Fear and Misery in the Third Reich

Monday, November 13, 2017

Carling-Sorenson Theater, Babson College, Wellesley

By Bertolt Brecht

Directed by Steven Maler

Featuring Tony Shalhoub and Brooke Adams

Brecht’s series of 18 interconnected playlets describe what life was like in German households in the 1930s as the Nazis came to power. Written while Brecht was in exile in Denmark and first performed in Paris in 1938, these poignant stories dramatize the suspicion and anxiety experienced by ordinary people, particularly Jewish citizens, as the power of Hitler grew.

Cast

Brooke Adams

Brooke Adams was last seen at CSC in Happy Days as Winnie, directed by Andrei Belgrader (also in New York and Los Angeles). Her stage credits include The Heidi Chronicles on Broadway, Key Exchange at the Orpheum, Split at The Second Stage, The Old Neighborhood at A.R.T., If Memory Serves at the Pasadena Playhouse, The Philanderer at Yale Rep, The Cherry Orchard at The Atlantic Theatre Co., and Lend Me a Tenor on Broadway directed by Stanley Tucci. Film credits include “Days of Heaven”; “Gas”, “Food Lodging”; “Invasion of the Body Snatchers”; “The Dead Zone”; “Cuba”; “Tell Me a Riddle”; “Babysitters Club”; “Key Exchange”; and “Made-Up” (co-produced and starred). On television “Thirtysomething”, “Moonlighting”, “Family”, “The Lion of Africa”, “Special People”, the miniseries “Lace” and “Lace II”, “Monk” (4 episodes), and most recently the CBS series “BrainDead”. She co-created, produced, directed, and starred with her sister Lynne Adams in 2 seasons of the original web-series “All Downhill From Here”.

Joel Colodner

Joel Colodner returns to CSC after A Midsummer Night’s Dream (2007) on the Boston Common.  He has appeared as the Stage Manager in the Huntington Theatre’s Our Town, in That Hopey Changey Thing at Stoneham Theatre, as Solomon Galkin in Imagining Madoff, Freud in Freud’s Last Session and Emil in Three Viewings at New Repertory Theatre, in Glengarry Glen Ross, It’s a Wonderful Life and Going to See the Kid at Merrimack Repertory Theatre, Signor Naccarelli in The Light in the Piazza at SpeakEasy Stage Company, and as V. Ira Taub in The Tale of the Allergist’s Wife at Lyric Stage Company of Boston. He played King Henry in Henry IV Parts One and Two, the Cardinal in The Duchess of Malfi, the King of France in King John, Marcus in Titus Andronicus and Polixenes in The Winter’s Tale.

Johnny Lee Davenport

Johnny Lee Davenport returns to CSC after A Midsummer Night’s Dream with Boston Landmarks Orchestra. Other area credits include Thurgood, The Whipping Man, and A House with No Walls (New Repertory Theatre), The Unbleached American (Stoneham Theatre); It’s A Wonderful Life, A Radio Play (Wheelock Family Theatre); Water by the Spoonful and Broke-ology/Elliot Norton Award, Best Actor (The Lyric Stage Company); Driving Miss Daisy and Master Harold…and the Boys (Gloucester Stage Company); and Invisible Man/Helen Hayes Award, Best Ensemble (Studio Theatre Washington, D.C. and The Huntington Theatre Company). Mr. Davenport has played more than 50 roles in 24 of Shakespeare’s plays including Richard III (Commonwealth Shakespeare Company); Pericles (Actors’ Shakespeare Project); and Richard II (Shakespeare & Company). Film credits include “Ted” “The Fugitive”, “U.S. Marshals”, and “Ascendants”. He was named Best Actor in Boston Magazine (2011). johnnyleedavenport.com

Seamus Doyle

Seamus Doyle returns to CSC after appearing in Fear and Misery in the Third Reich. Credits include the IRNE and Elliot Norton Award nominated production of Fiddler on the Roof with New Repertory Theatre. He has appeared in over ten productions with Watertown Children’s Theatre, Seussical (JoJo), Music Man (Marcellus), Grease (Vince Fontaine), A Midsummer Night’s Dream (Nick Bottom), and Les Miserables (Fauchelevent). He most recently appeared as Christopher in The Curious Incident of the Dog in the Night-Time at Buckingham Browne & Nichols School. Film credits: “Bed Time Story”, which premiered at Emerson College in Spring 2018.

Nash Hightower

Nash Hightower returns to CSC after appearing as Domain in Love’s Labor’s Lost. Other theater credits include: A Midsummer Night’s Dream (CSC2), Ether Dome (Huntington Theater Company), Falsettoland (Test Theater Company), and more. Film credits include: “The American Dream”, “Paralarva”, and “The Internet”. He also is a set carpenter and a proud member of the National Registry of EMTs. Nash is a graduate of Emerson College.

Obehi Janice

Obehi Janice returns to CSC after performing as Rosaline in Love’s Labour’s Lost. Recent credits include Oleanna and The Gift Horse at New Repertory Theatre; Out of the Mouths of Babes at Gloucester Stage Company; We’re Gonna Die (IRNE Award, Best Solo Performance) at American Repertory Theater with Company One Theatre; An Octoroon at ArtsEmerson with Company One Theatre; Mr g at Underground Railway Theater; FUFU & OREOS at Bridge Repertory Theater. Obehi was named “Boston’s Best Actress” by The Improper Bostonian in 2014. American Theatre magazine named her one of “6 Theatre Workers You Should Know” in February 2017. Obehijanice.

Karen MacDonald

Karen MacDonald’s directing credits include Gidion’s Knot at Bridge Repertory Theatre, The Woman in Black and An Ideal Husband at Gloucester Stage, Dressed Up/Wigged Out at Boston Playwrights Theatre and for Bridge Repertory Theatre. She appeared on stage with CSC as Volumnia in Coriolanus, The Countess in All’s Well That Ends Well, Gertrude in Hamlet, and Maria in Twelfth Night. She was one of the founding members of the A.R.T. where she performed 73 roles including Arkadina in The Seagull and the title role in Mother Courage and her Children. Other Boston area credits include Liz Norden in Finish Line (Boston Theatre Company), Kate Keller in All My Sons and Jean in Good People, (Huntington Theatre Company), Molly Ivins in Red Hot Patriot (Lyric Stage), Mary Tyrone in Long Day’s Journey into Night (New Repertory Theater), Drowsy in The Drowsy Chaperone (Speakeasy Stage) Bernadette Spence in Home of the Brave, and Solo Performer in The Blonde, The Brunette and the Vengeful Redhead (Merrimack Repertory Theatre). Ms. MacDonald has worked for many years in the New England area, and nationally from The Wilma Theatre to Berkeley Rep., including understudying and performing the role of Amanda Wingfield in the Broadway production of The Glass Menagerie; off Broadway she played Mrs.Bumble in Oliver Twist at TFNA,  Queen Elizabeth II in The Audience at Maltz Jupiter Theatre, and Estelle in No Exit at Hartford Stage.  She has been awarded several IRNE and Eliot Norton Awards, most recently receiving the 2017 Eliot Norton for Best Performance by an Actress in Finish Line. She  has received the Robert Brustein Prize for Sustained Achievement in the Theatre and the Eliot Norton Prize for Sustained Excellence. She is a graduate of Boston University and teaches at Harvard University.

Deb Martin

Deb Martin returns to CSC after appearing as Goneril in King Lear. Recent credits include Lady Bracknell in The Importance of Being Earnest and Lady Croom in Tom Stoppard’s Arcadia at The Gamm Theatre, Barbara in Barbecue at The Lyric Stage Co. of Boston, Sam in Mud Blue Sky at Bridge Repertory Theater (IRNE Award, Best Supporting Actress), Eleanor in Casa Valentina at SpeakEasy Stage, and Corrine in Gidion’s Knot at Bridge Rep.  Other roles include Victoria Grant in the 2nd National Tour of Victor/Victoria, Holly in Next Fall at SpeakEasy Stage, Anna in Ivanov, Irma in The Balcony, Helena in A Midsummer Night’s Dream, and Kristín in Miss Julie. Development workshops with Huntington Theatre Company, ArtsEmerson, New Repertory Theatre and German Stage. FilmSpartan with Val Kilmer and William H. Macy, written and directed by David Mamet.  Training: B.F.A., Emerson College, and trained with off-Broadway’s Atlantic Theater Company, founded by William H. Macy and David Mamet.

Sarah Mass

Sarah Mass a CSC Apprentice Program alumna, is thrilled to be returning to Commonwealth Shakespeare Company for Julius Caesar and Romeo and Juliet!. Previous Boston credits include Mame (Stoneham Theatre); Sense and Sensibility, The Winter’s Tale (Maiden Phoenix Theatre Co); A Midsummer Night’s Dream, Henry V (Arts Afterhours); A Midsummer Night’s Dream, Romeo and Juliet (Shakespeare Now!); Blinders (Flat Earth Theatre); and Footfalls (Exiled Theatre). Originally from Atlanta, GA, Sarah received her B.A. in Theatre from Boston College and also trained at the British American Drama Academy in London, England.

Lily Ramras

Lily Ramras is thrilled to be making her CSC debut. NY Credits: Diary of a Wimpy Kid the Musical (AEA Staged Reading), School of Rock (Broadway Promotional Tour), Kris Kringle (Broadway Staged Reading), Jambo’s Journey (pilot, Green Team Productions). Regional Credits: Debbie in Billy Elliot (Wheelock Family Theatre), Jane Banks in Mary Poppins (WFT), Susan Waverly in White Christmas (Ogunquit Playhouse), Little Girl in The Witches of Eastwick (OP), Amaryllis in The Music Man (MSMT), Belinda Cratchit in A Christmas Carol (Hanover Theatre), Samantha in Jimmy and the Star Angel (Family Time Audio Theatre), Shrek the Musical (WFT), A Year with Frog and Toad (WFT), Charlotte’s Web (WFT), & Annie (title role).

Tony Shalhoub

Tony Shalhoub last appeared as Willie at CSC in Happy Days with Brooke Adams. He is a film, television, and stage actor; has received Emmy, Golden Globe, and Screen Actors Guild awards for his lead role in the TV series “Monk”; has appeared in a range of TV series and films from “Barton Fink”, “Big Night”, “Men in Black” and “A Civil Action” to “Nurse Jackie,” “BrainDead,” and the upcoming series “The Marvelous Mrs. Maisel.” more. His multiple theatre credits include several years as a company member at the A.R.T. where he appeared in As You Like It, The Marriage of Figaro, School for Scandal, Rameau’s Nephew, and David Mamet’s The Old Neighborhood. His numerous New York credits include The Mystery of Love and Sex with Diane Lane at Lincoln Center; Golden Boy, Act One, Lend Me a Tenor, The Heidi Chronicles, Conversations with My Father, and The Price on Broadway, where he is currently appearing in the acclaimed musical The Band’s Visit.

Michael Underhill

Michael Underhill is a Boston born and bred actor. A graduate of Northeastern University, he has been an artistic associate with imaginary beasts since 2009. Since beginning his post-collegiate career as an apprentice with CSC in 2010, he has been grateful to share the stage with many other companies in the Boston theatre scene, including, but not limited to SpeakEasy Stage Company, Boston Playwrights’ Theatre, Actors’ Shakespeare Project, and The Gold Dust Orphans.

Brandon Whitehead

Brandon Whitehead CSC credits include Boyet in Love’s Labour’s Lost and Fool in King Lear. Other recent credits include Amiens in As You Like It and Oscar Wilde et al in The Importance of Being Earnest at the GAMM Theater. Also Matthew Harrison Brady in Inherit the Wind and Mike Francisco in Breaking Legs at Ocean State Theater Company as well as Mr. Mushnik in Little Shop of Horrors with Tantrum Theatre (Ohio). Before moving to Massachusetts, Whitehead spent nearly twenty years working professionally in Seattle performing with ACT (A Christmas Carol, Joe Egg, Dr. Jeckyll and Mr. Hyde), Seattle Repertory Theater (Twelfth Night, The Imaginary Invalid), Intiman (Paradise Lost), Seattle Shakespeare Company, Book-It Repertory Theater, Village Theater, and many others. Some of his film and television credits include “Castle Rock” (Hulu), “A Bit Of Bad Luck”, “21 And Over”, and “Leverage”.

Creative Team

Steven Maler
Director

Steven Maler is the Founding Artistic Director of Commonwealth Shakespeare Company (CSC). At CSC he has been directing Free Shakespeare on the Boston Common productions since 1996, including Love’s Labour’s Lost, King Lear, Twelfth Night, The Two Gentlemen of Verona, Coriolanus, All’s Well That Ends Well, Othello, The Comedy of Errors, As You Like It, A Midsummer Night’s Dream, The Taming of the Shrew, Hamlet, Much Ado About Nothing, Macbeth, Henry V, The Tempest, Julius Caesar, and Romeo & Juliet.  In collaboration with Boston Landmarks Orchestra, he directed A Midsummer Night’s Dream, featuring the Overture and Incidental Music of Felix Mendelssohn, as well as concert stagings of The Boys from Syracuse and Kiss Me, Kate at Boston’s iconic Hatch Shell.

Other CSC works include his current critically acclaimed production of Ariel Dorfman’s Death and the Maiden, the world premiere of Jake Broder’s Our American Hamlet, and the world premiere of Robert Brustein’s The Last Will.  He directed Peter Eötvös’s operatic treatment of Tony Kushner’s Angels in America (U.S. Premiere) and Thomas Adès’ Powder Her Face, The Turn of the Screw at New Repertory Theatre, Santaland Diaries and Chay Yew’s Porcelain at SpeakEasy Stage Company, Top Girls and Weldon Rising at Coyote Theatre,  and The L.A. Plays by Han Ong at A.R.T. His New York City credits include the New York Musical Theatre Festival production of Without You, written by and starring Anthony Rapp. The production has been seen in Boston, Edinburgh, Toronto, London and Seoul.

He received the Elliot Norton Award for Sustained Excellence as well as for Best Production, Twelfth Night; Outstanding Director, A Midsummer Night’s Dream; Best Production, Suburbia; Best Solo Performance, John Kuntz’s Starf***ers (which also won Best Solo Performance Award at New York International Fringe Festival).

His feature film “The Autumn Heart”, starring Tyne Daly and Ally Sheedy, was in the Dramatic Competition at the Sundance Film Festival.

Bertolt Brecht
Playwright

Bertolt Brecht was one of the most influential playwrights of the 20th century. His works include The Threepenny Opera (1928) with composer Kurt Weill,Mother Courage and Her Children (1941), The Good Person of Szechwan (1943), and The Resistible Rise of Arturo Ui (1958). Brecht was born in Augsburg, Bavaria, in 1898, and the two world wars directly affected his life and works. He wrote poetry when he was a student but studied medicine at the Ludwig Maximilian University of Munich. After military service during World War I, he abandoned his medical studies to pursue writing and the theater.

A member of the Independent Social Democratic Party, Brecht wrote theater criticism for a Socialist newspaper from 1919 to 1921. His plays were banned in Germany in the 1930s, and in 1933, he went into exile, first in Denmark and then Finland. He moved to Santa Monica, California, in 1941, hoping to write for Hollywood, but he drew the attention of the House Un-American Activities Committee. Although he managed to deflect accusations of being a Communist, he moved to Switzerland after the hearings. He relocated to East Berlin in 1949 and ran the Berliner Ensemble, a theater company. As a director, he advocated the “alienation effect” in acting—an approach intended to keep the audience emotionally uninvolved in the plights of the characters.

Brecht’s poetry is collected in Poems 1913-1956 (1997) and Poetry and Prose: Bertolt Brecht (2003). He wrote a wide variety of poetry, including occasional poems, poems he set to music and performed, songs and poems for his plays, personal poems recording anecdotes and thoughts, and political poems. Poet Michael Hofmann, in “Singing About the Dark Times: The Poetry of Bertolt Brecht” for the Liberal, commented, “In the course of a mobile, active and engaged life, the poems were the intelligent, compressed, adaptable and self-contained form for both his private and his public address.”

Bertolt Brecht died in 1956. He is buried in Berlin.

Victoria Townsend
Assistant Director
Victoria Townsend
Assistant Director

Victoria Townsend is a Boston-based director, teaching-artist and occasional performer. In addition to her work on artistic programing for CSC, she also serves as the Academy Coordinator for the Apprentice Program and CSC2 as well as work on many other educational programs. Directing Credits: Emerging Playwright’s Festival (Wheelock Family Theater), Cosi Fan Tutte New England Conservatory’s UGOS Program, The Memorandum (Flat Earth Theater). Assistant Directing Credits: Fear and Misery in the Third Reich, Kiss me Kate, Romeo and Juliet and Shakespeare and Leadership (CSC) and L’Egisto (NEC/UGOS). She has also served as a teaching-artist for Watertown Children’s Theater and Live Arts Education. A Massachusetts native, Victoria currently resides in Woburn and is a graduate of Saint Michael’s College in Vermont with a degrees in Theatre and English Literature.

Tyler Prendergast
Projection Design
Tyler Prendergast
Projection Design

Recent acting credits include A Midsummer Night’s Dream (New Repertory Theater’s Classic Repertory Company), Rosencrantz and Guildenstern Are Dead (Longwood Players) and Measure for Measure (Hovey Players). Other credits include assistant directing Othello at Actors’ Shakespeare Project, Freud’s Last Session and On the Verge at New Repertory Theatre, and assistant teaching New Rep’s high school Shakespeare program summerSTAGE2. Tyler is also a co-producer of ShotzBoston, part of the Resident Lab at the Charlestown Working Theater, where he has directed, written, or acted in fifteen new short plays since 2014.

Carling-Sorenson Theater
19 College Drive Babson College
231 Forest Street
Babson Park (Wellesley), MA 02457

Driving Directions to Babson College/Sorenson Center for the Arts

From the east: Take the Massachusetts Turnpike to Exit 15 (Interstate 95/Route 128). After the tolls, follow signs to Route 95/128 South to Exit 21 (Route 16 Newton/Wellesley) …

From the west: Take the Massachusetts Turnpike to Exit 14 (Interstate 95/Route 128). After the tolls, follow signs to Route 95/128 South to Exit 21 (Route 16 Newton/Wellesley) … From the south: Follow Route 95/128 North to Exit 21 (Route 16 Newton/Wellesley) …

From the north: Follow Route 95/128 South to Exit 21 (Route 16 Newton/Wellesley) …

Then … At end of the off ramp, follow signs for Route 16 West (Washington Street). Continue on Route 16 West for 2 miles through Newton Lower Falls and Wellesley Hills. Turn left onto Forest Street and follow for 1 mile to Babson College; the main entrance is on the right. Turn left onto Map Hill Drive and park in the Trim Parking Lot. The theater is a short walk away, on College Drive.

Trim Parking Lot is the best place to park when attending events at the Sorenson Center for the Arts.  As you enter on Forest Street, make a left at the first stop sign unto Map Hill Drive.  On your right will be a smaller lot, Hollister Lot. If there is space available, patrons may park there.  However, Trim Parking Lot is preferred which will be on the left hand side after you pass the Hollister lot.  To walk to the theater, walk back towards the stop sign and make a left at the Hollister building.  Continue walking straight past Reynolds Campus Center and the Sorenson Center for the Arts will be the next building.

Handicap parking is available in the Hollister Lot, on Map Hill Drive.  We also recommend that patrons with mobility issues be dropped off in front of the theater before your party finds parking in Hollister or Trim lot for your convenience. 

From the Amtrak Terminal at South Station

You have two options:

1) Take the Framingham/Worcester Commuter rail to Wellesley Hills. From South Station, take the Framingham/Worcester commuter rail to Wellesley Hills. Depending on the time of day, regularly scheduled trains leave South Station at ½ to 2-hour intervals (Monday-Friday), and 1-to 3-hour intervals (Saturday and Sunday). The trip takes approximately 30 minutes. Purchase your ticket in the station. Then, call a taxi from Wellesley Hills. (See Area Taxis, below.)

2) Take the “T.” From South Station, take the MBTA subway Red Line inbound two stops to Park Street. Walk upstairs and take the Green Line outbound Riverside D train to Woodland, the next to last stop on the D line. Allow an hour for the trip. Then, take a taxi from Woodland to Babson. (See Area Taxis, below.)

For complete information about Massachusetts Bay Transportation Authority (MBTA) services, including specific maps, schedules, and fares for trains, buses, and subways, please visit the MBTA web site.

Reviews

Commonwealth Shakespeare Company Artistic Director Steven Maler welcomed the audience to this one-night only staged reading of Fear and Misery in the Third Reich at the Carling-Sorenson Theater at Babson College with a preview of the 2018 season. Following in the wake… Read More

- Broadway World, Nancy Grossman

News

The Boston Globe: Tony Shalhoub goes from Broadway to Babson
Category: News
The Boston Globe: For his wife, and Brecht, Tony Shalhoub will make time
Category: News

What ages is the production appropriate for?

Fear and Misery in the Third Reich is recommended for ages 13 and up. If you have specific concerns about content, please contact the box office at 781-239-5880.

Are there accessible performances for patrons with disabilities?

Currently there are no accessible dates for this production.  CSC is committed to making theater available for all and we look forward to offering accessible performances in the near future,

Is there handicap seating available?

Yes, there are several locations in the theater to accommodate wheelchairs.  Call the box office at the Sorenson Center for the Arts to purchase these locations at 781-239-5880.

Are assisted listening devices available?

Yes, visit the box office for assisted listening devices.

When should I arrive?

The theater will open for seating roughly a half hour before curtain time.

We advise you give yourself plenty of time for parking and walking to the theater.

Where should I park?/How do I get to the theater after parking?

Trim Parking Lot is the best place to park when attending events at the Sorenson Center for the Arts.  As you enter on Forest Street, make a left at the first stop sign unto Map Hill Drive.  On your right will be a smaller lot, Hollister Lot. If there is space available, patrons may park there.  However, Trim Parking Lot is preferred which will be on the left hand side after you pass the Hollister lot.  To walk to the theater, walk back towards the stop sign and make a left at the Hollister building.  Continue walking straight past Reynolds Campus Center and the Sorenson Center for the Arts will be the next building.

Are concessions available?

Although there is no food or drink permitted in the theater, food and drink are available for purchase in the Reynolds Campus Center next to the Sorenson Center for the arts.

Are shows delayed or canceled for weather?

Audience and actor safety is our main concern.  In cases of heavy snow or extreme weather, we will cancel and try to reseat patrons into an alternative performance date.  Weather updates can be found on the homepage of our website, Facebook, Twitter, and Instagram.

If I miss the show, what are my options?

To reschedule, call the box office at the Sorenson Center for the Arts at 781-239-5880 at least one business day before your reservation.  We will make our best efforts to seat you in another performance.  Seating will be based on availability.  It is not our policy to refund tickets but we are happy to reseat you on another date.  If you miss a production altogether, we will reseat you in an alternative production of your choice based on availability.

Can I take photos or video?

The taking of photos or video is strictly prohibited.

How can I support Commonwealth Shakespeare Company?

to make a donation or call 617-426-0863.  Click on the Ways To Give tab on our website to learn more about upcoming fundraising events and ways to get involved.

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