TABLE OF CONTENTS
Approximately 110 minutes, with no intermission
THE WILMA THEATER PRESENTS
BASED ON THE PLAY BY ANTON CHEKHOV
ADAPTED BY DMITRY KRYMOV IN COLLABORATION WITH THE WILMA HOTHOUSE COMPANY
DIRECTED BY DMITRY KRYMOV
On Stage April 12-May 1, 2022
Streaming May 2-15, 2022
SET DESIGNER: DMITRY KRYMOV & IRINA KRUZHILINA
COSTUME DESIGNER IRINA KRUZHILINA
LIGHTING DESIGNER THOM WEAVER
SOUND DESIGNER DANIEL ISON
MOVEMENT COORDINATOR JUNGWOONG KIM
STAGE MANAGER PATRESHETTARLINI ADAMS
EDI OFFICER NOELLE DIANE JOHNSON
PRODUCTION MANAGER CHRIS NELSON
CULTURAL LIAISON YURY URNOV
INTERPRETER AND TEXT CONSULTANT TATYANA KHAIKIN
SCRIPT SUPERVISOR MK TUOMANEN
COVID SAFETY MANAGER KENNY NGUYEN
VIDEOGRAPHER & EDITOR LESLIE RIVERA
|Dunyasha||BRETT ASHLEY ROBINSON|
|Trofimov||TREVOR W. FAYLE|
For performances on April 20-24, MK TUOMANEN played the role of Yepikhodov.
Set Designer Assistants: Hsin-Ho Yang, Yizhu Pan
Costume Design Assistant: Dan Wang
Special Design Assistant: Thijs Beuming
Assistant Stage Manager: Leslie Ann Boyden
Videographers: Kayla Watkins, Andrew Gormley
Audio Describer: Nicole Sardella
Technical Director: Matt Zumbo
Train Board Programmer/Operator: Anastassia Vertjanova
Head Carpenter, Union Steward: Benjamin Henry
Assistant Head Carpenter: Elliot Greer
Carpenters: Benjamin Henry, Elliot Greer, Alex Collarin
Master Electrician: Michael Hamlet
Assistant Master Electrician/Programmer: John Allerheiligen
Light Board Operator: Bless Rudisell
Associate Lighting Designer: Isabella Gill-Gomez
Electricians: Sydney Justice, Anastassia Vertjanova, Elliot Konstant, Marissa Kennedy, Elijah Moore, James Lewis, Tydell Williams, Olivia Rudd, Chuck Whitters, Khatavut Niranon, John Hakun
Properties Master: Kimitha Cashin
Props Assistant: Theresa Finocchiaro
Props Carpenters: Jeff Miller, Charles Mitch Miller
Costume Shop Manager, Tailor, Wardrobe Supervisor: Morgan Porter
Wardrobe Runner, First Hand: Lily McClure
Drapers: Sarah Mitchell, Leigh Paradise, Rufus Cottman
First Hands: Rufus Cottman, Rebecca Austin
Stitchers: Danielle Joh, Francesca Martin, Sabrina Reichert
Audio Engineer: Edward Smith
Scenery Constructed by: Flannel and Hammer
Special Thanks: Steve Platt
For me and for many theater artists around the world, Dmitry “Dima” Krymov is a legend, an icon of directing.
He is one of the few who manages to invent a unique theatrical language which audiences adore. Everybody loves what he creates on stage: from theater newbies to seasoned critics.
Artistically, Kyrmov’s works are contemporary, warm, and emotional. His art appeals to the inner child hidden deep inside each of us; he knows how to rescue this child and let it play. Play games which are scary and funny at the same time, with sharp switches from laughter to tears.
I’ve never seen Dima “stage the play” in the conventional meaning of these terms. I see his directing method as a rescue mission: he breaks through the thicket of clichés and norms, to the very core, the essence of the play, and brings it back to us in all its freshness and contemporaneity.
The inhabitants of The Cherry Orchard are not a “them” but a “we.” It’s not happening in Russia of 1904, but in Philadelphia in the spring of 2022. Or, perhaps better, in both places and times simultaneously?
Few of us will be able to forget this Spring. Dima’s flight turned out to be the last one that made it from Moscow to New York after the start of the war. Since the first rehearsal, when Dima talked to the actors about his friends bombed in Kharkov, the theme of war never left the rehearsal room, and the production is soaked with it.
When Yepikhodov comes out to talk about a new billiard table, talk of refugees and bombings seep into his description. As Gayev is playing volleyball, his thoughts are in today’s Kyiv. Watching the final act of Dima’s Cherry Orchard, I’m not just seeing the family losing their home, I see millions of refugees, forced to flee their country.
The reality and the pain of today sifts through the cloth of the play, creating something which is not The Cherry Orchard, and not a reckoning of today’s woes, but a mash-up of both: a true conversation between past and present where both have equal weight onstage.
This recording is meant for private viewing only and may not be screened for any other purpose. Under no circumstances may this recording be shared or duplicated. This recording has been made available in partnership with the employees represented by Actors Equity Association, Stage Directors & Choreographers Society, and United Scenic Artists, Local USA 8291 IATSE
‘The Cherry Orchard’ has been supported by The Pew Center for Arts & Heritage.
‘The Cherry Orchard’ was made possible with generous support from The Trust for Mutual Understanding.
The David Berger Foundation
Linda and David Glickstein
Mari and Peter Shaw
Peggy and Richard Greenawalt
John and Theresa Rollins
Peter Benoliel and Wilo Carey
Tobey and Mark Dichter
Helen and Herman Fala
Robert T. Foley
Carole Haas Gravagno
Eva and Michael Leeds
Barbara and Don Parman
Irving and Sharon Shapiro
The end of our production of Cherry Orchard dramatizes the devastation that accompanies displacement. The family at the center of the play are forced out of their home, the home of their ancestors, and are rendered strangers in the place of their birth. Here at the Wilma we have established the practice of acknowledging the displacement of the Lenni Lenape, the original people of this land who continue to be a vibrant community and we acknowledge that our theater is located on land that is not ours.
Additionally, the family at the center of Chekhov’s play has grown rich as a result of the unpaid labor of serfs. Here at the Wilma we acknowledge that we benefit from systems that are rooted in capital created and expanded by the free labor of Black people, in the form of chattel slavery and legal and cultural segregation. We stand in solidarity with Black people in fierce advocacy for equality and justice.
BY JACKIE SIBBLIES DRURY
DIRECTED BY JAMES IJAMES
May 31-June 18, 2022
WINNER, PULITZER PRIZE FOR DRAMA
The Frasier family is preparing to celebrate grandma’s birthday, cooking dinner, drinking wine, and hiding secrets. But what starts as a sitcom about a Black family explodes into a raucously brilliant look at race in America.
Wilma Education supports the larger Wilma mission by striving to cultivate the artists and audiences of tomorrow through meaningful engagement with the art today. Whether through interactive pre-show workshops with cast members, backstage tours with our production team, or classroom residencies with Wilma company members and teaching artists in which students develop their own theatrical responses to Wilma productions, we invite students into the conversations around our work at the deepest levels. By encouraging students to reflect on the complexities of contemporary life today, we nurture the audiences, innovators and global citizens of tomorrow.
The Wilma Theater’s Portable Studio offers FREE and FUN theater classes for adults who want to meet new people and inspire each other by seeing a show and collaborating creatively together. Classes are led by professional artists and take place in public spaces all over the city. No previous experience is required but the Portable Studio has become a creative home to much of Philadelphia’s hidden talent. Many Portable Studios are offered virtually and in-person. We are expanding in-person programming as it is safe to do so, and we are so excited to welcome you!
The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
This theater operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE.
The Wilma Theater is a member of the following organizations: Avenue of the Arts, Greater Philadelphia Cultural Alliance, League of Resident Theatres, Midtown Village Merchants Association, Professional Non-Profit Theater Coalition, and Theatre Communications Group.
If your name has been omitted or misprinted, please accept our apologies and kindly notify us by contacting the Development Department at 215-893-9456 x108.
Thanks to the following funders for their generous organizational and programmatic support:
The Barra Foundation • Christian R. and Mary F. Lindback Foundation • The Christopher Ludwick Foundation • Connelly Foundation • Dolfinger-McMahon Foundation • Doris Duke Charitable Foundation • Ethel Sergeant Clark Smith Memorial Fund • Greater Philadelphia Chamber of Commerce • Hamilton Family Charitable Trust • The Horace W. Goldsmith Foundation • Independence Foundation • Kline and Specter • National Endowment for the Arts • The Patricia Kind Family Foundation • Pennsylvania Council on the Arts • The Pew Center for Arts and Heritage • PNC Charitable Trusts • The Shubert Foundation • Suzanne Roberts Cultural Development Fund • The Victory Foundation • Tides Foundation • U.S. Small Business Administration • Universal Health Services Inc. • William Penn Foundation • Wyncote Foundation • Zeldin Family Foundation
Thank you to our individual supporters:
This list represents gifts of $25+ made since Aug. 1, 2020.
$10,000 and above
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And thanks to the 910 donors of $24 or less who have provided their support.
Producing Director: Kellie Mecleary
Artistic Administrator: Mariah Ghant
HotHouse Company: Krista Apple, Ross Beschler, Taysha Marie Canales, Keith Conallen, Melanye Finister, Sarah Gliko, Suli Holum, Justin Jain, Anthony Martinez-Briggs, Jered McLenigan, Campbell O’Hare, Jaylene Clark Owens, Brandon Pierce, Steven Rishard, Brett Ashley Robinson, Matteo Scammell, Lindsay Smiling
Education Director: Anne K. Holmes
Education Associate: Alexandra Espinoza
Teaching Artists: Taysha Marie Canales, Chris Davis, Kirstie Floyd, Nick Hatcher, Donovan Lockett, Brennen S. Malone, Anthony Martinez-Briggs, Lee Minora, Taylor J. Mitchell, Campbell O’Hare, Lillian Ransijn, Taj Rauch, Sunflower B. Rose, Devon Sinclair
Program Director: Lee Ann Etzold
Portable Studio Artists: Patreshetarlini Adams (she/her), Chris Davis (he/him), Debra Disbrow (she/her), Lindo Jones (he/him), Anthony Martinez-Briggs (he/they), Cat Ramirez (they/she), Lillian Ransijn (she/her)
Production Manager: Chris Nelson
Associate Production and Facilities Manager: Chelsea Sanz
Resident Stage Manager: Patreshettarlini Adams
Technical Director: Matt Zumbo
Master Electrician: Michael Hamlet
Head Carpenter: Benjamin Henry
Properties Master: Kimitha Cashin
Wardrobe Supervisor: Morgan Porter
Audio Engineer: Amanda Hanna
Box Office Manager: James Specht
Patron Services Liaison: Sarah Blask
Audience Services Manager: Maggie Campbell
Assistant House Managers: Rachel Core, Tiffany Hall James Haro, Gio Maneri, Jessica Merkins, Javier Mojica,Chenyijia Zhang
Box Office Staff: Kate Carey, Tiffany Hall, James Haro, Francesca LaRosa
Katherine Kelton, Interim Chair
Clare D’Agostino, Secretary
Wray Broughton, Former Chair
Mark S. Dichter, Former Chair
Herman C. Fala, Former Chair
Peggy Greenawalt, Former Chair
Jeff Harbison, Former Chair
John D. Rollins, Former Chair
A.E. (Ted) Wolf, Former Chair
James F. McGillin
Mari Shaw, Former Chair
Evelyn G. Spritz
David U’Prichard, Former Chair
Dr. R. J. Wallner
Jeanne P. Wrobleski
The Wilma HotHouse Company is the Wilma Theater’s ensemble of actors – a process oriented community of artists who develop and implement theatrical practice alive with possibilities, physical excitement, and intellectual engagement.
They meet regularly to train as artists and to expand, deepen, and liberate their bodies and voices through collective exploration.
In their sessions and rehearsals they lead with curiosity, care and honesty. Through multi-perspective collaboration, they interrogate truth, myth, and ethos, toward greater access and expression of the unknown.