| Cast
Actress Ixtaccihuatl Menchaca *
Bellerose, Second Poet Leon F. Briick
Cavalier, Cadet of Gascoyne CTWS student**
Cavalier, Cadet of Gascoyne CTWS student**
Lackey, Cadet of Gascoyne CTWS student **
Carbon, Captain of Gascoyne David Swain
Orange Girl, First Cook, Sister Marta Julie Knoch
Man John P. Allen
Woman, The Apprentice, Mother Marguerite Stacie Heintze *
Citizen, First Poet Joe Delaloye
Boy, Child CTWS student **
Cuigy, Cadet Jack Calvert
Pickpocket, Second Cook, Sister Claire Katie Pecis *
Ligniere, Capauchin Bill Wilson
Christian John Otto
Ragueneau Greg Maurer
Lise (Ragueneau's wife) Holly Cejka
Woman Pat Rafferty *
LeBret William FitzGerald
Roxane Eileen Duban
Duenna Marilyn Darnall
Woman Jan Quinn *
DeGuiche Tom Pfeil
Valvert, Cadet Mark Berry
Marquis, Musketeer, Cadet of Gascoyne Kevin Slattery
Montfleury Denny Wise
Cyrano Bill Hammack
* Denotes new to our stage
** Denotes a CTWS student
Dramaturg's
Diary
Dramaturg's Diary
By Beth Hubbartt
About the Play
Cyrano de Bergerac, written by Edmond Rostand, was first produced
on December 28, 1897, at the Theatre de la Porte Saint-Martin in
Paris, France. A venerated French actor named Benoit Constant Coquelin
(to whom the play is dedicated) played the title role. Audience
response to the first production of Rostand's historical romance
was described as "the most enthusiastic reception in dramatic
history." On September 28, 1898, American audiences witnessed
the simultaneous premiere of two different versions of Cyrano -
one in New York City and one in Philadelphia. Since its 1897 opening
and subsequent run of 200 nights in Paris, Cyrano de Bergerac has
enjoyed enduring international acclaim - both critical and public.
The story of Rostand's Cyrano de Bergerac is inspired by a real-life
French poet and soldier who lived from 1619-1655 and authored several
plays and many satires. The man, Cyrano de Bergerac, who inspired
Rostand to create his character, Cyrano de Bergerac, wasn't much
like the play's leading man at all. He was well known as a humanitarian
and, although he enlisted in the army at 20, later in his life he
argued ardently against war and the death penalty. A portrait of
Cyrano, painted by Le Doyen, featured a smiling man with a large
nose. Rostand's protagonist was born.
Cyrano de Bergerac has been performed in each decade of the 20th
and 21st centuries. It was made into an opera, later into a musical
comedy and recently into a movie starring French actor, Gerard Depardieu.
The character of Cyrano is considered, "next to Hamlet, to
be the theatre's most popular part," partnering Cyrano's complex
character, comedic antics and grandiosity with a silent, subdued
sense of sacrifice and sorrow. In Cyrano, the character and the
play, we find messages about values and virtue, the dangers of deception
and inner and outer beauty.
About the Playwright
Edmond Rostand was born in Marseilles, France in 1869 into a wealthy
family. His father was a journalist; so words, their rhythm, beauty
and significance were part of his birthright. Rostand earned a law
degree in Paris, but his love of words drew him to poetry; and at
the age of 22, Rostand published his first book of poetry. Rostand's
writing career continued; and in 1894, the Comedie Francaise produced
his first significant play titled The Romancers. His fame and success
were firmly established with his peers when Sarah Bernhardt played
leading roles in two of his plays - The Faraway Princess and The
Woman of Samaria.
Rostand's best known plays are Cyrano de Bergerac, L'Aiglon and
Le Chanticler. With the success of these romantic plays, Rostand
was a popular public figure and subjected to celebrity status not
unlike today's Hollywood stars - he and his family were hounded
by "paparazzi" and fans on the streets of Paris. When
Rostand chose to leave Paris and live a quiet life of self-imposed
exile in the beautiful French mountains, he offered ill health as
the reason; but his intimates knew better.Rostand and his wife,
also a poet, lived in a chateau which they built in the Pyrenees,
until Rostand's death in 1918.
Acknowledgements
Produced with special permission from Dramatists Play Service,
Inc.
The Fruit Store, Western Springs and Hinsdale, for providing
apple cider at cost with free delivery.
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Production
Credits
Director
Jack Phillips
Technical Director
Troy Lee Brasuell, Jr.
Stage Manager
Sue Turner
Assistant Stage Managers
Susan Cardamone, Darla Goudeau
Costume Designer
Martha Niles
Costume Crew Chief
Mary Ellen Druyan
Costume Crew
Heather Alderman, Suzanne Anthoney, Linda Bremer, Peg Carlson, Eileen
Crow, Marilyn Darnall, Chris Gavlin, Dennis Hudson, Karla Hudson,
Vicki Lezon, Julie Mueller, Mary O'Dowd, Katie Pecis, Kathy Pecis,
Mary Smith, Jane Stacy, Julie Suarez, Mary Van Nest
Dramaturg
Beth Hubbartt
Hospitality Chair
Carol Clarke
Hospitality Crew
Catherine Bloomer, Carole Borg, Hedy Bosch, Ruth Cekal, Mary Clarke,
Mike DeKovic, Angelee Johns Favoino, Mark Favoino, Ceri Hartnett,
Bonnie Hilton, Lydia Hilton, Karen Holbert, Carol Hudson, Dennis
Hudson, Mike Huth, Pat Huth, Dick Jacoby, Peggy Jacoby, Jo Jones,
Ginny Lennon, Cassandra Johnson Locke, Bill and Joyce Love, Debby
Mills, Jon Mills, James Moreno, Roxanne Moreno, Rob Nardini, Arlene
Page, Susan Remy, Joan Roeder, Irv Sarussi, Paulette Sarussi, Connie
Sierzputowski, Gegg Valek, Susan Waldschmidt, Gini Welch
Lighting Designer
Benton Bullwinkel
Lighting Crew Chief
Judy DiVita
Lighting Crew
Linda Bugielski, Angelee Johns Favoino, Jim Pusztay, Paul Roach,
Carol Suda
Makeup Designers
Lori D'Asta, Bridget Bittman
Makeup Crew
Peg Callaghan, Carol Dapogny, Kelli Kubicki, Amanda Regan, Robyn
Saunders, Stephanie Williams
Properties Designer
Donna Sauers, Liz Steele
Properties Crew
Karen Arnold, Linda Auer, Nick D'Asta, Lynn Dieli, Tim Feeney, Dennis
Hudson, Dan Marema, George McArdle, Lori B. Proksa, Carolyn Redding,
Debbie Sampson, Jill Schaefer, Sandy Squillo, Christa St. Peter,
Willy Steele, Julie Suarez.
Set Construction Chair
Tom Squillo
Set Construction Crew
Mark Favoino, Tim Feeney, Tom Frohnapfel, Jeff Frommelt, Harry Hultgren,
Mike Huth, John Otto, Tom Pfeil, Fred Sauers, Noel Smith, Rob Snyder
Set Designer
Lee Brasuell
Set Painting Chairs
David and Susan Valenta
Set Painting Crew
Josie Carlson, Carol Hudson, Allison Laker-McNeela, Diane Oppenheim,
Robyn Saunders, Carolyn Thomas-Davidoff, Chris Valenta, Sharon Valenta
Sound Designers
Stephanie Bullwinkel, Betsy Stiles
Sound Crew
Bryon Abramowitz, Peggy Carlson
Box Office Chair
Mary Ellen Schutt
Box Office Crew
Linda Bremer, Peg Callaghan, Susan Cardamone, Janet Grasso, George
Dempsey, Mary Dempsey, Terry Kozlowski, Kelli Kubicki, Jo Ann Mallon,
Roxanne Moreno, Jill Neely, Lori B. Proska, Patti Roeder, Carol
Suda, Marilyn Wilson
House Manager Chair
Bill Wilson
House Managers
Karen Holbert, Harry Hultgren, Roland Imes, Kevin McGrath, Jon Mills,
Bill Rotz, Noel Smith
Front Row Center flyer
Joe Petrolis
Group Sales Co-Chairs
Ceri Hartnett, Betsy Stiles
Poster Distribution
Kathleen Kusper
Production Coordinator
Linda Roberts
Program Advertising
Peggy Carlson
Publicity Chair
Ann Marie Hultgren
Program Editor
Stephanie Williams
Program Crew
Marion J. Reis
Website
Judy DiVita
Director's
Corner
by Jack Phillips
Thanks to an interested subscriber,
David Simpson, I have learned of a Brookfield, Illinois connection
to Cyrano de Bergerac.
Samuel Eberly Gross, a real estate dealer who lived in Grossdale
before the town changed its name to Brookfield, wrote a play called
The Merchant Prince of Cornville in 1870. In 1889 he traveled to
the Paris Exhibition and left a copy of his play at the St. Martins
Theatre. Apparently Edmond Rostand, the author of Cyrano, saw the
play and used it for his own. In 1902, Mr. Gross filed a plagiarism
suit in the city of Chicago and won. The judge declared that Mr.
Gross was the author of "Cyrano's being" and that Rostand's
play was a clear case of piracy. Mr. Gross was awarded an accounting
of the profits of the Rostand version but waived the right for $1
and the vindication of his suit. There is in print a book published
by Rand McNally showing the parallels between the two stories. It
seems that piracy of creative material is not a new phenomenon.
Many thanks to Mr.Simpson for sending me a copy of the article
in the Chicago Tribune on January 22, 1953 detailing this wonderful
connection to our area.
Regardless of the source, the story of the warrior/poet, equally
adept with a sword and at rhyme, who is so unhappy with his own
appearance that he never admits his feelings to the one love of
his life has captured the imagination of hundreds of actors and
directors and thousands of readers for over one hundred years. Both
the language and the characters are bigger than life. The events
are like an action movie. The heart of the story can still touch
us all.
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