M. Butterfly PLAYWISE.qxd _Page 1_ by dfhdhdhdhjr


                                                                     JANUARY/FEBRUARY 2008


W ha t ’s Inside:
Special Opening Celebrations
and Gala Supplement Inside!

Spreading His Wings
An Interview with Playwright
David Henry Hwang

Spotlight On...
Set Designer Michael Fagin

The World of M. Butterfly
Yellowface, Lotus Blossoms and other

The Many Lives of Madame Butterfly

Additions & Advancements
Meet the newest members of PTC

M. Butterfly Synopsis
Based on a true story, M. Butterfly is a
provocative and captivating story of
lust, politics, and betrayal. A French
diplomat falls in love with a Chinese
opera singer who is to him, the "perfect
woman," yet this Chinese butterfly of
his passions is ultimately revealed to
be far more than she seems. Inspired
by Puccini's opera Madame Butterfly,
David Henry Hwang's stunningly
                                                  M. BUTTERFLY
theatrical Tony Award-winning Best                   January 18 - February 24, 2008
Play illuminates the stereotypes that
underlie and threaten relations
between East and West - and men                      By David     Henry Hwang
and women.
                                                       Directed by Joe Calarco
“Act well your part, there all the
honour lies.”
                                   - Alexander Pope

We join all of Philadelphia in welcoming the Philadelphia
Theatre Company’s Suzanne Roberts Theatre to the
Avenue of the Arts.

                       Message from Sara Garonzik
                       Producing Artistic Director

                       Dear Friends,

                               Last season, while reading about David Henry Hwang's newest script Yellow Face, I
                       also began thinking about his career-defining masterwork, M. Butterfly. As I reflected back
“David Henry           on that piece, it occurred to me that Winter 2008 would mark exactly 20 years since its
                       Broadway debut starring John Lithgow and B.D. Wong, directed by John Dexter.
Hwang's wise and
mocking views on                I remember, as a young director, walking out onto the streets after experiencing
                       the production and feeling stunned, as if I had witnessed something so important that I
both gender and
                       could not readily process its scope. This has always signaled to me that I was in the
East-West relations     presence of something great. Its many theatrical references borrowed freely from sources
                       as diverse and far- flung as Brecht, Chinese Opera and the best American psychological
made it timely and
                       memory plays, yet its vivid theatricality was not achieved at the expense of rich
original, yet its      characterizations. David Henry Hwang's wise and mocking views on both gender and
                       East-West relations made it timely and original, yet its unsparing look into the limitless
unsparing look into
                       depth of the human heart rendered it timeless and classic. Twenty years later, the play has
the limitless depth    become for me less about sexual deception than about sexual collusion and to what
of the human heart     extent the human heart will go to keep from breaking.

rendered it timeless             While the play is international in scope, taking place in Asia and France, I cannot
and classic.   ”       help but think that the it speaks directly to American presumptions regarding its place in
                       the world. M. Butterfly's message continues to be as urgent as ever and to celebrate its
                       many themes, we have created a series of panels during the run that will provide a
                       platform for further conversation. Please have a look at the back cover of your Playwise,
                       or visit us online for where and when these events will take place.

                                Finally it gives us great pleasure to welcome back director Joe Calarco whose
                       work for us includes two recent musicals, both Barrymore winners, Jason Roberts Brown's
                       The Last Five Years and William Finn's Elegies: A Song Cycle.

                              We look forward to greeting you again for M. Butterfly, our second production in
                       our new home, the Suzanne Roberts Theatre!

                                                                                 JANUARY/FEBRUARY 2008 | 1

Spreading His Wings:
A Chat with David Henry Hwang
While rehearsals were underway for his new play, YELLOW FACE, which recently
played the Public Theater in New York, David Henry Hwang took some time out to
chat with PTC dramaturg Warren Hoffman about the creation and legacy of his Tony
winning play M. Butterfly.

WH: This is the 20th anniversary of the play. Does it seem      WH: Where did the idea for this play come from? Had you
that long ago that the play came out?                           already been thinking about writing a play about Asian
                                                                stereotypes and the West, or did you read an article about
DHH: Not really. It's scary that 20 years have gone by. We      the actual case and that set things in motion?
went into rehearsal in January 1988 and it doesn't feel that
long ago.                                                       DHH: In general, I was interested in these sorts of issues and
                                                                had addressed them in earlier works, but the catalyst was
WH: How has the reception for or impact of the play             hearing this particular story and figuring out a way to tell it.
changed in that time?                                           I decided to conflate the plot of Madame Butterfly with the
DHH: I think there was a way in which the play was a little     spy story and that opened up this arena which was ripe to
shocking or, for lack of a better word, "naughty" 20 years      discuss these issues. Perhaps I was attracted to the story on
ago that really wouldn't apply today. When I've seen more       some unconscious level because it would be a good forum
recent productions of the play, I get the sense that the        for things I wanted to talk about, but I wasn't aware of that
sensational aspect of the show, the ways in which the show      at the time. I simply felt it was an incredibly intriguing story
was transgressive, is not so true today. However, what that     and found myself attracted to it.
does is enable people to receive the play with more             WH: There are some significant differences between the
attention to what the play is actually saying and doing as      facts of your play and the true-life case. For example, when
opposed to this layer of sensationalism being placed on it.     Boursicot (Gallimard) meets Shi Pei Pu, the opera singer, he
WH: Have the changing politics of the world also impacted       first meets him as a man, whereas in your play, he is dressed
the way in which the play is received?                          as a woman.

DHH: In terms of how the issues resonate, we do happen to       DHH: The things that are "true" about the play in terms of
be unfortunately in a sort of M. Butterfly war at the moment.   the actual events are actually coincidental. All I had was
I noticed in recent productions when the French                 really the newspaper article from the New York Times, which
ambassador says, "The Americans always love to hear how         was like one column on Page 24 or something. It wasn't
welcome they'll be," the line now gets a big laugh that it      easy for me to do more research at that point, not only
didn't 20 years ago. So there's that. And twenty years ago,     because it was pre-Google, but also because I wasn't really
in terms of East/West issues, the West was just starting to     interested in the details of the actual case. I just wanted to
become aware of the way in which the power balance was          use the actual incident as a jumping off point for my own
shifting and that has certainly continued over the last 20      story.
years with the rise of China, some of the confusion in          WH: So this isn't a historical retelling of the case?
needing to reassess the power balance that the
Gallimard/Song relationship represents still seems relevant.    DHH: No. There's no docudrama element to it. It's just
                                                                inspired by the actual events. What was kind of freaky was
WH: You can't open the paper without still seeing these         that as the play was getting done, certain things did
issues, albeit in different contexts.                           coincide with reality. I didn't know for instance that the
DHH: Yes, but it's interesting, because I always saw Edward     French diplomat actually tried to commit suicide. I didn't
Said's Orientalism as an inspiration for this show and, of      know that the intelligence liaison, whom I named Comrade
course, Said was writing about Orientalism in the Middle        Kang in the play, was named Kang in reality. When Bernard
East as opposed to East Asia.                                   Boursicot, the actual French diplomat on whom the play is
                                                                based, saw M. Butterfly on opening night in London he felt
                                                                that the show was fairly accurate to his experience, which
                                                                he expressed to Joyce Wadler who wrote Liaison, a book


based on the actual case. Subsequently, Boursicot tends to       other hand, I can't imagine rewriting it. You could write a
show up at different productions of M. Butterfly around the      whole new libretto and keep the music, I guess. Even for
world and people I guess take him out for drinks and stuff.      me, who is not that much of a purist, I feel the Puccini piece
Who knows, you may see him in Philadelphia!                      works and you don't want to mess around with something
                                                                 that works. And, moreover it's an example of how more
WH: Have you had the chance to chat with Boursicot?              changes over time, how something that is progressive in
DHH: No, I never met him. I heard he was at different            one era, calcifies and becomes regressive in another.
productions and when David Cronenberg made the movie,            WH: Is there anything you find positive about Madame
Boursicot was in touch with him. I read newspaper clippings      Butterfly?
now and then about productions of the show in, say,
Bucharest and Boursicot shows up.                                DHH: At the time Puccini wrote Madame Butterfly it was a
                                                                 progressive. To make the Japanese woman the virtuous
WH: How much did you know about opera before writing             character and the American sailor the bad guy. Puccini was
the play?                                                        trying to make a statement somewhat radical for his time. It
DHH: I really knew very little about opera. My mother was a      goes into the canon though and a hundred years later, it's
classical pianist and I grew up with a lot of instrumental       not exactly radical anymore. I think one has to say it's
music, but I didn't know much about opera at all. As a           beautiful music and you can listen to it for the music, that's
matter of fact, when I had the idea to use the plot of           definitely true, but you can also contextualize it in terms of
Madame Butterfly, I hadn't yet heard the opera, so I went to a   how it relates to the time in which it was written. That's
record store, (which existed in those days) and purchased it.    another way to look at these pieces with problematic
I listened to the Puccini music a lot during rehearsal and       content elements.
grew to be quite fond of it. Subsequently I was asked to         WH: Should Puccini's opera still be performed today?
work on some operas and, at this point, have a sideline as an
opera librettist; I am much more involved in the world of        DHH: Oh yeah. I don't have a problem with Madame
opera than I expected to be when I wrote M. Butterfly.           Butterfly being performed.

WH: And what about Chinese opera which also plays a large        WH: How did M. Butterfly change your career as a
role in the play?                                                playwright?

DHH: Chinese opera was not something I grew up with. I           DHH: It's still the play that defines me in the minds of
saw it once or twice when I was in Taiwan visiting my            theatergoers.
grandparents, but it wasn't something that was present in
my life. When we did my first play FOB at the Public in 1980,    WH: Does that bother you?
we decided to interpolate some Chinese opera tropes and          DHH: It sometimes does, but over the years I've come to feel
John Lone, a cast member who had grown up in the Chinese         that your hit or breakthrough piece becomes your albatross,
opera in Hong Kong, taught me some things. I also learned        and I don't take that personally. Arthur Miller is associated
from Jaime Guan who choreographed the original                   with Death of a Salesman and Edward Albee with Who's
M. Butterfly and have since worked on other projects which       Afraid of Virginia Woolf?. Everybody has their signature
have involved Chinese opera. What I know about Chinese           piece. It would be really fun to have another signature piece
opera, which is admittedly rather limited, I learned on the      at some point, but you can't really focus on that. You just
job.                                                             have to do the best work you can and if you're lucky, maybe
WH: Recently you adapted Rodgers and Hammerstein's               it will happen again.
Flower Drum Song for Broadway and wrote a new libretto for
the show. You once said that the original show was a guilty      WH: Do you feel differently about the play now? Are there
pleasure. In what ways was Flower Drum Song recoverable          things you would change about it?
as a cultural property that Madame Butterfly was not?            DHH: My views of things have become more nuanced, but
DHH: Flower Drum Song was rewritable because it's not            the good part of having M. Butterfly as my albatross as it
considered to be one of the great Rodgers and                    were is that I still really like the play. When I see it and get to
Hammerstein musicals. I don't think they're letting anyone       the end I think, "That's a good play!" I'm proud that's the
rewrite South Pacific. Flower Drum Song is an anomaly in the     work with which I'm associated.
R&H canon because it's not considered one of their
top-drawer shows, but it also was a commercial hit. That’s
why I could "mess-around" with it. Madame Butterfly, on the

                                                                                                JANUARY/FEBRUARY 2008 | 3
                            Spotlight on
              Set Designer Michael Fagin
  PTC Dramaturg Warren Hoffman spoke with M. Butterfly set designer Michael
  Fagin about his approach to the visual world of David Henry Hwang's play and
  his entry into the world of scenic design.
What is your process in designing a set for a show?                    What's your role in the construction of the set?

The first step is always to read the play and usually I'll do that       I draw the show as an architect would and produce
several times, and then I'll speak to the director. For most of          blueprints. The shop takes those and builds from them. I'll
the productions I've done with director Joe [Calarco], there's           produce a color model from which the painters will paint the
such a shorthand that it's actually a                                                          set. I'll come down several times during
pretty quick process. I have a sense of                                                        the process of construction to oversee
Joe's theatricality and know what's                                                            things. Then the set is loaded in, the show
important to him and because we've                                                             is teched where we see the set under lights
                                                                                               and where further changes are made, and
worked together so much, we share a
                                                                                               then the show opens and I walk away.
common aesthetic. M. Butterfly actually
went through many designs and we                                                               How did you get into set design?
ended up going back to our initial
version. Sometimes I'll go from an initial                                                     I started in high school and came from a
rough hand sketch, but I do a lot of work                                                      painting background. I had a fabulous
in Photoshop now where I can explore                                                           high school teacher in St. Louis who ran a
things in detail very quickly. Then usually                                                    theater department that was very
I go to a model.                               Michael Fagin’s set design for M. Butterfly     technically sophisticated in terms of a high
                                                                                             school theater. I was going to go to
How long did it take to design this show?                                architecture school and this teacher had a meeting with my
                                                                         parents to convince them to let me give theater a shot.
The first sketch was about two months ago and we're still
working on it. We work with the lighting designer and                    What personally drew you to set design?
costume designer to adjust our designs, accordingly, and to
marry the designs and concepts together to present a clean               I love that it's a process of exploration. For example in
whole world.                                                             M. Butterfly, you're exploring social themes, interpersonal
                                                                         themes, and history. One challenge with this play, is this a
What is the concept for the show?                                        Chinese story or a Japanese story? Butterfly is a Japanese
                                                                         story, but the play takes place during the Cultural Revolution
There isn't a big concept, but there are themes in the play of
                                                                         with Chinese characters. We were going back and forth.
deception, fantasy, and the idea of East and West that
                                                                         Should it look Chinese? Should it look Japanese? Do people
contributed to the design. Some of the big visual scenes deal
                                                                         know the difference between the two? Do we know the
with Gallimard's fantasy of what Oriental femininity is, so the
                                                                         difference between the two?
framework of the set is an abstracted image of a parasol,
which is a feminine, Oriental, and "exotic" object. Actually, one You've also designed for television, how does that differ from
of the first images I had before anything was of a circle.               designing for the stage?
Whenever I hear or think of the opera Madame Butterfly, I
think of Butterfly waiting in silhouette in a circle. Joe wanted         It's very different. A lot of the television work that I've done,
a space where things can change throughout the play.                     there isn't a text that exists. It's much more about designing a
                                                                         space, like an architect. There isn't a text to hang your hat on.
You designed the set for our production of The Last Five Years.          I prefer designing for the theater. Television work is based
Is it different designing in our new theater space?                      more in reality and in the theater you can allow a big idea to
                                                                         fly and have a very theatrical presentation. It becomes alive
It's a fantastic space. There's a lot of depth to this set and we'll and real, where television doesn't allow for the suspension of
be using a lot of the fly space. We're having the space thrust
out a bit into the house.

 Save the Date! Sunday, February 10, 2008                                  ATTENTION
     Philadelphia Theatre Company's 2008                                  SUBSCRIBERS!
  Sweethearts' Brunch & Auction in the Grand
   Ballroom at the Park Hyatt at the Bellevue
                                                                         Monday, January 21st
Join us for our fabulous Valentine's tradition and feast on
  a delicious brunch, and bid on dazzling auction items         Come explore the characters, themes and design
including getaway vacations, sports memorabilia, art, fine
                                                                elements of M. Butterfly in a special Subscriber
           dining, and entertainment packages.
                                                                 Workshop led by PTC Director of Education,
        The 2008 Sweetheart’s Award Recipient is                             Maureen Sweeney.

                                                              To RSVP, call Jessica Waber, Programs Coordinator,
   The Sweethearts' Brunch & Auction raises essential                  at 215.985.1400 x122 or e-mail
      funding for Philadelphia Theatre Company's                   jwaber@philadelphiatheatrecompany.org
    productions and our community and education
                and outreach programs.                              Workshop is limited to 25 participants.
   For an invitation, sponsorship information, auction
      donations or to volunteer at the event, please                            5:30 – 7:30pm
  contact Sharon Kling at 215-985-1400, ext. 116 or by                         2nd floor lobby
      email to skling@phillytheatreco.com, or visit                        Suzanne Roberts Theater

                                                                                    JANUARY/FEBRUARY 2008 | 5

The Many Lives of Madame Butterfly
By Carrie Chapter

The story of Puccini's Madame Butterfly has a long genealogy that begins with
the Western fascination with the East during the Victorian era. During this
period, the Japonisme movement - the French term for the influence of
Japanese arts on the West - became very trendy in Europe. In material arts, for
example, Impressionist artists such as Degas, Manet, and Whistler were
infatuated with Japanese culture, especially the craftsmanship of the
Japanese wood-block prints. This fascination even extended to Gilbert and
Sullivan's operetta The Mikado (1885), which was inspired by a Japanese
exhibit in London. This sense of romance and exoticism, typified by
Japanese customs like geisha-houses and mixed-bathing, particularly
affected the Western male psyche. In time, stories from the East developed a
theme: the conquest of the Japanese woman by the adventurous Western man.

In 1887, Pierre Loti, a naval officer, wrote the French novel Madame Chrysanthemum.
Loti’s protagonist, Miss Chrysanthemum, falsely professes love and then soon returns to counting her money while
waiting for her next "husband." Loti's novel was well received despite its contemptuous, prejudiced depictions of
the Japanese and the story was so idolized that it was used as a guide book by Russian naval officers on their way to
Japanese ports.

In 1898, Philadelphian John Luther Long wrote a short story for the January issue of Century Magazine entitled
"Madame Butterfly." In his tale, Lt. Pinkerton is exiled to a station in Nagasaki, Japan from his Mediterranean
headquarters. While in port, he contacts a marriage broker who finds Madame Butterfly for Pinkerton. Long's story
was not as joyously received as Loti's version eleven years earlier, and many American sailors wrote angry letters
chastising the harsh portrayal of Pinkerton.

Working with John Luther Long, David Belasco wrote the one-act play Madame Butterfly as a "filler" piece of
entertainment to be performed on the same night as the farce Naughty Anthony for the Herald Square Theater in
1900. The plot mirrored Long's short story with few exceptions and was an enormous success. When the production
moved to Duke of York's Theatre in London in the same year, Giacomo Puccini was in the audience on opening night.
He was so overwhelmed by the story that he sought out playwright Belasco backstage to gush over the play's
possibilities as an opera. He was smitten by Belasco's haunting, elegant atmosphere, and assigned Luigi Illica and
Giuseppe Giocosa to write the libretto. The writers, though, wrote a new first act, showing the arrival of Pinkerton in
Japan. However, when the opera premiered at La Scala in 1904, it was booed and withdrawn after one performance;
the story was deemed too coarse and the score thought lacking in operatic power and fluidity. When it reappeared
three years later in Paris, revisions were evident. Pinkerton became a sympathetic tenor and was given an extended,
elaborate aria to soften his image and his American wife Kate, too, was written more compassionately, and with
greater respect for the plight of Butterfly. The audiences fell in love with the opera, and it was a total triumph.

The history of Butterfly's story is a cultural landmark situated between high art and a legacy of problematic racial
stereotypes. Too often, because of Madame Butterfly’s canonization in the world of opera, these pernicious
depictions are often forgotten or ignored by audiences. David Henry Hwang’s M. Butterfly, however, re-examines and
reconsiders the long history of this significant piece of music.


Yellowface, Dragon Ladies, and other Stereotypes

   While David Henry Hwang's               In what became a sort of signature      retelling of Madame Butterfly set
M. Butterfly sets out to critique the   role, Oland also went on to depict the     during the Vietnam War by the
long legacy of Asian                                  other most notorious         composing team of the smash-hit
 stereotypes that have                                stereotypical Asian male     Les Miserables, Miss Saigon caught
filtered into the West, as an                         figure: Charlie Chan. Chan   flack from multiple Asian American
Asian American writer,                                was quite different from     activists who complained that the
Hwang also deals with the                             the menacing Fu Manchu,      show reinforced the image of the
legacy of stereotypes that                            but despite the former's     subservient Asian woman who kills
have infused U.S. society.                            bow-tie wearing detective    herself for the love of a white man.
The number of offensive                               persona, Chan was hardly     This now-seemingly archetypal
Asian figures who litter the                          a figure to emulate. An      stereotype seems to have no national
popular imagination is                                early example of the         boundaries at all, adapting itself from
sadly quite long and such                             "model minority" Asian       Japan (Madame Butterfly) to China
characters have made                                  whose lack of                (M. Butterfly) to Vietnam (Miss Saigon)
sting impressions on                                  confrontation also           emphasizing the notion that for
American pop culture.                                  positioned him as effem     Western audiences, Asia is all alike.
    For Asian American men,                           inate, Chan spoke in vague      Notably, David Henry Hwang
two of the most offensive characters    aphorisms with a stilted quasi-Asian       himself played a major part in the
in entertainment are Fu Manchu and      accent reinforced Chan's supposed          protesting of Miss Saigon, particularly
Charlie Chan. Fu Manchu who             Asian “inscrutability” to American                     challenging the fact that
became the embodiment of what was       audiences.                                             the Eurasian role of the
known as the "Yellow Peril,” was the        If Asian and Asian                                 Engineer was played by
sinister villain of the novels of Sax   American men were                                      white actor Jonathan Pryce,
Rohmer. With his long fingernails and    considered effeminate and                             as opposed to an Asian
flowing robes, he hardly registers as   even asexual, the Asian                                actor, thereby not giving
 masculine and has become the           woman was turned into an                               Asian actors the chance to
ur-figure of the weak, effeminate       exotic "lotus blossom" of                              work. Despite such
Asian man. This legacy of effeminacy    sexual desire. This image
                                                                                               protests, Miss Saigon racked
is evoked by David Henry Hwang late     received its most insidious
                                                                                               up over 4,000 perform
in M. Butterfly, when Song complains,   incarnation in the twentieth-
                                                                                   ances and almost 10 years on
"I am an Oriental. And being an         century figure of Suzie Wong, a char-
                                                                                   Broadway, proving that audiences
Oriental, I could never be completely   acter who first emerged in book form
                                                                                   were still ready to welcome Asian
a man." On screen, Fu Manchu also       in 1957, and was followed up by stage
                                                                                   stereotypes and pay big bucks for it
had a                                   and movie versions in 1958 and 1960,
                                                                                   too. Happily, the work of David Henry
lasting                                 respectively. The World of Suzie Wong                               Above: Caucasian actor
                                        emphasizes Suzie's sexuality,                                   theater groups such
                                                                                   Hwang and otherWarner Oland in the roles of
legacy where
                                        foregrounding her relationship with a                          and Ma-Yi Pan Asian
                                                                                   as Pan Asian RepFu Manchu and Charlie Chan.
he was
                                        white man, like in Madame Butterfly.       Rep in New York have offered
                                            Yet if these early and mid-            multiple challengesNancy Kwan as Suzi Wong
                                                                                                          to this long
                                        twentieth century examples seem            history of visual and theatrical
others) by
                                        dated, one only has to recall the          injustice.
Oland (a                                brouhaha that occurred in 1991
white man in                            around the Broadway musical Miss
yellow face).                           Saigon. Essentially an updated

                                                                                            JANUARY/FEBRUARY 2008 | 7

                   Additions                       & Advancements
                   Welcome, mindy a. beers, PTC’s new Resident Teaching Artist and
                   Programs Associate!
                   After her undergraduate work at Washington College and graduate work at Miami University of Ohio,
                   mindy moved to Philadelphia and found a home at Philadelphia Theatre Company as Directing Fellow in
                   the ‘04-’05 season. During that time mindy discovered a great interest in PTC's innovative Educational
                   Programming. Hired part-time as the Education and Community Projects Associate in ‘06–’07 and now a
                   full-time staff member, mindy authors the 10 Out of 12 Student Programs and has taught over 160 work-
shops with 33 classes in 12 schools. As a Director, she has assisted on the following PTC productions:
Orson's Shadow, Adrift in Macao, Take Me Out, Elegies and The Story. Mindy is also the Artistic Director of The Cardboard Box
Collaborative, most recently directing their productions of Dream On, 30 Minutes til Om... and “says Eugenia”. None of this
would have been possible without the love and support of her mother, father, and Michael.

                   Philadelphia Theatre Company welcomes new Board member
                   Audrey Talley!
                     A partner with Drinker Biddle's Investment Management Group in the Business and Finance Department,
                     Audrey has over 20 years of legal experience in investment management, corporate and securities, and
                     general corporate law matters, as well as considerable experience in matters involving federal and state
                     securities law compliance, public and private offerings and securities registration and compliance matters
related to the financial services industry. She has served as Chancellor of the Philadelphia Bar Association, chair of the
Philadelphia Bar Association's Business Law Section, chair of its Board of Governors and co-chair of the Investment Companies
Committee, and is also a member of the American Bar Association, a fellow of the American Bar Foundation, a member of the
Board of Trustees of the Philadelphia Bar Foundation and is a member of the Leadership Council of the Philadelphia Volunteer
Lawyers for the Arts. She has lectured and written about money managers and investment companies. Her community
activities include the Board of Trustees of the Philadelphia Zoo, The Children's Hospital of Philadelphia, the Philadelphia Bar
Foundation and the Board of Managers of Moore College of Art and Design.

                   PTC’s Education Department promotes one of its own!
                    Jessica Waber is thrilled to be joining the staff as Programs Coordinator for PTC's vibrant and rapidly
                    growing Education Department. In May of ‘06, Jessica graduated from The Pennsylvania State University
                    with a B.A. in Theatre, where she was the recipient of The French Undergraduate Award in Theatre, given to
                    a student who demonstrates outstanding commitment to performance and who participates fully in all
                    aspects of training. Following graduation, Jessica came to PTC as a Casting Intern. She also took on
various responsibilities and jobs for the Production and Education Departments. In November of '06, Jessica became the first
Education Apprentice at PTC, and discovered how to couple her passion for theatre with her passion for youth
education and community outreach. A native of the Philadelphia suburbs, Jessica is delighted to be working in such an
exciting theatre city, and to be coming on board at such a remarkable time for Philadelphia Theatre Company.

Philadelphia Theatre Company Announces
Wallace Foundation Award
Philadelphia Theatre Company is pleased to announce a recent $410,000, four-year grant award from the Wallace Foundation,
as part of its Wallace Foundation Excellence Awards, a $5.3 million investment for 10 leading companies in the Greater
Philadelphia region "in recognition of their commitment to community and audience building activities." In addition to the
Excellence Award grants, The Wallace Foundation is collaborating with The Philadelphia Foundation and the Greater
Philadelphia Cultural Alliance to create a learning network for all Philadelphia arts organizations and to foster arts engagement
in Philadelphia. The awards were announced November 14, 2007, at the Philadelphia Theatre Company by The Wallace
Foundation President, Christine DeVita.

Philadelphia Theatre Company will use the grant to support a marketing initiative designed to diversify and broaden its
audiences, and to establish new programming for families, including family theater productions.

The Wallace Foundation chose Philadelphia as one of four sites for this effort because of the city's high concentration and
variety of arts organizations. San Francisco is the other city chosen for Wallace Excellence Awards grants in 2007. Chicago and
Boston were chosen in 2006. Philadelphia Theatre Company offers its most profound thanks to The Wallace Foundation, and
congratulates the other grantees of this important new initiative for our region.

               Mainstage & Lobby Reception Rentals Are Now Available
                Have Your Next Celebration or Business Event at Philadelphia’s
                    Newest Cultural Landmark on the Avenue of the Arts!

                                                                          For specific details and additional information
                                                                          on our fees and availability, please contact
                                                                          PTC’s Theatre Operations Department at
                                                                          215.985.1400 x109.

                                                                                            JANUARY/FEBRUARY 2008 | 9
                                             PHILADELPHIA THEATRE COMPANY - CENTER STAGE CAMPAIGN

                         Your Name in Lights, Forever, on the Avenue of the Arts
                                With a gift to The Founders Club ($100,000+) or The Cornerstone Society ($25,000—$99,999),
    Donor Wall

                                donors are permanently and prominently recognized on the Philadelphia Theatre Company Donor
                                                         Wall at the entrance to the Suzanne Roberts Theatre.

                                                                  This sparkling, faceted, multi-dimensional mosaic greets the public as
                                                                  they step inside the Theatre and provides a vibrant, theatrical backdrop to
                                                                  thank the Theatre’s true stars. Gifts are fully tax-deductible and payable
                                                                  over three to five years and New Founders Club and Cornerstone Society
                                                                  donors will be unveiled during the October 2008 Celebrations.
                         Photo courtesy of Sensitile

                               The Mainstage Auditorium: $3,500,000
    Space of the Month

                               Here is where great theater happens, and your name
                               can be associated with it for now and always. This is a

                                                                                                                                             Photo courtesy of Jessica Samph
                               unique opportunity to be a patron of the playwrights,
                               directors and actors featured in this prized
                               performance space. Your name will welcome
                               audiences on the way into their seats, and it will
                               precede the announcement of every production.

                                           “Now appearing on The NAME HERE Mainstage, the Philadelphia premiere of
                                                       David Henry Hwang’s visionary work M. Butterfly.”

                                                               The Preferred Hospitality Parters

                                The Center Stage Campaign thanks the following members of the new Preferred Hospitality
  New Program

                                Partners Program (PHP) who have made significant in-kind contributions of their exceptional
                                goods and services. Keep members of the PHP in mind when planning a pre-Theatre, in-Theatre
                                or personal special event.
                                                PHP Caterers                   PHP Party Planners                      PHP Restaurants

                          Inquiries from the hospitality industry may be made to 215-985-1400, ext. 115, or lketcham@philadelphiatheatrecompany.org.

                                 Thank you to all of our wonderful Campaign donors! The Center Stage Campaign is still
$10 Million

                                   raising the remaining $10 million of its $30 million goal. Please consider a gift to the
  To Go!

                                 Center Stage Campaign and be permanently recognized on a signature site, the Donor Wall
                                                         or a Seat in the Suzanne Roberts Theatre.

                                       For more information contact the Center Stage Campaign at 215.985.1400, x115, or


Take a Seat - Center Stage - on the Avenue of the Arts
You may now have a permanent seat on the Avenue of the Arts through a gift to the Center Stage
Campaign. Handsome brass plaques, prominently placed on the back panels of each seat in the
Mainstage, will identify you as the major PTC supporter that you are. You may name a seat as a
special occasion, birthday or anniversary gift, or as a tribute to a loved one. A gift acknowledgement
will be sent to all seat honorees as well as an invitation to join you at the October 2008 Celebrations
when the plaques are unveiled.

Individual gifts of $2,500 or more are payable over two years but some seats have been named through
collective donations from family, friends, and colleagues. All seat donations are fully tax-deductible.
                                                                                                                                                   Mainstage seats in Philadelphia Theatre
                                                                                                                                                    Company’s Suzanne Roberts Theatre.

                                                Seat Opportunities:                                                                                         Coming upon the
        $2,500 Mezzanine Seat                                       $7,500 Premium Orchestra Seat                                         contemporary auditorium, dressed
         $5,000 Orchestra Seat                                       $10,000 Mezzanine Loge Seat                                                      with authentic richness
                                                                                                                                           in golds, reds and purples, is like
                                                                                                                                           discovering a fabulous chocolate
To make a gift today, simply complete the enclosed pledge envelope or visit our website at                                              truffle…When you sink into one of
www.philadelphiatheatrecompany.org. For more information, contact Jessica Samph, Campaign                                                    the plush seats, it’s as if you’ve
Associate, at 215.985.1400, x110, or jsamph@philadelphiatheatrecompany.org                                                                    arrived at an intimate club, or
Please note that a seat recognition plaque does not guarantee you will sit in that particular seat for all performances, although
                                                                                                                                                  maybe an affluent friend’s
accommodations will be made whenever possible for specific requests.                                                                    lavish home screening room… and
                                                                                                                                            no matter where you sit, you are
                                                                                                                                        likely to feel that you can make eye
                                                                                                                                         contact with the actors on the deep
                                                                                                                                                       proscenium stage, and
                                                                                                                                                 that they are talking to you.
                                                                                                                                           Inga Saffron, Inquirer Architecture Critic

Photos courtesy of Mark Garvin

                                  The Curtain Will Rise Again… The Encore Society
  The Encore Society has been created to ensure that Philadelphia Theatre Company, now a prominent and permanent landmark on the
  Avenue of the Arts, continues to present the best in new American theater for future generations. You can become a part of The Encore
  Society by including Philadelphia Theatre Company (PTC) in your estate plans. Planned gift options include:

              A Bequest: A donor leaves a specific amount, a specific percentage of the full estate, or the entire estate to PTC.

              A Gift of Life Insurance: A donor may name PTC as one of the beneficiaries or the sole beneficiary of a life insurance policy.

              IRA and Other Retirement Assets: Donors aged 70.5 or more may donate up to $100,000 directly to PTC from an IRA or
              Rollover IRA without the gift being taxed as ordinary income.

  There are additional structured planned giving options that you may want to discuss with your financial advisor. To notify Philadelphia
  Theatre Company that it has been included in your estate plans and to enroll in The Encore Society (members are listed in the Company
  Program), please contact Lisa Ketcham at 215-985-1400, ext. 115, or via email at lketcham@philadelphiatheatrecompany.org.

                                                                                                                                    JANUARY/FEBRUARY 2008 | 11
                           Off Stage during

Artists Circle News
On Sunday, November 11, 2007, Carl and Roberta Dranoff hosted a reception in
the Symphony House Club rooms at Symphony House, just above the new
Suzanne Roberts Theatre, for Artists Circle Members, PTC board members, and
special guest Billy Porter to celebrate PTC's Philadelphia premiere production
of Being Alive. Porter and members of the cast were interviewed by PTC
dramaturg Warren Hoffman, and took questions from the guests about the
work. A real theater insider event!

These fun and intimate theater-insider events are available
exclusively to PTC's Artists Circle members. For more information on                              (Top to bottom
                                                                                                    [left to right])
the benefits of becoming an Artists Circle donor please contact                               Being Alive creator and
James J. Lynes, Director of Development at 215-985-1400 ext. 103, or                           director Billy Porter
                                                                                               with PTC Dramaturg
by e-mail at jlynes@philadelphiatheatrecompany.org.                                              Warren Hoffman.
                                                                                                   Being Alive cast

                                                                                              member Leslie Odom,

                                                                                                Jr. with guest Peter

                      O                               The stars come out on PTC
                                                           opening nights!

                                               Photo top left: Rev. Leonard Smalls, Being
                                               Alive creator and director Billy Porter, and
                                                      Board member Evelyn Smalls

                                                    Photo top right: Bud Rubel, cast
                                                      member Bryan Terrell Clark,
                                                       June and Steve Wolfson

                                                Photo bottom left: Cast member Jesse
                                                Nager, Board member Rick Burke, Tracy
                                                         Burke, and their son

                                              Photo bottom right: Suzie Dietz, Broadway
                                              legend Tommy Tune, Board President Jerry
                                                     Riesenbach, and Billy Porter

How big dreams
   get off the ground.
US Airways is proud to be the season host sponsor of Philadelphia Theatre Company. As your
community partner, we’re pleased to support the arts. After all, big dreams deserve the
chance for an encore.

                                                         Stage Door
                                                   Where Theater and Community Meet
                       Special Events and Performances Happening during M. Butterfly at Philadelphia Theatre Company

                         Beyond Stereotypes:            A Panel Conversation About the                            Spreading His Wings:
                    A Panel Conversation About           Cultural Politics of the Opera                             An Interview with
                       Asian American Theater                    Madame Butterfly                                  David Henry Hwang
                          Saturday, January 26                  Sunday, January 27                                  Sunday, February 3
                     following 2pm performance             following 3pm performance                           following 3pm performance

            Meet the Artists Nights                                        Open Captioned Performance
            Thursday, January 24 after 8pm performance                     Saturday, February 9, 2pm
            Thursday, February 7 after 8pm performance                     For hard of hearing and deaf audience members. Personal
            Tuesday, February 12 after 8pm performance                     captioning devices are provided which scroll text of the
            Get the inside scoop on the creation of Philadelphia           lyrics/dialogue across the device’s screen, in tandem with
            Theatre Company’s premiere of M. Butterfly. Join members       the lyrics/dialogue of the performance.
            of the cast as they discuss their work and process.
                                                                           Audio Described Performance
            NEXT, The Young Patrons of                                     & Sensory Workshop
            Philadelphia Theatre Company                                   Saturday, February 16
            Saturday, January 26 after 8pm performance                     Workshop: 12:30pm, Performance: 2pm
            Join NEXT, the Young Patrons of Philadelphia Theatre           For low-vision and blind audience members. Workshop
            Company. "Own your own opinion" by sharing your                participants experience various elements of the production
            thoughts at NEXT's post-show parties, which will include       prior to the performance. Wireless headsets are provided,
            cutting-edge culture, cocktails, and more!                     through which a trained audio describer fills in the details
                                                                           of action on the stage, which might otherwise have been
            Night OUT!                                                     visually missed. Large Print, Braille, and audio cassette
                                                                           programs available upon special request. Please contact
            Thursday, January 31, 6:30pm
                                                                           Jessica Waber at 215-985-1400 x122 to make a reservation
            A pre-show LGBT -friendly reception for theater lovers.        for this workshop and/or performance.
            Enjoy cocktails, sandwiches, sweets, and great company
            before the 8pm performance of the premiere of M.               PTC’s accessibility programming is sponsored by the Lincoln Financial Foundation
            Butterfly. For tickets to the evening’s performance, contact   and the Pennsylvania Council on the Arts’ Accessibility to the Arts in Pennsylvania for
                                                                           Individuals with Disabilities Program. Accessibility technology in the Suzanne
            our Box Office at 215.985.0420. To RSVP for the party,         Roberts Theatre was made possible by a grant from the Lincoln Financial
            E-mail: NightOut@philadelphiatheatrecompany.org.               Foundation.

230 South Broad Street, Suite 1105
Philadelphia, PA 19102
Administrative Office:
Phone: 215.985.1400 FAX: 215.985.5800
Box Office:
Phone: 215.985.0420

Production Sponsor:

Premier Season Sponsor:

Official Airline:

Media Sponsors:

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