Marley Program

MAY 7 –JUN 14 , 2015

AMADEUS NEXT TO NORMAL IT’S A WONDERFUL LIFE: A Live Radio Play ONE NIGHT IN MIAMI… THE AMY HERZOG FESTIVAL:

AFTER THE REVOLUTION & 4000 MILES MARLEY

MARLEY Music and Lyrics by Bob Marley

Book by Kwame Kwei-Armah

PHOTO © FIFTY-SIX HOPE ROAD MUSIC, LTD.

2014/15 SEASON

An Introduction to the World of the Play

SYNOPSIS: I feel so incredibly blessed to have been entrusted to tell this story by the careful and dedicated stewards of Bob Marley’s legacy.

Few people get paid to sit and listen to the music of one

PHOTO © FIFTY-SIX HOPE ROAD MUSIC, LTD.

of their heroes. Even fewer are allowed the privilege of assembling a cast of this magnitude to investigate the life of someone who has touched people literally at each and every corner of the globe. For that I will be eternally grateful.

Here we offer you selections from the music of Bob Marley to tell two intertwined stories: The first of Marley’s private, personal journey of introspection and redemption during a self-imposed exile. The second follows the broader historical sweep of his life and career, his impact as a political activist—and his evolution into a spokesperson of a global struggle for freedom and justice.

From the “Smile Jamaica” concert of 1976 to the “One Love” peace concert of 1978, I hope we can begin to trace the intense, triumphant trajectory of a lone visionary as he becomes an international superstar.

For those who recall the seismic effect of Bob’s contributions or for those encountering them for the first time, there should be no doubt that the music and the message speak as powerfully today as they did then.

Warmly,

Kwame Kwei-Armah Artistic Director

Act I

When the play opens, we meet 31-year-old Bob Marley playing a benefit concert with Stevie Wonder.

Already a national success and committed to Rastafari (see p.7), Bob and his wife Rita move into an uptown neighborhood. But he is soon inspired to organize a concert for the Jamaican people— an apolitical event aimed to bring joy to the much-divided nation.

The political parties, the People’s National Party and the Jamaica Labour Party, do not see it as an apolitical act. The well-intended Smile Jamaica concert quickly draws controversy when Prime Minister Manley calls a snap election almost directly after the concert is announced. As tensions rise and mistrust brews, many closest to Bob start having serious doubts about his safety….

Act II Act II finds Bob Marley hiding in solitude far away from home and family. Exile brings with it a creative fervor, and perhaps the most prolific and passion-filled period of his life.

He soon finds other silver linings of self-banishment, like the welcoming arms of female fans (including the reigning Miss World) while his wife Rita calls from home.

Before long, the peace delegation from Jamaica begs for him to help calm the increasingly violent political riff. Instead, he heeds a higher calling and pilgrimages to Ethiopia looking for spiritual clarity.

But as his health takes a turn for the worse, the question of returning home lingers.

MARLEY

Music and Lyrics by Bob Marley Book by Kwame Kwei-Armah

THE CAST

(in alphabetical order)

Kena Anae * Carly Barrett, musician

Mitchell Brunings* Bob Marley

Luke Forbes* Tek Life, enforcer for the Jamaica Labour Party (JLP)

Don Guillory* Don Taylor, Bob’s manager

John Patrick Hayden* Chris Blackwell, record producer

Khetanya Jati Henderson* Diane Jobson, Bob’s lawyer

David Heron* Tony Welsh, enforcer for the People’s National Party (PNP)

Jonathan Hooks* Family Man, musician

Crystal Joy* Judy Mowatt, I-Three singer

Mykal Kilgore* Stevie Wonder, musical superstar

Michael Luwoye* Peter Tosh, one of the Wailers

John-Andrew Morrison* Claudie Massop, enforcer for the JLP

Howard W. Overshown* Michael Manley, Prime Minister, leader of the PNP

Ano Okera* Don Letts, music producer

Shayne Powell* Malakai, Bob’s close friend

Michael Rogers* Rasta Elder

Saycon Sengbloh* Rita Marley, Bob’s wife and I-Three singer

Jaime Lincoln Smith* Neville Garrick, Bob’s art director

Damian Thompson* Bunny Wailer, one of the Wailers

There will be a 15-minute intermission.

PLEASE TURN OFF ALL ELECTRONIC DEVICES. IN CASE OF EMERGENCY 410.986.4080 (during performances).

Michaela Waters* Cindy Breakspeare, Miss World

Susan Kelechi Watson* Marcia Griffiths, I-Three singer

ENSEMBLE

Christopher Dews, Tracey Farrar, Gary-Kayi Fletcher, Victoria Harper, Bill Hurlbut, Kyle A. Jackson, Jeff Kirkman III, Mawk, Allison McLean, Marili Mejias, Olu Butterfly Woods

Lloyd Davis, Jr.* Stage Manager Gwendolyn M. Gilliam* Assistant Stage Manager Kayla Whisman and Marian Jackson Stage Management Interns *Member of Actors’ Equity Association

Kwame Kwei-Armah

Kenny Seymour

Jason Michael Webb

Germaul Barnes

Neil Patel

ESOSA

Michelle Habeck

Shane Rettig

Alex Koch

J. Jared Janas

THE ARTISTIC TEAM

Director Music Supervisor, Arrangements/Orchestrations Music Director, Additional Arrangements/ Orchestrations Choreographer Scenic Designer Costume Designer Lighting Designer Sound Designer Projection Designer Wigs/Hair/Makeup Designer

Gavin Witt and Catherine María Rodríguez Oskar Eustis Geoffrey Kent Samantha Godfrey Leigh Wilson Smiley Ano Okera Paloma McGregor Khetanya Jati Henderson Pat McCorkle Suzette Newman and Chris Blackwell for Stageplay Ltd. Jessica R. Jenen

Production Dramaturgs Dramaturg Fight Director Acting Coach to Mr. Brunings Vocal Coach Dialect Coach Associate Director Dance and Fight Captain Casting Director Producers General Manager

Marley is presented with approval of and in cooperation with the Marley family and Tuff Gong Pictures L.P. This production of Marley has been developed and is presented with the support of Blue Mountain Music. www.MarleyMusic.com | www.BobMarley.com | www.facebook.com/BobMarley

Marley | 1

M USICAL

NUMBERS ACT I

I Shot the Sheriff Bob, Stevie Wonder, and Company

Rastaman Chant Bob and Rastas

Forever Loving Jah Bob and Rastas

No More Trouble Bob and Company

Smile Jamaica Bob and Company

Revolution Bob, Marcia, and Company Concrete Jungle Bob and Wailers Slave Driver Bob and Wailers

Midnight Ravers

War

Bob and Wailers Bob and Company

Them Belly Full Bob and Company

Want More Bob and Company

War (Reprise)

Bob and Company

— I nt e r m i s s i o n —

ACT II

Running Away Bob and Company Is This Love

Judy

Punky Reggae Party Bob and Company

No Woman No Cry/Waiting in Vain Bob and Rita

Turn Your Lights Down Low Bob

So Much Things To Say Bob

Guiltiness Bob and Company Heathen Bob and Company Rastaman Chant (Reprise) Bob and Rastas Exodus Bob and Company Redemption Song

Bob and Company

Work Bob and Company

Could You Be Loved Bob and Company

Jammin’ Bob and Company

Encore

Three Little Birds; Get Up, Stand Up; One Love

MUSICIANS

Jason Webb

Ed Walters

Tom Williams

Chris Steele

Bob Boguslaw

Ike Daniel

1st Keyboard/Conductor/Music Director Tenor Saxophone/Flute Trumpet Trombone 2nd Keyboard 1st Guitar

Dave Leoni

2nd Guitar

Eric Brown

Drums

Chelton Grey

Bass

Song selections and order subject to change.

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All songs are published by Fifty-Six Hope Road Music Ltd Blackwell Fuller Music Publishing LLC Administered by Blue Mountain Music Ltd.

S ET T IN G

TIME AND PLACE

TIME: 1972–78

PLACE:

Jamaica and London—and, briefly, Ethiopia ACT ONE Scene 1 ‘75 Benefit Concert, Kingston, JA Scene 2 ‘77 56 Hope Rd., Kingston, JA Scene 3 ‘76 Office of the Prime Minister, JA Scene 4 ‘76 Rehearsal room, 56 Hope Rd., JA Scene 5 ‘72 Chris Blackwell’s office, Island Records, London Scene 6 ‘72 Basing Street Studios, London Scene 7 Open Time, Open Stage Scene 8 ‘76 Grounds/Rehearsal room, 56 Hope Rd., JA Scene 9 ‘76 Rehearsal room/Grounds, JA Scene 10 ‘76 Strawberry Hill, JA Scene 11 ‘76 Smile Jamaica Concert, National Heroes Park, Kingston, JA PHOTO © FIFTY-SIX HOPE ROAD MUSIC, LTD.

ACT TWO Scene 1 ‘77 Oakley Street Apartment, London

Above: Trench Town; Kingstown sights; mobile record shack; Bob Marley.

Below: London sights, skinheads, and punks.

Scene 2 ‘77 Oakley Street Apartment, London Scene 3 ‘77 Montage: soccer match, night club, disco Scene 4 ‘77 Oakley Street Apartment and studio, London Scene 5 ‘77 Rasta Nyabinghi Ceremony, London Scene 6 ‘78 On Tour Scene 7 ‘78 Video shoot, Keskidee Centre, London Scene 8 ‘78 Lalibela, in the mountains of Ethiopia Scene 9 ‘78 Flying to Kingston, JA Scene 10 ‘78 Desolate hillside, Kingston, JA Scene 11 ‘78 56 Hope Rd., JA Scene 12 ‘78 One Love Peace Concert, National Stadium, Kingston, JA Locations and order subject to change.

Marley | 3

PHOTO © FIFTY-SIX HOPE ROAD MUSIC, LTD.

BOB MARLEY

1945 1981

By Gavin Witt, Production Dramaturg

In 1976, the newly independent nation of Jamaica found itself convulsed by political violence. Amid this maelstrom, many eyes turned hopefully to a young musical firebrand—a hometown boy made good, with his roots still planted deep in the local soil. Someone who, by accident or by choice, seemed to stand apart from the fray; a political and musical rebel, steadily evolving from a more traditional, more local outlook to a more revolutionary, more global one.

This was hardly an inevitable outcome.

Born in 1945 to a young Jamaican mother and a much older British officer who very shortly decamped, young 4

Robert Nesta Marley was fending for himself at five. The family eventually moved from the countryside to Trench Town, one of Kingston’s notorious tenement yards—a place Marley would immortalize by name, and as the “Concrete Jungle” that it was. Surviving, let alone thriving, in those brutal blocks gained him the nickname Tuff Gong. It also helped forge the outlook and sympathies that shaped his life and music, and cemented many of the relationships of his later years.

Music became an escape in many ways, and after a short stint as a welder’s apprentice, teenage Marley began

to write, play, and record. Slowly for years, then more swiftly at last, success followed success. The Wailing Wailers trio grew into the larger Bob Marley and the Wailers. Alchemy struck in 1972 when they linked up with producer Chris Blackwell and his Island Records label.

International tours, and record deals, came fast and furious.

By the waning months of 1976, before the

“Smile Jamaica” concert that was supposed to heal Jamaica’s rifts and rivalries, the

group played to cheering throngs around

the world, started to chart consistently, and

joined the likes of The Jackson 5 and Stevie

Wonder on stage. Their reggae sound was

What Did He Say? A Glossary

Here’s a handy guide to some of the Rasta terms and Jamaican patois you’ll hear in Marley.

RASTA:

short for Rastafari, denoting the followers of Rastafari ways as well as the belief itself. The name comes from Ras (prince or chief) Tafari, the original name of Emperor Haile Selassie, whom Rastas revere as divine.

a (ah): can mean many things from: a, to, in, of, is, it, the, will, etc. Works as preposition, verb, and more. becoming a sensation, symbol both of the

sun-splashed Caribbean and of a worldwide movement. The man at the mic was hailed

Babylon: the world, particularly the capitalist consumer world of the West.

As distinct from Zion, the promised land of Ethiopia.

even this only fueled higher heights. The

bloodclatt, rasclatt, bomboclatt: expletives used as intensifiers, exclamations, or profanity; derived from associating clatt (from “cloth”) with various orifices, front and back.

Bloodclatt also evokes the cloth used to wipe the bloody backs of slaves after a whipping. These terms also shorten into expletives like “bombo,” “ras,” or “ratted,” and “bomboclatt” also gets used for bum or rear.

dubbed an assassination attempt, and

bredren: brethren, friends. The Rasta version is Idren(s).

for his musical achievements—writing as

much as playing—but also for speaking

for the “sufferahs,” voicing for the voiceless,

calling the powerful to account.

Then, with the first days of 1977, Marley

vanished from view—holed up in secret

in a borrowed London flat, in a very

different kind of concrete jungle. But

attack that had nearly killed him was

garnered breathless headlines fit for a leader. His eventual return was hailed

by triumphant throngs.

Marley recorded his first single at 16 and

dread or dreadies: you guys, you all; from the dreadlocks worn by many Rastas.

had his first hit, “Simmer Down,” at 18. He was on the cover of Rolling Stone at 31.

fi: to (as in have fi = have to), or for (wait fi you=wait for you).

felled by cancer, inducted into Jamaica’s

gwan: going to. Hence also wha’ gwan: what’s going on, what’s up?

Order of Merit, and buried with all the

pomp of a state funeral.

To learn more about Bob Marley and

J.A.: Jamaica.

Jah: God; from Jahweh (Yahweh). likkle: little. mash up: destroyed. overstand: alternative for understand, avoiding the submission and suppression of “under.” pickney: small child or children (from pickaninny). reggae: ostensibly from “raggy” (ie, scruffy), for the music and the lifestyle around it that evolved in the Sixties out of earlier Ska, Rocksteady, and other island music mixed with elements of soul and rock.

dem: literally, them; but used more generally in place of that, those, these, etc.

It was, in short, a remarkable journey.

And in 1981, a mere 36, he was gone—

irie: alright, good.

gong: boss, chief.

I: reflecting the central Rasta tenet of oneness, I and I can mean we, or me myself; the I can mean you or oneself.

seen: I hear you, I understand, okay; can also function as the question, do you get it, do you understand? skip, skipper: boss, chief. yahso: right here. you nah mean: you know what I mean.

his life visit centerstage.org/marley.

Marley | 5

MANNERS Jamaica prides itself on an identity as one of the biggest small islands in the world—not by land mass, but by virtue of an outsized impact. For centuries the pawn of European empires, exploited for its natural resources and a labor force of indentured servants and slaves, the Caribbean island nevertheless has punched consistently above its ostensible weight.

In the mid-1970s, Jamaica again found itself on the world stage, not so happily.

A mere decade into independent nationhood, Jamaicans elected a Prime Minister who, declaring for Democratic Socialism, also pursued policies of internationalism that made common cause with Fidel Castro’s Cuba, with Communist China and the USSR, and with independence movements throughout Africa. In the aftermath of the Cuban revolution and the ensuing missile crisis, playing out just hours from the US mainland, these moves rattled policymakers in Washington.

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The result was, in policy and in practice, destabilization of the sort regularly practiced in that era. Through the CIA and other shadowy associations, drugs, guns, and money poured into the hands of the pro-American and business-friendly opposition and the street gangs who supported them. The binary language of the Cold War inflamed Jamaican political discourse, demonizing one side or the other in global, starkly Manichean terms.

Rooted in the early evolution of political activity in Kingston and across the island, two primary parties had emerged: the JLP (Jamaica Labour Party) under the leadership of Edward Seaga and the PNP (People’s National Party) under the leadership of Michael Manley. The former leaned Right, the latter Left; one advocated business-oriented capitalism, the other socialist policies; one aligned with the US and Europe, one with the Soviet Union and African nationalism.

This ideological clash found fruitful terrain in homegrown partisan divides, and exploded in murderous violence in the bloody geography of the streets. In a fashion reminiscent of New York’s brutal machine politics of the 19th Century, or the sectarian battles of Ireland’s Troubles, party allegiances defined neighborhoods, separated blocks, even divided households.

By Gavin Witt, Production Dramaturg

HEAVY

To garner support, the parties bulldozed shantytowns and slums, erecting instead housing blocks, hospitals, and other facilities; these, and jobs, came in exchange for votes and loyalty. These neighborhoods, known as Garrisons, also housed oftenvicious gangs known as Posses, who enforced their will and ensured votes.

Led by “dons,” Posses gradually became self-sustaining gangs in their own right, aligned with neighborhoods and parties.

Trenchtown was the heart of PNP turf, while Tivoli Gardens claimed the JLP. In the months preceding the 1976 General Election, party Posses were slaughtering each other—and those caught in the crossfire. The government declared a State of Emergency and put the country under what were termed “Heavy Manners.”

A third strand wove tightly alongside these other two: the music and message of Reggae superstar and international activist Bob Marley. This narrow thread became the perilous tightrope that Marley had to walk, negotiating his commitment to the common people, his personal faith, his growing eminence in the music industry, and his perceived role as a spokesperson for many causes. Ultimately, these strands would tangle and nearly tear apart.

“Then I hear the words of the Rastaman say, Babylon you throne gone down, come down.”

As central as the politics and violence of Jamaica’s 1976 electoral campaign were to Bob Marley’s exodus and return, equally vital were his Rastafari faith and identity. They formed an important component of his musical identity, as well as the spiritual journey of which that was only a part.

Rastafari, or rasta, originated in Jamaica in the 1930s, building on Eastern, African Christianity.

rastaman vibrations

By Gavin Witt, Production Dramaturg

Rastafari derives from the birth name and title of Haile Selassie I, Emperor of Ethiopia: Ras (Prince or Chief) Tafari Mekkonen.

Rastas revere Selassie as God’s new Messiah, born in a direct line of descent from Biblical King Solomon by way of his union with the Queen of Sheba; hailed as “Conquering Lion of the Tribe of Judah,” he joins a pantheon that includes Biblical prophets as well as modern prophet Marcus Garvey.

Rasta beliefs draw on many tenets and elements of the Old and New Testaments, filtered through an African lens, rooted in Coptic and Ethiopian Christianity and informed by island traditions.

Rastafari consider themselves Children of God, or Jah (from Jahweh), and look to Ethiopia as both motherland and spiritual destination, “Zion.” Opposed to this is the corrupting, seducing world of Western influences (possessions, money, drink, etc), known collectively as “Babylon.”

PHOTO © FIFTY-SIX HOPE ROAD MUSIC, LTD.

Rastafari ceremonies are generally led by an Elder, and consider the smoking of marijuana (ganja, or herb) part of the holy rites, passed communally in a vessel known as a chalice.

Rastafari focus on physical simplicity and spiritual purity, including a simple way of life and an ital diet—typically avoiding processed foods, salt, meats, alcohol, caffeine or other stimulants.

True to Biblical injunctions and the story of Samson, Rastas often allow their hair to grow naturally in signature dreadlocks (prompting the nomenclature dread or dreadies).

To emphasize a oneness with all God’s creation and one another across the Diaspora, Rastas focus on the idea of “the I.” Others are often called “the I” in lieu of the more distancing “you,” and “we” becomes “I and I.” In accordance with this, as well as to reclaim a language free from colonial mastery, Rastafari generally embrace a modified vocabulary known as Iyaric, which includes adjustments to avoid or identify the corrupting forces of Babylon. For instance, understand becomes overstand. Hello (because “Hell” is “low”) gives way to other greetings, and politics become politricks.

Marley | 7

BIOS THE CAST

Left to right: First rehearsal with Public Relations Manager Cassandra Miller, cast members Crystal Joy, John-Andrew Morrison, John Patrick Hayden, Director Kwame Kwei-Armah and cast member Shayne Powell.

Kena Anae*—Carly Barrett. making his stage debut in this production.

Gary-Kayi Fletcher—

Much love to my family and friends.

Center Stage—debut.

Ensemble. Center Stage: Regional—Arts Center of debut. Regional—Everyman Christopher Dews— Coastal Carolina: To Kill A Theatre: Ruined (Jerome Ensemble. Center Stage: Mockingbird; W.V. Public Kisembe); African Continuum Amadeus (Ensemble), The Theater: Lost Highway.

Theatre Company: Blues for an Show Off (Joe). Regional— Film/TV—Begin Again, Lola vs., Kinyarwanda, Alabama Sky (Leland Cunningham), The Mojo Single Carrot Theatre: A The View. Education—NYU Tisch School of and the Sayso (Walter/Blood); Discovery Beginner’s Guide to Deicide the Performing Arts.

Theatre: Going the Distance (Jesse Owens).

(God, Nietzche, Darwin, and others) Baggage Film/TV—Chips off the Block, Bronx State, (Devisor); Nameless Theater: And the Award Mitchell Brunings*— Witch’s Brew, Tracks, America’s Most Wanted.

Goes To (Det. Simon Sutherland); BOOM Bob Marley. Center Stage: New Media—Mythos, Casters, Warne.

Theatre: In Transit (Brian); EMP Collective: 2nd debut. Mitchell is thrilled to Education—University of Maryland College Annual 1-Minute Play Festival (Various Roles); make his theatrical debut Park, MN Acting Studio. itsgarykayi.com.

Mobtown Players: The Reapers of Woodbrook playing one of his heroes, Avenue (Ronald/Corey), Stage IV (Dr. Sam Bob Marley. Born in Surinam Luke Forbes*—Tek Life.

Adlam). Education—UMBC, BFA Acting. and raised in The Netherlands, Brunings’ Center Stage: debut. music is influenced by bossanova, samba, Broadway—The Merchant Tracey Farrar— soul, R&B, calypso, country, salsa, merengue of Venice (w/ Al Pacino; Tony Ensemble. Center Stage: and Surinam’s traditional music called Nom. for Best Revival). debut. Regional—Adventure Kaseko. Both of Brunings’ grandfathers were Off Broadway—The Public, Theatre MTC: Stuart Little singers and his father a musician. The NYSF: Winter’s Tale; HERE: This Lingering Life; (Helen Hayes nom.

Netherlands-based musician says the NY Fringe: Lies We Tell Ourselves; 4th Street Outstanding Production, consciousness of the lyrics in most reggae Theater/Facing Page Prod.: Richard III; Theatre for Young Audiences); Source songs has always been a great inspiration.

Purple Rep: The Myths We Need. Regional— Theatre Festival: Dontrell, Who Kissed the Sea In 2013, Mitchell was the runner-up on The George Street: The Whipping Man; (Sophia Jones); Single Carrot Theatre: Utopia Voice of Holland, the original singing Tennessee Williams Festival: Talk to Me Parkway (The Widow); Joe’s Movement competition on which the US’s popular The Like the Rain…. Film/TV—Clutter (w/ Carol Emporium: Ask Me No Questions; Run of the Voice is based. The YouTube video of his Kane, Natasha Lyonne and Maria Dizzia); Mill Theatre: Lysistrata (Lampito); Arena audition singing Bob Marley’s “Redemption Forever (ABC), Gotham (Fox), High Players: The Tie that Binds; The Smithsonian: Song” has garnered more than 35 million Maintenance (Vimeo Original), One Bad How Old is a Hero; Baltimore Theatre Project: views. That clip, along with other YouTube Choice (MTV), Black Box (ABC), Us & Them Mad Girl Sings the Blues. Film—Re-Break, videos, continues to put him in the limelight, (Sony/BBC), Do No Harm (NBC), Blue Bloods Final Draft (Wallingford Films). Education— even bringing him in contact with the (CBS). Education—Graduate of Cornell BA, Theatre Arts, Morgan State University.

Marley family. Mitchell is excited to be and Harvard Universities.

Trust in the Lord with all thine heart... He will direct your path!

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John Patrick Hayden*— Chris Blackwell. Center

Stage: debut. Broadway— Roundabout: Tartuffe. Off Broadway—Lincoln Center: Fly (Colonel Snopes).

Regional—Guthrie: Born Yesterday (Paul Veral), Denver Center: Death of a Salesman (Biff), Other Desert Cities (Trip), Hartford Stage: Hedda Gabler (George), Shakespeare Theatre of NJ: Misanthrope (Alceste), Northern Stage: Hamlet (Hamlet), 39 Steps (Richard Hannay), Dangerous Liaisons (Valmont); Pittsburgh Public: Other Desert Cities (Trip). Film/TV—Daredevil (Jack Murdock), Blue Bloods (Karl Jacobs), Younger (Richard), Shadowboxing (co-writer and lead). Love to Lex. johnpatrickhayden.com.

Don Guillory*—Don Taylor. Center Stage—

debut. Broadway—Romeo and Juliet, Stick Fly. Regional—Yale Rep, Berkely Rep, The Guthrie, Actors Theatre of Louisville, Barrington Stage Company, George Street Theater, Southern Rep. TV/Film—Upcoming in 2015: Crime (HBO), Public Morals (TNT), Daredevil (Netflix), Geezer. Mr. Guillory is honored to make his Center Stage debut.

Education—Graduate of Tisch School of the Arts Grad Acting program at NYU. From New Orleans, Louisiana.

Victoria Harper— Ensemble. Center Stage:

debut. Theater—Lyric Opera House: Son of the Living God. Film/TV—Royal Palm Estate (Chantal, dir. Lennie Little Whyte; Charm City Blues (dir. Cassandra Riddick); Good Morning America, Fox 45 News. Education/Awards—Florida State University, The American Academy of Dramatic Arts, Joe Manns Black Street Awards. Professional—Business Development Manager-Northeast, Jamaica Tourist Board. Miscellaneous—Celebration Church Choir, CR Praise Team; A native of Kingston, Jamaica, Victoria is a former Jamaican beauty queen winner of the Miss Jamaica US (New York), Miss Jamaica Miami, and Miss Jamaica International (Miss Universe Jamaica beauty pageant).

Khetanya Jati Henderson*— Diane Jobson. Center Stage:

debut. Regional— Connecticut Repertory: Intimate Apparel (Ester Mills), Much Ado About Nothing (Ursula), The Three Musketeers (Queen Anne), His Girl Friday (Mollie Malloy), A Chorus Line (Kristine), Legally Blonde (Brooke), Hairspray (Shayna Dynamite), Gypsy with Leslie Uggams.

Other—Cirque du Soleil: The Beatles/Love Show (Lady Madonna). Film—Travelator (Montreal Film Festival Awarded Film), Hairspray, Enchanted. Choreographer— Nevada Ballet/Cirque du Soleil Choreographic Showcase. Education—MFA University of Connecticut. Many thanks and blessings to everyone who has supported this journey! khetanya.com.

David Heron*—Tony Welsh. Center Stage: debut.

Off Broadway/New York— Harlem Shakespeare Festival: Coriolanus-The African Warrior (Coriolanus), Antony and Cleopatra (Caesar); TWAS/National Black Theater: Pecong (Jason, Audelco Award nom., Best Supporting Actor), Medea; TWAS/ Workshop Theater: Hamlet (Laertes); Irish Rep Theatre: The Emperor Jones (Lem); New Federal Theater: Moon on a Rainbow Shawl (Prince); Billie Holiday Theater: Love and Marriage and New York City (Damian, dir.

Woodie King, Jr.). Regional—Pennsylvania

Shakespeare Festival: Much Ado About Nothing (Leonato); North Carolina Shakespeare Festival: The Tempest (Sebastian); Virginia Shakespeare Festival: Othello (Roderigo); Orlando Shakespeare Festival: Robinson Crusoe (Friday).

International—Ecstasy (Canada), Love and Marriage and New York City (Britain and Canada). TV/Film—Momsters, How to Make it in America, Ya Ma Afrika, Ugly Betty.

Award-winning playwright and producer.

Commercial face of Xoom.com. Recipient of the New York City Council Award for Excellence in the Arts.

Jonathan Hooks*—Family Man. Center Stage: debut.

New York—TFANA: The Killer, King Lear; BAM: Julius Caesar, Richard’s Rampage; The Bushwick Starr: The House of Von Macramé. Regional—Williamstown: Torch-Bearers. Film—Haitian Son (dir.

Marc-Eddy Loriston), I Do? (dir. Reinaldo Green). Training—The Public Theater’s Shakespeare Lab. Jonathan, aka Dubem, is a singer-songwriter, and you can hear his music at dubem.co.

Bill Hurlbut—Ensemble.

Center Stage: debut. OffBroadway—No Smoking Playhouse: Twelfth Night; 7th Sign Theatre: Uncle Vanya.

Regional—Cincinnati Playhouse in the Park: The School for Scandal, A View from the Bridge, Compulsion, The Man Who Came to Dinner; Washington DC Fringe Festival: The Matty Matthews Foundation; Cincinnati Shakespeare in the Park: Henry V, Merry Wives of Windsor; Pepsico Summerfare: Palmer Cody’s Tick Tock Ballroom. Education— Miami University, Ohio State University, HB Studios. Awards—2014 Washington Area Theatre Community Honors: Outstanding Featured Actor in a Play, Big Daddy in Cat on a Hot Tin Roof at Rockville Little Theatre.

Kyle A. Jackson—Ensemble.

Center Stage: An Enemy of the People. New York—The Wild Project: Everybody Else’s Light. Regional—Everyman Theatre: A Raisin in the Sun, You Can’t Take It With You; Gilliam Concert

Marley | 9

BIOS THE CAST

Left to right: First rehearsal cast members Skype with Mitchell Brunings, General Manager Jessica R. Jenen, and cast member Howard W. Overshown.

Hall: From Jail to Yale (King Lear scenes, dir.

Charles S. Dutton), Turpin-Lamb Theatre: The Bluest Eye (Irene Ryan nom.); Arena Players: The Amen Corner. Playwright—The Wild Project: Everybody Else’s Light; Manhattan Rep: Midnight. Awards—S. Randolph Edmonds Award for Playwriting, Ambee Award for Best Sound Design. Education— New Orleans Center for Creative Arts, Dillard University, Morgan State University- BA Theatre Arts, Washington Improv Theater.

Crystal Joy*—Judy Mowatt. Center Stage:

debut. Broadway—Motown The Musical (Edna Anderson/ Martha Reeves).

International—Hair: The American Tribal Love-Rock Musical (London).

Tours—(1st Nat’l) Legally Blonde the Musical (Pilar), (1st Nat’l) Memphis the Musical (Ensemble, Felicia Cover). Regional—Hangar Theater: The Wiz (Dorothy); Signature Theater: Dreamgirls (Lorrell, Helen Hayes nom.). 2004 recipient Bertelsmann Foundation’s World of Expression Scholarship (1st Place, Vocal Composition). Abundant love to my supportive parents, family, friends, and DDO Talent; Thank You!!

Jeff Kirkman III— Ensemble. Center Stage: The

Raisin Cycle (assistant director). Regional—Olney Theatre Center: Colossal (Helen Hayes nom., Outstanding Ensemble in a Play); Wanderlust Theatre Lab: White Noise; Junesong Arts: We Fight We Die; Teaching Artist/Workshop Performer: DC Youth Ensemble. Film/TV—House of Horrors: Kidnapped. Education—Howard University, BFA-Acting.

Michael Luwoye*—Peter Tosh. Center Stage: debut.

New York—Empty House (Sebastian Moran); Fringe: Fable (Richie); NYMF. Regional—American Repertory Theater: Witness Uganda (Jacob); American Theater Group: Tick, tick ... BOOM! (Michael); Flat Rock Playhouse: The Three Musketeers (DeBris), Once on This Island (Ton Ton), Hairspray (Ensemble), Guys and Dolls (Ensemble). B.A. from The University of Alabama c/o 2013. :: Peace ::

Education—Morgan State University.

Professional—Ballroom Dance Teacher, Arthur Murray Studios, Towson. MAWKBABY. com. Named Baltimore City Paper’s Outstanding Talent and Best Performer to Watch Out For. Life is a stage, walk it in style.

For Mr. J. and J.A.H. One!!

Allison McLean— Ensemble. Center Stage:

debut. International— Sunshine Theater: Run For Your Wife (Mary, w/ Ray Cooney, dir. Douglas Prout); Basil Dawkins’ Where is My Father (Evadney, dir. Douglas Prout); Cathy Levy and Players Club: On with The Dream, Day O Life in the Tropics, Abracadabra, Celebrating 10 (Player).

Tours—Cathy Levy and Players Club (US, Cayman Island), Where is My Father (US).

TV—The Blackburns of Royal Palm Estate (dir.

Lennie Little Whyte). Education—Cathy Levy Performing Arts Company, The University of Technology/University of The West Indies.

Marili Mejias—Ensemble.

Center Stage: debut. Film/ TV—The DMV Truth: Indie Film Artist, Animal Planets’ Mawk—Ensemble. Center Fatal Attractions, Americas Stage: Lady Windermere’s Fan. Mykal Kilgore*—Stevie Most Wanted. Education— Regional—Theater Morgan: Wonder. Center Stage: debut.

Les Blancs, A Raisin in the Sun, Towson University.

Broadway—Motown The Spell #7, The Coloured John-Andrew Morrison*— Musical, Hair. Off-Broadway— Museum, The Piano Lesson; Claudie Massop. Center Freckleface Strawberry.

Theater Project: Sizwe Bansi is Dead. Tours— Stage: debut. Off Broadway: Tours—The Book of Mormon The Lion, The Witch and the Wardrobe.

La Mama: The Tooth of Crime; (1st National Tour). Featured at Joe’s Pub, Opera—Baltimore Opera Company: Les CTH: The Blacks, Ain’t Roseland, Birdland, and The Kennedy Center. pêcheurs de perles. Film/TV—Luv Talk.

Supposed to Die a Natural

10

AU DIEN CE Death. New York—The Greenwich Village Follies, The Warzone is my Bed, Caligula (with Andre DeShields). Regional—Cincinnati Playhouse in the Park, La Jolla Playhouse, A.R.T. Film—How to Make Movies at Home.

International—Jamaica Musical Theatre Company. The Edinburgh Festival (winner of The Fringe First and The London Stage Award). Education—BA from Brandeis University and MFA from U.C.S.D. Born and raised in Kingston, Jamaica. This one is for my family and Jodi. Thanks Bill and TAI.

Roundabout Theatre Company: Blue (starring Phylicia Rashad). Regional—Folger Shakespeare Theatre: Richard III, Much Ado About Nothing; Pioneer Theatre: Clybourne Park; Arena Stage: Passion Play (world premiere); Shakespeare and Co.: Hamlet; Alabama Shakespeare Festival: Macbeth.

Film/TV—The Affair, Allegiance, Law and Order, Elementary, Unforgettable.

Shayne Powell*—Malakai.

Center Stage: debut. Off Broadway—The Black That I Ano Okera*—Don Letts.

Am (Narrator); Flambeaux Center Stage: debut. New (Breeze). Film/TV—Respect York—Avery Fisher Hall, The Jux (Banit). Jamican Lincoln Center: Ashe On Accent Coach: Respect The Jux. Education— Broadway; New World Stages: Edna Manley College School of Drama. With Mama, I Want to Sing with Passion and Discipline one can attain his Melba Moore and Chuck Cooper; The New grandest dreams... so dream on, as Am I. York Times Center, Brooklyn Museum & The Michael Rogers*—Rasta Shomburg Center: Ano Okera Live!.

Elder. Center Stage: debut.

Regional—TUTS: Dreamgirls; Arkansas Rep: New York—Soho Rep, Theatre Hello Dolly, Roses in The Water, Liddy’s Baths, for A New Audience, Lincoln Potions & Sammiches; Alabama Shakespeare: Center, La Compagnia De’ West Side Story; Marriott: All Shook Up. Colombari, New York Theatre National Tours—Rent (Angel). Film/TV—30 Workshop. Regional—Studio Theatre, Rock (NBC), Going to Extremes (ABC), Where Centenary Theatre, Pick Up Performance Co., Truth Lies & The Breeding. Singer/ People’s Light & Theatre Co., Providence Songwriter—Columbia Records; Black Rep, Trinity Rep, Barter Theatre, Denver Independent Debut Album “Groove”; Center, American Stage Festival, New Jersey Commercials—Jamaica Tourist Board, GAP, Shakespeare, California Shakespeare Festival, VH1. Print—Metro PCS, Target, LaCoste, and Shakespeare Santa Cruz, Yale Rep, Everyman Kenneth Cole Reaction. Playwright/Lyricist— Company. Opera—Glimmerglass Opera.

Finding Harlem Dawn (the experimental jazz Films: God’s Pocket, Moonfire, Dance of the musical), A Necessary Inconvenience Quantum Cats, Inscape, Weekend at Bernie’s (Christina Kukucka Playwriting Award).

II, Side Streets, The Mosquito Coast.

Founder of AO and Company, the global Education—Yale School of Drama. mixed media consultancy. Big up to my beautiful Jamaican and New York massive, Saycon Sengbloh*—Rita this amazing possibility and being born Marley. Center Stage: debut.

Rasta! One Love!

Broadway—Holler If Ya Hear

Howard W. Overshown*— Michael Manley. Center

Stage: Rosencrantz and Guildenstern are Dead (Guildenstern). New York— Manhattan Theatre Club, Yellow Man; Lincoln Center Theatre: Julius Caesar (starring Denzel Washington); CSC: Orlando; John Houseman Theatre: Never the Sinner; Epic Theatre Co.: Beauty on the Vine; BAM: Richard III (starring Kevin Spacey);

Me (Corrine); Motown (Original Broadway Cast, Martha Reeves); FELA! (Sandra Izsadore), Hair (Abe); Wicked (Elphaba Stb); Aida (Aida), The Color Purple (Celie/Nettie stb). Off-Broadway—Signature Theatre: Hurt Village (Toyia); Paper Mill: Once on This Island (Erzulie); NYSF/Delacorte/ Public: Hair (Abe Lincoln). Nat’l Tour—Rent (Mimi); Elton John & Tim Rice’s Aida (Aida Stb). Regional—Dallas Theatre: Stagger Lee (Frankie). Atlanta: Alliance Theatre; 7-Stages

SERVICES

Dining Sascha’s Express, our pre-performance dinner service, is located up the lobby stairs in our Mezzanine café. Service begins two hours before each performance.

Drinks

You are welcome to take beverages with lids to your seats! But please, no food.

Phones

Please silence all phones and electronic devices before the show and after intermission.

Recording

Photography and both audio and video recording are strictly forbidden.

On-Stage Smoking

We use tobacco-free herbal imitations for on-stage smoking and do everything possible to minimize the impact and amount of smoke that drifts into the audience. Let our Box Office or front of house personnel know if you’re smoke sensitive.

Accessibility

Wheelchair-accessible seating is available for every performance.

We offer free assistive listening devices, braille programs, and magnifying glasses upon request. An Open Captioned performance† is available one Sunday performance of each production.

Several performances also feature Audio Description†.

Parking If you are parking in the Baltimore Sun Garage (diagonally across from the theater at Monument & Calvert) you can pay via credit card at the pay station in the garage lobby or at the in-lane pay station as you exit. If you have a pre-paid voucher, proceed directly to your vehicle and enter your voucher after inserting the parking ticket you received upon entering the garage, in the machine as you leave. We are unable to validate parking tickets.

Feedback

We hope you have an enjoyable, stress-free experience! Your feedback and suggestions are always welcomed: info@centerstage.org.

Open Captioning & Audio Description performances for Marley are on Sun, May 31.

Audio Description at both 2 pm and 7:30 pm.

Open Captioning at 7:30 pm. †

Marley | 11

BIOS THE CAST

Sun (dir. Phylicia Rashad), Twelfth Night.

Film—Peter & John (2015), Blackout (Tribeca Film Festival); Tia & Marco (SXSW Film Festival); Small, Beautifully Moving Parts (SXSW Film Festival). Television—Louie (recurring), NCIS (recurring), Blue Blood, Royal Pains, Golden Boy, The Good Wife, Private Practice, Third Watch, Law and Order; upcoming: The Following (recurring), Veep, Happyish (Showtime), The Blacklist (recurring), Almost There (series regular, direct TV). Education—MFA, NYU. Left to right: First rehearsal with cast members Allison McLean and Marili Mejias.

Theatre; Tyler Perry and Freddie Hendricks (Youth Ensemble of Atlanta). Film/TV— Criminal Justice (HBO); The Good Wife (CBS); Songbyrd (NBC/Universal); American Gangster (Universal); Funny Valentines (STARZ). Music—“Be Here,” “Everything,” “Southern Pin-Up.” Grammy-Nominated cast recordings: Hair, FELA!, Motown. Thanks to my angels! SayconSengbloh.com IG: @vintagepopsoul.

Jaime Lincoln Smith*— Neville Garrick. Center

Olu Butterfly Woods— Ensemble. Center Stage:

debut. Regional—Ladies Regional—Arkansas Rep: The Whipping Man; Verse; Artscape, Charm City Ford’s Theatre: Fly; Portland Playhouse: The Fringe, Walters Art Museum, Brother/Sister Plays; Kentucky Repertory: and more; Creative Alliance: Where I Come From; Colorado Shakespeare: Voices of the People (Howard Zinn), A Tribute Merchant of Venice, Twelfth Night, As You Like It; Pennsylvania Shakespeare: A Midsummer’s to Nina Simone. Dance Tours— Sankofa Dance Theater: Senegalese Tour, Rotterdam Night Dream; Acorn Theatre: Ma Rainey’s Tour, Dance Africa USA. Award-winning Black Bottom, among others. Film—English author and performance poet—9:30 Club Vinglish. TV—The Player, Story of A Gun, (DC), Jazz Cafe (London), Paradiso among others. Education—MFA, University (Netherlands) et al. Producer—Organic Soul of Delaware; BFA, University of Evansville.

Tuesdays, Maryland State Arts Council Facebook: Damian Thompson Actor. This is individual artist recipient. Hope you feel the for Uncle Bunny & Neville. spirit moving through and spread it out.

Stage: Gleam. Broadway— Michaela Waters*—Cindy Holler If Ya Hear Me. Other Breakspeare.

Center Stage: New York—Manhattan debut. A graduate of Theatre Club: Ruined; The Lark Carnegie Mellon University, Play Development Center: Skeleton Crew; her theater credits include Classical Theatre of Harlem: Seed; National Berniece in The Piano Lesson, * Member of Actors’ Equity Association Black Theatre: The Last Saint on Sugar Hill; The Wild Project: Paradox of the Urban Cliché; Laura in The Father, and Woman in The Other Shore, among others. Television includes Billie Holiday Theatre: Birthright; 45 Bleeker NBC’s The Blacklist and Smash in addition to St.: Lights Rise on Grace. Regional—Luna CBS’ The Good Wife and Person of Interest.

Stage, NJ: Carnaval; Arena Stage; Steppenwolf. Film/TV—Blue Bloods, Law and Profound thanks to my team at Stewart Order, NYC 2-2, The Knights of Prosperity, 11:55 Talent and McCorkle Casting. Lots of love to my beautiful parents, family, and friends.

Holyoke, Respect the Jux, Remember the Titans. Jaime hails from Bloomfield, CT, with Susan Kelechi Watson*— roots going back to Jamaica. He is dedicating Marcia Griffiths. Center the whole run of this show to his late father Stage: debut. Broadway— Lennox Lincoln Smith aka Ras Len I. A Naked Girl on the Appian Way by Richard Greenberg Damian Thompson*— (dir. Doug Hughes). OffBunny Wailer. Center Stage: Broadway—Ars Nova: Core Values, Urban debut. Off-Broadway—The Dictionary Plays, Missed Connections; The Anthem, Around the World in Public Theater: The Story. Regional— 80 Days, By The Dawn’s Early Light, Mad Woman of Chaillot. Westport Country Playhouse: A Raisin in the 12

BIOS

THE ARTISTIC TEAM

Left to right: First rehearsal with Music Director Jason Michael Webb and Director Kwame Kwei-Armah.

Bob Marley was one of the most important artists of the 2oth Century. In the digital era, Marley is in the top 15 of all Facebook pages and Top 5 among musical artists, with the official Bob Marley Facebook page now surpassing 73 million likes. His music catalog has sold more than 50 million albums worldwide since 1992 and his accolades continue, including an induction into the Rock and Roll Hall of Fame (1994), a GRAMMY® Lifetime Achievement Award (2001), multiple entries in the GRAMMY® Hall Of Fame and the Hollywood Walk of Fame (2001). Bob Marley was the first Jamaican artist to gain worldwide fame. A musical, political and even spiritual icon, a figure of almost mystical proportions, no artist has so dominated his genre in the history of modern music as Marley has reggae. bobmarley.com, facebook.com/BobMarley, instagram.com/bobmarleyofficial.

Kwame Kwei-Armah—Director.

(see page 18)

Kenny Seymour—Music Supervisor, Arrangements/Orchestrations. Center

Stage: debut. Broadway/Off-Broadway— Memphis Tony Award Winning Best Musical (Music Director/Conductor), Amazing Grace (Orchestrator),The Tallest Tree In

The Forest (Music Director/Arranger/ Incidental Music), The Strangely Beautiful Tale of Miss Percy Parker (Co-Composer & Lyricist, Orchestrations), Scary Musical (Orchestrator), The Music Man (Music Director/Conductor), Big Maybelle: Soul of the Blues (Music Supervisor/Orchestrator, The Wiz (Dance Music Arranger), Hot Feet: The Music of Earth, Wind & Fire (Synth Programmer). Film/TV—Oya: Rise of The Orisha (Composer), The Fringe (Composer), Talking with the Taxman About Poetry (Composer & Recipient of the 2013 Global Music Award for Best Original Score). Music Arranger/Orchestrator for shows on Fox, BET, NBC and the Inauguration Ball for President Barack Obama. Mr. Seymour has performed around the world, from the Legendary Apollo Theatre and Carnegie Hall to the Montreux Jazz Festival. Education—Fiorello H. LaGuardia High School of Music & Art, Manhattan School of Music and Berklee College of Music. kennyseymour.com.

Musical (cast album Grammy nomination),

Violet, Leap of Faith, Memphis. Awards—

Dove Award winner (Brooklyn Tabernacle’s

Declare Your Name), two-time Stellar Award nominee, Suzi Award nominee (Choir Boy,

Alliance Theater). Arranger—Battle Hymn of the Republic (2013 Inauguration of

President Barack Obama), Violet (Broadway,

Additional Arrangements). Composer/

Lyricist—Indian Joe (Goodspeed Musicals,

Additional Music/Lyrics), Classical Theatre of Harlem: Light it Up!, The First Noel (Apollo

Theater), songs recorded by Keke Palmer,

Israel Houghton, Martha Wash, Jonathan

Butler, Reeve Carney. Musical Director—6x

Grammy Award winner Brooklyn Tabernacle,

Tony Award nominee Joshua Henry.

Orchestrator—Jacksonville Symphony,

Nashville String Machine, Carnegie Hall.

Pianist—Dame Shirley Bassey, Michael

Bolton, Fantasia, Chaka Khan. Ephesians

3:17-19; JasonMichaelWebb.com.

Germaul Barnes—Choreographer. Center Jason Michael Webb—Music Director, Additional Arrangements/Orchestrations. Stage: debut. Barnes is a former principal Center Stage: debut. Off-Broadway—2econd Stage: Pasek & Paul’s Dogfight, MTC: Tarell Alvin McCraney’s Choir Boy. Regional— Geffen Theater & Alliance Theater: Choir Boy, Goodspeed Musicals: Indian Joe. Broadway (Associate Musical Director)—Motown: The

dancer and currently a repetiteur for the

Bill T. Jones/Arnie Zane Dance Company,

where he received the New York Dance and

Performance Award-Bessies. Professional—

Associated Artist Director for ChoreoQuest; Founder of Viewsic Expressions Dance;

Marley | 13

BIOS

THE ARTISTIC TEAM

Left to right: First rehearsal with cast member Bill Hurlbut and Choreographer Germaul Barnes. Model of Marley set.

Commissions—Alvin Ailey/Fordham School, Judson Memorial Church, Alabama School of the Arts, ICA/Boston, Dance Immersion, Ghana National Dance Co., Belarus International Dance Festival. Off Broadway— Anytown (Bruce Springsteen), Guys and Dolls, A Chorus Line. Collaborations include—The Russian National Orchestra Wind Quintet, Maxim Rubtsov (flutist), Thollem McDonas (pianist), Paul Suvillan (Grammy Award winner composer) Bongani Nododana (South African composer), many others.

Honors include—Arts International Grant fostering his anthropology study in Ghana, West Africa and the Baryshnikov Residency Fellowship. One of his highest personal achievements includes demonstrating for legendary choreographer/anthropologist, Katherine Dunham.

Out; Roundabout: McReele, Hurrah at Last; Vineyard: Now.Here.This., The Long Christmas Ride Home; MTC: The Lion, Between Us, Glimmer Glimmer and Shine; MCC: The Mercy Seat; NYTW: The Beard of Avon, Lydie Breeze, Resident Alien, A Question of Mercy, Bob, Quills, Slavs!; Playwrights Horizons: Mr Burns a Post Electric Play, Stage Kiss, Lobster Alice, On the Mountain; Public/NYSF: Father Comes Home From the Wars (Parts 1, 2 & 3), Dirty Tricks, Othello. Film—Some Velvet Morning, Loitering With Intent, Dil Dhadakne Do. TV—In Treatment (HBO), Billy and Billie (DirecTV). Awards—Obie Award (2), Helen Hayes Award, Eddy Award, Hewes nom (5), Drama Desk nom (3).

ESOSA—Costume Designer. Center Stage: Gleam, Once on this Island. New York— Radio City Spring Spectacular. Broadway— Neil Patel—Scenic Designer. Center Motown: The Musical, Lady Day at Emerson’s Stage: dance of the holy ghosts, Animal Bar & Grill, The Gershwins’ Porgy and Crackers, Mud Blue Sky, The Mountaintop, Bess (Tony nom), Topdog/Underdog (also The Whipping Man, American Buffalo, London and various regional theaters). Off Working it Out, Joe Turner’s Come and Broadway—Second Stage: By the Way, Meet Gone, Once on This Island, Elmina’s Kitchen, Vera Stark; Delacorte: The Capeman; Public Ain’t Misbehavin’, The Hostage, As You Like Theater: Juan and John, Father Comes Home It, many others. Broadway—Soul Doctor; from the Wars, Romeo and Juliet, The Story, Oleanna; Wonderland; [title of show]; Ring of Radiant Baby; NYTW: The Misanthrope, All Fire; ’night, Mother; Sideman (also West End That I Will Ever Be, The Seven; Second Stage & Kennedy Center). Off Broadway—Civilians: Theatre: Trust, Crowns, Birdie Blue, Living Pretty Filthy, This Beautiful City; Signature Out. Regional—Arena Stage: Ruined, Cuttin’ Theatre: stop.reset, My Children! My Africa!; Up, Señor Discretion Himself; Alliance: Second Stage: Water by the Spoonful, Twist (LA Ovation Award); A.R.T.: Witness By the way, Meet Vera Stark, Gruesome Uganda, O.P.C., Best of Both Worlds; Oregon Playground Injuries, Peter & Jerry, Living Shakespeare Festival: American Night; Geva 14

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.

Michelle Habeck—Lighting Designer.

Center Stage: Amadeus, dance of the holy ghosts, An Enemy of the People, The Whipping Man, A Skull in Connemara, Let There Be Love, Things of Dry Hours, Elmina’s Kitchen. Opera— Elixir of Love, The Masked Ball for Austin Lyric Opera, Associate Lighting Designer: Julie Taymor’s Grendel, New York. Broadway—Slide Artist: Thoroughly Modern Millie, Associate & Assistant Lighting Designer: The Boy from Oz, King Hedley, Movin’ Out, Thoroughly Modern Millie, King Hedley II. Off Broadway— Fifty Words, MCC Theatre. Regional—The Guthrie, Steppenwolf Theatre Company, The Goodman, Alliance Theatre, Seattle Children’s Theatre, Minneapolis Children’s Theatre, The Zach, Kansas City Repertory, Penumbra, Arizona Theatre Company, Writer’s Theatre, Lookingglass, and others.

Awards—NEATCG Career Development Grant for Design, The University of Texas Faculty Fine Arts Award. Michelle heads the lighting design program at the University of Texas at Austin.

Shane Rettig—Sound Designer. Center

Stage: One Night in Miami…, The Whipping Man, Things of Dry Hours, Elmina’s Kitchen,

a.m. Sunday. New York—The Public, The New Group, Signature, Roundabout, Vampire Cowboys, Ensemble Studio Theatre, Ma-yi, Clubbed Thumb, New Georges, The Flea, New Victory, La MaMa, Soho Rep, Rattlestick and HERE. Music/Co-Lyrics for War is F**cking Awesome with Qui Nguyen, 2013 Sundance Lab. Music for The Unknown, 2005 NYMF. Drama Desk and Lortel Nominations.

Regional—Actor’s Theatre of Louisville, Arena Stage, Berkshire Theatre Festival, Children’s Theatre Company, Dallas Theatre Center, La Jolla, Williamstown, Yale Rep, Prague Quadrennial.

Alex Koch—Projection Designer. Center

Stage: One Night in Miami…, The Mountaintop, ReEntry (also Round House, Actors Theater of Louisville). Broadway— Walter Kerr: Irena’s Vow. Off Broadway & other New York—Signature Theatre: The Liquid Plain; 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—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. Professional—Technical design for New Georges at 3LD and Big Art Group’s Dead Set II & III. alexkochprojects.com.

J. Jared Janas—Wigs/Hair/Makeup Designer. Center Stage: debut. Broadway—

The Visit (Makeup), The Real Thing (Makeup), Lady Day at Emerson’s Bar and Grill (Wigs and Special Makeup Effects), Motown the Musical (Makeup), The Gershwins’ Porgy and Bess (Wigs and Makeup), Peter and the Starcatcher (Hair), All About Me (Wigs), and Next to Normal (Wigs). Recent OffBroadway—Classic Stage: A Month in the Country, Allegro, Passion; Public Theatre: Father Comes Home from the Wars, Detroit 67; and Pretty Filthy, While I Yet Live, Lady Day, Bad Jews, By the Way, Meet Vera Stark.

Regional—Paper Mill Playhouse: CanCan, Thoroughly Modern Millie, Curtains, Peter Pan; People’s Light Opera: The Cherry

Orchard, Fences, Seven Guitars. TV/Films— Inside Amy Schumer, The Ed Bassmaster Show, 30 Rock, Lola Versus, Gilded Lilys, Six by Sondheim, God’s Pocket, Angelica.

Gavin Witt—Production Dramaturg.

(see page 18)

Catherine María Rodríguez—Production Dramaturg—has served as production

dramaturg at Center Stage for One Night in Miami…, Next to Normal, dance of the holy ghosts, Stones in His Pockets, and Wild with Happy. She facilitates Center Stage’s Wright-Right-Now, hosts the Dramaturgy Open Office Hours Project in Baltimore/DC, and is a visiting instructor of dramaturgy in the Department of Drama at Catholic University. In fall 2015, Catherine will sashay away from Baltimore to attend Yale School of Drama. Before she does, she’d like to say to Center Stage & Baltimore: Thanks for being my home, my family; nos vemos hasta pronto. Awards: 2014 Dramaturg Driven Grant, LMDA; 2014 Leadership Institute Fellow, National Association of Latino Arts and Cultures; 2013 Regional Student Dramaturgy Award, LMDA & Kennedy Center; 2013 Dramaturgy Debut Panelist, Association for Theatre in Higher Education.

Carnegie Mellon: BFA, Dramaturgy; BA, Hispanic Studies. Laissez les bons temps rouler! Adelante.

Oskar Eustis—Dramaturg—has served as the Artistic Director of The Public Theater since 2005, after serving as the Artistic Director at Trinity Repertory Company in Providence, RI from 1994 to 2005.

Throughout his career, Eustis has been dedicated to the development of new work that speaks to the great issues of our time, and has worked with countless artists in pursuit of that aim, from Tony Kushner and Suzan-Lori Parks to David Henry Hwang and Lin-Manual Miranda. He is currently a Professor of Dramatic Writing and Arts and Public Policy at New York University; and has held professorships at UCLA, Middlebury College, and Brown University.

Geoffrey Kent—Fight Director. Center

Stage: debut. Regional—Denver Center: Hamlet, Othello, Richard III, Black Odyssey, King Hedley II, 1001, Animal Crackers, many others; Colorado Shakespeare Festival: Marley | 15

BIOS

THE ARTISTIC TEAM

credits include Brownsville Song (LCT3), Broadway (dir. Estelle Parsons), A Streetcar The House that Will Not Stand (Berkeley Named Desire with Blair Underwood; The Repertory and Yale Repertory), A Winter’s 40th anniversary of Who’s Afraid of Virginia Tale and Spunk (California Shakespeare Woolf w/ Uta Hagen, Jonathan Pryce, and Romeo & Juliet, Treasure Island, Three Theatre), Four Electric Ghosts (The Mia Farrow. Broadway National Tour—Mrs. Musketeers, Macbeth, many others; Orlando Kitchen), Children of Killers (Castillo Klein w/ Uta Hagen, The Wiz, Tommy, Mike Shakes: Titus Andronicus, Cymbeline, Henry Theater), Indomitable: James Brown Tyson: Undisputed Truth. Off Broadway— V; Curious Theatre Company: Lieutenant of (SummerStage), For a Barbarian Woman Numerous, including Collected Stories w/ Inishmore, Bug. Opera—Opera Colorado: Don (Fordham University) and Blood Dazzler Uta Hagen, The Waverly Gallery w/ Eileen Giovanni, Carmen, Sweeney Todd; Central (Harlem Stage). A Harlem-based artist, Heckart, The Play About The Baby, Occupant City Opera: Gloriana, Fanciulla. Dance— she co-founded Angela’s Pulse with her w/ Mercedes Ruehl, Sam Shepard’s States Aspen/Sante Fe Ballet: Romeo & Juliet. sister, director Patricia McGregor; they are of Shock w/ John Malkovich, Edward Albee’s Professional—Former Instructor, National currently developing a new musical about Tiny Alice w/ Richard Thomas. Regional— Theatre Conservatory; Movement Teacher, the Supreme Court case Loving v. Virginia, Sweeney Todd w/ Christine Baranski and University of Denver; Former President, with playwright Marcus Gardley.

In May, Brian Stokes Mitchell; King Lear w/ Stacy Society of American Fight Directors.

Paloma will premiere Building a Better Keach; and numerous others. Awards— Samantha Godfrey—Acting Coach to Fishtrap, a performance project rooted in Recognized by the NYC Board of Education Mr. Brunings. Center Stage: (Assistant her 89-year-old father’s vanishing fishing and Pace University’s Promise of Learning Director) A Civil War Christmas, dance of the tradition; the project examines what we take for Excellence in Arts Education for holy ghosts, The Mountaintop, An Enemy with us, leave behind and return to reclaim. his work with the NYC Public School of the People; (Director) Young Playwrights Paloma toured internationally for six years Repertory Company.

Festival: Mental Divide; (Observerships) Wild with Urban Bush Women and has danced Gwendolyn M. Gilliam*—Assistant with Happy, Clybourne Park, Beneatha’s with Takoma Park-based Dance Exchange.

Stage Manager. Center Stage: debut.

Place. Broadway—(Reading) MTC I: dance of Khetanya Jati Henderson—Dance and Broadway and Tour—Mike Tyson: the holy ghosts. Off-Broadway—The Public Fight Captain. (see page 9) Undisputed Truth, Cat on a Hot Tin Roof, Theater: Much Ado; Detroit 67; Paradise Blue.

Bring In Da Noise/Bring In Da Funk, Aida, Lark Play Development Center: Skeleton Pat McCorkle—Casting Director.

Fences, Topdog/Underdog, Chicago, The Wild Crew; New World Stages: Fabulation or the Center Stage: One Night in Miami…, Party, It Ain’t Nothin’ But The Blues, Fela!, Re-Education of Undine; Playwrights Realm: Amadeus, Wild with Happy, Twelfth Night, Madea’s Big Happy Family. Off Broadway Sojourners; Signature Theater: Our Lady of A Civil War Christmas, Animal Crackers, and Regional—Signature Theatre: Stop!

Kibeho. SDC Foundation (Observerships)— The Mountaintop, Bus Stop, Gleam.

Reset; Lincoln Center: Free Man of Color; Intimate Apparel. Film—A Project Story Broadway—54 Productions including: Ebony Repertory: Crowns. Producer/ (Sean R. Thompson), China White, Story of a On The Town, End of the Rainbow, The Associate Producer—New York: Nativity: Mistress (Indigo Blue Films), Waterboy, Recess, Lieutenant of Inishmore, The Glass A Life Story; Apollo Theatre: Harlem Song; Passers By (Grasshopper Philms).

Menagerie, Cat on a Hot Tin Roof, One Flew Chicago: Imagine Tap. Events Producer/ Over the Cuckoo’s Nest, Amadeus, She Loves Leigh Wilson Smiley—Voice Coach— is Production Manager—African Burial Me, Blood Brothers, A Few Good Men. Off the Director of the School of Theatre, Dance Ground, Jackie Robinson Foundation, Howl!, Broadway—59 Productions including: Clever and Performance Studies at the University Merrill Lynch, New Line Cinema, NY Film of Maryland where she teaches voice, acting, Little Lies, Dr. Ruth, Stalking the Bogeyman, Society, NMSDC, I Love New York, Rainforest Freud’s Last Session, Tribes, Our Town, Almost and Shakespeare. Smiley has worked as a Foundation, Avon. Professional— Columbia Maine, Driving Miss Daisy. Film—over 60 Dialect and Voice Director and Coach at University, Adjunct Professor. Other— projects including: Year by the Sea, Junction, Ford’s Theatre, Arena Stage, Center Stage, New Federal Theatre, Board Member.

Round House Theatre, Cirque du Soleil, Folger Premium Rush, Ghost Town, Secret Window, Basic, Tony and Tina’s Wedding, The Thomas Shakespeare, Everyman, and Signature and Crown Affair, The 13th Warrior, Madeline, continues to develop her internet Visual Accent and Dialect Archive. She is a member Die Hard III, School Ties. TV—45 shows including: Saint George, Twisted, humans for of Actors Equity Association, Screen Actors Sesame Street, Californication (Emmy nom.), Guild, American Federation of Television Max Bickford (CBS), Hack (CBS), Strangers and Radio Artists, Association for Theatre in Higher Education, and the Voice and Speech with Candy, Barbershop, Chapelle’s Show. mccorklecasting.com Trainers Association.

Paloma McGregor—Associate Director.

Center Stage: Amadeus, A Civil War Christmas. Other recent choreography 16

Lloyd Davis, Jr.*—Stage Manager. Center

Stage: The Homecoming. Broadway—Credits include Fela!, Joseph Papp’s Shakespeare on

Thanks to the SunTrust Foundation for their generous donation!

www.bluemountainmusic.tv

www.tuffgong.com

Marley | 17

BIOS THE STAFF

Artistic Director Kwame Kwei-Armah OBE is an

award-winning British playwright, director, actor, and broadcaster. At Center Stage he has directed Marley, One Night in Miami..., Amadeus, dance of the holy ghosts (City Paper Top Ten Productions, 2013), The Mountaintop, An Enemy of the People, The Whipping Man, (named Best Director), and Naomi Wallace’s Things of Dry Hours. In 2014, Kwame was named Best Director in City Paper’s Best of Baltimore, and he was a finalist for SDC's Zelda Fichandler Award for Best Theater Director. Among his works as playwright are Elmina’s Kitchen, Let There Be Love, A Bitter Herb, Statement of Regret, and Seize the Day. Beneatha’s Place debuted at Center Stage in 2013 as part of The Raisin Cycle. Other directorial credits include Wallace’s The Liquid Plain at Signature Theatre, Dominique Morisseau’s Skeleton Crew at the Lark Play Development Center, New York’s Public Theater’s production of Much Ado About Nothing, the World Premiere of Detroit ’67 (Best Director nom.) at New York’s Public Theater, and the World Premiere of The Liquid Plain at Oregon Shakespeare Festival. He has served on the boards of The National Theatre and The Tricycle Theatre, both in London, and as Artistic Director for the World Arts Festival in Senegal. 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 has

worked in ballet, museums, and theater, with his longest tenure at Arena Stage in Washington, DC. As Arena’s Executive Director, he planned and managed the theater’s capital campaign for the Mead Center for American Theater. He has taught arts management at Georgetown University and George Mason University, among others. He has also 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, the League of Resident Theatres, and the Theatre Communications Group. He currently serves on the board of directors of the Maryland Citizens for the Arts.

Associate Director Gavin Witt came to Center

Stage in 2003, after nearly 15 years in Chicago as an actor, director, dramaturg, translator, and teacher—and co-founder of the classically based greasy joan & co theater. In addition to working as a dramaturg on scores of productions, readings, and workshops at Center Stage, he has helped develop new work around the country. Before making his Center Stage mainstage directorial debut with Twelfth Night, Gavin directed more than a dozen Young Playwrights Festival entries, as many new play readings, and the 50th Anniversary Decade Plays for Center Stage. A graduate of Yale and the University of Chicago, he has

taught at the University of Chicago, DePaul, and locally at Towson; served on the advisory boards of several theaters; and spent more than a decade as a regional vice president of the national association of dramaturgs, LMDA.

playwright, and producer.

She served as Associate Artistic Director, Director of New Play Development, and Artistic Producer at Hartford Stage; recently as Program Manager of the ArtsEmerson Ambassador Program; and as Developmental Producer/Tour Manager of Progress Theatre’s musical The Burnin’. Hana also served as co-founder and Artistic Director of Nasir Productions, which brings theater to underserved communities.

Directing credits include The Whipping Man, Gem of the Ocean (six CCC nominations), Gee’s Bend (CCC Award Best Ensemble, two nominations), Next Stop Africa, Cassie, The Drum, and IFdentity. Hana has directed numerous developmental workshops, including Elyzabeth Gregory Wilder’s The Chat and Chew Supper Club. Her plays include All the Women I Used to Be, The Rise and Fall of Day, and The Sprott Cycle Trilogy.

Hana is the recipient of the 2009–10 Aetna New Voices Fellowship and the Theatre Communications Group (TCG) New Generations Fellowship.

CENTER STAGE ADVISORY BOARD

James Bundy, Artistic Director at Yale Repertory Theatre

a group of Artistic Directors from theaters

James Nicola, Artistic Director at New York Theatre Workshop

experienced professionals who are on

Neil Pepe, Artistic Director at Atlantic Theater Company

The Center Stage Advisory Board is

Susan Booth, Artistic Director at Alliance Theatre

Marc Masterson, Artistic Director at South Coast Repertory

across the country. We thank these

Diane Paulus, Artistic Director at the American Repertory Theater

hand to provide guidance and advice to

Carey Perloff, Artistic Director at the American Conservatory Theater

Center Stage leaders, board, and staff.

Bill Rauch, Artistic Director at Oregon Shakespeare Festival

Michael Ritchie, Artistic Director at Center Theatre Group

Tim Sanford, Artistic Director at Playwrights Horizons 18

Associate Director Hana S. Sharif is a director,

SUPPORTER SPOTLIGHT Eddie and Sylvia Brown

“The Fund has made possible commissioning and developing new work by the likes of Lynn Nottage, Nathan Alan Davis, James ‘Jaydub’ Williams, and now-Artistic Director Kwame Kwei-Armah.”

According to financier and philanthropist Eddie Brown, changing lives and saving lives are the two themes of the philanthropic vision he shares with his wife Sylvia.

Through their foundation established in 1994, the couple has been responsible for creating fellowships at the Johns Hopkins Bloomberg School of Public Health and Turn the Corner Achievement Program at the Crossroads School, as well as providing matching grants to arts organizations to expose the broader community to the talents of African American artists. These grants included an endowment challenge at the Reginald F. Lewis Museum, Soulful Symphony at the Baltimore Symphony Orchestra, the Eddie and Sylvia Brown Challenge Grant at the Walters Art Museum, and The Eddie C. and C. Sylvia Brown Family Foundation Fund for New Play Development at Center Stage.

Inspired by the plays of August Wilson, the couple wanted to promote the next generation of African American playwrights. The Fund has made possible commissioning and developing new work

by the likes of Lynn Nottage, Nathan Alan Davis, James “Jaydub” Williams, Lydia Diamond, and now-Artistic Director Kwame Kwei-Armah, as well as productions from a revival of Gleam, adapted from Zora Neale Hurston’s, Their Eyes Were Watching God, to the US premiere of Kwame’s Let There Be Love, Beneatha’s Place, and now Marley.

Jessica Frances Dukes and Charlie Hudson, III in Kwame Kwei-Armah’s Beneatha’s Place.

Sylvia has bestowed to Center Stage not only gifts of her resources, but also gifts of time: she served on the Board of Trustees from 1992 to 2003. Initially, she “couldn’t say no” to an invitation former Board President Nancy Roche and has thoroughly enjoyed the plays, people, and community involvement ever since.

Center Stage is fortunate to be a recipient of their vision, generosity, and delightful presence. Thank you very much for everything, Sylvia and Eddie. You have changed our lives!

If you are interested in learning how you can play a part in ensuring that Center Stage continues to provide lively and enriching art in the years to come, please contact Julia Keller, Director of Development, at 410.986.4020 or jkeller@centerstage.org.

Christiana Clark and Stephanie Berry in Gleam.

Shané Williams and Erica Gimpel in Lynn Nottage’s Intimate Apparel.

Marley | 19

SUPPORTER SPOTLIGHT The Shubert Foundation

Clockwise from top left: Young Playwrights Festival 2014, My America, and the cast of Marley in rehearsal.

The Shubert Foundation, Inc., established in 1945 by Lee and J.J. Shubert in memory

of their brother Sam, is the nation’s largest private foundation dedicated to unrestricted funding of not-for-profit performing arts.

The Shubert Foundation is dedicated to sustaining and advancing the live performing arts in the United States, with a particular emphasis on theater and a secondary focus on dance. In service of this mission, the Foundation provides general operating support to not-for-profit, professional resident theater and dance companies across the country, and to some arts-related organizations that help support their development. The Foundation’s Board of Directors believes that the most effective way to encourage the artistic process is by providing the general operating support that reinforces the structure that nurtures creative

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development. Accordingly, the Foundation does not earmark its awards—all its allocations are unrestricted.

In 2014, The Shubert Foundation awarded a record total of $22.5 million to 470 not-for-profit performing arts organizations across the United States. The 2014 grants mark the 32nd year in a row that the Foundation’s giving has increased.

The Shubert Foundation has been a critical supporter of Center Stage, with almost $2.5 million in support over the past 36 years. With the help of partners like The Shubert Foundation, we are able to take risks on countless new plays, open our doors to more than 100,000 patrons every season, and offer dozens of education and community programs that reach over 13,000 students.

Thank you to The Shubert Foundation, for making the work we do possible.

BOARD OF TRUSTEES

SU PPORT CENTER STAGE

Robert W. Smith, Jr., President Edward C. Bernard, Vice President Juliet Eurich, Vice President Terry H. Morgenthaler, Vice President Brian Eakes, Treasurer J.W. Thompson Webb, Secretary

The following list includes gifts of $250 or more made to the Center Stage Annual Fund between

Penny Bank Katharine C. Blakeslee* James T. Brady C. Sylvia Brown* Stephanie Carter August J. Chiasera Lynn Deering Jed Dietz Walter B. Doggett, III Jane W.I. Droppa Beth W. Falcone Jennifer Foster Daniel Gahagan C. Richard Gamper, Jr. Suzan Garabedian Adam Gross Cheryl O'Donnell Guth Martha Head* Elizabeth J. Himelfarb Hurwitz Kathleen W. Hyle Ted E. Imes Joe Jennings Murray M. Kappelman, MD* John J. Keenan E. Robert Kent, Jr. Joseph M. Langmead* Kenneth C. Lundeen* John McCardell Marilyn Meyerhoff* Hugh Mohler J. William Murray Charles E. Noell Esther Pearlstone* Judy M. Phares Jill Pratt Philip J. Rauch Harold Rojas Monica Sagner* Renee C. Samuels Rosenfeld Todd Schubert Charles Schwabe George M. Sherman* Scott Somerville Scot T. Spencer Michael B. Styer Harry Thomasian Donald Thoms Katherine Vaughns+ Krissie Verbic Linda S. Woolf

The Center Stage 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.

* Trustee Emeriti + Deceased

October 7, 2013 and April 7, 2015. 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 Center Stage. We couldn’t do it without you!

INDIVIDUALS & FOUNDATIONS INDIVIDUAL SEASON SPONSORS

($50,000+)

Ellen and Ed Bernard Lynn and Tony Deering Jane and Larry Droppa Judy and Scott Phares Lynn and Philip Rauch Sharon and Jay Smith PRESIDENTS’ CIRCLE

($50,000+)

The Annie E. Casey Foundation The Charlesmead Foundation Edgerton Foundation New American Play Awards The Shubert Foundation, Inc. Harold and Mimi Steinberg Charitable Trust Ms. Katherine L. Vaughns + PRODUCERS’ CIRCLE

($25,000-$49,999)

The Miriam and Jay Wurtz Andrus Trust William G. Baker, Jr. Memorial fund, creator of the Baker Artist Awards Penny Bank Stephanie and Ashton Carter James and Janet Clauson EMC Arts JI Foundation Kathleen Hyle Marilyn Meyerhoff Terry H. Morgenthaler and Patrick Kerins Mr. J. William Murray ARTISTS’ CIRCLE

($10,000- $24,999)

The William L. and Victorine Q. Adams Foundation and The Rodgers Family Fund The Jacob and Hilda Blaustein Foundation, Inc. The Bunting Family Foundation The Helen P. Denit Charitable Trust Ms. Nancy Dorman and Mr. Stanley Mazaroff Fascitelli Family Foundation Daniel P. Gahagan John Gerdy and E. Follin Smith Baroness G.D. Godenne M.D. + The Goldsmith Family Foundation The Laverna Hahn Charitable Trust Francie and John Keenan Townsend and Bob Kent Keith Lee

Kenneth C. and Elizabeth M. Lundeen The Andrew W. Mellon Foundation Joseph & Harvey Meyerhoff Family Charitable Funds Charles E. Noell, III Mr. and Mrs. George M. Sherman Mr. Louis B. Thalheimer and Ms. Juliet A. Eurich Department of VSA and Accessibility at the John F. Kennedy Center for the Performing Arts

Mr. and Mrs. Mathias J. DeVito Mr. Jed Dietz and Dr. Julia McMillan The Harry L. Gladding Foundation/ Winnie and Neal Borden Carole and Neil Goldberg Robert and Cheryl Guth F. Barton Harvey, III and Janet Marie Smith The Hecht-Levi Foundation, Inc. David and Elizabeth JH Hurwitz

PLAYWRIGHTS’ CIRCLE

Mr. and Mrs. Joseph M. Jennings

Peter and Milicent Bain James T. and Francine G. Brady Mary Catherine Bunting August and Melissa Chiasera The Nathan & Suzanne Cohen Foundation The Jane and Worth B. Daniels, Jr. Fund of the Baltimore Community Foundation Delaplaine Foundation, Inc. Mr. and Mrs. Walter B. Doggett, III Brian and Denise Eakes Beth and Michael Falcone Dick and Maria Gamper Fredye and Adam Gross Martha Head Steve and Susan Immelt Ms. Wendy Jachman Murray Kappelman Kwame and Michelle Kwei-Armah The John J. Leidy Foundation, Inc. Robert E. Meyerhoff and Rheda Becker Stephen Richard and Mame Hunt The Jim and Patty Rouse Charitable Foundation Charles and Leslie Schwabe Mr. and Mrs. J.W. Thompson Webb Ms. Linda Woolf

Jonna and Fred Lazarus

($5,000- $9,999)

DIRECTORS’ CIRCLE

($2,500- $4,999)

Anonymous The Lois and Irving Blum Foundation Drs. Joanna and Harry Brandt Sylvia and Eddie Brown Mr. John Davison The Mary & Dan Dent Fund of the Baltimore Community Foundation

Mr. and Mrs. Earl & Darielle Linehan/Linehan Family Foundation The Macht Philanthropic Fund Mrs. Diane Markman John and Mary Messmore Jim and Mary Miller Mr. and Mrs. Hugh Mohler, Jr. John and Susan Nehra Dr. and Mrs. Lawrence C. Pakula The Pearlstone Family Fund Lainy Lebow Sachs and Leonard Sachs Mr. and Mrs. Todd Schubert Scott and Mimi Somerville Scot T. Spencer Mr. Gilbert H. Stewart and Ms. Joyce L. Ulrich Mr. Michael Styer Theatre Communications Group Mr. and Mrs. Harry Thomasian Mr. and Mrs. Donald and Mariana Thoms Trexler Foundation, Inc. - Jeff Abarbanel and David Goldner Kathryn and Mark Vaselkiv Loren and Judy Western Ted and Mary Jo Wiese Cheryl Hudgins Williams and Alonza Williams Mr. Todd M. Wilson and Mr. Edward Delaplaine Drs. Nadia and Elias Zerhouni The Herzog Festival | 21

SU PPO RT ($1,000- $2,499)

DESIGNERS’

Mr. and Mrs. John and Beverly Michel

Anonymous

Tom and Cindi Monahan

Teri and Tedd Alexander, in honor of Terry Morgenthaler

Jeannie Murphy

Denise and Philip Andrews Mayer and Will Baker, in honor of Terry Morgenthaler Ms. Taunya Banks Steve and Teri Bennett Mr. and Mrs. Marc Blum John and Carolyn Boitnott Dr. and Mrs. Donald D. Brown

Dr. Bodil Ottesen Linda Hambleton Panitz Dave and Chris Powell Jill and Darren Pratt Phoebe Reynolds The James and Gail Riepe Family Foundation, in honor of Lynn Deering

Sandra and Thomas Brushart

Nathan and Michelle Robertson

The Campbell Foundation, Inc.

The Rollins-Luetkemyer Foundation

Caplan Family Foundation, Inc. John Chester Ann K. Clapp Constantinides Family Foundation Jane Cooper and Philip Angell Mr. Thomas Crusse and Mr. David Imre, in honor of Stephanie and Ash Carter

Mrs. Bette Rothman+ Bayinnah Shabazz, M.D. Barbara and Sig Shapiro The Earle & Annette Shawe Family Foundation Barbara P. Shelton Mr. and Mrs. Robert N. Smelkinson

The Richard and Rosalee C. Davison Foundation

Mr. and Mrs. Robert and Terri Smith

Gene DeJackome and Kim Gingras

Mr. and Mrs. Scott Smith

Albert F. DeLoskey and Lawrie Deering

Judith R. and Turner B. Smith

The Eliasberg Family Foundation The Epp Family Mr. Newton B. Fowler, III Dr. and Dr. Matthew Freedman Amy and Scott Frew Frank and Jane Gabor Jose and Ginger Galvez Ms. Suzan Garabedian Pamela and Jonathan Genn, in honor of Cindi Monahan and Beth Falcone Sandra Levi Gerstung Bill and Scootsie Hatter Donald and Sybil Hebb Sandra and Thomas Hess Drs. Dahlia Hirsch and Barry Wohl Len and Betsy Homer Ralph and Claire Hruban The A. C. and Penney Hubbard Foundation

George and Holly Stone Ms. Kimberly Stokes Dr. and Mrs. John Strahan Susan and Brian Sullam Dr. Edgar and Mrs. Betty Sweren, in honor of Cindi Monahan United Way of Central Maryland Campaign

Ms. Jo-Ann Mayer Orlinsky Michael and Phyllis Panopoulos

Mr. and Mrs. Carl F. Christ

Dr. and Mrs. James M. Pepple

William and Bonnie Clarke

Leslie and Gary Plotnick

Ms. Clare Cochran

Robert E. and Anne L. Prince

Ms. Barbara Crain and Mr. Michael Borowitz

Mr. and Mrs. Richard Radmer

Robert and Janice Davis

Dr. Michael Repka and Dr. Mary Anne Facciolo

Richard and Lynda Davis

Mrs. Peggy L. Rice

James DeGraffenreidt and Mychelle Farmer David and Emily Gaines Demsky The Honorable and Mrs. E. Stephen Derby Lynn Durbin and John-Francis Mergen Buddy and Sue Emerson, in appreciation of Ken and Elizabeth Lundeen

Bob and Susie Fetter Genine and Josh Fidler, in honor of Ellen and Ed Bernard Andrea and Samuel Fine Merle and David Fishman

Mary and Richard Gorman Barbara and Howard Gradet Stuart and Linda Grossman Terry Halle and Wendy McAllister Rebecca Henry and Harry Gruner Mrs. Heidi Hoffman

COMPANY

Mr. and Mrs. Padraic Kennedy

Mr. and Mrs. Theodore Imes Mr. and Mrs. Peter Kaplan Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery

Kenneth and Christine Lobo

Ms. Shirley Kaufman

Mr. Calvin Baker

Francine and Allan Krumholz

Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation

The Ethel M. Looram Foundation, Inc.

Maryland Charity Campaign Robert and Susan Mathias James and Kathy Mathias Joseph and Jane Meyer

Rachel and Steven Bloom, in honor of Beth Falcone Harriet and Bruce Blum Jan Boyce Jason and Mindy Brandt

Faith and Edgar Feingold, in memory of Sally W. Feingold Field Day Productions Dr. and Mrs. Robert P. Fleishman Donna Flynn John G. Ford Elborg and Robert Forster

Ms. Camille Wheeler and Mr. William Marshall

Robert and Dorothy Bair

Dr. and Mrs. George Lentz, Jr.

Ms. Rhea Feikin, in memory of Colgate Salsbury

Mr. John Wessner

Max Jordan

Ms. Katherine C. Blakeslee

Deborah and Philip English Ms. Vicky Favor

Megan M. Gillick

Marilyn Leuthold

Andie Laporte, in honor of Philip and Lynn Rauch

Linda Eberhart

Terry L. Gladden

Mr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler

Jaye and Dr. Ted Bayless Fund of the Baltimore Community Foundation

Ina and Ed Dreiband Stacie C. Dunlap

Mr. Bruce Goldman

Mrs. Alexander Armstrong

The Herschel and Judith Langenthal Philanthropic Fund

Gwen Davidson Jay and Bette Demarest

Ms. Nancy Freyman

James and Rosemary Hormuth

Charles and Patti Baum

Susan Somerville-Hawes, in honor of The Encounter Program

Combined Charity Campaign David and Sara Cooke

Mark and Patti Gillen

Patricia Yevics-Eisenberg and Stewart Eisenberg

Amy and Bruce Barnett

The Sinksy-Kresser-Racusin Memorial Foundation

Mr. G. Brian Comes and Mr. Raymond Mitchener, in honor of Terry Morgenthaler

Mr. and Mrs. George and Beth Van Dyke

Joseph M. and Judy K. Langmead

H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation

Eugene and Alice Schreiber Philanthropic Fund

Brenda M. Cley, M.D. Mr. and Mrs. Stanton Collins

Sharon and David Tufaro

Joan and David Forester

Mr. and Mrs. Delbert L. Adams

Mr. and Mrs. Mark Joseph, in honor of Lynn Deering

Monica and Arnold Sagner

Ms. Amina Chaudhry Alice P. Clark

Dr. Neal M. Friedlander and Dr. Virginia K. Adams

Dennis Flynn

Stewart and Carol Koehler

Joseph J. Jaffa

Mr. Al Russell

Mr. and Mrs. James Case

Ms. Jill Stempler

Mr. and Mrs. Ross P. Flax

Vicki and Jim Handa

Anonymous

Renee Samuels Rosenfeld and Jordan Rosenfeld

Kurt and Patricia Schmoke

Nanny and Jack Warren, in honor of Lynn Deering

($500-$999)

Dorothy L. and Henry A. Rosenberg, Jr.

Sandra and John Ferriter

Thomas and Barbara Guarnieri

Sydney and Ron Wilner

Mr. and Mrs. Harold Rojas

Sheila and Steve Sachs

Mr. and Mrs. Dan and Krissie Verbic

Ann Wolfe and Dick Mead

Bill and Syrena Robinson Jane and Stanley Rodbell and James R. Shapiro

Mr. and Mrs. Donald M. and Margaret W. Engvall

Ms. Diane Abeloff, in memory of Martin Abeloff

Mrs. Francis Iglehart

22

Mr. and Mrs. Lee Ogburn

Cindy Candelori Ms. Sue Lin Chong

Mr. and Mrs. Barry and Linda Williams Dr. and Mrs. Frank R. Witter Dr. Richard H. Worsham Eric and Pam Young Mr. Norman Youskauskas Dr. Laurie S. Zabin

ADVOCATES ($250-$499)

Anonymous Rita and Walter Abel Ms. Lisa Abrams Mrs. Madeline R. Abramson Bradley and Lindsay Alger Mr. Wayne Arvin The Alsop Family Foundation Mrs. Darlene E. Austin Deborah and Stephen Awalt Mike Baker S. Woods and Cathy Bennett Mr. Jason Bennett

Dr. and Mrs. Thomas J. Lynch

Scott and Katherine Bissett

The Dr. Frank C. Marino Foundation, Inc.

Bob and Maureen Black

Mr. and Mrs. Steven and Karen McCurdy

Mr. and Mrs. Charles Bryan

Mary L. McGeady Jean and Chris Mellott Jeston I. Miller The Honorable Diana and Fred Motz, in memory of Nancy Roche George and Beth Murnaghan Ms. Jennifer Nelson Roger F. Nordquist and Joyce Ward

ChiChi and Peter Bosworth Mr. Paul Burclaff Dr. and Mrs. Arthur Burnett, II Ms. Deborah W. Callard Ms. Darlene Campbell The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation Mr. and Mrs. Louis J. Carr Mr. and Mrs. David Carter

Hal and Pat Gilreath Dr. Larry Goldstein and Dr. Diane Pappas Ms. Hannah B. Gould Mr. and Mrs. James Hackman Christine B. Hall Betsy and George Hess Sue Hess Mrs. James J. Hill, Jr., in memory of James J. Hill Jr. Mr. Donald H. Hooker, Jr. Susan Horn Sarah and John Issacs James and Hillary Aidus Jacobs Ms. Monica James A.H. Janoski, M.D., in honor of Jane Stewart Janoski Mr. and Mrs. James and Julie Johnstone Richard and Judith Katz Dr. and Mrs. Myron Kellner Stephen and Laurie Kelly, in memory of Rodney Stieff Ms. Kim-Khoi Khue Alane and George Kimes Roland King and Judith Phair King Deborah King-Young and Daniel Young David and Ann Koch Thomas and Lara Kopf Larry Koppelman and Liz Ritter Gina Kotowski Mr. Barry Kropf Ms. Dorothy Kuhlman Mr. and Mrs. L. Lambert Mr. and Mrs. William Larson Dr. and Mrs. Yuan C. Lee Mr. Raymond Lenhard, Jr.

Marty Lidston and Jill Leukhardt Dr. and Mrs. John Lion Scott and Ellen Lutrey

Brenda and Dan Stone Cindy and Fred Thompson Mr. and Mrs. Philip F. Toohey, in honor of Beth Falcone

Nancy Magnuson and Jay Harrell, in honor of Betty and Edgar Sweren

Susan Treff

Mr. Elvis Marks

Mr. and Mrs. James Ulmer, III

Jeanne E. Marsh Don Martin Mary and Barry Menne Mr. and Mrs. Timothy E. Meredith Stephanie F. Miller, in honor of The Lee S. Miller, Jr. Family Faith and Ted Millspaugh The Montag Family Fund of The Community Foundation for Greater Atlanta, in honor of Beth Falcone James W. and Shirley A. Moore Dr. and Mrs. C.L. Moravec Stephen and Terry Needel Mildred and Timothy Nohe Claire D. O’Neill Mr. Thomas Owen The P.R.F.B. Charitable Foundation, in memory of Shirley Feinstein Blum Justine and Ken Parezo Bruce and Sindy Parrott Fred and Grazina Pearson Linda and Gordon Peltz Chris and Deborah Pennington Mr. Martin Perschler Mr. William Phillips Mr. and Mrs. Samuel Phillips Ronald and Patricia Pilling Janet Plum, in memory of Jeffrey J. Plum Dr. and Mrs. Jeffrey Posner Cyndy Renoff and George Taler John and Dotty Reynolds Natasha and Keenan Rice Alison and Arnold Richman Ida and Jack Roadhouse Mr. Paul Roeger, in memory of Gloria Roeger Mr. Wilfred Roesler Wendy Rosen and Richard Weisman Michael Ross, in memory of Katherine Vaughns and Joan Kappelman Mr. and Mrs. Louis Rusk Robert and Lelia Russell Steven and Lee Sachs Ellen and Dino Sangiamo Gail B. Schulhoff Dr. and Mrs. Edward M.M. Sills Ms. Pamela Skelding Dr. Donald Slowinski Reverend Sharon Smith Solomon and Elaine Snyder Clare H. Stewart, in honor of Bill Geenen

Laura and Neil Tucker, in honor of Beth Falcone Sarah Valente Mr. Eli Velder Mr. and Mrs. David Warshawsky Boe and Patti Wells Ms. Anita Wilmore Mrs. Edith Wolpoff-Davis, in memory of Alvin S. Wolpoff

SPECIAL GRANTS & GIFTS:

Delaplaine Foundation Edgerton Foundation Theatre Communications Group The Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation

GOVERNMENT GRANTS Center Stage 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.

Center Stage’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.

Baltimore County Executive, County Council, & Commission on Arts and Sciences Carroll County Government Howard County Arts Council through a grant from Howard County Government Center Stage has been funded by the Mayor Stephanie Rawlings-Blake and the Baltimore Office of Promotion and the Arts.

GIFTS IN-KIND

The Afro American Akbar Restaurant Atwater’s The Baltimore Sun Berger’s Cookies Blimpie The Brewer’s Art Cakes by Pamela G Casa di Pasta The Classic Catering People The Charles Theater Chipotle The City Paper Eddie’s on Saint Paul Edible Arrangements Eggspectations

Express Vending Fisherman’s Friend/ Pez Candy, Inc. The Fractured Prune Gertrude’s Restaurant Gianni’s Italian Bistro Greg’s Bagels GT Pizza HoneyBaked Ham Co. The Helmand Hotel Monaco Iggie’s The Jewish Times Mamott Mars Super Markets Maryland Office Interiors Maryland Public Television Michele’s Granola Mitchell Kurtz Architect, PC Mount Vernon Stable and Saloon New System Bakery Oriole’s Pizza and Sub Pizza Boli’s Pizza Hut Planit Agency PromoWorks Republic National Distributing Company Sabatino’s Shugoll Research The Signman Style Magazine Subway Urbanite Utz Quality Foods Village Square Café 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 BGE Becton Dickinson & Company The Black & Decker Corporation Brown Capital Management, Inc. The Annie E. Casey Foundation Constellation Energy The Deering Family Foundation E-Bay Foundation Exxon Corporation GE Foundation Illinois Tool Works Foundation Kraft Foods MASCO Corporation McCormick Foundation Norfolk Southern Foundation PNC Bank SunTrust Bank T. Rowe Price Foundation UBS Wealth Management

CORPORATIONS

THE 2014/15 SEASON IS MADE POSSIBLE BY

PRESIDENTS’ CIRCLE

PLAYWRIGHTS’ CIRCLE Anonymous American Trading and Production Corporation

T. Rowe Price Foundation, Inc. PRODUCERS’ CIRCLE

Ayers Saint Gross The Baltimore Life Companies Cho Benn Holback + Associates DTZ Environmental Reclamation Company Ernst & Young Howard Bank Jenkins Baer Associates

ARTISTS’ CIRCLE

Legg Mason McGuireWoods LLP PNC Bank PricewaterhouseCoopers Saul Ewing LLP Stifel Venable, LLP The Wells Fargo Foundation Whiteford, Taylor and Preston Whiting-Turner Contracting Co. DIRECTORS’ CIRCLE Baxter, Baker, Sidle, Conn & Jones, P.A. Charcoalblue Funk & Bolton, P.A. Keast & Hood Pessin Katz Law P.A. Schoenfeld Insurance Associates Wright, Constable & Skeen, LLP

DESIGNERS Chapel Valley Landscape Company Chesapeake Plywood, LLC Froehling & Robertson 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.

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Marley | 25

Marley

is made possible in part by:

National Endowment for the Arts (NEA) The Edgerton Foundation New Play Award

New play development at Center Stage is made possible in part by The Eddie C. and C. Sylvia Brown Family Foundation and The Nathan and Suzanne Cohen Foundation Fund for Commissioning and Developing New Plays.

Season 2014/15 Sponsor:

Center Stage is also made possible by:

Center Stage 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.

Lead Student Matinee Sponsor:

Associate Season Sponsor:

Media Sponsor:

26

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THE SECRET GARDEN

“[A] GORGEOUS SCORE… LOVELY AND EMOTIONAL.”

Book and Lyrics by Marsha Norman • Music by Lucy Simon Based on the novel by Frances Hodgson Burnett Oct 30–Nov 29

–The Chicago Tribune

The NFL Takes Center Stage

“LIKE THE GAME ITSELF: X’S AND O’S (A Football Love Story) SOME OF THE HITS ARE SO HARD, THEY’LL

By KJ Sanchez with Jenny Mercein Nov 13–Dec 20

MAKE YOU UNCOMFORTABLE, BUT

YOU WON’T WANT TO STOP WATCHING.” —San Jose Mercury News

All The World’s a Stage

“A JOYOUS, AS YOU LIKE IT BIG-HEARTED –The AFFAIR.” Guardian

By William Shakespeare Jan 15–Feb 14

A Triumph of Storytelling

“DAZZLING… BRIGHTLY POLISHED AND POIGNANT.”–New York Daily News

LOLN FEU AS

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MEMBERSHIPS AVAILABLE

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THE NIGHT WATCHER

By Charlayne Woodard Apr 8–May 8

centerstage.org

centerstagemd |

@CENTERSTAGE_MD Membership Hotline 410.986.4046 | Box Office 410.332.0033 Marley | 29

The arts are for everyone When community members support the arts, they help inspire and enrich everyone. Artistic diversity helps unite communities, creating shared experiences and inspiring excellence.

Bank of America is honored to be connected to Center Stage and its dedication to bringing the arts to our community.

Visit us at bankofamerica.com/local

Life’s better when we’re connected®

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STAFF Kwame Kwei-Armah OBE–Artistic Director | Stephen Richard–Managing Director Administration

Associate Managing Director–Del W. Risberg Special Assistant to the Managing Directors– Kevin Maroney Executive Assistant–Sarah Curnoles Managing Directors’ Fellow–Neil Parikh

Artistic & Dramaturgy

Associate Director–Gavin Witt Associate Director–Hana Sharif Artistic and Dramaturgy Fellow– Catherine María Rodríguez The Lynn and Tony Deering Artistic Director’s Intern– Brandon Rashad Butts The Stephanie and Ashton Carter Digital Media Intern– Nick Morrison Hot Desk Resident Playwright–Jenny Connell Davis International Hot Desk Playwright–Mar Gómez Glez Playwrights under Commission–de’Andre Aziza, James Magruder, Daniel Reitz, KJ Sanchez Playwrights Collective–Jennifer Barclay, Jenny Connell Davis, Alvin Eng, Jacqueline E. Lawton, Liz Maestri, Lola B. Pierson, Craig S Richie

Audience Relations

Box Office Manager–Mandy Benedix Assistant Box Office Manager/Subscriptions Manager– Jerrilyn Keene Assistant Patron Services Manager–Laura Baker, Nick Horan Patron Services Associates–Zerica Anderson, Ishai Barnoy, Tiana Bias, David Kanter, Blueberry Emily Keller, Samrawit Kefale-Mareye, Chelsea Mays, Neil Parikh, Sonny Russo, Sarah Tomberlin, Shannon Ziegler Front of House Manager & Volunteer Coordinator– Alec Lawson House Managers–Laura Baker, Mandy Benedix, Sarah Hurst, Lindsay Jacks, Faith Savill, Paul Wissman Bar Manager–Sterling Harvison Audience Relations Intern–Sarah Hurst Audio Description–Ralph Welsh & Maryland Arts Access

Audio

Supervisor–Amy Wedel Audio Engineer–Mercer Aplin The Jane and Larry Droppa Audio Intern–Robin Clenard

Community Programs & Education

Director–Rosiland Cauthen Education Coordinator–Kristina Szilagyi Community Programs & Education Fellow– Joshua Thomas Community Programs & Education Intern– Andrew Stromyer Teaching Artists–Maria Broom, Sean Elias, Jerry Miles, Jr., Dustin Morris, CJay Philip, D. Wambui Richardson, Craig Richie, Oran Sandel, Susan Stroupe, Ann Turiano, Jacob Zabawa

Costumes

Costumer–David Burdick Draper–Susan MacCorkle Tailor–Edward Dawson Craftsperson–Wiliam E. Crowther First Hand–Elisabeth Roskos The Judy and Scott Phares Costumes Intern– Sarah Barbour The Kathleen Hyle Wardrobe Intern–Mika Eubanks

Development

Deputy Director of Individual Giving–Brian Lyles Deputy Director of Institutional Giving– Sabrina S. Thornton Events Manager–Brad Norris Campaign Manager–Paul Wissman Institutional Giving Associate–Amanda Mizeur Development Assistant–Alyson Jacques Auction Coordinator–Sydney Wilner Auction Assistant–Norma Cohen The Edward and Ellen Bernard Development Fellow– Astoria Avilés Development Intern–David Kanter

Electrics

Lighting Director–Tamar Geist Master Electrician–Bevin Miyake Staff Electrician– Anthony Reed The Gilbert H. Stewart and Ms. Joyce L. Ulrich Lighting Intern–Jake Roberts

Finance

Director–Susan Rosebery Business Manager–Kathy Nolan Business Assistant–Kacy Armstrong

Graphics

Art Director–Bill Geenen Production Photographer–Richard Anderson Graphics Intern–Katherine Marmion

Information Technologies

Director–Joe Long Systems Administrator–Mark Slaughter

Marketing & Communications

Director–Tony Heaphy Publications Manager–Maggie Beetz Marketing Manager–Sarah Bichsel Public Relations Manager–Cassandra Miller Marketing Associate/Group Sales–Tia Abner Digital Content Associate–Emily Salinas The Jay and Sharon Smith Marketing and Communications Intern–Jessica Strasser

Multi-Media

Coordinator–Geoff Moore Multimedia Intern–Emery Becker

Operations

Facilities Manager–Shawn Whitenack Building Engineer–Harry Piasecki Security Supervisor–James Williams Custodial Services Supervisor–Wylie Shaw Housekeepers–Lori Duckworth, Lanair Holland

Production Management

Director of Production–Rick Noble Associate Production Manager–Caitlin Powers Company Manager–Sara Grove Production/Stage Management Intern– Hannah Rennicke The Philip and Lynn Rauch Company Management Intern–Arrenvy Bilinski

Properties

Props Master–Jennifer Stearns Assistant Manager–Nathan Scheifele Master Craftsman–John Reuter Artisan–Samantha Kuczynski The Kenneth C. and Elizabeth M. Lundeen Properties Intern–Rachel Bennick

Director–Julia Keller

The Center Stage Program is published by: Center Stage Associates, Inc. 700 North Calvert Street Baltimore, Maryland 21202 Editor Maggie Beetz Art Direction/Design Bill Geenen Advertising Sales ads@centerstage.org

32

CONTACT INFORMATION

Box Office Phone 410.332.0033 Box Office Fax 410.727.2522 Administration 410.986.4000 centerstage.org info@centerstage.org

Scenery

Technical Director–Tom Rupp Scene Shop Supervisor–Trevor Gohr Master Carpenter–Scott Richardson Carpenters– Derek Lundmark, Hunter Montgomery, WM Yarbrough, III Carpentry Intern–Caitlin Magness

Scenic Art

Scenic Artist–Stephanie Nimick Scenic Art Intern–Maggie Foley

Stage Management

Resident Stage Manager–Laura Smith Production Assistant–Lindsay Eberly Stage Management Interns–Marian Jackson, Kayla Whisman

Stage Operations

Stage Carpenter–Eric L. Burton Wardrobe Supervisor–Linda Cavell The following individuals and organizations contributed to this production of Marley Animation Department–Jean-Paul Cummings, Katherine Freer, Alex Petrowsky, Mark Reynolds Assistant to the Director–Brandon Rashad Butts Assistant Costume Designer–Adrienne Nussey Assistant Lighting Designer–Anthony Reed Assistant Projection Design–John Erickson Associate Wigs/Hair and Makeup Designer– Brittany Hartman Associate Sound Designer–Alex Hawthorn A2–Deck Audio–Jonathan “Batman” Hill Audio–Madeline Brumback, Scott Caldarelli, Terry Edwards, Andrew Gaylin, Daniel Hogan, Paul Shapanus Automation Programming–Josh Prues Projection Design–Matthew Haber Carpenters–Bernard Bender, Michael E. Cager, Seth Foster, Michael Hart, Brian Jamal Marshall, Mason Ross Electricians–Alison Burris, Paul Callahan, Jake Epp, Matt Griffin, Erin Simpson, Erin Teachman Followspot Operators–Chris Elwell, Patrick Gillespie Wardrobe– Mary V. Rathell, Sarah Satterwhite, Kelly Sinnott Center Stage 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 Center Stage perform under the terms of an agreement between Center Stage and Local 40-543, American Federation of Musicians.

Center Stage 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.

Material in the Center Stage 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 Center Stage, 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 Center Stage.

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