WELCOME
FOUNDER, ARTISTIC DIRECTOR
VINCENT M. LANCISI
Welcome,
I chose Kate Hammill’s EMMA to wrap up my final season as Artistic Director because it’s the kind of special event in the theatre that invites celebration, laughter, and pure enjoyment! It takes a large team of actors and theatre artists to put together a piece like this. I knew this show would highlight the wonderful talent and the excellence of the theatre family all around us here at Everyman. It’s been an honor to cultivate and nurture the people at the center of the special jewel that is Everyman Theatre. Together, we have created a family of artists, craftspeople, administrators, board members, volunteers, students, and audience members who come together to bear witness and participate in our local, built in Baltimore Theatre. I would like to thank every one of you for your contribution to the success of Everyman.
In the beginning, there was just me and a few friends putting on plays for small audiences. After 35 years, there are tens of thousands of Baltimoreans taking part in performances at Everyman each year. It brings me great joy and solace to know that the theatre is poised to continue to grow and develop long after I’m gone. Who could ask for more?
As the stage lights rise and the show begins, take in a deep breath and get ready to enter another rich theatrical world with us. We will bath in the artistry and the joy together. The next time you’ll see me, I will be sitting alongside you, as an audience member eager to receive great stories, well told together.
Thank you and enjoy the show!
Vincent M. 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
The first show I saw at Everyman was August Wilson’s Radio Golf in the fall of 2019, about five months before I became Managing Director, and I was blown away. Everyman’s production could have easily been onstage at much larger, more resourced organizations – even a Broadway stage. The production design and execution were flawless. The acting superb. The lobby experience joyful. In just one production, Everyman’s value statement was clear to me: center the work onstage, support those creating it, and make the best experience possible for all. That type of commitment isn’t accidental – it takes intentional commitment, clarity of vision, and deliberate stewardship.
Everyman’s culture of care and “yes, and” was instilled at our very beginnings by the visionary behind Everyman: my co-leader and our Artistic Director, Vinny. Because of his leadership, Everyman has always, and will always, be a people first organization. From the early days of Vinny bringing huge dishes of pasta to tech rehearsals to our long-standing commitment of covering 100% of healthcare costs for staff –we are a people first business, and we believe our organization is made stronger by every individual in it.
Many regional theatres are transient incubators. Artists are in residence for a few weeks, a wonderful production is crafted, the show closes and the artists move on. First rehearsals are attended by designers, those who will run stage crew, and perhaps an administrator or two. Education programs are taught by Teaching Artists who are disconnected from the work onstage. That’s not the Everyman that Vinny built.
Here, artists are at the center but also connected to administration. Every production welcomes several Resident Company members back to the rehearsal room, often joined by a few visiting artists who are quickly welcomed into the familial fold. Our first rehearsals are filled with nearly the entire staff, each eager to contribute to the communal power of bringing a piece of theatre to life. Administration shares meals with actors on rehearsal breaks in the shared lounge intentionally positioned just outside the rehearsal room. Teaching Artists are joined by Resident Company Members in schools throughout the city and teaching right here in our classroom. Every connection and every touchpoint contribute to our ability to share the best possible stories in the best possible ways with our community. This is Everyman.
As we prepare to say “onward” to Vinny as he heads off to a well-deserved retirement, thank you simply isn’t enough. Not only has Vinny created one of Baltimore’s treasured arts organizations, but he has created an organizational culture that is admirable, sustainable, and full of heart and pride. Our future is bright, and so much of that is because of the visionary leader I have been lucky to call friend these past six years.
Thank you, Vinny. We will continue to do you proud.
Marissa LaRose Managing Director
EMMA adapted by KATE HAMILL based on the novel by JANE AUSTEN
Directed by LAURA KEPLEY
CAST
JANE FAIRFAX, MRS. ELTON, et al
MEGAN ANDERSON
MISS BATES
HELEN HEDMAN
MRS. WESTON, et al
BETH HYLTON
EMMA
KATIE KLEIGER
GEORGE KNIGHTLEY
TONY K. NAM
MR. ELTON, FRANK CHURCHILL, ROBERT MARTIN
ZACK POWELL
MR. WESTON, MR. WOODHOUSE
JEFFERSON A. RUSSELL
HARRIET SMITH
NIA ZAGAMI
RUNTIME: 2 hours and 30 minutes, including a 15-minute intermission
SETTING: Highbury, England, the early 19th century- but also here, in our theatre, right now, today, this year.
Resident Company Member
CREATIVES
SCENIC DESIGN
DANIEL ETTINGER
COSTUME DESIGN
DAVID BURDICK
LIGHTING DESIGN
JUAN M. JUAREZ
SOUND DESIGN
JANE SHAW
WIG DESIGN
DENISE O'BRIEN
CHOREOGRAPHY
SHALYCE HEMBY
FIGHTS / INTIMACY
LEWIS SHAW
DIALECTS
GARY LOGAN
DRAMATURGY
ROBYN QUICK
STAGE MANAGEMENT
CAT WALLIS
MOLLY PRUNTY
This Production Is Sponsored By Brenda Ashworth & Donald Welch
The Cast and Stage Manager are members of the Actors' Equity Association. EMMA is presented through special arrangement with TRW PLAYS 1180 Avenue of the Americas, Suite 640, New York, NY 10036. http://www.theatricalrights.com
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
MEGAN ANDERSON [she/her] (Jane Fairfax, Mrs. Elton, et al) [EVERYMAN THEATRE]: (Resident Company Member): Over 35 productions, including: Vanya and Sonia and Masha and Spike, And Then There Were None, POTUS, The Book Club Play, Dial M for Murder, A Doll’s House, Harvey, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, Sense and Sensibility, Steel Magnolias, Cry It Out, Proof, Dinner With Friends, Sweat, Dancing at Lughnasa, The Book of Joseph, Aubergine, The Revolutionists, Noises Off, and more. [REGIONAL]: Theater J: After the Revolution; Olney Theatre Center: Mary Stuart, Our Town, Grounded, Rabbit Hole; Rep Stage: American Hero, The Whale, The Violet Hour, The Seagull; Round House Theatre: Heartbreak House, The Cherry Orchard, Our Town, Problem Child; Washington State Guild: Bloomsday; Woolly Mammoth Theatre Company: The Faculty Room; Totem Pole Playhouse: Proposals, Crimes of the Heart, Proof; LA Theatreworks/Voice of America: Bus St=op; Northern Stage: Grounded. [TV/FILM]: 3 seasons on The Wire; Hit and Run (Lionsgate/MGM). [TEACHING]: Everyman Theatre: Summer Intensive, Acting I and Auditioning, Playbuilders. [DIRECTING]: Staged readings for Everyman Theatre’s Salon Series and Script Tease. Megan is also a visual artist. Follow her work on Instagram @mandersonprue
HELEN HEDMAN [she/her] (Miss Bates) [EVERYMAN THEATRE]: (Resident Company Member): Highlights include Agatha Christie’s And Then There Were None, A Midsummer Night’s Dream, A Doll’s House, Dinner and Cake, Sense and Sensibility, The Skin of Our Teeth, Steel Magnolias, Agatha Christie’s Murder on the Orient Express, The Importance of Being Earnest, and more. [REGIONAL]: Arena Stage: Watch on the Rhine, A Delicate Balance, Long Day’s Journey Into Night, The Women, The Caucasian Chalk Circle; Shakespeare Theatre Company: Lady Windermere’s Fan, A Woman of No Importance, The Country Wife and Camino Real; Round House: I’ll Get You Back Again, Rapture, Blister, Burn, The Chemistry of Change, The Rehearsal; Studio Theatre: The Year of Magical Thinking; Signature Theatre: Escaped Alone, Crazy for You, Beaches, Show Boat, My Fair Lady, The Sex Habits of American Women; Olney Theatre: Piaf, Triumph of Love, Omnium Gatherum; Rep Stage: The Seagull, Mrs. Farnsworth, Kimberly Akimbo; Ford’s Theatre: Sabrina Fair, A Christmas Carol; Lyric Theatre of Oklahoma: The Glass Menagerie, An Inspector Calls; International Shaw Conference: Press Cuttings; St. Louis Repertory: Canterbury Tales [TV/ FILM]: Homicide, Silent Fall with Richard Dreyfuss and Beast.
BETH HYLTON [she/her] (Mrs. Weston, Mrs. Bates, et al) [EVERYMAN THEATRE]: (Resident Company Member): Over 35 productions including, Vanya and Sonia and Masha and Spike, Who’s Afraid of Virginia Woolf, POTUS, Dial M for Murder, Harvey, The Sound Inside, The Skin of Our Teeth, Steel Magnolias, Cry It Out, Be Here Now , Murder On The Orient Express, Dinner With Friends, The Book of Joseph. [OFF-BROADWAY]: 59E59: Handbagged. [OTHER NYC]: NYC Fringe Fest; Gorilla Rep; founding member, Ground Floor Theatre Lab. [REGIONAL]: Round House Theatre: Throw Me on the Burnpile and Light Me Up, Small Mouth Sounds, Rapture, Blister, Burn; Rep Stage: The Heidi Chronicles, Circle Mirror Transformation; Woolly Mammoth: Collective Rage, Appropriate, Martha Josie and the Chinese Elvis; Center Stage: Clybourne Park, Beneatha’s Place; Maltz Jupiter: The 39 Steps; Delaware Theatre Company: Blithe Spirit; Weston Playhouse: Death of a Salesman; Public Theatre of Maine: Lunenburg, The Cocktail Hour; Pittsburgh Irish and Classical Theatre: House and Garden, Private Lives, An Ideal Husband; Gulfshore Playhouse: The Mousetrap, Who’s Afraid of Virginia Woolf, Into the Breeches, Steel Magnolias, A Doll’s House; Olney Theatre Center: Hay Fever, The Savannah Disputation, The Heiress; PlayMakers Rep: Hay Fever, The School For Wives, Look Homeward, Angel; The Hipp: Suddenly Last Summer, Up; Kennedy Theatre NC: Skylight. [TV/FILM]: Law and Order, House of Cards, One Life To Live, As The World Turns. [EDUCATION]: MFA Acting, Professional Actor Training Program/UNC-Chapel Hill/PlayMakers Rep.
CAST BIOS
KATIE KLEIGER [she/her] (Emma) is a NYC- based actor & playwright. Acting credits inclide: [EVERYMAN THEATRE]: (Resident Company Member) Deceived, 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. [SELECT 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. As a writer, her plays have been workshopped in NYC, Chicago, and Baltimore, and her play Different Words for Happiness will have its world premiere at Everyman in fall 2026.
TONY K. NAM [he/him] (George Knightley)[EVERYMAN THEATRE]: (Resident Company Member): Dawn, ‘ART’, Edward Albee's Who's Afraid of Virginia Woolf, Agatha Christie's And Then There Were None, A Midsummer Night's Dream, The Book Club Play, Dial M for Murder, Jump, Ken Ludwig's Baskerville: A Sherlock Holmes Mystery, Sense and Sensibility, The Skin of Our Teeth, Cry It Out, Agatha Christie’s Murder on the Orient Express, Everything is Wonderful, Aubergine. [REGIONAL]: Arena Stage: Exlcusion, Akeelah and the Bee (World Premiere); Constellation Theatre Co: Constellations; The Folger Theatre: Romeo & Juliet, Much Ado About Nothing, Measure for Measure; Ford’s Theatre: Our Town; Kennedy Center TYA: Where Words Once Were, A Cricket in Time Square, Unleashed; Olney Theatre Center: Our Town; Mosaic Theatre Company of DC: Sooner/Later, Theory; Round House Theatre: Treasure Island; Seattle Children’s Theatre: The Red Badge of Courage; Shakespeare Theatre Company: Othello, Pericles; TheatreWorks: Pacific Overtures; Woolly Mammoth Theatre Company: Martha, Josie and the Chinese Elvis. [EDUCATION]: St. Mary’s College of MD – BA, University of Washington – MFA.
ZACK POWELL [he/him] (Mr. Elton, Frank Churchill, Robert Martin)[EVERYMAN THEATRE]: (Resident Company Member)
Deceived, 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]: Wooly 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: 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
CAST BIOS
JEFFERSON A. RUSSELL [he/him] (Mr. Weston, Mr. Woodhouse) [EVERYMAN THEATRE]: (Resident Company Member): August Wilson’s The Piano Lesson, Primary Trust, Crumbs from the Table of Joy, Jump, The Lion in Winter, Sense and Sensibility, The Skin of Our Teeth, Flyin’ West, Pipeline, Agatha Christie’s Murder on the Orient Express, Aubergine, The Soul Collector, Gem of the Ocean, Someone Who’ll Watch Over Me, Hedda Gabler, Blues for an Alabama Sky, Heathen Valley [REGIONAL]: American Stage Theatre: Fat Ham, Chesapeake Shakespeare Co.: Joe Turner’s Come and Gone; Signature Theatre: Daphne’s Dive; American Players Theatre: The Recruiting Officer, Our Country’s Good; Olney Theatre: Aubergine; Milwaukee Rep: Two Trains Running; Baltimore Center Stage/Cincinnati Playhouse: Shakespeare in Love; Ford’s Theatre: Fences, Ragtime; Pioneer Theatre Co: Fences; Cincinnati Playhouse: A Christmas Carol, Two Trains Running, Jitney; Marin Theatre Co: Fetch Clay Make Man, The Convert; Dallas Theatre/Goodman Theatre: Trinity River Plays; Hangar Theatre: The Piano Lesson; Round House: Father Comes Home From The Wars, Two Trains Running, Ironbound, Fahrenheit 451, Amadeus; Woolly Mammoth: Clybourne Park; Arena Players: The Meeting, Flyin’ West; Rep Stage: Sunset Baby; Folger: The Tempest; Folger: As You Like It; Gulfshore Playhouse: Race; [NATIONAL TOURS]: Kennedy Center: Harlem, Color Me Dark; [EDUCATION]: Hampton University, BA, (Sociology/Criminal Justice), GWU: MFA, Academy of Classical Acting. He is a former Baltimore police officer and a founding member of GALVANIZE, a network for Artists of Color.
NIA ZAGAMI [she/her] (Harriet Smith)[EVERYMAN THEATRE]: Nia is excited to be making her Everyman Theatre debut! [REGIONAL]: 54 Below: DEBUT!; Strand Theater: Crocodile Fever (U/S). [EDUCATION]:
B.F.A. Acting, University of Maryland, Baltimore County; Competitive Edge Voice Character Acting Program.
MEET THE DIRECTOR
LAURA KEPLEY
(Director) [EVERYMAN THEATRE]: POTUS, The Book Club Play, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery. [REGIONAL]: Cleveland Play House; highlights include The Crucible, Sweat, Into the Breeches (also at Asolo Rep and Chautauqua Theatre Company), How I Learned to Drive (also at Syracuse Stage), and the world premieres of The Good Peaches by Quiara Alegría Hudes (co-production with The Cleveland Orchestra), Fairfield by Eric Coble, and Tiny Houses by Chelsea Marcantel (also at Cincinnati Play House in the Park); Alliance Theatre: world premiere of In Love and Warcraft by Madhuri Shekar; Asolo Rep: The Heidi Chronicles; Contemporary American Theatre Festival: world premiere of Breadcrumbs by Jennifer Haley; Trinity Repertory Company: multiple productions including Boots on the Ground and Somethings are Private which she co-created with playwright Deborah Salem Smith. [OTHER]: Laura is an artistic leader, educator, and mentor who served as Artistic Director of Cleveland Play House, Artistic Associate for Trinity Rep, teaching faculty at Brown University and Case Western Reserve University, and participant in new play development at The New Harmony Project, PlayPenn, and WordBridge, among others. She has received a Drama League Directing Fellowship, an NEA/TCG Fellowship, and multiple directing citations and awards. Under her artistic direction, Cleveland Play House received the 2015 Regional Theatre Tony Award.
MEET THE PLAYWRIGHT
KATE
HAMILL
Kate Hamill is an actor and playwright. Kate has been one of the most-produced playwrights nationwide for the last 7 years, from 2017-current season. Wall Street Journal Playwright of the Year, 2017; Einhorn Award, 2023. Plays include The Light and The Dark (the life and times of Artemisia Gentileschi) at Primary Stages/Chautauqua Theater Company (originated role of Artemisia Gentileschi); Pride & Prejudice at Primary Stages / HVSF (originated role of Lizzy; nominee, Off-Broadway Alliance Award); Sense & Sensibility at Bedlam (originated role of Marianne; winner, Off-Broadway Alliance Award; nominee, Drama League Award); Vanity Fair at the Pearl (originated Becky; nominee, Off-Broadway Alliance Award); Mansfield Park at Northlight; Little Women at Primary Stages & the Jungle; Dracula at Classic Stage Company; Ms. Holmes & Ms. Watson, Apt. #2B at KCRep; The Little Fellow at Cygnet Theatre; Emma at the Guthrie; The Scarlet Letter at Two River. Other plays include Scrooge for Senate, BadAssGalBoss - Mandatory Meeting, The Piper (O’Neill Finalist, PlayPenn Fellowship), In the Mines (Sundance Finalist), and The Odyssey. Her plays have been produced Off-Broadway, at A.R.T., the Guthrie, Seattle Rep, The Alley, Folger, Oregon Shakespeare Festival, Trinity Rep, Pittsburgh Public, Dorset Theatre Festival, Shakespeare Theatre of DC, Dallas Theater Center, Kansas City Rep, Long Wharf, A.C.T., Actors Theater of Louisville, Denver Center, and many others. Upcoming World Premieres: The Odyssey at A.R.T. www.kate-hamill.com
Special Thanks to Professor Juliette Wells, and the Jane Austen Library Collections at Goucher College
Vincent M. Lancisi, Founder, Artistic Director | Marissa LaRose, Managing Director
Cast and Creatives of EMMA with Vincent M. Lancisi, and Resident Company
Forward, Onward, Upward
The titular character of EMMA was a particular favorite of her author, Jane Austen. The writer’s nephew James Austen-Leigh recalled that when she sent the novel to a friend with a new baby daughter, Austen wrote, “I trust you will be as glad to see my ‘Emma,’ as I shall be to see your Jemima” (119.) Since its 1816 publication, the novel and its heroine have delighted readers and critics alike. John Wiltshire writes that Emma “is full of clever, entertaining, and ultimately serious mischief, underpinned by sympathy for the challenges facing an intelligent and gifted young woman in ordinary, mundane society” (118). That society in Emma, according to Austen scholar Juliet Wells, focused around “the privileged lives of gentry families” in a county in prosperous southeastern England (392). Austen-Leigh believed his aunt depicted the “opinions and manners” of this world with great fidelity as it was the “class of society in which the author lived.” In his assessment, the novels “represent it as it was” (116). Since Austen’s novels center the experiences of women, Sarah Lyall observes that they also “lay bare unpleasant truths about the precarious position of women in Regency England.”
That precarious position was the result of a social and legal system in which women’s economic security and social status depended upon their relationship to men. Women were under pressure to marry as a means of securing desirable financial security and social status, yet doing so came at a cost. As historian Hazel Jones notes, “wives promised to obey their husbands in the marriage service and relinquished their limited autonomy, as well as their legal identities and any money they might possess, on achieving the elevated status of married women” (3). Women of the landed gentry were typically afforded the privilege of an education. Yet the expectation was that this education would be devoted to the fulfillment of their roles as wives and mothers. The knowledge and skills they gained would serve tasks such as entertaining the family and household guests, adorning the home, and providing moral instruction for children. Wives of gentlemen did not work outside the home—both because occupations pursued by men were not open to them and because such employment would be considered an unacceptable violation of the family’s social status. But the reality was that not all daughters raised to be the wives of gentlemen would find an acceptable marriage and its accompanying financial security. The “respectable” option of supporting themselves as governesses—a task for which the education of a gentlewoman had prepared them—meant economic survival, but also a reduction in the social status considered meaningful within this world.
Austen’s work and life, however, move the conversation about women in her world forward by providing examples of women who recognize the contradictions of their society and make choices that challenge their expected roles. Early in the novel, Emma declares that her wealth and position as the treasured daughter and de facto mistress of her father’s household, give her extraordinary status and agency in her world and therefore “none of the usual inducements of women to marry” (68). Instead, she seeks other pursuits to occupy her “active, busy mind” (69). The fact that Austen fulfills the convention of the marriage plot by ending her novel in a love match for Emma does not negate the character’s assessment of her position or her intellectual ambitions. And in crafting novels of romantic love which end in unions of affection and respect, Austen was capturing a growing inclination in her world. As Wells explains, “ideas of companionate marriage were gaining ground against an older conception of marriage as primarily dynastic” (392). In her own life, Austen turned down a marriage proposal and remained single. Whatever the sentiment or lack thereof in her choice, remaining single may very well have ensured her freedom to write as she pleased. It most certainly allowed her financial control over the earnings from her writing. The six novels ultimately crafted by Austen, which Sarah Lyall referred to as “snapshots of their time,” have also proven “timeless in their appeal.” They remain popular to this day, not only in their original novel form, but in adaptations for stage and screen.
Enter Kate Hamill. She started her career as an actor, but found she was always auditioning to play women who were tertiary to the male protagonist’s journey. In response to her dissatisfaction with this situation, she started creating adaptations of works that would help bring female-centered narratives to the stage. She began with the writing of Jane Austen because she believed she “could celebrate Austen’s strengths and turn her novels into irreverent, ensemble-based, feminist-forward theater.” Hamill seeks to ask a different question with each play, so when the Guthrie Theatre commissioned her to create a new adaptation of EMMA for the stage, she took a fresh look at Emma’s choices in the world as the character found it. She explains, “Looking at the text with a feminist lens, I thought, ‘What happens when an incredibly smart, educated, energetic, intelligent woman can’t work and has nowhere to put her energy?’ It’s no surprise that the answer is creating all kinds of trouble for herself and others.” What Hamill calls her “radical adaptation” of EMMA employs a range of artistic techniques, from anachronism to direct audience address, to help audiences look at Austen’s story with fresh eyes as we watch Emma “take on the world so boldly.”
Hamill’s EMMA reminds us that we have a choice in the world we create for the next generation. We can look backwards to a society in which women are educated solely for service to others. We can look backwards to a world that constrains women’s interests and ambitions. We can look backwards and continue expecting women to play supporting roles as men take center stage. Or we can take inspiration from seeing Austen and the heroines she created with fresh eyes. We can teach young women to fulfill their potential, create space for them to contribute wherever their energy and intelligence might lead them, and celebrate their power to help make a better world. We can choose to look forward, onward, and upward.
Robyn Quick Resident Dramaturg
Works Cited
Austen, Jane. Emma: 200th-Anniversary Annotated Edition, Edited with an Introduction by Juliette Wells. Kindle ed., Penguin Publishing Group, 2015. Austen-Leigh, James Edward, and Kathryn Sutherland. A Memoir of Jane Austen: And Other Family Recollections. Oxford University Press, 2002. Buch, Joanna. “Radical Adaptor: A Chat with Playwright Kate Hamill.” Guthrie Theatre Program. 18 June 2022.
Jones, Hazel. Jane Austen and Marriage. Continuum, 2009. Lyall, Sara. “The Essential Jane Austin.” The New York Times. 31 Oct. 2025. Wells, Juliet. “Contextual Essays.” Austen, Jane. Emma:200th- Anniversary Annotated Edition. Kindle ed., Penguin Publishing Group, 2015. Wiltshire, John. “The Heroine.” The Cambridge Companion to ‘Emma’. Ed. Peter Sabor. Cambridge University Press, 2015. 105–119.
EVERYMAN THEATRE: THE FUTURE OF
CONTINUING THE LEGACY OF BEING #BUILTINBALTIMORE
Next season, Everyman Theatre will enter a new chapter as our beloved Founder and Artistic Director Vincent M. Lancisi begins retirement and passes the baton over to our new Artistic Director, Brandon Weinbrenner. But even in this time of transition, one thing will remain unchanged: Everyman’s commitment to being an artistic home for the Resident Company of Artists who live and work here in the Baltimore community. We will forever be Built in Baltimore!
The artistic foundation that has defined the theatre for decades remains steady with a Resident Company, a commitment to producing work at the highest level of excellence, and a belief in theatre as a transformative shared experience.
We’ve always been about Great Stories, Well Told, and the next chapter is just beginning. We look forward to seeing you again next season!
Everyman Theatre: a fixture in the Baltimore arts community for 35 years.
JOIN US NEXT SEASON!
Join us for another season of Great Stories, Well Told. Next season honors a storied legacy while ushering in a bold new chapter. Audiences can look forward to a wide-ranging and dynamic mix of new plays, modern masterpieces, internationally acclaimed contemporary works, and timeless classics
KIM’S CONVENIENCE
August 30 – September 27
Internationally acclaimed comedy
By Ins Choi
Directed by cara hinh
Co-production with Indiana Repertory Theatre and Portland Center Stage
DIFFERENT WORDS FOR HAPPINESS
October 18 – November 15
World premiere from a Resident Company Member
By Katie Kleiger
Directed by Laura Kepley
AGATHA
CHRISTIE’S THE MIRROR CRACK’D
November 29 – December 30
A murder mystery from The Queen of Crime
A new adaptation by Rachel Wagstaff
Directed by Brandon Weinbrenner
THE MOUNTAINTOP
January 31 – February 28
Award-winning modern masterpiece
By Katori Hall
Directed by Paige Hernandez
AGNES OF GOD
March 28 – April 25
Gripping psychological drama inspired by true events
By John Pielmeier
ROPE
May 23 – June 20
High-stakes thriller that inspired Hitchcock
By Patrick Hamilton
Adapted by Jeffrey Hatcher
Directed by Noah Himmelstein
Learn more about the plays at everymantheatre.org/season36
CREATIVE TEAM BIOS
DAVID BURDICK (Costume Design) [EVERYMAN
THEATRE]: (Resident Costume Designer): Recent highlights include, Vanya and Sonia and Masha and Spike, Dawn, Deceived, 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, Agatha Christie’s Murder on the Orient Express, and over 25 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.
DANIEL ETTINGER (Scenic Design) [EVERYMAN THEATRE]: (Resident Set Designer): Recent highlights include Deceived, 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 of United Scenic Artists, local 829.
SHALYCE HEMBY (Choreograpphy) [EVERYMAN THEATRE]: POTUS, A Midsummer Night’s Dream, The World Goes ‘Round. [REGIONAL]: Olney Theatre Center: Just Arts: A Celebration of Art & Activism; ArtsCentric: Crowns, The Last 5 Years, Little Shop of Horrors, Aida, Chicago, The Color Purple, The Wiz, For Colored Girls, Dreamgirls, Snapshots, Sister Act; NextStop Theatre: Beehive; Toby’s Dinner Theatre: The Wiz, Dreamgirls (Helen Hayes Award nomination for Outstanding Choreography in a Musical), The Bodyguard, and Ain’t Misbehavin. [FILM]: Step Up. Instagram: @ sugasheadance
GARY LOGAN (Dialects) [EVERYMAN THEATRE]: (Resident Dialect Coach) Over 20 productions, highlights include: Deceived, 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: Westside 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.
JUAN M. JUAREZ (Lighting Design)[he/him] is a lighting designer and technician based in the Baltimore-Washington area. Since 2015 he has served as the Lighting Supervisor at Everyman Theatre. Recent work includes [EVERYMAN THEATRE]: Dawn, The Mystery of Irma Vep - A Penny Dreadful, The Book Club Play, Baltimore Broadway and Beyond, The Lion in Winter, Baltimore It's Me [REGIONAL]: UMBC Department of Theater: The Wonderful Wizard of OZ, Shakespeare in Harlem; The Voxel: Call Me By Any Other Name...Just as Sweet; Synetic Theater: Teen Hamlet … the rest is silence; Mind on Fire: Nobody is Ever Missing; Bowie State University: Ride the Cyclone; Classic Theatre of Maryland: Jane Eyre; Extreme Lengths Productions: Over/ Under; Axis Dance Company: Adelante; Atlas PAC Intersections: Joteria: Our Untold Stories [EDUCATION]: B.A. in Theatre Production and Psychology from Hofstra University. [OTHER] Member of Everyman Theatre Committee on Anti-Racism, Equity, and Solidarity (CARES). JuanMJuarez.com
VINCENT M. LANCISI (Founder, Artistic Director) founded EVERYMAN THEATRE in October of 1990 and has directed 58 productions including Vanya and Sonia and Masha and Spike, Deceived, 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, last season 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.
DENISE O’BRIEN (Wig Design) [EVERYMAN THEATRE]: Over 30 productions, highlights include: Vanya and Sonia and Masha and Spike, Deceived, August Wilson’s The Piano Lesson, 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, 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.
MOLLY PRUNTY (Stage Manager) [EVERYMAN THEATRE]: ‘ART’, Primary Trust, Queen's Girl: Black in the Green Mountains, (Assistant Stage Manager): Harvey, Jump, The Lion in Winter, Behold, A Negress, Cry it Out. [REGIONAL]: Peabody Opera: Don Giovanni; Baltimore Center Stage: Young
Playwrights Festival. [TEACHING]: Baltimore School for the Arts: Expressions 2023. [EDUCATION]: B.A. in Theater Design & Production from University of Maryland, Baltimore County.
ROBYN QUICK: (Dramaturg) Robyn Quick serves as the resident dramaturg at Everyman Theatre, where her past productions include The Revolutionists, Everything is Wonderful, Sense and Sensibility, The Lion in Winter, A Doll’s House, Crumbs from the Table of Joy, A Midsummer Night’s Dream, POTUS, Who’s Afraid of Virginia Woolf, The Mystery of Irma Vep, August Wilson’s The Piano Lesson, and Vanya and Sonia and Masha and Spike. She has also worked as a dramaturg for the Baltimore Shakespeare Festival, Playworks, and the New Russian Drama Festival. Robyn Quick has presented at numerous national and international conferences, and has been published in American Theatre, The New England Journal of Theatre, Slavic and East European Performance, Theatre Studies, and the Routledge Companion to Dramaturgy. Her dramaturgy has been recognized by the Literary Managers and Dramaturgs of the Americas with the Elliot Hayes Award for Excellence in Dramaturgy and by the The American College Theatre Festival with the Gold Medallion. While serving as a Senior Fulbright Scholar in Russia, she taught at the Russian State University for the Humanities and directed at the Playwright and Director Center in Moscow. She is a professor in the Department of Theatre Arts at Towson University and holds a Ph.D. in theatre studies from the University of Michigan.
JANE SHAW (Sound Design)[EVERYMAN THEATRE]: debut! [REGIONAL]: Pasadena playhouse: Amadeus; Chicago Shakespeare: Billie Jean; Theatre for a New Audience: Henry IV; The Guthrie: A Doll's House; Gulfshore Playhouse, director Laura Kepley: Mousetrap; Huntington and Shakespeare Theatre Companies: Leopoldstadt; and productions at Playwrights Horizons, the Mint, Manhattan Theatre Club, Roundabout, Repertorio Espagñol, Alabama Shakespeare, the Alley, Cleveland Play House, Hartford Stage, The Geffen, Asolo Rep, the Mark Taper Forum, Seattle Rep, Milwaukee Rep, Bucks County Playhouse, and The Old Globe. [RECOGNITION] Drama Desk, Connecticut Critics Circle awards, Henry Award, Bessie Award, Premios ACE, NEA/
(2026)
TCG Career Development Grant, Meet the Composer Grant, and several Lortel nominations. [EDUCATION]: AB, Harvard. MFA, Yale School of Drama. https://www. janeshaw.com/
LEWIS SHAW (Fights & Intimacy) [EVERYMAN THEATRE]: (Resident Fight and Intimacy Choreographer): Over 30 productions, highlights include: Vanya and Sonia and Masha and Spike, Deceived, 'ART', The Mystery of Irma Vep: A Penny Dreadful, Who's Afraid of Virginia Woolf?, 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 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)
Deceived, POTUS, 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.
EMMA PRODUCTION CREW
ASSISTANT STAGE MANAGER
Tiffany Ko
ASSISTANT LIGHTING DESIGNER
Malaak McDonald
LIGHT BOARD PROGRAMMERS
Kim Parson
Maisie Stone
LIGHT BOARD OPERATORS
Trinity Joseph
Maisie Stone
PRODUCTION ELECTRICIAN
Maisie Stone
SOUND BOARD OPERATOR
Alyssa Foy
WARDROBE CREW
Lanoree Blake
BACKSTAGE CREW
Sharon Zheng
Mady Sims
SPOT LIGHT OPERATOR
Sam Gerardi
COMMUNITY PARTNERS
#BUILTINBALTIMORE
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 set and sound designers are represented by United Scenic Artists, Local USA 829 of the IATSE. The director is represented by Stage Directors and Choreographers Society.
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 Company members by visitng everymantheatre.org or scanning the QR code.
Actors pictured in order listed below.
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
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
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 December 1, 2024 and April 1, 2026
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
Middendorf Foundation
The Shubert Foundation
SEASON PRODUCER
$25,000–$49,999
Galanthus Foundation
William G. Baker, Jr. Memorial Fund creator of the Baker Artist Awards, www.bakerartistawards.org
Jacob and Hilda Blaustein
Foundation Inc.
David and Barbara Hirschhorn Foundation
National Endowment for the Arts
Leonard & Helen R. Stulman Foundation
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
Sherman Family Foundation
EXECUTIVE PRODUCER
$5,000–$9,999
Anonymous
Baltimore Community Foundation
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
theatre works!
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
COVER ART DESIGNED BY Jacob Kemp / TALISMAN
INDIVIDUALS
Gifts listed here support Everyman
Theatre's Annual Fund and were received between December 1, 2024 and April 1, 2026
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
Dr. Larry* and Nancy Fishel
Gina* and Dan Hirschhorn
Irene Mansfield
Bryan* and Jennifer Rakes
SEASON PRODUCER
$25,000–$49,999
Brenda K. Ashworth and Donald F. Welch
Susan W. Flanigan*
James A.C. and Maureen A. Kennedy Charitable Fund
Dorothy H. Powe* in Memory of Ethel J. Holliday
Vic* and Nancy Romita
RESIDENT COMPANY SPONSOR
$10,000 - $24,999
Ed and Ellen Bernard
Chris DiPietro
Walter B. Doggett III* and Joanne Doggett
Jennifer C. Engel
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
Susan and John Nehra
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
Mary Catherine Bunting
Shaun Carrick and Ronald Griffin
Diann and David Churchill
Judy Shub-Condliffe and Jack Condliffe
Sarasi Desikan* and Sal Dhanani
Karen and Ronald Erler
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
James MacNicholl and Sara
Lombardo
Tim Nehl and Joy Mandel
Brian and Eileen O'Rourke*
Nancy and David Paige
John and Marsha Ramsay
Mark Schenerman and Amy Bober-Schenerman
Joaneath A. Spicer
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
Donald Hicken
Barry Kropf
Francine and Allan Krumholz
Marissa LaRose* and Travis
Andrews
Wil Love and Carl Schurr
Martin Kenneth McQuage
The Mirmiran Foundation
Dr. and Mrs. Crossan O'Donovan
Ed and Jo Orser
Reid Reininger
John and Sarah S. Robinson
Jim and Laura Rossman
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 (7)
Ronald† and Baiba Abrams
Emile A. Bendit and Diane Abeloff
Mark and Susan Adams
Bryn and Philip Ardanuy
Allyson Black Woodson
Michael Booth and Kristine Smets
Patty Bond
Michael Borowitz and Barbara Crain
Susan Chomicz Bowman
Richard Bozzelli
A. Stanley and Dorah Brager
Paul and Jane Brickman
Livio and Diane Broccolino
David Brown
Edie* and Stan Brown†
Jeanne Brush
Diane E. Cho and David W. Benn
Harlan and Jean Cramer
Jerry and Carol Doctrow
Rickie Eatherly
Arlene Falke
Kimberly and Christopher Field
Susan Sachs Fleishman
Donna and Joe Flynn
Debra and Maurice Furchgott
Regina C. Graham
Caroline Griffin and Henry E. Dugan, Jr.
Donald M. and Dorothy W. Gundlach
W. Robert Hair and Steven J. Ralston
Carol and Joe Hamilton
Catherine Hammond
Alan and Trisha Hoff
Vanessa Harnik
Jeffrey and Shelly Hettleman
Deborah Ingle
Keith and Lois Johnson
Ann H. Kahan
Shirley A. Kaufman
Harold Kanarek
Mr. and Mrs. D. Brooks Kitchel II
Nancy King
Diane Koenig
Larry Koppelman and Liz Ritter
Evelyn S. Krohn
Timothy and Gabrielle Lawrence
Jeffrey and Marcia Leber
Peter Leffman
Sara and Ronald Lesser
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
Gerry Mullan and William Sweet
Dr. Mike Myron and Linda Weisfeldt
Linda Nevaldine
Ken and Ellen Nibali
Andrew and Sharon Nickol
Patricia S. and Robert J. Orr
Patricia Palmer
Julia Pearson
Gary and Leslie Plotnick
Mark and Joanne Pollak
Drew* and Ryan Reis
Elenor Reid
Elaine Richman and Ralph
Raphael
Sue Shaner and John Roberts
Nancy Dalsheimer Savage
Dr. Alan Schwartz and Dr. Carla Rosenthal
Lisa Scotti
Betsy and Carlton Sexton
Hugh Silcox
Harvey and Debbie Singer
Bob and Jackie Smelkinson
Ruth and Chuck Spivak
Susan Spencer and John Spencer
Shale D. Stiller and Honorable
Ellen M. Heller
Brooke Story
Jessica Strauss and The Honorable André Davis
Sheldon and Victoria Switzer
Eileen and Philip Toohey
Elizabeth Trimble
Christian Ventimiglia*
Susan and Hutch Vernon
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 (9)
Walter and Rita Abel
G. Caleb Alexander
Brad and Lindsay Alger
Ray and Carroll Apodaca
Dr. Sania Amr
Robert and Jane Amtmann
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
Eva and Warren Brill
Lew and Vicki Bringman
Peter and Eileen Broido
Sara and Duncan Brown
Charles Browne, III and Rod Cook
Jim and Sue Burger
Karen Caffi-Lalle
Kristen Cannito
Evelyn Cannon and James Casey
Jan P. 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
David Cox and Joanna Miskelly Cox
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
Gary Felser and Debra Brown Felser
David and Merle Fishman
Eric and Esther Frey
Praveena Gadam
Beth Gansky
Suzan Garabedian
Sue Glick
Herbert and Harriet Goldman
Dorothy Gold and Jim Wolf
Marci Gordon and Andrew Barnstein
Hannah and Thorne Gould
Robert and Cheryl Guth
Fritzi K. and Robert J. Hallock
William Hamilton and Paula
Jackson
Suzanne Hill
Hope Hollander
Greg Huff and Pamela Pasqualini
Bob and Thea Jones
Ann and David Koch
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
Aaron and Jill Levin
Peter Levy and Diane Krejsa
Freddi Lipstein and Scott Richard Berg
Bruce Lindstrom
Gail Long
Michael and Lois Mannes
Jeanne E. Marsh
Judy and David Mauriello
Vicki Moyer
Bruce R. Nelson and Richard
Goldberg
Elaine Niefeld
Susan Noyes
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
Josephine Raney
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
Victoria Schetelich
Eleanor Schwark
Judi and George Seal
Robert Sears
Gregory Seidman
Joan Seiffert
Amy Seto
David and Sarah H. Shapiro
John Shavers
Patricia Smeton
Norma Snow-Goldberg
Fred Steffens
Damie and Diane Stillman
Lynne Stuart
Dr. Ellen Taylor and Mr. Bruce Taylor
Elva Tillman
Ian Tresselt and Joseph Rooney
Christopher Uhl* and Andre Cawley
Victoria Vestrich
Louise Wagner
Drs. Elisabeth and Richard Waugaman
Peggy Widman
Donald and Jerriann Wilson
Wade Wilson and Claudia Bismark
Martha White
MONTHLY SUSTAINING
Steven Bartoszewicz
Joyce Duffy-Bilanow and Stephen Bilanow
Jan Boyce
Jonathan Castillo
Jan P. Caughlan
David and Marcia Cohen
Bruce and Lisa Field
Ira Gooding and Kristen Vanneman-Gooding
W. Robert Hair and Steven J. Ralston
Gerald Hammond
James F. Hart
Paul M. Holmes
Deborah Ingle
Shameka Littles
Fred and Judy Lobbin
Hannah Mazo
Marjorie* and Scott McDowell
Michele McFarland
Greer Meisels and Weston Konishi
Davona Moore
Mary C. Plaine
Dr. Alan Schwartz and Dr. Carla
Rosenthal
Drew* and Ryan Reis
Linda Riach
Judi and George Seal
Peggy Widman
Margaret Williams
Donald Wilson and Jerriann Wilson
YOU MAKE THEATRE HAPPEN.
Board Member
Deceased
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
Patron Communications Coordinator
Jalice Ortiz-Corral
Front of House Manager
Ashley Brooks
Audience Services Coordinator
Michelle Payton
Patron Engagement Associates
Andromeda Bacchus, Davin Banks, Tyrel Brown, Valicia Browne, Fabienne Dorceus, Rakell Foye, Mel Gabel, Candice Isaac, Ja’Net Jones, Kate Appiah Kubi, Elizabeth Malvo, Derrell Owens, Thom Purdy, Acell Spencer, Becca Stafford, Ryan Thomas, January Woods
PRODUCTION
Director of Production
Amanda M. Hall
Production Manager
Cat Wallis
Technical Director
Trevor Wilhelms
Assistant Technical Directors
Ren Brault
Brandon Ingle
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
Stitchers
Wil Crowther, Grace Santamaria
Millinery & Crafts
Wil Crowther
Wardrobe Supervisor
Lucy Wakeland Haag
Lighting Supervisor
Juan M. Juarez
Lead Electrician
Charli Bingle
Audio/Video Supervisor
Andrew Gaylin
Carpenters
Jupiter Lam-Bright, Nick Colantuono, Evan McDougall, Zack Nunns, Adam Sorel, Charles Whittington, Charlie Woods
Electricians
Miles Abramson, Emily Burgess
Nick Colantuono, Griffin Delisle
Adam Harper, Francesco Leandri Malaak Macdonald
EDUCATION
Director of Education
Joseph W. Ritsch
Education Operations Manager
Arianna Costantini
Education Programs Manager
Kristina Szilagyi
Teaching Artists
Megan Anderson Prue, Kyleigh Archer, 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
