Betty’s Summer Vacation

by Christopher Durang

The Walnut Street Theatre Independence Studio on 3
June 11-30, 2019
Directed by Tina Brock

Running time is approximately 85 minutes, with no intermission.

Kirsten Quinn
Amanda Schoonover
Anthony Crosby
Mrs. Seizmagraff
Tina Brock
Chris Fluck
Mr. Vanislaw
Bill Rahill
Voice One
Josh Hitchens
Voice Two
Kassy Bradford
Voice Three
Carlos Forbes

Scenic Design

Dirk Durossette

Costume Design

Millie Hiibel

Lighting Design

Joshua L. Schulman

Sound Design

Adrianno Shaplin

Stage Manager/Board Operator

Madison Caudullo

Technical Director

Tom Fusco

Set Construction

Stage Rats, LLC

Set Construction/Scenic Painting

Andrew Robinson & Jessica Rottkamp


Tina Brock & Mark Williams

Ways and Means Coordinator

Bob Schmidt

Photoshop Magic

Bill Brock


Johanna Austin /


Betty’s Summer Vacation (2019)

“...Outrageous mayhem, incorrect and hilarious...Tina Brock directs with gusto and glee…”
--Toby Zinman, Philadelphia Inquirer
Betty’s Summer Vacation (2019)

“...comic bliss...gloriously unbuttoned, wickedly funny performances…”
--David Fox, Reclining Standards
Betty’s Summer Vacation (2019)

“ your tickets now...big belly laughs that leave audience members shaking in their’ll be left shaken (at this) sitcom from Hell…”
--Cameron Kelsall, Broad Street Review
Betty’s Summer Vacation (2019)

“...The play is terribly funny, the acting quite good, but sex, violence, voyeurism, and self-gratification tell quite a judgmental tale about our culture—or lack thereof…”
--Margaret Darby, Phindie
Betty’s Summer Vacation (2019)

Director’s Note:


A colleague first introduced me to Betty’s Summer Vacation 10 years ago. At that time, four years into the IRC’s existence, we were busy mining the European absurdist writers and developing our aesthetic, so Betty was placed on our short list. Over the three years since the election, when it felt like the world changed overnight, we have been searching for plays that illustrate the exasperation, the sense of annihilation, the discontent and the overall exhaustion we have come to know. Betty’s place on the short list quickly jumped to the top spot. Since its inception in 2006, the IRC has tested, explored and fashioned a way of working -- a unique business model as quirky as the artistic statement is. Captured beautifully in the film Phantom Thread, I was reminded of the beauty of the labor-intensive hand crafted process -- cutting and sewing to specifics, adding feathers, sequins and flourishes, simplifying, cutting and trimming as the creation progresses. Working over a longer period allows the needed breathing room, providing a luxury of time necessary to explore the aspects that bring us joy, and the breath that renders the whole process meaningful and instructive. The return on investment is the joy of working and growing with spirited artists -- performers, designers and audience who appreciate that handcrafted feel of the work that comes from many hours devoted to a labor of love. There simply isn’t enough money in the world that can sustain that experience or feeling, and that alone makes it all worthwhile. I am indebted to the designers and performers on this show who certainly gave this production tenfold more in sweat equity than the paychecks they earned. Christopher Durang: thank you for your many years of creating plays about our absurd existence that feature delicious highly-charged characters we all recognize and love to see in a room together.

Mark your calendars for Fringe 2019 in September, when we present William Inge’s Come Back, Little Sheba at the evocative Bethany Mission Gallery. Continuing in 2020, we’ll interpret works by Caryl Churchill, Enda Walsh and Tennessee Williams as we explore the absurdity lurking beneath and on the surface of our everyday lives, exploring how ridiculous, beautiful and intertwined our relationships are in an anxiety-ridden world.

Over 70% of our funding from our $100K annual budget comes from audience and individual supporters. Every penny of your donation is placed in service of these adventures, which you clearly see expressed on this stage – the set, costumes and lighting and the characters and crew working within this small theater budget to make this happen. Your contributions have a huge impact on this tiny theater company and over the years have enabled us to expand our programming as the region’s purveyors of absurdist style. So thank you. We tip our handmade hats to you.

Tina Brock
Producing Artistic Director
The Idiopathic Ridiculopathy