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A NOTE FROM THE ARTISTIC DIRECTOR By Vincent M. Lancisi, Artistic Director


elcome. Nurturing the creation of new works is an important commitment Everyman Theatre is making to writers today. We want to contribute to the future of the art form. We are excited about breathing life into new plays and musicals. You can count on seeing a balanced mixture of new plays and classics at Everyman in our future. Often great masterpieces of the stage don’t blossom until their second production. Many theatres clamor after world premieres wanting to be the first one to birth a play or musical. But often writers learn a lot from their world premieres and as a result have a new vision for what the piece really should be or could be. This is why here at Everyman we are just as happy to work on new plays in different stages of development be it first, second, or third productions. Having the writers in the room is critical and it allows for innovation to occur and collaboration to flourish. Hearing that Ellen Fitzhugh (Book and Lyrics) and Michael John LaChiusa (Composer) wanted to revisit their musical Los Otros with Noah Himmelstein directing intrigued me. Upon learning of their vision for the production I was determined to provide the opportunity for them to fully realize it. The musical was first produced at the Mark Taper Forum in Los Angeles back in 2012. The entire structure for the piece was completely different from what it is today. In the original, Lillian sang about E V E RYM A N T H E AT R E | B

her life all the way from childhood through adulthood. Then Carlos did the same with a song together at the end. The writers have abandoned that framework and now both characters' stories are intertwined like their lives. The past meets the present through the use of memory and melody. The piece has a new book and some new lyrics and the stories are more immediate and affecting. The process has been fascinating. First we commissioned the re-writing. Then we held a workshop of the new version in New York. The writers learned a lot about the piece—what worked and what they might want to further improve. Then the rehearsals began. Two incredible singers and actors brought their talents and lives to the table. Director Noah Himmelstein and Musical Director Jon Kalbfleisch began their interpretive work on the piece. Most importantly, the creators, Michael John and Ellen, were in the room to adjust, rewrite, and respond to the performers’ contributions. Always sharpening, honing, and digging for the truth, the show got richer and richer. Before we knew it, enhancements were being made both inside and outside of rehearsals to both the book and score in the musical. The creative process thrived. You are about to witness a new musical. It’s totally original, unique, and beautiful. You now add your voice to the mix. The show will interact with you and the conversation from artist to audience and back again will flow. Enjoy the show.

A NOTE FROM THE DIRECTOR By Noah Himmelstein, Director


ow does our past color what and how we see? Early on in Michael John LaChiusa and Ellen Fitzhugh’s musical, Los Otros, a character gleefully sings “somos tres niñas, and it means: we are three girls!” In that moment, Lillian recalls (and fully embodies) a memory from childhood when she listened to a Mexican woman teach her a bit of Spanish; where she felt the curiosity and elation of learning about another culture.

with great economy. It is evident to me why Stephen Sondheim calls her the greatest living lyricist. I hope you’ll find this work as rewarding as it has been for me—a breath of fresh air of what is possible in music-theatre storytelling: original, intriguing and recognizable to our own very personal secrets and shared histories.

That moment is a microcosm of this great work; which fuses real time with memory; where two seemingly ordinary and wildly different characters embrace something enormous and cosmic within themselves and via their relationship with “the other.” Through a medical emergency causing brain trauma for Carlos and an object of special meaning given to Lillian, both are taken back in time to examine key moments of their lives and share these affecting personal stories with us; and each other. Michael John, one of our most singular musical dramatists working today, has created an astonishing score that captures each decade of Carlos and Lillian’s life; motifs are repeated between the two, and while their stories differ, they continually share a deeply linked emotional musical core. Ellen’s work is equally breathtaking in the cinematic scope of her imagination, juxtaposing familiar human tensions that are quietly perceptive and startlingly relevant. She expresses volumes about the human experience Photo: Søren Malmose

Judy McLane and Philip Hernández in rehearsal for Los Otros.


Welcome to Los Otros, a premiere of the re-imagined musical. This has been another extraordinary year at Everyman Theatre with a season of dramatic excellence. Los Otros is particularly exciting for us as it is a departure from our typical dramatic offerings and it has been thrilling to participate in its evolution. We are privileged to be involved with this new work and look forward to its ongoing success. Many thanks to all who contributed to this unique opportunity. Enjoy the evening, tell your friends and thank you for your patronage. Warm regards, Susan W. Flanigan, President, Everyman Board of Directors E V E RYM A N T H E AT R E | 2


Vincent M. Lancisi, Founding Artistic Director Jonathan K. Waller, Managing Director


Executive Producer: Susan W. Flanigan Producer's Circle: Beth Goldsmith, Gina & Dan Hirschhorn, George Roche, Shen Family Foundation, The Stockman Family Foundation, Lawrence Yumkas & Miriam Fisher


Carlos....................................................................................PHILIP HERNÁNDEZ * Lillian................................................................................................ JUDY McLANE* Set Design


Lighting Design


Music Director




Orchestrations Dramaturgy




Sound Design








Costume Design


Stage Manager




Music Copying

EMILY GRISHMAN MUSIC PREPARATION/DAVID HORNE Time: 1938-1995; Place: California and Mexico

This production will be performed in one act with no intermission. PLEASE TURN OFF ALL CELL PHONES. NO TEXTING. NO EATING IN THE THEATRE. "Tres Niñas," one story of Los Otros was originally commissioned, developed, and presented by Premieres in New York City; Paulette Haupt, Artistic Director. Los Otros was fully commissioned and produced by Center Theater Group/Mark Taper Forum; Michael Ritchie, Artistic Director; Charles Dillingham, Managing Director. Los Angeles, California. 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. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States Musicians employed in this production are represented by The Musicians’ Association of Metropolitan Baltimore, Local 40-543 of the American Federation of Musicians of the United States and Canada.


A NOTE FROM THE MANAGING DIRECTOR By Jonathan K. Waller, Managing Director


ike many of you, I’ve been thinking about the National Endowment for the Arts recently as calls to eliminate it grow louder. These calls are not new, but the NEA’s existence has never been more at risk. While Everyman does not receive funding from the NEA, some of the NEA’s sharpest criticism undermines one of Everyman’s core values—that professional arts should be affordable and accessible to everyone— and it’s important to voice our support. Many of you donate each year to Everyman for this reason alone; for our commitment to Pay-What-You-Can performances, our High School Matinee Program, and our other programs that provide access for those who cannot afford commercial (read “Broadway”) prices. One misleading claim that’s echoed by politicians and pundits—and recently on NPR’s Weekend Edition Saturday interview with David Marcus—is that the NEA reduces free market competition; that this makes arts organizations “less incentivized towards going out and getting new audiences than they are to going out and getting new grants.” Mr. Marcus admits that while opera and ballet would not go away if NEA funding disappeared, they “might look different.” We have a model for what free market arts look like in this country. For theatre, it’s Broadway, where tickets to hit shows like Hamilton can swell to thousands of dollars— hardly accessible to the average person. Teresa Eyring, the Executive Director of Theatre Communications Group, the national organization for professional nonprofit American theatres, shared her powerful open letter to the producers of E V E RYM A N T H E AT R E | 4

Weekend Edition Saturday and pointed out that NEA grants make it possible for a much larger and diverse American audience to participate in the arts. In NEA-supported activities, 40% take place in high-poverty neighborhoods, 36% go to organizations that reach under-served populations, and 33% serve low-income audiences. Without the NEA, the wealthy and privileged few who can afford to participate would continue to have access, but others would have it taken away. Why is this important? Here are a few reasons that speak to me. NEA-supported nonprofit organizations are rooted locally in communities and often invest in education programs, like Everyman, that bring arts to schools that need it most. Students with an education rich in the arts have better grade point averages, score better on standardized tests, and have lower dropout rates. Every dollar in NEA funding leverages $9 in private matching funds. In fact, the NEA’s support of nonprofit organizations allows them to take risks on new works, like Hamilton (developed in the nonprofit Public Theatre), in ways that are not possible in the free market. Teresa begins her letter by saying “the door to a meaningful conversation about the value of public funding for the arts has been opened.” I want to thank you for being here tonight to see our new work, Los Otros, because it makes me optimistic that this conversation will remind us, once again, that there are myriad reasons public-funded arts are valuable; and that this vital funding source will continue to enrich our lives into the future.


1. Tres Niñas

2. The Hurricane

3. Madalena (1)

4. Dos Hombres

5. Madalena (2)

6. La Paz

7. Arturo

8. Enduring…Not hard and cold

9. Los Otros

LOS OTROS SETTING Time: 1938-1995 Place: California and Mexico


MAKING THE PERSONAL, UNIVERSAL A Conversation With the Creative Team Behind Los Otros

(Pictured Left to Right): Noah Himmelstein, Michael John LaChiusa, Ellen Fitzhugh


ecently Everyman Artistic Associate, Johanna Gruenhut had the opportunity to sit down with director Noah Himmelstein, composer Michael John LaChiusa, and book writer Ellen Fitzhugh. The following is an excerpt that has been edited and condensed for clarity. To read their conversation in full, please visit Johanna Gruenhut [ JG]: Ellen, is this an autobiographical piece? How close to home do you get? Ellen Fitzhugh [EF]: Well, the piece is autobiographical in nature, if not in detail. Certainly there are things that are manufactured in there, but the ones that really are autobiographical are things that I hope people will think are manufactured because it’s a little sensitive sometimes. JG: So what is it like to invite another person, or in this case another two people to help edit and shape your own story and experiences? E V E RYM A N T H E AT R E | 6

EF: When the other people are Michael John LaChiusa and Noah Himmelstein I am forever grateful. Michael John LaChiusa [MJLC]: The nature of Ellen’s storytelling appeals to me in such a visceral, very potent, magical way that it’s next to impossible not to look at her words and not want to musicalize every single one of them. Knowing her for as long as I have and deeply as I have, it’s wonderful to go into her work and be her heart, because that’s what music is. It’s the heartbeat of the show. Noah Himmelstein [NH]: Ellen also has an incredible understanding of how music is set. And what wants to be sung. You know, this piece goes in and out of speaking and song. JG: How does the initial collaborative process begin? Ellen, do you write the words and then just hand them off to Michael John? Do the two of you talk about the emotional qualities you’re looking for?

MJLC: We don’t talk about anything. EF: Oh no. I wrote whatever the initial work was and then I sent it to him and that was it. MJLC: Well, we’d look at it; there’d be a bunch of rewrites. We might have some questions. But really, the BIG thing that happened, the big step that happens is the handing it over. I mean, we do our writing. I mean, people think, “‘oh, you wrote a musical!” But the real writing happens in the room, with the actors and the director. That’s when you are really a writer. It doesn’t happen when we’re at the piano or the typewriter. The real writing happens when you’re tailoring for the actors. And that’s when it becomes really exciting. EF: It’s a wonderful thing to have Judy McLane and Philip Hernandez. It is like they are spooning this [material] up into themselves… NH: And they bring so much of their own lives, of where they’ve been, that we could never imagine or plan for. That’s the magic that happens when we’re all in the room bringing it to life. MJLC: …when we hear the actors singing and the director staging. That’s the only time that I really feel like I’m writing. NH: Michael John, when you receive a lyric from Ellen, how do you know, emotionally, physically, mentally, what needs to happen? MJLC: The first thing to figure out is, “what is the character feeling in that moment?” You know, is the character in love? [Thumping his chest] Bum, Bum, Bum. Is the character scared? [Thumping his chest] bumbumbumbum. Because it all comes from the heartbeat of the moment. So, that’s what I respond to. NH: You put your feet in the character’s shoes. And then think: what is that sound?

A TIMELINE OF CULTURAL EVENTS THAT IMPACTED LILLIAN AND CARLOS: 1930-42: Mexico is victim to many tropical storms and hurricanes, which result in loss of life. Most notable is Hurricane Belize, which makes a 2nd landfall in Mexico. 1942: The US signs a series of laws and diplomatic agreements with Mexico. The Mexican Farm Labor Agreement, more commonly known as the Bracero Program, enabled importation of temporary contract laborers. 1945: War In Europe Ends May 8 (V-E Day). Harry S. Truman becomes US President following the death of President Roosevelt. Nuclear Bombs are dropped on Hiroshima and Nagasaki. Japan surrender on August 14 (V-J Day). 1952: The Cold War, the Korean War, and the Second Red Scare. The Today Show premieres on NBC, becoming one of the longest running television series in America. 1964: The Civil Rights Law of 1964 is passed. It is a labor law that outlaws discrimination based on race, color, religion, sex, or national origin. 1967: The first documented LGBT civil rights demonstration in the nation is held in front of The Black Cat, a bar in Los Angeles. According to US census statistics the divorce rate jumps beginning in the late 60s. LOS OTROS | 7

MJLC: Absolutely. I mean, when you’re working with a lyricist as brilliant as Ellen that’s there already. The character is already there. So, yeah, it’s just feet in, be in the heartbeat. That’s the beauty part of it all.

"Even though what [the characters] share are their personal histories, which can be messy and dark, they arrive at a buoyancy and a levity with each other. That lightness, that joy is so needed now."

NH:…Which is actually much more true to life than most naturalistic theater we see. I mean the conversations we have on a daily basis are the stuff of dream and fantasy and memory. That is what drew me to the piece, that it operated on various levels—like life. And, yes, it is a great challenge for the actors and myself. How can we make the spaces clear so we can be as imaginative as possible? I mean, when you have musical theater, you’re already taking a wonderful leap. JG: There are repeated musical phrases throughout. What are these repeated motifs telling us?

NH: What inspired you to bring in so many different styles of music? MJLC: This piece spans a lot of time and place. It spans decades. So, there’s the 1950s so you have a little soupçon, a little taste of something a little girl would have heard on the radio. And that little taste can become a little darker in a couple of places. Or, you’re in 1988 in California, in the suburbs of CA, and what does that smell like, and how do you put that into music—for me it was the Burt Bacharach moment, smiling through the palm trees. There’s also the hurricane that the young man is caught up in, in Mexico, so what does that sound like? That’s cool, too. That’s exciting when you get to go there. Music, I find, is one of the best ways to explain time and space to people without having to project a date on a wall. JG: This piece is not linear storytelling and that’s tricky for a director. There had to have been discussions about how to make it two spaces at once, the present, past, memory, fantasy…

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Cast members, Judy McLane and Philip Hernández MJLC: The architecture of the piece is based on the architecture that Ellen presented in lyric form. So where she has an A section or sometimes a B section, it’s the same meter, same rhythm, therefore I can write the same music. And so it has very profound effects, because when you start hearing it in repetition it has its own meaning after a certain point. So when we get to that A section again, it means something similar, even though it’s being sung by a different character and has a different feeling or a different impetus. Sometimes

I play around with the meter, too. Like maybe the same meter happens in the B section, but because there’s a gay Latino accountant, I can write a fabulous gay Latino accountant rhythm for it. JG: Do the repetitions between characters influence your understanding of how they move through space? Noah, does the shared music frame your staging? NH: I want the audience to be able to connect to the different repeating motifs so that they can make connections between the characters and see, ‘oh, this is a common emotion that’s happening between them, even though they’re in totally different situations.’ It comes back to what are we saying in the grand scheme of things about that common human heart.

1970s, in brief: In 1970, the first gay pride parade is held. In 1972 the Supreme Court legalizes birth control for all citizens of this country, irrespective of marital status. In 1973, the American Psychiatric Association removes homosexuality from its official list of mental disorders. In 1977: hit movies are Star Wars, Close Encounters of the Third Kind, Annie Hall. Jimmy Carter is inaugurated. California suffers from severe drought.

JG: The show began years ago, but do you feel it has taken on greater significance given our current events?

1980s, in brief: Reagan, Reaganomics, The Cold War, Madonna, Michael Jackson, AIDS, MTV.

MJLC: The story, in and of itself, is about how we learn about each other by telling our stories to one another, it's how we can learn to love each other. And I think that’s one of the key points of Ellen’s story.

1990s, in brief: The Immigration Act of 1990 is passed by President George H.W. Bush.

JG: Is there something you’re hoping Everyman audiences will come away feeling? NH: There is levity and lightness to these stories. Even though what they share are their personal histories, which can be messy and dark, they arrive at a buoyancy and a levity with each other. That lightness, that joy is so needed now. MJLC: It’s wonderful working on the piece at a theater called Everyman… NH: Because everyone is involved in some way… MJLC: Because the humanity is the very theme. EF: It is like putting a life on its feet.

1994: Rwandan Genocide, an estimated 800,000 Tutsis were killed by Hutus during a 100-day period.

Former NFL player O.J. Simpson was tried on two counts of murder. 2000s: According to the US census, the foreign-born population in the United States increased by more than half between 1990 and 2000. In 2000, 11.2 million people (36% of the total foreignborn population) were from Central America (including Mexico).


CAST BIOGRAPHIES PHILIP HERNÁNDEZ (Carlos): Everyman Theatre: debut. Philip Hernández is the only man in Broadway history to play Jean Valjean and Inspector Javert in Les Misérables. He made his Broadway debut in the Original Cast of Kiss of the Spider Woman, in which he created the role of Esteban and later went on to play Valentin, in London's West End and on Broadway. Philip also played Reverend Gonzalez in the Original Cast of Paul Simon's The Capeman and was Juan Peron in Harold Prince’s 25th Anniversary Tour of EVITA. He has performed roles from Shakespeare to Neil Simon at regional theatres across the U.S. Philip recently guest starred on the CBS series Blue Bloods, on NBC’s The Blacklist and had a recurring role as Dr. Guerra in Season 1 of GOTHAM. He played opposite Debra Messing on The Mysteries of Laura and appeared with Edie Falco and Tony Shaloub on Nurse Jackie. You may also have seen him featured on Elementary, Person of Interest, Hostages, Damages, Ugly Betty and Law and Order to name a few. “Jazz Review” called his Latin-Jazz CD, The beat of my heart, “A gift from the heart from one of America’s great voices.” As a private acting and vocal coach in NYC, Philip prepares students to audition and work in professional theatre and television. You can find him at and on Twitter and Instagram at @philip24601. JUDY MCLANE (Lillian): Everyman Theatre: debut. Judy McLane performed over 4,000 performances on Broadway in Mamma Mia! She starred as Donna Sheridan for 3 ½ years and as Tanya for 7 ½ years making her the longest running lead in Mamma Mia! history. She received critical acclaim for her performance as Vienna in Johnny Guitar Off-Broadway (Drama Desk Nomination and a Drama League Award for Distinguished

Performance in the Theater). Judy has appeared on Broadway in Kiss of the Spider Woman with Chita Rivera, Aspects of Love, and Chess. National and international tours: the Baker's Wife in Into the Woods, the Narrator in Joseph and the Amazing Technicolor Dreamcoat with Donny Osmond, Mrs. Baskin in Big, and Side By Side by Sondheim directed by Rob Marshall. Other favorite roles include: Margaret in Light in the Piazza (Theatre Raleigh) Diana in Next to Normal (Pioneer Theater), Phyllis in Follies (Signature Theater, (Helen Hayes nomination), Eva Peron in Evita, the title character in Victor/Victoria, Aldonza in Man of La Mancha, Luisa in Nine, Nancy in Oliver!, Florence in Chess, Lily in Dr. Jekyll and Mr. Hyde (Paper Mill Playhouse), Mrs. Walker in Tommy, Rebecca in Rags (American Musical Theater of San Jose), Mary Magdalene in Jesus Christ Superstar (Sacramento Music Circus), and Ann in 1940's Radio Hour (Repertory Theater of St. Louis), Isabella in Wuthering Heights (Olney Playhouse), and Lucy in Wildhorn's Jekyll & Hyde (Casa Manana). Ms. McLane has performed as a soloist with many symphony orchestras including the Bolshoi Orchestra in Moscow, the National Orchestra of Lyon, France, National Symphony of Canada, National Symphony Orchestra, Baltimore, Cincinnati, Dallas, Detroit, Indianapolis, Pittsburgh, St. Louis, Toronto, and Chuatauqua Symphony Orchestras, Chess in Concert at Carnegie Hall among many others. Television includes NBC's The Blacklist, Guiding Light and Another World. She plays Donna in the cult movie classic Were the World Mine and can be heard on the recordings of Johnny Guitar and Sundance the Musical. Twitter: @RealJudyMcLane Instagram: judy.mclane


What will tonight reveal...

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and Fantasia 2000 (principal arranger). Winner, Tony (+2 noms), Drama Desk (+8 noms), Obie. More info:

DAVID BURDICK (Costume Design) Everyman Theatre (Resident Costume Designer): 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: Center Stage: 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.

DANIEL ETTINGER (Set Design) Everyman Theatre (Resident Set Designer): Wait Until Dark, 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), Our Town, Two Rooms, Rabbit Hole, Soul Collector, I Am My Own Wife, Filthy Rich, Viva La Vivienne! (Background Design), Gem of the Ocean, Much Ado About Nothing, Sight Unseen, Betrayal, Going to St. Ives, School for Scandal,
Proof, Nude With Violin, Red Herring, 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, BRUCE COUGHLIN (Orchestrations) Vigils, Recent Tragic Events, Kiki and Herb, Broadway credits include: The Wild Party Starving, The Mineola Twins; Theatre J, (LaChiusa), War Paint, Amélie, The Light in the Piazza (Tony and Drama Desk Awards), The Disputation; Rep Stage: Venus in Fur, Boeing, Boeing, God’s Ear, Mrs. Warren’s Urinetown, Grey Gardens, 9 To 5, Annie Profession; Barter Theatre, Thoroughly Get Your Gun, Sound of Music, Once Upon Modern Millie, She Loves Me, and over 100 a Mattress, and King and I (1996)—plus other productions. Teaching: Towson additional (contributing) orchestrations University Design Program. for Big Fish, On the Twentieth Century, Something Rotten, and On the Town. ELLEN FITZHUGH (Book and Lyrics) Ellen Regional/NYC credits include: Giant, First Fitzhugh is an Emmy, Drama Desk and Daughter Suite (co-orchestrator), See Tony nominated lyricist whose work What I Wanna See, Rain (all 4: LaChiusa); includes Paradise Found with Richard Finding Neverland (UK version), Far From Nelson, Johann Strauss II, co-directed Heaven, Happiness (all 3: Frankel/Korie); by Harold Prince and Susan Stroman; recent Assassins and Urinetown revivals Herringbone with Tom Cone and Skip (London); October Sky, Floyd Collins, Kennon; Grind with Larry Grossman, Children of Eden, A Room With A View, Tales directed by Prince; with a new book by of the City. Opera credits: Grapes of Wrath, Brad Rouse, directed by Annette Jolles; 27 and Morning Star (all Ricky Ian Gordon). Big Blonde with Kennon, developed at Film: Hairspray (“Miss Baltimore Crabs”) Playwrights Horizons and The Public LOS OTROS | 13

Theatre; Paper Moon, with Marty Casella and Grossman; Muscle, with James Lapine and William Finn; Diamonds, a baseball revue. She also provided additional lyrics for Adam Guettel’s Myths and Hymns, Anthony Newley’s Chaplin and Juno with Vineyard Theatre. Ellen wrote songs for sequels of The Brave Little Toaster with Finn, the title song for MGM’s That’s Dancing with Larry Grossman and Henry Mancini and songs for Disney’s The Great Mouse Detective with Grossman and Mancini. Ellen is a member of Dramatists Guild. NOAH HIMMELSTEIN (Director/Associate Artistic Director) Everyman Theatre: An Inspector Calls. Recent credits: Andrew Lippa’s I Am Anne Hutchinson/I Am Harvey Milk (Music Center of Strathmore in Bethesda with Kristin Chenoweth; Washington Post Best of the Year); The Forgotten Woman (Bay Street Theater, Sag Harbor), Bleeding Love (Fredericia Teater, Denmark); I Am Harvey Milk (NY’s Lincoln Center with Chenoweth, San Francisco’s Nourse Theatre, LA’s Disney Hall and Denver’s Bellco Theater. NY & LA Magazine Best of the Year, Playbill Unforgettable Experience of the Year); Things I Left On Long Island (Off-Broadway, Time Out NY Critic’s Pick); Positions 1956 (World Premiere Opera, Urban Arias), Loving Leo (Weston Playhouse), Great Writers Thank Their Lucky Stars (DGF Gala with Stephen Sondheim and Bernadette Peters). Asst. Director: Golden Boy (dir. Bartlett Sher) and Little Miss Sunshine (dir. James Lapine). Guest Artist: NYU Tisch and Steinhardt, Adelphi University, Usdan Performing Arts Center, Columbia University. Upcoming: What I Learned from People, a new musical by Will Aronson and Hue Park. In 2016, Noah joined Everyman as their first Associate Artistic Director. He is a graduate of Emerson College and Carver Center for Arts and Technology.

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JON KALBFLEISCH (Music Director) Everyman Theatre: debut. Broadway: Imperial Theatre, Les Misérables (Marius Company, associate conductor); Ambassador Theatre, The Visit (Actor’s Fund Benefit, conductor, starring Chita Rivera); Regional: Signature Theatre (2009 Regional Tony winner, resident musical director); Over 50 productions including 27 by Sondheim and world premiers by Michael John LaChiusa and John Kander. In that capacity, Jon has received 9 Helen Hayes Awards for Outstanding Musical Direction, with 27 nominations to his credit. Favorites at Signature include: West Side Story, Into the Woods, Passion, Wings, Sweeney Todd, A Little Night Music. Other regional credits include: First You Dream, The Kennedy Center; Putting it Together, Mark Taper Forum, Los Angeles; Caroline or Change, Round House Theatre, Bethesda. National tours: Les Misérables, Martin Guerre and Oklahoma! Television: Conductor for Alan Jackson on Good Morning, America! In Baltimore, Jon is delighted to be making his Everyman debut, and can often be found playing piano for the Baltimore Symphony. With that orchestra, Jon has played at Carnegie Hall and can be heard on the Grammy-nominated recording of Bernstein’s MASS. He is also music director and conductor of the Lawton Philharmonic Orchestra. Jon holds a Master of Music in conducting from Southern Methodist University, and Bachelor of Arts in piano from Cameron University. MICHAEL JOHN LaCHIUSA (Composer) Michael John LaChiusa is a five–time Tony Award nominated Composer, Lyricist and Librettist for his Broadway productions of The Wild Party, Marie Christine and Chronicle of a Death Foretold. LaChiusa’s acclaimed off-Broadway musicals have been seen at The Public Theater and Lincoln Center in NY and include First Daughter Suite, Giant, Queen of the Mist,


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See What I Wanna See, First Lady Suite, Bernarda Alba, Hello Again, Little Fish, and Four Short Operas: Break, Agnes, Eulogy For Mr. Hamm, Lucky Nurse. LaChiusa’s musical The Wild Party recently made its London premiere and opened the new theatre The Other Palace. LaChiusa’s latest musical, Rain, premiered at the Old Globe in San Diego in Spring 2016. LaChiusa has been commissioned by Chicago Lyric Opera, Houston Grand Opera, and Oregon Shakespeare Festival among others and has penned Lovers & Friends: The Chautauqua Variations for CLO and Send (who are you? I love you) written for Audra McDonald at HGO. LaChiusa’s revues of his own work include…LaChiusa ( Joe’s Pub), Hotel C’est l’Amour (Blank Theatre), and most recently Heartbreak Country: Michael John LaChiusa’s Stories of America ( Jazz at Lincoln Center). LaChiusa’s awards include an Obie, Gillman Gonzalez-Falla, Kleban Foundation, Dramatists Guild, and 2008 & 2009 Daytime Emmy Awards. LaChiusa teaches at NYU and Columbia University. He is a resident of New York City. VINCENT M. LANCISI (Founding Artistic Director) founded Everyman Theatre in October of 1990 and has directed over 35 productions including 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 the President of the Bromo Tower Arts & Entertainment District board. He is also on the Market Center Merchants Board. 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. AMANDA M. HALL (Stage Manager) Everyman Theatre (Resident Stage Manager): Over 75 productions, including 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, Topdog/Underdog, August: Osage County, Time Stands Still, You Can’t Take It With You, The Brothers Size, A Raisin in the Sun, Stick Fly, Shooting Star, All My Sons, Our Town, The Mystery of Irma Vep, Art, Sight Unseen, Betrayal, Opus, The Last Five Years, Uncle Vanya, Proof, Red Herring, The Pavilion, Fences, Glass Menagerie; Regional: MD Stage Company, The Guthrie Theatre, Rep Stage. NANCY SCHERTLER (Lighting Design) Everyman Theatre: Fences, Red. Broadway: Bill Irwin’s Fool Moon and Largely New York (Tony nomination). Off-Broadway: Hilda, Texts for Nothing, The Regard Evening. Regional: The original productions of the following: Arena Stage: Tom Walker, Lovers and Executioners, Before it Hits Home; Theater J: Queens Girl in the World; Constellation Theatre: Zorro; American Conservatory Theatre (San Francisco): After the War, The Colossus of Rhodes, The Difficulty of Crossing a Field; Seattle Repertory: The Sisters Matsumoto; Milwaukee Repertory: Moby Dick; Children’s Theatre in Minneapolis: The Jungle Book; world LOS OTROS | 17

premiere opera productions include Shadowboxer, Clara and Later the Same Evening, all commissioned by the University of Maryland Opera Studio. VINCENT E. THOMAS (Movement) dancer, choreographer and teacher, received his MFA in Dance from Florida State University and a BME in Music from the University of South Carolina. He has danced with Dance Repertory Theatre, Randy James Dance Works, EDGEWORKS Dance Theater, and Liz Lerman Dance Exchange. His choreography has been presented at national and international venues including DUMBO Festival, Velocity Festival, Modern Moves Festival, Philly Fringe, Edinburgh Fringe Festival in Scotland, Spain, France, Greece, Italy, and Denmark. He received rave reviews for his performance of “Come Change” (2012) and “iWitness” (2014) in the Edinburgh Fringe Festival. Vincent was the Movement Coach/Choreographer for Everyman Theater’s Brother’s Size and Mosaic Theatre’s Unexplored Interior (2015). Vincent was awarded the 2011-2012 Towson University Student Government Association Faculty Member of the Year. He is a 2014-2015 NextLook Artist for the University of Maryland College Park and Joe’s Movement Emporium, a 2012-13 American Dance Institute Incubator Artist, a 2016 Baker Artist Award finalist, an Urban Bush Women BOLD Facilitator, faculty member for the UBW Summer Institutes (NY and LA), and Professor of Dance at Towson University. His multi-dimensional company VTDance builds on the use of contemporary dance, improvisation, text/ movement, a variety of sound sources, and collaborations with other artists, and others [to be discovered]. These ideas coupled with witty, poignant, athletic and gestural movement are the rich palette for VTDance. KEN TRAVIS (Sound Design) Everyman Theatre: debut. Broadway designs: E V E RYM A N T H E AT R E | 18

In Transit, Aladdin, Jekyll and Hyde, A Christmas Story the Musical, Scandalous, Newsies, Memphis, The ThreePenny Opera, Barefoot in the Park and Steel Magnolias. Numerous, regional theaters, international tours and productions including Disney’s Aladdin: London, Hamburg, Tokyo and Australia as well as the current North American tour of The Sound of Music.

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. The Scenic, Lighting, 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).

Musicians employed in this production are represented by The Musicians’ Association of Metropolitan Baltimore, Local 40-543 of the American Federation of Musicians of the United States and Canada.



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 25 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. The 1994/95 Season marked a series for firsts for Everyman. It was the first year at 1727 North Charles Street, which would be Everyman's home for 18 years. It also marked the first multi-production line-up— starting with Sam Shepard's Buried Child— and also offered subscriptions to patrons for the first time. Throughout the late 1990s and early 2000s,

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 recordbreaking production of the Pulitzer Prize winning drama, August: Osage County. Everyman celebrated its 25th anniversary during the 2015/16 Season by producing "The Great American Rep," a feat featuring American classics Death of a Salesman and A Streetcar Named Desire performed with the same cast in rotating repertory. Everyman invites you to be part of the journey for the next 25 years.

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


EAT, PLAY, DRINK! This spring, six gracious hosts from the Everyman Theatre family invite you into their homes to Play a Role in fun, informal readings of well-known theatrical favorites. Each evening includes a light meal, drinks, great conversation and an opportunity to make new friends. Whether you come to just one fundraiser or all six, you will be playing an important role in helping support Everyman’s artistic and education initiatives. TICKETS: $75 Saturday, April 22 | 6 PM

Saturday, May 6 | 6 PM

by Aaron Sorkin The story of military lawyers at a court martial who uncover a high level conspiracy in the course of defending two US Marines. Hosted by Betsy & David Nelson Guilford

by Neil Simon A divorced slob and a neat freak, recently separated from his wife, decide to share an apartment. This play has also been written for female leads. Hosted by Mark & Kelley Keener Little Italy

Sunday, April 23 | 5:30 PM

12 Angry Jurors

The Odd Couple

Sunday, May 7 | 5 PM

by Reginald Rose A 19-year-old man has just stood trial for the fatal stabbing of his father. It looks like an open and shut case until one of the jurors begins opening the others’ eyes to the facts. Hosted by Jean Brune Roland Park

Private Lives

Sunday, April 30 | 5 PM

The Mousetrap

Our Town

by Thornton Wilder Our Town tells the story of the fictional American small town of Grover's Corners between 1901 and 1913 through the everyday lives of its citizens. Hosted by Marci Lief & Clay Oliver Silo Point E V E RYM A N T H E AT R E | 20

by Noël Coward A divorced couple unexpectedly honeymoons (with their new spouses) at the same place. Hosted by Curt Decker Mount Vernon Saturday, May 13 | 6 PM by Agatha Christie A snowstorm traps a group of strangers in a country house with an unknown killer. Hosted by Corie & Doug Godine Baltimore County


Photo by Michelle Antoinette Nelson

A Few Good Men



TROUBLE IN MIND By Alice Childress Directed by Dawn Ursula

COCKTAILS AT 6 PM | READINGS AT 7 PM TICKETS: $15 Adult | $5 Student (with ID) The Salon Series is sponsored by The Stockman Family Foundation and funded in part by a generous grant from Joy, Steven, Lauren and Hannah Sibel.

Food Generously Provided By:


A r r i ve at yo u r s eat s r e l axe d an d r ead y to en joy yo u r Ev ery m an pe r f or m an c e. Dine from our pre-fix menu in this historic, casually chic, Mt. Vernon mansion.

TH E ELEP H A N T 924 North Charles Street Valet service


Tuesday - Sunday 5 - 6:30 pm pre-fix menu 5 - 10:00 pm full menu available










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, 2015 and February 28, 2017.


Anonymous Baltimore County Commission On Arts And Sciences Bunting Family Foundation, Inc. David And Barbara B Hirschhorn Foundation France-Merrick Foundation Helen S. and Merrill L. Bank Foundation The Henry and Ruth Blaustein Rosenberg Foundation J. Mayo Greenberg Theatre Fund Jacob and Hilda Blaustein Foundation, Inc. Lockhart Vaughan Foundation Maryland State Arts Council Paul M. Angell Family Foundation Shen Family Foundation Sheridan Foundation The Shubert Foundation Stockman Family Foundation William G. Baker, Jr. Memorial Fund, creator of the Baker Artist Portfolios,


Bank Of America Foundation Goldsmith Family Foundation Hecht-Levi Foundation Joseph and Harvey Meyerhoff Family Charitable Funds Legg Mason Corporate Citizenship LifeBridge Health Lord Baltimore Hotel T. Rowe Price Foundation Talcott-Gran Charitable Trust Venable Foundation

EXECUTIVE PRODUCER $5,000 - $9,999

Anonymous Abell Foundation, Inc. American Trading And Production Corporation Baltimore Office of Promotion and the Arts Benno and Elayne Hurwitz Family Foundation Earle and Annette Shawe Family Foundation Eddie C. and C. Sylvia Brown Family Foundation Fancy Hill Foundation Harris Jones & Malone, LLC Helen Pumphrey Denit Trust, U.S. Trust, Bank of America, Trustee Jane And Worth B. Daniels Jr. Fund + DECEASED

John J. Leidy Foundation, Inc. Lord Baltimore Capital Corporation Mayor Catherine E. Pugh & the City of Baltimore Creative Baltimore Fund Muller Charitable Foundation, Inc. Sun Trust Wells Fargo Foundation Yumkas, Vidmar, Sweeney & Mulrenin, LLC

PRODUCER $2,500 - $4,999

The Ashworth/Welch Charitable Fund Charlesmead Foundation DLA Piper LLP Harvey M. Meyerhoff Fund, Inc. Herschel and Judith Langenthal Philanthropic Fund IBM Corporation Sinsky-Kresser-Racusin Memorial Foundation Inc.

ASSOCIATE PRODUCER $1,000 - $2,499

Anonymous Baltimore Office of Promotion and the Arts Campbell Foundation, Inc. Exelon Foundation Harbor Bank Jaye and Dr. Ted Bayless Fund The Jean and Sidney Silber Foundation Lois and Philip Macht Family Philanthropic Fund M. Sigmund And Barbara K. Shapiro Philanthropic Fund Mary Jean and Oliver Travers Foundation in honor of Stan and Laurie Miller Phyllis and Joe Johnson Foundation Richard and Rosalee C. Davison Foundation Susan Sachs Fleishman Fund The Wolman Family Foundation

DIRECTOR $500 - $999

Actors' Equity Foundation, Inc. Cantler Fulwiler Family Fund Doctrow Family Fund Eugene and Alice Schreiber Philanthropic Fund Francine Manekin and Family Philanthropic Fund Helen M. Hughes Trust Jencks Family Fund McCormick & Company Norfolk Southern Foundation Matching Gifts Program Northern Stage Mr. and Mrs. Raymond L. Bank Family Fund

PLAYWRIGHT $250 - $499

Actors’ Equity Foundation, Inc. Gabbay Family Fund Jacob S. Shapiro Foundation Joyce and Robert Knodell Family Charitable Fund Ransome-Wilcox Family Fund Reliable Churchill Taylor Foundation, Inc.



Anonymous Susan W. Flanigan Beth Goldsmith Gina and Dan Hirschhorn John and Susan Nehra Dr. E. Lee and Bea Robbins George Roche Vic and Nancy Romita


Stan and Laurie Miller Elizabeth K. Moser David and Betsy Nelson Lawrence Yumkas and Miriam Fisher

EXECUTIVE PRODUCER $5,000 - $9,999

Bunny and Alan Bernstein+ William and Pat Bettridge Mary Catherine Bunting Richard Friedler Ronnie Kleiman Peter Leffman Mark Paul Lehman and Kurt Davis Wil Love and Carl Schurr Ellen and Neil Meltzer Diane and Pete Nachtwey Bryan and Jennifer Rakes John and Marsha Ramsay Frank and Ann Rosenberg Stephen and Gail Shawe

PRODUCER $2,500 - $4,999

Anonymous Stan and Edie Brown Shaun Carrick and Ronald Griffin Paul and Kathleen Casey Diane E. Cho and David W. Benn Dr. Larry and Nancy Fishel Mitzi and Norman Glick Philanthropic Fund Corie Godine Marci Gordon and Andrew Barnstein Lisa Harris Jones and Sean Malone Phyllis and Joe Johnson Sandy and Mark Laken, in memory of Shawn Laken Kenneth C. and Elizabeth M. Lundeen Brian and Eileen O’Rourke Dr. David and Nancy Paige

Grant and Elissa Roch Matthew and Mary Satchwell Len and Selma Sherman Joy and Steven Sibel Louis B. Thalheimer and Juliet A. Eurich

ASSOCIATE PRODUCER $1,000 - $2,499 A nonymous

George and Frances Alderson David and Suzanne Alexander Brenda K. Ashworth and Donald F. Welch Robert R. Bair and Dorothy D. Bair Penny Bank Bruce and Polly Behrens Emile A. Bendit Richard and Rita Berndt Helen Blakey Dr. and Mrs. Mordecai Blaustein Patty Bond Winnie and Neal Borden Robert and Teresa Brookland Evelyn Cannon Glenda Chernoff Chuck Cohen and Ann Amernick James C. Storey and Janice L. Collins Betty & Stephen Cooper Michael Borowitz and Barbara Crain Harlan and Jean Cramer Jennifer Engel Nelson and Sara Fishman Gwen DuBois & Terry Fitzgerald Fran and John Flanigan Elborg and Robert Forster Jason and Laurie Frank Charlton G. C. Friedberg Debra and Maurice Furchgott Jill and Ira Gansler Sandra Levi Gerstung Barbara Glynn Herbert and Harriet Goldman Stephen and Julie Gottlieb Stephen P. & Jacquelyn M. Hall James and Catherine Hammond Michael Hayes and Lori Clawson Charles Henck and Karen Malloy Sandra and Thomas Hess June and George Higgins Shirley T. Hollander, in memory of Phyllis C. Karres William C. Jacob and Jennifer S. Williams

E V E RYM A N T H E AT R E | 24

Shirley A. Kaufman Paul Konka and Susan Dugan-Konka Francine and Allan Krumholz Vincent Lancisi and Robin Vanscoy Bernard and Steffi Liberman Sara Lombardo and James MacNicholl Joy Mandel and Tim Nehl Richard Manichello and Margo Halle/Ram Films Inc Dr. Wendy Matt & Dr. Sukumar Balachandran Phyllis McIntosh John and Shanae McLean John and Mary Messmore Joseph and Jane Meyer Charlotte Modly and Paul Tarantino Charlie and Marcia Moylan Tracy Namie, in memory of Stephen Namie Ruth Nolan Franchella Pailen-Watkins Fred and Grazina Pearson Mike Plaisted and Maggie Webbert Reid Reininger Larry Koppelman and Liz Ritter Harriet Roberts Zelig and Linda Robinson Rona and Arthur Rosenbaum Leslie and Jay Rosenthal Bruce and Ellen Rothschild Robert and Lelia Russell Monica and Arnold Sagner Gilda B. Sherman Jean Silber Rachelle and Ronnie Silverstein Bob and Jackie Smelkinson Susan and John Spencer Joaneath A. Spicer Ruth and Chuck Spivak Fred and Joan Steffens Linda Stewart Damie and Diane Stillman Margaret Taliaferro Karen and Jim Trennepohl Kelly Keenan Trumpbour Michael and Helen Weiss Dr. Laurie S. Zabin

DIRECTOR $500 - $999 Anonymous James and Ellen Adajian Tim and Joy Ambrose

Dr. Sania Amr, in memory of Jo Tyson Tildon Neil Axel Joel Balsham Bruce and Amy Barnett Frank Eisenberg and Catherine C. Blake Mr. James Blackburn Liz Block Harriet and Bruce Blum Mr. and Mrs. A. Stanley Brager, Jr. Livio and Diane Broccolino David Brown Donald D. Brown and Linda W. Brown Arnold D and Joyce Ann Bruckner Hank Bullwinkel and Teri Majewski Jennifer Burdick Dr. Elizabeth Burin and Dr. Avishai Ben-David Susan L. Chomicz, in memory of Eunice Chomicz Suzanne F. Cohen Ken Davies Michael and Judith DeHaemer Walter B. Doggett III and Joanne Doggett Ross and Michele Donehower Rosemary Eck Vera Case and Adam Ehart Tony and Jaymee Farinacci Brian Flowers Dr. and Mrs. Stanley Goldberg George Goodale Judith A. Gottlieb Hannah and Thorne Gould Jon Greenberg and Connie Rosemont Richard B. Gross Michael Guarnieri Donald M. and Dorothy W. Gundlach Betty Gunther, in honor of Robert Gunther Robert and Cheryl Guth Terry Halle and Wendy McAllister Fritzi K. and Robert J. Hallock Dr. Rhoda Harrison Barbara L. Hecht Holly Hertsgaard Samuel and Barbara Himmelrich Ken and Ellen Himmelstein Robert and Abigail Hoffman Frank and Anne Hubbard

Dave and Katherine Hurst Ruth B Hurwitz Dr. and Mrs. Iredell W. Iglehart III Lois and Joseph Johnson, Jr. Ann H. Kahan Edi and Barbara Karni Townsend and Bob Kent Joan Klein Ann and David Koch Ann Koontz Harriet and Jay Kramer Stanford and Lynne Lamberg Jessica Lanzillotti Harry and Beth Lebow Greg Lehne Diane Leonard Vernon and Doris Lidtke Barry Linkner Kathleen Liparini Alison Loughran, in memory of Donna Loughran Sam and Suzie Macfarlane Frank and Joyce Margolis Patrick Martyn and Eric Lomboy Linda Matheson Dennis G. McGough Herb and Miriam Mittenthal Carl and Undine Nash Linda Nevaldine Andrew and Sharon Nickol Ted Niederman and Ricka Neuman Lewis and Dee Noonberg Drs. Mary O’Connor and Charles King Steve and Sherri O’Donnell Gretchen Schmidl and Tim O’Leary Robert and Patricia Orr Joan W. Orso Thomas L. and Leslie V. Owsley Dr. and Mrs. Lawrence C. Pakula William and Susan Paznekas Dale and Dorothy Piper Leslie and Gary Plotnick Dorothy Holliday Powe, in memory of Ethel J. Holliday Scott and Gwyneth Radloff Karen Ray and Howard Turk Sarah S. Robinson Domingo and Karen Rodriguez Carla Wolf Rosenthal and Alan Schwartz Bette Rothman + Jamie and Sarah Ryan Jean Savina and Gayle Barney Susan Scheidle

Norman A. and Leonora D. Sensinger Riva and Dr. Al Shackman David and Sarah H. Shapiro, in honor of Gina Hirschhorn Peter and Cheryl Snyder Lynne Stuart Pat Thompson and Ed Sledge JoAnn Tracey Elizabeth Trexler Carly Troyer Bonnie Binder and Bob Tucker Debra and Henry Tyrangiel Henry and Barbara Valeri Dr. and Mrs. Peter Warschawski Peter Cohen and Ann Watson, in honor of Stan & Laurie Miller Maria Wawer William Marshall and Camille Wheeler Beverly Winter Carol Yumkas Marvin and Cindy Zelkowitz

PLAYWRIGHT $250 - $499 Anonymous Anonymous, in honor of Maurice and Debra Furchgott Lissa Abrams and Abe Wasserberger Ronald and Baiba Abrams Brad and Lindsay Alger Eleanor Allen Taunya L. Banks Richard Baum and Kathleen Petersen, in memory of Ron Pototsky Jan Boyce Brooks Bradley Jason and Melinda Brandt Jean Brune Joseph and Barbara Cirelli Joan Coley and Lee Rice Cynthia Conklin Will Cooke Joan S. Cornblath Gwen Davidson Albert DeLoskey and Lawrie Deering Michael Domue, in honor of Wil Love and Carl Schurr Deborah Duskey Neil and Deborah Eisenberg Susi Ettinger


Dr. Mary Anne Facciolo and Dr. Michael Repka Edgar and Faith Feingold Susie and Bob Fetter John and Dorothy Foellmer Rhona and Sonny Freiman Mrs. Noris and Mr. Avi Friedman Roy Furchgott Mark and Patty Gillen Sonny and Laurie Glassner Martha and Tad Glenn Mr. and Mrs. David Glickman, in memory of David Glickman Stephanie Graham Ben Greenwald Dale and Alonzo Griffin, in memory of Elauna Griffin Thomas and Rebecca Hamer Gary C. Harn Ricki and George Henschel Kathleen Vander Horst Harriet S. Iglehart Louise and Richard Kemper Robert Knodell Ron and Marianne Kreitner Evan Toni Krometis Rosalind and Alfred Kronthal Barry Kropf Jonna & Fred Lazarus Judith Letcher Sara W. Levi Naomi Levin Howard and Peggy Levinton Peter Levy and Diane Krejsa Diane Maloney-Krichmar Frank and Joyce Margolis, in honor of Dr. Johnathan Margolis & Dr. Linda Keyes Richard Marriott Jeanne E. Marsh Hans and Judy Mayer Carol McCord Stephanie F. Miller Todd Myers and Lois Schneck Barry Narlines, in memory of Dr. Ronald Pototsky Jeffrey Nover Dr. and Mrs. Crossan O’Donovan Margaret Palmer, in honor of Kyle Prue Bob and Shirley Prue Hazel D. Radowsky Alan and Pamela Ray Jill Ann Rodenburg, in memory of Joan Burns Robert and Ellen Rosen Wendy S. Rosen

Dr. and Mrs. Alfred Rosenstein Dr. and Mrs. Steven Sandler Richard and Kayleen Saucier Frederica Saxon + Barbara K. Scherlis Thomas M. Scott III Betsy and Carlton Sexton Stephanie Shade Joel and Robin Shaivitz Terry E. Singer, in memory of Reuben and Ethel Singer Joan and Edward Sills James Slaughter III and Anne Cowan Slaughter Eric Snyder, in honor of The Wiesters Sid and Sandy Socolar, in memory of Vivienne Shub and Naomi Greenberg-Slovin Carl and Margaret Soderstrom Judy and Carl Sterling Steve and Sue Sternheimer Hugh and Kitty Stierhoff Ellen Stifler Ellen M. Heller and Shale D. Stiller James Stofan and William Law Harriet Stulman Elizabeth Trimble Eli Velder John and Mary Lou Walker Joanne Wallach Jonathan and Rachel Waller Joe and Debra Weinberg Mark I. Whitman Raymond Kraft Patricia A. Yevics-Eisenberg Miriam and Robert Zadek

Beth Goldsmith Legg Mason Corporate Citizenship Lord Baltimore Hotel M&T Bank Phyllis & Leonard J. Attman Foundation Pricewaterhouse Coopers, LLP Sun Trust Yumkas, Vidmar, Sweeney & Mulrenin, LLC



LifeBridge Health ◊ P. Flanigan and Sons ◊ American Trading And Production Corporation Bank Of America BB&T BGE The Henry and Ruth Blaustein Rosenberg Foundation Brown Advisory Cho Benn Holback & Associates Classic Catering Future Care Gallagher Evelius & Jones

E V E RYM A N T H E AT R E | 26


Jean Brune Susan W. Flanigan Gina and Dan Hirschhorn J.R. and Martha Kirkland Stan and Laurie Miller Dr. E. Lee and Bea Robbins Vic and Nancy Romita Kelly Keenan Trumpbour


Alan and Amy Meltzer John and Susan Nehra Dr. David and Nancy Paige Bryan and Jennifer Rakes Stevenson University


Laura Black and Charles Klein Deborah and Maurice Furchgott Marci Gordon and Andrew Barnstein Bridget and John Horner, Jr. Christine Miki and William Jaquis, in honor of Neil Meltzer David and Betsy Nelson Brian and Eileen O'Rourke

Alan & Amy Meltzer Family Foundation, Inc Bill Eggbeer and Alan London, M.D. Classic Catering People Crossroads Medical Associates Edie and Stanley Brown Elizabeth Brown and Paul Fine Guy and Nupur Flynn Media Works Please bring any errors or omissions to our attention by contacting Dustin Morris: 443.615.7055 x7122 ◊ Title Sponsor


LifeBridge Health Applauds Everyman Theater’s Commitment to Engaging and Inspiring the People of Baltimore *

As a health care provider we strive to connect with and inspire people in the communities we serve, which is why we have partnered with more than 1,700 community physicians to make care more accessible than ever before.

To find a physician who’s right for you, call 410-601-WELL (9355) or visit






Students entering grades 9-12 dive into topics ranging from Improvisation, to Musical Theatre, to the Actor’s Process taught by talented and accessible theater professionals. Join us for these one and two week long programs designed to offer a well-rounded and fun approach to skill building in the world of theatre.

Students entering grades K-8 kickstart their creativity this summer through innovative and exciting summer camps at Everyman Theatre. Students transform their summer into a celebration of expression through theatre with creative dramatics, play creation, and specialized skill building. There is something for everyone this summer!

Fast Facts Grades: Rising 9-12 Dates: June 26-July 28 Days: Mondays-Fridays Hours: 9:30am-4:30pm

Fast Facts Grades: Rising K-8 Dates: June 26-July 28 Days: Mondays-Fridays Camp Hours: 9am-4pm

• Early Drop Off: 8-9:15am† • Late Pick-Up: 4:45-6pm†


• Before Care: 8-9am† • After Care: 4-6pm†


“[We are] looking forward to making theatre a permanent part of our daughter’s life in the future because of our experiences with Everyman Theatre Education!” -Parent of student enrolled in Musical Theatre Explorations


EVERYMANTHEATRE.ORG 443.615.7055 x7142

Available for an additional cost

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.


Two Boots is a proud sponsor of Everyman Education’s TNT: Theatre Night for Teens Program. Don't miss the next TNT on May 16. For more information visit

Show your Everyman ticket within one week of your performance and receive 10% off your Two Boots order! 1203 W Mt Royal Ave, Baltimore, MD 21217 |


BOARD OF DIRECTORS Susan W. Flanigan, President Vic Romita, Vice President W. Bryan Rakes, Vice President Mark Paul Lehman, Secretary Eileen M. O’Rourke, Treasurer

Megan Anderson

Eric Berryman

Danny Gavigan

Tim Getman

Deborah Hazlett

Beth Hylton

Wil Love

Bruce Randolph Nelson

Carl Schurr

Dawn Ursula

Edie Brown Jean W. Brune Diane Cho Corie Godine Marci I. Gordon Lisa Harris Jones Gina Hirschhorn Bridget M. Horner Vincent M. Lancisi Johnnie L. Lewis John McLean Neil Meltzer Dr. Stanley Miller Peter Nachtwey Susan L. Nehra Betsy Nelson James Ryan E. Lee Robbins, M.D. Leonard Sherman Kelly Keenan Trumpbour Lawrence J. Yumkas


315 W. Fayette St. Baltimore, MD 21201


Stan Weiman

Yaegel T. Welch

RESIDENT ARTISTS 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

Box Office 410.752.2208 Administration 443.615.7055 Email

Everyman Theatre is a member of the Theatre Communications Group. Everyman Theatre is a member of the Bromo Arts and Entertainment District.


Vincent M. Lancisi, Founding Artistic Director Jonathan K. Waller, Managing Director


Jessica Lanzillotti, General Manager Mike Watson, Operations Manager Laura Weiss, Special Assistant to the Artistic & Managing Directors Shammah Moore, Porter Pat Brent, Bookkeeper Beth Brenner Rose, Rentals Coordinator


Noah Himmelstein, Associate Artistic Director Johanna Gruenhut, Artistic Associate

COMMUNITY ENGAGEMENT Brian Francoise, Director of Community Engagement


Timothy Ambrose, Director of Development Allie Dreskin, Institutional Giving Manager Dustin Morris, Development Assistant


Brianna McCoy, Director of Education Andrew Stromyer, Education Coordinator Brenna Horner, Education Program Assistant Charlotte Bent, Education Intern Marianne Angelella, Sandra Atkinson, Wychkam Avery, Tonya Beckman, Audrey Bertaux, Julia Brandeberry, Tara Cariaso, Kevin Corbett, Christine Demuth, Ray Ficca, Nan Ficca, Brian Francoise, Nick Horan, Beth Hylton, Rachel Hynes, Brandon McCoy, Bruce Randolph Nelson, Jonathan Rizzardi, Steven Satta, Lewis Shaw, Sabrina Sikes-Thornton, Dawn Thomas Reidy, Josh Thomas, Ann Turiano, Teaching Artists


Matthew Shea, Audience Services Manager Nadine Klatt, Box Office Manager David Brasington, Michelle Burke, Abigail Cady, Lacy Comstock, Lauren Imwold, Daniel Romeo, Matthew Schleigh, Bartenders Kate Appiah-Kubi, Abigail Cady, Eddy Collett, Anna-Marie Epps, Cierra Harman, Jonathan Jacobs, Jamil Johnson, Thom Purdy, Matthew Schleigh, Rachel-Miranda Swan, Benairen Swanson-Tomhave, Lucy Wakeland, Box Office Associates/Gift Shop

Kate Appiah-Kubi, Lauren Imwold, Jonathan Jacobs, Jamil Johnson, Derrell Owens, Daniel Romeo, Nickole Scroggins, Amber Wright, House Managers Daniel Gugliuzza, Volunteer Services Coordinator


Michele Alexander, Director of Marketing Jared Earley, Marketing and Media Relations Manager Kiirstn Pagan, Graphic Designer & Video Producer Katherine Marmion, Graphic Designer Matthew Shea, Social Media Coordinator Jeff Rogers, 2016-17 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 Artist J. R. Schroyer, Deck Chief Lucy Wakeland, Wardrobe Supervisor Amanda M. Hall, Cat Wallis, Stage Managers Kayla Whisman, Assistant Stage Manager Juan Juarez, Katie Salvi, Light Board Operators Kelsey Schneider, Captioning Operator Ren Brault, Andrew Burrans, Matthew Cassella, Darrell Hairston, Jr., Tiwalade Oni , Katie Salvi, Kelsey Schneider, J.R. Schroyer, Reese Siedlecki, Ben Werfel, Orion Wolf-Hubbard, Carpenters Michael Kirby, Christa Landy, Liora Ostroff, Amy Strober, Painters Parker Damm, Jesse Herche, Brandon Ingle, Jeremy Mayo, Jeremy Mccord, Alex Roberts, Katie Salvi, Kelsey Schneider, Alexis Sheeks, Elliott Shugoll, Electricians Helen Garcia-Alton, Ben Kress, Matthew Smith, Design Assistants


Everyman Theatre "Los Otros" Program  
Everyman Theatre "Los Otros" Program