backstory
Your behind-the-scenes look at TimeLine productions
y e s t e r day ’ s s to r i e s .
to day ’ s to p i c s .
the connection
message from artistic direc tor pj powers
Dear Friends:
He was right. I was quite wrong.
On behalf of TimeLine’s entire
company, I am thrilled to
welcome you to our 2006-07
10th Anniversary Season!
Now—25 productions later, and as
we launch our 10th season—I am
grateful for the clearer heads that
my fellow founders possessed.
To be honest, it seems strange to
even type those words, because
I don’t feel all that removed
from our earliest meetings in
1997 when TimeLine was created
by five colleagues and me from
The Theatre School at DePaul
University. We had just $300
and the idea to create a theater
company that focused on exploring
history. As one of the loudest
squawkers in those initial meetings,
I recall saying to our ringleader
Nick Bowling: “Just doing plays
about history? That sounds
positively awful to me and not the
type of theater I want to build a
company around!”
I think our work during the last
nine seasons has proven Nick’s
theory that history plays can
be anything but boring and dry.
Through the years, it has been our
goal to share with you daring and
innovative theater that forges a
connection between the social
and political issues of the past and
the present. We’re proud to have
built a body of work that seeks
to expand our view of history
and give us new ideas to ponder,
question and debate together.
Nick carefully pointed out that
using history as our roadmap
did not mean that our plays had to
be stuffy, dry and academic
(all things I feared). He had a vision
of TimeLine doing something far
different.
It is with that same goal that we
chose the plays for this milestone
season, a year that will take you to
the 18th, 19th, 20th and 21st Centuries
(not necessarily in that order). The
plays will transport you to wildly
varying historical settings yet
immerse you in issues and debates
you can find peppered throughout
today’s headlines.
Our first stop on this quad-century
journey is 1779 with The General
from America.
Going far beyond merely a
historical portrait or biography,
playwright Richard Nelson has
crafted a sophisticated and
provocative drama that asks us to
examine our country’s process of
nation building and the great sin
of pride that destroyed (as it has
many leaders throughout history)
America’s most notorious traitor,
Benedict Arnold.
We’re delighted and honored to
begin this year’s conversation with
The General from America, and we
look forward to continuing our
dialogue throughout a 10th year of
making history together.
Best Wishes,
PJ Powers
Artistic Director
Backstory Credits
Dramaturgy & Historical Research
by Maren Robinson
Written by Maren Robinson
Edited by Karen A. Callaway and
Lara Goetsch
Photography and Graphic Design
by Lara Goetsch
Original Design by
Rogue Element, Inc.
Pictured on front cover (left to
right): Actors Tom Bateman and
Terry Hamilton; research materials
on the production “dramaturgy
wall”; costume designer Alex Wren
Meadows with actor Mackenzie
Kyle; actor Stephan Madar.
Pictured on back cover (left to right):
Director Louis Contey and props
designer Julia Eberhardt; actor
Sean Sullivan; scenic design model
by Brian Sidney Bembridge; actors
Stephan Madar and Mackenzie
Kyle; actor Nigel Patterson.
richard nelson
the playwright
Richard Nelson was born in Chicago in 1950. He graduated from
Hamilton College in Clinton, N.Y.,
and worked as an associate director at The Goodman Theatre and a
dramaturg at the Guthrie Theater
in Minneapolis.
His earliest plays include The
Killing of Yablonski: Scenes of
Involvement in a Current Event
(1975), Conjuring an Event (1976)
and The Vienna Notes (1978, OBIE
Award). He received a second OBIE
for his contributions as literary
manager at the Brooklyn Academy
of Music’s theater company during
the 1979-80 season.
s e t t i n g t h e s ta g e
The General from America
opens in 1779 with the Colonists
already deeply embroiled in
the war with Great Britain. On
July 4, 1776, the Continental
Congress signed and confirmed the
Declaration of Independence, but
in the years following the Colonists
are not certain of success against
the British.
Gen. Benedict Arnold has
garnered a reputation as a war
hero for his role in the Battle of
He began a long association with
the Royal Shakespeare Company
with Principia Scriptoriae (1986)
and Some Americans Abroad
(1989, Olivier Award nomination).
His ongoing collaboration with
the RSC has included Columbus
and the Discovery of Japan (1992),
Misha’s Party (1993, co-written
with Alexander Gelman for the
RSC and the Moscow Art Theatre),
New England (1995) and Goodnight
Children Everywhere (1999, Olivier
Award for Best Play).
Nelson adapted his play Sensibility and Sense for PBS’ “American
Playhouse” (1990). He also scripted
The End of a Sentence for “American
Playhouse” (1991).
He earned his first Tony Award
nomination for Best Play for Two
Shakespearean Actors (1992).
Recent plays include Left (2002),
Franny’s Way (2001-02 Drama
Desk Award nomination for Best
Play), Madame Melville (2000), and
his adaptation of James Joyce’s The
Dead (1999, Tony Award for Best
Book of a Musical, Tony Award
nominations for Best Score and
Best Musical, Lucille Lortel Award
for Best Musical, New York Drama
Critics Circle Award for Best
Musical).
His latest play, Frank’s Home, will
have its world premiere at The
Goodman Theatre in November.
the setting
Fort Ticonderoga and the Battle
of Saratoga. Multiple injuries to
his left leg have left him unable
to sit comfortably in a saddle and
command troops in battle. He is
given the military command of
Philadelphia while he continues to
recuperate.
The abrasive Arnold finds himself
frequently at odds with the town’s
politicians, particularly Joseph
Reed. Further irritating Arnold are
the slights he has received at the
Post-Show Discussions
Sunday Scholar Series
Join members of the cast and
production team for free
post-show discussions on
Thursday, August 31; Sunday,
September 3; and Thursday,
September 7.
Following the performance on
Sunday, September 10, please join
us for our Sunday Scholar Series,
a free one-hour panel discussion
with experts talking about the
themes and issues of The General
from America. For the names of
panelists and more information
on the event, please visit
www.timelinetheatre.com.
hands of fellow generals. Worst of
all is Congress’ failure to recognize
his achievements with a promotion,
pay his back salary and reimburse
personal expenses. He also has just
married a beautiful woman half his
age who has expensive tastes and
a roving eye and whose family has
Loyalist sympathies.
To reserve tickets for the Sunday
Scholar Series, please call (773)
281-8463 x24. You do not need to
attend the September 10 performance of The General from
America to attend the discussion.
the players
THE PATRIOTS , t h e a r n o l d s a n d t h e b r i t i s h
Gen. George Washington
Joseph Reed
George Washington is a legendary
figure in America. In 1779, when
America was still a loose band of
rebellious Colonies, he already was
a national hero. But he also was a
general embattled. Washington
gained distinction during his
service in the French and Indian
War. On June 15, 1775, he became
commander in chief of the Continental Army, the creation of which
had been adopted by the Continental Congress the day before. It was
believed that, as a southerner, he
could unite the Colonies behind
the war effort.
Joseph Reed served on Washington’s staff in 1776. During this time,
Reed wrote a letter to Lee criticizing Washington. Lee’s response
miscarried and was opened by
Washington, who, in a display of
magnanimity, returned the letter
to Reed and apologized for opening it. Reed resigned in embarrassment, but later reconciled with
Washington.
After some initial success, Washington lost several battles in
New York and steadily retreated
to New Jersey. In spite of his famed
crossing of the Delaware River
and surprise attack on the British
army’s Hessian (German) mercenaries stationed at Trenton on
Dec. 25, 1776, he had few successes
in New Jersey. His failures led
many Colonists to doubt the Continental Army’s chances of success
against England.
Soon Gen. Charles Lee, upset at
not being named commander in
chief, was criticizing Washington’s
skills. Fellow generals Horatio
“Washington at the Battle of Princeton”
by Charles Willson Peale, (Pennsylvania
Academy of the Fine Arts)
Gates and Thomas Conway lobbied members of the Continental
Congress to replace Washington
with Gates. This plan, known as
the Conway Cabal, failed. Conway
resigned, and Gates sent an official
apology to Washington. These
intrigues among his fellow generals
showed how tenuous Washington’s
position was.
Washington felt deeply betrayed
when Benedict Arnold’s plan to
turn over West Point to the British
was revealed. Adding to the sting
of the betrayal was the fact that
he had supported the often-unpopular Arnold and given him the
command at West Point.
,1
N 74
17 orwi 1 B
ch e n
56
, C ed
to T
o
ic
14
in
rn
bo
Ja
n.
In December 1778 Reed became
president of the Supreme Executive Council of Pennsylvania. It was
in this position that he would clash
with Arnold, who had been named
military commander of Philadelphia. The enmity between the two
deepened as tensions between
military and political rule in the
city escalated.
Benedict Arnold
In 1779, Benedict Arnold was a
well-known war hero and
respected general who had served
his country and, in doing so, lost
full use of his left leg. His dramatic
rise in the military began in 1775.
As head of the Connecticut Militia,
Arnold led them to Fort Ticonderoga and, with Ethan Allen and the
Green Mountain Boys, succeeded
in capturing the fort. When the
Continental Congress put
Col. Benjamin Hinman in control
of the fort, Arnold resigned his
commission.
nn t
jo he
Ar
i
.
an n th 15no
ye
d
e
ld
h e m ar
is
he re ilit -o
ru tu ia. ld A
r
n
H
n
r
pr s a s
n
ov w ho is p old
in ay m are ru
cia a e;
nt n
g
Fe l arm ain a in a f s tra s awa
y. nd ew ce y
b.
en m him
en 1
lis on
ds 0 ,
t s th ,
Co t h e 1 7
in s
th
lo Se 63
ni ve e
B r es n T
he
ita a
Y
in s th ear Pe
is
e s W ac
Ap left w Fren ar, e of
ith ch a kno Par
r
m il 5
su nd wn is
en
bs In in
,
t
t a di t h
to am 176
nt a n e
en en 4
ia
l d Wa
Co fo rc ds t T
eb r.
h
h
lo e t e e
ts
n
.
in ies he Sug Brit
c
g
i
a
ch an oll r a sh
ea d p e c t n d P a
r
p
r
i
M er Fr even on of Mola liaen t C t a ss
ar
ch ol xe es
pa ch
su o n s i A c
ss
ga ist n t t
e 2
am s t h 2 ,
r f s f he
o r ro
ou e S 1 7
m m
6
n
t
Co t
a
ak b u
5
m
l o r ai
in yp
ni se A Pa
g
at st d ct rli
ru
te s r by . A am
m
m es t
.
in pt en he ltho ent
g
t
t h o r t P a c t u gh
th e C ais arli is
t
e f ol e m am mi he
n
o o
w rm nia on ent im
hi
al
e
,
ch ati l le y ’s
de m on o gis with
l e e e f a l at o u
ga t s
ur
t
S
Co te in ta es co
l o s f N m . T ns
ni ro ew p A hi ul
s
es m
t
.
ni Yor ct C pro ne k
w o n g mp
ith r ts
es
s,
“Arnold is a traitor, and has fled
to the British! Whom can we
trust now?” — George Washington
Arnold, aware of this event, added
it to the list of resentments he held
against Reed.
timeline of events surrounding the play
Later, when Maj. Gen. Philip
Schuyler planned to invade Canada,
Arnold proposed a second force
join him. Congress approved, and
Arnold was commissioned as a
colonel. The offensive failed and
Arnold was wounded in the leg
at the Battle of Quebec. He was
promoted to brigadier general for
his services.
When Maj. Gen. Thomas Mifflin
was given control of the troops in
Philadelphia, Arnold resigned his
commission again until Washington persuaded him to return.
He fought in the Saratoga Campaign to prevent the British from
capturing the Hudson River; a loss
would have separated New England from the rest of the Colonies.
Although Arnold played a decisive
role in that victory, he disobeyed
the command structure set by
Gates, creating an open animosity between the two. During this
campaign, at the Battle of Bemis
Heights, Arnold again injured his
left leg; he refused to let military
surgeons amputate. Although
the leg healed, he never regained
full use of it. It was when Arnold
became military commander of
Philadelphia that his troubles
began. The successful— if unorthodox and headstrong—general was
not a conciliatory politician. He
was accused of numerous counts
of profiteering and abuse of power
and ultimately was called before
a court martial. Though given a
light reprimand, Arnold was deeply
embittered.
He already had begun communicating with British Maj. John André.
As his plans for switching sides
in the conflict developed, Arnold
learned he would be more valuable
to the British if he could turn over
a military outpost. He asked Washington for the command at West
Point and moved forward with his
plans to trade control of the fort to
the British. When the plan failed,
Arnold had received only £6,000
of the potential £20,000 he hoped
to claim. He wrote a letter “To the
Inhabitants of America,” attempting to justify his actions.
After defecting, he was commissioned as a brigadier general in
the British army. He captured Fort
Griswold, Conn., for the British
before being ordered back to
England.
ns
To
w
Ju
ne
17
6
he 7 P
n
67
B
re
ga
17
ar
2,
sM
ar
r ie
Fe
b
m .2
—Benedict Arnold in a Sept.
25, 1780, letter to George
Washington, written aboard
the British ship Vulture as he
escaped to the British
After failed ventures in Canada, he
and his wife settled in London.
He died June 14, 1801, in London
never having achieved the success
or wealth he felt he deserved. He
asked to be buried in his Continental uniform. Today, in memorials
at Saratoga and the U.S. Military
Academy, Arnold is not mentioned
by name—only as major general.
t M en e
a n di c
sfi t A
va
el r n
r io
d . ol
d
ar
d
u
17 s g Ac lia
70 o t s m
— o d — n e nt
ex s .
T ew p
17 cept hey imp asses
fo a r o
68
r t e r t th e
sa h e re p t a
ch G r
ta ea xes
u s ea
x o le o
in et t
B
n d in n
th t s
r
te
i
e c A ta
a. Ma
ol sse in
rc
di
le
m
h
c t b ss
M
l
o
i
o n y f lv
ar
of o r e s
M ch
t a re f t h e
as
xe us
s 5
s. in Ma
w a cr , 1
g
he e . 7
to sTe 70
n
as
cr B r n s sis
ow iti io Th
s
t
n
in d, k h so s re e Bo
ju ill
l
a
s
d
rin in
ie ch ton
g
r
g
s fi s fi a b
17 ix. ve Co re o oilin
72
lo n a g p
ni n
r ig T
al an oin
ht h e
civ g t
s
ili ry
B
s e fo
an
ce r i ost
sa
t
o
ss s
nd
i o Co n A
n.
s
lo se
ni
D
m
e
ec
s a b ly
nd d
In . 1
di 6
th em
an ,
re a n
pr s d 17
at d s
en
ot u 7
es mp 3 s
al t t
C
lo h tea o
w e T i lo
e
n
n
to d ea to is
t
s e th e A
c Bo s d
th ll te Bri t (M sto res
e p a i tis a n se
H d
n
y
It rice th h Ea 10 ar as
co s e C st , 1 bo
7
r
m o
Bo es f Co olo Ind 73), to
st to lo nie ia C wh
on b ni s,
o
i
Te e kn al m un mp ch
aP o
e d e an
a r w n rch rcu y
t y a s an t t
.
th ts. ing
e
Benedict Arnold, oil painting by Doug
Henry (Norwich Historical Society)
The remainder of Arnold’s life was
fraught with thwarted successes.
He did not win the hearts of the
British public and had few friends
there to help advance his career.
“The heart which is
conscious of its own
rectitude, cannot
attempt to palliate a
step which the world
may censure as wrong;
I have ever acted upon
the principle of love to
my country, since the
commencement of the
present unhappy conflict
between Great Britain
and the colonies. The
same principle of love
to my country actuates
my present conduct,
however it may appear
inconsistent to the world,
who very seldom judge
right of a man’s actions.”
Peggy Shippen Arnold
Margaret “Peggy” Shippen was
the youngest of four daughters
of Judge Edward Shippen. He was
known as a Loyalist, although
other members of the family supported the Colonies.
When British troops occupied
Philadelphia, a young British major
named John André courted Peggy.
The courtship was not serious and
André continued to correspond
with her after the regiment moved.
Peggy met Arnold July 4, 1778, at
a party he hosted as the new military commander of Philadelphia.
The couple married April 8, 1779.
Peggy was known as a coquette
among the troops, and after
Arnold’s transfer to West Point his
aide and his sister, Hannah, wrote
letters of concern about her friendships with other men.
After Arnold’s plan to turn over
West Point was discovered, he
asked for Peggy’s protection and
proclaimed her ignorant of the plot.
Most historians, however, believe
she was aware of her husband’s
plans and had aided his correspondence with André. It also is likely
that, as Arnold nursed the wounds
of his conflicts with Congress, the
Philadelphia politicians and the
rebuke of his court martial, Peggy
encouraged him to believe he
would receive better treatment
from the British.
ar
ch
In
st
fir
M
Hannah Arnold
Hannah Arnold was the only one of
Benedict Arnold’s five siblings to
survive to adulthood. Her brother
disapproved of the French suitor
courting her and warned him to
stay away. When he caught him
visiting Hannah again, the unfortunate Frenchman was forced to dive
out the window to avoid being shot.
Years later Arnold encountered this
would-be suitor in Honduras and
challenged him to a duel, during
which he severely wounded the
Frenchman. Hannah never married.
Arnold’s first wife, Margaret, died
June 19, 1775, at age 30. They had
been married eight years and had
three sons. Hannah then took over
the care of her young nephews.
Although frequently away with his
military duties, Hannah offered
the only home Arnold had until his
marriage to Peggy Shippen.
After he and Peggy married, Arnold sent for Hannah and his sons
so they could join their household.
Later, the boys Hannah had raised
were sent to boarding school when
the pregnant Peggy said they
irritated her nerves.
John André by Sir Joshua Reynolds (Alex P.
Haig of Blair Hill, Rumbling Bridge, Scotland)
Maj. John André
John André was known for his
beauty, charm and talents. He was
a gifted artist, singer and actor and
was known for his eloquence and
poetic language.
André enjoyed a meteoric rise in
the British army. He joined in 1770
when he was 20, and by age 29 he
had attained the rank of major and
the title of deputy adjutant general.
He also oversaw British intelligence in the Colonies. He began
his clandestine correspondence
with Arnold in 1780.
André had been stationed in
Philadelphia, where he had been
a frequent visitor at the Shippen
home. He had courted the beautiful youngest daughter, Peggy, who
subsequently married Arnold and
likely acted as a go-between André
and her husband.
“He was more unfortunate than criminal:
an accomplished man and a gallant officer”
— Inscription attributed to George Washington from the memorial for John André in Tappan, N.Y.
of 1 7
7
to a se 4
le ri P
re r a b e s a r
sp le of lia
o
t h n s e A c t Co e m e n
ro
s
r
ug to t by civ t pa
clo h he th e A ss
s e o u t re e C c t e s
th M sis ol s (c the
o
a
e
t
a
Se port ssach ance nists) lled
of us an in
pt
B o et d s
Fi .
rs 5
s t t s . ab
t
o n T h ot
–
Ph Co n O
.
e B ag
ila tin c
rit e
t
d
ish
Br elp ent . 2
iti h al 6
s h ia C ,
go a n o n g 1 7
Ju ods. d dec ress 74 n
id m T h
es e e e
is e 1
no t s
na 5
t t in
m ,1
o
cr e d 7
im
ea
7
c
5
po
te om d
rt
Co m a G e o
n
Ap nti de rge
ne r
W
r
nt in
fro il 1
al ch a s h
Ar ief ing
m 8
Ch , 1
m of to
y.
a 7
th n
en
Ap rlest 75 ew
on Pa
r
ly
to ul
at il 1
Le Re
th 9
xi ve
eB ,
n
r
1
e
g
7
a
to rid
n.
M ttle o 75 es
ay
f L Br
ex ita
Co 1
in in
nn 0 ,
gt is
on d
an e c t 1 7
a n e fe
d icu 75
th
d ate
t
Co d
Fo e G M A
il rn
rt
nc
Ti ree itia old
or
co n
an l e
d.
M
nd
d
a
o
M
e r u n j o i ds
o g t a ns t h
ay
a. in Et e
Co 1
B o ha
nt 0 ,
ys n A
Ph inen 17
to lle
ila ta 75
co n
de l C nq
T
lp on h
ue
hi
e
r
a . gr e S e
ss co
m nd
ee
ts
in
After Arnold’s defection, the
Philadelphia public was unsympathetic to her and she was mocked
and hounded until she left to join
her husband in London. She and
Arnold had five children.
The British vs. The colonists
The British Perspective
Great Britain signed the Peace of
Paris agreement ending the Seven
Years War (known as the French
and Indian War in the Colonies)
Feb. 10, 1763. It was called by Winston Churchill the first world war,
because it drew in most European
nations as well as the Colonies.
The years of war left the nation
with massive debt. Many in the
country felt King George III gave
too many territories back to the
French and the Spanish as part of
the treaty. George III had to pay
bribes to get the treaty ratified in
the House of Commons.
the sides
Corruption was rampant in the
British Parliament in the 18th Century — votes were commonly sold
to the highest bidder. In addition,
the parliamentary system allowed
only a very small and wealthy part
of the population to vote: In a
country with eight million people,
only 215,000 males could vote.
As England struggled under the
weight of bribery and debt, the
population grew angry at the measures used to raise money. There
were 159 riots between 1740 and
1775 because of the popular anger
against political dishonesty and
the high price of necessities such
as bread.
Parliament viewed the lucrative
Colonies as a possible solution to
its financial woes. The Colonies
were lax in enforcing tariffs, and
many in England perceived the
Colonists as growing wealthy
under their British protectors.
Not all the British were supportive
of the war in the Colonies. The
Evening-Post newspaper called the
war “unnatural, unconstitutional,
unnecessary, unjust, dangerous,
hazardous, and unprofitable.
“Those who give up essential liberty, to preserve a little temporary
safety, deserve neither liberty nor safety.” —Benjamin Franklin
The Colonial Perspective
The British Parliament passed
a series of acts to raise taxes or
enforce existing tariffs. This would
provide the funds necessary to
maintain a standing army in the
Colonies and pay for the Crown’s
officials there.
Tax collectors were tarred and
feathered, and Colonists resorted
to acts of sabotage, such as the
Boston Tea Party. This prompted
stricter sanctions by Parliament
and even more British troops.
As it became apparent the Colonies would not have representation in Parliament and skirmishes
with British troops increased,
some Colonists began advocating
separation with the mother county.
There was no single Colonial
perspective on war with England;
many factions were involved. The
Quakers were pacifists and did not
support violence. Many governors,
judges and other officials were in
positions appointed by the British
government and did not want to
lose their incomes. Others, while
unhappy with the taxes, did not
want to form a new nation separate from the protection offered
by the British government and
army. The Colonies that were not
occupied by the British were not as
anxious to enter the war.
Ju
ne
le
av 19
in ,
sis g A 17
te rn 75
r,
H old M
a
w
Ju nnah ith argar
ne
, t t hr e t
ak e e A
vi
es
c t 17
y rn
ov ou old
or , 1
er ng d
du io u 7
th s o ie s
rin s a 75
ei n s ,
rc .
th g th t th T h
an e e
ar H i
eB
e. s
S B
be 1,00 ieg att rit
i
l
s
e
fo 0
e
re c a o f o f h a r
b a th s B o B
m
ck e u a s t u n y
k i
C l
v i . T h o n ti e s o n . e r s
H
ct e
I
t
i
t
i
n
o lo n
s il
T h r y a s s e e nt t h e u f fe l
is, re s a al A th rs
r
an t h e d e m s s o r m e e m o
c
r
y a
d
Co first ora iate is f ssa e
u
l
tr
oo lon ma izin d w orc lts
ps ial jor g t ith ed
c a a tr
o
n re oo figh th the
i
se or p
e
e “ de s , t b e B r r
is
it
t
Ju the w red n whe ween ish.
n
hi ot n t B
te to h ri
ca e s o fi e C tis
pt D
f t re o l h
ur e
h e un o n
to es c
ir til ia
Ca a em
ey th l
B
es ey
pl nad rit b
.”
an a ish e
r
;
st h
s
1
w o e h ch 7
in ta a oo 7
te ke s
5
n
an r v
Q 1,1 e A
d o lu u e 0 0 r an r n
h
v
d o
Ri e s nte bec olu sa ld
ch en er . W n ils
ar ds nu it tee no
M d
h
o n M ai d e m b e t h r s a r t h
e n
t o
th gom ntg Aa rs d on d
e a e o m ro w s e
n
in t
r
r
e
B
y
d o
Si till
r G e r ar r r y f ur r l e t f
y fi ive or to o 7
u
A r y C r s re a s 0
no ar e f wi inf k 0,
t
r
o G
du ld is leto om h 30 rce en
rin w n th 0 m .
d
e
g o u e c B m e e nt
th nd im ri
n, s .
eb e
b
a ti
at d in tes sh u ut
tl e t
t
h
he e n de
.
l e t ro r
ft
l e o ps
g
.
The Colonists were confronted by
a series of acts designed to raise
money for the British Government.
The Stamp Act (1765), Townshend
Acts (1767) and the Coercive Acts
(1767) (or Intolerable Acts as the
Colonists called them) were followed by the Tea Act (1773).
Colonists resented the high-handed way in which Parliament passed
legislation affecting them without
the approval of their Colonial
legislatures. Additionally, Colonial
militias felt they were capable of
maintaining their security and
mistrusted the British motive in
stationing troops near their homes.
i n t e r v i e w w i t h t e r r y h a m i lt o n
the actor
Two weeks into rehearsals for The General from America, TimeLine’s
Artistic Director PJ Powers (PP) chatted with Terry Hamilton (TH)
about his work on TimeLine’s stage during the last two seasons and his
current portrayal of America’s most notorious traitor, Benedict Arnold.
(PP) Terry, it’s a little hard to
believe that your first TimeLine
show was less than two years ago.
Yet in that time you’ve become one
of the most recognizable faces on
our stage— you’ve appeared in This
Happy Breed, Pravda, Martin Furey’s
Shot, Copenhagen and Fiorello!
What is it that has drawn you so
often to TimeLine’s work?
(TH) Well, to be honest, I auditioned for and was cast in This
Happy Breed before I ever saw
a production at TimeLine. I was
recovering from some personal
trauma around that time, and all I
wanted to do was immerse myself
in work. I loved the script and
wanted to keep myself busy. Once I
was cast, I thought I’d better check
you out. You were running the
remount of Hannah and Martin, so
that was the first thing I saw. About
10 minutes into it I realized I was
watching something very special.
The performances were wonderful—the production values, the
energy—and I was impressed with
how much you did with so little.
It was a very exciting experience
for me. I also felt that to produce
theater of that quality there had
to be something special going on
behind the scenes as well.
76
A
Q
in
17
(PP) From the list of shows you’ve
done, do you have a favorite?
(TH) Every show has its challenges, and there is always
something I like about every
production I’m involved in. The
challenges of Copenhagen seemed
enormous, and I’m very proud of
what we did with that production.
And I had great fun with the role
of Eaton Sylvester in Pravda. But I
have a special place in my heart for
This Happy Breed. Frank Gibbons
was a marvelous role; the cast
was just right, Nick Bowling, the
director, did a fabulous job —it just
seemed everything fell into place.
Plus, it was the first show I did at
TimeLine. I could have run that
show for years.
(PP) Prior to working in Chicago
you spent some time in New York,
and some of our audience may not
know about your stint working
on a Broadway stage many years
ago. This, of course, is one of my
favorite anecdotes about you.
Please share some information
about what you appeared in on
Broadway—and tell us a little bit
about your costume.
(TH) Right. And thanks a lot,
PJ, for bringing this up. I did Oh!
Calcutta on Broadway for nine
months, and the costume you’re
referring to is my original birthday
suit. I lived in New York for 11
years, studying and trying to make
a living as an actor. Producers of
regional, summer stock and dinner
theaters come to New York from
all over the country to cast. So I’d
get a job, leave New York, do the
gig and then come back and live
on unemployment until the next
job came around. I really wanted
to try and stay in the city for a
long enough time to see if I could
start working there. I went to the
audition for Oh! Calcutta thinking I
wouldn’t have the slightest chance
of getting it. The whole audition
process took about a week. They
would have a bunch of us come in
and we’d cold read scenes, then
they had us sing. And then there
were the dance and movement
auditions. As the week went on I
kept noticing people peeling off,
and I kept getting called back.
Finally it was down to five of us,
and I thought, “Oh, my God, I could
actually get this.” The last day was
u rn
ge ebe old
ne c
i
ra an s cit
d
l.
pr ed f
om or
Ja
n
ot his
ed b
pu . 1 0
to rav
bl
b r er
ish , 17
ig y
Br
e
ad
iti s “ 76
ie
sh C
r
a r r u om T h
ev l e m o m
o l an o n a
ut
sP
d
S
i
e
l
Ju on. aying nse, aine
ly
ou ” de
gr 4
t t no
es ,
h e un
s a 17
re cin
of p
7
as g
I n p ro 6
on
de v T
sf
p e es he
or
a
D n d e n n d s Co n
ec
ce ign tin
.
s t en
“T . 2
he ta
he 3
,
D e l Co
fa Am 17
cla nm er 7
o u ic 6
ra
t r s w an T
ti o
ym o C h
n
o
en rds risi ma
’s , “ s,” s
P
T
s
w
o
a
h
D
ec uls.” ese hich ine w
ar co r
hi . 2
e t n ite
st 5
h e t ai s
r
,
tim ns
ni oop 17
gh s
7
e s th e
t a ac 6 th
sia n ro
at
n d s ss Wa
tr u c th s h
oo c e
i
n
ps e e d D e g t
o
Ju
s
s l
ly tatio in su awar n lea
n e r p e R ds
Jo - A
hn
i
d
u
at risin ver
at Bur gu
Tr g at
te go s
en th
m
t
to e H
th pt yn e 1 7
n,
e r ing in 7
N esv
.J.
7
e
H st to s ade B
u d of e
s
t p s f rit
G on he ara rom ish
at R Co te
G
e iv
e
N C
l
H s an er. oni ew ana n.
e r d A r es
d
e- le no by Eng a,
in ad ld
s la
ju s
re a fi dis ecu nd f
s h n ob rin ro
a
e
is
g m
l e l at t y s G t h
g.
e
ac
k . en .
I left the theater elated, and then
panic set in. “I’m not that good,” I
thought. But everyone was so sup-
portive and the atmosphere you
create at TimeLine is so conducive
to helping artists, designers and everyone involved in the production
do their very best, it just felt like I
belonged here.
Actor Terry Hamilton plays Gen. Benedict Arnold in The General from America.
the day they separated the “men
from the boys,” so to speak, and
one by one we were led into the
theater. My turn came. I walked
on to the stage. A voice came out
of the dark. “Mr. Hamilton, please
walk off stage to your left. You will
see a robe hanging up. Please take
off all your clothes, put the robe
on, walk to center stage. Music will
begin. Drop the robe, and we want
to see you move.” I didn’t have the
faintest idea what I was going to
do. The music started. I dropped
the robe and began moving like my
life depended on it. To this day I
can’t remember exactly what I did,
but it must have been a hell of a
show because I got the job.
Now wait a minute—as I recall,
you were naked yourself, PJ, in
TimeLine’s very first production.
Perhaps that’s why we work so
well together. Neither one of us
obviously has any shame.
(PP) Oh, without a doubt!
Although hardly anyone saw our
first show (Summit Conference), so
there are only a handful of people
who saw me naked and I’ve sent
each one a letter of apology.
So, aside from getting to wear
clothes here, what do you think is
different about your experience
working in Chicago as opposed to
New York?
(TH) There’s a very palpable sense
of community in the Chicago theater scene that is rare in New York.
I’ve seen some great theater in
New York. But let’s face it, in most
cases the New York scene is often
driven by money. Here I feel it’s
driven by people and ideas. That
may seem simplistic, but I feel here
m
ili
ta
Ju
ne
17
7
ry 8 co A
ar
77
T
n
17
io
at
5,
er
nf
ed
ov
.1
Co
N
(PP) You’ve played a variety of
roles at TimeLine, including a
South African war photographer, a
Danish physicist, a New York political hack (and song-and-dance man).
And now you’re tackling Benedict
Arnold. That’s quite a range. What
drew you to this character?
(TH) Benedict Arnold was a traitor; that’s undisputed. The thing
that interests me is why. Each
morning when our feet hit the
floor we are faced with hundreds
of choices. Some we don’t even
think about; we just react. Others
are very deliberate and considered.
Depending on the outcome of
those choices we can be perceived
as being the good guy or the bad
guy at any given moment. Many
historians say that if the bullet
that shattered Arnold’s thigh at
Saratoga had entered his heart,
he would be considered one of
America’s most honored heroes.
h
ew eA
rit rtic
te les
n.
of
S e mm r n o
an l d
pt
de is a
18 .
r o pp
-y 25
ea
f P oi
r-o , 1
hi nte
la
ld 7 7
de d
Ap
M 8 lp
ar
Ar
hi
r
g
ar n
a.
Sh il 8
et o l d
ip
“P p
pe , 1
e g ro
n 77
m
g y po
ar 9 M
” s
ay ry. Arn Ship es to
ol
pe
w
1
d
ith 7
n.
an
7
d
th a Br 9 P
eg
ro it A
r
i
u
s
gy
J o gh h G n o l d
hn hi e
m
A n s d n er ak
d e p al e s
Ju ré. uty a , Sir H con
t
ne
dj
ut e n r a c t
tia 1
an y C
le , 1
t g li
d
7
en nto
w fo 7
hi r m 9
er n ,
le
al
,M
in isc Ar
co on no
aj
m du l d
.
Ju
ly man ct a is co
n
d
ur
m 17
d
i
n
an 8
Ph abu t-m
d
0
ila se arco at d e of
m W Ar
m es n o
lp po
an t P l d
hi
a . we
de o
se
r
i
r A nt e k
Se
u g an s t
pt
. 5 d i he
m .
sa c
.
ee 2
p p om
t 2
oi W to , 1
nt
es dis 78
ed
t P cu 0
oi ss nt p A
fo l a n r n o
rt s
h e fo l d a
Br r Ar nd
iti no An
sh l d d
.
to ré
se
cu
re
“Mr. Hamilton, please walk off stage to
your left. You will see a robe hanging
up. Please take off all your clothes, put
the robe on, walk to center stage ...”
we’re allowed to take more risks.
We have to rely on creative choices
to overcome the obstacle of having
no money. It forces you to come
together and figure it out. But I do
love the training I got in New York.
We live and die by our choices. To
us, George Washington is a great
hero, the father of our country. To
the British, he was the traitor. It’s
all about the choices we make and
how those choices are perceived.
There’s a little bit of George Washington and Benedict Arnold in all of
us. It’s a very delicate balance.
(PP) Having worked with you on a
few shows in the last couple years,
I’ve already noticed that you seem
to be approaching The General
from America in a different way
from your previous roles. How has
your preparation changed to play
Benedict Arnold?
(TH) For me, every show has its
demands and priorities. I’ll approach each production slightly
differently depending on where I
believe I need to be and how I need
to get there. Thank God, I don’t
have to do that alone. The director,
the other actors, the dramaturg,
the designers and many others are
there to help.
I do like to do as much research as
possible. That also depends on how
much time I have.
Ultimately I have to live in the
world of the play. And when you do
a play with characters who actually
lived and situations that actually
happened, obviously there is going
to be a certain amount of artistic
license taken. I love this time period and find the Revolutionary War
very dramatic. But there comes a
time in the process where you have
to let go of all that information and
simply live in the play. It may not be
exactly how it happened, but that’s
usually not the point the author is
trying to make.
For this production I read a lot,
watched documentaries,
gleaned what I believed would be
useful—and let everything else go.
There have been other times when
all I had time to do was to learn the
lines and get out there and do the
best I could.
(PP) This play marks your third
time working with director Lou
Contey. Why do you like working
with him?
(TH) I love Lou. He’s a very smart
man. He’s very flexible when it
comes to working with actors who
have very different approaches.
I never feel he’s dictating to the
actors but rather asking questions
that prompt you to discover choices you may have never considered.
He knows when to ease up and
when to put the pedal to the metal,
so to speak. He’s always willing to
let the actors try their ideas. Sometimes he’s inspired by that and
begins to riff on our ideas. At other
times he very diplomatically steers
you in other directions. So many
times he’ll express an insight very
off-handedly, and the light bulb
just goes on in the actor’s head.
He’s very smart, very creative and
very open to try things. I love that.
(PP) I must admit that I didn’t
know that much about Benedict
Arnold except the simple phrase
that we all learned in our 6th-grade
social-studies class: “Benedict
Arnold was a traitor.” What do
you hope people gain from seeing
this play, to better understand
this man?
(TH) He’s human. He’s really no
different than you or I. He made
the mother of bad choices, and
that’s all that most people know
about him. But in the early years
of the war he was considered by
George Washington to be the finest field general in the army. The
man was fearless. Unfortunately
he painted himself into a corner
because of his pride. He felt that
Se
p
su t .
2
rr
e 3
re n d e , 1
ve r 78
a W
da led es 0 ys w t P A r
h
o
ab late en int nol
oa r, An to d’s
A
r
s h d t r n o d ré t h e p l o
ip he ld is B t t
th B
c ri o
at rit esc apt tish
a
i
O brou sh sh pes ured is
ct
gh ip to . T
t A Vu th wo
An . 2
nd ltu e B
dr , 1
ré re rit
éi 7
.
— ish
s h 80
th
es
S e an g A
am
pt ed a fter
e
Br .
sa a
6
iti
s p h ea
sh , 1
y.
rin
Fo , H 7
8
g,
rt
G essi 1 ris an A
r
w
n
o an o
O
ct ld in d To ld an
Co r y d h
Co . 1
nn tro is
rn 9 ,
e c op
w
al 1 7
ti c s c
lis 8
ut ap
su 1 Se
.
tu
B
r
r
re
pt
en rit
de ish
en .
rs G
ds 3 ,
at e n
Br the 178
Yo . G
ita A
rk eo
m 3 i
n
to rg
er T
th
r
w e
h
e
i
e U c ca e
n,
o
Pa
ni gn n R Tre
te iz ev at
.
d
es o y
Ja
St
t h lut o f
a
n.
te e i io Pa
s. nd n a ris
Tr 14
ep n d
ea
en G
ty , 1
d e re
of 78
n c at
M Paris 4 C
eo
ay
.
f
on
gr
Ph 2
es
ila 5 ,
s
d
ra
fe elp 17
tifi
de h 8
7
es
i
r
w atio a to D
th
ou n r
e
e
l d — ev i l e g
t h b e a n s e at
e U co d
th e s
e
ni me nd e A ga
te
t
d t h e u p r ti c h e r
St
d
at Co raf les o in
e s n s ti
.
tit ng f Co
ut w n io ha
n
of t
(Left and above right) Terry Hamilton as Benedict Arnold (left) with Jennifer
Avery (center) as Arnold’s sister Hannah and Mackenzie Kyle (right) as his wife
Peggy during a recent rehearsal of The General from America.
because of the sacrifices he made
he was entitled to certain things,
and his moral insight became
clouded. We’ve all been there, to a
greater or lesser extent. We’ve all
been tested. Sometimes we make
the right choice, sometimes not.
The important thing is to learn, not
only from our mistakes but by
examining the choices of others.
We really don’t have to keep
making the same mistakes. That’s
easier said than done, however.
(PP) What’s next for you?
(TH) I’m going to be playing
Cardinal Richelieu in Chicago
Shakespeare’s new musical of The
Three Musketeers, which I’m very
excited about. I’ve wanted to work
there for some time, and finally the
time was right. Then, shortly after
that closes, I’ll be back at TimeLine
in George Bernard Shaw’s Widowers’ Houses—acting with you once
again. I’ve never done a Shaw play,
so I’m really looking forward to it. I
get to play a character named Lickcheese. How exciting is that? If you
just say “Lickcheese,” you get a lot
of insight into who this person is.
th
Se
p
ap t .
1
pr 7
ov , 1
e C e an 78
on d s 7 s ig D
Ju tituti n the eleg
on fi at
ne
na e s
.
be 2
ld
co 1,
ra
ft
s t mes 1 7
of
itu t 8
tio he 7 st
n
N
at n. C in
e
th w
e
fo l e g o n g s t H a
r i is re at m
t t l at s s e t p s
o
b ure ha o r hir
Ap ecom s en d req atify e
e e dor uir the
r
to il 3
f fe s e e d C
n
c t th e th o n is 0,
a
iv
e
Un l e 1 7
e . do t n
cu ine
ite cte 8
m
9
d
d
en
St th G
t
Ju ates e firs eor
an t ge
n
d p re W
di e 1
ta
es 4
ke sid ash
in , 1
s o en ing
Lo 8
ffi t o n d 01
ce f t
Au
he
on .
B
,E e
g
ng n e
in . 2
l a di c
Lo 4
nd t
nd ,
Ar
.
on 1 8
no
04
.
ld
P
eg
gy
Ar
no
ld
di
es
(PP) Do you think the play aims
to explain or make excuses for
Arnold’s actions?
(TH) No one can truly get inside
the head of another person. All
you can do is examine the facts
presented and make your best
educated guess. I think the playwright, Richard Nelson, does that
admirably. I certainly don’t think
he’s making excuses for Arnold. He
did what he did, and he had to live
with that. Even in Britain Arnold
was never truly respected for what
he did because the plan failed.
If Arnold’s plan had succeeded,
who knows?
the play
the general from america
Au g u s t 2 6 – O c t o b e r 8 , 2 0 0 6
by RICHARD NELSON
directed by LOUIS CONTEY
The Cast (in alphabetical order) The Production Team CHICAGO PREMIERE!
Jennifer Avery: Hannah Arnold
Brian Sidney Bembridge:
Scenic Designer
Tony Award-winning playwright
Richard Nelson’s powerful drama
about the early, uncertain birth of
America introduces us to the new
country’s most notorious traitor,
Gen. Benedict Arnold. Betraying
his reputation as a Revolutionary
War hero, Arnold makes an
uncharacteristic decision to defect
to the British and surrender West
Point, a plot that threatens to
derail the war. What caused this
founding father to betray his
fellow Colonists? The General from
America delves into the complex
story of one man’s life and honor
— and the stunning choice that
would make him infamous.
Tom Bateman: Alexander Hamilton
Craig Degel: Lt. Col. John
Simcoe/Orderly
Alex Wren Meadows:
Costume Designer
Keith Parham: Lighting Designer
Terry Hamilton: Benedict Arnold
Paul S. Holmquist: Stephen Kemble
Mackenzie Kyle: Peggy Arnold
Julia Eberhardt: Props Designer
Maren Robinson: Dramaturg
Seth Vermilyea: Stage Manager
Christopher Labove: 2nd British
Officer/Continental Soldier
Ryan Edberg: Assistant
Stage Manager
Stephan Madar: John André
Eva Breneman: Dialect Coach
Vincent Mahler: Joseph Reed/
Mr. Robinson
Jennie Martin:
Production Manager
Niall McGinty: 1st British Officer/
Pauling
Bob Groth: Technical Director
David Parkes: George Washington
Nigel Patterson: Sir Henry Clinton
Sean Sullivan: Timothy Matlack/
Van Wart
Michael Smallwood:
Master Electrician
Rob Coleman: Graphic Design
James Keister: Lobby Display Design
Lara Goetsch: Director of
Marketing and Communications
PJ Powers: Artistic Director
Brian Voelker: Managing Director
Au g u s t 2 0 0 6
Su
M
T
20
21
22
W
27
28 29 30
Oc tober 20 0 6
September 2006
F
Sa
23 24 25
Th
26
31
S h ow tim e s
thursday & friday 8 pm
saturday 4 pm & 8 pm
s un day 2 pm
pr e v i e w s &
s e l ec t w e d n e s day s 8 pm
Su
M
T
W
Th
F
Sa
Su
M
T
W
Th
F
Sa
1
2
1
2
3
4
5
6
7
8
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24 25
26
27
28 29 30
regular performance
preview performance
opening
performance
(sold out)
Reserve your tickets now at (773) 281-TIME (8463) x24
brief p ost-show
discussion with
cast & production crew
sunday s cholar
series: a one hour
post-show panel discussion
with experts on the themes
and issues of the play