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Green 与剧作家 Rogelio Martinez 的对谈，聚焦其对冷战题材的长期兴趣、研究来源及以 1985 日内瓦峰会为创作焦点的过程。",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":10,"@type":76,"position":81},"https://docshare.wps.com/document/story-novel/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/blind-date-onstage-program-large-print/144614/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/blind-date-onstage-program-large-print/144614.png","ImageObject",300,407,{"name":92,"@type":93},"Maeve","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-28","2026-08-26",true,{"@type":102,"interactionType":103,"userInteractionCount":39},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"《Blind Date》节目单主要包含哪些内容？","Question",{"text":112,"@type":113},"包含 Robert Falls 的创作说明、Jonathan L. Green 与 Rogelio Martinez 的访谈，以及演出署名信息与艺术家简介等栏目。","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"Robert Falls 如何描述《Blind Date》对历史时刻的处理方式？",{"text":117,"@type":113},"他强调该剧以严谨方式对待历史瞬间，同时把中央人物人性化，避免只呈现为遥远的外交官形象。",{"name":119,"@type":110,"acceptedAnswer":120},"Rogelio Martinez 为什么选择以 1985 年日内瓦峰会为创作聚焦点？",{"text":121,"@type":113},"他最初想写里根时期，后来在日内瓦相关阶段发现能同时理解其来源与转变；同时也决定把乔治·舒尔茨与爱杜亚德·谢瓦尔德纳泽等背景人物前移到戏中。","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},144614,1787705971,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":8,"category_name":10,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":39,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":129,"read_time":144},5909877438554,"https://ap-avatar.wpscdn.com/avatar/5600025385ad2bf12a7?_k=1778553567797529272","Blind Date  \nBy Rogelio Martinez Directed by Robert Falls  \nFor a full version of the OnStage Program for this Production please visit [GoodmanTheatre.org/LargePrint](GoodmanTheatre.org/LargePrint)  \nTable of Contents  \nPage 2—A NOTE from ROBERT FALLS, Artist Director of the Goodman Theatre about Blind Date  \nPage 5—Reagan, Gorbachev, and Me – A Conversation with Playwright Rogelio Martinez written by Jonathan L. Green  \nPage 11—Blind Date Credits Page 13—Artist Profiles  \nA Note About Blind Date from Artistic Director Robert Falls  \nIn 1985, after decades of tension between the United States and the Soviet Union, U.S. President Ronald Reagan and Soviet General Secretary Mikhail Gorbachev assembled for a meeting in Geneva, Switzerland. These men, representing two of the world’s superpowers, sat in cream-colored armchairs; once the photographers had captured the occasion on film, only interpreters were allowed to remain in the room. Meanwhile, Americans—at least, those of us old enough in 1985 to pay attention to world events—awaited news of how the Geneva Summit transpired. This was, after all, a time before the 24/7 news cycle and social media could deliver updates in real time. Would the Soviet Union change now that a new leader had taken office? Would Reagan accomplish his “mission for peace?”Would the Cold War finally end? And the more human questions: Would the two men even get along? And if they did not warm to each other, what was at risk?  \nMore than three decades later, with the answers to those questions now printed in history books, I encountered Rogelio Martinez’s provocative, absorbing new play, Blind Date. The play unites arguably two of the late 20th century’s most towering historical figures in ways that reflect the mystery and significance of these events  \nwhen they first unfolded, yet allow us to keenly assess them from a modern perspective. I was struck by the play’s rigorous treatment of an historical moment—but also by its humanization of its central characters, who like many politicians, are sometimes rendered as distant diplomats. And I appreciated its portrayal, too, of Nancy Reagan and Raisa Gorbachev—political figures in their own right who shaped the landscape of the 1980s in their respective homelands.  \nIn addition to my interest in the subject matter, I was intrigued by the chance to work on a new play by this remarkable playwright. Rogelio’s work has been produced or workshopped by such distinguished companies as The Public Theater in New York, the Denver Center for the Performing Arts, the Oregon Shakespeare Festival and Los Angeles’ Center Theatre Group, among others. Over the past few years, he has written a series of plays that deal with the Cold War era (learn more about these plays on page 13) in which he turns his observant intellect and biting sense of humor to subjects not necessarily primed for laughs. We held several workshops of Blind Date over the past year, allowing Rogelio to rewrite and rethink his characters as a brilliant cast personified these public figures. It has been my pleasure to direct those workshopsand the production you will see tonight.  \nI hope you will appreciate this play not only for its thoughtful investigation of history (whether you remember the era or not) but also for its witty and timeless examination of human nature.  \nRobert Falls, Artistic Director  \nEnd Article.  \nReagan, Gorbachev, and Me  \nA Conversation with Playwright Rogelio Martinez By Jonathan L . Green  \nShortly before rehearsals began, production dramaturg Jonathan L. Green sat down with the playwright to discuss his inspiration for Blind Date, and the path from inception to opening night.  \nJonathan L . Green (JLG): You grew up in Cuba not long after the Cuban Missile Crisis, and Blind Date is your final play in a series of works centered on international relations during the Cold War. Can you talk a bit about your enduring fascination with this subject?  \nRogelio Martinez (RM): I wasn’t aliv","cbCaidEXZP5AldWK","https://ap.wps.com/l/cbCaidEXZP5AldWK","pdf",275606,42,"English","# Table of Contents\n## A Note About Blind Date from Artistic Director Robert Falls\n## Reagan, Gorbachev, and Me - A Conversation with Playwright Rogelio Martinez\n## Blind Date Credits\n## Artist Profiles","[{\"question\":\"《Blind Date》节目单主要包含哪些内容？\",\"answer\":\"包含 Robert Falls 的创作说明、Jonathan L. Green 与 Rogelio Martinez 的访谈，以及演出署名信息与艺术家简介等栏目。\"},{\"question\":\"Robert Falls 如何描述《Blind Date》对历史时刻的处理方式？\",\"answer\":\"他强调该剧以严谨方式对待历史瞬间，同时把中央人物人性化，避免只呈现为遥远的外交官形象。\"},{\"question\":\"Rogelio Martinez 为什么选择以 1985 年日内瓦峰会为创作聚焦点？\",\"answer\":\"他最初想写里根时期，后来在日内瓦相关阶段发现能同时理解其来源与转变；同时也决定把乔治·舒尔茨与爱杜亚德·谢瓦尔德纳泽等背景人物前移到戏中。\"}]","Blind Date - OnStage Program（Large Print） | PDF",65]