Cat's Cradle



Music by Henry Akona

Lyrics by Edward Einhorn & Kurt Vonnegut Jr.
Book by Edward Einhorn

Directed by by Edward Einhorn

at Walkerspace
February - March 2008


Director: Edward Einhorn
Musical director: Henry Akona
Puppet/model design and construction:
Tanya Khordoc and Barry Weil (Evolve Company)
Set design: Amy Davis
Costume design: Carla Gant
Lighting design: Jeff Nash
Assistant lighting design/model lighting: Solomon Weisbard
Properties design: Berit Johnson
Props Assistant: Taylor Keith
Production Coordinator: Alex Senchak
Technical Consultant: Obadiah Savage
Set construction: New City Scenic & Display, Inc.
Dramaturg: Karen Lee Ott
Video consultant: Ian W. Hill
Assistant director/assistant musical director/choreographer: Tom Berger
Stage manager: Amanda Anderson
Assistant stage manager: Spencer R. Soloway
Publicity: Emily Owens PR


Newton Hoenniker (percussion): Sean Allison
H. Lowe Crosby, Cab Driver (guitar): Michael Bertolini*
Ambassador Minton, Jack (lead guitar): John Blaylock*
Francine Pefko (percussion): Katherine Boynton
Bellhop: Jerome Brooks
Dr. Breed/Breed: Daryl Brown
Angela Hoenniker (clarinet, penny whistle): Rosalynd Darling
Sandra (flute, ukele): Sarah Engelke*
Bartender (trombone): Andrew Haserlat
Woman 2/Chorus (flute): Sheila Johnson
Claire Minton (penny whistle): Jenny McClintock*
Philip Castle (trumpet): Martin J Mitchell*
Julian Castle (upright bass): Paul Pricer
Mona Aamons Monzano (xylophone): Michelle Rabbani
John: Timothy McCown Reynolds*
Bokonon: Horace V. Rogers*
Woman 1/Chorus (viloin): Phoebe Silva
Chorus (bongo): Josh Silverman*
Papa Monzano (bass guitar, conga): Darius Stone*
Puppeteer: Barry Weil
Hazel Minton (flute): Sandy York*

*member of Actors Equity Association

A pageant that decries “the stupidity and viciousness of all mankind,” this faithful, humorous adaptation of the cult classic is set in the Church of Bokononism, Vonnegut’s fictional religion. Presenting a Bokononist passion play, the members of the church sing, play instruments (trumpet, flute, guitar, clarinet and xylophone are among the repertoire), and enact Vonnegut’s politically resonant satire.  A model set, projected on the back wall of the “church” via live video, forms the backdrop to the action. 

It all starts when Jonah, a writer, delves into the history of a controversial invention (ice-nine) and winds up a witness to its destructive powers. Most of the lyrics for this new musical are taken intact from Vonnegut, who wrote numerous “calypsos,” or Bokononist prayers, alongside the prose. From “Ilium,” New York to the Caribbean island of “San Lorenzo,” the audience will follow Jonah as he hunts for the truth about atomic weapons, human nature, and the meaning of it all.