Carrie: The Musical

Music by Michael Gore, Lyrics by Dean Pitchford, Book by Lawrence D. Cohen
Based on the novel by Stephen King

Directed by Collective Member Michael Driscoll
Music Direction by Collective Member Aaron Benham
Choreography by Brigitte Ditmars
Featuring Callie Johnson and Katherine L Condit

May 29 – July 12, 2014

Victory Gardens Richard Christiansen Theater
2433 N Lincoln Ave, Chicago

“★★★…this is about the only ‘Carrie’ you ever need to see. She lives!” Chris Jones, Chicago Tribune
“★★★…when [Katherine L. Condit] and [Callie] Johnson dig into a duet, that’s when Carrie really sets aflame.” Kris Vire, Time Out Chicago
Recommended…this ‘Carrie’ should be mandatory viewing for junior and senior high school kids…” Hedy Weiss, Chicago Sun-Times

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Carrie White is a misfit. At school, she’s an outcast who’s bullied by the popular crowd, and virtually invisible to everyone else. At home, she’s at the mercy of her loving but cruelly over-protective mother. But Carrie’s just discovered she’s got a special power, and if pushed too far, she’s not afraid to use it…

Based on Stephen King’s bestselling novel of the same name, the show’s original authors have newly reworked and fully re-imagined the vision of this gripping tale. Set today in the small town of Chamberlain, Maine, Carrie features a book by Lawrence D. Cohen (screenwriter of the classic film), music by Academy Award-winner Michael Gore (Fame, Terms of Endearment), and lyrics by Academy Award-winner Dean Pitchford (Fame, Footloose).

Carrie: The Musical is presented through special arrangement with R & H Theatricals: www.rnh.com.

 

Letter from the Artistic Director

Lili-Anne-BrownWhat does it cost to be kind?

This season, both our shows (Dessa Rose and now Carrie) center around the empowerment of young women. Neither of these title characters’ journeys are easy, nor pleasant and safe for those around them. But while Dessa Rose’s journey is set in our past, Carrie is a young woman of the present, experiencing the universal crucible that is high school. And while her issues may seem otherworldly, I believe they are the perfect allegory.

While some people refer to their time in high school as the “glory days,” I think that perspective usually comes from wearing the golden-tinted glasses of nostalgia. High school is a time when most of us begin to try on adulthood, with the privilege of shucking it off at night like a gym uniform, safely unburdened by a parent or guardian. It’s a privilege we don’t have the perspective to appreciate; usually we instead take it for granted or even resent it. Like Carrie, we don’t yet know what to do with our power, or how it works. The discovery of the strength of our individuality can be an intense private joy, yet a crushing public shame as we attempt to “fit in” to the prevailing social structure.

As we prepare to leave the nest, fitting in feels necessary for survival. With these high stakes, we constantly need to reaffirm where we stand. Often the most effective way of asserting our high status is to make someone else lower. This is nothing new, and we’ve seen the conversation about bullying change in the last 15 years in response to previously unimaginable violence in our schools. Anyone who was ever bullied fantasizes about revenge—unfortunately, what’s less common are peer heroes who risk their own necks by speaking up for those being bullied.

Bullied kids seek to be armed—in whatever way they can find—against what they have to face at school. Too often parents merely arm them with a speech about a future that seems all too distant. “It gets better” is a wonderful encouragement, but kids need to be able to talk at home about what is happening to them at school in the present, and they need practical tactics to empower them. Parents who locate their personal failures in their children and parents who fear that their children will go beyond their expectations are tragically setting their children up to fail. Many kids feel bullied at home.

If only we would take more time to truly see and hear one another…what you see you can’t unsee.

signature

Lili-Anne Brown, Artistic Director

Extra special thanks to Collective Member Christopher Pazdernik for bringing this show to the creative table.

Who’s Who in the Cast

 

Kasey Alfonso (Norma)

Kasey Alfonso
(Norma)

Molly Coleman (Frieda)

Molly Coleman
(Frieda)

Katherine L. Condit (Margaret White)

Katherine L. Condit
(Margaret White)

Samantha Dubina°
(Chris)

Kate Garassino°
(Ms. Gardner)

Callie Johnson
(Carrie White)

Kelly Anne Krauter (Helen)

Kelly Anne Krauter
(Helen)

Ryan Lanning (Stephens/Bliss)

Ryan Lanning°
(Stephens/Bliss)

Henry McGinniss
(Tommy)

Conner Meinhart (George)

Conner Meinhart
(George)

Sawyer Smith (Billy)

Sawyer Smith
(Billy)

Ryan Stajmiger
(Freddy)

Rochelle Therrien
(Sue)

George Toles (Stokes)

George Toles
(Stokes)

°Denotes Bailiwick Chicago Collective Member

KASEY ALFONSO (Norma) is thrilled to be making her Bailiwick Chicago debut with Carrie: The Musical! She was most recently seen in RENT and In The Heights (Paramount Theatre). Before that, she starred in the Jeff Award-nominated Smokey Joe’s Cafe (Theo Ubique Cabaret Theatre), Duck for President (Lifeline Theatre), and as Surpanaka in Sita Ram (Harris Theatre). Kasey holds a BFA in Musical Theatre from the Chicago College of Performing Arts. Thank you to Bailiwick Chicago for their great work, and to her family and friends, thank you for all of the support and silliness.

MOLLY COLEMAN (Frieda) is elated to make her Chicago stage debut with Bailiwick Chicago. She is currently studying Musical Theatre at the Chicago College of Performing Arts, where she will be a junior in the upcoming school year. “A huge thank you to my friends and family for their tremendous support.”

KATHERINE L. CONDIT (Margaret White) is thrilled to be a part of Bailiwick Chicago’s production of Carrie: The Musical. Credits include Chess (Broadway), Cats (Grizabella) Vienna and Zurich Companies, A Chorus Line (Val) National Tour and Joseph and the Amazing Technicolor Dreamcoat (Narrator) with Donny Osmond. Chicago credits include Anthony and Cleopatra (Cleopatra) Chicago Shakespeare Project, Riverview (Goodman Theatre), Damn Yankees (Lola) Drury Lane Oakbrook and Kiss of the Spider Woman (Aurora/Spider Woman) with Bailiwick Repertory. Katherine was also a founding member and Artistic Director of cobalt ensemble theatre in Chicago that enjoyed a Jeff Award-nominated and Citation-winning 5-year lifespan. She currently teaches at The Actors Training Center in Wilmette. Deep gratitude for the love and support of husband David.

SAMANTHA DUBINA (Chris, Carrie u/s) is so pleased to be working with Bailiwick Chicago again. She was last seen with BC as Rachel Jackson in Bloody Bloody Andrew Jackson. Other Chicago credits include Company, No More Dead Dogs (Griffin Theatre) The 25th Annual Putnam County Spelling Bee, The Taffetas (Noble Fool), All Shook Up, The Producers, The 25th Annual Putnam County Spelling Bee and another few dozen productions (Timber Lake Playhouse). So much love to the Carrie cast & crew and her entire BC family, where she serves as the community outreach coordinator. Sam received her BFA in Musical Theatre from Western Illinois University. “The biggest thanks goes out to my Daddy, who, after yawning through countless Rodgers and Hammerstein musicals over the years, is super stoked to watch me take one of his favorite movies to the stage. Your support has meant the world.”

KATE GARASSINO (Ms. Gardner) was recently seen in Bailiwick Chicago’s world premiere production of Resident Playwright Danny Bernardo’s Mahal as Mari. Some notable stage credits include Christmas Eve in Nightblue’s Avenue Q and Lady Thiang in Porchlight Music Theater’s production of King & I where she received an Equity Jeff Award Nomination for Best Supporting Actress. She is a Jeff Award recipient for Best Supporting Actress in Bailiwick Repertory’s production of Bombs Away! She has previously performed in many critically acclaimed Bailiwick Repertory Theatre productions including Jerry Springer: The Opera, My Favorite Year, Kiss of the Spiderwoman, Parade and Dr. Sex. She has also worked with the Silk Road Theatre Company, Apple Tree, Marriott Theatre, BoHo Theatre, Famous Door and TheatreBam, to name a few. A founding collective member, producer, director and Executive Director of Bailiwick Chicago, Kate is thrilled to be a part of such an amazingly talented cast and sends special thanks to Chris, Aaron, Michael, Lil and Harmony for this opportunity. Thanks to you for supporting live theater and special gratitude to Barry and Mom.

CALLIE JOHNSON (Carrie White) is simply thrilled to be making her Bailiwick Chicago debut, and is so thankful to be playing one of her many dream roles. Recent Chicago credits include Pal Joey (Porchlight Music Theatre, Jeff Award: Cameo Performance); Next to Normal (Drury Lane Oakbrook, Broadway World Award: Best Musical Revival); The Tempest (City Lit Theatre). Callie is a proud player of the Peninsula Players in Door County. She is a 2012 BFA graduate of Columbia College Chicago’s musical theatre program, and is originally from Genoa, IL. Much love and thanks to the cast, crew, and Bailiwick Chicago folks, especially Chris. www.calliejohnson.com

RYAN LANNING (Stephens/Bliss) is grateful to return to the Bailiwick Chicago stage where he was previously seen in F**king Men and Rise of the Numberless. Other Chicago credits include Candide (Goodman Theatre); Grey Gardens (Northlight Theatre); Man in Love (Steppenwolf Theatre); Candide and The Fantasticks (Porchlight Music Theatre); Hedwig and the Angry Inch (Haven Theatre); Exit, Pursued by a Bear (Theatre Seven); Jerry Springer: The Opera, A Man of No Importance, Bare: A Pop Opera, and Kiss of the Spider Woman (Bailiwick Repertory Theatre).

KELLY ANNE KRAUTER (Helen/Dance Captain) is thrilled to be making her Bailiwick Chicago debut in this exciting premiere of Carrie: The Musical. Favorite credits include Gypsy (Chicago Shakespeare Theater); Footloose, Cabaret, Guys and Dolls, Boeing Boeing (Timber Lake Playhouse); How to Succeed…, Cradle Will Rock (CCPA). Kelly recently graduated with a BFA in Musical Theater from the Chicago College of Performing Arts at Roosevelt University. Kelly would like to thank her big and always loving family, her dear class of ’14, and her coffee machine for all of their constant love and support. Ephesians 3:20-21.

HENRY McGINNISS (Tommy) is thrilled to make his Bailiwick Chicago debut in Carrie: The Musical! Other Chicago credits include: Snowken in Rudolph the Red-Nosed Reindeer: The Musical (Broadway in Chicago – Emerald City Theatre), and Man 1 in Edges (Circle Theatre). Some of his other favorite credits include: Ren in Footloose (Timber Lake Playhouse), Marius in Les Misérables (Interlakes Summer Theatre) and Mick in the Chicago Premiere of Lysistrata Jones (CCPA). He recently received a BFA in Musical Theatre from the Chicago College of Performing Arts at Roosevelt University. He would like to thank everyone involved in this production, and his family and friends for all of their constant love and support. henry.mcginniss.com

CONNER MEINHART (George) is a recent graduate of Columbia College Chicago, where he received his BFA in Musical Theatre Performance. Some of his recent credits include Violet (Monty), Hairspray and RENT (Columbia College Chicago). He is thrilled to be making his Bailiwick Chicago debut! Conner would like to thank all the “Bob’s” in his life for all of their love and support.

SAWYER SMITH (Billy) is proud to spill some blood and make his Bailiwick Chicago debut in Carrie: The Musical. Other Chicago credits: RENT, A Chorus Line (Paramount Theatre); Hairspray (Drury Lane); Pippin (Bohemian Theater Ensemble); A Chorus Line, Children of Eden, Sweet Charity, Sunset Boulevard, Oklahoma, and Chicago (Timber Lake Playhouse); The Best Little Whorehouse in Texas, Sweet Charity, Sweeney Todd (CCPA). Sawyer is a graduate of the Theater Conservatory at the Chicago College of Performing Arts at Roosevelt University. Thanks to Chris and the team at Bailiwick Chicago.

RYAN STAJMIGER (Freddy) is excited to jump head first into this production of Carrie. As a recent graduate of the Chicago College of the Performing Arts, this is his first show with Bailiwick Chicago. He has been seen in Chicago productions of Spamalot (Night Blue Theatre) and REEFER MADNESS! (Circle Theater) for which he was nominated for a Non-Equity Joseph Jefferson Award for Best Actor in a Musical. This coming fall Ryan will be playing Eugene in Fox Valley Rep’s Brighton Beach Memoirs.

ROCHELLE THERRIEN (Sue) is delighted to work with Bailiwick Chicago for the first time. Chicago credits include The 25th Annual Putnam County Spelling Bee (Griffin Theatre Company), Aspects of Love (Theo Ubique Cabaret Theatre) for which she earned a Jeff Award nomination for Best Supporting Actress in a Musical, and Liberal Arts: The Musical! (Underscore Theatre Company). Rochelle received her BFA in Acting from Boston University and has also trained at the London Academy of Music and Dramatic Art. Rochelle is represented by Paonessa Talent. “Love and thanks to my family and friends for their love and support!” www.rochelletherrien.com

GEORGE TOLES (Stokes) is stoked to not only be making his Bailiwick Chicago debut, but also his Chicago debut in Carrie: The Musical. Regional credits include Chicago (Mason Street Warehouse); Hair (Circle Theater Grand Rapids); [title of show] and Spring Awakening (Actor’s Theater Grand Rapids). George received his BM in vocal performance at Grand Valley State University. “So much thanks to all my friends and family who made it out to see the show and for all the love.”

MICHAEL DRISCOLL (Director) has directed Blithe Spirit (GoodLuck Macbeth Theatre Company), Up For It and For Another (American Theater Company’s Big Shoulders Festival), The Last Five Years (Illinois State University), and the stage reading of Penumbra (Three Cat Productions). He has assistant directed the Jeff Award–winning production of The Original Grease and Rent (American Theater Company), Oh Coward! (Writers’ Theatre), See What I Wanna See (Bailiwick Chicago/Steppenwolf Garage Rep), Detective Partner Hero Villain (Strawdog Theatre), Sunday in the Park with George (Porchlight Music Theatre), and The Complete Works… (Abridged) (Illinois Shakespeare Festival). This fall he will be directing the 1970s horror-noir piece, Desperate Dolls at Strawdog Theatre and assistant directing The Diary of Anne Frank at Writers’ Theatre with Kimberly Senior. Michael is also the director of education at Bailiwick Chicago and a teaching artist. He has taught with American Theater Company, Northlight, Bailiwick Chicago, StageCoach Theatre Arts School, and CCAP. He has presented his work, discussing theatre education’s impact on urban school environments, at the National Convention of Teachers of English, Chicago Arts Educators Forum, and the regional Illinois Theatre in Our Schools conference. Michael is a graduate of the Teaching Artist Development Studio in Chicago, a professional development program designed to augment and refine the skills of the teaching artist. He is also a graduate of Illinois State University where he studied theatre education and directing. “A very special thank you to Andy. You have all my love.”

AARON BENHAM (Music Director) is a local music director, conductor, arranger, and composer. Previously with Bailiwick Chicago: Dessa Rose, Rock Showtunes, Rise of the Numberless. Other Chicago Credits: Time After Time: The Songs of Jule Styne, A Cole Porter Songbook (Theo Ubique); Sweet Charity (Writers’ Theatre); Putting it Together (Porchlight); We Three Lizas (About Face); The Sweet Smell of Success (Kokandy); Avenue Q, Spamalot (NightBlue); Parade (Harper College). He is the co-host of Option Up! with Chris Pazdernik, and performs with the Improvised Sondheim Project. B.F.A., Emerson College. “Raspberries!”

BRIGITTE DITMARS (Choreographer) returns to Bailiwick Chicago where she was last seen onstage in Dessa Rose. Recent choreography credits include Hey! Dancin’! Hey! Musical! (Factory Theatre); The Next Thing (Signal Ensemble Theatre); Nunsense and Forever Plaid (Fox Valley Repertory); Improbable Frequency (Strawdog Theatre). She has received Non-Equity Jeff Awards for her choreography in Reefer Madness (Circle Theatre) and Pinafore! (Bailiwick Repertory) as well as two additional nominations for Poseidon! An Upside Down Musical (Hell In A Handbag Productions) and Camp Nimrod for Girls (Live Bait Theatre). Brigitte is an artistic associate at Signal Ensemble Theatre and Hell In A Handbag Productions.

GEOFFREY BLEEKER (Producer) is proud to serve as Bailiwick Chicago’s producing director, where he has previously produced/production managed Bloody Bloody Andrew Jackson, See What I Wanna See, Mahal, and Dessa Rose. As a director, his work has been seen in Chicago, Florida, Milwaukee, New Mexico, and Texas, including the Chicago Casting Auction production of The Drowsy Chaperone and the workshop and staged reading of Danny Bernardo’s F-gg*t for InFusion Theater Company.

CHRISTOPHER KRISTANT (Technical Director) is back for his fourth Bailiwick Chicago production and second since becoming a collective member. When he isn’t showing off his technical mastery he runs the Scene Shop at Steppenwolf Theatre Company. The rest of Chris’ summer will involve lots of “yes dear-ing” as he gets ready for his wedding this fall to collective member and love of his life Casi Maggio.

HEATHER STUCK (Stage Manager) graduated from Columbia College Chicago with a B.A. in musical theatre performance. Recent SM credits include The Drowsy Chaperone (Chicago Casting Auction), Best Musical: Holiday Edition (Porchlight Music Theatre); See What I Wanna See, Bloody Bloody Andrew Jackson, Passing Strange (Bailiwick Chicago). Not including other credits throughout Chicago for various dance companies, video productions, and corporate events. Heather would like to thank ALL her family and friends for their continued patience and love.

JON MARTINEZ (Assistant Choreographer/Male Swing) is excited to return to Bailiwick Chicago after working on the CCA Production of The Drowsy Chaperone! Jon graduated with a B.A. in musical theatre: directing/choreography from Columbia College Chicago. Choreography/performing credits include the Paris Opera Ballet’s Bolero (U.S. Tour), Hey Dancin! Hey Musical! (The Factory Theatre); The Rocky Horror Picture Show Live!, Pr0ne: A Casting Couch Musical Comedy (Underscore Theatre); 13, Cats, Oliver (Gallery 37/Journeymen Theatre); Christmas is Made for Fools (Step Up Productions); The Fantasticks, Floyd Collins, Victor/Victoria (Columbia College). Twitter: @Jonmartinezz

STEPHEN H. CARMODY (Scenic Designer) returns to Bailiwick Chicago where he last designed for Mahal. Other credits include the world premiere and Off-Broadway productions of A Twist of Water (Route 66), Sweeney Todd (Williams Street Rep), Vigils (The Gift), Pippin (The Music Theatre Company), Gutenberg! The Musical (Milwaukee Rep), and Around the World in 80 Days (Fox Valley Rep). Assistant credits include Scandalous (Broadway), Old Jews Telling Jokes (The Royal George), Don Giovanni (Chicago Lyric), and Disney on Ice: Rockin’ Ever After (Nation Wide Tour). Stephen received The 2009 John Murbach Scholarship for Collaborative Design and the 2013 Broadway World Chicago Award for Best Scenic Design of a Musical. StephenHC.com

RAQUEL ADORNO (Costume Designer) is thrilled to be working with Bailiwick Chicago for the first time! An artistic associate at Profiles Theatre, Raquel has designed costumes for their productions of Cock, Gidion’s Knot, Hellcab, Wrecks, In God’s Hat, In the Company of Men, and The Dream of the Burning Boy. Other credits include Raw (Deluge Theatre Collective); Gambit (Artemisia, A Chicago Theatre); Darlin’ (world premiere); HoliDAZE, and The BenchMark (Step Up Productions); Cowboy Mouth (Black Ribbon Theater); Patria Libre (Prologue Theatre Company); Songs from an Unmade Bed and The All-American Genderf*ck Cabaret (Pride Films and Plays); Starting Here, Starting Now (Theo Ubique Cabaret Theatre).

CHARLES COOPER (Lighting Designer) returns to Bailiwick Chicago where he previously designed for last season’s production of Mahal. Recent work includes To Master the Art (Chicago Commercial Collective/TimeLine Theatre/Broadway in Chicago); Woody Sez, Gutenberg! The Musical (Milwaukee Rep); Old Jews Telling Jokes (Royal George Main Stage and Cabaret Theaters); Hairspray, Curtains (Drury Lane Oakbrook); A Wrinkle in Time (First Stage Children’s Theatre); Love, Loss, and What I Wore (Asolo Rep, Philadelphia Theatre Co, San Jose Rep, Broadway in Chicago, first national tour) Do the Hustle, Old Glory (Writers’ Theatre); Of Mice and Men, First Look Repertory of New Work (Steppenwolf Theatre); Around the World in 80 Days (Indiana Repertory Theatre); Tree, Blue Door (Victory Gardens); Eclipsed, She Stoops to Conquer (Northlight Theatre); Sunday in the Park with George, Chicago, A Few Good Men, Around the World in 80 Days (Peninsula Players Theatre); Pitmen Painters (TimeLine Theatre; Associate Artist); Pajama Game, Pippin, Fugitive Songs (The Music Theatre Company); Creditors (Remy Bumppo); Mill Fire (Shattered Globe Theatre); and The Mystery of Irma Vep (Peninsula Players). Charles has received five Jeff Award nominations and two After Dark Awards. He Lives in Oak Park with his wife Angela, children Ethan and Gavin, and golden retriever Shelby. Member: United Scenic Artists. cooperportfolio.com

PATRICK BLEY (Sound Designer) is pleased to be back with Bailiwick Chicago. Previous Bailiwick Chicago credits include Dessa Rose and Passing Strange. Patrick’s work has also been heard with Pioneer Theatre Company (Salt Lake City, UT), Pride Films and Plays, Lookingglass, and Timber Lake Playhouse in Mount Carroll, IL where he has served as the resident sound designer and engineer for four wonderful years.

GREG POLJACIK (Blood and Special Effects) has been working as a teacher and choreographer for more than a decade, in addition to being the inventor of the secret recipe for Gravity & Momentum’s stage blood products. He has been instrumental in the training of thousands of theater students and professionals worldwide and has provided award-winning choreography for more than two dozen theater companies in Chicago. Currently Greg teaches stage combat at The Second City Training Center in Chicago and is a research assistant at the University of Chicago in the field of cognitive/ behavioral neuroscience. Greg also has been a guest lecturer at Columbia University Chicago and has taught at regional workshops across the country, including co-coordinating the Winter Wonderland Workshop, the largest stage combat conference in the U.S. Greg is a certified teacher with the United Stuntmen’s Association, a member of SAG/AFTRA, the Society of American Fight Directors, AGMA, LBP Stunts Chicago and Asylum Stunts. All of his work in the art of stage combat follows the principles of “safety, story, substance.”

MICHAEL GORE (Music) won two Academy Awards for the movie Fame–one for Best Original Score, and a second for Best Song with lyricist Dean Pitchford in 1981. He was also nominated for “Out Here On My Own” from the same film, making three nominations that year. Also for Fame, he won a Golden Globe for best song, and was nominated for a Grammy. The movie’s soundtrack sold in excess of seven million copies worldwide. In 1983 he was again nominated for a Best Score Oscar for James L. Brooks’ Terms of Endearment. His instrumental version of the movie’s theme went top five on the Adult Contemporary charts. He composed the original score for John Hughes’ Pretty in Pink in 1986, and was a major contributor to the musical underscore for James L. Brooks’ Broadcast News in 1987. Other scores include Albert Brooks’ Defending Your Life, Anthony Minghella’s Mr. Wonderful, The Butcher’s Wife, and Superstar. As a songwriter, he collaborated with lyricist Pitchford on the song “Never” for Herbert Ross’ Footloose. With lyricist Lynn Ahrens, he wrote two original songs for Todd Graff’s Camp. Notable in Michael’s songwriting credits is the music for Whitney Houston’s multi-platinum seller, “All The Man That I Need,” which simultaneously reached #1 on the pop, adult contemporary, and rhythm and blues charts. Artists including Luther Vandross, Patti Labelle, and LL Cool J have performed his compositions. Michael served as the Producer for a series of nine recordings for the Hollywood Bowl Orchestra. His The Gershwins in Hollywood won Germany’s prestigious Deutsche Schalplatten Award. His Rodgers and Hammerstein’s CD of The King and I starring Julie Andrews and Ben Kingsley received critical acclaim, was number one on Billboard’s Classical Crossover Album chart for 17 weeks, and remained in the Top Ten for almost a year. As the album’s producer, he was nominated for a Grammy and won The Billboard Award for top Crossover Recording. In addition to Executive Producing ABC’s acclaimed three-hour Special Event telefilm of Rodgers and Hammerstein’s South Pacific starring Glenn Close and Harry Connick, Jr., he produced all the music for the film and its soundtrack recording. As a solo recording artist, he composed and performed “October Moon” for “Song Without Words II” for Windham Hill. Upcoming musical projects include a solo piano album of his own film themes and original pop compositions. As a film producer with partner Lawrence D. Cohen, he is co-producing a 3-D feature adaptation of Stephen King’s The Sun Dog with producer Bill Haber, set to begin production this coming spring. With Cohen, he is also developing 90 Days, an original drama with songs that the pair will produce for The Weinstein Company, as well as an original thriller set in New York and Buenos Aires.

DEAN PITCHFORD (Lyrics) was born and raised in Hawai’i and graduated from Yale. He began his performing career off and on-Broadway (Godspell; Pippin) before turning to songwriting, screenwriting, and directing. He has been nominated for four Academy Awards (winning Best Song for Fame, co-written with Michael Gore), three Golden Globes (winning for Fame), seven Grammys and two Tonys. His songs—recorded by such artists as Barbra Streisand, Whitney Houston, Cher, Peter Allen, LL Cool J, Kenny Loggins, Hugh Jackman, Dolly Parton, Bette Midler, and Martina McBride—have sold more than 70 million records. The musical stage adaptation (co-written with Walter Bobbie) of his original screenplay for Footloose ran for more than seven hundred performances on Broadway and is now being seen all over the world. Dean’s young adult novels, The Big One-Oh and Captain Nobody, have been published by Putnam/Penguin, and his performances of their audiobook recordings (released by Listening Library/Random House) were both nominated for Grammy Awards. His third novel, Nickel Bay Nick, is due in 2013.

LAWRENCE D. COHEN (Book) wrote his first feature script as an adaptation of Stephen King’s debut novel, Carrie (1976). His screenplay for the classic Brian de Palma film earned him an Edgar Award nomination from the Mystery Writers of America. After beginning his career as a film/theater critic and essayist for a number of leading periodicals, he worked as an assistant to famed Broadway director-choreographer Michael Bennett on the latter’s Tony Award–winning Twigs, as well as the musical Seesaw. While working for film and TV producer David Susskind, he discovered the script of Alice Doesn’t Live Here Anymore, and went on to become Production Executive of the 1975 Martin Scorsese film. Continuing his ongoing relationship with Stephen King in 1980, he wrote the four-hour teleplay of It which USA Today called “the scariest movie ever made for TV.” It and his subsequent adaptation of King’s The Tommyknockers (1993) became two of the network’s highest-rated miniseries. In 2007 he was reunited with the Master of Horror with his adaptation of The End of the Whole Mess for TNT’s Nightmares & Dreamscapes anthology series. The Writers Guild of America nominated the script as Best Drama.

Click below to download Bailiwick Chicago’s official Carrie: The Musical digital materials.