Alliance Theatre: A Tale of Two Cities, February-March 2024

A L L I A N C E T H E AT R E

FEB 21–MAR 17, 2024

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A TA L E O F T W O C I T I E S

F R O M T H E A R T I ST I C D I R E C TO R Between Us. . . . . . . . . . . . . . . . . . . . . . . . 7 F E AT U R E

The French Revolution as Greek Tragedy. . . . . . . . . . . . . . . . . . . . 8 STORY BY ASHLEY ELLIOTT

Program Highlight. . . . . . . . . . . . . . . . . 12

P age 8

Onstage & Off. . . . . . . . . . . . . . . . . . . . . 15 Program Notes. . . . . . . . . . . . . . . . . . . . 17 Your Story, Your Stage. . . . . . . . . . . . . 29 Synopsis. . . . . . . . . . . . . . . . . . . . . . . . . . 31 D E PA R T M E N T S About the Alliance Theatre. . . . . . . . . 33

P age 12

Board of Directors. . . . . . . . . . . . . . . . . 34 Sponsors. . . . . . . . . . . . . . . . . . . . . . . . . 35 Annual Fund. . . . . . . . . . . . . . . . . . . . . . 37 Alliance Theatre Staff. . . . . . . . . . . . . . 43

P age 29

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Revisiting a classic text in a new way can help us shine a light on the present, to awaken us to truths so obvious we no longer recognize them, to surprise us with something we’ve known all along. Paradoxes (like, say, grasping the truth of the present by looking at the past) can often free our minds to see for the first time what has always been there.

So, it’s no wonder that this classic novel with arguably the most famous opening sentence in all of Western literature is riddled with them. Not just the best and worst of times, but the hope and despair, wisdom and foolishness, all abiding together, in one particular and peculiar time. But it’s the less famous end of the sentence that’s truly jarring as we read it today — that these extreme conditions make that “period so far like the present.” It’s what prompted us to commission this new adaptation of this classic story.

Dickens, of course, was writing about prerevolutionary France some 80 years after the fact when he crafted that opening line. But over 100 years after Dickens wrote that sentence, these conditions seem at least as much like our present. The generations of injustice. The violence.

The extremes. Our beloved city of Atlanta, a city famous for dreams, also has the dubious distinction of having the highest level of income inequality of any major city in the country. The best of times, the worst of times. Playwright Brendan Pelsue has done the miraculous in adapting this classic story for the stage — collapsing the massive novel into a driving, riveting, and accessible evening of theatre without sacrificing any of the huge questions that the Dickens original continues to ask us.

Why does the past feel so like our present?

Tinashe Kajese-Bolden Jennings Hertz Artistic Director &

Christopher Moses Jennings Hertz Artistic Director

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THE FRENCH REVOLUTION AS GREEK TRAGEDY Director Leora Morris and Playwright Brendan Pelsue on Atlanta, revolution, and A Tale of Two Cities STORY BY

Ashley Elliott

W

hen brainstorming this piece, I knew I wanted to speak to two of the brilliant minds behind this adaptation of A Tale of Two Cities — Director Leora Morris and Playwright Brendan Pelsue. I sent them the questions I’d come up with, intending for them to send me their answers, then I’d work it into an article like I usually do. Leora emailed back, asking if she could instead use the questions to spark a conversation between her and Brendan. What follows below is part of that incredible conversation. Find the rest on our blog at alliancetheatre.org/TOTC-conversation.

Director Leora Morris: Before you began this process of adapting A Tale of Two Cities, what was your relationship to the story?

Playwright Brendan Pelsue: I had read it in high school. In France, actually, where I was doing an exchange. And after we read it, we walked all around Paris to look at sites related to the Revolution. And I really enjoyed it at the time, but had not thought about it much since. [...] I remember the drama of the language [in A Tale of Two Cities] being quite exciting.

Especially the big rhetorical sequences that described things like the Marquis in Paris [... and] the people dancing in a revolutionary fervor in the streets. And I also remember being really gripped by the drama [...]; it was really a page-turner once it got going. And I remember being quite bored by the romance sequences, though whether that has to do with Dickens or with me at fourteen, I don’t know.

Leora: So fast forward 20 years or so to when the Alliance asked you to adapt it — what made you feel compelled to return to it, and what were your first questions when you started to think about the adaptation?

Brendan: Great question. I think, when I saw the list of books the Alliance was considering working with for its [Classic] Remix program, some unconscious part of my brain knew that A Tale of Two Cities would be right for what the initiative was trying to do — and for high school audiences and for our political moment. And so I cracked open the book again and I was struck not only by Dickens’ narrative power — the story really moves like a bunch of freight trains — but also about how the story was asking us to think about questions of violence and justice. [...] What I found in A Tale of Two Cities were questions similar to those found in Greek Tragedy: What do we do with the fact that wrongs are done to us or in the world that make us (a general us) want to seek violent revenge — that there are things for which violence seems like the only possible redress? How do we deal with the fact that history has piled up all these injustices? Can we ever start from scratch? What’s exciting and what’s terrifying about revolution? alliancetheatre.org | @alliancetheatre

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Director Leora Morris

[This] is another way of saying, the story of the French Revolution felt scarily and, from an artistic perspective, excitingly close to our moment.

The fact that Dickens was [able to] approach this territory with a kind of Greek, tragic, clearsightedness (with all his usual coincidences and embroidery) felt bold and energizing in ways I never would have clocked when I read the novel back in high school.

Playwright Brendan Pelsue

Leora: You could have chosen to tell this story in so many different ways, but you very intentionally created an ensemble of eight actors that play many different characters. While doubling is not an uncommon theatrical convention, here, you are taking advantage of the way theatre can allow us to layer different characters onto one body. Can you talk about how this doubling is at work in the play — what it invites us to consider?

Brendan: I started thinking about how doubling is already woven into Dickens’ story. Carton and Darnay look alike. Darnay’s father and uncle were identical twins. And this felt theatrical to me. As I dug deeper, I began to feel like the entire 18th century, in England and in France, was theatrical: You were born into a particular role (peasant, say, or Marquis, or King, or bourgeois) and that was pretty much where you stayed. Society cast you in a role through the accident of your birth, and from there you negotiated the given circumstances, which is like acting. [...] And it felt like there was, somehow, a nexus between all these things, that led to doubling as it works in this particular version of the story.

Also, actually, there are some very strange passages in the book where Dickens talks about the transmigration of souls — he is more spiritual and weirder than we sometimes imagine him to be — and this made me wonder if there was something about a kind of multiplicity of identities (a fluid idea of self) that was important to this telling.

Leora: It’s not [set] in contemporary Atlanta, but it feels to me like it has the potential to speak directly to Atlantans about the experience of being born, growing up, or living here, and into our current time. [...] Did you take [Atlanta] and its landscape or history into consideration at all?

Brendan: [...] I would say I had to approach the idea of Atlanta somewhat obliquely while writing the play. I am not from Atlanta — I grew up in New England — and so the city’s history is something I know of through school and through reading and research and conversations related to this piece, but it’s not something I carry with me everyday. [...] I suppose also, from an outsider’s perspective, there is something epic about Atlanta. And something that has to do deeply with America. It’s the home of Martin Luther King, Jr. and the Civil Rights movement. It’s a city that was burned to the ground in the Civil War. A city that has seen disasters and nurtured ideas that shape the world — sort of like Paris.

Leora: Interestingly, Dickens was also an outsider. I mean, maybe he lived in London — but he was born in 1812 and is writing about a London and a Paris that existed before his life and about events he did not experience or witness. [...] I’m struck by the fact alliancetheatre.org | @alliancetheatre that it’s also totally awesome to just show up and encounter the play as its entirely own

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thing. For someone with no relationship to the source material or events, is there anything specific you hope they take away from the experience?

Brendan: Yes! No preparatory reading or knowledge required to enjoy the show! [...] My hope for anyone coming to the play is first that they just have that edge-of-your-seat feeling of a really good yarn. [...] And then I hope they leave thinking, Whoa, what was all that? And talking to their neighbor about why the events of the story turned out the way they did, if it all could have been different, even chewing over echoes and differences with our current moment.

Leora: You made a bunch of really specific offers in the script about the material [and] items in the world — among other things, a mirror, a giant ball of yarn, a guillotine, a moon. As the creative team has gone through the process of creating the design for the show, what has surprised you about the ways in which these offers you made have been taken up or transformed?

Brendan: Mostly I would say I am so happy about how eagerly and beautifully the design team has tackled these propositions I’ve made in the script. One of the great joys of being a playwright is that I get to imagine things in the visual world, in the aural world, in the world of clothes, and architecture, and light, and then have people with capacities far beyond my own find containers for these impulses that I never could have anticipated.

But I would say, specifically, I have been really excited by the way the team has been inventing a kind of cosmos, a small planet or universe, in which it feels like the story is told.

You’re so rigorous in getting us all to attend to what the script is asking, and I think we can really see that in this design that feels both estranging and recognizable — that creates a planet we all visit, which in the way is always the experience of telling and retelling a story.

Leora: [Is there] a detail from the design that you think audiences would appreciate having a heads up about or know to look out for?

Brendan: For design — there is a moon. I love the moon, and I love being outdoors, and I love when theater does not forget there is a world beyond our making. And I would love to invite audiences to share that excitement with me.

Jennings Hertz Artistic Director Christoper Moses and Director Leora Morris on the first day of rehearsal for the Alliance Theatre’s production of A Tale of Two Cities.

Cities. Photo by Aniska Tonge.

12 | programhighlight WHEN TWO WORLDS COLLIDE WRITTEN BY

Shaelyn Mullins, Spelman Leadership Intern EDITED BY

Diana Morales Joaquin, Cristo Rey Intern

Following the original rendition of this classic Charles Dickens tale, various adaptations have emerged, each exploring the contrasting themes of the best and worst of times, as depicted in the tale. A classic love triangle, a hefty power gap, and an overdue revolution; tying into the prominent message of oppression, hope, and sacrifice that Dickens was trying to convey. Since the original 1859 release, many editions have been released, from films, to eBooks, to multiple onstage productions. What sets this production apart from others is its unique blend of entertainment and relevance to the fabric of Atlanta’s contemporary climate, producing a deeper connection between the stage and the pace of the city. A Tale of Two Cities is just one of many creations that gives the Alliance an opportunity to do just that. This season, the theater constructed its very own impression of the well-known tale, incorporating a twist through its unique character portrayal, featuring eight actors playing multiple roles, providing a dynamic perspective on the powerful and powerless.

Within this adaptation, there are multiple elements that deem it unique, beginning with the portrayal of the characters themselves. There are eight actors who will be seen throughout the production, each of them playing multiple roles, some with just four, and some with as many as eleven. With over fifty characters in this single production, this allows an even bigger window for actors to stretch far and beyond to present this highly dynamic piece. Each individual actor’s roles include an opportunity for them to hold a position of power and a position of powerlessness.

Both renditions travel back in time to the mid- to late-1700s, taking place during the duration of the French Revolution, which happens to be the prime mover of the plot. This setting automatically sets the tone for the piece, the dynamic between characters, and the overall booming chaos that occurred during that period.

Another main element incorporated with this rendition that separates it from others and makes it much more amusing is the audience interactivity that is involved.

The audience is occasionally intertwined throughout the show, making them a fun addition to the characters and show’s overall dynamic. With this addition, the actors break the fourth wall, inviting the audience to have a vocal reaction to the action happening onstage.

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As previously stated, the Alliance has a particular goal of relating their productions to the raw realities we face today. With instances of unjust laws and complete disregard for the wellbeing of the poor population, these themes are somewhat parallel to what occurs in the real world of the current America and, if we dissect even further, we see a lot of it specifically in Atlanta. In fact, Atlanta has one of the worst income equalities in the entire nation and, statistically, a person who is born into poverty only has a 4% chance of escaping it. The modern-day working class are often disregarded and treated unjustly in the workforce, which is demonstrated within the production by the mistreatment towards the servants from those in power.

As you dive into the harsh and realistic world of A Tale of Two Cities, take note of what you observe. Which themes stand out to you? How do you personally connect them to the real world? Give yourself a chance to discover the underlying concepts of the best and worst of times.

Costume sketches in the rehearsal hall on the first day of rehearsals for the Alliance Theatre’s production of A Tale of Two Cities. Photo by Aniska Tonge.

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onstage&off

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JUST BEYOND THE VEIL Exploring Ethics Onstage Through Character Doubling WRITTEN BY

Kay Nilest

Are our lives determined at birth?

In Charles Dickens’ classic, A Tale of Two Cities, the people of France embark on a revolution to build a better world. Quickly, the ideals of social change become muddied in the messy realities of revolution. Friend becomes foe, justice becomes twisted for personal gain, and personal vendettas become more important than the common good.

All this begs the question: how can we create a just society in a world stratified by individualistic motivations?

One answer lies in an ethical thought experiment called the Veil of Ignorance. Also called the “original position” or the “impartial spectator,’ the idea behind the Veil of Ignorance is that, in order to envision a more equitable society, we must separate ourselves from our individual identities1. Imagine you are sitting behind a veil that blocks you from knowing anything about yourself. You could be rich or poor, old or young, blind or seeing. Therefore, you must design a world that would benefit all these identities and more. A world in which the privileges are shared by all, and any specific benefits or support structures are built to serve those who might need them most. The Veil of Ignorance helps us look at the world outside of our own personal contexts and consider more objectively how society should operate.

Rather than placing characters behind a literal veil on stage, this production explores the concept of the objective identity through intentional doubling and casting. To represent a novel as sweeping as A Tale of Two Cities with only eight actors, each actor is assigned a specific set of characters to play. Playwright Brendan Pelsue explains the intentionality in these character sets, “I have tried to construct each actor’s set of roles so that they inhabit positions of power and positions of powerlessness.” One actor may play both a kindhearted revolutionary and a self-interested elite, both a young mother and an aged Lord.

The play then goes a step further to break the fourth wall by giving the actors themselves dialogue lines as they transition between characters. When told they must stand trial as a person accused of treason, Actor 2 asks, “Do I have to do this?”

“The role you’re given is the role you’re given. The world insists you play it,” responds Actor 1, who assumes the role of Narrator and Guide. This creates a distinction between actor and character that allows the audience to reevaluate our own biases about what types of people belong in positions of power. More specifically, it encourages us to reconsider the societal structures around justice, and who is worthy of giving and receiving it.

The Veil of Ignorance, though an interesting thought experiment, rarely applies to real life. We don’t live behind safe walls of irrelevant identity — we live in a messy, biased, unfairly balanced world. However, what the Veil of Ignorance, A Tale of Two Cities, and theatre in general have in common is that they all try to present us another way. Through art, we model what it means to live in a just world, or at least one in which our heroes live to fight another day. Then, once the lights come up and we’re exiting the theatre with our candy wrappers and deep thoughts, maybe we will begin to envision how the world on stage can become the one around us.

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HTTPS://ETHICSUNWRAPPED.UTEXAS.EDU/GLOSSARY/VEIL-OF-IGNORANCE

ALLIANCE THEATRE TINASHE KAJESE-BOLDEN

CHRISTOPHER MOSES

Jennings Hertz Artistic Director

Jennings Hertz Artistic Director

MIKE SCHLEIFER Managing Director

present

BY

BRENDAN PELSUE SCENIC & LIGHTING DESIGN

COSTUME DESIGN

JIYOUN CHANG

FABIAN FIDEL AGUILAR

FIGHT CHOREOGRAPHY

COMPOSER

JAKE GUINN

CHRIS ROSS-EWART

CASTING

STAGE MANAGER

JODY FELDMAN BASS/VALLE CASTING

LIZ CAMPBELL*

DIRECTED BY

LEORA MORRIS SPONSORED BY

Scenic construction for the 2023/24 Season is generously supported by The Home Depot Foundation.

18 | programnotes CAST *GRANT CHAPMAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Actor 5 *TIFFANY DENISE HOBBS . . . . . . . . . . . . . . . . . . . . . . . . . . Actor 3 *TESS MALIS KINCAID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Actor 6 *JOE KNEZEVICH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Actor 8 *LOUIS REYES MCWILLIAMS . . . . . . . . . . . . . . . . . . . . . . . . . Actor 2 *LEE OSORIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Actor 4 *BRAD RAYMOND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Actor 7 *STEPHEN RUFFIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Actor 11 UNDERSTUDIES BRANT ADAMS . . . . . . . . . . . . . . . . . . . . . . . . . . . .Actor 4/Actor 8 DANIEL ANNONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Actor 2 SEAN DALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Actor 7 REBECCA GUNN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Actor 6 DANIELLE MONTGOMERY . . . . . . . . . . . . . . . . . . . . . Actor 1/Actor 3 RYAN SIEGEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Actor 5 STAGE MANAGERS *LIZ CAMPBELL . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stage Manager *BARBARA GANTT O’HALEY . . . . . . . . . . . . . . . Assistant Stage Manager LAMARR WHITE, JR . . . . . . . . . . Stage Management Production Assistant PRODUCTION AND DESIGN ASSISTANCE CHRISTOPHER MOSES . . . . . . . . . . . . . . . . . . . . . . Co Line Producer JODY FELDMAN . . . . . . . . . . . . . . . . . . . . . . . . . . Co Line Producer LAWRENCE BENNETT . . . . . . . . . . . . . . . Production Management Lead JOO KIM . . . . . . . . . . . . . . . . . . . . . . . . . Associate Scenic Designer DAVID REINGOLD . . . . . . . . . . . . . . . . . . . Associate Lighting Designer TAYLOR BARFIELD . . . . . . . . . . . . . . . . . . . . . Dramaturgical Support FOR THIS PRODUCTION ROCHELLE RILEY . . . . . . . . . . . . . . . . . . Programmer/Board Operator NEIL ANDERSON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Spot 1 HAUZIA CONYERS, MICHELLE LEE . . . . . . . . . . . . . . . . . . . Wardrobe TAMIR EPLAN-FRANKEL . . . . . . . . . . . . . . . . . . . . . . Sound Operator BRYAN PEREZ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Crew Chief SKYLAR BURKS . . . . . . . . . . . . . . . . . . . . . . . Properties Stagehand WILLIE PARKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stagehand SPECIAL THANKS The Center for Ethics at Emory University The Emory University Public Humanities Graduate Course The Georgia Resilience and Opportunity (GRO) Fund

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*Denotes a member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States The Alliance Theatre operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, and the Society of Stage Directors and Choreographers, an independent national labor union.

The Alliance Theatre at the Woodruff is a member of Theatre Communications Group (TCG), the national organization for the American theatre, and is a member of the League of Resident Theatres (LORT), the International Association of Theatre for Children and Young Audiences (ASSITEJ/USA), The Atlanta Coalition of Theatres, the Atlanta Chamber of Commerce, the Atlanta Convention and Visitors Bureau, and the Midtown Alliance.

Photos may be taken in the theater before the performance, and following the performance. If you share your photos, please credit the designers.

Photos, videotaping or other video or audio recording of this production is strictly prohibited, is a violation of United States Copyright Law, and is an actionable Federal Offense.

This production is approximately two and a half hours long and has one fifteen-minute intermission.

A S TA G E F O R E V E

RY AG E

Now enrolling for winter classes.

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20 | encore BRANT ADAMS (u/s Sydney Carton, Estates General, exiled Duc, Jarvis Lorry, John Barsad, Estates General, old priest) [he/him] is so excited to be making his Alliance Theatre debut! Recent Atlanta credits include: Mendel in Fiddler on the Roof (City Springs Theatre Company) and Buttons in Cinderella (Arís Theatre).

Regional Credits: Don Lockwood in Singin’ in the Rain (Encore Theatrical Company), Malcolm in Macbeth (Knock at the Gate), Peter in Peter and the Starcatcher (Encore Theatrical Company), Jabeth in Sha-Kon-O-Hey! (Dollywood Theme Park), Benvolio in Romeo & Juliet (London Academy of Music and Dramatic Art). TV and Film: Snapped, Snapped: Killer Couples, The Big Door Prize. Brant holds a BA in Theater Studies from Emory University. He wants to thank his family and friends for their never-ending support.

Instagram: @brant.adams11 DANIEL ANNONE (u/s Charles Darnay, coachman, older Marquis SaintEvrémonde) [he/him] is thrilled to be part of his first show here at the Alliance Theatre!

Favorite stage credits include Benjamin Cohen in The Underpants (Theatre UCF), Bellhop in Lend Me a Tenor (Athens Theatre), as well as touring with Madcap Puppets and Hampstead Stage. Notable film/tv credits include Dog Gone (Netflix), Richard Jewell (WB), Doom Patrol (Max), and Atlanta (FX). Originally from Miami, he holds a Bachelor of Fine Arts in Theatre from the University of Central Florida. Daniel currently teaches at Catapult Acting Studios and is part of the Mighty Shorts Comedy Collective here in Atlanta. He would love to thank his friends, family, and cat for always supporting him. Social media: @dknown GRANT CHAPMAN (Dr. Manette, Estates General, desiccated Marquis, young man) is delighted to be back at the Alliance! Previous Atlanta credits include alliancetheatre.org | @alliancetheatre

Winnie in Winnie-the-Pooh (also at the Alliance), and Prior Walter in both parts of Angels in America at Actor’s Express (Suzi Bass Award for Outstanding Acting Ensemble).

Appearances at other theaters include the Asolo Rep, Alabama Shakespeare Festival, Trinity Rep, Bread Loaf Acting Ensemble, Intiman Theatre, Bristol Riverside Theatre, Opera House Arts, and Pennsylvania Shakespeare Festival. Grant has been a core company member of The Feast, a Seattle-based national theater ensemble, since 2014, most recently appearing as Oscar Wilde in Gross Indecency: The Three Trials of Oscar Wilde. Training: MFA, Brown University/Trinity Rep; BFA, University of Minnesota/Guthrie Theater. www.grantchapman.net SEAN DALE (u/s Louis XVI, English prosecutor, Monsieur Defarge) [he/ him] is ecstatic to return to the Alliance Theatre in this incredible show!

He made his Alliance debut in the Suzi Bass award winning production of Hands Up. Favorite credits include: Antipholus of Syracuse in Comedy of Errors (Texas Shakespeare Festival), William in Lobby Hero (Lion and Unicorn Theatre), and Arturo Ui in The Resistible Rise of Arturo Ui (The Arcola Theatre). He holds an MFA in Acting from East 15 Acting School and works as a certified Script Analyst for film/tv. Find him on Instagram: @seanmadale REBECCA GUNN (u/s George III, Madame Defarge, exiled count) is elated to be making her Alliance Theatre debut in A Tale of Two Cities.

As a child, she grew up coming to the Alliance to see shows and participate in camps, so this project is a dream come true. Rebecca is a proud Atlanta native, but not too long ago she lived in Glasgow, Scotland, where she was pursuing her Acting degree at the Royal Conservatoire of Scotland. Theatre credits include America’s Most Haunted (Somebodies Theatre Company), Enron, Anatomy of a Suicide, The Seagull, Frankie & Johnny (RCS), Duchess of Malfi (Edinburgh’s Royal Lyceum Theatre),

encoreatlanta.com Servant of Two Masters, Love’s Labours Lost, Macbeth, Cymbeline (Great River Shakespeare). You also might have seen her at Get Scene Studios, where she’s one of the Head Class Directors and runs workshops with Atlanta’s Film/TV Agents and Casting Directors. Special thanks to the entire Alliance team for making this happen. Love you Dad, Will, Beth, and Charles for all your support. Mom, this one’s definitely for you. All the Glory be to God! IG: @msrebeccagunn / rebecca-gunn.com TIFFANY DENISE HOBBS (Lucie Manette, Marquis SaintEvrémonde, guard) [she/her] is an actress, educator, and broadcast journalist that has trained at performing arts institutions including SMU, Yale, The Second City and Upright Citizens Brigade. Tiffany played Shenzi in the National Tour of The Lion King and was featured in the Broadway musical, Waitress, with Sara Bareilles. She was nominated by the Connecticut Critics Circle Awards as Best Featured Actress in a Play for her performance as Olivia in Twelfth Night at the Yale Repertory Theatre. Tiffany also played Ursula in New York Shakespeare in Park’s Much Ado About Nothing, directed by Kenny Leon. Favorite TV: Claws, The Mighty Ducks, She Hulk, Atlanta, Ozark, Senior Year, The Haunting of Hill House, Pose, The First Lady. Film: A Holiday Spectacular, The Trial of the Chicago 7. Tiffany would like to thank her family and friends for their unmitigated support. Find her on Instagram @tiffanydenisehobbs.

TESS MALIS KINCAID (George III, Madame Defarge, exiled count) is happy to be back at the Alliance for this exciting production having appeared here before in Shakespeare in Love, One Flew Over the Cuckoo’s Nest, August: Osage County, Broke, A Christmas Carol, and The Lion, the Witch, and the Wardrobe. Later this season, she will play Martha in Who’s Afraid of Virginia Woolf? at Theatrical Outfit. She has worked at theatres across Atlanta, and regionally at Arena Stage, Marin Theatre, NC Shakespeare, and People’s Light & Theatre. She is a three-time Suzi Bass

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Award recipient for Outstanding Actress in a Lead Role. TV/Film work includes: Ozark, She Hulk, Bluff City Law, Homeland, Greenleaf, The Have and Have Nots, Hillbilly Elegy, The Mule, and Lilly (upcoming). Big love and appreciation always to Mark and B. JOE KNEZEVICH (Jarvis Lorry, John Barsad, Estates General, old priest) is so happy to be back at the Alliance with this amazing creative team. Originally from Miami, Florida, Joe earned a Bachelor of Fine Arts in acting from Florida State University and studied in London with members of the world-renowned Complicite.

Joe was an associate artist at Georgia Shakespeare for sixteen seasons, where he appeared in over forty plays.

He is also a frequent guest on the Alliance Stage (The Many Wondrous Realities of Jasmine Starr-Kidd, One Flew Over the Cuckoo’s Nest, August: Osage County, Who’s Afraid of Virginia Woolf, and Glengarry Glen Ross) and has appeared in regional theater all over the country. In addition to his work on the stage, Joe has appeared in dozens of film and TV projects, but his most important roles continue to be husband and father. Hiking, running, pool days, cooking, and cards.

DANIELLE MONTGOMERY (u/s English judge, Gabelle, army commander, barkeep, French judge, executioner, Lucie Manette, Marquis Saint-Evrémonde, guard) [she/her] is thrilled to be making her professional debut with the Alliance Theatre! Danielle is a graduate of Kennesaw State University with a BA in Theatre and Performance Studies, Concentration: Acting. Danielle would like to thank her friends and family for their love and support! Find her on instagram: @daniellemontgomry LOUIS REYES MCWILLIAMS (Charles Darnay, coachman, older Marquis SaintEvrémonde) [he/him] is an actor, writer, director, and teaching artist based in Los Angeles.

22 | encore Off-Broadway credits include Coriolanus (The Public Theater/ Shakespeare in the Park), Anna Karenina: a riff (The Flea), and The War Boys (Columbia Stages). He’s worked regionally in Clyde’s (Berkeley Rep, The Huntington), Heroes of the Fourth Turning (Studio Theatre), Teenage Dick (Woolly Mammoth, Pasadena Playhouse, The Huntington), Little Women (Dallas Theater Center, The Old Globe), No Cure (Playwrights’ Center), A Christmas Carol and An Iliad (Trinity Rep), Unknown Soldier (Williamstown Theatre Festival), and A Tale of Two Cities and Jane Eyre (Bread Loaf Acting Ensemble). Up next, he’ll be directing his first short film Little Footsteps, which he also wrote and stars in. Education: BA, Stanford University; MFA, Brown University/ Trinity Rep, recipient of the Richard Kavanaugh Fellowship. www.louismcwilliams.com IG: @louisreyesmcfly LEE OSORIO (Sydney Carton, Estates General, exiled Duc) is an Atlanta-based actor and playwright. Previous Alliance credits include Sheltered, Ugly Lies the Bone, and The Temple Bombing. Television credits include Found, The Resident, Your Honor, NCIS: New Orleans, and True Detective. Two of his plays will receive world premiere productions this year, Prisontown at Savannah Rep and A Third Way at Actor’s Express. Lee received his MFA in Acting from Brown University/Trinity Rep and is a proud member of Actor’s Equity. www.LeeOsorio.com BRAD RAYMOND (Louis XVI, English prosecutor, Monsieur Defarge) is so elated to be working with this amazing cast and creative team on this exciting new piece!

Brad has performed as an actor, singer, or conductor at some of the art world’s most esteemed institutions including then Lyric Opera of Chicago, Chicago Symphony Orchestra, Light Opera Works of Chicago, the Ravinia Festival, Arena

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Stage, The Broad Stage, The Alliance Theatre, The Denver Center, Atlanta Opera, Kenny Leon’s True Colors Theatre, Theater Emory, Horizon Theatre and Spivey Hall. Some of Brad’s favorite roles include: Homer in Lilies of the Field; Fetch in Fetch Clay, Make Man; Narrator in Passing Strange; Ronald in Born For This; and the Suzi Bass Award winning performance as Blue in Chasin’ Dem Blues. You can see Brad this spring, right here at the Alliance, in the much anticipated new musical, The Preacher’s Wife!

STEPHEN RUFFIN (English judge, Gabelle, army commander, barkeep, French judge, executioner) Blessed to be returning to the Alliance stage. Honored to dive in with this ensemble and creative team. Love to my honeybee and ladybug. Tiny Beautiful Things at Theatrical Outfit, Too Heavy for Your Pocket at Alliance, Pipeline at Horizon, Romeo and Lysander at Atlanta Shakes. On screen credits on IMDb. RYAN SIEGEL (u/s Dr. Manette, Estates General, desiccated Marquis, young man) [he/him] is overjoyed to be a part of his first production at the Alliance Theatre. His recent Film/TV credits include: The Ms. Pat Show, Wolf Pack, The Lemonade Files, and Tyler Perry’s upcoming WWII drama, Six Triple Eight. He was last on stage in Miami, FL, in an immersive theatre production based on the hit Netflix series, Money Heist. Other favorite roles include: Jason in Sweat, Nick in Assistance, and Henry in Evolution.

Ryan trained at the University of Florida School of Theatre & Dance and has most recently been training with Peter Frechette. When offstage, Ryan spends his time writing music, playing guitar, and learning new yo-yo tricks to impress his roommates. He played a solo set at the VirginiaHighland Porchfest in 2022 and has recently started playing at local open mic nights. Ryan would like to thank his family and friends for their

encoreatlanta.com ongoing support and the Alliance Theatre for this opportunity. To keep up with Ryan, follow him on Instagram: @itsryansiegel LEORA MORRIS (Director) [she/her] is honoured to be back at the Alliance after previously directing A Christmas Carol, A Christmas Carol: A Live Radio Play, Naked Mole Rat Gets Dressed, Ride the Cyclone, Winnie-the-Pooh, Crossing Delancey, The Dancing Granny, and Hey Willy, See the Pyramids. Other directing credits include The Sound Inside, Knives in Hens, Orphans (Coal Mine Theatre, Toronto); The Philosopher’s Wife (Toronto); Labour of Love (Olney Theatre Center); Spring Awakening (Connecticut College); The Wolves (University of British Columbia), He Left Quietly (2014 SummerWorks Best Production Award, Toronto); Amy and the Orphans, Women Beware Women, King John (Yale School of Drama); The Bitter Tears of Petra von Kant, love holds a lamp in this little room (Yale Cabaret). Awards/Fellowships: Toronto’s Ken MacDougall Award, Yale Julian Milton Kaufman Prize in Directing, O’Neill/NNPN National Directing Fellow. Leora was shortlisted for the international 2020 Rolex Mentor and Protégé Prize, and is currently a Public Humanities Scholar at the University of British Columbia in Vancouver, Canada, where she is an assistant professor in Directing and Acting. MFA Directing, Yale School of Drama. www.leoramorris.com BRENDAN PELSUE (Playwright) is a playwright, librettist, and translator.

His play Wellesley Girl premiered at the Humana Festival of New American Plays. Hagoromo, a dance-opera piece for which he wrote the libretto, appeared at the Brooklyn Academy of Music. Recent projects include a new translation and adaptation of Molière’s Don Juan at Westport Country Playhouse, and Read to Me at Portland Stage, which won the Clauder Prize. Commissions include South Coast Repertory, American Opera Projects, Westport Country Playhouse, the Alliance Theatre, and the Actors Theatre of Louisville.

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Brendan was a 2023 MacDowell Fellow and a 2017 artist-in-residence at Chateau de la Napoule, France.

He will be a resident artist at Green College, University of British Columbia, in Spring 2024. Originally from Newburyport, MA, he received his MFA from Yale School of Drama and his BA from Brown University.

He teaches at Rutgers University.

CHARLES DICKENS (Book) was a British novelist, journalist, editor, illustrator and social commentator who wrote such beloved classic novels as Oliver Twist, A Christmas Carol, Nicholas Nickleby, David Copperfield, A Tale of Two Cities, and Great Expectations. Dickens is remembered as one of the most important and influential writers of the 19th century. Among his accomplishments, he has been lauded for providing a stark portrait of the Victorian-era underclass, helping to bring about social change.

JIYOUN CHANG (Scenic & Lighting Design) Alliance Credit: Bina’s Six Apples (Suzi Bass Award), Broadway Credit: Jaja’s African Hair Braiding, The Cottage, KPOP Broadway, For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf (Tony Nom), Slave Play (Tony, Drama Desk, Henry Hewes Nom), Others: Stereophonic, Walk On Through (Gavin Creel), The Far Country (Drama Desk, Lucile Lortel Nom), Marys Seacole (Henry Hewes Nom), The World is Round (Obie Award), The Public, Roundabout, NYTW, MTC, MCC, Signature, ATC, Guggenheim, Chicago Lyric Opera, Arena Stage, Berkeley Rep, CalShakes, Guthrie, Old Globe, OSF. FABIAN FIDEL AGUILAR (Costume Design) was born in El Paso, TX where its giant skies and vast desert landscape were a blank canvas for a highly active imagination. He is a recent graduate of Yale School of Drama, where his credits include The Moors (a Yale Repertory Theater world premiere). His other credits include Preston Montfort—An American Tragedy and The Master and Margarita (Yale School of Drama); Midsummer’s, Love Holds a Lamp in This Little Room, Orlando (Yale

24 | encore Summer Cabaret 2015: Rough Magic); He Left Quietly (SummerWorks Performance Festival, Toronto and Yale Cabaret); Knives in Hens, Quartet, Zero Scenario, A New Saint for a New World (Yale Cabaret); and the 2014 Dwight/Edgewood Project.

He has worked for various theatres, conservatories, and universities in Boston including American Repertory Theater, Boston Ballet, Moscow Ballet, Beau Jest, the Commonwealth Shakespeare Company, among others. Fabian Aguilar received his BA from Boston University.

CHRIS ROSS-EWART (Composer) [he/him] is a sound designer, composer, and performer. Working across Canada, the US, and the world, he makes theatre, musical theatre, dance, film, podcasts, and installations. Recent credits include The Clearing at Shaw, Hamlet 911 at Stratford, The Sound Inside at Coalmine, The Cave at Luminato and Distant Early Warning at Buddies in Bad Times. He is thrilled to work with the team on this exciting premiere. He read A Tale of Two Cities in high school and regrets not paying attention better; sorry, Ms. Patton. chrisross-ewart.com JAKE GUINN (Fight Choreography) is an Atlanta-based Director, Writer, and Choreographer. He is the Lead Producer and Co-Founder of Havoc Movement, an experimental production company in residence at Windmill Arts in East Point. Jake is a second generation Fight Director following in the footsteps of his father and mentor, Mark Guinn. His selected credits include Marvel Universe Live!

Age of Heroes, TruTV’s Fake/Off, New Jack City Live!, Hero’s Wife at Synchronicity Theatre, Dracula at Actor’s Theatre Louisville, Sherwood at the Atlanta Shakespeare Company, Florida Repertory Theatre, Cincinnati Conservatory of Music, Cincinnati Opera, Cincinnati Playhouse.

JODY FELDMAN (Casting) began her theater career as an actress in Atlanta before moving into administration as the Assistant General Manager at Frank Wittow’s Academy Theatre.

It was at the Academy that Jody realized the importance of theatre to a city’s cultural values and identity.

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Feldman started her career at the Alliance as casting director in 1991 and added producer to her title and responsibilities in 2001. She has cast and produced more than 250 productions at the Alliance, encompassing a range of world premieres that include The Last Night of Ballyhoo by Alfred Uhry, Blues for An Alabama Sky by Pearl Cleage, The Geller Girls by Janece Shaffer, In the Red and Brown Water by Tarell Alvin McCraney, more than 20 years of Kendeda National Graduate Playwriting Competition-winning plays, such world and regional premiere musicals as Aida; The Color Purple; Sister Act: The Musical; Bring It On: The Musical; Tuck Everlasting; Ghost Brothers of Darkland County; Harmony, A New Musical; The Prom; Trading Places, Water for Elephants, and finally exciting new plays developed specifically for children and families, which is integral to the expansion of audience and mission for the Alliance. Jody is most proud of the thriving Alliance community engagement and partnerships that recognize theatrical work as a catalyst for civic conversation and connection.

LIZ CAMPBELL (Stage Manager) [she/her] Favorite Alliance credits include: A Christmas Carol; The Many Wondrous Realities of Jasmine Starr-Kidd; Bina’s Six Apples; Naked Mole Rat Gets Dressed; Max Makes a Million; The Wizard of Oz; The Dancing Granny; Cinderella and Fella; Ugly Lies the Bone; Pancakes, Pancakes!; Tiger Style!; The Lion, the Witch, and the Wardrobe; Knuffle Bunny: A Cautionary Musical; James and the Giant Peach; Shrek; and Charlotte’s Web. Other local credits include: The Shining (The Atlanta Opera); The Drowsy Chaperone, Camelot, The World Goes Round, Million Dollar Quartet, Monty Python’s Spamalot, and Ragtime (Atlanta Lyric Theatre); In the Continuum (Synchronicity Theatre); Book of Will and It’s a Wonderful Life (Theatrical Outfit). She has been the Stage Manager for the GHSMTA (Shuler Awards) since 2015. She holds a BFA in Theatre from Niagara University.

Member of Actors’ Equity Association.

Co-founder of Atlanta Theatre Artists for Justice. Love to Ali and Maggie.

encoreatlanta.com BARBARA GANTT O’HALEY (Assistant Stage Manager) [she/her] Previous Alliance credits include: Into the Burrow: A Peter Rabbit Tale, Hot Wing King, Everybody, Slur, Tell Me My Dream, Courage, Grimm Lives of the In-Betweens.

Other Atlanta credits include: Big Fish, Lady Day at Emerson’s Bar and Grill, Simply Simone, In the Heights, The Hunchback of Notre Dame, Perfect Arrangement, Indecent, Slow Food, Ms. Bennet: Christmas at Pemberley, The Wickhams, Our Town, 110 in the Shade, Pitmen Painters, An Iliad (Theatrical Outfit); Support Group for Men (Horizon Theatre), as well as My Fair Lady, Cats, Young Frankenstein (Atlanta Lyric Theatre). Love to Patrick, Elliana, and Keeva! Proud Member AEA. LAMARR WHITE, JR. (Stage Management Production Assistant) [he/him] graduated from Jackson State University with a BA in Speech and Theatre. He started in theatre in high school as an actor and musician, and found a love for Stage Management while in college.

LaMarr also has a background in dance and playwriting. He is elated to be working on his second production at the Alliance Theatre as a Stage Management PA, his first production being A Christmas Carol (2023). LaMarr would like to thank his friends and family for all of their love and support. He would also like to thank his mentor for pushing him to be great.

TINASHE KAJESE-BOLDEN (Jennings Hertz Artistic Director) stepped into the role of Artistic Director in 2023 after serving as the Alliance’s BOLD Associate Artistic Director. Tinashe is a 2019 Princess Grace Award Winner for Directing and Map Fund Award recipient to develop her devised new work All Smiles, centering the experience of children on the Autism Spectrum. Most recently, she directed the World Premiere of The Many Wondrous Realities of Jasmine StarrKidd. Select directing productions include Toni Stone (co-production Milwaukee Repertory Theater and the Alliance Theatre); School Girls; Or, the African Mean Girls Play (Kenny Leon’s True Colors Theatre); Ghost (Alliance Theatre); Native

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Gardens (Virginia Stage Company); Pipeline (Horizon Theater); Nick’s Flamingo Grill (World Premiere at the Alliance Theatre); Eclipsed (Synchronicity Theatre, Best Director Suzi Bass Award). As a director and actor, she has worked on and off Broadway, including The Imperial Theatre, Primary Stages, 59E59 Theatre, Classical Theatre of Harlem; and regionally at Yale Rep, Woolly Mammoth Theater Co, Cincinnati Playhouse, The Geva Theatre, CTG’s Kirk Douglas Theatre, among others, as well as recurring roles on TV/Film (Strays, Suicide Squad 2, Marvel’s Hawkeye, CW’s Valor, Dynasty, HBO’s Henrietta Lacks, Ava Duverney’s Cherish the Day, among others.)

She proudly serves on the ArtsATL Artist Advisory Council. “My mission is the pursuit of what connects our different communities and how we create art that serves that.”

CHRISTOPHER MOSES (Jennings Hertz Artistic Director) has been working in professional theatre for twenty years and in 2022 was awarded the Governor’s Award for Arts in Humanities for his body of work. In January of 2011, Chris took on the position of Director of Education at the Alliance Theatre, overseeing the Alliance Theatre Institute (twice recognized as an Arts Model by the Federal Department of Education), Theatre for Youth & Families, and the Acting Program.

Since taking over this position, Chris has expanded the reach and impact by making the Alliance Theatre Education department a vital resource for advancing the civic agenda of Atlanta. This work is accomplished through deep and sustained partnerships with social service organizations throughout the city. Under his leadership, the Alliance launched its Kathy & Ken Bernhardt Theatre for the Very Young program, which provides fully interactive professional theater experiences for children of all abilities from ages newborn through five years old; the Alliance Teen Ensemble, which performs world premiere plays commissioned for and about teens; the Palefsky Collision Project, where teens produce a new work after colliding with a classic text; expanded the Alliance’s summer

26 | encore camp program to include over 3,000 children in multiple locations across Atlanta; and Alliance@work, a professional development program designed for the business sector — the latest offering of which uses theatre practice to create a culture of civility in the workplace. In 2014, Chris added the title Associate Artistic Director, and has continued to expand the Alliance’s education offerings. During his tenure in this position, the Alliance has produced over a dozen world premiere plays for young audiences, including Pancakes, Pancakes! by Ken Lin, The Dancing Granny by Jireh Breon Holder, Max Makes a Million by Liz Diamond, and The Incredible Book Eating Boy by Madhuri Shekar. Currently, the Alliance serves over 100,000 students pre-k – 12 each season, as well as over 4,000 adults through its extensive education offerings.

In 2023, he was named Artistic Director of the Alliance Theatre.

MIKE SCHLEIFER (Managing Director) joined the Alliance Theatre in 2014 as the General Manager and in 2016, assumed the role of Managing Director. During his time at the Alliance, Mike has led the administrative and producing team on over 100 productions including bringing Tuck Everlasting and The Prom to Broadway. He was one of the architects of the “On the Road” season while a multi-million dollar renovation of the Coca-Cola Stage was underway. Mike is excited to have started the Equity, Diversity, and Inclusion Committee at the Alliance and to serve on the board of the League of Resident Theatres and True Colors Theatre Company.

Prior to Atlanta, he spent 13 years at Baltimore’s Center Stage working in several roles including Associate Producer, Production Manager and Resident Stage Manager. While in Baltimore, Mike was an adjunct faculty member at Towson University and has guest-lectured all over the country.

Mike began as a Stage Manager and has dozens of stage management credits between his time in New York and working regionally. Mike is married to theater director and educator Laura Hackman and the proud father of two boys, Jack and Ben.

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ACTORS’ EQUITY ASSOCIATION (AEA) Founded in 1913, AEA is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. www.actorsequity.org

encoreatlanta.com THE IMAGINE CAMPAIGN

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Coming soon to Peachtree Street: THE GOIZUETA STAGE FOR YOUTH AND FAMILIES IMAGINE a state-of-the-art performance space built specifically to deliver the best professional theatre for young audiences this country has to offer.

IMAGINE year-round access to transformative arts experiences empirically proven to improve mental health, literacy, and hope for their own future.

IMAGINE theatre as a birthright for children of all ages and economic backgrounds in our city, across the state, and around the world.

AND JOIN US IN MAKING IT A REALITY. Over the next two years, the Woodruff Arts Center will transform the existing Rich Theatre into Atlanta’s year-round venue for youth and family programming. As a crucial component of this project, the Alliance Theatre is proud to launch The Imagine Endowment, a special $10 million fund providing access subsidies for audiences of all backgrounds and vital resources to equip and maintain Atlanta’s new home for youth, educators, and caregivers in perpetuity. With your help, geography and ticket prices will never be attendance barriers for the bright, empathetic, and creative audiences of tomorrow.

ENDOWMENT CONTRIBUTORS Special thanks to our early champions of the Imagine Campaign for their vision and generosity.

Kenny Blank // Campaign Chair Anonymous Kristin Adams James Anderson Elizabeth Armstrong Ken Bernhardt & Cynthia Currence Cindy & Bobby Candler Around the Table Foundation Joel Babbit & Virginia Shackelford Terri Bonoff & Matthew Knopf Jennifer & Brian Boutte Ann & Jeff Cramer Jeffrey & Roxanne Cashdan Joe Crowley & Phil Mack Linda & Eugene Davidson Reade & Katie Fahs Howard & Ellen Feinsand Richard & Marsha Goerss John & Laura Hardman

Mr. & Mrs. Quill Healey II & Family The Hertz Family Foundation Jocelyn J. Hunter John Keller James & Lori Kilberg Phyllis Kozarsky & Eliot Arnovitz Allegra Lawrence-Hardy Alan McKeon & Evelyn Ashley Hays & Anna Mershon Phil & Caroline Moise Starr Moore & the James Starr Moore Memorial Foundation Papa John’s Foundation Jamal & Tiffany Powell Patty & Doug Reid Robert & Margaret Reiser

For more information about Alliance Theatre’s Imagine Campaign or to make an endowment contribution, please contact Trent Anderson, Director of Development, at trent.anderson@ alliancetheatre.org or (404) 733-4710.

For information about the capital renovation and the Woodruff Arts Center’s Experience Atlanta, Experience Woodruff Campaign, please contact Kristin Hathaway-Hansen at kristin.hathaway-hansen@woodruffcenter.org.

Donor listings are current as of December 20, 2023, and every effort is made to ensure accuracy. Please contact us to request a correction.

Maurice & Tricia Rosenbaum Mark & Ruth Rosenberg The Selig Foundation // Linda & Steve Selig, Cathy & Steve Kuranoff William & Margie Sleeper E. Kendrick & Caryl Smith Chandra Stephens-Albright & Warren Albright Benny & Roxanne Varzi Rebekah & Mark Wasserman Ben & Ramona White Suzy Wilner Todd & Amy Zeldin

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yourstoryyourstage

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Can a community renounce the poverty its people inherited?

Atlanta is a tale of two cities, a place of paradox.

It’s the home of Martin Luther King, Jr. and the world’s busiest airport. A city “too busy to hate” and the capital of Black culture. And yet, a child born in poverty in Atlanta has the lowest chance at significant economic mobility of any major city in the U.S. But why? Why does dust from the construction of new, glittering skylines cover the blocks of historic neighborhoods as they await their inevitable renaming and sale?

In a city steeped in possibilities, we have the one of the highest income inequalities in the nation. Today, the median white household here owns 46x as much wealth as the median Black household. That gap is as wide as it was nationally in 1863 — just four years after Charles Dickens’ classic A Tale of Two Cities was published. Our quality of life has improved in that time, but our economic and racial disparities have not. Unfortunately, we too often embrace a shallow version of what Dr. King called “the beloved community.” A version that prioritizes representation over equity and the comfort of the passengers over the direction of the train.

It is indeed the best of times and the worst of times, and yet we have the power to do something about it. At the Georgia Resilience and Opportunity Fund, we build bold solutions to address poverty and narrow the racial wealth divide. Solutions like In Her Hands, a guaranteed income initiative that provides women in Georgia with an income supplement — no strings attached. Developed with community members, we demonstrate that people closest to the issue are often the most knowledgeable about solving it. Solutions like Baby Bonds, that invest in young people to help build wealth, setting us on a path to narrowing the racial wealth divide by 25%. Programs like these make a significant and direct impact.

We celebrate those who overcome significant obstacles because, deep down, we know how hard it is to defy the status quo and envision a better future. Many aren’t able to — despite their best efforts. If we’re ever going to live in a city that isn’t defined by the line from Buckhead to Bankhead, we’ll need your help. Go to www.2Atlantas. com and learn how you can help end the divide. Let’s make this one, united city.

Hope Woolenstack Executive Director GRO Fund

30 | synopsis SYNOPSIS It’s the best of times and the worst of times. The rich are getting richer, and the poor are getting poorer. The oppressed call for revolution. Despots threaten global war. Sound familiar? It’s Paris and London, 1787, a powder keg of spies, lovers, madmen, and unexpected look-alikes. This radical reimagining of Charles Dickens’s classic tale of the French Revolution forces us to ask: am I who I am because of my actions or the circumstances of my birth? Do I control my destiny?

And where do we begin if we want to right the wrongs of history?

GET SOCIAL Connect with us and other audience members on your Alliance experience. Share your comments and photos on Facebook, Instagram, Twitter, and TikTok with hashtags #ATaleofTwoCities and #AllianceTheatre. Plus, search your social media platforms with those hashtags for fun, behind-the-scenes content from our cast, crew, and creative team.

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alliancetheatre

Ever wanted to be a part of the Alliance team? Here’s your chance!

Join our volunteer ushers!

Commit to 20 hours of ushering at the Alliance and receive: • Alliance Theatre swag!

• 15% off current ticket prices for all Alliance Theatre productions • 20% off Alliance Theatre Acting Classes • ONE complimentary ticket for ANY production in the current season

Visit alliancetheatre.org/usher for details.

Coming Soon in the 2023/24 SEASON

PRESENTED BY

APR 3– MAY 12 2024 Pulitzer Prize Winner The Pulitzer-Prize winning new play reinventing Shakespeare’s Hamlet.

By JAMES IJAMES Direction by STEVIE WALKERWEBB

MAY 11–JUN 9 2024 Inspired by the beloved blockbuster film, The Preacher’s Wife is a stirring new musical about the power of hope.

Book by AZIE DUNGEY Music and Lyrics by TITUSS BURGESS Directed by MICHAEL ARDEN & TINASHE KAJESE-BOLDEN

Plus many more!

Tickets and memberships available at alliancetheatre.org

SHARE YOUR STORY. PRESERVE YOUR STAGE. The posting of photos taken before the show, during intermission, or in our lobbies is not only allowed but strongly encouraged! We do kindly ask that you refrain from taking pictures, recording audio, or capturing video during the performance to allow our audiences and performers to stay connected with each other during our brief time together.

Our stories are not simply told for you, but with you.

encoreatlanta.com

alliancetheatre.org | @alliancetheatre

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aboutthealliance

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ABOUT THE ALLIANCE THEATRE Founded in 1968, the Alliance Theatre is the leading producing theatre in the Southeast, reaching more than 165,000 patrons annually. The Alliance is led

by Jennings Hertz Artistic Directors Tinashe Kajese-Bolden and Christopher Moses and is a receipient of the Regional Theatre Tony Award® for sustained excellence in programming, education, and community engagement. In January 2019, the Alliance opened its new, state-of-the-art performance space, The Coca-Cola Stage at Alliance Theatre. Known for its high artistic standards and national role in creating significant theatrical works, the Alliance has premiered more than 135 productions including ten that have transferred to Broadway. The Alliance education department reaches 90,000 students annually through performances, classes, camps, and in-school initiatives designed to support teachers and enhance student learning. The Alliance Theatre values community, curiosity, collaboration, and excellence, and is dedicated to representing Atlanta’s diverse community with the stories we tell, the artists, staff, and leadership we employ, and audiences we serve.

OUR MISSION To expand hearts and minds onstage and off.

OUR VISION Making Atlanta more connected, curious, and compassionate through theatre and arts education.

LAND ACKNOWLEDGMENT In the sincerest efforts to gain further understanding of the history that has brought us to reside on this land and to accept the knowledge that colonialism is a current and ongoing process under which we need to build our mindfulness of our present participation, we hereby acknowledge this native land of the Muscogee Creek Nation.

34 | boardofdirectors OFFICERS Chair Jocelyn J. Hunter Immediate Past Chair Lila Hertz Secretary E. Kendrick Smith Treasurer Glenn Weiss Ex-Officio Hala Moddelmog LIFETIME DIRECTORS Rita Anderson Ken Bernhardt Frank Chew Ann Cramer Linda Davidson Laura Hardman Hays Mershon Richard S. Myrick Helen Smith Price Bob Reiser Jane Shivers H. Bronson Smith Ben White BOARD OF DIRECTORS Kristin Adams Norman Adkins Kimberly Ajy James Anderson Farideh Azadi Marc Balizer Deisha Barnett Alba Baylin Maggie Blake Bailey Kenny Blank Terri Bonoff Jennifer Boutte Jeff Cashdan Steve Chaddick Madeline Chadwick Miles Cook LeighAnn Costley Joe Crowley Reade Fahs Howard Feinsand Rick Gestring Richard Goerss Claire Gotham Lila Hertz Jocelyn Hunter Malvika Jhangiani

Alexander Johnson Jane Jordan Casavant Anne Kaiser John Keller Matthew Kent Andjela Kessler Jim Kilberg Jesse Killings Carrie Kurlander Allegra Lawrence-Hardy Robert Masucci Jean Ann McCarthy Alan McKeon Dori Miller Jeffrey Miller Hala Moddelmog Phil Moïse Allison O’Kelly Victoria Palefsky Paul Pendergrass Jamal Powell Ali Rahimi Anne Rambaud Herren Stephanie Ray Patty Reid Margaret Reiser Matthew Richburg Robyn Roberts Maurice Rosenbaum Kerri Sauer Steve Selig Kim Sewell Mital Shah Bill Sleeper E. Kendrick Smith Chandra Stephens-Albright Charlita Stephens Mark Swinton Julie Teer Benny Varzi Roxanne Varzi Rebekah Wasserman Dana Weeks Ugwonali Glenn Weiss Wai Wong Todd Zeldin

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ADVISORY BOARD Advisory Board Co-Chair Laura Hardman Advisory Board Co-Chair Phil H. Moïse Joe Alterman Luis Andino Johanna Brookner Merry Hunter Caudle Elizabeth Cooper Mamie Dayan-Vogel Candice Dixon Malaika Dowdell Everett Flanigan Brandon Fleming Mary Beth Flournoy Les Flynn Natalia Garzón Martínez Lydia Glaize Emmanuel Glaze Meghan Gordon Tevin Goss Jeff Graham Dr. Eve Graves, Ph.D. Erica Greenblatt Shauna Grovell Della Guidry Campbell Hastings Elizabeth Hollister Zenith Houston Mallika Kallingal Jodi Kalson Jennifer Lee JoJasmin Lopez Theo Lowe Carlton Mackey Nelly Mauta Tre’Von McKay Monica McLary Juan Meija Caroline Moore Laura Murvartian Zach Nikonovich Kahn Amy Norton King Susan Sim Oh Kathy Palumbo Aixa Pascual Kisan Patel Marion Phillips Alexis Rainey Daniel Regenstein Michelle Robinson Wendy Schmitt Dr. Shenara Sexton

Beverly Brown Shaw Brian Stoltz Maria Storts Alicia Thompson Ana Urrego Emily Washburn Melinda Weekes-Laidlaw Angie Weiss Stuart Wilkinson Joni Williams VOLUNTEER LEADERSHIP President, STARS Andjela Kessler Chairman, Theater Advocates Patricia Walsh Chairman, Theater Ushers Edwina Sellan Chairman, Hospitality Susan Stiefel

sponsors

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ALLIANCE SPONSORS Alliance Sponsors are businesses, corporations, and institutions that have supported the work of the Alliance Theatre.

We thank them for their generosity and support. $500,000+

$50,000+

$10,000+

Chick-fil-A Foundation | Rhonda & Dan Cathy Delta Air Lines, Inc. Lettie Pate Evans Foundation Robert W. Woodruff Foundation

Cadence Bank City of Atlanta Mayor’s Office of Cultural Affairs Georgia Council for the Arts Georgia Natural Gas Google Jones Day Kaiser Permanente Kendeda Fund Liz Blake Giving Fund Molly Blank Fund of the Arthur M. Blank Family Foundation National Endowment for the Arts National Vision Wellstar Foundation

AEC Trust Alexander Babbage Alston & Bird Do a Good Day Foundation Edgerton Foundation Eversheds Sutherland George M. Brown Trust of Atlanta Georgia-Pacific John & Mary Franklin Foundation Northern Trust SCANA Energy South Arts

$250,000+ Anonymous AT&T Foundation The Coca-Cola Company Georgia Department of Early Care and Learning WestRock

$100,000+ Accenture Helen Gurley Brown Foundation Georgia Power The Home Depot Foundation Invesco QQQ John H. and Wilhelmina D. Harland Charitable Fund King & Spalding Norfolk Southern PNC The Rich’s Foundation Shubert Foundation Warner Bros. Discovery Zeist Foundation

$25,000+ Black Leadership AIDS Crisis Coalition, powered

by AIDS Healthcare Foundation Comcast Fulton County Board of Commissioners Graphic Packaging The Imlay Foundation, Inc. Johnny Mercer Foundation Newell Brands Northside Hospital Peach State Health Plan Southwire

$5,000+ Anonymous Camp Younts Foundation Frances Wood Wilson Foundation Osiason Educational Foundation Perkins&Will Publix Super Market Charities

By attending our theater, you have made a powerful statement about how important the arts are to you. Make another statement of support louder than any standing ovation. Visit alliancetheatre.org and click on Donate.

36 | encore Alliance Series Sponsor

Production Sponsor

Official Hotel

Official Research Partner

government

Major funding for this organization is provided by the Fulton County Board of Commissioners

This program is supported in part by the Georgia Council for the Arts through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency the National Endowment for the Arts.

alliancetheatre.org | @alliancetheatre

Major support is provided by the Mayor’s Office of Cultural Affairs.

annualfund

| 37

Individual, foundation, and corporate donors contribute more than $10 million to the Alliance Theatre so that we are able to present exceptional theater and educational programming to our community. We are deeply grateful for your support. To find out more about the benefits of giving or to make your gift, visit us at alliancetheatre.org/waystogive or call 404-733-5157.

Listed below are pledges and gifts to the Alliance Theatre Annual Fund from January 1, 2023 — February 1, 2024.

PREMIERE SUPPORT Spotlight $100,000+ The SKK Foundation Dan & Garnet Reardon Spotlight $50,000+ Ms. Stephanie Blank Starr Moore & the James Starr Moore Memorial Foundation Chairman’s Circle $25,000+ The Antinori Foundation Around the Table Foundation Ann & Jeff Cramer Katie & Reade Fahs Heidi & David Geller David & Carolyn Gould Mr. & Mrs. Douglas Ivester Jesse Killings Daniel Marks & Keri Powell Rosemarie & David Thurston Leadership Circle $15,000+ Ali and Farideh Azadi Maggie Blake Bailey & Andrew Bailey Brian & Jennifer Boutté Jane Jordan Casavant Roxanne & Jeffrey Cashdan Barbara & Steve Chaddick Ellen & Howard Feinsand Doris & Matthew Geller Anne and R. Scott Herren Doug & Lila Hertz Jocelyn J. Hunter Kristie L. Madara Mr. & Mrs. Barry McCarthy Phil & Caroline Moïse Allison & Shane O’Kelly Jane & J. Hicks Lanier Victoria & Howard Palefsky Jeffrey Miller Wade Rakes & Nicholas Miller Patty & Doug Reid Bob & Margaret Reiser

Patricia & Maurice Rosenbaum Linda & Steve Selig Mr. & Mrs. David B. Sewell Ms. Mital Shah William & Margarita Sleeper Mr. & Mrs. E. Kendrick Smith Mark Swinton Tim & Maria Tassopoulos Mr. & Mrs. Art Waldrop Benny & Roxanne Varzi Amy & Todd Zeldin Director’s Circle $10,000+ Anonymous Ms. Kristin Adams Mr. & Mrs. Norman Adkins James Anderson Deborah L. Bannworth & Joy Lynn Fields Deisha Barnett Alba C. Baylin Terri Bonoff & Matthew Knopf Judge JoAnn Bowens Martha & Toby Brooks Madeline Chadwick Mr. & Mrs. Thomas C. Chubb III Ezra Cohen Charitable Fund Miles & Nicole Cook LeighAnn & Chad Costley Joe Crowley & Phil Mack Rick Gestring Marsha & Richard Goerss Timothy Hardy and Allegra Lawrence-Hardy Mr. Wayne S. Hyatt Malvika Jhangiani Anne & Mark Kaiser John C. Keller Matthew Kent and Joseph Miller Mr. James Kieffer James & Lori Kilberg Brian & Carrie Kurlander Dr. & Mrs. John Lee Ms. Evelyn Ashley & Mr. Alan B. McKeon Dori & Jack Miller Paul Pendergrass & Margaret Baldwin Mark Perlberg

Jamal & Tiffany Powell Mr. & Mrs. Asif Ramji Matt Richburg Robyn Roberts & Kevin Greiner Dean DuBose & Bronson Smith Dr. & Mrs. Dennis Lee Spangler Lynne & Steve Steindel Carol & Ramon Tomé Family Fund Dana & Obi Ugwonali Waffle House Ms. Kathy Waller & Mr. Kenny Goggins Mark & Rebekah Wasserman Ramona & Ben White Suzy Wilner BENEFACTORS $5,000+ Liz Armstrong Lisa & Joe Bankoff Mr. & Mrs. Roland L. Bates Ken Bernhardt & Cynthia Currence Natalie & Matthew Bernstein Franklin & Dorothy Chandler Ann & Jim Curry Linda & Gene Davidson Diane Durgin Eve Joy Eckardt Mr. Fredric M. Ehlers & Mr. David Lile Kathy & Jason Evans Dr. Cynthia J. Fordyce & Sharon Hulette Dr. & Mrs. Marvin Goldstein Tad & Janin Hutcheson In honor of Carol Jones* Burelle Meeks Mr. & Mrs. Norman J. Radow Paula Rosput Reynolds & Stephen Reynolds Mr. George Russell, Jr. & Mrs. Faye Sampson-Russell Alan & Cyndy* Schreihofer Brian Shively & Jim Jinhong Charlita Stephens & Delores Stephens

38 | encore Maria-Ruth Storts Chuck Taylor & Lisa CannonTaylor Julie Teer Ms. Cathy Weil Marjan & Navid Yavariri $2,500 Anonymous Dr. & Mrs. Raymond Allen Ellen Arnovitz Ron & Lisa Brill Charitable Trust Mr. & Mrs. W. Kent Canipe Candace Carson Rita & Ralph Connell Marcia & John Donnell The Robert S. Elster Foundation Mr. & Mrs. Paul A. Flexner Mrs. Anuja Gagoomal & Dr. John Stites Karen & Andrew Ghertner Mr. David F. Golden Dr. & Mrs. John B. Hardman Ariana L. Hargrave Bryan & Carrie William David Heinsch Henry & Etta Raye Hirsch Heritage Foundation Mr. & Mrs. J. Michael Hostinsky Linda & Richard Hubert Jason & Laurie Jeffay Mr. & Mrs. Wyatt T. Johnson Leonard Lee Lloyd and Mary* McCreary Hala & Steve Moddelmog Joan Netzel & John Gronwall Mr. & Mrs. Travis Newberry Peg Petersen Sam & Barbara Pettway Ali & Layla Rahimi, ALYKA Health Don & Rosalinda Ratajczak Ms. Kristin L. Ray Dana Rice Mr. & Mrs. Mark Rosenberg Rein & Jane Saral Sharon & David Schachter Ms. Donna Schwartz Kashi Sehgal Mallie Sharafat Mr. & Mrs. S. Albert Sherrod David Shih Henry N. & Margaret P. Staats Chandra Stephens-Albright & Warren Albright Judith & Mark Taylor The Zaban Foundation

$1,500+ Anonymous Trent Anderson & Leandro Zaneti Dr. Aubrey Bush & Dr. Carol Bush Karen and Harold Carney Melodie H. Clayton Susan & Ed Croft Gail Crowder & Claude Wegscheider Celeste Davis-Lane Tim & Tina Eyerly Marie and Brad Foster Sandeep Goyal & Taylor England Della & Theo Guidry Warren M. Gump Mrs. Elaine L. Hentschel Ashley & Elton James Boland & Andrea Lea Jones Randy & Connie Jones Mark Keiser Andjela & Michael Kessler Dr. David Long, Jr. & Starane Shepherd Judith Lyon & Ron Bloom Greg & Gillian Matteson Fabienne Moore Clair & Thomas Muller Denis & Leah Ng John & Helen Parker Mr. & Mrs. Armond Perkins Dr. Denise Raynor Lois & Don Reitzes Dr. & Mrs. Fredric Rosenberg Deborah W. Royer Ms. Amy Speas Dr. & Mrs. Harry Strothers Stan & Velma Tilley Ms. Avril Vignos Mr. & Mrs. Glenn Weiss Penn & Sally Wells Kim Boldthen & Carolyn Wheeler Adrienne Whitehead William & Nancy Yang PATRONS $1,000+ Anonymous Reza Abree Dawn & Michael Adamson Mr. E. Scott Arnold Mr. George T. Baker Jay Bernath Jill Blair and Fay Twersky Robert Blondeau & Kristen Nantz, in memory of Betty Blondeau Russell Michelle Burdick

Dr. & Mrs. S. Wright Caughman David Cofrin & Christine Tryba-Cofrin Richard & Grecia Cox Howard & Ellen Eisenberg Dr. Azy Esfandiari, City Springs Dental Studio Dr. Marla Franks & Rev. Susan Zoller Richard Goodjoin & Kelvin Davis Louise S. Gunn Ms. Jo Ann Haden-Miller Anna & Hays Mershon Drs. Cathie & Hugh Hudson Ms. Floria Izadi Veronica Kessenich Amy & Jeremy King Mr. & Mrs. Asghar Memarzadeh Stacia Minton Mr. Kasra Naderi & Mrs. Arezoo Akhavan Debbie & Lon Neese Ryan Roemerman Ms. Kerri Sauer Jane E. Shivers Michelle & Gary Simon Andrea Strickland & N. Jerold Cohen Nossi Taheri & Hope Vaziri Dr. & Mrs. Kenneth G. Taylor Lynne Winship

THE WOODRUFF CIRCLE Woodruff Circle members have contributed more than $250,000 annually to support the arts and education work of the Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these partners who lead our efforts to help create opportunities for enhanced access to the work.

$1,000,000+

THE

*

IMLAY

*

*

F O U N D A T I O N

*

*

A Friend of the Atlanta Symphony Orchestra Anonymous* Elizabeth Armstrong* Around the Table Foundation* Douglas J. Hertz Family Foundation* Patty & Doug Reid*

* *

$500,000+ A Friend of the Atlanta Symphony Orchestra The Antinori Foundation Bank of America* Chick-fil-A Foundation | Rhonda & Dan Cathy

Emerald Gate Charitable Trust* The Home Depot Foundation Sarah & Jim Kennedy Suzy Wilner*

$250,000+ Accenture AT&T Foundation Farideh & Al Azadi Foundation The Molly Blank Fund The Halle Foundation Invesco QQQ Novelis, Inc. The Rich’s Foundation

The Shubert Foundation Truist Trusteed Foundations: Walter H. and Marjory M. Rich Memorial Fund and Truist Trusteed Foundations: The Greene-Sawtell Foundation UPS WestRock

THE BENEFACTOR CIRCLE Benefactor Circle members have contributed more than $100,000 annually to support the arts and education work of the Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these partners who lead our efforts to help create opportunities for enhanced access to the work.

$100,000+ 1180 Peachtree A Friend of the Atlanta Symphony Orchestra ACT Foundation Alston & Bird Anonymous* Atlantic Station The Helen Gurley Brown Foundation Cadence Bank City of Atlanta Mayor’s Office of Cultural Affairs The Community Foundation for Greater Atlanta Cousins Foundation Ann & Jeff Cramer* Sheila Lee Davies & Jon Davies Reade & Katie Fahs* Barney M. Franklin & Hugh W. Burke Charitable Fund Fulton County Board of Commissioners Georgia Council for the Arts Georgia-Pacific Estate of Burton M. Gold Google Graphic Packaging International, Inc.

John H. & Wilhelmina D. Harland Charitable Foundation Mr. & Mrs. Hilton H. Howell, Jr. Jocelyn J. Hunter* Jones Day Foundation & Employees Kaiser Permanente Abraham J. & Phyllis Katz Foundation King & Spalding, Partners & Employees The Sartain Lanier Family Foundation* Charles Loridans Foundation, Inc. Lululemon The Marcus Foundation, Inc. The Sara Giles Moore Foundation National Endowment for the Arts Amy W. Norman Charitable Foundation Northside Hospital Bob & Margaret Reiser* Southern Company Gas Carol & Ramon Tomé Family Fund Warner Bros. Discovery Kelly & Rod Westmoreland Ann Marie & John B. White, Jr. wish Foundation

*A portion or entirety designated to Capital and/or Endowment commitments

encoreatlanta.com

| 41

ALLIANCE THEATRE MONTHLY SUSTAINER SOCIETY We would like to thank our donors who have committed to giving us a recurring monthly donation to the Alliance Theatre Annual Fund.

Join today: www.alliancetheatre.org/sustainer Dr. & Mrs. Marshall Abes Mr. Faraz Ahmed Mr. E. Scott Arnold Dr. Evelyn R. Babey Dr. Deloris Bryant-Booker Mr. Lee Burson & Mr. Dean Jordan Mr. Brandon Bush Karen & Harold Carney David Cashman Elizabeth Corrie Mr. & Mrs. Lawrence R. Cowart Mr. Christopher Cox Gray & Marge Crouse Mamie Dayan-Vogel & Steven Vogel Nash Ditmetaroj Malaika Dowdell Mr. & Mrs. David Felfoldi Eric & Leah Fisher Brenda Fleming Les Flynn Christine & Andrew Fry

Emmanuel Glaze Caroline Gold Katie Goodman Bryant Gresham & Alexander Bossert Shauna Grovell Ms. Jo Ann Haden-Miller & Mr. William Miller Penn Hansa Lindsey E. Hardegree Ms. Linda L. Hare & Mr. Gerald Barth Campbell & Leila Hastings Dr. & Mrs. David M. Hill Becca Hogue Karen Jones Kelley J. Jordan-Monné Mr. & Mrs. Stephen Kalista Amy & Jeremy King Mr. & Mrs. Andrew Kraft Andrea W. Lawrence Ms. Lauren Linder & Mr. Jonathan Grunberg Christian & JoJasmin Lopez

Ms. Alison Main Ms. Jaime McQuilkin Heather & Jim Michael Lori & Jonathan Peterson Ms. Kendrick Phillips Marion Phillips Marc & Jean Pickard Dana & Jacqueline Powe Brenda Pruitt Barbara Schreiber Tom Slovak & Jeffery Jones Charles Thompson Ms. Stephanie Van Parys & Mr. Robert A. Cleveland Ben Warshaw Caitlin Way David & Amy Whitley Mr. & Mrs. Napoleon A. Williams

Become a donor and join us for the best of times ...

Scan to learn more about the benefits of your generosity.

42 | matchinggifts&legacysociety MATCHING GIFT COMPANIES Many companies offer a matching gifts program for employees and retirees. You can double, or even triple, your gift at no additional cost to you simply by asking your employer! Think of how much further your donation can go.

We would like to thank the following companies who have matched contributions to the Alliance Theatre Annual Fund. To find out more about matching gifts, contact Emma Seif at emma.seif@alliancetheatre.org.

AIG Corporation American Express Aon Risk Solutions The Arthur M. Blank Family Foundation AT&T Bank of America/Merrill BlackRock Bryan Cave-Powell Charles Schwab & Co., Inc. Chubb Charitable Foundation The Coca-Cola Company Deloitte Equifax Inc. Foundation John and Mary Franklin Foundation GE Energy

Georgia Power Goldman Sachs Matching Gift Goldstein Google Hearst Foundations Home Depot Foundation Honda Motor Co. IAC, Inc IBM JPMorgan Chase Kimberly-Clark Lynch Macy’s Foundation McDonald’s Corporation McMaster-Carr Supply Microsoft Corporation Norfolk Southern Corporation

Principal Financial Group Foundation Prudential Financial Publix Super Markets Salesforce.com, Inc. Sprint SunTrust Foundation Thrivent Financial for Lutherns Veritiv Corporation Verizon Corporation The Walt Disney Company Wells Fargo Yahoo!

LEGACY SOCIETY Celebrating our supporters who have made a legacy gift to the Alliance Theatre.

The Legacy Society celebrates individuals who have made a planned gift to the Alliance Theatre. Making a planned gift is a wonderful way to show your support and appreciation for the Alliance Theatre and its mission, while accommodating your financial, estate planning and philanthropic goals. With smart planning, you may increase the size of your estate and/or reduce the tax burden on your heirs. Just as important, you will know that you have made a meaningful and lasting contribution to the Alliance Theatre.

To learn more about the Legacy Society, please contact Lindsay Ridgeway-Baierl at lindsay.ridgeway-baierl@alliancetheatre.org.

Anonymous Rita M. Anderson Roland & Linda Bates Kathy* & Ken Bernhardt Anne & Jim Breedlove Ezra Cohen Ann & Jeff Cramer Susan & Edward Croft Sallie Adams Daniel Linda & Gene Davidson Terry & Stacy Dietzler Diane Durgin Elizabeth Etoll Ellen & Howard Feinsand James Edward Gay* Laura & John Hardman

Nancy & Glen Hesler P.J. Younglove Hovey David A. Howell* Lauren & David Kiefer David Kuniansky Virginia Vann* & Ken Large Edith Love* Lauren & John McColskey Anna & Hays Mershon Caroline & Phil Moïse Winifred & Richard Myrick Victoria & Howard Palefsky Armond & Sharon Perkins Jam Pomerantz Helen M. Regenstein* Margaret & Robert Reiser

Betty Blondeau-Russell* Tricia & Neal Schachtel Debbie* & Charles Shelton III Jane E. Shivers Roger Smith & Christopher Jones* Ron* & Kathy Tomajko Lee Harper & Wayne Vason Terri & Rick Western Ramona & Ben White * deceased

staff ARTISTIC Jennings Hertz Artistic Directors . . . Tinashe Kajese-Bolden, Christopher Moses Producer & Casting Director . . . . . . . . . . . . . . . . . . . . . . . . Jody Feldman Casting Associate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brant Adams Distinguished Artist in Residence . . . . . . . . . . . . . . . . . . . . . . Pearl Cleage Associate Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amanda Watkins BOLD Producing Associate . . . . . . . . . . . . . . . . . . . . . . . . . . . Kay Nilest Spelman Leadership Fellows . . . . . . . . . . . . . Assata Amankeechi, Jayla Dyas Spelman Leadership Interns . . . . . . . . . . . . Shaelyn Mullins, Kerrington Griffin, Asili Johnson Kenny Leon Intern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Morgan Yhap Cristo Rey Intern . . . . . . . . . . . . . . . . . . . . . . . . . . .Diana Morales Joaquin Reiser Lab Artists Round 9 . . . . . . . . . . . . . . . . . . . Justen Ross aka Domino Juicy Balenciaga.

N’yomi Stewart aka Omi Juicy Balenciaga, Jade Maia Lambert, Ipek Eginli, Sara Ghazi Asadollahi, Juana Farfán, Anterior Leverett, Damian Lockhart, Jasmine Waters Production Management Director of Production . . . . . . . . . . . . . . . . . . . . . . . . . Lawrence Bennett Associate Directors of Production . . . . . . . . . . Courtney O’Neill, Haylee Scott Costumes Costume and Wardrobe Director . . . . . . . . . . . . . . . . . . . . . . Laury Conley Associate Costume Shop & Wardrobe Director . . . . . . . . . . . . Melanie Green Design Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Summer Barnes Drapers . . . . . . . . . . . . . . . . . . . . . . . . . . Tonja Petersen, Cindy Lou Who Crafts Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Diana L. Thomas 1st Hands/Stitchers . . . . . . . Lyudmila Fesenko, Brett Parker, Margaret Tennant Wardrobe Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hauzia Conyers Wardrobe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monica Speaker Wig Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lindsey Ewing Electrics Director of Lighting & Projections . . . . . . . . . . . . . . . . . Rachael N. Blackwell Associate Director of Lighting & Projection . . . . . . . . . . . . . . . .Steve Jordan Staff Electricians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Joy Diaz Properties Props Department Director . . . . . . . . . . . . . . . . . . . Suzanne Cooper Morris Props Artisans . . . . . . . . . . . . . . . . . . . . .Kathryn Andries, Bruce Butkovich Props Artisan/Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . Kimberly Townsend Scenery Technical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kyle Longwell Associate Technical Directors . . . . . . . . . . . . . . . Rigel Powell, Luke Robinson Shop Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patrick Conley Lead Welder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chris Seifert Carpenters . . . . . . . . . . . . . . . . Kevin Dyson, Parker Ossmann, Marlon Wilson Charge Scenic Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kat Conley Scenic Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amanda Nerby Sound Sound Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Clay Benning Assistant Sound Director . . . . . . . . . . . . . . . . . . . . . . . . . . Aaron Vockley Sound Engineers . . . . Tamir Eplan-Frankel, Emma Mouledoux, Graham Schwartz Stage Management Stage Managers . . . . . . . . . . . . . . . . . . . . . Liz Campbell, Rodney Williams, Barbara Gantt O’Haley National Vision Stage Management Fellow . . . . . . . . . . . . . . . . . . . . Mesa Stage Management Production Assistants . . . . . . . . . . Samantha Honeycutt, LaMarr White, Jr Stage Operations Stage Operations Manager . . . . . . . . . . . . . . . . . . . . . . . . . . Scott Bowne Assistant Stage Operations Manager . . . . . . . . . . . . . . . . . . . Kate Lucibella Flyman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Willie Palmer Parks Automation Stagehand . . . . . . . . . . . . . . . . . . . . John Victor Mouledoux Jr. Crew Chief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bryan Perez Properties Stagehand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Skylar Burks

EDUCATION Dan Reardon Director of Education . . . . . . . . . . . . . . . . Christopher Moses Naserian Foundation Head of Early Childhood Programs . . . . . . . . . . . . . . . . . . . . . . . Hallie Angelella Head of Youth & Family Programs . . . . . . . . . . . . . . . Olivia Aston Bosworth Head of Secondary Curriculum & Partnerships . . . . . . . . . . . . . . . . Liz Davis Education Accounting Assistant . . . . . . . . . . . . . . . . . . Isabella Aguilar Irias Administrative & Adult Program Manager . . . . . . . . . . . . . . Robert Hindsman Camp Administrative Manager . . . . . . . . . . . . . . . . . . . . .Jayson T. Waddell Head of Strategic Initiatives . . . . . . . . . . . . . . . . . . . . . . . . Aierelle Jacob Alliance@Work Creative Director . . . . . . . . . . . . . . . . . . . . . . . . . J. Noble Alliance@work Sales Associate . . . . . . . . . . . . . . . . . . . . . . . Sarah Prewitt Head of Elementary School Programs . . . . . . . . . . . . . . . . . Rebecca Pogue Out of School Program Manager . . . . . . . . . . . . . . . . . . . . Robyn A. Rogers Artist in Residence & Teen Program Manager . . . . . . . . . . . . Sam Provenzano

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Resident Artist & Allyship Program Director . . . . . . . . . . . . . . Maya Lawrence Head of Education Advancement . . . . . . . . . . . . . . . . . . . . . .Kristen Silton Education Production Coordinator . . . . . . . . . . . . . . . . . . . . . Jay Williams Teaching Artist Liaison . . . . . . . . . . . . . . . . . . . . . . . . . . . .Blake Fountain BIPOC TVY Stage Management Fellow . . . . . . . . . . . . . . . .Autumn Stephens Teaching Artists Jae Ahn, Jimez Alexander, Will Amato, Chase Anderson, Jasmine Anthony, Ricardo Aponte, Imani Banks, Kim Bowers-Rheay Baran, Olivia Aston Bosworth, Jared Brodie, Chelsea Brown, Lon Bumgarner, Sara Burris, Dan Caffrey, April Andrew Carswell, Katie Causey, Lina Chambers, Hannah Lake Chatham, Hannah Church, Megan Cramer, Kelly Criss, Nakeisha Daniel, Peyton McDaniel Davis, Theresa Davis, Shelli Delgado, Sarah Donnell, John Doyle, Laurin Dunleavy, Suehyla El-Attar, Amitria Fanae, Shelby Folks, Sharon Foote, Spencer Ford, Daryl Funn, Allison Gardner, Neeley Gossett, Ilasiea Gray, Meg Grey, Amber Hamilton, Meg Harkins, Robert Hindsman, Julissa Sabino Hobbs, Deja Holmes, Renita James, Meg Johns, Kendra Johnson, Carole Kaboya, Ashe Kazanjian, Chris Lane, Maya Lawrence, Antonia LeChe, Anja Lee, Kathleen Link, Amy Lucas, Ansley Lynn, Christian Magby, Barry Stewart Mann, Cara Mantella, Gloria Martin, Mari Martinez, Dalyla McGee, Candy McLellan, Karin Mervis, Erika Miranda, Mary Moccia, Courtney Moors-Hornick, Amanda Wansa Morgan, Jenna Jackson Morris, Kevin Moxley, Audrey Myers, JD Myers, Patrick Myers, Amor Owens, Mary Michael Patterson, Tafee Patterson, Sydney Patton, Zuri Petteway, Rebecca Pogue, Michelle Pokopac, Samantha Provenzano, V Reibel, Morgan Rysdon, Daniela Santiago, Riley Schatz, Erin Schaut, Avery Sharpe, Caitlin Slotnick, Alexandria Joy Smith, Lucy Smith, Taryn Spires, Destiny Stancil, Autumn Stephens, LeeAnna Lambert Sweatt, Megan Tabaque, Jasmine Thomas, Callie Timme, Sariel Toribio, Ebony Tucker, Julia VanderVeen, Jeremy Varner, José Miguel Vasquez, Rachel Wansker, Megan Wartell, Andrea Washington, Davia Weatherill, Ayana Williams, Jay Williams, Vallea Woodbury, Melissa Word Teen Ensemble Members Lily Erera, Jordyn Nelson, Malachi S Chaney, Ella Grace Pavlovsky, Simon Link, Helena Skylark Denton, Haley Smith, Sam Yates, Cordelia O’Bradovich, Minnah Dunlap, Abigail May Watson, Ella Dameron, August Marks, Caleb Vaughn, Kennedy O’Neil, Anna Schwartz, Julianna Grace Pillsbury, Caroline Chu, Tomi Fawehinmi, Sophia Sánchez, Adler Horstemeyer, Ronnie McCoy, Morgan Stamper, Bailey Rodgers, Aria Armstead, Sage Mae

MANAGEMENT Managing Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mike Schleifer Company Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laura Thruston Assistant Company Manager . . . . . . . . . . . . . . . . . . . . . . . . . . Sara Cook Administration & Finance Director of Finance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Valerie Thomas IDEA Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TeKeyia Amaru Rice Controller & Head of Administration . . . . . . . . . . . . . . . . . . . Elecia Crowley Accounting Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julie Hall Accounts Payable Lead . . . . . . . . . . . . . . . . . . . . . . . . . . Sharette Driver Associate Director, Data Operations & Strategy . . . . . . . . . . Christina Dresser Management Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . Joseph Quintana Development Director of Development . . . . . . . . . . . . . . . . . . . . . . . . . Trent Anderson Associate Director, Corporate Partnerships . . . . . . . . . . . . . . .Natalie Adams Manager, Board Relations & Special Events . . . . . . . . . . . . . Kailan Daugherty Associate Director, Strategic Institutional Advancement . . . . . Collins Desselle Coordinator, Development Operations & Institutional Giving . . . . . . . . . . . . . . . . . . . . . . . . Tanesha Ferguson Director of Individual Giving . . . . . . . . . . . . . . . . . . . . . Edward McCreary Manager, Individual Giving . . . . . . . . . . . . . . . . . . Lindsay Ridgeway-Baierl Manager of Annual Fund & Donor Relations . . . . . . . . . . . . . . . . . Emma Seif Marketing & Patron Services Director of Marketing & Communications . . . . . . . . . . . . Kathleen Covington Manager of Web & Digital Communications . . . . . . . . . . . . . . . . Anna Birtles Marketing & Promotions Coordinator . . . . . . . . . . . . . . . . . . . .Ashley Elliott Graphic Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Felicity Massa Marketing & Public Relations Manager . . . . . . . . . . . . . . . .Mashaun D. Simon Social Media Manager & Content Producer . . . . . . . . . . . . . . . . Aniska Tonge Associate Director of Data & Ticketing . . . . . . . . . . . . . . . . . . Danielle Hicks Patron Services Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . Genesis Gates Patron Services Coordinators . . . . . . . . . . . . . . . Andi Stanesic, Maiya Moran Patron Services Associates . . . . . . . . . . . . . James McCune, Sydney Michelle, Zuri Petteway, Natalie Brown Box Office Associate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Posada Season Ticket Concierge . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ken McNeil Education Sales Coordinator . . . . . . . . . . . . . . . . . . . . . .Quintara Johnson Group Sales & Student Matinee Manager . . . . . . . . . . . . . . . . . Jocelyn Rick Group Sales & Student Matinee Coordinator . . . . . . . . . . . . . . Chelsea Street Lead Front of House Managers . . . Lauren Alexandra, Robyn E. Sutton-Fernandez House Managers . . . . . . . . . . . . . . . . . . Barbara O’Haley, Brittany Mangham, Phillia Prior, Leah Thomas