JAN 31 THRU MAR 4
EVERYMAN THEATRE G R EAT STO RIES, WELL TOLD.
#bmoreeveryman LONG DAYâ€™S JOURNEY INTO NIGHT | A
NEW GROWTH ON
WEST 40 TH STREET.
Arts and culture. Browsing and brunching. Ballgames and boutiques. With the Grand Expansion of Roland Park Place, retirement living in Baltimore City takes on new life. Starting with an extensive renovation – a new dining venue, theater and performing arts center – and culminating with the construction of an 8-story addition to include 60 spacious new residences and indoor parking, the possibilities of retirement living within city limits will soon be unlimited. Come see what’s around the corner.
READY FOR MOVE-IN FALL 2020
Pending final approval from Maryland Department of Aging
Vincent M. Lancisi, Founding Artistic Director Jonathan K. Waller, Managing Director
Executive Producer: Susan W. Flanigan
LONG DAY’S JOURNEY INTO NIGHT Playwright EUGENE O’NEILL Director DONALD HICKEN
Mary Tyrone................................................................................... DEBORAH HAZLETT* James Tyrone........................................................................................... KURT RHOADS* James Tyrone Jr. (Jamie)........................................................................... TIM GETMAN* Edmund Tyrone.................................................................................DANNY GAVIGAN* Cathleen......................................................................................... KATHARINE ARIYAN
DANIEL ETTINGER Sound Design
AMANDA M. HALL*
Time and Place: The living room of the Tyrones’ summer home in August, 1912
This production will be performed in three acts with two intermissions.
PLEASE TURN OFF ALL CELL PHONES. NO TEXTING. NO EATING IN THE THEATRE. Long Day’s Journey Into Night is presented by special arrangement with Samuel French, Inc. The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings on any medium, including the internet, is strictly prohibited, a violation of the author’s rights and actionable under United States copyright law. For more information please visit: samuelfrench.com/whitepaper *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
LONG DAY’S JOURNEY INTO NIGHT | 1
MAKING YOU THE STAR OF OUR SHOW SINAI HOSPITAL NORTHWEST HOSPITAL â€¢ CARROLL HOSPITAL LEVINDALE HEBREW GERIATRIC CENTER AND HOSPITAL LIFEBRIDGE HEALTH & FITNESS
To schedule an appointment, visit lifebridgehealth.org/show or call 410-601-WELL (9355).
A NOTE FROM ARTISTIC DIRECTOR, VINCENT M. LANCISI
ugene O’Neill’s characters are drawn incredibly well—intensely complicated in their motivations and desires. The characters in Long Day’s Journey Into Night harbor inner demons that are dark and overwhelming at times—their familial bond is key to why we care so much about them as humans, but it’s also what makes each of them so tragic. Their love of one another runs deep amidst the forces of troubled family dynamics and drug addiction threatening to obliterate their dreams, their bonds, and their entire lives—in spite of which they still hold on. This compelling and uplifting undercurrent of love is what makes me happy to revisit this play over and over again—these people love each other so much that they are in the fight of their lives to hold on to it. Actors are, of course, at the center of Everyman Theatre, and O’Neill wrote dream roles for actors—ones demanding great transformation and rigor. A major reason why I decided to produce Long Day’s Journey Into Night now is because this year marks Deborah Hazlett’s 20th anniversary as a member of our esteemed Resident Acting Company. Audiences have seen Deborah play iconic roles throughout her tenure at Everyman—Hedda Gabler, Amanda Wingfield, Linda Loman and Mrs. Alving, to name a few. For the last decade I’ve been looking forward to the right moment to cast Deborah as the matriarch at the center of Long Day’s Journey Into Night, Mary Tyrone, and that moment is now—a dream role come true.
Mary Tyrone’s sons, played by Resident Company members Danny Gavigan and Tim Getman, are the type of challenging, nuanced roles that fine actors search for and sometimes never find throughout their entire careers. Danny and Tim are not only superb actors, they also know each other very well and their on-stage relationship thrives because of it. Tim last appeared at Everyman in Outside Mullingar, and though he’s familiar to our stage it is a pleasure to welcome him in his first official role as a member of our Resident Company. Completing the family portrait, the amazing Kurt Rhoads takes on the role of James Tyrone—a character whom many refer to as “the American King Lear.” It’s an epic role that requires a formidable actor, and Kurt is perfect for the part. We are also thrilled that Katherine Ariyan is back on the Everyman Theatre stage playing the role of Cathleen, following her wonderful performance in M. Butterfly. O’Neill wrote this play at great emotional cost, as he was writing about real people in his own life. He told family secrets in a way so devastating to him that he didn’t want the play to be performed while he or his family were still alive—but the shame they endured in the face of addiction was so painful and so devastating, O’Neill felt he had to write about it. Now, it’s our turn to tell his story with actors committed to authenticity, poetry and truth. Welcome and enjoy the show.
LONG DAY’S JOURNEY INTO NIGHT | 3
MATTERS today more than ever.
Baltimore Sun Media Group is a proud sponsor of 2017/18 Everyman Theatre Season For more than 180 years, we have been dedicated to shining a light on the issues that affect, engage, benefit and empower our local community.
We deliver it every day.
Trusted. Powerful. Real. baltimoresun.com/subscribe
A NOTE FROM MANAGING DIRECTOR, JONATHAN K. WALLER
ust a few weeks ago at the Golden Globe including drug use, treatment, recovery Awards, there was an underlying theme and harm reduction. Our hope is that, by of the evening which focused on the supporting the power of storytelling,we can importance of storytelling and, specifically, help build a better future. the importance of telling your story. In her Throughout the rest of the winter acceptance of an honorary award, Oprah and spring, there are also a variety of Winfrey relayed a clear message: Tell your opportunities to hone skills and gain story, because you too can make a difference. confidence in your own storytelling. Visit As theatre makers, our job is to tell these our website for details on classes focused stories. Theatre has the transformative ability on public speaking, improvisation, the to put an audience in someone else’s shoes, actor’s process and much more! make them feel something unexpected or Equally important to sharing your own new—perhaps even realize something about story, of course, is hearing stories shared themselves that they never knew before. by others: Join us throughout February For me, it is always remarkable to see how and March for our third annual Salon stories from a different era can so easily Series, celebrating dynamic women’s voices relate to the experiences and stories of today. in theatre. In April and May, our popular Long Day’s Journey Into Night is arguably one Play-a-Role series will also return, where of the best (if not THE best) told stories in Everyman patrons and supporters can the American Theatre canon—and while it attend interactive readings of famous was written more than 75 years ago, O’Neill’s plays, with the invitation to “play a role” in autobiographical story resonates deeply the story. And, of course, our mainstage with today’s issues of substance abuse, series continues with Aubergine, Julia Cho’s alcoholism and troubled family dynamics. beautiful and heartfelt story about the healing and nurturing power of food and During the run of Long Day’s Journey, we love, and the East Coast premiere of The will be hosting a series of events with the Book of Joseph, a true life story about a New Day Campaign, an organization that Baltimore-based family spanning from uses arts-based programming to challenge World War II to today. the stigmas associated with mental illness and substance abuse, and the BRIDGES We are so happy to have you join us at this Coalition, a group of peers, providers and performance. You, as our audience, play a advocates who work together to advance vital role in our story. You are the witnesses. harm reduction strategies. In February, we You are the reactors. You are the individuals will be hosting a two-part workshop series who go out and continue to tell our story to that encourages non-actor individuals to tell your friends and family. In our own way, we their story about their relationship to issues are all storytellers. LONG DAY’S JOURNEY INTO NIGHT | 5
A BOTTOMLESS WELL – PLAYING THE TYRONES By Robyn Quick Jessica Lange and Gabriel Byrne in Long Day’s Journey Into Night. Photo by Joan Marcus
here are roles that arrive like gifts. Given and received. Mary Tyrone was that. No part I have played on stage or in film has ever captured me more. Actors can fall in love with characters they play, obsess over them, cling to them... sometimes we’re haunted by them. I loved Mary Tyrone. I longed to get to the theater each evening so I could experience her. So I could lose myself in her. The part of Mary Tyrone is a bottomless well. Impossible to exhaust.” —Jessica Lange1
special significance in the theatre: “From its very first performance in 1956, when Frederic March, Florence Eldridge, Bradford Dillman, and a young Jason Robards Jr. put their indelible stamp on the Tyrone family, Long Day’s Journey Into Night has enjoyed a forbidding reputation. […] Long Day’s Journey Into Night, you see, is no longer just a play. It is one of the theatre’s holy texts, a challenge by which careers are measured.”2 Generations of actors—from stage veterans to those beginning their acting careers— have eagerly welcomed this challenge. Jessica Lange’s notion of the role of Mary as a gift was echoed by Michael Shannon, her Jamie in the 2016 Broadway production. Shannon explained, “To me, it feels like a real privilege to do this play. It feels like being admitted into some secret society or something. There’s a lot of good actors in the world, but they don’t all get to do this.”3
Everyman Artistic Director Vincent Lancisi always knew that his theatre must one day stage what he calls “the ultimate family tragedy,” Long Day’s Journey Into Night. To him, it was “only a matter of time before we scale this mountain.” But, as director of a professional theatre where the actor is at the center of the work, he had to wait until the moment was right for members of For many actors who have performed in Long Everyman’s Resident Company to take on the Day’s Journey Into Night, admission to this task of playing the Tyrones. As theatre critic “secret society” was made all the more special David Richards observed, these roles have by their connections to the performance 1 Long Day’s Journey Into Night: Critical Edition, (New Haven: Yale University Press, 2014), Digital. 2 “Casting a Fearless Eye on a Sacred Text,” The New York Times, June 9, 1994. 3 Alexis Soloski, “Of Booze, Brutal Honesty, and Family,” The New York Times. 19 April 2016.
EVERYMAN THEATRE | 6
history of the play. Academy Award-winning actress Teresa Wright had an unforgettable experience watching Eldridge and March on Broadway in 1956; the elder actors became her friends and saw her in the role of Mary at Hartford Stage in 1971. That production at Hartford Stage also featured Tana Hicken as the Tyrone’s young maid, Cathleen. Ms. Hicken went on to play Mary at Arena Stage in a 1995 performance considered powerful by critics and deeply moving by audience members, including Lancisi. When it came time for Everyman to produce Long Day’s Journey Into Night in 2018, Lancisi knew that he must put it in the hands of his long-time artistic associate, director Donald Hicken, who had lived the play through his wife Tana’s productions. Donald Hicken describes Long Day’s Journey Into Night as “the holy grail” for actors, not just for this performance history, but also because playwright Eugene O’Neill’s characters “require a level of commitment and virtuosity that few roles match.” Actors have noted the wide range of emotions displayed by each character as among the challenges of performing the play. Teresa Wright was humbled by this aspect of the work: “I can’t help [but] feel great inadequacy because it’s played on so many levels of emotion—anger, hate, innocence, all mixed up with love, gratitude to her husband—it takes some doing to call on all those emotions.” She admitted, “It is exhausting but exhilarating—exhilarating if it goes well.”4 Jessica Lange also pointed to the “contradictions and the layering of emotions— woven into a patchwork pattern of sorrow, grief, guilt, anger, blame, love, desire, hate” as part of what makes Mary “a profound and fascinating character” to play. She shared Wright’s sense that “playing multiple emotions in the same moment is exciting.”5
And despite the predominantly realistic characters and setting—inspired by events from O’Neill’s life as a young man—the play requires a level of emotional intensity that calls to mind the challenges of performing classical drama. Donald Hicken considers the role of James Tyrone to be America’s King Lear. Others have compared the play to Greek tragedy due to the extraordinary level of human suffering that the characters cause, endure, and seek to survive. As theatre critic Nelson Pressley put it, “The emotions of the autobiographical drama are Olympian, cutting right to the bone because O’Neill dared to unlock the terrible wreckage of his family life from his secret heart.”6 The power of the play, however, does not just emanate from individual performances, but from the relationships among the characters. Playing the Tyrones requires ensemble acting that Lancisi likens to an “awesome string quartet.” When Diana Leblanc directed the play at the Stratford Festival in 1994, she found, “the thing that makes it interesting, makes it heart-breaking, is that these people want to love each other, need each other’s love, but keep tearing shreds off each other.” She describes the dynamic: “None of them can move without reverberations, like a set of interlocking tectonic plates. They’re a family.”7 Gabriel Byrne, who played James Tyrone on Broadway in 2016, felt an even longer series of reverberations that gave performing in the play its real meaning: “There’s kind of an invisible connection between [O’Neill], what he called the haunted Tyrones, us on stage, and the audience. And we get to share that.” 8 Actors will be at the center of Everyman’s Long Day’s Journey Into Night, as well, as the company engages Baltimore audiences with powerful performances of complex characters—and a journey that continues to provide spellbinding theatre.
4 Doris Whitbeck, “Teresa Wright Runs Emotional Gamut,” The Hartford Courant, March 7, 1971. 5 “Forward,” Long Day’s Journey Into Night: Critical Edition. 6 “Compelling Journey through O’Neill Classic,” The Washington Times, January 13, 1995. 7 Taylor, Kate. “A Theatrical Journey of her Own.” The Globe and Mail. September 4, 1994. 8 The Star-Studded Company of LONG DAY’S JOURNEY INTO NIGHT Celebrates Opening Night! Broadway World. https://www.broadwayworld.com/videoplay/BWW-TV-The-Star-Studded-Company-of-LONG-DAYS-JOURNEY-INTO-NIGHTCelebrates-Opening-Night-20160428
LONG DAY’S JOURNEY INTO NIGHT | 7
A PLAY WRITTEN IN TEARS AND BLOOD By Robyn Quick Eugene O’Neill and his wife, Carlotta. Photo by Carl Van Vechten
he past is the present, isn’t it? It’s the future, too. We all try to lie out of that but life won’t let us.” -Long Day’s Journey Into Night
Mary Tyrone’s response to her husband’s desperate plea that she “forget the past” not only justifies her meditations on the multiple sources of blame for her family’s problems and pain, it also provides a description of the journey of the play. As their long day progresses, the characters venture deeper into the past events that have shaped them individually and collectively, and from which they will not release each other or themselves. The creation of the play was born out of a similar emotional journey to the past for playwright Eugene O’Neill. His widow, Carlotta O’Neill, described conversations the playwright initiated with her in the summer of 1939: He told her that he was “haunted” by an impulse to write a play about his “youth and family.” Soon, he began work on a play set in New London, Connecticut, in 1912, with characters and events that closely mirrored the biographical details of his mother, father, brother and himself. The writing of the play that was to become Long 1 2
Day’s Journey Into Night took an emotional toll, as he was “tortured every day by his own writing. He would come out of his study at the end of a day gaunt and sometimes weeping. His eyes would be all red and he looked ten years older than when he went in in the morning.”1 O’Neill’s dedication to the play upon its completion in 1941 described both his struggle and salvation in this work: For Carlotta, on our 12th Wedding Anniversary Dearest: I give you the original script of this play of old sorrow, written in tears and blood. A sadly inappropriate gift, it would seem, for a day celebrating happiness. But you will understand. I mean it as a tribute to your love and tenderness which gave me the faith in love that enabled me to face my dead at last and write this play—write it with deep pity and understanding and forgiveness for all the four haunted Tyrones. These twelve years, Beloved One, have been a Journey into Light—into love. You know my gratitude. And my love! Gene Tao House, July 22,1941.2
Seymour Peck. “Talk with Mrs. O’Neill.” The New York Times, November 4, 1956. Long Day’s Journey Into Night: Critical Edition, (New Haven: Yale University Press, 2014), Digital.
EVERYMAN THEATRE | 8
, of old sorrow y la p is h t f o riginal script appropriate gift, it would o e h t u o y e Dearest: I giv rs and blood. A sadly in ut you will understand. a B written in te y celebrating happiness. tenderness which gave d d a seem, for a d a tribute to your love an face my dead at last an o d s I mean it a love that enabled me t and understanding an y in me the faith —write it with deep pit ones. These twelve years, y r write this pla all the four haunted Ty Light—into love. to or forgiveness f have been a Journey in , e! Beloved One gratitude. And my lov Gene use, July 22,1941 y Tao Ho You know m
But he was not ready for the public to know the carefully-guarded family secrets woven into his work of art. He stipulated that Long Day’s Journey Into Night should not be published until twenty-five years after his death and never produced in the theatre. Upon his death in 1953, however, his widow Carlotta became the executor of his estate. She began negotiating publication and production rights for the play. Some of O’Neill’s friends and colleagues disagreed with her choice, arguing that it was a violation of the playwright’s wishes. Others, however, were delighted to learn of another play by O’Neill and welcomed the opportunity for Long Day’s Journey Into Night to be shared with the public. Drama critic Harold Clurman wrote upon its publication in 1956: “I believe she was right. Who knows what such a play—or any play—will mean twenty-five years after an author’s death? At the present moment, the play is a precious gift to us—regardless of its ultimate value.”3 Clurman’s sense of the play’s gift to his time was widely shared among his contemporaries. When the first Broadway production opened later that year, it received a standing ovation—a rarity at the time. That production ran for 390 3 4 5
performances and earned the playwright a Drama Critics Circle Award, a Tony Award, and his fourth Pulitzer Prize. Theatre critic Brooks Atkinson wrote that with this play, “the American theatre acquires size and stature.”4 And, in 2018, we can now answer Clurman’s question about the “ultimate value” of this play: It has been hailed as America’s greatest family tragedy—perhaps our greatest play—and produced on stages world-wide. O’Neill’s return to his past may have been a journey of tears and blood, but according to writer Robert Brustein, it also created something of great value for the playwright and for those who will continue to encounter his play: “O’Neill has elected to return to it once again—reliving the past and mingling with his ghosts—in order to find the secret and meaning of their suffering. For the playwright has discovered another escape besides alcohol, Nirvana, or death, from the terrible chaos of life: the escape of art where chaos is ordered and the meaningless made meaningful. The play itself is an act of forgiveness and reconciliation, the artist’s life-long resentment disintegrated through complete understanding of the past and total self-honesty.”5
“The O’Neills,” The Nation, March 3, 1956, 182. “Theatre: Tragic Journey,” New York Times. November 8, 1956. Theatre of Revolt, (Boston: Little, Brown, and Company, 1964), 355-6.
LONG DAY’S JOURNEY INTO NIGHT | 9
There are few places we can be transformed, if only for an evening
Everyman Theatre. We thank you. w y p r. o r g
CAST BIOGRAPHIES KATHARINE ARIYAN (Cathleen) Everyman Theatre: M. Butterfly. Regional: Baltimore Symphony Orchestra: Hairspray (Brenda); Clear Space Theatre Company: Gypsy (Louise), Cabaret (Sally Bowles), Steel Magnolias (Shelby), Company (Marta), South Pacific (Janet), The Crucible (Susanna), Chicago (swing), La Cage Aux Folles (Anne), Fiddler On The Roof (Tzeitel), Annie Get Your Gun (Ensemble), Scrooge (Fan/Laura); Single Carrot Theatre, Capital Fringe, and Charm City Fringe: Lucretia Borgia (Lucretia Borgia); Baltimore Shakespeare Factory: Henry IV Part I (Poins/Sir Richard Vernon), The Taming of the Shrew (Grumio/Vincentio); Green Globe Theatre: Hamlet (Gertrude); The Oven: Gone (Maia); Cockpit in Court: The Odd Couple (Gwendolyn Pigeon); Towson University: Stupid F***ing Bird (Emma), The Importance of Being Earnest (Gwendolen Fairfax), Lysistrata (Ensemble), Picasso at the Lapin Agile (Suzanne/ Countess/Female Admirer), The Hyacinth Girl (Cleopatra), Mixed Media (Kalila), Commedia Capers (Francescina), The Babel Project (Electrician 1), This Is Not Happening(s) (Ensemble). B.F.A. in Acting, Towson University. DANNY GAVIGAN (Edmund Tyrone) Everyman Theatre (Resident Company Member): Noises Off (Garry Lejeune), A Streetcar Named Desire (Stanley), Death of a Salesman (Happy), Ghosts (Osvald), Deathtrap (Clifford Anderson), The Understudy (Jake), Crimes of the Heart (Doc), The Beaux’ Stratagem (Archer). Regional: Ford’s Theatre: Who’s Afraid of Virginia Woolf? (Nick); La Jolla Playhouse: Peer Gynt (Hero Peer); Kansas City Rep: Peer Gynt; Baltimore Center Stage: The Rivals (Fag/David), Snow Falling on Cedars (Carl); Round House Theatre: Miss Bennet: Christmas at Pemberley (Darcy), NSFW (Rupert), How to Write a New Book for the Bible (Paul), Bengal Tiger at the Baghdad
Zoo (Tom), Double Indemnity (Nino/Norton), Pride and Prejudice (Wickham); Signature Theatre: Really Really (Jimmy); Studio Theatre: Mojo (Potts), All That I Will Ever Be (Bart); Constellation Theatre Company: Zorro (Zorro), The Ramayana (Lakshman); Rorschach Theatre: Dead City, References to Salvador Dali Make Me Hot (Coyote), Rough Magic (Ariel); Keegan Theatre Ireland National Tour: Of Mice and Men (Lennie); Forum Theatre: Marat/Sade (Marat); Maryland Shakespeare Festival: Two Gentlemen of Verona (Eglamour). TIM GETMAN ( Jamie Tyrone) Everyman Theatre (Resident Company Member): Outside Mullingar (Anthony), God of Carnage (Alan), All My Sons (George Deever), Two Rooms (Walker Harris), Exonerated. Regional: Arena Stage: Death of a Salesman, View from the Bridge, Christmas Carol: 1941; Centerstage: Ah! Wilderness; Folger Elizabethan Theatre: A Midsummer Night’s Dream, Elizabeth the Queen; Ford’s Theatre: The Guard; Olney Theatre Center: Night Must Fall, An Enemy of the People, Somewhere in the Pacific; Rep Stage: A Lie of the Mind, In the Heart of America (Helen Hayes Nomination, Outstanding Ensemble); Round House Theatre: Father Comes Home from the Wars, Rapture, Blister, Burn, Fool for Love, The Retreat from Moscow; Shakespeare Theatre Company: Macbeth, King Charles III, Merchant of Venice, Camino Real; Signature Theatre: …in the absence of spring…, The Lieutenant of Inishmore; Studio Theatre: Hand to God (Helen Hayes Nomination, Best Ensemble), Water by the Spoonful, The Real Thing; Theater J: Copenhagen, I-Ho, Our Class (Helen Hayes Nomination, Best Production), History of Invulnerability, Photograph 51, The Chosen; Woolly Mammoth (Company Member): The Arsonists, Kiss, The Nether, Zombie, Appropriate, Detroit, Gruesome Playground Injuries, The Unmentionables, The Distance from Here. Education: Macalester College, Trinity College, Dublin.
LONG DAY’S JOURNEY INTO NIGHT | 11
DEBORAH HAZLETT (Mary Tyrone) Everyman Theatre (Resident Company Member): M. Butterfly, Noises Off, The Roommate, Death of a Salesman, A Streetcar Named Desire, An Inspector Calls, Ghosts, Deathtrap, Tribes, The Dresser, The Glass Menagerie, God of Carnage, August: Osage County, You Can’t Take It With You, Private Lives, Shooting Star, All My Sons, Two Rooms, Rabbit Hole, The Cherry Orchard, Much Ado About Nothing, Sight Unseen, Betrayal, Candida (Best Actress 2006, City Paper), Frankie and Johnny in the Claire de Lune, Uncle Vanya, Hedda Gabler, Proof (Best Actress 2004, City Paper), Sideman, The Pavilion, A Delicate Balance, Watch on the Rhine, The Crucible, The Road to Mecca, Voir Dire, Cat on a Hot Tin Roof. Regional: Arena Stage: A Time to Kill; Playmaker’s Repertory Theatre: Frozen; Syracuse Stage: BUG; Florida Stage: The Count, Mezzulah 1946; Signature Theater: CRAVE, Blue Room; Woolly Mammoth Theater Company: Appropriate, BUG (U.S. Premiere); 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; Roundhouse Theatre: NSFW, Crown of Shadows; Olney Theatre Center: Rabbit Hole (Helen Hayes Outstanding Ensemble Nomination), Over the Tavern, Death of a Salesman; Totem Pole Playhouse: Sylvia, Crimes of the Heart, Proof; Rep Stage: Arcadia. TV/Film: Law and Order, Homicide, Young Americans. Education: M.F.A. Acting, University of South Carolina. KURT RHOADS ( James Tyrone): Everyman Theatre: debut. Broadway: Julius Caesar. Off-Broadway: Mint Theatre: Fashions For Men (Count); Pearl Theatre: Othello (Cassio), The Good Natur’d Man (Honeywood); NYU Director’s Lab: The Seagull (Dorn); Present Company: Americana Absurdum (Peat O’Mayo). Baltimore/DC area: Shakespeare Theatre: Measure For Measure (Duke), Merry EVERYMAN THEATRE | 12
Wives of Windsor (Page), Antony and Cleopatra & Julius Caesar (Antony), Richard III (Clarence). Delaware Theatre Company: The Beauty Queen of Leenane (Pato). Arena Stage: How I Learned to Drive (Peck), Agamemnon and His Daughters (Thoas). Regional: Clarence Brown Theatre: Titus Andronicus (Titus). Denver Center: Book of Will (Henry). Arvada Center: A Man For All Seasons (Thomas More). Playmakers Rep: Arcadia (Bernard). Alabama Shakespeare Festival: Macbeth (Porter), To Kill a Mockingbird (Atticus). Arizona Theatre Co: Blithe Spirit (Charles), Rocket Man (Donny). Old Globe: Fiction (Michael), Dinner With Friends (Tom). Eight seasons as company member at Dallas Theatre Center: The Glass Menagerie (Tom), Dividing the Estate (Lewis), Henry IV (Henry IV), The Inspector General (Khlestakov), A Christmas Carol (Scrooge). 20 seasons performing and directing at Hudson Valley Shakespeare Festival: An Iliad (poet), Measure For Measure (Duke, Pompey), Twelfth Night (Sir Toby, Aguecheek), Othello (Iago), Two Gentlemen of Verona (Launce, director), Winter’s Tale (Leontes), Much Ado About Nothing (Benedick), Taming of the Shrew (Petruchio, director), title roles in Macbeth and Tartuffe. Education: BA, English, University of Chicago; MFA, Acting, Goodman School of Drama, DePaul University. Worked with wife, actress Nance Williamson, in 63 plays.
Actors’ Equity Association was founded in 1913 to protect Actors from severe mistreatment that permeated the industry at the time. The 40,000 member association consists of distinguished stars and other professional actors and stage managers who work nationwide, from New York’s Broadway to Los Angeles, from Minneapolis to Miami Beach, in regional, stock and dinner theatre, and in theatre for young audiences which build audiences for tomorrow. The actors and stage managers are committed to working in the theatre as a profession, not an avocation, and bring to you the finest professional training and experience. By presenting Equity productions, this theatre offers to you, our audience, the best entertainment presented by the finest quality actors and stage managers that your admission dollars can buy.
YOUR FRONT ROW TICKET TO
SUBSCRIBE TODAY. 12 ISSUES FOR $12.
BMAG.CO/ET12 AMERICAâ€™S FIRST CITY MAGAZINE, CELEBRATING BALTIMORE SINCE 1907
We address each job with a new perspective. Working together to find the best way to craft, create and deliver your message.
410.261.5090 • firstfloorgraphics.com GRAPHIC DESIGN • EXHIBITS • WAYFINDING • FINE ART REPRODUCTIONS • INSTALLATION
DIRECTOR AND DESIGNER BIOGRAPHIES DAVID BURDICK (Costume Design) Everyman Theatre (Resident Costume Designer): The Revolutionists, Intimate Apparel, Los Otros, Great Expectations, Death of A Salesman, A Streetcar Named Desire, August Wilson’s Fences, An Inspector Calls, Blithe Spirit, Ghosts, Ruined, By The Way, Meet Vera Stark, Red, The Beaux’ Stratagem, August: Osage County, You Can’t Take It With You, Private Lives, All My Sons, The Mystery of Irma Vep. Regional: Baltimore Center Stage: Lookingglass Alice, Jazz, Amadeus, Next to Normal, Animal Crackers, The Final Strange Tale of Edgar Allen 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. Dance: Dayton Contemporary Lyric Fire. Other: Baltimore Symphony Orchestra: Holiday Spectacular. PATRICK CALHOUN (Sound Design) Everyman Theatre: Wait Until Dark. OffBroadway: New Victory Theatre: The Migration; Meme Juice Productions: Drunk Shakespeare; Ars Nova: K-POP (Assoc.); National Yiddish Theatre: Amerike-The Golden Land; Regional: Woolly Mammoth: An Octaroon; Shakespeare Theatre: Henry IV-Parts 1 & 2 (Assist); Kennedy Center: Bud Not Buddy, Jason Invisible (Assist), The MTA of Homer P. Figg (Assist); Roundhouse Theatre: Glengarry Glen Ross (Assist), Young Robin Hood (Assist); Theater J: Copenhagen, The Christians, Sons of the Prophet, God’s Honest Truth, After The Revolution; Folger Theatre: Winter’s Tale, Mary Stuart, Richard III (Assist), Twelfth Night (Assist); The Hub Theatre: In A Word, The Typographer’s Dream, Failure-A Love Story, A Man-His Wife-And His Hat, How I Paid For College (Assist); Barrington Stage Company: Butler, Romance in Hard Times, The Golem of Havana, Southern Comfort;
Philadelphia Theatre Company: Stars of David (Assist); Resident Ensemble Players: To Kill A Mockingbird (Assoc.); International Tour: Wits End Puppet Theatre: Saudade. Education: Graduate–University of North Carolina School of the Arts; UndergraduateGreensboro College. Member of United Scenic Artists Local 829. For more information visit www.patrickcalhoun.info DANIEL ETTINGER (Set Design) Everyman Theatre (Resident Set Designer): highlights include The Revolutionists, Noises Off, Los Otros, Death of A Salesman, A Streetcar Named Desire, Outside Mullingar, Blithe Spirit, Ghosts, The Understudy, By The Way, Meet Vera Stark, Red, The Glass Menagerie, The Beaux’ Stratagem, August: Osage County, Time Stands Still, You Can’t Take It With You, The Brothers Size, Private Lives, Pygmalion, All My Sons, Shipwrecked! An Entertainment. The Amazing Adventures of Louis de Rougemont (As Told By Himself), I Am My Own Wife, Filthy Rich, Gem of the Ocean, School for Scandal, Proof, Nude With Violin, A Number. Off-Broadway: 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, Mary Poppins, The Piano Lesson, Bakersfield Mist; Rep Stage: Dorian’s Closet, H2O, Venus in Fur, Mrs. Warren’s Profession; Barter Theatre, Thoroughly Modern Millie, She Loves Me, and over 100 other productions. Teaching: Towson University Design Program. JAY HERZOG (Lighting Design) Everyman Theatre: Resident Lighting Designer, 23 years, 54 lighting designs and 3 sound designs completed; Off Broadway: LaMama, Theatre for the New City, Riverwest Theatre, Westbeth Arts Center, 13th Street Playhouse, An Evening with F. Murray Abraham, Carol Hall in Concert. Regional: George Street Playhouse, Woolly Mammoth, Rep Stage. Industrials: Minolta Camera. TV/ Film: Two Front Teeth. Teaching: Lighting and Sound Design, Towson University Department of Theatre Arts. Other: Iago’s Plot (Cairo, Egypt),
Norwegian Cruise lines; Electrician: Lincoln Center, Public Theatre, Joyce Theatre, Candlewood Playhouse, Douglas Fairbanks Theatre, Julliard, McCarter Theatre, Guggenheim Museum and many others; Consultant for lighting systems: The Motor House. Special Recognition: Glass Menagerie, Helen Hayes Award Best Production; Helen Hayes award 2000 for Rep Stage in Lighting. Education: Undergraduate, Brooklyn College; MFA, University of Massachusetts/ Amherst. Broadway internships: Hughes Moss Casting, Theatre Now Incorporated, Fred Nathan Associates. AMANDA M. HALL (Stage Manager) Everyman Theatre (Resident Stage Manager): Over 75 productions, including Intimate Apparel, Los Otros, Dot, Wait Until Dark, Death of a Salesman, A Streetcar Named Desire, Outside Mullingar, An Inspector Calls, Blithe Spirit, Deathtrap, The Understudy, Tribes, The Dresser, Red, August: Osage County, Time Stands Still, You Can’t Take It With You, The Brothers Size, A Raisin in the Sun, All My Sons, Our Town, The Mystery of Irma Vep, Art, Sight Unseen, Betrayal, Opus, The Last Five Years, Uncle Vanya, The Pavilion, Fences, Glass Menagerie; Regional: MD Stage Company, The Guthrie Theatre, Rep Stage. DONALD HICKEN (Director) Everyman Theatre: Wait Until Dark, Outside Mullingar, Ghosts, Red, Heroes, Fifty Words, Shooting Star, Our Town, I Am My Own Wife, The Turn of the Screw, Betrayal, The Cripple of Inishmaan, The Children’s Hour, Jacques Brel..., My Children! My Africa!, Watch on the Rhine, The Road to Mecca, The Glass Menagerie, The Lion in Winter. Regional: The Annapolis Shakespeare Company: A Christmas Carol, Midsummer Night’s Dream, Three Sisters; The Berkshire Theatre Festival, The Kenyon Festival, Round House Theatre: The Belle of Amherst; Round House Theatre and Everyman Theatre: The Glass Menagerie (Helen Hayes Award Outstanding Director Resident Production and Outstanding Resident Production 2000); Rep Stage: The Children’s Hour; Pennsylvania Stage Company: A Moon for the Misbegotten; The Columbia Festival of the Arts (Artistic Director 1989-1998). Education: BA Speech EVERYMAN THEATRE | 16
and Theatre, MacMurray College; MFA Acting and Directing, The Catholic University of America. Teaching: The Baltimore School for the Arts (Dept. Head of Theatre 19792016), Everyman Theatre, The Berkshire Theatre Festival, Baltimore Center Stage (Director of Training 1976-1981), The Actors’ Conservatory, (Finalist 2015 Tony Award for Excellence in Theatre Education). VINCENT M. LANCISI (Founding Artistic Director) founded Everyman Theatre in October of 1990 and has directed over 35 productions including 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. 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 is sits on the boards for the Bromo Tower Arts & Entertainment District and the Market Center Merchants Association. In the past, he has sat on the boards of the Baltimore Theatre Alliance and the Greater Baltimore Cultural Alliance as well as panels for the Maryland State Arts Council. Vincent holds his undergraduate degree in Theatre from Boston College and his master’s degree in Directing from The Catholic University of America. EUGENE O’NEILL (Playwright) Eugene Gladstone O’Neill was born in a Broadway hotel room in New York City on October 16, 1888. O’Neill won the Nobel Prize for literature in 1936 and Pulitzer Prizes for four of his plays: Beyond The Horizon (1920); Anna Christie (1922); Strange Interlude (1928); and Long Day’s Journey Into Night
(1957). O’Neill is credited with raising American dramatic theater from its narrow origins to an art form respected around the world. He is regarded as America’s premier playwright. O’Neill’s father, James O’Neill, was one of nineteenth century America’s most popular actors. Young Eugene spent much of his early years on national tours with his father. In 1906 he entered Princeton University but was soon expelled. In 1909 he married, had a son, and was divorced within three years. By 1912, O’Neill had worked as a gold prospector in Honduras, as a seaman, and had become a regular at New York City’s flophouses and cheap saloons. That year he became ill with tuberculosis and was inspired to become a playwright while reading during his recovery. O’Neill continued to write until 1944 when he was stricken with a debilitating neurodegenerative disease known as cortical cerebellar atrophy which prevented further work. A revival of his work in 1956 led to the first production of Long Day’s Journey Into Night, for which he won his final Pulizer Prize posthumously in 1957. Long Day’s Journey is considered by many to be one of the greatest plays ever written. STEVE SATTA (Dialects) Everyman Theatre: M. Butterfly, Under the Skin, You Can’t Take It With You, Someone to Watch Over Me, Going to St. Ives, Irma Vep, and Uncle Vanya. Recent credits in the DC area include work at Maryland Ensemble Theater, Olney Theatre, Center Stage, Single Carrot Theatre, Iron Crow Theatre, and Baltimore Playwright’s Festival. He is a full faculty member at Towson University’s Department of Theatre Arts where he helped design and implement the Bachelor of Fine Arts degree in Acting. He holds a BFA in Acting from NYU’s Tisch School of the Arts, and an MFA in Acting from York University in Toronto, Canada. LEWIS SHAW (Fight Choreography) Everyman Theatre (Resident Fight Choreographer): The Revolutionists, M. Butterfly, Noises Off, Great Expectations, Wait Until Dark, Death of A Salesman, A Streetcar Named Desire, Blithe Spirit, Ruined, Deathtrap, The Dresser, The Beaux’ Stratagem, Topdog/Underdog, God of
Carnage, August: Osage County, You Can’t Take It With You, Fifty Words, Private Lives, A Raisin in the Sun, Stick Fly, All My Sons, Blackbird, The Mystery of Irma Vep, The Cherry Orchard, The Cripple of Inishmaan, Red Herring, The Lion in Winter, Much Ado About Nothing. Regional: The Shakespeare Theatre, Baltimore Opera, Rep Stage, Studio Theatre; Performed at The Shakespeare Project, The Baltimore Shakespeare Festival. Broadway: Weapons Creator for Addams Family, Shrek, A Life In The Theatre, Aida, Into the Woods, The Scarlet Pimpernel, The Pirate Queen. International: The Globe Theatre, London. TV/Film: America’s Most Wanted. Other: Vulcan’s Forge Fine Dueling Supplies (Owner).
The Set, and Sound Designers are represented by United Scenic Artists, Local USA 829 of IATSE The Director is a member of the Stage Directors and Choreographers society (SDC).
For Everyman Theatre Patrons *Show your ticket or email confirmation for discount
TRINACRIA RISTORANTE & BAR 111 W. Centre Street, Baltimore, MD 21201 443-759-4082 trinacriaristorantebar.com
OUT OF DARKNESS: TWO REMAIN PEABODY CHAMBER OPERA Garnett Bruce, stage director Eileen Cornett, music director Jake Heggie’s opera, with a libretto by Gene Scheer based in part on the true stories of two Holocaust survivors, was commissioned by Music of Remembrance and received its world premiere in May 2016.
THURSDAY, FEBRUARY 8 AT 7:30 PM FRIDAY, FEBRUARY 9 AT 7:30 PM SATURDAY, FEBRUARY 10 AT 7:30 PM SUNDAY, FEBRUARY 11 AT 3:00 PM Theatre Project (45 W Preston St.) $25 adults, $15 seniors, $10 students For tickets: theatreproject.org or 410-752-8558
WHAT IS THE BROMO DISTRICT? Imagine an arts district that connects the Stadiums and Downtown with a major corridor of Theatres, Galleries, and other public displays of art. Heading north, up the main arteries of Eutaw and Howard Streets, encounter Theatres, a public marketplace, and incubators spawning pop up galleries and emerging artists to be discovered. Continue on to find arts organizations celebrating the history and heritage of Baltimore and cultural institutions leading visitors up to the northern reaches of the district at Read and Howard Streets. In the next decade the Bromo Tower Arts and Entertainment District will become a premiere district for performances and arts exhibitions sought out by citizens of Baltimore and visitors alike. The district will offer opportunities for artists of all disciplines to live, work, and create here. The district encourages the collaboration among its stakeholders and will attract new ones offering resources towards the creation and display of the arts.
IT'S HAPPENING IN THE BROMO VISIT BROMODISTRICT.ORG
A HISTORY OF EVERYMAN
veryman Theatre was founded by Vincent Lancisi in 1990. From the beginning, Everyman strove to provide top-notch theatre that is affordable and accessible to everyone. With a Resident Company of local, professional artists, Everyman has staged critically-acclaimed productions ranging from classics to contemporary works to world premieres over the past 27 years.
Everyman’s first production—The Runner Stumbles—was produced in the winter of 1990 at Saint John’s Church. For the next four years, Everyman could only afford to produce one production per year at various locations in Baltimore, including Vagabond’s Theatre, the Theatre Project and even a classroom at MICA.
subscriptions numbers grew and a string of popular and acclaimed productions, including Amadeus, Cat on a Hot Tin Roof, The Lion in Winter, The Glass Menagerie, The Crucible, and the wildly successful Proof, proved that Everyman was a mainstay in the Baltimore theatre scene. Through a generous donation from Bank of America and the Harold A. Dawson Trust, Everyman was given its new home on Fayette Street. Over the span of six years, Everyman completed a successful $18 million capital campaign co-chaired by Gina and Dan Hirschhorn. In January 2013, Everyman celebrated the Grand Opening of its new permanent home on Fayette Street with the record-breaking production of the Pulitzer Prize winning drama, August: Osage County.
The 1994/95 Season marked a series for firsts for Everyman. It was the first year at Everyman celebrated its 25th anniversary 1727 North Charles Street, which would during the 2015/16 Season by producing be Everyman's home for 18 years. It also "The Great American Rep," a feat featuring marked the first multi-production line-up— American classics Death of a Salesman and A starting with Sam Shepard's Buried Child— Streetcar Named Desire performed with the and also offered subscriptions to patrons for same cast in rotating repertory. the first time. Now in it’s 27th Season, Everyman invites Throughout the late 1990s and early 2000s, you to be a part of its next chapter.
FOUNDING BOARD MEMBERS These extraordinary board members have provided leadership for the organization for ten or more years.
Gordon Becker Nathan Chernoff+ Patricia Egan James R. Eyler Susan Sachs Fleishman + Deceased
Maurice Furchgott Niki Harris Gina B. Hirschhorn Bridget M. Horner Jeannie Howe
Vincent M. Lancisi Jonathan Melnick R. Rex Rehfeld E. Lee Robbins, M.D. Zelig Robinson
Vic Romita Frank Rosenberg Leonard Sachs+ Elspeth Udvarhelyi+ Martha Weiman
LONG DAY’S JOURNEY INTO NIGHT | 19
EVERYMAN’S 2017/18 SEASON IS MADE POSSIBLE WITH THE SUPPORT OF OUR GENEROUS DONORS Sponsors listed as of January 3, 2018
LONG DAY’S JOURNEY INTO NIGHT EXECUTIVE PRODUCER
SUSAN W. FLANIGAN LONG DAY’S JOURNEY INTO NIGHT COMMUNITY ENGAGEMENT SPONSOR
MAJOR SUPPORT FROM
EVERYMAN THEATRE | 20
DR. E. LEE & BEA ROBBINS
ANNUAL FUND DONORS Thank you to all our generous annual fund donors. Your support is essential and allows us to present the very best in live professional theatre. Gifts listed here were received from donors between July 1, 2016 and January 3, 2018.
Exelon Matching Gifts Foundation Harris Jones & Malone, LLC John J. Leidy Foundation, Inc. Lord Baltimore Capital Corporation Muller Charitable Foundation, Inc. PNC Bank Earle and Annette Shawe Family Foundation Yumkas, Vidmar, Sweeney & Mulrenin, LLC
GOVERNMENT, FOUNDATIONS, FUNDS AND CORPORATIONS
PRODUCER $2,500 - $4,999 IBM Corporation
ANGEL $20,000+ Paul M. Angell Family 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 B Hirschhorn Foundation Legg Mason Charitable Foundation LifeBridge Health Maryland State Arts Council The Shen Family Foundation The Sheridan Foundation The Shubert Foundation Stockman Family Foundation
ASSOCIATE PRODUCER $1,000 - $2,499 Anonymous Campbell Foundation, Inc. Carefirst, Bluecross Blueshield The Doctrow Family Endowment Fund Harvey M. Meyerhoff Fund, Inc. Hecht-Levi Foundation The Jean & Sidney Silber Foundation Lois and Philip Macht Family Philanthropic Fund Phyllis and Joe Johnson Foundation Mr. and Mrs. Raymond L. Bank Family Fund Richard and Rosalee C. Davison Foundation Rosemore, Inc. M. Sigmund and Barbara K. Shapiro Philanthropic Fund Sinsky-Kresser-Racusin Memorial Foundation Inc. The Wolman Family Foundation
RESIDENT COMPANY SPONSOR $10,000 - $19,999 Abell Foundation, Inc. Baltimore County Commission on Arts and Sciences Bank of America Foundation The Henry and Ruth Blaustein Rosenberg Foundation Bunting Family Foundation, Inc. Downtown Partnership of Baltimore Goldsmith Family Foundation Helen S. and Merrill L. Bank Foundation Joseph and Harvey Meyerhoff Family Charitable Funds Lockhart Vaughan Foundation Mary Jean and Oliver Travers Foundation, in honor of Stan Miller SunTrust T. Rowe Price Foundation University of Maryland, Baltimore Venable Foundation EXECUTIVE PRODUCER $5,000 - $9,999 American Trading and Production Corporation Mayor Catherine E. Pugh and the Baltimore Office of Promotion and the Arts
DIRECTOR $500 - $999 Actors’ Equity Foundation, Inc. Freedom Car Harbor Bank Helen M. Hughes Trust Jaye and Dr. Ted Bayless Fund Margaret O. Cromwell Family Fund McCormick & Co. Northern Stage Young Audiences of Maryland, Inc. PLAYWRIGHT $250 - $499 Cantler Fulwiler Family Fund Jencks Family Fund Joyce and Robert Knodell Family Charitable Fund Norfolk Southern Foundation Matching Gifts Program Ransome-Wilcox Family Fund Taylor Foundation, Inc. LONG DAY’S JOURNEY INTO NIGHT | 21
FOR YOUR TAILORING NEEDS CLICK ON
View our schedule of classes at ccbcmd.edu/noncredit-schedule 443-840-4700
The incredible value of education. ccbcmd.edu/ConEd
3304 Glenmore Avenue • Baltimore, MD 21214 Shop (410) 254-2469 • Direct (443) 831-5529 firstname.lastname@example.org dawsontailors.org
INDIVIDUALS ANGEL $20,000+ Anonymous Susan W. Flanigan Beth Goldsmith Gina and Dan Hirschhorn Sandy and Mark Laken John and Susan Nehra RESIDENT COMPANY SPONSOR $10,000 - $19,999 Jane W. Daniels Bridget and John Horner, Jr. Patricia and Mark Joseph, The Shelter Foundation Dr. E. Lee and Bea Robbins Vic and Nancy Romita Lawrence Yumkas and Miriam Fisher EXECUTIVE PRODUCER $5,000 - $9,999 Anonymous Brenda K. Ashworth and Donald F. Welch Pat and David Bernstein William and Pat Bettridge Mary Catherine Bunting Charlton G. C. Friedberg Shirley T. Hollander, in memory of Phyllis C. Karrer Phyllis and Joe Johnson Mark and Kelly Keener Mark Paul Lehman and Kurt Davis Wil Love and Carl Schurr Ellen and Neil Meltzer Robert E. Meyerhoff and Rheda Becker Stan and Laurie Miller Elizabeth K. Moser Diane and Pete Nachtwey David and Betsy Nelson Dr. David and Nancy Paige Bryan and Jennifer Rakes John and Marsha Ramsay Frank and Ann Rosenberg PRODUCER $2,500 - $4,999 Anonymous + DECEASED
Jean Waller Brune Paul and Kathleen Casey Tony and Jaymee Farinacci Dr. Larry and Nancy Fishel Debra and Maurice Furchgott Francine and Allan Krumholz Brian and Eileen Oâ€™Rourke Mike Plaisted and Maggie Webbert Robert Russell, in memory of Lelia Russell Matthew and Mary Satchwell Joy and Steven Sibel ASSOCIATE PRODUCER $1,000 - $2,499 Anonymous George and Frances Alderson Valerie and Neil Axel Robert R. Bair and Dorothy D. Bair Penny Bank Bruce and Polly Behrens Diane E. Cho and David W. Benn Richard and Rita Berndt David and Liz Block Bruce Blum Patty Bond Winnie and Neal Borden Michael Borowitz and Barbara Crain Robert and Teresa Brookland Stan and Edie Brown Arnold D and Joyce Ann Bruckner Jennifer Burdick Ms. Gina Campbell Shaun Carrick and Ronald Griffin Suzanne F. Cohen Janice Collins and James Storey Betty and Stephen Cooper Walter B. Doggett III and Joanne Doggett Rosemary Eck Gwen DuBois and Terry Fitzgerald Ms. Susan Sachs Fleishman Elborg and Robert Forster Jason and Laurie Frank
Mitzi and Norman Glick Philanthropic Fund Doug and Corie Godine Herbert and Harriet Goldman Marci Gordon and Andrew Barnstein Charles Henck and Karen Malloy Sandra and Thomas Hess June and George Higgins William C. Jacob and Jennifer S. Williams Lois and Joseph Johnson, Jr. Lisa Harris Jones and Sean Malone Shirley A. Kaufman Martha and J.R. Kirkland Paul Konka and Susan Dugan-Konka Mr. and Mrs. Ernest Kovacs Stanford and Lynne Lamberg Vincent Lancisi and Robin Vanscoy Peter Leffman Diane Leonard Bernard and Steffi Liberman Sara Lombardo and James MacNicholl Kenneth C. and Elizabeth M. Lundeen John and Shanae McLean Joseph and Jane Meyer Charlie and Marcia Moylan Ruth Nolan William and Susan Paznekas Fred and Grazina Pearson Harriet Roberts Sarah S. Robinson Zelig and Linda Robinson Grant and Elissa Roch Rona and Arthur Rosenbaum Burr and Judi Short Rachelle and Ronnie Silverstein Bob and Jackie Smelkinson Joaneath A. Spicer Ruth and Chuck Spivak Fred and Joan Steffens Dorothea S. Stieff Louis B. Thalheimer and Juliet A. Eurich Karen and Jim Trennepohl
LONG DAYâ€™S JOURNEY INTO NIGHT | 23
Dr. Laurie S. Zabin Marvin and Cindy Zelkowitz DIRECTOR $500 - $999 Anonymous James and Ellen Adajian David and Suzanne Alexander Brad and Lindsay Alger Joel Balsham Bruce and Amy Barnett Emile A. Bendit and Diane Abeloff Mr. James Blackburn + Mr. and Mrs. A. Stanley Brager, Jr. Livio and Diane Broccolino David Brown Donald D. Brown and Linda W. Brown Jeffrey Budnitz Hank Bullwinkel and Teri Majewski Dr. Elizabeth Burin and Dr. Avishai Ben-David Christopher Callaghan Evelyn Cannon Susan L. Chomicz, in memory of Eunice Chomicz Chuck Cohen and Ann Amernick Joan Piven Cohen and Samuel Cohen Peter Cohen and Ann Watson, in honor of Laurie and Stan Miller Joseph Coons and Victoria Bradley Harlan and Jean Cramer Ken Davies Natalie Davis Lawrie Deering and Albert DeLoskey Frank Eisenberg and Catherine C. Blake Jennifer Engel Dr. Mary Anne Facciolo and Dr. Michael Repka Fran and John Flanigan Brian Flowers Sandra Levi Gerstung Susan Gillette
Barbara Glynn Hannah and Thorne Gould Jon Greenberg and Connie Rosemont Donald M. and Dorothy W. Gundlach Robert and Cheryl Guth Terry Halle and Wendy McAllister Fritzi K. and Robert J. Hallock James and Catherine Hammond James F. Hart Barbara L. Hecht Samuel and Barbara Himmelrich Frank and Ann Hubbard Dave and Katherine Hurst Ruth B Hurwitz Dr. and Mrs. Iredell W. Iglehart III Ann H. Kahan Joan G. Klein Ann and David Koch Rudy Koffler Larry Koppelman and Liz Ritter Gregory Wise and Raymond Kraft Harriet and Jay Kramer Barry Kropf Jessica Lanzillotti Greg Lehne Judith Letcher Steven and Michelle Levin Ms. Susan Leviton Kathleen Liparini Sam and Suzie Macfarlane Joy Mandel and Tim Nehl Richard Manichello and Margo Halle/Ram Films Inc Frank and Joyce Margolis William Marshall and Camille Wheeler Joselin Martin and Joe Jackson Linda Matheson Dr. Wendy Matt and Dr. Sukumar Balachandran Dennis G. McGough Phyllis McIntosh John and Mary Messmore Linda Nevaldine
EVERYMAN THEATRE | 24
Andrew and Sharon Nickol Drs. Mary Oâ€™Connor and Charles King Steve and Sherri Oâ€™Donnell Robert and Patricia Orr Joan W. Orso Thomas L. and Leslie V. Owsley Dr. Lawrence C. Pakula Justine and Ken Parezo Pamela Pasqualini and Greg Huff Faye E. Pines Dale and Dorothy Piper Dorothy Holliday Powe Diane E. Proctor, in honor of The Cast and Crew of Los Otros Bob and Shirley Prue Ms. Queale Scott and Gwyneth Radloff Karen Ray and Howard Turk Reid Reininger Domingo and Karen Rodriguez Leslie and Jay Rosenthal Jamie and Sarah Ryan Monica and Arnold Sagner Jean Savina and Gayle Barney Susan Scheidle Norman A. and Leonora D. Sensinger Stephen and Gail Shawe Joan and Edward Sills Susan and John Spencer Steve and Sue Sternheimer, in honor of The Resident Company Lynne Stuart Pat Thompson and Ed Sledge JoAnn Tracey Carly Troyer Debra and Henry Tyrangiel Henry and Barbara Valeri Kathleen Vanderhorst Dr. and Mrs. Peter Warschawski Franchella Pailen-Watkins Michael and Helen Weiss Barbara Coleman White Beverly Winter
PLAYWRIGHT $250 - $499 Anonymous Ronald and Baiba Abrams Eleanor Allen Dr. Sania Amr, in memory of Tyson Tildon Taunya L. Banks Greg Baranoski and Lucio Gama Dr. and Mrs. Mordecai Blaustein Rosellen and Norman Bloomberg Philanthropic Fund, in honor of Dr. Stan and Laurie Miller and Edie Brown Elizabeth Blue Jan Boyce Jason and Mindy Brandt Mr. and Mrs. Lewis and Victoria Bringman Jan Caughlan Joseph and Barbara Cirelli Ronald and Peggy Cohen Joan Coley and Lee Rice Will Cooke Greg and Martha Cukor Gwen Davidson Alan Deanehan and Margaret Boeckmann Michael Domue, in honor of Carl Sherman Ross and Michele Donehower Deborah Duskey, in honor of Mark Paul Lehman Neil and Deborah Eisenberg Susan Eisenberg Linda Ettinger and Curt Lind Susie and Bob Fetter John and Dorothy Foellmer Joseph and Teresa Freed Mark and Patti Gillen Sonny and Laurie Glassner Martha and Tad Glenn Dr. and Mrs. Stanley Goldberg Judith A. Gottlieb Mr. Robert Greenfield Dale and Alonzo Griffin, in memory of Elauna Griffin John and Susan Hailman Thomas and Rebecca Hamer Gary C. Harn, in memory of Manny Velder
Suzanne Hill Ken and Ellen Himmelstein Michael Hirschhorn and Jimena Martinez Harriet S. Iglehart Elizabeth Kennedy Townsend and Bob Kent Kenneth B. and Bonny M. Lewis Mr. Paul Kidd and Mrs. Alison Loughran, in memory of Donna Loughran Ron and Marianne Kreitner Rosalind and Alfred Kronthal Charles Kuning Anne Langley Linda F. and Julian L. Lapides Jonna and Fred Lazarus Howard and Peggy Levinton Peter Levy and Diane Krejsa Barry Linkner Joan Locke Richard Marriott Jeanne E. Marsh Judy and David Mauriello Hans and Judy Mayer J. A. McAlpine Carol McCord Stephanie F. Miller Tracy Miller and Paul Arnest Stephanie Moore and Dr. Lindsay Johnson Barry Narlines Ted Niederman and Ricka Neuman Lewis and Dee Noonberg Jeffrey Nover and Ally Amerson Robert and Judith Pierce Leslie and Gary Plotnick Sue Shaner and John Roberts Robert and Ellen Rosen Wendy S. Rosen Dr. and Mrs. Alfred Rosenstein Carla Wolf Rosenthal and Alan Schwartz
Richard and Kayleen Saucier Thea and Sam Schnydman Thomas M. Scott III Betsy and Carlton Sexton Stephanie Shade Joel and Robin Shaivitz Judy Shub-Condliffe and Jack Condliffe, in memory of Vivienne Shub and Naomi Greenberg Dr. and Mrs. Harvey and Deborah Singer Susan Smith Carl and Margaret Soderstrom Scott Sokol Judy and Carl Sterling Ellen Stifler James Stofan and William Law Doris Styche Sweet Elizabeth Trimble Bonnie Binder and Bob Tucker John and Mary Lou Walker Joanne and Ed Wallach Robert and Shifra Weinberg Margaret Williams Mark I. Whitman Magaret Widman Patricia A. Yevics-Eisenberg Carol and Chris Yoder
Please bring any errors or omissions to our attention by contacting Dominique Pearson: email@example.com | 443.615.7055 x7122 LONG DAYâ€™S JOURNEY INTO NIGHT | 25
RACHMANINOFF'S TRANSCENDENT FANTASY FRI, MAR 23 | 8 PM SUN, MAR 25 | 3 PM
The Baltimore Symphony transports you to another land with this evocative program including Rachmaninoff’s Isle of the Dead and Weber’s playful Concerto No. 2. Hear Tchaikovsky's score climb to joyful heights in “Little Russian.”
MAHLER’S TITAN FRI, APR 20 | 8 PM SAT, APR 21 | 8 PM
Experience the massive orchestral forces of Mahler's “Titan.” The BSO performs two of the greatest pieces in the classical repertoire, Beethoven’s romantic Triple Concerto and Mahler's dramatic "Titan" Symphony.
TO BERNSTEIN WITH LOVE FRI, MAY 4 | 8 PM SUN, MAY 6 | 3 PM
The BSO celebrates Bernstein’s centennial with Nicola Benedetti, one of the most sought-after violinists of her generation. This performance includes Bernstein favorites from West Side Story, On the Town and more. The appearance of violinist Nicola Benedetti is made possible through the major support of the Ruth Blaustein Rosenberg Guest Artist Fund.
Presenting Sponsor: M&T Bank
TICKETS FROM $30 JOSEPH MEYERHOFF SYMPHONY HALL 410.783.8000 | EXPLORE THE SEASON AT BSOMUSIC.ORG
BOARD OF DIRECTORS Vic Romita, President Dr. Stanley Miller, Vice President Mark Paul Lehman, Vice President Marci I. Gordon, Secretary Eileen M. Oâ€™Rourke, Treasurer Susan W. Flanigan, Immediate Past President Edie Brown Jean Waller Brune Diane Cho Corie Godine Lisa Harris Jones Gina Hirschhorn Bridget M. Horner Mark P. Keener Martha M. Kirkland Vincent M. Lancisi John McLean Neil Meltzer Peter Nachtwey Susan L. Nehra Betsy Nelson E. Lee Robbins, M.D. Frank Rosenberg James Ryan Kelly Keenan Trumpbour Dawn Ursula Meadow Lark Washington
CONTACT INFORMATION Box Office 410.752.2208 Administration 443.615.7055 Email firstname.lastname@example.org Address 315 W. Fayette St. Baltimore, MD 21201
RESIDENT COMPANY MEMBERS
Bruce Randolph Nelson
Yaegel T. Welch
RESIDENT ARTISTS Everyman Theatre is a member of the Theatre Communications Group. Everyman Theatre is a member of the Bromo Arts and Entertainment District.
Daniel Ettinger, Scenic Designer David Burdick, Costume Designer Jay A. Herzog, Lighting Designer Gary Logan, Dialects Coach Lewis Shaw, Fight Choreographer Amanda M. Hall, Stage Manager
THE REVOLUTIONISTS | 27
Vincent M. Lancisi, Founding Artistic Director Jonathan K. Waller, Managing Director
Mike Watson, Operations Manager Laura Weiss, Special Assistant to the Artistic & Managing Directors Shammah Moore, Porter Pat Brent, Bookkeeper
Noah Himmelstein, Associate Artistic Director Johanna Gruenhut, Salon Producer
COMMUNITY ENGAGEMENT Brian Francoise, Director of Community Engagement
Stephanie Moore, Director of Development Allie Dreskin, Institutional Giving Manager Dominique Pearson, Development Associate
Brianna McCoy, Director of Education Lisa Langston, Education Program Manager Brenna Horner, Lead Teaching Artist Abigail Cady, Education Apprentice Sandra Atkinson, Wychkam Avery, Audrey Bertaux, Tara Cariaso, Reenie Codelka, Ian Anthony Coleman, Kevin Corbett, Amanda Forstrom, Brian Francoise, Kelsey Hall, Deborah Hazlett, Emma Hebert, Mitchell HĂŠbert, John Henderson, Donald Hicken, Nick Horan, Beth Hylton, Rachel Hynes, Joe Mallon, Brandon McCoy, Bruce Randolph Nelson, Jack Novak, Jesse Palmer, Fatima Quander, Jonathan Rizzardi, Steven Satta, Shirley Serotsky, Lewis Shaw, Sabrina SikesThornton, Dawn Thomas Reidy, KenYatta Rogers, Ann Turiano, Teaching Artists
FRONT OF HOUSE
Nadine Klatt, Box Office Manager Kendrel Dickerson, Audience Services Manager Abigail Cady, Kasey Fields, Sharea Harris, Jonathan Jacobs, Ally Kocerhan, Faith Savill, Matthew Schleigh, Bartenders Abigail Cady, Eddy Collett, Cierra Harman, James Fulwiler, Jonathan Jacobs, Jamil Johnson, Thom Purdy, Matthew Schleigh, Rachel-Miranda Swan, Benairen SwansonTomhave, Lucy Wakeland, Box Office Associates EVERYMAN THEATRE | 28
Kate Appiah-Kubi, Candice Christmas, James Fulwiler, Jonathan Jacobs, Jamil Johnson, Alanah Nichole, Derrell Owens, Nickole Scroggins, House Managers Kate Appiah-Kubi Volunteer Coordinator
Michele Alexander, Director of Marketing Jared Earley, Marketing & Media Relations Manager Katherine Marmion, Graphic Designer Kyle Era, Marketing Intern Jeff Rogers, 2017-18 Season Show Art Design
Kyle Prue, Director of Production Amanda M. Hall, Associate Director of Production Bill Jamieson, Technical Director Rick Gerriets, Asst. Technical Director Andrew Gaylin, Audio Engineer Juan Juarez, Master Electrician Jillian Mathews, Properties Master Patrick Squibb, Scene Shop Foreman Evan McDougall, Resident Carpenter Joseph Martin, Michael Rasinski, Trevor Wilhelms, House Carpenters Amy Kellett, Scenic Charge J. R. Schroyer, Deck Chief Lucy Wakeland, Wardrobe Supervisor Amanda M. Hall, Cat Wallis, Stage Managers Kayla Whisman, Assistant Stage Manager Amanda Hokanson, Stage Management Intern Juan Juarez, Alex Roberts, Light Board Operators Reese Siedlecki, Sound Board Operator Kelsey Schneider, Captioning Operator Francesca Belcastro, Ren Brault, Andrew Burrans, Darrell Hairston, Jr., Sierra Ho, Stefen Mayrant, Tiwalade Oni, Kelsey Schneider, J.R. Schroyer, Reese Siedlecki, Kathryn Singer Carpenters Jessica Anderson, Steven Burrall, Jesse Herche, Brandon Ingle, Jeremy McCord, Zachary Paul, Alex Roberts, Alexis Sheeks, Electricians Wil Crowther, Ellouise Davis, Susan McCorkle, Christopher Schramm, Matthew Smith, Costume Construction
“The Summer Camps were a very rewarding creative life skills and critical thinking experience!” - L. Wall, Parent
FOR STUDENTS ENTERING GRADES K-12
9am-4pm Full day, week-long camps
TEEN PERFORMANCE SUMMER STUDIO
GRADES K-2: SUMMER DRAMATIC JOURNEYS
June 25-29 | July 2 & 3* | July 16-20
July 9-14 | 9:30am-4:30pm Full day, six-day camps | Pick a track:
GRADES 3-5: SUMMER THEATRE ADVENTURES
STAGE PERFORMANCE EXPLORATIONS
June 25-29 | July 2 & 3*| July 23-27
GRADES 6-8: SUMMER ENSEMBLE THEATRICS July 16-20 | July 23-27 tive Crea are c d l chi able! l i a v a
MUSICAL THEATER EXPLORATIONS SUMMER STUDIO WORKSHOPS*
June 30 | July 21 | July 28 | 11am-6pm Early Bird Rate ends March 1!
Learn more & register
*Drop in option available
everymantheatre.org/summer | 443.615.7055 x7142 | email@example.com