THE MYSTERY OF IRMA VEP
A PENNY DREADFUL
BY CHARLES LUDLAM
DIRECTED BY JOSEPH W. RITSCH
MAY 18 –
JUNE 22
ONSTAGE AT
WELCOME
FOUNDER,
ARTISTIC DIRECTOR VINCENT M. LANCISI
Welcome,
Have you subscribed yet? Did you schedule your year of live theatre to be sure you get out and enjoy Great Stories, Well Told? We have an incredible line up to celebrate our 35th Anniversary Season. An American Classic, two famous comedies, two new adaptations of well-known British tales, and an exciting world premiere! You won’t want to miss any of these great plays. Sign up during intermission. There’s no time like the present!
Thank you for coming to Charles Ludlam’s comedy The Mystery of Irma Vep: A Penny Dreadful! It’s fitting to end the season with a fun-filled, laugh riot of a play. When we decided to produce “Irma Vep,” we had no idea it would be an act of protest. We simply thought audiences would enjoy the clever writing, the creativity, the laughter derived from hijinx and mayhem throughout the play. The actors’ ability to change personas in a split second and their mastery of the art of the quick change is a wonder!
From the beginning, Everyman Theatre has celebrated being a theatre for Everyone. Throughout the past 34 years, we have produced a wide range of plays about people from all walks of life. We have done plays where women play men, men play women, as has been done throughout the ages. We celebrate the art of transformation and illusion, especially when it sheds a unique light on our shared humanity.
Since selecting The Mystery of Irma Vep: A Penny Dreadful, the world has been turned upside down, and many people are facing ridicule and imprisonment, deportation and cruel judgement simply for being who they are. Charles Ludlam was a masterful playwright who channeled his anger and fear during the height of the AIDS crisis in the 1980’s into this comic masterwork. There have been times in history where being found performing drag could land you in prison. Charles Ludlam chose laughter as a weapon against tyranny. With this production we lift up anyone who faces oppression simply for being who they are.
Enjoy the show and may you have lots of laughs!
Vincent M. Lancisi Founder, Artistic Director
OUR MISSION
Everyman Theatre provides transformative experiences through professional theatre that are welcoming, relevant, and affordable to everyone, featuring a Resident Company of Artists.
MANAGING DIRECTOR
MARISSA LAROSE
Prior to the nonprofit regional theater movement in the 1950s-60s, New York City was the primary hub of professional theatrical creativity in the US, springing out commercial tours or transfers across the country. Locally created theater with professional Equity actors was nonexistent and for many, both geographically and economically inaccessible and unknown.
The nonprofit regional theater movement gained traction alongside movements for Civil Rights, feminism, environmentalism, and sexual liberation and met the needs of the time by providing a mirror that could be held up to society to navigate, understand, learn, and grow as individuals and collective beings. It provided both a platform and an artistic home for artists within their communities. In 1965, the NEA was created in support of this movement, with an important provision that 20% of its total budget pass through to the states, establishing many state arts councils as a result and providing regional theaters security alongside museums and symphonies.
The introduction of nonprofit regional theaters played a vital role in communities, offering accessible high-quality entertainment as well as arts education and a sense of belonging. Theaters like Everyman grew roots by making communities stronger; and our roots are still deepening today.
As a regional theater, we create top-notch performances from the ground up with as many local artists as possible. We ensure it is accessible to all. We provide arts education with six incredible programs, partnering with 27 schools and universities and 8 community partners just this season, including a new partnership with Nexus-Woodbourne Family Healing working with at risk youth. We’ve strengthened our community with over 30 additional partnerships this season making access to the arts more vibrant and possible in Baltimore.
When you subscribe to a season at Everyman, you support the vision that regional theater built in a community strengthens it. When you donate, you safeguard our role in the community. As we navigate the challenges of today, the support of our community means more now than it ever has. Thank you for being at Everyman; we’re counting on seeing you again!
Enjoy the show.
Marissa LaRose Managing Director
THE MYSTERY OF IRMA VEP: A PENNY DREADFUL
By Charles Ludlam
Directed by Joseph W. Ritsch
CAST
NICODEMUS UNDERWOOD / LADY
ENID HILLCREST / ALCAZAR / PEV AMRI
BRUCE RANDOLPH NELSON
JANE TWISDEN / LORD EDGAR
HILLCREST / AN INTRUDER
ZACK POWELL
RUNTIME
Approx. 2 hours, including one 15-min intermission
SETTING
ACT 1: Mandacrest, on the moors
ACT 2: Various places in Egypt
ACT 3: Mandacrest
CREATIVES
SET DESIGN
DANIEL ETTINGER
COSTUME DESIGN
DAVID BURDICK
LIGHTING DESIGN
JUAN M. JUAREZ
SOUND DESIGN
GERMÁN MARTÍNEZ
WIG DESIGN
DENISE O'BRIEN
DIALECTS
GARY LOGAN
FIGHTS & INTIMACY
LEWIS SHAW
DRAMATURGY
ROBYN QUICK
STAGE MANAGER
CAT WALLIS
This production is sponsored by John and Susan Nehra
Resident Company Member
The Cast and Stage Manager are members of the Actors' Equity Association. “The Mystery of Irma Vep - A Penny Dreadful” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com
The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under united states copyright law. For more information, please visit: https://concordtheatricals.com/resources/protecting-artists
Mystery of Irma Vep: A Penny Dreadful (2025)
CAST BIOS
BRUCE RANDOLPH NELSON [he/him] [EVERYMAN THEATRE]: (Resident Company Member): Over 40 productions including: Agatha Christie's And Then There Were None, A Midsummer Night’s Dream, The Book Club Play, Dial M for Murder, A Doll’s House, Harvey, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, Dinner and Cake, An Almost Holy Picture, Murder on the Orient Express, Everything Is Wonderful, The Importance of Being Earnest, The Book of Joseph, M. Butterfly, and more. [REGIONAL]: Center Stage: Amadeus, Animal Crackers, Vanya, Sonya, Masha and Spike; Rep Stage: The Goat, The Violet Hour, The Dazzle, Irma Vep, Faith Healer; Folger Theatre: The Comedy of Errors, She Stoops to Conquer; Olney Theatre Center: The Underpants, The Elephant Man; Woolly Mammoth (Alumni Company Member): Dead Man’s Cell Phone, Fuddy Meers; The Shakespeare Theatre: The Taming of the Shrew; Signature Theatre: Never the Sinner, Over and Over. [NATIONAL TOURS]: National Players Tours 40, 41, and 42. [TEACHING]: Howard Community College, Everyman Theatre, Stevenson University, University of Baltimore, Rep Stage, Arena Stage, Project Access, All County Improv. [EDUCATION]: Towson University: Recipient of Theatre Humanitarian Award and Esteemed Alumni Award.
ZACK POWELL [he/him] [EVERYMAN THEATRE]: (Resident Company Member) Edward Albee's Who's Afraid of Virginia Woolf?, A Midsummer Night's Dream, The Book Club Play, The Sound Inside, The Lion in Winter, Sense and Sensibility, The Skin of Our Teeth. [REGIONAL]: The Cleveland Playhouse: Sherwood: The Adventures of Robin Hood (Robin Hood); The Shakespeare Theatre Co.: Red Velvet, Dunsinane; The Kennedy Center: Silvain, Shear Madness (500+ performances); Alabama Shakespeare Festival: A Christmas Carol, Macbeth, A Midsummer Night’s Dream; Round House Theatre: The Legend of Georgia McBride (Georgia McBride); Washington Stage Guild: Arms and the Man; RepStage: E2 (Edward II); Theater J: The Last Night of Ballyhoo; The Folger Theatre: A Midsummer Night’s Dream; The Utah Shakespeare Festival: King John, The Tempest, Twelfth Night, Taming of the Shrew, Measure for Measure, Henry IV Pt 2, South Pacific, and Sherlock Holmes: The Final Adventure; Illinois Shakespeare Festival: Romeo and Juliet, Twelfth Night, The Winter’s Tale, Othello, As You Like It, Comedy of Errors (TYA); The American Shakespeare Center: Twelfth Night, King Lear, Henry VI Pt 2, Bloody Bloody Andrew Jackson; Off-Square Theatre Co.: Godspell, Cabaret, Cherry Orchard. [FILM]: Tapawingo; The Call. [EDUCATION]: MFA in Acting from Illinois State University, BFA in Acting from Wichita State University. Follow my adventures on Instagram: @zackpowellthezactor
MEET THE PLAYWRIGHT
MEET THE DIRECTOR CHARLES LUDLAM
CHARLES LUDLAM (1943-1987) grew up in Queens, New York, just a few subway stops from Greenwich Village, and the heart of Gay America. At 24, he founded the Ridiculous Theatrical Company, where he wrote, directed and performed in almost every production for the next two decades, often with Everett Quinton, his life partner and muse, by his side. Renowned for drag, high comedy, melodrama, satire, precise literary references, gender politics, sexual frolic and a multitude of acting styles, the Ridiculous Theater guaranteed a kind of biting humor that could both sting and tickle. His many plays included Turds in Hell, Der Ring Gott Farblonjet, a riff on Wagner's Ring Cycle, Bluebeard, and The Mystery of Irma Vep, his most popular play, and a performer's tour-de-force. Ludlam continued working until almost the day he died of PCP pneumonia, just three months after his AIDS diagnosis. He was 44.
JOSEPH W. RITSCH
JOSEPH W. RITSCH (they/them) is a director, choreographer and playwright who served as the Producing Artistic Director at Rep Stage from 2014-2023. Rep Stage directing credits include Venus in Fur, Sunset Baby, Technicolor Life, Antigone Project: A Play in 5 Parts, The Other Place, Dorian’s Closet, All She Must Possess, Sweeney Todd: The Demon Barber of Fleet Street, The 39 Steps, Souvenir, E2, Songs for a New World, and Falsettos. Joseph’s other recent directing credits include: Machinal, The Amish Project, Small Mouth Sounds, The Grown-up and Down with Love (UMBC Department of Theatre); Pride & Prejudice (Catholic University School of Drama); Spring Awakening (Towson University); the multiple Helen Hayes nominated production of OLIVER! (Adventure Theatre); The Understudy, The Importance of Being Earnest (Everyman Theatre). They hold an MFA in Theatre from Towson University, a BA in Theater & Dance from The School of Performing Arts at The University of Maine and completed their initial graduate studies in the acting at the Professional Program at Playwrights Horizons in New York City. Joseph was a longtime company member with Jane Comfort & Company, one of the dance world's premiere movement theatre companies. Joseph is a proud member of the Stage Directors and Choreographers Society (SDC) and The Dramatist Guild.
TO GIVE
A REVOLUTION IN DRAG:
A conversation between director Joseph Ritsch and dramaturg Robyn Quick about Charles Ludlam, cross-gender performance, and why The Mystery of Irma Vep matters today.
RQ: In our initial research on Charles Ludlam, I was particularly inspired by his utopian vision of a theatre offering possibilities that weren’t being explored elsewhere. When he created the Ridiculous Theatrical Company in 1967, homosexuality was considered a disease by the medical community; gay and lesbian citizens were regularly targeted by U.S. government investigations; and bars welcoming to gay, lesbian and gender non-conforming individuals were frequently raided by police. But Ludlam observed, “gay people have always found a refuge in the arts,” so he created a space where people would “never dream of hiding anything about themselves that they feel is honest and true and the best part of themselves.” He was intentional in calling the company’s work queer theatre, which he thought created more room for more people. I know his distinction between gay theatre and queer theatre particularly resonates with you as an artist.
JR: As a queer artist, there are moments in history when the act of celebration of identity feels revolutionary. I feel that we are very much living in that moment in the here and now. What I love most about Ludlam’s classification of his work as “queer theatre” is that he believed this type of theatre embraced the peculiar, eccentric, and odd, a theatre that created more room for difference, albeit inclusion…and that inclusion often incorporated a drag queen or two.
RQ: Indeed. Ludlam championed drag and its legacy as an artistic technique. He wrote,” I see nothing wrong with a man playing a woman’s role. In the Kabuki and in the Elizabethan theatre, men played women’s roles, and no one blinked an eye. Originally, all women’s roles in Shakespeare were played by men. And, in the reverse, Sarah Bernhardt played Hamlet.” Ludlam found the ability to transform in this way important for actors of all gender identities because they have to be capable of understanding human feelings in general. Thus, when he performed in Camille, he declared, “I, a man, am Marguerite Gautier.” He claimed, “I pioneered the idea that female impersonation could be serious acting, an approach to character. I became known as the actor who does real acting in drag.''
JR: I love this idea. I am a drag artist that started as an actor first. For me, no matter who the drag artist is and how they identify outside their persona, drag is always performative. I also believe gender is performative based on the constructs that have been handed to us. Judith Butler talks about this in her exploration of gender as a construct and its connection to drag: “in imitating gender, drag implicitly reveals the imitative structure of gender itself – as well as its contingency.”
RQ: Ludlam also believed cross-gender performance offered insights for life outside the theatre. He argued we are “imprisoned in our gender” and thus the ability to get out of it is forbidden. In Ludlam’s own time, it was against the law to crossdress in public. But he considered the fact that drag “bothers people” as part of its power. He celebrated the ability of his plays to let men and women explore their natural curiosity about what it is like to be each other.
JR: Both as a director and a drag artist myself, I am interested in Ludlam’s use of drag as equal parts celebration of the masculine and feminine as well as a revolutionary tool to interrogate the constructs that kept gender on a binary plane. His drag was camp, but his was a camp that was “motivated by rage.”
RQ: We see this, don’t we, in the way that The Mystery of Irma Vep: A Penny Dreadful was born out of seemingly opposing impulses? On the one hand, it is a celebration of the actor’s ability to transform and a farcical take on a Gothic melodrama. On the other hand, in 1984 when this play premiered, Ludlam and others in his community, were facing the real-life horror of the AIDS crisis that just three years later would take Ludlam himself. And so, the play embodies the principles articulated in his manifesto “Ridiculous Theatre, Scourge of Human Folly” of pathos—meant to be comic but because of the extremity of its expression becomes sorrowful, and bathos—intended to be sorrowful but because of the extremity of its expression becomes comic. As Ludlam noted, “some things which seem to be opposites are actually different degrees of the same thing.”
JR: I think this play speaks so deeply to Ludlum’s concepts of bathos and pathos. As he unknowingly was being ravaged by the disease, he somehow transformed his rage and dread into a masterpiece of camp. He succeeded in turning his personal horror into a celebration of queer love, a love that survived a world consumed with monsters lurking in every corner. He did all that and still allowed for space to honor those who were lost to the disease with the hope of reuniting with them again in the future.
RQ: That brings us to reflect upon what it means to perform this play today.
JR: We are living in a country where drag is being banned from libraries and university campuses. A moment when our Trans brothers and sisters are being persecuted for living fully in their truth. A time when the LGBTQ+ community is having their civil rights threatened at every turn. In many ways it feels like a return to Ludlam’s 1967 New York. There is a line early in the play spoken by the character Nicodemus that says; “It’s a free country ain’t it? Well ain’t it?” A question many of us are asking right now.
RQ: And these restrictions are not only about how we live and love, but also about the very core of who we are. A presidential executive order has declared the gender identities of men and women as distinct, incontrovertible and unchangeable. But, as Ludlam reminded us, gender fluidity has ancient roots. The Greek prophet Tiresias lived as both a man and a woman. This experience gave Tiresias a source of wisdom that was valuable to all. And when rulers ignored that wisdom, the results were tragic. What does it mean for this moment that we are once again, rejecting this wisdom and, as Butler noted, regularly punishing those who “fail to do their gender right”?
JR: Perhaps Irma Vep is the perfect play for this moment. A moment when many of us are feeling so in the dark. Perhaps Ludlam has given us the gift of laughter and joy that we so desperately need amidst such uncertainty. Perhaps Ludlam has shown us that revolution is not about succumbing to our fears, yet instead revolution is about metamorphosing our rage into a love that will see us through…and if that love is donning a sequined gown and a glorious wig, aren’t we all for the better?
Works Quoted:
Butler, Judith. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. [10th anniversary ed.]., Routledge, 2007
Ludlam, Charles, and Steven Samuels. Ridiculous Theatre: Scourge of Human Folly: The Essays and Opinions of Charles Ludlam. 1st ed., Theatre Communications Group, 1992.
The Mystery of Irma Vep: A Penny Dreadful PRODUCTION STAFF
ASSISTANT DIRECTOR
Bruce Randolph Nelson
ASSISTANT STAGE MANAGER
Tiffany Ko
PRODUCTION ASSISTANT
Lanoree Blake
SCENIC PAINTER
Meaghan Toohey
CARPENTERS
Nick Colantuano
Joe Martin
Charles Whittington
Louis Williams III
PRODUCTION ELECTRICIAN
Maisie Stone
LIGHT BOARD PROGRAMMERS
Eli Golding
Maya Strauss
LIGHT BOARD OPERATOR
Sam Gerardi
SOUND BOARD OPERATOR
Peri Walker
Rachel Dracola
ELECTRICIANS
Nick Colantuono
Griffin DeLisle
Brandon Ingle
Melissa Martinez
Andy Pfluger
Mady Sims
STITCHERS
Jeannette Christensen
Sarah Greenstone
WARDROBE
Mel Gabel
Lucy Haag
Eva Hill
Jupiter Lam-Bright
WIG SUPERVISOR
Linda Cavell
CREATIVE TEAM BIOS
DAVID BURDICK (Costume Design) [EVERYMAN THEATRE]: (Resident Costume Designer) Recent highlight's include And Then There Were None, POTUS, A Midsummer Night’s Dream, The Book Club Play, Dial M For Murder, Harvey, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, The Lion in Winter, Sense and Sensibility, Behold, A Negress, The Skin of Our Teeth, Flyin West, Steel Magnolias, An Almost Holy Picture, Agatha Christie’s Murder on the Orient Express, and over 20 more productions. [OFF-BROADWAY]: 59E59: The Lucky Star. [REGIONAL]: Baltimore Center Stage: A Wonder in My Soul, Looking Glass Alice, Jazz, Amadeus, Next to Normal, Animal Crackers, The Final Strange Tale of Edgar 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. Dayton Contemporary Dance: Lyric Fire [OTHER]: Baltimore Symphony Orchestra: Holiday Spectacular.
DANIEL ETTINGER (Set Design) [EVERYMAN
THEATRE]: (Resident Set Designer): Recent highlights include Queens Girl: Black in the Green Mountains, POTUS, A Midsummer Night’s Dream, Dial M for Murder, The World Goes ‘Round, Jump, Crying on Television, Behold, A Negress, The Skin of Our Teeth, Everything is Wonderful, The Importance of Being Earnest. [OFF-BROADWAY]: 59E59: The Lucky Star; The Blue Angel Theatre: Pageant; Roundabout Theatre Company: A Man For All Seasons, Room Service; The York Theatre Company: Talley’s Folly, Luv. [REGIONAL]: Woolly Mammoth: You for Me for You, Eclipsed, Vigils, Recent Tragic Events, Kiki and Herb, Starving, The Mineola Twins; Olney Theatre Company: Annie, Mary Poppins, The Piano Lesson, Bakersfield Mist; Rep Stage: All She Must Posses, 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.
JUAN M. JUAREZ (Lighting Design)[he/him] is a lighting designer and technician based in the Baltimore-Washington area. Since 2015 he has served as the Lighting Supervisor at Everyman Theatre. Recent work includes [EVERYMAN THEATRE]: The Book Club Play, Baltimore Broadway and Beyond, The Lion in Winter, Baltimore It's Me. [REGIONAL]: Synetic Theater: Teen Hamlet …the rest is silence; Mind on Fire: Nobody is Ever Missing; Bowie State University: Ride the Cyclone; Classic Theatre of Maryland: Jane Eyre; Extreme Lengths Productions: Over/Under; Axis Dance Company: Adelante; Atlas PAC Intersections: Joteria: Our Untold Stories [EDUCATION]: B.A. in Theatre Production and Psychology from Hofstra University. [OTHER] Member of Everyman Theatre Committee on Anti-Racism, Equity, and Solidarity (CARES). JuanMJuarez.com
VINCENT M. LANCISI (Founder, Artistic Director) founded EVERYMAN THEATRE in October of 1990 and has directed 58 productions including Edward Albee's Who's Afraid of Virginia Woolf?, Dial M For Murder, The Sound Inside, The Lion in Winter, Cry It Out, Agatha Christie’s Murder on the Orient Express, Dinner With Friends, Sweat, Aubergine, M. Butterfly, Noises Off, Dot, Death of A Salesman, Under the Skin, Blithe Spirit, Deathtrap, Tribes, The Glass Menagerie, The Beaux’ Stratagem, August: Osage County, You Can’t Take It With You, Stick Fly, All My Sons, Two Rooms, Rabbit Hole, The Cherry Orchard, Doubt, Much Ado About Nothing, The Cone Sister, And a Nightingale Sang, The School for Scandal, A Number, Amadeus, Cat on a Hot Tin Roof, Buried Child, The Last Night of Ballyhoo, A Delicate Balance, Hedda Gabler, Proof, Uncle Vanya and The Last Five Years. As a freelance director, he directed True West for Rep Stage in Columbia, MD. In addition to his work at Everyman, he has taught acting and
directing at Towson University, University of Maryland, Catholic University, Howard Community College, and at Everyman Theatre. He is a member of the Society of Stage Directors and Choreographers. Vincent sits on the boards for the Bromo Tower Arts & Entertainment District and the Market Center Merchants Association. Vincent holds his undergraduate degree in Theatre from Boston College and his master’s degree in Directing from The Catholic University of America.
GARY
LOGAN (Dialects) [EVERYMAN THEATRE]: (Resident Dialect Coach) Over 20 productions, highlights include: Who's Afraid of Virginia Woolf?, A Midsummer Night's Dream, Dial M for Murder, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery Sense and Sensibilty, Steel Magnolias, Cry It Out, Agatha Christie’s Murder on the Orient Express, The Importance of Being Earnest, Dancing at Lughnasa, The Book of Joseph, Intimate Apparel, Noises Off, Great Expectations, Death of a Salesman, A Streetcar Named Desire, Outside Mullingar, An Inspector Calls, Blithe Spirit, Ruined, and more. [REGIONAL]: Kennedy Center: Master Class; Signature Theatre: Westside Story, I Am My Own Wife; Arena Stage: A Raisin in the Sun, Frankie and Johnny in the Clair de Lune; Studio Theatre: Moment, Jumpers for Goalposts, Belleville, Tribes, The Real Thing, Venus in Fur, Frozen, An Enemy of the People, Julius Caesar; Chautauqua Theater Company: Henry V, Clybourne Park, Macbeth, Love’s Labour’s Lost, The Winter’s Tale, The Just; Denver Center Theatre Company: Romeo and Juliet, Misalliance, Wit, The Winter’s Tale, Valley Song, The Tempest (over 50 others); [INTERNATIONAL]: The Royal Shakespeare Company and Denver Center Theatre Company: Tantalus (Sir Peter Hall, director); Stratford Festival of Canada: Twelfth Night, The School for Scandal, The Miser, The Night of the Iguana. [AUTHOR]: The Eloquent Shakespeare (University of Chicago Press). He is the Professor of Speech & Dialects at Carnegie Mellon University.
GERMÁN MARTÍNEZ (Sound Design) A proud son of immigrant parents, Germán
Martínez is a Honduran-American, award-winning freelance Theatrical Sound Designer based in NYC/NJ. As a designer, he seeks original and enticing plays to help develop, and bring forward the stories of bold playwrights. [REGIONAL]: His work has been featured at Lincoln Center Theater, Perlman PAC NYC, Atlantic Theatre Company, Northern Stages, Ogunquit Playhouse, American Stages, Northern Stages, Intar Theatre, TheaterWorks Hartford, Women's Project, MCC, American Repertory Theatre, Repertorio Español, GALA Hispanic, George Street Playhouse, Two River Theater, and Trinity Rep. [EDUCATION]: He received his degree in Sound Design from Montclair State University in May 2018. Keep up with his work on Instagram: @GermanTheSoundDesigner
DENISE O’BRIEN (Wig Design) [EVERYMAN THEATRE]: Over 20 productions, highlights include: Who's Afraid of Virginia Woolf?, The Book Club Play, Crumbs from the Table of Joy, Dial M For Murder, The Chinese Lady, Harvey, Sense and Sensibility, The Skin of Our Teeth, Steel Magnolias, Berta, Berta, Radio Golf, The Importance of Being Earnest, Everything is Wonderful, Intimate Apparel, Long Days Journey into Night, and more. [REGIONAL]: Baltimore Center Stage: Pride and Prejudice, Amadeus, Animal Crackers, Into The Woods, Matchmaker, Poe: Yale repertory Theatre: The Moors, Peerless, A Streetcar Named Desire, A Winter’s Tale, These!Paper!Bullets!, Dear Elizabeth, War, Arcadia, Hamlet, Pop, Notes From Underground, Black Dahlia, Eurydice: Helen Hayes Theatre: The 39 Steps: Hartford Stage: Summer And Smoke, 8 x Tenn: The Long Wharf Theatre: Front Page, Private Lives, We Won’t Pay, Travesties, Ain’t Misbehavin’: McCarter Theatre: Uncle Vanya, Phaedra Backwards, She Stoops To Conquer, Mrs. Warren’s Profession: The Public: Measure for Measure: Shakespeare Theatre (DC): Hamlet, King Lear: University Of DE Rep Theatre: To Kill a Mockingbird, Wait Until Dark, Heartbreak House, Millionaires, The Patsy: Westport Playhouse: She Loves Me. Winner of the 2001 Eddy Award for Design Excellence
for Seattle Opera’s production of Wagner’s Ring Cycle. Honored by the Daytime Emmy Awards for contributions to the Emmy Award Winning Achievement for Hairstyling Un Ballo In Maschera, PBS. MiddleMarch Films: Dolly Madison, America’s First Lady, PBS.
ROBYN QUICK (Dramaturgy): [EVERYMAN THEATRE]: (Resident Dramaturg): Who's Afraid of Virginia Woolf?, POTUS, A Midsummer Night's Dream, A Doll’s House, Lion in Winter, Sense and Sensibility, The Revolutionists, Everything is Wonderful. Robyn Quick is a professor in the Department of Theatre Arts at Towson University, where she teaches theatre history and dramaturgy. She has presented at numerous national and international conferences, and has been published in American Theatre, The New England Journal of Theatre, and the Routledge Companion to Dramaturgy, among others. Her work as a dramaturg has been recognized by the Literary Managers and Dramaturgs of the Americas with the Elliot Hayes Award for Excellence in Dramaturgy and by the Kennedy Center American College Theatre Festival with the Gold Medallion. While serving as a Senior Fulbright Scholar in Russia, she taught at the Russian State University for the Humanities and directed at the Playwright and Director Center in Moscow. Robyn Quickholds a Ph.D. in theatre from the University of Michigan.
LEWIS SHAW (Fights & Intimacy) [EVERYMAN THEATRE]: (Resident Fight and Intimacy Choreographer): Over 20 productions, highlights include: Who's Afraid of Virginia Woolf?, And Then There Were None, Crumbs from the Table of Joy, Dial M For Murder, Harvey, The Sound Inside, Jump, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, The Lion in Winter, Sense and Sensibility, The Skin of Our Teeth, Flyin’ West, Steel Magnolias, Pipeline, Berta, Berta, Sweat, Noises Off, The Beaux Stratagem, Fences, Ruined, Great Expectations and more. [REGIONAL]: Arena Stage: Snow Child, Sovereignty, A Raisin in the Sun. Center Stage: A Skull in Connamarra, Bus Stop, Snow Falling on Cedars, Looking Glass Alice;
Washington Opera: Don Giovanni. Shaw is a Certified Teacher with The Society of American Fight Directors and is the owner of Lewis Shaw Fine Dueling Supplies. His stage weapons have been seen in numerous Broadway plays, operas, films and television shows including Head Over Heels, Marvel’s Daredevil, Marvel’s Iron Fist, Aida and The Scarlet Pimpernel.
CAT WALLIS (Stage Manager) [EVERYMAN THEATRE]: (Resident Stage Manager) And Then There Were None, POTUS, The Book Club Play, Dial M For Murder, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, The Lion in Winter, Crying on Television, Sense and Sensibility, Behold, A Negress, Steel Magnolias, An Almost Holy Picture, Pipeline, Berta, Berta, Be Here Now, Agatha Christie’s Murder on the Orient Express, Radio Golf, Proof, Queen’s Girl in the World, The Importance of Being Earnest, Everything is Wonderful, Dancing at Lughnasa, Aubergine, The Revolutionists, M. Butterfly, Noises Off, Great Expectations, The Roommate, Ghosts, Grounded. [REGIONAL]: Olney Theatre Center: A Comedy of Tenors, Aubergine. Contemporary American Theatre Festival: Uncanny Valley, Heartless, A Discourse on the Wonders of the Invisible World, Gidion’s Knot, From Prague and Inana (ASM). Delaware REP: Wit, Faust, The Mousetrap, Hamlet, The Threepenny Opera, Anything to Declare?, The Weir, Night of the Iguana, Our Country’s Good, The Skin of Our Teeth, The Cripple of Inishmaan. Seattle Children’s Theatre: The Borrowers, Lyle the Crocodile. Missouri Theatre: Babes in Arms. Nebraska Rep: The Little Prince, Jakes Women, Dinner with Friends. Tour: Wizard of Oz. [Education]: BFA – University of Nebraska, MFA – University of Delaware, PTTP.
This Theatre operates under an agreement between the League of Resident Theatres
The set and sound designers are represented by United Scenic Artists, Local USA 829 of the IATSE. The director is represented by Stage Directors and Choreographers Society. and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Vincent M. Lancisi, Founder, Artistic Director | Marissa LaRose, Managing Director
EVERYMAN THEATRE RESIDENT COMPANY
ACTORS
Megan Anderson
Felicia Curry
Deborah Hazlett
Helen Hedman
Paige Hernandez
Beth Hylton
Hannah Kelly
Katie Kleiger
Wil Love
ARTISTS
Tony Nam
Bruce Randolph Nelson
Tuyết Thị Phạm
Zack Powell
Kyle Prue
Jefferson A. Russell
Carl Schurr
Yaegel T. Welch
Daniel Ettinger | Scenic Design
David Burdick | Costume Design
Harold F. Burgess II | Lighting Design
Pornchanok Kanchanabanca | Sound Design
Gary Logan | Dialects
Lewis Shaw | Fights & Intimacy
Cat Wallis | Stage Management
Robyn Quick | Dramaturgy
pictured in order listed below.
WHY DO WE HAVE A RESIDENT COMPANY?
Only a handful of theatres nationwide feature an ensemble of professional actors that perform regularly each season. They are the core of Everyman Theatre. Because of their distinctive familial bond, history and trust of each other, company members can jump deeply into meaningful relationships onstage. Our artists push each other to deliver the highest caliber of work.
Learn more about our Resident Company members by visitng everymantheatre.org or scanning the QR code.
Actors
BOARD OF DIRECTORS
Everyman Theatre is governed by a dedicated group of community volunteers, our Board of Directors.
EXECUTIVE
COMMITTEE
W. Bryan Rakes, President
Mark Paul Lehman, Vice President
Chris DiPietro, Secretary
Walter Doggett III, Treasurer
Meadow Lark Washington, CARES Chair
Vic Romita, Appointee
DIRECTORS
Allyson Black Woodson
Edie Brown
Sarasi Desikan
Anthony Evans
Larry Fishel
Sandra Levi Gerstung
W. Robert Hair
Gina Hirschhorn
Vincent M. Lancisi
Marissa LaRose
Jennifer Litchman
Marjorie McDowell
Tony Nam
Eileen O’Rourke
Jenny Peña Días
Dorothy H. Powe
James Ryan
Leland Shelton
Brooke Story
Michael Styer
Donald Thoms
Drew Tildon Reis
Christopher Uhl
Christian Ventimiglia
GOVERNMENT, FOUNDATIONS, FUNDS AND CORPORATIONS
Gifts listed here support were received between October 1, 2023 and February 17, 2025.
VISIONARY $50,000+
Paul M. Angell Family Foundation
Baltimore County Commission on Arts and Sciences
Downtown Partnership of Baltimore
France-Merrick Foundation
Gallagher, Evelius & Jones, LLP
Maryland Department of Education
Maryland Department of Housing and Community Development
Maryland Department of Labor
Maryland State Arts Council
Mayor Brandon M. Scott & The Mayor’s Office of Recovery Programs
The Shubert Foundation
William G. Baker, Jr. Memorial Fund creator of the Baker Artist Awards, www.bakerartistawards.org
SEASON PRODUCER
$25,000–$49,999
Bertoli-Mansfield Fund
David and Barbara B Hirschhorn Foundation
Galanthus Foundation
Jacob and Hilda Blaustein Foundation Inc.
RESIDENT COMPANY
SPONSOR
$10,000 - $24,999
Abell Foundation, Inc.
American Trading and Production Corporation
BGE
Bunting Family Foundation
Goldsmith Family Foundation
Joseph and Harvey Meyerhoff Family Charitable Funds
National Endowment for the Arts
P. Flanigan & Sons
T. Rowe Price Foundation
Truist
Venable Foundation
University of Maryland, Baltimore
EXECUTIVE PRODUCER
$5,000–$9,999
Anonymous
Bank of America Foundation
Helen S. And Merrill L. Bank Foundation
Helen Pumphrey Denit Trust
Phyllis and Joe Johnson Foundation
John J. Leidy Foundation
Lord Baltimore Capital Corporation
Harvey M. Meyerhoff Fund Inc.
Nora Roberts Foundation
Romita Solutions
Earle and Annette Shawe Family Foundation
Transamerica Foundation
PRODUCER $2,500–$4,999
Harry L. Gladding Foundation
Lois and Philip Macht Family Philanthropic Fund
Harry L. Gladding Foundation
ASSOCIATE PRODUCER
$1,000–$2,499
Anonymous
Hecht-Levi Foundation
IBM Corporation
The Mead Family Foundation
Sally S. Decatur and H. Miller Private Foundation
DIRECTOR $250–$999
Actors’ Equity Foundation
Constellation Brands
Taylor Foundation Inc.
MATCHING GIFT COMPANIES
American Trading and Production Corporation
Bank of America
Black & Decker
Exelon Foundation
IBM Corporation
International Monetary Fund
McCormick & Co.
Network for Good Norfolk Southern
T. Rowe Price
Truist
IN-KIND SUPPORT
City Seeds
Lord Baltimore Hotel
University of Maryland, Baltimore
LEAD CORPORATE PARTNER
MAJOR SUPPORT FROM
COVER ART DESIGNED BY Jacob Kemp / TALISMAN
INDIVIDUALS
Gifts listed here support Everyman
Theatre's Annual Fund and were received between December 1, 2023 and April 16, 2025.
For complete list of donors at Playwright Level ($250+) and above, please visit 'Our Supporters' page on our website.
VISIONARY $50,000+
Susan W. Flanigan and George Roche
Gina* and Dan Hirschhorn
Bryan* and Jennifer Rakes
SEASON PRODUCER
$25,000–$49,999
Dr. Larry* and Nancy Fishel
Susan W. Flanigan
Dorothy H. Powe* in memory of Ethel J. Holliday
Vic* and Nancy Romita
RESIDENT COMPANY SPONSOR
$10,000 - $24,999
Anonymous
Brenda K. Ashworth and Donald F. Welch
Ed and Ellen Bernard
Chris DiPietro*
Jennifer C. Engel
Shirley T. Hollander†
Karen and David Hutcheon
Paul Konka and Susan Dugan-Konka
Mark and Sandy* Laken
Lisa Harris Jones* and Sean Malone
Susan and John Nehra
Stephen and Maureen Shaul
Bob and Terri Smith
Michael B. Styer*
Donald* and Mariana† Thoms
EXECUTIVE PRODUCER
$5,000–$9,999
Anonymous
Shaun Carrick and Ronald Griffin
Diann and David Churchill
Judy Shub-Condliffe and Jack Condliffe
John Deermer
Sarasi Desikan* and Sal Dhanani
Walter B. Doggett III* and Joanne Doggett
Curt Lind and Linda Ettinger
Sandra D. Hess
Jean Jacocks
Mark and Kelley Keener
Mark Paul Lehman* and Kurt Davis
Kenneth C. and Elizabeth M. Lundeen
Nancy and David Paige
John and Marsha Ramsay
Brooke Story
Meadow Lark Washington* and Joe Washington
Mark Yost and Kevin Galens
PRODUCER $2,500–$4,999
Anonymous (3)
George and Frances† Alderson
Patricia Bettridge
Winnie and Neal Borden
Eva and Warren Brill
Courtney Bruno
David Cane
Paul and Kathleen Casey
Ross and Michele Donehower
Francine and Allan Krumholz
Wil Love and Carl Schurr
Mary and Jim Miller
Terry H. Morgenthaler and Patrick J. Kerins
Tim Nehl and Joy Mandel
Brian and Eileen O'Rourke
Ed and Jo Orser
Reid Reininger
Jim and Laura Rossman
Hugh Silcox
Ronnie Silverstein
Howard and Elizabeth Walsh and Family
ASSOCIATE PRODUCER
$1,000–$2,499
Anonymous (9)
Ronald† and Baiba Abrams
Mark and Susan Adams
Bruce and Polly Behrens
Emile A. Bendit and Diane Abeloff
Allyson Black Woodson*
Michael Booth and Kristine Smets
Susan Chomicz Bowman
Richard Bozzelli
Livio and Diane Broccolino
David Brown
Edie* and Stan Brown†
Jeanne Brush
Jerry and Carol Doctrow
Diane E. Cho and David W. Benn
Tootsie Duvall
Barry and Susan Eisenberg
Anne Elixhauser
Karen and Ronald Erler
David and Merle Fishman
Susan Sachs Fleishman
Debra and Maurice Furchgott
Praveena Gadam
Sandra Levi Gerstung*
Marci Gordon and Andrew Barnstein
Caroline Griffin and Henry E. Dugan, Jr.
W. Robert Hair* and Steven J. Ralston
Carol and Joe Hamilton
Catherine Hammond
Alan and Trisha Hoff
Hope Hollander
Paul M. Holmes
Shirley A. Kaufman
Nancy King
Ernest and Donna Kovacs
Evelyn S. Krohn
Marissa LaRose* and Dr. Travis Andrews
Timothy and Gabrielle Lawrence
Paul and Jill Levine
Gayle Levy and Martin Barber
Fred and Judy Lobbin
Linda and Jim Loesch
James MacNicholl and Sara Lombardo
Marjorie* and Scott McDowell
Kathleen Howard Meredith
Barry Mersky and Elizabeth Trexler
David Mintzer and Cinda Hughes
Steven Morris
Gerry Mullan and William Sweet
Dr. Mike Myron and Linda Weisfeldt
Ken and Ellen Nibali
Andrew and Sharon Nickol
Patricia S. and Robert J. Orr
Gary and Leslie Plotnick
Mark and Joanne Pollak
Elenor Reid
Drew* and Ryan Reis
Anne Marie Richards
Elaine Richman and Ralph Raphael
Sue Shaner and John Roberts
John and Sarah S. Robinson
Arnold and Monica Sagner
Nancy Dalsheimer Savage
Lisa Scotti
Harvey and Debbie Singer
Bob and Jackie Smelkinson
Julia Smith
Joaneath A. Spicer
Ruth and Chuck Spivak
Susan Spencer and John Spencer
Marilyn Steinmetz
Shale D. Stiller and Honorable Ellen M. Heller
James Stofan and William Law
Sheldon and Victoria Switzer
Eileen and Philip Toohey
Louis B. Thalheimer and Juliet A. Eurich
Elizabeth Trimble
Christian Ventimiglia
Joe and Debra Weinberg
Peggy Widman
Barbara Coleman White
Wolman Family Fund
DIRECTOR $500–$999
Anonymous (15)
James and Ellen Adajian
Brad and Lindsay Alger
Ray and Carroll Apodaca
Dale Balfour
Ray and Day Bank
Robin Banks
Gayle Barney and Jean Savina
Craig Bober and Rachel Burgan
John and Carolyn Boitnott
Patty Bond
Michael Borowitz and Barbara Crain
Jan Boyce
A. Stanley and Dorah Brager
Paul and Jane Brickman
Lew and Vicki Bringman
Peter and Eileen Broido
Sara and Duncan Brown
Kristen Cannito
Evelyn Cannon and James Casey
Jan Caughlan
Arnold Clayman
Fred Cogswell
Samuel Cohen and Joan Piven
Stiles Colwill
Will and Carol Cooke
Judith Cooper
Betty and Stephen Cooper
Cindy Conklin and Bob Merbler
Nancy Cormeny
Harlan and Jean Cramer
Greg and Martha Cukor
Dr. Chi Dang
Dr. Albert F. DeLoskey and Lawrie Deering
Barbara Dent
Gwen DuBois and Terry Fitzgerald
Anne Efron
Bill Eggbeer
Donald and Margaret Engvall
Gary Felser and Debra Brown Felser
Don Firmani and Janet Esch
Donna Flynn
Paul Fowler and Frank McNeil
Benedict Frederick
Beth Gansky
Suzan Garabedian
Ronald Geagley
Tom and Lora Gentile
Saralynn and Sheldon Glass
Sue Glick
Herbert and Harriet Goldman
Dorothy Gold and Jim Wolf
Hannah and Thorne Gould
Donald M. and Dorothy W. Gundlach
Robert and Cheryl Guth
Richard Manichello and Margo Halle
Fritzi K. and Robert J. Hallock
Jane Halpern
William Hamilton and Paula Jackson
James F. Hart
Suzanne Hill
Michael Hirschhorn and Jimena Martinez
Greg Huff and Pamela Pasqualini
Idy and Jennie Iglehart
Deborah Jennings
Ann H. Kahan
Harold Kanarek
Mr. and Mrs. D. Brooks Kitchel II
Nina Knoche
Ann and David Koch
Larry Koppelman and Liz Ritter
Ron and Marianne Kreitner
Toni and Evan Krometis
Dr. and Mrs. Rudolf Kuppers
Jessica Lanzillotti
Drs. Moira and Paul Larsen
Colleen Martin-Lauer and Mark Lauer
Jonna and Fred Lazarus
Marie Lerch
Lynne and Larry Lichtig
W.J. Lederer and Jennie Rothschild
Peter Levy and Diane Krejsa
Brendan Lilley
Bruce Lindstrom
Michael and Lois Mannes
Jeanne E. Marsh
Phyllis McIntosh
Joseph and Jane Meyer
Linda Nevaldine
Drs. Mary O'Connor and Charles King
Thomas L. and Leslie V. Owsley
Hilary Paska
Paternayan-Ramsden Fund of the BCF
Justine and Ken Parezo
William and Susan Paznekas
Dr. Fred Pearson
Judy and Scott Phares
Judith Pittman
Terry and Alan Reed
Bill and Susannah Rienhoff
Naomi Robin and Gerald Gleason
Daniel Rodricks and Lillian Donnard
Bess Rose
Wendy S. Rosen and Richard Weisman
Kristin Rowles and Paul Ferraro
Robert Russell in memory of Lelia Russell
Judi and George Seal
Thomas Seidman
Joan Seiffert
David and Sarah H. Shapiro
Dr. Alan Schwartz and Dr. Carla Rosenthal
Temmie and Ronald Shade
Dr. Carl Shanholtz and Dr. Ruth Horowitz
Stephen and Gail Shawe
Patricia Smeton
Linda and Kirby Smith
Norma Snow-Goldberg
Damie and Diane Stillman
Lynne Stuart
Dr. Ellen Taylor and Mr. Bruce Taylor
Josephine Raney
Francisco Rodriguez
Ian Tresselt and Joseph Rooney
Bruce and Susan Vaupel
Susan and Hutch Vernon
Rose Viscardi
Ellie Wang
Maria Wawer
Thomas Weyburn
Peter Ayers Wimbrow, III
Joseph and Valerie Yingling
Carol Yoder
Marvin and Sheila Zelkowitz
MONTHLY SUSTAINING DONORS
Joyce Duffy-Bilanow and Stephen Bilanow
Neil and Deborah Eisenberg
Anne Efron
Ira Gooding and Kristen Vanneman-Gooding
John and Susan Hailman
W. Robert Hair* and Steven J. Ralston
Catherine Hammond
James F. Hart
Paul M. Holmes
Fred Lobbin
Hannah Mazo
Marjorie* and Scott McDowell
Dr. Alan Schwartz and Dr. Carla Rosenthal
Drew* and Ryan Reis
Becky and Joe Richardson
Judi and George Seal
Linda and Kirby Smith
Susan Truitt
Peggy Widman
* Board Member
† Deceased
YOU MAKE THEATRE HAPPEN.
Everyman Theatre is a welcoming and inclusive space for everyone – audience members, students, artists, volunteers, staff, and trustees – to experience art and be part of a positive community where all can be treated with kindness and respect.
In order to make this a reality we need your help in upholding our core values and creating a space that allows everyone to fully participate in the transformative experience of live theatre.
WE BELIEVE THAT…
• Everyone is deserving of kindness and respect
• All individuals deserve to feel welcomed and included in the work we do
• It’s our collective responsibility to maintain a safe and supportive environment
• Theatre provokes thought and inspires dialogue, which builds our capacity for empathy, understanding, and connection
• It’s our collective responsibility to oppose racism by consciously, purposefully, and continually striving against racial biases and the systemic structures that perpetuate them
• We must take a united stance against all forms of oppression or marginalization, and recognize that although discomfort may be productive, cruelty never is
WE INVITE YOU TO…
• Embrace a mindset of goodwill and extend courtesy to others
• Immerse yourself fully in the performance – applaud, shed a tear, laugh out loud, and express your emotions freely
• Embrace your fellow audience members’ reactions and cherish the fact that theatre is a shared journey
• Make a deliberate effort to confront your own biases, and partner with us in putting these beliefs into action. We are all learning - help us maintain a positive community and culture of collaboration
• Share your feedback and experiences with us, as we are continually looking to improve
WE WILL NOT TOLERATE…
• Discrimination, harassment, or any form of speech/behavior that threatens the safety or well-being of others
• Unwanted invasion of another person’s physical space
• Refusal to comply with staff instructions or disregarding the theatre’s policies
Any conduct that contributes to a dangerous or hostile environment will be taken seriously. If you witness or experience a violation of the values and expectations outlined above, please alert one of our staff members. Everyman takes this feedback very seriously and will take action to protect our community.
Thank you for joining us and being a part of the Everyman Family!
GRATITUDE FOR THOSE BEFORE US
We honor the Indigenous Piscataway, Lumbee, and Cherokee people of Baltimore City and the unceded ancestral lands of the Piscataway on which Everyman Theatre resides. This acknowledgement does not take the place of authentic relationships with Indigenous communities, but serves as a first step in honoring the land we occupy and as an act of resistance against the erasure of their histories. For more information: https://native-land.ca/ and http://baltimoreamericanindiancenter.org
LEADERSHIP
Founder, Artistic Director
Vincent M. Lancisi
Managing Director
Marissa LaRose
ADMINISTRATION
Producing Director
Kyle Prue
Director of Finance + Human Resources
Larry Bright Finance + Human Resources Associate
Robin Fraker
Facilities + Operations Manager
J.R. Schroyer
Assistant Managing Director
Sean McComas
ARTISTIC
Associate Artistic Directors
Paige Hernandez
Noah Himmelstein
Tuyết Thị Phạm
PHILANTHROPY
Directors of Philanthropy
Charisse Paige
Lauren Saunders
Associate Director of Institutional Giving
Elliott Kashner
Philanthropy Operations & Events Manager
Caitlyn Hooper
MARKETING & COMMUNICATIONS
Director of Marketing & Communications
Alexander Cortes
Associate Director. Communications & Partnerships
Corey Frier
Associate Director of Marketing Operations
Jordyn Farthing
Assistant Director of Marketing
Madeline ‘Mo’ Oslejsek
Multimedia Manager
Lindsay Pedersen
Marketing Coordinator
Jalice Ortiz-Corral
Patron Engagement Coordinator
Nico Liberto
Maryland Corp Fellow
Logan Herard
Patron Engagement Associates
Andromeda Bacchus, Davin Banks, Tyrel Brown, Rae Dorsey, Mel Gable, Ja’Net Jones, Rory Kennison, Kate Appiah
Kubi, Sarah Lohrfink, Elizabeth Malvo, Derrell Owens, Thom Purdy, Kelsey Schneider, Acell Spencer, Becca Stafford, Teddy Sherron III, Majenta Thomas
PRODUCTION
Director of Production
Amanda M. Hall
Production Manager
Cat Wallis
Technical Director
Trevor Wilhelms
Assistant Technical Directors
Brandon Ingle
Ren Brault
Scene Shop Manager
Sarah Blocher
Lead Carpenter
Adam Sorel
Scenic Charge Artist
Jill Koenig
Properties Artisan
Michael Rasinski
Deck Manager
Louis Williams III
Costume Director
David Burdick
Costume Associate
Amy Forsberg
Head of Wardrobe
Lucy Wakeland Haag
Lighting Supervisor
Juan M. Juarez
Lead Electrician
Maisie Stone
Audio/Video Supervisor
Andrew Gaylin
Maryland Corp Fellows
Lanoree Blake
Jupiter Lam-Bright
EDUCATION
Director of Education
Joseph W. Ritsch
Education Program Manager
Owen Harris Scott
Education Operations Manager
Arianna Costantini
Teaching Artists
Beth Hylton, Carole Graham Lehan, Chinai Routte, Fatima Quander, Francesco Leandri, Hanah Jeffrey, Isaiah Harvey
Jefferson Russell, Joseph Ritsch, Kendall Jones, Kimberley Lynne, Kyle Prue, Lakeshia Ferebee, Lanoree Blake, Lauren Jackson, Lindsay Wilk, Lucius Robinson, Megan Anderson, Patricia Hengen-Shields, Ronnita Freeman, Sarah Nichols, Teresa Spencer, Tia Thomas
Special Thanks to all participating Everyman
Resident Company Artists
JOIN US AGAIN NEXT SEASON
For the past 35 years, Everyman Theatre has been a home to Great Stories, Well Told built right here in Baltimore.
August Wilson’s THE PIANO LESSON directed by Paige Hernandez
AUG 31 – SEPT 28
‘ART ’ by Yasmina Reza translated by Christopher Hampton directed by Noah Himmelstein OCT 19 – NOV 16
DECEIVED based on the play GASLIGHT by Patrick Hamilton adapted by Johnna Wright and Patty Jamieson directed by Vincent M. Lancisi NOV 30 – JAN 4
DAWN by Tuyết Thị Phạm FEB 1 – MAR 1
VANYA AND SONIA AND MASHA AND SPIKE by Christopher Durang directed by Vincent M. Lancisi
MAR 22 – APR 19
EMMA by Kate Hamill based on the novel by Jane Austen directed by Laura Kepley MAY 17 – JUNE 4
SCAN
Or, grab a season brochure from the lobby! DONATE