1917 (Act One)
1970-1997 (Act Two)
The Appalachian Mountains

The University Theatre presents


by Romulus Linney

Sharon Andrews

Set & Lighting Designer
Jonathan Christman

Costume Designer
Lisa Weller

Sound Designers
Kate Bashore*
Stowe Nelson*

Vocal and Movement Coach
Lynn Book

Stage Manager
Zach Tysinger*

February 10-11 & 15-19, 2006



Erich Jones*

Marla DuMont*

Lisa Whitaker

Dan Applegate*

Matt Creacy

Melissa Gervasio*

Drew Grindrod*

Adam Humenansky*

Dowd Keith*

Leah Roop-Kharasch*

* Member of The Anthony Aston Players



Technical Director
Trevor Anderson

Costume Studio Supervisor
Lisa Weller

Audience Services Coordinator
Leslie Collins

Assistant Stage Managers
Ainsley Johnston, Kris Karstedt

Prop Master
Zach Tysinger*

Music Consultant
Cindy Gendrich

Master Electrician
Amber Chapel

Assistant Master Electrician
Kris Karstedt

Scene Shop Assistants
Kate Bashore*, Alexandra Beiter*,
Rachel Field, Melissa Gervasio*,
Drew Grindrod*, Erich Jones*,
Kris Karstedt, Laura Lutkefedder*,
Katy Slavin*, Zach Tysinger*,
Allyson Westover

Scenic Art
Carolyn Jones

Electrics Crew
Troy Pellom, Nemanja Savin

Costume Assistants
Katie Delsandro, Lauren Gaston*,
Hannah Guthrie, Ainsley Johnston

Ainsley Johnston

Light Board Operator
Jimmy McKell*
Sound Board Operator
Chris Hayes*

Poster Design
Jonathan Christman

Bill Ray III, Jonathan Christman,
Leslie Spencer

Box Office Staff
Alyssa Biber*, Rebecca Cannon*,
Claire Chu, Laura Halsey*,
Cara Lee, Bethany Novak*,
Eric Pearce

Front of House
Cara Lee, Bethany Novak*
Publicity Manager
Lauren Rico*

Caitlin Bauman

* Member of The Anthony Aston Players


This phantasmagoria, or comedy of human life, embraces all the elements of the serious, the pathetic, the tragic, the grotesque, the real and the unreal, the actualities and the dreams, the
facts and the consequences, the ambitions and the disappointments, the hopes and the disillusions, and the dread and the terror, and the resurrection in love, of the human soul.

This description was written by Richard Mansfield, producer, director and player of Peer, in the first English
production of Henrik Ibsen’s Peer Gynt. His production, with a cast and crew of almost 400 plus a concert sized orchestra and all the equipment necessary for stunning special effects, required eleven railway cars to deliver it to Chicago for it’s premier in October of 1906.

Romulus Linney’s adaptation,(GINT) of Ibsen’s rich, sweeping, and deeply philosophical play, blessedly does not require eleven railway cars of production and in its simple and elegant rendering has lost none of the essential elements
of story and meaning described above by Mansfield.

Ibsen’s story of an outcast’s long and passionate journey in search of self drew on Norwegian folktales and was set in the mountains of Norway and around the world and back again. Linney has transplanted the story into another part of the world rich in folk lore, the Appalachian Mountains
and around the world and back again. Ibsen’s trolls have become Linney’s razor back hogs and a soul collecting
button molder a Cherokee medicine man, but as Peer/Pete takes off the layers of an onion, metaphorically peeling himself back through the journey his life has been, both
Ibsen and Linney pose for us the story’s essential question,
“What does it mean to be oneself?”

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