The Last Flapper
By William Luce
Adapted by Catherine D. DuBord
Catherine D. DuBord*
Rebekka Koepke & Lynn Mauldin
* Member of Actors' Equity
Lydia Mackay, Director
Lydia Mackay is proud to call Dallas/Fort Worth her home, personally and artistically. She holds a BFA in Theatre from Texas Wesleyan University and an MFA in Acting from Southern Methodist University. She is also a Registered Yoga Teacher, a proud member of the SAFD, AEA, and ATME, and is represented by The Mary Collins Agency. Lydia is currently an Assistant Professor of Performance at Texas Christian University, and continues to work professionally as a stage and voice actor. At Theatre TCU, she recently directed Babette’s Feast and designed the fight choreography for Othello, and this fall will direct Dawn King’s play The Trials. She is deeply grateful to Catherine for her Trust, and has tremendous respect for all the Fierce and Brilliant Women out there… Shine On.
Catherine DuBord - Zelda Fitzgerald
Catherine DuBord graduated Summa Cum Laude with a BFA in Theatre from SMU. Catherine has been seen in more than 50 productions in the DFW area, favorites include: Noises Off, The Farnsworth Invention, and Popcorn (Theatre Three), Steel Magnolias, Five Women Wearing the Same Dress, and Sylvia (Contemporary Theatre of Dallas), In the Next Room… and Pillowman (Kitchen Dog), Don't Dress for Dinner and Holmes and Watson (Stage West), Death Express (Pegasus), Matt and Ben (Echo), Finishing School (One Thirty Productions), Some Girl(s) (Second Thought), Breadcrumbs (WingSpan) and This Random World (Circle Theatre). She is a proud member of Actors' Equity and is represented by The Mary Collins Agency. The Last Flapper is the inaugural production of her company, Belle Sauvage. Mom, Dad, Guthrie and Robert - you have all my heart.
A Note from the Director…
I am always on board when it comes to women creating space to tell stories about women. In 1923 Zelda Fitzgerald was the 23 year-old embodiment of a modern woman. What interests me most about her story is not that she was F.Scott Fitzgerald’s wife, but that she was a multi-talented artist in her own right. To read her writings or look at her paintings is to realize that Zelda had a brilliant and dynamic mind, and it was all too often overshadowed by her husband’s rise to fame. One-hundred years later women still dim their own shine to avoid being perceived as an intellectual or artistic threat, and we do it by subverting our natural instincts for fierce, unbridled expression. And still today women must withstand the assaults made to our mental and physical autonomy. Did Zelda really have much say in her own health care? Were early twentieth-century expectations of womanhood and motherhood too much to bear? Was she lonely, and all too often misunderstood? This play takes place at 3pm on March 10, 1948 – that night nine women, including Zelda, would tragically die in a fire that consumed Highland Hospital. This story, this play,and this actress create space for Zelda to be heard.
“Nobody has ever measured, not even poets, how much the heart can hold.”