

Spring 2002: Kiss Me, Kate
Words by Samuel and Bella Spewack
Music and Lyrics by Cole Porter
The idea for Kiss Me, Kate was planted in the mind of producer Saint Subber in 1935. While working as a stagehand for the Theatre Guild's production of The Taming of the Shrew, Subber noticed that the stars of the show, Alfred Lunt and Lynn Fontanne, had a backstage relationship that was almost as tempestuous as the one they had onstage while portraying Shakespeare's famous quarelling couple.
Although veteran comedy writers Samuel and Bella Spewack had been separated for some time, they reunited to write the libretto for Kiss Me, Kate, and after the production, they chose to stay together permanently. Their libretto creates a play-within-a-play that follows the lives of egotistical actor-producer Fred Graham and his temperamental co-star and ex-wife, Lili Vanessi in a production of, Shakespeare's The Taming of the Shrew. Cole Porter's brilliant score borrows freely from Shakespeare's dialogue for lyrics in the musical numbers that take place "onstage" but makes use of more modern syntax in the "backstage" numbers.
Cast
Fred Graham/Petruchio
Lilli Vanessi/Katherine
Bill Calhoun/Lucentio
Lios Lane/Bianca
Samantha Mane Elizabeth Viti
Jules Fanucci
Hattie McDowell
Paul Botelis
Harrison Howell
Rose A. Peterson
Harry Trevor/Baptista
Emilio Montoya/Gremio
Roger Marshall/Hortensio
Charles King
Herodymus Babel
Jonathan Harper
Benito Santiago
Joey Ray Valentino
Daisy Fay
Zsa Zsa
Greta Gallespi
Piper Dolly Price
Celeste Chevalier
Marie Diamante
Bradley O'Connor
Sabra Star
Adam Segaller
Kate Roehr
David Pack
Stephanie Gepford
Rachel Bradshaw
Fang Du
Kristen Evans
Marios Charalambous
Will Oetgen
Kim Sirridge
David Rogge
Noah Goldenberg
Chris D'Angelo
Rex Alexander
Yoseph Choi
Tim Granlund
Ben Lovell
Jared Szafman
Molly Beilhart
Laura Bland
Ashley Blasland
Emily Decker
Abigail Pittman
Christina Princi
Cara Sinclair
Kelsey Staples
Pit
Musical Director
Bass
Violin
Viola
Guitar
Flute
Clarinet
Alto Saxaphone
Trombone
Bassoon
Keyboard
Piano
Drums
Alexandra Heatwole |
Katie Dorfler |
Sarah Marcus |
Susie Dantzig |
Amber Mariott |
Andrew Leahey |
Shannon Daddario |
Su Yin Koh |
Catherine Cockerham |
Kyle Singleton |
Emily Rockwood |
Jami Gillis |
Kait Dunton |
Brian Spreng |
Tech Staff
Technical Director
Assistant Technical Director
Assistant Technical Director
Assistant Technical Director
Set Designers
Lighting Designer
Scene Shop Foreman
Assistant Carpenter
Master Electrician
Assistant Electrician
Propmistress
Technical Director Emeritus
Run Crew
Technical Staff
Jennifer Clardy
Kathryn Bowman
Mike Megliola
Morgan Perkins
Rachel Walker
Mary Hamrick
Will Slusher
Tommy Rumley
James McCarter
Adrian Kao
JR Powers-Luhn
Rebecca Roberts
Lisa Filemyr
Doug Bateman
Dante Guanlao
Olivia Hessing
Matthew Schmidt
Scott Talbert
Michelle Beller
Jenn Cunningham
Zane Johnson
Stephanie Magin
Margaret Perschy
Robin Potochnik
Andy Spatz
Director
Assistant Director
Vocal Director
Assistant Vocal Director
Choreographer
Assistant Choreographer
Stage Manager
Stage Manager
Costume Designer
Assistant Costume Designer
Makeup Designers
Danny Grinberg
Danny Drachsler
Kelly Ramsey
Ben Bolling
Eileen Conaway
Kate Szuchy
Daria Khramtsova
Erin Fletcher Hall
Sarah Morrow
Gretchen Ward
Jennette Mullaney
Elizabeth Wilmer
Artistic Staff
Production Staff
Producer
Assistant Producer
Business Manager
Assistant Business Manager
Publicity Chairs
Fundraising Chair
Historian
Social Chairs
Publicity Staff
Lisa Filemyr
Jenny Chow
Annie Haas
Rex Alexander
Emily Swafford
Sam Nystrom
Lindsay Palmer
Logan Byers
Danny Grinberg
Davin Rosborough
Katy Gaul
Noah Goldenberg
Shane Liesegang
Alex Major
Amber Payne
Andy Spatz
Alexandra Valint
Director's Notes
I began as a lonely second grade novelist. I scribbled character sketches on the backs of cafeteria napkins and drew plot outlines in crayon during art class. As I ventured through elementary school, through Transformers lunchboxes and kickball afternoon, I continued to pursue my love on a box that would hardly be called a computer today.
I knew even then about the written word's power, how it could undulate under you skin and possess you. In high school I discovered how much impact it could truly have. I began spending afternoons in the theater, catch Broadway matinees or the latest avant-garde fare downtown. There, I was transformed from a solitary writer confined to his imagination and his bedroom walls to a playwright and a director who could literally see his words and images borne before him.
One reason I chose "Kiss Me, Kate" is because it recognizes and celebrates the vitality of the theater. It shows the backstage trials and tribulations of an ensemble as the overcome individual conflicts to create a piece of living, breathing art. It acknowledges that theater is a dangerous medium, rife with missed cues, forgotten lines, and divas in our midst. But every obstacle that I encountered as a director only reminded me that I was luck to find such a creative and difficult arena in which to learn.
What means even more is the community I have found. With FYP, I have met the most talented, incomparable people whom I'm proud to call live long friends. From the cast to staff to pit to tech to artistic staff, I have nothing bug deep gratitude and wonder for all of the sacrifices, generosity, and incredible effort you have all put forward over the last four months. I hope all of you shared equally valuable experiences, because this show would be nowhere without the unparalleled FYP ensemble you form.
Special thanks to my family for all their unflinching support, Sam Nystrom, Mike Trimble, Albert Camus, Davin Rosborough, Arthur Miller, David Rogge, Doug Grissom, and Danny Drachsler. Finally, I would like to dedicate these performances to the city that awakened my senses and taught me the essence of true love and theater, New York.
Danny Grinberg
Producer's Notes
I can't believe my last show with FYP is finally here. I have imagined this week since my first year. I can remember the Sunday night performance of Big River, for which I stage-managed. After the show, the forth years were sitting around crying, remembering their experiences with FYP. One of them said she wondered who among the first years would still be around for their forth year. Well, here we are. My time with First Year Players is almost over.
I have had the unique experience of being greatly involved in both the technical side and the artistic side of FYP. I started out solely in tech and now feel like I have a home everywhere in FYP. First Year Players has evolved from a collection of separate groups into one cohesive family. I am honored to have been a participant in such an amazing organization. Fort two weeks every semester, I move into the Student Activities Building. And it is there that I have found my family at UVA. We put so many hours into each show, and after a year of planning, a semester of rehearsals, and a week of frenzied building and painting, we have a show that we can be proud of.
Now it is my turn to wonder which of the current first years will be involved with FYP during their fourth. I hope that all of you will be. I have found a home in FYP, and I hope that you have too. Everyone in FYP should be extremely proud of all that you've accomplished. Each of you has contributed an integral part to this show and we could not have done it without you.
I cannot imagine my life without FYP. I never knew that most of what I learned in college would be outside of the classroom. I never knew that one group of people could change my so much. I am deeply honored to be your "Mom" and you will always be my family. I love you all so much!
Lisa Filemyr