The Mountaintop Program

Hall

By Katori Hall Directed by Kwame Kwei-Armah

Jan 9–Feb 24

2012–13 season An Enemy of the People The Completely Fictional— Utterly True—Final Strange Tale of Edgar Allan Poe Bus Stop The Mountaintop Mud Blue Sky The Raisin Cycle

Clybourne Park Beneatha’s Place

An Introduction to the World of the Play “This isn’t the ‘I Have a Dream’ King. This is King, the man; not the myth. I want people to see that this extraordinary man—who is actually quite ordinary—achieved something so great that he actually created a fundamental shift in how we, as a people, interact with each other. That’s a beautiful thing.”

—Katori Hall, Playwright As Katori Hall points out, The Mountaintop is about Martin Luther King, Jr. the man. It’s not a biography and it strives neither to glorify nor to demonize him. Here he is not just a figure of legend; he is a husband, father, leader, and man, who could inspire many and yet doubt himself.

At the same time, Hall also explores her own, more personal story. Memphis natives, Hall’s mother and grandmother were looking forward to hearing Dr. King speak during his 1968 visit to address a sanitation workers’ strike.

But when word spread of a planned bombing, they stayed home. Missing the speech became a lifelong regret for Hall’s mother, Carrie Mae. Here Carrie Mae becomes the character Camae, the hotel maid who spends a few of those fateful final hours with Dr. King. In The Mountaintop, Hall gives her mother the chance encounter she never got and in doing so, offers a fantastical, imaginative reflection on King’s Memphis visit.

In the speech that Dr. King gave in Carrie Mae’s absence, King imagines himself gazing like Moses into a Promised Land he may never reach, but peaceful and happy to have led the way there. When he was killed the following evening, the prophetic became prescient.

About the Strike

On February 1, 1968, two Memphis garbage collectors were killed by a malfunctioning truck. After nearly two weeks of struggle with the city, Memphis workers went on strike. Over the next two months, events escalated through sit-ins and boycotts that pitted the workers and supporters against police and Mayor Henry Loeb. On March 28, Dr. King led a peaceful citywide march that broke out in violence—prompting an aggressive police response that left one young man dead. On April 3, Dr. King returned to Memphis and delivered his historic address. The next evening he was assassinated. Four days later his wife led more than 40,000 people on a peaceful memorial march through downtown Memphis in tribute to Dr. King and in support of the strike. The following week, an agreement ended the strike.

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The Mountaintop

By Katori Hall • Directed by Kwame Kwei-Armah

Jan 9–Feb 24, 2013 Presenting Partner

Season Sponsors

Ellen and Ed Bernard Stephanie and Ashton Carter James and Janet Clauson Lynn and Tony Deering and The Charlesmead Foundation Jane and Larry Droppa Terry H. Morgenthaler and Patrick Kerins Judy and Scott Phares Phil and Lynn Rauch Jay and Sharon Smith Barbara Voss and Charles E. Noell, III

Associate Season Sponsor

Kathleen Hyle Kenneth C. and Elizabeth M. Lundeen

The Cast (in order of appearance)

The Artistic Team

Shawn Hamilton* Dr. King

Kwame Kwei-Armah Director

Myxolydia Tyler* Camae

Neil Patel Scenic Designer

Captain Kate Murphy* Stage Manager Laura Smith* Assistant Stage Manager *Member of Actors’ Equity Association

The Setting

David Burdick Costume Designer Scott Zielinski Lighting Designer Victoria Delorio Original Music

& Sound Designer

Kate Freer Projections Designer Alex Koch Projections Designer

Time: April 3, 1968.

Gavin Witt Production Dramaturg

Place: Room 306. Lorraine Motel.

Memphis, Tennessee

Pat McCorkel Casting Director

Season Partners

T. Rowe Price Foundation

Media Partners

The Mountaintop is made possible with support from

The Mountaintop is presented by special arrangement with Dramatists Play Service, Inc., New York.

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CENTERSTAGE is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive.

In case of emergency (during performances only) 410.986.4080

We all know the monument, the larger-than-life legend.

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CENTERSTAGE

What about the man behind the myth?

The Mountaintop | 3

There is the loud clamor of MLK the public figure…

The Nobel Peace pr ize for 1964 was aw arded today to the Rev. Dr . Martin Luther Ki ng, Jr. Oslo, Nor way, Oct. 14

The pri ze honors acts "fo r the fur therance of brothe rhood among men and to the abolish ment or red uct ion of sta ndi ng arm ies and for the extension of these pur poses."In a bro adcast from Atlanta, Ga ., Dr. King said that he was deeply moved by the honor. "I am glad peo ple of oth er nat ions are concer ned with our proble ms here," he said. He add ed tha t he regarded the pri ze as a sig n that world public opi nion was on the side of those str uggling for freedom and dig nit y.

He also said he saw no pol itical implications in the award. "I am a mi nister of the gospel, not a pol itic al leader," he said.

Few

can explain the extraordinary King mystique. Yet he has an indescribable capacity for empathy that is the touchstone of leadership. By deed and by preachment, he has stirred in his people a Christian forbearance that nourishes hope and smothers injustice. Says Atlanta's…Ralph D. Abernathy…: "The people make Dr. King great. He articulates the longings, the hopes, the aspirations of his people in a most earnest and profound manner. He is a humble man, down to earth, honest. He has proved his commitment to Judaeo-Christian ideals. He seeks to save the nation and its soul, not just the Negro."

—“America’s Ghandi,” Time Magazine 1963 Man of the Year

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Family Man “I used to love to be at their home. He had a game he played with each child. They had a kiss mark. One child had a forehead and one had a cheek, the other had the other cheek and the other one had the chin. And what he would do sometimes he’d grab ’em and to give a kiss and he’d pretend like he's going to the wrong side. ‘No, no, no, Daddy, that’s my side. That's my side.’ And he was doing that just to add some jocular moments to the setting.”

—Xernona Clayton, SCLC Secretary

Man of Faith “In order to understand Martin Luther King you must start with the fact that he was a minister. That is the key to who Martin Luther King Jr. was. If you try to take him as a, quote, civil rights leader, or a political leader, you will miss the real King. He was first and foremost a minister.”

—William Gray, King family friend “In New York, a few months before his death, we had lunch… and King turned philosophical about the limits of political change. It was a leisurely and convivial lunch. The restaurant had been alerted that the famous Dr. King was coming, and the waiter assumed that the white man in the clerical collar must be he, and so throughout the lunch addressed me as Dr. King. It both astonished and amused that one of the most famous people in the world was not recognized, and King enjoyed it immensely, taking the opportunity to smoke cigarettes throughout lunch, a regular habit that he usually indulged only in private. Among many other things, we talked about the abiding wisdom of Reinhold Niebuhr and the need to recognize the distinction between the morally imperative and the historically possible, agreeing also on the moral imperative to press the historically possible. It was the last time I saw him.”

—Father Richard John Neuhaus “Faith in the dawn arises from the faith that God is good and just. When one believes this, he knows that the contradictions of life are neither final nor ultimate. He can walk through the dark night with the radiant conviction that all things work together for good for those that love God. Even the most starless midnight may herald the dawn of some great fulfillment.”

—Dr. King, “Knock at Midnight,” in Strength To Love

and there is the quiet reflection of a private person.

The Mountaintop | 5

On the streets,

there were the triumphs of new challenges met, the promise of the Poor People’s Campaign, and the new battles of the 1968 Sanitation Workers’ Strike in Memphis.

“If a man is called to be a street sweeper, he should sweep streets even as Michelangelo painted, or Beethoven composed music, or Shakespeare wrote poetry. He should sweep streets so well that all the hosts of heaven and earth will pause to say, here lived a great street sweeper who did his job well.”

—Dr. Martin Luther King, Jr.

“I was a young guy and I’ve always been one of those people that’s going somewhere else. I want to see it from a different angle. I wanted to see MLK up close and personal so I walked over to the door and just as I walked to the door, this white Cadillac pulls up and he gets out and I open the door for him.

Well this is no big thing because he wasn’t the same person then as he has come to be known, so wasn’t no big event but I opened the door and he thanked me. I never will forget that. I looked back and went, ‘Whoa,’ because I really got to see somebody.

We didn’t hug or kiss but he did say, ‘Thank you young man,’ and he and his people walked up to the podium.

King [said]: ‘We gonna shut this city down’ and then says the magic words to me, ‘Ain’t gonna be no school in Memphis on Friday‘ and I perked up and I look over at God, who’s my daddy, and say, ‘Is that right? You mean to tell me I ain’t got to go to school?’ So I’m signed on. If this man got the power to say I ain’t got to go to school on Friday, I’m going with him. That was how I felt. I was like, ‘I think I just became a fan.’ I pledged that I was gonna do my part. ‘Whatever y’all need, I’m willing to do.’ That was really the jumping off point, not just for me— I think after that, that’s when it really became an issue.”

—Memphis native Aaron Lewis remembers the sanitation strike.

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CENTERSTAGE

T here was this stretch of the highway on the outskirts of Montgomery, which is like motel row—the Ramada Inn, Holiday Inn—a whole row of them. So the rain has finally stopped and all the maids are out there in front with their mops and their carts and their pails and stuff, and they're just looking. And they're looking, and right behind them are their managers. T he maids are all Black, the managers are all white.

And they're looking at us, and they look at their manager, and they look at us, and they look at their manager, and they look at us, and some of them, they drop their mops and join the march.

—Interview with a civil rights activist

But behind closed doors,

there were also moments of quiet doubt, of exhaustion—or of laughter.

XERNONA CLAYTON : I was home this particular day, January 15. They were at the church planning a, a march and they called me and said, “You know, we’re concerned about Doc,…we haven’t seen his laughter in a long time and we need to see that old spark again, and we think you can help us get that spark back. So will you come over to the church and we’re going to celebrate his birthday. We’re going to take a break around four or five o’clock and we’re going to celebrate and give him a little surprise.”…Usually the staff would give him a suit for his birthday and this time, Andrew Young and Abernathy and Jesse Jackson and the people around him said, “Let’s don’t give him a suit, let’s give him some laughter. Let’s make him laugh.” And so that was my assignment to come over and make him laugh.

JUANITA ABERNATHY: Well, that evening we were supposed

to go out to dinner and, um, he called and said to me... “Juan, I don’t want to go out to dinner. Um, I want to come to your house.

If I get some fish, Ralph and I bring the fish, would you cook it?”

I said, “Yes.” So they came over with the fish and, um, we cooked fish and the news was on and Martin was very sensitive about violence. And I had never seen him with the kind of spirit he had that night. He was just sad. He looked like he was burdened down.

And we tried to make small talk, light talk. But every time we would lift the conversation to something lighter you could see him just sink. He was more distraught that night than I have ever seen him in my life….

ANDREW YOUNG : He was exhausted, he had a slight fever. …

When I came in the room he said, “Where have you been?” And he threw a pillow at me. And I was trying to tell him, you know, that I’d been in court all day. And he said, “Don’t you know you can’t stay in court? You supposed to report to me. You supposed to let me know what’s going on. I’ve been worried all day long.” And he kept throwing pillows at us so I started throwing ’em back at him. And the next thing you know they had all jumped on me and, and put me down between these two beds and piled the pillows on top of me and it was, you know, it was just childish play.

CHARLEY COBB : The eyes were tired. I’ll stop short of saying “defeated.” He was smoking and, and he looked something short of disheveled. Looking at him, there’s a sense of…being alone.

Not, or at least being uncertain as to who your allies are.

—Above recollections from the PBS documentary, Citizen King

The Mountaintop | 7

ThE MouNTAiNTop

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Biog r aphies The Cast

Shawn Hamilton*— Dr. Martin Luther King, Jr.

CENTERSTAGE: debut.

National Tour—Little House on the Prairie The Musical.

Regional—Guthrie Theater: Appomattox, Little House on the Prairie The Musical, Pericles, Twelfth Night, Othello, Hamlet, His Girl Friday, The Skin of Our Teeth, The Tempest, The Illusion, Troilus and Cressida, Gross Indecency, Many Colors Make the Thunder King, Marat/Sade, Mother Courage, A Midsummer Night’s Dream; California Shakespeare Theater: Pericles, Titus Andronicus; Yale Repertory Theater: Troilus and Cressida, Hamletmachine, Pill Hill; Trinity Rep: The Illusion; Dallas Theatre Center: The Ups and Down Of Theophilus Maitland, All the King’s Men; Penumbra Theatre: Black Nativity, Seven Guitars, Blue, Stage Directions, Get Ready; Children’s Theater: The Beggar’s Strike, Antigone, Lost Boys of The Sudan.

Film—Jingle All the Way, Blue Steel.

Education/Training—University of North Texas, Circle in the Square, Yale School Of Drama.

Myxolydia Tyler*— Camae. CENTERSTAGE:

debut. Off Broadway— The Signature: A Season To Unravel (Narrator).

National Tour—Seattle Children’s Theatre and American Girl Inc.: Addy: An American Girl Story (Addy).

International Tour—German Theatre Abroad: Start- Up (Liz). Regional—Arkansas Rep: A Raisin in the Sun (Beneatha); The Acting Co./ Guthrie Theatre: Romeo and Juliet (Rosaline/Peter); Syracuse Stage: Commission of self-written play Dreamprints: A Conversation with Harriet Tubman (Harriet Tubman); Trinity Rep: The Winter’s Tale (Hermione), A Christmas Carol (Belle/Lucy). Education/Training— MFA, Brown/Trinity program. Thank you, Glenn.

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*Member of Actors’ Equity Association

The Mountaintop | 9

Biog r aphies The Artistic Team

Katori Hall—Playwright—is a playwright and performer from Memphis, Tennessee. Her award-winning play Hoodoo Love premiered at Cherry Lane Theatre, was developed under Lynn Nottage as part of the theatre’s 2006 Mentor Project, and received three AUDELCO nominations.

Plays—Remembrance, Hurt Village, Saturday Night/Sunday Morning, The Mountaintop, On the Chitlin’ Circuit, and Freedom Train (KCACTF 10-minute play national finalist).

Her work has been developed and presented at: ART, Kennedy Center, Cherry Lane, Classical Theatre of Harlem, Schomburg Center, BRICLab, Women’s Project, World Financial Center, Lark Play Development Center, New Professional Theatre, The O’Neill, Juilliard School, Stanford University, and Columbia University. Awards— Lecompte du Nouy Prize, North Manhattan Arts Alliance Fellowship, New York State Council on the Arts Commission Grant, New Professional Theatre’s Writers’ Festival award, Fellowship of Southern Writers Bryan Family Award in Drama, New York Foundation of the Arts Fellowship in Playwriting and Screenwriting, Royal Court Theatre Residency, and the Lorraine Hansberry Playwriting Award. She has also been a Kennedy Center Playwriting Fellow.

Actor—Law & Order: SVU; The President’s Puppets (The Public); Growing Up a Slave and Incident in the Life of a Slave Girl (American Place); Amerika (world premiere, Theatre de la Jeune Lune/ART); Spring Awakening (Moscow Art Theatre School); Ain’t Supposed to Die a Natural Death (Classical Theatre of Harlem); Schooled (WOW Café); and Black Girl (Sande Shurin). Journalist— The Boston Globe, Essence, Newsweek, The Commercial Appeal. Education—Columbia University, African-American Studies and Creative Writing; ART Institute for Advanced Theatre Training at Harvard University, MFA in Acting; currently in Juilliard School’s Lila Acheson Wallace American Playwrights Program. She is a proud member of the Women’s Project Playwrights’ Lab, the Lark Playwrights’ Workshop, and the Dramatists Guild. www.katorihall.com

Kwame Kwei-Armah—Director.

See page 15.

Neil Patel—Scenic Designer.

CENTERSTAGE: The Whipping Man, American Buffalo, Working it Out, Joe Turner’s Come and Gone, Once on This Island, Elmina’s Kitchen, Ain’t Misbehavin’, The Hostage, As You Like It, many others. Broadway— Oleanna; Wonderland; [title of show]; Ring of Fire; ’night, Mother; Sideman (also West End & Kennedy Center). Off Broadway— Signature Theatre: My Children! My Africa!; Second Stage: By the way, Meet Vera Stark, Gruesome Playground Injuries, Peter & Jerry, Living Out; Roundabout: McReele, Hurrah at Last; Vineyard: Now.Here.This., The Long Christmas Ride Home; MTC: 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: Lobster Alice, On the Mountain; Public/NYSF: Dirty Tricks, Othello. Regional— includes Guthrie, Steppenwolf, La Jolla, McCarter, Alley, Long Wharf, Mark Taper.

Opera—Chicago Lyric Opera: Anna Bolena; Houston Grand Opera: Mary Stuart, NYCO: Alcina; Santa Fe: Carmen, Salome, Madame Mao; Minnesota: Madame Butterfly; St. Louis: Cavalleria Rusticana, Suor Angelica, Gloriana; Nikikai: Le Nozze di Figaro, Don Giovanni; FGO: Anna Karenina. Television— In Treatment (HBO). Awards—Obie Award (2), Helen Hayes Award, Eddy Award, Hewes nom (5), Drama Desk nom (3).

David Burdick— Costume Designer.

CENTERSTAGE: …Edgar Allan Poe; 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 The Mountaintop | 11

Biog r aphies

The Artistic Team [cont] Seville, Carmen, Fidelio. Dance—BAM: FLY: Five First Ladies of Dance; Dayton Contemporary: Lyric Fire (world premiere, dir./choreographer Dianne McIntyre).

Miscellaneous—Baltimore Symphony Orchestra: Holiday Spectacular.

Scott Zielinski—Lighting Designer.

CENTERSTAGE: Intimate Apparel, Fall.

Broadway—Topdog/Underdog. New York—Atlantic Theater, Classic Stage Company, Public Theater, Lincoln Center Festival, Manhattan Theatre Club, New York Theatre Workshop, Playwrights Horizons, Signature Theatre, Theatre for a New Audience, others. International— Productions in Adelaide, Amsterdam, Avignon, Berlin, Bregenz, Edinburgh, Fukuoka, Gennevilliers, Hamburg, Hong Kong, Istanbul, Linz, London, Lyon, Melbourne, Orleans, Oslo, Ottawa, Paris, Reykjavik, Rotterdam, Rouen, St. Gallen, Singapore, Stockholm, Stuttgart, Tokyo, Toronto, Vienna, Vilnius, Zurich, others.

Regional—Most theaters throughout the U.S. Dance—American Ballet Theatre, American Dance Festival, Houston Ballet, Joyce, San Francisco Ballet, Stuttgart Ballet, others. Opera—Brooklyn Academy of Music, Canadian Opera, English National Opera, Houston Grand Opera, Lithuanian National Opera, Nederlandse Opera, New York City Opera, Opera de Rouen, Royal Opera House London, San Francisco Opera, Spoleto Festival, others. scottzielinski.com

Victoria (Toy) DeIorio— Original Music & Sound Designer.

CENTERSTAGE: Working It Out. Off Broadway—Joe’s Pub at the Public Theater: Cassie’s Chimera; Steppenwolf at The Duke: The Bluest Eye; NYMTF: Arnie the Doughnut; NYC Fringe Festival at The Connelly: Ophelia. National Tour—LA Theatre Works: Private Lives.

Regional—Oregon Shakespeare; The Goodman Theatre; Steppenwolf Theatre; Victory Gardens Theater; Syracuse Stage, Cleveland Playhouse; Maltz Jupiter; Delaware Theatre Company; Chautauqua Theater Company; Indiana Repertory; 12 |

CENTERSTAGE

Milwaukee Shakespeare; Northlight Theatre; Writers’ Theatre; Peninsula Players; and many other theaters in and around Chicago, NY, and LA. Awards—Nominated for 10 and winning six Joseph Jefferson Awards, and two After Dark Awards. Professional—Head of Sound Design for The Theatre School at DePaul University in Chicago.

for New Georges at 3LD and Big Art Group's Dead Set II & III. Alex is a founding member of Imaginary Media, a design studio for media in theater. www.imaginarymediadesigns.com

Captain Kate Murphy*—Stage Manager. CENTERSTAGE: Resident Stage Manager; Stage Manager for …Edgar

Kate Freer, IMA—Projections Designer. Allan Poe, A Skull in Connemara, American

CENTERSTAGE: debut. Off Broadway and other New York—La Mama: Cry for Peace, Voices from the Congo (Undesirable Element Festival); New World Stages: Bullet for Adolph; HERE Arts Center: Chimera (Under the Radar 2012); 3LD: Václav Havel's Hunt For the Pig (Ice Factory Festival 2011); National Black Theater: Seed. Regional — Syracuse Stage: The Clean House; Oregon Ballet Theater: Holiday Review. Katherine's installation work has been exhibited at the National Building Museum, The Hammond Museum, 3LD, Front Room Gallery, and the World Wide Words Festival (Denmark).

Current productions in development include Healing Wars (dir. Liz Lerman) to premiere at Arena Stage in Spring of 2014 and Love Machine (dir. Andrew Scoville) to premiere at Incubator in May of 2013. Kate is a founding member of Imaginary Media Artists, a design studio for media in theater. www.imaginarymediadesigns.com

Alex Koch—Projections Designer.

CENTERSTAGE: An Enemy of the People, ReEntry (also Round House, Actors Theater of Louisville). Broadway—Walter Kerr: Irena’s Vow. Off Broadway and other New York—Waterwell: Goodbar (Under the Radar 2012); TerraNOVA Collective: Feeder; Repertorio Espanol: En el Tiempo de las Mariposas, La Casa de los Espiritus; Urban Stages: ReEntry, The Oxford Roof Climber's Rebellion; Ensemble Studio Theatre: Lenin's Embalmers. International—Mori Theater, Chile: La Casa de los Espiritus. Regional— Court Theatre in Chicago: The Invisible Man (also Studio Theater in Washington, DC); Director's Company, Theater MITU, Electric Pear, Shalimar, SummerStage, Little Opera Theater, The New Ensemble.

Other professional—Technical design

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: 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 70 productions through 12 summer stock seasons. Film/ TV—Route 30, Route 30 Too!, Next Food Network Star. Proud Actors Equity and ASCAP Member.

1415 Aliceanna St, baltimore, MD 21202 410-522-5511 Take a trip down Arthur Avenue, the main culinary thoroughfare of the Bronx, this season and enjoy a hand-crafted cocktail, a slice of coalfired pizza, or homemade Italian American specialties reminiscent of the timeless days of the Bronx.

Laura Smith*—Assistant Stage Manager. CENTERSTAGE: Resident Stage

Manager; Stage Manager: Bus Stop, An Enemy of the People; The Whipping Man, Gleam; The Rivals; Snow Falling on Cedars; Cyrano; Working it Out; Fabulation or, The Re-Education of Undine; Who’s Afraid of Virginia Woolf?; Joe Turner’s Come and Gone. Regional—Everyman: Pygmalion, Shipwrecked, The Exonerated, Rabbit Hole, Doubt, Gem of the Ocean, And a Nightingale Sang, The School for Scandal, A Number, Someone Who’ll Watch Over Me, Yellowman; Woolly Mammoth: Gruesome Playground Injuries, House of Gold, The Unmentionables, Vigils, After Ashley; Folger: Measure for Measure, The Comedy of Errors (ASM); Olney Theatre: Stuff Happens; Theater Alliance: Headsman’s Holiday, Pangea, [sic]; Catalyst: Cloud 9; Longacre Lea: Man with Bags.

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Mention CENTERSTAGE when booking your appointment.

Maureen (240-676-2837) & Tracey (301-437-9388) mobilemomsphoto@live.com Mobilemomsphoto.com The Mountaintop | 13

Biog r aphies

A l er t !

The Artistic Team [cont] Gavin Witt—Production Dramaturg.

See page 15.

Pat McCorkle— Casting Director.

Preview: Feb 6–9, 2013 • Bidding: Feb 10–25, 2013 www.centerstage.org/auction

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CENTERSTAGE

CENTERSTAGE: Gleam. Pat McCorkle (C.S.A.) and associate, Joe Lopick, cast the critically acclaimed Tribes and Our Town for Barrrow Street Theatre in New York. Memorable Broadway casts include End of the Rainbow, The Lieutenant Of Inishmore, The Glass Menagerie, Cat On A Hot Tin Roof, One Flew Over The cuckoo’s Nest, The Ride Down Mt. Morgan, Amadeus, She Loves Me, Blood Brothers, A Few Good Men, among many others.

Notable Off-Broadway projects include Almost Maine, Ears on a Beatle, Down the Garden Paths, Killer Joe, Mrs. Klein, Driving Miss Daisy. A partial list of feature film projects include Premium Rush, Ghost Town, Secret Window, Basic, Tony and Tina’s Wedding, The Thomas Crown Affair, The 13th Warrior, Madeline, Die Hard with a Vengeance, School Ties, etc. and for television, humans for Sesame Street, Californication (Emmy nomination), Hack, Strangers with Candy, Barbershop, Chapelle’s Show, among several others. *Member of Actors’ Equity Association

Biog r aphies The Staff

Artistic Director Kwame Kwei-Armah OBE,

Endowment for the Arts, American Arts Alliance, League of Resident Theatres, and the Theatre Communications Group. twitter: @sjrcenterstage

an award-winning British playwright, director, actor, and broadcaster, is in his Associate Artistic second season as Artistic Director/Director of Director. At CENTERSTAGE he has directed Dramaturgy Gavin An Enemy of the People, last season’s The Witt came to CENTERSTAGE Whipping Man (one of City Paper’s Top in 2003 as Resident Ten Productions of 2012) for which he was Dramaturg, having served in named Best Director, and previously Naomi that role previously at several Chicago Wallace’s Things of Dry Hours. Among his theaters. As a dramaturg, he has worked on works as playwright are Elmina’s Kitchen well over 60 plays, from classics to new and Let There Be Love—which had their commissions—including play development American debuts at CENTERSTAGE—as workshops and freelance dramaturgy for well as A Bitter Herb, Statement of Regret, TCG, The Playwrights Center, The New and Seize the Day. His latest play, Beneatha’s Harmony Project, The Old Globe, Bay Area Place, will debut this season as part of Playwrights Festival, CATF, The Kennedy The Raisin Cycle. Kwame has served on Center, and others. A graduate of Yale and the boards of The National Theatre and the University of Chicago, he was active The Tricycle Theatre, both in London. in Chicago theater for more than a decade He served as Artistic Director for the as an actor, director, dramaturg, translator, World Arts Festival in Senegal, a monthand teacher, not to mention co-founder of long World Festival of Black Arts and greasy joan & co. theater, while serving Culture, which featured more than two as a regional Vice President of LMDA, the thousand artists from 52 countries national association of dramaturgs. He participating in 16 different arts disciplines. has been on the faculty of the University He serves as the Chancellor of the University of Chicago and DePaul University, and of the Arts London, and in 2012 was named locally at Towson University. as an Officer of the Most Excellent Order of the British Empire.

Without craftsmanship, inspiration is a mere reed shaken in the wind.

Hear the Peabody Symphony Orchestra perform Brahms’ Symphony No. 4 in E minor with guest conductor Leon Fleisher on Tuesday, Feb. 26, at 8:00 pm in Miriam A. Friedberg Hall To purchase tickets, call the Peabody Box Office at 410-234-4800 Visit www.peabody.jhu.edu/events for Audio Program Notes and the complete 2012-2013 Peabody Concert Calendar

AUDIO PROGRAM

Managing Director Stephen Richard,

a leader on the national arts scene for more than 30 years, joined CENTERSTAGE in January 2012. Stephen comes most recently from a position as Vice President, External Relations, for the new National Children’s Museum. Previously, he served 18 years as Executive Director of Arena Stage, where he planned and managed the theater’s $125 million capital campaign for the Mead Center for American Theater. Also a professor of Arts Management at Georgetown University, he has served on the boards and committees of some of the nation’s most prestigious arts organizations, including the National

A place where Edgar Allan Poe and Baltimore are celebrated on a daily basis.

Reservations suggested 601 South Clinton Street Baltimore, MD 21224 410.522.2929 www.annabelleetavern.com

The Mountaintop | 15

for making an impact.

Inspiring. Thought Provoking. PNC is proud to sponsor CENTERSTAGE. Because we appreciate all that goes into your work.

pnc.com

Š2012 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

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CENTERSTAGE

Focu s

Welcome to the Civic Conversation…

By Sean Beatie, Grants Manager

E

mbracing our designation as the State Theater of Maryland, CENTERSTAGE proudly represents one of the strongest statewide arts and cultural sectors in the country. As we celebrate a half-century of world-class theater in Baltimore, and begin to imagine the next five decades, our raison d'être remains all about the art. Even so, the theater’s leading role in the development of the state’s creative economy also inspires pride—and optimism for the future.

As Maryland Department of Business and Economic Development’s (DBED) data consistently reveals, strategic, longterm public investment in creative industries produces substantial fiscal returns. Here’s the “elevator speech” summary of DBED’s latest figures: Maryland’s nonprofit arts sector has a $1 billion impact on the state’s economy and supports more than 11,000 jobs. (www.msac.org/economicimpact) Throughout our history, CENTERSTAGE’s capacity to help fuel this powerful economic growth has continued to expand thanks to the visionary participation of local, state, and federal sources.

The scope of our governmental partnerships extends beyond traditional grant funding and fiscal outcomes. In cooperation with public agencies, CENTERSTAGE frequently provides civic engagement opportunities for our audiences. Just a few recent examples: »» Last spring, in conjunction with our production of The Whipping Man, a Maryland Humanities Councilsponsored grant project gathered academic and faith leaders from African American and Jewish communities to guide audiences’ explorations of the play. »» To launch our 50th Anniversary Season in September, CENTERSTAGE worked with Baltimore Office of Promotion and the Arts to produce 50 Fest as part of the Baltimore Book Festival, offering a full weekend of free theater and music performances on indoor and outdoor stages, showcasing a long list of local talent. »» CENTERSTAGE and Enoch Pratt Free Library teamed up to participate in the National Endowment for the Arts’ (NEA) flagship literary initiative, The Big Read. The project encouraged Baltimore readers to explore the work of local icon Edgar Allan Poe. The NEA grant also provided over a thousand free copies of Poe’s collected works to participants, along with comprehensive study guides and classroom learning resources for hundreds of teachers and students. »» This season’s upcoming Raisin Cycle has received an NEA “Art Works” grant that will bring together academic experts and other leaders to help audiences wrestle with Hansberry’s legacy through the voices of celebrated playwrights Kwame Kwei-Armah and Bruce Norris.

We often hear from audiences how important CENTERSTAGE’s work is to them personally, and to the health and vibrancy of our communities. Sharing that message directly with elected officials can have tremendous impact. Visit www.mdarts.org and www.artsusa.org to learn how you can help. ö

Kevin Morrow, Johnny Ramey, and Michael Micalizzi. Photo by Richard Anderson.

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CENTERSTAGE

co nversat io n s

with Kwame and Stephen An Enemy of the People Kwame Kwei-Armah • I’m very proud of Enemy. I set out this season to start conversation and I certainly did that. I was very pleased with it being programmed where it was, with the run up to the election. The audience enjoyed hearing the debates between Kennedy and Nixon at the beginning, and hearing the similarities between the debates that were happening around them. I was also pleased because I stretched myself: ambitiously, in terms of trying to update this classic, and in trying to include multi-media in a way that I hadn’t done before.

Stephen Richard • One of the things that is interesting is that by the time it was midrun, it was really a spectacular show. We didn’t have quite enough rehearsal time to be at that point earlier in the run. So as we look at the future, we need to ask ourselves what other kinds of resources we need to be sure we are as far as it’s going to go from day one.

KKA • I think that’s absolutely right. To be candid, one of the things you want is for it to hit home the moment the audience is in. And it didn’t. That means that the people who saw it the first two weeks are going, “Hrmmm,” and the people who saw it the second two weeks are going, “Yeah!”

And all I can hear in my ears are the people going “Hrmmm,” which is relatively painful.

SR • But then the Washington Post review compared it very favorably against the highly touted, very expensive, very starred up New York production.

KKA • That, at the end of the day, made one feel really good about it.

Our leaders’ reflections on the 2012–13 Season thus far and what is still to come.

The Completely Fictional—Utterly True— Final Strange Tale of Edgar Allan Poe KKA • Poe was interesting, because as an AD, particularly in your first season, you want hit after hit after hit. Poe was one that was a hit in some corners and a damn big miss in others, splitting the audience right down the center. How do I feel about it? I think that the play could have been 10 minutes shorter and we would have avoided some of the criticism that we got for it. But it did fantastically in terms of audience numbers. I feel that when we do new plays, that we have to be ready for them to be hits or misses. But the actual reward is that we are doing new plays.

SR • One of the things that was wonderful was how many students saw it. It probably had as many students as have seen anything here. And students got it and loved it. The show didn’t have much of a clear structure and for a lot of folks, that’s a challenge. But for 13-year-olds and 18-year-olds, they just ate it up. And it was a great show locally—with a local hero, starring a local star.

Bus Stop KKA • Bus Stop is one of those plays that remains a hit—I fell in love with this play when I first read it. It was really satisfying to have a play that was warming people’s hearts during the onset of winter. I think the production was lovely, and it’s nice to have a hit under ones belt.

SR • I need to give attribution to my wife for this observation—and to David Schweizer who says it in the program notes—but by treating it more like a fairy tale than like a slice of life, it seems to me that it opens this play up and makes it much more compelling than if it were done as a soap opera. I think David did a terrific job.

The Mountaintop KKA • I’m really excited to be directing the work of one of America’s exciting new young playwrights, Katori Hall. I fell in love with it when I saw it in London. It’s a challenging play in that it takes a martyr and it shows another side of his personality in order to say, “He was a man, and if he, just as an ordinary men like all of us, can achieve things and can challenge, so can you.” But it’s more Camea’s play, and I enjoyed the idea of investigating that.

Mud Blue Sky KKA • I’m going to be honest…I’m a bit nervous. Because my first foray into the new play business was Poe, which split our audience in half. It made me a bit nervous about whether I have measured this audience right when it comes to what kind of new plays they will like. But I love this play, and I think that many, particularly women over the age of 40, are going to relate to the characters. Seventy percent of the people who come to the theater are women, and very few of their stories are told.

SR • I agree 100 percent. It’s a woman’s story, from a woman’s point of view, and even a woman’s dramatic style. I think that’s very compelling.

The Raisin Cycle KKA • Clybourne Park will be great.

It has been great, wherever it’s been.

The director [Derrick Sanders] has a wonderful facility for this language, for the gutsiness…I’m really excited for what he’s going to do with Clybourne.

Then we go into Beneatha’s Place, which I think will be an interesting conversation piece. There’s a little pressure…but I’ve enjoyed investigating the conversation between these two plays, and I’m hoping our audience will enjoy that conversation as well. ö

We encourage you to join the conversation!

You can find us on Facebook, Twitter, or just email hjackson@centerstage.org with your questions for Kwame and Stephen. centerstagemd

@centerstage_md The Mountaintop | 19

F Y I Audience Services

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PARKED IN THE GARAGE? We can help!

The Chesapeake Garage diagonally across from the theater at Monument and Calvert has come under new management this season and we want to make sure you completely understand the options available to you.

How do I Pay? 1. At the ticket machine in the garage lobby, first place the parking receipt you received when entering the garage in the designated slot. The machine will hold that receipt until the next step.

2. Place your "payment" in the designated slot. The payment may be a credit card or cash with exact bills. The machine will then return your original receipt as validated, which you can then use as you exit the garage at the gate.

OR 3. If the lobby is crowded and you are using a credit card, you may go directly to your car and pay with your credit card at the machine at the exit gate as you leave the garage. Please note: these machines will not take cash!

Follow the steps above at the exit gate machine to make your payment.

I have a Pre-Paid Voucher, What do I do?

If you pre-paid for parking with your membership and have your yellow Pre-Paid Vouchers, please bypass the machine in the elevator lobby and proceed directly to your car. Enter the parking receipt you received upon entry to the garage followed immediately by the yellow Pre-Paid Voucher.

Remember that you’ll need your parking ticket to exit whether you’ve pre-paid, or are paying at the pay station or at the machine when you exit.

Unfortunately, CENTERSTAGE cannot validate parking, nor are vouchers from previous seasons able to be honored. Pre-paid vouchers are issued by the garage owner/operator and CENTERSTAGE in unable to replace lost or forgotten vouchers.

We apologize for the inconvenience.

O

ffering an eclectic menu in a fun atmosphere for both preand post-show dining. ❖ Mon–Thur til Midnight. ❖ Fri & Sat til 1 am. ❖ Sun til Midnight. ❖ Saturday & Sunday Brunch 10 am–3 pm. ❖ Featuring imported Danish BBQ babyback ribs!

909 North Charles Street 410.685.RIBS www.mvstable.com 20 |

CENTERSTAGE

On-Stage Smoking When a play requires on-stage smoking, we use tobacco-free herbal imitations and do everything possible to minimize the amount of smoke that drifts into the audience.

If you’re smoke-sensitive, be sure to let our Box Office know.

Pre-Show Dining Visit Sascha’s Express, our pre-performance dinner service located just up the lobby stairs in our Mezzanine Café. Featuring delicious prix fixe dining, service begins two hours before each performance.

Accessibility Programs Wheelchair-accessible seating is available for every performance. For patrons who are hearing impaired, we offer assistive listening devices at no charge. An Open Captioned performance is available for one Sunday performance of each Classic Series production for deaf and hearing impaired patrons. Several performances also feature Audio Description, and Braille programs or magnifying glasses are available upon request.

Photography & Recording Prohibited Because of copyright and union regulations, photography or recording of performances— both audio and video—is strictly forbidden.

Be Courteous Please silence your cell phone, pager, or other electronic devices both before the show starts and after intermission. And, while you’re welcome to take beverages with lids to your seat, eating is never allowed inside the theater.

Anything else we can do?

CENTERSTAGE wants every patron to have an enjoyable, stress-free experience. Your feedback and suggestions are always welcomed: info@centerstage.org.

50 th An ni versary

The Fourth Decade: Developing diverse audiences, growing national role, and achieving financial stability

As we move through our landmark anniversary season, we invite you to help us celebrate our past. For videos, audio interviews, and memories of our history, visit www.centerstage.org/anniversary.

1992–20 02 The 1991–92 Season saw the beginning of Irene Lewis’ tenure as Artistic Director and an era of explosive growth for CENTERSTAGE. Recognizing that the audience is the final collaborator, and that a resident theater in Baltimore should respond to and reflect its various communities, Lewis made diversity on stage, in the staff, and in the audience a central institutional priority. An essential part of her mission was to devote a significant and consistent portion of each season to plays dealing with the African American experience.

Works by playwrights such as Lorraine Hansberry, Jerome Hairston, Ntozake Shange, Keith Glover, Marion McClinton, Alice Childress, and August Wilson became a feature in every season.

The corresponding transformation of the theater’s audience was profound, and this diversity has become a standout trademark of CENTERSTAGE among peer institutions.

In 1993, CENTERSTAGE received a $1.4 million grant from the Lila WallaceReader’s Digest Regional Theater Initiative, aimed at increasing the attendance of 14-to-30 year olds. With this funding, CENTERSTAGE created Theater for a New Generation, a program focused on making theater an extraordinary event for the imagination and a regular occurrence in the lives of young Baltimoreans.

CENTERSTAGE continued its dedication to developing new works, from staged readings and workshops to commissions by new playwrights and world premiere productions, like Marion McClinton’s Police Boys and Paula Vogel’s The Baltimore Waltz. CENTERSTAGE’s own James Magruder, Resident Dramaturg from 1993–99, translated Marivaux’s The Triumph of Love for the 1993–94

Season, and later wrote the book for the musical version that premiered in the 1996–97 Season—which went on to Broadway later that year, where it was nominated for a Best New Musical Tony Award.

Strong contributed support—the loyal investment of many individual, foundation, and government partners— has played a vital role in this growth since CENTERSTAGE’s beginning. Benefactors are too numerous to list, but a few names will be especially familiar to audiences from the unique spaces dedicated in their honor: The Pearlstone and Head Theaters, Meyerhoff Mezzanine, Deering Lobby, Andrus Rehearsal Hall, Betsy’s Bar, and The Nancy Roche Chapel Bar. Two extraordinary leaders behind CENTERSTAGE’s success are Baltimore patrons of the arts and nationally recognized arts advocates, former CENTERSTAGE trustee, Nancy Roche, and former CENTERSTAGE Managing Director, Peter Culman. Roche served as a CENTERSTAGE trustee for nearly 20 years, as Board President for seven years, and even stepped in as Interim Managing Director. Peter Culman served as Managing Director of CENTERSTAGE for 32 years, and presided over the development of the Calvert Street location, oversaw building expansions, and helped to lead a successful $13 million capital campaign.

In the 2009 at the TCG Conference held in Baltimore, Culman chaired the Conference Honorary Committee, where he was recognized for a lifetime of passionately supporting the arts.

Top to bottom: Irene Lewis; Jefferson Mays, Kristine Nielsen, and Jarleth Conroy in The Triumph of Love (1993–94). Photos by Richard Anderson.

The leadership and commitment of these individuals and scores of other contributors helped CENTERSTAGE to achieve financial stability throughout the 1990s and into the 21st Century.

Visit www.centerstage.org/anniversary for a more in-depth look at our history— and keep an eye on the programs throughout the season as we chronicle each era of CENTERSTAGE’s growth in the Baltimore community.

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1700 Edmonsdson Ave, Ist Floor Baltimore, Maryland 21223 blacktiecaterers@aol.com www.blacktiecaterers.com

Pr e v ie w: Mud Blue Sky

By Marisa Wegrzyn • Directed by Susanna Gellert • Mar 6–Apr 14, 2013

By Kellie Mecleary, Dramaturgy Senior Fellow

Three flight attendants and a teenager on his prom night meet in a hotel room. Over the course of the night, what began as a brief transaction evolves into something much deeper.

Beth, in Chicago overnight on layover, just wants to rest her aching back, but her co-worker Sam won’t allow it. When Sam knocks on Beth’s hotel room door with a bottle of cognac and an old mutual friend, Angie, they discover they aren’t the only visitors: Beth has been joined by Jonathan, a teen in a tux who showed up straight from his senior prom. Once introductions are made, the unlikely group settles in for an evening of wry wit, revealing encounters, and surprising connections.

Still, there is one similarity that connects this piece to Wegrzyn’s earlier plays: its wit. Wegrzyn’s humor is reminiscent of the best of Indie Rom-coms, tonally comparable to films like Little Miss Sunshine, Juno, and the breakout HBO hit, Girls. It explores the everyday with snappy language and a refreshingly contemporary sensibility. Through this style, Wegrzyn explores the lives of three women sitting not so comfortably in middle age, at a moment when job security is dissolving before their eyes. It’s rare that working women, much less middle-aged working women, are the focal point in mainstream theaters: when featured, their stories often revolve primarily around the men in their lives. In Mud, we see what these women on their own, when they aren’t performing for anyone.

ANGIE: I should have done something.

BETH: You did do something.

ANGIE: What?

BETH: You were the person who was there.

This will be CENTERSTAGE’s second encounter with a Marisa Wegrzyn play: her piece Killing Women was presented as a part of our First Look series in 2005. Mud Blue Sky, more overtly than her past work, is directly connected to the playwright’s personal history: Wegryzn grew up around Chicago, and her mother was a flight attendant. All the more fitting that Mud had its first reading as a part of Steppenwolf’s First Look Series.

Though young, Ms. Wegrzyn has had an impressive career so far. She has been produced at Second Stage in New York City and Actors Theatre of Louisville’s Humana Festival, among other theaters. Mud Blue Sky is a bit of departure for the playwright— while her past works fiddled with farce and the macabre, Mud takes a more naturalistic approach.

The opportunity to feature these kinds of stories and perspectives fuels our commitment to developing new work for the theater.

The inclusion of Mud Blue Sky in our season continues our commitment to presenting new works that respond to the world we live in. We are thrilled to include Mud Blue Sky in our endeavor to cultivate new voices and contribute new stories to the local, national, and international field. We hope you will join us on this next venture into the strange, funny, breathtaking moments that make up our everyday lives. Œ

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S u ppo rt in g the Annual Fund @ CENTERSTAGE July 1, 2011– December 4, 2012

The following list includes gifts of $250 or more—individual, corporate,

foundation, and government contributions—made to the CENTERSTAGE Annual Fund between July 1, 2011 and December 4, 2012. Although space limitations

make it impossible for us to list everyone who helps fund our artistic, education, and community programs, we are enormously grateful to each person who contributes to CENTERSTAGE.

We couldn’t do it without you!

50 th Anniversary Season Presenting Sponsor

Corporate Sponsors

Media Partners

Season Sponsors

Ellen and Ed Bernard Stephanie and Ashton Carter James and Janet Clauson Lynn and Tony Deering and The Charlesmead Foundation Jane and Larry Droppa Terry H. Morgenthaler and Patrick Kerins Judy and Scott Phares Phil and Lynn Rauch Jay and Sharon Smith Barbara Voss and Charles E. Noell, III

T. Rowe Price Foundation

Associate Season Sponsors Kathleen Hyle

Kenneth C. and Elizabeth M. Lundeen

INDIVIDUALS & FOUNDATIONS The CENTERSTAGE Society represents donors who, with their annual contributions of $2,500 or more, provide special opportunities for our artists and audiences. Society members are actively involved through special events, theater-related travel, and behind-the-scenes conversations with theater artists.

Artists Circle ($25,000+)

The William L. and Victorine Q. Adams Foundation and The Rodgers Family Fund The Miriam and Jay Wurtz Andrus Trust Ellen and Ed Bernard Stephanie and Ashton Carter The Annie E. Casey Foundation The Charlesmead Foundation James and Janet Clauson Lynn and Tony Deering Edgerton Foundation New American Play Awards Kathleen Hyle Kenneth C. and Elizabeth M. Lundeen Marilyn Meyerhoff Terry H. Morgenthaler and Patrick Kerins Judy and Scott Phares Mr. and Mrs. Philip Rauch George Roche Mr. and Mrs. George M. Sherman The Shubert Foundation, Inc. Mr. and Mrs. Robert W. Smith, Jr. Harold and Mimi Steinberg Charitable Trust Ms. Barbara Voss and Charles E. Noell, III

Producers Circle ($10,000–$24,999)

Peter and Millicent Bain The William G. Baker, Jr. Memorial Fund Penny Bank The Jacob and Hilda Blaustein Foundation, Inc.

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CENTERSTAGE

The Bunting Family Foundation Mr. and Mrs. George L. Bunting The Helen P. Denit Charitable Trust Ms. Nancy Dorman and Mr. Stanley Mazaroff Mr. and Mrs. Larry D. Droppa John Gerdy and E. Follin Smith The Goldsmith Family Foundation The Laverna Hahn Charitable Trust Martha Head J.I. Foundation Mr. and Mrs. E. Robert Kent, Jr. Mr. and Mrs. Samuel G. Macfarlane Mr. and Mrs. J. William Murray Mr. Louis B. Thalheimer and Ms. Juliet A. Eurich Ms. Katherine L. Vaughns

Playwrights Circle ($5,000–$9,999)

Anonymous Ms. Katharine C. Blakeslee Henry and Ruth Blaustein Rosenberg Foundation James T. and Francine G. Brady Sylvia and Eddie Brown The Nathan & Suzanne Cohen Foundation The Cordish Family The Jane and Worth B. Daniels, Jr. Fund of the Baltimore Community Foundation Brian and Denise Eakes Fascitelli Family Foundation Dr. and Mrs. Neil D. Goldberg

Donald and Sybil Hebb Mr. and Mrs. Martin Hill Murray and Joan Kappelman Francie and John Keenan Kwame and Michelle Kwei-Armah The John J. Leidy Foundation, Inc. The Macht Philanthropic Fund Robert E. Meyerhoff and Rheda Becker John and Susan Nehra Stephen Richard and Mame Hunt The Jim & Patty Rouse Charitable Foundation Dr. Edgar and Betty Sweren, in honor of Kwame Kwei-Armah and his OBE award recognition Mr. and Mrs. J.W. Thompson Webb Ms. Linda Woolf

directors Circle ($2,500–$4,999)

Anonymous The Lois and Irving Blum Foundation, Inc. Drs. Joanna and Harry Brandt Mary Catherine Bunting August and Melissa Chiasera The Mary & Dan Dent Fund of the Baltimore Community Foundation Mr. and Mrs. Walter B. Doggett, III Mr. and Mrs. Michael Falcone Dick and Maria Gamper Ms. Suzan Garabedian The Harry L. Gladding Foundation/ Winnie and Neal Borden Goldseker Foundation/Ana Goldseker

Fredye and Adam Gross Robert and Cheryl Guth F. Barton Harvey, III and Janet Marie Smith, in honor of Peter Culman The Hecht-Levi Foundation, Inc. Dr. and Mrs. J. Woodford Howard The Harley W. Howell Charitable Foundation Ms. Sherrilyn A. Ifill Mr. and Mrs. Stephen Immelt Jonna and Fred Lazarus Mrs. Diane Markman Linda and John McCleary Mr. and Mrs. John L. Messmore Jim and Mary Miller Jeannie Murphy The Israel & Mollie Myers Foundation Dr. and Mrs. Lawrence C. Pakula Marjorie Rodgers Cheshire and Mark Cheshire Monica and Arnold Sagner Scot T. Spencer Mr. Michael Styer Mr. and Mrs. Donald and Mariana Thoms Trexler Foundation, Inc. - Jeff Abarbanel and David Goldner Kathryn and Mark Vaselkiv Mr. and Mrs. Loren and Judy Western Scott and Mary Wieler Ted and Mary Jo Wiese Cheryl Hudgins Williams and Alonza Williams Sydney and Ron Wilner

INDIVIDUALS & FOUNDATIONS Associates

($1,000–$2,499) Anonymous Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation Ms. Taunya Banks Donald Bartling Mr. and Mrs. Marc Blum John and Carolyn Boitnott Jan Boyce Dr. and Mrs. Donald D. Brown Sandra and Thomas Brushart Maureen and Kevin Byrnes Meredith and Joseph Callanan The Campbell Foundation, Inc. Caplan Family Foundation, Inc. Sally and Jerry Casey John Chester Ann K. Clapp Dr. Joan Develin Coley and Mr. Lee Rice Constantinides Family Foundation Ms. Gwen Davidson Robert and Janice Davis The Richard & Rosalee C. Davison Foundation Mr. James H. DeGraffenreidt, Jr. and Dr. Mychelle Y. Farmer Albert F. DeLoskey and Lawrie Deering Rosetta and Matt DeVito Mr. Jed Dietz and Dr. Julia McMillan Mr. and Mrs. Eric Dott Ms. Lynne Durbin and JohnFrancis Mergen Jack and Nancy Dwyer Patricia Yevics-Eisenberg and Stewart Eisenberg Buddy and Sue Emerson, in appreciation of Ken and Elizabeth Lundeen Mr. and Mrs. Matthew Freedman Frank and Jane Gabor Jose and Ginger Galvez Jonathan and Pamela Genn, in honor of Cindi Monahan and Beth Falcone Ms. Sandra Levi Gerstung Janet and John Gilbert Annie Groeber, in memory of Dr. John E. Adams Stuart and Linda Grossman Bill and Scootsie Hatter Sandra and Thomas Hess Drs. Dahlia Hirsch and Barry Wohl, in honor of Carole Goldberg Mr. and Mrs. Leonard Homer Mr. and Mrs. James Hormuth The A. C. and Penney Hubbard Foundation Mr. and Mrs. Theodore Imes Joseph J. Jaffa Mr. and Mrs. Mark Joseph Francine and Allan Krumholz H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation Mr. and Mrs. Mark and Sandra Laken Joseph M. and Judy K. Langmead Dr. and Mrs. George Lentz, Jr. Marty Lidston and Jill Leukhardt Mr. and Mrs. Earl & Darielle Linehan/Linehan Family Foundation Maryland Charity Campaign Michelle McKenna-Doyle Joseph and Jane Meyer Tom and Cindi Monahan

Ms. Stacey Morrison and Mr. Brian Morales Mr. and Mrs. Lee Ogburn Ms. Jo-Ann Mayer Orlinsky Mr. and Mrs. Stanley Panitz Fund of the Baltimore Community Foundation, in honor of Peter Culman Ms. Beth Perlman Ronald and Carol Reckling Ms. Kathleen C. Ridder, in honor of Peter Culman The James and Gail Riepe Family Foundation Nathan and Michelle Robertson Dr. David A. Robinson Mr. Grant Roch The Rollins-Luetkemeyer Foundation Mr. and Mrs. Todd Schubert Mrs. Gail Schulhoff Charles and Leslie Schwabe The Tim and Barbara Schweizer Foundation, Inc. Bayinnah Shabazz, M.D. The Ida & Joseph Shapiro Foundation Barbara and Sig Shapiro The Earle & Annette Shawe Family Foundation Dr. Barbara Shelton Dana and Matthew Slater Mr. and Mrs. Robert N. Smelkinson Mr. and Mrs. Scott Smith Judith R. and Turner B. Smith Scott and Mimi Somerville Mr. Gilbert H. Stewart and Ms. Joyce Ulrich Dr. and Mrs. John Strahan Susan and Brian Sullam Mr. and Mrs. Ronald W. Taylor Sanford and Karen Teplitzky John A. Ulatowski Carolyn and Robert Wallace Nanny and Jack Warren, in honor of Lynn Deering Janna P. Wehrle Ann Wolfe and Dick Mead John W. Wood Dr. Laurie S. Zabin Mr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler Drs. Nadia and Elias Zerhouni Ziger/Snead Architects Mr. E. Zuspan

Colleagues

($500–$999) Anonymous Lindsay and Bradley Alger The Alsop Family Foundation Mrs. Alexander Armstrong Art Seminar Group Mr. Robert and Dorothy Bair Mayer and Will Baker, in honor of Terry Morgenthaler Amy and Bruce Barnett Charles and Patti Baum Ms. Jane Baum Rodbell Jaye and Dr. Ted Bayless Fund Mrs. Catherine L. Bennett Mr. and Mrs. Bruce Blum, in memory of Shirley Feinstein Blum Rose Carpenter Mr. and Mrs. Carl F. Christ Richard and Lynda Davis The Deering Family Foundation Gene DeJackome and Kim Gingras The Honorable and Mrs. E. Stephen Derby Dave and Joyce Edington

(continued) Patricia Egan and Peter Hegeman, in honor of Peter Culman The Eliasberg Family Foundation, Inc. Donald and Margaret Engvall Mr. and Mrs. Edgar and Faith Feingold, in memory of Sally W. Feingold Sandra and John Ferriter Andrea and Samuel Fine Dennis and Patty Flynn Ms. Nancy Freyman Dr. Joseph Gall and Dr. Diane Dwyer Hal & Pat Gilreath Mary and Richard Gorman Louise A. Hager Terry Halle and Wendy McAllister Melanie and Donald Heacock Lee M. Hendler, in honor of Peter Culman Rebecca Henry and Harry Gruner Betsy and George Hess Mrs. Heidi Hoffman Ralph and Claire Hruban Mr. Edward Hunt Ms. Harriet F. Iglehart Richard Jacobs and Patricia Lasher Ms. Mary Claire Jeske BJ and Candy Jones Max Jordan Dr. and Mrs. Juan M. Juanteguy Peter and Kay Kaplan Ms. Shirley Kaufman Mr. and Mrs. Padraic Kennedy, in honor of Ken Lundeen Judith Phair King and Roland King Stewart Koehler Mr. John Lanasa, in honor of Peter Culman Mr. Claus Leitherer and Mrs. Irina Fedorova Dr. and Mrs. Ronald Lesser Marilyn Leuthold Dr. and Mrs. John Lion Kenneth and Christine Lobo Ms. Karen Malloy The Dr. Frank C. Marino Foundation, Inc. Dr. Carole Miller Mr. Jeston I. Miller Stephanie F. Miller, in honor of The Lee S. Miller Jr. Family The Montag Family Fund of The Community Foundation for Greater Atlanta, in honor of Beth Falcone George and Beth Murnaghan Lettie Myers Judith Needham and Warren Kilmer Roger F. Nordquist and Joyce Ward Mr. and Mrs. James and Mimi Piper Fund of the Baltimore Community Foundation Bonnie Pitt Mr. Mike Plaisted and Ms. Maggie Webbert Dave and Chris Powell Jill Pratt Robert E. and Anne L. Prince Mr. and Mrs. Richard Radmer Mrs. Peggy L. Rice Mr. and Mrs. Harold Rojas Dorothy L. and Henry A. Rosenberg, Jr. Kevin and Judy Rossiter Mrs. Bette Rothman Mr. Al Russell Sheila and Steve Sachs

Ms. Renee C. Samuels Kurt and Patricia Schmoke Ms. Sherry Schnepfe Mr. and Mrs. Eugene H. Schreiber Scott Sherman and Julie Rothman The Sinksy-Kresser-Racusin Memorial Foundation Susan Somerville-Hawes, in honor of Encounter Georgia and George Stamas Station North Arts and Entertainment District Robert and Patricia Tarola Diana and Ken Trout Sharon and David Tufaro Mr. and Mrs. George and Beth Van Dyke In memory of Sally Wessner Mr. Michael T. Wharton Dr. and Mrs. Frank R. Witter Eric and Pam Young

Advocates

($250–$499) Anonymous Mr. Alan M. Arrowsmith, II Mr. and Mrs. Jon Baker, in honor of Terry Morgenthaler Michael Baker Drs. Lewis and Diane Becker Judge Robert Bell Rachel and Steven Bloom, in honor of Beth Falcone Mr. Chad Bolton, in honor of Peter Culman Perry and Aurelia Bolton ChiChi and Peter Bosworth Betty Jo Bowman Beth and Dale Brady Mr. and Mrs. Charles Bryan Mr. David Bundy Dr. and Mrs. Arthur Burnett II Ms. Deborah W. Callard Cindy Candelori The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation Mr. and Mrs. David Carter Mr. Andrew J. Cary Mr. and Mrs. James Case Donna and Tony Clare Stanton Collins Combined Federal Campaign David and Sara Cooke Mr. and Mrs. Richard D. Crafton Ms. Barbara Crain Mr. Thomas Crusse and Mr. David Imre, in honor of Stephanie and Ash Carter Sally Digges and James Arnold Mr. and Mrs. Ivor Edmonds Deborah and Philip English Mr. Dennis Epps Ms. Rhea Feikin, in memory of Colgate Salsbury Ms. Jeannette E. Festa Bob and Susie Fetter Genine and Josh Fidler, in honor of Ellen and Ed Bernard Dr. and Mrs. Robert P. Fleishman Mr. and Mrs. George Flickinger Joan and David Forester Dr. Neal M. Friedlander and Dr. Virginia K. Adams Constance A. Getzov Mark and Patti Gillen Herbert and Harriet Goldman Mr. Bruce Goldman Mr. Howard Gradet Ron and Andrea Griesmar Thomas and Barbara Guarnieri

Board of Trustees Robert W. Smith, Jr., President Edward C. Bernard, Vice President Juliet Eurich, Vice President Terry H. Morgenthaler, Vice President E. Follin Smith, Treasurer Katherine L. Vaughns, Secretary Katharine C. Blakeslee+ James T. Brady+ C. Sylvia Brown+ Stephanie Carter August J. Chiasera Marjorie Rodgers Cheshire Janet Clauson Lynn Deering Jed Dietz Walter B. Doggett, III Jane W.I. Droppa Brian Eakes Beth W. Falcone C. Richard Gamper, Jr. Suzan Garabedian Carole Goldberg Ana Goldseker Adam Gross Cheryl O’Donnell Guth Martha Head Kathleen W. Hyle Ted E. Imes Murray M. Kappelman, MD+ John J. Keenan E. Robert Kent, Jr. Joseph M. Langmead+ Jonna Gane Lazarus Kenneth C. Lundeen Michelle McKenna-Doyle Marilyn Meyerhoff+ J. William Murray Charles E. Noell Esther Pearlstone+ Judy M. Phares Jill Pratt Philip J. Rauch Harold Rojas Monica Sagner+ Renee C. Samuels Todd Schubert George M. Sherman+ Scott Somerville Scot T. Spencer Michael B. Styer Ronald W. Taylor Donald Thoms J.W. Thompson Webb Ronald M. Wilner Cheryl Hudgins Williams Linda S. Woolf + Trustees Emeriti

The Mountaintop | 25

Advocates continued Ms. Doris M. Gugel Mr. David Guy Jane Halpern and James Pettit Ms. Paulette Hammond Dr. and Dr. James and Vicki Handa Mr. and Mrs. Richard Hawes In Memory of Eric R. Head Aaron Heinsman Sue Hess Mr. Donald H. Hooker, Jr. Mr. Jonathan Hornbeck Ms. Irene Hornick Mr. and Mrs. Martin Horowitz Ms. Sarah Issacs Mr. William Jacob Mr. and Mrs. James S. and Hillary Aidus Jacobs A.H. Janoski, M.D., in honor of Jane Janoski James M. and Julie B. Johnstone Richard and Judith Katz B. Keller Dr. & Mrs. Myron Kellner Mr. and Mrs. Stephen J. Kelly Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery David and Ann Koch Dr. and Mrs. Randi L. Kohn Gina Kotowski Mr. and Mrs. Robert A. Lagas Drs. Don and Pat Langenberg Mr. Richard M. Lansburgh Mr. and Mrs. William Larson Drs. Ronald and Mary Leach Leadership--Baltimore County Terry Lorch and Tom Liebel Scott and Ellen Lutrey Paul and Anne Madden Nancy Magnuson and Jay Harrell, in honor of Betty and Edgar Sweren Mr. Elvis Marks Don Martin Ms. Michael McMullan Mary and Barry Menne Carolyn and Michael Meredith Peniel and Julia S. Moed Mr. and Mrs. James and Shirley Moore Dr. and Mrs. Clayton Moravec The Honorable Diana and Fred Motz, in memory of Nancy Roche Mr. and Mrs. William H. Mullin Dr. Patrick Murphy and Dr. Genevieve A. Losonsky Stephen and Terry Needel In memory of Nelson Neuman Ms. Nina Noble Ms. Irene Norton and Heather Millar The P.R.F.B. Charitable Foundation, in memory of Shirley Feinstein Blum Michael and Phyllis Panopoulos Justine and Ken Parezo Fred and Grazina Pearson Linda and Gordon Peltz Chris and Deborah Pennington Mr. William Phillips Ronald and Patricia Pilling Mrs. Kathy Piven Leslie and Gary Plotnick Dr. Albert J. Polito and Dr. Redonda G. Miller Connie and Roger Pumphrey Mr. Rex Rehfeld and Ms. Ellen O'Brien Cyndy Renoff and George Taler Dr. Michael Repka and Dr. Mary Anne Facciolo Natasha and Keenan Rice Alison and Arnold Richman Richard and Sheila Riggs Richard and Mary Rimkunas

26 |

CENTERSTAGE

Ms. Elizabeth Ritter and Mr. Lawrence Koppelman Ida and Jack Roadhouse Mr. and Mrs. Domingo and Karen Rodriguez, in honor of Emma Grace Barnes Mr. and Mrs. Jerry Roesler Louis and Luanne Rusk Steven and Lee Sachs Frank and Michelle Sample Ms. Gloria Savadow Frederica and William Saxon, Jr. Mr. Steve Schwartzman Clair Zamoiski Segal, in honor of Judy Witt Phares Ms. Minnie Shorter Mr. and Mrs. L. Siems Mr. Howard Sigler and Ms. Deborah Hylton Dr. and Mrs. Donald J. Slowinski Rosie and Jim Smith Solomon and Elaine Snyder Ms. Jill Stempler Joseph Sterne Mrs. Clare H. Stewart, in honor of Peter Culman Brenda and Dan Stone Ms. Joann Strickland Mr. and Mrs. James R.and Gail Swanbeck Ted and Lynda Thilly Cindy and Fredrick Thompson Laura and Neil Tucker, in honor of Beth Falcone Robin and Harold Tucker Comprehensive Car Care/ Robert Wagner Donald and Darlene Wakefield Ms. Magda Westerhoust Ms. Camille Wheeler and Mr. William Marshall Harold and Joan Young Mr. Norman Youskauskas Mr. Paul Zugates

Special Grants & Gifts

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

Government Grants

CENTERSTAGE is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency.

CENTERSTAGE’s catalog of Education Programs has been selected by the President’s Committee on the Arts and Humanities as a 2011 National Arts and Humanities Youth Program Award Finalist.

CENTERSTAGE participates annually in Free Fall Baltimore, a program of the Baltimore Office of Promotion and the Arts.

Baltimore County Executive, County Council, & Commission on Arts and Sciences Carroll County Government Howard County Arts Council through a grant from Howard County Government

Gifts In-Kind The Afro American Akbar Restaurant Dean Alexander Art Litho

Au Bon Pain The Baltimore Sun Blimpie The Brewer's Art Calvert Wine & Spirits Casa di Pasta Charcoal Grill Cima Model Management The Classic Catering People Chipotle The City Paper Eggspectations Fisherman’s Friend/PEZ Candy, Inc. Gertrude's Restaurant Greg's Bagels GT Pizza Gutierrez Studios Haute Dog HoneyBaked Ham Co. The Helmand Hotel Monaco Iggie's The Jewish Times Marriott Minato Mitchell Kurtz Architect, PC Mount Vernon Stable and Saloon New System Bakery No Worries Cosmetics Oriole's Pizza and Sub Pazo Pizza Boli's Pizza Hut PromoWorks Republic National Distributing Company Roly Poly Romano’s Macaroni Grill Sabatino's Senovva Shugoll Research The Signman Style Magazine Sunlight LLC, in honor of Kacy Armstrong Urbanite A Vintner's Selection Wawa Wegman's Whitmore Print & Imaging WYPR Radio www.thecheckshop.us

Matching Gift Companies

The Abell Foundation, Inc. Bank of America The Annie E. Casey Foundation Constellation Energy The Deering Family Foundation Exxon Corporation France-Merrick Foundation GE Foundation Goldseker Foundation IBM Corporation McCormick & Co. Inc. Norfolk Southern Foundation Open Society Institute PNC Bank Stanley Black & Decker SunTrust Bank T. Rowe Price Group We make every effort to provide accurate acknowledgement of our contributors. We appreciate your patience and assistance in keeping our lists current.

To advise us of corrections, please call 410.986.4026.

CORPORATIONS Artists Circle

Playwrights Circle

Anonymous Accenture American Trading & Production Corporation The Baltimore Life Companies Baxter, Baker, Sidle, Conn & Jones, P.A. Brown Advisory Environmental Reclamation Company FTI Consulting Howard Bank Lord Baltimore Capital Corporation McGuireWoods LLP PNC Bank Procter & Gamble Stifel Nicolaus Transamerica Financial Solutions Group Venable, LLP Whiteford, Taylor & Preston LLP Whiting-Turner Contracting Co.

Directors Circle

T. Rowe Price Foundation, Inc.

Producers Circle

Alexander Design Studio Bay Imagery E*Trade Financial Corporation Funk & Bolton, P.A. Offit | Kurman, Attorneys at Law Pessin Katz Law P.A. PricewaterhouseCoopers LLP Schoenfeld Insurance Associates Stevenson University The Zolet Lenet Group at Morgan Stanley Smith Barney

Associates

Ayers Saint Gross, Incorporated Chesapeake Plywood, LLC Corporate Office Properties Trust Ernst & Young LLP

THE VALUE OF

Recognizing Achievements.

Congratulations to CENTERSTAGE for reaching new heights and new narratives.

Š 2012 Northrop Grumman Corporation

THE VALUE OF PeRFoRmAnce.

w w w. n o r t h r o p g r u m m a n . c o m

The Mountaintop | 27

Sta ff

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

Associate Managing Director–Del W. Risberg Executive Assistant–Kacy Armstrong The Ellen and Ed Bernard Management Intern– Batya Feldman

Artistic

Associate Artistic Director–Gavin Witt Artistic Producer–Susanna Gellert Artistic Senior Fellow–Kellie Mecleary The Lynn and Tony Deering Artistic Intern– Samantha Godfrey

Audience Relations

Box Office Manager–Mandy Benedix Assistant Manager/Subscriptions Manager– Jerrilyn Keene Assistant Manager–Blane Wyche Full-time Assistants–Lindsey Barr, Ashley Fain, Rachel Holmes, Alana Kolb, Christopher Lewis Part-Time Assistant–Froilan Mate Bar Manager–Sean Van Cleve House Manager & Volunteer Coordinator– Bertinarea Crampton Assistant House Managers–Cedric Gum, Alec Lawson, Faith Savill Audience Relations Intern–Quincy Price Audience Relations Apprentice–Tiana Bias Audio Description–Ralph Welsh & Maryland Arts Access

Audio

Supervisor–Amy Wedel Engineer–Eric Lott The Jane and Larry Droppa Audio Intern– Andrew Graves

Community Programs & Education

Director–Julianne Franz Education Coordinator–Rosiland Cauthen Community Programs & Education Intern– Dustin Morris The James and Janet Clauson Community Programs & Education Intern–Kristina Szilagyi Teaching Artists–The 5th L; Oran Bandel; Jerry Miles, Jr.; CJay Philip; Wambui Richardson; Joan Weber

Costumes

Costumer–David Burdick Tailor–Edward Dawson Craftsperson–William E. Crowther Stitcher–Jessica Rietzler The Terry H. Morgenthaler and Patrick Kerins Costumes Intern– Elizabeth Chapman The Judy and Scott Phares Costumes Intern– Anna Tringali

Development

Director–Cindi Monahan Grants Manager–Sean Beattie Annual Fund Manager–Katelyn White Events Coordinator–Brad Norris Development Assistant–Julia Ostroff Assistant–Christopher Lewis Auction Coordinator–Sydney Wilner Auction Assistant–Norma Cohen

The CenterStage Program is published by: Center Stage Associates, Inc. 700 North Calvert Street Baltimore, Maryland 21202 Editor Heather C. Jackson

Assistant Editor Kiirstn Pagan

Art Direction/Design Bill Geenen Design Jason Gembicki

28 |

CENTERSTAGE

Dramaturgy

Director–Gavin Witt Dramaturgy Senior Fellow–Kellie Mecleary Apprentices–Izaak Collins, Roisin Dowling, Christine Prevas, Kate Ramsdell, Bennett Remsberg, Matthew Buckley Smith, Lucy Walker

Finance

Director–Susan Rosebery Business Manager–Kathy Nolan Associate–Carla Moose

Graphics

Art Director–Bill Geenen Senior Graphic Designer–Jason Gembicki Production Photographer–Richard Anderson Graphics Intern–Michelle Fleming The Stephanie and Ashton Carter Digital Media Intern– Leslie Datsis

Information Technologies

Director–Joe Long Systems Administrator–Mark Slaughter

Lighting

Lighting Director–Lesley Boeckman Master Electrician–Lily Bradford Multimedia Coordinator–Stew Ives Staff Electrician–Bevin Miyake The Barbara Capalbo Electrics Intern–Scot Gianelli

Marketing & Communications

Director–Tony Heaphy Public Relations Manager–Heather C. Jackson Marketing Manager–Timmy Metzner Digital Media Associate–Timothy Gelles Marketing Associate–Tia Abner The Jay and Sharon Smith Marketing and Public Relations Fellow–Kiirstn Pagan Media Services–Planit

Operations

Director–Harry DeLair Operations Assistant–Kali Keeney Housekeeper–Jacqueline Stewart Security Guards–Crown Security

Production Management

Production Manager–Mike Schleifer Assistant Production Manager– Caitlin Powers Company Manager–Sara Grove Production/Stage Management Intern–Ashley Riester The Phil and Lynn Rauch Company Management Intern–Matt Shea

Properties

Scenic Art

Scenic Artist–Stephanie Nimick Intern–Lauren Crabtree

Stage Management

Resident Stage Managers–Captain Kate Murphy, Laura Smith The Peter and Millicent Bain Stage Management Intern–Brent Beavers The Barbara Voss and Charles Noell Stage Management Intern–Lindsay Eberly

Stage Operations

Stage Carpenter–Eric Burton The following .designers, artisans, and assistants contributed to this production of

The Mountaintop—

Assistant Director–Samantha Godfrey Assistant Lighting Designer–Scot Gianelli Carpenters–Bernard Bender, Mark Eisendrath, Seth Foster, J.R. Fritsch Lighting–Cartland Berge, Alison Burris, John Elder, Jake Epp, Aaron Haag, Alexander Keen, Jen Reiser, Jon Rubin, Natahsa Tylea Projections–Mallorie Ortega Wig Design–Linda Cavell CENTERSTAGE operates under an agreement between LORT and Actors’ Equity Association, the union of professional actors and stage managers in the United States.

The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.

The scenic, costume, lighting, and sound designers in LORT theaters are represented by United Scenic Artists, Local USA-829 of the IATSE. Musicians engaged by CENTERSTAGE perform under the terms of an agreement between CENTERSTAGE and Local 40-543, American Federation of Musicians.

CenterStage is a constituent of Theatre Communications Group (TCG), the national organization for the nonprofit professional theater, and is a member of the League of Resident Theatres (LORT), the national collective bargaining organization of professional regional theaters.

Manager–Jennifer Stearns Assistant Manager– Nathan Scheifele Artisan–Jeanne-Marie Burdette The Kenneth C. and Elizabeth M. Lundeen Properties Intern–Kimberly Townsend

Scenery

Technical Director–Tom Rupp Assistant Technical Director–Laura P. Merola Shop Supervisor–Trevor Gohr Carpenters–Joey Bromfield, Mike Kulha, Scott Richardson Scene Shop Intern–Ryan Cole

Advertising Sales ads@centerstage.org

CONTACT INFORMATION

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

Material in the CENTERSTAGE performance program is made available free of charge for legitimate educational and research purposes only. Selective use has been made of previously published information and images whose inclusion here does not constitute license for any further re-use of any kind. All other material is the property of CENTERSTAGE, and no copies or reproductions of this material should be made for further distribution, other than for educational purposes, without express permission from the authors and CENTERSTAGE.

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At M&T Bank, we know how important it is to support artists of all kinds. To enhance the quality of life in our communities. That’s why we offer both our time and resources, and encourage others to do the same.

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