By Bonnie Lee Moss Rattner Based on the novel
Their Eyes Were Watching God
by Zora Neale Hurston
Directed by Marion McClinton The Pearlstone Theater
January 4–February 5 | 2011–12 season
State Theater of Maryland
Letter from the Playwright In the mid-’70s, I was in grad school. Having been given an assignment to find an out-of-print novel and research its critical and publishing history, I was in the fiction stacks of the graduate library, pushing books to the side, and a paperback fell on the floor. I picked it up. It was titled Their Eyes Were Watching God. I thought it was an intriguing title. Also, the author’s name was unfamiliar: Zora Neale Hurston. Seduced by the title and the lyrical name of the author, I distinctly remember I felt I had to immediately read this book. So, I sat down on the worn carpeted floor and read the novel in two hours. At that point in time, I did not realize the direction of my life had changed forever. Indeed, the novel was out of print, as was most of Hurston’s earlier published work. In recent years, Hurston’s work has been discovered in many places, including the Library of Congress. Sitting on that floor, I was overwhelmed by the beauty of Hurston’s language, the arrangement of the words, and the story of Janie and her daring search for a meaningful life. To me, she was the American Shakespeare. After that first reading of Their Eyes Were Watching God, I knew I had to bring the novel to the public’s attention. After months of consulting with theatrical producers, professors, my graduate advisor—Professor Todd Duncan— and my own attorney husband, the late Lawrence Rattner, I decided I would adapt the novel for the stage. That first version, titled Eatonville, took a year to write. Every word was precious, every sentence was discussed and evaluated. Along with a critical introduction, and a large appendix of the changes made for the adaptation, Eatonville completed the requirements for essay section of the Master of Arts degree in American Literature in the English Department in the College of Liberal Arts at my alma mater, Wayne State University. The story of the development of the play is more than 30 years long, and still growing. Please know I am so proud of this production of Gleam. I sincerely hope you will be amazed and captivated by the beauty of Janie’s quest. My best regards, —Bonnie Lee Moss Rattner, Playwright I would like to dedicate this work to the memories of Lawrence Rattner, Seth Schapiro, and Michael Frazier.
Photo by Nina Hauser.
Gleam
By Bonnie Lee Moss Rattner
Contents Myth-maker & Ground Breaker
2
Sunshine & Speculation
4
Bonnie Lee Moss Rattner and the Long, Strange Saga of Gleam
6
Biographies: The Cast
7
Biographies: Artistic Team
9
FYI: Audience Services
14
Biographies: Staff
14
Preview: A Skull in Connemara 15 Supporting the Annual Fund 16 Board of Trustees
18
CENTERSTAGE Staff
20
Based on Their Eyes Were Watching God By Zora Neale Hurston Directed by Marion McClinton The Pearlstone Theater
Jan 4–Feb 5
The Artistic Team
Marion McClinton
Axel Avin, Jr*
David Gallo
Stephanie Berry*
ESosa
Brooks Edward Brantly*
Michael Wangen
Thomas Jefferson Byrd*
Rob Milburn & Michael Bodeen
Christiana Clark*
Gavin Witt
Erik LaRay Harvey*
Lewis Shaw
Tonia M. Jackson*
Evamarii Johnson
Celeste Jones*
Pat McCorkle
Gavin Lawrence*
Director
Scenic Designer
Costume Designer Lighting Designer
Original Music & Sound Designers
The CenterStage Program is published by: Center Stage Associates, Inc. 700 North Calvert Street Baltimore, Maryland 21202 Editor Heather C. Jackson Art Direction/Design Bill Geenen Design Jason Gembicki Contributors Kellie Mecleary, Gavin Witt
Production Dramaturg Fight Choreographer Dialect Consultant
Casting Director
SETTING:
Place : Florida
CONTACT INFORMATION
Time : 1903–28
In case of emergency
(during performances only) 410.986.4080 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.
Jody Starks/Ed Dockerty Pheoby Watson
Tea Cake
Logan Killicks/Sam Watson
Janie
Hezekiah/Sop-de-Bottom Lulu Moss/Nanny Daisy Blunt/Nunkie
Amos Hicks/Lias/Johnny Taylor
Jaime Lincoln Smith*
Advertising Sales ads@centerstage.org Box Office Phone 410.332.0033 Box Office Fax 410.727.2522 Administration 410.986.4000 www.centerstage.org info@centerstage.org
The Cast (in alphabetical order)
Lige Moss/Bootny
Laura Smith*
Stage Manager
Raine Bode*
Assistant Stage Manager
I Takes Mah Time is performed with permission from Wynton Marsalis. There will be one 15-minute intermission.
Captain Kate Murphy*
Assistant Stage Manager
*Member of Actors’ Equity Association
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Myth-maker & Ground-breaker By Gavin Witt, Production Dramaturg
In the manner of many another writer, the greatest fiction of her career may have been the story of her life. Whether as told in her autobiography, Dust Tracks on a Road, or as related in the anecdotes she steadily doled out, the bits and pieces she rendered into her literary work, or even the details she provided for official documents, it can be tricky at best to separate fact from fiction in the construct we know as Zora Neale Hurston.
2 | CENTERSTAGE
T
o go with a minor name change (from Zora Neal Lee Hurston as recorded in the family Bible), Hurston shaved some 10 years from her life by fudging her birth date— and not always consistently. It may have begun when she went to enroll in high school here in Baltimore; at about 26, and so ineligible for free tuition, she took advantage of looking young for her age and dropped a decade. But the revisionism continued in other forms, some more official (like marriage licenses) and others less. And of course, she always claimed Eatonville, Florida as her place of birth—though she was actually born in Alabama and only moved with her parents to Eatonville as a child. Then again, artists and authors have been constructing and reconstructing their public identities for eons. George Eliot and George Sand had everyone fooled once. N. Richard Nash started out Nate Nussbaum from South Philly, and Philip Barry was no Mainline WASP. Chloe Anthony Wofford of Lorain, Ohio became Toni Morrison, Nobel Laureate. Some, like Alice Childress, invent names and dates; others, like Oscar Wilde, spin out of whole cloth anything they can’t refine or revise. You needn’t have seen Anonymous to know of the speculation surrounding the Son of Stratford, and Molière and Plautus and Voltaire were all pseudonyms.
It seems only too appropriate for this eminent folklorist— who elevated the study and compilation of African American taletelling into an art and a science—to be herself a form of folklore. However, leaving aside ages and instead following dates, one can outline a somewhat more certain shape to Hurston’s life—though relying on her own accounts, especially her autobiographical narratives, remains dodgy. As some have noted, her fiction was always deeply autobiographical, and her autobiography bears all the hallmarks of creative license. Whether born in 1891 (likely) or 1901 (less so), the two most common candidates, Hurston certainly found herself growing up in the nation’s first incorporated all-Black township, Eatonville. There her father, John Hurston—a carpenter, preacher, and eventually mayor—and her schoolteacher mother, Lucy Potts Hurston, resettled and began to raise their eight children. Having fled rough plantation sharecropping and the harsh world of Jim Crow Alabama, they adjusted to life in an all-Black enclave, which Zora later recalled as rather idyllic. continues on page 4 »
Gleam | 3
« continued from page 3
It was an idyll that would end far too soon, in 1906, when her mother died at 39. Miserable at home under the hostile regime of her father’s new wife, then equally unhappy as an unpaid drudge for a brother’s family, by 1915 Zora had slipped away as wardrobe girl for a troupe of Gilbert and Sullivan performers. Eighteen months of relative delight with the eclectic band of travelling players landed her in Baltimore, where she inveigled and impressed her way into prestigious Morgan Academy. Already an avid, capable student, widely read and enamored of literature, Hurston parlayed desire and ambition—along with a series of happy accidents, assorted odd jobs, and more self-reinvention—into lofty Howard University, and then on to Barnard in New York. In her own indirect way, she had joined the characteristic journey of the Great Migration, the flow of African Americans from a post-plantation South to the beckoning North. She arrived in Manhattan in 1925, where she soon became part of the heady Harlem Renaissance—though initially as a public
persona more than as a contributing artist. Reinventing herself yet again, adjusting with apparent ease to the hustle and jostle of this urbane, cosmopolitan world, Hurston eventually began to spin tales. In them, she turned back to the world, the characters, the stories, the vernacular of the “folk” she had known growing up. Time and again, she returned in her tales to Eatonville. At the same time, she studied anthropology with the legendary Franz Boas at Barnard, then merged her literary and ethnographic interests. Sponsored by a wealthy socialite known for her patronage of Harlem artists, Hurston set out in 1927 for five years of field work, research, observation, and adventure. Riding around in a jalopy, often armed, sometimes disguised, she spanned the Deep South and the West Indies to produce both an anthropological study and her first novel. Then, in 1937, apparently looking to recover from another in a series of failed romances (which eventually included two husbands), Hurston took a Guggenheim-sponsored trip to study folklore in Haiti. There, in a mere seven weeks (by her account),
Sunshine & Speculation In 1887, when it appears that our heroine Janie was born, another auspicious beginning took place: the town of Eatonville was founded, and shortly after became home to Zora Neale Hurston and her family. Florida at that time was a fairly empty and inhospitable expanse of scrubland, swamps, and Seminole territory. It was bordered by thousands of square miles of decent but underused coastline. By 1928, when Janie’s story draws to a close, the Sunshine State had witnessed a massive real estate boom (and bust), a mammoth population explosion, landscape-changing public works projects, and some epically bad weather. All of which evidently imprinted itself on at least one youthful imagination. 4 | CENTERSTAGE
There had been a steady, gradual influx over the decades of Reconstruction following the Civil War—which devastation Florida had escaped. But this was little more than a trickle; the change didn’t really take off until the 1920s, when a real estate bubble got going. Banks and speculators spread the propaganda of easy riches; folks came by the hundreds of thousands, while thousands more bought up land without ever setting foot there. Massive building projects followed. Towns and even cities sprang up like it was California, 1849. The boom was so vast and complete it changed the entire scope and nature of the state. Even the Everglades got dredged and developed.
By Gavin Witt, Production Dramaturg
Sustaining all this work were thousands of migrant workers, including many from across the Deep South and the West
she produced Their Eyes Were Watching God. Whatever doubts may cling to other elements of her narrative, no shred of uncertainty clouds the stunning achievement of this work. Richly textured and dense with observation, recollection, and distillation of Hurston’s own rural past, Eyes manages to be at once a nostalgic and a revolutionary work: the entirely original bildungsroman of a vital, self-actualizing Black woman before such a form had even been imagined. More writing followed, including an autobiography in 1942, which not only proved her most successful commercial venture but arguably represented her deftest navigation of story-spinning, melding imagination and reality into the enduring character of Zora Neale Hurston as the world would know her. Somehow, though, success and recognition failed to follow. Harried by disapproving colleagues like Richard Wright, who chastened her for a lack of anger in her writing, she then had to retreat from a trumped-up charge of child molestation and fled back south. From 1949 to 1959, often living almost hand-to-mouth,
Indies. Like those before them who built the railroads and the Panama Canal, they worked for meager wages in often horrid conditions, and lived in crudely constructed communities with few, if any, amenities. Many of these migrants were the same itinerant laborers who helped support the explosion in farming as well—especially along Lake Okeechobee, often called “the Muck Bowl” for its marshy terrain. These are the people of the Muck whom Hurston introduces in her story.
Hurston wrote and published sporadically. Forced to move into a Welfare Home in 1959, she died only a few months later, in January 1960, and was buried in a pauper’s grave. Having built a careful construct of herself in life, she nearly disappeared in death—her grave unmarked and overlooked; only her stories and her writing enduring, in small pockets of awareness, fading further into obscurity. So it went until 1973, when novelist Alice Walker fell in love with Their Eyes Were Watching God and famously made a pilgrimage to recover and celebrate Hurston’s grave, memory, and reputation. It worked. The embers that had flickered and nearly died came roaring back more fiercely than ever, a writer and innovator far ahead of her time finally embraced by those she had lovingly championed, and by so many others. All of us, in some ways, part of her broad, humane, empathetic fictional embrace. By inventing so lavishly, in life and on paper, she created enough Zora to go around. 5 For more, visit www.centerstage.org/gleam.
Almost on top of this bursting bubble, two terrible hurricanes hit South Florida within two years of each other, in 1926 and 1928. Both hit the migrant communities especially hard. Thousands died. More than 13,000 homes were destroyed. Entire communities lay in ruins, many not to recover for another decade at least. The only consolation was that when the Great Depression hit in 1929, there was no further for most of these communities to fall. 5
By 1925, however, Boom became Bust. Land prices rose to such heights that, almost overnight, the market for Florida land plummeted, prices with it, and the whole house of cards collapsed. Gleam | 5
Bonnie Lee Moss R attner & the Long, Str ange Saga of Gleam By Gavin Witt, Production Dramaturg
Bonnie Lee Moss Rattner earned a B.A. in English Education from Michigan’s Wayne State University in 1962, then studied briefly at The Sorbonne in Paris and the University of Michigan before beginning a career as a secondary school English teacher and mother. She returned to Wayne State University in 1965 to undertake graduate studies, which culminated in 1979 with her earning a Master of Arts degree in English. It was at Wayne State in 1978 that Rattner discovered Their Eyes Were Watching God, an encounter that she has described as life-changing. She decided to adapt the novel for the stage as her Master’s thesis under the guidance of Professor L. Todd Duncan—a play initially titled Eatonville. She then spent the next several years in a long, involved, and arduous quest to obtain the stage rights from Hurston’s estate and longtime publishers. The piece, now retitled To Gleam It Around, To Show My Shine, had its first performance at Wayne State’s Hilberry Graduate Theatre in 1983.
Director Rick Kahn, and featuring Denise Nicholas and Novella Nelson, the play won universal plaudits—including from Alvin Klein of The New York Times, who wrote of its “stage worthy dialogue that is so pure and lyrical, it positively stings and pierces the heart.” Subsequently, another series of readings and workshops followed through the late ’80s and on through the ’90s, as several theaters and producers pursued the play. Over the years, a host of luminaries—including Samuel L. Jackson, Morgan Freeman, Leslie Uggams, Alfre Woodward, and others—were drawn to the play as it continued to evolve. Wynton Marsalis composed a score, and a series of almost-weres and nearmisses had it just missing financing or suffering from cutbacks at various venues. Meanwhile, Rattner co-wrote an adaptation of Langston Hughes’ Not Without Laughter. She also became co-producer of Asinamali, a musical that opened on Broadway in 1987; and she sought wider recognition for the work of Phillip Hayes Dean, whose plays Robeson and Freedman obtained international success. In the ’90s, Rattner and Duncan joined forces again for a book on the life of former Michigan Supreme Court Justice Otis M. Smith, the state’s first Black Supreme Court Justice. All the while, she continued to work on and believe in her adaptation. Finally, fast forward to August 2011, when CENTERSTAGE came calling. Now, today, the play will enjoy its third production and first revival in nearly 25 years. 5
“stage worthy dialogue that is so pure and lyrical, it positively stings and pierces the heart.”
Rattner devoted herself to convincing producers across the country to stage the play, which she referred to as her “second child.” Readings followed at many leading regional theaters. Then the play received an award from the Kennedy Center Fund for New American Plays in 1987, followed by its professional premiere in a production at New Jersey’s Crossroads Theater in 1988. Under the direction of Crossroads’ Artistic
6 | CENTERSTAGE
Biogr aphies The Cast
Axel Avin, Jr.*—Jody Starks/Ed Dockerty.
Brooks Edward Brantly*—Tea Cake.
CENTERSTAGE: debut. CENTERSTAGE: debut. Off Broadway— Regional— Guthrie Theater: MTC: Ruined; Roundabout: Macando; Capital Rep: Streamers. Regional— Superior Donuts; Fly-By Virginia Stage Co: A Raisin in the Sun; Theatre: Celestial Gifts; Connecticut Rep: Lorraine Hansberry Theatre: Fences; A.C.T.: Othello, The Exonerated, Hair, Pericles the A Christmas Carol. International—London: Prince of Tyre, The Comedy of Errors, A Flea The Old Vic; Nassau, Bahamas: Shakespeare in Her Ear, Urinetown, Galileo; Baldwin in Paradise Festival. Web Series—Splinter Burroughs Theatre: Blues for an Alabama Cell: Extinction; Shitty Fabulous Lives. Other Sky, Ray and Sons. First recipient of the Professional—Director: Poetic Theater, Kenny Leon Directing Fellowship (Alliance The Movement Theatre Company, Columbia Theatre). Education— University of University, The Subjective Theatre Company, Connecticut M.F.A. acting program, Horse Trade Theater Group, 2011 24 Hour Morehouse College graduate. He thanks Musicals. Education—M.F.A. American all his friends and family for their unwavering love, faith, and support. Conservatory Theater. It has been an exciting journey. Stephanie Berry*—
Pheoby Watson.
CENTERSTAGE: debut. Broadway—Drowning Crow. Off Broadway— credits include her onewoman show, The Shaneequa Chronicles: The Making of a Black Woman in New York (Obie Award, two Audelco Awards); Classical Theatre of Harlem: Henry V (King of France/ Hostess); Woodie King’s New Federal Theatre: Cool Blues; National Black Theatre: Macbeth. Regional—Some of her credits include Studio Theatre: Marcus and the Secret of Sweet; Milwaukee Rep: Trouble in Mind, Gem of the Ocean; Mark Taper Forum: Distracted; Philadelphia Theatre Company: Intimate Apparel; Delaware Theatre: Spunk; Portland Center Stage: King Lear; Oberlin: Hamlet. Film/TV—Invasion, No Reservations, Finding Forrester, Blue Bloods, Louie, all of the Law & Order programs. Awards— 2009–10 recipient of the TCG/Fox Foundation Resident Actor Fellowship as a Distinguished Artist. Other Professional— Founding member of Blackberry Productions Theater Company, a Harlem-based organization that develops new works and brings theater to underserved populations throughout New York. She is currently touring Iced-Out, Shackled and Chained in schools and festivals.
Thomas Jefferson Byrd*— Logan Killicks/ Sam Watson.
Christiana Clark*—Janie.
CENTERSTAGE: debut. Off Broadway—59E59: Pure Confidence. Regional— Goodman: The Trinity River Plays (world premiere, dir. Ethan McSweeny); Guthrie/Pillsbury House: In the Red and Brown Water (dir. Marion McClinton), Bulrusher (title role); Ten Thousand Things: IL Campiello, Othello, Endgame (dir. Marion McClinton); Park Square: Constant Star; Penumbra Theatre: Blue (dir. Lou Bellamy), A Raisin in the Sun. Film—Stuck Between Stations. Awards— Ivey Award ’06 Emerging Actress of the Twin Cities, ’09 CityPages Best Actress (Twin Cities). Education—The American Academy of Dramatic Arts West.
Erik LaRay Harvey*— Hezekiah/Sop-de-Bottom.
CENTERSTAGE: debut. Off Broadway—White Chocolate; The Exonerated; The Culture CENTERSTAGE: Ma Rainey’s Project: Where’s My Money; Black Bottom (Toledo), MTC: Streetcar Named Desire; NYTW: Trouble in Mind (Sheldon Othello; Shakespeare in the Park: Unrequited Forrester), Elmina’s Kitchen (Digger). Love, Fear Itself. Regional—Fences; Broadway—Ma Rainey’s Black Bottom Playmaker’s Rep: Intimate Apparel; Oregon (Toledo, Theatre World Award/Tony nom). Shakespeare Festival: Moot the Messenger; Regional—Yale Rep: Death of a Salesman; Humana Festival: My Children...My Africa; True Colors: The Amen Corner; Arizona Yale Rep: 7 Guitars; Alliance: The Piano Theatre Co./ATL/Portland Center Stage: Lessons; San Jose Rep: Ooh Blah Dee; Crowns; ATL: Gem of the Ocean; San Diego Rep: Spunk; Indiana Rep: Two Trains Running, Sundance Theatre Lab: Home; NJPac: A Few Good Men; Syracuse Stage: Spunk; The Piano Lesson, Flyin’ West, Hamlet, Miss Fulton Opera House: Film/TV—The 22, Evers’ Boys; A.C.T.: Good Boys (Thomas, dir. Boardwalk Empire, Brotherhood, Everyday Jon Jory); Oregon Shakespeare: The Darker People, Marci X, Rounders, Caveman’s Face of the Earth; Alliance Theatre; San Jose Valentine, Twister, Proud, K-Pax, Max and Rep; San Diego Rep. Film/TV—Ray, Grace, Law & Order, L&O: SVU, L&O: CI, Bamboozled, Bulworth, Clockers (dir. Spike NYPD Blue, Third Watch, Now and Again, Lee), Get on the Bus (dir. Spike Lee), He Got The Clubhouse, The Jury, Another World. Game, Set It Off, MacArthur Park (Sundance nom), Lackawanna Blues (HBO), Living Single, Education—NYU. For my peeps. Mama Flora’s Family, Passing Glory, Boycott, Law & Order: Criminal Intent. Education— MFA, California Institute of the Arts. Mr. Byrd is thrilled to be back at CENTERSTAGE, where he previously appeared in the American premiere of Kwame Kwei-Armah’s Elmina’s Kitchen and in Alice Childress’ Trouble in Mind (dir. Irene Lewis).
Gleam | 7
Biogr aphies The Cast continued
Tonia M. Jackson*— Lulu Moss/ Nanny.
CENTERSTAGE: debut. Off Broadway—Pan Asian Rep: Monster. Regional— American Stage: Frankie and Johnny; Alliance Theatre Co: Gem of the Ocean, Radio Golf, The Nacirema Society Requests; Horizon Theatre Co: And Her Hair Went With Her, Shakin’ the Mess Outta Misery; Penumbra Theatre Co: company member for 15 years, The Piano Lesson, Joe Turner’s Come and Gone, King Hedley II, Waiting in Vain, Flying West, for colored girls…, Seven Guitars; Guthrie Theatre; Steppenwolf; Magic Theatre; Lorraine Hansberry Theatre; Pillsbury House; Mixed Blood Theatre; Theatrical Outfit; True Colors Theatre Co. Film/TV— Zero Street, A Chance of Snow, Tyler Perry’s Meet the Browns and House of Payne. To God be the Glory.
Celeste Jones*— Daisy Blunt/Nunkie.
Directed by Mark Lamos A co-production with Westport Country Playhouse
Mar 7–Apr 15, 2012
What happens after Happily Ever After, after all? In Sondheim’s beloved musical retelling, an assortment of familiar folktale figures make their way “Into the Woods” to find out, then live with the consequences.
*Use Promo Code 12FAM4WOODS Package prices: Previews $102, Weekdays $112, Weekends $132.
Limit 4 tickets per household (2 Adults, 2 Children under age 18). Purchase by Mar 7 for performances between Mar 7–Apr 8.
410.332.0033 www.centerstage.org
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8 | CENTERSTAGE
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2 Adults, 2 Children HALF-PRICE PREMIUM SEATS*
State Theater of Maryland
CENTERSTAGE: debut. Regional—Pillsbury House Theatre/Guthrie: In the Red and Brown Water (Nia, dir. Marion McClinton); Ten Thousand Things: Life’s A Dream (Estrella), Once on this Island (TiMoune); Mixed Blood Theatre: Ruined (Sophie); Frank Theatre: Puntila and His Hired Man Matti (Cook/Operator); Children’s Theatre Company: Seussical the Musical (Bird Girl), The BFG (Mary/Meatdripper). Education—Howard University, British American Drama Academy.
Gavin Lawrence*—Amos Hicks/Johnny Taylor/Lias.
CENTERSTAGE: debut. Off Broadway—59E59 Theaters: Pure Confidence (dir. Marion McClinton). Regional— Goodman: Dartmoor Prison, The Good Negro; Guthrie: King Lear, Blood Wedding, A Christmas Carol, Julius Caesar, Black no More, In the Red and Brown Water, Dream on Monkey Mountain, Many Colors Make the Thunder-King; ETC: Thurgood; Arena Stage: Ma Rainey’s Black Bottom, Black No More; Mixed Blood Theatre: Flags, Boy,
Biogr aphies The Artistic Team Birth of the Boom, Pure Confidence, Ruined, Fires in the Mirror, Salt Fish and Bakes; Cincinnati Playhouse: Pure Confidence; Kennedy Center: Project Liberty; City Theatre: Spunk, Birth of the Boom; Kansas City Rep: Blood Wedding; CTC: The Beggar’s Strike, Anon(ymous); Penumbra: The Mighty Gents, The Mojo and the Sayso, Three Ways Home, On the Open Road, Black Nativity, Everlasting Arms, Two Trains Running, Waiting in Vain, Buffalo Hair; Alabama Shakespeare Festival: Pure Confidence; Denver Center Theatre Company: Pure Confidence; Florida Studio Theatre: Pure Confidence. Film/TV—The Promise, Justice, Joe Somebody, Listen, Wine in the Wilderness, Macbeth. Awards—2009 Audelco for Outstanding Performance by a Lead Actor; Lorraine Hansberry Award for Best Writing of a Play by Black Theatre Alliance; Outstanding Alumnus, Howard University.
Jaime Lincoln Smith*— Lige Moss/Bootny.
CENTERSTAGE: debut. Off Broadway—MTC: Ruined (original production); National Black Theatre: Seed; 45 Bleecker Street: Lights Rise on Grace; Billie Holiday Theatre: Birthright. Regional— City Theatre, Pittsburgh: Marcus: or the Secret of Sweet; McCarter/Public Theater: The Brother/Sister Plays (workshop). Film/ TV—Lectern; Shades of Brooklyn, Vol. 1; Remember the Titans; 14085; Amazon Women; The 2-2; Titans of G.E.F.A. (Pilot); Law & Order; The Knights of Prosperity; As the World Turns; MTV’s Human Giant. Awards—Talkin’ Broadway.com 2007 Summer Theatre Festival’s Best Male Actor for “Large” in Lights Rise on Grace. Education—M.F.A. Rutgers University, B.A. Clark Atlanta University. Jaime would like to thank God for all the blessings he has received and dedicate each performance in loving memory of Lennox Lincoln Smith.
Bonnie Lee Moss Rattner (Playwright) was born and raised in Detroit. She attended the University of Michigan and the Sorbonne, and received her degrees from Wayne State University. After teaching high school English for several years, she returned to graduate school, where she was assigned to work with an out of print novel, and discovered Their Eyes Were Watching God. Ms. Rattner adapted the novel for the stage, titled To Gleam it Around, To Show My Shine. Originally produced at the Hilbery Theatre at Wayne State University in June 1983, To Gleam was given staged readings by the Alliance Theatre for the Atlanta New Play Project, the Richard Allen Center in New York, Long Wharf Theatre, and received an award from the John F. Kennedy Center for the Performing Arts’ Fund for New American Plays. Ms. Rattner has worked with Shep Morgan of Past America, Inc. to develop projects for television and film. She was commissioned to write the libretto for a children’s opera, The Cadillac’s Great Lakes Experience for the Detroit Opera House. She has written numerous articles for the University of Michigan’s Michigan Alumnus magazine, and received the Arts Achievement Award by her alma mater, Wayne State University. Marion McClinton—Director.
CENTERSTAGE: Associate Artist, Elmina’s Kitchen, A Raisin in the Sun, Les Blancs, Jitney, Seven Guitars, Two Trains Running, Splash Hatch on the E Going Down, Day of Absence, Thunder Knocking on the Door, Police Boys (also author), readings of Drowning Crow for Vivat! and Intimate Apparel for First Look. Broadway—credits include Drowning Crow; Ma Rainey’s Black Bottom; King Hedley II (Tony nomination). Off Broadway—credits include Jitney (Obie and Lortel Awards); Roar; Talk; Breath, Boom. International— Royal National Theatre, London: Jitney (Olivier Award, Best Play). Regional— Goodman Theatre/Mark Taper Forum: Gem of the Ocean (world premiere). Playwright— Police Boys, Walkers, Stones and Bones, Who Causes the Darkness? Mr. McClinton is an Associate Artist at CENTERSTAGE as well as at Mark Taper Forum, Playwrights Horizons,
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Biogr aphies The Artistic Team continued
and Pillsbury House Theatre, and is an alumnus of New Dramatists.
David Gallo—Scenic Designer. CENTERSTAGE: a.m. Sunday, Jitney, Les Blancs. Broadway—credits include Stick Fly; The Mountaintop; Colin Quinn: Long Story Short; High; Memphis; reasons to be pretty; Xanadu; Radio Golf (Tony nom); Company; The Drowsy Chaperone (Tony, Drama Desk and Outer Critics Circle Awards); Gem of the Ocean (Tony nom); Ma Rainey’s Black Bottom; Thoroughly Modern Millie (also London); King Hedley II; You’re a Good Man, Charlie Brown; A View from the Bridge; Jackie: An American Life (also London); Hughie. Off Broadway—credits include The Third Story; Evil Dead; The Wild Party; Jitney (also London); Wonder of the World; A New Brain; Bunny Bunny; Blue Man Group. International—credits include Tears of Heaven (Seoul); Ich War Noch Niemals in New York (Vienna, Hamburg, Stuttgart); Der Schuh des Manitu (Berlin); Cinderella (Manila); Beauty and the Beast (Rome, Milan, Amsterdam, Madrid). Regional— includes The Kennedy Center: August Wilson’s Twentieth Century. Awards— Drama Desk, American Theatre Wing, Lucille Lortel, Hewes, Outer Critics Circle, Ovation, AUDELCO, Barrymore, Acclaim, Obie and Eddy Awards. Represented American Set Design at The Cooper-Hewitt Design Triennial. The Smithsonian National Archive. ESosa— Costume Designer. CENTERSTAGE: Once on this Island. Broadway—Porgy and Bess, Topdog/ Underdog (also London and various regional theaters). Off Broadway—Second Stage: By the Way, Meet Vera Stark; MCC: Break of Noon (Geffen Playhouse); Delacorte: The Capeman; Public Theater: Juan and John, Father Comes Home from the Wars, Romeo and Juliet, The Story, Radiant Baby; Theatre for a New Audience: Oroonoko, Ohio State Murders; NYTW: The Misanthrope, All That I Will Ever Be, The Seven, Eyewitness Blues; Second Stage Theatre: Trust, Crowns, Birdie Blue, Living Out. Regional—Arena Stage: Ruined, Cuttin’ Up, Señor Discretion Himself; Alliance: Twist; A.R.T.: Best of Both Worlds;
Oregon Shakespeare Festival: American Night; Geva Theatre: Fences; Berkeley Rep: The Blue Door; Bay Street Theatre: Turandot: The Rumble for the Ring, Ain’t Misbehavin’, Pippin, Once on this Island. Awards— include the 2006 TDF/Irene Sharaff Young Master Award and the 2003 Audelco Award. Mr. Sosa is also a Project Runway Season 7 Finalist.
Michael Wangen—Lighting Designer.
CENTERSTAGE: debut. Off Broadway— 59E59: Pure Confidence. Regional—Guthrie: In the Red and Brown Water, Fences, The Darker Face of Earth, Blackbird; Trinity Rep: Yellowman, Grandchildren of the Buffalo Soldiers; Children’s Theatre Co.: Bud, Not Buddy; Alabama Shakespeare Festival: The Fula from America; Spoleto Festival USA: The Fula from America. Film—Stage lighting supervisor for A Prairie Home Companion (dir. Robert Altman). Other—Lighting designer for Garrison Keillor’s A Prairie Home Companion radio show. Resident designer with the Fitzgerald Theater in St. Paul, MN; 30 years of design experience in the Minneapolis/St. Paul area.
Rob Milburn & Michael Bodeen— Original Music and Sound Design. CENTERSTAGE: Who’s Afraid
of Virginia Woolf?, These Shining Lives, A Raisin in the Sun, Dinah Was, Jitney. Broadway—Music & Sound: The Miracle Worker, One Flew Over the Cuckoo’s Nest, The Speed of Darkness; Music: My Thing of Love; Sound: Superior Donuts, reasons to be pretty, A Year with Frog and Toad, Ma Rainey’s Black Bottom, Hollywood Arms, King Hedley II, Buried Child, The Rise and Fall of Little Voice, The Song of Jacob Zulu, The Grapes of Wrath. International— London: Comedy Theatre, Barbican, National Theatre; Tel Aviv: Cameri Theater; Japan: Subaru Acting Co.; Toronto; Dublin; Galway; Perth; Sydney. Off Broadway—Playwrights Horizons; Vineyard; MTC; MCC; Union Square; Second Stage; Public; NYSF; Minetta Lane. Regional—Steppenwolf; Goodman; Alley; Alliance; Chicago Shakespeare; Guthrie; A.C.T. (S. F.); South Coast Rep; Mark Taper; McCarter; Papermill; Huntington; Gleam | 11
Biogr aphies The Artistic Team
“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) 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.
12 | CENTERSTAGE
continued
Hartford Stage; Long Wharf; Shakespeare (DC); Kennedy Center.
Evamarii A. Johnson—Dialect Consultant. CENTERSTAGE: debut.
Regional—Oregon Shakespeare Festival: Eight seasons, credits include To Kill a Mockingbird, She Loves Me, Ruined, Death and the King’s Horseman, Dead Man’s Cell Phone, Gem of the Ocean, Tracy’s Tiger, Intimate Apparel, Bus Stop, Ma Rainey’s Black Bottom, Napoli Milionaria!, A Raisin in the Sun, Force of Nature, Crumbs from the Table of Joy; Dell’Arte International Theatre: Paradise Lost, The Iliad, Peer Gynt: The Liar/Logneren (in cooperation with Denmark’s Jomfru Ane Teatret); Illinois Shakespeare Festival: Henry V, Cymbeline, She Stoops to Conquer, Measure for Measure, The Merry Wives of Windsor, King Lear. Other professional— Co-author of Page to Stage: Julius Caesar, which won the 1991 Wilbur Schramm Award for Outstanding Instructional Television Series. Teaching— Cal Arts, California State Summer School for the Arts, Dell’Arte International School of Physical Theatre, School of Physical Theatre, Cornell University, Illinois State University, Northwestern University, Semester at Sea (The Institute for Shipboard Education). Member— AEA, SAG, Canadian AEA, VASTA. Education— BFA, Howard University; postgraduate work, New York University; PhD, University of Washington.
Lewis Shaw—Fight Director. CENTERSTAGE: Crime & Punishment, Snow Falling on Cedars. Fight Direction— Everyman Theatre: All My Sons, Mystery of Irma Vep, Filthy Rich, Much Ado About Nothing; Baltimore Opera: Romeo et Juliette, Otello, Elektra, Aida; Studio Theatre: Frozen, Mojo; Rep Stage: Bach at Leipzig, Lonesome West, Swan; Globe Theatre, London (Workshop Season); Shakespeare Theatre: Taming of the Shrew; over 40 episodes of America’s Most Wanted. Other Professional—Weapons and Specialty Prop Design: Broadway: Addams Family, Life in Theatre, Shrek, Pirate Queen, Aida, Scarlet Pimpernel, Tarzan; West End: Royal Family. Regional: Ben-Hur Live, Metropolitan Opera,
Baltimore Opera, Washington Opera, Folger Theatre, Shakespeare Theatre. Film/TV: Killer Joe, Death Games. Teaching—Certified Teacher with the Society of American Fight Directors and on faculty for the Opera Studio at University of Maryland, College Park.
Laura Smith*—Stage Manager.
CENTERSTAGE: 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, The Exonerated, 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 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.
Raine Bode*—Assistant Stage Manager. CENTERSTAGE: American
Buffalo, Snow Falling on Cedars, The Homecoming; Assistant Production Manager 2009-Present. New York Credits— Stage Manager, La MaMa: Seven, Nicky Paraiso’s HOUSE/BOY, Dionysus Filius Dei, Draupadi, Seven Against Thebes, Three Valises. International Tour—Stage Manager, Seven Against Thebes (Great Jones Repertory Company). Local—Baltimore Shakespeare Festival: Stage Manager, Merry Wives of Windsor, Julius Caesar. Other professional— Baltimore Shakespeare Festival Production Manager (2007–09).
Captain Kate Murphy*—Assistant Stage Manager. CENTERSTAGE: Stage
Manager for 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 Boys From Syracuse, The Three Sisters, Radio Golf, The Murder of Isaac, Once on this Island, King Lear; Assistant Production Manager
2008–09. Regional—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; Contemporary American Theater Festival: The Overwhelming, Pig Farm; Totem Pole Playhouse: Over 60 productions through ten seasons. Film/TV—Route 30, Route 30 Too! (dir. John Putch), The Next Food Network Star. Tremendous thanks and applause to Katie Ambrose.
Gavin Witt—Production Dramaturg (see page 14).
Pat McCorkle— Casting Director. Pat McCorkle (C.S.A.) and associates are currently providing casting for the Broadway productions of High with Kathleen Turner and Three Tall Women by Edward Albee. They have, most notably, cast Broadway productions of: The Lieutenant of Inishmore, The Glass Menagerie, Cat on a Hot Tin Roof, One Flew Over the Cuckoo’s Nest, The Ride Down Mt. Morgan, Amadeus, A Doll’s House, She Loves Me, Blood Brothers, A Few Good Men. Off Broadway credits include: The Toxic Avenger, Our Town, Adding Machine, Almost Maine, Address Unknown, Ears on a Beatle, Down the Garden Paths, Killer Joe, Visiting Mr. Green, Mrs. Klein, Driving Miss Daisy. Casting for feature films are represented by projects such as Ghost Town, War Eagle, Bereft, Secret Window, Basic, The Thomas Crown Affair, The 13th Warrior, Madeline, Die Hard with a Vengeance, School Ties, etc. A few television highlights include The Electric Company, Californication (Emmy nom), Human Giant, 3 lbs., Barbershop, Chappelle’s Show, among many others. Premium Rush, a feature film for Sony Pictures, is scheduled for summer 2011 release.
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F YI
biogr aphies
Staff
Audience Services 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.
Artistic Director Kwame Kwei-Armah, an award-
winning British playwright, director, actor, and broadcaster, is well-known to Baltimore audiences through his plays Elmina’s Kitchen and Let There Be Love—which had their American debuts at CENTERSTAGE—as well as his work as director of Naomi Wallace’s Things of Dry Hours. He has served on the boards of The National Theatre and The Tricycle Theatre, both in London. He most recently served as Artistic Director for the World Arts Festival in Senegal, a month-long festival of Black arts and culture, which featured more than two thousand artists from 52 countries participating in 16 different arts disciplines. He was recently named the Chancellor of the University of the Arts London.
Gavin Witt—Associate Artistic Director/Director of Dramaturgy— 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 currently teaches at Towson University.
14 | CENTERSTAGE
Preview: A Skull in Connemara
Haunting Hilarity By Kellie Mecleary, Dramaturgy Fellow
In a flyspeck of a town in Ireland’s fabled West, four lonely, lovable misfits dig for the truth—and get so much more. It’s been seven years since Mick Dowd buried his wife, and the town’s still talking about it: was it a drunk-driving accident or a whack on the head over sloppy scrambled eggs? Since Martin McDonagh’s Connemara is a place where violence is as expected as the weekly Bingo game, both options are plausible. Mick’s job is to exhume the gravesites of those seven years dead to make room for the newly deceased; now the time has come to dig up his wife, and buried with her could be the answer to one of the town’s juiciest mysteries.
Directed by BJ Jones
Jan 25–Mar 4, 2012 “Oh Leenane, Leenane: that inbred, claustrophobic world in which… nothing is held sacred—including matricide, patricide, fratricide, and suicide—if it livens things up a bit.” —Ben Brantley, The New York Times, 2001
“Connemara confirms McDonagh as a force to be reckoned with— a playwright both ‘pre-modern and post-modern…’ with an acute ear for Irish wordplay, and a gene-deep sense of irony.” —Misha Brown, The Seattle Times, 2000
Explore the remaining 2011–12 season or buy tickets!
In 1994, at the age of 24, Martin McDonagh sat down at a desk with a pen and notebook. He emerged nine months later with drafts of seven plays: two sets of trilogies and an early version of the Tony Award-winning drama The Pillowman. Just three years later, McDonagh had achieved national attention, with four of his plays produced on the London stage at once. Nearly all of McDonagh’s works have since been produced in the US to major acclaim and numerous awards. He has gone on to write and produce two films, including the cult sensation In Bruges, staring Colin Farrell and Brendan Gleeson. A Skull in Connemara, the second in McDonagh’s Leenane trilogy, premiered in 1997 at the Town Hall Theatre in Galway as a co-production between The Druid Theatre and the Royal Court, moving quickly to London soon after. In Skull, McDonagh actively works to de-romanticize the mythic Ireland of lore. Anyone expecting sweeping landscapes and charming lasses might find the setting of Skull shabby and grim and its characters petty and coarse. At the same time though, they are complex. They are human. A Skull in Connemara can surprise you with unexpectedly poignant moments—kernels of love, loss, and hope amidst brash humor and bloody indifference. McDonagh draws on such familiar Irish sources as Synge, Joyce, and Beckett for tone and tenor, fusing them with other, more contemporary styles that employ rhythmic specificity and rough humor. He combines Gaelic syntax with English words to create a playful, musical style—steeped in Ireland’s past, but imbued with a modern pace and sensibility. With a gift for satirical storytelling and the keen ability to stay one step ahead of his audiences, McDonagh’s plays are deliciously entertaining, filled with side-splitting hilarity and intriguing uncertainty. You won’t want to miss this macabre mystery packed with merriment, mayhem, and might-be murder. e
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supporting The Annual Fund
CORPORATIONS
Artists Circle
The following list includes gifts of $250 or more—individual, corporate, foundation, and government contributions— made to the CENTERSTAGE Annual Fund between July 1, 2010 and November 28, 2011. 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! ●● Playwrights Circle
American Trading & Production Corporation
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.
The Baltimore Life Companies
●● Artists Circle
Baxter, Baker, Sidle, Conn & Jones, P.A.
The Miriam and Jay Wurtz Andrus Trust Ellen and Ed Bernard Stephanie and Ashton Carter James and Janet Clauson Lynn and Tony Deering Marilyn Meyerhoff Mr. and Mrs. George M. Sherman The Shubert Foundation, Inc. Mr. and Mrs. Robert W. Smith, Jr. The Witt/Hoey Foundation
Anonymous Accenture
Brown Advisory Environmental Reclamation Company Ernst & Young LLP FTI Consulting Hodes, Pessin & Katz, P.A. Howard Bank Lord Baltimore Capital Corporation McCormick & Co. Inc. McGuireWoods LLP
T. Rowe Price Associates Foundation, Inc.
PNC Bank PricewaterhouseCoopers LLP Procter & Gamble SunTrust Bank
Producers Circle
Stifel Nicolaus Transamerica Financial Solutions Group Venable, LLP Whiteford, Taylor & Preston LLP The Whiting-Turner Contracting Company
●● Directors Circle Alexander Design Studio Bay Imagery, Inc. Funk & Bolton, P.A.
($25,000+)
●● Producers Circle ($10,000–$24,999)
The William L. and Victorine Q. Adams Foundation and The Rodgers Family Fund The William G. Baker, Jr. Memorial Fund Baltimore Community Foundation Penny Bank The Jacob and Hilda Blaustein Foundation, Inc. The Bunting Family Foundation The Helen P. Denit Charitable Trust Ms. Nancy Dorman and Mr. Stanley Mazaroff Mr. and Mrs. Larry D. Droppa The Goldsmith Family Foundation John Gerdy and E. Follin Smith The Laverna Hahn Charitable Trust Ms. Kathleen Hyle 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 Lynn and Phil Rauch George Roche Mr. Louis B. Thalheimer and Ms. Juliet A. Eurich Ms. Barbara Voss and Charles E. Noell, III
Schoenfeld Insurance Associates
●● Playwrights Circle
Stevenson University
Denise and Philip Andrews Peter and Millicent Bain James T. and Francine G. Brady The Charlesmead Foundation The Nathan & Suzanne Cohen Foundation The Cordish Family The Jane and Worth B. Daniels, Jr. Fund of the Baltimore Community Foundation Fascitelli Family Foundation Dick and Maria Gamper The Harry L. Gladding Foundation/ Winnie and Neal Borden Dr. and Mrs. Neil D. Goldberg Fredye and Adam Gross The Hecht-Levi Foundation, Inc. Martha Head Dr. and Mrs. Freeman A. Hrabowski, III Murray and Joan Kappelman Francie and John Keenan Mr. and Mrs. E. Robert Kent, Jr.
●● Associates Ayers Saint Gross Chesapeake Plywood, LLC Corporate Office Properties Trust Goldberg, Besche & Banks, P.C. J.J. Haines & Company, Inc.
●● Colleagues RSM McGladrey, Inc. Thomson Remodeling
●● Advocates Anonymous Fireline Corporation
16 | CENTERSTAGE
INDIVIDUALS & FOUNDATIONS
($5,000–$9,999)
The John J. Leidy Foundation, Inc. The Macht Philanthropic Fund Mrs. Diane Markman Joseph & Harvey Meyerhoff Family Charitable Funds Robert E. Meyerhoff and Rheda Becker John and Susan Nehra The Jim & Patty Rouse Charitable Foundation, Inc. The Estate of Loretta M. Taymans Ms. Katherine L. Vaughns Ms. Linda Woolf
●● directors Circle ($2,500–$4,999)
Anonymous The Lois and Irving Blum Foundation, Inc. Drs. Joanna and Harry Brandt Sylvia and Eddie Brown Mary Catherine Bunting The Annie E. Casey Foundation Marjorie Rodgers Cheshire and Mark Cheshire August and Melissa Chiasera Dr. Joan Develin Coley and Mr. Lee Rice The Mary & Dan Dent Fund of the Baltimore Community Foundation Mr. and Mrs. Walter B. Doggett, III Patricia Yevics-Eisenberg and Stewart Eisenberg Judith and Steven B. Fader Mr. and Mrs. Michael Falcone Ms. Suzan Garabedian Robert and Cheryl Guth Dr. and Mrs. J. Woodford Howard Mr. and Mrs. Stephen Immelt Jonna and Fred Lazarus Linda and John McCleary Mr. and Mrs. John L. Messmore Jeannie Murphy The Israel & Mollie Myers Foundation/ Mr. and Mrs. Jonathan Myers/ Mr. and Mrs. Herschel Langenthal Dr. and Mrs. Lawrence C. Pakula The James and Gail Riepe Family Foundation Monica and Arnold Sagner Mr. and Mrs. Scott Somerville Scot T. Spencer The Estate of George H. Steele Mr. Michael Styer 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 Ms. Cheryl Hudgins Williams and Alonza Williams Sydney and Ron Wilner
●● Associates
($1,000–$2,499)
Anonymous Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation Ms. Taunya Banks Amy and Bruce Barnett Mr. Donald L. Bartling Bob and Maureen Black Mr. and Mrs. Marc Blum John and Carolyn Boitnott Mr. and Mrs. John Bond, Jr. Jan Boyce 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 Robert and Janice Davis The Richard & Rosalee C. Davison Foundation Mr. James H. DeGraffenreidt, Jr. and Dr. Mychelle Y. Farmer, M.D. Rosetta and Matt DeVito Mr. Jed Dietz and Dr. Julia McMillan, MD The Dramatists Guild Fund, Inc. Jack and Nancy Dwyer Mr. and Mrs. Matthew Freedman Frank and Jane Gabor Jose and Ginger Galvez Jonathan and Pamela Genn, in honor of Beth Falcone and Cindi Monahan Janet and John Gilbert Ms. Ana Goldseker Goldseker Foundation H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation James and Vicki Handa F. Barton Harvey, III and Janet Marie Smith Bill and Scootsie Hatter Donald and Sybil Hebb Sandra and Thomas Hess Mr. and Mrs. Leonard Homer The Harley W. Howell Charitable Foundation The A. C. and Penney Hubbard Foundation Ms. Sherrilyn A. Ifill Mr. and Mrs. Theodore Imes Joseph J. Jaffa Mr. and Mrs. Mark Joseph The Abraham & Ruth Krieger Family Foundation, Inc. Francine and Allan Krumholz Dr. and Mrs. George Lentz, Jr.
Mr. and Mrs. Earl & Darielle Linehan/ Linehan Family Foundation Maryland Charity Campaign Ms. Mary L. McGeady Jim and Mary Miller Tom and Cindi Monahan Ms. Stacey Morrison and Mr. Brian Morales Mr. and Mrs. Lee Ogburn Bodil Ottesen Ms. Beth Perlman Ronald and Carol Reckling Nathan and Michelle Robertson David A. Robinson The Rollins-Luetkemeyer Foundation Ben and Esther Rosenbloom Foundation Mrs. Bette Rothman Lainy Lebow Sachs and Leonard Sachs Mr. and Mrs. Todd Schubert Mrs. Gail Schulhoff Mr. Steve Schwartzman The Tim and Barbara Schweizer Foundation, Inc. Bayinnah Shabazz, M.D. Barbara and Sig Shapiro The Earle & Annette Shawe Family Foundation Mr. and Mrs. Robert N. Smelkinson Judith R. and Turner B. Smith Mr. and Mrs. Scott Smith Mr. and Mrs. Robert and Terri Smith Dr. and Mrs. John Strahan Susan and Brian Sullam Becky and Andrew Swanston Dr. and Mrs. Edgar Sweren, in honor of Kwame Kwei-Armah Mr. and Mrs. Ronald W. Taylor Sanford and Karen Teplitzky The David and Adena Testa Fund Mr. and Mrs. Donald and Mariana Thoms John A. Ulatowski Dr. and Mrs. John Vaden Mr. and Mrs. George and Beth Van Dyke Mr. and Mrs. J.W. Thompson Janna P. Wehrle Ms. Yvonne L. Williams John W. Wood Ms. Jean Wyman Eric and Pam Young Drs. Nadia and Elias Zerhouni Mr. E. Zuspan
●● Colleagues ($500–$999)
Anonymous Ms. Diane Abeloff, in memory of Martin Abeloff Stephen and Madeleine Adams The Alsop Family Foundation Elizabeth and Kenneth S. Aneckstein
Mr. Appel Mrs. Alexander Armstrong Mr. Robert and Dorothy Bair Mayer and Will Baker, in honor of Terry Morgenthaler Charles and Patti Baum Jaye and Dr. Ted Bayless Fund S. Woods and Catherine L. Bennett Mr. and Mrs. Bruce Blum, in memory of Shirley Feinstein Blum Beth and Dale Brady Richard F. Bragg Cindy Candelori Ms. Sue Lin Chong Mr. and Mrs. Carl F. Christ Combined Charity Campaign Ms. Barbara Crain Gwen Davidson and Nancy Haragan Richard and Lynda Davis The Deering Family Foundation The Ethel M. Looram Foundation, Inc. Gene DeJackome and Kim Gingras Albert F. DeLoskey and Lawrie Deering The Honorable and Mrs. E. Stephen Derby Mr. and Mrs. Eric Dott Ms. Lynne Durbin and John-Francis Mergen Dave and Joyce Edington The Eliasberg Family Foundation, Inc. Buddy and Sue Emerson, in appreciation for Elizabeth and Ken Lundeen Margaret and Donald Engvall Mr. and Mrs. Faith and Edgar Feingold, in memory of Sally W. Feingold Sandra and John Ferriter Bob and Susie Fetter Andrea and Samuel Fine Dr. and Mrs. Robert P. Fleishman Dennis and Patty Flynn Elborg and Robert Forster Ms. Nancy Freyman Mr. and Mrs. Francis X. Gallagher, Jr. Sandra Levi Gerstung Hal and Pat Gilreath Alma Hays and John Ginovsky Ann and Jim Gordon Mary and Richard Gorman The Joseph Mullan Company, in care of Peggy Greenman Louise A. Hager Kevin and Angie Hall Terry Halle and Wendy McAllister Michael and Ann Hankin Rebecca Henry and Harry Gruner Allan and Heidi Hoffman Ms. Irene Hornick Henry P. Hornung, Jr., in memory of Trude Marx Mr. James Hughes Dr. and Mrs. Barry Hurwitz
Ms. Harriet F. Iglehart Dr. Richard J. Johns Dr. and Mrs. Juan M. Juanteguy Michael and Jennifer Kagan Peter and Kay Kaplan Mr. and Mrs. Padraic Kennedy, in honor of Ken Lundeen Roland and Judy Phair King Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery The Kyle Family Foundation, in honor of Guy and Sue Parr Joseph M. and Judy K. Langmead Mr. and Mrs. John Leahy, Jr. Dr. and Mrs. Yuan C. Lee Mr. Claus Leitherer and Mrs. Irina Fedorova Marilyn Leuthold Marty Lidston and Jill Leukhardt Kenneth and Christine Lobo Ruth R. Marder Mr. Elvis Marks Jean and Chris Mellott Joseph and Jane Meyer Ms. Mary Page Michel and Mr. Michael Morrill, in honor of Lynn and Tony Deering Jeston I. Miller Stephanie Miller, in memory of Joan Denny The Montag Family Fund of The Community Foundation for Greater Atlanta, in honor of Beth Falcone Cliff and Courtney Muller George and Beth Murnaghan Lettie Myers Judith Needham and Warren Kilmer Roger F. Nordquist and Joyce Ward Mimi O'Donnell, in memory of Helen O'Donnell Carolyn and Kevin O'Keefe Claire D. O'Neill Ms. Jo-Ann Mayer Orlinsky Kevin and Joyce Parks Mr. Michael A. Plaisted Dave and Chris Powell Mr. and Mrs. Richard Radmer Mrs. Peggy L. Rice Mr. and Mrs. Domingo and Karen Rodriguez Mr. and Mrs. Jerry Roesler Mr. and Mrs. Harold Rojas Mr. and Mrs. Henry A. Rosenberg, Jr. Mr. Michael Ross Kevin and Judy Rossiter Mr. Al Russell Sheila and Steve Sachs Ms. Renee C. Samuels Linda G. Schneider and S.T. Crook Ms. Sherry Schnepfe Mr. and Mrs. Eugene H. Schreiber Kathy Levin-Shapiro and Sandy Shapiro
Ruth Shaw, Inc. Barbara Payne Shelton Julie Rothman and Scott Sherman, in memory of Donald Rothman Alan and Lisa Shusterman Ronnie and Rachelle Silverstein, in memory of Louis and Sarah Silverstein and Jacob and Rena Kramer The Sinksy-KresserRacusin Memorial Foundation The Ida & Joseph Shapiro Foundation Dana and Matthew Slater Susan Somerville-Hawes, in honor of Encounter Georgia and George Stamas Mr. and Mrs. Joe and Robin Stocks Robert and Patricia Tarola United Way of Central Maryland Campaign Judy Vandever Carolyn and Robert Wallace Nanny and Jack Warren, in honor of Lynn Deering The Toby and Melvin Weinman Foundation Michael T. Wharton Mrs. Edna Winik Paul Wittemann/ Greenspring Energy LLC Dr. and Mrs. Frank R. Witter Drs. Dahlia Hirsch and Barry Wohl Ann Wolfe and Dick Mead Dr. Laurie S. Zabin Mr. and Mrs. Barry Zirkin
●● Advocates ($250–$499)
Anonymous Mr. Alan Arrowsmith, II Mr. and Mrs. Jon Baker, in honor of Terry Morgenthaler Susan and Craig Bancroft Ms. Jane Baum Rodbell Drs. Lewis and Diane Becker The P.R.F.B. Charitable Foundation, in memory of Shirley Feinstein Blum ChiChi and Peter Bosworth Betty J. Bowman Mr. Walter Budko Dr. and Mrs. Robert Burchard Ms. Kathleen Cahill The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation Mr. and Mrs. David Carter Mr. and Mrs. James Case Mr. John Claster Stanton Collins David and Sara Cooke Mr. and Mrs. Richard D. Crafton Mr. Thomas Crusse and Mr. David Imre, in honor of Stephanie and Ash Carter Ms. Sarah Curnoles Diane and Donald D'Agati
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 This project is supported in part by an award from the National Endowment for the Arts. 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
Season Partners
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supporting The Annual Fund
Mr. and Mrs. Ivor Edmonds Deborah and Philip English Ms. Rhea Feikin Donna Flynn David and Joan Forester Scott and Amy Frew Dr. Neal M. Friedlander and Virginia K. Adams Donna Lee and Dick Frisch G. Foss Consulting, LLC Dr. Joseph Gall and Dr. Diane Dwyer Constance A. Getzov Mark and Patti Gillen Bruce Goldman Herbert and Harriet Goldman Stuart and Linda Grossman Thomas and Barbara Guarnieri Mary and James Hackman Jane Halpern and James Pettit Ms. Paulette Hammond Mark and Stephanie Harrison Barbie Hart Melanie and Donald Heacock John and Cynthia Heller Lee M. Hendler Sue Hess Betsy and George Hess John and Kate Hetherington Mr. Donald H. Hooker, Jr. Mr. and Mrs. Martin Horowitz James S. and Hillary Aidus Jacobs Richard Jacobs and Patricia Lasher A.H. Janoski, M.D. Ms. Mary Claire Jeske James and Julie Johnstone Max Jordan Ann H. Kahan Henry Kahn and Marlene Trestman Lee Kappelman and John Rybock Richard and Judith Katz Ms. Shirley Kaufman David and Ann Koch Henry Koether Gina Kotowski Esther Krasevac Edward Kuhl Mr. Thomas Lalley Drs. Don and Pat Langenberg Mr. Richard M. Lansburgh Drs. Ronald and Mary Leach Leadership--Baltimore County Mr. Samuel Legg Sara W. Levi Leon B. Levy Dr. and Mrs. John Lion Carol Macht and Sheldon Lerman
18 | CENTERSTAGE
The Dr. Frank C. Marino Foundation, Inc. Mr. and Mrs. Terrell Marshall J. A. McAlpine Ms. Michael McMullan Faith and Ted Millspaugh Mr. and Mrs. James and Shirley Moore David G. Morrison James D. Morrison 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 Nina Noble Ms. Irene Norton and Heather Millar Judy Oster Fronda Cohen Ottenheimer and Richard L. Ottenheimer Michael and Phyllis Panopoulos Justine and Ken Parezo Steve Parker and Ginny Larsen Ms. Nancy Patz Blaustein Fred and Grazina Pearson Linda and Gordon Peltz Patsy and Tony Perlman Mr. William Phillips Ronald and Patricia Pilling Mr. and Mrs. James and Mimi Piper Fund of the Baltimore Community Foundation Ms. Tamara Plant Leslie and Gary Plotnick Dr. Albert J. Polito and Dr. Redonda G. Miller Mr. Joseph Press Robert E. and Anne L. Prince Mr. Robert Proutt Ms. Sharon Proutt Dr. Jonas Rappeport Mr. Rex Rehfeld and Ms. Ellen O'Brien Dr. Michael Repka and Dr. Mary Anne Facciolo Natasha and Keenan Rice Alison and Arnold Richman Ms. Elizabeth Ritter and Mr. Lawrence Koppelman Ida and Jack Roadhouse David S. Roberts Mr. Steven Sachs Ms. Gloria Savadow Frederica and William Saxon, Jr. Mr. and Mrs. Samuel and Thea Schnydman Dr. Chris Schultz Thomas H. Segal and Clair Zamoiski Segal Leslie Shepard Ms. Minnie Shorter Dr. and Mrs. Donald J. Slowinski Jim and Rosie Smith Mr. and Mrs. Lee and Gloryann Snyder
Solomon and Elaine Snyder The Wilner-Stack Family, in appreciation of Sydney and Ron Wilner Mr. and Mrs. Rodney and Dorothea S. Stieff Subway Sandwiches Dr. James Swanbeck Fredrick and Cindy Thompson Donald and Darlene Wakefield Mary A. Walsh and Richard F. Roy Mr. and Mrs. David Warshawsky Ms. Camille Wheeler and Mr. William Marshall Mr. Tappan Wilder Ann Williams Baldwin Memorial Fund, in memory of Harry L. Smith Mr. and Mrs. Ronald Wilson Mr. Paul Wolman Crickett and Brad Woloson Mrs. Edith Wolpoff-Davis, in memory of Alvin S. Wolpoff Mr. Raymond Worley Mr. Calman Zamoiski, Jr. Ziger/Snead Architects Drs. Eva and James Zinreich Mr. Paul Zugates
●● 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 Heavenly Ham 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. Ace Charitable Foundation Bank of America The Annie E. Casey Foundation Constellation Energy The Deering Family Foundation Exxon Corporation France-Merrick Foundation GE Foundation Goldseker Foundation Graduate Management Admission Council IBM Corporation Johnson Controls Foundation McCormick & Co. Inc. Merrill Lynch & Co. Foundation Microsoft Matching Gifts Norfolk Southern Foundation PNC Financial Services Group Stanley Black & Decker SunTrust Bank T. Rowe Price Group The Washington Post Verizon 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.
centerstage 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 John R. Gilbert 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 John Messmore Marilyn Meyerhoff+ J. William Murray Charles E. Noell Esther Pearlstone+ Beth S. Perlman Philip J. Rauch Carol Reckling Harold Rojas Monica Sagner+ Renee C. Samuels Todd Schubert Steve Schwartzman George M. Sherman+ Scott Somerville Scot T. Spencer Michael B. Styer Ronald W. Taylor Donald Thoms Robert L. Wallace J.W. Thompson Webb Ronald M. Wilner Cheryl Hudgins Williams Judy M. Witt Linda S. Woolf + Trustees Emeriti
BALTIMORE INNER HARBOR AT CAMDEN Y ARDS
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Staff Kwame Kwei-Armah–Artistic Director Administration
Associate Managing Director–Del W. Risberg Management Fellow–Kacy Armstrong
Artistic
Associate Artistic Director–Gavin Witt Artistic Administrator–Katie Byrnes Company Manager–Sara Grove Company Management Senior Intern– Tricia Hofacker
Audience Relations
Box Office Manager–Mandy Benedix Assistant Box Office Manager/ Subscriptions Manager–Jerrilyn Keene Assistant Box Office Manager–Blane Wyche Box Office/Group Sales Associate–Alana Kolb Full-time Assistants–Whitney Cunningham, Ashley Fain, Courtney Proctor, Christopher Lewis Part-Time Assistants–Janna Small, Froilan Mate, Susie Martinez Bar Manager–Sean Van Cleve House Manager & Volunteer Coordinator– Bertinarea Crampton Assistant House Managers–Linda Cavell, Rachel Garmon, Tricia Hofacker, Faith Savill Audience Relations Intern–Cedric Gum Audio Description–Ralph Welsh & Maryland Arts Access
Audio
Engineer–Amy Wedel Assistant–Eric Lott Multimedia Fellow–Stewart Ives The Jane and Larry Droppa Audio Intern– Dan Cassin
Community Programs & Education
Director–Julianne Franz Education Coordinator–Rosiland Cauthen Community Programs Fellow–Jay Gilman The James and Janet Clauson Education Intern– Shayna Small Teaching Artists–Wambui Richardson, Oran Sandel, Joan Weber
Costumes
Costumer–David Burdick Tailor–Edward Dawson Craftsperson–William E. Crowther Stitcher–Jessica Rietzler The Judy Witt Costumes Intern– Maggie Masson
Development
Director–Cindi Monahan Grants Manager–Sean Beattie Annual Fund Manager–Katelyn Rumbaugh Events Coordinator–Brad Norris Events Assistant–Julia Ostroff Assistant–Christopher Lewis Auction Coordinator–Sydney Wilner Auction Assistant–Norma Cohen The Ed and Ellen Bernard Development Intern– Marie Roth
Dramaturgy
Director–Gavin Witt The Lynn and Tony Deering Dramaturgy Fellow–Kellie Mecleary Apprentices–Alesia Etinoff, Janice Rattigan, Jenna Rossman, Kate Wicker
Electrics
Master Electrician–Lesley Boeckman Assistant–Cartland Berge Light Board Operator–Patience Haskell The Barbara Capalbo Electrics Intern– Meghan O’Rourke
Finance
Director–Susan Rosebery Business Manager–Kathy Nolan Associate–Carla Moose
Graphics
Art Director–Bill Geenen Graphic Designer–Jason Gembicki Graphics Intern–Dan Rader Production Photographer–Richard Anderson
Information Technologies
Director–Joe Long Systems Administrator–Mark Slaughter
Marketing & Communications
Director–David Henderson Promotions Director–Charisse Nichols Public Relations Manager–Heather C. Jackson Digital Media Associate–Timothy Gelles Assistant–Courtney Proctor The Phil and Lynn Rauch Public Relations & Communications Senior Fellow–Lily Brown Marketing Intern–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–Raine Bode Production/Stage Management Intern– Caitlin Powers
Properties
Manager–Nathan Scheifele Artisan–Jeanne-Marie Burdette Carpenter–Victoria K. Schilling The Kenneth C. and Elizabeth M. Lundeen Properties Intern–Samantha Kuczynski
Scenery
Technical Director–Tom Rupp Assistant Technical Director–Laura P. Merola Shop Supervisor–Michael “Slippy” Lavrich Master Carpenter–Trevor Gohr Carpenters–Joey Bromfield, Scott Richardson Scene Shop Intern–Stephanie Waaser
Scenic Art
Scenic Artist–Ruth Barber The Freeman and Jacqueline Hrabowski Scenic Art Intern–Johanna Josephian
20 | CENTERSTAGE
Stage Management
Production Assistant–Kathryn Ambrose The Peter and Millicent Bain Stage Management Intern–Becky Reed
Stage Operations
Stage Carpenter–Eric Burton Wardrobe Supervisor–Lisa Allen Wardrobe Intern–Lizzy Trawick
Telemarketing
Manager–Janet McMannis Callers–Maureen Bass, Wanda Bradley, Whitney Cunningham, Jasmine Davis, Tamar Fleishman, Cory Frier, Paulette Hammond, Bruce Jenkins, Rena Lomax, Jason R. Trimmer, Michael Wright
The following designers, artisans, and assistants contributed to this production of
Gleam—
Assistant to the Director–Dominic Gladden Associate Set Design–Caite Hevner Associate Costume Designer–Ashley Farra Assistant Lighting Designer–Phil Kong Design Studio Manager–Sarah Zeitler Electrics–John Elder, Sarah Elliott, Jake Epp, Brian Mendel, Jen Reiser First Hand–Sue Holmes Hair/Wigs–Linda Cavell Properties–Lynn Twining Scenery–Bernard Bender, Kyle Charles, Jake Epp, Seth Foster, Brian Mandel Scenic Art–Maureen Bass, Anne Boisvert, Katie Fry, Jamie Kumpf Set Design Intern–Sheryl Liu Special thanks to the tdf Costume Collection 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.
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