Written by Wendy Kesselman
Productions took place Sept 20-22, 24-29https://ir.library.illinoisstate.edu/sotdp/1093/thumbnail.jp

School of Theatre and Dance,

English

ISU ReD: Research and eData

Illinois State UniversityISU ReD: Research and eDataSchool of Theatre and Dance Programs Theatre and DanceFall 1991I Love You, I Love You NotSchool of Theatre and DanceIllinois State UniversityFollow this and additional works at: https://ir.library.illinoisstate.edu/sotdpPart of the Theatre and Performance Studies CommonsThis Book is brought to you for free and open access by the Theatre and Dance at ISU ReD: Research and eData. It has been accepted for inclusion inSchool of Theatre and Dance Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contactISUReD@ilstu.edu.Recommended CitationSchool of Theatre and Dance, "I Love You, I Love You Not" (1991). School of Theatre and Dance Programs. 130.https://ir.library.illinoisstate.edu/sotdp/130presents ' by Wendy Kesselman ALLEN THEATRE Sept. 20, 21, 24, 25, 26, 27, 28 at8 pm Sept. 22, 28, 29, at 3 pm Sept. 27 at 10:30 am 1991 Illinois State University • College of Fine Arts • Department of Theatre t Designer I Love You, I Love You Not by Wendy Kesselman Director JOHNW. KIRK [LLIAM J. LANGLEY, JR.* Lighting Designer ARMELLAN. NETZGER* ,stume Designer ,WINEE KHONGKHAKUL rector's Notes -Technical Director DAN BROWDER *Master of Fine Arts Candidate Sound Designer JERRY SWATEK !is is an interesting examination of two characters struggling to find and to ep each other at a time of stress. Their mutual need for each other and to cape each other invests this drama with a deep well of interlocking nnections, providing a real challenge for this outstanding cast. -I Love You,/ Love You Not will be performed without an intermission -This production is costumed, in part, with the assistance of the Krannert Center for Performing Arts at the University of Illinois. CAST Nana .................................... ANGELA YANNON* Daisy ...................................... KATHRYN SENO Understudy to Daisy ............................ ROBIN FINLEY PRODUCTION STAFF Stage Manager ............................. BETSY S. BAXTER Assistant Director ........................ TIMOTHY BURRUSS* Assistant Stage Manager ................. GREGORY B. ALTMAN Properties Master ............................... TINA WHITE* Master Electrician ........................... BRENDAN HUNT Dialogue Coach ....................... RABBI CLIFF LEBRACH PRODUCTION CREWS Set Crew: Eric Aviles, Leanne C. Bembenek, Michele Brackett, Dana Jackson Light Crew: Rob Arnoldt, Chris Breecher, David Durham, Lisa Hawbecker, Ron Haub, John Langas, Carlos Phelix, Christina Saylor, Carolyn Whitehead, Chad Wise Light Board Operator: Nora Cortright Sound Board Operator: Glenn Otterbacher Costume Crew: John Corwin and Jim Kasprzyk Costume Crew Head: Kris Edlund ACKNOWLEDGEMENTS J. William Ruyle Frank Vybiral Horine's Pianos Plus Jan Dorociak Alvin Goldfarb AMERICA~ COLLEGE THEATRE FESTIVAL XXIV Presented and produced by the John F. Kennedy Center for the Performing Arts Supported in part by the Kennedy Center Corporate Fund, the U.S. Department of Education, and Ryder System This production is an Associate entry in the American College Theatre Festival (ACTF). The aims of this national theatre education program are to identify and promote quality in college-level theatre production. To this end, each production entered is eligible for adjudication by a regional ACTF representative, and certain students are selected to participate in ACTF programs involving awards, scholarships and special grants for actors.playwrights, designers, and critics at both the regional and national levels. Last year approximately 800 productions and 17,000 students participated in the American College Theatre Festival nationwide. By entering this production, our department is sharing in the ACTF goals to help college theater grow and to focus attention on the exemplary work produced in college and university theaters across the nation. THEATRE STAFF General Manager ................ .... ....... . . .... ......... ... Peter Guither Costume Shop Supervisor .. .. ................................. Tona Schenck Scene Shop Supervisor ........................................ Dennis Mays COSTUME SHOP- Graduate Personnel: Carol Dorward, Susan H. Erdmann, Amy Khongkhakul, Richard Kagey*, Teresa S. Pruitt*, Scott Robinson*, Missy Skelton*; Undergraduate TA: Susan L. Hayes; Undergraduate Personnel: Anne Latta, Kelly VanKirk, Jennifer Wilson SCENE SHOP- Graduate Personnel: Scott Cavin*, AnnellaNefzger*,PattyEllison*, Seth Hible, Richard Kagey*, Tina White*; Undergraduate Personnel: Kristi Batt, Gina Diehl, Jeffrey Lewis, Jeffrey McCloskey, Jerry Swatek, Laura Steib MANAGEMENT- Box Office Managers: Mickey DiPiero, Mark D. Hayes*; Asst. Box Office Manager: Renee Perreault; Marketing Director: Tim Burruss*; Publicity and Programs: Barb Matysik; House Managers: Betsy Baxter, Rachel Kasper; Assts. to the General Manager: G.B. Altman, Jenny Rosenberg DEPARTMENT OF THEATRE FACULTY Chairperson: John Stefano Nancy Benjamin, Caryn Brieschke, Julie Brinker, Dan Browder, Kathi D' Alessandro, Connie de Veer, Darrel Ford, Peter Guither, John Kirk, Pamela Klarup, Calvin MacLean, Kathleen McLennan, Ron Mottram, Patrick O'Gara, Kim Pereira, Pam Ritch, J. William Ruyle, Jean Scharfenberg, John Sipes, John Stark, John Stefano,Lee Templeman,Frank Vybiral, Scott Walters, Dan Wilhelm, Sandra Zielinski Office Staff: Caroline Gordon, Betty Stephenson, Rosemary Stockle Dean, College of Fine Arts: Alvin Goldfarb On Surviving The issue of surviving the Holocaust haunts me personally. Like Daisy, in/ Love You, I Love You Not, l too struggle to try and understand what happened since I am a child of survivors. Both of my parents lived through the horrors of the Third Reich; except for my mother's aunt, no other blood relatives survived. As I try to understand their experiences and try to explain them to my children, I confront my intellectual and emotional impotence. How do I describe the indescribable or make understandable the incomprehensible? How do I explain that only 50 years ago, my family was deemed unworthy of living because of their religious beliefs? The themes of/ Love You, I Love You Not are powerful and force me to confront emotions that I frequently try to repress and hide. The feeling of irrational guilt that my parents suffered has been passed down. Why did no one else in my family survive? Why were we the fortunate ones? The irony is that survivors have no reason to feel guilt; their victimizers were the guilty ones. But like Nana in/ Love You, I Love You Not, they feel the responsibility of not having been able to protect their families in a time of insanity. (My mother's uncle by marriage was haunted by the fact that when the Nazis shot all of the Jews in his town at an open pit, his first wife and baby daughter died. He awoke among the dead only having been wounded.) Children and grandchildren of survivors bear an extra burden of guilt. The hurt that our childhood rebellions cause generates additional reverberations of pain. How can we hurt those who have already been hurt in ways beyond comprehension? Those of us whose families survived are also confronted with an overwhelming sense of unworthiness. Could we have lived through the horrors that confronted our parents or our grandparents? Could we have found within us the human resources to survive when the world surrounding us was bent on our destruction? Could I have lived, as my mother did, for three years in the Ukrainian forests? Could I have survived the labor camp in which my father slaved? The only way to assuage these emotions is for us to bear witness. Those who survived, and those of us who are children and grandchildren of survivors, must continue to confront the world with the stories of these horrors. Like Nana, in/ Love You,/ Love YouNot, we are often hesitant to speak but realize that the story must be told. The victims of the Nazi genocide must not be forgotten. As so-called "historians" begin to question the realities of the Holocaust, we must be vigilant to not allow history to be rewritten. To forget the Jewish victims of the Nazi racial policies is to tell the world that the 6,000,000 Jewish deaths and, to be personal, the deaths in my own family were meaningless and provide no lesson to the contemporary world. Once again, the victims will have been abandoned. That may be my greatest fear! Alvin Goldfarb September 11, 1991 continues A Scrap of Paper by Victorien Sardou Alliances, lies, and love fill this popular 19th century comedy as ex-lovers scheme to find a telltale love letter. Oct. 4, 5, 8, 9, 10, 11, 12, at 8 pm Oct. 6, 13, at 3 pm Cloud-9 by Caryl Churchill What does it mean to be male? Female? Black? White? Caryl Churchill explores misconceptions and stereotypes in this hilarious comedy about changing eras. Oct. 25, 26, 29, 30, 31, Nov. 1, 2, at 8 pm Oct. 27, Nov. 2, 3, at 3 pm Love for Love by William Congreve Attacked in 1698 for its profanity and immorality, Congreve's Restoration comedy, Love/or Love, is a story of arranged marriages, love, debts, and lies. Nov. 15, 16, 19, 20, 21, 22, 23, at 8 pm Nov. 17, 24, at 3 pm H.S. matinee Nov. 22 at 10:30 am The Box Office is open Mon.-Fri., 10am-5pm. (309) 438-2535 

I Love You, I Love You Not

https://ir.library.illinoisstate.edu/cgi/viewcontent.cgi?article=1093&amp;context=sotdp

I Love You, I Love You Not

Abstract

Similar works

Full text

Available Versions

ISU ReD: Research and eData