BLESS ME, ULTIMA

February 16 - March 11

1924 Fredericksburg Road

classictheatre.org

(210) 589-8450

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IN LOBBY

MISSION

The Classic Theatre creates excellent theatre that is relevant,

diverse, entertaining and transformative.

VISION

We envision San Antonio as a vibrant city with a rich diversity

of arts and culture which connects communities.

BOARD OF DIRECTORS

Randy Stier (Chair) Armando Barrera

Sara Beesley Emily Boehm

José Rubén De León

Joseph De Mott Christi Eanes John Joseph Bart Roush Kathy Sakai

FOUNDERS

Chris Cheever Asia and Anthony Ciaravino

Diane and Rick Malone Allan S. and Terri Peña Ross

THEATRE STAFF

EXECUTIVE & ARTISTIC DIRECTOR Kelly Roush EDUCATION DIRECTOR Kacey Roye BOX OFFICE MANAGER Florence Bunten BOOKKEEPER Olivia Tober GRAPHIC ARTIST/PROGRAM DESIGN King William Design

HOUSE MANAGERS Rita Duggan, Zach Lewis, Eva Laporte

NO TALKING, TEXTING OR RECORDING. PICTURES ARE PROHIBITED. Please silence your phone before the performance.

classictheatre.org

February 16-March 11, 2018

The Classic Theatre of San Antonio Presents

Bless Me, Última By Rudolfo Anaya

Directed by José Rubén De León

Cast

Narrator Carlos Alvarado Tony Andrew Treviño Última Marisa Varela Gabriel Luis García, Jr. María Anna de Luna

Prudencio Fred Rodríguez Garza Ensemble Keli Rosa Cabunoc

Ensemble Alyx Irene Gonzáles Ensemble Ricardo Guzman Ensemble Amanda Ireta-Goode Ensemble Ivan Ortega Ensemble Julio Alberto Sepúlveda

Ensemble Bella L. Villarreal

The action takes place in Guadalupe, New Mexico in the 1940’s.

There will be one fifteen-minute intermission.

Production Staff Assistant Director Donna Provencher Stage Manager Angie Hernández Assistant Stage Manager Ava Valdez Technical Director Cameron Beesley Set Designer Ric Slocum Costume Designer Diane Malone Lighting Designer Alfy Valdez Sound Designer Rick Malone Properties Master Alfy Valdez Master Electrician Matt Shavers Production Crew Scenic Artists Tiffany Torres

Lisette Torres Stephanie Martinez

Lighting Technicians Jackline Campos Tyler Cozart Seth Guerrero Zach Walsh

Props Assistant Janis Kelly Board Operator Ava Valdez Photographer Siggi Ragnar SPECIAL THANKS Les Johnson Madison Square Presbyterian Church Siggi Ragnar: sRagnarFotografi Chris Rodriguez, Woodlawn Theater Bart Roush Janis Kelly Allan S. Ross Jodi Karjala Crystal Sea Drama Company Scott Neale Mary Margaret Nancy Moore About Bless Me, Ultima

“I made strength from everything that had happened to me,” writes Rudolfo Anaya in his 1972 novel Bless Me, Última, “so that in the end even the final tragedy could not defeat me. And that is what Última tried to teach me, that the tragic consequences of life can be overcome by the magical strength that resides in the human heart.” It is this same strength that underlies Anaya’s classic work of Chicano literature, making it such a compelling and transformative piece. Its genesis did not come easily. Anaya, who grew up in Santa Rosa, New Mexico with a vaquero (rancher) father and a mother raised among farmers, began writing the book in 1963 when he was a high school English teacher. Though now considered the frontrunner of its genre, Bless Me, Última’s publication proved a challenge because of the novel’s free commingling of the English and Spanish languages, as well as traditional Catholic and native healer (“curandera”) lore. Seamlessly, Anaya weaves together the sacred and the profane to masterful effect. And yet, the powerful story took years to write and still longer to find a publisher. Nor has its legacy gone unchallenged: In 2010, Arizona passed House Bill 2281, banning literature "designed primarily for pupils of a particular ethnic group," effectively banning ethnic studies altogether. Among the books challenged? Bless Me, Última. Last August, of course, a federal judge declared House Bill 2281 “racially discriminatory,” and Anaya’s work is safe. For now. The battle that has raged for years about the text in the Tucson Unified School District is a striking analogue for Última’s story: Bless Me, Última, much like Última herself, has been martyred, misappropriated, and misunderstood over the years, a victim of its own Otherness. Última – much like her eponymous story – does not fit neatly into any one category. Her inclusive worldview disquiets all those who would trade in exclusivity. She represents, as she reminds Tony, “all that is good and strong and beautiful," drawing from multiple sources but the same wellspring. Ultimately, Última does not discriminate. Whatever the geographical region, faith tradition, or ethnic background from which you hail, this stage

adaptation of Bless Me, Última will challenge and change you, as it has challenged and changed us. In the play, we see the triumph of the human spirit – of all that is good and strong and beautiful – over all that threatens to assail it. “It is because good is always stronger than evil. Always remember that, Antonio. The smallest bit of good can stand against all the powers of evil in the world and it will emerge triumphant." Donna Provencher M.A., English Literature and Drama The Catholic University of America WHO’S WHO Carlos Alvarado (Ensemble) Studied theatre at San Antonio College in 1980. He appeared in his first production at the Harlequin Dinner Theater, as Spotted Tail, an Indian warrior in Indians. Various other Agatha Christie productions followed. His favorite character was as Granillo in the Alfred Hitchcock thriller, ROPE at the (former) San Pedro Play House Cellar. His most recent role was three years ago as Officer Welch in Rumors at the Sheldon Vexler Theatre. He owes a ton of gratitude to the late Bruce Shirky, for “taking a chance on me and giving me my first role.” J. Camron Beesley (Technical Director) received his BA in Drama from Trinity University. He stayed in San Antonio after graduation, and served in the role of Technical Director, Lighting Designer, Shop Foreman, and Scenic Fabricator at various theatres in and around San Antonio, including Allegro Stage Company, The Public Theatre, Trinity University Dept. of Theatre, and AtticRep. He spent a significant amount of time honing his creative carpentry and welding skills at SRO Associates in Boerne, contributing to the creation of sets and pieces for SeaWorld, Dollywood, and—his favorite—the rebuild of Big Tex at the State Fair of Texas.

Keli Rosa Cabunoc (Ensemble) is a Chicana dancer, musician, performer, and first-generation scholar from Santa Ana, California. She has toured internationally as a musician and performer, and danced professionally in New York, Los Angeles, and México. Since moving to San Antonio, Keli Rosa has played Emma Tenayuca in the Guadalupe Theater’s production of That’s Not Fair!, Emma Tenayuca’s Struggle for Justice , and was the lead in Adelita , an original Chicano play at Jump-Start Performance Co. Keli Rosa believes in the power that theatre and performance arts have to educate, inspire social change, and create community. José Rubén De León (Director) has created and performed five one-man shows, five music tributes to Latino composers, and recorded five music CDs. For the Classic Theatre, he has directed The House on Mango Street, Burning Patience, The House of Bernarda Alba, and acted in King Lear and Lorca . He has sung El Corazón del Bolero: A Tribute to Bolero Composers, and UNFORGETTABLE : A Tribute to Nat King Cole, which was named one of the best theatre productions of 2016 by the San Antonio Express-News. De León makes his home in San Antonio, where he remains active in playwriting, performing, and recording. He is the founder and artistic director of Teatro Farolito, a bilingual and Spanish-language theatre company. Anna de Luna (María) Anna received her training at the American Academy of Dramatic Arts in New York City. She has acted in leading roles at the Guadalupe Theater, Jump-Start Performance Company, Attic Rep and appeared at the Public Theatre’s Anna In The Tropics for which she received an ATAC Globe Award for Best Supporting Actress. She has also been a recipient of grants from the National Association of Latino Arts and Culture and the City of San Antonio Office for Creative and Cultural Development to produce her original, one-woman shows, The AIDS Lady and My Arab Fall .

Luis García, Jr. (Gabriel) Luis is proud to mark his first performance with The Classic Theatre. He recently worked with Teatro Audaz in The After-Life (Staged Reading), but he is best known for dancing and singing in shows such as Hometown Holidays (The Harlequin), How to Succeed in Business Without Really Trying, Evita, West Side Story (The Woodlawn Theatre), A Chorus Line, and Wizard of Oz (The Public Theatre). Mr. García’s other love is ballet folklórico with the Guadalupe Dance Company, and he has performed with them throughout the USA. Luis holds an MA in Communication Studies from St. Mary’s University and a BS in RTF from the University of Texas at Austin.

Fred Rodríguez Garza (Prudencio) Served as the founder, producer, and resident director of the Bayou City Bilingual Theatre, Houston, TX 1973-2010, where he produced and directed favorites including; Of Mice and Men, La Fiesta de Mulatto, The Romance of Martin Galvan (wrote), It Started on the Pickett Line , and The Actors of Luis Valdez. He also worked with Teatro Billingue de Houston as Technical Director for six seasons. He has written and produced Rocky’s Ice House, and completed works such as; Too Hot for Baseball, Mistaken Identity, The Liberation of Santa Cecilia, The Pending Suicide of Dr. Sullivan,The Molcajete Scandal, and Something Between Us. In San Antonio, Mr. Garza was a member of Teatro de los Barrios, a noted resident Chicano Theatre Troupe. Alyx Irene Gonzáles (Ensemble) is a recent graduate of the University College Dublin Master of Arts in the Theatre Practice program. She has completed the full-time actor training conservatory program at the Gaiety School of Acting in Dublin, Ireland. This is her first production with The Classic. Before leaving for Ireland, Alyx was seen in many shows at The Public Theatre including The King and I (Tuptim), The Music Man (Zaneeta), and Zanadu (Euterpe). Her most recent show was in partnership with The Actors Touring Company in which she was a featured Suppliant in The Suppliant Women at the Gaiety Theatre (Dublin).

Amanda Ireta-Goode (Ensemble) Amanda is honored to form part of this production of one of her favorite works. Amanda recently played Beatriz Gonzales in Classic’s Second Series production of Burning Patience. She has enjoyed performing and doing tech work with Jump-Start Performance Company and the Overtime Theatre over the years, and holds a BA in Theatre from the University of the Incarnate Word. Ricardo Guzman (Ensemble) is excited to be cast in his first Classic show! He is currently a Sophomore at UIW, majoring in Theater Arts. His previous performances at UIW include; Mortensgaard in Rosmersholm, Captain Brice, RN in Arcadia , and Joey Percival in Misalliance. Angie Hernandez (Stage Manager) is happy to return to the Classic for Bless Me, Ultima . She has stage managed at several theaters in San Antonio. Diane Malone (Costumer) is a founding member of The Classic Theatre. For Classic, she directed School for Scandal, Master Class, Vanya & Sonia & Masha + Spike, Taming of the Shrew, Method or Madness: Hamlet 2013, It’s a Wonderful Life, The Firebugs, 6 Degrees of Separation, Blithe Spirit, All My Sons, Twelfth Night and Rancho Pancho. She has also designed for several Classic Theatre shows, most recently scene design for You Can’t Take it With You earlier this season, and costume design for Bus Stop, Born Yesterday, The Seagull, Merchant of Venice, and Ghosts. The former Artistic Director of San Antonio’s Church Theatre, she also served as director and/or designer for theatres in Germany, Louisiana, Indiana and Washington, DC. Diane has received San Antonio Artist Foundation awards and ATAC Globe Awards for both costume design and scene design. She and husband Rick Malone were honored by ATAC with the 2015 Jasmina Wellinghoff Award for Outstanding Contribution to Theatre in San Antonio.

Rick Malone (Sound Designer) is a co-founder of The Classic Theatre. He has designed award-winning sound and lighting for The Firelight Players, The Sheldon Vexler Theatre, The Public Theatre of San Antonio, Shakespeare in the Park, The Summer Company, The Renaissance Guild, the Church Theatre and The Classic Theatre. His sound designs have been selected for display at the Prague Quadrennial Exposition of Scenography in 2003, 2007 and 2011 and for the Gallery at The World Stage Design 2005 (Toronto) and 2009 (Seoul). His sound design for Classic’s The Firebugs was selected for exhibition at the World Stage Design 2013 in Cardiff, Wales. Rick is a charter member of Theatrical Sound Designers and Composers Association. Ivan Ortega (Ensemble) is thrilled to participate in his first Classic show. He holds a B.A in Theater Arts and a B.B.A in Marketing from the University of the Incarnate Word. While at UIW, he performed in A Christmas Carol, Antigone and A Flea in Her Ear; which earned him an ATAC Globe Award nomination. He recently appeared in Chitty Chitty Bang Bang and served as assistant director for Little Shop of Horrors at The Woodlawn Theater. Other San Antonio credits include Shrek, Sister Act, Pippin, Evita, among others, at the Woodlawn Theater and A Chorus Line, Jesus Christ Superstar and The Music Man at The Public Theatre. Donna Provencher (Assistant Director) Manager) is a D.C. native and recent transplant to San Antonio from New York. A writer, director, actor, stage manager and sound designer, Donna received the Cliff Smith Directing Award in 2011 for Brian Friel’s Lovers: Winners and Losers and a 2017 Excellence in Directing award from the Theatre Association of New York State for A Streetcar Named Desire. Other directing credits include The Complete Works of Shakespeare Abridged, Hamlet, A Christmas Carol, James and the Giant Peach and Bye Bye Birdie. Favorite roles include Becca in Rabbit Hole and Annie Sullivan in The Miracle

Worker. She stage managed this summer’s Lorca for Classic as well as A Doll’s House. Julio Alberto Sepulveda (Ensemble) is a graduate of Bowling Green State University in Bowling Green, OH. He has a BAC in Theatre and has returned to the world of performing most recently as Joaquin in Mono Aguilar’s Adelita . This is Julio’s second show in San Antonio. Matt Shavers (Master Electrician) is a Senior Theatre Arts Major at the University of the Incarnate Word pursuing a career as an Entertainment Electrician. At UIW, he has served as the ME for nine productions, including: Godspell, Misalliance, Lemons Lemons Lemons Lemons Lemons, Rosmersholm, The Day Room, Reckless, Almost, Main, The Diviners, and The Beauty Queen of Leenane. He has worked as an over hire Stagehand/Electrician for I.A.T.S.E #76 in San Antonio since 2016. For the summer of 2018, Matt will serve as the Head Electrician in Moorhead, Minnesota for Trollwood Performing Arts School’s production of Hello, Dolly! Ric Slocum (Set Designer) was a member of the Dallas Theatre Center Company, The Repertory Theatre of America Touring Company and Artistic Director of the 24th Street Experiment. He is Professor Emeritus of Drama at Our Lady of the Lake University where he served as chair of the drama department, Director of Fine Arts and Dean of Arts and Science. He has had several of his plays produced and published. Having retired from teaching he is focusing on visual art. He and his wife Pam Slocum, have opened Barking Dog Studios where they create and showcase their paintings and other visual projects. He has previously designed the set for The Classic Theatre’s production of Ghosts. Andrew Treviño (Tony) is proud to make his stage debut with The Classic Theatre. Andrew has been acting since age 9 and

has participated in many productions. Some of his favorite roles include; Macbeth in Macbeth , Peter in Peter Pan , Hanza in I Never Saw Another Butterfly and Edmund in The Lion, The Witch and The Wardrobe. Andrew was recently accepted into The North East School of The Arts Musical Theatre Program and was awarded Best Actor in the SAISD UIL one act play competition for the past 2 years. Andrew currently attends Bonham Academy and enjoys being actively involved in all aspects of the theatre and band programs. When Andrew is not practicing his craft, he enjoys listening to music and playing video games with his friends. Alfy Valdez (Props Master/Lighting Designer) is former Resident Designer and Technical Director of The Public Theatre of San Antonio. Favorite design credits with the Classic Theatre include A Doll’s House, The Merchant of Venice, and You Can’t Take It With You . At The public Theatre, his favorite shows include Picnic, Time Stands Still , and design award winners Red, Man of La Mancha, Funny Girl, and Bus Stop at The Classic Theatre. Alfy is a proud alumnus of UC Berkeley, B.S. Art. Ava Valdez (Assistant Stage Manager) has been with The Classic for a little over two years, and has worked on various productions, including; A Doll’s House, Bus Stop, The Tempest, and You Can’t Take It With You. She also assisted with the Classic’s Second Series productions, including Lorca, Burning Patience and Clear to Partly Crazy. She is a junior at the Anne Frank Inspire Academy and a dual credit student at Northwest Vista College. Marisa Varela (Última) was born in Buenos Aires, Argentina, where she studied at The National Conservatory of Dramatic Arts. Her solid and vast career spans over 40 years, between Argentina, Puerto Rico and Texas in numerous television shows, soap operas, commercials, plays and a dozen films. She has written and produced theater for both children and adults.

She was last seen in Burning Patience and The House of Bernarda Alba at Classic (ATAC Globe Award). Her latest work in San Antonio was in Dead Man’s Cell Phone, Electricidad, and Among the Sand and Smog (Frontera Festival) at The Public Theatre, Las Nuevas Tamaleras at Jump Start Theatre Co, The Clean House at UIW (ATAC Globe Award) and Lydia with Attic Rep. International credits include; Into The Pines, Blackout Day, Los Locos Bajitos, Next, Today I Am Happy, and The Shoes. Film credits include; Mission Park, directed by Bryan Ramirez and Manglehorn, directed by David Gordon Green, where Marisa had the opportunity to share scenes with Al Pacino. Bella Villarreal (Ensemble) returns to The Classic Theatre after performing as Young Esperanza in the 2016 and 2017 productions of The House on Mango Street. She played Molly in Peter and the Starcatcher and Ariel in The Tempest at the Advanced Learning Academy, where she is in the 8th grade. She has performed in numerous school plays at Bonham Academy, including; the Hillbilly in an original show and as the Cat in the Hat in Seussical The Musical. She has performed at The Woodlawn Theatre, The Magik Theater, and at The Public Theatre of San Antonio, where she won a scholarship for the Conservatory program. THANK YOU to all of our DONORS:

(This information reflects contributions received 1/01/2017-1/15/2018)

William Shakespeare Circle $5,000 +

City of San Antonio Department for Arts & Culture Faye L. and William L. Cowden Charitable Foundation

HEB Tournament of Champions Kronkosky

Ed and Trudy Moore San Antonio Area Foundation Texas Commission on the Arts

Valero

Tennessee Williams Circle $1,000 - $4,999 Armando and Carolina Barrera

Emily Boehm Antonio (Tony) Cantafio

Texas Cavaliers Jean Cheever

Charlie and Nancy Cheever Christine Crowley

Stuart Schlossberg and Judge Bonnie Reed Allan S. and Terri Peña Ross

Kelly and Bart Roush David Mangelsdorff and Linda Smith

Randy and Catherine Stier The Williamson Foundation

Oscar Wilde Circle $500 - $999

Nancy Fix Anderson Anonymous (2)

George Beddingfield Raul Yordan and Norma Bodevin

Joe and Kathy DeMott Walter Matich

Jacqueline H. McClellan Cameron and Marion Monk

John V. and Judy Jay Mumma (In Memory of Bob Polunsky) Charles Ryburn

Philip and Rebecca Tinkler

Noel Coward Circle ($250 - $499) Anonymous

Byrd and Patty Bonner Arlene Dryer

Michael and Rita Duggan Edward and Valerie Faleski

Patrick and Kay Gahan

Michael and Barbara Gentry Timothy Hedgepeth

Jeff and Susan Hinger Vincent Johnson

Richard and Diane Karohl Martin and Frederica Kushner

Rick and Diane Malone Robert L. Mays

LaRonda McAndrew Victor and Valerie Ostrower

Gary and Harriet Smith George and Teri Stieren

Barbara Stover Alan and Melissa Utley

Penny Wiederhold

George Bernard Shaw Circle ($100 - $249) Victor and Cris Saldivar

Anonymous Richard C. Arredondo Jerry and Molly Ashby

Jack Kent and Susan Athené Raymond Baird Rebecca Baker Eva Balcazar

Charles Bender William and Clara Bergstrom

Howard Black Braverman Family Charitable Foundation

Susan Breidenbach Elaine Bright

Florence Bunten Laura Burt

Joan and Bob Carabin Hilquias (Keo) Cavalcanti

Bill and Liz Chiego Thomas and Mary Locke Crofts

Lee Cusenbary Alex De Jesus

Elanore P. Decker Mary Denny Terry Dunlop Rad and Nita

James L. Empereur Jessica Fernandez-White Bruce and Lila Gardner

Richard and Toni Goldsmith Tom and Josephine Grabow

Lisa Guerrero Yvonne R. Haag

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R. Wayne Hilliard Gemma Kennedy

David Kolodrubetz and Ellen Kraig Meghann Leinweber

Susan Mooberry James Moody Ann B. Mrizek Phillip Muth

Kathleen Newton Joyce Peterson

Schiller Company Milinda and Gerald Schwab Alberto and Reina Serrano

Paula Smart Victor Trevino

Lee and Terri Washburn Miles and Caroline White

Classic Theatre Circle $25-$99

Anonymous Arthur and Myra Bahme

Michael Barry

Cesiah Boryczka Julia Briggs

Elizabeth Cave Jerrie Champlin Harriet Christian Philip Corcoran

Elizabeth Costello Eddie Cox

José Rubén De León Brian and Christi Eanes

Melinda Farmer Michael Ferguson Robbye P. Floyd

Carol Frere Richard and Elyse Galik

Kathryn Galindo Beverly Gallets

Charles Gallimore Renee Garvens

Jon Gillespie Jennifer Goetz Adela Gonzalez

Charles Gonzalez Norbert Gonzalez

Charles and Margaret Goodhue James DuWayne Greene

Bonnie Griffith Richard F. Halter Linda Hardberger William L. Heffner

Jan Heinrichs Jose M. Hernandez Sherry G. Houston

Michael Howard and Linda Ford Barry W. Hubbard Margery Huston Margaret Joseph

“Bless Me, Ultima” was made possible by the patronage of…

SEASON 10 OF THE CLASSIC THEATREwas made possible by the patronage of

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