Miller/Ibsen
By Arthur Miller Adapted from the play by Henrik Ibsen Directed by Kwame Kwei-Armah
Sep 19–Oct 21
2012–13 season An Enemy of the People The Completely Fictional— Utterly True—Final Strange Tale of Edgar Allan Poe Bus Stop The Mountaintop Mud Blue Sky The Raisin Cycle
Clybourne Park Beneatha’s Place
Letter from the
Director
When we began thinking about this 50th Anniversary Season, one of the strongest themes to emerge was conversation. We wanted to create a season of work that is not only entertaining— although entertainment is tremendously important—but also asks the right questions, the kinds of questions our audience is thinking about right now. Running up to the election, I saw how An Enemy of the People asks: what is the role of the citizen and what is the role of the individual? What is the power of the majority and what is the value of the minority position? How does a society grow together, as the sum of its many independent parts? I began to fall in love with this play when I read the wonderful preface Arthur Miller wrote for his adaptation. In it, he talks about Ibsen going out of fashion—and the theater’s growing unwillingness to ask the fundamental questions about society that Ibsen wanted to ask. Questions like, who or what is an enemy of the people? Ibsen was saying it’s the press. And not just the press, but an elite few who own the press. As Miller was writing this translation, television was becoming the articulation of what it is to be American. And so, as we began work on this production, we were inspired to think about the changes that medium brought about in our democracy. Many say that it was the 1960 Kennedy–Nixon debate that truly shifted the landscape. That one close-up of Nixon wiping the sweat from his face forever changed the whole field of politics. All of a sudden, television became not just a window into Washington, but the arbiter of who should be there and who should not. Now, we live in a multimedia world that, many would argue, directs the focus where it wants us to look. It isn’t that multimedia necessarily is the enemy of the people; but it is worth posing the question: how are we manipulated by this hyper-visualized world? We hope that this question provokes in you something new or unexpected, and that you will continue to join us in all of our conversations this season. Warmly,
Kwame Kwei-Armah, Director Artistic Director, CENTERSTAGE P.S. While you may only visit this building a few times per year, we want you to stay connected. Sign up for our email updates, explore our media wall in the lobby, check out My America online, send a tweet, or connect with us on Facebook.
An Enemy of the People
By Arthur Miller • Adapted from the play by Henrik Ibsen Directed by Kwame Kwei-Armah
Sep 19–Oct 21, 2012 Presenting Partner
Season Sponsors
Ellen and Ed Bernard Stephanie and Ashton Carter James and Janet Clauson Lynn and Tony Deering and The Charlesmead Foundation Terry H. Morgenthaler and Patrick Kerins Judy Witt Phares and Scott Phares Jay and Sharon Smith
Associate Season Sponsor Kathi Hyle
Season Partners
The Cast (in alphabetical order) John Ahlin* Captain Horster
Kwame Kwei-Armah Director
Ross Bickell* Morten Kiil
Riccardo Hernández Scenic Designer
Dion Graham* Dr. Stockmann
David Burdick Costume Designer
Tyrone Mitchell Henderson* Hovstad
Michelle Habeck Lighting Designer
Wilbur Edwin Henry* Aslaksen
Ryan Rumery Original Music & Sound
Kevin Kilner* Peter Stockmann
Alex Koch Video & Projection Designer
Jimi Kinstle* The Drunk
Kellie Mecleary Production Dramaturg
Jeffrey Kuhn* Billing
Tara Rubin Casting Director
Susan Rome* Catherine Stockmann Charise Castro Smith* Petra Stockmann Holden Brettell or Zion Jackson Morten
The Rouse Company Foundation
T. Rowe Price Foundation
The Artistic Team
Jory Holmes or Lucas Pelton Ejlif *Member of Actors’ Equity Association
Laura Smith*
Stage Manager
Captain Kate Murphy*
Assistant Stage Manager
Caitlin Powers*
Assistant Stage Manager
Media Partners
An Enemy of the People is made possible by support from
With Additional support from An Enemy of the People (Miller) is presented by special arrangement with Dramatists Play Service, Inc., New York.
There will be one 15-minute intermission.
Please turn off or silence all electronic devices. CENTERSTAGE is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive.
In case of emergency (during performances only) 410.986.4080
Tuned In By Kellie Mecleary, Production Dramaturg, and Matthew Buckley Smith
In An Enemy of the People, as we watch brothers battle over the fate of their town, it is worth noting the
role that the town paper, The People’s Daily Messenger, plays—the various ways in which it contributes to the machinations and outcome of the plot. The paper is a powerful tool, and its use in the play reflects the use of mass media in other times. In Arthur Miller’s day, the media that was fast becoming a central part of American life was television: as it grew in scope and influence, it took on the role of both informing and reflecting American society and culture. These pages provide an overview of the late ’50s and early ’60s through the major shows and events that dominated the small screen at the time.
I Love Lucy
For the dazzling, six-year run of the show, I Love Lucy would remain conservative in content and innovative in technique. Lucy, the scheming, ebullient housewife of Cuban bandleader Ricky Ricardo, never earns her own money but never stops following her dreams, however ridiculous. By the time Ball gave birth to her second child in 1953, the coinciding episode, “Lucy Goes to the Hospital,” smashed records, drawing a bigger TV audience than any previous program at the time and beating Eisenhower’s televised inauguration the next day by four percentage points. The show became the model for sitcoms to follow. Along with shows like Leave It to Beaver and Father Knows Best, I Love Lucy acted as a model for the ideal American family home.
Kefauver & the Mafia
In 1950, Senator Estes Kefauver, a Democrat from Tennessee, invited cameras into hearings of the Senate Special Committee to Investigate Crimes in Interstate Commerce, which centered on the doings of the Mafia. A national sensation as an uncompromising crime-fighter, Kefauver
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used his celebrity to run for president in 1952, gaining almost 40 times as many votes in Democratic primary elections as Illinois Governor Adlai Stevenson. Party leadership, however, favored Stevenson, who went on to lose to General Dwight D. Eisenhower. Television’s influence on American culture and politics, however, only continued to grow.
Disneyland on TV
The land of Walt Disney’s dreams was born on television before a single child set foot on park grounds in Anaheim. On Wednesday, October 27, 1954, Disneyland premiered on ABC as an anthology of children’s cartoons hosted by Disney himself. Unlike other studio chiefs, who worried about television’s impact on ticket sales, Disney invested in the new
technology wholeheartedly. The television program Disneyland skillfully promoted an eponymous amusement park that opened several months later to such popularity that in only two-and-a-half years it marked its 10-millionth visitor. With a hit theme song and a national coonskin cap craze in 1955, Disneyland programs like Davy Crockett demonstrated not just Walt Disney’s wisdom in accepting television as an advertising tool, but also his foresight in expanding a children’s movie business into a brand that could touch every aspect of a child’s life. With the launching of the Disneyland anthology, park, and line of products, it became a ubiquitous alternate reality, promising citizens a shining, utopia—just as long as they remained loyal customers.
McCarthy & Murrow
Ed Murrow’s March 9, 1954 See It Now episode, entitled “A Special Report on Senator Joseph P. McCarthy,” had the impact of the little boy’s outburst in The Emperor’s New Clothes. The hour-long program, sponsored by Murrow himself and his producer Fred Friendly, was dedicated to a public examination of the career of Senator Joseph R. McCarthy and was almost entirely made up of recordings of the senator’s own public appearances. Though CBS subsequently pulled funding for See It Now, Murrow’s televised exposure of McCarthy effectively broke the senator’s spell.
American Bandstand
In the ’50s and ’60s, American Bandstand, alongside The Ed Sullivan Show, was a living mirror of American popular culture. Beginning in 1957, Dick Clark became the face of Bandstand, inviting teenagers to dance at home with the rest of the nation. Among the dozens of legendary acts Bandstand hosted in 1957 was Jerry Lee Lewis, the fiery Louisiana-born pianist who collaborated and competed with Elvis Presley. Some parents were shocked by Lewis’ suggestive performance, but Clark stood by the singer through three appearances. Though the show broke few social barriers, American Bandstand provided continuity and community for generations of Americans, reflecting changes in the national culture for a faithful audience at home.
Quiz Show Scandal
Americans familiar with cynical reality television today might find it hard to imagine the disillusionment audiences felt in 1959 on learning that the popular quiz show Twenty-One was fixed. At the heart of the public tragedy was the popular contestant Charles Van Doren. Fifty million Americans had tuned in to watch the showdown between Van Doren and previous champion Herb Stempel. For months after, audiences followed
Van Doren’s prodigious performance. Performance, sadly, was all it was— tevery answer was scripted. That year, almost 100 former contestants chose to perjure themselves rather than publicly admit that the show’s seductive presentation of brilliance and sudden fortune had been a sham.
The Twilight Zone
Rod Serling was one of the most successful writers in television when The Twilight Zone debuted on October 2, 1959, with an episode concerning a U.S. airman who slowly loses his mind in an idyllic small town mysteriously emptied of people. Episodes of The Twilight Zone—all hosted by the wry and impeccably dressed Serling—used elements of science fiction to feed television viewers subtly disguised moral and political problems, including racism, nuclear war, and mass hysteria. The show was a critical and popular hit from the start, lasting five seasons and earning three Emmy Awards, among numerous other honors. American audiences seemed to crave the thoughtful treatment of the widespread paranoia rarely examined elsewhere on television. As Serling later said, “I found that it was all right to have Martians saying things Democrats and Republicans could never say.”
An Enemy of the People | 3
a Place for By Kellie Mecleary, Production Dramaturg, Matthew Buckley Smith, and Roisin Dowling
Imagine what it must have been like to be faced with the task of building a nation, as our Founding Fathers set out to do some 200-plus years ago. Thomas Jefferson envisioned a nation filled
with philosopher farmers, each man the master of his own small domain,
granted individual liberty to live as he saw fit. Alexander Hamilton
dreamed of progress, industrialization, a collective march forward toward better living and new discoveries. Rather than choose, these men and
their fellows attempted to create a system that allowed for the possibility
of both ways of living, a system of checks and balances founded on the idea that no single person should decide the fate of a nation; people
would have the right to live as they chose. Consequently, as our nation
grew, different ways of being inevitably clashed. Hamilton’s dream of
progress played out against Jefferson’s ideals of liberty, sometimes at
the cost of the safety of workers or the health of the land. Other clashes—
moral, religious, ideological—arose. The system that established our
Republic left its descendants constantly in battle, endlessly wrestling
over the right path and struggling to balance costs against benefits.
INDUSTRIALIZATION
Waltham-Lowell System
In September 1813, Francis Cabot Lowell bought the Boies Paper Mill in Waltham, Massachusetts, changing American industry forever. The Boston Manufacturing Company housed under a single roof all the processes involved in turning cotton into cloth. Contributing to the efficiency of his system was the company’s strict control of factory workers’ lives. Housed nearby, they were awakened before five and worked roughly 80 hours per week. Americans have enjoyed the cheap goods such modern factories provide and the economic dominance they earned the country. It would be almost 100 years before workers’ interests would find a voice in Upton Sinclair’s 1906 novel, The Jungle, which exposed brutal conditions in Chicago’s meat-packing factories. Jack London called it “the Uncle Tom’s Cabin of wage slavery.”
ENERGY
Fracking
In December of 2007, Terry Engelder, a Penn State professor, estimated that ground beneath the rock formation in Pennsylvania known as the Marcellus Shale housed about 50 trillion cubic feet of natural gas. Engelder was lauded as the man responsible for creating new jobs and revenue in Pennsylvania and discovering a new fuel source for the country. After the extraction process began, however, Conrad Voltz, a University of Pittsburgh professor, posited that the removal of natural gas would contaminate the state’s drinking supply. The process, called hydraulic fracturing, involves drilling a tunnel underground and forcing gas upwards with chemically infused water. Voltz estimated that frackers were dumping about 800,000 pounds of this liquid into the Monongahela River, a prime source of drinking water for the state. Voltz was asked to keep his findings quiet by his peers. Instead, he resigned from his position at the university. The debate over the health risks versus economic benefits of fracking continues in Pennsylvania and throughout the country. 4|
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Debate Foreign Policy
IDEOLOGY
Prohibition
By the time the 18th Amendment was repealed on December 5, 1933, the Constitutional prohibition on the sale of alcohol changed more than America’s drinking habits. Many women’s groups, including the Women’s Christian Temperance Union, had supported Prohibition, arguing that saloons— once bleak, all-male establishments— could drain a man’s finances while his wife was left at home with the children, helpless and dependent on him for support. Evangelicals and public health activists had joined women’s groups in making Prohibition policy. As Americans wearied of the ban, though, it was not just civil libertarians who swayed public opinion. Perhaps the boldest advertisements for repeal were prominent gangsters like Bugs Moran and Al Capone, themselves happy supporters of Prohibition, which after all had made them very wealthy men.
FOOD
The Great Corn Debate
For centuries, corn has been used to fatten cattle for slaughter. Over time, corn increasingly became the main source of food for cows, a fact that resulted in cheaper meat more widely available to the mass public. However, studies show that a corn and protein diet can cause intestinal damage in cows and increases the risk of E. coli-ridden beef. Communities are calling for a return to a grass-fed diet, and some cattle raisers have taken up the call. This meat, though healthier, is more expensive, and may affect the prices as more fields are taken up for grazing and less is available for growing corn. While the debate between proponents of corn and backers of grass rages on in the farming community, it also plays out in the grocery store— where customers have to choose between cheaper corn-fed beef and more expensive, but arguably healthier, grass-fed meat.
Urbanization
Expansion/Settlement
HEALTH & MEDICINE
Embryonic Stem Cell Research
On the night of August 9, 2001, President George W. Bush addressed the nation with news of scientific and ethical importance. The matter was federal funding for embryonic stem cell research. Congress had already passed the 1995 Dickey-Wicker Amendment, which stopped federally funded programs from performing research on embryos created specifically for that purpose. Citing qualms with the ethical status of such embryos, President Bush decided to withhold federal funding for research on all but 60 established lines of cells. Eight years later, President Obama rescinded the ban, upsetting those who shared Bush’s moral concerns. The scientific community, on the other hand, remains frustrated by the Dickey-Wicker Amendment, which still stymies some efforts to cure diseases like Parkinson’s, Alzheimer’s, and Multiple Sclerosis. An Enemy of the People | 5
ENRIK BSEN IN REBEL WITH CAUSE”
HENRIK IBSEN IN “REBEL WITH A CAUSE”
By Kellie Mecleary, Production Dramaturg
Henrik Ibsen. The name has a tendency to conjure images of staid, tight-laced women and dark, heavy drapes. Very un-cool. Way old-school. But these images, these ideas only tell a partial story, one that fails to consider the playwright in his time. Ibsen, while alive, was the James Dean of Norway, an outsider with his metaphorical cigarette dangling effortlessly between his thumb and forefinger and his collar turned up. In short, a rebel. Only this rebel had a cause, and his cause was truth.
Ibsen was born in Skien, Norway, on March 20, 1828, to Marichen and Knud Ibsen. Knud was a wealthy merchant whose business went under when Ibsen was six, leaving the family considerably poorer, and necessitating young Ibsen’s apprenticeship at a pharmacy in Grimstad—a tiny, grimy, rough-and-tumble shipping town 100 miles south. It was here where Ibsen really grew into his outsider/rebel persona: he even fathered an illegitimate child, whom he helped support but never knew. Had he been a 20thcentury man, I imagine questions about this boy would cause him to look away, take a drag of his self-rolled cigarette, and say something like, “Wasn’t my time, man. Wasn’t my truth.” Ibsen had a tumultuous relationship with his native country, Norway. He would often claim that he didn’t have a single drop of Norwegian blood in his veins (though he was in fact two-thirds Norwegian), and lived in voluntary exile for 27 years of his adult 6|
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Ibsen life. Yet, he was in other ways very invested in Norway. In his twenties, Ibsen worked tirelessly to develop a Norwegian national theater, believing it would help bring about an independent nation, rather than one still culturally and politically under Danish rule. It was Ibsen’s dream to become his country’s national playwright: he campaigned aggressively for awards and accolades throughout his career. And though he felt very much an outsider among the Norwegian bourgeoisie and elite, Ibsen did not feel he chose his outsider status: he longed to be an accepted member of their society. Yet, when it came to the art itself, Ibsen would regularly throw status and acceptance to the wind for the sake of the work. While writing Brand, his first hit and the play that would bring him international renown, Ibsen remarked, “I have an impression that my new work will not dispose [the Norwegian parliament] more charitably toward me. But hang me if I can or will, on that account, suppress a single line, no matter what these ‘pocket edition’ souls think of it. Let me rather be a beggar all my life! If I cannot be myself or what I want, then everything is nothing but lies and humbug…” Ibsen clung fast to the idea that “The important thing is to remain true and faithful to yourself,” and used this idea as a north star guiding his life’s work. Variations on ‘to thine own self be true’ are a dime a dozen, of course, but the statement becomes interesting when considering where it led the playwright. Ibsen’s plays are plays of ideas, theses thoroughly explored through the psychodrama of his characters. But the ideas themselves differ significantly from one play to the next: Ibsen is constantly critiquing the idea he asserts only one play prior. An Enemy of the People, which Ibsen wrote in 1882 in a fury after critics’ scandalized response to Ghosts, champions the intellectual individual in possession of the truth. Ibsen’s very next play, The Wild Duck, portrays a similar individual in a much harsher light. Consequently, in his lifetime Ibsen was claimed by every political group in town: everyone from socialist to libertarian could find an Ibsen play to complement their thinking. But Ibsen had no permanent interest in any of them. He felt himself a man apart, an ‘intellectual pioneer,’ forging a path of ideas for others to follow after him, but always leaving them behind in the dust. In the introduction to his adaptation of An Enemy of the People, Arthur Miller wrote, “There is one quality in Ibsen that…lies at the very center of his force…It is his insistence, his utter conviction, that he is going to say what he has to say, and that the audience, by God, is going to listen.” Ibsen—he ambitious, would-be aristocrat, who wanted to be adored by his countrymen—rebelled against his own desires again and again in order to say what he had to say, to examine the world and its ever-changing rules and norms. And so he accepted his status as outsider, man alone, a rebel in more ways than one. Surrender the motorcycle, James Dean. Ibsen leaves you in the dust.
miller By now you’re probably on to me. You’re thinking, “I know where she’s going. She painted Ibsen as a rebel, now she’s going to try to convince me that Miller was a fuddy-duddy stick-in-the-mud.” Well, you’re only half right. I won’t try to tell you that Miller, the young idealist who believed that theater could change the world, was a square. Nor does that title apply to the somewhat more mature husband of Marilyn Monroe who refused to give up the names of alleged Communists and was consequently charged with contempt of Congress. Through the McCarthy years in particular, Miller was just as much of an outsider in his country as Ibsen at his most abject. But the two men’s philosophical and artistic inclinations did differ in some fascinating and illuminating ways, and it is on these differences that I want to dwell. Arthur Miller was born on October 17, 1915, to Isidore, an AustrianHungarian immigrant who ran a small coat-manufacturing business, and Augusta, a New York native and schoolteacher. They spent the first 12 years of Miller’s life in relative comfort and prosperity in Manhattan, until the Great Depression began to take hold of the city, crippling Isidore’s business and making it necessary for the Miller family to move out to Brooklyn. Miller, greatly affected by the destitution caused by the Depression, embraced Marxism at the University of Michigan. It seemed clear to him that capitalism was failing and a new system was needed. He and his fellow students believed Marxism was the answer, and Miller, through his art, was going to help spread the word and make a difference. So Miller picked an ideology and more or less stuck with it. Over time, as it became evident that socialism also had its flaws and would not be taking the United States by storm, Miller became less idealistic, less certain that he could help change the world— indeed uncertain that the world could be changed at all—but he never fully abandoned the set of beliefs he embraced as a young college student. Another difference between Ibsen and Miller was their approach to form. Unlike Ibsen, who developed an entirely new way of making theater and experimented with others, Miller chose to breathe new life into forms that already existed. Miller in fact drew from Ibsen in developing his style, as well as the Greek Classicists. In Miller’s eyes, both the Greeks and Ibsen possessed a “powerful integrative impulse which, at least in theory, could make possible a total picture of a human being” where “Present dilemma was simply the face that the past had left visible.” In other words, both Ibsen and the Greeks incorporated history into their work, accounting for what had happened in what was happening. For Miller, this element was essential in making socially powerful art. He repurposed the techniques of Ibsen and the Greeks to emulate what he valued in their work. The results, however, were always his own.
“To Revive a Mockingbird” starring
ARTHUR MILLER
An Enemy of the People offers an excellent example of this. Coming off of the wild success of Death of a Salesman, the tragedy that sharply critiqued the American Dream, Miller decided to adapt Ibsen’s classic. Miller saw in Enemy an opportunity to put language to his feelings about the anti-Communist McCarthy hearings. Explicitly embracing Ibsen’s form, structure, and setting, Miller managed to make them just a bit leaner—while also introducing dialogue that more directly addressed the contentious divisions of his day. Though the play was not a hit—due in part, Miller felt, to the overwhelming orthodoxy of the time—he continued to explore this subject matter in his next play, The Crucible, following the path of the minority versus the masses into deeper and darker territories, but remaining on the path. Miller was no fuddy-duddy, but he was not exactly a rebel, either. He was a man who held fast to his ideals, regardless of how unpopular, or indeed dangerous, they became. Whom does he resemble? Gregory Peck as Atticus Finch. Steady, stalwart, and sticking to his guns until the bitter end.
An Enemy of the People | 7
Hawaii By Susanna Gellert, Artistic Producer
What is my America?
Portland
That is the question we asked more
than 50 playwrights from across the country this spring. The responses they brought us—each in the form
Oakland San Francisco
of a short monologue—look at America in all its extraordinary beauty
Traci Thoms in The Author’s America by Lydia R. Diamond
and complexity. From a young woman making her way across the country on I–80 to an octogenarian remembering his time as a cold-war era spy, from
Salt Lake City
Juliana Avery
Hollywood’s early days to the aging pals, the stories contained in these
Los Angeles
monologues create a vivid picture of America, past and present.
What is the MY AMERICA project?
After writers sent us their monologues, we set out to find 50 actors to play the characters they had created. Possible Films, the production company of independent film director Hal Hartley, then filmed each of the pieces, creating 50 unique videos. And now, just in time for the presidential election and CENTERSTAGE’s 50th Anniversary Season, they are ready for their unveiling on our website. What’s more, these videos will live in the CENTERSTAGE lobby on our brand new Media Wall, where you can not only watch the monologues but also learn more about the writers who created them. Join us at the Media Wall or online at www.centerstage.org/MyAmerica.
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The 5Th L
Christina Anderson
the fiery artist pitching his movie in veteran remembering his army
The Playwrights
Lee Blessing
Thomas Bradshaw Andy Bragen
Bekah Brunstetter
Constance Congdon Kia Corthron
Lydia R. Diamond
Dan Dietz Lisa Dillman
Christopher Durang
Rinde Eckert Rich Espey
Marcus Gardley Kirsten Greenidge Rinne Groff
Danny Hoch
Willy Holtzman Quiara Alegría Hudes
Online Video Release Schedule
SEP 28 • OCT 2 • OCT 9 • OCT 16 • OCT 23 • OCT 30 • NOV 6 See them at www.centerstage.org/MyAmerica
Samuel D. Hunter Naomi Iizuka
Minneapolis
Julie Jensen
Boston
Rajiv Joseph Jeremy Kareken
Detroit
Neil Labute
New York
Sean Christopher Lewis Kenneth Lin Kestryl Cael Lowrey
Iowa
James Magruder
Melanie Marnich D.j. Mendel
Bucks Co., PA
Chicago Indiana
New Jersey Philadelphia
Cumberland Baltimore/DC
Winter Miller
Anna Moench
Lenelle Moïse Pat Montley
Greg Allen Qui Nguyen
Winston-Salem
Lynn Nottage
Kentucky
Dael Orlandersmith Polly Pen
Elaine Romero
Arkansas
Lynn Rosen
Alena Smith
Anna Deavere Smith
seema sueko
Gwydion Suilebhan
Florida
Caridad Svich
Naomi Wallace Lauren Yee
My America is supported by Lynn and Tony Deering and The Charlesmead Foundation
An Enemy of the People | 9
CENTERSTAGE
Applause. As we mark our 75th year in Baltimore, we join CENTERSTAGE in celebrating its own milestone anniversary—50 years of artistic excellence provided through thought-provoking theater for this great community. That’s no small act. We’re proud to be a long-time supporter of this remarkable cultural institution, which truly enriches our city’s quality of life. As loyal fans, we say, Bravo!
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Biog r aphies The Cast
John Ahlin*— Captain Horster. CENTERSTAGE:
Art (Serge), Who’s Afraid of Virginia Woolf?(George); Dallas Theater: Hamlet (Polonius); Merrimack Rep: The Drawer Boy Arsenic and Old Lace (Teddy Brewster). Broadway—Studio (Morgan). Film/TV— The Fighter, Major 54: Waiting for Godot (Gogo, Payne, Airport ’77, Law & Order, L&O: C.I., L&O: SVU, Strangers With Candy, Ed, The Pozzo); Belasco: Journey’s End (Trotter, 2007 Tony Award Best Revival); Dave Chapelle Show, WKRP, 30 Rock. Lyceum: The Lieutenant of Inishmore (Donny, Holden Brettell— Christy); Longacre: Voices in the Dark (Blue), Morten. CENTERSTAGE— One Mo’ Time (Theater Owner); ANTA debut. Regional— Theater: WHOOPEE! (Mort); Music Box: Shakespeare Theatre Macbeth (Scottish Doctor/Murderer). Off Company: Merry Wives of Broadway—Barrow Street: Orson’s Shadow Windsor (Robin and William (Orson Welles); Irondale Center: Treasure Page, U/S), The Life of Galileao reading (Boy); Island (Billy Bones, Morgan). Regional— Ford’s Theatre: A Christmas Carol (Turkey Pittsburgh Public, Two River Theater, Old Boy, Boy Scrooge, Ignorance); Wolf Trap: Globe, Goodman, Actors Theatre of The King and I (Children’s Chorus); Toby’s Louisville, Cincinnati Playhouse, St. Louis Rep, Dinner Theatre: The King and I (Louis); La Jolla Playhouse, Goodspeed Opera House. Mount Vernon Children’s Theatre: The John has appeared as Falstaff nine times, Adventures of Tom Sawyer (Ben Rogers), most recently in Henry IV Part One at the Annie (Cabinet Member Hull), Peter Pan Shakespeare Theatre of New Jersey. Film/ (Pirate); Little Theatre of Alexandria: A TV—Law & Order: SVU (multiple episodes), Christmas Carol (Boy Scrooge, Belle’s Son); Third Watch, As the World Turns, The City of Fairfax Theatre Company: Annie Get Education of Max Bickford, the upcoming Your Gun (Jesse). Film/TV—National Park Coen Brothers’ movie Inside Llewyn Davis. Foundation PSA (Boy).
Ross Bickell*—Morten Kiil. CENTERSTAGE: debut.
Broadway—Noises Off (Selsdon), The Iceman Cometh (Chuck Morello), A Few Good Men (Captain Markinson). Off Broadway—Durango(Ned/ Jerry), The Madras House (Eustace State), Deathbed (Thomas), Waste (Horsham), Privates on Parade (Sergeant Len Bonny). Regional—Hartford Stage: Our Town (Doctor Gibbs); City Theatre: A Marriage Minuet (Rex); Pittsburgh Public Theater: Mary Stuart (Burleigh), The Gin Game (Weller Martin), Roleplay (Derek), The Subject Was Roses (John Cleary); Cape Playhouse: Born Yesterday (Ed Devery), Hay Fever (David Bliss); Pioneer Theatre Company: Copenhagen (Bohr), The Night of the Iguana (Shannon); Arena Stage: The Royal Family (Herbert Dean); Alley Theatre: Angel Street (Rough), Spiders Web (Sir Rowland); Philadelphia Theatre: Lips Together, Teeth Apart (Sam); Virginia Stage:
Dion Graham*— Dr. Stockmann.
CENTERSTAGE: The Heliotrope Bouquet, All’s Well That Ends Well. Broadway—Not About Nightingales (also at London’s Royal National Theatre). Off Broadway—Lincoln Center Theatre, Playwright’s Horizons, New York Theatre Workshop, Primary Stages among others. International— Edinburgh Festival: The Gospel at Colonus, Ibsen Conference: Pillars. Regional— Numerous theaters across the country. Film/TV—The Secret Life of Walter Mitty, 13 Conversations About One Thing, Malcom X, The Good Wife, Gossip Girl, The Wire (Rupert Bond), Third Watch, Law & Order, L&O: SVU, Hack, The Hoop Life, Homicide, Asbury Park, NYPD Blue, and others; Narration for A&E’s The First 48. Education—MFA Rutgers University. Heartfelt thanks to Kwame and Kevin. In tribute to my dad.
Tyrone Mitchell Henderson*—Hovstad.
CENTERSTAGE: debut. New York credits— NYSF: The America Play (Man), The Tempest (Shipmaster); Two Noble Kinsmen (Pirithous); EPBB: King Lear (Gloucester); At Hand Theatre: Letters to the End of the Worl (Emmanuel). Touring—Bring in ‘da Noise, Bring in ‘da Funk First National Tour (Da’ Voice). Regional— Yale Rep: The Winter’s Tale (Camillo); The Piano Lesson (Avery); Westport Country Playhouse: Tartuffe (Cleante); Milwaukee Rep: Radio Golf (Harmond); ATL: Jitney, (Philmore); Dallas Shakes: Othello (Othello); Syracuse Stage: Hamlet (Laertes); STC: Romeo and Juliet (Paris), Julius Caesar (Metellus Cimber), Antony and Cleopatra (Thidias); BTF: The Tempest (Antonio); St. Louis Rep: The 39 Steps (Clown); Playmaker’s Rep: Topdog/ Underdog (Lincoln), Master Harold and the Boys (Willie); Alliance Theatre: Intimate Apparel (George), Angels in America (Belize); Huntington Theatre: Blues for an Alabama Sky (Guy). Film/TV—The Treatment, Boardwalk Empire, Suits (pilot), Law & Order, L&O: CI. Awards—Audelco and Kevin Kline nominations; Dallas Theatre Critics, Connecticut Critics Circle, Leon Rabin Award winner. Tyrone-mitchell-henderson.blogspot.com.
Wilbur Edwin Henry*— Aslaksen. CENTERSTAGE:
debut. Broadway—Is He Dead? Off Broadway— Barrow Street Theatre: Our Town (Professor Willard), Orson’s Shadow (Orson Welles and Laurence Olivier). Off Off Broadway—Keen Company: Pullman Car Hiawatha, Outward Bound (both Drama Desk Award nom. for Honored Revivals), In the Matter of J. Robert Oppenheimer. Touring—West Side Story (Germany, France, Switzerland, Italy, Spain, Liechtenstein). Regional—Alabama Shakespeare Festival: The Merry Wives of Windsor (Falstaff), Henry VIII; Arden Theatre: Wanamaker’s Pursuit; Capital Repertory
An Enemy of the People | 11
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CENTERSTAGE
Biog r aphies The Cast [cont]
Broadway—Clurman Theater: Lemon Sky; Dinner with Friends (2000 Pulitzer Prize winner); MTC: Night and Her Stars. Regional—Pasadena Playhouse: Defiance; The Alley Theatre: Wait Until Dark; Young “Vic (Baltimore): The Pirates of Penzance; Santa Fe Stages: The Cherry Orchard; A Streetcar Named Desire; Spike Heels. Film— Paranoia (filming), Raising Helen, A Cinderella Story, American Pie II, Home Alone III, Twenty Bucks, Music From Another Room, Julia, Switch. TV—House of Cards, Happily Jory Holmes—Ejlif. Divorced, White Collar, Damages, Greek, CSI: CENTERSTAGE: debut. NY, Life on Mars, Dollhouse, One Tree Hill. Regional—Children’s Theatre Education—Johns Hopkins University. Kevin of Annapolis: “Witches” A dedicates his CENTERSTAGE debut to his Tribute to Roald Dahl (Head parents, Edward and Dorthea Kilner. To the Waiter), A Night at the Wax band of brothers & sisters in arms led by Museum (Pirate 1); Colonial Players of the extraordinary Kwame Kwei-Armah— Annapolis: A Christmas Carol (Turkey Boy); it is an honor to create with you. Colours Performing Arts: Remix (Dancer); PG Little Theatre Group: A Christmas Carol Jimi Kinstle*—The Drunk. (Turkey Boy); Cheverly Young Actors Guild: CENTERSTAGE: As You Like It Seussical The Musical (A “Who”/Dog), Annie (Lord), Hamlet (Player/ (Orphan); Anderson Dance Company: The Courtier). Regional— Boys are Back (Dancer); Missoula Children’s Everyman Theatre: The Trip Theatre: Robin Hood (A Tree); Bethel Church: to Bountiful (Sheriff), All in Birth of Jesus (Shepherd/Sheep). Jory is in the Timing (Trotsky, Phillip Glass, et al), Cat grade 5 at Robert Goddard Montessori on a Hot Tin Roof (Doc Baugh); Rep Stage: School located in Prince George’s County, A Dickens of a Carol (Charles Dickens), Maryland. Jory is extremely is passionate Man With a Load of Mischief (Innkeeper); about the arts! Baltimore Shakespeare Festival: Antigone (Polineikes/Tiresias), The Complete Works Zion Jackson—Morten. of William Shakespeare (“James”), The CENTERSTAGE: Camp Taming of the Shrew (Petrucchio), A Dickens CENTERSTAGE performer, of a Carol (Charles Dickens), Othello (Iago), CENTERSTAGE 50 Fest Cyrano de Bergerac (Cryano de Bergerac), performer. A native of New Much Ado About Nothing (Leonato), Love Orleans, LA, Mr. Jackson For Words (William Shakespeare). currently attends AYFA Middle School and Education—Towson University. the Baltimore School of the Arts Twiggs’ Professional— Producing Artistic Director Program. He would like to extend a special of Pumpkin Theatre (2009–Present); thank you to CENTERSTAGE for providing Artistic Director of Baltimore Shakespeare him with this opportunity, as well as his Festival (2000–08); Former Board President, family for their continued support Baltimore Theater Alliance. throughout this process. Jeffrey Kuhn*— Billing. Kevin Kilner*—Peter CENTERSTAGE: debut. Stockmann. CENTERSTAGE: Broadway—The 39 Steps debut. Broadway—The Glass (Clown 1), Spamalot (Sir Menagerie (Theatre World Bedevere), Wicked (Boq), Award; Drama Desk, Outer Assassins (Zangara), original Critics Circle noms); Off Theatre: A Christmas Story (Narrator); The Cleveland Playhouse: A Christmas Story (Narrator); Philadelphia Theatre Company: Orson’s Shadow (Orson Welles); Round House Theatre: Orson’s Shadow (Orson Welles); Alley Theatre: Orson’s Shadow (Orson Welles). Film/TV—Hack (District Attorney Landi), Law & Order, One Life to Live, As the World Turns, Guiding Light, All My Children. Proudly AEA. Love to Elizabeth, Edwina, and Josephine.
An Enemy of the People | 13
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CENTERSTAGE
Biog r aphies The Cast [cont]
cast of Ragtime. Touring—The Who’s Tommy National Tour (Cousin Kevin). Other New York: Cap21: Southern Comfort; Playwrights Horizon: Floyd Collins. Regional—St. Louis Rep: Next Fall; Shakespeare Theatre: Romeo and Juliet; Old Globe: Sea of Tranquility; Pittsburgh Public: ...80 Days; Stageworks: I Am My Own Wife; Alliance: The Fourth Wall; Cincinnati Playhouse: The Pavilion, Dirty Blonde; Stratford Shakespeare: Love’s Labour’s Lost, A Midsummer Night’s Dream, Antony & Cleopatra, The Illusion, Timon of Athens, Twelfth Night, The Tempest, Romeo & Juliet; Winter Garden: Nothing Sacred; Princess of Wales: The Lion King. Film/ TV—Nothing Sacred, Romeo & Juliet, Gotti, Earth: Final Conflict.
Festival: Richard III (Elizabeth), Macbeth (Lady Macbeth), All’s Well That Ends Well (Widow); Baltimore School for the Arts: The Jack Plays (“Ionescorama”) (Mother Jack); Artemis Productions: Why We Have A Body (Renee); Center Stage Seattle: The Legacy (Rachel); Mark Taper Forum: The Substance of Fire (Sarah); Padua Hills Playwrights Festival: The Interpreter of Horror (Willa), Amado Amor (Ensemble); Road Theatre Company: The Chisholm Trail Went Through Here (Eileen), The Walkers (Fern), Why Things Burn (Vera), I-Land (Lana), Balm in Gilead (Terry, Rust); Fountain Theatre: The Couch (Toni); Burbage Theatre: Bad Country (Tony); Cast Theatre: Perpetual Care (Susan); Ensemble Studio Theatre: Branches Among the Stars (Nora); Nosotros Theatre: Of Mice and Men (Curley’s Wife). Film/TV—My One and Only, The Invasion, A Dirty Shame, The Wire, The Secret Service, NYPD Blue. Education—BFA Boston University.
Lucas Pelton—Ejlif. CENTERSTAGE: debut. Baltimore/Local—Memorial Players: Sound of Music (Goatherd/Puppet); Children’s Playhouse of Charise Castro Smith*— Maryland: Willy Wonka, Jr. (Oompa Petra Stockmann. Loompa); Pumpkin Theatre: Into The Woods CENTERSTAGE: Debut. Off (Mysterious Man); Seussical (Thing 1); Broadway—The Flea Theatre: Hamilton Elementary/Middle: Alice In The Art of Preservation Wonderland, Jr. (March Hare), Guys & Dolls (Desiree); New Georges: The (Crapshooter). Lucas is a 7th grader in the Germ Project; Ars Nova: The Voices in My Ingenuity Project at Hamilton Elementary/ Head; The Public Theater: Jane Says (New Middle School. He plays the saxophone at Work Now!). Regional—Westport Country school and in the Baltimore School for the Playhouse: Tartuffe; Guthrie Theatre: Chain Arts TWIGS program. Lucas lives with his of Fools. TV— The Good Wife, Body of Proof, family in Lauraville. In March 2012, Lucas Unforgettable. Playwriting—credits include won third place in the Morgan State Science Ars Nova ANT Fest: Estrella Cruz [The Fair. When not on stage, he reads Rick Junkyard Queen]; Studio 42: The Hunchback Riordan books. Special thanks to Jimi Kinstle, of Seville; The Miracle Theater, Portland, OR: Ryan Gholson, his family, Pop Pop and Ellen, World Premiere of Boomcracklefly. She is and his godfathers. currently a Van Lier Playwriting Fellow at New Dramatists. Education—MFA Yale Susan Rome*— Catherine School of Drama, BA Brown University. Stockmann. CENTERSTAGE: Mud Blue Sky (Beth, reading), *Member of Actors’ Equity Association These Shining Lives (Charlotte, reading). Regional—Theatre J: The Moscows of Nantucket (Ellen), Spring Forward, Fall Back (Minnie, Naomi), The Last Seder (Julia), The Ride Down Mt. Morgan (Leah); Rep Stage: Las Meninas (Mother Superior/Queen Mother), A Shayna Maidel (Mama); Baltimore Shakespeare
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CENTERSTAGE
Biog r aphies The Artistic Team
Arthur Miller (1915–2005) was born in
theatre, the Dorothy and Lillian
of Michigan. His plays include The Man
and the Pulitzer Prize.
New York City and studied at the University
Who Had All the Luck (1944), All My Sons (1947), Death of a Salesman (1949), The
Crucible (1953), A View from the Bridge and
A Memory of Two Mondays (1955), After the Fall (1964), Incident at Vichy (1964),
The Price (1968), The Creation of the World
and Other Business (1972), The Archbishop’s
Ceiling (1977), The American Clock (1980)
And Playing for Time. Later plays include
The Ride Down Mt. Morgan (1991), The
Last Yankee (1993), Broken Glass (1994), Mr. Peters’ Connections (1998), Resurrection
Blues (2002), and Finishing the Picture
(2004). Other works include Focus, a novel (1945); The Misfits, a screenplay (1960);
and the texts for In Russia (1969), In the
Country (1977), and Chinese Encounters
(1979), three books in collaboration with his wife, photographer Inge Morath. Memoirs
include Salesman in Beijing (1984) and
Timebends, an autobiography (1988). Short fiction includes the collection I Don’t Need
You Anymore (1967), the novella Homely Girl, a Life (1995) and Presence: Stories (2007). He
was awarded the Avery Hopwood Award
for Playwriting at University of Michigan
in 1936. He twice won the New York Drama Critics Circle Award, received two Emmy
awards and three Tony Awards for his
plays, as well as a Tony Award for Lifetime
Achievement. He also won an Obie award, a BBC Best Play Award, the George Foster Peabody Award, a Gold Medal for Drama
Gish Lifetime Achievement Award,
Kwame Kwei-Armah—Director.
See page 23
Riccardo Hernández—Scenic Designer. CENTERSTAGE: The Homecoming,
The Importance of Being Earnest, The
Matchmaker, A Little Night Music, Things
of Dry Hours, The Miser, Fences. Broadway—
Tony Kushner’s Caroline, or Change (also RNT, London); Topdog/Underdog (also
Liberty (nat’l tour and Old Vic, London);
Parade dir. Hal Prince (Tony, Drama Desk
noms); Bells Are Ringing; Bring in ‘Da Noise,
Bring in ‘Da Funk (also nat’l tours and Japan);
The Tempest. Off Broadway—NYSF/Public: over 20 productions incl. Mother Courage and Her Children, Stuff Happens, Radiant
Baby (Drama Desk nom), The America Play; Lincoln Center; NYTW; MTC; MCC; CSC;
Playwright’s Horizons; Second Stage; Cherry Lane; BAM. Regional—ART; Alliance; Arena; DTC; Goodman; Hartford Stage; Kennedy Center; La Jolla; Long Wharf; McCarter;
Taper; Old Globe; Seattle Rep; South Coast;
Shakespeare (DC); Yale Rep. Opera—English National Opera, San Francisco (Philip Glass’
Appomattox); Chicago Lyric; HGO; NYCO;
LA; Santa Fe; Pittsburgh; Michigan; Opera Pacific; Berkshire; Det Norske Teatret,
Oslo; Hong Kong. Education—Yale School of Drama.
David Burdick— Costume Designer.
New York Public Library, the John F. Kennedy
in Connemara; The Rivals; Snow Falling on
Lifetime Achievement Award, and the Algur
CENTERSTAGE: The Whipping Man; A Skull
Meadows Award. He was named Jefferson the Humanities in 2001. He was awarded
Picnic; a.m. Sunday; The Rainmaker; Blithe
the 2002 Prince of Asturias Award for
Spirit; many others. Regional—Everyman
Letters and the 2003 Jerusalem Prize. He University and Harvard University and was
Walnut Street/Totem Pole: The Last Night
awarded the Prix Molière of the French
CENTERSTAGE improvements will include an enhanced building exterior, expanded public spaces, and infrastructure upgrades to support state-of-the-art information technology and new media installations aimed to better position the theater to serve the community, boost local economy, and fulfill our well-established and growing role as a leading national arts organization.
from the Table of Joy; Elmina’s Kitchen;
Theatre: You Can’t Take It with You, Private
received honorary degrees from Oxford
Recognizing the powerful economic impact of CENTERSTAGE and our partners throughout the city’s tourism, arts, and cultural sector, Mayor Stephanie Rawlings-Blake and the City Council have included funds designated for capital projects at cultural institutions in a special bond issue on the November ballot. To support CENTERSTAGE, be sure to vote “Yes” on “Question D— Economic Development Loan” at the polls this fall.
Cedars; Working it Out; Cyrano; Caroline, or
Change; Hearts; Things of Dry Hours; Crumbs
Lecturer for the National Endowment for
on Baltimore City Bond Issue, “Question D” to support CENTERSTAGE
Royal Court, London); Elaine Stritch at
from the National Institute of Arts and
Letters, the Literary Lion Award from the
vote “YES”
Lives, All My Sons, The Mystery of Irma Vep; of Ballyhoo, Moon Over Buffalo. Opera—
An Enemy of the People | 17
Biog r aphies
support 50 years of world-class Theater
The Artistic Team [cont] Cincinnati: Don Giovanni; Boston Lyric:
I Puritani; Tulsa: Tosca, The Barber of
Seville, Carmen, Fidelio. Dance—BAM: FLY: Five First Ladies of Dance; Dayton
Contemporary: Lyric Fire (world premiere, dir./choreographer Dianne McIntyre).
Miscellaneous—Baltimore Symphony Orchestra: Holiday Spectacular.
Michelle Habeck—Lighting Designer. CENTERSTAGE: The Whipping
Man, A Skull in Connemara, Let There Be
Love, Things of Dry Hours, Elmina’s Kitchen. Broadway—Slide Artist: Thoroughly
CEnTErSTAgE has reached a significant milestone— and we’re so glad you’re here to join us as we celebrate throughout the season.
Modern Millie (also London and tour);
Associate Lighting Designer: The Boy
from Oz, King Hedley II; Assistant Lighting
Designer: Movin’ Out, Thoroughly Modern
We hope you will consider making a gift in honor of CENTERSTAGE’s 50th Anniversary Season. Ticket sales cover less than half of the cost of keeping our theater up and running, and support from donors like you helps to serve thousands of Maryland residents each year through artistic, educational, and community outreach programming—and ensures that CENTERSTAGE’s future is bright for the next 50 years.
Millie, King Hedley II. Opera—Associate
Lighting Designer: Julie Taymor’s Grendel. Off Broadway—Fifty Words. Regional—
American Music Theatre Project: WAS
(dir. Tina Landau), Dangerous Beauty (dir.
Sheryl Kaller); Guthrie: A Raisin in the
Sun, Gem of the Ocean. Steppenwolf: Love
Song, The Chosen, Ten Percent of Molly
Snyder. Michelle has also designed for The
Goodman, Alliance, Kansas City Repertory, Penumbra, Arizona Theatre Company,
Writer’s Theatre, Lookingglass, and others.
To donate to the future of amazing theater in Baltimore, please visit www.centerstage.org/donate.
Thank you!
Awards—NEATCG Career Development
Grant for Design, The University of Texas Faculty Fine Arts Award.
Ryan Rumery— Original Music and Sound. CENTERSTAGE: The Rivals; Snow Falling on Cedars; Cyrano; Caroline, or
Calling ALL Schools, Churches, Community Organizations, and Associations! We want you here!
Your group of 10 or more can save BIG at CENTERSTAGE. It’s fun and easy! To book a group or get more information call 410.986.4008 or email groups@centerstage.org.
Change; Arsenic & Old Lace; The Boys
from Syracuse. Broadway—Thurgood (w/ Laurence FIshburne). Off Broadway—
Many credits, including The Submission;
Lincoln Center: 4000 Miles; Classic Stage Company: Cherry Orchard, Three Sisters,
Orlando, Uncle Vanya; Irish Rep: The
Emperor Jones (Lortel nom); MTC: We Live Here. Regional—Over 150 productions
including Cincinnati Playhouse in the Park,
Actors Theatre of Louisville, Kennedy 18 |
CENTERSTAGE
Center, Long Wharf Theatre, Shakespeare
Theatre, Hartford Stage, Westport Country
Playhouse, Ford’s, Alley, Kansas City Rep, La
Jolla Playhouse, Syracuse Stage, Trinity Rep, Geffen Playhouse, and Woolly Mammoth.
Film—Credits include SyncroNYCity. Ryan is
also playing drumset in a Colorado-located
band, The Broken Spoke, and New York Citybased Palissimo’s The Painted Bird.
Alex Koch—Video & Projection Designer. CENTERSTAGE— ReEntry (also
Round House, Actors Theater of Louisville). Broadway—Walter Kerr: Irena’s Vow. Off
Broadway and other New York—Waterwell:
Goodbar (Under the Radar 2012); TerraNOVA Collective: Feeder; Repertorio Espanol: En el Tiempo de las Mariposas, La Casa de los
Espiritus; Urban Stages: ReEntry, The Oxford Roof Climber’s Rebellion; Ensemble Studio
Theatre: Lenin’s Embalmers. International—
Your noteworthy performance deserves one word: Bravo KPMG congratulates CENTERSTAGE on its 50 th Anniversary Season kpmg.com © 2012 KPMG LLP, a Delaware limited liability partnership and the U.S. member firm of the KPMG network of independent member firms affiliated with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. The KPMG name, logo and “cutting through complexity” are registered trademarks or trademarks of KPMG International. NDPPS 105976
Mori Theater, Chile: La Casa de los Espiritus. Regional— Court Theatre in Chicago:
The Invisible Man (also Studio Theater in Washington, DC); Director’s Company,
Theater MITU, Electric Pear, Shalimar, SummerStage, Little Opera Theater,
The New Ensemble. Other professional— Technical design for New Georges at 3LD
and Big Art Group’s Dead Set II & III. Alex
is a founding member of Imaginary Media,
a design studio for media in theater. www.imaginarymediadesigns.com
Laura Smith*—Stage Manager. CENTERSTAGE: The Whipping Man,
Gleam; The Rivals; Snow Falling on Cedars; Cyrano; Working it Out; Fabulation or, The
Re-Education of Undine; Who’s Afraid of
Virginia Woolf?; Joe Turner’s Come and
Gone. Regional—Everyman: Pygmalion,
Shipwrecked, Rabbit Hole, Doubt, Gem of the Ocean, And a Nightingale Sang, The
School for Scandal, A Number, Someone
Who’ll Watch Over Me, Yellowman; Woolly
An Enemy of the People | 19
Biog r aphies
“What you leave behind is not what is engraved in stone monuments, but what is woven into the lives of others.” Pericles (c. 495-429 BCE)
The Artistic Team [cont] Mammoth: Gruesome Playground Injuries,
House of Gold, The Unmentionables,
Vigils, After Ashley; Folger: Measure for Measure, The Comedy of Errors (ASM);
Olney Theatre: Stuff Happens; Theater
Alliance: Headsman’s Holiday, Pangea, [sic]; Catalyst: Cloud 9; Longacre Lea:
Man with Bags.
Captain Kate Murphy*—Assistant Stage Manager. CENTERSTAGE: Stage Manager for A Skull in Connemara,
American Buffalo, Crime & Punishment,
Let There Be Love, The Santaland Diaries;
Assistant Stage Manager for The
Importance of Being Earnest, Things of Dry Hours, Trouble in Mind, The Three Sisters,
Radio Golf, The Murder of Isaac, Once on
Planned gifts offer you creative ways to share your passion for the theater with generations to come. Fifty percent of Americans are living without a will. Their life savings may be spent in ways they never intended. Make sure that does not happen to you. Live smart. When you name CENTERSTAGE as a beneficiary, you can trust that your money will be spent wisely by a non-profit organization you already know and trust.
Your foresight is our future… and your peace of mind.
Master Your Own Legacy… Join the Heritage Circle at CENTERSTAGE To learn more about opportunities to include CENTERSTAGE in your estate plans, please contact the Director of Development, Cindi Monahan at 410.986.4020.
this Island, King Lear; Assistant Production
Manager 2008–09. Regional—Trinity Rep: Boeing-Boeing; Actors Theater
of Louisville: All Hail Hurricane Gordo†,
The Clean House, Moot the Messenger†, Dracula, The Ruby Sunrise†, Tall Grass
Gothic†, The Drawer Boy, Amadeus, As You Like It (†Humana Festival); Contemporary
American Theater Festival: The
Overwhelming, Pig Farm; Totem Pole
Playhouse: Over 70 productions through
12 summer stock seasons. Film/TV—
Route 30, Route 30 Too!, The Next Food Network Star. Proud Actors’ Equity and
ASCAP Member.
Caitlin Powers—Assistant Stage Manager. CENTERSTAGE—Assistant
Stage Manager for The Whipping Man,
encounter begins Monday, October 8
Teens ages 14–18: Do you have something to say? Join a diverse group of Maryland students every Monday as we learn about performance, leadership, and community building—and develop two original performances throughout the year.
www.centerstage.org/education 20 |
CENTERSTAGE
A Skull in Connemara, American Buffalo; Assistant Production Manager 2012–13. Regional—Contemporary American
Theater Festival: Assistant Stage Manager for Captors, In a Forest, Dark and Deep,
Race, We Are Here. Arts Emerson: The
Color of Rose (World Premiere). Fringe NYC 2009: Muffin Man: The Musical.
Kellie Mecleary—Production Dramaturg—holds a Master’s Degree in Performance Studies from New York
University and a BA in English and Theater
from Goucher College. Other CENTERSTAGE credits include Production Dramaturg
for A Skull in Connemara and American
Buffalo. She also served as Production
Dramaturg for Single Carrot’s production,
Milk Milk Lemonade. Previously New York based, she has worked as a dramaturg,
director, critic, producer, administrator, and
stage manager with various organizations including Brave New World Repertory Company, Pipeline Theater Company,
WOW Café Theater, Manhattan Theater
Source, and Vital Theater. Her writing has been published through Cerise Press and OffOffOnline.com.
Tara Rubin Casting— Casting. CENTERSTAGE—Into the Woods.
Broadway—Ghost, Hugh Jackman: Back
Without Really Trying, Promises, Promises,
A Little Night Music, Billy Elliot, Shrek, Guys
and Dolls, The Country Girl, RockN’Roll, The
Farnsworth Invention, …Young Frankenstein,
The Little Mermaid, Mary Poppins, My Fair
Lady, Pirate Queen, Les Misérables, History
Boys, Spamalot, Jersey Boys, …Spelling Bee,
g Featurin e Baltimor favorite, lson ! Bruce Ne
The Producers, Mamma Mia!, Imaginary
Friends, Phantom of the Opera, Oklahoma!, Happiness, The Frogs, Contact, Thou Shalt
Oct 17–Nov 25
Not. Off-Broadway: Love, Loss, and What I
Wore, Second Stage. Regional—Westport
Next Up @
on Broadway, How to Succeed in Business
Country Playhouse. Yale Repertory, Kennedy Center, La Jolla Playhouse, Dallas Theatre Center, The Old Globe. Film—Lucky Stiff,
The Producers.
*Member of Actors’ Equity Association
By Stephen Thorne By turns a madcap vaudeville Directed by Curt Columbus and a touching examination of
Supported by
artistic aspiration, this hilariousyet-enchanting new play spins a tale of the mysterious final days of Baltimore’s emblem of oddness, E.A. Poe.
James and Janet Clausen
An Enemy of the People | 21
It is better to debate a question without settling it than to settle a question without debating it. —Joseph Joubert A man lives by believing something; not by debating and arguing about many things. —Thomas Carlyle By Kellie Mecleary, Production Dramaturg
Up for a fight? Step outside, please. Maybe you missed it, but some big voices are starting something out there, and they’re waiting for you to join in. Sprinkled about the lobby, the mezzanine, and other public spaces are some thoughts from historical figures, major and minor. Their perspectives vary, sometimes vastly, but they all speak for the truth as they see it. Set in conversation with one another and with An Enemy of the People, what resonances do you find? What new ideas form? Any really strong reactions?
All of the quotations are listed below, matched up with their source—but with some key words missing. Find them all and fill in the blanks to be entered to win a set of four ticket vouchers, valid for any future performance! Just be sure to note your contact information as well, so we can let you know if you won. Then drop off the completed page with our Front of House staff and cross your fingers.
1. “Society, Captain, is like a ______—every man should do something to help navigate the _______.”
5. The thing that makes you exceptional, if you are at all, is _________ that which must also make you _______.
—An Enemy of the People
The individual really must ___________himself to…the _________ who are in charge of the general welfare. —An Enemy of the People
2. You shall know the truth and the truth shall make you _____. —Flannery O’Connor, American fiction writer, 1925–64
All great truths begin as__________.
—George Bernard Shaw, British playwright, 1856–1950
3. Freedom is the road _______traveled by the multitude.
—Frederick Douglass, African American social reformer, 1818–95
Freedom: To ask_________. To expect _________. To depend on __________. —Ayn Rand, Novelist and Objectivist, 1905–82
4. So be sure when you step,/ step with care and great______./ And Remember that life’s/ A Great Balancing Act. —Dr. Seuss, Oh the Places You’ll Go!, American children’s book writer, 1904–91
I would remind you that ________ in the defense of liberty is no vice! And…moderation in the pursuit of _______is no virtue! —Barry Goldwater, US Senator and Presidential candidate, 1909–98
—Lorraine Hansberry, American playwright, 1930–65
An individual has not started living until he can rise above the narrow __________of his individualistic concerns to the broader concerns of all humanity. —Martin Luther King, Jr., American civil rights activist, 1929–68
6. To generalize means to_________.
—Georg Wilhelm Friedrich Hegel, German philosopher, 1770–1831
To generalize is to be an_________. — William Blake, British poet, 1727–1857
7. Idealism is fine, but as it approaches reality, the costs become ___________.
—William F. Buckley, Jr., Conservative American author and commentator, 1925–2008
8. The best argument against_________ is a five-minute conversation with the average _________. —Winston Churchill, British Prime Minister, 1874–965
Name____________________________________ Address____________________________________________ __________________________________________________ State/Zip_ _________________________________________ Email______________________________________________ Member # _________________________________________ (if applicable)
22 |
CENTERSTAGE
✃
Phone _____________________________________________
Biog r aphies
FYI
The Staff
Artistic Director Kwame Kwei-Armah OBE, an
award-winning British playwright, director, actor, and broadcaster, is in his second season as Artistic Director. Last season he directed The Whipping Man, and previously Naomi Wallace’s Things of Dry Hours. Among his works as playwright are Elmina’s Kitchen and Let There Be Love—which had their American debuts at CENTERSTAGE—as well as A Bitter Herb, Statement of Regret, and Seize the Day. Kwame has served on the boards of The National Theatre and The Tricycle Theatre, both in London. He served as Artistic Director for the World Arts Festival in Senegal, a month-long World Festival of Black Arts and Culture, which featured more than two thousand artists from 52 countries participating in 16 different arts disciplines. He was named the Chancellor of the University of the Arts London, and in 2012 was named an Officer of the Most Excellent Order of the British Empire.
Managing Director Stephen Richard,
a leader on the national arts scene for more than 30 years, joined CENTERSTAGE in January 2012. Stephen comes most recently from a position as Vice President, External Relations, for the new National Children’s Museum. Previously, he served 18 years as Executive Director of Arena Stage, where he planned and managed the theater’s $125 million capital campaign for the Mead Center for American Theater. Also a professor of Arts Management at Georgetown University, he has served on the boards and committees of some of the nation’s most prestigious arts organizations, including the National Endowment for the Arts, American Arts Alliance, League of Resident Theatres, and Theatre Communications Group. twitter: @sjrcenterstage
Audience Services Associate Artistic Director/Director of Dramaturgy Gavin Witt, came to CENTERSTAGE
in 2003 as Resident Dramaturg, having served in that role previously at several Chicago theaters. As a dramaturg, he has worked on well over 60 plays, from classics to new commissions—including play development workshops and freelance dramaturgy for TCG, The Playwrights Center, The New Harmony Project, The Old Globe, Bay Area Playwrights Festival, CATF, The Kennedy Center, and others. A graduate of Yale and the University of Chicago, he was active in Chicago theater for more than a decade as an actor, director, dramaturg, translator, and teacher, not to mention co-founder of greasy joan & co. theater, while serving as a regional Vice President of LMDA, the national association of dramaturgs. He has been on the faculty of the University of Chicago and DePaul University, and locally at Towson University.
Pre-Show Dining Visit Sascha’s Express, our preperformance dinner service located just up the lobby stairs in our Mezzanine Café. Featuring delicious prix fixe dining, service begins two hours before each performance. You’ll find the current menu at www.centerstage.org/saschas. Accessibility Programs Wheelchair-accessible seating is available for every performance. For patrons who are hearing impaired, we offer assistive listening devices at no charge. An Open Captioned performance is available for one Sunday performance of each Classic Series production for deaf and hearing impaired patrons. Several performances also feature Audio Description, and Braille programs or magnifying glasses are available upon request. On-Stage Smoking When a play requires on-stage smoking, we use tobacco-free herbal imitations and do everything possible to minimize the amount of smoke that drifts into the audience. If you’re smoke-sensitive, be sure to let our Box Office know. Photography & Recording Prohibited Because of copyright and union regulations, photography or recording of performances—both audio and video—is strictly forbidden. Be Courteous Please silence your cell phone, pager, or other electronic devices both before the show starts and after intermission. And, while you’re welcome to take beverages with lids to your seat, eating is never allowed inside the theater. Anything else we can do? CENTERSTAGE wants every patron to have an enjoyable, stress-free experience. Your feedback and suggestions are always welcomed: info@centerstage.org.
An Enemy of the People | 23
50th An ni versary The First Decade
As we move through our landmark anniversary season, we invite you to help us celebrate our past. For videos, audio interviews, and memories of our history, visit www.centerstage.org/anniversary.
Jan uary 22, 1963 : A Th e ater is Bo rn Long before the 24-hour cable TV news cycle, the ubiquitous internet, and nonstop tweets, newspapers published twice a day. Headlines were huge, and the gravity of the news they announced seemed to dwarf even the exaggerated size of the banner typeface. 1963 was an “all-caps” kind of year: papers covered the assassination of JFK, the March on Washington (and MLK’s iconic speech), passage of the Equal Pay Act guaranteeing equal pay for women, segregationist George Wallace’s election as Govenor of Alabama, and the murder of civil rights advocate Medgar Evans. Meanwhile, New York City was losing its national monopoly on professional theater, and the regional theater scene was upon us. Ten new regional companies were founded in 1963 alone—including CENTERSTAGE, the Guthrie Theater in Minneapolis, Seattle Repertory Theatre, and Rhode Island’s Trinity Repertory Company—and 55 of today’s major regional theaters began in the 1960s. CENTERSTAGE was founded in 1963 by members of the Baltimore community who supported this movement and shared the belief that serious theater should not just reflect, but also actively include, its community. It’s no coincidence that the very first production under founding Artistic Director Ed Golden—Arthur Schnitzler’s provocative La Ronde—echoed the escalating social chaos of the times.
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This wasn’t light entertainment, as La Ronde satirized contemporary sexual mores and entrenched classism. In 1965, CENTERSTAGE and its growing audience moved from Preston Street into a 300-seat theater on North Avenue, and welcomed new Artistic Director Doug Seale, who opened the 1966–67 Season with Molière’s The Miser. Peter Culman joined the theater as Managing Director the following year, beginning a 36-year relationship with the theater. During the next seven years, first under the direction of John Stix and then under Jacques Cartier, CENTERSTAGE produced adventurous six-play seasons of classical and contemporary works. Memorable productions in that first decade included The Zoo Story; The Member of the Wedding (which would tour throughout the city); Journey of the Fifth Horse (an adaptation of Turgeynev’s Diary of a Scandal); Slow Dance on the Killing Ground; the world premiere of Park; Ron Milner’s Who’s Got His Own, CENTERSTAGE’s first production by an African American playwright with an entirely African American cast; and the first professional African American production of Arthur Miller’s Death of a Salesman. Visit www.centerstage.org/anniversary for a more in-depth look at our history— and keep an eye on the programs throughout the season as we chronicle each era of CENTERSTAGE’s growth in the Baltimore community.
The first space was a theater-in-the-round at 45 West Preston, now home to Baltimore’s Theatre Project.
MPT’s Rhea Feikin reflects on her involvement in CENTERSTAGE’s first production— visit online to watch!
An Enemy of the People | 25
upgrade to a 2012–13 season Membership! See Four, Five, or all Seven Plays!
Not yet a Member?
Apply the cost of today’s ticket toward a fouror five-play package— or even all seven shows!* MEMBErS are individuals who have decided to make a deeper commitment to CENTERSTAGE by pledging to attend several shows in our Season. They get the best prices, and never miss out on post-show discussions, lectures, special events, and more! Look for any friendly CENTERSTAGE staff member and they would be happy to answer your questions and get you set up with a 2012–13 Season Membership. Or give the Box Office a call later on at 410.332.0033 *An Enemy of the People will count as the first show in the membership you select. The cost of your ticket will be deducted at the time of payment.
Include William Inge’s Bus Stop in your season membership. This 1955 romantic classic brings you a bus load of starry-eyed strangers waiting out a snowstorm in a Kansas diner. Headed your way for the holidays, Nov 21–Dec 23.
PiCK fOur PLAyS • SaViNgS STaRT aT 15% Section
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PiCK fiVE PLAyS • SaVe 20% Section
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SEE ALL SEVEn PLAyS • SaVe UP TO 38% Section
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Visit us at www.centerstage.org to buy tickets or learn more about our 50th Anniversary Season. 50 th Anniversary presenting partner
www.centerstage.org | 410.332.0033 centerstagemd
@centerstage_md
700 N Calvert St, Baltimore, MD 21202
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co nversat io n s
with Kwame and Stephen
Each program this season will include a short conversation between CENTERSTAGE’s fearless leaders.
Was there a moment or a place that you realized you felt that, “this feels like mine, this feels like home?” KKA • In the theater, that moment was when Liz Lerman and Jawole Willa Jo Zollar were doing their Play Lab. We had a completely different audience upstairs on the fifth floor…. but, artistically, it had the kind of energy that I want us to have.
As newcomers to Baltimore, do you feel that you are at home here yet? Stephen Richard, Managing Director • Yes. Amazingly quickly. It took forever in DC to not make a wrong turn and end up in a state I didn’t want to be in. But I feel like I know Baltimore geography, neighborhoods, restaurants, and arts organizations. Kwame Kwei-Armah, Artistic Director • Can I say ditto. I feel at home with the people, with the way they have greeted me. I feel at home in the institution, with the ambition Baltimore—and the state— has for us to fulfill its potential. I feel really at home. SR • One of the things I’ve loved is that people who have been here for a long time love talking about it. They are passionate about Baltimore. That’s not true in every city by any stretch. If you ask someone a question, they are going to give you an answer, not just to your question but to the importance of Baltimore, the attributes of the city.
Outside of the theater, when I went to Park Heights, there were Caribbean restaurants where I could buy different kinds of Caribbean food: Jamaican food in one spot, Trinidadian food in another spot. I thought, not only can I buy Caribbean food, but I can buy types of Caribbean food. And my wife and all of my family, we all went, “Yeah okay, this could work.” SR • My theater moment was at our gala, honoring Peter Culman, someone I have long admired. I’ve been in this business since the mid-’80s, and he’s been a hero of mine. To come full circle, to be hosting a gala to acknowledge his contributions, was really the moment I felt fully at home. Do you have a favorite thing about living in Baltimore? KKA • When I moved in, the people knocked at my house and brought me apple pie and flowers. They ask me all the time how my wife is and how the children are. And it’s not routine, it’s actual care. Because sometimes I’ll give a routine answer and they’ll go, “Really?” And they’ll push. I think the people are quite extraordinary in that respect. And it’s not just me. I met someone the other day who said that he had a puncture on 83. He pulled over and two cyclists stopped and asked him if they could help him change his tire. I mean, I’m not really sure where that would happen in England, or in London,
certainly. And whether you’d even say yes and let them! They’re quite extraordinary, the people. SR • I’ve had so many welcome lunches and dinners, that I think I’ve gained more weight as the result of the generosity of the people here… I agree, it’s the people. Is there anything that you have introduced each other to? KKA • Yeah, yeah—lunch! Stephen told me about two restaurants, actually, that I’ve gone to for lunch now. What was the first one called, the Indian—? SR • Indigma. KKA • Indigma. They do a magnificent lunchtime buffet. Cazbaar is another one, which really is going to work for me. SR • The things that Kwame has introduced me to are difficult to explain, but it has to do with rooting or connecting a big global vision to a local community. The way he connects a big artistic and intellectual vision to this community is very exciting.
We encourage you to join the conversation!
You can find us on Facebook, Twitter, or just email hjackson@centerstage.org with your questions for Kwame and Stephen. centerstagemd
@centerstage_md An Enemy of the People | 27
Pr e v ie w:
The Completely Fictional—Utterly True—Final Strange Tale of Edgar Allan Poe By Stephen Thorne, Directed by Curt Columbus • Oct 17–Nov 25, 2012
By Gavin Witt, Associate Artistic Director
It was, quite literally, a dark and stormy night.
On October 3, 1849, Baltimore huddled damply beneath lowering skies and a cold, insistent rain. Towards evening, passersby hurrying along East Lombard stumbled on a bedraggled figure collapsed in the street outside Ryan’s Tavern. It was Election Day, many taverns doubled as polling stations, and tradition dictated rounds of drinks for persuadable voters—so it came as no great surprise to find an apparently over-eager partisan disheveled, delirious, and derelict on the ground. The nearly unconscious unfortunate ended up in a nearby hospital; despite medical care, he died a few days later. How or why, nobody has ever deciphered. There it could end, save that this was no ordinary Charm City inebriate. In spite of tattered clothes not his own and the “disgusting” state that witnesses reported, this was one of young America’s leading literary lights, an adoptive son of Baltimore, and missing for a week—Edgar Allan Poe. How he ended up in Baltimore that night, where he’d been for the missing week, how he came to lie in the street, what happened once he vanished into the hospital, and under what circumstances he suddenly died: it’s all given rise to mystery and speculation that still festers today. Even the shadowy figure of the Poe Toaster who faithfully and annually appeared at the Poe grave, a cherished local tradition,
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prompted its own set of haunting unknowns. All of it apt, even predictable, for this pioneer of mystery fiction, horror, suspense, and the supernatural. In his new play, The Completely Fictional—Utterly True—Final Strange Tale of Edgar Allan Poe, Stephen Thorne ventures boldly, theatrically, even hilariously into these murky waters. Here is Poe waking in an East Baltimore hospital under the careful ministrations of Dr. Moran. Here the somewhat bewildered author finds himself hosting a panoply of figures from his past and present—or are they conjured from his imagination? Here is the exotic Mlle. Valdemar, renowned Mesmerist; has she indeed discovered a channel to commune between this world and the next? Can this gentle Englishman of august bearing really be Charles Dickens? And wait—is the dark and brooding young poet called Eddie indeed Poe’s younger self? In a dizzying array, drawing wonderfully on Poe’s own genre-breaking, genre-making literary constructions as well as vaudeville and popular theatrical gestures of the day, the Strange Tale… introduces the passionate tale-spinner to an account of his own life and work. Mother, child-bride, stepfather, and characters real and imagined visit the invalid. Tackling them all and more, Poe takes stock of artistic aspiration, a life lived, and loves lost. Or, he wonders and hopes, are they ever really lost?
Sunday, October 7 Annual Edgar Allan Poe Commemorative Lecture 1:15 pm • Tribute to Poe at the poet’s grave, Westminster Hall. 2 pm • Lectures, Central Library “Poe, Lovecraft, and the Revolution of Weird Fiction,” by S.T. Joshi, independent scholar, editor, bibliographer, and novelist.
CENTERSTAGE and the Enoch Pratt Free Library present their participation in The Big Read, a month-long series of events, performances, and educational outreach focused on the life and works of Edgar Allan Poe. The Big Read is an initiative of the National Endowment for the Arts designed to restore reading to the center of American culture. Stay tuned for more events being added to the schedule, which will be updated at www.centerstage.org/poe.
CENTERSTAGE proudly presents the second production of this new play, originally premiered at Trinity Rep last spring. How right and fitting to bring it home to the final resting place of the restless spirit who gave us detective fiction, science fiction, psychological thrillers—and an identity for our football champions. In Thorne’s hands, Poe and we venture through the bizarre and macabre realms that this shadowy author made his personal domain, to emerge into a sense of sublime possibility. And all with humor, whimsy, and fantasy as much as passion, mystery, and longing. Questions may linger, and perhaps there is no certain answer for that missing week in Baltimore. But just try to see this play without speculating anew. We dare you. supported by
James and Janet Clausen
Saturday, September 29 4–7:30 pm • The Head Theater CENTERSTAGE and the Enoch Pratt Free Library launch The Big Read during 50 Fest with three Poe-inspired performances—featuring Single Carrot Theatre, Theatre Morgan, and Tony Tsendeas’ The Poe Show. Friday, September 28– Sunday, September 30 Baltimore Book Festival, Monument Street The Poe Booth featuring free Poe books and the opportunity to become Poe yourself. Wednesday, October 3 6:30 pm • Central Library CENTERSTAGE preview their upcoming production of The Completely Fictional—Utterly True— Final Strange Tale of Edgar Allan Poe and hosts discussion about the play, the man, and his writings.
Wednesday, October 10 Tony Tsendeas’ The Poe Show 6 pm • Reisterstown Branch The Poe Show features performances of The Raven, The Tell-Tale Heart, The Black Cat, and more, by Tony Tsendeas, actor, director, and nationally recognized Edgar Allan Poe interpreter. Thursday, October 25 Single Carrot Theatre’s The Poe Project 6:30 pm • Light Street Branch An interactive new work derived from the writings of Edgar Allan Poe by Genevieve de Mahy. This is a unique performance opportunity for the audience to interact with artists and each other, while exploring the reaches of Poe’s indelible poetry and prose. Tuesday, October 30 Single Carrot Theatre’s The Poe Project (see above) 6:30 pm • Central Library Sunday, November 4 Single Carrot Theatre’s The Poe Project (see above) 7 pm • Liam Flynn’s Ale House Wednesday, November 14 6 pm • Reisterstown Branch CENTERSTAGE’s Encounter program performs the works of Edgar Allan Poe. Teens retell Poe’s writings and muse on his impact on their lives today. AfterThoughts • CENTERSTAGE Post-show conversation with artistic staff and Poe-related experts: Thursday, November 1 Thursday, November 8 Sunday, November 11 Thursday, November 15
The Big Read is a program of the National Endowment for the Arts in partnership with Arts Midwest.
An Enemy of the People | 29
S u ppo rt in g the Annual Fund @ CENTERSTAGE July 1, 2011– August 6, 2012
The following list includes gifts of $250 or more—individual, corporate,
foundation, and government contributions—made to the CENTERSTAGE Annual Fund between July 1, 2011 and August 6, 2012. Although space limitations make it impossible for us to list everyone who helps fund our artistic, education,
and community programs, we are enormously grateful to each person who contributes to CENTERSTAGE.
We couldn’t do it without you!
50 th Anniversary Season Presenting Partner
Associate Season Sponsor
Season Sponsors
Season Partners
Ellen and Ed Bernard Stephanie and Ashton Carter James and Janet Clauson Lynn and Tony Deering and The Charlesmead Foundation Terry H. Morgenthaler and Patrick Kerins Judy Witt Phares and Scott Phares Jay and Sharon Smith
Kathi Hyle
The Rouse Company Foundation
Media Partners
50 Fest is supported by
T. Rowe Price Foundation
INDIVIDUALS & FOUNDATIONS The CENTERSTAGE Society represents donors who, with their annual contributions of $2,500 or more, provide special opportunities for our artists and audiences. Society members are actively involved through special events, theater-related travel, and behind-the-scenes conversations with theater artists. Artists Circle ($25,000+)
The William L. and Victorine Q. Adams Foundation and The Rodgers Family Fund The Miriam and Jay Wurtz Andrus Trust Ellen and Ed Bernard Stephanie and Ashton Carter The Charlesmead Foundation James and Janet Clauson Lynn and Tony Deering Ms. Kathleen Hyle Marilyn Meyerhoff Judy and Scott Phares Mr. and Mrs. George M. Sherman The Shubert Foundation, Inc. Harold and Mimi Steinberg Charitable Trust Mr. and Mrs. Robert W. Smith, Jr.
Producers Circle ($10,000–$24,999)
The William G. Baker, Jr. Memorial Fund Penny Bank The Jacob and Hilda Blaustein Foundation, Inc. The Bunting Family Foundation Mr. and Mrs. George L. Bunting The Helen P. Denit Charitable Trust Ms. Nancy Dorman and Mr. Stanley Mazaroff Mr. and Mrs. Larry D. Droppa John Gerdy and E. Follin Smith The Goldsmith Family Foundation The Laverna Hahn Charitable Trust Martha Head J.I. Foundation Kenneth C. and Elizabeth M. Lundeen Mr. and Mrs. Samuel G. Macfarlane Terry H. Morgenthaler and Patrick Kerins Mr. and Mrs. J. William Murray Mr. and Mrs. Philip Rauch George Roche
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Mr. Louis B. Thalheimer and Ms. Juliet A. Eurich Ms. Katherine L. Vaughns Ms. Barbara Voss and Charles E. Noell, III
Playwrights Circle ($5,000–$9,999)
Anonymous The Abell Foundation, Inc. Peter and Millicent Bain Ms. Katharine C. Blakeslee James T. and Francine G. Brady Sylvia and Eddie Brown The Nathan & Suzanne Cohen Foundation The Cordish Family The Jane and Worth B. Daniels, Jr. Fund of the Baltimore Community Foundation Brian and Denise Eakes Fascitelli Family Foundation The Harry L. Gladding Foundation/Winnie and Neal Borden Dr. and Mrs. Neil D. Goldberg Donald and Sybil Hebb Mr. Martin Hill Dr. and Mrs. Freeman A. Hrabowski, III Murray and Joan Kappelman Francie and John Keenan The John J. Leidy Foundation, Inc. The Macht Philanthropic Fund Robert E. Meyerhoff and Rheda Becker John and Susan Nehra Henry and Ruth Blaustein Rosenberg Foundation The Jim & Patty Rouse Charitable Foundation Ms. Linda Woolf
directors Circle ($2,500–$4,999)
Anonymous The Lois and Irving Blum Foundation, Inc. Drs. Joanna and Harry Brandt Mary Catherine Bunting
The Annie E. Casey Foundation Marjorie Rodgers Cheshire and Mark Cheshire August and Melissa Chiasera The Mary & Dan Dent Fund of the Baltimore Community Foundation Mr. and Mrs. Walter B. Doggett, III Mr. and Mrs. Michael Falcone Dick and Maria Gamper Ms. Suzan Garabedian F. Barton Harvey, III and Janet Marie Smith, in honor of Peter Culman The Hecht-Levi Foundation, Inc. Dr. and Mrs. J. Woodford Howard The Harley W. Howell Charitable Foundation Ms. Sherrilyn A. Ifill Mr. and Mrs. Stephen Immelt Mr. and Mrs. Herschel L. Langenthal Jonna and Fred Lazarus Mrs. Diane Markman Maryland Charity Campaign Linda and John McCleary Jim and Mary Miller Jeannie Murphy Dr. and Mrs. Lawrence C. Pakula Monica and Arnold Sagner Scot T. Spencer Mr. Michael Styer Dr. Edgar and Betty Sweren, in honor of Kwame Kwei-Armah and Stephen Richard Mr. and Mrs. Donald and Mariana Thoms Trexler Foundation, Inc. - Jeff Abarbanel and David Goldner Kathryn and Mark Vaselkiv Mr. and Mrs. Loren and Judy Western Scott and Mary Wieler Ted and Mary Jo Wiese Sydney and Ron Wilner Drs. Nadia and Elias Zerhouni continued on page 33 >>
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© 2012. Constellation Energy Resources LLC. Brand names and product names are trademarks or service marks of their respective holders. All rights reserved. Errors and omissions excepted.
An Enemy of the People | 31
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410-243-5700 TDD: 1-800-735-2258
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www.rolandparkplace.org 32 |
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INDIVIDUALS & FOUNDATIONS Associates
($1,000–$2,499) Anonymous Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation Ms. Taunya Banks Donald Bartling Mr. and Mrs. Marc Blum John and Carolyn Boitnott Dr. and Mrs. Donald D. Brown Sandra and Thomas Brushart Maureen and Kevin Byrnes Meredith and Joseph Callanan The Campbell Foundation, Inc. Caplan Family Foundation, Inc. Sally and Jerry Casey John Chester Ann K. Clapp Dr. Joan Develin Coley and Mr. Lee Rice Constantinides Family Foundation Robert and Janice Davis The Richard & Rosalee C. Davison Foundation Mr. James H. DeGraffenreidt, Jr. and Dr. Mychelle Y. Farmer Albert F. DeLoskey and Lawrie Deering Rosetta and Matt DeVito Mr. Jed Dietz and Dr. Julia McMillan Mr. and Mrs. Eric Dott Ms. Lynne Durbin and JohnFrancis Mergen Jack and Nancy Dwyer Patricia Yevics-Eisenberg and Stewart Eisenberg Buddy and Sue Emerson, in appreciation of Ken and Elizabeth Lundeen Mr. and Mrs. Matthew Freedman Frank and Jane Gabor Jose and Ginger Galvez Jonathan and Pamela Genn, in honor of Cindi Monahan and Beth Falcone Sandra Levi Gerstung Janet and John Gilbert Ms. Ana Goldseker Fredye and Adam Gross Stuart and Linda Grossman Robert and Cheryl Guth H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation Bill and Scootsie Hatter Sandra and Thomas Hess Drs. Dahlia Hirsch and Barry Wohl, in honor of Carole Goldberg Mr. and Mrs. Leonard Homer Mr. and Mrs. James Hormuth The A. C. and Penney Hubbard Foundation Mr. and Mrs. Theodore Imes Joseph J. Jaffa Mr. and Mrs. Mark Joseph Mr. and Mrs. E. Robert Kent, Jr. Francine and Allan Krumholz Sandy and Mark Laken Joseph M. and Judy K. Langmead Dr. and Mrs. George Lentz, Jr. Marty Lidston and Jill Leukhardt Mr. and Mrs. Earl & Darielle Linehan/Linehan Family Foundation Mr. and Mrs. John L. Messmore
Joseph and Jane Meyer Tom and Cindi Monahan Ms. Stacey Morrison and Mr. Brian Morales Mr. and Mrs. Lee Ogburn Ms. Jo-Ann Mayer Orlinsky Ms. Beth Perlman Ronald and Carol Reckling The James and Gail Riepe Family Foundation Nathan and Michelle Robertson Dr. David A. Robinson Mr. Grant Roch The Rollins-Luetkemeyer Foundation Mr. and Mrs. Todd Schubert Mrs. Gail Schulhoff Charles & Leslie Schwabe The Tim and Barbara Schweizer Foundation, Inc. Bayinnah Shabazz, M.D. Barbara and Sig Shapiro The Ida & Joseph Shapiro Foundation The Earle & Annette Shawe Family Foundation Dr. Barbara Shelton Dana and Matthew Slater Mr. and Mrs. Robert N. Smelkinson Judith R. and Turner B. Smith Mr. and Mrs. Scott Smith Scott and Mimi Somerville Dr. and Mrs. John Strahan Susan and Brian Sullam Mr. and Mrs. Ronald W. Taylor Sanford and Karen Teplitzky John A. Ulatowski United Way of Central Maryland Campaign Mr. and Mrs. George and Beth Van Dyke Carolyn and Robert Wallace Nanny and Jack Warren, in honor of Lynn Deering Mr. and Mrs. J.W. Thompson Webb Janna P. Wehrle Cheryl Hudgins Williams and Alonza Williams Ann Wolfe and Dick Mead John W. Wood Dr. Laurie S. Zabin Mr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler Mr. E. Zuspan
Colleagues
($500–$999) Anonymous Lindsay and Bradley Alger The Alsop Family Foundation Mrs. Alexander Armstrong Art Seminar Group Mr. Robert and Dorothy Bair Mayer and Will Baker, in honor of Terry Morgenthaler Amy and Bruce Barnett Mr. and Mrs. Charles C. and Patti Baum Ms. Jane Baum Rodbell Jaye and Dr. Ted Bayless Fund Mr. and Mrs. S. Woods and Catherine L. Bennett Mr. and Mrs. Bruce Blum, in memory of Shirley Feinstein Blum Rose Carpenter Mr. and Mrs. Carl F. Christ Combined Charity Campaign
(continued) The Deering Family Foundation Gene DeJackome and Kim Gingras The Honorable and Mrs. E. Stephen Derby Dave and Joyce Edington Patricia Egan and Peter Hegeman, in honor of Peter Culman The Eliasberg Family Foundation, Inc. Donald and Margaret Engvall Mr. and Mrs. Edgar and Faith Feingold, in memory of Sally W. Feingold Sandra and John Ferriter Andrea and Samuel Fine Dennis and Patty Flynn Ms. Nancy Freyman Dr. Joseph Gall and Dr. Diane Dwyer Hal & Pat Gilreath Mary and Richard Gorman Louise A. Hager Terry Halle and Wendy McAllister Lee M. Hendler, in honor of Peter Culman Rebecca Henry and Harry Gruner Betsy and George Hess, in honor of Peter Culman Mrs. Heidi Hoffman Mr. James Hughes Ms. Harriet F. Iglehart Richard Jacobs and Patricia Lasher Ms. Mary Claire Jeske BJ and Candy Jones Max Jordan Dr. and Mrs. Juan M. Juanteguy Peter and Kay Kaplan Ms. Shirley Kaufman Mr. and Mrs. Padraic Kennedy, in honor of Ken Lundeen Roland and Judy Phair King Stewart Koehler Mr. John Lanasa, in honor of Peter Culman Mr. Claus Leitherer and Mrs. Irina Fedorova Dr. and Mrs. Ronald Lesser Marilyn Leuthold Kenneth and Christine Lobo The Dr. Frank C. Marino Foundation, Inc. Dr. Carole Miller Mr. Jeston I. Miller Stephanie F. Miller, in honor of The Lee S. Miller Jr. Family The Montag Family Fund of The Community Foundation for Greater Atlanta, in honor of Beth Falcone George and Beth Murnaghan Lettie Myers Judith Needham and Warren Kilmer Roger F. Nordquist and Joyce Ward Mr. and Mrs. James and Mimi Piper Fund of the Baltimore Community Foundation Bonnie Pitt Mr. Mike Plaisted and Ms. Maggie Webbert Dave and Chris Powell Ms. Jill Pratt Robert E. and Anne L. Prince Mr. and Mrs. Richard Radmer Mrs. Peggy L. Rice Mr. and Mrs. Harold Rojas
Dorothy L. and Henry A. Rosenberg, Jr. Kevin and Judy Rossiter Mrs. Bette Rothman Mr. Al Russell Sheila and Steve Sachs Ms. Renee C. Samuels Ms. Sherry Schnepfe Mr. and Mrs. Eugene H. Schreiber Scott Sherman and Julie Rothman The Sinksy-Kresser-Racusin Memorial Foundation Susan Somerville-Hawes, in honor of Encounter Georgia and George Stamas Mr. Gilbert H. Stewart and Ms. Joyce Ulrich Mr. Ben Stone Robert and Patricia Tarola Diana and Ken Trout Sharon and David Tufaro Comprehensive Car Care/ Robert Wagner In memory of Sally Wessner Mr. Michael T. Wharton Dr. and Mrs. Frank R. Witter Eric and Pam Young Ziger/Snead Architects
Advocates
($250–$499) Anonymous Mr. Alan M. Arrowsmith, II Mr. and Mrs. Jon Baker, in honor of Terry Morgenthaler Drs. Lewis and Diane Becker Judge Robert Bell Rachel and Steven Bloom, in honor of Beth Falcone Mr. Chad Bolton, in honor of Peter Culman Perry and Aurelia Bolton ChiChi and Peter Bosworth Betty Jo Bowman Jan Boyce Beth and Dale Brady Mr. and Mrs. Charles Bryan Mr. David Bundy Ms. Deborah W. Callard Cindy Candelori The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation Mr. and Mrs. David Carter Mr. Andrew J. Cary Mr. and Mrs. James Case Donna and Tony Clare Stanton Collins David and Sara Cooke Mr. and Mrs. Richard D. Crafton Ms. Barbara Crain Mr. Thomas Crusse and Mr. David Imre, in honor of Stephanie and Ash Carter Richard and Lynda Davis Sally Digges and James Arnold Mr. and Mrs. Ivor Edmonds Deborah and Philip English Mr. Dennis Epps Ms. Rhea Feikin Ms. Jeannette E. Festa Bob and Susie Fetter Dr. and Mrs. Robert P. Fleishman Mr. and Mrs. George Flickinger Joan and David Forester Dr. Neal M. Friedlander and Dr. Virginia K. Adams
continued on page 34 >>
Board of Trustees Robert W. Smith, Jr., President Edward C. Bernard, Vice President Juliet Eurich, Vice President Terry H. Morgenthaler, Vice President E. Follin Smith, Treasurer Katherine L. Vaughns, Secretary Katharine C. Blakeslee+ James T. Brady+ C. Sylvia Brown+ Stephanie Carter August J. Chiasera Marjorie Rodgers Cheshire Janet Clauson Lynn Deering Jed Dietz Walter B. Doggett, III Jane W.I. Droppa Brian Eakes Beth W. Falcone C. Richard Gamper, Jr. Suzan Garabedian Carole Goldberg Ana Goldseker Adam Gross Cheryl O’Donnell Guth Martha Head Kathleen W. Hyle Ted E. Imes Murray M. Kappelman, MD+ John J. Keenan E. Robert Kent, Jr. Joseph M. Langmead+ Jonna Gane Lazarus Kenneth C. Lundeen Michelle McKenna-Doyle Marilyn Meyerhoff+ J. William Murray Charles E. Noell Esther Pearlstone+ Beth S. Perlman Judy M. Phares Jill Pratt Philip J. Rauch Harold Rojas Monica Sagner+ Renee C. Samuels Todd Schubert George M. Sherman+ Scott Somerville Scot T. Spencer Michael B. Styer Ronald W. Taylor Donald Thoms J.W. Thompson Webb Ronald M. Wilner Cheryl Hudgins Williams Linda S. Woolf + Trustees Emeriti
An Enemy of the People | 33
Advocates continued Constance A. Getzov Mark and Patti Gillen Herbert and Harriet Goldman Mr. Howard Gradet Ron and Andrea Griesmar Thomas and Barbara Guarnieri Ms. Doris M. Gugel Mr. David Guy Jane Halpern and James Pettit Ms. Paulette Hammond Dr. and Dr. James and Vicki Handa Mr. and Mrs. Richard Hawes Melanie and Donald Heacock In Memory of Eric R. Head Sue Hess Mr. Donald H. Hooker, Jr. Mr. Jonathan Hornbeck Ms. Irene Hornick Mr. and Mrs. Martin Horowitz Ms. Deborah Hylton Ms. Sarah Issacs Mr. William Jacob James S. and Hillary Aidus Jacobs A.H. Janoski, M.D., in honor of Jane Janoski James and Julie Johnstone Richard and Judith Katz B. Keller Mr. and Mrs. Stephen J. Kelly Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery David and Ann Koch Dr. and Mrs. Randi L. Kohn Gina Kotowski Mr. and Mrs. Robert A. Lagas Drs. Don and Pat Langenberg Mr. Richard M. Lansburgh Mr. and Mrs. William Larson Drs. Ronald and Mary Leach Sara W. Levi Terry Lorch and Tom Liebel Paul and Anne Madden Mr. Elvis Marks Don Martin Ms. Michael McMullan Mary and Barry Menne Carolyn and Michael Meredith Peniel and Julia S. Moed Mr. and Mrs. James and Shirley Moore The Honorable Diana and Fred Motz, in memory of Nancy Roche Mr. and Mrs. William H. Mullin Dr. Patrick Murphy and Dr. Genevieve A. Losonsky Stephen and Terry Needel In memory of Nelson Neuman Nina Noble Ms. Irene Norton and Heather Millar The P.R.F.B. Charitable Foundation, in memory of Shirley Feinstein Blum Michael and Phyllis Panopoulos Justine and Ken Parezo Fred and Grazina Pearson Linda and Gordon Peltz Chris and Deborah Pennington Mr. William Phillips Ronald and Patricia Pilling Leslie and Gary Plotnick Dr. Albert J. Polito and Dr. Redonda G. Miller Connie and Roger Pumphrey Cyndy Renoff and George Taler Dr. Michael Repka and Dr. Mary Anne Facciolo Natasha and Keenan Rice Alison and Arnold Richman
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CENTERSTAGE
Richard and Sheila Riggs Richard and Mary Rimkunas Ms. Elizabeth Ritter and Mr. Lawrence Koppelman Ida and Jack Roadhouse Mr. and Mrs. Domingo and Karen Rodriguez, in honor of Emma Grace Barnes Mr. and Mrs. Jerry Roesler Louis and Luanne Rusk Frank and Michelle Sample Ms. Gloria Savadow Frederica and William Saxon, Jr. Mr. Steve Schwartzman Ms. Minnie Shorter Mr. and Mrs. L. Siems Dr. and Mrs. Donald J. Slowinski Rosie and Jim Smith Solomon and Elaine Snyder Joseph Sterne Mrs. Clare H. Stewart, in honor of Peter Culman Brenda and Dan Stone Ms. Joann Strickland Mr. and Mrs. James R.and Gail Swanbeck Ted and Lynda Thilly Fredrick and Cindy Thompson Robin and Harold Tucker Donald and Darlene Wakefield Ms. Magda Westerhoust Ms. Camille Wheeler and Mr. William Marshall Harold and Joan Young Mr. Norman Youskauskas Mr. Paul Zugates
Special Grants & Gifts
The Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation
Government Grants CENTERSTAGE is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency. CENTERSTAGE’s catalog of Education Programs has been selected by the President’s Committee on the Arts and Humanities as a 2011 National Arts and Humanities Youth Program Award Finalist. CENTERSTAGE participates annually in Free Fall Baltimore, a program of the Baltimore Office of Promotion and the Arts. Baltimore County Executive, County Council, & Commission on Arts and Sciences Carroll County Government Howard County Arts Council through a grant from Howard County Government
Gifts In-Kind The Afro American Akbar Restaurant Dean Alexander Art Litho Au Bon Pain The Baltimore Sun
Blimpie The Brewer’s Art Calvert Wine & Spirits Casa di Pasta Charcoal Grill Cima Model Management The Classic Catering People Chipotle The City Paper Eggspectations Fisherman’s Friend/PEZ Candy, Inc. Gertrude’s Restaurant Greg’s Bagels GT Pizza Gutierrez Studios Haute Dog HoneyBaked Ham Co. The Helmand Hotel Monaco Iggie’s The Jewish Times Marriott Minato Mitchell Kurtz Architect, PC Mount Vernon Stable and Saloon New System Bakery No Worries Cosmetics Oriole’s Pizza and Sub Pazo Pizza Boli’s Pizza Hut PromoWorks Republic National Distributing Company Roly Poly Romano’s Macaroni Grill Sabatino’s Senovva Shugoll Research The Signman Style Magazine Sunlight LLC, in honor of Kacy Armstrong Urbanite A Vintner’s Selection Wawa Wegman’s Whitmore Print & Imaging WYPR Radio www.thecheckshop.us
Matching Gift Companies
The Abell Foundation, Inc. Bank of America The Annie E. Casey Foundation Constellation Energy The Deering Family Foundation Exxon Corporation France-Merrick Foundation GE Foundation Goldseker Foundation IBM Corporation McCormick & Co. Inc. Norfolk Southern Foundation Open Society Institute PNC Bank Stanley Black & Decker SunTrust Bank T. Rowe Price Group We make every effort to provide accurate acknowledgement of our contributors. We appreciate your patience and assistance in keeping our lists current. To advise us of corrections, please call 410.986.4026.
CORPORATIONS Artists Circle
Playwrights Circle
Anonymous Accenture American Trading & Production Corporation The Baltimore Life Companies Baxter, Baker, Sidle, Conn & Jones, P.A. Brown Advisory Environmental Reclamation Company FTI Consulting Howard Bank Lord Baltimore Capital Corporation McCormick & Co. Inc. McGuireWoods LLP PNC Bank Procter & Gamble Stifel Nicolaus Transamerica Financial Solutions Group Venable, LLP Whiteford, Taylor & Preston LLP Whiting-Turner Contracting Co.
Directors Circle T. Rowe Price Foundation, Inc. Producers Circle
Alexander Design Studio Bay Imagery E*Trade Financial Corporation Funk & Bolton, P.A. Offit | Kurman, Attorneys at Law Pessin Katz Law P.A. PricewaterhouseCoopers LLP Schoenfeld Insurance Associates Stevenson University The Zolet Lenet Group at Morgan Stanley Smith Barney
Baltimore Community Foundation Web: www.bcf.org
Phone: 410.332.4171
An Enemy of the People | 35
Sta ff Kwame Kwei-Armah–Artistic Director
Stephen Richard–Managing Director
Administration
Assistant–Christopher Lewis Auction Coordinator–Sydney Wilner Auction Assistant–Norma Cohen
Carpenters–Joey Bromfield, Mike Kulha, Scott Richardson Scene Shop Intern–Ryan Cole
Director–Gavin Witt Dramaturgy Senior Fellow–Kellie Mecleary Apprentices–Roisin Dowling, Christine Prevas, Kate Ramsdell, Bennett Remsberg, Matthew Buckley Smith, Lucy Walker
Scenic Artist–Stephanie Nimick Intern–Lauren Crabtree
Associate Managing Director–Del W. Risberg Executive Assistant–Kacy Armstrong The Ellen and Ed Bernard Management Intern– Batya Feldman Yale Fellow–Alyssa Simmons
Artistic
Associate Artistic Director–Gavin Witt Artistic Producer–Susanna Gellert Artistic Administrator–Katie Byrnes Company Manager–Sara Grove Artistic Senior Fellow–Kellie Mecleary The Lynn and Tony Deering Artistic Intern– Samantha Godfrey Company Management Intern–Matt Shea
Audience Relations
Box Office Manager–Mandy Benedix Assistant Manager/Subscriptions Manager– Jerrilyn Keene Assistant Manager–Blane Wyche Full-time Assistants–Lindsey Barr, Ashley Fain, Rachel Holmes, Alana Kolb, Christopher Lewis Part-Time Assistants– Susie Martinez, Froilan Mate Bar Manager–Sean Van Cleve House Manager & Volunteer Coordinator– Bertinarea Crampton Assistant House Managers–Linda Cavell, Faith Savill Audience Relations Intern–Quincy Price Audio Description–Ralph Welsh & Maryland Arts Access
Audio
Supervisor–Amy Wedel Engineer–Eric Lott The Jane and Larry Droppa Audio Intern– Andrew Graves
Community Programs & Education
Director–Julianne Franz Education Coordinator–Rosiland Cauthen Community Programs Fellow–Dustin Morris The James and Janet Clauson Education Intern– Kristina Szilagyi Teaching Artists–Wambui Richardson, Joan Weber
Costumes
Costumer–David Burdick Tailor–Edward Dawson Craftsperson–William E. Crowther Stitcher–Jessica Rietzler The Terry H. Morgenthaler and Patrick Kerins Costumes Intern– Elizabeth Chapman The Judy and Scott Phares Costumes Interns– Anna Tringali
Development
Director–Cindi Monahan Grants Manager–Sean Beattie Annual Fund Manager–Katelyn White Events Coordinator–Brad Norris Development Assistant–Julia Ostroff
The CenterStage Program is published by: Center Stage Associates, Inc. 700 North Calvert Street Baltimore, Maryland 21202 Editor Heather C. Jackson
Assistant Editor Kiirstn Pagan
Art Direction/Design Bill Geenen Design Jason Gembicki
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CENTERSTAGE
Dramaturgy
Electrics
Lighting Director–Lesley Boeckman Master Electrician–Lily Bradford Interim Staff Electrician–Michael A. Sperber Lighting Fellow–Bevin Miyake The Barbara Capalbo Electrics Intern–Scot Gianelli
Finance
Director–Susan Rosebery Business Manager–Kathy Nolan Associate–Carla Moose
Graphics
Art Director–Bill Geenen Senior Designer–Jason Gembicki Production Photographer–Richard Anderson Graphics Intern–Michelle Fleming Digital Media Intern–Leslie Datsis
Information Technologies
Director–Joe Long Systems Administrator–Mark Slaughter
Marketing & Communications
Director–Tony Heaphy Public Relations Manager–Heather C. Jackson Marketing Manager–Timmy Metzner Digital Media Associate–Timothy Gelles Marketing Associate–Tia Abner The Jay and Sharon Smith Marketing and Public Relations Fellow–Kiirstn Pagan Media Services–Planit
Operations
Director–Harry DeLair Operations Assistant–Len Dozier Housekeeper–Kali Keeney, Jacqueline Stewart Security Guards–Crown Security
Production Management
Production Manager–Mike Schleifer Assistant Production Manager– Caitlin Powers Production/Stage Management Intern–Ashley Riester
Properties
Manager–Jennifer Stearns Assistant Manager– Nathan Scheifele Artisan–Jeanne-Marie Burdette The Kenneth C. and Elizabeth M. Lundeen Properties Intern–Kimberly Townsend
Scenic Art
Stage Management
Resident Stage Manager–Laura Smith The Peter and Millicent Bain Stage Management Intern–Brent Beavers
Stage Operations
Stage Carpenter–Eric Burton
The following designers, artisans, and assistants contributed to this production of
An Enemy of the People—
Assistant Lighting Designer–Ryan Andrus Carpenters–Bernard Bender, Mark Eisendrath, Seth Foster Costumes Draper–Ginny McKeever Dramaturgy Apprentices–Roisin Dowling, Matthew Buckley Smith, Lucy Walker Electrics–Lisa Allen, Stanley Chevrin, Jake Epp, Aaron Haag, Jon Rubin, Joseph Sigai, Joey Walls Properties–Samantha Kuczynski CENTERSTAGE operates under an agreement between LORT and Actors’ Equity Association, the union of professional actors and stage managers in the United States. The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. The scenic, costume, lighting, and sound designers in LORT theaters are represented by United Scenic Artists, Local USA-829 of the IATSE. Musicians engaged by CENTERSTAGE perform under the terms of an agreement between CENTERSTAGE and Local 40-543, American Federation of Musicians. CenterStage is a constituent of Theatre Communications Group (TCG), the national organization for the nonprofit professional theater, and is a member of the League of Resident Theatres (LORT), the national collective bargaining organization of professional regional theaters.
Scenery
Technical Director–Tom Rupp Assistant Technical Director–Laura P. Merola Shop Supervisor–Trevor Gohr
Advertising Sales ads@centerstage.org
CONTACT INFORMATION
Box Office Phone 410.332.0033 Box Office Fax 410.727.2522 Administration 410.986.4000 www.centerstage.org info@centerstage.org
Material in the CENTERSTAGE performance program is made available free of charge for legitimate educational and research purposes only. Selective use has been made of previously published information and images whose inclusion here does not constitute license for any further re-use of any kind. All other material is the property of CENTERSTAGE, and no copies or reproductions of this material should be made for further distribution, other than for educational purposes, without express permission from the authors and CENTERSTAGE.
We’re proud to support the voices of our community. When community members speak about supporting the arts, we respond to their call for making the possible actual. Valuing artistic diversity within our neighborhoods helps to unite communities, creating shared experiences and inspiring excellence. Bank of America is proud to support Centerstage for their leadership in creating a successful forum for artistic expression.
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When the arts succeed, we all succeed. At M&T Bank, we know how important it is to support artists of all kinds. To enhance the quality of life in our communities. That’s why we offer both our time and resources, and encourage others to do the same.
M&T is proud to support CENTERSTAGE.
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