Viewing page 17 of 33
It looks like you're using a mobile device. We recommend using a physical keyboard for transcription entry.
[[advertisement]] [[image: blurred photo of woman sitting in chair]] Passenger request Flying first class without my company knowing it Delta BusinessElite U.S. from JFK to LAX/SFO/SAN: 1st class room & service 1st class dining & entertainment business class price (the guys in accounting will never catch on) Delta Fly like I want to delta-air.com [[/advertisement]] [[end page]] [[start page]] GENERAL PRESS REPRESENTATIVE.....THE PUBLICITY OFFICE Bob Fennell, Marc Thibodeau Michael S. Borowski, Brett Oberman Press Assistant......Alexandra Meitner [[line]] PLAYWRIGHTS HORIZONS THEATER SCHOOL DIRECTOR.................HELEN R. COOK Associate Director.......Vella Karman Receptionist ............Dawn Bond Production Manager.....Whitney Pastorek Office Manager.........Lauren Mattarese DEPARTMENT HEADS Dramaturgy ..............Colette Brooks Acting................Christine Farrell Design....................Michael Krass New Programs ..........Marlene Pennison Directing ................Mary Robinson [[line]] SPECIAL SERVICES Counsel.............Seth Gelblum; Richard Garmise, Loeb & Loeb Advertising......Wilner Advertising Accountants.................Lutz & Carr Telemarketing.....Cowboy Communications Insurance..........Marsh Consulting Architect.....Mitchell Kurtz Telephone Services....Karma Productions Internet Services...........Earthlink [[line]] CREDITS Scenery built by Noble Theatricals. Costumes built by Jennifer Love. Sweater by Maria Ficalora Knitwear, Ltd. Specialty hats made by Debra Millison. Lighting provided by Production Arts. Sound by ProMix. Flyer printing courtesy of Herbert A. Morey and Ernst & Young LLP. Gold Medal Flour is a registered trademark of General Mills, Inc. Used by permission. [[line]] SPECIAL THANKS Sean Havens, Associate Choreographer Recycle-A—Bicycle, 605 East 9th Street, NYC Bob Joyce, Photobition New York David Shaffer and Nicole Acquilano, Capezio Steve Olsen, West Bank Cafe [[line]] THE BUBBLY BLACK GIRL SHEDS HER CHAMELEON SKIN was first presented in New York City by Dixon Place with funds from the Joyce Mertz—Gilmore Foundation. Developed in part at the National Alliance for Musical Theater, Helen Sneed, Executive & Artistic Director, and also at Musical Theatre Works. [[line]] [[logo - ACTORS' EQUITY ASSOCIATION - AFL - CIO]] THE ACTORS AND STAGE MANAGERS EMPLOYED IN THIS PRODUCTION ARE MEMBERS OF ACTORS' EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES. [[logo - ssdc]] The Director is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. The musicians employed in this production are members of the Associated Musicians of Greater New York, Local 802 of the American Federation of Musicians. [[image: camera with diagonal line crossing through it]] Absolutely no photographs. Il est absolument interdit de photographier. Absolutamente prohibido tomar fotografias. Fotographieren ist ausdrücklich verboten. [[line]] WARNING The photographing or sound recording of any performance or the possession of any device for such photographing or sound recording inside this theatre, without the written permission of the management, is prohibited by law. Violators may be punished by ejection and violations may render the offender liable for money damages. FIRE NOTICE: The exit indicated by a red light and sign nearest to the seat you occupy is the shortest route to the street. In the event of fire or other emergency please do not run — WALK TO THAT EXIT. Thoughtless persons annoy patrons and endanger the safety of others by lighting matches or smoking in prohibited areas during the performances and intermissions. This violates a city ordinance and is punishable by law. FIRE COMMISSIONER
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact email@example.com.