
by Shelagh Stephenson






The Cast
Mary . . . . . Lori Bogner
Teresa . . . . Angela Peckham
Catherine . . . . . Melinda Kay
Mike . . . . . D. Taud Boatman
Frank . . . . . Jason Puff
Vi . . . . . Elizabeth Masquat
Production Staff
Director . . . . . Penny Weiner
Set & Lighting Design . . . . Tony Naylor
Costume & Lighting Design . . . . . Ron Zastrow
Dialect Coach . . . . . Karen Hastings
Technical Direction . . . . . Ron Zastrow
Stage Manager . . . . . Ani Navarrete
Scenic Studio Supervisor . . . . . Lynn Wilson
Publicity . . . . . Paul Prece
Box Office/House . . . . .Paul Prece
Scenic, Costume and Running Crew . . . . .
David DeLoach, Melinda Eshbaugh,
Shaun Rice, Rose Golston, Williard Bean,
Jason Dressler, John Njagi, Jason Dannenberg, Samantha Inverarity, Daniel
Talavera,
David Beck, Viet Son Lam, John Powell
We would like
to thank for helping make this production:
Whirled Hair
Swan's Tuxedo
Topeka Civic Theatre
| Shelagh Stephenson was born in Northcumberland. She attended Manchester University. She has writen extensive work for BBC Radio and television including "Five Kinds of Silence," winner of Writers Guild Award 1996, and Sony Radio Best Play 1997. The Memory of Water, her first stage play, played at Hampstead Theatre, London in 1996 and subsequently received productions at Steppenwolf Theatre in Chicago and Manhattan Theatre Club. A highly successful provincial tour transferred to the West End in January of 1999. Her next play, An Experiment With an Air Pump, won the Peggy Ramsay Award 1997, and opened at The Royal Exchange Theatre, Manchester in February 1998 and received its American premiere at Manhattan Theatre Club in the Fall of 1999. It opened at Hamstead Theatre, London in October 1998. She has just delivered her latest play commissioned by Hampstead Theatre, and is currently under commission to the Royal national Theatre, London. She is also working on a two-part series for the BBC and a British Canadian film. • |
Some
obersvations on "Our legs and arms are full of torpid memories." "Appreciating the present and anticipating the future hinge on
our ability to communicate with the past. When we lose the capacity
to travel through time, we are cut loose from much of what anchors our
sense of who we are and where we are headed." |


