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The Gamester by Susanna Centlivre December 1, 2, 6, 8 and 9, 2001

Cast:

Male Roles:
Box KeeperRoss Brown
ValereJeremiah Burt
GaloonDavid Crawford
HectorErich Dorzab
Count CogdieDennis Huynh
LovewellLance Ivy
Mr. DemurrLorin Koch
1st GentlemanJarrod Lima
Marquis of HazardAdam Lombard
DoranteBradley Nelson
2nd GentlemanFitch Venckeleer
Sir Thomas Valere     Tyler Webster
PorterKris Wilson

 

 

Female Roles:
Mrs. SecurityMegan Daly
BettyNicole Ferguson
AngelicaLindsey Lombard
Mrs. TopknotLorilea Mitchell
MaidCheri Rutan
FavouriteErica Sharp
Lady Wealthy     Kristin Smith

 

Crew:

DirectorLuAnn Venden Herrell
Stage ManagerDan Lounsbury
House ManagerElizabeth Bruch
Assistant DirectorsElizabeth Bruch
Lindsey Lombard
Cherie Rutan
Erica Sharp
Lighting DesignErich Dorzab
Lighting/SoundLorin Koch
Peter Hollister
Emily Yeo
Stage DesignMartha Mason (WWC Art Department)
Chief CostumerStephanie Binns
CostumersElizabeth Bruch
Kurt Drechsel
Mari Ferguson
Cherie Rutan
Wardrobe MistressMegan Daly
Scenic ArtistMartha Mason (WWC Art Department)
Set Foreman and DesignDr. Roy Campbell (WWC Physics Department)
Set ConstructionJeremiah Burt
John Campbell
Erich Dorzab
Andrea Dorzab
Jerry Entze
Bradley Nelson
Adam Lombard
Dan Lounsbury
Music ConsultantDr. Kraig Scott (WWC Music Department)
Box OfficeDoug Taylor
Adam Lombard
Program and Poster Design     Tara Twing
Public RelationsBradley Nelson
Rehearsal PhotosAmanda Gibson

 


About the Play:


The Gamester was eighteenth-century woman dramatist Susanna Centlivre's first commercial success in 1705. It was written at the height of the Collier stage controversy--a widespread movement led by cleric Jeremy Collier for stage reform, in reaction to the sensational plays of the Restoration era. The play is one of the first of a genre now known as "reform comedies": sometimes uneasily occupying middle ground between the earlier racy comedies of wit and the gentler sentimental comedies of the late 18th century; this type of play usually employs gentle satire and physical humor in an attempt to teach a social lesson. This approach is quite similar to Hogarth's series of engravings entitles "The Rake's Progress." Many dramatists in the period 1698-1712 argued that the stage was a legitimate vehicle of presenting cautionary tales in a format that is both easily grasped and long remembered.

Centlivre, author of more than 16 plays, was in her time one of the most popular of dramatists. In terms of number of performances alone, her plays enjoyed longer runs than those of her now more familiar contemporaries Dryden, Congreve, Cibber, and Sheridan; her works were included more often in the working repertoires of the London companies. Her critical reputation was built on her skill at taking stock characters and situations and breathing new life and subtlety into them.

In the case of The Gamester, the play is a typical reform comedy that focuses on the necessary reclamation of a young nobleman who must be convinced of the dangers of gambling. What is not typical is the graphic illustration of everyone who must be convinced of the dangers of gambling. What is not typical is the graphic illustration of everyone who comes in contact with Valere is affected by his addiction, no matter their rank, gender, or philosophical outlook. His gambling causes a "ripple effect" that spreads outward, causing every other character to commit offenses against social station, manners, or morals. Also unusual is the method of Valere's reclamation: his fiancee', Angelica. She is an intelligent, sprightly agent of reform who brings Valere back within the boundaries of good society by the use of witty repartee and cunning masquerade.

Last update on September 14, 2017