Northlight Theatre Collection

Abstract

Founded as the Evanston Theatre Company in 1975 and dedicated to producing thought-provoking plays, while also providing community service programs for Chicago and the northern suburbs. Collection consists primarily of promotional material such as programs, press releases, reviews and clippings, although there are a small number of prompt scripts from productions in the 1980s.

Biographical/Historical

The Northlight Theatre was founded as the Evanston Theatre Company in 1974 by Gregory Kandel. From its earliest days the company has dedicated itself to producing important, thought-provoking plays, while also providing community service programs for Chicago and the northern suburban areas.

The company’s first production (a benefit) was David Mamet’s Duck Variations, which quickly established the Evanston Theatre Company/Northlight as a first-rate, professional theater. In their first three seasons the company presented the Midwest premieres of Steve Tesich’s Nourish the Beast and Tom Stoppard’s Jumpers, as well as revivals of Harold Pinter’s The Birthday Party and George Bernard Shaw’s Candida. Mike Nussbaum, Judith Ivey, Dennis Zacek, Frank Galati, and Maher Ahmad are just a few of the actors, directors and designers who contributed to these early successes. In the Spring of 1978, the Evanston Theatre Company/Northlight instituted a New Plays Festival which featured The Horse Latitudes by Stephen Black. The festival evolved into the Satellite Season which later produced plays by Chicagoans Dean Corrin and Grace McKeaney.

In the Fall of 1978, the Evanston Theatre Company changed its name to North Light Repertory. It changed again in 1984 to the Northlight Theatre Company, which it remains today. In 1981, Canadian-born Eric Steiner replaced Gregory Kandel as Artistic Director. Under his direction Northlight produced two plays by Montreal playwright Michel Tremblay and several specially commissioned world premieres. Steiner left Northlight after two seasons and was replaced by Michael Maggio, a Chicago resident who had directed Northlight’s productions of The Club, Angel Street and Light Up the Sky. Maggio remained at the theater until 1986. During his residence, Northlight produced many of its most popular productions such as Tom Stoppard’s The Real Thing, June Shellene and Richard Fire’s Dealing and City on the Make, adapted by Chicago playwrights and composers Jeffrey Berkson, Denise DeClue and John Karraker from the writings of Nelson Algren. Athol Fugard scholar Russell Vandenbrouke joined Northlight as Artistic Director in April 1987. Of particular interest during the 1988-1989 season was the collaboration of Chicago author Studs Terkel and Paul Sills for Talking to Myself, a production based on Terkel’s writings. The 1990s saw Northlight moving from its original home at 2300 Green Bay Road in Evanston to the vacated Coronet Theatre, where it remained for a number of seasons. In 1996, the company moved to its current home at the North Shore Center for the Performing Arts in Skokie.

Scope and Contents

The Northlight Theatre Collection contains primarily promotional materials, programs, reviews and clippings and posters. The collection also includes copies of prompt scripts for several productions from the 1986-1987 and 1987-1988 seasons.

Arrangement

Northlight Theatre Records are arranged into three series:

• Series 1: Evanston Theatre Company, 1975-1977
• Series 2: North Light Repertory, 1978-1984
• Series 3: Northlight Theatre Company, 1984-2000

Subject Headings

• Evanston (Ill.)
• Kandel, Gregory
• Maggio, Michael
• Mamet, David
• Nussbaum, Mike
• Skokie (Ill.)
• Theater -- Illinois -- Chicago -- 20th century -- Sources
• Theater -- History -- Sources
• Theater production and direction
• Theater programs -- Illinois -- Chicago
• Vandenbrouke, Russell

Related Materials

• Body Politic Theatre Records
• Chicago Theater Videotape Collection
• Goodman Theatre Archive
• Joseph Nieminski Papers
• St. Nicholas Theater Company Records
• Steppenwolf Theatre Company Records
• Victory Gardens Theater Records

Collection Inventory

Series 1: Evanston Theatre Company, 1975-1977

Scope and Contents

Series 1 contains correspondence, programs, news clippings, reviews and promotional materials related to Evanston Theatre Company productions.

Productions include:

• The Au-Pair Man by Hugh Leonard, directed by Gregory Kandel, sets by Harriet Mintzer, costumes by Wendy Kheel and Robert Berdell, lighting by Samuel Ball, music by Nick Vendon, 1975 October 26-November 16
• The Birthday Party by Harold Pinter, directed by Gregory Kandel, 1976 November 30-[?]
• Candida by George Bernard Shaw, directed by Robert Strane, sets by David Emmons, costumes by Julie Nagel, lighting by Robert Shook, 1976 October 5-24
• A Day in the Death of Joe Egg by Peter Nichols, directed by Dennis Zacek, sets by Maher Ahmad, costumes of Robert Berdell, lights by Geoffrey Bushor, music by Robert Warshaw, 1976 [?]-November 21
• Dreams by Tom Sharkey, co-production with Victory Gardens Theater, directed by Dennis Zacek, sets by Maher Ahmad, costumes by Marsha Kowal, lighting by Robert Shook, music by William J. Norris, 1976 April 2-April 11
• Duck Variations by David Mamet, benefit performances, directed by Gregory Kandel, production design by Patricia Dunbar and Robert Adkins, with Mike Nussbaum, 1975 April 25-26
• The Goodbye People by Herb Gardner, directed by George Keathley, sets and lights by Maher Ahmad, costumes by Marsha Kowal, sound by Robert Fitzpatrick, with Judith Ivey, 1977 September 27-October 16
• Jumpers by Tom Stoppard, directed by Frank Galati, sets by Patricia Dunbar and Robert Adkins, with Mike Nussbaum, 1975 September 28-October 19
• Like Feelings Tendered by Frank, directed by Gregory Kandel, sets by Paul Appel, 1976 April [?]-May 2
• The Little Hut by Andre Roussin, adapted by Nancy Mitford, directed by Dennis Zacek, sets by Maher Ahmad, costumes by Jessica Hahn, lights by Art Anthony, 1977 February 8-27
• The Mound Builders by Lanford Wilson, directed by Gregory Kandel, sets and lights by Maher Ahmad, costumes by Marsha Kowal, sound by Robert Fitzpatrick, with Judith Ivey, 1977 November 1-20
• Nourish the Beast by Steve Tesich, directed by Mike Nussbaum, costumes by Wendy Kheel and Robert Berdell, lighting by Jeff Davis, 1975 November 23-December 14
• Oh Coward! developed by Roderick Cook from the words and music of Noel Coward, directed by Dennis Zacek, choreography by Tracy Friedman, sets by Maher Ahmad, costumes by Christa Scholtz, lighting by Robert Adkins, with Judith Ivey, 1978 January 10-29
• Seascape by Edward Albee, directed by George Keathley, costumes by Jessica Hahn, sets by David Emmons, lighting by Maher Ahmad, 1977 [?]-January 30

Arrangement

Series 1 is arranged chronologically within season.

Series 2: North Light Repertory, 1978-1984

Scope and Contents

Series 2 contains correspondence, programs, news clippings, reviews and promotional materials related to North Light Repertory.

Productions include:

• Angel Street by Patrick Hamilton, directed by Michael Maggio, sets by Tom Beall, costumes by Marsha Kowal, lights by Maher Ahmad, 1980 January 23-February 17
• Ballerina by Arne Skouen, directed by Michael Maggio, sets by Linda Buchanan, costumes by Kerry Fleming, lights by Robert Shook, music by Tim Schirmer, with John Mahoney, 1984 February 1-March 11
• Les Belles Souers by Michel Tremblay, directed by Eric Steiner, sets by Nels Anderson, costumes by Kate Bergh, lights by Dawn Hollingsworth, with Elizabeth Perkins, 1982 March
• Buried Child by Sam Shepard, directed by Gregory Kandel, sets and lights by Maher Ahmad, costumes by Marsha Kowal, 1979 December 5-23
• Catsplay by Istvan Orkney, translated by Clara Gyorgyvey, directed by Tony Monkus, sets and lights by Maher Ahmad, costumes by Christa Scholtz, 1979 October 24-November 11
• Children by A.R. Gurney, directed by Mary Monroe, sets by Bob Barnett, costumes by Nan Zabriskie, lighting by Dawn Hollingsworth, 1983 March-April
• The Club by Eve Merriam, with songs from the period 1884-1905 arranged by Alexandra Ivanoff, lyrics by Eve Merriam, directed by Michael Maggio, sets and lights by Maher Ahmad, costumes by Christa Scholtz, musical direction by Skip Harstirn, choreography by Tracy Friedman, 1979 March 10-April 1
• Cold Storage by Rob Ribman, directed by Edward Stern, sets by Maher Ahmad, costumes by Julie Jackson, lighting by Robert Shook, 1980 April 16-May 4
• Coming of Age by Frank Cucci, directed by Dennis Zacek, sets and lights by Maher Ahmad, costumes by Christa Scholtz, 1978 November 30-December 17
• Double Feature by Dean Corrin, directed by Mary F. Monroe, 1982 March 10-14
• Duet for One by Tom Kempinski, directed by Jeffrey Hayden, sets by David Emmons, costumes by Jessica Hahn, lighting by Dawn Hollingsworth, with Eva Marie Saint, 1983 January 19-February 20
• The Early Male Years by John McNamara, directed by Mary Monroe, sets and costumes by Nan Zabriskie, lights by Dawn Hollingsworth, 1983 October 27-31
• Emlyn Williams as Charles Dickens, 1981 October 27-November 8
• Emlyn Williams as Dylan Thomas, lighting by Robert Crawley, 1984 December 21-January 2
• Family Business by Dick Goldberg, directed by Joe Sturniolo, sets by Patricia Dunbar, lights by Maher Ahmad, costumes by Ann Jaros, 1980 November 19-December 24
• Filthy Rich by George Walker, directed by Robert Woodruff, sets by Michael Merritt, costumes by Jordan Ross, lighting by Robert Shook, music by John Roby, 1982 November 6-December 12
• The Gin Game by D.L. Coburn, directed by Michael Hankins, sets and lights by Jeremy Conway, costumes by Kaye Nottbusch, 1981 [?]-August 18
• The Glass Menagerie by Tennessee Williams, directed by Eric Steiner, sets by Jeremy Conway, lights by Rita Pietraszek, costumes by Jessica Hahn, with Glenne Headley, Tom Irwin, and Terry Kinney, 1981 November 18-December 20
• Horse Latitudes and The Pokey by Stephen Black, directed by Gregory Kandel, sets and lights by Maher Ahmad, costumes by Marsha Kowal, [1978-1979?]
• How I Got That Story by Amlin Gray, directed by Sharon Ott, sets by Jeremy Conway, lights by Rita Pietraszek, costumes by Colleen Muscha, 1981 [?]-June 14
• The Impromptu of the Outrement by Michel Tremblay, directed by Eric Steiner, sets by Shawn Kerwin, costumes by Kate Bergh, lights by Dawn Hollingsworth, 1983 May [?]-June
• The Incredible Murder of Cardinal Tosca by Alden Nowlen and Walter Learning, directed by Mark Miliken, sets by Joseph Nieminski, lights by Robert Shook, costumes by Kaye Nottbusch, 1981 March 18-April 12
• Light Up the Sky by Moss Hart, directed by Michael Maggio, sets and lights by Maher Ahmad, costumes by Julie Jackson, 1980 September 24-October 19
• Meetings by Mustapha Matura, directed by Jim O'Connor, sets by Jeffrey Bauer, costumes by Jessica Hahn, lights by Rita Pietraszek, 1983 December 14-1984 January 22
• On Golden Pond by Ernest Thompson, directed by Montgomery Davis, lights by Marck Mongold, costumes by Kate Bergh, 1981 January 21-March 1
• Plymouth Rock Isn't Pink by William Hamilton, directed by Eric Steiner, sets by Gary Baugh, costumes by Kate Bergh, 1981 September 16-October 18
• The Price by Arthur Miller, directed by Sheldon Patinkin, sets by Michael Merritt, costumes by Julie Jackson, lights by Geoffrey Bushor, with John Mahoney, 1984 March 28-May 6
• The Promise by Aleksei Arbuzov, directed by Gus Kaikkonen, sets by Bob Barnett, costumes by Kate Bergh, lights by Stuart Duke, 1982 May 26-June 27
• The Rear Column by Simon Gray, directed by John Malkovich, sets, lights and costumes by Michael Merritt, 1982 January 27-February 28
• Sharing by James Van Maanen, directed by Joe Sturniolo, 1980 May 23-June 8
• Sondheim Suite, a musical revue conceived and developed by Wacker Drive and Michael Maggio, directed by Michael Maggio, sets by Mary Griswold and John Paoletti, lights by Robert Shook, costumes by Julie Jackson, 1984 July 27-August [?]
• Standing on My Knees by John Olive, directed by June Pyskacek, 1979 June 15-16
• Tales and Fables I and II, presented by the North Light Repertory and the Evanston Recreation Department, produced and directed by B.K. Siewerth, sets by Maher Ahmad, costumes by Marsha Kowal, 1979 July 16-August 7
• That Champion Season by Jason Miller, directed by George Keithley, sets and lights by Maher Ahmad, costumes by Marsha Kowal, 1978 October
• What I Did Last Summer by A.R. Gurney, Jr., directed by Michael Maggio, sets by Joseph Nieminski, costumes by Kaye Nottbusch, lights by Robert Shook, 1983 October 1-November 6
• What the Butler Saw by Joe Orton, directed by Michael Maggio, sets by Joe Nieminski, costumes by Kerry Fleming, lights by Robert Shook, with John Mahoney, 1984 May 23-June 1
• Who It Is and How It Is with Them by Grace McKeaney, directed by Gregory Kandel, 1979 May 18-19
• Who They Are and How It Is with Them by Grace McKeaney, directed by Gregory Kandel, sets and lights by Maher Ahmad, costumes by Marsha Kowal, 1980 March 1-23
• Who's Afraid of Virginia Woolf by Edward Albee, directed by Eric Steiner, sets by Nels Anderson, costume design by Kate Bergh, lighting by Dawn Hollingsworth, with Laurie Metcalf and Rick Snyder, 1982 September 11-October 17

Arrangement

Series 2 is arranged chronologically by production within season or theater program.The number of images with the same description is indicated in parentheses. Only persons named on the back of photographs are included in the description.

Series 3: Northlight Theatre Company, 1984-2000

Scope and Contents

Series 3 contains correspondence, programs, news clippings, reviews and promotional materials related to Northlight Theatre Company.

Productions include:

• 84, Charing Cross Road by Helene Hanff, adapted by James Roose-Evans, directed by Russell Vandenbrouke, set design by Michael Merritt, costumes by Nan Zabriskie, lighting by Linda Essig, with Peggy Roeder and Greg Vinkler, 1989 November 21-December 31
• All in the Timing by David Ives, directed by Brian Russell, set and properties designed by Tony Ferrieri, costumes design by Jared Leese, lighting by Geoffrey Bushor, sound design by Casi Pacilio; Frank Shapiro, composer, 1995 [?]-February 26
• Always...Patsy Cline by Ted Swindley, directed by Brian Russell, set design by Todd Rosenthal, costumes by Nan Cibula-Jenkins, 1996 November 27-1997 January 5
• Angels Fall by Lanford Wilson, directed by Tom Mula, sets by Gary Baugh, lighting by Rita Pietraszek, costumes by Kerry Fleming, with William J. Norris and Edgar Fleming, 1986 September 13-October 12
• As Bees with Honey Drown by Douglas Carter Beane, 2000 February-March
• Belmont Avenue Social Club by Bruce Graham, directed by Mike Nussbaum, scenic and lighting design by Kevin Snow, costume design by Claudia Boddy, sound by Conny M. Lockwood and Jeff Webb, with Brett Hadley, Guy Barile, Gary Houston, B.J. Jones, and Robert Brueler, 1992 February 26-March 22
• Benefactors by Michael Frayn, directed by J.R. Sullivan, sets by Gary Baugh, costumes by Kaye Nottbusch, lighting by Robert Shook, music by Alaric (Rokko) Jans, 1987 February 11-March 22
• Betrayal by Harold Pinter, directed by Russell Vandenbrouke, scenic and costume design by Mary Griswold, lighting design by Geoffrey Bushor, with David Darlow, Kevin Gudahl and Kristine Thatcher, 1993 [?]-October 10
• Bing and Walker by James Farrell, directed by Jimmy Bickerstaff, sets by Gary Baugh, costumes by Kaye Nottbusch, lights by Rita Pietraszek, with Kevin Dunn and Lili Taylor [stage debut], 1985 May 22-July 7
• Blues in the Night, conceived by Sheldon Epps, directed by Jim Corti, musical direction and additional musical arrangements by Malcolm Ruhl, scenic design by Jim Dardenne, costumes by Gayland Spaulding, lights by Bon Christen, sound design by Rick Netter, 1994 [?]-January 19
• Boesman and Lena by Athol Fugard, directed by Woody King, Jr., sets by Michael Phillipi, lights by Robert Christen, costumes by Colleen Muscha, with Trazana Beverly, 1986 January 22-March 1
• Born in the R.S.A. by Barney Simon and the original cast, co-production with the Berkeley Repertory Theatre, Berkeley California and A Contemporary Theatre, Seattle, Washington, directed by Barney Simon, sets and lights design by Michael Philippi, costumes by Susan Hilferty, with Ora Jones and Jacqueline Williams, 1990 April 25-May 27
• Bubbe Meises: Grandma Stories by Ellen Gould, directed by Russell Vendenbrouke, choreography by Marla Lampert, musical direction by Jeff Lewis, 1995 December
• The Butter and Egg Man by George S. Kaufman, directed by Doug Finlayson, scenic design by Gary Baugh, costume design by Jessica Hahn, lighting by Ken Bowen, sound by Steve Rashid, 1989 October 4-November 5
• City on the Make, based on the works of Nelson Algren, book and lyrics by Jeffrey Berkson, Denise DeClue and John Karraker, directed by Michael Maggio, sets by Michael Merritt, costumes by Kaye Nottbusch, lighting by Robert Shook, choreography by Jim Corti with Kevin Dunn, 1984 September 12-October 28
• Conversations with an Irish Rascal by Kathleen Kennedy, 1997 May
• The Convict’s Return, written and performed by Geoff Hoyle, directed by Anthony Taccone, set design by Kate Edmunds, lighting design by Kent Dorsey, costumes by Susan Holferty, sound by Stephen LeGrand and Jeff Webb, 1993 April [?]-May 30
• The Courtship of Carl Sandburg by Bob Gibson, directed by James O'Reilly, sets by Tom Stapleton and Dennis Sherman, costumes by Patti Smith, 1984 July 10-September 2
• Dealing by June Shellene and Richard Fire, directed by Michael Maggio, sets by Linda Buchanan, lighting by Robert Shook, costumes by Kaye Nottbusch, with Holly Fulger, Kevin Dunn, B.J. Jones, Gary Houston, and Barbara E. Robertson, 1986 December 9-1987 January 11
• Dealing by June Shellene and Richard Fire, production supervised by B.J. Jones, scenic design by Linda Buchanan, costumes by Kaye Nottbusch, lighting by Robert Shook, 1987 June 2-July 5
• Don Juan in Hell by George Bernard Shaw, directed by Mike Nussbaum, sets and lights by Stephen R. White, costumes by Jennifer Clark, sound by David Zerlin, with Nussbaum, Meg Thalken, B.J. Jones, and Aaron Freeman, 1995 May 3-June 11
• Eleanor: In Her Own Words, adapted from the writings of Eleanor Roosevelt by Russell Vandenbrouke, directed by Russell Vandenbrouke, set design by James Maronek, lighting by Rita Pietraszek, costumes design by Gayland Spaulding, sound design by Joseph Cerqua, 1990 October 3-Novmber 4
• An Enemy of the People by Henrik Ibsen and adapted by Russell Vandenbrouke from a translation by Jerry Turner, directed by Kyle Donnelly, set design by Michael Merritt, costumes by Gayland Spaulding, lighting design by Robert Christen, musical direction by Stuart Rosenberg, with Susan Nussbaum, Kate Goehring and David Alan Novak, 1991 February 18-March 24
• Feiffer's America, adapted from the work of Jules Feiffer by Russell Vandenbrouke, directed by Russell Vandenbrouke, sets by Jeff Bauer, costumes by Anne Jaros, lighting by Rita Pietraszek, choreography by Lynda Martha, 1988 April 13-[?]
• Fires in the Mirror: Crown Heights, Brooklyn and Other Identities by Anna Devere Smith, directed by Russell Vandenbrouke, 1997 April 16-May 11
• Free Advice from Prague (Audience and Unveiling) by Vaclav Havel, translated by Jan Novak, directed by Kyle Donnelly, sets by Eve Cauley, lights by Rita Pietraszek, costumes by Jessica Hahn, Audience with Gary Houston, 1986 October 22-November 30
• From the Mississippi Delta by Dr. Endesha Ida May Holland, directed by Jonathan Wilson, sets by Michael Philippi, lighting design by Chris Phillips, costume design by Jeffrey Kelly, with Sybil Walker, Cheryl Lynn Bruce and Jacqueline Williams, 1990 January 17-Febraury 11
• The Glass House, book, music and lyrics by Ellen Gould, directed by Russell Vandenbrouke, musical direction by Jeff Lewis, musical arrangements and orchestrations by Ilya Levinson, scenic design by Scott Cooper, costumes by Shifra Werch, lights by Robert Christen, sound by Bruce Holland, choreography by Marla Lampert, 1997 December 10-[1998]
• Heart of a Dog, based on a novel by Mikhail Bulgakov, adapted by Frank Galati, directed by Michael Maggio, sets by Linda Buchanan, costumes by Julie Jackson, lights by Robert Shook, with Frank Galati, Kevin Dunn and Barbara E. Robertson, 1985 March 20-May 5
• Hedda Gabler by Henrik Ibsen, translation by David Chambers with Anne-Charlotte Harvey, directed by Russell Vandenbrouke, scenic design by Linda Buchanan, lighting design by Rita Pietraszek, costumes by Jordan Ross, 1995 March
• Holiday Memories (A Christmas Memory and The Thanksgiving Visitor) by Truman Capote, stage version by Russell Vandenbrouke, directed by Susan Booth, set and lights by Michael S. Philippi, costume design by Renee Liepins, composition and musical direction by Malcolm Ruhl, 1991 November 20-December 15
• Hysterics, written and performed by Le Clanché du Rand, directed by Will Osborne, set design by Stephen R. White, lighting by Charles Jolls, 1993 November
• Jar the Floor by Cheryl West, directed by Tazewell Thompson, 1992 September 16-October 18
• Later Life by A.R. Gurney, directed by Russell Vandenbrouke, set design by Jeff Bauer, lighting design by Rita Pietraszek, costumes by Nanette M. Acosta, with Michael Gross, Kristine Thatcher, Linda Kimbrough, and Greg Vinkler, 1994 September [?]-October 23
• Love Letters on Blue Paper by Arnold Wesker, directed by Russell Vandenbrouke, with Mike Nussbaum, 1988 November 2-27
• Lonely Planet by Steven Dietz, directed by Steven Dietz, 1993 January 20-February 14
• A Lovely Sunday for Creve Coeur by Tennessee Williams, directed by Cecilie D. Keenan, 1998 February [?]-March 8
• The Marriage of Figaro by Beaumarchais, adapted by Richard Nelson, directed by Robert Berlinger, music by Nathan Wang, sets by Gary Baugh, costumes by Jessica Hahn, lights by Michael Phillipi, choreography by Linda Martha, with Kevin Gudahl and Hollis Resnik, 1987 December 16-[?]
• Warren’s Profession by George Bernard Shaw, directed by Richard E.T. White, sets by Linda Buchanan, lighting by Michael Philippi, costumes by Jessica Hahn, 1990 March 7-April 1
• My Other Heart by Martha Boesing, directed by Russell Vandenbrouke, 1994 February [?]-March 13
• Quartermaine's Terms by Simon Gray, directed by B.J. Jones, sets by Joseph Nieminski, costumes by Kaye Nottbusch, lighting by Rita Pietraszek with Mike Nussbaum, William J. Norris and Kevin Dunn, 1984 November 7-December 23
• Quilters by Molly Newman and Barbara Damashek, directed by Kyle Donnelly, sets by Linda Buchanan, lights by Rita Pietraszek, costumes by Jessica Hahn, music by Rick Snyder, choreography by David Puszh with Natalie West, 1985 November 11-1986 January 5
• Quilters by Molly Newman and Barbara Damashek, music and lyrics by Barbara Damashek, directed by Susan V. Booth, musical direction by Jeff Lewis, sets by John Culbert, costumes by Gayland Spaulding, lighting design by Stephen R. White, sound by Bruce Holland, choreography by Jan Bartoszek, 1994 December
• Pastel Refugees by Jeff Berkson and Greg Fleming, music and lyrics by Jeff Berkson, directed by Doug Finlayson, musical direction and arrangements by Steve Rashid, sets by Linda Buchanan, costumes by Frances Maggio, lighting design by Ken Bowen, 1989 April 12-May 14
• A Perfect Ganesh by Terrence McNally, directed by Brian Russell, sets and lights by John Culbert, costumes designed by Gayland Spaulding, sound by Richard Woodbury, 1995 September-October
• The Perfect Party by A.R. Gurney, Jr., directed by Nick Faust, sets by Bill Mikulewicz, costumes by Virgil Johnson, lights by Dan Kotlowitz, with Barbara Gaines, 1987 April 8-May 17
• Pick Up the Ax by Anthony Clarvoe, directed by Richard E.T. White, set design by Linda Buchanan, lighting by Michael Philippi, costume design by Renee Liepins, sound design by Joseph Cerqua, 1990 November 20-December 31
• The Real Thing by Tom Stoppard (November 22-December 15, 1985 at the Briar Street Theatre), directed by Michael Maggio, sets by Gary Baugh, costumes by Kaye Nottbusch, lights by Robert Shook with David Darlow, Kevin Gudahl and Linda Kimbrough, 1985 September 11-October 27
• The Rhino’s Policeman by Rick Cleveland, sets and lights by Michael S. Philippi, costume design by Mary Griswold, sound by David Zerlin, 1992 April 14-May 17
• The Road to Mecca by Athol Fugard, directed by Thomas Bullard, sets by Linda Buchanan, costume design by Renee Liepins, lighting by Dennis Parichy, 1989 February 15-March [?]
• The School for Wives by Moliere, English verse translation by Richard Wilbur, directed by Barbara Gaines, set design by Michael Philippi, costumes by Linda Buchanan, lighting design by Robert Christen, with Greg Vinkler, Ross Lehman and Kevin Gudahl, 1991 October 2-27
• Sister and Miss Lexie, adapted by David Kaplan and Brenda Currin, and based on the works of Eudora Welty, directed by David Kaplan, set and costume designs by Susan Hilferty, lights by Ken Tabachnick, 1986 May 9-June 22
• Smoke on the Mountain by Connie Ray and Alan Bailey, musical arrangements by Mike Craver and Mark Hardwick, directed by Russell Vandenbrouke, musical direction by Malcolm Ruhl, set design by Kevin Snow, with Kevin Gudahl, 1992 November 10-December 13
• Someone Who’ll Watch Over Me by Frank McGuinness, directed by Mike Nussbaum, with Nussbaum, B.J. Jones and Aaron Freeman, 1994 April
• Talking to Myself, Studs Terkel’s Chicago Memoir, adapted and directed by Paul Sills, scenic design by Carol Bleackley, costumes by Jessica Hahn, lighting by Rita Pietraszek, 1988 August 30-October 2
• Teibele and Her Demon by Isaac Bashevis Singer and Eve Friedman and based on a story by Isaac Bashevis Singer, directed by Kyle Donnelly, sets and lights by Michael S. Phillipi, costumes by Jordan Ross, music by Richard Peaslee, with Isabella Hoffman, 1985 January 16-March 3
• Three Postcards by Craig Lucas and Craig Carnelia, directed by David Petrarca, sets by Gary Haugh, costumes by Jordan Ross, lights by Robert Christen, choreography by Jim Corti, 1987 October 25-[?]
• Three Women Talking by Arnold Wesker, directed by Russell Vandenbrouke, set design by Michael Merritt, lighting design by Linda Essig and costumes by Nan Cibula, 1992 January 15-Febraury 5
• Thunder Knocking on the Door by Keith Glover, 1997 September
• Two by Ron Elisha, directed by Barbara Damashek, sets by Linda Buchanan, costumes by Renee Liepins, lights by Rita Pietraszek, with Mike Nussbaum and Barbara E. Robertson, 1987 September 9-[?]
• Uncommon Ground by Jeremy Lawrence, directed by Gwen Arner, sets by Michael Philippi, lighting design by Linda Essig, costumes by Jessica Hahn, sound design by Joseph Cerqua, with Donald Moffat, 1991 January 9-February 10
• Visiting Mr. Green by Jeff Baron, 1999 October
• West Memphis Mojo by Martin Jones, directed by Michael Maggio, sets by Gary Baugh, costumes by Kaye Nottbusch, lights by Robert Shook, 1986 March 19-April 27
• The White Plague by Karel Capek, translated by Michael Henry Heim, directed by Gwen Arner, sets and lights by Michael Phillipi, costumes by Jessica Hahn, with Gary Houston, 1988 February 17-March 13
• The White Rose by Lillian Garrett-Groag, directed by Russell Vandenbrouke, sets and lights by Michael Philippi, costume design by Nan Cibula-Jenkins, sound design by David Zerlin, 1993 March [?]-April 4
• WomanSong by Jenny Armstrong, directed by Brian Russell, 1995 April
• Woody Guthrie’sAmerican Song, conceived and adapted by Peter Glazer, directed by Peter Glazer, orchestrations and vocal arrangements by Jeff Waxman, set design by Philipp Jung, costumes by Baker S. Smith, lighting design by David Noling, musical direction by Malcolm Ruhl, sound design by Rick Netter, choreography by Jennifer Martin, 1991 April 10-May 5

Arrangement

Series 3 is arranged chronologically by production within season or theater program. The number of images with the same description is indicated in parentheses. Only persons named on the back of photographs are included in the description.