WELCOME
FOUNDER, ARTISTIC DIRECTOR
VINCENT M. LANCISI
Welcome,
When I first heard there was a new adaptation of Gaslight for the stage, I couldn’t wait to get my hands on the script. After all, Gaslight is such an iconic play and film. And I know how much our audiences love a good thriller. I fell in love with this adaptation right away. If you’re a fan of the original, I think you’ll love this incantation even more. In fact, Everyman Theatre was one of the first to request the rights to produce this version in the country so I could get it on our stage as soon as possible.
By now, most of you know that Everyman has been producing thrillers during the holiday season. Our audiences enjoy coming out to see a good mystery with their friends and families this time of year. Our holiday thrillers are a wonderful alternative to the traditional holiday themed plays you find in many theatres this time of year. It’s not meant to replace plays like The Christmas Carol, but to augment them. So, if you’re interested in being thrilled this time of year, please spread the word amongst your circle to come on down to Everyman to see Deceived.
Up next at Everyman is the world premiere of Dawn by Tuyết Thị Phạm. Many will remember her first play, Dinner and Cake, which was very popular here at Everyman. Tuyết is known for her dynamic and powerful writing on the topics of family, culture, and identity. Dawn is an inter-generational story about a mother and daughter struggling to confront their legacy of love and loss and their differing beliefs as survivors of the Khmer Rouge. This play will have you on the edge of your seat and will transport you into a world filled with reconciling the past and finding a path toward healing and the future. Don’t miss Dawn. You can purchase tickets now and it runs Feb 1 – Mar 1.
Thank you for coming to Deceived and enjoy the show.
Vincent Lancisi Founder, Artistic Director
OUR MISSION
Everyman Theatre provides transformative experiences through professional theatre that are welcoming, relevant, and affordable to everyone, featuring a Resident Company of Artists.
MANAGING DIRECTOR
MARISSA LAROSE
Welcome to Everyman!
While society has progressed in so many ways since the original script of Gaslight in 1938, I find it a testament to the power of art that this story is as compelling today as when it first ran on Broadway back in 1941 and inspired the classic Hollywood movie Gaslight in 1944 – a film that brought home two Academy Awards! Now with this new adaptation called Deceived, adjusting with the progression of society to give more agency to Bella, we are just as compelled. In fact, almost nine decades later, the term “gaslighting” has become such a common word infused in our social lexicon that Merriam-Webster named it the word of the year in 2022 – the same year this adapted script premiered.
It is incredible to consider such an enduring story began with a playwright and a theater. Unlike traveling shows intended to attract the masses or commercial Broadway runs that cater to tourists, Everyman is a regional theater – meant to be built by people who live and work in this community for our neighbors to connect with and enjoy. The staff, artists, audiences, and partners of Everyman come together to produce great art that both entertains and inspires. It is why, with your love and support, our nonprofit theater continues to deliver transformative experiences for Baltimore, strengthening our connections one story at a time.
During this holiday season, please remember that we cannot do this alone. Every dollar you spend or donate makes a real difference.
• Consider a donation in honor of someone you love.
• Purchase a holiday gift from our merchandise shop.
• Give the gift of an experience with a gift card to Everyman.
• Stay local and shop local - help spread the love of Everyman far and wide.
As 2025 comes to an end and Everyman prepares to transition into the new year, I am grateful that the Baltimore arts community remains a beacon of hope and pride for all who live, work, and visit our charm city. We are proud to be #BuiltInBaltimore at Everyman, and with your support, we will continue to strengthen Baltimore together.
Enjoy the show!
Marissa LaRose Managing Director
adapted from GASLIGHT by PATRICK HAMILTON
by JOHNNA WRIGHT
Directed
and PATTY JAMIESON
by VINCENT M. LANCISI
CAST
ELIZABETH
DEBORAH HAZLETT
BELLA
KATIE KLEIGER
JACK ZACK POWELL
NANCY
EM WHITWORTH
RUNTIME: 2 hours and 35 minutes, including a 15 minute intermission.
SETTING: The sitting room of a middle-class house in a square in London, 1911
Opening Night Sponsor
CREATIVES
SCENIC DESIGN
DANIEL ETTINGER
COSTUME DESIGN
DAVID BURDICK
LIGHTING DESIGN
HAROLD F. BURGESS II
SOUND DESIGN
SUN HEE KIL
WIG DESIGN
DENISE O'BRIEN
DIALECTS
GARY LOGAN
FIGHTS & INTIMACY
Resident Company Member
LEWIS SHAW
STAGE MANAGER
CAT WALLIS
The Cast and Stage Manager are members of the Actors' Equity Association.
“Deceived” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com
This adaptation based on Patrick Hamilton’s Gaslight was originally produced at the Shaw Festival Theatre (Ontario, Canada) in 2022. It received its US premiere at the Maltz Jupiter Theatre (Florida, USA) in 2024.
The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under United States copyright law.
CAST BIOS
DEBORAH HAZLETT [she/her] (Elizabeth) [EVERYMAN THEATRE]: (Resident Company Member): Over 40 productions, including POTUS, A Midsummer Night’s Dream, The Lion in Winter, Agatha Christie’s Murder on the Orient Express, Everything is Wonderful, Sweat, Long Day’s Journey Into Night, Noises Off, The Roommate, Death of a Salesman, Private Lives, Ghosts, Frankie and Johnny in the Clair De Lune [REGIONAL]: Arena Stage: A Time to Kill; Playmaker’s Repertory Theatre: Frozen; Syracuse Stage: BUG; Signature Theatre: CRAVE, Blue Room; Woolly Mammoth: Appropriate, BUG; Folger Theatre: Hamlet, A Midsummer Night’s Dream; The Shakespeare Theatre Company: eight productions including Henry IV Parts I and II, The Taming of the Shrew, Macbeth, and Twelfth Night; Theater J: Something You Did; Round House: NSFW, Crown of Shadows; Olney Theatre Center: Rabbit Hole, Over the Tavern, Death of a Salesman. [TV/FILM]: Law and Order, Homicide, Young Americans [EDUCATION]: MFA Acting, University of South Carolina. Certicifated teacher of the Alexander Technique, AT Midatlantic, AmSAT.
KATIE KLEIGER [she/her] (Bella) [EVERYMAN THEATRE]: (Resident Company Member): POTUS, Crumbs from the Table of Joy, Sense and Sensibility, Steel Magnolias, Baltimore, It’s Me, Proof, Importance of Being Earnest, and Dancing at Lughnasa. [OFF-BROADWAY]: McKittrick Hotel: Sleep No More; New York City Center: Ring Twice for Miranda; Soho Playhouse: The Fall [REGIONAL]: Arena Stage: Death on the Nile (Premiere), Mosaic Theater Company: Unseen; Rep. Theatre of St. Louis: Pride and Prejudice; Philadelphia Theatre Company: Everything is Wonderful; Studio Theatre: White Noise, The Wolves, The Effect; Round House Theatre: Book of Will, Miss Bennet; Guthrie Theatre: Juno & The Paycock, Blue Stockings. [AWARDS]: St. Louis Theater Circle Award for Best Actress in a Comedy (Elizabeth Bennet in Pride & Prejudice), Helen Hayes Award for Outstanding Ensemble (The Wolves). [TRAINING]: University of Minnesota/Guthrie BFA Actor Training Program. She is also a singer/songwriter, and her music can be found on Spotify, Apple Music, and all other streaming platforms.
ZACK POWELL [he/him] (Jack) [EVERYMAN THEATRE]: (Resident Company Member): The Mystery of Irma Vep, Edward Albee's Who's Afraid of Virginia Woolf?, A Midsummer Night's Dream, The Book Club Play, The Sound Inside, The Lion in Winter, Sense and Sensibility, The Skin of Our Teeth. [REGIONAL]: Woolly Mammoth/ Company One Co- Pro: The Great Privation; The Cleveland Playhouse: Sherwood: The Adventures of Robin Hood (Robin Hood); The Shakespeare Theatre Co.: Red Velvet, Dunsinane; The Kennedy Center: Silvain, Shear Madness (500+ performances); Alabama Shakespeare Festival: A Christmas Carol, Macbeth, A Midsummer Night’s Dream; Round House Theatre: The Legend of Georgia McBride (Georgia McBride); Washington Stage Guild:
CAST BIOS
Arms and the Man; Rep- Stage: E2 (Edward II); Theater J: The Last Night of Ballyhoo; The Folger Theatre: A Midsummer Night’s Dream; The Utah Shakespeare Festival: King John, The Tempest, Twelfth Night, Taming of the Shrew, Measure for Measure, Henry IV Pt 2, South Pacific, and Sherlock Holmes: The Final Adventure; Illinois Shakespeare Festival: Romeo and Juliet, Twelfth Night, The Winter’s Tale, Othello, As You Like It, Comedy of Errors (TYA); The American Shakespeare Center: Twelfth Night, King Lear, Henry VI Pt 2, Bloody Bloody Andrew Jackson; Off-Square Theatre Co.: Godspell, Cabaret, Cherry Orchard [FILM]: Tapawingo; The Call. [EDUCATION]: MFA in Acting from Illinois State University, BFA in Acting from Wichita State University. Follow my adventures on Instagram: @zackpowellthezactor
EM WHITWORTH [she/her] (Nancy) [NEW YORK]: Taproot Creatives: Without God As My Lover; Bridge Street Theater: Rude Mechanics; American Theater of Actors: The Minotaur; The Tank/ Tier5: The Scouts [REGIONAL]: American Stage: The Figs; Washington Stage Guild: Arms and the Man; Spooky Action Theater: Maple & Vine; Folger Theatre/Theater J: Nathan The Wise; Imagination Stage: The Very Hungry Caterpillar Show; Constellation Theatre: The Master & Margarita, Equus; Forum Theatre: Love & Information, Dry Land, What Every Girl Should Know; Synetic Theater: Midsummer, Much Ado About Nothing, Hamlet... the rest is silence, The Tempest. [TRAINING]: Stella Adler ECO Summer Conservatory, Synetic Theater. Thank you Vinny, cast, crew and staff for warm welcomes and a joyful process. For Dorothy.
MEET THE DIRECTOR
VINCENT
M. LANCISI
VINCENT M. LANCISI (FOUNDER, ARTISTIC DIRECTOR) founded EVERYMAN THEATRE in October of 1990 and has directed 58 productions including Edward Albee's Who's Afraid of Virginia Woolf?, Dial M For Murder, The Sound Inside, The Lion in Winter, Cry It Out, Agatha Christie’s Murder on the Orient Express, Dinner With Friends, Sweat, Aubergine, M. Butterfly, Noises Off, Dot, Death of A Salesman, Under the Skin, Blithe Spirit, Deathtrap, Tribes, The Glass Menagerie, The Beaux’ Stratagem, August: Osage County, You Can’t Take It With You, Stick Fly, All My Sons, Two Rooms, Rabbit Hole, The Cherry Orchard, Doubt, Much Ado About Nothing, The Cone Sister, And a Nightingale Sang, The School for Scandal, A Number, Amadeus, Cat on a Hot Tin Roof, Buried Child, The Last Night of Ballyhoo, A Delicate Balance, Hedda Gabler, Proof, Uncle Vanya and The Last Five Years
As a freelance director, he directed True West for Rep Stage in Columbia, MD. In addition to his work at Everyman, he has taught acting and directing at Towson University, University of Maryland, Catholic University, Howard Community College, and at Everyman Theatre. He is a member of the Society of Stage Directors and Choreographers. Vincent sits on the boards for the Bromo Tower Arts & Entertainment District and the Market Center Merchants Association. Vincent holds his undergraduate degree in Theatre from Boston College and his master’s degree in Directing from The Catholic University of America.
The Director and Cast of Deceived
Vincent M. Lancisi, Founder, Artistic Director | Marissa LaRose, Managing Director
MEET THE PLAYWRIGHTS
JOHNNA WRIGHT
Johnna Wright has always been drawn to theatre for the chance to tell a story that moves and connects people, both to each other and to the storytellers. The daughter of director John Wright and novelist L.R. “Bunny” Wright, she grew up and began her career in Western Canada. In 1990 she and her sister, actor/producer Katey Wright, were co-founders of Vancouver’s Bard on the Beach Shakespeare Festival (now Canada’s largest Shakespeare festival outside of Stratford).
Johnna received her BA in Theatre from UBC, and MFA in Directing from the University of Alberta. With collaborator Aaron Bushkowsky, she then co-founded and ran Vancouver’s Solo Collective Theatre, premiering more than 25 new works by Western Canadian playwrights over nine years.
Johnna is a two-time recipient of Vancouver’s Jessie Richardson Awards for both Outstanding Direction and Outstanding Production, as well as other directing awards. Directing projects include Much Ado About Nothing for Bard on the Beach (2025), Sheridan’s The Rivals for Blackbird Theatre in Vancouver, and Tomson Highway’s The (Post) Mistress, with himself as Musical Director, for Gordon Tootoosis Nīkānīwin Theatre.
As a dramaturg, Johnna has supported the development of dozens of new Canadian plays and playwrights. She also works as an editor for writers of long-form fiction and memoir.
The Three Musketeers, Patty and Johnna’s next play after Deceived (originally titled Gaslight), is now in development. Johnna also wrote The Suspect, an adaptation of her mother’s novel of the same name.
After the many complex challenges faced by live performance in recent years, Johnna believes more than ever in the power of theatre to change the way we see the world, and in the need for audiences to have that experience together.
MEET THE PLAYWRIGHTS
PATTY JAMIESON
Patty Jamieson’s career as an actor/singer/dancer/musician and teacher has taken her to theatres across Canada, the U.S. and Germany. Notably, she has been a member of the Acting Ensemble at the Shaw Festival, Canada’s second largest repertory theatre in Niagara-on-the-Lake, Ontario, for 26 seasons. There she has played roles in over 60 plays, including Ragtime, The Importance of Being Earnest, The Light in the Piazza, The Sea, Sunday in the Park with George, Sweeney Todd, Rope, Happy End, Cabaret, The Women, Major Barbara and Pygmalion.
Patty works with many local arts organizations in her hometown as producer, writer and performer, and teaches arts, music and theatre for Brock University, Music Niagara and Yellow Door Theatre Project. She received her M.Ed. in 2018 and has seen first-hand the power of supporting arts education for students at all levels, teaching in both of Canada’s official languages.
Patty and Johnna continue to collaborate on various writing projects with an interest in bringing out voices that have often not been heard. They are extremely grateful for the support of their families, Playwrights Guild of Canada, Shaw Festival Artistic Director Tim Carroll, and their hardworking literary agent, Colin Rivers.
PATRICK HAMILTON
Patrick Hamilton (1904-1962) was born in Hassocks, Sussex in 1904. He and his parents moved a short while later to Hove, where he spent his early years. He published his first novel, Craven House, in 1926 and within a few years had established a wide readership for himself.
Despite personal setbacks and an increasing problem with drink, he was still able to write some of his best work. His plays include the thrillers Rope (1929) – on which Alfred Hitchcock's film Rope was based – and Gaslight (1939), also successfully adapted for screen in the same year. He also wrote the historical drama The Duke in Darkness (1943).
Among his novels are The Midnight Bell (1929), The Siege of Pleasure (1932), The Plains of Cement (1934), a trilogy entitled Twenty Thousand Streets Under the Sky (1935), Hangover Square (1941) and The Slaves of Solitude (1947). The Gorse Trilogy is made up of The West Pier, Mr Stimpson and Mr Gorse and Unknown Assailant, which were first published during the 1950s.
The Angel in the House Deceived
The following note contains details of the play Gaslight, which is the basis for the adaptation Deceived . Patrons who are not already familiar with the original play or the contemporary use of the term gaslighting may prefer to read this note after experiencing Deceived in production.
Patrick Hamilton’s 1938 play Gaslight created a psychological thriller out of Victorian ideas about gender, dramaturgical conventions of nineteenth-century melodrama, and a household technology that would have been familiar to his audiences. The dominant notions of gender in Victorian England were informed by idealized images, such as that in the title of Coventry Patmore’s narrative poem “The Angel in the House.” In the writing of Patmore and many of his contemporaries, praise for this angelic wife were part of the era’s doctrine of separate spheres in which women were devoted to domestic duties and men expected to serve as protectors and warriors in the public sphere. Hamilton sets his play in the London home of the “suave and authoritative” husband Jack Manningham and his wife, Bella. But the angel in this house is being deceived by the husband who claims to be her protector. He exploits both her affection for him and his authority in the household to convince her to doubt her perceptions and her sanity.
Borrowing a trope from Victorian melodrama, Hamilton sends Bella a heroic figure in the sudden appearance of Rough, a “friendly, overbearing” police inspector. According to Hamilton, Rough “completely dominates the scene from the beginning” as he sets out to convince Bella that her husband is not the person he appears to be and to rescue her from a dangerous situation before it is too late. Central to Rough’s strategic intervention is his effort to prove that the periodic dimming Bella has observed of the titular gaslights is actually evidence of her husband’s deceit. Gaslight has enjoyed enduring popularity in theatrical production, including in the United States under the title Angel Street, and in two subsequent film versions.
Over time, however, Hamilton’s title became less associated with the nineteenth-century technology used in the household and more associated with the strategies Manningham employs to manipulate his wife into questioning her sanity. But gaslight is never uttered as a verb in Hamilton’s Gaslight. According to The Oxford English Dictionary, this use of gaslight did not appear in print until decades later in the 1961 book Culture and Personality by anthropologist A.C. Wallace, who wrote, “It is also popularly believed to be possible to ‘gaslight’ a perfectly healthy person into psychosis by interpreting his own behavior to him
as symptomatic of serious mental illness.” By the 1960s the use of gaslight to mean psychological manipulation had made its way into popular culture, as well as academic literature. Linguist Ben Yagoda offers the evidence of a 1965 episode of Gomer Pyle: USMC in which the troops propose to give a superior officer “The old war on nerves. We’ll gaslight him.”
Over the last decade this definition of gaslight has achieved new prominence and an expanded range of applications. Yagoda’s essay was written in response to its designation as the Most Useful/Likely to Succeed word of the year 2016 by the American Dialect Society. In 2022, the online Merriam-Webster Dictionary saw a 1740 % increase in lookups for gaslighting, the gerund form of the verb, with high interest throughout the year. Gaslighting was subsequently declared the Merriam-Webster Word of the Year. In an article explaining their choice of this word of the year, the authors credit Hamilton’s play with the origin of the term that would eventually be applied to psychological deception. They note, however, that the meaning had expanded from its mid 20th century definition to a broader notion of lies as part of a larger plan. The authors relate its current use to “modern forms of deception and manipulation, such as fake news, deepfake, and artificial intelligence.” Gaslighting now appears in a wide range of personal and political contexts.
But the term still applies to the gender and power dynamics seen in Hamilton’s depiction of a Victorian marriage. Sociologist Paige Sweet has argued that gaslighting is primarily a social phenomenon, and “is effective when it is rooted in social inequalities, especially gender and sexuality, and executed in power-laden intimate relationships” (852). She has studied how gaslighting operates today in situations of domestic violence to remove women’s agency and prevent them from accessing resources to deliver them from danger. Hamilton addressed Bella’s lack of agency in her world by sending a male rescuer with the social power to set things right. But what if there is no one waiting in the wings to rescue us when we have been deceived? Enter the playwriting team of Johnna Wright and Patty Jamieson. In 2022, they revisited Gaslight with an adaptation designed to put Bella at the center of her own story. They removed the character of the police inspector in order to ask new questions: “If no one comes to rescue Bella, what will she do? How will she figure it out herself? Where will she start?”
Robyn Quick Resident Dramaturg
Works Cited
Amato, Danielle Mages. Gaslight Reframed: Adapting a Classic for a Contemporary Audience: An Interview with Patty Jamieson and Johnna Wright, co-adapters of Deceived. https://oldglobe.ihub. app/posts/247878/gaslight-reframed-adapting-a-classic-for-a-contemporary-audience.
“Gaslight, V.” Oxford English Dictionary, Oxford UP, June 2024, https://doi.org/10.1093/OED/1062212612.
Hamilton, Patrick. Angel Street. Samuel French. 2016. Sweet, Paige L. “The Sociology of Gaslighting.” American Sociological Review, vol. 84, no. 5, 2019, pp. 851–75. JSTOR, https://www.jstor.org/stable/48602118.
“Word of the Year 2022.” Merriam Webster Dictionary. https://www.merriam-webster.com/wordplay/word-of-theyear-2022
Yagoda, Ben. “Lingua Franca: How Old is Gaslighting?” The Chronicle of Higher Education. 12 Jan. 2017. https:// www.chronicle.com/blogs/linguafranca/how-old-is-gaslight?sra=true.
OF EVERYMAN THEATRE: THE CRAFTED MAGIC
BEHIND THE SCENES OF PLAYMAKING
What really makes theatre magical? Maybe it’s the moment the lights shift and the world transforms, or when the stage revolve turns and suddenly we’re somewhere new. Maybe it’s the costumes stitched with care, the fog that rolls in on cue, or the way a single sound effect can send chills down your spine. Behind every seamless scene is a crew of makers, dreamers, and doers. The so-called "magic" of theatre comes from hours of rehearsal, gallons of paint, tangled cables, and the steady heartbeat of a team that refuses to quit until the story feels real.
Theatre has always been about transformation, but not just on stage. This past year, 47% of the materials used in creating our 34th Season were repurposed or recycled, part of our ongoing commitment to environmental sustainability. The dedicated production staff you see pictured here are the hands behind that transformation, turning vision into reality night after night.
And transformation doesn’t stop at the set walls — 33 community partners collaborated with Everyman to bring new voices, stories, and perspectives to our stage.
Our Technical Director, Trevor Wilhelms, takes audiences behind the scenes in our social media series (Secrets of the Set) and during backstage donor events to show how the stage magic comes together.
Pictured: Michael Rasinski & Joe Martin
SCAN for additional ways to support Everyman Theatre.
Together, we’re building a theatre that reflects and uplifts Baltimore while creating art responsibly and community intentionally.
From the first spark to the final bow, Everyman Theatre is powered by creativity, collaboration, and care for our craft, our city, and our community. Built by Baltimore, shared with everyone. Thank you for being a part of making the magic happen!
A: Rehearsal shot featuring the lights and projections in a transition for Dinner and Cake
B: Deborah Hazlett, Zack Powell, and Katie Kleiger in rehearsals for Deceived.
C:
D:
Vincent M. Lancisi, Founder, Artistic Director | Marissa LaRose, Managing Director
PHOTO CAPTIONS
(2022).
Harold F. Burgess II, Juan Juarez, and Joseph W. Ritsch during a technical rehearsal.
Early stages of costume building for Deceived in Everyman Theatre's Costume Shop.
CREATIVE TEAM BIOS
DAVID BURDICK (COSTUME DESIGN) [EVERYMAN THEATRE]: (Resident Costume Designer): Recent highlights include, August Wilson’s The Piano Lesson, The Mystery of Irma Vep: A Penny Dreadful, And Then There Were None, POTUS, A Midsummer Night’s Dream, The Book Club Play, Dial M For Murder, Harvey, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, The Lion in Winter, Sense and Sensibility, Behold, A Negress, The Skin of Our Teeth, Flyin West, Steel Magnolias, An Almost Holy Picture, Agatha Christie’s Murder on the Orient Express, and over 20 more productions. [OFF-BROADWAY]: 59E59: The Lucky Star. [REGIONAL]: Baltimore Center Stage: A Wonder in My Soul, Looking Glass Alice, Jazz, Amadeus, Next to Normal, Animal Crackers, The Final Strange Tale of Edgar Allan Poe, An Enemy of the People, The Rivals, Caroline or Change, Mrs. Warren’s Profession, Private Lives, Les Blancs, The Piano Lesson, Picnic, and others. Olney Theatre Center: The Diary of Anne Frank. [OPERA]: Boston Lyric Opera: I Puritani. Cincinnati Opera: Don Giovanni. Tulsa Opera: Tosca, Carmen, The Barber of Seville, Fidelio. Eastman School of Music: The Rape of Lucretia. Dayton Contemporary Dance: Lyric Fire. [OTHER]: Baltimore Symphony Orchestra: Holiday Spectacular.
HAROLD F. BURGESS II (LIGHTING DESIGN) [EVERYMAN THEATRE]: (Resident Lighting Designer): Over 20 productions, highlights include: 'ART', Edward Albee's Who’s Afraid of Virginia Woolf, Primary Trust, And Then There Were None, Queens Girl: Black in The Green Mountains, Dial M for Murder, Jump, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, Sense and Sensibility, Flyin’ West, Pipeline, Radio Golf, Agatha Christie's Murder on the Orient Express, Sweat. [INTERNATIONAL]: Southwark Playhouse (London): The Happiest Man on Earth.[REGIONAL]: Denver Center for the Performing Arts: The Happiest Man on Earth; Cincinnati Playhouse in the Park: Where the Mountain Meets the Sea, Clyde’s; Contemporary American Theatre Festival: Kevin Kling: Unraveled, Magdalene, The Happiest Man on Earth; Signature Theatre: Where the Mountain Meets the Sea; Round House Theatre: Radio Golf, Nine Night, Nollywood Dreams, We’re
Gonna Die, Throw Me On The Burnpile and Light Me Up, A Boy and His Soul, A Doll’s House, Part 2; Studio Theatre: Breath Boom, My Children! My Africa!; Olney Theatre Center: Aubergine, Thurgood, Grounded; Theatre J: Intimate Apparel, Trayf, Broken Glass, Another Way Home, The Sisters Rosensweig, The Hampton Years; Mosaic Theatre Company: Unexplored Interior; Rep Stage: Kill Move Paradise; Northern Stage (VT): A Doll’s House, Part 2, Grounded. [AWARDS]: 2020 Independent Artist Award, Maryland State Arts Council. [TEACHING]: Director, College Park Scholars Arts Program, UMD. [EDUCATION]: MFA, University of Maryland College Park. Member, United Scenic Artists, Local 829. www.haroldburgessdesign.com
DANIEL ETTINGER (SCENIC DESIGN) [EVERYMAN THEATRE]: (Resident Set Designer): Recent highlights include August Wilson’s The Piano Lesson, The Mystery of Irma Vep: A Penny Dreadful, Queens Girl: Black in the Green Mountains, POTUS, A Midsummer Night’s Dream, Dial M for Murder, The World Goes ‘Round, Jump, Crying on Television, Behold, A Negress, The Skin of Our Teeth, Everything is Wonderful, The Importance of Being Earnest [OFF-BROADWAY]: 59E59: The Lucky Star; The Blue Angel Theatre: Pageant; Roundabout Theatre Company: A Man For All Seasons, Room Service; The York Theatre Company: Talley’s Folly, Luv. [REGIONAL]: Woolly Mammoth: You for Me for You, Eclipsed, Vigils, Recent Tragic Events, Kiki and Herb, Starving, The Mineola Twins; Olney Theatre Company: Annie, Mary Poppins, The Piano Lesson, Bakersfield Mist; Rep Stage: Falsettos, All She Must Posses, Dorian’s Closet, H2O, Venus in Fur, Mrs. Warren’s Profession; Barter Theatre: Hamlet, Thoroughly Modern Millie, She Loves Me, and over 100 other productions. Member, United Scenic Artists, Local 829.
SUN HEE KIL (SOUND DESIGN) [she/they] [EVERYMAN THEATRE]: ‘Art’, Agatha Christie's And Then There Were None; [OFF-BROADWAY]: Lincoln Center: N/A; Public, Shake-
speare in the Park: As You Like It; Public: Suffs (Henry Hewes nomination), The Visitor; CSC: I Can Get It For You Wholesale, A Man of No Importance; Little Island: Marriage of Figaro; New Victory: New Victory Dance. [REGIONAL]: Paper Mill Playhouse: Beautiful, Fiddler On The Roof, Sound of Music; Ford’s: Shout Sister Shout; Arena Stage: Exclusion; The Rev: Bonnie & Clyde; Milwaukee Rep: The Heart Seller, Selected Finalist at World Stage Design 2021: Brothers Size; Selected US Exhibit at Prague Quadrennial: Brooklyn Gaze. [ASSOCIATE]: 2018 Pyeong Chang Winter Olympics Opening & Closing Ceremonies; [ASSOC. BROADWAY]: Suffs, Left On Tenth, Choir Boy, Bernhardt/Hamlet, The Rose Tattoo; [ASSOC.OFF-BROADWAY]: New Victory: Emmet Otter; Lincoln Center: Greater Clements; [ASSOC. INTERNATIONAL TOUR]: Dream Girls [TEACHING]: Assistant Professor of Sound Design at Purchase College, SUNY. [EDUCATION]: MFA, College-Conservatory of Music, University of Cincinnati. www.sunheekil.com
GARY LOGAN (DIALECTS) [EVERYMAN THEATRE]: (Resident Dialect Coach): Over 20 productions, highlights include: The Mystery of Irma Vep, Who's Afraid of Virginia Woolf?, A Midsummer Night's Dream, Dial M for Murder, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, Sense and Sensibility, Steel Magnolias, Cry It Out, Agatha Christie’s Murder on the Orient Express, The Importance of Being Earnest, Dancing at Lughnasa, The Book of Joseph, Intimate Apparel, Noises Off, Great Expectations, Death of a Salesman, A Streetcar Named Desire, Outside Mullingar, An Inspector Calls, Blithe Spirit, Ruined, and more. [REGIONAL]: Kennedy Center: Master Class; Signature Theatre: West Side Story, I Am My Own Wife; Arena Stage: A Raisin in the Sun, Frankie and Johnny in the Clair de Lune; Studio Theatre: Moment, Jumpers for Goalposts, Belleville, Tribes, The Real Thing, Venus in Fur, Frozen, An Enemy of the People, Julius Caesar; Chautauqua Theater Company: Henry V, Clybourne Park, Macbeth, Love’s Labour’s Lost, The Winter’s Tale, The Just; Denver Center Theatre Company: Romeo and Juliet, Misalliance, Wit, The Winter’s Tale, Valley Song, The Tempest (over 50 others); [INTERNATIONAL]: The Royal Shakespeare Company and Denver Center Theatre
Company: Tantalus (Sir Peter Hall, director); Stratford Festival of Canada: Twelfth Night, The School for Scandal, The Miser, The Night of the Iguana. [AUTHOR]: The Eloquent Shakespeare (University of Chicago Press) He is the Professor of Speech & Dialects at Carnegie Mellon University.
DENISE O'BRIEN (WIG DESIGN/ HAIR CONSULTATION) [EVERYMAN THEATRE]: Over 20 productions, highlights include: The Mystery Of Irma Vep: A Penny Dreadful, Who's Afraid of Virginia Woolf?, The Book Club Play, Crumbs from the Table of Joy, Dial M For Murder, The Chinese Lady, Harvey, Sense and Sensibility, The Skin of Our Teeth, Steel Magnolias, Berta, Berta, Radio Golf, The Importance of Being Earnest, Everything is Wonderful, Intimate Apparel, Long Days Journey into Night, and more. [REGIONAL]: Baltimore Center Stage: Pride and Prejudice, Amadeus, Animal Crackers, Into The Woods, Matchmaker, Poe: Yale Repertory Theatre: The Moors, Peerless, A Streetcar Named Desire, A Winter’s Tale, These!Paper!Bullets!, Dear Elizabeth, War, Arcadia, Hamlet, Pop, Notes From Underground, Black Dahlia, Eurydice: Helen Hayes Theatre: The 39 Steps: Hartford Stage: Summer And Smoke, 8 x Tenn: The Long Wharf Theatre: Front Page, Private Lives, We Won’t Pay, Travesties, Ain’t Misbehavin’: McCarter Theatre: Uncle Vanya, Phaedra Backwards, She Stoops To Conquer, Mrs. Warren’s Profession: The Public: Measure for Measure: Shakespeare Theatre (DC): Hamlet, King Lear: University Of DE Rep Theatre: To Kill a Mockingbird, Wait Until Dark, Heartbreak House, Millionaires, The Patsy: Westport Playhouse: She Loves Me. Winner of the 2001 Eddy Award for Design Excellence for Seattle Opera’s production of Wagner’s Ring Cycle. Honored by the Daytime Emmy Awards for contributions to the Emmy Award Winning Achievement for Hairstyling Un Ballo In Maschera, PBS. MiddleMarch Films: Dolly Madison, America’s First Lady, PBS.
LEWIS
SHAW (FIGHTS & INTIMACY) [EVERYMAN THEATRE]: (Resident Fight and Intimacy Choreographer): Over 20 productions, highlights include: 'ART', The Mystery of Irma Vep: A Penny Dreadful, Edward Albee's Who's Afraid of Virginia Woolf?,
Agatha Christie's And Then There Were None, Crumbs from the Table of Joy, Dial M For Murder, Harvey, The Sound Inside, Jump, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, The Lion in Winter, Sense and Sensibility, The Skin of Our Teeth, Flyin’ West, Steel Magnolias, Pipeline, Berta, Berta, Sweat, Noises Off, The Beaux Stratagem, Fences, Ruined, Great Expectations and more. [REGIONAL]: Arena Stage: Snow Child, Sovereignty, A Raisin in the Sun. Center Stage: A Skull in Connamarra, Bus Stop, Snow Falling on Cedars, Looking Glass Alice; Washington Opera: Don Giovanni. Shaw is a Certified Teacher with The Society of American Fight Directors and is the owner of Lewis Shaw Fine Dueling Supplies. His stage weapons have been seen in numerous Broadway plays, operas, films and television shows including Head Over Heels, Marvel’s Daredevil, Marvel’s Iron Fist, Aida and The Scarlet Pimpernel.
CAT WALLIS (STAGE MANAGER) [EVERYMAN THEATRE]: (Resident Stage Manager): The Mystery of Irma Vep, And Then There Were None, POTUS, The Book Club Play, Dial M For Murder, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, The Lion in Winter, Crying on Television, Sense and Sensibility, Behold, A Negress, Steel Magnolias, An Almost Holy Picture, Pipeline, Berta, Berta, Be Here Now, Agatha Christie’s Murder on the Orient Express, Radio Golf, Proof, Queen’s Girl in the World, The Importance of Being Earnest, Everything is Wonderful, Dancing at Lughnasa, Aubergine, The Revolutionists, M. Butterfly, Noises Off, Great Expectations, The Roommate, Ghosts, Grounded. [REGIONAL]: Olney Theatre Center: A Comedy of Tenors, Aubergine. Contemporary American Theatre Festival: Did my Grandfather Kill My Grandfather?, Uncanny Valley, Heartless, A Discourse on the Wonders of the Invisible World, Gidion’s Knot, From Prague and Inana (ASM). Delaware REP: Wit, Faust, The Mousetrap, Hamlet, The Threepenny Opera, Anything to Declare?, The Weir, Night of the Iguana, Our Country’s Good, The Skin of Our Teeth, The Cripple of Inishmaan. Seattle Children’s Theatre: The Borrowers, Lyle the Crocodile. Missouri
Theatre: Babes in Arms. Nebraska Rep: The Little Prince, Jakes Women, Dinner with Friends. Tour: Wizard of Oz [Education]: BFA – University of Nebraska, MFA – University of Delaware, PTTP.
DECEIVED PRODUCTION STAFF
ASSISTANT STAGE MANAGER
Olivia Dibble
BACKSTAGE CREW
Sharon Zheng
LIGHT BOARD PROGRAMMER & OPERATOR
Maisie Stone
LIGHT BOARD OPERATOR
Trinity Joseph
RUN CREW
Sharon Zheng
SOUND BOARD OPERATORS
Lanoree Blake
Martin Sundiata
WARDROBE SUPERVISOR
Lucy Wakeland Haag
WARDROBE CREW
Lannoree Blake
This Theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
The director is represented by Stage Directors and Choreographers Society.
The set, lighting, and sound designers are represented by United Scenic Artists, Local USA 829 of the IATSE.
Vincent M. Lancisi, Founder, Artistic Director | Marissa LaRose, Managing Director
EVERYMAN THEATRE RESIDENT COMPANY
ACTORS
Megan Anderson
RJ Brown
Felicia Curry
Deborah Hazlett
Helen Hedman
Paige Hernandez
Beth Hylton
Hannah Kelly
Katie Kleiger
Wil Love
ARTISTS
Tony K. Nam
Bruce Randolph Nelson
Tuyết Thị Phạm
Zack Powell
Kyle Prue
Chinai Routté
Jefferson A. Russell
Carl Schurr
Yaegel T. Welch
Daniel Ettinger | Scenic Design
David Burdick | Costume Design
Harold F. Burgess II | Lighting Design
Pornchanok Kanchanabanca | Sound Design
Gary Logan | Dialects
Lewis Shaw | Fights & Intimacy
Cat Wallis | Stage Management
Robyn Quick | Dramaturgy
WHY DO WE HAVE A RESIDENT COMPANY?
Only a handful of theatres nationwide feature an ensemble of professional actors that perform regularly each season. They are the core of Everyman Theatre. Because of their distinctive familial bond, history and trust of each other, company members can jump deeply into meaningful relationships onstage. Our artists push each other to deliver the highest caliber of work.
Learn more about our Resident Comany members by visitng everymantheatre.org or scanning the QR code.
Actors pictured in order listed below.
BOARD OF DIRECTORS
Everyman Theatre is governed by a dedicated group of community volunteers, our Board of Directors.
EXECUTIVE COMMITTEE
W. Bryan Rakes, President
Mark Paul Lehman, Vice President
Donald Thoms, Secretary
Walter Doggett III, Treasurer
Meadow Lark Washington, CARES Chair Vic Romita, Appointee
DIRECTORS
Anthony Evans
Christian Ventimiglia
Christopher Uhl
Deborah Jennings
Dorothy H. Powe
Drew Tildon Reis
Edie Brown
Eileen O’Rourke
Ellie Wang
Gina Hirschhorn
Jennifer Litchman
Larry Fishel
Leland Shelton
Lisa Harris Jones
Marissa LaRose
Marjorie McDowell
Mark Yost
Michael Styer
Sandy Laken
Sarasi Desikan
Susan Flanigan
Tony Nam
Vincent M. Lancisi
GOVERNMENT, FOUNDATIONS, FUNDS AND CORPORATIONS
Gifts listed here support were received between July 1, 2024 and November 1, 2025
VISIONARY $50,000+
Paul M. Angell Family Foundation
Bertoli-Mansfield Fund
Baltimore County Commission on Arts and Sciences
Downtown Partnership of Baltimore France-Merrick Foundation
Gallagher, Evelius & Jones, LLP
Maryland Department of Education
Maryland Department of Housing and Community Development
Maryland State Arts Council
The Shubert Foundation
William G. Baker, Jr. Memorial Fund creator of the Baker Artist Awards, www.bakerartistawards.org
SEASON PRODUCER
$25,000–$49,999
Galanthus Foundation
Jacob and Hilda Blaustein
Foundation Inc.
David and Barbara Hirschhorn Foundation
National Endowment for the Arts
RESIDENT COMPANY
SPONSOR
$10,000 - $24,999
Abell Foundation, Inc.
American Trading and Production Corporation
BGE
Bunting Family Foundation
Eddie C. and C. Sylvia Brown Family Foundation
Goldsmith Family Foundation
Joseph and Harvey Meyerhoff
T Rowe Price Foundation
Venable Foundation
EXECUTIVE PRODUCER
$5,000–$9,999
Anonymous
Bank of America Foundation
Helen S. And Merrill L. Bank Foundation
Hecht-Levi Foundation
Helen Pumphrey Denit Trust
Phyllis and Joe Johnson Foundation
John J. Leidy Foundation
Lord Baltimore Capital Corporation
Harvey M. Meyerhoff Fund Inc.
Nora Roberts Foundation
Romita Solutions
Earle and Annette Shawe Family Foundation
PRODUCER $2,500–$4,999
Harry L. Gladding Foundation
Lois and Philip Macht Family Philanthropic Fund
ASSOCIATE PRODUCER
$1,000–$2,499
Anonymous
The Mead Family Foundation
Sally S. Decatur and H. Miller Private Foundation
DIRECTOR $250–$999
Actors’ Equity Foundation
Constellation Brands
Taylor Foundation Inc.
MATCHING GIFT COMPANIES
American Trading and Production Corporation
Bank of America
Black & Decker
Exelon Foundation
IBM Corporation
International Monetary Fund
McCormick & Co.
Network for Good
Norfolk Southern
T. Rowe Price
Truist
IN-KIND SUPPORT
City Seeds
Lord Baltimore Hotel
University of Maryland, Baltimore
LEAD CORPORATE PARTNER
MAJOR SUPPORT FROM COVER ART DESIGNED BY Jacob Kemp / TALISMAN
INDIVIDUALS
Gifts listed here support Everyman Theatre's Annual Fund and were received between July 1, 2024 and November 1, 2025
For a complete list of donors starting at the Lead Actor and Playwright Levels ($120+ and above), please visit 'Our Supporters' page on our website.
VISIONARY $50,000+
Susan W. Flanigan* and George Roche
Gina* and Dan Hirschhorn
Irene Mansfield
Bryan* and Jennifer Rakes
SEASON PRODUCER
$25,000–$49,999
Dr. Larry* and Nancy Fishel
Susan W. Flanigan*
James A.C. and Maureen A.
Kennedy Charitable Fund
Susan and John Nehra
Dorothy H. Powe* in Memory of Ethel J. Holliday
Vic* and Nancy Romita
RESIDENT COMPANY SPONSOR
$10,000 - $24,999
Anonymous
Brenda K. Ashworth and Donald F. Welch
Ed and Ellen Bernard
Chris DiPietro
Walter B. Doggett III* and Joanne Doggett
Jennifer C. Engel
Shirley T. Hollander †
Karen and David Hutcheon
Paul Konka and Susan Dugan-Konka
Mark and Sandy* Laken
Charles Lu
Kenneth C. and Elizabeth M. Lundeen
Lisa Harris Jones* and Sean Malone
Mary and Jim Miller
Paco and Tina Rodriguez
Bob and Terri Smith
Michael B. Styer*
Donald* and Mariana† Thoms
Mark Yost* and Kevin Galens
EXECUTIVE PRODUCER
$5,000–$9,999
Shaun Carrick and Ronald Griffin
Diann and David Churchill
Judy Shub-Condliffe and Jack Condliffe
Sarasi Desikan* and Sal Dhanani
Jerry and Carol Doctrow
Curt Lind and Linda Ettinger
Charlton G. C. Friedberg
Sandra Levi Gerstung*
Sandra D. Hess
Jean Jacocks
Deborah Jennings*
Mark Paul Lehman* and Kurt Davis
Brian and Eileen O'Rourke*
Nancy and David Paige
John and Marsha Ramsay
PRODUCER $2,500–$4,999
Anonymous (3)
James and Ellen Adajian
George and Frances† Alderson
Penny Bank
Patricia Bettridge
Winnie and Neal Borden
Courtney Bruno
David Cane
Paul and Kathleen Casey
Ross and Michele Donehower
Karen and Ronald Erler
Catherine Hammond
Donald Hicken
Nancy King
Barry Kropf
Francine and Allan Krumholz
Marissa LaRose* and Travis Andrews
Wil Love and Carl Schurr
James MacNicholl and Sara Lombardo
Martin Kenneth McQuage
Terry H. Morgenthaler and Patrick J. Kerins
Tim Nehl and Joy Mandel
Dr. and Mrs. Crossan O'Donovan
Ed and Jo Orser
Reid Reininger
Jim and Laura Rossman
Hugh Silcox
Ronnie Silverstein
Louis B. Thalheimer and Juliet A. Eurich
Ruth Lawson Walsh
Howard and Elizabeth Walsh and Family
Meadow Lark Washington* and Joe Washington
ASSOCIATE PRODUCER
$1,000–$2,499
Anonymous (8)
Ronald† and Baiba Abrams
Emile A. Bendit and Diane Abeloff
Bryn and Philip Ardanuy
Allyson Black Woodson
Michael Booth and Kristine Smets
Michael Borowitz and Barbara Crain
Susan Chomicz Bowman
Richard Bozzelli
A. Stanley and Dorah Brager
Livio and Diane Broccolino
David Brown
Edie* and Stan Brown†
Jeanne Brush
Diane E. Cho and David W. Benn
Harlan and Jean Cramer
Rickie Eatherly
Arlene Falke
David and Merle Fishman
Susan Sachs Fleishman
Debra and Maurice Furchgott
Caroline Griffin and Henry E. Dugan, Jr.
W. Robert Hair and Steven J. Ralston
Carol and Joe Hamilton
Alan and Trisha Hoff
Vanessa Harnik
James F. Hart
Deborah Ingle
Ann H. Kahan
Shirley A. Kaufman
Evelyn S. Krohn
Timothy and Gabrielle
Lawrence
Peter Leffman
Paul and Jill Levine
Gayle Levy and Martin Barber
Lynne and Larry Lichtig
Jennifer Litchman*
Fred and Judy Lobbin
Linda and Jim Loesch
Marjorie* and Scott McDowell
Kathleen Howard Meredith
Barry Mersky and Elizabeth Trexler
David Mintzer and Cinda Hughes
Steven Morris
Dr. Mike Myron and Linda Weisfeldt
Ken and Ellen Nibali
Andrew and Sharon Nickol
Patricia S. and Robert J. Orr
Patricia Palmer
Gary and Leslie Plotnick
Mark and Joanne Pollak
Elenor Reid
Drew* and Ryan Reis
Elaine Richman and Ralph Raphael
Sue Shaner and John Roberts
John and Sarah S. Robinson
Nancy Dalsheimer Savage
Dr. Alan Schwartz and Dr. Carla
Rosenthal
Lisa Scotti
Betsy and Carlton Sexton
Harvey and Debbie Singer
Bob and Jackie Smelkinson
Joaneath A. Spicer
Ruth and Chuck Spivak
Susan Spencer and John Spencer
Shale D. Stiller and Honorable
Ellen M. Heller
Brooke Story
Sheldon and Victoria Switzer
Eileen and Philip Toohey
Elizabeth Trimble
Christian Ventimiglia*
Rose Viscardi
Ellie Wang*
Lissa Abrams and Abe Wasserberger
Maria Wawer
Barbara Coleman White
Peter Ayers Wimbrow, III
Wolman Family Fund
Joseph and Valerie Yingling
Carol Yoder
DIRECTOR $500–$999
Anonymous (5)
Walter and Rita Abel
G. Caleb Alexander
Brad and Lindsay Alger
Ray and Carroll Apodaca
Dr. Sania Amr
Dale Balfour
Robin Banks
Gayle Barney and Jean Savina
Craig Bober and Rachel Burgan
John and Carolyn Boitnott
Jeffrey Budnitz and Siobhan
O'Brien Budnitz
Paul and Jane Brickman
Lew and Vicki Bringman
Peter and Eileen Broido
Sara and Duncan Brown
Kristen Cannito
Evelyn Cannon and James Casey
Jan Caughlan
Arnold Clayman
Fred Cogswell
David and Marcia Cohen
Samuel Cohen and Joan Piven
Phonte Coleman
Stiles Colwill
Will and Carol Cooke
Judith Cooper
Cindy Conklin and Bob Merbler
Greg and Martha Cukor
Barbara Dent
Nancy Dickinson
Gwen DuBois and Terry Fitzgerald
Carol Eakin-Burdette
Neil and Deborah Eisenberg
Bill Eggbeer
Donald and Margaret Engvall
Don Firmani and Janet Esch
Donna Flynn
Beth Gansky
Suzan Garabedian
Saralynn and Sheldon Glass
Sue Glick
Susan Goetze and Janet Colman
Herbert and Harriet Goldman
Dorothy Gold and Jim Wolf
Marci Gordon and Andrew Barnstein
Hannah and Thorne Gould
Donald M. and Dorothy W. Gundlach
Robert and Cheryl Guth
Richard Manichello and Margo Halle
Fritzi K. and Robert J. Hallock
William Hamilton and Paula Jackson
Suzanne Hill
Hope Hollander
Greg Huff and Pamela Pasqualini
Jessica Iannetta
Deborah Jennings*
Harold Kanarek
Mr. and Mrs. D. Brooks Kitchel II
Ann and David Koch
Larry Koppelman and Liz Ritter
Harriet and Jay Kramer
Ron and Marianne Kreitner
Toni and Evan Krometis
Dr. and Mrs. Rudolf Kuppers
Jessica Lanzillotti
Drs. Moira and Paul Larsen
Colleen Martin-Lauer and Mark Lauer
Jonna† and Fred Lazarus
Gregory Lehne
Marie Lerch
Peter Levy and Diane Krejsa
Freddi Lipstein and Scott Richard Berg
Bruce Lindstrom
Michael and Lois Mannes
Jeanne E. Marsh
Bruce R. Nelson and Richard Goldberg
Linda Nevaldine
Elaine Niefeld
Drs. Mary O'Connor and Charles
King
Gail Oppel
Thomas L. and Leslie V. Owsley
Hilary Paska
Justine and Ken Parezo
William and Susan Paznekas
Dr. Fred Pearson
Judy and Scott Phares
Anne Marie Richards
Bill and Susannah Rienhoff
Naomi Robin and Gerald Gleason
Daniel Rodricks and Lillian Donnard
Mr. and Dr. Nathan Rosen
Kristin Rowles and Paul Ferraro
Robert Russell in memory of Lelia Russell
Eleanor Schwark
Robert Sears
Thomas Seidman
Joan Seiffert
Amy Seto
David and Sarah H. Shapiro
Temmie and Ronald Shade
Patricia Smeton
Norma Snow-Goldberg
Damie and Diane Stillman
Lynne Stuart
Dr. Ellen Taylor and Mr. Bruce Taylor
Josephine Raney
Ian Tresselt and Joseph Rooney
Louise Wagner
Peggy Widman
Donald and Jerriann Wilson
MONTHLY SUSTAINING DONORS
Joyce Duffy-Bilanow and Stephen Bilanow
Jan Boyce
Jonathan Castillo
David and Marcia Cohen
Bruce and Lisa Field
Ira Gooding and Kristen Vanneman-Gooding
W. Robert Hair and Steven J. Ralston
Catherine Hammond
James F. Hart
Deborah Ingle
Shameka Littles
Fred and Judy Lobbin
Hannah Mazo
Marjorie* and Scott McDowell
Michele McFarland
Mary C. Plaine
Dr. Alan Schwartz and Dr. Carla Rosenthal
Drew* and Ryan Reis
Linda Riach
Becky and Joe Richardson
Judi and George Seal
Susan Truitt
Peggy Widman
Margaret Williams
Board Member
YOU MAKE THEATRE HAPPEN.
Everyman Theatre is a welcoming and inclusive space for everyone – audience members, students, artists, volunteers, staff, and trustees – to experience art and be part of a positive community where all can be treated with kindness and respect.
In order to make this a reality we need your help in upholding our core values and creating a space that allows everyone to fully participate in the transformative experience of live theatre.
WE BELIEVE THAT…
• Everyone is deserving of kindness and respect
• All individuals deserve to feel welcomed and included in the work we do
• It’s our collective responsibility to maintain a safe and supportive environment
• Theatre provokes thought and inspires dialogue, which builds our capacity for empathy, understanding, and connection
• It’s our collective responsibility to oppose racism by consciously, purposefully, and continually striving against racial biases and the systemic structures that perpetuate them
• We must take a united stance against all forms of oppression or marginalization, and recognize that although discomfort may be productive, cruelty never is
WE INVITE YOU TO…
• Embrace a mindset of goodwill and extend courtesy to others
• Immerse yourself fully in the performance – applaud, shed a tear, laugh out loud, and express your emotions freely
• Embrace your fellow audience members’ reactions and cherish the fact that theatre is a shared journey
• Make a deliberate effort to confront your own biases, and partner with us in putting these beliefs into action. We are all learning - help us maintain a positive community and culture of collaboration
• Share your feedback and experiences with us, as we are continually looking to improve
WE WILL NOT TOLERATE…
• Discrimination, harassment, or any form of speech/behavior that threatens the safety or well-being of others
• Unwanted invasion of another person’s physical space
• Refusal to comply with staff instructions or disregarding the theatre’s policies
Any conduct that contributes to a dangerous or hostile environment will be taken seriously. If you witness or experience a violation of the values and expectations outlined above, please alert one of our staff members. Everyman takes this feedback very seriously and will take action to protect our community.
Thank you for joining us and being a part of the Everyman Family!
GRATITUDE FOR THOSE BEFORE US
We honor the Indigenous Piscataway, Lumbee, and Cherokee people of Baltimore City and the unceded ancestral lands of the Piscataway on which Everyman Theatre resides. This acknowledgement does not take the place of authentic relationships with Indigenous communities, but serves as a first step in honoring the land we occupy and as an act of resistance against the erasure of their histories. For more information: https://native-land.ca/ and http://baltimoreamericanindiancenter.org
LEADERSHIP
Founder, Artistic Director
Vincent M. Lancisi
Managing Director
Marissa LaRose
ADMINISTRATION
Producing Director
Kyle Prue
Director of Finance + Human Resources
Larry Bright
Finance + Human Resources Associate
Robin Fraker
Facilities + Operations Manager
J.R. Schroyer
ARTISTIC
Associate Artistic Directors
Paige Hernandez
Noah Himmelstein
Tuyết Thị Phạm
PHILANTHROPY
Directors of Philanthropy
Charisse Paige
Lauren Saunders
Associate Director of Institutional Giving
Elliott Kashner
Philanthropy Operations & Events Manager
Caitlyn Hooper
MARKETING & COMMUNICATIONS
Director of Marketing & Communications
Alexander Cortes
Associate Director, Communications & Partnerships
Corey Frier
Associate Director of Marketing Operations
Jordyn Farthing
Assistant Director of Marketing
Madeline ‘Mo’ Oslejsek
Multimedia Manager
Lindsay Pedersen
Marketing Coordinator
Jalice Ortiz-Corral
Front of House Manager
Ashley Brooks
Audience Services Coordinator
Michelle Payton
Patron Engagement Associates
Airele Arrington, Andromeda Bacchus, Davin Banks, Tyrel Brown, Valicia Browne, Fabienne Dorceus, Mel Gabel, Ja’Net Jones, Kate Appiah Kubi, Sarah Lohrfink, Elizabeth Malvo, Derrell Owens, Thom Purdy, Kelsey Schneider, Acell Spencer, Becca Stafford, Teddy Sherron III, Majenta Thomas, Taylor Thompson
PRODUCTION
Director of Production
Amanda M. Hall
Production Manager
Cat Wallis
Technical Director
Trevor Wilhelms
Assistant Technical Directors
Brandon Ingle
Ren Brault
Scene Shop Manager
Sarah Blocher
Lead Carpenter
Joe Martin
Scenic Charge Artist
Jill Koenig
Properties Artisan
Michael Rasinski
Costume Director
David Burdick
Draper
Jenn Bae, Amy Forsberg, Ginny McKeever
Stitchers
Sue O'Connor, Grace Santamaria
Tailor
Ed Dawson
Millinery & Crafts
Wil Crowther
Wardrobe Supervisor
Lucy Wakeland Haag
Lighting Supervisor
Juan M. Juarez
Lead Electrician
Maisie Stone
Audio/Video Supervisor
Andrew Gaylin
Carpenters
Jupiter Lam-Bright, Kenny Fraker, Zack Nunns, Charles Whittington, Charlie Woods
Associate Lighting Designer
Malory Hartman
Electricians
Emily Burgess, Griffin DeLisle, Melissa Martinez, Molly Prunty
EDUCATION
Director of Education
Joseph W. Ritsch
Education Operations Manager Arianna Costantini
Education Programs Manager
Kristina Szilagyi
Teaching Artists
Megan Anderson Prue, Kyleigh Archer, Khalid Bilal, Lanoree Blake, Julia Brandeberry, Christy Brooks, Tyrel Brown, LaKeshia Ferebee, Melissa Freilich, Katie Ganem, Diana Gonzalez Ramirez, Carole Graham Lehan, Isaiah Harvey, Deborah Hazlett, Patricia Hengen-Shields, Beth Hylton, Ally Ibach, Lauren Jackson, Hannah Jeffrey, Marcus John, Kimberley Lynne, Jenny Male, Tarshai Peterson, Fatima Quander, Joseph Ritsch, Lucius Robinson, Chinai Routté, Raecine Singletary, Acell Spencer, Teresa Spencer, Susan Stroupe
