestra. In Octo-ber 2009 theOrchestra, conducted byMusic DirectorAlan Gilbert, made its debut in Hanoi, Vietnam. ThePhilharmonic subsequently received the 2008 Com-mon Ground Award for Cultural Diplomacy for its his-toric performance in Pyongyang, and on November16, 2010, received the Asia Society’s Cultural Am-bassador Award for its concerts in Pyongyang andHanoi. Other historic tours have included the 1930Tour to Europe, with Toscanini; the first South Ameri-can Tour, in 1951; the first Tour to theU.S.S.R., in 1959;the 1984Asia Tour, including the first tour of India; the1998 Asia Tour with Kurt Masur, with the first per-formances in mainland China; and the 75th Anniver-sary European Tour, in 2005, with Lorin Maazel.A media pioneer, the Philharmonic began radio

broadcasts in 1922, and is currently representedbyTheNew York Philharmonic This Week — syndicated na-tionally 52 weeks per year, and available on nyphil.org.On television, in the 1950s and 1960s, the Philhar-monic inspired a generation throughBernstein’s YoungPeople’s Concerts on CBS. Its television presence hascontinued with annual appearances on Live From Lin-colnCenteronPBS, and in 2003 itmade history as thefirst Orchestra ever to perform live on the GrammyAwards, one of the most-watched television eventsworldwide. In 2004 the Philharmonic became the firstmajor American orchestra to offer downloadable con-certs, recorded live. The most recent initiative is AlanGilbert and the New York Philharmonic: 2010–11 —downloadable concerts, recorded live, available eitheras a subscription or as 12 individual releases. Since1917 thePhilharmonic hasmade nearly 2,000 record-ings, with more than 500 currently available.On June 4, 2007, the New York Philharmonic

proudly announced a new partnership with CreditSuisse, its first-ever and exclusive Global Sponsor.

New York Philharmonic

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The Music Director

Music DirectorAlanGilbert, The Yoko NagaeCeschina Chair, began his tenure at the NewYork Philharmonic in September 2009. Thefirst native New Yorker to hold the post, heushered in what The New York Times called“an adventurous new era” at the Philharmonic.In his inaugural season he introduced a num-ber of new initiatives: the positions of TheMarie-Josée Kravis Composer-in-Residence,held by Magnus Lindberg; The Mary andJames G. Wallach Artist-in-Residence, held in2010–11 by violinist Anne-Sophie Mutter; anannual three-week festival, which in 2010–11is titled Hungarian Echoes, led by Esa-PekkaSalonen; and CONTACT!, the New York Phil-harmonic’s new-music series. In the 2010–11season Mr. Gilbert is leading the Orchestra ontwo tours of European music capitals; twoperformances at Carnegie Hall, including thevenue’s 120th Anniversary Concert; and astaged presentation of Janácek’s The CunningLittle Vixen. Highlights of his inaugural sea-son included a major tour of Asia in October2009, with debuts in Hanoi and Abu Dhabi,and performances in nine cities on the

EUROPE / WINTER 2010 tour in February2010. Also in the 2009–10 season he con-ducted world, U.S., and New York premieres,as well as an acclaimed staged presentationof Ligeti’s opera, Le Grand Macabre.In January 2011 Alan Gilbert was named

Director of Conducting and Orchestral Studiesat The Juilliard School, a position that will beginin fall 2011. This adds to his responsibilities asthe first holder of Juilliard’s William SchumanChair inMusical Studies, establishingMr. Gilbertas the principal teacher for all conductingmajors at the school. He is also conductorlaureate of the Royal Stockholm PhilharmonicOrchestra and principal guest conductor ofHamburg’s NDR Symphony Orchestra. He hasconducted other leading orchestras in the U.S.and abroad, including the Boston, Chicago,and San Francisco symphony orchestras; LosAngeles Philharmonic; Cleveland and Philadel-phia Orchestras; and the Berlin Philharmonic,Munich’s Bavarian Radio Symphony Orches-tra, and Amsterdam’s Royal ConcertgebouwOrchestra. From 2003 to 2006 he served asthe first music director of the Santa Fe Opera.Alan Gilbert studied at Harvard University,

The Curtis Institute of Music, and The JuilliardSchool. From 1995 to 1997 he was the as-sistant conductor of The Cleveland Orchestra.In November 2008 he made his MetropolitanOpera debut conducting John Adams’sDoctorAtomic. His recording of Prokofiev’s ScythianSuite with the Chicago Symphony Orchestrawas nominated for a 2008GrammyAward, andhis recording of Mahler’s Symphony No. 9 re-ceived top honors from the Chicago TribuneandGramophonemagazine. OnMay 15, 2010,Mr. Gilbert received an Honorary Doctor ofMusic degree fromTheCurtis Institute ofMusic.

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