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

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Cast:

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Male Roles:
Box Keeper	Ross Brown
Valere	Jeremiah Burt
Galoon	David Crawford
Hector	Erich Dorzab
Count Cogdie	Dennis Huynh
Lovewell	Lance Ivy
Mr. Demurr	Lorin Koch
1st Gentleman	Jarrod Lima
Marquis of Hazard	Adam Lombard
Dorante	Bradley Nelson
2nd Gentleman	Fitch Venckeleer
Sir Thomas Valere	Tyler Webster
Porter	Kris Wilson
Female Roles:
Mrs. Security	Megan Daly
Betty	Nicole Ferguson
Angelica	Lindsey Lombard
Mrs. Topknot	Lorilea Mitchell
Maid	Cheri Rutan
Favourite	Erica Sharp
Lady Wealthy	Kristin Smith
Crew:
Director	LuAnn Venden Herrell
Stage Manager	Dan Lounsbury
House Manager	Elizabeth Bruch
Assistant Directors	Elizabeth Bruch Lindsey Lombard Cherie Rutan Erica Sharp
Lighting Design	Erich Dorzab
Lighting/Sound	Lorin Koch Peter Hollister Emily Yeo
Stage Design	Martha Mason (WWC Art Department)
Chief Costumer	Stephanie Binns
Costumers	Elizabeth Bruch Kurt Drechsel Mari Ferguson Cherie Rutan
Wardrobe Mistress	Megan Daly
Scenic Artist	Martha Mason (WWC Art Department)
Set Foreman and Design	Dr. Roy Campbell (WWC Physics Department)
Set Construction	Jeremiah Burt John Campbell Erich Dorzab Andrea Dorzab Jerry Entze Bradley Nelson Adam Lombard Dan Lounsbury
Music Consultant	Dr. Kraig Scott (WWC Music Department)
Box Office	Doug Taylor Adam Lombard>
Program and Poster Design	Tara Twing
Public Relations	Bradley Nelson

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Photos:

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Rehearsal photos by Amanda Gibson

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About the Play:

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

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

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