Pass! Freebies!
Annie Oakleys! Paper!

There are several names used in the theatre to indicate a free admission ticket. One term, "Annie Oakley," free tickets with holes punched in them, got its name from the lady sharpshooter who supposedly tossed tickets to her performances into the air and shot holes through them.

The practice of "papering the house" for less than sold-out performances hardly applies to Long Wharf Theatre. Free passes at successful resident theatres like Long Wharf are usually reserved for visiting critics and celebrities.

At Second New Haven, we have an Annie Oakley for you . . . a Free checking account. If you have a Statement Savings Account in any amount, Second New Haven will give you a Checking Account . . . Free. No limit on the number of checks you use — write as many as you wish . . . Free. No monthly service charge . . . maintenance of your account is Free. Plus Second New Haven will pay you 5% interest on your Statement Savings Account compounded continuously from day of deposit to day of withdrawal.

It's your FREE PASS to easier banking at Second New Haven. If you are not now a Second New Haven customer, maybe you should be.

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## CAST OF CHARACTERS

In Order of Appearance

Lily Bart
Lawrence Selden
Mrs. Haffen, cleaning woman
Rosedale
Gus Trenor
Judy Trenor, his wife
Barnes, a servant
George Dorset
Ned Silverton
Percy Gryce
Bertha Dorset, George's wife
Gerty Farrish, Selden's cousin
Evie VanOsburgh
Mrs. Wellington Bry
Trenor's caretaker
Devereaux
Carrie Fisher
Wellington Bry
Attorney
Miss Haines

FRAN BRILL
GEORGE HEARN
MARY FOGARTY
BEN KAPEN
WILLIAM SWETLAND
ELIZABETH PARRISH
EMERY BATTIS
JAMES GREENE
VICTOR GARBER
DOUGLAS STENDER
JOYCE EBERT
DOROTHY LYMAN
BARA-CRISTIN HANSEN
FIDDLE VIRACOLA
JOSEPH SCANLON
JAMES HUMMERT
SUSAN SHARKEY
PAUL ROSSON
EMERY BATTIS
LINDA MCGUIRE

Travellers and party guests: ROMAN DUBECKY, JENNIE HARKER, NANCY KELLY, PATRICK WALSH, GAIL WEED.

There will be two intermissions

Act I

Late summer, 1905

Scene 1 Grand Central Station

Scene 2 Selden's apartment in the Benedick, and on the street outside

Scene 3 Bellomont-on-the-Hudson, the Trenors' country house

Act II

One month later, New York City

Scene 1 The Wellington Brys' tableaux vivants party, backstage

Scene 2 Later that night, the Trenors' townhouse

Act III

Scene 1 Late spring, 1906; aboard the Dorsets' yacht, moored on the Riviera

Scene 2 A month later, in New York; reading the will

Scene 3 The following winter; a milliner's shop

Music composed by Terrence Sherman; Technical Director, Jerome Rosenberger; Properties, Susan Stasiuk; Assistant Stage Manager, James Harker; Assistant to the Set Designer, Wilton Duckworth; Cover Design, Cornelia Hartmann; Hairstyles by Ricky Zuccarelli.

Acknowledgements: James Dew Antiques; Ann Smith Antiques; Sykes-Libby Jewelers; Littlfield Antiques.

Special thanks to Dr. Glen Loney who first brought THE HOUSE OF MIRTH to our attention and to the Connecticut Commission on the Arts for special funding for this bicentennial production.

Long Wharf Theatre gratefully acknowledges the assistance of: The National Endowment for the Arts, Washington, D.C., a Federal Agency; the Connecticut Commission on the Arts through the Connecticut Foundation for the Arts; the Ford Foundation; the Shubert Foundation; the Andrew W. Mellon Foundation; and all corporate and private donors.

3

EMERY BATTIS (Barnes and Attorney) returns to LWT from Los Angeles where he has been playing Justice Louis Brandeis in THE MAGNIFICENT YANKEE with James Whitmore. Mr. Battis commenced his acting career 42 years ago amid the mushrooming summer theatres of his native New England. During the intervening years he has played nearly 300 roles, largely from classical repertory, ranging from Lear and Shylock to O'Casey's Joxer Daly and Shaw's Andrew Undershaft. For the past five years he has been a regular member of the Long Wharf company. Grandpa in YOU CAN'T TAKE IT WITH YOU, Larry Slade in THE ICEMAN COMETH and Fitzpatrick in THE CONTRACTOR have been among the most memorable of the 28 roles he has played on the LWT stage. During the current season he has appeared as Colleen Dewhurst's father in ARTICHOKE, Jan Miner's husband in THE SHOW-OFF, Mildred Dunnock's ex-lover in WHAT EVERY WOMAN KNOWS and the inimitable and quite solitary Mr. Dooley in his own one-man show, DOOLEY'S BAR. Mr. Battis can currently be seen in two bicentennial series: THE ADAMS CHRONICLES and DECADES OF DECISION.

FRAN BRILL (Lily Bart) made her Broadway debut in RED, WHITE AND MADDOX and Off Broadway played Nancy Twinkle in LITTLE MARY SUNSHINE, the Little Miss in LA RONDE, and recently appeared as Maggie in WHAT EVERY WOMAN KNOWS at the Roundabout Theatre. Her regional theatre credits include KING LEAR and DARK OF THE MOON at Theatre Atlanta, Ruth in MAN-IN-THE-MOON MARGOLDS at the Washington Theatre Club, Mrs. Sullen in THE BEAUX' STRATAGEM at Baltimore's Center Stage, Margaret More in A MAN FOR ALL SEASONS with Victor Jory

and Essie in YOU CAN'T TAKE IT WITH YOU, both at the Actors Theatre of Louisville. Her additional credits include SHE STOOPS TO CONQUER, PLAYBOY OF THE WESTERN WORLD, SCHOOL FOR SCANDAL and ARMS AND THE MAN, among others. She won an Emmy Award for her work as a Muppet on SESAME STREET, played the title role in the NBC special FIRST LADIES' DIARIES: RACHAEL JACKSON and was also seen on television in HOW TO SURVIVE A MARRIAGE. Miss Brill is from Swarthmore, Pa. and a graduate of the Boston University School of Fine Arts.

JOYCE EBERT (Bertha Dorset) has been performing with the Long Wharf company for the past nine years. This season she has played Maggie in WHAT EVERY WOMAN KNOWS and Clara in THE SHOW-OFF. Among her roles in earlier seasons are Mme. Arcadina in THE SEA GULL, Blanche in STREETCAR NAMED DESIRE, and Gertrude in HAMLET. She performed in both the Broadway and the LWT productions of THE NATIONAL HEALTH and recreated two other LWT roles for television's "Theatre In America" series—Ursula in FORGET-ME-NOT LANE and the title role of THE WIDOWING OF MRS. HOLROYD. Her additional New York credits include THE TROJAN WOMEN for which she won the Obie and Clarence Derwent Awards, UNDER MILK WOOD, HAMLET and TARTUFFE. She performed in the inaugural production of THE DEVILS at the Mark Taper Forum in Los Angeles and has frequently appeared with the Williamstown Theatre Festival.

MARY FOGARTY (Mrs. Haffen) performed last season at Long Wharf as the Duchess of York in RICHARD III, as Mrs. Trevis in the American premiere of David Rudkin's AFORE

NIGHT COME and as Mrs. Pearce in PYGMALION, a role she also played in MY FAIR LADY with Michael Alkinson and Hans Conreid. She also appeared in LWT's A PAGAN PLACE and as the religious pamphleteer in THE NATIONAL HEALTH, a role she later recreated on Broadway. Miss Fogarty has performed extensively Off Broadway and in resident theatres around the country. In the past few years she worked frequently in Ireland, having gone there initially to appear in the European premiere of THE LAST OF THE RED HOT LOVERS. She repeated the role of Jeannette in Ireland's first dinner theatre tour in the summer of 1974. She also appeared in the Irish TV production of IN WHITE AMERICA. Her U.S. television credits include the CBS special WE, THE WOMEN; THE DOCTORS and the role last year of Cynthia Whitefield on ANOTHER WORLD. In her 'other life' Miss Fogarty is a writer, having contributed to several newspapers, magazines and journals.

VICTOR GARBER (Ned Silverton) returns to Long Wharf where he appeared last season in L'HISTOIRE DU SOLDAT and THE KNIGHT OF THE BURNING PESTLE. As a member of the Yale Repertory Theatre this season, he played Lysander in A MIDSUMMER NIGHT'S DREAM and Don Carlos in DON JUAN. His other regional theatre credits include Gaston in WALTZ OF THE TOREDORS with Eli Wallach and Anne Jackson and Christian in Richard Chamberlain's CYRANO at the Ahmanson Theatre in Los Angeles. He received the Theatre World Award for his performance as Oswald in the Off Broadway production of GHOSTS with Beatrice Straight. He created the role of Lurk in the Musical Theatre Lab production of JOE'S OPERA at St. Clement's Church in New York. Mr. Garber was recently seen on television as Lafayette in the Hallmark Hall of Fame's VALLEY FORGE. His film credits include the role of Jesus in GODSPELL.

JAMES GREENE (George Dorset) made his Broadway debut in the 1951 Dwight Deere Wiman production of ROMEO AND JULIET with Olivia DeHaviland. Since then he has performed in more than 40 productions on and Off Broadway. Among those plays the THE ANDERSONVILLE TRIAL, THE ICEMAN COMETH, THE SHOW-OFF, IN WHITE AMERICA and SCHOOL FOR WIVES. He spent seven years in repertory with the Lincoln Center, APA-Phoenex, and the New Phoenix companies. This season he joined the LWT company for the world premiere of ARTICHOKE and returned for the American premiere of ON THE OUTSIDE. His recent television credits

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33 WHITNEY AVENUE
NEW HAVEN, CONN.

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["include SANDBURG'S LINCOLN, NOURISH THE BEAST and KNUCKLE for PBS as well as guest starring appearances on several commercial series. His films include THE MISSOURI BREAKS, CRAZY JOE, THE BUG, POUND and DOC.", "### BARA-CRISTIN HANSEN (Evie VanOsburgh)\nEvie Hansen played Bridie in Long Wharf's recent American premiere of Thomas Murphy's ON THE INSIDE. Earlier this season she appeared on Broadway with George C. Scott in DEATH OF A SALESMAN. Off Broadway Miss Hansen has performed in SCENES, SONNETS AND SONGS FROM SHAKESPEARE and in repertory in such plays as MEASURE FOR MEASURE, IMPROMPTU, THE SERPENT, ROMEO AND JULIET and SUMMER AND SMOKE. Her stock credits include CACTUS FLOWER and THE PRIME OF MISS JEAN BRODIE. Miss Hansen was recently seen on the Bill Cosby Special on ABC-TV. A graduate of the American Academy of Dramatic Arts, she has also studied at the Philadelphia Academy of Theatre and with members of the Royal Shakespeare company.", "### GEORGE HEARN (Lawrence Selden)\nLawrence Selden appeared at Long Wharf in WHAT PRICE GLORY?, THE LADY'S NOT FOR BURNING and THE CHANGING ROOM, later recreating his role in the latter when the production transferred to Broadway. In earlier seasons he was seen here in JOE EGG, COUNTRY PEOPLE, TANGO and TARTUFFE. On Broadway he played John Dickenson in 1776, later touring nationally with the production. He has performed frequently with the New York Shakespeare Festival, appearing most recently as Horatio in HAMLET, Oberon in A MIDSUMMER NIGHT'S DREAM and Clarence in RICHARD III. His television credits include the role of Henry", "Clay in four segments of THE ADAMS CHRONICLES and the upcoming Theatre In America series presentation SEA MARKS.", "### JAMES HUMMERT (Devereau)\nDevereau played Willie in LWT's recent production of Thomas Murphy's ON THE INSIDE. He has appeared with Long Wharf for the past three seasons, in RICHARD III, TRELAWNY OF THE 'WELLS', WHAT PRICE GLORY? and in the American premieres of Edna O'Brien's A PAGAN PLACE and David Storey's THE CHANGING ROOM which he subsequently performed on Broadway. Mr. Hummert toured nationally as Reg in BUTLEY and performed in the New York premieres of David Storey's THE RESTORATION OF ARNOLD MIDDLETON and Tom Stoppard's ENTER A FREE MAN.", "connie rezendes", "156 STONY CREEK ROAD • BRANFORD, CT 06405 • (203) 481-4598", "interior design\ninterior design\ninter

BEN KAPEN (Rosedale), an actor, director, producer and playwright, joins Long Wharf immediately following an engagement on Broadway with the Phoenix Theatre, where he appeared in both A MEMORY OF TWO MONDAYS and THEY KNEW WHAT THEY WANTED. His other Broadway credits include PROMENADE ALL, THE PENNY WARS, COME SUMMER, THE MAN IN THE GLASS BOOTH, and THE HAPPY TIME. At the Syracuse Stage and the Arena Stage he has been seen in ARMS AND THE MAN, William Gibson's BUTTERFINGERS ANGEL, OF MICE AND MEN, AN ENEMY OF THE PEOPLE, WAITING FOR LEFTY, AWAKE AND SING, MOONCHILDREN, and PUEBLO. In prior years, Mr. Kapen was the producer of two of America's largest summer theatres, Melodyland in Berkeley, California and the Charlotte Music Theatre in North Carolina. He has performed all over the country appearing in summer theatres, dinner theatres, industrial shows, film and television. Formerly an instructor at Queens College (NYC) and an experimental test-pilot for the U.S. Air Force, he is now polishing the final draft of a novel he has been writing for the past three years.

DOROTHY LYMAN (Gerty Farrish) played Margaret in Long Wharf's recent American premiere of Thomas Murphy's ON THE INSIDE. She has performed in New York in Sam Shepard's ACTION, in PEQUOD and in the original production of AMERICA HURRAH. In London she has appeared at the Hampstead Theatre Club in THE SHOW-OFF, directed by Michael Rudman, and in the West End production of Peter Schafer's SHRIVINGS with John Gielgud. She toured Europe performing in THE SERPENT with the Open Theatre. Her television credits include continuing roles on the series THE EDGE

OF NIGHT and A WORLD APART. Miss Lyman is married to Long Wharf's Literary Manager, John Tilinger, and has two children, Emma and Sebastian.

LINDA McGUIRE (Miss Haines) was recently seen as Miss Darcy in the American premiere of Thomas Murphy's ON THE INSIDE. Prior to that she had performed at Long Wharf as Clara in Pinero's TRELAWNY OF THE 'WELLS'. She has appeared frequently at the Williamstown Festival Theatre, playing such roles as Elmire in TARTUFFE, Diana in RING AROUND THE MOON, Mae in CAT ON A HOT TIN ROOF, Katherine in VIEW FROM THE BRIDGE and Irma in MADWOMAN OF CHALLIOT. Miss McGuire has studied at the Yale School of Drama, the Neighborhood Playhouse and with Uta Hagen at the Herbert Bergoff Studio. The daughter

7

of actress Mildred Dunnock and her
husband Keith Urmy, she is married
to movie writer/director Dennis Mc-
Guire, has three children and teaches
French cooking in Westport.

ELIZABETH PARRISH (Judy Trenor) has performed Off Broadway in the original companies of LITTLE MARY SUNSHINE and RIVERWIND. Her Broadway credits include PICKWICK and KEEP IT IN THE FAMILY. For four seasons a resident actress with the Yale Repertory Theatre, she appeared there in leading roles in such plays as THE RIVALS, MACBETH, THE BOURGEOIS GENTLEMAN, HAPPY END and TOMMY FLOWERS. With the American Shakespeare Theatre she played Maria in TWELFTH NIGHT and Calpurnia in JULIUS CAESAR. This fall she appeared as the mother in AH, WILDERNESS! at Stage/West. She has also performed extensively in stock and has played numerous Shakespearean roles in Theatre in Education productions. Miss Parrish made her Long Wharf debut in the American premiere of Thomas Murphy's ON THE INSIDE.

PAUL ROSSON (Wellington Bry) has
appeared with Paul Sills' and Viola
Spolin's Game Theatre in Chicago,
in ROMEO AND JULIET at the Buf-
falo Studio Arena Theatre and in
THE FANTASTICKS and TWELFTH
NIGHT at the Playhouse in the Park
in Cincinnati. In New York this past
season he has appeared in GOD OF
VENGEANCE, THE CLOSING OF
MENDEL'S CAFE and Eugene
O'Neill's SEA PLAYS. Among his
other Off Broadway credits is
GEORGIE PORGIE. His film work in-
cludes roles in THE RARE BREED
and COMING ATTRACTIONS.

SUSAN SHARKEY (Carrie Fisher)
was recently seen in Long Wharf's
THE SHOW-OFF, having appeared
here earlier in AH, WILDERNESS!

and PYGMALION. This past summer she was seen as Rachel Merton in THE SCARECROW, an American Bicentennial Theatre production of the Kennedy Center and Xerox Corporation. Her Broadway appearances include PLAYBOY OF THE WESTERN WORLD, NARROW ROAD TO THE DEEP NORTH, THE PLOUGH AND THE STARS and Nadya in Maxim Gorky's ENEMIES, a role she recreated for PBS' Theatre In America series. Off Broadway she has appeared in PEOPLE ARE LIVING THERE, THE GUNS OF CARRAR, Edward Bond's THE SEA and as Sally in VOICE OF THE TURTLE at the Manhattan Theatre Club. Her regional theatre credits include leading roles in ROMEO AND JULIET, WHO'S AFRAID OF VIRGINIA WOOLF, THE REHEARSAL and AMERICA HURRAH. She appeared as Emily in OUR TOWN in an invitational performance at the Thorn-dike Theatre, England.

DOUGLAS STENDER (Percy Gryce)
recently appeared as Malcolm in An-
thony Quayle's production of MAC-
BETH. Last seen at Long Wharf as
Ferdinand Gadd in TRELAWNY OF
THE 'WELLS', Mr. Stender also ap-
peared here in the American premiere
of THE CHANGING ROOM and later
recreated the role of Patsy when the
play transferred to Broadway. Mr.
Stender is a graduate of the Royal
Academy of Dramatic Art. He was a
member of the Royal Shakespeare
Company for two years, appearing in
seven productions in England, and on
tour in Europe and the U.S. Last
summer he played Rosencrantz in the
New York Shakespeare presentation
of HAMLET.

WILLIAM SWETLAND (Gus Trenor)
has recently filmed a pilot for a new
ABC series, THE QUINNS in which
he plays opposite Geraldine Fitzger-
ald. Earlier this season he appeared

in LWT's WHAT EVERY WOMAN KNOWS and prior to that performed on Broadway in AH, WILDERNESS! when that play transferred from Long Wharf to New York. Now in his eleventh season with LWT, Mr. Swetland has performed in more than 60 productions here including the theatre's inaugural production of THE CRUCIBLE in which he played John Proctor, the production of YOU CAN'T TAKE IT WITH YOU which later went to the Edinburgh International Festival, and in the American premieres of David Storey's THE CHANGING ROOM and Peter Nichols' THE NATIONAL HEALTH, both of which moved to Broadway. His professional career began in New York in 1936. Since then he has performed extensively in stage, television and movies. His recent film work includes a leading role in MARRI-ANNE and, for PBS television, THE SEA GULL and THE WIDOWING OF MRS. HOLROYD.

FIDDLE VIRACOLA (Mrs. Bry) appeared on Broadway in THE BEAUTY PART with Bert Lahr, ONE FLEW OVER THE CUCKOO'S NEST with Kirk Douglas, STREET SCENE and BALLAD OF BABY DOE with Beverly Sills, and with the Phoenix Repertory in the recent Arvin Brown production of 27 WAGONS FULL OF COTTON, a play she had filmed earlier for cable TV. On the international scene, she appeared in Henry Miller's JUST WILD ABOUT HARRY and THE TROJAN WOMEN at the Spoleto, Italy Festival, IN THE SUMMERHOUSE at the Gate Theatre in the Dublin Theatre Festival, and as Dolly in HELLO, DOLLY in a cultural exchange with Japan. Among her numerous Off Broadway credits are THE MAD SHOW, THE WIVES, UNFAIR TO GOLIATH, and three modern Japanese plays. Her TV credits include MY MOTHER'S HOUSE, a PBS special in which she appeared with Colleen Dewhurst.

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9

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In all locations we've relied on architecture, art in its most functional form, to make our growth as attractive as possible. And fully acceptable to the residents we expect to serve.

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ARVIN BROWN, Artistic Director of Long Wharf Theatre, has recently directed Arthur Miller's A MEMORY OF TWO MONDAYS and Tennessee Williams' 27 WAGONS FULL OF COTTON at the Phoenix Theatre in New York City. Prior to that, he this season directed the opening productions of two theatres — the world premiere of Joanna Glass's ARTICHOKE with Colleen Dewhurst, which began LWT's eleventh season, and AH, WILDERNESS! which opened Broadway's Circle In The Square Theatre, transferred virtually intact from his production last winter at LWT. This winter he and Mike Nichols co-directed IN CELEBRATION OF LILLIAN HELLMAN, a benefit staged at Circle In The Square. For the past nine years Arvin Brown has headed Long Wharf, staging remarkable productions and setting the tonè which makes Long Wharf the happily successful and productive place that it is. While LWT is his home and the center of his artistic energies, he from time to time ventures elsewhere. Last season he went to Broadway, taking with him THE NATIONAL HEALTH, and returning with a Tony nomination as Best Director. He had previously collected New York honors, winning the Vernon Rice Award and the Variety Critics Poll for his Off Broadway production of LONG DAY'S JOURNEY INTO NIGHT. The Public Broadcasting System has claimed him for two of the most successful of their "Theatre In America" series — THE WIDOWING OF MRS. HOLROYD and FORGET-ME-NOT LANE. Other projects have taken him to Los Angeles to direct FORGET-ME-NOT LANE and ST. JOAN with Sarah Miles; to Salzburg to lecture on the role of the director; to Edinburgh, with the LWT company, to participate in the International Arts Festival; and to Williamstown where he has frequently directed in the summer. Here in New Haven, he has staged numerous productions, among them THE SEA GULL, THE ICEMAN COMETH, JUNO AND THE PAYCOCK, HAMLET and the world premieres of Richard Venture's YOU'RE TOO TALL, BUT COME BACK IN TWO WEEKS and Robert Anderson's SOLITAIRE/DOUBLE SOLITAIRE. He currently serves on the Theatre Panel of the National Endowment for the Arts and as Co-President of Theatre Communications Group. Mr. Brown is a graduate of Stanford University, Harvard, the Yale School of Drama and as a Fulbright Scholar was associated with the Bristol Old Vic. He is married to actress Joyce Ebert. In 1968 he directed the American premiere of Thomas Murphy's A WHISTLE IN THE DARK at LWT and later its production Off Broadway. He most recently directed the Murphy/O'Donoghue one-acts ON THE INSIDE/ON THE OUTSIDE. As this program went to press, Mr. Brown was notified of his nomination again this year for the Tony Award as "Best Director" for his production of AH, WILDERNESS!.

M. EDGAR ROSENBLUM, Executive Director of Long Wharf Theatre, in addition to managing the production-to-production business of the theatre, is responsible for maintaining the overview which keeps LWT in the national forefront. Through his negotiations, Long Wharf has been able to present newsmaking premieres, have access to scripts which have lain undeservedly fallow, and secure rights to literary properties which may insure the theatre's artistic — if not financial — future. He is one of the few theatre managers in the country who has found creative schemes to extend the life of his theatre's productions without jeopardizing the productions' original integrity. By transferring LWT productions, in their entirety, to expanded audiences through television specials and presentation on other theatres' stages, he has challenged the major stalemate of non-profit theatre: that the expense of mounting a first class production simply cannot be met by four weeks' box office revenue. Through his work with the League of Resident Theatres, his energies toward shaping policy and insuring the existence of regional theatre extend beyond Long Wharf to include her approximately thirty sister theatres throughout the country. Mr. Rosenblum's background for this pilot position is well-founded. Before coming to Long Wharf in 1969, he was for fourteen years owner-producer of the Woodstock Playhouse, executive director of two other theatres, an independent Off Broadway producer and had worked in managerial capacities for ballet, opera and music management companies. He is married to artist-designer Cornelia Hartmann.

Audubon
Center
and Office

11

WARIS HUSSEIN (Director) has directed for the theatre, for television and for film. Though Mr. Hussein works primarily in England, several of his television plays have been seen in this country, broadcast on PBS' Masterpiece Theatre. Among his recent BBC imports to America are NOTORIOUS WOMAN, the George Sand series; SHOULDER TO SHOULDER, the study of British suffragettes; and HEDDA GABLER. Two films he has directed were entered in the Berlin Film Festival — A TOUCH OF LOVE starring Sandy Dennis, which was the British entry, and THE POSSESSION OF JOEL DELANEY, starring Shirley MacLaine, as the American entry. His other films include QUACKSER FORTUNE HAS A COUSIN IN THE BRONX with Gene Wilder and HENRY VIII AND HIS SIX WIVES with Keith Michell, Charlotte Ramping and Donald Pleasance. Among his additional directing credits are A PASSAGE TO INDIA with Dame Sybil Thorndike, DAYS IN THE TREES with Dame Peggy Ashcroft, SPOILED and DEATH OF A TEDDY BEAR, two plays written by Simon Gray, and ST. JOAN with Sir John Gielgud and Janet Suzman. Mr. Hussein was educated in England, at Clifton College and Cambridge University. He studied stage design at the Slade School of Art, acted at Nottingham Playhouse and was the first Indian-born director to be appointed to the Drama Department of BBC television. Following HOUSE OF MIRTH, Mr. Hussein will direct SARAH BERNHARDT with Zoe Caldwell for the Canadian Broadcasting Corporation and, returning to England, John Osborne's A PATRIOT FOR ME with Sir Lawrence Olivier.

ANNE KEEFE, Production Stage Manager, has stage managed ten productions at LWT in the past three years as well as the filming of THE WIDOWING OF MRS. HOLROYD and the Broadway runs of THE NATIONAL HEALTH and THE CHANGING ROOM. Her experience also includes the national tour of OH, COWARD, a summer with the Pittsburgh Civic Light Opera, and SHOWBOAT with Mickey Rooney at the Kennedy Center in Washington, D.C. Prior to coming to Long Wharf, Miss Keefe was stage manager of the McCarter Theatre in Princeton, New Jersey.

MARJORIE KELLOGG, Scenic Designer, designed the Broadway production of Ronald Ribman's THE POISON TREE, and such recent Circle In The Square productions as DEATH OF A SALESMAN starring George C. Scott and the revival of the musical WHERE'S CHARLEY?. Among many productions she has designed for the New York Shakespeare Festival were THE KILLDEER, THE BLACK TERROR and THE HAPPINESS CAGE. Her setting for the Hartford Stage Company's production of Edward Albee's ALL OVER will be seen in April on PBS' Theatre In America series. She has worked in film and opera and extensively in regional theatre including, in addition to Long Wharf where last season she designed PYGMALION, the Hartford Stage Company, Arena Stage in Washington, D.C., McCarter Theatre in Princeton, Goodman Theatre in Chicago, the Williamstown Theatre and Baltimore's Center Stage.

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12

JUDY RASMUSON, Lighting Designer, has designed lighting for the Long Wharf productions of WHAT EVERY WOMAN KNOWS, THE SOLDIER'S TALE, KNIGHT OF THE BURNING PESTLE, JUNO AND THE PAYCOCK, STREETCAR NAMED DESIRE and WAY OF THE WORLD. At Syracuse Stage she designed lights for this season's DYNAMO and MORNING'S AT SEVEN and last season for BUTTERFINGERS ANGEL. She has also designed Stage/West's production of THE TEMPEST earlier this season. In addition to her work for the stage, which includes Off Broadway and summer stock productions, she has designed lighting for rock concerts, among them the international tour of Emerson, Lake and Palmer as well as recently designing the lighting for an environmental museum in New Hampshire.

JEROME ROSENBERGER, Technical Director, came to Long Wharf having been technical director for the Meadow Brook Theatre in Rochester, Michigan and for the Hartford Stage Company. Now in his second season with LWT, he spent the summer as set designer for the New Hampshire Performing Arts Center. He had previously designed sets for the Paul Bunyon Playhouse in Minnesota. His summer theatre experience includes seasons as technical director for the Corning Summer Theatre, Corning, New York and the Little Theatre in Sullivan, Illinois. On tour he has worked as a technician for the Peggy Fleming Ice Show. Mr. Rosenberger is a graduate of Southern Illinois University.

NINA SEELY, Production Manager, in her four years at Long Wharf has served as Production Stage Manager for more than twenty productions. She has also handled the transfer of three plays — AH, WILDERNESS!, SIZWE BANZI IS DEAD, and THE ISLAND — to Broadway, stage managing their productions in New York. Last season she was floor director for the televised version of FORGET-ME-NOT LANE when that play was chosen to be included in the PBS "Theatre In America" series. Prior to coming to Long Wharf, Miss Seely was production stage manager at the McCarter Theatre, Princeton.

CLINT SPENCER, Production Stage Manager, has stage managed for such performers as the Supremes, Judy Garland, Pearl Bailey, Al Pacino in THE BASIC TRAINING OF PAVLO HUMMEL, Irene Worth in the recent revival of SWEET BIRD OF YOUTH, and Sal Mineo's FORTUNE AND MEN'S EYES. He was production stage manager of MOONCHILDREN, THE ME NOBODY KNOWS, The Living Theatre, as well as original companies of GODSPELL and HAIR, later directing several national touring companies of the latter two plays. With GODSPELL, he also directed a television special in association with WGBA-TV in Boston for which he won the Corporation for Public Broadcasting's exceptional Achievement Award. Mr. Spencer has been p.s.m. for the Berkshire Theatre Festival, Yale Repertory Theatre and the Pittsburgh Playhouse.

BILL WALKER, Resident Costume Designer, has been with the Long Wharf for the past four years. In that time he has designed costumes for fifteen productions here as well as for the Broadway engagements of AH, WILDERNESS!, SIZWE BANZI IS DEAD, and THE ISLAND. He also designed costumes for the PBS "Theatre In America" series production of THE WIDOWING OF MRS. HOLROYD. For the Kennedy Center in Washington, D.C. he designed costumes for PERFECT PITCH and for the Williamstown Theatre the costumes for JUNO. Before coming to LWT, Mr. Walker was for two seasons resident costume designer at the Actors Theatre of Louisville.

RONALD WALLACE, Resident Lighting Designer, has been part of the Long Wharf Theatre since its inception in 1965. Recently he has designed lighting for the Broadway productions of AH, WILDERNESS!, THE NATIONAL HEALTH, SIZWE BANZI IS DEAD, and THE ISLAND. His additional work in New York includes THE CHANGING ROOM, THE IMAGINARY INVALID, WHISTLE IN THE DARK, A PLACE WITHOUT DOORS, LONG DAY'S JOURNEY INTO NIGHT, and SOLITAIRE/DOUBLE SOLITAIRE which he also lit for its presentation at the Edinburgh International Festival. Mr. Wallace has also served as lighting designer for the Cleveland Play House, Actors Theatre of Louisville and Stage/West in Springfield, Mass.

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## Monday Night Series

Again this year, the Long Wharf Theatre Monday Night Series will present readings of six new plays. The plays have been carefully culled by Literary Manager John Tillinger from the 600-plus scripts sent to the theatre each year. They will be read by members of the Long Wharf company and guest artists.

Each Monday, the playwright whose work is featured will be in attendance to discuss his play with the audience after the reading. Come be a part of the development of tomorrow's theatre — and perhaps see an ARTICHOKE or an ON THE OUTSIDE/ON THE INSIDE (both originally presented as Monday Night Readings) in the rough!

**Subscribers** may arrange for their free tickets by calling 787-4282.

**Non-subscribers** may purchase tickets for $3.00 apiece.

**Performances** are scheduled for May 31 and June 7.

15

PROGRAM NOTES

The play:

The personality of Lily Bart, heroine of THE HOUSE OF MIRTH, was moulded by the New York in which she — and Edith Wharton — grew up. Victim of her father's financial failure and her mother's embittered struggles against "dinginess," Lily had been reared to believe that her beauty should command a fortune in the marriage-market. Though her homely friend, Gerty Farrish, might go in for charitable works, Lily's upbringing had shaped her exclusively for a position of wealth and social eminence.

Lily had inherited these values without wholly sharing them. Too fastidious to capture any of the rich men available to her, Lily at the opening of the play had reached the frightening age of twenty-nine still unmarried, still an unpaid social secretary to her wealthy hostesses and an unlucky fourth at their bridge-tables.

Most of the play's characters are well-to-do New Yorkers. The action takes place in the elegant New York townhouses; in Bello-mont, the Hudson River home of the Trenors, and on the Dorsets' seagoing yacht moored on the French Riviera. In these social circles, a woman played one of two roles: either domestic servant or dom-mestic ornament. One of Edith Wharton's provisional titles for the novel was A MOMENT'S ORNAMENT. Her final title comes from Ecclesiastes: "The heart of fools is in the house of mirth."

Like Mrs. Wharton, Lily Bart knew the distinction between the "right" New Yorkers and the "wrong" ones. She differentiated the older society of the Trenors, the Dorsets and their kind, from those "new" people, avid social climbers like the Brys. Actually, these demarcations between the right and the wrong people, though seemingly rigid, yielded to the ambition — and the wealth — of the Brys and even of a Simon Rosedale. Within both groups, everyone tacitly accepted the double standard of morality. A woman should be pure; on the other hand, a man was entitled to his pleasure, such as drink, gambling and extramarital sex. However, even a wife's infidelity could be condoned — by her friends — if she remained discreet. (A husband might view the matter differently.) For desperate couples, divorce existed, but usually caused a scandal, as Edith Wharton was well aware when she came to seek her own divorce.

To retain her top market value, an unmarried girl must be above suspicion. Her conduct was inexorably judged by appearances. If a woman visited a man, however innocently, in his house or his apartment, she risked her reputation — and often lost it. A man alone after midnight with a girl must be up to no good — even in a public place. Social usage, of course, veiled the facts of life in ambiguous language. The graphic Anglo-Saxon monosyllables so common today never profaned a lady's ears. Even the euphemisms of a Gus Trenor barely suggested his real intentions.

17

Published in 1905, THE HOUSE OF MIRTH won tremendous success as a novel, and established Edith Wharton's reputation as a serious writer. In 1906, in a rather uneasy collaboration, the novel was dramatized by the leading playwright of the day, Clyde Fitch. Fitch plotted the dramatic structure of the scenes, and Mrs. Wharton wrote the dialogue.

Produced in 1906, the play did not suit contemporary appetites for involved plot and lively action onstage. Now, seventy years later, THE HOUSE OF MIRTH has been transformed into a period-piece, a reflection of manners and attitudes long outgrown, but decisive in their day. Between that day and ours, both novel and play provide a yardstick of social change. Most of LWT's audience see New York in multi-faceted images. Edith Wharton's New York, in the words of her English biographer Percy Lubbock, was

> ... as compact within its circuit as an old walled township, before the days of spreading suburbs and liberties within the gates. It was a society conscious of itself, aware of its order, sufficient for its needs, beyond any to be seen today or perhaps in its own day either. It had its choice traditions, its organized forms, its customary law. I have heard that Edith's mother, a high authority on the subject, would count the names of all the families, in the order of degree, who composed the world in which her daughter was born. There her world stopped short. It was complete and no mistake about it.

## The Novelist:

Edith Wharton's personal history resembles one of her novels, an example of life imitating art.

Born in 1862, Edith Newbold Jones, nicknamed "Pussy" and also "Lily," received the minimal education and the extensive social training appropriate to a granddaughter of the New York Rhinelanders. Her schooling, like Virginia Woolf's, consisted chiefly of her private exploration of her father's library.

Edith's writing career began in childhood, with scribblings on brown wrapping paper. When she was sixteen, Mrs. Jones had a selection of her daughter's verses privately printed. Someone sent a copy to the great Mr. Longfellow, who recommended the volume to William Dean Howells, editor of The Atlantic Monthly. Howells selected and published one of the poems in The Atlantic.

As a New York debutante, Edith Jones suffered from agonizing shyness, a great annoyance to her mother. After that first volume of verse, Mrs. Jones offered no further encouragement to her daughter's intellectual life. Despite the taint of erudition (maliciously reported in "Town Topics"), Edith became engaged to an attractive young man, Harry Stevens. But his mother blocked the marriage,

18

Photo of Edith Wharton courtesy of Beinecke Rare Book & Manuscript Library, Yale University

and the engagement was broken. Soon after, Edith met a man who ultimately became her fast friend, Walter Berry, an international lawyer distinguished in social circles. To her disappointment, Berry did not propose marriage, then or later.

Finally, at the advanced age of twenty-three, Edith Jones married a man thirteen years older, Edward Wharton, a playboy from — of all places — Boston. Mrs. Jones coldly refused her daughter's pleas for information about the facts of marriage. Consequently, the Wharton marriage became, in Lewis's term, "a sexual disaster." It was, naturally, childless, too. As a result of psychic and physical frustrations, Edith Wharton suffered a nervous breakdown which lasted several years.

19

As she recovered, her enormous reservoirs of talent and feeling found expression in writing. Walter Berry aided her in her early efforts. Scribner's Magazine began to accept her short stories, and her confidence grew. Berry's editorial help and his companionship remained so constant that acquaintances supposed them to be lovers. But evidently, in a friendship of forty years, they never were.

However, in her middle age, Edith Wharton's capacity for passion was channeled into a turbulent affair with an American journalist living in Paris, one Morton Fullerton. Fullerton's role in Edith Wharton's life was a brilliant discovery of Lewis's. His account of this fascinating episode includes publication of a poem appropriately called "Terminus," written after a night Edith Wharton spent with Fullerton in the Charing Cross Hotel. The poem begins "with starting directness

"Wonderful was the long secret night you gave me, my Lover.'" The text of this erotic document now lies in the Beinecke Library.

The Whartons, Teddy and Edith, spent the first years of their marriage partly in Newport and partly in Europe. Then they built "The Mount," a house near Lenox, Mass. Edith furnished and decorated the house with admirable taste. (Her first book, a collaboration with architect Ogden Codman, Jr., was entitled THE DECORATION OF HOUSES.) Presently, the Whartons began to stay some months of each year in an apartment in Paris, and finally France became Edith Wharton's home. She kept a Paris domicile in great style, and bought, one after another, a succession of French country houses with elaborate gardens. She became independently wealthy by various inheritances. Her novels sold tremendously and brought in huge sums. But she was always eager for more, in order to extend and improve her French properties.

After a prolonged separation, Edith Wharton divorced Teddy for adultery, though by that time he might have returned the compliment. Living always in elegance (the Whartons first traveled to Europe with six servants), fashionably dressed "by the best Paris houses," Edith held court in her Paris salon. Once shy, she had developed an imperial composure. A young American writer named F. Scott Fitzgerald was so overcome by the awesome prospect of lunching with Mrs. Wharton that he prepared himself by drawing courage, too extensively, from a bottle. Consequently, Fitzgerald's talk rambled and Mrs. Wharton was not amused.

As she grew older, many of her loyal retainers and long-time friends went the way of all flesh. After a protracted illness, Walter Berry died. The day before, she had "sat by him for long minutes, holding him in her arms and murmuring about old times together." She survived him by ten years. After her death in 1937, she was

20

buried close to him, in a cemetery near Versailles. In a life of seven-
ty-five years, crowded with achievements and relationships, Edith
Wharton's feeling for Berry had been perhaps the most profound and
most satisfying of all.

In 1923, Edith Wharton was awarded an honorary degree by Yale University. She was the first woman to be thus honored by Yale. Later, William Lyon Phelps, a celebrated professor of English at Yale, nominated Edith Wharton for the Nobel Prize in literature. The nomination was supported by a former member of the Yale Corporation and former President of the United States, then Chief Justice William Howard Taft.

Whether in consequence of these attentions, or for other rea-
sons, Edith Wharton's will left the bulk of her papers to Yale, not
to be opened until 1968, thirty-one years after her death. Using this
wealth of source-material, R. W. B. Lewis, currently an English pro-
fessor at Yale, published in 1975 what has been called a "definitive"
biography of Edith Wharton. Most of the preceding account has been
drawn from Lewis's book.

— Elizabeth Tate

(Notes about this adaptation of THE HOUSE OF MIRTH appear on page 28)

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PRODUCTION STAFF

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Paul Auringer

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DESIGNERS

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YPT
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YOUNG PEOPLE'S THEATRE

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In-School Program Services

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Technical Director

Terrence Sherman

Nancy Hopwood

Marcy Gamzon

Wayne Durst

LONG WHARF ASSOCIATES is a volunteer organization of friends of the theatre. If you would be interested in joining the Association efforts, call the theatre at 787-4284.

President: Mrs. James Albright; Vice-President: Sylvia Abbate; Secretary: Mrs. Guy Bigwood; Treasurer: Mr. David Ladd; Mr. Guy Bigwood; Frances Boyd; Mr. and Mrs. Clarence Brodeur; Mr. and Mrs. Wade Caruthers; Carol Cooper; Mr. and Mrs. Bruce Dardick; Mrs. Luba Dowling; Peggy Ellis; Judy Glass; Mr. and Mrs. David Greenberg; Linda Hanlon; Estelle Heil; Mr. and Mrs. Avram Hellerman; Mr. and Mrs. Glenn Hendler; Dorothy Higgins; Mr. and Mrs. Dwight Hockensmith; Karen Klebe; Mr. and Mrs. Robert Knight; Mrs. Samuel Kravitt; Mrs. David Ladd; Lynn McMillan; Mr. and Mrs. Moses Malkin; Catherine D. Mikeshock; Mr. and Mrs. William F. Moore; Shirley Murphy; Julia Norris; Roberta O'Grady; Lillian Post; Mr. and Mrs. Harry C. Raymond; Mrs. Arthur M. Ross; Sue Rubenstein; Mrs. Jerome Serling; Dr. and Mrs. Arnold Serow; Mr. and Mrs. Herbert Short; Vivienne Sikand; Michele Sullivan; Mr. and Mrs. Paul Turner; Carrie Weiss; Catherine D. Wilder.

23

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## SEMINAR SERIES

FRIDAY, APRIL 23

Following the Performance

R. W. B. LEWIS

author of

EDITH WHARTON: A BIOGRAPHY

will conduct a discussion of THE HOUSE OF MIRTH

Open to all LWT subscribers and the general public

R. W. B. Lewis, professor of English and American Studies and former Master of Calhoun College at Yale, will be coming to New Haven from Italy, where he is on sabbatical, specifically for this seminar. EDITH WHARTON: A BIOGRAPHY has received the Bancroft Award from Columbia University and is nominated for a National Book Award.

27

ABOUT THIS ADAPTATION OF HOUSE OF MIRTH

Between 1900 and 1906 — coinciding with an increased national literacy rate, a thriving publishing trade, general prosperity and the book dealers discovery of sales by mail — more than seventy novels were staged as Broadway productions. Never since have audiences been exposed to such a flood of novels adapted as plays. During the first six years of this century, New Yorkers were attending theatrical productions of such works as BEN HUR, QUO VADIS, WHEN KNIGHTHOOD WAS IN FLOWER, DAVID HARUM, MRS. WIGGS OF THE CABBAGE PATCH, THE CLANSMAN and REBECCA OF SUNNYBROOK FARM.

As a best seller in 1905 and 1906, THE HOUSE OF MIRTH was inevitably a candidate for the stage. Unfortunately, its adaptation managed to turn the story into a melodrama. The play ran for a very short time on Broadway.

Several months ago Long Wharf's literary manager, John Tillinger, began reworking THE HOUSE OF MIRTH. His chief aim has been to return the play to a truer reflection of the novel. In the Fitch/Wharton adaptation, the relationship between Lily Bart and Selden was vastly altered from their relationship in the novel. Selden, on stage, had become Lily's first accuser, rather than someone who offered an alternative set of values. Mr. Tillinger has also added a few scenes, taken almost directly from dialogue in the novel, which he feels help restore the original tone of the work.

Also by Edith Wharton: ETHAN FROME; THE REEF; THE AGE OF INNOCENCE (Pulitzer Prize); OLD NEW YORK; A BACKWARD GLANCE.

28

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