THE PILLOWMAN

by martin mcdonagh

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 STAFF LIST
Director Lily Glimcher 14 lglimcher10@gmail.com

Executive Producer Magdalene
Zier 16 mzier@college.harvard.edu

Associate Producer Garett A llen 16 garrettallen@college.harvard.edu

Associate Producer George B axter 16 gbaxter@college.harvard.edu

Assistant Producer Brenna McDuffie
15 bmcduffie@college.harvard.edu

Stage Manager Boyd Hampton
16 boydirhampton@college.harvard.edu

Assistant Stage Manager Karoline
Xu 15 fengweixu@college.harvard.edu

Assistant Stage Manager Jake Stepansky
16 jstepansky@college.harvard.edu

Co-Set Designer Daniel Prosky
16 dprosky@college.harvard.edu

Co-Set Designer Lily Glimcher
lglimcher10@gmail.com

Set Consultant Zena Mengesha
mengesha@college.harvard.edu

Tech Director Daniel Prosky
16 dprosky@college.harvard.edu

Assistant Tech Director*
Daniel Hilhorst 15 dhilhorst@college.harvard.edu

Light Designer Hannah Sears 16 hsears5@gmail.com

Assistant Light Designer* Angie Berkowitz 16 aberkowitz@college.harvard.edu

Costume Designer Rachel Gibian 15 rachel.gibian@gmail.com

Co-Sound Designer Jake Stepansky
16 jstepansky@college.harvard.edu

Co-Sound Designer Lily Glimcher
14 lglimcher10@gmail.com

Sound Advisor Madeleine Bersin 14 madeleine.bersin@gmail.com

Puppet Designer Alona B ach 15 alonabach@college.harvard.edu

Props Designer Xu 15
Karoline fengweixu@college.harvard.edu

*To be confirmed by our interview

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LOEB MAINSTAGE
Please indicate only your first choice slots on this form.
You will have the opportunity to add second and third
choice residencies on the Venue Application, which will
be due with the FULL application.

Loeb Mainstage
XXX Jan. 27-Feb. 2 (Common Casting)
XXX Feb. 3-9
XXX Feb. 10-16

XXX Feb. 17-23

XXX Feb. 24-Mar. 2

XXX Mar. 3-9

XXX Spring Break (Mar. 15-23)
1 Mar. 23-29
1 Mar. 30-Apr. 5
1 Apr. 6-12
2 Apr. 13-19
2 Apr. 20-26
2 Apr. 27-May 3

BUDGET WITH GUEST ARTIST BUDGET WITHOUT GUEST ARTIST
Lumber $2000 Lumber $2000
Paint $400 Paint $400
Large Props $600 Large Props $800
Misc. $200 Misc. $200
Props $200 Props $200
Puppets $400 Puppets $400
Costumes $600 Costumes $800
Dry Cleaning $150 Dry Cleaning $200
Royalties $450 Royalties $450
Guest Artist Fee $500 Lighting $100
Lighting $100 Publicity $300
Publicity $250 Producer's Fund $650
Producer's Fund $650 Total $6500
Total $6500




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PRODUCTION CALENDAR

TIMELINE TECH/DESIGN ACTORS
Puppet Construction, First finished Decide casting scenario options regarding
J Term
draft of set design due by DP number of puppeteers needed
1/28-2/2 Common Casting
2/4/2013 Read Thru
Rehearsals, including work with puppetry
February Semiweekly production meetings
choreographer
2/15/2014 Completed Set Design Due

2/20/2014 Set Meeting with Madie Hays

March Production Meetings Become Weekly Continue Rehearsals and Puppetry
All Set Materials Ordered, Props and
3/1/2014 Stumble Through
Costume Design Finalized
3/5/2014 Begin Prebuild

Designer Run, All Costume Orders
3/10/2014 Designer Run, Off Book Date
Placed
SPRING BREAK (Actors must finish getting off
3/15-3/21 SPRING BREAK
book 100%)
3/22/2013 Load In Load In
3/23/14-4/3/14 Tech Tech (First week 6-12 rehearsals)
4/4/2014 Opening Night Opening Night
4/4, 4/5, 4/6,
4/10, 4/11, Performances Performances
4/12
4/12/2013 Strike (All Reimbursements Due) Strike (All Reimbursements Due)

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DIRECTOR: LILY GLIMCHER
Plot Summary

1. Two policemen in a totalitarian dictatorship accuse author, Katurian, and his mentally handicapped
brother, Michal, of child murders resembling three of Katurians horrific and twisted childrens stories.
Was anyone killed at all or are the policemen making it all up? Is Michal guilty for killing them or is
Katurian to blame for writing the stories in the first place? Who should be executed: the writer or the
listener? The artist or the audience? Soon the line between art and reality blurs, forcing Katurian to
choose between his own fate, his brothers fate, and that of his fictional creations that seem to have
taken on a life of their own.

Why this show? How will I execute my ideas?
1. Empathy/Childhood: To many, the content of this play seems unbearable. To me, this play demands
that we open ourselves to find empathy with four individuals who are sick and severely damaged by
their childhoods. Katurians elaborate and twisted stories, and the ticking clock of the brothers
impending execution come to reveal the true and layered
characters of these individuals. This play explores how words and
behavior are never as simple as they seem, and that you can relate
to someone if he is willing to be vulnerable. I believe this play has
the power to make an audience not only empathize but also relate
to these people who might otherwise seem unreal in their darkness
and brutality. I do theater with the hope that my audience will
viscerally and empathically experience the pain of relatable
characters, and ultimately leave the theater thinking about or
learning about their own pain. I began to explore this idea with
Closer and really realized this personal this summer. I believe I
began to hone some tools to do this, and use my understanding of
psychology to approach the characters from the inside out, without
judgment. The story I plan on directing is not one about child
murders and murderers; its a story about sad, damaged people
who are desperate for someone to take care of them or understand
them. The brutality is evident in the script and story; aiming at it
from the other side from the characters motivations will hopefully allow me to discover and reveal
the nuanced pain that each character is experiencing.
2. Darkness/innocence: The play interrogates childhood as the ultimate culprit of behavior. McDonagh
illustrates how an unbearable childhood can break an individual into differently shaped shards. By
repeatedly depicting the dialectic between innocence and darkness, McDonagh insists that the
audience look beyond these characters actions and into their deeper and darker motivations.
McDonagh does so, most obviously, by making Katurian a writer of twisted childrens stories; he
immediately makes strange the mere idea of a story about or for children, and therefore, allows us to
question the importance and meaning of these stories beyond face value. Furthermore, the dynamic
between Katurian and Michal makes us reexamine how we define innocence, and how we decipher
bad from good. The amorphous truth of the story makes their dynamic ever-changing, and reveals
that no action or person is completely bad or good. As the play progresses, we soon learn the
childhood horror stories of each character, and begin to understand why they each are the way they
are. McDonagh, perhaps, suggests that we are constantly at odds with the innocence and ignorance of
our youth, battling the potentially destructive nature of experience.
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 a. How will I show this? I want to emphasize this pull between innocence/youth and
darkness/experience largely through the set and puppets. The set, as Dan further explains in his
statement, will be an old, beaten, and split open dollhouse. It will have two stories, evolving
from dark and decrepit on the ground floor, to faded innocence in the attic. By setting the
entire show within a house, we will house the pain and brutality within an innocent, family
space. My hope is that this will demonstrate the consequential nature of childhood and the
power of tainted innocence that begins to explain the behavior within the play. Moreover, I
believe the puppets will have the same effect. By telling the gruesome stories with a child-like
story-telling device, I hope to further emphasize that the stories are not about killing children;
the stories are about the potential for both beauty and destruction in childhood.
3. Story world/real world: McDonagh blurs the line between art and reality by creating the child fiction
world, initially separate from the police world. However, the characters from Katurians stories soon
take on a life of their own, further asking what is real and what is a story. Moreover, while the whole
play is, itself, a story, the visceral nature of the text and its effect on the reader or audience member
begs a similar question. How can we possibly separate reality and story? Do we go to the theater to
watch a play? Or do we go to personally experience something that moves and changes us?
a. How will I show this? I plan to first create strict rules between the real world and story world,
so I can then break the rules and emphasize the inseparable nature of Katurians stories and the
main story itself. I will create the division of real and story worlds through design set, lights,
costumes, sound, props, and obviously puppets. The set will have the ground floor initially
more realistic, accompanied by florescent lights,
militaristic clothing, exaggerated but real noises
(such as the buzzing of a fly in a light), realistic
props, and no puppetry. The story world, in
contrast, will look like faded innocence within the
attic of the dollhouse; we will use faded colors,
more amber and colored lights, faded doll
costumes, childhood songs like lullabies or
children singing, ragged but playful props, and
the use of puppets. Then, the strict division
between the two spaces will devolve, impacting
and informing the devolution of the characters.
The puppeteers dressed like dolls, and the scenes
that are supposed to take place in the story
world, will slowly move into the real world and
visa versa. I am also exploring the idea of
eventually having the puppeteers take agency over their puppets. The eerie sounds of the story
world will start to invade the real spaces, and the characters might actually notice these
changes. I believe these design and directorial choices will illuminate the transference between
reality and story within the play and for the audience.
4. Artist/audience: I am also enthralled by the relationship between artist and audience. By questioning
who is to blame for the murders, McDonagh calls into question both agency and blame of creator and
receiver. While Katurian explains that he merely wrote the stories, the detectives point out that Michal
couldnt have done it on his own; furthermore, Michal exclaims that Katurian read the stories out loud
to him, and that he wouldnt have killed the children had Katurian not written the stories in the first
place. The play poses the question, who is responsible for the effects of art the writer or the reader,
the artist or the audience?

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 a. How will I show this? I plan to create the dynamic of agency by making the audience feel
trapped within the world of the whole play. I want dont want the audience to feel like they can
sit back and watch from a distance; I want them to feel viscerally involved, and a witness to
these crimes and pain first hand. I hope to create this feeling of involvement by insisting that
my actors follow their own impulses. Doing so awakens the audience and forces them to pay
attention. Secondly, Dan and I would like to eliminate the distancing element of the proscenium
and open up the set to include the audience. We will move the seating wagon inside the
proscenium, and ideally, create a structure behind the audience, further enclosing them, and
the space.
Why the mainstage?
1. The people in this play are swallowed by the structures that they create. Firstly, Katurian creates the
story world that starts as small fictional stories and characters; I plan to portray this smallness and
innocence through the small puppets in contrast to the large space. However, as the story progresses,
the fictional characters become more and more
consequential; more of the story-world characters
will be portrayed by actors without puppets, and the
puppeteers will actually take agency without their
puppets, ultimately taking down their creator
Katurian. The size of the mainstage will allow us to
visually materialize the growth of these story-world
characters over the course of the play. The size
difference between the small puppets and the
massive height of the mainstage will help illustrate
these ideas.
2. Besides the size, we also need the technical
capabilities of the mainstage in order to physicalize
the dialectics between darkness and innocence, real
world and story world, and artist and audience. As I
mentioned above, we will move the seating wagon
under the proscenium and use the fly system to
guide the audience around the dollhouse by covering
up certain rooms depending on the scene. By flying in scene covers, we can reveal elements of the
story more effectively. For instance, if the attic is covered, but then a puppeteer appears to be lifting
the fly-in wall to peer over the ledge and observe the interrogation room, we will be able to see how
the fictional characters are coming to life.
On Puppets and Sound
1. As I have explained above, I believe the puppets will be an integral story-telling device for emphasizing
innocence and the destructive effects of childhood. As far as making the puppets, Alona is my puppet
designer and we have settled on making rod puppets (specifically table top puppets), maneuvered in
a similar way to those seen in Sea Change last spring. I like this type of puppetry because it allows the
puppeteers to imbue life into the puppets, without actually touching the body of the puppets
themselves. While they will be maneuvered similarly to those in Sea Change, they will look very
different. We will use clay or paper-mache to create the faces, so they will be very detailed. Some
bodies will also be made of clay, while others will be made of fabric like stuffed dolls. We have
contacted Roxie Myhrum from the Puppet Show Place in Boston; she is a Harvard alum and works with
FAP. Dana Knox and Jacob Brandt recommended her, and we have been in contact about the
possibility of her being a guest artist. We have supplied two budgets, with and without allotting money
for her, because it is not yet guaranteed that she can do it. If she cannot help us, I will be finding
7
 resources in NYC over j-term to learn more about the puppets and how to build them. Furthermore,
Jacob has already offered to advise me either way. Alona and I will have the puppets completely usable
by common casting, so I can start working with the puppets in rehearsal immediately. I might even
have puppets in auditions.
2. Regarding sound, Jake and I discussed our plans thoroughly and worked together on his statement
regarding the design. Please refer to his statement for details.
Sensitivity of material
1. I am very aware of the sensitive subject of children being murdered and having a mentally
handicapped character on stage. While these elements of the story will inevitably pose challenges, I
feel as equipped to address them as I can be. My plan to address the gruesome nature of the child
murders is to focus on why Katurian wrote these stories and why Michal actually acted some of them
out. I dont want to tell the story of what these people did; I want to tell the story of why they did it. By
doing so, I believe the subject matter will be more palatable and, even, relatable.
2. Another challenge of the play is the portrayal of Michal as mentally slow, but not as caricatured.
While all the research I have done and will continue to do about the experience of being mentally
handicapped will surely impact my understanding and direction of the role, I think one way for the
actor to understand the character is through youth. Michal, in many ways, is a representation of youth;
I believe that if the actor understands the character as a much younger person, his perspective and
behavior will follow, without forcing a caricature version of the Michal. I am not suggesting that all
people with mental handicaps have the intelligence or world-view of a child; I am, however, suggesting
that Michal, is many ways, does.

I feel so honored and grateful to have the opportunity to apply for the mainstage. The space is a gift that we
have from Harvard, and I feel so lucky that I might have the chance to direct on it. I know I am still a new
director, but I have very quickly realized that I am happiest when I am directing. I believe in the power of the
theater to move people, and Is believe that this play has the potential to make an audience empathize in ways
they could not have before seeing it. I appreciate your time and consideration immensely and look forward to
answering any questions you have.
With gratitude,
Lily

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DIRECTING & OTHER STAFF POSITIONS
Director, Raised in Captivity, (Fall 2013, Loeb Ex)
Co-Set Designer, Raised in Captivity, (Fall 2013, Loeb Ex)
Assistant Director, My Machine is Powered by Clocks, (Summer 2013, Ice Factory Festival)
Director, Closer, (Spring 2013, Loeb Ex)
Set designer/Co-Tech Director, Macbeth, (Fall 2012, Loeb Ex)
Dramaturg, Hair, (Spring 2012, Loeb Ex)
Stage Manager, Disney Review, (Fall 2010, Adams Pool)
Assistant Stage Manager, Trust, (Fall 2010, Loeb Mainstage)
Assistant Stage Manager, Romeo and Juliet, (Fall 2010, Loeb Ex)

PERFORMANCE EXPERIENCE
The Universe is a Small Hat, Healer (Sarah Benson The NYC Prelude Festival)
The Thing About Air Travel, Naomi (Jacob Brandt Loeb Ex)
Punkplay, Sue Giki/Ronald Regan (Jacob Brandt Loeb Ex)
The Lilys Revenge, Mary Love Two (Shira Milikowsky Club Oberon)
Macbeth, Third Witch (Becca Feinberg Loeb Ex)
A Beautiful Something, Lauren (Laura Savia Williamstown Theater Festival)
Legally Blonde, Elle Woods (Alex Willis, Haley Bennet, Madeline Smith Farkas Hall)
Talk Radio, Female Voices (Caleb Thompson Loeb Ex)
Play it Again, Sam, Linda (Graham Lazar Adams Pool)
Spring Awakening, Thea, (Ryan Halprin, Brandon Ortiz, Mark Parker Club Oberon)
Equus, Nurse (Bill Grace Loeb Ex)
Parade, Sally Slaton (Josh McTaggart, Sam Schoenberg Farkas Hall)

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EXECUTIVE PRODUCER: MAGDALENE ZIER

Having worked on four shows with Lily, I have total and complete confidence in our teamwork, and am
so excited to work together again next semester. Producing Closer and Raised in Captivity have been such
amazing experiences; I cannot wait to see what Lily creates next and help it come to fruition. The only
uncertainty I have surrounding Lily and my director-producer partnership is what theater will look like for me
without her here. I believe we have succeeded thus far in leading staffs effectively and in facilitating smooth
processes overall. We have held to our commitment of collaboration, and I am eager to continue the
dialogues we have established between our different design teams. We believe that in order to have an
aesthetically cohesive final product and a team that is devoted and personally inspired, the process itself must
be interdisciplinary and embody collaboration. The Pillowman, in particular, offers an incredibly special
opportunity for such a fruitful design process because all of the teams will need to work together to fully
create the two worlds, one of reality and one of fiction, in which the play takes place. The disruption of
expectation as McDonagh turns the familiarity of a childrens story on its head, offers the opportunity to
depart from a conventional representation of the interrogation room in which it begins. Furthermore, though
Lily loves this play for its psychological focus, the setting within a totalitarian regime and focus on childrens
stories fit perfectly with my studies of History and Literature as well.
I am also so thrilled about the producing team that we have assembled. I have such trust in and
admiration for the work that Garrett Allen and George Baxter do, and I think that they will both excel in their
jobs leading the tech and publicity efforts, respectively. When producing by myself this semester in the Ex, I
learned that, sometimes, staff coordination and communication can be more efficient if one person leads the
ship. Thus, I will be taking charge of staff management. Additionally, I will be overseeing and facilitating all of
the other roles of the producer: sharing the tech and publicity efforts with Garrett and George, managing
finances with the assistance of Brenna McDuffie, supporting Lily every step of the way, and being in the
theater for every waking moment of our two weeks of tech. Please refer to Georges statement to learn about
the specifics of our publicity plans.
Producing by myself for the first time this semester was the most formative experience Ive had in
theater here at Harvard. Specifically, Raised tested and improved my familiarity with finances and my ability to
play both the good and bad cop simultaneously (no Pillowman pun intended). My tendency is to be
diplomatic, which is an asset as a producer, but I further learned how and when to be firm. This firmness and
ability to demand deadlines and commitment will be integral in producing on the mainstage. Raised also
continued to strengthen my knowledge of tech, further equipping me lead the entire tech process and make
the most of all the hours I will spend in the theater. Finally, stage managing Sea Change last semester has
provided me with a valuable familiarity with the mainstage, and I am so excited about the opportunity to work
there again. I am sure Boyd Hampton, our stage manager, with his experience, organization, and calm, will
guide the rehearsal process and call the show with grace, and I will share my experience stage managing on
the mainstage to support him further. At this point, I have previously worked with all our main designers and
have forged the positive and respectful relationships that help ensure their brilliant ideas are realized. I cannot
wait to work with all of the amazing people on our staff, create another show with Lily, and bring The
Pillowman to the mainstage.
Thank you for your time!

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THEATRICAL RESUME
2014 HRDC Ex Coordinator
Producer Raised in Captivity, Directed by Lily Glimcher, Loeb Ex, Fall 2013
Assistant Producer The Thing About Air Travel, Directed by Jacob Brandt, Loeb Ex, Fall 2013
Co-Producer Closer, Directed by Lily Glimcher, Loeb Ex, Spring 2013
Stage Manager Sea Change, Directed by Dan Giles, Loeb Mainstage, Spring 2013
Co-Stage Manager, Master Painter Macbeth, Directed by Rebecca Feinberg, Loeb Ex, Fall 2012
Co-Costumer, Cabaret Directed by Katherine Price, Loeb Ex, Fall 2012

POTENTIAL CONFLICTS
Co-producer, Nine, Directed by Joey Longstreet, Farkas Hall. Late April-Early May. However, if we are given the
second slot on the mainstage, my duties to Nine will become more flexible.

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ASSOCIATE PRODUCER (TECH): GARRETT ALLEN

I am extremely excited to be on staff for The Pillowman. Having worked with Lily and Maggie this
semester on Raised in Captivity, I feel extremely confident in this production and I am ecstatic to be working
with the rest of this talented team, most of whom I have worked with before as well. In the past I have taken
on many roles in design and production, such as stage management and light design. These have taught me
organization, communication, and efficiency. When I stage managed Pool (No Water), I essentially functioned
as the fixer, which is, in many ways, the role of the producer. When I light designed Raised in Captivity, I not
only learned all about light design but also learned about how much time is needed to make every moment of
a show work. For Flies, I have been working with the producers, and have learned about the importance of
time management and front-loading. I have also learned, in every show Ive worked on, that communication is
always key. Without direct and early communication, everything and anything can fall through the cracks.
With these acquired skills, I feel ready to be the associate producer in charge of overseeing tech for The
Pillowman. My job as associate producer will consist of helping Maggie organize design meetings, facilitating
meetings between the designers and Madie Hays, finding answers to questions for all of the designers and
technicians, overseeing deadlines for ordering materials, keeping pre-build on track, and, most importantly,
being present during our two weeks of tech. It is integral, especially on the mainstage, that the designers and
technical staff feel supported throughout the whole process to ensure that everyone pulls their weight during
tech week. By spending all my focus on the designers and technicians, everyone is sure to be as present as
promised during tech, ultimately allowing tech to run smoothly and efficiently. I am incredibly excited for this
opportunity to be an associate producer on The Pillowman and work with this amazing group of people. Thank
you for your consideration.


Harvard College Cast Credit
Edge of the Map, Ben Morris (Spring 2013)

Harvard College Production Credits
Flies, Assistant Producer (Fall 2013)
Raised in Captivity, Co-Light Designer (Fall 2013)
Is He Dead?, Stage Manager (Fall 2013)
The Thing About Air Travel, Co-Light Designer (Fall 2013)
What the Hell?!, Assistant Stage Manager and Props Designer (Spring 2013)
Pool (no water), Stage Manger (Spring 2013)
Next to Normal, Assistant Sound Designer and Assistant Stage Manager (Fall 2012)
Lone Gay Male, Assistant Stage Manager and Assistant Tech Director (Fall 2012)

Potential commitments all depending on the application process:
1. [First slot] Producing Madi's show (The Play That Goes Wrong)
2. [End of semester] Light Advising Mike/Olivia's Show (In Other Words)
3. [End of semester] Stage Managing/Assistant Directing Marks Show (Julie Cooper: Genisis Prayer).

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ASSOCIATE PRODUCER: GEORGE BAXTER

I am so thrilled to have the opportunity of working alongside Lily Glimcher on The Pillowman; having had the
privilege to see her artistic visions implemented in Closer and Raised in Captivity during my time here, there is
no way that I could turn up a chance to be part of her next work. Not only is Lily an incredible talent with the
astonishing ability to pull at the exact strings she desires of her audience through her direction, but also, off
the stage, she is so personable and affable that she is a breeze to work with. The team of Maggie Zier Lily
Glimcher, in my eyes, is a powerhouse; I have never seen such efficiency in one team, and I look forward to
contributing to the cause.

I will be running the publicity faction of the production, and I see my working relationship with Maggie as one
of creative collaboration. With experience running publicity for shows in the past, including Company and Not
Another Horror Movie this semester, I have full confidence that our creative minds will be able to sprout ideas
and implement them effectively. I have experience in publicizing for other non-theater organizations also,
both here at Harvard, and back at high school, where I spearheaded the publicity team for our schools new
prospectus. I also look forward to working alongside Garrett Allen, with whom, although he is focusing on
tech, I can also collaborate to exhaust the possibilities for publicity.

In terms of techniques for publicity, I hope first and foremost to utilize the typical routes of outreach within
the Harvard community, including weekly postering in the few weeks leading up to the show and lots of
Facebook visibility. We will make targeted posters, such as some which could appeal to people interested in
puppetry or those who know McDonagh for his movies In Bruges and Seven Psychopaths. Taking advantage of
the plays themes of psychology and childrens literature, we would also like to target our advertising to
several courses in the Psychology department (PSY1150: Perception and Imagination, PSY1006: Psychology of
Morality, PSY980k: Growing Up and Growing Old: Cognitive Changes in Childhood and Aging) and in the
Folklore and Mythology department (Freshman Seminar 39o: Childrens Literature, F&M128: Fairytale, Myth
and Fantasy Literature I dont believe this last one is offered next semester, but we can still reach out to the
professor). We will start by emailing the professors and encouraging them to bring their students to the show.
We know that many shows propose grand schemes for talkbacks that are never realized, but, as these classes
demonstrate, there is a diverse and extensive segment of our academic community that would likely be
interested in the material. Ideally, we would like to set up a sort of symposium with several of these
professors to explore the interaction of psychology and literature with McDonaghs masterpiece.
Thanks so much!
Acting
Ensemble What The Hell? Freshman Musical (dir. Joey Longstreet, 2013)
The King DHOs Cinderella (dir. Katherine Moon, 2013)
Pish-Tush The Mikado, or The Town of Titipu (dir. Katherine Moon, 2012)
Production
Vocal Director What The Hell?! Freshman Musical (dir. Joey Longstreet, 2013)
Music Director Pirates of Penzance, or, The Slave of Duty (dir. Allen MacLeod, 2013)
Producer Not Another Horror Movie (dir. Daniel Citron, 2013)
Assistant Producer Company (dir. Rose Bailey, 2013)
Conflicts:
Hasty Pudding Band (before spring break)
Producer: Julie Cooper A Genesis Prayer (end of the semester)
Co-Music Director: In Other Words (end of the semester)
Co-Producer: Nine (end of the semester)
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STAGE MANAGER: BOYD HAMPTON
Over the last three semesters at Harvard, I have been fortunate enough to work on a number of
different theater productions. Working with Lily and Maggie as an assistant stage manager for Closer, and as
an ASM, assistant producer, and props designer for Raised in Captivity, were two of the most rewarding. In
both cases, I held positions that were completely new to me, and, at every point, I was met with support and
kindness. Lily always makes a special effort to make her entire cast and staff feel like a family, much to the
benefit of the production as a whole. Every time I worked with Maggie, I witnessed her incredible diplomacy
and skill when dealing with production issues. Having had the opportunity to work alongside both of them
twice, I have a sense of how both of them like to work, and what their expectations are. While working as an
ASM on Raised, I filled in for the stage manager during a few rehearsals, and got a feel for how Lily likes to
schedule and run rehearsals, which will help me immensely when carrying out those tasks for her in the
future.
I have also had the opportunity to stage manage twice before. My freshman spring, I SMed for Cabot
House Theater Companys production of Bye Bye Birdie. It allowed me to start learning the ropes in a low
stress environment. This semester, I am stage managing Bloody Bloody Andrew Jackson, allowing me to gain
experience coordinating the schedules of a large cast and production staff. I also have a much better grasp on
how to organize blocking and production notes, as well as running a paper tech and calling a show.
Stage management is particularly appealing to me as it involves copious amounts of coordinating,
organizing, and communicating with everyone that is working on the production. Lily and I sat down to
candidly discuss my role before I accepted the position, and we agreed on what will be expected of me. I will
be scheduling rehearsals, be at every rehearsal, and attend all production meeting; I will also help Lily start
every rehearsal on time, and I will keep my eye on the time during rehearsals to make sure we stay on track. I
will also be taking line notes and blocking notes, helping the actors remember where they have to be and well.
I will, lastly, keep a running list of tech notes as we go in order to further help front load tech elements like
props and paper tech. Come tech week, I will be in the theater as much as possible, getting to know the light
board and space even better. Maggie, having experience SMing the mainstage, will be advising me
throughout, providing me with answers to even the smallest questions,
In an effort to avoid over-committing as I have in past semesters, and in order to give my full attention
to The Pillowman, I will not take on roles in as many other productions. We also already have two ASMs on
board Jake Stepansky and Karoline Xu and we have already discussed what their roles will be. Jake, as he is
also co-sound designing, will sound-op during the show. His dual-role will also allow him and me to coordinate
with Hannah (our LD), so I can stay on top of the design plans as they develop, and help Lily implement them
during rehearsal. Karoline is also props designing, so she will help me coordinate with props, making the
transition into tech and props much easier. As props designer for Raised, I know Lily likes to implement props
into rehearsals very early on. Karolines duel role will help make this transition easier. Karoline will also liaise
with Alona, our puppet designer, helping me make sure we have enough rehearsal time with the puppets. Lily
wants to implement the puppets immediately, so Karoline with help me time manage with that. I feel
confident about my ability to fulfill my role as stage manager, especially since Ill have Maggie to help me learn
some of the technical aspects of the Mainstage. Im also confident in both Lily and Maggies abilities, and
those of the team theyve assembled. Im thrilled about the opportunity and thank you for your consideration!

14
Theater Resume:

Stage Manager Bloody Bloody Andrew Jackson
Director: Anna Kelsey
Location: Oberon
Season: Fall 2013
Producer The Fantasticks
Director: Reed Silverman and Kent Toland
Location: Cabot Theater Company
Season: Fall, 2013
ASM, Assistant Producer, Props Master Raised in Captivity
Director: Lily Glimcher
Location: Loeb Ex
Season: Fall, 2013
Director Unnecessary Farce
Director: Boyd Hampton
Location: Cabot Theater Company
Season: Fall, 2013
Stage Manager, Props Master - Bye Bye Birdie
Director: Kent Toland
Location: Cabot House Theater
Season: Spring, 2013
ASM - Closer
Director: Lily Glimcher
Location: Loeb Ex
Season: Spring, 2013
Cast Member Acres of Diamonds
Director: Andy Boyd
Location: Loeb Ex
Season: Spring, 2013
Cast Member The Immoralist
Director: Will Ryan
Location: Adams Pool
Season: Fall, 2012

Potential Conflicts: Ill be co-producing the Cabot Musical, which goes up at the end of April.

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SET DESIGNER & TECH DIRECTOR: DAN PROSKY
I am incredibly excited to have the opportunity to be on the staff of The Pillowman. I have worked
with the director, Lily Glimcher, on several shows so far, including Raised in Captivity, Closer, and Macbeth,
mostly with her as director, but also as set designer. She encourages an open environment of collaboration
throughout the process of putting together a show. In my experience as her set designer in the past, not only
did she offer her suggestions and critiques of my ideas, but I was expected to do the same in return. I really
love working with her and cannot wait to get to do it again. I have been on the same three staffs with
Magdalene Zier as I have with Lily, and know how organized, competent, and ahead she always is. She is a
true professional and always a pleasure to work with. Another person I expect to be working closely with
throughout The Pillowman is Hannah Sears, a wonderful person and skilled lighting designer with plenty of
experience on the mainstage.
There are a few themes Lily and I discussed about the play. When reading The Pillowman, I was first
compelled by its depiction of the feedback loop of art. Katurian's stories cause real world consequences,
which then result in the destruction of (almost) all of those stories themselves. The work reveals the
sometimes-fickle nature of truth, and plays with numerous seemingly impossible dualities like darkness and
innocence and a real world and story world. I hope to create a space in which these themes and ideas come
through to the audience, and the mainstage is a fantastic space in which to accomplish this. I plan to use the
fly system immensely and the moveable seating wagons to do so.
Firstly, the actual set will consist of a house that looks like an old dollhouse somewhat split open. We
will accomplish the old dollhouse aesthetic with a faded color palette and through props. The set itself will
have two floors: the basement will be the interrogation room and prison holding cell. The basement will look
more institutional, with florescent lighting and dark colors. As we move upstairs, the worlds fade further into
story world. Upstairs there will be a room functioning for all the story scenes and puppetry. The puppet scenes
will slowly start to seep downstairs throughout the play as the story world and real worlds merge. We will also
use the fly system to cover and uncover places as the play progresses to guide the audiences focus. By setting
the whole play within a dollhouse, we are housing the twisted and dark story within an innocent space, further
emphasizing the conflicting themes of darkness and innocence.
The other important element to our design is making the audience feel trapped and very much in the
world of the play. While the dollhouse could seem distancing from the audience, we hope to push the seating
wagon under the proscenium and split the dollhouse open, so the audience feels less separated and more
trapped within the world of the play. If the space and budget permits, I would ideally like to create a structure
behind and, possibly, above the audience to further achieve this goal.
I am also looking forward to actually building this set. Since I started designing at Harvard, I have been
mostly also building. For Raised, we had a separate tech director and I found it actually more difficult to
achieve my vision when I was not in control of building it. I know we have some ATDs who want to sign on,
and a few of our tech reqers from Raised and Closer have voiced that they want to tech req ATD for us if they
ultimately take shows in the Loeb.
I am incredibly excited to be a part of this staff and to help put up this show. Thanks.

Theatrical Experience
Harvard College
2014 HRDC Tech Liaison
-Fall 2012 - The House of Yes Technical Director
-Fall 2012 - Next to Normal Assistant Set Designer/Technical Director
-Fall 2012 - Macbeth Lighting Designer
-Spring 2013 - Eurydice - Technical Director
-Spring 2013 - DOGS - Technical Director
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-Spring 2013 - Closer - Assistant Set Designer/Technical Director
-Spring 2013 - Of the Sorrows - Co-Set Designer
-Fall 2013 - The Thing About Air Travel - Co-Set Designer/Technical Director
-Fall 2013 - Antigonick - Set Designer
-Fall 2013 - Raised in Captivity - Set Designer
-Fall 2013 - Conspiracy - Technical Director
-Fall 2013 - Lord of the Flies - Lighting Designer
Georgetown Day High School
-Fall 2008 Elizabeth Rex Build Crew
-Winter 2008 Winter One Acts Build Crew
-Spring 2009 The Producers Build Crew/Percussionist
-Fall 2009 - Amadeus Build Crew
-Winter 2009 Winter One Acts Assistant Technical Director
-Spring 2010 Pippin Build Crew/Percussionist
-Fall 2010 The Odyssey - Technical Director/Percussionist
-Winter 2010 Winter One Acts Set Designer
-Spring 2010 Urinetown - Technical Director/Percussionist
-Fall 2011 Macbeth Set Designer
-Winter 2011 If Susan Smith Could Talk Stage Manager/Technical Director
-Spring 2012 Guys and Dolls Set Designer/Percussionist

CONFLICTS
Set Designer - Daisy, directed by Max McGillivray, Loeb Ex
Set Designer - Nine, directed by Joey Longstreet, Farkas
If Nine or Pillowman doesnt get space, I will light design Jacob Brandts show on the mainstage.

Faded innocence

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18
 Interrogation room and prison cell

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LIGHT DESIGNER: HANNAH SEARS
When Lily and I first met about this project, it was her absolute boundless enthusiasm that convinced
me that I had to be a part of this show. She had a very clear vision for the whole show, and had absolute
confidence in her whole staff. In addition to my complete faith in Lily putting on a superb show, I am also sure
that the whole staff of this show will do a spectacular job, having worked with Daniel and Maggie before on
other Mainstage productions.
This show revolves around two different worlds that of the real world and that of the story world.
What will be particularly important about the lights in this show will be differentiating between those two
worlds. The two worlds need to be easily differentiable while still both working within a cohesive color and
thematic scheme. Specifically, color will be used only minimally throughout the show. Thematically speaking,
the lights should always work together with the set to make the audience feel trapped and close to the action.
Thus, for the real world (the interrogation room and prison cell), we are aiming for institutional
lighting, using fluorescent lights. We want it to be very dark, and involve very little color. This world, recalling a
totalitarian dictatorship, will be grimy and hyper realistic. Thus, we will be using sharp, severe light with
overhead fluorescents, sidelight through doorways, and up light from downstage footlight florescent. We also
intend to use practicals in these scenes in the form of fluorescents hanging from the ceiling in the
interrogation room.
To contrast the harsh reality, we are trying to capture the theme of tainted innocence for the story
world. Thus, the color palette will extend for these scenes we will try to imitate the colors of a very worn
storybook or old, worn out dolls.
This will be achieved by using a broader range of colors, using primarily ambers and browns (especially
R99), with a scattering of richer colors like red and blue. We will also use a lot of backlighting during the story
world scenes to backlight the puppets. In addition, we hope to include some practicals in these scenes, such as
lamps or nightlights.
Theatrical Resume:
House of Yes (Fall 2012, Loeb Mainstage)
...Assistant Light Designer, Assistant Stage Manager
The Mikado (Fall 2012, Agassiz Theater)
...Assistant Stage Manager
El Misterio De Irma Vep (Fall 2012, Adams Pool Theater)
...Technical Director
Macbeth (Fall 2012, Loeb Ex)
...Assistant Light Designer
Cinderella (Spring 2013)
Assistant Set Designer
Freshman Musical What the Hell (Spring 2013)
Set Designer
Eurydice (Spring 2013)
Co-Light Designer
Wonderful Town (Spring 2013)
Co-Light Designer
Sea Change (Spring 2013)
Light Designer
Pirates of Penzance (Fall 2013)
Set Designer
Lord of the Flies (Fall 2013)
Set Designer
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 DESIGN RESEARCH

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22

COSTUME DESIGNER: RACHEL GIBIAN
I am thrilled to have the opportunity to work with Lily and Maggie again. Having worked with both in the past,
I am beyond confident in their vision, and look forward to seeing their very organized and very unique take on
this play. This director/producer pair really is incredible, and I am so happy to have the chance to contribute.

Pillowman is a really exciting project, from a costumes perspective. There are certain themes that seem
particularly ripe for highlighting through the characters clothingone being the difference between the
police world and the story world. The real-world will be more severe and structured, with darker and more
neutral colors. The play takes place within a totalitarian regime, so I am looking at militaristic shapes, and dark
or neutral colors. The story-world, alternatively, will look more like old, tired doll world. I know the set design
is aiming toward a doll-house aesthetic, so I will be aiming similarly. I will do by dressing the puppeteers like
dolls and in faded bright colors. We want to be clear that we are not hiding the puppeteers on stage we are
not masking them in all black or pretending the audience cant see them. We are instead making them as
much a part of the story world as the puppets. Lily also wants to play with the ideas of the puppeteers taking
over, and abandoning their puppets at times, so the costume design for the puppeteers will be as important as
anyone else. I will be working with Alona to make sure we stay on the same page about how were conveying
the used toy aesthetic.

I also want to play with darkness and innocence, however each character is very layered in their humanity and
darkness, preventing us from simply making the police officers white and Katurian/Michal black or visa versa.
Instead, I might play with layers of colors, perhaps denoting a color as dark and a color as innocent, but then
alternating who wears the color in a given scene.

Im really looking forward to the show and continuing collaborations with the other designers.

Conflicts:
I am only costuming one show this semester, and this is it! I am so excited to dedicate myself to this project,
and cannot wait to get started.

Harvard College Experience:
Artist Development Fellowship (2013) Costume Design
Co-CostumerConspiracy, dir. Caleb Thompson (Mainstage, Fall 2013)
CostumerRaised in Captivity, dir. Lily Glimcher (Loeb Ex, Fall 2013)
CostumerThe Thing About Air Travel, dir. Jacob Brandt (Loeb Ex, Fall 2013)
CostumerOf the Sorrows, dir. Meg Kerr (Arts 29 Garden, Spring 2013)
Costumer Sweeney Todd, dir. Josh McTaggart (Farkas Hall, Fall 2012)
Co-Costumer Cabaret, dir. Katherine Price (Loeb Ex, Fall 2012)
Costume Intern Pippin and Marie Antoinette (ART, Summer and Fall 2012)
Co-Costumer 12 Angry Men, dir. Joey Kim (Agassiz Theater, Fall 2012)
Costumer Pizza Ex Machina, dir. Joey Kim (Agassiz Theater, Spring 2012)
Asst. Costumer Hot Mess, dir. Josh McTaggart (Loeb Ex, Spring 2012)





23
DESIGN RESEARCH

24
CO-SOUND DESIGNER: JAKE STEPANSKY

I was absolutely thrilled to be asked to work again with Lily on a production this semester, having first
worked with her as an assistant stage manager this fall for Raised in Captivity. Lily is a stellar and committed
director, and Lily has been an invaluable guide and role model for me as a freshman joining the HRDC
community. While working on Raised as a sound op, I learned the engineering side of sound design (QLab,
etc.), and realized that sound can be a very interesting and impactful medium in theater and so I was super
excited to be asked to co-sound design The Pillowman with Lily. The staff that Lily has assembled is top-notch
Ive worked on Raised with Maggie Zier, who is a brilliant producer, and with Boyd Hampton, who is super-
organized and efficient.
As far as the design for the sound, Lily and I want to make the police interrogation room and the prison
cell have soundscapes that recall more realistic sounds, but turned up. For instance, we would play the sound
of a florescent light flickering or flies buzzing in a light. For the story-world, we will use the sounds of lullabies
and childrens music. Then, as the play goes on, the lullaby music will maybe play in a police scene, while the
florescent noises might play in a puppet scene. Im also interested in the technical capabilities of the
mainstage. There are ways to move speakers around the space that would allow us to create echoes behind
the audience, to make them feel further trapped in the show.
Im thrilled to be able to work with the whole team for Pillowman next semester!


Potential Conflicts:
I am signed on to be the Props Master for a play called The Play That Goes Wrong, which is applying for
space in the Loeb Ex next semester at the very beginning of the semester. I am also signed on as a stage
manager for Beauty and the Beast in the Oberon before spring break, and am also signed on to assistant music
direct Nine, applying for space in Farkas Hall next semester at the end of the semester. I am also on the mens
heavyweight crew team.


Artistic Resume
Harvard
Fall 2013
Assistant Stage Manager, Raised in Captivity, Loeb Ex., dir. Lily Glimcher
Assistant Stage Manager, Company, Farkas Hall, dir. Rose Bailey & Dana Knox
FAP 19, Farkas Hall


Other Theatrical Experience
Fall 2009, 10, 11, 12
Featured Roles, SVPA Showcase, Montclair High School, dir. Pat Woodward

25
PUPPET DESIGNER: ALONA BACH
Because stories feature so prominently in The Pillowman, we will use puppets to highlight the themes
of storytelling and who is in control of art. We will make puppets for the Pillowman, Pillowboy, apple men, the
little boy in the Pied Piper story, the pigs in the green pig story, and potentially for the beginning of the little
Jesus girl story and the deaf Chinese boy story. To emphasize the difference in size (age and strength) as well
as innocence between adults and children, actors will play the adults both in and out of stories.
The puppets will be made in the rod-puppet style with controls on both arms as well as the back of the
head (legs will dangle). This type of puppetry, familiar to viewers of Sesame Street, was used in Sea Change
last year and is highly effective in creating seemingly autonomous puppet characters. By designing the
puppets to appear independent while simultaneously allowing their puppeteers to be seen manipulating
them, we hope to underline the themes or truth, artistic control, and storytelling explored elsewhere in the
play. The puppets will bridge the gap between the story and real worlds of the play, and force the
audience to consciously or subconsciously question the role of the puppets in the piece: Are the puppets
human? Are they being manipulated by actors or are they actors in themselves? Who controls their story?
Our aesthetic vision for the puppets grows from the themes of youth vs. age and innocence vs.
darkness. The puppets will be fashioned to look like old, abandoned toys puppets faded by age and pain.
These are puppets that have somehow lost their innocence and are not as cuddly as they once were. Though
Lily and I have decided not to make any concrete decisions about the construction of puppets until after we
meet with a puppet expert, there are several ways this aesthetic may be achieved, which I will outline briefly
here. The puppets' color scheme will likely be along the lines of burnt umber, faded sea green, faded navy,
faded maroon, with off-white or beige accents. We are also interested in exploring the idea of fashioning the
puppets out of found or pre-used materials, since these materials themselves have already had story and will
be naturally worn down. This will also allow for more variance in the face, leg, and body areas so that each
puppet's character may be more clearly defined.
In terms of the timeline of puppet creation, we hope to be able to learn from a professional puppet
maker before creating any of our own puppets. However, it is also important to both Lily and me that the
puppets be useable (if not finished) by the beginning of next semester. (Lily would like to have puppets to
rehearse with, and I have several other commitments that would make creating an entire set of puppets from
scratch during the semester very difficult.) I have already committed to being on campus during Wintersession
and devoting my days to puppet-making. Additionally, Lily and I plan to be in communication over winter
break and J-term as we sketch, plan, gather material, and begin to create the puppets.
This project appeals to me on a very personal level: as both a visual artist and theater artist, I am
constantly experimenting with ways to tell stories on both stages and pages, with both people and with
inanimate objects. Puppetry fascinates me because it is a fusion of two methods of storytelling: the visual and
the theatrical. When I make puppets, I use my knowledge of theater as both an audience member and actor to
design and build puppets that can withstand the wear and tear of rehearsals, tech, and performances, as well
as be performers themselves. I am as committed to creating puppets with individual, specific characters as I
am to acting individual, specific people. Last spring, I helped design puppets and masks for the mainstage
production of Sea Change and learned firsthand what designing for large houses entails. I am looking forward
to applying the lessons I learned then to this project, to tell both the stories within The Pillowman and the
story of The Pillowman itself.

HARVARD THEATER EXPERIENCE:
Star Ash - Cast (Angelica) - Loeb Ex
Hyperion Scene Recital Spring 2013 & Fall 2013 - Cast - Adams Pool
Henry V - Cast (Chorus/Exeter) - Agassiz
Sea Change - Puppet Designer - Loeb Mainstage
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Antigonick - Props Designer and Cast (Ismene) - Loeb Mainstage

CONFLICTS:
Visual Art/Props for Julie Cooper: Genesis Prayer
Dramaturg for Emilie: La Marquise du Chatalet Defends Her Life Tonight
possibly acting in one show
Passover: 4/14-22

DESIGN RESEARCH

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PROPS DESIGNER: KAROLINE XU

Within three pages of reading The Pillowman, I was hooked. The dialogue is incredibly well-paced and
along with the subtle humor and psychological twisting, makes this play both significant and exciting. The
emphasis on stories and their effects makes props (puppets, handguns, etc.) an important means for
conveying the underlying darkness. One of the themes Lily wants to achieve is a differentiation between the
stories and the realities. For the spaces centered more in the story world (e.g. the scene of Katurian and
Tupolski as children with the parents, the Little Jesus girl story), the props will look like old, battered toys. For
the spaces grounded more in reality (e.g. the interrogation room), the props will be more realistic and
straightforward.
I will also be working as a backstage ASM, which will involve managing props, so designing them will only
make me more familiar with the whole system.
My past semesters in Harvard theater have included indirect work with props. This semester I directed
Under Construction, an experimental play where much of the text was fluid and the cast's interpretation of
the script shaped the props and set, among other things. My props designer and I combed through the script,
identifying key props elements and creatively incorporating symbolic pieces. I am eager to bring this
knowledge, learn from the expertise of this staff, and collaborate on a wonderful show.
As for conflicts, there may be a few sporadic weekends where I'm needed for DISO, but those details
are still being ironed out.

Theatrical Resume
Staff:
Under Construction
Director and Co-Producer
Adams Pool Theater
Fall 2013
Acres of Diamonds
Assistant Stage Manager
Loeb Experimental Theater
Spring 2013
Eurydice by Sarah Ruhl
Assistant Stage Manager
Loeb Experimental Theater
Spring 2013

On Stage:
#Queers
Lindsay
Adams Pool Theater
Fall 2013
The Brothers Menaechmi
Matrona
Adams Pool Theater
Spring 2013
The Taming of the Shrew
Gremio
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Loeb Experimental Theater
Fall 2012

29