The White Card - GableStage Playbill

Presents

THE

WHITE CARD

by Claudia Rankine

Directed by Lydia Fort

GB&T_GableStage _LibbyRIGHTC_5.5x8.5.indd 1

10/21/21 2:54 PM

NOTE FROM THE PRODUCING ARTISTIC DIRECTOR Why Here, Why Now? I have been searching for an opportunity to produce Claudia’s work since first being introduced to her by my husband, Magnus Stark in 2010. Magnus and Claudia’s husband, the photographer/documentarian John Lucas, have had a close relationship for thirty years.

But it is only now that the time is right. The staging of this difficult conversation about racism and the unconscious white bias which perpetuates it has never been more felicitous and, as GableStage audiences are primarily white, Rankine’s play is particularly poignant. The White Card holds a mirror up to its viewers and asks, “is this you?”

Photo Magnus Stark

It is impossible to depart the experience of this play without confronting the meaning of white privilege and the details of white complacency. It has also been impossible to produce this play without uncomfortably examining my own racial assumptions and how they shape my practice of artmaking.

The process of producing this play has joyfully introduced me and GableStage to a host of new designers and to new friends. Thank you to Katie Christie, Chandra Maye and Lydia Fort for patiently working with me through what seemed like a multitude of missteps.

Thank you, Claudia for trusting us with your work.

And a special thanks to you. For showing up. Claudia’s play demands our undivided attention and it is energizing to be a part of a community that is willing to show up, engage in tough conversations and wrestle with complex issues.

While there may not be an immediate resolution, the hope is that the dialogue will continue.

Onward.

Bari Newport Producing Artistic Director

NOTA DE LA DIRECTORA ARTÍSTICA Y DE PRODUCCIÓN ¿Por qué aquí? ¿Por qué ahora?

He estado buscando una oportunidad para producir el trabajo de Claudia desde que mi esposo, Magnus Stark, me la presentó por primera vez en 2010. Magnus y el esposo de Claudia, el fotógrafo y documentalista John Lucas, mantienen una estrecha relación desde hace treinta años.

Pero es solo ahora que el momento es adecuado.

La puesta en escena de esta difícil conversación sobre el racismo y el sesgo blanco inconsciente que lo perpetúa nunca ha sido más acertada y, dado que el público de GableStage es mayoritariamente blanco, la obra de Rankine es especialmente pertinente.

The White Card sostiene un espejo frente a sus espectadores y les pregunta: "¿Este eres tú?".

Photo Magnus Stark

Es imposible salir de la experiencia de esta obra sin confrontar el significado del privilegio blanco y los detalles de la complacencia blanca.

También ha sido imposible producirla sin examinar incómodamente mis propias suposiciones raciales y la influencia que tienen en mi práctica artística.

El proceso de producción de esta pieza nos ha hecho conocer, a mí y a GableStage, a una serie de nuevos diseñadores y amigos. Gracias a Katie Christie, Chandra Maye y Lydia Fort por trabajar pacientemente conmigo a través de lo que parecía una multitud de desaciertos.

Gracias, Claudia, por confiarnos tu obra.

Y un agradecimiento especial a ti. Por estar presente. La obra de Claudia exige toda nuestra atención y es estimulante formar parte de una comunidad que está dispuesta a venir, participar en conversaciones difíciles y luchar contra cuestiones complejas.

Aunque no haya una resolución inmediata, la esperanza es que el diálogo continúe.

Seguimos adelante.

Bari Newport Directora Artística de Producción

GABLESTAGE

AT THE BILTMORE presents

Scenic Designer Frank J. Oliva^

Lighting Designer Quanikqua “Q” Bryant

Sound Designer Brandyé Bias

Costume Designer Camilla Haith

Properties Designer Kacey Koploff

Audience Engagement Katie Christie

Dramaturg & Assistant Stage Manager Sammy Heroux

Production Stage Manager Katie Ellison* Directed by Lydia Fort ** **

^The Scenic Designer is a member of the UNITED SCENIC ARTISTS *Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States

The White Card Originally commisioned by ArtEmerson and The American Repertory Company

Photos: © Magnus Stark, 2022

CAST OF CHARACTERS Iain Batchelor* as Eric Schmidt Rita Cole* as Charlotte Cummings (Feb 25-March 9) Lela Elam as Charlotte Cummings (March 10-March 27) Joshua Hernandez* as Alex Spencer Barbara Sloan* as Virgina Spencer Tom Wahl* as Charles Spencer

Iain Batchelor

Rita Cole

Lela Elam

Joshua Hernandez

Barbara Sloan

Tom Wahl

Time & Place Scene 1: A NYC Loft, 2017 Scene 2: Charlotte's Studio, 2018 THE VIDEOTAPING OR AUDIO RECORDING OF THIS PRODUCTION IS STRICTLY PROHIBITED

* Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States

Actors’ Equity Association (AEA) was founded in 1913 as the first of the American actor unions. Equity’s mission is to advance, promote and foster the art of live theatre as an essential component of our society. Today, Equity represents more than 40,000 actors, singers, dancers and stage managers working in hundreds of theatres across the United States. Equity members are dedicated to working in the theatre as a profession, upholding the highest artistic standards. Equity negotiates wages and working conditions, and provides a wide range of benefits including health and pension plans for its members. Through its agreement with Equity, this theatre has committed to the fair treatment of the actors and stage managers employed in this production. AEA is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions.

DIRECTOR’S NOTE During the 78th Whitney Biennial, Parker Bright stood in front of Dana Schutz’s painting of Emmitt Till's (the 14-year-old Black boy who had been lynched by two white men in Mississippi in 1955) dead body titled “Open Casket”. What was radical was that Parker wore a t-shirt with the words “Black Death Spectacle” written on the back—their immovable stance in front of the painting obscured the view of patrons and thus compelled people to consider the problem of white artists profiting off of Black trauma.

I was unaware of Parker’s act of protest which I learned of while doing research for directing The White Card. But prior to my being hired to direct, I spoke with the ever-brilliant Claudia Rankine, a speaker of truths I have been unable to put breath and words to—her poetry was at once so visceral I had to put it down after reading only two pages—because, she immediately accessed my pain, longings and eternal questions as if she were wet-wired to my brain and consciousness. [pause] …in my conversation with Ms. Rankine, I spoke about how her play addressed a problem I had been contemplating for years: how mainstream American Theatre historically and consistently held up and promoted plays that portrayed Black suffering. Her play resonated with me immediately and it dramatized the pathos I had come to believe was at the root of the problem—the inherited legacies of American slavery and resistance to taking personal responsibility for dismantling those effects within oneself.

America needs a Truth and Reconciliation Commission of its own and not just as a nation, but if we are to really transform, each White American must reject denial and do the tough work of facing buried truths and realign core values. Only then can true freedom from all forms of oppression be obtained and new ideologies that are we centered be put into action.

Utopia? Unrealistic idealism? I’d like to believe not—but then in my job as a director, I am a world-builder…why not build worlds in real life?

To borrow from the beloved Saturday Night Live skit, Coffee Talk--I invite you to ‘discuss amongst ourselves’.

Lydia Fort Director

NOTA DE LA DIRECTORA Durante la 78ª edición de la Bienal de Whitney, Parker Bright se situó frente al cuadro de Dana Schutz que representa el cadáver de Emmitt Till (el niño negro de 14 años que fue linchado por dos hombres blancos en Mississippi en 1955) titulado "Open Casket" (Ataúd Abierto). Lo que resultó radical fue que Parker llevaba una camiseta con las palabras "Espectáculo de la muerte de los negros" escritas en la espalda.

Su postura inmóvil frente al cuadro impedía la visión de los espectadores y, por tanto, llevaba a la gente a considerar el tema de que artistas blancos se lucren del trauma de los negros.

Desconocía el acto de protesta de Parker, del que me enteré mientras investigaba para dirigir The White Card. Pero antes de que me contrataran para dirigir la obra, hablé con la siempre brillante Claudia Rankine, autora de verdades a las que no he podido dar respiro ni palabras —su poesía era a la vez tan visceral que tuve que dejarla después de leer solo dos páginas— porque, de inmediato, accedió a mi dolor, mis anhelos y mis eternas preguntas como si estuviera conectada con mi cerebro y mi conciencia. [pausa] ...en mi conversación con la Sra. Rankine, hablé de cómo su obra abordaba un problema que yo había estado observando durante años: cómo el teatro estadounidense dominante, históricamente y de forma consistente, mantenía y promovía obras que retrataban el sufrimiento de los negros. Su obra me hizo eco de inmediato y puso en relieve el pathos que había llegado a creer que era la raíz del problema: los legados heredados de la esclavitud estadounidense y la resistencia a asumir la responsabilidad personal de desmantelar esos efectos dentro de uno mismo.

Estados Unidos necesita una Comisión de la Verdad y la Reconciliación propia y no solo como nación, sino que, si queremos transformarnos realmente, cada estadounidense blanco debe rechazar la negación y hacer el duro trabajo de enfrentarse a las verdades enterradas y realinear los valores fundamentales. Solo entonces se podrá obtener una verdadera libertad de todas las formas de opresión y poner en marcha nuevas ideologías centradas en nosotros. ¿Utopía? ¿Idealismo irreal? Me gustaría creer que no, pero en mi trabajo como directora soy una constructora de mundos... ¿por qué no construir mundos en la vida real?

Tomando prestado el entrañable sketch de Saturday Night Live, Coffee Talk... les invito a "discutir entre nosotros".

Lydia Fort Directora

MESSAGE FROM A YOUNG DRAMATURG

until I read The White Card.

My high school director was the first to teach me that great art is a tool used to critique society by capturing, as Charlotte says in the show, “moments, feelings, and injustices that are lost to history entirely”.

This idea that we as artists can galvanize social change by throwing back the veil that hides the harsh reality of the world.

As Charles says in Act One, “Change can’t precede recognition,” learning that has shaped my every choice since.Yet I had no understanding of what “recognition” meant

This play goes beyond others by not just showing us the society we live in, but by challenging us to examine how we fit into the picture. I realized my initial inability to understand Charles’ journey was because I was never forced to consider the role whiteness has played in my own life, and how it fits into the legacy of White Supremacy in our society. This is what recognition truly meant.

The realization led me to a similar dilemma as the one Charlotte faces.

What is the consequence of producing art that only reinforces the ideals of White Supremacy, by conditioning us to images of violence? Of only portraying the Black Body in a way that doesn’t challenge White Supremacy? What does it mean to produce art that reflects a society exclusively built on a history of bloodshed and subjugation while ignoring the generational violence and trauma that props it up? This is what The White Card seeks to accomplish for everyone.

Charles isn’t wrong, “Change can’t precede recognition,” but today we still avoid grappling with this country's history, and how its foundation of slavery has shaped the past 400 years. It took centuries of conditioning to create the innate racism we live with today and it'll take just as long to undo it. But if we are ever to succeed, we must first help everyone gain this re-cognition, so we can begin the work now. So we may raise the next generation with an awareness of our history and how we fit into it so that they don’t go through the same racial awakening that we face now and have failed to overcome for centuries.

Sammy Heroux Dramaturg & Assistant Stage Manager

MENSAJE DE UN JOVEN DRAMATURGISTA El director de mi secundaria fue el primero en enseñarme que el gran arte es una herramienta utilizada para criticar a la sociedad al plasmar, como dice Charlotte en la obra, "momentos, sentimientos e injusticias que se pierden por completo en la historia". Es la idea de que nosotros, como artistas, podemos promover el cambio social corriendo el velo que oculta la dura realidad del mundo. Como dice Charles en el primer acto, "el cambio no puede preceder al reconocimiento", aprendizaje que ha marcado todas mis decisiones desde entonces. Sin embargo, no entendía lo que significaba el "reconocimiento" hasta que leí The White Card.

Es la obra va más allá de otras al no limitarse a mostrarnos la sociedad en la que vivimos, sino que nos desafía a examinar cómo encajamos en ella. Me di cuenta de que mi incapacidad inicial para entender el viaje de Charles se debía a que nunca me había visto obligado a analizar el papel que la condición de blanco ha desempeñado en mi propia vida, y cómo encaja en el legado de la supremacía blanca en nuestra sociedad. Esto es lo que significa realmente el reconocimiento.

La constatación me llevó a un dilema similar al que se enfrenta Charlotte. ¿Cuál es la consecuencia de producir arte que solo refuerza los ideales de la supremacía blanca, al condicionarnos a imágenes de violencia? ¿En que consiste representar el Cuerpo Negro sin desafiar la supremacía blanca? ¿Qué significa producir un arte que refleje una sociedad construida exclusivamente sobre una historia de derramamiento de sangre y subyugación mientras se ignora la violencia y el trauma generacional que la sustenta? Esto es lo que The White Card busca producir en todos.

Charles no se equivoca: "El cambio no puede preceder al reconocimiento", pero todavía hoy en día seguimos evadiendo afrontar la historia de este país y cómo sus antecedentes de esclavitud han dado forma a los últimos 400 años. Se necesitaron siglos de condicionamiento para crear el racismo innato con el que vivimos hoy y se necesitará el mismo tiempo para deshacerlo.

Pero si alguna vez queremos tener éxito, primero debemos ayudar a todos a adquirir este re-conocimiento, para que podamos empezar el trabajo ahora.

Así podremos formar a la próxima generación con conciencia de nuestra historia y de cómo encajamos en ella, para que no pasen por el mismo despertar racial al que nos enfrentamos ahora y que no hemos podido superar durante siglos.

Sammy Heroux Dramaturgista y Asistente de Dirección de Escena

WHO’S WHO About the Playwright

“Her work illuminates the emotional and psychic tensions that mark the experiences of many living in twenty-first-century America.” —MacArthur Citation Claudia Rankine is the author of five books of poetry, including Citizen: An American Lyric and Don’t Let Me Be Lonely; three plays including Help, which premiered in March 2020 (The Shed, NYC), and The White Card, which premiered in February 2018 (ArtsEmerson/ American Repertory Theater) and was published by Graywolf Press in 2019; as well as numerous video collaborations. Her recent collection of essays, Just Us: An American Conversation, was published by Graywolf Press in 2020. She is also the co-editor of several anthologies including The Racial Imaginary: Writers on Race in the Life of the Mind. In 2016, Rankine co-founded The Racial Imaginary Institute (TRII). Among her numerous awards and honors, Rankine is the recipient of the Bobbitt National Prize for Poetry, the Poets & Writers’ Jackson Poetry Prize, and fellowships from the Guggenheim Foundation, the Lannan Foundation, the MacArthur Foundation, United States Artists, and the National Endowment of the Arts. A former Chancellor of the Academy of American Poets, Claudia Rankine joined the NYU Creative Writing Program in Fall 2021. She lives in New Haven, CT. Sobre la dramaturga "Su obra ilumina las tensiones emocionales y psíquicas que marcan las experiencias de muchos que viven en Estados Unidos durante el siglo XXI". Cita de la Fundación MacArthur.

Claudia Rankine es autora de cinco libros de poesía, entre ellos Citizen: An American Lyric y Don't Let Me Be Lonely; tres obras de teatro, entre ellas Help, estrenada en marzo de 2020 (The Shed, NYC), y The White Card, estrenada en febrero de 2018 (ArtsEmerson/ American Repertory Theater) y publicada por Graywolf Press en 2019; así como numerosas colaboraciones en vídeo. Su reciente colección de ensayos, Just Us: An American Conversation, fue publicada por Graywolf Press en 2020.

También es coeditora de varias antologías, entre ellas The Racial Imaginary:Writers on Race in the Life of the Mind. En 2016, Rankine cofundó el Instituto del Imaginario Racial (TRII). Entre sus numerosos premios y honores, Rankine ha recibido el Premio Nacional de Poesía Bobbitt, el Premio de Poesía Jackson de Poets & Writers y becas de la Fundación Guggenheim, la Fundación Lannan, la Fundación MacArthur, United States Artists y el Fondo Nacional de las Artes. Ex canciller de la Academia de Poetas Americanos, Claudia Rankine es parte del Programa de Escritura Creativa de la NYU desde otoño de 2021.Vive en New Haven, Connecticut.

WHO’S WHO

Photo: © Magnus Stark, 2022

About the Cast (in alphabetical order) Iain Batchelor* (Actor - Eric Schmidt) Iain’s work in theatre, in the U.S. and U.K. includes The White Card, Watson (GableStage); Abyss (Arcola Theatre, U.K.); The Rivals (Arcola Theatre, U.K.); Edward II (National Theatre, U.K.); Billy Budd (Southwark Playhouse, U.K.); Ladybird (Southwark Playhouse, U.K.); A Soldier In Every Son, Richard III, King John (Royal Shakespeare Company, U.K.) King Lear (Leeds Playhouse, U.K.); After Troy (Oxford Playhouse, U.K.) Iain’s work in Television includes The White Princess (STARZ); Doctors (BBC); The Coroner (BBC) and the Emmy award-winning Wolf Hall (BBC / Masterpiece.) Iain’s most notable Film credits include Allied (Paramount); Assassin’s Creed (New Regency / 20th Century Fox) and Frequencies (Britpack Films.) Iain is known for his work on the Hitman video game series as the voice of Marcus Stuyvesant and is a 2010 winner of the BBC Carleton Hobbs Radio Drama Award, where he featured on various productions such as Out Of Africa, Danton’s Death, Show Boat, The Big Sleep, I, Claudius, and The Far Pavilions. A special thanks to Karina and Lennox for making this process possible and to Lydia for her collaborative and considerate direction. Keep up to date with Iain’s forthcoming projects on Instagram at @iain___b Rita Cole* (Actor - Charlotte Cummings) Rita is beyond ecstatic to be returning to the Gable Stage for another production! She was last seen here in Skeleton Crew and looks forward to bringing Charlotte Cummings

WHO’S WHO to life in The White Card (Feb 25 - March 6). Next, she will be making her debut on the Palm Beach DramaWorks stage as Esther in Intimate Apparel this upcoming April! Rita received her BFA degree in Theatre from the University of Central Florida. She is the recent recipient of the Carbonell Award for Best Supporting Actress and a couple of Silver Palm Awards in South Florida. Some of her recent theatre credits: A Raisin in the Sun, Skeleton Crew,White Guy on a Bus, Doubt,The Caucasian Chalk Circle,The Submission, Villainous Company, Brothers of the Dust, Flyin West, Seven Guitars and Terror. Some of her Film credits: #GROWN, Emmadri and The Mermaid, The Flea, To Each His Own, Pompano Boy,Water and Jay. Social Media Tags: Rita Cole (Facebook) @iamritacole (Instagram).

Lela Elam (Actor - Charlotte Cummings) Lela is making her fifth GableStage appearance in The White Card (March 9 - 27) She was previously seen in the GableStage productions of No Child and Intimate Apparel where she was nominated for Best Actress and Best Supporting Actress Carbonell Awards. She also appeared in GableStage plays that saw her winning the Best Actress Carbonell twice. Once for In The Continuum and once for Ruined. Lela has made several guest star appearances on shows like Graceland, Bloodline and David Makes Man. She also spent two seasons on the TBS hit comedy, Wrecked where she played Diane from Toledo. Lela is a member of SAG/Aftra.

Joshua Hernandez* (Actor - Alex Spencer) Joshua (he/they) is an NYC based actor/filmmaker from Miami, FL. Previous GableStage credits include Admissions and Pretty Boy Josh.TV credits include Gossip Girl (HBO Max).

BA Theatre, Florida State University, member of AEA and SAG-AFTRA. Website joshuahernandez.co Barbara Sloan* (Actor - Virginia Spencer) Barbara has been active in the South Florida theatre scene for the past 25 years. Past productions at GableStage: The Real Thing, Burn This, Strange Snow, Sons of the Prophet, Stalking the Bogeyman and Admissions. She received a Silver Palm Award for her work in Vita and Virginia (Vanguard Theatre) and has received Carbonell nominations for Wit, The Book of Ruth (New Theatre) 2.5 Minute Ride (Mosaic Theatre) and Last Summer at

WHO’S WHO Bluefish Cove (New River Rep) and Vita and Virginia (Vanguard Theatre). She has also performed at Actors’ Playhouse, Coconut Grove Playhouse and Florida Stage. Barbara is a veteran voice-over artist having dubbed films and novellas, as well as numerous commercials, industrial and independent films. She is a faculty member at New York Film Academy, specializing in physical theater and is a certified yoga instructor. Barbara is honored to be part of GableStage’s emboldened venture into the future.

Tom Wahl* (Actor - Charles Spencer) Tom has appeared at GableStage in Ordinary Americans, Kings, Admissions, White Guy on the Bus (Carbonell nomination), The Legend of Georgia McBride (Carbonell nomination), and An Act of God. Tom has worked at The Kennedy Center (DC), Geva Theatre Center (NY), Capital Rep (NY), Blumenthal Performing Arts Center (NC) Flat Rock Playhouse (NC), Blowing Rock Stage Company (NC), and Harrisburg Opera (PA). In Florida at Palm Beach Dramaworks, Zoetic Stage, Actors’ Playhouse, City Theatre, Miami New Drama, The Vanguard, Red Barn Theatre, Waterfront Playhouse, Caldwell Theatre, Florida Stage and Mosaic Theatre. Film and TV credits include The Marvelous Mrs. Maisel, New in Town with Renee Zellweger, Ace Ventura, Plato’s Run, Big City Blues and a recurring guest star as Hunt Pelham on ABC’s Moon over Miami. Tom is a recipient of Carbonell, Silver Palm, and Curtain Up Awards and is a proud union member of Actors’ Equity Association and SAG-AFTRA. About the Creative Team Lydia Fort** (Director) Lydia has directed at Alabama Shakespeare Festival, Bay Street Theater, Actor’s Express, Cygnet Theatre, Diversionary Theatre, Perseverance Theatre, Women’s Project Theatre, Women Center Stage, Urban Stages, McCarter Theatre YouthInk! Festival, New Federal Theatre, Ensemble Studio Theater, Classical Theatre of Harlem, freeFall Theatre, Hangar Theatre, Planet Connections Festivity (where she was honored with the 2103 Best Director and Greener Planet Awards) as well as other festivals including the New Black Fest, 48 Hours in Harlem, Fire This Time Festival, and SheWrites. She was a Time Warner Foundation Fellow of the 2012-2014 Lab at Women’s Project Theater, a TCG New Generations Future Leaders Grantee, New York Theatre Workshop Directing Fellow, and Drama League Directing Fellow. Lydia received a BA from New York University and an MFA in Directing from the University of Washington. She is an Assistant Professor at Emory University where she teaches directing, acting, African American theatre, and eco-theatre.

Frank J Oliva ^ (Scenic Designer) Frank is a Cuban-American Stage Designer. Born and raised in Miami, he currently lives and works in New York City. Recent projects include world premieres and new productions with The Weston Playhouse Theatre Company, Colorado Springs Theatre Center, Two River Theatre Company, The Guthrie Theatre, Urban Stages, The Kitchen Theatre and The Cincinnati Symphony. Frank was Associate Designer on the recent

WHO’S WHO Broadway productions of Oklahoma!, West Side Story and Hangmen. Forthcoming work includes projects at Gablestage, The SHED, Geva Theatre Center, The Bushwick Starr, Clubbed Thumb and Area Stage Company. Frank received the 2017 Innovative Theatre Award for Stage Design and was nominated for a 2018 Audelco Award for Set Design.

His design for the world premiere of Lost/Not Found was selected for the American exhibit at the 2019 Prague Quadrennial of Performance Design. Executive Committee Member of Wingspace, a non-profit providing mentorship, fostering conversation and furthering activism in the field of theatrical design. Frank is a member of United Scenic Artists and a graduate of New York University’s Tisch School of the Arts. Many thanks to Lydia, Bari and Kristen for the warm welcome back to Miami. www.frankjoliva.com // @frankjoliva Quanikqua “Q” Bryant (Lighting Designer) Quanikqua, a South Florida native, began her career at the age of 16. She was a former student, summer intern, and lighting technician at the African Heritage Cultural Arts Center in Miami; where she designed 10 productions, before attending Miami Dade College. In 2011, she started working at the New World Symphony as Lighting Technician. At the New World Symphony, she designed for several conferences, seminars, rentals, and orchestral concerts. In the year 2017, Q was employed by the Adrienne Arsht Center for the Performing Arts as Head Electrician in the Carnival Studio Theater. During her employment, she designed for Peter London Global Dance Company and The Last Jimmy, A Hip Hop Musical featuring Dice Raw. This year, she designed for AACPA presents: Live on the Plaza and CommuniTea Dance 2021, Pride Marketplace. Her latest Lighting Design is available at arshtcenter.org for Pioneer Winter’s newest project, Birds of Paradise. Presently she’s employed by the Broward Center for the Performing Arts (BCPA) as Head Electrician in the Amateur Theater.

She’s pleased to design her first show here at GableStage.

Brandyé Bias (Sound Designer) Brandyé, a Fort Lauderdale native, explored medicine, child development, and sang in the Florida A&M Concert Chorale. FAMU, Lee Hall was where she got her first experience in the theater world. She transferred to Florida State University in 2002, but maintained her student job at FAMU Lee Hall throughout undergrad. Brandyé graduated FSU with a Family, Child, and Sciences Bachelors of Science Degree August 2004, and later received an Associate’s Degree in Recording Arts, June 2009 from Full Sail University. After this she interned/worked at Voice of America in Washington DC, The Kitchen Incorporated and Circle House Studios in Miami, FL. She has had the opportunity to work alongside Artists/Actors/ Activists such as Dick Gregory, Sheryl Lee Ralph, etc. For a little over 9 years now, Brandyé has been a Local 500 IATSE union member. Making history as the first Female/African American Female to serve as Union Steward/Head Audio at the Adrienne Arsht Center for the Performing Arts in the Carnival Studio Theater, 2017-2021, and presently as Head Audio in AuRene at Broward Center for the Performing Arts. Her greatest accomplishment is being Mother of two children Preston (7yrs) and Amelia (5yrs).

WHO’S WHO Kacey D. Koploff (Props Designer / Set Dresser) After leaving Broward College in Davie, Florida, Kacey has been finding her footing in the theatrical world. While being Certified in Adobe Editing, she has designed Motion Graphics for theatres like Empire Stage Theatre (Wilton Manors) and Fantasy Theatre Factory (Miami). While also having a penchant for Multimedia Arts, she has been a reputable Stage Manager for the last 4 years, meanwhile collecting a wide range of certifications (QLab) and skills in Lighting, Sound, and Prop-Making. Kacey has worked with many amazing directors, like her former professor Deborah Kondelik, to bring out their visions on stage. Currently working at the Sandrell Rivers Theater (FTF), she is tenacious in establishing her career as a Designer and Engineer extraordinaire!

Kacey is very excited to be back with the GableStage family, and hopes to continue working with them in the future of creation!

Camilla Haith (Costume Designer) Camilla is South Florida based costume designer and wardrobe stylist. She is the owner of Walloping Moll LLC where she designs and builds costumes for opera, cruise ships, theatre, film, unique events, and music videos. Theatrical credits include Intelligence Systems (SoBe Institute of the Arts - World Premiere), Fairy Tales Songs of the Dandelion Woman (SoBe Institute of the Arts - World Premiere), and Fences (Pennsylvania Centre Stage). Upcoming works include Boca and Fade for GableStage and The Leopard for Frost School of Music. Camilla holds an MFA in Costume Design from Penn State, as well as a BFA in Theatre from Penn State and a BFA in Fashion Design from the International Academy of Design and Technology, Chicago.

Katie Ellison* (Production Stage Manager) Katie is thrilled to be on her fifth season as the Resident Production Stage Manager at GableStage. Outside of GableStage, she recently had the privilege of working with Miami New Drama at the Colony Theatre on their production of Seven Deadly Sins.

Other credits include Assistant Stage Manager for Peter and the Starcatchers at the Adrienne Arsht Center for the Performing Arts and Assistant Stage Manager for Zoetic Stage’s productions of Stripped and Rapture, Blister, Burn. She was also the Production Stage Manager for Orchestra Miami’s Music at The Biltmore and The Mice War. Katie is a proud graduate of the University of Miami with a Bachelor of Fine Arts in Stage Management. She is profoundly lucky to have the continued support and love of her husband Kevin and their two dogs, Milo and Penny.

Sammy Heroux (Assistant Stage Manager/Dramaturg) Sammy is excited to be joining GableStage for the first time and on such an incredible project. Sammy is from Middleborough, Massachusetts, and is currently an undergraduate sophomore BFA double-major in Theatre Management and Global Health Studies at the University of Miami. Sammy has broad aspirations for working in the theatre industry but has primarily spent the last several semesters focused on Stage Management, completing work as an Assistant Stage Manager on UM’s fall production of Godspell, as well as the virtual productions of I’ll Be Here Tomorrow, We

WHO’S WHO the People, and Shakespeare 2020. Recently he also completed work as a Production Stage Manager of La Traviata, as well as Assistant Stage Manager on several other operas alongside the international young-artist training company, La Musica Lirica, and he is currently working as the Production Stage Manager of UM’s upcoming production of A Midsummers Night Dream this spring. Sammy would like to thank his parents for supporting him in pursuing this opportunity and the incredible team here at GableStage who have welcomed him in these past few months.

Katie Christie (Audience Engagement) Katie is a visionary leader with a passion for inclusion, justice, and the arts. Katie has been extensively trained in the performing arts, EDI, and Antiracism, is a member of artEquity’s BIPOC Leadership Circle and has spent more than 30 years working professionally at various organizations, schools, and institutions Including, Roundabout Theatre Company, The YWCA, YoungArts and Yale School of Drama. Her driving ambition is to utilize the arts as a catalyst for justice and equity while nourishing and connecting warriors of change locally, nationally, and globally. Katie is the founder and Director of Voices United and has been featured in Girls and Young Women Leading the Way, PBS’s Take Me to Your Leaders and NBC Nightly News. She has also directed and produced original productions with youth in Russia, Japan, Quebec, Turkey, South Africa, and Lesotho. Additionally, Voices United was named a leading organization addressing race and culture in President Clinton’s “Promising Practices, One America Initiative on Race.”

Voices United Voices United is a non-profit organization designed to promote social justice, equity and inclusion through the arts while nourishing and connecting warriors of change locally, nationally and around the world. Voices United inspires change makers to transform hatred into understanding, prejudice into respect, violence into peaceful collaboration, and cynicism into hope.

Bombshell Productions Bombshell is an award-winning design, fabrication and production company exclusively serving the corporate, film, television and theatrical industries. Bombshell’s diverse team of creative craftspeople design, build and install sets, scenery, props, experiential activations, marketing tours, trade show booths, graphics, signage, custom pop-up shops and displays including point of purchase. Bombshell was founded in 2011, is based in Fort Lauderdale, FL and deploys nationwide.

2021-2022 DONORS & FUNDERS The Board of Directors and staff of GableStage applaud our supporters whose generosity enables us to deliver theatre of artistic excellence to the community: $100,000+ The Jorge M. Pérez Family Foundation at The Miami Foundation Miami-Dade County Department of Cultural Affairs $25,000+ Anonymous Florida Department of State/Division of Cultural Affairs Bari Newport & Magnus Stark $15,000+ Grove Bank & Trust Charles & Rosalyn Stuzin $10,000+ Lynn Atkinson & David Drucker Louis J. Appignani Foundation City of Coral Gables Cultural Affairs Chaim Katzman Rhoda Levitt in memory of Morris Levitt Andrea & Clark Nobil Rick & Myrna Toren Jessie Wolfson $5,000+ Marc & Robyn Abrams Alan & Jayusia Bernstein David Coulson & Jeannie Etter Jill & Harold Gaffin George & Jenna Haj Richard & Judith Jacobs Nedra Kalish Janet & Gerald Kelfer Raul R. Rodriguez Sara Solomon The Shepard Broad Foundation The Sue and Leonard Miller Center for Contemporary Judaic Studies at the University of Miami Gene Sulzberger Michael & Debbie Troner The Zelda and John Schwebel Family Foundation

$2,500+ Nanci & Harold Deutsch Allison Hockman Stephen & Dale Kulvin Ann Landau & Ira Zweifler Nedra & Mark Oren & The Yulman Foundation Roblee Foundation The Sager Family Charitable Fund Suzanne & Richard Steinbook Steven Weinger $1,000+ Ann Anthony JoAnne Bander Benevity Community Impact Fund Cindy & David Berger Susan & Steven Caller, In Honor of Roz Stuzin Coral Gables Community Foundation Andy Elisburg Firestone Family Foundation Robert R. Brinker & Nancy S. Fleischman Miami-Dade County Commissioner Sally Heyman Jane Hurt The David Kwiat Foundation Corleen & James Iannazzi Eric & Gayle Jacobs Al & Priscilla Klomparens Bill and Shirley Lehman Bruce Marmar Jill & Mark Meland Gail S. Meyers The Miami Foundation Lynn & Linda Newport Alan & Barbara Pareira Michael & Mary Ellen Peyton Doris Rudnick Carolee Reiber, In Honor of Roz Stuzin Fidelity Charitable on behalf of Joel & Adelle Sandberg Charles & Linda Sands Julie & Gary Simon Sandra Simon Edward & Barbara Sirkin Sydney S. & Judith Rood Traum Suzy Wahba Bruce Wolf/Louise Ross $500+ Michael & Sheila Berke

2021-2022 DONORS & FUNDERS Mitchell & Ana Bierman Donald & Rosetta Bierman, In honor of Mitch Bierman Marsha Brian Bilzin Esta & Lewis Ress Dennis Edwards & Mark Steinberg Carolynn & Michael Friedman Inna Friedman Sharon Gless Neil Goodman Maureen & Larry Gragg Ronald & Miriam Hinds Bernard & Florence Jacobson Josephine Johnson Elaine & Danny Katz Bernita King Wendy Lapidus David & Roberta Lawrence Barbara Levin David & Renee Lieberman Norman & Nancy Lipoff John Lord, Jr. Janet R. McAliley Jim Mooney Ann and Donald Morrison Lee Osiason Patricia M. Papper A.E.F on behalf of Alan & Barbara Pareira Michael & Mary Ellen Peyton Brook Roberts-Webb Luis Ramirez Sylvan & Sandra Seidenman Brenda B. Shapiro Maggie Silverstein Richard & Gloria Tejera Sheila Terens Sheila M. Wagner Jane & Randy Walker Judith Weinstein $250+ Marta Alfonso Frances Aronovitz Marcus Bach-Armas Diane & Richard Berkowitz The Blair H. & Lee D. Temkin Family Donor Fund of The JCF William Mahone & Lynn Bowman Beverly Brown Mark & Margie Buchbinder Wayne & Nicole Cypen Philip Curtis Lorin Duckman

Marcia B. Dunn David & Roberta Ehrenreich Karen Escalera Mary Jo Francis Michael Froomkin & Caroline Bradley Nancy & Ron Gelles Denise Weiss Glasser Steven Gombinski Karen M. Gottlieb & Elliot H. Scherker Burton & Naomi Honig Marilyn & Bernard Horowitz Susan & Larry Jay Paulette Johnson Josephine Johnson Lizabeth Knight Janel Kuhl Fredda & Richard Levitt Martin & Barbara Liebling Gene Majka Deborah Marks David & Kathy Martin Jane & Paul Mass The Miami Foundation - Help the Helpers Miami-Dade Gift Brenda Moe Myron Novak Elizabeth & Ed Parnes Baldo & Hilary Pellicer Joyce Peterson ​​Randall P. White & Victoria D. Matthews Charitable Fund Terry & Marcia Reisman Victoria Rogers Vivian San Juan Claire & Dick Savitt Jane Schiff Barbara & Stanley Schwartz Ruth & Rudy Schwartz Aldo Serafini & The Honorable Judge Ursula Ungaro George & Eleni Sfakianakis Michelle Sherry Marian R. Siegel Eric Sisser Ellen & Norton Small William Spratt Mary Ann Sprinkle Bradford Stocker & Tere Campos Liat & Tali Tzur Stewart & Beth Wald Bonnie Webman Werth-Silver Foundation

2021-2022 DONORS & FUNDERS $100+ Armando Acevedo Barbara Bisno Caryn Boren Tanya Bravo Lee Brooke Marcia Smithen Cohen in memory of Joseph Adler Joseph Cresci Sylvia Crespo Alfred & Leatrice Damus Stephanie & Chris Demos Paul Dunham Cheryl Dunn Bychek Arlene Easley Laura Emack Michael Finkle Audrey & John Frank Arnold Friedman Lisa Furlong Elizabeth Gadinsky Thomas & Marti Gammon Laura Gonzalez Louis Hafken MD & Lee Ann Johnston Michel Hausmann Gisela & Duncan Haynes Shelley & Bruce Hornick Linda & Geoffrey James Robert & Marlene Josefsberg Nilza Kallos Steven Krams Sam & Stephanie Levine, In memory of Florence & Bernard Saxon Phyllis & Phil Levy Marie Lippman Howard Lubel Joan & Edward Mahler Daniel Marmorstein Serge & Margaret Martin Barbara Mcguffey Josie G.Mendoza & Hugh Mackworth Neil & Madelyn Messinger

Lynn Meyer Howard Millhauser Dale Moses Aisha Nasser Tamara Nixon Andrew Noble Lamar Noriega Ana Onetti Rod & Lucy Petrey Joseph Polito Marc Powers Thomas Proctor Fred W. Sutton Judith Ratzan Nicholas Richberg Lauri Ross Randi & Len Rothenberg Norman Sade Vivian San Juan Karen Sepsenwol Lawrence & Arline Silver Michael Silver Myra Silverstein Mindy Solomon Alan Stein Henry & Suzanne Stolar Richard & Diane Tannenbaum Jodi & Paul Tartell Penny & Richard Thurer Mark Trowbridge Donna Urban Peggy Vital Carol Von Arx Waters Ortiz Accounting & Consulting Leonore & Stanley Weinstein Susan Westfall Sydney & Lynn Wruble Jason & Marcia Zellner Barry & Judy Zisook Donations listed were received between July 1st, 2021 and February 2, 2022.

SPECIAL THANKS The White Card is made possible in part through support from the Coral Gables Community Foundation, Citizens Interested in Arts and El Dorado Furniture.

MARIO’S WE SUPPORT THE STAGE!

BOARD OF TRUSTEES Roz Stuzin Chair

Richard Jacobs Secretary

David Coulson Vice Chair

Richard Toren Treasurer Marc Abrams Mitchell Bierman Jill Gaffin George Haj Allison Hockman Nedra Kalish Chaim Katzman Gene Sulzberger Aizik Wolf

Bari Newport Producing Artistic Director

Standing Committees: • • • •

Artistic Education Development Finance

INTERESTED IN JOINING? If you have an interest in serving on a committee or submitting your resume for the board of trustees, please email artistic@gablestage.org

VOLUNTEERS NEEDED

Be part of our amazing team and get more involved with GableStage!

We are always looking for volunteers! From teenagers to seniors, there is a place for you at GableStage.

Usher Corps • Painters • Carpenters Office Organizers • Content Producers Crafts People • Sewing Specialists To sign-up to volunteer, contact housemanager@gablestage.org

GABLESTAGE: A CUTTING-EDGE THEATRE HISTORY

Time Stands Still

Ruined Photos George Schiavone

Founded in 1979 as Florida Shakespeare Theatre, GableStage originally performed the plays of Shakespeare in repertory, using the outdoor Casino Gardens at Vizcaya. From 1987-1992, Florida Shakespeare Theatre was housed in the Minorca Playhouse in Coral Gables, until it was destroyed

by Hurricane Andrew. The company continued to produce at the Carousel Theatre in Coral Gables in 1993 and 1994. In 1999, the company moved to the historic Biltmore Hotel, and became GableStage.

Since 1999, GableStage has been at the cutting edge of theatre in South Florida, striving to present the most vital works of international, contemporary playwrights and producing quality theatrical productions that encompass themes and ideas relevant to the multicultural South Florida community. The company maintains a tradition of producing plays directly from successful Broadway and off-Broadway runs.

In addition to a robust Main Stage season, GableStage presents a variety of Education and Community Outreach programs throughout the community.

GableStage is the recipient of over 200 Carbonell Award nominations and 64 Carbonell Awards, a prestigious South Florida theatre award. In 2013, the Carbonell Awards honored GableStage with the Ruth Forman Award for major advancements in the South Florida theatre scene and in January 2016, Producing Artistic Director Joseph Adler, was deemed Champion of the Arts by the local arts funding group, Citizens Interested in Arts.

GableStage is proud to be a member of the thriving South Florida theatre community and stays true to its mission of encouraging new theatre companies, playwrights, artists, arts administrators, and local talent, therefore contributing to the growth and longevity of the South Florida cultural landscape.

Purchased a single ticket to today’s performance?

Ask about our half season specials available.

GABLESTAGE EDUCATIONAL PROGRAMS

Ruined

Othello, School Tour 2020

More than One Million Students Since 1979, GableStage—formerly known as Florida Shakespeare Theatre—has been privileged to introduce over one million Miami-Dade County Middle and High School Public school students to live theatre productions of the highest quality. The Shakespeare in the Schools program partners with the MDCPS Cultural Passport Program to bring an abridged show directly to high school students during the school day.

Selected plays focus on the classic works of Shakespeare and have been presented to public and private schools throughout Miami-Dade County. Careful consideration is taken to ensure that the highest quality of teaching artists are involved with the tour.

The primary objectives of these productions are to expose culturally underserved students to an important work that may speak to their lives or the world today; allow the students to hear Shakespeare’s words out loud in a creative manner rather than read in a classroom; and to create a conversation around the historical elements of the production versus the storytelling devices used.

During the performance, students are directly encouraged by actors to seek out live cultural events within the community, see Shakespeare’s works in a new light, and continue their studies with historical works of theatre and literature.

Students—no matter their economic status—are given the opportunity to see live theatre. free of charge each year of high school. Many first-time attendees have never seen a live theatrical performance.

In 2022, King Lear will be adapted and directed by FIU Associate Professor, Shakespeare scholar, and Producing Director of What If Works, Inc., Phillip Church.

GABLESTAGE EDUCATIONAL PROGRAMS This program is made possible through the generous support of:

Louis Appignani Foundation, Inc Shepard Broad Foundation Coral Gables Community Foundation Osiason Educational Foundation Inc Joseph H. & Florence A. Roblee Foundation The TriMix Foundation

GABLESTAGE STAFF Producing Artistic Director Director of Operations Business Manager Interim Director of Advancement Director of Marketing & Community Engagement Box Office Manager Grants Manager Social Media Specialist Production Manager Technical Director Changeover Lead Production Stage Manager Media & Graphics Box Office Associate Box Office Associate Casting Intern Theatre Operations Intern

Bari Newport Chandra Maye Corleen Iannazzi Iva Kosovic Duvin Ana María Carrano Dennis Vasta Andrea Dougherty O’Naghten Diana Garle Kristen Pieski Carlos Rodriguez Art Garcia Katie Ellison Magnus Stark Chris Zamora Tyla Palmer Jenna Hochkammer Sammy Heroux

AUDIENCE SERVICES Box Office Hours

Monday – Friday 12:00 p.m. – 5:00 p.m.

Hours extended until an hour before showtime during performance days.

Performance days & Showtimes Wednesday 2:00 p.m. & 7:00 p.m.

Thursday 7:00 p.m.

Friday 8:00 p.m.

Saturday 2:00 p.m. & 8:00 p.m.

Sunday 2:00 p.m.

Concessions are open 30 min before showtime.

Accesibility

• Accessible seating is available.

• Assistive listening devices are available for all performances on a first-come basis.

Please visit the box office.

• Large print playbills available.

• Accessible bathroom is located outside the theatre, across the driveway under the breezeway.

Discounts

Discounts are available for regular season productions for students, artists, groups, Biltmore members and military families.

More information: www.gablestage.org/tickets

IN-KIND SUPPORT WISH LIST

Donations Needed There are many ways to support our theatre: you can donate from rehearsal/ warehouse space to flowers and plants. Donations are tax deductible!

• • • • • • • •

Stackable Washer and Dryer Vehicles Housing Warehouse Space Rehearsal Space Airline Miles Flowers Shelving and plastic bins with lids

Ready to donate?

Contact us at advancement@gablestage.org

JOE ADLER LEGACY CAMPAIGN

To join the Legacy Campaign, contact advancement@gablestage.org (305) 446-1116 Ext. 307 www.gablestage.org/legacy

GableStage is proud to recognize the generosity of the following donors who have contributed to the campaign to support a thriving South Florida theatre community, in Joe’s name: $100,000+ GableStage Board of Directors $50,000+ The Jorge M. Pérez Family Foundation at the Miami Foundation Charles & Rosalyn Stuzin $15,000+ Dr. & Mrs. Aizik Wolf $10,000+ Edward W. Easton Nedra Kalish Allan & Ellen Yarkin James & Fortuna Stuzin $7,000+ Michael & Judith Adler

$5,000+ Marc & Robyn Abrams Charitable Fund Anonymous Louis Appignani ​​Mitchell & Ana Bierman Larry and Fran Blum David Coulson & Jeannie Etter George & Jenna Haj Richard & Judith Jacobs Andrea & Clark Nobil The Podhurst, Dern, Koffsky, Weinberg Foundation Gene C. Sulzberger Michael & Debbie Troner Michael Weintraub of the Joseph Weintraub Family Foundation Jessie Wolfson

$2,000+ Nancy & Harold Deutsch Bari Newport & Magnus Stark $1000+ Alfred & Susan Feingold George & Luisa Foyo Im Stillman Family Foundation Jill & Harold Gaffin Jack & Shirley Kaplan The David Kwiat Foundation Lil & Yorke Doliner Charity Foundation, Allison Hockman Miami Beach Senior High School, Class of ‘58 Michael McKenzie & Kari Floren, The McKenzie Artists and Animals Fund Lynn & Linda Newport $250+ Robert Adler, Michele Adler Friedlander, David Friedlander Donald & Rosetta Bierman Gail Garrisan Michael & Irma Goldstein Burton & Naomi Honig

Shelley & Bruce Hornik Marj O’Neill-Butler Lawrence E. & Barbara S. Stein Suzy Wahba Elizabeth J. Wilson $100+ Al Alschuler & Jennifer Blackmore Sylvia Crespo Joanne Gruber Margery Lowe Dan Lundberg Toba Meiselman Leslie & Bernice Roth Phyllis & Richard Sandrow Shirley S. Spear Ruth & Rudy 65th Anniversary Katherine & Arthur Trotman Steven Wisotsky

Donations listed here were pledged or received before February 2, 2022.

DONATIONS

YOU PLAY A LEADING ROLE Ways to Support GableStage ANNUAL FUND Ticket revenue makes up less than 45% of the general operating budget. Gifts to the annual fund help bridge the gap and directly benefit GableStage productions and educational programs.

A meaningful gift will enable our small theatre to do BIG things this season: • • • • • •

3 World Premieres 1 Rolling World Premiere 7 season productions 170 performance days in season 90 artists and crew hired on and off stage 40 outreach performances at local schools

Donors at the $2,500+ level are recognized as part of the Circle Society and invited to the annual benefactor reception.

Make a gift to the Annual Fund today at gablestage.org/ donate or contact us at advancement@gablestage.org | (305) 446 - 1116 Ext. 307

SPONSORSHIP OPPORTUNITIES Corporate Partners & Program Sponsors represent leaders whose generosity and support demonstrate a commitment to the community, an appreciation for theatrical excellence, and the passion for growing our region through the arts. Sponsorship opportunities start at $2,500 and include a number of exposure and engagement benefits, including: • • • • •

Ads in the Playbill (distribution of 2,000+ per production) Recognition on production posters and promotional postcards (distribution of 25,000+ per production) Sponsor highlights in GableStage e-newsletters (10,200+ opt-in subscribers) Recognition on the theatre’s website and via social media (7,000+ followers across platforms) Hospitality packages, including tickets to Opening Night performances and receptions PURCHASE AN AD IN THE PLAYBILL

Enjoy targeted, affordable advertising that will give your business valuable exposure. We print a high quality, professional playbill for every production. This comprehensive publication includes information about the performance, actors, creative team, crew and the theatre history, and is seen by 20,000+ patrons each season.

To learn more about sponsorships and ads, visit gablestage. org/sponsorship or contact advancement@gablestage.org (305) 446 - 1116 Ext. 307

INTIMATE • EDGY • INSPIRING

Apr. 22 - May. 22

BOCA By Jessica Provenz Ready for some laughs? This not-to-be-missed comedy follows a group of retirees who – between golf, bridge and Botox – can be found bickering, gossiping and living it up like they’re teenagers sagain.

A Rolling World Premiere!

THE YEAR OF MAGICAL THINKING

By Joan Didion Jun. 4 - 26

Rubenology The Making of an American Legend

by Vanessa Garcia and Ruben Rabasa

Jul. 14-31

A World Premiere!

Fade

By Tanya Saracho Jun. 3 - Jul. 3

Box Office (305) 445.1119

gablestage.org

VIZCAYA VILLAGE FARMERS MARKET Every Sunday, 9:00 a.m. to 2:00 p.m.

VIZCAYA VILLAGE 3250 S. Miami Ave. | Miami, FL 33129 | 305-250-1933 | vizcaya.org/market