Listen To Wake Up Romania 
performed by David Hagy 

Images from The Revolution 
photographs or Camelia & Sorin Pascu 

Mad Forest Background Information

The University Theatre presents
Mad Forest
Caryl Churchill 
 Wake Forest University Theatre 
Scales Fine Arts Center
November 6-15, 1998 
    Directed by 
    Sharon Andrews 

    Scenic & Lighting Design by  
    Jonathan Christman 

    Costume Design by 
    Lisa Weller 

    Sound Design & Engineering  
    Douglas W. Brown 

    J.K. Curry 

    Fight Choreographer 
    Stephen D. Hyers  

    Production Consultants  
    Camelia & Sorin Pascu 

    Stage Manager  
    Kyle Haden*

Produced by special arrangement with Samuel French, Inc.

BOGDAN, an electrician  
Drew Rush* 
IRINA, a bus driver   
Heather A. McClain* 
LUCIA, an elementary school teacher, a daughter   
Sona K. Tatoyan*  
FLORINA, a nurse, another daughter   
Jennifer R. Wynne* 
GABRIEL, an engineer, a son  
Nick Kinder* 
RODICA, Gabriel’s wife   
Emily Sparkman*  
WAYNE, an American   
Drew Droege* 
GRANDFATHER, Bogdan’s father   
Bill Goodwin    

GRANDMOTHER, Bogdan’s mother  
Heather A. McClain*  
OLD AUNT, Bogdan’s aunt  
Kourtney Vahle*    

MIHAI, an architect  
Drew Droege* 
FLAVIA, a teacher  
Emily Sparkman* 
RADU, an art student, their son   
J.P. Stephens  
GRANDMOTHER, Flavia’s grandmother 
Kourtney Vahle*  

Matthew Udvari 

Bill Goodwin 

Joseph M. Gera 

Joseph M. Gera 

Bill Goodwin 

Kourtney Vahle* 

Joseph M. Gera 

Joseph M. Gera 

Bill Goodwin 

SOLDIERS in Rodica’s nightmare  
Joseph M. Gera & Bill Goodwin 

TOMA, age 8   
Kourtney Vahle 

Joseph M. Gera  

Bill Goodwin 


PAINTER  Bill Goodwin 

GIRL STUDENT  Jennifer R. Wynne* 

BOY STUDENTS  Matthew Udvari, 
J.P. Stephens 

TRANSLATOR  Drew Droege* 



SOLDIER  Nick Kinder* 

STUDENT DOCTOR  Sona K.Tatoyan* 

FLOWER SELLER  Emily Sparkman* 

HOUSE PAINTER Heather A. McClain*  
* Member of The Anthony Aston Players  



Technical Director  Douglas W. Brown   

Costume Shop Supervisor  Lisa Weller    

Audience Services Coordinator  Shanda Smith    

Assistant Stage Managers  Elizabeth Page*   
Tom Ruffner*, Erin Wade  

Master Carpenter  Eddie Childress*  
Show Carpenter  Brian Fuller  
Props Chief  Tafana Fiore  
Scene Shop Assistants Aaron Bokros, Eddie Childress*   
Fiona Findlay, Tafana Fiore, Amer Kahn   
Daniel Krajc, Heather McClain*, Katie Rief   

Scenery & Props Crew  Thomas O. Allen, Stephen Burns, Tarren Clark, Marguerite Corvine, Tate Decker, Teresa Foster, Cameron Grant, John Gregory, Chris Heffer, Joshua Munz, Brian Singleton, Sarah Storminger, Brent Thomas, Heather Wilkie, Matt Wrynn 
Costume Shop Assistants Kirstin Johnson   
Erin Korey, Kate Lewis, Melissa Osborne, Pamela Yeager  
Costume Construction Crew  Donna Dobbins   
Thomas Fussaro, Sarah Lucas, Stephanie Marshall 
Wardrobe Supervisor  Kate Lewis  
Wardrobe Crew  Kelly Murdoch-Kitt, Melissa Osborne, Julie Stone*, Sarah Storminger, Lauren Thompson 
Master Electrician  Darren Linvill*   

Electrics Crew Matt Fuller, Andy Grael, Nick Kinder*, Jeremy Rupor, Cat Saulniers, Blake Smith, Neel Tanna, Will Teague  
Lightboard Operator Kelly Williams 
Sound Board Operator Cat Saulniers   
Additional Sound Recording  J. P. Stephens 
Grips  Ali Ayala, Jackie Bowser, Matt Fuller, Jennifer Gunn 
Poster Design  Jonathan Christman  
Photography  Bill Ray III  
Homepage photography Jonathan Christman  
Dramaturgy & Lobby  Kara Devers, Traci Hale, Joe Lapan, Anthony Nicastro,Brett Shoemaker, Jennifer Snow  
Box Office & Front of House Staff  Ali Ayala, Sarah Brewer, Jonathan Crosson, Jenny Ellison   
Leah Hohman, Jennifer Snow, Cammie Wilson 
Box Office Crew Vincent Azzolina, Joey Dickson   
Chris Rekucki, Jamie Scott, Ira Williams  
Theatre Office Assistants  Ashleigh Ellsworth, Sarah Kutner, Jen Phillips, Sarah Storminger, Amber Wiley  
* Member of The Anthony Aston Players   

Betty Ross   
North Carolina School of the Arts   
Winston-Salem Little Theatre 


Much thought goes into choosing the plays that we produce. 
Education of our students, quality of script, interest to the audience, relevance to all our worlds, ability to create a fine production, and many other factors are considered. 
So why Caryl Churchill’s Mad Forest? 

First, Caryl Churchill is a very important contemporary 
experimental playwright. She is among the most widely 
performed and published British dramatists and her major plays have enjoyed great success in this country as well. Churchill is a passionate observer of humankind and Dan Sullivan says in the Los Angeles Times, she “has the kind of mind that deals with big issues lightly, not to demean them, but to remind us that issues and answers are abstractions—the spirit comes first.” Her pursuit  of this “spirit” took her to Romania with a director and group of young actors almost immediately after the 1989 revolution. These theatre folk immersed themselves in the stories the Romanian people told and through improvisation and experimentation Mad Forest emerged. 

Second, Mad Forest is a good play and its almost journalistic portrayal of the Romanian Revolution fits well into our year of globalization and diversity. Would that oppression, fear, bigotry and violence were old news. The timely and contemporary nature of this play has offered all of us (actors, designers, directors,technicians and dramaturgs) the opportunity through research to 
uncover and understand the realities this play depicts. The experimental development and style of Mad Forest has also given us the opportunity to work in ways new to some of us. We spent the first week of rehearsal as a company, not yet knowing who would play which roles, doing theatre games to build our ensemble, improvising, and exploring the style and imagery of the play. We also had to take time out to learn to sing and speak in Romanian! And last but by no means least, we had the opportunity to work very closely with Camelia and Sorin Pascu, two members of our Winston-Salem community who experienced the revolution and all its fear, confusion, triumph and return to confusion, first hand. It was an opportunity not to be passed up. 

So we chose Mad Forest. It was a good choice. 

The Revolution:  
15 - 26 December, 1989 

December 15- Father Laszlo Tokes spoke out against Ceausescu in the town of Timisoara. Backed by thousands, the riot police arrived to try and remove Tokes and disperse the crowd. A noisy, and at times bloody, battle ensued in the streets. 

December 16- The Securitate and the army were called in to restore order. The United States State Department reacted with, “It looks like Romania’s time may have finally come”, although the majority of the world still believed that Ceausescu would success-fully maintain control. 

December 17- A huge crowd amassed in Timisoara. The crowd became aggressive and marched on the Communist Headquarters at city hall. The demonstration was severelyanti-government, as portraits of Ceausesecu were burned and thrown from the building. The army used tanks, tear gas and water cannons against the crowd. 

December 18- The Executive Political Committee in Bucharest ordered the army to begin firing real bullets into the demonstrators. Civilian casualties ran high in Timisoara and the dead were collected by the army and either thrown in mass graves or burned. 

December 19-The resistance continued in western Romania, and the death count rose. The United States condemned the Romanian government for the use of “brutal force”. The army began to switch over to the side of the demonstrators. 

December 20- Negotiators from Bucharest were sent to Timisoara. The Securitate continued firing on demonstrators. Ceausescu arrived home from a visit to Iran and proclaimed martial law. He also blamed the uprising on Hungarian Fascists. 

December 21- Ceausescu addressed a crowd in Bucharest in a televised speech. Unexpectedly, the crowd became violent and tried to break police lines. A violent clash ensued in which at least 13 youths were killed. Protests began breaking out all over the 
capitol. The crowds refused to disperse and the police used gunfire and armored cars against the people. 

December 22- More demonstrators began to reassemble early in the morning. Huge crowds were locked in a standoff with the army in the main square of Bucharest. Reports of dissidence between Ceausescu and his army caused the crowd to start 
chanting, “the army is with us!” In a last ditch effort, Ceausescu tried to speak from a balcony, but was shouted down. He and his wife fled the capital and made plans to leave Romania. 

December 23-The fighting and brutality escalated in the streets, as confusion reigned. Some of the army had switched over to the side of the people and continued to battle security forces. Ceausescu and his wife were captured and returned to Bucharest. 
Ion Ilescu emerged as a leader of the National Front and made a list of demands on the government. 

December 24-The army continued to battle and gain on the Securitate in Bucharest. The National Front claimed control of the revolution and established a provisional government.\ 

December 25-The Ceausescus were tried and shot in a very speedy trial. 

December 26- The Ceausescu’s bodies were exhibited on TV, marking “the end” of these initial stages of revolution. Ceausescu was described as unapologetic and refused to recognize the decision of the courts. Despite this, fighting continued both in the 
capitol and in Timisoara. It is unclear when complete order was restored. 

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