EDWARD ALBEE’S WHO’S AFRAID OF VIRGINIA WOOLF?
VINCENT M. LANCISI
MARCH 23 –APRIL 20
ONSTAGE AT
WELCOME FOUNDER, ARTISTIC DIRECTOR VINCENT M. LANCISI
Welcome,
Thank you for coming to Edward Albee’s Who’s Afraid of Virginia Woolf? This is a play I’ve long wanted to produce here at Everyman Theatre and directing this iconic masterpiece has been a real privilege. You see, Who’s Afraid of Virginia Woolf? is a giant of a play written by one of the great American playwrights. It requires skilled actors who can traverse the tremendous peaks and valleys of the text, plumb the depth of the characters, and sustain the rigors of making the thrilling and often harrowing journey of the play. And they need the stamina to perform it eight times a week. The play also requires a first-rate design team to render the detailed setting and authentic costumes which help define the qualities of the characters who wear them. The lighting and sound need to highlight the physical world with nuance, fine shades of light and tone, as they help us see and hear the emotional qualities of the people who inhabit the world of the play.
Words, words, words… Language is everything to Edward Albee. His mastery of the etymology of words and how the perfect word or phrase can have a maximum impact on the receiver is impressive. He knew that words matter. The musicality of his writing ebbs and flows like notes and phrases in a symphony. The muscular writing requires actors who can lift the language as if they are performing in a classical play. This is because of Mr. Albee’s great gift of making a scene seem completely natural and realistic, while actually presenting many faceted layers of point and counterpoint. The resulting irony and symbolism are much greater than most realistic conversational language allows. The dialogue is heightened. The result is a story filled with prose that is exhilarating and requires an athleticism of delivery in performance. And let’s not leave out humor. This particular playwright had a real gift of landing a joke, a barb, a quip, that makes us laugh often in the most unexpected moments, providing relief and occasional delight amid the chaos and tragedy. Experiencing Edward Albee when everything clicks is like riding a roller coaster of words and emotion. It’s a wild ride, buckle up!
Enjoy the show.
Vincent M. Lancisi Founder, Artistic Director
OUR MISSION
Everyman Theatre provides transformative experiences through professional theatre that are welcoming, relevant, and affordable to everyone, featuring a Resident Company of Artists.
Edward Albee's Who's Afraid of Virginia Woolf? (2025)
Welcome.
MANAGING
DIRECTOR
MARISSA LAROSE
In times where I am most challenged, when my brain is exhausted and my grit is worn down, I instinctively turn to the arts. I put on music, I create, I read a novel, I go to the theater. I turn to the arts to challenge me and to help me process humanity in all its good and not-so-good forms.
I know I’m not alone in this impulse. The arts are a necessary part of humanity, and organizations like Everyman exist to support our comprehension, analysis, and interrogation of self and others. Edward Albee himself said, “The arts are the only things that separate us from the other animals. The arts are not decorative... they are essential to our comprehension of consciousness and ourselves.” It is this necessity that gives me hope and courage in the challenging landscape of today. Storytelling is essential. And we will hold fast to our mission to bring wide-ranging, diverse, truthful storytelling through all challenges.
Great theatre builds empathy, opens hearts, fosters compassion, and challenges assumptions like nothing else. Through great theatre, we witness truth in storytelling, enhance our understanding of others, grow as humans, and build a stronger society. That’s the essential cycle of great theatre; and no one does great theatre like Everyman. Our Resident Company expertly crafts narrative relationships on a foundation of authentic relationships and trust from years of working together. Most of the Company live in the area and each of them have stories of connecting in our community outside of Everyman’s walls – in the grocery store, where they teach, walking their dog. Their human truth amplifies the truth they bring to storytelling at Everyman in a way that exponentially deepens the power of theatre. And Everyman is one of only a few theaters in the country to have one. Truth in storytelling shines when our Resident Company is onstage – you’ll see it today. And you’ll see it in every performance on our stage. Soon we will have a whole new season to share with six incredible plays featuring the powerhouse Resident Company. Stay tuned – you won’t want to miss it.
I’m so glad you’re a part of this powerful, raw, truthful performance today. May your empathy grow.
Marissa LaRose Managing Director
EDWARD ALBEE'S WHO'S AFRAID OF VIRGINIA WOOLF?
DIRECTED BY VINCENT
M. LANCISI
CAST
MARTHA
BETH HYLTON
HONEY
HANNAH KELLY
GEORGE
TONY NAM
NICK
ZACK POWELL
RUNTIME
Approx. 3 hrs and 20 mins, including two 15-min intermissions
SETTING
The living room of a house on the campus of a small New England college, 1962
ACT 1: Fun and Games
ACT 2: Walpurgisnacht
ACT 3: The Exorcism
Resident Company Member
CREATIVES
SET DESIGN
EMILY LOTZ
COSTUME DESIGN
KATHLEEN GELDARD
LIGHTING DESIGN
HAROLD F. BURGESS II
SOUND DESIGN
KATHY RUVUNA
WIG DESIGN
DENISE O'BRIEN
VOICE
GARY LOGAN
FIGHTS & INTIMACY
LEWIS SHAW
DRAMATURGY
ROBYN QUICK
STAGE MANAGER
DIANE HEALY
COMMUNITY SPONSOR
The Cast and Stage Manager are members of the Actors' Equity Association. Edward Albee's Who's Afraid of Virginia Woolf? 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
Edward Albee's Who's Afraid of Virginia Woolf? (2025)
CAST BIOS
BETH HYLTON [she/her] (MARTHA) [EVERYMAN THEATRE]: (Resident Company Member): Over 20 productions including POTUS, Dial M for Murder, Harvey, The Sound Inside, The Skin of Our Teeth, Steel Magnolias, Cry It Out, Be Here Now , Murder On The Orient Express, Dinner With Friends, The Book of Joseph, The Revolutionists, Intimate Apparel, Noises Off, The Roommate, A Streetcar Named Desire, Death of a Salesman, Outside Mullingar, Blithe Spirit, Deathtrap, The Understudy, By the Way, Meet Vera Stark, Crimes of the Heart, August: Osage County, and Time Stands Still. [OFF-BROADWAY]: 59E59: Handbagged. [OTHER NYC]: NYC Fringe Fest; Vital Theatre Company; Gorilla Rep; founding member, Ground Floor Theatre Lab. [REGIONAL]: Round House Theatre: Throw Me on the Burnpile and Light Me Up, Small Mouth Sounds, Rapture, Blister, Burn, Natural Shocks (reading); Rep Stage: The Heidi Chronicles, Circle Mirror Transformation; Woolly Mammoth: Collective Rage, Appropriate, Martha Josie and the Chinese Elvis; Center Stage: Clybourne Park, Beneatha’s Place; Maltz Jupiter: The 39 Steps; Delaware Theatre Company: Blithe Spirit; Weston Playhouse: Death of a Salesman; Public Theatre of Maine: U.S. Premiere of Lunenburg, The Cocktail Hour; Pittsburgh Irish and Classical Theatre: House and Garden, Private Lives, An Ideal Husband; Gulfshore Playhouse: Into the Breeches, Steel Magnolias, A Doll’s House, Life (x)3, Blithe Spirit; Olney Theatre Center: Hay Fever, The Savannah Disputation, The Heiress; PlayMakers Rep: Hay Fever, The School For Wives, Look Homeward, Angel, Wit; The Hipp: Suddenly Last Summer, Up ; Kennedy Theatre NC: Skylight; Ford’s: The Heavens Are Hung In Black, Member of the Wedding; Kennedy Center: Mister Roberts [TV/FILM]: Law and Order (reboot), House of Cards, One Life To Live, As The World Turns, Thespian, Shrink Rap. [DIRECTING]: Staged readings of The Moors, Be Here Now, Our New Girl for Everyman Theatre’s Salon Series, The Museum of Unnatural Seriousness at Carrboro Arts Center NC. [EDUCATION]: MFA Acting, Professional Actor Training Program/UNC-Chapel Hill/PlayMakers Rep.
HANNAH KELLY [she/her] (HONEY) [EVERYMAN THEATRE]: (Resident Company Member) Agatha Christie's And Then There Were None, A Midsummer Night’s Dream, Harvey, The Lion in Winter, Sense and Sensibility, Behold, A Negress, The Skin of Our Teeth, Agatha Christie’s Murder on the Orient Express, Everything is Wonderful, The Book of Joseph. [REGIONAL]: Chesapeake Shakespeare Company: Dracula, The Diary of Anne Frank; Charm City Fringe Festival: Proxy. [EDUCATION]: B.F.A. Acting, University of Maryland, Baltimore County.
CAST BIOS
TONY NAM [he/him] (GEORGE) [EVERYMAN THEATRE]: (Resident Company Member): Agatha Christie's And Then There Were None, A Midsummer Night's Dream, The Book Club Play, Dial M for Murder, Jump, Ken Ludwig's Baskerville: A Sherlock Holmes Mystery, Sense and Sensibility, The Skin of Our Teeth, Cry It Out, Agatha Christie’s Murder on the Orient Express, Everything is Wonderful, Aubergine. [REGIONAL]: Arena Stage: Exlcusion, Akeelah and the Bee (World Premiere); The Folger Theatre: Romeo & Juliet, Much Ado About Nothing, Measure for Measure; Ford’s Theatre: Our Town; Kennedy Center TYA: Where Words Once Were, A Cricket in Time Square, Unleashed; Olney Theatre Center: Our Town; Mosaic Theatre Company of DC: Sooner/Later, Theory; Round House Theatre: Treasure Island; Seattle Children’s Theatre: The Red Badge of Courage; Shakespeare Theatre Company: Othello, Pericles; TheatreWorks: Pacific Overtures; Woolly Mammoth Theatre Company: Martha, Josie and the Chinese Elvis. [EDUCATION]: St. Mary’s College of MD – BA, University of Washington – MFA.
ZACK POWELL [he/him] (NICK) [EVERYMAN THEATRE]: (Resident Company Member) 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
Edward Albee's Who's Afraid of Virginia Woolf? (2025)
WAYS TO GIVE
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MEET THE PLAYWRIGHT
EDWARD ALBEE
EDWARD ALBEE (1928-2016) was born on March 12, 1928, and began writing plays 30 years later. His plays include The Zoo Story (1958), The American Dream (1960), Who's Afraid of Virginia Woolf? (1961-62, Tony Award), Tiny Alice (1964), A Delicate Balance (1966, Pulitzer Prize and Tony Award), All Over (1971), Seascape (1974, Pulitzer Prize), The Lady From Dubuque (1977-78), The Man Who Had Three Arms (1981), Finding The Sun (1982), Marriage Play (1986-87), Three Tall Women (1991, Pulitzer Prize), Fragments (1993), The Play About The Baby (1997), The Goat, or Who Is Sylvia? (2000, 2002, Tony Award), Occupant (2001), Peter and Jerry: Act 1, Homelife; Act 2, The Zoo Story (2004), and Me, Myself and I (2007).
He was a member of the Dramatists Guild Council and President of The Edward F. Albee Foundation. Mr. Albee was awarded the Gold Medal in Drama from the American Academy and Institute of Arts and Letters in 1980, and in 1996 received the Kennedy Center Honors and the National Medal of Arts. In 2005 he was awarded the special Tony Award for Lifetime Achievement.
MEET THE DIRECTOR
VINCENT
M. LANCISI
VINCENT M. LANCISI (Founder, Artistic Director) founded EVERYMAN THEATRE in October of 1990 and has directed 58 productions including 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.
A LONG NIGHT’S JOURNEY
Of the play’s opening on October 13, 1962, critic Richard Hornby observed, “Albee’s Who’s Afraid of Virginia Woolf? shocked the theatre establishment the way that Sputnik had recently shocked the scientific establishment, forcing everyone to reexamine premises and rethink beliefs.” This first full-length Broadway play by an author who had previously caused a stir with off-Broadway one-act dramas had been eagerly anticipated. The result was a work of such emotional intensity, that Richard Watts Jr. of the New York Post dubbed it the “most shattering drama I have seen since O’Neill’s Long Day’s Journey into Night.” Albee’s verbal virtuosity, combination of humor and horror, and intellectual insight led Watts to describe the author as “writing like a savage avenging angel with a sardonic wit.” Accolades also went to the performance, with the production sweeping the Tony awards for actor, actress, director, and producer, along with the Tony for best play. But not all critics were equally enthralled. John Chapman wrote, “It is three and half hours long, four characters wide, and a cesspool deep.” And the play was famously denied the Pulitzer Prize. The profane language led the Pulitzer committee not to take their own drama jury’s recommendation, and there was no Pulitzer for drama that year. Critic Walter Kerr concluded, “It need not be liked, but it must be seen.” For the play’s impact went beyond the daring skill of its writing and performance and asked audiences to reexamine premises and rethink beliefs of the values by which we live.
Albee’s long journey through the night begins with familiar features of a mid-twentieth-century American family drama. In a New England college town, guests are welcomed into a lovely home that has all appearances of warmth and safety. The hosts have status in the world of academia, and it is a privilege to be invited there. The title of the first act, “Fun and Games,” hints at a continuation of festivities from the party they all just attended. But such expectations quickly give way. As the guests walk through the door, they are greeted with an expletive hurled by wife at the husband. And soon, the games become games of war, and the pain behind both marriages is revealed. As the play progresses, Albee takes us beneath the façade of middle-class comfort to find tortured souls inhabiting this world. Howard Taubman of the New York Times described the play as possessed by “raging demons,” and Albee’s title for Act 2, Walpurgishnacht, supports that assessment with its reference to the German legend of a witches’ orgiastic sabbath held in the mountains on the eve of May Day. From there, the characters must confront their secret dreams and private pain to seek their way through to a new light of day.
Albee also saw larger resonance to his examination of the workings of one American household on one tortured night. As he told the Saturday Evening Post, “It all starts out terribly private.
DRAMATURGICAL NOTE
(Continued)
Then somewhere along the line you realize you’re talking about general matters. If it stays private, it’s no good.” He named his hosts George and Martha as a nod to this nation’s original first couple and as an expression of his belief that “This country hasn’t lived up to its beginnings.” In the historical moment Albee wrote this play, the United States had been, in the assessment of scholar Matthew Roudané, displaying “unprecedented optimism” about our technological, military, and economic power, as well as the new opportunities open to individuals for higher education, social advancement, and increased incomes. But fear and discontent loomed beneath this surface. With the 1957 launch of the satellite Sputnik, the Russians conquered space first, and fueled Americans’ anxieties around their prospects in the Cold War. The moment was also one of action to right the wrongs of long-standing inequities in the country. In the year following the play’s premiere, the struggle for civil rights continued with a quarter of a million Americans marching on Washington, where Dr. Martin Luther King issued a powerful indictment of how our country failed to live up to the promissory note of its founding principles. And for Albee, even the culture of “unprecedented optimism” betrayed those principles. As scholar Lincoln Konkle put it, the play offers a critique of the “decline of the United States from its promising beginning as a democratic society that valued individualism and liberty above all to a conformist, materialistic society that values “success” above all.”
The play, however, resonated beyond its original historical moment. Watts comparison of Who’s Afraid of Virginia Woolf? to A Long Day’s Journey Into Night, turned out to be prescient, as Albee’s play has joined O’Neill’s as an enduring American drama. It is a staple of classroom study and regional theatre production. There have been four Broadway productions. Albee himself returned to the play, once to direct, other times to consult, and to accompany a 2005 production, he published a revised version of the play with updated phrasing. Although he would go on to write over twenty subsequent plays and win three Pulitzer Prizes, Who’s Afraid of Virginia Woolf? remains his best-known work. When asked in 2013 what he hoped audiences would leave with after seeing a production, he replied: “I want them to be willing to reconsider whether all the values that they brought into the theatre are still valid when they leave. I don't want to necessarily tell them how to think, but I want them to be examining those values and see if they still believe them.”
By Robyn Quick Resident Dramaturg
Works Cited
Carl, Polly. “Speaking with Who’s Afraid of Virginia Woolf? Playwright Edward Albee.” News and Articles. Steppenwolf Theatre.
Chapman, John. “A Play Lies Under the Muck in Who’s Afraid of Virginia Woolf.” Daily News. 15 Oct. 1962.
Hornby, Richard. “Who’s Afraid of Virginia Woolf?: A Memoir.” The Hudson Review, vol. 66, no. 1, 2013.
Kerr, Walter. “First Night Report: Who’s Afraid of Virginia Woolf?” New York Herald Tribune. 15 Oct. 1962.
Konkle, Lincoln. “‘Good, Better, Best, Bested’: The Failure of American Typology in Who’s Afraid of Virginia Woolf?” Edward Albee, Routledge, 2003.
Roudané, Matthew Charles. “Historical Context.” Who’s Afraid of Virginia Woolf?: Necessary Fictions, Terrifying Realities. Twayne Publishers, 1990.
Skow, John. “Broadway’s Hottest Playwright, Edward Albee.” Saturday Evening Post, Jan. 1964.
Taubman, Howard. “The Theatre: Albee’s Who’s Afraid.” The New York Times. 15 Oct. 1962.
Watts, Richard R. “Shattering Play by Edward Albee.” New York Post. 15 Oct. 1962.
Edward Albee's Who's Afraid of Virginia Woolf? (2025)
CREATIVE TEAM BIOS
HAROLD F. BURGESS, II (Lighting Design)
[EVERYMAN THEATRE]: (Resident Lighting Designer) Over 20 productions, highlights include: Primary Trust, Agatha Christie's And Then There Were None, Queens Girl: Black in The Green Mountains, Dial M for Murder, Jump, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, Sense and Sensibility, Flyin’ West, Pipeline, Radio Golf, Murder on the Orient Express, Sweat. [INTERNATIONAL]: Southwark Playhouse (London): The Happiest Man on Earth. [REGIONAL]: Cincinnati Playhouse in the Park: Clyde’s; Contemporary American Theatre Festival: The Happiest Man on Earth; Signature Theatre: Where the Mountain Meets the Sea; Round House Theatre: Radio Golf, Nine Night, Nollywood Dreams, We’re Gonna Die, Throw Me On The Burnpile and Light Me Up, A Boy and His Soul, A Doll’s House, Part 2; Studio Theatre: Breath Boom, My Children! My Africa!; Olney Theatre Center: Aubergine, Thurgood, Grounded; Theatre J: Intimate Apparel, Trayf, Broken Glass, Another Way Home, The Sisters Rosensweig, The Hampton Years; Mosaic Theatre Company: Unexplored Interior; Rep Stage: Kill Move Paradise; Northern Stage (VT): A Doll’s House, Part 2, Grounded. [AWARDS]: 2020 Independent Artist Award, Maryland State Arts Council. [TEACHING]: Director, College Park Scholars Arts Program, UMD. [EDUCATION]: MFA, University of Maryland College Park. Member, United Scenic Artists, Local 829. www.haroldburgessdesign.com
KATHLEEN GELDARD (Costume Design) [EVERYMAN THEATRE]: Deathtrap, The Understudy. [REGIONAL:] Signature: Hair, Bridges of Madison County, Assassins, Billy Elliot; Shakespeare Theatre Company: Macbeth; Denver Center of Performing Arts: 39 Steps; Cincinnati Playhouse: Dracula, A Chorus Line, Alias Grace, You’re a Good Man Charlie Brown, Misery, Shakespeare in Love; Arena Stage: The Year of Magical Thinking; ASF: A Christmas Carol, Tempest, Macbeth, Alabama Story; Woolly Mammoth; Kennedy Center; Studio
Theatre; Round House Theatre; Imagination Stage; Folger Theatre; Portland Center Stage; Actors Theatre of Louisville: Humana Festivals 2015-2018; Huntington Theatre; La Jolla Playhouse; Berkeley Rep; CenterStage; Florida Studio Theatre; Weston Playhouse; Maltz Jupiter Theatre; Children’s Theatre of Charlotte. [OPERA]: Washington National Opera: Macbeth; Metropolitan Opera: Associate Designer, Grounded.
DIANE HEALY (Stage Manager) [EVERYMAN THEATRE]: A Midsummer Night's Dream. [NEW YORK]: with BEDLAM: Music City, Fall River Fishing, The Winter’s Tale, Hedda Gabler, Persuasion, The Crucible, Sense & Sensibility, Saint Joan, Hamlet, Pygmalion, Peter Pan, Cry Havoc!, Twelfth Night/What You Will; Also with: TFANA, NAATCO, Clubbed Thumb, Radical Evolution/WP Theatre, Playwrights Horizons, Signature Theatre, La Femme, Mabou Mines, Primary Stages, Playwrights Realm, Barrow Street Theatre, Atlantic Theatre Co., LCT3, LaMama, The Civilians.
[REGIONAL]: Baltimore Center Stage, Long Wharf Theatre, McCarter Theatre, Folger Theatre (Helen Hayes winner for Sense & Sensibility – Director, Production, Ensemble, Choreography); Oldcastle Theatre Company, Princeton University, Bard College and East Tennessee State, and 15 years at Shakespeare & Company, MA. (selected projects) King Lear (Christopher Lloyd), The Tempest (Olympia Dukakis), Women of Will (Tina Packer), Red Velvet & Satchmo at the Waldorf (John Douglas Thompson).
GARY LOGAN (Voice) [EVERYMAN THEATRE]: (Resident Dialect Coach) Over 20 productions, highlights include: 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,
CREATIVE TEAM BIOS
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.
EMILY LOTZ (Set Design) is a freelance designer and Professor of Scenic Design at the University of Wisconsin - Stevens Point. [REGIONAL]: Milwaukee Rep: The Craic and Always... Patsy Cline; Mosaic Theater Company: Unseen, Marys Seacole and Inherit the Windbag; Baltimore Center Stage: Black Nativity, Crowns and Dreamgirls; ArtsCentric: For Colored Girls Who Have Considered Suicide/When the Rainbow is Enough, The Scottsboro Boys, The Wiz and Little Shop of Horrors [AWARDS]: She won a Helen Hayes Award for Outstanding Scenic Design for The Princess & the Pauper - A Bollywood Tale at Imagination Stage. emilylotzdesign.com
DENISE O’BRIEN (Wig Design)
[EVERYMAN THEATRE]: Over 20 productions, highlights include: The Book Club Play, Crumbs from the Table of Joy, Dial M For Murder, The Chinese Lady, Harvey,
Edward Albee's Who's Afraid of Virginia Woolf? (2025)
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): POTUS, The Chinese Lady, 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. enter in Moscow. Robyn Quickholds a Ph.D. in theatre from the University of Michigan. MFA – University of Delaware, PTTP.
KATHY RUVUNA (Sound Design) is a New York based sound designer originally from San Antonio, Texas. Recent credits include [EVERYMAN THEATRE]: Primary Trust, The Lion in Winter, Pipeline, Cry It Out, Radio Golf. [REGIONAL]: Clubbed Thumb: Bodies, The Ritual; Alley Theatr: Sweat; Portland Stage: I and You, Read to Me; YaleRepertory Theatre: Good Faith; Two River Theatre: Twelfth Night; Rattlestick Playwrights Theater: In the Southern Breeze, Ni Mi Madre; National Black Theatre: Hands Up; BRIClab: Bernarda’s Daughters; Fake Friends: Circle Jerk, This American Wife [EDUCATION]: She holds a B.F.A. in Sound Design from The Conservatory of Theatre Arts at Webster University, and an M.F.A. in Sound Design from the Yale School of Drama.
LEWIS SHAW (Fights & Intimacy) [EVERYMAN THEATRE]: (Resident Fight and Intimacy Choreographer): Over 20 productions, highlights include: 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.
This Theatre operates under an agreement between the League of Resident Theatres
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.
The costume, lighting, and sound designers are represented by United Scenic Artists, Local USA 829 of the IATSE.
WHO'S AFRAID OF VIRGINIA WOOLF? PRODUCTION STAFF
ASSISTANT STAGE MANAGER
Olivia Dibble
ASSOCIATE
SET DESIGNER
Caledonia Grant
SCENIC PAINTER
Meaghan Toohey
CARPENTERS
Nick Colantuano
Joe Martin
Charles Whittington
Louis Williams III
LIGHT BOARD PROGRAMMER & OPERATOR
Maisie Stone
ELECTRICIANS
Emily Burgess
Griffin Delisle
Mel Gabel
Tochukwu Opaigbeogu
Sharon Zheng
WARDROBE
Lucy Haag
Mel Gabel
WIG SUPERVISOR
Linda Cavell
EVERYMAN THEATRE RESIDENT COMPANY
ACTORS
Megan Anderson
Felicia Curry
Deborah Hazlett
Helen Hedman
Paige Hernandez
Beth Hylton
Hannah Kelly
Katie Kleiger
Wil Love
Tony Nam
ARTISTS
Bruce Randolph Nelson
Tuyết Thị Phạm
Zack Powell
Kyle Prue
Jefferson A. Russell
Carl Schurr
Stan Weiman*
Yaegel T. Welch
* Deceased
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.
Edward Albee's Who's Afraid of Virginia Woolf? (2025)
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
Colleen Martin-Lauer, Vice 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
Charles Lu
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
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 October 1, 2023 and February 17, 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 †
Lisa Harris Jones* and Sean Malone
Mr. and Mrs. Stephen and Maureen Shaul
Bob and Terri Smith
EXECUTIVE PRODUCER
$5,000–$9,999
Anonymous
Shaun Carrick and Ronald Griffin
Diann and David Churchill
John Deermer
Walter B. Doggett III* and Joanne Doggett
Curt Lind and Linda Ettinger
Kaylie Kassap George and Adam George
Sandra D. Hess
Mark and Kelley Keener
Paul Konka and Susan Dugan-Konka
Mark and Sandy* Laken
Mark Paul Lehman* and Kurt Davis
Kenneth C. and Elizabeth M. Lundeen
Dr. and Mrs. David and Nancy Paige
John and Marsha Ramsay
Brooke Story
Michael B. Styer*
Donald* and Mariana † Thoms
Meadow Lark Washington* and Joe Washington
Mark Yost and Kevin Galens
PRODUCER $2,500–$4,999
Anonymous
George and Frances † Alderson
Patricia Bettridge
Winnie and Neal Borden
Eva and Warren Brill
Courtney Bruno
Paul and Kathleen Casey
Judy Shub-Condliffe and Jack Condliffe
Ross and Michele Donehower
Jean Jacocks
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 (7)
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
Livio and Diane Broccolino
David Brown
Edie* and Stan Brown †
Jeanne Brush
David Cane
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
Ms. 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
Edward Albee's Who's Afraid of Virginia Woolf? (2025)
Timothy and Gabrielle
Lawrence
Gayle Levy and Martin Barber
Fred and Judy Lobbin
James MacNicholl and Sara Lombard
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
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 (9)
Ronald † and Baiba Abrams
Brad and Lindsay Alger
Ray and Carroll Apodaca
Dale Balfour
Ray and Day Bank
Gayle Barney and Jean Savina
Craig Bober and Rachel Burgan
John and Carolyn Boitnott
Patty Bond
Michael Borowitz and Barbara Crain
Jan Boyce
Mr. and Mrs. A. Stanley Brager, Jr.
Paul and Jane Brickman
Lew and Vicki Bringman
Peter and Eileen Broido
Sara and Duncan Brown
Jeffrey Budnitz and Siobhan
O'Brien Budnitz
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
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
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
James F. Hart
Suzanne Hill
Michael Hirschhorn and Jimena Martinez
Greg Huff and Pamela Pasqualini
Idy and Jennie Iglehart
Ann H. Kahan
Mr. Harold Kanarek
Jeff and Marjie Kimble
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
Colleen Martin-Lauer* and Mark Lauer
Lynne and Larry Lichtig
Jonna and Fred Lazarus
W.J. Lederer and Jennie
Rothschild
Peter Levy and Diane Krejsa
Brendan Lilley
Bruce Lindstrom
Linda and Jim Loesch
Michael and Lois Mannes
Jeanne E. Marsh
Phyllis McIntosh
Stan and Laurie Miller
Joseph and Jane Meyer
Bruce R. Nelson and Richard Goldberg
Linda Nevaldine
Drs. Mary O'Connor and Charles King
Thomas L. and Leslie V. Owsley
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
David and Sarah H. Shapiro
Dr. Alan Schwartz and Dr. Carla Rosenthal
Dr. Carl Shanholtz and Dr. Ruth Horowitz
Stephen and Gail Shawe
Patricia Smeton
Linda and Kirby Smith
Norma Snow-Goldberg
Damie and Diane Stillman
Dr. Ellen Taylor and Mr. Bruce Taylor
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
Mary Nichols
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
Edward Albee's Who's Afraid of Virginia Woolf? (2025)
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
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
In conjunction with this production, Everyman will present a dazzling morning of show-stopping performances as the critically acclaimed Sunrize with a Z hosts Everyman’s first-ever Broadway-themed Drag Brunch on June 8! Visit everymantheatre.org/dragbrunch for details.