OCT 8 –NOV 16, 2014
NEXT to NORMAL Music by Tom Kitt
Book and Lyrics by Brian Yorkey
2014/15 SEASON 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
An Introduction to the World of the Play Welcome dear Audience to Next to Normal, a musical about mental illness—one family’s struggle to cope with their mom’s precarious grip on her sanity. I am thrilled to be back at Center Stage directing this beautiful theater piece, but I am also well aware that you may well ask—what exactly is there to sing about in that story? AND this family sings constantly, making Next to Normal the kind of show that is more like a modern opera, sung throughout and with the extraordinary dramatic and story-telling power of music as its central engine. But, from my point of view musicals have evolved thrillingly in recent years to encompass a wildly diverse realm of subjects, styles, and formats. For example, my work here at Center Stage—my debut was And God Created Great Whales (2001), a chamber opera about the writing of an opera (about Melville’s Moby Dick) created by a piano tuner with Alzheimer’s disease; not your ordinary musical by any means. My most recent Center Stage musical was Caroline, or Change—another quasi-operatic sung-through story of the troubled relationship between a Jewish southern family and their maid. That piece actually featured a singing washing machine and dryer doing R&B riffs in a basement laundry room! And yet it all somehow made perfect, powerful sense. In between, was The Boys from Syracuse: the kind of glorious, retro vaudeville that defined the term we used to use for all musical theater—a musical comedy! Like many of you, I grew up here in Baltimore going to touring Broadway musicals at the Morris Mechanic and thrilling to the magic of whoever they found to star in, for example, Hello Dolly (I think Betty Grable was the lucky winner that I saw!). Yet now, several decades later, living my dream as a theater director, a not-untypical assignment for me might be a world premiere opera dealing with veterans and post-traumatic stress syndrome (It’s called The Long Walk, rehearsals start in a few months!). An off-Broadway hit of mine a few seasons ago featured Michael Winther (who plays the dad in this show) singing songs by 18 different composers and one lyricist examining one single man’s urban odyssey. These new-style fusions of music and drama are everywhere now, not just in rarified, avant-garde situations. As we all know, “music takes you higher;” and when we allow ourselves to ascend to that altitude, we can as easily release ourselves into the tangled emotions of Next to Normal as we can surrender to the charms of far more escapist fare. Under the spell of music, all bets are off. And so, here and now, we chart the story of this particular American family—forging on through their harrowing everyday challenges with the kind of plain, heart-stopping courage that any one of us can relate to. The brilliant Tom Kitt and Brian Yorkey, very young men when they wrote this show, have found entirely fresh shapes for how and when and WHY people might sing in a given situation. And, miraculously, they found those shapes within a pop rock vocabulary. And now, like many game changers, Next to Normal feels inevitable. A modern classic. As a “Charm City” native, I am elated to return to Center Stage to direct this piece for you with an extraordinary cast. And furthermore, I cannot wait to see where music theater will take us next as the possibilities explode in this still relatively new century. Onward! With love, David Schweizer Director
CAST
TABLE OF CONTENTS
NEXT TO NORMAL Music by Tom Kitt Book & Lyrics by Brian Yorkey
Oct 8 – Nov 16, 2014
2 The Music
3
4 The Perfect Loving Family
6 Better than Before
8 Bios: The Cast
9 Audience Services
10 Bios: The Artistic Team
12 Bios: The Staff
18 Supporter Spotlight
19 Supporting the Annual Fund
22 Artistic Notebook
24 Preview: Up Next
26 Center Stage Celebrations
28 Staff
Meet The Creators
THE CAST
(in order of appearance)
Michael Winther* Dan Kally Duling* Natalie
Matt Lutz* Dr. Fine/Dr. Madden
Captain Kate Murphy* Stage Manager *Member of Actors’ Equity Association
THE ARTISTIC TEAM
David Schweizer Director Darren Cohen Musical Director/Piano Caleb Wertenbaker Set Designer David Burdick Costume Designer Aaron Black Lighting Designer
Ryan Rumery Sound Designer
Driscoll Otto Projection Designer
Dan Knechtges Choreographer Jessica Hartman Associate Choreographer Catherine María Rodríguez Production Dramaturg Ryan Haase Assistant Director
MUSICIANS
Center Stage is also made possible by:
Gabe
Matthew Rodin* Henry
Media Partner:
Justin Scott Brown*
Season 2014/15 Sponsor:
Ariela Morgenstern* Diana
Chris Hofer Bass and Music Contractor Joe McCarthy Drums/Percussion Jonathan Rogerson Guitar Kirsten Walsh Cello Original Broadway production Produced by David Stone, James L. Nederlander, Barbara Whitman, Patrick Catullo, and Second Stage Theatre.
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:
New York Premiere produced by Second Stage Theatre, New York (Carole Rothman, Artistic Director, Ellen Richard, Executive Director) in February 2008. Next to Normal was subsequently produced by Arena Stage in November 2008. Developed at Village Theatre, Issaquah, WA (Robb Hunt, Executive Producer, Steve Tomkins, Artistic Director). An earlier version was presented in the 2005 New York Musical Theatre Festival. Support for the development of Next to Normal was provided by the Jonathan Larson Foundation.
There will be a 10-minute intermission.
PLEASE TURN OFF ALL ELECTRONIC DEVICES. IN CASE OF EMERGENCY 410.986.4080 (during performances). Next to Normal | 1
M USICAL
NUMBERS
ACT I
Prelude (Light) Band Just Another Day Diana, Natalie, Gabe, Dan
Everything Else
Who’s Crazy / My Psychopharmacologist and I
Perfect for You
It’s Gonna Be Good
He’s Not Here
Dan
I Am the One Dan, Gabe, Diana Superboy and the Invisible Girl I’m Alive
Make Up Your Mind / Catch Me I’m Falling
I Dreamed a Dance
There’s a World
I’ve Been
Dan, Gabe, Henry, Natalie, Voices
You Don’t Know Diana
Henry, Natalie
I Miss the Mountains Diana
Natalie Dan, Diana, Doctor Fine, Voices
Natalie, Diana, Gabe Gabe Full Company Diana, Gabe Gabe Dan, Gabe
Didn’t I See This Movie? Diana A Light in the Dark
Dan, Diana
— I nt e r m i s s i o n —
Wish I Were Here Full Company
Song of Forgetting
Hey #1
Seconds and Years
Doctor Madden, Dan, Diana
Better Than Before
Doctor Madden, Dan, Natalie, Diana
Dan, Diana, Natalie Henry, Natalie
Aftershocks Gabe Hey #2 Henry, Natalie
You Don’t Know (Reprise)
How Could I Ever Forget? Diana, Dan
Diana, Doctor Madden
It’s Gonna Be Good (Reprise) Dan, Diana
Why Stay? Diana, Natalie
A Promise Dan, Henry
I’m Alive (Reprise) Gabe
The Break Diana
Make Up Your Mind / Catch Me I’m Falling (Reprise)
Doctor Madden, Diana, Gabe
Maybe (Next to Normal)
Diana, Natalie
Hey #3 / Perfect for You (Reprise)
Henry, Natalie
So Anyway
2
ACT II
Diana
I Am the One (Reprise) Dan, Gabe Finale (Light) Full Company
S ET T IN G & THE CREATORS
Setting
Next to Normal is set in a suburban American neighborhood, today.
Lyricist and Librettist Brian Yorkey
Meet Composer Tom Kitt
Brian Yorkey is a playwright, lyricist, and director. He graduated from Columbia University, where he served as the artistic director of the Varsity Show, the school’s renowned annual performance. He also attended the BMI Lehman Engel Musical Theater Workshop. There, for his final project, he joined with Tom Kitt to write Feeling Electric, the precursor to Next to Normal.
Tom Kitt is a composer and conductor. He attended Columbia University, where he met Brian Yorkey. He composed for the musicals High Fidelity and Next to Normal and the play From Up Here. He has been a music director and conductor on Broadway since 2002, beginning with Debbie Does Dallas: The Musical. He was the music supervisor for Everyday Rapture at Second Stage (2009) and the music supervisor, orchestrator, and music arranger for American Idiot (2010), each of which earned him Drama Desk Award nominations.
Yorkey served for six years as the associate artistic director for The Village Theatre. His musicals include Funny Pages (1993), Making Tracks (2002), The Wedding Banquet (2003), Play It by Heart (2005), and A Perfect Fall (2007). He is writing SCORE!, an original musical with Robert Downey, Jr., and collaborated with Sting on the musical The Last Ship (based on Sting’s album The Soul Cages). His screenplays include Love Undercover, Sluts, Time After Time; and he co-created The Bears Next Door for the Logo network.
He composed the score for The Public Theater's Shakespeare in the Park production of The Winter’s Tale (2010), and his musical adaptation of the film Bring It On premiered at the Alliance Theatre (2011). He is the founder of The Tom Kitt Band, in which he plays piano.
Brian Yorkey and Tom Kitt
Collaborations For Next to Normal, Kitt and Yorkey shared the Pulitzer Prize for Drama and the Tony Award for Best Original Score Written for the Theatre and Best Orchestrations. The musical also won the Outer Critics Circle Award for Outstanding New Score, and was nominated for the Drama Desk Award for Outstanding Music. Other collaborations include their musical In Your Eyes about a high school gun violence plot, which was workshopped at the Village Theatre’s Festival of New Musicals in Washington (2010). Their new musical, If/Then, opened on Broadway in March 2014 and is directed by Michael Greif, and stars Idina Menzel, LaChanze, and Anthony Rapp. Yorkey and Kitt are currently collaborating on a musical adaption of Magic Mike.
Next to Normal | 3
"The perfect loving family" Behind Pop Culture’s White Picket Fence
They’re just your typical American family. Or are they? In Next to Normal, the Goodmans’ white picket fence encloses a neatly manicured lawn and a family at odds with each other and themselves. With its taboo subject and rock aesthetics, Next to Normal is a rare departure from the oft-glitzy Broadway musical. On the other hand, the show inhabits a neighborhood filled with plays and films that examine—and dismantle—American ideals of suburban domesticity. In her book Making Sense of Suburbia through Popular Culture, sociologist Rupa Huq observes that, through the decades,
By Catherine María Rodríguez, Production Dramaturg
the suburbs “have been variously seen as the territory of idyllic family dreamhouses, horror-laden land of dark undercurrent, and stomping ground for adolescent angst.” In plays, movies, and sitcoms, the all-American Family and its suburban dream—subjects of enduring fascination—endlessly reappear in depictions from the wholesome to the fractured. Next to Normal makes its home within this landscape of theatrical and cinematic tropes, and its protagonists evoke a wide and iconic range of stories portraying suburban expectations, realities, and the distance between them.
Richard Burton in Who's Afraid of Virginia Woolf?
Kathleen Turner in Serial Mom
Take a tour of the neighborhood and meet the many faces of the American Family.
The Diana The Dan When things don’t go according to plan, what’s the perfect wife and mother to do? Smile through? Self-medicate? Why not both? The struggle to appear normal can manifest in these modern matriarchs as conformist or fractious, sometimes both at once—like the presumed perfection of The Stepford Wives or the quiet heartbreak of Clybourne Park’s mourning mother (or the pill-popping frenzy of August: Osage County). See also: Who’s Afraid of Virginia Woolf?; American Beauty; Pleasantville; Frances; Ordinary People; Arrested Development
Can a partner be part of the problem? Certainly denial and enabling are par for the course for these hapless husbands and father figures. Clutching at the status quo or clinging to a vanished past leaves breadwinners like American Beauty’s Lester Burnham or Ben Hood of The Ice Storm adrift in their anodyne slices of suburban paradise. See also: Ordinary People; Who’s Afraid of Virginia Woolf?; Revolutionary Road; Death of a Salesman; Clybourne Park
Winona Ryder in Beetlejuice
The Natalie
Ah, the teenage years: high school, extracurriculars, all-nighters, college prep, budding romance, and prom. For the all-star student, the rebel, and the simply misunderstood alike, the demands of excellence can prove stimulating—and often suffocating. This motley crew includes goth outsider Lydia Deetz in Beetlejuice and awkward over-achiever Angela Chase of My So-Called Life.
See also: Edward Scissorhands; Long Day’s Journey into Night; Even Stevens; Heathers; Pump up the Volume; Sixteen Candles; The Breakfast Club; Freaky Friday
“Portrayals of suburbs in cinema seem to oscillate between the 4
“Whenever some blowhard starts talking about the anonymity of the suburbs or the mindlessness of the television generation…
we know that inside every one of those identical boxes, with its Dodge parked out front and its white bread on the table and its TV set glowing blue in the falling dusk, there are people with stories. There were families bound together in the pain and the struggle of love.”
Judd Hirsch in Ordinary
Dustin Hoffman in The Graduate
People
—The Wonder Years
Wes Bentley in American Beauty
The Gabe
Mother’s little darling is every parent’s fantasy and has big shoes for little siblings to fill. The ideal child has a flashy smile, excels in school and sports alike, and will never leave your side. But can the perfect son or daughter really exist, or does he only live in our imagination? From Leave it to Beaver to The Graduate, the seemingly exemplary child has had many reincarnations.
See also: Donnie Darko; The Wonder Years; The American Dream; Ordinary People; Death of a Salesman
The Henry The Doctor Kid-next-door or alienated nonconformist, best friend or lonely outcast, a seeker of solace in basement philosophizing and “recreational activities.” His outsider status, cool-headed detachment, and mild manners may stem from disillusionment, boredom, and disconnected parents—or may be just a pose. Think of the lovable, happy-go-lucky, grunge pothead in Clueless, or American Beauty’s enigmatic cinephile neighbor.
See also: Dude, Where’s My Car?; Disturbia; My So-Called Life; Boyhood; Clerks; Pump up the Volume; The Breakfast Club
What would a family be without its doctor? Or, in the Goodmans’ case, their psychotherapist and psychopharmacologist? Whether facilitating dialogue or prescribing treatment, throughout pop culture the family shrink helps clients navigate internal and external stressors, as well as the costs of the American Dream. Take, for example, Dr. Berger in Ordinary People and Dr. Thurman in Donnie Darko.
See also: Good Will Hunting; One Flew over the Cuckoo’s Nest; The Stepford Wives; Equus; Girl, Interrupted
dichotomous representations of utopian promised land or dystopian hell.”
—Making Sense of Suburbia through Popular Culture Next to Normal | 5
Better than What would become the Tony Award- and Pulitzer Prize-winning musical Next to Normal started as a minor classroom exercise— and almost fizzled out completely before hitting Broadway. But, thanks to the dedicated efforts of Brian Yorkey (lyricist and librettist) and Tom Kitt (composer) over an 11-year process—not to mention a supportive network of regional theaters and committed colleagues—the perplexingyet-promising project developed into the powerhouse musical that has sent shockwaves through audiences nationwide. As Yorkey has pointed out, though Next to Normal might owe much of its eventual success to its acclaimed stint in New York, “it certainly didn’t start there.” But the dynamic duo behind the musical did. Kitt and Yorkey met as undergraduates at Columbia University in New York, and after initial doubts about their partnership waned, the two clicked and began
6
Before:
collaborating. Looking back, Kitt recalls, “Up to that point I hadn’t written with
anyone else, and I hadn’t written for the musical theater. Yet it came so easily to
me, working with Brian…. I immediately
knew that it was something that I cared deeply about and wanted to pursue.” The feeling was mutual, and the collaboration continued.
In 1998, the two enrolled in the renowned BMI Musical Theatre Workshop. Required
to write a 10-minute musical for their final project, the pair searched for eccentric topics. When Yorkey saw a television
news report on electroconvulsive therapy, inspiration struck; the result was Feeling Electric, a short, 12-song musical with
equal parts quirk and snark. It managed to
captivate audiences—and its creators, who found themselves repeatedly returning to the project amid other work.
York’s Second Stage held more workshops
for the newly renamed Next to Normal. But a two-month stint Off-Broadway in 2008
proved a misfire, with criticism singling out the show’s allegedly bipolar mingling of snide tone, snazzy numbers, and serious subject matter.
c
Rather than a death sentence, however, this harsh reception resulted in an invitation from a regional theater for more development in a protected forum, at Arena Stage in Washington, DC. That the show got a new lease on life after it had been unveiled and fizzled Off Broadway was almost unprecedented. “Normally,” Janine Sobeck, dramaturg for the Arena production, observes, “if you decide to open Off Broadway with the intent of transferring and you don’t get
In 2002, the show had a couple of staged
the reviews to support that, then the show
Feeling Electric, it traveled cross-country to
called the move an “unusual step”
then back east for the New York Musical
with the potential to “break a hard-and-fast
readings in New York. Still known as
dies.” Indeed, critics following the show
Issaquah, Washington, for a 2005 workshop,
(The New York Times) and “unorthodox,”
Theatre Festival. In 2006 and 2007, New
theater mold” (The Washington Post).
“transformed a small, stumbling musical curiosity into a work of muscular grace and power.” Kitt and Yorkey have
–The New York Times, Broadway review
One Musical’s Mind-Blowing Journey from Fabulous to Flop and Back Again By Catherine María Rodríguez, Production Dramaturg
And so, although the New York reception
truthfulness of the piece.” A slew of songs
had left Kitt and Yorkey feeling “a little
got cut—like “Costco,” a number with a
battered,” the duo concluded that “more life is better than not.” Energized by the commitment at the regional level, Kitt and Yorkey accepted the offer of a fresh start. And with that, the overhaul began.
classic showtune vibe that showed the first instance of Diana’s many breakdowns while also poking fun at the warehouse shopping experience. At the same time, sections dedicated to Diana’s sequence of
From lyrics and music to plot points and
treatments and doctors got scaled back;
character, the revisions were substantial—
instead, the Goodman family story took
and arguably overdue. Sobeck shared:
center stage. The goal was a more tonally
“When Yorkey and Kitt were college students, their original idea was to write a 10-minute musical about electroshock
consistent and emotionally potent musical that balanced heartache with humor.
therapy, which they thought would be
When the “new” Next to Normal opened
funny. As it developed over time, this snarky
at Arena in late 2008, it had shed six songs
humor stayed with the show—which
and gained five new ones, while also
fought against what the play wanted to be: a deep, moving, often life-changing, beautiful piece of theater.” So when Arena invited them to come down to make changes, the team concentrated
streamlining and balancing its storytelling. By the time it transferred to Broadway in 2009, the number of cut pieces increased to nine, with most others subject to lyrical tweaking. In fact, only one song
on focusing the show on what Sobeck
(the haunting waltz “I Dreamed a Dance”)
points to as “the heart and soul and
remained as it was first heard in 1998.
c The steadfast reworking and unconventional path ultimately paid off. Reviews of the retooled musical were raves: The New York Times called it a “brave, breathtaking… feel-everything musical” and Rolling Stone crowned it the “best new musical of the season—by a mile.” That year, Next to Normal recieved 11 Tony Award nominations and won three (for Best Original Score, Leading Actress in a Musical, and Orchestrations). In 2010, it became just the eighth musical in history to receive the Pulitzer Prize for Drama. In its development from a snide 10-minute musical about manic breakdowns to the full-length show examining a family’s daily struggles to live with a pained past, Next to Normal has come a long way, both figuratively and geographically.
Next to Normal | 7
BIOS THE CAST
Justin Scott Brown*— Gabe
Ariela Morgenstern*—Diana. Center Stage: debut. Center Stage: Into the Woods. National Tour—Flashdance Off Broadway—Playwrights The Musical. Off Broadway— Horizons: Far From Heaven. Adding Machine. Regional— National Tour—25th Arena Stage & Theatreworks: Anniversary Production of The Light in the Piazza; Penn Les Misérables, Spring State Center Stage: Next To Normal; TUTS: Awakening 1st National. Regional—Capital The King & I; Flat Rock Playhouse: The Man of Rep: Smokey Joe’s Café; The Muny: Meet Me in St. Louis, My Fair Lady, Titanic, Miss Saigon; La Mancha; San Francisco Lyric & Pacific Repertory Opera: Carmen (title role); West Westport Country Playhouse: Into the Bay Opera: The Rake’s Progress, The Woods; Kansas City Starlight: Fiddler on the Threepenny Opera; San Jose Opera: The Roof. TV—The Oscars (2013) and America’s Barber of Seville. Other NY Credits—The Got Talent (Les Misérables). Education— Threepenny Opera, I Married Wyatt Earp, The... BFA Cincinnati College Conservatory of Barber Surgeons. Awards & Appearances— Music. Love to Mom, Dad, J&J! Carnegie Hall soloist (Imant Raminsh’s Kally Duling*—Natalie. Symphony of Psalms), The Kurt Weill Center Stage: debut. Foundation’s International Lotte Lenya Off Broadway—Back in Competition winner. Active member of Pictures. New York—NYMF: Studio 42, dedicated to unproducible theater. Alice Unraveled; You’re a Good Honored to miss those mountains with this Man Charlie Brown; The Short fantastic group. arielamorgenstern.com Fall. Regional—Alliance: The Matthew Rodin*—Henry. Tall Girls; Williamstown: The Fifth of July; Bay Center Stage: debut. New Street: The Fifth of July; Fulton: Bus Stop; York—NYMF: Guilin. John Engeman Theatre: Little Women (the Regional—Romeo & Juliet. musical); Stonington Opera House: As It Is in Education—BFA The Boston Heaven; Weathervane: Peter Pan, Evita, Guys Conservatory. Much thanks and Dolls. TV—One Bad Choice, Indecision to Center Stage, David 2010. Love to my family for their support, Schweizer, Stephanie Klapper, Harden-Curtis, especially Kenny and Ellie Mae! MORE! and this incredible cast. Love to Mom, Dad, Matt Lutz*— Dr. Fine/ JoRo, Mickbett, Peter and all the teachers, Dr. Madden. Center Stage: friends, and family who’ve been so debut. Broadway—Bonnie supportive! Grounded in gratitude. and Clyde (orig. cast & matthewrodin.com. Twitter: @mrmattrodin recording). Off Broadway— Michael Winther*—Dan. Around the World in 80 Days; Center Stage: The Boys from Glimpses of the Moon; NYMF Syracuse. Broadway— and Los Angeles: Trails. Regional— Mamma Mia!; 1776; The Ogunquit: Throughly Modern Millie; Flat Crucible; Artist Descending a Rock Playhouse: The Spitfire Grill; NC Stage: Staircase; Damn Yankees. The Understudy. Film/TV—2 years on Off Broadway—NYTW: Songs Hallmark Channel’s McBride series, A Walk from an Unmade Bed (CD on Ghostlight to Remember, Bringing Down the House, Records); NYSF/Public: Radiant Baby; Lincoln Boston Public, 7th Heaven, Dawson’s Creek, among others. Debut solo album High Road Center: Hapgood; BAM: Predator’s Ball; Tony n’ Tina’s Wedding (co-creator/original available on iTunes and at mattlutz.com. cast); Berlin to Broadway; Forever Plaid. Twitter: @mattlutz
8
Regional—Guthrie/Perseverance: The People’s Temple; Goodspeed: Great Expectations; Yale Rep: Galileo; Old Globe: King Lear; Santa Fe Stages: Jacques Brel; Pasadena Playhouse: Plaid Tidings. Concerts—Lincoln Centers American Songbook (2001–02): Hear & Now!; Symphony Space: New Voices; Town Hall: Broadway Cabaret Festival, Broadway By The Year; Robert Kapilow’s What Makes It Great?; upcoming: Songs of Fred Hersch (Lincoln Center’s American Songbook, January 18th). Film/TV—Jumper (2007), The Break-Up, Shut Up and Sing, Law & Order. Education—Williams College.
*Member of Actors’ Equity Association
BIOS
THE ARTISTIC TEAM David Schweizer—Director.
Center Stage: Bus Stop; The Rivals; Snow Falling on Cedars; Cyrano; Caroline, or Change; These Shining Lives; The Boys From Syracuse; Crumbs from the Table of Joy; Permanent Collection; The Miser; And God Created Great Whales. Broadway— Lincoln Center: Troilus and Cressida. Off Broadway—The Junket, I’m A Stranger Here Myself, And God Created Great Whales (OBIE), Horizon, Songs from an Unmade Bed, White Chocolate, Wintertime, My Price Point, Getting Home, Cologne, It’s a Man’s World, Bad Sex with Bud Kemp, All for You, The Waiting Room, Booth, You Could Be Home Now, Kingfish, The Investigation of the Murder in El Salvador, Gogol, Earthworms, The Last Days of British Honduras. International Tours/ Residencies—Warsaw; Prague; Lisbon; Hamburg; London; Stockholm; Oslo; Toga Village, Japan. Regional—La Jolla Playhouse; Kansas City Rep; McCarter; Seattle Rep; Arena Stage; Mark Taper; LATC; Pasadena Playhouse; Williamstown; Yale Rep; Trinity Rep; Geffen Playhouse; Magic Theater; Opera—NYCO: The Mines of Sulfur; Glimmerglass: The Greater Good (world premiere); Boston Lyric Opera: The Emperor of Atlantis, Macbeth; Gotham Chamber Opera: Albert Herring; Long Beach: La Indian Queen, Elegy for Young Lovers, Powder Her Face, La Perichole, The Man Who Mistook His Wife for a Hat, Soldier’s Tale/Fiddler’s Tale; Houston Grand Opera: Abduction from the Seraglio; Chicago Opera: Giovanna D’Arco; Washington Arts Society: Nytrate Hymnal. Education—Yale School of Drama.
Darren Cohen— Musical Director.
Center Stage: debut. Broadway/Off Broadway—Shubert Theatre: A Chorus Line, Chicago; New World Stages: Make Me A Song: Songs of William Finn (original cast recording); Variety Arts: Zombie Prom (original cast recording); York Theatre: Carnival; 47 th Street Theatre: Anyone Can Whistle; Second Stage: A…My Name Is Still Alice; Sullivan Street Playhouse: The Fantasticks; West Side Arts: And the World Goes ‘Round; Ars Nova: Ann E. Wrecksick; Fairbanks Theatre: Nunsense; Actor’s Playhouse: Homefires; York Theatre: The
Other Lincoln; Jewish Rep: Show Me Where the Good Times Are. Regional—Barrington Stage (Associate Artist), Sacramento Music Circus, Goodspeed, North Shore Music Theatre, Coconut Grove Playhouse, Repertory Theatre of St. Louis, Cincinnati Playhouse, San Jose CLO, The MUNY, Kansas City Starlight, Asolo, George Street Playhouse, Westport Playhouse. Other— Revised arrangements for Footloose and Bright Lights, Big City (licensed through R&H Organization). Author of The Complete Professional Audition (published by Back Stage Books). Education—Eastman School of Music. darrenrcohen.com
Caleb Wertenbaker—Set Designer. Center Stage: The Rivals, Cyrano. New York— Kitchen: Platonov; ETW: Pericles; NYMF: Max Understood; Westside Theatre: Dust. Tours— Basetrack; Addicted to Bad Ideas. Opera— Boston Lyric Opera: Emperor of Atlantis; Central City: Rinaldo, Cendrillon, Don Giovanni; Spoletto USA: Amistad; Opera Boston: Mahagonny; Boston Early Music Festival: Psyche; New England Conservatory: Le Nozze Di Figaro, L’Egisto, Orpheus in the Underworld, Little Women, La Calisto. wertenbaker.com David Burdick—Costume Designer.
Center Stage: Amadeus; Twelfth Night; dance of the holy ghosts; Animal Crackers; …Edgar Allan Poe; The Mountaintop; An Enemy of the People; The Whipping Man; A Skull in Connemara; The Rivals; Snow Falling on Cedars; Working it Out; Cyrano; Caroline, or Change; Hearts; Things of Dry Hours; Crumbs from the Table of Joy; Elmina’s Kitchen; Picnic; a.m. Sunday; The Rainmaker; Blithe Spirit; many others. Regional—Everyman Theatre: You Can’t Take It with You, Private Lives, All My Sons, The Mystery of Irma Vep; Walnut Street/Totem Pole: The Last Night of Ballyhoo, Moon Over Buffalo. Opera— Cincinnati: Don Giovanni; Boston Lyric: I Puritani; Tulsa: Tosca, The Barber of Seville, Carmen, Fidelio. Dance—BAM: FLY: Five First Ladies of Dance; Dayton Contemporary: Lyric Fire (world premiere, dir./choreographer Dianne McIntyre). Other—Baltimore Symphony Orchestra: Holiday Spectacular.
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Next to Normal | 9
BIOS
THE ARTISTIC TEAM
Director David Schweizer discusses the Next to Normal set during first rehearsal.
Aaron Black—Lighting Designer.
Center Stage: debut. Off-Broadway— Classical Theatre of Harlem: King Lear, Waiting for Godot, Funnyhouse of a Negro (Lucille Lortel Award), Dream on Monkey Mountain (Audelco Award); Gatehouse: Three Sisters (Audelco Award nom.), Trojan Women; Duke on 42nd Street: Black Nativity (Audelco Award nom.). Regional—American Repertory Theater: Best of Both Worlds (dir. Diane Paulus, IRNE Nomination for Best Lighting Design). Opera—Los Angeles Philharmonic: The Marriage of Figaro; Chicago Opera Theater: Il Ritorno D’Ulisse in Patria. Film/TV—MTV Video Music Awards, Today (Daytime Emmy Nomination). Education—MFA Tisch School of the Arts at New York University, BFA Conservatory of Fine Arts at Webster University.
Ryan Rumery—Sound Designer.
Center Stage: An Enemy of the People; The Rivals; Snow Falling on Cedars; Cyrano; Caroline, or Change; Arsenic & Old Lace; The Boys from Syracuse. Broadway—Thurgood. Off Broadway—Atlantic Theatre Co.: Between Riverside and Crazy, What Rhymes With America; Irish Rep: A Mind-Bending Evening of Beckett; LCT: 4000 Miles; Rattlestick Theatre Co.: Horsedreams; MTC: We Live Here; Public Theatre: Neighbors; Irish Rep: The Emperor Jones (Lortel Award nom.). Regional—Over 200 including Center Theater Group: The Royale (Ovation nom.); Old Globe: Be A Good Little Widow; Dallas Theater Company: Tigers Be Still, The Who’s Tommy; Long Wharf Theatre: Macbeth 1969; Cincinnati Playhouse in the Park: Behind The Eye (Acclaim Award); Philadelphia Theatre Co.: Golden Age (Barrymore nom.); Woolly 10
Mammoth: The Convert (Helen Hayes nom.), Vigils (Helen Hayes nom.), Stunning (Helen Hayes nom.); Ford’s Theatre: The Heavens are Hung in Black (Helen Hayes nom.); Theatre Alliance: Thief River (Helen Hayes nom.), Florida Stage: Cradle of Man (Carronell nom.). Film—SyncroNYCity, Gatewood, Flowerman, and And, Apart.
Driscoll Otto —Projection Designer.
Center Stage: debut. Broadway—Projection Associate for Holler If Ya Hear Me, Evita, Elf, Anne. Off Broadway—NYMF: SwingState, Under My Skin (Lighting). Regional— Projection Designer for Alpine Theater Project: Hair; Summer Repertory: Sarah Ruhl’s Passion Play; Houston Shakespeare: Antony & Cleopatra; Lighting Designer for Dallas Theater Center: The Beauty Plays; Trinity Rep: The How and The Why. Opera— Projection Designer for MET: La Donna Del Lago; Gotham Chamber Opera: Baden Baden 1927; Lighting Designer for Opera Philadelphia: Barber of Seville; VA Opera: Magic Flute; NC Opera: Cosi Fan Tutte. Cruise Line—Lighting Designer for Rock of Ages, Legally Blonde for the Norwegian Breakaway, and Getaway. Education—NYU MFA.
Dan Knechtges—Choreographer.
Center Stage: The Boys from Syracuse. Broadway—Lysistrata Jones, Xanadu (Tony nom.), Sondheim on Sondheim (dir. James Lapine), 110 in the Shade… (starring Audra McDonald), 25th Annual…Spelling Bee (dir. James Lapine). Off Broadway—Tail! Spin! (starring Rachel Dratch); Encores!: Merrily We Roll Along (dir. James Lapine); Second Stage: Vanities: A New Musical; Transport Group: Xanadu. Regional—The Hangar
Theatre: The Wiz, Oklahoma!; Opera Illinois: Carousel, The Merry Widow; Surflight Theatre: Mame, Angel Street, A Funny Thing… Forum; Williamstown: Party Come Here; Barrington Stage Company: 25th Annual… Spelling Bee; Paper Mill Playhouse: Godspell. Film/TV—White Collar, 2011 TV Land Awards. Education—BFA Otterbein College. danknechtges.com.
Jessica Hartman—Associate Choreographer. Broadway—The Boy
from Oz (Associate Choreographer/Dance Captain/Swing), Lysistrata Jones (Associate Choreographer). Off Broadway/NYC— Maltby and Shire’s Behind The Painting (Associate Choreographer), Give It Up! (Associate Choreographer), Showtune (Assistant Director/Choreographer), Citizen Ruth (Associate Choreographer), Break Out in Song (Director/Choreographer). Regional—Elephant and Piggie: We Are In a Play (Choreographer/Kennedy Center), Beaches (Associate Choreographer/ Signature Theatre), Smokey Joe’s Cafe (Assistant Choreographer/Arena Stage), Little Shop (Assistant Choreographer/Ford’s Theater), The Muny, Goodspeed Opera House, Hangar Theatre, Dallas Theatre Center. Other—Artistic Director of Broadway Theatre Connection. Grateful for my family, Jason, and EHL. broadwaytheatreconnection.com
Catherine María Rodríguez— Production Dramaturg—returns for a
second year at Center Stage where she previously served as production dramaturg for dance of the holy ghosts, Stones in His Pockets, and Wild with Happy. She is the
AU DIEN CE 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
coordinator and host of the Dramaturgy Open Office Hours Project in Baltimore/D.C. and facilitates Wright-Right-Now at Center Stage. She has been named a 2014 Leadership Institute Fellow by the National Association of Latino Arts and Cultures (NALAC). Notable past credits include work with National New Play Network, Steppenwolf, and Northwestern. She was the dramaturg and archivist for Un Encuentro: Theater from the Borderlands, a transnational collaboration between Borderlands Theater (Tucson) and El Círculo Teatral (Mexico City). In 2013, she received the LMDA & Kennedy Center Regional Student Dramaturgy Award and debuted as a Dramaturgy Panelist at the Association for Theatre in Higher Education national conference. Catherine holds a BFA in Dramaturgy and a BA in Hispanic Studies from Carnegie Mellon. Saludos a todos and laissez les bons temps rouler!
Ryan Michael Haase—Assistant Director. Artistic director of Stillpointe Theatre Initiative, a Baltimore-based theater company focusing on Contemporary Musical Theatre. Center Stage: Bus Stop, The Rivals. NYC—The Unusual Engagement of Chester Pringle. Regional—Vanishing Point, Sweeney Todd, Little Shop of Horrors, The Bubbly Black Girl Sheds Her Chameleon Skin, 35MM. Education—Towson University, Department of Theatre Arts.
Captain Kate Murphy*—Stage Manager. Center Stage: Resident Stage
Manager; Stage Manager: A Civil War Christmas, Animal Crackers, Mud Blue Sky, The Mountaintop, …Edgar Allan Poe, A Skull in Connemara, American Buffalo, Crime & Punishment, Let There Be Love, The Santaland Diaries; Assistant Stage Manager for The Importance of Being Earnest, Things of Dry Hours, Trouble in Mind, Three Sisters, Radio Golf, The Murder of Isaac, Once on this Island, King Lear; Assistant Production Manager 2008–09. Regional—Trinity Rep: Veronica Meadows, Boeing-Boeing; Actors Theatre of Louisville: All Hail Hurricane Gordo˚, The Clean House, Moot the Messenger˚, Dracula, The Ruby Sunrise˚, Tall Grass Gothic˚, The Drawer Boy, Amadeus, As You Like It (˚premieres at the Humana Festival of New American Plays); Contemporary American Theater Festival: The Overwhelming, Pig Farm; Totem Pole Playhouse: Over 80 productions through 14 summer stock seasons. Film/TV—Route 30, Route 30 Too!, Next Food Network Star. Proud Actors Equity and ASCAP Member.
*Member of Actors’ Equity Association
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 Next to Normal: Sun, Nov 2. Audio Description at both 2 pm and 7:30 pm. Open Captioning at 7:30 pm. †
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BIOS
The Staff
Managing Director Stephen Richard has
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.
worked in ballet, museums, and theater, with his longest Artistic Director Kwame tenure at Arena Stage. As Kwei-Armah OBE is an Arena’s Executive Director, award-winning British he planned and managed the theater’s playwright, director, actor, capital campaign for the Mead Center for and broadcaster. At Center Associate Director American Theater. He has served a Stage he has directed Hana S. Sharif is a director, professor of Arts Management at Amadeus, dance of the holy ghosts (City playwright, and producer. Georgetown University, he has served on Paper Top Ten Productions, 2013); The She served as Associate the boards and committees of some of the Mountaintop; An Enemy of the People; The Artistic Director, Director of nation’s most prestigious arts organizations, Whipping Man, for which he was named New Play Development; and including the National Endowment for the Best Director; and Naomi Wallace’s Things of Artistic Producer at Hartford Stage; and Arts, American Arts Alliance, the League of Dry Hours. In 2014, Kwame was named Best recently as Program Manager of the Resident Theatres, and the Theatre Director in City Paper’s Best of Baltimore. ArtsEmerson Ambassador Program; and as Communications Group. He currently serves Among his works as playwright are Elmina’s Developmental Producer/Tour Manager of on the Advocacy Committee of the Greater Kitchen and Let There Be Love as well as A Baltimore Cultural Alliance and on the board Progress Theatre’s musical The Burnin’. Hana Bitter Herb, Statement of Regret, and Seize also served as co-founder and Artistic of directors of the Maryland Citizens for the Day. His latest play, Beneatha’s Place, Director of Nasir Productions, which brings the Arts. debuted at Center Stage in 2013 as part of theater to underserved communities. the groundbreaking Raisin Cycle. His other Directing credits include The Whipping Man, Associate Director directorial credits include Dominique Gavin Witt came to Center Gem of the Ocean (6 CCC nominations), Morisseau’s Skeleton Crew at the Lark Play Stage in 2003, after nearly 15 Gee’s Bend (CCC Award Best Ensemble, two Development Center in New York, New nominations), Next Stop Africa, Cassie, The years in Chicago as an actor, York’s Public Theater’s production of Much Drum, and IFdentity. Hana has directed director, dramaturg, Ado About Nothing, the World Premiere of translator, and teacher—and numerous developmental workshops, Detroit ’67 (nominated for Best Director) at including Elyzabeth Gregory Wilder’s The co-founder of the classically based greasy New York’s Public Theater, and the World Chat and Chew Supper Club. Her plays joan & co theater. In addition to working as Premiere of The Liquid Plain at Oregon include All the Women I Used to Be, The Rise a dramaturg on scores of productions, Shakespeare Festival. He has served on the readings, and workshops at Center Stage, he and Fall of Day, and The Sprott Cycle Trilogy. boards of The National Theatre and The Hana is the recipient of the 2009–10 Aetna has helped develop new work around the Tricycle Theatre, both in London, and as New Voices Fellowship and the Theatre country. Before making his Center Stage Artistic Director for the World Arts Festival Communications Group (TCG) New mainstage directorial debut with Twelfth in Senegal. He was named the Chancellor of Night, Gavin directed more than a dozen Generations Fellowship. the University of the Arts London, and in Young Playwrights Festival entries, as many 2012 was named an Officer of the Most new play readings, and the 50th Anniversary Excellent Order of the British Empire. Decade Plays for Center Stage. A graduate of
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 12
When the arts succeed, we all succeed. At M&T Bank, we know how important it is to support artists of all kinds. They enhance the quality of life in our communities. That’s why we offer both our time and resources and encourage others to do the same.
M&T Bank is proud to support Center Stage.
mtb.com Š2013 M&T Bank. Member FDIC. Next to Normal | 13
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WANT TO KNOW MORE ABOUT THE SHOW? Center Stage is now part of an app called Artsbill! With this free app, you can access exclusive content, information, and video all in one place. You can even write your own reviews. Artsbill is available on iPhone and Android—download today!
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Just around the corner at Charles and Read.
Show us your ticket to get 10% off each meal!
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SU PPO RTER S POTL IGHT Dan Gahagan
“Joining the board at Center Stage is another way of indulging my passion for theater, while also performing a public service.”
When Artistic Director Kwame Kwei-Armah says that “Center Stage has the best Board I have ever worked with,” he is not just using empty words. The 55 individuals who comprise Center Stage’s Board of Trustees are hard-working, passionate, and believe in investing in the arts in Baltimore.
Meet Dan Gahagan, Center Stage Trustee
and Vice President & General Counsel for Baltimore Gas and Electric Company.
Fast forward to September 2013, and Dan became a Center Stage Trustee. He says, “Joining the board at Center Stage is another way of indulging my passion for theater, while also performing a public service.” That public service mindset is why his company, BGE, also supports the theater.
For Dan, Baltimore has always been home. He was born here, went to school here, and has worked in downtown Baltimore since graduating from the University of Maryland School of Law.
“From the beginning of time, all great civilizations have valued, nurtured, and patronized the arts, because the arts contribute mightily to the vitality and well-being of society. And a healthy, thriving community is good for our customers and employees, which is critical to BGE’s success."
“I love spending time at Camden Yards (Go O’s!). My family, both immediate and extended, almost all reside in the area. My Baltimore roots run deep.”
We couldn’t agree more. Thank you Dan and BGE for making the work we do possible.
Seeing productions at Center Stage is also one of Dan’s favorite Baltimore pastimes. He holds a lifelong passion for theater, stemming from his days as a member of a boys’ choir that performed in opera productions at the Lyric Opera House. But it wasn’t until he was an undergraduate at Johns Hopkins University that he saw his first Center Stage production, A Midsummer Night’s Dream.
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“I had studied Shakespeare at Hopkins but had never seen a live performance. Entering the theater with an expectation of seeing a staid, formal portrayal, I was captivated by the creativity of the Center Stage production. That creativity is alive and well today, as demonstrated most recently by a wonderful production of Twelfth Night [in the 2013-14 Season].”
BOARD OF TRUSTEES 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 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 * Trustee Emeriti + Deceased
SU PPO RT
The Annual Fund at Center Stage
The following list includes gifts of $250 or more made to the Center Stage Annual Fund between
March 16, 2014 and September 17, 2014. 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
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. INDIVIDUAL SEASON SPONSORS
($50,000+)
Ellen and Ed Bernard Lynn and Tony Deering Jane and Larry Droppa Judy and Scott Phares Mr. and Mrs. Philip Rauch Jay and Sharon Smith Ms. Barbara Voss and Charles E. Noell, III
PRESIDENTS’ CIRCLE ($50,000+)
The Annie E. Casey Foundation The Charlesmead Foundation 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 Edgerton Foundation New American Play Awards Kathleen Hyle JI Foundation
The Goldsmith Family Foundation The Laverna Hahn Charitable Trust Francie and John Keenan Townsend and Bob Kent Kenneth C. and Elizabeth M. Lundeen The Andrew W. Mellon Foundation Joseph & Harvey Meyerhoff Family Charitable Funds
Mr. J. William Murray George Roche 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
PLAYWRIGHTS’ CIRCLE ($5,000-$9,999)
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
Mr. and Mrs. Walter B. Doggett, III
Marilyn Meyerhoff
Brian and Denise Eakes
Terry H. Morgenthaler and Patrick Kerins
Dick and Maria Gamper Carole and Neil Goldberg
ARTISTS’ CIRCLE
Fredye and Adam Gross
($10,000-$24,999)
Martha Head
The William L. and Victorine Q. Adams Foundation and The Rodgers Family Fund
Murray Kappelman
Peter and Millicent Bain 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
Kwame and Michelle Kwei-Armah The John J. Leidy Foundation, Inc. The Macht Philanthropic Fund Robert E. Meyerhoff and Rheda Becker Stephen Richard and Mame Hunt The Jim & Patty Rouse
Charitable Foundation
Charles and Leslie Schwabe
Daniel P. Gahagan
Mr. and Mrs. J.W. Thompson Webb
John Gerdy and E. Follin Smith
Ms. Linda Woolf
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. Mathias J. DeVito
Mr. and Mrs. Michael Falcone
The Harry L. Gladding Foundation/ Winnie and Neal Borden
Goldseker Foundation/ Ana Goldseker Robert and Cheryl Guth
The Hecht-Levi Foundation, Inc.
David and Elizabeth JH Hurwitz
Steve and Susan Immelt
Jonna and Fred Lazarus
Mr. and Mrs. Earl & Darielle Linehan/ Linehan Family Foundation Mrs. Diane Markman
Linda and John McCleary
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
Monica and Arnold Sagner
Mr. and Mrs. Todd Schubert
Scott and Mimi Somerville Scot T. Spencer
Mr. Gilbert H. Stewart and Ms. Joyce L. Ulrich Mr. Michael Styer
Mr. and Mrs. Harry Thomasian Mr. and Mrs. Donald and Mariana Thoms
Trexler Foundation, Inc. Jeff Abarbanel and David Goldner Kathryn and Mark Vaselkiv
Mr. and Mrs. Loren and Judy Western
Ted and Mary Jo Wiese
Cheryl Hudgins Williams and Alonza Williams
Mr. Todd M. Wilson and Mr. Edward Delaplaine
Drs. Nadia and Elias Zerhouni Next to Normal | 19
SU PPO RT DESIGNERS
($1,000-$2,499)
Mr. and Mrs. John and Beverly Michel
James DeGraffenreidt and Mychelle Farmer
Jane and Stanley Rodbell and James R. Shapiro
Anonymous
Tom and Cindi Monahan Jeannie Murphy
The Honorable and Mrs. E. Stephen Derby
Mr. and Mrs. Harold Rojas
Denise and Philip Andrews Mayer and Will Baker, in honor of Terry Morgenthaler
Roger F. Nordquist and Joyce Ward
Ms. Taunya Banks Mr. and Mrs. Marc Blum John and Carolyn Boitnott Dr. and Mrs. Donald D. Brown Sandra and Thomas Brushart Meredith and Joseph Callanan
Dr. Bodil Ottesen Linda Hambleton Panitz Dave and Chris Powell Jill and Darren Pratt The James and Gail Riepe Family Foundation
Patricia Yevics-Eisenberg and Stewart Eisenberg The Eliasberg Family Foundation Buddy and Sue Emerson, in appreciation of Ken and Elizabeth Lundeen The Epp Family
The Campbell Foundation, Inc.
Nathan and Michelle Robertson
Caplan Family Foundation, Inc.
Faith and Edgar Feingold, in memory of Sally W. Feingold
The Rollins-Luetkemeyer Foundation
Andrea and Samuel Fine
Rose Carpenter John Chester Ann K. Clapp
Gail B. Schulhoff Bayinnah Shabazz, M.D.
David and Merle Fishman Ms. Nancy Freyman
Barbara and Sig Shapiro
Dr. Joseph Gall and Dr. Diane Dwyer
Mr. Thomas Crusse and Mr. David Imre, in honor of Stephanie and Ash Carter
The Earle & Annette Shawe Family Foundation
Megan M. Gillick
The Richard and Rosalee C. Davison Foundation
Mr. and Mrs. Robert and Terri Smith
Constantinides Family Foundation
Gene DeJackome and Kim Gingras Albert F. DeLoskey and Lawrie Deering Mr. Jed Dietz and Dr. Julia McMillan
Mr. and Mrs. Robert N. Smelkinson
Mr. and Mrs. Scott Smith Judith R. and Turner B. Smith Ms. Kimberly Stokes Dr. and Mrs. John Strahan
Terry L. Gladden Mary and Richard Gorman Stuart and Linda Grossman Louise Hager Terry Halle and Wendy McAllister Vicki and Jim Handa Rebecca Henry and Harry Gruner Mrs. Heidi Hoffman
Jack and Nancy Dwyer
Susan and Brian Sullam
Dennis and Patty Flynn
Dr. Edgar and Mrs. Betty Sweren, in honor of Cindi Monahan
James and Rosemary Hormuth
Robert and Patricia Tarola
Ralph and Claire Hruban
Dr. and Dr. Matthew Freedman Frank and Jane Gabor Jose and Ginger Galvez Ms. Suzan Garabedian
Mr. and Mrs. Ronald W. Taylor Nanny and Jack Warren, in honor of Lynn Deering
Pamela and Jonathan Genn, in honor of Cindi Monahan and Beth Falcone
Ann Wolfe and Dick Mead
Sandra Levi Gerstung
Dr. Laurie S. Zabin
Mr. and Mrs. Benjamin H. Griswold, IV
Mr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler
F. Barton Harvey, III and Janet Marie Smith
COMPANY
Sydney and Ron Wilner
Dr. and Mrs. J. Woodford Howard Mr. and Mrs. Theodore Imes Max Jordan Kirk and Debbie Joy
Renee Samuels Rosenfeld and Jordan Rosenfeld Kevin and Judy Rossiter Mr. Al Russell Mrs. Bette Rothman Sheila and Steve Sachs Eugene and Alice Schreiber Philanthropic Fund Kurt and Patricia Schmoke The Sinksy-Kresser-Racusin Memorial Foundation Ms. Rosalyn Smith Susan Somerville-Hawes, in honor of The Encounter Program Ms. Jill Stempler Sanford and Karen Teplitzky Mr. and Mrs. Barbara and Paul Timm-Brock
Deborah and Philip English Ms. Vicky Favor Ms. Rhea Feikin, in memory of Colgate Salsbury Bob and Susie Fetter Genine and Josh Fidler, in honor of Ellen and Ed Bernard Dr. and Mrs. Robert P. Fleishman Dr. Neal M. Friedlander and Dr. Virginia K. Adams Mark and Patti Gillen Hal and Pat Gilreath Mr. Bruce Goldman Dr. Larry Goldstein and Dr. Diane Pappas Ms. Hannah B. Gould Barbara and Howard Gradet Thomas and Barbara Guarnieri Mr. and Mrs. James Hackman
David and Sharon Tufaro
Christine B. Hall
United Way of Central Maryland Campaign
Ada Hamosh
Mr. and Mrs. George and Beth Van Dyke Mr. John Wessner Ms. Camille Wheeler and Mr. William Marshall
Melanie and Donald Heacock Aaron Heinsman and Nick Simko Betsy and George Hess Mr. Donald H. Hooker, Jr. Susan Horn
Mr. John Wessner
Ms. Sarah Issacs
Mr. and Mrs. Barry and Linda Williams
James and Hillary Aidus Jacobs
Dr. and Mrs. Frank R. Witter Dr. Richard H. Worsham
Dr. and Mrs. Juan M. Juanteguy
Mr. Norman Youskauskas
B. Keller
ADVOCATES
Mr. and Mrs. Padraic Kennedy
Stacie C. Dunlap
($250-$499)
Mr. George W. King
Anonymous
Roland King and Judith Phair King
Rita and Walter Abel
A.H. Janoski, M.D., in honor of Jane Stewart Janoski Mr. and Mrs. James and Julie Johnstone Ann H. Kahan Mr. and Mrs. Peter Kaplan Richard and Judith Katz Dr. and Mrs. Myron Kellner
($500-$999)
Stewart and Carol Koehler
Ms. Lisa Abrams
Stephen and Laurie Kelly, in memory of Rodney Stieff
Anonymous
Joseph M. and Judy K. Langmead
Mr. and Mrs. Delbert L. Adams
Ms. Kim-Khoi Khue
Sandra and Thomas Hess
Ms. Diane Abeloff, in memory of Martin Abeloff
Claus Leitherer and Irina Fedorova
Bradley and Lindsay Alger
Drs. Dahlia Hirsch and Barry Wohl
Mr. and Mrs. Delbert L. Adams
Dr. and Mrs. Ronald Lesser
The Alsop Family Foundation
Len and Betsy Homer
Mrs. Alexander Armstrong
Marilyn Leuthold
Mr. Alan M. Arrowsmith, II.
Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery
The A. C. and Penney Hubbard Foundation
Mr. and Mrs. Robert and Dorothy Bair
Kenneth and Christine Lobo
Mr. Wayne Arvin
Bill and Scootsie Hatter Donald and Sybill Hebb
Ms. Harriet F. Iglehart Joseph J. Jaffa Mr. and Mrs. Mark Joseph, in honor of Lynn Deering Ms. Shirley Kaufman Francine and Allan Krumholz H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation The Herschel and Langenthal Philanthropic Fund Andie Laporte, in honor of Philip and Lynn Rauch Dr. and Mrs. George Lentz, Jr. Robert and Susan Mathias Mr. and Mrs. Steven and Karen McCurdy Joseph and Jane Meyer
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Mr. and Mrs. Lee Ogburn
Lynne Durbin and John-Francis Mergen
Dorothy L. and Henry A. Rosenberg, Jr.
Gwen Davidson Jay and Bette Demarest
Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation Charles and Patti Baum Jaye and Dr. Ted Bayless Fund of the Baltimore Community Foundation Steve and Teri Bennett
The Ethel M. Looram Foundation, Inc. Dr. and Mrs. Thomas J. Lynch The Dr. Frank C. Marino Foundation, Inc. Maryland Charity Campaign Mary L. McGeady Jeston I. Miller
Harriet and Bruce Blum
The Honorable Diana and Fred Motz, in memory of Nancy Roche
Cindy Candelori
George and Beth Murnaghan
Ms. Sue Lin Chong
Rex and Lettie Myers
Mrs. Darlene E. Austin Ayd Transport Mike Baker Melissa A. Behm
David and Ann Koch Thomas and Lara Kopf Larry Koppelman and Liz Ritter Gina Kotowski Barry Kropf Edward Kuhl
S. Woods and Cathy Bennett
Ms. Dorothy Kuhlman
Mr. Jason Bennett
Truby LaGarde and Paul Lambertson
Rachel and Steven Bloom, in honor of Beth Falcone
Mr. and Mrs. William Larson
Ms. Deborah W. Callard
Mr. Raymond Lenhard, Jr.
Ms. Darlene Campbell
Sara W. Levi Marty Lidston and Jill Leukhardt
Mr. and Mrs. Carl F. Christ
Ms. Jennifer Nelson
The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation
William and Bonnie Clarke
Ms. Jo-Ann Mayer Orlinsky
Mr. and Mrs. David Carter
Dr. and Mrs. John Lion Scott and Ellen Lutrey
Ms. Clare Cochran
Pitt O’Neill Family
Brenda M. Cley, M.D.
Joan Develin Coley and Lee Rice
Robert E. and Anne L. Prince
Mr. and Mrs. Stanton Collins
Nancy Magnuson and Jay Harrell, in honor of Betty and Edgar Sweren
Robert and Janice Davis
Mr. and Mrs. Richard Radmer
David and Sara Cooke
Mr. Elvis Marks
Richard and Lynda Davis
Mrs. Peggy L. Rice
B.J. and Bill Cowie
Mary and Barry Menne
Tracy Miller and Paul Arnest, in honor of Stephanie Miller James W. and Shirley A. Moore Dr. and Mrs. C.L. Moravec Stephen and Terry Needel Mildred and Timothy Nohe Irene E. Norton Claire D. O'Neill The P.R.F.B. Charitable Foundation, in memory of Shirley Feinstein Blum Michael and Phyllis Panopoulos Justine and Ken Parezo Fred and Grazina Pearson Linda and Gordon Peltz Chris and Deborah Pennington Dr. and Mrs. James M. Pepple Mr. Martin Perschler Mr. William Phillips Mr. and Mrs. Samuel Phillips Robin and Allene Pierson, in honor of Terry Morgenthaler Ronald and Patricia Pilling Dr. and Mrs. Jeffrey Posner Cyndy Renoff and George Taler Dr. Michael Repka and Dr. Mary Anne Facciolo John and Dotty Reynolds Bob and Phoebe Reynolds Natasha and Keenan Rice Alison and Arnold Richman Ida and Jack Roadhouse Mr. Paul Roeger, in memory of Gloria Roeger Mr. Wilfred Roesler Mr. and Mrs. Louis Rusk Ellen and Dino Sangiamo Mrs. Kimberly Shorter Mr. and Mrs. L. Siems Ms. Pamela Skelding Dr. Donald Slowinski Reverend Sharon Smith Solomon and Elaine Snyder Mrs. Clare H. Stewart, in honor of Bill Geenen Brenda and Dan Stone
Mr. and Mrs. David Warshawsky Boe and Patti Wells Ms. Anita Wilmore Deborah King-Young and Daniel Young
SPECIAL GRANTS & GIFTS:
The Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation
GOVERNMENT GRANTS 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 Au Bon Pain 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
Greg’s Bagels GT Pizza
Hotel Monaco
Mamott
Maryland Public Television Michele’s Granola Mitchell Kurtz Architect, PC.
Ernst & Young
Planit Agency PromoWorks
FTI Consulting, Inc.
Republic National Distributing Company
Howard Bank
Sabatino’s Shugoll Research
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
Cassidy Turley
Environmental Reclamation Company
Pizza Hut
Style Magazine
The Baltimore Life Companies
Cho Benn Holback + Associates
Oriole’s Pizza and Sub
The Signman
Ayers Saint Gross, Incorporated
Chapel Valley Landscape Company
Pizza Boli’s
Jenkins Baer Associates
PRODUCERS’ CIRCLE
Legg Mason McGuireWoods LLP Pessin Katz Law P.A. PNC Bank PricewaterhouseCoopers Saul Ewing LLP Stifel Nicolaus Sylvan/Laureate Foundation Venable, LLP Whiteford, Taylor and Preston Whiting-Turner Contracting Co.
The Annie E. Casey Foundation
DIRECTORS’ CIRCLE
Constellation Energy
Baxter, Baker, Sidle, Conn & Jones, P.A.
The Deering Family Foundation
Funk & Bolton, P.A.
E-Bay Foundation
Kraft Foods
Eddie’s on Saint Paul
MASCO Corporation
Edible Arrangements
McCormick Foundation
Eggspectations
Norfolk Southern Foundation
Sarah Valente
ARTISTS’ CIRCLE
New System Bakery
Dooby's
Laura and Neil Tucker, in honor of Beth Falcone
T. Rowe Price Foundation, Inc.
Mount Vernon Stable and Saloon
Mr. Joseph Terino, in memory of Joan Marilyn Kappelman
Susan Treff
American Trading & Production Corporation
Mars Super Markets Maryland Office Interiors
PLAYWRIGHTS’ CIRCLE Anonymous
The Jewish Times
Illinois Tool Works Foundation
Express Vending
PRESIDENTS’ CIRCLE
Iggie’s
The City Paper
Mr. Martin Toner, in memory of Joan Marilyn Kappelman
THE 2014/15 SEASON IS MADE POSSIBLE BY
HoneyBaked Ham Co. The Helmand
Renee Straber, in memory of Joan Marilyn Kappelman
Fred and Cindy Thompson
CORPORATIONS
PNC Bank
Fisherman’s Friend/ Pez Candy, Inc.
Stanley Black and Decker
The Fractured Prune
SunTrust Bank
Gertrude’s Restaurant
T. Rowe Price Foundation
Gianni’s Italian Bistro
UBS Wealth Management
Schoenfeld Insurance Associates The Zolet Lenet Group at Morgan Stanley Smith Barney
DESIGNERS Chesapeake Plywood, LLC Stevenson University
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ARTISTIC NOTEBOOK
2013-14 Hot Desk Resident Playwright Miranda Rose Hall writes plays for Center Stage patrons.
Plays on Demand
Beginning last fall, Center Stage rolled out an exciting new feature as part of our everexpanding commitment to new work and new writers: the Wright-Right-Now series. Part of a larger program called the Hot Desk, which offers emerging playwrights short- or long-term residencies, Wright-Right-Now debuted at last year’s Backstage @ Center Stage open house and continued through the season. Before several performances for each production, a brave playwright sat in the theater lobby to take prompts from patrons and write, on the spot, a personal and customized short play—which audience members would then take home with them at the end of the evening. With
about half-a-dozen “commissions” each time, the project generated nearly 40 short plays by the end of the season. Finally, local professional actors treated an invited audience to readings of highlights from the anthology of Wright-Right-Now plays.
The series will continue on select Thursday evenings this year, as well as making its debut in several other venues. So keep an eye out, and don’t miss a chance to take home your very own personal and instant play. Or commission one for friends or family.
In addition to Wright-Right-Now, Center Stage’s Hot Desk program provides participating playwrights with a space to work, time to dedicate to writing, access and insight into the production process of a professional resident theater, and dramaturgical and developmental resources. With the 2013–14 Season, Center Stage added a year-long residency; and with the start of the 2014–15 Season, an International Hot Desk playwright has also joined us with support from the Spanish Embassy’s cultural program.
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Hot Desk is only part of our support for new work. This season, you’ll see five Baltimore premiers produced at Center Stage with Next to Normal, One Night in Miami…, and the two plays of the Herzog Festival, as well as the World Premiere of the musical, Marley. In addition, several projects in the 3rd Space(s) series will offer exciting new plays in unusual sites, alongside our continuing Play Lab reading and development series. Check our website for the very latest on these and other projects (centerstage.org) or keep an eye on the lobby media wall.
A SEASON OF
Celebrate the holidays: BRING A GROUP AND SAVE!
We invite groups to get into the spirit of the season.
Revisit Bedford Falls, fall in love again with George and Mary, and discover the magic of an angel named Clarence as a new adaptation set in a radio studio brings to life Frank Capra’s timeless film.
Here are three great reasons to celebrate with us:
3 Book by December 2 and receive a special discount!
With the purchase of group tickets for It's A Wonderful Life, you will receive a discounted space rental for your pre-show party. Availability is limited, so contact Group Sales today.
Kraushaar Auditorium
Tom Hall leads the Chorus and Orchestra in Bach’s Magnificat as well as other favorites of Mozart and Beethoven.
Christmas with Choral Arts
Tuesday, December 2, 2014 at 7:30 pm The Baltimore Basilica
This annual festive holiday program features Tom Hall conducting the Chorus and Orchestra. Friday, December 19, 2014 at 7:30 pm
Center Stage’s historic Calvert Street home features three bars, two rehearsal halls, and several other unique spaces available for rent.
With Center Stage’s great dinner menu, catering options, full selection of fine wines and beers, and a variety of your favorite cocktails, you’ll find everything you need to host a splendid event.
Saturday, October 25, 2014 at 4 pm
Sing-Along Messiah
1 We Have Space...
(and yours will too!)
CLASSICS The Classical Masters
Join us for It’s a Wonderful Life: A Live Radio Play. Full of nostalgia, charm, and heartwarming moments, this show is sure to warm the hearts and toes of audiences young and old.
2 Our Cup Runneth Over
Choral
Kraushaar Auditorium
Join in singing the choruses of Handel’s Messiah, or just enjoy the surround-sound!
Groups of 10 or more receive: Great Savings Priority Seating
Christmas for Kids
Saturday, December 20, 2014 at 11 am Kraushaar Auditorium
Holiday fun for the entire family, featuring Pepito the Clown and a visit from Santa!
Personalized Service Easy Payment Plan Special Bonus Tickets (Groups 25+)
For details, or to book, contact Tia Abner at 410.986.4008 or groups@centerstage.org.
Tom Hall, Music Director
Call 410-523-7070 or visit BCAsings.org Baltimore Choral Arts is also grateful for the support of The William G. Baker, Jr. Memorial Fund, creator of the Baker Artist Awards, www.bakerartistawards.org.
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PREV IEW
UP NEXT 2014/15 SEASON
A Holiday Classic for the Family
“One of the best holiday shows around.” –The Chicago Sun-Times
IT’S A WONDERFUL LIFE: A Live Radio Play
GEORGE: What’d you wish for Mary? MARY: Oh no. If I tell you, it may not come true. GEORGE: Hey, hey Mary... C’mon, what do you want huh? Do you want the moon? All you gotta do is just say the word now… MARY: Okay, the moon. I’ll take it. And then what? GEORGE: Then what? I’ll throw a lasso around it and pull it down. Then you could swallow it and it’d all dissolve, see? And the moonbean’d shoot out of your fingers and toes, and the ends of your hair and the… Am I talking too much? OLD MAN COLLINS: Yes!! Why don’t you kiss her instead of talking her to death?
A Live Radio Play? Adapted by Joe Landry
Nov 18–Dec 21
Revisit Bedford Falls, fall in love again with George and Mary, and discover the magic of an angel named Clarence. It’s Christmas Eve in 1946, and inside a radio studio a live broadcast brings to life Frank Capra’s timeless film in all of its feel-good glory. Be a part of the live studio audience, and join the cast and crew as they take you on a journey through the most important evening in one man’s life. It’s the perfect holiday outing for the entire family and, who knows, an angel might even get his wings.
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Adapted for the stage as a “live radio performance,” this production is complete with sound effects, an announcer, and four actors who perform all the parts in Frank Capra’s timeless holiday classic. These classic characters tell the story of how one man’s life touches so many others, and how a well-lived life can make the world a better place. But what the imagined radio listeners at home can’t see is how the studio itself transforms into the beloved Bedford Falls, home of the Baileys. Travel through time with George Bailey and his guardian angel as they ask the question: What would the world be like if you were never born?
COMING SOON
“Crackles with both the charisma and humanity of these iconic figures.” –The Hollywood Reporter
“Engrossing.” –Los Angeles Times
By Kemp Powers
Jan 14–Feb 8
On February 25, 1964 Cassius Clay wins the world heavyweight boxing title, and instead of hitting the town, Clay chooses to celebrate in a Miami hotel room with his three close friends—activist Malcolm X, singer Sam Cooke, and football star Jim Brown. This fictional account of a real night imagines what might have happened in that tiny hotel room.
Sa m Coo k e. Jim B row n . M a lco lm X . M u h a m m a d A l i.
ONE NIGHT in MIAMI… 2 013
Los Angeles Drama Critics Circle AWARD
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PH OTOS
Center Stage Celebrations
Amadeus Opening Night photos by Tyrone Eaton
Clockwise from top left: Director Kwame Kwei-Armah welcomes patrons to Season 14/15; Center Stage honors Founding Trustee Murray Kappelman; right: Trustees and guests toast the season; bottom right: Kayla Ferguson (Constanze) and Natanya Washer (Katherina); guests celebrate at the post-show party; Washer serenades the pre-show crowd; left: Ensemble members Christopher Dews and Kedren Spencer.
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STEp 14/15 into season New Worlds
ANNOUNCING
MARLEY A WORLD PREMIERE MUSICAL Music and Lyrics by Bob Marley Book by Kwame Kwei-Armah
May 6–Jun 14, 2015
See it only with a Center Stage Membership Tickets currently available only through Center Stage Membership!
Call the Box Office to purchase or find out how you can add Marley to your existing package.
410.986.4046
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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 Managing Directors’ Intern–Arrenvy Bilinski
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 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
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, Samrawit Belai, Tiana Bias, Kendrel Dickerson, Sonny Russo, Paul Wissman Front of House Manager & Volunteer Coordinator– Alec Lawson House Managers–Lindsay Jacks, Faith Savill, Paul Wissman Bar Manager–Beth Ann Wilson Van Cleve 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, Dustin Morris, CJay Philip, D. Wambui Richardson, Oran Sandel, Susan Stroupe, Ann Turiano.
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
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
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Development
Director–Julia Keller Annual Fund Manager–Katelyn White Grants Manager–Debbie Joy Development Associate–Christopher Lewis Events Manager–Brad Norris Development Assistant–Alyson Jacques Auction Coordinator–Sydney Wilner Auction Assistant–Norma Cohen The Edward and Ellen Bernard Development Fellow– Astoria Avilés
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 Public Relations Manager–Cassandra Miller Publications Manager–Maggie Beetz Marketing Associate/Group Sales–Tia Abner Marketing Associate–Sarah Bichsel 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–Lanair Holland, Lori Duckworth
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–Elizabeth Floyd
Properties
Props Master–Jennifer Stearns Assistant Manager–Nathan Scheifele Artisan–Samantha Kuczynski
CONTACT INFORMATION
Box Office Phone 410.332.0033 Box Office Fax 410.727.2522 Administration 410.986.4000 www.centerstage.org info@centerstage.org
The Kenneth C. and Elizabeth M. Lundeen Properties Intern–Rachel Bennick
Scenery
Technical Director–Tom Rupp Assistant Technical Director–Laura P. Hilliker 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 Managers–Captain Kate Murphy, Laura Smith Production Assistant–Lindsay Eberly Stage Management Interns–Marian Jackson, Kayla Whisman
Stage Operations
Stage Carpenter–Eric L. Burton Wardrobe Office–Linda Cavell The following individuals and organizations contributed to this production of
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Assistant Costume Designer–Ben Kress Assistant Lighting Designer–Jimmy Lawler Carpenters–Rena Brault, R. Castrence, Michael Cager, Seth Foster, Connie Frost Chong, Shelton Hall, Michael Hart, Mark Hawkinson, Justin Hensley, Chris Insley, Brian Jamal Marshall Deck Audio–Daniel Hogan Dramaturgy Assistant–Sarah Cohen Electricians– Helen Alton, Alison Burris, Paul Callahan, Jake Epp, Aaron Haag, Erin Teachman Followspot Operators–Chris Elwell, Patrick Gillespie Painters–Jessica Cowan, Andrea Crews 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.
These days, smart
seniors are going back to class. At Roland Park Place. How to keep your gray cells firing.
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Why not learn more right now? Call (410) 243-5700 or visit RolandParkPlace.org 830 W. 40th Street | Baltimore, MD 21211 | (410) 243-5700 rolandparkplace.org RPPJ6273 Smart Seniors Ad 7.4375x10_CS.indd 1
The educated choice. 9/17/14 10:43 AM
The Helmand is
proud to support Center Stage!
Celebrating 25 years of serving exquisite Afghan Cuisine
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