Love, Loss

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Playwrights Nora Ephron and Delia Ephron. photo © Carol Rosegg

—and Nora would know. The phrase “chick flick” entered our lexicon via her Oscar- and BAFTA-nominated script for Sleepless in Seattle, where she cinematically separated the boys from the girls and called leaping into a lugubrious tub of suds like An Affair to Remember a ladies-only enterprise.

Now, fashion (or, more accurately, women’s wear) is the Ephron flash point, and The Great Divide begins all over again with Love, Loss, and What I Wore, based on Ilene Beckerman’s wa-fer-thin 1995 memoir on how she dressed for the seminal moments of her life—sort of a The Way We Wore ver-sion of The Way We Were. The Ephrons de-scribe it as “The Vagina Monologues with-out the vagina,” and, keeping that thought, they installed it at the same Westside The-atre where the V-word held fast for more than three years. For this opening salvo of twelve weeks, they have three sets of rotating casts of five each. The hope, of course, is that their show will evolve into a cottage industry like Eve Ensler’s evening of girl talk.

“We started out very much thinking it would be that kind of evening,” Nora re-members, “monologues and group ensemble pieces and sketches—just a very free-form thing that, nonetheless, goes through all the stages of a woman’s life.”

She found the book in galley form and flipped over it, even though Beckerman was speaking from a slightly older perspective. “It’s her life story told through her clothes, but it’s a magical little book, weirdly interac-

Love, Loss, and What I Wore

Life, AccessorizedBy Monty Arnold, Playbill.com, October 16, 2009

tive, because you read it and you start think-ing of your own clothes, whether they were anything like hers or not.

“We used her story as part of the play, but what we were going for was the same reactions in the audience. Even those of us who aren’t into fashion can date our life by our clothes and the mistakes we made expressing our-selves through our clothes.

“You know, be-fore you can go on the street by yourself or decide what you feel like eating, you are allowed to dress yourself. It’s one of the earliest ways you have of saying, ‘This is who I am today.’ So,

for women, clothes just become this constant thing of ‘Who am I?’/’Is this me?’/’Who do I want people to think I am?’/’Can I get away with this?’/’Who was I when I bought this?’/’What on earth was I thinking?’

“It’s a very emotional piece. It’s not about fashion. It’s about women’s lives, and the way to talk about them is through their clothes. To me, it’s an amazing window into looking at women’s lives. There’s a reason it’s Love, Loss, and What I Wore.”

Beckerman’s eschewed life-view was so insistently identifiable the Ephrons jumped right in and gave it a universal spin. “We sent out e-mails and questionnaires and in-terviewed people about their life and their clothes,” recalls Delia. “All of our friends sent us stories. I mean, the thing about your clothes is that it’s not just your clothes—it’s the memories of what happened to you when you were wearing them. If you’re a guy, you

It’s a chick thing, Nora Ephron is basically saying about this play she and her sister Delia have written

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from left: Sonia Manzano, Loretta Swit, Myra Lucretia Taylor, Emily Dorsch and Daisy Eagan star in the first national tour of Nora Ephron and Delia Ephron’s Love, Loss, and What I Wore. photo © Carol Rosegg

probably don’t realize that, but women re-member everything in terms of what they were wearing the night it happened. Once we got all this wonderful material, we then start-ed to prune and shape monologues with it.

“It covers a huge range of things—every-thing from your first bra to a girl who throws her twenties away on a terrible guy to people who wear black to what a woman wears to visit the man she loves in prison to a piece on how we hate our purses.” Seeing the last re-quires explaining, she offers: “What we hate is what’s inside the purse. We hate the mess about our lives that is reflected by what’s in our purse.”

Writing together is the family trade. Nora and Delia are the daughters of a celebrated screenwriting team, Henry and Phoebe Eph-ron, that eased many a stage hit on to the screen (Carousel, John Loves Mary, Desk Set) and occasionally gave back to Broadway (their Take Her, She’s Mine was prompted by Nora’s letters home from college). The sis-ters grew up Princesses of the Apthorp, in-veterate West Siders whose affection for the neighborhood was vibrantly visual in You’ve Got Mail, This Is My Life and When Harry Met Sally.

“We do every form of collaborating that you can do,” beams Nora. “We write togeth-er. We write separately together. On some-thing like this, one of us might write most of a piece or take the first pass at it, and the

other’s the editor or suggester.”The Ephrons got their play up and at ‘em

in a series of Monday night workshops last winter at their producer Daryl Roth’s DR2 Theatre. “One of the things we found is that people wouldn’t leave,” Delia says. “They gathered in the lobby afterwards and want-ed to talk about their lives and their clothes and what happened to them. They were just flooded with memories. It’s a powerful piece because it stirs that up.”

Ladies, start your engines!

Postscript: On December 20, 2011 Mark Kennedy of the Associated Press reported: “Since debuting… the show has taken on a life of its own. This fall it celebrated its sec-ond anniversary at its permanent home in the Westside Theatre… and it also has played on six continents—in 14 countries as different as France and Argentina.

“Over 100 actresses have felt the power, including Samantha Bee, Alexis Bledel, Kristin Chenoweth, Tyne Daly, Fran Dre-scher, Janeane Garofalo, Melissa Joan Hart, Carol Kane, Minka Kelly, Jane Lynch, Na-tasha Lyonne, Rosie O’Donnell, Rhea Perl-man, Caroline Rhea, Doris Roberts, Sherri Shepherd and Brooke Shields.”

The performances of Love, Loss, and What I Wore at Detroit’s Gem Theatre are part of the show’s first national tour, which began January 3, 2012.

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by

Cast

Emily Dorsch Daisy EaganSonia Manzano Loretta Swit Myra Lucretia Taylor

This production proudly supports Dress for Success.Audience members are invited to donate gently-used purses and other accessories in the theatre lobby.

Scenic Designer

Jo WiniarskiCostume Designer

Ren LaDassorLighting Designer

Jeff CroiterSound Designer

Walter Trarbach

Casting

Tara Rubin CastingBooking

AWA Theatrical Booking

Production Stage Manager

Lucia LombardiProduction Manager

Shannon Case

General Manager

DR Theatrical ManagementAssociate Producer

Alexander FraserCompany Manager

Susan Guszynski

Directed byKaren Carpenter

AWA Touring

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SCENESGingy’s Story

My Mother

Clothesline—What My Mother Said

The Bathrobe

Holly’s Story

Gingy’s Story, continued

Clothesline—The Bra

The Prom Dress

Madonna

The Gang Sweater

Boots

Clothesline—The Dressing Room

The Shirt


Lynne’s Story

Sisters

Clothesline—The Closet


Annie’s Story

Fat/Thin

Shoes

Clothesline—I Just Want to Say

I Hate My Purse

Brides

Clothesline—Black


Geralyn’s Story

Gingy’s Story

THE AUTHORS WISH TO THANK THE WOMEN WHO CONTRIBUTED THEIR STORIES:

Amanda Abarbanel-Rice, Heather Chaplin, Nancy De Los Santos Reza, Gail Kass, Alex Leo, Geralyn Lucas, Merrill Markoe, Holly Millea, Stephanie Mnookin, Anne Navasky, Pamela Newton, Rosie O’Donnell, Shira Piven, Mary Rodgers,

Elizabeth Segal, Nancy Short, Alex Witchel, Lisa Zeiler

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Proof: 1/9/12; 3:16PMShrek the MusicalPublication: Broadway in Detroit program for “Million Dollar Quartet”Run dates: Jan. 24–Feb. 5, 2012Size: 1/2 of: full page full bleed trim size: 5-3/8” x 8-3/8” bleed: 1/8” inside margin: 1/4”For: Nederlander Detroit (Fisher Theatre & others) Design: Frank Bach, Bach & Associates; Phone 313-822-43038; [email protected]

Fisher Theatre • Feb. 28–Mar. 11, 2012 • Fisher Box Office, ticketmaster.com & 800-982-2787 Groups (12+): e-mail Groups@Broadway InDetroit.com (subject line: Shrek) or call 313-871-1132

Tickets as low as $29

“A big fAt hit! A TriuMph of comic imagination. ingeniously wacky and altogether irresistible.”

—Elysa Gardner, USA Today

“EnorMous Fun!”—The Wall Street Journal

“TruE hAppinEss”—Ben Brantley,

New York Times

“shrEk Truly coMEs AlivE!”

—The New York Post

“incredibly joyous …pricelessly funny!”

—Liz Smith

Proof: 34; 1/25/12; 12:00PMBlue Man GroupPublication: Broadway in Detroit program for “Love, Loss”Run dates: Feb. 8–March 4, 2012Size: bottom1/2 of: full page full bleed trim size: 5-3/8” x 8-3/8” bleed: 1/8” inside margin: 1/4”For: Nederlander Detroit (Fisher Theatre & others) Design: Frank Bach, Bach & Associates; Phone 313-822-43038; [email protected]

On Sale Now Fisher Theatre • May 1–13Fisher Box Office, ticketmaster.com & 800-982-2787

Groups (12+): [email protected] (subject line: Blue Man) or 313-871-1132

Info: BroadwayInDetroit.com • 313-872-1000

Luke Yellin as Pinocchio and the fairy tale creatures in “Freak Flag” from the 2011–2012 national tour. photo by Joan Marcus

Shrek—Believe all ogre again

William Steig (1907-2003), the artist once crowned the “King of Car-toons” by Newsweek, remains the

New Yorker’s longest-running contributor with more than 1,600 drawings and 117 cov-ers to his name. He began writing and illus-trating books for children at the age of sixty.

In the 1990 picture book Shrek!, Steig took familiar themes and characters from traditional fairy tales and wove them into a fabric of cut-ting wit and humor to create a modern-day fairy tale for kids and adults alike. From the indomitable Pi-nocchio to the lovable ogre himself, Shrek! allows each character to em-body a sense of optimism and vigor that, while absent from classic fairy tales, fits nicely into the mind set of a new and in-volved generation. Whereas the classic fairy tale ogre is threatening, Shrek is kind, strong and wise.

DreamWorks Pictures brought Steig’s modern fairy tale to the screen in 2001. Ear-ly in the film’s production process, Academy Award-winning director Sam Mendes felt that the story was a perfect fit for Broadway, and he and DreamWorks’ Jeffrey Katzenberg determined that the first step was to see how the characters came to life on screen.

The movie version of Shrek had its own fairy tale ending, going on to become one of the most successful film series of all time, even winning the first-ever Academy Award for an Animated Feature film. Having con-qured Hollywood, it was time for Shrek and his merry cohorts to take Broadway by storm. DreamWorks assembled some of the most celebrated, talented and slightly twisted creative types working on Broadway, with David Lindsay-Abaire (Book and Lyr-ics), Jeanine Tesori (Music), Jason Moore

and Rob Ashford (Co-Directors) at the helm. They also turned to the top notch designer Tim Hatley for sets and costumes.

Shrek The Musical debuted in the sum-mer of 2008 at Seattle’s 5th Avenue Theatre and opened on Broadway in December of that year. During its Broadway run it played over 500 performances, garnered eight Tony Award nominations, ranked in the top ten

musicals for ticket sales in 2009, and embarked on a national tour.

In May of this year, the show opened a production based in

London, England.The musical’s

latest tour, com-ing to the Fisher Theatre in Feb-ruary, incorpo-rates some crit-ically-acclaimed a d j u s t m e n t s including a new opening, new musical arrange-ments, and a new song, “For-ever,” sung by the red Dragon.

During its run in Costa Mesa, California in October, Shrek The Musical made Mi-cheal L. Quintos of Broadway World laugh for most of the night. In his review, he said “this amusing, big-kid friendly live-action cartoon musical delivers the laughs not with a beguiling snark but, rather with fart battles, cheeky sight gags and a sassy attitude,” add-ing that it’s “a silly, harmlessly fun show.”

The new production’s talented cast and hi-larious pop culture and Broadway referenc-es—look for jabs at everything from Wicked and A Chorus Line to Dreamgirls and Les Misérables—will undoubtably bring tons of good-humored fun to the Fisher Theatre stage in February and March 2012.

Shrek The Musical plays at the Fisher Theatre February 28–March 11. Tickets are on sale now at the Fisher Theatre box office, ticketmaster.com and 800-982-2787. Groups of twelve or more e-mail [email protected] (subject line Shrek) or call (313) 871-1132.

W

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At the original location at Columbia and Witherell

On the move to Madison and Brush, 1997

The Historic Gem and Century Theatres and Century Grille have a history of breaking records. Built in 1903 by the

Twentieth Century Association, a group of civic and philanthropic-minded women, the Century Club set a precedent even before a brick was laid, holding Detroit’s first build-ing permit issued in a woman’s name. The original building opened at Columbia and Witherell streets on December 26, 1903.

In 1927, the Century Club completed con-struction of its adjoining building, the “Little Theatre” of Detroit. From the beginning, the Little Theatre broke new ground, open-

ing with the first foreign film shown in Detroit, Cyrano De B e r g e r a c . The small theatre con-tinued to show artis-tic and for-

eign films until the Great Depression when The Twentieth Century Club disbanded and the Little Theatre and Century Club were lost to development foreclosures.

The Century Club Building operated as a restaurant under various names until the 1950’s when it was known as The Rus-sian Bear. Over the years, the Little The-atre changed names, ownership, and uses, operating as a movie theatre (Rivoli, Drury Lane, Cinema and Europa), a repertory the-atre (The Vanguard) and finally as an adult movie and burlesque theatre (The Gem) until its closure in 1978.

Chuck Forbes purchased each building independently and after 50 years, once again brought the Gem and Century under a single ownership. In 1990, the Forbes family began a complete restoration of the Gem Theatre, using archive photos, re-creation of the orig-inal carpeting found in the building, histori-cal chandeliers and theatre seats from the de-molished Ambassador Theatre in St. Louis. The theatre reopened on December 31, 1991 as The Gem Theatre with the musical review, The All Night Strut!

In 1997, the theatre again closed. Faced with demolition for the construction of Co-

merica Park, the Forbes family conceived a plan to save these two historic buildings by moving the entire structure to the corner of Madison and Brush—a move of 1,850 feet. On November 10, 1997 the Gem Theatre completed its five-block journey (shown mid-way below), breaking the Guinness Book World Records as the heaviest building ever moved on wheels.

Once relocated, the Forbes family began restoration of the Century Club facility. Us-ing photos from the building’s 1903 opening, the facility was restored to its original Arts and Craft style, while preserving architectur-al artifacts from several demolished down-town buildings. These artifacts are seen in the Pewabic tile from the YWCA swimming pool as decorative tiles on the bar in the Cen-tury lobby, leaded glass from the YWCA behind the Century bars, the limestone bal-ustrade which originally lined the rooftop of the YWCA now encloses the Gem/Century outdoor patio. The 12 beautiful stained glass windows from the YWCA chapel now over-look the Century staircase.

Today, the building is listed on the Na-tional Register of Historic Places and is one of Detroit’s most intimate and charming ven-ues. It has continued its record-breaking his-tory by presenting six of Detroit’s ten longest running shows—Menopause The Musical, Escanaba in Da Moonlight, The All Night Strut!, Shear Madness, Forbidden Broad-way and Forever Plaid.

In 2003 a grand black-tie affair celebrated the Century Building’s 100-year anniversary with best wishes for the next 100 years!

the historic Gem and Century theatres & Century Grille

Detroit’s Record-Breaking “Little Gem”

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WHO’S WHOEMILY DORSCH. Broadway: In the Next Room (Lincoln Center Theater), A Man For All Seasons (Roundabout Theatre Com-pany). Regional Theater: In The Next Room (Repertory Theatre of St. Louis), Bossa Nova (Yale Rep), The Miracle Worker (Pa-per Mill Playhouse). Television: “Law & Or-der,” “Law & Order: SVU,” “Gossip Girl” and “New Amsterdam.” She holds a Bach-elor of Music degree from Bowling Green State University, and an MFA in Acting from the Yale School of Drama.

DAISY EAGAN is the youngest actress to win a Tony Award for her performance as Mary Lennox in The Secret Garden (Drama Desk and Outer Critics Circle nominations). Broadway: Les Misérables, James Joyce’s The Dead. Off Broadway and Regional in-clude: World premieres of Be Aggressive and On the Mountain; A View from the Bridge, The Wild Party (L.A. Weekly Award). TV/Film credits include: “Numbers,” “Ghost Whisperer,” “The Unit,” “Without a Trace,” Ripe and Losing Isaiah. More information at daisyeagan.com

SONIA MANZANO has been playing Maria on “Sesame Street” since the early seventies. Stage work includes the original production of Godspell, Vagina Monologues and The Exonerated. Manzano has earned fifteen Emmys as a writer for “Sesame Street,” and has published two children’s books, No Dogs Allowed! and A Box Full Of Kittens with Simon and Schuster. Scholastic will publish her first novel in the fall 2012. She is working on a memoir.

LORETTA SWIT became an American icon starring in television’s most honored series, “M*A*S*H.” She has been honored with two Emmys, People’s Choice Award, Genie Award, Silver Satellite Award, ten Emmy nominations and eight Golden Globe nominations. Her signature piece, Shirley Valentine, won her Chicago’s most presti-gious honor, the Sarah Siddons Award. On Broadway, she starred in Same Time, Next Year and The Mystery of Edwin Drood. Toured with Mame, Song of Singapore, 42nd Street and did The Vagina Monologues in New York, London and Chicago. She has eight features to her credit and 30 films for television. Recognized leader in the Humane Environment. SwitHeart.com

MYRA LUCRETIA TAYLOR. Broad-way: Nine (Tony Award, Best Revival 2003), Macbeth, Electra, Chronicle of A Death Foretold, MuleBone, and A Streetcar Named Desire. Off Broadway: A Cool Dip in the Barren Saharan wCrick, Crazy Mary, Fabu-lation (Playwright’s Horizons). National Tour: Wicked (Madame Morrible). Regional: Mary (world premiere/Goodman), Going to St. Ives (Barrington Stage), The Old Settler (world premiere/ McCarter, Long Wharf). International: A Winter’s Tale; Pericles (Royal Shakespeare Company). TV: “Law & Order” (all three shows), “The Big C.” Film: Silver Tongues, The Private Lives of Pippa Lee, Changing Lanes. Myra is a Fox Fellow.

AJA KANE (Understudy) has traveled the USA, Europe, and the Far East as a perform-er, stage manager, director and choreogra-pher. On Broadway and the National Tours: The Radio City Christmas Spectacular, Sweeney Todd, The Exonerated, Scrooge: The Musical, Best Little Whorehouse in Texas w/Ann-Margret, Cats, Jesus Christ Superstar, The American Dancemachine, Elvis: a Celebration, Jack w/Wayne Cilento. Regional: A Chorus Line, Man of LaMan-cha, Gypsy, Funny Girl, Sweet Charity, Kiss Me Kate, George M., Annie, Hello Dolly, Nunsense, The Shoji Tabuchi Show. Also a variety of opera, film, television, and dance credits. AjaKane.com

NORA EPHRON (Playwright) is a journal-ist, novelist, playwright, screenwriter and di-rector. Her credits include Heartburn, When Harry Met Sally, Sleepless in Seattle, You’ve Got Mail and Imaginary Friends. Books in-clude Crazy Salad, Scribble Scribble, I Feel Bad About My Neck and her latest, I Remem-ber Nothing: and Other Reflections. Her most recent film, Julie & Julia, stars Meryl Streep and Amy Adams.

DELIA EPHRON (Playwright) is an author, playwright and screenwriter. Her new novel, The Lion Is In, will be published in July 2012 by Penguin. She has written fiction, non-fic-tion, humor (for adults, teens, and children), including the novels Hanging Up and Big City Eyes. Her best-selling book How to Eat Like a Child was adapted as a musical for television and subsequently became a the-atrical musical for children. Screenwriting credits include The Sisterhood of the Travel-ing Pants, You’ve Got Mail, Michael, This Is My Life and Hanging Up.

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WHO’S WHOILENE BECKERMAN (Original Book and Drawings) was nearly 60 when she be-gan her writing career. Her articles have appeared in the New York Times, the Los Angeles Times, the Ladies Home Journal, and many other places. Her books have been translated into German, Japanese, French and Portuguese; she has done spot drawings for the New Yorker and her art has been in-cluded in exhibitions at the Museum of the City of New York.

KAREN CARPENTER (Director). Steel Magnolias, Paper Mill Playhouse; seven award-winning seasons as Associate Artis-tic Director, The Old Globe, directing many critically acclaimed productions: Splendour; Two Sisters and a Piano; Smash; Betrayal; As You Like It and producing all, including Nora Ephron’s Imaginary Friends. NYMF: Top of the Heap, Director’s Choice Award. William Inge Theatre Festival, Inge: Com-plex (also conceived/curated). Arena Stage, CenterStage, Huntington, Seattle Rep, Wil-liamstown, Martha Graham. Concerts: Hear

Art/See Music Live! and Riot of Spring (con-ceived/scripted), Indianapolis Symphony. Creative Producer, UN/WHO global cam-paign: Deliver Now for Women and Children, inaugural Clinton Global Initiative. Faculty, Yale Drama, 1991–1996. “For my Mother.”

DARYL ROTH (Producer) is proud to hold the singular distinction of producing six Pulitzer Prize-winning plays: August: Osage County, Proof, Wit, How I Learned to Drive, Anna in the Tropics and Edward Albee’s Three Tall Women. Also: The Baby Dance; Bea Arthur on Broadway; Beckett/Albee; Cactus Flower; Camping with Henry and Tom; Caroline, or Change; A Catered Affair; Closer Than Ever; Come Fly Away; Curtains; De La Guarda; Dear Edwina; Defying Gravity; Die Mommie Die!; The Divine Sister; Driving Miss Daisy; Fela!; Edward Albee’s The Goat, or Who Is Sylvia? (Tony Award); Irena’s Vow; A Little Night Music; Manuscript; Medea; The Normal Heart (Tony Award); Old Wicked Songs; Our Lady of 121st Street; Edward Albee’s The Play About the Baby; Salome; Snakebit; The Tale of the Allergist’s Wife; The Temper-amentals; Thom Pain…; Through the Night;

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Proof: xxxxxxxxxxxxTitlePublication: Broadway in Detroit program for “xxxxxxxxxxx”Run dates: xxxxxxxxxxxxSize: 1/2 pg. horiz. (4-5/8” x 3-3/4”)For: Nederlander Detroit (Fisher Theatre & others) Design: Frank Bach, Bach & Associates; Phone 313-822-4303; [email protected]

Thurgood; Twilight: Los Angeles, 1992; Vigil; War Horse (Tony Award); What’s That Smell: The Music of Jacob Sterling; Edward Albee’s Who’s Afraid of Virginia Woolf?; The Year of Magical Thinking; and the film My Dog: An Unconditional Love Story. Upcoming projects include A Time to Kill, based on the John Grisham novel, and Kinky Boots, with book by Harvey Fierstein and music by Cyndi Lauper. Love to Steven, my wonderful family and Leo & Lucy, ever in my heart. DarylRothProductions.com

JO WINIARSKI (Scenic Design). Off-Broadway: The J.A.P. Show: Jewish Ameri-can Princess of Comedy, I Love You Be-cause, A Likely Story. Associate Broadway design: Rock of Ages, Jay Johnson: The Two and Only, LoveMusik. Regional: Utah Shakespearean Festival, Virginia Stage, The Hangar, Geva. Art Direction: “A Colbert Christmas: The Greatest Gift of All” (Emmy Award nomination), “2009 NHL Awards.”

REN LaDASSOR (Costume Design). Off-Broadway credits: Post No Bills (Rattlestick Theater). Regional & NY credits: The Glass Menagerie (American Players Theatre), Camp Wanatachi (La MaMa), My Name is Asher

Lev (Roundabout Theatre/Delaware Theatre Company), Dream Machines (Open Dream Ensemble), Kaboom! (FringeNYC), Baby with the Bathwater (Ground UP Productions), Adventures from Ezra Jack Keats (Weston Playhouse). Film: Cruzando (Those Guys & That Girl Films). A graduate of the University of North Carolina School of the Arts.

JEFF CROITER (Lighting Design). NYC credits include Kiki & Herb Alive on Broad-way; concerts at the New Amsterdam includ-ing Chess, Hair and On the 20th Century; Jerry Springer The Opera; Rufus Wain-wright’s Judy concert at Carnegie Hall; Next Fall; Streamers; The Voysey Inheritance; Adrift in Macao; Things We Want; The In-ternationalist; Burleigh Grimes; Drum-struck; Jacques Brel…; I Love You Because; Barbra’s Wedding; Almost, Maine; Trumbo; Matt & Ben; Cam Jansen; Miss Wither-spoon; Privilege; The Dazzle; and Fiction.

WALTER TRARBACH (Sound Design). Broadway: The Farnsworth Invention and Cymbeline. Other credits include Catch Me If You Can; The Tin Pan Alley Rag; Becky Shaw; Measure for Pleasure; Satellites; Far-ragut North; Sandra Bernhard’s Everything

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WHO’S WHOBad and Beautiful; Almost, Maine; I Love You Because; and Mr. Marmalade. Associ-ate Sound Designer on Billy Crystal’s 700 Sundays, Assistant Sound Designer for Jer-sey Boys national tours. Walter is married to photographer Kimberly Witham.

TARA RUBIN CASTING (Casting). Broadway: How to Succeed in Business With-out Really Trying, Promises, Promises, A Little Night Music, Billy Elliot, Shrek, Guys and Dolls, The Country Girl, Rock ‘n’ Roll, The Farnsworth Invention, …Young Fran-kenstein, The Little Mermaid, Mary Poppins, My Fair Lady, Pirate Queen, Les Misérables, History Boys, Spamalot, Jersey Boys, …Spelling Bee, The Producers, Mamma Mia!, Imaginary Friends, Phantom of the Opera, Oklahoma!, Happiness, The Frogs, Contact, Thou Shalt Not. Off-Broadway: Love, Loss, and What I Wore, Second Stage. Regional: Yale Repertory, Kennedy Center, La Jolla Playhouse, Dallas Theatre Center.

DR THEATRICAL MANAGEMENT (General Management) provides general management services to Off-Broadway commercial productions in New York and their interests on the road. The company, led by Adam Hess and Seth A. Goldstein, represents such properties as Love, Loss, and What I Wore (NYC and First National Tour), Traces and The Ohmies, as well as forthcoming productions of Rated P . . . For Parenthood, Tokio Confidential and Judith of Bethulia.

AWA TOURING (Tour Booking and En-gagement Management) is a full service live entertainment agency, distributing musicals, plays, and variety attractions domestically and internationally. Current roster includes: Green Day’s American Idiot, The Phantom of the Opera, A Chorus Line, A Christmas Story: The Musical, Dreamgirls, Cirque Dreams Pop Goes The Rock, Cirque Dreams Holidaze, Untapped, Love, Loss, & What I Wore, Colin Quinn Long Story Short, Blast, and Apassionata.

SUSAN GUSZYNSKI (Company Man-ager). Andrew Lloyd Webber’s Phantom of the Opera (National Tour), Xanadu (Chi-cago, Tokyo, National Tour), Tuna Does Ve-gas (National Tour), Whistle Down the Wind (National Tour and Canada), All Shook Up

(National Tour), Def Poetry Jam (National Tour, Sydney, Auckland); Guys And Dolls (National Tour), Fame (National Tour and Canada), Steve Martin’s Picasso at the Lap-in Agile (National Tour), Mrs. Klein starring Uta Hagen (National Tour), The Great Radio City Music Hall Spectacular (National Tour and Canada). Member, ATPAM. It’s a privi-lege to join the Love, Loss production.

LUCIA LOMBARDI (Production Stage Manager) has worked at The Goodman The-atre, Northlight, Victory Gardens, Body Pol-itic, NJT and Remains. Commercial Produc-tions include: White Noise, Don’t Dress for Dinner, Bleacher Bums, The Cocktail Hour, Zoo Plate Special, Comfortable Shoes, Love Janis, ART, Could It Be Magic (the Barry Manilow Songbook), The Last Night of Bal-lyhoo and the unforgettable Uncle Broad-way. National Tours: Billy Elliot, Scrooge with Richard Chamberlain and Disney’s The Lion King.

BALEIGH ISAACS (Stage Manager) is honored to join the sisterhood of Love, Loss, and What I Wore. Chicago theatre: Steppen-wolf, Lookingglass, Chicago Shakespeare, Remy Bumppo, American Theater Com-pany, and Famous Door. Baleigh has also worked with the Alliance Theatre and Geor-gia Shakespeare in her hometown of Atlanta. Her NYC credits include Les Misérables, The Rhythm Club, and Summer of ‘42.

SHANNON CASE (Production Manager). Kindness, A Feminine Ending, Essential Self-Defense, Blue Door, Pen (Playwrights Horizons); Spalding Gray: Stories Left to Tell; I Love You Because; Apparition; Slut the Musical; Sandra Bernhard: Everything Bad and Beautiful, Indoor/Outdoor, Manu-script (Daryl Roth Theatre). Associate Pro-duction Manager, Grace Jones Hurricane Tour US Summer 2009.

ALEXANDER FRASER (Associate Pro-ducer) joins Daryl Roth Productions after working as a producer, general manager and nonprofit executive on more than 75 Broad-way (The Normal Heart—Tony Award, Irena’s Vow, Bombay Dreams, Topdog/Underdog, Noises Off, Crazy for You), Off-Broadway (Love, Loss, and What I Wore; Jitney; Saturday Night; Jar the Floor; This is Our Youth), West End (Ragtime, Boston Marriage, Lobby Hero) and touring produc-tions. Executive Director, Second Stage The-atre (1996–2001).

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Proof: xxxxxxxxxxxxTitlePublication: Broadway in Detroit program for “xxxxxxxxxxx”Run dates: xxxxxxxxxxxxSize: 1/4 pg. vert. (2-1/4” x 3-1/4”)Design: Frank Bach, Bach & Associates; Phone 313-822-4303; [email protected]

For the latest information on Broadway In Detroit shows, exclusive offers & pre-sales!

Become a fan Follow us

STAFF FOR LOVE, LOSS, AND WHAT I WORE

GENERAL MANAGEMENTDR Theatrical Management

Adam Hess Seth A. GoldsteinJodi Schoenbrun Carter

Heather Schings Aaron ThompsonKyle Provost Danielle Karliner

TOUR BOOKING & ENGAGEMENT MANAGEMENTAWA Touring

Alison Spiriti Sean MackeyRobin Mishik-Jett

CASTINGTara Rubin Casting

Tara Rubin, CSA Laura Schutzel, CSAEric Woodall, CSA Merri Sugarman, CSA

Paige Blansfield Dale Brown Kaitlin Shaw

Company Manager .................................... Susan GuszynskiAssociate Lighting Designer ....................................... Charles CooperProduction Stage Manager...........................Lucia LombardiStage Manager ..............................................................Baleigh IsaacsTechnical Director .................................................. Gregory F. MazureAssistants to Ms. Roth ................................ Greg Raby, Megan SmithAssistant to Ms. Ephron ....................................................... J.J. SachaManagement Associate ...................................................... Scott LupiOnline Marketing ............................ Pit Bull Interactive/David RisleyGeneral Press Representatives ............................................ O&M Co./

Rick Miramontez, Molly BarnettIllustrations ............................................................. Ilene BeckermanGraphic Designer ................................................................ Scott LupiAccounting .....................................Rosenberg, Neuwirth & Kuchner/

Chris Caccace, Marina FlomLegal Counsel .................................................... Lazarus & Harris LLP/

Scott Lazarus, Esq., Robert C. Harris, Esq.Insurance .......................................... C&S Int’l Insurance Brokers Inc.Payroll Services .......................................................... Paychex Payroll

CREDITSMakeup provided by MAKE UP FOREVER. Scenic elements provided

by Joe Cairo. BOUNCE is the official sponsor of “lint-free black clothing” worn by the cast at opening night events.

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.

The Press Agents & Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers.

The Direc tor is a member of the Stage Direc tor s and Choreographers Society, a national theatrical labor union.

United Scenic Artists represents the designers and scenic painters for the American Theatre.

SPECIAL THANKSMacy’s, Jodi Schoenbrun Carter, Suzanne Elliott, Scott Fowler,

Geralyn Lucas, Maria VerelLoveLossOnStage.com

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Proof: 1/15/12; 5:31PMMario’sPublication: Broadway in Detroit program for “Love, Loss”Run dates: 2-8-12 thru 3-4-1`2Size: 1/4 pg. vert. (2-1/4” x 3-1/4”)For: Nederlander Detroit (Fisher Theatre & others) Design: Frank Bach, Bach & Associates; Phone 313-822-4303, [email protected]

Complimentary shuttle service to & from the Gem Theatre

Scan in to see our list of Cast Parties & other upcoming events…

Live Entertainment Fri. & Sat. Evenings

313-832-1616 www.mariosdetroit.com

4222 Second Ave. north of Mack • Detroit

restaurantCanfield at Second • Detroit

trafficjamdetroit.com 313-831-9470

Restaurant Brewery

Dairy Bakery

Handcrafted & Homemade Since 1965

Mention this ad & get 10% off your entrée

Proof: xxxxxxxxxxxxTitlePublication: Broadway in Detroit program for “xxxxxxxxxxx”Run dates: xxxxxxxxxxxxSize: 1/4 pg. vert. (2-1/4” x 3-1/4”)For: Nederlander Detroit (Fisher Theatre & others) Agency: SMZ advertisingDesign: Frank Bach, Bach & Associates; Phone 313-822-4303; [email protected]

Affordable Bistro Dining in Midtown Detroit, just minutes from the Gem Theatre

–Complimentary Shuttle–

Special places before & after the show

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e proudly present Broadway In Detroit Preludes & Encores, our recommendations for a great meal before the show, or a place to

close the night’s curtain with a delicious dessert. Please consider these wonderful restaurants—and don’t forget to say that you heard about them here. Thanks!

GUIDE: $ = <$10, $$ = $10-$25, $$$ = $25-$50, $$$$ = >$50, F=Free Parking, G = Groups, P=Prix fixe packages available, R = Reservations, S = Shuttle Service, V=Valet Parking

Andiamo • andiamoitalia.com Warren, Grosse Pointe Woods, Bloomfield, Royal Oak, Sterling Heights, Dearborn, Detroit Riverfront, Novi, Livonia. Type of cuisine: Italian, Price: $$$, Amenities: GRV (F-some locations). This season, enjoy Prezzo-Fisso, a fixed-price Fisher Theatre menu on performance days with tickets. Contact your local Andiamo for reservations and information.

The Capital Grille • thecapitalgrille.com The Somerset Collection – North, 2800 W. Big Beaver Rd., Troy, MI 48084. (248) 649-5300. Type of cuisine: American, Price: $$$, Amenities: FGPRV. Join us before or after the show for our dry aged steaks, freshest of seafood, award-winning wine list, incredible staff and our special $39 menu especially created for theatre guests.

Elwood Bar & Grill • elwoodgrill.com 300 Adams, Detroit MI 48226. (313) 962-2337. Price: $, Amenities: FGPR. The Elwood Bar & Grill is a pre-show favorite located directly behind the Gem Theatre. The art deco diner features an extensive salad and sandwich menu.

La Musique • hotelstregisdetroit.com New Center – 3071 W Grand Blvd., Detroit, MI 48202. (313)873-3000. Type of Cuisine: American, Price: $$, Amenities: GPRV. Eat. Play. Stay. Park and dine at La Musique in the historic St. Regis Hotel and walk to the Fisher Theatre. Contemporary American Cuisine.

Majestic Café • majesticdetroit.com Midtown, 4120 Woodward Ave., Detroit, MI 48201. (313) 833-9700. Type of cuisine: American, Price: $$, Amenities: FGSR. Located in the historic Majestic Theatre Center. The menu is rooted in classic American comfort food with a modern twist. Delicious appetizers, sandwiches, burgers, entrees & desserts are all made fresh daily.

☛ continued on page 21

W

19

A Dining Experience Worthy of Applause

We want to help make your Gem Theatre experience even more spectacular! Visit one of our nine Andiamo

locations on show night and order from our fixed price menu. Visit our website for full menu.

Buon Appetito!

Dinner for Two – Fixed Price Menu

Fisher_Ad_Winter.indd 1 1/16/12 1:35 PMProof: xxxxxxxxxxxxTitlePublication: Broadway in Detroit program for “xxxxxxxxxxx”Run dates: xxxxxxxxxxxxSize: 1/2 pg. horiz. (4-5/8” x 3-3/4”)For: Nederlander Detroit (Fisher Theatre & others) Design: Frank Bach, Bach & Associates; Phone 313-822-4303; [email protected]

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Proof: 10/23/10; 8:52PMUnion StreetPublication: Broadway in Detroit program for “Rock of Ages”Run dates: 11-9 to 11-21-10Size: 1/4 pg. vert. (2-1/4” x 3-1/4”)For: Nederlander Detroit (Fisher Theatre & others)

Design: Frank Bach, Bach & Associates; Phone 313-822-4303, fax 313-331-1108; [email protected]

Bring This Ad & Receive 15% Off!

Lunch • Dinner • Sunday BrunchGroup Tours Welcome!

4145 Woodward Avenue Midtown Detroit313.831.3965

www.unionstreetdetroit.com

Preludes & encores from page 19

Mario’s • mariosdetroit.com Midtown, 4222 Second St., Detroit, MI 48201. (313) 832-1616. Type of cuisine: Italian, Price: $$$, Amenities: GPRSV. Complimentary shuttle to & from the Gem Theatre. Show your tickets and receive 10% off food on your performance date. Afterglow specials too! Party with the people who perform.

Ocean Prime • ocean-prime.com Coolidge & Big Beaver, 2915 Coolidge Highway, Troy, MI 48084. (248) 458-0500. Type of Cuisine: American, Price $$$, Amenities: FVRG. Seafood or Steak? At Ocean Prime, you can choose the best of both. Our passion is to give you an extraordinary supper club experience.

Traffic Jam & Snug • trafficjamdetroit.com 511 W. Canfield St., Detroit MI, 48201. (313) 831-9470. Type of cuisine: American, Price: $$, Amenities: FGR. Featuring an eclectic menu of vegetarian items, burgers, fresh fish, pastas & salads. Decadent house-made desserts. Free, guarded parking. Minutes from the Gem Theatre.

Union Street • unionstreetdetroit.com Midtown, 4145 Woodward Ave, Detroit, MI 48201. (313) 831-3965. Type of Cuisine: American, Price: $$, Amenities: GR. 15% off when you bring in your Love, Loss ticket! Serving lunch, dinner, desserts and Sunday brunch. Kitchen open late. Large group tours welcomed.

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Proof: xxxxxxxxxxxxTitlePublication: Broadway in Detroit program for “xxxxxxxxxxx”Run dates: xxxxxxxxxxxxSize: 1/4 pg. vert. (2-1/4” x 3-1/4”)Design: Frank Bach, Bach & Associates; Phone 313-822-4303; [email protected]

• AlySSA Cohen [email protected] • (248) 608-1884

• SCoTT MyeRS [email protected] • (313) 872-1177

Proof: xxxxxxxxxxxxTitlePublication: Broadway in Detroit program for “xxxxxxxxxxx”Run dates: xxxxxxxxxxxxSize: 1/4 pg. vert. (2-1/4” x 3-1/4”)For: Nederlander Detroit (Fisher Theatre & others) Agency: SMZ advertisingDesign: Frank Bach, Bach & Associates; Phone 313-822-4303; [email protected]

Broadway In Detroit TicketExchange:Buy and sell theater tickets online.

Buyers: print guaranteed tickets directly from subscribers.

Subscribers: enjoy automatic payment and ticket delivery.

Get a My Broadway In Detroit account at BroadwayInDetroit.com or by calling Subscriber Services at 313-872-1180.

Visit BroadwayInDetroit.com

BROADwAy IN DETROIT The Program for the Gem Theatre

Volume 50, Number 7 February 8–March 4, 2012

Fisher Theatre • Fisher Building 3011 w. Grand Blvd., Detroit, MI 48202

BroadwayInDetroit.com

Under the Management of Nederlander Detroit, LLC

Executive Director ............................................ Alan N. LichtensteinAssistant to Mr. Lichtenstein.......................................... Nancy KingDirector, Corporate Sales/Marketing .............................Scott MyersSenior Director, Marketing .......................................... Alyssa CohenAdvertising Director .................................... Debbie Michelson, SMZPress Agent................... Brendy Barr, Brendy Barr CommunicationsProgram Design................................ Frank Bach, Bach & Associates

THE GEM THEATREJim Forbes .............................................................General ManagerLaurie Bemis ................................................. Director of AccountingNicole Lakatos ................................. Sales & Special Events DirectorMario Consiglio.....................................................Technical DirectorAndrea Kannon.................................................... Wardrobe & PropsGeorge Hamiel...........................................................Executive ChefSara Schrems .................................................. Group Sales ManagerBertha Crane ....................................................... Banquet ManagerJudy Beneson ...................................................... Banquet ManagerKristine Wakefield ................................................... House ManagerSally Hoskins ...................................................Accounting AssistantPam Merritt ......................................................... Usher Coordinator

The photographing or sound recording of any performance or the possession of any device for such photographing or sound recording inside the theater without the written permission of the management is prohibited by law. Violations may be punishable by ejection and may render the offender liable for money damages.

Articles found in the theater will be held for 30 days only. Lost article inquiries should be made by phone to (313) 963-9800 between 11AM and 5PM Mon.–Fri.Gem Theatre Offices .................................................(313) 963-9800Broadway In Detroit Season Ticket Office & Subscription Information ..........................................(313) 872-1180Gem Theatre Group Sales Information .................... (313) 463-4216If you expect emergency phone calls please leave your seat location with the ticket taker.For emergencies only during performances ............(313) 963-9800

AGE LIMIT As a courtesy to our patrons, it is the policy of Broadway In Detroit not to admit children under the age of 5. This policy may be altered from time to time based on Shows and Show content. You will be made aware of particular age restrictions during your purchase. Some shows make further age appropriate recommen-dations and Broadway In Detroit will provide those on its website; however, judgment of the content for each show should be made on an individual basis prior to purchase. When available, Broadway In Detroit provides links to show websites for further information. All patrons, regardless of age, must have a ticket.

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Proof: xxxxSpotlight RoomPublication: Broadway in Detroit program for “Love, Loss”Run dates: Feb. 8–March 4, 2012Size: bottom1/2 of: full page full bleed trim size: 5-3/8” x 8-3/8” bleed: 1/8” inside margin: 1/4”For: Nederlander Detroit (Fisher Theatre & others) Design: Frank Bach, Bach & Associates; Phone 313-822-43038; [email protected]

Spotlight RoomAt the Fisher theAtre

Experience theatre at an entirely new level. • An elegant, private environment with

comfortable seating and many amenities including food, beverages, private bar service, coat

check and private restroom. • Comfortably accommodates parties of ten to thirty guests.

• Available for pre-show, intermission and post-show events.

For more information visit BroadwayInDetroit.com

or call (313) 872-1177

Catering provided exclusively by

Proof: 1/24/12; 1:04AMBeauty and The BeastPublication: Broadway in Detroit program for “Love, Loss”Run dates: Feb. 8–March 4, 2012Size: 1/2 of: full page full bleed trim size: 5-3/8” x 8-3/8” bleed: 1/8” inside margin: 1/4”For: Nederlander Detroit (Fisher Theatre & others) Design: Frank Bach, Bach & Associates; Phone 313-822-43038; [email protected]

Fisher Theatre • April 10–22Tickets: Fisher Box Office, ticketmaster.com & 800-982-2787 • Info: BroadwayInDetroit.com, 313-872-1000

Groups (12+): [email protected] or 313-871-1132 Broadway In Detroit 50th Anniversary Season sponsored by

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Love, Loss