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Welcome to the Arden Theatre Company blog, where we share behind-the-scenes stories and current happenings with you. You will hear from the Arden staff as well as actors and other visiting artists, and we hope to hear from you, too. If you have an idea for a topic, please post a comment about it. We can't wait to hear what you think!

By Edward Sobel, Associate Artistic Director

I first fell in love with the work of Samuel Beckett when I was in college. At eighteen, what I perceived as aridly funny nihilism held irresistible appeal. In the intervening years I’ve strayed promiscuously, but have often returned, and never fully left. Now, as I sit squarely in the advancing shadow of middle age, I know this lover differently.

I chose to direct Endgame this season while I was reading a number of new plays from American writers that seemed to be confronting loss. Not personal psychological grief, although that was present, but loss as it has an impact on a wider community. It seemed to be in our zeitgeist. Perhaps we are now distant enough from one of our latest national tragedies that we are trying to process the impact.

Beckett (at right) in the French Resistance

Beckett’s own world view, as many artists of his time, was informed by experiences during World War II; in Beckett’s case including direct participation in the French Resistance under German occupation. As I write this, one American community and by extension all of us, has suffered a tremendous, heartbreaking loss. Each time such a thing happens, I find myself thinking, well surely this is the last. We can’t be punished anymore. Then I remember World War I, which Beckett also lived through, was called the “War to End All Wars”. Until it didn’t.

It seems I must accept that personal and communal calamity, destruction, cruelty and inhumanity are inevitable. As Beckett has Didi say in Waiting for Godot, “Astride of a grave and a difficult birth … Down in the hole, lingeringly, the gravedigger puts on the forceps.”

Beckett also wrote a phrase in his notebook: “Do not despair, one of the thieves was saved. Do not presume, one of the thieves was damned. ” He said he was not so much interested in the theology of the saying, but in its shape. That in his drama, every darkness contains the “perhaps” of light.

If it is true, if things like slavery, oppression, violence and war will always happen, if the thief is damned, then so do we also always have opportunity to respond. The possibility remains of being wiser, more forgiving, more compassionate, of laughing and loving more than we did the last time. One of the thieves was saved. What we do with our perpetual calamity, as individuals or as a country, is up to us. Such is the nature of hope in this world.

Making plays is an act of optimism. While you may never be sure that what you are saying has any value and that you haven’t just messed up your own life for nothing, you live in the faith that the creative act animates possibility, even if only for an hour and a quarter, in the dark.

Making a play is also a communal act, and I have been given the gift of an exceptional family of actors and designers, all of whom have dedicated their considerable talents to this production with a fervor that has been inspiring. I am grateful to them, and to you our audiences, for being willing to enter Beckett’s unique theater with us.

So here we are. I am stuck with Beckett, and apparently for this production anyway, him with me. And you with us. And all of us with each other. What are we going to do now?



A version of these notes appear in the stagebill for the Arden’s production of
Endgame

By Edward Sobel, >pharm Associate Artistic Director

A critic once described Samuel Beckett’s two-act masterpiece Waiting for Godot as “Nothing happens. Twice.”

Understandable, but not correct. A careful reading, and a good production, reveal a lot to actually be happening. And while repetition is important to both the play’s form and its meaning, Act One is not a simple mirror of Act Two.

This is not Endgame.

A similar challenge faces us with Endgame. If one enters the play expecting conventional events and the kind of story one is used to in a play (A ghost appears and urges me to exact revenge on my father’s murder. I hire actors to make a play to catch the conscience of his murderer. I kill everyone in sight, and get killed myself.), then one may be in for a confusing 80 minutes.

Obvious dramatic events don’t seem to have a place in Beckett’s world. Godot never arrives. (Sorry, should that have had a spoiler alert?) and in Endgame, the huge event (the apocalypse) has already happened. Beckett seems interested in what we do in the non-overtly dramatic moments instead. Are we waiting? Are we ending? But we are doing something. What is the drama of our quotidian existence? What is its meaning?

It seems the task of our ensemble, as I prepare to begin rehearsals this week, will be to make sure we know what seemingly small thing is happening, and communicate it with clarity, humor and visceral energy. There is no question the central characters, Hamm and Clov, have a different relationship at the beginning of the play than at the end. They also have individual views of the world that change during the course of the play. I’ve spent the last weeks tracking through the script to uncover the moments those changes happen, and what causes them.

It is also clear that part of the genius of the play is treating language as a kind of music. (Beckett himself, when directing the play, did not always talk to actors in terms of a character’s motivations — sometimes he would resort to musical terminology – “that line needs to be more staccato”.) We don’t listen to music expecting a linear story – music operates on us emotionally, and is ordered through themes, counterpoint, and repeated motifs (there’s that repetition, again.) We will need to honor that music, and play it for all we are worth.

So, what is the story? Something is taking its course. And part of the fun, both in the doing and the watching of the play is figuring out what.

Scott Greer and James Ijames, from the cast of Endgame, at a recent photo shoot.

 

By Edward Sobel, Associate Artistic Director

In my previous post I mentioned Beckett’s early drafts of Endgame contained specific information about time and place which he subsequently edited out. In the design process, we have tracked along a similar path.

The world of this play is fundamentally different from what many people expect walking into the theater. If you step into our production of Freud’s Last Session, you will see a striking facsimile of Sigmund Freud’s office – there are doors and walls and windows, and a radio and knick-knacks and books and glasses with drinking water and… you get the picture.

Beckett called for a reconfiguration of how we see theatrical space, and the theatrical event. He was not writing “realism”. He wrote, well, something else. Some have called it absurdism, though Beckett never took that title. Others call it minimalism. Whatever the label, the demands of this play are different.

The challenge we have been confronting is how specific we need to be, and what is the right level of abstraction. Given Beckett’s economy, and our attempt to match it visually, every choice we make becomes that much more magnified. The opening stage directions are “Bare Interior. Grey light.” But what is the nature of this bare interior? Is it, as some have suggested, antiseptic, like a hospital or nursing home? Something more domestic? Is it even a self-contained room? Is “bare” meant physically, metaphysically, or both?

The play is an examination of what happens after cataclysm. To Beckett, the cataclysm is being born. While I don’t fully subscribe to that philosophy, we nevertheless have used as a starting point the specifics of American cataclysm, both of its founding and of our own time. We have now begun the process of removing the inessential to arrive at… well, time will tell.

Below are few of the images set designer Kevin Depinet and I have been using as inspiration.

 

Ed Sobel, Associate Artistic Director
These Director’s Notes appear in the stagebill for Women in Jep, which runs on the Arden’s Arcadia Stage July 5-15, 2012

The Writers’ Room is a playwright residency program in which a writer is in residence at the Arden for six weeks completing the draft of a new play.  A few weeks after completion of the draft, the play is given a workshop and rehearsal process which culminates in public performance.

The program is an attempt to address a number of issues facing our field. As Todd London insightfully documented in his book Outrageous Fortune: The Life And Times of the New American Play, the landscape for the development of new work in the American Theater is vibrant and fertile, but also facing severe challenges.  Many playwrights feel alienated from the large institutions presenting their work and the communities to whom it is being presented.  They undergo protracted development processes that often do not result in an actual production.

A rehearsal inside The Writers' Room

The Writers’ Room is designed to offer the playwright a relationship with the Arden, and the wider Philadelphia community, that is positive and nurturing.  We shorten the time between the actual writing of the play and the performance of it, so that the writer is better able to keep in close contact with the creative impulses that originated the work.  This new model is an experiment, and as one of the first audiences to see the results, you are joining us in its exploration.

 Audiences are central to the program.  A group of interested members of the general public signed on for an “Inside The Writers’ Room” pass.  The passholders attended a reading of the first draft of the play, a number of rehearsals, technical rehearsal (the period when the design elements – sets, lights, costumes, sound—are integrated into the production) and are seeing the play in performance.  By their report, the passholders have been energized by this added exposure to the development and production process, and we have gained insight from their questions and responses.

What you are seeing today is the result of the four-week workshop and rehearsal process.  The first week most closely resembled a “workshop” of the play.  The actors, sitting at a table, read the play or sections of it, while Wendy and I listened.  Wendy made revisions, sometimes minor, sometimes extensive, both in the rehearsal room and between rehearsals.  The second week was a transitional week.  Wendy continued to revise, as we started to put the play “on its feet”.  The last two weeks have more closely resembled a rehearsal process, with all of us gearing our thinking and choices more toward performance.  However, we have incorporated opportunities for Wendy to revise the play, up to and including between our two performance weeks. 

This bears some external resemblance to the customary process for producing a new play, but it has been qualitatively different in our emphasis on the development of the script.  As a play lives not on the page, or even purely in actors reading it aloud, but as an entity on a stage we have included a design process (rudimentary, but we hope, suggestive enough) and now you, an audience.

 I thank Wendy for her eagerness to be the first adventurer to occupy The Writers’ Room.  I have long admired her work, her sensibility and her dedication to craft.  I could not imagine a better collaborative partner.  Thanks are also due the actors who approached our work with a spirit of rigorous but generous inquiry; to the design team who have brought skill, ingenuity and thrift; to our Artistic Circle who have welcomed Wendy into the community of artists in Philadelphia, and to our entire staff at the Arden for supporting this addition to our already ambitious season of work.

And thanks to you, our audience, for supporting new work, and for entering this Writers’ Room with the open-hearted faith that you will be moved and entertained by what you see.   We hope we’ve delivered on that promise, and that you will be inspired by knowing that by attending today you are being an active participant in the creation of a new work of art.

By Ed Sobel, >advice Arden’s Associate Artistic Director and Director of Clybourne Park

When Bruce Norris was a young boy growing up in Texas, he saw a production of Lorraine Hansberry’s A Raisin in the Sun and it had a deep impact on him.  He notes that, as a white child, he was provoked to see himself in the role of “oppressor”.  Some 40 years later, in response to those feelings, he wrote Clybourne Park, now running on our Arcadia stage. We thought it might be valuable to return to Norris’ inspiration, and so last night the Arden hosted a free reading of Hansberry’s play, performed by group of Philadelphia and New York actors and led by director Lee Kenneth Richardson.

The reading, which coincided with the 53rd anniversary of A Raisin in the Sun opening on Broadway, was attended by many who have seen Clybourne Park.  Even in this simple form, with actors at music stands and minimal rehearsal, the power of Hansberry’s storytelling and her ability to capture the complex relationships between her family of characters resonated with rich vibrancy.  Like Norris, Hansberry drew on personal experience when writing the play (her father moved their family into an all-white neighborhood when she was young, and the resulting court case went on to be adjudicated by the U.S. Supreme Court.) Hearing Raisin juxtaposed with Norris’ rendering of another side of the story literally just upstairs, added an additional charge.

Here are a few photos from the evening:

The Arden will present a full production of A Raisin in the Sun, under the guidance of long-time Arden collaborator Walter Dallas as part of our subscription season next Spring.  If last night’s reading is any indication, it promises to be a moving and rewarding experience.

By Ed Sobel, >troche Arden Associate Artistic Director and original dramaturg on August: Osage County

“Home is the place where when you have to go there, >ailment they have to take you in.” — Robert Frost, mind The Death of a Hired Man

It’s hard to find a play that isn’t in some way about family.  The great tragedies of ancient Greece (think Sophocles’ Oedipus or Antigone) while pursuing ideas of political power, responsibility, and free will have as their principal advocates members of the same family. (Oedipus murders his father and sleeps with his mother.  Antigone rebels against Kreon, her uncle, because she wishes to properly bury her brother.)  The mighty Shakespeare’s discourses on the ability to take meaningful action (Hamlet) or the vicissitudes of inherited power (Henry IV) look at humanist and existential questions as they play out within family dynamics. (Hamlet seeks to avenge the murder of his father by his uncle.  Young Hal navigates his difficult relationship with his own father, and tests a surrogate in Falstaff.)

The American dramatic tradition is equally, if not more tightly bound to the familial – even plays thought to be primarily of social significance and commentary (Death of a Salesman, Raisin in the Sun) revolve around contests between parents and children or husbands and wives.  With August: Osage County, Tracy Letts draws upon his own family lore, amplifying these stories with an artist’s delight in extreme behavior and moral ambiguity.  But while outrage and outrageousness permeate the play, one should not be so distracted by the emotional fireworks as to lose track of the social critique.  It is not just the pathology of the American family about which Tracy is concerned, but the American family.

Photo by Mark Garvin

The play begins with the interrogation of a Native American woman who agrees to take on the job of caring for this family, descendents of those who have invaded her homeland and destroyed her people.  What follows is not only an investigation into familial betrayals and rivalries, but the diagnosis of dysfunction for an entire class of people. With its large cast of characters and form (a three-act structure) Tracy is not only referencing theatrical days of yore, but also demanding a canvas large enough for individual relationships to take on metaphorical significance and sweep.  In one of our earliest conversations about the script, Tracy told me that the play was partly about what happens when “men abandon the field”.  Certainly the male characters in the play abrogate responsibility for themselves and others in ways both hilarious and damning.  We leave it to you to determine whether the women follow suit.

Sweltering around the arguments, not to mention outright fisticuffs, of the play is the sticky truth that no matter what the members of this family do, they can not extract themselves from their familial history or the family fabric.  Their original sin, as with O’Neill’s great tragic families in Long Days Journey Into Night or Desire Under the Elms, is simply being born.  Their continued afflictions – addiction, greed, self-interest, moral confusion–  are inherited as surely as the mythic American values – the right to happiness, self-determination, ambition, capitalism – of which they are extensions or complements.

Family.  We all have one.  Some may even have one that looks like the Westons.  We all have a country.  Even one that looks like America.

By Ed Sobel, Associate Artistic Director

At the end of my last posting on season planning, I noted that despite the fact that we had announced our season, sometimes that is not the end of the process. Such is the case this year.

You’ll see that we have in fact had a change in our plans, and will be producing A Moon for the Misbegotten by Eugene O’Neill, rather than Orlando by Sarah Ruhl.

This kind of change is not uncommon in the field, although we try to keep it as rare as possible. Changes occur for a variety of reasons: a central artist withdraws from the project (usually because of a better paying job offer), an expected source of funding fails to materialize, performance rights agreed to in principal but not yet formally signed are withdrawn by the licensor because of a more lucrative or higher profile offer for production (or exploitation in other media like film or tv) that demands exclusivity, the early part of the planning process for a production reveals a greater demand for resources than was originally anticipated (“I know I agreed to do The Tempest with 8 actors, but I really can’t do it with less than 12!”), a new play has not had sufficient time to undergo anticipated revisions or the development it needed.

Sometimes it is combination of several of these, any one of which might be overcome individually, but when taken together make it clear this is simply not the right time to follow the original plan out of stubbornness. Our primary obligation is to make the best possible art we can, and we remind ourselves, as Emerson put it, “a foolish consistency is the hobgoblin of little minds.”

Sometimes all this happens rather late, leaving a theater scrambling to fill the gap. (I received a call from a staff member at another theater just this morning, looking for suggestions to replace a play that had just fallen out of their season.) Fortunately, in our case, O’Neill’s marvelous and deeply moving play has been on our short list for several years running. And to further our good fortune, the director and set of actors whom we most wanted for the project were all available at the same time. So while it is a shame to not have Sarah’s voice on our season this coming year, the opportunity to instead offer one of the most glorious and challenging roles for an actress in the canon of American dramatic literature is tremendously exciting.

And now we begin, over the next few months, planning for 2011-12.

By Ed Sobel, Associate Artistic Director

As you likely have seen, we announced our season for 2010-11.  Some of you may be disappointed to see your recommended plays not make the final cut.  A number of the suggestions you contributed are truly excellent ones, and it is entirely possible, even if they did not find their way onto the season this year, they will pop up some time in the future.

That is another facet of season planning.  It is easy to fall into the trap of thinking only a show or a year ahead.  One of the advantages we have at the Arden, given the relative stability and support of the company, is to think in longer-term strategic ways about our work and our mission.  Two of the plays on our season for 2010-11 are the result of several years of planning.  It took that long to move them from projects we wanted to do, to getting the right artists in place or securing the performance rights.

Sometimes, a play will stay on a “maybe” list for a number of years, until the right convergence of factors —  be it personnel, balance of “actor weeks” or other costs, or most importantly, passion to tell this particular story at this particular moment.  This last is actually critical.  It moves us from the consideration of “here’s a play I like” to “here’s a play that is important for us to do”.  We often debate the degree to which a play compels performance at this particular moment.  We see our obligation as members of our community not merely to entertain, though we want to do that too, but to tell stories that are deeply and immediately connected to the forces shaping our lives right now.  If we are asking you to invest your time and money and attention (not to mention our own efforts), we’d better make sure we are enjoining you in a conversation that can have vital impact.

I want to thank all of you who contributed suggestions, comments and ideas.  We were sufficiently overwhelmed by your interest that it became impossible to respond to each individually, but in previous posts I have tried to give some sense of the basic foundations upon which the season is eventually built.

Below, in alphabetical order, are abbreviated reactions to some of the ideas you suggested:

Arcadia – Mr. Stoppard’s strong relationship with our cross-town colleagues at the Wilma has tended to make this play their purview (as noted, they produced it in 96-97).  But the wit, deft language, and challenging storytelling certainly make it a contender.  Arcadia in the Arcadia.  Hmm.

Anything new from Michael Hollinger” – apparently, we agreed.  Ghost-Writer coming soon.

Brighton Beach Trilogy – The Walnut produced these consecutively in 03-05, seems a little soon to take them up again.

Dancing at Lughnasa – actually produced by the Arden in 2005-6.  So, good taste.  But we are not likely to revisit it any time soon.

Doubt – without a lengthy discussion of the merits of the script,  I’d note that sometimes a play seems to be past its most exciting moment of “freshness” (usually just shortly before Hollywood catches on it would be a good idea to make the movie), and yet is not quite ready for “re-discovery”.  This play may fall into that “in-between” category.

Desire Under the Elms (actually by O’Neill, not Williams) – the tug of a work from the American classic cannon is hard to resist, especially one from a master story teller speaking of betrayal, family, and the battle for the American Dream in difficult economic times.  The question:  what, or who, would spark a visceral production of the piece to speak to our audience today?

Machinal – requires at least 10-12 actors (the original Broadway cast from 1928 lists 22).  See my earlier post about “actor weeks”.

Fetch Clay Make Man – debuted at the McCarter in January 2010.  Playwright/slam poet Will Power is absolutely an exciting and unusual voice. We will have to look into this further.

The Glass Menagerie – The Walnut has snapped this up for next year.  Maybe they are reading our blog.

Noises Off – a personal favorite of mine (hardest I’ve ever laughed in a theater), but didn’t quite meet the “important to do now” test this year.

Parade – one of our perennial “maybe’s”, and pending the right circumstances and personnel, might well turn up on a future season.

The Pain and the Itch — Bruce Norris’ penchant for pricking at the conscience of well-intended but flawed liberalism makes this play a contender.  As the dramaturg on the original production in Chicago, I am also keenly aware of some of its challenges, including the controversy surrounding the character of a five-year-old girl suffering from a sexually transmitted disease.  Bruce’s latest play, Clybourne Park, which recently ran at Playwrights Horizons in NY and Wooly Mammoth in DC, is also worth examining.

If you have further questions (or comments) about our process this year, feel free to post them.  I will do my best to answer.

And lastly, as the heading of this post suggests, in season planning you never know when, just as you think things are set, something changes…

By Ed Sobel, Associate Artistic Director

Quite understandably, very few of the season suggestions we received were brand new plays that had not yet been performed elsewhere.  One of the frequent debates heard in season planning meetings is about the amount of new work present in a season.  Those of you who followed my recent conversation with Terry Teachout on the issue know that the question pervades beyond the small confines of an artistic office at a regional theatre.  The conventional wisdom, Mr. Teachout’s assertions aside, is that new work must make up a small minority of the programming if a company is to maintain fiscal health.  New work is viewed as “risky” and is administered in a season to audiences like medicine – with a spoonful of sugary known quantities and familiar titles.

But when you actually do some empirical digging (through market research, etc.), you find that most audiences don’t care if something is new, they just care if it is good.  I put it that if you ask almost anyone, they’d rather see a good new play than a bad production of A View From the Bridge.

The real question is what will vouchsafe the experience for the audience, so that they  have confidence they are more likely to see something good and not bad.  Sometimes it is the known title of the play or the reputation of the writer.  Sometimes it is the quality of the acting, or a particular actor (hence the rise of star casting in the commercial theater – “Even if I don’t like the play, I still got to see Nicole Kidman/Daniel Craig/Denzel Washington”), or the director.  At the Arden, we try to make it the whole experience; from the moment of our first contact together through attending a production, and after.

This means approaching our relationship with our audiences not as purely transactional (pay good money, get a production in return) but as more holistic and deeper.  The most important relationships in our lives are not reductively transactional;  our job, our family, our education, our community or neighborhood, our spiritual or religious belief.

Most of the time, when we have a bad day at the office, we don’t quit.  When we have an argument with our spouse or parents or children we don’t storm out of the house never to return.  If we take one bad class in a university we don’t drop out of school.  If our neighbor doesn’t shovel his/her walkway, we don’t sell our home and move across town.

Those relationships are built upon greater shared values, and upon a level of trust that is built over time.  That is the kind of relationship we endeavor to have with our audience.  It has to be our task to select a season that demonstrates, and sometimes leads, the shared values of our audience and that validates the trust placed in us.

In our 2010-11 season, you will see a slate of plays each of which in some way exemplifies our trust in you, and yours in us.  One or two may be from a playwright whose work you know and admire, one or two may be lead by a director whom you trust to create a meaningful experience, and one or two may be completely unfamiliar.  For those, we are seeking your trust in your experience with us, and we will do our dedicated best not to let you down.

By Ed Sobel, >case Associate Artistic Director

First, please accept my thanks to all who have posted comments and suggestions thus far. As promised, I am going to respond to some of these, with an eye toward illustrating some of the process and issues we face when putting together the season.

One of our season planners was kind enough to suggest the Jez Butterworth play Jerusalem. Jez Butterworth is a British writer who, at the ripe old age of 25, became the toast of London theater when the Royal Court produced his play Mojo back in 1995. He then devoted time to making the movie of that play, and several other movies (The Birthday Girl with Nicole Kidman, e.g) and it was seven years before he returned to writing plays including The Night Heron, and now Jerusalem. Jerusalem, like Mojo, has created quite a stir in London, and is scheduled to have a commercial run there shortly. So, as our planner noted, there are likely to be some issues with obtaining performance rights, a subject I will tackle in another post.

One thing that is noteworthy about Jerusalem, is that it requires 14 actors. Think back for a moment to consider when you last saw a play (not a musical, but a play) with 14 actors in it. I’m guessing you either just had a flash-back to college, or perhaps some other non-professional theater experience. In professional theater in America, it is now an extremely rare experience.

Here’s why, and its not exactly shocking: actors cost money. By collective bargaining agreement with the actors union (Actors Equity Association , or “AEA” or “Equity” for short) all actors are guaranteed a set minimum weekly salary, along with certain other rights, work rules, and benefits. At Arden the minimum weekly salary in the Haas is $696, but that is only part of the cost. Like the rest of America, not-for-profit theaters are also struggling with rising health care and other benefit costs. For each AEA actor, in addition to salary, Arden pays over $200 per week in benefits. So, every AEA actor costs over $900 per week. When you start to calculate in all the other costs to producing a play (stage managers and crew, box office staff, directors and designers, playwright royalties, sets/lights/costumes construction labor and materials and on and on) you begin to see both why most theaters operate as not-for-profit entities, and are reluctant these days to do large cast shows.

Or at least, most theaters must consider what in the trade is called “actor weeks”. Even at the Arden, where we have chosen to prioritize having actors on-stage over other production costs like the set, over a whole season we can afford on average 500 actor weeks encompassing seven shows. So if Jerusalem takes up 140 (14 actors x 10 weeks – i.e. four weeks of rehearsal and six weeks of performance) that means our other six shows can only use 360. Two of those six are for family audiences, which on average eat up another 150 actor weeks. So we could do Jerusalem, if that were a high enough priority for the theater, but it means we are going to have to do four smaller cast (five actors or fewer) shows in our subscription season to compensate.

The larger issue here, and one that is truly troubling, is the way in which over the last 30 years, playwrights have adapted to the demands of this new economy. They write smaller plays. The result has been a gradual diminishing of the scale of plays seen on American stages. That has lead to a gradual shrinking of the scale of the ideas they contain. It has made our modern theater the purveyor of internal psychological introspection for a small segment of our culture, rather than the dynamic arena for wide public discourse it might be.

Now, I don’t mean to say that one can’t say something profound about the world with 3 or 4 actors. (Waiting for Godot, afterall, only requires 5). But just as there are beautiful sonatas and quartets yet we would be loathe to give up the full symphony, so too do we need plays that are able to show us the world through a variety of simultaneous cultures, points of view, classes, and experiences.

So, will you see Jerusalem on our season? Probably not. But you will see several larger- than-average size plays, in our effort to swim against a very heavy tide.

©2009 Arden Theatre Company, 40 N. 2nd St., Philadelphia, PA 19106. For tickets, call 215.922.1122.
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