Crumbs from the Table of Joy

SEPTEMBER 11 - 29, 2024 Joan H. Gillings Center for Dramatic Art | playmakersrep.org | 919.962.7529

VIVIENNE BENESCH

PRODUCING ARTISTIC DIRECTOR

Welcome!

I’m so excited for this PlayMakers 2024/25 season – a thrilling year of plays that each in its own way celebrates and wrestles with the power of the American Dream. The nature of the American Dream is always worth exploring, but especially over an election year that asks each of us to take stock of where we are and where we hope to be. To kick off this endeavor, we turn once again to the work of the incomparable and brilliant Lynn Nottage in her stunning play, Crumbs from the Table of Joy. Set in New York during the 1950s, the play centers on Ernestine, a young woman wrapped up in the intoxicating magic of Hollywood films as an escape from the realities of the world around her. An idealized version of American life pulls and develops into a longing for all that “might” be. I think this longing captures a true essence of the American Dream – the desire to be seen, to improve, the drive to progress. Sometimes that longing is full of hope and energy, other times full of fear and exhaustion (come back for the brilliant Death of a Salesman later this season!)

The theatre, especially the live theatre, brings us together from our vastly different lives and allows us to experience another’s story—another’s dream— as a group. As we sit together in the dark, there is an anonymity and leveling of the playing field that makes us all just alike during the “two hours traffic of our stage.” There’s nothing quite like allowing a well told story to shift the focus off ourselves and onto the lives of others. It’s a shared experience that then often sends us home understanding something new about ourselves.

Under the guidance of the brilliantly insightful PlayMakers company member Tia James, she and her team have crafted something beautifully rendered, deeply felt, and remarkably humane. There is a great deal of hope to share here. My hope is that this story works some magic upon you and piques your curiosity to come reflect on the American Dream with us at PlayMakers all season long.

Warmly,

Vivienne

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TABLE OF CONTENTS

2 Letter from Vivienne 5 Support PlayMakers 8 Program Notes 11 Title Page 13 Bios 26 Who We Are 30 PlayMakers Staff 33 Friends of PlayMakers

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COFFEE ARTISTS ON A MISSION (on & off the stage)

Whether on the stage or roasting coffee, head roaster Nash keeps the PlayMakers family caffeinated with Larry’s Organic, Fair Trade, Shade Grown coffee.

FROM THE ADVISORY COUNCIL Welcome, welcome, welcome!

We are so happy to have you in this space with us.

When I first immigrated to the United States in 1994, America seemed like a land of bounty – full of wonder and opportunity under the banner of “The American Dream.” After living here for over 30 years, I’ve learned that this dream means very different things to different people. As our society evolves, we grapple with questions about whether that opportunity is equally afforded to all, what success truly means, what we value, and how we balance rugged individualism with collective responsibility.

This season at PlayMakers, we invite you to join us on a journey that promises to challenge, entertain, and inspire. The American Theatre provides a unique space to explore the American Dream – where ideas come to live and breathe, allowing the nuances of our shared ideals and our differences to be examined.

What a gift to our community that we have a company like PlayMakers to offer this space for reflection, dialogue, and change.

We hope you will continue to join us throughout this season and beyond.

Your support is crucial in bringing these powerful stories to life, enriching our community, and protecting the magic of live theatre. Share your experiences here with your friends, follow us on social media, and consider a donation – however you choose to support, we are truly grateful to have you with us this season.

Peace, Jackie Tanner, Chair

ADVISORY COUNCIL Betsy Blackwell Patrick Brennan Deborah Gerhardt Susan Gross Amy Guskiewicz C. Hawkins Zach Howell

Lillian Jenks Duncan Lascelles Stuart Lascelles Robert Long, emeritus Graig Meyer Julie Morris Paula Noell

Jodi Patalano Diane Robertson Wyndham Robertson Haley Swindal Jackie Tanner, Chair Jennifer Werner Mike Wiley

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ABOUT THE AUTHOR Lynn Nottage is a playwright and a screenwriter. She is the first,

and remains the only, woman to have won the Pulitzer Prize for Drama twice. Her plays have been produced widely in the United States and throughout the world. Nottage recently premiered Floyd’s at the Guthrie theater. She wrote the book for the world premiere musical adaptation of Sue Monk Kidd’s novel The Secret Life of Bees, with music by Duncan Sheik and lyrics by Susan Birkenhead. It premiered at the Atlantic Theatre Company in May 2019, directed by Sam Gold. Upcoming work includes an opera adaptation of her play Intimate Apparel composed by Ricky Ian Gordon, commissioned by The Met/ Lincoln Center Theater. She wrote the book for the musical MJ, featuring the music of Michael Jacks on, which premiered on Broadway.

Other plays include Mlima’s Tale (Public Theater); By The Way, Meet Vera Stark (Lilly Award, Drama Desk Nomination); Ruined (Pulitzer Prize, OBIE, Lucille Lortel, New York Drama Critics’ Circle, Audelco, Drama Desk, and Outer Critics Circle Award); Intimate Apparel (American Theatre Critics and New York Drama Critics’ Circle Awards for Best Play); Fabulation, or The Re-Education of Undine (OBIE Award); Crumbs from the Table of Joy; Las Meninas; Mud, River, Stone; Por’knockers and POOF! Her play Sweat (Pulitzer Prize, Evening Standard Award, Obie Award, Susan Smith Blackburn Prize, Tony Nomination, Drama Desk Nomination) moved to Broadway after a sold-out run at The Public Theater. It premiered and was commissioned by the Oregon Shakespeare Festival American Revolutions History Cycle/Arena Stage. Inspired by her research on Sweat, Nottage developed This Is Reading, a performance installation based on two years of interviews at the Franklin Street, Reading Railroad Station in Reading, PA in July 2017.

Nottage is the recipient of a MacArthur “Genius Grant” Fellowship, Steinberg “Mimi” Distinguished Playwright Award, PEN/Laura Pels Master Playwright Award, Merit and Literature Award from The Academy of Arts and Letters, Columbia University Provost Grant, Doris Duke Artist Award, The Joyce Foundation Commission Project & Grant, Madge Evans-Sidney Kingsley Award, Nelson A. Rockefeller Award for Creativity, The Dramatists Guild Hull-Warriner Award, the inaugural Horton Foote Prize, Helen Hayes Award, the Lee Reynolds Award, and the Jewish World Watch iWitness Award. Her other honors include the National Black Theatre Fest’s August Wilson Playwriting Award, a Guggenheim Grant, Lucille Lortel Fellowship and Visiting Research Fellowship at Princeton University. She is a graduate of Brown University and the Yale School of Drama.

She is also an Associate Professor in the Theatre Department at Columbia School of the Arts.

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Nottage is a board member for BRIC Arts Media Bklyn, Donor Direct Action, Dramatist Play Service, Second Stage and the Dramatists Guild. She recently completed a three-year term as an Artist Trustee on the Board of the Sundance Institute. She is a member of the Dramatists Guild, WGAE, and the American Academy of Arts and Letters. She is currently an artist in-residence at the Park Avenue Armory. To learn more, follow this link: www.lynnnottage.com

Preliminary costume renderings bySabrina Guillaume-Bradshaw

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PROGRAM NOTES

By Jacqueline E. Lawton, Dramaturg This year, PlayMakers Repertory Company is contemplating the American Dream, and the role that Democracy plays in our republic. It is a bold and daring vision that not only asks each of us to consider who we are as a nation and who we could be, but also what we are willing to do to ensure future generations will have fundamental freedoms, civil liberties, and a voice in future elections. And there is a no one better to launch our season than two-time Pulitzer Prize winning playwright Lynn Nottage, whose talent, insight, and versatility make her one of the most prolific and consequential writers of our time.

Nottage is the author of several plays including Intimate Apparel; Ruined; Sweat; By the Way, Meet Vera Stark; MJ: the Musical; and Clyde’s. She is a graduate of Brown University and the Yale School of Drama. It was at Yale University where she began writing political plays and became an activist working to raise awareness for a variety of issues that impacted her fellow students. After graduation, she worked in the press office at Amnesty International for four years. Her commitment to justice and human rights carried over into her writing life. In a recent interview, she shared the following about her plays and characters: “They’re all stories about people who are marginalized. People who are struggling with identity. People whose identities have been erased. They’re about working people who felt incredibly marginalized and unseen, and about how they can assert themselves in a landscape that refuses to recognize their dignity.”

First produced Off-Broadway in 1995, Crumbs from the Table of Joy was Nottage’s first major production. It must be noted that she does 8

something quite rare and courageous with this play. She centers the story on a 17-year-old Black girl named Ernestine Crump. For two hours, audiences are asked to consider the life and dreams of a young Black girl. This doesn’t happen often in the American Theatre. In a recent interview with All Arts, Nottage explains her decision to do this: “Crumbs” … marked the beginning of my professional life in the theater. I had the opportunity to center the voices of Black girls, which at the time was a true rarity on the American stage. The play also reflects my desire to merge the personal and the political in ways that can be both entertaining and enlightening.”

Crumbs from the Table of Joy takes place in Brooklyn in 1950. The title of the play is inspired

by Langston Hughes’ short poem, "Luck": Sometimes a crumb falls from the table of joy, Sometimes a bone is flung, To some people love is given, To others only heaven.

Hughes’ poem reflects the stark reality of the American Dream in the 1950s. It was during this time that America saw the dawn of the Cold War and the Korean War, the crusade against Communism, and a revitalization of the civil rights movement. The United States emerged from World War II as a major superpower both a defender of democracy and capable of brute military force. The economy and babies were booming. The GI Bill paved the way to a middle class for many Veterans and suburbs were built on the outskirts of cities across the country. American families had greater access to new cars, manufactured products, and affordable television sets.

The fight against racial oppression, discrimination, and segregation escalated and entered the mainstream of American life. Nottage does a masterful job weaving complex issues of race, class, gender, and religion into the world of the play and the lives of her characters.

Continue reading the journal entry with the QR code.

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DRAMATURGY FELLOW SERIES An Introduction to the 2024/25 Season

By Lexi Silva

Welcome back to PlayMakers! Campus is buzzing, traffic on Franklin Street is notably worse, and there’s a frenetic, youthful energy about town that can only mean one thing: school is back in session. As I enter my second year as Dramaturgy Fellow for the Department of Dramatic Art and PlayMakers Repertory Company, I find myself reflecting on the year that’s passed, with an enthusiastic eye towards the season to come. Last year featured plays that showcased the complexities of human experiences and connection through a diverse array of voices and genres. The 2024/25 season is much the same but is intentionally united in a mission to interrogate the American dream and democracy from different perspectives across time. In a society where social media and targeted ads allow us to curate our own ideological echo chambers, I believe this season can do what theatre does best: facilitate an opportunity for people from different walks of life to engage with ideas that challenge us, delight us, surprise us, and affirm us of our shared humanity.

Fall at PlayMakers kicks off with Crumbs from the Table of Joy by a contemporary giant in the American theatrical canon, Lynn Nottage.

Crumbs explores the American dream through the perspective of a young Black woman in 1950’s New York. Ernestine navigates complicated family dynamics, social and personal adversity, and the trials and delights of girlhood. Crumbs is the third of Nottage’s plays that PlayMakers has programmed in recent history following Intimate Apparel (2016/17) and Clyde’s (2023/24), and if you’ve had the opportunity to see either production, it’s clear as to why PlayMakers keeps revisiting her work.

Continue reading the journal entry with the QR code.

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PLAYMAKERS PRESENTS

Crumbs from the TablePLAYMAKERS of Joy PRESENTS Lynn Nottage

Directed by Tia James Scenic Designer

Costume Designer

Jan Chambers

Sabrina Guillaume-Bradshaw

Lighting Designer

Sound Designer & Composer

Kathy A. Perkins

G. Clausen

Vocal Coach

Dramaturg

Gwendolyn Schwinke

Jacqueline E. Lawton

Stage Manager

Assistant Stage Manager

Aspen Blake Jackson

Sarah Smiley

World Premiere Production by The Second Stage Theatre, May 1995. Artistic Director Carole Rothman, Producing Director, Suzanne Schwartz Davidson, with a grant from the Lila WallaceReader's Digest Fund.

"Crumbs from the Table of Joy" is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service imprint. (www.dramatists.com)

The video or audio recording of this performance by any means is strictly prohibited.

The Professional Theatre of the Department of Dramatic Art Kathryn Hunter-Williams, Chair Vivienne Benesch, Producing Artistic Director Produced in association with the College of Arts and Sciences The University of North Carolina at Chapel Hill

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CAST LIST

In Alphabetical Order

Gerte Schulte . . . . . . . . . . . . . . . . . . . . . . . . . Elizabeth Dye Ernestine Crump. . . . . . . . . . . . . . . . . . . . . Jadah Johnson Lily Ann Green. . . . . . . . . . . . . . . . . . . . . Jasminn Johnson* Godfrey Crump. . . . . . . . . . . . . . . . . . . . . . Nate John Mark Ermina Crump. . . . . . . . . . . . . . . . . . Mengwe Wapimewah

Stage Managers Aspen Blake Jackson* Sarah Smiley* *Appearing through an Agreement between this theatre and Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Time & Place: 1950s Brooklyn

Crumbs from the Table of Joy will be performed with a 15-minute intermission.

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CAST BIOS Elizabeth Dye Gerte Schulte

PlayMakers: Company member in their second year of UNC’s Professional Actor Training Program with the Department of Dramatic Art. The Game, Much Ado About Nothing. The Taming, Stupid F**king Bird (PlayMakers/DDA Ground Floor).

University: Cabaret, Animal Farm, Three Sisters, Violet, Henry IV Part One (University of Evansville). Education: BFA Theatre Performance at the University of Evansville. @elizadye

Jadah Johnson Ernestine Crump

PlayMakers: Company member in their second year of UNC’s Professional Actor Training Program with the Department of Dramatic Art. The Game (u/s perf.), Much Ado About Nothing. Stupid F*king Bird (PlayMakers/DDA Ground Floor). Regional: Too Heavy For Your Pocket (New Horizon Theatre). Film: Detention (Student film); S.Q.U.A.D (Student film). Education: B.A Theatre Arts Performance and Practices at Point Park University. @Jadahregina

Jasminn Johnson Lily Ann Green

PlayMakers: Debut. Broadway: Ain’t No Mo. Off-Broadway/ New York: The Slow Dance (59E59); Blues for an Alabama Sky (Keen Company); King Lear (NY Classical Theater).

Regional: Tornado Tastes Like Aluminum Sting (CATF); Blues for an Alabama Sky (Barrington Stage Company); Twelfth Night (Shakespeare on the Sound). Film: Motherland (Upcoming).

Television: “The Politician,” “The Equalizer”. Education: The Juilliard School.

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Nate John Mark Godfrey Crump

PlayMakers: Company member in their second year of UNC’s Professional Actor Training Program with the Department of Dramatic Art. Fat Ham, Much Ado About Nothing. Stupid F**king Bird (PlayMakers/DDA Ground Floor). Regional: Party People (Actors Theatre of Louisville); Nollywood Dreams (Open Book Theatre); Head Over Heels (Ringwald Theatre); Taming of the Shrew (Idaho Shakespeare Festival); Othello (The Acting Company/NY); 12th Night (Shakespeare in Detroit). @natejohnmark Nate John Mark

Mengwe Wapimewah Ermina Crump

PlayMakers: Company member in their second year of UNC’s Professional Actor Training Program with the Department of Dramatic Art. Fat Ham, Much Ado About Nothing. The Lifespan of a Fact, Stupid F**king Bird (PlayMakers/DDA Ground Floor). University: Recycling Theater (Stella Adler Studio of Acting); The Quiet Zone (Stella Adler Studio of Acting). Film: NCWC (Pace University); Sisyphus (Pace University); Vices ( JG Filmworks); Out of Luck (RK Productions).

Education: BFA Acting for Film, Television, Voiceovers, and Commercials at Pace School of Performing Arts.

PROFESSIONAL ACTOR TRAINING PROGRAM Class of 2026 We invite you to follow and support our journey. Scan the QR code to find out how!

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CREATIVE TEAM BIOS Tia James Director

PlayMakers: Company member for six seasons. Actor: Much Ado About Nothing, Clyde’s, Hamlet, Blues for an Alabama Sky, A Wrinkle in Time, Julius Caesar, Native Son. Vocal coaching includes Misery, They Do Not Know Harlem, The Legend of Georgia McBride, Stick Fly, Ragtime, How I Learned to Drive, Life of Galileo, Bewilderness, She Loves Me, Skeleton Crew, Sherwood, Jump, Your Healing is Killing Me. Director: How I Learned What I Learned, As You Like It, Macbeth (PlayMakers Mobile), and Constellations (PlayMakers Ground Floor).

Broadway: The Merchant of Venice. Off-Broadway / New York: The Winter’s Tale, The Merchant of Venice (Shakespeare in the Park). Regional: Much Ado About Nothing (Commonwealth Shakespeare Company); Richard III (Allentown Shakespeare); Loving and Loving (Stella Adler Studios); Much Ado About Nothing (Two River Theatre); Civilization [All You Can Eat] (Woolly Mammoth Theater).

Television: “Nurse Jackie,” “Treme.” Teaching / Coaching / Directing: UNCChapel Hill, NYU Graduate Acting, NYU Dance, Atlantic Acting School, Montclair University. Education / Awards: MFA NYU Tisch Graduate Acting Program, BFA Virginia Commonwealth University; Miller Voice Method Teacher Certification. Recipient of the 2014 NYU Graduate Acting Diversity Mentorship Scholarship, 2003 Kennedy Center American College Theatre Festival, Irene Ryan Acting Scholarship winner for Best Actor; 2019 Michael Chekhov/Zelda Fichandler Scholarship.

Jan Chambers

Scenic Designer PlayMakers: Company member for 17 seasons and professor in the Department of Dramatic Art at UNC-Chapel Hill. Productions include Fat Ham, Much Ado About Nothing, They Do Not Know Harlem, Yoga Play, As You Like It, Skin of Our Teeth, Julius Caesar, Dairyland, How I Learned to Drive, Skeleton Crew, Leaving Eden, A Christmas Carol, The Cake, The May Queen, Sweeney Todd, 4000 Miles, Vanya and Sonia and Masha and Spike, The Making of a King: Henry IV & V, A Raisin in the Sun, Red, Metamorphoses, The Tempest, Angels in America and Nicholas Nickleby, among others. Regional: A Brittle Glory: The History Plays, Hamlet, Cyrano de Bergerac, Sunday in the Park with George, Pericles (Guthrie Theatre); Asylum (Only Child Aerial Theatre at Circus Now International Contemporary Circus Exposure); Pericles, Hamlet (Folger Theatre); Pericles, Henry V (Oregon Shakespeare Festival); North: A Love Letter, The Reckoning, It Had Wings, The Narrowing, Out of the Blue (Archipelago Theatre/ Cine). Member of the United States Institute for Theatre Technology and of United Scenic Artists, Local 829. janc@email.unc.edu www. janchambers.sites.oasis.unc.edu 15

Sabrina Guillaume-Bradshaw

Costume Designer PlayMakers: Fat Ham. Off-Broadway/New York: Elements of Humanity: Garments of San Juan Hill (Lincoln Center); Mary Speaks (The Sheen Center for Thought and Culture); Mirrors (New York Theater Workshop); Black Exhibition (The Bushwick Starr); Drama League- DirectorFest (New Ohio Theater).

Regional: Fat Ham (Cincinnati Shakespeare Company); Hotel Berry (Tantrum Theater); Mufaro’s Beautiful Daughters (Lincoln Community Playhouse).

Education: Sabrina received her M.F.A. in Design and Technical Production from Brooklyn College. Award: Opera America- Robert L.B. Tobin DirectorDesigner Prize, 2021. www.SabrinaBianca.com

Kathy A. Perkins Lighting Designer

PlayMakers: They Do Not Know Harlem, Edges of Time, Count, Mr. Joy, Trouble in Mind, Surviving Twin, A Raisin in the Sun, Clybourne Park, The Parchman Hour. Broadway: Trouble in Mind. Regional: American Conservatory Theatre, Arena Stage, Berkeley Repertory, Seattle Repertory, St. Louis Black Repertory, Alliance, Goodman, Steppenwolf, Baltimore Center Stage, Alabama Shakespeare Festival, New Federal Theatre, Mark Taper, Yale Repertory, Actors Theatre of Louisville, and People’s Light. Education: In 2007 she was inducted into the College of Fellows of the American Theatre. She received her BFA from Howard University and her M.F.A. from the University of Michigan. Other Credits: Kathy is the editor of seven anthologies focusing on women both nationally and internationally, including Selected Plays: Alice Childress. She is a senior editor of the Routledge Companion to African American Theatre and Performance. Kathy is faculty Emerita at the University of Illinois at Urbana-Champaign and the University of North Carolina at Chapel Hill. In 2022 she received the New York City Henry Hewes Design Award. In 2016 she served as a theatre consultant for the Smithsonian National Museum of African American History and Culture’s inaugural exhibition “Taking the Stage”.

G. Clausen

Sound Designer & Composer

PlayMakers: How I Learned What I Learned, Native Son, Skeleton Crew. OffBroadway: Syncing Ink (Apollo Theater). Regional: I Am Deliverd’t (Co-Pro Dallas Theater Center and Actors Theatre of Louisville); Twisted Melodies (St. Louis Repertory); PYG or The Misedumacation of Dorian Belle (Studio Theatre); Queen of the Night (Victory Gardens Theater); My Wonderful Birthday Suit, The Snowy Day and Other Stories by Ezra Jack Keats (Children’s Theatre

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of Charlotte); The Revolutionists, Rebellious, The 39 Steps, Member of the Wedding, Dirty Blonde, Fences, Don Juan, The Mystery of Irma Vep, And Then There Were None, A Christmas Carol, Two Wolves and a Lamb (Triad Stage); The Piano Lesson, Too Heavy for Your Pocket, How I Learned What I Learned, Intimate Apparel, A Raisin in the Sun, Hooded, or Being Black for Dummies (Pyramid Theatre Company); Welcome to Arroyo’s, Baskerville: A Sherlock Holmes Mystery (Cape Fear Regional Theatre). Education: MFA in Sound Design from UNCSA. BS in History/Minor in African American Studies from Iowa State University. @g_period www.gclausen.com

Gwendolyn Schwinke

Vocal Coach PlayMakers: Company member in her fifth season. Voice/Dialect Coach: Fat Ham, Much Ado About Nothing, Clyde's, Emma, Native Gardens, Blues for an Alabama Sky, Yoga Play, Dairyland, Native Son, Julius Caesar, As You Like It, The Skin of Our Teeth, A Wrinkle in Time. Actor: Murder on the Orient Express, Much Ado About Nothing, The Skin of Our Teeth, As You Like It. International: Voice/Text/Dialect/Somatic Coach: Macbeth, Twelfth Night, As You Like It, Roman Daggers, The Winter’s Tale (Prague Shakespeare Company); Company season training (Queensland Shakespeare Ensemble).

New York & Regional: As Voice & Text Coach: Seven seasons with Shakespeare & Company. Oxford Shakespeare Festival, Frank Theatre, Cheap Theatre, Atlantic Stage. Actor: Carlyle Brown & Company, Oxford Shakespeare Festival, Frank Theatre, Red Eye Collaboration, Minnesota Shakespeare Project, Atlantic Stage, Old Creamery Theatre, Illinois Shakespeare Festival. Playwright: Plays developed and/or produced by Seattle Repertory Company, Cherry Lane Theatre, The Playwrights’ Center, Red Eye Collaboration, Judith Shakespeare Company, Jungle Theatre.

Teaching: David G. Frey Fellow/Assistant Professor of Voice & Speech at UNC-Chapel Hill, Faculty Member at Shakespeare & Company and Prague Shakespeare Company, Designated Linklater Voice Teacher and Teacher Trainer, Guild-certified Feldenkrais Teacher. Voice & Speech Trainers Association Board of Directors. @gwendolynschwinke

Jacqueline E. Lawton Dramaturg

PlayMakers: Company member in her 8th season and associate professor in the Department of Dramatic Art at UNC-Chapel Hill. Regional Dramaturgy: Actors Theatre of Louisville’s Humana Festival of New American Plays, Arden Theater, Arena Stage, Denver Center for the Performing Arts, Ensemble Studio Theater, Ford’s Theatre, Goodman Theatre, Horizons Theater, Interact Theatre, Kennedy Center VSA Program, Rorschach Theatre, Round House Theatre, the 17

Stratford Festival, Theater J, Virginia Stage Company and Woolly Mammoth Theatre Company. Broadway Dramaturgy: Good Night, Oscar (Belasco Theatre). Playwright: Anna K; Behold, a Negress; Blackbirds; Blood-bound and Tongue-tied; Deep Belly Beautiful; The Devil’s Sweet Water; Diola; Edges of Time; Freedom Hill; The Hampton Years; Hotel Berry, Intelligence; The Inferior Sex; Love Brothers Serenade; Mad Breed; Noms de Guerre; So Goes We; and The Wonderful Wizard of Oz. Education/ Affiliations: MFA in Playwriting, University of Texas at Austin; James A. Michener Fellow. TCG Young Leaders of Color, National New Play Network (NNPN), Arena Stage’s Playwrights’ Arena, Center Stage’s Playwrights’ Collective, and the Dramatist Guild of America.

Aspen Blake Jackson

Stage Manager PlayMakers: Murder on the Orient Express, Much Ado About Nothing, Clyde's, They Do Not Know Harlem, Native Gardens. The Prom, The Drowsy Chaperone, The 25th Annual Putnam County Spelling Bee (Summer Youth Conservatory).

Aspen is thrilled to be returning for her third mainstage season. She graduated from The University of North Carolina at Chapel Hill with a BA in Vocal Performance and Dramatic Arts. Aspen has also thoroughly enjoyed spending the last three summers serving as the Production Stage Manager for our Summer Youth Conservatory program of which the most recent production, The Prom was a hit!

Sarah Smiley

Assistant Stage Manager

Sarah returns to Chapel Hill from Charlottesville, VA where she spends summers as production manager for the Virginia Theatre Festival. This will be her 13th season with PlayMakers, since first joining the company in 2005.

Sarah has worked professionally for over 30 years in the entertainment and theatrical industries, in theme parks and road houses in eight states and the U.K. She is a member of Actors’ Equity Association and has been active in USITT and the Stage Managers’ Association. She received her M.F.A. from the University of Iowa.

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UP NEXT  OCT 26 - NOV 3, 2024 

An exploration of the history of the Constitution turns into a hilarious and heartfelt journey into American identity. From teenage debates to adult reflections, this unforgettable tour de force will leave you feeling patriotic and energized. Brace yourself for laughter, a touch of chaos, and a front-row seat to democracy like you've never seen.

Learn more about the performance with the QR code.

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2024/25 SEASON

WANT THEATRE YOUR WAY?

PlayMakers FLEX PASS: Still Available!

The PlayMakers Flex Pass is always the perfect fit. Decide what you want to see when you want to see it.

Lock in your savings now and decide later when you get a Flex Pass. Redeem your passes online anytime or let our Box Office know when you’re ready to get a show on your schedule.

Flex 6 $264 Flex 8 $352 Flex 10 $440

Do you want just the classics?

Or just the new shows you’ve never seen?

Want to bring a friend to What the Constitution Means to Me in the fall, then the whole family for The Christmas Case of Hezekiah Jones?

Want to SEE IT ALL, but need to wait to find the right partner and date for each one?

PLAYMAKERS FLEX PASS: Fully customize your experience with 6, 8, or 10 Passes — mix and match to design the ideal season for you!

Get Started! Visit playmakersrep.org

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BANQUET HALL SPACE CATERING KOSHER EVENTS CERTIFIED GLUTEN-FREE BAKERY MEDITERRANEAN MARKET

SPECIAL EVENT

 January 7–12, 2025 

A tour de force by Emmy-nominated actor Sharon Lawrence, inspired by the story of the most powerful woman in journalism. Before her legendary tenure at The Washington Post, where she defied the U. S. government by publishing both the Pentagon Papers and the Watergate story, Katharine Graham was an abused wife. Her resilience set the stage for her transformation into an emblem of power in the media world.

“The Shot is a story for this moment. I hope The Shot empowers women who suffer intimate partner violence, and gives the rest of us a window into an abused woman’s soul.” - Playwright, Robin Gerber

Learn more about the performance with the QR code.

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PLAYMAKERS LEADERSHIP Vivienne Benesch

Producing Artistic Director

Vivienne is in her ninth full season as a company member and Producing Artistic Director with PlayMakers, where she has helmed productions of The Game, Hamlet, The Skin of Our Teeth, The Storyteller, Dairyland, Life of Galileo, Leaving Eden, The May Queen, Three Sisters, Love Alone, RED and In The Next Room. In her time with the company, she is particularly proud to have produced 13 world premieres and launched PlayMakers Mobile, a touring production aimed at reaching under-served audiences around the Triangle. For 12 seasons, she served as Artistic Director of the renowned Chautauqua Theater Company and Conservatory, presiding over the company's transformation into one of the country's best summer theatres and most competitive summer training programs. Vivienne directed both the world premiere of Noah Haidle’s Birthday Candles for Detroit Public Theatre and, in 2022, its Broadway production starring Debra Messing. She has also directed for the Folger Shakespeare Theatre (Helen Hayes nomination for best direction 2019), The Shakespeare Theatre of New Jersey, Trinity Repertory Company, NY Stage & Film, and Red Bull Theatre, among others. As an actress, Vivienne has worked on and off-Broadway, in film and television, at many of the country’s most celebrated theatres, and received an Obie Award for her performance in Lee Blessing’s Going to St. Ives. Vivienne is a graduate of Brown University and NYU’s Graduate Acting Program. As an educator, she has directed for and served on the faculty of some of the nation’s foremost actor training programs, including The Juilliard School, UNC-Chapel Hill’s Professional Actor Training Program, Brown/Trinity Rep MFA Program, and at her alma mater, NYU’s Graduate Acting Program. She is the 2017 recipient of the Zelda Fichandler Award given by the Stage Directors and Choreographers Foundation.

Maura Murphy

Director of Operations

Maura is here for her ninth full season, returning after a 23-year hiatus. In that time, she honed her administrative skills at Duke, NCSU and of course, Carolina. She was production stage manager for PlayMakers from 1993-1996 and general manager from 1996-1999. Education: EdD and MS in Higher Education Administration, NCSU; BA in Drama, Muhlenberg College.

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Jeffrey Meanza

Associate Artistic Director

An actor, director and educator, Jeffrey Meanza has spent the better part of two decades working at two of the country’s most celebrated regional theatres, overseeing the artistic, educational and community engagement efforts of the organizations. As a member of PlayMakers’ resident acting company, he has appeared in Murder on the Orient Express, Hamlet, Angels in America, Into the Woods, Lisa Kron's Well, Amadeus, Assassins, and The Life and Adventures of Nicholas Nickleby, among others, and directed Misery, The Legend of Georgia McBride, The Cake, and Guys and Dolls. From 2015 to 2021, he served as the Guthrie Theater’s associate artistic director, overseeing the theater’s education and community engagement initiatives, the literary team, casting, and the theater’s professional training programs, as well as helping to guide the work on the Guthrie’s three stages. During his tenure, Meanza managed the expansion of educational programming to serve over 35,000 students annually, including creating an artist residency program that put full-time teaching artists in high school classrooms throughout Minnesota. In addition, under his leadership, the Guthrie piloted a new Fellowship program that offers paid training opportunities for emerging leaders to experience work at one of the nation’s leading regional theaters. In 2021, Meanza returned to PlayMakers Repertory Company as Associate Artistic Director, overseeing the theater's artistic, educational and engagement operations. He holds an M.F.A in Acting from the Professional Actor Training Program at UNC-Chapel Hill and a B.A. in Theater and Performance Studies from the University of California, Berkeley.

Michael Rolleri

Production Manager

Michael is in his 38th season with PlayMakers Repertory Company. He has been Technical Director, Project Manager, Exhibition Technician, and Lighting Designer for industrial shows in the Southeast region, as well as lead carpenter for films, the U.S. Olympic Festival, and scenic studios. He has also been a rigger in the Southeast region and has served on the executive board and as President of IATSE Local 417. Michael is a 30-year Gold Pin member of IATSE. An active United States Institute For Theatre Technology (USITT) member, he is a three-time winner at USITT's Tech Expo. He is a full Professor/Head of the Technical Production Program at UNC-Chapel Hill and was an instructor at High Point University and Tufts University.

Education: MFA in Design and Technical Production, UNC-Greensboro.

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Our Mission

PlayMakers Repertory Company is North Carolina’s premier professional theatre company, proudly in residence on the dynamic campus of the University of North Carolina–Chapel Hill. Our mission is to produce relevant, courageous work that tells stories from and for a multiplicity of perspectives. We believe that theatre can have a transformational impact on individuals and entire communities, and we are committed to the journey of becoming an anti-racist organization whose work is accessible to all. Inextricably linked to UNC's Department of Dramatic Art, PlayMakers is devoted to nurturing and training future generations of artists and audiences.

Our Vision

Provoke

Represent

Create

Accountability Statement

At the heart of PlayMakers Repertory Company’s mission is the belief that theatre has the power to transform individuals and entire communities. PlayMakers continues to assess and evaluate our own practices in order to embed equitable, antiracist policies into strategic planning, our mission, and our operations.

PlayMakers Repertory Company, and those of us who work here, commit to the following: • To work intentionally to create an antiracist culture in our company.

• To continually educate ourselves on the ways in which we can combat racism locally and nationally as we move to create an inclusive, diverse, and equitable sense of belonging for every one of our constituents.

• To demonstrate our values through action in our policies, practices, and procedures.

Land Acknowledgment

We acknowledge that the Center for Dramatic Art is located on the unceded lands of one or more of Abiayala’s (the Americas’) original sovereign nations, the name(s) of which have not yet been affirmed. The unjust acquisition of these Indigenous lands came about through a history of racism, violence, dispossession, displacement, and erasure of cultures by settlers as part of the larger, land-centered project of settler colonialism.

As we look to the future, may we build upon the memories and goodwill of all who walked and labored here before us with truth, integrity and honor Learn more: UNC American Indian Center americanindiancenter.unc.edu/

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PlayMakers is...

“One of America’s Best Regional Theatres” (American

Theatre Magazine), PlayMakers Repertory Company is North Carolina’s premier professional theatre company, proudly in residence on the dynamic campus of the University of North Carolina-Chapel Hill. The professional company was founded in 1976, growing out of a storied 100-year tradition of playmaking at Carolina.

At the very heart of the PlayMakers experience is one of the nation’s last remaining resident theatre companies, made up of accomplished performers, directors, designers, artisans, and technicians, and supported by exceptional graduate students in UNC’s Department of Dramatic Art. Our company works side by side with guest artists from all over the world and our alumni include Pulitzer Prize, Tony®, Emmy®, and Grammy Award® winners.

Creating Tomorrow’s Classics, Today

Producing Artistic Director Vivienne Benesch is continuing PlayMakers’ tradition of producing vibrantly reimagined classics, large-scale musical theatre, and significant contemporary work, but has also broadened the company’s reach to become a home for new play development and a true hub of social and civic discourse in the region. Her first eight seasons have given life to twelve important new American plays.

A Hub of Engagement

PlayMakers seeks to provoke thought, stimulate discussion, and push the boundaries of the theatrical form in everything we do. Whether through our intimate @PLAY series, our mainstage offerings, or our special events, we look for opportunities for direct, dynamic engagement between audiences, artists, and thinkers. In addition, programs like the Radical Inclusion Initiative that brings specific communities into the process of new play development, or collaborations with regional and university partners engaging arts practices in mental health and wellness strategies, serve to deepen PlayMakers’ impact on our increasingly dynamic community.

Theatre for the People

PlayMakers Mobile is an initiative that seeks to contribute positively to the civic and social life of our region by taking world-class theatre out of our building and into the community. We create a streamlined production of a play and take it to schools, transitional housing facilities, and long-term treatment facilities around the Greater Triangle area. And best of all, it’s all free of charge.

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WHO WE ARE

Leaving Eden, 2018. Photo by HuthPhoto

Passing the Torch

PlayMakers’ award-winning Summer Youth Conservatory is the only professionally supported training program of its kind in the region. The Theatre Quest program provides camps to area middle school and high school students, while the Theatre Intensive and TheatreTech programs allow Triangle high schoolers to apprentice directly with professional directors, choreographers, musical directors, and technicians, culminating in a professional quality production on the PlayMakers mainstage for the whole community to enjoy.

Eliminating Barriers

With a commitment to eliminating barriers for attendance, PlayMakers offers All Access performances for our patrons living with disabilities. We also offer accessible $20 tickets for all performances and ticket prices are reduced to just $10 for UNC students and $12 for all other students. For more information, please contact prcboxoffice@unc.edu.

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OUR PARTNERS PlayMakers’ 2024/25 Season is Made Possible in Part by Grants from

Foundation Support

National Endowment for the Arts, North Carolina Arts Council, The Shubert Foundation, Fidelity Foundation, Orange County Arts Commission, The Strickland Family Foundation, UNC Parents Council

Additional Funding for Guest Artists is Provided by

Jeffrey Hayden Guest Lectureship Fund, Robert Boyer and Margaret Boyer Fund, Louise Lamont Fund, Emeriti Professors Charles and Shirley Weiss Fund

Corporate Council

Craven Allen Gallery & House of Frames, Larry's Coffee, Mediterranean Deli, Bakery, and Catering, Metal Supermarkets Raleigh, Pineapple Sol Catering, Pinsieline Properties LLC, University Florists, Vimala's Curryblossom Cafe

Associates

Glasshalfull, Infinium Spirits

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PlayMakers Repertory Company is a program of the Department of Dramatic Art, The College of Arts and Sciences, and The University of North Carolina at Chapel Hill. The North Carolina Arts Council, a division of the Department of Cultural Resources, recognizes PlayMakers as a professional theatre organization and provides grant assistance to this organization from funds appropriated by the North Carolina General Assembly and the National Endowment for the Arts. PlayMakers is a beneficiary of the Elizabeth Price Kenan Endowment and the Lillian Hughes Prince Endowment.

PlayMakers Repertory Company is a Member of Theatre Communications Group (TCG), the national organization for the American theatre.

This Theatre operates under an agreement between the League Of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE. The Director and Choreographer are members of the Stage Directors and Choreographers Society, a national theatrical labor union.

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PLAYMAKERS Administration

Vivienne Benesch, Producing Artistic Director

Management

Artistic

Jeff Aguiar, Director of Engagement Tracy Bersley, Movement Coach/Choreographer Chelsea James, Producing Associate Tia James, Vocal Coach Gregory Kable, Dramaturg Jacqueline E. Lawton, Dramaturg Jeffrey Meanza, Associate Artistic Director Mark Perry, Dramaturg Gwendolyn Schwinke, Vocal Coach Lexi Silva, Dramaturgy Fellow Adam Versényi, Dramaturg Andrew Wade, Assistant to Producing Artistic Director

Development

Kyle Kostenko, Assistant Director of Annual Giving Lenore Field, Special Events Coordinator

Lisa Geeslin, Accountant Charisse Holloway, Admin Support Specialist Zoë Lord, Company Manager Maura Murphy, Director of Operations Sarah Tackett, Administrative Operations Associate Ella Hawn, Administration Work Study

Marketing & Audience Services

TJ Carr, Graphic Designer and Marketing Associate Rebecca Edmonds, Audience Services Associate Hannah LaMarlowe, Associate Director of Marketing Thomas Porter, Box Office Manager Rosalie Preston, Director of Marketing and Sales Jenna Zottoli, Audience Services Associate Albert Carlson, Box Office Assistant Maggie Thornton, Front of House Assistant Swetha Anand, Lynlee Collins, Kali Dao, Tygia Drewhowell, Evan Jeppson, Lindsay Kanipe, Micah Kennel, Alexa Lankford, Leah Page, Watson Pope, Cora Willis, Box Office and Front of House Work Studies

Department of Dramatic Art

Faculty

Kathryn Hunter-Williams, Chair and Associate Professor

Milly Barranger, Professor Emerita (1999-2023) Vivienne Benesch, Professor of the Practice Tracy Bersley, Associate Professor Pamela Bond, Assistant Professor James Bray, Teaching Assistant Professor Jan Chambers, Professor McKay Coble, Professor Emerita Jeffrey Blair Cornell, Associate Chair, Teaching Prof.

Ray Dooley, Professor Emeritus Samuel Ray Gates, Associate Professor Julia Gibson, Professor Douglas Hall, Associate Professor David Hammond, Professor Emeritus Rachel Hynes, Teaching Assistant Professor Letitia James, Assistant Professor Gregory Kable, Teaching Professor Jacqueline E. Lawton, Associate Professor Triffin Morris, Professor of the Practice David Navalinsky, Professor 30 Bobbi Owen, Distinguished Professor Emerita

Laura Pates, Teaching Assistant Professor Kathy Perkins, Professor Emerita Mark Perry, Teaching Associate Professor Rachel E. Pollock, Lecturer Bonnie Raphael, Professor Emerita Michael Rolleri, Professor Gwendolyn Schwinke, Assistant Professor Lexi Silva, Dramaturgy Fellow Aubrey Snowden, Teaching Assistant Professor Craig Turner, Professor Emeritus Adam Versényi, Professor Tao Wang, Assistant Professor

Administration

Weston Barker, Program Specialist Lucas Branch, KTC Technical Director Jocelyn Chatman, Costume Inventory Specialist Lisa Geeslin, Accounting Technician Taylor McDaniel, Student Services Manager Karen Rolleri, Business Coordinator Jamie Strickland, University Manager

OUR 24/25 COMPANY Production

Michael Rolleri, Production Manager

Costumes

Amy Evans, Costume Shop Manager Marissa Lupkas, Wardrobe Supervisor Matthew Mallard, Assistant Costume Director Triffin Morris, Costume Director Rachel Pollock, Costume Craftsperson Costume Production Graduate Students: Manda Apony-Moriarty, Jillian Gregory, Kris Kingsolver Jessica Land, Bailey Mae Doran, Zachary Morrison, Sally Rath Jessica Land, Crafts Assistant Ellie Steever, First Hand/Stitcher Katherine Craig, Costume Shop Work Study Arcadia Hilton, Clara "Hock" Hockenberry, Undergrad Assistants Natasha Harm, Wardrobe Assistant Work Study Georgia Wood, Costume Collection Assistant Work Study

Props

Lauren Reinhartsen, Properties Supervisor Sam Gainer, Props Artisan Cami Crocker, Lydia McRoy, Evan Wilker, Work Studies

Stage Management

Aspen Blake Jackson, Sarah Smiley, Stage Managers Sarah Patisaul, Production Assistant

Lighting

Benjamin Bosch, Electrics Supervisor Nick Rodgers, Production Swing for Lighting & Sound

Sound

David Bost, Sound Supervisor Kee Meh, Nubia Orellana, Madison Ugan, Work Studies

Scenic

Brandon "Bruce" Hearrell, Production Carpenter Gwendolyn Van Denburg, Alec Westmoreland, Production Carpenters Corrinne LaVergne, Scenic Artist Laura Pates, Technical Director Diane Zimmerman, Scenic Charge Artist Technical Production Graduate Students: Rachel Van Namen, Joel Ernst, Benjamin Fink, Roark Charlene Nguyen, Gabrielle Shulikov, Veta "Koa" Torres, Scenic Painting Work Studies

PlayMakers’ Resident Acting Company Jim Bray Kathryn Hunter-Williams

Jeffrey Blair Cornell

Samuel Ray Gates Tia James

Julia Gibson Gwendolyn Schwinke

Professional Actor Training Program: Reez Bailey, Matthew Donahue, Elizabeth Dye, Jadah Johnson, Nate John Mark, Mengwe Wapimewah

For this Production

Tracy Bersley, Intimacy Director Lexi Silva, Dramaturgy Fellow and Associate Dramaturg Laura Pates, Production Technical Director Rachel Van Namen, Assistant Technical Director Bruce Hearrell, Shop Lead Zachary Morrison, Costume Shop Manager Jillian Gregory, Triffin Morris, Sally Rath, Drapers

Manda Apony-Moriarty, Bailey Mae Doran, Kris Kingsolver, Stitchers Ayla Rodriguez, Light Board Operator Kaleb Glenn, Sound Board Operator Olivian Ingledue, Ella Wolfe, Deck Crew Alicia Laxton, Malia Tucker, Nicole Binney, Wardrobe Crew

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THERE HAS NEVER BEEN A MORE IMPORTANT TIME TO SUPPORT PLAYMAKERS AND THE ARTS

Ways to Give

PlayMakers Repertory Company is a nonprofit theatre. We rely on the generosity of our community to continue Online delivering the Broadway-quality playmakersrep.org/give theatre you love. If you believe in the PHOTO OF THE CAST OF TARTUFFE BY HUTHPHOTO transformative power of theatre as much as we do, please consider making a taxdeductible donation to help theatre thrive. Phone or Email You can help support and sustain all our work, both on stage and off, by making a tax-deductible gift which enables us to: • Bring innovative, entertaining, and relevant theatre to the Triangle • Serve students across the state through our award-winning educational programs • Engage with our audiences through artist and community conversations Every gift, big or small, makes a huge difference!

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Kyle Kostenko kostenko@unc.edu 919.445.1282

Mail Send your check to: Kyle Kostenko PlayMakers Repertory Company Joan H. Gillings Center for Dramatic Art CB 3235 Chapel Hill, NC 27599-3235

FRIENDS OF PLAYMAKERS PlayMakers is grateful to the members of the Friends of PlayMakers for their generous support. For more information about how to join this dynamic group of supporters, call Assistant Director of Annual Giving Kyle Kostenko at 919.445.1282 or visit us at playmakersrep.org.

Director’s Circle ($10,000+)

Anonymous Betsy Blackwell and John Watson Jr. Cindy and Thomas Cook David G. Frey ~ Joanne and Peter Garrett Fidelity Charitable Gift Fund The Farley Fisher Gift Fund Drucie French and Stephen Cumbie Deborah Gerhardt Joan Gillings ~ Cynthia Strickland Graham Susan and Dustin Gross Garrett Hall and Zachary Howell T. Chandler and Monie Hardwick Mrs. Frank H. Kenan ~ Thomas S. Kenan III North Carolina Arts Council Paula Noell and Palmer Page John and Debra Ratliff Wyndham Robertson Coleman Ross Schwab Charitable Shubert Foundation The Robert Strickland Family Foundation The Robertson Foundation T. Rowe Price Program for Charitable Giving Vanguard Charitable Endowment Program Alan H. Weinhouse Jim and Bonnie Yankaskas

Angel ($5,000–9,999) Anonymous Patrick Brennan and Lillian Jenks Thomas and Holly Carr Charities Aid Foundation of America Munroe and Becky Cobey Amy and Kevin Guskiewicz + Mr. and Mrs. Matt Hapgood Kim Kwok Prentice Foundation H. Edward and Phyllis Wright Investor ($2,500–4,999) Anonymous Alicia and Bill Allred Richard and Deirdre Arnold ^ Ed and Eleanor Burke ^ Adam Cifu Susan E. Hartley Carol Hazard and Winston Liao Johnson & Johnson Matching Gift Program Susan J. Kelly Duncan and Stuart Lascelles D.G. and Harriet Martin Orange County Arts Commission Louis and Jodi Patalano Nick and Amy Penwarden Pinsieline Properties LLC Robert and Tobi Schwartzman + Mrs. Carol Smithwick Jackie and James Tanner UNC Parents Council Jennifer Werner Jennifer and Sandy Williams 33 Katie Woodbury

Page to Stage ($1,500–2,499)

David and Judy Adamson Mary Altpeter + Andrew and Katherine Asaro ^ Vivienne Benesch Steve Benezra ^ Ed and Eleanor Burke ^ Ed and Virginia Cockrell + Cornell University Foundation Mrs. Linda Whitham Folda and Dr. Jaroslav Thayer Folda, III John and Diane Formy-Duval Dana and Robert Greenwood Hugon Karwowski and Joanna Karwowska ^ Dr. Catherine Kuhn and Glenn Tortorici Shirley and Tom Kunkel Metal Supermarkets Raleigh Paul and Linda Naylor Abigail Panter and George Huba Jay and Cris Preble David Price The Shelby Family Foundation Carole L. Shelby Dr. William L. Stewart The Rev. Wendy R. and W. Riley Waugh + Michael Weil and Peggy Link-Weil Roger and Marlene Werner

Partner ($1,000–1,499)

Anonymous (4) Michael and Marie Andreasen Jeremy Arkin and Marian Fragola Dr. Stephen Shaw Birdsall Carolyn and Jackson Breaks Joan Clendenin Julie and M. Brian Daniels Dr. Carrie Donley and W.P. Gale ^ Shelley Earp

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Dr. and Mrs. John P. Evans David J. Howell Robert Huddleston Dr. Moyra Kileff and Mr. Brian Kileff Jack Knight and Margaret Brown ^ Katie Kosma + Thomas and Shirley Robert and Kathryn Kyle Douglas MacLean and Susan Wolf Elaine Mangrum and Michael Freedberg ^ Holly and Ross McKinney Herbert and Jean Miller Bettina Patterson Raymond James Charitable Endowment Fund Philip Rhodes Jr. Kyle and Jenn Smith Lucy and Sidney Smith Karen Sisson and Andrew Levine Carol Uphoff J. Stephen and Denise Vanderwoude, in honor of John Vanderwoude + Dr. Jesse L. White Derek and Louise Winstanly Paul and Sally Wright David and Heather Yeowell

Backer ($500–999)

Anonymous (3) Keith and Iris Archuleta + Brent Bailey and Tammy Hoffmeister Susan and Tony Barrella Deborah Barrett and Charles Kurzman Adam C. Beck ^ John W. Becton and Nancy B. Tannenbaum Shula and Stephen Bernard Patricia Beyle Frank Binkowski Keith Burridge and Patricia Saling

Cliff and Linda Butler Philip and Linda Carl Dr. Patricia C. Crawford ~ indicates deceased David Doll ^ indicates PlayMakers Sustainer Bob and Connie Eby + indicates Summer Youth Conservatory Supporter Thorsten A. Fjellstedt Friday Morning Music Study Club + Windi and Roger Glogowski Eve B. Goldschmidt This list is current as of August 1, 2024. If your name is listed incorrectly or not at all, Elizabeth Grey + please contact PlayMakers Development Toby and Cheryl Harrell Office at 919.445.1282. We will ensure C. Hawkins ^ you are recognized for your thoughtful Don and Kay Hobart support.

Michael Maness and Lois Knauff William W. Kohr Anand and Sandhya Lagoo Karen and Stephen Lyons Dr. and Mrs. Morton D. Malkin Ed and Connie McCraw Mary McMorris and Leonard Santoro Dr. James C. and Dr. Susan D. Moeser Fred and Anne Morris + Pat and Mary Norris Oglesby David and Elizabeth Nuechterlein Mark and Eugenea Pollock Jodi and Glenn Preminger Elizabeth Raft Vikram and Susan Rao + David B. Sontag Susan Stedman and Charles Higgins Jr. Tim and Judy Taft Triangle Community Foundation Karen and Tom Tierney Peter Vitale and Stephen Nelson

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