Bailiwick Repertory Records

Abstract

Bailiwick Repertory was founded in 1982 to be a contemporary theater with a classical core that fostered directors and strove to provide affordable, accessible and responsive entertainment that reflected Chicago’s diverse communities. The records document Bailiwick’s productions, operations and artistic mission and include its Deaf Bailiwick Artists productions, Directors’ Festival and Pride Performance Series.

Biographical/Historical

Bailiwick Repertory was founded in 1982 by a seven-member consortium led by managing directors David Zak and David Pearson. The repertory’s early goal was to support the artistic vision of directors and produce rarely seen classic plays that were made accessible to modern audiences. Bailiwick’s first season included Joseph Jefferson Award-winning productions of The Country Wife and Holiday.

By the end of the 1983-1984 season, David Zak was the only original founder still with Bailiwick. He continued to direct plays there, as did Michael Ouellette, Doug Findlayson and Kyle Donnelly.

From 1982 to 1986, Bailiwick productions moved from the Theatre Building on Belmont Avenue to the Beacon Street Theatre, to the space above Cabaret Metro on Clark Street. In 1987, Bailiwick settled in a permanent home in the Jane Addams Center at 3212 N. Broadway. Following the move and a budget increase, Bailiwick’s goal shifted from exclusively presenting the classics to a program of productions serving the theater’s diverse audience. The award-winning productions of Emily Mann’s Execution of Justice and Chicago playwright John Logan’s Nebraska are representative of Bailiwick’s commitment to contemporary plays of social consequence or political interest. The 1987 musical adaptation of George Orwell’s Animal Farm was a runaway hit and added dancing and singing to Bailiwick’s repertoire.

Bailiwick’s commitment to supporting Chicago directors also emerged early. The Dark Night Series, began in Bailiwick’s first season and continued as a showcase for local directors for the next decade. This was followed by the Encore Series that provided a forum for short classics and contemporary scripts. By 1989, Bailiwick expanded its Auxiliary Programs. The Pride Performance Series (originally called the Gay and Lesbian Play Series) began as a summer series geared to the large gay community in Bailiwick’s Lake View neighborhood, but its success made it part of the larger Chicago theater community. The Directors’ Festival gave young directors an opportunity to craft their art with the resources of an established theater company. In 1995, the Our Town production included interpretation for deaf and hearing audiences, and this evolved into the Deaf Bailiwick Series.

In 1992, Bailiwick moved from the Jane Addams Center and returned to the Theater Building as a permanent tenant. The larger stages and a more ample reception area better served their growing audience. In 1994, Bailiwick moved next door to 1229 W. Belmont Avenue and renamed the venue, Bailiwick Arts Center. In addition to their own productions, the new space was leased to other community arts groups.

The theater closed in 2009.

Scope and Contents

Bailiwick Repertory was founded in 1982 to be a contemporary theater with a classical core that fostered directors and strove to provide affordable, accessible and responsive entertainment to that reflected Chicago’s diverse communities. The records document Bailiwick’s productions, operations and artistic mission and include its Deaf Bailiwick Artists, Directors’ Festival and Pride Performance Series productions.

The materials include box office reports, correspondence, financial reports, grant applications, meeting materials, news clippings, photographs, programs, promotional materials, scripts and scores.

Arrangement

The Bailiwick Repertory Records are arranged into three series:

• Series 1: Production History Files, 1982-2000
• Series 2: Administrative Files, 1953-2000
• Series 3: Artistic Files, 1985-1994, undated

Subject Headings

• Bailiwick Repertory
• Children’s theater -- Illinois -- Chicago
• Deaf, Theater for the
• Gay theater
• Keenan, Cecelie D.
• Lakeview (Chicago, Ill.)
• Logan, John, 1961-
• Patricca, Nicholas A.
• Theater -- Illinois -- Chicago -- 20th century -- Sources
• Theater -- History -- Sources
• Theater production and direction
• Theater programs -- Illinois -- Chicago
• Werch, Shifra
• Zak, David

Related Collections

• Chicago Theater Videotape Collection
• Nicholas A. Patricca Papers
• St. Nicholas Theater Company Records

Collection Inventory

Series 1: Production History Files, 1982-2000

Scope and Contents

Series 1 contains promotional materials such as programs, press releases and reviews and clippings as well as production-related correspondence, prompt and other script material, box office information, and some technical information.

Season Productions:

• 42 Riverside Drive by Michael Carey, directed by David Zak, 2000 February 24-March 26
• Act Without Words by Samuel Beckett, 1994 October 27
• Alfred Stieglitz Loves O'Keefe by Lanie Robertson, directed by Judy O'Malley, sets by Daniel Ostling, costumes by Dawn Dewitt, lighting by Benjamin Solotaire, and sound by Jeff Applebaum, 1991 September 15-October 20
• Animal Farm, adapted by Peter Hall from the George Orwell novel, music by Richard Peaselee, lyrics by Adrian Mitchell, directed by David Zak, sets by David Davis, lighting by Tom Fleming, masks and costumes designed by Steve Pickering and Faye Fisher-Ward, 1988 October 15, 1987-January 10
• Animal Farm, adapted by Peter Hall from the novel by George Orwell, directed by David Zak, sets by Thomas Mitchell, lighting by Tom Fleming, masks and costumes by Steve Pickering and Faye Fisher-Ward, 1988 September 15-December 18
• Animal Farm, adapted by Peter Hall from the book by George Orwell, directed by David Zak, costume design by Steve Pickering, 1996 September-October 6
• As You Like It by William Shakespeare directed by Eric Simonson, music by Michael Dilthey, choreography by Carol Bobrow, costumes by Faye Fisher-Ward, lights by Peter Gottlieb, and sets by David Davis; with Jeremy Piven, 1988 January 26-March 13
• At Long Last Leo by Mark Stein, directed by Judy O'Malley, with sets by Mark Netherland, 1992 February 9-March 15
• Auto-Erotic Misadventures by F.J. Hartland, and Dreamboats by Avery Hart, directed by Ralph Flores, 1986 May
• Be My Guest, with Ben Hollis, 1993 December 1-19
• Blackheart by Chuck Ferrero, directed by David Zak, lighting design by Tom Fleming, sets by David Zak, 1989 October 5-November 12
• Blues in the Night, conceived by Sheldon Epps, directed and choreographed by Joe Huber, musical direction by Rob Galbreath, lighting by Tom Fleming, costumes by Nora-Lee Lutrell, and sets by Daniel Ostling, 1991 February 3-March 3
• The Blood Knot by Athol Fugard, directed by Ralph Flores, production designed by David Zak, costumes by Marilyn Rea, 1985 November 19-December 21
• The Cairn Stones by Anne V. McGravie, directed by David Zak, scenic design by Joe Wade, 1999 February-March 7
• The Carrot, Carrot and Other Proclivities by Richard Kalinoski, directed by Molly Burns, 1991 September 23-October 20
• Celebrity Beat by Cheryl Lavin and Marylinn Preston, directed by David Zak, sets designed by Robert Smith, lights by Tom Fleming, costumes by Shifra Werch, sound by C.W. Glenn, and video by Matt Hoffman, 1990 August 15-September 30
• The Christmas Brothers: A Couple of Snowflakes, written and performed by Philip E. Johnson and Brian McCann, 1993 December 2-[ ]
• The Christmas Schooner by John Reeger and Julie Shannon, directed by David Zak, musical direction by Patrick Holland, costumes by Shifra Werch, sets by Mark Lohman, 1995 November 27-1996 January 14
• The Christmas Schooner by John Reeger and Julie Shannon, 1996 December
• The Christmas Schooner by John Reeger and Julie Shannon, 1997 November-1998 January
• The Christmas Schooner by John Reeger and Julie Shannon, 1999 December-2000 January 2
• The Count of Monte Cristo, adapted by Jeff Casazza and David Zak from Alexandre Dumas, directed by David Zak, costumes by Nanette Acosta, lighting by Benjamin Solotaire, and sets by Bruce Bergner, 1991 November 12-December 15
• The Country Wife by William Wycherly, directed by David Zak, lighting by Rita Pietraszek, sets by George Lee, and costumes by Patti Randazzo, 1982 August 18-September 26
• Cyber Queer by Tom Jacobson, 1996 October-December 1
• Dark of the Moon by Howard Richardson and William Berney, directed by Cecilie D. Keenan, lighting by Mary Badger, set design by Lynda White and Whayne Braswell, 1997 April-June 7
• David's Redhaired Death by Sherry Kramer, directed and choreographed by Susan V. Booth, sets designed by David Jackson Cushing, costumes by Michelle Friedman-Siler, original score by William Underwood, 1993 September 21-October 31
• Daystar, adapted by Walter Miller from the Medieval Miracle Plays, with original music by Phillip Gehring, directed by Kristen Gehring, 1991 December 3-29
• Dear Friends and Gentle Hearts by David Biele, music by Stephen Foster. Workshop performances, directed by Jay Paul Skelton, musical direction by Christopher Moore, 1998 May 4-5
• Dear Friends and Gentle Hearts by David Biele, directed by David Zak, musical direction by Stephanie Newsom, set design by Rick Paul, 2000 March
• Dear, Hell, Dear Juan, created with the Abiogenesis Movement Ensemble and directed by Angela Allyn, costumes by Janet Jaffke, sets by Jacqueline and Richard Penrod, lights by Julio Pedota, and fight choreography by Jessica Hanna. Don Juan in Hell, by Bernard Shaw and directed by Brendon Fox, sets by Jacqueline and Richard Penrod and lighting by Julio Pedota, 1994 January 25-[ ]
• The Deep Blue Sea by Terence Ratigan, directed by James Pelton, set design by John M. Glenn, lighting by Eric Appleton, costume design by Mary Ellen Park, 2000 January 10-February 6
• Dirty Dreams of a Clean-Cut Kid by Paul Katz and Henry Mach, directed by David Zak, musical direction by Dan Stetzel, choreography by Domenick Danza, 1993 November 7-1994 January 2
• Don Juan, adapted by Brendan Baber and James Pelton from Don Juan Tenorio by Jose Zorilla, scenic design by Richard and Jacqueline Penrod, lighting by Julio Pedota, costumes by Nathalie Barth Walker, sound designed by James Pelton, fight choreography by Darrel Ford, and original music by Joe Hauck, 1994 January 19-March 6
• Don Juan on Halsted, music, lyrics and musical direction by Eric Lane Barnes, and book, direction and musical staging by R. John Roberts, costumes designed by Toby L. Neiman, lights by Julio Pedota, and scenic design by Jacqueline and Richard Penrod, 1994 February 1-March 6
• The Don Juan Project: Don Juan, Dear Juan, Don Juan in Hell, Don Juan on Halsted, 1994 January 18-[ ]
• Dorian Gray, adapted by John McCrite from Oscar Wilde, set design by Catherine Ross, 1997 April
• Eros: An Artfully Erotic Collage, created and directed by Shifra Werch, choreography by Darryl Fleming, lighting designed by Leah Salamon, video by Jim Covert, Covert Creative Group, 1993-1994
• Execution of Justice by Emily Mann, directed by Doug Finlayson, costumes by Shifra Werch, sets designed by James Dardenne, lighting by Steve Lawnick, 1987 January 22-March 2
• F-64 by Christina deLancie. World Premiere, directed by David Zak, sets designed by Jacqueline Penrod, 1994 November 1-December 11
• Faggot with a Gun by Mark Davis, 1995 December
• Fairy Tales by Eric Lane Barnes, directed by R. John Roberts, costumes by Michael Alan Stein, 1995 January 29-[ ]
• Falling in Love Again, A Holiday Cabaret with Craig Figtree, Steve Carson, pianist. 1992 November 21-December 31
• Fanshen by David Hare, directed by Joann Shapiro, 1995 March 14-[ ]
• Farenheit 451 by Ray Bradbury, 1998 April 5-May 11
• The Haunted Man by Christopher Cartmill, directed by David Zak, lights by Tom Fleming, sound by Judy Myers, costumes by Margaret Fitzsimmons Morettini, sets by Richard and Jackie Penrod, and choreography by Lane Alexander, 1990 November 13-1991 January 6
• He Lied to His Wife, Victoria Theatre, 1982 September 29
• Hello Again by Michael John LaChiusa, directed by Elizabeth A. Lucas, musical direction by Dan Stetzel, 1996 February 17-[ ]
• Henry VI: Blood of a Nation, adapted by Jeremy Wechsler from Shakespeare, directed by Jeremy Wechsler, set design by Geoffrey M. Curley, lighting design by Duane Pagano, costumes by Kristine Knanishu, original music by Joe Cerqua, fight choreography by David Gene Gregory, 1998 January 14-February 15
• Holiday by Philip Barry, directed by David Pearson, sets by Lynn Ziehe, costumes by Patty Randazzo, lights by Barbara Reeder, 1983 May 19-June 26
• A Holiday Spin by Jonathan Abarbanel and Scott Ferguson, 1994 November 27
• If the Radiance of a Thousand Suns by Nicholas Patricca, Dwight Okita, Anne V. McGravie, and David Zak. 1995 July [ ]-August 20
• Incorruptible by Christopher Cartmill, directed by David Zak, choreography by Ted Greenwood, lights by Tom Fleming, costumes by Margaret Fitzsimmons Morettini, and sets by Brian Traynor, 1989 June 18-July 30
• Inferno Beach by Marc Stopeck, directed by David Zak, choreography by Domeneck Danza, musical direction by Amy Abler, 1998 [?]-March 28
• Into the Deep Heart's Core, adapted, composed and performed by Joseph Daniel Sobol, and based on W.B. Yeats, 1994 November 15-1995 May 7
• Joe Egg by Peter Nichols, directed by David Zak, sets and lights by Philip Rabe, costumes by Susan Hotz, 1986 April 16-May 25
• Julie Johnson by Wendy Hammond, directed by Cecelie D. Keenan, 1995 May 31-July 10
• Kreskin Be Damned by Jamie Pachino, 1996 Janaury 16-[ ]
• Lapin/Lapin by Coline Serreau, directed by Kim Rubenstein, sets designed by Nephelie Andonyadis, costumes by Michael Stein, 1995 October 19-November 22
• Laughing Wild by Christopher Durang, directed by Edward Wilkerson, lights by Tom Fleming, sets by Tim Oien, and costumes by Shifra Werch, 1990 November 28, 1989-February
• Laughing Wild by Christopher Durang, directed by David Bontumasi, featuring Kate Goehring and Russell Rowe, 1992 February 14-March 13
• Libido Libre, directed by Dai Parker-Gwilliam, 1992 January 17-February 15
• Life in the Trees by Catherine Butterfield, directed by David Zak, 1996 July
• Life is a Dream by Calderon de la Barca, directed by David Zak, lights by Tom Fleming, costumes by Margaret Fitzsimmons Morettini, and sets by Greg Musik, 1990 February 11-[ ]
• Light in Love by Christopher Cartmill, directed by Jessica Donnelly and Christopher Cartmill, sets designed by Philip Nolan, lighting by Benjamin Solotaire, costumes by Nanette Acosta, original music by Roger Day, 1992 May 10-June 21
• Light in the Heart of the Dragon by Christopher Cartmill, directed by David Zak, sets by Robert Knuth, costumes by Darice DaMata-Geiger, lights by John Narun, sound by Christopher Cartmill, and fight choreography by Delia Ford, 1991 September 19-October 18
• Look Back in Anger by John Osborne, directed by Phillip Edward VanLear, scenic design by Brian Traynor, sound by Joe Cerqua, costumes designed by Christine Birt, lighting designed by Julio Pedota, 1994 May 11-June 26
• The Love Triangle by Elizabeth Ward, directed by Christine Hartman, [1994]
• Lust and Pity by Hilary Sloin, directed by Shifra Werch, 1992 June 24-August 2
• Madame Mao's Memories by Henry Ong, directed by John Carlisle, lights by Tom Fleming, sets by Robert Smith, costumes by Shifra Werch, and music by Evan Chen, 1990 August 29-October 7
• Mademoiselle Julie by Yvonne Hopkins Fegan. World Premiere, directed by Sydney Daniels, sets by Dan Ostling, lighting by Tom Fleming, costumes by Margaret Fitzsimmons Morettini, sound by Evan Chen, and choreography by Mitchell Moore, 1991 January 16-February 24
• Making Noise Quietly by Ronald Holman, directed by David Zak, costumes by Shifra Werch, lights by Tom Fleming, sets and sound design by George Lee, 1989 March 19-April 23
• Coney by Belinda Bremner, directed by Belinda Bremner, lighting by Ben Benedict, 1997 November 20-December 20
• Coney by Belinda Bremner, directed by Belinda Bremner, set design by Joe Wade and Ben Benedict, 1998 November-December 20
• Coney by Belinda Bremner. 1999
• Nagasaki Dust by W. Colin McKay, story by W. Colin McKay and Jim Ishida, directed by Cecelie D. Keenan, original music by Whayne Braswell, choreographed by Wilfredo Rivera, 1996 [ ]-May 12
• Nebraska by John Logan, directed by Doug Finlayson, sets and costumes designed by Steve Pickering, lighting by Tom Fleming, sound by Rob Milburn, 1988 June 9-[ ]
• The Night Larry Kramer Kissed Me by David Drake, directed by Kerry Riffle, 1995 March 21-May 7
• Now Then Again by Penny Penniston, directed by Jeremy Wechsler, 2000 February 17-March 12
• One for the Road by Harold Pinter, 1996 Janaury 16-[ ]
• Our Town by Thornton Wilder, directed by Cecelie D. Keenan, set design by Rick Paul, lighting by Mary Badger, costumes by Margaret Morettini, original music and sound design by Joe Cerqua, 1995 September 12-October 22
• Ourselves Alone by Anne Devlin, directed by Kyle Donnelly, sets by James Dardenne, costumes by Anne Jaros, lights by Peter Gottlieb, 1988 April [ ]-May 8
• Orwell Down and Out, adapted by Bart DeLorenzo, directed by Greg Allen, 1988 October 23-November 15
• Party, conceived and directed by David Dillon. 1993 November 7, 1992-June [ ]
• Pericles by William Shakespeare, directed by Michael Ouellette, set design by Russ Borski, choreography by Claudia Dalton, 1984 April 14-May 13
• Playing by the Rules by Rod Dungate, directed by Jeremy Wechsler, 1995 December
• Pope Joan by Christopher Moore. World Premiere, directed by David Zak, musical direction by Gene DeLuca, costumes by Margaret Morettini, scenic design by Rick Paul, prop design by Laura Cohen, fight choreography by Linda Schaefer, 1995 March 19-May 7
• A Preliminary Inquiry into the Methods Used to Create and Maintain a Segregated Society, 1992 August 17
• Prelude and Liebestod by Terrence McNally, 1996 Janaury 16-[ ]
• Pygmalion by George Bernard Shaw, directed by David Zak, set design by Michael Alonzi, lighting by S. Gray Dunn, costumes by Michelle Anderson, 1983 November 16-December 11
• Rattlesnake in a Cooler by Frank South, directed by Doug Finlayson, sound design by Jeff Dear, featuring Matt DeCaro and Neil Flynn, 1983 April
• Rexby by Joe Pintauro, 1996 Janaury 16-[ ]
• Room Service by John Murray and Allen Boretz, directed by Bob Romeo, sets and lights designed by J. William Ryle, costumes by Dan L. Wilhelm, 1984 November 7-December 2
• Rope by Patrick Hamilton, directed by David Zak, 1997 February-March 2
• The Rose Tattoo by Tennessee Williams, directed by Cecelie Keenan, costumes by Mara Blumenfeld, sets by Alan Donahue, lights by Julio Pedota, sound and original music by Larry Mohl, 1993 March 24-April 24
• The Runner Stumbles by Milan Stilt, [1986 October]
• The Shanghai Gesture by John Colton, directed by Cecelie D. Keenan, scenic design by Joe Forbrich, sound design and original music by Joe Cerqua, costumes by Christine Birt, lighting by John Parsons, and sculptures and masks by Lynda White, 1995 January 12-March 5
• Shopping and F***ing by Mark Ravenhill, directed by Jeremy B. Cohen, set design by Dan Ostling, lighting design by Ru Robbins, costume design by Kristine Knanishu, sound by Rich Carle, 1998 September 2-[?]
• The Skin of Our Teeth by Thornton Wilder, directed by Tom Mula, sets by Russ Borski, lights by Tom Fleming, costumes by Shifra Werch, 1987 December 4-1988 January 17
• The Sleep of Reason by Antonio Buero-Vallejo, directed by Cecelie Keenan, costumes by Karen Kopischke, sets designed by Jacqueline and Richard Penrod, lighting by Julio Pedota, original music and sound design by Joe Cerqua, 1994 March 22-May 1
• Small Domestic Acts by Joan Lipkin, directed by Laurie Attea, costumes by Kevin Peterson, lighting designed by Julio Pedota, 1993 November 21-1994 January 2
• Smash Joe by Jeffrey Hatcher, directed by James Pelton, set design by Jacqueline Penrod, costumes by James Raby, lighting by Kevin Heckman, sound by Steven M. Klein, 1997 October 6-[?]
• Songs of the Season, directed by Joe Huber, musical direction by Mark Elliot, lighting by Daniel Ostling, 1990 December 5-23
• Splintered: Scraped by Scott McPherson, Pagan Day by Sally Nemeth and The Moonshot Tape by Lanford Wilson, 1996 October
• Joan by George Bernard Shaw and St. Joan of the Stockyards by Bertolt Brecht, directed by Roger Smart, sets designed by Robert Knuth, and lighting by John Narun, 1993 January 20-March 7
• Stones by John Reeger and Julie Shannon, directed by Cecilie D. Keenan, musical direction by Michael Keefe, lighting by Kathy Perkins, costumes by Norwood Rice, sets by Lori Fong, choreography by Marla Lampert, 2000 April 10-[?]
• Syzyrgy, the gay works of Jeff Hagedorn, Chicago Gay and Lesbian Arts Celebration, 1988 September 25-October 7
• Terminal Cafe by Jon Tuttle, 1995 July
• The Threepenny Opera by Bertolt Brecht and Kurt Weil, directed by Kyle Donnelly, lights by Richard Bond, sets by Russ Borski, costumes by Marsha LeBoeuf, choreography by Paula Petrini, 1984 September 13-November 4
• Theodora: An Unauthorized Biography by Jaime Pachino, directed by Shira Piven, 1995 January 18-March 5
• An Uncertain Hour by Nicholas Patricca, directed by David Zak, costumes by Christine Birt, lighting by Julio Pedota, sets by Brian Traynor and sound by Joe Cerqua, 1994 May 23-June 26
• Undercover in the House of Love by Brian Kirst, 1998 September-October 24
• The Underwear Plays by Troy Tradup, review, 1994 September
• Unfinished Business: The AIDS Show, directed by Arnold Aprill and Sheila Wurmser, sets by Patrick Fitzpatrick, lights by Robert Van Tornhout, costumes by Caroline Kera, musical direction by Jeffrey Marsh and Christopher Moore, 1987 April-May
• Waiting for Godot by Samuel Beckett, directed by Eric Simonson, costumes by Shifra Werch, lighting by Peter Gottlieb, and sets by Kevin Wolff, 1986 September 29-October 19
• Wild Honey, adapted by Michael Frayn from Platonov by Checkhov, directed by David Zak, 1989 January 15-March 12
• The Wind in the Willows, adapted, composed and directed by Douglas Post, sets by Michael Biddle, lights by Paul Miller, choreography by Alison Vesely, costumes designed by Tom Kelley, 1985 December 18-1986 January 4
• The Would-Be Gentleman by Moliere and The Way of the World by William Congreve-directed by David Zak; and Private Lives by Noel Coward-directed by David Pearson, lighting design by Ras Crowe, costumes by Patti Randazzo, sound by Brad Wright, 1982 August 2
• Wuthering Heights, adapted by Jeff Casazza from the novel by Emily Bronte, directed by David Zak, costumes designed by Michele Friedman Siler, sets by David Jackson Cushing, and lights by Julio Pedota, 1993 September 14-October 31

Children’s Theater:

• Arden by Carrell Miller, Alexander Wilder, et al. World Premiere, directed by Alexander Wilder, lighting design by Richard Tatum, 1989 November 11-[ ]
• Hang Loose, Mother Goose by Charmaine Spencer directed by Alexander Wild, 1989 July 29-September 30
• Step 2 Review and Eagle Feather (July 28-November 24, 1991) and The Snow Queen (November 30-December 29, 1991), Chi-Town Puppet Theatre, 1991

Dark Night Series:

• Beyond the Horizon by Eugene O'Neill and directed by Ralph Flores, 1984-1985
• Bird Song by Aaron Iverson and directed by Ivory Ocean, 1983-1984
• Chamber Music by Arthur Kopit, and directed by Buff Lee, 1984-1985
• Connections of the Heart by Paula Berg, directed and choreographed by Liz Pazik, set design by Carl Forsberg, lighting by John Narun, costumes by Nick Harris, 1992 May [ ]-June 6
• Counting the Ways by Edward Albee and directed by Wayne Robinson, Jr., 1983
• Home Free by Lanford Wilson and directed by Douglas Finlayson, 1983
• In Fireworks Lie Secret Codes by John Guare and directed by Karen Pratt, 1984-1985
• A Life by Steve Tesich and directed by Ralph Flores and Tom Carroll, 1983-1984
• The Loveliest Afternoon in the World by John Guare and directed by Larry Wyatt, 1983
• Play by Samuel Beckett and directed by Ron Falzone, 1983
• Red Cross by Sam Shepard and directed by Cheri Epping, 1983
• Reunion by David Mamet and directed by Nancy Donoval, 1984-1985
• Review Sketches by Harold Pinter and directed by Ron Falzone, 1983
• The Road by Steve Tesich and directed by Ralph Flores and Tom Carroll, 1983-1984
• The Scream by Howard Casner and directed by Mark Warnaar, 1986 September
• Slacks and Tops by Harry Kondoleon and directed by Tom Carroll, 1987 March
• Shona by Tony Craze and directed by Keith Miller, 1984-1985
• Time Remembered by Jean Anouilh and directed by Michael Ouellette, 1983-1984
• Two Servants and the Master by Noel Coward and directed by Barbara Reeder, 1983
• Whirligigs, adapted from O. Henry and directed by Patrick Spradlin, 1983-1984
• The White Whore and the Bit Player by Tom Eyen and directed by Helen Kaplow, 1983-1984
• The Wool Gatherers by William Mastrosimone and directed by Don Ilko, 1984-1985

Deaf Bailiwick Artists:

• Broken Spokes by Willy Conley, directed by David Zak, 1998 October 15-November 8
• The Whole World in Our Hands, directed by David Zak, Robert Schleifer and Ronald Jiu, 1999 October 21-November 21

Pride Performance Series:

• Adam and the Experts by Victor Bumbalo, directed by Timothy M.P. Lynch and Michael Ryczek, 1990 June 5-July 3, August 16-September 23
• The Adored and the Adorned by Beth Tanner, directed by Beth Tanner, 1991 May 26-June 11
• Angels into Dust: The New Town Anthology, adapted by Fred Anzerino from Jon Henri Damski’s New Town Diaries, 2000 May 29-July 2
• Annie Sprinkle’s Herstory of Porn: Reel to Real, 1999 June 3-6
• Bare by Brian Kirst, directed by Brian Kirst, 2000 May 24-July 2
• Before I Disappear, written and performed by Alexandra Billings, directed by Mary C. Beidler, 1996 July [ ]-August 14
• Brave Smiles by the Five Lesbian Brothers, directed by Laurie M. Attea, costume design by Norwood Rice, lighting by Eric Appleton, sets by Dan Griffiths, fight choreography by Brian LeTraunik, 2000 July 9-30
• Breathe by Dan Martin and Michael Biello, directed by David Zak, musical direction by Jeremy Ramey, choreography by Carmen Aiello, costume design by Ross Boehringer, lighting by Eric Appleton, scenic design by Joel Gordon, 1999 June 13-July 18
• Camp Killspree, written and directed by Sean Abley, world premiere, fight choreography directed by Kirk Pyncheon, 1994 July 5-August 13
• Colorphobia: A Perspective on the Racial Issues in the Lesbigaytrans Community, with A Real Read, directed by Keith C. Butler, 1999 July 8-11
• Comrades/Lovers by Jonathan Ned Katz, directed by Patrick Trettenero, 1992 May 3-June 13
• Conversations with a Diva by Dr. Shirlene Holmes, 1999 June [?]-27
• Damage and Desire by Kate Moira Ryan, directed by Shifra Werch, 1999 July 22-August 22
• Drag Queens on Trial by Sky Gilbert, directed by Edward Wilkerson, costumes by J. Kevin Draves, sound by Shea Ako, 1990 July 20-September 1
• Earl, Ollie, Austin and Ralph by Glenn Rawls, directed by Patrick Trettenero, costumes by Nora-Lee Luttrell, 1991 April 17-May 12
• Endless Night, Sweet Delight by Howard Casner, directed by Daniel D. Foss, costumes by Juan Rincon, set and lighting design by Dan Griffiths and Eric Appleton, 2000 June 18-July 22
• Excerpts from the Attorney General's Report on Pornography. Hard Place Theater of New York, 1991 July 12-14
• The Expense of the Spirit, conceived and directed by Michael Barto, music and lyrics by Douglas Wood, sets designed by Robert Knuth and lighting by John Narun, 1993 July 18-[ ]
• Flesh and Blood by Colin Thomas, directed by David Dillon, costumes designed by Nick Harris, sets by Carl Forsberg, lighting by John Narun, sound by Daniel Blinkoff, Karla Harscheid and Kelly Demaret, 1992 June 21-August 1
• For What? (or, Looking for Lenin in All the Wrong Places) by David Parris, directed by Brad Nelson Winters, 1998 June-July 12
• Grecian Formula '80 by Fred Gormley, directed by Luther Goins, lighting by Tom Fleming, and costumes by Nora-Lee Luttrell, 1991 March 29-[ ]
• Hannah Free by Claudia Allen, directed by Laurie Attea, set design by Carl Forsberg, lighting by John Narun, costumes by Nick Harris, 1992 June 17-August 1
• The Harvey Milk Show by Dan Pruitt, directed by Matt Callahan, musical direction by Patrick Hutchinson, 1993 July 15-August
• Hold the Hot Sauce!, written and performed by Michael García, directed by Michael Halberstam, 1995 June
• Homme Fatale: The Joey Stefano Story by Barry Lowe, 1999 June 25-July 18
• The Idea of Chaos (Sex, Death, Life, and Order) in Key West by Nicholas Patricca, directed by Jim Ortlieb, 1991 June 17-July 9
• If You See Yourself, Say Amen by Jera Ing-Odin, directed by Jera Ing-Odin, 1991 May 24-June 15
• In Harme’s Way by Landon Coleman, 1998 May [?]-24
• Jeffrey by Paul Rudnick, directed by John Herrera, costumes by Michael Allen Stein, lighting by Kenneth A. Moore, sets designed by Jacqueline and Richard Penrod, choreography by Tracy VonderHaar, 1994 July 11-August 28
• Jerker by Robert Chesley, directed by Christopher Moore, production design by George Lee, sound design by Michael William Randolph, 1989 April 19-July 23
• Jerker by Robert Chesley, directed by Timothy M.P. Lynch, 1990 May 18-June 16
• Jerker by Robert Chesley, directed by Timothy M.P. Lynch, with lighting designed by Tom Fleming, 1991 June 21-July 28
• Jerker by Robert Chesley, 1998 May [?]-30
• Just Say No by Larry Kramer, directed by David Zak, set design by Jacqueline Penrod; with Greg Louganis, Alexandra Billings and Marc Silvia, 1999 May 27-July 4
• Leaking from Every Oriface by Claire Dowie, 1994 August 16-[ ]
• A Letter to Harvey Milk, adapted from a Leslea Newman short story, 1994 July 18-[ ]
• The Lisbon Traviata by Terrence McNally, directed by Judy O'Malley, lights by Tom Fleming, sets by Richard and Jackie Penrod, costumes by Darryl Stone, and fight choreography by Joe Dempsey, 1991 May 22-July 7
• The Lisbon Traviata by Terrance McNally. Halsted Theatre Center, 1991 August 14-November 3
• The Misanthrope, adapted by Michael Barto, from Moliere, directed by Michael Barto, sets by Gail Grossman, lighting by Tom Fleming, and costume design by Faye Fisher-Ward, 1991 June 2-July 7
• Monkey Dancing by Claire Dowie, directed by Marc Rosenbush, costumes designed by Michael Stein, 1994 May 30-June 25
• MotherSON by Jeffrey Solomon, directed by David L. Carson, 2000 June 9-July 2
• Naked Will by Blair Fell, directed by David Zak, costumes by Miriam Sohn, lighting by Eric Appleton abd Tamora Wilson, set design by Dan Griffiths, fight choreography by Brian LeTraunik, 2000 May 21-July 2
• Oh Holy Allen Ginsburg by Nicholas Patricca (May 31-July 11, 1993) and Her Aching Heart by Bryony Lavery (May 30-July 10, 1993). Ginsburg directed by Steve Scott, costumes by Kevin Peterson, lights by John Narun and sets by Robert Knuth. Heart directed by Beverly Brumm, music by Carl Radford, puppets by Linda White, costumes by Kevin Peterson, lighting by John Narun, sets by Robert Knuth and sound by Warren Kaplan, 1993
• Party by David Dillon, 2000 August 27-September 24
• Patience and Sarah by Paula Kimper and Wende Parsons, 2000 August 3-20
• Pink, written and performed by Douglas Wood, with Mark Insko, 1995 July-August
• Poor Super Man by Brad Fraser, 1996 [ ]-August 31
• Preaching to the Perverted written and performed by Holly Hughes, directed by Lois Weaver, sound by Vivian Stoll, lighting design by Eric Appleton, 2000 July 6-9
• Q by Dan Martin and Michael Biello, directed by David Zak, musical direction by Michael McAssey, costumes by Bill Morey, lighting by Eric Appleton, 2000 August 5-September 3
• Romeo and Julius, conceived by Michael Halberstam and based on Shakespeare, directed by Kerry B. Riffle, 1996 May [ ]-June 16
• A Scent of Rain by Marc Dunn, directed by David Zak, lighting design by Eric Appleton, costumes by Alicia Turner, starring Ryan Idol, 1999 July 25-August 28
• Secrets by Rebecca Ranson, directed by Laurie Attea, 1990 July 12-August 5
• Self Help, or The Tower of Psychobabble by Clark Carlton, directed by Jesus Perez, 1999 June 15-July 15
• Shirts and Skin by Tim Miller, 1999 May 28-30
• Sir written and performed by Scott Lee Heckman, directed by Susan Nussbaum, 2000 July 30-September
• Son of Fire by Christopher Moore, directed by David Zak, musical direction by Dan Stetzel, costumes by U-Tate, lighting designed by John Narun, scenic design by Robert Knuth, movement by Angela Allyn, 1993 May 25-July 11
• Soul Survivor by Anthony Bruno, directed by Michael Myczek, 1989 September 13-November 12, 1989
• Taking Care of Mrs. Carroll by Martin Casella from Paul Monette, directed by David Zak, 1997 August
• Trafficking in Broken Hearts by Edwin Sanchez, directed by Ralph Flores, 1992 May 7-June 13
• Two Boys in Bed on a Cold Winter’s Night by James Edwin Parker, directed by David Zak, 1996 May [ ]-June 9
• The Well of Horniness by Holly Hughes, directed by Laurie Attea, sets by Susan Attea, and costumes designed by Michelle Foland, 1989 July 18-September 6
• Workout! by Russell Glidden and Ron Rigby, 2000 July 23-September 3

Arrangement

Series 1 is arranged into 18 subseries by season:

• Subseries A: Season, pre-1982, 1982-1983
• Subseries B: Season, 1983-1984
• Subseries C: Season, 1984-1985
• Subseries D: Season, 1985-1986
• Subseries E: Season, 1986-1987
• Subseries F: Season, 1987-1988
• Subseries G: Season, 1988-1989
• Subseries H: Season, 1989-1990
• Subseries I: Season, 1990-1991
• Subseries J: Season, 1991-1992
• Subseries K: Season, 1992-1993
• Subseries L: Season, 1993-1994
• Subseries M: Season, 1994-1995
• Subseries N: Season, 1995-1996
• Subseries O: Season, 1996-1997
• Subseries P: Season, 1997-1998
• Subseries Q: Season, 1998-1999
• Subseries R: Season, 1999-2000

Subseries A: Season, pre-1982, 1982-1983

Arrangement

Subseries A is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries B: Season, 1983-1984

Arrangement

Subseries B is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries C: Season, 1984-1985

Arrangement

Subseries C is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries D: Season, 1985-1986

Arrangement

Subseries D is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries E: Season, 1986-1987

Arrangement

Subseries E is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries F: Season, 1987-1988

Arrangement

Subseries F is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries G: Season, 1988-1989

Arrangement

Subseries G is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries H: Season, 1989-1990

Arrangement

Subseries H is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries I: Season, 1990-1991

Arrangement

Subseries I is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries J: Season, 1991-1992

Arrangement

Subseries J is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries K: Season, 1992-1993

Arrangement

Subseries K is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries L: Season, 1993-1994

Arrangement

Subseries L is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries M: Season, 1994-1995

Arrangement

Subseries M is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries N: Season, 1995-1996

Arrangement

Subseries N is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries O: Season, 1996-1997

Arrangement

Subseries O is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries P: Season, 1997-1998

Arrangement

Subseries P is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries Q: Season, 1998-1999

Arrangement

Subseries Q is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 1: Production History Files, 1982-2000

Subseries R: Season, 1999-2000

Arrangement

Subseries R is arranged first by the Bailiwick’s season materials and productions and then followed by named performance series or other programs. Individual productions are listed chronologically within each area. The number of images with the same description is indicated in parentheses.

Series 2: Administrative Files, 1953-2000

Scope and Contents

Series 2 includes information on Bailiwick’s Board of Directors, budgets, funding sources, grant applications, partner associations and theater spaces.

Arrangement

Series 2 is arranged alphabetically by topic.

Series 3: Artistic Files, 1985-1994

Scope and Contents

Series 3 contains files on auditions, staff, the Director’s Collective and script submissions along with the planning and applications for the 1992 and 1993 Directors’ Festivals. Most of the Directors’ Festivals applications include full or partial scripts.

Arrangement

Series 3 is arranged alphabetically by subject.