SETTING
The action is set during World War II
on an air base off the coast of Italy.

The University Theatre presents

Catch- 22

by Joseph Heller


Director
Sharon Andrews

Set & Lighting Designer
Jonathan Christman

Costume Designer
Mary Wayne-Thomas

Sound Designer
Eric Fischer

Assistant Director
Lindsey Hardegree*

Stage Manager
Alexandra Beiter*


October 29-30,
November 3-7, 2004


 
 
CAST

CATHCART, DOCTOR DANEEKA Scotty Candler*

KORN, CID MAN, MP
Michael Casby*

NATELY’S MOM, DANEEKA’S WIFE, 2ND NURSE
Kim Dedo*

NATELY, MCWATT, SNOWDEN Alex Ewen*

YOSSARIAN
Nick Ewen*

TOWSER, PATIENT, MP
Tom Griffin

NURSE DUCKETT
Laura Halsey*

TEXAN, PATIENT’S BROTHER, AARFY
Adam Humenansky*


MILO, 2ND DOCTOR, WHITCOMB
Erich Jones*

CHAPLAIN, SANDERSON
Mike Kelly*

PATIENT’S MOM, OLD WOMAN,
DANEEKA’S MOTHER-IN-LAW Katharine McEnery*

PATIENT’S FATHER, GUS,
2ND INVESTIGATING OFFICER Jimmy McKell*

LUCIANA, NATELY’S WHORE Leah Roop-Kharasch

CLEVINGER, ENGLISH INTERN, WES, 1ST INVESTIGATING OFFICER
Taylor Robertson*


WINTERGREEN, NATELY’S FATHER
Jonathan Watkins*

MAJOR MAJOR, 1ST DOCTOR, BLACK, OLD MAN
Zach Tysinger*

* Member of The Anthony Aston Players

 










PRODUCTION STAFF

Technical Director
Trevor Anderson

Costume Studio Supervisor
Lisa Weller

Audience Services Coordinator
Leslie Collins

Dialect Coach
Leah Roy

Fight Choreographer
Cindy Gendrich

Assistant Stage Managers
Katie Doiron*, Dan Kilgallen

Assistant Lighting Designer
Amber Chapel

Master Carpenter
Pip Rinehart*

Master Electrician
Madeline Smith*

Prop Master
Katy Slavin*

Scene Shop Assistants
Kate Bashore*, Alex Beiter, Scotty Candler,* Rachel Field, Adam Humanensky*,Laura Lutkefedder, Chloe Mexile, Zach Tysinger*

Scene Crew
Cotelia Bond, Andrew Glover, Bianca Nelson, Ben Renner, Bryant Schichting, Justin St. James, Shane Thompson

Scenic Art Crew
Heather Barber, Katie Beavers, Amy Dalton, Mandy Goins, Jennifer Hester, Ben Martin, Jon Temple, Kyle Young

Electrics Crew
Scott Anderson, Kate Bashore*, Knapp Fitzsimmons,
Edward Janis, Michael Lucki, Phillip Maresca, Zach Simmons

Costume Assistants
Rachel Baxley, Hannah Guthrie,
Sarah Guthrie, Andrea Leutz, Matt Tomko

Costume Construction
Caitlin DeBoey, Kathryn Noval,
Harton Semple, Amy Willis

Wardrobe/Hair & Makeup
Ann Kashinshian, Will Rothwell

Light Board Operator
Amber Chapel

Sound Board Operator
Kelly Chauvin

Poster Design
Mary Wayne-Thomas

Photography
Bill Ray III, Leslie Collins,
Jonathan Christman

Box Office Staff
Claire Chu, Dorian Cowan, Nick Ewen*, Julia Friedenberg, Anastasia Georgoulis, Laura Halsey*, Cara Lee, Amber Schonbrun

Front of House
Cara Lee

Dramaturgy
Alex Creswick, Kaitlyn Doe, Bailey Dyer, Kristina Gagliardi, Lauren Love,Tracy Scott, Bradley Wharton

Publicity
Jon Abbate, D.J. Boldin, Christen Brown, Chris Griebel, Kristi Harshman, Elisabeth Hill,
Claire Lawhon, Kerry Major, Chantz McClinic,Matthew Owen, John Tereshinski, Kristian Tobias

* Member of The Anthony Aston Players


SPECIAL THANKS
Whit Andrews
Dr. James and Patricia Toole
Salvation Army
Department of Biology
Bob Levin
Little Theatre of Winston-Salem

DIRECTOR’S NOTES
SETTING
The action is set during World War II on an air base off the coast of Italy.
CATCH-22 was published in the mid fifties but it was when it was discovered by college students of the 1960s, who saw it as a mirror of the moral corruption of the Vietnam War, it became a huge best seller. I suspect that is when those of us who could be the parents of these student actors first read it. Regardless of our
politics or views on the war, it certainly seemed tremendously relevant to the chaotic times we lived in.
Is CATCH-22 relevant today? I have been asked that question a fair number of times recently. I have also been asked if I (in collaboration with the rest of the department as we ultimately make season decisions together) set out to find a play that resonates with current politics and particularly the Iraq war. Well yes…and no. I didn’t go looking for a “war” play or a “relevant” play. Certainly relevance is high on our list of criteria for scheduling plays but I wasn’t intent on choosing a play that provokes questions about our latest state of war. I had been involved in a
production of CATCH-22 over 30 years ago and remembered it as fast and darkly hilarious and full of good challenging roles for young actors, so that’s why I brought it to the season planning table. In the process of mounting this play, have I found it to be particularly relevant? You bet.

Consider some of the questions it raises:
* Whose interests are really at stake in war?
* Is the instinct for self-preservation always necessarily
cowardice?
* If it is good for the economy, does that automatically
make it good for us?
* Is it unpatriotic to question the decisions of our leaders?
* Can sane behavior ever be expected in the midst of the
insanity of war?

The B-25s of the 15th Air Force are long silent now and the Second World War, that so molded and sharpened Joseph Heller’s vision, is ancient history to our young people. Still, when 20 members of a National Guard Quartermaster Company in Iraq
recently refused to go on a supply mission they considered suicidal, I had to wonder. Is CATCH-22 just one man’s skewed fictional take on the epochal events that shaped his generation?
Or is it a seminal definition of the madness that overtakes us when
war becomes its own justification? It seems those soldiers in the desert, right or wrong, offers up a disturbing echo of Heller’s world of catch-22’s. And it is anything but faint.






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